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Roland is the word as ‘Grease the Musical’ tours Hungary
Roland is ‘the word’ in Hungary right now as the Roland M-5000 and M-480 live digital mixing consoles alongside Roland Digital Snakes head out on tour with ‘Grease – the Musical’. This 11-date arena tour is produced by long term Roland customers Szatyi Stage Team who, earlier this year, supplied an all Roland set-up to produce the live stage sound for local TV2 channel shows ‘Rising Star’ and ‘The Voice’.
Ideal for a large theatre and live sound applications such as the ‘Grease’ production, the M-5000 was chosen as the FOH console for the tour primarily because of its unique O.H.R.C.A configurable architecture. O.H.R.C.A stands for three key concepts: Open; High Resolution; and Configurable Architecture. This internal architecture is not fixed to any configuration and can be freely defined within a range of up to 128 input or output channels or busses, allowing the operator essentially to ‘build’ a console to suit the application. Each path can be used as a mixing channel, AUX, matrix, subgroup buss or MIX-MINUS buss in any input/output configuration delivered at a pristine 24-bit/96kHz sound quality. O.H.R.C.A supports Dante, MADI, Waves Sound Grid, and REAC audio protocols, as well as audio delivery over video using SDI, DVI and SFP cabling. The M-5000 also has two REAC (Roland Ethernet Audio Communication) ports which allow extra i/o boxes to be added via Cat5e cable at 96kHz. A third REAC port can be used for connecting to monitors or recording.
Mr. László Szatmári, owner of Szatyi Stage Team described the M-5000 and O.H.R.C.A design as a solution to fit all the different areas of work his company is active in, such as live sound, broadcast, rental/hire and production. “We wanted to find a variable console for many different applications for the long term future. All the new functions and sound quality (of the M-5000) impressed all of our team. We enjoy the huge creativity and possibilities that Roland gives inside this new concept.”
For the ‘Grease’ tour, the M-5000 is connected to two Roland S-2416 (24 x 16 Modular Stage Unit) which are set up as a redundant connection using the Roland XI-REAC expansion interface. The XI-REAC provides an additional 2 REAC ports with 40 inputs x 40 outputs per port. The rear panel of the S-2416 provides AES/EBU connectivity (25-pin D-sub type) for eight channels of input or output, enabling connection to speaker processors, amps, and other devices capable of AES/EBU input or output. Input via AES is assigned to channels 25 through 32 and output is selectable by a mode switch. With two REAC connectors – a main and a backup – a redundant REAC network is possible. If a problem occurs with the main line, operation instantly switches to the backup with no break up or click/pop in sound. What's more, use of Neutrik Ethercon connectors assures both a reliability and ruggedness for any type of environment. The S-2416 is also the first Digital Snake capable of a cascade connection. Switching the device to Cascade mode and connecting another Digital Snake makes it possible to expand inputs and outputs up to 40x40 channels.
The M-480 48 Channel Live Digital Mixing Console was chosen as the console for monitor position. Inputs from the band on the stage to the M-480 are provided by the Roland S-4000S-3208 Digital Snake (32 x 8 Modular Stage Unit) and a Roland S-1608 (16 x 8 Modular Stage Unit) split separately from the analogue output.
Commenting on the Grease project, Gergὄ Márkus, sales manager at Roland Eastern Europe said: “Mr. Péter Halász, sound engineer from Grease, has used the M-480 many times and he likes Roland Digital Mixers because the reliability and stability is always 100%. After they checked the sound quality of the M-5000 he was really impressed with the sound improvement. The new snake heads with added AES/EBU outputs made it possible to add the Martin Audio amplifier which gives excellent sound quality with M-5000. The engineer particularly liked the user fader layers on the M-5000, describing them as ‘essential’ for handling that type of mixing structure, and also the Anchor function as ‘genius’. The USB I/O feature is really helpful for this show because they are using Ableton Live for backing tracks.”
26th November 2015
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