There are six effects available, each of which can be adjusted, and the Natural preset is great. There are also control room outs and a single quarter-inch headphone socket, plus the data-connection socket for hooking it to the audio module. 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. Image 1 of 2 The control surface is the primary element of the MDX. This extends to the Aux controls which are multi-function, too: 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 to another frequency band with the first knob.
|Date Added:||22 January 2013|
|File Size:||59.86 Mb|
|Operating Systems:||Windows NT/2000/XP/2003/2003/7/8/10 MacOS 10/X|
|Price:||Free* [*Free Regsitration Required]|
With an analogue desk, once you’ve learnt one channel edirop, 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.
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.
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. Still, it would have been nice to have MIDI ports, though their inclusion would likely mean a higher price-point.
If you don’t mind the learning curve, the MDX is an attractive option for project-studio audio control. Pros A solid digital mixer. 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.
Edirol / Roland MDX – Channel Digital Audio Mixer MDX
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 to another frequency band with the first knob. Digital mixers can prove a headache for those who are used to traditional studio gear.
Cons Takes a bit of effort to master. Further down, you’d expect to see level sliders, but they’re actually rotary pots with centre detents, which could be off-putting to many. Any changes show up in the backlit LCD, which switches to display whichever parameter you’re adjusting. There are six effects available, each of which can be adjusted, and the Natural preset is great.
You can save configurations for later recall. They’re designed to emulate vacuum tube amps and compressors, and operate on low, mid and high frequencies. Sound-wise, the MDX is as clean as a whistle, and channel EQ is flexible and transparent – no analogue colouration here.
While some hanker for the character imbued by the circuitry of analogue desks, this machine plays it clean. There’s also a Vocal Enhancer, which is effectively a four-band EQ designed to give the voice clarity.
Works well with a computer. 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.
A quick examination reveals that the MIDI sockets absent from the audio module are also absent from the mixer. So far, so good, but it’s the mixing desk that leads to some head-scratching.
There are also control room outs and a single quarter-inch headphone efirol, plus the data-connection socket for hooking it to the audio module. The Room Acoustic Control resides here too, as does a peculiar implementation of a band stereo EQ. Image 1 of 2 The control surface is the primary element of the MDX.
Edirol MDX review | MusicRadar
But there’s fun to be had by messing about with the built-in signal processors. The mixer appears reasonably sturdy if lightweighttakes up little space and has a bonus pair of line ins. However, the signal-processing options are not only useful but sound great. This extends to the Aux controls which are multi-function, too: 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.
A closer look reveals we’ve moved beyond analogue-type operation. The first four channel strips are familiar enough. There are three Power Compressors available as inserts and they work really well with guitarsand vocals.
The EQ mid 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. Aux Return 1 has quarter-inch jack sockets.