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1. 14 a a 15 TRACKBOUNCING 16 SOLO EM ET 16 e 17 18 JACK SOCKETS EI AUAA SE weet 18 debct perg dara a med samt 18 GLOSSARY dee t 19 19 AUXILIARIES EE 19 AUXILIARY MASTER Rae RD me ub 19 51910116 ET 19 BUS 19 CU M 19 rrr 19 EQUALISER 19 et dc e Mu Elm VD ide 19 FOLDBAGK EE 19 19 INSERT POINTS rerit nili a DA Sor Ve Dum eR Re De e E RN 20 bau prr 20 Bi 20 Er 20 cCe 20 A Ee dM A terc Dr ttn Acn 20 ocu t Pre 20 ae HP M c 20 siel pdn cp ET 20 SE dace de MD ILL c i te ba tee Mita 20 n EE 20 SOLO
2. 54 NOISE a a 54 CROSSTALK AND MUTE ATTENUATION AT 1KHZ sese 54 LM PET A 54 MAXIMUM INPUT DET 54 MAXIMUM OUTPUT INTO 2K 5 54 BLOCK DIAGRAMS det tar 55 rrr 56 2 PATCH BAY VERSION INPUT STRIP 57 3 MASTERS dex tale De deese saa te 58 4 PATCHBAY VERSION MASTERS PART 1 Imm tenentes 59 5D MASTERS PABT 2 EAE 60 6 PATCHBAY VERSION MASTERS PART 2 61 WARRANT ants IE 62 audent 8 21 2 Operation Manual ASP 8024 Introduction Thank you for selecting an ASP8000 Series console for your application We have designed this equipment to provide you with the best possible tool to deal with today s demanding requirements We have taken a great deal of pride and care in the manufacture of this equipment so that it will provide consistent and reliable performance Please take a little time to study the contents of this manual so that you can be sure of getting the best performance from this equipment HOW TO USE THIS MANUAL This manual has been divided into sections for your
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5. o Eom ME NA p s wm imer n 1 2 9 5 6 m 2 12 3 17 14 Patchbays Tie lines connections 25 32 etc follow the sam e iring convention show above Consoles fitted ith patchbays do not have the option of EDAC connectors audaent 8 21 1 Power Supply Status Indicators for the 18 18V and 48V power rails 2 Left and Right Peak Reading Main Output Meters 3 Over Indicators when illuminated the signal is in danger of being clipped and the level should be reduced A level of 20dBu will bring the OVER indicator on Maximum or OdBFS is indicated at a signal level of 18dBu corresponding to full modulation on a digital recorder e audent 8 21 PSU STATUS 4 OVU When the signal is at a level of 4dBu the bars should be illuminated up to this point Note that this is not meant to be normal operating level because the meters are peak reading 5 Talkback Microphone Connector talkback is to be used then a microphone should be plugged in here 6 Solo Indicator This lights when a SOLO button has been pressed on the console Operation Manual Metering THE MASTER METERS Metering has been addressed on the input modules although there are also meters associated with the master functions on the console The output meters show the output levels of the subgroups and also the stereo output If pr
6. 9 v sna xnv 58508 070 OL Li 58508 0105 OL 58508 0105 OL oL DT zm Xnv OL 524 1 Lxnv OL ANN 5 k sasna 1 xnv sasna xnv Operation Manual ASP 8024 Warranty WARRANTY Your ASP8024 Console comes with a manufacturers warranty for one year from the date of despatch to the end user The warranty covers faults due to defective materials used in manufacture and faulty workmanship only During this warranty period Audient will repair or at its discretion replace the faulty unit provided it is returned carriage paid to an authorised Audient service centre We will not provide warranty repair if in our opinion the fault has resulted from unauthorised modification misuse negligence act of God or accident We accept a liability to repair or replace your ASP8024 as described above We do not accept any additional liability This warranty does not affect any legal rights you may have against the person who supplied this product it is additional to those rights e audient 8 21 62
7. PAN BUS TRIM um S LONG FADER INSERT is HF LFEO MIDEO TAPE TRIM MASTER FADER _ INSERT cc LIM COM 22 INSERT 221 a 2 LIM COM ASP8024 Simplified Signal Flow e audent 8 21 Here a decision has to be made about which track the instrument will be recorded on and this of course should coincide with the track that you are record readying With the tape recorder now in record usually a red light indicates that a track is recording the guitar will now be recorded Subsequent instruments can be added in a similar fashion The recorded guitar can now be played back through the console and added to AUXILIARY A and hence to the foldback output The next performer to record will then have the benefit of the guide track plus the guitar DUE di 5 At this point a rough mix can start to be considered Opening the long faders corresponding to tracks that are recorded will allow them to be heard on the mix output of the console the MIX button must be pressed on the relevant channels and should be selected as the control room loudspeaker source By keeping the auxiliaries pre fade you can have all the fun you want adjusting the stereo mix without upsetting anyone in the studio As the tracks are being assembled the rough mix will become more and more refined almost startin
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10. PAN STEREO LR MULTI TRACK BUSSES SHORT LF FADER 2 SOURCE PAN MIC LINE T PRE POST 9 ae 4 LONG FLIP EG Eg FADER 9 2 bei 9 POST D Q9 N 99 EQUALIZER MID EQUALIZER AUXILIARIES LF POST LF e audent 8 21 15 TRACK BOUNCING Track bouncing is used to mix a limited number of tracks together and rerecord them This may be to free up some tracks on the tape recorder so that additional material may be recorded or it may be so that the final mix is simplified by having certain groups of instruments already premixed This could also be done during mixdown by using the sub group facility Signal coming off tape is normally sent through the LF path To rerecord it is necessary to route the signal to the routing matrix to assign the signal to the designated recording track The FLIP switch could obviously be used to route the playback signal through the SF path and hence back to the tape machine but this vvould necessitate replicating panning and EQ in the SF path However it is preferable to use the LF button located by the routing matrix which will select the output of the long fader to the routing matrix This will preserv
11. 0 0 3dB 20Hz 20kHz OdB gain THD AND NOISE AT 20dB OUTPUT XLR input to any output 0 00596 at 1kHz Line input to any output 0 00596 at 1kHz Tape input to any output lt 0 003 at 1kHz NOISE Mic EIN 20 20kHz 150R source lt 127 5dBu Bus noise no inputs routed lt 93dBu Bus noise 36 inputs routed lt 78dBu CROSSTALK AND MUTE ATTENUATION AT 1kHz Short fader Mute gt 90dB Long fader Mute gt 90dB Mix assign gt 90dB Bus assign gt 90dB MIC CMRR 70dB Min gain 75dB Max gain MAXIMUM INPUT Mic gt 21dBu min gain Line gt 30dBu min gain insert return gt 21dBu MAXIMUM OUTPUT INTO 2K OHMS Mix output gt 26dBu Bus output gt 26dBu Aux output gt 26dBu Insert send gt 20dBu Monitor Studio F B outputs gt 20dBu audert 8 21 54 BLOCK DIAGRAMS 1 INPUT STRIP 2 PATCHBAY VERSION INPUT STRIP 3 MASTERS PART 1 4 PATCHBAY VERSION MASTERS PART 1 Stereo and Solo Buses 2 track returns Solo system Control room monitoring 5 MASTERS PART 2 6 PATCHBAY VERSION MASTER PART 2 Stereo inputs Aux Buses Multitrack Buses Foldback and Studio speakers Oscillator Talkback e audet 8 21 Operation Manual Specifications 55 act 7208 ASW 41 150441 LH9IH 35 4431 45 1504 35 150445 5 1504 41 eiu AdIHS YVIINIS 988 Xnv NMOHS 281 XNY SONILNOY 8 4
12. AC mains supply Check that the fuse fitted is the correct type for the mains voltage selected Always replace fuse with the correct THE STAND The stand will be found beneath the console in the crate There are 2 identical legs a crossmember and 2 cover panels Lay the legs out approximately the vvidth of the console apart and place the crossmember between them Use the supplied hex headed 8 bolts to secure the crossmember to each leg a 13mm AF spanner will be required The unused holes in the outside of each leg should be filled using the 9 5mm caps supplied Screw a foot onto the bottom of each leg Place the stand in an upright position and place the console on top Secure the console with 12 M6 bolts Finish by adjusting the feet to take up any unevenness in the floor There is about 1 inch of adjustment available on each foot Cover panels for the rear of the stand legs and are secured using 4 M4 screws each e audent 8 21 Operation Manual Installation REMOVING MODULES FOR SERVICE The console is divided into a number of removable modules In a 36 channel console there are modules each containing 12 Channels a Master Module 3 Input Pods and a Master Meter Pod To access an or Master module the wooden arm rest must be removed by undoing the 4 x M6 retaining screws from the underside of the console Release the 2 x M6 screws from the underside of the console located in the dimples
13. IN PLACE fibrae ped de 20 BUS 9 20 P EE 20 e audent 8 21 2 Operation Manual ASP 8024 Contents CONSOLE FUNCTIONS abe oon 21 INPUT POD iniii Em 22 ROUTING AND AUXIFIARIES 1 215 mea 23 EQUALISER Ge E ive 24 SHORT FADER 5 5 25 BP NIE NE 26 TONG FADER re e Reti rt deiade sets a 27 CONNECTOR PANEL vb IE 28 STUDIO SPEAKERS AND FOLDBACK 1 12 24 29 CONTROL ROOM MONITORING 5 pe laci Paz be laa sra rasa vida Ta Ede eius 30 OSCILLAT OR uid 31 leno 31 COMPRESSOR tak fers eU ume D Mu sak et 32 STEREO INPUTS LEE 33 SUB GROUP OUTPUTS hi etx E E TED EA 34 SUB GROUP FADER 2 22 Aini loda Tir 34 acca
14. Inputs are assigned to group outputs through a bus enabling one or many inputs to be assigned to the same bus The group outputs usually correspond to inputs on the multi track recorder Each bus then has mixing amplifier whose gain can be controlled by the Bus Master Trim This allows the level to a multi track input to be raised or lowered without having to adjust the individual level of each channel routed to that track The faders can still be used to adjust the relative levels of channels CUT The cut or mute control is used to silence mute a signal path when it is not in use This removes the noise contribution from that source leading to a quieter mix There are cut switches in both the SF LF signal paths DIM This allows the control room loudspeaker levels to be reduced by a preset amount e audent 8 21 Operation Manual Using the ASP8024 Dim will be brought into action automatically talkback is used preventing howl round EQUALISER Equalisers are what would be referred to as tone controls on consumer equipment Equalisers are divided into a number of bands 4 in this case There is scope to adjust high and low frequencies and two bands of middle mid frequencies The high and low frequency sections are shelving and the turnover frequency is switchable The middle frequency sections are peaking and the frequency of the peak or dip is adjustable It is also possible to alter the Q of
15. SF path Auxiliaries A and B work in the same manner as the other auxiliaries but are intended mainly for use as sends to the FOLDBACK system 23 EOUALISERS 1 HF LF Section This places the HF LF equaliser in circuit 2 SF places the HF LF equaliser in the SF signal path where it can be used to treat a signal before it is recorded 10kHz 18kHz allows the frequency of the HF equaliser to be selected 4 HF boost cut control 5 50Hz 100Hz allows the frequency of the LF equaliser to be selected 6 LF boost cut control 7 MIDS Section This places the MIDS equaliser in circuit e audent 8 21 8 10 11 12 13 14 SF places the MIDS equaliser in the SF signal path where it can be used to treat a signal before being recorded This controls the centre FREQUENCY of the high mid equaliser HIGH MID boost cut control HIGH MID O control This controls the centre FREQUENCY of the low mid equaliser LOW MID boost cut control LOW MID control Operation Manual Input Strip EQUALISER Note the light background indicating that the equaliser is normally associated with the LF signal path The equaliser is split into two sections one for high and low frequencies HF LF and the other for middle frequencies MIDS Both sections can be switched in and out independently and switched into the SF signal path independently The HF section has a boos
16. Sub Group outputs are normalled to a D sub connector and may be used providing outputs to a device such as a non linear editing system for example 6 STEREO TAPES L REC REC 1 Pw PLAY L PLAY R MON 1 stereo tape machines are interfaced on XLR connectors fitted to the rear of the console The feeds to and from the XLRs are normalled via the patch bay from the Mix output and to the 2 track monitor returns respectively Operation Manual Patchbay THE PATCHBAY The ASP8024PB optional patchbay system provides front panel access to the connections provided on the rear of the standard console as well as a number of additional patch points Patching is implemented using TT size jacks with D sub connectors provided for the studio systems interfaces All default signal paths are fully normalled to avoid unnecessary patching and functional patch point blocks are arranged horizontal format for ease of identification Interfacing for two 24track machines is provided and all patchbays are supplied with 144 tie lines as standard 49 7 10 STUDIO FOLDBACK LOUT AMP R QE LOUT AMP R L OUT AMP R OUT AMP STUDIO L FOLDBACK L The outputs to the foldback and studio speaker amplifiers are terminated on XLRs on the rear of the cons
17. auxiliary signal to be taken pre fader instead of the normal situation where it is taken post fader 7 8 allows the signal to be routed to auxiliaries 7 8 instead of 1 2 AUXILIARIES A and B are identical in operation to the others but can be individually switched into the SF path Operation Manual Input Strip ROUTING and AUXILIARIES The routing section takes the signal from the SF path and routes it to the group outputs which in turn are usually connected to the inputs of a multi track recorder Groups 1 to 8 also have a parallel path and feed the 8 sub groups These can be used to pre mix channels together for final mix down or as sends to an 8 track recorder There are 24 group outputs accessed by 12 routing buttons and a SHIFT button Routing can be to multiple outputs and if odd and even outputs are selected panning can be used to place the signal within a stereo image The LF switch moves the routing from the SF path over to the LF path and can be useful for track bouncing If PAN is down and routing is again selected for odd and even groups then the post fade post pan LF signal is sent to the group outputs selected There are 14 auxiliary outputs although the number of panel controls does not reflect this Again a switch is used to assign the controls between two pairs of auxiliaries Auxiliaries 1 and 2 can be switched for use as 7 and 8 for example The Auxiliaries can be switched to the
18. below the module to be removed Remove the extruded trim strips from each side of the required module and between the meterbridge and the modules Swing the module up it is hinged and remove the 3 x 40 way connectors on the right hand side of the circuit board Remove the 3 x 16 way cables to the meter panel If automation is fitted be careful to remove the ribbon cables linking each fader to the automation controller cards before attempting to fully lift the module Remove the green grounding cable by undoing the single M3 screw attaching it to the circuit board Hold the module by the sides lift it slightly back and up to clear the hinge then pull forward for removal Removing the Master Module is similar to the above ribbon cables should be removed other than those marked LINK 1 and LINK 2 The two power connectors should be removed noting their orientation for later reassembly Installation of the modules is a reverse of the above procedures Hold the module in an approximately horizontal position making sure that it is correctly aligned over the hinges and then gently lower it into position With the module in position reconnect the cables to their original positions To remove the pods the connector panel should first of all be hinged down by unscrewing the 7 x securing screws The panel must be supported in it s lowered position to prevent it becoming detatched from the frame Undo the cables to the connect
19. can be switched into the main stereo signal path when required Note that it is located after the mix insert point but before the main fader The compressor characteristics are optimized for use in mix processing while many of the parameters remain under the control of the engineer Threshold Gain Make Up Attack Release and Ratio are all adjustable while the entire processor can be switched out of circuit when not required A bargraph meter indicates the amount of compression applied to the signal When compression is taking place this should show some very healthy activity Please do not try to over compress the mix output as the results will sound terrible Always use your ears to check the effect that you are trying for You too can act as a compressor by reducing and increasing the master fader level In some situations this gain riding may be preferable as assuming you know the song you will be able to anticipate peaks reduce the gain slowly before they occur increasing it slowly as the signal level falls from the peak A good use of the compressor may be to limit peak signals by setting a highish threshold with a high ratio Thus when the threshold is reached the signal is barely allowed to increase beyond it 32 e audent 8 21 1 ROUTING SWITCHES allowing the input signal to be sent to the multi track recorder 2 SHIFT button working with the routing switches to
20. for simpler control If the signals are on the LF path then they must first of all be sent to the routing matrix by pressing the button in the routing section By routing the signals to groups 1 through 8 they will also be routed to the sub groups 48 1 TAPE RETURN PATH 2 CHANNEL PATH CHANNEL PATH T NODE Provision is made for interfacing to two 24 track machines Tape machine A playback is normalled from the relevant D sub interface to the Tape inputs of channels 1 24 Tape machine B playback is normalled to channels 25 onwards up to 48 if this many channels are fitted 3 MULTITRACK SENDS The sends to both 24 track machines are normalled from the 24 bus outputs The machine sends may of course be overpatched from channel insert sends sub groups etc 4 STEREO INPUTS ee DEV RIN DEV gt LIN L STEREO INPUT 1 The stereo device outputs such as reverbs etc are interfaced via 1 4 inch jack sockets on the rear of the console These are normalled to the 4 stereo inputs through the patch jacks shown above e audent 8 21 A rear panel jack socket is provided for interfacing external devices such as synthesizers This signal is available as the Device Output on the patchbay and is normalled to the channel line input 5 SUB GROUPS 1 GRP GRP _ DEV DEV IN E IN The eight
21. give access to tracks 13 24 F B A allows the input signal to be fed to Foldback A 4 F B B allows the input signal to be fed to Foldback B 5 TRIM control to compensate for different input levels This has a range of 20dB 6 Rotary FADER allowing the input signal to be faded up or down as required 7 MIX allows the input signal to be sent to the stereo mix bus 8 SOLO allows the input signal to be auditioned depending upon the selected solo mode 9 CUT is used to mute the signal or simply remove any noise contribution from the return when not in use Operation Manual Master Section STEREO INPUTS The Stereo inputs allow signals to be brought back into the console returned from an effect unit without using up a complete channel strip Often stereo signals can only be routed to the stereo mix however the ASP8024 stereo inputs allow routing back to the multi track in addition to the mix This means that effects can be recorded on the multi track Routing to the foldback system is also possible using F B A and F B B allowing performers to hear any reverberation or other effect A gain trim with 20 dB of range rotary fader solo and cut switch complete the facilities on the input The stereo channels effectively increase the number of inputs on the console that are available especially during a mix down Every channel has two inputs either mic line or tape thus a 36
22. is equivalent to pin 1 on an XLR connector e audent 8 21 Operation Manual Using the ASP8024 DOING IT LIVE With much equipment capable of being played via midi it may be that the tracking stage of a project can be eliminated and a live mix created straight away The 8024 can easily cope with this method of working since both the LF and SF signal paths can be routed to the stereo mix giving up to 72 channels to mix with This utilizes the electronics in the console to a high degree and almost the only part of the signal path not fully used is the routing matrix although by using the subgroups it will also be in use Remember also that the group outputs can be used as extra effect sends either from the LF or the SF signal path Working this way you will want to use the SF switches to assign some resources over to the SF signal path remembering that if it is in use in one path it cannot be used on a module by module basis by the other signal path Working in this mode it is very possible that you will vvant to send signals on the same module but from the different signal paths to the same effect unit Normally this vvould be a problem since the auxiliary can only be used on one or other signal path Two auxiliaries therefore would have to be used and then combined in some way The 8024 makes doing this very simple using the LINK switches associated with the auxiliary master controls audent 11 THE US
23. is in use the signal from the external processing equipment should be connected here CHANNEL IDENTIFICATION NUMBER Operation Manual Input Strip CONNECTOR PANEL The rear mounted connector panel is where the input output and insert point connectors are located The microphone input uses an XLR connector while the line input tape input and the insert sends and returns use Tip Ring and Sleeve jacks 28 2 3 Vege Q 2 Me C RM 2 25 2 1 xs LEFT RIGHT LEFT TAPE 1 4 C RM 2 2 B RIGHT ye FL J 2 00 g ga LEFT RIGHT 1 SOURCE SELECT These select the signals to be sent to the studio loudspeakers and foldback The LEVEL controls set the Studio Loudspeaker and Foldback levels 3 Studio Loudspeaker ON switch This mutes the Studio Loudspeaker FOLDBACK 1 SOLO switch Allows foldback 1 to be checked on the control room monitoring system e audent 8 21 FOLDBACK 2 SOLO switch Allows foldback 2 to be checked on the control room monitoring system Operation Manual Master Section STUDIO SPEAKERS and FOLDBACK This section of the master module looks after the STUDIO LOUDSPEAKER and FOLDBACK outputs of the console In every case the same sources are available TAPE 1 TAPE 2 CONTROL ROOM C RM AUXILIARY A AUX A AUXILIARY B AUX B Tapes 1 and 2 are external inputs to the console and could be anything
24. over to the SF path A compressor is available on the mix output in situations where it is desirable to decrease the dynamic range of the mixed signal The mix output also has an insert point where an external equaliser compressor or other effect unit can be used 10 INSERT POINTS Both the SF signal path and the LF signal path have insert points An insert point allows the internal signal path of the console to be broken into and some form of additional signal processing to be inserted The Mic Line signal path insert point is located immediately after the Phase Reverse circuit and just before the Flip switch The Tape signal path insert point is located immediately after the tape input and again just before the Flip switch INSERT Insert points have a send and a return The returns are fully balanced while the sends are ground sensing allovving them to be connected to balanced or unbalanced loads If an insert point is not required and is switched out of circuit then the send still carries signal giving an additional output per insert point If an insert point is switched in and nothing is plugged into the RETURN jack then signal will still pass through as the jack has switching contacts which can only be broken by the insertion of a jack plug The insert points use TRS Tip Ring and Sleeve jacks The Tip is equivalent to pin 2 of an XLR connector while the Ring is equivalent to pin 3 The Sleeve is ground which
25. system are made via the rear and bottom connector panels generally in a similar fashion to standard consoles The exceptions to this are dealt with here 1 8 121 128 MULTITRACK PLAY 52 Operation Manual ASP 8024 Power Supply THE POWER SUPPLY The ASP8120 power supply is a 3U Rack Mounting unit There are no controls other than the ON OFF switch a reset switch for the 18v rails and the voltage selector located on the rear panel 3 LEDs are used to indicate the existence of the 18V 18V and 48V power rails There are also PSU status indicators located on the master meter section of the console Two very low noise slow running fans cool the unit so that it can normally be located in the same room as the console A 4 metre long power supply cable is supplied connecting the console to the power supply It is important that the power supply ventilation slots and fans are not obstructed There is no need to allow space above and below the unit if it is mounted in a rack and it may also be placed directly on a floor if required Before using please check that the voltage selector on the back panel of the PSU is set correctly for the local mains supply e audient 8 21 53 Operation Manual ASP 8024 Specifications SPECIFICATIONS FREQUENCY RESPONSE Mic input to Mix output lt 0 0 3dB 20Hz 20kHz 6 40 gain Line input to Mix output lt
26. the centre of the console close to the operator and control the subgroup output levels These outputs are directly available at the rear of the console or they may be used to feed the stereo mix bus simply by pressing the mix buttons 34 1 The LEVEL control adjusts the talkback level 2 Pressing SLATE allows talkback to the group outputs This allows track identification information for example to be recorded 3 Pressing SLS lets you talk to the studio loudspeaker e audent 8 21 4 Pressing FB lets you talk to the Foldback outputs In all cases pressing a talkback key will cause the control room monitors to dim This helps prevent feedback makes the talkback more intelligible and does not affect the console outputs Operation Manual Master Section TALKBACK Talkback is used to communicate with the STUDIO the FOLDBACK system or the GROUP outputs of the console Note that the talkback to the foldback system will work even when the foldback levels are turned down The talkback microphone may be phantom powered by connecting Link 1 on the PC10801 board 35 1 AUXILIARY MASTER LEVEL controls the overall auxiliary output 2 SOLO button used to audition the auxiliary output This is always AFL 3 TheLINK button is used when it is required to combine signals from different auxiliaries into a common signal The leftmost auxiliary becomes the overall master thus if auxiliar
27. while the tape input normally sends signal through the LF or long fader path of the console unless this is reversed by the FLIP switch There are two meters associated with the inputs a 20 segment OdBFS peak reading meter showing the tape input signal and a 3 segment peak reading meter gives an indication of the mic line level Both the MIC LINE and the TAPE inputs have insert points which be switched in and out of circuit The Mic Input has a gain control range of 6dB to 60dB and the Line Input has a range of 14dB to 20dB Switches allow for Phantom Power Polarity Reversal and High Pass filtering The TAPE input has a trim control with a range of 15dB There is a back illuminated number at the bottom of the pod for channel identification 22 Auxiliaries 3 4 5 6 are omitted for clarity but are the same as auxiliaries 1 and 2 1 ROUTING SWITCHES select the group outputs that the SF signal is sent to The first eight switches also route to the 8 subgroups 2 SHIFT gives access to group outputs 13 24 PAN allows the signal to be panned across odd and even groups 4 LF replaces the SF signal being sent to the routing switches with the signal from the LF signal path 5 LEVEL adjusts the level sent to an auxiliary output e audent 8 21 Uu 2 SF allows the signal feeding the auxiliary to be taken from the SF signal path PRE allows the
28. 35 AUXILIARY MASTER Siaor e or PD eda P IP avs 36 BUS MASTER STHRIII ath heme 37 MASTER EADER rre 38 deni 9 STUDIO AND FOLDBACK CONNECTORS 40 AUXILIARIES CONNECTORS Deli Re 41 SUB GROUP INSERT CONNECTORS 42 STEREO INPUT CONNECTORS nisi 43 PLAY UU 44 MAIN OUTPUTS Meg 45 MULTI TRACK CONNECTORS 0 11 2022 1 46 THEMAS TER METERS 47 5 REDE e 48 49 PATCHBAY CONNECTOR 52 and lactis ad cas ade 53 SPECIFICATIONS b ander dede 54 FREQUENCY RESPONSE int deett peine bic cis 54 THD AND NOISE AT 2008
29. BUS MASER TRIMS are the final stage of level control over the signals routed to the group outputs Each group has a bus trim although for the purposes of this manual only a few are shown in the accompanying diagram The trim range is 10dB 37 audent 1 The MASTER FADER controls the level of the stereo output signal 2 This is the Odb mark The fader is fully open at this point 3 With the fader here the signal path is closed and no signal will pass e audent 8 21 10 15 20 30 40 50 Operation Manual Master Section MASTER FADER The master fader is used to control the stereo output of the console Unlike the channel faders it 18 calibrated with the OdB mark at the top as the main purpose of this fader is to create a fade out at the end of a title Under normal operating conditions the fader should always be set at maximum If it has to be pulled back a significant distance it indicates that the levels to the mix bus are too high and should be reduced 38 Operation Manual ASP 8024 Master Section CONTROL CONNECTORS These are the connectors for the control room loudspeakers There is a main output and 43 alternative outputs which can be selected from the control surface of the console Each output is stereo having a left and right connector The console does not contain any power amplification and these outputs should be connected into a suitable po
30. E OF FOLDBACK Foldback is the means whereby a performer can hear previously recorded material and probably other current performers in order that he she can play along in time both with them and the pre recorded material Loudspeakers and headphones can be used for foldback although in most situations headphones are the usual choice Several problems can occur if the foldback is not giving the performer what he she expects to hear leading to timing and pitch variations The first problem is of course the number of available foldback mixes If the number of performers exceeds this then an element of compromise is already introduced SHORT FADER MICROPHONE 2 SHORT FADER PRE MULTI TRACK Operation Manual Using the ASP8024 The level of the performer relative to the remaining foldback is a critical point If timing is a problem it may be that the performer is hearing too much of himself and not enough of the rest of the performers A solution here is to remove one of the ear pieces so the performer can retain a feel for his own instrument while getting more of the others For vocalists the pitching may be a little sharp if there is insufficient of themselves in the foldback to be able to judge pitch The converse is also true where if there is too much of the vocalist in the foldback then pitching may be flat Pitching is usually easier with a st
31. Operation manual Operation Manual ASP 8024 Contents Contents HOW TO USETHIS MANUAL a E E dena 4 UNPACKING E 5 IMPORTANT SAFETY INSTRUCTIONS 5 T EESSTAIND 5 REMOVING MODULES FOR 5 5 MECHANICAL INSTALLATION 0 0 II 6 MAINS POWER SUPPLY ernier era ors de ee ua orna 6 VOBTAGES nM utc LI EL Curl Du 6 BUSES ELE 6 EE 6 PIN CONVENTIONS papii aen ap Gente 2 e IRR 6 SCREEN CONNECTIONS 6 CONNECTIONS a 7 RECORDING WITH THE ASPS8024 ise terram ter tice eet sepe p DERE 8 IN LINE ARCHITECTURE 22 edite rx Rasse 8 TEE RECORDING PROCESS 252 8 BASIC TRACKING EE 8 BASIC MIXING 10 INSERT POINTS dolla 11 DOING THEME PII nr 11 THE USE OF FOLDBAGCK 12 GROUPS AND SUB GROUPS eiie dx Rb anl 13 in siiplEiiiccmeT
32. Since this happens on the mix output solo in place should not be used during mixing but is very helpful when setting up the mix 31 _ COMPRESSOR 222929999929 THRESHOLD MAKE UP 1 A12 segment bargraph METER indicating the amount of gain reduction taking place 2 THRESHOLD control for determining the level where compression starts Threshold can be set between 20dBu and 20dBu 3 ATTACK controls the speed with which the compressor reacts to the signal Attack is adjustable in 6 steps from O 1 to 30ms 4 RATIO determines the amount of compression used once the signal is above the threshold level High ratios means that more compression will be applied For example a ratio of 2 1 means that the output will rise 1dB for every 2dB rise in input level e audent 8 21 Ratios of 4 1 and 10 1 are also available MAKEUP is a gain control When a signal is compressed the level is reduced A gain make up stage restores the peak level although of course the dynamic range of the signal has now been reduced 40 of gain make up is available RELEASE controls the speed at which the compressor allows the gain to return to normal when the signal drops below the threshold level Release is available from O 1s to 2 4s in 5 steps with an additional AUTO setting The IN switch is used to switch the compressor into circuit Operation Manual Master Section COMPRESSOR A compressor
33. a channel is not in use for a period of time Operation Manual Input Strip FLIP and PAN The FLIP switch allows the MIC LINE input and the TAPE input to be reversed Normally the TAPE input feeds the LF signal path with FLIP pressed it will feed the SF signal path The MIC LINE input normally feeds the SF signal path and with FLIP pressed it will feed the LF signal path Illuminated indicators each section show which input is selected to the LF and SF paths The PAN control pans the LF signal across the stereo mix bus and the MIX switch assigns the LF signal to the stereo bus The SOLO switch allows the long fader signal to be auditioned through the AFL PFL or Solo in Place facilities CUT allows the LF signal path to be muted Page 33 gives more detail regarding the long fader used to control the level of the LF signal path 26 audent 1 This is the LONG FADER which controls the level of the LF signal 2 Thisis the 10dB mark The fader is fully open at this point and introducing 10dB of gain into the signal path e audent 8 21 5 10 20 40 This is the OdB mark This is the normal operation position for the fader With the fader here the signal path is closed and no signal will pass Operation Manual Input Strip LONG FADER LF Located close to the operator this fader operates on the LF signal path and is therefore mainly used for creat
34. ally the stereo returns can be sent to the foldback system allowing effects to be heard by the performers Auxiliaries A and B are normally derived from the LF path of the console but can be switched to take signal from the SF path The signal is normally post fader but can be selected to be the pre fade signal The foldback outputs are line level outputs and require to be connected to a suitable amplifier They are not intended to directly drive headphones or loudspeakers 12 GROUPS AND SUB GROUPS It is the group outputs of the console that are connected to the multi track recorder inputs Consequently to record anything it has to be routed to a group output This is done by using the routing buttons at the top of the channel strip vvhere there are 12 buttons plus a shift button allowing routing to all 24 group outputs The group is reached indirectly through the group mix bus The mix bus allows other signals to be routed to the same group output giving the possibility of a track carrying only one instrument or a combination Operation Manual Using the ASP8024 through the console also means that the equalizers can be used to modify the signals The mixed signal can of course be monitored through the stereo bus The auxiliaries can also be used to send for example to a reverberation device The output of the reverberation unit can be brought back through a stereo input to be used for foldback and can also be record
35. and caution should be excercised if a failure should occur Check the mains voltage setting condition of the mains cord and integrity of the mains supply before replacing the fuse e audent 8 21 Operation Manual Installation AUDIO INTERFACES The ASP8024 Console has been designed and developed to provide highly robust system integration interfaces allowing worry free system hook up under the most demanding situations Inputs and outputs are implemented using advanced electronically balanced or ground sensing topologies and are fitted with extensive RFI rejection networks signal interfaces are also fully protected against accidental misuse e g by the connection of phantom powered cables PIN CONVENTIONS Signal interfaces are provided on either metal shell locking XLR TRS Jack 25 pin D Sub or optional 56 pin EDAC type connectors XLR Pin 1 is connected to the chassis safety ground XLR Pin 2 is designated as signal positive and Pin 3 as signal negative To unbalance the outputs of the ASP8024 Pin 3 should be connected to Pin 1 at the output of the console Similarly inputs from unbalanced sources should be connected via twin screened cables with the Pin 3 connection tied to the screen at the unblanced source SCREEN CONNECTIONS In order to maintain optimum EMC performance it is important that screens are properly connected at both ends of cable runs In this way the electromagnetic shield provided by the equ
36. and this will be connected to a microphone box or other signal source within the studio The input signal can be checked on the small meter available on the input pod or by using the meter reverse switch the long meter can be used This does not indicate the level being sent to the tape recorder only the signal level immediately after the insert point in the SF signal path The level of course is important and it must not be too high or low even before the e audent 8 21 that the recorder input signal is returned to the console for viewing on the meters Most machines incorporate an auto input function allowing the rec readied tracks to automatically switch to input Tracks which are SAFE will remain in TAPE mode You should consult your tape recorder manual for more information regarding this Levels can be difficult to set and there may be large differences between the meters on the recorder especially if it is analogue and those of the console The section on Metering later in this manual gives more information about the meters used in the ASP8024 14 PATH SWAPPING The simplified block diagram on this page shows the short and long fader paths The FLIP switch is at the input of both paths and determines whether the MIC LINE or the TAPE input is used for a particular path The normal position for all switches on the console is UP and with the FLIP switch in this position the TAPE signal is routed throug
37. convenience The first section is introductory and gives a general overview of the console and its features The following sections give a detailed explanation of the console functions how they operate and how they relate to each other Please note that options such as patchbays have their own sections in this manual If you are new to recording then please take time to study the introductory sections which will help you understand the functions of the controls described in the later sections of the manual audent 8 21 4 ASP 3024 Your ASP8000 Series Console has been carefully and meticulously tested and inspected before despatch Please check for any signs of transit damage If any signs of mishandling are found please notify the carrier and your dealer immediately Your ASPS8000 Series Console packing should contain ASP8700 PSU power cord PSU cable and a bag of stand hardware along with this manual IMPORTANT SAFETY INSTRUCTIONS Please read all of these instructions and save them for later reference before attempting to connect the ASP8700 PSU to the AC power source and the ASP8024 console To prevent electrical shock and fire hazard follow all the vvarnings and instructions marked the ASP8700 This unit is connected via its power cord to the mains safety earth NEVER OPERATE THE UNIT WITH THIS EARTH CONNECTION REMOVED Check that the correct operating voltage has been set for your
38. d Male XLR lt 75R 26dBu Electronically balanced 25 Pin D sub lt 75R 26dBu Electronically balanced Male XLR lt 75R 26dBu All Monitoring Outputs Type Connector Output Impedance Maximum Output Ground sensing Male XLR lt 75R 20dBu Operation Manual Using the ASP8024 RECORDING WITH THE ASP8024 IN LINE ARCHITECTURE ASP8024 has an In line architecture This means that the channel path and the monitor path are both included in the same physical strip Because the two signal paths are integrated in this way in line consoles have sometimes been seen as confusing However great care has been taken in the cosmetic and ergonomic design of the ASP8024 to make the two paths easily distinguishable from one another Dark areas of the control surface and dark switch buttons are associated with the short fader SF or channel path while light areas of the control surface are associated with the long fader LF or monitoring path For the remainder of this manual the signal paths will be referred to as the LF and the SF paths As a default condition the Mic Line input feeds the SF path while the Tape return signal uses the LF path This assignnment can be reversed using the FLIP switch To identify which mode has been selected back lit legends indicate the signal source for each path THE RECORDING PROCESS Recording is generally a stage process unless you are making a class
39. e any panning and EQ that has been set up Ensure that all the tracks to be bounced are unrouted from the mix The end result can be heard by assigning the destination track s LF path to the mix SOLO Pressing a solo button on a channel with either PFL or AFL selected allows either the PFL or AFL signal for that channel to be heard on the monitors and vievved on the stereo output meters Associated with the solo switch is the SOLO IN FRONT control and this allows the relative level of the solo d signal and the stereo mix to be adjusted It is thus possible to hear a channel in isolation or with some amount of the mix behind it e audent 8 21 Operation Manual Using the ASP8024 Solo in Place is an extension of the AFL and PFL facilities If SIP is selected on the master module the signal on the main stereo bus will be replaced by the AFL Post Pan signal of the soloed channel This is the equivalent of cutting all other channels except the one you want to check but is achieved by just a single button push Note that if you are recording when Solo in Place is used this will be recorded For this reason the SIP switch is illuminated alerting users to possible danger The most likely use for SIP will be just before a mix when equalization is being set up It is often easier to adjust the equalization on a solo d channel but it is essential to check how it sounds when in the mix 16 Metering is ex
40. e auxiliaries are normally used as feeds to the foldback system by selecting them on the control surface of the console They can also be used as additional effects sends 2 AUXILIARY 1 and 2 outputs The remaining auxiliary outputs are identical e audent 8 21 Operation Manual Master Section AUXILIARIES CONNECTORS Not all of the ouputs are shown for clarity It carries XLR connectors for Auxiliary A Auxiliary B and Auxiliaries 1 through to 12 Note that all auxiliaries are mono The auxiliary outputs are typically used to send to effect units such as reverberation units They are line level fully balanced outputs 41 Operation Manual Master Section SUB GROUP INSERT CONNECTORS 1 INSERT SEND Jack for sub group 1 2 INSERT RETURN Jack for sub group 1 The 7 remaining subgroups have identical connectors e audent 8 21 This panel carries the connectors for the sub group insert points There are 8 sub groups and each insert point has a send output and a return input Signal is alvvays present on the send output If required the insert returns could be used as very basic inputs to the stereo mix bus during mixdown from a submixer or sampler etc 42 1 LEFT INPUT for STEREO INPUT 1 2 RIGHT INPUT for STEREO INPUT 1 The remaining 3 Returns have identical connectors e audent 8 21 Operation Manual Master Section STEREO INPUT CONNECTORS This panel carr
41. ed either as a part of the bounced track or on a separate track instruments ROUTING MULTI TRACK LONG MATRIX RECORDER FADER aga Mmm c 3433 a Lr m GROUP 2 V OUTPUT EQUALIZER ge SUB GROUP OUTPUT MIX Q MULTI TRACK BUSES STEREO BUSES The disadvantage of combining When mixing down especially if instruments at the recording stage is of course that the mix between them is then fixed and cannot be changed at a later date A better idea but only if you are short of tracks is to record the instruments separately and then bounce them down to another track This is achieved by routing the LF path up to the routing matrix on all the channels to be bounced and selecting a track for the mixed signal to be recorded on it must be the same for all signals The tape is then played and the mixed signal re recorded on a new track Be careful when bouncing to an adjacent track on an analogue recorder crosstalk in the record head may cause feedback This can be done until the mixed track is deemed acceptable Bringing the signal e audent 8 21 automation is not available it can be useful to sub mix certain tracks such as the backing vocals together This is possible by again assigning the LF signal up to the routing matrix The first 8 groups are also automatically assigned to 8 subgroups thus group 1 al
42. ed between the insert send and the insert return jacks the insert return jack has its normal contacts wired to the signal being sent to the insert send then if no jack is inserted in to the return socket the send signal will pass through the contacts and appear on the output of the jack This allows the insert point to be left switched into circuit at all times with the only consideration being that the signal passes through one more stage of electronics than it otherwise vvould SLEEVE RING TIP Operation Manual Using the ASP8024 The insert sends are ground sensing outputs enabling them to connect to balanced and unbalanced loads with equal ease When connected to an unbalanced load any ground noise from the destination is also added to the signal making it a common mode signal which is rejected XLRS XLR connectors are the connectors found on many items of professional audio equipment XLR stands for extra low resistance as there is a large contact area associated with this connector Male connectors are used as outputs while the female connectors are used as inputs There are 3 pins on each connector with pin 1 always being used as the earth or ground pin to which the cable shield should be connected The balanced signal is carried on pins 2 and 3 Pin 2 is normally the Hot pin while pin 3 is Cold pin In the USA generally the reverse is true and pin 3 is the Hot pin With balanced circuits throughout
43. efore controls the recorded level of the signal When SF appears by a control or group of controls it means that these functions can be switched into the short fader or channel fader path SHIFT This allows the number of routing switches to be reduced by doubling the function of each switch With Shift unpressed routing is possible to tracks 1 through 12 With Shift pressed routing to tracks 13 through 24 is possible SOLO IN PLACE This is a method previewing the signal in a channel and works by cutting all the signals feeding the stereo bus other than the one s being solo d This is a destructive process and does affect the stereo or mix output of the console STEREO BUS This is usually the main bus in the console and provides the output to whatever stereo recording device is in use The stereo output is also used as the main monitor source allowing the output of the multi track to be heard and the balance of the individual tracks in the mix to be adjusted TALKBACK Talkback is a means of communication from the mixing console to the performer 20 Operation Manual ASP 8024 Functions CONSOLE FUNCTIONS Now that an understanding of the use of the console has been gained by example it is time to list the functions on the modules The modules have been sectioned in order to show them at a reasonable size and the controls identified by number A brief functional description of the controls is given below the drawi
44. ereo foldback mix If pitching is erratic it may be that there is too much reverberation on the foldback however insufficient reverberation can lead to a lifeless performance SHORT FADER Foldback in the ASP8024 can be derived from Auxiliary A and POST TAPEA RECORDER Lj h oa o 434 ETE EEE TETERE 2 4 i4 AUXB 9 F B LEVEL _ LY HEADPHONES EOUALIZER LONG FADER LONG FADER The second problem is that of creating a suitable foldback mix Listening on headphones is Auxiliary B a very unnatural experience for most people Checking the foldback mix on the control room loudspeakers or even on headphones is unlikely to sound the same asitis perceived by the performer listening in the studio Should the foldback be mono or stereo Generally it has been found easier to follow a beat that is in mono If a click track is being followed than it may pay to vary the click sound as the performer s hearing adjusts to the click and desensitizes to it Increasing the level of the click is of course an option but this will quickly lead to more desensitization and the risk of requiring to increase the level yet again e audent 8 21 It is also possible to select the CONTROL ROOM SOURCE or the EXTERNAL INPUTS to the monitor system as foldback sources Addition
45. eters are peak reading they give a true indication of the signal level allowing you to use the full dynamic range of the electronics The meters are calibrated with OdBFS at the top of the scale all other levels being negative with respect to this OdB is calibrated for a signal level of 18dBu and the OVU mark for 4dBu In addition there is an OVER indicator which illuminates at 20dBu The meters peak reading to give a response much more like the readings on a digital recorder e audent 8 21 Operation Manual Using the ASP8024 Meters are provided for Main Stereo Output Subgroup Outputs Tape Return Inputs MIC LINE Inputs 17 MORE CONNECTORS JACK SOCKETS Jack sockets are a very common form of connector and are used extensively in the 8024 console There is more to them however than merely connecting with the Tip Ring and Sleeve of the mating jack plug The switching contacts allow the jacks Sockets to be used to pass a signal through while no mating plug is inserted but break this signal and accept the signal from the plug when it is inserted This is knovvn as normalling and the signal connected through the switching contacts is known as the normalled signal The prime use of this function within the console is on the insert points If this facility did not exist and the insert point was switched in nothing could pass through the signal path unless an external unit vvas connect
46. f inputs Do not use the parallels to join outputs as this will short the outputs together e audient 8 21 51 1 AN EL CONNECTIONS Microphone input XLR and Line input jack connectors are located on the rear connectors panel behind each of the input strips as on the standard console see page 28 The Tape input and insert send return jacks are omitted MULTITRACK RECORD SUB GROUP CONNECTIONS These are located on the underside of the console adjacent to the PSU connector All console interfaces are D sub female types wired to the Tascam DA88 amp convention with 8 signals per connector see page 46 MULTITRACK PLAY AND TIE LINE CONNECTIONS These are located on the rear panel behind the patchbay section connectors are again D sub females wired to the Tascam DASS8 convention MULTITRACK B PLAY 9 16 33 40 2 81 88 137 144 2000 129 136 e audent 8 21 eiue Operation Manual Patchbay 2 5 T E 5 XLR and Jack connectors associated with the master module are arranged in the same way as the standard console see pages 39 45 with the exception of the sub group insert send return jacks which are omitted as these are included on the patchbay SUB GROUPS TAPE A 1 8 D TAPE B 1 8 PANELS Connections to studio systems on consoles fitted with the ASP8024PB patchbay
47. fader The input meter will help determine this and the level at this point can be controlled by the input sensitivity control The signal then travels through the short fader where the level to tape may be controlled and thence to the routing matrix where it can be assigned to a track or tracks on the recorder The track to which the overdub is assigned should be put in REC READY mode with the remaining tracks in SAFE mode Thus when the RECORD button is pressed only the track which is rec readied will actually go into record Be very careful not to overwrite a previously recorded track The use of track sheets where a list of all the instruments on each track is kept is recommended The signal level being sent to the tape recorder can be seen on either the tape recorder meters or on the large meter associated with the channel that the USE playback signal is on Make sure that the tape recorder is switched to input in order 22 FOLDBACK Ei p HEADPHONES AUXILIARY CONTROL ROOM MULTI TRACK LOUDSPEAKERS 7 1 2 a aca caca P p MICROPHONE Qi LONG FADER If pre fade then you will be able to play with the stereo mix without any effect on the foldback A post fade setting may be preferred if changes to the mix are to be reflected in the foldback signal The recording path uses the mic line input
48. g to sound like the final title Effect units will be starting to play their part and the auxiliary outputs will be in use feeding them The output of the effect units will in most cases be brought back through the RETURNS situated in the master section of the console 20 GAIN It may be of course be that the artist wants to record while listening to the effects and this can be done by turning up the Foldback 1 or 2 controls on the RETURNS This routes the signal from the return to foldback e audent 8 21 Operation Manual Using the ASP8024 BASIC MIXING As has been seen the mix has largely been created as a result of the tracking process There may however be more instruments to be brought into the mix some may not even require to be played since they are connected to a midi system These can be connected into any remaining tape inputs on the console or if all tape inputs are used or the input sensitivity of the tape input is insufficient the MIC LINE inputs can be used MIX This of course means that the signal will travel through the SF path of the console This is no problem however as the SF path can be switched onto the stereo mix bus Alternatively the FLIP switch can be used to enable the MIC LINE input to feed the LF path if it is not in use For any signal using the SF path during mixdown there is no real shortage of facilities since the equaliser or a part of it and the auxiliaries can be switched
49. h the LF path as shown By studying the diagram it can be seen that the MIC LINE input is routed through the SF path but that when the FLIP switch is pressed this situation is reversed and the TAPE signal is now routed through the SF path There are switches labelled SF associated with both the HF LF equaliser and the MID equaliser Again the normal position of these switches is placing the equalisers in the LF path By pressing the SF switches the equaliser sections can be moved over to the SF path EG Operation Manual Using the ASP8024 Thus it is possible to have the entire equaliser in either the LF or SF path or one section of the equaliser in each path This situation could be useful when both the LF and SF paths are used for mixdown If the multi track recordings are to be made with equalisation then the equalizers should be placed in the SF path Note in this situation that you will hear the effect of the equalisation and it will be recorded When the equaliser is in the LF path you will hear the changes but they will not be recorded on the multi track recorder They will only be recorded if a stereo recording is made as will be the case when mixing the title It is possible the source the auxiliaries from the SF path by pressing the SF switch associated with each pair of auxiliaries The auxiliaries can further be selected to be either pre or post fader for whichever path they are in
50. ical recording where very simple microphone configurations are often used to record straight down to stereo Popular music is usually tracked first of all to get all the instruments onto some storage medium usually a multi track tape recorder The second stage of the process involves returning the recorded tracks back into the console to combine them into a stereo mix When instruments are under midi control it is not necessary to record them as they can be played live into the mix when required If a mix has many midi controlled instruments then much of the tracking stage of the recording process can be eliminated BASIC TRACKING This is the first stage in the creation of a title The starting point may well be a blank reel of tape on the multi track recorder which is of course fully connected to the mixing console The group outputs feed the inputs to the different tracks of the recorder while the recorder outputs are connected to the tape inputs on the console e audent 8 21 The FLIP switch should be in the UP position as this will ensure that the microphone or line inputs travel through the SF path to the tape recorder while the tape returns will travel through the LF path to the stereo mix bus A guide track is often recorded first This could be anything from a click track to a drum kit to some very raw vocals anything in fact that subsequent recordings can be based on the guide track will then most likely be des
51. ies the input TRS jacks for the stereo inputs located on the master section of the console There are 4 returns each with a left and a right input If mono source is used then it should be plugged into the left input This is normalled over to the right input causing the signal to travel through the left and right signal paths of the return If a plug is inserted into the right input the normalled connection is broken 43 1 Left Input for Play 1 2 Right Input for Play 1 e audent 8 21 Operation Manual Master Section PLAY INPUTS This panel carries the Play Inputs which are external inputs to the monitoring system three inputs available as sources to the control room monitoring system while the first two can be used as sources for the studio monitoring system and the foldback system 44 1 INSERT SEND jacks There is separate send output for the left and right mix 2 INSERT RETURN jacks There is a separate return input for the left and right mix 3 MIX OUTPUT Stereo Output connectors There are three sets of connectors allowing the connection up to 3 stereo recorders e audent 8 21 Operation Manual Master Section MAIN OUTPUTS There are 3 sets of stereo output connectors enabling the connection of 3 stereo recording machines The outputs can be used for many purposes of course and it is not essential that they feed a recorder Associa
52. ing the monitor mix and the final stereo mix for the title The fader is expected to operate around the OdB mark with 10dB of gain in hand allowing the signal to be increased or decreased in level When level setting start with the fader in this position then adjust the input sensitivity control for the correct level to optimise the gain structure 27 1 MICROPHONE INPUT Microphones or other low levels inputs can be connected to this input 2 LINE INPUT This input can selected in place of the microphone input Like the Tape input it is suitable for high level line sources MIC LINE INSERT SEND This is the insert point send output for the microphone and line input Signal is always present here and can be used as an additional output Only the Mic Line signal will appear here and it is not affected by the Flip Switch 4 MIC LINE INSERT RETURN When the insert point is in use the signal from the external processing equipment should be connected e audent 8 21 output of the multi track tape recorder should be INPUT The connected here although the input is suitable for any high level line source TAPE INSERT SEND This is the insert point send output for the tape input Signal is always present here and this can be used as an additional output Only the Tape signal will appear here and itis not affected by the Flip switch TAPE INSERT RETURN When the insert point
53. input console has 72 inputs PLUS 4 stereo inputs giving 80 inputs 33 1 The PAN knob pans the subgroup signal across the stereo bus 2 MIX allows the sub group to be assigned to the stereo mix bus and hence the main console output Q audient e audent 8 21 SOLO allows the subgroup signal to be auditioned depending upon the selected pan mode CUT mutes the subgroup output The SUB GROUP FADER sets the level of the subgroup output signal This is the 10db mark The fader is fully open at this point and introducing 10dB of gain into the signal path This is the OdB mark which is the normal operation position for the fader With the fader here the signal path is closed and no signal will pass Operation Manual Master Section SUB GROUP OUTPUTS In addition to routing signal to the group outputs for recording on a multi track recorder the first eight groups are also fed to 8 sub group outputs Each sub group has a PAN control SOLO and CUT switches and a fader controlling the group output level The sub groups have insert points located on the rear panel of the console allowing external processing to be patched in when called for The MIX switch assigns the sub group to the stereo mix bus and allows the sub groups to be used in mix down The subgroup INSERT RETURNS can be used as extra inputs to the mix SUB GROUP FADER The 8 subgroup faders are located in
54. ipment chassis and the cable screens will be optimised to reject interference It is recommended that only high quality braided screen cables are used to avoid compromising EMC performance 5 Microphone Input Operation Manual Installation Insert Return Type Connector Input Impedance Maximum Input Line Input Type Connector Input Impedance Maximum Input Tape Input Type Connector Input Impedance Maximum Input Stereo Inputs Type Connector Input Impedance Electronically balanced Female XLR gt 1k5 20dBu Electronically balanced 1 TRS Jack Socket gt 10k 20dBu Electronically balanced 1 TRS Jack Socket gt 10k 20dBu Electronically balanced 1 TRS Jack Socket gt 10k Maximum Input Level 20dBu Play Inputs Type Connector Input Impedance Maximum Input e audent 8 21 Electronically balanced Female XLR gt 10k 20dBu Type Connector Input Impedance Electronically balanced TRS Jack Socket gt 10k Maximum Input Level 20dBu Insert Send Type Connector Output Impedance Maximum Output Auxiliary Output Type Connector Output Impedance Maximum Output Group Output Type Connector Output Impedance Maximum Output Stereo Mix Output Type Connector Output Impedance Maximum Output Ground sensing TRS Jack Socket lt 75R 20dBu Electronically balance
55. ng while the side bar gives a broader overview of the functions This section of the manual can be treated as a reference section when looking for a specific control audet 8 2001 21 1 20 Segment meter 2 Segment meter INSERT IN places an insert point in the TAPE path 4 Tape Input TRIM control 5 MIC LINE switch press down to select the line input 6 MTR press to show the mic line input on the large meter and the tape input on the small meter 7 INSERT IN places an insert point in the MIC LINE path e audent 8 21 Mic Line GAIN Control Polarity Phase Reverse Switch 48V Phantom Power Switch Turn the loudspeakers down before switching this on or off High Pass Filter Switch A high pass filter can be used to get rid of any unwanted low frequencies that may be present such as air conditioning rumble Operation Manual Input Strip INPUT POD The input pod is the gateway to the remainder of the signal processing of the console There are three inputs a mutually exclusive microphone and line input and a tape input Note the different colouring used to identify the different signal paths of the pod Anything on a light background is associated with the LF path while anything on dark background is associated with the SF path The mic line input normally sends signal to the SF or short fader signal path of the console
56. o listen to the SOLO d signal in isolation or combined with some amount of the stereo mix The SIP switch switches the console into SOLO IN PLACE mode This means that the solo signal will replace the mix signal at the stereo output of the console This selects either PFL or AFL mode This switch is not effective in SOLO IN PLACE mode Operation Manual Master Section OSCILLATOR The 4 frequency oscillator can be assigned either to the group buses or to the stereo mix bus The level is adjustable and when not in use the oscillator should be completely turned off SOLO This is the master control area for the AFL PFL and SOLO IN PLACE system If SIP is not illuminated then the console will be in either AFL or PFL mode depending upon the PFL AFL switch PFL allows pre fade signals to be auditioned on the monitors and vievved on the master meters by pressing the SOLO button on the appropriate channel strip AFL allows the post fade post pan signals to be auditioned on the monitors and vievved on the master meters by pressing the SOLO button on the appropriate channel strip A control adjusts the relative level of the solo signal and the mix signal allowing the solo d channel to be heard in isolation or with some amount of the mix SIP mode allows the post pan signal to be auditioned by switching the solo d channels onto the console output and muting the stereo mix for the duration of the solo
57. oblems are indicated here with the level being either too high or low then it is most likely that the problem is further back in the signal path Follow our procedure for gain setting to see if this remedies the situation 47 SUB GROUP 1 1 Sub Group Mleter There are 8 peak reading subgroup meters 1 for each sub group output 2 Over Indicator When illuminated the signal is in danger of being clipped and the level should be reduced Like the main meters this will illuminate with a signal level of 20dBu OdBFS is indicated at a level of 18dBu which normally corresponds to full modulation on a digital recorder OVU When the signal is at a level of 4dBu the bars should be illuminated up to this point Note that this is not meant to be normal operating level because the meters are peak reading e audent 8 21 SUB GROUP 2 Operation Manual Metering THE SUB GROUPS There 8 sub group outputs on the console only 2 have been shown for clarity The sub groups accessed in parallel with the main group outputs and only the first 8 groups therefore have a corresponding sub group The sub groups are able to feed the stereo mix and also have their ovvn outputs located on the rear panel of the console The sub group outputs can be directly used to feed an 8 track recorder A typical use for the sub groups would be during mixdown when a number of signals are to be combined to one fader
58. ole and are normalled from the relevant console sends via the patchbay CONTROL ROOM Pw L OUT AMP LOUT AMP LOUT LOUT R OUT MAIN SPEAKERS ALT 1 SPEAKERS ALT 2 SPEAKERS ALT 3 SPEAKERS Operation Manual Patchbay Feeds to the control monitor Speaker amplifiers are normalled via the patchbay to XLRs on the rear of the console AUXILIARIES 00000 OUT gt OUT OUT FX E OUT FX IN L AUX A L AUX B L AUX 1 L AUx6 OUT gt FX IN FX OUT gt FX IN LAUX 10 1 L AUX 124 Feeds to external processing devices are normalled from the console aux outputs to rear mounted XLRs TIE LINES TIE LINES Tie lines are terminated on D sub connectors on the rear of the console Pairs of tie lines 1 2 etc may be normalled by fitting two wire links in the positions behind each pair of jacks on the tie line PCBs e audent 8 21 50 Operation ASP 8024 Patchbay 11 LEVEL CONVERTORS 0006 4 10 4 1 L LEVEL CONVERTORS Two pairs of passive level convertors are provided A low impedance output signal plugged into the 4dBu jack will be attenuated to 10dBV suitable for driving the inputs of semi professional equipment 12 PARALLELS PARALLEL Two sets of 4 way parallels are provided These are useful for paralleling a number o
59. or will blank 3 This is the PAN control for the SF signal enabling it to be panned e audent 8 21 across odd and even groups MIX routes the SF signal to the stereo mix bus It is good practice to unroute any channels which are not needed This will reduce mix amp noise This is the SHORT FADER which controls the level of the SF signal SOLO allows the SF signal to be heard on the monitors and vievved on the master meters Solo In Place is selected it will replace the console output CUT allows the SF signal path to be muted This may help to reduce noise in a mix if a channel is not in use for a period of time Operation Manual Input Strip SHORT FADER SF There are 3 back illuminated indicators showing the selected input to the SF path This can be changed between Mic Line and Tape using the FLIP switch LF Source allows the source for the SF path to be taken from the LF path This could be used during mixdown to send the LF signal through the SF path up to the routing matrix where the group outputs can be used as additional effect sends Normally this signal is derived after the long fader POST LF but it can be made PRE LF by changing an internal link on the circuit board The source switching occurs before the equaliser so it is possible to equalise the SF signal which has been taken from the LF path by switching either one or both equaliser sections into the SF path If this i
60. or panels at the connector panel end This gives access to the 3 x M6 screws retaining the Top Trim which can then be removed The 3 x M3 screws retaining each pod can now be removed The pod will now hinge forward slightly and can then be removed by lifting it vertically up 5 MECHANICAL INSTALLATION Care should be taken not to obstruct the power supply unit s ventilation holes and adequate air flovv must be provided within rack cases to prevent the unit from overheating NEVER PLACE THE POWER SUPPLY ON THE FLOOR AS THIS OBSTRUCTS THE AIR FLOW The front panel of the ASP8024 Console features a rugged under surface printed polycarbonate overlay Exposure to direct sunlight for extended periods should be avoided as this can have a detrimental effect on the overlay panel and on the control knobs MAINS POWER SUPPLY VOLTAGES The ASP8120 Console Power Supply features an external mains voltage selector Switched to the 230v position the unit will operate without performance degradation from 210v to 250v In the 115v setting it will accept from 105v to 125v Do not attempt to operate the unit outside the ranges defined above For 100v operation please contact your dealer FUSES Please note that the fuse ratings for the two voltage ranges are different 17 for the 230v setting and 17 5 T16A for the 115v setting Always replace fuses with the same type The mains fuse is very unlikely to fail under normal use
61. s done then the equaliser section is no longer available in the LF path The SF PAN control allows panning across the group outputs when pan is selected on the routing section of the strip MIX allows the SF signal to be routed to the stereo mix bus and allows the SF path to be used as an additional input during mixdown The short fader is designed for use with 10dB of gain in hand allowing the signal to be boosted or reduced in level if required The SOLO switch allows the channel to be auditioned through the AFL PFL or Solo in Place facilities CUT allows the SF signal path to be muted 25 c e 1 FLIP swaps the inputs between the LF and SF paths 2 These back lit indicators show whether the MIC LINE or the TAPE input is selected to the LF path Only one will be illuminated and it can be changed by using the FLIP switch MIXallows the LF signal to be routed to the stereo mix bus Normally this switch should be pressed but it is good practice to unroute any channels which are not needed this will help to reduce mix amp noise e audent 8 21 This is the PAN control for the LF signal enabling it to be panned across the stereo bus SOLO allows the LF signal to be heard on the monitors and vievved on the master meters or if Solo in Place is selected it will replace the console output CUT allows the LF signal path to be muted This may help to reduce the noise in a mix when
62. s makes the in line concept a very attractive one 19 INSERT POINTS Insert points allow the signal path to be broken allowing the insertion of some signal processing device The device inserted is then in series with the signal path When not required the device can either be switched out using the INSERT switch or unplugged from the console LF The Long fader is normally used to feed the mix The lighter areas of the channel strips are areas used for the LF signal path There may be a dark switch labelled SF allowing that facility to be switched into the SF or short fader path LINE The line input is a high level high input impedance input intended for high level sources such as the outputs of a multi track tape recorder sampler etc MIC The microhone input is a low level low impedance input intended for use by low output devices such as microphones This contrasts with the line input which is intended for use by equipment with high output levels a tape recorder line output for example MIX This allows signal to be routed to the stereo mix bus which is the main output of the console This routing can be applied to both the SF and LF signal paths and is particularly useful during mix down when as many inputs as possible are often required PAN Short for panoramic potentiometer this control places a mono source signal onto the stereo bus The proportion of signal fed to the left and right buses is variable u
63. sing the pan control and alters the spatial position of an instrument within the mix Thus a number of channels can all be panned to different spatial positions Generally low frequency instruments such as kick drums are panned centrally as they are omnidirectional and for a given SPL the speakers are being driven at a lower level leading to less distortion Signals can also be panned across odd and even group outputs allowing them to recorded in stereo on the multi track recorder PFL This allows pre fade signals to be heard on the monitors and vievved on the main stereo meters of the console e audent 8 21 Operation Manual Using the ASP8024 Q Q is an indication of the frequency range or bandwidth over which a peaking equaliser will be effective Lovv Os affect a wide range of frequencies while high Os affect a much narrower range of frequencies It thus allows an equalisation adjustment to be targeted to maximise the effect where required while at the same time minimising changes where they are wanted Generally high Qs sound less pleasant than low Os ROUTING This is the process of selecting to which group output of the console the signal should be routed Routing can be to multiple tracks and if an odd even combination is selected then panning can be used to record a stereo signal onto the multi track recorder SF The Short fader is normally used to feed the inputs to a multi track tape recorder It ther
64. so routes to sub group 1 group 2 also routes to sub group 2 and so on The sub group outputs can be used directly but in this situation it is more useful to assign the sub groups to the stereo mix by pressing the MIX button Any signals requiring to be sub grouped can now be routed to a subgroup and the level within that subgroup is determined by the long fader The overall subgroup level is determined by its fader located in the centre section of the console is possible to have 8 subgroups to simplify and reduce the number of faders requiring adjustment during a mix down session 13 OVERDUBBING Overdubbing is really a combination of the tracking and mixing modes In fact most tracking that is done will be done as overdubs and the only pure tracking may in fact be the laying down of the guide track when there is nothing else on the tape Both the LF path and the SF path of the console are used in overdub mode The LF path is used to bring the tape playback signals both to the stereo bus and to the auxiliaries from where it can be sent to the performers through the foldback System The SF path is the recording path and is used to take input from the studio and send it to a track on the multi track recorder To use foldback the signal from tape should be assigned to auxiliary A or B The auxiliary should be assigned to the LF path and could be either pre or post fade Operation Manual Using the ASP8024 short
65. t cut range of 15dB The frequency can be switched 10kHz with the switch up and 18kHz with the switch depressed The LF section has a boost cut range of 15dB and a shelving characteristic The frequency can be switched bOHz with the switch up and 100Hz with the switch depressed The high mid section HMF has three controls The boost cut range is 15dB and the frequency of operation can be varied from 450Hz to 20kHz A Q control allows for a very sharp and narrow characteristic or for a more gentle characteristic covering a wider range of frequencies The low mid section LMF has three controls The boost cut range is 15dB and a shelving characteristic The frequency of operation can be varied from 5OHz to 1 5kHz A Q control allows for a very sharp and narrow characteristic or for a more gentle characteristic covering a wider range of frequencies The actual Q range is between 3 8 0 4 Octave and O 65 2 Octaves 24 1 These back lit indicators show whether the MIC LINE or the TAPE input is selected to the SF path Only one will be illuminated and it can be changed by using the FLIP switch 2 SOURCE selects the post fade LF signal as the input to the SF signal path over riding the MIC or TAPE selection from the Flip switch By altering a link on the circuit board this signal can be made pre fade The LF legend will illuminate vvhen the switch is pressed and the MIC TAPE indicat
66. ted with the outputs are the mix insert points They allow a final mix processor to be inserted into the MIX path and are located before the MIX compressor limiter 45 Operation Manual ASP 8024 Master Section MULTI TRACK CONNECTORS POWER SUB GROUPS TAPE 1 8 TAPE 9 16 17 24 1 MULTI TRACK CONNECTOR for tracks This panel contains the connectors for the multi track tape recorder Rather than having individual connectors for each group 1 through 8 output it is much more 2 MULTI TRACK convenient and quicker to CONNECTOR for tracks make a connection if they 9 through 16 are on multi pole connectors 3 MULTI TRACK CONNECTOR for tracks The multi track recorder 17 through 24 sends are split across 3 connectors with each 4 SUB GROUP OUTPUT carrying the group outputs CONNECTOR for 8 tracks The sub group outputs are on a fourth 5 POWER INPUT connector CONNECTOR The multitrack sends and sub group outputs are also available as a cost option on 56 pin EDAC multi pole connectors M ULTI PIN CONNECTIONS SIGNAL VE SIGNAL SCREEN SIGNAL NUM BER D SUB D SUB EDAC D SUB EDAC PIN IN PIN t nens MET nime 5 ensi Dense nens 75 Note Allundesignated pins are unconnected All screen connections are joined inside the console and connected to metalw ork earth ED P ms 2034 3401 EN
67. the mid sections with a pot making the Q continuously variable between two values In line consoles often have the facility for the equaliser to be split such that it can be used partly in the channel path and partly in the monitor path The SF switches on the 8024 equalisers allow the HF LF and MID equalisers to be independently switched into the SF signal path FLIP Flip allows the inputs to the signal paths to be swapped Normally the LF path will carry the TAPE input however with FLIP pressed it will carry the MIC LINE input while the TAPE input will travel through the SF path FOLDBACK Foldback is a mix that is returned to the performers in the studio in order that they can play in time with what is already recorded It could simply be the console stereo output although more usually it is taken from a pair of auxiliary buses allowing a different mix to be created Talkback may also be included on the foldback outputs enabling communication with the artists IN LINE This refers to a type of console which contains two signal paths within a module The channel signal path is used to feed a multi track tape recorder while the monitor path is used to carry the output of the multi track recorder through to the stereo mix bus In line consoles can be more compact than split consoles or can carry more channels for a given size The possibility of switching signals between the two paths and of sharing facilities between the path
68. this makes little or no difference but beware if unbalanced inputs and outputs exist as this may be the cause of a polarity reversal or signal short circuits MALE XLR FEMALE XLR SLEEVE RING TIP SLEEVE RING SWITCHING CONTACTS TIP e audent 8 21 18 GLOSSARY AFL This allows after fade post fade signals to be heard on the monitors and vievved on the main stereo meters AUXILIARIES Sometimes known as auxiliary sends these are used as secondary mix buses The mixes created on these buses are then used to feed effect units or are fed back to the performers as a Foldback feed Every channel has access to the auxiliary mixes and the contribution of any channel can be varied by using the appropriate auxiliary level control AUXILIARY MASTER Associated with every auxiliary there is an auxiliary master control to give overall level control rather than having to adjust the contribution from every channel Auxiliaries can be switched pre or post fader and be allocated to either the SF or LF signal paths A further switch assigns the controls to a different pair of auxiliary buses reducing the number of controls needed for a given number of auxiliaries BOUNCING Bouncing or track bouncing to give it its full name is the process of moving one or more tracks from their existing position s to a new track This is most often done in order to free up more tracks for recording BUS MASTER
69. to as Near Far and Mid field monitors depending on their proximity to the listening position The ASP8024 provides for 4 pairs of loudspeakers a MAIN pair and ALTERNATE 1 2and 3 Source selection is made from either the MIX or TAPE 1 2 and 3 Each loudspeaker pair has its own level control The control for the main pair is larger than the controls for the alternate monitors The level controls are independent of each other Associated with the main loudspeakers are some further controls allowing the left and right outputs to be independently or simultaneously CUT the monitoring system to be placed in mode or for the output to be dimmed by a preset amount 30 OSCILLATOR 000000 e 84 bao 40 1k 10k 15k z 1 e o _ LEVEL 4 BUS SOLO MIX SOLO IN FRONT Lar EL PFL 1 Oscillator FREQUENCY selection switches Frequencies of 40Hz 1kHz 10kHz or 15kHz can be selected using the two switches 2 Oscillator ROUTING switches These route the oscillator signal directly to either the group buses or the stereo mix bus 3 Oscillator LEVEL Control 4 Oscillator ON switch During normal operation of the console ensure that the oscillator is switched OFF e audent 8 21 SOLO level control SOLO IN FRONT alters the ratio of the SOLO signal to the MIX signal making it possible t
70. tremely important as it can determine whether or not a signal is too low in level in which case it may be noisy or too high in level which case it may suffer distortion The aim of the meters is to assist in setting the signal level betvveen the two extremes of noise and distortion A signal level that is too high clips meaning that the smooth waveform abruptly changes when the electronics runs out of headroom Normally a visual indication of impending clipping is given before the audible effects become apparent At the other extreme if there is insufficient signal any noise present will be amplified along with the signal when it is eventually brought up to the correct level There are no indicators warning you of this condition only the fact that the signal is not peaking to any extent on the meter To aid this situation the audient 8024 has input and output meters Tape Input levels can be monitored on a 20 segment meter while microphone input levels can be monitored on a 3 segment meter Provision is made for the function of these meters to be reversed as particularly when tracking it may be desirable to observe the input signal on the large meter On most analogue consoles it can be a very trying task to try and associate the VU meter readings with those on a digital tape recorder The ASP8024 peak reading meters make this task simpler by effectively replicating the digital meters on the recorder Since the m
71. troyed Having established a guide track it is then important to be able to hear it in order that subsequent tracks can be laid down in time with it Enter the auxiliaries and foldbacks 65 The guide track can now be played through the LF path of the console where it can be used as a source for AUXILIARY simply by turning up the control for AUX on the channel that is carrying the guide track At this time it is not really necessary to have the long fader open so switch the auxiliary to PRE and ensure that it is selected for use with the LF path On the master section of the console AUXILIARY A can now be selected as the source for FOLDBACK A The output of FOLDBACK A should be connected to a headphone amplifier and the performer of course needs to wear the headphones Let s assume that the performer is male playing a guitar and the guide track is a steady drum beat previously laid down by the band s drummer Another track on the recorder is put into REC READY mode and the guitarist starts playing The guitar is plugged into an amplifier and in this instance let us assume that there is a microphone placed in front of the guitar loudspeaker The microphone is connected into the MIC input of a channel on the console which sends it through the SF path to the routing matrix INSERT SHORT FADER Operation Manual Using the ASP8024 MIC TRIM S 2 MULTI TRACK RECORDER
72. wer amplifier for the loudspeakers in use The speakers may of course be self powered in which case connection should be made to the inputs on the loudspeakers 1 MAIN Control room loudspeaker output 2 ALTERNATIVE 1 loudspeaker Output 3 ALTERNATIVE 2 loudspeaker Output 4 ALTERNATIVE 3 loudspeaker Output audent 8 21 39 1 STUDIO LOUDSPEAKER These carry the outputs to the studio loudspeaker system The output depends upon the selection made on the control surface of the console 2 FOLDBACK A output Foldback is normally used as a feed to headphones The output depends upon the selection made on the control surface of the console e audent 8 21 3 FOLDBACK B output Foldback is normally used as a feed to headphones The output depends upon the selection made on the control surface of the console Operation Manual Master Section STUDIO AND FOLDBACK CONNECTORS These are the XLR connectors for the Studio Loudspeaker and the two foldback outputs Each output is stereo having a left and right connector The console does not contain any power amplification and these outputs should be connected into a suitable power amplifier for the loudspeakers or headphones in use The speakers may of course be self powered in which case connection should be made to the inputs on the loudspeakers 40 1 AUXILIARY AUXILIARY B outputs Thes
73. y 3 is linked to auxiliary 1 then the output of auxiliary 1 should be used as the master output e audent 8 21 Operation Manual Master Section AUXILIARY MASTERS The auxiliary masters control the overall level of the auxiliary outputs A balance or mix can thus be created by using the controls on the channel strips and the overall level adjusted by using the auxiliary master control The auxiliary outputs can be solo d so that a balance can be created by listening to the output A typical mixing situation may require that the LF and SF paths feed the same effect device Although an auxiliary send can be assigned to either of the two paths they naturally cannot access both paths at the same time By linking auxiliaries this problem is overcome if the auxiliary 3 signals need to be combined with those on Auxiliary 1 this can be achieved by simply using the link facility The following combinations are possible AUXs and 5 can be linked to AUX 1 AUXs 4 and 6 can be linked to AUX 2 AUXs 9 and 11 can be linked to AUX 7 AUXs 10 and 11can be linked to AUX 8 36 BUS MASTER 5 1 e 10 5 10 6 10 10 E 1710 1 BUS MASTER TRIM controls the overall level of a group output e audent 8 21 pe 6 10 7 10 Operation Manual Master Section BUS MASTER TRIM
74. you care to plug in Typically a stereo recorder output is connected here C RM selects the control room monitor output as the source This is used to provide a playback of the MIX to the studio speakers or to set up a quick foldback mix perhaps with a little help from the Aux A and Aux B buses AUX A and AUX B which are mono sources which can be independently selected to the left and right sides of the studio speaker or foldback outputs Each output has a level control The studio loudspeaker has a CUT switch and the FOLDBACK outputs have SOLO switches These enable the foldback mix to be created or checked in the control room This is always AFL 29 CUT LEFT RIGHT 1 SOURCESELECT buttons 2 LEVEL controls for the alternate loudspeakers SPEAKERSELECT buttons 4 Loudspeaker LEVEL Control 5 MONO button allowing the signal to be checked for mono compatibility 6 CUT buttons allowing independent cutting of the left and right speakers 7 DIM allows the speakers to be reduced e audent 8 21 in level by a preset amount 15dB CUT allows the speakers to be completely silenced Operation Manual Master Section CONTROL ROOM MONITORING The Control Room Monitoring system is one of the most used systems in a studio Typically there are several sets of loudspeakers with a main pair and one or more alternate pairs These are sometimes referred

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