Specifications

Toft Audio Designs Series ATB Console ManualFor More Information, visit www.toftaudio.com
the line amplification is 0dB. Decreasing the level will attenuate the signal by up to -15dB and in-
creasing it from midway will amplify it by up to 25dB.
Once the recording has been made, it can be played back either via the Submaster section or Moni-
tor sections of the input channels. This is explained in detail in the previous ‘Multi-Track Recording’
section.
Mixing Down
Changing from the recording mode to mixing on the Series ATB is very easy to accomplish as a lot of
the functions are selectable by push buttons rather than re-plugging connections.
If the replay lines from the multi-track recorder have been connected to the ‘LINE’ jacks on each
Input module, depressing the ‘LINE’ button at the top of the module will bring the signal through the
channel fader. If the replay lines from the multi-track recorder have been connected to the ‘MON’
jack on the rear of the input module (as would be the case when using the channel monitor section
for multi-track monitoring), depressing the ‘I/P REV’ button will bring those signals through the input
channel via the line input. Any signal that was connected to the line input will now be routed through
the channel monitor section.
The input level control at the top of the module should be at it’s midway position and the channel
fader advanced until the green -20db illuminates and an appropriate signal level is metered on the
master left/right bargraph displays.
To select a channel to mix it is only necessary to depress the ‘L-R’ button on the appropriate channel
located next to the channel fader. The channel pan control will position the signal in the stereo im-
age. The channel fader will control the level to the stereo mix which will be metered on both the left
and right bargraph displays located in the master section as well as the two analogue meters. The
stereo master fader located in the Master Module should be put to the top of it’s travel and the mas-
ter monitor level control should be adjusted so that the signal from the control room monitor speak-
ers is at the appropriate level. When the final mix has been recorded on one of the two analogue 2
track recorders, or digital recorder that can be connected to the console, replay of the final stereo mix
can be made via the ‘2 TK 1 RET ’, ‘2 TK 2 RET ’, or ‘2 TK DIG RET ’, selection buttons on the master
module.
When building up the mix, it is important to work with the relationship between the input level con-
trol and the channel fader such that the fader is always as close to the top of it’s travel as possible
yet still allowing enough in hand to increase gain for solo passages etc. If the fader is operated too
low in it’s travel and the input level control too far advanced, overload/headroom problems are more
likely to occur especially when introducing equalisation.
As described in the previous sections on recording and overdubbing, signal processing such as limit-
er/compressors can be added to individual channels via the ‘INSERT.’ send and return jacks. Alterna-
tively, overall limiting/compression of the stereo mix can be accomplished by means of the ‘MASTER
INS.’ left and right jacks located behind the master module.
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The phase reverse button located at the top of the module works in conjunction with the mic and
line inputs and can be used to reverse the signal phase of either input. Phase differences can occur
when two microphones are placed in close proximity (for example when recording acoustic guitar)
and causes a cancellation of certain frequencies (usually bass) which results in a ‘thin’ sound. By
using the phase switch, this effect can often be minimised or eliminated altogether. In the line
mode, phase errors can often occur due to incorrect phase wiring of a piece of equipment connected
to the console. Operation of the phase switch under these circumstances will often solve the prob-
lem.
Very often at this stage in the recording process, musicians may require a headphone feed so that
they can hear their instrument or a mix of the other musicians. A suitable headphone amplifier
should be connected to the auxiliary send(s) that is to be used for this purpose. To provide a head-
phone feed (foldback or cue) signal, it is usual that the signal is taken pre-fader. This is so that if the
engineer changes the fader settings during recording, it will not affect the musicians balance. On
the ATB console, auxiliary send 1 is designated as a pre-fader send for this purpose. To provide a
musicians headphone feed therefore, all that is necessary is to turn the appropriate master auxiliary
send level control at the top of the Master Module to just below maximum, and advance the relevant
channel module auxiliary send level until the musician is happy with the level.
To provide auxilairy send to a reverberation/echo device, the same porocedure as above should be
followed, except that it is recommended that auxiliary sends 2-6 are used as they can be selected
post fader. This is necessary because unlike headphone feeds, the reverb/echo signal will need to
follow the fader level.
Equalisation can now be added to the microphone signal if required and this is done by simply
switching the equaliser into circuit by means of the illuminated switch in the equaliser section. The
ATB Series equaliser is very comprehensive and consists of four separate bands each offering +/-
15dB boost or cut. The high and low sections are of the ‘shelving’ type whilst the two mid sections
are of the ‘peaking’ type and all ranges have been chosen for their musical response and character.
An 80Hz roll off filter is also incorporated which is particularly useful in eliminating microphone rum-
ble etc.
If it is required to introduce further signal processing such as a limiter compressor etc. into the signal
chain, this can be accomplished by connecting the device via the individual ‘INSERT’ jacks on the
rear of each input module. The send (input to the device) is connected to the tip of the jack and the
return (output of the device) is connected to the ring of the jack. The device should be adjusted so
that the required amount of signal processing takes place and care should be taken to make sure that
additional gain is not introduced that may cause distortion. If this is the case it may be necessary to
adjust the channel module input level control to allow for this.
Once all of the microphone channels have been adjusted in the above fashion, the recording can
be carried out. If line level signals are also to be recorded, the procedure is identical to that above
except that a signal is connected to the channel line input jack and the ‘LINE’ button at the top of the
module is depressed. It should be noted that when the input level control is in its’ midway position,
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