STUDIOMASTER TRILOGY

INTRODUCTION
Congratulations on purchasing your Studiomaster TRILOGY, a highly sophisticated, yet easy to
understand 4-buss mixing console that has the chameleon-like ability to adapt itself to live
sound, monitor mixing or multitrack recording, making it ideal for the gigging musician with a
home studio. TRILOGY’s key features include easy expandability for the 166 and 206 via a
single TRILINK™ connector to a TRILOGY 140 EX input expander and a Stage Mode that
routes four of the Aux sends via the Group faders and balanced Group outputs to be used as
monitor feeds.

Multitrack recording is easily accommodated using the console’s comprehensive routing system
and a separate control room feed is provided to drive a studio monitoring system. Because the
TRILOGY is designed to work in fully professional environments, not only are the main, group
and all aux send outputs fully balanced, but three of the four stereo Aux return inputs are also
balanced enabling them to handle professional tape machines or similar sources. A choice of PFL
or SIP (Pre-Fade-Listen or Solo-In-Place) monitoring is available on all channels, groups, master
Aux sends and the stereo Aux inputs. The main stereo output is available on both balanced jack
and XLR connectors with a further XLR output carrying a mono sum mix.

Internally, the TRILOGY uses traditional modular construction rather than the single circuit
board approach used in some modern budget mixers. Not only does this make servicing far easier
(and hence less costly), it also reduces stress on the circuit board and allows the controls to be
mounted more rigidly - an important consideration in mobile applications. A robust external
power supply is used to help maintain a clean signal path by eliminating the possibility of
magnetic interference from the transformer.

FORMATS
There are three models in the TRILOGY range. The rackmountable 166 provides 10 mic/line
channels plus two MON:STER (MONo/STEReo) channels while the 206 features 14 mono
mic/line channels plus two MON:STER channels. Including the stereo Aux inputs, the 166
provides up to 24 inputs when mixing while the 206 can handle up to 28 inputs. The 326 is
equipped with 20 mono mic/line channels and 4 mono mic/stereo line channels - 24 mic inputs
and a total of 40 inputs

The 140 EX expander can be used with the 166 or 206 console and comprises eight mono
channels and two mono/stereo MON:STER channels) with all the facilities of the main console
channels. The TRILINK™ system allows the expander to be connected using a single, multiway
cable. Once linked, the console and expander function exactly as a single large console with full
buss connection throughout including Listen. The 140 EX is a free standing unit which comes
supplied with a rackmount kit.

All mic/line channels have 3-band EQ with a swept midrange control while the MON:STER
channels employ a fixed 3-band equaliser. All three equaliser bands provide a wide range of cut
and boost and follow the usual convention where the high and low filters are shelving and the
Mid control has a bell or bandpass response. The equaliser circuitry is a refinement of that
developed for Studiomaster’s more expensive consoles and has a reputation for positive, musical
operation. The MON:STER channels have separate gain controls for the mic and line, allowing
simultaneous use of all three inputs.

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READ THE MANUAL!
Despite its sophisticated circuitry, the Studiomaster TRILOGY is actually very easy to use,
though to get the best from your new purchase, we recommend you read this manual in full at
least once before getting down to any serious work. The TRILOGY incorporates numerous
advanced features which may not be obvious from a casual exploration of the front panel, and the
manual also contains important safety information as well as details of using TRILOGY in
various live and recording configurations.

UNPACKING
If you’ve already unpacked your mixer before reading the manual, this is what you should have
done! Remove your Studiomaster TRILOGY mixing console and the separate PSU from their
packing and make sure that along with this manual you have an AC power cord and a warranty
card. Retain the packing in the eventuality that your TRILOGY needs to be moved or returned
for service or repair. Please complete and return your warranty card. Returning the completed
warranty card does not diminish your statutory rights in any way.

READ THIS SECTION BEFORE SWITCHING ON.

The Trilogy is supplied with an EP7 external power supply which is suitable for either the 326 or
the 166 and 206 models and one expander. If extra expanders are required, consult your
Studiomaster Dealer for the correct EP series power supply upgrade. Only use power supplies
recommended by Studiomaster with Trilogy. Connect the EP7 to the console before connecting
the A.C. power cord to your A.C. supply. Before plugging in the mixer, ensure that the voltage
selector on the PSU is set to the correct voltage for your country. In the UK and Europe, the
voltage selector should be set to 230V which covers the operating range 220 to 240 Volts AC. In
the USA and other countries operating with a nominal 110 Volt supply, use the 115 Volt setting
which covers the operating range 110 to 120 Volts. Attempting to run the unit from a 230V
mains supply with the selector set to 115V will cause serious damage to the unit.

WARNING: THIS APPARATUS MUST BE EARTHED (GROUNDED)

UK MAINS CONNECTIONS
The wiring convention used for the mains lead complies with the UK wiring code and is as
follows:

Live Brown
Neutral Blue
Earth Green and yellow (striped)

Should the mains plug on the supplied lead not be of the correct type for your socket outlet,
remove the plug from the lead and replace it with a suitable three-pin plug. The use of adaptors is
not advised. Always dispose of moulded plugs that have been cut off cables.

IMPORTANT
As the colours of the wires in the mains lead of this apparatus may not correspond with the
coloured markings identifying the terminals in some mains plugs, proceed as follows:

The wire which is coloured green and yellow must be connected to the terminal which is either
marked E, marked by the earth safety symbol , or coloured green and yellow. The wire which
is coloured blue must be connected to the terminal which is marked with the letter N or coloured
black. The wire which is coloured brown must be connected to the terminal which is marked
with the letter L or coloured red.

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IMPORTANT
Do not use your mixer in environments having a very high humidity or where liquids may
accidentally enter the console. Do not remove the mains earth to cure a buzz or hum caused by
faulty wiring - trace the cause of the problem by first powering up the mixer and monitoring
system with no inputs connected, then re-connect the cables one at a time until the fault is found.
Persistent ground loop hum problems may be solved using a suitable DI box with a ground lift
facility.

When powering up the system, switch on the power amplifiers after the mixer and all connected
effects/processor have been turned on. This will avoid unexpected loudspeaker thumps.

In the event that the PSU panel fuse blows, replace it only with the same type and rating of fuse
(See Technical Specification for fuse type and rating). If a fault occurs that replacing the external
fuse does not cure, return both the PSU unit and the mixer to your dealer or to an authorised
service agency. Do not attempt to repair the PSU or mixer yourself as this could be dangerous
and will void the warranty.

To give the best hum performance, the power supply should be positioned one meter or as far as
possible from the console. The power supply should also be well ventilated, the cooling slots not
obscured and mounted on a flat surface.

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INPUT CHANNELS (MONO AND MON:STER)

The functions below are common to both the Mono and MON:STER channels unless otherwise
stated.

Complete control panel diagrams are reproduced at the rear of this manual and it is recommended
that these be consulted when familiarising yourself with the location and function of the controls
if you don’t have the mixer in front of you.

Each Mic/Line channel is fitted with one XLR mic input and one ¼” TRS jack, line input. There
is no need for a mic/line switch, though the mic and line sockets should not be used
simultaneously.
48V phantom power may be applied globally to all the mono channel Mic inputs by depressing
the recessed 48V switch in the master section of the console using a plastic ball-point pen or
similar object. A red status LED confirms that the phantom power is operational.

Dynamic microphones (which do not require phantom power) may be used when the phantom
power is active as long as they are wired for balanced operation. Unbalanced microphones may
be damaged by phantom power, and in any event, their performance will be compromised. If in
doubt, check with the microphone manufacturer. All microphones should be plugged in before
the console is switched on when phantom power is being used: This avoids loud thumps over the
PA or monitor system and ensures delicate microphones won’t be damaged.

CHANNEL CONNECTORS

MIC 3 pin XLR input for use with balanced, low impedance microphones.
Wired Pin 1 = Ground, Pin 2 = +ve phase (Hot), Pin 3 = -ve phase (Cold).

LINE ¼” TRS jack for use with line level sources such as electronic keyboards, drum
machines, guitar preamps, tape machines, CD players and similar sources. The
line input is electronically balanced but may also be used with unbalanced
sources by simply plugging in an unbalanced jack lead. High impedance sources
such as electric guitars should be fed in via a DI box or suitable preamplifier for
best results.

STEREO LINE (MON:STER CHANNELS ONLY)

¼” TRS jacks for use with line level sources such as electronic keyboards, drum
machines, guitar preamps, tape machines, CD players and similar sources. The
line inputs are electronically balanced but may also be used with unbalanced
sources by simply plugging in unbalanced jack leads.

Note: The MON:STER channels may also be used as mono line channels by
plugging into the left input only.

INSERT (MONO CHANNELS ONLY)

¼” TRS send/return jacks wired Tip = send, Ring = return, Sleeve = ground.
The insert point allows an external processor or effect to be inserted into the
channel signal path, after the mic amplifier.

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DIRECT OUT (MONO CHANNEL ONLY)
Provides a post-fader direct output from the channel strip on an unbalanced
(balanced-compatible), ¼” TRS jack. This may be used to directly feed a
multitrack recorder input.

CHANNEL CONTROLS

GAIN (MONO CHANNEL ONLY)

Sets the level of the incoming mic or line signal. The mic input gain range
is 12 to 60dB, the Line gain range is from -8 to +40dB.

MIC GAIN (MON:STER CHANNEL ONLY)

Sets the level of the incoming mic signal. The mic input gain range is 12 to 60dB.

LINE GAIN (MON:STER CHANNEL ONLY)

Sets the level of the incoming line signal and also provides a maximum gain of
20dB.

Note: The MON:STER channels may also be used to mix one line and one mic
signal or may be used as mono line channels by plugging into the left line input
only.

EQ ASSIGN (MON:STER CHANNEL ONLY)

Switches the EQ into either the mic or line signal path.
Up = Mic, Down = line.

HIGH PASS FILTER (MONO CHANNEL ONLY)

Attenuates frequencies below 100Hz to reduce the effects of stage vibration,
traffic rumble and similar very low frequency interference. This filter may also be
used in conjunction with the EQ section for creative purposes.

HI High frequency control providing 15dB of cut or boost at 12kHz.

This control has a shelving response.

MID (MONO CHANNELS ONLY)

The MID section of the EQ on mono channels consists of two controls.
The upper control is a frequency sweep which varies the centre frequency over the
range 350Hz to 6kHz.
The lower control provides 15dB of cut or boost at whatever frequency is selected
using the Frequency control. This control has a “bell” response with a bandwidth
optimised for most general purpose equalisation applications.

MID (MON:STER CHANNELS ONLY)

Mid-range EQ control providing 15dB of cut or boost at 1.6kHz.

LO Low frequency control providing 15dB of cut or boost at 60Hz.

This control has a shelving response.

AUX 1/AUX 2
Adjusts the level of the channel signal being fed to the Aux 1 and Aux 2 busses.

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PRE/POST Aux 1 and Aux 2 may be switched, as a pair, for pre or post-fader operation using
this button. Up = Post, Down = Pre.

AUX 3/AUX 4
Adjusts the level of the channel signal being fed to the Aux 3 and Aux 4 busses.

PRE/POST Aux 3 and Aux 4 may be switched, as a pair, for pre or post-fader
operation using this button. Up = Post, Down = Pre.
These sends can also be configured for pre EQ operation.
See technical appendix for details.

AUX 5/AUX 6
Adjusts the level of the channel signal being fed to the Aux 5 and Aux 6 busses.
These sends are internally configured for pre-fade (foldback), operation but may
be changed to post fader or pre EQ sends by moving links within the mixer.
See technical appendix for details.

PAN Pans the channel signal between the left or right output channel and between odd
and even numbered groups.
(Odd groups - pan left, even groups - pan right.)

MUTE Switches the channel Off and illuminates the adjacent LED. When the channel is
muted, the Pre/Post fader Aux sends are also muted. The Listen button, when set
to PFL mode, is not muted.

Note: If any Aux sends have been internally configured for pre-EQ operation,
these will not be muted by the Channel Mute button.

L-R Routes the channel signal the main Left/Right stereo buss.

1-2 Routes the channel signal to the 1-2 Group buss.

3-4 Routes the channel signal to the 3-4 Group buss.

PEAK LED Indicates that the channel signal is approaching it’s maximum level. If the Peak
LED remains lit, reduce the channel Gain control setting until the LED flashes to
signal peaks.

SIG LED This LED illuminates when a signal in excess of -20dB is detected in the channel
strip providing an easy way to identify which channels are carrying signals.

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LISTEN Activates the PFL or SIP monitoring function. Depressing the Listen button
allows the selected channel (or channels) to be monitored in isolation via the headphone
and control room outputs. The level is also shown on the Left & Right bargraph
meters.

In PFL mode, the signal is independent of the channel fader setting making this
mode useful for optimising the input Gain trim controls.
Note : Mono channels are heard in mono, Mon:ster channels in stereo.

In SIP mode, the channel signal is heard at its normal (post-fader) level and at its
correct pan position (stereo).

CHANNEL FADER
Controls the level of the channel signal fed either to the Left/Right or Group
busses, depending on the setting of the routing buttons and the Pan control. The
post-fade Aux send levels are also controlled by the fader.

MASTER SECTION

The master section of the TRILOGY is divided into logical sections for control over the main
and buss output levels, the Aux sends and Stereo Aux inputs, the metering, Stage Mode
switching and all main and auxiliary connectors.

MASTER SECTION CONNECTORS

TRILINK™ CONNECTOR
25 pin “D” type socket (female) connector is fitted to the Trilogy 166 & 206
consoles for easy expandability. Expanders are fitted with a 25 pin “D” type plug
(male) connector. A standard screened male to female (computer printer type)
lead is supplied with the 140 EX expander.

MONO, LEFT & RIGHT (REAR PANEL)

Balanced 3 Pin XLR output connectors wired
Pin 1 = Ground, Pin 2 = +ve phase (Hot), Pin 3 = -ve phase (Cold).
Nominal output level is +4dBu.
If unbalanced operation is required:
Link Pins 1 & 3 = Ground, Pin 2 = Signal

G1 - 4 Balanced ¼” TRS jack group outputs.

Nominal output level +4dBu.
For unbalanced operation use a 2 pin (TS ¼” jack).

Note: In Stage mode the outputs of the Aux 1 - 4 are routed to these connectors.

AUX INPUT 1 - 3
Balanced ¼” TRS jack line level inputs. For unbalanced operation simply use a 2
pin (TS ¼” jack). For mono operation use “L/MONO” connector only.

AUX INPUT 4
Unbalanced Phono (RCA) line level inputs.

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LEFT/RIGHT OUTPUTS
Balanced ¼” TRS jack left & right outputs.
Nominal output level +4dBu.
For unbalanced operation simply use a ¼” 2 pin (TS or “mono”) jack. Note: This
will also unbalance the XLR outputs.

LEFT/RIGHT SEND/RETURN
¼” TRS insert jacks wired Tip = send, Ring = return, Sleeve = ground.
The insert point allows an external processor or effect to be inserted into the main
output signal paths.

A1 - 6 Balanced ¼” TRS jack auxiliary outputs. For unbalanced operation simply use a 2
pin (TS) ¼” jack.

Note:
In Stage Mode the outputs of the Groups 1 - 4 are routed to the A1 - 4
connectors and so they cannot be routed to the L & R outputs.

G1 & 2 SEND/RETURN
¼” TRS insert jacks wired Tip = send, Ring = return, Sleeve = ground.
The insert point allows an external processor or effect to be inserted into the
Group output signal paths.

CONTROL ROOM
¼” TRS unbalanced control room jack output.
Wired Tip = Left, Ring = Right, Sleeve = Ground.
The control room output is a duplicate of the phones output, either the L-R mix or
the Listen signal if one or more listen buttons are depressed.

LEFT/RIGHT OUTPUT
Unbalanced Phono (RCA) line level Left/Right outputs.
Nominal output level -10dBV.

GROUP FADERS
The four Group faders normally control the overall level of any channels routed to
Groups. All four Group signals are available on balanced jacks at the top of the
console and Groups 1 and 2 are fitted with insert points. When the recessed Stage
Mode switch above either Group pair is depressed, the Group signals are replaced
by Aux 1 to 4 and these signals appear at the Group output jacks where they may
be used to feed a stage monitor system.

Whenever Stage Mode is active, the four Group outputs are controlled by Aux
master level controls 1 to 4 and appear at the correspondingly numbered Aux
outputs. They cannot be routed back to the Left and Right outputs. The Stage
Mode control status is denoted by printed blue triangles on the front panel.

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LEFT/RIGHT FADER
This stereo fader controls the level of the main left/right stereo mix.
Note that the L - R output is simultaneously available both on balanced jacks and
phono connectors on the front panel, plus XLR connectors on the rear panel,
enabling the mix to be fed to a tape machine during live performance as well as
when recording in the studio. A mono XLR output is also provided which carries
a mono sum of the main left and right output signals. This is particularly useful for
driving mono PA systems or for feeding a sub-bass system (via a suitable active
crossover).

STEREO AUX INPUTS

There are four stereo Aux inputs, two of which (Aux 3 and 4) are equipped with Level and Listen
controls and are routed directly to the stereo L-R mix. Aux 1 and 2 have 2-band shelving
equalisers; Aux Input 1 may be routed to either L-R or Groups 1-2 while Aux Input 2 may be
routed to either L-R or Groups 3-4. Listen buttons are provided for all returns. These returns may
be used to bring any line level signal back into the mix though they are normally used as effects
returns.

HI Shelving high frequency equaliser providing up to 15 dB of cut or boost at 12kHz.

LO Shelving low frequency equaliser providing up to 15 dB of cut or boost at 60Hz.

A5 Sets the Aux 5 send level (pre fader)

A6 Sets the Aux 6 send level (pre fader)

LEVEL Sets the level of the incoming stereo signal fed into the console via the Stereo Aux
Input jacks.

LISTEN Activates the PFL or SOLO monitoring function. Depressing the Listen button
causes the soloed channel or channels to be monitored in isolation via the
headphone and control room outputs and the level is also shown on the meters.

PHANTOM POWER

48V Connects standard 48V phantom power to all the mono channel mic inputs for use
with capacitor/condenser mics or active DI boxes that require phantom power. As
supplied from the factory, the MON:STER channels are not provided with
phantom power (see technical appendix for details). Unbalanced mics must not be
used in channels where the phantom power is on as damage may occur The switch
is recessed to prevent accidental operation and should be operated using a plastic
ballpoint pen or similar instrument. A yellow warning LED indicates that the
Phantom Power is turned on.

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STEREO AUX INPUT SOCKETS
Each of the four Aux inputs has its own pair of sockets. Aux 1- 3 have balanced
¼” TRS jacks while Aux 4 is fitted with phono sockets to accommodate tape
machines or CD players. However, Aux 4 may also be used as an effects return
with suitable cables or adaptors.

The Aux inputs may be used with any line level signals including electronic
musical instruments, effects devices, CD players and tape recorders. However, they
will not accept microphone inputs.

METERS The two meters have a PPM characteristic and normally monitor the Left and
Right stereo mix, though when one or more listen buttons are depressed, both
automatically switch to monitoring the PFL or SIP level depending on the setting
of the PFL/SOLO switch.

A1 - 6 (AUX SEND MASTERS)

Aux send masters, A1 to A6 control the overall level appearing at the Aux output
sockets. When Stage Mode is selected, the Group signal replaces the
correspondingly numbered Aux signal and vice versa. This allows Aux outputs 1-
4 to be fed out via the balanced Group output jacks and be controlled by the Group
faders for live applications where multiple foldback mixes are required.
The blue triangles show which controls and connectors change function when
Stage Mode is selected.

CR/PHONES
LISTEN MODE
Selects the Listen mode between Pre-Fade-Listen and Solo-In-Place. The PFL or
SOLO LED illuminates to indicate which mode is selected. When a channel
Listen is activated, the LED will flash. The signal will be displayed on both bargraphs,
and can be heard on phones and control room outputs.

LISTEN SIGNAL SOURCE

Mono Mic channel PFL - Post EQ, Pre Fader, mono signal
SOLO - Post Pan control, stereo signal
Mon:ster channel PFL - Post EQ, Pre Fader, stereo signal
SOLO - Post Balance control, stereo signal
Groups PFL - Pre Fader, mono signal
SOLO - Post Fader, mono signal
Note: When both groups 1 &2 listen switches are depressed the groups can be
monitored as a stereo ‘pair’ eg.Group1 to left monitor, Group 2 to right. The same applies
to groups 3 & 4.
Stereo Aux Inputs PFL - Pre Level, stereo signal
SOLO - Post Level, stereo signal
Aux Masters 1-6 PFL - Post Level, mono signal
SOLO - Post Level, mono signal

PHONES Controls the headphone and Control Room output level. The headphones monitor
either the L-R mix or the Listen signal if one or more listen buttons are depressed.
The Phones jack is wired to accept stereo headphones with a ¼” stereo (TRS)
jack.
Wired Tip = Left, Ring = Right, Sleeve = ground.

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SETTING UP A PA
In most small venues, the PA works as a sound reinforcement system, helping to boost the sound
of the vocals and solo instruments while in larger venues, it may also be used to amplify all the
back line including the drum kit. Because of the wide range of sounds being dealt with, PA
speakers need to be able to reproduce the full audio spectrum, but the PA’s main job will be to
lift the vocals over the level of the back-line.

For smaller venues, it’s generally best to use low-powered back-line amplification and then mic
it up as this reduces the amount of spill from the back-line amplifiers into the vocal mics.

In a very reverberant room, getting a clear vocal sound can be difficult, and as you move further
back in the room, the more the reverberant sound overwhelms the direct sound reducing vocal
clarity.

The main PA speaker cabinets should be positioned in front of the vocal mics so as to reduce the
risk of feedback and should be set up on stands with the speakers slightly above the audience’s
head height, angled slightly downwards so as to concentrate all the sound on the audience and
not on the back wall or ceiling. Also angle the speakers away from the side wall if at all possible.
As well as making the most use of the available power, this will also reduce the effect of room
reflections making the sound clearer, even in troublesome rooms.

MONITORING
Stage monitors may be thought of as separate sound systems comprising their own power
amplifiers and speakers, running from the foldback outputs of the mixing console.

The console may be used conventionally as shown where the foldback feeds are controlled by the
Aux Send rotary controls. Providing the cable lengths are not unduly long, unbalanced operation
is acceptable in the majority of environments.

STAGE MODE
TRILOGY’s Stage Mode can put up to four different monitors mixes under fader control. The
blue triangles show which controls change function when Stage Mode is selected.

Selecting Stage Mode simply swaps over the controls and output connectors for the four Groups
and Aux Sends 1-4. Stage Mode may be selected independently for Groups 1,2 and 3,4.

When Stage Mode is off, the Aux send and Group faders work as normal, but when Stage Mode
is on (as indicated by the Stage Mode status LED’s), the Group faders control the
correspondingly numbered Aux sends and the Aux signals are present at the Group output jacks.
At the same time, the Group levels come under control of the correspondingly numbered rotary
Aux Send controls and the signals emerge on the balanced Aux send output jacks. In most on-
stage monitor situations the Group outputs would not be required. If they were, for any reason,
the Aux send rotary controls are used for controlling subgroup levels. Subgrouping from the
channels operate in the usual way using the routing switches, however in Stage Mode the outputs
of the groups cannot be routed to the main stereo L-R mix using the “1-2 to L-R” or “3-4 to L-R”
buttons.

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PRACTICAL CONSIDERATIONS
Though you can feed anything you like though a stage monitor or foldback system, the most
important thing is to ensure that the vocalists can hear themselves properly. In larger venues,
instruments are also added to the foldback mix and different performers may want to hear a
different mix, which is why multiple foldback outputs are desirable. It is possible to use all six
Aux sends to provide six mono foldback mixes, but in most applications, one or two of the Aux
sends would be required for adding effects such as reverb. Effects may be returned via the Stereo
Aux inputs or via any spare input channels.

A recent development is the use of in-ear monitoring systems which use small earphones rather
than loudspeakers. These may be fed from the Aux sends (or Group outputs when in Stage
Mode) in the normal way. If the console is being used solely to provide stage monitoring, the
Left and Right outputs may also be used to provide a further stereo monitor mix.

MONITOR SPEAKERS AND AMPLIFIERS

Stage monitors often take the form of floor-standing, wedge-shaped speaker enclosures, and they
must be fitted with high quality, full-range speaker systems, otherwise feedback and distortion
will almost certainly become major problems.

Power amps, whether for main PA or monitor use, need enough power to deliver a clean signal at
the full rated power of the loudspeakers, because once an amplifier is driven into clipping, it
produces a lot of high frequency harmonics, which can damage speakers in a very short space of
time. Studiomaster power amplifiers are designed to handle extremely high peak signal levels
without clipping, but if you do see the clip warning LEDs coming on, back off the power until
you’re operating at a safe level.

It is important to use heavy duty speaker cable and to keep the cable runs as short as possible so
as not to lose power through cable resistance. Guitar leads or other coaxial screened cables are no
use for this job, though heavy duty, twin-core mains cable is generally fine for small and medium
powered systems.

MICROPHONES
Dynamic cardioid microphones are usually chosen for live work because they are robust, they
produce a full, confident sound, and their unidirectional response helps prevent feedback by
keeping unwanted sounds out of the mic. The TRILOGY is designed to work with low
impedance microphones so that long cable lengths won’t compromise the sound quality, and
though both balanced and unbalanced microphones may be used, balanced mics provide a better
immunity to interference. Capacitor mics may also be used by activating the on-board phantom
power. When the phantom power is switched on, only balanced mics may be connected.

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COMMON PA PROBLEMS
A common problem is that the vocal mic doesn't just pick up the singer, it picks up sound from
all along its axis, so anything going on directly behind the singer will also be picked up, to some
degree. If you put the drums or a loud guitar amp right behind the singer, whenever you try to
turn up the vocal level, all you’ll do is increase the level of the instrument as well. Careful
positioning of the back line amplification relative to the vocal mics will help considerably.

A PA mic also “hears” some of the sound generated by the PA system itself, either directly from
the speaker cabinets or reflected from the walls. If too much sound from the PA gets back into
the mic, it will build up in level resulting in the familiar squeal known as feedback. Again,
careful positioning of the PA speakers will help reduce this problem. It may also help to patch in
a graphic equaliser (via the main insert points) so that troublesome frequencies can be “notched
out”. As a rule, avoid extreme EQ settings, and if you can use cut rather than boost to achieve the
desired result, feedback is less likely to be a problem.

During the soundcheck, set the maximum safe vocal operating level first and then balance the
instruments to the vocals rather than attempting to work the other way around. Once the
maximum safe level before feedback has been found, back off the master faders slightly so as to
leave a little power in hand. Finally, select a vocal reverb or echo setting, though be aware that in
a typical venue, there may already be quite a lot of natural reverb so you may not need to add as
much as you think. you’ll also find the sound changes as more people enter the room - as a rule,
the natural reverb of the room will decrease and you’ll be able to push the level up a little more
before feedback becomes a problem.

CONNECTING OUTBOARD EFFECTS AND PROCESSORS

There are two primary systems for the connection of external effects and processors - the Aux
sends and the channel insert points.

Equipment connected via a console’s channel insert point will only affect the signal being passed
via that particular channel, whereas patching the same device into the Group insert points will
affect everything routed to that Group. To process the entire mix, outboard equipment may be
connected via the main left/right output insert points; a typical application might be to use overall
compression or EQ on a mix.

An effects unit connected via the Aux send system may be used to add the same effect but in
differing amounts to some or all the channels on the console. However, it is necessary to
differentiate between the types of outboard equipment that may or may not be connected via the
Aux sends. In normal applications, the post-fade Aux sends are used to add effects to the existing
channel signal, the most common example being reverb. Processors such as EQ or compression
cannot normally be used in this way because they are serial devices designed to process the entire
signal; it makes no sense to mix a compressed signal with an uncompressed signal, for example.
Effects such as delay and reverb, on the other hand, are parallel devices because their outputs add
to the existing signal.

If you’re unsure as to what devices are serial devices and which are parallel, there are a couple of
general rules which should help you. Parallel devices such as reverb and delay invariably have a
Mix control which allows you to balance the effected and uneffected sound whereas serial
devices like EQs, compressors and gates have no mix controls. Another clue comes for the way
the devices work; anything that uses delay to create the effects can be used as a parallel device.

Most serial devices fall into the categories of compressor/limiter, gate/expander, equaliser or
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STUDIOMASTER TRILOGY
enhancer. Parallel devices include reverb, delay, chorus, flanging, pitch shifting and so on.

Parallel signal processors can be used in either the insert points or the Aux send system, the only
difference being in the way the Mix control is set up. When used in an insert point, the Mix
control is used to set the amount of effect added to the signal whereas in the Aux send system,
the effect unit Mix control should be set for 100% effect, 0% dry signal. This way the channel
post-fade Aux controls can be used to set the amount of effect used for each channel.

Though serial devices are normally only used in conjunction with insert points, more advanced
users frequently use their Aux sends in non-conventional ways to increase the routing flexibility
of their mixers so it’s impossible to set out completely rigid rules. For example, you could use a
pre-fade send on one channel (the same number send must be turned down on all other channels)
to feed a signal into a compressor and then feed the compressor output directly into a multitrack
recorder. However, when a console is fitted with direct outputs, as is the case with the
TRILOGY, this kind of lateral thinking is rarely necessary.

EFFECT RETURNS
Effects may be returned via the any of the four stereo Aux inputs or via any other unused input
channels. When using an input channel as an Aux return, all that is necessary is to ensure that the
channel Aux send control relating to the effect being returned is turned completely off, otherwise
you’ll create a feedback loop. For example, if Aux 1 is feeding a reverb unit and the reverb unit’s
outputs are being routed back into one of the stereo channels, then Aux 1 must be turned fully
down on that stereo channel.

When adding effects to channels that are being routed via a Group to create a subgroup, effects
returns for those channels should be routed to the same Group. This way, when you pull down
the Group fader, the effects level will reduce by the correct proportion. If you were to route the
effects to the stereo mix, pulling down the Group fader would not cause any change in the effect
level.

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STUDIOMASTER TRILOGY
USING THE TRILOGY FOR MULTITRACK RECORDING

Traditional dedicated recording consoles have both input channels and tape monitoring channels,
either in a split layout or in the more common in-line format. Ironically, the majority of users
choose to use these consoles in an “all-input” mode where input channels are used both for
feeding signals to tape and for mixing the off-tape signals. The remaining monitor channels tend
to be used as additional effects returns or as means of routing MIDI instruments into the mix.

Because the TRILOGY is a multipurpose console, it has no dedicated monitor channels, but it
can be used an all-input mode to handle multitrack recording with no compromise on sound
quality or flexibility. Figure 4 shows the wiring arrangement for use with an 8-track recorder
where the outputs from the multitrack are connected to mixer channels 1 to 8. These are routed
L-R and provide a monitor mix. What’s more, because no repatching is required prior to the final
mix, it’s likely that most of the channel settings will have been optimised during the recording
process which saves time and makes mixing more immediate.

The remaining channels are used for sending signals to the multitrack via the four Groups using
the Group routing buttons. If it is necessary to record more than four tape tracks at a time, you
can use the Direct outputs on any remaining channels to feed individual multitrack inputs. To use
a Direct output in this way, ensure that the channel’s routing buttons are all in the off position
(up) so that the signal is routed only to the Direct output jack. When recording individual
microphones to individual tape tracks, the Direct output provides the shortest and hence cleanest
signal path.

It may be advantageous to use a patchbay to facilitate the repatching of the multitrack inputs.
Some multitrack recorders have input connection normalisation systems to help reduce or avoid
patching, so console your multitrack manual before deciding on your wiring system.

When mixing, all the remaining input channels may be used as additional line inputs or as effects
returns. The TRILOGY has four stereo Aux inputs, and if not all these are needed to handle
effects, they too may be used as additional line inputs to carry MIDI instruments, tape recorders,
CD players and so on.

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STUDIOMASTER TRILOGY
RACKMOUNTING THE TRILOGY 166

The Trilogy 166 is supplied with a rackmount kit. When rackmounted the 166 occupies 12U
(units) of standard 19” rack space. Additional space must be left above the console to enable
access to the external power supply and balanced XLR connectors.
The rack mount kit contains 2 rack mount brackets and six M4 x 10mm pozi countersink screws.
To fit the rack mount kit, remove the three fixing screws (2x M4x20mm & 1x M4x10mm) from
either side cheek. Retain the screws and side cheeks in case you need to re-fit them in the future.
Do not use these screws to attach the rack mount brackets as damage will result to the console.
Attach the rack brackets to each side of the console using the six countersink screws.

OPTIONS

The following options may be implemented only by an authorised Studiomaster dealer or service
centre. Any modifications attempted by unauthorised persons will invalidate the warranty.

+48V PHANTOM POWER

The phantom powering is applied globally to all mono input channels. To disconnect any
individual input channel from the phantom power supply, remove link LK1 from the PCB.

Phantom powering is not available to the Mon:Ster channels as standard. To connect it, fit a link
in position LK1.

AUX SENDS
Aux 3-4 can be configured for pre-fade, pre-EQ operation by moving the push-on links at JP2.
This becomes active when the Aux 3-4 Pre/Post switch is set to the “Pre” position.

Aux 5,6 are normally configured for pre-fader operation. These may be converted to post-fade or
pre-EQ operation by moving the push-on links at JP1 to the positions marked on the PCB.

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STUDIOMASTER TRILOGY

A Guide to CE compliance
What does the CE mark mean ?

The CE mark has been introduced within the European Union as an indication that products
conform to relevant European Directives.

There are currently two Directives covering electrical and electronic products. From the1st of
January 1996 all such products must meet the requirements of the EMC Directive 89/336/EEC
and from the 1st of January 1997 they must also meet the requirements of the Low Voltage
Directive 73/23/EEC.

The so-called ‘Low Voltage’ Directive covers electrical safety for products connected to the
domestic electricity supply and is relatively self explanatory. In our case it means that this
equipment has been designed, manufactured ( and from 1st January 1997 independently tested )
for compliance with the electrical safety standard EN 60065. This standard is identical to the
British standard BS 415 and is similar to the international standard IEC 65.

The requirement for Electromagnetic compatibility ( or EMC for short ) stems from the European
Directive 89/336/EEC which requires that equipment should not generate interference that would
be likely to cause other equipment to malfunction, and should also have an adequate level of
immunity from interference itself.

Similar regulations covering interference generated by computers have existed in the United
States for over a decade, known as the FCC Rules ( part 15 - subpart J - computing devices ). The
concepts are similar, although the U.S. rules do not cover immunity.

This equipment has therefore been tested to recognised EMC standards. The exact standards used
are listed in the declaration of conformity. Different types of equipment may use different
standards.

Please note that the Directive requires only what is called an 'adequate' level of immunity. It does
not mean that your equipment will be totally unaffected in all possible situations.

As part of the requirements of the Directive we are obliged to explain the effects that may be
observed.

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STUDIOMASTER TRILOGY
Immunity
If this equipment is operated in environments with unusually high levels of emissions from other
equipment, its performance may be degraded. Due to the large number of variables possible in
the usage of this equipment and its control settings; it is impossible to define the exact
degradation that may occur in every possible situation.

For your guidance we have made some observations of the results of the tests in what we
consider to be typical operating situations.

Susceptibility to 'fast transients' on the a.c. power and signal connections and to electrostatic
discharges:
Results in small clicks or pops ; operation otherwise unaffected. Since these events are usually
infrequently encountered the resulting clicks should not give cause for concern.

High levels of mains transients may be caused by defective equipment. This may be determined
by switching them off and on. Typical causes of transients on the mains are products containing
thermostats such as heating controllers and fridges. Excessive clicks from such products may
indicate a faulty or worn out thermostatic switch. We would suggest replacement of any such
defective part. If such remedial action is still unsuccessful then it may be possible for a
competent electrician to add a contact suppressor.

If, however, you have an electricity supply which has a high and regular level of transients that
appear to be unexplainable, we suggest that you contact your electricity supply authority. We
know of instances where interference to domestic supplies has ( for example ) been caused by
defective street lighting. Finally if all else fails you may wish to add an external filter which may
be obtained from electrical retailers.

Susceptibility to radio frequency fields (3V/m) : Result depends on products and test frequency.
Mixing Consoles - up to 15 dB degradation in signal to noise ratio.

Degradation only occurs at ‘spot’ frequencies, so, unless the product happens to be located near a
transmitter radiating at exactly that frequency no degradation will occur. If affected,
improvements can be made to minimise the reduction in performance by one or more of the
following :

Relocation of the product, even to another room can be sufficient.

Check the quality of the ground connection to the product.
Determine the source of the interference by switching off and on other electrical and
electronic products in the vicinity. Move any interfering product to a more distant
location.
Check quality and condition of interconnecting cables. ( See General section )
Fit partial or complete R.F. screening ( known as a Faraday cage ) to the room in which
the product is used.
In practice we are confident that you are unlikely to encounter any problems in normal everyday
use.

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STUDIOMASTER TRILOGY
Emissions

In practice most audio equipment is incapable of generating harmful interference unless it is

misused or a fault exists. However products containing microprocessors or other digital systems
such as DSP reverb modules operate at radio frequencies and may ‘leak’ some of this energy into
the environment.

This product has been tested for compliance with established standards. However as with
immunity this does not mean that this product will not cause interference with other equipment
under all circumstances (especially broadcast receivers).

Similar guidelines to those for immunity apply for the minimisation of interference.

Additionally if you believe that the product is causing interference to radio or television
reception, which can be determined by turning the equipment off and on, you may be able to
correct the interference by one or more of the following measures.

Relocate or reorient the receiver's aerial.

Increase separation between equipment and receiver.
Connect receiver to a different A.C. mains outlet.
Consult your dealer or an experienced radio/TV technician.

General

In order to minimise the possibility of interference we recommend the following :

XLR style connectors should have the screen connected to the shell of the connector as well as
pin 1. Note that some XLR connectors do not have the shell connection available on a solder tag.
XLR connectors providing this connection are available from several manufacturers including
the following : Neutrik, Switchcraft, Deltron.

It is important that high quality screened cables are used for all signal connections. Note that low
cost screened cables may have inadequate poor quality screening which does not fully cover the
internal wires. Screened cable which relies on conductive plastic screening also has poorer R.F.
characteristics. It is advisable to use cable that has full coverage lapped copper screening. We
used Klotz Professional Microphone Cable in our EMC tests. Speaker connections can use
unscreened cable.
Avoid unnecessarily long runs of cable when interconnecting equipment.
Use balanced connections wherever possible.
Don't place sensitive equipment directly next to units with large power transformers such
as amplifiers.
Personal computers, monitors and associated peripherals may cause interference,
especially older equipment.
In particular we suggest locating video monitors a prudent distance from any sensitive
signals.

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STUDIOMASTER TRILOGY
SERVICE INFORMATION

Studiomaster products are built and tested to the highest standard and should give years of
trouble free service. In the unlikely event of a serious problem, DO NOT attempt to rectify it
yourself. Service work should only be undertaken by a qualified and experienced service
engineer. Please follow this procedure in the event of a technical fault.

1) Contact the dealer who supplied the equipment and give details of the fault. Your dealer
may be able to rectify the problem immediately or give you advice about how to get your
equipment repaired.

2) If your dealer recommends that you send the equipment directly to Studiomaster Service,
then ensure that you pack the equipment in the original packaging to protect the equipment from
physical damage. Studiomaster cannot be held responsible for damage resulting from the
equipment being packaged incorrectly. Be sure to label the equipment clearly with your own
name and address and a description of the fault.

This equipment contains no user serviceable parts. Always consult your dealer or contact
Studiomaster directly if a problem arises.

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TRILOGY TECHNICAL SPECIFICATION

GAIN to balanced Left/Right outputs

MIN MAX RANGE
Mic 12dB 60dB 48dB
Line -8dB 40dB 48dB
Stereo Line 0dB 20dB 20dB
Stereo Aux Input n/a 16dB (1-3) 22dB (4)
INPUT NOISE PERFORMANCE E.I.N. - All at MAX Gain
Mic 150 ohm -129 dBu at 20KHz
Line 40 ohm -100 dBu at 20KHz
Stereo Line 40 ohm -96.5 dBu to L/R -97 dBu at 20KHz
Aux Input 1-3 -92 dBu to L/R
Aux Input 4 -93 dBu to L/R
FREQUENCY RESPONSE Input to L/R outputs
Mic +/- 0.25 dB 20 Hz to 20kHz @ 40dB Gain
Line +/ -0.3 dB @ 20dB Gain
Stereo Line +/- 0.1 dB @ Max Gain
Aux Input +/- 0.2 dB @ Max Gain
DISTORTION @ +10dBu at L/R outputs (1KHz)
Mic 0.0085% @ 40dB Gain
Line 0.009% @ 20dB Gain
Stereo Line 0.01% @ Max Gain
Aux Input 1-3 0.007% @ Max Gain
Aux Input 4 0.004% @ Max Gain
MIC INPUT CMRR @ 1KHz
75dB @ 40dB Gain 75dB @ 60dB Gain (78dB @ 10KHz)
BUS NOISE at balanced L/R outputs ref +19dBu ref +4dBu
(digital) (conventional tape)
8 Channels routed @ -78dBu 97dB pk S/N 82dB S/N
0dB, Min Gain, EQ flat
1 Channel routed @ 0dB -85dBu 104dB pk S/N 89dB S/N
Min Gain, EQ flat
CUT OFF & CROSSTALK @1KHz L/R output driven to +28dBu to
minimise noise effect
Channel fader (mic) 81dB ref 0dB
Channel Mute 90dB
MAXIMUM INPUT LEVEL
At Max Gain At Min Gain
Mic -35 dBu +12 dBu
Line -15 dBu > +30 dBu
Stereo Line +3 dBu +21 dBu
Aux Input 1-3 +12 dBu +22 dBu at nominal
Aux Input 4 +6 dBu +16 dBu at nominal
TRILOGY TECHNICAL SPECIFICATION

INPUT IMPEDANCE
Mic 2 k ohm balanced
Line 20K ohm balanced 10K ohm unbalanced
Stereo Input 20K ohm balanced 10K ohm unbalanced
Aux Input 1-3 20K ohm balanced 10K ohm unbalanced
Aux Input 4 100K ohm unbalanced
OUTPUT LEVELS
Nominal Maximum Impedance
Channel Send/Return -2 dBu +18 dBu <10 ohm
Channel Direct Output -2 dBu +21 dBu 100 ohm
Group 1&2 Send/Ret -2 dBu +20 dBu <10 ohm
L/R Send/Return -2 dBu +20 dBu <10 ohm
Aux Sends 1-6 +4 dBu +28 dBU 75 ohm
Left/Right Outputs +4 dBu +28 dBu 75 ohm
Mono Output +4 dBu +28 dBu 75 ohm
Phones -2 dBu +22 dBu 33 ohm
Control Room -2 dBu +22 dBu 33 ohm
Groups +4 dBu +28 dBu 75 ohm
EQUALISATION & NOISE
MONO CHANNELS Gain/Frequency
HI PASS FILTER - 3dB @ 100Hz
Hi +- 15dB @ 12KHz
Mid +- 15dB @ 250Hz +-12dB @ 6KHz
Lo +- 15dB @ 60Hz
MON:STER CHANNELS
Hi +- 15dB @ 12KHz
Mid +- 15dB @ 1K5Hz
Lo +- 15dB @ 60Hz
AUX INPUT 1 & 2 +- 12dB @ 11KHz +- 12dB @ 70Hz
REALISTIC NOISE FIGURES 8 channels Routed
Noise at L/R Output -75 dBu
Signal/Noise 79 dB S/N
(ref 0dB = +4dBu)
DYNAMIC RANGE 1 channel Mic @ 30 dB Gain
L./R Balanced Outputq -78 dBu (+28 dBu) - 106 dB
At Direct Output -94 dBu (+18 dBu) - 112 dB
DIMENSIONS & WEIGHTS
WIDTH HEIGHT DEPTH WEIGHT WEIGHT
(NET) (GROSS)
TRILOGY 166 485 mm 98 mm 533 mm 10.5 KG 12.0 KG
TRILOGY 206 614 mm 98 mm 533 mm 13 KG 15 KG
TRILOGY 326 850mm 98mm 533mm 22 Kg 24 Kg
TRILOGY 140 EX 400 mm 98 mm 533 mm 8.2 KG 9.7 KG
EP7 EXTERNAL POWER SUPPLY 142mm x 90mm x 165mm
VOLTAGE (selectable 230V or 115V 50/60Hz A.C. only 60VA Max.
A.C. Fuse 230V T500mA 250V 20x5mm
A.C. Fuse 115V T800mA 250V 20x5mm
D.C. Fuse +/- 17V T1A 250V 2x 20x5mm 900mA Max Inside unit
D.C. Fuse +48V T200mA 250V 20x5mm 100mA Max Inside unit

The manufacturer reserves the right to change features and specifications without notice.