Phonic SUMMIT User Manual

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SUMMIT

Intuitive 16-Channel 8-Bus Digital Mixing Console

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1. Re ad the se ins tr uc ti on s be fore o pe ra ti ng t hi s apparatus.

2. Keep these instructions for future reference.

3. Heed all warnings to ensure safe operation.

4. Follow all instructions provided in this document.

5. Do not use this apparatus near water or in locations where condensation may occur.

6. Clean only with dry cloth. Do not use aerosol or liquid cleaners. Unplug this apparatus before cleaning.

7. Do not block any of the ventilation openings. Install in accordance with the manufacturer’s instructions.

8. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including

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 is provided for your safety. If the provided plug does not 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 plug, convenience receptacles, and the point where they exit from the apparatus.

11. Only use attachments/accessories by the manufacturer.

12. Use only with a cart, stand , tripod, bracket, or table by the manufacturer, or sold with the apparatus. When a cart is used, use caution wh en mov in g the cart/apparatus combination to avoid injury from tipover.

13. Unplug this apparatus during lighting st or ms or when unused for lon g periods of time.

14. Refer all servicing to service personnel. Servicing is required when the apparatus has been 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.

IMPORTANT SAFETY INSTRUCTIONS

CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK,

DO NOT REMOVE COVER (OR BACK)

NO USER SERVICEABLE PARTS INSIDE

REFER SERVICING TO QUALIFIED PERSONNEL

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

’

magnitude to constitute a risk of electric shock to persons.

The exclamation point within an equilateral triangle is in-

tended to alert the user to the presence of important operat-

ing and maintenance (servicing) instructions in the literature

accompanying the appliance.

WARNING: To reduce the risk of or electric shock, do

not expose this apparatus to rain or moisture.

CAUTION: Use of controls or adjustments or performance

of procedures other than those may result in

hazardous radiation exposure.

The apparatus shall not be exposed to dripping or splashing and that no objects with liquids, such as vases, shall be placed on the apparatus. The MAINS plug is used as the disconnect device, the disconnect device shall remain readily operable.

Warning: the user shall not place this apparatus in the area during the operation so that the mains switch can be easily accessible.

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

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PART ONE: OVERVIEW AND INSTALLATION....................................................................................................4

Introduction......................................................................................................................................................4

Features..........................................................................................................................................................4

System Components.......................................................................................................................................4

Operational Requirements..............................................................................................................................4

Maintenance....................................................................................................................................................4

Power Connections.........................................................................................................................................4

Analog and Digital Audio Connections............................................................................................................4

Digital Synchronization....................................................................................................................................4

Glossary..........................................................................................................................................................4

PART TWO: CONTROLS AND CONNECTIONS.................................................................................................5

Basic Setup....................................................................................................................................................5

Analog Controls and Settings.........................................................................................................................6

Analog Input Section.................................................................................................................................6

Monitoring & Headphones........................................................................................................................6

2 Track Send and Return..........................................................................................................................6

Channel Strips...........................................................................................................................................6

Mode Buttons............................................................................................................................................6

Display.......................................................................................................................................................7

Control Section ........................................................................................................................................7

Rear Panel................................................................................................................................................7

Rack-mounting Kit...........................................................................................................................................8

Installing The Optional FireWire + USB Expansion Card................................................................................9

PART THREE: NAVIGATING AND SELECTING................................................................................................11

User Interface................................................................................................................................................11

System Restore ............................................................................................................................................28

How Do I...? ..................................................................................................................................................28

Optional FireWire + USB Expansion Card....................................................................................................30

Troubleshooting.............................................................................................................................................31

Presets..........................................................................................................................................................32

Digital Effect Table.........................................................................................................................................37

Specications................................................................................................................................................39

Application.....................................................................................................................................................40

Dimensions ...................................................................................................................................................42

Block Diagram ............................................................................................................................................43

SUMMIT

Phonic preserves the right to improve or alter any information within this document without prior notice.

V1.0 03/22/2010

Intuitive 16-Channel 8-Bus Digital Mixing Console

To view this manual in full colour, please visit www.phonic.com

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4 SUMMIT

PART ONE: OVERVIEW AND INSTALLATION

Introduction

Congratulations on your purchase of the SUMMIT digital mixer,

the rst full-digital mixing console from Phonic. With ultra low-

noise circuitry, including high quality, low-loss analog to digital converters, the SUMMIT offers everything a digital mixer should in a sleek, attractive design.

The SUMMIT offers 16 mono input channels – offering XLR Mic and 1/4” Line inputs – all of which can be assigned to any of the 8 AUX or 8 Subgroup mixes. A total of 8 ‘Multi’ outputs are offered in addition to the main stereo output. AES/EBU digital inputs and outputs can be used to send and receive signals to and from the Main mix.

Any AUX mix or input channel can be assigned directly to one of the digital effect processors, each of which offers at least 8

effects with multiple user-denable parameters. Effect Processor

1 also offers an additional 24 reverb effects with up to 7 adjustable parameters each. Gate, Expander, Compressor and Limiter dynamic processes can be assigned to all input channels. Also available on input channels is a 4-band semi-parametric EQ and a delay function.

While the SUMMIT is intuitive and user-friendly, there is still more than likely a thing or two you’ll need a bit of help with. That being the case, we suggest users take a quick look at this user’s manual and keep it handy in the event that it is required.

Features

• 16 mono mic/line with grouped phantom power and pad control

• In terna l di gi tal sam pling rate up to 96 kHz in 24-b it resolution

• C o mpa c t des i g n ac h i e ved t hr o u g h 1 6 f ad e r s encomp assing three lay ers (Channel, A UX/Group, an d Multi)

• 17 ultra-smooth 100 mm automated faders arranged in a familiar analog mixer arrangement

• High quality GUI interface onboard accessed through a fullcolor touch-screen

• 4-band parametric EQs assignable to input channels, multi outputs and main outputs

• Digital AES/EBU input and output onboard

• Eight balanced 1/4" TRS phone jack 'multi' outputs

• Up to 8 A UX an d 8 Group bus es as si gnabl e to ‘mul ti’ outputs

• Two professional quality digital EFX processors assignable to any AUX mix or input channel

• Dynamic processors assignable to input channels, “main” and ‘multi’ outputs

• Save and instantly recall scenes at the touch of a button

• Stereo headphone mix with independent level control

• Processing a ccomplished thro ugh a high qu ality 40-bit

oating point digital signal processor

• Optional FireWire & USB 2.0 expansion card (16-in, 16-out) for multi-track recording

• FireWire & USB card compatible with Windows XP/Vista/7 and Mac OSX operating systems

System Components

All SUMMIT systems include the following:

• SUMMIT Console

• Power Supply (100V to 240V, 50–60 Hz)

• Rack mount ears

• User’s manual

The following components are optional and must be purchase separately:

• 16 x 16 FireWire + USB 2.0 Expansion Card (16-in, 16-out)

• SD card (Secure Digital Memory Card)

• Headphones with ¼” phone jack

• Condenser or dynamic microphone

Operational Requirements

During operation, the front and rear panels of Summit should be exposed to ambient air. Please do not block the ventilation holes on the rear panels of Summit console. Please do not operate in direct sunlight or at any extreme temperature. The ideal operating environment is from 10 to 38 degrees Celsius (or 50 to 100 degrees Fahrenheit).

Maintenance

Please do not use any alcohol cleaning solutions on the surface of Summit. Use a non-abrasive dry cloth only.

Power Connections

Each SUMMIT requires its own power supply unit. The SUMMIT’s PSU is capable of operating at 50 to 60 Hz across a voltage range of 100 to 240 V. In addition, a power-conditioner (not included) is highly recommended.

Analog and Digital Audio Connections

The SUMMIT analog inputs and outputs (with exception to the headphone outputs) are balanced XLR and balanced ¼” TRS connections. The headphone outputs are unbalanced stereo ¼” TRS jacks. Digital audio input and output is achieved through AES/EBU (XLR) connections. Please use only 110-ohm cables for digital connections.

Digital Synchronization

A word clock is provided to sync external digital devices, such as DAT player. A master clock (e.g. Aardsync) is highly recommended, which maintains the word clock on a network. Please make sure to use only 75-ohm BNC cables for proper transmission of the word clock signal.

Typical Setup: connect the Word Clock Out on the “Master Clock Device” to the Word Clock In of SUMMIT. Then enter the Setup menu and set the Clock Source section to “Word Clock” to allow the incoming word clock signal.

Glossary

The following are a few words that may serve you well while reading this manual. These aren’t in depth explanations, but should hopefully give you the basics and a place to start.

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AUX – Auxiliary – an auxiliary is anything that is supplementary or additional to the main mix.

AFL – After Fader Listen – exactly as the name suggests, this is a monitor signal that is taken after the signal has passed through the fader/level control.

Balanced Connections – balanced connections offer three conductors, carrying a ground, an in-phase signal, and an outof-phase signal. Once the two signals are sent from one device to another, the out-of-phase signal has its phase inverted and the two signals are combined. Any interference picked up along the way is removed through to phase cancellation. This allows cables to be run over long distances without collecting excessive noise on the way.

Compressor – a Compressor reduces signals over a user-dened threshold by a user-dened amount/ratio.

Dynamic Processor – is any kind of processor that dynamically – or in real time – adjusts signal properties.

EQ – Equalizer – is a device or process that allows users to boost

or attenuate audio signals at specic frequencies.

Expander – an expander is a type of dynamic processor that helps to make background noise (such as humming) inaudible by reducing low-amplitude signals.

GUI – Graphical User Interface – this is the software that is featured on the SUMMIT’s LCD display. Throughout this manual, this will be referred to as the GUI.

HPF – High Pass Filter – a high pass lter will cut or signicantly reduce all audio signals below a particular user-dened frequency,

allowing – as the name suggests – high frequency sounds to pass through.

High Shelf Filter – the high shelf lter will reduce or increase all

audio signals below a particular frequency. The level at which the signal is boosted/attenuated is determined by the user.

Layers – when we refer to layers, we refer to the function of the faders on the hardware section of this mixer. Imagine your mixer had 32 faders in total, the 16 you see and another 16 sitting right on top of them (on a different layer). This is basically the case. However, instead of two or three actual physical layers of faders, users are able to change the functionality of the 16 faders available.

Limiter – work just as compressors do; however with an input to

output signal ratio permanently set to innity-to-1.

LPF – Low Pass Filter – a low pass lter will cut all audio signals above a particular user-dened frequency, allowing low frequency sounds to pass through. This is signicantly useful when using

subwoofer speakers on particular outputs.

Low Shelf Filter – the low shelf reduces or increases the level of audio signals below a particular frequency selected by the user. The level at which the signal is altered is also set by the user.

Noise Gate – a noise gate is a dynamic process that turns off or

signicantly attenuates the audio signal passing through it when

the signal level falls below a user adjustable threshold.

PFL – Pre-Fader Listen – this is a form of signal monitoring where the signal is taken prior to the level control/fader.

TRS – Tip-Ring-Sleeve – this is the name given to the type of audio jack/plug that can accept signals through its tip, ring and sleeve.

Unbalanced Connections – unlike balanced connectio ns, unbalanced connections only have 2 conductors: one for the signal and one for the grounding. This, unfortunately, makes them more susceptible to noise and interference.

PART TWO: CONTROLS AND CONNECTIONS

Basic Setup

1. Make sure the SUMMIT’s power is off. To fully ensure this, disconnect the power supply from the unit.

2. Co nnect your v ariou s input and output device s to th e SUM MI T. T h is ma y in cl ude mi cro pho ne s , gui tar s, keyboards, synthesizers, and so forth.

3. Be sure to turn all your equipment on in the following order: input devices/audio sources, multitrack recorders, SUMMIT digital mixer, followed by amplifiers, monitors and active speakers. This will help avoid loud pops, clicks, thumps and such from damaging your equipment.

4. Connect the power supply, using the cable retaining clip to hold it in place, and push the power button.

5. The SUMM IT’s routing is all accomp lished through the control software, therefore it’s necessary to enter the VIEW menu to adjust input and output levels.

6. If using a digital device through the AES/EBU connectors, en te r th e “Setup” menu an d de fi ne the clock source (whether internal, digital or through the word clock inputs). If Digital or Word Clock is selected, the sampling rate will be determined by the external source. Digital equipment can be activated by pushing the DIGI IN and DIGI OUT buttons in the main stereo mix’s setup page in the VIEW menu.

7. Users can check instrument input levels in the VIEW or FADER menus, as both of these offers a level meter for each of the individ ual input channels. Adjust the virtual faders (or the physical faders, on the SUMMIT) to set levels correct. Turn channels on and off as required.

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Analog Controls and Settings

Analog Input Section

1. XLR Mic Inputs

These XLR microp hone in puts ca n be use d in conjunctio n with a wide rang e of microphones , such as professional condenser, dynamic or ribbon microphones, wi th stan da rd XLR ma le conn ec to rs. Wit h seriou sly low-noise preamplifiers, these inputs serve for crystal clear sound replication.

NB. When using an unbalanced microphone, it’s best to ensure that phantom power is switched off. However, when using condenser microphones the phantom power should be activated. Check your microphone’s user manual for information on whether to use phantom power or not.

2. 1/4” Line Inputs

These 1/4” TRS phone jack inputs accept signals from both balanced and unbalanced line-level sources. Channels 1 through 16 all feature a single line input jack. It should be noted that phantom power is not fed to these inputs.

3. Insert Jacks

This 1/4” TRS phone jack can be used in conjunction with a split- or y-cable to allow an external device (effects processor, compressor, etc) to be used in conjunction with the corresponding channel’s signal. The TRS jack’s tip will send the signals to the external device, while the ring will receive the return signal back to the mixer. The sleeve acts as the grounding.

4. PAD Switch

Pushing the PAD switch in wil l attenuate the signal of the corresponding channel 20 dB. The PAD button can be found on channels 1 through 16.

5. Gain Control

The Gain control allows users to adjust the input sensitivity of the corresponding input. Line level signals can be adjusted between

-10 and 40 dB (when the PAD button is engaged), whereas mic signals can be adjusted between 10 and 60 dB (when the PAD button is released).

6. Peak Indicator

This LED indicator will light up when the corresponding channel reaches 0 dB on the respective channels meter.

Monitoring & Headphones

7. Phones Output

This 1/4” TRS phone jack is for sending stereo signals to a pair of headphones, allowing signals to be monitored.

8. Phones Control

This control will adjust the level of the Phones Output.

9. Control Room Rotary Control

This control will adjust the signal level of the Control Room outputs, found on the rear of the SUMMIT.

2 Track Send and Return

10. Channel 15/16 / 2TR In Button

This button changes the input source of input channels 15 and

16. Pushing it in will allow channels 15 and 16 to use the signal taken from the RCA 2TR inputs found on the rear of the SUMMIT. When this button is disengaged, the XLR or 1/4” line input jacks will be used for these input channels.

11. Control Room / 2TR In Button

Pushing this button in allows users to monitor the RCA 2TR inputs through the Control Room outputs. When released, users will be able to monitor their main stereo signal or Solo signals.

Channel Strips

12. Select Button

This button allows you to select the current channel. Which channel is selected (either the input channel or the corresponding AUX, Group or Multi mix), will depend on your layer settings. The Main channel strip also features a select button, allowing users to adjust the properties of the Main mix.

13. Solo Button

Push this button to ‘solo’ the corresponding channel, sending it to the Control Room mix. The Solo indicator within the button will light up when a Solo is activated on a channel.

14. On Button

These buttons will activate the current channel. Activation will be accompanied by an illuminated LED within the button.

15. Faders

These faders will adjust the level of the currently selected Channel / AUX / Group / Main mix. They are completely automated, so will revert to their appropriate positions when layer settings are altered. They will also automatically adjust their position when virtual faders are altered through the GUI.

Mode Buttons

16. AUX (Sends) Fader Mode Buttons

Any one of these AUX buttons (from 1 to 8) will allow users to assign AUX send on to channel faders. This will allow you to adjust the signals sent from each input channel to the selected AUX mix.

17. Layer Mode Buttons

These three buttons determine which signals the channel strips will control. When “CHANNEL” is selected, the channel strips will control the main input signals (channels 1 through 16), whereas if “AUX/GP” is selected, the channel strips will control the AUX 1 to 8 and Group 1 to 8 mixes. When “MULTI” is selected the channels strips will control the AES/EBU In, Effect 1 and 2, and Multi 1 through 8. The CHANNEL and AUX/GP buttons both have an LED that indicates when the layer is selected (not featured on the MULTI button).

18. Meter Button

The Meter button allows users to jump immediately to the meter function in the LCD display’s GUI.

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Display

19. LCD Touch Screen

This color LCD touch screen allows users to view and access various functions on the SUMMIT.

20. Function Buttons

These buttons allow users to skip directly to another page/tab of options on the onscreen display. There may be any number of pages/tabs available on any given function of the SUMMIT. While the on-screen display can be used to jump directly to these tabs/ pages, these buttons are available for users who prefer hardware buttons, or just want to use them for one or another reason.

21. Up and Down Buttons

These buttons will help users scroll or run through all of the available functions of the SUMMIT, the icons of which can be found on the top right-hand site of the GUI.

22. FireWire / USB Indicators

These LED indicators will illuminate when a connection is established through either the USB 2.0 or FireWire connection. The FireWire + USB 2.0 Expansion Card will need to be installed for this to be possible, however.

Control Section

23. Jog Wheel

This jog wheel is used when adjusting any parameter within the GUI software. Turning the control clockwise will increase the value of the parameter, while turning it counterclockwise will decrease the value.

2121

24. Enter Button

This button is used to select the currently highlighted property or

to conrm edited values within the GUI software. The Enter button

can also be used when adjusting tap delay time when the Tap Delay effect is selected. In addition to this, the Enter button will allow users to adjust AUX sends between pre- and post-fader sends by pushing and holding it down and selecting the corresponding virtual onscreen control.

25. Directional Buttons

These buttons are used to move through the menu on the GUI. Users can scroll through the various parameter controls and faders within each individual function menu.

Rear Panel

26. Phantom Power Switches

These grouped phantom power switches allow users to activate +48V of to feed the Microphone inputs. Phantom Power is grouped as follows: channels 1 through 4, 5 through 8, 9 through 12 and 13 through 16.

27. Main Outputs

These balanced XLR outputs are for sending the Main Left and Right signal of the SUMMIT out to external devices.

28. Multi Outputs

These balanced 1/4” TRS phone jack outputs are for sending any of the input signals or other bus signals out to external devices. The signal sources of these multi outputs are decided through the onboard control software.

29. Control Room Outputs

These balanced 1/4” TRS phone jacks are for sending the monitor signals to external devices such as active monitors. These jacks can also output the 2TR input signal, depending on the selection of the Control Room / 2TR In button.

30. Stereo 2TR Inputs and Outputs

These stereo RCA inputs and outputs are for sending and receiving signals to and from consumer-level audio devices such as CD players, MP3 players and the like. The 2T Input signal can be assigned to channels 15 and 16 or the Control Room as required, and the Outputs are taken directly from the Main stereo mix.

31. SD Card Slot

The SD card slot is used for saving and loading presets, as

well as updating the SUMMIT’s rmware. Firmware updates

are accomplished by inserting an SD Card and selecting the appropriate Firmware update option in the Setup menu of the GUI.

32. AES/EBU In & Out

These connectors accept and send digital signals from AES/EBUenabled devices. The AES/EBU input can be assigned to the Main mix by pushing the AES/EBU button within the GUI software, while the main signal will be sent to the AES/EBU output.

33. Word Clock In & Out

These BNC connectors send and receive word clock signals to and from external devices.

34. Power Button

Use this button to turn the SUMMIT on and off.

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35. DC Power In

Connect the DC head of the included power supply to this port. The other end of the power supply should be connected to a suitable AC power source. When connecting the DC head of the power supply to the SUMMIT, ensure to lock it into place using the retaining clip to ensure the supply is not inadvertently removed.

36. Expansion Card Slot

This slot is for users to install the optional FireWire + USB expansion card.

Rack-mounting Kit

1. Remove the SUMMIT’s side-panels by unscrewing the six screws holding them in place.

2. Attach the rack ears and screw them into place.

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9SUMMIT

Installing The Optional FireWire + USB Expansion Card

1. First ensure all power is off on your SUMMIT mixer and the power cable is disconnected.

2. Remove the back protective cover on the SUMMIT by unscrewing the two support screws.

3. Remove the free end of the ribbon cable located within the expansion card slot.

4. Connect the ribbon cable to the appropriate connection on the expansion card.

5. Insert the expansion card into the expansion card slot and screw into place.

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PART THREE: NAVIGATING AND SELECTING

Operation of the SUMMIT is made easy through the use of the full colour touch screen. When rst activated, the main menu of the SUMMIT

will appear and users can jump directly to any particular function by touching the appropriate onscreen icon.

Start-up

The SUMMIT takes around two minutes to start up. The rst screen users will see on the display is a red Phonic logo with a blue status

bar indicating the status of the start up process. After this is done, the display will show the status of the DSP check.

Power-On Self Test

As soon as you turn on Summit, its central processing unit begins to carry out the programming instructions contained in the basic input/ output system. The CPU is responsible for the following system and diagnostic functions:

• Loading software

• Performing initial hardware DSP checks

If you see any error codes pop up during the testing phase, please turn off the unit and remove the power supply. Wait a minute, then replace the power supply and restart. This could rectify the problem. If the problem persists, however, please perform a system restore.

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User Interface

Touch Screen

The touch screen is used for accessing a number of different functions, menus, settings, tabs and so forth.

Menus: To access any of the functions on the above menu, simply push the corresponding onscreen icon. Users can also use the directional controls and ENTER button on the face of the mixer.

Virtual Controls: To adjust virtual rotary controls and level faders, rst select the appropriate control icon on screen. You can then use

the SUMMIT’s large jog wheel to increase and decrease the levels. Virtual faders cannot be adjusted by sliding a stylus up and down on screen. This helps avoid sudden and accidental alteration of signal levels. To turn on channels, solos, and so forth, simply push the onscreen icons.

Header and Footer

Header

In the function header, users can jump directly to any of SUMMIT’s functions by simply touching the appropriate icon. The icons are selfexplanatory, but don’t worry if you can’t quite make out each and every one; it’ll be obvious before too long. The icons listed above are, from left to right, View, Meter, Fader, Patch, Delay, Effect, EQ, Dynamics, Utility and Setup.

To return to the main menu, simply touch the screen around the top left-hand corner (where the function title is displayed).

When a name is set for a channel, this will also be displayed within the header bar.

Footer

The function footer features up and down arrows that allow users to scroll through the various functions (listed on the header), as well as a brightness control to adjust the overall brightness of the LCD display. The tabs can be used to see further options on functions that offer

multiple pages. The nal icon, what looks like 2 level meters, is used to activate a peak hold on all meters. When the peak hold is active,

a small red indicator will remain on all level meters to indicate the peak position of the meter.

IMPORTANT: You may see a small yellow or red dot beside the brightness icon in the footer section. A yellow dot indicates that changes

have been made to your settings that are yet to be saved by the SUMMIT. In this instance, settings that have recently been altered will not be saved in the event that you turn off the SUMMIT. Simply push this yellow dot to save the current settings. These will be retained in the event that you power down the SUMMIT. When the yellow dot is selected, it will then revert back to a red dot to indicate that settings have not been altered.

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Saving, Loading and Deleting Presets/Scenes

In the Effect, Equalizer, Dynamic Processor and Scenes functions, the above bar will allow users to save, load, delete and reset the settings for that particular function.

Preset: Users are able to load one of the factory presets. For a list of available presets for each function, please see the Preset Tables at the end of this manual.

Save: Push the Save button to save the current settings of the function you’re currently using. If in the Utility > Scenes menu, users will be saving the settings of all of the selected channels. Users can save their settings to the SUMMIT’s onboard memory. When the save

function is selected, users can select the keyboard icon to bring up the virtual keyboard and enter a name for their le. Naturally, ’OK’ should be selected to conrm.

Load: Select Load to load any of your previously saved settings or scenes (as the case may be).

Delete: Users can select Delete to delete any of their saved les from the SUMMIT’s memory.

Reset: Pushing reset will return all settings on the currently selected function to their default values.

Initialize: Selecting the intialize button (found in the Utility menu) allows users to reinitialize the Summit while still retaining all settings.

1. View

The view function will giver users an overview of channel properties, from the level and panning of signals, to dynamic processes, EQs and other properties. When the View menu is activated, users can select the channel they wish to view/adjust the properties of using either the channel select option (onscreen) or by simply pushing the appropriate SEL button on the channel/AUX/Group itself (on the face of the SUMMIT itself). As with most functions, an activated button is indicated in blue. When an AUX send is set to pre-fader, however, it will be highlighted in brown when active.

1.1 Channel Tab

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13SUMMIT

1.1.1 Off / On Button

This button will turn the currently selected channel on and off. If the current channel has safe soloing applied, the word SAFE will appear within this button.

1.1.2 Solo Button

This will activate the solo function on the currently selected channel. When a channel is soloed, the signal will be diverted to the control room mix for monitoring.

1.1.3 Pan Control

Select the pan control and use the onboard jog wheel to adjust the left and right pan of the input signal.

1.1.4 Channel Select

Pushing this icon will display a list of all 16 available input channels. Users can then select the channel they wish to view the properties of. When the currently selected channel is paired with another channel, the word PAIR will appear underneath this icon.

1.1.5 Pair Indicator

When the currently viewed channel is paired with another channel, the word PAIR will appear here to indicate as such.

1.1.6 Channel Fader

Users can use this virtual fader to adjust the level of the currently selected input channel. This fader will also double alterations that are made via the corresponding onboard fader. Please note that faders cannot be adjusted on screen, instead they must be selected and the rotary control used to adjust their levels. This helps avoid any level setting mishaps.

1.1.7 Channel Meter

This meter provide real-time updates on the signal level of the currently selected channel. The meter displays the input or output signal level, depending on how the Pre/Post Meter button is set.

1.1.8 Pre/Post Meter Button

This button will change the level meter between a pre-fader (Input) meter to a post-fader meter.

1.1.9 DAW Button (FireWire or USB)

Pushing this button will replace the currently selected channel’s signal with the signal returned from the corresponding output channel in your computer’s digital audio workstation software. In this event, the input channel’s signal is cut off completely and

replaced by the return signal. Your input signal is still sent through

the FireWire or USB interface.

1.1.10 Invert Phase Button

This button inverts the phase of the current signal.

1.1.11 To Main Button

Pushing this button sends the currently selected channel’s signal to the main mix.

1.1.12 EQ On/Off and Display

This button will allow users to turn on the channel’s EQ. If left inactive, the EQ will be bypassed. The accompanying display will show the channel’s currently selected EQ curve (as selected by the user within the Equalizer function). Pushing the display window will jump directly to the Equalizer function and allow users to immediately adjust EQ properties. An output level meter for the

EQ can also be found next to the EQ curve chart.

1.1.13 Master Dynamic Processor On/Off and Display

This button will turn the Dynamic Processor on and off. As with the EQ, all dynamic processors will be bypassed if this button is left inactive. Also like the EQ function, the accompanying graph will display the properties of the currently selected Dynamic Processor. Select the display to jump immediately to the dynamic processor

setup. Immediately next to the display, users can nd an output

level meter for the channel's dynamic processor.

1.1.14 Dynamic Processor Selection and On/Off Buttons

With these buttons , use rs can activate and deactivate the corresponding dynamic processor functions, as well as view their properties on the Master Dynamic Processor Display (located to the left of these buttons). Available Dynamic Processors are: Gate, Expander, Compressor and Limiter. The buttons will turn yellow when their corresponding dynamic process is being triggered (ie. when the threshold has been passed).

1.1.15 Delay Function

Push the delay button to activate and deactivate the delay function for the currently selected channel. Users can also adjust the delay time, the saturation (mix) of the signal, and the amount of delay feedback (FB.).

1.1.16 Processing Order

Use this function to select the order that the audio signal will pass through the Dynamic Processor, EQ and Delay. Any order made up of the three processes can be selected.

1.1.17 AUX Send Controls

These virtual rotary controls can be used to adjust the level of the currently selected channel that is sent to the corresponding AUX mix. To change the AUX sends from POST to PRE, hold the ENTER button and push the control you wish to change. Postfader AUX sends are blue, whereas pre-fader sends are green. Post-fader sends are post-EQ, post-dynamics, post-fader.

1.1.18 Group Assignment

Push any of these buttons to send the currently selected channel to the corresponding group mix. The signal level of the group mix will also be displayed in the button (in decibels).

A Note About Group Sources and Panning

It is important to note that the Summit has an Intelligent Group Panning System (IGPS) programmed into its DSP. When channel sources for the group signal are panned set dead center, the Group signal will simply be a mono signal. In the event one or more of your Group sources (from the channels) is panned left or right, the Summit’s IGPS will divide these for Group mixes. Signals panned left on channels will be sent to odd-numbered Groups (1, 3, 5 or 7) when selected as a destination, while selecting evennumbered Groups (2, 4, 6 or 8) will allow these to receive signals that are panned to the right. When sending Group mixes to the Main mix, panning is automatically set dead-center and can be adjusted to the left and right as necessary. However Group mixes that are assigned to Multi outputs are once again restricted to the left-odd, right-even rule mentioned above. Group mixes panned left can only be sent out through odd-numbered Multi outputs, while those panned right are sent out even-numbered outputs (as assigned).

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1.2 AUX / Group Tab

This section explains the following AUX and Group operations:

• Conguring AUX Sends

• Conguring AUX/Group Masters

AUX and Group Masters can be fed by any input channels, and can be assigned to MULTI outputs 1 to 8. The Group mixes can also be assigned to the Main stereo mix.

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1.2.1 Channel Send Rotary Controls

Each of these level controls will determine the level of signal from the corresponding input channel that will be sent to the currently selected AUX mix.

1.2.2 Channel Send Selects

These buttons will allow users to select which channels will be sent to the currently selected group mix.

1.2.3 Channel Send Level Meters

These level meters will display the level of the corresponding input channel that is sent to the currently selected AUX or Group submix.

1.2.4 Channel Send Meter Pre/Post Button

This button adjusts the AUX and group send meters between pre-fader and post-fader meters.

1.2.5 On/Off Button

This button is used to activate and deactivate the currently selected AUX or Group mix.

1.2.6 Solo Button

Pushing the Solo button will send the currently selected AUX or Group mix to the Control Room mix. If the selected mix is set to ’solo safe’, the words SAFE | SOLO will appear below the channel select option.

1.2.7 AUX/Group Mix Select

This button and the subsequent menu will allow users to select which of the AUX or Group mixes they wish to adjust the properties of.

1.2.8 Pan Control

This control will adjust the left and right balance of the Group mix that sent to the Main mix, Multi mixes and Control Room mix (when soloed as an AFL). When the corresponding Group mix is assigned to a Multi output, the panning is very important. Signals panned left can only be sent to Multi 1, 3, 5 and 7, while those panned right can only be sent to Multi 2, 4, 6 and 8.

1.2.9 EFX Assign Buttons (not pictured)

Pu sh ei th er of the se bu ttons to a ss ign the out put fro m the corresponding EFX processor to the currently selected AUX or Group mix. The EFX1 and/or EFX2 buttons will only appear in the corresponding view page when the output from the EFX processor has already been assigned to the currently selected mix.

1.2.10 To Main Button

Pushing this button will send the currently selected Group mix to the Main stereo mix.

1.2.11 Fader

This fader will adjust the nal output level of the currently selected

AUX or Group mix. Users are also able to use the hardware faders, provided the Master selection is chosen on the Layer selection section of the SUMMIT. Note that faders cannot be adjusted on screen, instead they must be selected and the rotary control used to adjust their levels. This helps avoid any level setting mishaps.

1.2.12 Level Meter

This meter will display the level of the currently selected AUX or Group mix. The level displayed will be either pre- or post-fader, depending on the status of the Pre/Post Button.

1.2.13 Meter Pre/Post Button

Use this button to select whether the level meter is displays pre-fader or post-fader signal. When dark, the post-fader signal will be displayed. When users push this button and it becomes highlighted, the pre-fader signal will appear.

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1.3.1 Global Buttons

These buttons allow users to turn all of the Control Room source signals to either AFL or PFLs.

1.3.2 Solo Safe Button

Push the Solo safe button to select solo safe on any of the solo sources (1.3.4). Here users will be able to select which channels they wish to activate the solo safe function on. Channels that are set to solo safe will be sent to the Main stereo mix regardless of any Solos that are activated on other channels. The SAFE indicator within the solo source buttons will light up when a Solo Safe is activated on a channel.

1.3.3 Solo & Clear All Buttons

Pushing the Solo button will allow users to 'solo' any of the channels in the 'Solo Source' section (1.3.4). A red headphone icon will appear within the button when a Solo is activated on a mix. The 'Clear All' button that accompanies the Solo button will clear all currently active solos

1.3.4 Solo Source Buttons

Push any of these buttons to select whether the signal taken from the appropriate channel inputs, AUXs or Groups, Main or EFX processor will be pre-fader listens (PFLs) or after-fader listens (AFLs). AFLs will be blue, while PFLs are green. When soloed, a red headphone icon will be displayed within the button. The word SAFE within the icon indicates that the channel has had a safe solo applied.

1.3.5 Control Room Level Meter

This level meter displays the nal output signal level for the Control

Room outputs on the rear of the SUMMIT.

1.3.6 Control Room Mono On/Off Button

Pushing this button will combine the left and right signals of the Control Room mix to create a dual mono output signal. When deactivated, the Control Room signal will be stereo.

1.3.7 Control Room Trim Control

This control adjusts the nal output level of the control room mix,

the signal of which is taken from the individual solos activated on channels. This control also affects the output level of the headphones mix, which can then be controlled further by using the Phones control beside the headphones output jack.

1.4 Main / Multi Tab

1.3 Control Room Tab

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1.4.1 On / Off Button

This button will turn the currently selected output channel on and off.

1.4.2 Main Mono/Stereo Select

Using this option users are able to select whether the Main mix is a stereo or mono mix. When mono is selected, the left and right channels will be combined as a mono channel.

1.4.3 Channel Select

Using this button – and the resulting pop-up menu – users are able to select from any of the Multi Output channels as well as the Main stereo mix. Once selected, the channel’s properties will then appear on screen.

1.4.4 Fader

This fader determines the nal output level of the currently selected

output channel.

1.4.5 Level Meter

This level meter displays the nal output level of the appropriate

Multi or Main output. When monitoring the Main mix, a stereo level meter will be displayed.

1.4.6 EFX Assign Buttons

Pu sh ei th er of the se bu ttons to a ss ign the out put fro m the corresponding EFX processor to the main or multi output. The EFX1 and EFX2 buttons will only appear in the corresponding view page when the output from the EFX processor has already been assigned to the currently selected mix.

1.4.7 Meter Pre/Post Button

Pushing this button will allow users to adjust the level meter between a pre-fader meter and a post-fader meter.

1.4.8 AES/EBU In SOLO Button

This will activate the solo function on the AES/EBU Input singal. When the AES/EBU input is set to SOLO SAFE, the word SAFE will appear within this button.

1.4.9 AES/EBU On Button

When the Main mix is selected, the AES/EBU button will allow the Digital input signal (received through the AES/EBU input) to be sent to the main mix. The Digital output signal (sent from the AES/EBU output), taken from the main stereo mix out, will always be activated.

1.4.10 AES/EBU Trim

This parameter enables you to trim the level of the AES/EBU input signal in the digital domain.

1.4.11 EQ On / Off and Display

The EQ button will turn the equalizer of the currently selected output channel on and off. The graph that accompanies it will display the current EQ properties of that channel. A level meter can be found beside the graph. Clicking on / selecting the graph will allow users to jump directly to the EQ function screen.

1.4.12 Dynamic Processor On / Off and Display

Pushing this button turns the dynamic processor on and off. The display that accompanies it gives a quick visual representation of the dynamic processes currently set (see point 1.4.12). A level meter can be found to the left of the dynamic processor graph. To jump to the dynamic processor function, simply click the graph onscreen.

1.4.13 Dynamic Processor

The buttons situated to the right turn the individual dynamic processes on and off. There is a single button for each the Gate, Expander, Compressor and Limiter. When a process is activated (ie. the threshold is passed) the corresponding button will light up yellow.

1.4.14 Delay Function

The delay button allows users to activate and deactivate a delay on the currently selected output. Users are also able to adjust the possible delay time from 1 millisecond to 1 second. Adding a delay to output channels can help to compensate for distance between speakers in large multi-speaker setups. A delay time of one millisecond per foot (or 3 milliseconds per meter) that the speaker is away from the stage is the general rule of thumb in this application.

1.4.15 Processing Order Selection

Users are able to select in which order the currently selected output channel will pass through the EQ and Dynamic Processor functions.

1.4.16 Source Assign Buttons

These buttons allow users to immediately assign any of the listed channels to the currently selected mix. The buttons will also show the output level for the corresponding mix (expressed in decibels). When the Main mix is selected, any of the input channels and the Group mixes can be assigned. When viewing the channel properties of any of the Multi outputs, users are able to select the source from any of the Group or AUX mixes.

A Note About Group Sources and Panning

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2. Metering

2.1 Channel Tab

This tab allows users to view the levels of all input channels, as well as the main stereo mix. Users can view peak levels by taking note of the red mark at the top of the meters. The meters can be changed between pre-fader and post-fader meters by pushing the pre/post buttons located below the meters. The input channels’ meters can be adjusted to display the input signal (post-gain, pre-on/off), pre-fader (post-gain, post-on/off) and post-fader (post-fader, -EQ, -dynamics, -delay).

2.2 AUX / Group Tab

The AUX/Group meter page allows users to view the output levels of each of these mixes, as well as the main mix – all on a single page. A small red mark will hold high peaks for a short time. Users are able to adjust these meters between pre- and post-fader meters by pushing the Pre/Post Meter buttons. The post-fader signal displayed is post-fader, -equalizer, -dynamics and -delay.

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2.3 Meter / Fader Tab

The Meter section in the Meter / Fader Tab allows users to easily adjust levels of each input channel and AUX and Group mix, as well as the main mix. Found directly next to each of these virtual faders is a level meter. Level meters can be changed between pre and post by pushing the appropriate pre/post buttons on the right-hand side of the display. The input channels’ meters can be adjusted to display the input signal (post-gain, pre-on/off), pre-fader (post-gain, post-on/off) and post-fader (post-fader, -EQ, -dynamics, -delay). If any two input channels are paired (achieved through the Utility menu) these will be indicated as such by a small chain image located between the two channels’ controls/meters.

2.4 Multi Tab

The Multi tab of the meter function displays the input and output signals of the Multi signals, EFX signals, the AES/EBU signals, and Control Room output. The menu also provides a number of different controls to users. All Multi outputs can be turned on and off and have their levels adjusted. The main stereo mix can have its level adjusted. The EFX signals can be turned on and off and have their output levels adjusted. The Control Room trim can be adjusted. The trim can be adjusted on the AES/EBU input, which can also be turned on and off within this menu. If no digital device is connected to the input, users will not be able to activate the AES/EBU inputs.

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3.2 AUX & Group Tabs

The AUX and Group tabs in the Fader function are, for all intents and purposes, the same. This section will combine the two.

3. Faders

3.1 Channel Tab

3.1.1 Channel Select

Select this button to choose the channels that are displayed on screen. Users can select channels 1 through 4, 5 through 8, 9 through 12, or 13 through 16.

3.1.2 Channel Off/On Button

Push this button to activate and deactivate the corresponding channel.

3.1.3 Solo Button

Pushing the solo button will send the corresponding channel to the Control Room mix. If a channel is set to ’solo safe’, the word SAFE will appear within this button. This means the channel will still be sent to the main mix when soloed. Check section 1.3.2 for more information.

3.1.4 Pan Control

This control will adjust the level of signal that is sent to the left and right channels of the main mix.

3.1.5 Channel Fader

This fader will adjust the nal output level of the corresponding

channel. Users are able to use the virtual faders or the faders located on the mixing console itself.

3.1.6 Level Meter

The levels of the current signal will be displayed here.

3.1.7 Meter Pre/Post Button

This button changes the channel’s meter between that of a prefader meter to a post-fader, meter.

3.1.8 To Main Button

Activating this button will send the channel to the main stereo mix.

3.1.9 USB/FireWire Button

Pushing this button will replace the currently selected channel’s signal with the corresponding signal returned from your digital audio workstation software. The icon on this button will automatically change depending on the type of connection detected by the SUMMIT (FireWire or USB).

3.1.10 Invert Phase

Activating this button will invert the phase of the corresponding channel

3.2.1 Channel Select

Push this button to bring up the range of channels you wish to view the properties of. Users can select 1 through 4 or 5 through 8.

3.2.2 Channel On/Off Button

Select this button to activate/dectivate the corresponding AUX or Group channel.

3.2.3 Solo Button

Pushing this button will SOLO the corresponding channel. When the word SAFE appears within the button, this means the corresponding AUX or Group mix has been set to ’safe solo’ and will still be sent to the main mix when soloed.

3.2.4 Pan Control

This control adjusts the level of the signal will be sent to the right and left channels of the Main mix.

3.2.5 Level Fader

This fader will adjust the nal output level of the currently selected

AUX or Group channel. Users are able to use these virtual faders, or can also opt to use the faders located on the mixing console itself (ensure the Master option is selected in Layer Mode).

3.2.6 Level Meter

The level meter will display the pre- or post-fader output signal for the corresponding channel.

3.2.7 Meter Pre/Post Button

This button will turn the accompanying meter from post-fader to a pre-fader.

3.2.8 To Main Button (Group Tab only)

Found in the group tab only, this button allows users to send the corresponding group signal to the main mix.

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3.3 Main Tab

3.3.1 Main Fader

This fader will adjust the nal output level of the Main mix and input trim level of the AES/EBU In.

3.3.2 Level Meter

This stereo level meter shows the nal output level of the Main mix and the input level of the AES/EBU In.

3.3.3 On/Off Button

This button will activate and deactivate the Main mix.

3.3.4 Stereo / Mono Button

Pushing this button will adjust the main output signal between a stereo signal and a mono signal. This effectively bypasses the pan controls on all channels and combines stereo signals.

3.3.5 AES/EBU Level Fader

This fader will adjust the incoming signal level from any external AES/EBU-enabled device currently connected to the appropriate XLR AES/EBU inputs on the rear of the SUMMIT.

3.3.6 AES/EBU Meter

The incoming signal levels from the AES/EBU input can be viewed through this meter.

3.3.7 AES/EBU In Button

When the Main mix is selected, the AES/EBU button will allow the Digital input signal (received through the AES/EBU input) to be sent to the main mix. The Digital output signal, taken from the main stereo mix, will always be activated.

4. Patch

Each of tabs in the Patch function provides the same options, allowing for users to set the processing order of the equalizer, dynamic processor and delay functions for each individual signal. Users can also activate and deactivate any of these individual processes using the accompanying buttons. The tabs allow users to view channels 1 through 8, 9 through 16, all multi outputs, or the main output.

5. Delay

In the Delay function, users can adjust the delay time, mix (saturation) and feedback gain of the delay that is applied to the individual input channels. A delay can be applied to any of the 16 input signals. Use the tab buttons on the bottom of the screen to select which signals you'd like to view/adjust the delay properties of. The maximum delay time that can be applied is 1 second. The mix can be adjusted between 0% (no effect) to 100% (completely saturated). Feedback gain can be adjusted between 0 and 99%. Multi and Main outputs can only have their delay time adjusted.

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6. Effect

The SUMMIT’s built in digital effect processor can be assigned to any of the AUX mixes. To apply an effect to any particular channel (or a mix of a few different channels) simply send the channel(s) to an AUX mix and apply the desired effect to that mix.

6.1 Input Selection

Here users can select which of the sixteen input channels or eight AUX mixes they wish to apply the digital effect to. Two inputs can be selected in total for stereo effects. Users are also able to select EFX1_1, EFX1_2, EFX2_1 or EFX2_2. These are, in essence, the already processed signals from the digital effect processors.

For example, EFX1_1 is the rst effect channel from the rst effect

processor; EFX1_2 is the second channel from this very same processor. This allows for the signal to be processed multiple times (by same or different effects). Naturally the output for the channel you are currently selecting the source for CANNOT be selected, as this would cause an endless loop.

6.2 Effect Type

There are at least 8 built-in effects to select from. Available effect types on EFFECT 1 are: Reverb Room, Reverb Hall, Reverb Plate, Tap Delay, Flanger, Chorus, Echo, Auto Pan, Tremolo, Vibrato and Phaser. On EFFECT 2, users are able to select the following effects: Ping Pong Delay, Flanger, Chorus, Echo, Auto Pan, Tremolo, Vibrato and Phaser.

6.3 Output Destination Selection

Users can select where to send the stereo effect signal once processed. The effect signal can be sent to the Main stereo mix, as well as any of the MULTI outputs. Note that when an output destination is selected for the EFX signal, an EFX on/off button will appear in the view menu for that particular mix.

6.4 Level Meters

These level meters show the input and stereo output signal levels of the SUMMIT’s digital effect processor. Adjusting the level control of your EFX’s input signal can affectively adjust the incoming audio signal, and the EFX level control (6.6) will input and output gain controls on the selected effect can help adjust these levels as necessary.

6.5 On/Off Button

This button will turn the effect processor on and off. When set to “Off“, the currently selected effect processor will be effectively bypassed.

6.6 EFX Level Control

This control adjusts the nal output level of the currently selected

Effect Processor.

6.7 Dry/Wet Control

Offered on every effect, the dry/wet control adjusts the effect saturation of the chosen input source.

6.8 Parameters

Each of the built-in effects has a number of parameters that can be

adjusted by the user to better rene their sound. These parameters

can be adjusted by users using any one of the onscreen rotary controls (adjusted using the jog wheel). The number of parameters available for each effect may depend on the effect itself. For a list of parameters, and their user-adjustable ranges, please see the digital effects table. Reverb Effects, on EFX 1, offer a Gate function with Threshold and Hold controls. When the tap delay effect is selected, a tap button will appear on screen and users can use this to adjust their tap delay time. Users can also opt to use the enter button to adjust their tap delay time.

6.9 Reverb Select (Effect 1 only)

When one of the three reverb effects is selected, this menu will

allow users to select from 8 further rened reverb effects. For

example, if Reverb Hall is selected, users can then choose from Hall Large, Hall Medium, Hall Small, Hall Concert, Hall Dark, Hall Wonder, Hall Jazz, and Hall Vocal, each with their own unique spin on the Hall Reverb and with their own unique parameters. More detail on these reverb effects can be found within the digital effect table.

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7. Equalizer

The SUMMIT provides a 4-band parametric equalizer on each input channel, Multi 1 to 8 outputs and Main Mix. All parameters are adjusted using the data encoders or touch-screen. Users are able to select a boost or cut of up to 18 dB on frequencies between 20 Hz and 20kHz. The Q of these signals can also be adjusted to give a wider or narrower band, as necessary.

4 4 4

6 6 6 6

7.1 Signal Source

Here users can select which channel’s EQ to set. An equalizer can be applied to any of the input channels, any of the Multi outputs and the main mix..

7.2 EQ On/Off Button

This button can turn the Equalizer for the currently selected channel on and off.

7.3 EQ Grid/Curve

Here users can view the EQ curve. The small circles that appear on the graph represent one of the four bands, and can help to effectively adjust the frequency and boost/cut properties of that particular band. The touch screen can be used to help adjust the bands.

7.4 EQ Band On and Off

Use these buttons to turn the corresponding EQ bands on and off. While not named specically, these bands can be thought of as the

low, low-mid, high-mid and high frequency bands on your average 4-band EQ.

7.5 EQ Type

For the rst and fourth bands on the EQ, users can select the type of curve used for the EQ.

Band 1: EQ Band (PEAK), Low Shelf Filter (SHELF), High Pass Filter (CUT)

Band 4: EQ Band (PEAK), High Shelf Filter (SHELF), Low Pass Filter (CUT)

The Low/High Pass Filters will cut frequencies above and below the selected frequencies at 18 dB per octave. High and Low Shelf lters

act similarly, but cut frequencies below the selected frquency by the preset level determined by the user.

7.6 EQ Parameters

The EQ offers users the ability to view or edit various parameters/properties of their EQ bands, including the Gain, the frequency and the Q of the EQ frequency. The following parameter table offers details on the range available to users on each parameter.

Parameter 1 (Low) 2 (Low-Mid) 3 (High-Mid) 4 (High)

Gain -18 dB to +18 dB

Frequency 20 Hz to 20 kHz

Q 10 to 0.1, HPF, L Shelf 10 to 0.1 10 to 0.1, LPF, H Shelf

7.7 EQ In / Out Level Meters

These level meters give visual representations of levels going into and out of the equalizer.

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8. Dynamics

The SUMMIT provides a built-in Gate, Expander, Compressor and Limiter on each input Channel, Multi 1 to 8 outputs and Main Mix. Dynamics

are not limited by DSP resources, and can be congured as pre- or post-EQ/Delay for each channel. All built-in dynamics parameters are

adjusted using the touch-screen and onboard controls.

A noise Gate is a dynamic process that turns off or signicantly attenuates the audio signal passing through it when the signal level falls below a user adjustable threshold. An Expander helps to make troublesome background noise (such as humming) inaudible by reducing signals with low amplitudes. A Compressor reduces signals over a user-dened threshold by a user-dened amount/ratio. Limiters work

just as Compressors do, with a ratio permanently set to innity-to-1.

To bypass the current dynamics processor, simply push the ON/OFF button or press the “GATE”, “EXP”, “COMP” and “LIM” buttons to toggle the individual processes on and off.

Each of the pages/tabs in the Dynamics menu is essentially the same, providing similar attributes for the individual processes.

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8.1 Channel Select

Use this button and the subsequent menu to select the channel you wish to apply the dynamic effect to. Users can select from any of the input channels, any of the multi outputs, and the main stereo mix.

8.2 Dynamic Processor On/Off

Use this button to turn dynamic processor on and off for the currently selected channel.

8.3 Gate/Expander/Compressor/Limiter On/Off

This button turns the currently selected dynamic process on and off.

8.4 Output Level Meter

This meter gives the nal output level of the dynamic effect for the currently selected channel.

8.5 Gain Reduction Meter

This meter shows the amount of gain reduction that is applied to the currently selected dynamic process. This is essentially the decrease in gain applied when the signal crosses the selected threshold of the dynamic process.

8.6 Paramaters

Each of the dynamic processes has its own user-deneable parameters. Please consult the table below for details on each parameter.

Parameter What it does

Ratio Adjusts the compressor or expander input to output signal ratio

Thresh Adjusts the threshold of the gate, compressor, expander effect

Attack Adjusts the time it will take for the effect to kick in after the signal rises above the set threshold

Release Adjusts the time it will take for the effect to deactivate after the signal falls below the set threshold

Output Gain Increases the nal output signal of the compressor

Range On the gate function, the range parameter allows users to select the level (in decibels) by which the signal will attenuate.

8.7 Dynamic Chart

This graph gives a visual representation of the dynamic processor’s function. Currently active processes will be indicated in orange, while the process you’re currently adjusting is indicated in blue. Users are able to adjust the threshold and ratio of functions using the appropriate onscreen icons.

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9. Utility

9.1 Generator

Through the Signal generator, users are able to send a Sine wave (100 Hz, 1 kHz or 10 kHz) or a pink noise signal to any of the AUX or group mixes, as well as the main mix if need be. The On/Off button allows users to turn the signal generator on and off, and the accompanying level control (virtual rotary control) will allow adjustment of the signal level.

9.2 Scene

In the scene menu, users can select which channels they wish to save the current settings of. Select one or more of the available input channels, AUX channels, Group channels or the Main mix, and select Save. Users are also able to select and unselect all channels with the included buttons.

The saved settings for each are: select, fader levels, on/off, panning, equalizer, dynamics, effects, AUX sends, delay and routing.

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9.3 Naming

This function will allow users to assign names to each of the input channels and the multi outputs. Names can be up to 9 characters long and contain letters, numbers, parenthesis, dashes and underscores. Simply click the display window of the appropriate channel to bring up a digital keyboard. Users can use this to key in a name for the channel. This can be anything from the name of the instrument/input source, to the name of the person playing said instrument. For the Multi Outputs, users can – for example – enter the destination of the signal (the name of a performer monitoring the signal, recording device’s model number, and so on).

10. Setup

10.1 Clock Source

In the Clock Source tab of the Utility menu, users are able to select the clock source of the AES/EBU input and output. The clock source can be selected from Internal (with sampling rates of 44.1 kHz, 48 kHz, 88.2 kHz and 96 kHz), the digital device, or the Word Clock input/ output. The selected Sampling Rate – or that set by the external device – is displayed at the bottom of this menu.

The Enter button must be pushed to conrm new Clock Source settings.

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10.2 Link/Pair

10.2.1 Link Mode

Users are able to link the level controls of any of the input channels together using the Link Mode function. Users are able to link up to 4 groups of channels together, and each group is color-coded. The link groups are labelled A, B, C and D and are coloured orange, green, purple and brown, respectively. If users link channels together, adjusting one fader within the link group will allow users to control all the others, while maintaining their relative level differences.

10.2.2 Channel Pair

Activating pair mode on any combination of the channels will copy the fader settings and parameters from one channel to another. All odd-numbered channels can have their parameters copied over to the evenly numbered channels that succeed them (or vise-versa). The parameters copied do not include the invert phase or DAW functions. Paired channels’ linked parameters are: Select, On/Off, Panning, Equalizer, Dynamics, Effects and AUX Send On/Off.

10.3 LCD Calibration

Select this tab to Calibrate the SUMMIT’s color touchscreen. When the LCD Calibration tab is selected, crosshairs will appear onscreen and users should select these one-by-one to calibrate the touchscreen. If the screen becomes uncalibrated for whatever reason, and the appropriate menu cannot be selected, users should use the SUMMIT’s onboard controls to navigate the GUI and bring up the LCD Calibration function.

If it becomes necessary to calibrate the screen, users can use the tab buttons, directional buttons and ENTER button on the SUMMIT to allow them to access the calibration function.

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28 SUMMIT

10.4 Update

The update function allows users to update the SUMMIT’s rmware to the latest version. This is done by inserting an SD card containing the latest rmware update into the SD card slot on the rear of the mixer, then selecting the Update tab. Be sure to check your current version before updating to avoid updating to an out-of-date rmware version.

WARNING: Do not power off the SUMMIT when in the process of updating the rmware. Doing so will render the unit virtually useless,

unless you perform a system restore.

System Restore

In the event that starting up your SUMMIT becomes impossible due to corruption of one or more of the DSPs, there is a relatively simply way to get it up and running again. First, visit www.phonic.com to download our SUMMIT System Restore Software. Place the software on a blank SD card. Ensure the card is otherwise blank – it is important that the Restore Software is the only 󰘰le on the card. Place the SD card into the SUMMIT’s SD card reader and turn the system on. The unit should automatically restore itself, although startup may take a minute longer than usual.

How Do I…

…Connect an instrument or microphone?

Users are able to use the XLR or 1/4” inputs on the front of the mixer to connect their various devices. To do so, use an appropriate XLR cable or 1/4” TRS (balanced) cable. Microphones are typically connected via XLR connectors, while instruments like guitars can be connected via 1/4”. If connecting low impedance devices like guitars to the SUMMIT ensure you push the PAD button to attenuate the signal.

If you are using a microphone that requires phantom power, be sure to turn on the appropriate Phantom Power switch, found on the back. Remember that phantom power is grouped, so activating one of these groups will add phantom power to all of the XLR inputs in the corresponding channels.

…Set channel levels?

With level meters on each and every input channel, setting your levels is a cinch. Go into the view menu and bring up your channel’s properties. You may want to set the meter to “INPUT” so you can get a better idea of input levels only. Produce a signal through this channel (for best results, play the instrument or sing/talk into the microphone at the normal level) and check the incoming levels. For best results, adjust the gain control (and push in the PAD button, if necessary) so that the level meter sits below the -10 dB mark, occasionally peaking up to about -5 dB. It is best if the signal does not go much higher than this.

…Send a channel to my main mix?

After setting your levels, it should be as simple as pushing the “ON” and “TO MAIN” buttons.

…Adjust the onscreen controls?

Okay, selecting a menu and turning the channel on and o󰘯 is easy enough – but what about these rotary controls? To adjust these, simply select them onscreen (as you would the on/o󰘯 buttons), then use the SUMMIT’s large jog wheel to adjust the value. As you would expect, clockwise will increase the value, while anticlockwise decreases the value. The onscreen faders are adjusted the same way.

…Monitor a signal?

There are a number of ways to monitor a signal using the SUMMIT. The easiest is of course to solo the signal by pushing the SOLO button in the channel’s View screen. This will immediately send the signal to your Control Room and Headphones mix. However a normal solo will cut the signal sent to your Main mix. If you do not wish for it to do so, go into the Control Room View menu section and set the Solo to “SOLO SAFE”.

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29SUMMIT

…Add a delay to my guitar?

Again, the delay is available in each channels’ View screen (although it also has its own independent menu). Users can turn the delay on here; then adjust the delay time, the mix and the feedback level.

…Add a stereo device?

You may have noticed all of the SUMMIT’s inputs are seemingly mono. However, this does not mean that the unit is not 󰘱exible to stereo inputs! First of all, pick 2 input channels that you wish to connect your stereo input to. These should be an odd-numbered channel and the even-numbered channel that directly follows it. It is advisable to use the odd-numbered channel as the left input and the even-numbered as the right.

Enter the System menu and go to the Link/Pair tab. Here you can link the properties of your two mono channels. Paired channels’

linked parameters are: Select, On/Off, Panning, Equalizer, Dynamics, Effects and AUX Send On/Off.

You can then go into your channels’ View menus and pan your inputs’ respective signals to the left and right, as necessary. Panning can also be accomplished within the Faders menu. By panning the input signals to their respective destinations you’ve e󰘯ectively made these two channels a single stereo channel.

…Add an effect?

Adding e󰘯ects has been made extremely simple with the E󰘯ects menu. There are two e󰘯ect processors in total, each of which is independent of the other. To add an e󰘯ect to any input signal, you simply need to go into the E󰘯ects menu and select the desired input channel as your EFX’s input.

…Correctly set up my EFX, Compressor, Limiter, Gate, Expander, and so forth?

While we can’t suggest any particular settings for your various functions – everybody has di󰘯erent tastes, di󰘯erent requirements – we have included a range of presets for each function that you may want to try. In the E󰘯ects menu or in the various Dynamic Processor menus, the header bar at the top of the display will o󰘯er a preset selection window. Test these out to see if you like the settings. If not, play around with the available parameters slightly to see if you can 󰘰nd a setting you like.

…Get my signal to the computer?

Any time your computer is connected via the USB and FireWire interface (which is optional, we must remind you), the signals from your SUMMIT’s input channels are automatically sent to the computer for recording. Just select the SUMMIT’s ASIO driver as your audio device in your software, then setup your tracks and you should be good to go. In Cubase, you’ll need to push F4 to assign your input channels to buses and then assign these buses to your project’s tracks. This process may di󰘯er on other programs.

…Get a signal back from my DAW software?

But how do you get a signal back to your computer? That’s easy: as well as the 16 inputs you can select, there are also 16 outputs. You can assign any one of these outputs to your tracks, and monitor or playback these in your software. Each of these outputs corresponds with an input channel on the SUMMIT.

To activate the return signal from the computer, you just need to push the button with the FireWire or USB logo in the corresponding View menu. For example, if you assign one of your tracks to output 4, then go into the SUMMIT’s CH4 properties (in the View menu) and push the appropriate FireWire or USB button, your input signal will be cut o󰘯 and replaced by your return signal.

TIP: With the above in mind, if you want to play your original signal through your main speakers, yet get the return signal (from your DAW software) back for monitoring, you will have to assign the track in your DAW to a di󰘯erent – preferably unused – output channel. Then go into this channel’s properties, activate the return signal and monitor it from there.

…Connect an amplier to the SUMMIT?

The easiest way to use the SUMMIT in live situations is to connect the Main XLR outputs on the rear of the SUMMIT to an ampli󰘰er’s input, or else to the input of a couple of active speakers. For a surround system, you may also want to use the 1/4” Multi outputs. You can assign any of your AUX or Group mixes to the Multi outputs, so making a submix for your rear speakers should be a piece of cake.

…Solo without cutting off the Main Mix?

When you typically solo a signal, the channel’s send to the main mix is e󰘯ectively cut of and the signal is redirected to the Control Room mix. To avoid this, you need to set this channel to SOLO SAFE. This is done by entering the View menu, then going into the Control Room tab. Here you can push the SOLO SAFE button and then select the channel(s) you wish to set as safe solos. When SOLO SAFE is active on a channel, the word SAFE will appear within the solo button.

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30 SUMMIT

Optional FireWire + USB Expansion Card

Software Installation Guide

Windows

It is important to follow the correct installation procedure to ensure software installs successfully. The following method is for Windows users.

1. Start the driver installation (setup.exe). Please note that the FireWire and USB drivers are separate and you will need to install the appropriate driver depending on which connection you wish to use.

2. Connect the device to the PC only when asked to by the installer. If you try connecting the device before the installer runs, Windows’ own installer may take over and try to install standard Windows drivers – which naturally will not work.

Once the device driver has been properly installed, you should be able to disconnect and reconnect the same unit at a later date and have it recognized by the Phonic Control Panel.

It is important to note that for multi-device support you should run the driver installer for each new device you wish to connect to your computer, even if it is an identical device (e.g. a 2nd SUMMIT mixer). This is because the installer will add registry entries that contain the device's GUID – or, in other words, its identi󰘰cation number.

Mac OSX

Mac users who are using Garageband or Logic Pro will simply need to connect the SUMMIT to their Mac via FireWire or USB and the unit will be automatically recognized. If using other programs, such as Cubase, users will need to create an aggregated device to make full use of the unit. This process is discussed in the Daisy-Chaining section.

Daisy-Chaining

FireWire is a ‘real’ bus, connecting all daisy-chained devices into one big network. The devices are distinguished by their GUID. Devices with only 1 FireWire port can only be so-called ‘leafs’ on the bus (the far end of the chain; the bus ends there).

For the Mac’s FireWire port, there is no restriction as far as daisy-chaining of FireWire devices is concerned. For example, when connection 2 SUMMIT mixers to a Mac, these can be controlled by means of an aggregated driver.

How to aggregate two or more devices:

1. Open “Audio MIDI Setup”

2. Select in menu bar “Audio”  “Open Aggregate Device Editor”

3. Add a new aggregate device with “+” and name it

4. Select the devices

5. Select “done”

6. You can then select the aggregate device in the Audio MIDI Setup Please 󰘰nd a detailed description on the Apple website: http://www.apple.com/ca/pro/techniques/aggregateaudio/

For Windows, simply ensure that you’ve installed the device driver once for each instance of the SUMMIT that will be used on the computer. After doing so, you should be able to connect both units in a daisy-chain and have them recognized by the Phonic Control Panel.

After connecting multiple units to your computer, you need to create proper synchronization setup. One unit has to be a master device, and everything else must be a slave to this.

 Set the "Clock Source" to e.g. SUMMIT (make sure it is not the PC or Mac)  Setup the other SUMMIT to sync to ‘SYT’

Please note that daisy-chaining is not possible through USB, as it is not a real bus – rather a point-to-point connection.

FireWire/USB Compatibility

Microsoft Windows XP, Vista and 7 are supported through use of the ASIO driver. Microsoft have also enhanced the audio stack from Windows 7 to support S800, therefore Windows 7 users with an S800 interface will be able to run their SUMMIT on this system provided they have the latest updates and hot󰘰xes installed.

The FireWire + USB 2.0 expansion card is also compatible with Mac OSX 10.6.2 Core Audio. Please ensure all available updates from Apple have been installed to ensure 󰘱awless operation. Also, if using an S800 FireWire connector, be sure to use an appropriate S400 adapter.

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31SUMMIT

Troubleshooting

LCD needs calibration

❍ When the LCD Calibration tab is selected, crosshairs will appear onscreen and users should select these one-by-one to calibrate the

touchscreen. If the screen becomes uncalibrated for whatever reason, and the appropriate menu cannot be selected onscreen, users should use the SUMMIT's onboard controls to navigate the GUI and bring up the LCD Calibration function.

Firmware updates and version check

❍ Please always delete your old rmware from the SD card and check the rmware version before updating the unit. Firmware updates

are accomplished by inserting an SD Card and selecting the appropriate Firmware update option in Setup menu of the GUI. (→ p.28)

I cannot see the screen properly

❍ You can adjust the brightness of LCD. (→ p.11) ❍ Move the unit out of direct sunlight.

The power won't turn on

❍ Is the power supply connected to the unit, and the AC-end to an appropriate source? ❍ Is the optional expansion card installed properly? (→ p.9) ❍ Have you performed a system restore? (→ p.28) ❍ If the power still does not turn on, contact your nearest Phonic dealer for service.

There is no output signal

❍ Is the optional expansion card installed properly? (→ p.9) ❍ Is the "On" key indicator of the Main channel lit? ❍ Is an output assigned to the output channel? (→ p.17) ❍ Is the level of that output too low? (→ p.17)

Sound is too soft

❍ Is the GAIN of the mic preamplier or external preamplier set to an adequate level? (→ p.6) ❍ Is the fader of the input channel raised? (→ p.12) ❍ Please check the EQ settings as you may be excessively cutting signals. (→ p.23) ❍ Check the Dynamics setting for the same reason as above. (→ p.24) ❍ Enter the Meter function to check both input and output levels simultaneously. (→ p.18)

Sound is distorted

❍ Is the Master Clock setting correct? (→ p.4, 26) ❍ Is the GAIN of the mic preamplier or external preamplier set to an appropriate level? (→ p.6) ❍ Could the fader of the input and output channels be raised too high? ❍ Could the Main fader be raised too high? ❍ Could the EQ/DYN gain be set to an extremely high setting? (→ p.23, 24) ❍ Have you inadvertently applied a digital effect or reverb to any of the channels? (→ p.22)

Digital glitches

❍ Is the Master Clock set correctly? (→ p.4, 26) ❍ Could the digital input signal be unsynchronized? (→ p.26) ❍ Could onboard test generator be turned on? (→ p.25)

Can't save to external SD card

❍ Is the SD card write protected? ❍ Ensure your card is either an SD or SDHC card. ❍ Does the SD card have enough free space to save the data? ❍ Ensure the card is formatted in FAT32 or FAT16? NTFS is not supported.

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32 SUMMIT

PRESETS

Dynamic Presets

Gate

Program Range Hold Threshold Attack Release

Default -7 6.3ms -50 8s 400mSec

Gate 1 -50 3.15Sec -30 1mSec 200mSec

Gate 2 -20 1.00Sec -10 1.25mSec 250mSec

Gate 3 -40 2.00Sec -20 1mSec 400mSec

Expander

Program Ratio Threshold Attack Release

Default 2 : 1 -51 50mSec 400mSec

Expander 1 1.5:1 -20 3.15mSec 63.0mSec

Expander 2 1.7:1 -10 4.0mSec 80.0mSec

Expander 3 2:1 -20 5.0mSec 400mSec

Compressor

Program Ratio Threshold Attack Release Output Gain

Default 1.5 : 1 -2 1Sec 250mSec 1.5

Speech 2:1 -20 5.0mSec 20.0mSec 4

Voice 2:1 -10 4.0mSec 80.0mSec 0

Bass Drum 1.3:1 -20 12.5mSec 63.0mSec 0

Classic 2:1 -20 10.0mSec 100mSec 0

Snare 1.3:1 -20 31.5mSec 315mSec 0

Piano 3:1 -8 12.5mSec 125mSec 1.5

String 2:1 -11 12.5mSec 800mSec 1.5

Guitar 3:1 -9 12.5mSec 250mSec 1.5

Limiter

Program Threshold Attack Release Output Gain

Default -3 800mSec 200mSec 0

Limiter -1 5.0mSec 100mSec 0

EQ Presets

EQ LOW L-MID H-MID HIGH

Default PEAKING PEAKING PEAKING PEAKING

0 dB 0 dB 0 dB 0 dB

87.9 122.1 2066.9 9699.4

2 2 2 2

Bass Drum 1 PEAKING PEAKING PEAKING H.SHELF

G +2.5 dB –2.5 dB 0.0 dB +2.5 dB

F 100.2 260.2 1002.4 5365.4

Q 2 10 1 —

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33SUMMIT

Bass Drum 2 PEAKING PEAKING PEAKING LPF

G +3.0 dB –3.0 dB +3.0 dB

F 82.3 399.1 2517.9 13041.1

Q 2 4 2 —

Snare Drum 1 PEAKING PEAKING PEAKING H.SHELF

G –0.5 dB 0.0 dB +2.0 dB +4.0 dB

F 132 Hz 1.00 kHz 3.15 kHz 5.00 kHz

Q 1.5 4.5 0.35 —

Snare Drum 2 L.SHELF PEAKING PEAKING PEAKING

G +1.0 dB –3.0 dB +2.5 dB +4.0 dB

F 130.4 338.5 2357.5 3990.5

Q — 10 1 0.35

Tom-tom PEAKING PEAKING PEAKING PEAKING

G +1.0 dB –3.0 dB +1.0 dB +1.0 dB

F 213.6 675.5 4551.7 6324.6

Q 1.5 10 1.5 0.35

Cymbal L.SHELF PEAKING PEAKING H.SHELF

G –3.0 dB 0.0 dB 0.0 dB +3.0 dB

F 107.1 426.2 1070.5 13041.1

Q — 8 1 —

High Hat L.SHELF PEAKING PEAKING H.SHELF

G –3.0 dB –2.5 dB +1.0 dB +0.5 dB

F 93.9 426.2 2779 7455.2

Q — 0.9 1 —

Percussion L.SHELF PEAKING PEAKING H.SHELF

G –3.0 dB 0.0 dB +2.0 dB 0.0 dB

F 100.2 399.1 2779 16966

Q — 5 0.35 —

E. Bass 1 L.SHELF PEAKING PEAKING H.SHELF

G –5.5 dB +4.5 dB +2.5 dB 0.0 dB

F 35 110.6 2000 3990.5

Q — 5 5 —

E. Bass 2 PEAKING PEAKING PEAKING H.SHELF

G +3.0 dB 0.0 dB +2.5 dB +0.5 dB

F 110.6 118.2 2000 3990.5

Q 0.35 6 6.5 —

Syn. Bass 1 PEAKING PEAKING PEAKING H.SHELF

G +2.5 dB +4.5 dB 0.0 dB 0.0 dB

F 93.9 969.6 3990.5 12619.1

Q 0.35 9 6 —

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34 SUMMIT

Syn. Bass 2 PEAKING PEAKING PEAKING H.SHELF

G +2.5 dB 0.0 dB +1.5 dB 0.0 dB

F 130.4 181.2 1181.6 12210.8

Q 1.5 8 6 —

Piano 1 L.SHELF PEAKING PEAKING H.SHELF

G –4.0 dB 0.0 dB +2.0 dB +4.0 dB

F 93.9 969.6 3990.5 7455.2

Q — 8 1 —

Piano 2 PEAKING PEAKING PEAKING H.SHELF

G +2.0 dB –4.0 dB +2.0 dB +3.0 dB

F 228.1 612 3169.8 5365.4

Q 6 10 1 —

E. G. Clean PEAKING PEAKING PEAKING H.SHELF

G +2.0 dB –5.5 dB +0.5 dB +2.5 dB

F 251.8 399.1 1347.7 4551.7

Q 0.35 10 6.5 —

E. G. Crunch 1 PEAKING PEAKING PEAKING PEAKING

G +2.0 dB 0.0 dB +2.0 dB +2.0 dB

F 139.3 1002.4 1935.3 5730.2

Q 9 5 0.35 10

E. G. Crunch 2 PEAKING PEAKING PEAKING H.SHELF

G +2.0 dB +1.5 dB +2.0 dB 0.0 dB

F 126.2 455.2 3385.3 19352.8

Q 9 0.5 0.35 —

E. G. Dist. 1 L.SHELF PEAKING PEAKING H.SHELF

G +5.0 dB 0.0 dB +3.5 dB 0.0 dB

F 355 Hz 950 Hz 3.35 kHz 12.5 kHz

Q — 10 10 —

E. G. Dist. 2 L.SHELF PEAKING PEAKING H.SHELF

G +2.0 dB –7.5 dB +2.0 dB +2.0 dB

F 349.9 1070.5 4261.9 12619.1

Q — 10 6 —

A. G. Stroke 1 PEAKING PEAKING PEAKING H.SHELF

G –2.0 dB 0.0 dB +1.0 dB +2.0 dB

F 103.6 1070.5 1872.7 5365.4

Q 1.2 5 4 —

A. G. Stroke 2 L.SHELF PEAKING PEAKING H.SHELF

G –3.5 dB –2.0 dB 0.0 dB +2.0 dB

F 306.7 745.5 2000 3498.5

Q — 10 5 —

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35SUMMIT

Reverb

Room Default

Program Name LPF_Freq HPF_Freq

Reverb_

Time

Pre_Delay

Early_

Delay

Hi_Ratio Density Level

Gate

Thresh

Gate Hold

Time

Default 5K 22 2.45s 0 57% 96% 45 100 -70dB 1mS

Preset Large Room 9K 25 1.2s 23ms 72% 69% 55 49 -70dB 1mS

Preset Medium Room 8K 28 1.0s 23ms 72% 68% 55 49

Preset Small Room 5.6K 25 300ms 1ms 72% 67% 60 50

Preset Live Room 9K 45 1.15s 21ms 88% 68% 60 67

Preset Bright Room 16K 50 300ms 2ms 88% 77% 67 67

Preset Wood Room 2.24K 224 50ms 0ms 40% 80% 40 81

Preset Heavy Room 14K 50 1.0s 10ms 78% 77% 40 76

Preset Opera Room 16K 50 3.15 1ms 78% 79% 64 72

Hall Default

Program Name LPF_Freq HPF_Freq

Reverb_

Time

Pre_Delay

Early_

Delay

Hi_Ratio Density Level

Default 14 28 1.75s 23ms 79% 87% 89 60

Preset Large Hall 9K 20 2.4s 23ms 79% 87% 89 66

Preset Medium Hall 16 K 20 1.75s 23ms 79% 87% 89 60

Preset Small Hall 8K 28 1.0s 10ms 79% 87% 80 55

Preset Concert Hall 2.24K 20 2.3s 23ms 83% 79% 93 66

Preset Dark Hall 5.6K 20 1.15s 23ms 87% 79% 93 66

Preset Wonder Hall 14K 56 2.45S 54ms 80% 79% 97 76

Preset Jazz Hall 9K 20 3,15s 1ms 78% 77% 64 76

Preset Vocal 8K 45 1.0s 1ms 80% 79% 64 72

Plate Default

Program Name LPF_Freq HPF_Freq

Reverb_

Time

Pre_Delay

Early_

Delay

Hi_Ratio Density Level

Default 16K 20 1.15 0 100% 87% 79 55

Preset Large Plate 16K 20 1.15 0 100% 87% 79 55

Preset Medium Plate 16K 20 100ms 11ms 100% 87% 79 50

Preset Small Plate 10K 20 50ms 8ms 100% 87% 79 75

Preset Flat Plate 9K 20 150ms 5ms 100% 87% 79 50

Preset Light Plate 20K 63 1 4ms 46% 87% 79 50

Preset Thin Plate 16K 28 1.15 3ms 51% 87% 79 36

Preset Perc Plate 20K 20 1.3s 35ms 61% 87% 79 40

Preset

Industrial

Plate

20K 280 50 0 100% 99% 79 60

Echo Delay Default

Program Name

Delay1

time

Delay2

time

Dealy

FB1

Dealy

FB2

FB_HPF FB_LPF

Default 190ms 310ms 50% 50% 180 5.6K 5.6K

Preset Echo 190ms 310ms 50% 50% 180 5.6K 5.6K

Digital Effect Presets

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36 SUMMIT

Chorus

Chorus Default

Program Name LFO_Freq

LFO_

Phase

LFO_Type Depth Pre_Delay LPF_Freq

Default 0.2Hz 90degree Triangle 45% 4ms 10K

Preset Chorus 0.2Hz 180degree Triangle 50% 4ms 10K

Chorus 1 3Hz 180degree Triangle 20% 8mS 10K

Chorus 2 1.4Hz 90degree Triangle 20% 6mS 10K

Chorus 3 2.2Hz 180degree Triangle 25% 8mS 10K

Flanger

Flanger Default

Program Name LFO_Freq

LFO_

Phase

LFO_Type Depth Pre_Delay LPF_Freq FB

Default 0.01 90degree Triangle 50% 9.6 5K 57%

Preset Flanger 10Hz 180degree Triangle 73% 9.6 5K 57%

Phaser

Phaser Default

Program Name LFO_Freq LFO_Type Depth Freq Stage_No

Default 19.95Hz Sine 100% 5K 2

Preset Phaser 19.95Hz Triangle 100% 5K 6

Vibrato

Vibrato Default

Program Name LFO_Freq LFO_Type Depth Freq

Default 16.4Hz Triangle 50% 100Hz

Preset Vibrato 16.4Hz Triangle 100% 100Hz

Tremolo

Tremolo Default

Program Name LFO_Freq LFO_Type Depth

Default 6.1Hz Sine 60%

Preset Tremolo 6.1Hz Sine 45%

Auto Pan

Auto Pan Default

Program Name LFO_Freq LFO_Type Depth Way

Default 2.35Hz Triangle 79% L<->R

Preset Auto Pan 2.35Hz Triangle 79% L<->R

Tap Delay

Tap Delay Default

Program Name Delay time FB HPF LPF

Default Tap Delay 200ms 40% 90 Hz 7.1K

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37SUMMIT

DIGITAL EFFECT TABLE

Effect Parameter Range Description

Reverb Room (Large Room,

Medium Room, Small Room,

Live Room, Bright Room,

Wood Room, Heavy Room,

Opera Room)

H.P.F. 20 Hz to 20 kHz Adjusts the high pass lter cut off frequency

L.P.F. 20 Hz to 20 kHz Adjusts the low pass lter cut off frequency

Rev Time 50 ms to 10 sec Adjusts the reverb time of the effect

Pre Delay 0 to 100 ms Adds a delay prior to the effect being applied

Early Out 0 to 100% Adds a delay between early reections and the reverb

Hi Ratio 0 to 100% High frequency reverb ratio

Density 0 to 100% Reverb density

Level 0 to 100% Determines the level of reverb applied to the signal

Gate Threshold -70 to 0 dB Adjusts the gate threshold

Gate Hold Time 1 ms to 8 sec Adjusts the time the gate will hold after the threshold is

passed

Reverb Hall (Large Hall,

Medium Hall, Small Hall,

Concert Hall, Dark Hall,

Wonder Hall, Jazz Hall, Vocal

Hall)

H.P.F. 20 Hz to 20 kHz Adjusts the high pass lter cut off frequency

L.P.F. 20 Hz to 20 kHz Adjusts the low pass lter cut off frequency

Rev Time 50 ms to 10 sec Adjusts the reverb time of the effect

Pre Delay 0 to 100 ms Adds a delay prior to the effect being applied

Early Out 0 to 100% Adds a delay between early reections and the reverb

Hi Ratio 0 to 100% High frequency reverb ratio

Density 0 to 100% Reverb density

Level 0 to 100% Determines the level of reverb applied to the signal

Gate Threshold -70 to 0 dB Adjusts the gate threshold

Gate Hold Time 1 ms to 8 sec Adjusts the time the gate will hold after the threshold is

passed

Reverb Plate (Large Plate,

Medium Plate, Small Plate,

Flat Plate, Light Plate, Thin

Plate, Perc Plate, Industrial

Plate)

H.P.F. 20 Hz to 20 kHz Adjusts the high pass lter cut off frequency

L.P.F. 20 Hz to 20 kHz Adjusts the low pass lter cut off frequency

Rev Time 50 ms to 10 sec Adjusts the reverb time of the effect

Pre Delay 0 to 100 ms Adds a delay prior to the effect being applied

Early Out 0 to 100% Adds a delay between early reections and the reverb

Hi Ratio 0 to 100% High frequency reverb ratio

Density 0 to 100% Reverb density

Level 0 to 100% Determines the level of reverb applied to the signal

Gate Threshold -70 to 0 dB Adjusts the gate threshold

Gate Hold Time 1 ms to 8 sec Adjusts the time the gate will hold after the threshold is

passed

Echo Time 1 0 to 640 ms Adjusts the delay time of input 1

Time 2 0 to 640 ms Adjusts the delay time of input 2

Feedback 1 0 to 99% Feedback gain of input 1

Feedback 2 0 to 99% Feedback gain of input 2

FB HPF 20 Hz to 20 kHz Feedback High Pass Filter

FB LPF 20 Hz to 20 kHz Feedback Low Pass Filter

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38 SUMMIT

Tap Delay Feedback 0 to 99% Adjusts the feedback gain of input signal

Tap Button 1 ms to 5 sec Push twice to adjust the tap delay time

LPF 20 Hz to 20 kHz Adjusts the low pass lter frequency of the signal

HPF 20 Hz to 20 kHz Adjust the high pass lter frequency of the signal

Chorus L.F.O. 0.1 to 20 Hz Low frequency oscillation

Phase 0 to 180∘ Modulation phase adjustment

Mode Type Sine / Triangle Determines the modulation waveform

Depth 0 to 100% Chorus depth/density

Pre Delay 0 ms to 1 sec Early delay before the chorus effect begins

LPF 20 Hz to 20 kHz Low pass lter cut-off frequency

Flanger L.F.O. 0.1 to 20 Hz Low frequency oscillation

Phase 0 to 180∘ Modulation phase adjustment

Wave Sine / Triangle Determines the modulation waveform

Depth 0 to 100% Modulation depth

Pre Delay 0 ms to 1 sec Early delay before the anger effect begins

LPF 20 Hz to 20 kHz Determines the anger low pass lter cut-off frequency

FB 0 to 99% Determines the feedback gain of the anger effect

Phaser L.F.O. 0.1 to 20 Hz Low frequency oscillation

Wave Sine / Triangle Determines the modulation waveform

Depth 0 to 100% Adjusts the depth of the Phaser effect

Frequency 20 Hz to 20 kHz Determines the modulation frequency of the Phaser

Stage Number 2, 4, 6, 8 Determines the number of all-pass lters, or stages, in

the Phaser effect

Vibrato L.F.O. 0.1 to 20 Hz Low frequency oscillation

Wave Sine / Triangle Modulation waveform of the Vibrato effect

Depth 0 to 100% Determines the depth of the Vibrato effect

Frequency 20 Hz to 20 kHz Determines the modulation frequency of the Vibrato ef-

fect

Tremolo L.F.O. 0.1 to 20 Hz Low frequency oscillation

Wave Sine / Triangle Determines the modulation waveform

Depth 0 to 100% Adjusts the depth of the Tremolo Effect

Auto Pan L.F.O. 0.1 to 20 Hz Low frequency oscillation

Mode Sine / Triangle Determines the modulation waveform

Depth 0 to 100% Adjusts the depth of the Auto Pan effect

Way

LR / L  R / R  L

Determines the direction of the panning effect

Note: Reverb Effects are found on EFFECT 1 only.

Page 39

39SUMMIT

SPECIFICATIONS

Analog Inputs

MIC In : 16 x XLR Balanced (ch 1-16)

Line In : 16 x TRS Balanced jacks (Ch 1-16)

Insert I/O 16 x Phone jacks (Unbalanced)

2TR IN Analog 2 x RCA (Unbalanced)

Stereo Output

2 x XLR Balanced

2 x RCA (Unbalanced)

Main Output 2 x XLR Balanced

Control Room Output 2 x XLR Balanced

Multi Outputs 8 x TRS Balanced

AUX/Group Output 8 x TRS Balanced (Shared through Multi)

Phones 1 x Stereo Phone jack (TRS Unbalanced)

Digital I/O (AES/EBU) 2 x XLR Balanced

Sampling Frequency 44.1 kHz, 48 kHz, 88.2 kHz, 96 kHz (40-Bit Floating Point Mixing)

Signal Delay (CH INPUT to STEREO OUT)

Fs=48 kHz <1.2ms, Fs=96 kHz <0.6ms

Faders 17 x 100mm motorized faders

Word Clock I/O 2 x BNC Connectors

Distortion (THD + N) < 0.0003% (1 kHz, mic +24 dBu to line out)

Frequency Response (CH INPUT to STEREO OUT)

Fs=48, 96kHz, 0/-1.5dBu, 20 Hz – 20 kHz @ +4dBu into 600Ω

Hum & Noise (20 Hz – 20 kHz), Rs=150, -128dBu (EIN), -90dBu (residual output noise)

Optional Components 16 x 16 Universal Expansion Card (2 x FireWire, 1 x USB 2.0)

Power Supply Unit 100V – 240V, 50/60 Hz, 90W

Dimensions (H x W x D) 164 x 450 x 520 mm / 6.5” x 17.7” x 20.5”

Weight 16.9 kg / 37.3 lbs

Page 40

40 SUMMIT

APPLICATION

Live Setup

GUITAR

DRUM SET

KEYBOARD

HEADPHONES

ACTIVE MONITOR

PERFORMER STAGE MONITORS

CD or MP3 PLAYER

MIC

BASS

FOH SPEAKERS

AMPLIFIER

EQUALIZER

Page 41

41SUMMIT

Recording

GUITARS

DRUM SET

KEYBOARD

HEADPHONES

Producer’s Booth

16 in 16 out

CD or MP3 PLAYER

MASTER CLOCK

DIGITAL RECORDER

MIC

BASS

MULTITRACK RECORDER

COMPUTER

Return through input channels for monitoring

Page 42

42 SUMMIT

Measurements are shown in mm/inches

DIMENSIONS

Page 43

43SUMMIT

BLOCK DIAGRAMS

+48V

INSERT

CH1

CH2~CH14

SOLO R

SOLO L

Main L

Main R

GP1

GP2

GP3

GP4

GP5

GP6

GP7

GP8

AUX5

AUX2

AUX6

AUX7

AUX8

AUX4

AUX3

AUX1

GP1

GP2

GP3

GP4

GP5

GP6

GP7

GP8

AUX1

AUX2

AUX3

AUX4

AUX5

AUX6

AUX7

AUX8

Solo Safe

PFL/AFL

To Main

PFL/AFL

Solo Safe

To Main

SOLO

Master GP1

Master AUX1

Solo Safe

Main R

GP1

AUX8

AUX3

AUX5

GP2

AUX4

SOLO R

GP4

GP8

AUX7

GP6

AUX6

GP3

AUX1

GP5

Main L

AUX2

GP7

SOLO L

GP4

GP2

OSCILLATOR

GP1

MAIN R

AUX6

GP5

MAIN L

AUX8

AUX3

AUX1

AUX2

AUX4

GP6

GP7

GP3

AUX5

AUX7

GP8

AUX8

AUX4

AUX2

To Main

INSERT

AUX6

PFL/AFL

AUX3

+48V

Solo Safe

GP4

GP7

GP2

CH16

GP1

AUX1

GP8

GP6

GP5

AUX7

GP3

AUX5

CH15/16 2T IN

CH15

IN 1

IN 2

LEVEL

DRY/WET

EFX1_1

EFX1_2

Solo Safe

SOLO

LEVEL

DRY/WET

EFX2_1

EFX2_2

Solo Safe

IN 1

IN 2

SOLO

EXPANSION

Card

AES/EBU IN

LEVEL

Solo Safe

WORDCLOCK

OUT

PRE/POST

SOLO

PFL/AFL

PRE/POST

Main L

Main R

AES/EBU OUT

2T IN

MULTI 1

MULTI 2

MULTI 3

MULTI 4

2T OUT

MULTI 7

MULTI 5

MULTI 6

MULTI 8

Master

AUX2~AUX8

Master

GP2~GP8

LEVEL

Solo

Solo Safe

8 8

STEREO/MONO

2T IN

Control Room L

Control Room R

LEVEL

PHONES

LEVEL

Control Room 2T IN

STEREO/MONO

7 7

Digital in 15

Digital out 15

Digital out 1

Digital in 1

Digital in 1~16

Digital out 1~16

Master AUX1

Master AUX2~AUX8

GP1 L ~ GP8 L

CH1

CH15

CH1 ~ CH16

Master AUX1 ~ AUX8

EFX1-2,EFX2_1,EFX2_2

CH1 ~ CH16

Master AUX1 ~ AUX8

EFX1_1,EFX2_1, EFX2_2

CH1 ~ CH16

Master AUX1 ~ AUX8

EFX2_2,EFX1_1,EFX1_2

EFX2_1,EFX1_1, EFX1_2

SOLO L

SOLO R

Main L

Main R

Master AUX1~AUX8

GP1 R ~ GP8 R

Master AUX1~AUX8

GP1 L ~ GP8 L

Master AUX1~AUX8

GP1 R ~ GP8 R

Master AUX1~AUX8

GP1 L ~ GP8 L

Master AUX1~AUX8

GP1 R ~ GP8 R

Master AUX1~AUX8

GP1 L ~ GP8 L

Master AUX1~AUX8

GP1 R ~ GP8 R

GP1 L ~ GP8 L

GP1 R ~ GP8 R

Master AUX1~AUX8

Main L,R Multi 1~8

Multi 1~8

Main L,R

Multi 1~8

Main L,R

Multi 1~8

Main L,R

GP1 L

GP1 R

GP2 L~GP8 L

GP2 R~GP8 R

Main L

Main R

Multi 1

Multi 2

Multi 3

Multi 4

Multi 5

Multi 6

Multi 7

Multi 8

PAD

0dB

-20dB

Gain

METER

4BAND

METER

Fader

METER

Noise Gate

METER METER

Expander

METER METER

Dynamic

Compressor

Limit

METER

DAC

METER

PRE/POST

Digital

Analog

DAC

Noise Gate

METER METER

Expander

METER

Dynamic

Compressor

Limit

SUM

METER

4BAND

METER

PRE/POST

METER

Peak

METER

PAN

SOLO

PRE/POST

off

Delay

Digital

Analog

METER

Order

PRE/POST

Delay

4BAND

METER

SOLO

DAC

Fader

Same as Master GP1

EFFECT 2

PRE/POST

Noise Gate

METER

Expander

METER

Dynamic

Compressor

Limit

4BAND

METER

DAC

Same as Master AUX1

METER

PAN

METER

PAN

PRE/POST

Fader

Same as CH1

PRE/POST

DAC

Firewire

METER

(L+R)/2

METER

Fader

METER

Fader

METER

DAC

Peak

4BAND

METER

4BAND

METER

Phase

4BAND

METER

PRE/POST

USB

METER

Delay

4BAND

METER

off

Phase

(L+R)/2

METER

Order

Sine 100Hz Sine 1kHz Sine 10kHz Pink Noise

METER

Noise Gate

METER

Expander

METER

Dynamic

Compressor

Limit

METER

Fader

METER

Delay

Fader

METER

Delay

DAC

Noise Gate

METER METER

Expander

METER METER

Dynamic

Compressor

Limit

Fader

Same as CH15

OrderOrder

METER

ADC

PRE/POST

METER

USB

Firewire

OrderOrder

METER

Order

METER

PRE/POST

OrderOrder

METER

PRE/POST

OrderOrder

4BAND

METER

DAC

METER

Order

ADC

PRE/POST

Fader

Delay

OrderOrder

METER

Fader

OrderOrder

DAC

SD HC

Fader

EFFECT 1

Noise Gate

METER

Expander

METER

Dynamic

Compressor

Limit

SUM

METER

Delay

Order

Noise Gate

METER METER

Expander

METER

Dynamic

Compressor

Limit

Noise Gate

METER METER

Expander

METER

Dynamic

Compressor

Limit

METER

DAC

PRE/POST

Noise Gate

METER

Expander

METER METER

Dynamic

Compressor

Limit

Noise Gate

METER METER

Expander

METER

Dynamic

Compressor

Limit

METER

Delay

4BAND

METER

PRE/POST

Fader

SUM

PRE/POST

Delay

METER

Delay

METER

DAC

4BAND

METER

Noise Gate

METER METER

Expander

METER

Dynamic

Compressor

Limit

SUM

METER

DAC

DSP

SUM

PAD

0dB

-20dB

Gain

METER

Fader

METER

PRE/POST

Page 44

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