Specifications

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To monitor the signal being recorded (via the multi-track recorders input/output monitoring system, the
recorder’s output should be connected to the balanced ‘MON’ jack located behind each input module.
This then connects the signal to the separate monitor section incorporated within each input module.
By turning up the appropriate ‘MON LEVEL’ control on an input module and adjusting the associated
‘MON PAN’ control, the signal can be listened to and placed anywhere between the left and right con-
trol room monitors. This of course is independent of any main channel panning that is taking place. By
this means a monitor mix of all 16, 24 or 32 channels can be built up depending on the mixer configu-
ration. The multi-track recorder’s own meters can be used to control the record level and monitor the
playback of the signal.
A further very useful feature is the ability to select auxiliary sends 5 and 6 to the monitor circuit by
means of the ‘AUX 5-6 TO MON’ pushbutton located next to the monitor level control. This makes
it possible to supply a headphone mix to artists during recording (by using for example auxiliary 5 as a
headphone feed) and also monitor reverb (or some other processing device) by using (for example) aux-
iliary 6. In this mode, pressing the ‘PRE’ pushbutton selects the auxiliary send signal either pre or post
the monitor level control. It is therefore extremely quick and easy to record and overdub using this sec-
tion of the console. An ‘EQ TO MON’ pushbutton completes the versatility of this section by making it
possible to route the entire four band equaliser onto the monitor section. This makes it possible to add
equalisation only on monitor to the track being recorded or playing back, so that it is possible to hear
how the mixed track might sound without actually recording it. In this mode, the eq. is now bypassed
on the channel section.
By using a combination of the channel direct outputs and the subgroups coupled with the channel and
subgroup monitor returns, it is of course possible to record a larger number of tracks than the console
has inputs. Therefore the 16 input console can be connected to a 24 track recorder, the 24 input con-
sole can be connected to a 32 track recorder and the 32 input console can be connected to a 40 track
recorder.
When it is required to use the console to mix down the recorded tracks, it is not necessary to re-plug
the console. By depressing the ‘I/P REV’ pushbutton at the top of the input module, the signal con-
nected to the ‘MON’ jack is routed to the channel line input. The signal therefore appears at the main
channel fader and can be routed to the stereo mix via the ‘L-R’ pushbutton and panned via the chan-
nel pan control. The normal channel facilities such as AFL, equalisation and auxiliary sends can now be
used. Whatever was plugged into the channel line input now appears at the monitor section and can
also be routed to the stereo mix via the monitor level control and pan. In this way, the number of input
channels to the stereo mix is doubled which greatly enhances the versatility of the console.
Recording With A Microphone
After routing the signal to the desired output, the channel fader should be put to the top of it’s travel
(maximum position) and the ‘INPUT GAIN’ control should be adjusted so that either the input meter
of the device that the microphone is being sent to reads an acceptable level or the channel input
level l.e.d’s (situated next to the channel fader), show the signal level. Using these meters, the level
should be adjusted until the red l.e.d just illuminates on peaks and the level control should then be
brought down so that the red l.e.d is just extinguished.
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OPERATIONAL DESCRIPTION
Multi-Track Recording Set Up
Make sure that all buttons are up and that all controls are in their default positions, i.e centre detented
potentiometers such as pan and equaliser boost/cut are in their centre positions, level controls and
equaliser frequency sweeps are at minimum (anti-clockwise). The channel fader should be set to
minimum.
The output from a balanced microphone should be wired in accordance with the information given in
section 2 of this manual and connected to the x-l-r input at the rear of the appropriate channel. If the
microphone requires +48 phantom power, this should be selected by depressing the ‘+48’ red button
at the top of the module.
The channel fader should be advanced to the top of its’ travel (maximum) and the mic/line level control
(at the top of the module) should be advanced until the green ‘-20’ l.e.d illuminates to a steady state.
This will indicate that there is signal present at the module output.
There are two ways to set up the console to record in a multi-track setup. If the console is only being
used in conjunction with an 8 track recorder or DAW, the signal can be sent via the ‘Submaster Out-
puts’ to the inputs of the recorder. The output of the 8 track recorder or DAW should be connected to
the ‘Monitor Returns’. If for example, you wish to route to track 5 of the multi-track recorder depress
the appropriate channel button marked ‘5-6’ and turn the channel pan control fully anti-clockwise (left).
The signal will now appear at the input of the 8 track recorder or DAW and the subgroup bargraph
display will indicate the level being sent to the recorder. To monitor the signal being replayed from the
DAW, depress the red ‘TAPE’ button on the appropriate submaster channel, turn up the ‘MON LEVEL’
control on the appropriate submaster channel and the signal will appear on the monitor speakers. The
‘MONITOR MASTER’ control in the Master section must be turned up. Since a lot of DAW’s (and of
course tape based recording systems) have automatic input/output monitoring systems such that when
a track is set to record the input is monitored through the playback outputs and then automatically
switches to playback when the track is not in record, the ‘TAPE’ button can be left depressed and the
DAW will provide the necessary monitor switching.
The second way of setting the console up is by using the ‘in-line’ monitoring facility provided on every
input. This system is to be favoured when using the console with anything more than an 8 track re-
cording system.
As each input module is provided with a direct output signal derived directly after the channel fader, this
can be used to feed the individual tracks of a multi-track recording device. Therefore the ‘DIR O/P’ jack
located on the rear panel behind each input should be connected to the appropriate input of the record-
ing device. It should be noted that connecting to the ‘DIR O/P’ jack does not break the signal path of
the input module, so all other facilities such as routing and panning to the 8 submaster groups is still
possible. This is especially useful since using the direct outputs only allows one signal to be routed to
each track. It is therefore necessary to use one of the sub groups only if a mix of a number of channels
is required. As the ‘DIR O/P’ jack does not break the signal path from the channel, it is a simple job to
connect from this jack directly to the input of the multi-track recorder or DAW.
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