Manley Mastering Backbone, Руководство пользователя

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BACK PANEL
As previously described, you have 3 Input XLRs per side followed by an Output XLR that reflects
the chosen input. These are factory set-up as AC coupled (the inputs are protected by capacitors, which
may prevent some clicks or pops when switching), which implies the signal has to flow through capaci-
tors. If these capacitors are unwanted, there are jumpers (no soldering required) to bypass them and
provide DC coupled inputs (similar jumpers exist for the outputs). The diagram describing the jumper
locations is on page ???.
Next are Multi-Pin connectors that handle all of the INSERT inputs and outputs. One version of the
Mastering switcher uses EDAC/ELCO 56-pin connectors. These are very reliable and allow for pretty
bulky audiophile wires that many mastering engineers prefer. The other version uses 25-way sub-D
connectors, which are cheaper, easier to purchase pre-made, and semi-compatible with industry stan-
dard cable harnesses. The big difference between the industry standard and what the Mastering Switch-
er uses has to do with the XLR “sex”. The standard may have either all male or all female XLRs, while
what you need here is half male, half female. So, worst case scenario, buy one of each ‘standard’ cable,
and spend an hour or two swapping half of the XLRs (16). Better case scenario, buy a few pre-made
and tested from Manley, which use Mogami multi-pair. Best case scenario, have a good tech build some
audiophile wire (maybe silver conductor) cut-to-length, tailor-made ELCO cables. The pin-outs for
both the EDAC/ELCO and 25-way Sub-D connectors are on page ???.
Next comes an interesting pair of XLRs marked “PATCHABLE”. There are a number of points
internally in the console where these XLRs can be patched. Of course, this means opening up the Mas-
tering Switcher, opening up the manual, attempting to interpret the map on page ???, and moving some
ribbon cables, but dealing with ribbon cables seems to be par for the course if you’ve had a PC in your
life. The three intended purposes for these are:
-An alternative to the multi-pins for one pair of inserts. You might use those for “producer-pro-
cessors” or new gear you are evaluating. In that case, you probably don’t want to have anything
plugged into the corresponding XLRs off the multipins. For example, the Manley factory presets
that “PATCHABLE” to INSERT 6, so use either the multi-pin Insert 6 XLRs or these. Actually, just
watch out for the female XLRs or inputs because you don’t want the outputs from two different
boxes feeding into each other. The alternative set of male XLRs can be considered a parallel output,
so it can feed something. Which brings us to…
-A feed to the monitor controller for checking the processing half-way into the chain. Typically
a mastering engineer may want to compare the dry signal (“Selected Input” XLR), the analog
processed signal (Main Output 2), and maybe somewhere part way through the processing, which
these jacks allow.
-A feed for some of those unusual processing tricks described in the FADER/MIX section on
page ???.
Next on the back panel are outputs for SUM and DIFF. These are the raw encoded signals (unpro-
cessed by Insert 2 & 3). These XLRs could be used to send to processors, in which case probably either
but not both would be used. You can also send these signals to VU meters. **Note that the SUM signal
is attenuated 6 dB and the DIFF signal is boosted 6 dB, so that with typical stereo music mixes these
outputs have similar levels as the left and right signals (easier to process).**
After that, you get MIX INPUTS. These feed the FADER in MIX mode. As described on page ???,
if you use these as a return from processing the DIFF signal (but not the SUM), you should get a spe-
cial Y cable where the right XLR is wired out-of-phase.
Last is a pair of stereo outputs. One pair generally goes to your main Analog to Digital Converter
and the other goes to the monitor controller or VU meters.