background image

signals can be retumed via either the Aux 1 or 2 I"€tums

andassignedlosub1.AJ!ematemethodsarealsoavail-

at»e,suchasassignirogtheaboveexampletothemas-

lerptograml

••l1andrighloulpulsd'recl~>orbytaking

thelineootofthesubgrou.pstOdrivetheextemaldevice

and retumiog

the signals to Ihe program mas!ers.

This

lattermethodisespecialfyeflectlVeon$lgnalgroupsre-

quiringcompreSs'onand'orlevellimiting

Some

incoming

signals

may require

special

effects

which are nol required or des,rable on any o!her s'gnal

£Xamp~swo~bellanging

on a keyboard,

ahar.

mcnizer on a guitar or limiting on a snare or bassdrUfTI

These types o! effects can bellSed

b;'patch,ng

Ihe pro-

1,/

:::r::r:::i:

:::~a~ok.t~~i~~~

~:~~~

~~ac:~

nectOf as the outpul

send,the

ring connector

as the

input retum and

tM

sleeve connector

as the common

shielclfo<

both lines

Mating cord assemblias

maybe

purchasedorconstructedbytheuS€r.(Notell!heneed

arises to route an input signal Iromthechannalwitho<Jt

intarruptlngthenormalsigMltlowlt1roughlhemixe<,

the mating piu" wired as above must have a jumper wire

added between the tip and ring oonnectors.

When using

this!yp€

of passive slgMI

spirt arrangement,

care must

be taken to avoid e.cessiveoontrol

changes

In either

the channel tader 01 post tader controls or thoS€ on the

device led by the Spilt signal. Since there is no isolation

controlvariatoons

made at either end of the signal path

mayaflec1theothe.-side.)

live Sound reinforcement

mi1ingoltenlSaneasiertask

~s,milartypesoflnputsaregrou~togetherarxlOOr)-

trolled as a single s'gnal

Examples

of Ihis type ot use

wouldbemicrophonesusedondrumklts,harmonyandi

orbackgroundvocalmlcsandmul1'plekeyboardlnputs

,/

As variOuS iI1putsare

touted to a subgroup,iI1drvioual

channel

levels

can be set so as to provide

a proper

blendandbalance

•••.rthinlhesubgroupmi.,'t,torexam·

ple,theleve!otthedrumsneedstoberaisedorloweled

relative to the overall pregram level. Ihe subgroop !adef

can be 'e-pos'tloned

withouldes!roying

the balance

Th,s stili alLows lorindrvidualchannets

within the grO\Jp

to be taised

or lowere<! as necessary

as that channel

signal strength

will change

in the sub as well as the

maS1er. Another advantage

ot sub-masteflng

Ot group-

ingistheabilltytoaudlblyplacethesubgroupsignalrel-

ativetolhemaslerleIHo-rightba'ance.Thisisaccom

plishedviathesubglooppancontrol,whicha1lowsthe

englneertosweepthesubgroupsendloreflect.Bywey

of an example,

a par1icular drum passage

or solo may

be pennedtofoUow

Ihe movemer1tot

thedtummer

with-

out having

to amend

or alter the set~ngs

01 the iOO,-

v;duatinp<.Jts

Another

benefitot

subgrOllpingon

the 16x4.2

is the

ability to send the subgroup

signals

out of the mixer

without;

1.lnterruptlngt.t>esignalffowtolhemesters,or:

2.Theneedtoassignthesubgroupsignaltothe

masters

Thisfle,bihtyaitowstheusertoaddeflectstoatotalsub

group or to conlrol 1he tevel externatiyby

WilY ofa limi-

ter. In both instances,

the subg'oup

Oulpu1 would be

broughtbackintothemixerthtougheitherotthetwoaux

return networks

after oolng processed

by the exlernaJ

device

MASTER

OUTPUTS

·lEFT

AND RIGHT

The chiet tunchon

ot

the master outputs istodetermme

and oontrol the overatl final ou!put levels.

Additionally

the

16x412

masters

are provide<! with a three band

equalization

netwolktor

making adjustments

in the slg

nattonality,

Wh1telhisE.Q.

is nol designed

to ehminate

theuseofe.terMlmulti-bandequalizersinthose<lPP!'-

catOonsrequiringextensivefif1etuninglorv~atiteroom

environments,

it can reduce

the amount

01 extemat

changes

required,

It sl>ould

be

noted

that> white

Stl.ldiomaster-does

not produce

exlernal

equalizat>on

"etworks,

we believe

many sound systems

WQuld be

vastly improve<i by the addition of such devices.

Addi

tionatly, the human ear, while extremely

sensrtlve, can-

not adequatelyproviOO

frequency

i-dentiflcahon

during

Ihe setup of mu1li·bande.q.

netWQrks, thus we equally

be!,evenoprotes$ionalsystemistrulycompletew,thoul

1heinclusionofareal-!imeaudiospectrumar>.alyzer

Many tt;gh quaLity equalizers

and RTA's

lire aV<lllable

and no speeificproduct

recommendation

ismede

or im-

pliedbyStudiomaster

Summary of Contents for 16x4x2

Page 1: ......

Page 2: ...f f xib Jtty md expandlb l ty of the 1 4 2 allow the theat al user mo a haner oughoptionslordramaticandmusicalpresentaHons VIDEO POST PRODUCTION A superb unit for profes io al audio results in both th...

Page 3: ...Q transport making this board perfect in both home and stud o recording environments Read this manual carefully and familiarize yoo ellwlth hefeaturesandfurdions beforeoperatong Wesugges1 atwayskeepin...

Page 4: ...c BASS FREQUENCY BASS CUT BOOST AUX1 POST AUX 2 PREPOST SWITCH AUX3 PRE SOLO ASSIGN SWITCH L A ASS G SWITCH SUBGROUP ASSIGN SWITCHES CHANNEL FADER OVERLOAD INDICATOR...

Page 5: ...control provid ng16dBboostorcutonallfrequerICiO Sbelowthe chosencutollpoinl Thlsswilch ailowst Et us r to bypass thEtequalLzallon network input Th scontr ailowstorbuSSlngolapOstTatI r igoalto rhe Au...

Page 6: ...SOLO ASSIGN 1kHz SLATE SUBGROUP FADER c 2T TO MONITOR ASSIGN TB TO AUX 3 ASSIGN TALKBACK AUX 1 AuX 2 AUX 3 MASTER SENDS...

Page 7: ...mpared in e ther dry or et 5 atetorfinaloverdubbing PAN CONTROL The pan control determines tl1e lefl to right balanooot the SUbgfOUP signal bussed to the moniloroutpllt and tnemasteroutputs SOLO SWITC...

Page 8: ...c MrDRANGE AUX1 OR2 RETURN SOLO ASSIGN MASTER OUTPUT UR ASSIGN AUX SUBGROUP ASSIGNS AUX...

Page 9: ...lhleatures and functions Auxiliary return networks do r IOtneoossarily require their inputs to be derived from the correspOnd Ing auxiliary sends and thus can be driven with any unbalanc M line level...

Page 10: ...el ectsdeviQessuchasechoordigitaldelay Aux3isp Q vided primarilyfo sludiofoldback or live sound stage monilorfeeds Auxiliary2 whichisselectableaseilher a pre or post fader signal buss may be usedfm ei...

Page 11: ...spresent are idenl cal to the main left and right program outpUIS CHANNEL INPUTS 1 16 _ CHANNEL PATCHING JACKS DIRECT IN OUT LOOPS e ceptinoutpullevel PROGRAM OutPUTS LEFT AND RIGHT Thesign llsprese f...

Page 12: ...etat20withnopadande qllat EQ SE I ings may De iMlally pertormed by rou ngthe inpulto1haheadphonesvia l1esolobuss Properm x ong lech iques should lesult in the channel tader talhng betwee 5a d 20o thes...

Page 13: ...roying the balance Th s stili alLows lorindrvidualchannets within the grO Jp to be taised or lowere as necessary as that channel signal strength will change in the sub as well as the maS1er Another a...

Page 14: ...g ot ario s npulswrthinthesubgrocrpsprlOr otheflnalout pulconlrols The t IOWIf1g system diagfams illuslrate just a few 01 the many s lups feasible Wtth the 16 4x2 Thesedia grams use suggested chanN31...

Page 15: ...devk esasshownoninpulschannels3 9 10and11 Tllis allows tile engineer to iso ate spooflc etfectsto s nglecharlnelswhileallow ngbuss ng Vla8UX 1 and 2 ofa 1ych8 1r elstoadditi0 8Ie temalelfecfs8sillus a...

Page 16: ...ges are obv ous in the oulput area indical ng an enti ely different approach to tne input oulput matrix as weilasoutput unction SIDE FILL SYSTEM Prima and seconda prog am s 9 18 s are derived t omlhe...

Page 17: ...Au 1isdedicaledtoadigi aldelaywhiehmaybel Sed 0 instruments and of vocals while subgroup 4 con ai ingonlythevocals eedstoane temal evero hich ORUM MICS is bussed v a the retum networl direct y to the...

Page 18: ...l COrd ngbyuSlngthelkHzslatetone as an ahgnment reterel Ce Thi toJle can also be used to record a slate sfgJlal to ease feloca ion 01 va ious startingpoiJl sonlheaclualmu l trac mastertape 4 TAACK TO...

Page 19: ...ut line jacks 13 16 Althoughnotuseddurtngtherecordingofthemulti tfacl master atwo trackmasteringmach necanbebed to the 2 tracktine inputs and outputs in the same man The contr room mon torsystem is dr...

Page 20: ...quire theengineertoha ecom eteequali2atiOl1controlatall times The 16x4x2withitssemi p arametrice q on each inpu1channelsmeetSlhisrJiflicutlc iteria REMOTE DRESSING ROOM LOBBY LIGHTING ETC OM DELAV In...

Page 21: ...m shows both types 01 in gineer and other oftstage personnel stage manager puts Additional recorded material effects music e c_ ightir gdi ector elc_ canbesuppliedvia hetal back maybe patched into any...

Page 22: ...lowslorno segatingolseldom tve inputs and yet doesn t use val abie auxiliary bu singfOf pecialeHecls TECHNICAL DIRECTOR Thecompactdesignhelpstokeepthesizeoftheed Hng baY Oaminimuminthoseapplicat onswh...

Page 23: ...erscanbeaddedeitherthroughtheind vidualchannel pa chpo ntsorvia htlaux 1 and 2 networks Pr ma yrecordingofthemasleraudiolracksmaybede rived from either the programoutpu1s 8S shown while lhe backup can...

Page 24: ...Slems such as cl1urcl1es au butad ThesubgroupscanbeusedasiO epen6enlout d toriums medium s ze meet ng rooms and any other p ls The example shown illustrates a typical Church ap permanent insta ation s...

Page 25: ...foom lf1pul 1 is used in a seperale progfam lell and fig 1 and lurnish signats lalhe basilica meetif1g room and is assigned 10 subg oup 3 10 the Ol If1dsystem Irlj UIS2 5areass gnedtosubgroups feedbac...

Page 26: ...r...

Page 27: ...THD lessthanO 01S 1kHzreIOdBm lessthan0015 a1kHzref 5cl8m lesslr anO W i20 20kHzal any level prior loclipp 9 SN Betle rthan85dB CROSSTALK _6OdBbetweenadjace 1linp rltl ar lr lelSoroupulS EQUALIZATION...

Page 28: ......

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