Transcript
L
E
G
A
A C
P Y
I P
L
U
S
ALL DISCRETE MIXING AND RECORDING CONSOLE
OPERATOR’S MANUAL 2009
Wr i t t e n f o r A u t o m a t e d P r o c e s s e s I n c o r p o r a t e d by Bill Crabtree
\
Automated Processes, Inc. 8301 Patuxent Range Road Jessup, MD 20794 USA 301-776-7879 www.apiaudio.com
Organization Name 2
Proposal Title
Table of Contents Introduction
1
About this Manual
1
Overview
2
Features
2
Mainframe and Slots
3
Configuration Options
4
Upper 200 Slot
4
Lower 200 Slot
4
Equalizer Slot
5
Options Bucket
5
Auxiliary Send Options
6
Channel Signal Path Architecture
6
Channel Input Selection
8
Channel Output Routing
9
Signal Flow Block Diagram
10
Channel
11
Overview
11
Channel Input: Upper 200 Slot
12
212L Microphone Preamplifier
12
205L Direct Input
12
Channel Signal Processing
13
Lower 200 Slot
13
225L Compressor/Limiter
14
235L Noise Gate/ Expander
15
215L High-Pass, Low-Pass Sweep Filter
16
Channel Equalizer
17
550L Discrete 4 Band EQ
17
L e g a c y P l u s
API
1
560L Graphic Equalizer
18
550AL Discrete 3 Band EQ
19
Faders and Controls
21
968 Input Module
21
Small Fader Path Controls
22
Large Fader Path Controls
24
Large Fader
26
Auxiliary Sends
27
Channel Meters and Peak Indicators
29
Channel Output Routing and Bus Assignment
31
Channel Direct Output
31
624L Bus Assignment Module
32
Stereo Program Bus Assignments
32
Channel Patch Points
34
Normals
34
Master
38
Master Controls
39
Master Input Switches & Mute Group
39
Monitor Control
39
Control Room Monitoring
40
Control Room Monitor Source Selection (MNTR SEL)
40
Control Room Monitor Source Selectors
41
Control Room Speaker Selection, Level, and Controls
43
Studio Monitor Source Selection (STUDIO) and Level Control Studio Monitor Controls
44 44
Stereo Program Master Faders
45
Stereo Grand Master
45
Grand Master Select
46
Stereo Program Signal Flow
47
Stereo Program Patch Points
48
Auxiliary Masters
50
Cue Sends 1-3/Auxiliary Masters 7-12
52
GM to Cue
53
Multi-track Summing Busses
55
624M Bus Masters
55
Multi-track Signal Flow
56
Multi-track Patch Points
57
Solo Modes and Controls
58
L e g a c y P l u s
API
2
Solo Modes
58
Solo Controls
59
Talk Back
60
Talk Back Controls
60
Meters and Peak Indicators
61
VU Meter Bridge
61
Channel Meters
61
Meter Controls
62
Channel Peak Indicators and Reference Level Control
62
Power Supply Voltage Indicators
63
Oscillator
64
Controls
64
Oscillator Patch Points
64
Patch Bay
65
Overview
65
Channel Patch Bay
65
Multi-track Summing Bus Patch Bay
65
Master System Patch Bay
65
Patch Bay Normals
66
Channel Patch Bay
66
Channel Patch Points
67
Channel Patch Points Block Diagram
68
Multitrack Summing Bus/Multitrack Send Patch Bay
69
Master System Patch Bay
69
Auxiliary Send Patch Points
70
Cue Send Patch Points
70
Stereo Program Patch Points
70
Control Room, Studio Monitor Outputs and Control Room, Studio Amplifier Inputs
72
2-Track Playback Device Returns
73
Oscillator Patch Points
74
Talk Back Patch Points
74
Phase Reverse (polarity inverter)
74
Mults
74
Appendix
75
API 2500 Stereo Bus Compressor
75
Channel Block Diagram
83
L e g a c y P l u s
API
3
Setup Documents
84
2500 Setup
84
205L Setup
85
215L Setup
86
225L Setup
87
235L Setup
88
550L Setup
89
560 Setup
90
624L Setup
91
L e g a c y P l u s
API
4
Introduction Thank you for choosing the API Legacy Plus all discrete analog recording and mixing console. The Legacy Plus combines a traditional, easy to use in-line input/output architecture with flexible customization options and superior sound quality. The Legacy Plus is an industry standard analog console installed in professional recording facilities world-wide. API proudly presents the Legacy Plus Recording and Mixing Console. The Legacy Plus is built to the same exacting standards of reliability, sonic performance, and investment grade audio of the API Legacy, 1608, and Vision consoles, setting the standard for modern recording consoles.
About this Manual This manual is presented in four sections. Section one, “Introduction” provides a summary of the console features along with a description of the available pre delivery customization options. Section two, “Channel” gives detailed descriptions of the channel controls. Section three “Master” provides details of the master controls and section four “Patch Bay” gives a comprehensive description of every patch point in a standard Legacy Plus patch bay. Setup sheets and other documents are available in the Appendix. Section one is useful to all users, and should be read thoroughly before purchase and delivery. Experienced engineers may get up and running quickly by simply checking the graphic overviews at the top of the Channel and Master sections. If you are new to API consoles and mult-track recording, it is recommended that you read the entire manual at least once and keep the manual available at the console for reference. L e g a c y P l u s
API
1
Overview Features • • • • • • • • •
API's unique 5 year warranty Custom Built to Client's Specification API's all Discrete Signal Path Transformer Outputs Twenty-Four Multi-track Summing Busses Three Independent Stereo Busses Assignable Grand Master Full Patch Bay facilities Highest Quality Leather and Wood Trim
Channel Features • Dual signal path architecture (two independent audio paths, Small Fader and Large Fader) • Dual input (MIC and TAPE) • Twelve Auxiliary Busses (ten simultaneous per channel) • 50 Hz High-Pass Filter in Large Fader path • Assignable Equalizer (as fitted): • 550L 4-band parametric • 550AL 3-band parametric • 560L 10-band Graphic • Optional Input configurations • 205L Direct Input OR • 212L Microphone Preamplifier • Optional Processing (as fitted): • 215L Sweep Filter • 225L Compressor • 235L Noise Gate • Balanced Insert in each path • Phase Reverse (Polarity Inverter) Central Facilities • Comprehensive Stereo Monitoring • 11 Stereo Playback selectors • Individual Cut control of L&R monitors • Machine Control (optional) • Monitor Calibration Controls • 3 sets of speaker selectors • Comprehensive Cue system • Independent/Linkable AFL, PFL, and Solo in Place selections for Small and Large faders • Option for API stereo bus compressor
L e g a c y P l u s
API
2
Mainframe and Slots The Legacy Plus console mainframe comes in a variety of frame sizes consisting of a Master Section and two or more 16-channel channel buckets. The smallest frame size is 32 channels. The Patch Bay is externally mounted. Each Legacy Plus console is built to meet the specifications determined by the user. With a flexible design, the console may be configured in many ways. Beyond frame size, users may configure each module with their preferred pre-amp and signal processor setup to include a variety of equalizer, filters, and dynamic processor possibilities. Additional customization options are available for the auxiliary sends. While work-flow, capacity, and patching may vary by configuration, the basic operational premise of all Legacy Plus consoles is the same.
Channel Bucket
There are several module slots associated with each 16-channel bucket in the Legacy Plus mainframe. Certain module slots can be fitted with optional components. From the meter-bridge to the armrest, the slots are in the following order (see Channel Strip Overview below): • • • • • •
Upper 200 Slot Lower 200 Slot Bus Assignment Module EQ Slot Input Module Slot Large Fader Upper 200 Lower 200
The Bus Assignment module can only be fitted with the 624L Bus Assignment module.
Bus Assignment
The Input Module Slot can only be fitted with a 968L Input Module. EQ Slot
The 200 and the EQ Slot offer customization options for inputs and signal processing.
968 Input Module
Large Fader
L e g a c y P l u s
API
3
Configuration Options Configuration of the Upper 200 Slot, Lower 200 Slot, the EQ Slot, and the Options Bucket alls the user to customize the console for their desired workflow and use. The Upper 200 slot may be configured for input options or signal processors while the Lower 200 Slot and the EQ Slot may be fitted with a range of available dynamic processors, filters and equalizers. Any or all of the slots may be left open for future expansion. Configuration options are specified by the user in consultation with API engineering staff before the console is built at API.
Upper 200 Slot The Upper 200 slot is typically fitted with the 212L microphone preamplifier. However, if your facility does not require every channel to have a mic-preamp (such as in a small project studio or overdub room), then any or all of the Upper 200 slots may be left open, or used for signal processing. Microphone preamps may be also fitted in the Options Bucket in the center section. This will allow both of the 200 slots to be configured with any 200 series signal processor. The Upper 200 Slot may be fitted with the following API 200 Series modules: • • • • •
205L 212L 215L 225L 235L
Direct Input Microphone Preamplifier Sweep Filter Compressor/Limiter Noise Gate/Expander
When the Upper Slot is fitted with a 205L or 212L to serve as a channel preamp, it is programmed internally to feed either the Small Fader or Large Fader path input. This option must be specified by the user. Regardless of which path the Upper 200 slot feeds, the output path defaults from both faders will remain the same (see block diagrams below). When both slots are used for signal processing, the Upper and Lower Slots are grouped together. Internal links may be programmed to place both slots to one of the following fixed locations: • Small Fader path, Pre EQ • Small Fader path, Post EQ • Large Fader path, Pre EQ • Large Fader path, Post EQ If the Upper 200 Slot used with for signal processing, the upper slot is located before the lower slot in the signal flow.
Lower 200 Slot The Lower 200 Slot is typically used for channel signal processing. The Lower 200 Slot may be fitted with the following API 200 Series modules: • • •
215L Sweep Filter 225L Compressor/Limiter 235L Noise Gate/Expander
Note: The Upper and Lower slots are actually interchangeable, and either may be used for signal processing or input pre-amplification. L e g a c y P l u s
API
4
See the processor descriptions in the “Channel” section later in this manual. Internal links may be programmed to place the Lower Slot in one of the following fixed “200 Link Option” points in the signal flow: • • • •
Small Small Large Large
Fader Fader Fader Fader
path, path, path, path,
Pre EQ Post EQ Pre EQ Post EQ
The Lower 200 Slot will remain in this fixed location determined by the internal link and cannot be moved. Signal processors installed in the Lower 200 slot may also be left “un-normalled” into the signal path. In this case the signal processor in the Lower 200 slot would need to be patched into the signal flow like an external rack module. In all cases, the processors in the Lower 200 slots may be patched into the signal flow as desired by using the Lower 200 In and Lower 200 Out patch points.
Equalizer Slot There is one Equalizer (EQ) Slot for each channel strip. The EQ Slot can be equipped only with the API 500L Series EQ modules. This slot is typically fitted with one of three equalizer modules: • • •
550L 4-Band EQ 560L 10-Band Graphic EQ 550AL 3-Band EQ
The Equalizer is, by default, assigned into the Large Fader path. The Equalizer can be routed to either the Small or Large Fader Path. It may be switched to the Small Fader path by using the “EQ” switch next to the Small Fader in the 968L Input module.
Options Bucket The Options Bucket is located in the Center Section. It provides several expansion slots which may be fitted with API 200 Series modules and/or the API 2500 Stereo Bus Compressor. The Options Bucket slots may be fitted with the following modules: • 205L Direct Input • 212L Microphone Preamplifier • 215L Sweep Filter • 225L Compressor/Limiter • 235L Noise Gate/Expander • 2500 Stereo Bus Compressor When the Options Bucket is equipped with preamp modules (205L and/or 212L), the Upper 200 Slots in the channels are available for addition signal processing modules and may be fitted with such. If the channel Upper 200 Slots are equipped with preamps, the entire Options Bucket is available for signal processors and echo returns. When 205L or 212L preamps are fitted into the Options Bucket, they may be programmed internally to feed either the Small Fader or Large Fader path input. This option must be specified by the user before the console is built. Regardless of which path the preamp feeds, the output path defaults from both faders will remain the same (see block diagrams below).
L e g a c y P l u s
API
5
Auxiliary Send Options Options are also available for configuration of the auxiliary sends. In a standard configuration all aux sends (1-12) are sourced post fader from the large fader path. All aux sends may be switched to pre fader using the “PF” switch. Aux 9/10 and 11/12 may be switched to the Small Fader path using the “SM” switch. It may be desirable for your facility and workflow to have additional aux sends available from the Small Fader path. Auxiliary sends 5-8 may be internally programmed to follow the “SM” switch along with sends 9-12. This would likely be desirable if the mic pre input is configured to feed the Large Fader path. In this setup, the Small Fader path would be typically used as the monitor mix during recording, and it would be preferable to have more than one auxiliary send available for cue sends. Another auxiliary option is available which determines whether or not the mute switch interrupts pre fader auxiliary sends. In the standard configuration, all pre fader aux sends are also sourced “pre mute” so that the mute switch does not interrupt any pre fader aux sends. It is possible to modify the auxiliary sends so that pre fader sends are sourced “post-mute”. In this setup all pre fader aux sends would be interrupted by the mute control. Post fader sends are always muted along with the main mute switches, as the mute is pre fader in the signal flow.
Channel Signal Path Architecture The Legacy Plus channel strip design provides two discrete audio paths for multi-track recording. One path is for routing microphones to a multi-track recorder and the other is for mixing the multi-track return. After recording, both audio paths can be routed to the mix busses to provide additional inputs during mix-down. These paths are referred to as the Small Fader path and the Large Fader path. For those familiar with other inline recording consoles, one fader path functions as an “mic” or “channel” path and the other fader path functions as a “monitor” or “mix” path. The fader used for each function depends on how the console is configured to the user’s specifications at the factory (i.e mic preamp normals). Regardless of how the console is configured, the operational controls allow for both paths to be used for either function. Each path can provide a different function during the various types of recording sessions. The signal routing of input and output of each path is handled by the 968L Input Module and the 624L Bus Routing Module.
Session Flow
Multi-track Recording and overdubs: In a typical multi-track recording session, the channel strips function as follows: •
•
One fader path carries the signals from a microphone, DI, or other input source to the multi-track recorder via Direct Outputs or the 24 multi-track summing busses. The fader used for this function (Small or Large) is determined by the user. The other fader path is used to mix signals from the multi-track recorder to the mix busses for monitoring. The fader used for this function (Small or Large) is determined by the user.
L e g a c y P l u s
API
6
Stereo Mixing: In a typical mixing session, the channel strip functions as follows: • •
The Large Fader path is the main mix path. The returns from the multi-track recorder and other sources are routed to any of the three Stereo Mix busses. The Small Fader path can also be used to route additional inputs from multi-track recorders or other sources such as effect units to any of the three Stereo Mix busses.
The signal flow of the console (and the physical location of the MIC and TAPE switches) is dependent on one key choice the user makes when ordering the desk: which fader path (Small or Large) is fed by the mic preamp. The two block diagrams below show the signal flow for each configuration
Mic Pre to Large Fader To Stereo Bus Assignment To Multi-Track Bus assignment Small Fader
tape input
24
MIC
Direct Output DIR
mic input
TAPE To Multi-Track Bus assignment To Stereo Bus Assignment Large Fader
In the above configuration, the MIC pre in the Upper 200 slot or Options Bucket feeds the large fader, which feeds the Direct Output, the Multi-track bus assignment, and the Stereo Bus Assignments. The Small Fader is fed by the TAPE input, which by default feeds the Stereo Bus Assignments. The Large Fader path is the “mic” or “channel” path feeding the Multi-track summing busses or direct outputs to the recorder. The small Fader path receives the multi-track outputs. The Small Fader is used to control the monitor mix to one of the Stereo Program Mix busses The inputs to each fader can be switched individually by pressing the “MIC” or “TAPE” switches. The MIC switch will be located near the Small Fader and the TAPE switch will be located near the Large Fader. The master Input Flip in the Master section of the console will reverse the inputs as well.
L e g a c y P l u s
API
7
Mic Pre to Small Fader
To Stereo Bus Assignment To Multi-Track Bus assignment Small Fader mic input
24
TAPE
Direct Output DIR
tape input
MIC To Multi-Track Bus assignment To Stereo Bus Assignment Large Fader
In this configuration, the MIC pre feeds the Small fader, which by default feeds the Stereo Bus Assignments. The Large Fader is fed by the TAPE input, which by default feeds the Direct Output, the Multi-track bus assignment, and the Stereo Bus assignment. The Small Fader path is the “mic” or “channel” path. To set the Small Fader path to feed the Multi-track summing busses or direct outputs to the recorder, the output destination of the Small and Large faders will need to be be “swapped” in the 968L input module with the “24” or “DIR” switches. The Large Fader path will receive the multi-track outputs. The Large Fader is used to control the monitor mix to one of the Stereo Program Mix busses. The inputs to each fader can be switched individually by pressing the MIC or TAPE switches. The MIC switch will be located near the Large Fader and the TAPE switch will be located near the Small Fader. The master Input Flip in Master section of the console will reverse the inputs as well.
FOR A CONCISE AND CONSISTENT DESCRIPTION OF THE CONSOLE, IT IS NECESSARY TO ASSUME ONE OF THE ABOVE CONFIGURATION CHOICES HAS BEEN MADE. FOR THE REMAINDER OF THIS MANUAL IT IS ASSUMED THAT THE UPPER 200 SLOT IS EQUIPPED WITH A 212 MIC PRE NORMALLED TO THE SMALL FADER.
Channel Input Selection There are two primary choices of input sources for each path; MIC and TAPE. MIC: This is the output of the installed preamp in the Upper 200 Slot or Options Bucket. There are two modules available to serve as a preamp: • 212L Microphone Preamplifier • 205L Direct Input L e g a c y P l u s
API
8
TAPE: This is the output from the multi-track recorder interfaced with the console. • A -6 dB TAPE PAD can be engaged at the TAPE input
Each path can receive signal from either MIC or TAPE. The default input for the Small Fader is MIC (as configured, see above). To switch the Small Fader input to TAPE, press the TAPE switch below the Small Fader in the 968L Input module. The default input for the Large Fader is TAPE (as configured). To switch the Large Fader input to MIC, press the MIC switch near the bottom of the 968L module (just above the large pan pot). Both faders may be fed from the same source simultaneously. There is a global INPUT FLIP switch in the Master Section to reverse the inputs between the Small and Large Faders.
Channel Output Routing The Small Fader and Large Fader paths have access to all output assignment possibilities. The output possible assignments are: • • •
Direct Output Multi-track Summing Busses 1-24 Stereo Mix Bus A, B, and C
Direct Output: • • • •
Only one path can be assigned to feed the Direct Output at a time The Large Fader will normally feed the Direct Output. The Small Fader will feed the Direct Output when the DIR switch is engaged. This will defeat the Large Fader signal to the Direct Output. The Direct Output is always active in one of the fader paths.
Multi-track Summing Busses: • • • • •
•
There are twenty-four (24) Multi-track Summing Busses which feed the Active Combining Amplifiers (ACA) The Large Fader or Small Fader can be assigned to any of the 24 Multi-track summing busses in the 624L Buss Assignment Module Only one audio path (Small Fader/Large Fader) can be assigned to the Multitrack Summing Busses at a time The default source for the multi-track busses is the Large Fader. The Small Fader can feed the multi-track busses by pressing the “24” switch next to the Small Fader in the 968L module. This will defeat the Large Fader signal to the Multi-track Summing busses. There is a Trim control for each ACA output.
Stereo Program Busses: • •
Both paths (Small Fader and Large Fader) can be assigned to any and all Stereo Mix Busses (A, B, and C). Mix Buss assignments are made for each Fader path in the 624L Buss Assignment Module. There are two sets of ST A, ST B, and ST C switches at the bottom of the 624L module. The left set of switches is for the Small Fader (as indicated by “SM” below the switches). The right set of switches is for the Large Fader (as indicated by “LG” below the switches).
L e g a c y P l u s
API
9
Panning: • • •
Each path has its own pan control which must be switched on to be active. Panning assignments are made for each fader path in the 624L Buss Assignment Module by using the two PAN switches. The left PAN switch is for the Small Fader (as indicated by “SM”). The right PAN switch is for the Large Fader (as indicated by “LG”)
Signal Flow Block Diagram The block diagram below indicates the signal flow through the Small and Large Fader signal paths. A more technical and detailed signal flow diagram is available in a separate document at the end of this manual. The features of each path are shown in the order in which they occur within the path. Auxiliary sends are not included. The diagrams assume the following: A 212L Preamp is installed in the Upper 200 Slot. Input Selector switches (MIC and TAPE) for the Small Fader and Large Fader are in the default position. The Lower 200 Slot is installed Pre-EQ in the Small Fader path. The other 200 slot options are shown as “200”. Pan-pots engaged.
• • • •
624L
200 IN
Mic Preamp IN
200 OUT
Small Insert SEND/RET
Small Channel IN
Lower 200
Mic Preamp OUT
23 47
22 46
21 45
20 44
19 43
18 42
17 41
8 32
Small Fader IN
6 30
MUTE
Trim EQ
Pan
Small Fader
3 27 1 25
ST A
624L 23 47
22 46
21 45
20 44
19 43
18 42
17 41
6 30
EQ IN Large Channel IN
200 EQ OUT
MUTE INS
Large Insert SEND/RET
Large Fader IN
L e g a c y P l u s
Trim
Pan
5 29 3 27
2 26
1 25
ST B
PK
7 31
4 28
ST C
500 Equalizer
200
SM
24 48
8 32
MIC
ST B
PAN
24
Direct Out
-6
ST C
ST A
PAN
LG
DIR
TAPE
5 29
2 26
ST B
PK
INS
7 31
4 28
ST C
200
Upper 200
24 48
ST C ST B
ST A
ST A
PAN
PAN
LG
SM
Large Fader
API
10
Channel Overview Upper 200 Slot • Typically fitted with 212L Microphone Preamplifier • Optional 205L Direct Input Module or other 200 series processor
624L 23 47
24 48
21 45
22 46
19 43
20 44
17 41
18 42
15 39
16 40
13 37
14 38
11 35
12 36
9 33
10 34
7 31
8 32
5 29
624L Buss Assignment Module • Routes Small Fader or Large Fader signals to Multi-track Busses • Routes Small Fader and Large Fader signals to Program Mix Busses (ST A, ST B, ST C) • PAN switch for both faders to engage ODD/EVEN buss panning or Left/Right Mix Bus panning
6 30
3 27
4 28
1 25
2 26
ST C
ST C
ST B
ST B
ST A
ST A
PAN
PAN
LG
Lower 200 Slot - May be fitted with one of three processor options: • 215L Sweep Filter • 225L Compressor/Limiter • 235L Noise Gate/Expander
SM
EQ Slot • Receives Upper 200 Slot output (MIC preamp) when engaged • 500L series equalizers: o 550L 4-Band EQ o 560L 10-Band Graphic EQ o 550AL 3-Band EQ
968L
CAL
TRIM
20
-6
+ 0 -
DIR
10 20
24
30 45
EQ
SAFE
SOLO
TAPE MUTE
INS
PK
CAL
SM
TRIM
PAN
LV
11/12 PF ON 9/10
ON 7/8
PF
ON
968L Input Module • Small Fader controls o Pan o Input select (MIC/TAPE) o Input Trim Control o Polarity reverse o Solo Safe, SOLO, and MUTE o Insert return ON/OFF o EQ switch between Small and Large Faders o Direct Output switch between Small and Large Faders o Multi-track routing switch between Small and Large Faders
5/6
ON
3/4
PF
ON 1/2 MIC
PK
PAN SAFE
SOLO
MUTE A
MUTE
INS
468
CHAN MUTE RECORD
10 SOLO
SELECT
5 + 0 5 10
20 RECORD
30 40 AUTO MATCH
•Auxiliary Sends o Three Stereo Sends & Six Mono Sends o Pre Fader switching for all sends o Small Fader assignment for sends 9-12
• Large Fader controls o Pan o Input select (MIC/TAPE) o High pass filter in Large Fader path o -6 dB Tape Pad o Solo Safe, SOLO, and MUTE o Insert return ON/OFF o Mute Group Assignment o Polarity reverse
!
L e g a c y P l u s
API
11
+
550L 2 4 6 9
12
+
! " #
At the end of the section is a detail of the patch points associated with each channel. These patch points are also described in the Patch Bay section of the manual.
" ) $ %
(
2 4
C
= 6 8
*
!
Channel Input: Upper 200 Slot $ * *
$ " C "
6 (
H I " 2C 2$ !
9 * !
12
+
This section describes in detail all of the controls contained within a channel strip. All signal processors that could be included in a module are described. However, not every processor can be installed into one channel. At most, there would be two (2) 200 series devices and one (1) Equalizer.
2! "
Two (2) preamplifier modules are available for the channel input. Only one of the preamplifier modules 8 + 9 1 be installed , 7 8 may A 7 in ; a channel. - ( 3 .
$ ! &% #
$ " " ?
• •
2 4
! "#4 "3
6 9
212L Preamplifier OR - 0 7 Microphone ; 205L Direct Input 0 1
212L Microphone Preamplifier DIR IN
12
+
$ #
212L
2
The 212L mic-pre all discrete circuitry features the API 2520 op-amp, the RE 115 K input and the AP-2623 output transformer. The low noise floor, together with a clip point over +28 dBm, makes this preamp suitable for the most extreme applications requiring the highest quality audio.
% &'
4
GAIN: Sets the preamplifier gain across a 55 dB gain range.
% '
6 (
! " #$ 9
VU (Meter): The LED VU meter provides a true VU indication of the mic pre output level.
)+
12 ( " "
)& *
-20: Inserts a -20 dB pad, allowing the level feeding the mic transformer to be reduced by 20 dB, while keeping the proper load on both the mic and transformer. A red LED indictor illuminates when engaged.
H I
2! "
( * H
MIC
48V: Provides 48 Volt Phantom Power to the Mic Preamp In patch point . 227M The Mic Tie Line Out patch points are fully-normalled to the Mic Preamp In patch( points. A green LED illuminates when engaged C ( indicator C
PRE
!
! *
*
215L % ? ' &% ? ! &% ? 205L Direct$ " Input ?
" - . H . - $ "
"
G : K8 0 J I . K' E*
8 E= : 9J
$ "
8 E= K: 9J KG 7 91
$ ?
The 205L Instrument Direct may be installed in the upper 200 slot in place of the 212L mic pre. It is G : K8 0 ( C . KD E$ " specifically designed to accept a guitarJ I or bass direct input, without any loading on the pickups. % " "
- L6 LK8 0
! * J I . K' E* + ( # $ % & &+ ( # $ % & & ON (On/Off switch): Activates the module. A green LED indicator illuminates when engaged. $ " "
% "
!
$560L ( ) %
- L6 LK8 0
) "
"
6 . H
$ "
J I . KD E$ " 8 E= Blue illuminated Instrument input jack. Hi-Z IN (High Impedance ¼” Input Jack):
' 5 . * * * * * ) % input. & - . 2 ! % " a -20 dB Pad at the instrument -20 PAD: Inserts ! "
C " "
! " # $ % & &! " # $ % & & 0 1
227L
L e g a c y P l u s
& 0 . . $ *******1 " + - . 2 (
C
12
225L
J 7 -
!
" 3 (
*
2( 2*
7 8 > 2$ !
3 $ *
,
3 *
" - . H . - $ " H I
"
API
.
, - .
550L
)/ 0 1
/
.0 $
! & % # -0 +
)/ 0 1 A 7 1
2
2
% # 4
- H -
4
9 8: 7 ' # 6 6 100K LOAD: Engages a 100K , ; 6 ! Ohm input load, which changes the tone of the pickup and tends to 9 9 darken the high frequency content. $ " # ; 8< 12 12 " $ ! &% #
A 6 .
GAIN: Sets the preamplifier gain from -40 to +20 dB =
! " #
$ % #
+ ,
" ) $ % (
, ; 6 !
* " " “Thin” TONE: Adjusts the tonal characteristics of inputs signal. The - + and “Fat” > 2 0 2 Tone control can reduce “muddiness”. " " " $ &% #4 4 A 6 . • THIN: - 12 at 150 Hz @ ) # 6 6 • FAT: Flat (+/- 0 dB) , ; 6 ! ? 9 9 % # The combination of " kHz " presence boost. BRT (Bright): Activates a +6 dB at " 8 ! " 12 A 6 . * # the TONE and BRT functions may eliminate the need for anyEQ on the $ " # $ ! &% # A instrument when recording, keeping the signal pure. , ; 6 ! :
' %
VU (Meter): LED meter indicates output level. " " "
C
= 6 8
* !
$ * *
$ " C " (
H I " 2C 2$ !
* ! 8 + 91
2! "
, 7 8
- ( 3 .
A 7 ; $ " " ?
- + 2 0 2
- 0 7 ;
$ % "4
A 6 .
! $ 4 The 205L is capable of boosting any instrument to a hefty line level without # = 8 7 A . KA 7 ; $ * "6 6 additional amplifiers.
! ( "
9 12
9
0 1
DIR
IN
12
% " "
$ "
! "#4 "3
$ #
' " "
212L
- , "
) "
3 $ !
8 6 9:
78 Channel Signal Processing %
-
% &'
4
% ' % " 6
6
9 $ " " 12
" 6
6 . 7 6
9
)+
12
! " "
( " "
) " "
)& *
As of this writing, there are three 200 Series signal processing modules available: • • •
(
! " #$
6 "2
Lower 200 Slot
- + 2 0 2
( "4
225L Compressor/Limiter 235L Noise Gate 215 Sweep Filter
H I
2! "
. / %
( * H
6 , E6
$ " MIC ,
(
PRE
The routing of the Lower 200 Slot is dependent on internal programming specified by the user when A . 7 ? $ % ordering the desk. The possible locations for the 200 Slots are: • • • •
Pre-EQ, Small Fader Post –EQ, Small Fader Pre-EQ, Large Fader Post –EQ, Large Fader
215L
! "
% ?
! %
" - .
' &% ?
! &% ?
$ " ?
, 6 0 1 8 6
$ ?
) %
+ ' 2
% "
% "
% " "
+ ( # $ % & &+ ( # $ % & & " " that can occupy the Lower 200 slot. However, Below are descriptions of the three processors only one $ " " % " can be fitted on a given module. ) "
)/ 0 2
, - . /
$560L ( ) %
%( )$
! % "
3 $ !
: I 8 . B 6 98 .
! "
%& ' &
$ "
C " "
! " # $ % & &! " # $ % & &
"
0 1
22 $ ! & 0 . . $ *******1 " + - . 2
# ( .$
$ C ?
! " #$
L e g a c y P l u s
1 I - -
API
225L
*+ %
%
" $ " "
> B , ; K!
13
! % "
' "
! M $
" "
% "
8 6 9:
3 $ !
&% ( "
, 9- 8
&C
!
* ?
3 (
2* 2$ !
3 *
: )
( ?
,
7 8 >
#
3 $ " #
2(
THRESH 2 ! " D
C
% " "
- L6 LK8 0 J I . K' E*
+ ( # $ % & &+ ( # $ % & & % "
*
- L6 LK8 0 J I . KD E$ "
) "
$560L ( ) %
!
$ " "
! "
$ "
6 . H 8 E=
' 5 . *****) % & - . 2
! % "
!
"
C " "
225L! Compressor/Limiter " # $ % & &! " # $ % & & 0 1
227L & 0 . . $ *******1 " + - . 2
225L 2( "
2*
3 (
,
7 8 > 2$ !
3 *
: )
3 $ "
THRESH 2 ! " % $ " $ 2< = ! ! " )
!
C
( C The API 225L Compressor/Limiter is ideal for all studio, live sound and broadcast applications. RegardlessJ 7 of the threshold or ratio settings, the output level ! * always remains at unity. This unique feature allows real-time adjustments 3 $ * without changing the output3 * level. There is a SOFT or HARD selector for either " - . H . - $ " an "over easy" compression H I " resulting in a very natural, uncompressed sound 1 or a typical sharp 0 knee type 2 C that has a much more severe limiting effect. The 2$ ! 225L also has a8 E side-chain input for the detector amplifier. =
D
91
% . F 8
% + 6 ;
The controls for 9 the 225L Compressor/Limiter function as follows: 1
? 1 . . "
6 7 8 90
&! % 4
" " &' % 4
7 , -
> , 8 1 . B 8 @ A . 0 - ;
$ &% 4
&$ % 4
! " # $ % & &! " # $ % & &! " # $ % & & 0 1 % " 5
6 . -
RATIO: Sets compression ratio • 0 to ∞ • 0: 1:1…no E1068L gain reduction • ∞: ∞:1…hard limiting
" # $ % 3 (
' 5 . * * * * * * * * * Sets * * * * * * * & . the 3 6 activation threshold from-20dB to +10dB THRESH (Threshold):
) 4
' ( ) $ *******+ " )
2$ " "
H I
ON (On/Off switch): Activates the module. A green LED indicator illuminates > 0 - 0 when engaged
-
,
2! "
3 $ "
2) "
3 ! "
6
(
6 :
%
C
- J 6
7 8
.
A 7 1
7
! *
6 “knee” of the KNEE Selects the 0 1 onset of compression 3 ! % 8 + (HRD-SFT): $ " " - . H . - $ " 6 . > + 2( % $ % DHRD (Hard): •C Fast curve (more useful for limiting applications) ! " ! " • 2< = SFT (Soft): Slower curve (acts as an “over-easy” compressor) : 0 1 0 % " )
3 $ !
6
! %
. F A
" ; . A 8 + * " G 8 Selects . AT& ! (Attack Time): + - ; % 4 &' % 4
"
& '
• • •
&$ % 4 % " 5
F: Fast $ &% 4 6 . M: Medium S: Slow 0 1
6 E+
) 4
0 ,
attack time J
8 9G + 8
3 $ *
,
B 9; .
> A 7 J .
3 *
6
"
H I
0
> 7 , .
2C
1
2$ !
8 -
> 0 - 0
6
, % - . *******. / $ & - . 2 . ( *************& 5 2 2 ( 5 3 6 ************2 . - 5 2 3 REL (Release Time): Sets release time • 60ms to 3 seconds
'( ) * + ) + ,
TYPE: Selection between “new” and “old” types of compressors. • NEW: “Feed-forward” compressor • OLD: “Feed-back” compressor -dB (Gain-reduction Meter): LED meter indicates the amount of gain reduction
L e g a c y P l u s
API
14
) 3 $ "
!
THRESH 2 ! " % ) $ " $ 2< = ! ! "
2$ !
C
8 E=
D
91
% . F 8
%
91
+ 6 ;
? 1 . . " &! % 4
6 7 8 90
" " &' % 4
7 , H I
> , 8 1 . B
> 0 - 0
8 @ A . 235L Noise Gate/ Expander 0 - ;
$ &% 4
&$ % 4
' 5 . ****************& . 3 6
! " # $ % & &! " # $ % & &! " # $ % & &
The 235L is a0 1 great sounding gate/expander with the ability to reduce noise in any type of program. % " 5 235L 6 . - can ) 4 The open unusually fast, without losing any part of the sound. ' ( ) $ *******+ " ) The 235L Noise Gate/Expander is one of the fastest noise gates manufactured E1068L today. When an engineer is faced with program material with a high level of " # $ % background noise, the 235L can either Gate the signal at a preset Threshold, 2$ " " 6 3 ( ( C , or with the use of the- J 6 Expander function, can reduce the background noise to 2! " 3 $ " 6 7 8 an almost undetectable level.. . 2) " A 7 1 :
3 ! "
% 3 ! % C
8 + 6 . > + D
2( %
)
" ; . A 8 + * " &! % 4 &' % 4
"
& '
$ &% 4
&$ % 4
0 1 % " 5
6 E+
. F A G 8 . + - ;
8 9G + 8 B 9; . The controls for the 3 235L Noise Gate/Expander function as follows: $ * > A 7 J .
$ %
3 $ !
) 4
, % - . *******. / $
*
0 1 The 6 Expander function selects ratio, allowing the signal to "sneak up" to " - . H a. - 1:2 $ " the full signal level without any loss of "under threshold" nuances of vocals and percussion.6 Setting : the 0 1 0 threshold in the Gate function to the desired level, then switching to the Expander mode is the perfect setup.
$ "
! " ! " 2< = ! % % "
!
7
6 . -
0
,
J
,
3 *
6
> 7 , .
ON (On/Off switch): " Activates the module. A green LED indicator illuminates 0 2C when engaged. 1 2$ ! 8
H I
> 0 - 0
-
6
THRESH (Threshold): Sets the activation threshold. Variable from +25 to & - . 2 . ( *************& 5 2 2 ( 5 3 6 ************2 . - 5 2 3 -45dB.
'( ) * + ) + ,
DEPTH: Sets the amount of attenuation (gain reduction) from 0 to -80dB. Although the Depth control has a full range of -80 dB, the scale is expanded in the first half of rotation so 0 to 9 dB is available for fine tuning of subtle, undetectable gating. The second half of rotation is from 10 to 80 dB for more drastic noise reduction. AT (Attack): Selects attack time. Once the Threshold level is set, the Attack time can be selected to react faster than 100 micro seconds or slightly slower than 25 milliseconds to reduce false triggering. • F: Fast (less than 100 microseconds) • M: Medium (25ms) R/H (Release/Hold) Time: Sets release or hold time • 50ms to 3 seconds The Release or Hold function is determined by the HLD/REL switch HLD/REL (Hold/Release): The Release function can be switched to Hold, and the Release control becomes the Hold time. In both functions, the unselected one has a set time of 100ms. • HLD (Hold): The R/H control determines Hold time (Release is set to 100ms) • REL (Release): The R/H control determines Release time (Hold is set to 100ms) EXP/GTE (Expander/Gate): Selects the Expander or Gate function • EXP (Expander): Sets the ratio to 1:2 • GTE (Gate): Sets the gate function -dB (Gain-reduction Meter): LED meter indicates the amount of gain reduction.
L e g a c y P l u s
API
15
215L High-Pass, Low-Pass Sweep Filter The Lower 200 Slots may alternately be fitted with a 215L Sweep Filter Module. The API 215L is a unique passive, sweepable filter, designed specifically to contour the sound in such a way that it sounds natural and seems as if it "always sounded that way". Its extreme flexibility, repeatable settings and superb sound make it ideal for all studio, live sound and broadcast applications. The 215L design is a passive low pass filter with a slope of only 6 dB per octave, and a passive dual high-pass filter with a slope of 12 dB per octave. The filters are isolated from each other with the same discrete transistor buffer used in the famous 550 series equalizers. This minimizes interaction between the filters, as well as providing a low impedance source for the filter. The filters are both continuously adjustable, with a range from 20 Hz to 20 kHz in two bands. The low pass filter has a range from 500 Hz to 20 kHz, and the high pass filter has a range from 20 Hz to 600 Hz.
Because of the subtle nature of the 215L filter, it finds a home with uses like rolling off the low end of a hi-hat, where a natural sound is desired, not the usual "phase-shifter" sound of a 18 to 24 dB per octave filter found on most consoles. It can also be used to thin out room mics, without a complete loss of low end, again, resulting from steep filter circuits.
The controls for the 235L Noise Gate/Expander function as follows: ON (On/Off switch): Activates the module. A green LED indicator illuminates when engaged LO-PASS: Sets the frequency of the low-pass filter – sweepable from 500Hz to 20kHz HI-PASS: Sets the frequency of the high-pass filter – sweepable 20Hz to 600Hz
L e g a c y P l u s
API
16
Channel Equalizer The channel EQ Slot may be fitted with one of three equalizer choices: 550L Discrete 4-Band EQ 560L Graphic EQ 550AL Discrete 3-Band EQ
• • •
550L Discrete 4 Band EQ
1068L )/ 0 1 ! & % # -0 +
)/ 0 1 1
2
- H -
550L
The 550L Equalizer is the console version of the famous API 550B all-discrete 4Band EQ.
2
Features
% # 4
4
' # 6 $ " # "
6
9 12
9 12
$ ! &% #
! " #
$ % #
+ ,
=
(
, ; 6 !
* " "
- + 2 0 2
> " A 6 .
$ &% #4
4
) # 6 "
% # "
9
* #
12
A
$ " #
' % A 6 .
4 6
9 12
9 12
% " "
$ "
$ #
' " " - ,
) " !
- + 2 0 2
( "4
, 7 8
A 7 ;
$ " " ? HF (High-Frequency): Peaking/Shelving Switch: Selects between peaking and shelving EQ curves for the high-frequency band. - 0 7 ;
- + 2 0 2
$ % "4
! ( "
* H I " 2C 2$ !
The! controls * for2 ! the 550L EQ function as follows: " 8 + 91
$ * "6
7 A . KA 7 ;
(
$ ! &% #
, ; 6 !
:
4 bands of the famous API equalization Each band offers 7 API selected frequency centers Reciprocal and repeatable filtering 12 dB of boost/cut per band $ % EQ" ) Bands 1 and 4 offer shelf/peak switching C = 6 8 "Proportional Q" narrows filter Q at extremes Traditional API fully discrete circuit design * High $ * headroom +30 dB clip level $ " C
"
6
9 ! "
"
!
• • • • • • • •
4
- ( 3 .
! "#4 0 1 Frequency Selection (Center Knob): Selects the center frequency for the selected "3 band. Center frequencies vary by band: DIR IN • High: 2.5kHz, 5kHz, 7kHz, 10kHz, 12.5kHz, 15kHz, 20kHz • High-Mid: 800Hz, 1.5kHz, 3kHz, 5kHz, 8kHz, 12.5kHz 212L 75Hz, 150Hz, 180Hz, 240Hz, 500Hz, 700Hz, 1kHz • Low-Mid: • Low: 30Hz, 40Hz, 50Hz, 100Hz, 200Hz, 300Hz, 400Hz • Frequencies are indicated in blue numbers % &'
% '
%
% " 6 $ " "
" 6
6
9 12
9
! " "
12 ( " "
) " "
Boost and Cut (Ring): Sets the amount of boost or cut for the selected band. ( ! " #$ • + 12dB of boost or -12dB of cut )+ • Decibels are indicated in white numbers )& *
H I
2! "
LF (Low-Frequency): Peaking/Shelving Switch: Selects between peaking and shelving EQ curves for the low-frequency band.
. / %
( * H
227M EQ (On/Off switch): Activates the channel EQ ( C ( C • MIC Hard PRE bypass when not engaged • A green LED indicator illuminates when engaged ! ! * *
6 , E6
$ " ,
$ %
215L
! "
% ?
! %
! &% ?
"
G : K8 0 J I . K' E*
$ " ?
8 E= : 9J
8 E= K: 9J KG 7 91
G : K8 0 J I . KD E$ " (
C
The API 550 EQ circuit has of music recording in the USA from the % " " played a major part in the - L 6 L history K8 0 ! * J I . K' E* + ( # $ % & &+ ( # $ % & & 60's and 70's to today. Incorporating API's exclusive circuitry and proprietary components (such as the $ " " % " LK8 0 " 6 . the H $ " present. legendary API 2520 op-amp), the 550L artfully blends-J L I 6the past with ) " . KD E$ "
$560L ( ) %
8 E=
L e g a c y P l u s
API
! "
"
' 5 . *****) % & - . 2
! % "
3 $ ! C " "
! " # $ % & &! " # $ % & &
17
0 1
227L
22 $ !
# ( .$
$ "
$ ?
) % % " ""
" - . H . - $ "
' &% ?
& 0 . . $ *******1 " + - . 2 $ C ? (
C
% " "
$ "
$ #
' " "
212L
- ,
) "
- + 2 0 2
( "4
% &'
4
% '
%
% " 6
6 (
! " #$
9 9 Many EQ's today offer a huge assortment of complex features, but the API 550L provides exactly the )+ $ " " 12 12 right number engineer. Deceptively simple at first glance, the 550L's ! " " ( " " of controls to the professional ) & * ) " " H I four EQ bands are overlapped significantly to aid in dual roles as problem solver and sweetening 2! " device. Each band offers 7 switchable filter frequencies spanning 4 to 5 octaves, selected through . / experience by a "who's who" list of the industry's most proficient engineers.
"
%
( * H
227M
6 , E6
Making use of "API Proportional-Q", a design introduced by API in the 60's, the 550L intuitively widens ( C ( C the filter bandwidth at minimal settings and narrows it at higher settings—without the need for MIC PRE additional bandwidth controls. This feature minimizes the "phase-shift" sound found in many ! ! * * equalizers. The reciprocal nature of the 550L enables the user to "undo" what has been done 215L previously. " - . H . - $ " " $ " 8 E=
$ " ,
$ % ! "
% ?
! %
' &% ?
: 9J
! &% ?
560L Graphic Equalizer
% " ""
G : K8 0 J I . KD E$ "
% " "
$ " " % " The 560L Equalizer ) "
$ C ?
*+ % ! % "
&% &C
, 9- 8
#
* ? #
( ?
6 6
*
6 . H 8 E=
J I . KD E$ "
' 5 . *****) % & - . 2
31Hz & 0 . . $ * * * * * -* * 1 " + 63Hz - . 2 125Hz - 225L 250Hz 2( " 500Hz 7 8 , 3 ( - 2 * 1kHz > 2 $ ! : 2kHz 3 * ) 4kHz 3 $ " THRESH 2 ! " C 8kHz D % ) $ " - 2 < = 16kHz $ %
22 $ !
"
!
! " C " " the following features: The 560L has ! " # $ % & &! " # $ % & & • 10-Bands with the following center frequencies 0 1
"
# ( .$
C
is the console version of the 560B Graphic EQ. - L6 LK8 0 " $ "
! % "
3 $ !
(
- L6 LK8 0 J I . K' E*
+ ( # $ % & &+ ( # $ % & &
$560L ( ) %
( "
8 E= K: 9J KG 7 91
$ ?
) %
$ " "
G : K8 0 J I . K' E*
$ " ?
! ? " &! % 4
(
C J 7 -
! *
3 $ * 3 *
" - . H . - $ " H I 0 1
" 2C 2$ !
8 E= 91 . F 8
! % +/-! " 12 dB of boost or cut 9 1 + 6 ; Hard ? 1 . . bypass with indicator 7 , -
• •
!
227L
6 7 8 90
" " &' % 4
H I
> , 8 1 . B
> 0 - 0
8 @ A . 6
0 - ;
Each band has its own boost/cut control. ' 5 . ****************& . 3 6 ! " # $ % & &! " # $ % & &! " # $ % & &
$ ?
, E6
$ &% 4
&$ % 4
0 1 ,
% " 5
6 . -
) 4
The ' controls ( ) $ * * * * * * * + for " ) the 560L EQ function as follows: % " "
6
1 8
of boost or cut for the selected band Slider (Boost and E1068L " # $ % Cut): Sets the amount 2 $ " + 12dB of boost and -12dB of cut • " 6 3 ( ( C
! % "
- J 6
.
! * EQ (On/Off switch): Activates the channel EQ 7 % 6 0 1 3 ! % 8 •+ 6 . > + Hard 2( % $ " bypass when not engaged " - . H . - $ " $ % C • D A ! red LED indicator illuminates when engaged " ! "
$ ! %
8
2) "
:
A 7 1
2< =
% " )
! *3
6
7 8 3 ! "
7
,
2! "
3 $ "
+ ' 2
C )
3 $ ! " ; . A 8 + * " &! % 4 &' % 4
"
*+ % ) $
22$ !
& '
0 1 % " 5
6 E+
. F A
) 4
, % - . *******. / $
6 . -
0 ,
G 8 . + - ; $ &% 4
&$ % 4
: 0 1 0
6
! %
J ,
8 9G + 8
3 $ *
B 9; .
> A 7 J .
3 *
6
"
H I
0
> 7 , .
2C
1
2$ !
8
> 0 - 0
6 -
& - . 2 . ( *************& 5 2 2 ( 5 3 6 ************2 . - 5 2 3
! " # $ % & # '( ) * + ) + , L e g a c y P l u s
API
18
550AL Discrete 3 Band EQ The 550L Equalizer is the console version of the famous API 550B all-discrete 3-band EQ. Features
550AL
-
2
+
2
4
4
9
9
6
6
5 HF
12
12
15
7 10 12.5 kHz
-
2
+
2
4
4
6 .4 MF
-
6 9
12
12
.8 1.5 2
9 5 kH z
3
+
2
4
4
9
9
6
6
50 400 12 12 LF 100 200 300 Hz
• • • • • • • •
3 bands of classic API equalization Each band offers 5 API selected frequency centers Reciprocal and repeatable filtering maximum 12 dB of boost/cut per band EQ Band 1 and 3 offer shelf/peak switching "Proportional Q" narrows filter Q at extremes Traditional API fully discrete circuit design High headroom +30 dB clip level
The controls for the 550L EQ function as follows: HF (High-Frequency): Peaking/Shelving Switch: Selects between peaking and shelving EQ curves for the high-frequency band. Frequency Selection (Center Knob): Selects the center frequency for the selected band. Center frequencies vary by band: •High: 5kHz, 7kHz, 10kHz, 12.5kHz, 15kHz •Mid: 400Hz, 800Hz, 1/5kHz, 3kHz, 5kHz •Low: 50Hz, 100Hz, 200Hz, 300Hz, 400Hz •Frequencies are indicated in blue numbers
FLTR
L F
H F IN
Boost and Cut (Ring): Sets the amount of boost or cut for the selected band. •+ 12dB of boost or -12dB of cut •Decibels are indicated in white numbers
LF (Low-Frequency): Peaking/Shelving Switch: Selects between peaking and shelving EQ curves for the low-frequency band. HF (High-Frequency): Peaking/Shelving Switch: Selects between peaking and shelving EQ curves for the high-frequency band. IN (On/Off switch): Activates the channel EQ • Hard bypass when not engaged • A green LED indicator illuminates when engaged
Still copied but never duplicated, the 550A became API's standard channel module EQ when the company began manufacturing consoles in 1971. The 550A provides reciprocal equalization at 15 points in 5 steps of boost to a maximum of 12dB of gain at each point. The fifteen equalization points are divided into three overlapping ranges. The high and low frequency ranges are individually selectable as either peaking or shelving, and a band-pass filter may be inserted independently of all other selected equalization settings. Frequency ranges and boost/cut are selected by three dual-concentric switches, and a pushbutton "in" switch allows the EQ to be silently introduced to the signal path. A small toggle switch is used to insert the band-pass filter into the 550A.
L e g a c y P l u s
API
19
The combination of the 2520 op amp, and "Proportional Q" circuitry gives the 550A user an uncomplicated way to generate acoustically superior equalization.
624L Bus Assignment Module 624L 23 47
24 48
21 45
22 46
19 43
20 44
17 41
18 42
15 39
16 40
13 37
14 38
11 35
12 36
9 33
10 34
7 31
8 32
5 29
6 30
3 27
4 28
1 25
2 26
ST C
ST C
ST B
ST B
ST A
ST A
PAN
PAN
SM
LG
The 642L Buss Assignment Module provides comprehensive output signal flow routing for both Faders. The output of each fader can be routed to the Multi-track busses or the Stereo Mix busses. There are three Stereo Mix Busses: ST A, ST B, and ST C. Only one fader at a time (Large or Small) can feed the Multi-track busses (1-24) on a given channel. By default, the Large Fader will feed the Multi-track busses. Simply press the desired buss number and the indicator light will illuminate indicating that the Large Fader Path is assigned to that buss. The Small Fader can be switched to feed the Multi-track busses, by pressing “24” next to the Small Fader in the 968L Input Module. This will replace the Large Fader signal to the Multi-track busses. Each fader (or both) can feed the Stereo Mix Busses. At the bottom of the module are two rows of ST A, ST B, and ST C switches. The left column of switches is for the Small Fader path (as indicated by “SM” at the bottom of the module). The right switches are for the Large Fader path (as indicated by “LG”). Without the PAN control engaged, all buss assignments are mono. At the bottom of the 624L module are two PAN switches. The PAN switch must be engaged for each path for the pan pot to be used for odd/even Multi-track buss panning or Left/Right Stereo buss panning. For more information on the 624L Bus Assignment Module see “Channel Output Routing” later in this section.
L e g a c y P l u s
API
20
Faders and Controls 968 Input Module
968L TRIM: Small Fader input trim
Ø: Polarity reverse for Small Fader path -6: Input pad for TAPE input.
CAL
TRIM
20
DIR: Assigns the Small Fader Path to the Direct Output. 24: Assigns the Small Fader output to the Multi-track Buss Assignment module.
-6
+ 0 -
DIR
10 20
24
EQ: Moves the Equalizer into the Small Fader path.
SAFE: Sets the Small Fader to “Solo Safe”.
SMALL FADER & SMALL FADER PAN
30 45
EQ
SOLO: Solo for Small Fader path.
SAFE
SOLO
MUTE: Mute for Small Fader path.
TAPE
TAPE: Sets the input to the Small Fader path to the multi-track return.
MUTE
INS
PK: Small Fader peak audio indicator.
PK
INS: Engages the Insert Return patch point in the Small Fader path.
Ø: Polarity reverse for Large Fader path. CAL
SM
TRIM
PAN
SM: Switches Aux 9/10 (11/12) to the Small Fader path.
LV
11/12
AUX 7-12: Concentric Stereo Pots. Top :Level, Bottom:Pan.
PF
11/12: Switches Aux 9/10 to 11/12
ON
PF: Sets Aux 9/10 (11/12) to pre fader.
9/10
ON: On/Off control for Aux 9/10 (11/12) ON 7/8
PF: Sets Aux 1/2 and 3/4 to pre fader.
PF
AUX 1-6: Concentric Mono pots. Top: Odd, Bottom: Even.
ON: On/Off control for Aux 1/2
ON 5/6 ON
3/4
PF
ON
MIC: Sets the input to the Large Fader path to MIC.
1/2
HIGH PASS FILTER: Large Fader path high pass filter.
MIC
SAFE: Large Fader path “Solo Safe”.
PK
PK: Large Fader peak audio indicator LARGE FADER PAN
MUTE A: Large Fader mute group assignment.
PAN SAFE
SOLO
MUTE A
INS: Engages the Insert Return patch point in the Small Fader path.
MUTE
INS
L e g a c y P l u s
SOLO: Solo for Large Fader path. MUTE: Mute for Large Fader path.
API
21
The illustration on the previous page shows the 968L Input Module with a brief description of each control. This serves as a quick reference guide. A more detailed description of each control follows. Small Fader Path Controls The 968L Small Fader audio path is a complete audio channel designed to serve the following functions:
968L
CAL
•
Routing microphone and instrument inputs to a multitrack recorder OR Monitor mix during multi-track recording
• •
Additional inputs during mixdown Retuning effects, virtual tracks, and other sources during mixdown
•
TRIM
20
-6
+ 0 -
DIR
10
24 EQ
Accordingly, the Small Fader audio path is equipped with the following features:
20 30 45
SAFE
SOLO
TAPE INS
MUTE
• • • • • • • • • • • •
MIC or TAPE input selection Access to Channel Meter (depending on Master Meter Selection) Assignable EQ Insert Send and Return Phase Reverse (Polarity Inverter) Channel Trim Peak Indicator Full Solo Functions Solo Safe Direct Output Stereo Panning Panning across odd even Multi-track busses
MIC is the default input for the Small Fader (TAPE not engaged).
TRIM: Sets the amount of pre-fader level Trim (boost) • 0 to +12dB of gain • Located Pre-fader, so the added gain is reflected in all post-fader stages (Aux Sends, Solos, Bus Assignments and Direct Output). Ø (Phase Reverse): Inserts a Phase Reverse relay (Polarity Inverter) into the Small Fader audio path. A red LED indicator illuminates when engaged -6 (TAPE PAD): Inserts a -6dB pad immediately after the multi-track inputs to the console. A red LED indicator illuminates when engaged. The -6dB Tape Pad will reduce distortion and increase headroom in the audio path when the level from the multi-track recorder return is hot enough to overload the TAPE input. DIR (Direct Output): Routes the output of the Small Fader to the Direct Output. The Direct Output is fed from the Large Fader path by default. The Direct Output is fed post fader. A yellow LED indicator illuminates when engaged.
L e g a c y P l u s
API
22
968L
CAL
EQ: Moves the Equalizer into the Small Fader path. The Equalizer (EQ) provides the following features: • The EQ (and its Patch Points) can be assigned to either the Small Fader or Large Fader audio path (not both at once). • The EQ is always in one path or the other, but must be turned on to be used. • The EQ is in the Large Fader path by default.
TRIM
20
-6
+ 0 -
DIR
10
24 EQ
24: Routes the Small Fader Path to the Multi-track bus assignments. Disables the Large Fader signal route to the Mulit-track bus assignments.
20
In order for the EQ to be heard, the following conditions must be met: • EQ must be assigned to the desired path • The EQ switch on the Equalizer itself must be engaged (ON)
30 45
SAFE
SOLO
TAPE MUTE
INS
PAN: This is the pan pot control for the Small Fader. The PAN control for the Small Fader in the Buss Assignment Module must be engaged for the pan pot to work. SAFE: Activates the Solo Safe mode for the Small Fader • The SAFE button protects the Small Fader from being muted when the Solo-In-Place function is active and another channel is soloed • A yellow LED indicator illuminates when engaged.
TAPE: Selects the Multi-track Return (TAPE) as the active input for the Small Fader. • TAPE may be the active input for both faders • MIC is the default Small Fader input • A yellow LED indicator illuminates when engaged INS (Insert): Activates the Small Fader Insert Return • The Insert Send is fed pre-fader from the output of the Equalizer • The Insert Send is always active • The Insert Return is located PRE the Fader input • The Insert Return is active only when the INS button is engaged • A green LED indicator illuminates when engaged SOLO: Activates the selected solo function for the Small Fader • • • • •
The following solo functions may be selected via the Master Section: Pre-fader Listen (PFL): Non-destructive, mono After Fader Listen (AFL): Non-destructive, stereo Solo-In-Place (SIP): Destructive, panned, post-fader Illuminates in yellow when engaged NOTE: AFL is the default solo mode.
MUTE: Cuts the Small Fader path signal • •
The MUTE button is the on/off switch for the Small Fader audio path Illuminates in red when engaged.
PK: (Peak) A red LED illuminates when the preset Peak Reference level is reached in the Small Fader audio path. The peak level is selected by the PEAK REFERENCE selector in the Master Section. L e g a c y P l u s
API
23
Large Fader Path Controls The 968L Large Fader audio path is the primary audio channel designed to serve the following functions:
PK
CAL
• •
TRIM
• •
Primary signal path during Mix-down with 100mm Fader Monitor mix during multi-track recording OR Routing microphone and instrument inputs to a multi-track recorder. Retuning effects, virtual tracks, and other sources during mixdown
Accordingly, the Large Fader audio path is equipped with the following features: MIC
PK
PAN SAFE
SOLO
MUTE A
MUTE
INS
• • • • • • • • • • • • •
MIC or TAPE input selection High pass filter Access to Channel Meter (depending on Master Meter Selection) Default path for EQ Insert Send and Return Phase Reverse (Polarity Inverter) Channel Trim Peak Indicator Full Solo Functions Solo Safe Direct Output (default source) Stereo Panning Panning across odd even Multi-track busses
TAPE is the default input for the Large Fader (MIC not engaged).
PK
CAL
TRIM
TRIM: Sets the amount of pre-fader level Trim (boost) • 0 to +12dB of gain • Located Pre-fader, so the added gain is reflected in all post-fader stages (Aux Sends, Solos, Bus Assignments and Direct Output). Ø (Phase Reverse): Inserts a Phase Reverse (Polarity Inverter) in the Large Fader audio path. A red LED indicator illuminates when engaged.
Note: the TRIM and Polarity reverse (ø) controls are located above the Auxiliary sends
L e g a c y P l u s
API
24
MIC: Selects the MIC pre output as the active input for the Large Fader. MIC may be the active input for both faders TAPE is the default Large Fader input An LED indicator illuminates when engaged
• • •
HIGH PASS FILTER: Inserts a 50Hz High pass filter into the Large Fader path. The filter may be programmed internally to 100Hz or 150Hz. LED indicator illuminates when engaged.
• •
PAN: This is the pan pot control for the Large Fader. The PAN switch for the Large Fader in the 624L Buss Assignment Module must be engaged for the pan pot to be active. MIC
PK
SAFE: Activates the Solo Safe mode for the Large Fader
PAN SAFE
SOLO
• •
MUTE A
INS
PK: (Peak) A red LED illuminates when the preset Peak Reference level is reached in the Large Fader audio path. The peak level is selected by the PEAK REFERENCE selector in the Master Section.
The SAFE button protects the Large Fader from being muted when the Solo-In-Place function is active and another channel is soloed. An LED indicator illuminates when engaged.
MUTE
MUTE A: Assigns the Large Fader path to the Mute Group. •
Channels with MUTE A engaged will be muted when MUTE GRP in the Master Section is pressed.
INS: (Insert): Activates the Large Fader Insert Return • The Insert Send is fed pre-fader post Equalizer • The Insert Send is always active • The Insert Return is located PRE the Fader input • The Insert Return is active only when the INS button is engaged • An LED indicator illuminates when engaged SOLO: • • • • •
Activates the selected solo function for the Large Fader The following solo functions may be selected via the Master Section: Pre-fader Listen (PFL): Non-destructive, mono After Fader Listen (AFL): Non-destructive, stereo Solo-In-Place (SIP): Destructive, panned, post-fader Illuminates in yellow when engaged NOTE: AFL is the default solo mode.
MUTE: • • •
Cuts the Large Fader path signal The MUTE button is the on/off switch for the Large Fader audio path Illuminates in red when engaged This mute control is independent of any installed automation system and may be used to MUTE a channel while automation is running without writing the MUTE to automation.
L e g a c y P l u s
API
25
Large Fader
468
CHAN MUTE RECORD
10 SOLO
SELECT
LARGE FADER: Controls the output level of the Large Fader audio path • Full-size 100mm Fader • Can be automated with an optional computer automation system • When the Fader is set to 0dB, the level is at unity gain
CHAN MUTE: Cuts the Large Fader audio output • The MUTE button is the on/off switch for the Large Fader • This MUTE control may be automated through external automation system • Illuminates in red when engaged
5 + 0 5
NOTE: RECORD, SOLO, SELECT, AUTO, and MATCH controls are for use with an optional automation system.
10
20 RECORD
30 40 AUTO MATCH
!
Shown with optional automation
L e g a c y P l u s
API
26
Auxiliary Sends The Legacy Plus console provides a powerful Auxiliary Send system that provides a complete set of options for Cue and Effects Sends. SM PAN
There are twelve (12) Auxiliary Busses; ten of which may be used simultaneously:
LV
11/12
• •
PF ON
All aux sends are, by default, sourced post fader from the Large Fader paths. All aux sends may be switched to pre-fader. Aux 9-12 may be switched to the Small Fader path.
9/10
ON 7/8
Aux Sends 1-6 are primarily used as Effects Sends during recording and mixing.
PF
ON 5/6
2
1
ON
3/4
Six (6) Mono (1-6) Three (3) Stereo (7-12)
PF
ON 1/2
Aux Sends 7/8, 9/10, and 11/12 are typically used as Cue Sends during recording and as stereo Effects Sends during mixing. Each of the Auxiliary Sends feed their respective Auxiliary Summing Bus. Auxiliary Sends 1-6 feed the Aux Sends 1-6 Masters in the Master Section. Auxiliary Sends 7-12 feed the Stereo Cue Send Masters 1-3 in the Master Section. Note: Aux sends 5-8 may be programmed internally so they may be sourced from the Small Fader path. This must be specified with API engineering staff before console delivery.
Mono Sends (1-6)
Each pair of aux sends uses “concentric” pots where the odd numbered send is controlled by the inside or top pot and the even numbered send is controlled by the outside ring or bottom pot.
Stereo Sends Stereo aux sends use “concentric” pots for level and pan. The LEVEL is controlled by the inside or top pot and the PAN is controlled by the outside ring or bottom pot. Because stereo sends pass through a pan control, their levels at the extremes of the pan control are equal to that of the other sends, and are -3dB down when the pan control is centered. L e g a c y P l u s
API
27
Aux Sends 1-6 (mono)
PF
Aux sends 1-6 are mono auxiliary sends typically used as effects sends. Sends 1-6 are fed by default by the post fader Large Fader signal.
ON 5/6
2
ON (On/Off): Each pair of sends has an associated ON control. A green LED will be illuminated when the pair is on.
1
ON
3/4
PF (Pre Fader): The PF control will switch sends 1-4 to be sourced pre fader (normally post fader).
PF
Note: All Pre fader aux sends are “pre-mute” in a standard configuration. However, pre fader aux sends may be programed internally to post mute. This must be specified with API engineering staff before console delivery.
ON 1/2
Aux Send 7/8 (stereo)
Aux Send 7/8 is a Stereo Aux Send that may be used as a Cue send during recording or an effects send during Mixdown. Send 7/8 is by default fed by the post fader Large Fader signal. These stereo aux sends use “concentric” pots where the LEVEL is controlled by the inside or top pot and the PAN is controlled by the outside ring or bottom pot.
ON 7/8
PF
ON (On/Off): Aux Send 7/8 has an associated ON control. A green LED will be illuminated when the pair is on.
ON 5/6
2
1
PF (Pre Fader): The PF control will switch sends 5-8 to be sourced pre fader (normally post fader).
Aux Sends 9/10 & 11/12 (stereo)
SM PAN
LV
Aux Send 9/10 is a Stereo Aux Send that may be used as a Cue send during recording or an effects send during Mixdown. Aux 9/10 may be switched to feed Aux bus 11/12. The signal for Aux 9/10 or 11/12 is by default, derived from the post fader Large Fader signal.
11/12 PF
SM (Small Fader): Switches the source for Aux Sends 9/10 (11/12) to the Small Fader path
ON 9/10
11/12: Switches send controls 9/10 to alternately feed aux bus 11/12 (cue send 3 L/R). All controls associated with Aux 9/10 will be applied to Aux 11/12.
L e g a c y P l u s
API
28
PF (Pre Fader): The PF control will switch aux sends 9/10 or 11/12 to be sourced pre fader. ON (On/Off): Aux Send 9/10 (11/12) has an associated ON control. A green LED will be illuminated when the pair is on.
Channel Meters and Peak Indicators
20
10 20
7 40
3 2 1
5
80
60
0 100%
1
2
3
VU
A VU Meter is provided for each channel, along with a LED Peak Indicator for each audio path (Small Fader and Large Fader).
Channel VU Meters The Channel Meter can be fed from the following points: • • • •
Small Fader Channel Input (post Small Channel Input patch point) Large Fader Channel Input (post Large Channel Input patch point) Direct Output Multi-track Summing Bus 1-24
VU: The feeds to the Channel Meters are determined by the selection made using the VU SELECT controls in the Master Section: The VU SELECT controls function as follows: VU LRG (Large Fader): Assigns the meters to the Large Fader Channel Input. Illuminates when engaged BUS TO VU
VU SM (Small Fader): Assigns the meters to the Small Fader Channel Input. Illuminates when engaged
L/R PEAK
VU DIR (Direct Output): Assigns the meters to the Channel Direct Output. Illuminates when engaged
VU DIR VU SM
VU LRG
BUS TO VU (Bus Outputs): Assigns the meters to the outputs of Multitrack Summing Busses 1-24. Illuminates when engaged. L/R PEAK: Changes the Program Meter (MAIN) ballistics from VU to Peak. A fixed peak hold circuit feeds the meter. Illuminates when engaged
VU
L e g a c y P l u s
API
29
Large Fader and Small Fader Peak Indicators Each channel is equipped with a LED Peak Indictor in each path. The Peak Reference Level is selected by the PEAK REFERENCE selector in the Master Section.
PEAK (Small and Large Fader Paths): A red LED illuminates when the preset Peak Reference level is reached in the audio path
+12 +8
+16 +18
+4
+20
PEAK REF
PEAK REFERENCE: The Peak Reference control in the Master Section sets the Peak Reference level for the channel Peak Indicators. • +4 dBu to +24 dBu Range • 2 dB increments
L e g a c y P l u s
API
30
Channel Output Routing and Bus Assignment The output of each audio path (Small Fader and Large Fader) may be routed to the following destinations: • • • • •
Channel Direct Output Multi-track Summing Busses 1-24 Stereo Program Bus A Stereo Program Bus B Stereo Program Bus C
IMPORTANT NOTE: If no output assignments have been made, the output of the Large Fader will feed the Channel Direct Output and the Small Fader will not be routed anywhere.
In a tracking session, it is typical for the Small Fader to be assigned to the Direct Output or a Multi-track Summing Bus and the Large Fader to feed the Stereo A (STA) Program Bus. In a mixing session, it is typical for both paths on most channels to be assigned to one or more Program Bus (Stereo A, B, C,).
Channel Direct Output The Direct Output may be fed from the output of the Large Fader or the Small Fader audio paths, but not both simultaneously. The Direct Output is fed from the Large Fader path by default. It may be fed from the Small Fader path if the DIR switch is engaged on the 968L Input Module. DIR (Direct Output): Routes the output of the Small Fader to the Direct Output patch point. • •
The Direct Output is fed POST fader A yellow LED indicator illuminates when engaged
NOTE: There is not a DIR switch for the Large Fader. The DIR is included with the Small Fader controls and toggles the Direct Output to be fed from one fader or the other. When the DIR switch is not engaged, the Direct Output is fed from the Large Fader. The Direct Output feeds the DIRECT OUTPUT patch points. DIRECT OUTPUT: Channel Direct Output
• Fed from the Large Fader by default •BUS OUTPUT Will be fed from the Small Fader if the DIR switch is engaged • The Direct Output is located post the Direct Output switch (Post-fader/mute)
DIRECT OUTPUT 1
2
3
4
5
6
7
8
The DIRECT OUTPUT patch points are not normalled and must be patched to their destinations.
L e g a c y P l u s
API
31
624L Bus Assignment Module The 624L Bus Assignment Module allows the assignment of the Large Fader and Small Fader path outputs to the following Multi-track Summing and Program Busses: Multi-track Summing Busses 1-24 (repeating to outputs 25-48) Stereo Program Bus A Stereo Program Bus B Stereo Program Bus C
• • • •
The 642L Buss Assignment Module provides comprehensive output signal flow routing for both Faders. The output of each fader can be routed to the Multi-track busses or the Stereo Program Busses. There are three Stereo Program Busses: ST A, ST B, and ST C. Only one fader at a time (Large or Small) can feed the Multi-track busses on a given channel. By default, the Large Fader will feed the Multi-track busses. Simply press the desired buss number and the adjacent yellow LED will illuminate indicating that the channel is assigned to the buss. The Small Fader can be switched to feed the Multi-track busses, by pressing “24” next to the Small Fader in the 968L Input Module. This will defeat the Large Fader signal to the Multi-track busses.
624L 23 47
24 48
21 45
22 46
19 43
20 44
17 41
18 42
15 39
16 40
13 37
14 38
11 35
12 36
9 33
10 34
7 31
8 32
5 29
6 30
3 27
4 28
1 25
2 26
ST C
ST C
ST B
ST B
ST A
ST A
PAN
PAN
SM
LG
Stereo Program Bus Assignments Each fader (or both) can feed the Stereo Program Busses. The Small Fader and Large Fader audio paths each have Program Bus Assignment switches. At the bottom of the module are two rows of ST A, ST B, and ST C switches. The Assignments may be made to the following Program Busses:
ST C
ST C
ST B
ST B
ST A
ST A
PAN
PAN
SM
LG
• • •
ST A: Stereo A ST B: Stereo B ST C: Stereo C
The left column of switches is for the Small Fader path (as indicated by “SM” at the bottom of the module). The right switches are for the Large Fader path (as indicated by “LG”). Both audio paths, Small Fader and Large Fader, may feed all Program Busses simultaneously. To assign a fader to one or more Stereo Program Busses, press the STA, STB, or STC button above the LG or SM label for the fader you wish to assign.
L e g a c y P l u s
API
32
PAN The Pan-pot in each path must be activated. At the bottom of the 624L module are two PAN switches. The PAN switch must be engaged for either path for the pan pot to be active. The pan pot may be used for odd/even Multi-track buss panning or Left/Right Stereo buss panning. Without the PAN controls engaged, all buss assignments are mono. When the pan control is active, signal levels at the extremes of the pan control will be at the same level as they would be if the pan control was not active. Signals are -2.5dB down when the pan control is centered. It is possible to pan across odd/even pairs of multi-track busses. This can be useful in multi-track recording when it is desired to mix several mics together across two tracks. For example, you may wish to record five tom mics to two tracks of the recorder and maintain the stereo position of each tom. To pan across odd/even multi-track busses: • • • •
Press “24” on the mic channels to feed the Small Fader to the multi-track busses Assign the Small Faders to a pair of odd/even busses (5-6 for example) Press PAN above SM in the Bus Assignment Module The Small Fader Pan can be used to “place” tracks in the stereo mix on tracks 5&6
Outputs 25-48 Channel output assignments may be made to any of the twenty-four (24) Multi-track Summing Busses (1-24). The output of these Busses is split to feed up to forty-eight (48) Multi-track Sends. Each assignment sends the signal to 1-24 AND 25-48 outputs, allowing the Legacy Plus to easily feed any track/input of a 48 track recorder. There is an assignment button for each of the twenty-four (24) Multi-track Summing Busses. While there are only twenty-four multi-track summing busses, each assignment button is labeled with Multi-track Send numbers, 1-24 and 25-48. Multi-track Summing Bus 1 feeds multi-track sends 1, and 25. Multi-track Summing Bus 2 feeds multi-track sends 2 and 26 and so on. For example, signals assigned to Bus 1 will be present at the Bus Output patch points 1 and 25. The Bus master for both 1 and 25 is the same. See the details on the 624M Bus Masters later in this manual.
L e g a c y P l u s
API
33
Channel Patch Points There are several Patch Points associated with the Legacy Plus channel including: • • • • • •
Microphone Tie Lines Upper 200 Slots Lower 200 Slots EQ Slot 968L Input Module (Small Fader and Large Fader audio path) Multi-track Recorder Returns
The following section outlines these Patch Points in the order they appear in the Patch Bay.
Normals Half Normalled: The output patch point does not break the normalling to the patch point’s internal destination. The input or return patch point breaks the connection between patch points. In other words: outputs “split” the signal, Inputs break the normal. Fully Normalled: Both patch points break the normalled connection between points. Input AND Output patch points will break the normal when a patch cable is inserted. NOTE: The MIC TIE LINE OUT Patch Points are the only Patch Points that are full normalled (both points will “break” the normal when a patch cord is inserted).
MIC TIE LINE OUT: Studio Microphone Tie-line Outputs •
MIC TIE LINE OUT
BUS OUTPUT
Fully-normalled to MIC PREAMP IN
MIC PREAMP IN: Connection point to the Preamp Input OUTPUT (UpperBUS 200 Slot In) • • • •
1
2
3
1
2
3
4
5
6
7
8
6
7
8
MIC PREAMP IN 4
5
Feeds the preamp input Fully-normalled from MIC TIE LINE OUT Patching to these points will replace the mic tie-line feed to the preamp with the patch cord signal Not used with 205L Direct Input Module
L e g a c y P l u s
API
34
200 OUT: Lower 200 Slot Output •
Output of any signal processor device installed in the Lower 200 slot.
200 IN
BUS OUTPUT
1
2
3
1
2
3
1
2
3
4
5
6
7
8
5
6
7
8
5
6
7
8
200 IN: Lower 200 Slot Input • •
Input to any signal processor device installed in the Lower 200 Slot Half-normalled to KEY INPUT below
BUS OUTPUT
2000 SIDECHAIN IN
200 OUT
BUS OUTPUT
200 SIDECHAIN IN (SIDECHAIN INPUT): Lower 200 Slot Side-chain Input •
4
4
Half-normalled from LOWER 200 IN
NOTE: Patching into the SIDE CHAIN IN will replace the Lower 200 Input as the input to the module’s detection path (side-chain input)
MIC PREAMP OUTPUT: Preamplifier Output (Upper 200 Slot) Feeds the input to the channel Input Selector switch (MIC/TAPE) in both paths (Large Fader and Small Fader) • The MIC PREAMP OUTPUT is the default source for MIC PREAMP OUT BUSSmall OUTPUTFader path (as customized) 1 2 3 4 5 6 7 8 • Large Fader will receive the MIC PREAMP OUTPUT when the Large Fader MIC switch is engaged • Both paths may receive the signal from MIC PREAMP OUTPUT simultaneously •
MULTITAPE OUT: Multi-track Recorder Output (Multi-track Return) Feeds the input to the channel Input Selector switch (MIC and TAPE) in both paths (Large Fader and BUS OUTPUT Small Fader)2 • The MULTI-TRACK OUTPUT is the default source for Large Fader path (as customized) • Small Fader will receive the MULTI-TRACK OUTPUT when the Small Fader TAPE switch is engaged • Both paths may receive the signal from MULTI-TRACK OUTPUT simultaneously •
L e g a c y P l u s
MULTITAPE OUT 1
2
3
4
5
6
7
8
API
35
SMALL INPUT: Small Fader audio path input BUSCHANNEL OUTPUT • •
Replaces the feed to the Small Fader Channel Input The SMALL CHANNEL INPUT is located post Lower 200 processor and pre EQ
SMALL CHANNEL INPUT 1
2
1
2
1
2
1
2
1
2
3
4
5
6
7
8
7
8
7
8
7
8
7
8
SMALL INSERT SEND: Insert Send in Small Fader path • •
Always active Pre Fader, post EQ
SMALL INSERT SEND
BUS OUTPUT
3
4
5
6
SMALL INSERT RETURN: Insert Return in Small Fader path OUTPUT • BUS Replaces the feed to the Small Fader Input when the Small Fader INS switch is engaged • The Small Fader Insert is Located Post EQ (or the 200 Slot Output if so programmed), Pre SMALL FADER INPUT
SMALL INSERT RETURN 3
4
5
6
SMALL FADER INPUT: Small Fader Input OUTPUT • BUSReplaces the feed to the Small Fader Input • The Small Fader Input is located: • Post Insert Return • Pre Phase Reverse (Polarity Inverter)
SMALL FADER INPUT 3
4
5
6
LARGE CHANNEL INPUT: Large Fader audio path input • Replaces the feed to the Large Fader Channel Input • The LARGE CHANNEL INPUT is located: OUTPUT • BUSPost the Input Selector switch (or the Lower 200 Slot Output if so programmed) • Pre EQ
L e g a c y P l u s
LARGE CHANNEL INPUT 3
4
5
6
API
36
LARGE INSERT SEND: Large Fader Insert Send •
Always active LARGE INSERT SEND
BUS OUTPUT
LARGE INSERT RETURN: Large Fader Insert Return Replaces the feed to the channel Fader Input when the Large Fader INS switch is engaged •BUS OUTPUT The Large Fader Insert is Located: • Post EQ (or the 200 Slot Output if so programmed) • Pre LARGE FADER INPUT
1
2
3
4
1
2
1
2
1
2
1
2
3
1
2
3
5
6
7
8
7
8
7
8
7
8
6
7
8
6
7
8
•
LARGE INSERT RETURN 3
4
5
6
LARGE FADER INPUT: Input to the Large Fader OUTPUT • BUSReplaces the feed to the Large Fader • The Large Fader Fader Input is located: • Post INSERT RETURN • Pre Phase Reverse (Polarity Inverter)
LARGE FADER INPUT 3
4
5
6
EQUALIZER INPUT: EQ Input EQUALIZER INPUT
OUTPUT • BUSReplaces the feed to the Equalizer Input • Post the CHANNEL INPUT
•
4
5
6
EQUALIZER OUTPUT
BUS OUTPUT
EQUALIZER OUTPUT: EQ Output • • • •
3
4
5
Always active The Equalizer is located: Post the CHANNEL INPUT Pre INSERT SEND or the 200 Slot Input if so programmed Assignable to Large Fader or Small Fader audio path
DIRECT OUTPUT: Channel Direct Output Fed from LARGE FADER by default Will be fed from Small Fader if the DIR switch is enBUS OUTPUT gaged • The Direct Output is located: • Post the Direct Output switch (Post-fader/mute) • •
L e g a c y P l u s
DIRECT OUTPUT 4
5
API
37
"It's plain and simple: the 'API Sound' with its discrete design has a superior tone that can't be matched!" Kooster McAllister - Record Plant Remote New York, NY
Legacy Plus - 24 Main Busses - 12 Aux Sends (3 stereo) - 3 Stereo Busses - Dual Input (inline)
Master
Legacy - 16 Main Busses - 6 Auxes (1 stereo) - 2 Stereo Busses - All Input or Split Legacy
Stereo Program Meters
Auxiliary Master Meters
Expansion Slots
!"#$ %&'($)'*+,
!"#$
!"#$
%&'($)'*+,
%&#'
%&#'
!"#$
%&#'
%&#'
!"#$
%&#'
!"#$
%
%#&&
!)
!*#&$
&&
%&#'
$#')
#"
2
CAL
3
CAL
2
%#&!
&)
4
CAL
1
5
CAL
!$
4
!*
!#'(
&%
()
%&#'
!"#$
"
'
)#&'
&!
&#
6
CAL
3
%&#'
!"#$
*
+#&*
#%
('
!"#$
%&#'
!"#$
$
(#'%
#'
!(#&%
&'
%&#'
!"#$
(
!(
#(
'$#$)
("
!"#$
!$#&)
&"
%&#'
!"#$
&
&#'"
#*
1
Aux Send Masters
%&#'
!"#$
#
'#'+
#$
!&
Multi-track Summing Bus Masters
!"#$
#&
%&#'
!"#$
!&#&"
&*
'&#$"
(*
%&#'
!"#$
!#
!'#&+
%&#'
!"#$
!
!#'(
%&#'
!"#$
!!&$
!!#&(
&(
%&#'
!"#$
%&#'
!"#$
%&#'
!"#$
##
''#$+
($
%&'($)'*+,
%&#'
!"#$
#!
'!#$(
((
!"#$
%&'($)'*+,
%&#'
!"#$
#)
'*#$$
(&
!"#$
%&'($)'*+,
%&#'
!"#$
!%
!%#$&
(#
!"#$
%&'($)'*+,
%&#'
!"#$
!'
!)#$'
#$
!"#$
%&'($)'*+,
%&#'
!"#$
!"
!"#$!
!"#$
%&'($)'*+,
CAL
5
6
AUX SENDS 1-6
1K 500
MIX OVER +12
+18
SIP LINK
Input Flip Mute Group Monitors Talkback Solo Oscillator Meter Controls
AUX 11/12
SOLO CLR
AUX 9/10
LRG SIP
4K 6K 8K
50
10K 20K
EXT 3
OSC ON
EXT 2
BUS TO VU
AUX 3/4
2T 7
VU SM
INP FLIP
AUX 1/2
2T 6
VU LRG
INP CLR
ALT OUT
GM AUX
2T 5
EXT IN
STC
2T 4
STU C/R
STB
2T 3
LISTEN MIC
STU PLAY
STA
2T 2
T/B EXT
2T 8
PGM
PLAY
CUT L
CUT TO BOTH
5
T / B
CUT R
6
L+R
9
1
GM AUX
R CAL L
Cue Masters
CAL
CAL
AUX 11/12
R CAL L
STC
R CAL L
STB
R CAL L
STA
R CAL L
DIM ALL T/B
GRAND MASTER ASSIGN
CAL
O N
T / B
1/R
CAL
O N
T / B
1/L DIM
10
2
1 L/R
CAL
T / B
8
3
2 L/R
O N
2/L
MIC TRIM
7
4
2/R
T/B BUS
C/R PLAY
3 L/R
T / B
T/B CUE
MNTR SEL
C/R PGM
C / R
O N
MUTE GRP
TALKBACK
2T 1
C / R C / R
O N
VU
STUDIO
ALT 1
3/R
3L
GM
MAIN SPKR
T / B
VU DIR
INP PFL
SPEAKER
TO CUE
L/R PEAK
EXT 1
AUX 5/6
STU CUT
GM
OSC
SM SIP
SOLO
LEVEL
Fader Options - Manual - Automix - Automix Plus
AUX 7/8
ALT 2
Grand Master Assigns
2K
100
20 EXT
PEAK REF
+20
+4
Master Controls
OSC BUS
+16
+8
CAL
O N
CUE SENDS
11
C/R LEVEL
L e g a c y P l u s
API
38
Master Controls Master Input Switches & Mute Group Master Input Switches are provided for global switching of MIC and TAPE inputs (outlined in red below) for the Small Fader and Large Fader paths. INP FLIP
INP CLR
MUTE GRP
•
INP FLIP: Reverses the inputs on all channels for the Small Fader and Large Fader paths. Fader paths that are currently set to MIC will switch to TAPE, while those that are TAPE will switch to MIC.
•
INP CLR: Returns all channels to the “default” inputs settings with no TAPE or MIC switches engaged.
•
MUTE GRP: Just below the Master Input Switches is the Mute Group control. When engaged, all faders that have MUTE A switched on will mute.
1
2
CAL
3
CAL
4
CAL
1
2
5
CAL
6
CAL
3
4
CAL
5
6
AUX SENDS 1-6
1K 500
MIX OVER +12
OSC BUS
PEAK +18 REF
+8
2K
4K 6K
100
8K
50
10K
20 EXT
+16
20K
LEVEL
GM
AUX 11/12
OSC ON
EXT 3
AUX 9/10
EXT 2
AUX 7/8
EXT 1
L/R PEAK
AUX 5/6
2T 8
VU DIR INP FLIP
INP CLR
TO CUE
+20
+4
SIP LINK
SOLO CLR
LRG SIP
SM SIP
BUS TO VU
2T 7
VU SM
AUX 1/2
2T 6
VU LRG
ALT OUT
GM AUX
2T 5
EXT IN
STC
2T 4
INP PFL
AUX 3/4
SOLO
STB
2T 3
STA
2T 2
T/B EXT
STU CUT
GM
STUDIO
PGM
C/R PLAY
2/R
CAL
CAL
O N
T / B
2/L
L+R
GM AUX
R CAL L
AUX 11/12
R CAL L
STC
R CAL L
STB
R CAL L
STA
R CAL L
CAL
O N
T / B
1/R
CAL
O N
DIM
2
10
3
9
T / B
1/L
7 8
1
1 L/R
CAL
T / B
MIC TRIM
CUT TO BOTH
CUT R
6
4
MAIN SPKR
2 L/R
PLAY
CUT L
5
T / B
MUTE GRP
T/B CUE
MNTR SEL
C/R PGM
3 L/R
O N
T/B BUS
2T 1
C / R
O N
TALKBACK
STU PLAY
ALT 1
3/R
VU
LISTEN MIC
ALT 2
T / B
3L
STU C/R
SPEAKER
OSC
C / R C / R
DIM ALL T/B
GRAND MASTER ASSIGN
CAL
O N
CUE SENDS
11
C/R LEVEL
Monitor Control The Legacy Plus console provides comprehensive Control Room and Studio monitor control facilities. Features include: • • • • • •
Control Room Stereo Program monitoring Control Room Stereo Playback monitoring Control of three (3) stereo Control Room monitor systems with independent levels Monitor output calibration Studio Loudspeaker control DIM and CUT
L e g a c y P l u s
API
39
Control Room Monitoring Support is provided for three (3) pairs of control room monitors The source for the monitors may be selected between eleven (11) internal (PGM) and eleven (11) external (PLAY) sources. Stereo Program (PGM) sources include all Stereo busses, all Aux busses, and the GM Aux input. Stereo external sources (PLAY) include eight (8) 2-track recorders and three (3) external inputs. The following features may be applied: Speaker system selection Control Room level controls All Cut Dim with level Left and Right Mute Mono summing Main and Alternate Studio Monitor feeds
• • • • • • •
Control Room Monitor Source Selection (MNTR SEL) The Control Room Monitor Select (MNTR SEL) section allows the choice of Program and Playback monitor sources and contains the main Control Room monitor level control.
SPEAKER
AUX 11/12
EXT 3
AUX 9/10
EXT 2
AUX 7/8
EXT 1
AUX 5/6
2T 8
AUX 3/4
2T 7
AUX 1/2
2T 6
GM AUX
2T 5
STC
2T 4
STB
2T 3
STA
2T 2
GM
2T 1
•
MNTR SEL
C/R PGM ALT 2
PGM
5
• • • • • •
6
CUT TO BOTH
L+R
7
9 10
2 1
The following Playback returns may be selected as the Control Room monitor source:
DIM
8
3
GM: Output of the Stereo Program Grand Master ST A: Output of the Stereo A Program Master ST B: Output of the Stereo B Program Master ST C: Output of the Stereo C Program Master GM Aux: Feed from the GM Aux patch point Aux: 1/2, 3/4, 5/6, 7/8, 9/10, 11/12: Output from the Auxiliary Send Masters
C/R PLAY
CUT R
4
MAIN SPKR
The following Program outputs may be selected as the Control Room monitor source:
PLAY
CUT L
ALT 1
• •
Internal and external monitor sources may be selected: Internal: Program Master outputs (PGM) External: Playback returns from external record/ playback devices (PLAY)
DIM
• •
2T1 – 2T8 (2-Track 1): Return from 2-Track recorder/ playback devices 1 thru 8 EXT 1- EXT 3: Input from External devices
11
C/R LEVEL
L e g a c y P l u s
API
40
Control Room Monitor Source Selectors To select one of the Stereo Program Masters as the monitor source, PGM (Program Monitor) must be selected. The selected Program Master source will be routed to the Control Room monitor feed. To select the return from one of the Record/Playback devices as the monitor source, PLAY (Playback Monitor) must be selected. The return from the selected Record/Playback device will be routed to the Control Room monitor feed.
GM
C/R PGM
PGM
2T 1
MNTR SEL
C/R PLAY
PLAY
C/R PGM (Program): Routes the output of the selected Program Master to the Control Room monitor feed. Illuminates when engaged. C/R PLAY (Playback Monitor): Routes the output of the selected Playback return to the Control Room monitor feed. Illuminates when engaged
Program Monitor Selectors (PRG). All source selectors illuminate when engaged. Only one source may be selected at a time.
AUX 11/12
AUX 9/10
AUX 7/8
AUX 5/6
AUX 3/4
AUX 1/2 GM AUX
STC
STB
Aux 11/12: Selects the output of Auxiliary Masters 11/12 as the Program Monitor source Aux 9/10: Selects the output of Auxiliary Masters 9/10 as the Program Monitor source Aux 7/8: Selects the output of Auxiliary Masters 7/8 as the Program Monitor source Aux 5/6: Selects the output of Auxiliary Masters 5/6 as the Program Monitor source Aux 3/4: Selects the output of Auxiliary Masters 3/4 as the Program Monitor source Aux 1/2: Selects the output of Auxiliary Masters 1/2 as the Program Monitor source GM Aux: Selects the signal patched to the GM EXT IN patch point as the Program Monitor source ST C (Stereo C): Selects the output of Stereo Program Master C as the Program Monitor source
STA
GM
ST B (Stereo B): Selects the output of Stereo Program Master B as the Program Monitor source ST A (Stereo A): Selects the output of Stereo Program Master A as the Program Monitor source
C/R PGM
PGM
ST GM (Stereo Grand Master): Selects the output of Stereo Grand Master as the Program Monitor source
L e g a c y P l u s
API
41
Playback Monitor Selectors (PLAY). All source selectors illuminate when engaged. Only one source may be selected at a time. LEVEL: Level control of the selected device feeding the C/R PLAY selector. Allows the user to balance levels from the Ext 3 source to +4dBu level. EXT 3 (External 3): Selects the return from any stereo input to the EXT 3 patch points in the patch bay. EXT 3
EXT 2 (External 2): Selects the return from any stereo input to the EXT 2 patch points in the patch bay.
EXT 2
EXT 1 (External 1): Selects the return from any stereo input to the EXT 1 patch points in the patch bay. EXT 1
2T8 (2-Track 8): Selects the return from 2-Track Record/Playback device #8 as the Playback Monitor source 2T 8
2T7 (2-Track 7): Selects the return from 2-Track Record/Playback device #7 as the Playback Monitor source 2T 7
2T6 (2-Track 6): Selects the return from 2-Track Record/Playback device #6 as the Playback Monitor source 2T 6
2T5(2-Track 5): Selects the return from 2-Track Record/Playback device #5 as the Playback Monitor source 2T 5
2T 4
2T4 (2-Track 4): Selects the return from 2-Track Record/Playback device #4 as the Playback Monitor source
2T 3
2T3 (2-Track 3): Selects the return from 2-Track Record/Playback device #3 as the Playback Monitor source
2T 2
2T2 (2-Track 2): Selects the return from 2-Track Record/Playback device #2 as the Playback Monitor source
2T 1
2T1 (2-Track 1): Selects the return from 2-Track Record/Playback device #1 as the Playback Monitor source
C/R PLAY
PLAY
L e g a c y P l u s
API
42
Control Room Speaker Selection, Level, and Controls
The Legacy Plus console provides support for three (3) Control Room monitoring systems. With independent level control for each. C/R LEVEL (Control Room Level): Level control for the selected Control Room monitor system • -∞dB to 0dB range • Sets the level to the selected Control Room monitor system • Fed from the Monitor Source selectors • Primary level control for the Main and Alternate Control Room Monitors
The SPEAKER section of the Master section contains the primary controls for the three Control Room Monitor systems: •
•
SPEAKER ALT 2
MAIN SPKR (Main Speakers): Activates the main Control Room monitor system
CUT L
ALT 1
5
6
L+R
7
4
MAIN SPKR
ALT 1 (Alternate 1): Activates Alternate Control Room monitor system #1. Level control for matching levels between the three systems.
CUT TO BOTH
CUT R
DIM
8
3
9
DIM
10
2 1
11
•
ALT 2 (Alternate 2): Activates Alternate Control Room monitor system #2. Level control for matching levels between the three systems.
•
CUT L: Mutes the Left loudspeaker of the selected speakers.
•
CUT R: Mutes the Right loudspeaker of the selected speakers.
•
CUT TO BOTH: Cuts the feed to all Control Room speaker feeds.
•
L+R: Sums the Left and Right speaker feeds to mono.
•
DIM: Activates the Control Room monitor Dim function and attenuates the output to the active Control Room monitor system by the amount set with the DIM LEVEL.
•
DIM LEVEL (adjacent to DIM button): Sets the amount of attenuation applied when the DIM button is engaged. -∞dB to 0dB range
C/R LEVEL
L e g a c y P l u s
API
43
Studio Monitor Source Selection (STUDIO) and Level Control
ALT OUT
EXT IN
Studio monitor feeds are provided for two (2) studio monitor systems. There is one studio monitor output that normally feeds the main studio monitor system. The output can be switched to feed an alternate studio monitor system (ALT OUT) instead of the main system. The Studio monitor systems can be fed from the following sources: •
STU PLAY(Studio Playback): The selected Control Room monitor Playback source is routed to the Studio loudspeakers, independent from the Control Room monitor source selection.
STU PLAY
•
STU C/R (Studio Control Room): The selected Control Room monitor source is routed to the Studio loudspeakers
STU CUT
•
EXT IN (External Input): The signal from the STUDIO EXT MNTR INPUT patch points are routed to the Studio loudspeakers
STU C/R
STUDIO
Studio Monitor Controls ALT OUT: (Alternate Output): Activates the Studio monitor Alternate outputs • Activates a second set of studio monitors. • Illuminates when engaged. EXT IN (External Input): Receives the signal from the EXT STUDIO IN patch points. • EXT STU IN patch points are routed to the Studio monitor feed. • Illuminates when engaged.
ALT OUT
STU PLAY (Studio Playback): The Playback source selected for the Control Room monitors is routed to the Studio monitor feed. • Allows for the Control Room to monitor a Program Source (PGM) while the Studio receives playback from a stereo recorder. • Illuminates when engaged. STU C/R (Studio Control Room): Sets the Studio Monitors to follow the Control Room monitor selection. • Changing the Control Room monitor source will also change the feed to the Studio monitors. • Illuminates when engaged.
EXT IN
STU C/R
STU PLAY STU CUT
STUDIO
STU CUT (Studio Cut): Cuts the feed to all Studio speaker feeds Illuminates in red when engaged. LEVEL: • • •
Level control for the Studio monitor outputs Sets the level for the Studio monitor system and Alternate Output. Fed from the Studio monitor Source selectors. -∞dB to -2dBu range
L e g a c y P l u s
API
44
Stereo Program Master Faders There are three (3) Stereo Master Faders and one (1) Grand Master Fader: Stereo A (ST A) Stereo B (ST B) Stereo C (ST C) Grand Master (GM)
• • • •
The output of each Stereo Program Bus Active Combining Amplifier (ACA) feeds its own Stereo Master Fader. Each Stereo Program Fader may be assigned to the Grand Master Bus ACA. The Grand Master ACA feeds the Grand Master Fader.
The STA, ST B, ST C Master Faders are the master output level control for their respective Stereo Program Busses. 468
468
CHAN MUTE RECORD
CHAN MUTE RECORD
10 SOLO
SELECT
5 + 0 -
SELECT
SELECT
5 + 0 -
SOLO
SELECT
5 + 0 -
5
5
5
10
10
10
10
20
AUTO
+ 0 -
10
10 SOLO
20 RECORD
20
20 RECORD
RECORD
30
30
30
30
40
40
40
40
!
AUTO MATCH
!
AUTO MATCH
The GM fader is the Grand Master. The Grand Master is the master output level control for the Grand Master Output (See below).
RECORD
5
RECORD
MATCH
5
CHAN MUTE
CHAN MUTE RECORD
10 SOLO
468
468
!
AUTO MATCH
!
The three Stereo Program Busses may be fed simultaneously from: • Small Fader output • Large Fader output Stereo Program Bus assignments are made in the 624L Buss Assignment Module. To activate Left-Right panning the following conditions must be met: • The channel must be assigned to one or more of the Stereo Program Busses (ST A, ST B, and/or ST C) in the 624L Bus Assignment section. • The pan-pot (PAN) must be engaged in the 624L Bus Assignment section.
Shown with optional automation system
Stereo Grand Master A stereo Grand Master Bus and Grand Master Fader are provided to facilitate a wide range of operations. The three Stereo Program mixes, an External Input, and the output of Auxiliary Master 11/12 (Cue 5/6) may be selected for mixing to the stereo Grand Master Bus.
L e g a c y P l u s
API
45
Left and Right calibration trim-pots (CAL L-R) are provided for the primary Grand Master sources to assure precision summing. The Stereo Grand Master Bus may be fed from the following sources: • Stereo Program Master A (ST A) • Stereo Program Master B (ST B) • Stereo Program Master C (ST C) • External Stereo Source (EXT) • Auxiliary Master 11/12
Grand Master Select The primary source selections for the Grand Master Bus are assigned with the Grand Master Assign controls in the Master Section.
GM AUX
R CAL L
AUX 11/12
R CAL L
STC
R CAL L
STB
R CAL L
STA
R CAL L
There are five (5) sources that may be selected as sources to feed the Grand Master Bus: • ST A (Stereo A): Output of the Stereo A boosters • ST B (Stereo B): Output of the Stereo B boosters • ST C (Stereo C): Output of the Stereo C boosters • GM AUX (External): Output of the GM EXT IN patch points • Aux 11/12 (Auxiliary 11/12): Output of the Aux 11/12 Bus Masters (Cue 3 L/R). IMPORTANT NOTE: IF AUX 11/12 IS SELECTED IN THE GRAND MASTER ASSIGN SECTION, DO NOT SELECT “3 L/R” IN THE GM TO CUE SECTION. THIS WILL CAUSE AN INTERNAL FEEDBACK LOOP.
GRAND MASTER ASSIGN
The controls for the Grand Master Assign function as follows: ST A (Stereo A): Routes the output of the Stereo A boosters to the Grand Master Bus. Illuminates when engaged. ST B (Stereo B): Routes the output of the Stereo B boosters to the Grand Master Bus. Illuminates when engaged. ST C (Stereo C): Routes the output of the Stereo C boosters to the Grand Master Bus. Illuminates when engaged. Aux 11/12 (Auxiliary 11/12): Routes the output of the 11/12 Stereo Aux master (Cue 3 L/R) to the Grand Master Bus. This allows for an additional stereo mix to be fed to the Grand Master. Illuminates when engaged. GM Aux (External): Routes the output of the GM EXT IN patch points to the Grand Master Bus. Illuminates when engaged. L e g a c y P l u s
API
46
CAL L-R (Calibration Left-Right): Calibrates the stereo balance and level to the Grand Master Bus for the associated source. A set of calibration trim-pots is provided for each Grand Master source.
The selected Stereo Masters (A, B, C) are routed to the Grand Master Bus and mixed together at the GM ACA to create a GRAND MASTER stereo program. An external stereo source may also be added via the GM Aux (GM EXT IN) patch points and engaging the EXT AUX switch. The patch points from the Grand Master ACA outputs (GM ACA) feed the Grand Master Fader (GM FDR IN) patch points. A booster calibrates the output of the Grand Master Fader (GM BSTR OUT) and is half-normalled to the 2Track Feed (2T FEED) distribution patch points. The 2T FEED distribution patch points are half-normalled to feed to up to four (4) 2-track recorders (2T1 IN, 2T2 IN, 2T3 IN, and 2T4 IN patch points)
Stereo Program Signal Flow The diagram below shows the basic Stereo Program Bus signal flow from the channel Stereo Bus Assignment, through the Stereo Masters and Grand Master, to the 2Track Feed. The 2Track Feed is distributed to all four 2Tracks.
ST C
ST C
ST B
ST B
ST A
ST A
PAN
PAN
LG
AL
AL
ACA OUTPUTS AR | BL BR | CL
FADER INPUTS AR | BL BR | CL
CR
CR
ST A
ST B
468
468
CHAN MUTE RECORD
SOLO
AL
5
+ 0 -
+ 0 -
SELECT
AUTO MATCH
GM SLECT INPUT AR | BL BR | CL
AL GM AUX
R CAL L
AUX 11/12
R CAL L
STC
R CAL L
STB
R CAL L
STA
R CAL L
SELECT
5 + 0 -
5
5
5
10
10
10
20
20 RECORD
RECORD
CR
10 SOLO
5
20
BSTR OUTPUTS AR | BL BR | CL
CHAN MUTE RECORD
10
SOLO
SELECT
468
CHAN MUTE
RECORD
10
SM
ST C
RECORD
30
30
40
40 AUTO
!
!
MATCH
30 40 AUTO MATCH
!
CR
G GM M
468
GM ACA L R
2 TRACK INPUTS 1 L 1R 2L 2R
CHAN MUTE RECOR D
10 SO LO
5 +
GM FDR N
GRAND MASTER ASSIGN
GM BSTR L R
L
R
2 TRK FEED
L
R
2 TRACK INPUTS 3L 3R 4L 4R
SELE CT
0 5 10
20 RECOR D
30
40 AU TO MAT CH
L e g a c y P l u s
!
API
47
S OUTPUT
S OUTPUT
S OUTPUT
S OUTPUT
Stereo Program Patch Points ACA OUTPUTS: Stereo Active Combining Amplifier outputs. • Half-normalled to FADER INPUTS. FADER INPUTS: Stereo Master Fader inputs. • Feeds the stereo Master Fader inputs. • Half-normalled from ACA OUTPUTS. • Patching to these points will replace the feed to the Stereo Master Faders with the patch cord signal.
ACA OUTPUTS A-L
A-R
A-L
A-R
A-L
A-R
B-L
C-L
C-R
C-L
C-R
C-L
C-R
FADER INPUTS B-L
B-R
BSTR OUTPUTS
BSTR OUTPUTS: Stereo Booster outputs. • Half-normalled to GM SELECT IN.
GM SELECT IN: Stereo Grand Master selector inputs. • Feeds the Stereo Grand Master Select inputs. • Half-normalled from ACA OUTPUTS. • Patching to these points will replace the feed to the Stereo Grand Master Selector with the patch cord signal.
A-L
A-R
B-L
B-R
GM SELECT INPUT B-L
GM ACA OUT: Stereo Grand Master ACA output. • Half-normalled to GM FDR IN. BUS OUTPUT GM FDR • • • BUS OUTPUT
B-R
B-R
C-L
C-R
GM ACA
IN: Grand Master Fader Input Feeds the Grand Master Fader. Half-normalled from GM ACA OUT. Patching to these points will replace the feed to the Grand Master Fader with the patch cord signal.
L e g a c y P l u s
L
R
GM FDR IN L
R
API
48
TPUT
GM BSTR: Stereo Grand Master Booster output. • Primary Stereo Program Output. • Half-normalled to 2T FEED IN.
2T FEED: Two Track Feed Input • Distributed feed to four (4) 2-track recorders. • Half-normalled from GM BSTR OUT. • Half-normalled to 2T IN 1-4. • Patching to these points will replace the feed to all the 2-track recorders with the patch cord signal.
TPUT
T
GM BSTR L
R
2 TRK FEED
2T1 IN: • 2T2 IN: • 2T3 IN: • 2T4 IN: •
Input to 2-track recorder #1 Half-normalled from 2T FEED Input to 2-track recorder #2 Half-normalled from 2T FEED Input to 2-track recorder #3 Half-normalled from 2T FEED Input to 2-track recorder #4 Half-normalled from 2T FEED
L
R
2 TRACK INPUTS L
R
L
R
2 TRACK INPUTS L
R
L
R
IN IN IN IN
Patching to any 2 Track Input will replace the feed to the 2-track recorder with the patch cord signal
EXT GM • • •
IN: Stereo external Grand Master inputs. Allows an external stereo source to be added to the Grand Master mix. Feeds the Grand Master ACA. Active only when the EXT switch in the Grand Master Select controls is engaged.
L e g a c y P l u s
GM EXT IN L
R
API
49
Auxiliary Masters The Legacy Plus console provides a powerful Auxiliary Send system with a variety of options for Cue and Effects Sends. There are twelve (12) Auxiliary Masters: • •
Six (6) Mono (1-6) Three (3) Stereo (7/8, 9/10 and 11/12)
The Legacy Plus Auxiliary Masters are split into two groups: • “Aux Sends 1-6” • “Cue Sends 1-3”
1
2
CAL
3
CAL
4
CAL
1
2
5
CAL
6
CAL
3
4
CAL
5
6
AUX SENDS 1-6
Aux 1-6 are primarily used as Effects Sends during recording and mixing. Aux 7/8, 9/10, and 11/12 are intended for use as Cue Sends during recording, and may be used as stereo Effects Sends during mixing.
OSC BUS
+8
+18
PEAK REF
AUX 11/12
EXT 3
OSC ON
AUX 9/10
EXT 2
BUS TO VU
AUX 7/8
EXT 1
L/R PEAK
SM SIP
AUX 5/6
2T 8
VU DIR
INP PFL
AUX 3/4
2T 7
VU SM
AUX 1/2
2T 6
ALT OUT
GM AUX
2T 5
EXT IN
STC
2T 4
4K 6K 8K
50
10K
20 EXT
20K
LEVEL
GM TO CUE
+20
+4
SIP LINK
SOLO CLR
LRG SIP
SOLO
OSC
T / B
3/R
VU LRG
VU
STB
2T 3
STA
2T 2
T/B EXT
ALT 2
PGM
5
L+R
GM AUX
R CAL L
CAL
AUX 11/12
R CAL L
STC
R CAL L
STB
R CAL L
STA
R CAL L
CAL
O N
T / B
1/R
CAL
O N
DIM
2
10
3
9
T / B
1/L
7 8
1
MIC TRIM
CUT TO BOTH
CUT R
6
4
MAIN SPKR
CAL
PLAY
CUT L
ALT 1
C/R PLAY
1 L/R
CAL
T / B
2/L
T/B CUE
MNTR SEL
C/R PGM
2 L/R
O N
T/B BUS
2T 1
3 L/R
T / B
2/R
MUTE GRP
TALKBACK
STU PLAY
GM
C / R
O N
INP CLR
LISTEN MIC
SPEAKER
T / B
INP FLIP
STU C/R
STU CUT
C / R C / R
O N
3L
STUDIO
Aux 7/8 = Cue 1 L/R Aux 9/10 = Cue 2 L/R Aux 11/12 = Cue 3 L/R
2K
100
+16
Cue Sends 1-3 serve as Masters for Auxiliary sends 7-12 as follows: • • •
1K 500
MIX OVER +12
DIM ALL T/B
GRAND MASTER ASSIGN
CAL
O N
CUE SENDS
11
C/R LEVEL
Auxiliary Sends The default source for all Auxiliary sends is the Large Fader path, post fader. All Auxiliary Sends may be routed pre or post fader. Sends 9/10 & 11/12 may be switched to the Small Fader path. Aux Sends 9/10 and 11/12 follow the same source routing controls (PF, SM). The control for Aux 9/10 can feed either Aux bus 9/10 OR Aux bus 11/12. cannot be used simultaneously on the same channel.
In other words, both
Aux sends 7-12 are used as Cue sends 1 L/R, 2 L/R, and 3 L/R. The talkback system may be routed all of the Cue send masters Each Auxiliary bus has an associated LED meter on the meter bridge below the Stereo Program Master Meters.
L e g a c y P l u s
API
50
Auxiliary Masters 1-6 Aux Sends 1-6 are located above the Control Room Monitor section and below the Bus Masters. Each send is the master output control for the corresponding Auxiliary Summing Bus.
1
2
CAL
3
CAL
1
4
CAL
2
5
CAL
3
6
CAL
4
CAL
5
6
AUX SENDS 1-6
The controls for the Aux Masters (Sends) 1-6 function as follows: GAIN: Output level control • Feeds the CUE SEND OUT 1-6 patch points which may be patched to feed effects devices, studio cue systems, or other destinations. • -∞ to 0 dB range
1 CAL
1
CAL (Calibration): Output calibration trim-pot for the Aux Send Precise level adjustment control for Calibration of the Auxiliary Master outputs On/Off: Each Send has an On/Off switch labeled with the send number. An LED indicator illuminates when engaged.
L e g a c y P l u s
API
51
Cue Sends 1-3/Auxiliary Masters 7-12 The three Stereo Auxiliary Sends on each channel (7/8, 9/10, and 11/12) are designed to be used as Cue Sends for headphone feeds while recording, and/or as Effects Sends while mixing.
LEVEL
GM TO CUE
There are three Stereo Cue Sends which are also the Auxiliary Masters for Sends 7-12. Auxiliary sends 7-12 feed the Cue Send masters as follows: • • •
T / B
3/R
C / R C / R C / R
3 L/R 2 L/R 1 L/R
CAL
O N
Aux 7/8 feeds Cue 1 L/R Aux 9/10 feeds Cue 2 L/R Aux 11/12 feeds Cue 3 L/R
T / B
3L
CAL
O N
Each Cue Send has the following controls: ON (On/Off): Activates the associated send. An LED will illuminate when engaged. T/B (Talk Back Input): Routes Talk Back to the Send • Adds the Talk Back output from the TALKBACK TO CUE level control (located in the TALKBACK section). • T/B CUE must be engaged in the Talkback section to feed the talkback mic to the cues. • An LED indicator illuminates when engaged • T/B should be off when using sends (7-12) as effect sends.
T / B
2/R
T / B
2/L
CAL
O N
T / B
1/R
CAL (Calibration): Output calibration trim-pot for precise level adjustment control of the Cue Send outputs.
CAL
O N
CAL
O N
T / B
1/L
CAL
O N
CUE SENDS
L e g a c y P l u s
API
52
GM to Cue The GM TO CUE feature facilitates routing of the outputs of the Grand Master to each of the three Stereo Cue Sends (7/8, 9/10, and 11/12). This is used primarily to send the selected Program mix(es) to the headphones while recording with the option to add individual channels to the Program mix(es). This can be very handy for creating quick cue mixes with ability to reinforce certain tracks as needed. The GM to Cue controls function as follows:
C/R (Control Room): Assigns the Grand Master bus signal to the associated Cue Send Master. LEVEL
GM TO CUE
C / R C / R C / R
3 L/R 2 L/R 1 L/R
The controls route the GM to the associated Cue • C/R 3 L/R: adds the Stereo GM signal to • C/R 2 L/R: adds the Stereo GM signal to • C/R 1 L/R: adds the Stereo GM signal to
Send Masters as follows: Cue Send 3 (Aux 11/12) Cue Send 2 (Aux 9/10) Cue Send 1 (Aux 7/8)
LEVEL: Adjusts the level of the Grand Master mix(es) fed to the Cue Send Masters, allowing for balance adjustment between the GM mix and the signal from the corresponding Aux Send (7/8, 9/10, or 11/12). IMPORTANT NOTE: IF AUX 11/12 IS SELECTED IN THE GRAND MASTER ASSIGN SECTION, DO NOT SELECT “3 L/R” IN THE GM TO CUE SECTION AS THIS WILL CAUSE AN INTERNAL FEEDBACK LOOP.
L e g a c y P l u s
API
53
Cue Send Signal Flow The diagram below shows the basic Auxiliary Send signal flow.
GM AUX
R CAL L
AUX 11/12
R CAL L
STC
R CAL L
STB
R CAL L
STA
R CAL L
C / R C / R
LEVEL
GM TO CUE
C / R
3 L/R 2 L/R 1 L/R
GRAND MASTER ASSIGN
T / B
1/R
SM PAN
CAL
O N
LV
11/12
BUS OUTPUT BUS OUTPUT
PF
7
T / B
ON
1/L
9/10
AUX SEND OUTPUT (CUES) 8
9
10
11
12
CAL
O N
ON 7/8
CUE SENDS
PF
From T/B CUES (routing and level) in the TALKBACK section
Auxiliary Send Patch Points
1
AUX SEND OUTPUT 2
3
4
5
6
7
5
6
7
AUX DEVICE INPUT 1
2
3
4
AUX SEND OUTPUT (CUES) 8
9
10
11
BUS OUTP
12
AUX DEVICE INPUT (CUES) 8
L e g a c y P l u s
9
10
11
BUS OUTP 12
API
54
Multi-track Summing Busses There are twenty-four (24) Multi-track Summing Busses: 1-24. Multi-track Summing Busses 1-24 may be fed from: • •
Small Fader output Large Fader output
Multi-track Summing Bus assignments are made in the 624L Buss Assignment module in each channel. The default source for the Multi-track Summing Busses is the Large Fader path. To feed the Multi-track busses from the Small Fader press the “24” switch next to the Small Fader in the 968L Module. NOTE: The Multi-track Summing Busses cannot be accessed from both audio paths (Small Fader and Large Fader) simultaneously.
624M Bus Masters Each of the 624L assignments feeds its respective Multi-track Summing Bus and the corresponding 624M Bus Master Module in the Master Section. Each Multi-track Summing Bus has a gain control and trim control. These controls feed the BUS OUTPUT patch points 1-24 and 25-48. 624M Bus Master
GAIN
17 25
GAIN
18 42
GAIN
9 33
GAIN
10/34
10 34
2/26
11/35
19 43
3/27
GAIN
20
21/45
44
1135
12/36
13/37
GAIN
27
4/28
45
13 37
5/29
28
14/38
22 46
14 38
6/30
15/39
23 47
9/31
24 48
GAIN
15 39
GAIN
30
24/48
TRIM
1/25
16 40
GAIN
TRIM
6
Bus Master
GAIN
GAIN
GAIN
29
23/47
624M
TRIM
TRIM
TRIM
5
Bus Master
GAIN
GAIN
TRIM
4
22/46
624M
TRIM
TRIM
GAIN
TRIM
3
21
GAIN
36
Bus Master
TRIM
TRIM
12
624M
GAIN
TRIM
GAIN
GAIN
26
20/44
624M Bus Master
TRIM
TRIM
2
Bus Master
GAIN
GAIN
GAIN
25
19/43
624M
TRIM
TRIM
TRIM
1
Bus Master
TRIM
TRIM
TRIM
1/25
18/42
624M
GAIN
TRIM
TRIM
9/33
Bus Master
GAIN
TRIM
17/41
624M
TRIM
7 31
8/32
8 32
NOTE: A multi-track recorder may alternately be fed from the channel Direct Outputs by patching the DIRECT OUT patch points to the desired multi-track recorder input interface.
L e g a c y P l u s
API
55
Controls for the 624M Bus Masters are as follows:
624M Bus Master
GAIN
1/24 (25/48) (On/Off switch): Activates Multi-track Outputs 1-24. An LED indicator illuminates when engaged. GAIN: • • •
TRIM
17/41
Sets the level for the Multi-track Output -∞ to 0 dB range 0 dB is unity gain (fully clockwise) -∞ is full attenuation (fully counter-clockwise)
17 25
TRIM: Allows for precise adjustment of the Bus output. The output of the Bus Masters feed the BUS OUT patch points. These patch points are half-normalled to the MULTI-TRACK IN patch points.
GAIN
TRIM
9/33
9 33
The BUS OUTPUT patch points are split via normals in the patch bay to feed the MULTI-TRACK IN patch points. BUS OUTPUT 1 feeds MULTI-TRACK IN 1 and 25. BUS OUTPUT 2 feeds MULTI-TRACK IN 2 and 26 and so on. This is reflected in the labeling of the bus assignment buttons and the Bus On/Off switch. The MULTITRACK IN patch points provide a feed to the multi-track recorder.
GAIN
TRIM
1/25
1 25
Multi-track Signal Flow The diagram below shows the basic Multi-track signal flow. Only the first eight patch points are shown for each row. 624L 23 47
24 48
21 45
22 46
19 43
20 44
17 41
18 42
15 39
16 40
13 37
14 38
11 35
12 36
9 33
10 34
7 31
8 32
5 29
6 30
3 27
4 28
1 25
2 26
ST C
ST C
ST B
ST B
ST A
ST A
PAN
PAN
LG
SM
624M Bus Master
2
3
6
7
8
1
2
MULTI-TRACK IN 3 4 5 6
7
8
GAIN
TRIM
1/25
1
BUS OUT
1
4
5
25
L e g a c y P l u s
API
56
Multi-track Patch Points BUS OUTPUT: Multi-track Summing Bus outputs BUS•OUTPUT Half-normalled
to MULTI-TRACK IN
BUS OUT 1
2
3
1
2
3
4
5
6
7
8
6
7
8
MULTI-TRACK IN: Input to the multi-track recorder
•
Feeds the multi-track recorder inputs Half-normalled from BUS OUTPUT Patching to these points will replace the feed to the multi-track recorder with the patch cord signal
MULTI-TRACK IN
BUS•OUTPUT
•
DIRECT OUTPUT: Channel Direct Output • Fed from LARGE FADER by default BUS OUTPUT • Will be fed from Small Fader if the DIR switch is engaged • The Direct Output is located Post the Direct Output switch (Post-fader)
4
5
DIRECT OUTPUT 1
2
3
4
5
6
7
8
Note: The DIRECT OUTPUT patch points are associated with the channels and are not part of the Multi-track Summing Bus system. Since Direct Outputs are commonly patched to feed the multi-track recorder, their patch points are shown here.
MULTITAPE OUTPUT: Multi-track Recorder Output (Multi-track Return) • Feeds the input to the channel Input Selector switch BUS OUTPUT (MIC and TAPE) in both paths (Large Fader and Small Fader) • The MULTITAPE OUTPUT is the default source for the Large Fader path • The Small Fader will receive the MULTITAPE OUTPUT when the Small Fader TAPE switch is engaged • Both paths may receive the signal from MULTITAPE OUTPUT simultaneously
L e g a c y P l u s
MULTITAPE OUT 1
2
3
4
5
6
7
8
API
57
Solo Modes and Controls
1
2
CAL
3
CAL
4
CAL
1
2
5
CAL
6
CAL
3
4
CAL
5
6
AUX SENDS 1-6
1K 500
MIX OVER
Solo Modes
+12
+18
SIP LINK
After Fader Listen (AFL): • The stereo Solo Bus is fed post pan-pot • Non-destructive • Control Room monitor source is replaced with the Solo Bus • Solo Level Control • Stereo
2K
AUX 11/12
SOLO CLR
AUX 9/10
EXT 3
OSC ON
EXT 2
BUS TO VU
4K 6K
100
8K
50
10K
20 EXT
PEAK REF
20K
LEVEL
GM TO CUE
+20
+4
The Legacy Plus provides the following Solo modes: • After-Fader Listen (AFL) • Pre-Fader Listen (PFL) • Solo-In-Place (SIP)
OSC BUS
+16
+8
LRG SIP
OSC
T / B
AUX 7/8
EXT 1
L/R PEAK
SM SIP
AUX 5/6
2T 8
VU DIR
INP PFL
AUX 3/4
2T 7
VU SM
INP FLIP
2T 6
VU LRG
INP CLR
SOLO
GM AUX
2T 5
EXT IN
STC
2T 4
STU C/R
STB
2T 3
LISTEN MIC
STU PLAY
STA
2T 2
T/B EXT
GM
PGM
5
L+R
GM AUX
R CAL L
AUX 11/12
R CAL L
STC
R CAL L
STB
R CAL L
STA
R CAL L
CAL
O N
T / B
1/R
CAL
O N
3
DIM
9 10
2
T / B
1/L
7 8
1
CAL
T / B
MIC TRIM
CUT TO BOTH
CUT R
6
4
MAIN SPKR
CAL
PLAY
CUT L
ALT 1
C/R PLAY
1 L/R
CAL
O N
2/L
T/B CUE
MNTR SEL
C/R PGM ALT 2
2 L/R
T / B
2/R
T/B BUS
STUDIO SPEAKER
T / B
MUTE GRP
TALKBACK
2T 1
3 L/R
O N
VU
ALT OUT
C / R
O N
3L
AUX 1/2
STU CUT
3/R
C / R C / R
DIM ALL T/B
CAL
O N
GRAND MASTER ASSIGN
CUE SENDS
11
C/R LEVEL
Pre-fader Listen (PFL): • The stereo Solo Bus is fed pre-fader • Non-destructive • Control Room monitor source is replaced with the Solo Bus • Solo Level Control • Mono Solo-In-Place (SIP): • Destructive (all other channels/returns will mute when a SOLO button is engaged) • Monitored via the assigned Program Busses • Post-fader • Panned • Solo-In-Place for the Large Fader and Small Fader may be assigned individually • Solo-In-Place for Large Fader and Small Fader may operate independently or be linked
After Fader Listen (AFL) is the default Solo mode (no buttons engaged). Solo modes are selected using the SOLO controls in the Master Section. The selected Solo mode is activated when a SOLO button on a 968L Input module is engaged.
L e g a c y P l u s
API
58
Solo Controls
MIX OVER +12
Mix Over: A “Mix Over” solo function allows the Solo Bus to be mixed with the selected source in the Control Room monitors. The level control adjusts the level of the current Control Room Monitor source when an AFL or PFL solo is activated.
+16
+8
+18
• •
PEAK REF
AFL and PFL Solo modes only (does not work with Solo-In-Place) A SOLO must be engaged to activate Mix Over solo
+20
+4
SIP LINK
SOLO CLR
SIP LINK (Solo-In-Place Link): Links the Large Fader and Small Fader Solo-In-Place functions. • •
LRG SIP
SM SIP
INP PFL
•
When a channel is “soloed” all other “un-soloed” faders (Small and Large) will be muted. Without SIP LINK active, mutes will only be applied to the fader path where the solo is active. Solo In Place must be active.
SOLO CLR (Solo Clear): Disengages all “soloed” channels. Momentary (does not stay engaged).
SOLO
LRG SIP (Large Fader Solo-in-Place): Activates the Solo-In-Place mode of for the Large Fader solos. SM SIP (Small Fader Solo-in-Place): Activates the Solo-In-Place mode of for the Small Fader solos. INP PFL (Pre Fader Listen): Activates the Pre Fader Listen Solo mode of for all Solos. SOLO LEVEL: Sets the level of the Solo Bus feed to the Control Room monitors • •
Sets AFL Solo level Sets PFL Solo level
L e g a c y P l u s
API
59
Talk Back
1
2
CAL
3
CAL
The Legacy Plus console provides a comprehensive Talk Back system with flexible routing and options. The control room Talk Back microphone is mounted on a “gooseneck” in the console Master Section. This microphone provides Control Room communication to a variety of destinations.
2
1K 500
OSC BUS
PEAK +18 REF
+8
AUX 11/12
2K
6
4K 6K 8K
50
10K 20K
LEVEL
GM
EXT 3
OSC ON
AUX 9/10
EXT 2
BUS TO VU
AUX 7/8
EXT 1
L/R PEAK
SM SIP
AUX 5/6
2T 8
VU DIR
INP PFL
AUX 3/4
2T 7
VU SM
INP FLIP
AUX 1/2
2T 6
VU LRG
INP CLR
TO CUE
+20
+4
SIP LINK
SOLO CLR
2T 5
EXT IN
STC
2T 4
STU C/R
STB
2T 3
LISTEN MIC
STU PLAY
STA
2T 2
T/B EXT
GM
PGM
5
1 L/R
T / B
CAL
O N
2/R
MUTE GRP
CAL
O N
T / B
2/L
MIC TRIM
CUT TO BOTH
CUT R
6
L+R
GM AUX
R CAL L
AUX 11/12
R CAL L
STC
R CAL L
STB
R CAL L
STA
R CAL L
CAL
O N
T / B
1/R
CAL
O N
DIM
8
3
9 10
2
T / B
1/L
7
4
1
2 L/R
CAL
PLAY
CUT L
ALT 1
C/R PLAY
3 L/R
C / R
T / B
T/B CUE
MNTR SEL
C / R C / R
O N
T/B BUS
2T 1
C/R PGM
MAIN SPKR
3/R
TALKBACK
STUDIO
ALT 2
T / B
VU
GM AUX
STU CUT
OSC
3L
ALT OUT
SPEAKER
Listen Mic : An external microphone, typically used for studio communication Routing to the Control Room monitors.
CAL
5
100
20 EXT
+16
The Legacy Plus console facilitates two (2) Talk Back systems:
•
6
CAL
4
MIX OVER +12
SOLO
Talk Back Microphone (T/B MIC): Control Room Talk Back to the studio which may be routed to Cues, Studio Loudspeakers, and Program and Multitrack Busses.
5
CAL
3
AUX SENDS 1-6
LRG SIP
•
4
CAL
1
DIM ALL T/B
GRAND MASTER ASSIGN
CAL
O N
CUE SENDS
11
C/R LEVEL
Talk Back Controls The Talk Back controls operate as follows: ALL T/B: Activates the Talkback Microphone which is sent to any or all of the selected destinations: TALKBACK
•
T/B EXT: Enables the talkback signal to feed any device connected to Studio EXT patch points.
•
T/B BUS: Enables the talkback signal to feed the Multi-track summing busses 1-24.
•
T/B CUE: Enables the talkback signal to feed the Cue Sends 16 (Auxiliary Masters 7-12).
•
An individual level control is provided to set the level of the talkback mic feed to each destination.
LISTEN MIC
T/B EXT T/B BUS
T/B CUE MIC TRIM
Listen Mic: A dedicated input is provided for a “Listen Mic” which is fed to the Control Room. A microphone, typically mounted in the studio, is routed to this input. A level control is provided. ALL T/B
NOTE: The studio Talk Back microphone is not supplied by API.
L e g a c y P l u s
API
60
Meters and Peak Indicators The Legacy Plus console provides the following displays for monitoring levels: • • • • •
VU Meter Bridge Channel Peak Indicators Program Meters Module LEDs Auxiliary and Cue Master LEDs
The following 200 Series modules have built-in LED output meters: • •
205L Direct Input 212L Microphone Preamp
The following 200 Series modules have built-in LED gain reduction meters: • •
225L Compressor/Limiter 235L Noise Gate/Expander
VU Meter Bridge The Meter Bridge is populated only with VU meters. The Meter Bridge provides the ability to monitor the levels of the following signal paths: • • • • •
Channel (Small Fader or Large Fader) inputs Direct Out Multitrack Summing Bus (1-24) Stereo Program Busses Solo Bus
The Meter Bridge has two sections: • •
Channel Meters Program Meters
Channel Meters The Channel Meters are organized in banks of sixteen (16), one for each installed channel bucket. The meters are stacked in pairs with 1 over 2, 3 over 4, and so on.
L e g a c y P l u s
API
61
Meter Controls The Channel Meters can display a variety of sources. The VU meter controls are in the Master Section directly above the TALKBACK section.
20
10 20
7 40
3 2 1
5 60
80
0
1
2
100%
3
VU
The VU Meter controls function as follows:
BUS TO VU: Displays the Multi-track summing bus outputs across meters 1-24.
BUS TO VU
VU DIR: Displays the Direct Output levels.
L/R PEAK
VU SM: Displays the Small Fader path input levels. The VU meters will be directly after the Small Fader Channel input patch point.
VU DIR
VU LRG: Displays the Large Fader path input levels. The VU meters will be directly after the Small Fader Channel input patch point.
VU SM
L/R PEAK: Changes the Stereo Program Meters to display peak levels rather than VU.
VU LRG
VU
Channel Peak Indicators and Reference Level Control
Each channel is equipped with a LED Peak Indictor in each path (Small Fader and Large Fader).
PK
+12 +8
+16 +18
+4
PEAK REF
The Peak Reference Level is set by using the PEAK REFERENCE level control in the Master Section.
+20
L e g a c y P l u s
API
62
design has a superior tone that can't be matched!" Kooster McAllister - Record Plant Remote New York, NY
Program Meters
Legacy Plus - 24 Main Busses - 12 Aux Sends (3 stereo) - 3 Stereo Busses - Dual Input (inline)
Legacy - 16 Main Busses - 6 Auxes (1 stereo) - 2 Stereo Busses - All Input or Split
A pair of Program Meters is installed at the top of the Master Section. The Program Meters can be fed from the following: • •
Stereo Program Grand Master outputs Solo Bus
Under normal circumstances, the Program Meters display the level of the Stereo Program Master outputs. When a PFL or AFL SOLO is engaged, the LEFT and RIGHT (SOLO) meters display the output of the Solo Bus. The ballistics of the Program Meters can be changed from VU to peak (see L/R PEAK above). Auxiliary and Cue Send levels are displayed below the Main Stereo Program Meters
L
!"#
+ 28V - 28V + 16V - 16V
10
20
7
3
5
2 80
60
1
0
1
2
20
3
100%
10
3
5
7
60
+ 28V - 28V
VU
0
1
LEGACY + PLUS
2 3
100%
VU
LEFT
+ 48V
1
20
20
+ 24V + 5V
2 80
40
40
MNTR
all discrete console
RIGHT
(SOLO)
SEND 1
SEND 2
SEND 3
SEND 4
SEND 5
SEND 6 SEND 7
SEND 8
SEND 9 SEND 10 SEND 11 SEND 12
6 3 0 -6
6 3 0 -6
6 3 0 -6
6 3 0 -6
6 3 0 -6
6 3 0 -6
6 3 0 -6
6 3 0 -6
6 3 0 -6
6 3 0 -6
6 3 0 -6
6 3 0 -6
-12
-12
-12
-12
-12
-12
-12
-12
-12
-12
-12
-12
Power Supply Voltage Indicators LED Voltage Indicators provide a quick visual indication of the status of the console and are most often used in maintenance and trouble-shooting applications.
L e g a c y P l u s
API
63
1
Oscillator
2
CAL
3
CAL
4
CAL
1
2
5
CAL
6
CAL
3
4
CAL
5
6
AUX SENDS 1-6
An Oscillator is provided to generate test tones for calibration and trouble-shooting.
1K 500
MIX OVER +12
OSC BUS
+8
+18
2K
PEAK REF
AUX 11/12
EXT 3
OSC ON
AUX 9/10
EXT 2
BUS TO VU
AUX 7/8
EXT 1
L/R PEAK
SM SIP
AUX 5/6
2T 8
VU DIR
INP PFL
AUX 3/4
2T 7
VU SM
AUX 1/2
2T 6
ALT OUT
GM AUX
2T 5
EXT IN
STC
2T 4
4K 6K
100
8K
50
10K
20 EXT
+16
20K
LEVEL
GM TO CUE
+20
+4
SIP LINK
SOLO CLR
LRG SIP
SOLO
STB
2T 3
2T 2
T/B EXT
GM
PGM
CAL
T / B
L+R
GM AUX
R CAL L
AUX 11/12
R CAL L
STC
R CAL L
STB
R CAL L
STA
R CAL L
CAL
O N
T / B
1/R
CAL
O N
DIM
2
10
3
9
T / B
1/L
7 8
1
CAL
O N
2/L
MIC TRIM
CUT TO BOTH
CUT R
6
4
MAIN SPKR
1 L/R
CAL
PLAY
CUT L
5
C/R PLAY
2 L/R
T / B
2/R
MUTE GRP
T/B CUE
MNTR SEL
C/R PGM
3 L/R
O N
INP CLR
T/B BUS
2T 1
STUDIO
ALT 1
T / B
INP FLIP
TALKBACK
STA
C / R
O N
VU
STU PLAY
ALT 2
3/R
VU LRG
LISTEN MIC
SPEAKER
T / B
3L
STU C/R
STU CUT
OSC
C / R C / R
DIM ALL T/B
GRAND MASTER ASSIGN
CAL
O N
CUE SENDS
11
C/R LEVEL
Controls OSC BUS: Routes the Oscillator to all Multi-track bus outputs.
1K 500
OSC BUS
2K
4K 6K
100
8K
50
10K
20 EXT
20K
OSC ON: Turns on the oscillator and activates the Control Room DIM function. The Oscillator signal will be present at the OSC OUT patch point. FREQUENCY SELECT: Selects the tone generator frequency. Selectable frequencies between 50Hz and 20kHz.
OSC ON
LEVEL CONTROL: Sets the Oscillator output level.
OSC
CAUTION: Exercise great care when activating and routing the Oscillator. Cue systems and Studio monitors should be CUT and the Control Room monitors should be turn down to a low level.
Oscillator Patch Points
OSC OUT
A pair of patch points in the patch bay is fed by the Oscillator. When the oscillator is turn on, signal will be present at both patch points.
L e g a c y P l u s
API
64
Patch Bay Overview All API console patch bays have extended access throughout the audio signal flow. Every input and output of the channel slots and master section are provided in the bays. Each patchbay is 32 points wide. The Legacy Plus Patch Bay provides access to all of the console’s systems and functions. The Patch Bay is is not mounted within the console Mainframe and must be mounted in an external equipment rack (not supplied). The Patch Bay has three sections that support different sections of the console and studio. These sections are as follows: • • •
Channel Patch Bay Multitrack Summing Bus Patch Bay Master System Patch Bay
BUS OUTPUT
1
2
3
4
5
1
2
3
4
5
BUS OUTPUT
1
2
3
4
5
1
2
3
4
5
MIC TIE LINE OUT II 6
7
6
7
6
7
1
2
3
4
5
6
1
2
3
4
5
6
1
2
3
4
5
1
2
3
4
1
2
3
4
2
3
4
15
8
9
10
11
12
13
14
15
8
9
10
11
12
13
14
15
16
6
5
6
1
2
3
4
1
2
3
4
5
16
1
2
3
4
5
1
2
3
4
5
1
2
3
4
1
2
3
4
6
6
16
16
9
10
11
12
13
14
15
16
8
9
10
11
12
13
14
15
16
5
6
7
8
9
10
11
12
13
14
5
6
15
7
8
9
10
11
12
13
14
2
3
4
5
6
1
2
3
4
5
6
7
8
9
10
11
12
13
14
2
3
4
5
1
2
3
4
5
1
2
3
4
5
9
10
11
12
33
34
35
36
BUS OUTPUT 1
7
8
7
9
8
7
7
8
7
BUS OUTPUT 13
AUX SEND OUTPUT 2
3
1
2
4
3
14
37
5
4
38
10
11
12
13
MAIN
R
L
MAIN
R
L
ALT1
R
5
6
10
11
12
13
14
9
10
11
12
13
14
9
10
11
12
13
14
L
ALT1
R
19
20
21
22
23
24
25
18
19
20
21
22
23
24
25
17
9
10
11
12
13
14
9
10
11
12
13
14
9
10
11
12
13
14
15
7
8
7
8
7
26
26
19
20
21
22
23
24
25
26
18
19
20
21
22
23
24
25
26
18
17
15
15
20
19
21
20
22
23
24
25
21
22
23
24
20
21
22
23
24
19
9
10
11
12
13
14
15
18
17
18
17
18
17
8
16
20
21
22
23
24
10
11
12
13
14
15
8
7
9
8
10
11
12
13
14
15
19
20
21
22
23
24
19
20
21
22
23
24
19
20
21
22
23
24
10
11
12
13
14
15
8
9
10
11
12
13
14
15
15
16
17
18
19
20
40
41
42
43
44
BUS OUTPUT
21
22
1
2
3
4
5
6
45
46
23
L
R
1
2
3
4
STU OUT
EXT STU IN
ALT2
R
L
L
L
ALT2
R
STU AMP IN L R
R
R
GM EXT IN L R
5
25
19
20
21
22
23
24
25
19
20
21
22
23
24
R
L
L
1
R
L
R
17
17
L
19
20
21
22
23
24
20
19
21
20
19
22
21
20
2
R
L
3
30
31
32
29
30
31
32
29
30
31
32
29
30
31
32
29
30
31
32
29
30
31
32
29
30
31
32
29
30
31
32
29
30
31
32
29
30
31
32
29
30
31
32
29
30
31
32
29
30
31
32
28
29
30
31
32
28
29
30
31
32
BUS OUTPUT
28
27
BUS OUTPUT
BUS OUTPUT
28
27
28
27
BUS OUTPUT
BUS OUTPUT
28
27
26
28
27
26
R
R
BUS OUTPUT
BUS OUTPUT
28
27
26
25
28
27
26
25
28
27
26
23
24
25
28
27
26
22
23
24
25
BUS OUTPUT
BUS OUTPUT
BUS OUTPUT
BUS OUTPUT
28
27
26
21
22
23
24
25
28
27
26
27
BUS OUTPUT
BUS OUTPUT
BUS OUTPUT
BUS OUTPUT
18
19
20
21
22
23
24
1
18
19
20
21
22
23
24
25
L
R
L
R
2
3
MULTI-TRACK IN
BUS OUTPUT BSTR OUTPUTS L
R
L
R
26
27
4
5
6
7
8
28
29
30
31
32
BUS OUTPUT
BUS OUTPUT
GMBUS BSTR 2 TRACK INPUTS OUTPUT
GM FDRIN
2 TRK FEED
L
L
R
L
R
L
R
L
R
R
L
L
R
R
L
R
2 TRACK PLAYBACK L
4
R
L
5
L
4
R
L
5
R
L
6
R
L
7
R
8
R
L
8
R
L
CONTROL ROOM MNTR INPUTS R
L e g a c y P l u s
L
6
R
L
7
R
L
R
L
L
1
R
L
L
R
2
R
L
L
R
L
2
R
L
BUS OUTPUT BUS OUTPUT
R
3
R
CONTROL ROOM MNTR INPUTS 1
BUS OUTPUT
BUS OUTPUT
R
2 TRACK INPUTS
EXT MNTR INPUTS L
Multi-track Summing Bus Patch Bay
BUS OUTPUT
GM ACA
GM SLECT INPUT
CONTROL ROOM MNTR INPUTS L
29
28
BUS OUTPUT
R
3
28
MULTI-TRACK IN
R
L
27
26
25
48
ACA OUTPUTS
L
27
Channel Patch Bay
BUS OUTPUT
24
47
R
2
32
LARGE INSERT RETURN
2 TRACK PLAYBACK 1
31
LARGE INSERT SEND
FADER INPUTS
6
L
27
26
25
MULTI-TRACK IN
39
30
EQUALIZER OUTPUT
18
MULTI-TRACK IN 16
29
DIRECT OUTPUT
17
16
28
BUS OUTPUT
BUS OUTPUT
LARGE CHANNEL INPUT
19
18
BUS OUTPUT
9
7
32
EQUALIZER INPUT 18
17
16
27
26
25
DIRECT OUTPUT
7
31
LARGE FADER INPUT
18
17
16
30
SMALL INSERT RETURN
EQUALIZER OUTPUT 9
29
SMALL FADER INPUT
18
17
16
28
BUS OUTPUT
BUS OUTPUT
200 IN
26
25
LARGE FADER INPUT 15
32
SMALL INSERT SEND
18
17
16
27
26
25
LARGE INSERT RETURN 15
32
31
SMALL CHANNEL INPUT 19
18
17
16
31
30
MULTITAPE OUTPUT
18
17
16
30
29
MIC PREAMP OUTPUT 19
18
17
16
29
28
MIC PREAMP IN
18
EQUALIZER INPUT
8
7
17
16
15
28
27
200 OUT
17
16
27
26
200 SIDECHAIN IN
LARGE CHANNEL INPUT
L
MNTR AMP IN
17
16
15
AUX (CUES BUS OUTPUT BUS DEVICE OUTPUTINPUTBUS OUTPUT
MNTR OUT L
200 IN
16
15
14
9
BUS OUTPUT BUS OUTPUT AUX SEND OUTPUT (CUES 6
18
26
MIC TIE LINE OUT
SMALL INSERT RETURN
MULTI-TRACK IN 6
25
LARGE INSERT SEND
8
BUS OUTPUT 6
25
24
SMALL FADER INPUT
8
MULTI-TRACK IN
AUX OUTPUT DEVICE INPUT BUS
BUS OUTPUT BUS OUTPUT
6
24
23
SMALL INSERT SEND
DIRECT OUTPUT 1
17
16
15
EQUALIZER OUTPUT
BUS OUTPUT
23
22
SMALL CHANNEL INPUT
EQUALIZER INPUT 1
22
21
MULTITAPE OUTPUT
LARGE FADER INPUT
BUS OUTPUT
21
20
MIC PREAMP OUTPUT
LARGE INSERT RETURN
BUS OUTPUT
20
19
MIC PREAMP IN
8
LARGE INSERT SEND 6
MIC TIE LINE OUT II
19
18
200 OUT
7
LARGE CHANNEL INPUT 6
18
17
200 SIDECHAIN IN
SMALL FADER INPUT 5
17
MIC TIE LINE OUT
SMALL INSERT RETURN
BUS OUTPUT
BUS OUTPUT
7
6
5
BUS OUTPUT
BUS OUTPUT
7
6
5
BUS OUTPUT
BUS OUTPUT
15
14
SMALL INSERT SEND 1
BUS OUTPUT
14
13
SMALL CHANNEL INPUT
BUS OUTPUT
BUS OUTPUT
13
12
MULTITAPE OUTPUT
BUS OUTPUT
BUS OUTPUT
12
11
MIC PREAMP OUTPUT
BUS OUTPUT
BUS OUTPUT
11
10
200 OUT
BUS OUTPUT
BUS OUTPUT
200 IN
6
BUS OUTPUT
BUS OUTPUT
10
9
200 SIDECHAIN IN
BUS OUTPUT
BUS OUTPUT
MIC TIE LINE OUT II
9
8
MIC PREAMP IN
BUS OUTPUT
BUS OUTPUT
8
MIC TIE LINE OUT
BUS OUTPUT
3
R
BUS OUTPUT
Master System Patch Bay BUS OUTPUT
BUS OUTPUT BUS OUTPUT
BUS OUTPUT
BUS OUTPUT
BUS OUTPUT
API
65
Patch Bay Normals Outputs: All output Patch Points “split” when a patch cord is inserted (except for the MIC TIE LINE OUT points). In other words, the signal continues to its Normalled destination, as well as through the inserted patch cord, in essence creating a “Y-cord.” NOTE: The MIC TIE LINE OUT Patch Points are the only output Patch Points that “break” when a patch cord is inserted. Inputs: All input Patch Points “break” when a patch cord is inserted. In other words, the signal is interrupted by the inserted patch cord and does not continue on to its normalled destination.
Channel Patch Bay There is a complete set of Patch Points associated with the complete Legacy Plus channel including: • Microphone Tie Lines • Upper 200 Slots • Lower 200 Slots • EQ Slot • 968L Input Module (Small Fader and Large Fader audio path) • Multitrack Recorder Returns • Direct Outputs API patch bays are presented in rows of 32 points. Consoles with more than 32 channels will have more than one bay for the Channel patch points. A 48 channel console will fill one and a half bays. A 64 channel console will fill a complete “double-wide” patch bay. Unused patch points that are not filled with Channel patch points may be configured with user patch points for effects, processors, and other devices. The Channel patch bay is comprised of all the patch points associated with the Small Fader and Large fader paths.
MIC TIE LINE OUT II
BUS OUTPUT BUS OUTPUT
1
2
3
4
5
BUS OUTPUT BUS OUTPUT
1
2
3
4
5
BUS OUTPUT BUS OUTPUT
1
2
3
4
5
BUS OUTPUT BUS OUTPUT
1
2
3
4
5
BUS OUTPUT BUS OUTPUT
1
2
3
4
5
6
BUS OUTPUT BUS OUTPUT
1
2
3
4
5
6
BUS OUTPUT BUS OUTPUT
1
2
3
4
5
BUS OUTPUT BUS OUTPUT
1
2
3
4
5
BUS OUTPUT BUS OUTPUT
1
2
3
4
BUS OUTPUT BUS OUTPUT
1
2
3
4
BUS OUTPUT BUS OUTPUT
1
2
3
4
BUS OUTPUT BUS OUTPUT
1
2
3
4
BUS OUTPUT BUS OUTPUT
1
2
3
4
5
BUS OUTPUT BUS OUTPUT
1
2
3
4
5
BUS OUTPUT BUS OUTPUT
1
2
3
4
BUS OUTPUT BUS OUTPUT
1
2
3
4
BUS OUTPUT BUS OUTPUT
1
2
3
4
BUS OUTPUT BUS OUTPUT
1
2
3
4
BUS OUTPUT BUS OUTPUT
1
2
3
4
6
7
8
6
7
10
11
12
13
14
15
9
10
11
12
13
14
15
8
9
10
11
12
13
14
15
8
9
10
11
12
13
14
15
8
9
10
11
12
13
14
15
16
8
9
10
11
12
13
14
15
16
9
10
11
12
13
14
9
10
11
12
13
14
9
10
11
12
13
14
9
10
11
12
13
14
9
10
11
12
13
14
9
10
11
12
13
14
9
10
11
12
13
14
9
10
11
12
13
14
9
10
11
12
13
14
9
10
11
12
13
14
9
10
11
12
13
14
8
9
10
11
12
13
14
8
9
10
11
12
13
14
8
MIC PREAMP IN 6
6
7
200 IN 7
MIC TIE LINE OUT II
9
7
8
MULTITAPE OUTPUT 6
7
8
6
7
8
6
7
8
6
7
8
6
7
8
7
8
7
8
6
7
8
6
7
8
6
7
8
6
7
6
7
19
20
21
22
23
24
25
200 IN 17
18
19
20
21
22
23
24
25
17
18
19
20
21
22
23
24
25
26
17
18
19
20
21
22
23
24
25
26
15
16
17
19
20
21
22
23
24
25
15
16
17
19
20
21
22
23
24
25
15
16
17
19
20
21
22
23
24
15
16
17
19
20
21
22
23
24
15
16
17
19
20
21
22
23
24
15
16
17
19
20
21
22
23
24
15
16
17
19
20
21
22
23
24
25
15
16
17
19
20
21
22
23
24
25
15
16
17
19
20
21
22
23
24
15
16
17
18
19
20
21
22
23
24
15
16
17
18
19
20
21
22
23
24
15
16
17
18
19
20
21
22
23
24
16
17
18
19
20
21
22
23
24
L e g a c y P l u s
27
27
28
29
30
31
32
29
30
31
32
28
29
30
31
32
28
29
30
31
32
28
29
30
31
32
28
29
30
31
32
29
30
31
32
29
30
31
32
29
30
31
32
29
30
31
32
29
30
31
32
29
30
31
32
29
30
31
32
29
30
31
32
29
30
31
32
29
30
31
32
29
30
31
32
28
29
30
31
32
28
29
30
31
32
28
MIC PREAMP IN 26
26
27
200 IN 27
27
200 OUT
18
18
18
18
18
18
18
18
18
27
MIC PREAMP OUTPUT 26
27
28
MULTITAPE OUTPUT 26
27
28
SMALL CHANNEL INPUT 25
26
27
28
SMALL INSERT SEND 25
26
27
28
SMALL INSERT RETURN 25
26
27
28
SMALL FADER INPUT 25
26
27
28
LARGE CHANNEL INPUT 26
27
28
LARGE INSERT SEND 26
27
28
LARGE INSERT RETURN 25
26
27
28
LARGE FADER INPUT 25
26
27
28
EQUALIZER INPUT 25
26
27
28
EQUALIZER OUTPUT
DIRECT OUTPUT 15
26
200 SIDECHAIN IN
EQUALIZER OUTPUT
DIRECT OUTPUT 5
18
EQUALIZER INPUT
EQUALIZER OUTPUT 5
16
17
26
MIC TIE LINE OUT
LARGE FADER INPUT
EQUALIZER INPUT 5
25
LARGE INSERT RETURN
LARGE FADER INPUT 5
25
24
LARGE INSERT SEND
LARGE INSERT RETURN 5
24
23
LARGE CHANNEL INPUT
LARGE INSERT SEND 6
23
22
SMALL FADER INPUT
LARGE CHANNEL INPUT 6
22
21
SMALL INSERT RETURN
SMALL FADER INPUT 5
21
20
SMALL INSERT SEND
SMALL INSERT RETURN 5
20
19
MIC PREAMP IN 16
MIC TIE LINE OUT II
19
18
SMALL CHANNEL INPUT
SMALL INSERT SEND 5
18
MULTITAPE OUTPUT
SMALL CHANNEL INPUT 5
17
MIC PREAMP OUTPUT
MIC PREAMP OUTPUT 6
17
200 OUT
200 OUT 7
16
200 SIDECHAIN IN
200 SIDECHAIN IN 7
16
MIC TIE LINE OUT
MIC TIE LINE OUT
25
26
27
DIRECT OUTPUT 25
26
27
API
66
Channel Patch Points
A detail of the Channel patch points is shown below. Only the first eight (8) patch points are shown for each row. The total number of these points in an actual patch bay is determined by frame size. For example, a 48 channel frame will have 48 patch points for each of the sections (A - S) outlined below.
MIC TIE LINE OUT II
1
2
3
4
1
2
3
1
2
3
4
1
2
3
4
1
2
3
1
2
3
1
2
1
2
1
2
1
2
1
2
1
2
1
2
1
2
1
2
1
2
1
2
1
2
1
2
5
7
8
6
7
8
(B)MIC TIE LINE OUT: Studio and isolation booth microphone panels. Fully Normalled to MICROPHONE PREAMP IN.
6
7
8
(C) MICROPHONE PREAMP IN: Input to the Upper 200 Slot: 212 or 205 preamp input.
6
7
8
(D) 200 INPUT: Input to the device fitted into the Lower 200 Slot. Half Normalled from the 200 Link Option point specified by the user.
6
7
8
(E) 200 SIDECHAIN INPUT: Input to the Sidechain/Key input for 225L Compressor or 235L Expander/Gate installed in the Lower 200 Slot.
6
7
8
(F) 200 OUTPUT: Output of the device fitted into the Lower 200 Slot. Half normalled to the 200 Link Option point specified by the user.
7
8
(G) MIC PREAMP OUT: Output of the device (212 or 205 module) fitted in the Upper 200 Slot. Half Normalled to the MIC input selectors for the Small Fader and Large Fader paths.
7
8
(H) MULTITAPE OUTPUT: Outputs of the Multi-track recorder. Half normalled to the TAPE input selectors for the Small Fader and Large Fader paths.
7
8
(I) SMALL CHANNEL INPUT: Input to the Small Fader path (post Upper 200 slot).
7
8
7
8
(K) SMALL INSERT RETURN: Insert Return patch point in the Small Fader path - pre fader post EQ. INS must be engaged to activate.
7
8
(L) SMALL FADER INPUT: Input to the Small Fader path at the Small Fader post insert.
7
8
(M) LARGE CHANNEL INPUT: Input to the Large fader path (post 200 slot or TAPE in).
7
8
(N) LARGE INSERT SEND: Insert Send patch point in the Large Fader path pre fader post EQ.
7
8
(O) LARGE INSERT RETURN: Insert Return patch point in the Large Fader path - pre fader post EQ. INS must be engaged to activate.
7
8
(P) LARGE FADER INPUT: Input to the Large Fader path at the Small Fader post insert.
7
8
(Q) EQUALIZER INPUT: Input to the EQ. Patch point will move with the EQ between the Small Fader and Large fader paths.
6
7
8
(R) EQUALIZER OUTPUT: Output of the EQ. Patch point moves with the EQ when the EQ is switched between the Small and Large Fader paths.
6
7
8
(S) DIRECT OUTPUTS: Fed from Large Fader path post fader. May be switched to the Small Fader path.
MIC TIE LINE OUT 4
5
MIC PREAMP IN 5
200 IN 5
200 SIDECHAIN IN 4
5
200 OUT 4
5
MIC PREAMP OUTPUT 3
4
5
6
MULTITAPE OUTPUT 3
4
5
6
SMALL CHANNEL INPUT 3
4
5
6
SMALL INSERT SEND 3
4
5
6
SMALL INSERT RETURN 3
4
5
6
SMALL FADER INPUT 3
4
5
6
LARGE CHANNEL INPUT 3
4
5
6
LARGE INSERT SEND 3
4
5
6
LARGE INSERT RETURN 3
4
5
6
LARGE FADER INPUT 3
4
5
6
EQUALIZER INPUT 3
4
5
6
EQUALIZER OUTPUT 3
4
5
DIRECT OUTPUT 3
4
5
(A) MIC TIE LINE OUT II: Additional microphone tie lines. Not normalled.
6
(J) SMALL INSERT SEND: Insert Send patch point in the Small Fader path pre fader post EQ.
L e g a c y P l u s
API
67
Channel Patch Points Block Diagram
The diagram below illustrates the location of all Channel Patch points “A thru S” from above in the Small Fader and Large Fader paths.
624L 24 48
23 47
22 46
21 45
20 44
19 43
18 42
17 41
8 32
E D
6 30
F
J
I
K
ST B
PK
Trim
G
C
1 25
ST C
MUTE INS
EQ
Upper 200
3 27
2 26
L
Lower 200
B
Pan
Small Fader
ST A
624L 24 48
23 47 21 45
20 44
19 43
18 42
17 41
6 30
N
M
Q
R
7 31 5 29
4 28
3 27
2 26
1 25
P O
500 Equalizer
SM
22 46
8 32
MIC
ST B
PAN
24
R
-6
ST C
ST A
PAN
LG
DIR
TAPE
H
7 31 5 29
4 28
ST C
MUTE
ST B
PK
INS
Trim
Pan
ST C ST B
ST A
ST A
PAN
PAN
LG
SM
Large Fader
Note: If your console has the Lower 200 device placed in one of the other 200 slot option positions, patch points D, E, and F will also be at the chosen 200 option position.
L e g a c y P l u s
API
68
UT
Multitrack Summing Bus/Multitrack Send Patch Bay The Multitrack Summing Bus/Multitrack Send Patch Bay supports the outputs of Multitrack Summing Buses 1-24 and the sends to the multitrack recorder. The bay below shows support for 48 track inputs. BUS OUTPUT
BUS OUTPUT
BUS OUTPUT
BUS OUTPUT
1
2
3
4
5
1
2
3
4
5
9
10
11
12
13
33
34
35
36
37
BUS OUTPUT 6
7
8
9
10
11
12
13
14
15
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
41
42
43
44
45
46
47
MULTI-TRACK IN 6
7
BUS OUTPUT 14
15
MULTI-TRACK IN 38
39
40
BUS OUTPUT 16
17
18
MULTI-TRACK IN 16
17
18
19
20
21
22
23
24
1
19
20
21
22
23
24
25
BUS OUTPUT 2
3
4
MULTI-TRACK IN 26
27
28
5
6
7
8
29
30
31
32
BUS OUTPUT
BUS OUTPUT
BUS OUTPUT
BUS OUTPUT 24
MULTI-TRACK IN
BUS OUTPUT
MULTI-TRACK IN
48
BUS OUTPUT: Multi-track Summing Bus outputs.
Half-normalled to MULTI-TRACK IN.
•
MULTI-TRACK IN: Input to the multi-track recorder.
Feeds the multi-track recorder inputs. Half-normalled from BUS OUTPUT. Patching to these points will replace the feed to the multi-track recorder with the patch cord signal.
• • •
Master System Patch Bay The Master System Patch Bay contains patch points that support the following: Auxiliary Send outputs Cue Send outputs Stereo Program ACAs and Master Faders Stereo Grand Master 2-Track Mix Recorder Feeds 2-Track record/playback device returns Control Room monitor and Studio monitor outputs Control Room monitor and Studio amplifier inputs Oscillator/Pink Noise generator Talk Back Phase Reverse (polarity inverter) Multiples (MULT)
• • • • • • • • • • • • BUS OUTPUT 1
AUX SEND OUTPUT 2
1
BUS OUTPUT
4
OUTPUT BUS OUTPUT AUX SEND OUTPUTBUS (CUES)
5
6
AUX OUTPUT DEVICE INPUT BUS
BUS OUTPUT BUS OUTPUT
BUS OUTPUT
3
2
3
4
MAIN
R
L
MAIN
R
L
ALT1
R
6
OSC OUT
EXT OSC IN
ALT1
R
4
1
2
3
4
STU OUT
EXT STU IN
ALT2
R
L
L
L
ALT2
R
STU AMP IN L R
REV T/B MIC OUT
3
L
MNTR AMP IN L
2
5
6
L
R
L
R
AUX (CUES BUS OUTPUT BUS DEVICE OUTPUTINPUTBUS OUTPUT 5
MNTR OUT L
1
PRE IN
R
R
GM EXT IN L R
5
1
1
L
R
L
R
L
R
L
R
L
R
FADER INPUTS
6
L
1
R
L
1
R
L
2
R
L
3
R
2
R
L
3
R
4
L
4
MULT 1
1
2
2
L
L
R
L
5
R
L
5
R
2
3
L
R
L
R
GM ACA
GMBUS BSTR 2 TRACK INPUTS OUTPUT
GM FDRIN
2 TRK FEED
L
L
R
R
L
L
R
3
L e g a c y P l u s
6
R
L
7
R
L
R
R
L
4
4
6
R
L
7
L
R
L
MULT 3
3
4
4
L
R
L
2 TRACK INPUTS L
R
8
R
L
8
R
L
5
1
R
L
2
L
R
L
MULT 5 5
R
L
5
6
2
R
L
BUS OUTPUT BUS OUTPUT
R
3
R
CONTROL ROOM MNTR INPUTS 1
BUS OUTPUT
R
EXT MNTR INPUTS
R
CONTROL ROOM MNTR INPUTS
MULT 2
R
2 TRACK PLAYBACK L
CONTROL ROOM MNTR INPUTS L
BUS OUTPUT BSTR OUTPUTS
GM SLECT INPUT
R
2 TRACK PLAYBACK L
MULT
Ø REV
ACA OUTPUTS
3
R
BUS OUTPUT
BUS OUTPUT
MULT 5
6
6
6
API
69
BUS OUTPUT
Auxiliary Send Patch Points
1
AUX SEND OUT: Output of the Auxiliary Send masters 1-6.
AUX SEND OUTPUT 2
3
4
5
6
5
6
AUX DEVICE INPUT 1
2
3
4
•
BUS OUTPUT
Half Normalled to AUX DEVICE INPUT (1-6) patch points.
AUX DEVICE INPUT: Inputs to the primary effects units.
BUS OUTPUT
AUX SEND OUT (CUES): Output of the Auxiliary Send masters 7-12 (Cue Sends 1 L/R, 2 L/R, 3 L/R).
BUS OUTPUT
Cue Send Patch Points
AUX SEND OUTPUT (CUES)
7
8
9
10
11
12
•
Half Normalled to AUX DEVICE INPUT (7-12) patch points.
AUX DEVICE INPUT (CUES) 7
8
9
10
11
BUS OUTPUT
12
AUX DEVICE INPUT (CUES): Inputs to the studio headphone systems.
Stereo Program Patch Points ACA OUTPUTS: Stereo Active Combining Amplifier outputs. ACA OUTPUTS A-L
A-R
B-L
B-R
C-L
C-R
• •
A-L
FADER INPUTS
A-R
B-L
B-R
C-L
C-R
Pre-Fader signal of Stereo Program busses: STA, STB, STC Half-normalled to FADER INPUTS
BUS OU
BUS OU
FADER INPUTS: Stereo Master Fader inputs. • • •
Feeds the stereo Master Fader inputs: STA, STB, STC Half-normalled from ACA OUTPUTS Patching to these points will replace the feed to the Stereo Master Faders with the patch cord signal.
L e g a c y P l u s
API
70
BSTR OUTPUTS A-L
A-L
A-R
A-R
B-L
B-R
C-L
GM SELECT INPUT B-L
B-R
C-L
C-R
C-R
BSTR OUTPUTS: Stereo Booster Amp outputs • Post-Fader signal of Stereo Program busses: STA, STB, STC (Pre GM Assign). • Half-normalled to GM SELECT INPUT
GM ACA L
R
GM FDR IN L
R
BUS OU
GM SELECT INPUT: Grand Master Select inputs • • •
Feeds the Stereo Grand Master Assign inputs Half-normalled from BSTR OUTPUTS Patching to these points will replace the feed to the Stereo Grand Master Assign (A, B, B) with the patch cord signal.
GM ACA: Stereo Grand Master Active Combining Amplifier (ACA) output • Pre Fader Grand Master signal BUS OUTPUT • Half-normalled to GM FDR IN
GM FDR IN: • • •
BUS OUTPUT
Feeds the Grand Master Fader Half-normalled from GM ACA Patching to these points will replace the feed to the Grand Master Fader with the patch cord signal.
GM BSTR: Stereo Grand Master Booster output GM BSTR L
R
• • •
Post Fader Grand Master signal Primary Stereo Program Output Half-normalled to 2T FEED IN
L
R
2T FEED IN: • • • •
BUS OUTPUT
BUS OUTPUT
2 TRK FEED
Distributed feed to four (4) 2-track recorders Half-normalled from GM BSTR OUT Half-normalled to 2T IN 1-4 Patching to these points will replace the feed to all four of the 2-track recorders with the patch cord signal.
L e g a c y P l u s
API
71
BUS OU
2T1 IN: Input to 2-track recorder #1
2 TRACK INPUTS L
R
L
•
R
BUS OUTPUT
Half-normalled from 2T FEED IN
2T2 IN: Input to 2-track recorder #2 •
2 TRACK INPUTS L
R
L
R
Half-normalled from 2T FEED IN
BUS OUTPUT
2T3 IN: Input to 2-track recorder #3 •
Half-normalled from 2T FEED IN
2T4 IN: Input to 2-track recorder #4 •
Half-normalled from 2T FEED IN
Patching to these points will replace the feed to the 2-track recorder with the patch cord signal.
Control Room, Studio Monitor Outputs and Control Room, Studio Amplifier Inputs
L
MAIN
MNTR OUT (Monitor Outputs): Console Control Room Monitor output feeds.
MNTR OUT
R
L
ALT1
R
L
ALT2
R
• •
L
MAIN
R
MNTR AMP IN L
ALT1
R
L
ALT2
R
Console Outputs for three sets of stereo monitors (MAIN, ALT1, ALT2) Half-normalled to MNTR AMP INPUT (inputs to Control Room Monitor Amplifiers)
MNTR AMP INPUT (Monitor Amplifier Inputs): Feeds the inputs to the Control Room Monitor amplifiers • •
Half-normalled from MNTR OUT Patching to these points will replace the feed to the Control Room Monitor amps with the patch cord signal
CAUTION: Exercise great care when patching into any of the Amplifier Input (AMP IN) patch points. There is no level control between these patch points and the inputs to the monitor system amplifiers. Patching unattenuated signals into these patch points can result in very loud output from the Control Room monitor system.
STU OUT L
R
STU OUT (Studio Output): Console Output to Studio Monitors •
STU AMP IN L
R
BUS OUTPUT
Half-Normalled to STU AMP IN patch points
STU AMP IN (Studio Amp In): Feeds the inputs to the Studio Monitor Amplifiers. BUS OUTPUT • Half-normalled from STU OUT • Patching to these points will replace the feed to the Studio Monitor amps with the patch cord signal.
L e g a c y P l u s
API
72
BUS OU
BUS OU
EXT STU IN L
BUS OUTPUT
R
EXT STU IN: Inputs to the EXT STU IN selector for the Studio Monitors.
GM EXT IN L
GM EXT IN: External Grand Master inputs
R
BUS OUTPUT
Allows an external stereo source to be added to the Grand Master mix Feeds the Grand Master ACA Active only when the EXT switch in the Grand Master Select controls is engaged
• • •
2-Track Playback Device Returns
2 TRACK PLAYBACK (2-Track Outputs 1-3): Returns from the external 2-Track record/playback device outputs
2 TRACK PLAYBACK 1-L
1-R
2-L
2-R
3-L
3-R
CONTROL ROOM MNTR INPUTS 1-L
1-R
2-L
2-R
3-L
3-R
•
CONTROL ROOM MNTR IN (2-Track Control Room Monitor Inputs): • • •
BUS OU
Half-normalled to 2 TRACK 1-3 CONTROL ROOM MNTR INPUTS
BUS OU
Feeds the 2T1, 2T2, and 2T3 Playback Monitor Selectors. Half-normalled from 2T 1-3 OUT Patching to these points will replace the feed to the 2Track Monitor Selectors with the patch cord signal.
NOTE: 2 TRACK PLAYBACK 4-8 AND CONTROL ROOM MNTR INPUTS 4-8 ARE IDENTICAL TO 1-3 (NOT SHOWN).
EXT MNTR INPUTS (External Monitor Inputs): Returns from external device outputs.
EXT MNTR INPUTS 1-L
1-R
2-L
2-R
3-L
3-R
CONTROL ROOM MNTR INPUTS 1-L
1-R
2-L
2-R
3-L
3-R
•
CONTROL ROOM MNTR INPUTS (External Control Room Monitor Inputs): Feeds the Control Room monitor External Playback selectors • • •
BUS OUT
Half-normalled to CONTROL ROOM MNTR INPUTS (Ext 1-3)
Feeds the EXT1, EXT2, and EXT3 Playback Monitor Selectors Half-normalled from 2T 1-3 OUT Patching to these points will replace the feed to the 2-
L e g a c y P l u s
API
73
BUS OU
Track Monitor Selectors with the patch cord signal.
Oscillator Patch Points OSC OUT (Oscillator Output): Output of the Oscillator OSC OUT
EXT
• •
OSC IN
Active when the OSC button is engaged. Independent of routing to Busses.
EXT OSC IN (External Oscillator Input): Input to the OSC assign switches • Allows for an external oscillator or noise generator to be routed to the OSC destinations.
Talk Back Patch Points
REV T/B MIC OUT
PRE IN
REV T/B MIC OUT: Dedicated Reverse Talk Back microphone tie-line from studio.
REV T/B PRE IN: Input to the Reverse Talk Back microphone preamplifier in the 227M Cue Master module.
Phase Reverse (polarity inverter)
Ø REV
Ø REV (Reverse): The two points are wired out of polarity with each other A signal patched into one jack will be out of polarity (phase reversed) at the other point.
Mults MULT
MULT 1
1
1
1
2
2
MULT
MULT 2
2
3
3
3
3
4
4
4
4
5
MULT 5 5
MULT 5
5
6
6
6
6
MULT (Multiple): “Paralleled” patch points • • •
Hardwired split (no buffer) Signals patched into one of these points is available at the other points Six (6) Multiples are typically provided
L e g a c y P l u s
API
74
Appendix API 2500 Stereo Bus Compressor The API 2500 Stereo Bus Compressor may be included in the console specifications and installed into the Expansion Slot of the Master Section. It may also be purchased separately. The manual is included below.
L e g a c y P l u s
API
75
L e g a c y P l u s
API
76
L e g a c y P l u s
API
77
L e g a c y P l u s
API
78
COMPRESSOR 0 +4 +8 +10
-4
.3
1
3
3
4
6
.2
-8
.1
10
2
10
.1
-12
.03
30
1.5
oo
.05
-20 dB THR E SH
m/sec A TT A C K
x:1 R A TIO
.5
1
.25s
.75s
2 .15s
sec RELEASE
1.5s
50m
3s
sec RELEASE variable
THRESH: This control sets the THRESHHOLD from +10 dBu to -20 dBu. Both channels are set independently with this control. Each channel has its own RMS detector and can operate as two single compressors or one stereo compressor. Even when using the LINK control, each channel ALWAYS has its own RMS detector for accuracy. This control is continuously variable. The THRESH control also effects the gain when in the AUTO gain make-up mode. ATTACK: This control sets the ATTACK time of each channel from 30 microseconds to 30 milliseconds. There are seven positions to choose from, 30u/sec, 100u/sec, 300u/sec, 1 m/sec, 3 m/sec, 10 m/sec and 30 m/sec. This rotary switch allows repeatability, while offering a wide range of settings. RATIO: This control sets the compression RATIO of each channel from 1.5:1 to INF:1 or above 20:1. There are seven positions to choose from, 1.5:1, 2:1, 3:1, 4:1, 6:1, 10:1 and INF:1. This rotary switch allows repeatability while offering a wide range of settings. The RATIO control also affects the gain when in the AUTO gain make-up mode. RELEASE: This control sets the RELEASE of each channel of the compressor, covering a wide range of release times including the last position, which switches it to the VARIALBLE RELEASE control to the right of it. There are seven positions to choose from, 50m/sec., 100m/sec, 200m/sec., 500/m/sec, 1 sec, 2 sec, and VARIABLE. VARIABLE RELEASE: This control sets the RELEASE time with a continuously variable pot covering a range from 50m/sec. to 3 seconds. This works when the RELEASE rotary switch control is fully clockwise. This allows for a continuously variable release, with the ability to match the "bounce" of a song with the release time.
L e g a c y P l u s
API
79
Tone Section TONE HARD
LOUD
MED
MED
SOFT
NORM
thresh KNE E
detector THRUST
NEW F FWD
OLD
F BACK
tone TYP E
KNEE: This control sets the KNEE, or how the point where the compressor begins to reduce the gain of the signal applied to the unit. When in the HARD position, the gain reduction begins at the set ratio and is a sharp transition into compression. The MED position has a slight "fade-in" up to the set ratio. The SOFT position has a gradual "fade-in" to the set ratio. The HARD position is very noticeable and the SOFT position is very subtle and similar to an "over-easy" type KNEE. THRUST: This control sets the THRUST, a patented circuit that inserts a hi-pass filter at the input of the RMS detector, limiting its response to lower frequencies. In the NORM mode, there is no filter and the 2500 compresses like most units on the market today. When MED is selected, there is a slight attenuation of the low frequencies and a slight boost of the high frequencies, with a flat midrange affecting the signal going into the RMS detector. This reduces the low frequencies from pumping the compressor as much and increases the sensitivity of the RMS detector to the higher frequencies, affecting the higher frequency peaks of the signal. When LOUD is selected, there is a gradual, linear filter (3 dB/oct), down 15 dB at 20 Hz and up 15dB at 20K Hz, equalizing the energy going into the RMS detector. This decreases the way the low frequencies pump the compressor and increases the way the higher frequencies are compressed. The overall difference is a noticeable increase of punch and low frequencies, but a uniformly compressed signal. It is the "little more punch" switch. TYPE: This control sets the TYPE, or where the signal for the RMS detector comes from. In the NEW mode, the compressor works like most newer types of compressors, as in most of the VCA based units. This is called FEED-FORWARD compression, where the RMS detector sends a signal to the VCA that is an exact ratio of the desired compression, set by the RATIO control. When the OLD position is selected, the RMS detector gets the signal from the output of the VCA, and then feeds the VCA a signal based on a set ratio of that signal. This type of compression is called FEEDBACK compression and is how the older API 525, 1176 type and 660 type compressors worked. The NEW mode is much harder and the OLD mode is very smooth. When SOFT, LOUD, and OLD is selected you can hardly hear the compression. PAGE 7
L e g a c y P l u s
API
80
Link and Output Section
LINK 60
70
BP
80
50
90
IND
100 percent L/R LINK
OUTPUT HP
6
man
LP
9
12 18
3
filter SH A P E
IN
B YP
make-up G AIN
0
+24 dB G AIN
L/R LINK: This control sets the left to right LINK percentage. Most compressors only allow 100% linking between channels. The 2500 allows for linking starting at IND, which is 0% and 50% to 100% in six additional steps. At the same time, each channel is still controlled by its own detector, preventing loading and slaving from one side, which many times creates errors. This control mixed each channel's RMS detector controls together according to the switch position. SHAPE: This control adjusts the SHAPE of the LINK control voltage mixing. There are two filters, a high pass filter, eliminating the lows, a low pass filter, eliminating the highs and a combination of both filters creating a band pass filter. The value of this circuit allows the LINK control voltage to NOT include certain frequencies, such as the low frequency end of each channel, preventing the low frequencies from linking from the left side to the right side, etc. When the different combinations of the filters are used, sounds like sharp percussive instruments on one channel will not couple to the other channel and cause it to compress. IN and BYPASS: The IN switch is a soft IN/OUT button that defeats the compression action silently, but allows the signal to pass through the 2500. The BYP switch is a relay hard-wire bypass that routes the signal directly from the input XLR to the output XLR, without going through any electronics. If the power fails to the 2500, the BYP automatically engages, preventing any loss of signal during the power fault. GAIN: When the GAIN switch is pressed IN, the GAIN pot controls the amount of makeup gain needed to maintain the desired overall gain after the compression action reduces the output level. When in the OUT position, the output make-up gain is automatically maintained regardless of the position of the THRESH or RATIO controls. If the input signal is below +4 dBu, rotating the THRESH control will increase the output level until the output level is around +4 dBu, and then as the signal gets compressed, it will maintain an even output level, allowing THRESH and RATIO adjustments without having to re-adjust the make-up gain. This is very useful during situations where an adjustment needs to be made without disturbing the output level to tape or air. This function is similar to the API 525 ceiling control. PAGE 8
L e g a c y P l u s
API
81
Metering and Trim Section 10 20 G/R 20
7 5 10
3 2 1 0 1 6
4
2
2VU + 3 0
10 20 G/R 20
7 5 10
3 2 1 0 1 6
4
2
2VU + 3 0
VU GR OUT IN
2dB LL/R tilt R
source METER
VU METER: The VU Meters displays the INPUT and OUTPUT levels in dBu, where +4dBu is O VU. This reference point can be adjusted internally to other reference levels. The GAIN scale shows the amount of gain reduction during compression, with the 0 point being all the way to the right, allowing more resolution of the gain reduction scale. The range of the meter is from 0 (no gain reduction) to 20 db of gain reduction. The compressor can compress up to 30 dB of reduction.
VU: The VU switch selects the INPUT, OUTPUT or GAIN REDUCTION to be displayed on the VU meters. It is a silent function and is isolated so the VU selection does not effect or load the signal in any way. TILT: The TILT adjustment is a screwdriver trim of the compression control voltage, allowing tilting of the compression left or right to equalize uneven signal compression that may offset the stereo image. This control adjusts about 2 dB in either direction, and does not affect the uncompressed signal, which is always unity in to out. It ONLY effects the make up gain voltage. This control is useful in a situation where there is a slight difference in the stereo image when a signal is compressed, but not when it is below the compression threshold. Normally, this control should be straight up.
When in doubt, start with all the controls straight up... PAGE 9
L e g a c y P l u s
API
82
Channel Block Diagram
+4 0 - 36 C ONNECTOR
SETTING LO SS OR PAD LO SS
OUTPUT OR INPUT LEVEL
TRIM ADJUST
ROTARY FADER OR LEVEL TRIM
TRANSF ORMER
MULTIPIN C ONNECTOR
AMPLIFIER WITH OUTPUT TRANSF ORMER
SUMMING POINT WITH RESISTOR
BALANCED TRANSF ORMERLESS AMPLIFIER
ALTERNATE ACTION PUSH BUTTON SUMMING MATRIX
AUDIO PANNER
PATCH JACK NORMALLED
PATCH JACK MULT
VU
K
K
PHASE K
9 5 2-0 6 1 9
QUE B O O STER OUT LEGACY SPLIT
AUX SEND LO CAL SUM OUT
MULTI-BUSS B O O STER OUT PLUS
VU METER
PUSH BUTTON SWITCH 1 POLE
PHASE FLIP RELAY
1 POLE RELAY
PUSH BUTTON SWITCH 2 POLE
2 POLE RELAY
LARGE "S OLO"
"MUTE A"
LARGE S OLO "SAFE"
24V
5V
SMALL "S OLO"
SMALL S OLO "SAFE"
LARGE MUTE
24V
L
SMALL "PAN"
LARGE "PAN"
6 2 4L BUSS SELECTOR M O DULE assy# 9 5 1 - 0 6 4 7 rev E
I
+4 200 OUTPUT
KEY INPUT
K
SMALL INPUT SELECT
K
SMALL PRE EQ 2 0 0 LINK OPTION
P
L
"MIC"
LARGE "INS"
SMALL "INS"
0 - 12
MUTE
0 - 12 +4 MUTE
PRE-PO ST MUTE JUMPER F OR PRE LARGE FDR BTA
2510 BTA
2510 BTA
+4 EQ UALIZER OUTPUT
H
PRE-PO ST MUTE JUMPER F OR PRE SMALL FDR
PRE-MUTE PRE-FADE AUX SEND BUFFERS
ø
ø
CHANNEL EQUALIZER SLOT
H
EQ UALIZER INPUT
EQ TO SMALL ACTIVATE
+4
BTA
PHASE K
K
K
PHASE K
"TAPE"
"EQ"
STANDARD SYS PATCHBAY PLUS 1 9"
+4
+4 SMALL CHANNEL INPUT
LARGE CHANNEL INPUT
LEGACY MULTI-TRACK OUT 1 6 CH
LARGE INPUT SELECT
PATCHLINK 2 0 0/MAIN PLUS
RIBB ON ASSEMBLY
LARGE PRE EQ 2 0 0 LINK OPTION
CHANNEL INPUT SELECT LO GIC
SMALL CHANNEL S OLO/MUTE LO GIC
LARGE CHANNEL S OLO/MUTE LO GIC
LEGACY PLUS 6 2 4L BUSS M OTHERB OARD assy# 9 5 1-0 6 6 5 rev B
5V
LEGACY PLUS 9 6 8L MOTHERB OARD assy# 9 5 1 - 0 6 4 9 rev A
SMALL MUTE
+4
2 0 0 PLUS MB 2x8 assy# 9 5 0-0 6 5 3 rev B
200 LOWER SLOT
+4
9 6 8L INPUT M O DULE AUTO MIX + W/PRE MTE assy# 9 5 1 - 2 6 5 1 rev F
DUAL 2 0 0 PATCH UPPER MIC PRE
K
MIC PREAMP OUTPUT
I
200 UPPER SLOT
-5 6
MASS TIE LINE 4 9
MASS TIE LINE 1
assy# 9 5 0-1 7 1 5 rev 200 INPUT -5 6 MIC PRE IN
"-6"
MUTE LO OP
AUTOMATION
I
"MAS S TIE LINE O UT 1 - 3 2" CABLE O
P
K
9 5 2-0 6 3 0
9 5 3-0 0 1 0-0 0
TAPE OUT PAD RELAY ACTIVATE
TAPE OUT PAD -6
MULTI TAPE OUTPUT
"MAS S TIE LINE O UT 4 9-8 0" CABLE P
+4
MULTI TAPE OUTPUT
9 5 2-0 6 0 0
J
M 9 5 2-0 6 4 8
K L
9 6 8 MB TO PATCH CARD 4 CH RIBB ON 9 5 2-0 6 1 5 MANUAL STEREO FADER PLUS
K
K
-1 0
LARGE CHANNEL FADER 4 6 8L M ONO FADER MODULE/F ORPLUS assy# 9 5 1 - 0 6 6 4 rev D
H.P. FILTER
K
L
-2
-2
"2 4"
MULTI BUS S OURCE RELAY
2520
2520
LARGE/SMALL JUMPER F OR AUX1-8 PRE S OURCE
1-4 "PF"
5-8 "PF"
9-1 2 "PF"
K
L
"1/2 5"
LARGE CHANNEL PAN
LARGE "ST. A"
L
SMALL CHANNEL PAN
SEND 1
SEND 2
SEND 4
SEND 3
SEND 5
H
"D/I"
H
+4
DIRECT OUT
"1 1/1 2"
K
LARGE "ST. C"
"2 4/4 8"
H
SMALL "ST. C"
K
H
H
K
K
K
K BTA
S OLO R
MULTI BUS 2 3 SEND 2
VU
SEND 3
SEND 4
MULTI BUS 2 4
MULTI BUS 2 FRO M BUS METER BUFFER AMP OUT (CHANNEL RESPECTIVE)
"GM EXT IN" RIGHT
"GM EXT IN" LEFT
SEND 1
CHANNEL METER/BLK LEGACY SWITCH assy# 9 5 0-2 6 7 6 rev -
K
S OLO L
CHANNEL INPUT/ DIRECT OUT METER BUFFER AMP
MULTI BUS 1
9-1 0/1 1-1 2 RELAY
LARGE S OLO RELAY
LEGACY PLUS PATCHBAY CARD assy# 9 5 0 - 0 6 5 8 rev C
"2 3/4 7"
K
SMALL "ST. A"
"ON"
"ON"
"ON"
"ON"
"ON"
K
PREFADE S OLO M O DE RELAYS
"2/2 6"
K
SMALL FADER INPUT
SEND 6
SEND 7&8
SEND 9-1 0 / 1 1-1 2
P
LARGE INSERT ACTIVATE
LARGE FADER INPUT
SMALL INSERT ACTIVATE
SMALL INSERT + 4 SMALL INSERT RETURN SEND K
LARGE INSERT RETURN
+4
SMALL PO ST EQ 2 0 0 LINK OPTION
"SM"
LARGE/SMALL JUMPER F OR AUX1-8 PO ST S OURCE
M
LARGE INSERT SEND
LARGE PO ST EQ 2 0 0 LINK OPTION
-1 0
SMALL CHANNEL FADER
1 5 0Hz 5 0 Hz 8 0 Hz
ELECTRONIC SWITCH
LINEAR FADER
BLO CK SYMB OL LEGEND
C 9 5 2-0 6 1 0
S OLO & AUX LO CAL SUM OUT PLUS
AUX B O O STER OUT
Q
P 9 5 3-0 0 1 4-0 0
ALL LO CAL ACA M O DULES ARE LO CATED UNDER
ST. C/R CAL
ST. B/R CAL
ST. A/R CAL
AUX1 1 CAL
D
D
G
G
G
ST. A/L CAL
ST. B/L CAL
ST. C/L CAL
GM AUX L CAL
GM AUX R CAL
AUX1 2 CAL
LEGACY PLUS 9 6 8L MOTHERB OARD assy# 9 5 1 - 0 6 4 9 rev A
LEGACY DEC OUPLED SUM AMP assy# 9 5 0-0 6 7 8 rev -
2510 ACA
LO CAL ACA AUX 1 2
LEGACY DEC OUPLED SUM AMP assy# 9 5 0-0 6 7 8 rev -
2510 ACA
LO CAL ACA AUX 1 1
LEGACY DEC OUPLED SUM AMP assy# 9 5 0-0 6 7 8 rev -
2510 ACA
LO CAL ACA AUX 7
LEGACY DEC OUPLED SUM AMP assy# 9 5 0-0 6 7 8 rev -
2510 ACA
LO CAL ACA AUX 6
LEGACY DEC OUPLED SUM AMP assy# 9 5 0-0 6 7 8 rev -
2510 ACA
LO CAL ACA AUX 1
THE 9 6 8 M O DULES PLUGGED ONTO THE M OTHERB O ARDS
LEGACY PLUS PGM ASSY assy# 9 5 0 - 0 6 6 8 rev F
BUS 1 CAL
2520
2520
BUS 2 4 CAL
6 2 4 M 3WAY BUS SUM B STR assy# 9 5 1 - 0 7 1 2 rev A
AUX 1 CAL
2520
AUX 6 CAL
2520
LEGACY PLUS ECHO B O O STER MODULE assy# 9 5 1 - 0 6 6 2 rev A
"C/R"
"C/R"
"1" ON
BTA
BUS 1 TRIM
BUS METER BUFFER AMP
BTA
K
"6" ON
"1" ON
BUS 2 4 TRIM
BUS METER BUFFER AMP "2 4" ON
A
AUX 1 TRIM
AUX 6 TRIM
K
K
K
TO CUE 1/R
"GM AUX"
K
CUE B O O STER LEGACY/PLUS assy# 9 5 0 - 0 6 6 1 rev E
"1 1/1 2"
STC
C
C
STEREO A LEFT SEND 5
STEREO A RIGHT SEND 6
+4 "BUS OUTPUT" 1
+4
"MULTITAPE INPUT" 1
"MULTITAPE INPUT" 2 5 "MULTITAPE INPUT" 4 9 "MULTITAPE INPUT" 7 3
"MULTITAPE INPUT" 2 4
"MULTITAPE INPUT" 4 8 "MULTITAPE INPUT" 7 2
K
"T/B"
3/R "ON"
"T/B"
3/L "ON"
"T/B"
1/L "ON"
"AUX DEVICE INPUT" 6
"AUX DEVICE INPUT" 1
"MULTITAPE INPUT" 9 6
K
CUE 3/R TRIM
CUE 3/L TRIM
CUE1/L TRIM
"AUX SEND OUTPUT" 6
+4
"AUX SEND OUTPUT" 1
+4
"BUS OUTPUT" 2 4
F
F
CUE1/L CAL
2520
CUE 3/L CAL
2520
CUE 3/R CAL
2520
K
"STB"
"STA"
"MULTI TRACK TAPE INPUT 1- 2 4" CABLE J
"MULTI TRACK TAPE INPUT 2 5-4 8" CABLE K
"MULTI TRACK TAPE INPUT 4 9 - 7 2" CABLE K2
"MULTI TRACK TAPE INPUT 7 3 - 9 6" CABLE K3 TO CHANNEL METER/BLK LEGACY SWITCH assy# 9 5 0-2 6 7 6 rev - (CHANNEL RESPECTIVE)
"MULTI TRACK TAPE INPUT 1- 2 4" CABLE J
"MULTI TRACK TAPE INPUT 2 5-4 8" CABLE K
+4
"CUSTO MER AUX DEVICEINPUT" CABLE L
"GM ACA OUT" RIGHT "GM FADER IN" RIGHT
+4
"GM ACA OUT" LEFT "GM FADER IN" LEFT
+4
"CUSTO MER AUX DEVICE INPUT" CABLE L
"AUX DEVICE INPUT(CUE AMP)" 1 2
"CUSTO MER AUX DEVICE INPUT" CABLE L
"AUX DEVICE INPUT(CUE AMP)" 1 1
BLO CK PGM MONITOR INPUTS
TO MONITOR
"AUX DEVICE INPUT(CUE AMP)" 7
"MULTI TRACK TAPE INPUT 4 9 - 7 2" CABLE K2
+4
"MULTI TRACK TAPE INPUT 7 3 - 9 6" CABLE K3
"CUSTO MER AUX DEVICE INPUT" CABLE L TO MONITOR
BLO CK PGM MONITOR INPUTS
E
E
T/B/O S C ASSY LEGACY/PLUS assy# 9 5 0 - 0 6 7 0 rev G
"AUX SEND OUTPUT(CUE)" 1 2
+4
"AUX SEND OUTPUT(CUE)" 1 1
E
"AUX SEND OUTPUT(CUE)" 7
"CUSTO MER AUX DEVICE INPUT" CABLE L TO MONITOR
BLO CK PGM MONITOR INPUTS
FROM MONITOR BLO CK CUE T/B LEVEL RELAY
"GM TO CUE"
2520
GRAND MASTER LEGACY/PLUS assy# 9 5 0 - 0 6 6 4 rev D
2520
Q
Q
Q
STEREO BUS A FADER
STEREO BUS B FADER
STEREO BUS C FADER
GRAND MASTER FADER
MANUAL MASTER FADER SET PLUS assy# 9 5 1 - 1 6 6 4 rev D
Q
Q
K
K
K
K
Q
K
Q
Q
K
STEREO A ACA CAL LEFT
STEREO A ACA CAL RIGHT
STEREO B ACA CAL LEFT
STEREO B ACA CAL RIGHT
STEREO C ACA CAL LEFT
STEREO C ACA CAL RIGHT
STEREO A B O O STER CAL LEFT
STEREO A B O O STER CAL RIGHT
STEREO B B O O STER CAL LEFT
STEREO B B O O STER CAL RIGHT
STEREO C B O O STER CAL LEFT
STEREO C B O O STER CAL RIGHT
2520
2520
2520
2520
2520
2520
2520
2520
2520
2520
2520
2520
2520
GRAND MASTER B O O STER CAL LEFT
2520
GRAND MASTER B O O STER CAL RIGHT
1 4-WAY STEREO B O O STER PLUS assy# 9 5 0 - 0 7 1 0 rev D
K
K
Q
Q
Q
B
B
B
B
B
B
B
B
B
B
B
B
B
B
+4
+4
"BUS OUTPUTS" ST A LEFT "FADER INPUTS" ST A LEFT
+4
"BUS OUTPUTS" ST A RIGHT "FADER INPUTS" ST A RIGHT
+4
"BUS OUTPUTS" ST B LEFT "FADER INPUTS" ST B LEFT
+4
"BUS OUTPUTS" ST B RIGHT "FADER INPUTS" ST B RIGHT
+4
"BUS OUTPUTS" ST C LEFT "FADER INPUTS" ST C LEFT
"GM SELECT IN" ST B LEFT
"GM SELECT IN" ST B RIGHT
+4
"ADA MULT IN R"
TO MONITOR BLO CK
8301 PATUXENT RANGE ROAD, JESSUP, MD 20794 410 381 7879
AUTOMATED PROCESSES, INC.
"CUSTO MER 2 TRACK IN" CABLE D
"CUSTO MER 2 TRACK IN" CABLE D
FROM MONITOR BLO CK BUS T/B LEVEL POT
FROM MONITOR BLO CK BUS T/B LO GIC
"ADA INPUT" FUTURE R,R, 5 0 , 5 2
TO MONITOR BLO CK
"ADA INPUT" FUTURE L,L, 4 9 , 5 1
TO MONITOR BLO CK
TO MONITOR BLO CK
TO MONITOR BLO CK
TO MONITOR BLO CK
TO MONITOR BLO CK
TO MONITOR BLO CK
"BUS OUTPUTS" ST C RIGHT "FADER INPUTS" ST C RIGHT
+4
+4
"GM SELECT IN" ST A LEFT
"MASTERS OUTPUTS" ST A LEFT
"GM SELECT IN" ST A RIGHT
"MASTERS OUTPUTS" ST A RIGHT
+4
"MASTERS OUTPUTS" ST B LEFT
+4
"MASTERS OUTPUTS" ST B RIGHT
+4
"GM SELECT IN" ST C LEFT
"MASTERS OUTPUTS" ST C LEFT
"GM SELECT IN" ST C RIGHT
"MASTERS OUTPUTS" ST C RIGHT
+4
"ADA MULT IN L"
"GM OUT" LEFT
+4
"GM OUT" RIGHT
6/2 8/0 2
6/2 8/0 2
6/2 8/0 2
PWOLFF
JB ORK
JB ORK
4 9-9 9 9-7 0 0 4
-
1
LEGACY PLUS PRO GRAM BLO CK DIAGRAM # 2 0 1 0
83
LEGACY PLUS 9 6 8L M OTHERB OARD assy#9 5 1-0 6 4 9 rev A
MUTE LO OP
AUTOMATION
D
9 5 2-0 6 2 0
9 5 2-0 6 1 2
9 5 3-0 0 0 7-0 0 DUAL 2 0 0 PATCH SNAKE UPPER MIC
9 5 3-0 0 0 3-0 0 INPUT SNAKE
9 5 2-0 6 1 1
H I
XXXXX 1
API
L e g a c y P l u s
LEGACY PLUS MAIN MOTHERB OARD SANDWICH assy#9 5 1-1 6 5 5 rev G
SMALL RELAY INHIBIT BUS
9 5 2-0 6 1 7 STEREO ACA B O O STER OUT PLUS
S OLO CLEAR BUS
9 5 2-0 6 1 6 STEREO ACA INPUT PLUS
SMALL S OLO DC BUS
A
SMALL S OLO-IN-PLACE BUS
G
VU TO SMALL BUS
"PEAK LED REFERENCE"
K
PEAK CV BUS
B
LARGE RELAY INHIBIT BUS
E
INPUT FLIP BUS
"MUTE A"
K
MUTE GROUP BUS
MASTER INPUT SELECT LO GIC
LARGE S OLO-IN-PLACE BUS
F
INPUT CLEAR BUS
24V
"LRG SIP"
"SML SIP"
K
PFL S OLO SELECT BUS
"INPUT CLEAR"
BUS METER SELECT LO GIC
"PFL"
TO M ON. BLO CK MASTER S OLO RELAYS "S OLO CLEAR"
"SIP LINK"
24V
"VU DIR"
"VU LARGE"
"VU SMALL"
VU TO DIR BUS
CENTER SECTION assy#9 5 1-2 6 6 7
"INPUT FLIP"
LARGE S OLO DC BUS
SEND 7
SEND 8
SEND 9
SEND 1 0
SEND 1 1
STEREO C LEFT SEND 1 2
STEREO C RIGHT
L e g a c y P l u s
84
0
-4
-12
-8
-20 dB THRESH
+10
+8
+4
.03
.1
1
m/sec ATTACK
.3
3
30
10 1.5
2
3
x:1 RATIO
4 6
oo
10 .05
.1
.5 1
sec RELEASE
.2 2
.25s
.75s
3s
sec RELEASE variable
50m
.15s 1.5s
detector THRUST
NORM
SOFT
thresh KNEE
MED
LOUD
MED
HARD
TONE
tone TYPE
F BACK
OLD
F FWD
NEW
70
90 100
80
LP
HP
filter SHAPE
BP
LINK
percent L/R LINK
60
IND
50
DRAWN B Y: STU DIO:
E N GIN E E R: DATE:
COMPRESSOR
N O T E S:
ARTIST:
IN
BYP
make-up GAIN
man 3
0
6
9
12
+24 dB GAIN
OUTPUT
18
Setup Documents
2500 Setup
API
HI-Z IN
TONE
L e g a c y P l u s
85
API
2
2
6
0 GAIN 10 4 6
4
18 8 VU0 -6 -12 8 -20
8
BRT
205 L
2
2
6
0 GAIN 10 4 6
4
18 8 VU0 -6 -12 8 -20
8
BRT
205L
CHAN#
LOAD
PAD 100K
CHAN#
IN
FAT
18 8 VU0 -6 -12 8 -20
NOTES
DIR
THIN
2
0 GAIN 10 4 6
8
NOTES
LOAD
PAD 100K
2
BRT
TITLE
IN
FAT
18 8 VU0 -6 -12 8 -20
8
6
TITLE
DIR
HI-Z IN
TONE
0 GAIN 10 4 6
THIN
2
2
4
6
IN
FAT
2
2
6
0 GAIN 10 4 6
4
18 8 VU0 -6 -12 8 -20
8
BRT
205L
CHAN#
NOTES
LOAD
PAD 100K
18 8 VU0 -6 -12 8 -20
8
BRT
205L
TITLE
DIR
HI-Z IN
TONE
0 GAIN 10 4 6
THIN
2
2
4
6
IN
FAT
2
2
6
0 GAIN 10 4 6
4
18 8 VU0 -6 -12 8 -20
8
BRT
205L
CHAN#
NOTES
LOAD
PAD 100K
18 8 VU0 -6 -12 8 -20
8
BRT
205L
TITLE
DIR
HI-Z IN
TONE
0 GAIN 10 4 6
THIN
2
2
4
6
IN
FAT
2
2
6
0 GAIN 10 4 6
4
18 8 VU0 -6 -12 8 -20
8
BRT
205L
CHAN#
NOTES
LOAD
PAD 100K
18 8 VU0 -6 -12 8 -20
8
BRT
205L
TITLE
DIR
HI-Z IN
TONE
0 GAIN 10 4 6
THIN
2
2
4
205L
BRT
205 L
6
CHAN#
4
STU DIO: CHAN#
DATE: CHAN# CHAN#
DRAWN
E N GIN E ER: CHAN#
N O TES:
ARTIST:
6
IN
FAT
LOAD
PAD 100K
18 8 VU0 -6 -12 8 -20
8
BRT
205L
2
2
6
0 GAIN 10 4 6
4
18 8 VU0 -6 -12 8 -20
8
BRT
205L
CHAN#
NOTES
TITLE
DIR
HI-Z IN
TONE
0 GAIN 10 4 6
THIN
2
2
4
CHAN#
B Y:
6
IN
FAT
LOAD
PAD 100K
18 8 VU0 -6 -12 8 -20
8
BRT
205 L
2
2
6
0 GAIN 10 4 6
4
18 8 VU0 -6 -12 8 -20
8
BRT
205 L
CHAN#
NOTES
TITLE
DIR
HI-Z IN
TONE
0 GAIN 10 4 6
THIN
2
2
4
CHAN#
6
BRT
IN
FAT
LOAD
PAD 100K
18 8 VU0 -6 -12 8 -20
8
205 L
2
2
6
0 GAIN 10 4 6
4
BRT
18 8 VU0 -6 -12 8 -20
8
205 L
CHAN#
NOTES
TITLE
DIR
HI-Z IN
TONE
0 GAIN 10 4 6
THIN
2
2
4
CHAN#
205L Setup
50 100
20K
100
600
20K
100
600
L e g a c y P l u s
86
API
50 100
50
100
20K
10K
215L
7.5K
LO-PASS
500
30
1K
5K
50 100
5K
50
100
20K
10K
215 L
7.5K
LO-PASS
500
30
1K
2.5K
CHAN#
CHAN#
2.5K
NOTES
FILTER
250
NOTES
SWEEP
20
HI-PASS
50
TITLE
FILTER
250
50 100
10K
7.5K
LO-PASS
500
30
1K
5K
TITLE
SWEEP
20
HI-PASS
50
LO-PASS
500
30
1K
2.5K
50 100
5K
20K
100
600
FILTER
250
50 100
5K
50
100
20K
10K
215 L 7.5K
LO-PASS
500
30
1K
2.5K
CHAN#
NOTES
TITLE
SWEEP
20
HI-PASS
50
10K
215 L
7.5K
LO-PASS
500
30
1K
2.5K
50 100
5K
20K
100
600
FILTER
250
50 100
5K
50
100
20K
10K
215 L 7.5K
LO-PASS
500
30
1K
2.5K
CHAN#
NOTES
TITLE
SWEEP
20
HI-PASS
50
10K
215 L
7.5K
LO-PASS
500
30
1K
2.5K
50 100
5K
20K
100
600
FILTER
250
50 100
5K
50
100
20K
10K
215 L 7.5K
LO-PASS
500
30
1K
2.5K
CHAN#
NOTES
TITLE
SWEEP
20
HI-PASS
50
10K
215 L
7.5K
LO-PASS
500
30
1K
2.5K
215 L
10K
7.5K
215L
5K
CHAN#
2.5K
STU DIO: CHAN#
DATE: CHAN# CHAN#
DRAWN
E N GIN E ER: CHAN#
N O TES:
ARTIST:
20K
100
600
FILTER
250
50
100
20K
10K
215 L 7.5K
50 100
5K
LO-PASS
500
30
1K
2.5K
CHAN#
NOTES
TITLE
SWEEP
20
HI-PASS
50
10K
215 L
7.5K
50 100
5K
LO-PASS
500
30
1K
2.5K
CHAN#
B Y:
50 100
5K
20K 100
600
FILTER
250
50 100
5K
50
100
20K
10K
215 L 7.5K
LO-PASS
500
30
1K
2.5K
CHAN#
NOTES
TITLE
SWEEP
20
HI-PASS
50
10K
215 L
7.5K
LO-PASS
500
30
1K
2.5K
CHAN#
50 100
5K
100
20K
600
FILTER
250
50 100
5K
50
100
20K
10K
215L 7.5K
LO-PASS
500
30
1K
2.5K
CHAN#
NOTES
TITLE
SWEEP
20
HI-PASS
50
10K
215L 7.5K
LO-PASS
500
30
1K
2.5K
CHAN#
215L Setup
50m
50m
L e g a c y P l u s
87
API
-8 AT F +4 S -12 M +8 3 +10 THRESH -20 6 9 5 3 10 15 -dB 25 20 2 HRD KNEE 0 RATIO 00
225 L -4
225 L -8 AT F +4 S -12 M +8 3 +10 THRESH -20 6 9 5 3 10 15 -dB 25 20 2 HRD KNEE 0 RATIO 00
0
CHAN#
CHAN#
-4
NOTES
NOTES
0
TITLE
LIM
REL 3s
COMP
TITLE
LIM
REL 3s
COMP
-8 AT F +4 S -12 M +8 3 +10 THRESH -20 6 9 5 3 10 15 -dB 25 20 2 HRD KNEE 00 0 RATIO SFT NEW .25s .75s TYPE 1.5s OLD .15s
-4
-4
225 L
-4
225 L -8 AT F +4 S -12 M +8 3 +10 THRESH -20 6 9 5 3 10 15 -dB 25 20 2 HRD KNEE 0 RATIO 00
0
CHAN#
NOTES
TITLE
LIM
REL 3s
COMP
50m
-8 AT F +4 S -12 M +8 3 +10 THRESH -20 6 9 5 3 10 15 -dB 25 20 2 HRD KNEE 00 0 RATIO SFT NEW .25s .75s TYPE 1.5s OLD .15s
0
-4
225 L
-4
225 L -8 AT F +4 S -12 M +8 3 +10 THRESH -20 6 9 5 3 10 15 -dB 25 20 2 HRD KNEE 0 RATIO 00
0
CHAN#
NOTES
TITLE
LIM
REL 3s
COMP
50m
-8 AT F +4 S -12 M +8 3 +10 THRESH -20 6 9 5 3 10 15 -dB 25 20 2 HRD KNEE 00 0 RATIO SFT NEW .25s .75s TYPE 1.5s OLD .15s
0
-4
225 L
-4
225 L -8 AT F +4 S -12 M +8 3 +10 THRESH -20 6 9 5 3 10 15 -dB 25 20 2 HRD KNEE 0 RATIO 00
0
CHAN#
NOTES
TITLE
LIM
REL 3s
COMP
50m
-8 AT F +4 S -12 M +8 3 +10 THRESH -20 6 9 5 3 10 15 -dB 25 20 2 HRD KNEE 00 0 RATIO SFT NEW .25s .75s TYPE 1.5s OLD .15s
0
225 L
-8 AT F +4 S -12 M +8 3 +10 THRESH -20 6 9 5 3 10 15 -dB 25 20 2 HRD KNEE 00 0 RATIO SFT NEW .25s .75s TYPE 1.5s OLD .15s
0
225 L
-4
CHAN#
0
STU DIO: CHAN#
DATE: CHAN# CHAN#
DRAWN
E N GIN E ER: CHAN#
N O TES:
ARTIST:
-4
225 L
-4
225 L -8 AT F +4 S -12 M +8 3 +10 THRESH -20 6 9 5 3 10 15 -dB 25 20 2 HRD KNEE 0 RATIO 00
0
CHAN#
NOTES
TITLE
LIM
REL 3s
COMP
50m
-8 AT F +4 S -12 M +8 3 +10 THRESH -20 6 9 5 3 10 15 -dB 25 20 2 HRD KNEE 00 0 RATIO SFT NEW .25s .75s TYPE 1.5s OLD .15s
0
CHAN#
B Y:
-4
225 L
-4
225 L -8 AT F +4 S -12 M +8 3 +10 THRESH -20 6 9 5 3 10 15 -dB 25 20 2 HRD KNEE 0 RATIO 00
0
CHAN#
NOTES
TITLE
LIM
REL 3s
COMP
50m
-8 AT F +4 S -12 M +8 3 +10 THRESH -20 6 9 5 3 10 15 -dB 25 20 2 HRD KNEE 00 0 RATIO SFT NEW .25s .75s TYPE 1.5s OLD .15s
0
CHAN#
-4 -8
225 L
50m
-4 -8
225 L
+8
-12
AT F S M 3 +10 THRESH -20 6 9 5 3 10 15 -dB 25 20 2 HRD KNEE 0 RATIO 00 +4
0
CHAN#
NOTES
TITLE
LIM
REL 3s
COMP
-12
AT F S M +8 3 +10 THRESH -20 6 9 5 3 10 15 -dB 25 20 2 HRD KNEE 00 0 RATIO SFT NEW .25s .75s TYPE 1.5s OLD .15s +4
0
CHAN#
225L Setup
+4 +10
0
-10
AT -30 M
-20
F
235 L
R/H
AT -30 M
-20
L e g a c y P l u s
88
R/H
API
-10
F AT -30 M
-20
235 L
5 +25 THRESH -45 10 15 9 6 20 20 -dB 25 50 3 EXP
+20
0
0 -10 F AT -30 M -20
235 L
5 +25 THRESH -45 10 15 9 6 20 20 -dB 25 50 3 EXP
+20
+4 +10
CHAN#
CHAN#
EXP
3s
1.5s REL
GTE HLD
NOTES
GATE
50m
.15s
0 DEPTH 80 .25s .75s
NOTES
+4 +10
F
235 L
TITLE
EXP
3s
1.5s REL
GTE HLD
0 -10
5 +25 THRESH -45 10 15 9 6 20 20 -dB 25 50 3 EXP
+20
+4 +10
TITLE
GATE
50m
.15s
0 DEPTH 80 .25s .75s
5 +25 THRESH -45 10 15 9 6 20 20 -dB 25 50 3 EXP
+20
CHAN#
0
-10 AT -30 M
-20
F
235 L
R/H
EXP
3s
GTE HLD
1.5s REL
0
-10 F AT -30 M -20
235 L
5 +25 THRESH -45 10 15 9 6 20 20 -dB 25 50 3 EXP
+20
+4 +10
CHAN#
NOTES
TITLE
GATE
50m
.15s
0 DEPTH 80 .25s .75s
5 +25 THRESH -45 10 15 9 6 20 20 -dB 25 50 3 EXP
+20
+4 +10
0
-10 AT -30 M
-20
F
235 L
R/H
EXP
3s
GTE HLD
1.5s REL
0
-10 F AT -30 M -20
235 L
5 +25 THRESH -45 10 15 9 6 20 20 -dB 25 50 3 EXP
+20
+4 +10
CHAN#
NOTES
TITLE
GATE
50m
.15s
0 DEPTH 80 .25s .75s
5 +25 THRESH -45 10 15 9 6 20 20 -dB 25 50 3 EXP
+20
+4 +10
0
-10 AT -30 M
-20
F
235 L
R/H
EXP
3s
GTE HLD
1.5s REL
0
-10 F AT -30 M -20
235 L
5 +25 THRESH -45 10 15 9 6 20 20 -dB 25 50 3 EXP
+20
+4 +10
CHAN#
NOTES
TITLE
GATE
50m
.15s
0 DEPTH 80 .25s .75s
5 +25 THRESH -45 10 15 9 6 20 20 -dB 25 50 3 EXP
+20
+4 +10
STU DIO: CHAN#
DATE: CHAN# CHAN#
DRAWN
E N GIN E ER: CHAN#
N O TES:
ARTIST:
0
-10 AT -30 M
-20
F
235 L
R/H
EXP
3s
GTE HLD
1.5s REL
0
-10 F AT -30 M -20
235 L
5 +25 THRESH -45 10 15 9 6 20 20 -dB 25 50 3 EXP
+20
+4 +10
CHAN#
NOTES
TITLE
GATE
50m
.15s
0 DEPTH 80 .25s .75s
5 +25 THRESH -45 10 15 9 6 20 20 -dB 25 50 3 EXP
+20
+4 +10
CHAN#
B Y:
0
-10 AT -30 M
-20
F
235 L
R/H
EXP
3s
1.5s REL
GTE HLD
0
-10 F AT -30 M -20
235 L
5 +25 THRESH -45 10 15 9 6 20 20 -dB 25 50 3 EXP
+20
+4 +10
CHAN#
NOTES
TITLE
GATE
50m
.15s
0 DEPTH 80 .25s .75s
5 +25 THRESH -45 10 15 9 6 20 20 -dB 25 50 3 EXP
+20
+4 +10
CHAN#
0
-10 F AT -30 M -20
235 L
R/H
EXP
3s
1.5s REL
GTE HLD
0
-10 F AT -30 M -20
235 L
5 +25 THRESH -45 10 15 9 6 20 20 -dB 25 50 3 EXP
+20
+4 +10
CHAN#
NOTES
TITLE
GATE
50m
.15s
0 DEPTH 80 .25s .75s
5 +25 THRESH -45 10 15 9 6 20 20 -dB 25 50 3 EXP
+20
+4 +10
CHAN#
235L Setup
550L Setup
ARTIST:
N O TES:
E N GIN E ER:
DRAWN
DATE:
STU DIO:
CHAN#
CHAN#
2.5k
2.5k
5k 7k
HF
HF
800
15k
HF
800
15k
HF
800
15k
HF
800
15k
5k
7k
10k 12.5k
20k
2.5k
5k
7k
10k 12.5k
20k
HF
800
7k
10k 12.5k
20k
CHAN#
2.5k
5k
7k
10k 12.5k
20k
CHAN#
2.5k
5k
7k
10k 12.5k
20k
CHAN#
2.5k
5k
7k
10k 15k
CHAN#
2.5k
5k
7k
10k
CHAN#
2.5k
5k
12.5k
CHAN#
B Y:
15k
10k 12.5k
20k
HF
800
15k
12.5k
20k
HF
800
1.5k
1.5k
1.5k
1.5k
1.5k
1.5k
1.5k
3k
3k
3k
3k
3k
3k
3k
3k
5k 8k
5k 8k
10k 12.5k
75
75
150 180 240
240 500
1k
LF
700
LF
30
50
50
100
50
100 200
300
400
40
100 200
300
400
100 200
300
400
300
400
300
400
30
50
100 300
400
1k
40
50
200
700
LF
40
100 200
500
1k
30
50
100 200
700
LF
40
50
240 500
1k
30
40
50
700
LF
30
180
240 500
1k
LF
30
40
700
150
180
240 500
1k
LF
30
40
700
10k 12.5k
75
150
180
240 500
1k
LF
30
40
700
8k
10k 12.5k
75
150
180
240 500
1k
5k 8k
10k 12.5k
75
150
180
5k 8k
10k 12.5k
75
150
180
240 700
5k 8k
10k 12.5k
75
150
180
5k 8k
10k 12.5k
75
150
500
5k 8k
10k 12.5k
20k
800
1.5k
5k
15k
100 200
300
400
200
300
400
TITLE
TITLE
TITLE
TITLE
TITLE
TITLE
TITLE
TITLE
NOTES
NOTES
NOTES
NOTES
NOTES
NOTES
NOTES
NOTES
L e g a c y P l u s
API
89
560
Set
560 Setup
Up
Sheet
ARTIST:
N O TES:
E N GIN E ER:
DRAWN
DATE:
STU DIO:
CHAN#
CHAN#
560 --12
0
CHAN#
560 --12
+12
0
+12
CHAN#
560 --12
0
CHAN#
560 --12
+12
0
B Y:
CHAN#
560 --12
+12
0
+12
CHAN#
560 --12
0
CHAN#
560 --12
+12
0
560 --12
+12
16K
16K
16K
16K
16K
16K
16K
16K
8K
8K
8K
8K
8K
8K
8K
8K
4K
4K
4K
4K
4K
4K
4K
4K
2K
2K
2K
2K
2K
2K
2K
2K
1K
1K
1K
1K
1K
1K
1K
1K
500
500
500
500
500
500
500
500
250
250
250
250
250
250
250
250
125
125
125
125
125
125
125
125
63
63
63
63
63
63
63
63
31
31
31
31
31
31
31
31
IN
IN
IN
IN
IN
IN
IN
0
+12
IN
TITLE
TITLE
TITLE
TITLE
TITLE
TITLE
TITLE
TITLE
NOTES
NOTES
NOTES
NOTES
NOTES
NOTES
NOTES
NOTES
L e g a c y P l u s
API
90
624L Setup
ARTIST:
N O TES:
E N GIN E ER:
DRAWN
DATE:
STU DIO:
CHAN#
CHAN#
624 L
CHAN#
624 L
CHAN#
624 L
CHAN#
624 L
B Y:
CHAN#
624 L
CHAN#
624 L
CHAN#
624 L
624 L
23/47 24/ 48
23/ 47 24/48
23/47 24/ 48
23/47 24/ 48
23/47 24/48
23/ 47 24/48
23/47 24/48
23/47 24/48
21/45 22/46
21/ 45 22/ 46
21/45 22/46
21/45 22/46
21/ 45 22/ 46
21/ 45 22/ 46
21/ 45 22/ 46
21/ 45 22/ 46
19/43 20/44
19/ 43 20/ 44
19/43 20/44
19/43 20/44
19/ 43 20/ 44
19/ 43 20/ 44
19/ 43 20/ 44
19/ 43 20/ 44
17/41 18/42
17/ 41 18/ 42
17/41 18/42
17/41 18/42
17/ 41 18/ 42
17/ 41 18/ 42
17/ 41 18/ 42
17/ 41 18/ 42
15/39 16/40
15/ 39 16/ 40
15/39 16/40
15/39 16/40
15/ 39 16/ 40
15/ 39 16/ 40
15/ 39 16/ 40
15/ 39 16/ 40
13/37 14/38
13/ 37 14/ 38
13/37 14/38
13/37 14/38
13/ 37 14/ 38
13/ 37 14/ 38
13/ 37 14/ 38
13/ 37 14/ 38
11/35 12/36
11/ 35 12/ 36
11/35 12/36
11/35 12/36
11/ 35 12/ 36
11/ 35 12/ 36
11/ 35 12/ 36
11/ 35 12/ 36
9/33
10/34
9/33
10/ 34
9/33
10/34
9/33
10/34
9/33
10/ 34
9/33
10/ 34
9/33
10/ 34
9/33
10/ 34
7/31
8/32
7/31
8/32
7/31
8/32
7/31
8/32
7/31
8/32
7/31
8/32
7/31
8/32
7/31
8/32
5/29
6/30
5/29
6/30
5/29
6/30
5/29
6/30
5/29
6/30
5/29
6/30
5/29
6/30
5/29
6/30
3/27
4/28
3/27
4/28
3/27
4/28
3/27
4/28
3/27
4/28
3/27
4/28
3/27
4/28
3/27
4/28
1/25
2/26
1/25
2/26
1/25
2/26
1/25
2/26
1/25
2/26
1/25
2/26
1/25
2/26
1/25
2/26
STC
STC
STC
STC
STC
STC
STC
STC
STC
STC
STC
STC
STC
STC
STC
STC
STB
STB
STB
STB
STB
STB
STB
STB
STB
STB
STB
STB
STB
STB
STB
STB
STA
STA
STA
STA
STA
STA
STA
STA
STA
STA
STA
STA
STA
STA
STA
STA
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
SM
LG
SM
LG
SM
LG
SM
LG
SM
LG
SM
LG
SM
LG
SM
LG
TITLE
TITLE
TITLE
TITLE
TITLE
TITLE
TITLE
TITLE
NOTES
NOTES
NOTES
NOTES
NOTES
NOTES
NOTES
NOTES
L e g a c y P l u s
API
91
Automated Processes, Inc. 8301 Patuxent Range Road Jessup, MD 20794 USA 301-776-7879 www.apiaudio.com
Automated Processes, Inc., 9017-C Mendenhall Ct., Columbia, MD. USA 21045 410-381-7879 an ATI Group company L e g a c y P l u s
www.apiaudio.com
In a constant effort to improve the subtle details of our products, some amount 92 of change is inevitable. API reserves the right to modify or change any of the features, specifications or performance of its products without notice or obligation.
API
