Multichannel Mastering Console MMC 2 Sources Stereo Input A Stereo Input B Solo to Center Speaker Management Monitors L C R LS RS LFE L t/o R t/o LFE to L/C/R Stereo A Dim Dim 1 -10 dB Stereo Return A Stereo Return B Solo Solo Solo Solo Solo Solo Solo Solo Stereo B Dim 2 -20 dB M-CH. Input A M-CH. Input B Mono L/R Stereo Operation Mono LS/RS M-CH. Operation Mono Lt/o/Rt/o M-CH. A Dim 3 -30 dB M-CH. Return A M-CH. Return B M-CH. B Mute M-CH. Return C M-CH. Return D MMC 2 Multichannel Mastering Console Insert On Return On Insert Return 1 -1 0 1 2 -2 ø Rev 3 -3 4 -4 5 -5 6 -6 7 -7 8 -8 9 -9 -10 dB 10 2 -1 0 1 2 -2 ø Rev 3 -3 4 -4 5 -5 6 -6 7 -7 8 -8 9 -9 -10 dB 10 1 Master Fader -1 0 1 2 -2 Fader 3 -3 On 4 -4 5 -5 6 -6 7 -7 8 -8 9 -9 -10 dB 10 2 -1 0 1 2 -2 Fader 3 -3 On 4 -4 5 -5 6 -6 7 -7 8 -8 9 -9 -10 dB 10 L 3 Trim On R 4 Trim On L 3 Trim On R 4 Trim On -1 0 1 2 -2 ø Rev 3 -3 4 -4 5 -5 6 -6 7 -7 8 -8 9 -9 -10 dB 10 -1 0 1 2 -2 ø Rev 3 -3 4 -4 5 -5 6 -6 7 -7 8 -8 9 -9 -10 dB 10 -1 0 1 2 -2 Fader 3 -3 On 4 -4 5 -5 6 -6 7 -7 8 -8 9 -9 -10 dB 10 -1 0 1 2 -2 Fader 3 -3 On 4 -4 5 -5 6 -6 7 -7 8 -8 9 -9 -10 dB 10 C 5 Trim On LFE 6 Trim On C 5 Trim On LFE 6 Trim On -1 0 1 2 -2 ø Rev 3 -3 4 -4 5 -5 6 -6 7 -7 8 -8 9 -9 -10 dB 10 -1 0 1 2 -2 ø Rev 3 -3 4 -4 5 -5 6 -6 7 -7 8 -8 9 -9 -10 dB 10 -1 0 1 2 -2 Fader 3 -3 On 4 -4 5 -5 6 -6 7 -7 8 -8 9 -9 -10 dB 10 -1 0 1 2 -2 Fader 3 -3 On 4 -4 5 -5 6 -6 7 -7 8 -8 9 -9 -10 dB 10 LS 7 Trim On RS 8 Trim On LS 7 Trim On RS 8 Trim On -1 0 1 2 -2 ø Rev 3 -3 4 -4 5 -5 6 -6 7 -7 8 -8 9 -9 -10 dB 10 -1 0 1 2 -2 ø Rev 3 -3 4 -4 5 -5 6 -6 7 -7 8 -8 9 -9 -10 dB 10 Monitor Level -1 0 1 2 -2 Fader 3 -3 On 4 -4 5 -5 6 -6 7 -7 8 -8 9 -9 -10 dB 10 -1 0 1 2 -2 Fader 3 -3 On 4 -4 5 -5 6 -6 7 -7 8 -8 9 -9 -10 dB 10 Lt/o Trim On Rt/o Input Trim On Lt/o Model 2486 Trim On Rt/o Output Trim On Manual Multichannel Mastering Console MMC 2, Model 2486 Manual Version 1, 10/2005 R & D: Wolfgang Neumann Manual The information in this document has been carefully verified and is assumed to be correct. However Sound Performance Lab (SPL) reserves the right to modify the product described in this manual at any time. Changes without notice. This document is the property of SPL and may not be copied or reproduced in any manner, in part or full without the authorization of SPL. Limitations of Liability: In no event will SPL be liable for any damages, including loss of data, lost profits, cost of cover or other special, incidental, consequential or indirect damages arising from the use of the unit, however caused and on any theory of liability. This limitation will apply even if SPL or an authorized dealer has been adviced of the possibility of such damage. Sound Performance Lab SPL electronics GmbH P.O. Box 12 27, D- 41368 Niederkruechten, Germany Phone +49 2163 983 40, Fax +49 2163 983 420 Email: info@soundperformancelab.com, Internet: www.soundperformancelab.com © 2005 SPL electronics GmbH All rights reserved. Technical specifications and appearance are subject to change without notice. 2 Contents Fade In ................................................................................................ Signal Flow .......................................................................................... Front Panel .......................................................................................... Control Elements ................................................................................ Sources, Input Trims ........................................................................... Insert/Return, Speaker Management, Monitors .................................. 4 5 6 7 7 8 Monitor Level ...................................................................................... Option: MasterBay ............................................................................. Rear Panel, XLR Wiring, Metering Out .................................................. 9 10 11 Measurements .................................................................................... 12-18 Specifications, Power Supply .............................................................. Warranty ............................................................................................. 19 20 Installation/Security Advices Before you operate the unit, first check carefully whether the local voltage setting corresponds to the setting on the external transformer! Before switching on external transformer and MMC 2, the MMC 2 must be connected to the external transformer with the supplied multicore lead. Pay attention to a secure connection. The MMC 2 and the external transformer should be situated away from heat sources and direct sunlight. MMc 2 and transformer need sufficient air circulation. Avoid installation in environments exposed to vibrations, dust, heat, cold, moisture or electrical and magnetic fields. Do not install the unit in proximity to power amplifiers or digital processors. You may consider placing it near other analog gear. Such placement can prevent interference from Word Clock, MIDI, etc. · Do not open the case. You may risk severe electric shock and may damage your equipment. · Leave repairs and maintenance to a qualified service technician. Should any objects fall inside the case, unplug the power supply and contact a qualified technician. · To avoid electric shock or fire hazards do not expose the unit to rain or dampness. · In case of lightning unplug the power supply. · Never force a switch or knob. · Use a lint-free cloth for cleaning. Avoid any cleaning agents as they may damage the finish, use an acid-free cleaning oil instead. · Support the back of the unit when it is being mounted. 3 Fade In Moreover additional prerequisites speak for the employment of high-performance analog technology: The number of necessary AD/DA conversions should be reduced to a minimum. With the MMC 2, digital sources can be connected to a digital router, which outputs the selected source through the preferred DA converter. This ensures that the sound quality remains comparable and is not affected by converter differences. High quality analog outboard processing consistently proves itself superior to digital processing. The analog concept allows for problem-free integration of such analog processors. Monitors and power amplifiers are almost exclusively analog in design. Yet another converter at this point in the chain only degrades monitoring signal paths. Furthermore, DSD signals cannot be monitored on a digital monitoring that operates in PCM. Master Fader The MMC 2 multichannel mastering console completes the range of SPL 120 V mastering consoles. Housed in a 19"/11U rack mount chassis the MMC 2 features the same unique 120 volts rails like the MMC 1 and DMC dual-channel mastering console to achieve the optimum audio performance. The purpose of the development was the creation of mastering consoles that would be superior in audio quality to all known and foreseeable audio formats, whether analog or digital. Such consoles would provide both for an unaltered reproduction of the sonic quality of high resolution playback formats like SACD and in the process, remain a safe capital investment for many years. The MMC 2 is conceived as the center of a mastering environment to provide speaker management, sources and returns connectivity, input and output trimming, pure analog multichannel master fader and monitor level setting. As an option, the MMC 2 can be supplemented with the SPL MasterBay to provide an automated 8 x 8 channel insert routing of external processors. Digital audio formats have undergone continuous development and change and will continue to do so. With the degree of incompatibility created by the "format war" between PCM and DSD, the need for a technology that is superior in dynamic range, headroom and sound quality to either or any other such format is obvious ­ and the only solution is discrete analog technology in its most advanced implementation. Technology SPL's new SUPRA operation amplifiers are used throughout the MMC 2's design. They perform at an industry benchmark of 120 volts and their development alone took four years. The SPL SUPRA op amp achieves a signal-tonoise ratio of 116 dB with a headroom of 34 dB. The dynamic range amounts to 150 dB with a frequency bandwidth of 200 kHz. With such specifications, the MMC 2 rides comfortably beyond the requirements of either the current maximum 24 bit/192kHz PCM or 1 bit/256 fs DSD formats, while a digital technology in which the MMC 2 could become a "bottle neck" is not foreseeable. 4 Signal Flow 5 Front Panel Sources Stereo Input A Stereo Input B Solo to Center Speaker Management Monitors L C R LS RS LFE L t/o R t/o LFE to L/C/R Stereo A Dim Dim 1 -10 dB Stereo Return A Stereo Return B Solo Solo Solo Solo Solo Solo Solo Solo Stereo B Dim 2 -20 dB M-CH. Input A M-CH. Input B Mono L/R Stereo Operation Mono LS/RS M-CH. Operation Mono Lt/o/Rt/o M-CH. A Dim 3 -30 dB M-CH. Return A M-CH. Return B M-CH. B Mute M-CH. Return C M-CH. Return D MMC 2 Multichannel Mastering Console Insert On Return On Insert Return 1 -1 0 1 2 -2 ø Rev 3 -3 4 -4 5 -5 6 -6 7 -7 8 -8 9 -9 -10 dB 10 2 -1 0 1 2 -2 ø Rev 3 -3 4 -4 5 -5 6 -6 7 -7 8 -8 9 -9 -10 dB 10 1 Master Fader -1 0 1 2 -2 Fader 3 -3 On 4 -4 5 -5 6 -6 7 -7 8 -8 9 -9 -10 dB 10 2 -1 0 1 2 -2 Fader 3 -3 On 4 -4 5 -5 6 -6 7 -7 8 -8 9 -9 -10 dB 10 L 3 Trim On R 4 Trim On L 3 Trim On R 4 Trim On -1 0 1 2 -2 ø Rev 3 -3 4 -4 5 -5 6 -6 7 -7 8 -8 9 -9 -10 dB 10 -1 0 1 2 -2 ø Rev 3 -3 4 -4 5 -5 6 -6 7 -7 8 -8 9 -9 -10 dB 10 -1 0 1 2 -2 Fader 3 -3 On 4 -4 5 -5 6 -6 7 -7 8 -8 9 -9 -10 dB 10 -1 0 1 2 -2 Fader 3 -3 On 4 -4 5 -5 6 -6 7 -7 8 -8 9 -9 -10 dB 10 C 5 Trim On LFE 6 Trim On C 5 Trim On LFE 6 Trim On -1 0 1 2 -2 ø Rev 3 -3 4 -4 5 -5 6 -6 7 -7 8 -8 9 -9 -10 dB 10 -1 0 1 2 -2 ø Rev 3 -3 4 -4 5 -5 6 -6 7 -7 8 -8 9 -9 -10 dB 10 -1 0 1 2 -2 Fader 3 -3 On 4 -4 5 -5 6 -6 7 -7 8 -8 9 -9 -10 dB 10 -1 0 1 2 -2 Fader 3 -3 On 4 -4 5 -5 6 -6 7 -7 8 -8 9 -9 -10 dB 10 LS 7 Trim On RS 8 Trim On LS 7 Trim On RS 8 Trim On -1 0 1 2 -2 ø Rev 3 -3 4 -4 5 -5 6 -6 7 -7 8 -8 9 -9 -10 dB 10 -1 0 1 2 -2 ø Rev 3 -3 4 -4 5 -5 6 -6 7 -7 8 -8 9 -9 -10 dB 10 Monitor Level -1 0 1 2 -2 Fader 3 -3 On 4 -4 5 -5 6 -6 7 -7 8 -8 9 -9 -10 dB 10 -1 0 1 2 -2 Fader 3 -3 On 4 -4 5 -5 6 -6 7 -7 8 -8 9 -9 -10 dB 10 Lt/o Trim On Rt/o Input Trim On Lt/o Model 2486 Trim On Rt/o Output Trim On 6 Control Elements Sources The Sources section provides selection options for several stereo and multichannel input and return sources. The returns are ideally suited to select recorders, DAW, audio players, and so on. All Input buttons allow for switching between the input monitoring mode and the output monitoring mode. Press once, the input button is permanently illuminated. The output signal after the Master Fader is monitored. Press again, the Input button flashes. The input signal after the input Phase Reverse switch is monitored. This way, you can easily compare what comes in and what goes out of the console. IMPORTANT: Selecting the return monitoring mode overrules input and output monitoring modes. NOTE: All MMC 2 buttons allow for individual labeling. Sources Stereo Input A Stereo Input B Stereo Return A Stereo Return B M-CH. Input A M-CH. Input B M-CH. Return A M-CH. Return B M-CH. Return C M-CH. Return D Input Trims An input selected in the Source section is routed to the Input Trims section. This section provides On and Phase Reverse switches, a high-grade ALPS potentiometer with 41 steps and +/-10dB gain range allows for input trimming. 7 -1 0 1 2 -2 ø Rev 3 -3 4 -4 5 -5 6 -6 7 -7 8 -8 9 -9 -10 dB 10 8 -1 0 1 2 -2 ø Rev 3 -3 4 -4 5 -5 6 -6 7 -7 8 -8 9 -9 -10 dB 10 Lt/o Trim On Rt/o Input Trim On 7 Control Elements Insert/Return Insert On Return On Insert Return The MMC 2 offers an Insert/Return point after the Input Trims to include external processing equipment into the signal path. Speaker Management Solo to Center Monitoring LFE L t/o R t/o LFE to L/C/R L C R LS RS Monitoring functions comprise a Speaker Management section, a Monitors selection section and the Monitor Level fader. 1. Speaker Management Each loudspeaker can be activated or deactivated by a dedicated switch, and each is labeled with its respective loudspeaker position. A Solo switch is placed underneath each speaker switch. To alleviate channel comparisons, a Solo-to-Center function allows for monitoring of each channel through the center speaker. The Solo-to-Center function can only be activated if a speaker is previously switched to solo. If a surround sound mix does include separate LFE subwoofer signals, the LFE-to-L/C/R switch distributes an LFE signal (factory ...