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To clean the computer keyboard, use slightly damp cotton swabs. Scrub the keys and the surface around the keys. Do not allow liquid to drip into the keyboard or you may damage the keyboard. Using the Embeded Numeric Keypad Your keyboard includes a numeric keypad, which is a group of keys that you can set to type numbers and mathematical symbols, such as the plus sign (Figure 7).
Also, Carriage Return saved in the S3 register should be entered in order to sign the end of the command. AT command Press Enter key Example: ATDT 123-4567 Press Enter and the model dials to 123-4567 Display the result value After entering AT commands, the result value is displayed on the screen.
ATX4 Dials after dial tone is detected Initializes modem AT&F Loads the factory default configuration (profile) AT&V Shows current configuration AT&W Saves user profile AT&Zn=xStores the dial string in modem memory (n=0~3, x=phone number) e.g.) AT&Z0=1235678 Automatically calls the stored phone number by using the following command.
5. Click the Settings tab. The Settings screen appears. Figure 19. Display properties in Windows NT 4.0 6. To change the colour depth, click the arrow next to Color palette and select the colour depth you want. 7. To change the resolution, click and drag the knob under the Screen area until you select the resolution you want.
4. Select the Settings menu. 5. Click the Display Type button. The Display Type window appears, see Figure 19. on page 74. Figure 20. Display Type Dialog Box in Windows NT 4.0 6. Click the Change button. The Change Display window appears. 7.
Table 10. Using several display devices Primary Secondary Limits Limits CRTC CRTC C, I, O C, I, O C, E, I, O C, I, O C, E, I, O Two Displays C, I, O LCD + CRT CRT + TV CRT + TV C, I, O, R LCD + CRT C, E, I, O, R...
MB(megabyte) 1,024 kilobytes. Megabit 1,048,576 bits or about 128 kilobytes. Operating system A program that supervises the computer"s operation, including handling I/O. Application programs and users can request operating-system services. A user might request operation-system services to copy files or format a disk. An application program might use the operating system to obtain keyboard input, write data to a file, or write data to a screen.
Refresh rate The refresh rate is the rate at which the image on the LCD screen is rewritten to the screen. A fast refresh rate helps keep the image from flickering. Resolution The resolution is the sharpness or clarity of the image on your LCD screen. Resolution is measured by the number of pixels the computer’s screen can display.
The 7000‑series, flagship of Roland"s V‑Mixer range, has been awaited for some time, and elements of its technology have already appeared in the VS1680 workstation and the VM3100 digital mixer (reviewed in SOS June "98 and July "99 respectively). The series consists of a family of products, with two DSP processor units and two motorised‑fader control surfaces available, plus an assortment of optional interface cards, a meterbridge and console woodwork which enables a wide range of configurations. Probably the most significant difference between this digital console and its peers is the physical separation of control surface and processor rack, using an AES‑EBU interface as the link.
The DSP processors, the VM7100 and VM7200, form the core of the digital console, and provide either 10 or 20 analogue inputs respectively (a further pair of analogue inputs is available via the console), with a corresponding 12 or 22 analogue outputs. Digital I/O is provided by a stereo S/PDIF or AES‑EBU interface (only one can be used at a time); with an optional digital I/O expansion card fitted, a further 24 digital inputs and outputs become available via Roland"s 24‑bit R‑Bus (RMDB2) interface, taking the total number of inputs to 48 (38 for the VM7100). The processor provides three internal stereo effects (two freely allocated, and one dedicated to the master/monitor mix buses) but up to three optional digital effects cards can be installed, increasing this to a total of nine onboard stereo effects processors.
The two control consoles are virtually identical, differing only in size, and in the number and length of physical faders. The smaller VMC7100 console has 13 faders (12 inputs plus master), whereas the VMC7200 has 25 faders (24 inputs plus master). On the larger console, a single level of fader‑banking provides access to the optional 24 digital inputs. In applications where more physical faders would be useful, or where audio control is required from two separate locations, it is possible to connect two VM consoles to the same processor rack: conversely, a pair of processor racks can be linked together with an optional cascade kit, allowing a maximum of 94 inputs to be controlled from a single console. Both console types are able to control this number of inputs directly, although there is considerably more fader‑banking involved with the smaller control surface.
The consoles are constructed as simple rectangular metal boxes with the monochrome backlit LCD mounted in an angled pod. The smaller console can be rackmounted, and both can be fitted with optional wooden side‑cheeks and armrest if required. a separate meterbridge is also available for mounting above the console, or separately in a 19‑inch rack.
For this review, I was sent around £8000 of 7000‑series components, consisting of the VMC7200 control surface along with a VM7200 mixing processor, an MB24 meterbridge, the VMSP72 side‑panel kit, a VM24E R‑Bus Expansion card, three VS8F2 effects boards and three DIF‑AT interfaces. This impressive collection of boxes took quite a while to unpack and assemble, although the instructions were easy to follow, suitable tools were included, and everything worked first time!
The functional core of the V‑Mixing system is the 3U rackmounting mixing processor which acts as DSP engine and patch‑panel rolled into one. Most of the analogue inputs and outputs are on its front panel, and a comprehensive internal routing matrix allows physical inputs to be allocated to any control channel(s). The two processors share identical DSP cores but the less expensive VM7100 has only half the analogue I/O.
Although the VM7200 processor provides only 20 analogue inputs, there are 24 faders on the VMC7200 console because channels 21‑22 are a stereo digital input (selectable from S/PDIF "Digital A" or AES‑EBU "Digital B" on the processor), and channels 23‑24 are analogue inputs from the rear of the console itself. The selected digital input passes through a sample‑rate converter, so external word clock sync is unnecessary. However, the desk can be clocked from either of the digital inputs, a dedicated word clock input, any of the three R‑Bus ports, or the internal crystals (32, 44.1 and 48kHz rates are supported).
The front‑panel input socketry for each of the input channels consists of an XLR and a TRS quarter‑inch socket, both able to accommodate signals between ‑64 and +4dBu. These connectors are effectively wired in parallel — the XLR providing phantom power, switched for individual channels from the console — and so only one of the two input connectors can be used at a time. Channels 1‑6 (and 11‑16 on the VM7200) are also provided with an unbalanced pre‑A‑D‑converter insert point on a second TRS connector. This requires the usual split send/return lead, and operates at a nominal 0dBu signal level.
The choice of AES‑EBU for the VM‑link is both a strength and weakness of the 7000‑series system. On the positive side, it allows the processing rack to be placed up to 200 metres away at the side of a stage, or in a machine room, where it can be used conveniently as its own stage box or patchbay. It also allows the fan noise in the processor to be kept away from the monitoring position. Running a pair of AES‑EBU lines between the two units is also trivial compared to the hassle and expense of multi‑channel analogue audio "snakes" to an all‑in‑one console.
Returning to the panel facilities, a multicoloured LED adjacent to the VM‑link connectors indicates satisfactory data transmission between the processor and the console. Another useful feature is the provision of a push button to mute, momentarily, all processor outputs — handy for avoiding bangs and splats when plugging inputs. The next row of connectors provides eight "Assignable" balanced outputs on TRS sockets; these are also available on the third (17‑24) R‑Bus multitrack output socket if the VM24E is installed. a further pair of balanced TRS sockets provide the main stereo analogue outputs in parallel with a pair of XLRs on the rear panel.
That completes the output facilities for the VM7100; the larger VM7200 processor includes a further six XLRs in a third row, along with ten TRS sockets in a fourth row. The six XLRs and eight of the TRS sockets access some of the Flexibus outputs — buses 7‑12 on XLRs with buses 5‑12 on the jack sockets. All are balanced and, like the other balanced analogue outputs, operate at +4dBu. The last pair of TRS sockets provides a dedicated monitoring output.
The control surface is dominated by 25 long‑throw motorised faders, which are quiet in operation but exhibit the familiar "creeping" characteristic when moving to a new position. The VMC7100 employs only 13 short‑throw motorised faders, but is otherwise very similar. Both consoles share the same arrangement of control buttons and LCD display screen — and this is where I found serious problems with the otherwise impressive 7000‑series system. Roland products have in the past been criticised for poor ergonomics and counter‑intuitive operation, and I found design of this console to be disappointingly weak in these areas. This is a great shame as the mixer is extremely flexible and sounds very good — it is just a struggle to use!
The control surface is effectively divided into six operational areas, but recognising the boundaries between the different sections is not as easy as it should be. The LCD display is the heart of the system and is equipped with a contrast control, six "soft knobs" and six soft function buttons used to modify parameters selected on the screen. However, Roland have made no attempt to align the selected item"s graphics with the corresponding control knobs. For example, one display page shows the faders and pan pots for all 24 input channels in two rows. Within this page, horizontal groups of six faders or pan pots can be selected for adjustment, but the correlation between screen and physical controls is vague. The result is that unless you count the screen and physical controls to locate the correct one, you inevitably adjust the wrong control. This poor user interface is made far worse by the lag between adjusting a control and seeing the corresponding change on screen, since by the time you realise the wrong parameter is being adjusted, everyone else knows too! Familiarity often solves these kinds of problems, but I found only marginal improvement over the time I was using the console. Instead of developing greater speed and confidence I actually had to become more methodical and thoughtful, and I believe this is inherently a slow console to use.
To the left of the transport section, adjacent to the fader strips, are eight buttons that determine the current functions of the faders, switching them between controlling input channels, multitrack inputs, fader groups, Flexibus masters, Multi‑outs and a second processor unit (if fitted). There are 10 circular buttons, of which six access the Flexibus settings (in two banks), and others provide control of channel level, pan, and preamp gain directly from the faders. Shifted functions here also access Cue level, pan and front/back surround panning. a button curiously labelled "On Display" freezes the current function of the faders so that they remain controlling the last selected parameter, while the LCD can be changed and the soft knobs used to adjust a different parameter, allowing two parameters to be adjusted simultaneously.
Above the channel faders, a row of "Ch Edit" buttons provides access to a particular channel"s settings on the LCD, and a second row labelled "Status" indicates conditions such as Mute, Solo, audio (multitrack arming) and Automix status, the actual display being determined by four function buttons to the right. These buttons are also labelled with the alphabet for naming channels on‑screen if required — there is no provision for an external QWERTY keyboard. The status buttons under the screen area also double up as fast access buttons for the various channel functions such as equaliser pages and the like.
It would be fair to say that the 7000‑series V‑Mixer has a lot of good qualities. The processor rack is well‑designed, compact, versatile, highly specified, and expandable. The system also sounds very good: the effects (first heard in the VS1680) are comprehensive, quiet and usable, the equalisation is musical and the dynamics processors work very well (and a planned upgrade will apparently add dynamics on every channel). As a lot of the optional extras become essentials in most applications, however, the complete system is quite expensive in comparison with its peers, but does provide more I/O than most.
Considering the number of assignable digital consoles already on the market, most of which use graphical displays and associated "soft" controls reasonably successfully, I am surprised that Roland didn"t arrive at a more user‑friendly solution. To check that my own particular expectations of a digital console were not unduly influencing my findings, I introduced the VM7200 to several other people, all very experienced with a wide range of analogue and digital consoles, to seek their comments. Not one of them was able to find their way around it without guidance, so I feel justified in saying that of all the digital consoles I have used, across all budgetry levels, this has been the hardest to get to grips with. Even when familiar, it remains the most frustrating to use.
The meterbridge is supplied with a pair of "wings" making it the same width as the C7200 console. Removing these extensions allows it to fit over the C7100 console, and additional brackets permit mounting in a standard 19‑inch rack. The meterbridge is driven via MIDI ports, In and Thru connectors being provided on the rear of the unit. Other facilities include an IEC mains power inlet and associated power switch, and a pair of miniature push buttons which configure peak hold time, allocate an appropriate receive channel and, when both pressed together, engage a demo mode.
Peak hold times can be adjusted between off, 1‑7 seconds, or continuous, and the MIDI receive channel can be selected from 1 to 16. These user settings are not stored in the meter, however, and the factory defaults of 3 seconds peak hold and MIDI channel 16 are restored when the unit is powered up. Fortunately, the user peak hold parameters are stored in the console, and transferred to the meter when the mixing system is powered up. It is also possible to establish one setting on the console meters (such as continuous hold) and manually select the meterbridge to display a different configuration (eg. 3‑second hold).
The VM7000 consoles have three onboard 24‑bit stereo effects processors as standard, each capable of generating high‑quality reverbs, time‑delay effects, dynamics, mic simulation, speaker modelling, and a host of other effects already heard in products such as the VS1680 workstation. One of these stereo effects is permanently allocated to the master/monitor outputs, but the other two can be freely assigned. However, the processing frame has provision for three VS8F2 plug‑in expansion cards, a full complement providing a total of nine stereo effects.
The 24 R‑Bus returns have identical signal paths, and the R‑Bus digital outputs have their own source‑select matrix, level control and dithering options, although channels 17‑24 are derived from the feeds allocated to the eight analogue Assignable outputs. Sources include the 24 input channels, 12 Flexibuses, or the stereo Cue, Main and Monitor buses. The main stereo output features a dedicated internal effects insert point (for a master multi‑band dynamics processor, for example) and the stereo Cue bus is provided with its own mute, master level and balance controls, but is output only via selection to an R‑Bus, Assignable output or Flexibus output.
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