Mixers/Consoles Roland V Mixer M300 multiple mics to an effect.

[Hugtrain]

Hi everyone,

I'm doing a show at my school and I'm having trouble getting my mics to go through the Roland V-Mixer M300 effects processor.

My director wants three people to have mics that are reverbed. Originally, it was just one, which worked fine. But then, he wanted two more people to have them as well.

They are the only ones with mics and have their lines close together. I've tried sending it to an MTX, and sending that to the effects processor, but that didn't work. I tried sending the mics to an aux, and sending the Aux to the EP, but it wanted to route back to a channel and not the main send. And as I'm not an audio engineer, I have no clue what to do next.

Is anyone familiar with this board or how to accomplish this? The show is coming up fast.

Thanks for your help!

(P.S. I've heard that there's a way to automatically duck the music when someone talks with a mic, but I can't figure out how the compressor works or if it's even involved here. If you know, I'd greatly appreciate it! )

 

[TimMc]

Hi everyone,

I'm doing a show at my school and I'm having trouble getting my mics to go through the Roland V-Mixer M300 effects processor.

My director wants three people to have mics that are reverbed. Originally, it was just one, which worked fine. But then, he wanted two more people to have them as well.

They are the only ones with mics and have their lines close together. I've tried sending it to an MTX, and sending that to the effects processor, but that didn't work. I tried sending the mics to an aux, and sending the Aux to the EP, but it wanted to route back to a channel and not the main send. And as I'm not an audio engineer, I have no clue what to do next.

Is anyone familiar with this board or how to accomplish this? The show is coming up fast.

Thanks for your help!

(P.S. I've heard that there's a way to automatically duck the music when someone talks with a mic, but I can't figure out how the compressor works or if it's even involved here. If you know, I'd greatly appreciate it! )

Reverb is an effect, you treat the return like any other input (mic, DI, line from computer). It's been a couple decades, but IIRC you can return EFX to either a dedicated knob or a regular input channel, but they work the same way: the channel feeds whatever bus(es) it is assigned to, and L/R is always an option for these.

Use an AUX to send the needed inputs to the reverb, return the reverb to either a channel or the FX return channel, and assign that to L/R or whatever is your "main".

As for "ducking" - I'm not sure if the M300 has a way of doing it (side chain input from another channel or submaster), but you should be able to Foogle It.

That said, I think this is taking the music director's failure to reign in the band/orchestra and turning it into a technical audio problem when it is NOT. And frankly, taking care of ducking the orch for a bit of dialog IS the job of the Mixerperson, and trying to automate it will return useful results only part of the time. Really, is it that hard to move a fader?

 

[Hugtrain]

Reverb is an effect, you treat the return like any other input (mic, DI, line from computer). It's been a couple decades, but IIRC you can return EFX to either a dedicated knob or a regular input channel, but they work the same way: the channel feeds whatever bus(es) it is assigned to, and L/R is always an option for these.

Use an AUX to send the needed inputs to the reverb, return the reverb to either a channel or the FX return channel, and assign that to L/R or whatever is your "main".

As for "ducking" - I'm not sure if the M300 has a way of doing it (side chain input from another channel or submaster), but you should be able to Foogle It.

That said, I think this is taking the music director's failure to reign in the band/orchestra and turning it into a technical audio problem when it is NOT. And frankly, taking care of ducking the orch for a bit of dialog IS the job of the Mixerperson, and trying to automate it will return useful results only part of the time. Really, is it that hard to move a fader?

I used the method you said, and it works. The ducking thing was from a video I saw on how to mix a musical, but it was just a brief mention.

 

[TimMc]

I used the method you said, and it works. The ducking thing was from a video I saw on how to mix a musical, but it was just a brief mention.

The issue using duckers is that you'll be constantly adjusting the threshold or release times, at which point you might as well ride the Orchestra DCA fader. If those adjustments are reasonably consistent within a scene you can automate those changes along with the DCA assignments (if you're mixing this way). There are lots of little tricks you can use if you're mixing the same show multiple times and everything is mostly consistent. Mixing only a couple of performances, with the limited rehearsal time available in school settings, means there isn't sufficient opportunity to use some of those tricks, or that something else takes a back seat while you try to make those tricks work for you.

I think I said in another reply that the M300 is not a bad little mixer for its age and era. Do you have the REAC remote i/o box? That solved the major issue with the M300 and its similar competitor, Yamaha 01v - limited local i/o. Have fun, good luck.