Studiomaster MIXDOWN Owner's Manual

system ••••••• 14 3:3 Typical connections for a LIVE system ••••••• 16 CHAPTER 4 - GETTING TO KNOW MIXOOWN_ ••••••••••••••••••••••••••••••• 4:1 First things first ••••••••••••••• 18 4:2 The Input Channel connectors •••••••••• 18 4:3 How to get the Input sound through to the monitor speakers 18 4:4 The Equalisation section on the Input Channels. 20 4:5 The SOLO button •••••••••••••••••••• 20 Other SOLO buttons ••••••••••••••••••• 21 The Channel ON button ••••••••••• 21 The L-R routing button ••••••••••••••••• 21 The Auxiliaries •••••••••••• 21 Auxiliaries 5·& 6 ••••••••••••••••••••• 22 4:9 Input Channel SEND/RET ••••••••••••• 23 4:10 The DIRECT OUT ••••••••••••• 23 4:11 Phantom Powering •••••••••••••••••• 24 4:12 The AUX LINE INPUTS •••••••••••• 24 4:13 The Stereo Return ••••••••••• 25 4:14 Talkback •••••••••••••••••••• 25 4:15 The Master Section ••••••••••••••••••• 25 4:16 The 2-track Return ••••••••••••••••• 26 4:17 Tape Monitoring Procedure ••••••••••••• 26 4:18 Tape Remixing Procedure •••••••••••••••• 27 4:19 2-track Mixdown Procedure ••••••••••••••• 28 CHAPTER 5 - STEP BY STEP USE OF MIXOOWN ••••••••••••••••••••••••••••• 5:1 Multitrack Tape Recording ••••••••••••• 29 5:2 Preparing the console ••••••••••••••••••• 29 5:3 Initial Multitrack Recording •••••••••••• 31 5:4 Playing back the Multitrack Recording ••••••••• 33 5:5 Overdubbing •••••••••••••••• 33 5:6 Tape Remix ••••••••••••••• 34 5:7 Stereo Mixdown - The Final Mix ••••••••••• 35 5:8 An alternative Mixdown method ••••••••••••• 36 5:9 AUX LINE Mixdown •••••••••••••••• 37 5:10 Live Performances ••••••••••••••••••• 37 5:11 Preparing the console ••••••••••••• 37 5:12 The Soundcheck ••••••••••••• 40 5:13 The Performance •••••••••••••• 41 CHAPTER 6 - LEVEL OPTIONS ••••••••••••••••••••••••••••••••••••••••••• 6:1 Left/Right Outputs ••••••••••••••••••• 42 6:2 Subgroups ••••••••••••• 42 CHAPTER 7 - EXPANSION •••••••••••••••••••••••••••••••••••••••••••• _ 7:1 Fitting Procedure ••••••••••••• 44 7:2 More than 24 Inputs •••••••••••• 44 CHAPTER 8 - SPECIFICATIONS ••••••••••••••••••••••••••••••••••••• __ Specifications ••••••••••••••••••• 46 Block Schematic •••••••••••••••• 48 CHAPTER 9 - GLOSSARY OF TERMS ••••••••••••••••••••••••••••••••••••••• Glossary of terms ••••••••••••••••• 50 CHAPTER 10 - MARKER SHEETS_ •••• __ •••• __ •••••••••••••••••••••••• The Marker Sheets ••••••••••••••• 52 Input Channels •••••••••• 53 - 60 16.4.8 Output Section ••••••••••• 61 16.8.16 Output Section .•••••••••••••• 62 •• '!II 'i..• ;..., ii... "ii••• Iii ••• ~-

1:1 GENERAL INTRODUCTION TO MIXDOWN 1 and 16.8.16. (differences 1) An INTERNAL POWER SUPPLY model is identified by the 3-pin power input socket found on the rear of the console. 2) An EXTERNAL POWER SUPPLY model is identified by a 6-pin (XLR type) DC connector found on the rear of the console. An external power supply Type EP4 would be supplied as standard with the console. The 16.4.8 has 26 inputs in total at mixdown and the 16.8.16 has 34. DO NOT switch on the console until this section has been read: MIXDOWN 3) The EXTERNAL POWER SUPPLY model may by expanded by more than 2 Many studios are now using more and more MIDI based outboard equipment and instruments. A normal console would require such instruments to be recorded via multitrack or use up valuable input channels to pass them to stereo. This would unnecessarily, but unavoidably, add noise to signals which are virtually perfect. The MIXDOWN consoles can avoid this as they have basic input sections routed direct to stereo and with monitoring controls. They are able to utilise the multitrack for "live" sounds (vocalists, guitars, brass etc.) only, while monitoring the sequenced MIDI keyboards, drum machines etc. connected to the AUXILIARY LINE INPUTS. At the 2-track mixdown stage, the multitrack recording would be mixed with the MIDI sequenced instruments from the basic input sections. This could make it possible for a smaller multitrack to be used, because the multi-output drum machines and keyboards - which would have normally consumed several tracks and made bouncedowns inevitable could now bypass the multitrack operation totally. There are two sizes of MIXDOWN mixing console: 16.4.8 This manual has been written to cover both consoles between the two are identified in Chapter 2). Although they have been designed to meet the demands of today's studio environment, MIXDOWN mixing consoles can be used equally well in recording and live applications. Please read this manual thoroughly from front to back, then you can be sure that you are getting the best from your MIXDOWN. NOTE: The internal power supply and the EP4 external power supply are sufficient to allow expansion of a MIXDOWN by a further 8 input channels (2 expanders), a total of 24 inputs. BEFORE PROCEEDING: DO NOT CONNECT THE AC SUPPLY LEAD TO THE CONSOLE OR EXTERNAL POWER SUPPLY The following section relating to the different supplies fitted to a MIXDOWN mixing console MUST be rOeadbefore switching on. The standard console is available with either an internal power supply, or an external power supply.

the back. The voltage selection procedure is the same for all three variations. Check that the pointer (see diagram above) is pointing at the local AC supply voltage (100, 120, 220 or 240V stamped on the voltage selector). If it is, then go ahead and connect AC power to the console/external power supply. If the voltage indicated is wrong, then lever out the voltage selector (there is a small notch for this purpose between the selector and the AC power input). Turn the selector round until the pointer is pointing to the correct voltage, then press it back in. You will have noticed a fuse while the selector was out. This is console's or power supply's AC fuse. Internally powered consoles are now ready to be switched Externally powered models should now have the DC power lead from power supply connected to the 6-pin socket on their rear panel. power supply is now ready to be switched on. REMEMBER, on an external power supply model, 48V Phantom Power to be switched ON at the power supply before it can be switched ON the console. 48V Phantom Power is explained in 4:11. the on. the The has at WARNING: ONLY use STUDIOMASTER MIXDOWN consoles with STUDIOMASTER external power supplies • 2 Studiomaster •

post-EQ and pre-fader. Return impedance 5kohm, nominal level +4dBm. 3 TAPE input Unbalanced 0.25" jack wired Sleeve = Ground, Tip = Signal. Drives the input channel or TAPE monitor section with an unbalanced signal from the multitrack tape recorder. On expanders, this is marked "LINE B", for use as an extra LINE input. Input impedance typically 10kohm. Maximum input level +30dBm. o FIG 1 3 the when left re- +48V input OUT Mono 0.25" jack wired Sleeve = Tip = Signal. Post fader. Nominal level Minimum load (for reference level) DIRECT Ground, -10dBV. 25kohms. 5 7 TAPE button switches the input channel from MIC XLR or LINE jack to the TAPE jack depressed, so that tape returns can be connected thus eliminating the need for 6 +48V button. When depressed, applies phantom supply 'to Pins 2 and 3 of XLR MIC for use with condenser microphones. The 16.8.16 input channel is shown, features unique to the 16.4.8 are shown in ~Jtil

is still too high to semi-parametric 6 and on expanders) the LINE jack when input channel to be low i ance balanced LINE lev signal. not shown) (Inputs the HIC that t thus eliminatin remix. (Inputs 9 m HIC XLR This allows either a or unbalanc~d EQUALISATION. A 3-band comprising of: High Frequency control is an active shelving- type filter providing 16dB of cut or boost at 12kHz. The filter is a 2-pole design with a slope of 12dB/octave. MID frequency network consists continuously variable centre frequency with a sweep from 280Hz to 8kHz. A control provides 16dB of cut or boost chosen centre frequency. The filter is a design with a peaking response, and a "Q" of approximately 1.5. Low Frequency network consists continuously variable shelving frequency with a sweep from 25Hz to 350Hz. A control provides 16dB of cut or boost chosen shelving frequency. The filter is design with a slope of 12dB/octave. GAIN control with 45dB range ensures that the input - be it MIC, LINE or TAPE is at a suitable level to drive the channel. It is used to set the nominal channel signal level by varying the pre- amp gain, preserving maximum headroom and minimum noise without loading the input signal. PAD switch provides 20dB inputs when depressed. It attenuate an incoming signal the GAIN control to minimum, be usable. Studiomaster patching during remix. On expanders, this button selects LINE B input when depressed. 8 9 12 AUXILIARIES. There are six auxiliary busses, five of which are simultaneously accessable on the channel. Auxs 1,2,3 & 4 are post-fade (for use mainly as effects sends). Aux 5 is pre-EQ and pre-fade. Aux 6 is pre-fade. Aux 5 and 6 are intended for studio cue/stage foldback purposes. A switch is provided to access either Aux 4 or 11 EQ CUT switch bypasses the equalisation circuit for a flat frequency response. 10c 10a 10b 10 o FIG 1 4

stereo balance when the channel is routed to L-R outputs. It can also bias the channel's output to odd/even numbered groups by moving it from the zero position. Panning fully left routes to odd- numbered groups only, panning fully right routes to even-numbered groups only. 14 CLIP indicator. This LED illuminates whenever the signal approaches the maximum running level. It monitors all stages within the input channel and illuminates at 4dB prior to clipping. This LED also illuminates whenever the SOLO switch is depressed, to indicate that SOLO is in use. While indicating SOLO, it ceases to act as a CLIP indicator. 15 SOLO button. A pre-fade monitor switch which allows the channel signal to be isolated on the monitor/headphone system (along with any other channels which are in SOLO condition). The signal level can be seen on the RIGHT output bargraph. 16 CH. ON button and LED indicator. LED li9hts when the switch is depressed. In the OFF position' most signals from the channel are muted. The exceptions are SOLO operation, CLIP indication and Aux 5 (as it is pre-EQ)• 17 L-R routing button. When depressed, this routes the post-fader, post-pan signal directly to the left/right outputs, bypassing the subgroups. The signal may be used for final multitrack mixdown in recording studios or for routing of signals to the left/right outputs in live performance applications. 18 ROUTING BUTTONS. These allow bussing of the channel signals to any combination of group outputs simultaneously. For use in multitrack recording or subgrouping signals, such as drums, during live sound reinforcement. Exclusive routing is achieved using the PAN control. 19 FADER. High quality 100mm channel fader with 10dB gain. MIXDOWN o FIG 1 5