Features - Alshapiro1

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The BEQ PRO24 is a professional 5.1 audio console from the Father of British EQ John Oram. The Oram BEQ PRO24 has been designed for the studio that requires the classic warm sound that Oram Sonics delivers, together with today’s soundaround mix functionality. It is the result of John Oram’s vision of a truly professional 8-buss console for the Pro Studio owner. KEY FEATURES: 4 band EQ-magic TM Equaliser Low and High filters 2 band EQ on small fader 24 track outputs, with direct out switch 8 group faders / sub mix faders 8 AUX sends with mute and pre/post switching 8 more AUX sends via the small fader routing (total of 16) Large/small fader flip 5.1 routing with sub-output mix matrix Automation ready Global ‘ solo kill ’ and ‘ remix ’ mode Signal present- large and small faders 8 stereo returns with EQ Stereo Hi-Def EQ Stereo Sonicomp limiter LED channel metering External ‘ silent run ’ PSU Oram Professional Audio has a reputation for designing and building quality analogue consoles. The experience to fully understand what great audio is exists at ORAM, our designers all being musically and technically qualified alike. The ORAM BEQ Series 8 console is now replaced by the PRO24 professional analogue 8-buss console. The facilities required of a console today are incorporated into this design and are highlighted above. OPIONAL EXTRAS At ORAM we like to put the customers requirements first, to facilitate this we offer the new PRO24 console with a host of optional extras. This enables the customer to purchase the perfect console for their room. Listed below are some of the extras available but at ORAM we will customize to your requirements ORAM BODY KIT ORAM RACK PATCH BAY ORAM MOVING FADERS ORAM METAL KNOBS (Any colour) ORAM STAND ANY COLOUR POLYCARB (Limited to 2000 different colours) FEATURES Channel The first control is the MIC gain associated with this is the +48 phantom switch, the MIC input selector, and the phase switch. These three switches enable the +48v phantom to be individually switched on each channel; the MIC input to be disabled when not be used and the phase of the MIC input to be reversed. The MIC pre is based around an Analog Devices amplifier used by John Oram in all his low noise designs. The design architecture is unique to John Oram in that by using a special potentiometer designed and made by him, the preamp has a controlled gain swing from +70dB gain to unity. This enables full line levels to be driven into the MIC pre, in fact up to +22dBu. This enables to line sources to be mixed together in the channel. The MIC pre is paddless and transformerless for high dynamic handling and transparency. Below the MIC control is the line level control this gives a swing of + and – 15dBu. It also has an input selector to enable the signal. Between the MIC and line controls is the peak LED this comes after the MIC and line inputs have been mixed and starts to turn on at +18dBu leaving 10dBu headroom before clipping. Next is the tape level control as with the line input this gives a range of + and – 15dBu. Alongside the tape control is the I/P flip switch, this will set the channel up in REMIX mode shown by the illumination of the green LED. When the REMIX switched is pressed in the master section all channels with the green I/P flip LED illuminated with have the MIC/line input swapped with the tape input. The LED then turns red to show that the channel is in remix mode. The signal going to the subgroup routing can come from the small or large fader via the route switch. This signal can then be sent to 1 and/or all the buss pairs, the pan pot can be used to send the signal to either of the buss pairs. Below the subgroup routing is the DIR switch, this is used for 24-track recording of the large signal. The console is essentially an 8 buss console this means that channel 1,9,17 etc and 2,10,18 etc have the same subgroup output, but with the DIR switch pressed the direct large signal form that channel goes to the subgroup output. Below the DIR switch is the large fader routing, this enables the large signal to be sent to left/right 1, left/right 2 and center. These buttons can be used for 5.1 recording as well as stereo recording and mono. To the left of the routing section are the small fader AUX sends, AUX5, AUX6, AUX 7 and AUX 8. AUX 5 is factory set to post fader via a jumper on the channel, there is a rotary control which adjusts the amount of signal sent to the master AUX send on the master section. The AUX 5 signal is mixed with the AUX 5 signal from the large fader. AUX 6 has a similar level control but also has a pre/post switch which selects the signal pre or post the 60MM fader. AUX 7 and 8 are a stereo pair, with a pan control to position the signal in the stereo mix as well as a level control, as with AUX6 there is a pre/post switch. Note: All AUX’s are post EQ at all times. Next is the small EQ control, there is a high and low shelving EQ with + and – 15dBu of level control. The high EQ shelf is set to 10kHz and the low is set to 100Hz. The next section is the small signal control functions, there is a soft mute and solo both of these controls are momentary which enables the global solo kill and the solo distruct (this is explained in more detail under the master section solo description.) Below this is the routing for the small signal as with the large signals it can be sent to left/right 1, left/right 2, and the center buss. There is also a DIR switch that mixes with the large DIR signal before being sent out the back of the console. The from main switch disconnects the tape signal from the just before the input to the EQ and places the large signal into the small EQ. The large signal can be pick up pre or post the large fader via the switch. The 60mm fader controls the level of the small signal (except when the fader flip switch is pressed) and has an additional 5dBu of gain. Next to the fader is a signal present indicated which is pre the fader, this enables you to know that there is a signal on the small fader before it is pushed up. Last in this section is the pan control, this enables you to move the small signal from left to right, the signal is 3dBu down in the middle. The next section is the large AUX sends, AUX 1 to AUX 5, each AUX as a level control and its own mute and pre/post fader switch, again all AUX's are post fader at all times. Below the AUX’s is the large EQ section It is the equaliser section of each channel that actually shapes the tonality of your sound. Whether you are reproducing the sound of a violin or a tractor, the realism of that sound is entirely dependant on how you have adjusted the EQ. Therefore, the EQ section can be your best friend or your worst enemy in a difficult audio situation. Be careful not to over-EQ your sound system. More tweeters and woofers are destroyed from over use of an EQ than all the other reasons combined. If you feel that you need more than 10-12dB of boost in you low or high EQ, you need to look elsewhere in your system for a problem. In a live sound system, this might include readjusting the output levels of your active crossover, output levels and equalisation of your signal source devices, adding subwoofers to your system, etc. Are your power amplifiers clipping? Maybe you’ve run out of power or your system just isn’t big enough for the room. Expand to a bigger system instead of damaging your equipment by over-EQ’ing it. The BEQ-pro24 mixers have a very active, musical sounding EQ section that also features some useful tools. At the bottom of the EQ section is the EQ in switch, this enables the EQ to be switched in and out easily for comparing the difference in sound. To the left of this switch is a low filter, this control rolls off any objectionable, low frequency audio you don’t want in your mix such as stage rumble, room boominess, pops, and breath or wind noise. The great thing about the low cut filter is that its cut off frequency can be swept from 5Hz to 200Hz. You can set the filter to remove only the objectionable part of the signal and leave the rest untouched. There is also a high filter that is useful for removing any unwanted high frequencies signals such as tape hiss or other externally generated noises. The filter ranges from 1k5 to 50kHz, this makes it a very useful tool. The EQ itself is a 4 band with two mid sweep. The mid sweep ranges from 65Hz to 2kHz and 1k5 to 15kHz. As you can see from the broad range, the mid controls can become a low or high EQ, as well. The EQ is incredibly flexible. Plug in your favourite tape or CD and experiment with the different settings to familiarise yourself with the ways it can help you. Try it with good headphones to appreciate the subtle nuances of the circuit. Remember: don’t overEQ, as it can be dangerous to your sound system. Sometimes, less gives more. Try reducing the mids down to render more apparent highs and lows. This is called subtractive equalisation. Try it. It works. HIGH FILTER Selects the frequency at which high frequency attenuation begins. The signal rolls off at 12dB per octave above the selected frequency. The filter ranges from 1k5 to 50kHz. HIGH SHELF Provides plus or minus 15dB of boost or cut of high frequencies shelving at either 7kHz or 12kHz. HIGH MID SWEEP CONTROL Selects the center frequency to be boosted or cut in the peak/dip high midrange EQ filter section. The control ranges from 1k5 to 15 kHz HIGH MID LEVEL CONTROL Provides up to 15dB of boost or cut at the center frequency of the high mid sweep EQ filter section LOW MID SWEEP CONTROL Selects the center frequency to be boosted or cut in the peak/dip low midrange EQ filter section. The control ranges from 65Hz to 2 kHz LOW MID LEVEL CONTROL Provides up to 15dB of boost or cut at the center frequency of the low mid sweep EQ filter section LOW SHELF Provides plus or minus 15dB of boost or cut at low frequencies shelving at either 50Hz or 150Hz LOW FILTER Selects the frequency at which low frequency attenuation begins. The signal rolls off at 12dB per octave below the selected frequency. The filter ranges from 5Hz to 200Hz. Below the EQ section is the large fader pan control this determines the amount of individual channel signal sent to the left and right master outputs and allows you to place that signal anywhere in the left to right stereo panorama. It also functions as a routing control for the odd and even numbered subgroups. Alongside the pan is the fader flip this sends the large signal to the 60mm fader and the small signal to the 100mm fader. Below them is the large faders mute and solo, both being soft to enable the solo kill and solo destruct function to work. Between the mute and solo is the large signal present, this picks the signal up post EQ but pre the fader. The 100mm fader control the large signal being sent to the master section and is automation ready. MASTER SECTION The master section is split up into three sections the group module of which there are eight; this controls the master AUX sends, the stereo AUX returns, and the master subgroups. Next is the EQ/COMP module, there are two of these, they control the master mixing of left/right1, left/right2 and center. These modules also control the positioning of the SONICOMP compressor and HI-DEF EQ in the mix. The final module is the monitor this controls the speaker output, talkback, solo, and console mode. GROUP MODULE At the top of the group module is the master AUX send control, these controls the amount of mixed AUX 1 sent out the rear of the console. Each AUX has its own solo and mute. Below the AUX sends are the stereo AUX returns, each one has a trim control that will give an adjustment of + and – 15dB. Below the trim control is the routing, this enables to AUX return to be sent to the left/right1, left/right2, center and any of the subgroups. Next is the stereo EQ, this gives a high and low shelving EQ with + and – 15dB of cut and boost. The high shelves at 10kHz and the low at 100Hz. The mono switch will take the signal coming into the left side of the AUX return and feed it to both left and right, any signal on the right side will be disconnected when this switch is in. The balance control will adjust the amount of signal that goes to the left and right and is 3dB down in the middle. Each AUX return has a solo and mute switch and a stereo 60mm fader that controls the main level of the AUX returns being routed. The last section is the master sub group control; each group once mixed can be routed to left/right 1 and/or left/right 2. There is a pan control to position the signal in the left/right panoramic, and each group as a mute and solo. In the panel below is a 100mm fader that controls the final amount of signal set out the rear or back to the channel. EQ/COMP This module is split into three sections, first is the world acclaimed HI-DEF EQ, below this is the routing section and finally the SONICOMP compressor. The HI-DEF is the ultimate EQ mastering tool and has some great features Eight bands of overlapping adjustment Unique combining of shelf and bell response curves Bandwidth parameter adjustment on two mid bands Separate equalizer and filter bypass Ultra low noise and high musicality with original Oram sonics The first control is the high filter this sweeps a steep high frequency cut from outside the audio band at 80kHz to within at 1500Hz perfect for: the removal of RFI, super-sonics, system hiss and noise optimising band limiting. Below this is the high sweep frequency and level control. This controls a bell shaped response in the high audio spectrum from 5kHz to 18kHz with a cut and boost control of 18dB, there is also a bandwidth control that switches between narrow and wide. Below these controls is the first of the shelving function, the high shelf. This has switchable turnover points of 5kHz and 16kHz and a cut and boost control with a 36dB range. The next four controls are bell shaped responses in the middle of the audio spectrum. The high mid sweep covers frequencies from 1kHz to 9kHz, with a cut and boost control of 18dB; there is also a bandwidth control that switches between narrow and wide. Next is the low mid with a frequency range from 250Hz to 2k5, with a cut and boost control of 18dB, there is also a bandwidth control that switches between narrow and wide. Below the mids is the other shelf control, the low shelf. This has switchable turnover points of 150Hz and 40Hz and a cut and boost control with a 36dB range. The next two controls are the low frequency sweep and level. This stage controls a bell shaped response at the low audio spectrum from 35Hz to 500Hz with a cut and boost control of 18dB; there is also a bandwidth control that switches between narrow and wide. The next two switches are, filters in and EQ in these enable the filters and EQ to be individually switched in and out for easily comparison. The next control is the low filter this sweeps a steep low frequency cut from outside the audio band at 5Hz to within at 300Hz perfect for the removal of sub-sonic, rumble and microphone popping and for tightening kick drums and effects. The last control is the input gain; this is at the front end of the EQ and provides level adjustment of 15dB either side of unity gain (central point) The next section is the HI-DEF and SONICOMP routing. This allows either or both the EQ and compressor to be placed in the signal path of the subs, left/right 1, left/right 2 and patch. The switches are a radio type so only one from each section can be routed at any given time. The patch position will make the EQ and/or compressor available at the patchbay so that they can be used on individual channels when not used for mastering. The final section is the SONICOMP compressor dual-attenuator limiter-compressor; this represents the combination of the old and the new. The compressor features a vintage optical attenuator and state of the art semi-conductor attenuator and can give immediate A-B comparison between round knee and precision level adjustment. The control parameters are infinitely adjustable between wide range limits: added to the dynamic and exciting analogue feel of Oram sonics. The first control is the make up gain or output level, this is used to bring the compressed signal back to the correct output level. The gain adjustment goes from 0dB to +15dB. Next is the release control this gives a release time from 0.05 seconds to 3 seconds. Below this is the threshold control which goes between –25dBu and +20dBu and then off. The ratio control is next and varies between 1.4:1 and 30:1 (full limit ). Below the ratio is the attack control which can a time control from 0.1 milli-seconds and 40 milli-seconds. The final control is the input level this will control the amount of signal being sent to the compressor. The bottom two switches change the compressor from solid state to LDR mode and switch the compressor in and out. On this PCB there are 7 presets these are used for the calibration of the compressor. During testing these presets are set for optimum operation, but can vary over time and may need adjusting periodically. The list below shows the operation of each preset. VR1 VR2 VR3 VR4 VR5 VR6 VR7 LDR bias adjust LDR make up gain Ratio limit Meter adjust Meter calibration Ratio Null Gain reduction adjust MONITOR The monitor module is split into 6 sections, talkback/oscillator, and playback returns. remix, solo, sub-band, and speaker selection. At the top of the talkback section is a 3 pin XLR for the talkback MIC (PIN1=GND, PIN2=HOT/+, PIN3=COLD/-), to activate the talkback the talk button must be pressed, this is situated near the master faders. Below the MIC input is the routing for the talkback and oscillator, this enables the talkback and oscillator to be sent to the 5.1 mix, subs, AUX 7/8 and an external output at the rear of the console. The level control is used to adjust the amount of signal for both the talkback and oscillator. The oscillator has an enable switch and a rotary selector to change the frequency from 50Hz, 1kHz and 15kHz. The next section is the playback returns; this enables the console to switch between listening to the console output mix and playback. The first switch is playback when this is pressed the control room output changes from what the console is sending out to the signal being played back to the console. There are 5 different inputs available, 4 stereo returns RTN1 to 4 and a 5.1 switch that will playback all 6 sources. All the playbacks go via the master control room level at the bottom of the monitor module, and are displayed on the VU meters. The next section is the console remix mode. When this switch is pressed the MIC/line inputs will be swapped with the tape input on any channel that has the I/P flip switched de-pressed. The solo section contains the master solo level; this sets the monitoring level of any soloed signal. To the right of this level control is the solo kill switch, when this is pressed any solo on the entire console will be deactivated. The solo mode of the console can be changed from destructive to non-destructive by using the mode switch. In destructive mode when any solo is activated everything that is not soloed will be muted (except for the AUX send and returns), the dim level control will have no effect in this mode. This mode or operation is useful for listening to sources with any effects. (As a result of using AUX send controls). In non-destructive mode the level control will bring everything that is not soloed back into the mix, eventually at the maximum level the whole mix will be audible. The sub-band/Mono mix produces the sub woofer signal for the 5.1mix and also a mono mix of the 5.1 sent to left/right 1. Each input, left/right 1, left/right 2, and center to the to the sub-band mix comes pre the main faders and has its own level control to adjust the amount of signal being sent to the sub-band mix. Once all the signals are mix there is a master sub-band control that adjusts the final amount of signal sent to the speakers and the recording device. To the right of the sub-band is the mono switch, this takes all the 5.1 signals and mixes them together into a mono signal, this signal is then sent to left/right 1. Mono signal id then presented to the front left and right monitors for easy evaluation of phase coherency The final section is the speaker selection; the Pro24 has a wide variety of speaker outputs that can be individually selected. The 5.1 switch enables the left/right1, left/right2, center, and sub to be sent to the speakers. The main switch puts the left/right signal to the left and right speakers of the 5.1 group. The nearfields are a separate output and derive their signal from the left right. The AUX switch enables another set of speakers to be connected if require. The level control adjusts the amount of signal going to the AUX output as well as the headphone output. Finally there is the master control room level control; this is a precision stem control that adjusts the output level of the control room. This control will adjust all the 5.1 signals at the same time and keep there relative levels the same. In the panel below is the master 100mm faders for left/right 1, left/right 2, and centre, each one has its own mute. The C to L/R1 will take the signal that post center fader and mix this into the left/right 1 buss. The L/R2 to L/R1 will take that signal post the left/right2 fader and mix it with the left/right1 signal. To the right of these controls is the talk switch, when the button is press the talkback is activated. METERBRIDGE CHANNEL The channel is monitored by a 12 LED bar meter; this signal follows the large (100mm) fader signal path. It also has a peak LED which is set to start coming on at +22dBu, there is also a signal present LED which can be set to pre or post fader by way of a jumper. (The factory setting is pre) MASTER SECTION The master section has two metering sections, the LED bar meters monitor the subs and derives their signals post the sub faders. The six VU meters monitor the 5.1 output that is being sent to the recording device or the playback returns. In addition, any soloed signal will appear on the front left and right VU meters. INPUTS AND OUTPUTS The inputs and outputs are by way of 90way EDAC connectors, 1 EDAC will have 4 channels of in and outs on it. The master section has 4 EDAC’s to handle all the inputs and outputs. The EDAC connectors are on the bottom of the console towards the rear. Hence if the console was ordered without a stand (for desk top or table mounting) provision should be made for the cable exits. WIRING CONNECTIONS CHANNEL FOR EACH SET OF 4 CHANNELS (1 x 90 WAY EDAC) SIGNAL EDAC PIN IDENTIFIER SIGNAL EDAC PIN IDENTIFIER 0V SIGNAL MIC1 IN MIC1 IN + A B C 0V SIGNAL RETURN1 RETURN1 + M N P 0V SIGNAL LINE1 IN LINE1 IN + D E F 0V SIGNAL SEND1 SEND1 + R S T 0V SIGNAL H 0V SIGNAL U TAPE1 IN J SUB OUT1 V TAPE1 IN + K SUB OUT1 + W ------------------------------------------------------------------------------------------------------0V SIGNAL X 0V SIGNAL AJ MIC2 IN Y RETURN2 AK MIC2 IN + Z RETURN2 + AL 0V SIGNAL LINE2 IN LINE2 IN + AB AC AD 0V SIGNAL SEND2 SEND2 + AM AN AP 0V SIGNAL AE 0V SIGNAL AS TAPE2 IN AF SUB OUT2 AT TAPE2 IN + AH SUB OUT2 + AU ------------------------------------------------------------------------------------------------------0V SIGNAL BJ 0V SIGNAL BV MIC3 IN BK RETURN3 BW MIC3 IN + BL RETURN3 + BX 0V SIGNAL LINE3 IN LINE3 IN + BN BP BR 0V SIGNAL SEND3 SEND3 + BY BZ CA 0V SIGNAL BS 0V SIGNAL CC TAPE3 IN BT SUB OUT3 CD TAPE3 IN + BU SUB OUT3 + CE -------------------------------------------------------------------------------------------------------0V SIGNAL CF 0V SIGNAL CT MIC4 IN CH RETURN4 CU MIC4 IN + CJ RETURN4 + CV 0V SIGNAL LINE4 IN LINE4 IN + CK CL CM 0V SIGNAL SEND4 SEND4 + CW CX CY 0V SIGNAL CN 0V SIGNAL CZ TAPE4 IN CP SUB OUT4 DA TAPE4 IN + CR SUB OUT4 + DB --------------------------------------------------------------------------------------------------------- MASTER SECTION EDAC 1 CON13 SIGNAL 0V SIGNAL SOLO LEFT SOLO LEFT + 0V SIGNAL SOLO RIGHT SOLO RIGHT + EDAC PIN IDENTIFIER A B C SIGNAL 0V SIGNAL MAIN RIGHT1 MAIN RIGHT1 + EDAC PIN IDENTIFIER M N P D E F 0V SIGNAL MAIN LEFT2 MAIN LEFT2 + R S T 0V SIGNAL MAIN LEFT1 MAIN LEFT1 + H J K 0V SIGNAL MAIN RIGHT2 MAIN RIGHT2 + U V W 0V SIGNAL CENTER MAIN CENTER MAIN + X Y Z 0V SIGNAL PATCH OUT RIGHT PATCH OUT RIGHT + AJ AK AL 0V SIGNAL PATCH OUT LEFT PATCH OUT LEFT + AB AC AD 0V SIGNAL PATCH IN RIGHT PATCH IN RIGHT + AM AN AP 0V SIGNAL PATCH IN LEFT PATCH IN LEFT + AE AF AH 0V SIGNAL LEFT1 INSERT SEND LEFT1 INSERT SEND + AS AT AU 0V SIGNAL LEFT1 INSERT RETURN LEFT1 INSERT RETURN + BJ BK BL 0V SIGNAL RIGHT1 INSERT SEND RIGHT1 INSERT SEND + BV BW BX 0V SIGNAL LEFT2 INSERT SEND LEFT2 INSERT SEND + BN BP BR 0V SIGNAL RIGHT1 INSERT RETURN RIGHT1 INSERT RETURN + BY BZ CA 0V SIGNAL LEFT2 INSERT RETURN LEFT2 INSERT RETURN + BS BT BU 0V SIGNAL RIGHT2 INSERT SEND RIGHT2 INSERT SEND + CC CD CE 0V SIGNAL RIGHT2 INSERT RETURN RIGHT2 INSERT RETURN + CF CH CJ 0V SIGNAL SUB BAND SUB BAND + CK CL CM EDAC 2 CON14 SIGNAL EDAC PIN IDENTIFIER SIGNAL EDAC PIN IDENTIFIER 0V SIGNAL AUX SEND1 AUX SEND1 + A B C 0V SIGNAL AUX SEND4 AUX SEND4 + M N P 0V SIGNAL AUX SEND2 AUX SEND2 + D E F 0V SIGNAL AUX SEND5 AUX SEND5 + R S T 0V SIGNAL AUX SEND3 AUX SEND3 + H J K 0V SIGNAL AUX SEND6 AUX SEND6 + U V W 0V SIGNAL AUX SEND7 AUX SEND7 + X Y Z 0V SIGNAL AUX RTN RIGHT1 AUX RTN RIGHT1 + AJ AK AL 0V SIGNAL AUX SEND8 AUX SEND8 + AB AC AD 0V SIGNAL AUX RTN LEFT2 AUX RTN LEFT2 + AM AN AP 0V SIGNAL AUX RTN LEFT1 AUX RTN LEFT1 + AE AF AH 0V SIGNAL AUX RTN RIGHT2 AUX RTN RIGHT2 + AS AT AU 0V SIGNAL AUX RTN LEFT3 AUX RTN LEFT3 + BJ BK BL 0V SIGNAL AUX RTN RIGHT4 AUX RTN RIGHT4 + BV BW BX 0V SIGNAL AUX RTN RIGHT3 AUX RTN RIGHT3 + BN BP BR 0V SIGNAL AUX RTN LEFT5 AUX RTN LEFT5 + BY BZ CA 0V SIGNAL AUX RTN LEFT4 AUX RTN LEFT4 + BS BT BU 0V SIGNAL AUX RTN RIGHT5 AUX RTN RIGHT5 + CC CD CE 0V SIGNAL AUX RTN LEFT6 AUX RTN LEFT6 + CF CH CJ 0V SIGNAL AUX RTN RIGHT7 AUX RTN RIGHT7 + CT CU CV EDAC 3 CON15 SIGNAL EDAC PIN IDENTIFIER SIGNAL EDAC PIN IDENTIFIER 0V SIGNAL SUB OUT1 SUB OUT1 + A B C 0V SIGNAL SUB OUT4 SUB OUT4 + M N P 0V SIGNAL SUB OUT2 SUB OUT2 + D E F 0V SIGNAL SUB OUT5 SUB OUT5 + R S T 0V SIGNAL SUB OUT3 SUB OUT3 + H J K 0V SIGNAL SUB OUT6 SUB OUT6 + U V W 0V SIGNAL SUB OUT7 SUB OUT7 + X Y Z 0V SIGNAL SUB INSERT1 RTN SUB INSERT1 RTN + AJ AK AL 0V SIGNAL SUB OUT8 SUB OUT8 + AB AC AD 0V SIGNAL SUB INSERT2 SEND SUB INSERT2 SEND + AM AN AP 0V SIGNAL SUB INSERT1 SEND SUB INSERT1 SEND + AE AF AH 0V SIGNAL SUB INSERT2 RTN SUB INSERT2 RTN + AS AT AU 0V SIGNAL SUB INSERT3 SEND SUB INSERT3 SEND + BJ BK BL 0V SIGNAL SUB INSERT4 RTN SUB INSERT4 RTN + BV BW BX 0V SIGNAL BN 0V SIGNAL BY SUB INSERT3 RTN SUB INSERT3 RTN + BP BR SUB INSERT5 SEND SUB INSERT5 SEND + BZ CA 0V SIGNAL SUB INSERT4 SEND SUB INSERT4 SEND + BS BT BU 0V SIGNAL SUB INSERT5 RTN SUB INSERT5 RTN + CC CD CE 0V SIGNAL SUB INSERT6 SEND SUB INSERT6 SEND + CF CH CJ 0V SIGNAL SUB INSERT7 RTN SUB INSERT7 RTN + CT CU CV 0V SIGNAL SUB INSERT6 RTN SUB INSERT6 RTN + CK CL CM 0V SIGNAL SUB INSERT8 SEND SUB INSERT8 SEND + CW CX CY 0V SIGNAL SUB INSERT7 SEND SUB INSERT7 SEND + CN CP CR 0V SIGNAL SUB INSERT8 RTN SUB INSERT8 RTN + CZ DA DB EDAC 4 CON16 SIGNAL EDAC PIN IDENTIFIER SIGNAL EDAC PIN IDENTIFIER 0V SIGNAL 5.1 FRONT LEFT 5.1 FRONT LEFT + A B C 0V SIGNAL 5.1 REAR RIGHT 5.1 REAR RIGHT + M N P 0V SIGNAL 5.1 FRONT RIGHT 5.1 FRONT RIGHT + D E F 0V SIGNAL 5.1 CENTER 5.1 CENTER + R S T 0V SIGNAL 5.1 REAR LEFT 5.1 REAR LEFT + H J K 0V SIGNAL 5.1 SUB BAND 5.1 SUB BAND + U V W 0V SIGNAL EXT EXT + X Y Z 0V SIGNAL RTN1 LEFT RTN1 LEFT + AJ AK AL 0V SIGNAL AUX LEFT AUX LEFT + AB AC AD 0V SIGNAL RTN1 RIGHT RTN1 RIGHT + AM AN AP 0V SIGNAL AUX RIGHT AUX RIGHT + AE AF AH 0V SIGNAL RTN2 LEFT RTN2 LEFT + AS AT AU 0V SIGNAL MAIN RIGHT MAIN RIGHT + AV AW AZ 0V SIGNAL MAIN LEFT MAIN LEFT + AX AY BC 0V SIGNAL RTN2 RIGHT RTN2 RIGHT + BJ BK BL 0V SIGNAL RTN4 LEFT RTN4 LEFT+ BV BW BX 0V SIGNAL BN 0V SIGNAL BY RTN3 LEFT RTN3 LEFT + BP BR RTN4 RIGHT RNT4 RIGHT + BZ CA 0V SIGNAL RTN3 RIGHT RNT3 RIGHT + BS BT BU 0V SIGNAL 5.1 RTN LEFT FRONT 5.1 RTN LEFT FRONT+ CC CD CE 0V SIGNAL 5.1 RTN RIGHT FRONT 5.1 RTN RIGHT FRONT + CF CH CJ 0V SIGNAL 5.1 RTN CENTER 5.1 RTN CENTER + CT CU CV 0V SIGNAL 5.1 RTN LEFT REAR 5.1 RTN LEFT REAR + CK CL CM 0V SIGNAL 5.1 RTN SUB BAND 5.1 RTN SUB BAND + CW CX CY 0V SIGNAL 5.1 RTN RIGHT REAR 5.1 RTN RIGHT REAR + CN CP CR THE POWER SUPPLY The power supply for the BEQ series is housed in a 2U high rack case and provides outputs for bipolar rail (plus and minus 18 volt), the 5 volt line for LED and switching functions and a 48 volt line for phantom powering of capacitor microphone. The line input, along with the d.c. output, are fused and accessible on the panel of the supply. Remember the importance of good ventilation at all times Operation Hints Now you are getting familiar with the function of each control and connection of your BEQ-PRO 24 mixer, its time to make music. The next section will show you how to connect your mixer and use it effectively and efficiently. Before beginning, there are a few precautions that should be noted. OPERATING PRECAUTIONS Your Oram BEQ-PRO 24 mixing console is well protected from any external faults. However, we recommend following these common sense precautions. 1. Safety Instructions Read and follow all of the safety warnings of this manual and on the separate safety precautions page enclosed with the mixer. CAUTION: Do not expose the unit to water or other liquids. Always unplug the unit if water is present. Failure to do so can result in injury or death from electric shock. 2. Grounding Your BEQ-PRO 24 mixer is supplied with a three conductor, grounded power cord and plug, connect the unit only to a properly grounded mains outlet. Do not use a ground lift adapter or otherwise attempt to defeat the ground on the plug. Failure to properly ground the unit can result in damage to the mixer or other equipment connected to it and represents a dangerous safety hazard. 3. Line Voltage Operate from AC mains not more than 5% above or below the specified line voltage. Failure to comply may invalidate your warranty. 4. Pre-Connection Caution Always switch off the power and set all output level control(s) to minimum before making any connections. This will eliminate any chance of unexpected, loud audio transients that could damage your speaker systems. A. OPERATION Please read the entire section on operation before you start. Output levels Before proceeding, set all the output level controls to minimum and make sure that the power to the mixer and all devices being connected to it are switch off. After making all your connections to the mixer and related equipment, switch the power on. Phantom Power Switch (48 Volts DC) The advantage of this switch is that there is one on every channel. Did you know that 48 Volts DC applied to the balanced output of a keyboard, effects device or other sound module could possibly destroy that devices memory circuits. It is very dangerous to connect anything except a MIC into the MIC input on a mixer that has only one phantom power switch for the whole mixer. Because you BEQ-pro24 mixer have a phantom switch on each channel, you can plug any kind of device into any channel. No restrictions! Just make sure the phantom power is switched off (up position) on that channel before making any connections. Switch on the phantom power only if the MIC for that channel requires it. Input select switch Set the input select switch to match the input source or sources you will be using for each channel, remember lines are fine in MIC inputs. Vocal Microphone Start by plugging the MIC you intend to use into a mixer channel. Set the MIC trim control at half (12 o’clock). Move the channel fader to – (OFF). If you are the person that will be speaking or singing into that MIC, please proceed. If not, that person will have to repeatedly speak or sing into the MIC at the loudest possible level that they will use during the performance or session. Turn the MIC trim control clockwise until the peak LED begins to flash. Back the control off (counter clockwise), just a little, so the LED barely begins to flash on the loudest words or singing parts. You will now have the proper gain setting and the best possible signal to noise ratio on that channel. Remember that you may have to reset the gain for different vocalists that have stronger or weaker voices. Line or Tape Inputs Use the same method as the MIC except connect your tape deck, keyboard or other line level source into the appropriate input. Play the loudest possible passage of music on the tape or instrument being used and set the line trim so the peak LED only begins to flash on the loudest signal peaks. Remember your BEQ-pro24 mixer has two trim controls: one for the MIC and one for the line inputs. Peak Overload LED This is a warning light to tell you that you are within 18dB of distortion on that individual channel. If the LED comes on most of the time during use of that channel, your input gain control may be set to high. If the light never comes on your input gain is probably to low. Setting the gain to high will result in distortion that you can hear. Setting the gain to low may force you to operate the channel fader at near the end of its travel, at full volume, and you still may have enough output level from that channel. Additionally, a low setting at the input requires that you raise the level of other devices in the signal path higher than normal, increasing the noise level in your sound system or recording. Phase Reverse Switch This is a very handy tool for any live soundman or engineer in the studio. It very simply reverses the polarity or phase of that channels MIC input. Why would you want to do that? Here are a few examples of when you might wish to take advantage of this feature. If you have a MIC, or more often, a MIC cable that is wired incorrectly, you can fix it without having to pull out the soldering pencil. Hit the phase reverse switch and the problem is solved. When using two overhead cymbal MIC’s on a drum set, some engineers will purposely switch one MIC out of phase. This causes the low and mid frequencies to cancel each other out and delivers only the cymbal sizzle. In studio works you may have the need for an “ AM radio mix “ of a mutli-track master tape. A well-recorded master will usually have a stereo guitar, keyboard or chorused vocal tracks that may phase cancel themselves and disappear completely in a mono mix. Thus the need for a separate, in phase mono mix. Simply use the phase switch on either the left or right channel (but not both) of the mystical disappearing stereo track and it may suddenly reappear in the mix. Audio magic! Not really, just good use of a great feature on your BEQ-pro 24 The “absolute phase” discussion is also easily solved with this switch. Many audiophiles feel it is important for the speaker cone on your woofer to exactly mimic the motion of the bass drumhead as struck by the drummer. In other words, if the drumhead is moving forward, towards the listener, the speaker cone should do the same. While that may be a good idea, your entire sound system must also be in perfect phase. That means the polarity of pins 2 & 3 of the XLR connectors and the tips and sleeves of all ¼ inch phone plugs and jacks MUST be identical throughout your entire system. Unfortunately, there is no world wide standard to follow. Many Asian manufactures use pin 3 of the XLR connectors as the hot or positive pole. But European manufactured equipment usually uses pin 2 as hot. US manufacturers are caught in the middle and produce both! What to do? Hit the phase reverse switch. Your BEQpro24 mixer will never be out of phase. In the switches up position, pin 2 is hot. In the down position, pin 2 is cold or negative while pin 3 is hot or positive. The phase reverse switch allows instant world-wide compatibility. Now that you have correctly connected your inputs and correctly set the gain and phase, lets move to the EQ section. Equaliser Section It is the equaliser section of each channel that actually shapes the tonality of your sound. Whether you are reproducing the sound of a violin or a tractor, the realism of that sound is entirely dependant on how you have adjusted the EQ. Therefore, the EQ section can be your best friend or your worst enemy in a difficult audio situation. Be careful not to over-EQ your sound system. More tweeters and woofers are destroyed from over use of an EQ than all the other reasons combined. If you feel that you need more than 10-12dB of boost in you low or high EQ, you need to look elsewhere in your system for a problem. In a live sound system, this might include readjusting the output levels of your active crossover, output levels and equalisation of your signal source devices, adding subwoofers to your system, etc. Are your power amplifiers clipping? Maybe you’ve run out of power or your system just isn’t big enough for the room. Expand to a bigger system instead of damaging your equipment by over-EQ’ing it. Fader The BEQ-PRO 24’s channel faders should be operated –15 to +0 on the fader scale in most normal uses. If you are at the extremes of the faders travel, you are probably not setting the gain trim controls and/or the EQ controls properly. Remember, start with the trim controls as high as possible without audible distortion. It is OK to run your levels 2/3 or ¾ of the way up. You should have more output level than you need. There is a writing strip near each fader for labelling each channel’s input and sub output source. Write in wax pencil so you can change labels easily. Some common sound engineer abbreviations: VOX L VOX BASS L GUIT G-1) G-2)G-3) KICK SNARE HAT OR H/H CYM SAMP RACK 1 OR TOM 1 RACK 2 OR TOM 2 FLOOR PERC RIDE KEYS B-3 TOP B-3 LOW DI BACKUP VOCALIST LEAD SINGER BASS GUITAR OR STRING BASS LEAD GUITAR ADDITIONAL GUITARS ON STAGE LEFT TO RIGHT BASS DRUM SNARE DRUM HI-HAT OVERHEAD DRUM MICS A DRUM SAMPLER SMALL MOUNTED TOM LARGE MOUNTED TOM FLOOR TOM BELLS, GONGS, WOODBLOCK, ETC LARGE RIDE CYMBAL, TYPICALLY THE BELL PORTION USUALLY A MIXED SIGNAL OF KEYBOARDS TREBLE HORN OF A ROTATING (LESLIE) SPEAKER FOR ORGAN, TYPICALLY A HAMMOND B-3 THE WOOFER OF THE LESILE SPEAKER FOR THE ORGAN DIRECT INJECTION. A DIRECT SIGNAL FROM AN INSTRUMENT, BASS-DI, WOULD BE A DIRECT SIGNAL FROM BASS GUITAR, BYPASSING THE BASS GUITAR AMPLIFIER Using these standard abbreviations, a guest artist’s engineer could easily mix on your system. The Master section You have established a mix throughout all of the input channels and you have sent that mix to subgroups and/or left and right masters. As with the channel signals the whole point of mixing signals is to be able to send them somewhere. Our complete mix is really a combination of several mixes that will either end up on a tape or in someone’s ears. Both destinations are away from the mixer. The master section has all the final controls for the various types of outputs on the back of the console. Master Auxiliary Sends Before we send the completed mixes out for recording or amplifying, we may wish to add some effects using the AUX sends. After these signals have been processed they are returned to the console via the AUX Returns to become a part of the main mix. You have already selected to amount of signal from each channel going to the individual AUX’s which have been mixed and are present at the Master AUX Send control. Each Master AUX has a solo button so you can listen to the sum of these signals individually. You will not hear the processed signal because you are listening to the signal being sent to the effect. The signals on AUX’s if set to pre EQ and fader will most likely be for use on a live sound application for monitor sends, in this case you will not get the signal back for further processing. You can therefore use the convenient solo buttons to check these signals before they are sent out the back of the console. This is very useful for hunting down a feedback whistle in the stage monitors with headphones on. Master AUX Returns The Master AUX Returns are used for getting signal back into the stereo or mono mix that have previously been sent out for processing to an effect unit such as a digital reverb unit. Because you will not know how strong the return signal will be when they return to the mixer all the AUX returns have a level control. This is used to set the input level of the returned signal. With each AUX return there is also a pan control which is great for use with true stereo effects devices. Panning stereo effects really opens up a mix in both live and studio applications. If you are using AUX’s on a pre EQ and fader mode for monitors, you don’t need to return the sent signal to the main mix. You can then use the returns for these AUX's as true stereo returns by panning one hard left and the other hard right. Output connection Your mixed and processed signals are all available at the rear underside of the console and are waiting to be sent to their respective destinations. The outputs of your BEQ mixer are all active at the same time. Don’t be afraid to use any or all of them. If you need to send signals to more than just a few destinations, you have plenty of options. The numerous outputs on the BEQ Pro24 mixer proves this point, Oram’s BEQ mixers are extremely flexible. Power requirements Your BEQ mixing console is capable of 110-120 VAC or 220-240 VAC operation allowing worldwide usage. It is prewired at the Oram factory for the correct voltage in your country and is furnished with the appropriate power cord and line fuse. Should the voltage setting need to be changed, it can be accomplished by changing the voltage selector found on the rear of the PSU Care and maintenance Your Oram BEQ mixing console is built to provide years of dependable service under demanding circumstances. It requires no internal maintenance but a common sense approach to its use will help you enjoy long and reliable operation. Here are some tips: Periodic cleaning Keep the unit clean by wiping frequently with a damp cloth, soft cloth. Use a mild detergent cleaner if necessary, applied to the cloth, but not directly to the mixer. Do not use solvents or other chemicals to clean the unit. A large paintbrush is useful to remove accumulated dust from between the many control knobs on the mixer. If liquid is accidentally spilled onto or into the unit, disconnect the power cord and allow the unit to dry thoroughly before attempting to use it. Connecting cables Use only high quality connecting cables with your Oram BEQ mixer. Faulty or suspicious cables should be replaced to avoid possible deterioration of your sound quality Connections Recheck cable connections frequently. If you move your equipment often, check input and output connections condition to make sure they have not sustained any damage. In temporary installations, such as live performances, check all your cable connections before each performance. In permanent installations, verify the operation of all cables and connections often. It is much easier to deal with a poor cable or connection before a performance or recording session than during it. RIBBON CONNECTION DETAIL FOR BEQ CHANNEL CON1 CON2 CON3 PIN SIGNAL PIN SIGNAL PIN SIGNAL 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 0V SIGNAL 0V SIGNAL MIC_IN_(+) MIC_IN_(-) 0V SIGNAL 0V SIGNAL LINE_IN_(+) LINE_IN_(-) 0V SIGNAL 0V SIGNAL TAPE_IN_(+) TAPE_IN_(-) 0V SIGNAL 0V SIGNAL INSERT_RETURN_(+) INSERT_RETURN_(-) 0V SIGNAL INSERT_SEND_(+) INSERT_SEND_(-) 0V SIGNAL SUB_OUT_(+) SUB_OUT_(-) 0V LED POST_FADER_LARGE 0V SIGNAL TAPE_OUT_(+) 0V SIGNAL –18V 0V SIGNAL +18V +5V 0V LED SP LED P LED 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 0V SIGNAL AUX_SEND_BUSS_1 0V SIGNAL AUX_SEND_BUSS_2 0V SIGNAL AUX_SEND_BUSS_3 0V SIGNAL AUX_SEND_BUSS_4 0V SIGNAL AUX_SEND_BUSS_5 0V SIGNAL AUX_SEND_BUSS_6 0V SIGNAL AUX_SEND_BUSS_7 0V SIGNAL AUX_SEND_BUSS_8 0V SIGNAL DC_FLIP_BUSS 0V LED SOLO_MODE_BUSS 0V LED DC_SOLO_CHANNEL_BUSS DC_SOLO_AUX_BUSS MUTE_ALL_BUSS 0V LED SOLO_KILL_BUSS SUB_BUSS_OUT_1 SUB_BUSS_OUT_2 SUB_BUSS_OUT_3 SUB_BUSS_OUT_4 SUB_BUSS_OUT_5 SUB_BUSS_OUT_6 SUB_BUSS_OUT_7 SUB_BUSS_OUT_8 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 L/R1_BUSS_LEFT +18V L/R1_BUSS_RIGHT -18V L/R2_BUSS_LEFT +5V L/R2_BUSS_RIGHT +48V 0V SIGNAL SOLO_BUSS_LEFT 0V SIGNAL SOLO_BUSS_RIGHT 0V SIGNAL CENTRE_BUSS 0V SIGNAL SUB_BUSS_1 0V SIGNAL 0V SIGNAL 0V SIGNAL SUB_BUSS_2 0V SIGNAL SUB_BUSS_3 0V SIGNAL SUB_BUSS_4 0V SIGNAL SUB_BUSS_5 0V SIGNAL SUB_BUSS_6 0V SIGNAL SUB_BUSS_7 0V SIGNAL SUB_BUSS_8 0V SIGNAL 0V LED EQ/COMP MODULE CON2 CON3 PIN SIGNAL PIN SIGNAL PIN SIGNAL 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 L/R1_BUSS_LEFT +18V L/R1_BUSS_RIGHT -18V L/R2_BUSS_LEFT +5V L/R2_BUSS_RIGHT +48V 0V SIGNAL SOLO_BUSS_LEFT 0V SIGNAL SOLO_BUSS_RIGHT 0V SIGNAL CENTRE_BUSS 0V SIGNAL SUB_BUSS_1 0V SIGNAL 0V SIGNAL 0V SIGNAL SUB_BUSS_2 0V SIGNAL SUB_BUSS_3 0V SIGNAL SUB_BUSS_4 0V SIGNAL SUB_BUSS_5 0V SIGNAL SUB_BUSS_6 0V SIGNAL SUB_BUSS_7 0V SIGNAL SUB_BUSS_8 0V SIGNAL 0V LED 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 0V SIGNAL BUSS1_ROUTE_INPUT 0V SIGNAL BUSS2_ROUTE_INPUT 0V SIGNAL BUSS3_ROUTE_INPUT 0V SIGNAL BUSS4_ROUTE_INPUT 0V SIGNAL BUSS5_ROUTE_INPUT 0V SIGNAL BUSS6_ROUTE_INPUT 0V SIGNAL BUSS7_ROUTE_INPUT 0V SIGNAL BUSS8_ROUTE_INPUT 0V SIGNAL BUSS1_ROUTE_OUTPUT 0V SIGNAL BUSS2_ROUTE_OUTPUT 0V SIGNAL BUSS3_ROUTE_OUTPUT 0V SIGNAL BUSS4_ROUTE_OUTPUT 0V SIGNAL BUSS5_ROUTE_OUTPUT 0V SIGNAL BUSS6_ROUTE_OUTPUT 0V SIGNAL BUSS7_ROUTE_OUTPUT 0V SIGNAL BUSS8_ROUTE_OUTPUT 0V SIGNAL 0V SIGNAL 0V SIGNAL AUX_SEND_BUSS_1 0V SIGNAL AUX_SEND_BUSS_2 0V SIGNAL AUX_SEND_BUSS_3 0V SIGNAL AUX_SEND_BUSS_4 0V SIGNAL AUX_SEND_BUSS_5 0V SIGNAL AUX_SEND_BUSS_6 0V SIGNAL AUX_SEND_BUSS_7 0V SIGNAL AUX_SEND_BUSS_8 0V SIGNAL DC_FLIP_BUSS 0V LED SOLO_MODE_BUSS 0V LED DC_SOLO_CHANNEL_BUSS DC_SOLO_AUX_BUSS MUTE_ALL_BUSS 0V LED SOLO_KILL_BUSS SUB_BUSS_OUT_1 SUB_BUSS_OUT_2 SUB_BUSS_OUT_3 SUB_BUSS_OUT_4 SUB_BUSS_OUT_5 SUB_BUSS_OUT_6 SUB_BUSS_OUT_7 SUB_BUSS_OUT_8 CON5 EQ/COMP MODULE (cont.) CON 4 CON4 ( cont. ) CON4 ( cont. ) PIN SIGNAL PIN SIGNAL PIN SIGNAL 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 EQ_5V_L/R1 0V SIGNAL COMP_5V_L/R2 0V SIGNAL EQ_5V_L/R2 0V SIGNAL COMP_5V_1/2 0V SIGNAL EQ_5V_1/2 0V SIGNAL COMP_5V_3/4 0V SIGNAL EQ_5V_3/4 0V SIGNAL 29 30 31 32 33 34 35 36 37 38 39 40 COMP_5V_5/6 0V SIGNAL EQ_5V_5/6 0V SIGNAL COMP_5V_7/8 0V SIGNAL EQ_5V_7/8 0V SIGNAL COMP_5V_PATCH 0V SIGNAL EQ_5V_PATCH 0V SIGNAL 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 L/R1_INSERT_SEND_(+) 0V SIGNAL L/R1_INSERT_RETURN_(-) L/R1_INSERT_RETURN_(+) 0V SIGNAL L/R2_INSERT_SEND_(-) L/R2_INSERT_SEND_(+) 0V SIGNAL L/R2_INSERT_RETURN_(-) L/R2_INSERT_RETURN_(+) 0V SIGNAL +18V -0V LED -18V 0V LED +5V 0V LED L/R1_LEFT_POSTFADER 0V SIGNAL L/R1_RIGHT_POSTFADER 0V SIGNAL L/R2_LEFT_POSTFADER 0V SIGNAL L/R2_RIGHT_POSTFADER 0V SIGNAL CENTRE_POSTFADER 0V SIGNAL CENTRE 0V SIGNAL COMP_5V_L/R1 0V SIGNAL CON 6 ( TO REAR PCB ) PIN SIGNAL 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 0V SIGNAL L/R1_MAIN_OUT_(-) L/R1_MAIN_OUT_(+) 0V SIGNAL L/R2_MAIN_OUT_(-) L/R2_MAIN_OUT_(-) 0V SIGNAL CENTRE_MAIN_OUT_(-) CENTRE_MAIN_OUT_(+) 0V SIGNAL PATCH_OUT_(-) PATCH_OUT_(+) 0V SIGNAL PATCH_IN_(-) PATCH_IN(+) 0V SIGNAL L/R1_INSERT_SEND_(-) GROUP MODULE CON2 CON3 CON5 PIN SIGNAL PIN SIGNAL PIN SIGNAL 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 0V SIGNAL AUX_SEND_BUSS_1 0V SIGNAL AUX_SEND_BUSS_2 0V SIGNAL AUX_SEND_BUSS_3 0V SIGNAL AUX_SEND_BUSS_4 0V SIGNAL AUX_SEND_BUSS_5 0V SIGNAL AUX_SEND_BUSS_6 0V SIGNAL AUX_SEND_BUSS_7 0V SIGNAL AUX_SEND_BUSS_8 0V SIGNAL DC_FLIP_BUSS 0V LED SOLO_MODE_BUSS 0V LED DC_SOLO_CHANNEL_BUSS DC_SOLO_AUX_BUSS MUTE_ALL_BUSS 0V LED SOLO_KILL_BUSS SUB_BUSS_OUT_1 SUB_BUSS_OUT_2 SUB_BUSS_OUT_3 SUB_BUSS_OUT_4 SUB_BUSS_OUT_5 SUB_BUSS_OUT_6 SUB_BUSS_OUT_7 SUB_BUSS_OUT_8 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 L/R1_BUSS_LEFT +18V L/R1_BUSS_RIGHT -18V L/R2_BUSS_LEFT +5V L/R2_BUSS_RIGHT +48V 0V SIGNAL SOLO_BUSS_LEFT 0V SIGNAL SOLO_BUSS_RIGHT 0V SIGNAL CENTRE_BUSS 0V SIGNAL SUB_BUSS_1 0V SIGNAL 0V SIGNAL 0V SIGNAL SUB_BUSS_2 0V SIGNAL SUB_BUSS_3 0V SIGNAL SUB_BUSS_4 0V SIGNAL SUB_BUSS_5 0V SIGNAL SUB_BUSS_6 0V SIGNAL SUB_BUSS_7 0V SIGNAL SUB_BUSS_8 0V SIGNAL 0V LED 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 0V SIGNAL BUSS1_ROUTE_INPUT 0V SIGNAL BUSS2_ROUTE_INPUT 0V SIGNAL BUSS3_ROUTE_INPUT 0V SIGNAL BUSS4_ROUTE_INPUT 0V SIGNAL BUSS5_ROUTE_INPUT 0V SIGNAL BUSS6_ROUTE_INPUT 0V SIGNAL BUSS7_ROUTE_INPUT 0V SIGNAL BUSS8_ROUTE_INPUT 0V SIGNAL BUSS1_ROUTE_OUTPUT 0V SIGNAL BUSS2_ROUTE_OUTPUT 0V SIGNAL BUSS3_ROUTE_OUTPUT 0V SIGNAL BUSS4_ROUTE_OUTPUT 0V SIGNAL BUSS5_ROUTE_OUTPUT 0V SIGNAL BUSS6_ROUTE_OUTPUT 0V SIGNAL BUSS7_ROUTE_OUTPUT 0V SIGNAL BUSS8_ROUTE_OUTPUT 0V SIGNAL 0V SIGNAL 11 12 13 14 15 16 SUB_OUTPUT1_(+) 0V SIGNAL SUB_INSERT_SEND_(+) SUB_INSERT_SEND_(-) 0V SIGNAL SUB_INSERT_RETURN_(+) CON4 ( TO REAR PCB ) PIN SIGNAL 1 2 3 4 5 6 AUX_SEND_(-) AUX_SEND_(+) 0V SIGNAL AUX_RETURN_RIGHT_(-) AUX RETURN_RIGHT_(+) 0V SIGNAL 7 8 9 10 AUX_RETURN_LEFT_(-) AUX_RETURN_LEFT_(+) 0V SIGNAL SUB_OUTPUT1_(-) 17 18 19 20 SUB_INSERT_RETURN_(-) 0V SIGNAL 0V SIGNAL 0V SIGNAL MONITOR PCB CON2 CON3 CON 4 PIN SIGNAL PIN SIGNAL PIN SIGNAL 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 L/R1_BUSS_LEFT +18V L/R1_BUSS_RIGHT -18V L/R2_BUSS_LEFT +5V L/R2_BUSS_RIGHT +48V 0V SIGNAL SOLO_BUSS_LEFT 0V SIGNAL SOLO_BUSS_RIGHT 0V SIGNAL CENTRE_BUSS 0V SIGNAL SUB_BUSS_1 0V SIGNAL 0V SIGNAL 0V SIGNAL SUB_BUSS_2 0V SIGNAL SUB_BUSS_3 0V SIGNAL SUB_BUSS_4 0V SIGNAL SUB_BUSS_5 0V SIGNAL SUB_BUSS_6 0V SIGNAL SUB_BUSS_7 0V SIGNAL SUB_BUSS_8 0V SIGNAL 0V LED 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 L/R1_LEFT_POSTFADER 0V SIGNAL L/R1_RIGHT_POSTFADER 0V SIGNAL L/R2_LEFT_POSTFADER 0V SIGNAL L/R2_RIGHT_POSTFADER 0V SIGNAL CENTRE_POSTFADER 0V SIGNAL CENTRE 0V SIGNAL COMP_5V_L/R1 0V SIGNAL EQ_5V_L/R1 0V SIGNAL COMP_5V_L/R2 0V SIGNAL EQ_5V_L/R2 0V SIGNAL COMP_5V_1/2 0V SIGNAL EQ_5V_1/2 0V SIGNAL COMP_5V_3/4 0V SIGNAL EQ_5V_3/4 0V SIGNAL COMP_5V_5/6 0V SIGNAL EQ_5V_5/6 0V SIGNAL COMP_5V_7/8 0V SIGNAL EQ_5V_7/8 0V SIGNAL COMP_5V_PATCH 0V SIGNAL EQ_5V_PATCH LINK 0V SIGNAL AUX_SEND_BUSS_1 0V SIGNAL AUX_SEND_BUSS_2 0V SIGNAL AUX_SEND_BUSS_3 0V SIGNAL AUX_SEND_BUSS_4 0V SIGNAL AUX_SEND_BUSS_5 0V SIGNAL AUX_SEND_BUSS_6 0V SIGNAL AUX_SEND_BUSS_7 0V SIGNAL AUX_SEND_BUSS_8 0V SIGNAL DC_FLIP_BUSS 0V LED SOLO_MODE_BUSS 0V LED DC_SOLO_CHANNEL_BUSS DC_SOLO_AUX_BUSS MUTE_ALL_BUSS 0V LED SOLO_KILL_BUSS SUB_BUSS_OUT_1 SUB_BUSS_OUT_2 SUB_BUSS_OUT_3 SUB_BUSS_OUT_4 SUB_BUSS_OUT_5 SUB_BUSS_OUT_6 SUB_BUSS_OUT_7 SUB_BUSS_OUT_8 CON5 ( TO REAR PCB ) CON6 ( TO REAR PCB ) CON11 ( TO REAR PCB ) PIN SIGNAL PIN SIGNAL PIN SIGNAL 1 2 3 4 5 6 7 8 9 10 11 12 1313 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 0V SIGNAL 5.1_FRONT_LEFT_(+) 5.1_FRONT_LEFT_(-) 0V SIGNAL 5.1_FRONT_RIGHT_(+) 5.1_FRONT_RIGHT_(-) 0V SIGNAL 5.1_REAR_LEFT_(+) 5.1_REAR_LEFT_(-) 0V SIGNAL 5.1_REAR_RIGHT_(+) 5.1_REAR_RIGHT_(-) 0V SIGNAL 5.1_CENTRE_(+) 5.1_CENTRE_(-) 0V SIGNAL 5.1_SUB-BAND_(+) 5.1_SUB-BAND_(-) 0V SIGNAL MAIN_LEFT_(+) MAIN_LEFT_(-) 0V SIGNAL MAIN_RIGHT_(+) MAIN_RIGHT_(-) 0V SIGNAL EXT_OUT_(+) EXT_OUT_(-) 0V SIGNAL SUB BAND (+) SUB BAND (-) 0V SIGNAL SOLO_LEFT_(+) SOLO_LEFT_(-) 0V SIGNAL SOLO_RIGHT_(+) SOLO_RIGHT_(-) RTN1_LEFT_(+) RTN1_LEFT_(-) RTN1_RIGHT_(+) RTN1_RIGHT_(-) 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 39 30 31 32 33 34 35 36 37 38 39 40 RTN2_LEFT_(+) RTN2_LEFT_(-) RTN2_RIGHT_(+) RTN2_RIGHT_(-) RTN3_LEFT_(+) RTN3_LEFT_(-) RTN3_RIGHT_(+) RTN3_RIGHT_(-) RTN4_LEFT_(+) RTN4_LEFT_(-) RTN4_RIGHT_(+) RTN4_RIGHT_(-) 0V SIGNAL 5.1_RTN_LEFT_FRONT_(+) 5.1_RTN_LEFT_FRONT_(-) 0V SIGNAL 5.1_RTN_RIGHT_FRONT_(+) 5.1_RTN_RIGHT_FRONT_(-) 0V SIGNAL 5.1_RTN_LEFT_REAR_(+) 5.1_RTN_LEFT_REAR_(-) 0V SIGNAL 5.1_RTN_RIGHT_REAR_(+) 5.1_RTN_RIGHT_REAR_(-) +5V 5.1_RTN_CENTRE_(+) 5.1_RTN_CENTRE_(-) +5V 5.1_RTN_SUB-BAND_(+) 5.1_RTN_SUB-BAND_(-) -18V AUX_LEFT_(+) AUX_LEFT_(-) -18V AUX_RIGHT_(+) AUX_RIGHT_(-) +18V +18V 0V LED 0V LED 1 2 3 4 5 6 7 8 9 10 11 12 13 14 L/R2 RIGHT 0V SIGNAL L/R2 LEFT 0V SIGNAL CENTER 0V SIGNAL SUB BAND 0V SIGNAL L/R1 LEFT 0V SIGNAL L/R1 RIGHT 0V SIGNAL 0V SIGNAL 0V SIGNAL TECHNICAL INFORMATION BRITISH EQUALISATION SERIES PRO24 CONSOLE Input Impedance Microphone: Line & Tape >1.2 kΩ electronically balanced >10 kΩ electronically balanced Output Impedance All outputs <100 Ω electronically balanced Gain Microphone Line Tape +75dB ( input to group output ) +25dB ( input to group output ) +25dB ( input to group output ) Noise Microphone Line <-128 dBu e.i.n. ref 200Ω, 20Hz to 22kHz <-89 dBu ( Eq in, direct output ) wideband Maximum Levels Microphone input Line input All outputs +24 dBu wideband +24 dBu wideband +28 dBu balanced, +22dBu unbalanced Distortion Microphone Line <0.008% THD ( -50 dBu input, +14 dBu output ) <0.008% THD ( +14 dBu input, +24 dBu output ) Frequency Response Microphone Line 20Hz to 20kHz within 1dB, -3dB @ 45kHz 20Hz to 20kHz within 1dB, -3dB @ 45kHz Crosstalk Adjacent channel Adjacent Group -85dB @ 1 kHz, -80dB @ 15kHz -85dB @ 1 kHz, -80dB @ 15kHz Nominal Level 0 VU: +4dBu +48V MIC LINE TAPE PRE POST AUX 1 PHASE AUX 2 AUX 3 AUX 4 MIX AUX 6 PRE/POST JUMPER AUX 5 I/P FLIP AUX 8 FROM MAIN AUX 7 PEAK MAIN EQ POST FADER PRE FADER SUB EQ PRE POST EQ IN 60mm FADER SIGNAL INSERT SEND GND PRESENT SIGNAL PRESENT INSERT RTN MUTE SWITCH MUTE SWITCH 100mm FADER FADER FLIP GND BUFFER BUFFER PAN PAN BUFFER BUFFER BUFFER BUFFER PRO 24 INPUT CHANNEL BLOCK DIAGRAM ROUTING SOLO SWITCH SOLO SWITCH ROUTING SUB 1 SUB 2 SUB 3 SUB 4 SUB 5 SUB 6 SUB 7 SUB 8 L/R 1 L/R 2 CENTER SOLO SUB 1 SUB 2 SUB 3 SUB 4 SUB 5 SUB 6 SUB 7 SUB 8 L/R 1 L/R 2 CENTER INPUT MIC +70dB GAIN +48V PHANTOM INDIVIDUAL MIC SELECTOR PHASE REVERSAL +48V +25 +20 +35 +40 LINE +/- 15dB GAIN INDIVIDUAL LINE SELCTOR TAPE +50 +60 +70 0 MIC MIC GAIN PEAK 0 PHASE -15 LINE +15 LINE GAIN +/- 15dB GAIN 0 I/P FLIP PEAK INDICATOR FOR MIC AND LINE I/P FLIP TO FLIP MIC/LINE WITH TAPE -15 ENABLE +15 TAPE GAIN ROUTE LARGE SMALL PRE POST SMALL FADER AUX'S 7/8 C 1-2 AUX 7/8 STEREO PAIR,WITH PRE POST FADER SWITCH L 3-4 R SUBGROUP ROUTING SUB GROUP ROUTING SELECTOR FROM LARGE OR SMALL FADER PAN 5-6 AUX 6 WITH PRE/POST FADER SWITCH 0 AUX7/8 PRE POST LARGE FADER 6 DIR AUX FIVE MIX WITH LARGE FADER AUX 5 0 C 10 AUX 6 LR-1 0 SUBGROUP ROUTING BUTTONS 7-8 10 LR-2 10 LARGE FADER ROUTING DIRECT OUT FOR 24 TRACK RECORDING INDIVIDUAL ROUTING TO CENTER, LEFT/RIGHT 1, AND LEFT/RIGHT 2 AUX 5 SMALL FADER EQ 0 HIGH AND LOW SHELVING EQ WITH + AND - 15dB OF GAIN SMALL FADER -15 +15 HI EQ SOLO 0 MUTE -15 +15 LO EQ SMALL FADER SOFT SOLO AND MUTE TO ENBLE GLOBAL SOLO KILL AND SOLO DESTRUCT C LR-1 LR-2 +5 DIR 0 FROM MAIN -5 -10 PRE POST -15 INDIVIDUAL ROUTING TO CENTER, LEFT/RIGHT 1, AND LEFT/RIGHT 2 DIRECT OUT FOR 24 TRACK RECORDING PICK UP SIGNAL FROM LARGE FADER PRE OR POST -20 60mm FADER AUTOMATION READY -25 SIGNAL -30 C SIGNAL PRESENT INDICATOR -40 8 L R PAN SMALL SIGNAL PAN PRE/ POST 0 MUTE 10 AUX 5 PRE/ POST LARGE FADER AUX'S 0 MUTE 10 AUX 4 5 AUX SENDS WITH INDIVIDUAL MUTES AND PRE/POST FADER SELECTORS PRE/ POST 0 MUTE 10 AUX 3 PRE/ POST AUX FIVE MIX WITH SMALL FADER AUX 5 0 MUTE 10 AUX 2 PRE/ POST 0 MUTE 10 AUX 1 0 1K5 50K HI FILTER -15 +15 HI SHELF 0 7K/12K 7K 6K 8K5 5K 11K -15 +15 HI-MID 0 14K 2K 1K5 LARGE FADER EQ 4 BAND EQ WITH 2 SHELVES AND 2 MID BANDS ALL WITH + AND - 15 dB OF GAIN 15K SWEEP 440 300 600 200 880 1K 75 2K 65 -15 +15 LO-MID 0 1K8 SWEEP -15 +15 LO SHELF HIGH AND LOW FILTERS RANGING FROM 5Hz TO 50kHz EQ BYPASS SWITCH 50/150 35 30 45 20 65 100 10 EQ IN 180 200Hz 5Hz LO FILTER C FADER FLIP L R PAN SOLO MUTE LARGE FADER LARGE SIGNAL PAN FADER FLIP PUTS THE SMALL SIGNAL ON THE LARGE FADER AND THE LARGE SIGNAL ON THE SMALL FADER +5 0 LARGE SIGNAL PRESENT INDICATOR SOFT SOLO AND MUTE TO ENBLE GLOBAL SOLO KILL AND SOLO DESTRUCT -5 -10 -15 -20 -25 -30 -40 8 O ORAM 100mm FADER AUTOMATION READY +18V -18V CHANNEL JUMPER SELECTION AUTOMATION GND +5V 0V LED CAUTION: POWER INPUT JUMPER1 = CHANNEL 1,9,17 ETC JUMPER2 = CHANNEL 2,10,18 ETC JUMPER3 = CHANNEL 3,11,19 ETC JUMPER4 = CHANNEL 4,12,20 ETC JUMPER5 = CHANNEL 5,13,21 ETC JUMPER6 = CHANNEL 6,14,22 ETC JUMPER8 = CHANNEL 8,16,24 ETC JUMPER7 = CHANNEL 7,15,23 ETC 100mm FADER 60mm FADER AUTOMATION HI DEFINITION EQUALISER 10K 7K HI-DEF EQ 15K 5K 3K 25K 3K 70K 1K 50K 1K5 80K 70K 1K HI FILTER 6 BANDS OF EQ INCLUDING A HIGH AND LOW SHELF AND 4 SWEPTED MID BANDS 15K 5K 50K 1K5 10K 7K 25K 80K HI FILTER 0 0 BAND 11K 9K BAND -18 12K 7K 6K 16K 5K5 17K FREQ 11K 9K 16K 5K5 0 17K FREQ 0 16K FREQ 5K -18 HI SWEEP 18K 5K +18 5K -18 LEVEL HIGH AND LOW FILTERS RANGING FROM 5Hz TO 80kHz HI SHELF 0 0 BAND BAND 4K -18 5K 2K +18 6K5 1K5 8K 1K2 8K5 1K FREQ 1K 800 HI-MID SWEEP -18 5K 8K 1K2 8K5 1K FREQ HI-MID SWEEP 0 9K BAND -18 1K4 500 2K2 2K4 LO-MID SWEEP 0 2K5 FREQ +18 LEVEL 1K8 300 1K 800 2K2 300 2K4 250 LO-MID SWEEP 0 2K5 FREQ 150 FREQ +18 40 -18 LEVEL LO SHELF 0 0 BAND 180 BAND -18 250 70 350 40 400 +18 LEVEL 300 55 35 LO SWEEP 40 40 FILTERS 65 EQ 275 150 10 275 5 300 0 +15 -15 3/4 5/6 7/8 R O U T I N G L/R 2 PATCH 10 9 12 7 14.5 2 0 15 0.6 1.5 MAKE-UP 1 G.R 2 2.5 0.05 3 RELEASE +4 -10 -4 -12 -14 +20 +22 -20 OFF 0.05 3 0 +10 +15 -10 -20 OFF -25 5:1 LINK 2:1 1.8:1 1.6:1 1.6:1 LIM 1.4:1 RATIO 12 10 15 10 20 RATIO 12 15 7 30 0.1 20 25 0.5 40 30 0.1 ATTACK THE OPTICAL SWITCH ALLOWS THE COMPRESSOR TO WORK IN SOLID STATE OR LDR MODE 40 ATTACK 0 -15 1.4:1 3 25 0.5 THE LINK SWITCH ENABLES THE RELEASE, THRESHOLD,RATIO AND ATTACK OF THE RIGHT TO BE CONTROLLED BY THE LEFT 3:1 7.5:1 20:1 1.6:1 7 -12 0 +15 -15 INPUT THE METRS READ THE SIGNAL GAIN REDUCTION FOR EACH SIDE -14 +22 THRESHOLD 4:1 2:1 3 -4 -8 0 +20 3:1 LIM G.R 2 2.5 RELEASE +4 -25 +22 1.5 0.1 THRESHOLD 4:1 20:1 0.6 0.2 -8 0 +15 15 0.3 0 0.1 0 MAKE-UP 1 0.3 0.2 5:1 THE INPUT LEVEL WILL GIVE + AND - 15dB OF OF CONTROL INDIVIDUAL ROUTING OF THE COMPRESSOR TO THE SUBGROUPS, LEFT/RIGHT 1, LEFT/RIGHT 2 AND EXTERNAL UNIT VIA THE PATCHBAY 14 5 2 COMPRESSOR ROUTING 12 7 14.5 7.5:1 THE ATTACK GIVES A RANGE FROM 0.1mS TO 40mS 10 9 14 +10 THE RATIO LIMIO IS ADJUSTABLE FROM 1.4:1 TO 30:1 (FULL LIMIT) R O U T I N G L/R 1 5 THE RELEASE CONTROL RANGING FROM 0.05 SECONDS TO 3 SECONDS THE THRESHOLD GOES FROM -25dBu TO +20dBu THEN OFF S O N I C O M P 1/2 D E F OUTPUT GAIN CONTROL RANGING FROM 0 TO +15dB OF GAIN +15 INPUT H I SONICOMP COMPRESSOR 300 LO FILTER INPUT INDIVIDUAL ROUTING OF THE EQ TO THE SUBGROUPS, LEFT/RIGHT 1, LEFT/RIGHT 2 AND EXTERNAL UNIT VIA THE PATCHBAY EQ 200 0 EQ ROUTING FILTERS 65 15 LO FILTER -15 40 35 20 200 INPUT GAIN CONTROL GIVING + AND - 15dB LEVEL LO SWEEP 500 FREQ 150 5 400 +18 LEVEL 300 35 15 10 -18 250 350 500 20 180 135 70 55 FREQ 35 +18 LEVEL LO SHELF 135 +18 LEVEL 1K8 40 -18 -18 1K4 500 400 150 FREQ INDIVIDUAL BYPASS SWITCH FOR THE FILTERS AND EQ +18 LEVEL 6K5 0 9K 400 250 4K 3K 2K 1K5 BAND ALL 6 BANDS OF THE EQ HAVE + AND - 18dB OF CUT AND BOOST +18 LEVEL HI SHELF 3K +18 LEVEL 14K 16K FREQ -18 12K 7K 6K HI SWEEP 18K 5K +18 LEVEL 14K +15 INPUT OPTICAL OPTICAL COMP IN COMP IN SONICOMP COMPRESSOR THIS SIDE CONTROLS LEFT1,LEFT2,SUBGROUP 1,3,5,7 AND PATCH LEFT THIS SIDE CONTROLS RIGHT1,RIGHT2,SUBGROUP 2,4,6,8 AND PATCH RIGHT THERE IS AN INDIVDUAL COMPRESSOR BYPASS FOR LEFT AND RIGHT -18V +5V 0V LED J72 1/3 J73 1/3 J74 2/3 J75 2/3 MASTER MUTE L/R1 FADER L/R2 FADER LINK MODE RIGHT J4,J6,J7,J9,J11,J12,J14,J16,J18,J19,J22,J23,J25, J28,J29,J31,J33,J35,J38,J40,J42,J44,J46,J47, J49,J52,J54,J56,J57,J59,J62,J64,J65,J68,J69 MASTER SECTION COMP/EQ JUMPER SELECTION NOTE: JUMPER J71 IS FOR METER CALIBRATION +18V GND CENTER FADER LEFT J1,J2,J3,J5,J8,J10,J11,J12,J13,J15,J17,J20,J21, J24,J26,J27,J30,J32,J34,J36,J37,J39,J41,J43,J45, J48,J50,J51,J53,J55,J58,J60,J61,J63,J66,J67,J70 J72 2/3 J73 2/3 J74 1/3 J75 1/3 MASTER AUX SEND 0 MASTER AUX LEVEL CONTROL WITH SOFT MUTE AND SOLO (IN DESTRUCT MODE AUX SEND IS NOT MUTED) 10 AUX 8 SOLO MUTE STEREO MASTER AUX RETURN 0 INPUT TRIM CONTROL WITH + AND - 15dB OF GAIN INDIVIDUAL ROUTING TO CENTER, LEFT/RIGHT 1 AND LEFT/RIGHT 2 -15 +15 AUX RETURN TRIM 8 C LR-1 LR-2 1-2 3-4 ROUTING TO SUBGROUPS 5-6 7-8 0 HIGH AND LOW SHELVING EQ WITH + AND - 15 dB OF GAIN -15 +15 HI 0EQ -15 MONO FUNCTION PICKS UP THE SIGNAL ON THE LEFT AND FEED IT TO BOTH LEFT AND RIGHT THE BALANCE CONTROL ENABLES THE SIGNAL TO BE ADJUSTED BETWEEN LEFT AND RIGHT SOFT MUTE AND SOLO (IN DESTRUCT MODE AUX RETURN IS NOT MUTED) +15 LO EQ MONO C L BAL R SOLO MUTE 8 +5 0 -5 -10 60mm STEREO FADER -15 -20 -25 -30 -40 8 SUBGROUP ROUTABLE TO LEFT/RIGHT 1 AND LEFT/RIGHT 2 LR-1 LR-2 SUB PAN TO POSTION THE SIGNAL IN THE LEFT/RIGHT MIX C L SOFT SOLO AND MUTE (SUB IS MUTED WHEN IN DESTRUCT MODE) R PAN SOLO MUTE 8 +5V 0V LED J1,J9,J17,J25,J33 J2,J10,J18,J26,J34 J3,J11,J19,J27,J35 J4,J12,J20,J28,J36 J5,J13,J21,J29,J37 J6,J14,J22,J30,J38 J7,J15,J23,J31,J39 J8,J16,J24,J32,J40 SUB FADER AUX RETURN RIGHT FADER AUX RETURN LEFT FADER MASTER SECTION GROUP MODULE JUMPER SELECTION -18V GND CAUTION: POWER INPUTS +18V GROUP MODULE 1 GROUP MODULE 2 GROUP MODULE 3 GROUP MODULE 4 GROUP MODULE 5 GROUP MODULE 6 GROUP MODULE 7 GROUP MODULE 8 1 THERE ARE INDIVIDUAL MUTES FOR LEFT/RIGHT1 LEFT/RIGHT2 AND CENTER 8 -15 -10 -5 0 +5 8 -20 -15 -10 -5 0 +5 8 -25 -20 -15 -10 -5 0 +5 8 -30 -25 -20 -15 -10 -5 0 +5 8 -30 -25 -20 -15 -10 -5 0 +5 8 -30 -25 -20 -15 -10 -5 0 +5 8 -30 -25 -20 -15 -10 -5 0 +5 8 -30 -25 -20 -15 -10 -5 0 +5 8 -30 -25 -20 -15 -10 -5 0 +5 8 -30 -25 -20 -15 -10 -5 0 +5 L/R 2 MUTE L/R2 TO L/R1 TALK TALK WILL ENABLE THE TALBACK C TO L/R1 WILL MIX THE SIGNAL GOING TO THE CENTER WITH THE LEFT/RIGHT 1 SIGNAL. L/R2 TO L/R1 WILL MIX THE SIGNAL GOING TO L/R2 WITH LEFT/RIGHT 1 C TO L/R1 -20 -25 -30 -40 MUTE -25 -30 -40 MUTE -30 -40 C LEFT/RIGHT1 AND LEFT/RIGHT 2 ARE CONTROLLED BY 2 STEREO 100mm FADERS. tHE CENTER IS CONTROLLED WITH A MONO 100mm FADER L/R 1 -40 8 -40 7 -40 6 -40 5 SUB GROUPS -40 4 -40 3 -40 2 THE MASTER SUBGROUP OUTPUT IS CONTROLLED BY THESE 100mm FADERS TALKBACK & OSCILLATOR TALKBACK & OSC 3 PIN XLR FOR TALKBACK MIC (PIN1=GND, PIN 2=POS, PIN3=NEG) MICROPHONE ROUTING BUTTONS ALLOW TALKBACK AND OSCILLATOR TO BE SENT TO 5.1, SUBS,AUX7/8 AND AN EXTERNAL OUTPUT THE OSCILLATOR HAS THREE SET FREQUENCIES OF 50Hz, 1kHz AND 15kHz AND AN ON/OFF SWITCH THE LEVEL CONTROL ALLOWS THE TALKBACK AND OSCILLATOR LEVEL TO BE ADJUSTED EXT AUX7/8 SUBS 5.1 1K 50 15K FREQ OSC ON 0 10 TALK/OSC LEVEL PLAYBACK RETURNS PLAY BACK RTN 1 RTN 2 RTN 3 RTN 4 5.1 PLAYBACK RETURNS WHEN THIS BUTTON IS PRESSED ANY CHANNEL THAT HAS THE I/P FLIP SWITCH PRESSED WILL FLIP THE MIC/LIE INPUT WITH THE TAPE INPUT CONSOLE MODE SOLO SOLO KILL 0 THE PLAYBACK SWITCH WILL CHANGE THE CONSOLE MODE FROM RECORDING TO LISTENING BOTH MODES ARE SHOWN ON THE VU METERS THERE ARE 4 STEREO RETURN AND 1 5.1 RETURN ALL INDIVDUALLY SELEABLE REMIX SOLO SOLO LEVEL CONTROLS THE AMOUNT OF SOLO SIGNAL SENT TO THE LEFT/RIGHT BUSS SOLO KILL WILLREMOVE ANY SOLOED SWITCH THE MODE SWITCH WILL SELECT EITHER DESTRUCT OR NON-DESTRUCT PLAYBACK RETURNS 10 SOLO LEVEL IN DESTRUCT MODE EVERYTHING THAT IS NOT SOLOED WILL BE MUTED EXCEPT FOR THE AUX SEND AND RETURNS DESTRUCT NON DESTRUCT MODE 0 10 DIM LEVEL IN NON-DESTRUCT MODE THE DIM LEVEL CONTROLS EVERTHING THAT IS NOT SOLOED SUB-BAND/MONO MIX SUB-BAND 0 10 L/R 1 0 10 L/R 2 0 MONITOR 10 CENTRE 0 MONO 10 SUB-BAND MASTER SPEAKER SELECTION 5.1 SPEAKER SELECTION MAIN NEARFIELD THE OUPUT CAN BE SENT TO VARIOUS SPEAKERS EACH INDIVDUALLY SELECTABLE THE AUX OUTPUT AND THE HEADPHONES HAVE THIER OWN LEVEL CONTROL AUX 0 10 AUX/ H/PHONE LEVEL HEADPHONES -6 -3 -9 0 +3 -12 ALL OUTPUTS GO VIA THE MASTER CONTROL ROOM LEVEL OVER 40dB OF ATTENUATION +6 -15 -18 +9 MIN +12 MONITOR LEVEL THE SUB-BAND IS MADE UP FROM LEFT/RIGHT 1, LEFT/RIGHT 2 AND CENTER. THE AMOUNT OF EACH CAN BE INDIVIDUALLY CONTOLLED THERE IS A MASTER SUB LEVEL TO CONTROL THE FINAL SUB OUTPUT THE MONO SWITCH WILL COMBINE THE 5.1 SIGNAL (BEING SENT OUT OR RETURNED) AND GIVE A STEREO MIX OF IT HEADPHONE TALKBACK REMIX 5.1 1 +18V 3 GND 5 0V LED 2 4 6 654321 MONITOR MODULE SOLO PLAYBACK VR1 TALKBACK GAIN ADJUST VR2 OSCILLATOR LEVEL ADJUST -18V +5V +48V TALKBACK I/P CONTROL ROOM MASTER LEVEL F E D C B A 8 8 7 6 2 3 3 4 4 5 5 5 6 6 6 7 7 7 8 8 8 9 10 9 10 9 10 11 12 11 12 11 12 13 14 13 14 13 14 15 16 15 16 15 16 17 18 17 18 17 18 19 20 19 20 19 20 21 22 21 22 21 22 5 1 2 4 3 25 26 27 28 27 28 29 30 29 30 29 30 31 32 31 32 31 32 33 34 33 34 33 34 35 36 35 36 35 36 37 38 37 38 37 38 39 40 39 40 39 40 41 42 41 42 41 42 43 44 43 44 43 44 45 46 45 46 45 46 47 48 47 48 47 48 2 23 24 25 26 27 28 4 23 24 25 26 CONSOLE MICROPHONE INPUTS 23 24 STUDIO MICROPHONE TIE LINES 1 3 3 1 2 2 3 3 3 4 4 4 5 5 5 6 6 6 7 7 7 8 8 8 9 10 9 10 9 10 11 12 11 12 11 12 13 14 13 14 13 14 15 16 15 16 15 16 17 18 17 18 17 18 19 20 19 20 19 20 21 22 21 22 21 22 23 24 23 24 23 24 25 26 25 26 25 26 27 28 27 28 27 28 29 30 29 30 29 30 31 32 31 32 31 32 33 34 33 34 33 34 35 36 35 36 35 36 37 38 37 38 37 38 39 40 39 40 39 40 41 42 41 42 41 42 43 44 43 44 43 44 45 46 45 46 45 46 47 48 47 48 47 48 CONSOLE TAPE INPUTS STUDIO TAPE TIE LINES (FROM MULTITRACK) 1 2 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 45 46 47 48 47 48 CHANNEL INSERT SENDS 17 18 43 44 15 16 41 42 13 14 39 40 11 12 37 38 9 10 35 36 8 33 34 7 31 32 6 29 30 5 27 28 4 25 26 3 23 24 2 21 22 47 48 1 19 20 45 46 CONSOLE SUB/DIRECT OUTPUTS CHANNEL INSERT RETURNS 17 18 43 44 15 16 41 42 13 14 39 40 11 12 37 38 9 10 35 36 8 33 34 7 31 32 6 29 30 5 27 28 4 25 26 3 23 24 2 21 22 1 19 20 47 48 17 18 45 46 15 16 43 44 13 14 41 42 5 6 6 7 7 8 8 MAIN INSERT RETURNS L 1 R L 2 R L IN L R SOLO OUT OUTPUT OSC/EXT L R R L L R C C SUB 1 ISOPATCH FRONT VIEW A2 SIZE 2 SCALE CAGE CODE DWG NO 20/12/00 SHEET 1 48 CHANNEL PATCH BAY LAYOUT PRO-24-48 CONSOLE TITLE R 5.1 OUTPUTS (TO TAPE) SUB 39 40 4 5 CONSOLE 5.1 OUTPUTS 37 38 3 4 L 35 36 2 3 PATCH 33 34 1 2 L OUT R 31 32 8 1 R 29 30 7 8 PATCH 27 28 6 7 MAIN INSERT SENDS L 2 R 1 R 25 26 STUDIO SUB/DIRECT OUTPUTS (MULTITRACK INPUTS) 5 6 SUB INSERT SENDS 4 5 CONSOLE AUX SENDS 3 4 4 SUB INSERT RETURNS 3 STUDIO AUX SENDS (TO EFFECTS) 5 L 23 24 2 21 22 1 11 12 R 9 10 8 8 L 7 R 6 7 5 L 4 R 3 6 2 R L 1 5 L 2 19 20 L L 1 17 18 R L R 15 16 4 R 8 13 14 L 5 STUDIO AUX RTNS (FROM EFFECTS) L R 11 12 R R 7 9 10 3 4 R 8 L L CONSOLE AUX RETURN INPUTS 6 7 R R 6 2 L 3 5 L R 4 R L 2 3 1 R 2 L L 1 1 1 CONSOLE LINE INPUTS STUDIO LINE/INSTRUMENT TIE LINES 2 6 1 7 1.1 REV F E D C B A 25 24 23 22 21 20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1 S R T S R T S R T S R T S R T S R T S R T S R T 7 6 5 4 3 2 1 16 15 14 13 12 11 10 9 24 23 22 21 20 19 18 17 32 31 30 29 28 27 26 25 40 39 38 37 36 35 34 33 48 47 46 45 44 43 42 41 CHANNEL NUMBER 8 F E D C B A 8 8 7 6 5 4 16-9 3 8-1 2 STUDIO AUX RTN 5-8 (STEREO) STUDIO AUX RTN 1-4 (STEREO) 24-17 AUX SEND OUTPUTS 1-8 32-25 SUB INSERT SENDS 1-8 40-33 MAIN INS SEND + PATCH IN/OUT 48-40 CONSOLE 5.1 OUTPUTS A2 SIZE 2 SCALE CAGE CODE 1 STUDIO/MIC TIE LINES CONSOLE MIC INPUTS STUDIO LINE/INSTRUMENT INPUTS CONSOLE LINE INPUTS STUDIO TAPE TIE LINES (FROM MULTITRACK) CONSOLE TAPE INPUTS CH' INSERT SENDS CH' INSERT RETURNS CONSOLE SUB/DIRECT OUTS 20/12/00 REV 1.1 STUDIO SUB/DIRECT OUTS (MULTITRACK I/P) DWG NO 1 48 CHANNEL PATCH BAY LAYOUT PRO-24-48 CONSOLE TITLE ISOPATCH REAR CONNETOR VIEW CONSOLE AUX RTN 5-8 (STEREO) CONSOLE AUX RTN 1-4 (STEREO) 3 STUDIO AUX SEND OUTS 1-8 4 SUB INSERT RETURNS 1-8 5 MAIN INS' RET' +SOLO,+OSC OUT 6 5.1 OUTPUTS TO TAPE STUDIO I/O CONSOLE I/O 7 F E D C B A 192 mm 192 mm 192 mm 192 mm 189 mm 82 mm CON 13 82 mm CON 14 CON 15 82 mm 189 mm 192 mm 192 mm 192 mm 15 RUNS OF 24 PAIR INDIVIDUALLY SCREENED/ INDIVIDUALLY JACKETED AUDIO CABLE 192 mm CON 16 (NOT USED ON PATCHBAY) ALL CONNECTORS 90WAY EDAC 48 CH CONSOLE AS STANDARD, X=3 metres UPDATED DRAWING (SHOWS CON NUMBERS IN CENTRE SECTION) 192 mm 192 mm 93.9 mm X 400 300mm EACH 24 PAIR WILL TERMINATE TO 3 X 25WAY "D TYPE" CONNECTORS. PK +8 +5 +3 +1 0 -1 -3 -5 -7 -10 -15 -20 S.P PK +8 +5 +3 +1 0 -1 -3 -5 -7 -10 -15 -20 S.P 16 1 +25 +20 PHASE -15 LINE +15 LINE GAIN 0 I/P FLIP -15 135 90 ROUTE 45 0 CORRELATION 4 LEFT REAR 48 mm 20.7 mm 14.6 mm 12.4 mm 6.3 mm HI DEFINITION EQUALISER 10K 7K 5-6 15K 5K 10 0 AUX 1 10 0 AUX 2 10 0 AUX 3 10 0 AUX 4 10 0 AUX 5 10 0 AUX 6 10 0 AUX 7 1K 50K 1K5 80K 80K HI FILTER MICROPHONE 0 DIR SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO C MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE 0 EXT BAND 10 AUX 6 11K 9K BAND AUX SENDS 16K 5K5 -18 12K 16K 5K5 17K 5K +18 SUBS HI SWEEP 0 18K FREQ 16K AUX7/8 LEVEL 14K 0 18K FREQ 11K 9K 7K 6K HI SWEEP 17K 5K +18 LEVEL 14K 6K LR-2 10 -18 12K 7K LR-1 0 70K 1K HI FILTER LARGE FADER 6 0 25K 3K 70K 10 AUX 8 TALKBACK & OSC 15K 5K 50K 1K5 0 10K 7K 25K 3K 7-8 AUX7/8 PRE/ POST 8 27 mm 3-4 10 7 BRITISH EQUALISATION PAN 0 6 PK +8 +5 +3 +1 0 -1 -3 -5 -7 -10 -15 -20 S.P BEQ AUDIO 1-2 R PK +8 +5 +3 +1 0 -1 -3 -5 -7 -10 -15 -20 S.P 41.5 mm 7/8 L PK +8 +5 +3 +1 0 -1 -3 -5 -7 -10 -15 -20 S.P 48.4 mm 48 mm SMALL C 5 RIGHT REAR SUB LARGE PRE/ POST PK +8 +5 +3 +1 0 -1 -3 -5 -7 -10 -15 -20 S.P RIGHT FRONT CENTRE 180 PROFESSIONAL ENABLE +15 TAPE GAIN 3 LEFT FRONT ORAM PEAK 0 PK +8 +5 +3 +1 0 -1 -3 -5 -7 -10 -15 -20 S.P 48 mm MIC MIC GAIN PK +8 +5 +3 +1 0 -1 -3 -5 -7 -10 -15 -20 S.P 2 +48V +35 +40 +50 +60 +70 0 PK +8 +5 +3 +1 0 -1 -3 -5 -7 -10 -15 -20 S.P 5.1 16K AUX 5 0 0 SMALL FADER 0 0 0 0 0 0 0 FREQ FREQ 5K -18 +18 5K -18 LEVEL -15 +15 -15 HI EQ SOLO 0 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 AUX RETURN TRIM AUX RETURN TRIM AUX RETURN TRIM AUX RETURN TRIM AUX RETURN TRIM AUX RETURN TRIM AUX RETURN TRIM 1 2 3 4 5 6 7 8 10 mm 15 mm 20 mm MUTE -15 +15 AUX RETURN TRIM FREQ -18 5K C C C C LR-1 LR-1 LR-1 LR-1 LR-1 LR-1 LR-1 LR-1 LR-2 LR-2 LR-2 LR-2 LR-2 LR-2 LR-2 LR-2 LR-2 FREQ 1K -18 1K4 500 8K 1K2 DIR 2K2 300 +18 LO-MID SWEEP 2K4 250 -18 1K4 PLAY BACK 2K2 300 0 2K5 FREQ RTN 1 LO-MID SWEEP 2K4 250 +18 LEVEL 1K8 150 FREQ PRE/ POST -15 1-2 1-2 1-2 1-2 1-2 1-2 1-2 1-2 3-4 3-4 3-4 3-4 3-4 3-4 3-4 3-4 5-6 5-6 5-6 5-6 5-6 5-6 5-6 5-6 7-8 7-8 7-8 7-8 7-8 7-8 7-8 7-8 40 RTN 2 150 -18 FREQ +18 40 -18 LEVEL RTN 3 +18 LEVEL LO SHELF -20 RTN 4 LO SHELF 0 0 SIGNAL -30 C BAND -40 180 135 8 L 350 40 +18 350 40 0 0 0 0 0 0 0 0 40 35 PRE/ POST -15 +15 -15 HI 0EQ +15 -15 HI 0EQ +15 -15 HI 0EQ +15 -15 HI 0EQ +15 -15 HI 0EQ +15 -15 HI 0EQ +15 -15 HI 0EQ FILTERS EQ EQ 200 10 300 SOLO 275 5 LO FILTER 300 LO FILTER 0 SOLO KILL 0 0 MUTE 10 AUX 4 10 SOLO LEVEL -15 +15 -15 LO EQ +15 -15 LO EQ +15 -15 LO EQ +15 -15 LO EQ +15 -15 LO EQ +15 -15 LO EQ +15 -15 LO EQ +15 -15 LO EQ +15 -15 INPUT +15 DESTRUCT INPUT NON DESTRUCT PRE/ POST 0 MUTE 10 MONO MONO MONO MONO MONO MONO MONO MONO C PRE/ POST MUTE 10 AUX 2 0 10 10K R L BAL R L BAL C R L BAL C R L BAL C R L BAL C R L BAL C R L BAL SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE 1 2 3 4 5 6 7 25K 30K 7/8 +5 +5 +5 +5 +5 +5 +5 +5 0 0 0 0 0 0 0 0 MODE 0 L/R 2 PATCH 10 DIM LEVEL SUB-BAND/MONO MIX R O U T I N G L/R 1 0 40K 1K 5/6 R O U T I N G 8 S O N I C O M P 3/4 D E F R 15K 5K 1K5 BAL C PRE/ POST AUX 1 7K L C 1/2 H I AUX 3 0 REMIX 150 15 275 5 FILTERS 65 20 200 10 +15 40 35 150 HI 0EQ CONSOLE MODE 500 FREQ 15 MUTE 10 AUX 5 LO SWEEP 400 35 65 20 +18 LEVEL 300 55 LO SWEEP 500 FREQ PRE/ POST -18 250 70 400 35 180 135 LEVEL 300 55 R 5.1 BAND -18 250 70 PAN 0 PLAYBACK RETURNS 0 400 0 2K5 FREQ 1K 800 500 10 HI-MID SWEEP 9K FREQ 0 TALK/OSC LEVEL FROM MAIN -5 0 8K5 1K LEVEL 1K8 -10 -25 1K5 +18 LEVEL BAND 400 0 -18 5K 6K5 0 9K BAND 800 +5 HI-MID SWEEP 8K5 1K 4K 3K 2K 8K 1K2 LR-1 +18 6K5 1K5 C OSC ON BAND 4K 3K C 0 BAND 2K C 15K HI SHELF 0 +15 C 1K 50 LEVEL HI SHELF LO EQ C +18 0 10 L/R 1 0 10 L/R 2 50K HI FILTER 10 9 -15 +15 HI SHELF 7K/12K 7K 6K 11K -5 -5 -5 -5 -5 -5 -5 -10 -10 -10 -10 -10 -10 -10 -10 -15 -15 -15 -15 -15 -15 -15 -15 -15 -20 -20 -20 -20 -20 -20 -20 -20 440 880 1K -25 -25 -25 -25 -25 -25 -25 -25 -30 -30 -30 -30 -30 -30 -30 -30 -40 -40 -40 -40 -40 -40 -40 -40 3 0 -15 100 LR-1 LR-1 LR-1 LR-1 LR-1 LR-1 LR-2 180 LR-2 LR-2 LR-2 LR-2 LR-2 LR-2 LR-2 LINK C C C C C C C 5.1 MAIN 2:1 NEARFIELD 1.8:1 LIM 1.4:1 RATIO 12 10 AUX 15 7 20 3 25 30 25 0.5 30 0.1 40 40 ATTACK 0 C SPEAKER SELECTION 1.6:1 ATTACK C -8 3:1 7.5:1 20 0.1 -12 -25 20:1 15 0.5 -10 0 R -6 L PAN R L PAN MUTE R L PAN SOLO SOLO L L L L -15 +15 -15 INPUT INPUT OPTICAL OPTICAL COMP IN COMP IN 7 8 C TO L/R1 L/R2 TO L/R1 MUTE MUTE +5 +5 +5 +5 +5 +5 +5 +5 +5 0 0 0 0 0 0 0 0 0 0 0 -5 -5 -5 -5 -5 -5 -5 -5 -5 -5 -5 -10 -10 -10 -10 -10 -10 -10 -10 -10 -10 -10 -15 -15 -15 -15 -15 -15 -15 -15 -15 -15 -15 -20 -20 -20 -20 -20 -20 -20 -20 -20 -20 -20 -25 -25 -25 -25 -25 -25 -25 -25 -25 -25 -25 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -40 -40 -40 -40 -40 -40 -40 -40 -40 -40 -40 L/R 1 8 8 8 7 8 6 8 8 8 8 8 8 8 8 5 SUB GROUPS C L/R 2 +9 MIN +12 SONICOMP COMPRESSOR +5 4 +6 -18 +5 3 +3 -15 MONITOR LEVEL TALK 2 0 -12 MUTE MUTE 1 HEADPHONES -3 -9 +15 SOLO MUTE 6 R PAN SOLO MUTE 5 R PAN SOLO MUTE 4 R PAN SOLO MUTE 3 R PAN SOLO MUTE 2 R PAN SOLO MUTE 1 L PAN SOLO MUTE R SUB GROUPS ORAM 10 AUX/ H/PHONE LEVEL 0 FADER FLIP L 10 -20 OFF 1.4:1 7 0 SUB-BAND MASTER -14 5:1 3 LO FILTER MONO THRESHOLD 4:1 1.8:1 10 LR-1 EQ IN 200Hz 5Hz LR-1 0 -4 +20 +22 2:1 RATIO 12 65 3 +15 1.6:1 LIM 45 0.05 +10 2.5 RELEASE +4 -8 3:1 20:1 STEREO AUX RETURNS 50/150 10 -12 G.R 2 0 -25 7.5:1 +15 LO SHELF 30 -10 -20 OFF 1.5 0.1 THRESHOLD 4:1 5:1 15 0.2 -14 +22 8 8 8 8 8 8 1K8 20 -4 RELEASE +4 SWEEP 35 2.5 +20 0 8 2K 65 0.05 +10 0 0.6 0.3 0 +15 +15 LO-MID 8 75 -15 G.R 2 0.1 600 MONITOR 10 MAKE-UP 1 1.5 0.2 SWEEP 300 200 15 0.3 +15 0 0 CENTRE 14.5 MAKE-UP 1 HI-MID 15K 1K5 14 5 2 0.6 14K 2K 12 7 14.5 2 -5 10 9 14 0 8K5 5K 12 7 5 0 (EDAC cable entry point) * HEIGHT TO TOP OF FADER PANEL 750mm ** PRO-24 CONSOLE DIMENSIONS ISSUE2 3/01/2001 DIMENSIONS IN mm * Example shows 48 channel console with wood upgrade option. For other consoles, see table below: PRO 24-24 CONSOLE 1712mm 2408mm 2024mm 1640mm Upgraded wood Standard wood PRO 24-32 CONSOLE 2096mm MODEL PRO 24-40 CONSOLE 2480mm ** Measurement may vary slightly Due to floor material. 1220 mm (c) Copyright Oram Consulting Ltd. 2000 We reserve the right to change specifications at any time without notice CON1 CON3 CON2 OC 537 CON4 CH4 OC550 OC550 OC 537 CON2 CON3 CON1 CON3 CON2 CON 1 OC548 CON7 CON8 CON17 CON3 CON2 CON1 GROUP8 GROUP7 CON15 CON2 CON3 GROUP3 OC549 CON6 CON5 GROUP5 GROUP6 CON14 CON2 CON3 GROUP1 CON2 CON3 CON1 GROUP4 GROUP2 CON2 MONITOR PCB (CON11) METERBRIDGE VU PCB CON16 METERBRIDGE LED1 PCB CON2 CON3 CON4 CON11 CON3 MONITOR PCB (CON5) MONITOR PCB (CON6) METERBRIDGE LED2 PCB CON3 CON2 CON 1 OC548 CON10 EQ/COMP 2 CON13 EQ/COMP 1 CON6 OC551 CON3 OC 543 CON4 OC 544 CON4 CON9 CON3 CON3 CON2 CON2 CON6 CON2 CON6 CON3 OC 543 CON4 CON4 OC 542 CON5 CON4 OC 542 CON5 CON4 CON5 CON4 OC 542 CON4 OC 542 CON5 CON4 OC 542 CON5 CON4 OC 542 CON5 CON5 CON5 CON5 OC 542 CON5 OC 542 CON5 CON4 CON2 CON3 METERBRIDGE PCB CON5 CON4 CH4 CH3 OC550 CON3 CON1 CON2 CON3 CON1 OC 537 CON2 CON3 CON1 OC 537 CON2 CON3 CON1 OC550 CON2 OC 537 CON3 OC 537 CON2 CH2 CON1 CH1 CON1 PRO24 RIBBON CABLE WIRING DIAGRAM CON1 CON5 OC 537 CON2 CON3 CON1 CON3 CH3 METERBRIDGE PCB CON1 CH1 CH2 CON2 CON1 CON3 CON2 OC 537 MONITORING INTERFACE CONNECTOR 5.1 SPEAKER OUTPUTS SUB BAND REAR RIGHT MAIN LEFT FRONT LEFT FRONT RIGHT REAR LEFT AUX RIGHT AUX LEFT CENTER MAIN RIGHT EXT F P E N W STEREO STEREO STEREO STEREO RTN 4 RTN 3 RTN 2 RTN 1 LEFT LEFT LEFT LEFT AD V AC AL AU AB AT AA S Z AH AR Y AP BN CD BM BV BA BL BU CB CC AZ BD BK BT CA STEREO STEREO STEREO STEREO RTN 1 RTN 2 RTN 3 RTN 4 RIGHT RIGHT RIGHT RIGHT AM AV BE BW X AE AN CON 16 BP H R AF BF BX A J AW BB CE T AJ AS B K AX BH BR C L U AK AY BC D M BJ BS BZ BY SCREEN CM CL CK CJ CH CF COLD (-) CV CU CT CS CR CP CN HOT (+) DB RTN LEFT FRONT RTN LEFT REAR DA CZ CY CX CW 5.1 PLAYBACK RETURNS RTN CENTER RTN SUB RTN RIGHT REAR RTN RIGHT FRONT