Recall Rn Product Overview

Transcript

Recall RN Artistry in Analogue TM A Harman International Company Product Overview RL1 RN Mono Input Module Recall RN Input and EQ Module Meter Filters to VD sidechain +48 V Trim: Phase +/-6 dB Reverse +48 V Mic/ Line Mic/Line Gain: 0 to +66 dB Internal Key Select Monitor Input Filters In Insert In HF Bell Insert point when selected to Pre EQ (Internal switch) HF LF Bell HMF LMF EQ In LF To Virtual Dynamics sidechain Internal / External Key (Auto) PFL AFL (Internal) Insert In Insert point when selected to Post EQ (Internal switch) Solo Fader and Routing Soft Mute Virtual Dynamics Control VCA Pan Auto VCA Control In Fader Group 1 Group 3 Group 5 Group 7 Group 2 Group 4 Group 6 Group 8 Stereo Pan to Groups Fader Isolate (Master) VCA Control Out Aux Sends Post Pre Aux 1 On Pre Pan Post Pan (Internal) Post Pre Aux 9 Aux 9 & 10 On Auto Post Pre Aux 2 On Aux 10 Auto Post Pre Aux 3 On Aux 4 to Aux 8 are identical to Aux 3 Aux 11 & 12 (Mono) Monitor (Stereo) Aux 11 & 12 / Monitor Post Aux 11 & 12 / Monitor Pre Direct Post Fader Aux 12 to Direct Direct Output Source Select Aux 11 Monitor Source Select Monitor Pan Left Aux 12 level / Monitor Pan Right Monitor AFL Aux 11 & 12 On Direct Post Fader Aux 12 to Direct Direct Output Introduction One console, many applications. With a proven track record across a wide variety of applications, Recall RN from AMEK is without question one of the most flexible production consoles on the market today. Time after time it not only satisfies the demanding criteria of both On Air Broadcast and TV Production, it is trusted implicitly to work Front of House in hundreds of concert venues, theatres, houses of worship and various other fixed installations all over the world. Success and the Recall have over the years become inter-linked. It has been and is continually selected to mix Front of House for glamorous music events, such as, the Grammy Awards, the Eurovision Song Contest and the MTV Music Awards. Recall RN is not only the central ingredient in countless large scale music concerts, but earns it's keep daily in some of the world's most prestigious broadcast organisations and fixed installations, for example, the Sydney Opera House and the Opera De Paris. Originally introduced back in 1993 as a computer assisted live performance console, Recall quickly revolutionised the sound reinforcement industry in terms of defining a higher level of performance, control and versatility. With Recall, AMEK can proudly claim to be the pioneer of the first dedicated cue based automation system that truly won over the live performance engineer, providing innovative features and benefits previously only available to the studio environment. Continuous refinement has ensured the console does not excel solely in live sound. The added flexibility and production advantages Showtime™ automation provides means it is well suited to a wide variety of applications. Offering greater flexibility in management of both the console and outboard equipment, Showtime™ reduces the number of routine tasks allowing the engineer substantially more freedom to concentrate on the creative aspect of his/her work. For instance, the ability to store and then quickly bring back console settings for different acts/programmes is made easy by using the Recall function, this is ideal when there is a need to change sound scenes very quickly. These settings can be stored to a single floppy disc and then used on any other Recall RN console around the world to ensure a consistent performance every time. AMEK Supertrue™ dynamic automation encompassing the largest installed user base of any console automation system in the world can also be optionally fitted. The added versatility Supertrue™ provides allows Recall RN to be equally at home in a multitrack mixing environment. But what of the sound? AMEK's mastery of analogue circuitry is second to none and all modern day Recall's benefit from the RN treatment as standard. RN provides you with an audio path of exceptionally high quality via an Equaliser and Mic Pre designed by Mr. Rupert Neve. The added benefit of this is quite simply unrivalled sonic quality. Over half a century of audio artistry and experience has been harnessed to deliver precise control of gain settings as well as that celebrated warm and sweet sound like no other. Built to an exceptional standard of quality Recall RN comfortably withstands the heavy demands of touring and compact frame sizes make it an ideal choice for outside broadcast applications. Over 500 Recall consoles are in use daily around the world, which provides testimony to the high level of trust and confidence operators have in the console. So whether the application is mixing live in front of a hundred thousand people, broadcasting a sporting event across the globe or even producing a weekly game show, Recall RN really is the choice of discerning professionals. ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! EQ & Mic Pre by Mr. Rupert Neve Sweepable high & low pass Filters Optional Stereo inputs 8 VCA groups 8 Mute Groups 8 Audio Sub-groups 12 Auxiliary busses Built in 10x8 matrix Cue based Showtime™ automation Optional Supertrue™ dynamic automation Recall of pots and switches Virtual Dynamics™ on each input VFX™ control of select midi devices Redundant power supply LED Metering on every channel LED and VU Meterbridge 40 and 56 Channel frames sizes Optional Flightcase Operation Since it's release the AMEK Recall RN has been relied upon by the world's top audio companies for their most demanding projects. Only a console with great sound, advanced features and solid, easy to use automation could keep its place at the top as the Recall RN has done for many years. During high profile shows such as the Grammy or MTV Awards which are broadcast live to millions of people around the world, equipment failures are not an option; success has to be achieved first time in very little time, this is where the Recall RN excels. Analogue circuitry is reliable and sounds great; the audio path in the Recall RN is allanalogue and the mic pre and EQ section are designed by the legendary Mr. Rupert Neve. Showtime™ software permits mutes and VCA levels to be programmed prior to a show, ensuring more time to concentrate on the task of mixing a song or scene without the usual scramble to set up the faders for any particular segment. A total of 256 scenes can be pre-programmed to allow the automation of even the most complex of performances. The console's software also gives access to onboard Virtual Dynamics™, for the assignment of Noise Gates, Compressors, Expanders or Limiter for each and every input. Recall RN's software stores the position of every pot and switch on the surface of the console. Then with the help of the interactive screen and the voice of Mr. Rupert Neve all of the console settings can be restored to exactly recreate that great sounding mix. There are no glitches or inaccurate recalls, just perfect reliability every time. Mike Piper of DB Sound, Lollapalooza Example 1: The Live Concert When mixing for multiple bands at a festival, it is necessary for every band to get a sound check. At the end of each sound check a snapshot is taken of the console settings. This saves the status of the mutes, all of the input and VCA group fader positions, the VCA and mute group assignments, as well as the status of the auxiliary 1 and 2 and the mute group switches. The positions of the pots and switches on the console are also stored for later recalling to a file on the computers hard drive or floppy disk. This process is repeated until you have stored the settings for each band. After the sound checks are over, simply loading the file containing the opening act's console set up and Showtime™ automation will assign dynamics to the appropriate channels, with exactly the same parameters as were stored earlier. Pressing the Load Cue button on the console restores the VCA and mute groups, and resets the mutes and VCA levels to their stored positions. To "play back" the VCA levels, put some or all of the input and VCA master faders into Update mode using the Sel button above the fader set, move the faders to the 0dB position and the exact position of the VCA faders will be played back as stored. A quick glance at the computer screen will show relative levels and adjustments can be made using the fader as normal. Using the Recall function, the pots and switches on the input strips can quickly be adjusted to the positions as stored during the sound check. Repeating this procedure before every act ensures a great mix every time. tested console settings each time, instead of starting from scratch, ensures the standard of audio is kept consistently high. As in the theatre application, houses of worship also use multiple speaker zones to enhance intelligibility. Whether an LCR system or many rows of delay speakers are in operation the Recall RN has ample outputs. Example 3: Broadcast The Recall RN is used by many broadcast organisations worldwide as a general purpose production console. Scene automation is invaluable in this application particularly in scripted live shows where the whole performance is rehearsed. Settings can be stored in Showtime™ and played back at the touch of a button as the show goes live. In all live applications having a contingency plan is vital. Should it be necessary to make last minute changes to a program, the software has the flexibility to allow the operator to re-establish manual control of the console. Instantly. Recall RN's scene automation and the "Recall" function for storing and resetting the surface controls are 100% accurate. Each input module on the Recall RN has a direct output which can be fed either post fader or from a pot on the input strip. This feature allows the broadcast engineer to send any input of his Recall RN via a patch bay to any other device, for example, a multitrack recorder for mix down at a later date. The Recall RN also has an extra input on each channel, which can be utilised to monitor the track returns from a tape machine. RTP - Radiodifusão Portuguesa, Digital OB#1 Example 2: Theatre/Houses of Worship In a theatre application a production can be stored scene by scene using the Showtime™ software and any fine adjustments made manually if required using the Load Cue button on the console. Up to 256 scenes can be stored in this way. Updating a scene that has changed in the production is as easy as hitting the F6 key, which will store the settings for replaying next time the cue is triggered. Using the Edit Sequence Page, cue's can be moved, inserted or deleted ensuring the cue list is always current. Midi cues and dynamic cues (which are used to change Virtual Dynamics devices) can also be inserted in the sequence. Should a cue be missed, it is easy to skip forward and catch up with a show without loading unnecessary cues in-between. There is also a useful Note function in the Edit Sequence Page for notes/reminders that can be displayed in the cue box on the Showtime™ screen. For performances which require cues to be fired from external sources, the Recall RN SMPTE timecode reader allows cues to be triggered by incoming timecode. In addition, Showtime™ software has options for Midi Show Control with a Wait function for cues which are to be loaded automatically after a given time interval; useful for fading in and out sound effects amongst other things. The flexible Matrix on the Recall RN provides the theatre engineer with access to multiple speaker zones, enhancing the intelligibility of the audio and allowing the creation of special effects around the room. Recall RN has proved itself to be an invaluable console for use in houses of worship. Where services or events are repeated regularly, settings can be stored in Showtime™ and later recalled just prior to the event, thereby saving time and also helping new operators to achieve the same high standard of mix straight away. The Recall function is particularly useful for use in this application because often there are a number of volunteer engineers involved. Recalling the same tried and As well as the ability to record to tape or digital hard disk via direct outputs, Recall RN can be supplied with the renowned Supertrue™ dynamic automation system for mixing or posting to picture. Once installed the optional Supertrue™ package provides dynamic automation of all faders and channel mutes. The Recall RN is a reliable, great sounding and flexible mixing console. It’s use with many of the world's top Sound Companies, Theatres, Houses of Worship and Broadcast companies is testimony to this fact and it’s continued popularity around the world will ensure it's owners a valuable return on their investment for years to come. Graha Bethany Surabaya, Indonesia RN-RL1 Mono Input Module Routing - The 8 group busses are selected using the assignment switches. Pan Grps (Pan to Groups) selects the 8 Group bus assigns post-panpot. Inputs - The Mr. Rupert Neve mic amp is controlled by a 12 position rotary switch with a range of 0 to 66dB, and a separate trim control with a range of +/- 6dB. Phantom Power is sent to the socket when the 48 (+48V DC) switch is pressed. Equalisation - The EQ is designed by Mr. Rupert Neve and a greater degree of cut and boost (+/-18dB) is available on each of the four bands, with a continuously variable Q on the two mids. As well as the normal function of the rotary Hi and Low Pass filters, there is also a second path To S/C that routes the filter into the Virtual Dynamics side chain. Low Pass Filter is continuously variable between 25Hz and 500Hz @ 12dB/octave. High Pass Filter is continuously variable between 2kHz and 30kHz @ 12dB/octave. HF (High Frequency): is continuously variable 2kH to 20kHz, boost/cut +/- 18dB, Bell/Shelf switch. HMF (High Mid): is continuously variable 500Hz to 4.5kHz, boost/cut +/- 18dB, continuously variable Q. LMF (Low Mid): is continuously variable 100Hz to 1kHz, boost/cut +/-18dB, continuously variable Q. LF (Low Frequency): is continuously variable 30Hz to 300Hz, boost/cut +/- 18dB, Bell/Shelf switch. Separate In/Out switches are provided for the filters and EQ sections. Insert - The insert point is post EQ, pre-fader and has its own In/Out switch. An internal switch allows the Insert to be positioned pre-EQ. Ø - the Phase Reverse switch acts on the Mic/Line input. Auxiliary Sends - Recall has 12 Auxiliary busses. Auxes 1-8 have dual concentric knobs, each with its own On/Off and Pre/Post switches (Off and Post are in the switch up position). Auxes 9 & 10 and 11 & 12 are sourced from dual concentric knobs. Each pair of sends has its own Pre/Post and On/Off switches. An internal jumper allows Auxes 11 & 12 to have a level and Pan arrangement. Aux 1 & 2 On switches are automated. Mon Source - changes Aux 11/12 into a monitor and converts it to a level and pan arrangement, this input is sourced from a separate connector. Dir Aux 12 - inserts send 12 into the Direct Output path to provide a variable output level, which can be derived Pre or Post fader. An internal jumper allows the Pre signal to be derived Pre EQ. Pan - The Panpot follows the fader and is -3dB, centreindented. Fader - The 100mm conductive plastic Fader has an associated VCA, (for the 8 VCA groups and snapshot facilities). VCA Groups can be set up from the console surface or the computer. SEL - The SEL switch allows you to step through the 3 Automation Modes, Safe, Update and Override. Meter - Each channel has an 8-LED Pre-Fader Meter calibrated from -30 to +8dB with the top LED giving overload indication when the signal reaches approximately 6dB below clipping. The Overload LED has a fast attack and a slow decay time. Mute - A large illuminated Mute is provided. This is automated. PFL - The PFL button provides a Pre-Fade Listen signal, but may be internally selected to provide stereo ALF (After-Fade Listen). The PFL switch may be operated in either momentary, latching or interlock modes as selected from the RL4 module. A full Solo In Place system is also provided by assigning the SEL switch to be a Solo switch (from the RL4). Fader - The 100mm conductive plastic Fader has an associated VCA, (for the 8 VCA groups and snapshot facilities). VCA Groups can be set up from the console surface or the computer. Virtual Dynamics - Level on the channel output and Auxiliary send sourced post-fader can be controlled using the Virtual Dynamics system which provides a choice of one from ten software-driver gain controllers. The Dynamics side chain input can be internally jumpered to be either Post EQ or Pre EQ Post filters. Automation - Aux 1 & 2 On, the Mute switch and VCA fader are all automated. RL10 - Stereo Input Module A full-function stereo module is available as an option. This module can be retrofitted to any input module position. As many stereo inputs as are desired may be fitted. Routing - The 8 Group busses are selected using the four assignment switches, which address the busses in pairs. The post-fader, post-balance control signal can also be routed to auxiliary busses 9 & 10 and 11 & 12 in pairs. Inputs - The module has Left and Right line level inputs. Gain is controlled by the rotary control, which has a range of +/-20dB. Mono - Mono Left and Mono Right switches are fitted. If Mono Left only is pressed, the left input to the module is routed through both Left and Right channels equally. If both Left and Right Mono are pressed, a mono sum of both inputs at 6dB level is routed through both channels of the module. Ø Phase - The Phase Reverse switch is used when it is desired to correct a phase reversal on one side of stereo source. Equaliser - The four-band Equaliser operates simultaneously on both channels of the module. Facilities are as follows: HF: +/-18dB boost/cut with two switch-selected turnover points, 6kHz or 12kHz. HMF: +/-14dB, sweep range 450Hz to 8kHz, Q switched between 0.7 and 2. LF: +/-18dB boost/cut with two switch-selected turnover points, 40Hz or 80Hz, or by using the x3 multiplier, 120Hz and 240Hz. A separate EQ In/Out switch is provided. High Pass Filter - A fixed frequency switch-operated High Pass filter is provided with a roll-off rate of 12dB per octave below 120Hz. Auxiliary Sends - 8 Auxiliary Sends on rotary controls are fitted. These sends carry a sum of the Left and Right channel signals and are unaffected by the position of the channel balance control. Internal switches change the sends to true stereo with the odd Aux level being the Left send and the even being the Right. Individual pre/post switches are provided for Auxiliary Sends 1-4,5 & 6 and 7 & 8. On switches are provided for Auxiliary Sends 1,2,3 and 4 individually and for Sends 5 & 6 AND 7 & 8 in pairs. The On switches for Aux Sends 1 and 2 are sent as stereo from the routing switches at the top of the module. The signal is derived post the balance control. The Left channel signal is sent to the odd-number bus and Right channel signal is sent to the even-numbered bus. Balance - The balance control adjusts the relative volume of the Left and Right signals send to the stereo bus and the groups. SEL - The SEL switch is used to select the automation mode for the channel. Meter - The meter reads the Pre-fader signal and has 4 LEDs. These are calibrated to indicate at -30, -15, 0 and Overload. The Overload threshold is set at +15dBu. Mute - A large illuminated Mute is provided. This is automated. PFL - When the PFL switch is pressed a stereo signal derived pre-fader is sent to the Monitor A output. An internal switch can be used to set the signal to be AFL (After-Fade Listen). PFL links to the Momentary/Latch/Interlock Solo mode system, which is a feature of the Recall RN console. Fader - The 100mm conductive plastic Fader has an associated VCA, (for the 8 VCA groups and snapshot facilities). VCA Groups can be set up from the console surface or the computer. Virtual Dynamics - Virtual Dynamics also operates with the stereo input but the dynamics control signal is derived from a Left + Right 6dB sum of the stereo signal. This means that the dynamics control function depends on the amplitude of the mono-derived signal and is not set individually for each stereo channel. Automation - Aux 1 & 2 On, the Mute switch and VCA fader are all automated. RL2 - Matrix/Group Module The console is fitted with 8 RL2 modules. Each module has several functions: a Mono Ext Input, one set of sends and one master for the Matrix, an Aux Master, an Audio Subgroup Master Fader, a VCA Group Master and a Mute Group Master. Audio Subgroup Master - The fader controls the level of one of the 8 Audio Subgroups. Subgroup output is normally selected to the stereo bus via the ST switch and the Group panpot. The module controls the same numbered functions in each respective position, ie, module 1 will contain Mono Ext 1 input; Matrix Output 1; Aux Master 1; Audio Subgroup 1; Mute Group Mute 1 and VCA Master Fader 1. AFL and an automated mute are provided. Ext Input - The Gain Control has a +/-20dB range and is centre indented at the unity gain position. The return can be routed to the Group, Aux or Matrix outputs and is mixed in with signals on that path; muting the signal fed to each path is done by lifting the relevant assignment switch. An Insert IN/OUT switch is provided. A PFL switch is provided. This Mono Return can be used as an expansion input from other consoles, as a return for effects or other external sources, or, if nothing else is assigned to an Audio Group, as an additional input to the stereo bus with automated muting (using the Group mute switch). The Matrix Each RL2 module contains a set of matrix sends, which are derived from the audio subgroup master of that module. The default source for the Matrix is post the Subgroup fader; pressing PRE GRP sources the signal pre the Subgroup fader. The matrix output fader controls the level of the Matrix output. Each Matrix output has mute and AFL switches. The Auxiliary Master A rotary level control is provided for Aux bus 1-8. The control has 10dB extra gain over the 0 (unity gain) position. Each Aux Master has a talkback enable switch which allows the user to talk to that Aux Bus via the talkback system on the RL4 module. Each Aux Master has mute and AFL switches. Foldback Setup - When using the Recall RN as a foldback console the 12 Aux Masters, which are normally controlled by rotaries, can be controlled instead by faders using a combination of the 8 Subgroup faders and Matrix Output Faders 1-4 or 5-8. Thus faders can be used to control all the Aux Master Sends. Fader Off Aux - is used to switch Auxiliary mix bus signals 912 to the Matrix Faders. Aux bus 9 is parallel-wired to Fader Off Aux switches 1 and 5; Aux bus 10 is parallel-wired to Fader Off Aux switches 2 and 6, and so forth. The Matrix Fader which will be used to control the Auxiliary output level is selected by pressing the respective Fader Off Aux switch. When this is done the fader is disconnected from the Matrix mix bus. In this mode the fader output continues to appear at the Matrix output XLR socket. The normal Aux Master rotary level control and output XLR are not affected. Fader Rev - swaps the Subgroup Master Fader and the Aux Master Level. In this mode the Aux Master level is controlled from the Fader and the Subgroup Output is controlled from the Aux Master. Insert - The Insert is normally in the Group Output but it can be selected to the Matrix Output using the MTX switch. Mute Group - This switch is used to set up and trigger the Mutes grouped to it. VCA Mute - The large, momentary, illuminated VCA Group Mute switch can be automated if required using Showtime™. Soloing of VCA Groups can be accomplished using the automation system. VCA Master - The VCA Master fader is situated in the fader block. SEL - The SEL switch allows the 3 automation modes (SAFE, UPDATE and OVERRIDE -see RNRL1) to be accessed, giving control of the module's automated functions. Metering - Each RL2 module has its own LED meter. The source is selected using status switches on the RL4 monitor module. To meter individual paths, the various PFL/AFL switches can be used in conjunction with the monitor meters. RL3 - Stereo Master Module RL3 contains two Stereo Returns, Matrix feeds from the stereo output, Aux Masters 9-12 and other functions. Stereo Returns - Each of the two Stereo Returns can be used as an expansion input from other consoles or as an input for Effects or other external sources. The Gain control has a +/-20dB range and is centreindented at the unity gain position. The Return can be routed to Monitor A, Monitor B or Stereo and is mixed in with signals on that path; muting the signal fed to each path is done by lifting the relevant assignment switch. Stereo A can be used to link the stereo bus on two consoles. A PFL switch is provided. The Matrix - The RL3 module contains two additional sets of Matrix Sends which are derived from the Left and Right Stereo outputs. The source for the Matrix can be pre- or post- the corresponding Left or Right fader, using the PRE ST switch. Faders Isolate - disconnects the VCAs from the computer and connects them directly to the fader, allowing complete manual operation. To avoid accidental selection this is carried out by holding down the Faders Isolate switch until the READY LED illuminates, releasing the switch and holding it down again until the ON LED illuminates. Auxiliary Masters 9-12 - Rotary Master level controls are provided for Aux sends 9-12. The control has 10dB extra gain over the 0 (unity gain) position. Each Aux Master has a Talkback Enable switch which allows talkback to be routed to that Aux Bus from the talkback system on the RL4 module. Each Aux Master also has mute and AFL switches. Stereo Output - Individual Left and Right VCA faders are provided on the Stereo Mix output faders, situated in a separate output block. Gain may adjusted using the trimmers. The Left and Right paths have -6dBv insert points prefader. A stereo output mute switch is provided. SEL - The SEL switch allows the 3 automation modes (SAFE, UPDATE and OVERRIDE - see RNRL1) to be accessed, allowing the stereo faders to be placed under control of the Showtime™ automation system. Mono Wedge Source - A Mono Wedge speaker output is provided, with level controlled by a fader. This may be sourced pre or post the stereo bus or from the PFL system using the selector switches. Cue Control - The Showtime™ automation system allows up to 256 snapshots or 'scenes' to be created. The Scene Control section allows scenes to be loaded without having to reach for the computer. The stepper keys < and > allow the scene number to be selected; the Load Cue key loads all the scene data into the console. If, for example, the running order of the songs is changed mid-performance or there is an encore performance which is a repeat of an earlier song, the engineer can quickly step to relevant scene number. Group Set Up - This key activates set up mode for VCA and Mute Groups. In this mode the channel VCA status LEDs are used to indicate the Group settings. A VCA group is created by first selecting one of the VCA Group Mute switches; the switch will then flash. To add a channel to the group, press the channel's SEL switch; if a channel is already included in that group it’s status LEDs will flash, to de-select, press the SEL switch. A maximum of 3 group masters may be assigned to any one input fader. Mute Groups are set up by pressing one of the Mute Group switches, which will cause it to flash. To add a channel to the group, press the channel's SEL switch; if a channel is already included in that group it’s status LEDs will flash, to de-select, press the SEL switch. Each channel can be assigned to any combination of Mute Group masters. Input source selection to the eight group meters and the main L&R meters are provided on the RL4 module. The group meter audio sources are derived on the RL2 modules with source selection control via a pair of buttons labelled Meters 1-8 on the RL 4 module. These buttons source a pair of address lines giving four logical switch combinations. The default is both buttons up, which presents the audio group signals to the meters. The other three switch combinations present the matrix signals, auxiliary send signals and external input (return) signals to the group meters. RN-RL1 Mono Input Modules RL2 Matrix/Group Modules RL3 Stereo Master Module Dimensions Side Elevation Front Elevation 56 Pos 50mm (1.97”) 2182.04mm (85.91”) 755mm (29.72”) 630mm (24.8”) 414.63mm (16.33”) 1044.63mm (41.13”) 1143.82mm (45.03”) 50.8mm (2”) 1020mm (40.16”) 2098.04mm (82.6”) 50mm (1.97”) The L & R meter feeds normally follow Monitor A input source selectors (pre-level control) so that the currently monitored source is also metered. The Peak/VU switch changes the ballistics of the L & R meters. The AFL to L & R Meters switch in the PFL area cuts off the normal feeds and routes the stereo AFL/Solo prelevel control signals to the L&R meters. RL5 Master Fader Panel RL4 Monitor Module Power Supply Front Elevation 40 Pos 50mm (1.97”) 1694.360mm (66.71”) 50mm (1.97”) MPS-15 Height: (excl. feet) 266mm (10.47”) (6U) Width: 483mm (19”) Depth: (excl. connectors) 560mm (22.04”) Weight: (excl. packing) 45kg (100lb) The Recall RN is supplied with two MPS-15 power supplies. 50.8mm (2”) 1610.360mm (63.4”) The Recall RN features on-board backup supply operation via diode merging on the internal power distribution card. RL4 - Monitor Module This module provides Oscillator, Communications and Monitoring functions. Oscillator - The three-frequency Oscillator has outputs at 100Hz, 1kHz and 10kHz with either preset or adjustable levels. When none of the frequency switches are pressed, the Oscillator has no output. When both are pressed, output is at 1kHz; the other frequencies are selected from the individual switches. CAL mode provides a fixed output at 0VU = +4dB which may be adjusted using the Trimmer if other operating levels are required; when not using CAL, level can be adjusted using the Osc Level control. The Oscillator output may be selected to the Talkback routing system by pressing Osc Enable. A separate balanced output is also provided. Communications - An interface is provided for an external 3wire Comms. system, access being made using the Call switch. Connection is made using an XLR on the rear panel of the console. An XLR input connector is located on the module front panel for a dynamic Talkback microphone. Mic gain is adjustable from +10 to +60dB using the Mic gain control. The Comms Null preset allows cancellation of the operator's microphone output in his own headset. The Talkback (and/or Oscillator) may be routed to the Stereo Bus, Groups, Matrix and Bus via the appropriate Comms Routing selector switch. The Talk switch sends the signal to the required output. The Communications signal may also be routed to the headphone amplifier by pressing Comms To Phones. Meter Input Selection - 8 LED meters are sourced from the RL2 Group modules. Inputs to these meters can be selected using two source selector switches labelled 1 TO 8. Input sources include the Subgroup output; the Matrix output; the Aux Send outputs; and the 8 Returns. Separate switches allow the Left-Right meter ballistic to be selected to either PEAK or VU mode.and to be sourced from the PFL signal instead of the selected Monitor A source. Solo System - Recall RN has both PFL/AFL and Solo In Place modes. Solo In Place - is enabled via the Solo In Place switch and uses the channel SEL switch to activate the solo. Solo In Place mutes all other channels except the channel selected to Solo. Solo Defeat - prevents the selected channel from being muted when a Solo is selected. Channels can be set to Solo Defeat mode as required. Pressing a SEL switch on a VCA Master fader will solo the whole VCA group. A PFL/AFL Level control is fitted allowing overall adjustment of level to the monitor system. The AFL signal is stereo and the PFL signal comes to the Left and Right sides equally. The PFL/AFL bus may be selected to the monitor meters. The basic operating mode for all PFL and AFL switches is momentary. Two additional modes may be selected: INTERLOCK, which makes each PFL/AFL switch exclusive so that when it is pressed, any other PFL/AFL switch currently selected is cancelled, and LATCH, which makes each PFL/AFL switch latch when pressed, allowing all selected PFL/AFL switches to mix together. Clear - deselects all PFL/AFL switches. Monitor Systems - Two similar but independent monitor paths, denoted A and B, are provided. These multi-source outputs can be used for various applications, such as recording, extra stereo output feeds, etc. Each path can select from four sources - External stereo inputs 1-3 and the Stereo mix. Each path has its own Level control, Mono and mute switches. Monitor A - is the primary path as it also feeds the headphone amplifier and accepts the PFL/AFL signal. A Dim switch, which lowers monitor level by 20dB, is also fitted. Schedule of Connections Key XM XF Male XLR Connector Female XLR Connector Jacksocket Recall RN B Balanced Circuit U Unbalanced Circuit One Connector for Comm In/Out Not used with RL10 Inputs XF XF XF XF XF XF XF XM XM RN-RL1 Mic/Line RN-RL1 Monitor Input RL10 Stereo Input Left RL10 Stereo Input Right External Input Stereo Return 1 Stereo Return 2 Monitor-Ext 1 Monitor-Ext 2-3 Aux Bus Link Solo Control Comms Outputs XM XM XM XM XF XM Group Ouputs Matrix Outputs Stereo Output Aux Sends Channel Direct Output Monitor Headphones Oscillator Solo Control Comms Inserts Channel Send Channel Return Group/Matrix Ins Send Group/Matrix Ins Return Stereo Output Send Stereo Output Return Aux Output Send Aux Output Return Showtime™ Automation Where functionality, flexibility and operational ease converge. Showtime™ has already taken it’s place in history as the first dedicated console automation system to win over the live engineer. It is powerful and easy to operate, incorporating fader and switch automation, Visual FX™, Virtual Dynamics™ and Recall as standard. We understand that functionality is of paramount importance. That's why Showtime™'s feature set ensures that you don't have to compromise. Showtime™ has proved itself to be a console automation system of the highest calibre. It brings the level of automation enjoyed by studio engineers into the live arena. The console’s ability to control not only the VCA levels but also the on-board dynamics processors and outboard effects means that you can mix an entire song without having to think about the changes you need to make before the next number. In-built flexibility allows you the freedom to work the way you choose. Operation of Showtime™ is logical and practically instinctive. Freelance engineers are able to quickly drive the automation system, typically they have either used the system before, or they find it so simple and logical to operate that the learning curve is always a short one. This makes commercial sense. Since it’s introduction we have invested considerable time and effort in Showtime's development. Through this commitment and by listening to the ideas and suggestions of our customers worldwide we have been able to raise it’s operational standard and enhance it’s feature set to an outstanding level. You can take comfort in the knowledge that once you become a Recall RN customer you will continue to receive the benefits of Showtime™ for many years to come. Showtime™ is operated from a main screen, where various options and sub-routines are accessed through drop-down windows or from the seven menus. Snapshot Based Automation System Instant capture/replay of all of the console’s automated functions. Cue List Ability to add other functions to the snapshots. This includes dynamics, VFX settings, MIDI settings and on-screen notes. Recall The Recall RN offers full recall of all parameters. The Recall system allows the positions of all knobs and switches to be stored, except the AFL/Solo switches and of course the Showtime™ automated functions. Settings can be saved into the computer before running a mix. The Recall system's AutoScan procedure speeds console setup. When a recall is activated, the computer scans the console and only pauses when it finds an incorrectly set control. It then brings up a graphics display of the module's controls. The control is adjusted until it matches the target position. VFX Provides full remote control of parameters on a number of commonly used outboard signal processing devices. Virtual Dynamics™ Fitted as standard, this unique software manipulation of the console's hardware processors allows each VCA fader to have its own Dynamics control device. Virtual Dynamics™ is based on digital control of all parameters and therefore gives the user the ability not only to specify gain contours with great accuracy but also to produce gain control effects difficult to emulate with standard analogue hardware. Showtime™ also allows the user to store favoured settings, either within the Dynamics library or in the Cue List. Virtual Dynamics™ units are resident within the software and can be called to the screen at any time, offering a choice of any one of the ten available devices. Easy Gate A simplified gate device, fast and easy to setup. Includes settings for threshold, range and release time with a switchable ‘fast’ attack mode. Gate The standard general purpose gate, similar to the Easy Gate with added variable attack and hold times. Super Gate A fully-featured gate with all of the standard gate’s functionality plus manual/auto hysteresis, peak, decay, mask time, variable gain and a switchable release curve (log). Easy Compressor A quick and simple compressor, includes variable settings for threshold and compression with switchable attack and release modes. Compressor The standard compression device. Variable settings for threshold, attack, release, compression ratio and make-up gain. Includes a ‘soft’ setting to provide a gradual transition after the threshold is reached. Dual Compressor A complex compression device with an expander section and compressor with two thresholds and compression ratios. Limiter A limiting device with variable ratio, enabling true limiting at 10:1 or lesser values for alternative forms of compression. Autopanner An autopanner provides image shifting across two channels. This is achieved by the device controlling the level of the faders once panning has been set. Autopanner events are triggerable and variable points with variable divergence can be set. A variety of other options make this a very flexible tool. Expander A straightforward expansion device with variable threshold, ratio, attack, hold and release times and expansion range. Expander/Compressor This device enables you to combine expansion and compression on a single channel. Technical Specification Noise Microphone Equivalent Input Noise Measured at ST bus output, 22Hz-22kHz band, RMS. IP termination = 200ohm. Gain +60dB. <-127dBu Line Input/Output noise Measured at ST bus output, 22Hz-22kHz band, RMS. Gain unity Typically -86dBu Mix Noise From 24 Mono Channels Channels 1-24 assigned to the stereo bus, 22Hz-22kHz band, RMS. Gain unity Typically -73dBu Total Harmonic Distortion Line Input Measured using Audio Precision System One protocol >10k @ 1kHz Outputs Measured using Audio Precision System One protocol <60 ohm @ 1kHz Common Mode Rejection Mic Inputs <-70dB @ 1kHz Line Input <-50dB @ 1kHz RN-RL1 Mic Input to Main Output Measured at ST Bus output, 10K or 600ohm load. Test signal 56dBu @ 1 kHz, Gain = +4dBu output. 22Hz-22kHz band, RMS. <0.06% Microphone Equivalent Input Noise Measured at ST bus output, 22Hz-22kHz band, RMS. Input terminated with 200ohm source. Gain +66dB. <-128dBu Line Input to Main Output Measured at ST Bus output, 10K or 600ohm load. Test signal +4dBu @ 1kHz, Gain unity. 22Hz-22kHz band, RMS. <0.04 % Line Input/Output Noise Measured at ST Bus output, 22Hz-22kHz band, RMS. Gain unity Typically -85dBu Frequency Response Mic Input to Main Output All Filters & EQ out. Measured at ST Bus output with 10K load. Test signal 40dBu, Gain set at 50dB for 10dB output. +/-0.5dBu (20Hz-20kHz) Line Input to Main Output All Filters & EQ out. Measured at ST Bus output with 10K load. Test signal +4dBu, Unity gain. +/-1.0dBu (20Hz-20kHz) X-Talk Channel Breakthrough Mono inputs to Group Outputs. Better than 75dB (20Hz-15kHz) Channel Pan Cut-Off Better than 65dB (20Hz-20kHz) Fader Breakthrough Better than 70dB (20Hz-15kHz) Headroom Total Harmonic Distortion Mic input to Main output Measured at ST Bus output with 10K or 600ohm load. Test signal 1kHz, 22Hz-22kHz band, RMS. <0.01% Frequency Response Mic input to Main output All Filters & EQ out. Measured at ST Bus output with 10K load. +/-0.5dBu (20Hz-30kHz) Headroom Mic input Measured at the channel insert point. Unity Gain. >+24dBu Impedance Mic Input Measured using Audio Precision System One protocol >1k5 @ 1kHz Outputs Measured using Audio Precision System One protocol <60 ohm @ 1kHz Mic Input Measured at the channel insert point. Gain 10dB. >+10dBu Common Mode Rejection Mic Inputs <-70dB @ 1kHz Line Input Measured at the channel insert point. Gain unity. >+24dBu Direct Output Symmetry <-30dB @ 1kHz The slope reaches 12dB per octave. Output Levels Stereo Bus Output >+22dBu Console Types All specifications for the Recall console apply to consoles that are installed completely in accordance with AMEK’s recommendations. This includes recommendations on power supply cables and grounding. The figures in this specification are typical figures measured on a standard 40 position console, immediately after completing normal production tests. Figures will therefore vary slightly from console to console and the results here should not be regarded as 'guaranteed minimum performance'. Notes:1.0dBu = 0.775 Volts. 2.Published specifications apply to standard consoles. 3.All measurements taken using the Audio Precision System One test set. 4.Where no load impedance is specified, the equipment should be loaded with 10K ohms or greater. 5.These figures are typical of performance in a normal electromagnetic environment. Performance may be degraded in severe conditions. Impedance Mic Input Measured using Audio Precision System One protocol >1k5 @ 1kHz Mono VCA Control Out Fader Isolate (Master) Auto Aux Sends Fader VCA Control In Mute VCA Mono Right Fader and Routing Input Mono Left Input and EQ Pan Gain: +/-20 dB Mono sum Pre & Post O Phase Reverse Right Lo Hi HMF Q Aux 1 Aux 2 Aux 3 Aux 4 Post Pre Post Pre Post Pre On On Auto On Auto Aux 5-6 Stereo Mono Group 5+6 LF Bell Filter In On LF Group 3+4 Solo Lo Hi LMF Q Post Pre Group 1+2 PFL AFL (Internal) Aux 1-4 Stereo Mono HF HF Bell RL10 Stereo Input Module Stereo Aux 7-8 Stereo Mono Group 7+8 EQ In Module Meter Post Pre Post Pre Aux 8 Aux 7 Aux 6 Aux 5 Aux 9+10 On On Aux 11+12 Gain +/-20 dB Matrix Mix Buss Matrix Fader off Aux Insert point Insert point Insert In Insert to Matrix Bypass Option (Internal jumper) Matrix 1 to 4 fed from Aux 9 to 12 Matrix 5 to 8 fed from Aux 9 to 12 Mono External Input to Matrix Mix Matrix Output 1 to 8 Group Mix Buss Mono External Input to Group Mix Group Output 1 to 8 Aux Mix Buss Mono External Input to Aux Mix Aux Output 1 to 8 Mono External Input PFL Mono External Input Mute Auto Mute Mute RL2 Aux, Group and Matrix Module Matrix Fader Group Fader Aux Fader Fader Reverse Mix Talk to Matrix from RL4 PFL AFL Pan Post Pre (Internal Switch) Mix Talkback Enable Mix Talk to Groups from RL4 Talk to Aux from RL4 Meter Select AFL Matrix Output To meter select Matrix Sends #1 #8 AFL ST Group Output Aux Output To meter select AFL To meter select Control signal from RL4 module Aux Group Matrix Monitor A (in RL4) Mix Amp VCA Control Out Aux Mix Buss Mix Amp Aux Master Aux signal to matrix fader (RL2 module) Mute Trim +/-3 dB Stereo Talk to Aux from RL4 VCA Monitor B (in RL4) Aux Master 9 to 12 L+R Faders Fader Isolate (Master) Insert point Main Output PFL VCA Control In Stereo Mix Buss Talk to Stereo from RL4 Gain: +/-20 dB Stereo Return Input #1 Stereo Return Inputs 1-2 RL3 Main Output Module Right Left #1 Mix Talkback Enable AFL Solo Signal from RL4 module Mono Fader Aux Output Mono Mix Amp Mono Source (Wedge) Mix Pre Mono mix Mix Post Solo (Wedge) Main Output #8 Matrix Sends #1 #8 PFL Main to RL4 Monitor Module Post Pre (Internal) Gain: +/-20 dB Stereo Return Input #2 Monitor A (in RL4) Stereo Mono Output Monitor B (in RL4) From RL3 module Talkback Gain +10 to +60 dB Talkback Mic Talk Cal Call Dim control to Monitor A Cal Level Osc Level Mix Solo control Solo Mono Oscillator Output Monitor B Level Meter Select Mon A PFL/AFL Comm In/Out Talkback Output Mix Dim Mute Monitor B output Headphone Output Monitor A Output Mix Buss Comm to Stereo mix buss Comm to Aux (RL2 and RL3 modules) Comm to Matrix (RL2 module) Comm to Groups (RL2 module) Mute Dim control from talkback switch Headphone Select Mon A Comm Monitor A Level Osc to Routing Mono Solo to Mono (Wedge) output (RL 3 module) Stereo Return 1 & 2 from RL3 module Solo Mix Buss PFL/AFL Mix Level Mix Stereo Return 1 & 2 from RL3 module 10 kHz Talkback 100 Hz 1 kHz Oscillator Stereo Buss External 3 External 2 External 1 Monitor B Stereo Buss External 3 External 2 External 1 Monitor A RL4 Monitor Module Mic Input Freq. Response 5 20 Equaliser - High Frequency 4 15 3 10 2 1 5 0 0 -1 -5 -2 -10 -3 -4 -15 -5 10 100 1k 10k 100k 200k -20 10 100 1k 10k 50k 10k 50k 1k 10k 50k 1k 10k 50k Mic Amp to Direct Output Frequency Response at Unity Gain Great care has been taken to maintain excellent bandwidth, the graph above shows that at 10Hz the response is totally flat, giving superb low frequency reproduction. At high frequency the bandwidth is extended to -2dB at 200kHz to ensure there is no degradation of high frequency signals in the audio band. 20 Equaliser - High Mid Frequency 15 10 5 0 0.1 Mic Amp Distortion - (+10dB, Measured at Insert Send) -5 -10 -15 -20 10 0.010 20 100 1k Equaliser - Low Mid Frequency 15 0.001 10 .0005 20 100 10k 1k 20k Mic Amp Distortion at Unity Gain, Measured at the Insert Send. (Level= +10dB) 5 0 -5 The Mic Amplifier and following circuitry is capable of very low distortion levels, less than 0.002%, 20Hz to 20kHz as shown in the graph above. -10 -15 -20 10 20 Filters 20 15 15 10 10 5 5 0 0 -5 -5 -10 -10 -15 -15 -20 10 100 1k 10k 50k 100 Equaliser - Low Frequency -20 10 100 *All measurements taken on a Recall RN, 56 input frame with automation running. Test equipment: Audio Precision System One. All results are gain compensated. A Harman International Company International Headquarters Langley House Third Avenue Trafford Park Manchester M17 1FG Tel: +44 (0) 161 868 2400 Fax: +44 (0) 161 873 8010 Web: www.amek.com Email: [email protected] US Headquarters 1449, Donelson Pike Airpark Business Centre 12 Nashville TN37217 Tel: +1 888 286 9358 Fax: +1 615 360 0273 Los Angeles 2740, W Magnolia Blvd #102 Burbank CA91505 Tel: +1 800 585 6875 Fax: +1 818 973 1622 Tokyo 3-5-14, Konan Minato-ku Tokyo 108-0075 Tel: +81 (0) 3 5707 0575 Fax: +81 (0) 3 5707 0599 The company has an established policy of seeking improvements to the design, specifications and manufacture of its products. Alterations take place continually, often without prior notification outside the company. The contents of the company's literature must not be regarded as an infallible guide to the specifications available despite considerable effort to produce up-to-date information. No literature constitutes an offer for sale of any particular console or product. The company's officially appointed distributors and representatives will advise on any changes when the circumstances of the enquiry permit. All trademarks acknowledged. © 2000 Harman International Industries Ltd.