Studiomaster MIXDOWN Owner's Manual

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4:6 4:7 4:8

a~ _

CHAPTER 1 -

INTRODUCTION ••••••••••••••••••••••••••••••••••••••••••••

1:1 General introduction to MIXDOWN •••••••••••••• 1

1 :2 READ THIS! ••••••••••••••••••••••• 1

CHAPTER 2 - CONTROL IDENTIFICATION ••••••••••••••••••••••••••••••• _

2:1 Input Channel ••••••••••••••••••••• 3 2:2 Group & Output Section ••••••••••••••••• 6

CHAPTER 3 -

CONNECTIONS •••••••••••••••••••••••••••••••••••••••••• _

3:1 Initial connections to the console ••••••••••••• 12 3:2 Typical connections for a RECORDING system ••••••• 14 3:3 Typical connections for a LIVE system ••••••• 16

CHAPTER 4 - GETTING TO KNOW

MIXOOWN_•••••••••••••••••••••••••••••••

4:1 First things first ••••••••••••••• 18

4:2 The Input Channel connectors •••••••••• 18 4:3 How to get the Input sound through to the monitor speakers 18 4:4 The Equalisation section on the Input Channels. 20

4:5 The SOLO button •••••••••••••••••••• 20

Other SOLO buttons ••••••••••••••••••• 21 The Channel ON button ••••••••••• 21 The L-R routing button ••••••••••••••••• 21 The Auxiliaries •••••••••••• 21

Auxiliaries 5·& 6 ••••••••••••••••••••• 22 4:9 Input Channel SEND/RET ••••••••••••• 23 4:10 The DIRECT OUT ••••••••••••• 23 4:11 Phantom Powering •••••••••••••••••• 24 4:12 The AUX LINE INPUTS •••••••••••• 24 4:13 The Stereo Return ••••••••••• 25 4:14 Talkback •••••••••••••••••••• 25 4:15 The Master Section ••••••••••••••••••• 25

4:16 The 2-track Return ••••••••••••••••• 26 4:17 Tape Monitoring Procedure ••••••••••••• 26 4:18 Tape Remixing Procedure •••••••••••••••• 27 4:19 2-track Mixdown Procedure ••••••••••••••• 28

CHAPTER 5 - STEP BY STEP USE OF MIXOOWN •••••••••••••••••••••••••••••

5:1 Multitrack Tape Recording ••••••••••••• 29 5:2 Preparing the console ••••••••••••••••••• 29 5:3 Initial Multitrack Recording •••••••••••• 31 5:4 Playing back the Multitrack Recording ••••••••• 33 5:5 Overdubbing •••••••••••••••• 33

5:6 Tape Remix ••••••••••••••• 34 5:7 Stereo Mixdown - The Final Mix ••••••••••• 35 5:8 An alternative Mixdown method ••••••••••••• 36 5:9 AUX LINE Mixdown •••••••••••••••• 37 5:10 Live Performances ••••••••••••••••••• 37 5:11 Preparing the console ••••••••••••• 37

5:12 The Soundcheck ••••••••••••• 40

5:13 The Performance •••••••••••••• 41

CHAPTER 6 - LEVEL

OPTIONS •••••••••••••••••••••••••••••••••••••••••••

6:1 Left/Right Outputs ••••••••••••••••••• 42

6:2 Subgroups ••••••••••••• 42

CHAPTER 7 -

EXPANSION •••••••••••••••••••••••••••••••••••••••••••• _

7:1 Fitting Procedure ••••••••••••• 44

7:2 More than 24 Inputs •••••••••••• 44

CHAPTER 8 -

SPECIFICATIONS ••••••••••••••••••••••••••••••••••••• __

Specifications ••••••••••••••••••• 46 Block Schematic •••••••••••••••• 48

CHAPTER 9 - GLOSSARY OF

TERMS •••••••••••••••••••••••••••••••••••••••

Glossary of terms ••••••••••••••••• 50

CHAPTER 10 - MARKER

SHEETS_ •••• __ •••• __ ••••••••••••••••••••••••

The Marker Sheets ••••••••••••••• 52 Input Channels •••••••••• 53 - 60

16.4.8 Output Section ••••••••••• 61

16.8.16 Output Section .•••••••••••••• 62

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1:2 READ THIS

1:1 GENERAL INTRODUCTION TO MIXDOWN

and 16.8.16.

(differences

1) An INTERNAL POWER SUPPLY model is identified by the 3-pin power input socket found on the rear of the console.

2) An EXTERNAL POWER SUPPLY model is identified by a 6-pin (XLR

type) DC connector found on the rear of the console. An external power supply Type EP4 would be supplied as standard with the console.

The 16.4.8 has 26 inputs in total at mixdown and the 16.8.16 has 34.

DO NOT switch on the console until this section has been read:

MIXDOWN

3) The EXTERNAL POWER SUPPLY model may by expanded by more than 2

Many studios are now using more and more MIDI based outboard equipment

and instruments. A normal console would require such instruments to be recorded via multitrack or use up valuable input channels to pass them to stereo. This would unnecessarily, but unavoidably, add noise to

signals which are virtually perfect. The MIXDOWN consoles can avoid this as they have basic input sections routed direct to stereo and

with monitoring controls. They are able to utilise the multitrack for

"live" sounds (vocalists, guitars, brass etc.) only, while monitoring the sequenced MIDI keyboards, drum machines etc. connected to the

AUXILIARY LINE INPUTS. At the 2-track mixdown stage, the multitrack

recording would be mixed with the MIDI sequenced instruments from the basic input sections. This could make it possible for a smaller multitrack to be used, because the multi-output drum machines and keyboards - which would have normally consumed several tracks and made

bouncedowns inevitable could now bypass the multitrack operation

totally.

There are two sizes of MIXDOWN mixing console: 16.4.8 This manual has been written to cover both consoles between the two are identified in Chapter 2).

Although they have been designed to meet the demands of today's studio environment, MIXDOWN mixing consoles can be used equally well in

recording and live applications.

Please read this manual thoroughly from front to back, then you can be

sure that you are getting the best from your MIXDOWN.

NOTE: The internal power supply and the EP4 external power supply

are sufficient to allow expansion of a MIXDOWN by a further 8

input channels (2 expanders), a total of 24 inputs.

BEFORE PROCEEDING: DO NOT CONNECT THE AC SUPPLY LEAD TO THE CONSOLE OR EXTERNAL POWER SUPPLY

The following section relating to the different supplies fitted to a MIXDOWN mixing console MUST be rOeadbefore switching on. The standard console is available with either an internal power supply, or an external power supply.

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expanders if used with the more powerful EP3 rack mounted external power supply (available separately).

The internally powered console and both the external power supplies

have the same voltage selector/AC input/AC fuse assembly: ~

Pointer (indicates voltage selected)

Voltages

Voltage selector

240

=~-

oz~

Small notch

AC power input

The voltage selector (the square shaped part which can be levered out)

contains the AC fuse.

NOTE: External power supplies with their AC lead connected straight

into them (no socket and connector) are fixed at 110 to 120V AC input

and cannot be changed.

On the internally powered MIXDOWN, the voltage selector is fitted to

the rear panel. On both external power supplies, it is at the back.

The voltage selection procedure is the same for all three variations. Check that the pointer (see diagram above) is pointing at the local AC

supply voltage (100, 120, 220 or 240V stamped on the voltage selector). If it is, then go ahead and connect AC power to the console/external power supply.

If the voltage indicated is wrong, then lever out the voltage selector

(there is a small notch for this purpose between the selector and the AC power input). Turn the selector round until the pointer is pointing to the correct voltage, then press it back in.

You will have noticed a fuse while the selector was out. This is console's or power supply's AC fuse.

Internally powered consoles are now ready to be switched

Externally powered models should now have the DC power lead from

power supply connected to the 6-pin socket on their rear panel.

power supply is now ready to be switched on.

REMEMBER, on an external power supply model, 48V Phantom Power

to be switched ON at the power supply before it can be switched ON the console. 48V Phantom Power is explained in 4:11.

the

on. the The

has

WARNING: ONLY use STUDIOMASTER MIXDOWN consoles with STUDIOMASTER

external power supplies •

Studiomaster

•

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4 SEND/RETurn Stereo 0.25" jack wired Sleeve

Ground, Ring

Return, Tip

Send, post-EQ and

pre-fader. Return impedance 5kohm, nominal level

+4dBm.

3 TAPE input Unbalanced 0.25" jack wired Sleeve

Ground, Tip

Signal. Drives the input channel or

TAPE monitor section with an unbalanced signal

from the multitrack tape recorder. On expanders, this is marked "LINE B", for use as an extra LINE input. Input impedance typically 10kohm. Maximum input level +30dBm.

FIG 1

the

when

left

re-

+48V

input

OUT Mono 0.25" jack wired Sleeve

Tip

Signal. Post fader. Nominal level

Minimum load (for reference level)

DIRECT Ground,

-10dBV. 25kohms.

7 TAPE button switches the input channel from

MIC XLR or LINE jack to the TAPE jack depressed, so that tape returns can be connected thus eliminating the need for

6 +48V button. When depressed, applies

phantom supply 'to Pins 2 and 3 of XLR MIC

for use with condenser microphones.

The 16.8.16 input channel is shown, features unique to the 16.4.8 are shown in

~Jtil<l.1

areas.

1 MIC input Electronically balanced female XLR

wired Pin 1=Ground, Pin 2

-ve phase, Pin 3

+ve phase. The channel may be driven with a low impedance balanced microphone. Gain range 15 to 60dB. Input impedance typically 2kohm (balanced).

Maximum input level OdBm.

2 LINE input Electronically balanced stereo 0.25"

jack wired Sleeve

Ground, Ring

-ve phase, Tip

+ve phase. For unbalanced use, use a mono jack

plug wired Sleeve

Ground, Tip

Signal. Gain range -15 to +30dB. Input impedance greater than 60kohm (balanced), greater than 30kohm

(unbalanced). Maximum input level +30dBm.

2:1 INPUT CHANNEL (Referring to FIG 1)

MIXDOWN

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input

when

left

re-

design

of a

control

separate

at the

a 2-pole

of a

control

separate

at the

2-pole

value

s the

TAPE ja(::k

can be

need for

attenuation to MIC

can be used to which, after turning is still too high to

semi-parametric

6 and on expanders) the LINE jack when

input channel to be low i ance balanced LINE lev signal.

not shown)

(Inputs

the HIC

that t

thus eliminatin

remix.

(Inputs 9

HIC XLR This allows either a

or unbalanc~d

EQUALISATION. A 3-band comprising of:

High Frequency control is an active shelving- type filter providing 16dB of cut or boost at

12kHz. The filter is a 2-pole design with a slope of 12dB/octave. MID frequency network consists continuously variable centre frequency with a sweep from 280Hz to 8kHz. A control provides 16dB of cut or boost chosen centre frequency. The filter is a design with a peaking response, and a "Q" of approximately 1.5. Low Frequency network consists continuously variable shelving frequency with a sweep from 25Hz to 350Hz. A

control provides 16dB of cut or boost

chosen shelving frequency. The filter is design with a slope of 12dB/octave.

GAIN control with 45dB range ensures that the input - be it MIC, LINE or TAPE is at a suitable level to drive the channel. It is used to set the nominal channel signal level by varying the pre- amp gain, preserving maximum headroom and minimum noise without loading the input signal.

PAD switch provides 20dB inputs when depressed. It attenuate an incoming signal the GAIN control to minimum, be usable.

Studiomaster

patching during remix. On expanders, this button selects LINE B input when depressed.

12 AUXILIARIES. There are six auxiliary busses,

five of which are simultaneously accessable on

the channel. Auxs 1,2,3 & 4 are post-fade (for

use mainly as effects sends). Aux 5 is pre-EQ and

pre-fade. Aux 6 is pre-fade. Aux 5 and 6 are

intended for studio cue/stage foldback purposes.

A switch is provided to access either Aux 4 or

11 EQ CUT switch bypasses the equalisation circuit

for a flat frequency response.

10c

10a

10b

FIG 1

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Aux 5.

13 PAN control allows a left/right stereo balance

when the channel is routed to L-R outputs. It can also bias the channel's output to odd/even numbered groups by moving it from the zero position. Panning fully left routes to odd- numbered groups only, panning fully right routes

to even-numbered groups only.

14 CLIP indicator. This LED illuminates whenever

the signal approaches the maximum running level.