Printed in Japan. JUN. 2010 RAM-20008 M-PD

Fugue ©1999-2010 Kyoto Software Research, Inc. All rights reserved.

V-LINK is a technology designed for realtime audio and video integration. Using V-LINK, musicians can “play” video from their electronic instrument. Roland provides an integrated Audio and Visual solution.

Roland Systems Group, a member of the worldwide group of Roland companies, is dedicated to the support of audio and video professionals demanding excellence in both performance and system design. Through the development and support of video and audio products, we endeavor to improve workflow and maximize creative possibilities.

Copyright 2010 Roland Corporation. All right reserved.All specifications and appearances are subject to change without notice.All trademarks and logos are the property of their respective companies.

www.rolandsystemsgroup.net

Live Mixing Console

M-400

48 Mixing Ch/18 Bus/8 Matrix, award-winning digital mixing console.

Mixing Console

M-380

Rack-mountable console with the same engine as the M-400.

V-STUDIO 700

Ult imate recording solut ion for use with REAC systems.

Digital Consoles Multi-Channel Recording

Powerful and Compact Digital Mixing System

32

An innovative console that fits anywhere.Easy to operate. Incredible sound.

Powerful, Compact Mixing

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.

Live Events Mobile

Broadcast Installation

Live Events Mobile

Broadcast Installation

54

Active in a wide range of venuesThe V-Mixing System Advantage

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.

From Analog Console to V-Mixing System Large Analog SR Console + Outboard Effects Racks

IN

Advantage #1 Superior Sound Quality

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 #2 Intuitive User Interface

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

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 #3 The Musician's Choice for Personal Mixing

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.

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.

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.

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.

Advantage #4 Live Recording of Up to 40 Channels

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.”

Covenant Family Worship Center, USA

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.”

Trent FM Arena Nottingham, UK

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.

Pope Benedict XVI in Fátima, PortugalThere are reasons why sound professionals and venues

around the globe have chosen the V-Mixing System.

76

Compact, Uncompromising Sound and Features

Impressive mixing capacity in a small package

The M-300 V-Mixer is the ultimate solu-

tion for a variety of venues and applica-

tions. 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

direct ly operate the Digi ta l 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.

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.

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.

USB memory recorder/player

Record the output of the M-300 Main, assigned

AUX bus or MATRIX bus d i rect ly 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 f i les 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.

Cutting Edge Features 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, a l lowing data for var ious settings to be created in advance and saved to a USB memory dr ive. 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.

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”.

Compact Size: 749 (W) × 626 (D) × 229 (H) mm Light Weight: 9.8kg

Multi-channel recording to a DAW

Forty 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 te r record ing us ing the power fu l d ig i ta l audio tools and effects in SONAR.

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

A 40ch40ch

40ch40ch

4xXLR4xTRS4xRCA

4xXLR4xTRS2xDigitalPhones

B

32 Mixing ChL/C/R Outputs

8 AUX4 Matrix

Built-in 2 REAC ports allows flexible system configuration

98

The variety of REAC products open a world of possibilities.

Expandability and flexibilitybring many advantages

S-0808

S-1608

S-0816

S-4000S-3208

S-4000S-0832

NEW S-MADI

S-4000M

S-4000DS-4000S-3208

SI-AD4 SO-DA4 SI-AES4 SO-AES4

S-0816S-0808

S-1608

M-48 W100S-R

S-OPT

S-4000DM-48

W100S-RS-MADI NEW

S-OPT

S-4000M

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.

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

Stage

8ch XLR

16ch XLR

16ch XLR

8ch XLR

S-1608

S-1608

Expanded System

This example shows a high input count shared between the stage and front of house.With RS-232 control, the M-300 can be operated using a touch panel controller.Audio Installation

M-300

RS-232C

32ch XLR

16ch XLR

S-4000S-3208

Touch Panel Controller

Audio Player

Wireless Mic Receiver 8ch XLR

12Ch Inputs

S-1608

Stage Front of House

M-3008ch XLR

8ch XLR

8ch XLR

8ch XLR

8ch XLR

8ch XLR

8ch XLR

8ch XLR

S-4000D

S-4000M

M-48

S-0808

Front of House

M-300

10Ch Outputs

12Ch Inputs

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

* 32 input channels must be selected from 44 physical inputs via the M-300 patchbay. * 32 input channels must be selected from 60 physical inputs via the M-300 patchbay.

8Ch Outputs

12Ch Inputs

40Ch/24-bit Multi-Channel Recording

Driver Kit

32ch XLR

S-4000D

Stage Broadcast Room

10Ch Outputs

M-300 BroadcastingS-0816S-4000S-3208

4-channel AnalogInput Module SI-AD44-channel AnalogOutput Module SO-DA44-channel DigitalInput Module SI-AES44-channel DigitalOutput Module SO-AES4

12Ch Inputs

8x8 I/O UNIT

8in/8out compact digital snake High qual ity preamp inputs -

Also equipped with two TRS and two Hi-Z inputs Supports REAC embedded power and external battery operation

STAGE UNIT

16in/8out I/O unit High quality preamp inputs Optical digital output Rackmountable

FOH UNIT

8in/16out I/O unit High quality preamp inputs Optical digital output Rackmountable

REAC OPTICAL CONVERTER

Converts multi-channel REAC signal to a digital optical signal

REAC MADI BRIDGE

Bi-directional conversion between REAC and MADI

REAC SPLITTER & POWER DISTRIBUTOR

Equipped with 10 REAC por ts including 8 por ts of REAC Embedded Power.

REAC MERGE UNIT

Merge up to four REAC dev ices Power REAC dev ices supporting “REAC Embedded Power” (S-0808, M-48)

Live Personal Mixer

Musician controls up to 40 channels via 16 stereo groups. Built-in ambient mic, reverb, EQ, line in, line out, etc. – many functions for the best possible stage monitoring solution.

REAC CABLE

100 meter Cat5e cable on reel for REAC signal transmission Crossover Ethernet cable with Neutrik® Ethercon connectors on both ends

40CH I/O MODULAR RACK

32in/8out f lagship I/O unit. High qual i ty preamp inputs I/O configuration can be customized with different I/O (analog

or digital) cards Redundant REAC ports

40CH I/O MODULAR RACK

8in/32out f lagship I/O unit. High qual i ty preamp inputs I/O configuration can be customized with different I/O (analog

or digital) cards Redundant REAC ports

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.

POWER

POWER

10

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–12

- SEL

F PO

ST G

ATE

- CH

1-32

DIR

ECT

OUT

- REA

C A

IN1

–40

- REA

C B

IN1

–40

- CO

NSO

LE I

N1–1

2

TO O

UTPU

T PA

TCHB

AY

TO O

UTPU

T PA

TCHB

AY

4-BA

NDPE

Q

SEND

LEVE

LRE

TURN

LEVE

L

EXT

FX 1

-4

EXT

INSE

RTIN

EXT

INSE

RTO

UTTo

CH

1 EX

T FX

INSE

RT IN

To C

H 32

EXT

FX

INSE

RT IN

CH 1

EXT

FX

INSE

RT O

UTCH

32

EXT

FX IN

SERT

OUT

CONS

OLE

INPU

T 5-

8

TO C

ONS

OLE

OUT

PUT

5-8

To A

UX 1

EXT

FX

INSE

RT IN

To A

UX 8

EXT

FX

INSE

RT IN

AUX

1 EX

T FX

INSE

RT O

UT

AUX

8 EX

T FX

INSE

RT O

UT

To M

TX 1

EXT

FX

INSE

RT IN

To M

TX 4

EXT

FX

INSE

RT IN

MTX

1 E

XT F

X IN

SERT

OUT

MTX

4 E

XT F

X IN

SERT

OUT

To M

AIN

L EX

T FX

INSE

RT IN

To M

AIN

R EX

T FX

INSE

RT IN

MAI

N L

EXT

FX IN

SERT

OUT

MAI

N R

EXT

FX IN

SERT

OUT

To M

AIN

C EX

T FX

INSE

RT IN

MAI

N C

EXT

FX IN

SERT

OUT

SEND

LEVE

LRE

TURN

LEVE

L

EXTE

RNAL

FX

KEY-

INFI

LTER

GAI

NPH

ANTO

M+4

8V

A/D

A/D

MAI

N SE

ND (F

ROM

AUX

1-8

)

MTX

SEN

D (F

ROM

MAI

N L,

C, R

)M

TX S

END

(FRO

M A

UX 1

-8)

AUX

1-8

SOLO

MAI

N C

SOLO

MTX

1-4

SO

LO

MAI

N L

SOLO

MAI

N R

SOLO

INPU

TPA

TCHB

AY

REAC

AIN

PUT 1

TO O

UTPU

T PA

TCHB

AY

40

CONS

OLE

INPU

T 1–

4

CONS

OLE

INPU

T 5–

8

REAC

BIN

PUT 1 40

From

FO

H (M

-300

, M-3

80 o

r M-4

00)

S-40

00M

FX 1

OUT

L /

RFX

2 O

UT L

/ R

FX 3

OUT

L /

R

FX 4

OUT

L /

R

USB

PLAY

ER L

/ R

TO E

XTER

NAL

FXTO

OUT

PUT

PATC

HBAY

A/D

CONS

OLE

INPU

T 9–

12

GAI

NPH

ANTO

M+4

8V

A/D

S-16

08IN

PUT1

–16

PEAK

SIG

S-08

16

INPU

T1–8

16 IN

PUTS

8 IN

PUTS

S-40

00S

SI-A

D4M

AX 4

0 IN

PUTS

MAX

40

INPU

TS

SRC

SI-A

ES4

AES/

EBU

GAI

NPH

ANTO

M+4

8V

A/D

PEAK

SIG

GAI

NPH

ANTO

M+4

8V

A/D

PEAK

SIG

S-08

08

INPU

T 1–

48

INPU

TS

INPU

T 5–

8

GAI

NPH

ANTO

M+4

8V

A/D

GAI

N

PHAN

TOM

+48V

A/D

HI-Z

ON

/OFF

(7/8

ON

LY)

S-40

00M

GAI

NPH

ANTO

M+4

8V

A/D

S-16

08IN

PUT1

–16

PEAK

SIG

S-08

16

INPU

T1–8

16 IN

PUTS

8 IN

PUTS

S-40

00S

SI-A

D4M

AX 4

0 IN

PUTS

MAX

40

INPU

TS

SRC

SI-A

ES4

AES/

EBU

GAI

NPH

ANTO

M+4

8V

A/D

PEAK

SIG

GAI

NPH

ANTO

M+4

8V

A/D

PEAK

SIG

S-08

08

INPU

T 1–

48

INPU

TS

INPU

T 5–

8

GAI

NPH

ANTO

M+4

8V

A/D

GAI

N

PHAN

TOM

+48V

A/D

HI-Z

ON

/OFF

(7/8

ON

LY)

LEVE

LFR

EQOSC

MIC

SELE

CTCO

NSO

LE IN

PUT

1CO

NSO

LE IN

PUT

2CO

NSO

LE IN

PUT

3CO

NSO

LE IN

PUT

4

TALK

BACK

/ O

SC O

UT

M-3

00 M

ixer

Blo

ck D

iag

ram

470

430 2020

482.

7

194.9

475.

7

V-Mixer M-300 SPECIFICATIONS

Number of Channels32 mixing channels/11 buses/4 MATRIX buses/Up to 92 inputs and90 outputs when using REAC Devices

CONSOLE INPUT jacks (1 to 4)

XLR-3-31 type (balanced, phantom power)

CONSOLE INPUT jacks (9 to 12)

RCA Pin type

CONSOLE OUTPUT jacks (5 to 8)

1/4 inch Phone type (balanced)

DIGITAL OUT jack Optical type

USB port Type A x 1, Type B x 1

Dynamic Range CONSOLE OUTPUT jacks (1 to 8): 105 dB (typ.)

Display 800 x 480 dots Wide VGA TFT color screen with backlight

Power Consumption 50 W

Weight9.8 kg21 lbs 10 oz

AD/DA Conversion 24-bit/48.0 kHz or 44.1 kHz

CONSOLE INPUT jacks (5 to 8)

1/4 inch Phone type (balanced)

CONSOLE OUTPUT jacks (1 to 4)

XLR-3-32 type (balanced)

PHONES jack Stereo 1/4 inch phone type

REAC port RJ-45 EtherCon type x 2

Power Supply AC 115 V, 117 V, 220 V, 230 V, 240 V (50/60 Hz)Remote Connectors

RS-232C connector: 9-pin D-sub typeMIDI connectors (OUT/THRU, IN): 5-pin DIN type

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)

Input ImpedanceCONSOLE INPUT jacks (1 to 4): 14 k ohmsCONSOLE INPUT jacks (5 to 12): 10 k ohms

Nominal Output Level

CONSOLE OUTPUT jacks (1 to 8): +4 dBu (Load impedance: 10 k ohms)

Recommended Load Impedance

CONSOLE OUTPUT jacks (1 to 8): 10 k ohms or greaterPHONES jack: 8 ohms or greater

Dimensions470.0 (W) x 482.7 (D) x 194.9 (H) mm18-1/2(W) x 19(D) x 7-1/4(H) inches

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)

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

Output ImpedanceCONSOLE OUTPUT jacks (1 to 8): 600 ohmsPHONES jack: 100 ohms

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.

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)

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

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)

Other ConnectorsGrounding terminalAC INPUT connector

PROCESSING

V-Mixer M-300 Dimensions OPTION

CONNECTORS

INPUT/OUTPUT CHARACTERUSTUCS

OTHERS

Network Latency2.8 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

(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.

Unit: mm

RA-10URackmount Angle

Rackmountable to 19-inch rack (EIA)