OPERATORS MANUAL
Midas
Klark Teknik Building,
Walter Nash Road,
Kidderminster.
Worcestershire.
DY11 7HJ.
England.
Tel:+44 1562 741515
Fax:+44 1562 745371
Email: midas.info@u.telex.com
Website: midasconsoles.com
MIDAS Heritage 4000 Console
Operators Manual
Issue 1.1 - February 2004
Due to a policy of continual product improvement, specification
and features
may be subject to change without notice.
DOC02-H4000
IMPORTANT SAFETY INSTRUCTIONS
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK,
DO NOT EXPOSE THIS APPLIANCE TO RAIN OR MOISTURE
AVIS: RISQUE DE CHOC ELECTRIQUE. NE PAS OUVRIR
These symbols are internationally accepted symbols that warn of potential hazards with
electrical products.
The lightning flash with arrowhead symbol, within an equilateral
triangle is intended to alert the user to the presence of uninsulated
“dangerous voltage” within the product's enclosure that may be of
sufficient magnitude to constitute a risk of electric shock to persons.
The exclamation point within an equilateral triangle is intended to alert
the user to the presence of important operating and maintenance
(servicing) instructions in the literature accompanying the appliance.
1. Read these instructions.
2. Keep these instructions.
3. Heed all warnings.
4. Follow all instructions.
5. Do not use this apparatus near water.
6. Clean only with a dry cloth.
7. Do not block any of the ventilation openings. Install in accordance with the manufacturers
instructions.
8. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus
(including amplifiers) that produce heat.
9. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two
blades with one wider than the other. A grounding type plug has two blades and a third grounding
prong. The wide blade or the third prong are provided for your safety. If the provided plug does not
fit into your outlet, consult an electrician for replacement of the obsolete outlet.
10. Protect the power cord from being walked on or pinched particularly at plugs, convenience
receptacles, and the point where they exit from the apparatus.
11. Only use attachments / accessories specified by the manufacturer.
12. Use only with the cart, stand, tripod, bracket, or table specified by the manufacturer,
or sold with the apparatus. When a cart is used, use caution when moving the
cart/apparatus combination to avoid injury from tip-over.
13. Unplug this apparatus during lightning storms or when unused for long periods of time.
14. Refer all servicing to qualified personnel. Servicing is required when the apparatus is damaged in
any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have
fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate
normally, or has been dropped.
IEC-60065-Edn7-Midas
Klark Teknik Group (UK) Plc, Klark Teknik Building, Walter Nash Road,
Kidderminster. Worcs. DY11 7HJ. England
Tel:+44 1562 741515 Fax:+44 1562 745371
www.midasconsoles.com www.klarkteknik.com
DECLARATION OF CONFORMITY
We,
Klark Teknik Group (UK) Plc
of, Klark Teknik Building, Walter Nash Road, Kidderminster, Worcestershire, DY11 7HJ.
Declare that a sample of the following product:-
Product Type Number Product Description Nominal Voltage (s) Current Freq
Heritage 4000 Professional Audio 115V AC 8.0A 50/60Hz
Mixing Desk 230V AC 4.0A
to which this declaration refers, is in conformity with the following directives and/or standards:-
Directive(s) Test Standard(s)
Generic Standard using EN55103 Limits and Methods EN50081/2
Class B Conduct Emissions EN55103
Class B Radiated Emissions EN55103
Fast Transient Bursts EN61000-4-4
Static Discharge EN61000-4-2
Basic Electrical Safety EN60204
LVD EN60065
Harmonics EN61000-3-2
Flicker EN61000-3-3
Signed:............................ Date: 1st September 2003
Name: Simon Harrison
Authority: Research and Development Director, Klark Teknik Group (UK) Plc
Attention!
Where applicable, the attention of the specifier, purchaser, installer or user is drawn to special limitations
of use which must be observed when these products are taken into service to maintain compliance with
the above directives. Details of these special measures and limitations to use are available on request
and are available in product manuals.
A Subsidiary of Telex Communications, Inc.
Thank youThank you
Thank you for purchasing a Midas Heritage 4000 mixing console. The Heritage 4000 has been developed by listening to
the needs of live sound engineers and builds upon the flexibility of the Heritage 3000.
Offering a total of forty (40) aux sends plus stereo masters, the Heritage 4000 is a comprehensive monitor console. With
it’s flexible assignable buss routing, the Heritage 4000 can be quickly configured making the Heritage 4000 just as
comfortable at the Front of House.
As you would expect from Midas, the story does not end there. The Heritage 4000 features Midas XL4 microphone preamps and channel equalisation, VCA and mute automation and independent level control over each and all outputs. All
backed up, of course, with the standard Midas Three Year Warranty.
Please take the time to fill out the registration card and, to obtain the best results with a minimum of effort, read this
operators manual.
Finally, Enjoy your new Midas Heritage 4000 Console!
Contents
Installation & Operation Considerations Page 3
Wiring Diagrams Page 3
Mono Input Module Page 4
Stereo Input Module Page 10
Auxtender Pod Page 16
VCA Master Faders Page 20
Group Output Module Page 24
Matrix Output Module Page 28
Master Output Module Page 30
Monitor Output Module Page 34
Console Automation Page 38
Automation and Console Linking Walkthrough Page 46
MIDI Page 50
CANBUS Page 53
Weights and Dimensions Page 54
Rear Panel Page 56
Block Diagrams Page 58
Channel Cribsheet Page 66
Features and Specifications Page 68
Overview Page 69
Technical Specification Page 70
Operators Manual- Page 2
ATTENTION
The following special limitations must be observed in order to maintain safety and electromagnetic compatibility
performance.
Power Connection
The console should only be operated with the power supply connected to ground via the ground in the mains connector.
Control Connections
The console should only be operated with high quality screened control cables. All connector shells should be of metal
bodied construction such that the shell provides a screen when connected to the console.
All ‘DEE’ connector shells should be connected to the cable screen.
All XLR and DIN connectors should have pin one (1) connected to the cable screen.
INSTALLATION
There are a number of points to consider when installing a mixing console, many of these points will have already been
addressed even before the console is unpacked, however it is worth repeating them.
Position
The console should be located in a convenient location commensurate with the use to which the console is being put.
Ideally a cool area is preferential not too close in proximity to electrical distribution equipment or other sources of
interference. Provision should be made for some flat surface surrounding the console to prevent it’s use as a table top.
Power
The console’s power supply should be located as far away from the console as the connecting cable will allow. It should be
set for the voltage supply available in your area and plugged into the mains outlet using the cable provided.
THE POWER SUPPLY SHOULD NEVER BE OPERATED WITH
THE MAINS EARTH DISCONNECTED
Please note that the power supply contains LETHAL VOLTAGES greatly in excess of
the mains voltage and that it’s rails can produce extremely large currents which
!
could burn out equipment and wiring if shorted. All testing and servicing should
ONLY be carried out by a qualified engineer.
Connections
To ensure the correct and reliable operation or your Midas Heritage 4000 console, only high quality balanced screened
twisted pair audio cable and metal bodied connectors should be used.
Female XLR
1
2
Pin 1 - Screen/Ground
3
Pin 2 - Hot Signal
Pin 3 - Cold Signal
Male XLR
2
3
1
Note: Sockets are viewed from the front face.
Pin 1 - Screen/Ground
Pin 2 - Hot Signal
Pin 3 - Cold Signal
PUSH
RS-232
5-Pin Midas Can Bus
Pin 1 - +18V (100mA max.)
Pin 2 - Can Low
Pin 3 - 0V Can
Pin 4 - Can High
Pin 5 - -18V (100mA max.)
RS-232
Pin 2 - Receive data
Pin 3 - Transmit data
Pin 5 - GND
Quarter Inch Jack
Sleeve - Screen/Ground
Ring - Cold Signal
Tip - Hot Signal
To ensure compatibility between the console and
interconnects, always ensure connectors and cable are of
reputable quality.
Operators Manual- Page 3
Mono Input Module
Operators Manual- Page 4
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MIDAS
The auxtender pod provides each input channel strip with an additional 16 mixes (eight stereo auxes) making the
total number of ‘auxiliary’ (aux) outputs for the console forty (40).
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0
Each stereo aux send is enabled by pressing the numbered switch adjacent to the dual-concentric pan/gain
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auxtender pod
potentiometer (pot). When enabled the accompanying LED will light according to the pre/post switch position.
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0
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The inner ring of the dual-concentric pot provides gain control for the aux send while the outer ring provides the
0
PAN (left-to-right balance) control, allowing the user to position the channel within a stereo image.
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H4002
Green = Stereo Aux send is POST-Fader
Red = Stereo Aud send if PRE-Fader
Auxtender PodAuxtender Pod
Mono Input ModuleMono Input Module
48V
+25
PAD
+15
O
PRE
direct o/p
5k
1k
20k
freq
15
bell
treble
2k
+/-
400
8k
freq
INS
15
hi-mid
PRE
EQ
500
15
lo-mid
100
2k
+/-
freq
bell
100
15
20
400
freq
60 160
20
C
0
lr
1
PRE
2
C
0
lr
3
PRE
4
C
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lr
5
PRE
6
C
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PRE
8
C
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lr
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PRE
10
C
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lr
11
PRE
12
C
0
lr
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PRE
14
C
0
lr
15
PRE
16
C
0
lr
17
PRE
18
C
0
lr
19
PRE
20
C
0
lr
21
PRE
22
C
0
lr
23
24
C
lr
pan
SIS
lcr
stereo
image
mute
MIDAS HS0001
INPUTSINPUTS
Mono Input Channels
+35
gain
bass
freq
MONO
+60
0
+10
0
15
Q
0
15
0
15
Q
0
15
400
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PREPRE
ST
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-25
Send
Return
mono input module
Microphone
Input
Direct
Output
+25
+15
gain
direct o/p
Channel Equalisation
The treble equalisation is selectable fully parametric or high shelving via the bell switch.
5k
1k
20k
freq
bell
In the process of describing the mono input
channel, controls will be described in order or
signal flow .
The Heritage 4000’s mono input channels each have a
single balanced microphone input, an insert point via two
(2) quarter-inch (0.25”) TRS jack plugs and a balanced
direct output all conventionally wired.
48V
- Phantom power is provided to allow the connection of
condenser microphones, direct inject boxes and other devices that
require +48V phantom power to operate. When depressed the 48V
LED will light, indicating that +48V is being applied.
PAD
- When enabled, the PAD switch provides 25dB attenuation to
the input signal which allows the connection of high output
microphones or line-level signals. If the input amplifier is transformer
coupled (option), the pad greatly reduces the risk of saturation at
very low frequencies. When depressed the pad LED will light,
indicating that the pad is enabled.
PHASE
( - The phase switch causes a 180 degree phase
Ø)
change (with respect to the input) in the input amplifier. Hence
+35
the input channel signal has inverse phase (with respect to the
input). When depressed the phase LED will light, indicating that
the phase change is being applied.
PRE
- The PRE switch, in this instance, controls the operation of
the direct output. When enabled the pre LED is lit to indicate that
+60
0
the direct output signal is derived PRE-Insert and PRE-EQ.
It is worthy of note that in either state, the direct output is PRE-MUTE and hence is unaffected
by changes in channel mute.
GAIN
- The input gain of the Heritage 4000’s input is continuously variable from +15dB to
+60dB.
+10
15
0
treble
DIRECT O/P
level from - inf (minus infinity) to +10dB.
Treble Frequency
Treble Gain
stage and is continuously variable from -15dB to +15dB with a centre detent at 0dB.
Treble Width
filter when in fully parametric mode (i.e. when the switch isdepressed) from 0.1 to 2
octaves with a centre detent at 0.5 octaves.
15
Treble Bell
released, the equaliser Midas shelving mode is enabled.
- The direct output pot allows the continuous alteration of the direct output
- Selectable frequency centre. Continuously variable from 1kHz to 20kHz.
- The inner dial on the dual-concentric pot controls the gain of the treble EQ
- The outer dial on the dual concentric pot controls the band width of the treble
- When depressed, the treble equaliser full parametric mode is enabled. When
dual-concentric potsdual-concentric pots
0
Dual-concentric pots have an independent
inner and outer ring to allow a greater range of
controls in the samesurface area.
48V
+25
PAD
+15
O
PRE
bell
gain
direct o/p
direct o/p
+35
+60
0
+10
Operators Manual- Page 5
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PRE
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PRE
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PRE
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PRE
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MIDAS
48V
+25
PAD
+15
O
PRE
direct o/p
5k
1k
20k
freq
15
bell
treble
2k
+/-
400
8k
freq
INS
15
hi-mid
PRE
EQ
500
15
lo-mid
100
2k
+/-
freq
bell
100
15
20
400
freq
60 160
20
C
0
lr
1
PRE
2
C
0
lr
3
PRE
4
C
0
lr
5
PRE
6
C
0
lr
7
PRE
8
C
0
lr
9
PRE
10
C
0
lr
11
PRE
12
C
0
lr
13
PRE
14
C
0
lr
15
PRE
16
C
0
lr
17
PRE
18
C
0
lr
19
PRE
20
C
0
lr
21
PRE
22
C
0
lr
23
24
C
lr
pan
SIS
lcr
stereo
image
mute
MIDAS HS0001
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H4002
auxtender pod
400
2k
freq
+/-
8k
15
hi-mid
500
15
lo-mid
100
2k
+/-
freq
gain
bass
freq
MONO
+35
+60
0
+10
0
15
Q
0
15
0
15
Q
0
15
400
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PREPRE
ST
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-25
bell
100
400
15
bass
mono input module
20
60 160
20
freq
Channel Operation
INS
PRE
EQ
Signal Routing & busses
The Heritage 4000 has 24 assignable buss outputs which are discussed in more detail later in this manual). Each
pair of busses may be assigned:
Mono Auxillary
Stereo Auxillary
Stereo Group
This enables the Heritage 4000 to be used as an FOH, Monitor or FOH & Monitor console depending upon the
requirements of the user. Essentially the uses are endless, and offer the maximum flexibility to the engineer.
Both the hi-mid and low-mid are fully parametric equalisers.
Hi-Mid Freq
Q
8kHz (hi-mid) and 100Hz to 2kHz (lo-mid).
0
Hi/Lo Mid Gain
- Selects the frequency centre of the EQ. Continuously variable from 400Hz to
- The inner dial on the dual-concentric pot controls the gain of the EQ stage
and is continuously variable from -15dB to +15dB with a centre detent at 0dB.
15
Hi/Lo Mid Width
- The outer dial on the dual concentric pot controls the band width of the eq
filter and is continuously variable from 0.1 to 2 octaves with a centre detent at 0.5 octaves.
0
The bass equalisation is selectable fully parametric or Midas low shelving via the bell switch.
Bass Freq
15
Bass Gain
and is continuously variable from -15dB to +15dB with a centre detent at 0dB.
Q
Bass Width
0
filter when in fully parametric mode from 0.1 to 2 octaves (i.e. when the switch is
- Selectable frequency centre. Continuously variable from 100Hz to 400Hz.
- The inner dial on the dual-concentric pot controls the gain of the bass EQ stage
- The outer dial on the dual concentric pot controls the band width of the bass
depressed) with a centre detent at 0.5 octaves.
- When depressed, the bass equaliser full parametric mode is enabled. When released,
Bell
15
the equaliser Midas shelving mode is enabled.
The input strip equalisation also features a continuously variable high pass filter (HPF) from
20Hz to 400Hz. The HPF switch enables or disables the HPF from the channel strip. The HPF
LED indicates whether or not the HPF is operational.
400
- When enabled, the INS switch enables the insert point of the channel by connecting the
INS
channel input return to the channel signal path.
- When enabled, the channel signal passes through the insert point before proceeding to the
PRE
EQ stage (the insert is pre-EQ). When disabled, the channel signal passes through the insert point
after the EQ stage (the insert is post-EQ).
Channel
i.e.
Signal
Send
Return
- When depressed, the channels equalisation stages are enabled. When released, the
EQ
channels equalisation stages.
Mono Input ModuleMono Input Module
PRE
en
5k
0
1k
20k
freq
15
15
bell
treble
bell
Operators Manual- Page 6
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PRE
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PRE
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PRE
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PRE
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PRE
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PRE
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MIDAS
48V
+25
PAD
+15
O
PRE
direct o/p
5k
1k
20k
freq
15
bell
treble
2k
+/-
400
8k
freq
INS
15
hi-mid
PRE
EQ
500
15
lo-mid
100
2k
+/-
freq
bell
100
15
20
400
freq
60 160
20
C
0
lr
1
PRE
2
C
0
lr
3
PRE
4
C
0
lr
5
PRE
6
C
0
lr
7
PRE
8
C
0
lr
9
PRE
10
C
0
lr
11
PRE
12
C
0
lr
13
PRE
14
C
0
lr
15
PRE
16
C
0
lr
17
PRE
18
C
0
lr
19
PRE
20
C
0
lr
21
PRE
22
C
0
lr
23
24
C
lr
pan
SIS
lcr
stereo
image
mute
MIDAS HS0001
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In MONO AUX mode:
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0
The buss send pot is a dual purpose switching pot:
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0
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0
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0
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0
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auxtender pod
C
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PRE
11
12
0
+6
PRE
Green = POST-Fade
Red = PRE-Fade
Pressing the pot will enable/disable the buss send for that channel. When depressed, the buss
active LED will light to indicate that the buss send is active and also whether the send is pre or
post-fader.
When the PRE button is depressed, the buss send is PRE-Fader, otherwise the buss send is
POST-Fader. The buss active LED is bi-colour to represent this:
Mono Input ModuleMono Input Module
Rotating the buss send pot controls the level sent to the mono aux buss.
In this mode the operation is the same for both odd and even numbered buss sends.
In STEREO AUX mode:
+35
The buss send pot is a dual purpose switching pot:
+60
gain
bass
freq
MONO
0
+10
0
15
Q
0
15
0
15
Q
0
15
400
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PREPRE
ST
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-25
C
0
0
Pressing the even numbered pot will enable/disable the buss send for that channel. When
depressed, the buss active LED will light to indicate that the buss send is active and also
mono input module
lr
11
PRE
12
whether the send is pre or post-fader.
+6
When the PRE button is depressed, the buss send is PRE-Fader, otherwise the buss send is
PRE
POST-Fader. The buss active LED is bi-colour to represent this:
Green = POST-Fade
Red = PRE-Fade
Rotating the even numbered buss send pot controls the level sent to the stereo aux buss.
In this mode the odd numbered buss send pot acts as the pan control placing the input signal into a stereo (left-toright) field.
In STEREO GROUP mode:
The buss send pot is a dual purpose switching pot:
C
0
lr
11
PRE
12
Pressing the even numbered pot will enable/disable the buss send for that channel. When
0
depressed, the buss active LED will light to indicate that the buss send is active.
+6
In this mode, the even and odd buss pots have no other use as group sends are always POSTFader and POST-Pan. Hence the signal is sent at UNITY GAIN (i.e. 0dB).
PRE
Pan and Routing
PAN
- The pan control defines the stereo position of the channel in a stereo group or stereo master.
C
lr
pan
SIS
stereo
image
mute
MONO
lcr
The pan obeys constant law whereby the centre detent positions the channel in the centre of
the stereo field with each side at
-3dB.
ST
ST
- When depressed, the ST switch sends the channel output to the Stereo Master Bus via
the Pan Control. The ST LED will light to indicate that the signal has been routed to the stereo
master bus.
+18
MONO
+15
Bus. The MONO LED will light to indicate that the signal has been routed to the mono master
+12
+9
bus.
+6
+3
SIS - The SIS switch enables the spacial imaging system which operates in conjunction with
0
-3
the pan and image controls. It also acts as a left, centre, right master bus enable overriding
-6
any stereo and mono master bus assignments.
-9
-25
- When depressed, the MONO switch sends the channel output to the Mono Master
Operators Manual- Page 7
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PRE
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PRE
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PRE
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PRE
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PRE
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PRE
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PRE
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PRE
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MIDAS
H4002
auxtender pod
stereo
C
lr
pan
SIS
lcr
image
MONO
mute
IMAGE
- When the spacial imaging system is active the IMAGE control can modify the action
of the pan control so as to place the channel within a three speaker system. When the image
ST
control is fully clockwise the pan control will operate in full left, centre, right such that a
centre panned signal will route to the centre speaker only and will not appear in either of the
left or right outputs. When the image control is fully anti-clockwise the pan control reverts to
stereo such that a centre panned signal will route at equal power to the left and right
speakers. All other Image control positions generate a composite blend of the stereo and LCR
+18
panning systems so that the optimum degree of center image focus and speaker power can
+15
be obtained. When the image control and pan control are both set central the channel will be
+12
+9
routed with equal power to all three speakers. Constant power is maintained at all times so
+6
that the image can be adjusted during the show without any perceived level change.
+3
0
MUTE
- The MUTE switch mutes the input channel at all points after the insert send (i.e. all
aux, buss sends etc..). The switch can also be controlled from snapshot automation.
LED Signal Meter
- The input channel signal can be monitored with the in-line channel
-25
-3
-6
-9
Mono Input ModuleMono Input Module
meter which is pre-fader and post insert and EQ.
48V
+25
PAD
+15
O
PRE
direct o/p
5k
1k
20k
freq
15
bell
treble
2k
+/-
400
8k
freq
INS
15
hi-mid
PRE
EQ
500
15
lo-mid
100
2k
+/-
freq
bell
100
15
20
400
freq
60 160
20
C
0
lr
1
PRE
2
C
0
lr
3
PRE
4
C
0
lr
5
PRE
6
C
0
lr
7
PRE
8
C
0
lr
9
PRE
10
C
0
lr
11
PRE
12
C
0
lr
13
PRE
14
C
0
lr
15
PRE
16
C
0
lr
17
PRE
18
C
0
lr
19
PRE
20
C
0
lr
21
PRE
22
C
0
lr
23
24
C
lr
pan
SIS
lcr
stereo
image
mute
MIDAS HS0001
+35
+60
gain
0
safe’s
mono input module
MUTE
15
Q
15
15
Q
15
400
0
0
0
0
0
0
0
0
0
0
0
0
0
FDR
AUTO
SET
1
solo
10
5
2
0
3
5
4
10
5
6
20
7
30
8
40
9
50
10
dB
In Virtual fader mode, the ‘real’ fader is used to trim the ‘virtual’ fader shown on the fader LEDs. When taken to
0dB the fader trims the virtual fader level (i.e. at 0dB the channel level is that of the virtual fader snapshot
memory but can be trimmed to +10dB or down to -inf).
In addition to showing VCA and mute assignments, the ten (10) LED’s adjacent to the channel fader perform a
number of different operations depending upon the settings on the central console.
bass
freq
MONO
+10
0
0
0
0
+6
PRE
+6
PRE
+6
PRE
+6
PRE
+6
PRE
+6
PRE
+6
PRE
+6
PRE
+6
PRE
+6
PRE
+6
PRE
+6
PREPRE
ST
+18
+15
+12
+9
+6
+3
-3
-6
-9
-25
The input fader panel can be used as a conventional channel fader or as part of the
automation system.
switches disable any remote control over the channel as selected:
Safe
MUTE Safe
FDR Safe
- The channel mute will not be affected by automute or snapshot automation
- The channel fader will not be affected by virtual fader automation or the VCA
master fader (including VCA mutes).
AUTO Safe
- The channel will not be affected by snapshot automation. Automutes, VCA
masters and assignment systems will remain active.
SET
- The set switch is a momentary switch that toggles the VCA and mute assignments for
the channel.
In the central console, either mute or VCA operation can be selected. Then using the assign
keys, the appropriate VCA or automute can be selected. Pressing the channel set switch for
more than half a second will erase the existing VCA or automute assignments and then
accept the new ones. A quick press will simply toggle the new settings.
i.e. If the channel is assigned to VCA 1,3 and 4 and the assign keys are then set to 1 and 2
and the channel set button is pressed quickly. The resulting VCA assignment for the channel
would be VCA’s 2,3 and 4.
When setting mute or VCA assignments, the current assignment will be shown in the ten
(10) LED’s adjacent to the fader.
SOLO
- The SOLO switch sends the input channel signal to the PFL mono and AFL stereo
busses. If the switch is pressed for a short time it will latch on or off, but if it is held on for
more than 1 second the latching is disabled and when the switch is released the channel
solo will turn off. As a default the solo system is auto cancelling so each new solo cancels the
last. This function is time dependant which allows several solos to be active as long as they
are switched on at approximately the same time. The SOLO ADD MODE switch on the
MONITOR module defeats the auto cancelling and allows multiple channel monitoring. In
this mode input solos have priority over outputs and will temporarily override any active
output solos. The input solos also override any active VCA solos.
FADER
The function varies according to the virtual fader setting. Normally, the fader gives
continuous adjustment of the input channel level from off (-inf) to +10dB.
Input FaderInput Fader
Operators Manual- Page 8
1
PRE
l
2
PRE
l
3
PRE
l
4
PRE
l
5
PRE
l
l
6
PRE
l
7
PRE
l
8
PRE
l
MIDAS
48V
+25
PAD
+15
O
PRE
direct o/p
5k
1k
20k
freq
15
bell
treble
2k
+/-
400
8k
freq
INS
15
hi-mid
PRE
EQ
500
15
lo-mid
100
2k
+/-
freq
bell
100
15
20
400
freq
60 160
20
C
0
lr
1
PRE
2
C
0
lr
3
PRE
4
C
0
lr
5
PRE
6
C
0
lr
7
PRE
8
C
0
lr
9
PRE
10
C
0
lr
11
PRE
12
C
0
lr
13
PRE
14
C
0
lr
15
PRE
16
C
0
lr
17
PRE
18
C
0
lr
19
PRE
20
C
0
lr
21
PRE
22
C
0
lr
23
24
C
lr
pan
SIS
lcr
stereo
image
mute
MIDAS HS0001
p
a
n
gain
bass
freq
MONO
g
a
i
c
n
0
r
c
0
r
c
0
c
0
c
c
0
c
0
c
0
c
0
H4002
safe’s
r
MUTE
r
r
r
r
r
r
auxtender pod
FDR
AUTO
SET
1
2
solo
10
5
0
FADER MANUAL RECALL AND NULL
In this mode, the STATUS LEDs are used to prompt the operator where to move the fader. If
the fader is not at the position stored in the current recalled snap shot, one/two LEDs will flash
to indicate where the fader should be. A single flashing LED indicates that the fader should
positioned next to that LED, if two LEDs are flashing the fader should be between the two
LEDs. As the fader is moved closer to the required position the LED(s) will stop flashing and
will be replaced by a single continuously lit LED. Once the fader is at the correct position all
LEDs will extinguish.
FADER POSITION CHECK
When a scene's contents are being "checked" (see automation operation) the STATUS LEDs
will indicate the fader position stored in the scene by continuously illuminating one or two
LEDs as appropriate.
VIRTUAL FADER RECALL
Input FaderInput Fader
3
+35
+60
0
+10
mono input module
0
15
Q
0
15
0
15
Q
0
15
400
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PREPRE
ST
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-25
10
5
4
10
5
6
20
7
30
8
40
9
50
dB
When in VIRTUAL FADER mode (see automation operation) the automation system will
generate a "virtual" fader, set to the level of the input fader at the time the snap shot was
stored. The level of the virtual fader is added to the level of the physical input fader. In this
mode the STATUS LEDs indicate the "position" of the virtual fader by illuminating a bar of
LEDs starting at off (-inf).
Operators Manual- Page 9
Stereo Input Module
Operators Manual- Page 10
st aux 1
st aux 2
st aux 3
st aux 4
staux 5
staux 6
staux 7
staux 8
MIDAS
NO
0
PRE
+6
gain
NO
0
PRE
+6
gain
NO
PRE
NO
PRE
NO
PRE
NO
PRE
NO
PRE
NO
PRE
The auxtender pod provides each input channel strip with an additional 16 mixes (eight stereo auxes) making the
0
total number of ‘auxiliary’ (aux) outputs for the console forty (40).
+6
gain
0
Each stereo aux send is enabled by pressing the numbered switch adjacent to the gain potentiometer (pot). When
+6
gain
0
enabled the accompanying LED will light according to the pre/post switch position.
auxtender pod
+6
gain
0
+6
gain
0
+6
The gain pot is continuously variable from off (-inf) to + 6dB.
gain
0
+6
gain
H404
Green = Stereo Aux send is POST-Fader
Red = Stereo Aud send if PRE-Fader
Stereo Input ModuleStereo Input Module
Auxtender PodAuxtender Pod
48V
+25
PAD
+15
O
O
balance
5k
1k
20k
freq
15
treble
bell
2k
400
8k
freq
INS
15
hi-mid
PRE
EQ
500
15
lo-mid
100
2k
freq
bell
100
15
20
400
freq
60 160
20
C
0
lr
1
PRE
2
C
0
lr
3
PRE
4
C
0
lr
5
PRE
6
C
0
lr
7
PRE
8
C
0
lr
9
10
C
0
lr
11
PRE
12
C
0
lr
13
PRE
14
C
0
lr
15
PRE
16
C
0
lr
17
PRE
18
C
0
lr
19
PRE
20
C
0
lr
21
PRE
22
C
0
lr
23
PRE
24
C
lr
pan
ST
mute
MIDAS XL0004
INPUTS
+35
+60
gain
c
0
0
15
hi ‘Q’
0
15
0
15
hi ‘Q’
0
Send
Send
stereo input module
Return
Microphone
Left Input
Microphone
Right Input
Stereo Input Channels
In the process of describing the stereo input channel, controls will be described in order
Left
of signal flow.
The Heritage 4000’s stereo input channels each have two (2) balanced microphone inputs and one
insert point per input (i.e. two inserts per channel) on conventionally wired TRS quarter-inch
(0.25”) jack plugs.
Right
The insert points are balanced and hence two TRS quarter inch jacks provide the send and return
for each insert.
Note that stereo channels do not carry a direct output.
For clarity, both the inputs and inserts are labelled and .
48V
- Phantom power is provided to allow the connection of condenser microphones, direct inject
left right
boxes or other devices requiring +48V Phantom power to operate. When
15
bass
and right inputs.
400
freq
0
+6
PAD
PRE
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PREPRE
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PRE
lr
MONO
18
15
12
9
6
3
0
3
6
9
25
- Pad provides 25dB of attenuation to both input signals to allow the connection of
high output microphones or line-level signals. If the input signal is transformer coupled
(option), the use of the pad greatly reduces the risk of saturation at very low frequencies.
The pad LED will light when 25dB of attenuation is being applied.
PHASE
input) to occur in the input amplifier. The upper switch acts upon the left input whereas
the lower switch acts upon the right input allowing separate phase alteration between
inputs.
+25 +35
+15
gain
l
balance
5k
1k
20k
freq
bell
depressed, the 48V LED will light, indicating that phantom power is being
applied. NOTE: On stereo modules, +48V phantom is applied to both left
- The phase switches cause a 180 degree phase change (with respect to the
Ø
GAIN
- The input gain for both input amplifiers is continuously variable from +15dB to +60dB.
+60
c
Balance
- The balance pot is available on stereo input modules only and allows for the
reciprocal adjustment of the stereo left and right signals by +10dB to -10dB. This allows the
fine adjustment of the left and right signal levels.
r
Channel Equalisation
The treble equalisation is selectable 1.5 octave peaking (bell) or Midas shelving via the bell
switch.
15
0
treble
Freq
- The frequency centre of the EQ is continuously variable from 1kHz to 20kHz.
Treble
- Controls the gain of this EQ stage and is continuously variable from -15dB to +15dB
with a centre detent at 0dB.
15
Bell
- The bell switch selects between classic Midas Shelving EQ (bell switch OUT) and 1.5
octave bandwidth Bell EQ (bell switch IN).
48V
+25 +35
PAD
+15
O
O
+60
gain
c
l
balance
r
Operators Manual- Page 11
NO
st aux 1
PRE
NO
st aux 2
PRE
NO
st aux 3
PRE
NO
st aux 4
PRE
NO
staux 5
PRE
NO
staux 6
PRE
NO
staux 7
PRE
NO
staux 8
PRE
MIDAS
48V
+25
PAD
+15
O
O
balance
5k
1k
20k
freq
15
treble
bell
2k
400
8k
freq
INS
15
hi-mid
PRE
EQ
500
15
lo-mid
100
2k
freq
bell
100
15
20
400
freq
60 160
20
C
0
lr
1
PRE
2
C
0
lr
3
PRE
4
C
0
lr
5
PRE
6
C
0
lr
7
PRE
8
C
0
lr
9
10
C
0
lr
11
PRE
12
C
0
lr
13
PRE
14
C
0
lr
15
PRE
16
C
0
lr
17
PRE
18
C
0
lr
19
PRE
20
C
0
lr
21
PRE
22
C
0
lr
23
PRE
24
C
lr
pan
ST
mute
MIDAS XL0004
0
+6
gain
0
+6
gain
0
+6
gain
0
+6
gain
0
+6
gain
0
+6
gain
0
+6
gain
0
+6
gain
H404
+35
+60
gain
c
0
hi ‘Q’
0
0
hi ‘Q’
0
15
bass
400
freq
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PREPRE
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PRE
lr
MONO
18
15
12
9
6
3
0
3
6
9
25
0
15
15
15
2k
400
8k
freq
auxtender pod
500
100
2k
freq
bell
100
stereo input module
20
400
freq
Channel Operation
INS
PRE
EQ
Signal Routing and Busses
The Heritage 4000 has, in addition to the 8 stereo auxes, 24 assignable buss outputs which are discussed in
more detail later in this manual. Each pair of busses may be assigned:
This enables the Heritage 4000 to be used as an FOH, Monitor or FOH & Monitor console depending upon the
requirements of the user. The control over the assignable buss sends will change according to the status of the
buss output modules.
In MONO AUX mode:
C
0
lr
PRE
C
0
lr
PRE
hi ‘Q’
Both the lo-mid and hi-mid sections are selectable 1.5 or 0.5 octave equalisers.
0
Freq
- The frequency centre of the EQ is continuously variable from 400Hz to 8kHz (hi-
mid) and 100Hz to 2kHz (lo-mid).
15
hi-mid
lo/hi-mid
15
+15dB with a centre detent at 0dB.
0
hi ‘Q’
Otherwise the bandwidth of the EQ is set to 1.5 octaves
- Controls the gain of this EQ stage and is continuously variable from -15dB to
- When depressed the bandwidth of the EQ section is set to 0.5 octaves or Hi ‘Q’.
The bass equalisation is selectable 1.5 octave or Midas shelving via the bell switch.
15
15
Freq
lo-mid
hi ‘Q’
0
- The frequency centre of the EQ is continuously variable from 20Hz to 400Hz.
Bass
- Controls the gain of this EQ stage and is continuously variable from -15dB to
+15dB with a centre detent at 0dB.
Bell
- The bell switch selects between classic Midas Shelving EQ (bell switch OUT) and 1.5
octave bandwidth Bell EQ (bell switch IN).
- The High Pass filter frequency is continuously variable from 20Hz to 400Hz and is
15
bass
Freq
enabled by pressing the HPF switch in. The HPF LED indicates the status of the HPF.
15
60 160
20
400
freq
- When depressed, the insert point of the channel is engaged and the input return is connected to
INS
the channel signal path.
- When the pre switch is depressed the insert is selected PRE-EQ, otherwise the insert is selected
PRE
POST-EQ (i.e. the signal passes through the EQ before the insert point).
- The EQ switch enables the channel equalisation (including HPF) when depressed or bypasses the
EQ
channel equalisation when released.
Mono Auxiliary
Stereo Auxiliary
Stereo Group
The buss send pot is a dual function switching pot. Pressing the odd or even numbered pot
0
will enable the buss send. When enabled, the buss send LED will light according to the
setting of the PRE switch. With the PRE switch depressed, the signal will be sent PRE-Fader
13
14
PRE
will represent this:-
0
GREEN - Buss send enabled and POST-Fader
RED - Buss send enabled and PRE-Fader
to the buss, otherwise the signal will be sent POST-Fader to the buss and the bi-colour LED
+6
NONE - Buss send disabled
+6
15
16
PRE
The odd and even numbered buss sends control the level of signal sent to the buss. The buss
send is continuously variable from off (-inf) to +6dB.
Stereo Input ModuleStereo Input Module
NOTE: When in mono aux mode, a mono sum of the left and right inputs are sent to the buss.
Operators Manual- Page 12
NO
st aux 1
PRE
NO
st aux 2
PRE
NO
st aux 3
PRE
NO
st aux 4
PRE
NO
staux 5
PRE
NO
staux 6
PRE
NO
staux 7
PRE
NO
staux 8
PRE
MIDAS
48V
+25
PAD
+15
O
O
balance
5k
1k
20k
freq
15
treble
bell
2k
400
8k
freq
INS
15
hi-mid
PRE
EQ
500
15
lo-mid
100
2k
freq
bell
100
15
20
400
freq
60 160
20
C
0
lr
1
PRE
2
C
0
lr
3
PRE
4
C
0
lr
5
PRE
6
C
0
lr
7
PRE
8
C
0
lr
9
10
C
0
lr
11
PRE
12
C
0
lr
13
PRE
14
C
0
lr
15
PRE
16
C
0
lr
17
PRE
18
C
0
lr
19
PRE
20
C
0
lr
21
PRE
22
C
0
lr
23
PRE
24
C
lr
pan
ST
mute
MIDAS XL0004
0
+6
gain
0
+6
gain
In STEREO AUX mode:
0
+6
gain
0
+6
gain
0
+6
gain
0
+6
gain
0
+6
gain
0
+6
gain
H404
auxtender pod
C
0
lr
PRE
C
0
lr
PRE
13
14
15
16
PRE
PRE
The buss send pot is a dual function switching pot. Pressing the odd or even numbered pot will
enable the buss send
0
When enabled, the buss send LED will light according to the setting of the PRE switch. With
+6
the PRE switch depressed, the signal will be sent PRE-Fader to the buss, otherwise the signal
will be sent POST-Fader to the buss and the bi-colour LED will represent this:-
0
GREEN - Buss send enabled and POST-Fader
RED - Buss send enabled and PRE-Fader
+6
NONE - Buss send disabled
The odd and even numbered buss sends control the level of signal sent to the buss. The buss
send is continuously variable from off (-inf) to +6dB.
Stereo Input ModuleStereo Input Module
NOTE: When in stereo aux mode the odd numbered buss send pot sends the left input and the even numbered
buss send pot send the right input.
+35
In STEREO GROUP mode:
+60
gain
c
bass
0
0
15
hi ‘Q’
0
15
0
15
hi ‘Q’
0
15
stereo input module
C
0
lr
13
PRE
14
C
0
lr
15
PRE
16
PRE
PRE
The buss send pot is a dual function switching pot. Pressing the odd or even numbered pot will
0
enable the buss send.
In stereo group mode the left input is sent to the odd numbered buss and the right input sent
+6
to the even numbered buss. The signal is always send POST-Fader and POST-Pan at unity
gain. Hence the buss send pots have no other function.
0
+6
Pan and Routing
400
freq
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PREPRE
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PRE
lr
MONO
18
15
12
9
6
3
0
3
6
9
25
C
lr
pan
ST
mute
lr
MONO
18
15
12
9
6
3
0
3
6
9
25
MIDAS XL0004
- The stereo input channel has two pan controls, one for each input. Hence each input
PAN
can be placed anywhere in the stereo image. As well as placement, the pan controls can be
used to adjust the image width from full stereo to mono through to reverse stereo (left and
right crossed over).
Both pan controls have a constant power law (i.e. -3dB at the centre detent).
ST
- Connects the post fader channel signal to the master stereo buss via the pan controls.
MONO
MUTE
- Connects a mono sum of the post fader channel signal to the master mono buss
- The mute switch mutes the input channel at all points after the insert send. The mute
switch can also be controlled by the snapshot automation system.
METERS
- The meters show the peak pre-fader, post-EQ and insert input signal level of the
input channel.
Operators Manual- Page 13
NO
st aux 1
PRE
NO
st aux 2
PRE
NO
st aux 3
PRE
NO
st aux 4
PRE
NO
staux 5
PRE
NO
staux 6
PRE
NO
staux 7
PRE
NO
staux 8
PRE
MIDAS
48V
+25
PAD
+15
O
O
balance
5k
1k
20k
freq
15
treble
bell
2k
400
8k
freq
INS
15
hi-mid
PRE
EQ
500
15
lo-mid
100
2k
freq
bell
100
15
20
400
freq
60 160
20
C
0
lr
1
PRE
2
C
0
lr
3
PRE
4
C
0
lr
5
PRE
6
C
0
lr
7
PRE
8
C
0
lr
9
10
C
0
lr
11
PRE
12
C
0
lr
13
PRE
14
C
0
lr
15
PRE
16
C
0
lr
17
PRE
18
C
0
lr
19
PRE
20
C
0
lr
21
PRE
22
C
0
lr
23
PRE
24
C
lr
pan
ST
mute
MIDAS XL0004
0
+6
gain
0
+6
gain
0
+6
gain
0
+6
gain
0
+6
gain
0
+6
gain
0
+6
gain
0
+6
gain
H404
auxtender pod
safe’s
MUTE
FDR
AUTO
SET
1
2
10
The input fader panel can be used as a conventional channel fader or as part of the
automation system.
switches disable any remote control over the channel as selected:
Safe
MUTE Safe
- The channel mute will not be affected by automute or snapshot automation
solo
FDR Safe
master fader (including VCA mutes).
AUTO Safe
masters and assignment systems will remain active.
5
SET
the channel.
- The channel fader will not be affected by virtual fader automation or the VCA
- The channel will not be affected by snapshot automation. Automutes, VCA
- The set switch is a momentary switch that toggles the VCA and mute assignments for
Stereo Input ModuleStereo Input Module
0
+35
+60
gain
c
0
hi ‘Q’
0
0
hi ‘Q’
0
15
bass
400
freq
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PREPRE
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PRE
0
+6
PRE
lr
MONO
18
15
12
9
6
3
0
3
6
9
25
0
15
15
15
3
5
4
10
5
stereo input module
6
20
7
30
8
40
9
50
10
dB
FADER
The function varies according to the virtual fader setting. Normally, the fader gives continuous
adjustment of the input channel level from off (-inf) to +10dB.
In Virtual fader mode, the ‘real’ fader is used to trim the ‘virtual’ fader shown on the fader LEDs. When taken to
0dB the fader trims the virtual fader level (i.e. at 0dB the channel level is that of the virtual fader snapshot
memory but can be trimmed to +10dB or down to -inf).
In addition to showing VCA and mute assignments, the ten (10) LED’s adjacent to the channel fader perform a
number of different operations depending upon the settings on the central console.
FADER MANUAL RECALL AND NULL
In this mode, the STATUS LEDs are used to prompt the operator where to move the fader. If the fader is not at the
position stored in the current recalled snap shot, one/two LEDs will flash to indicate where the fader should be. A
single flashing LED indicates that the fader should positioned next to that LED, if two LEDs are flashing the fader
should be between the two LEDs. As the fader is moved closer to the required position the LED(s) will stop flashing
and will be replaced by a single continuously lit LED. Once the fader is at the correct position all LEDs will
extinguish.
FADER POSITION CHECK
When a scene's contents are being "checked" (see automation operation) the STATUS LEDs will indicate the fader
position stored in the scene by continuously illuminating one or two LEDs as appropriate.
VIRTUAL FADER RECALL
When in VIRTUAL FADER mode (see automation operation) the automation system will generate a "virtual" fader,
set to the level of the input fader at the time the snap shot was stored. The level of the virtual fader is added to the
level of the physical input fader. In this mode the STATUS LEDs indicate the "position" of the virtual fader by
illuminating a bar of LEDs starting at off (-inf).
In the central console, either mute or VCA operation can be selected. Then using the assign
keys, the appropriate VCA or automute can be selected. Pressing the channel set switch for
more than half a second will erase the existing VCA or automute assignments and then
accept the new ones. A quick press will simply toggle the new settings.
i.e. If the channel is assigned to VCA 1,3 and 4 and the assign keys are then set to 1 and 2
and the channel set button is pressed quickly. The resulting VCA assignment for the channel
would be VCA’s 2,3 and 4.
When setting mute or VCA assignments, the current assignment will be shown in the ten (10)
LED’s adjacent to the fader.
SOLO
- The SOLO switch sends the input channel signal to the PFL mono and AFL stereo
busses. If the switch is pressed for a short time it will latch on or off, but if it is held on for
more than 1 second the latching is disabled and when the switch is released the channel solo
will turn off. As a default the solo system is auto cancelling so each new solo cancels the last.
This function is time dependant which allows several solos to be active as long as they are
switched on at approximately the same time. The SOLO ADD MODE switch on the MONITOR
module defeats the auto cancelling and allows multiple channel monitoring. In this mode
input solos have priority over outputs and will temporarily override any active output solos.
The input solos also override any active VCA solos.
Operators Manual- Page 14
Auxtender Pod
Operators Manual- Page 16
p
g
a
a
n
i
c
n
0
1
PRE
l
r
c
0
2
PRE
l
r
The mono input pod is connected to the mono channel strips on the main Heritage 4000 console internally, hence
c
0
3
PRE
l
4
PRE
l
5
PRE
l
l
6
PRE
l
7
PRE
l
8
PRE
l
MIDAS
there are no connections directly to it on the rear of the pod.
r
c
0
The mono pod module allows the routing of signal to the 8 stereo auxes (outputs on the rear of the auxtender
r
pod).
c
c
mono pod module
0
r
r
Each stereo aux send is enabled by depressing the switch adjacent to the dual-concentric pan/gain
c
0
potentiometer. When enabled, the accompanying LED will illuminate according to the pre/post switch.
r
c
0
The pre/post switch determines whether the signal is sent PRE or POST Fader. This is displayed on the LED as:-
r
c
0
r
H4002
GREEN - Aux send is enabled and POST-Fader
RED - Aux send if enabled and PRE-Fader
Mono Pod ModuleMono Pod Module
The inner ring of the dual-concentric pot provides gain control for the aux send while the outer ring provides the
PAN (left-to-right balance) control allowing the user to position the channel within the stereo aux image.
NOTE: Unlike the Heritage 4000’s 24 assignable buss outputs, the stereo auxiliaries are always auxes.
0
1
PRE
+6
gain
0
2
PRE
gain
3
PRE
gain
4
PRE
gain
5
PRE
gain
6
PRE
gain
7
PRE
gain
8
PRE
gain
MIDAS
H4005
The stereo input pod is connected to the stereo channel strips on the main Heritage 4000 console internally, hence
+6
0
there are no connections directly to it on the rear of the pod.
+6
0
The stereo pod module allows the routing of signal to the 8 stereo auxes (outputs on the rear of the auxtender
pod).
+6
stereo pod module
0
Each stereo aux send is enabled by depressing the switch adjacent to the dual-concentric pan/gain
+6
0
potentiometer. When enabled, the accompanying LED will illuminate according to the pre/post switch.
+6
0
The pre/post switch determines whether the signal is sent PRE or POST Fader. This is displayed on the LED as:-
+6
0
+6
GREEN - Aux send is enabled and POST-Fader
RED - Aux send if enabled and PRE-Fader
The pot provides gain control for the aux send which is continuously variable from off (-inf) to +6dB.
Stereo Pod ModuleStereo Pod Module
_
brightness
brightness
_
NOTE: Unlike the Heritage 4000’s 24 assignable buss outputs, the stereo auxiliaries are always auxes.
Optics ModuleOptics Module
On the Heritage 4000 the control for the optics system has been moved to the auxtender pod.
NO
led
The optics system is controlled from the front panel on the auxtender pod.
optics module
Brightness
ON
+
LED Brightness
- Turns the XLR lamps on (depressed) or off (released).
- Brightness of the desk lamps (XLR Sockets on the rear of the console aux-extender pod).
- The brightness of the LEDs in the console surface (with the exception of the major function
LEDs) can be controlled.
+
H4052
Operators Manual- Page 17
direct
input
MIDAS
l
r
+21
0
+18
+15
+12
+9
+10
+6
level
+3
0
PRE
-3
insert
MUTE
SOLO
TALK
SAFE
vca
-6
-9
-12
-15
-18
-21
-24
-27
-30
-33
-36
INS
l
balance
output level
mute
9
10
solo
H4012
Meters
Direct Input
inf) to +10dB.
pod output module
r
Pre (insert)
0
otherwise the direct input signals are connected to the output channel POST-Insert.
+10
Mute (insert)
Solo (insert)
TALK
INS
- The 20 LED meters provide peak level metering of the stereo aux output of the desk.
- The level of the direct inputs (Left and Right) sent to the output is continuously variable from off (-
- When depressed the direct input signals are connected to the output channel PRE-Insert,
- The direct input signals are muted when the mute switch is depressed.
- The direct input signals are sent to the main Stereo AFL buss and to the main Mono PFL buss.
- The console talk buss is sent to the stereo aux output.
- When depressed, the stereo aux insert points (on the rear of the aux-extender pod) are engaged into the
Output ModuleOutput Module
aux output signal path. Otherwise the insert points are disabled.
Balance
Output Level
Safe
Mute
Solo
VCA 9/10
- Sets the stereo balance for the output.
- The stereo aux output level is continuously variable from off (-inf) to +10dB
- When enabled, the stereo aux mute is removed from the automation system.
- Mutes the output of the stereo aux. This can also be controlled by the mute snapshot system.
- Routes the stereo aux signal to the Stereo AFL and mono PFL busses.
- Enables the stereo aux to be controlled by VCA groups 9 and/or 10 including VCA mutes.
Auxtender Pod RearAuxtender Pod Rear
right
left
Connections to the auxtender pod can be found on the rear in the centre. Channel
send
connections (i.e. stereo aux sends for each channel) are connected internally so there is no
insert
need to make further connections.
return
The auxtender pod adds two (2) insert points (left and right), two (2) direct inputs (left and
right) and two (2) outputs (left and right) per stereo auxiliary.
PUSH
PUSH
direct
in left
Insert
The balanced insert points are connected by two (2) quarter inch (0.25”) TRS jack plugs
direct
conventionally wired. One send and one return for both left and right per stereo aux.
in right
Direct In
output
Two (2) balanced line-level direct inputs are provided (one left, one right) for each stereo
left
aux.
Output
output
right
Output from the consoles stereo auxes are provided on the rear of the auxtender pod by two
balanced XLR plugs conventionally wired (one left one right).
Connections
To ensure the correct and reliable operation or your Midas Heritage 4000 console, only high quality balanced
screened twisted pair audio cable and metal bodied connectors should be used.
The following diagrams are included as a guide for audio connections only, wiring for specialist cables or
connections may vary.
XLR
Pin 1 - Screen/Ground
Pin 2 - Hot Signal
Pin 3 - Cold Signal
1
3
2
Note: Sockets are viewed from the front face.
Operators Manual- Page 18
Quarter Inch Jack
Sleeve - Screen/Ground
Ring - Cold Signal
SR
T
Tip - Hot Signal
To ensure compatibility between the console and
interconnects, always ensure connectors and cable are of
reputable quality.
VCA Master Fader
Operators Manual- Page 20
MUTE
safe
solo
AUTO
10
5
0
5
10
20
30
40
50
dB
MUTE
safe
vca master fader
AUTO
10
5
0
5
10
The VCA Master Fader panel contains ten (10) long-throw assignable VCA Faders. The Heritage
4000’s input channels may be assigned to any of the ten VCA’s. The Auxtender and Assignable Buss
Outs may be assigned to VCA’s 9 and 10 only.
- The VCA mute switch acts on any post fader input channel or sub-group that is assigned to
MUTE
solo
be controlled from the corresponding VCA master.
The mute can also be controlled by the snapshot automation system.
AUTO (Safe)
- When depressed, the VCA is removed from snapshot automation control over the
VCA fader and VCA mutes.
VCA Solo
- The VCA solo switches are used to monitor the VCA faders by creating a mix of all the
inputs and sub-groups assigned to that VCA fader and routing the signal to the solo busses.
If the VCA solo is pressed in briefly, the solo will latch on or off. If the solo is pressed in for more than
VCA Master FaderVCA Master Fader
one second then the latch is cancelled and the solo will be cancelled as soon as the switch is
20
30
40
50
released.
When the console is in solo ADD mode, input channels take priority over VCA fader solos.
- The fader adjusts the effective output level provided by the VCA continuously from off (-inf)
Fader
to +10dB.
dB
Status LEDs
The eleven (11) LEDs adjacent to the fader have a number of purposes depending upon the mode of
the automation system:
assign
keys
1
2
3
4
5
6
7
8
9
10
When in VCA or Mute Assignment Mode
- All the status LEDs are off.
Fader Manual Recall and NULL
In this mode, the status LEDs are used to prompt the operator where to move the fader. When the fader is not at
the position stored in the current snapshot one or two LEDs will flash to indicate it’s preset position. A single
flashing LED indicates that the fader should be brought to this position. Two flashing LEDs indicate that the fader
should be positioned between the two. As the fader is moved towards the desired position the LED will light
continuously. Once the fader is in the correct position all LEDs will be extinguished.
Fader Position Check
When a scene’s contents are being checked (see the automation section) the status LEDs will indicate the fader
position by illuminating one or two LEDs as described above.
Virtual Fader Recall
When in virtual fader mode (see the automation section), the atomation system generated a ‘virtual’ fader, set to
the level of the fader at the time the snapshot was stored. The status LEDs will display the level of the fader by
illuminating all the LEDs from -inf to the position of the ‘virtual’ faderA
VCA Assign KeysVCA Assign Keys
The VCA and automute assignments are made using the assign keys.
1
vca assign keys
2
To complete the assignment, select the channel to be assigned to the VCA or automute (see below).
The automation system must be unlocked and the correct assign mode selected (VCA or Mute). See
the automation section in this manual for more information.
To add a mute or VCA assignment, the desired assign keys should be selected. Normally pressing an
assign key will deselect the previous one. Should more than one key be desired, a long press of the
desired key will select the additional key without cancelling the previous selection.
Operators Manual- Page 21
safe’s
MUTE
FDR
AUTO
set
1
2
3
4
5
6
7
8
9
10
Input FaderInput Fader
solo
input fader
10
5
0
5
10
20
30
40
50
70
dB
set
The channel SET key can be used in two ways:
Long Press
setting given by the assign keys.
Short Press
selected assign keys will toggle the assigns for the channel.
EG:
Steps:
VCA 1,2,3 and 4 are already assigned to a channel
VCA 2 and 5 are selected on the assign keys
The channel select key is [short] pressed
To assign a channel to a VCA fader or the automute system, the automation system must be
unlocked and the correct assign mode selected (VCA or Mute).
Select the desired automute or VCA using the assign keys (see above) and press the channel SET key.
- A long press will erase the previous VCA or automute settings for the channel and take the new
- A short press will not erase the previous VCA or automute settings for the channel. Instead, the
Result:
The channel will now be additionally assigned to VCA 5
The channel’s assignment to VCA 2 will be toggled
i.e. The channel will now have VCA assignments to
1,3,4 and 5.
Operators Manual- Page 22
Group Output Module
Operators Manual- Page 24
Send
Return
Send
Return
1
2
IN
1
OUT
Group OutputsGroup Outputs
The Heritage 4000’s assignable buss (group) outputs are located together on the rear of the console main body.
Pairs of group outputs and their corresponding insert points and direct input are located together
The group insert point is provided by two balanced TRS quarter-inch jack sockets, one send and one return per
group outputs
output. The top insert point on the console will insert into the odd numbered output while the lower insert point
will insert into the even numbered output.
IN
OUT
lr
+21+
+18+
+15+
+12+
+9+
+6+
+3+
0
-3-
-6-
-9-
-12-
-15-
-18-
-21-
-24-
-27-
-30-
-33-
-36-
green = stereo aux
red = mono aux
direct inputs
0
+10
level level
PRE
PRE
insert insert
MUTE
MUTE
SOLO
SOLO
11
0
+6
22
0
+6
33
0
+6
4
4
0
+6
5
5
0
+6
6
6
0
+6
7
7
0
+6
88
0 0
+6 +6
matrix
PRE PRE
fader
fader
PRE PRE
insert
insert
9
9
vca
10
10
to masters
ST
ST
MONO
MONO
c
r
l
l
pan pan
TALK TALK
INS INS
mute mute
SAFE SAFE
split
SOLO
solo solo
10
5
0
5
10
20
30
40
The output from the group is provided by a balanced male XLR socket. Again the top socket is used for the odd
numbered output while the lower socket is used for the even number output.
2
The direct input is connected to the group by a single balanced female XLR socket. Again the top socket is used for
the odd numbered group output while the lower socket is used for the even numbered group output.
In total the Heritage 4000 has 24 group outputs, direct inputs and group inserts.
Group ModuleGroup Module
group module
lr
+21+
+18+
+15+
+12+
+9+
+6+
+3+
0
0
+10
0
+6
0
+6
0
+6
0
+6
0
+6
0
+6
0
+6
-3-
-6-
-9-
-12-
-15-
-18-
-21-
-24-
-27-
-30-
-33-
-36-
Group Direct Inputs
direct inputs
+10
level level
PRE
insert insert
MUTE
SOLO
c
MATRIX Sends
r
88
+6 +6
matrix
PRE PRE
fader
PRE PRE
insert
The group module controls the signals sent to the assignable buss from the input channels.
LED Bargraph Meter
Buss Mode Select
- The LED bargraph meter shows the peak POST-Fader group output.
- An important feature of the Heritage 4000 is the flexible buss routing. This is
achieved by using the buss mode select switch at the top of the group module strip.
The configuration of the buss is set by pressing the switch which will cycle the buss mode through
three possible options:
green = stereo aux
Green
Red
Off
- Stereo Aux
- Mono Aux
- Sub-group Output
The console will cycle through these three options indefinitely each time
red = mono aux
- The direct input level is continuously variable from off (-inf) to +10dB. The direct
Level
0
0
input signal is summed with the group signal allowing for effects returns or the combination of
the switch is pressed, . This allows the console to be reconfigured quickly
and with ease.
a number of consoles. A direct input is provided for both the odd and even numbered group.
+10
Pre (insert)
- When depressed, the direct input is applied to the group signal pre-insert.
Otherwise, the direct signal is applies post-insert.
PRE
- When depressed, the direct input signal is muted from the group at all points.
Mute
MUTE
- When depressed, the direct input signal is sent to the mono PFL and stereo AFL master
Solo
SOLO
0 0
busses. The behaviour of the solo switch follows the solo behaviour of the rest of the console.
If in solo ADD mode, all input channels will take priority over this solo.
The H4000 has 8 mono matrix outputs. 8 matrix output sends are provided on each group
module for both the odd and even numbered outputs. The matrix send level is continuously
variable from off (-inf) to +6dB.
Pre (fader)
- When enabled, the matrix sends are sourced from the group signal PRE-fader.
Otherwise, the signal is sent from the group module POST the group output fader.
fader
insert
Pre (insert)
applied to the insert point (pre-insert). Otherwise, the signal is sourced after the insert return
(post-insert).
- When enabled, the matrix sends are sourced from the group signal before it is
group
HS0011
MIDAS
Operators Manual- Page 25
Send
Return
Send
Return
1
2
IN
1
OUT
9
10
group outputs
vca
9
10
VCA Assign
Group ModuleGroup Module
- Each of the groups may be assigned to either VCA 9 or VCA 10 control.
IN
OUT
lr
+21+
+18+
+15+
+12+
+9+
+6+
+3+
0
-3-
-6-
-9-
-12-
-15-
-18-
-21-
-24-
-27-
-30-
-33-
-36-
green = stereo aux
red = mono aux
direct inputs
0
+10
level level
PRE
PRE
insert insert
MUTE
MUTE
SOLO
SOLO
11
0
+6
22
0
+6
33
0
+6
4
4
0
+6
5
5
0
+6
6
6
0
+6
7
7
0
+6
88
0 0
+6 +6
matrix
PRE PRE
fader
fader
PRE PRE
insert
insert
9
9
vca
10
10
to masters
ST
ST
MONO
MONO
c
r
l
l
pan pan
TALK TALK
INS INS
To Masters
2
to masters
ST
MONO
l
pan pan
MONO
c
r
l
ST
ST
c
- When depressed, the ST switch causes the group output to be routed to the master
stereo buss.
Mono
- When depressed, the MONO switch causes the group output to be routed to the
master mono buss.
PAN
- When sent to the master stereo buss, the PAN control places the group signal within
the stereo image. The PAN pot has a constant power law (i.e. -3dB at the centre detent).
r
Group module
Talk
TALK TALK
INS INS
0
+10
0
0
0
0
0
0
0
r
mute mute
SAFE SAFE
split
SOLO
solo solo
+6
+6
+6
+6
+6
+6
+6
c
- When depressed, signal from the monitor module (i.e. oscillator or microphone) are
routed into the group signal.
INS
- When depressed, the insert point of the channel is enabled and the group insert return
is connected to the group signal path.
MUTE
- When depressed, the mute for the group output is toggled. When lit, the group signal
is muted at every point after the group insert send. This mute is also controllable from the
snapshot automation system.
Safe
- When depressed, the group mute is removed from the snapshot automation system
control.
Solo (Split)
- When placed in solo split mode, the AFL solos are changed from mono to
stereo.
SOLO
- The solo switch sends the group to the stereo AFL and the mono PFL buss and obeys
the console’s standard solo behaviour. Buss outputs take lower priority than input channels
when the console is in solo ADD mode.
Fader
- The group output level is continuously variable from off (-inf) to +10dB for each
output.
mute mute
SAFE SAFE
split
SOLO
solo solo
10
5
0
5
10
20
30
40
group
MIDAS
HS0011
MIDAS
group
HS0011
Operators Manual- Page 26
Matrix Module
Operators Manual- Page 28
Send
Return
Send
Return
IN
OUT
IN
OUT
+21+
+18+
+15+
+12+
+9+
+6+
+3+
0
-3-
-6-
-9-
-12-
-15-
-18-
-21-
-24-
-27-
-30-
-33-
-36-
+21+
+18+
+15+
+12+
+9+
+6+
+3+
0
-3-
-6-
-9-
-12-
-15-
-18-
-21-
-24-
-27-
-30-
-33-
-36-
masters
control
VCA VCA
TALK
TALK
INS
mute mute
SAFE SAFE
split
SOLO
solo solo
10
5
0
5
10
20
30
40
dB
3-4
masters
control
VCA VCA
TALK
TALK
INS
mute mute
SAFE SAFE
split
SOLO
solo solo
10
5
0
5
10
20
30
40
dB
matrix
XL0041
MIDAS
1
Matrix ConnectionsMatrix Connections
2
The Heritage 4000’s matrix outputs are located together on the rear of the console main body. Pairs of matrix
outputs and their corresponding insert points and direct input are located together
matrix outputs
1
The matrix insert point is provided by two balanced TRS quarter-inch jack sockets, one send and one return per
output. The top insert point on the console will insert into the odd numbered output while the lower insert point
will insert into the even numbered output.
The output from the matrix is provided by a balanced male XLR socket. Again the top socket is used for the odd
2
numbered output while the lower socket is used for the even number output.
The direct input is connected to the matrix by a single balanced female XLR socket. The matrix direct inputs do not
have level control and are connected to the matrix buss at unity. The intention being that matrix direct inputs
should be used for console linking or similar operation.
Matrix ModuleMatrix Module
matrix module
The HS0041 matrix module provides control for four (4) matrix outputs per module. Two modules
are required per console.
For this reason, the upper and lower parts of the matrix module are duplicated to allow control over
all four matrix outputs per module. Ergo, we will consider only one pair of meters and controls per
module.
Meters
(post-fader) output level from the matrix.
masters
control
INS
VCA VCA
TALK
INS
VCA
master fader so that the matrix output tracks changes in the master output.
Talk
TALK
the talk mic, generator or external talk input may be routed to the matrix.
INS
- When depressed, the matrix insert is enabled and the insert return is routed to the matrix
INS
signal path.
Mute
mute mute
SAFE SAFE
split
SOLO
points after the insert send. This mute switch can be controlled by the snapshot automation
system.
Safe
Solo (split)
Solo
solo solo
10
INS
5
and obeys the normal console solo behaviour. In solo add mode, input channels will take priority
over matrix solos.
Fader
(-inf) to +10dB.
0
5
10
20
30
40
dB
matrix
MIDAS
XL0041
- The LED bargraph meter monitors the peak
- When depressed, the matrix output is assigned to VCA control from the
- When depressed, the matrix output is connected to the monitor module talk buss so that
- The matrix mute switch toggles the matrix mute. When lit, the matrix is muted at all
- The safe switch removes the matrix mute from automation system control.
- The solo split switch changes the matrix AFL solos from mono to stereo.
- The matrix solo switch sends the matrix signal to the AFL stereo and PFL mono busses
- The matrix fader allows the continuous adjustment of the matrix output levels from off
+21+
+18+
+15+
+12+
+9+
+6+
+3+
0
-3-
-6-
-9-
-12-
-15-
-18-
-21-
-24-
-27-
-30-
-33-
-36-
Operators Manual- Page 29
Master Output Module
Operators Manual- Page 30
Master OutputsMaster Outputs
MASTER
R
M
L
MASTER
R
M
L
l m-c r
+21+
+18+
+15+
+12+
+9+
+6+
+3+
0
-3-
-6-
-9-
-12-
-15-
-18-
-21-
-24-
-27-
-30-
-33-
-36-
s
o
l
o
i
n
direct inputs
0
+10
level
PRE PRE
PRE
insert insert
MUTE
SOLO
1
left
sum
right
2
left
sum
right
3
left
sum
right
4
left
sum
right
5
left
sum
right
6
left
sum
right
7
left
sum
right
8
left
sum
right
PRE PRE
fader insert
mono (centre)
TALK
INST
balance
SAFE
balance
l
TALK
INS
mute
SAFESTSAFE
VCA
link to
mono
10
5
0
5
10
20
30
40
dB
masters
MIDAS
+21+
+18+
+15+
+12+
+9+
+6+
+3+
-12-
-15-
-18-
-21-
-24-
-27-
-30-
mono
mute
mute
to mono
SEND
RETURN
SEND
RETURN
SEND
RETURN
The Heritage 4000 main outputs are located on the rear of the console. Six (6) male XLR sockets conventionally
wired are provided - two (2) each for Left, Right and Mono (centre).
Six (6) balanced TRS quarter-inch jack sockets provide the send and return sockets for the master output inserts
(two (2) for each Left, Right and Mono).
Master ModuleMaster Module
l m-c r
+21+
+18+
+15+
+12+
+9+
-3-
-6-
-9-
-33-
-36-
level
0
p
a
c
e
0
+10
PRE
MUTE
SOLO
0
+6
0
+6
0
+6
0
+6
0
+6
0
+6
0
+6
0
+6
0
+10
r
TALK
INS
10
5
0
5
10
20
30
40
dB
XL021
+6+
+3+
master module
0
-3-
-6-
-9-
-12-
l
-15-
-18-
-21-
-24-
-27-
-30-
-33-
-36-
Direct Inputs
direct inputs
+10
level
PRE PRE
PRE
insert insert
MUTE
SOLO
left
sum
right
PRE PRE
fader insert
mono (centre)
TALK
INST
balance
SAFE
+21+
+18+
+15+
+12+
+9+
+6+
+3+
-12-
-15-
-18-
-21-
-24-
-27-
-30-
-33-
-36-
0
8
mono
0
-3-
-6-
-9-
level
mute
PRE
MUTE
SOLO
0
+10
Meter
- The output LED bargraph meters monitor the peak master stereo output level (post-
fader)
s
o
l
o
i
n
Direct Input
0
and right direct inputs are summed into the left and right master signals (respectively) and
p
Solo In Place
l
mode. In this mode, when a solo is made on the console all other channels are
a
muted. Individual channels can be protected from this by enabling their
c
channel mute safes.
e
- The solo in place switch sets the console to be in Solo In Place
- The direct input level is continuously variable from off (-inf) to +10dB. The left
can be used for effects returns, console linking, etc... The master mono also has a direct
input which is intended for console linking only.
+10
Pre (insert)
- When depressed, the direct input is combined with the main signal before the
insert points. Otherwise, the direct input is combined with the main signal after the insert
point return.
Mute
- When depressed, the direct input is muted from the master channel at all points.
Solo
- When pressed, the direct input is sent to the stereo AFL and the mono PFL busses and
obeys the console’s standard solo behaviour. When the console is in solo ADD mode, input
channels take priority over this solo.
Matrix Send
stereo and mono channels. The inner ring of the dual-concentric pot sends from the master
0
- Each of the H4000’s eight mono matrix busses can be sent from the master
mono and is continuously variable from off (-inf) to +6dB.
The outer ring of the dual-concentric pot outputs either from the left channel, right channel or
as a mono sum of the left and right channels (switch selectable). The amount sent to the
+6
matrix is then continuously variable from off (-inf) to +6dB.
Pre (fader)
- When depressed, signal is routed to the matrix before the main fader.
Otherwise the signal is routed POST-fader.
Pre (insert)
- When depressed, signal is routed to the matrix before the main insert points.
Otherwise, the signal is routed to the POST-insert.
Mono Level
- The level sent to the mono (centre) output is continuously variable from off (-
inf) to +10dB.
Talk
- The mono talk switch connects the mono output to the monitor module so that the
internal talk or oscillator may be routed to the mono output (see the monitor module section
later in this manual).
INST
- When depressed, the INST switch connects the mono insert point into the mono
master signal path.
Safe
- When depressed, the mono channel is removed from the mute snapshot automation.
Mute
- The mono mute switch toggles the mono mute. When lit, the mono signal is muted at
all points after the mono insert send. This switch can be controlled by the snapshot
automation system.
Operators Manual- Page 31
Master ModuleMaster Module
l m-c r
+21+
+18+
+15+
+12+
+9+
+6+
+3+
0
-3-
-6-
-9-
-12-
-15-
-18-
-21-
-24-
-27-
-30-
-33-
-36-
s
o
l
o
i
n
direct inputs
0
+10
level
PRE PRE
PRE
insert insert
MUTE
SOLO
1
left
sum
right
2
left
sum
right
3
left
sum
right
4
left
sum
right
5
left
sum
right
6
left
sum
right
7
left
sum
right
8
left
sum
right
PRE PRE
fader insert
mono (centre)
TALK
INST
balance
SAFE
balance
mono
+21+
+18+
+15+
+12+
+9+
+6+
+3+
-3-
-6-
-9-
-12-
-15-
-18-
-21-
-24-
-27-
-30-
-33-
-36-
level
mute
balance
Balance
stereo left and right signals by +3dB to off. This allows fine adjustment of the left, right power
- The balance (Pan) control gives continuous and reciprocal adjustment of the
levels and imaging.
l
TALK
INS
0
master module
mute
SAFESTSAFE
p
l
a
c
e
0
+10
PRE
MUTE
SOLO
0
+6
0
+6
0
+6
0
+6
0
+6
0
+6
0
+6
0
+6
0
+10
10
5
0
5
10
20
30
40
dB
VCA
link to
mono
r
TALK
INS
mute
to mono
10
0
5
10
20
30
40
dB
Talk
- The left/right talk switch connects the left/right output to the monitor module so that
the internal talk or oscillator may be routed to the output (see the monitor module section
later in this manual).
INS
- The INS switch connects the left/right insert return to the left/right signal path.
Mute
- The left/right mute switches toggle the left/right mute. When lit, the left/right signal
is muted at all points after the insert send. These mute switches can be controlled by the
snapshot automation system.
VCA (link to mono)
- When enabled, the mono signal is VCA controlled by the stereo
master fader so that the mono output tracks changes in stereo output fader.
ST (to mono)
- When depressed, a mono sum of the stereo signal (pre-insert) is sent to the
main mono buss.
Fader
- The master fader adjusts the level of the master output and is continuously variable
from off (-inf) to +10dB
5
masters
MIDAS
XL021
l
TALK
INS
mute
SAFESTSAFE
VCA
link to
mono
10
5
0
5
10
20
30
40
dB
masters
MIDAS
mute
to mono
XL021
r
TALK
INS
10
5
0
5
10
20
30
40
dB
Operators Manual- Page 32
Monitor Module
Operators Manual- Page 34
Monitor ConnectionsMonitor Connections
The Heritage 4000 local outputs are located on the rear of the console. Six male XLR sockets conventionally wired
are provided - two (2) each for Left, Right and Mono (centre). The local ouputs are labelled ‘Local Ouputs’ and ‘B
Speaker’.
Six (6) balanced TRS quarter-inch jack sockets provide the send and return sockets for the local output inserts
(two (2) for each Left, Right and Mono).
+21+
+18+
+15+
+12+
+9+
+6+
+3+
-3-
-6-
-9-
-12-
-15-
-18-
-21-
-24-
-27-
-30-
-33-
-36-
300
1kHz
signal
generator
PINK
generator
internal
TALK
talk mic
+40
+60
+20
mic gain
talk
internal
PRE
TALK
input
MONO
masters
SOLO
mono source
mono output
C/O
mute
0
100
freq
level
generator
external
to all
internal
level
talk
external
meter
change
over
level
level
output ‘b’
+21+
+18+
Meters
+15+
+12+
+9+
+6+
+3+
0
monitor module
-3-
-6-
-9-
-12-
-15-
-18-
1k
10k
0
+10
-21-
-24-
-27-
-30-
-33-
-36-
Signal Generator
1k
300
1kHz
100
10k
0
+10
0
+10
0
+10
generator
generator
internal
signal
PINK
freq
0
+10
level
generator
external
LOCAL
R
M
L
B SPEAKER
R
M
L
R
RETURN
SEND
MONITOR
RETURN
M
RETURN
SEND
Monitor ModuleMonitor Module
- The bargraph LED meters show the peak levels of the left and right monitor paths.
1kHz
- The 1kHz switch overrides the variable frequency control, replacing it with a constant
1kHz sine tone.
Freq
- The freq control gives continuous adjustment of the oscillator signal frequency from
50Hz to 5kHz.
Pink
- The pink switch overrides the oscillator and replaces it with a pink noise generator.
Level
- The generator level control gives continuous adjustment of the signal generator peak
output from off (-inf) to +10dB.
Generator to Internal
all and talk select busses.
Generator to External
XLR.
- This switch connects the signal generator to the console’s internal talk
- This switch connects the signal generator to the external output talk
L
SEND
MUTE
ST
MONO
stereo source
stereo output
C/O
O
left only
ON
l-r reverse
L
mute
SOLO
SOLO
solo clear
10
5
0
5
10
20
30
40
dB
monitor
MIDAS
0
+10
phones
EXT
SOLO
output ‘b’
MONO
sum
PAD
-20dB
mute
add mode
pre fade
(pfl)
XL031
Talk
to all
TALK
internal
talk mic
R
+40
+60
+20
mic gain
10
5
0
5
10
20
30
40
dB
talk
internal
PRE
external
meter
change
over
Talk to All
mic or generator to all outputs.
Talk Mic
150 ohm microphone signals.
Mic Gain
talk mic is operated in conjunction with a peak limiter which is factory set at +10dBu.
0
Level
+10
level
Talk to Internal
talk select busses. Note: Local outputs are attenuated by 20dB when this switch is activated to
help prevent feedback.
Talk to External
talk
Pre (Meter Change Over)
post insert) and output and buss meters are post-fade. When the Meter Change Over switch is
enabled, the metering is changed to monitor the input amplifier level and the buss driver level.
i.e. the input meters become pre-fade, pre-eq and pre-insert. The buss and output meters
become pre-fade.
Note: the monitor meter is the only meter on the console not changed.
- When enabled, this switch overrides all other talk buss switches and routes the talk
- The talk mic socket is a conventionally wired balanced microphone socket accepting
- The gain of the talk mic is continuously variable from +20dB to +60dB. Note: The
- The level of the talk mic is continuously variable from off (-inf) to +10dB.
- This switch connects the talk mic signal to the console’s internal talk all and
- This switch connects the talk mic signal to the external output talk XLR.
- In normal operation, input meters are pre-fade (but post eq and
Operators Manual- Page 35
Mono source
Monitor ModuleMonitor Module
+21+
+18+
+15+
+12+
+9+
+6+
+3+
-3-
-6-
-9-
-12-
-15-
-18-
-21-
-24-
-27-
-30-
-33-
-36-
300
1kHz
signal
generator
PINK
generator
internal
TALK
talk mic
+40
+60
+20
mic gain
talk
internal
PRE
TALK
input
MONO
masters
SOLO
mono source
mono output
C/O
mute
MUTE
ST
MONO
stereo source
stereo output
C/O
O
left only
ON
l-r reverse
L
mute
SOLO
SOLO
solo clear
10
5
0
5
10
20
30
40
dB
monitor
MIDAS
0
100
freq
level
generator
external
to all
internal
level
talk
external
meter
change
over
level
level
output ‘b’
0
+10
phones
EXT
SOLO
output ‘b’
MONO
sum
PAD
-20dB
mute
add mode
pre fade
(pfl)
XL031
TALK
input
level
MONO
masters
SOLO
mono source
level
Mono output
mono output
output ‘b’
C/O
mute
monitor module
1k
10k
0
Phones
+10
+10
phones
MUTE
0
+10
Stereo source
0
+10
0
+10
ST
MONO
stereo source
Stereo output
R
stereo output
output ‘b’
C/O
O
sum
ON
-20dB
L
10
5
0
5
10
20
PAD (-20dB)
30
40
dB
left only
l-r reverse
- The LEFT switch routes the left hand signal to both left and right local monitor outputs.
L
- The RIGHT switch routes the right hand signal to both left and right local monitor outputs.
R
0
Talk (input)
- The talk input switch connects the external talk input to the local mono monitor
output.
+10
0
+10
- The level of the external talk inputs is continuously variable from off (-inf) to +10dB.
Level
Mono (masters)
- The Mono (masters) switch routes the post fader mono master mix to the
local mono monitor output.
- The Solo switch routes solo signals to the local output whenever a solo is active on the
Solo
console. This overrides any signals sent from the mono buss but does not override talk inputs.
C/O (output ‘b’)
- The mono output ‘b’ C/O switch disconnects the mono local monitor output
from the main ‘a’ output and reconnects it to the secondary ‘b’ output.
- The mono output mute switch toggles the mono output mute. When lit, the local mono
Mute
monitor output is muted.
0
Phones
- The headphone output level control gives continuous adjustment of the headphone
level from off (-inf) to +10dB.
- When depressed, the headphone output is muted.
Mute
- When depressed, the post fader master stereo ouputs are routed to the local stereo
ST
monitor outputs.
EXT
SOLO
- When depressed, the external stereo input (2 track, etc...) is routed to the stereo local
EXT
monitor outputs.
MONO
- The mono master switch routes the post fader master mono buss to the stereo local
monitor outputs.
- The solo switch routes the solo buss signal to the stereo local monitor outputs when
SOLO
ever a solo is in place on the console overriding signals sent from the stereo master, mono
master or any external input.
C/O (output ‘b’)
- The stereo output C/O switch disconnects the local stereo ‘a’ outputs and
connects the secondary ‘b’ local stereo monitor outputs.
Ø (left only)
MONO
the local stereo monitors to be inverted.
PAD
Mono (sum)
summing loss.
R
ON (l-r reverse)
- The stereo output left only phase switch causes the phase of the left output of
- The mono sum switch adds the left and right monitor signals with a 4.5dB
- When depressed, the left hand monitor signal is routed to the right hand
outputs and the right hand monitor signal is routed to the left hand output.
- When depressed, the three local monitor outputs are attenuated bu 20dB. 20dB
attenuation is also provided when talk inputs are enabled to help prevent feedback.
Operators Manual- Page 36
Monitor ModuleMonitor Module
1kHz
signal
generator
PINK
generator
internal
TALK
talk mic
+40
+60
+20
mic gain
+21+
+18+
+15+
+12+
+9+
+6+
+3+
0
-3-
-6-
-9-
-12-
-15-
-18-
-21-
-24-
-27-
-30-
-33-
-36-
300
100
10k
freq
+10
level
generator
external
to all
internal
+10
level
1k
0
0
mute
SOLO
SOLO
solo clear
10
5
0
monitor module
5
10
20
30
40
dB
monitor
MIDAS
mute
add mode
pre fade
(pfl)
10
10
20
30
40
dB
XL031
Mute (left)
Mute (right)
Solo (add mode)
- toggles the mute on the left hand side of the local monitor outputs.
- toggles the mute on the right hand side of the local monitor outputs.
- The solo add mode switch changes the behaviour of the consoles solo
operation. See the panel below for detailed information)
Solo (pre fade PFL)
- The solo PFL switch sends the mono PFL bus signals to the headphones
and local monitor outputs in place of the stereo AFL solo buss signals.
Solo Clear
- The solo clear button has two functions:-
1 - The solo clear button will light to indicate that a solo is in place on the console.
2 - Pressing the solo clear button while lit will clear any active solos on the desk.
- The monitor fader allows continuous adjustment of all three local monitor output
Fader
signals from off (-inf) to +10dB.
5
0
5
talk
internal
PRE
TALK
input
MONO
masters
SOLO
mono source
mono output
C/O
mute
MUTE
ST
MONO
stereo source
stereo output
C/O
O
left only
ON
l-r reverse
L
mute
SOLO
SOLO
solo clear
10
5
0
5
10
20
30
40
dB
monitor
MIDAS
talk
external
meter
change
over
level
level
output ‘b’
0
+10
phones
EXT
SOLO
output ‘b’
MONO
sum
PAD
-20dB
mute
add mode
pre fade
(pfl)
XL031
Solo BehaviourSolo Behaviour
0
Normal Solo Function
+10
0
When a channel solo is activated, the signal is sent to the PFL mono and the AFL stereo busses.
+10
If the switch is pressed for a short time, it will latch the solo on or off. The solo system is, by default, auto
cancelling. This means that when a solo is pressed, any previous solos will be released. However, if a number of
solos are pressed within a short period (i.e. almost at the same time) of each other, a number of solos can be
operated simultaneously.
If a solo switch is pressed for more than one second, the solo latch is disabled and the solo is cancelled as soon as
the solo switch is released.
Solo Add Mode
When in solo add mode (solo add mode switch on the monitor module) the auto cancelling solo function is disabled
allowing multiple solos to be activated. There is a priority order for the solo system in this mode which is:-
R
(High) Input Solos
(Low) Direct In Solos
10
In the case of a high priority solo being placed after lower priority solo, the higher priority solo will be sent to the
5
PFL and AFL busses and the lower priority solo will not. Once the higher priority solo is removed, the lower priority
0
solo will then be sent to the AFL and PFL busses.
5
10
20
Solo Clear
30
40
The Solo Clear switch on the monitor module will illuminate to show that a solo is in place on the console.
dB
Pressing the Solo Clear switch on the monitor module will release all active solos on the console.
VCA Solos
Group Solos
Output Solos
Operators Manual- Page 37
Console Automation
Operators Manual- Page 38
VCA and Mute assignment
LOCK
Automation
assign
keys
mode
switches
lock
To make assignments to any of the Heritage 4000’s VCA or automutes, the system must
first be unlocked by pressing the lock key (mode switches).
Pressing the lock key will toggle the console lock between off and on. When the switch is
illuminated, changes are not permitted.
1
2
3
4
5
6
7
8
9
10
vca
mute
fader
virtual fader
recall mode
a
After 90 seconds of inactivity, the system will automatically return to a locked state.
VCA
To make assignments to the VCA, VCA mode must be selected by pressing the VCA key. This
may only be done when the console is unlocked. VCA mode is enabled when the VCA key is
illuminated.
MUTE
To make assignments to the Automute system, Mute mode must be selected by pressing
the mute key. Again, the system must be unlocked to do this. Mute mode is enabled when
the Mute key is illuminated.
ASSIGN KEYS
b
To make a channel assignment to a VCA or automute, the console must be unlocked and the
mode must be selected. Then the desired VCA (or automute) can be selected using the
assign keys.
A short press of the assign key will select the key and clear all previous selections. A long press, however, will
allow multiple selections to be made. Pressing an assign key that is illuminated (selected) will cause it to be deselected and the internal LED will be extinguished.
To assign the VCA or Mute to an input channel, press the channel SET key.
A long press on the channel SET key will clear any previous assignments and make new assignments according to
the assign keys.
A short press will toggle the channels existing assigns with the selected assign keys.
i.e.
If a channel has a mute assignment to 1,2 & 3
In Mute mode, Assign keys 2 & 4 are selected
The channels SET key is pressed
Result
Mute 1, 3 & 4 are assigned.
Clear Mode
Mute and VCA assignments may be cleared at the same time. Pressing the VCA and Mute mode switches for
more than half a second will select both VCA and Mute modes. Ensuring all the assign keys are off, longpress the channel SET key for the channel to be erased. This will clear all Mute and VCA assignments for the
channel.
Similarly, to clear only the Mute or VCA assigns, repeat the steps above except select only VCA or Mute
mode.
Operators Manual- Page 39
MUTE recall
To recall an automute, press the automute recall switch. Any channel that is assigned to that
a
u
automute will be muted/unmuted.
1
If a channel is assigned to more than one automute, it’s mute will not be released until all
automute switches to which that channel are assigned are released.
2
Automation
t
o
m
u
t
e
s
Backup
virtual fader
recall mode
3
4
The dot in the upper left hand corner of the numeric
5
display indicates that the scene number indicated
is the scene in current usage.
Dot NotationDot Notation
6
7
8
act
scene
9
10
The Heritage 4000 automation and assignment system uses an on-board micro card to control
the function of the console.
In fact, the H4000 has a redundant micro card should a fault occur on the other. For reliability,
changes to the console are stored to both micro cards so that the information held on each is
identical.
The dot in the lower right hand corner of the
numeric display indicates that the scene number
indicated hold scene data (i.e. is not empty).
a
b
Beneath the ‘virtual fader recall mode’ switch on the mode switches console are two indicator
LEDs and a switch.
The two LEDs indicate which of the two micro cards are currently in operation or that there is a fault:-
Green LED - Card Active
No LED - Card inactive
Red LED - Card is damaged or not responding - Call an engineer as soon as possible
The switch can be used to switch between the two micro cards should one fail.
This is a major function. During the transition,
there will be no control over faders and output
levels WILL change. Treat the A/B switch with
!
the same caution as power up/down.
Operators Manual- Page 40
Snapshot automation
Automation
automation
store
insert
check
act
act/scene
c/o
last
system
midi
delete
cancel
down
now
system
copy
confirm
scene
next
Snapshots of the consoles automation controls can be stored as SCENES or as ACTS.
Essentially, there is no difference between an act and a scene memory except the way in
which they are numbered.
As in a play or script, scenes are subsets within an act.
STORE
Pressing the store key will store the current console assignments and settings to the
snapshot memory (as indicated on the numeric display).
NOTE: To prevent overwriting snapshot memories, the console can be locked. See later
in this section.
INSERT
The insert key allows the operator to insert a snapshot memory (at the number
indicated on the numeric display). All snapshot memories in the same scene after this
point will be re-numbered (incremented by one).
COPY
up
The copy function allows the snapshot (indicated on the numeric display) to be copied to
a temporary memory location. This can then be stored or inserted in the normal manner
OR a fast scene number can be assigned to the scene by pressing the desired fast scene
key.
DELETE
The delete key will delete the contents of the scene indicated on the numeric display.
automation
store
insert
check
act
act/scene
c/o
system
midi
delete
cancel
down
system
copy
confirm
scene
CHECK
The check key can be used to preview the contents of a scene memory without actually
recalling the memory.
Mute settings will be shown in the SAFE switches so that the actual channel mutes are
not obscured. Whilst in this mode, the act/scene changeover and the up/down switches
can be used to step through the memories on the console.
The lower 6 keys are used to navigate or load the scene and act memories.
Act/Scene C/O
The act/scene changeover key switches between act or scene mode. The current mode
is indicated under the numeric display.
Up/Down
The up and down keys allow the user to scroll through the scene or act memories on the
console and navigate through menus. The numeric display shows the number of the
memory but note that using the up/down keys does not load the memory.
Please note the function of ‘dots’ on the numeric display (as shown on page38).
Last/Now/Next
The last, now and next allow quick the recall of memories.
up
- Recalls the snapshot memory indicated on the numerical display.
Now
last
now
- Recalls the snapshot memory that numerically precedes the snapshot memory
Last
next
that is currently active or stored.
- Recalls the snapshot memory that numerically proceeds the snapshot memory
Next
that is currently active or stored.
Operators Manual- Page 41
Fader automation system
Automation
assign
keys
1
2
3
4
5
6
7
8
9
10
mode
switches
lock
vca
mute
fader
virtual fader
recall mode
a
b
Fader
The fader switch enables the fader assignment/display mode for the fader tray LED’s.
Virtual Fader Recall Mode
The virtual fader recall mode switch enables the operation of the virtual fader system.
Real Fader Mode
In real fader mode, all of the internal VCA systems are controlled by the real (physical)
faders. The automation system can assist in the control of each real fader by prompting the
user using the 11 LEDs next to each fader.
The fader positions stored in a snapshot memory can be viewed by recalling the scene and
pressing the virtual fader recall mode switch. The LEDs will flash to indicate the stored
position of the fader. As the fader is moved towards the position shown, the LED will stay
alight continuously until the fader is in the correct position. If the fader is just under the
stored position, a LED will light above the fader position. If the fader is just over the stored
position, a LED will light below the fader position until the fader is positioned to the correct
level.
Virtual Fader Mode
In virtual fader mode, the console automation takes control of all the internal VCA systems
and displays a representation of the virtual fader position using the 11 LEDs next to the real
fader. Additional adjustment trims can be added if necessary.
If the console is unlocked to RECALL mode or higher, scenes may be recalled but not stored
or overstored. If fader adjustments are required, the fader must be ‘picked up’ by taking it
to the 0dB level. Fader adjustments then remain active for all subsequent scenes recalled
(unless the adjustment is cleared).
Access levels
system
If the console is unlocked to STORE mode or higher, scenes may be recalled, stored and
overstored. When storing a snapshot, the virtual fader level is always stored, regardless of
the real fader. If fader adjustments are required, the fader must be ‘picked up’ by taking it
to the current virtual fader position. When a new scene is recalled, the fader adjustment is
removed forcing the user to ‘pick up’ the fader again before making further adjustments.
The Heritage 4000’s automation system can be locked so that it’s memories cannot be
changed, erased or overwritten by mistake.
This is done in the SYSTEM menu (more explanation of this later in this section) under the
LOCK section.
Four (4) options are available which will limit the amount of access granted to users of the
console.
TOTaL
All automation and assignment functions disabled
ReCALl
Only recall and assignment functions are available
STORe
Scene storage/editing, recall and assignment are available
SYSTem
All functions are available
This protection is designed as a protection against accidental rather than security
protection as it is not password protected.
Operators Manual- Page 42
Automation
Virtual fader recall vs store
The differences between virtual fader recall and virtual fader store modes are discussed in more detail:-
Recall Mode Store Mode
Recall a new scene and leds will indicate the current
virtual fader positions. Note that that these leds
indicate the actual fader setting that is
always
controlling the audio.
To adjust a virtual fader move the real fader to
0dB. When the fader is at 0dB the red set led will
illuminate indicating that the virtual fader is ready
for adjustment. Moving the fader will add an offset
to the original stored scene. The amount of offset is
clearly indicated by the physical position of the
fader above or below the 0dB line. The virtual fader
position can also be viewed via the leds (plus any
adjustment offsets).
If a new scene is recalled the fader adjustments
made will be added to the new scene also. The
adjustment can be removed by returning the fader
to the 0dB position or by “clearing” the fader to infin as detailed below.
In order to make the virtual fader leds as clear to
view as possible it might be desirable to “clear” all
non adjusted faders to -infin. To do this press the
virtual fader switch and then move any fader that is
to be “cleared” to the -infin position. Press the
virtual fader switch again and the faders will be
ready to be active again. Only faders which do not
need adjustment should be cleared as any virtual
fader level changes made prior to clearing will be
removed at the next scene recall.
Recall a new scene and leds will indicate the current
virtual fader positions. Note that that these leds
always
controlling the audio.
To adjust a virtual fader move the real fader to the
same position as the virtual fader. When the fader
has reached this point the red set led will illuminate
indicating that the virtual fader is now “tracking”
the real fader. Moving the real fader will there for
adjust the position of the virtual fader and this is
indicated by changes in the virtual fader leds.
If a new scene is recalled the fader adjustments will
all be cleared and the set leds will extinguish to
indicate that faders are not “tracking” even if their
position suggests that they are (because they are
not set to -infin).
In order to make the virtual fader leds as clear to
view as possible it might be desirable to “clear” all
non adjusted faders to -infin. To do this press the
virtual fader switch and then move any fader that is
to be “cleared” to the -infin position. Press the
virtual fader switch again and the faders will be
ready to be active again. Any virtual fader level
changes made prior to clearing will still be active
but they will be cleared at the next scene recall.
indicate the actual fader setting that is
Operators Manual- Page 43
Automation
It is possible to “pick up” all the faders and then set
them to 0dB if adjustment is not required. There is
no need
Any virtual fader can be isolated from further scene
recall by pressing the AUTOmation SAFE switch.
After the switch is pressed it will also be possible to
“pick up” the virtual fader at the recalled position
and adjust it using the real fader (exactly the same
as for store mode). Any subsequent scene recall
will have no effect on the virtual fader position.
To regain virtual fader control switch the
AUTOmation SAFE switch off and then recall the
current (or next required) scene. Virtual fader
control will resume as the scene is recalled. The
fader will not be “picked up” and can be moved to infin if desired as long as it does not pass through
0dB. If it does pass through 0dB it will “pick up” in
the normal way.
Any input channel virtual fader can be totally
isolated by pressing the FADER SAFE switch. At this
point the virtual fader will "snap" to match the real
fader position and any master VCA and automation
control will be removed. To regain virtual fader
control switch the fader safe off and recall a new
scene. The real fader can then be cleared to -infin
in the normal way.
to “clear” them. This is a user preference.
If faders are not cleared prior to recalling a new
scene it may be advisable to clear them
immediately afterwards to avoid confusion.
Any virtual fader can be isolated from further scene
recall by pressing the AUTOmation SAFE switch.
After the switch is pressed it will also be possible to
“pick up” the virtual fader at the recalled position
and adjust it using the real fader. Any subsequent
scene recall will have no effect on the virtual fader
position.
To regain virtual fader control switch the
AUTOmation SAFE switch off and then recall the
current (or next required) scene. Virtual fader
control will resume as the scene is recalled. The
fader will not be “picked up” and can be moved to infin if desired as long as it does not pass through
the virtual fader position. If it does it will “pick up”
in the normal way.
Any input channel virtual fader can be totally
isolated by pressing the FADER SAFE switch. At this
point the virtual fader will "snap" to match the real
fader position and any master VCA and automation
control will be removed. To regain virtual fader
control switch the fader safe off and recall a new
scene. The real fader can then be cleared to -infin
in the normal way.
It is not possible to store a scene in this mode. The
main reason this is not allowed is because multiple
overstores of faders which have adjustments made
would result in incremental virtual fader position
changes which in most cases would not be desired.
When storing a scene the information loaded into
the scene memory will always be as displayed by
the leds. This still applies if a fader is isolated by
the fader safe or automation safe switches.
Using fader modes
The Heritage 4000 has a flexible fader mode system which, used properly, will allow the user to benefit from the
full functionality of the console. There is no right or wrong way to use the fader modes as this will be largely
dictated by the environment in which the console is being used and the application.
It is worth spending some time to familiarise yourself with the fader modes and automation systems so that they
may be tailored to your specific needs, but as a guide:-
REAL FADER STORE and RECALL modes
Used for the initial setup of a show and during early rehearsals. Also used for situations where no prior setup has
been possible. Fader positions stored to the automation memory are as per the real faders so great care must be
taken to set them correctly prior to overstoring any adjustments.
VIRTUAL FADER STORE mode
Used for later rehearsals and for shows where there is a large degree of change from night to night due to venue
conditions or ad lib’s etc. Each scene recalled is as it was stored but may need adjustment to suit the prevailing
conditions. Adjustments are clear and fast to implement with the real fader taking over from the virtual fader as
required. Overstoring is easily possible so as to fine tune the data in the automation memory.
VIRTUAL FADER RECALL mode
Used for events and shows that are well rehearsed and predictable. Each scene recalled is as it was stored plus an
offset adjustment from the real fader if required. Any changes that are made are active for all subsequent scenes
until such a time as they are removed by the operator. Overstoring is not possible.
Operators Manual- Page 44
Only recall and assignment functions are available
All automation and assignment functions are disabled
All functions available
Recall, Assignment and Store functions are available
SERIAL
MIDI
SERIAL
MIDI
YES
NO
SWGF
NOFF
CHNN
C_CH
N_ON
Console configured as a MASTER console
Console configured as a SLAVE console
No consoles connected
Automation
(note velocity)
(note velocity)
VXxxx
VXxxx
(note)
(note)
xxxx
xxxx
(Program Change Number)
Pxxx
system
RCAL
TOTL
LOCK
STOR
SYST
LOAD
DATA
SAVE
ENAB
AUTO
SET_P
SLAVE
NONE
CONS
MAST
This option clears all scene memories on the consoletogiveaclean
starting point for programming
CLR
midi out menus share
out1
the same submenus
out2
CLR
out3
out4
(midi channel)
(midi channel)
chxx
chxx
N_OFF
N_ON
(midi channel)
chxx
PROG
Setup menus
To make changes to the console’s configuration or to
invoke memory dumps etc...
A menu map is provided below.
This symbol is used to denote that the confirm
key must be pressed to continue.
To enter the menu system, press
either the MIDI or SYSTEM key to
access the relevant menu.
system
midi
system
automation
store
The up/down keys are used to
copy
delete
insert
navigate the menu system and
cancel/confirm to make or lose
changes.
The numeric display will show the
menu options and the values
which have been assigned.
confirm
cancel
check
Operators Manual- Page 45
scene
act
act/scene
up
down
c/o
next
now
last
midi
Automation & Linking
Walkthrough
Operators Manual- Page 46
Automation and LinkingAutomation and Linking
Unlocking the Console:
To unlock the mixing console press the SYSTEM menu button. Using the up/down keys scroll through the
menu until LOCK is displayed, press CONFIRM. Using the up/down keys scroll through the menu until the
desired level of unlock is displayed on the screen, then press the confirm button.
Locking the Console:
To lock the mixing console press the SYSTEM menu button. Using the up/down keys scroll through the menu
until LOCK is displayed, press CONFIRM. Using the up/down keys scroll through the menu until TOTL is
displayed on the screen, then press the CONFIRM button.
The LOCK button located on the MODE SWITCHES disables the Assign keys, Mode switches and Set switches
on the Centre section and input faders.
Storing a Scene:
Setting up a scene, Assigning VCA, Mutes, Faders etc.
Assigning VCAs:
Ensure that the lock button is not illuminated on the mode switches (if it is, press the button to extinguish
the LED).
!
Press the VCA mode button so that it is illuminated. This has now selected the VCA mode on the input
modules.
!
Using the ASSIGN KEY select which master VCA you wish to assign to a particular input module (1-10).
Quickly pressing a key will clear all other buttons enabled so only the one selected is illuminated, push
and holding the key down for 0.25 seconds will not disable other buttons previously enabled.
!
On the input channels you wish to assign to the master VCA(s) selected press the SET Button, the
relevant LED(s) on the input channel will illuminate. If the SET button is pressed quickly the VCA's
selected on the assign keys will toggle those already selected on the channel. If the SET button is
pressed and held for a short time then any VCA's already selected on that channel will be cleared and
replaced with those selected by the assign key.
Assigning Mutes:
!
Ensure that the lock button is not illuminated on the mode switches. If it is, press the button to
extinguish the LED.
!
Press the MUTE mode button so that it is illuminated. This has now selected the mute mode on the
input modules.
!
Using the ASSIGN KEY select which Automutes you wish to assign to a particular input module (1-10).
Quickly pressing a key will clear all other keys enabled so only the one selected is illuminated, push
and holding the key down for 0.25 seconds will not disable other buttons previously enabled.
!
On the input channels you wish to assign to the Automutes selected, press the channel SET Button. The
relevant LED(s) on the input channel will illuminate. If the SET button is pressed quickly the Automutes
selected on the assign keys will toggle those already selected on the channel. If the SET button is
pressed and held for a short time then any Automutes already selected on that channel will be cleared
and replaced with those selected by the assign key.
Fader Position:
!
Ensure the Virtual Fader recall mode button is not illuminated and the faders are in normal mode, if this
is enabled the new fader position will not be stored.
!
Move the faders to the desired position. The only other automated buttons on the console to be set are
the Input Mutes, Master VCA Mutes, Group Mutes, Matrix Mutes and Master Mutes.
Selecting a memory number and storing the memory:
!
The numbers in the display can be altered as follows. Select either Act or Scene using the ACT/SCENE
C/O switch. You will see either act or scene illuminate below the display.
!
The digits can then be altered between 00-99 using the UP and DOWN keys. This function is looping so
if you are on 00 you can go directly to 99 by scrolling down.
!
To store a scene press STORE. If the scene is new then it will be stored and the screen will display
done.
Operators Manual- Page 47
Automation and LinkingAutomation and Linking
!
If the scene already exists then the display will read over_str and you will need to press the confirm
button. The screen will then read done.
Editing Midi (Program Change):
!
Pressing the MIDI button places you in the MIDI menu.
!
Using the UP and DOWN buttons scroll through OUT01 to 04 until the required message is reached.
(On the Heritage there are a maximum of 4 MIDI out messages that can be sent per recalled scene).
Press CONFIRM.
!
Using the UP and DOWN buttons scroll through the menu until the screen reads PROG. Press the
CONFIRM button
!
The display will read CH00, using the UP and DOWN keys a channel between 01 to 16 can be selected.
Press CONFIRM.
!
The display will read P000. Using the UP and DOWN keys, a program change between 00 and 127 can
be selected. Press confirm and you will be dropped back to the first level of the menu. When the
desired messages have been edited press the MIDI button again to drop out of the menu.
!
To then store the MIDI information with the scene the STORE button must be pressed followed by
CONFIRM
Assignment of Program changes to a Scene:
!
Once a scene has been stored press the STORE button so that the display reads OVER/STOR.
!
Press the UP key until the display reads PRCH then press CONFIRM.
!
Using the UP or DOWN key chose the required MIDI program change you wish the scene to be recalled
by. You have the choices NONE, Program Changes 000-127.
Inserting Scenes:
!
Once you have created the scene you wish to insert edit the act/scene number display using the
ACT/SCENE, UP and DOWN buttons until the desired position is displayed.
!
Press the INSERT key. The display will then read . The original scene and any scene preceding it
will then be incremented by one position.
NB The INSERT button will only be illuminated if a scene exists where you wish to place the scene,
otherwise STORE may be used as normal.
Copying Scenes:
!
Recall the scene you wish to copy by selecting the scene number and pressing the NOW button.
!
Press the COPY button.
!
The MIDI Button will be illuminated as default which indicates that the midi out messages will also be
copied with the scene. If you do not wish the midi out information to be copied to the new scene press
the MIDI button so that the light is extinguished.
!
The act/scene numbers can now be scrolled through using the ACT/SCENE,UP and DOWN buttons until
the desired position is reached, then press the STORE button.
done
Editing the Cross fade Value of a Scene:
!
Recall the scene you wish to copy by selecting the scene number and pressing the NOW button.
!
Press the STORE button, and using the UP and DOWN buttons scroll through the display until XFADE is
shown, press CONFIRM.
!
The current cross fade speed stored with the screen will be displayed. Using the UP and DOWN buttons
select the required cross fade speed.
!
Press CONFIRM to store this new speed with the scene.
!
NB When a scene with a cross fade speed is being recalled the display will flash for the specified cross
fade time
Operators Manual- Page 48
Automation and LinkingAutomation and Linking
Halting a Cross fade:
!
To Pause a crossfade during recall press the CANCEL button. The crossfade can be resumed again by
pressing the CONFIRM button.
Bypassing a Cross fade:
!
A crossfade can be bypassed by pressing the confirm button as the crossfade is being applied, this will
immediately take you to the finished scene.
Previewing a Scene:
To preview a scene without affecting your mix, select the scene number on the display using the ACT/SCENE,
UP and DOWN buttons. Once the desired number is displayed, press the CHECK button. The automated
switch configuration and fader positions stored for that scene can be viewed without changing the actual
settings.
The Automute Safe buttons on the inputs will display the input mute state.
The master VCA mutes will display the Master VCA mute setting with out altering the Audio.
The Group and Matrix Mute Safe buttons will display the checked scene mute status.
The display will also scroll through the other stored scene information, telling you if midi in is enabled and
the channel assigned. The MIDI out information stored with the scene, cross fade value and program change
number the scene will respond to.
Pressing the CHECK button will drop you back into normal mode.
Recalling Scenes:
There are 3 methods by which scenes can be recalled:
!
Stepping through existing scenes using the LAST and NEXT buttons. This steps through the scenes in
numerical order.
!
Select the act/scene number using the ACT/SCENE, UP and DOWN buttons, when the correct scene
number is displayed in the screen press the NOW button and the scene will be recalled.
!
A scene can be assigned to a fast scene key (1-10). In this instance the scene is recalled by just pushing
the fast scene key.
Assigning A Scene To A Fast Scene Key:
!
Recall the scene you wish to assign to a FAST SCENE KEY.
!
Press the COPY button, followed by the FAST SCENE KEY button you wish to assign that ACT/SCENE to.
The screen will then display done.
Deleting a Scene From A Fast Key:
!
Press and hold down the FAST KEY you want to delete.
!
When the YES and NO button start to flash you can now select either YES or NO to delete or cancel
deletion of the FAST KEY.
Deleting A Scene:
!
Recall the scene you wish to delete, Or display the scene number on the screen using the ACT/SCENE,
UP and DOWN buttons. When this is done press the DELETE button.
!
You will be asked to confirm this. Press the CONFIRM button the screen will then say done when the
scene is deleted.
Operators Manual- Page 49
Automation and LinkingAutomation and Linking
Midi In Assignment:
Setting The Console to Respond to MIDI Changes:
The console settings can be accessed via the “AUTO” submenu after pressing the “System” button. This
submenu option is only available when in “SYS” Lock-Mode.
After selecting “AUTO”, there are two further sub-menus:
1. ENAB -(ENABle), this is the master switch for this function and can be set to “YES” or “NO”.
Toggling this switch will not delete the other setup parameters for this function.
2. SETP - (SETuP), this is where we set the actual midi parameters that are used for this function.
These parameters define the midi command that the console will respond to, and decode the required
act/scene number. The two parameters that can be set are as follows:
a. The midi command, this can be either of the following midi commands:
N ON - (Note ON)
NOFF - (Note OFF)
SNGP - (Song Pointer)
PRCH - (Program Change)
b. The MIDI channel, this covers the full 16 channels possible, the display shows CH 01 - CH 16.
Notes:
1. To respond to an external midi request to change the act/scene number, the following conditions must be
true:
a. The “AUTO - ENAB” menu setting must be set to “YES”.
b. The console must not be in “TOTL” (TOTaL) Lock-Mode.
c. The console use must not be performing any menu operations.
Setting Up a Midi Device:
To cause the console to automatically change its act/scene, a MIDI command can be sent using the preprogrammed command & channel (as set on the console). The actual act/scene number is encoded into the
MIDI command data that is sent.
The required MIDI command data can be constructed by setting the midi command parameters as follows:
Note ON/OFF : These MIDI commands have two parameters, as follows:
1. NOTE, this parameter is equivalent to the required “ACT” number.
Each note has a numerical equivalent (see table below)
2. Velocity, this parameter is equivalent to the required “SCENE” number.
Example: To program a change to ACT 20, SCENE 44, - Set the note to G#-1,
set velocity to 44.
Song Pointer - The command is a numerical
value and is equivalent to the combined “ACT” &
“SCENE” number.
Example: To programme a change to
ACT 45, SCENE 02, - set the value to 4502
-1012345 6789
NOTE
c 0 12 24 36 48 60 72 84 96 108 120
c# 1 1325374961738597109121
OCTAVE
d 2 14 26 38 50 62 74 86 98 110 122
MIDI Sysex Dumps:
d# 3 1527395163758799111123
e 4 16 28 40 52 64 76 88 00 112 124
f 5 17 29 41 53 65 77 89 01 113 125
f# 61830 425466789002114126
g 7 19 31 43 55 67 79 91 02 115 127
g# 8 2032445668809203116a 9 21 33 45 57 69 81 93 04 117 a# 10 22 34 46 58 70 82 94 05 118 b 112335475971839506119-
Operators Manual- Page 50
Automation and LinkingAutomation and Linking
MIDI Sysex Dumps:
To store the recall a memory between the console and a midi device (such as an Yamaha MDF3 midi Filer) or
the windows software available from Midas, select the SYSTEM menu, using the UP and DOWN keys select
DATA and press CONFIRM. Using the UP and DOWN keys select either SAVE or LOAD and press CONFIRM.
There are 2 communication options, either MIDI (through the midi port rear of the console or via RS232.
Select either MIDI or SERIAL using the UP and DOWN buttons and press CONFIRM. The screen will then
indicate the function being carried out and notify the user when finished.
Saving The Memory From The H4000 To A File
Connect the null modem cable.
Select the Show menu and click on 'Download From Console'. A window will open and set up the Comm
port. The message
Waiting for Show data will then be displayed.
Select the 'SYSTEM' menu on the H4000 and scroll to 'DATA'. Press 'CONFIRM', then scroll to 'SAVE' and
press 'CONFIRM'. Now scroll to 'RS-232' and press 'CONFIRM'. The show memory from the H3000 will then
be down loaded into the computer. When the data transfer is complete, the H4000 will ask you to confirm
the STORE OK, press 'CONFIRM'.
Select the Show menu in Hsutil and click on Save To File.
A prompt will appear asking for a show a name. Give the file type as *.shw.
Click on OK and the file will be saved.
Down Loading A Show Into The H4000
Connect the null modem cable.
Select Show menu and click on 'Load From File'. Using the browse function select the show you wish to
download into the console and click on OK. A window will open telling you the loading is complete, click on
OK.
Select the Show menu in Hsutil and click on Upload to console. A window will open asking you to hit upload
when console is ready.
Select the SYSTEM menu on the H4000, and scroll to 'DATA' then press 'CONFIRM'. Scroll to 'LOAD' and
press 'CONFIRM'. Now scroll to RS232 and press 'CONFIRM'.
Click on the 'Upload' button.
When the file is downloaded successfully, the H4000 will prompt you to press 'CONFIRM'. The show memory
from the computer will now be loaded into the H4000.
Linking Heritage Consoles together Via CAN:
A maximum of 6 consoles can be linked via the CAN bus connector located at the rear of the Heritage
consoles. Any mixture of any Heritage consoles may be linked H4000, H3000,H2000 or H1000. They are
linked using a cable the description of which is given on the next page. If you have more than 2 consoles in a
system the end consoles(either end of the cable) must have the RED termination button in the out position
(default), all other consoles must have this Red button pressed in.
When linked only one console can be the master at any one time, all other linked consoles are slaves. The
following functions are linked:
Master VCA Control
Master AutoMute Control
VCA Master Solo
Solo in Place Mode
Scene Storage and Recall (See attached Note 1)
Mode Switches
Automation Assignment Keys
Solo On
Solo Clear (See Note 2)
Operators Manual- Page 51
Automation and LinkingAutomation and Linking
Note 1
All scene memory information remains local to the console so when saving or loading memories to or from
the console by either computer file or midi sysex dump, each console must be done individually. When
setting up a multiple console system it is recommended that programming is done from the start with all
consoles linked. This is to avoid recalling a scene that does not exist on a slave console. If this is done you
will see a warning message on the Master indicating that the scene does not exist and prompting for
confirmation at which point the master will recall the required scene but the slave will remain on the last
existing scene recalled.
MIDI may only be stored locally on a console, if you wish to program midi outs on slave console you must
first make this the master or stand alone ( this will be described later) and then program your midi out
messages as normal.
Note 2
As the Solo add and Clear function of the Heritage 1000 are controlled differently to that of the 4000, 3000
and 2000. The solo CLR and ADD functions are not linked and must be triggered locally on any 1000 linked
into a system.
Switching a Console to Master or Slave:
Press the SYSTEM menu and using the UP and DOWN keys scroll to CONS then press CONFIRM.
Using the UP and DOWN keys select either Master or Slave then Press CONFIRM.
You will then be prompted to choose the ID number of the console using the UP and DOWN keys you have a
choice of ID 1 to 8. No two consoles in the same system may have the same ID.
Pressing CONFIRM will then synchronize the console with the system.
Note When a console is in slave mode CONS is the only item of the SYSTEM menu that can be accessed. If a
slave console is reconfigured to be a master it will automatically make the original master console a slave
when the CONFIRM button is pressed.
Operators Manual- Page 52
Can BusCan Bus
Page 1of 1.
ACBLX-1606-1
CAN CABLE
HS-CAN-8-01
H1000 / H2000 / H3000 / H4000
AS1606-1
Drawing Number
0.2m
Female XLR
BLE CORE 2 RED
Neutrik: NC5FXB CON31-5FXB
1
7.8m
From: N/A To: N/A
Connector (n/a ) Connector (n/a)
Cable Specification
Item Description Qty Manufacturers’ Reference KT Part No.
Connectors
1. 5 Pin XLR NC5MXB X-Series 2 Neutrik: NC5MXB CON31-5MXB
2. 5 Pin XLR NC5FXB X-Series
Cable
Connector Pins Signal Cable Core Cable Colour
3. Cardinal 48400 ‘Starquad’ 4 Core Cable 8m Farnell: 152-133
Approved:
Drawn: Alison Ashmore
Pin 1 NA No Connection NA
Pin5 NA No Connection NA
PIN2 CAN_L CABLE CORE 1 BLUE
PIN3 0V CAN CABLE CORE 3 GREEN
PIN4 CAN_H CA
CASE CHASSIS Braid Screen TIN
No Connection NA Cable Core 4 White
Notes/ECN
Male XLR Male XLR
Released to Production Checked:
01-12-99
1
2
3
Issue Date
4
Operators Manual- Page 53
Weights and Dimensions
Operators Manual- Page 54
Weights and DimensionsWeights and Dimensions
Dimension B
Dimension A
12.00°
566.05mm (22.28”)
363.00mm (14.29”)
48 channel frame
Dimension A=2268.00mm (89.290”) Dim B=2225.00mm (87.590”) Weight* 255kg (560.0lbs)
56 Channel Frame
Dimension A=2559.00mm (100.740”) Dim B=2516.00mm (99.050”) Weight* 293kg (645.7lbs)
64 Channel Frame
Dimension A=2780.00mm (109.449”) Dim B=2737.00mm (107.756”) Weight* 300kg (661.2lbs)
*out of flightcase
1054.00mm (41.49”)
189.00mm (7.44”)
Operators Manual- Page 55
Rear Panel DescriptionRear Panel Description
Master outputs
inserts
Master
Section
PSU
Stereo Aux
Outputs / inserts
RS-232
For Helix Auto-solo
Groups
Matrix
Mono Modules
Operators Manual- Page 56
Stereo
Modules
Block Diagrams
Operators Manual- Page 58
LEFT BUS
RIGHT BUS
MONO BUS
SIS
lcr
image
stereo
MONO
ST
r
C
pan
l
PFL BUS
LEFT SOLO BUS
RIGHT SOLO BUS
PUSH ON
PRE
MIX BUS 1
0
MIX BUS 2
CLARITY)
SHOWN FOR
(ONLY2OF24
0
+6
C
PUSH ON
r
l
TRANSFORMER
PRE
OPTION
BALANCING
+
0
DIRECT
-
+6
SIGNAL PATH KEY
= ANALOGUE SIGNALS
= D.C. SIGNALS
= AUTOMATION SIGNALS
direct o/p
å
å
PRE
HI-PASS
GAIN
FILTER
+35
+25
160
60
insert
PHASE
mute
INS
eq
PRE
pre
400
freq
20
O
REVERSE
+60
+15
INSERT POINT
+
gain
VCA
+
_
RETURN
SEND
-
-
OPTIONS
PRE/POST
INTERNAL
BLOCK DIAGRAM
1
2
+/-
width
0.1
0.3
6
0
6
1
2
+/-
width
0.3
0.1
EQ
6
0
6
1
width
0.3
6
0
6
FOUR BAND FULLY PARAMETRIC EQUALISER
1
width
0.3
6
0
6
2
+/-
0.1
2
+/-
0.1
15
treble
15
15
hi-mid
15
15
lo-mid
15
15
bass
15
bell
20k
8k
freq
1k
3k
8k
3k
freq
1k
400
VCA
VOLTAGE
2k
800
MUTE
SAFE
SOLO
freq
300
100
bell
400
160
freq
20
60
å
safe
safe
mute
vca
solo
5
0
5
0
-3
-6
-9
+18
+15
+12
+9
+6
-25
+3
1
2
set
1
set
set
3
2
3
1
2
5
4
5
4
4
3
7
6
7
6
5
6
CONTROL
8
8
7
HERITAGE 4000 INPUT MODULE
9
9
9
8
SCENE PREVIEW
FADER
10
POSITION
INDICATION
VCA
10
GROUP
GROUP
CAN BUS
MUTE
10
OPTION
BALANCING
TRANSFORMER
48V
PHANTOM
PAD
INPUT
MIC/LINE
TEST
INPUT
(SERVICE
USE ONLY)
PRE
METERS
SET LEDS MAY
1
2
set
NOISE
LOGIC 1
REFERENCE
LOGIC 2
Operators Manual- Page 59
safe
FUNCTION IN
ANY ONE OF THREE
WAYS AS SHOWN.
FUNCTION IS
DEPENDANT ON
ASSIGN MASTER
SWITCHES.
7
3
6
5
4
8
automation
9
10
H4000 INPUT FADER MODULE BLOCK DIAGRAM
LINE
INPUT
OPTIONAL
TRANSFORMER
BALANCING
VCA
PRE
MIX BUS 1
MIX BUS 2
PRE
MIX BUS 3
VCA DAC
MIX BUS 4
PRE
MIX BUS 5
MIX BUS 6
PRE
MIX BUS 7
MIX BUS 8
PRE
MIX BUS 9
MIX BUS 10
PRE
MIX BUS 11
MIX BUS 12
PRE
MIX BUS 13
MIX BUS 14
HERITAGE 4000 AUXTENDER
INPUT MODULE BLOCK DIAGRAM
PREPRE
PRE
direct o/p
0
+6
MIX BUS 15
MIX BUS 16
OPTIONAL
TRANSFORMER
BALANCING
SIGNAL PATH KEY
ANALOGUE SIGNALS
D.C. SIGNALS
DIRECT
OUTPUT
Operators Manual- Page 60
MATRIX BUS
(1 OF 8)
MASTER
BUS MONO
MASTER
BUS LEFT
MASTER
BUS RIGHT
LEFT O/P
RIGHT O/P
SOLO LOGIC
SOLO LEFT
SOLO RIGHT
PFL
BUS LOGIC
STEREO AUX
MONO AUX
MONO
MONO
r
+21+
l
+18+
+15+
+12+
+9+
PRE
+6+
ST
+3+
fader
-
solo
MUTE
SAFE
split
SOLO
5
5
0
10
9
vca
10
10
ST
+
-
r
c
pan
l
0
-9-
-6-
-3-
-15-
-18-
-21-
-24-
-12-
PRE
fader
-27-
c
-30-
-33-
-36-
r
l
pan
solo
VCA
MUTE
SAFE
INS
+
VCA
INS
TO MATRIX
+
+
_
RETURN
INSERT POINT
SEND
+
-
PRE
+10
+10
MATRIX
PRE
SENDS
0
0
2- 8
insert
(1PAIR
OF8)
PRE
PRE
insert
PRE
PRE
insert
MUTE
0
TALK
SOLO
+10dB
+10
level
direct input
_
RETURN
INSERT POINT
SEND
+
-
TALK
PRE
PRE
insert
SOLO
MUTE
+10dB
0
+10
level
direct input
BLOCK DIAGRAM
HERITAGE 4000 GROUP MODULE
METERS PRE
TALK
SELECTED
TALK ALL
+
_
BUS
BUS
LEFT
LEFT
DIRECT
NOISE
Operators Manual- Page 61
BUS
RIGHT
+
RIGHT
DIRECT
_
VCA 9
MUTE
PREVIEW
AUTOMATION
green = stereo aux
VCA 10
red = mono aux
SOLO LEFT
SOLO RIGHT
PFL
SOLO LOGIC
INST
r
l
balance
output level
MUTE
r
l
balance
output level
SOLO
MUTE
SOLO
INST
insert
PRE
MUTE
0
+10
level
INSERT POINT
RETURN
SEND
RETURN
SEND
INSERT POINT
PRE
insert
SOLO
MUTE
0
+10
TALK
level
Operators Manual- Page 62
TALK
MODULE BLOCK DIAGRAM
HERITAGE 4000 STEREO AUX
METERS PRE
TALK
SELECTED
TALK ALL
MATRIX 1
INJECT
MATRIX1
BUS
MATRIX
REFERENCE
BUS
MATRIX 2
BUS
MATRIX 2
INJECT
PREVIEW
MUTE
AUTOMATION
MASTERS VCA
HERITAGE 4000 MATRIX MODULE
BLOCK DIAGRAM
+
_
TALK
+
_
TALK
+
-
+
-
VCA VCA
INSERT POINT
INSERT POINT
FROM MASTERS
lr
+21+
+18+
+15+
+12+
+9+
+6+
+3+
0
-3-
-6-
-9-
-12-
-15-
-18-
-21-
-24-
-27-
-30-
-33-
-36-
INST
+
_
RETURNSEND
INST
+
_
RETURNSEND
SAFE
SAFE
MUTE
MUTE
lr
+21+
+18+
+15+
+12+
+9+
+6+
+3+
-3-
-6-
-9-
-12-
-15-
-18-
-21-
-24-
-27-
-30-
-33-
-36-
VCA
VCA
10
0
+
-
MATRIX 1
OUTPUT
solo
solo
+
-
SOLO
split
MATRIX 2
OUTPUT
SOLO LEFT
SOLO RIGHT
PFL
5
0
5
10
SOLO
split
SOLO LOGIC
MATRIX 5
INJECT
MATRIX 5
BUS
MATRIX
REFERENCE
BUS
MATRIX 6
BUS
MATRIX 6
INJECT
+
_
+
INSERT POINT
-
TALK
+
+
_
TALK
-
RETURNSEND
INSERT POINT
RETURNSEND
INST
+
_
SAFE
MUTE
VCA
solo
INST
+
_
MUTE
SAFE
VCA
solo
+
-
+
-
MATRIX 5
OUTPUT
MATRIX 6
OUTPUT
10
5
0
VCA VCA
FROM MASTERS
5
10
Operators Manual- Page 63
MATRIX BUS
MASTERS
SUM LEFT
SUM MONO
0
MONO
VCA O/P
+
+10
mono (centre)
MASTER
O/P MONO
-
link to
mono
VCA
O/P LEFT
MASTER
+
MASTER
-
5
10
5
10
MASTER
VCA O/P
0
0
O/P RIGHT
+
-
5
10
5
10
MASTERS
(1 OF 8)
MASTERS
SUM RIGHT’
AUTOMATION
SIP O/P
SOLO LOGIC
SOLO LEFT
PFL
SOLO RIGHT
MATRIX SEND
0
left
(1 OF 8)
sum
right
+10
o
o
mono
fader
PRE
insert
PRE
MUTE
INST
MUTE
INST
+
VCA
+
_
INSERT POINT
-
SAFE
RETURN
SEND
VCA
SAFE
+
_
RETURN
INSERT POINT
SEND
+
-
INST
MUTE
+
+
VCA
_
INSERT POINT
-
SAFE
RETURN
SEND
l
p
a
c
e
i
l
s
n
o
o
-3dB
r
m-c
l
+21+
+21+
+15+
+18+
+15+
+18+
TO MATRIX
2- 8
+12+
+12+
0
+9+
+6+
+3+
0
+9+
+6+
+3+
HERITAGE 4000 MASTER MODULE
-9-
-6-
-3-
-15-
-18-
-12-
-9-
-6-
-3-
-15-
-18-
-12-
BLOCK DIAGRAM
-21-
-21-
-24-
-24-
-27-
-27-
-30-
-30-
-33-
-33-
-36-
-36-
METERS PRE
TALK
TALK
SELECTED
TALK ALL
+
_
INJECT
MONO
to mono
ST
PRE
PRE
insert
SOLO
MUTE
+10dB
0
+10
level
direct input
+
_
BUS
MONO
LEFT
DIRECT
LEFT
BUS
Operators Manual- Page 64
TALK
BUS
NOISE
r
l
balance
RIGHT
BUS
PRE
PRE
MUTE
0
direct input
TALK
insert
+10dB
+
RIGHT
+10
_
DIRECT
level
SOLO
MUTE
PREVIEW
AUTOMATION
MONO O/P
LEFT 'B'
LEFT ‘A'
MONO O/P
SOLO O/P
LEFT 'B'
LEFT ‘A'
SOLO O/P
SOLO O/P
RIGHT ‘A'
SOLO O/P
RIGHT 'B'
HEADPHONES
SOLO BUS
O/P LEFT
LEFT
MASTERS
SOLO TO
SOLO BUS
O/P RIGHT
RIGHT
PFL BUS
MASTERS
SOLO TO
O/P
TALK
EXTERNAL
O/P
TALK ALL
TALK
SELECTED
GLOBAL
METERING
PRE
SOLO CLEAR
C/O
A/B
SPEAKERS
(HALF NORMALISED)
MUTE
+
A/B
C/O
SPEAKERS
+
+
-
VCA
+
_
RETURN
INSERT POINT
SEND
-
L
LTOBOTH
MONO
MONO
O
PHASE
REVERSE
-
MUTE
VCA
+
_
RETURN
INSERT POINT
SEND
(HALF NORMALISED)
+
-
+
-
MUTE
VCA
+
_
RETURN
INSERT POINT
SEND
(HALF NORMALISED)
+
-
10
10
R
ON
PAD
0
5
5
MONITOR
RTOBOTH
L/R REVERSE
-20dB
+10
0
0
FADER
MUTE
5
5
+10
phones
+10
10
10
signal
+10
+
0
generator
PINK
-
external
generator
internal
generator
+10
level
+
-
over
meter
change
TALK
PRE
+V
solo clear
add mode
SOLO
+
0
+
level
talk
talk
talk
0
-
external
internal
mic
-
+10
level
PINK NOISE
OSCILLATOR
TALK
1kHz
MIC
input
TALK
-
0
-9-
-6-
to mono
SOLO
-3-
-15-
+6+
+3+
-12-
+9+
+21+
+15+
+12+
+18+
to stereo
SOLO
0
+10
-18-
-21-
-24-
-27-
-30-
-33-
-36-
level
SOLO
0
+10
level
masters
MONO
+
_
LEVEL
COMMS
pre fade
(pfl)
MONO
-3dB
ST
EXT
BLOCK DIAGRAM
-3dB
+
+
_
_
+
_
TALK
EXTERNAL
SUM
MONO
LEFT
INPUT
SOLO
BUS LEFT
SOLO
SOLO
INJECT LEFT
BUS RIGHT
SOLO
PFL BUS
INJECT RIGHT
PFL INJECT
MASTER
BUS LEFT
MASTER
BUS RIGHT
INPUT
EXTERNAL
RIGHT
EXTERNAL
HERITAGE 4000 MONITOR MODULE
SOLO
LOGIC
Operators Manual- Page 65
Crib Sheet
Operators Manual- Page 66
p
a
n
c
1
PRE
l
c
2
PRE
l
c
3
PRE
l
c
4
PRE
l
5
PRE
l
l
c
6
PRE
l
c
7
PRE
l
c
8
PRE
l
MIDAS
48V
+25
PAD
+15
O
gain
PRE
direct o/p
5k
1k
20k
freq
15
bell
treble
2k
+/-
400
8k
freq
INS
15
hi-mid
PRE
EQ
500
15
lo-mid
100
2k
+/-
freq
bell
100
15
bass
20
400
freq
60 160
20
freq
C
0
lr
1
PRE
2
C
0
lr
3
PRE
4
C
0
lr
5
PRE
6
C
0
7
PRE
8
C
0
lr
9
PRE
10
C
0
lr
11
PRE
12
C
0
13
PRE
14
C
0
l r
15
PRE
16
C
0
lr
17
PRE
18
C
0
lr
19
PRE
20
C
0
lr
21
PRE
22
C
0
lr
23
PRE
24
C
lr
pan
SIS
MONO
lcr
stereo
image
mute
MIDAS HS0001
channel
H4002
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
ST
0
0
0
0
0
0
0
0
0
0
0
0
+35
+60
0
+10
15
15
400
0
+6
0
+6
0
+6
0
+6lr
0
+6
0
+6
0
+6lr
0
+6
0
+6
0
+6
0
+6
0
+6
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-25
g
a
i
n
r
r
r
r
r
r
r
r
r
15
Q
15
Q
p
a
n
1
PRE
l
2
PRE
l
3
PRE
l
4
PRE
l
5
PRE
l
l
6
PRE
l
7
PRE
l
8
PRE
l
MIDAS
48V
+25
PAD
+15
O
PRE
direct o/p
5k
1k
20k
freq
15
bell
treble
2k
+/-
400
8k
freq
INS
15
hi-mid
PRE
EQ
500
15
lo-mid
100
2k
+/-
freq
bell
100
15
20
400
freq
60 160
20
C
0
lr
1
PRE
2
C
0
lr
3
PRE
4
C
0
lr
5
PRE
6
C
0
7
PRE
8
C
0
lr
9
PRE
10
C
0
lr
11
PRE
12
C
0
13
PRE
14
C
0
l r
15
PRE
16
C
0
lr
17
PRE
18
C
0
lr
19
PRE
20
C
0
lr
21
PRE
22
C
0
lr
23
PRE
24
C
lr
pan
SIS
lcr
stereo
image
mute
MIDAS HS0001
channel
c
c
c
c
c
c
c
H4002
gain
0
0
0
0
bass
freq
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
ST
MONO
0
0
0
0
0
0
0
0
+35
+60
+10
15
400
0
+6
0
+6
0
+6
0
+6lr
0
+6
0
+6
0
+6lr
0
+6
0
+6
0
+6
0
+6
0
+6
+18
+15
+12
+9
+6
+3
-3
-6
-9
-25
g
a
i
n
r
r
r
r
r
r
r
r
r
0
15
Q
15
15
Q
0
p
a
n
c
1
PRE
l
c
2
PRE
l
c
3
PRE
l
c
4
PRE
l
5
PRE
l
l
c
6
PRE
l
c
7
PRE
l
c
8
PRE
l
MIDAS
48V
+25
PAD
+15
O
gain
PRE
direct o/p
5k
1k
20k
freq
15
bell
treble
2k
+/-
400
8k
freq
INS
15
hi-mid
PRE
EQ
500
15
lo-mid
100
2k
+/-
freq
bell
100
15
bass
20
400
freq
60 160
20
freq
C
0
lr
1
PRE
2
C
0
lr
3
PRE
4
C
0
lr
5
PRE
6
C
0
7
PRE
8
C
0
lr
9
PRE
10
C
0
lr
11
PRE
12
C
0
13
PRE
14
C
0
l r
15
PRE
16
C
0
lr
17
PRE
18
C
0
lr
19
PRE
20
C
0
lr
21
PRE
22
C
0
lr
23
PRE
24
C
lr
pan
SIS
MONO
lcr
stereo
image
mute
MIDAS HS0001
channel
H4002
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
ST
0
0
0
0
0
0
0
0
0
0
0
0
+35
+60
+10
+6
+6
+6
+6lr
+6
+6
+6lr
+6
+6
+6
+6
+6
+18
+15
+12
+9
+6
+3
-25
g
a
i
n
r
r
r
r
r
r
r
r
r
0
15
Q
15
15
Q
15
400
0
0
0
0
0
0
0
0
0
0
0
0
0
-3
-6
-9
1
PRE
l
2
PRE
l
3
PRE
l
4
PRE
l
5
PRE
l
l
6
PRE
l
7
PRE
l
8
PRE
l
MIDAS
48V
+25
PAD
+15
O
PRE
direct o/p
5k
1k
20k
freq
15
bell
treble
2k
+/-
400
8k
freq
INS
15
hi-mid
PRE
EQ
500
15
lo-mid
100
2k
+/-
freq
bell
100
15
20
400
freq
60 160
20
C
0
lr
1
PRE
2
C
0
lr
3
PRE
4
C
0
lr
5
PRE
6
C
0
7
PRE
8
C
0
lr
9
PRE
10
C
0
lr
11
PRE
12
C
0
13
PRE
14
C
0
l r
15
PRE
16
C
0
lr
17
PRE
18
C
0
lr
19
PRE
20
C
0
lr
21
PRE
22
C
0
lr
23
PRE
24
C
lr
pan
SIS
lcr
stereo
image
mute
MIDAS HS0001
channel
p
a
n
c
c
c
c
c
c
c
gain
bass
freq
MONO
H4002
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
ST
0
0
0
0
+18
+15
+12
0
0
0
0
0
0
0
0
+35
+60
+10
15
400
0
+6
0
+6
0
+6
0
+6lr
0
+6
0
+6
0
+6lr
0
+6
0
+6
0
+6
0
+6
0
+6
+9
+6
+3
0
-3
-6
-9
-25
g
a
i
n
r
r
r
r
r
r
r
r
r
0
15
Q
15
15
Q
p
a
1
PRE
l
2
PRE
l
3
PRE
l
4
PRE
l
5
PRE
l
l
6
PRE
l
7
PRE
l
8
PRE
l
MIDAS
48V
+25
PAD
+15
O
PRE
direct o/p
5k
1k
20k
freq
15
bell
treble
2k
+/-
400
8k
freq
INS
15
hi-mid
PRE
EQ
500
15
lo-mid
100
2k
+/-
freq
bell
100
15
20
400
freq
60 160
20
C
0
lr
1
PRE
2
C
0
lr
3
PRE
4
C
0
lr
5
PRE
6
C
0
7
PRE
8
C
0
lr
9
PRE
10
C
0
lr
11
PRE
12
C
0
13
PRE
14
C
0
l r
15
PRE
16
C
0
lr
17
PRE
18
C
0
lr
19
PRE
20
C
0
lr
21
PRE
22
C
0
lr
23
PRE
24
C
lr
pan
SIS
lcr
stereo
image
mute
MIDAS HS0001
channel
n
c
c
c
c
c
c
c
H4002
gain
bass
freq
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
ST
MONO
0
0
0
0
+18
+15
+12
g
a
n
0
r
0
r
0
r
0
r
0
r
r
0
r
0
r
0
r
+35
+60
0
+10
15
Q
15
15
Q
15
400
0
+6
0
+6
0
+6
0
+6lr
0
+6
0
+6
0
+6lr
0
+6
0
+6
0
+6
0
+6
0
+6
+9
+6
+3
0
-3
-6
-9
-25
i
p
1
PRE
l
2
PRE
l
3
PRE
l
4
PRE
l
5
PRE
l
l
6
PRE
l
7
PRE
l
8
PRE
l
MIDAS
48V
+25
PAD
+15
O
PRE
direct o/p
5k
1k
20k
freq
15
bell
treble
2k
+/-
400
8k
freq
INS
15
hi-mid
PRE
EQ
500
15
lo-mid
100
2k
+/-
freq
bell
100
15
20
400
freq
60 160
20
C
0
lr
1
PRE
2
C
0
lr
3
PRE
4
C
0
lr
5
PRE
6
C
0
7
PRE
8
C
0
lr
9
PRE
10
C
0
lr
11
PRE
12
C
0
13
PRE
14
C
0
l r
15
PRE
16
C
0
lr
17
PRE
18
C
0
lr
19
PRE
20
C
0
lr
21
PRE
22
C
0
lr
23
PRE
24
C
lr
pan
SIS
lcr
stereo
image
mute
MIDAS HS0001
channel
a
n
c
c
c
c
c
c
c
H4002
gain
0
0
0
0
bass
freq
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
ST
MONO
0
0
0
0
0
0
0
0
+35
+60
0
+10
15
15
400
0
+6
0
+6
0
+6
0
+6lr
0
+6
0
+6
0
+6lr
0
+6
0
+6
0
+6
0
+6
0
+6
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-25
g
a
i
n
r
r
r
r
r
r
r
r
r
15
Q
15
Q
p
a
n
1
PRE
l
2
PRE
l
3
PRE
l
4
PRE
l
5
PRE
l
l
6
PRE
l
7
PRE
l
8
PRE
l
MIDAS
48V
+25
PAD
+15
O
gain
PRE
direct o/p
5k
1k
20k
freq
15
bell
treble
2k
+/-
400
8k
freq
INS
15
hi-mid
PRE
EQ
500
15
lo-mid
100
2k
+/-
freq
bell
100
15
bass
20
400
freq
60 160
20
freq
C
0
lr
1
PRE
2
C
0
lr
3
PRE
4
C
0
lr
5
PRE
6
C
0
7
PRE
8
C
0
lr
9
PRE
10
C
0
lr
11
PRE
12
C
0
13
PRE
14
C
0
l r
15
PRE
16
C
0
lr
17
PRE
18
C
0
lr
19
PRE
20
C
0
lr
21
PRE
22
C
0
lr
23
PRE
24
C
lr
pan
SIS
MONO
lcr
stereo
image
mute
MIDAS HS0001
channel
c
c
c
c
c
c
c
H4002
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
ST
0
0
0
0
0
0
0
0
0
0
0
0
+35
+60
+10
+6
+6
+6
+6lr
+6
+6
+6lr
+6
+6
+6
+6
+6
+18
+15
+12
+9
+6
+3
-25
g
a
i
n
r
r
r
r
r
r
r
r
r
0
15
Q
15
15
Q
15
400
0
0
0
0
0
0
0
0
0
0
0
0
0
-3
-6
-9
p
a
n
1
PRE
l
2
PRE
l
3
PRE
l
4
PRE
l
5
PRE
l
l
6
PRE
l
7
PRE
l
8
PRE
l
MIDAS
48V
+25
PAD
+15
O
PRE
direct o/p
5k
1k
20k
freq
15
bell
treble
2k
+/-
400
8k
freq
INS
15
hi-mid
PRE
EQ
500
15
lo-mid
100
2k
+/-
freq
bell
100
15
bass
20
400
freq
60 160
20
C
0
lr
1
PRE
2
C
0
lr
3
PRE
4
C
0
lr
5
PRE
6
C
0
7
PRE
8
C
0
lr
9
PRE
10
C
0
lr
11
PRE
12
C
0
13
PRE
14
C
0
l r
15
PRE
16
C
0
lr
17
PRE
18
C
0
lr
19
PRE
20
C
0
lr
21
PRE
22
C
0
lr
23
PRE
24
C
lr
pan
SIS
lcr
stereo
image
mute
MIDAS HS0001
channel
c
c
c
c
c
c
c
H4002
gain
0
0
0
freq
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
ST
MONO
g
a
i
n
0
r
0
r
0
r
0
r
0
r
r
0
r
0
r
0
r
Crib sheet
Mono input plus pod
+35
+60
0
+10
Inputs
to
Notes:
15
Q
15
15
Q
0
15
400
0
+6
0
+6
0
+6
0
+6lr
0
+6
0
+6
0
+6lr
0
+6
0
+6
0
+6
0
+6
0
+6
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-25
Operators Manual- Page 67
Features and Specifications
Operators Manual- Page 68
Based on a 48 channel Frame (44 Mono + 4 Stereo channels)
Overview
Output
Input
Inserts
'Assignable buss' outputs 24
'Stereo aux' outputs 16
Total
Stereo master 2 (L/R)
Mono master 1 (M)
Matrix 8
Channel Direct Outputs 44
Local Outputs 3 (Output 'a' LCR)
SOLO Outputs 4 (LR AFL)
Talk EXT 2
Mono Microphone 52
Direct Input 16 ('Stereo Aux')
Additional 2 (2 Track Return)
Input Channels 52
'Assignable buss' 24
'Stereo aux' 16
Matrx 8
Monitor 3 (LCR)
Master 3 (LCR)
40 aux outputs
3 (Ouput 'b' LCR)
2 (Mono PFL)
1 (Talk Mic)
24 ('Assignable Buss')
8 (Matrix)
XLR Count
Quarter Inch Jack Count
The 4000 has 58 long throw faders for mix control with fader position recall and virtual fader
functions.
The 4000 has a total of 89 peak program meters with 20 LED segments on all outputs and 11
LED segments on input channels.
Automation Features:
10 automute sub groups
10 VCA sub groups (which include VCA sub group muting)
Dual Redundant microcard automation control
Store up to 464 Scenes in 100 Acts*
The 4000 has a total of 1055 automated switch functions as follows:-
480 output channel VCA sub group virtual assign switches
8 'Stereo Aux' VCA sub group virtual assign switches
480 input channel mute sub group virtual assign switches
48 input channel mute switches
24 audio sub group mute switches
4 'Stereo Aux' mute switches
8 matrix mute switches
3 master mute switches
Input 103
Output 109
Total 212
*Scenes may be numbered in the range 00.01 to 99.99. Memory 00.00 is reserved (thus 463 user storable scenes are
available).
Operators Manual- Page 69
Technical SpecificationTechnical Specification
Input impedance
Input Gain
Maximum Input Level
CMR @ 100Hz
CMR @ 1kHz
Frequency Response
(20Hz - 20kHz) Mic to Mix (gain +60dB) +0dB to -1dB
Mic 2k ohms Balanced
Line 20k ohms Balanced
Mic Continuously variable+15 to +60 dB
Mic + Pad Continuously variable-10 to +35 dB
Line Level Inputs 0dB
Mic +6dBu
Mic + Pad +31dBu
Line Level Inputs +21dBu
Mic (gain +40dB) Typ. 115dB
Mic + Pad (gain 0dB) Typ. 80dB
Mic (gain +40dB) > 100dB
Mic + Pad (gain 0dB) > 60dB
Line > 50dB
Noise
(20Hz - 20kHz) Mic EIN ref. 150 ohm (gain +60dB) -128dBu
System Noise
(20Hz - 20kHz) Summing Noise
Distortion @ 1kHz
Crosstalk @ 1kHz
Output Impedance
Maximum Output Level
(48 Channels routed with faders down) -80dB
Line to Mix Noise
(48 channels routed at 0dB, pan centre) -75dB
Mic to Mix (gain +60dB, 0dBu ouput) < 0.03%
Channel to Channel < -90dB
Mix to Mix < -90dB
Channel to Mix < -90dB
Maximum Fader Attenuation > 80dB
All Line Outputs 50 ohms Balanced source to
drive > 600 ohms
Headphones To Drive > 8 ohm load
All Line Outputs +21dBu
Headphones +21dBu
Nominal Signal Level
Mic -60dBu to +10dBu
Line 0dBu
Headphones +10dBu
Operators Manual- Page 70
Technical SpecificationTechnical Specification
Equaliser
Hi-Pass Slope 12dB / Oct.
High Pass Frequency Continuously variable
-3dB Point from 20Hz to 400Hz
Treble Gain Continuously variable-15 to +15dB
Centre detent @ 0dB
Treble Shelving Freq. Continuously variable
-3dB point from 1kHz to 20kHz
Treble Bell Freq. Continuously variable
Centre from 1kHz to 20kHz
Treble Bell Bandwidth Continuously variable from 0.1 - 2.0 Octaves
Centre Detent @ 0.5 oct
Hi-Mid Gain Continuously variable-15 to +15dB
Centre detent @ 0dB
Hi-Mid Freq. Continuously variable
Centre from 400Hz to 8kHz
Hi-Mid Bandwidth Continuously variable from0.2 - 2.0 Octaves
Centre Detent @ 0.5 oct.
Lo-Mid Gain Continuously variable-15 to +15dB
Centre detent @ 0dB
Lo-Mid Freq. Continuously variable
Lo-Mid Bandwidth Continuously variable from 0.3 - 2.0 Octaves
Bass Gain Continuously variable-15 to +15dB
Bass Shelving Freq. Continuously variable
Bass Bell Freq. Continuously variable
Bass Bell Bandwidth Continuously variable from 0.4 - 2.0 Octaves
Centre from 100Hz to 2kHz
Centre Detent @ 0.5 oct.
Centre detent @ 0dB
-3dB point from 20Hz to 400Hz
Centre from 20Hz to 400Hz
Centre Detent @ 0.5 oct.
Operators Manual- Page 71
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