SOUNDTRACS= MEGAS STUDIO Mixing ConsoleTable of Contents Tatroduction meeininentnenernereenenen | Overview... mnie | 3 3 Record Mon0 [nDith avenrnneinennend | Recording Stere0 [npttnannennnen 6 | Mid & Side Matrix Decoder weee——--8 | Dual Group Module eveenernrnnenen Hl Group Operating Modes 1... Master Module LAR MASTERS nnn MIDI Control Section. Meter Bridge nsnsnrarrnrnennsrn DL Power SUP py nana antennae 2 Setting Mains Voltage ‘Mains Fase. BOB OB Power Supply Conne=tions PRCA sannrennnnenennnnn 2G Rear Panel Connectors —.Introduction The MEGAS STUDIO is a range of 16 and 24 track recording consoles. Standard 16 bus frames are available to accommodate 20, 28 or 36 mono and stereoinputs. Patchbay version ofthe 16 bus console may accommodate up to 28 or 36 inputs. Standard 24bus frames are available to accommodate 24, 32 or 40 mono and stereo inputs. Patchbay version of the 24 bus console may accommodate up to 32 or 40 inputs. Sixteen group consoles are fitted with eight dual-group modules, twenty-four group consoles with twelve dual-group modules. A sophisticated MIDI controlled muting computer is built into the console. The manual describes the operation of the various modules, and explains how the console can be used within a recording studio. A chapter on installation and intercon nection is provided. Service For service information refer to MEGAS STUDIO Service Manual. Contact your dealer for further details.Overview ‘The STUDIO console is fitted with monofand stereo input channelspn the left hand side of the console, and output channels on the left. The output channels comprise the dual group output modules and the master modules. ‘The input channels take microphone signals (mono inpats only), or ine signals. Line level signals may orriginate from synthesizers, drum machines, tape machines, effects unitsctc. Each signal is connected to a separate input channel (stereo channels arc designed to process two signals, the left and right components of a stereo signal, concurrently). The input channel allows the signal to be treated in various ways; Its level (gain) may be adjusted, it may be processed by the equaliser (Eq) for corrective or creative tonal treatment, and signal may be sent to some of the six auxiliary sends for treatment by an ‘external device (e.g, a reverberator). The output level of the channel is then adjusted by means of the channel fader, which feeds the routing section. The routing section allows channel signal to be assigned to the group and master modules. The signal may be routed toany of the 16 or 24 subgroups, and/or tothe Left/Right master outputs. “The subgroups (two per dual group module) act as output and contro! sections for the ‘groups of input channels which have been routed to them. Thus a group of channels can bbe controlled by just one, of perhaps a stereo pair, of group output faders. For example, allthe drum kit microphone channels could be routed 1o groups 1 and 2. Subgroup faders 1 and 2'would then become the stereo master faders for the entire drum mix. In this way the overall level of the drum kit signal may easily be adjusted without having to move the fadersof perhaps a dozen input channels, andrisk disturbing the drum mixin the process. ‘Signals from the subgroups appear at the balanced group outputs on the rear panel or the patch bay (where frted), and may also be routed directly to the master section by means ofthe SUB switch and the GROUP PANcontrol. The sub switch routes the group output to the master sterco busses, the GROUP PAN control adjusts the positioning between {eft and right inthe stereo image. Signal from the master section appears atthe balanced left and right master outputs on the rear panel.Recording In a muhitrack recording studio the channel inputs are fed from the various microhpone and line (e.g. keyboard) cources being recorded. The console group outputs are fed to the multitrack tape machine inputs. The auxiliary sends are used to feed signal processors such as digital delay lines and reverberators. Other efiects units such as compressors and ‘noise gates may be patched inline with channel signalsvia the channel breakjack insertion points, While recording is in progress the offtape signal (tape return) is monitored using the tape returns on the group modules, feeding the monitor section. Once the recording and overdubbing processes are complete, the track is ready to be mixed down. Mixdown During mixdown the multitrack tape outputs are fed to the channe! inputs. Other signal sources such as synthesizers and drum machines being run live syncronised to tape are also fed tochannelinputs. Signals maybe processed by the equaliser, and sent for external processing via the insertion points and auxiliary sends. The tape returns may be used as extra line inputs (e.g. for effects returns). Channels are routed to the Left end Right Masters, the outputs from which are routed to the two-track mastering machine.Record Mono Input Input Stage ‘The LINE switch is used to select between the microphone (switch raised) and line (switch depressed) inputs. Phantom power may be applied to the microphone input by depressing the +48V switch. Both microphone and line inputs are electronically balanced. The phase reverse switch (@) operates om both inpurs ‘when depressed. Inputs are via a female XLR connector (microphono) and a stereo jack socket (line input), or via the patch bay (where fitted). Equaliser The high pass filter (-) has an operating frequency of 100Hz and a rol off slope of 124B per octave. It may beswitched in or ‘out of the signal path independently ofthe equaliser. ‘The equaliser is a four Siter design effec tive both as a corrective and a creative design. Up to 15dB of boost or cut is available on each band. The high fre- ‘quency fier has an operating frequency ‘of 8kHz. The operating frequency of the high mid filter is sweepable between 390Fz andvocHz. The operating frequen- y of the low mid filter is sweepable be- ‘tween SOHzand IkHz. Thelow frequency ‘iter has an operating frequency of SOHZ. Centre detents are provided on the four gain controls, to enable a flat response to be selected. The four filters of the equaliser may be switched collectively in co out of circuit by means of the EQ switch, Insertion Point ately postequaliser, Itallows an external ote ‘compressor or gate to be patched in line with the channel signal path, The insertion point is normalled, and is accessed by means of a stereo jack socket on the rear panel or patch bay (see Installation chapter for further informa- tion). Auxillary Section Six auxiliary sends are provided. A rotary Control used to adjust the level of signal seat to the bus for each auxiliary send, ‘AUX 1 and AUX 2 are cet to derive their signal from pre-fader. AUX3 and AUX 4 may be switched collectively to derive , their signal from pre or post fader by means of the POST switch. AUX 5 and AUX 6 are set to derive their signal from post-fader, The DIR (direct) switch may be used to sead signal to the unbalanced channel direct line output on the rear panel or on the patch bay. When this switch is depressed,the AUX 6rotary control sends its signal to the direct output instead of to the auxiliary bus. Routing Section ‘The routing section sends signal from the channel to the groups and the stcrco masters. ‘Signal are sent to the groups in pairs via ‘the PAN pot. Pressing asubgroup routing switch (1-2, 34, 1516) routes signal from the channel to the pair of subgroups selected. Pressing the switch marked +8 allows signal tobe routed to groups 17 t0 2A (if fitted). When this switch is pressed, the routing switches marked 9-10, 11-12, 13-14, and 15-16 route instead to groups 17-18, 19-20, 21-22, and 23-24 respectively. PAN POT The pan pot adjust the relative amount of signal sent to odd-numbered groups/left, and even-numbered- ye er ra ie.tt EC CISL ML LICH aXe groups/right. Turning the pan pot an- ticlockwise sends more signal to the lefi/odd-aumbered groups, and vice versa. When the PAN pot is sct centrally (mechanical detent position), signal is sent equally to all selected groups / masters. The L-R switch routes signal to the left and right masters via the pan pot, Output Section ‘The 100mm channel fader adjuststhe out- pat level of the chamel. This should be un as close to unity gain as possible (marked “0 on scale). The channel input ‘ain control should be used to match the gain ofthe channel tothe signal source so that the average working position of the fader is close to unity (0). Failure to do thisresultsin diminished headroom (ifthe ‘input GAIN is set too high) or impaired noise performance (input GAIN control set too low). PEAK LED The pre-fader PEAK LED illuminates 54B before the onset of clip ping to indicate that the input GAIN con- trol is set too high. If the PEAK LED flashes continually (except momentarily fortransients), the input gain coatrolisset too high and should be adjusted. NB. if ‘excessive boosts used on anybands ofthe ‘equaliser the channel may clip even ifthe input gain ic cet low. ON The ON switch is used to umn the ‘channel, together with all auniliaries and the direct line output to be tmrned on or off. The switch togeles the channel be- tween ON and OFF. When the channclis activated the indicator LED in the switch cap is iluminated. It is recommended that any channels not in use are muted, to ‘minimize noise om the mix busses. The channel ON switch communicates with the MIDI control computer in the master ‘module. This eaables channel ON/ OFF ‘changes to be recorded 2s individual but- ton-press mutes, or as part of complete console mute set-ups. SOLO The soloswitch functions asa PFL (pre fader listen). When pressed, pre fador signal from the channel is routedto the monitor section of the master module. The monitor section is concurrently as- signed to derive its’ signal irom the SOLO. bus. When In Place Solo is selected om the ‘master module, this switch functions as an In Place Solo. Prrees Gn10 Ste neue »Each of the two sections, A and B, of the ual group module comprises a subgroup Sutpur section and a tape return / group ‘monitor section. The tape return / group monitor section allows the tape or group signal (as selected) to be monitored, Equaliser The equaliser isa shehi THO ite at Bateingegons, wo path. The HI frequency control has an operating frequency of 10kFiz The LO frequency coutrol has an operating fre- ‘quency of 100Hz. Auxillary Section ‘Two auxiliary senttcontrols are provided. ‘ControlAl feeds toauxiliarybus 1, control A2 to ausiiary bus 2, When the switch marked 34s, control Al feeds bus 3 and control A2 feeds bus 4, Ausiliaries and 2derive their signal from Pre the monitor LEVEL control, ‘auxiliaries 3 and 4 from post. MON PAN This control positions the ‘monitor signal in the stereo image, LEVEL This control adjusts the output level of the monitor section. as a PFL (pre fade listen), routing signal from the monitor tothe PFL bus, and con- ‘SMitching the assignment of joe caneety . ion to deri its signal from the PFL/AFL bus, allowing soloed signals to be listened toin isolation, ‘When In Place Solo is selected on the master module, the SOLO switch func- tions as @ solo in place rather that « PEL. ON This switches the output of the monitor on or off. The switch togales the a11- . _Dual Group Module status between on and off. The indicator LED in the switch cap illuminates when the monitor is switched ON. RET This switch sclocs the source for the monitor between GROUP (switch in raised position) and TAPE (switch depressed). See the four Group Modes ‘block diagrams for further explanation. SUB When the switch is in the raised Position the group pan is disabled and ‘group signal, as well as appearing at the ‘soup output, is fed to the Left/Right mix busses via the monitor and monitor pan (MON PAN). The tape return is not can- nected. When the switch is depressed the return feeds the monitor, and the group signal is fed to the Left/Right mix busses via the GROUP PAN control, as will as @ppearing atthe group output. Thus four ‘modes of operation may be selected for the subgroup: 1. RET and SUB both up - the group sigual is seat to the L/R mix via the ‘monitor pan and level controls as well ae (to the group output. The tape recurn is not connected. 2. RET dowa, SUB up - The group signal is seat tothe group output only (the group Panis disabled). The tape return signal is Sentto the monitor, and routed to the L/R ‘mix busses via the monitor level and pan controls, 3. RET up, SUB down - The group signal Sec nie LR mia he porp FAN control, in addition to appearing at sup ouput, The tape return signal is outed to the moaitor, and the monitor PAN control pans the signal between the ‘upper (anticlockwise) and lower (clock- Wise) group. 4, RET and SUB both dow - The group signal is sent to the L/R min via the group PAN control, in addition to appearing at the group output. The tape return signal is routed to the monitor, and the monitorPAN control pans the signal between the Left and Right mix busses. (Ses the Group Modes block diagrams on the following pages for further explana~ tion.) GROUP PAN This control positions the group signal in the stereo image. When the SUB switch isin te raised postionthe subgroup signal is not sent to the stereo masters, and thos the GROUP PAN con- trolis inoperative. ‘SOLO The group solo switch fanetions as a PFL (pre fade listen), roating signal from the group to the PFL bis, and con currently switching the assignment of the Master Module monitor section to derive its signal from the PFL/AFL bus, allowing soloed signalsto be listened toinisolation. 12+Group Operating Modes MODE 1 - RET Up, SUB Up ~ 4 08010 i —~= J ot PS S > Bat et Le GROUP OUT =13-MODE 3 - RET Up, SUB Down MODE 4 - RET Down, SUB Down crow =14-Master Module The master module houses the oscillator, the talkback and communication ‘ccton, the six ausilary master sections, the master left and right output sontrals the mositor sections, together with the display and controls for the computerised MIDI muting. Communications Section qe ommunications section comprises the osilator, the talkback circuitry, and their shared routing circuitry “1K” switch selects an operating frequency of LOkH2, OSC LEVEL This rotary control adjusts the output level ofthe oscillator, which ‘may then be routed via the communications roating section. Routing Section The communications routing section is used to select the destinations for the oscillator and talkback signals collectively. AUX This switch routes signal from the communications section to all six auxiliary busses. GRP This switch routes signal from the communications section to all the subgroups. -18-Talkback Section TALK LEVEL This rotary control adjusts the level of signal sent from the talkback section to the communications routing section. MIC the microphone is an electret condensor capsule mounted beneath the front plate of the master module. TALK The push-to-talk key is a non-latching switch, Push to activate the talkback microphone. Whenever the push-to-talk key is pressed, the monitor output "A" will be dimmed (attenuated) by 20dB in order to prevent sound from the monitors feeding back o the talkback mic and causing howlround, N.B. the talkback microphone must be routed 10 its destination by means of the com- munications routing switches. Auxillary Master Section Six awiliary master sections are provided, one per auxiliary bus. Each aux aster section is provided with a rotary level control (AUX, AUX2, -, AUX6). ‘This adjusts the level at the auxiliary output, az unbalanced jack connector on the rear panel or the patch bay (where fitted). To optimise performance the aux master should be set at between 7 and 8 on the scale (uxity gain). AFL The AFL switches send signal from the PFL/AFL bus to the monitor section and switch the monitor section to derive its signal from the PFLIAFL bus, allowing the auxiliary send signal to be heard inisolation. The L-R master meters are concurrently switched from metering the master output to metering. the PFL/AFL bus signal. ON The ON switch toggles the auxiliary master output on and off. When the output is on the LED in the switch cap is illuminated. The ON switch communi- ‘cates with th e MIDI control computer. This enables channel ON/OFF changes to be recorded as individu al button-press mutes, or as part of console mute set-ups. Monitor Section ‘Two stereo, line level monitor outputs are provided to feed ampiifiers for smouitor speakers (c.g, studio and controlroom monitors), together with stereo headphone monitor omput. INPLACESOLO Pressing this switch invokes the Solo in Place facility, i. input and monitor SOLO switches function as Solo in Place instead of PFL. SOLO LEVEL This rotary coutrol adjusts the level of signal fed to the monitor section from the PFL/AFL bus. When a PFL/AFLISOLO function is selected anywhere on the console the monitor section will be switched automatically to derive its signal from the PFLIAFL bus, regardless of what signal source (¢-8. MIX, 2T etc.) has been selected on the monitor section. -16-MIX/2T This switch selects the signal source for the monitor section. When the switch is in the raised position the stereo MIX will be selected. When the suitch is depressed onc of the two track returns (ZITA of 2TB) will be selected depending upon the setting of the 2TA/2TB switch. 2TA/2TB This switch dercrmines whether the signal from two track return A oF two track return B is fed to the monitor section. When the switch is ia the raised position two track A willbe selected. When the switch is depressed two {rack B will be selected. This switch is operative only when the MIX/ZT switch 's depressed, Monitor B MON B This rotary control adjusts the level of signal sentto the stereo monitor B outputs, The monitor B outputs appear on a pair of jack connectors on the ‘ear panel, or on the patch bay (where fitted). MONO Pressing this switch sums the stereo components of Monitor B outpat to mono. AUK L-2. Pressing this switch causes the Monitor B section to detive is signal from amsiliary busses 1 and The signal from bus 1 willbe assigned to the left, that from bus 2to the right. Thos auxiliaries 1 and two on the input channel ‘may be used to create a stereo foldback mix for the Monitor B outputs. Headphone Monitor PHONES The signal source for the headphone monitor output is selected by the MIX2T and 2TA/2TB switches. ‘The rotary PHONES control adjusts the level of signal sent tothe stereo headphone monitor jack situated beneath the console arm-rest, This output will rive most headphones with an impedance not less that eight Ohms, Monitor A MON A This rotary control adjusts the level of signal sent to the stereo monitor A outputs. These appear on a pair of jack connectars on the rear panel, or on the patchbay. MONO Pressing this switch sums the stereo components of Monitor A output to mone. DIM Pressing this switch attenuates (reduces) the output level of the Monitor A outputs by 20dB. The dim function is automatically invoked whenever the TALK key of the talkback section is depressed. ON Pressing this switch turns the Monitor A cutputs on and off. The LED in the switch cap illuminates when the outputs are on. “17.MIDI Control (Microprocessor) Section MIDICH. This switch togeles the display between showing the MIDI chanael Gawbich the computer isoperating and the munber ofthe mut patch, currently sate. The display defaults to PATCH on power up. Whes MIDI CH ace the LED builtinto the switch illuminates, and the MIDI chanael en ries SHEP ARTZ operates may be incremented or decremented by means ofc SHOT UP and DOWN keys. There are 16 MIDI channels, mintered has toe 16, jpistemal mode patch change data or mute button press datacan be transmitted ‘om the console to a MIDI sequencer, and played back. STORE This i used to store the currently ative setup of mutes. Mutes are set tw by pressing the ON buttons on input channels, Pressing these ovichen them SHIFT UP This key is bi-functional. When the LED display is switched to “Channel”, pressing the key alters the console’s MIDI chanel i Suiza the LED display is switched to "Patch, the key alters the patch number shown incrementally, SHIFT DOWN This key is bi-unctional, When the LED display is switched Hpnotanel pressing the key alters the console’s MIDI channel docrementaly, ‘Mien the LED display is switched to ‘Patch’, the key alters the patch number Seucat patch numerically, When the console is operating in external mode the ‘operation of this switch is inhibited, -19-RECALL DOWN Pressing this switch recalls the mute patch immediately telow the current patch numerically. When the console is operating in external mode the operation ofthis switch is inhibited. Test Pattern ‘The console has internal mute patterns for test purposes. Press RECALL UP and SHIFT DOWN together (0 load the memory with these patterns for test purposes, CLEAR MEMORY, to clear them from the memory, then RESET the console. Clear Memory To completely clear the console memory, press RECALL UP and STORE simultaneously. Self Test ‘The MEGAS Studio has a built in, self test routine. This is activated as folows: 1. Connect a MIDI lead fom the MIDI OUT on the rear panel to the MIDI IN. 2. Press EXT, PATCH/CH and SHIFT UP simultaneously. ‘The console will automatically go through the sequency patterns. CLEAR ‘MEMORY, then RESET to stop this routine. RESET To reset the console, press CHAN/PATCH, EXT ard DUMP simukancously.Rue Sats Ld wu ‘2 ‘The power supply s an external, 2u, 19° rack mount unit. {t maybe run from AC voltages of 100V to 120V, and 220V to 240V, at SOFEz to 6OHc. Mains input to the power supply isvia a standard IEC socket. The power supply feeds the mixer with DC voltages of -17V, +17 and +48V. The power supply is interfaced with the console be means of a cable terminating in locking multipole bayonet connectors. An orange ground lift switch is provided on the rear panel of the power supply. This may be used to disconnect the mains earth from the console if mains hum due to ground loops causes a prodlem. Setting Mains Voltage ‘The mains operating voltage is adjusted by rotating the fuse holder which is mounted on the mainsinput socket escutcheon plate. Remove the fuse holder with a screw driver, and rotate itso thet the correct operating voltage faczs upwards, ie. 115V for mains voltages in the range 100V to 120V, and 230V for mains voltages in the range 220V to 240V. Mains Fuse The fuse holder accommodates the working fuse (positioned below) and a spare fuse (closest to panel). Fuse ratings shoold be F3.15A for220V to 240v, and F4A for 100V to ‘10V. Power Supply Connections PIN1 +480 PIN2 +1v PIN3 “lv PING Analogue Ground PINS ‘Analogue Ground PING + Digital PINT Digital GroundDeesta Luations june performance of any high quality audio cystem can very easily be degraded by poor {astallation. This chapter outlines the most common problems, and explains how bect to avoid them Earthing {tis of paramount importance for any audio system to have an effective mains earth. If the earth is poor, the system will tead to pick up mains born interference, and the weer may be at risk from electric shock. Establishment of a good earth can be assured by: on ‘The used of heavy gauge copper wire, preferably a single continuous length, (© 2, Ensuring that any joine or connections along the earth path are fresh, and not loose or corroded. (© 3. Making the earth used by the audio equipment separate from the mains ‘carth used by lighting and other equipment, Creation of a good mains earth Tithe quality ofa mains earth is in doub, itis always advisable to make a new one. To do this, a Copper stake about four feet a length should be hammered into the ground ouside the building. The heavy duty copper earthing wire should be clamped to the stake by ‘means of a purpose built earthing clamp. Connecting eq pment to earth All equipment in the system must be comnected io earth, ‘The most suitable system of carthing is star-point system. The star-point should be at the mixing console, Alleffecis ‘units and other signal processing equipment, amaplificrs, synthesizer modules etc. located atthe ming pasition should be connected to earth va the console chassis grousd,Interconnection This section describes how interconnection between the console and other equipment should be made. Inputs All audio inputs to the console are balanced, with the exception of the insertion point returns which are unbalanced on the non-patch bay console, balanced on the patch bey version. Inputs on female three-pin XLR connector are wired: © Pin 1- Earth (signal ground) ‘© Pin 2- Hot (inphase) signal (© Pin3- cold (antiphase) signal Inputs on stereo jack connectors are wired: © Tip Hot (inphase) signal Ring- Cold (antiphase) signal «© Sleeve - Earth (signal ground) Outputs All balanced audio outputs appear on three-pin mals XLR connectors wired: Pin 1- Earth (signal ground) © Pin 2- Hot (iaphase) signal © Pin 3 - cold (antiphase) signal ‘The following audio outputs are balanced: ‘© Group Outputs © Left and Right Master Ourputs All grourd compensated audio outputs appear on stereo 0.25" jack sockets wired: © Tip - Hot (inphasc) signal © Ring - Signal Return (ground compensated) ‘© Sleeve - Earth (signal ground) The following audio outputs are ground compensated: @ Monitor "A” and "B" Outputs Auxiliary Master Outputs 1 to6 ‘When the console is interfaced with other equipment, particularly equipment with ‘unbalanced connectioas, itis important to pay particular atteation to how the soreeas are connected in order to minimise hum loops and other interference.Interconnections should be made as follows: ‘© Balanced output to balanced input - Connect the sereen at the destination © Balanced output to uabalanced input - Connect the screen at the source only Link the cold ouput to ground at the output connector, ‘© Unbalanced output to balanced input - Counect the screen at the destination only. Connect the cold input to ground at the input connector. Ground compensated outputs may be treated as balanced outputs for the purposes of interconnection. — eee | I I TIP = Hot (in phase) signal | ] ——— ana ct (eps) Signed bin hen Te-Roum tne) Sonat | ING -Send (output) Signal —— SLEEVE - Soroan (Ground) | | Stereo Jack Plug wired for connection to an insertion Point | | TR Signal | ‘SLEEVE - Sereen (Ground) | | | Mono Jack Plug wired for connection to an | | Unbalanced Output | he ees [ 7 | PIN - Seren (rosne 7 | | PIN 2- Hot fin phase) sional fo? 2) | PING - Cold (ent phase) Signal Al 2 | Noe | Male and Female XLR Connectors i Used for Balanced inputs and OutputsPatchbay ‘The patchbay, which occupies cight units of width, is available as a factory fitted option on 16 and 24 group bus console frames. TT (bantam) jacks are used on the patchbay. The patchbay should be covered with a lint-free cloth when not in use to minimize the ingress of dust and dirt. The connectors may be cleaned periodically with a non-lubricating svitch cleaner. ‘The following connectors appear at the patchbay: Input Modules Line Input (balanced) Insertion Point Send (unbalanced) Insertion Point Return (balanced) ‘Line Output (unbalanced) Group Modules (i.e. half a Dual Group Module) Monitor Input (balanced) Monitor Insertion Point Sead (unbalanced) Monitor Insertion Point Return (balanced) Group Output (balanced) Tape Send (balanced) ‘Tape Return (balanced) Master Module Left & Right Master Mix Outputs (balanced) Master Left and Right Insertion Sends (unbalanced) Master Left and Right Insertion Returns (balanced) Monitor A" Left and Right Outputs (unbalanced) Monitor "B" Left and Right Outputs (unbalanced) ‘Ausiliary Send 1 to 6 Outputs (unbalanced) 2 Track "A" Left and Right Sends (balanced) ‘2 Track "A" Left and Right Rerarns (balanced)2 Track 2"B" Left and Right Sends (balanced) 2 Track"B” Left and Right Returns (balanced) Return "A" Left and Right Inputs (balanced) Retarn"B” Left and Right Inputs (balanced) Parallel Strips ‘Two, four-way parallel jack strips are provided. Tie Lines Provision is made for up to 96 tie lines to be comnected to the console. Stereo Input Modules Inputs 25 to 40 may be stereo input modules, in blocks of 4 (ie. 25 to 28, 29 0 2).Rear Panel Connectors Rear Panel connections via the EDAC connectors are as follows: MEGAS EDAC Connections PINNO | MASTERA ‘MASTERB so so 18 = | wee | connector __ connector Le = TOTAPET i TOTAPES TOTAPE17 | FROM2TALEFT | CONTROLAMALEFT is K | TOTAPE2 | TOTAPE10 TOTAPE 18 FROUZTARIGHT | __CONTROLAMARIGHT CoM | Totes ~| TOTAPE | TOTAPE 1a“ FROMZTBLEFT | CONTROLAMBLEFT N P| TOTAPES | rotape12 | ToTape2o | FROM2TB RIGHT. CONTROL RM BRIGHT as | Tomes | ores | _voTwre | “uv | TOTES i yotpers | rorapeze | wx | Tower | Torwets | TOTWEn YZ | TOTAPES TTOTAPEIS | TOTAPE24 i ! Le v FROM TAPE 1 TFROMTAPES | FROMTAPE17 | TOZTALEFT 1 AUK | x__y | FROMTAPE2 FROMTAPE10 | FROMTAPE18 | TOZTARGHT | AUK aA] PromTares. FROMTAPE (1 | FROMTAPE 19 | TOZTBLEFT | AKS i [ee co] rrowrares | —sFROMTAPE 2 | FROMTAPEZD | TOZTBAGHT | _AUIK4 | [Foo ce] mromtares | FROMTAPE 1a | FROMTAPEZT AUKS | [Treas | prom tare FROM TAPE 14 | FROMTAFE 22 anes | [kk ut | FROM TAPET, | FROMTAPE 15 | FROMTAPE 23 1 | MM_NN| FROM TAPES | FROMTAPE 16 | _FAOMTAPE D4 ‘GROUND PINS AREA,B, C.0.8.1.3.¢— =r > Narious options in terms of signals levels and sources ete. may be user-determined by means of incernal jumper inks on the module printed cixcuitboards. The options for euch module are shown oa the diagrams which follow. Tren ee 8 ProsDual Group Module LK 10 & 12 - Group Identity Select 12 “These Link Groups are usec to eet the entity ofthe two groups on the Dual Group Module, Sat the identity of the macule by fitting jumper links to the appropriate pins. L.E.on the second dual group module ited 10 the console ft jumper links eccoss pina 3 and ¢ (as husrated). Dual Group Medule 1, Links 1 & 2fittes Dual Grous Module 2, LUnka 38 4tited Dual Grou Module, Links § & Sites Dual Grous Mediule &, Links 7 & 8 ites ote, [Unk Group LX ie used to determine the assignmen: of the 87 ‘9f0up slgnais on the cual group module ta the appropriate rmsters, Fit umper links across the pins 2s follows: Dua! Grovp Module 1, Links 1 42 ited Dual Group Modula 2, Links 3 & 4 ited Dual Group Module 3, Unka & 6 tte Dual Group Module 4, Unks7 & 8 ted ual Group Module 5, Unkst &.2 fies Dual Group Modula 6, Unk 3 4 feted oeAMe Rewes ~ nk Groups LK and LK2 are used to set the input sensitivty of Lees “the upper and lower tape retums respectively. Each may be set independently to an operating level of + 4dBv (actory set) or ‘“10dBv. Upper Tape Return set to -1008u ‘operating Level Upper Tape Return set to +4dBu ‘operating Leve! Lower Tape Return set to -10dBu ‘operating Lovel Lower Tape Retum setto +4dBu operating Level LKS & LK6- Group Output Levels. Unk Groups LKS and LK6 are used to set the output levels of the upper and lower group outputs respectively. Each may be set independently to an operating level of + 4d By (factory set) or “1008. LKS Bi Upper Group output set to +4dBu operating Lovol LKS Upper Group Output set to -100Bu ‘operating Level LKé Lower Group output set to +-4dBu operating Level 12 tke CO Lower Group output set to -10dBu O ‘operating Level 12 SSOns LKF es Awe Seco PRE post )~ Switch Up Ree [tose Ses _ Sevcer PRE POST ) - Switch Down Link Groups LK7 and LK11 are used to determine the auxiliary ‘send signal sources for the upper and lower group sections. Ping 1 and 2 of each Link Group (LK7 and LK11) are used to determine whether a pre or post fader signal is selected when. The switch Is In the posttion. Pins 3 and 4 are used to determine whether a pre or post fader signal Is Selected when the switch is depressed. Links are factory sat as shown, Le. pre fader signal selected when. the ewitch is raised, post fader signal when the switch is depressed.MASTER Me Dun? LK3 &4-2 Track A&B Level Select — LCisks Link Groups LX and LKA are used to determine the operating loves of two tack rau Aand t respectively {So Tia Petuna Aan 8 ny be ont ncepandinty pte 4 factory prove -1OdB shun = ‘lagrame. UK 5 - Leftand Right Output Level Select Unk Group LAS usd to detain the operating aval of the Loan ight ast ape The massa outputs may bose: to cperae at + 48 factory ‘een ord as shown nthe dapra, AB 100 +4dB Operation ~10dB OperationNoise ‘Measured with 22Hz to 22kHiz average responding meter Mic input at max. gain EIN terminated with 200 ohm source line input at unity gain EIN terminated with 50 ohm source “127d 9348 Mix/Group bus noise (master faders at unity, Input faders at infintty) 16 channels routed 24 channels routed 32 channels routed 40 channels routed 8448 8243 -80dB 7848 ‘Aux bus noise (master faders at unity, input faders at infinity) 16 channels 24 channels 32 channels 40 channels routed Frequency Response Mic or Linc input to aay output Crosstalk All measurements made at 1kHz ‘Channel muting. Maximum fader attenuation Routing (channel to groups) Channel pan pot isolation Maximum aux send isolation (channel) Inter channel (adjacent) Input Output Levels. Mic input max level Line input max level Insert return maxlevel +714Bu Monitor/Tape input max level ‘Channel direct send max level Insert send max level Insert send nominal level Group/Master max output level Group/Master nominal level ‘Aux ourput max level ‘Aux output nominal level Internal operating level Input and Output impedances Mic input Line imput RLAA. inputs Insert returns Al ourputs GD na -80dB -78dB 20H12 to 20kHz +0.16B +18dBu +22aBu +21dBu +21dBu +21dBu -24Bu +25dBu (600 ohms) -10dBv or +-4dBu +21dBu +44Bu -24Bu 2k 10k 220pF/47k 8k <10Rnarmonic Distortion Measured at + 10dBu 10kFiz to SOkHz Bandwidth, unweighted, Mic/Line input to mix oatput ‘KHz 0.006% 10kHz 0.015% Headphone 200mW into 8 ohm +20dBu into 600 omvimensions and weights MEGAS UNPACKED WEIGHTS W=sI8g 3H = 9 WU=8g Su = 9519 62 = 108 SU ples = 5g si04 LTTdeh 200000008 MATRIX BUS ORAWING _NO.51 20864] sma —e METER BUS iy] WASTER MEGAS SOUNGTAACS PLE taney es MOE anes ea] EES rm EE3 wai [59502 1 ON ONIMWUD 5v930 zed taba aace iso ma walsw aun ‘Sha save1oNnos: i ave Houve 02 f AREER EEL maa T srmnens weal 550606065 ao0o0000 anal 19 0.00000009 400900000 ee EEEEERE GECEEE) i oa y oS 73 i{anonsovay | onl | ae g] aserrmcess oa 4 reac) Sag] nia | — aNow SaNoHer r T = = r r T T @ SNSST[ —SB02TS “ON Sud] 2 Snls eaatse aL Fa SoS 2 DS 9045 yard} rene exe-Te xed “Bee GEE-TeO TL snis arn MOLITOR FHL LOMLIN 35D AN Se Sina "ates oe 6) ena Rts oe sat fice Siaes a0 les] ar fain] Td SOVMLONNOS Sous aru eof Saawone Bu a1 Sines sou plac Mi*/ 23TH MOFH-NOD"/ OFNOD NES/ALNW'/ YBD AES/ALNY*/ 289 AES/AY*/ 089 ‘SNA LOH AES/SZN¥*/ EBD AES/ALNe*/ WAIAES/ALN’*/ BZD ae ayeeue sheall ML .o883e ols als 2 2 ays Ue 1900 ef &]] a] | 8 | 5 ] 5 t H |e . 2 ay 5 = ve 8 a zt #1: @l > B 5 B : g | =. ‘ a0 8 Je 8 4 ; 22g & se] 2 3f3 a] 8 8g yoo's aT 52 3 5 s| RB Sl 8 S| &R | Seoo00ns:/ 6s ae So 4oso Yoro Yoeo Uozo Loto a) Loy “Or “Or 2 5) 25] 25] | | : PLY b6 Q j>tood*/ lB] =. 5 yoo*/ ory OALT+ EL SWOISIAR [ssl +t000"/ =| ® = yours OT ¢rood's £1 ytood-/ sq stood") +7] sto0g-7 £7) SMES] Soocersisoyioeg po re ro ten el eee ate Saree ssuon woes aa SEBS S05 aig CwroaKan iarH stort one] ‘Drctinaet Re 8 Sw sto 2 is mun! Wd SovY.LONNOS Fane RENO TES Sete venoons's trs |.) 400"7 Sn = a oovaszttd 2N0 OL oF 1 wecasy ooty Kes % me I7angaane: on] ia pose ceeee s000'7 YB eH 19000000000 mcaienn, eewom Tea se BLL BARA “AP ol US ae 1 — noe-v0a-1¥a4"7 25ND Ba sesvas') v-srat 4 s9swae'7 o-stat ° lof ‘seno00ns+/ oy ng O Od if oO neoa ° ‘veoonons’/ ers! oT ol Us =z Sersiar feyL i 1 Vv _anssi Tay SLSSHS € JOT L33Hs) I c Vis0eTS “ON = VIG scraos| tae eget va cet ao sms smn nl = 75| HVO-SLM "ARANS “NOLENTE “OOH THM3 ¥6] r a r r piers y-sra02t5| lv-vigaats sane and nat “ae EMOTO NGS raLinen Lond 341 ANOUIA sso ANY yo g3sy 3e OL OV ¥ TWINK SI AT NO IDLMADANT BUY “Tis SIMMONDS 30 TAiNzsoWs BAL ST ONIN SIM “OTA 2poo00L0d"/ SHA Sop AEN OHO sein Wd SOVYLONNOS Yad Toots Fs SC el Uses ZHOS 03 31 20000010c"/ EuA 200000104" / 24 “y iN Dib? /_ BEM \ $ ones ees f anoze"/ TEY . — \nee'7 s20] ll Laney sity esu | T i A \ ing | asoos}' I | $Z0U-3I°/ 8-291 etn De | roan Gas } fk qty SHT/ re] SI me Nev / fe) J i 229 ZHY¥B O03 3H Z00000108"/ 24A 4nd 1s008 agne) 270 619 eya'/ 5ey ae ices Seed — 4 ner? Zee [ce 7 abe | |ocr'7 Spd [cb 7 BEY dat/ E62 Dib / bbe Die) SEM Wr'7 0S8 Wi'7 Shu 4so08 199 : 1s008 LA 200000100" / SYA 20000010d"/ uA ZHy8-0SE UA TAW x woot*/ 2S8 NOJ3 - woo aotesnaot'/ 2e9 Mb/s OEY ¥<01L-OI°/ W-201 Agtssnoot'y ETT ES ty See 1 ino o3] ——O, Tey SNOISIAZE ri) oA Wyo |sree soy NID oa) ee, ‘siaeeoeupe ms] IneNT SXT130 ONO sun] Dd Sov.masesorees| 3) poveevs we Eg meee PUTT MPERDELELEL eneanepree ge13 i — “Fe oe. ie ss Hea & = ;‘Beaizis ON SNINVUO. @ an6s Svaan s2necu] waisvn xnv TOI zu ‘Dig SavBLONNOS SUaBHs Cade 1aBNS azis esay-o1'7 93 aees08'7 feewae-eei-o0t-/ 41No] HITYBE=8B1-D01°7 EINGD 5 ai sf! ieee sal ae mai om ‘pevsoa's Bul 23EPAWING NOS1 289A] tesue A bts orwa i Te AS /.1K2 2 7.00092 2] Ls 7.pena2 Le 7. 0809:YS! | G50S7S “TN ONIAVEN| SVIEW axes a ere | aun cit i oy at = aa I oe are iene Sa Tora le oe ed saesrarose| as] Sd GOLIMS un]. sia SovULINTS smsamanl Saisie es, sme peorairw') 819 s18-9nra/aete RON ED a MOTEA/NSBUD ——sto0a'y £9 Ye] z|8 8 |Ep| 2] 8 ae =|3 ceocay zu mA Ee vooorsexe be LE= LS Lek Le) So) > Tallis ; prerers Ye pr 2 ar errs ania eraye Tee) 3) eT EMIT o 8 x00" 130 a ga] § 3 3 a) 2[ ¥ BLaLs t alle | a waar Mo Ty B sores wa B rer 3] = > [pL] rentor-ana7 ear i : Eee an00enS"7 1S 4 5s ae coats oo 1} 20 =D 7) / x0 ‘ a ne0/aaw"s ° BL] ]a]9 or 2/2/8/o |8 |e} alalery| ||~ soap aeae voor ze 1 |>]>]o t. PRL Od} slane ae yy ov000'7 2a pasmsee 4B | ra tllias\aeee m7 9u ayelels Te | 3] 8] sys HE sserareets 210 | “woe fee = srvamarareen acta WT oa] ener TTT neous eae ‘srvamaralaent Adie ane l ~ Nid SESE BT sreonwars.mi) ae oh eeondt ova ars | oro0a"y 1a RET A sre errenaiarene tat nearness ta 610007 08 sn0008*/ 20 aD | aia frees “+ geen co srvcepuareee na {saa} = 7 A8+dcD- { eecwaryy rat | ae Lwerear—tri eavog'y So le x xx x x xx os =r s <=