MCi JH-500 Series Bedienungsanleitung

Inhaltsverzeichnis

Andere MCi Musikmixer Handbücher

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PROFESSIONAL

MIXING

DESK

The

JH-528

PROFESSIONAL

AUDIO

MIXING

CONSOLE

has

been

designed

to

be

the

most

efficient

and

the

most

flexible

console

available.

It

is

styled

in

an

oil-finished

solid

oak

with

control

panels

in

a

natural

sugar

maple

color.

The

large

padded

arm

rest

is

covered

with

genuine

English

leather.

The

entire

console

has

been

built

small

enough

so

that

the

average

person

can

reach

most

of

the

controls

without

moving.

Yet

the

profile

is

low,

creating

minimum

control

room

acoustic

problems

and

permitting

a

clear

view

into

the

studio.

This

console

was

designed

for

maximum f l

exibility

and

for

easy

conversion

to

AUTOMATED

CONTROL

.

Each

channel

has

a

VOLTAGE

CONTROLLED

AMP

LIFIE

R

for

the

le

ve

l

control

function.

The

FADER

uses

a 4

inch

conductive

plastic

element

.

This

circuit

is

AUTOMAT

ION

-

READY

.

In

addition,

the

QUAD

PAN

controls

and

the

level

controls

for

two

SEND

BUSSES

are

AUTOMATION

-

CAPABLE

.

Tell

us

what

you

would

like

to

do

in

your

studio,

and

the

chances

are

that

we

wil

l

show

you

~~

can

be

accomplished

with

this

console.

The

following

pages

show

some

of

its

capabilities.

INPUT/OUTPUT

MODULES

A

seperate

INPUT/OUTPUT

module

is

provided

for

each

MIKE

input

or

TAPE

RETURN

input.

Each

of

these

modu

l

es

contain

all

of

the

circuitry,

t he

switching,

and

the

controls

for

the

fo

ll

owing

functions

:

MIKE

PREAMP

BUSS

AMP

t--C>=~

0---0

CHANNEL BUSSING

SW

LINE IN

MIKE/

LINE

LINE

OUT

MIKE/LINE

PROGRAM

MON

TO BUSS CHANNEL

ACN

~

>-....---<~

QUAD

POST PAN §

AMP

QUAD

MIX

METER BUFFER

INDIVIDUAL SEND BUSSES

PREAMP

~~

____

__________________________

~

•

PRE/POST

SEND OUT

Each

MIKE INPUT

is

provided

with

32

OUTPUT

BUSS

SE

LECTOR

switches.

Any

mike

can

be

assigned

to

ANY

COMBINATION

of

OUTPUT

CHANNELS

.

A

CHANNEL

MIKE/LINE

switch

permits

PING-PONGING

tracks

by

connecting

the

Channel

switching

to

LINE

RETURN(WITHOUT

AFFECTING MONITORING

CAPABILITY).

A

PAN

CON

TR

OL

for

the

ODD-EVEN BUSSES

is

provided.

An

LED

beside

each

Channel

switch

indicates

Channel

assignment(s)

.

EQUALI

ZA

TI

m~

Four

basic

adjustment

areas

are

provided

which

together

provide

for

over

140

MILLION

COMBINATIONS.

Discrete

switching

is

used

so

that

you

can

always

return

to

any

exact

combination.

The

EQ

Filter

frequencies

are

interrelated

MUSICALLY

(1

/ 2 oc

ta

ve

range

s )

so

that

they

relate

directly

to

the

music

you

are

recording.

LOW

FREQUENCY

EQ

A Low

Frequency

Shelf

can

be

switched

to

any

of

the

following

frequencies:

30

Hz

60 Hz

HIGH

FREQUENCY

EQ

100

Hz

150

Hz

The

adjustable

gain

for

this

circuit

is

flO

dB

in

2 dB

discrete

steps.

Either

a

High

Frequency

Shelf

or

a

High

Frequency

Peaking

circuit

is

provided

(Swi

tchab1

e) •

These

circuits

may

be

switched

to

any

of

the

following

frequencies:

8

kHz

10

kHz

MID

RANGE

NUMBER

1

EQ

12

kHz

16

kHz

The

adjustabl

e

gain

for

this

circuit

is

flO

dB

in

2

dB

discrete

steps.

You

may

switch

in

a

BOOST

ora

CUT

circuit

at

any

of

the

1/2

octave

frequencies

between

150

Hz

and

7.5

kHz:

150

Hz

200

Hz

300

Hz

400

Hz

600

Hz

900

Hz

1.2

kHz

1.8

kHz

MID

RANGE

NUMBER

2

EQ

2.5

kHz

3.5

kHz

5.0

kHz

7.5

kHz

The

adjustable

gain

for

this

circuit

is

±14

dB

in

2 dB

discrete

steps.

You

may

switch

in

a BOOST

or

a

CUT

circuit

at

any

of

the

1/2

octave

frequencies

between

180

Hz

and

8.5

kHz:

180

Hz

250

Hz

350

Hz

500

Hz

750

Hz

1.2

kHz

1.5

kHz

2.2

kHz

3.0

kHz

4.3

kHz

6.0

kHz

8.5

kHz

The

adjustable

gain

for

this

circuit

is

±14

dB

in

2 dB

discrete

steps.

HIGH

PASS

FILTER

A

HIGH

PASS

FILTER

has

been

provided

which

is

independent

of

the

other

EQ

circuits.

It

is

tunable

between

30

Hz

and

300

Hz

and

has

a

slope

of

24

dB

per

octave.

This

circuit

may

be

switched

out

if

desired.

EQ

SWITCHING

An

EQ

IN/OUT

switch

is

provided

to

permit

bypassing

all

equalization

if

pesired.

A

movable

PATCH

POINT

is

provided

to

permit

the

compression

or

limiting

to

be

connected

either

before

or

after

EQ.

An

EQ

MONITOR/CHANNEL

switch

is

provided

to

permit

the

EQ

to

be

placed

either

in

the

MIKE

circuit

for

equalizing

the

signal

to

the

MASTER

TAPE,

or

in

the

MONITOR

circuit

for

equalizing

the

RETURN

signal

•

-

~

,

........ • ••.1

I

~

I

.

I

••

................

JH-500

SERIES

I/O

MODULE

LEVEL

CONTROLS

There

are

two

main

LEVEL

CONTROL

.

circuits

for

each

channel.

One

circuit

is

a

conventional

audio

amplifier

with

a

45

mm.

conductive

plastic

linear

fader.

This

circuit

is

normally

assigned

to

the

MON

ITOR

circuit.

The

second

LEVEL

CO

NTRO

L

circuit

is

a

VO

LTAGE

CONTROLLED

AMP

LIFIE

R w

hich

uses

a

linear

4

inch

conductive

plastic

fader.

This

combina~ion

is

normal-

ly

assigned

to

the

CHANNEL

OUTPUT.

The

MASTER

PROGRAMMING

for

these

level

controls

is

provided

by

the

FDR

button

located

on

the

STUDIO

MONITOR

module.

Whe

n

this

button

is

depressed,

the

program

for

these

two

controls

on

ALL

channels

is

REVERSED.

The

VCA

is

switched

to

the

MON

ITOR

channel

and

the

MONITOR

LEVEL

CONTROL

circuit

is

switched

to

the

CHANNEL

OUTPUT.

An

FDR

REV

button

is

provided

on

each

INPUT/OUTPUT

module

to

REVERSE

THE

PROGRAMMING

(f

or

that

module

only)

.

A

GREEN

LED

beside

the

VCA

FADER

lights

whenever

the

VCA

circuit

has

been

changed

to

the

MONITOR

circuit.

Level

controls

for

the

eight

SUB

GROUPS

described

in

the

MONITORING

SYSTEM

section

are

located

as

follows:

2 e

ach

in

the

3 AUXILIARY

modules

2

in

the

STUDIO

MONITOR

module.

LOCAL

FADER SWITCHES

associated

with

each

of

these

SUB

GROUP

FADERS

removes

control

of

that

SUB

GROUP

from

the

MASTER

FADER

(lo

cated

on

the

MASTER

module)

.

Thi

s

allows

as

many

as

NINE

MASTER

FADERS

to

be

created.

Each

S

UB

GROUP

will

ha

ve

its

own

MASTER

FADER,

and

the

channels

NOT

assigned

to

a

SUB

GROUP

or

to

the

MASTER

FADER

will

be

controlled

by

their

in

d i

vidua

l ch

an

ne l

faders.

This

block

diagram

shows

the

interconnections

between

the

amplifiers

which

feed

the

control

voltages

to

the

VCAs.

fixed

DC

level

master

fader

MASTER

MODULE

fixed

DC~

l

evel

I

I

local

group~·

..

--t

fader

INDIVIDUAL

GROUP

I M

fixed

DC

levell~

I I 0

I

2

3 0

channel

fader

CHANNEL

LEVEL

CONTROL

INPUT/OUTPUT MO

DULE

An

LED

is

mounted

close

to

each

VCA

FADER

in

the

system.

This

LED

lights

if

the

control

voltage

is

at

a

maximum.

THIS

IS

NOT

A DISTORTION INDICATION.

It

mereZy

indicates

th

at

the-cTrcuit

is

at

maximum

gain.

MONITORING

SYSTEM

Eac

h INPUT/OU

TPUT

module

has

full

QUAD

PANNING

capability.

Two

seperate

potentiometers

are

provided,

one

for

LEFT-

RIGHT

and

one

for

FRO

NT-BACK.

These

controls

are

AUTOMATION

-

CAPABLE

.

The

MAS

TER

module

'

provides

a +

IOdb

gain

control

in

I

Db

discrete

steps

for

all

QUAD

and

STEREO

outputs.

a

pot

e

nti

o-

meter

provides

a

trim

for

MONO

output.

A CALIBRATE

bu

t

ton

is

provided

which

over

r

ides

MONO

trim,

STEREO

trims,

and

QU

AD

trims.

This

button

returns

the

mo

nit

or

in

g

system

to

calibrated

l

evels

.

Each

INPUT

/O

UTPUT

module

has

6

SEND

LEVEL

CONTROLS

which

feed

6

SEND

BUSSES.

These

busses

can

be

used

for

ECHO

SENDS

or

for

CUE

SENDS.

Each

of

the

6

SEND

BUSSES

can

be

selected

from

a POST-FADER

or

a PRE-FADER

point.

SENDS

I

and

2

are

controlled

by

45rnrn.

conductive

plastic

linear

faders

and

are

AUTO

MAT

ION-CAPABLE .

SENDS

3

and

4

have

individual

level

controls.

SENDS

5

and

6

are

controlled

by

a

singl

e

level

control

follo

wed

by

a

Pan

Pot

between

the

two

busses.

A

MASTER

trim

pot

for

each

indi

v

idual

SEND

is

located

on

the

CO

N

TROL

ROOM

MONITOR

module.

A"WET"

switch

changes

the

PRE-(

fader)

position

of

SENDS

3

and

4

to

CHA

NN

EL

BUSS

OUT

position.

TH

I S

IS

THE

ROUTING

USED

TO

F

EED

AN

ECHO

CHAMBER

WHEN

RECORDING

ECHO

ON

THE

MASTER

TAPE

.

The

ECHO

RETURN

SYSTEMS

are

described

elsewhere

in

this

book

.

A

MON

ITOR INPUT

PROGRAMMING

switch

is

provided

on

the

STUDIO

MONITOR

module.

This

button

programs

all

INPUT

/O

UTPUT

module

monit

o

ring

contr

o

ls

to

either

CONSOLE

LINE INPUT

(tape

return)

or

C

ON

SO

LE

LINE OUTPUT.

Each

INPUT

/O

UTPUT

module

has

a

MONIT

OR

OVERRIDE

button

which

re

vers

es

the

control

of

the

MONITOR

INPUT P

ROGRAMM

I

NG

switch

(F

OR

THAT

CHANNEL

ONLY) .

A

MON

to

BUSS

switch

per

mits

using

A

LL

32

BUSS

OUTS

as

add

iti

onal

sends

dur

in

g

mixdown.

CONTROL

ROOM

MONITOR

SWITCHING

CONTROL

MONITOR

SELECTOR

switches

permit

the

monitoring

of:

Three

2-track

tape

machines,

two

4-track

tape

machines,

the

6

~ND

BUSSES,

the

t wo

stereo

CUE

systems,

and

th

e 2-m

ix

,

4-mix

syste

ms.

The

QUAD

CONTROL

Meters

will

follow

these

selections

automati-

cally,

but

the

metering

level

is

NOT

affected

by

the

monitor

level.

When

the

MONO

position

is

selected,

the

monitors

are

switched

to

a

MONO

output,

but

the

meters

will

still

follow

the

QUAD

of

the

STEREO

output.

4

individual

MONITOR

MUTE

switches

are

provided.

The

rear

monitors

are

automat~cally

muted

when

a

stereo

input

is

selected.

When

changing

between

Quad

and

Stereo,

an

auto-

matic

level

adjustment

circuit

keeps

the

level

constant.

An

ALTERNATE

SPEAKER

switch

provides

a command

to

switch

to

and

alternate

set

of

control

room

speakers.

An

ALTERNA'!'E

CENTER

switch

permits

shifting

the

"center

of

the

room"

from

the

C.

ONSOLE

to

the

PRODUCER's DESK.

Internal

pots

are

provided

to

set

up

this

"alternate

center"

location.

A

warning

lamp

is

turned

ON

when

this

button

is

depressed.

When e

ither

the

SLATE,

the

TALKBACK,

or

the

COMMUNICATION

system

is

activated,

control

room

monitor

dimming

is

automatically

provided.

LEVEL

CONTROLS

Individual

switches

provide

a

~

5

Db

trim

in

I

Db

discrete

steps

to

each

of

the

four

CONTROL

ROOM

MONITORS.

A

SOLO

trim

pot

provides

20

Db

of

gain

control

when

a

MONO

SOLO

is

being

monitored.

The

MASTER

CONTROL

ROOM

LEVEL

CONTROL

is

capable

of

adjusting

the

monitor

level

from

+ 6

Db

to

-

infinity.

SEND

OUTPUT

CONTROLS

The

6

SEND

OUTPUTS

are

located

on

the

CONTROL

ROOM

module.

Each

SEND

is

provided

with

a

MASTER

LEVEL TRIM

and

has

switch-

able

HIGH

PASS

and

LOW

PASS

filters.

These

filters

are

variable

between

-10

dB

and

+10

dB.

The

3 dB

points

are

at

60

Hz

and

at

10

kHz

respectively.

STUDIO

MONITOR

SWITCHING

STUDIO

MONITOR

SELECTOR

switches

permit

the

monitoring

of:

three

2-track

tape

machines,

two

4-track

tape

machines,

the

6

SEND

BUSSE

S,

the

2

Stereo

CUE

SYSTEMS,

and

th

e 2

-mi

x , 4-mi x o

ut

p

ut

s .

The

STUDIO

MONITOR

normally

monitors

in

STEREO,

but

buttons

are

provided

on

the

STUDIO

MONITOR

module

to

select

either

MONO

or

QUAD.

A STUDIO

MUTE

switch

is

provided

to

insure

positive

monitor

kill.

The

MASTER

STUDIO LEVEL

CONTROL

is

capable

of

adjusting

the

monitor

level

from

+ 6

Db

to

-

infinity.

CUE

I

NG

SYSTH1S

Two STEREO CUEING

SYSTEMS

are

provided.

These

systems

may

be

fed

from

any

of

the

following

sources:

The

STEREO

MIX

busses,

SENDS

(1-2), (3-4),

(5-6),

The

ECHO

RETURN

circuits,

or

an

external

Stereo

signal

through

the

patch

panel.

ECHO

RETURN

SYSTEMS

Four

ECHO

RETURN

systems

are

provided,

each

with

full

QUAD

PANNING. Two

of

these

circuits

are

in

the

MASTER

module

and

two

are

in

the

COMMUNICATIONS

module.

One

of

the

circuits

in

each

module

can

be

switched

into

any

combination

of

CHANNEL

BUSSES. (32

pu

sh

butt

ons

ar e

provi

de

d)

All

four

of

the

systems

are

returned

to

the

QUAD

MIX BUSSES.

A

PAN

switch

is

provided

for

the

two

ECHO

RETURN

circuits

which

have

switching

capability.

This

switch

allows

panning

between

the

ODD

and

the

EVEN

NUMBERED

channels

as

a

function

of

the

LEFT-RIGHT

PAN

pot.

FRONT-BACK

panning

will

not

affect

the

CHANNEL

OUTPUT

BUSSES.

Two

switches

provided

for

each

ECHO

RETURN

allow

connection

of

that

return

circuit

to

CUE

I

and/or

CUE

2

busses

through

the

LEFT-RIGHT

pan

pot.

All

ECHO

RETURN

levels

may

be

assigned

to

the

MASTER

FADER

or

to

a

GROUP

FADER

through

the

SUB

GROUP

SELECTOR

switches

provided.

MUT

I

NG

SYSTEf1S

Muting

of

a

single

CHANNEL

or

of

an

ECHO

RETURN

channel

may

be

accomplished

in

six

different

ways.

Two

additional

methods

are

provided

for

muting

the

QUAD

M

IX.

If

ANY

ONE

of

these

systems

is

activated,

the

CHANNEL

(or

ECH

O

RETURN)

w

ill

be

MUTED.

The

OVERALL

FUNCTION

operates

like

t

wo

OR

GATES

as

shown

in

the

following

sketch:

Channel

MUTE

swi

tch

_________

----.

Channel

FADER

OFF-:~_:~~::~~~~~~~

GROUP

MUTE

if

assigned

to

a group

MASTER

MUTE

i f

ass

igned

to

MASTE

R

__

-,

o

~

auto

mute

sw.

AUTO

MUTE

BUSS

0

~~

1-_1

READ

OR

UPDATE

from

Automation_

...J

MONITOR

MUTE

ALL

OU

TPUTS

,------

EXCEPT

QUA

D

MIX

QUAD

OR

GATE

}---

MIX

All

channels

except

SO

LO

channel

______

-{

whe

n

QUA

D-IN-PLAC

E

SOLO

is

in

use

'----~

GROUP

MU

TING

is

accomplished

in

four

different

ways.

The

OVERALL

FUNCTION

operates

like

an

OR

GATE

as

sho

wn

in

the

following

sketch:

GROUP

M

UTE

_________________________

,

GROUP

FADER

OFF:::;-

_____________

~

___

~

---------~o

~

l o

cal

fader

sw.

__

-I

MAS

TE

R

MU

TE

LI

NE o

o

~

auto

mute

sw.

AUTO

MUTE

SYSTEM?

ALL

OUTPUTS

>---+-

AND

BUS

S

ES