Studiomaster MIXDOWN, Owner'S Manual

Page: 6 / 51

input
when
left
re-
design
of a
control
separate
at the
a 2-pole
of a
control
separate
at the
2-pole
value
s the
TAPE ja(::k
can be
need for
attenuation to MIC
can be used to
which, after turning
is still too high to
semi-parametric
6 and on expanders)
the LINE jack when
input channel to be
low i ance balanced
LINE lev signal.
not shown)
(Inputs
the HIC
that t
thus eliminatin
remix.
(Inputs 9
m
HIC XLR
This allows
either a
or unbalanc~d
EQUALISATION. A 3-band
comprising of:
High
Frequency control is an active shelving-
type filter providing 16dB of cut or boost at
12kHz. The filter is a 2-pole design with a slope
of 12dB/octave.
MID
frequency network consists
continuously variable centre frequency
with a sweep from 280Hz to 8kHz. A
control provides 16dB of cut or boost
chosen centre frequency. The filter is a
design with a peaking response, and a "Q"
of approximately 1.5.
Low
Frequency network consists
continuously variable shelving frequency
with a sweep from 25Hz to 350Hz. A
control provides 16dB of cut or boost
chosen shelving frequency. The filter is
design with a slope of 12dB/octave.
GAIN control with 45dB range ensures that the
input - be it MIC, LINE or TAPE is at a suitable
level to drive the channel. It is used to set the
nominal channel signal level by varying the pre-
amp gain, preserving maximum headroom and minimum
noise without loading the input signal.
PAD switch provides 20dB
inputs when depressed. It
attenuate an incoming signal
the GAIN control to minimum,
be usable.
Studiomaster
patching during remix. On expanders, this button
selects LINE B input when depressed.
8
9
12 AUXILIARIES. There are six auxiliary busses,
five of which are simultaneously accessable on
the channel. Auxs 1,2,3 & 4 are post-fade (for
use mainly as effects sends). Aux 5 is pre-EQ and
pre-fade. Aux 6 is pre-fade. Aux 5 and 6 are
intended for studio cue/stage foldback purposes.
A switch is provided to access either Aux 4 or
11 EQ CUT switch bypasses the equalisation circuit
for a flat frequency response.
10c
10a
10b
10
o
FIG 1
4
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