Roland VS-700R Manuel d'utilisateur
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- MARQUE LIVRES
Noté. / 5. Basé sur avis des utilisateurs
22
resolution May/June 2009
REVIEW
W
onderful and liberating though DAWs
are, or at any rate can be, there has
always been a problem — compatibility.
First there is the obvious question of
what PC (or Mac) will work best with your chosen
DAW software at any point in time (and this is a
shifting target) then there is the rest of the gubbins
to consider, the hardware that turns PC and software
into a complete audio and maybe video system. Of
course, there are plenty of vendors vying for your
custom when it comes to audio interfaces and control
surfaces, but then, sooner or later, you are likely to
find yourself in the middle of arguments as to whose
fault it is when something doesn’t work as it should.
Therefore there is a considerable attraction to buying
a complete system from one vendor; there is just one
butt to kick if something goes pear-shaped. Some
while ago Cakewalk, author of the well regarded
Sonar DAW family, became part of the Roland
empire. Now billed as ‘Cakewalk by Roland’ a
significant result of this alliance is the Sonar V Studio
700 which addresses the studio-in-a-box issue with
very serious intent.
Not only do you get the full Producer version
of Sonar V8 and the full version of the Rapture
wavetable soft synth, but also the VS-700C dedicated
control console and the VS-700R rackmount interface
box. That isn’t the end of the story though because
the 700R is also home to a full-blown Roland Fantom
VS hardware synthesiser with expansion slot. This
is not optional but an integral part of the system.
So, for a non-musician, you could argue that this is
adding to the not insignificant cost for no obvious
benefit. However, although I have no pretensions to
musicianship I still value hardware synthesis — muso
or not I’ve been using synths for a very long time
to produce ‘doom tones’, stings, effects and the odd
attempt at ‘music’ for picture.
The manufacturer does not maintain a list of
tested PCs but the requirements are not unduly
onerous. Stick with an Intel-based box of recent
vintage with a Core2Duo or Core2Quad, at least 2Gb
of RAM, 7200RPM hard drives and a decent USB2
implementation and you shouldn’t go far wrong.
Sonar supports 32-bit Windows XP or Vista and
64-bit Vista only. I used an i7-based box with 6Gb
of RAM running 64-bit Vista Ultimate. To be honest,
despite the increased memory addressing capability
of 64-bit Vista, there are still too many limitations
in terms of plug-ins that have yet to be rewritten
and other bits of hardware and software lacking in
rewrites or drivers to make it truly worthwhile.
Installation from scratch is lengthy, due to the
sheer quantity of goodies, but not unduly onerous.
Roland has elected to use USB2 for the audio and
control interface. I for one applaud this since I
have had far fewer problems with USB2 than with
FireWire. The downside is capacity. You won’t get
the 48 I-Os claimed by some FireWire interfaces
but the VS-700R gives you a respectable total of 19
inputs and 24 outputs at 44.1kHz/48kHz, reducing
to 15 and 20 respectively at 88.2kHz/96kHz, and
further reduction at 192kHz; it’s more than adequate
for most purposes. While we’re in the area, changing
sampling rates is a bit of a faff. Although there is a
nice friendly knob on the front marked Sample Rate
the actual procedure is quite involved. First close
Sonar, turn off the power to the rack unit and console
then use the knob to select the required rate. This is
followed by switching back on again, starting Sonar
and ignoring any Audio Driver Error messages, then
selecting the required rate within the application. I
feel sure this could be simplified.
The 2u VS-700R rack unit looks smart in black
and silver. The console end-cheeks, like the silver
surround, are plastic rather than alloy despite the
The clear console surface is divided logically
by function. Actual layout is somewhat
unusual as are some of the controls. Three LCD screens in the mini upstand provide
information about the controls beneath. The right-hand side is occupied by the red
LED time display which also has USB, I-O indicator LEDs and the Timecode button
that switches between SMPTE and bars and beats.
Each of the eight channel identical strips, arranged in two blocks of four, has
a rotary encoder with a switch at the top followed by Mute, Solo Arm and Select
buttons. The LED level meter has a mere five segments but is still extremely
useful since it draws attention to things that need looking at on the much more
comprehensive on-screen meters. Faders are 100mm throw touch-sensitive motorised
devices. Not the nicest I’ve ever encountered but reasonably smooth and quiet in
operation with adjustable touch-sense. To the left of the fader strips a column of
buttons relate to the strips. Assign determines which parameter is controlled by the
strip encoders. Functions available vary according to which Fader View mode is active
— Track, Bus, Main or I-O control — selected on the bottom three buttons. Below
Assign are so-called ‘Rude’ Mute, Solo and Arm buttons. These light whenever a strip
has one of these functions selected, while pressing the button cancels the function
globally. This is especially useful where channels with these functions selected may
no longer be on the surface.
Next down are the automation buttons, Write/Off and Offset. Used with the Shift
and Command modifier keys these give access to a range of other useful automation
commands. Fader bank plus and minus buttons move the current view up or down in
8-fader blocks or one at a time when used with the Shift key. To the right of the eight
channel strips the Master Fader has global Flip and I-O Control buttons above it.
Since the surface falls into the ‘assignable strip controls’ category, at top left you
get 12 rotary encoders with push switches arranged in four columns of three plus 10
buttons. Display determines which row’s parameters are displayed on the LCD. The
four ‘On’ EQ/Send buttons enable EQ or Sends for the column depending on whether
the EQ button is currently active. EQ used with the Command modifier opens the
EQ property page. ACT enables ACT mode for the window with focus. Page left
and right step through the selected track’s EQ Send or ACT parameters. Below
the Channel Strip Control Section, five rows of four buttons comprise the Access
section. It is here that Views can be opened and closed, focus can be shifted and
utility functions invoked. The bottom row contains the modifier keys, Shift, Control,
Alt and Command. The top 16 keys are assignable to user functions.
To the right of the faders the transport section has decent, internally illuminated
transport keys and the jog/shuttle wheel, which also controls Zoom level and scroll.
It can be used for editing and there are cursor keys around the periphery. Above you
will find the Record/Edit section and to the right, the Project Section. Above these
are the T-Bar and Joystick sections with LFE send pot and View button and finally,
top right, the Audio output section with Phone 1 and 2 and Monitor level pots, a
Mute button and two Sub buttons to route the Sub outputs to the headphones. On
the front of the arm rest there are two headphone sockets with a volume pot and
an Aux jack input with Normal/hi-Z switch for instruments and a gain pot. Around
the back there is just the LCD contrast knob, on/off switch and two sockets for
footswitches used, for example, to control Play and Record. Two further sockets
connect the VS-700R or go direct to the PC in standalone mode.
On the surface
Sonar V-Studio 700
After a time when the constituent parts of a digital production system became increasingly
disparate and disconnected the mood has been returning to more integrated and single-
brand solutions. ROB JAMES looks at a studio-in-a-box.
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Résumé du contenu
Page 1 - Sonar V-Studio 700
22resolution May/June 2009REVIEWWonderful and liberating though DAWs are, or at any rate can be, there has always been a problem — compa
Page 2 - Behind the scenes
23May/June 2009 resolutionREVIEWcountersunk hex bolts attaching them to the console. The console surface is a steel plate in familiar Roland blue an
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