Focusrite MixMaster User Manual

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English

Inhaltsverzeichnis

Wichtige Sicherheitshinweise . . . . .2

Signalanschlüsse . . . . . . . . . . . . . .4

Block Diagram . . . . . . . . . . . . . . .5

Einleitung . . . . . . . . . . . . . . . . .15

Anschlüsse und Schalter auf der

Rückseite . . . . . . . . . . . . . . . . . .15

Bedienelemente . . . . . . . . . . . . .16

Stereo-Expander . . . . . . . . . . .16

Stereo Spectral Compressor . . .16

Stereo-Equaliser . . . . . . . . . . .17

Output . . . . . . . . . . . . . . . . . .18

Haupt-Pegelanzeige . . . . . . . .18

Direkteingang . . . . . . . . . . . . .18

Der digitale Ausgang . . . . . . . .19

Einsatzbereiche

/Anwendungsbeispiele . . . . . .19

Technische Daten . . . . . . . . . . . .21

Distributoren . . . . . . . . . . . . . . .47

Deutsch

Table des matières

Consignes de sécurité . . . . . . . . . .3

Connexions . . . . . . . . . . . . . . . . .4

Block Diagram . . . . . . . . . . . . . . .5

Introduction . . . . . . . . . . . . . . .22

Connexions et réglages en face

arriére . . . . . . . . . . . . . . . . . . . . .22

Fonctions et commandes . . . . . . .23

Expanseur stéréo . . . . . . . . . . .23

Compresseur multibande stéréo

.23

Correcteur stéréo . . . . . . . . . .24

Sortie . . . . . . . . . . . . . . . . . . .25

Afficheurs de niveaux . . . . . . .25

Entree directe . . . . . . . . . . . . .25

Sortie numérique . . . . . . . . . .26

Applications . . . . . . . . . . . . . .26

Quelques conseils pour le Home

Mastering . . . . . . . . . . . . . . . .28

Caractéristiques . . . . . . . . . . . . . .30

Distributeurs . . . . . . . . . . . . . . . .47

Français

Indice

Importanti Istruzioni per

la Sicurezza . . . . . . . . . . . . . . . . . .3

Connessioni . . . . . . . . . . . . . . . . .4

Schema a Blocchi . . . . . . . . . . . . .5

Introduzione . . . . . . . . . . . . . . . .31

Pannello Posteriore . . . . . . . . . . .31

Funzioni e Controlli . . . . . . . . . .32

Stereo Expander . . . . . . . . . . .32

Stereo Spectral Compressor . . .32

Stereo Equaliser . . . . . . . . . . .33

Output . . . . . . . . . . . . . . . . . .34

Sezione Strumenti . . . . . . . . . .34

Direct Input . . . . . . . . . . . . . .34

Digital Output . . . . . . . . . . . .35

Applicazioni . . . . . . . . . . . . . .35

Specifiche Tecniche . . . . . . . .37

Elenco dei Distributori . . . . . . . .47

Italiano

Contenido

Instrucciones Importantes de

Seguridad . . . . . . . . . . . . . . . . . . .3

Puesta en Marcha . . . . . . . . . . . . .4

Diagrama de Bloques . . . . . . . . . . .5

Introducción . . . . . . . . . . . . . . .38

Conexiones y Conmutadores

del Panel Trasero . . . . . . . . . . . . .38

Prestaciones y Controles . . . . . . .39

Stereo Expander . . . . . . . . . . .39

Stereo Spectral Compressor . . .39

Stereo Equaliser . . . . . . . . . . .40

Output . . . . . . . . . . . . . . . . . .41

Medidores . . . . . . . . . . . . . . .41

Direct Input . . . . . . . . . . . . . .41

Digital Output . . . . . . . . . . . .42

Aplicaciones . . . . . . . . . . . . . .42

Consejos en Masterización . . .44

Especificaciones . . . . . . . . . . . . . .46

Lista de Distribuidores . . . . . . . . .47

Español

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2

Important Safety Instructions / Wichtige Sicherheitshinweise

apertures.

on the unit.

conditions:
If the power cord or plug is damaged; if liquid has entered the unit; if the unit has

been dropped or the case damaged; if the unit does not operate normally or exhibits a
distinct change in performance. Adjust only those controls that are covered by the
operating instructions.

plug has two blades with one wider than the other. A grounding type plug has two
blades and a third grounding prong. The wider blade or the third prong are provided
for your safety. When the plug provided does not fit into your outlet, consult an
electrician for replacement of the obsolete outlet.

UNDER NO CIRCUMSTANCES SHOULD THE MAINS EARTH BE

DISCONNECTED

FROM THE MAINS LEAD.

Wichtige Sicherheitshinweise

Lesen Sie bitte alle folgenden Anweisungen und bewahren Sie diese für spätere Verwendung auf.
Beachten Sie alle auf dem Gerät angebrachten Warnhinweise und Anweisungen.

● Decken Sie die Lüftungsschlitze auf der Rückseite nicht ab. Führen Sie keine Objekte durch die
Öffnungen in das Gerät ein.

● Verwenden Sie keine beschädigten oder durchgescheuerten Netzkabel.

● Ziehen Sie das Netzkabel, bevor Sie das Gerät reinigen. Verwenden Sie zum Reinigen nur ein

feuchtes Tuch. Gießen Sie keine Flüssigkeit auf das Gerät.

● Bitte ziehen Sie in den folgenden Fällen das Netzkabel und übergeben das Gerät zur Wartung an
hierfür qualifiziertes Personal:

● Wenn das Netzkabel oder der Netzstecker beschädigt ist; wenn Flüssigkeit in das Gerät
eingedrungen ist, wenn das Gerät aus großer Höhe gefallen ist oder das Gehäuse beschädigt wurde;
wenn das Gerät nicht mehr einwandfrei funktioniert oder die Leistung sich in erheblichem Umfang
geändert hat. Verändern Sie nur solche Einstellungen, die in der Bedienungsanleitung beschrieben
sind.

● Manipulieren Sie nicht den Netzstecker dieses Gerätes. Ein polarisierter Stecker hat zwei Kontakte,
von denen einer länger ist als der andere. Ein geerdeter Stecker hat zwei Kontakte sowie einen
dritten Erdungsanschluss. Der längere Kontakt beziehungsweise der Erdungsanschluss dienen Ihrer
Sicherheit. Wenn der Stecker an dem mit diesem Gerät gelieferten Kabel nicht zur Steckdose am
Einsatzort passt, lassen Sie die entsprechende Steckdose durch einen Elektriker ersetzen.

ACHTUNG: DAS GERÄT MUSS ÜBER DAS NETZKABEL GEERDET SEIN.

AUF KEINEN FALL SOLLTE DIE ERDUNG VOM NETZKABEL GETRENNT

WERDEN.

Dieses Gerät kann über den gesamten auf der Rückseite angegebenen Spannungsbereich betrieben
werden. Überprüfen Sie vor dem Anschließen des Gerätes an das Stromnetz, ob eine geeignete
Spannung und die erforderliche Sicherung vorhanden sind. Ändern Sie nicht die Netzspannung, solange
das Gerät mit dem Stromnetz verbunden ist.

Um das Risiko eines Brandes zu vermeiden, sollten Sie die Hauptsicherung im Bedarfsfall nur durch eine
geeignete Sicherung ersetzen. Die entsprechenden Werte sind auf der Rückseite des Gerätes angegeben.

Das Netzteil des Gerätes enthält keine vom Anwender zu wartenden Teile. Bitte überlassen Sie alle
Wartungsarbeiten einem von Ihrem Focusrite-Händler beauftragten, qualifizierten Servicetechniker.

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3

Consignes de sécurité/Importanti Istruzioni per la Sicurezza/Instrucciones Importantes de Seguridad

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VEILLEZ À CE QUE LE CÂBLE DE MASSE DU

Instrucciones Importantes de Seguridad

Deben leerse todas las instrucciones y guardarlas para futura
referencia. Sigan los consejos e indicaciones rotulados en la unidad.

● No obstruir las salidas de ventilación del panel trasero. No

introducir objetos por las aberturas.

● No utilizar cables de conexión viejos o dañados.

● Desenchufar la unidad antes de limpiarla. Limpiarla con un trapo

húmedo exclusivamente. No verter líquidos en la unidad.

● Desenchufar la unidad y dirigirse a personal técnico autorizado

en las siguientes situaciones:
Si el cable de alimentación o el conector están dañados; si a la

unidad le ha entrado líquido; si la unidad se ha caído o el
embalaje está dañado; si la unidad no funciona correctamente
o muestra diferentes características a las reseñadas. Manipular
exclusivamente los controles que están detallados en el manual
de usuario.

● No modificar la polaridad del conector de alimentación. Para

su seguridad, es mejor dirigirse a un técnico electricista para
cambiar la clavija en el caso de que la suministrada no sea
posible enchufarla a la toma de red eléctrica.

AVISO: LA TOMA DE TIERRA DEL CABLE DE

ALIMENTACION DEBERA ESTAR CONECTADA

BAJO NINGUNA CIRCUNSTANCIA DEBE

DESCONECTARSE LA TOMA DE TIERRA DEL CABLE

La unidad ofrece la posibilidad de operar en diferentes rangos de
tensión eléctrica según se indica en la trasera de la unidad. Es
necesario asegurarse que se ha realizado una selección de tensión
adecuada la del suministro de electricidad antes de conectar la
unidad. No debe modificarse la selección de tensión sin haber
desconectado la unidad anteriormente.

Para evitar la posibilidad de incendio, debe sustituirse el fusible
por otro del mismo valor, según se indica en la trasera.

La fuente de alimentación esta compuesta por elementos no
reparables por el usuario. Para realizar cualquier reparación es
preferible que se dirijan a su distribuidor Focusrite o a un servicio
técnico autorizado

.

Importanti Istruzioni per la Sicurezza

Leggere attentamente le seguenti istruzioni, e seguire con
attenzione i messaggi di sicurezza stampati sull’apparecchiatura.

● Non ostruire i fori di ventilazione del pannello posteriore,

non inserire oggetti attraverso le aperture.

● Non utilizzare cavi di alimentazione danneggiati o logori.

● Disconnettere l’alimentazione in caso di pulizia, da effettuarsi

solo con un panno leggermente inumidito, non spruzzare
liquidi.

● Disconnettere l’unita e riferirsi al centro assistenza qualificato

nei seguenti casi:
se il cavo o la presa di alimentazione sono danneggiati; se del

liquido è penetrato all’interno; se il prodotto è caduto o
risulta esteriormente danneggiato; se non funziona
regolarmente o mostra chiari cambiamenti di prestazioni.
Operare solo sui controlli riportati sul manuale di istruzioni.

● Utilizzare solo cavi provvisti di contatto di terra, se il cavo in

dotazione non fosse compatibile con le vostre prese,
sostituirlo consultando un elettricista.

ATTENZIONE ! QUESTA APPARECCHIATURA
DEVE ESSERE MESSA A TERRA ATTRAVERSO IL
CAVO DI ALIMENTAZIONE

IN NESSUN CASO DEVE ESSERE INTERROTTA LA
CONNESSIONE DI TERRA

L’unità può essere alimentata con diverse tensioni, come
riportato sul pannello posteriore, assicurarsi che la posizione del
selettore, e il fusibile siano appropriati, prima di connettere il
prodotto alla rete. Non agire sul selettore con l’alimentazione
inserita.

Per evitare i rischi di incendio sostituire il fusibile con uno adatto
alla tensione di rete, come riportato sul pannello posteriore..

L’alimentatore interno non contiene parti sostituibili dall’utente,
in caso di guasto, contattare il centro di assistenza attraverso un
rivenditore Focusrite.

4

Connecting Up

5

Block Diagram of the MixMaster

INPUT

STEREO

EXPANDER

XLR

OUTPUT

+4dBu

JACK

OUTPUT

-10dBV

IN

Left channel only shown.
Right channel similar

XLR

INPUT

JACK
INPUT

+4dBu

-10dBv

threshold

lock

STEREO SPECTRAL COMPRESSOR

LF trim

HF trim

slow

attack

ratio

release

make up

gain

O/L

IN

freq freq freq

STEREO EQUALISER

LF MF Q HF

x10

O/L

IN

IMAGE CONTROLS

balance width

image in

SUM+OUTPUT TRIM

output trim

IMAGE IN

EFFECT
BYPASS

DIGITAL OUTPUT

88k2/96k

lock

AES/EBU

SPDIF

PHASE METER

-40 -30 -25 -20 -16 -14 -12 -10 -8 -6 -4 -3 -2 -1 0 O/L

I/P

180 90 0

44k1/48k

resolution

digital

o/p

sample

frequency

optional digital output

EXT WCLK

INPUT

from Right channel

Main Bargrah Meter

DIRECT

INPUT

threshold

release

LIMITER

-6 -4 -2 -1

limiter

in

Left channel

RIGHT

INPUT

OUTPUT

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6

Introduction

Introduction

The MixMaster is an analogue stereo audio processor,
with an optional 24/96 high quality digital output. It
combines a range of specialist tools in one compact
unit, providing the project studio engineer/producer
with really effective and creative control of the output,
maximising signal level and punch in the final mix
without tying up other processors.

The unit comprises a balanced Line Input, Stereo
Expander, Multi-Band Compressor, 3-Band Parametric
EQ, Stereo Image Controller and a Limiter protecting
the 24/96 Digital Output or conventional analogue
outputs.

A pair of stereo Direct Inputs is also included to enable
a separate source to be added to the final mix, just
before the Limiter and outputs.

REAR PANEL CONNECTIONS AND SWITCHES

The MixMaster is provided with line level inputs on both XLR and 3 pole 1/4” jack
connectors: inserting a jack cord plug into the jack will override the corresponding XLR. The
nominal sensitivity of the XLR input is +4dBu to match professional equipment with balanced
outputs such as mixing consoles or professional recorders. The jack input has a nominal
sensitivity of -10dBV to match semi-professional or consumer equipment such as CD players,
DAT recorders or sound modules.

A separate stereo direct input is provided at +4dBu on two 1/4” jacks. Mono sources, such as a
microphone preamp output may be fed to both channels by plugging in the Right (Mono)
jack.

Balanced analogue outputs are provided as standard on XLR (+4dBu) or jack (-10dBV) to
match both professional and semi-professional equipment.

In addition to the analogue outputs, a high quality 128 times oversampled stereo digital output
(64 times oversampled at high sample rates) may be fitted as an option. Rear panel switches
select 16 or 24 bit resolution at a sample frequency of 44.1, 48, 88.2 or 96kHz. The output
may be synchronised to an external wordclock if required via the BNC connector.

Digital output format is switchable between AES/EBU (XLR) or SPDIF (phono).

7

Using the MixMaster

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IN - switches the Expander in and out of the signal path to allow easy A/B comparison of the

processed and unprocessed signals. The switch illuminates when pressed to show that the
Expander is active.

STEREO SPECTRAL COMPRESSOR

The spectral multi-band compressor is an optocoupler design, optimised for stereo mix
compression of three independent frequency bands. By splitting the compression across three
bands you avoid the unwanted effect of, for instance, a massive kick drum triggering
compression across the whole stereo signal. The compressor on the MixMaster allows a kick
drum to only affect the LF band, a vocal to compress only mid frequencies, and a hi hat to
compress only the HF band.

THRESHOLD - globally determines the overall level at which compression begins. The

lower the Threshold, the more the signal is compressed. Setting a higher Threshold allows
quieter passages in the music or speech to remain unaffected, and only passages that exceed the
Threshold will be compressed.

LF/HF TRIM - allow up to 20dB relative variation in threshold between bands, allowing

some very creative use of the compressor. However, note that the audible effect of the Trim
controls is also dependent on the settings of Ratio and Threshold. At high Ratio and lower
Threshold more relative variation will be achieved. If a more gentle effect is required the
LF/HF Trims should be bypassed by pushing the Lock switch (see below).

LOCK - sums the thresholds of the three bands when pressed to give even compression across

the full frequency range. This might be used to preserve the tonal character of signals which
have an unusual spectral balance making it difficult to get equal compression in each band.
Alternatively it may be used when you deliberately want a very “compressed” sound, or when
you want the more gentle feel of a classic compressor.

-60 Threshold

-20 Threshold

8

Using the MixMaster

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RELEASE - determines how quickly compression dies away once the level of the source

signal has fallen below the threshold. When in the anticlockwise position, the compression
releases very quickly, which may be appropriate on rapidly varying signals to avoid compressing
the beats that follow, but can result in distortion on more sustained material. Slower release
times give a smoother effect, but at the same time may result in transients causing audible
“pumping”. Two additional switch positions provide Programme Dependent Fast (PDF) or
Programme Dependent Slow (PDS) release times which respond automatically to the dynamics
of the signal, giving a fast release for transients and a slower release for the average level. The
PDF setting might typically be used for pop tracks, or PDS for classical material.

MAKE UP GAIN - adds gain back in to compensate for the gain reduction due to

compression. The amount of gain reduction displayed on the bargraph meters will give a useful
guide to the amount of Make Up Gain required.

O/L LED - gives warning of excessive signal levels which may result from the addition of

too much Make Up Gain. The O/L LED thus reads from a point in the circuit immediately
after the compressor section.

IN - switches the Compressor into the signal path when pressed. The switch illuminates when

pressed to show that the Compressor is active.

STEREO EQUALISER

The stereo 3-band Parametric EQ has stepped frequency shelving high and low bands and a
parametric mid band. The whole EQ circuit is designed to give gentle, musical control
appropriate to the final phase of a mix.

LF / FREQUENCY - the LF control gives 10dB boost or cut at a roll-off frequency of

40, 70 or 120Hz as selected by the FREQUENCY switch. For more gentle control of the bass
content of the mix the TILT
setting selects a 2dB/octave
slope. Selecting ‘TILT’ allows
subtle control of a broad
range of low frequencies,
starting at 1kHz.

MF / FREQUENCY -

the parametric mid band has
10dB boost or cut provided
by the MF control, and
centre FREQUENCY
selectable from 100Hz to
10kHz in two ranges.

9

Using the MixMaster

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WIDTH - allows the apparent width of the stereo image to be increased to make the sound

seem more spacious, or to be reduced to give a tighter image. WIDTH is only active when the
IMAGE IN switch is pressed. Signals may be isolated from this section by being routed into the
MixMaster after the width control circuit, using the Direct Input - see “Direct Input” section
below. The width control works by analysing the difference between the right and left signals
and then amplifying the difference (width enhanced) or reducing this difference (width
reduced).

IMAGE IN - activates the BALANCE and WIDTH controls when pressed. The switch

illuminates to show that the IMAGE controls (Balance and Width) are active.

OUTPUT TRIM - gives ±6dB of trim to optimise the output level to various recorders.

Adjust so that peaks in the signal are reaching ‘0’ on the output meters with only occasional
limiting shown by blinking of the top Limiter Meter LEDs.

EFFECT BYPASS - switches the Expander, Compressor, EQ and Image sections out of

circuit when pressed. This switch does not affect the operation of the Limiter (see below).

LIMITER IN - activates the multiband limiter, which has a fixed threshold matched to the

input of the optional Digital Output. The Limiter is designed to operate just before the
overload threshold on the meters. The switch illuminates to show that the Limiter is active.

MAIN BARGRAPH METERS

I/P switch - when pressed, switches the bargraph meters and the phase meter to read the

input of the unit. With the switch in the ‘out’ position, the meters monitor the output signal,
after the limiter but before the optional Digital Output.

PHASE meter - a 180º meter monitors phase coherence - important to avoid unexpected

nulling if the signal is to be reproduced in mono.

OUTPUT LEVEL METERS - 16 segment LED bargraphs monitor the output signal,

or the input signal if the I/P switch is pressed. The far right LED (O/L) acts as an overload
indicator to warn of excessive levels which might result in severe distortion, particularly when
feeding external digital equipment or the optional Digital Output.

DIRECT INPUT

Two rear panel jacks are provided to allow a separate external signal to be mixed into the final
output, before the Limiter but after the Image section to add, for instance, a vocal or kick drum
in the centre with different processing. A mono source may be plugged into the
RIGHT/MONO jack to be automatically fed to both sides if required.

10

Using the MixMaster

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APPLICATIONS

Recording/Live

console

stereo sound module

line in

bus sends

PRO TOOLS

to record

insert
sends

insert returns

L & R

in

L & R

out

hard disk recorder

At Mixdown

input sources

returns

sends

L & R

out

L & R

in

stereo insert

pre or post master fader

stereo bus

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Using the MixMaster

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L & R in

L & R out

L & R

out

L & R

in

DAT tape

L & R

out

L & R

in

digital

out

Direct

input L & R

summed

main mix

submix to

direct inputs

Direct I/P

Mixing Two Stereo Sources

summed

main mix

vocal

direct

input
right

(mono)

Mixing with Vocals

This example makes use of the
limiter and A/D converter without
passing through the preceding
processing sections.

In this example the main
mix is compressed and
EQ’d with a vocal added in
the middle, unaffected by
the processing sections.

The main mix is compressed
and EQ’d and the submix is
added in stereo but without
being effected by the
processing sections.

12

Tips on Home Mastering

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here’s a world of difference between what goes on in a professional mastering suite and
what the average home studio owner can do at home, but as more lower cost
mastering tools become available, it’s quite possible to achieve very impressive results in

2

Once you have decided on a running order for the tracks on the album, you’ll
need to get the levels to match. This doesn’t simply mean making everything the same

level though as this will make any ballads seem very loud compared to more meaty songs. The
vocals often give you the best idea of how well matched songs are, but ultimately your ears are
the best judges.If using disc based storage and editing programs, use the computers ability to
access any part of the album at random to compare the subjective levels of different songs and
pay particular attention to the levels of the songs either side of the one you’re working on. It’s
in the transition of one song to the next that bad level matching shows up most.

3

If the tracks were recorded at different times or in different studios, they may
not sound consistent enough to sit together comfortably on the album without further

processing. Often a little careful EQ will improve matters, but you need a good parametric
equaliser if you’re not to make matters worse. Listen to the bass end of each song to see how
that differs and use the EQ to try to even things out. For example, one song might have all the
bass energy bunched up at around 80 or 90Hz while another might have an extended deep bass
that goes right down to 40Hz or below. By rolling off the sub-bass and peaking up the 80Hz
area slightly, you may be able to bring the bass end back into focus.

Similarly, the track with the bunched up bass could be treated by adding a gentle 40Hz boost
combined with a little cut at around 120Hz. Every equalizer behaves differently so there are no
hard and fast figures you’ll need to experiment. At the mid and high end, use gentle boost at
between 6 and 15kHz to add air and presence to a mix while cutting at between 1 and 3kHz to
reduce harshness. Boxiness tends to occur between 150 and 400Hz. If you need to add top to
a track that doesn’t have any, try a harmonic enhancer,high end EQ boost will simply increase
the hiss.

4

To make a track sound louder when it’s already peaking close to full scale, use a

limiter. In most cases, you can increase the overall level by up to 6dB or even more before
your ears notice that the peaks have been processed in any way. It’s always good practice to
normalize the loudest track on an album to peak at around -0.5dB and then balance the others
to that one. Normalising or other level matching changes should always be the last thing you
do as all EQ, dynamics or enhancement involves some degree of level change. Proper re­dithering at the 16-bit level is also recommended if going direct via a digital output to the
production master tape as it preserves the best possible dynamic range. Analogue outputs will
be redithered by the A-D of the recorder.

5

If a mix sounds too middly or a little lacking in definition, I suggest using an

enhancer though , you have to be very careful not to overuse it, otherwise the mix might
sound too harsh. Keep switching the process in and out so as to preserve your sense of
perspective. The same applies to EQ and dynamics too - make regular checks against the
untreated version to make sure you haven’t actually made things worse.

13

Tips on Home Mastering

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Listen to the finished master all the way through, preferably using headphones as
these have the ability to show up small glitches and noises that loudspeakers may mask.

Try to work from a 44.1kHz master tape if the end product will be a CD
master. If you have to work from a 48kHz tape or one with different tracks recorded

12

When transferring digital material into a computer, ensure that the computer

hardware is set to external digital sync when you are recording and internal

sync when you play back. Also double check your record sample rate matches the source

sample rate clients will often present you with DAT tapes either at the wrong sample rate or
even with different tracks at different sample rates. All too often this is overlooked until the
client realises that one of the songs is playing back around 10% too slow!

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If you’re using a digital de-noising program, don’t expect it to work
miracles even the best systems produce side effects if you try to push them

too far. The simpler systems are effectively multi-band expanders where the threshold of each

band is set by first analysing a section of noise from between tracks. For this reason it’s best not
to try to clean up your original masters prior to editing, otherwise there may be no noise
samples left to work from. Used carefully, you can get a few dB of noise reduction before the
side effects set in as low level signals open and close the expanders in the various bands, the
background noise is modulated in a way that can only be described as ‘chirping’. The more
noise reduction you try to achieve, the worse the chirping, so it’s best to use as little as you can
get away with.

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When editing individual tracks, for example, when compiling a version from all the

best sections of several mixes or recordings, try to make butt joins just before or
just after a drum beat so that any discontinuities are masked by the beat. However, if you
have to use a cross fade edit to smooth over a transition, try to avoid including a drum beat in
the cross fade zone or you may hear a phasing or flamming effect where the two beats overlap.
As a rule, cross fades should be as short as you can get away with so as to avoid getting a
double-tracked effect during the fade zone. As little as between 10 and 30ms is enough to
avoid producing a click.

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On important projects, run off two copies of the final mastered DAT tape

(one as a backup) and mark these as production master and clone. Write the sample
rate on the box along with all other relevant data. If you include test tones, document their
level and include a list of all the track start times and running lengths for the benefit of the CD
manufacturer. As mentioned earlier, if for any reason you have produced a 48kHz sample rate
master, mark this clearly on the production DAT master so that the CD manufacturer can
sample rate convert it for you.

It is always a good idea to avoid recording audio during the first minute or so of a new DAT
tape to avoid the large number of drop outs commonly caused by the leader clip in the tape
spool hub. You can however use this section to record test tones, which will also demonstrate
to the person playing your tape that it isn’t blank! If you put DAT start IDs on each track,
check them carefully to make sure there are no spurious ones and don’t use skip IDs.

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Tips on Home Mastering / Specifications

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When deciding on the space between tracks on an album, listen to how the first
track ends and how the second one starts. Gaps are rarely shorter than two

When using CD-R to produce a master that will itself be used for
commercial CD production, the disc must be written in disk-at-once mode

Be aware that stand-alone audio CD recorders tend to have an automatic
shut-off function if gaps in the audio exceed a preset number of seconds,

When making a digital transfer from a DAT recorder to a CD recorder that can read
DAT IDs, it’s best to manually edit the DAT IDs first so that they come at

Specifications

Inputs:

Electronically balanced, impedance 20KΩ, nominal level +4dBu/-10dBV.

Outputs:

Electronically balanced, impedance 50Ω, nominal level +4dBu.
Unbalanced, ground compensated, impedance 75Ω, nominal level -10dBV.

Headroom:

22dB

THD @ 0dBr, all sections in, no gain reduction:

<0.006%(80KHz BW) Distortion during gain reduction is determined by
the attack and release times set.

Noise (22KHz):

-100dBr (all sections out)
<-90dBr (all sections in)

Frequency response:

5Hz....200KHz +0/-2dB

Dimensions:

480 mm (W) x 88 mm (H) x 265 (D)

Weight:

5.2kg

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Einleitung

Anschlüsse und Schalter auf der Rückseite

Der MixMaster bietet XLR- sowie dreipolige 6,3 mm-Klinkenbuchsen, die für Signale mit Linepegel
ausgelegt sind. Durch Einstecken eines Klinkensteckers in eine der 6,3 mm-Buchsen wird der
entsprechende XLR-Eingang abgeschaltet. Die nominale Empfindlichkeit der XLR-Eingänge beträgt
+4 dBu, um den problemlosen Anschluss an professionelle Studiogeräte mit symmetrischen Ausgängen –
wie Mischpulte oder professionelle Recorder – zu ermöglichen. Die Klinkenbuchsen haben eine
Empfindlichkeit von -10 dBV und können zum Anschluss von semiprofessionellen oder Consumer­Geräten wie CD-Player, DAT-Recorder oder für Tonerzeuger verwendet werden.

Zusätzlich steht ein Stereo-Direkteingang in Form von zwei 6,3 mm-Klinkenbuchsen mit einer
Empfindlichkeit von +4 dBu zur Verfügung. Eine Mono-Quelle wie beispielsweise ein
Mikrofonvorverstärker kann auf beide Kanäle gelegt werden, indem Sie ihn an den rechten Eingang –
»Direct Input Right (Mono)«– anschließen.

Die analogen Ausgänge des MixMaster sind als XLR- (+4 dBu) und Klinkenbuchsen ausgeführt
(-10dBV). Verwenden Sie die XLR-Buchsen zum Anschluss an professionelle Studiogeräte oder die
Klinkenbuchsen zum Anschluss an semiprofessionelle Geräte.

Ergänzend zu den analogen Ausgängen kann ein hochwertiger digitaler Ausgang mit 128fachem
Oversampling (64faches Oversampling bei hohen Sampleraten) installiert werden. Mit den entsprechenden
Schaltern auf der Rückseite können Sie dann zwischen den Auflösungen 16 und 24 Bit und den
Samplingfrequenzen 44,1 kHz, 48 kHz, 88,2 kHz oder 96 kHz umschalten. Über den integrierten BNC­Eingang können Sie den Digitalausgang auch zu einem externen Wordclock-Signal synchronisieren.

Das Format des digitalen Ausgangssignals kann zwischen den Standards AES/EBU (XLR-Buchse) und
SPDIF (Cinch-Buchse) umgeschaltet werden.