General considerations The rapid changes in technology hich have taken place since the advent of multitrack recording inthe late 1960s, and the great increase inthe make for audio production work of al types, ave brought bout continual extensions in methods of Sound creation and manipulation, The recent introduction of digtal techniques above all has been the motor fr a readjustment in recorcing methods, since forthe fist ime in musica history the quality and texture a sound have been divorces rom the imitations of both instrumental ski and acoustle possiotity. A large proportion of al recordings, whatever the intended purpose, now contain sounds which exist only as result of electronic processing, and which cannot be ound or Ereated inthe natural environment using non ~ electronic means, Traditionally sound recording was based on a combination of excellence of microphone placement techniques used to capture performances, anc faithful registration on tape of the signals received This situation has changed radically, and nowadays many recordings are principally assembled from a wide range of exacly — repeatable signals produced by a variety of non — performing programmable machinery such as synthesizers, sampling devices, and digital sound effets unis ih addition, through the development ‘of video technology anc with overall increases in Broadcast production and programming, there has been considerable {growth in both the post — production and television sound sectors Ths has generated a demand for sound mixing Consoles which can be operated in synchronization with timecode “The new situation has created a need fora new approach to mixing console design. The following general Considerations are brought into view: In Multitrack Recording: “The traditional technique was a two — stage process of recording signas onto multitrack tape and then remixing to stereo, 2dding sound effects processing during miniown. Eectively, the final resuit was 2 obtained only towards the end of the recording process. Consoles incorporated elaborate monitoring facilities which constituted 2 ‘mixer within the mixer, allowing submixes to be created to guide the engineer and the musicians as the tracks were filed. Once the tape was ful, the monitor mix was largely forgotten anc the teal’ mixing began. Developments in ‘computer techniques allowed a degree of mixing to precede and assist the actual Imixdown process, Two rival types of monitoring systems have been favoured, the “in — line American’) system anc the ‘spt (‘British’) system. The principles of inline and ‘split monitoring were laid out at the beginning of the 1970s and there have been no fundamental changes since — atleast as {ar as console manufacturers are ‘concerned. ‘A dferent situation has prevailed in the actual studio, where four main tendencies have become apparent: the use ofa larger number of tracks — 48 and heading for 64; the use of synthesizers and drum machines with multiple outputs; the se of very large quantities of external signal processing equipment; and the abandonment ofthe monitoring system provided withthe console as being Unsuitable for what might be called ‘virtual mixing’ recording techniques. “The essence of ‘virtual mixing’ is that the producer and engineer attempt to work from the onset withthe sounds and sound sources that will be used in the final mix. AS the recording process continues the layers of etfects increase and must be exactly repeated with each pass ofthe tape. ‘Overdubs are made not within the context ‘of raw microphone signals replayed from tape but as part of the overall cconceptualization of the piece of music, and must be accompanied therefore by the finished product at whatever stage it has reached. The engineer, producer and ‘musicians all need to hear identical signals The end result is that there is no longer any significant division between the ‘manitor’ mix and the ‘stereo mix, The target has alnays been the stereo mix and the present-day approach tot sto ‘rix as you go’ to create the end product from the Commencement of recording. ‘The practice of Virtual mixing, therefore, combined with the increased requirement for inputs, has suggested a ‘new approach to console design in which a seperate monitoring section, of whichever format, is excluded trom the mixer, Instead, ‘large number of identical inputs shoule be provided, each dedicated toa particular signal, be ittape outout, effects device, or source. These signals are then mixed toa Common stereo buss, with mutiple outputs avaliable from stereo (stereo buss and stereo monitor) according to the needs of the moment. Since the full ange of input facilities — equalization, inserts, auxilary sends, automation, ete ee, are now used Con mest signals, these multiple inputs efectvely need to be standard input channels with all normal functions except fora moritor mix ection “Tis approach makes the console basicaly simpler since the confusing ddsion between monitoring and mixing is largely removed. A further resuti thatthe increased number of inputs i Compensated for by a eduction in ‘complexity of the console, making the engineers task proportionally simpler atthe point when he has to focus his attention on 2 greater numberof signal, Reduction in console size for increased ergonomics: ‘Adding more inputs toa console makes it widerThisin turn leads to ergonomic and operational problems, since the console becomes excessively ong and unwieldy; it becomes ‘user hostile’ ina very real, physical sense. AS itis, module length (ron to back) has tended to become uncomfortably long, since in addition to the moritor mx section, extensive routing and dynamics facies, have been added fo the channel strip. The shortening ofthe module by remaval ofthe ‘monitor mix and routing sections increases operator comfort and helps reduce console pth; shrinking the module with ‘30mm, 1.18 inches, inthe APCIOOO consol) whist retaining al normal facies, Slows a drastic reduction in console with The console occupies less space: Not ony does the console become much more manoeuvrable — conto being within reach —itaso occupies less space in the control room. The intial mportance of this that although very large consoles are undoubiably impressive to lok at, they are recognized as being the primary disturber ofthe acoustic environment inthe Control room. Thus a better acouste performance becomes feasible witha Emaller console. in Broadcast, Video and Teeproduction appications, space is often ata premium and auiofecities general ome second to video in importance. In many cases anew audio desk must be fitted into exsting space orginally signaled for much less sophisticated ‘UNG equipment. Thus whist complex Consoles are now often required, not much room i allocated fr them. Space simfary ata premium in mobile recording and video preduction trucks, where many input ae often needed, especially as video shoots and lve coverage inreases in size and scope, Hence, the reduction n console Size agains idealy suited to Broadcast and Video production requirements. Similar comments apply to recording studios inwhich existing consoles need to be replaced by much larger’ ones (in terms of inputs) in order to keep up with the number of inputs required by contemporary technology, preferably without engaging in the expense of tearing the control roam apart Instant repeatability is required: ‘The introduction of computer assisted mixing has given the engineer critical control over both levels and mutes, and the use of timecode-based synchronization has allowed the memorized events to be repeated in sequence with ‘multiples of audio and video recorders locked together Mixing is often interrupted by time constraints on studio availabilty, and thus a need to include memorization of contro! settings in the computer system became ‘apparent to allow engineers and producers toreturn tothe point where they had left off atthe previous close of work. The development of recall systems for console potentiometer and individual Channel configuration has made a step towards repeatabilty, but only through relatively slow manual re-loacing of the memorized positions using alaberate Braphics-based prompts, ‘longer term aim is the abilty to completely reset an enti console from ‘memory within a very short time span (typically less than one SMPTE time frame), but at this intermediate point a combination of reset and recall facies is not only practical and cost-effective but also offers Superior sonic performance. it should be noted that the APC, when fitted with the GML moving fader system, has no VCAs, DCAs or other such devices in the signal path; the only exception is VCAs used in the Dynamics sections, but these are bypassed when not in circuit. Switch settings can be stored and reset easily, and simplified recall information entry procedures can be devised. Thus archives of console settings can be stored and resets can be ‘accomplistied during mixingior alternative ‘console set-up configurations can be ‘addressed by aifferent engineers merely by aging toa cifferent memory number, allowing immediate selection of a preferred routing and switching set-up. ‘further advantage is that clectromechanical components, a major long-term source of console downtime through wear and tear, can in some part be eliminated. Audio Follows Video is important: In Video post-production and ‘Teleproduction facilities a direct interface between the console and video equipment is required for remote contro of levels ang mutes. This is known as Audio Follows ‘Video (AFV). Inevitably, operators wil look to.extend AFV further into the console for emote control of many other switching functions. Thus in-depth computer control 's envisioned The ‘Virtual Console’ approaches: Since channel configuration may be brought under software control, the cost ‘and time constrictions presented by Changing hardware are somewhat mitigated. Many custom specications require changes in input and output configurations; in the ‘soft console, ‘modifications can be made relatively easly, especially when compared with the traditional ‘hard’ console The Large Architecture Console Large Architecture Console" (LAC) and Al-input Console are generic terms Chose to describe this new approach to console design. The principal Characteristics are the possibilty of having a very large number of inputs, the ‘abandoning of the monitor mix section, and the assignabilty of certain functions to allow repeatability and control over console siz. The APCIOOO (Assignable Production Console) is neither an in-line nor a spt monitor console, these being the two traditional console types 2s noted above, Instead, the APCIOO0-LAC embodies many of the features outlined in the preamble, namely ~ the central assignment of channel ‘switching functions using a keyboard, with simple master display functions allowing rapid identification of routing selections =a reduction in module width to 30mm (1.19 inches) — a consequent reduction in console size, allowing more inputs in less overall ‘space (16 inputs per 19 inches) and potentially, better control room performance | — in-depth computer control, «allowing automation to be brought deeper into the console — towards making the Console 3 true control room command centre — and the use of advanced mixing systems such as the GML (George Massenburg Laboratories) moving fader system without sacrifice or degeneration of audio signal quality —‘Oynamic Reset" giving immediate loading of stores console switch configurations = ‘Synchronous Reset’, allowing stored console switch configurations to be reloaded at preselected timecode prompts — instant repeatability of console configurations by paging through memory — increased reliability through the removal of many electromechanical elements — a semitvirtual or semi-soft) console which allows easier re-configuration to.user requirements — operational simplicity allowing engineers unfamiliar with the system to ‘master the basic principles of the console quickly implication ofthe console signal ‘ow path by elimination ofthe monitor mix circuits placement of all signal in identical input modules giving greater overall contral — simplified Recall techniques to speed data re-loading procedures for ‘memorized rotary controls — increased amounts of output busses (up to 64) facitating assignment to multitrack recorders and stereo machines = use ofthe busses as extra auxiliary send outputs when using multiple effects devices — placement of buss output selection under automated memory control allowing use ofthe busses as a large signal patching matrix to external devices and alleviating tedious anc repetitive overdub routings. — simplification of servicing routines through diagnostic programmes. “The terms ‘Large Architecture Console, “Dynamic Reset’ and ‘Synchronous Reset’ are claimed as jointly-owned trademarks of ‘AMEK SYSTEMS AND CONTROLS LTD and ‘AML LTD (AMEK/MASSENBURG LABORATORIES LTD)‘The AMEK APCIO00 uses novel techniques to simplify what have become increasingly complex operational requirements and to satisfy extremely varied demands. The ‘allinput’ system allows many different input-output Configurations to be created: the central ‘keyboard control for assigning module ‘switching functions allows multiples of console routing and switching setups tobe recalled; and a ‘Recall of rotary knob Positions using novel and simplified setting Up procedures has been devised, “Two systems of fader automation, one using servo-assisted faders, the other using VCRS, are available as part of the sophisticated systems control technology. “The underiying concept of the ‘APC1000 is 1 expand the operational procedures of a conventional manual Console through the use of several layers of software contol, allowing greater integration of functions through computer processing ‘Operation of the APC console principally generates three types of data: ‘Switch settings; Rotary potentiometer settings; Fader and mute information ‘These can al be treated either independently or as combinations to create the type of flexibility which gives the console its operational power. The central switch assignment system With the extensive features now requires on production consoles, conventional designs are becoming increasingly compiex and contusing owing tothe sheer density of contros. Many switch functions are virtually unused trom day to day, or are ‘presets’ which when set up are not touched during operation Furthermore, as has been noted, switches ate electro-mechanical devices and inevitably sutfr from wear and tear, which decreases reliability. ‘Typically there may be between 60 ‘and 70'swtches on each fo module of an inline console, The problem of switch 4 ‘quantities, and space taken up, is further ‘compounded when a greater number of ‘Output and auxiliary busses is required Each APCLIS input channel has the ‘equivalent of at least 97 switches to accommodate the extra bussing and other functions. Thus many potential nd actual problems of siz, ergonomics and general ificulty of operation, together with those of ‘supplying wonsoles in various configurations, are overcome by using an assignable system, ‘Almost all the switch functions are removed from the individual medules and relocated to the master assignment keyboard. Certain functions — such as EQ IN, for example — also retain incividual local switches for preview or effects use. The central assignment section is ‘comprised of 5 separate keyboards: for Recall (Active Recall Keyboard, ar ARK); for ingividual module configuration (Routing Keyboard, or RK and Module Assign Keyboard, or MAK); and for memory management and switch configuration control (Memory Function ang Numeric Keyboard, or MENK, and Module Control Keyboard, or MCX) Switch settings and memory levels ‘Apart from the great reduction in size which has been acheived through assignabilty, many new possibilties re attaired through the manipulation ofthe memorzed switch ata, Accessing the computer As State, the ineeased numberof input channels and reduced overall sizeof APC has been acheived by incorporating most of the module switch functions inte a central computer-contoled keyboard. Switches retained on the module are for "hands-on operation and include such functions as Mutes and Sota Homever APC does not require any in-depth computer knowledge for basic ‘operation. Although heirarchical memory sjstems are provided for mass storage, the console can be operated very simply by Using the iNTerrogate button on each input module in conjunction with the Routing (RK) and Module Control (MCK) Keyboards. Thus, at stch on, each channel can be ingividvaly configured Example—interrogating channel Press INT on channel 1. Any previous setup information held in the computer memory for channel 1 will then be displayed on the RK and MCK keyboards by luinating the LED in the respective keyswitches, The Central Status Display (CSO) in the meter hood wil indicate that channe! (01 has been selected; Main and Trim signal path displays in the CSD wil aso indicate any selections which have been made, Each keyswitch functions as a toggle; ifthe LED is not on, the function is not selected. Pressing the switch will then iluminate the LED which indicates that the function has been selected. ‘The input and output signal path you require can then be keyed in by pressing the appropriate switches, It should be understood that certain keys, eg MIC/LINE, toggle between two signals (as opposed to oniatf or iniout, As the required switches fora cchennel are selected, the information is stored in @ memory area called LIVE. All the Channels you wish to set up are selected Using the INT switches and the switch selections keyed in. In this way, a complete Configuration ofthe console is built up anc retained in LIVE, Memory levels. The console has three memory levels denoted LIVE, SAFE and PAGE. The LIVE memory i the normal active memory area where Keyswitch entry and changes are entered and stored automaticaly PAGE i 2fnal memory of al the saitch functions forthe entire console, stored fom the LIVE memary and denoted by @ number Multiple pages can be created SAFE isa backup copy of the intial contents ofthe LIVE memary, eg when a PAGE is created a backup is also made into the SAFE memory area. On loading 2 previously stored console setup fom a page into the LIVE memory the previous console Setup i sil retained in SAFE ft has also been STORES. Used in conjunction with the FLIP key, two console setups can be directly compared by toggling between IVE and SAFE memory areas ‘The memory area currently being accessed is shown inthe Channel Status Display the words LIVE or SAFE being iluminated along with their respective numbers These memory levels are protected by longsfe battery back-up trom accidental efasute through power-down conditions. Sitch configuration data held in ihe various memory levels can be edited and loaded in various ways using the Memory Assign Keyboard (MAK). Functions include INLAY, SWAP, COPY, ALL, SWITCH GROUP, TOGGIE, et, These facies, described in detail below, provide novel methods of console operation and allow manipulation of signals which was not possible on earlier designs.General notes on APC construction and operation ‘APC isan alkinput structure. Tis ‘means that console is comprised of a ‘number of ential input channels, each of which may serve as a Microphone, Line, Etects or Tape Return (b, "APC does away with normal ‘nine? or ‘spt’ monitor console techniques and replaces them witha simplified approach, allowing greater flexbility whichis better adapted to current recording techniques Chassis input sizes and configurations The chassis s avalable inthe folowing standard input sizes: 48/64;80. Larger Sizes such as 96 or 112, or smaller sizes such as 32, wil be availble “To acheive control oversize, the ‘module width has been reduced fo 30mm, which means that 16 inputs wil tin a 1.inch wide space. The chassis sizes thus increase in muttipies of 16, ‘When sizing an APC console fora recording application, the total input requirement must be considered since APC has no dedicated Effects Returns, etc ete Correspondent withthe increased requirement for inputs, so APC has an increased numberof outputs — 48 busses and 8 auxiliary sends (9 in MIXOOWN) Furthermore the busses can be used as additional Effects sends. The Central Assignment Keyboards and Master Monitor section occupy 2 further 19-inch space inthe console, The fader bay inthis section is accupied with stereo master fader, Plasma meter contol, Console fader automation contol panels and, in the case of a GML Moving Fader ‘Automation-equipped APC, 6 subgroup faders - The meter hood immediately behind the Central Assignment Keyboards is ccupiag by th Cental Statue Display which indicates channel number currently tesident in the keyboard, Dynamic and Synchronous Lists, Memory Levels, etc ete (this Display i described in more detat below) and the Plasma Screen connected the GML system displaying Alphe-Numeric contol information. The 32 input frame is configured 16 inpuls ether side of the Master section. The 48 input frame is configured 32 inputs othe Lef sie of the Master section and 16 to the Right. ‘The 64 input frame is configures 32 inpuls tothe Left side ofthe Master section ‘and 32 fo the Right The 80 input rame is configured 48 inputs o the Left side of the Master section and 32 tothe Right. Chassis sizes The console may have up to 128 ‘computer-contalied madules. A chassis system has been designed which wl include the folowing standard input sizes, allof which may be partloaded 32inputs width 2.09m (82 inches) 8 2.59m (102 inches) 64 2.08m (121 inches) 80 2.58m (141 inches) 96 4.071 (160 inches) 42 4.57 (180 inches) 128 5.06m (199 inches) ‘These measurements include wood end cheeks, Interface of the APC By way of example, a 64 input APC may be considered sufiient for 32 of AB rack recording and rixcown, In the simplest terms, the console can be configured inthe following ways (experienced engineers wil ‘discover many alternative approaches) In the case of 3 track operation, 32 inputs would be dedicated to ape machine telurns and 32 to Microphone and Line signals such as Reverb and other Effects devices ih the case of 48 track operation, &8 (46) inputs would be dedicated to tape machine eturns and 16 (18) to Microphone and Line signals such as Reverb and other Enecisdeviees. “This example can be extendesto cover the possible methods of connecting the 48 and 80 input chassis versions, Modules ae numbered 1 (7) rom Ltt to Right and normally tape signals wil be brought into the corresponding quantty of numbered channels; ie, track 1 wilnput to channel 1 and so0on ‘The inputs and outputs are connected via @ combination of muttivay connectors, with XLRS for main montor functions A seperate 19.inch racking unit is provided to house the console power supply units and the GML computer. Setting up the console for use The APC does not in principle have master Status switches such as RECORD, MIXDOWN, etc etc as this defeats the objective of the system which isto alow the user the freedom to simply configure the ‘console to his preferred method of working, A possible interface for a 48 channel ‘APC sel up for 24 track recording could be as follonsiinputs 1 — 24 TAPE return; 25 — 36 Microphone and/or Line signals; 37 — 448 Reverb and FX returns, This means that 1 — 24 willbe in an Offtape monitor made (ie Mixdown); 25 — 36 willbe in 2 Record mode; and 37 — 48 willbe in Line input mode. In order to assist in rapid set up of an APC such as is described, certain predetermined switch setups have been programmed into the computer. These are denoted TEMPLATES and broadly ‘correspond tothe in-line console concepts ‘of RECORD, MIXDOWN, INLINE and EFFECTS RETURN There are 4 Templates which may be Used. These are obtained by pressing the keys in the MAK (Module Assign Keyboard) labelled MIC, MIX, INLINE and Fx, MIC constructs the channel so that 2 microphone signal may be recorded on tape via the multitrack bussing, INLINE constructs the channel so that the input signal is on the MAIN signal path and a simulated inline monitor is. formed around the TRIM contro MIX constructs the channel so that 2 ‘TAPE return from the multitrack can be routed tothe stereo buss. FX constructs the channel so that 2 LINE input can be routed to the stereo buss Given the Templates, the 48 channel console could be set up by selecting 1 — 24 to MIX; 25 — 36 to MIC and 37 — 48 as Fx. Once these Templates have been entered, the whole console setup may be stored 25 2 PAGE by pressing STORE RESET and Ol; this means thatthe information is, ‘now on PAGE 1 and this page may be retained for future use as a startup configuration. “To LOAD the PAGE, the keys LOAD RESET and 0 willbe pressed, ‘These basic operations can of course: bbe considerably expanded. Time saving setup functions: All, Copy ‘What has been described above is for setting up individual channels; for setting up multiples of channels throughout the console ALL and COPY are used. These keyswitches enable information to be loaded into a number of modules at the same time. In other words, when setting up channels 1 — 24 as described above, al itis necessary to dois set one channel to MIX, for example ‘channel 24, press ALL, INTerrogate channel 1, press ALL again. Modules 1 — 24 wil be set to MIX. COPY i similar to ALL but only covers configuration operations from one module toanother The GML Moving Fader System ‘The GML computer is a VME-buss system using two Motorola 62000 wth the Idris (UNIX compatibie) software control system. The keyboa1d's a Standard QWERTY keyboard with an Alphanumericplasma display mounted into the meterhood. & 40 Megabyte hard disk is standard equipment, with a minimum 1 Megabyte RAM for on-line operations. The system has exceptional expansion Capabilities. Mix information can be stored to loppy disk for archiving, This ‘combination of general-purpose hardware and software provides @ complete super microcomputer including areas of functionality beyond console automation ‘The moving fader system is entirely rnonVCA ans thus allows a smoath and transparent performance comparable with existing conductive plastic faders. The extreme speed and accuracy ofthe system avoids the timing degradation inherent in existing systems, The GML system can read both NECAM ana SSL fader and muting information, The extremely powerful capabilities of the GML computer faciltate automates ‘mixing processes through sophisticated on- and offline editing and merging routines, {An extended interface with the ‘APC1000 console willbe developed. Further detals of the GML System are available in other literature provided by AMEK, The Audio Kinetics Mastermix System MASTERMIXis @ popular timecode. based system which allows storage of mines, derived from movements of YOA. faders, on foppy disk, MASTERMIX aiso allows cigtaly-contolled VCA subgrouping Once again further details of the ‘AUDIO KINETICS MASTERMIX system are availabe nother Ierature provides by AMEK Other equipment JACKFIELDS — A comprehensive TT Jacktieldis included as standard. To special order, the jackfield may be wired onto an umbilical cable for external mounting, thus allowing the console width to be further reduced DYNAMICS — Dynamics modules which are the same width asthe channels may be located in the meter hood. The DYNAMICS units are optional PLASMA METERS — the standard metering system is Plasma Bargraph displays. 48, 64 and 80 input chassis all have 52 meters, These are decicated 48 to buss outputs; 2 as auxiliary meters, Left Right; 2 as main stereo outputs, Tne Plasmas hove switchable PEAKIVU ballistics, and also may function 82 Spectrum Analyser. ‘APCO0O may, optionally, be fitted with VU meters.THE APC input channel is comprised of 4 sections: DYNAMICS module (optional) RECALL bars INPUT CHANNEL FADER BLOCK Dynamics (optional) The DYNAMICS modules normally located in the upper section ofthe meter ood and Girectly behing the channel. Thus i ful complement of OYNAMICS medules was fitted o a 48 channel APC, one DYNAMICS ‘module would be found behind each channel. Each DYNAMICS section has a number corresponding to the same input in the stp, ie DYNAMICS 1 i located above Input 1 ands recognized as such by the computer “The DYNAMICS meduie is comprised ofa Compressor-Limiter and Expander Gate. The characteris are as follows Expander: Threshold variable between -30d8 and +1008 Release variable between 100mS and 5S Hold variable between 2m and 2S Compressor: Threshols variable between 10cB and +1508 Release variable between 100mS and 5s Ratio variable between I:l and 20:1 (Limit mode) ‘rotary controls provided fr each ofthe above functions ana tne tary postions ate stored inthe RECRLL sstem, Sitch functions pertaining tothe DYNAMICS section are assigned from the computer Functions incuce To] IN dynamics section in 2 Toggles both compressor-limiter_ BJ] end expander gate mand out of circuit The default position for the DYNAMICS section is immediately after the channel insert return and when this is toggled prelpost eq, the DYNAMICS section will follow it. However, the postion of the DYNAMICS in the circuit may also be etermined by internal jumpers, which select the DYNAMICS as Pre:Eq, Pre-Fader, or in the Insert Send Line LINK — inks DYNAMICS section to next channel on right for stereo 1m _]} operation KEY — selects Sidechain insert or external trigger into circuit FLTS IN SIC — inserts pass fiters =o to sidechain Be J) The Pass Filters are removed from the MAIN signal path circuit and are brought into the sidechain of the DYNAMICS section. The Fitter iniout ‘switching is retained. GATE — selects Gate made (foggies between Expander and Gate operation) [o] EXP FST ATT — switches bepy expander between two Festal} predefined attack times COMP FST ATT — switches compressor between two predefined attack times J] AUTO selects Compressor to auto-release modeRecall bars ‘The Recall bas behind each module are used to compare the memorized position ofthe knob (green LED) with its Current postion (ted LED). Each bar is ‘comprised of two parallel 20-segment LED ramps. 19 segments are used to return the otto the memorized postion:the knob is {urned unt the red and green LEDs are matched. An odd number hes been Selected so that the central pair of LEDs indicates the centre ofthe pots travel, whichis especialy useful when setting panpots. The 20th LED is used to provide fiact correspondance with memorized level, which s indicated by the nuling of the last (top) pair of red and green LEDs. “Te function to be Recalled is selected through the Recall keyboard The Recall bars may be also be used, in a secondary function, as level indicators One column shows gain reduction within the DYNAMICS section and the ather shows, the channel postfader, pre-panpot output ain At the base ofthe LED rampsis 2 large horizontal green LED. This LED serves two purposes. The frst in connection with the INT switchthe LED illuminates, showing the channel current INTerrogated. The ‘second isin connection with the DISPLAY mode of the MAK, providing a cross reference between channels shawing which have been selected to the same function APC1000 input channel The input channel is comprised of input ampifiers, equalizer and pass ftes, auxiliary sends, TRIM and PAN pots. Input sensitivity Switch selectable for microphone inputs in 5d8 steps over a range trom 70dB to +158. The Fine control gives an agjustment range of +/-508. In Line input mode oniy the Fine gain Ccontrolis used, which inthis mode of ‘operation has a gain range of +/-2008. Three LEDs are situated by the input gain controls. These are labelled 1, 2 and R, ‘and indicate Mic, Line or Recorder. Pass filters: Swept 12dB/octave PASS FILTERS may be assigned iniout of citcut High pass: Range is 20H2 to 1KHz Low pass: Range is 20KH2 to 800 Hz Pass filter in/out Assignable, with local over-ride switch, The Pass Filters can also be switched into the DYNAMICS section sidechain if needed. In this mode of operation, the Filters are completely removed from the channel cicuity The Keyboard and Local IN/OUT switches operate on the Filters whether in the channel or in the DYNAMICS section, Equalizer: The much sought-after AMEK 4-band fully-parametric equalizers fitted. Each band of the equalizer has 3 contol knobs, Biving cut/boost, Q (slope) and swept andcentre HF: +1408, 600H2 to 20KH2, adjustable Q, assignable bellshett MPl: 4/148, 600H2 to 20KHz, adjustable Q MP2: +/240B, 60Hz to 1. 4kH2, adjustable Q LF: s/ddB, 60H2 to 1, KHz, adjustable Q, assignable belishelt EQ in/out: Is assignable, with local override switch, ‘The equalizer is resident in the MAIN signal path and cannot be used in the TRIM path other than by rerouting (eg, using TRIM as a subgroup). The PEAK LED located by the TRIM pots actually in the MAIN signal path post 6 be 3 8 3 9 + j | £0, o *, 2 be ee aeq and wil iluminate i the signal reaches 408 below clipping (+2600). The local override switch for EQ and PASS filters iniout is for ‘hands-on’ operation. Ifthe eg, for example, is selected out of circuit atthe keyboard, pressing the local switch wil bring the eq in circuit. This does not affect the information held in memory, Auxiliaries: 8 auxiliary sends are fitted, configured 4 mano and 2 stereo, The B sends are set up on dual concentric potentiometers. On the mono sends, the upper knob isthe odd- ‘numbered send and the lower potis the even number. On the stereo sends, the ‘upper knob isthe level control and the lower knab is the panpot. Prejpost Fader selection is assigned from the keyboard Infout: IS assigned from the keyboard with cone local nfout stch foreach pai. This, Switch isindependent ofthe assignment ieysnlich and does not toggle the teyawiten. Thus f the sends ere muted, assigning them tothe aux busses does not automaticaly unmute them “The Aux Send Master pot levels are also stored in the Recall system Trim: This pots @ soft level control and can be assigned from various input sources and to ‘aris outputs and thus constitutes 2 ‘second signal path through the input module. inputs to TRIM can be obtained from any one of MIC, LINE, BUSSTAPE, BUSS INPUT and AUXILIARY 1 (optionally 3, selected via internal ink) The BUSS INPUT signalis derived mmmediately after the summing amp but before the buss ‘output drive ampitier. Cutouts trom TRIM can be sent TO STEREO, TO MULTitack routing, and TO PATCH, Whon TO PATCH fe usod in conjunction with BUSS INPUT, the TRIM Control acts 25a buss output level contol to ‘utitrac, Ifo mutitrack is altached, TO PATCH becomes a direct output appearing athe jackie Panpot: ‘There is only one PAN in each input module. Ths also a soft pot the input of which can be taken from either the MAIN of ‘TRIM signa paths andthe output of which may be sentio either Stereo or Multiack busses, Tere are two PAN snitches which are labeled PAN IN and PAN TO TRIM. A third site, labelled TRIM TO MUL, toggles the mutttrack routing between MAIN and TRIM signal paths, Itshould be noted that seperate routing switches are provided on the RK to bring the MAIN and TRIM signal paths into the stereo buss. Neither signal path will reach the stereo output uniess they are actualy assigned there, uss trimmer — a screwdriver trimmer pot may be reached through the {ont surface ofthe input module, allowing calibration of the buss output level. This is Used in conjunction with the oscilator and Plasma meters. Nominal output level ofthe APC is OVU = +4d8M, Fader block APC is avaliable with two types of ‘automation systems: the GML Moving Fader system, and VCA-based automation, such as the Audio Kinetks Mastermix. The choice of automation system determines APC1000 INPUT CHANNEL the type of fader which will be fitted. The Moving Fader is @ servo-assisted Penny & Giles analogue device. Therefore inan APC fitted with GML, there are no CAs in the console other than those used Inthe DYNAMICS sections, and these of course may be switched out of circuit The VCA fader isa Penny & Giles unit which works in conjunction with @ DBX2151 VGA. The VCA may be switched out of the fader circuit if required but this suspends automation control functions. Both systems offer subgrouping facilities. The VCA systems offer digital grouping using the free grouping principal (any fader may be a submaster); the GML system has 6 dedicated subgrountaders which are located in the master section of the console. Certain switches are common to both types of fader block. These include: Mute: ‘Which cuts ofall output signals from the channel, Under both automation systems, MUTE on/off condition is stored seperately from FADER level information Select: Which isthe individual fader and mute automation status control where WRITE, READ and UPDATE are individually selected for both MUTE and FADER. SELECT is also used to set up subgroups. Mon: ‘Which functions as the channel PFUAFL control. PFL or AFL mode is selected from the master monitor module. InvPlace Solo functions are generated through the fader automation system. Int: Which isthe channel INTerrogate ‘switch giving access to the computer keyboard. INT is also remoted on the MAK, used in association with the Left-Right ‘chevron keyswitches and the numeric keyswitches on MENK. RE Which is a remote control switch.APC INPUT MODULE BLOCK DIAGRAMPa a a re axa ‘ee = f ie s Hie DOL sew : ‘io ue oar Se ar S| mu Sm =a sae oe eines = = Be z | | a > 1 1 To sO 8 = | nThe Master Monitor section offers an extremely comprehensive set of functions. These include: Two stereo Cue Sends, PFLIAFL level control Oscilator; Auxiliary Meters input; ‘Auxiliary Send masters; Studio Monitor Input selection system; Control Room Monitor Input selection system: Talkback crcut Stereo cue sends ‘The principal use of these two independent multi-source inputs is to provide foldback, Inputs are selected by push-button ‘switch and any combination of buttons may be pressed. Sources for each cue send include: Aux] Aux Aux Aud Aux5and6 Aux7 and & Astereo external input The stereo buss The input which has been selected to the control room monitors (Output level is controlled by 2 rotary pot, and simple HF and LF shelving equalization is provided. Mute and Afl switches are also fitted Pfl/Afl level control Pil and Al signals from the console automatically override the monitor speaker Signal when PIVAM is selected. The leve control provides adjustment of the signal volume relative tothe monitor input signa. The AFL switch on this section is to change the channel fader block MON. function from Pre-Fade Listen (PFL) to Alter-Fade Listen (AFL. Oscillator ‘The oscillator has frequency range switched trom 20H to 20KH2, ana level contro “The 4 switches function as: CAL — provides a preset output level, typically OVU = +408 (ON — switches oscitor on ST— routes osiator signal to the stereo buss TKS — routes oscillator signal tothe 24 multitrack output busses Auxiliary meters ‘A pair of auxiliary meters is provided which receive signals selected from one OFAFLOSC (giving AFL to one meter and the oscillator level tothe other; the stereo Output; the contro room monitor signal; an externa stereo source, Auxiliary send masters Rotary controls are provided for adjustment of output level of the 8 auxiliary busses. The auxilary send masters are also par of the Recall system, ‘Aux 1 — 4.are mono and 5 — 8 are stereo, Masters 5 — 8 therefore are dual concentri pots. Each master (or pair of masters) has an AFL switch Studio monitor section ‘An output for studio monitor speakers is provided, with 16 switch- selectable stereo inputs. These include: CD player; Cassette deck; VIR External source; 4 stereo sources Aux —2;3~4,8~6; 7 —8, Cue 1, Cus 2; Spare Input Stereo Buss A rotary level contri provided. Also, Mute and "Red Light’ switches, Control room monitor section ‘An output for contro room monitor speakers is provided, with 16 swith selectable stereo inputs. These include OD player; Cassette deck: VIR; External source; 4 stereo sources: Aux —2;3—4;5—67—8; Cue 1; Cue 2; Stereo Buss ‘rotary level controls provided. Also, Mute, individual Lett and Right Mute, DIM and MONO switches. Taree seperate sets of monitor speakers may be selected ‘The alentation ange ofthe DIM switch may be controled by a small rotary Pat. Talkback Gain controls are provided for “alkback out and Return Talkback (external mic. Talkback can be routed to Studio ménitors; Cue I; Cue 2; an External point to the 48 tracks and to stereo; and tothe Return Mic {communications line) 'A30H2 tone is added tothe sateAPC1000 MASTER MONITOR SECTION ee? = SB Bl 3 |r Ge} &. Gal rae =|)-2 al, 2 Ba a e|(-s= O-The CENTRAL STATUS DISPLAY (CSD) is ‘multifunction display area located in the lower section of the meter hood, immediately behind the Keyboards. The CSD provides details of Assignment, Memory, Lit and Signal Path selections Assigned channel: The section verit CHANNEL shows the number ofthe channel currently assigned. When anther channels selected, this section wil then indicate the new number “The section verit MARK dspiays the number ofthe channel selected when using the MARK function Dynamic and synchronous list The DYNAMIC LIST shows the operator determined sequence of PAGES which may be loaded into the cansole Under manual contol, PAGES are allocated in blocks of 8; the display has 8 twosfigure ‘numbers which shows the order in which the PAGES willbe loaded, ‘The BLOCK aisplay shows the selected memory block number. ‘The same display is used for the SYNCHRONOUS LIST function, ‘SYNCHRONOUS RESET allows selected PAGES to be loaded under timecode Control. In this mode, the fist 5 tworfigure ‘numbers show hours, minutes, seconds, frames and subframes; the last number shows the PAGE, Thus each PAGE can be tied toa timecode position and the two shown together. The BLOCK display wil, in SYNC RESET, show the position in the lst of the timecode and its associated page number. When in DYNAMIC mode, the words DYNAMIC and LIST are iluminated; when in SYNCHRONOUS mode, the words SYNCHRONOUS and LIST are iluminated, Further details of these systems are Provided in the final section ofthis overview. Memory display These 4 two-agt displays show LIVE, SAFE, BLOCK ang SWITCH GROUP numbers. Live Indicates the memory currently resident in the console. When used in Conjunction with the DYNAMIC ang ‘SYNCHRONOUS RESET systems, the LIVE ‘memory number will copy the PAGE umber selected by the RESET system showing that the PAGE has in fact loaded. Sate: Indicates the number of the PAGE held in backup memory Block: Indicates the memory block or SYNC ‘number currently loaded into the RESET list Group: ‘Shows the number of he SWITCH GROUP which is currently being set up (or the last SWITCH GROUP to have been set Up if none fs under way at the time). Channel signal path These two colurnns show the construction of the MAIN and TRIM signal paths in the channel curently assigned from the Keyboard Mai ‘Shows which one of MIC, LINE, OFF- ‘BUSS or OFFTAPE input sources has been selected, and which outputs — to STEREO, to MULTIFRACK routing, and whether the PAN isin circuit Trim: ‘Shows which one of MIC, LINE, AUX, OFF-BUSS or OFFTAPE input sources has been selected, and which outputs — to STEREO, to MULTITRACK routing, ang ‘whether the PAN is in circu, Selections are indicated by ilumination of the appropriate wor ow \ Va oa eT (Cama cm oo oer Ala an [a (lo ri Gllot Gas Gre, Cle] LG GIS] Jey |e aS | Ca oe ry} “STEREO ath Ban Cex] 4‘The Central Automation Computer Keyboard is comprised of 5 seperate switch ‘areas ‘ACTIVE RECALL KEYBOARD (ARK) — allows the RECALL information fora particular rotary contrel to be used to match the position of the control with the memary postion, Each rotary has a dedicated keyswitch and the information is entered by pressing the keyswitch an turning the Control until the current position matches the memory position, using the RECALL tars. | ROUTING KEYBOARD (RK) — allows | selection of the multitrack and stereo ‘output busses. | MODULE CONTROL KEYBOARD (MCK) | = allows configuration ofthe channel signal | paths from input to outout, | MODULE ASSIGN KEYBOARD (MAK)— | ‘enables various master console setup functions MEMORY FUNCTION AND NUMERIC KEYBOARD (MFNK) — contains various wemory control functions and the numeric keyswitches, MEK APCI000 also has facilites for loading preselected biacks of memory information using either manual control (DYNAMIC RESET) or timecode control (SYNCHRONOUS RESEND). keyboards and the DYNAMIC and SYNCHRONOUS RESET systems are described in detail below with switch-by switch accounts ofthe control facies, The ACTIVE RECALL System is ‘operational at al times and may De used when recording or mixing to reset rotary controls,MCK — module control keyboard Main input IMICILINE — selects MIC or LINE input tothe channel MAIN signal tnc_l| path ‘When the LED isnot illuminated, MIC inputis selected. To obtain LINE, press the switch, ° ° MIX — selects the BUSS/TAPE inputs tothe channel MAIN signal path ‘When the LED is notiluinated, MIC/LINE input s selected, To obtain BUSS/TAPE, press the switch, TAPE — selects either OFF BUSS LO} or OFF TAPE signals to the main Tir] channel input (for use when the ‘main or trim inputs are selected tomin) ‘When the LED isnot illuminated, BUSS input is selected. To obtain TAPE, press the switch. The normal monitoring method in the APC is to use the stereo buss. Thus the input channels connected to the multitrack ‘machine will have their outputs routed to the stereo buss. The BUSS and TAPE inputs will also bbe used when you wish to make either an audio subgroup (submis) or a track reduction (tack bounce). INSERT IN —selects the channel insert in circuit PRE — selects the channel insert (send and return) pre equaliser and filters The insert points in the MAIN signal path and cannot be routed to TRIM, iam PAN ASSIGN 3] PAN IN — brings the pan control into operation 16 vam etry novi _nwur__urut_owancs wut asso ° ° ° ° ° oO oO oO oO » ee ies re olf ar z rilo fo fo ofo,fofo|o TIE Seo i ofofofofofofofofo]s .(efofofofofecfofofo “ec Seed I i slo fTofTofofo},o,ofofol]: ” ran w [fee Te rr [Ie eev * ” > W< Ii, Tan SBR CE o TRIM TO PAN — removes the EQUALIZER banpot rom the MAN signal TS IN — selects the equatser int as” || path and places it in the TRIM circuit Signal path * When the PAN is assigned out of circu an 4 level is sent tothe selected Left and Le —snitches the ow Hequeny Right (or Odd and Even) busses. The input tothe PAN is normally Connected to the MAIN signal path output Nts output may normally be routed out tothe stereo and multitrack busses. mic 7] +480 — supplies phantom ower tothe mic input 6 — reverses the phase of ne O_} signal selected to the MAIN input FILTERS S| IN = selects the Hi and Lo pass filters into circuit T]| Afters in/out switch is fited to the module, The action ofthis ‘switch isto inverse the keyboard-assigned setting, However, use ofthe local switch {does not change the condition held in the memory, band of the equalizer from belt > || shel, cisenabiing the bandwidth ba control on the equalizer HF — switches the high OF trequency band ofthe equalizer =| ‘ror bell to shel, disenabling the bandiwiath contol on the equalizer ‘An equalizer iniout switch is fitted to the module. The action ofthis switch is to inverse the keyboard-assigned setting However, use ofthe local switch does not change the condition held in the memory TRIM INPUT ]_] MICILINE — selects the TRIM input to follow the MAIN input Tre_|} MIC/LINE switch "Note that MIC/LINE anc BUSS/TAPE signals can be selected to both MAIN and TRIM signal paths at the same time. However, the inputs to both signal paths willbe the same; both inputs will be MIC if MIC is selected, and both LINE, if LINE is selectes. It should also be noted that the FINE gain control only operates on the MAIN signal path,EXPLANATION OF KEYBOARD-CONTROLLED FUNCTIONS MIX — selects the TRIM input to follow the MAIN input re_]] Bussmare switch AUX 1 —selects the TRIM input {rom the pre fader input to AUX 1 (n.b. This may also be Configured by an internal jumper tobe the pre-fauer vulpul of Aux 3) ‘The principal reason for routing AUX 1 fo the input of TRIM isto enable extra auxliary send outpuls to be created by routing the TRIM output to the Multitrack busses. The Pre/Post function is retained. In the simplest terms this means that an extra, 48 outputs can be obtained from the Aux send signal. These can be patched into FX devices as required. More practically, the 48 busses can be split over a number of inputs and Fx devices allowing a great extension of control ‘over inputs to and outputs from FX equipment, especially when the DYNAMIC and SYNCHRONOUS RESET SYSTEMS are used during Mixdown ° MIX/BUSS — assigns the input (of the TRIM contrat tothe mix buss output; ie, on chan 1, mix buss 1 will be selected, and so on upto 48, Routes the buss signal into TRIM and allows an audio subgroup to be set up. Thus the input to MAIN can be set to TAPE whilst the TRIM input can obtain its input from the BUSS of the module concerned. It for example AUX to TRIM function was being used to create extra sends and several channels were required to be sent to ‘an FX unit and overall level control was required over the mix of signals going to the FX, the BUSS INPUT will assign whatever is Boing to the module's buss to the TRIM Control. tis then possible to assign the ‘output of the TRIM by using TRIM TO PATCH giving an overall oulput level control atthe patchtield TRIM OUTPUT [lo _] MUU To TRIM — transfers the muttitrack routing from the ‘Hex J} MAIN signal path output tothe TRIM output TO PATCH — assigns the output of the TRIM control tothe post mix stage ofthe buss/mix amp which appears atthe jackicla Each buss is brought through a hal Nnormalied pair in the jackfield an terminated in a muttway. Ths is usvally Connected to the input of the multitrack ‘machine. By assigning BUSS INPUT and TRIM TO PATCH together, control of the output evel of the respective buss can be obtained using the TRIM pot, simulating a roup fader. ‘Thus, for example, output evel of ‘buss 18 will be contralled, inthis mode, by the TRIM control on module 18. AUX ASSIGN ]] PRE (1-8) — switches the input to the Aux send pre the selected t_]} input source fader, be it TRIM oF MAIN TRIM — selects the input o pairs of Aux sens from the TRIM: control ro 1 —8—Aux niout; switches the ‘aux send on, DYNAMICS (the Dynamics section is optional): ° fo = fed IN — dynamics section in LINK — links dynamics section to next channel on right for stereo operation KEY — selects Side Chain insert or external trigger in/out FITS IN SIC — inserts pass filters Sa} 0 sidechain [0] GATE — selects Gate mode [7] EXP FST ATT — expander fast attack ‘COMP FST ATT — compressor fast attack AUTO — selects compressor to Auto-Release modeMAK — module assign keyboard ofofoTo EEE es ofofol]o « [Co [oo To [eo x 4 eye ° oO oO oO ) ° ° ° CW rer INT (LOCAL) — This is to assign ‘any channel from the central S| keyboard area, ‘When pressed, INT causes the channel display to flash with the letters CH. ‘The computer is waiting for a two digit entry from the numeric section of the MEMORY FUNCTION and NUMERIC KEYBOARD (MN. When the number is entered, the ‘computer wil interrogate the channel which has been selected, iluminating the large ‘square LED behind the selected channel, indicating its channe! number on the central display, and the MCK and RK will display the functions selected on that, channel — steps the INT channel number down by one. ‘The number of the new channel is displayed and its switch ‘configuration data shown by the LEDs in the keyswitches, The rotation is cyclic; ithe present ‘channel assigned is number 1, operation of this function wil bring channel number 64 18 resident in the keyboard (in a 64 channel console). 7] = steps the INT channel number up by one. > |} The number of the new channel 's displayed and its switch configuration data shown by the LEDs in the eyswitches, ‘The rotation is cyclic; if the present channel assigned is number 64, operation ofthis function will bring channél number 1 resident in the keyboard (in a 64 channel console). a MARK — by enabling this function the number of the presently assigned channel is memorized ‘The MARK display wil indicate the number of the marked channel. The engineer may then IINTerrogate other modules as, required, but can return to the MARKed channel when required simply by 2 second press of the MARK switch SWAP — allows switch settings ‘and Recall data ta be swapped between any two channels, After enabling this function the Computer memorizes the switch and Recall data of the currently-assigned channel. A second channel is assigned from the keyboard. A further press of SWAP loads the data from the fist channel into the second, and from the second inta the firs. J] COPY —allons copying of switch ‘and Recall data from any one Channel to another, making their data identical ‘The currently-assigned channel and its data becomes the Master Copy Data. Another ‘channel is assigned from the keyboard, ‘When COPY is pressed again, the master daa is loaded into the newly-assigned channel ALL — loads al selected modules with the same data ‘The first press of ALL wil instruct the computer to memorize the switch and Recall data for the presently- assigned channel. This becomes the Master All Data, Another channel is assigned. When ALL is pressed again, the Master Al Data is loaded into all of the Channels inbetween and including the last Channel assigned while in this function, [TE] CANCEL wren resets Keyswitch will hat the execution ‘arc [| ofthe following: INT (LOCAL) DISPLAY SWAP COPY ALL MIC MIX INLINE Fx. INLAY MIX. INLAY INLINE INLAY FINLAY MIC. TOGGLE ENABLE STORE RESET LOAD RESET STORE RECALL LOAD RECALL DYNAMIC LIST SYNCHRONOUS LIST a ce erste Sasacieritse aoe scone [0 | SS rea aes ee, smoot igs ea ae I eee rte craters al eee Sa ee os tema es ws aia a ears, conegattl rae al et ee naseaemnas es aoe eee See Seta TOGGLE ENABLE — enables the Setup mode. GS] TOGGLE EXECUTE — at the first press switches all the previously selected channel functions to OFF (ON) on all channels selected in TOGGLE ENABLE. At the second press TOGGLE EXECUTE will switch ali the previously selected channel functions to ON(OFF) ST] Mic — isan intial pre programmed madule switch c_| setup that selects the IINTerrogated module's MAIN slant path oa suitable coniguraton fr basic microphone signal recording, The actual switches activated by MIC are AUX 1-4 ASSIGN ON AUX 5-8 ASSIGN ON AUX 5-8 PRE No output routing selection is made.S| MIX — is an initial pre programmed:module set up that ex_]| selects the iNTertogated ‘module's MAIN signal path to a suitable configuration for basic stereo ‘mixcown. The actual switches activated by this function are: mix TAPE AUX 1-8 ASSIGN ON LR STEREO ASSIGN ON fe] INLINE — the input signal is on the MAIN path and a simulated inline monitor is formed around the TRIM contro The switches selected include: MAIN: TRIM: Mic Mix AUXI-ASSIGNON L+RSTEREO AUXS8ASSIGNON ASSIGN AUX 5.8 PRE FX — the channel acts as an effects return. The input on the fx] MAIN path buts also re-routed ‘out tothe multitrack buss for subsmixdown via TRIM. The switches selected include: MAIN: TRIM: UNE LINE L+R STEREO ASSIGN MULT TO PAN IN TRIM S] INLAY — normally used in ‘conjunction with MIC, MIX, INLINE and FX and allows them tobe overwritten in an existing channel switch setup. Use of MIC, MIX, etc, by themselves clears a channel of al other existing switch data. When used with INLAY, al existing data is preserved except for those functions which are covered by MIC, MIX, etc (as described above) The keyswiich press routine is INLAY {ollowed by MIC when an INTerrogated channel s resident in the computer. S_] FLIP — this tunction exchanges the LIVE memory with the SAFE ne || memory ‘When a STORE RESET has been ‘executed the contents of the LIVE memory are stored as a page. At the same time, 2 back-up is made which is placed in a ‘memory area called SAFE. In order to compare the current contents of LIVE with the last STOREd page {held in SAFE), FLIP s pressed and the Contents of the two memory areas are ‘exchanged. The switch settings for the console of course wil also change. To revert tO LIVE, FLIP is pressed a second time, DISPLAY — shows which switch functions are common to which ‘modules; oF, © monitor the status of a particular switch throughout the entire console, ° For example, pressing the EQ IN ‘itch on the MCK in this mode will display all channels selected EQ IN by illuminating the large green LED behind each channel In DISPLAY mode all the LEDs on the MCK and RK are switched off allowing functions to be DISPLAYed to be selected clearly, Switch Group. More is described on page 22 MFNK — memory function and numeric keyboard oo oo oO oO en jo io vo elo o| ° ~lo o| cat || jo ° ~fo} jo EXPLANATION OF KEYBOARD-CONTROLLED FUNCTIONS, ‘The computer is now waiting for 2 ‘two-digit entry from the numeric section of the central keyboard. If, for example, the number selected is Ol, then the present sate of all of the RECALL data for the ‘console is now in the page of memory area at section 01 “6 PAGES of RECALL memory are available in the consol. (ot RES —ebes pe [ed On pressing LOAD RESET the switch settings accordingly. SAFE is not overwriten, [Co] ORO RECALL — enables a page 1 of RECALL data to be reloaded. for use in all functions where keys numbered 0-9 are provided jlo ° ~|o e|o| J] STORE RESET — stores the ‘itch data for the entire console into a seperate area of memory called a ‘page. To store a page, the STORE RESET function 's enabled by pressing the keyswitch. The ‘master display above the keyboard will flash the prompt SP (Store Page), The computer is now waiting fora two-digit entry from the numeric section of the central keyboard. If, for example, the umber Selected is 12, then the present slate ofall ofthe switch data for the console is now in the page of memory area at section 12, Note that the LIVE memory remains unchanged but the SAFE memory area has its last data overwritten with @ back-up copy ofthe LIVE memory which has just been Sow 16 PAGES of memary ate vain the consoe STORE RECALL — stores te RECALL ota tor teenie [PEE] conse ino seperate se ot memory clea apo’ Tostore a pge the STORE RECALL Teton enables by pressing he Keston The mater splay above te kena wl ach he prompt SP cae Paso) . Bed ‘The operation ofthis function is similar to LOAD RESET, J] NUMERIC KEYS 0-9 — individual v numeric identification is required. Single figure numbers should be prefixed with a 0, eg 09 ‘Synchronous List and Synchronous Reset, Dynamic List and Dynamic Reset are explained on page 22. 19° O° oO O° ° ° oO oO ° O° oO ° wevea_[f} rato reo co WL ese wo lia 2 oO ° ° ° oO oO K 2 EE EE oO oO oO ° O° () ARK — active recall as wot’ Recall functions are indentified keyboard MIC GAIN — microphone amplifier gain The Recalsystemis permanently setting, active and maybe used at anytime. R LINE — line amplifer gan setting fine information is linked toa specific Recall ‘memory page; the page is entered (using LOAD RECALL) and the functions you wish toset are accessed via the ARK. The ARK has one switch per rotary unction; memory for that function fs accessed by pressing the relevant switch. ‘The Recall bars behind each module will then show the memorized postion of the knob (green LED) and its current position (red LED). The knob is turned unti the red and green LEDs are matched: exact ‘correspondance with memorized level is indicated by the nuling of two further red and green LEDs atthe top ofthe Recall bars, fan HFL — high frequency boostcut HEF — high frequency bandcentre HQ — hign frequency Q(siope) MEAL — midsrequency 1 boosticut MIF — migstequency 1 bandcentre MFIQ — mic-requency Q (slope) HIGH PASS FILTER — frequency setting LOW PASS FILTER — frequency seting MF2L — micrequency 2 boosticut MF2F — mid-requency 2 bandcentre MF2Q— mid frequency 20 (siope) LFL ~ iow frequency boostiout LFF — low trequency bandcentre LFQ— iow frequency 2 Q (siope) AL auilian Level 2 —auriliary2 level 43 — auxiliary 3 level 4 — auiiiany 4 level 5 + 6 — auiliary 5 & 6level AS + 6 PAN — auxliary pan position AT + 8 — auullary 7 & Bieve AT + 8 PAN — ausliary pan position EXP THRESH — expander threshols EXP RELEASE — expander release EXP HOLD — expander hold COMP THRESH — compressor threshold COMP RELEASE — compressor release GOMP RATIO — compressor ratio TRIM — trim level PAN — pan postionEXPLANATION OF KEYBOARD-CONTROLLED FUNCTIONS ofofofofoTofTofo ri 2 Te es @ ofofofofofTofofo > ee I ee = Ls ofofofofTofTofofo ve fs eo ie le re ofofofofofTofofo a ee ee es i ofofofofofTofofTo 3 es os = I er ofofofofofofofo oes yes ey re ofofofofofTofo]fo ofofofofofTofofo RK — routing keyboard Allows selection of the 48 output busses, MAIN tothe stereo busses and TRIM to the stereo busses, ]] 1 — 48— selection of 48 output busses individually. Facilities are 1_]} under design to enable each routing switch to function as @ RECORD ENABLE contro forthe track Main to stereo: ST] LEFTand RIGHT — selection o the stereo busees, Left and Rint TER] instal tom the MAIN signal path Trim to stereo: ]_] LEFT and RIGHT — selection of the stereo busses, Left and Right TE || individually, trom the TRIM signal path aExecute The Switch Group may be operated at anytime simply by pressing the Switch (Group master. Te assigned switches on the slave channels will then togele on-of with each press ofthe master. it should be noted that the TOGGLE {uncton is nested inside the SWITCH GROUP function, and that a TOGGLE setun can overlap 2 SWITCH GROUP. Thus, or example, a Switch Group could include channels 1 t0 8, EIN and FILTERS IN, and a TOGGLE setup could cover EQIN for channels 5 to 12, When the Switch Group was activated, both EG and FILTERS would Switch in; when TOGGLE was pressed, EQ would switch out Anote on Reset and Recall memory capacity ‘tthe present time there are only 16 ‘pages of RESET and RECALL information in the APC. Ata later date an interface willbe developed with the GML computer allowing blocks of RESET and RECALL data tobe sored on the Winchester ask. Systems will be devised to enable these blocks of data to be loaded into the APC thus increasing the power and flexibility ofthe system Furthermore, itis intended to make these APC information files subject tothe standard GML Eating and Naming procedures, Anote on machine control AMEKis currently developing a ‘machine contol system forthe APCIO00 for incorporation into the console at a later date 23