User Guide


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FIVE Monitor Contents

1

© Harman International Industries Ltd. 1997 All rights reserved Parts of the design of this product may be protected by worldwide patents. Part No. ZM0228 Issue 1 Soundcraft is a trading division of Harman International Industries Ltd. Information in this manual is subject to change without notice and does not represent a commitment on the part of the vendor. Soundcraft shall not be liable for loss or damage whatsoever arising from the use of information or any error contained in this manual. No part of this manual may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, electrical, mechanical, optical, chemical, including photocopying and recording, for any purpose without the express written permission of Soundcraft. It is recommended that all maintenance and service on the product should be carried out by Soundcraft or its authorised agents. Soundcraft cannot accept any liability whatsoever for any loss or damage caused by service, maintenance or repair by unauthorised personnel.

Harman International Industries Limited. Cranborne House, Cranborne Road, Cranborne Industrial Estate, Potters Bar, Herts., EN6 3JN UK. Tel: 01707 665000 Fax: 01707 660482

2

FIVE Monitor Contents

FIVE Monitor

Contents 1. Introduction

1.1

Introduction

1.2

Warranty

1.2

2. Installation

2.1

Dimensions

2.2

Precautions and Safety Instructions

2.3

Mains Installation

2.4

Connections

2.6

Block Diagrams

3.1

24-bus Mono Input Module

3.2

32-bus Mono Input Module

3.3

24-bus Stereo Input Module

3.4

32-bus Stereo Input Module

3.5

32-bus Output Module

3.6

Master Module

3.7

EQ Output Module

Functional Description

4.1

Mono Input Module

4.2

Stereo Input Module

4.6

Output Module

4.10

Master Module

4.14

Specifications

FIVE Monitor Contents

3.10

5.1

i

ii

FIVE Monitor Contents

FIVE Monitor

1

FIVE Monitor Introduction

Introduction

1.1

Introduction Congratulations on purchasing a Soundcraft console. Series FIVE Monitor is a dedicated Monitor mixing console designed to meet the exacting requirements of major tours and installations.

System Overview l Available in two versions: 24+2 or 32+2 bus l Frame sizes from 40-60 mono inputs l Optional stereo input module l 4-band parametric EQ on all inputs including stereos l Sends can be globally configured as mono or stereo l Comprehensive output matrix built-in l 8 VCA Groups plus 8 Mute groups l Remote control of BSS Varicurve via midi l LED input metering plus VU output metering

Power Supply l The FIVE Monitor uses the CPS2000 Power Supply.

1.2

FIVE Monitor Introduction

Warranty 1 Soundcraft is a trading division of Harman International Industries Ltd . End User means the person who first puts the equipment into regular operation. Dealer means the person other than Soundcraft (if any) from whom the End User purchased the Equipment, provided such a person is authorised for this purpose by Soundcraft or its accredited Distributor. Equipment means the equipment supplied with this manual. 2 If within the period of twelve months from the date of delivery of the Equipment to the End User it shall prove defective by reason only of faulty materials and/or workmanship to such an extent that the effectiveness and/or usability thereof is materially affected the Equipment or the defective component should be returned to the Dealer or to Soundcraft and subject to the following conditions the Dealer or Soundcraft will repair or replace the defective components. Any components replaced will become the property of Soundcraft. 3 Any Equipment or component returned will be at the risk of the End User whilst in transit (both to and from the Dealer or Soundcraft) and postage must be prepaid. 4 This warranty shall only be available if: a) the Equipment has been properly installed in accordance with instructions contained in Soundcraft’s manual; and b) the End User has notified Soundcraft or the Dealer within 14 days of the defect appearing; and c) no persons other than authorised representatives of Soundcraft or the Dealer have effected any replacement of parts maintenance adjustments or repairs to the Equipment; and d) the End User has used the Equipment only for such purposes as Soundcraft recommends, with only such operating supplies as meet Soundcraft’s specifications and otherwise in all respects in accordance Soundcraft’s recommendations. 5 Defects arising as a result of the following are not covered by this Warranty: faulty or negligent handling, chemical or electro-chemical or electrical influences, accidental damage, Acts of God, neglect, deficiency in electrical power, air-conditioning or humidity control. 6 The benefit of this Warranty may not be assigned by the End User. 7 End Users who are consumers should note their rights under this Warranty are in addition to and do not affect any other rights to which they may be entitled against the seller of the Equipment.

FIVE Monitor Introduction

1.3

1.4

FIVE Monitor Introduction

FIVE Monitor

2

FIVE Monitor Installation

Installation

2.1

Dimenions

112.35 (4.42")

914.00 (35.98") 251.12 (9.89")

69.64 (2.74")

373.18 (14.69") 284.46 (11.20")

169.38 (6.67")

All dimensions are in millimeters (inches in brackets) CONSOLE

TOTAL WIDTH

WEIGHTS

32-bus, (24-bus, 44ch), 40ch 2007.80 (79.05")

156kg (343lbs)

32-bus, (24-bus, 52ch), 48ch 2269.80 (89.36")

170kg (374lbs)

32-bus, (24-bus, 60ch), 56ch 2531.80 (99.67“)

185kg (407lbs)

Mono Input Output Master

40 ch

2.2

48 ch

56 ch

FIVE Monitor Installation

Precautions and Safety Instructions General Precautions Avoid storing or using the mixing console in conditions of excessive heat or cold, or in positions where it is likely to be subject to vibration, dust or moisture. Do not use any liquids to clean the fascia of the unit: a soft dry brush is ideal. Use only water or ethyl alcohol to clean the trim and scribble strips. Other solvents may cause damage to paint or plastic parts. Avoid using the console close to strong sources of electromagnetic radiation (e.g. video monitors, high-power electric cabling): this may cause degradation of the audio quality due to induced voltages in connecting leads and chassis. For the same reason, always site the power supply away from the unit.

Caution! In all cases, refer servicing to qualified personnel.

Handling and Transport The console is supplied in a strong crate. If it is necessary to move it any distance after installation it is recommended that this packing is used to protect it. Be sure to disconnect all cabling before moving. If the console is to be regularly moved we recommend that it is installed in a foamlined flightcase. At all times avoid applying excessive force to any knobs, switches or connectors.

Power Supplies & cables Always use the power supply and cable supplied with the mixer: the use of alternative supplies may cause damage and voids the warranty; the extension of power cables may result in malfunction of the mixing console.

Warning! Always switch the power supply off before connecting or disconnecting the mixer power cable, removing or installing modules, and servicing. In the event of an electrical storm, or large mains voltage fluctuations, immediately switch off the PSU and unplug from the mains.

Warning! Use only the Soundcraft CPS2000 power supply with your console.

Signal Levels It is important to supply the correct input levels to the console, otherwise signal to noise ratio or distortion performance may be degraded; and in extreme cases, damage to the internal circuitry may result. Likewise, on all balanced inputs avoid sources with large commonmode DC, AC or RF voltages, as these will reduce the available signal range on the inputs. Note that 0dBu = 0.775V RMS.

FIVE Monitor Installation

2.3

Mains Installation General Wiring Procedures To take full advantage of the excellent signal to noise ratio and low distortion of Soundcraft consoles care must be taken to ensure that incorrect installation and wiring does not degrade the performance of the desk. Hum, buzz, instability and Radio Frequency interference can usually be traced to earth loops and inferior earthing systems. In some areas, especially heavily industrial areas, the incoming mains earth will not be adequate and a separate technical earth for all the audio equipment must be supplied. However, check with your local electricity supply company to ensure that safety regulations are not infringed or negated. The successful, hum free, installation of a system requires forethought, and the establishment of a set of ground rules, which must be consistently adhered to at all stages of installation.

Initial Wiring Considerations For optimum performance, it is essential for the earthing system to be clean and noise free, as all signals are referenced to this earth. A central point should be decided on for the main earth point system, and all earths should be `star fed’ from this point. It is common electrical practice to ‘daisy chain’ the earths to all electrical outlets but this method is unsuitable for audio installations. The preferred method is to run an individual earth wire from each outlet, back to the system star point to provide a safety earth screen reference for each piece of equipment. A separate earth wire should also be run from each equipment rack and area, to the star point. This may or may not be used depending on circumstances, but it is easier to install in the first place, than later when problems arise. The location of the star point should be a convenient, easily accessible place, preferably at the rear of the console or in the main equipment rack. Install separate ‘clean’ and ’dirty’ mains outlets, wired individually back to the incoming mains distribution box. Use the ‘clean’ supply for all audio equipment and the ‘dirty’ supply for all lighting, etc. Never mix the two systems. If necessary, to provide sufficient isolation from mains borne interference, install an isolating transformer. This should be provided with a Faraday Shield which must be connected with earth. Never locate the incoming mains distribution box near audio equipment, especially tape recorders, which are very sensitive to electro-magnetic fields. Ensure that all equipment racks are connected to earth, via a separate wire back to the star point. Equipment which has unbalanced inputs and outputs may need to be isolated from the rack to prevent earth loops.

Audio Wiring Having provided all equipment with power and earthing connections, consideration must be given to the method of providing audio interconnection and adequate screening of those interconnections. This must be done in a logical sequence to avoid problems and assist in the localisation of problem equipment. l Connect the Monitor system to the console and check for any hum, buzz, or

RFI. Only when you are satisfied with the quietness of the console and the monitor system should you proceed with the next step.

l Connect stereo tape recorders, echo and foldback sends one at a time, check-

ing and isolating any connection which degrades performance.

l Connect all other peripheral devices.

2.4

FIVE Monitor Installation

l Connect all microphone lines.

By following this sequence much time and future trouble will be saved, and the result will be a quiet, stable system.

Shielding Audio equipment is supplied with a variety of input and output configurations, which must be taken into consideration when deciding where the screen connections should be made. There are three sources of unwanted signal being impressed on the screen, which are as follows: l Extraneous electrostatic or electromagnetic fields. l Noise and interference on the earth line. l Capacitive coupling between the screen and signal wires.

To minimise the adverse affects of the unwanted coupling to the signal wires, it is important that the screen is connected at one end only, i.e. the screen must not carry any signal current. Any signal on the wires within the screen will be capacitively coupled to the screen. This current will ultimately be returned to the source of the signal, either directly, if the screen is connected at the signal source end, or indirectly via the earthing system, if the signal is connected at the signal destination end. The indirect connection will cause an increase in high frequency cross-talk, and should be avoided wherever possible. Therefore, in general, always connect the shield only at the signal source end. In high RF areas, the screen can also be connected to earth via a 0.01µF capacitor. This will present a short circuit at RF frequencies, thus lowering the effective shield impedance to ground. However, at low audio frequencies the reactance of the capacitor will be sufficiently high not to cause an earth loop problem.

Points to Remember l In all cases, use good quality twin screened audio cable. Check for instability at

the output.

l Always connect both conductors at both ends, and ensure that the screen is

only connected at one end.

l Do not disconnect the mains earth from each piece of equipment. This is

needed to provide both safety and screen returns to the system star point.

l Equipment which has balanced inputs and outputs may need to be electrically

isolated from the equipment rack and/or other equipment, to avoid earth loops.

It is important to remember that all equipment which is connected to the mains is a potential source of hum and interference and may radiate both electrostatic or electromagnetic radiation. In addition, the mains will also act as a carrier for many forms of RF interference generated by electric motors, air–conditioning units, thyristor light dimmers etc. Unless the earth system is clean, all attempts to improve hum noise levels will be futile. In extreme cases there will be no alternative but to provide a completely separate and independant ‘technical earth’ to replace the incoming ‘noisy earth’. However, always consult your local electricity supply authority to ensure that safety regulations are not being infringed.

FIVE Monitor Installation

2.5

Connections

Audio Connectors

ALL INPUTS

ALL OUTPUTS

3-pole XLR

2 1 3

GROUND (SCREEN) COLD (OUT OF PHASE SIGNAL) HOT (IN PHASE SIGNAL)

Socket(female)

1

3

2

Plug(male)

/ " Stereo Jack Plug used as balanced Input/Output, inc. Insert Send/Return

1 4

Tip - HOT(IN PHASE SIGNAL) Ring - COLD(OUT OF PHASE SIGNAL) Sleeve - GROUND(SCREEN)

/ " Stereo Jack Plug used for Headphones

1 4

Tip - LEFT SIGNAL Ring - RIGHT SIGNAL Sleeve - GROUND(SCREEN)

Lamp Connectors

MIDI Connectors MIDI IN

1

Pins 1 and 3 = +/-12V Not Used

4

MIDI Out +

GND

MIDI Out -

2

3

Not Used

5

1

Not Used

4

Midi In +

Not Used

Midi In -

2

3 5

Not Used

2.6

MIDI OUT

Pin 4 = 0V

FIVE Monitor Installation

Jumper Options Mono Input Module (SC 3917) Jumper JMP 1-6 JMP 7-9

JMP 16-18 JMP 19 JMP 20

Function Channel Insert Position Prefade Source Select GRPS L+R Prefade Source Select GRPS 9-16 Prefade Source Select GRPS 1-8 Direct Output Source Pre EQ Mute Pre Mute Source

JMP 21-23

Meter Source

JMP 10-12 JMP 13-15

Default J1/2/3 Pre EQ J7 Pre Fade

Option J4/5/6 Post EQ J8 Pre Mute

Option

J10 Pre Fade

J11 Pre Mute

J12 Pre EQ

J13 Pre Fade

J14 Pre Mute

J15 Pre EQ

J18 Post I/P Amp Enabled Post Post EQ Insert J21 Post I/P Amp

J17 Pre Fade Disabled Pre Post EQ Insert J22 Pre Mute

J16 Post Fade

Enabled 32 Bus No Signal

Disabled 24 Bus GRPL+R

J9 Pre EQ

J23 Post Fade

Master Module LH PCB (SC3923) J1 J2 J3

Talk Back to Foh DC Signal Oscillator Routing to Buses Wedge Source If no Solo

VCA Fader (SC3926) J1-8 J11-18 J21-28

VCA Solo Signal (Select by VCA Position) VCA Control Level (Select by VCA Position) VCA Mute Signal (Select by VCA Position)

Power Distribution & Link PCB (SC3927) J1 J2

Matrix Ext. Input L Sensitivity +4dBu Matrix Ext. Input R Sensitivity +4dBu

-10dBu -10dBu

Output Module LH PCB (SC3921) J1-16 J17-20 J21-36 J37-68 J70 J71-86 J87-90 J101-116

FIVE Monitor Installation

“A” Group Input Select (GRPS 1-16) “A” Group Input Select 24 Bus Consoles Only “B” Group Input Select (GRPS 1-16) A+B Group Output Select (GRPS 1-16) Ground Cancel Bus Select Matrix Output Select Matrix External Input Option Select Mono/Stereo Mode Switch Select

2.7

2.8

FIVE Monitor Installation

FIVE Monitor

3

FIVE Monitor Block Diagrams

Block Diagrams

3.1

3.2

VCA CONTROLS GENERATED BY VCA FADER ASSY

FLASH

MUTE GROUP CONTROLS GENERATED BY MUTE MASTER ASSY

INPUT FADER

+4dBu

DIRECT OUT

INPUT B

8

1

IP SOLO DET

MUTE BUS 8

8

1

INPUT A

-2 to -70dBu/ +10 to -20dBu

INSERT RETURN

+4dBu

INSERT SEND

INPUT REARCON

MUTE

MUTE LOGIC

MUTE SAFE

SOLO LOGIC

SOLO

OPTIONAL MULTIWAY CONNS + DRILL OUT PADS FOR TRANSFORMER BALANCING

B

A

A/B

+

-

SIMPLIFIED VIEW + DRILL-OUT PADS

OPTIONAL MIC/LINE INPUT TX

GRP 1-8 PREFADE SOURCE

PHANTOM POWER

VCA CONTROL

å

SOLO

+48V

PRE

PRE

PRE

PRE

ON

ON

ON

ON

4

3

2

Ø

+5dB

+5dB

+5dB

+5dB

LEVEL 1

DIRECT OUTPUT SOURCE

IN

INSERT

RNG

SENS

PRE EQ

PRE EQ MUTE ENABLE

MUTE

-2dBu

PRE

PRE

PRE

PRE

HP

20 - 600

METER SOURCE

-30/+15dB

INPUT METER (ON INPUT FADER)

MUTE

ON

ON

ON

ON

PRE MUTE

LP

1k - 20k

8

7

6

+5dB

+5dB

+5dB

IN

PRE FADE

RET

SEND

+5dB

LEVEL 5

FILTERS

PREMUTE SOURCE

IN

VCA

GRP 9-16 PREFADE SOURCE

VCA IS BYPASSED WHEN NO VCA BUS IS SELECTED

FADER

INSERT PRE EQ (DEFAULT)

+10dB

PRE

PRE

PRE

PRE

POST FADE

LF

ON

ON

ON

ON

PEAK DETECT

12B

12A

11B

11A

10B

10A

9B

HI MID

+5dB

+5dB

+5dB

+5dB

+5dB

+5dB

+5dB

PAN

STEREO

STEREO

STEREO

STEREO

L/R PREFADE SOURCE

PRE

+20dB

PEAK LED (ON INPUT FADER)

+5dB

LEVEL 9A

LO MID

4 BAND PARAMETRIC EQUALISER

HF

ON

EQ

PRE

PRE

PRE

PRE

ON

ON

ON

ON

R +5dB

+5dB

LEVEL L

INSERT POST EQ

16B

16A

15B

15A

14B

14A

13B

+5dB

+5dB

+5dB

+5dB

+5dB

+5dB

+5dB

+5dB PAN

STEREO

LEVEL 13A

PAN

STEREO

STEREO

STEREO

STEREO

SOLO

-6dB

-6dB

24-Bus Mono Input Module

IP SOLO CLR

VCA LEVEL 8

MUTE BUS 1

VCA LEVEL 1

VCA MUTE 8

VCA MUTE 1

VCA SOLO 8

VCA SOLO 1

FIVE Monitor Block Diagrams

MONO/STE MODE BUS GRP R BUS GRP L BUS

GROUP BUS (1-32) AFL R BUS AFL L BUS PFL BUS

FIVE Monitor Block Diagrams

FLASH

VCA CONTROLS GENERATED BY VCA FADER ASSY

MUTE GROUP CONTROLS GENERATED BY MUTE MASTER ASSY

+4dBu

DIRECT OUT

INSERT RETURN

+4dBu

INSERT SEND

INPUT REARCON

8

1

IP SOLO DET

MUTE BUS 8

8

1

INPUT A

-2 to -70dBu/ +10 to -20dBu

INPUT B

MUTE

MUTE LOGIC

MUTE SAFE

SOLO LOGIC

SOLO

OPTIONAL MULTIWAY CONNS + DRILL OUT PADS FOR TRANSFORMER BALANCING

B

A

A/B

+

-

SIMPLIFIED VIEW + DRILL-OUT PADS

OPTIONAL MIC/LINE INPUT TX

GRP 1-8 PREFADE SOURCE

PHANTOM POWER

VCA CONTROL

å

SOLO

+48V

PRE

PRE

PRE

PRE

ON

ON

ON

ON

4B

4A

3B

3A

2B

2A

1B

Ø

+5dB

+5dB

+5dB

+5dB

+5dB

+5dB

+5dB

+5dB

LEVEL 1A

DIRECT OUTPUT SOURCE

IN

INSERT

RNG

SENS

PAN

STEREO

STEREO

STEREO

STEREO

PRE EQ

PRE EQ MUTE ENABLE

MUTE

-2dBu

PRE

PRE

PRE

PRE

HP

20 - 600

METER SOURCE

-30/+15dB

INPUT METER (ON INPUT FADER)

MUTE

ON

ON

ON

ON

PRE MUTE

LP

1k - 20k

8B

8A

7B

7A

6B

6A

5B

PAN

+5dB

+5dB

+5dB

+5dB

+5dB

+5dB

+5dB

IN

VCA

STEREO

STEREO

STEREO

STEREO

PRE FADE

RET

SEND

+5dB

LEVEL 5A

FILTERS

PREMUTE SOURCE

IN

GRP 9-16 PREFADE SOURCE

VCA IS BYPASSED WHEN NO VCA BUS IS SELECTED

FADER

INSERT PRE EQ (DEFAULT)

+10dB

PRE

PRE

PRE

PRE

POST FADE

LF

ON

ON

ON

ON

PEAK DETECT

12B

12A

11B

11A

10B

10A

9B

HI MID

+5dB

+5dB

+5dB

+5dB

+5dB

+5dB

+5dB

PAN

STEREO

STEREO

STEREO

STEREO

L/R PREFADE SOURCE

PRE

+20dB

PEAK LED (ON INPUT FADER)

+5dB

LEVEL 9A

LO MID

4 BAND PARAMETRIC EQUALISER

HF

ON

EQ

PRE

PRE

PRE

PRE

ON

ON

ON

ON

R +5dB

+5dB

LEVEL L

INSERT POST EQ

16B

16A

15B

15A

14B

14A

13B

+5dB

+5dB

+5dB

+5dB

+5dB

+5dB

+5dB

+5dB PAN

STEREO

LEVEL 13A

PAN

STEREO

STEREO

STEREO

STEREO

SOLO

-6dB

-6dB

32-Bus Mono Input Module

IP SOLO CLR

VCA LEVEL 8

MUTE BUS 1

VCA LEVEL 1

VCA MUTE 8

VCA MUTE 1

VCA SOLO 8

VCA SOLO 1

3.3

MONO/STE MODE BUS GRP R BUS GRP L BUS

GROUP BUS (1-32) AFL R BUS AFL L BUS PFL BUS

3.4

VCA CONTROLS GENERATED BY VCA FADER ASSY

INPUT R

INPUT L

FLASH

MUTE GROUP CONTROLS GENERATED BY MUTE MASTER ASSY

INPUT FADER

INSERT RETURN

+4dBu RIGHT

INSERT SEND

INSERT RETURN

+4dBu LEFT

INSERT SEND

-2 to -70dBu/ +10 to -20dBu

INPUT REARCON

8

1

IP SOLO DET

MUTE BUS 8

8

1

L

MUTE

+48V

MUTE LOGIC

MUTE SAFE

SOLO LOGIC

SOLO

PHANTOM

R

VCA CONTROL

å

SOLO

+

-

+

-

SIMPLIFIED VIEW + DRILL-OUT PADS

OPTIONAL MIC/LINE INPUT TX

IN

R

INSERT

R

L

GRP 1-8 PREFADE SOURCE

R

L

RNG

RNG

L

SENS

SENS

0

å

å

LINKS DISABLE RHS PHASE REVERSE

R

L

PRE

-2dBu

R

M

L

-4.5dB

å

METER SOURCE

-2dBu

L

ON

ON

L

EVEN

ODD

LEVEL +5dB

+5dB

L

R

MNO

LEVEL

METER SOURCE

POSTFADE TO METERS

RIGHT

GROUP SENDS 1-8 (2 OF 8 SHOWN)

STE

LEFT

INPUT METERS (ON INPUT FADER PCB) -20/+10dB

R

R

GRP 9-16 PREFADE SOURCE

MNO

RHS

L

1-8 B

PRE-EQ MUTE ENABLE

MUTE

LHS

RET R

SEND R

R

å

å

PRE EQ

PRE-EQ MUTE ENABLE

MUTE

HP

20-600

FILTER

L

PRE

PRE-MUTE R

INPUT R

PRE-MUTE L

INPUT L

TO PRE-EQ MUTE RIGHT

RET L

SEND L

TO PRE-EQ MUTE LEFT

HP

20-600

R

M

L

IN

R

ON

PRE MUTE L R

RHS

LHS

PRE FADE

LF

LF

+5dB

L

+5dB

M

+5dB

R

LEVEL

GROUP SENDS 9-16 (1 OF 8 SHOWN)

PREMUTE SOURCE

MUTE

MUTE

PREMUTE SOURCE

INSERT PRE EQ (DEFAULT)

INSERT PRE EQ (DEFAULT)

BAL

L

HI MID

FADER

HI MID

R

+10dB

+10dB

L

HF

HF

STEREO MODE

9-16 B

9-16 A

L/R PREFADE SOURCE

VCA IS BYPASSED WHEN NO VCA BUS IS SELECTED

FADER

VCA IS BYPASSED WHEN NO VCA BUS IS SELECTED

STEREO

VCA

VCA

LO MID

RHS

4 BAND PARAMETRIC EQUALISER

LO MID

LHS

å

MONO POST

PEAK DETECT

PEAK DETECT

EQ

+20dB

PRE

RIGHT

R

M

L

ON

+20dB

PEAK LED (ON INPUT FADER)

LEFT

PEAK LED (ON INPUT FADER)

INSERT POST EQ

INSERT POST EQ

POST FADE

+5dB

M

+5dB

R

+5dB

L

LEVEL

GROUP SEND L & R

R

L

BAL

SOLO

STEREO

24-Bus Stereo Input Module

IP SOLO CLA

VCA LEVEL 8

MUTE BUS 1

VCA LEVEL 1

VCA MUTE 8

VCA MUTE 1

VCA SOLO 8

VCA SOLO 1

FIVE Monitor Block Diagrams

MONO/STE MODE BUS GRP R BUS GRP L BUS

GROUP BUS 9-16 B

GROUP BUS 9-16 A GROUP BUS 1-8 B GROUP BUS 1-8A AFL R BUS AFL L BUS

PFL BUS

FIVE Monitor Block Diagrams

VCA CONTROLS GENERATED BY VCA FADER ASSY

INPUT R

INPUT L

FLASH

MUTE GROUP CONTROLS GENERATED BY MUTE MASTER ASSY

INPUT FADER

INSERT RETURN

+4dBu RIGHT

INSERT SEND

INSERT RETURN

+4dBu LEFT

INSERT SEND

-2 to -70dBu/ +10 to -20dBu

INPUT REARCON

8

1

IP SOLO DET

MUTE BUS 8

8

1

L

MUTE

+48V

MUTE LOGIC

MUTE SAFE

SOLO LOGIC

SOLO

PHANTOM

R

VCA CONTROL

å

SOLO

+

-

+

-

SIMPLIFIED VIEW + DRILL-OUT PADS

OPTIONAL MIC/LINE INPUT TX

IN

R

INSERT

R

L

GRP 1-8 PREFADE SOURCE

R

L

RNG

RNG

L

SENS

SENS

0

å

å

LINKS DISABLE RHS PHASE REVERSE

R

L

PRE

-2dBu

R

M

L

ON

-4.5dB

å

METER SOURCE

-2dBu

LEFT

L

L

METER SOURCE

R

MNO

+5dB

L

+5dB

M

+5dB

R

LEVEL

GROUP SENDS 1-8 (1 OF 8 SHOWN)

POSTFADE TO METERS

RIGHT

INPUT METERS (ON INPUT FADER PCB) -20/+10dB

BAL

R

R

RHS

L

LHS

RET R

SEND R

å

å

PRE EQ

STEREO MODE

1-8 B

1-8 A

R

HP

20-600

FILTER

L

PRE

PRE-MUTE R

INPUT R

PRE-MUTE L

INPUT L

TO PRE-EQ MUTE RIGHT

RET L

SEND L

TO PRE-EQ MUTE LEFT

PRE-EQ MUTE ENABLE

MUTE

PRE-EQ MUTE ENABLE

MUTE

STEREO

GRP 9-16 PREFADE SOURCE

MNO

HP

20-600

R

M

L

IN

R

ON

PRE MUTE L R

RHS

LHS

PRE FADE

LF

LF

+5dB

L

+5dB

M

+5dB

R

LEVEL

GROUP SENDS 9-16 (1 OF 8 SHOWN)

PREMUTE SOURCE

MUTE

MUTE

PREMUTE SOURCE

INSERT PRE EQ (DEFAULT)

INSERT PRE EQ (DEFAULT)

BAL

L

HI MID

FADER

HI MID

R

+10dB

+10dB

L

HF

HF

STEREO MODE

9-16 B

9-16 A

L/R PREFADE SOURCE

VCA IS BYPASSED WHEN NO VCA BUS IS SELECTED

FADER

VCA IS BYPASSED WHEN NO VCA BUS IS SELECTED

STEREO

VCA

VCA

LO MID

RHS

4 BAND PARAMETRIC EQUALISER

LO MID

LHS

å

MONO POST

PEAK DETECT

PEAK DETECT

EQ

+20dB

PRE

RIGHT

R

M

L

ON

+20dB

PEAK LED (ON INPUT FADER)

LEFT

PEAK LED (ON INPUT FADER)

INSERT POST EQ

INSERT POST EQ

POST FADE

+5dB

M

+5dB

R

+5dB

L

LEVEL

GROUP SEND L & R

R

L

BAL

SOLO

STEREO

32-Bus Stereo Input Module

IP SOLO CLA

VCA LEVEL 1

VCA LEVEL 8

MUTE BUS 1

VCA MUTE 8

VCA MUTE 1

VCA SOLO 8

VCA SOLO 1

3.5

MONO/STE MODE BUS GRP R BUS GRP L BUS

GROUP BUS 9-16 B

GROUP BUS 9-16 A AFL R BUS

GROUP BUS 1-8 B

AFL L BUS

GROUP BUS 1-8A

PFL BUS

32-Bus Output Module

INSERT

MONO/STE MODE BUS

GROUP BUS - 32

GRP R

GRP L

AFL R

AFL L

PFL

ALT AFL R

ALT AFL L

ALT PFL

SEND

RETURN

OPTIONAL MULTIPIN CONNECTOR

PART OF UPPER MASTER REARCON

A OUTPUT

DRILL-OUT PADS INSERT

-2dBu

+

å DRILL-OUT PADS

OPTIONAL EDAC OR TRANSFORMER

DIM

MUTE

+4dBu

å

6dB

A GROUP OUTPUT

POSTMUTE

TB

SOLO TRIM

-6dB

SOLO

TALKBACK TB DIM

-

OP SOLO DET

MONO

OP SOLO INH

OP SOLO CLR

ALT

MUTE

MUTE ALL OUTPUTS

PREFADE

FLASH

±10dB

STEREO

PART OF UPPER MASTER REARCON

TO ALL MATRIX SECTIONS AND GROUP METER IN OVERBRIDGE

POSTFADE

GLOBAL STEREO

-

MONO

+

SOLO LOGIC

-6dB MONO

OPTIONAL EDAC OR TRANSFORMER

PART OF LINK REARCON

FADER +10dB -2dBu

-

R

+

B GROUP EXTERNAL INPUT

+4dBu

Ø

L OPTIONAL EDAC OR TRANSFORMER

A GROUP EXTERNAL INPUT

OUT

DRILL-OUT PADS

A GROUP MUTE LOGIC

MIDI CONTROL

STEREO

GLOBAL STEREO

-4.5dB

SOLO

STEREO ALT

GLOBAL STE

SOLO LOGIC

-4.5dB MONO ±10dB

MUTE

MIDI CONTROL

MONO

B GROUP MUTE LOGIC

-6dB MONO

PREFADE SOLO TRIM

-6dB STEREO

POSTFADE POSTMUTE GLOBAL STEREO

L

TO ALL MATRIX SECTIONS AND GROUP METER IN OVERBRIDGE

INSERT

PART OF UPPER MASTER REACON

SEND

RETURN

DRILL-OUT PADS

R

OPTIONAL EDAC OR TRANSFORMER OPTIONAL MULTIPIN CONNECTOR

B OUTPUT

INSERT -2dBu

DIM

+10dB

+4dBu

PART OF UPPER MASTER REARCON

Ø

FADER

OUT

+

å

-

+4dBu

å

6dB -2dBu

ALT

B GROUP OUTPUT

TB DIM

TB

OP SOLO DET

TALKBACK

OPTIONAL EXTERNAL INPUT SELECTION

OP SOLO INH

OP SOLO CLR

MUTE

EXT L DRILL-OUT PADS

EXT R

EXTERNAL SOURCE SELECTION

EXT MONO

OPTIONAL EDAC OR TRANSFORMER

OPTIONAL INDIVIDUAL MATRIX EXTERNAL INPUT

OPTIONAL BUFFER AMP

SOLO

EXT

SOLO LOGIC

GRP R PART OF LOWER MASTER REARCON

GRP L GRP 10B OPTIONAL MULTPIN CONNECTOR

OPTIONAL MULTPIN CONNECTOR PANEL

MIDI CONTROL OPTIONAL MULTIPIN CONNECTOR

GRP 10A

DRILL-OUT PADS GRP 9B

OPTIONAL EDAC OR TRANSFORMER

MATRIX EXTERNAL INPUT L

INSERT SEND RETURN

OUT

GRP

+

+

-2dBu

-30dBu

+10dB

OPTIONAL E DAC OR Tx DRILL-OUT PADS

MUTE

+4dBu

GRP 8B

-

å

SIGNAL

INSERT

GRP 9A

+4dBu/ -10dBv

TO MATRIX METER IN OVERBRIDGE

-2dBu

8A

MATRIX MASTER

GRP 7B MATRIX

-

6dB

DIM

MATRIX OUTPUT

GRP 7A +

OPTIONAL EDAC OR TRANSFORMER

GRP

PART OF POWER DISTRIBUTION PCB

å

6A

GRP 5B PART OF LOWER MASTER REARCON

GRP 5A GRP 4B

MUTE

FLASH

GRP 4A GRP 3B

TB DIM

DRILL-OUT PADS

MUTE ALL OUTPUTS

PART OF LINK REARCON

TB

GRP 6B

MATRIX EXTERNAL INPUT R

GRP 3A GRP 2B OUTPUT BUS

MATRIX MUTE LOGIC

GRP 2A GRP 1B GRP 1A

TALKBACK

3.6

FIVE Monitor Block Diagrams

OUTPUTS 25 - 32

OUTPUTS 1 - 24

GRP R

GRP L

ALT AFL R

ALT AFL L

ALT PFL

AFL R

PART OF LINK REARCON

AFL L

PFL

Master Module (1)

GRP L POSTMUTE

±10dB

å

DRILL-OUT PADS

IN

å

OPTIONAL EDAC OR TRANSFORMER FADER

R

WEDGE

+4dBu

ON WEDGE L OUTPUT

20dB

+4dBu

_

PART OF UPPER MASTER REARCON PCB SEND

-2dBu

INSERT RETURN

OPTIONAL EDAC OR TRANSFORMER DRILL-OUT PADS

WEDGE DIM

å

_ AFL R +

å EXT AFL R INPUT

DIM

+10dB

-2dBu

+

-2dBu

AFL L

+

WEDGE MONO SOURCE

WEDGE INSERT

_

EXT AFL L INPUT

INSERT RETURN

MASTER MODE PFL/AFL

PFL

EXT PFL INPUT

SEND

PFL TRIM

+4dBu

DIM

+10dB +

-2dBu +4dBu

_

WEDGE MONO SOURCE

_

L

ON

PHONES POWER AMP

OUTPUT SOLO CLEAR

ON

CLEAR

INPUT SOLO CLEAR

INPUT PRIORITY

OUTPUT SOLO INHIBIT

AUTO CANCEL

OUTPUT SOLO DETECT

SOLO

INPUT SOLO DETECT

GRP L & R TO WEDGE ENABLE

PART OF LOWER MASTER REARCON PCB

WEDGE DIM

+

GRP R POSTMUTE

WEDGE R OUTPUT

20dB

-2dBu

DIM

PHONES OUTPUT (FADER PANEL)

POWER AMP

15dB

å

15dB

å

AFL R OUTPUT SOLO LOGIC

PHONES OUTPUT (UPPER MASTER REARCON)

DIM

PHONES LEVEL PHONES DIM

AFL L OUTPUT

TALKBACK TO PHONES

TO WEDGE METERS IN OVERBRIDGE DRILL-OUT PADS PRE PFL OUTPUT PART OF LOWER MASTER REARCON

MAIN WEDGE/ ALT SOLO

ALT PFL

SRC

å

ALT

DIM

+4dBu

ON

ALT WEDGE L OUTPUT

20dB

ALT AFL

å

OPTIONAL EDAC OR TRANSFORMER ALT LEVEL

+10dB

DRILL-OUT PADS WEDGE DIM

L

OPTIONAL EDAC OR TRANSFORMER +4dBu

DIM ALT AFL

å

ALT WEDGE L OUTPUT

20dB

R PART OF LOWER MASTER REARCON PCB

WEDGE DIM

-30

TB LEVEL +4dBu

FOH -2dBu

PAD

TB MIC

+48V

FOH TB OUTPUT

FOH

PART OF LOWER MASTER REARCON PCB 15v CONTROL VOLTAGE ENABLE

TB +48V

PART OF LOWER MASTER REARCON PCB

TALKBACK

PHANTOM

EXT

TALKBACK TO PHONES

+ ON

_

TB DIM

-20 TO -50dBu

TB MIC FRONT PANEL XLR

TO OUTPUTS VIA TB

FOH TB INPUT

WEDGE DIM TB LOGIC

PHONES DIM

ON FREQ PINK

LEVEL

OSC TO BUSSES

OSC TO OUTPUT ON OSC OUTPUT

OSC

X10 OSCILLATOR ON PART OF LOWER MASTER REARCON PCB

OSC TO OUTPUTS 25-32 ENABLE

+ / -17V

PSU 1 SUPPLY RAIL SENSE CIRCUITRY

+5V

PSU RAIL INDICATORS

+48V

PSU 2

PART OF POWER DISTRIBUTION PCB

FIVE Monitor Block Diagrams

3.7

Master Module (2)

GRP MONO/STE MODE BUS

OUTPUTS 1 - 32

GRP R

GRP L

AFL R

AFL L

PFL

ALT AFL R

ALT AFL L

ALT PFL

INSERT SEND

RETURN

OPTIONAL MULTIPIN CONNECTOR

PART OF UPPER MASTER REARCON

L OUTPUT

DRILL-OUT PADS INSERT

-2dBu

+

å

OUT

FADER +10dB

+4dBu

MUTE

-2dBu

-

OPTIONAL EDAC OR TRANSFORMER

Ø DIM

+4dBu

å

6dB

DRILL-OUT PADS

GROUP L OUTPUT

OPTIONAL EDAC OR TRANSFORMER

TALKBACK

TB DIM

SOLO

OP SOLO DET

SOLO TRIM

-

FLASH

TB

MONO

OP SOLO INH

ALT

MUTE

MONO

+

SOLO LOGIC

MONO

OPTIONAL EDAC OR TRANSFORMER

PART OF LINK REARCON

TO ALL MATRIX SECTIONS AND WEDGE INPUT

PREFADE

STEREO

+

GROUP R EXTERNAL INPUT

POSTFADE ±10dB

MUTE ALL OUTPUTS

PART OF UPPER MASTER REARCON GLOBAL STEREO

-

OP SOLO CLR

GROUP L EXTERNAL INPUT

STEREO DRILL-OUT PADS

GROUP L MUTE LOGIC

MIDI CONTROL

GLOBAL

GLOBAL STEREO

STE

-4.5dB

SOLO

STEREO ALT

MUTE

SOLO LOGIC

-4.5dB MONO ±10dB

MIDI CONTROL

MONO

GROUP R MUTE LOGIC

-6dB MONO

PREFADE SOLO TRIM

-6dB STEREO

POSTFADE

GLOBAL STEREO

PART OF UPPER MASTER REACON

INSERT SEND

RETURN

DRILL-OUT PADS TB

OPTIONAL EDAC OR TRANSFORMER

OPTIONAL MULTIPIN CONNECTOR

R OUTPUT

INSERT -2dBu

å

+

Ø

FADER

OUT

+10dB

+4dBu

PART OF UPPER MASTER REARCON +4dBu

-

6dB -2dBu MUTE

å

GROUP R OUTPUT

DIM

TO ALL MATRIX SECTIONS AND WEDGE INPUT

3.8

FIVE Monitor Block Diagrams

Master Module (3)

PART OF MASTER MODULE LAMP DIM

PART OF COMMS LINK/MIDI REARCON

IN

CALL SIGNAL DETECT

COMMS LINK

CONSOLE LAMPS FLASH OSCILLATOR

CONSOLE LAMPS DIMMER

CONSOLE LAMPS

OP SOLO INHIBIT

OP SOLO DET

IP SOLO DET

OP SOLO CLEAR

IP SOLO CLEAR

FLASH

VCA BUS 1 - 8

MUTE GROUP 1 - 8

MUTE ALL OUTPUTS

VCA SOLO 1 - 8

PART OF MASTER MODULE

VCA LEVEL 1 - 8

VCA MUTE 1-8

OUT

COMMS LINK/MIDI REARCON

FLASH BUS OSCILLATOR

MUTE FLASH DISABLE (HIDDEN SWITCH)

IN MIDI MERGE PROCESSOR

VCA DC

LOGIC TRIGGER FROM OUTPUT & MATRIX SOLO BUTTONS

SOLO REMOTE

OUT NOMINAL VCA 1 FADER

VCA VOLTAGE REFERENCES IN MUTE

FX RACK CONTROLLER MODULE

SOLO LOGIC

OUT

MIDI

THRU SOLO

VCA FADER 1 VCA 2 - B ARE IDENTICAL

MUTE MASTER

MUTE ALL OUTPUTS

M1 SHOWN M2 - M8 ARE IDENTICAL M1 CONSOLE LINK OUT PART OF LINK REARCON

CONSOLE LINK IN PART OF LINK REARCON

MUTE GROUP 1 OUT MUTE GROUP 1 IN MUTE GROUP 1 LINK SHOWN MUTE GROUP 2 - 8 IDENTICAL VCA 1 OUT

å

+ VCA 1 IN

_ VCA 1 LINK SHOWN VCA 2 - 8 IDENTICAL

VCA SOLO 1 IN VCA SOLO 1 OUT VCA MUTE 1 IN VCA MUTE 1 OUT IP SOLO DET OUT IP SOLO DET IN OP SOLO DET OUT OP SOLO DET IN

IP SOLO CLEAR IN IP SOLO CLEAR OUT

OP SOLO CLEAR IN OP SOLO CLEAR OUT

IP SOLO CLEAR IN IP SOLO CLEAR OUT

OP SOLO CLEAR IN OP SOLO CLEAR OUT

OP SOLO INHIBIT IN OP SOLO INHIBIT OUT

FIVE Monitor Block Diagrams

3.9

EQ Output

3.10

FIVE Monitor Block Diagrams

FIVE Monitor

4

FIVE Monitor Functional Description

Functional Description

4.1

Input Module

1

SENS (Sensitivity)

2

INPUT A/B - B

3

Ø (Phase)

4

RNGE (Range)

5

48V A and B

6

INS (Insert Point)

7

HPF (Highpass Filter)

8

EQ

The SENSitivity Control adjusts the level of the signal which is present on the Input XLRs. The input can handle mic or line level signals up to +30dBu, with the RANGE switch (see below) selecting high or low sensitivity.

Every input has A and B XLR inputs, allowing a large number of inputs to be connected to the console without repatching. Normally the A input is active, unless the B switch is pressed to select the alternative input. k

The PHASE switch reverses the phase of the selected input signal, to compensate for incorrect wiring or mic placement. The switch is internally illuminated when phase is reversed.

The RNGE (Range) switch selects between an input range of -2dBu to -70dBu (switch released), and +10dBu to -20dBu (switch pressed and lit), enabling both mic and line level signals to be handled by a common input stage. CAUTION: Phantom power should not be switched on when unbalanced sources are connected to the XLR input.

The 48V switches, when depressed, place 48V phantom power on pins 2 & 3 of the respective XLRs. Integral LEDs illuminate when the phantom power is on.

The Insert Point may be switched in circuit by the INS switch. The insert uses sep arate balanced jacks for send and return. It is normally positioned after the filter and before the equaliser, but can be repositioned using internal jumpers to be post-EQ if required. The insert is in-circuit when the switch is illuminated.

24-bus console

Two sweepable filters are provided, offering the capability of cleaning up both ends of the input signal, minimising the amount of corrective EQ which needs to be applied. The High-pass Filter (HPF) control (upper knob) sets the cutoff (-3dB) frequency of the High-pass filter: it is adjustable between 20Hz and 600Hz. The control also has a built-in switch to switch the filter out of circuit when rotated fully anticlockwise. The Low-pass Filter (LPF) control (lower knob) sets the cutoff (-3dB) frequency of the Low-pass filter: it is adjustable between 1kHz and 20kHz. The control also has a built-in switch to switch the filter out of circuit when rotated fully anticlockwise.

The EQ section comprises four fully parametric bands, with adjustable Q. The EQ is enabled when the EQ switch is pressed, and bypassed when the switch is released. The EQ is active when the EQ switch is illuminated. Each section has a dual concentric control providing 15dB boost or cut (upper knob) at a variable frequency (lower knob) and a separate Q control.

FIVE Monitor Functional Description

4.2

HF The HF section is fully sweepable from 1kHz to 20kHz. Q is variable from 0.5 to 3.0, or the band may be switched to a shelving response by turning the Q control fully anticlockwise.

HMF The HMF spans the range 500Hz to 8kHz. Q is variable from 0.5 to 3.0.

LMF The LMF spans the range 70Hz to 1.5kHz. Q is variable from 0.5 to 3.0.

LF The HF section is fully sweepable from 30Hz to 480Hz. Q is variable from 0.5 to 3.0, or the band may be switched to a shelving response by turning the Q control fully anticlockwise.

9

EQ

0

L/R Monitor Sends

q

Mono/Stereo Monitor Sends

w

Mono Monitor Sends (24-bus consoles only)

e

Fader

The EQ section is active when the EQ switch is pressed, and bypassed when the switch is released, allowing easy A/B comparison of the signal with or without EQ.

A dual-concentric control routes the signal to the L/R output (on the lower section of the Master Module). The control may either be configured as two mono sends (Left and Right), or, if the Global Mode STE switch on the output section on the Master module is pressed, the send becomes a stereo pair, with the top knob being send level, and the lower knob being a PAN control. The sends are muted unless the ON switch is pressed, and may be switched pre-fader by pressing the PRE switch. The pre-fade source may be configured as pre-fade/post-mute, premute or pre-EQ/pre-insert using internal jumpers. (see chapter 2).

The sends to outputs 9-16 (24-bus consoles) or 1-16 (32-bus consoles) are on dual concentric pots, and each row can be configured at the touch of a button as either a stereo send with level on the top knob and pan on the lower, or a pair of mono sends. These pairs of mixes are controlled by the faders in the output modules, and are labelled 1A & B (8A & B on 24-bus consoles)to 16A and B. Stereo mode is selected by pressing the Global Mode STE button on the respective output module. The sends are muted unless the ON switch is pressed, and may be switched pre-fader by pressing the PRE switch. The pre-fade source for sends 9-16 may be configured as pre-fade/post-mute, pre-mute or pre-EQ/pre-insert using internal jumpers. (see chapter 2).

32-bus console

The lower 8 sends on 24-bus consoles are configured as full-time mono sends, using single pots. The output modules for these mixes are similar to the output modules for stereo pairs of outputs, except the Global Mode STE switch is omitted, and the modules comprise two separate output sections. The sends are muted unless the ON switch is pressed, and may be switched pre-fader by pressing the PRE switch. The pre-fade source for sends 1-8 may be configured as prefade/post-mute, pre-mute or pre-EQ/pre-insert using internal jumpers. (see chapter 2).

A high-quality 100mm channel fader controls the level to all busses, and has 10dB of gain when full up as well as an expanded scale around the critical unity gain area, for maximum resolution.

FIVE Monitor Functional Description

4.3

Rr

MUTE

t

MUTE SAFE

yI

MUTE ASN (Mute Group Assignment)

uI

VCA ASN (VCA Group Assignment)

i

SOLO

o

LED input metering

The Channel MUTE switch mutes all feeds from the input channel, and can be remotely controlled by the console’s Mute Master section, allowing creation of up to 8 mute groups. The integral LED illuminates when the Mute is active. 1 2 3 4 7 6 7 8 1 2 3 4 7 6 7 8

SOLO

A semi-recessed Mute SAFE switch allows the channel to be prevented from remote muting by mute groups, but still allows it to be locally muted. Safe mode is selected when the switch is pressed and internally illuminated. MUTE SAFE is particularly useful for protecting key channels and their associated FX returns from accidental Muting, or for over-riding any remote muting when a problem occurs during a show and conventional manual control is temporarily required.

Each input channel can be assigned to any combination of 8 mute groups, using the recessed switch bank next to the fader. The corresponding Mute Master buttons are located on the Master module.

A bank of 8 latching VCA Assign switches with internal LEDs allow the channel to be assigned to any of the eight VCA Groups. Any combination of assignments is possible. When no VCA is assigned, the VCA element itself is switched out of the signal path, to maximise performance. MUTEs or SOLOs on the VCA Group Master Faders will activate the MUTE or SOLO respectively on any assigned input channels, allowing groups of inputs to be controlled together with a single button press.

The SOLO button is conveniently located below the fader, and provides a mono PFL or stereo AFL feed to the engineer’s headphones or monitors or triggers a destructive SOLO-IN-PLACE, depending on the mode selection at the Master section. The SOLO button can also be activated remotely from a VCA SOLO button, if the channel is assigned to a VCA Group. Intercancel or additive soloing is possible, with or without Input Priority, and solos can be cleared with a single button press (SOLO CLEAR) at the master section. The integral LED illuminates to indicate that a SOLO is active.

The channel is fitted with a 10-segment peak-reading bargraph meter, positioned next to each fader for maximum visibility and giving immediate and graphic indication of incoming (pre-EQ) signals. The top (red) LED in the bar is configured as a Peak LED, and monitors the signal path in three places, (input, pre-Mute and postfader) giving warning that the signal is exceeding +20dBu. The meter point is jumper-selectable to be post-fader if required (see Chapter 2).

Direct Output A balanced direct output is available on a male XLR on the rear panel. This is fed from a pre-fade signal which can be jumper selectable to be pre or post-EQ, and pre or post-mute, or may be jumper-selected as post-fade.

FIVE Monitor Functional Description

4.4

Rearcon Panel The connections on the rearcon panel are as follows:

INPUT A and B XLR Pin 1 Pin 2 Pin 3

Gnd (Screen) Hot (In-phase signal) Cold(Out-of-phase signal)

DIRECT OUT (Balanced) Pin 1 Pin 2 Pin 3

Gnd (Screen) Hot (In-phase signal) Cold(Out-of-phase signal)

INSERT SEND (Balanced) Tip Ring Sleeve

Hot (In-phase signal) Cold (Out-of-phase signal) Gnd(screen)

INSERT RETURN (Balanced) Tip Ring Sleeve

FIVE Monitor Functional Description

Hot (In-phase signal) Cold (Out-of-phase signal) Gnd(screen)

4.5

Optional Stereo Input Module The optional Stereo module has Left and Right input XLRs and the module may either be configured as a stereo signal path or the Left or Right signals may be fed in mono to both sides of the input.

1

SENS (Sensitivity)

2

RNG (Range) L/R

3

Ø (Phase)

4

48V L and R

5

MNO (Mono) L and R

6

INS (Insert Point)

7

HPF (Highpass Filter)

The SENSitivity Control adjusts the level of the signal which is present on the Input XLRs. The input can handle mic or line level signals up to +30dBu, with individual RANGE switches (see below) for L and R selecting high or low sensitivity.

The RNGE (Range) switches selects between an input range of -2dBu to -70dBu (switch released), and +10dBu to -20dBu (switch pressed and lit), enabling both mic and line level signals to be handled by each side of the input. CAUTION: Phantom power should not be switched on when unbalanced sources are connected to the XLR inputs.

The PHASE switch reverses the phase of the Left input signal when pressed, to compensate for incorrect wiring or mic placement. The switch is internally illuminated when phase is reversed.

The 48V switches, when depressed, place 48V phantom power on pins 2 & 3 of the respective Left and Right input XLRs. Integral LEDs illuminate when the phantom power is on. CAUTION: Phantom power should not be switched on when unbalanced sources are connected to the XLR inputs.

The MNO L and R switches select the Left or Right sides of the source signal (post input amp) and feeds either or both signals to both channels of the module. This is very useful when a single mono source is attached to just one leg of the input, but is required to feed both sides of an Output pair which has been globally configured as Stereo.

The Insert Point may be switched in circuit by the INS switch. The insert uses sep arate balanced jacks for send and return. It is normally positioned after the filter and before the equaliser, but can be repositioned using internal jumpers to be post-EQ if required. The insert is in-circuit when the switch is illuminated.

24-bus console

A sweepable High-pass Filter (HPF) control sets the cutoff (-3dB) frequency of the High-pass filter: it is adjustable between 20Hz and 600Hz. The filter is active when the IN switch is pressed, and bypassed when the switch is released, allowing easy A/B comparison of the signal with and without the extreme low end content.

FIVE Monitor Functional Description

4.6

8

EQ

The stereo EQ section comprises four fully parametric bands, with adjustable Q. Each section has a dual concentric control providing 15dB boost or cut (upper knob) at a variable frequency (lower knob) and a separate Q control.

HF The HF section is fully sweepable from 1kHz to 20kHz. Q is variable from 0.5 to 3.0, or the band may be switched to a shelving response by pressing the associated SHELF switch.

HMF The HMF spans the range 500Hz to 8kHz. Q is variable from 0.5 to 3.0.

LMF The LMF spans the range 70Hz to 1.5kHz. Q is variable from 0.5 to 3.0.

LF The HF section is fully sweepable from 30Hz to 480Hz. Q is variable from 0.5 to 3.0, or the band may be switched to a shelving response by pressing the SHELF switch.

9

EQ

0

L/R Monitor Sends

q

Mono/Stereo Monitor Sends

The EQ section is active when the EQ switch is pressed, and bypassed when the switch is released, allowing easy A/B comparison of the signal with or without EQ.

32-bus console

A dual-concentric control routes the signal to the L/R output (on the lower section of the Master Module). The send is globally switched into stereo as on the mono input, but in a slightly different way. In stereo mode, the control works as upper=level, lower=balance, with the left half of the module routed to the L bus and the right half to the R bus. The balance control then gives unity to both sides when in centre, and +4.5dB to one side when fully turned that way, and OFF to the other side. In mono mode, the upper and lower knobs are both level controls, the upper feeding a mono sum (pre or post-fade as selected by the PRE switch) to the L bus and the lower a mono sum to the R bus, with a gain of 5dB at full rotation. The send is muted unless the ON switch is pressed, and may be switched prefader by pressing the PRE switch. The pre-fade source may be configured as prefade/post-mute, pre-mute or pre-EQ/pre-insert using internal jumpers. (see chapter 2).

The sends to outputs 9-16 (24-bus consoles) or 1-16 (32-bus consoles) are on dual concentric pots, and each row can be configured at the touch of a button as either a stereo send or a pair of mono sends. In stereo mode, the controls work as upper=level, lower=balance, with the left half of the module routed to the L bus and the right half to the R bus. The balance control then gives unity to both sides when in centre, and +4.5dB to one side when fully turned that way, and OFF to the other side. In mono mode, the upper and lower knobs are both level controls, the upper feeding a mono sum (pre or post-fade as selected by the PRE switch) to the L bus and the lower a mono sum to the R bus, with a gain of 5dB at full rotation.

FIVE Monitor Functional Description

4.7

L

R 1 2 3 4 7 6 7 8 1 2 3 4 7 6 7 8

SOLO

These pairs of mixes are controlled by the faders in the output modules, and are labelled 1A & B (8A & B on 24-bus consoles)to 16A and B. Stereo mode is selected by pressing the Global Mode STE button on the respective output module. The sends are muted unless the ON switch is pressed, and may be switched prefader by pressing the PRE switch. The pre-fade source for sends 9-16 may be configured as pre-fade/post-mute, pre-mute or pre-EQ/pre-insert using internal jumpers. (see chapter 2).

w

Mono Monitor Sends (24-bus consoles only)

e

Fader

Rr

MUTE

t

MUTE SAFE

yI

MUTE ASN (Mute Group Assignment)

uI

VCA ASN (VCA Group Assignment)

The lower 8 sends on 24-bus consoles are configured as either individual sends, each fed with a mono sum of the stereo signal, or (by pressing the STE switch) as stereo pairs, with odd numbers feeding the L busses and even numbers feeding the R busses. This switching is done in four blocks of two sends, i.e. there is a STE switch for every pair of mono sends. The PRE switches also affect adjacent pairs of sends. The output modules for these mixes are similar to the output modules for stereo pairs of outputs, except the Global Mode STE switch is omitted, and the modules comprise two separate output sections. The sends are muted unless the ON switch is pressed, and may be switched pre-fader by pressing the PRE switch. The pre-fade source for sends 1-8 may be configured as pre-fade/post-mute, premute or pre-EQ/pre-insert using internal jumpers. (see chapter 2).

A high-quality 100mm channel fader controls the level to all busses, and has 10dB of gain when full up as well as an expanded scale around the critical unity gain area, for maximum resolution.

The Channel MUTE switch mutes all feeds from the input channel, and can be remotely controlled by the console’s Mute Master section, allowing creation of up to 8 mute groups. The integral LED illuminates when the Mute is active.

A semi-recessed Mute SAFE switch allows the channel to be prevented from remote muting by mute groups, but still allows it to be locally muted. Safe mode is selected when the switch is pressed and internally illuminated. MUTE SAFE is particularly useful for protecting key channels and their associated FX returns from accidental Muting, or for over-riding any remote muting when a problem occurs during a show and conventional manual control is temporarily required.

Each input channel can be assigned to any combination of 8 mute groups, using the recessed switch bank next to the fader. The corresponding Mute Master buttons are located on the Master module.

A bank of 8 latching VCA Assign switches with internal LEDs allow the channel to be assigned to any of the eight VCA Groups. Any combination of assignments is possible. When no VCA is assigned, the VCA element itself is switched out of the signal path, to maximise performance. MUTEs or SOLOs on the VCA Group Master Faders will activate the MUTE or SOLO respectively on any assigned input channels, allowing groups of inputs to be controlled together with a single button press.

FIVE Monitor Functional Description

4.8

i

SOLO

o

LED input metering

The SOLO button is conveniently located below the fader, and provides a mono PFL or stereo AFL feed to the engineer’s headphones or monitors depending on the mode selection at the Master section. The SOLO button can also be activated remotely from a VCA SOLO button, if the channel is assigned to a VCA Group. Intercancel or additive soloing is possible, with or without Input Priority, and solos can be cleared with a single button press (SOLO CLEAR) at the master section. The integral LED illuminates to indicate that a SOLO is active.

The channel is fitted with a dual 5-segment peak-reading bargraph meter, positioned next to each fader for maximum visibility and giving immediate and graphic indication of incoming (pre-EQ) signals. The top (red) LED in the bar is configured as a Peak LED, and monitors the signal path in three places, (input, pre-Mute and post-fader) giving warning that the signal is exceeding +20dBu. The meter point is jumper-selectable to be post-fader if required (see Chapter 2).

Rearcon Panel The connections on the rearcon panel are as follows:

INPUT L and R XLR Pin 1 Pin 2 Pin 3

Gnd (Screen) Hot (In-phase signal) Cold(Out-of-phase signal)

INSERT SEND (Balanced) Tip Ring Sleeve

Hot (In-phase signal) Cold (Out-of-phase signal) Gnd(screen)

INSERT RETURN (Balanced) Tip Ring Sleeve

FIVE Monitor Functional Description

Hot (In-phase signal) Cold (Out-of-phase signal) Gnd(screen)

4.9

Output Module The standard Output sections of the 24 and 32 bus frame sizes are very similar, and differ only in the omission of one switch and Matrix labelling. An alternative version of the Output Module is available which offers a full 4-band parametric EQ (see Input module for description) on each output, instead of the Matrix section. This module can be used to reduce the amount of external EQ required, particularly for in-ear monitoring applications. The redundant Matrix Output XLR is used for a mono sum of the A and B outputs, which is useful for feeding an on-stage sub-woofer.

MATRIX OUTPUTS The Matrices are controlled via the upper section of the Output modules - one matrix per module, hence 12-Output matrix on the 24-bus version, and 16Output matrix on the 32-bus version. An External Input, L/R bus, and the first 10 pairs of Output busses are available as contributions into the matrix via the 11 dual- concentric and single mono pots.

1

EXT IN

2

GROUPS MIX TO MATRIX

The EXT IN level control adjusts the level of a stereo External Input which can be mixed to each matrix. The External input Left and Right signals are shared by all matrix sections in the console and are electronically balanced. The signal is fed one of two ways to the EXT receive controls on the matrix sections: either a mono sum of the left and right external inputs is fed to each receive pot, or the left input is fed to all odd numbered matrix Outputs, and the right input to all even matrix Outputs. The type of feed to each receive pot is set by internal jumpers.

11 dual-concentric controls mix the Group output signals to the matrix. The Group assignment is different between the 24-bus and the 32-bus consoles and is arranged as follows: 24-bus version Group Outputs 1/2 Group Outputs 3/4 Group Outputs 5/6 Group Outputs 7/8 Group Outputs 9A/B Group Outputs 10A/B Group Outputs 11A/B Group Outputs 12A/B Group Outputs 13A/B Group Outputs 14A/B Group Outputs L/R Ext Input

3

SIG LED

4

INS (OUT)

32-bus version 1A/1B 2A/2B 3A/3B 4A/4B 5A/5B 6A/6B 7A/7B 8A/8B 9A/9B 10A/10B L/R Ext Input

The SIG LED shows post-fade signal present, illuminating when -30dB is passing through the Matrix path.

The Insert Point consists of separate Send and Return jacks on the rear panel. The Send is normalled to the Return. The OUT switch bypasses the Insert Point when pressed, but leaves the pre-fade output signal on the Send jack to feed external equipment if required. The switch is illuminated when the insert is bypassed.

FIVE Monitor Functional Description

4.10

5

MATRIX MASTER

6

MUTE

7

TB

8

SOLO

9

ALT (SOLO)

This control sets the master level for the Matrix and provides 10dB of gain when fully clockwise.

The Matrix output is muted when the switch is pressed, and the integral LED illuminates to show that the MUTE is active. Note that TALKBACK may still be sent to that output (if TB is pressed), as it is injected post-mute.

Pressing the latching TB switch arms the Matrix output to receive talkback from the central talkback section on the Master, when the master “TO OUTPUTS VIA TB” INT switch is active. The switch illuminates to warn that TB is armed. The output is dimmed by 6dB when talkback is active. Alternatively, if the Master Talkback signal is already active, pressing TB routes the Talkback signal to the output, until the switch is released.

The SOLO switch routes the signal from the associated Matrix to the mono PFL or stereo AFL busses of the desk, as defined in the Master SOLO mode. The feed to the AFL bus is post-fade but pre-MUTE, allowing AFL SOLOing of MUTEd Matrix Outputs.

The ALT switch sets the Matrix Output to feed the ALT SOLO busses instead of the primary SOLO busses. The operator can now switch between two SOLO Output systems when a secondary monitoring system is in use (e.g. Primary is Wedge, Secondary is In-Ear).

INSERT A balanced Insert Point is provided, consisting of separate Send and Return jacks on the rear panel. The Send is normalled to the Return.

GROUP OUTPUTS The module comprises two identical Output sections which may be used individually or linked as a stereo pair.

9 0

FADER

The 100mm fader controls the final level to the electronically balanced output.

MUTE

The output is muted when the switch is pressed, and the integral LED illuminates to show that the MUTE is active.

q

TB

Pressing the latching TB switch arms the output to receive talkback from the central talkback section on the Master, when the master “TO OUTPUTS VIA TB” INT switch is active. The switch illuminates to warn that TB is armed. The output is dimmed by 6dB when talkback is active. Alternatively, if the Master Talkback signal is already active, pressing TB routes the Talkback signal to the output, until the switch is released. TB is injected post the meter takeoff point, so talkback signals do not appear on the meterbridge.

FIVE Monitor Functional Description

4.11

w

Ø (Phase)

e

INSERT (OUT)

r

GRP TO L/R

t

SOLO TRIM

y

GLOBAL MODE (STE)

Pressing the Ø (Phase) switch reverses the phase of the output, to allow experimentation for best feedback immunity with a multiple-mic setup. The switch is illuminated when the phase is reversed.

The Insert Point consists of separate Send and Return jacks on the rear panel. The Send is normalled to the Return. The OUT switch bypasses the Insert Point when pressed, but leaves the pre-fade output signal on the Send jack to feed external equipment if required. The switch is illuminated when the insert is bypassed.

The internally illuminated L and R switches route the post-mute, post-fade output signal to the last pair of output busses (designated L and R) for subgrouping. This allows the FIVE Monitor to be used as a Front-of-House mixer if necessary, summing the Groups for a pair of stage fills, or perhaps giving a simple and quick method for the Monitor Engineer to make a 2-track recording of certain channels for later reference.

SOLO TRIM gives +/- 10dB adjustment to the signal sent from that Output to the AFL/PFL bus. This is useful for trimming a number of Outputs of varying levels to give a consistent monitor level, thus reducing the requirement for manual Wedge or ALT master adjustments whenever a SOLO is selected.

The GLOBAL MODE STE switch (not present on Output modules 1-4 of a 24bus FIVE Monitor which are mono only) provides switching of the associated pairs of send controls on the input channels between MONO and STEREO operation. In STEREO mode, the SOLO switches on the two Outputs are linked in software, so that pressing one automatically activates the other. See SOLO below for information on how this switch affects the sends to the SOLO busses.

u i &

SOLO / ALT

The SOLO switch feeds the pre and post-fade Group signal to one of two sets of PFL and stereo AFL busses: Main or Alternate, depending on the setting of the mechanically latching ALT switch . The PFL / AFL state of the SOLO is affected by the global PFL/AFL mode switch on the Master module. The PFL feed is post-INSERT. The function of the Output SOLO switch is also affected by the GLOBAL MODE (STE) switch. If the mode is mono, each Output SOLO button switches an equal feed at unity gain to each of the AFL left and right busses, and a PFL signal to the PFL bus. If the mode is stereo, the odd and even SOLO switches are logic linked as a pair and the feed is changed to odd Group AFL to left AFL bus, even to right, at unity gain. The PFL feed remains mono. The SOLO swithces can also remotely control a BSS Varicurve™ system - see page 4.20 for details. Output Module with EQ

i

METERING The FIVE Monitor is fitted with two banks of VU Meters for all Group outputs, with switching of the lower bank to display Matrix outputs if required. Two large VUs read the Left and Right outputs.

FIVE Monitor Functional Description

4.12

Rearcon Panels The connections on the rearcon panes are as follows:

All Output XLRs (balanced) Pin 1 Pin 2 Pin 3

Gnd (Screen) Hot (In-phase signal) Cold(Out-of-phase signal)

INSERT SEND & RETURN (balanced) Tip Ring Sleeve

FIVE Monitor Functional Description

Hot (In-phase signal) Cold (Out-of-phase signal) Gnd(screen)

4.13

Master Module

1

LAMP DIMMER

The Lamp Dimmer controls the voltage to the 4-pin XLR socket which is provided for the connection of Littlites™. The pinout is as follows: Pin 1 & 3 +/-12V Pin 4 0v max. current 400mA

2 3

PSU RAILS

Three LEDs monitor the status of the power supply rails.

MUTE FLASH DISABLE

When an input channel MUTE is triggered by the MUTE switch of either a VCA Master or a MUTE master, it will flash to show that it is under the control of a remote trigger. This flashing may be disabled with the MUTE FLASH DISABLE switch (which is recessed to avoid accidental selection).

OSCILLATOR SECTION The oscillator generates either tone or pink noise, and has its own independent balanced XLR output on the rear panel. The oscillator can be routed to all busses simultaneously.

4

PINK

5

FREQ / X10

6

LEVEL

7

OSC TO XLR OUTPUT / ALL BUSSES

The oscillator generates either TONE (switch released), or pink noise (switch pressed and illuminated).

The frequency range of the oscillator is variable form 63Hz to 1kHz. Pressing the x10 switch (internal LED lit)provides a higher range of 630Hz to 10kHz.

This control adjusts the oscillator level to both the XLR output and the internal busses.

The rear panel OSC OUT XLR is enabled when the OSC TO (XLR OUTPUT) ON switch is pressed. The internal illumination indicates when the output is active. The Oscillator may also be routed directly to all busses simultaneously by pressing the OSC TO (ALL BUSSES) ON switch (LED illuminated) where it mixes with any existing signal.

TALKBACK SECTION The TALKBACK system allows communication by the operator to the Group and Matrix Outputs, and to and from the front of house (FOH) console.

8 9

TALKBACK MIC

Talkback Mic input XLRs are provided on the front and rear panel.

LEVEL

This control adjusts the gain of the Talkback Mic preamp over a 30dB range.

FIVE Monitor Functional Description

4.14

0

+48V

q

-30dB

w

FOH

e

TO OUTPUTS VIA TB (INT)

r

CALL

The +48V switch applies phantom power to the Talkback mic input XLRs when pressed.

The -30dB switch inserts a 30dB pad in the input for use with high level signals or external test generators.

The FOH button (momentary/latching, green LED) initiates talkback to the front of house console using either the Soundcraft proprietary “Blythphone” system, or a Clear-Com™ compatible intercom system. With the latter, an incoming CALL signal is displayed by the console lamps flashing, and pressing the FOH button will then allow 2-way communication, with incoming Talkback appearing on the console headphone Output, dimming the existing signal by 15dB, and dimming the wedge Output by 20dB.

Pressing TO OUTPUTS VIA TB (INT) routes the talkback signal internally to any outputs (Group or Matrix) which have been previously armed for talkback (local TB switch ON). If the switch is pressed momentarily, the switch latches. Alternatively, pressing and holding the switch for more than about one second produces a momentary action until the switch is released. The switch illuminates to warn that TB is active. This action also dims the wedge Output by 20dB.

Pressing the momentary CALL switch sends a CALL signal to the intercom loop. Talkback communication may then be activated by pressing FOH (see above).

PFL / AFL SECTION

t

PFL TRIM

The PFL trim control gives +/-10dB of level adjustment to the input solo level heard in the Wedge and Phones outputs. The output AFL solos have their own individual trim controls on their respective output modules.

y u

SOLO CLEAR

Pressing SOLO CLEAR cancels any solos on the console.

INPUT PRIORITY

The INPUT PRIORITY (ON) switch, when selected, allows an input solo to temporarily override any output solo which may be present. When the input solo is released, the original output solo will reappear on the monitors. If AUTOCANCEL (see below) is also ON, input solos still have priority, but input solos will only cancel other input solos, and output solos will only cancel other output solos.

i

AUTO CANCEL

o

MASTER MODE (PFL / AFL)

The AUTOCANCEL (ON) button, when selected, allows any solo button selected to cancel the previous solo, so that only one SOLO can be active at once. With the switch released, SOLOs are additive.

The global PFL/AFL mode for the console is set by this switch, as either PFL (switch released) or AFL (switch pressed).

FIVE Monitor Functional Description

4.15

L & R OUTPUT SECTION The lower half of the Master module comprises the Left/Right Output, which may be used as two individual outputs or linked as a stereo pair.

p a

FADER

The 100mm fader controls the final level to the electronically balanced output.

MUTE

The output is muted when the switch is pressed, and the integral LED illuminates to show that the MUTE is active.

s

TB

d

Ø (Phase)

f

INSERT (OUT)

g

SOLO TRIM

h

GLOBAL MODE (STE)

Pressing the latching TB switch arms the output to receive talkback from the central talkback section, when the master “TO OUTPUTS VIA TB” INT switch is active. The switch illuminates to warn that OSC is armed. The output is dimmed by 6dB when talkback is active. Alternatively, if the Master Talkback signal is already active, pressing TB routes the Talkback signal to the output, until the switch is released. TB is injected post the meter takeoff point, so talkback signals do not appear on the meterbridge.

Pressing the Ø (Phase) switch reverses the phase of the output, to allow experimentation for best feedback immunity with a multiple-mic setup. The switch is illuminated when the phase is reversed.

The Insert Point consists of separate Send and Return jacks on the rear panel. The Send is normalled to the Return. The OUT switch bypasses the Insert Point when pressed, but leaves the pre-fade output signal on the Send jack to feed external equipment if required. The switch is illuminated when the insert is bypassed.

SOLO TRIM gives +/- 10dB adjustment to the signal sent from that Output to the AFL/PFL bus. This is useful for trimming a number of Outputs of varying levels to give a consistent monitor level, thus reducing the requirement for manual Wedge or ALT master adjustments whenever a SOLO is selected.

The GLOBAL MODE STE switch provides switching of the associated pairs of send controls on the input channels between MONO and STEREO operation. In STEREO mode, the SOLO switches on the L/R Outputs are linked in software, so that pressing one automatically activates the other. See SOLO below for information on how this switch affects the sends to the SOLO busses.

j k &

SOLO / ALT

The SOLO switch feeds the pre and post-fade Group signal to one of two sets of PFL and stereo AFL busses: Main or Alternate, depending on the setting of the mechanically latching ALT switch . The PFL / AFL state of the SOLO is affected by the global PFL/AFL mode switch (see above). The PFL feed is post-INSERT.

k

FIVE Monitor Functional Description

4.16

The function of the Output SOLO switch is also affected by the GLOBAL MODE (STE) switch. If the mode is mono, each Output SOLO button switches an equal feed at unity gain to each of the AFL left and right busses, and a PFL signal to the PFL bus. If the mode is stereo, the SOLO switches are logic linked as a pair and the AFL feed is changed to stereo, at unity gain. The PFL feed remains mono. The SOLO switches can also remotely control a BSS Varicurve™ system - see page 4.20 for details.

EXTERNAL PFL/AFL Additional PFL, AFL left and AFL right external inputs, from XLRs on the rearcon, allow SOLO signals from another console to be added to the Main PFL and AFL busses. The external PFL level is trimmed by the PFL TRIM pot (see above). When no solos are active on the console, both PFL and AFL left and right external signals are monitored by the Headphones and Wedge. The facility would be used when linking another console as a slave to the FIVE Monitor.

FIVE Monitor Functional Description

4.17

WEDGE OUTPUT

l

WEDGE FADER

;

MAIN WEDGE ON

z

MONO SOURCE L/R

x

WEDGE INSERT (IN)

c

ALT WEDGE LEVEL

v

ON

b

SRC (Source)

n

PRE

m

PHONES

A stereo 100mm fader is provided for engineer’s Wedge speakers, and this normally receives the EXT SOLO signal (i.e. no signal, unless another slave console is connected.) Whenever an input or output SOLO button is pressed, the Wedge output switches to the corresponding internal or external PFL or AFL signal. An internal jumper allows the output to be configured to receive the Left/Right output instead of EXT SOLO, unless an internal SOLO is active. The Fader also controls the overall level of the ALT WEDGE outputs if these are configured to follow the Main Wedge (see SRC below).

The Main Wedge is enabled when the switch is pressed. Note that the ALT WEDGE output is unaffected, even if configured to follow the Main Wedge (see SRC below).

MONO SOURCE buttons L and R allow either the Left or Right output/solo signals to be fed in mono to both Left and Right Wedge outputs without a gain change, or if both are pressed, the output will be a mono sum of Left and Right. This MONO SOURCE function is useful when handling stereo AFL signals on a single monitor wedge.

The Wedge Insert Point is normally bypassed, unless the IN switch is pressed, and is before the Mono Source switching and the feed to the ALT WEDGE, so that both Wedge outputs are affected by any devices inserted into the signal path. ALT SOLO is not affected by the Insert.

An Alternate Wedge stereo output is provided, with its own level control. The feed to this output may either follow the Main Wedge or ALT SOLO, depending on the position of the SRC (Source) switch (see below). The ALT WEDGE dims with the Main Wedge.

Pressing the internally illuminated ON switch enables the Alt Wedge output, independently of the Main Wedge.

When this switch is released, the Alt Wedge follows the Main Wedge, including the Mono Source switching, Wedge Insert and Wedge Fader (subject to the PRE switch, see below), but before the Main Wedge ON switch. When the SRC switch is pressed the Alt Wedge listens to ALT SOLO.

The feed from the Main Wedge to Alt Wedge is normally sourced post the main wedge fader, but may be switched to pre-fade by pressing the PRE switch.

The engineer’s phones (and Wedge Meter in the overbridge) are fed by the postinsert Wedge, pre Mono Source Wedge signal, but have a separate phones volume control. The headphone socket is recessed into the front of the fascia (and duplicated on the Master rear panel), and is driven by a high-power (1W into 8ohms) headphone amp.

FIVE Monitor Functional Description

4.18

MUTE MASTERS

,

MUTE ALL OUTPUTS

The MUTE ALL OUTPUTS switch will MUTE every Group and Matrix Output on the console (useful as either a ‘panic’ or ‘desk unattended’ switch). This switch is covered to prevent accidental triggering.

.

MUTE MASTERS

8 recessed latching buttons control the mute status of any channels assigned to the appropriate mute group. Inputs may be assigned to any combination of the eight master mute busses. When an input channel is assigned to a mute bus, it is muted when the corresponding MUTE MASTER is pressed. The MUTE MASTER illuminates and the input channel MUTE switch also illuminates to indicate that a non-local mute is active.

VCA MASTER FADERS These modules offer master controls for the 8 VCA Groups.

/

MUTE

Activating the MUTE on a VCA master will activate the MUTE on any slave input channel, allowing groups of inputs to be MUTEd together with a single button press.

[

MUTE MASTERS

The attenuation or gain applied on a VCA Master Fader will be applied to all input faders assigned as slaves to that VCA. The VCA Master Fader has 10dB of gain in hand at the top of the fader. The adjacent NOMINAL LED illuminates when the VCA Master Fader is at unity gain. This is useful as an aid in setting ‘flat’ VCA Masters when the console is configured as a logic-linked slave to another ‘Master’ FIVE Monitor console.

]

SOLO

Activating a SOLO on a VCA Master will activate the SOLO on any slave input channel, allowing groups of inputs to be PFL / AFL’ed together with a single button press.

FIVE Monitor Functional Description

4.19

BSS VARICURVE™ REMOTE CONTROL FIVE Monitor may be inserted into the MIDI loop of a BSS FPC-900 Varicurve™ Remote Control and Slave system (see diagram below.) When so connected, pressing a SOLO on an Output of the FIVE Monitor will cause the necessary MIDI command to be sent to the Remote unit to SELECT the EQ associated with that Output, thus automatically bringing the EQ for the SOLO’ed channel onto the remote for editing. This feature saves time when setting up and editing the EQ parameters for a Monitor rig, as the engineer no longer has to manually scroll through the various slave units to find the appropriate device to edit - a press of the SOLO on the FIVE Monitor will suffice. Note that this function requires the Varicurve™ remote to be fitted with operating system EPROM V1.16 or above; contact BSS for further information.

Varicurve Slave 1 Varicurve Slave 2 Varicurve Slave 3 Varicurve Remote FPC-900 (software V1.6 or above)

Varicurve Slave 4 Varicurve Interface

Console is inserted into the MIDI loop here

MIDI loop

MIDI merge processor

FIVE Monitor Console

4.20

Logic Trigger from output SOLO buttons

FIVE Monitor Functional Description

LOGIC IN / LOGIC OUT Rear Panel EDAC connectors are provided to link the logic systems of one FIVE Monitor with a second console in a Master/Slave configuration. See Chapter 2, Installation, for connection details.

Rearcon Panel The connections on the Master rear connector panel are as follows:

All Audio XLRs Pin 1 Pin 2 Pin 3

Gnd (Screen) Hot (In-phase signal) Cold(Out-of-phase signal)

3-ppole ‘A’ gauge Jack - Inputs/Outpus (inc. Inserts) Tip Ring Sleeve

Hot (In-phase signal Cold(Out-of-phase signal) Gnd (Screen)

3-ppole ‘A’ gauge Jack (Headphones) Tip Ring Sleeve

Left Signal Right Signal Gnd (Screen)

4-ppin XLR (Lamp Connection) Pin 1 & 3 Pin 4

FIVE Monitor Functional Description

+/-12V max. current 400mA 0v

4.21

4.22

FIVE Monitor Functional Description

FIVE Monitor

5

FIVE Monitor Specifications

Specifications

5.1

Typical Specifications

Frequency Response Any Input to any output

. . . . . . . . . . . . . . . .20Hz - 20kHz, +0/-0.5dB

Total Harmonic Distortion All measurements at 20dBu Line In to Direct Out (VCA out) . . . . . . . . . . . . . . . .Less than 0.006% @1kHz Line In to Direct Out (VCA In) . . . . . . . . . . . . . . . .Less than 0.02% @1kHz Line In to Mix Out (VCA out) . . . . . . . . . . . . . . . .Less than 0.008% @1kHz

Noise 22Hz - 22kHz bandwidth, unweighted Mic input Equivalent Input Noise . . . . . . . . . . . . . . . .Less than -127dBu (150Ω source) Group Output Noise . . . . . . . . . . . . . . . .Less than -80dBu (32 ch routed) Mix Output Noise . . . . . . . . . . . . . . . .Less than -80dBu (32 ch routed) Group Output Noise (residual) . . . . . . . . . . . . . . . .Less than -92dBu

Crosstalk All measurements at 1kHz Input Channel Muting Input Channel Fader Isolation Input Send Pot Routing Isolation Group to Group Crosstalk Group to Mix Crosstalk

. . . . . . . . . . . . . . . .Greater than 90dB . . . . . . . . . . . . . . . .Greater than 90dB . . . . . . . . . . . . . . . .Greater than 90dB . . . . . . . . . . . . . . . .Less than -90dB . . . . . . . . . . . . . . . .Less than -90dB

Input and Output Impedances Mono Input All Insert Sends All Insert Returns Outputs

. . . . . . . . . . . . . . . .1.6kΩ balanced . . . . . . . . . . . . . . . .Less than 75Ω balanced . . . . . . . . . . . . . . . .Greater than 10kΩ balanced . . . . . . . . . . . . . . . .Less than 75Ω balanced

Input/Output Capability Maximum Input Level All Insert Sends All Insert Returns All Balanced Outputs Headphone Output

. . . . . . . . . . . . . . . .+30dBu . . . . . . . . . . . . . . . .+26dBu into 1kΩ . . . . . . . . . . . . . . . .+26dBu . . . . . . . . . . . . . . . .+26dBu into 1kΩ . . . . . . . . . . . . . . . .+20dBu into 1kΩ . . . . . . . . . . . . . . . .8W into 8Ω

Input and Output Levels Mono Input Sensitivity (XLR) All Insert Send/Return Outputs

. . . . . . . . . . . . . . . .-2dBu to -70dBu, +10dBu to -20dBu . . . . . . . . . . . . . . . .+4dBu nominal . . . . . . . . . . . . . . . .+4dBu for 0VU

Weights 24-bus, 44ch / 32-bus, 40ch 24-bus, 52ch / 32-bus, 48ch 24-bus, 60ch / 32-bus, 56ch

5.2

. . . . . . . . . . . . . . . .156kg (343lbs) . . . . . . . . . . . . . . . .170kg (374lbs) . . . . . . . . . . . . . . . .185kg (407lbs)

FIVE Monitor Specifications