[PDF]User Guide - Rackcdn.comhttps://3e7777c294b9bcaa5486-bc95634e606bab3d0a267a5a7901c44d.ssl.cf2.rackc...
14 downloads
193 Views
3MB Size
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 Soundcrafts 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 Soundcrafts specifications and otherwise in all respects in accordance Soundcrafts 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, airconditioning 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 consoles 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 engineers 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 consoles 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 engineers 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 engineers 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 engineers 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