Roland M-5000 O.H.R.C.A. Live Mixing Console with 24+4 Fader


Roland M-5000 O.H.R.C.A. Live Mixing Console with 24+4 Fader


In a rapidly changing world, the ability to adapt is needed to excel
OHRCA (pronounced “or-ca”) brings adaptability to the world of live audio mixing. It conforms to the needs of both the application and the operator by delivering 128 freely definable audio paths, expandable protocols, multi-format I/O choices and flexible user interface and workflow – all delivered at a pristine 24-bit / 96kHz sound quality.

“Open” refers to the console’s ability to adapt to many different formats of inputs, outputs and protocols. This not only includes the large variety of Roland digital snakes already in the lineup but also protocols, such as Dante, MADI, Waves SoundGrid, additional REAC ports and other formats and solutions to come.

High Resolution
“High Resolution” refers firstly to everything running at 96kHz – end to end. All of the Roland Pro A/V peripherals have been 96kHz-capable from the start. From the preamps running high-end 24-bit AD/DA converters to all the carefully selected components and processors, you can be guaranteed pristine sound that is noticeably better.

Sound quality maintaining all the fidelity of the original source
It starts with a high sampling rate of 96kHz. The discrete circuitry was precisely designed with careful component selection and circuit architecture, separation of analog and digital sound modules, 72-bit linear summing circuit and more.

Configurable Architecture
“Configurable Architecture” is the console’s ability to adapt to the application – allowing you to essentially “build” the mixer you need. How many input channels? How many auxiliary buses, groups, matrices? All of the elements that are typically fixed in most mixers are flexible with OHRCA. How you work with faders, buttons and knobs and screen are also adaptable to how you are used to working already.

128 freely definable audio paths unlock a new realm of flexibility
The Roland M-5000 console’s internal mix architecture is not fixed and can be freely defined within a range of up to 128 input/output channels/busses. This allows you to essentially “build” a console structure based on the immediate needs of the application. This makes for a console that accommodates high levels of flexibility for precise response to dynamically changing applications and venues.


Adaptable to numerous audio networks and I/O needs

Expansion options including Dante, MADI, Waves SoundGrid, REAC and XI-SDI open the door to endless configurations, applications and emerging standards.

Input and output options galore
Up to 300 inputs and 296 outputs (and more at 48kHz) are managed in separate patchbays. Any input can be patched to any or multiple outputs, including control (REAC Only) of gain and phantom power, without having to be patched through a mixing channel. OHRCA makes it possible to control an enormous number of input and output channels across multiple protocols and formats.

Flexible Workflow

A user interface with the ability to adapt to the preferences of the engineer

The concept behind the interface is “freedom” – accommodating the individual workflow of the engineer to the greatest extent possible.

Operation centered on a 12″ touch screen
Flat design and vector graphics for clear and vivid display of information. The 16 encoders feature rings whose colors change according to their assigned functions to match on-screen parameters. The “touch and turn” mechanism of touching the desired parameter and turning the selected knob achieves fast, intuitive operation.

M-5000: 28 faders in 4 banks
Each of the eight-fader bank sections is equipped with an Isolate function that enables scrolling and layer switching independently or in tandem. Different elements can be assigned to each bank, such as mix channels to one fader section and DCAs to a second fader section. “Jump” to often-used fader scrolling positions using Anchor points. Assign critical channels to the four assignable fixed faders.

User assignable controls and bright, informative displays
The right side of the surface features an assignable section that lets the user assign key functions for quick access. Bright, full-color OEL displays offer excellent visibility in any light.

Remote Control

Flexible control and extendible screen space

Operate the console from a computer on a second or third display. The M-5000 GUI allows multiple windows and features support for high-resolution displays. The dedicated app supports remote control from an iPad and supports Retina displays for crystal clear graphics.

Remote I/O Choices
An extensive lineup of digital snakes to choose from – all running at 24-bit/96kHz.

Engineer’s Monitor

An ideal solution for monitor position

For the monitor engineer, the M-5000 offers an Engineering Monitor function that mirrors each musician’s M-48 enabling the engineer to hear exactly what the musician is hearing. Connect it to one of the two monitor buses and toggle back and forth between musicians using personal mixers and those using traditional bussing.

Multi-Channel Playback and Record

48-channels of playback and recording – no repatching required

When inserted inline between the I/O and the console, not only do you get full control of arming tracks, routing, starting, stopping with the Roland R-1000 48-Track Recorder/Player – you get playback for concerts, soundchecks, training – all the through the identical signal chain as your live sources with no patching required – complete with preamp compensation if necessary.

A 16×16 USB Interface
The Roland M-5000 features 16-in/16-out USB audio interface function enabling 16-channel recording and 16-channel playback using a DAW.

A variety of intuitive features in direct response to sound engineers requests

Set three inputs per channel with full backup support
Three inputs can be set for each input channel of the console: primary input (IN), alternate (ALT) and track input (TR). For example, assigning the main vocal mic to “IN” and a backup mic to “ALT” allows for instant switch-over on the CH EDIT screen in the event of a mic failure. “TR” assignment is also available for backup audio as well as recording or virtual rehearsal/playback from a Roland R-1000. This is convenient if running recorded rehearsal content and also being able to easily patch in a previously captured track. Along with¼ individual settings at the CH EDIT window, the system also supports global switching via scene setups

Mono/stereo-settable input/output channels
Input and output channels can be set as either mono or stereo in the channel edit mode. Channels used for stereo can be made stereo pairs for input, not just adjacent channels

Dynamics and EQ sections that permit reordering
The two Dynamics blocks can be used simultaneously enabling, for example, a compressor at an earlier stage and de-esser at a later stage. The sequence of the Dynamics and EQ sections can also be reordered

Dynamics, Equalizer and signal delay for both inputs and outputs
Input channels, AUX, Matrix, Group and Main Out are switchable between mono and stereo, The signal flow for each is provided with high and low-pass filters, two independent Dynamics sections (with Compressor, Gate, Expander, Ducker and Limiter selectable for each), a 4-band fully-parametric equalizer and signal delay. Full-featured audio processing is performed not just at the input stage, but at the output stage as well. Effect insertion points can be set both before and after the Dynamics and EQ blocks

A Channel Link function that allows up to 12 Group settings
The Channel Link function permits freely linking parameters for multiple channels. Channels are linked by going to the CHANNEL LINK window and selecting a LINK group, then successively registering each channel by pressing the SEL button above its fader, making it possible to change the parameters to be edited all at once. Linkable channel parameters can be registered for each Group enabling operations such as individually linking EQ, Dynamics and other parameters or selecting ALL to sync all parameters allowing setup of parameters for multiple channels in a single operation

Selectable LINK PARAMETER settings

Main Out supports 5.1 surround, LCR and LR. Built-in surround panning and stereo downmix
As with the Input channel, the Main Out bus has two Dynamics and EQ blocks that can be switched in and out. Effect insertions are settable as well. In addition, 5.1 surround, LCR and LR can be selected as output destinations and simultaneous stereo downmix output is possible when in 5.1-channel mode. The 5.1 output also supports surround panning and when using LCR output, LCR PAN can be used to set the output balance for left, center and right

Monitor output supporting 5.1-channel surround
As with Main Out, monitor output is provided on two types of buses: Monitor 1, which supports 5.1-channel surround and stereo-compatible Monitor 2. For 5.1-channel monitoring, individual delay and an Alignment function allowing level adjustment are built in for LCR, LEF, Ls and Rs. Moreover, Monitor 1 and 2 each have an Insert circuit. A flat monitor environment can be created by assigning graphic equalizers to monitors.

Categories: ,
Mixing Channels
Max 300 ports (96 kHz), Max 460 ports (48 kHz / 44.1 kHz):
CONSOLE: 16 .AES/EBU: 4 .REAC: 40 x2
EXPANSION SLOT: 80 x2 (96 kHz), 160 x2 (48 kHz / 44.1 kHz)
FX 1L-8R: 16 .TALKBACK: 2 .OSC: 2
REAC: 40 x2
EXPANSION SLOT: 80 x2 (96 kHz), 160 x2 (48 kHz / 44.1 kHz)
FX 1L-8R: 16
Max 296 ports (96 kHz), Max 456 ports (48 kHz / 44.1 kHz)
Internal Processing
72 bits (fixed point, bus summing)
Signal Processing
AD/DA Conversion: 24 bit
Sampling Rate: 96 kHz, 48 kHz, 44.1 kHz
Console Latency
Network Latency: 1.6 ms (typ.) (Total system latency of audio signal from S-2416 inputs to outputs via M-5000’s REAC ports (A or B)
Console Latency: 1.1 ms (typ.) (Total system latency of audio signal from console inputs to console outputs)
Sampling rate: 96 kHz
Effect: No insert effects

ConnectorsJump to…

INPUT jacks (1 – 16): XLR-3-31 type (balanced, phantom power)
TALKBACK MIC 2 jack: XLR-3-31 type (balanced, phantom power)
AES/EBU IN jacks (1/2, 3/4): XLR-3-31 type
PHONES 1 jack: Stereo 1/4 inch phone type
PHONES 2 jack: Stereo miniature phone type
AES/EBU OUT jacks (1/2, 3/4): XLR-3-32 typ
WORD CLOCK connector (IN, OUT): BNC type
RS-232C connector: DB-9 type
Connectors (Cont.)
MIDI connector (OUT/THRU, IN)
USB port (MEMORY): USB type A
LAN port: RJ45 type
DOCK CABLE port: 10-pin mini DIN type
GP I/O port: DB-25 type
FOOT SWITCH jacks (1, 2): 1/4-inch TRS phone type V/500 mA
EXT.POWER DC IN jack: XLR-4-32 type
Connectors (Cont..)
XLR type: 1 GND, 2 HOT, 3 COLD
Phantom power: DC +48 V (unloaded maximum), 14 mA (maximum load) (All XLR type inputs)
OUTPUT jacks (1 – 16) : XLR-3-32type (balanced)
LAMP jacks: XLR-4-31 type x2, LAMP power DC+12 V/500 mA

Input/Output CharacteristicsJump to…

Frequency Response (typ.)
Sampling Rate: 96 kHz
Input Connector: INPUT Jacks (1 – 16) (Pad: ON, Input Gain: +4 dBu, 20 Hz to 40 kHz)
PHONES jacks (1, 2): -2 dB / +0 dB (32 ohms load, 150 mW, 20 Hz to 40 kHz)
OUTPUT jacks (1 – 16): -2 dB / +0 dB (20k ohms load, +4 dBu, 20 Hz to 40 kHz)
Total Harmonic Distortion + Noise (typ.)
Sampling Rate: 96 kHz
Input Connector: INPUT Jacks (1 – 16) (Pad: ON, Input Gain: +4 dBu, 20 Hz to 40 kHz)
PHONES jacks (1, 2): (1, 2): 0.01 % (32 ohms load, 150 mW)
OUTPUT jacks (1 – 16): 0.007 % (+4 dBu)
Dynamic Range (IHF-A, typ.)
Sampling Rate: 96 kHz
Input Connector: INPUT Jacks (1 – 16) (Pad: ON, Input Gain: +4 dBu, 20 Hz to 40 kHz)
OUTPUT jacks (1 – 16): 102 dB
Crosstalk at 1 kHz (IHF-A, typ.)
Sampling Rate: 96 kHz
Input Connector: INPUT Jacks (1 – 16) (Pad: ON, Input Gain: +4 dBu, 20 Hz to 40 kHz)
INPUT jacks (1 – 16): -100 dB
OUTPUT jacks (1 – 16): -109 dB
Input Impedance (typ.)
INPUT jacks (1 – 16): 7 k ohms
TALKBACK MIC 2 jack: 4 k ohms (Phantom: ON)
Nominal Input Level (Variable, typ.)
INPUT jacks (1 – 16): -65 to -10 dBu (Pad: OFF), -45 to +10 dBu (Pad: ON)
TALKBACK MIC 2 jack: -65 to -10 dBu
Non Clip Maximum Input (1 kHz, typ.)
INPUT jacks (1 – 16): +8 dBu (Pad: OFF), +28 dBu (Pad: ON)
TALKBACK MIC 2 jack: +8 dBu
Output Impedance (typ.)
PHONES jacks (1, 2): 45 ohms
OUTPUT jacks (1 – 16): 600 ohms
Recommended Load Impedance
PHONES jacks (1, 2): 32 ohms or greater
OUTPUT jacks (1 – 16): 10 k ohms or greater
Minimum Load Impedance
PHONES jacks (1, 2): 16 ohms
Nominal Output Level (ty.)
OUTPUT jacks (1 – 16): +4 dBu (Load impedance: 10 k ohms)
Non Clip Maximum Output (1 kHz, typ.)
PHONES jacks (1, 2): 500 mW + 500 mW (40 ohms load)
OUTPUT jacks (1 – 16): +22 dBu (10 k ohms load)
Residual Noise Level(IHF-A, typ.)
Sampling Rate: 96 kHz
-89 dBu (All faders: Min)
-82 dBu (Main Fader: Unity, Channel faders: Unity only one CONSOLE INPUT channel, Preamp Gain: Min)
-50 dBu (Main Fader: Unity, Channel faders: Unity only one CONSOLE INPUT channel, Preamp Gain: Max)
Input 150 ohms terminate
Output Connector: OUTPUT jacks (1 – 16)
Equivalent Input Noise (E.I.N.)
Sampling Rate: 96 kHz
-127 dBu (Main Fader: Unity, Channel faders: Unity only one CONSOLE INPUT channel, Preamp Gain: Max)
Output Connector: OUTPUT jacks 1 – 16 (IHF-A, typ.)

GeneralJump to…

Graphic color LCD 800 x 600 dots (touch screen)
Graphic organic light emitting display 256 x 64 dots: Fader Bank Display x 7, User Assignable Display x 1
Power Consumption
180 W
Operation Temperature
5 to 40 deg. C (41 to 104 deg. F)
Dimensions (WxDxH)
934 x 725 x 346mm (36.77 x 28.54 x 13.62″)
79 lbs (35.83kg)

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