But there’s fun to be had by messing about with the built-in signal processors. Each has a low-cut filter at 75Hz, three-band EQ, pan, solo and mute, but a couple of things make it apparent that we’re dealing with a decidedly digital device here. With an analogue desk, once you’ve learnt one channel strip, you’ve usually learnt the lot, but with digital, you’re suddenly confronted with Shift, Utility, Enter and other keys more usually associated with computer keyboards. A quick examination reveals that the MIDI sockets absent from the audio module are also absent from the mixer. Cursor, Utility, Value and Display buttons feature, as does a Scene button.
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There’s a Narration Enhancer which combines a de-esser and enhancer and does a edirl job with close-miked, spoken-word material. There are three Power Compressors available as inserts and they work really well with guitarsand vocals.
Edirol MDX review | MusicRadar
There’s also a Vocal Enhancer, which is effectively a four-band EQ designed to give the voice clarity. Punch it in and you have to twiddle one knob to access one of the 32 frequency bands, and then use another to boost or cut, then move on edirlo another frequency band with the first knob. Ediro, Utility, Value and Display buttons feature, as does a Scene button. If you don’t mind the learning curve, the MDX is an attractive option for project-studio audio ecirol. The MDX has a small selection of ambient effects but 16dxx the Finalize feature that really makes ears prick.
The first four channel strips are familiar enough. Combining Room Acoustic Control with Finalize creates a quick route to a powerful, modern-sounding master that should sound good on any system – provided you’ve got the basic arrangement and mix sorted in the first place.
With an analogue desk, once you’ve learnt one channel strip, you’ve usually learnt the lot, but with digital, you’re suddenly confronted with Shift, Utility, Enter and other keys more usually associated with computer keyboards. Aux Return 1 has quarter-inch jack sockets. This extends to the Aux controls which are multi-function, too: With a basic, well-balanced mix already configured, a stab at the Finalize button kicks in a multiband compressor and enhancer on the whole mix.
So far, so good, but it’s the mixing desk that leads to some head-scratching. You can save configurations for later recall. Digital mixers can prove a headache for those who are used 16dc traditional studio gear.
However, the signal-processing options are not only useful but sound great. The EQ 16dxx is sweepable and there’s also the facility to Q the frequency range, but rather than multiple or concentric rotaries, you’ve got multi-function rotaries at the right that adjust mids for the eight channels that have EQ controls. There are also control room outs and a single quarter-inch headphone socket, plus the data-connection socket for hooking it to 166dx audio module.
Still, it would have been nice to have MIDI ports, though their inclusion would likely mean a higher price-point. It suffers a little from digital multifunction overload – enough to confuse at the outset – and an absence of MIDI ports and levels sliders also count against it.
Edirol / Roland MDX – Channel Digital Audio Mixer MDX
The mixer appears reasonably sturdy if lightweighttakes up little space and has a bonus pair of line ins. These are concerns that apply to Edirol’s latest bright idea: Works well ecirol a computer.
Image 2 of 2 Audio interfacing is handled by a separate box. Cons Takes a bit of effort to master.
In certain ways, this system enables you to control a computer-based mix in analogue style, although there are no transport controls on the mixer’s fascia. Pros A solid digital mixer. At the front, there are four XLR balanced mic inputs with one button assigning phantom power to all or none, and each is paired with a balanced TRS line in socket.
Sound-wise, the MDX is as clean as a whistle, and channel EQ is flexible and transparent – no analogue colouration here.
A closer look reveals we’ve moved beyond analogue-type operation. Each has a fdirol filter at 75Hz, three-band EQ, pan, solo and mute, but a couple of things make it apparent that we’re dealing with a decidedly digital device here.
They’re designed to emulate vacuum tube amps and compressors, and operate on low, mid and high frequencies.
The Room Acoustic Control resides here too, as does a peculiar implementation of a band stereo EQ. There are six effects available, each of which can be adjusted, and the Natural preset is great.
Image 1 of 2 The control surface is the primary element of the MDX.