Roland EC2-YF-NK, M Series, M-10DX, RAM-4206 Recording a band in a single pass

CH1

kick

CH1

snare

ALT OUT

INPUT 13/14

L R

CH1 CH1

overtop overtop

Recording a band in a single pass

Studio recording system

If you’re making a single-pass recording

of your band, connect the main output

or two-track output to your recorder, and

record the mixed sound. On the other hand,

if you’ll be usin g yo ur D AW sof tware to

mix later, record the pre-fader signal from

USB out. This will allow each part to be

recorded at its optimal level, unaffected by

any adjustments to the volume or panning

that you might have made for convenience

while performing. You can also use the ALT

out and AUX send to record only specific

parts on your recorder.

Take advantage of

different outputs

for stereo mixes and

multi-track recording!

Use the ALT bus for

multi-track drum recording!

Add punch to the vocals and

drums of an existing stereo mix!

The M-16DX’s superb potential will shine par ticularly when

you’re recording vocals or drums via mics in the studio. Phantom-

powered channels 1–4 provide high-qu ality mic preamps, so you

can make serious recordings with professional mics. By tak ing

advantage of the headphone/control room, ALT, and AUX bus

outputs, you can use the variety of outputs for recording or

monitoring.

Audio

recorder

Headphones

Digital

eector

Headphones

Monitor amplier

* Output the

CONTROL ROOM signal

If you’re recording the drums with four

mics—kick, snare, and stereo overhead—

and you want to raise or lower the drum

volume, you’ll need to move all four

channel levels. However, if you turn

the MUTE (ALT) switch on for these four

channels to send them to the ALT bus,

and then return the ALT bus in stereo to

Channels 13/14 or 15/16, you’ll be able

to use a single knob to adjust the entire

drum kit’s volume while preserving the

balance between its mics.

By using the POWER COMP3

insert effect, you can improve

the punchiness of the vocals

and drums in a stereo mix that’s

already been recorded. Start by

setting BRIGHT and COMP to

zero, and then use BRIGHT to

adjust the clarity of the vocal. Then use COMP to improve

the tonal character of the drums. This will boost the

overall high-frequency range, so you’ll probably want

to reduce BRIGHT a bit when you’re finished. Don’t go

overboard—keeping it sounding natural is the key.

When mic-recording vocals,

guitar amp, and drums in

a studio, setting the MIX

controller’s function switch to

“NARROW” will allow you to

adjust the SENS setting of each

mic in greater det ail. If you’re

using a digital multi-effect unit,

we recommend using a digital

connection, since this will allow

you to take full advantage of the

effect processor. If you connect

the main output to your large

speakers and the AUX send to

your monitor speakers, you

can use the setup as a simple

PA system.

PAN specifies the stereo position of a

sound, and lets you create differentiation

between parts in a way that would

be difficult to achieve using just the

volume balance or EQ. For example, if

you want to emphasize guitar chords

but don’t want to increase their volume,

you can place them to one side in order

to make the m ea sier to hear. Even if

you have t wo s ounds tha t y ou want

to be heard in the center, panning one

of them slightly away from the center

will still create a sense of differentiation

while giving the impression that they

are both still in the center.