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9098i Product Overview

1. Frequency Hz H 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 amek amek com 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 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 2001 Harman International Industries Ltd
2. 9 S Tf LYASNI y C 5020 4 SIN GO e D JO Jequunu eu u 3euu YIM pepeo Wed 96 6 sjeuueup 5113 9 Sh bh Cv Ib OF 6t LE 9Josuoo ouueup 88 o3 O 4 SANIT OOOO OOO CO COCO Ut oO UO Oo Du IT 01 10 4 11 0 59 1 1 Lp SLOdNI_ NI YLW S D 5 D 1 9 9 TATIVUVd TiVHVd XDILSAO asvHd H21Vd saNMALL aia q IS 5 2 Patchbay Layout Patchbay Layout Master Section NI HOLINOMN ZZ NOVEL 9 O 4 4 660600 D DIC D EDO grind uw aly 8 lb 9 Sh th tb Ut Ob 6t LE 9E SE vt tt 5 xvi 9 dWV Cr ta M 5104110 IND S 2 SNI QD UD C T 555545585585 8 IE OE 66 9C 56 yc 20999999 1nossng J d SNI LNOSSNA SNI LNO 88 8 SNI LAO 5509 38d SNI NIV Ic oc 6 81 21 9 SI vl l 01 6 8 9 S y 4 0 3296 5 Supertrue V4 Automation Truly thinks like you mix Supertrue V4 is a console automation system developed exclusively by AMEK It is a powerful easy to operate system incorporating fader and switch automation Virtual Dyn
3. Synchronisation The 9098i s machine control system is integrated with the console automation but also functions independently It handles tape and tapeless external recording devices with support for most common synchronisers and timecode autolocator functions Up to 10 locate points can be set manually or on the fly using dedicated keys and optionally edited against timecode via a menu in the automation system Some master control features such as pre and post roll title timecode limits and machine offsets can also be set up using Supertrue Supertrue can output parallel Midi timecode when in receipt of incoming LTC It can also output MMC which is useful for Pro Tools systems Cue List The Cue List is especially useful in Post Production allowing the triggering of external events such as sound FX and music cues and internal events such as Mutes or Fades to 1 4 frame accuracy Cues can also be deleted or copied to new timecode positions using the Edit submenu within the Cue List Visual Effects Supertrue also has the ability to control outboard signal processors through Visual Effects VFX Currently there are 28 devices that can be interfaced using MIDI control They are access and controlled in a similar way to Virtual Dynamics see over Settings for VFX can be stored and recalled with the Title or used as presets which may be triggered against timecode from the Cue List Recall Supertrue4 offers improvements to
4. 5 MUTE A very useful feature of the Aux Send system allows the upper 8 controls to address the lower numbered busses 1 8 instead of 9 16 By selecting the source Path of the lower 8 Sends to be different from that of the upper 8 the two Paths in each module can thus address the same 8 busses at entirely different levels All Aux Send LEVEL controls are calibrated with OdB gain when fully clockwise PAN controls in Stereo Sends operate such that the opposite leg is fully off at full rotation As the facilities of the various Aux Sends differ somewhat the sends are described in pairs AUXES 1 amp 2 CUE A Cue Ais a stereo send with separate LEVEL and PAN controls The MONO button reconfigures them as two separate Mono Sends with LEVEL controlling Aux 1 Send Level and PAN controlling Aux 2 Send Level There is a second outer arc around the PAN control calibrated for this purpose MUTE mutes any output from the send controls This is an automated switch Default source is the Channel Path MON sources them instead from the Monitor Path Default Path source position is Post Fade the PRE button selects Pre Fade This applies regardless of which Path is sourcing the sends and whichever fader is in that Path This function is also controllable from the Central Assignment Panel CAP If selected the PRE button acts as a local override The SFP Send Follows Pan button sources the Aux Sends from post the ma
5. only dimmed This permits the Soloed channel to be heard in context against the rest of the mix at reduced level The UPFRONT SOLO BALANCE control sets the balance between the Solo signal and the normal mix from all programme Prog to all Solo Solo The MAIN SPEAKER BALANCE control permits the stereo balance of the CR Monitors to be adjusted by 3dB each way This allows the engineer to occupy a position that is not exactly central to the monitors The BALANCE control can be switched in and out of circuit by the IN button 9 9098 Keyboard Module The 9098i console allows for connection of four sets of monitor speakers These are designated Main 1 2 and Nearfield 1 2 Both Main sets may be LCRS the Nearfield sets are stereo A Main set and a Nearfield set may be active simultaneously this permits one or both pairs of Nearfield outputs to be used to feed Left Rear and Right Rear speakers in LCRSS and 5 1 Modes Internal jumpers are available to select the Nearfield outputs to be used for stereo rear speakers and any of Stereo Busses A B C or D or Aux Busses 1 2 can be selected to feed them for this purpose in LCRSS and 5 1 modes In this case the MAIN LEVEL control becomes 6 way adjusting the overall level of all speakers Stereo Buss D is selected by default The two SPK2 buttons select the alternative sets of Main or Nearfield speakers Two P amp G conductive plastic precision Rotary faders control the Main
6. CAP in the Master Section allowing the selection of the various centrally controllable module functions and also for the assignment and control of Dynamics functions There are four buttons with matching LEDs controlling the primary automation modes of the moving fader Only one mode can be active at a time The four modes are Write mode red button fader movements are written to the current mix Read mode green button data is replayed from current mix and the fader replicates movements previously recorded Update mode yellow button The previous mix data is replayed as in READ Any new fader movements are written to the mix as in WRITE and are merged with the previous movements If the Automation System is running in VCA mode Update mode performs a VCA level trim of the underlying faders Touch Write mode red button this is pre selected from READ mode The LED is on but the fader remains in READ until the fader knob is touched The fader then enters TOUCH WRITE mode which from this point is synonymous with WRITE Releasing the fader restores READ mode The mode is deselected by a second button press Glide times during which the fader goes back to its previous position when exiting WRITE or TOUCH WRITE modes can be selected via the screen See the Supertrue V4 Section for more details All faders on the entire console can be placed into any of the automation modes via keyboard shortcuts A 4 segmen
7. Cut Boost 18dB Frequency Range 2kHz to 20kHz HMF Cut Boost 18dB Frequency Range 500Hz to 5kHz X1 2 5kHz to 25kHz X5 Q Range 0 6 to 2 LMF Cut Boost 18dB Frequency Range 20Hz to 200Hz X1 100Hz to 1kHz X5 Q Range 0 6 to 2 HF Cut Boost 18dB Frequency Range 30Hz to 300Hz All EQ In Frequency Response at Insert Send Unity Gain 10Hz Flat to 150kHz 3dB Noise DIN at the Insert Send EQ in and set flat Unity Gain 90dBu Distortion 1kHz at Insert Send EQ in 20dBu 0 002 Insert Sends Output Balance at 1kHz level 20dBu Channel Send 45dBu Monitor Send 45dBu Channel Insert Return Frequency Response at Buss Out Unity Gain 10Hz Flat to 200kHz 3dB Noise DIN at the Buss Out Unity Gain 96dBu Distortion 1kHz at the Buss Out 20dBu 0 002 CMRR at 1kHz 20dBu 60dBu Maximum input level measured at the Buss Out Unity Gain 26dBu Technical Specification Monitor Insert Return Frequency Response at Buss Out Monitor Path Tape Input to Buss Out 0 003 Unity Gain 10Hz Flat to 150kHz 3dB Noise DIN at the Buss Out Unity Gain S6dBu Cut Off Unity Gain Path level 20dBu Distortion 1kHz at the Buss Out Results are level compensated 0 Channel Path 1kHz 15kHz Nd m Fader at LCRS Buss 92dBu 85dBU Mute at LCRS Buss 110dBu 94dBu Pan L at LCRS Buss 6dBu 6dBu mp ache puss out Pan R at LCRS Buss 76dBu 76dBu Monitor Path 1kHz 15kHz
8. STUDIO CUE SENDS A stereo Studio Cue Send is provided on each 9098i G module The Studio Cue Send may be made up from one or more the buttons are additive internal stereo sources CUE A CUE B AUX 5 amp 6 and AUX 7 amp 8 select the first 8 Aux Sends in pairs post the Aux Masters STUDIO INT and STUDIO EXT select the internal or external source respectively that has been selected for the Studio Monitor speakers SOLO selects the stereo Solo Buss EXT1 selects an External Source which can be patched in at the jackfield Each Studio Cue Send is provided with a LEVEL control MUTE and AFL buttons 1 ias 90981i F St Matrix Mon Control A B E pris a A ou um amp E t BE a ow t LN a m _ The 9098i F module contains the stereo matrix and ancillary Monitoring functions STEREO SELECTOR MATRIX The 4 Stereo Busses A B C and D can readily be used as stereo subgroups mixing finally onto the main LCRS buss The Stereo Matrix on the 9098i F module provides the routing to not only accomplish this but also allows any of the four subgroups to be routed into any of the other three This is a routing arrangement frequently required in on air situations The matrix has four identical sets of routing buttons one for each Stereo Buss The Stereo Groups are fed Post Fade to their respective set where they can
9. 3422 8mm 11 3 64 channel console 3788 6mm 12 5 FL 72 channel console 4154 4mm 13 8 80 channel console 4520 1mm 14 10 88 channel console 4891mm 16 1 96 channel console 5257mm 17 3 9098 Master Status Module The 9098i H Master Status Module occupies the central area of the Master Section and contains a variety of large internally illuminated MEM n electronically latching switches controlling the console Master Statuses gee Lea p The switches can be divided into 5 groups E gum Er yj ANO aay MASTER STATUS SWITCHES F EE SS SSS Because many of the switches controlling the signal routing within the EE input channels are remote controlled it is possible to globally command B various Master console operating statuses from a central position Six INNER et Master Status switches on the 9098i H panel place the 9098iA modules r into pre definedsignal flow configurations by forcing certain channel switches A further four buttons globally control the way the various pan controls on the 9098i A modules are interconnected Rupert Neve s When a Master Status forces a local switch to a ON state it also p illuminates the associated LED the channel Any local switch forced into one state or the other by a Master Status switch can cancel the state invok
10. CAP The Aux send controls can feed the 48tk routing matrix by selecting AUX 13 amp 14 TO 48TK This function can only be selected from the CAP and the assignment is indicated by a green 48TK LED adjacent to the send controls Access to Aux busses 13 amp 14 is disconnected and Aux 13 LEVEL PAN feeds odd numbered busses Aux 14 LEVEL PAN feeds even numbered busses If selected neither Channel Path nor Monitor Path have access to the 48tk routing matrix AUXES 15 amp 16 Auxes 15416 are two mono sends with individual LEVEL controls The two MUTE buttons mute any output from the send controls They are automated switches Default source is the Channel Path MON sources the sends instead from the Monitor Path Default Path source position is Post Fade the PRE button selects Pre Fade Instead of feeding Aux busses 15 amp 16 Aux Send 15 amp 16 LEVEL and PAN controls can be switched to feed Aux busses 7 amp 8 This function is controlled from the CAP The Aux send controls can feed the 48tk routing matrix by selecting AUX 15 16 TO 48TK This function can only be selected from the CAP and the assignment is indicated by a green 48TK LED adjacent to the send controls Access to Aux busses 15 amp 16 is disconnected and Aux 15 LEVEL PAN feeds odd numbered busses Aux 16 LEVEL PAN feeds even numbered busses If selected neither Channel Path nor Monitor Path have access to the 48tk routing matrix FADER BLOCK The Channel Path Fader
11. Kingdom or at our US Headquarters in Nashville Prices are available on request Installation Everything is done to ensure that the installation of your new console is made as easy as possible A Pre installation kit containing all the necessary mating connectors and connector lists is available in advance of delivery should it be required This enables the studio wiring to be completed before the console arrives ensuring viable commercial operation from an early stage Advice is always on hand if needed from our trained service engineers At AMEK we understand that access to most control rooms is quite often limited With this in mind the 9098i has been designed with a flexible modular chassis system to make installing a 9098i as painless a process as it can be in even the most un accommodating studio buildings The console is shipped in modular sections of either 24 or 32 positions which can be seen on page 16 This allows the console to be manoeuvred more easily if turning space is limited or if the console has to be moved into an elevator or carried up a flight of stairs Where access is limited it may be necessary to remove the console s stand This reduces the width of the console when turned on its back to 827mm 2ft 9 making it possible to pass through even small doorways Spares The 9098 is also supplied with a basic spares kit as standard This includes a Mono Input module a Mono Input fader fixing tools and various
12. PAN controlling Aux 4 send level There is a second outer arc around the PAN control calibrated for this purpose 200 d tH b 17 3m MUTE mutes any output from the send controls This is an automated switch Default source is the Channel Path MON sources the sends instead from the Monitor Path Default Path source position is Post Fade the PRE button selects Pre Fade This applies regardless of which Path is sourcing the sends The SFP button sources the Aux Sends from post the main PAN control Channel or Monitor according to the setting of the MON button Aux 3 amp 4 PAN is bypassed The Aux send controls can feed the 48tk routing matrix by selecting Aux 3 amp 4 TO 48TK This function is selected from the CAP and the assignment is indicated by a green 48TK LED adjacent to the send controls Access to Aux busses 3 4 is disconnected and Aux 3 LEVEL PAN feeds odd numbered busses Aux 2 LEVEL PAN feeds even numbered busses If selected neither Channel Path nor Monitor Path have access to the 48tk routing matrix AUXES 5 amp 6 Auxes 5 amp 6 are two mono sends with individual LEVEL controls The two MUTE buttons mute any output from the send controls They are automated switches Default source is the Channel Path MON sources the sends instead from the Monitor Path Default Path source position is Post Fade the PRE button selects Pre Fade This applies regardless of which Path is sou
13. and Nearfield speakers sets permitting the Main and Nearfield speaker volumes to be matched The Main level is a 6 gang volume control and can operate from stereo up to 5 1 mode the Nearfield speakers are stereo All main speakers have individual Mute switches In Stereo surround mode one of the Nearfield speakers sets is used for the rear surround speakers These also have individual mute switches and can also be used as Nearfield L and R mute switches SPK SOLO changes the six individual mute switches into speaker Solo switches Three main mutes are incorporated MUTE MAIN LCRS which mutes the Main speakers LCRS or just L amp R speakers if in ST mode MUTE NF SL SR which mutes the L amp R Nearfield speakers or the Stereo surround speakers in stereo surround and 5 1 mode MUTE ALL mutes all Main and Nearfield speakers sets MONO sums all active signals on the main speakers MAIN NF switches between the Main and Nearfield speaker sets DIM reduces the monitor level as set on the 9098i F module and acts on the Main and Nearfield speakers LCRS gt ST folds LCRS image down to Stereo for checking stereo compatibility SPK2 MAIN LCRS selects a second set of Main speakers SPK2 NF SL SR selects a second set of Nearfield speakers or switches between Nearfield and Stereo surround speaker sets A high quality 83 key QWERTY keyboard is provided to allow data entry for the Supertrue automation system AUTOMATI
14. is a touch sensitive 104mm motorised Penny amp Giles Series 3000 type mounted on a separate 9098i B Fader Block below the 9098i A module it controls The audio signal passes through the fader at all times except when the automation system is in VCA mode or when Dynamics are applied when it is diverted via a VCA for control purposes ex o meo cae o is In addition to the fader itself there are various other controls on the Fader Block A large internally illuminated MUTE button operates a special ramp circuit designed to ensure completely silent muting The ramp circuit is also employed of course when replaying automated mutes A large internally illuminated SOLO button puts the Channel Path into whichever Solo mode has been selected by the SOLO MODE buttons in the Master Section Great flexibility exists in the set up possibilities of the 9098i Solo System see the section on the Solo Modes for more details The green SAFE button and associated LED toggles the Channel Path in and out of SOLO SAFE state which prevents the Path from being muted when other SOLO buttons elsewhere on the console are activated when CHECK Solo in Place is selected as the console Solo Mode CHANNEL SAFE can also be globally selected from the CAP when the SAFE button becomes a local override The small internally illuminated SEL button assigns the entire module to the Central Assignment Panel
15. is recommended that they are not fitted in Positions 1 48 and are fitted in groups of four Note the Mono modules cannot be fitted in Stereo positions A to D The Dual Stereo module contains two separate stereo signal Paths denoted Stereo Line Input and Stereo FX Return The Stereo Input Path can alternatively act as a stereo subgroup master The Stereo Line Input uses a long throw fader on the separate fader block while the FX Return Path uses a large rotary control INPUT SECTION The input stage of the Stereo Line Input is also a Mr Rupert Neve designed Transformer Like Amplifier as elsewhere on the console The inputs are accessible at the jackfield as well as via multiway connectors The BUSS button selects pairs of multitrack busses as the inputs Normally the first 9098i L module in the chassis will pick up Busses 1 amp 2 and so on However any alternative arrangement required may be specified This facility gives a rapid means of forming a stereo audio subgroup without tying up either of the Paths in any of the 9098i A modules The usual constraint of not routing such a subgroup to itself applies INPUT GAIN permits a range of input gain adjustment from 8dB to 18dB The OdB gain setting is detented Mono operation may be obtained by pressing the L MONO or R MONO buttons This selects one leg only as the input to both L R paths of the Stereo Line Input the other leg being disconnected If both L MONO and R MONO are p
16. its popular Recall system New high resolution graphics and setting indication allows the positions of all knobs and switches to be stored and easily restored 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 1000000010118 AH m 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 Supertrue also allows the user to store favoured settings either within the Dynamics library or with the Mix 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 1 Easy Gate A simplified gate device fast and easy to setup Includes settings for threshold range and release time with a switchable fast attac
17. other components A more comprehensive spares kit is available and prices are available upon request 9098i at Chicago Trax Chicago 9098 Mono Input Module The 9098i A in line input module is a dual signal path module with a single equaliser section which can be shared between both paths The paths are denoted Channel Path and Monitor Path Each path has two inputs which by default are Mic and Line to the Channel Path and Buss and Tape to the Monitor Path Only one of the two possible inputs to each path can be selected at any time The Channel Path uses by default the long throw fader on the separate fader block while the Monitor Path uses the short throw fader further up the module This allocation can of course be reversed The equaliser which defaults to the Channel Path can be shared with or switched entirely into the Monitor Path INPUT SECTION The input stage of the Channel Path is Mr Rupert Neve s Transformer Like Amplifier TLA design which provides exemplary low noise and common mode rejection performance as well as high overload capability There are separate balanced microphone and line inputs The LINE button selects the Line Input 48 Volt Phantom power can be applied to the Mic Input selected by the 48V button When the Mic Input is selected the input stage gain is adjusted by a switched Mic gain control in 6dB steps except for the lowest increment which is 12dB from OdB to 72d
18. routed into any or all of the other three stereo busses and or the L R legs of the LCRS buss An AFL button allows the final stereo output to be Soloed these AFL buttons are independent of the channel Solo system The normal output of each Stereo Buss is always available regardless of what other busses it is routed to ANCILLARY MONITOR FUNCTIONS The two large internally illuminated SOURCE INT and SOURCE EXT buttons provides the A B selection of before or after recording INT selects whichever internal source is selected on the 9098i H panel EXT does the same for the external sources DIM LEVEL sets the amount by which the Control Room Monitor level reduces when DIM on the CR Monitor Master Panel is selected from to 20dB In addition to the four sets of CR Monitor speakers supported directly see CR Monitor Master Panel a fifth mono feed is available primarily intended for Return Talkback SMALL SPEAKER LEVEL and MUTE control this Each of the four main speaker feeds can be phase reversed for checking purposes with the Lo Re Ce and S9 buttons The PFL AFL LEVEL control allows the level of signals being Soloed but not in SIP mode to be balanced against the normal monitoring level The Solo system on the 9098i can also be put in Upfront Mode by the UPFRONT SOLO BALANCE IN button In this mode the normal feed to the monitor speakers is not muted when a SOLO button is pressed and AFL or PFL Solo Mode is selected
19. the modern audio industry the AMEK 9098i master recording console designed in conjunction with Mr Rupert Neve can only be described as the most important landmark in the history of analogue console development Critically acclaimed as the greatest sounding console of all time the 9098i triumphs where its rivals fail by capturing the sonic essence of much loved vintage desks and surpassing them by combining the extended functionality of the worlds most powerful console automation system Supertrue V4 Genuine Mr Rupert Neve design Every great console reflects the views experience and even the personality of its designer In the modern audio industry one designer stands out from the rest Mr Rupert Neve and the 9098i is his greatest design yet The magnificent result of a lifetimes work the 90981 is the only new Super Analogue console with the right to truly bear the words designed by Mr Rupert Neve Anything else is mere imitation despite the implied suggestion by other manufacturers in the marketplace AMEK has been working in close partnership with Mr Rupert Neve for over 10 years and is the only company with the ability to bring you the experience and meticulous attention to detail which are the hallmarks of his newest designs The Automated Advantage 9098i harnesses the power of the worlds leading console automation system Supertrue V4 in its most refined form In progressive development since 1989 Supertrue off
20. three areas NUMERIC KEYPAD A 0 9 keypad with a 3 digit display is used to enter a Channel number When ENTER is pressed the entire CAP becomes active for that Channel and the Channel Name is displayed on the associated Electronic Writing Strip assuming one has been previously entered There are also UP DOWN nudge buttons which assign the CAP immediately to an adjacent Channel Alternatively the SEL buttons on the fader blocks may be used to call the attention of a Channel to the CAP When a Channel is called to the CAP the Function Keys below illuminate to show the current status of each Function in that particular Channel The SOLO button permits a channel to be soloed without reaching for the SOLO button on the channel itself This allows the engineer to audition a channel without moving away from the ideal monitoring position The ALL button makes the Function keys see below active for every channel on the console simultaneously FUNCTION KEYS These control functions on the 9098i A mono input channels A total of 16 buttons allow selection of specific functions for the channel currently being addressed by the CAP AUXES TO 48TK 8 electronically interlocking buttons labelled AUX 1 amp 2 to AUX 15 amp 16 route the Aux Send pairs to the 48tk Busses removing them from the relevant Aux Busses LEDs on each module indicate this routing The 4 buttons 9 amp 10 TO 1 amp 2 11 amp 12 TO 3 amp 4 13 amp 14 TO 5 amp 6 and 15 a
21. 9810 Auxes 9 amp 10 are a Stereo Send with separate LEVEL and PAN controls The MONO button reconfigures them as two separate mono sends with LEVEL controlling Aux 9 send level and PAN controlling Aux 10 send level There is a second outer arc around the PAN control calibrated for this purpose MUTE mutes any output from the send controls It is an automated switch Default source is the Channel Path MON sources the sends instead from the Monitor Path Default Path source position is Post Fade the PRE button selects Pre Fade Aux Send 9 amp 10 LEVEL and PAN controls can be switched to feed Aux busses 1 amp 2 This function is controlled from the CAP This is a unique feature which permits the signals in the two Paths in any module to be fed to the same Aux buss at different levels The Aux send controls can also feed the 48tk routing matrix by selecting AUX 9 amp 10 TO 48TK This function is selected from the CAP and the assignment is indicated by a green 48TK LED adjacent to the send controls Access to Aux busses 9 amp 10 is disconnected and Aux 9 LEVEL PAN feeds odd numbered busses Aux 10 LEVEL PAN feeds even numbered busses If selected neither Channel Path nor Monitor Path have access to the 48tk routing matrix AUXES 11 amp 12 Auxes 11 amp 12 are a stereo send with separate LEVEL and PAN controls The MONO button reconfigures them as two separate mono sends with LEVEL controlling Aux 11 send level and PAN co
22. B A TRIM control allows a fine adjustment to the gain of 6dB When the Line Input is selected the TRIM control alone adjusts the input gain the switched control being removed from circuit In this mode the TRIM permits a range of gain adjustment from 6dB to 18dB The OdB gain setting is detented Phase reverse switched by the button operates on the Mic input The track meters in the meterhood above each module are normally fed from the Monitor Path However they may be globally selected to the Channel Path from the Master Section Internal jumpers can be set to make the off channel meter feed either Pre EQ or Post EQ EQUALISER The equaliser is based upon the well known Mr Rupert Neve System 9098 outboard mic amp EQ and is highly effective without being in any way aggressive in sound character It is a 4 band fully swept design with parametric mid ranges and Bell Shelf switching in the HF LF sections The frequency ranges of the 4 sections have a high degree of overlap All 4 sections have a CUT BOOST control offering 18dB of adjustment The OdB gain settings are detented The LF range is normally a shelving filter with a turnover frequency continuously variable from 30Hz to 300Hz The LF section may be switched from a 09 A Bo T 45 fae aos mo 7 Ingo s s ss o gt aj
23. Buss 0 002 3 Line Input to Aux 0 003 Response Line Input to Buss Out Amplitude dBu o Frequency Hz 100k 200k 5 10 100 1k 10k LF bell shelf Sea NEN Frequency Hz Frequency Hz tN AA N LZ NC TA FAI DSN T V V EE 3 Frequency Hz e o 1 1 b 1 v7 Frequency Hz Frequency Hz HF sheen HF bell shelf Frequency Hz LMF notch _ _ ______ __ __ NLN e ie e ee ee el 4p x d dE LE 1 Li ul L H D d Jil T gp 4 __ Y 1V eid Frequency Hz y pny dwy Frequency Hz b Phase Response Line Input to Buss Out o JL LL LL EE Lu Liu Lu HMF notch epnijduy l o o
24. EXT2 select one of two external stereo signals These inputs are also available at the jackfield OVERLOAD THRESHOLD ADJUSTMENT Three rotary controls adjust the threshold at which the various overload indicators on the console illuminate The range of adjustment is from 8dB to 22dB CHANNELS sets the overload threshold for the yellow O L LEDs that form the top segment of the individual channel PFL meters on the fader blocks TRACK METERS sets the overload threshold for the top O L segment of the per channel track bargraph meters If moving coil meters are fitted instead an O L LED is fitted Haire MERAR E EN EN ZEN kr Sw i aJ Fock aa T Denia BS 8 mai Y xia I 5 Lr 6 j if brs ep ee within the meter movement MAIN METERS similarly sets the overload threshold for the 6 main meters COMMS LEVELS Three rotary controls adjust talkback level MIC LEVEL sets the gain of the console talkback mic amplifier An AGC circuit is included to maintain the output level reasonably constant RETURN T B LEVEL sets the gain of the Return T B mic A similar AGC circuit is fitted STUDIO CUE LEVEL trims the talkback level to the Studio Monitor and stereo Studio Cue Send outputs LF TONE sends a 33Hz tone to the 48tk Busses and or the LCRS main Buss when the SLATE and or MIX butto
25. Fader at LR Buss 103dBu 92dBu Frequency Response Unity Gain Path Mute at LR Buse O8dBu Pan L at LR Buss OdBu OdBu Line Input to Buss or Direct Out Pan R at LR Buss 70dBu 70dBu Typically 10Hz Flat to 200kHz 3dB Line Input to Aux Send Typically 10Hz Flat to 200kHz 3dB Crosstalk Unity Gain Path level 20dBu Results are level compensated Frequency 1kHz 15kHz Noise DIN Unity Gain path Mic to Line at Insert Send 110dBu 95dBU Line to Mic at Insert Send 116dBu 90dBu Channel Path Tape to Buss Return at Insert Send 120dBu 105dBu Line Input to Buss or Direct Out Buss to Tape Return at Insert Send 120dBu 110dBu Typically 96dBu Channel to Monitor at ST Buss 90dBu 7dBu Line Input to ST Buss Monitor to Channel at ST Buss 94dBu 9dBu Typically 96dBu Buss 1 2 118dBu 115dBu Line Input to Aux Buss 2 1 118dBu 114dBu Typically 93dBu Noise DIN at the LCRS Buss Out Faders Closed 24 Channels Assigned 88dBu 48 Channels Assigned 82dBu 56 Channels Assigned 81dBu 56 Channels Assigned and 56 Monitors Assigned 81dBu Noise DIN at the LCRS Buss Out Faders Open 24 Channels Assigned 84dBu 48 Channels Assigned 79dBu 56 Channels Assigned 78dBu 56 Channels Assigned and 56 Monitors Assigned 8dBu Monitor Path Tape Input to Buss or Direct Out Typically 96dBu Distortion 1kHz at 20dBu Unity Gain Path Channel Path Line Input to Buss or Direct Out 0 002 Line Input to Stereo
26. LA Wi MW A Pk Froduct Overview H A Harman International Company d Aj a 3 i 5 LM Ld ee gi 3 EID NN e m a ae L mu um n ele me LEE n EE EL Bou 9 pl amne m a aac 8 un E 88 i e EE BOE EN m P n mu m Raneri 5 Aa gt m _ m li LI Em ut ns c nem ah 8 ir a La CE J E a 1 be m ES T ie F i 3 Fr 1 EL du M ZEE A mam cw 5 4 m 7 BAN y i SS E wd 3l 1 1 i umen xm 4 Be m bil LJ mk mmm m 1 EB hwy 3 a z Introduction 9098i The Genuine Article Audio to Admire Every once in a while something quite simply exceptional comes along and causes us to re evaluate our preferences thoughts and opinions In
27. Men cork xja shelving to a bell response filter by the BELL button In Bell mode the Q is fixed at 2 0 The GLOW button adds an additional gentle boost contour to the overall LF curve which has the effect of relaxing the slope producing a subtly warmer character The LMF range is a Bell Response Filter with centre frequency continuously variable from 20Hz to 200 2 or by pressing the X5 button from 100Hz to 1kHz The bandwidth can be varied from 0 6 to 2 0 by the Q control The NOTCH button coverts the LMF section to a cut only tunable notch filter useful for rejecting intrusive tones such as air conditioning noise In Notch mode the Cut Boost control becomes Cut only and the control has a flat response when fully clockwise Careful adjustment of the Cut Frequency and Q controls permits the offending frequency to be removed whilst affecting the remainder of the signal spectrum minimally The maximum rejection of the Notch filter is approximately 25dB and with the bandwidth at minimum for the tightest rejection has a Q of approximately 40 The HMF range is also a bell response filter with centre frequency continuously variable from 500Hz to 5kHz or by pressing the X5 button from 2 5kHz to 25kHz The bandwidth can be varied from 0 6 to 2 0 by the Q control A Notch Filter identical to that in LMF range except for being effective over a different range of frequencies is also inclu
28. Monitor Path pre any EQ 9098 Mono Input Module switched into the Monitor Path Within the HF LF section of the equaliser when it will move with the HF LF TO MON button Within the MIDS section of the equaliser when it will move with the MIDS TO MON button With the two latter options the filter section will also be under the control of the automated EQ IN switch The TO DYN button moves the whole filter section regardless of its position into the sidechain of the Channel Path Dynamics processor see Dynamics section INSERTS The Channel Path Insert is balanced the Send being transformer coupled and the Return being a TLA input stage The Send is always active and the Return is selected hence the insert activated by the CH INS IN button The PRE button selects the position of the Insert to be one of two positions in the signal path the factory defaults being Pre EQ when PRE is selected and Post EQ when not However two sets of internal jumpers can be changed to alter these options providing the following alternatives The PRE button can select the Insert to be Post EQ but still Pre Fade when PRE is selected i e button down In this case the Insert will be Post Mute The PRE button will select the Insert to be Post Fade when PRE is not selected i e button up AUXILIARY SENDS The Aux Send possibilities on the 9098i are probably more comprehensive and flexible than on any other console av
29. ON CONTROL KEYS These are a set of 18 buttons which provide dedicated single key access to the most commonly needed on screen functions MACRO KEYS 16 User definable functions can be programmed onto the macro keys F1 F8 8 the SHIFT key These keys duplicate any function available within the software by recording mouse clicks and key presses Any automated switch press or fader movement may also be recorded into a Macro Replaying the Macro will then put any changed switch or fader into its recorded state 2 9098 5 Joystick Module The 9098i S Joystick Module consists of two joystick panners with LED matrix displays automation buttons Electronic Writing Strips and a link facility Each panner has one input and five outputs The input to the panner is accessed via the jackfield and normally the signal to be panned would be patched into it from a Channel Insert Send or Direct Out after de routing the channel from the mix busses The outputs are routed via the Joystick Routing Panel The panner operates either in LCRS or LCRSS modes as determined by the Master Pan Mode 5 1 mode configures the panner in LCRSS also The joysticks are automated WRITE and READ buttons are provided which perform similar functions to their counterparts in the input channels although the joysticks are not motorised UPDATE mode is not applicable to joysticks and they are not touch sensitive In addition to the panners dedicated outputs Supe
30. Path post the Tape Buss selection The GAIN setting does not affect the meter reading The track meters can be globally selected from the Master Section to be fed from the Channel Paths instead INSERTS The Monitor path has its own fully balanced Insert point which is identical in properties and facilities to that in the Channel Path MON INSERT IN switches the Insert in and out AUX SENDS The 9098i s 16 Auxiliary Sends and their facilities on the 9098i A module 9098 Mono Input Module have already been described in detail Pairs of busses may be sourced from the Monitor Path as desired FADER PANNING AND ROUTING The Monitor Path Fader is a touch sensitive 65mm motorised Penny amp Giles Series 3000 type The audio signal passes through the fader at all times except when the automation system is in VCA mode or when Dynamics are applied when it is diverted via a VCA for control purposes A large internally illuminated MUTE button operates the same silent mute circuit as in the Channel Path A large internally illuminated SOLO button puts the Monitor Path into whichever Solo mode has been selected by the SOLO MODE buttons in the Master Section It is an automated switch See the section on the Solo Modes for more details The SAFE button toggles the Monitor Path in and out of the Solo Safe state This prevents the Path from being muted when other CHECK Solo buttons elsewhere on the console are activated when Solo In Pl
31. S buss In LCRS Pan mode the LCRS button routes the L C R and S outputs of the panner to the main LCRS buss In LCRS Pan Mode the 48TK routing buttons 24 buttons plus a 25 48 key as on the input channels are arranged such that the L output of the panner can access Busses 1 5 9 etc the R output Busses 2 6 10 etc the C output Busses 3 7 11 etc and the S output Busses 4 8 12 etc The SURR button is used in LCRSS and 5 1 Pan modes only routing the now separate stereo surround outputs of the panner the left rear and right rear to one of A B C D or Auxes 1 amp 2 depending on the setting of internal jumpers 9098 Oscillator Comms Module This module is fitted in the upper part of the centre section surface between the 9098i F and 9098i G1 modules It provides facilities for Main Meters Control Overload threshold adjustment Comms levels the Studio Monitor output and the lineup oscillator METER SOURCES The master section of the meterbridge normally contains 6 main bargraph or VU meters 4 of these are allocated to LCRS metering and the other 2 to stereo The two sets of meters can be fed independently from a variety of sources selected by the source switches at the top of the 9098i E module The 4 LCRS meters can be sourced from the following LCRS selects the main LCRS mix Buss SOLO allows metering of the Solo buss signal Only the L R meters indicate in this case Note that in PFL Solo Mode mon
32. This device enables you to combine expansion and compression on a single channel 11 Gate Compressor This device enables you to combine gating and compression on a gt E single channel MM I __ LTH Tee Technical Specification Mic Amp 12 switched gain steps from unity gain to 72dB Mic Gain trim 6dB EIN Noise DIN at the Insert Send 150ohm source Unity Gain 100dBu 724 Gain 127dBu Distortion at 1kHz level 20dBu Unity Gain 0 002 CMRR at 1kHz level 20dBu Unity Gain 60dBu Maximum Input Level measured at the Insert Send Unity Gain 26dBu 729 Gain 46dBu Line Amp 6dB to 18dB Gain Noise DIN at the Insert Send Unity Gain 102dBu Distortion 1kHz at the Insert Send Level at 20dBu 0 00296 CMRR at 1kHz level 20dBu Unity Gain 60dBu Maximum input level measured at the Insert Send Unity Gain 26dBu Tape and Buss Return Amp 8dB to 18dB Gain Nosie DIN at the Insert Send Unity Gain 102dBu Distortion 1kHz at the Insert Send 20dBu 0 002 CMRR at 1kHz level 20dBu Unity Gain 60dBu Maximum input level measured at the Insert Send Unity Gain 26dBu Filters Variable High and Low Pass Filters at 18dB per octave High Pass 22Hz to 300Hz Low Pass 4 3kHz to 25kHz Noise DIN at the Insert Send Filters in Unity Gain 95dBu Distortion 1kHz at the Insert Send Filters in 20dBu 0 002 Equaliser HF
33. ace is selected as the console Solo Mode Monitor Safe can also be globally selected from the CAP when the SAFE button becomes a local override FADER REV swaps the two faders so that the long throw fader now controls the signal in the Monitor Path and the short throw fader controls the signal in the Channel Path This mode can also be centrally controlled from the CAP if so selected FADER REV acts as a local override Monitor Fader to Aux 1 amp 2 MON FAD gt AUX 1 2 is a function controlled from the Master Section CAP The red LED above the Monitor Fader indicates its selection It swaps the Monitor Fader with Aux 1 amp 2 LEVEL control providing an automated stereo Aux Send or automation of rear surround levels when in the appropriate modes However the selection of SFP Cue A overrides the function as SFP requires the use of a stereo level control and the monitor fader is only mono The four buttons with matching LEDs WRITE READ UPDATE and TOUCH WRITE control the primary automation modes of the moving fader in exactly the same way as the corresponding buttons on the 9098i B Channel Path Fader Block The Monitor Path signal can be routed to all the main busses The LCRS button accesses the main L and R legs of the main LCRS buss The C and S legs are unavailable to the Monitor Path This routing is forced by certain centrally assigned Master Statuses if so selected LCRS acts as a local override The ABCD button
34. ade and post Pan Soloing a mono channel will produce a stereo image as determined by the LCR PAN control Soloing a stereo channel will produce a stereo image as modified by the BALANCE PAN control Note that the Solo Buss used by both AFL and PFL modes is stereo and is fed to the L and R speakers the C and S being muted CHECK SIP This a destructive mode real Solo Pressing any SOLO button now mutes all other channels except for those that have been selected into SAFE mode The Soloed channel is now heard in its full spatial location in all surround modes There are also 4 switches controlling the mode of operation of the SOLO buttons themselves LATCH in LATCH mode SOLO buttons are electronically latching More than one SOLO button may be active all channels thus Soloed being auditioned MOM in MOM momentary mode Solo is only active while a SOLO button is being pressed More than one SOLO button may be active as in LATCH mode INTERLOCK in INTERLOCK mode the button action is as in LATCH mode but selecting SOLO on another channel will cancel the Solo on the first CLEAR CLEAR cancels any SOLO set anywhere on the input channels Two further buttons on the 9098i H Panel CHAN SAFE and MON SAFE are global controls placing all the 9098i A Channel Paths or Monitor paths respectively into SAFE mode the 9098i L stereo channels the Stereo Line Input follows CHAN SAFE and the Stereo FX Return follo
35. ailable The range of sourcing and routing possibilities allow the generation of many different auxiliary mixes for use as cue sends alternative mixes for broadcast and OB use FX sends and multiformat mixes There are 16 Aux busses on the 9098i and like all other busses they are fully balanced The 16 busses are arranged as 8 mono and 4 stereo though the stereo pairs can be switched to monos if preferred giving 16 separate mono sends with individual level controls The default configuration of Auxes 1 amp 2 3 amp 4 9 amp 10 and 11 amp 12 is as stereo pairs Auxes 5 6 7 8 13 14 15 amp 16 are always mono Individual automated MUTE switches are provided for all mono sends and for each stereo pair The Aux Sends are arranged in pairs and each pair is provided with a PRE POST switch and CHAN MON source selection For all sends the PRE FADE source can be selected by internal jumpers to be either PRE MUTE or POST MUTE in whichever Path is selected Auxes 1 amp 2 are additionally designated on the console surface as Cue A Their controls are physically separated from the remainder of the Aux Send section so there is always one stereo send close to the main fader Auxes 3 amp 4 are similarly designated Cue B although their controls are in the main Aux Send block In addition to feeding the respective Aux Busses all Aux Sends can access 48tk Busses and Cue also the four Stereo Busses mejo 5
36. amics Recall and Visual FX as standard We understand that functionality is of paramount importance to you That s why Supertrue s feature set ensures that you don t have to compromise Since its introduction in 1989 Supertrue has proven itself to be a console automation system of the highest calibre Its pedigree is confirmed by the fact that it now encompasses the largest installed user base of any other automation system of its type in the world In built flexibility allows you the freedom to work the way you choose Operation of Supertrue is logical and practically instinctive Freelance producers engineers are quickly able to drive the automation system either they already have prior experience with previous Supertrue systems or they find the Supertrue 9098i integration so simple and logical that the learning curve is always short Considerable time and effort has been invested in the continuous development and improvement of Supertrue The 90981 utilises the power of Supertrue in its most advanced state Version 4 introduces many new features such as an improved user interface with 256 colour graphics flexible circular mix mode an improved Faders Up screen multiple zoom levels enhanced mix editing functions and an improved Recall system Only through this commitment and by listening to the ideas and suggestions of our customers worldwide we have been able to raise Supertrue s operational standard and features to an outstanding l
37. annel inserts 49 96 Monitor inserts 49 96 Multitrack record 49 96 Multitrack replay 49 96 ojo 00 ojo ojo 00 ojo ojo ojo ojo ojo ojo ojo Installation mp BH E Q7 2x UT DL connectors Alternatively the 9098i can be supplied with on board Mosses amp Mitchell by adding the following optional chassis sections 48 channel console 490mm 19 29 LE m 56 to 96 channel consoles Strips for channels 49 to 96 are part loaded with jack sockets to match the number of channels 490mm 19 29 a Master Section Master Section Master Section Mic inputs 48 Mic inputs 49 96 Line inputs 48 Line inputs 49 96 Channel inserts 49 96 Monitor inserts 48 Monitor inserts 49 96 Multitrack record 48 Multitrack replay 48 Multitrack replay 49 96 1 975mm 38 39 Master Section Master Section Patchbay Layout Channels 5395205 jey Q 5395205 IIn saueseudey X S v 4 NYNLAY 34 LEE 654646 Ol 6 8 Z 9 S p T HIVALILINW 79 LNdNI NH 3 SSN S y T oO OO OG 01 TIITII 0I 1no ssna 9 S 4 L83SNI TANNVHD 6446446
38. arameters of the device is carried out through the Dynamics the 11 device types permits external keying which is available via the Control section of the CAP This consists of a 240 x 64 pixel LCD Insert Return points on the jackfield screen 2 dedicated and 4 soft keys and five soft rotary controls Having assigned the CAP to a Channel PATH assigns the Dynamics control to one of the two Paths in the Channel ON OFF bypasses the selected device Various on screen menus control the Dynamics device s parameters using the rotary controls below the screen The soft controls have various functions e g Threshold Level Ratio Release Time etc and are clearly indicated by the display Simultaneously a representation of 90981i G Aux Master Modules These are two electrically identical modules differing only in faceplate and switchcap legending Each contains 8 Aux Send Masters and a stereo Studio Cue Send AUX MASTERS The 9098i G1 module contains the Masters for the odd numbered Aux Sends Each Send has a LEVEL control providing a range from fully off to 6dB gain A MUTE button mutes the Send The 9098i G2 module is identical for the even numbered Sends An AFL button with each Master Send allows it to be Soloed the odd numbered Sends going to the left speaker and the even numbered to the right permitting the stereo Aux Sends to be auditioned with their correct stereo imaging The Aux Send Master AFL buttons are not automated
39. ast requirement Mic or Line is selected to the Channel Path which is routed to the LCRS buss to provide the main programme Cue Ais selected to Pre Fade and routed to the 48tk busses allowing a 48tk recording to be made with level control of each channel that does not affect the main programme The Monitor Path receives the Tape signal for checking purposes Film Status This is similar to Mix Status but INPUT REVERSE is not selected and Stems tracks from a bank of multitrack or hard disk recorders are connected to the Line inputs mixing taking place through the Channel Paths The final recorder outputs are connected to the Tape inputs and are monitored via the Monitor Path by setting the Monitor Faders to OdB It also arranges for non destructive Solo functions to be sent to the C speaker only Clear Clears any selected Master Status switch The Master Status area also contains two other pairs of switches that set module states globally AUX 1 amp 2 PRE POST these two switches set the source for all Cue A Sends to Pre or Post Fade TAPE BUSS these two switches set all Monitor Paths to Tape or Buss respectively 9098i H Master Status Module PAN MODES The 9098i can operate in four different Pan Modes these modes being commanded from the 9098iH module s Pan Mode Master switches Selecting a Pan Mode configures the interconnection of the pan pots and buss routing switches in the 9098i A input modules The signal routi
40. ate 9098i B Fader Block below the 9098i L module it controls The audio signal passes through the fader at all times except when the automation system is in VCA mode or when Dynamics are in operation when it is diverted via a VCA for control purpose There are four buttons with matching LEDs controlling the primary automation modes of the moving fader The operation of these is identical to their counterparts on the 90981i A in line module The MUTE button mutes the Stereo Line Input The SOLO button puts the Stereo Line Input into whichever Solo mode has been selected by the SOLO MODE buttons in the Master Section See the section on the Solo Modes for more details The SEL button assigns the module to the CAP allowing the assignment and control of Dynamics and Solo Modes The SAFE button toggles the Stereo Line Input in and out of Solo Safe state which prevents the signal from being muted when other Solo buttons elsewhere on the console are activated when SIP is selected as the console Solo Mode CHANNEL SAFE globally selected from the CAP can also place the Stereo Line Input into SAFE mode The SAFE button then becomes a local override i MUTE ao Two sets of LED metering are provided on the fader block A 4 segment PFL meter is fitted providing signal presence indication at all times The segments are at 30 15 green and OdB red plus Overload amber The Overload level is adjustable fr
41. b iow TE D a Bis i mm e is ow 3 MUTE I mune meo dm am qe The HF range is a shelving filter with a turnover frequency of 4 8kHz or 10kHz The HF and LF sections may be switched into circuit with the HF LF IN button and HMF and LMF sections with the MF EQ IN button The entire equaliser section my be switched in and out of circuit regardless of the HF LF IN and MF EQ IN buttons by the ALL EQ IN button It is an automated switch A swept Hi pass filter is also fitted with a range variable from 20Hz to 300Hz There is a separate FILTER IN button for this section INSERTS The Stereo Line Input has a stereo balanced Insert L R both Sends and Returns being TLA designs The Sends are always active and the Returns are selected hence the insert activated by the INS IN button The PRE button selects the position of the Insert to be Pre EQ when PRE is selected and Post EQ when not AUXILIARY SENDS The Stereo Line Input on the 9098i L module can access all 16 Aux Busses but with slightly reduced flexibility as compared to the 9098i A mono module The Aux Sends are arranged in pairs The Send pairs are provided with automated MUTE and PRE POST selection as detailed below Auxes 1 amp 2 are again designated Cue A and their controls are physically separated from the remainder of the Aux Send section so there is al
42. cates a system fault condition such as a TAPE OUT condition on a machine Gs i i E B ka E CAC RCA Lee T 5 5 Firag GAAR I a Oe 5 1493mm 4 10 8 32 Position Bucket 24 Position Bucket 1493mm 4 10 8 mmu N 1529mm 57 1163mm 3 9 1152mm 379 37 1000mm 3 3 4 1108mm 3 7 6 MPS 15 Power Supply Proven Reliability Height excl feet 266mm 10 47 6U Width 483mm 19 Depth excl connectors 560mm 22 04 Weight excl packing 45kg 1006 The 9098i is supplied with three rugged MPS 15 power supplies for each chassis section plus one additional supply where bargraph meters are fitted 744mm 2 6 End Elevation Floorstand Removed m m EN IEI i i L mit L MEM p REP EP EP RE RP RE HE HE HE E E c RR eee ye oe be iw ne te ELLE Sees So R NSS OEGE wawa 48 64 80 Channel Console Example Chassis Sizes 48 channel console 3052 1mm 10 56 channel console
43. control to Aux Busses 3 amp 4 Cue B A single dual LEVEL control feeds both Aux Busses 1 amp 2 a stereo pair at equal level MUTE mutes any output from the send control This is an automated switch Default Path source position is Post Fade the PRE button selects Pre Fade This also controls the source of Aux Send 5 amp 6 7 amp 8 The 3 4 button reassigns the output of the LEVEL control to Aux Busses 3 amp 4 Cue B AUXES 5 amp 6 7 amp 8 A single dual LEVEL control feeds both Aux Busses 5 amp 6 mono sends at equal level MUTE mutes any output from the send control This is an automated switch Pre Post selection is common with Auxes 1 amp 2 3 amp 4 The 7 8 button reassigns the output of the LEVEL control to Aux Busses 788 AUXES 9 amp 10 11 amp 12 A single dual LEVEL control feeds both Aux Busses 9 amp 10 a stereo pair at equal level MUTE mutes any output from the send control This is an automated switch Default Path source position is Post Fade the PRE button selects Pre Fade This also controls the source of Aux Send 13 amp 14 15 amp 16 The 11 12 button reassigns the output of the LEVEL control to Aux Busses 11 amp 12 AUXES 13 amp 14 15 amp 6 A single dual LEVEL control feeds both Aux Busses 13 amp 14 mono sends at equal level MUTE mutes any output from the send control It is an automated switch Pre Post selection is common with Auxes 9 amp 10 11 amp 12 The 15 16 button reass
44. ded The HF range is normally a shelving filter with a turnover frequency continuously variable from 2kHz to 20kHz The HF section may be switched from a shelving to a bell response filter by the BELL button In Bell mode the Q is fixed at 1 5 The SHEEN button works in a very similar way to GLOW but affects the upper part of the frequency spectrum Sheen adds a gently rising contour to the whole upper frequency range again relaxing the curve and adding a subtle brightness to the signal As stated the equaliser defaults to the Channel Path However two or all four sections may be moved into the Monitor Path if wished The HF and LF sections are moved by the HF LF TO MON button and similarly MIDS TO MON moves the LMF and HMF sections Both buttons are located in the centre of the equaliser section The entire equaliser section may be switched in and out of circuit regardless of the path switching of bands by the EQ IN button FILTERS Two separate sweep filters are provided on the 9098i A channel These have individual IN switches and both have a slope of 18dB octave The 3dB points can be adjusted over the following frequency ranges High pass Filter 22Hz 300Hz Low pass filter 4 3kHz 25kHz A variety of options are available for the position of the Filters section in the signal paths These are selected by internal jumpers Permanently in the Channel Path pre EQ Factory default setting Permanently in the
45. e Input can access all the mix busses The LCRS button adjacent to the main balance controls routes to the L amp R legs of the main LCRS mix buss The remainder of the module routing is at the top of the module Separate A B C and D buttons route to the four stereo busses 24 routing buttons labeled 1 24 route to multitrack busses 1 24 plus a 25 48 button which acts as a shift key allowing the same buttons to access busses 25 48 instead the higher buss numbers being marked on the faceplate DYNAMICS The Stereo Line Input is equipped with a stereo version of the high quality Dynamics Processor fitted to the 9098i A modules The DYNAMICS IN button immediately below the equaliser switches the selected Dynamics device in and out of circuit Placing the Dynamics in circuit routes the audio through a VCA and also transfers level control from the fader s audio track to the VCA Assignment of a Dynamics device and control of its parameters is done either through the Dynamics window on the main TFT screen or via the CAP in the Master Section See the section on CAP for more details The sidechains of the Dynamics Processors are fed with the Stereo Line Input Pre Fade signal 90981 L Stereo Input Module REC READY BUTTON The REC READY button below the main BALANCE control is a 5V logic switch accessible on a Sub D connector on the rear connector panel This can used as a start stop button on external stereo play in devices fo
46. e Send L leg feeds odd numbered busses the R leg even numbered busses If selected neither the Stereo Line Input nor FX Return have access to the 48tk routing matrix AUXES 5 6 7 amp 8 Auxes 5 8 are four mono sends with two shared Level controls LEVEL 5 amp 6 and LEVEL 7 amp 8 The two shared mute buttons MUTE 5 amp 6 and MUTE 7 amp 8 mute any output from the send controls These are automated switches Default Path source position for all four Sends is Post Fade the PRE button selects Pre Fade AUXES 9 10 amp 11 12 Auxes 9 10 and 11 12 are arranged in pairs as stereo sends One set of LEVEL and PAN controls is used for the selected pair Default Path source position for all four sends is Post Fade the PRE button selects Pre Fade The BAL PAN button when pressed converts the BAL control into a PAN control Instead of feeding Aux busses 9 amp 10 the LEVEL and PAN controls can be switched to feed Aux busses 11 amp 12 by the 11 12 button AUXES 13 14 15 amp 16 Auxes 13 16 are four mono sends with two shared Level controls LEVEL 13 amp 14 and LEVEL 15 amp 16 The two Mute buttons MUTE 13414 and MUTE 15 amp 16 mute any output from the send controls These are automated switches Default Path source position for all four Sends is Post Fade the PRE button selects Pre Fade FADER BLOCK The Stereo Line Input Fader is a touch sensitive 104mm motorised Penny amp Giles Series 3000 stereo type mounted on a separ
47. ecomes active when the Stereo Group Master Dynamics are active The display indicates the action of the stereo Compressor Gate or other Dynamics processor selected and responds to an L amp R sum of the two signals The LR and CS Master faders control the main LCRS Mix The 9098i P fader block is provided with the following facilities The 9098i P Master Faders are a touch sensitive 104mm motorised Penny amp Giles Series 3000 stereo type When LCRSS or 5 1 Pan Mode is selected the LR and CS Master Faders can be ganged in software to one of the 4 stereo faders to provide the equivalent of a 6 way fader without resorting to the use of VCAs The MUTE button mutes the LR or CS output The SEL button assigns the module to the CAP allowing the assignment and control of Dynamics 90981 U Machine Control The 9098i U Machine Control Panel is integrated with 9098i s Supertrue automation system it provides simple and convenient control of both tape based and tapeless audio and video recording devices Standard motion control functions and timecode based autolocator functions are implemented on dedicated keys A timecode display which can show the timecode from either the console automation system or from one of the controlled machines and a numeric keypad are included Although integrated with Supertrue the Machine Control functions are independent of it Motion commands from the Machine Control Panel are issued to the machines on t
48. ecording device The range of gain adjustment is fully off to 6dB with a centre detented OdB position There is a trim tool adjustable BUSS TRIM preset adjacent to the Monitor Fader to accurately set the level at the detent position of the GAIN control The Buss Send signal is transformer balanced and is fed to the To Tape multiway connectors via the jackfield The To Tape feed is also returned to the Monitor Path as the Buss Return The DIR Direct button selects Direct output mode This connects the Channel Path Post Fade signal but see below directly to the Buss Send thus bypassing the main busses and summing amplifier entirely This gives a noise improvement over routing via the busses which is itself already very low and results in the very best noise and distortion performance achievable The BUSS DIRECT control still functions normally Direct mode can also be globally selected from the Master Section and when so selected the DIR button acts as a local override The factory default signal which provides the DIR feed is the Channel Path Post Fade Three other options exist which are selectable internally by jumpers e Channel Path Pre Fade Monitor Path Post Fade Monitor Path Pre Fade The two Pre Fade options are both pre the respective Path MUTES D 90981 L Stereo Input Module 9098i L Dual Stereo Input Modules may be fitted in any quantity anywhere in the chassis although for simplicity of wiring layout it
49. ed by the Master Status by being pressed This overrides the forced state and the LED accordingly extinguishes Note that Master Statuses do not specify any particular Pan Mode these are set independently m ANER Custom Statuses can be factory programmed to suit particular operational situations however the default Statuses supplied as standard are as follows Record Status This is the standard mode for multitrack recording Mic or Line is selected to the Channel Path which is routed to the 48tk routing matrix The Monitor Path input is switched to Tape and the output routed to the LCRS buss Mix Status This is the standard mode for multitrack mixing If INPUT REVERSE is selected the Tape input now being fed to the Channel Path input and the Channel Path as well as the Monitor Path is routed to the LCRS buss The Monitor Path receives either Mic or Line inputs for additional returns etc Cue A feeds the 48tk routing permitting the 48 main busses to be used to provide alternative mixes etc Direct Status This sets the same module states as Record Status but additionally forces Direct mode on all 9098i A modules bypassing the routing busses and summing amplifiers entirely Broadcast Status This mode permits the simultaneous generation of a stereo master programme feed of Mic and Line inputs on the large faders and of independent mixed feeds for multitrack recording a frequent broadc
50. er to attract some of the worlds leading artists and producers it also delights in exceeding the expectations of many of the worlds finest broadcast institutions The superb engineering sonic performance and sheer musicality of Mr Rupert Neve designs have traditionally ensured that consoles bearing his name are also a shrewd investment often increasing in value Musicians engineers and producers simply demand the cleanest purest sound quality possible once heard they will need look no further than the 90981 Superior Once again In terms of audio quality features and automation the 9098i sets a performance standard unrivalled by any other console manufacturer in the world Don t just take our word for it though we invite you to bring an audio tape of your choice along for a demonstration and simply listen and hear how you can run ahead of the pack with the 9098i qa 9098i in Drama Production Studio Integration 9 4 1 r a wm z Ld F P a 4 9098i on test at AMEK Headquarters The 9098i has been designed to easily integrate into any studio or broadcast environment for example all audio connections are made via industry standard multiway connectors AMEK exists to find solutions to your audio requirements which is why the 9098i can be delivered with a variety of standard and custom options For critical situations such as on air back up power supplies with auto changeover can be
51. ers an unparalleled feature set incorporating comprehensive fader and switch automation Virtual Dynamics Recall and Visual FX as standard The power and extended flexibility Supertrue V4 provides ensures you no longer need to compromise on functionality Supertrue s advantage stems from the fact that as well as being extremely powerful it is by far and away the most flexible intuitive and more importantly easy to learn console automation system available today Whether you are a console owner freelance producer or engineer within a short time period you will be mixing the way you are used to and more How do we know this Because flexibility has been built in to enable the user to recreate and set up their own preferred way of working This quick and easy process affords you the freedom and confidence to concentrate on the creative aspects of your work Dedication in Design The 9098 is the breathtaking result of a massive development project encompassing years of planning and pain staking experimentation From the outset it has been designed with a single goal in mind to be without equal in terms of audio quality features and automation This goal has without question been achieved Every aspect of the console s feature set and intuitive ergonomic layout has been defined using extensive feedback from some of the world s top studios producers and engineers Utilising this knowledge AMEK in conjunction with Mr Rupert Neve t
52. essor which can be configured as various types of Gate Compressor Limiter Expander or multifunctional devices The DYN button adjacent to the PAN controls switches the selected Dynamics device in and out of circuit Switching the Dynamics in diverts the audio from the audio track of the fader to the VCA which is now controlled by the fader position as well as the Dynamics processor Assignment of a Dynamics device and control of its parameters can be either through the main screen or via the CAP in the Master Section See the section on the CAP for more details Note that any Dynamics device assigned to the Channel Fader moves with it when FADER REV is selected The sidechain of the Dynamics Processor can be fed from one of several places in the Channel Path the selection is by internal jumpers The choices are Channel Pre EQ this is the default setting and allows the Mic Line preamp to be fed directly to the dynamics card Channel Pre Fade this permits frequency dependent Dynamics processing These two setting can be switched using the KEY switch in the Virtual Dynamics section of Supertrue Channel Insert Return this permits external keying of a Dynamics device via the jackfield If this option is selected it is not necessary to have the Insert enabled As explained in the Filters section the HF and LF sweep filters may be placed in the sidechain of the Channel Path Dynamics device by selecting TO DYN permitti
53. evel We will not stop here though you can take comfort in the knowledge that once you become an AMEK customer you can continue to receive the benefits of our advances in Supertrue for many years to come Console Integration Supertrue V4 brings hardware and software integration to a new level We have worked very hard to identify those operations which professionals use most often and have incorporated hardware control at these points to speed up operation While a trackball mouse is necessary with modern mixing techniques the goal at AMEK is to have as much tactile control over automation as possible thereby freeing up the entire process for more creative influences Function Grouping The automation supports ten Fader Groups with the ability to reassign the master if needed without destroying the group Two kinds of Mute groups can be utilised on the 9098 the first uses a Global Master Slave relationship that will override any previous mute states and the second utilises a restore function that will restore previous mute states upon group dissolve Switch Groups can also be created associating all selected switches with each other All automated functions can be write enabled disabled or isolated from playback It is also possible to assign joysticks to channel levels Multiple Mix Modes Mix memory is handled in two ways Linear mode where one mix resides in RAM with 6 levels of Undo and Circular Mix Mode where all 7mix pa
54. he system while Supertrue will normally be a timecode slave of whichever machine is the Control Master on the system Machine commands are Serial Sony 9 pin and MIDI Machine Control MMC being output directly by the system Other particularly older machines will require an external synchroniser for protocol conversion and MicroLynx Motionworker and Adams Smith are all supported REW FWD STOP PLAY and REC are the standard transport motion control functions SHUTTLE and JOG allow the jogwheel to move the controlled machines backwards or forwards JOG incrementally with the audio and or video following the motion of the wheel and SHUTTLE at varispeed down to standstill in either direction The system permits the storage of 10 Locate Points which may be captured with the SET key and the numeric keys 1 10 The Locate Points are also accessible and editable in terms of timecode via a menu on the main automation screen GOTO GOTO PLAY GOTO CUE CYCLE and AGAIN are autolocator commands and are used in conjunction with the numeric keys The timecode points used in the autolocator commands may either be entered directly e g GOTO or utilise previously saved Locate Points e g GOTO CUE ALL STOP issues a STOP command to all machines on the system and overrides all previously issued commands The LOCK LED illuminates when all machines on line have reported satisfactory lock status back to the controller and the ERROR LED indi
55. igns the output of the LEVEL control to Aux Busses 15 amp 16 LEVEL PANNING AND ROUTING The Stereo FX Return LEVEL is a large rotary control The range of the control is from fully off to 10dB gain with a centre detent at the OdB position The MUTE button mutes the FX Return signal This is an automated switch The SOLO button puts the Stereo FX Return into whichever Solo mode has been selected by the SOLO MODE buttons in the Master Section See the section on the Solo Modes for more details The SAFE button toggles the Stereo FX Return in and out of Solo Safe state This prevents the Return from being muted when CHECK Solo buttons elsewhere on the console are activated Monitor Safe globally selected from the CAP can also place the Stereo FX Return into SAFE mode The SAFE button then becomes a local override The LCRS button accesses the main L and R legs of the main LCRS buss The C and S legs are unavailable to the Stereo FX Return The FX RETURN TO 48TK button permits the 48tk routing matrix to be fed from the Stereo FX Return Selecting MON TO 48TK prevents the Stereo Line Input from feeding the routing matrix The FX RETURN BALANCE control is placed in circuit by the BAL IN button This pans across the L R legs of the LCRS and between odd L and even R multitrack busses If not in circuit a full level signal is fed to all busses selected The BAL PAN button converts the FX RETURN BALANCE control to a PAN control The
56. in PAN control Channel or Monitor according to the setting of the MON button Aux 1 amp 2 PAN is bypassed Note that selecting SFP will override stereo surround routing via Auxes 1 amp 2 as the source will be the L amp R feeds from the main CHANNEL PAN The ABCD button disconnects the Aux send controls outputs from Aux busses 1 amp 2 and instead routes them to the 4 stereo buss access buttons A B C and D at the top of the module This permits these busses to be used as additional Aux sends If selected these Busses are unavailable to the Channel Path or Monitor Path The Aux send controls can feed the 48tk routing matrix by selecting Aux 1 amp 2 TO 48TK This function is selected from the CAP Central Assignment Panel and the assignment is indicated by green 48TK LED adjacent to the send controls Access to Aux busses 1 amp 2 is disconnected and Aux 1 LEVEL PAN feeds odd numbered busses Aux 2 LEVEL PAN feeds even numbered busses If selected neither Channel Path nor Monitor Path have access to the 48tk routing matrix Aux 1 LEVEL and PAN are also used in LCRSS and 5 1 modes as the stereo surround controls It is possible to swap Aux 1 amp 2 LEVEL with the Monitor Fader allowing automated send levels 9 9098 Mono Input Module AUXES 3 amp 4 CUE B Cue B is a stereo send with separate LEVEL and PAN controls The MONO button reconfigures them as two separate mono sends with LEVEL controlling Aux 3 send level and
57. istortion to a barely measurable level 90981 features a Mr Rupert Neve Transformer Like Amplifier input stage that has become the benchmark for other microphone amplifiers especially for its ability to exhibit enormous overload capacity The transformer based output stage and custom transformers fitted to all track stereo and main outputs as well as both the 9098i A module s insert sends ensures that the 9098i provides excellent noise rejection and is fully balanced throughout Flexibility now and for the future The demand for surround formatted high quality audio material has never been greater DVD V DVD A Film TV Video Digital Radio and the internet will require more and more programme material which must be produced and mixed or re mixed with present and future multi channel audio formats in mind For this reason 9098i has been designed from the ground up with your future in mind to handle multi format work up to and including 5 1 Multi format bussing and true multi format monitoring supports current and envisaged multi channel broadcast formats such as Dolby Digital Dolby Suround and DTS Commercially Captivating Having been inspired by the man whose designs have unlocked the creative potential of some of the worlds leading producers and engineers for many years the purchase of a 90981 will 4 elevate your facility to an elite category of a truly world class studio Not only does the 9098i have the pow
58. k mode 2 Gate The standard general purpose gate similar to the Easy Gate with added variable attack and hold times 3 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 4 Easy Compressor A quick and simple compressor includes variable settings for threshold and compression with switchable attack and release modes 5 Compressor The standard compression device Variable settings for threshold Wem attack release compression ratio and make up gain Includes soft setting to provide a gradual transition after the threshold is reached 6 Dual Compressor A complex compression device with an expander section and compressor with two thresholds and compression ratios 7 Limiter A limiting device with variable ratio enabling true limiting at 10 1 or lesser values for alternative forms of compression 8 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 9 Expander A straightforward expansion device with variable threshold ratio attack hold and release times and expansion range 10 Expander Compressor
59. me signal as the main signal feed for normal Dynamics operations Monitor Pre Fade permitting frequency dependent Dynamics processing Monitor Insert Return this permits external keying of a Dynamics device via the jackfield A 5 segment gain reduction display is fitted adjacent to the Monitor fader which becomes active when the Monitor Path Dynamics are active The display indicates the action of the Compressor Gate or other Dynamics processor selected REC READY BUTTON The internally illuminated red REC READY button below the Channel Path main PAN is a 5V Logic switch accessible on a Sub D connector on the rear connector panel This can used to arm tracks on multitrack recording devices The internal LED can be controlled by a tally from the recording device and the tally inputs are available on a similar rear connector BUSS CONTROLS As the 9098i A is an in line module the summing amplifiers for the 48tk busses are located in the first 48 modules themselves The buss summed corresponds to the module position in the frame thus the module in position 1 sums the signals routed to Buss 1 Modules in positions 49 and above still have the summing amplifier fitted though it is unused The Buss Send is still active however and may be used by putting the module in DIR Direct mode The BUSS DIRECT LEVEL control adjacent to the Channel Path Input section adjusts the Buss Send signal level leaving the module for the r
60. mp 16 TO 7 amp 8 allow Aux Sends 9 16 to access Aux Busses 1 8 in pairs When selected the higher numbered Aux Busses are no longer fed LEDs on each module indicate this routing MON TO 48TK FADER REVERSE and INPUT REVERSE all duplicate the switches of the same names on the 9098i A input modules The local switches act as overrides to a centrally issued command MON FADER TO AUX 1 amp 2 interchanges the functions of the small fader and Aux 1 2 Cue A LEVEL control LEDs on each module indicate this routing More detail on the signal routing possibilities these functions the selected device s Virtual Front Panel is presented on the TFT provide is to be found in the 9098i A module reference section screen and the knobs and switches thereon can be adjusted with the trackerball if preferred DYNAMICS CONTROL Every Path on the 9098i input Channels with the sole exception of the A library system allows favoured settings of a Dynamics device to be Stereo FX Return Paths on the 9098i L modules is fitted with a named and stored for future use Dynamics processor These are programmable devices each of which can be configured into any one of eleven different device types Dynamics devices may be switched in and out of circuit by the automated DYN IN switches on the channels The source for the The assignment of a Dynamics device to a Path and the adjustment of sidechain is selectable on internal jumpers or the KEY switch Each of the p
61. ndard configurations is supplied with an external Mosses amp Mitchell Bantam patchbay External Patchbay 48 channel console Master Section Master Section Master Section Master Section Mic inputs 48 Line inputs 48 Channel inserts 48 Monitor inserts 48 Multitrack record 48 Multitrack replay l 48 00 00 ojo 00 ojo Onboard Patchbay 56 to 96 channel consoles Strips for channels 49 to 96 are part loaded with jack sockets to match the number of channels Master Section Master Section Master Section Master Section Mic inputs 48 Mic inputs 49 96 Line inputs 48 Line inputs 49 96 Channel inserts 48 Channel inserts 49 96 Monitor inserts 48 Monitor inserts 49 96 Multitrack record 48 Multitrack record 49 96 Multitrack replay 48 Multitrack replay 49 96 00 00 00 0 ojo ojo ojo ojo ojo ojo ojo ojo ojo ojo ojo Master Section Master Section Master Section Master Section Mic inputs l 48 00 00 00 00 ojo 00 00 O Console 6 x 56 way edacs Line inputs 48 Mic inputs 49 96 Line inputs 49 96 Channel inserts 48 Monitor inserts 48 Multitrack record 48 Multitrack replay l 48 E Typical channel jackstrip E ____ E _ Ch
62. ng frequency conscious gating or limiting THE MONITOR PATH INPUT SECTION The input to the Monitor Path is selected by the BUSS and TAPE buttons adjacent to the small fader The switches are electronically interlocking Selecting BUSS permits monitoring of the 48tk buss corresponding to the module position in the frame thus the module in position 1 monitors Buss 1 and so on The Buss Return signal is post the Buss Out To Tape half normalled pair on the jackfield to allow for the monitoring of any device patched in pre the recording device Selecting TAPE permits monitoring of the same numbered tape track here is used to signify a recording device of any kind again post the From Tape Tape Ret jackfield Insert Selection of BUSS or TAPE may be performed globally from the CAP if so selected BUSS and TAPE act as local overrides INPUT REV swaps the Mic Line selection in the Channel Path with the Buss Tape selection in the Monitor Path Thus Buss or Tape becomes the input to the Channel Path while the Mic or Line inputs are available via the Monitor Path This mode can also be centrally controlled from the CAP if so selected INPUT REV acts as a local override The gain of the input stage is controlled by the GAIN pot which has a gain range of 8dB to 18dB with a centre detent at OdB In accordance with conventional in line practice the feed to the main track meter above each module is taken from the Monitor
63. ng of the in line module in each of the Pan Modes is described in detail in the 9098i A reference section The four Modes are Stereo Mode for normal stereo operation the L and R legs of the LCRS main buss are used and normal L R panning is available LCRS Mode for Dolby Stereo and other four channel formats this uses all four legs of the LCRS main buss and enables the F B panning as well as making the front PAN control LCR LCRSS Mode for 5 way formats with stereo rear surround routes the S signal to Cue A controls permitting independent rear level and panning 5 1 Mode the 6 way mode used in discrete film formats such as DTS and Dolby Digital and also for DVD This sets the panning as in LCRSS Mode but additionally routes Post Fade signals to the Aux 5 LEVEL control to allow a sub bass channel SOLO MODES The 9098i console has an unusually flexible range of Solo options All Paths on all input modules have an automated SOLO button There are 10 SOLO MODE buttons on the 9098i H Master Status Panel and divide functionally into 3 groups Solo Modes Switch Modes and Solo Safes A Solo Active state is indicated on the main automation screen at all times There are 3 Solo Modes PFL The Solo signal is pre fade Soloing a mono channel will produce a central image Soloing a stereo channel will produce a full stereo image reflecting the input source imaging PFL is non destructive AFL The Solo signal is postf
64. ng the C leg directly Centrally panned signals will be at 3dB in the L amp R legs Stereo panning remains across the A B C and D busses as in Stereo mode However the 48tk busses can now be accessed in 12 groups of 4 each forming a further LCRS stem with panning between the four legs as described for the LCRS main buss The correspondence is as follows Busses 1 5 9 etc are fed with the L signal Busses 2 6 10 etc are fed with the R signal Busses 3 7 11 etc are fed with the C signal Busses 4 8 12 etc are fed with the S signal LCRSS mode 5 way permits panning between independent left rear and right rear speakers The S output from the F B PAN control now feeds the Cue A LEVEL and PAN controls the outputs of which can be routed to stereo busses A B C and D via the CUE ATO ABCD button instead of Auxes 1 amp 2 if wished Thus any of the 4 stereo busses or Aux busses 1 2 can be used to feed the rear speakers The S legs of the LCRS buss and of the 48tk stems are still fed by a mono sum of the left rear and right rear signals Front LCR panning is as in the LCRS mode 5 1 mode 6 way used in discrete film formats such as Dolby Digital and also by DVD encoding systems maintains the surround format of LCRSS but calls also for one additional band limited channel which carries only LF information for special effects This sub bass channel does not need to be panned and is normally derived simply from the po
65. ns are pressed on the 9098i V Comms Control Panel The LF tone is mixed with the talkback for ident purposes STUDIO MONITORS The 9098i supports a separate set of monitoring speakers intended for location in a live studio area The Studio Monitor outputs are stereo so the C S legs of a 4 way source are merged with the L R legs The large STUDIO MONITOR LEVEL control at the bottom of the module adjusts the volume MUTE mutes the speakers The source for the Studio Monitors is selected by the INT and EXT buttons which route the sources selected on the Monitor Source Panel OSCILLATOR Avery stable low distortion six frequency oscillator is provided for lineup purposes The ON button turns the oscillator on The FREQUENCY control selects a frequency of 20Hz 100Hz 440Hz 1kHz 10kHz or 20kHz There is a 440HZ ADJ preset for setting this frequency with great accuracy for tuning purposes The MIX 48TK and PATCH buttons route the oscillator output to the LCRS Buss the 48tk Busses or a jackfield patchpoint respectively The LEVEL control adjusts the output level up to 20dBu allowing the overload indicators to be adjusted correctly Pressing CAL disables the LEVEL control and sets the oscillator output at a level determined by the CAL TRIM preset This will normally be the standard operating level of 4dBu The output level available at the jackfield can be adjusted independently with the PATCH TRIM preset Patchbay Each of the sta
66. ntrolling Aux 12 send level There is a second outer arc around the PAN control calibrated for this purpose MUTE mutes any output from the send controls This is an automated switch Default source is the Channel Path MON sources the sends instead from the Monitor Path Default Path source position is Post Fade the PRE button selects Pre Fade Aux Send 11 amp 12 LEVEL and PAN controls can be switched to feed Aux busses 3 amp 4 This function is controlled from the CAP The Aux send controls can feed the 48tk routing matrix by selecting AUX 11 amp 12 TO 48TK This function is selected from the CAP and the assignment is indicated by a green 48TK LED adjacent to the send controls Access to Aux busses 9098 Mono Input Module 11 amp 12 is disconnected and Aux 11 LEVEL PAN feeds odd numbered busses Aux 12 LEVEL PAN feeds even numbered busses If selected neither Channel Path nor Monitor Path have access to the 48tk routing matrix AUXES 13 amp 14 AUXES 13 amp 14 are two mono sends with individual LEVEL controls The two MUTE buttons mute any output from the send controls They are automated switches Default source is the Channel Path MON sources the sends instead from the Monitor Path Default Path source position is Post Fade the PRE button selects Pre Fade Instead of feeding Aux busses 13 amp 14 Aux Send 13 amp 14 LEVEL controls can be switched to feed Aux busses 5 amp 6 This function is controlled from the
67. o channels route equal signals to the L and R legs of the Solo buss when Soloed so the two meters will have equal indications CR MON Post Insert and CR MON Pre Insert select the signal selected as the Monitor source either Pre or Post the CR Monitor Insert This permits metering Pre or Post the insertion of an surround encode decode device for example INT and EXT respectively select the internal or external source selected on the two sections of the Monitor Source selector switches on the 9098i H panel 4TK1 selects one of the four 4 track Tape Returns connected to the CR Monitors ANCILLARY applies a mixture of miscellaneous internal signals to the LCRS meters for checking purposes The L meter displays the signal on a mix minus buss if fitted the C meter displays the Osc To Slate level the R meter displays the Osc To Patch level and the S meter the Lf Tone level Both of the LR meters can be sourced from the following SOLO allows metering of the Solo buss signal this would be the normal selection Mono channels being PFL d give equal readings A B C and D select one the four stereo busses to the stereo meters When one of these busses is being used for stereo surround purposes in LCRSS and 5 1 Modes selecting it here and the LCRS buss as the LCRS meter source allows all 5 or 6 outputs to be metered simultaneously NEARFIELD selects the L and R Monitor signals or ST Surround if in 5 1 mode EXT1 and
68. ogether have been able to skilfully craft a console that is as close to audio and operational perfection as modern technology allows Artistry in Analogue 9098i epitomises analogue console technology at its most advanced state and can only be described as the cr me de la cr me of high end analogue design Despite the enormous advances in digital sound technology and the preference for Digital Mixing Systems in some applications there has been a growing recognition in the industry that the benefits of analogue technology at its best have not and will not be surpassed for some time to come Analogue consoles have a highly decorated heritage and proven success that will ensure their popularity continues well into the future Mr Rupert Neve Introduction Producers Absolute at Olympic Studios London Perfect Performance The 9098i s technical specification is impressive to say the least Demanding the use of only the highest grade of components it attains a performance level which pushes back the boundaries of known theoretical limits Featuring an extended audio bandwidth of 200kHz 3dB 9098i maintains a sense of transparency that is absent from inferior bandwidth limited systems An incredible dynamic range and remarkable phase linearity provide accurate imaging across the entire bandwidth Virtual Class A operation throughout provides a sense of realism other consoles simply cannot produce This is achieved by reducing d
69. om the Master Section The meter drive signal is an L amp R sum of the two channels in the Stereo Line Input A 5 segment Gain Reduction display is also fitted which becomes active when the Stereo Line Input Dynamics are active The display indicates the action of the stereo Compressor Gate or other Dynamics processor selected and again responds to an L amp R sum of the two signals PANNING The Stereo Line Input MAIN BALANCE control can be switched in and out of circuit by the PAN IN button The BAL PAN button converts the MAIN BALANCE control to a PAN control In BALANCE mode the range of the panpot is OdB 6dB with the centre detent being 2 5dB down relative to a mono signal In PAN mode the control cuts the opposite leg completely at the end stops at which point the required signal is at OdB The centre position is 3dB A Stereo WIDTH control is fitted which can be used to widen the perceived stereo image by using two MS matrices in series The WIDTH control can be switched in and out of circuit with the WIDTH IN button The WIDTH control also functions normally when the MS matrix is in circuit to decode MS signals into AB It is to be noted that the MS matrix is entirely symmetrical such that AB signals applied to the Stereo Line Input with the MS matrix selected will be converted into MS format signals In this case the WIDTH and BALANCE controls will not perform their proper functions ROUTING The Stereo Lin
70. permits the four stereo buss routing buttons at the top of the module to be fed from the Monitor Path The MON TO 48TK button at the top of the module permits the 48tk routing matrix to be fed from the Monitor Path This mode is also centrally controllable from the CAP if so selected the button acts as a local override Selecting MON TO 48TK prevents the Channel Path from feeding the routing matrix The MONITOR PAN control is placed in circuit by the PAN IN button This pans across the L amp R legs of the LCRS A B C and D busses and between odd L and even R multitrack busses If not in circuit a full level signal is fed to all busses selected DYNAMICS The Monitor Path is equipped with a Dynamics Processor of identical type to that in the Channel Path The DYN button adjacent to the Monitor Fader switches the selected Dynamics device in and out of circuit This is an automated switch Assignment of a Dynamics device and control of its parameters is either done through the Dynamics window on the TFT screen or via the CAP in the Master Section See the section on the CAP for more details Note that any Dynamics device assigned to the Monitor Fader moves with it when FADER REV or MON FAD gt AUX 1 2 is selected The sidechain of the Dynamics Processor can be fed from one of several places in the Monitor Path the selection is by internal jumpers The choices are Monitor Pre EQ this is the factory default and is the sa
71. r example and will be particularly useful in broadcast situations The associated LED can be controlled by an externally provided tally STEREO FX RETURN INPUT SECTION The input stage of the independent Stereo FX Return is a Mr Rupert Neve designed Transformer Like Amplifier The inputs are accessible at the jackfield as well as via multiway connectors Mono operation may be obtained by pressing the L MONO or R MONO buttons This selects one leg only as the input to both L R paths of the Stereo Line Input the other leg being disconnected If both L MONO and R MONO are pressed an L R sum of both input legs is sent to both paths Phase reverse switched by the button is operative on the input leg only The Stereo FX Return has its input gain fixed at OdB AUX SENDS The Stereo FX Return has its own Aux Send section All 16 Aux Busses can be accessed from the Stereo FX Return independently of any sends from the Stereo Line Input though access is limited to being in pairs The facilities of the various Aux Sends are as follows in pairs AUXES 1 amp 2 CUE A 3 amp 4 CUE B A single dual LEVEL control feeds both Aux Busses 1 amp 2 a stereo pair at equal level MUTE mutes any output from the send control This is an automated switch Default Path source position is Post Fade the PRE button selects Pre Fade This also controls the source of Aux Send 5 amp 6 7 amp 8 The 3 4 button reassigns the output of the LEVEL
72. ranges of operation are the same as for the Stereo Line Input BALANCE control 9098 Stereo Faders i ag NM a d PE E jm de ds an a pr WE La F in p E rm a E A total of four 9098i M stereo master fader blocks are fitted These are the Stereo Group Masters for the four stereo busses A B C and D Each fader block is provided with the following facilities The Stereo Master Fader is a touch sensitive 104mm motorised Penny amp Giles Series 3000 stereo type The audio signal passes through the fader at all times except when the automation system is in VCA mode or when Dynamics are applied when it is diverted via a VCA for control purposes There are four buttons with matching LEDs controlling the primary automation modes of the moving fader The operation of these is identical to their counterparts on 9098i A in line module A large internally illuminated MUTE button mutes the Stereo Group A large internally illuminated SOLO button puts the Stereo Group Master into whichever Solo mode has been selected by the SOLO MODE buttons in the Master Section See the section on the Solo Modes for more details The small internally illuminated SEL button assigns the module to the CAP allowing the assignment and control of Dynamics and Solo Modes A 5 segment Gain Reduction display is also fitted which b
73. rcing the sends The Aux send controls can also feed the 48tk routing matrix by selecting AUX 5 amp 6 TO 48TK This function is selected from the CAP and the assignment is indicated by a green 48TK LED adjacent to the send controls Access to Aux busses 5 amp 6 is disconnected and Aux 5 LEVEL feeds odd numbered busses Aux 6 LEVEL feeds even numbered busses If selected neither Channel Path nor Monitor Path have access to the 48tk routing matrix Aux 5 LEVEL is also reassigned as the Sub Bass Channel level control when the console is set to 5 1 mode More details are given in the section on Multiformat modes AUXES 7 amp 8 Auxes 7 amp 8 are two mono sends with individual LEVEL controls The two MUTE buttons mute any output from the s send controls They are automated switches lmt Default source is the Channel Path MON sources the sends instead from the Monitor Path Default Path source position is Post Fade the PRE button selects Pre Fade The Aux send controls can feed the 48tk routing matrix by selecting AUX 7 amp 8 TO 48TK This function is selected from the CAP and the assignment is indicated by a green 48TK LED adjacent to the send controls Access to Aux busses 7 amp 8 is disconnected and Aux 7 LEVEL feeds odd numbered busses Aux 8 LEVEL feeds even numbered busses If selected neither Channel Path nor Monitor Path have access to the 48tk routing matrix AUXES
74. ressed an L R sum of both input legs is sent to both paths Phase reverse switched by the button is operative on the R input leg only An MS matrix may be switched into circuit by the M S button adjacent to the INPUT GAIN control This permits the 9098i L Stereo Line Input to handle signals from field recordings for example which have been recorded in Mid Side format Selecting the MS matrix decodes MS signals into conventional L R A B stereo The matrix is symmetrical so will also convert AB signals to MS though the WIDTH control will not perform its normal function EQUALISER amp FILTER The stereo equaliser is based on the mono 9098i EQ but is reduced slightly in facilities It is a 4 band design with semi parametric mid ranges and switched turnover frequencies in the HF LF sections All 4 sections have a CUT BOOST control offering 18dB of adjustment The LF range is a shelving filter with a turnover frequency of 46Hz or 100Hz The LMF range is a Bell Response filter with centre frequency continuously variable from 160Hz to 2 7kHz The bandwidth can be switched from 0 75 to 1 8 by the Q button The HMF range is also a Bell Response filter with centre frequency continuously variable from 1 2kHz to 18kHz The bandwidth can be switched from 0 75 to 1 8 by the Q button o au Mutt oc ltd 14 wd e m oy Jp Hi ie ud MUTE ung wa o FE Fe
75. rtrue enables each panner to drive six motorised faders Each channel should in turn be panned hard L R C MONO SUR SL or SR The motion of the panner is transposed onto the motorised faders This pan information can then form part of the mix data for each motorised fader Further automated pans can be achieved by selecting a new set of six faders to be driven by the panner The 13 x 13 matrix of LEDs above each panner shows the apparent location of the sound being panned in the two dimensional sound field by a single dot of light which moves with the panner movements The matrix replays any panner movements recorded to the automation when Read mode is selected when a second dot indicates the current panner position for ease of matching The LINK button between the two joysticks links the control inputs allowing two separate signals to be panned simultaneously by one joystick The associated DELAY control introduces a delay variable from 10 to 5S into the control link The Electronic Writing Strip displays the name of the signal applied being panned providing a name has previously been entered in the automation system 9098i R Joystick Routing Panels are only fitted if the 9098i S Dual Joystick panel is present Two Panels are normally fitted one per joystick Each panel is essentially a routing matrix for its joystick permitting the outputs of the joystick to address the 48tk main busses the Stereo Surround busses and the LCR
76. sses reside in RAM available for audition at any moment In Circular Mix Mode users can quickly audition 7 different versions of a mix without disturbing or erasing any other version Mix Processor Supertrue has an extensive off line editing system which allows comprehensive mix processing Repeat Copy Swap Erase Trim Merge and Shift are all available for data manipulation and can be applied across individual channels groups or entire mixes in order to speed up production work padabinti ueenonnuncoonngusnesansonneeononnuguvagenoe Hn 3 gd Ll E zi E cmd Ll w ot pl whl E m s hu imi F li Supertrue V4 Automation On Line Trim Supertrue s revolutionary design now allows real time on line adjustment of level in precise increments eliminating guesswork Levels can now be precisely adjusted and auditioned in real time without stopping playback Macros Supertrue has a well developed User Macro system that allows most screen trackball faders and automated hardware functions to be recorded for one button playback Superior File Management The software includes a Project Manager to handle backups even compressing and coordinating data so that it can be run across several floppies
77. st fade signal of a particular channel which frequently carries only the sub bass information Selecting 5 1 mode invokes all the routing of the LCRSS mode and also connects the output of the Aux 5 LEVEL control to the S legs of the LCRS buss and 48tk stems disconnecting it from Aux buss 5 This then controls the sub bass level The main stereo PAN control can be switched in and out of circuit by the PAN IN button If not in circuit a full level signal is fed to all busses selected Divergence cards are standard on every 9098i A Mono Input Module providing a choice of 8 different panning laws between LCR These can be selected on a per channel basis via Supertrue V4 Divergence panning laws when panned to centre are O 3 4 6 9 12 20 and 50dB on left and right ROUTING The Channel Path can access all the mix busses The LCRS button adjacent to the main pan controls routes to the main LCRS mix buss This routing is also centrally forced by certain Master Statuses if so selected LCRS acts as a local override The remainder of the module routing is at the top of the module Separate A B C and D buttons route to the four stereo busses 24 routing buttons labeled 1 24 route to multitrack busses 1 24 plus a 25 48 button which acts as a shift key allowing the same buttons to access busses 25 48 instead the higher buss numbers being marked on the faceplate DYNAMICS The Channel Path is equipped with a versatile Dynamics Proc
78. supplied to help smooth the integration process All power supply wiring is supplied as standard and other mating connectors are available as an option if required Documentation Full documentation for the 9098i is included as standard This incorporates a Console Service Manual Supertrue Installation Manual Supertrue User Guide and Virtual Dynamics Operators Manual Quality Control amp Commissioning Every aspect of the console s electronics has been extensively tested and soaked in our final test rooms Computerised diagnostics monitor the performance of each and every function of the console prior to shipment ensuring the 9098i remains the same high standard of quality when it is integrated into your facility Wherever a 90981 installation may be taking place around the world a skilled commissioning team will oversee the delivery and installation process through to your complete satisfaction Post install commissioning is included as standard and will be carried out by one of our experienced engineers Every aspect of the console is checked to ensure incident free sessions from the first day of operation As part of the commissioning process an engineer will typically spend about 7 days in your studio A brief overview is given on routine maintenance procedures the architecture of the console and basic operation Advanced training is available either on site or at our International Headquarters in Manchester United
79. t PFL meter is fitted providing signal presence indication at all times The segments are at 30 15 green and 088 red plus Overload amber The Overload level is adjustable from the Master Section A 5 segment Gain Reduction display is also fitted which becomes active when the Channel Path Dynamics are active The display indicates the action of the Compressor Gate or other Dynamics processor selected 9098 Mono Input Module PANNING Because the 9098i has been designed to be used in LCRS and other surround modes the panning facilities of the 9098iA module are more extensive than are those usually encountered The console s four pan modes are commanded from the Master Section and each automatically configures the arrangement of the Channel Path pan controls on the 9098iA modules Master Status Stereo Pan mode utilises only the large main PAN control This pans between the L amp R legs of the LCRS buss C amp S being unused It also pans across any of the four stereo busses A B C and D and or odd L and even R numbered main busses which may be routed to by the routing matrix at the top of the module LCRS mode used with matrix surround systems such as Dolby Stereo makes the C amp S legs of the LCRS buss active The post fade signal first feeds the F B PAN control which pans between the S leg anticlockwise and the main PAN control This now pans from L through C to R the centre detented position feedi
80. toring system Up to 15 internal and 10 external sources are available One internal and one external source may be pre selected the EXT INT switching being done from the 9098i F module see below Individual consoles may have sources specified by the customer to suit particular requirements but the default selection is as follows Internal Sources comprise all 16 Aux Sends as odd even pairs the Stereo Busses A B C and D the derived CUE 1 and CUE 2 stereo cue feeds see section on 9098i G modules and the LCRS main mix buss All sources except the LCRS buss are stereo and selecting any of them mutes the C and S speakers Jumper options allow conversion to eight Stereo and two 6tk sources External Sources comprise 8 stereo and 2 6tk sources Default button cap legends are 2TK1 2TK2 2TK3 2TK4 EXT1 EXT2 DAT and CD stereo and 6TK1 6TK2 six track The CD external source has an option to be 12dB but is supplied as 4dB all the others are 4dB Button caps can alternatively be legends to suit the sources in a particular studio 9098i T Central Assignment Panel The Central Assignment Panel the CAP is positioned in the console s Master Section to give easy central access to certain channel functions most of which do not have hardware controls on the module faceplates The most important of these are the Dynamics functions and assignment and control of all Dynamics devices is performed via the CAP The CAP consists of
81. ways one stereo send close to the main fader Auxes 3 amp 4 are similarly designated Cue B The mono Aux Sends on the 9098i L module provide an L amp R sum of the two signals in the channel The stereo Sends are true stereo the L leg only carries information from the L channel and vice versa All Aux Send LEVEL controls are calibrated with OdB gain when fully clockwise AUXES 1 amp 2 CUE A 3 amp 4 CUE B Cue Ais a stereo send with separate LEVEL and BALANCE controls MUTE mutes any output from the send controls This is an automated switch Default Path source position is Post Fade the PRE button selects Pre Fade The SFP Send Follows Pan button sources the Aux Sends from post the main PAN control Cue A BALANCE is bypassed The BAL PAN button when pressed converts the BAL control into a PAN control The 3 4 button reassigns the output of the Send controls to Aux Buss 3 amp 4 Cue B The ABCD button disconnects the Aux send control s outputs from Aux busses 1 amp 2 and instead routes them to the 4 stereo buss access buttons A B C and D at the top of the module permitting these busses to be used as additional Aux sends If selected these busses are unavailable to the Stereo Line Input or FX Return 90981 L Stereo Input Module t au n LET HUTE Ma 11 12 io The Aux send controls can also feed the 48tk routing matrix by pressing 48TK Access to Aux busses 1 amp 2 is disconnected and th
82. ws MON SAFE though this can be disabled on jumpers internally The SAFE switches on the input channels can override these global statuses CHANNEL METER MASTERS These switches control the operation of the individual Channel Meters These can be bargraphs other types of meters may be fitted by special request but not all the facilities may then be available METER OFF CHANNEL switches all meters above 9098iA mono channels to read the signal in the Channel Paths instead of the Monitor Paths the default The point in the Channel Path which feeds the meter can be set by internal jumpers to be either Pre EQ or Pre Fade Each mono channel bargraph has Peak or VU modes one of which simulates the ballistics of moving coil PPMs the other those of VU meters as selected by the PEAK and VU buttons respectively With Yamaki meters fitted DUAL mode selects the VU scale but superimposes a single segment indicating the peak level and obeying PPM ballistics Selecting HOLD allows easy visual monitoring of the peak signal level on each channel the segment corresponding to the highest signal level reached stays illuminated for 1 5 seconds In MEM mode the highest segment illuminated stays lit until either i a higher segment is illuminated or ii the RESET button is pressed RESET cancels the segments held by the MEM function MONITOR SOURCE MATRIX The remainder of the switches on the 9098i H panel select the sources for the Control Room Moni

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