User manual TL AUDIO M1

f. CONTENTS 2 3 5 6 7 7 8 8 9 9 10 10 10 11 11 11 12 12 12 13 13 13 13 13 INTRODUCTION Block Diagram PRECAUTIONS INSTALLATION AC Mains Supply Audio Connections Mic Inputs Line Inputs InsertionPoints Direct Output Main StereoOutput Monitor Outputs Aux Outputs Stereo2T Returns EffectsReturn Headphone Outputs Meter Calibration Digital Modules OPERATION Input Selection Input Gain Control Line Input MicrophoneInput Phase Reverse High PassFilter 30dB Pad Equalisation InsertionPoints Aux Sends Direct Output Track Level Control PanControl Mute Switch PFL Switch ChannelFader Drive andPeakLEDs StereoMix Aux Masters Effects Return Monitor and 'phonesLevel PFL BalanceLevel 2-TrackReturns Loudspeaker Mute Metering Digital OutputOption Wordclock Input A Final Word! SERVICE SPECIFICATIONS 14 14 14 14 15 15 15 15 15 16 16 16 16 16 16 17 17 17 17 18 18 18 18 19 20 21 CONGRATULATIONS! 1 ~ CONGRATULA TIONS! Congratulations you purchaseof a TL Audio M 1 TubetrackerMixer, the perfect on solution for the modem day studio. Anyone who has used or heard our outboard equipment,will be familiar with its ability to createa warm, smooth,and cleansound that caninject wonderful 'feel' into your recordings. Our acclaimedVTC and M4 consoleshave also now been acceptedas a great soundingmusthavein the professional recordingenvironment,with manyhigh profile users. The Ml offers you the TL Audio quality, in a desk that is modular,yet more compactand affordablethan the VTC and M4 - and still offers you the samegreat sound. The M 1 Tubetracker ideal for the homeandproject studio aswell asbroadcast is and recordingapplications wherespace limited. is The Ml offersyou quality valve mic preamps eachchannel,3 bandmusicalEQ on with sweepable on eachchannel,2 auxiliary sends channelaswell aseffects mid per returnsandalternate monitoring options! It has been designed to maximise today's recording techniques, with the addition of an optional ADA T interface for easy digital connection to your recording device and software. It makes the perfect front end to any digital recording set up, taking away that 'clinical, sterile' sound whilst adding warmth and depth to your recordingsgiving you the sound that you have been longing for. The M I Tubetracker is compact in size and features all its connectors on the back of the top panel for easy connectivity and quick cable changes! Available in 8 and 12 channel options the Ml combines that classic valve sound with modern functionality. 2 INTRODUCTION The T L Audio Ml Tube Consolecombinesclassicvalve techniques with low noise solid state circuitry to construct a mixing consoleoffering high specificationsignal pathswith the uniquevalve soundquality. 8 or 12input channels provided,all with are mic and line inputs, switchable 48V phantom power, three band EQ, balanced insertion send and return, 2 Aux sends,Pan and lOOmmFader. Each channel also featuresa balancedDirect Output, which is pre EQ and independent the channel of fader. Mixing is via balanced busses valve mix amplifiers.The stereooutput is controlled to by a stereo lOOmmfader, and monitoredby illuminated moving coil VU meters.A stereoeffectsreturn, two 2-track returnsand independent headphone output complete the monitoringfacilities. The M 1 Tube Consoleis an ideal complimentto a digital audio workstation,but may also be usedfor direct to stereorecording,as outboardanalogue during mixdown, EQ and as a completestudio, stageor PA mixer. The consoleis table-topmounting and supplied with a free standing power supply. There are no fans in either the power supplyor console. The block diagramof the M I Tube Consoleis shown in fig. 1. A discretesolid state, electronicallybalanced input amplifier is used,to achievestateof the art performance with very low noise,low distortion and wide bandwidth.The mic input is via an XLR socket and is suitable for low impedance(150-600 ohm) microphones, with a gain control range of + 16 to +60dB plus a 30dB pad. A front panel switch selects48V phantompower. The line input has an effective overall gain rangeof -20 to +20dB, allowing the valve stages be fully driven from line level signalsin the range-20 to to +20dBu. The input stageis directly coupledto a secondstagetriode valve amplifier. Increasingthe gain at the input stageallows the unique overdrivenvalve soundto be graduallyintroduced,as indicatedby the "Drive" and "Peak" LEDs. Phase reverse and 90Hz high passfilter switchescompletethe input section. A balancedinsertionpoint is providedenablingthe connectionof externalequipment (a compressor, example)into the channel.The insert sendsocketmay alsobe used for as an independentoutput. The Direct Output from the channel is pre-fade and balanced. is taken after the valve stage,insertionpoint and EQ, but is unaffected It by the channelfader. The equalisersectionprovides shelving LF and HF filters and swept frequencymid peakingfilter. The EQ stages maybe bypassed easyA-B comparison. for Mixing to the stereobus is via 100mmlinear faderswith rotary pan control. PFL and channelMUTE switchesare also provided. Two Aux sendsare available;Aux 1 is switchab1e or post fade, with Aux 2 permanently pre post fade. The stereoreturn can also sendto Aux 1. The busses balanced, are with hybrid solid state/ triode valve mix 3 amplifiers busses. on the stereobuss and solid state mix amplifiers on the Aux and PFL . The monitoring outputsnormally follow the stereooutput,but may be switchedto the 2 track return inputs, for example to check workstation outputs. Any PFL signal automaticallyover-ridesthe monitor output. The PFL level relative to the stereolevel may be adjusted,and the overall monitor level is controlledby a high quality matched pot with 29mm diameterknob. Dual moving coil VU metersfollow the monitor outputs.The metersarefactory setfor OdB indication = +4dBu, but may be recalibratedusing presetsaccessible from the front panel. The Aux outputsare controlledby masterlevel controls,and the stereoeffectsreturn providesa line level input, with gain and balancecontrols.All are equippedwith PFL switches. Optional digital modulesareavailable,providing multiples of 8 inputs and outputsfor the channelsections, plus the stereomain output. Please readthis manualfully beforeinstalling or operating Ml Tube Console. the 4 PRECAUTIONS As with all electricalequipment,caremust be taken to ensurereliable, safeoperation of your mixer. The following points shouldalwaysbe observed: - All mainswiring shouldbe installedandchecked a qualified electrician, by - The mixing consoleis heavy,andmay requiremore thanonepersonto lift andplacein position, - Ensurethe correctoperatingvoltageis selected the power supply on beforeconnecting the mainssupply, to - Connectthe power supplyto the mixer beforeswitchingon, - Neveroperatethe mixer or powersupplywith anycoverremoved, - Do not exposeto rain or moisture,asthis maypresentan electric shockhazard. - Replace fuseswith the correcttype andrating only, the - Referanyservicerequirementto qualifiedpersonnel. Warning: This equipment must be earthed. Caution: Ensure adequateventilation of the power supply and mixer. Failure to observetheseprecautions may invalidate your warranty. 6 AC Mains Supply. The mixer should be placed on a solid, flat surface.Adequateventilation must be provided,with free spacebehind the cooling slots in the rear panel and immediately above the ventilation slots along the top of the front panel. Care must be taken to provide appropriate supportfor the mixer and the cableswhich will be connected it. to Do not locate the mixer near a source of heat, or where it may be subjectedto interference from otherelectricalor radio frequencygenerating equipment(e.g.mobile telephones). Brown: Live. Blue: Neutral. Green/Yellow: Earth (Ground). All mains wiring must be performed by a qualified electrician with all power switched off, and the earth connection must be used. The power supply generates a certain amount of heat during use, which must be allowed to dissipate from the ventilation slots in the sides of the unit. Never cover the power supply or locate it near a source of heat, for example a radiator or power amplifier. 7 Warning: attemptedoperationon the wrong voltage setting,or with an incorrectfuse, will invalidatethe warranty. Audio Connections. Mic Inputs. Balanced inputs: - Pin 1 =Ground (screen). - Pin 2 =Signal Phase("+" or "hot"). or "cold"). - Pin 3 =Signal Non-Phase ("-" Unbalanced inputs: - Pin 1 =Ground (screen) - Pin 2 =Signal Phase("+" - Pin 3 =Signal Ground or "hot"). 8 Line I~put. A 3 pin, 0.25" jack plug is required, which is also compatible with balancedor unbalanced sources, whenwired asfollows: Balancedinputs: - Tip = SignalPhase ("+" or "hot"), - Ring =SignalNon-Phase or "cold"), ("-" - Screen =Ground. Unbalanced inputs: - Tip = SignalPhase ("+" or "hot"), - Ring =Ground, - Screen =Ground. Insertion Points. The insertion points are also interfaced via 3 pin, 0.25" switched jack. The pin connections are: - Tip = SignalPhase("+" or "hot"), - Ring =Signal Non-Phase C"-" or "cold"), - Sleeve =Ground, The insertion point is balanced,with send and return on separate jacks. A cable inserted into the send socket only may be used as an additional output without breakingthe channelsignalpath. A cableinsertedinto the return socketwill breakthe insertion loop. The insertion sendsand returns automaticallyadjust for balancedor unbalanced connection. 9 Direct Output. The Track Output connectoris a 3 pin, 0..25"jack socket.The output automatically adjustsfor balanced unbalanced or connection. The matingconnectorshouldbe wired asfollows: Balanced outputs: SignalPhase ("+" or "hot"), - Ring =SignalNon-Phase or "cold"), ("-" - Screen =Ground. Unbalanced outputs: - Tip = SignalPhase (~~+" or "hot"), - Ring =Ground, - Screen Ground. = Main StereoOutput. The main outputs are via balanced, 3 pin male XLR connectors. The mating connectors shouldbe wired asfollows: - Pin 1 =Ground (screen). - Pin 2 =SignalPhase("+" or "hot"), - Pin 3 =SignalNon-Phase or "cold"). ("-" If anunbalanced outputis required,pins 1 and 3 shouldboth be connected ground. to Monitor Outputs. The monitor outputs are via balanced,3 pin jack connectors.The mating connectors shouldbe wired asfollows: - Sleeve =Ground (screen), =SignalPhase("+" or "hot"), - Ring =Signal Non-Phase ("-" or "cold"). 10 If an unbalanced output is required,the sleeveand ring should both be connectedto ground. Aux Outputs. The Aux outputsare also via balanced, pin jack connectors.The mating connectors 3 shouldbe wired asfollows: - Sleeve =Ground (screen), - Tip =Signal Phase("+" or "hot"), - Ring =SignalNon-Phase or "cold"). ("-" If an unbalanced output is required,the sleeveand ring should both be connected to ground. Stereo2T Returns. Two stereoinputs are provided to the monitor section,to allow off-tape monitoring, etc. The inputs are via balanced, pin jack connectors. 3 The mating connectors should be wired asfollows: - Sleeve =Ground (screen), - Tip - Ring =SignalPhase("+" or "hot"), =SignalNon-Phase or "cold"). ("-" If an unbalancedsignal is used, the sleeve and ring should both be connectedto ground. Effects Return. A stereo input is provided, for effects returns or other line level sources.The connectorsare 3 pin jack sockets,and the mating connectorsshould be wired as follows: - Sleeve =Ground (screen), - Tip =SignalPhase("+" or "hot"), or "cold"). - Ring =Signal Non-Phase ("-" 11 If unbalanced signalsareused,the sleeveandring shouldboth be connected ground. to The right input of the return is norrnalledto the left input, allowing the left input to be useda monoreturn. HeadphoneOutputs. The front paneljack socketis suitablefor driving headphones 32 ohms or higher of impedance. standard A 0.25" jack plug shouldbe used. Meter Calibration. The meter"ovu" trims may be usedto re-adjustthe calibrationof the VU metersif a setting other than OVU = +4dBu is required. A steadysignal of the desiredline up level shouldbe applied, and a small screwdriverinsertedthrough the front panel to adjustthe meterto the line up point on the scale. Digital Modules. Optional DO-8 digital modulesare available for the MI. An 8 channelinput/output modulemay be fitted, providing a digital input which is normalledto the channelline inputs (i.e. inserting an analogueinput cable into the line socket will override the digital input), plus digital outputsthat follow the channelDirect outputs.When fitted to the 12 channelversion of the Ml, the digital input and output connectionsare to channels1 to 8 only. Thereis a separate DO-2 moduleavailablefor the mastersection, which providesthe stereooutput in digital format. The specifications userinstructionsfor the digital modulesaresuppliedseparately. and 12 OPERATION Input Selection You must ensurethat the correct input connector,mic or line, is being usedfrom the requiredsource. You can selectthe type of input by pressingthe 'LINE' switch at the top right of eachchannelstrip in or out. In the "up' position the mic input is selected; depressing 'LINE' switch selectsthe line input as the source. Note that you can the have mic and line inputs connected the sametime but will only be able to selecta at singleinput at a time. Input Gain Control The gaincontrol shouldbe setto obtainthe bestsignalto noiseratio, whilst preserving adequate headroom. Any changesin gain level should be gradualto avoid sudden overloador severedistortion. Extra careshouldbe takenwith higher level inputs, and high gain settingsshouldbe usedsparinglyto avoid an increase the noisefloor and in the introductionof distortion. Line Input A typical line input will require less gain than a microphonesignal as it is a 'hotter' source. You shouldhavethe gain setto a minimum whenconnectinga line input, then graduallyincrease to achievethe requiredlevel. it Microphone Input CAUTION: Operation of the phantom power switch, or plugging a microphone in with the phantom power applied, may cause an audible click or thump in your loudspeakers. To avoid this happening, ensure that the channel fader and stereo master faders are set to a minimum before operating the switch or plugging in a microphone. Switching between mic and line with high input gain settings may also cause an audible thump if the level control is not turned down. 13 PhaseReverse The phase reverse switch is used to invert the phase of the input signal. It is active on both mic and line inputs. This function could be required when processing a signal that is out of phase with other signals in a mix, in which case the resultant phase error typically appearsas a loss of low frequency content, due to cancellation of out of phase components. Phase reverse is commonly used when recording the bottom of a snare drum (if also using a mic on top of the snare), the back of a guitar cab (if also recording signal from the front of the cab), and when performing the stereo recording technique known as an MS pair. High PassFilter This low cut filter provides 12dB per octave of gain reduction with the -3dB point being at 90Hz. Like the phase reverse switch, the high pass filter is active on both mic and line inputs, and is ideal for removing low frequency rumble. The filter can be useful in restricting 'popping' on vocals or even low frequencies caused by contact with microphone stands or microphone cables. Popping is an undesirable thump that is caused by close-miking certain spoken or sung letters, namely 'P' or 'B'. These particular letters cause a sudden expulsion of air that can result in an audible thump. As this thump has a lot of low frequency content the high pass filter can help to reduce the problem, as can using a pop filter (a device usually made out of nylon material similar to stockings) suspendedin front of the microphone. The low cut filter is easily bypassedfor quick A/B comparison. 30dB Pad Occasionally when using sensitive condenser microphones the source signal may be too loud for the input preamp. In this situation, to avoid any overloading or distortion of the mic preamp stage, the 30dB pad can be used to reduce the input gain to a more manageablelevel. The 30dB pad only applies to the microphone input. Equalisation Before switching the EQ into circuit, it is advisable to set the cut/boost controls to their centre, or flat, position. The EQ is brought into circuit with the 'EQ' push switch, signalled by a green LED. Each channel has three bands of equalisation: shelving low frequency (LF) (i.e. it extends from the selected frequency to the extreme low frequency limit of the equaliser's response.), peaking sweepable mid (i.e. it boosts or cuts a section of the audio spectrum around its selected centre frequency only) and shelving high frequency (HF). The LF shelf operatesat a frequency of 80Hz, while the HF shelf is set at 12kHz. The EQ slopes have a second order 12dB/octave response, and an associatedgain control on both bands provides up to 15dB of cut or boost on each selected frequency, controlling the full range of frequencies below the LF comer frequency and above the HF comer frequency. The mid band has a fixed Q of 0.7 14 (which Gorresponds a bandwidth of around 1.5 octaves)allowing +/- 15dB cut or to boost over a moderatelybroad band of frequencies. The centrefrequencyis selected via the dedicated variablefrequencycontrol, andthe requiredamountof cut or boostis appliedusing the associated gain control. The rangeof frequencies selectable 150Hz is to 7kHz. You shouldfrequently AIB the soundyou are Equalisingby pressingand depressing the EQ button,it is astonishing how quickly the earcan adjustto changes.By making frequentcomparisons can makesureyou do not strayfrom the requiredsound. It you is also worth spendingsometime getting usedto the EQ on the M 1 - it soundsgreat and you'll be amazed how versatileandmusicalit canbe. Insertion Points The insertpoints are configuredto be post the input amplifier with its valve stage,but pre EQ and fader. Typical applicationsinclude the connectionof a compressor (for example the TL Audio 5021) into the channel, or perhapsa dedicatedoutboard equaliser(e.g.the 5013)for extensive correctionor effect. EQ Aux Sends Eachchannelstrip has2 auxiliary sends, of which canbe setto pre fade send. The one pre fade sendwould typically be used for creating a headphone cue, whilst the post fade sendwould be used as an effects send(i.e. reverb,etc). Aux I is switchable to pre, whilst Aux 2 is permanently fixed to postfade. Direct Output The Direct Output is configuredto be post the input amplifier with its valve stage,the insertion point and EQ, but pre the mute switch and fader. The signal sent to the recorder (or PA system,etc) thereforehas the valve warmth and optional EQ and externalprocessing (e.g.compression). The level of the Direct Outputis controlledby the input Gain control, whilst the output to the mix bus is controlledby the fader. Pan Control The pan control positions the image within the stereofield, from fully left in the anticlockwise position, through centre at the dented position to fully right in the clockwiseposition.The gain law is -3dB at the centre. 15 Mute Switch The channel may be muted or switched on without affecting the level set on the channelfader. RedLED indicatorsshowwhich channels currentlymuted. are PFL Switch When PFL (Pre Fade Listen) is activated a yellow LED illuminates above the button on the channel strip and also in the master section. PFL allows you to monitor the incoming source before it reachesthe channel fader and the signal is sent to the main output. It is normal to use PFL when setting the gain level for an incoming source. Channel Fader A lOOmmfader is located at the bottom of the channel, and sets the level of the channel'ssignal being fed to the stereomix bus. The fader providesup to lOdB of gain at its highestpoint. Drive and Peak LEDs The yellow Drive LED provides a visual indication of the signal level through the input valve stage, and therefore the extent of 'warming' or valve character being introduced. The drive LED will gradually illuminate as the input level or gain is increased, over the range +4dBu to + 12dBu. The red Peak LED operates as a conventional warning that clipping is about to occur. The operating level of both input and post fader stagesis monitored, and the LED illuminates at a threshold of +19dBu, when there is less than 7dB of headroom remaining to the direct output. Normal operation would be to set the input gain so that the Drive LED is illuminating regularly, with occasional illumination of the Peak LED occurring on loud transients. StereoMix A stereo lOOrnmfader controls the stereo mix output level. Aux Masters Each aux send features a rotary master level control, which governs the overall level from the aux output. An associatedPFL switch allows each aux send to be auditioned in isolation, by placing the aux signal (pre the master level control) on the PFL buss. The Aux master controls provide ample additional gain of up to + 15dB. 16 Effects Return The stereo effect return is equipped with a rotary control and a UR balance control. The return is fed directly into the stereo mix. A PFL switch allows the return to be auditioned in isolation. A mono signal can be fed to the return by connecting it to the left hand return input only. This will automatically feed the mono signal equally to both left and right hand sides of the stereo buss simultaneously. The return also is equipped with a level control to send to Aux 1, which can be used, for example, to send reverb into the cue mix. The aux send is pre fade, so the effect - or other signal can be sent into the cue mix without necessarily adding it to the stereo output. The effects return is typically used to feed the output of an FX device back into the stereo mix, adding 'wet' signal to the 'dry' stereo mix. However, the return can also be used as simple extra line inputs for signals that require no EQ or FX to be added to them via the mixer. Monitor and HeadphoneLevel The M 1 provides a stereomonitor output, for connectionto a power amplifier and monitor loudspeakers, plus a front panelheadphone output.The Monitor level control governsthe level of signal fed to both these outputs. The monitor signal normally follows the main stereooutput, but will automaticallyswitch over to the PFL buss wheneverany PFL button is pressed, condition being indicatedby a yellow LED. this Similarly, the monitor signal will follow the 2T return when the 2T return switch is activated the mastersection. in The "AL T LS" switch mutes the main monitor outputs, and activatesthe alternate loudspeaker sends. PFL BalanceLevel The PFL Balancecontrol allows adjustmentof the PFL signal level relative to the main stereomonitor level, as the PFL signal could be considerablylouder than the stereooutput- depending the mix and soundsource. on 2-Track Returns When recording the stereo mix output onto DA T or CD-R, for example, it is sometimes useful to be able to monitor the output from the masteringmachine,in place of the mixer stereo output, as confirmation that the signal is actually being recorded(this is particularlyuseful whenusing a four headed T machineor a three DA -headedanalogue2T machine,since the off-tape signal can be monitored).This is achieved selectingthe 2T Returnswitch nearthe monitor level control.This facility by may alsobe usedfor playbackafter recording.The M 1 hasthe facility to connecttwo 2T returns,with the 2TA or 2TB switch selectingwhich of the returnsis active when the "2T" switch is engaged 7 Loudspeaker Mute This switch mutes the monitor and alternateLS outputs. This is particularly useful when using headphones, enablingthe main monitors to be muted without needingto turn off their amplifiers. It is also useful for temporarilymuting the monitorswithout needingto alter anyfaderlevels, for instance during a telephone call. It is good practiceto mute the outputswhen switchingthe MI on or off, to avoid any loud "thumps" in the loudspeakers. Metering Two illuminated VU meterson the MI will normally monitor the main stereooutput, but automaticallyswitch to monitor the PFL buss when any PFL switch is engaged. Similarly, when a 2T return is selected as the monitor source the meters will automaticallyswitch to monitor that 2T return. The metersare calibratedto indicate OVU when a signal level of +4dBu is generated the main outputs. A pair of red at PeakLEDs operate the stereobussas a conventionalwarning that clipping is about on to occur.The LEDs illuminate at a thresholdof +19dBu, when thereis lessthan 7dB of headroomremaining on the main outputs.Normal operationwould be to set the stereobuss fader levels so that occasionalillumination of the PeakLEDs occurson loud transients. Digital Output Option The optional DO8 card can be fitted to the back of the M 1, providing 8 channels over ADA T lightpipe. This professional protocol makes for easy connection when conducting computer basedrecording, and makes the Ml the perfect front-end solution for digital recording set ups. There is also the optional DO2 card that fits into the back of the master section of the M1 and provides stereo digital output in SPDIF format (RCA Phono connectors). The DO2 has a fixed 24 bit word length, but the sample rate is switchable between 44.1, 48, 88.2 and 96 kHz. These are selectablefrom the back of the digital card. Word clock Input A rear panel input (on the back of the DO2 & DO8 card) is provided for connecting the M 1 to an external master clock source. The wordclock input connector is a BNCtype terminated in 75 ohms. 18 A FINAL WORD We hope you will enjoy your new MI console,we're confident that once you start using it you'll wonderhow you managed without one! For best results,switch your MI consoleon shortly beforethe start of your session to allow the tubesto fully warm up. Enjoy! 19 SERVICE Should the mixer or power supply require service,it must be taken or postedto an authorised dealer.Please retain the original packingfor possiblefuture use,andensure the unit is suitably protected during transit. The manufacturer cannot accept responsibilityfor damage caused during transportation. The mixer is supported a limited warrantyfor a period of one yearfrom the dateof by purchase. During this period, any faults due to defective materialsor workmanship will be repairedfree of charge.The warrantyexcludesdamage caused deliberate by or accidental misuse,operationon the incorrectmainsvoltage,or without the correcttype and value of fuse fitted. If claiming service under warranty,proof of purchasedate must be included. It is the user's responsibility to ensurefitness for purposein any particular application.The warranty is limited to the original purchaseprice of the equipment, specificallyexcludesanyconsequential and damage loss. or Please complete and return the enclosed user registration card, and record the following details: Serial Date Dealer purchased Number 20 Ml MIXER TECHNICAL SPECIFICATION. Mic Input: Balanced XLR socketwith switchable48V phantompower, Gain range+ 16dBto +60dB with 30dB pad, Frequency response -IdB, 20Hz to 40KHz (at 40dB gain), +0, Input noise(EIN) -128dBu(150 ohm source,22Hz to 22KHz), Switchable+48V PhantomPower. Balanced TRSjack socket, Input impedance 22Kohm, Gain range-20dB to +20dB, Maximum input level +26dBu, Applies to Mic andLine inputs. -3dB @ 90Hz, secondorder.Applies to Mic andLine inputs. Line Input: Phase Rev High PassFilter: Frequency Response:(Line Input to Direct Output) +0, -0.5dB, 10Hzto 40KHz. Distortion: 0.4% typical (measured Line Input to Direct Outputat +4dBu input andOdBgain over a bandwidthof 20Hz to 20KHz. Distortion is predominately tubegenerated second harmonic. Increasing "Drive" level by applyingmoreinput gain the progressively increases distortion). the Noise -89dBu,22Hz to 22KHz, (Line Input to Direct Output,Input gain @ OdB). 3 Band,with shelvingLF/HF andpeakingMid, EQ "On" switch andLED, HF +/-15dB @ 12KHz, Mid +/-15dB @ 150Hzto 7KHz, LF +/-15dB @ 80Hz. Balanced sendandreturn on TRSjacks. Balanced outputon TRS jack. Nominal level +4dBu. Prefade,independent mute switch andfader. of Maximum level +26dBu. IOOmm "K" Series, Mute andPFL switchesandLED's, Routingto L+R busses Pancontrol, via "Drive" LED with illumination increasing from +4dButo +12dBuindicatingvalve signallevel, "Peak" LED illuminating @ + 19dBu,monitoringchannelinput amplifier andpostfader signal. EQ: InsertPoint: Direct Output: Fader: L+R Outputs: Balanced insertionpoints with +4dBu/ -IOdBu switch, StereoMasterfader, IOOmm "K" Series, Output via balanced XLR connectors, Noise -76dBu(all channels Line Input @OdBgain) Maximum level +26dBu. Aux 1 switchable"Pre" fader, Aux 2 postfader, Channelsendlevel controlsplus masterlevel with PFL switch, Balancedstereoreturns, Left input normalledto Right input for monocompatibility, Aux 1 sendlevel control, Level andbalancecontrolsandPFL switch with LED. Balanced outputson TRSjacks, High quality level control with 29mmknob, PFL relativelevel trim control with +/-20dBrange, Switch with LED to selectoneof two balanced Track returns, 2 LS muteswitch with LED, Alt LS switch with LED, Headphone output with independent level control, Twin illuminated45mm VU meterswith "Peak" LED's, Front panelaccessible OVUtrims. Externalfree standingsupply, 2 metrecableattached deskwith plug andsocketon PSU, to PSU switchablefor 110-220V60Hz or 220-240V50Hz use, Typical powerconsumption100/140V (8/12 channels). A OptionalDO-2 outputmodulesfor L+R outputs, OptionalDO-8 modulefor channels: outputsfollow "Direct" outputs,inputsnormalledto analogue "Line" inputs. Please separate see sheets digital specifications. for 675mm(29.5") deep,plus at least 100mm(4") at rearof consolefor PSU andaudioconnections, 190mm(7.5") high. Lengthof 8 channelconsole475mm(18.7"), Lengthof 12channelconsole618mm(24.25"). (Dimensions include wood trim). Aux Sends StereoReturn: Monitoring: PowerSupply: Digital I/O: Dimensions: The abovefigures are representative of typical production consoles, but are not guaranteed limits for any particular console. Thesespecifications are subject to change without notice. 22