SoundCraft Five Monitor User Manual

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FIVE Monitor Contents 1

2 FIVE Monitor Contents

Parts of the design of this product may be protected by worldwide patents.

Part No. ZM0228 Issue 1

Soundcraft is a trading division of Harman International Industries Ltd.

Information in this manual is subject to change without notice and does not represent a commitment on the part of the vendor. Soundcraft shall not be liable for loss or damage whatsoever arising from the use of information or any error contained in this manual.

No part of this manual may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, electrical, mechanical, optical, chemical, including photocopying and recording, for any purpose without the express written permission of Soundcraft.

It is recommended that all maintenance and service on the product should be carried out by Soundcraft or its authorised agents. Soundcraft cannot accept any liability whatsoever for any loss or damage caused by service, maintenance or repair by unauthorised personnel.

Harman International Industries Limited. Cranborne House, Cranborne Road, Cranborne Industrial Estate, Potters Bar, Herts., EN6 3JN UK.

Tel: 01707 665000 Fax: 01707 660482

FIVE Monitor Contents i

FIVE MMonitor

1. Introduction 1.1

Introduction 1.2

Warranty 1.2

2. Installation 2.1

Dimensions 2.2

Precautions and Safety Instructions 2.3

Mains Installation 2.4

Connections 2.6

Block Diagrams 3.1

24-bus Mono Input Module 3.2

32-bus Mono Input Module 3.3

24-bus Stereo Input Module 3.4

32-bus Stereo Input Module 3.5

32-bus Output Module 3.6

Master Module 3.7

EQ Output Module 3.10

Functional Description 4.1

Mono Input Module 4.2

Stereo Input Module 4.6

Output Module 4.10

Master Module 4.14

Specifications 5.1

ii FIVE Monitor Contents

FIVE Monitor Introduction 1.1

FFIIVVEE MMoonniittoorr

IInnttrroodduuccttiioonn

1.2 FIVE Monitor Introduction

IInnttrroodduuccttiioonn

Congratulations on purchasing a Soundcraft console.

Series FIVE Monitor is a dedicated Monitor mixing console designed to meet the

exacting requirements of major tours and installations.

SSyysstteemm OOvveerrvviieeww

l Available in two versions: 24+2 or 32+2 bus

l Frame sizes from 40-60 mono inputs

l Optional stereo input module

l 4-band parametric EQ on all inputs including stereos

l Sends can be globally configured as mono or stereo

l Comprehensive output matrix built-in

l 8 VCA Groups plus 8 Mute groups

l Remote control of BSS Varicurve via midi

l LED input metering plus VU output metering

PPoowweerr SSuuppppllyy

l The FIVE Monitor uses the CPS2000 Power Supply.

FIVE Monitor Introduction 1.3

WWaarrrraannttyy

1 Soundcraft is a trading division of Harman International Industries Ltd .

End User means the person who first puts the equipment into regular

operation.

Dealer means the person other than Soundcraft (if any) from whom the

End User purchased the Equipment, provided such a person is authorised

for this purpose by Soundcraft or its accredited Distributor.

Equipment means the equipment supplied with this manual.

2 If within the period of twelve months from the date of delivery of the

Equipment to the End User it shall prove defective by reason only of faulty

materials and/or workmanship to such an extent that the effectiveness

and/or usability thereof is materially affected the Equipment or the defec-

tive component should be returned to the Dealer or to Soundcraft and

subject to the following conditions the Dealer or Soundcraft will repair or

replace the defective components. Any components replaced will become

the property of Soundcraft.

3 Any Equipment or component returned will be at the risk of the End User

whilst in transit (both to and from the Dealer or Soundcraft) and postage

must be prepaid.

4 This warranty shall only be available if:

a) the Equipment has been properly installed in accordance with instruc-

tions contained in Soundcrafts manual; and

b) the End User has notified Soundcraft or the Dealer within 14 days of the

defect appearing; and

c) no persons other than authorised representatives of Soundcraft or the

Dealer have effected any replacement of parts maintenance adjustments or

repairs to the Equipment; and

d) the End User has used the Equipment only for such purposes as

Soundcraft recommends, with only such operating supplies as meet

Soundcrafts specifications and otherwise in all respects in accordance

Soundcrafts recommendations.

5 Defects arising as a result of the following are not covered by this

Warranty: faulty or negligent handling, chemical or electro-chemical or

electrical influences, accidental damage, Acts of God, neglect, deficiency in

electrical power, air-conditioning or humidity control.

6 The benefit of this Warranty may not be assigned by the End User.

7 End Users who are consumers should note their rights under this Warranty

are in addition to and do not affect any other rights to which they may be

entitled against the seller of the Equipment.

1.4 FIVE Monitor Introduction

FIVE Monitor Installation 2.1

FFIIVVEE MMoonniittoorr

IInnssttaallllaattiioonn

2.2 FIVE Monitor Installation

DDiimmeenniioonnss

All dimensions are in millimeters (inches in brackets)

914.00

(35.98")

251.12 (9.89")

112.35 (4.42")

69.64

(2.74")

284.46

(11.20")

373.18

(14.69")

169.38 (6.67")

CONSOLE TOTAL WIDTH WEIGHTS

32-bus,

(24-bus, 44ch), 40ch

(24-bus, 52ch), 48ch

(24-bus, 60ch), 56ch

2007.80 (79.05")

2269.80 (89.36")

2531.80 (99.67“)

156kg (343lbs)

170kg (374lbs)

185kg (407lbs)

Mono Input Output Master

40 ch 48 ch 56 ch

FIVE Monitor Installation 2.3

PPrreeccaauuttiioonnss aanndd SSaaffeettyy IInnssttrruuccttiioonnss

GGeenneerraall PPrreeccaauuttiioonnss

Avoid storing or using the mixing console in conditions of excessive heat or cold,

or in positions where it is likely to be subject to vibration, dust or moisture. Do

not use any liquids to clean the fascia of the unit: a soft dry brush is ideal. Use only

water or ethyl alcohol to clean the trim and scribble strips. Other solvents may

cause damage to paint or plastic parts.

Avoid using the console close to strong sources of electromagnetic radiation (e.g.

video monitors, high-power electric cabling): this may cause degradation of the

audio quality due to induced voltages in connecting leads and chassis. For the

same reason, always site the power supply away from the unit.

Caution!

In all cases, refer servicing to qualified personnel.

HHaannddlliinngg aanndd TTrraannssppoorrtt

The console is supplied in a strong crate. If it is necessary to move it any distance

after installation it is recommended that this packing is used to protect it. Be sure

to disconnect all cabling before moving. If the console is to be regularly moved we

recommend that it is installed in a foamlined flightcase. At all times avoid applying

excessive force to any knobs, switches or connectors.

PPoowweerr SSuupppplliieess && ccaabblleess

Always use the power supply and cable supplied with the mixer: the use of alter-

native supplies may cause damage and voids the warranty; the extension of power

cables may result in malfunction of the mixing console.

Warning!

Always switch the power supply off before connecting or disconnecting

the mixer power cable, removing or installing modules, and servicing. In

the event of an electrical storm, or large mains voltage fluctuations,

immediately switch off the PSU and unplug from the mains.

Warning!

Use only the Soundcraft CPS2000 power supply with your console.

SSiiggnnaall LLeevveellss

It is important to supply the correct input levels to the console, otherwise signal to

noise ratio or distortion performance may be degraded; and in extreme cases,

damage to the internal circuitry may result. Likewise, on all balanced inputs avoid

sources with large commonmode DC, AC or RF voltages, as these will reduce the

available signal range on the inputs. Note that 0dBu = 0.775V RMS.

2.4 FIVE Monitor Installation

MMaaiinnss IInnssttaallllaattiioonn

GGeenneerraall WWiirriinngg PPrroocceedduurreess

To take full advantage of the excellent signal to noise ratio and low distortion of

Soundcraft consoles care must be taken to ensure that incorrect installation and

wiring does not degrade the performance of the desk. Hum, buzz, instability and

Radio Frequency interference can usually be traced to earth loops and inferior earth-

ing systems. In some areas, especially heavily industrial areas, the incoming mains

earth will not be adequate and a separate technical earth for all the audio equipment

must be supplied. However, check with your local electricity supply company to

ensure that safety regulations are not infringed or negated.

The successful, hum free, installation of a system requires forethought, and the estab-

lishment of a set of ground rules, which must be consistently adhered to at all stages

of installation.

IInniittiiaall WWiirriinngg CCoonnssiiddeerraattiioonnss

For optimum performance, it is essential for the earthing system to be clean and noise

free, as all signals are referenced to this earth. A central point should be decided on

for the main earth point system, and all earths should be `star fed from this point. It

is common electrical practice to daisy chain the earths to all electrical outlets but this

method is unsuitable for audio installations. The preferred method is to run an indi-

vidual earth wire from each outlet, back to the system star point to provide a safety

earth screen reference for each piece of equipment.

A separate earth wire should also be run from each equipment rack and area, to the

star point. This may or may not be used depending on circumstances, but it is easier

to install in the first place, than later when problems arise.

The location of the star point should be a convenient, easily accessible place, prefer-

ably at the rear of the console or in the main equipment rack.

Install separate clean and dirty mains outlets, wired individually back to the incom-

ing mains distribution box. Use the clean supply for all audio equipment and the

dirty supply for all lighting, etc. Never mix the two systems.

If necessary, to provide sufficient isolation from mains borne interference, install an

isolating transformer. This should be provided with a Faraday Shield which must be

connected with earth.

Never locate the incoming mains distribution box near audio equipment, especially

tape recorders, which are very sensitive to electro-magnetic fields.

Ensure that all equipment racks are connected to earth, via a separate wire back to

the star point.

Equipment which has unbalanced inputs and outputs may need to be isolated from the

rack to prevent earth loops.

AAuuddiioo WWiirriinngg

Having provided all equipment with power and earthing connections, consideration

must be given to the method of providing audio interconnection and adequate screen-

ing of those interconnections. This must be done in a logical sequence to avoid prob-

lems and assist in the localisation of problem equipment.

l Connect the Monitor system to the console and check for any hum, buzz, or

RFI. Only when you are satisfied with the quietness of the console and the

monitor system should you proceed with the next step.

l Connect stereo tape recorders, echo and foldback sends one at a time, check-

ing and isolating any connection which degrades performance.

l Connect all other peripheral devices.

FIVE Monitor Installation 2.5

l Connect all microphone lines.

By following this sequence much time and future trouble will be saved, and the result

will be a quiet, stable system.

SShhiieellddiinngg

Audio equipment is supplied with a variety of input and output configurations, which

must be taken into consideration when deciding where the screen connections should

be made. There are three sources of unwanted signal being impressed on the screen,

which are as follows:

l Extraneous electrostatic or electromagnetic fields.

l Noise and interference on the earth line.

l Capacitive coupling between the screen and signal wires.

To minimise the adverse affects of the unwanted coupling to the signal wires, it is

important that the screen is connected at one end only, i.e. the screen must not carry

any signal current. Any signal on the wires within the screen will be capacitively cou-

pled to the screen. This current will ultimately be returned to the source of the sig-

nal, either directly, if the screen is connected at the signal source end, or indirectly via

the earthing system, if the signal is connected at the signal destination end. The indi-

rect connection will cause an increase in high frequency cross-talk, and should be

avoided wherever possible.

Therefore, in general, always connect the shield only at the signal source end. In high

RF areas, the screen can also be connected to earth via a 0.01

µF capacitor. This will

present a short circuit at RF frequencies, thus lowering the effective shield impedance

to ground. However, at low audio frequencies the reactance of the capacitor will be

sufficiently high not to cause an earth loop problem.

PPooiinnttss ttoo RReemmeemmbbeerr

l In all cases, use good quality twin screened audio cable. Check for instability at

the output.

l Always connect both conductors at both ends, and ensure that the screen is

only connected at one end.

l Do not disconnect the mains earth from each piece of equipment. This is

needed to provide both safety and screen returns to the system star point.

l Equipment which has balanced inputs and outputs may need to be electrically

isolated from the equipment rack and/or other equipment, to avoid earth

loops.

It is important to remember that all equipment which is connected to the mains is a

potential source of hum and interference and may radiate both electrostatic or elec-

tromagnetic radiation. In addition, the mains will also act as a carrier for many forms

of RF interference generated by electric motors, airconditioning units, thyristor light

dimmers etc. Unless the earth system is clean, all attempts to improve hum noise lev-

els will be futile. In extreme cases there will be no alternative but to provide a com-

pletely separate and independant technical earth to replace the incoming noisy

earth. However, always consult your local electricity supply authority to ensure that

safety regulations are not being infringed.

2.6 FIVE Monitor Installation

CCoonnnneeccttiioonnss

2 2

1 1

3 3

ALL INPUTS ALL OUTPUTS

GROUND (SCREEN)

COLD (OUT OF PHASE SIGNAL)

HOT

(IN PHASE SIGNAL)

Socket(female)

Plug(male)

3-pole XLR

Audio Connectors

Lamp Connectors

MIDI Connectors

Tip - HOT(IN PHASE SIGNAL)

Ring - COLD(OUT OF PHASE SIGNAL)

Sleeve - GROUND(SCREEN)

Stereo Jack Plug used as balanced Input/Output, inc. Insert Send/Return

Tip - LEFT SIGNAL

Ring - RIGHT SIGNAL

Sleeve - GROUND(SCREEN)

Pin 4 = 0V

Pins 1 and 3 = +/-12V

Stereo Jack Plug used for Headphones

Not Used

Midi In -

Midi In +

Not Used

MIDI IN

Not Used

GND

MIDI Out -

MIDI Out +

MIDI OUT

FIVE Monitor Installation 2.7

JJuummppeerr OOppttiioonnss

MMoonnoo IInnppuutt MMoodduullee ((SSCC 33991177))

Jumper Function Default Option Option

JMP 1-6 Channel Insert Position J1/2/3 Pre EQ J4/5/6 Post EQ

JMP 7-9 Prefade Source Select J7 Pre Fade J8 Pre Mute J9 Pre EQ

GRPS L+R

JMP 10-12 Prefade Source Select J10 Pre Fade J11 Pre Mute J12 Pre EQ

GRPS 9-16

JMP 13-15 Prefade Source Select J13 Pre Fade J14 Pre Mute J15 Pre EQ

GRPS 1-8

JMP 16-18 Direct Output Source J18 Post I/P Amp J17 Pre Fade J16 Post Fade

JMP 19 Pre EQ Mute Enabled Disabled

JMP 20 Pre Mute Source Post Pre

Post EQ Insert Post EQ Insert

JMP 21-23 Meter Source J21 Post I/P Amp J22 Pre Mute J23 Post Fade

MMaasstteerr MMoodduullee LLHH PPCCBB ((SSCC33992233))

J1 Talk Back to Foh DC Signal Enabled Disabled

J2 Oscillator Routing to Buses 32 Bus 24 Bus

J3 Wedge Source If no Solo No Signal GRPL+R

VVCCAA FFaaddeerr ((SSCC33992266))

J1-8 VCA Solo Signal (Select by VCA Position)

J11-18 VCA Control Level (Select by VCA Position)

J21-28 VCA Mute Signal (Select by VCA Position)

PPoowweerr DDiissttrriibbuuttiioonn && LLiinnkk PPCCBB ((SSCC33992277))

J1 Matrix Ext. Input L Sensitivity +4dBu -10dBu

J2 Matrix Ext. Input R Sensitivity +4dBu -10dBu

OOuuttppuutt MMoodduullee LLHH PPCCBB ((SSCC33992211))

J1-16 A Group Input Select (GRPS 1-16)

J17-20 A Group Input Select 24 Bus Consoles Only

J21-36 B Group Input Select (GRPS 1-16)

J37-68 A+B Group Output Select (GRPS 1-16)

J70 Ground Cancel Bus Select

J71-86 Matrix Output Select

J87-90 Matrix External Input Option Select

J101-116 Mono/Stereo Mode Switch Select

2.8 FIVE Monitor Installation

FIVE Monitor Block Diagrams 3.1

FFIIVVEE MMoonniittoorr

BBlloocckk DDiiaaggrraammss

3.2 FIVE Monitor Block Diagrams

SOLO

IP SOLO DET

IP SOLO CLR

FLASH

SOLO

GRP 1-8

PREFADE

SOURCE

SOLO

LOGIC

MUTE

LOGIC

VCA

CONTROL

12B

16B

12A

16A

11A

15A

10A

14A

13A

11B

15B

10B

14B

13B

+5dB

PAN

ONPRE

+20dB

PEAK

DETECT

PEAK LED

(ON INPUT FADER)

L/R

PREFADE

SOURCE

POST

FADE

PRE

FADE

PRE

MUTE

PRE

FADER

SEND

RET

VCA

MUTEMUTE

DIRECT

OUTPUT

SOURCE

INSERT

RETURN

DIRECT

OUT

+4dBu

INPUT

FADER

INSERT

SEND

INPUT A

INPUT B

A/B

PHANTOM POWER

+48V

OPTIONAL

MIC/LINE

INPUT TX

SIMPLIFIED

VIEW +

DRILL-OUT

PADS

RNG

-2dBu

20 - 600

1k - 20k

INSERT

PRE EQ

(DEFAULT)

LF LO MID HI MID

4 BAND PARAMETRICEQUALISER

INSERT

POST EQ

MONO/STE MODE BUS

PFL BUS

AFL LBUS

AFL R BUS

GROUP BUS (1-32)

GRP LBUS

GRP R BUS

SOLO

-6dB

FILTERS

METER

SOURCE

INPUT METER

(ON INPUT FADER)

-30/+15dB

SENS

-2 to -70dBu/ +10 to -20dBu

INPUT

REARCON

OPTIONAL

MULTIWAYCONNS

+ DRILL OUTPADS

FOR TRANSFORMER

BALANCING

INSERT

PREMUTE

SOURCE

PRE EQ

MUTE

ENABLE

+10dB

VCAIS BYPASSED

WHEN NO VCABUS

IS SELECTED

LEVEL

+5dB

STEREO

GRP 9-16

PREFADE

SOURCE

STEREO

PRE

MUTE GROUP

CONTROLS

GENERATEDBY

MUTE MASTER ASSY

VCACONTROLS

GENERATEDBY

VCAFADER ASSY

MUTE BUS 8

MUTE BUS 1

VCALEVEL 8

VCALEVEL 1

VCAMUTE 8

VCAMUTE 1

VCASOLO 8

VCASOLO 1

MUTE

SAFE

24-Bus Mono Input Module

FIVE Monitor Block Diagrams 3.3

SOLO

IP SOLO DET

IP SOLO CLR

FLASH

SOLO

GRP 1-8

PREFADE

SOURCE

SOLO

LOGIC

MUTE

LOGIC

VCA

CONTROL

12B

16B

12A

16A

11A

15A

10A

14A

13A

11B

15B

10B

14B

13B

+5dB

PAN

ONPRE

+20dB

PEAK

DETECT

PEAK LED

(ON INPUT FADER)

L/R

PREFADE

SOURCE

POST

FADE

PRE

FADE

PRE

MUTE

PRE

FADER

SEND

RET

VCA

MUTEMUTE

DIRECT

OUTPUT

SOURCE

INSERT

RETURN

DIRECT

OUT

+4dBu

INSERT

SEND

INPUT A

INPUT B

A/B

PHANTOM POWER

+48V

OPTIONAL

MIC/LINE

INPUT TX

SIMPLIFIED

VIEW +

DRILL-OUT

PADS

RNG

-2dBu

20 - 600

1k - 20k

INSERT

PRE EQ

(DEFAULT)

LF LO MID HIMID

4 BAND PARAMETRICEQUALISER

INSERT

POST EQ

MONO/STE MODE BUS

PFL BUS

AFL LBUS

AFL R BUS

GROUP BUS (1-32)

GRP LBUS

GRP R BUS

SOLO

-6dB

FILTERS

METER

SOURCE

INPUT METER

(ON INPUT FADER)

-30/+15dB

SENS

-2 to -70dBu/ +10 to -20dBu

INPUT

REARCON

OPTIONAL

MULTIWAYCONNS

+ DRILL OUTPADS

FOR TRANSFORMER

BALANCING

INSERT

PREMUTE

SOURCE

PRE EQ

MUTE

ENABLE

+10dB

VCAIS BYPASSED

WHEN NO VCABUS

IS SELECTED

LEVEL

+5dB

STEREO

GRP 9-16

PREFADE

SOURCE

STEREO

PRE

MUTE GROUP

CONTROLS

GENERATEDBY

MUTE MASTER ASSY

VCACONTROLS

GENERATEDBY

VCAFADER ASSY

MUTE BUS 8

MUTE BUS 1

VCALEVEL 8

VCALEVEL 1

VCAMUTE 8

VCAMUTE 1

VCASOLO 8

VCASOLO 1

MUTE

SAFE

32-Bus Mono Input Module

3.4 FIVE Monitor Block Diagrams

INPUTMETERS

(ONINPUT

FADERPCB)

-20/+10dB LEFT

LINKSDISABLE

RHSPHASE

REVERSE

+48V

PHANTOM

INPUT

REARCON

INPUTL

INPUTR

INSERT

SEND

INSERT

SEND

INSERT

RETURN

INSERT

--+

INSERT

RETURN

INPUT

FADER

SOLO

MUTE

SAFE

MUTE

LOGIC

GRP1-8

PREFADE

SOURCE

GRP9-16

PREFADE

SOURCE

POSTFADE

TOMETERS

L L

LLL L

PRE

MUTE

PRE-

MUTE

SOURCE

VCAIS BYPASSED

WHENNO VCA BUS

ISSELECTED

VCAIS BYPASSED

WHENNO VCA BUS

ISSELECTED

VCA

MUTEMUTE

INPUTL

TOPRE-EQ MUTE RIGHT

SENDR

RETR

20-600

TOPRE-EQ MUTE LEFT

SENDL

RETL

INSERT

PREEQ

(DEFAULT)

LOMID

HIMID

INSERT

POSTEQ

INSERT

POSTEQ

PFLBUS

AFLL BUS

AFLR BUS

GRPL BUS

GRPR BUS

MONO/STEMODE BUS

GROUPBUS 1-8A

GROUPBUS 1-8 B

GROUPBUS 9-16 A

GROUPBUS 9-16 B

RHS

LHS

4BAND PARAMETRIC EQUALISER

FILTER

20-600

INSERT

PREEQ

(DEFAULT)

PRE-MUTEL

LHSLHS

INPUTR

PRE-MUTER

PRE-

MUTE

SOURCE

PRE-EQ

MUTE

ENABLE

FADER

PEAK

DETECT

PEAK

DETECT

PEAKLED

(ONINPUT FADER)

PEAKLED

(ONINPUT FADER)

RIGHT

LEFT

SOLO

+20dB

FADER

+10dB

PRE-EQ

MUTE

ENABLE

MUTE MUTE

RHS RHS

PRE

FADE

POST

FADE

GROUPSEND L & R

PRE

MONOPOST

+5dB

LEVEL

STEREO

BAL

L/R

PREFADE

SOURCE

R R

RRR R

MUTEBUS 8

VCALEVEL 8

VCAMUTE 8

VCASOLO 8

VCASOLO 1

VCAMUTE 1

VCALEVEL 1

MUTEBUS 1

MUTEGROUP

CONTROLS

GENERATEDBY

MUTEMASTER ASSY

118

VCACONTROLS

GENERATEDBY

VCAFADER ASSY

VCA

CONTROL

PRE ON

STE

+5dB

LEVEL

PRE

GROUPSENDS 9-16 (1 OF 8 SHOWN)

STEREO

GROUPSENDS 1-8

(2OF 8 SHOWN)

9-16A

1-8B

9-16B

STEREOMODE

LEVEL

ODD

EVEN

BAL

SOLO

LOGIC

IPSOLO DET

IPSOLO CLA

FLASH

+4dBu

LEFT

+4dBu

RIGHT

-2to -70dBu/

+10to -20dBu

METER

SOURCE

METER

SOURCE

RNG

SENS

OPTIONAL

MIC/LINE

INPUTTX

SIMPLIFIED

VIEW+

DRILL-OUT

PADS

-2dBu

-4.5dB

RIGHT

MNO MNOLR

24-Bus Stereo Input Module

FIVE Monitor Block Diagrams 3.5

INPUTMETERS

(ONINPUT

FADERPCB)

-20/+10dB LEFT

LINKSDISABLE

RHSPHASE

REVERSE

L R

+48V

PHANTOM

INPUT

REARCON

INPUTL

INPUTR

INSERT

SEND

INSERT

SEND

INSERT

RETURN

INSERT

--+

INSERT

RETURN

INPUT

FADER

SOLO

MUTE

SAFE

MUTE

LOGIC

GRP1-8

PREFADE

SOURCE

GRP9-16

PREFADE

SOURCE

POSTFADE

TOMETERS

L L

L L L L

PRE

MUTE

PRE-

MUTE

SOURCE

VCAIS BYPASSED

WHENNO VCA BUS

ISSELECTED

VCAIS BYPASSED

WHENNO VCA BUS

ISSELECTED

VCA

MUTEMUTE

INPUTL

TOPRE-EQ MUTE RIGHT

SENDR

RETR

20-600

TOPRE-EQ MUTE LEFT

SENDL

RETL

INSERT

PREEQ

(DEFAULT)

LOMID

HIMID

INSERT

POSTEQ

INSERT

POSTEQ

PFLBUS

AFLL BUS

AFLR BUS

GRPL BUS

GRPR BUS

MONO/STEMODE BUS

GROUPBUS 1-8A

GROUPBUS 1-8 B

GROUPBUS 9-16 A

GROUPBUS 9-16 B

RHS

LHS

4BAND PARAMETRIC EQUALISER

FILTER

20-600

INSERT

PREEQ

(DEFAULT)

PRE-MUTEL

LHSLHS

INPUTR

PRE-MUTER

PRE-

MUTE

SOURCE

PRE-EQ

MUTE

ENABLE

FADER

PEAK

DETECT

PEAK

DETECT

PEAKLED

(ONINPUT FADER)

PEAKLED

(ONINPUT FADER)

RIGHT

LEFT

SOLO

+20dB

FADER

+10dB

PRE-EQ

MUTE

ENABLE

MUTE MUTE

RHS RHS

PRE

FADE

POST

FADE

GROUPSEND L &R

PRE

MONOPOST

+5dB

LEVEL

STEREO

BAL

L/R

PREFADE

SOURCE

R R

R R R R

MUTEBUS 8

VCALEVEL 8

VCAMUTE 8

VCASOLO 8

VCASOLO 1

VCAMUTE 1

VCALEVEL 1

MUTEBUS 1

MUTEGROUP

CONTROLS

GENERATEDBY

MUTEMASTER ASSY

118

VCACONTROLS

GENERATEDBY

VCAFADER ASSY

VCA

CONTROL

PRE ON

+5dB

LEVEL

PRE

GROUPSENDS 9-16 (1 OF 8 SHOWN)

STEREO

GROUPSENDS 1-8

(1OF 8 SHOWN)

STEREO

1-8A

9-16A

1-8B

9-16B

STEREOMODE

BAL

SOLO

LOGIC

IPSOLO DET

IPSOLO CLA

FLASH

+4dBu

LEFT

+4dBu

RIGHT

-2to -70dBu/

+10to -20dBu

METER

SOURCE

METER

SOURCE

RNG

SENS

OPTIONAL

MIC/LINE

INPUTTX

SIMPLIFIED

VIEW+

DRILL-OUT

PADS

-2dBu

-4.5dB

RIGHT

MNO MNOL R

32-Bus Stereo Input Module

3.6 FIVE Monitor Block Diagrams

DRILL-OUT PADS

FADER

B OUTPUT

OPTIONALEDAC OR TRANSFORMER

PARTOF UPPER MASTER REARCON

B GROUP OUTPUT

TB DIM

+4dBu

OP SOLO CLR

OP SOLO INH

OP SOLO DET

TOMATRIX METER IN OVERBRIDGE

MIDI CONTROL

SOLO LOGIC

SOLO

SIGNAL

-30dBu

-2dBu

MUTE

INSERT

RETURNSEND

PARTOF LOWER MASTER REARCON

OPTIONAL EXTERNAL INPUT SELECTION

EXTERNAL SOURCE SELECTION

GRPR

GRPL

GRP10B

GRP9B

GRP9A

GRP7A

GRP5A

GRP3A

GRP1A

TALKBACK

OUTPUTBUS

GRP 8A

GRP 6A

GRP 4A

GRP 2A

GRP8B

GRP6B

GRP4B

GRP2B

GRP7B

GRP5B

GRP3B

GRP1B

GRP 10A

EXTL

EXTR

EXT

DRILL-OUTPADS

OPTIONALEDAC OR TRANSFORMER

+4dBu/

-10dBv

OPTIONALEDAC OR TRANSFORMER

OPTIONAL MULTPIN CONNECTOR PANEL

OPTIONAL INDIVIDUAL MATRIX EXTERNAL INPUT

OPTIONAL MULTPIN CONNECTOR

MATRIX EXTERNAL INPUTL

MATRIX EXTERNAL INPUTR

PARTOF LINK REARCON

PARTOF POWER DISTRIBUTION PCB

OPTIONAL BUFFER AMP

EXT

MONO

OUT

MATRIX OUTPUT

MATRIX MUTE LOGIC

PARTOF LOWER MASTER REARCON

FLASH

MUTE ALLOUTPUTS

TB DIM

MUTE

MATRIX MASTER

MATRIX

+10dB

-2dBu

+4dBu

6dBTBDIM

OPTIONAL

E DAC OR Tx

DRILL-OUTPADS

TO ALLMATRIX SECTIONS AND GROUP METER IN OVERBRIDGE

DIM

MUTE

TALKBACK

-2dBu

+10dB

OUT

INSERT

6dB

-2dBu

+4dBu

ALT

GLOBAL STEREO

INSERT

RETURNSEND

POSTMUTE

POSTFADE

PREFADE

±10dB

MIDI CONTROL

MIDI

CONTROL

SOLO

TRIM

SOLO

TRIM

GLOBAL STEREO

STEREO

MONO

-4.5dB

-6dB

STEREO

MONO

-6dB

-4.5dB

ALT

SOLO LOGIC

GLOBAL

GLOBAL STEREO

AGROUP

MUTE LOGIC

TO ALLMATRIX SECTIONS AND GROUP METER

IN OVERBRIDGE

DIM

MUTE

INSERT

AOUTPUT

GROUP BUS-32

MONO/STE MODE BUS

ALTPFL

ALTAFL L

ALTAFL R

PFL

AFLL

AFLR

GRP L

GRP R

PARTOF UPPER MASTER REARCON

RETURNSEND

OUT

FADER

+10dB

-2dBu

OPTIONALEDAC OR TRANSFORMER

AGROUP EXTERNAL INPUT

B GROUP EXTERNAL INPUT

PARTOF LINK REARCON

DRILL-OUT PADS

+4dBu

6dB

PARTOF UPPER MASTER REARCON

FLASH

MUTE ALLOUTPUTS

A GROUP OUTPUT

+4dBu

DRILL-OUT PADS

OPTIONALEDAC OR TRANSFORMER

MUTE

B GROUP

MUTE LOGIC

STE

MUTE

SOLO LOGIC

SOLO

TALKBACK

TB DIM

OPSOLO CLR

OPSOLO INH

OPSOLO DET

PARTOF UPPER MASTER REACON

OPTIONAL MULTIPIN CONNECTOR

32-Bus Output Module

FIVE Monitor Block Diagrams 3.7

TO WEDGE METERS IN OVERBRIDGE

OPTIONALEDAC OR TRANSFORMER

OPTIONALEDAC OR TRANSFORMER DRILL-OUT PADS

OPTIONALEDAC OR TRANSFORMER

PHONES OUTPUT (UPPER MASTER REARCON)

PHONES OUTPUT (FADERPANEL)

PHONES POWER AMP

PARTOF LOWER MASTER REARCON PCB

WEDGE R OUTPUT

WEDGE L OUTPUT

POWER

AMP

ALTWEDGE LOUTPUT

PARTOF LOWER MASTER REARCON PCB

PARTOF POWER DISTRIBUTION PCB

SUPPLY RAIL SENSE CIRCUITRY

PSU 1

PSU 2

OSC OUTPUT

PSU RAIL INDICATORS

+ / -17V

+5V

+48V

TALKBACK

TB DIM

+4dBu

MAIN WEDGE/ ALTSOLO

PRE

SRC

ALT

LEVEL

+10dB

ALT

PHONES

LEVEL

PHONES

DIM

TALKBACK TO PHONES

DRILL-OUT PADS

WEDGE

DIM

WEDGE

DIM

FOH TB OUTPUT

+4dBu

TALKBACKTO PHONES

WEDGE DIM

PHONES DIM

TO OUTPUTS VIATB

TB LOGIC

LEVEL

FREQ

OSC

X10

OSCILLATORON

OSC TO OUTPUTS 25-32 ENABLE

PINK

OSC TO BUSSES

OSC TO OUTPUT

FOH

TB LEVEL

15v

CONTROL

VOLTAGE

ENABLE

-2dBu

-30

PAD

-20 TO -50dBu

FOH

TB MIC

TB MIC FRONT PANEL XLR

PARTOF LOWER MASTER REARCON PCB

FOH TB INPUT

+48V

PHANTOM

+48V

EXT

DIM

FADER

WEDGE

WEDGE INSERT

WEDGE

MONO

SOURCE

WEDGE

MONO

SOURCE

IN R

-2dBu

+4dBu

-2dBu

GRP R

POSTMUTE

GRP L&R TO WEDGE ENABLE

INPUT SOLO DETECT

OUTPUT SOLO DETECT

OUTPUT SOLO INHIBIT

INPUT SOLO CLEAR

OUTPUT SOLO CLEAR

AUTO

CANCEL

SOLO

LOGIC

CLEAR

INPUT

PRIORITY

ONON

INSERT

GRP L

POSTMUTE

±10dB

PFL TRIM

PFL

AFLL

AFLR

ALTPFL

ALTAFL L

ALTAFL R

GRP L

GRP R

OUTPUTS1-24

OUTPUTS 25 - 32

AFLL

AFLR

MASTER MODE PFL/AFL

PARTOF LINK REARCON

EXT PFL INPUT

EXT AFLL INPUT

EXT AFLR INPUT

AFLR OUTPUT

AFLL OUTPUT

PFL OUTPUT

ALT PFL

ALT AFL

PARTOF LOWER MASTER REARCON

PARTOF UPPER MASTER REARCON PCB

SEND

RETURN

WEDGE

DIM

WEDGE

DIM

20dB

15dB

20dB

+10dB

+4dBu

Master Module (1)

3.8 FIVE Monitor Block Diagrams

DRILL-OUTPADS

R OUTPUT

FADER

OPTIONALEDAC OR TRANSFORMER

PARTOF UPPER MASTER REARCON

GROUPR OUTPUT

+4dBu

DIM

TOALL MATRIX SECTIONS AND WEDGE INPUT

MUTE

-2dBu

+10dB

OUT

INSERT

6dB

-2dBu

+4dBu

GLOBAL

STEREO

INSERT

RETURNSEND

POSTFADE

±10dB

PREFADE

MIDI CONTROL

SOLO

TRIM

SOLO

TRIM

GLOBAL STEREO

STEREO

MONO

-4.5dB

-6dB

STEREO

MONO

-4.5dB

ALT

SOLO LOGIC

GLOBAL

GLOBAL STEREO

GROUPL

MUTE LOGIC

TOALL MATRIX SECTIONS AND

WEDGE INPUT

DIM

MUTE

INSERT

OPTIONAL MULTIPIN CONNECTOR

INSERT

LOUTPUT

OUTPUTS1-32

GRPMONO/STE MODE BUS

ALTPFL

ALTAFL L

ALTAFL R

PFL

AFLL

AFLR

GRPL

GRPR

PARTOF UPPER MASTER REARCON

RETURNSEND

OUT

FADER +10dB

-2dBu

OPTIONALEDAC OR TRANSFORMER

GROUPL EXTERNAL INPUT

GROUPR EXTERNAL INPUT

PARTOF LINK REARCON

DRILL-OUTPADS

+4dBu

6dB

PARTOF UPPER MASTER REARCON

FLASH

MUTE ALLOUTPUTS

GROUPL OUTPUT

+4dBu

DRILL-OUTPADS

OPTIONALEDAC OR TRANSFORMER

MUTE

GROUPR

MUTE LOGIC

STE

MUTE

SOLO LOGIC

SOLO

OPSOLO CLR

OPSOLO INH

OPSOLO DET

TB DIM

TALKBACK

PARTOF UPPER MASTER REACON

Master Module (2)

FIVE Monitor Block Diagrams 3.9

FLASH BUS OSCILLATOR

NOMINAL

SOLO LOGIC

MUTE MASTER

FX RACK

CONTROLLER

MODULE

MIDI

SOLO REMOTE

COMMS LINK/MIDI REARCON

OUT

MIDI MERGE

PROCESSOR

LOGIC TRIGGER FROM OUTPUT &MATRIX SOLO BUTTONS

VCAMUTE 1-8

VCALEVEL 1-8

VCASOLO1-8

MUTE ALLOUTPUTS

MUTE GROUP 1-8

VCABUS1-8

FLASH

IP SOLO CLEAR

OP SOLO CLEAR

IP SOLO DET

OP SOLO DET

OP SOLO INHIBIT

THRU

MUTE GROUP 1IN

MUTE GROUP 1 OUT

VCA1 OUT

VCASOLO 1 OUT

VCAMUTE 1 OUT

IP SOLO DETIN

IP SOLO CLEAR IN

OP SOLO CLEAR IN

OP SOLO CLEAR OUT

OP SOLO INHIBITOUT

IP SOLO CLEAR OUT

OP SOLO DETIN

VCA1IN

VCASOLO 1 IN

VCAMUTE 1 IN

IP SOLO DETOUT

IP SOLO CLEAR OUT

OP SOLO CLEAR OUT

OP SOLO INHIBITIN

IP SOLO CLEAR IN

OP SOLO CLEAR IN

OP SOLO DETOUT

MUTE GROUP 1 LINK SHOWN MUTE GROUP 2 - 8 IDENTICAL

VCA1 LINK SHOWN VCA2 - 8 IDENTICAL

M1 SHOWN M2 - M8 ARE IDENTICAL

CONSOLE LINK IN PARTOF LINK REARCON

CONSOLE LINK OUT PARTOF LINK REARCON

MUTE

ALL

OUTPUTS

MUTE

SOLO

VCA1 FADER

VCAFADER 1 VCA2 - B ARE IDENTICAL

VCAVOLTAGE REFERENCES

VCADC

PARTOF MASTER MODULE

PARTOF COMMS LINK/MIDI REARCON

COMMS LINK

CALL

SIGNAL

DETECT

CONSOLE LAMPS FLASH OSCILLATOR

CONSOLE

LAMPS

DIMMER

CONSOLE LAMPS

PARTOF MASTER MODULE

LAMP DIM

OUT

MUTE FLASH DISABLE (HIDDEN SWITCH)

Master Module (3)

3.10 FIVE Monitor Block Diagrams

EQ Output

FIVE Monitor Functional Description 4.1

FFIIVVEE MMoonniittoorr

FFuunnccttiioonnaall DDeessccrriippttiioonn

FIVE Monitor Functional Description 4.2

IInnppuutt MMoodduullee

SSEENNSS ((SSeennssiittiivviittyy))

The SENSitivity Control adjusts the level of the signal which is present on the

Input XLRs. The input can handle mic or line level signals up to +30dBu, with the

RANGE switch (see below) selecting high or low sensitivity.

IINNPPUUTT AA//BB -- BB

Every input has A and B XLR inputs, allowing a large number of inputs to be con-

nected to the console without repatching. Normally the A input is active, unless

the B switch is pressed to select the alternative input.

ØØ ((PPhhaassee))

The PHASE switch reverses the phase of the selected input signal, to compensate

for incorrect wiring or mic placement. The switch is internally illuminated when

phase is reversed.

RRNNGGEE ((RRaannggee))

The RNGE (Range) switch selects between an input range of -2dBu to -70dBu

(switch released), and +10dBu to -20dBu (switch pressed and lit), enabling both

mic and line level signals to be handled by a common input stage.

CAUTION: Phantom power should not be switched on when unbalanced

sources are connected to the XLR input.

4488VV AA aanndd BB

The 48V switches, when depressed, place 48V phantom power on pins 2 & 3 of

the respective XLRs. Integral LEDs illuminate when the phantom power is on.

IINNSS ((IInnsseerrtt PPooiinntt))

The Insert Point may be switched in circuit by the INS switch. The insert uses sep-

arate balanced jacks for send and return. It is normally positioned after the filter

and before the equaliser, but can be repositioned using internal jumpers to be

post-EQ if required. The insert is in-circuit when the switch is illuminated.

HHPPFF ((HHiigghhppaassss FFiilltteerr))

Two sweepable filters are provided, offering the capability of cleaning up both

ends of the input signal, minimising the amount of corrective EQ which needs to

be applied.

The High-pass Filter (HPF) control (upper knob) sets the cutoff (-3dB) frequency

of the High-pass filter: it is adjustable between 20Hz and 600Hz. The control also

has a built-in switch to switch the filter out of circuit when rotated fully anticlock-

wise.

The Low-pass Filter (LPF) control (lower knob) sets the cutoff (-3dB) frequency

of the Low-pass filter: it is adjustable between 1kHz and 20kHz. The control also

has a built-in switch to switch the filter out of circuit when rotated fully anticlock-

wise.

EEQQ

The EQ section comprises four fully parametric bands, with adjustable Q. The EQ

is enabled when the EQ switch is pressed, and bypassed when the switch is

released. The EQ is active when the EQ switch is illuminated.

Each section has a dual concentric control providing 15dB boost or cut (upper

knob) at a variable frequency (lower knob) and a separate Q control.

24-bus console

FIVE Monitor Functional Description 4.3

HHFF

The HF section is fully sweepable from 1kHz to 20kHz. Q is variable from 0.5 to

3.0, or the band may be switched to a shelving response by turning the Q control

fully anticlockwise.

HHMMFF

The HMF spans the range 500Hz to 8kHz. Q is variable from 0.5 to 3.0.

LLMMFF

The LMF spans the range 70Hz to 1.5kHz. Q is variable from 0.5 to 3.0.

LLFF

The HF section is fully sweepable from 30Hz to 480Hz. Q is variable from 0.5 to

3.0, or the band may be switched to a shelving response by turning the Q control

fully anticlockwise.

EEQQ

The EQ section is active when the EQ switch is pressed, and bypassed when the

switch is released, allowing easy A/B comparison of the signal with or without EQ.

LL//RR MMoonniittoorr SSeennddss

A dual-concentric control routes the signal to the L/R output (on the lower section

of the Master Module). The control may either be configured as two mono sends

(Left and Right), or, if the Global Mode STE switch on the output section on the

Master module is pressed, the send becomes a stereo pair, with the top knob

being send level, and the lower knob being a PAN control. The sends are muted

unless the ON switch is pressed, and may be switched pre-fader by pressing the

PRE switch. The pre-fade source may be configured as pre-fade/post-mute, pre-

mute or pre-EQ/pre-insert using internal jumpers. (see chapter 2).

MMoonnoo//SStteerreeoo MMoonniittoorr SSeennddss

The sends to outputs 9-16 (24-bus consoles) or 1-16 (32-bus consoles) are on dual

concentric pots, and each row can be configured at the touch of a button as either

a stereo send with level on the top knob and pan on the lower, or a pair of mono

sends. These pairs of mixes are controlled by the faders in the output modules,

and are labelled 1A & B (8A & B on 24-bus consoles)to 16A and B. Stereo mode is

selected by pressing the Global Mode STE button on the respective output mod-

ule. The sends are muted unless the ON switch is pressed, and may be switched

pre-fader by pressing the PRE switch. The pre-fade source for sends 9-16 may be

configured as pre-fade/post-mute, pre-mute or pre-EQ/pre-insert using internal

jumpers. (see chapter 2).

MMoonnoo MMoonniittoorr SSeennddss

(24-bus consoles only)

The lower 8 sends on 24-bus consoles are configured as full-time mono sends,

using single pots. The output modules for these mixes are similar to the output

modules for stereo pairs of outputs, except the Global Mode STE switch is omit-

ted, and the modules comprise two separate output sections. The sends are

muted unless the ON switch is pressed, and may be switched pre-fader by press-

ing the PRE switch. The pre-fade source for sends 1-8 may be configured as pre-

fade/post-mute, pre-mute or pre-EQ/pre-insert using internal jumpers. (see chap-

ter 2).

FFaaddeerr

A high-quality 100mm channel fader controls the level to all busses, and has 10dB

of gain when full up as well as an expanded scale around the critical unity gain area,

for maximum resolution.

32-bus console

FIVE Monitor Functional Description 4.4

MMUUTTEE

The Channel MUTE switch mutes all feeds from the input channel, and can be

remotely controlled by the consoles Mute Master section, allowing creation of up

to 8 mute groups. The integral LED illuminates when the Mute is active.

MMUUTTEE SSAAFFEE

A semi-recessed Mute SAFE switch allows the channel to be prevented from

remote muting by mute groups, but still allows it to be locally muted. Safe mode

is selected when the switch is pressed and internally illuminated.

MUTE SAFE is particularly useful for protecting key channels and their associated

FX returns from accidental Muting, or for over-riding any remote muting when a

problem occurs during a show and conventional manual control is temporarily

required.

MMUUTTEE AASSNN ((MMuuttee GGrroouupp AAssssiiggnnmmeenntt))

Each input channel can be assigned to any combination of 8 mute groups, using the

recessed switch bank next to the fader. The corresponding Mute Master buttons

are located on the Master module.

VVCCAA AASSNN ((VVCCAA GGrroouupp AAssssiiggnnmmeenntt))

A bank of 8 latching VCA Assign switches with internal LEDs allow the channel to

be assigned to any of the eight VCA Groups. Any combination of assignments is

possible. When no VCA is assigned, the VCA element itself is switched out of the

signal path, to maximise performance. MUTEs or SOLOs on the VCA Group

Master Faders will activate the MUTE or SOLO respectively on any assigned input

channels, allowing groups of inputs to be controlled together with a single button

press.

SSOOLLOO

The SOLO button is conveniently located below the fader, and provides a mono

PFL or stereo AFL feed to the engineers headphones or monitors or triggers a

destructive SOLO-IN-PLACE, depending on the mode selection at the Master

section. The SOLO button can also be activated remotely from a VCA SOLO but-

ton, if the channel is assigned to a VCA Group. Intercancel or additive soloing is

possible, with or without Input Priority, and solos can be cleared with a single but-

ton press (SOLO CLEAR) at the master section. The integral LED illuminates to

indicate that a SOLO is active.

LLEEDD iinnppuutt mmeetteerriinngg

The channel is fitted with a 10-segment peak-reading bargraph meter, positioned

next to each fader for maximum visibility and giving immediate and graphic indica-

tion of incoming (pre-EQ) signals. The top (red) LED in the bar is configured as a

Peak LED, and monitors the signal path in three places, (input, pre-Mute and post-

fader) giving warning that the signal is exceeding +20dBu. The meter point is

jumper-selectable to be post-fader if required (see Chapter 2).

DDiirreecctt OOuuttppuutt

A balanced direct output is available on a male XLR on the rear panel. This is fed

from a pre-fade signal which can be jumper selectable to be pre or post-EQ, and

pre or post-mute, or may be jumper-selected as post-fade.

SOLO

FIVE Monitor Functional Description 4.5

RReeaarrccoonn PPaanneell

The connections on the rearcon panel are as follows:

IINNPPUUTT AA aanndd BB XXLLRR

Pin 1 Gnd (Screen)

Pin 2 Hot (In-phase signal)

Pin 3 Cold(Out-of-phase signal)

DDIIRREECCTT OOUUTT

(Balanced)

Pin 1 Gnd (Screen)

Pin 2 Hot (In-phase signal)

Pin 3 Cold(Out-of-phase signal)

IINNSSEERRTT SSEENNDD

(Balanced)

Tip Hot (In-phase signal)

Ring Cold (Out-of-phase signal)

Sleeve Gnd(screen)

IINNSSEERRTT RREETTUURRNN

(Balanced)

Tip Hot (In-phase signal)

Ring Cold (Out-of-phase signal)

Sleeve Gnd(screen)

FIVE Monitor Functional Description 4.6

OOppttiioonnaall SStteerreeoo IInnppuutt MMoodduullee

The optional Stereo module has Left and Right input XLRs and the module may

either be configured as a stereo signal path or the Left or Right signals may be fed

in mono to both sides of the input.

SSEENNSS ((SSeennssiittiivviittyy))

The SENSitivity Control adjusts the level of the signal which is present on the

Input XLRs. The input can handle mic or line level signals up to +30dBu, with

individual RANGE switches (see below) for L and R selecting high or low sensitivi-

ty.

RRNNGG ((RRaannggee)) LL//RR

The RNGE (Range) switches selects between an input range of -2dBu to -70dBu

(switch released), and +10dBu to -20dBu (switch pressed and lit), enabling both

mic and line level signals to be handled by each side of the input.

CAUTION: Phantom power should not be switched on when unbalanced

sources are connected to the XLR inputs.

ØØ ((PPhhaassee))

The PHASE switch reverses the phase of the Left input signal when pressed, to

compensate for incorrect wiring or mic placement. The switch is internally illumi-

nated when phase is reversed.

4488VV LL aanndd RR

The 48V switches, when depressed, place 48V phantom power on pins 2 & 3 of

the respective Left and Right input XLRs. Integral LEDs illuminate when the phan-

tom power is on.

CAUTION: Phantom power should not be switched on when unbalanced

sources are connected to the XLR inputs.

MMNNOO ((MMoonnoo)) LL aanndd RR

The MNO L and R switches select the Left or Right sides of the source signal (post

input amp) and feeds either or both signals to both channels of the module. This is

very useful when a single mono source is attached to just one leg of the input, but

is required to feed both sides of an Output pair which has been globally configured

as Stereo.

IINNSS ((IInnsseerrtt PPooiinntt))

The Insert Point may be switched in circuit by the INS switch. The insert uses sep-

arate balanced jacks for send and return. It is normally positioned after the filter

and before the equaliser, but can be repositioned using internal jumpers to be

post-EQ if required. The insert is in-circuit when the switch is illuminated.

HHPPFF ((HHiigghhppaassss FFiilltteerr))

A sweepable High-pass Filter (HPF) control sets the cutoff (-3dB) frequency of the

High-pass filter: it is adjustable between 20Hz and 600Hz. The filter is active when

the IN switch is pressed, and bypassed when the switch is released, allowing easy

A/B comparison of the signal with and without the extreme low end content.

24-bus console

FIVE Monitor Functional Description 4.7

EEQQ

The stereo EQ section comprises four fully parametric bands, with adjustable Q.

Each section has a dual concentric control providing 15dB boost or cut (upper

knob) at a variable frequency (lower knob) and a separate Q control.

HHFF

The HF section is fully sweepable from 1kHz to 20kHz. Q is variable from 0.5 to

3.0, or the band may be switched to a shelving response by pressing the associated

SHELF switch.

HHMMFF

The HMF spans the range 500Hz to 8kHz. Q is variable from 0.5 to 3.0.

LLMMFF

The LMF spans the range 70Hz to 1.5kHz. Q is variable from 0.5 to 3.0.

LLFF

The HF section is fully sweepable from 30Hz to 480Hz. Q is variable from 0.5 to

3.0, or the band may be switched to a shelving response by pressing the SHELF

switch.

EEQQ

The EQ section is active when the EQ switch is pressed, and bypassed when the

switch is released, allowing easy A/B comparison of the signal with or without EQ.

LL//RR MMoonniittoorr SSeennddss

A dual-concentric control routes the signal to the L/R output (on the lower section

of the Master Module).

The send is globally switched into stereo as on the mono input, but in a slightly dif-

ferent way. In stereo mode, the control works as upper=level, lower=balance,

with the left half of the module routed to the L bus and the right half to the R bus.

The balance control then gives unity to both sides when in centre, and +4.5dB to

one side when fully turned that way, and OFF to the other side.

In mono mode, the upper and lower knobs are both level controls, the upper

feeding a mono sum (pre or post-fade as selected by the PRE switch) to the L bus

and the lower a mono sum to the R bus, with a gain of 5dB at full rotation.

The send is muted unless the ON switch is pressed, and may be switched pre-

fader by pressing the PRE switch. The pre-fade source may be configured as pre-

fade/post-mute, pre-mute or pre-EQ/pre-insert using internal jumpers. (see chap-

ter 2).

MMoonnoo//SStteerreeoo MMoonniittoorr SSeennddss

The sends to outputs 9-16 (24-bus consoles) or 1-16 (32-bus consoles) are on dual

concentric pots, and each row can be configured at the touch of a button as either

a stereo send or a pair of mono sends. In stereo mode, the controls work as

upper=level, lower=balance, with the left half of the module routed to the L bus

and the right half to the R bus. The balance control then gives unity to both sides

when in centre, and +4.5dB to one side when fully turned that way, and OFF to

the other side.

In mono mode, the upper and lower knobs are both level controls, the upper

feeding a mono sum (pre or post-fade as selected by the PRE switch) to the L bus

and the lower a mono sum to the R bus, with a gain of 5dB at full rotation.

32-bus console

FIVE Monitor Functional Description 4.8

SOLO

These pairs of mixes are controlled by the faders in the output modules, and are

labelled 1A & B (8A & B on 24-bus consoles)to 16A and B. Stereo mode is select-

ed by pressing the Global Mode STE button on the respective output module.

The sends are muted unless the ON switch is pressed, and may be switched pre-

fader by pressing the PRE switch. The pre-fade source for sends 9-16 may be

configured as pre-fade/post-mute, pre-mute or pre-EQ/pre-insert using internal

jumpers. (see chapter 2).

MMoonnoo MMoonniittoorr SSeennddss

(24-bus consoles only)

The lower 8 sends on 24-bus consoles are configured as either individual sends,

each fed with a mono sum of the stereo signal, or (by pressing the STE switch) as

stereo pairs, with odd numbers feeding the L busses and even numbers feeding

the R busses. This switching is done in four blocks of two sends, i.e. there is a STE

switch for every pair of mono sends. The PRE switches also affect adjacent pairs

of sends.

The output modules for these mixes are similar to the output modules for stereo

pairs of outputs, except the Global Mode STE switch is omitted, and the modules

comprise two separate output sections. The sends are muted unless the ON

switch is pressed, and may be switched pre-fader by pressing the PRE switch.

The pre-fade source for sends 1-8 may be configured as pre-fade/post-mute, pre-

mute or pre-EQ/pre-insert using internal jumpers. (see chapter 2).

FFaaddeerr

A high-quality 100mm channel fader controls the level to all busses, and has 10dB

of gain when full up as well as an expanded scale around the critical unity gain

area, for maximum resolution.

MMUUTTEE

The Channel MUTE switch mutes all feeds from the input channel, and can be

remotely controlled by the consoles Mute Master section, allowing creation of up

to 8 mute groups. The integral LED illuminates when the Mute is active.

MMUUTTEE SSAAFFEE

A semi-recessed Mute SAFE switch allows the channel to be prevented from

remote muting by mute groups, but still allows it to be locally muted. Safe mode

is selected when the switch is pressed and internally illuminated. MUTE SAFE is

particularly useful for protecting key channels and their associated FX returns

from accidental Muting, or for over-riding any remote muting when a problem

occurs during a show and conventional manual control is temporarily required.

MMUUTTEE AASSNN ((MMuuttee GGrroouupp AAssssiiggnnmmeenntt))

Each input channel can be assigned to any combination of 8 mute groups, using

the recessed switch bank next to the fader. The corresponding Mute Master but-

tons are located on the Master module.

VVCCAA AASSNN ((VVCCAA GGrroouupp AAssssiiggnnmmeenntt))

A bank of 8 latching VCA Assign switches with internal LEDs allow the channel to

be assigned to any of the eight VCA Groups. Any combination of assignments is

possible. When no VCA is assigned, the VCA element itself is switched out of the

signal path, to maximise performance. MUTEs or SOLOs on the VCA Group

Master Faders will activate the MUTE or SOLO respectively on any assigned input

channels, allowing groups of inputs to be controlled together with a single button

press.

FIVE Monitor Functional Description 4.9

SSOOLLOO

The SOLO button is conveniently located below the fader, and provides a mono

PFL or stereo AFL feed to the engineers headphones or monitors depending on

the mode selection at the Master section. The SOLO button can also be activated

remotely from a VCA SOLO button, if the channel is assigned to a VCA Group.

Intercancel or additive soloing is possible, with or without Input Priority, and solos

can be cleared with a single button press (SOLO CLEAR) at the master section.

The integral LED illuminates to indicate that a SOLO is active.

LLEEDD iinnppuutt mmeetteerriinngg

The channel is fitted with a dual 5-segment peak-reading bargraph meter, posi-

tioned next to each fader for maximum visibility and giving immediate and graphic

indication of incoming (pre-EQ) signals. The top (red) LED in the bar is configured

as a Peak LED, and monitors the signal path in three places, (input, pre-Mute and

post-fader) giving warning that the signal is exceeding +20dBu. The meter point is

jumper-selectable to be post-fader if required (see Chapter 2).

RReeaarrccoonn PPaanneell

The connections on the rearcon panel are as follows:

IINNPPUUTT LL aanndd RR XXLLRR

Pin 1 Gnd (Screen)

Pin 2 Hot (In-phase signal)

Pin 3 Cold(Out-of-phase signal)

IINNSSEERRTT SSEENNDD

(Balanced)

Tip Hot (In-phase signal)

Ring Cold (Out-of-phase signal)

Sleeve Gnd(screen)

IINNSSEERRTT RREETTUURRNN

(Balanced)

Tip Hot (In-phase signal)

Ring Cold (Out-of-phase signal)

Sleeve Gnd(screen)

FIVE Monitor Functional Description 4.10

OOuuttppuutt MMoodduullee

The standard Output sections of the 24 and 32 bus frame sizes are very similar,

and differ only in the omission of one switch and Matrix labelling.

An alternative version of the Output Module is available which offers a full 4-band

parametric EQ (see Input module for description) on each output, instead of the

Matrix section. This module can be used to reduce the amount of external EQ

required, particularly for in-ear monitoring applications. The redundant Matrix

Output XLR is used for a mono sum of the A and B outputs, which is useful for

feeding an on-stage sub-woofer.

MMAATTRRIIXX OOUUTTPPUUTTSS

The Matrices are controlled via the upper section of the Output modules - one

matrix per module, hence 12-Output matrix on the 24-bus version, and 16-

Output matrix on the 32-bus version. An External Input, L/R bus, and the first 10

pairs of Output busses are available as contributions into the matrix via the 11

dual- concentric and single mono pots.

EEXXTT IINN

The EXT IN level control adjusts the level of a stereo External Input which can be

mixed to each matrix. The External input Left and Right signals are shared by all

matrix sections in the console and are electronically balanced.

The signal is fed one of two ways to the EXT receive controls on the matrix sec-

tions: either a mono sum of the left and right external inputs is fed to each receive

pot, or the left input is fed to all odd numbered matrix Outputs, and the right

input to all even matrix Outputs. The type of feed to each receive pot is set by

internal jumpers.

GGRROOUUPPSS MMIIXX TTOO MMAATTRRIIXX

11 dual-concentric controls mix the Group output signals to the matrix. The

Group assignment is different between the 24-bus and the 32-bus consoles and is

arranged as follows:

24-bus version 32-bus version

Group Outputs 1/2 1A/1B

Group Outputs 3/4 2A/2B

Group Outputs 5/6 3A/3B

Group Outputs 7/8 4A/4B

Group Outputs 9A/B 5A/5B

Group Outputs 10A/B 6A/6B

Group Outputs 11A/B 7A/7B

Group Outputs 12A/B 8A/8B

Group Outputs 13A/B 9A/9B

Group Outputs 14A/B 10A/10B

Group Outputs L/R L/R

Ext Input Ext Input

SSIIGG LLEEDD

The SIG LED shows post-fade signal present, illuminating when -30dB is passing

through the Matrix path.

IINNSS ((OOUUTT))

The Insert Point consists of separate Send and Return jacks on the rear panel. The

Send is normalled to the Return. The OUT switch bypasses the Insert Point when

pressed, but leaves the pre-fade output signal on the Send jack to feed external

equipment if required. The switch is illuminated when the insert is bypassed.

FIVE Monitor Functional Description 4.11

MMAATTRRIIXX MMAASSTTEERR

This control sets the master level for the Matrix and provides 10dB of gain when

fully clockwise.

MMUUTTEE

The Matrix output is muted when the switch is pressed, and the integral LED illu-

minates to show that the MUTE is active. Note that TALKBACK may still be sent

to that output (if TB is pressed), as it is injected post-mute.

TTBB

Pressing the latching TB switch arms the Matrix output to receive talkback from

the central talkback section on the Master, when the master TO OUTPUTS VIA

TB INT switch is active. The switch illuminates to warn that TB is armed. The

output is dimmed by 6dB when talkback is active. Alternatively, if the Master

Talkback signal is already active, pressing TB routes the Talkback signal to the out-

put, until the switch is released.

SSOOLLOO

The SOLO switch routes the signal from the associated Matrix to the mono PFL

or stereo AFL busses of the desk, as defined in the Master SOLO mode. The feed

to the AFL bus is post-fade but pre-MUTE, allowing AFL SOLOing of MUTEd

Matrix Outputs.

AALLTT ((SSOOLLOO))

The ALT switch sets the Matrix Output to feed the ALT SOLO busses instead of

the primary SOLO busses. The operator can now switch between two SOLO

Output systems when a secondary monitoring system is in use (e.g. Primary is

Wedge, Secondary is In-Ear).

IINNSSEERRTT

A balanced Insert Point is provided, consisting of separate Send and Return jacks

on the rear panel. The Send is normalled to the Return.

GGRROOUUPP OOUUTTPPUUTTSS

The module comprises two identical Output sections which may be used individu-

ally or linked as a stereo pair.

FFAADDEERR

The 100mm fader controls the final level to the electronically balanced output.

MMUUTTEE

The output is muted when the switch is pressed, and the integral LED illuminates

to show that the MUTE is active.

TTBB

Pressing the latching TB switch arms the output to receive talkback from the cen-

tral talkback section on the Master, when the master TO OUTPUTS VIA TB

INT switch is active. The switch illuminates to warn that TB is armed. The output

is dimmed by 6dB when talkback is active. Alternatively, if the Master Talkback

signal is already active, pressing TB routes the Talkback signal to the output, until

the switch is released. TB is injected post the meter takeoff point, so talkback sig-

nals do not appear on the meterbridge.

FIVE Monitor Functional Description 4.12

ØØ ((PPhhaassee))

Pressing the Ø (Phase) switch reverses the phase of the output, to allow experi-

mentation for best feedback immunity with a multiple-mic setup. The switch is

illuminated when the phase is reversed.

IINNSSEERRTT ((OOUUTT))

The Insert Point consists of separate Send and Return jacks on the rear panel.

The Send is normalled to the Return.

The OUT switch bypasses the Insert Point when pressed, but leaves the pre-fade

output signal on the Send jack to feed external equipment if required. The switch

is illuminated when the insert is bypassed.

GGRRPP TTOO LL//RR

The internally illuminated L and R switches route the post-mute, post-fade output

signal to the last pair of output busses (designated L and R) for subgrouping. This

allows the FIVE Monitor to be used as a Front-of-House mixer if necessary, sum-

ming the Groups for a pair of stage fills, or perhaps giving a simple and quick

method for the Monitor Engineer to make a 2-track recording of certain channels

for later reference.

SSOOLLOO TTRRIIMM

SOLO TRIM gives +/- 10dB adjustment to the signal sent from that Output to the

AFL/PFL bus. This is useful for trimming a number of Outputs of varying levels to

give a consistent monitor level, thus reducing the requirement for manual Wedge

or ALT master adjustments whenever a SOLO is selected.

GGLLOOBBAALL MMOODDEE ((SSTTEE))

The GLOBAL MODE STE switch (not present on Output modules 1-4 of a 24-

bus FIVE Monitor which are mono only) provides switching of the associated pairs

of send controls on the input channels between MONO and STEREO operation.

In STEREO mode, the SOLO switches on the two Outputs are linked in software,

so that pressing one automatically activates the other. See SOLO below for infor-

mation on how this switch affects the sends to the SOLO busses.

SSOOLLOO // AALLTT

The SOLO switch feeds the pre and post-fade Group signal to one of two sets of

PFL and stereo AFL busses: Main or Alternate, depending on the setting of the

mechanically latching ALT switch i. The PFL / AFL state of the SOLO is affect-

ed by the global PFL/AFL mode switch on the Master module. The PFL feed is

post-INSERT.

The function of the Output SOLO switch is also affected by the GLOBAL MODE

(STE) switch. If the mode is mono, each Output SOLO button switches an equal

feed at unity gain to each of the AFL left and right busses, and a PFL signal to the

PFL bus. If the mode is stereo, the odd and even SOLO switches are logic linked

as a pair and the feed is changed to odd Group AFL to left AFL bus, even to right,

at unity gain. The PFL feed remains mono.

The SOLO swithces can also remotely control a BSS Varicurve system - see

page 4.20 for details.

MMEETTEERRIINNGG

The FIVE Monitor is fitted with two banks of VU Meters for all Group outputs,

with switching of the lower bank to display Matrix outputs if required. Two large

VUs read the Left and Right outputs.

Output Module with EQ

FIVE Monitor Functional Description 4.13

RReeaarrccoonn PPaanneellss

The connections on the rearcon panes are as follows:

AAllll OOuuttppuutt XXLLRRss ((bbaallaanncceedd))

Pin 1 Gnd (Screen)

Pin 2 Hot (In-phase signal)

Pin 3 Cold(Out-of-phase signal)

IINNSSEERRTT SSEENNDD && RREETTUURRNN ((bbaallaanncceedd))

Tip Hot (In-phase signal)

Ring Cold (Out-of-phase signal)

Sleeve Gnd(screen)

FIVE Monitor Functional Description 4.14

MMaasstteerr MMoodduullee

LLAAMMPP DDIIMMMMEERR

The Lamp Dimmer controls the voltage to the 4-pin XLR socket which is provid-

ed for the connection of Littlites.

The pinout is as follows:

Pin 1 & 3 +/-12V

Pin 4 0v

max. current 400mA

PPSSUU RRAAIILLSS

Three LEDs monitor the status of the power supply rails.

MMUUTTEE FFLLAASSHH DDIISSAABBLLEE

When an input channel MUTE is triggered by the MUTE switch of either a VCA

Master or a MUTE master, it will flash to show that it is under the control of a

remote trigger. This flashing may be disabled with the MUTE FLASH DISABLE

switch (which is recessed to avoid accidental selection).

OOSSCCIILLLLAATTOORR SSEECCTTIIOONN

The oscillator generates either tone or pink noise, and has its own independent

balanced XLR output on the rear panel. The oscillator can be routed to all busses

simultaneously.

PPIINNKK

The oscillator generates either TONE (switch released), or pink noise (switch

pressed and illuminated).

FFRREEQQ // XX1100

The frequency range of the oscillator is variable form 63Hz to 1kHz. Pressing the

x10 switch (internal LED lit)provides a higher range of 630Hz to 10kHz.

LLEEVVEELL

This control adjusts the oscillator level to both the XLR output and the internal

busses.

OOSSCC TTOO XXLLRR OOUUTTPPUUTT // AALLLL BBUUSSSSEESS

The rear panel OSC OUT XLR is enabled when the OSC TO (XLR OUTPUT)

ON switch is pressed. The internal illumination indicates when the output is

active.

The Oscillator may also be routed directly to all busses simultaneously by pressing

the OSC TO (ALL BUSSES) ON switch (LED illuminated) where it mixes with

any existing signal.

TTAALLKKBBAACCKK SSEECCTTIIOONN

The TALKBACK system allows communication by the operator to the Group and

Matrix Outputs, and to and from the front of house (FOH) console.

TTAALLKKBBAACCKK MMIICC

Talkback Mic input XLRs are provided on the front and rear panel.

LLEEVVEELL

This control adjusts the gain of the Talkback Mic preamp over a 30dB range.

FIVE Monitor Functional Description 4.15

++4488VV

The +48V switch applies phantom power to the Talkback mic input XLRs when

pressed.

--3300ddBB

The -30dB switch inserts a 30dB pad in the input for use with high level signals or

external test generators.

FFOOHH

The FOH button (momentary/latching, green LED) initiates talkback to the front

of house console using either the Soundcraft proprietary Blythphone system, or

a Clear-Com compatible intercom system. With the latter, an incoming CALL

signal is displayed by the console lamps flashing, and pressing the FOH button will

then allow 2-way communication, with incoming Talkback appearing on the con-

sole headphone Output, dimming the existing signal by 15dB, and dimming the

wedge Output by 20dB.

TTOO OOUUTTPPUUTTSS VVIIAA TTBB ((IINNTT))

Pressing TO OUTPUTS VIA TB (INT) routes the talkback signal internally to any

outputs (Group or Matrix) which have been previously armed for talkback (local

TB switch ON). If the switch is pressed momentarily, the switch latches.

Alternatively, pressing and holding the switch for more than about one second

produces a momentary action until the switch is released. The switch illuminates

to warn that TB is active. This action also dims the wedge Output by 20dB.

CCAALLLL

Pressing the momentary CALL switch sends a CALL signal to the intercom loop.

Talkback communication may then be activated by pressing FOH (see above).

PPFFLL // AAFFLL SSEECCTTIIOONN

PPFFLL TTRRIIMM

The PFL trim control gives +/-10dB of level adjustment to the input solo level

heard in the Wedge and Phones outputs. The output AFL solos have their own

individual trim controls on their respective output modules.

SSOOLLOO CCLLEEAARR

Pressing SOLO CLEAR cancels any solos on the console.

IINNPPUUTT PPRRIIOORRIITTYY

The INPUT PRIORITY (ON) switch, when selected, allows an input solo to tem-

porarily override any output solo which may be present. When the input solo is

released, the original output solo will reappear on the monitors. If AUTOCAN-

CEL (see below) is also ON, input solos still have priority, but input solos will only

cancel other input solos, and output solos will only cancel other output solos.

AAUUTTOO CCAANNCCEELL

The AUTOCANCEL (ON) button, when selected, allows any solo button selected

to cancel the previous solo, so that only one SOLO can be active at once. With

the switch released, SOLOs are additive.

MMAASSTTEERR MMOODDEE ((PPFFLL // AAFFLL))

The global PFL/AFL mode for the console is set by this switch, as either PFL

(switch released) or AFL (switch pressed).

FIVE Monitor Functional Description 4.16

LL && RR OOUUTTPPUUTT SSEECCTTIIOONN

The lower half of the Master module comprises the Left/Right Output, which may

be used as two individual outputs or linked as a stereo pair.

FFAADDEERR

The 100mm fader controls the final level to the electronically balanced output.

MMUUTTEE

The output is muted when the switch is pressed, and the integral LED illuminates

to show that the MUTE is active.

TTBB

Pressing the latching TB switch arms the output to receive talkback from the cen-

tral talkback section, when the master TO OUTPUTS VIA TB INT switch is

active. The switch illuminates to warn that OSC is armed. The output is dimmed

by 6dB when talkback is active. Alternatively, if the Master Talkback signal is

already active, pressing TB routes the Talkback signal to the output, until the

switch is released. TB is injected post the meter takeoff point, so talkback signals

do not appear on the meterbridge.

ØØ ((PPhhaassee))

Pressing the Ø (Phase) switch reverses the phase of the output, to allow experi-

mentation for best feedback immunity with a multiple-mic setup. The switch is

illuminated when the phase is reversed.

IINNSSEERRTT ((OOUUTT))

The Insert Point consists of separate Send and Return jacks on the rear panel. The

Send is normalled to the Return.

The OUT switch bypasses the Insert Point when pressed, but leaves the pre-fade

output signal on the Send jack to feed external equipment if required. The switch

is illuminated when the insert is bypassed.

SSOOLLOO TTRRIIMM

SOLO TRIM gives +/- 10dB adjustment to the signal sent from that Output to the

AFL/PFL bus. This is useful for trimming a number of Outputs of varying levels to

give a consistent monitor level, thus reducing the requirement for manual Wedge

or ALT master adjustments whenever a SOLO is selected.

GGLLOOBBAALL MMOODDEE ((SSTTEE))

The GLOBAL MODE STE switch provides switching of the associated pairs of

send controls on the input channels between MONO and STEREO operation. In

STEREO mode, the SOLO switches on the L/R Outputs are linked in software, so

that pressing one automatically activates the other. See SOLO below for informa-

tion on how this switch affects the sends to the SOLO busses.

SSOOLLOO // AALLTT

The SOLO switch feeds the pre and post-fade Group signal to one of two sets of

PFL and stereo AFL busses: Main or Alternate, depending on the setting of the

mechanically latching ALT switch k. The PFL / AFL state of the SOLO is affected

by the global PFL/AFL mode switch (see above). The PFL feed is post-INSERT.

FIVE Monitor Functional Description 4.17

The function of the Output SOLO switch is also affected by the GLOBAL MODE

(STE) switch. If the mode is mono, each Output SOLO button switches an equal

feed at unity gain to each of the AFL left and right busses, and a PFL signal to the

PFL bus. If the mode is stereo, the SOLO switches are logic linked as a pair and

the AFL feed is changed to stereo, at unity gain. The PFL feed remains mono.

The SOLO switches can also remotely control a BSS Varicurve system - see

page 4.20 for details.

EEXXTTEERRNNAALL PPFFLL//AAFFLL

Additional PFL, AFL left and AFL right external inputs, from XLRs on the rearcon,

allow SOLO signals from another console to be added to the Main PFL and AFL

busses. The external PFL level is trimmed by the PFL TRIM pot (see above). When

no solos are active on the console, both PFL and AFL left and right external signals

are monitored by the Headphones and Wedge. The facility would be used when

linking another console as a slave to the FIVE Monitor.

FIVE Monitor Functional Description 4.18

WWEEDDGGEE OOUUTTPPUUTT

WWEEDDGGEE FFAADDEERR

A stereo 100mm fader is provided for engineers Wedge speakers, and this nor-

mally receives the EXT SOLO signal (i.e. no signal, unless another slave console is

connected.) Whenever an input or output SOLO button is pressed, the Wedge

output switches to the corresponding internal or external PFL or AFL signal. An

internal jumper allows the output to be configured to receive the Left/Right output

instead of EXT SOLO, unless an internal SOLO is active. The Fader also controls

the overall level of the ALT WEDGE outputs if these are configured to follow the

Main Wedge (see SRC below).

;

MMAAIINN WWEEDDGGEE OONN

The Main Wedge is enabled when the switch is pressed. Note that the ALT

WEDGE output is unaffected, even if configured to follow the Main Wedge (see

SRC below).

MMOONNOO SSOOUURRCCEE LL//RR

MONO SOURCE buttons L and R allow either the Left or Right output/solo sig-

nals to be fed in mono to both Left and Right Wedge outputs without a gain

change, or if both are pressed, the output will be a mono sum of Left and Right.

This MONO SOURCE function is useful when handling stereo AFL signals on a sin-

gle monitor wedge.

WWEEDDGGEE IINNSSEERRTT ((IINN))

The Wedge Insert Point is normally bypassed, unless the IN switch is pressed, and

is before the Mono Source switching and the feed to the ALT WEDGE, so that

both Wedge outputs are affected by any devices inserted into the signal path. ALT

SOLO is not affected by the Insert.

AALLTT WWEEDDGGEE LLEEVVEELL

An Alternate Wedge stereo output is provided, with its own level control. The

feed to this output may either follow the Main Wedge or ALT SOLO, depending

on the position of the SRC (Source) switch (see below). The ALT WEDGE dims

with the Main Wedge.

OONN

Pressing the internally illuminated ON switch enables the Alt Wedge output, inde-

pendently of the Main Wedge.

SSRRCC ((SSoouurrccee))

When this switch is released, the Alt Wedge follows the Main Wedge, including the

Mono Source switching, Wedge Insert and Wedge Fader (subject to the PRE

switch, see below), but before the Main Wedge ON switch. When the SRC

switch is pressed the Alt Wedge listens to ALT SOLO.

PPRREE

The feed from the Main Wedge to Alt Wedge is normally sourced post the main

wedge fader, but may be switched to pre-fade by pressing the PRE switch.

PPHHOONNEESS

The engineers phones (and Wedge Meter in the overbridge) are fed by the post-

insert Wedge, pre Mono Source Wedge signal, but have a separate phones volume

control. The headphone socket is recessed into the front of the fascia (and dupli-

cated on the Master rear panel), and is driven by a high-power (1W into 8ohms)

headphone amp.

FIVE Monitor Functional Description 4.19

MUTE MMASTERS

MUTE AALL OOUTPUTS

The MUTE ALL OUTPUTS switch will MUTE every Group and Matrix Output on the console (useful as either a ‘panic’ or ‘desk unattended’ switch). This switch is covered to prevent accidental triggering.

MUTE MMASTERS

8 recessed latching buttons control the mute status of any channels assigned to the appropriate mute group.

Inputs may be assigned to any combination of the eight master mute busses. When an input channel is assigned to a mute bus, it is muted when the corresponding MUTE MASTER is pressed. The MUTE MASTER illuminates and the input channel MUTE switch also illuminates to indicate that a non-local mute is active.

VCA MMASTER FFADERS

These modules offer master controls for the 8 VCA Groups.

MUTE

Activating the MUTE on a VCA master will activate the MUTE on any slave input channel, allowing groups of inputs to be MUTEd together with a single button press.

[

MUTE MMASTERS

The attenuation or gain applied on a VCA Master Fader will be applied to all input faders assigned as slaves to that VCA. The VCA Master Fader has 10dB of gain in hand at the top of the fader.

The adjacent NOMINAL LED illuminates when the VCA Master Fader is at unity gain. This is useful as an aid in setting ‘flat’ VCA Masters when the console is configured as a logic-linked slave to another ‘Master’ FIVE Monitor console.

]

SOLO

Activating a SOLO on a VCA Master will activate the SOLO on any slave input channel, allowing groups of inputs to be PFL / AFL’ed together with a single button press.

4.20 FIVE Monitor Functional Description

BSS VVARICURVE™ RREMOTE CONTROL

FIVE Monitor may be inserted into the MIDI loop of a BSS FPC-900 Varicurve™ Remote Control and Slave system (see diagram below.)

When so connected, pressing a SOLO on an Output of the FIVE Monitor will cause the necessary MIDI command to be sent to the Remote unit to SELECT the EQ associated with that Output, thus automatically bringing the EQ for the SOLO’ed channel onto the remote for editing.

This feature saves time when setting up and editing the EQ parameters for a Monitor rig, as the engineer no longer has to manually scroll through the various slave units to find the appropriate device to edit - a press of the SOLO on the FIVE Monitor will suffice.

Note that this function requires the Varicurve™ remote to be fitted with operating system EPROM V1.16 or above; contact BSS for further information.

Varicurve Slave 1

Varicurve Slave 2

Varicurve Remote

FPC-900

(software V1.6 or above)

Varicurve Slave 3

Varicurve Slave 4

Varicurve Interface

FIVE Monitor Console

MIDI merge

processor

MIDI loop

Logic Trigger from

output SOLO buttons

Console is inserted

into the MIDI loop here

FIVE Monitor Functional Description 4.21

LOGIC IIN // LLOGIC OOUT

Rear Panel EDAC connectors are provided to link the logic systems of one FIVE Monitor with a second console in a Master/Slave configuration. See Chapter 2, Installation, for connection details.

Rearcon PPanel

The connections on the Master rear connector panel are as follows:

All AAudio XXLRs

Pin 1 Gnd (Screen) Pin 2 Hot (In-phase signal) Pin 3 Cold(Out-of-phase signal)

3-ppole ‘‘A’ ggauge JJack - IInputs/Outpus ((inc. IInserts)

Tip Hot (In-phase signal Ring Cold(Out-of-phase signal) Sleeve Gnd (Screen)

3-ppole ‘‘A’ ggauge JJack ((Headphones)

Tip Left Signal Ring Right Signal Sleeve Gnd (Screen)

4-ppin XXLR ((Lamp CConnection)

Pin 1 & 3 +/-12V max. current 400mA Pin 4 0v

4.22 FIVE Monitor Functional Description

FIVE Monitor Specifications 5.1

FFIIVVEE MMoonniittoorr

SSppeecciiffiiccaattiioonnss

5.2 FIVE Monitor Specifications

TTyyppiiccaall SSppeecciiffiiccaattiioonnss

FFrreeqquueennccyy RReessppoonnssee

Any Input to any output . . . . . . . . . . . . . . . .20Hz - 20kHz, +0/-0.5dB

TToottaall HHaarrmmoonniicc DDiissttoorrttiioonn

All measurements at 20dBu

Line In to Direct Out (VCA out) . . . . . . . . . . . . . . . .Less than 0.006% @1kHz

Line In to Direct Out (VCA In) . . . . . . . . . . . . . . . .Less than 0.02% @1kHz

Line In to Mix Out (VCA out) . . . . . . . . . . . . . . . .Less than 0.008% @1kHz

NNooiissee

22Hz - 22kHz bandwidth, unweighted

Mic input Equivalent Input Noise . . . . . . . . . . . . . . . .Less than -127dBu (150Ω source)

Group Output Noise . . . . . . . . . . . . . . . .Less than -80dBu (32 ch routed)

Mix Output Noise . . . . . . . . . . . . . . . .Less than -80dBu (32 ch routed)

Group Output Noise (residual) . . . . . . . . . . . . . . . .Less than -92dBu

CCrroossssttaallkk

All measurements at 1kHz

Input Channel Muting . . . . . . . . . . . . . . . .Greater than 90dB

Input Channel Fader Isolation . . . . . . . . . . . . . . . .Greater than 90dB

Input Send Pot Routing Isolation . . . . . . . . . . . . . . . .Greater than 90dB

Group to Group Crosstalk . . . . . . . . . . . . . . . .Less than -90dB

Group to Mix Crosstalk . . . . . . . . . . . . . . . .Less than -90dB

IInnppuutt aanndd OOuuttppuutt IImmppeeddaanncceess

Mono Input . . . . . . . . . . . . . . . .1.6kΩ balanced

All Insert Sends . . . . . . . . . . . . . . . .Less than 75Ωbalanced

All Insert Returns . . . . . . . . . . . . . . . .Greater than 10kΩbalanced

Outputs . . . . . . . . . . . . . . . .Less than 75Ω balanced

IInnppuutt//OOuuttppuutt CCaappaabbiilliittyy

Maximum Input Level . . . . . . . . . . . . . . . .+30dBu

All Insert Sends . . . . . . . . . . . . . . . .+26dBu into 1kΩ

All Insert Returns . . . . . . . . . . . . . . . .+26dBu

All Balanced Outputs . . . . . . . . . . . . . . . .+26dBu into 1kΩ

Headphone Output . . . . . . . . . . . . . . . .+20dBu into 1kΩ

. . . . . . . . . . . . . . . .8W into 8Ω

IInnppuutt aanndd OOuuttppuutt LLeevveellss

Mono Input Sensitivity (XLR) . . . . . . . . . . . . . . . .-2dBu to -70dBu, +10dBu to -20dBu

All Insert Send/Return . . . . . . . . . . . . . . . .+4dBu nominal

Outputs . . . . . . . . . . . . . . . .+4dBu for 0VU

WWeeiigghhttss

24-bus, 44ch / 32-bus, 40ch . . . . . . . . . . . . . . . .156kg (343lbs)

24-bus, 52ch / 32-bus, 48ch . . . . . . . . . . . . . . . .170kg (374lbs)

24-bus, 60ch / 32-bus, 56ch . . . . . . . . . . . . . . . .185kg (407lbs)

SoundCraft Five Monitor User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Contents