RCF M 18 Bruksanvisning
RCF
Mixerkonsol
M 18
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M 18 Digital Mixer - User’s Manual
Date:
8 jan 2016
Rev.: 1.0.015
p/n: 10399006 rev. A
This document refers to:
- Firmware version 0182 or earlier
- iOS MixRemote app version 1.0.2 or earlier
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RCF S.p.A. accepts no liability for any loss which may be suffered by any person who relies either wholly or in part upon
any description, photograph, or statement contained herein. Technical specifications, appearances, and other
information are subject to change without notice. All trademarks are the property of their respective owners.
Summary
The M series Digital Mixers by RCF .............................................................................................................................................................................................. 3
M 18 features ................................................................................................................................................................................................................................ 5
Overview .................................................................................................................................................................................................................................. 5
Internal Reverb ........................................................................................................................................................................................................................ 7
MultiFX ..................................................................................................................................................................................................................................... 8
Master Processor ..................................................................................................................................................................................................................... 9
VALVE WARMER ................................................................................................................................................................................................................ 9
XCITER ................................................................................................................................................................................................................................. 9
MAXIMIZER......................................................................................................................................................................................................................... 9
Storing and recalling parameters .........................................................................................................................................................................................10
MixRemote iOS app.....................................................................................................................................................................................................................12
FADERS > INPUTS view ..........................................................................................................................................................................................................13
Input channels: preamplifier, dynamics, MultiFX ...............................................................................................................................................................14
Input channels: EQ section ...................................................................................................................................................................................................20
FADERS > SEND view .............................................................................................................................................................................................................21
EFFECTS view .........................................................................................................................................................................................................................22
EFFECTS > SEND ...............................................................................................................................................................................................................22
EFFECTS > MULTIFX .........................................................................................................................................................................................................23
OUTPUTS view .......................................................................................................................................................................................................................24
PHONES view .........................................................................................................................................................................................................................25
PLAY/REC view .......................................................................................................................................................................................................................25
METERS view ..........................................................................................................................................................................................................................27
LOAD/SAVE view ....................................................................................................................................................................................................................28
SETTINGS view .......................................................................................................................................................................................................................29
Hardware Description .................................................................................................................................................................................................................33
Connectors .............................................................................................................................................................................................................................33
Startup sequence and recovery from an error condition ...................................................................................................................................................35
Restoring the unit ..................................................................................................................................................................................................................36
M 18 Usage ..................................................................................................................................................................................................................................37
Secrets of mixing on a digital console ..................................................................................................................................................................................37
Sound Shaping with M 18 .....................................................................................................................................................................................................38
DRUMS..............................................................................................................................................................................................................................39
BASS ..................................................................................................................................................................................................................................41
KEYBOARDS ......................................................................................................................................................................................................................41
ELECTRIC GUITARS ...........................................................................................................................................................................................................42
ACOUSTIC GUITARS .........................................................................................................................................................................................................42
VOICE ................................................................................................................................................................................................................................43
A1 - Block Diagram ......................................................................................................................................................................................................................44
A2 – MIDI implementation chart ...............................................................................................................................................................................................46
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The M series Digital Mixers by RCF
A new family of compact Digital Mixers have been designed by RCF, with the aim to address the
requirements of modern performing musicians.
The main goal is to allow the user to minimize the amount of equipment needed for a live act. Therefore, a
significant effort has been spent to include all the main features to ensure a seamless performance. These
features are the following:
- compact size: the mixer is small and can be placed anywhere within the stage or between the
instruments
- full remote control over WiFi of all features
- integration of high-quality amplifier modeling
- internal WiFi Access Point and Power Supply
The M series of Digital Mixers are ideal in all cases where a dedicated sound engineer may not be available,
and therefore a FOH mixer would be inappropriate. The musicians themselves can perform the sound check
by moving in from of the house PA with a tablet and setting up the mixer accordingly.
Two independent amplifier simulation algorithms, licensed from Overloud ™, have been included into a
multieffect-like organization of internal effects. This enables a further option to avoid bringing on the stage
bulky and large amplifiers, relying on the main PA and stage monitors.
A high-quality stereo player is available on the unit, accessing files from a USB flash drive, representing a
further option in minimizing the amount of equipment required for a live gig.
Therefore, you can leave home several items, such as the multicore snake, external effects that would
normally connect to the mixer, guitar and/or bass amplifiers, external file player, and yet obtain a high-
quality and professional result.
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This document is available to help you in exploring the various features of the M 18 Digital Mixer, and is
arranged in different sections:
M 18 Features
An overview of the most interesting features of the M 18 Digital Mixer is presented,
focusing on the unique aspects of the unit. It includes details on the internal high-quality
digital reverb, on the MultiFX concept, on the Master Processor, and on the options to
save and recall internal parameters.
MixRemote iOS app
Detailed reference of the MixRemote app for iOS, which is the primary way to interact with
the mixer itself. All app views and controls are presented in detail.
Hardware Description
Overview of the connections available on rear panel.
Detailed indications on the startup sequence and recovery options.
M 18 Usage
Useful tips on how to make the best use of the M Series Digital Mixer.
This section includes advise on the concept of gain structure, and several practical hints on
equalization and compression settings for specific instrument types.
Appendixes
A1 – Block Diagram
A2 – MIDI implementation
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M 18 features
Overview
The M 18 Digital Mixer is a feature-packed unit that includes several of the useful blocks required to arrange a good-
sounding live act.
Signal processing capabilities of the M 18 Digital Mixer
In addition to the usual essential processing blocks that are present in every mixer (equalizers, compressors), several
effects are available, arranged as follows:
Three global stereo effects, each with a dedicated FX SEND buss
Two 5-stage MultiFX blocks, dedicated to channels 9 and 10; in each of these two blocks, an amp simulator is
available
Two 3-stage MultiFX blocks, dedicated to channels 5 and 6 or 9 and 10
A highly musical Mastering Processor on the MAIN L & R output signals
A 31-band stereo Graphic Equalizer on the MAIN L& R output signals, after the Mastering Processor
The MultiFX blocks can be managed independently from the mixer, with a set of memories (which we call PATCHES),
to allow the same flexibility which would be available with an external multieffect unit.
A total of 13 summing busses are present in the M 18 Digital Mixer:
MAIN left & right buss
FX SEND 1,2,3 buss
AUX SEND 1,2,3,4,5,6 buss
Stereo PHONES buss
Among these, the stereo personal monitor deserves special mention.
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You can set the PHONES buss in one of two modes:
- (pre-fader listen), in which the input channels put in SOLO mode are summed and sent to the PFL mode
PHONES output, through the EQ and PHONES fader; the PFL level is shown on the MAIN L and R VU meter.
Please notice that the stereo PFL VU meter display reflects the PAN value, and of course, being pre-fader, is
not affected by the fader level.
- Personal Mix mode, in which a separate mix of all inputs, including the 2-channel player, is available and
allows a complete stereo mix to be routed to the PHONES output (and optionally to a pair of AUX outputs;
see routing options)
A complete overview of the M 18 internal features is shown here below:
The internal Access Point is a dual-band, dual-antenna MIMO WiFi interface; one of the two antennas is external,
while the other is located on the top right side (when facing at the RCF logo).
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Internal Reverb
The M18 Digital Reverb is a very intuitive and smooth sounding processor, and represents an essential ingredient of
the final mix. Great care has been taken to provide the highest quality algorithms and presets.
Based on 12 algorithms, it allows to easily find the perfect reverberation for every kind of application in a few clicks.
The algorithms are been designed and tailored to focus immediately the sound you are looking for and then fine tune
it with the essential parameters available through the five pots.
The algorithms are also available in some cases into two variations (Bright/Warm or Digital/Vintage) to further help in
selecting the proper starting point.
A total of four different reverb types are available:
TYPE
VARIATIONS
Hall
usually perfect for smooth and deep reverberations
large/medium
warm/bright
Room
the algorithm
to start with if you are
looking for hi
impact reverberations
large/medium
warm/bright
Plate
classic “all purpose” algorithm
with unique
character digital/vintage
Ambience
the first choice if you are looking for something to
expand the stereo field or to somehow enhance the
sounds
model 1, model 2
TIP
The reverberation is one of the most crucial signal processors to achieve a correct mix, so it’s very important to use it
with care. Often the reverberation of the venue affects our overall sound, especially because usually the sound check
is done without audience that is another element that can drastically change the reverberation time of the venue.
So keep in mid to evaluate the reverberation time of the empty venue, and then consider that it will be shorter with
the audience during the live gig; for these reasons, it could be useful to check the amount of the reverb also on
headphones.
A full set of carefully crafted presets are available, grouped into categories as indicated by their prefix:
[
MIS
]
Miscellaneous, general
-
purpo
se
[VOX
]
Voice
-
oriented
[ACO
]
Acoustic
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MultiFX
The M series Digital Mixers offer an unprecedented level of integration by offering multiple internal effects
that can be assigned to some of the inputs channels; these effects are additional and independent from the
main effects which are connected to the internal effect busses.
The aim of multieffect inclusion is to provide a new approach to effect processing, as effect settings can be
effectively combined with mixing parameters. It is thus possible to create a wide variety of sonic results
without additional equipment.
In the M 18 Digital Mixers the internal effects are combined into a total of 4 multi-effects, which are
inserted into 4 input channels. The insertion point is before the EQ section, as follows:
The M18 Digital Mixer offers a total of four independent MultiFX blocks, allocated as follows:
Multieffect
chain
cascaded
effects
Allocated to
input channel
Some usage
examples
MFX1
3
5
(XLR in) or
7
(COMBO in)
Voice, acoustic guitar, percuss
ions, analog synths
MFX2
3
6
(XLR in) or
8
(COMBO in)
Voice, acoustic guitar, percussions, analog synths
MFX3
5
9
(Line in, Hi
-
Z option)
Electric guitar, electric bass,
analog synths
MFX4
5
10
(Line in, Hi
-
Z option)
10 (Line in, Hi
-
Z option)
MFX1 and MFX2 feature a Modulation effect, a Delay and a Special FX unit; MFX3 and MFX4 are similar to
MFX1 and MFX2, but they add OverDrive modeling and a high-quality Amp Simulation section.
The order of cascaded effects can be modified for each patch; the M series has a total of 5 different effect
families, and one of each family is available within a MultiFX block, as follows:
Effect Family Abbreviation MFX1,2 MFX3,4 Description
Modulation MOD YES YES
classical modulators typically used
for several instrume
nts
(chorus, flanger, tremolo)
Delay
DLY
YES
YES
Several types of mono delays
Special Effects
FX
YES
YES
General
-
purpose container, including pitch shift
OverDrive OD - YES
Modeling of classic overdrive stomp boxes, licensed from
OverloudTM
Amplifier simulation AMP - YES
Accurate modeling of guitar and basshead amps and
cabinets, licensed from OverloudTM and from MarkBass
TM
You can save the all parameters of a specific MFX chain, including effect ordering, within a PATCH, that can
be recalled independently from other mixer parameters. You can recall PATCHes via MIDI program change
message, and you can also individually turn on and off the effects via NoteOn MIDI messages; each MFX
reacts on different MIDI channels, which can be set within the SETTINGS > MIDI page. The dual footswitch
input can be set to control a specific MFX, to either move to next or previous PATCH, or turn individual
effects on and off.
Therefore, you have a high degree of flexibility for controlling MFX chains during a live gig.
PREAMP PHASE
HPF MultiFX
AUDIO
IN
To
MIX
BUSSES
A/D
NOISE
GATE COMP
4-band
EQ
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Every group is detailed in the following table:
Group Parameters Notes
Global
Configuration
NETWORK/
LAN Settings
NETWORK/WLAN AP Settings
+48V Phantom Enable
PHONES Mode (PFL/Personal Mix)
MFX1, MFX2 Routing
Footswitch Settings
Outputs Routing
Snapshot Settings (save of MFX patch numbers)
Startup Setting
MIDI settings
PLAYER AUTO Mode ON/OFF
The NETWORK subgroup require a reboot to
become effective
SHOW related
INPUTS CH. PRE (GAIN, TRIM, PHASE, HPF, HiZ)
INPUTS CH. STEREO LINK settings
OUTPUTS LEVEL (Main Out, AUX Out, Phones Out)
AUXs BUS (Level, Mute)
PHONES BUS (Level, Mute, Pan/Balance)
AUX OUT EQ parameters
PHONES EQ parameters
MFX1 parameters
MFX2 parameters
MFX3 parameters
MFX4 parameters
AUX 5-6 CH. PRE/POST settings
GEQ ON/OFF
A SHOW saves the complete mixer state
(inputs, outputs, processing)
GEQ
Stereo 31
-
band Graphic EQ settings
May be saved and recalled independently
SNAPSHOT
related
INPUTS CH. EQ parameters
INPUTS CH. GATE parameters
INPUTS CH. COMPRESSOR parameters
INPUTS CH. Names
OUTPUT CH. names
SEND EFFECTS parameters
MASTER PROCESSOR parameters
FXs Bus (Level, Mute)
Mix Bus parameters (if enabled at save)
MFX1 PATCH number (if enabled in SETTINGS)
MFX2 PATCH number (if enabled in SETTINGS)
MFX3 PATCH number (if enabled in SETTINGS)
MFX4 PATCH number (if enabled in SETTINGS)
A SNAPSHOT saves all the parameters not
directly related to the outputs
Mix Bus
INPUTS BUS (Level, Mute, Pan/Balance) May be included in a SNAPSHOT
MFX1
DLY parameters
FX parameters
MOD parameters
FX order
MFX1 is a daisy-chain of 5 individual effects
(DLY, FX, MOD, with assignable order); affects
input channel 5 or 7
MFX2
DLY parameters
FX parameters
MOD parameters
FX order
MFX2 is a daisy-chain of 3 individual effects
(DLY, FX, MOD, with assignable order); affects
input channel 6 or 8
MFX3
DLY parameters
FX parameters
MOD parameters
OD parameters
AMP parameters
FX order
MFX3 is a daisy-chain of 5 individual effects
(DLY, FX, MOD, OD, AMP with assignable
order); it affects input channel 9
MFX4
DLY parameters
FX parameters
MOD parameters
OD parameters
AMP parameters
FX order
MFX4 is a daisy-chain of 5 individual effects
(DLY, FX, MOD, OD, AMP with assignable
order); it affects input channel 10
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MixRemote iOS app
The app allows full control of the M 18 Digital Mixer, and links to the unit via a WiFi MixRemote
connection.
Several enhancements are periodically added to the app, therefore we suggest to check periodically for updates
on the iTunes Store. +Before downloading the updated app, please verify on the release notes if there is the
requirement to upgrade the hardware unit via a firmware update before using the updated app.
When you first launch the app, you reach a welcome screen; at this point, you are still not connected to the
mixer itself. You have three options available:
Welcome screen
In this view, you can choose between the following:
Offline (M08): this feature is intended for the M08 model, is currently disabled and reserved for future
upgrades
OffLine (M18): you can browse all features of the app without the need to connect to a physical M 18 unit
Connect: the mixer connects to your control device in few seconds, provided that you have selected the
proper mixer WiFi Access Point
After pressing , you are directed to the real operative views of MixRemote. Connect
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FADERS > INPUTS view
The first page you access is the FADERS INPUTS page, which shows on the top left the MIX REMOTE logo
(1). It you tap on the MIX REMOTE logo, you will be directed to the main FADERS > INPUTS view; this is a
sort of “Home” button that leads you always to the initial page with input faders.
In the central area, on the upper side, there is a small text box with indications of the currently active
session . Below there is a row of main tabs, named from left to right FADERS , EFFECTS , OUTPUTS (2) (4) (5)
(6), PHONES , REC/PLAY , METERS , LOAD/SAVE (7) (8) (9) (10) and SETTINGS (11); the active tab is backlit. On
the right side there's the RCF logo , which is lit (in brilliant white) when your controller is connected to (3)
the M 18 Digital Mixer. A small indicator just below the logo signals lights up to indicate that the M 18
Digital Mixer is busy and the app is waiting for a response.
The fader caps are color coded consistently throughout the app:
SILVER caps
Input faders; Monitor output faders; FX buss send faders
ORANGE caps
FX send faders, for each input channel
GREEN caps
AUX send faders, for each input channel
RED cap
MAIN output fader
The FADERS INPUTS page, as most pages, is divided in three areas.
1
2
3
4
5
6
7
8
9
10
11
12
13
19
20
21
22
14
15
16
17
18
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Inputs 01
-
08
The left part of the center column
contains on the top left a BACK button
(1) to allows you return to the INPUTS
view, followed by the pan control which
also shows fader value in dB when
moved , the Mute button, the (2) (3)
channel editable name , the fader , (4) (5)
the PFL (6) button and the non-editable
number of the hardware input . The (7)
larger part of this page shows a rack
containing , and RCF PRE RCF GATE RCF
COMPRESSOR, above the latter two
there is a box to recall presets.
The two large arrow buttons on bottom left and right enable you to change input channel immediately,
without requiring to go back to the INPUTS view.
The RCF PRE GAIN preamplifier features (from 0 dB to 60 dB in 10 dB steps), TRIM (from 0 dB to -10 dB in
0.1dB steps), the LED indicating the activation of the Phantom 48V power over the INV switch (phase
inversion). The display shows the values of each parameter, including the frequency of the HPF (selectable
between 10Hz and 500Hz) which is activated via its button. ON
The second unit is the
RCF GATE
, topped by its
Preset
box,
with and ATTACK RELEASE time controls, level THRESHOLD
and RANGE intervention, completed by the display and the
activation switch. On the left you can see the characteristic
curve of the internal GATE: when the input signal goes
below the THRESHOLD, its level is reduced by RANGE dBs.
The third unit is the RCF COMPRESSOR,
topped by its Preset box, with a display on
the left, followed by and ATTACK RELEASE
times controls, THRESHOLD RATIO level,
compression, POST GAIN level and the
activation switch. On the right, the
characteristic curve of the compressor is
shown, including the contribution of POST
GAIN control.
For faster adjustments, the compressor features the option, located in a small box on the left of the Easy
Preset box - Easy has only the COMPRESSION control (based on input level signal with preset thresholds,
with automatic Post Gain adjustment) against the five controls of Advanced option.
1
5
3
4
2
6
7
0 dBFS
IN
OUT
0 dBFS
THRESHOLD
RANGE
0 dBFS
IN
OUT
0 dBFS
THRESHOLD
POST
GAIN
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Inputs 09-10
Hardware inputs 09 and 10 have line-level sensitivity, but also allows the direct connection of electric guitar and bass
instruments, as they feature a Hi-Z option.
These two channels offer additional capabilities to tailor your own sound, as they both feature a 5-effect MultiFX.
Similarly to channels 5 to 8, the effects are displayed in pairs, and you can jump to the desired insert effect by
touching the dedicate button on top right (see the red box here below).
You change effect daisy-chaining using the Order Selector.
At the top of each pedal there's a
display showing the last edited
control value. At the bottom there's
an activation switch; its status is
displayed by a light which is lit when
the unit is on.
The section allows to choose OD
between an Overdrive and a
Distortion effect, modeled after
well-known stomp boxes that have
been used by guitar players for
decades.
The processor is a special one: AMP
you can quickly select the amplifier
type on its drop-down menu, and if
you tap anywhere on the pedal, you
will be directed to the dedicated
AMP page (see below) with several
useful controls.
Let’s see an example of the following effects order: DEL, FX, MOD, OD, AMP. The picture above shows the first two
effects; then, by tapping on the buttons at the top right (see red box), you obtain different views:
DEL FX
MOD
FX
OD AMP
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By tapping the AMP stomp box, a new
page shows up, with all the relevant
parameters on a single view for maximum
editing efficiency.
Each Head AMP simulation has a preferred
Cabinet combination, and every time you
select a Head AMP, the matching Cabinet
will show up. Then, you can vary the
Cabinet model and experiment with
unusual combinations.
Each Head AMP has up to 6 parameters
that accurately model the controls
available on the original amplifiers.
The ON/OFF rocker switch represents the
BYPASS switch, and has same function as
the switch on the stomp box view.
As visible on the left, most Cabinets have
similar names to the Head AMPs.
The last four Hea
d AMPs and Cabinets are dedicated to bass
guitar, covering a wide range of resulting timbre.
In addition to the OverloudTM models, two well-known
MarkBassTM models have been included.
You can also selet the microphone type which has been used
when modeling the AMP (see below):
RadioElectro 16 (large-diaphragm cardioid dynamic)
American 57 (small-diaphragm cardioid dynamic)
GermanFet 87 (large-diaphragm cardioid condenser)
The choice for microphone position is
between:
Near, on-axis
Near, off-axis
Far (1 metre from cabinet)
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Inputs
11
-
1
8
Hardware inputs from 11
to 18 have line
connections, with the
option to switch between
-10dBV and +4 dBu
sensitivity.
INV and HPF other
controls are identical to
the other inputs, as you
can see on the right.
Stereo Player (from USB flash drive)
TK USB inputs are managed as a
stereo input by default, but you can
always unlink them in SETTINGS >
GLOBAL page.
As the audio is directly generated in
digital, there is no need for PRE or
DYNAMICS.
When you have a stereo track, the
typical use is in stereo (linked)
mode.
If you have a mono backing track on
one channel, and the metronome
click on the other, then you may
work in dual mono mode, which
allows you independent pan and
mixing controls.
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FADERS > SEND view
For each of the input channels, the SEND page allows the accurate settings of three FX and six AUX sends.
FX sends are always post-fader, thus allowing the channel level to affect FX send levels, maintaining the desired
balance. AUX1-AUX4 sends are always pre-fader, thus allowing to set the required level independently from channel
level settings – this solution is ideal for stage monitoring. AUX5 and AUX6 can be set pre or post fader independently
for each input channel.
The central part of this page has 3 faders for FX sends and six faders for AUX send levels. Each of the FX send faders
feature a Mute button. To choose the effects of the three sends, please go to the EFFECTS tab.
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EFFECTS view
The EFFECTS tab contains two pages: SEND and MULTIFX.
The left column shows the SEND and the MULTIFX select buttons; the right column shows usual the MAIN
OUT controls.
EFFE
EFFE
EFFE
EFFEEFFECTS >
CTS >
CTS >
CTS >CTS > SEN
SEN
SEN
SEN SEND
D
D
DD
The SEND page shows the three rack mount effects units: FX1 for reverbs, FX2 for delays, and FX3 which
can be assigned to one of four different types of delays and modulations effects. On the upper left side
over each rack device there are small Preset boxes, to recall several factory presets. On the right left side
over each unit there is a box to choose the effect variation. Only on the third device, there is an additional
central box to choose the effect type among Delay, Chorus-Flanger, Tremolo and Pitch Shifter.
The large display shows parameter values and on the right there is the activation button for each effect.
IN DEPTH
The Digital Reverb lets you choose between two large hall, two medium hall, two medium rooms, two small rooms,
two plates and two ambiences.
You can create your own configurations by modifying the following parameters:
- Predelay (delay before reverb)
- ER (amount of primary reflections)
- Decay (time decay)
- Spaceness (percentage of spatialization)
- Damping (percentage of absorption of the higher frequencies)
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The Digital Delay can be the chosen among , Stereo Vintage, Modern, Dual and ER.
You can create your own settings for Stereo and ER by changing the following parameters:
- Time (length of the delay)
- Feedback (% of delay feedback)
- Lo Cut (low cut filter frequency)
- Hi Cut (high cut filter frequency)
- Width (amplitude)
Vintage delay parameters:
- Offset (offset time compared with main Time) instead of Feedback
- Filter (da 0,00 a 100) is a Band-pass filter
Modern delay parameters:
- Offset (offset time related to Main Time) instead of Feedback
- LoCut (low cut filter frequency) instead of Hi Cut.
Dual delay parameters:
- Factor (1/2, 1/3, 1/4, 1/6, 1/8 and 1/16) instead of Feedback
- Feedback 2 (% of delay 2 feedback) instead of Hi Cut
Chorus-Flanger parameters:
- Rate (frequency swing)
- Width (amplitude)
- Depth (depth swing)
- Feedback (% effect feedback)
- Blend (% mix between dry signal and processed)
Tremolo parameters:
- Rate (frequency rate)
- Depth (depth swing)
Pitch Shift parameters:
- Pitch 1 ( voice 1 note interval; from -12 to +12, in semitones , equivalent to +/- 1 octave)
- Pitch 2 ( voice 1 note interval; from -12 to +12, in semitones , equivalent to +/- 1 octave)
- Cent1 (detune of voice 1, in cents)
- Cent2 (detune of voice 1, in cents)
- Mix (% mix between voice 1 and voice 2)
EFFE
EFFE
EFFE
EFFEEFFECTS >
CTS >
CTS >
CTS >CTS > M
M
M
M MUL
UL
UL
ULULTIFX
TIFX
TIFX
TIFX TIFX
This page shows the four channels that have
multiple effects. Here you can also configure
which pair of channels - Channels 05-06 or
Channels 07-08, which are active in this
example – will have the MFX option active. Only
channels 09 and 10 provide you five effects.
Pressing any of these buttons or the blue
button, you access immediately the
corresponding channel.
For details about MFX options, please see
Inputs 05-08 and Inputs 09-10 chapters.
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OUTPUTS view
This tab has one page only, which shows the six silver master faders for the AUX sends, the PHONES master
level, as well as MAIN OUT master level on the rightmost column, as in most views.
Each AUX output has a * button to recall the settings pages (1), a box indicating the level of the individual
fader in dB (2) and a Mute button (3); just above the fader there is a text field (4) which by default indicates
the send number, but of course can be renamed; the fader (5) for master output level is above output
number, which corresponds to the physical AUX socket.
Pressing *
,
you
recall
the
OUTPUTS EQ page, containing
the Advanced EQ for that AUX send; the other controls
are for level and mute.
The “Advanced” equalizer features low (40Hz-400Hz) and
high (1kHz-16kHz) shelving and two fully parametric
bands (range 100Hz-10kHz for both).
1
2
3
4
5
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PHONES view
The way the PHONES output works depends on SETTINGS tab GLOBAL page selection. You can choose the operating
mode between PFL (Pre-Fade Listen) or Personal Mix.
In Personal Mix mode, the central column of the PHONES page includes a box indicating the level of the individual
fader in dB or the pan-pot position, a small Mute button, a text box which by default is the number of the send, which
can be renamed, and a blue fader for headphone level and the non-editable number of the hardware socket. The level
is pre-fader.
In (pre-fade listen) mode, the signal to the headphones is set by the PFL key of each input, the USB player and FX PFL
RET.
PLAY/REC view
This view shows the channels and of USB playback. Please note that these channels are stereo linked by TK1 TK2
default; if you want independent settings for each channel, you have to un-link them using Input Stereo Links in
SETTINGS GLOBAL tab, page. These channels are processed by a dedicated EQ, of the same type as other input
channels; therefore, three types are available (Standard, Vintage, Smooth) each with two modes (Advanced and Easy).
A large selection pane allows you to navigate through the USB flash drive folder (upper section), and then to select the
specific files (lower section). To navigate to the previous directory, in the folder section, you can click on the line with
3 dots. Please notice that with a very large amount of files, it takes several seconds to show all file names.
Under this window there are the following player controls:
AUTO ON AUTO OFF
PREV Go to previous file in list and
PLAY
Go to previous file in list and STOP
at beginning
NEXT Go to next file in list and
PLAY
Go to next file in list and STOP at
beginning
STOP STOP current playback and rewind to beginning of file
PLAY/PAUSE Toggle between playback of current file and PAUSE at current
position
On the right side of these controls there is a time indicator ; by default, it shows the remaining time to the end of (1)
file. By clicking on the time indication, you can toggle the value shown to represent the time elapsed. A scroll bar (2)
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shows the current position within the file; you can grab the scroll bar and move to the desired position, either when in
playback mode or stop mode. A drop-down selector (4) on the upper right corner allows the selection between
different 4 USB flash drives; this is required in case multiple USB flash drives are connected through a USB hub.
On the upper bar, on the right side, you can view the file currently selected on the player. (3)
The following audio file formats are supported by the player and shown in the file list:
WAV stereo audio files; 44.1 and 48 kHz, 16- and 24-bit (*.WAV extension)
AIFF stereo audio files, ; 44.1 and 48 kHz, 16- and 24-bit (*.AIF and *.AIFF extensions)
MP3 stereo audio files (*.MP3 extension)
3
4
2
1
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METERS view
This tab has just page, which provides an instant view of the levels of all INPUTS - including the PLAYER – and of three
FX stereo returns (RTNS).
The lower section shows the output levels of the three FX SENDS and the OUTS level of the six AUX sends.
This view is very useful to quickly check which signals are actually active, and it is recommended to check
this view every time you want to verify the mixer status.
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SETTINGS view
The SETTINGS view allows access to all of the global configuration parameters (see at page 10). Four tabs are
available, on the left column.
NETWORK
Two sections are accessible from
the NETWORK view: on the left
side, for the wired LAN port; on
the right side, for the internal
Wireless LAN Access Point.
LAN Settings: all network-related adjustments can be made, such as IP Address Netmask Gateway , , and . These DNS
settings are usually left at the factory values, but they can be modified for special uses. Standard usage of the M18
Digital Mixer does not require the LAN port.
WLAN Settings: all WiFi-related adjustments can be made, mostly like a standard WiFi Access Point. The parameters
are described in detail here:
SSID
You can modify the factory setting to provide a name you can remember. The factory name is in the form M18
-
XXXXXX where the latter are a combination of letters and numbers.
Country
By selecting the appropriate
country where you are operating the mixer, you can comply with local radio
regulations. Please notice that if you leave to the default value NONE, transmitting power is limited and you will
not obtain the best performance from the M 18 Digital Mixer, including maximum distance and robustness to
interference
Band
You can select between the usual 2.4 GHz band and the less crowded 5 GHz band, depending on your tablet
capabilities
Channel
You can minimize interference from other Access Points by selecting a
channel not being used by others. There
are several scanning software applications that enable you to view which channels are available.
Security
You can either keep the Access Point open, or enable WiFi security (WPA2/PSK). In this case, you will be able
to
modify the default password.
After you perform all changes to either LAN of WLAN parameters, you must press SEND to modify these settings into
the mixer. A reboot will be required to make these changes effective.
If you enable Advanced Settings, then you can switch between the internal and external antennas. This change is
immediate and does not require a reboot.
The Reboot button is intended for advanced applications, and should be avoided in normal usage.
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GLOBAL
This page contains several settings affecting the operating mode of the mixer.
The 48V Phantom Enable section allows the activation of 48V phantom power for microphone inputs in groups of 4,
using Phantom 1-4 and Phantom 5-8 switches.
The Phones Mode section sets the mode of the headphone output, allowing the selection between (on FADERS PFL
INPUT page) and Personal Mix.
The Input Stereo Links section allows you to link in stereo an odd channel with the next even channel. After the link,
all settings from the odd channel will be copied to the even channel, and in the bottom row the numbers of paired
inputs will show up (e. g. 03-04) below a single fader with stereo VU meter. The Link option is available for all inputs (1
to 18) plus the stereo player from USB flash drive. By default the player is linked in stereo.
The Footswitch section controls allows you to determine the footswitch operation; Mode allows you to choose
between LATCHING MOMENTARY N.C. or footswitch contact. Then there are and SW1 assign (TIP) SW2 assign
(RING) drop-down menus listing all the parameters to be controlled.
The Output Routing section has drop-down menus to choose the source for several physical output:
- output between AUX its relevant , AUX MAIN or PHONES busses
- PHONES output between MAIN and PHONES busses
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MIDI
This page manages allows the define which MIDI are associated with specific functions. You can also disable reception
of MIDI commands.
Section Default
MIDI ch
Description
Global 10 The allowed commands include output levels (CC messages), player control
(NOTE on) and snapshot load (Pgm Change messages)
MFX1 11 Multieffect MFX1 (assigned to either input ch 5 or 7) patch change (Pgm change
messages) and individual effect toggle (NOTE on)
MFX2 12 Multieffect MFX1 (assigned to either input ch 5 or 7) patch change (Pgm change
messages) and individual effect toggle (NOTE on)
MFX3 13 Multieffect MFX3 (assigned to input ch 9) patch change (Pgm change messages)
and individual effect toggle (NOTE on)
MFX4 14 Multieffect MFX4 (assigned to input ch 10) patch change (Pgm change
messages) and individual effect toggle (NOTE on)
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SYSTEM
This page contains system settings affecting the M 18 Digital Mixer operations.
The Snapshot saves switches allow to save also the MFX patch numbers, independently for each MFX. In this way, you
can associate saved patches of each MFX to the current Snapshot.
The ONLINE and OFFLINE buttons allow a change of connection status. Immediately below, there's a text line
indicating the status of the mixer (Mixer disconnected or Mixer connected).
There is the option “Go OFF-Line if the mixer is disconnected for:” followed by its time line to choose how many
minutes, in a range from 1 minute to 30 minutes. We suggest to keep it to the maximum value.
WARNING: if disconnection is frequent, please check the WLAN connection in SETTINGS NETWORK tab page.
On the right side, we have the Application Version and the Firmware Version.
These information are followed by behavior setting: you can select between (the mixer powers At startup Init Mixer
up in initialized state, with all faders turned down) and (at power-up, the mixer loads the last show that Last show
was either loaded or saved).
In case of communication issues between the tablet and the mixer itself, you can press
Updt All Data, which recalls the last active status of the mixer, including all the changes done.
Documentation Mode contains information for our team... nothing useful for the use of the unit ☺
Random VU Meters activates the VU Meters when the mixer is disconnected, and is used for demo purpose only!
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Hardware Description
Connectors
All connectors are available on the rear panel, for maximum compactness.
1. MIC Input 1 to 6 – XLR Female
Connect your Microphones to these remotely-controlled 60dB gain-range inputs. Red LEDs
indicate the Phantom power status ON or OFF for MIC input groups 1 to 4 and 5 to 8. To obtain
best performances from your microphones, use balanced XLR cables.
2. MIC/LINE Input 7 and 8 – Combos
Input 7 & 8 provide Mic input on the XLR connection and Line input on the TRS jack connection.
3. MAIN OUTPUT L&R
Connect your active speaker or your amplifier to these +21dBu balanced Output. The green LEDs
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show the signal p
resence
on MAIN MIX channels independently for LEFT and RIGHT outputs.
4. External Wi-Fi Antenna connector
M 18 includes an internal antenna and provisions for an external antenna. Attach the provided
external antenna to this connector for optimal performance of the MixRemote app.
5. Power switch
Turn On and Off your M 18 device.
6. Power cable inlet.
Connect here the provided power cord.
7. AUX Output 1-6 Balanced jacks
Connect to these +21dBu balanced output your stage monitors or external effects.
8. LAN connector
It is possible to connect here an external Wi-Fi Access Point for advanced communication
configurations. This port is intended also for future applications.
9. Dual footswitch connector
Connect here a single or dual external footswitch. The footswitch port allows connection of a single or
double stage footswitch to recall effects’ presets or to mute effects’ returns, as well as providing several
other control functions.
10. Internal access point reset pushbutton
Press this button during normal operation (for less than 10 seconds) to restore the default
settings for both the internal Wi-Fi Access Point and the LAN port, as follows:
LAN
IP configuration
Static
IP address
192.168.0.18
Netmask
255.255.255.0
Gateway
0.0.0.0
DNS
0.0.0.0
WiFi
Band
2.4 GHz
Country
NONE
Channel
3
Security
OPEN
SSID
M18
-
xxxxxx
External Antenna
Enabled
This button is available also for other functions, you can review them more in detail at page 36.
You can modify these settings from the MixRemote app in the SETTINGS > NETWORK page.
11. USB Type A port
Insert here a USB stick to play high quality audio files. .WAV, .AIFF and MP3 file allowed for
reproduction.
12. MIDI connectors
Connect here your MIDI controller. See the dedicated page on MixRemote (SETTINGS > MIDI) to
view the assigned MIDI channels for specific functions.
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13. Headphones stereo output
Connect your headphones here either for PFL, Personal Monitoring or the Main Mix listening.
14. LINE Input 11-18
Connect here your line level sources like keyboard, external audio device or other small analog
consoles used for submix. These input are unbalanced, and their operating levels can be set to
+4dBu or -10dBV.
15. LINE Input 9-10 with switchable HiZ input
Connect to these unbalanced inputs your line-level sources, at +4 dBu or -10 dBV, or high-
impedance passive instruments, like electric guitars, electric basses or piezo pickups. You can
individually enable the Hi-Z option, that offers a 1 Mohm input impedance when activated.
Startup sequence and recovery from an error condition
The M series Digital Mixer features an advanced booting system that ensures the unit correctly powers up
in any condition. The white front LED gives indications about the startup process, which is divided into
several stages.
STAGE
LED
1
startup
Single flash
2
(bootloader)
Fast blinking
3
OS starts
Steady ON
4
M18 executable starts
Slow blinking
5
Completed, ready for use
Steady ON
It can happen that the internal files of the mixer are corrupted, typically when a firmware update
procedure is halted by mistake, by powering down the unit during the process or immediately after.
If the bootloader detects a corrupted file within it internal memory, then it forces the M18 to start in
RECOVERY MODE. This is a special mode in which a clean image is loaded and allows for proper upgrading
to the latest firmware, if needed.
The RECOVERY MODE is indicated in the Firmware version field, in both MixRemote (SETTINGS > SYSTEM),
and in MixUpdate apps. After a mixer starts in RECOVERY MODE, please check if later firmware updates are
available on RCF web site to ensure that you can take advantage of all functionalities.
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Restoring the unit
If your unit is not reachable by the MixRemote app, you have some options to force the unit into an
operating condition again. These option require that the reset button, on the rear panel, near the USB port,
is pressed:
1) The unit is working, but you forgot WiFi and/or LAN password and settings
When the unit is ON and working, press the reset button for no more than 10 seconds, and for at
least 3 seconds. The front LED will blink rapidly; when you release the button, the default settings
will be overwritten and the unit will reboot automatically. When the startup procedure is
completed, you can access the unit with the default parameters.
Please notice that all previously saved data (shows, snapshots, patches) will be maintained.
2) The unit is working, and you want to revert the mixer to default global configuration
When the unit is ON and working, press the reset button for more than 10 seconds. The front LED
will blink very rapidly; when you release the button, the default global configuration parameters
will be copied and the unit will reboot automatically. When the startup procedure is completed,
you can access the unit with the default global configuration parameters.
Please notice that all previously saved data (shows, snapshots, patches) will be maintained.
3) If the unit is not reachable under any condition, and there is no sound
With the unit turned off, press the reset button, then turn power ON, and maintain the button
pressed for at least 8 seconds. The mixer will revert to factory firmware and settings.
When the front LED will blink slowly, you must turn power off. At the next power-on, the unit will
startup in default conditions. Please notice that if you have saved global settings previously
(country code, password, etc…) you will need to set these parameters again.
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M 18 Usage
Secrets of mixing on a digital console
The most important thing to keep in mind using a digital console is the Gain Structure.
Mixing is essentially an art, but the Gain Structure is based on mathematical reasoning and represents the
most important thing to learn to manage before taking off with your mixing creativity!
The correct input level, starting from the Analog Gain, with all the further processing inside the mixer, must
be set by checking continuously the master output to avoid overload because digital consoles work
differently from analog ones.
The 0dBFS level (where FS stands for full-scale) refers to sound level in the digital domain, inside the mixer
itself, and corresponds to the maximum signal that can be applied to an Analog-to-Digital conversion stage:
above this level, the conversion process clips the signal and sever distortion appears.
A fair starting point to set the proper Analog Input Gain is to set the individual sounds levels in the range of
-18 .. -14 dBFS.
One of the most powerful but often underestimated tools is the High-Pass Filter (HPF); in the M Series
mixer the HPF is located in the PRE-DYN page. The proper HPF setting on the individual channels is
important to optimize the processing of the audio sources, and furthermore it also helps to cut away some
subsonic inaudible components of the sounds that often cause an efficiency loss of the power amplification
system.
It’s highly suggested to always use the HPF on all the input channels, especially on mic inputs during live
gigs where the HPF is a great tool to reduce the noises captured by the microphones by transmission (as an
example, foot stomping or noises captured touching the mic stands).
How to set the HPF?
Generally, except for instruments with lot of low end like a Kick Drum or Bass, 50Hz is a good frequency to
start with. The HPF is not only the first tool to optimize the signal chain but it must be considered like an
EQ band, and for this reason it should be used to easily optimize the frequency range aimed to achieve a
more focused overall balance between the different sounds
A classic example of HPF usage in frequency range optimization is on the Toms. When played alone, Toms
have huge energy in the low end; in a mix of medium density of instruments the perception of those low
frequencies is masked by other instruments, so to make the Tom sound more focused we could boost some
mid-hi frequency or cut some low end with the HPF – 100Hz and above - and increase the level.
This approach allows to keep the same RMS audio level (matching the perceived audio level), but with an
optimized frequency range.
The approach described for Toms above should be reiterated for all instruments.
Gain Input Level, HPF and Gain Structure are the most important elements to keep in mind for the usage of
a digital console.
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Sound Shaping with M 18
A full array of processors is available on each M Series Mixer’s channel: HPF, Gate, Compressor, Insert,
Equalizer, Three Fx Sends.
They allow to tailor every kind of sound not only for correction but also with a creative approach.
The with its full set of controls allows to be optimized for every kind of incoming signal, even the most Gate
complex and difficult to tame.
The Compressor can be at the same time super transparent but also very aggressive.
The is the essential mixing tool, and is available in three variations: Standard, Vintage, Smooth. Equalizer
The Vintage and Smooth types have been derived from models of classic analog equalizer banks that have
been used in countless recordings and mixing sessions.
For each type, an mode is available, showing the essential parameters only, and is perfect for EASY
superfast usage
Which are the features of each type?
Standard
This i
s the most
transparent type
of Equalizer in the M series Digital Mixer
.
Four bands ideal for every kind of correction but also perfect to tailor the sounds without
colorations.
Vintage
This Equalizer is modeled after
the Classic British EQ
s
.
It’s the first choice when you are looking for an Equalizer with character and impact.
Smooth
This is
a really unique Equalizer.
The two Mid bands have been designed to shape gently the frequencies and the two
Shelving sections have been developed to cut gently some frequencies in conjunction to
their boost.
These features allow to shape sounds carefully, placing them into the mix with unparalleled smoothness.
The large number of presets are ideal to learn more about the power of Equalizer types and they represent
an invaluable starting point to create your own unique sound.
To simplify navigation, equalizer presets have been grouped in classes depending on the instrument being
targeted; groups are identified by the prefix assigned to each preset, as follows:
[DRM]
Drums
[KEY]
Keyboards
[PRC]
Percussion
[VOX]
Voice
[BSS]
Bass
[ORC]
Orchestral
[EGT]
Electric Guitar
[MIS]
Miscellaneous
[AGT]
Acoustic Guitar
Let’s take a look to some real examples and usage tips.
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DRUM
DRUM
DRUM
DRUMDRUMS
S
S
SS
Gate and Compressor are processors heavily used on drums and percussions.
Among the various Equalizer options, the Vintage Type is for sure the most recommended if we are looking
for a sound shape with character. The Standard Equalizer Type is still the first choice for surgical
corrections and for transparent shaping. The Smooth Equalizer Type is for sure the best choice for soft
sounds.
Here are some examples and tips for each part of the drum kit.
KICK
EQ
COMP
GATE
HPF: OFF > 50Hz
Body: 50Hz>150Hz
Resonance (Cut) : 180>400Hz
Attack: 4>8 KHz
Attack
: Med
-
Slow
Release: Med-Fast
Ratio: 4:1>8:1
Attack: 1msec
Hold: 80msec
Release: 50msec
Range: 15 > 50 dB
TIP: The Kick is an instrument that, due to its low end, takes a big part of the RMS level, so it’s very
important to define the frequency range where it will stay in relation to the bass guitar.
Generally a good starting point for optimizing the low end range is to avoid boosting the same frequencies
on both the instruments, trying to create some relations between kick and bass, where the kick wraps the
bass and the opposite avoiding – when possible – to overlap frequency ranges.
SNARE
EQ
COMP
HPF: 50 > 250 Hz
Body: 150Hz>250Hz
Resonance (Cut) : 200>400Hz
Attack: 5>8 KHz
Air: 10>12 KHz
Attack: Med
-
Slow
Release: Med-Fast
Ratio: 4:1>8:1
TIP: Usually the Snare Drum is miked with two microphones (top and bottom). Sometimes it’s necessary to
invert the phase on one of them, especially is the microphone are positioned almost at 180°.
How can you quickly determine if phase shift is necessary?
Take a listen to the two channels in solo and shift the phase of one (generally the bottom); if you hear the
low end increasing, then it would be better to keep the phase inverted, because some phase cancellation is
occurring in absence of phase shift.
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TOM
EQ
COMP
HPF: 50 > 200 Hz
Body: 150Hz>250Hz
Resonance (Cut) : 250>600Hz
Attack: 4>8 KHz
Attack: Med
-
Slow
Release: Med-Fast
Ratio: 4:1>8:1
TIP:
1) Usually, Tom microphones capture cymbals so it’s advisable to avoid extreme boost in the high-end
frequency range; the Smooth Eq Shelving is perfect to cut some hi frequencies and gentle boost
some mid-hi frequencies easily with a single pot!
2) The first Tom (typically positioned above the snare) usually captures a big part of the snare too;
It is better to place the microphone “looking” in direction of the floor tom but not the snare; this is a simple
way to dramatically improve the efficiency of the Gate too.
HI HAT
EQ
COMP
HPF: 50 > 200 Hz
Body: 150Hz>250Hz
Resonance (Cut) : 250>600Hz
Attack: 4>8 KHz
No Comp
OVERHEAD
EQ
COMP
HPF: 100 Hz > 1 KHz
Body: 150Hz>250Hz
Resonance (Cut) : 800Hz >2 KHz
Air: 10>12 KHz
Attack: Med
-
Slow
Release: Med-Fast
Ratio: 4:1>8:1
TIP: The Overhead can be used in different ways. The classic approach is to capture only the cymbals; in this
case, it makes sense to apply an HPF (above 300Hz) to reduce the presence of other instruments.
Especially in live gigs, it makes sense to use the Overhead also like a “stereo” drum source, using a reduced
amount of HPF and adding a bit of compression and reverb. In this way, the Overhead mics are like the
“Room Mics” generally used in studio recordings that can give to the overall sound a natural spaciousness
that it’s hard to achieve with close mics only.
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BASS
BASS
BASS
BASSBASS
Typical processing of the bass input signal requires both Compressor and Equalizer.
Due the versatility of the M Series Compressor, it can be used on bass for several purposes, from increasing
the average volume – and limiting some pick – to adding some attack and aggressiveness to the overall
sound.
All the EQ types are also usable on bass, with excellent results depending on the sound p41-we are looking for.
As for the Drums, we recommend to use the Vintage EQ if you are looking for a solid and precise sound.
The Standard EQ is as always a good choice for a neutral and surgical approach to the sound. The Smooth
EQ, thanks to its unique curves, is perfect if you are aiming at a super thick sound avoiding tedious
resonance in the mid-low range.
EQ
COMP
HPF: OFF > 40Hz
Presence: 60Hz>100Hz
Body: 100Hz > 150Hz
Resonance: 180Hz >250Hz
Presence: 1KHz>3KHz
Attack: Med
-
Slow
Release: Med
Ratio: 4:1>8:1
TIP: The Bass’s extra Low frequencies could be critical in the overall sound of the mix. It is strongly
suggested to check the extra low frequencies of the kick drum as well, to avoid overlap of the boost of
some extra low frequencies. Again, the HPF is a great and simple tool to focus the low range.
Example: If you bass sound has a big presence below the 50Hz maybe it could be a good idea to check how
it sounds in the mix cutting the frequencies below 50 Hz on the kick drum.
KEYBO
KEYBO
KEYBO
KEYBOKEYBOARD
ARD
ARD
ARDARDS
S
S
SS
The Equalizer is generally the most used processor on keyboards. Compressor is sometimes used to
increase the attack (on the piano for example) and rarely to limit the dynamic range.
All the M Series equalizers can be used with great results; each one, with its own character, is able to tailor
the sound in a very pleasant way. The Smooth EQ can be a great choice to gentle sculpt the sounds
increasing the focus and cutting easily at the same time some unwanted frequencies which usually cause
some congestions in the mid-low and mid-hi range. As always, also on keyboards the HPF is the perfect tool
to cut some not unuseful frequencies and immediately clean the mix allowing also to place the keyboard at
an highter level in the mix.
Here are some suggested frequency ranges to be considered when approaching keyboard equalization:
EQ
HPF: OFF > 400Hz
Body: 100Hz > 200Hz
Resonance: 180Hz >500Hz
Presence: 1KHz>3KHz
Attack: 2KHz>8KHz
Definition: 5KHz>12KHz
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ELECTR
ELECTR
ELECTR
ELECTRELECTRIC G
IC G
IC G
IC GIC GUITA
UITA
UITA
UITAUITAR
R
R
RRS
S
S
S S
The approach to the Electric guitar processing changes a lot according to the original sound.
The internal M Series guitar processor allows tons of tone possibilities that can be fine tuned also through
EQ and Compressor.
Of course, you can use the mixer miking a real amp and cabinet, and in this case the internal processors
could be used more to fine tune the sound.
EQ
COMP
HPF: OFF > 100Hz
Body: 100Hz>200Hz
Resonance (Cut) : 150>400Hz
Presence : 900Hz > 2 KHz
Attack: 2>5 KHz
Attack: Med
-
Slow
Release: Med
Ratio: 4:1>8:1
ACOU
ACOU
ACOU
ACOUACOUSTIC G
STIC G
STIC G
STIC GSTIC GUITA
UITA
UITA
UITAUITAR
R
R
RRS
S
S
S S
Acoustic Guitars are usually amplified during live gigs through a pickup, and only occasionally with mics.
The pickup sounds is often a bit harsh, and it may be necessary to smooth it reducing some extra high
frequencies and adding some warm with EQ and Compressor.
EQ
COMP
HPF: OFF > 120Hz
Body: 100Hz>200Hz
Resonance (Cut) : 150>400Hz
Presence : 900Hz > 2 KHz
Attack: 2>4 KHz
Harshness (Cut) : 8>12 KHz
Attack: Med
-
Slow
Release: Med-Fast
Ratio: 2:1>6:1
The Smooth EQ is the perfect EQ type to remove some harshness in the high-end, adding at the same TIP:
time some definition to the sound of acoustic guitars in the mid-hi range.
The Smooth EQ is also great to increase the body of the sound removing some resonances using only one
band!
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VOI
VOI
VOI
VOIVOICE
CE
CE
CE CE
The Voice is a complex “instrument”, mainly because it can be emitted in several different ways.
The main problems to handle, especially during live gigs, are first the control of the dynamic range and then
the balance of the frequencies according to the dynamic.
The M Series Compressor is absolutely transparent, and on voices it can be used to control the dynamic
range also hardly without the classic side effect. pumping
All the M Series Equalizers can be used successfully to easily tailor the voice tone each one with its own
unique character. If you want to gently boost the voice sound, making it more exciting, the Smooth EQ is
for sure the first choice; if you want an aggressive, in-your-face sound, the Vintage EQ is the recommended
selection and, as always, the Standard EQ is the perfect all-purpose choice.
EQ
COMP
HPF: OFF > 120Hz
Body: 100Hz>200Hz
Resonance (Cut) : 150Hz>300Hz
Presence : 2KHz > 4KHz
Air : 10KHz>16KHz
Attack: Fast
-
Med
Release: Med
Ratio: 4:1>6:1
TIP: When mixing, voice intelligibility is the main concern. The mid range is where the voice is mostly
located, so be careful to check how other instruments work in that frequency range; usually it is better to
cut some instruments that over-eq or increase the voice level.
RCF spa
M 18 Digital Mixer User’s Manua
44
A1 - Block Diagram
INPUT PROCESSING DETAIL
RCF spa
M 18 Digital Mixer User’s Manual
45
SOLO PM details
OUTPUT SECTION details
Produktspecifikationer
| Varumärke: | RCF |
| Kategori: | Mixerkonsol |
| Modell: | M 18 |
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