TL Audio VTC User Manual
OPERATION SECTION – CONTENTS
1. Introduction. Page Number 2
1.1 Input Channel Overview. 3
1.2 Master Section Overview. 4
1.3 Meterbridge. 5
1.4 Options. 5
1.5 Precautions. 6
2. Installation.
2.1 AC Mains Supply. 7
2.2 Mic Inputs. 8
2.3 Line Inputs. 8
2.4 Insertion Points. 9
2.5 Monitor Return Inputs. 9
2.6 Tape/Direct Outputs. 9 – 10
2.7 Meter Bridge Connection. 10
2.8 Group Insertion Points. 10
2.9 Group Outputs. 10
2.10 Aux Outputs. 11
2.11 Aux Returns. 11
2.12 Main Stereo Output. 11
2.13 Unbalanced Stereo Output. 11
2.14 Master Insertion Points. 12
2.15 Mix B Output. 12
2.16 Control Room , Studio and Alternate L/S Outputs. 12
2.17 Stereo 2T Returns (2TA and 2TB). 12 – 13
2.18 External Input. 13
2.19 Phones 1 and 2 Outputs. 13
2.20 Meter Bridge Connection. 13
3. Channel Module. 14
3.1 Input Stage. 14 – 15
3.2 Tape Return. 15
3.3 Insert Point. 15 – 16
3.4 Auxiliary Sends. 16 – 17
3.5 EQ Section. 18 – 19
3.6 Mix B Monitor Section. 20 – 22
3.7 Main Channel Output Stage. 23 – 25
4. Master Section.
4.1 Auxiliary Master Sends. 27
4.2 Stereo Return Channels. 27 – 28
4.3 Headphone Matrix. 28
4.4 Oscillator. 28
4.5 Mix B Master. 28 – 29
4.6 Talkback Section. 29
4.7 Control Room Monitor Section. 30 – 31
4.8 Studio Monitor Section. 31 – 32
4.9 Group Outputs. 32 – 33
4.10 Master Left/Right Outputs. 33
5. Specifications. 34
7
26
1
1. INTRODUCTION
Congratulations on purchasing the TL Audio VTC (Valve Technology Console)!
The VTC is a fully modular in-line multitrack mixer that offers all the benefits of the compact 8buss/multiple tape output format but with the supreme advantage of TL Audio’s critically acclaimed
valve circuitry – which forms an integral part of the channel, monitor, group and master section
signal paths. Available in configurations from 16 channels to 56 channels, and with options including
patchbay, automation and comprehensive meterbridge, the VTC combines the classic warmth of
valves with the functional demands of modern music production.
There are hundreds of consoles on the market. But none that sound, feel or look like this one. Believe
us, the VTC simply has no competition!
VALVE STAGES
Sited within the VTC’s meter bridge section where they can stay cool, the VTC employs
ECC83/12AX7A valve stages at five key points in the signal path. In common with TL Audio’s
highly acclaimed Classic range, each valve stage in the VTC is run from a 250v DC stabilised power
source.
The valve stages are located as follows:
* In each channel preamp, between the mic preamp and EQ stages.
* In each channel tape return preamp.
* In each group mix amplifier.
* In the Mix B mix amplifier.
* In the main stereo L/R mix ampifier.
When recording to tape via a group the signal thus passes through two valve stages (channel preamp
and group mix amp), plus up to three more stages on mixdown (tape return preamp plus Mix B and
L/R mix amps) - giving a total of five valve stages in the signal path. Further sub-grouping of signals
will increase the number of valve stages that the audio passes through, and this can of course be used
for creative effect since the character of the sound will be enhanced by these extra stages.
SERIOUS DESIGN
The VTC’s modular design is based around separate 8 channel steel frame sections which are
interconnected to create the finished console. Each channel plugs into a ‘mother board’ ,which carries
power and audio connections via two multiway connectors per channel. Each console section has its
own onboard power regulation (sited in the meterbridge along with the valve pcbs) and audio is
connected between each section via fully balanced signal busses.
Please read this manual fully before installing or operating the VTC console.
2
1.1 INPUT CHANNEL OVERVIEW
•
Uncluttered Channel Preamp section containing a high quality low noise mic amp that
combines an SSM 2017 solid state stage with an ECC83/12AX7A secondary valve stage,
variable input gain (16 to 60dB), useful 90Hz high pass filter (12dB/octave), and switches for
mic/line, phase reverse, and +48v phantom power.
•
A Tape Return Preamp featuring an ECC83/12AX7A valve stage, +/-20dB trim control,
internal -10/+4dB level matching link and channel/monitor flip switch.
•
Six mono Auxiliary Sends accessed via four level controls. While aux sends 1 & 2 have
dedicated level controls, aux sends 3/4 & 5/6 share a pair of level controls on each channel: a
single shift switch governs whether the controls feed sends 3/4 or sends 5/6. Auxiliary sends
1/2 are permanently set post fader, while 3/4 (and hence 5/6) are switchable ‘pre’ or ‘post’
fader. A dedicated stereo send (7/8) is switchable pre/post fader, making it the obvious choice
for feeding a headphone cue mix or a stereo effects unit. Sends 3/4, 5/6 & 7/8 can be assigned
to the Mix B signal path via a simple and flexible switching system.
•
Four Band EQ with LF/HF shelving and two superb fully parametric mids. The EQ can be
assigned in part or totally to either channel or Mix B signal paths. 15dB of boost/cut is
available on each EQ band, and the ‘Q’ is variable between 0.5 and 5 (this corresponds to a
bandwidth range of 0.2 to 2 octaves). The EQ also features an EQ ‘On’ switch with status
LED, allowing an easy comparison between flat and EQ’d signals.
•
Separate Mix B facility with a 60mm fader, Solo, Mute and Pan. EQ can also be reassigned
from the Channel to the Mix B signal path using the HF/LF and HM/LM buttons. Should a
third party automation system be fitted, the Stat and Auto switches are intended for local status
switching and VCA bypass respectively. In addition a Srce-Ch (Source channel) switch routes
the main channel fader signal into the Mix B section as well, allowing a separate mix of the
main channel signals to be set up on the Mix B faders.
•
Signal Present and Peak LEDs are provided on both channel and Mix B sections.
•
Main Channel with flexible and simple routing system fed from a 100mm Alps type fader.
Routing is provided to each of the eight groups (in pairs), direct outputs or stereo L/R mix. The
main channel also features Solo, Mute, Pan, Stat, and Auto facilities, much like the Mix B
section.
•
A versatile Tape/Direct Output system enables multitrack connection without re-patching by
using the Buss switch on the main channel. When the Buss switch is not depressed, the
channel signal is fed directly through to the tape output on that channel, thus acting as a direct
output. When the Buss switch is depressed, the tape output is then fed from the output of the
relevant group fader (group fader 1 feeding channels 1, 9, 17, 25 etc). This is explained in
greater detail in sections 3.7 and 4.9.
3
1.2 MASTER SECTION OVERVIEW
The VTC Master Section is a triumph of intelligent, uncluttered design and contains:
•
Six Stereo Effects Returns on high quality Alps 60mm faders with control of Gain, AFL, and
Mute. Post fade individual routing paths to both headphone outputs are provided, complete
with an associated Level control for each headphone send.
•
A Headphone Matrix featuring two separate Phones outputs. Fed independently or in
combination from Control Room, Mix B, Aux 3/4, Aux 7/8 and External sources, this is a very
flexible and practical system with its own PFL.
•
Comprehensive Control Room section which allows the CR output to be fed from any
combination of L/R Mix, Mix B, 2TA, 2TB and Ext sources. It also features the easy-to-spot
Monitor Level control and a PFL trim control with +/-20dB of gain. Two Solo modes are
provided on the VTC: PFL or Solo In Place, with a switch in the CR section allowing Solo in
Place to be selected. A switch allows the Alternate Loudspeaker outputs to be monitored, and
the Control Room output can also be mono’d.
•
The Studio Output section – like the Control Room (CR) output – can be fed from the L/R
Mix, Mix B, 2TA, 2TB and Ext sources, along with a ‘Follow CR’ facility which allows the
Studio Output to automatically follow whatever source is feeding the CR output. The Studio
also has its own Level control along with Solo and On/Off switches.
•
The Oscillator is switchable between 1kHz or 10kHz and has its own Level control and On/
Off switch. The oscillator routes to both the groups and the L/R Mix.
•
The Talkback section can be fed to any combination of Tape (groups and L/R Mix), Studio
output and Phones 1&2. It has its own ‘Talk’ switch which can be internally set for nonlatching (the default) or latching operation, and activating this switch automatically dims the
Control Room output by 12dB.
•
Master control of Mix B. The Mix B signals always feed the separate Mix B stereo output, but
an assign switch also allows routing of these signals to the main L/R Mix, along with an
associated level control.
•
Group Section. Eight 100mm Alps group faders, each of which can be solo’d, fed to group
and tape outputs, or routed to the L/R mix, allowing both track laying and conventional sub
grouping on mixdown. When fed to the L/R mix, each group can be routed in mono equally to
both left and right busses , or routed in pairs hard left or right.
•
Master Fader (again a 100mm Alps type) allows control of the L/R Mix level, and like the
channel and Mix B faders is fitted with Stat and Auto switches for use with third party
automation systems.
4
1.3 METERBRIDGE
The standard integral VU meterbridge allows metering of all eight group and master L/R mix
outputs. The standard calibration of these meters is such that 0VU corresponds to +4dBu of output,
although this calibration is adjustable (see 4.16 of Technical Section). Each meter has an associated
peak LED, which is calibrated to illuminate at +18dBu of output level: again this is adjustable (again,
see 4.16 of Technical Section).
1.4 OPTIONS
•
High quality internal or external bantam patchbay. The VTC patchbay is fully modular –
consisting of a series of 96 way 19” patchfields - handwired using individually screened cable
for maximum signal integrity. All console audio connections are brought up to the patchbay
(with the exception of the mic inputs) and an additional 96 tie lines are provided. The patchbay
i s l o c a t e d a t t h e r i g h t h a n d e n d o f t h e c o n s o l e .
•
Bar graph meterbridge. In addition to the standard VU meterbridge, an optional bridge is
available that provides 16 segment LED bargraph metering of every channel and the L/R Mix.
A switch in the central section of the bridge allows the channel meters to monitor the output
levels ‘to tape’ or the return levels ‘from tape’. The optional bridge is mounted on top of the
standard version, and connected to each console section via 25 way D-type ribbon connectors.
•
Fader and Mute automation. The VTC has been designed to allow easy integration of certain
third party automation systems, which can be factory fitted prior to shipment if required.
Contact your dealer for more details.
5
1.5 PRECAUTIONS
The TL Audio VTC requires a modest amount of installation, and like all electrical equipment, care
must be taken to ensure safe, reliable operation. The following points should always be observed:
- All mains wiring should be installed and checked by a qualified electrician,
- Ensure the correct operating voltage is selected on the rear panel before connecting to the mains
supply,
- Never operate the unit with any cover removed,
- Do not expose to rain or moisture, as this may present an electric shock hazard,
- Replace the fuse with the correct type and rating only.
Warning: This equipment must be earthed.
6
2. INSTALLATION
2.1 AC Mains Supply.
The mixer includes a separate T L Audio VR1000 power supply, and it is essential that only this
supply is used to power the mixer.
The power supply is fitted with an internationally approved 3 pin IEC connector. A mating socket
with power cord is provided with the unit, wired as follows:
Brown: Live.
Blue: Neutral.
Green/Yellow: Earth (Ground).
All mains wiring should be performed by a qualified electrician with all power switched off, and the
earth connection must be used.
The power supply generates a certain amount of heat during use, which must be allowed to dissipate
from the ventilation slots and heatsink. Never cover the power supply or locate it near a source of
heat, for example a radiator or power amplifier. The PSU is fitted with a slow moving cooling fan,
which may generate a very small amount of mechanical noise.
The power supply should be connected to the mixer with the armoured multi core cable supplied,
before connecting the supply to the mains. The connectors should be inserted and secured into place
by tightening the locking rings. The cable is specially selected for the high voltage and current
requirements. Do not substitute any other cable or attempt to extend the cable supplied.
The connectors on this cable are polarised, so can only be plugged in one way – please do not try to
force the connector in if resistance is felt, since it can cause damage to the connector itself.
Before connecting the power supply to the mains, check that the voltage selector switch on the front
panel is correctly set. The unit may be set for 115V (accepting voltages in the range 110V to 120V,
60Hz AC), or to 230V (for voltages in the range 220V to 240V, 50Hz AC). The fuse required is
20mm anti-surge, 5AT for 230V or 10AT for 115V.
Warning: attempted operation on the wrong voltage setting, or with an incorrect fuse, will
invalidate the warranty.
7
AUDIO CONNECTIONS – CHANNEL
2.2 Mic Inputs.
Each channel has a female, 3 pin XLR connector for mic connection. It is compatible with either
balanced or unbalanced signals, when the mating connector is appropriately wired:
Balanced inputs:
- Pin 1 = Ground (screen).
- Pin 2 = Signal Phase (“+” or “hot”).
- Pin 3 = Signal Non-Phase (“-” or “cold”).
Unbalanced inputs:
- Pin 1 = Ground (screen)
- Pin 2 = Signal Phase (“+” or “hot”).
- Pin 3 = Signal Ground
When using unbalanced signals, the signal ground may be obtained by linking pins 1 and 3 in the
mating XLR connector. Good quality screened cable should be used, particularly for microphone or
low level sources, to prevent hum or noise pickup.
2.3 Line Inputs.
A 3 pin, 0.25” jack plug is required, which is also compatible with balanced or unbalanced sources,
when wired as follows:
Balanced inputs:
- Tip = Signal Phase (“+” or “hot”),
- Ring = Signal Non-Phase (“-” or “cold”),
- Screen = Ground.
If unbalanced signals are used, the screen and ring should both be connected to ground.
8
2.4 Insertion Points.
The insertion points are also interfaced via a 3 pin, 0.25” switched jack socket on the rear of the unit.
The pin connections are:
- Sleeve = Ground,
- Tip = Send,
- Ring = Return.
The insertion point is unbalanced. If used as an additional send only (e.g. as a send to a tape machine
or monitor mixing desk), the Tip and Ring should be wired together, to preserve the signal path
through the insertion point.
2.5 Monitor Return Inputs.
A 3 pin, 0.25” jack plug is required, which is also compatible with balanced or unbalanced sources,
when wired as follows:
Balanced inputs:
- Tip = Signal Phase (“+” or “hot”),
- Ring = Signal Non-Phase (“-” or “cold”),
- Screen = Ground.
If unbalanced signals are used, the screen and ring should both be connected to ground.
The nominal operating level of the Monitor Return may be internally set for +4dBu (professional) or
-10dBu (semi-professional) nominal level. The outputs are factory set for +4dBu, but may be
changed by referring to part 3.6 of the Technical Section.
2.6 Tape/Direct Outputs.
The Direct Output connector is a 3 pin, 0.25” jack socket on the rear of the unit. The output
automatically adjusts for balanced or unbalanced connection, and may be internally set for +4dBu
(professional) or -10dBu (semi-professional) nominal level. The outputs are factory set for +4dBu,
but may be changed by referring to part 4.4 of the Technical Section.
The mating connector should be wired as follows:
Balanced outputs:
- Tip = Signal Phase (“+” or “hot”),
- Ring = Signal Non-Phase (“-” or “cold”),
9
- Screen = Ground.
If unbalanced signals are used, the screen and ring should both be connected to ground.
2.7 Meter Bridge Connection
The optional bar graph meterbridge is connected to each section of the VTC via these 25 way D-type
connectors. See Technical Section 4.17 for more details.
AUDIO CONNECTIONS – MASTER SECTION
2.8 Group Insertion Points.
The group insertion points are interfaced via a 3 pin, 0.25” switched jack socket on the rear of the
unit. The pin connections are:
- Sleeve = Ground,
- Tip = Send,
- Ring = Return.
The insertion point is unbalanced. If used as an additional send only (e.g. as a send to a tape machine
or monitor mixing desk), the Tip and Ring should be wired together, to preserve the signal path
through the insertion point.
2.9 Group Outputs.
The monitor outputs are via balanced, 3 pin jack connectors. The mating connectors should be wired
as follows:
Balanced outputs:
- Tip = Signal Phase (“+” or “hot”),
- Ring = Signal Non-Phase (“-” or “cold”),
- Screen = Ground.
If unbalanced signals are used, the screen and ring should both be connected to ground.
The nominal operating level of the Group Outputs may be internally set for +4dBu (professional) or 10dBu (semi-professional) nominal level. The outputs are factory set for +4dBu, but may be changed
by referring to part 4.4 of the Technical Section.
10
2.10 Aux Outputs.
The Aux outputs are provided on unbalanced, 2 pin jack connectors. The mating connectors should
be wired as follows:
- Sleeve = Ground (screen),
- Tip = Signal Phase (“+” or “hot”).
2.11 Aux Returns.
Six stereo inputs are provided, for effects returns or other line level sources. The connectors are 3 pin
jack sockets, and the mating connectors should be wired as follows:
- Sleeve = Ground (screen),
- Tip = Signal Phase (“+” or “hot”),
- Ring = Signal Non-Phase (“-” or “cold”).
If unbalanced signals are used, the screen and ring should both be connected to ground.
The aux returns are normalled so that if a mono signal is connected to the left input only, this signal
is fed equally to left and right return paths: thus enabling easy connection of mono effects devices or
line sources.
2.12 Main Stereo Output.
The main outputs are via balanced, 3 pin male XLR connectors operating at +4dBu. The mating
connectors should be wired as follows:
- Pin 1 = Ground (screen),
- Pin 2 = Signal Phase (“+” or “hot”),
- Pin 3 = Signal Non-Phase (“-” or “cold”).
If an unbalanced output is required, pins 1 and 3 should both be connected to ground.
2.13 Unbalanced Stereo Output.
The main stereo output is also duplicated on unbalanced mono jack connectors operating at –10dBu.
The mating connector should be wired as follows:
- Sleeve = Ground (screen),
- Tip = Signal Phase (“+” or “hot”).
11
2.14 Master Insertion Points.
The master insertion points are interfaced via a 3 pin, 0.25” switched jack socket on the rear of the
unit. The pin connections are:
- Sleeve = Ground,
- Tip = Send,
- Ring = Return.
The insertion point is unbalanced. If used as an additional send only (e.g. as a send to a tape machine
or monitor mixing desk), the Tip and Ring should be wired together, to preserve the signal path
through the insertion point.
The master insertion point is active on both the balanced and unbalanced stereo outputs.
2.15 Mix B Output.
The Mix B outputs are via balanced, 3 pin jack connectors. The mating connectors should be wired
as follows:
Balanced outputs:
- Tip = Signal Phase (“+” or “hot”),
- Ring = Signal Non-Phase (“-” or “cold”),
- Screen = Ground.
If unbalanced signals are used, the screen and ring should both be connected to ground.
2.16 Control Room , Studio and Alternate L/S Outputs.
All three of these monitor outputs are via balanced, 3 pin jack connectors. The mating connectors
should be wired as follows:
- Sleeve = Ground (screen),
- Tip = Signal Phase (“+” or “hot”),
- Ring = Signal Non-Phase (“-” or “cold”).
If an unbalanced output is required, the screen and ring should both be connected to ground.
2.17 Stereo 2T Returns (2TA and 2TB).
12
A stereo input is provided to the monitor section, to allow off-tape monitoring, etc.
The inputs are via balanced, 3 pin jack connectors. The mating connectors should be wired as
follows:
- Sleeve = Ground (screen),
- Tip = Signal Phase (“+” or “hot”),
- Ring = Signal Non-Phase (“-” or “cold”).
If an unbalanced signal is used, the screen and ring should both be connected to ground.
The nominal operating level of the 2T returns may be internally set for +4dBu (professional) or 10dBu (semi-professional) nominal level. The outputs are factory set for +4dBu, but may be changed
by referring to part 4.15 of the Technical Section.
2.18 External Input.
A stereo input is provided to the monitor section, to allow the connection of miscellaneous sources
such as click tracks, guide cassettes, CDs etc.
The inputs are via balanced, 3 pin jack connectors. The mating connectors should be wired as
follows:
- Sleeve = Ground (screen),
- Tip = Signal Phase (“+” or “hot”),
- Ring = Signal Non-Phase (“-” or “cold”).
If an unbalanced signal is used, the screen and ring should both be connected to ground.
The nominal operating level of the Group Outputs may be internally set for +4dBu (professional) or 10dBu (semi-professional) nominal level. The outputs are factory set for +4dBu, but may be changed
by referring to part 4.15 of the Technical Section.
2.19 Phones 1 and 2 Outputs.
Two rear panel sockets are provided, suitable for driving headphones of 32 ohms or higher
impedance. A standard 0.25” jack plug should be used.
2.20 Meter Bridge Connection.
The optional bar graph meterbridge is connected to each section of the VTC via these 25 way D-type
connectors. See Technical Section 4.17 for more details.
13
+48V
LINE
PHASE
GAIN
4
6
9
10
12
13
15
16
17
26
27
28
35
FLIP
MON
AUX
1 On
2 On
3 On
4 On
5+6
AUX
3+4 PRE
STEREO AUX
PAN 7/8
LEVEL
On
PRE
MIX B
H - MID
+/-
Hz
Q
L - MID
+/-
Hz
Q
EQ ON
HF
PAN MIX
B
MUTE
+10
+5
0
-5
-10 SRCE-CH
-20
-30 HF/LF
EQ
-40
-50
-60
-70 EQ
-80
PAN
L R
MUTE
PK
SIG
SOLO
+10
STAT
+5
AUTO
0
BUSS
-5
1+2
-10
3+4
-20
5+6
-30
-40 7+8
-50
-60
-70 L+R
-80
TRIM
PK
SIG
SOLO
STAT
AUTO
LM/HM
1
2
3
5
7
8
11
14
18
19
20
24
25
21
22
23
29
30
31
32
33
34
40
3. CHANNEL MODULE
4
6
+48V
LINE
PHASE
GAIN
LINE OdB
+16 +60
90Hz
FLIP
MON TRIM
-20 +20
3.1 Channel Input Stage
PHANTOM POWER (1)
Individual +48V phantom power switching is available on each channel.
This meets the power needs of condenser microphones and DI boxes
when required. To prevent clicks or thumps it is advisable to ensure that
the system gain is set to minimum when switching phantom power on,
or connecting a microphone when phantom power is applied.
MIC/LINE SWITCH (2)
Mic/Line preamp input switch. This selects which source signal is fed
through to the console preamp stage.
Valve Stage
The microphone pre amp stage is one of the key weaknesses on many
consoles but on the VTC it is one of its great strengths. Combining an
SSM 2017 solid state stage with an ECC83/12AX7A secondary valve
stage gives the VTC mic pre amp the ideal combination of low noise
performance (-127dBu) and rich valve warmth. The valve stage is ‘post’
the Gain, LF Cut, Phase and Flip switches, and ‘pre’ the channel insert
point.
PHASE REVERSE (3)
The Phase Reverse button operates on both the mic and line inputs, and
is designed principally to correct phase cancellation caused by multiple
1
2
3
5
7
14
4
6
9
10
12
13
15
16
17
26
27
28
35
+48V
LINE
PHASE
GAIN
FLIP
MON
AUX
1 On
2 On
3 On
4 On
5+6
AUX
3+4 PRE
STEREO AUX
PAN 7/8
LEVEL
On
PRE
MIX B
H - MID
+/-
Hz
Q
L - MID
+/-
Hz
Q
EQ ON
HF
PAN MIX
B
MUTE
SIG
+10
+5
0
-5
-10 SRCE-CH
-20
-30 HF/LF
EQ
-40
-50
-60
-70 EQ
-80
PAN
L R
MUTE
PK
SIG
SOLO
+10
STAT
+5
AUTO
0
BUSS
-5
1+2
-10
3+4
-20
5+6
-30
-40 7+8
-50
-60
-70 L+R
-80
TRIM
PK
SOLO
STAT
AUTO
LM/HM
2
1
3
5
7
8
11
14
18
19
20
24
25
21
22
23
29
30
31
32
33
34
40
mic set-ups. It is ‘pre’ Flip in the signal path so off-tape signals can be
phase reversed if required by re-patching through the line input.
GAIN (4)
The Gain control affects both line or microphone input level, dependent
upon which is selected by the Mic/Line switch. The centre detent
corresponds to 0dB gain on the line input and the gain setting will affect
signal strength to the preamp valve stage, and therefore enhancement of
that signal. The variable input gain ranges from 16 to +60dB on the mic
input, and –10 to +35dB on the line input.
LOW CUT FILTER (5)
The low cut filter is designed to remove unwanted LF noise. The filter
has a slope of -12dB per octave and operates at 90Hz. It is active on
both mic and line inputs, whichever is selected.
3.2 Tape Return
MONITOR TRIM (6)
Monitor Trim adjusts the tape monitor input gain. With a very useful +/20dB range it can cope with most recording systems. In addition,
internal jumper links can allow operating levels to be set at +4dB or 10dB, as required (information on altering these jumper links can be
found in 3.6 of the technical section of the manual).
Valve stage
Like the channel preamp the Monitor input features an ECC83/12AX7A
valve stage. This is located ‘post’ Gain and Flip. There is no insert point
on the Mix B signal path.
FLIP (7)
The Flip switch swaps the Mic/Line and the Tape Monitor input signals.
When selected the Mic/Line signal is fed to the Mix B section, and the
Tape Monitor signal is fed through the main channel signal path. When
Flip is active the Gain, LF Cut and Phase Reverse switches remain tied
to the Mic/Line input, while the Monitor Trim control remains tied to
the Tape Monitor signal.
Flip is most likely to be used on mixdown so that the tape return signal
can have the full benefit of the main channel’s long throw faders,
equalisation and auxiliary send options.
3.3 Insert Point
Insert points are designed to allow external devices such as dynamics
processors to be patched into the signal path when recording or mixing.
15
4
6
9
10
12
13
15
16
17
26
27
28
35
+48V
LINE
PHASE
GAIN
FLIP
MON
AUX
1 On
2 On
3 On
4 On
5+6
AUX
3+4 PRE
STEREO AUX
PAN 7/8
LEVEL
On
PRE
MIX B
H - MID
+/-
Hz
Q
L - MID
+/-
Hz
Q
EQ ON
HF
PAN MIX
B
MUTE
SIG
+10
+5
0
-5
-10 SRCE-CH
-20
-30 HF/LF
EQ
-40
-50
-60
-70 EQ
-80
PAN
L R
MUTE
PK
SIG
SOLO
+10
STAT
+5
AUTO
0
BUSS
-5
1+2
-10
3+4
-20
5+6
-30
-40 7+8
-50
-60
-70 L+R
-80
TRIM
PK
SOLO
STAT
AUTO
LM/HM
2
1
3
5
7
8
11
14
18
19
20
24
25
21
22
23
29
30
31
32
33
34
40
The insert point is located on the main channel signal path, ‘post’ Flip
and ‘pre’ EQ – and can therefore be used for processing the main
channel signal when tracking, and the tape monitor signals when they
are ‘Flipped’ through the main channel signal path during mixdown.
3.4 Auxiliary Sends
9
system of auxiliary sends, allowing both the main channel and Mix B
signal paths access to pre and post fade sends. Six mono auxiliary sends
are accessed via four level controls, and there is a separate stereo send.
AUX SENDS 1&2 (8)
These are mono sends, permanently set post fader and so are used
mainly for effects sends on the main channel signal path.
AUX SENDS 3&4 and 5&6 (9)
In this flexible configuration, mono sends 3&4 can be switched pre or
post fader, and assigned to main channel or mix B signal paths.
Used as effects sends
The aux switching system also allows sends 3&4 to be assigned to aux
busses 3&4 or 5&6. Thus a choice of six mono aux sends can be fed
from four controls, thus allowing a wide range of effects to
by each channel during recording and mixdown.
AUX
1
ON
2
ON
3
ON
4
ON
5+6
AUX 3/4 PRE
MIX B
8
11
The VTC has a flexible
be accessed
16
Loading...