Audient ASP 8024 Manual

HF/LF

HF/LF

HF/LF

HF/LF

MID

S

MID

S

MID

S

MID

S

0

10

0

10

0

10

0

10

0

10

0

10

0

10

0

10

dB

dB

dB

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+

+

+

+

dB

dB

dB

dB

+

+

+

+

dB

+

dB

+

dB

+

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+

Hz

50

1k5

750

75

175

Hz

50

1k5

750

75

175

75

175

kH

z20

7.53

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0.7

0.4

5

kH

z20

7.53.2

0.7

0.4

5

kH

z20

7.53.2

0.7

0.4

5

kH

z20

7.53.2

0.7

0.4

5

LMF

LMF

HMF

HMF

HMF

HMF

IN

IN

IN

IN

IN

IN

IN

IN

PRE

PRE

PRE

PRE

PRE

PRE

9-10

11-1

2

11-1

2

5

A

A

A

4

6

6

B

B

B

EQUALISERS

EQUALISERS

EQUALISERS

EQUALISERS

10kH

z

10kH

z

10kH

z

10kH

z

50H

z

50H

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50H

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50H

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18kH

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18kH

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100H

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100H

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100H

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100H

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Operation Manual

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Contents

© 5/2000

ContentsHOW TO USE THIS MANUAL .................................................................................... 4UNPACKING .............................................................................................................. 5IMPORTANT SAFETY INSTRUCTIONS ....................................................................... 5THE STAND .............................................................................................................. 5REMOVING MODULES FOR SERVICE ........................................................................ 5MECHANICAL INSTALLATION ................................................................................... 6MAINS POWER SUPPLY ............................................................................................ 6

VOLTAGES ............................................................................................................ 6FUSES .................................................................................................................. 6

AUDIO INTERFACES.................................................................................................. 6PIN CONVENTIONS ............................................................................................... 6SCREEN CONNECTIONS ....................................................................................... 6

CONNECTIONS ......................................................................................................... 7RECORDING WITH THE ASP8024 ............................................................................. 8

IN-LINE ARCHITECTURE. ...................................................................................... 8THE RECORDING PROCESS .................................................................................. 8BASIC TRACKING.................................................................................................. 8BASIC MIXING .................................................................................................... 10INSERT POINTS .................................................................................................. 11DOING IT LIVE..... ............................................................................................... 11

THE USE OF FOLDBACK.......................................................................................... 12GROUPS AND SUB GROUPS ................................................................................... 13OVERDUBBING ....................................................................................................... 14PATH SWAPPING .................................................................................................... 15TRACK BOUNCING .................................................................................................. 16SOLO ...................................................................................................................... 16METERING .............................................................................................................. 17MORE ON CONNECTORS........................................................................................ 18

JACK SOCKETS .................................................................................................. 18XLRS ................................................................................................................... 18

GLOSSARY .............................................................................................................. 19AFL ..................................................................................................................... 19AUXILIARIES ....................................................................................................... 19AUXILIARY MASTER ........................................................................................... 19BOUNCING ......................................................................................................... 19BUS MASTER ..................................................................................................... 19CUT .................................................................................................................... 19DIM .................................................................................................................... 19EQUALISER ......................................................................................................... 19FLIP .................................................................................................................... 19FOLDBACK ......................................................................................................... 19IN LINE ............................................................................................................... 19INSERT POINTS .................................................................................................. 20LF ....................................................................................................................... 20LINE .................................................................................................................... 20MIC .................................................................................................................... 20MIX ..................................................................................................................... 20PAN .................................................................................................................... 20PFL ..................................................................................................................... 20Q ........................................................................................................................ 20ROUTING ............................................................................................................ 20SF ....................................................................................................................... 20SHIFT ................................................................................................................. 20SOLO IN PLACE .................................................................................................. 20STEREO BUS ...................................................................................................... 20TALKBACK .......................................................................................................... 20

Operation Manual

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Contents

© 5/2000

CONSOLE FUNCTIONS............................................................................................ 21INPUT POD ............................................................................................................. 22ROUTING AND AUXILIARIES ................................................................................... 23EQUALISER ............................................................................................................. 24SHORT FADER (SF) ................................................................................................. 25FLIP AND PAN ......................................................................................................... 26LONG FADER (LF).................................................................................................... 27CONNECTOR PANEL ............................................................................................... 28STUDIO SPEAKERS AND FOLDBACK ...................................................................... 29CONTROL ROOM MONITORING ............................................................................. 30OSCILLATOR ........................................................................................................... 31SOLO ...................................................................................................................... 31COMPRESSOR ........................................................................................................ 32STEREO INPUTS ..................................................................................................... 33SUB GROUP OUTPUTS ........................................................................................... 34SUB GROUP FADER ................................................................................................ 34TALKBACK .............................................................................................................. 35AUXILIARY MASTERS ............................................................................................. 36BUS MASTER TRIM ................................................................................................ 37MASTER FADER...................................................................................................... 38CONTROL ROOM CONNECTORS ............................................................................ 39STUDIO AND FOLDBACK CONNECTORS................................................................. 40AUXILIARIES CONNECTORS .................................................................................... 41SUB GROUP INSERT CONNECTORS........................................................................ 42STEREO INPUT CONNECTORS ................................................................................ 43PLAY INPUTS .......................................................................................................... 44MAIN OUTPUTS...................................................................................................... 45MULTI-TRACK CONNECTORS.................................................................................. 46THE MASTER METERS ........................................................................................... 47THE SUB GROUPS .................................................................................................. 48THE PATCHBAY ....................................................................................................... 49PATCHBAY CONNECTOR PANELS ........................................................................... 52THE POWER SUPPLY .............................................................................................. 53SPECIFICATIONS ..................................................................................................... 54

FREQUENCY RESPONSE ..................................................................................... 54THD AND NOISE AT +20DB OUTPUT ................................................................. 54NOISE ................................................................................................................. 54CROSSTALK AND MUTE ATTENUATION AT 1KHZ .............................................. 54MIC CMRR.......................................................................................................... 54MAXIMUM INPUT............................................................................................... 54MAXIMUM OUTPUT INTO 2K OHMS .................................................................. 54

BLOCK DIAGRAMS.................................................................................................. 551.INPUT STRIP .................................................................................................... 562.PATCH BAY VERSION INPUT STRIP ................................................................. 573.MASTERS PART 1 .......................................................................................... 584.PATCHBAY VERSION MASTERS PART 1............................................................ 595.MASTERS PART 2 ............................................................................................. 606.PATCHBAY VERSION MASTERS PART 2............................................................. 61

WARRANTY .............................................................................................................. 62

Operation Manual

4

Introduction

© 5/2000

Thank you for selecting an ASP8000 Series console for your application.

We have designed this equipment to provide you with the best possible tool to deal withtoday�s demanding requirements.

We have taken a great deal of pride and care in the manufacture of this equipment sothat it will provide consistent and reliable performance.

Please take a little time to study the contents of this manual so that you can be sure ofgetting the best performance from this equipment.

HOW TO USE THIS MANUALThis manual has been divided into sections for your convenience.

The first section is introductory and gives a general overview of the console and itsfeatures. The following sections give a detailed explanation of the console functions,how they operate and how they relate to each other.

Please note that options such as patchbays have their own sections in this manual.

If you are new to recording then please take time to study the introductory sectionswhich will help you understand the functions of the controls described in the latersections of the manual.

Operation ManualInstallation

5© 3/2000

UNPACKINGYour ASP8000 Series Console has beencarefully and meticulously tested andinspected before despatch.

Please check for any signs of transitdamage. If any signs of mishandling arefound please notify the carrier and yourdealer immediately.

Your ASP8000 Series Console packingshould contain an ASP8700 PSU, powercord, PSU cable and a bag of standhardware along with this manual.

IMPORTANT SAFETYINSTRUCTIONSPlease read all of these instructions andsave them for later reference beforeattempting to connect the ASP8700 PSUto the AC power source and the ASP8024console. To prevent electrical shock andfire hazard follow all the warnings andinstructions marked on the ASP8700.

· This unit is connected via its powercord to the mains safety earth.

NEVER OPERATE THE UNIT WITH THISEARTH CONNECTION REMOVED

· Check that the correct operatingvoltage has been set for your AC mainssupply

· Check that the fuse fitted is thecorrect type for the mains voltage selected

· Always replace fuse with the correct

THE STAND

The stand will be found beneath theconsole in the crate . There are 2 identicallegs , a crossmember and 2 cover panels.

Lay the legs out approximately the widthof the console apart and place thecrossmember between them. Use thesupplied hex headed M8 bolts to securethe crossmember to each leg ( a 13mmAF spanner will be required). The unusedholes in the outside of each leg should befilled using the 9.5mm caps supplied.

Screw a foot onto the bottom of each leg.Place the stand in an upright position andplace the console on top. Secure theconsole with 12 M6 bolts. Finish byadjusting the feet to take up anyunevenness in the floor. There is about 1inch of adjustment available on each foot.Cover panels for the rear of the stand legsand are secured using 4 M4 screws each.

REMOVING MODULES FORSERVICE

The console is divided into a number ofremovable panels or modules. There are 3I/O modules each containing 12 I/OChannels, a Master Module, 3 I/O InputPods and a Master Meter Pod.

To access an I/O or Master module thewooden arm rest must be removed byundoing the 4 x M6 retaining screws fromthe underside of the console. Release the2 x M6 screws from the underside of theconsole, located in the dimples below themodule to be removed. Remove theextruded trim strips from each side of therequired module and between themeterbridge and the modules.

Swing the module up (it is hinged) andremove the 3 x 40 way connectors on theright hand side of the circuit board.Remove the 3 x 16 way cables to the meterpanel.

Remove the green grounding cable byundoing the single M3 screw attaching itto the circuit board. Hold the module bythe sides, lift it slightly back and up to clearthe hinge then pull forward for completeremoval.

The procedure for releasing the MasterModule is similar to the above. All ribboncables should be removed other thanthose marked LINK 1 and LINK 2. Thetwo power connectors should be removednoting their orientation for laterreassembly.Installation of the modules is a reverse ofthe above procedures. Hold the module inan approximately horizontal positionmaking sure that it is correctly aligned overthe hinges and then gently lower it intoposition. With the module in positionreconnect the cables to their originalpositions.

To remove the pods the connector panelshould first of all be hinged down byunscrewing the 7 x M3 securing screws.The panel must be supported in it�slowered position to prevent it becomingdetatched from the frame. Undo thecables to the connector panels at theconnector panel end. This gives accessto the 3 x M6 screws retaining the TopTrim which can then be removed.

The 3 x M3 screws retaining each pod cannow be removed. The pod will now hingeforward slightly and can then be removedby lifting it vertically up.


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MECHANICALINSTALLATION

Care should be taken not to obstruct thepower supply unit�s ventilation holes andadequate air flow must be provided withinrack cases to prevent the unit fromoverheating.

NEVER PLACE THE POWER SUPPLY ONTHE FLOOR AS THIS OBSTRUCTS THEAIR FLOW.

The front panel of the ASP8024 Consolefeatures a rugged under-surface printedpolycarbonate overlay. Exposure to directsunlight for extended periods should beavoided as this can have a detrimentaleffect on the overlay panel and on thecontrol knobs.

MAINS POWER SUPPLY

VOLTAGESThe ASP8700 Console Power Supplyfeatures an external mains voltage selector.Switched to the 230v position the unit willoperate without performance degradationfrom 210v to 250v. In the 115v setting itwill accept from 105v to 125v. Do notattempt to operate the unit outside theranges defined above.

For 100v operation please contact yourdealer.

FUSESPlease note that the fuse ratings for thetwo voltage ranges are different � 11/4� T8Afor the 230v setting and 11/4� T16A for the115v setting. Always replace fuses withthe same type. The mains fuse is veryunlikely to fail under normal use andcaution should be excercised if a failureshould occur. Check the mains voltagesetting, condition of the mains cord andintegrity of the mains supply beforereplacing the fuse.

AUDIO INTERFACES

The ASP8024 Console has been designedand developed to provide highly robustsystem integration interfaces, allowingworry-free system hook-up under the mostdemanding situations.

Inputs and outputs are implemented usingadvanced electronically balanced orground sensing topologies and are fittedwith extensive RFI rejection networks. Allsignal interfaces are also fully protectedagainst accidental misuse e.g. by theconnection of phantom powered cables.

PIN CONVENTIONSSignal interfaces are provided on eithermetal shell locking XLR, TRS Jack, 25 pinD Sub or optional 56 pin EDAC typeconnectors. XLR Pin 1 is connected to thechassis safety ground. XLR Pin 2 isdesignated as signal positive and Pin 3 assignal negative.

To unbalance the outputs of the ASP8024Pin 3 should be connected to Pin 1 at theoutput of the console. Similarly, inputsfrom unbalanced sources should beconnected via twin screened cables withthe Pin 3 connection tied to the screen atthe unblanced source.

SCREEN CONNECTIONSIn order to maintain optimum EMCperformance it is important that screensare properly connected at both ends ofcable runs. In this way the electromagneticshield provided by the equipment chassisand the cable screens will be optimised toreject interference. It is recommended thatonly high quality braided screen cables areused to avoid compromising EMCperformance.


7© 3/2000

Microphone Input

Type: Electronicallybalanced

Connector: Female XLR

Input Impedance >1k5

Maximum Input +20dBu

Line Input


Connector: 1/4� TRS Jack Socket

Input Impedance >10k


Tape Input





Stereo Inputs




Maximum Input Level +20dBu

Play Inputs


Connector: Female XLR



CONNECTIONSInsert Return




Maximum Input Level +20dBu

Insert Send

Type: Ground sensing


Output Impedance <75R

Maximum Output +20dBu

Auxiliary Output


Connector: Male XLR



Group Output


Connector: 25 Pin D-sub



Stereo Mix Output


Connector: Male XLR



All Monitoring Outputs

Type: Ground sensing

Connector: Male XLR



Operation Manual

8

Using the ASP8024

© 3/2000

THE RECORDING PROCESSRecording is generally a two stage process,unless you are making a classical recordingwhere very simple microphoneconfigurations are often used to recordstraight down to stereo. Popular music isusually tracked first of all to get all theinstruments onto some storage medium� usually a multi-track tape recorder. Thesecond stage of the process involvesreturning the recorded tracks back into theconsole to combine them into a stereo mix.When instruments are under midi controlit is not necessary to record them as theycan be played live into the mix whenrequired. If a mix has many midi controlledinstruments then much of the trackingstage of the recording process can beeliminated.

BASIC TRACKINGThis is the first stage in the creation of atitle. The starting point may well be a blankreel of tape on the multi-track recorderwhich is of course fully connected to themixing console. The group outputs feedthe inputs to the different tracks of therecorder while the recorder outputs areconnected to the tape inputs on theconsole.

The FLIP switch should be in the UPposition as this will ensure that themicrophone or line inputs travel throughthe SF path to the tape recorder while thetape returns will travel through the LF pathto the stereo mix bus.

A guide track is often recorded first. Thiscould be anything from a click track to adrum kit to some very raw vocals -anything in fact that subsequentrecordings can be based on - the guidetrack will then most likely be destroyed.

Having established a guide track it is thenimportant to be able to hear it in order thatsubsequent tracks can be laid down intime with it.

Enter the auxiliaries and foldbacks !

The guide track can now be playedthrough the LF path of the console whereit can be used as a source for AUXILIARYA simply by turning up the control for AUXA on the channel that is carrying the guidetrack. At this time it is not really necessaryto have the long fader open so switch theauxiliary to PRE and ensure that it isselected for use with the LF path. On themaster section of the console AUXILIARYA can now be selected as the source forFOLDBACK A. The output of FOLDBACKA should be connected to a headphoneamplifier and the performer of courseneeds to wear the headphones.

Let�s assume that the performer is male,playing a guitar and the guide track is asteady drum beat previously laid down bythe band�s drummer. Another track on therecorder is put into REC-READY mode andthe guitarist starts playing. The guitar isplugged into an amplifier and in thisinstance let us assume that there is amicrophone placed in front of the guitarloudspeaker. The microphone is connectedinto the MIC input of a channel on theconsole which sends it through the SFpath to the routing matrix.

RECORDING WITH THE ASP8024

ASP8024 has an In-line architecture. Thismeans that the �channel path� and the�monitor path� are both included oin thesame physical strip.

Because the two signal paths areintegrated in this way, in-line consoleshave sometimes been seen as confusing.However great care has been taken in thecosmetic and ergonomic design of theASP8024 to make the two paths easilydistinguishable from one another.

Dark areas of the control surface and darkswitch buttons are associated with theshort fader (SF) or channel path while lightareas of the control surface are associatedwith the long fader (LF) or monitoring path.For the remainder of this manual thesignal paths will be referred to as theLF and the SF paths.

IN-LINE ARCHITECTURE.

As a default condition the Mic/Line inputfeeds the SF path while the Tape returnsignal uses the LF path. This assignnmentcan be reversed using the FLIP switch. Toidentify which mode has been selectedback lit legends indicate the signal sourcefor each path.

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Using the ASP8024

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Operation Manual

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Using the ASP8024

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Here a decision has to be made aboutwhich track the instrument will berecorded on and this of course shouldcoincide with the track that you are record-readying.

With the tape recorder now in record(usually a red light indicates that a track isrecording) the guitar will now be recorded.Subsequent instruments can be added ina similar fashion. The recorded guitar cannow be played back through the consoleand added to AUXILIARY A and hence tothe foldback output. The next performerto record will then have the benefit of theguide track plus the guitar.

At this point a rough mix can start to beconsidered. Opening the long faderscorresponding to tracks that are recordedwill allow them to be heard on the mixoutput of the console (the MIX button mustbe pressed on the relevant channels andMIX should be selected as the control roomloudspeaker source). By keeping theauxiliaries pre-fade you can have all thefun you want adjusting the stereo mixwithout upsetting anyone in the studio !

As the tracks are being assembled therough mix will become more and morerefined - almost starting to sound like thefinal title. Effect units will be starting toplay their part and the auxiliary outputswill be in use feeding them. The output ofthe effect units will, in most cases, bebrought back through the RETURNSsituated in the master section of theconsole.

It may be of course be that the artist wantsto record while listening to the effects andthis can be done by turning up theFoldback 1 or 2 controls on the RETURNS.This routes the signal from the return tofoldback

BASIC MIXINGAs has been seen the mix has largely beencreated as a result of the tracking process.There may however be more instrumentsto be brought into the mix (some may noteven require to be played since they areconnected to a midi system !). These canbe connected into any remaining tapeinputs on the console or if all tape inputsare used or the input sensitivity of the tapeinput is insufficient the MIC/LINE inputscan be used.

This of course means that the signal willtravel through the SF path of the console.This is no problem, however, as the SFpath can be switched onto the stereo mixbus. Alternatively the FLIP switch can beused to enable the MIC/LINE input to feedthe LF path if it is not in use.

For any signal using the SF path duringmixdown there is no real shortage offacilities since the equaliser (or a part of it)and the auxiliaries can be switched overto the SF path.

A compressor is available on the mixoutput in situations where it is desirableto decrease the dynamic range of themixed signal. The mix output also has aninsert point where an external equaliser,compressor or other effect unit can beused.

Operation Manual

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Using the ASP8024

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INSERT POINTSBoth the SF signal path and the LF signalpath have insert points. An insert pointallows the internal signal path of theconsole to be broken into and some formof additional signal processing to beinserted. The SF signal path insert point islocated immediately after the PhaseReverse circuit and just before the shortfader itself. The LF signal path insert pointis located immediately after the tape inputand before the equaliser.

Insert points have a send and a return. Thereturns are fully balanced while the sendsare ground sensing allowing them to beconnected to balanced or unbalancedloads. If an insert point is not required andis switched out of circuit then the sendstill carries signal giving an additionaloutput per insert point.

If an insert point is switched in andnothing is plugged into the RETURN jackthen signal will still pass through as thejack has switching contacts which canonly be broken by the insertion of a jackplug.

The insert points use TRS (Tip, Ring andSleeve) jacks. The Tip is equivalent to pin2 of an XLR connector while the Ring isequivalent to pin 3. The Sleeve is groundwhich is equivalent to pin 1 on an XLRconnector.

DOING IT LIVE.....With much equipment capable of beingplayed via midi it may be that the trackingstage of a project can be eliminated and a�live� mix created straight away. The 8024can easily cope with this method ofworking since both the LF and SF signalpaths can be routed to the stereo mixgiving up to 72 channels to mix with.

This utilizes the electronics in the consoleto a high degree and almost the only partof the signal path not fully used is therouting matrix although by using thesubgroups it will also be in use. Rememberalso that the group outputs can be usedas extra effect sends either from the LF orthe SF signal path.

Working this way you will want to use theSF switches to assign some resources overto the SF signal path, remembering that ifit is in use in one path it cannot be used(on a module by module basis) by the othersignal path.

Working in this mode it is very possiblethat you will want to send signals on thesame module but from the different signalpaths to the same effect unit.

Normally this would be a problem sincethe auxiliary can only be used on one orother signal path. Two auxiliaries thereforewould have to be used and then combinedin some way. The 8024 makes doing thisvery simple using the LINK switchesassociated with the auxiliary mastercontrols.

Operation Manual

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Using the ASP8024

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Foldback is the means whereby aperformer can hear previously recordedmaterial and probably other currentperformers in order that he/she can playalong in time both with them and the prerecorded material.

Loudspeakers and headphones can beused for foldback although in mostsituations headphones are the usualchoice. Several problems can occur if thefoldback is not giving the performer whathe/she expects to hear leading to timingand pitch variations.

The first problem is of course the numberof available foldback mixes. If the numberof performers exceeds this then an elementof compromise is already introduced.

The second problem is thatof creating a suitablefoldback mix. Listening on headphones isa very unnatural experience for mostpeople. Checking the foldback mix on thecontrol room loudspeakers or even onheadphones is unlikely to sound the sameas it is perceived by the performer listeningin the studio.

Should the foldback be mono or stereo ?Generally it has been found easier to followa beat that is in mono. If a click track isbeing followed than it may pay to vary theclick sound as the performer�s hearingadjusts to the click and desensitizes to it.Increasing the level of the click is of coursean option but this will quickly lead to moredesensitization and the risk of requiring toincrease the level yet again.

The level of the performer relative to theremaining foldback is a critical point.

If timing is a problem it may be that theperformer is hearing too much of himselfand not enough of the rest of theperformers. A solution here is to removeone of the ear pieces so the performer canretain a feel for his own instrument whilegetting more of the others.

For vocalists the pitching may be a littlesharp if there is insufficient of themselvesin the foldback to be able to judge pitch.The converse is also true where if there istoo much of the vocalist in the foldbackthen pitching may be flat. Pitching isusually easier with a stereo foldback mix.

If pitching is erratic it may be that there istoo much reverberation on thefoldback, however, insufficientreverberation can lead to alifeless performance.

Foldback in the ASP8024can be derived fromAuxiliary A and

Auxiliary B.

It is also possible to select the CONTROLROOM SOURCE or the EXTERNAL INPUTSto the monitor system as foldback sources.Additionally the stereo returns can be sentto the foldback system allowing effects tobe heard by the performers.

Auxiliaries A and B are normally derivedfrom the LF path of the console but can beswitched to take signal from the SF path.The signal is normally post fader but canbe selected to be the pre-fade signal. Thefoldback outputs are line level outputs andrequire to be connected to a suitableamplifier. They are not intended to directlydrive headphones or loudspeakers.

THE USE OF FOLDBACK

Operation Manual

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Using the ASP8024

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It is the group outputs of the console thatare connected to the multi-track recorderinputs. Consequently to record anythingit has to be routed to a group output.

This is done by using the routing buttonsat the top of the channel strip where thereare 12 buttons plus a shift button allowingrouting to all 24 group outputs. The groupis reached indirectly through the group mixbus. The mix bus allows other signals tobe routed to the same group output givingthe possibility of a track carrying only oneinstrument or a combination ofinstruments.

The disadvantage of combininginstruments at the recording stage is ofcourse that the mix between them is thenfixed and cannot be changed at a laterdate.

A better idea (but only if you are short oftracks) is to record the instrumentsseparately and then bounce them downto another track. This is achieved byrouting the LF path up to the routing matrixon all the channels to be bounced andselecting a track for the mixed signal to berecorded on (it must be the same for allsignals). The tape is then played and themixed signal re-recorded on a new track.Be careful when bouncing to an adjacenttrack on an analogue recorder, crosstalkin the record head may cause feedback.

This can be done until the mixed track isdeemed acceptable. Bringing the signal

through the console also means that theequalizers can be used to modify thesignals. The mixed signal can of coursebe monitored through the stereo bus.

The auxiliaries can also be used to send,for example, to a reverberation device. Theoutput of the reverberation unit can bebrought back through a stereo input to beused for foldback and can also be recordedeither as a part of the �bounced track� oron a separate track.

When mixing down, especially ifautomation is not available, it can be usefulto sub mix certain tracks, such as thebacking vocals, together. This is possibleby again assigning the LF signal up to therouting matrix. The first 8 groups are alsoautomatically assigned to 8 subgroups,thus group 1 also routes to sub group 1,group 2 also routes to sub group 2 and soon.

The sub group outputs can be useddirectly but in this situation it is moreuseful to assign the sub groups to thestereo mix by pressing the MIX button.Any signals requiring to be sub-groupedcan now be routed to a subgroup and thelevel within that subgroup is determinedby the long fader. The overall subgrouplevel is determined by its fader, located inthe centre section of the console. It ispossible to have 8 subgroups to simplifyand reduce the number of faders requiringadjustment during a mix down session.

GROUPS AND SUB GROUPS

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Using the ASP8024

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Overdubbing is really a combination of thetracking and mixing modes. In fact mosttracking that is done will be done asoverdubs and the only pure tracking mayin fact be the laying down of the guidetrack when there is nothing else on thetape.

Both the LF path and the SF path of theconsole are used in overdub mode. TheLF path is used to bring the tape playbacksignals both to the stereo bus and to theauxiliaries from where it can be sent tothe performers through the foldbacksystem.

The SF path is the recording path and isused to take input from the studio and sendit to a track on the multi-track recorder.

To use foldback the signal from tape shouldbe assigned to auxiliary A or B. Theauxiliary should be assigned to the LF pathand could be either pre or post fade.

If pre fade then you will be able to playwith the stereo mix without any effect onthe foldback. A post fade setting may bepreferred if changes to the mix are to bereflected in the foldback signal.

The recording path uses the mic/line inputand this will be connected to amicrophone, D.I. box or other signal sourcewithin the studio. The input signal can bechecked on the small meter available onthe input pod or by using the meter reverseswitch the long meter can be used. Thisdoes not indicate the level being sent tothe tape recorder, only the signal levelimmediately after the insert point in theSF signal path.

The level of course is important and it mustnot be too high or low even before the

short fader. The input meter will helpdetermine this and the level at this pointcan be controlled by the input sensitivitycontrol.

The signal then travels through the shortfader where the level to tape may becontrolled and thence to the routing matrixwhere it can be assigned to a track (ortracks) on the recorder.

The track to which the overdub is assignedshould be put in REC-READY mode withthe remaining tracks in SAFE mode. Thuswhen the RECORD button is pressed onlythe track which is rec-readied will actuallygo into record. Be very careful not tooverwrite a previously recorded track. Theuse of track sheets, where a list of all theinstruments on each track is kept, isrecommended.

The signal level being sent to the taperecorder can be seen on either the taperecorder meters or on the large meterassociated with the channel that theplayback signal is on. Make sure that thetape recorder is switched to input in order

that the recorder input signal is returnedto the console for viewing on the meters.Most machines incorporate an auto-inputfunction allowing the rec-readied tracks toautomatically switch to input. Trackswhich are SAFE will remain in TAPE mode.

You should consult your tape recordermanual for more information regardingthis.

Levels can be difficult to set and there maybe large differences between the meterson the recorder (especially if it is analogue)and those of the console.

The section on Metering later in thismanual, gives more information about themeters used in the ASP8024.

OVERDUBBING

Operation Manual

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Using the ASP8024

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The simplified block diagram on this pageshows the short and long fader paths. TheFLIP switch is at the input of both pathsand determines whether the MIC/LINE orthe TAPE input is used for a particular path.

The normal position for all switches on theconsole is UP and with the FLIP switch inthis position the TAPE signal is routedthrough the LF path as shown.

By studying the diagram it can be seenthat the MIC/LINE input is routed throughthe SF path but that when the FLIP switchis pressed this situation is reversed andthe TAPE signal is now routed through theSF path.

There are switches labelled SF associatedwith both the HF/LF equaliser and the MIDequaliser. Again the normal position ofthese switches is UP, placing the equalisersin the LF path.

By pressing the SF switches the equalisersections can be moved over to the SF path.

Thus it is possible to have the entireequaliser in either the LF or SF path or onesection of the equaliser in each path. Thissituation could be useful when both theLF and SF paths are used for mixdown.

If the multi-track recordings are to be madewith equalisation then the equalizersshould be placed in the SF path. Note inthis situation that you will hear the effectof the equalisation and it will be recorded.When the equaliser is in the LF path youwill hear the changes but they will not berecorded on the multi-track recorder. Theywill only be recorded if a stereo recordingis made, as will be the case when mixingthe title.

It is possible the source the auxiliaries fromthe SF path by pressing the SF switchassociated with each pair of auxiliaries.The auxiliaries can further be selected tobe either pre or post fader for whicheverpath they are in.

PATH SWAPPING

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Track bouncing is used to mix a limitednumber of tracks together and rerecordthem. This may be to free up some trackson the tape recorder so that additionalmaterial may be recorded or it may be sothat the final mix is simplified by havingcertain groups of instruments alreadypremixed. This could also be done, duringmixdown, by using the sub group facility.

Signal coming off tape is normally sentthrough the LF path. To rerecord it isnecessary to route the signal to the routingmatrix to assign the signal to thedesignated recording track.

The FLIP switch could obviously be usedto route the playback signal through theSF path and hence back to the tapemachine but this would necessitatereplicating panning and EQ in the SF path.However, it is preferable to use the LFbutton located by the routing matrix whichwill select the output of the long fader tothe routing matrix. This will preserve anypanning and EQ that has been set up.Ensure that all the tracks to be bouncedare unrouted from the mix. The end resultcan be heard by assigning the destinationtrack�s LF path to the mix.

TRACK BOUNCING

Pressing a solo button on a channel witheither PFL or AFL selected allows eitherthe PFL or AFL signal for that channel tobe heard on the monitors and viewed onthe stereo output meters.

Associated with the solo switch is theSOLO-IN-FRONT control and this allowsthe relative level of the solo�d signal andthe stereo mix to be adjusted. It is thuspossible to hear a channel in isolation orwith some amount of the mix behind it.

SOLO

Solo-in-Place is an extension of the AFLand PFL facilities. If SIP is selected on themaster module the signal on the mainstereo bus will be replaced by the AFL (PostPan) signal of the soloed channel. This isthe equivalent of cutting all other channelsexcept the one you want to check, but isachieved by just a single button push.

Note that if you are recording whenSolo in Place is used this will berecorded !

For this reason the SIP switch isilluminated alerting users to possibledanger. The most likely use for SIP will bejust before a mix when equalization isbeing set up. It is often easier to adjustthe equalization on a solo�d channel but itis essential to check how it sounds whenin the mix.

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Using the ASP8024

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Metering is extremely important as it candetermine whether or not a signal is toolow in level, in which case it may be noisy,or too high in level in which case it maysuffer distortion. The aim of the meters isto assist in setting the signal level betweenthe two extremes of noise and distortion.

A signal level that is too high clips meaningthat the smooth waveform abruptlychanges when the electronics runs out ofheadroom. Normally a visual indication ofimpending clipping is given before theaudible effects become apparent.

At the other extreme, if there is insufficientsignal, any noise present will be amplifiedalong with the signal when it is eventuallybrought up to the correct level. There areno indicators warning you of this condition- only the fact that the signal is not�peaking� to any extent on the meter.

To aid this situation the audient 8024 hasinput and output meters. Tape Input levelscan be monitored on a 20 segment meter,while microphone input levels can bemonitored on a 3 segment meter. Provisionis made for the function of these metersto be reversed, as, particularly whentracking, it may be desirable to observe theinput signal on the large meter.

METERING

On most analogue consoles it can be a verytrying task to try and associate the VUmeter readings with those on a digital taperecorder. The ASP8024 peak readingmeters make this task simpler by effectivelyreplicating the digital meters on therecorder. Since the meters are peak readingthey give a true indication of the signal levelallowing you to use the full dynamic rangeof the electronics.

The meters are calibrated with 0dBFS atthe top of the scale, all other levels beingnegative with respect to this.

OdB is calibrated for a signal level of+18dBu and the 0VU mark for +4dBu. Inaddition there is an OVER indicator whichilluminates at +20dBu. The meters arepeak reading to give a response muchmore like the readings on a digital recorder.

Meters are provided for :-

Main Stereo Output

Subgroup Outputs

Tape Return Inputs

MIC/LINE Inputs

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Using the ASP8024

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JACK SOCKETSJack sockets are a very common form ofconnector and are used extensively in the8024 console. There is more to them,however, than merely connecting with theTip, Ring and Sleeve of the mating jackplug.

The switching contacts allow the jackssockets to be used to pass a signal throughwhile no mating plug is inserted but breakthis signal and accept the signal from theplug when it is inserted. This is known as�normalling� and the signal connectedthrough the switching contacts is knownas the �normalled� signal.

The prime use of this function within theconsole is on the insert points. If thisfacility did not exist and the insert pointwas switched in, nothing could passthrough the signal path unless an externalunit was connected between the insertsend and the insert return jacks. If theinsert return jack has its normal contactswired to the signal being sent to the insertsend, then, if no jack is inserted in to thereturn socket the send signal will passthrough the contacts and appear on theoutput of the jack.

This allows the insert point to be leftswitched into circuit at all times with theonly consideration being that the signalpasses through one more stage ofelectronics than it otherwise would.

The insert sends are ground sensingoutputs enabling them to connect tobalanced and unbalanced loads with equalease. When connected to an unbalancedload any ground noise from the destinationis also added to the signal making it acommon mode signal which is rejected.

XLRSXLR connectors are the connectors foundon many items of professional audioequipment. XLR stands for �extra lowresistance� as there is a large contact areaassociated with this connector. Maleconnectors are used as outputs while thefemale connectors are used as inputs.There are 3 pins on each connector withpin 1 always being used as the earth orground pin to which the cable shieldshould be connected.

The balanced signal is carried on pins 2and 3, Pin 2 is normally the Hot pin whilepin 3 is Cold pin. In the USA generally thereverse is true and pin 3 is the Hot pin.With balanced circuits throughout thismakes little or no difference but beware ifunbalanced inputs and outputs exist asthis may be the cause of a polarity reversal,or signal short circuits.

SWITCHING

CONTACTS

SLEEVE

RING

TIP

MORE ON CONNECTORS

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Using the ASP8024

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AFLThis allows after fade (post fade) signalsto be heard on the monitors and viewedon the main stereo meters.

AUXILIARIESSometimes known as auxiliary sends theseare used as secondary mix buses. Themixes created on these buses are thenused to feed effect units or are fed back tothe performers as a Foldback feed. Everychannel has access to the auxiliary mixesand the contribution of any channel canbe varied by using the appropriate auxiliarylevel control.

AUXILIARY MASTERAssociated with every auxiliary there is anauxiliary master control to give overall levelcontrol rather than having to adjust thecontribution from every channel.Auxiliaries can be switched pre or postfader and be allocated to either the SF orLF signal paths. A further switch assignsthe controls to a different pair of auxiliarybuses, reducing the number of controlsneeded for a given number of auxiliaries.

BOUNCINGBouncing (or track bouncing to give it itsfull name) is the process of moving one ormore tracks from their existing position(s)to a new track. This is most often done inorder to free up more tracks for recording.

BUS MASTERInputs are assigned to group outputsthrough a bus enabling one or many inputsto be assigned to the same bus. The groupoutputs usually correspond to inputs onthe multi-track recorder. Each bus then hasa mixing amplifier whose gain can becontrolled by the Bus Master Trim. Thisallows the level to a multi-track input tobe raised or lowered without having toadjust the individual level of each channelrouted to that track. The faders can stillbe used to adjust the relative levels ofchannels.

CUTThe cut or mute control is used to silence(mute) a signal path when it is not in use.This removes the noise contribution fromthat source leading to a quieter mix. Thereare cut switches in both the SF and LFsignal paths.

DIMThis allows the control room loudspeakerlevels to be reduced by a preset amount.

Dim will be brought into actionautomatically when talkback is usedpreventing howl round.

EQUALISEREqualisers are what would be referred toas tone controls on consumer equipment.Equalisers are divided into a number ofbands - 4 in this case. There is scope toadjust high and low frequencies and twobands of middle (mid) frequencies. Thehigh and low frequency sections areshelving and the turnover frequency isswitchable. The middle frequency sectionsare peaking and the frequency of the peak(or dip) is adjustable. It is also possible toalter the Q of the mid sections with a pot,making the Q continuously variablebetween two values. In line consoles oftenhave the facility for the equaliser to be splitsuch that it can be used partly in thechannel path and partly in the monitorpath. The SF switches on the 8024equalisers allow the HF/LF and MIDequalisers to be independently switchedinto the SF signal path.

FLIPFlip allows the inputs to the signal pathsto be swapped. Normally the LF path willcarry the TAPE input, however, with FLIPpressed it will carry the MIC/LINE inputwhile the TAPE input will travel throughthe SF path.

FOLDBACKFoldback is a mix that is returned to theperformers in the studio in order that theycan play in time with what is alreadyrecorded. It could simply be the consolestereo output although more usually it istaken from a pair of auxiliary busesallowing a different mix to be created.Talkback may also be included on thefoldback outputs enabling communicationwith the artists.

IN LINEThis refers to a type of console whichcontains two signal paths within a module.The channel signal path is used to feed amulti-track tape recorder while the monitorpath is used to carry the output of themulti-track recorder through to the stereomix bus. In line consoles can be morecompact than split consoles or can carrymore channels for a given size. Thepossibility of switching signals betweenthe two paths and of sharing facilitiesbetween the paths makes the in lineconcept a very attractive one.

GLOSSARY

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INSERT POINTSInsert points allow the signal path to bebroken allowing the insertion of somesignal processing device. The deviceinserted is then in series with the signalpath. When not required the device caneither be switched out using the INSERTswitch or unplugged from the console.

LFThe Long fader is normally used to feedthe mix. The lighter areas of the channelstrips are areas used for the LF signal path.There may be a dark switch labelled SFallowing that facility to be switched intothe SF or short fader path.

LINEThe line input is a high level, high inputimpedance input intended for high levelsources such as the outputs of a multi-track tape recorder, sampler etc.

MICThe microhone input is a low level, lowimpedance input intended for use by lowoutput devices such as microphones. Thiscontrasts with the line input which isintended for use by equipment with highoutput levels, a tape recorder line outputfor example.

MIXThis allows signal to be routed to thestereo mix bus which is the main outputof the console. This routing can be appliedto both the SF and LF signal paths and isparticularly useful during mix down whenas many inputs as possible are oftenrequired.

PANShort for panoramic potentiometer thiscontrol places a mono source signal ontothe stereo bus. The proportion of signalfed to the left and right buses is variable(using the pan control) and alters thespatial position of an instrument within themix. Thus a number of channels can allbe panned to different spatial positions.Generally low frequency instruments suchas kick drums are panned centrally as theyare omnidirectional and for a given SPL thespeakers are being driven at a lower levelleading to less distortion. Signals can alsobe panned across odd and even groupoutputs allowing them to recorded instereo on the multi-track recorder.

QQ is an indication of the frequency rangeor bandwidth over which a peakingequaliser will be effective. Low Qs affect awide range of frequencies while high Qsaffect a much narrower range offrequencies. It thus allows an equalisationadjustment to be targeted to maximise theeffect where required while at the sametime minimising changes where they arenot wanted. Generally high Qs sound lesspleasant than low Qs.

ROUTING

This is the process of selecting to whichgroup output of the console the signalshould be routed. Routing can be tomultiple tracks and if an odd/evencombination is selected then panning canbe used to record a stereo signal onto themulti-track recorder.

SFThe Short fader is normally used to feedthe inputs to a multi-track tape recorder.It therefore controls the recorded level ofthe signal. When SF appears by a controlor group of controls it means that thesefunctions can be switched into the shortfader (or channel fader) path.

SHIFTThis allows the number of routingswitches to be reduced by doubling thefunction of each switch. With Shiftunpressed routing is possible to tracks 1through 12. With Shift pressed routingto tracks 13 through 24 is possible.

SOLO IN PLACEThis is a method of previewing the signalin a channel and works by cutting all thesignals feeding the stereo bus other thanthe one(s) being solo�d. This is adestructive process and does affect thestereo or mix output of the console.

STEREO BUSThis is usually the main bus in the consoleand provides the output to whateverstereo recording device is in use. Thestereo output is also used as the mainmonitor source allowing the output of themulti-track to be heard and the balanceof the individual tracks in the mix to beadjusted.

TALKBACKTalkback is a means of communicationfrom the mixing console to the performer.

PFLThis allows pre-fade signals to be heardon the monitors and viewed on the mainstereo meters of the console.

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Functions

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Now that an understanding of the use of the consolehas been gained by example it is time to list the functionson the modules. The modules have been sectioned inorder to show them at a reasonable size and the controlsidentified by number. A brief functional description ofthe controls is given below the drawing while the sidebar gives a broader overview of the functions.

This section of the manual can be treated as a referencesection when looking for a specific control.

CONSOLE FUNCTIONS

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Input Strip

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INPUT POD

The input pod is thegateway to the remainderof the signal processing ofthe console. There arethree inputs, a mutuallyexclusive microphone andline input, and a tape input.

Note the different colouringused to identify thedifferent signal paths of thepod. Anything on a lightbackground is associatedwith the LF path whileanything on a darkbackground is associatedwith the SF path.

The mic/line input normallysends signal to the SF orshort fader signal path ofthe console while the tapeinput normally sends signalthrough the LF or longfader path of the consoleunless this is reversed bythe FLIP switch.

There are two metersassociated with the inputs,a 20 segment 0dBFS peakreading meter showing thetape input signal and a 3segment peak readingmeter gives an indication ofthe mic/line level.

Both the MIC/LINE and theTAPE inputs have insertpoints which can beswitched in and out ofcircuit.

The Mic Input has a gaincontrol range of +6dB to+60dB and the Line Inputhas a range of -14dB to+20dB.Switches allow forPhantom Power, PolarityReversal and High Passfiltering.

The TAPE input has a trimcontrol with a range of±15dB.

There is a back illuminatednumber at the bottom of thepod for channelidentification.

1 20 Segment meter

2 3 Segment meter

3 INSERT IN places aninsert point in the TAPEpath

4 Tape Input TRIM control

5 MIC/LINE switch -press down to select theline input.

6 MTR - press to showthe mic/line input on thelarge meter and the tapeinput on the small meter.

7 INSERT IN - places aninsert point in the MIC/LINE path.

8 Mic/Line GAIN Control

9 O Polarity (Phase)Reverse Switch

10 48V Phantom PowerSwitch. Turn theloudspeakers downbefore switching this onor off !

11 High Pass FilterSwitch. A high passfilter can be used to getrid of any unwantedlow frequencies thatmay be present such asair conditioning rumble.

1

2

3

4

5 6

8

7

9

10 11

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Input Strip

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ROUTING andAUXILIARIES

The routing section takesthe signal from the SF pathand routes it to the groupoutputs which in turn areusually connected to theinputs of a multi-trackrecorder. Groups 1 to 8 alsohave a parallel path andfeed the 8 sub groups.These can be used to premix channels together forfinal mix down or as sendsto an 8 track recorder.

There are 24 group outputsaccessed by 12 routingbuttons and a SHIFTbutton.

Routing can be to multipleoutputs and if odd andeven outputs are selectedpanning can be used toplace the signal within astereo image.

The LF switch moves therouting from the SF pathover to the LF path and canbe useful for trackbouncing. If PAN is downand routing is againselected for odd and evengroups then the post fadepost pan LF signal is sentto the group outputsselected.

There are 14 auxiliaryoutputs although thenumber of panel controlsdoes not reflect this. Againa switch is used to assignthe controls between twopairs of auxiliaries.Auxiliaries 1 and 2 can beswitched for use as 7 and8 for example. TheAuxiliaries can be switchedto the SF path.

Auxiliaries A and B work inthe same manner as theother auxiliaries but areintended mainly for use assends to the FOLDBACKsystem.

1 ROUTING SWITCHESselect the group outputsthat the SF signal is sentto. The first eightswitches also route tothe 8 subgroups

2 SHIFT gives access togroup outputs 13 - 24.

3 PAN allows the signal tobe panned across oddand even groups.

4 LF replaces the SF signalbeing sent to the routingswitches with the signalfrom the LF signal path.

5 LEVEL adjusts the levelsent to an auxiliaryoutput.

6 SF allows the signalfeeding the auxiliary tobe taken from the SFsignal path.

7 PRE allows the auxiliarysignal to be taken prefader instead of thenormal situation whereit is taken post fader.

8 7-8 allows the signal tobe routed to auxiliaries7-8 instead of 1-2.

9 AUXILIARIES A and Bare identical in operationto the others but can beindividually switchedinto the SF path.

Auxiliaries 3-4, 5-6are omitted for clarity,but are the same asauxiliaries 1 and 2.

1

2

5

4

3

8

7

6

9

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Input Strip

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EQUALISER

Note the light backgroundindicating that the equaliseris normally associated withthe LF signal path.

The equaliser is split intotwo sections - one for highand low frequencies (HF/LF) and the other for middlefrequencies (MIDS). Bothsections can be switchedin and out independentlyand switched into the SFsignal path independently.

The HF section has a boost/cut range of 15dB. Thefrequency can be switched- 10kHz with the switch upand 18kHz with the switchdepressed.

The LF section has a boost/cut range of 15dB and ashelving characteristic. Thefrequency can be switched- 50Hz with the switch upand 100Hz with the switchdepressed.

The high mid section (HMF)has three controls. Theboost/cut range is 15dB andthe frequency of operationcan be varied from 450Hzto 20kHz. A Q controlallows for a very sharp andnarrow characteristic or fora more gentle characteristiccovering a wider range offrequencies.

The low mid section (LMF)has three controls. Theboost/cut range is 15dB anda shelving characteristic.The frequency of operationcan be varied from 50Hz to1.5kHz. A Q control allowsfor a very sharp and narrowcharacteristic or for a moregentle characteristiccovering a wider range offrequencies.

The actual Q range isbetween 3.8 (0.4 Octave)and 0.65 (2 Octaves).

1 HF/LF Section. Thisplaces the HF/LFequaliser in circuit.

2 SF places the HF/LFequaliser in the SFsignal path where it canbe used to treat a signalbefore it is recorded.

3 10kHz/18kHz allowsthe frequency of the HFequaliser to be selected.

4 HF boost/cut control.

5 50Hz/100Hz allows thefrequency of the LFequaliser to be selected.

6 LF boost/cut control.

7 MIDS Section. Thisplaces the MIDSequaliser in circuit.

8 SF places the MIDSequaliser in the SFsignal path where it canbe used to treat a signalbefore being recorded.

9 This controls the centreFREQUENCY of thehigh mid equaliser.

10 HIGH MID boost/cutcontrol.

11 HIGH MID Q control.

12 This controls the centreFREQUENCY of the lowmid equaliser.

13 LOW MID boost/cutcontrol.

14 LOW MID Q control.

9

7

5

1

3

8

6

4

2

10

1314

12

11

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Input Strip

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There are 3 backilluminated indicatorsshowing the selected inputto the SF path. This can bechanged between Mic/Lineand Tape using the FLIPswitch.

LF Source allows the sourcefor the SF path to be takenfrom the LF path. This couldbe used during mixdown tosend the LF signal throughthe SF path up to therouting matrix where thegroup outputs can be usedas additional effect sends.Normally this signal isderived after the long fader(POST LF) but it can bemade PRE LF by changingan internal link on the circuitboard.

The source switchingoccurs before the equaliserso it is possible to equalisethe SF signal which hasbeen taken from the LF pathby switching either one orboth equaliser sections intothe SF path. (If this is donethen the equaliser section isno longer available in the LFpath).

The SF PAN control allowspanning across the groupoutputs when pan isselected on the routingsection of the strip.

MIX allows the SF signal tobe routed to the stereo mixbus and allows the SF pathto be used as an additionalinput during mixdown.

The short fader is designedfor use with 10dB of gainin hand allowing the signalto be boosted or reduced inlevel if required.

The SOLO switch allowsthe channel to beauditioned through the AFL/PFL or Solo in Placefacilities.

CUT allows the SF signalpath to be muted.

1 MIC/TAPE. These backlit indicators showwhether the MIC/LINEor the TAPE input isselected to the SF path.Only one will beilluminated and it can bechanged by using theFLIP switch.

2 SOURCE selects thepost fade LF signal asthe input to the SFsignal path, over-ridingthe MIC or TAPEselection from the Flipswitch. By altering a linkon the circuit board thissignal can be made prefade.The LF legend willilluminate when theswitch is pressed andthe MIC/TAPE indicatorwill blank.

3 This is the PAN controlfor the SF signalenabling it to be panned

6

5

4

23

7

1

across odd and evengroups.

4 MIX routes the SF signalto the stereo mix bus. Itis good practice tounroute any channelswhich are not needed.This will reduce mixamp noise.

5 This is the SHORTFADER which controlsthe level of the SF signal.

6 SOLO allows the SFsignal to be heard on themonitors and viewed onthe master meters. IfSolo In Place is selectedit will replace theconsole output.

7 CUT allows the SFsignal path to be muted.This may help to reducenoise in a mix if achannel is not in use fora period of time.

SHORT FADER (SF)

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Input Strip

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FLIP and PAN

The FLIP switch allows theMIC/LINE input and theTAPE input to be reversed.Normally the TAPE inputfeeds the LF signal path -with FLIP pressed it willfeed the SF signal path. TheMIC/LINE input normallyfeeds the SF signal path andwith FLIP pressed it willfeed the LF signal path.Illuminated indicators ineach section show whichinput is selected to the LFand SF paths.

The PAN control pans theLF signal across the stereomix bus and the MIX switchassigns the LF signal to thestereo bus.

The SOLO switch allowsthe long fader signal to beauditioned through the AFL/PFL or Solo in Placefacilities.

CUT allows the LF signalpath to be muted.

Page 33 gives more detailregarding the long faderused to control the level ofthe LF signal path.

1 FLIP swaps the inputsbetween the LF and SFpaths.

2 These back lit indicatorsshow whether the MIC/LINE or the TAPE inputis selected to the LFpath. Only one will beilluminated and it can bechanged by using theFLIP switch.

3 MIX allows the LF signalto be routed to thestereo mix bus.Normally this switchshould be pressed but itis good practice tounroute any channelswhich are not needed.this will help to reducemix amp noise.

4 This is the PAN controlfor the LF signalenabling it to be pannedacross the stereo bus

5 SOLO allows the LFsignal to be heard on themonitors and viewed onthe master meters or, ifSolo in Place is selected,it will replace theconsole output.

6 CUT allows the LF signalpath to be muted. Thismay help to reduce thenoise in a mix when achannel is not in use fora period of time.

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1

4 3

2

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Input Strip

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1 This is the LONGFADER which controlsthe level of the LF signal.

2 This is the +10dB mark.The fader is fully open atthis point andintroducing 10dB ofgain into the signal path.

LONG FADER (LF)

Located close to theoperator this fader operateson the LF signal path andis therefore mainly used forcreating the monitor mixand the final stereo mix forthe title.

The fader is expected tooperate around the 0dBmark with 10dB of gain inhand allowing the signal tobe increased or decreasedin level.

When level setting startwith the fader in thisposition then adjust theinput sensitivity control forthe correct level to optimisethe gain structure.

1

3

4

2

3 This is the 0dB mark.This is the normaloperation position forthe fader.

4 With the fader here thesignal path is closed andno signal will pass.

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Input Strip

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CONNECTORPANEL

The rear mountedconnector panel is wherethe input, output and insertpoint connectors arelocated.

The microphone input usesan XLR connector while theline input, tape input andthe insert sends andreturns use Tip, Ring andSleeve jacks.

1

3

8

4

2

1 MICROPHONE INPUT.Microphones or otherlow levels inputs can beconnected to this input.

2 LINE INPUT. This inputcan selected in place ofthe microphone input.Like the Tape input it issuitable for high levelline sources.

3 MIC/LINE INSERTSEND . This is the insertpoint send output forthe microphone and lineinput. Signal is alwayspresent here and can beused as an additionaloutput. Only the Mic/Line signal will appearhere and it is notaffected by the Flipswitch.

4 MIC/LINE INSERTRETURN. When theinsert point is in use thesignal from the externalprocessing equipmentshould be connected

7

5

6

here.

5 TAPE INPUT. Theoutput of the multi-tracktape recorder should beconnected herealthough the input issuitable for any highlevel line source.

6 TAPE INSERT SEND.This is the insert pointsend output for the tapeinput. Signal is alwayspresent here and thiscan be used as anadditional output. Onlythe Tape signal willappear here and it is notaffected by the Flipswitch.

7 TAPE INSERTRETURN. When theinsert point is in use thesignal from the externalprocessing equipmentshould be connectedhere.

8 CHANNEL IDENTIFICATIONNUMBER.

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Master Section

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This section of the mastermodule looks after theSTUDIO LOUDSPEAKERand FOLDBACK outputs ofthe console. In every casethe same sources areavailable -

TAPE 1

TAPE 2

CONTROL ROOM (C/RM)

AUXILIARY A (AUX A)

AUXILIARY B (AUX B)

Tapes 1 and 2 are externalinputs to the console andcould be anything you careto plug in. Typically a stereorecorder output isconnected here.

C/RM selects the controlroom monitor output as thesource. This is used toprovide a playback of theMIX to the studio speakers,or to set up a quick foldbackmix, perhaps with a littlehelp from the Aux A andAux B buses.

AUX A and AUX B which aremono sources which canbe independently selectedto the left and right sides ofthe studio speaker orfoldback outputs.

Each output has a levelcontrol. The studioloudspeaker has a CUTswitch and the FOLDBACKoutputs have SOLOswitches. These enable thefoldback mix to be createdor checked in the controlroom. This is always AFL.

1 SOURCE SELECT. Theseselect the signals to besent to the studioloudspeakers andfoldback.

2 The LEVEL controls setthe Studio Loudspeakerand Foldback levels.

3 Studio Loudspeaker ONswitch. This mutes theStudio Loudspeaker.

4 FOLDBACK 1 SOLOswitch. Allows foldback1 to be checked on thecontrol room monitoringsystem.

54

1

3

2

5 FOLDBACK 2 SOLOswitch. Allows foldback2 to be checked on thecontrol room monitoringsystem.

STUDIO SPEAKERSand FOLDBACK

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Master Section

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CONTROL ROOMMONITORING

The Control RoomMonitoring system is one ofthe most used systems in astudio. Typically there areseveral sets of loudspeakerswith a main pair and one ormore alternate pairs. Theseare sometimes referred toas Near, Far and Mid fieldmonitors depending ontheir proximity to thelistening position.

The ASP8024 provides for4 pairs of loudspeakers, aMAIN pair and ALTERNATE1, 2 and 3. Source selectionis made from either the MIXor TAPE 1, 2 and 3.

Each loudspeaker pair hasits own level control. Thecontrol for the main pair islarger than the controls forthe alternate monitors. Thelevel controls areindependent of each other.

Associated with the mainloudspeakers are somefurther controls allowingthe left and right outputsto be independently orsimultaneously CUT, themonitoring system to beplaced in MONO mode, orfor the output to bedimmed by a presetamount.1 SOURCE SELECT buttons.

2 LEVEL controls for thealternate loudspeakers.

3 SPEAKER SELECT buttons.

4 Main LoudspeakerLEVEL Control.

5 MONO button allowingthe signal to be checkedfor mono compatibility.

6 CUT buttons allowingindependent cutting ofthe left and rightspeakers.

7 DIM allows thespeakers to be reduced

6

5

4

1

3

2

78

in level by a presetamount (15dB).

8 CUT allows thespeakers to becompletely silenced.

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Master Section

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OSCILLATOR

The 4 frequency oscillatorcan be assigned either tothe group buses or to thestereo mix bus. The level isadjustable and when not inuse the oscillator should becompletely turned off.

1 Oscillator FREQUENCYselection switches.Frequencies of 40Hz,1kHz, 10kHz or 15kHzcan be selected usingthe two switches.

2 Oscillator ROUTINGswitches. These routethe oscillator signaldirectly to either thegroup buses or thestereo mix bus.

3 Oscillator LEVELControl.

4 Oscillator ON switch.During normaloperation of the consoleensure that theoscillator is switchedOFF.

5 SOLO level control.

6 SOLO IN FRONT altersthe ratio of the SOLOsignal to the MIX signalmaking it possible tolisten to the SOLO�dsignal in isolation orcombined with someamount of the stereomix.

7 The SIP switch switchesthe console into SOLOIN PLACE mode. Thismeans that the solosignal will replace themix signal at the stereooutput of the console.

8 This selects either PFLor AFL mode. Thisswitch is not effective inSOLO IN PLACE mode.

SOLO

This is the master controlarea for the AFL/PFL andSOLO IN PLACE system. IfSIP is not illuminated thenthe console will be in eitherAFL or PFL modedepending upon the PFL/AFL switch.

PFL allows pre fade signalsto be auditioned on themonitors and viewed onthe master meters bypressing the SOLO buttonon the appropriate channelstrip.

AFL allows the post fadepost pan signals to beauditioned on the monitorsand viewed on the mastermeters by pressing theSOLO button on theappropriate channel strip.

A control adjusts therelative level of the solosignal and the mix signalallowing the solo�d channelto be heard in isolation orwith some amount of themix.

SIP mode allows the postpan signal to be auditionedby switching the solo�dchannels onto the consoleoutput and muting thestereo mix for the durationof the solo. Since thishappens on the mixoutput, solo in place shouldnot be used during mixingbut is very helpful whensetting up the mix.

7

5

3

1

8

6

4

2

Operation Manual

32

Master Section

© 5/2000

COMPRESSOR

A compressor can beswitched into the mainstereo signal path whenrequired. Note that it islocated after the mix insertpoint but before the mainfader.

The compressorcharacteristics areoptimized for use in mixprocessing while many ofthe parameters remainunder the control of theengineer.

Threshold, Gain Make Up,Attack, Release and Ratioare all adjustable while theentire processor can beswitched out of circuitwhen not required.

A bargraph meter indicatesthe amount of compressionapplied to the signal. Whencompression is takingplace this should showsome very healthy activity.Please do not try to overcompress the mix outputas the results will soundterrible. Always use yourears to check the effect thatyou are trying for!

You too can act as acompressor by reducingand increasing the masterfader level. In somesituations this gain ridingmay be preferable as,assuming you know thesong, you will be able toanticipate peaks andreduce the gain slowlybefore they occur,increasing it slowly as thesignal level falls from thepeak.

A good use of thecompressor may be to limitpeak signals by setting ahighish threshold with ahigh ratio. Thus when thethreshold is reached thesignal is barely allowed toincrease beyond it.

1 A 12 segment bargraphMETER indicating theamount of gainreduction taking place.

2 THRESHOLD control fordetermining the levelwhere compressionstarts. Threshold can beset between -20dBuand +20dBu.

3 ATTACK controls thespeed with which thecompressor reacts tothe signal. Attack isadjustable in 6 stepsfrom 0.1 to 30ms.

4 RATIO determines theamount of compressionused once the signal isabove the thresholdlevel. High ratios meansthat more compressionwill be applied. Forexample a ratio of 2:1means that the outputwill rise 1dB for every2dB rise in input level.

Ratios of 4:1 and 10:1are also available.

5 MAKEUP is a gaincontrol. When a signalis compressed the levelis reduced. A gain makeup stage restores thepeak level although ofcourse the dynamicrange of the signal hasnow been reduced.40dB of gain make up isavailable.

6 RELEASE controls thespeed at which thecompressor allows thegain to return to normalwhen the signal dropsbelow the thresholdlevel. Release is availablefrom 0.1s to 2.4s in 5steps with an additionalAUTO setting.

7 The IN switch is used toswitch the compressorinto circuit.

4

1

3

2

7

6

5

Operation Manual

33

Master Section

© 5/2000

STEREO INPUTS

The Stereo inputs allowsignals to be brought backinto the console (returned)from an effect unit withoutusing up a completechannel strip. Often stereosignals can only be routedto the stereo mix, however,the ASP8024 stereo inputsallow routing back to themulti-track in addition to themix. This means that effectscan be recorded on themulti-track.

Routing to the foldbacksystem is also possibleusing F/B A and F/B Ballowing performers to hearany reverberation or othereffect.

A gain trim with 20 dB ofrange, rotary fader, soloand cut switch completethe facilities on the input.

The stereo channelseffectively increase thenumber of inputs on theconsole that are availableespecially during a mixdown. Every channel hastwo inputs, either mic/lineor tape, thus a 36 inputconsole has 72 inputs PLUS4 stereo inputs giving 80inputs.

1 ROUTING SWITCHESallowing the inputsignal to be sent to themulti-track recorder.

2 SHIFT button workingwith the routingswitches to give accessto tracks 13 - 24.

3 F/B A allows the inputsignal to be fed toFoldback A.

4 F/B B allows the inputsignal to be fed toFoldback B.

5 TRIM control tocompensate fordifferent input levels.This has a range of±20dB.

6 Rotary FADER allowingthe input signal to befaded up or down asrequired.

7 MIX allows the inputsignal to be sent to thestereo mix bus.

8 SOLO allows the inputsignal to be auditioneddepending upon theselected solo mode.

9 CUT is used to mute thesignal or simply removeany noise contributionfrom the return whennot in use.

1

4

3

2

9

7

8

6

5

Operation Manual

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Master Section

© 5/2000

SUB GROUPOUTPUTS

In addition to routing signalto the group outputs forrecording on a multi-trackrecorder, the first eightgroups are also fed to 8 subgroup outputs. Each subgroup has a PAN control,SOLO and CUT switchesand a fader controlling thegroup output level. The subgroups have insert pointslocated on the rear panel ofthe console allowingexternal processing to bepatched in when called for.The MIX switch assignsthe sub group to the stereomix bus and allows the subgroups to be used in mixdown. The subgroupINSERT RETURNS can beused as extra inputs to themix.

1 The PAN knob pans thesubgroup signal acrossthe stereo bus.

2 MIX allows the subgroup to be assigned tothe stereo mix bus andhence the main consoleoutput.

3 SOLO allows thesubgroup signal to beauditioned dependingupon the selected panmode.

4 CUT mutes thesubgroup output.

1

43

2

SUB GROUP FADER

The 8 subgroup faders arelocated in the centre of theconsole, close to theoperator, and control thesubgroup output levels.These outputs are directlyavailable at the rear of theconsole or they may beused to feed the stereo mixbus simply by pressing themix buttons.

1 The SUB GROUPFADER sets the level ofthe subgroup outputsignal.

2 This is the +10db mark.The fader is fully open atthis point andintroducing 10dB ofgain into the signal path.

3 This is the 0dB markwhich is the normaloperation position forthe fader.


1

3

4

2

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Master Section

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TALKBACK

Talkback is used tocommunicate with theSTUDIO, the FOLDBACKsystem or the GROUPoutputs of the console.Note that the talkback to thefoldback system will workeven when the foldbacklevels are turned down.

1 The LEVEL controladjusts the talkbacklevel.

2 Pressing SLATE allowstalkback to the groupoutputs. This allowstrack identificationinformation, forexample, to berecorded.

3 Pressing SLS lets youtalk to the studioloudspeaker.

4 Pressing FB lets youtalk to the Foldbackoutputs.

In all cases pressing atalkback key will causethe control roommonitors to dim. Thishelps prevent feedback,makes the talkbackmore intelligible anddoes not affect theconsole outputs.

1

32 4

The talkback microphonemay be phantom poweredby connecting Link 1 on thePC10801 board.

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Master Section

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AUXILIARYMASTERS

The auxiliary masterscontrol the overall level ofthe auxiliary outputs. Abalance or mix can thus becreated by using thecontrols on the channelstrips and the overall leveladjusted by using theauxiliary master control.The auxiliary outputs can besolo�d so that a balance canbe created by listening tothe output.

A typical mixing situationmay require that the LF andSF paths feed the sameeffect device.

Although an auxiliary sendcan be assigned to either ofthe two paths they naturallycannot access both paths atthe same time. By linkingauxiliaries this problem isovercome and if theauxiliary 3 signals need tobe combined with those onAuxiliary 1 this can beachieved by simply usingthe link facility. Thefollowing combinations arepossible:

AUXs 3 and 5 can be linkedto AUX 1.

AUX s 4 and 6 can be linkedto AUX 2.

AUXs 9 and 11 can be linkedto AUX 7.

AUXs 10 and 11can belinked to AUX 8.

1 AUXILIARY MASTERLEVEL controls theoverall auxiliary output.

2 SOLO button used toaudition the auxiliaryoutput. This is alwaysAFL.

3 The LINK button is usedwhen it is required tocombine signals fromdifferent auxiliaries intoa common signal. Theleftmost auxiliarybecomes the overallmaster, thus if auxiliary3 is linked to auxiliary 1then the output ofauxiliary 1 should beused as the masteroutput.

1 3

2

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Master Section

© 5/2000

BUS MASTERTRIM

The BUS MASER TRIMS arethe final stage of levelcontrol over the signalsrouted to the groupoutputs. Each group has abus trim although for thepurposes of this manualonly a few are shown in theaccompanying diagram.

The trim range is ±10dB.

1 BUS MASTER TRIMcontrols the overall levelof a group output.

1

Operation Manual

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Master Section

© 5/2000

MASTER FADER

The master fader is used tocontrol the stereo output ofthe console. Unlike thechannel faders it iscalibrated with the 0dBmark at the top as the mainpurpose of this fader is tocreate a fade out at the endof a title.

Under normal operatingconditions the fader shouldalways be set at maximum.If it has to be pulled back asignificant distance itindicates that the levels tothe mix bus are too highand should be reduced.

1

3

2

1 The MASTER FADERcontrols the level of thestereo output signal.

2 This is the 0db mark.The fader is fully open atthis point.


Operation Manual

39

Master Section

© 5/2000

CONTROL ROOMCONNECTORS

These are the connectorsfor the control roomloudspeakers. There is amain output and 3alternative outputs whichcan be selected from thecontrol surface of theconsole. Each output isstereo, having a left andright connector.

The console does notcontain any poweramplification and theseoutputs should beconnected into a suitablepower amplifier for theloudspeakers in use.

The speakers may ofcourse be self powered inwhich case connectionshould be made to theinputs on the loudspeakers.

1 MAIN Control roomloudspeaker output.

2 ALTERNATIVE 1loudspeaker Output.



32 41

Operation Manual

40

Master Section

© 5/2000

STUDIO ANDFOLDBACKCONNECTORS

These are the XLRconnectors for the StudioLoudspeaker and the twofoldback outputs. Eachoutput is stereo, having aleft and right connector.

The console does notcontain any poweramplification and theseoutputs should beconnected into a suitablepower amplifier for theloudspeakers orheadphones in use.

The speakers may ofcourse be self powered inwhich case connectionshould be made to theinputs on the loudspeakers.

1 STUDIO LOUDSPEAKER. These carry theoutputs to the studioloudspeaker system.The output dependsupon the selection madeon the control surface ofthe console.

2 FOLDBACK A output.Foldback is normallyused as a feed toheadphones. Theoutput depends uponthe selection made onthe control surface ofthe console.

3 FOLDBACK B output.Foldback is normallyused as a feed toheadphones. Theoutput depends uponthe selection made onthe control surface ofthe console.

3

1 2

Operation Manual

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Master Section

© 5/2000

AUXILIARIESCONNECTORS

Not all of the ouputs areshown for clarity. It carriesXLR connectors forAuxiliary A, Auxiliary B andAuxiliaries 1 through to 12.(Note that all auxiliaries aremono.)

The auxiliary outputs aretypically used to send toeffect units such asreverberation units. Theyare line level fully balancedoutputs.

1 2

1 AUXILIARY A andAUXILIARY B outputs.These auxiliaries arenormally used as feedsto the foldback systemby selecting them on thecontrol surface of theconsole. They can alsobe used as additionaleffects sends.

2 AUXILIARY 1 and 2outputs. The remainingauxiliary outputs areidentical.

Operation Manual

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Master Section

© 5/2000

SUB GROUPINSERTCONNECTORS

1

2

1 INSERT SEND Jack forsub group 1

2 INSERT RETURN Jackfor sub group 1

The 7 remainingsubgroups haveidentical connectors.

This panel carries theconnectors for the subgroup insert points. Thereare 8 sub groups and eachinsert point has a sendoutput and a return input.

Signal is always present onthe send output. If requiredthe insert returns could beused as very basic inputs tothe stereo mix bus duringmixdown, from a submixeror sampler etc..

Operation Manual

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Master Section

© 5/2000

STEREO INPUTCONNECTORS

This panel carries the inputTRS jacks for the stereoinputs located on themaster section of theconsole.

There are 4 returns eachwith a left and a right input.

If a mono source is usedthen it should be pluggedinto the left input. This isnormalled over to the rightinput causing the signal totravel through the left andright signal paths of thereturn. If a plug is insertedinto the right input thenormalled connection isbroken.

1

2

1 LEFT INPUT forSTEREO INPUT 1.

2 RIGHT INPUT forSTEREO INPUT 1.

The remaining 3Returns have identicalconnectors.

Operation Manual

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Master Section

© 5/2000

PLAY INPUTS

This panel carries the PlayInputs which are externalinputs to the monitoringsystem.

All three inputs areavailable as sources to thecontrol room monitoringsystem while the first twocan be used as sources forthe studio monitoringsystem and the foldbacksystem.1 2

1 Left Input for Play 1.

2 Right Input for Play 1.

Operation Manual

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Master Section

© 5/2000

MAIN OUTPUTS

There are 3 sets of stereooutput connectors enablingthe connection of 3 stereorecording machines. Theoutputs can be used formany purposes of courseand it is not essential thatthey feed a recorder.

Associated with theoutputs are the mix insertpoints. They allow a finalmix processor to beinserted into the MIX path,and are located before theMIX compressor/limiter.

1 3

1 MIX INSERT SENDjacks. There is aseparate send output forthe left and right mix.

2 MIX INSERT RETURNjacks. There is aseparate return input forthe left and right mix.

3 MIX OUTPUT (StereoOutput) connectors.There are three sets ofconnectors allowing theconnection up to 3stereo recorders.

2

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Master Section

© 5/2000

This panel contains theconnectors for the multi-track tape recorder. Ratherthan having individualconnectors for each groupoutput it is much moreconvenient (and quicker tomake a connection) if theyare on multi-poleconnectors.

The multi-track recordersends are split across 3connectors with eachcarrying the group outputsfor 8 tracks. The sub-groupoutputs are on a fourthconnector.

The multitrack sends andsub group outputs are alsoavailable (as a cost option)on 56 pin EDAC multi-poleconnectors.

1 3245

1 M U L T I - T R A C KCONNECTOR for tracks1 through 8.



4 SUB-GROUP OUTPUTCONNECTOR.

5 POWER INPUTCONNECTOR.

MULTI-TRACKCONNECTORS

M U L T I - P I N C O N N E C T I O N S

S I G N A LN U M B E R

+ V E S I G N A L - V E S I G N A L S C R E E N

D - S U BP I N

E D A C P I N

D - S U B P I N

E D A C P I N

D - S U B P I N

E D A C P I N

1 / 9 / 1 7 2 4 A 1 2 E 2 5 F

2 / 1 0 / 1 8 1 0 C 2 3 B 1 1 H

3 / 1 1 / 1 9 2 1 D 9 K 2 2 J

4 / 1 2 / 2 0 7 P 2 0 V 8 N

5 / 1 3 / 2 1 1 8 Z 6 d 1 9 U

6 / 1 4 / 2 2 4 c 1 7 f 5 Y

7 / 1 5 / 2 3 1 5 j 3 n 1 6 m

8 / 1 6 / 2 4 1 t 1 4 y 2 s

N o t e : A l l u n d e s i g n a t e d p i n s a r e u n c o n n e c t e d . A l l s c r e e nc o n n e c t i o n s a r e j o i n e d i n s i d e t h e c o n s o l e a n d c o n n e c t e d t om e t a l w o r k e a r t h .

P a t c h b a y s : T i e l i n e s c o n n e c t i o n s 2 5 - 3 2 e t c f o l l o w t h e s a m ew i r i n g c o n v e n t i o n s h o w n a b o v e . C o n s o l e s f i t t e d w i t hp a t c h b a y s d o n o t h a v e t h e o p t i o n o f E D A C c o n n e c t o r s .

Operation Manual

47

Metering

© 5/2000

THE MASTERMETERS

Metering has beenaddressed on the inputmodules although there arealso meters associated withthe master functions on theconsole.

The output meters showthe output levels of thesubgroups and also thestereo output. If problemsare indicated here with thelevel being either too highor low then it is most likelythat the problem is furtherback in the signal path.Follow our procedure forgain setting to see if thisremedies the situation.

1 Power Supply StatusIndicators for the +18V,-18V and 48V powerrails.

2 Left and Right PeakReading Main OutputMeters.

3 Over Indicators, whenilluminated the signal isin danger of beingclipped and the levelshould be reduced. Alevel of +20dBu willbring the OVERindicator on. Maximumor 0dBFS is indicated ata signal level of +18dBu,corresponding to fullmodulation on a digitalrecorder.

1

34

2

4 0VU. When the signal isat a level of +4dBu thebars should beilluminated up to thispoint. Note that this isnot meant to be normaloperating level becausethe meters are peakreading.

5 Talkback MicrophoneConnector. If talkbackis to be used then amicrophone should beplugged in here.

6 Solo Indicator. Thislights when a SOLObutton has beenpressed on the console.

6

5

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Metering

© 5/2000

1

2

3

1 Sub Group Meter.There are 8 peakreading subgroupmeters - 1 for each subgroup output.

2 Over Indicator. Whenilluminated the signal isin danger of beingclipped and the levelshould be reduced. Likethe main meters thiswill illuminate with asignal level of +20dBu.0dBFS is indicated at alevel of +18dBu, whichnormally correspondsto full modulation on adigital recorder.

3 0VU. When the signal isat a level of +4dBu thebars should beilluminated up to thispoint. Note that this isnot meant to be normaloperating level becausethe meters are peakreading.

THE SUB GROUPS

There 8 sub group outputson the console (only 2 havebeen shown for clarity).The sub groups areaccessed in parallel withthe main group outputsand only the first 8 groupstherefore have acorresponding sub group.

The sub groups are able tofeed the stereo mix and alsohave their own outputslocated on the rear panel ofthe console.

The sub group outputs canbe directly used to feed an8 track recorder.

A typical use for the subgroups would be duringmixdown when a numberof signals are to becombined to one fader forsimpler control. If thesignals are on the LF paththen they must first of allbe sent to the routingmatrix by pressing thebutton in the routingsection. By routing thesignals to groups 1 through8 they will also be routed tothe sub groups.

Operation Manual

49

Patchbay

© 5/2000

THE PATCHBAY

The ASP8024PB optionalpatchbay system providesfront panel access to theconnections provided onthe rear of the standardconsole as well as a numberof additional �patch points�.

Patching is implementedusing TT size jacks with D-sub connectors provided forthe studio systemsinterfaces.

All default signal paths arefully normalled to avoidunnecessary patching andfunctional patch pointblocks are arranged in ahorizontal format for ease ofidentification.

Interfacing for two 24trackmachines is provided and allpatchbays are suppliedwith 144 tie-lines asstandard.

1. TAPE RETURN PATH

Provision is made forinterfacing to two 24-track machines. Tapemachine A playback isnormalled from therelevant D-sub interfaceto the Tape inputs ofchannels 1-24. Tapemachine B playback isnormalled to channels25 onwards up to 48 ifthis many channels arefitted.

3. MULTITRACK SENDS

The sends to both 24track machines arenormalled from the 24bus outputs. Themachine sends may ofcourse be overpatchedfrom channel insertsends, sub-groups etc.

4. STEREO INPUTS

The stereo deviceoutputs such as reverbsetc are interfaced via 1/4 inch jack sockets onthe rear of the console.These are normalled tothe 4 stereo inputsthrough the patch jacksshown above.

2. CHANNEL PATH

A rear panel jack socketis provided forinterfacing externaldevices such assynthesizers. This signalis available as the DeviceOutput on the patchbayand is normalled to thechannel line input.

DEV DEVGRPOUT

GRPOUTIN IN

1 2

5. SUB GROUPS

The eight Sub Groupoutputs are normalled toa D-sub connector andmay be used forproviding outputs to adevice such as a non-linear editing system forexample.

6. STEREO TAPES

The stereo tapemachines are interfacedon XLR connectors fittedto the rear of theconsole. The feeds toand from the XLRs arenormalled via the patchbay from the Mix outputand to the 2 trackmonitor returnsrespectively.

DEV LINE SEND RET

CHANNEL PATH

1 OUT IN

AREC

BREC

GRPOUT

GRPOUT

1

1

Operation Manual

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Patchbay

© 5/2000

7. STUDIO/FOLDBACK

The outputs to thefoldback and studiospeaker amplifiers areterminated on XLRs onthe rear of the consoleand are normalled fromthe relevant consolesends via the patchbay.

8. CONTROL ROOM

Feeds to the controlmonitor speakeramplifiers are normalledvia the patchbay to XLRson the rear of theconsole.

9. AUXILIARIES

Feeds to externalprocessing devices arenormalled from theconsole aux outputs torear mounted XLRs

10.TIE LINES

Tie lines are terminatedon D-sub connectors onthe rear of the console.Pairs of tie lines (1-2) etcmay be normalled byfitting two wire links inthe positions behindeach pair of jacks on thetie line PCBs.

OUT OUT OUT

OUT

OUT

OUT

OUT

OUT

OUT

OUT

OUT

OUT

OUT

OUT

FX IN FX IN FX IN

FX IN

FX IN

FX IN

FX IN

FX IN

FX IN

FX IN

FX IN

FX IN

FX IN

FX IN

AUX A AUX B AUX 1

AUX 7

AUX 2

AUX 8

AUX 3

AUX 9

AUX 4

AUX 10

AUX 5

AUX 11

AUX 6

AUX 12

1 3 5 7 9 11 13 152 4 6 8 10 12 14 16

L OUT L OUT L OUTR OUT R OUT R OUTAMP AMP AMPAMP AMP AMPSTUDIO FOLDBACK A FOLDBACK B

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Patchbay

© 5/2000

11.LEVEL CONVERTORS

+4 +4-10 -10LEVEL CONVERTORS

PARALLEL

12.PARALLELS

Two sets of 4 wayparallels are provided.These are useful forparalleling a number ofinputs. Do not use theparallels to join outputsas this will short theoutputs together.

Two pairs of passivelevel convertors areprovided. A lowimpedance outputsignal plugged into the+4dBu jack will beattenuated to -10dBVsuitable for driving theinputs of semi-professional equipment.

Operation Manual

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Patchbay

© 5/2000

1. C H A N N E LCONNECTIONS

Microphone input (XLR)and Line input (jack)connectors are locatedon the rear connectorspanel behind each of theinput strips as on thestandard console (seepage 28). The Tape inputand insert send/returnjacks are omitted.

3. M U L T I T R A C KRECORD/ SUB GROUPCONNECTIONS

These are located on theunderside of the consoleadjacent to the PSUconnector. All consoleinterfaces are D-subfemale types wired tothe Tascam DA88convention with 8signals per connector(see page 46).

4. MULTITRACK PLAYAND TIE LINECONNECTIONS

These are located on therear panel behind thepatchbay section. Allconnectors are again D-sub females wired tothe Tascam DA88convention.

1-8 1-8

1-8

49-56

97-104

25-32

73-80

121-128

9-16 9-16

9-16

57-64

105-112

33-40

81-88

129-136

17-24 17-24

17-24

65-72

113-120

41-48

89-96

137-144

MULTITRACK A PLAYMULTITRACK B PLAY

PATCHBAYCONNECTORPANELS

Connections to studiosystems on consoles fittedwith the ASP8024PBpatchbay system are madevia the rear and bottomconnector panels generallyin a similar fashion tostandard consoles. Theexceptions to this are dealtwith here.

XLR and Jackconnectors associatedwith the master moduleare arranged in the sameway as the standardconsole (see pages 39-45) with the exceptionof the sub-group insertsend/return jacks whichare omitted as these areincluded on thepatchbay.

2. M A S T E RCONNECTIONS

Operation Manual

53

Power Supply

© 5/2000

THE POWERSUPPLY

The ASP8700 powersupply is a 3U RackMounting, convectioncooled unit. There are nocontrols other than the ON/OFF switch and the voltageselector located on the rearpanel. 3 LEDs are used toindicate the existence of the+18V, -18V and +48Vpower rails. There are alsoindicators located on themaster meter section of theconsole.

As no fan cooling is usedthe unit is silent inoperation and can belocated in the same roomas the console.

A 4 metre long powersupply cable is suppliedconnecting the console tothe power supply.

It is important that thepower supply ventilationslots are not obstructedand that the unit isoperated in free air toprevent overheating . A1U space should beallowed above and belowthe unit if it is mountedin a rack. If the PSU is tobe used on the floor aclear 50mm spaceshould be left below theunit.

Before using pleasecheck that the voltageselector on the backpanel of the PSU is setcorrectly for the localmains supply.

IMPORTANT!

Operation Manual

54

Specifications

© 3/2000

SPECIFICATIONS

Mic input to Mix output <+0,-0.3dB 20Hz-20kHz @6-40dB gain.

Line input to Mix output <+0,-0.3dB 20Hz-20kHz @0dB gain.

THD AND NOISE AT +20dB OUTPUT

Mic XLR input to any output <0.005% at 1kHz

Line input to any output <0.005% at 1kHz

Tape input to any output < 0.003% at 1kHz

NOISE

Mic EIN (20-20kHz, 150R source) <-127.5dBu

Bus noise (no inputs routed) <-93dBu

Bus noise (36 inputs routed) <-78dBu

CROSSTALK AND MUTE ATTENUATION AT 1kHz

Short fader Mute >90dB

Long fader Mute >90dB

Mix assign >90dB

Bus assign >90dB

MIC CMRR

70dB (Min gain)

75dB (Max gain)

MAXIMUM INPUT

Mic >+21dBu (min gain)

Line >+30dBu (min gain)

insert return >+21dBu

MAXIMUM OUTPUT INTO 2K OHMS

Mix output >+26dBu

Bus output >+26dBu

Aux output >+26dBu

Insert send >+20dBu

Monitor, Studio, F/B outputs >+20dBu

FREQUENCY RESPONSE

Operation Manual

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Specifications

© 3/2000

BLOCK DIAGRAMS

1.INPUT STRIP

2.PATCHBAY VERSION INPUT STRIP

3.MASTERS PART 1

4.PATCHBAY VERSION MASTERS PART 1

Stereo and Solo Buses

2 track returns

Solo system

Control room monitoring

5.MASTERS PART 2

6.PATCHBAY VERSION MASTER PART 2

Stereo inputs

Aux Buses

Multitrack Buses

Foldback and Studio speakers

Oscillator

Talkback

01

0

01

0

01

0

01

0

SH

OR

T FA

DE

R

LO

NG

FA

DER

MU

LT

ITR

AC

K B

US

ES

TA

PE

RET

UR

N

MIC

/LIN

E

MIC

TA

PE

HF/LF

IN

MID

S

IN

dB

+1

5-1

5

0

00

-4-4

-8-8

-12

-12

-16

-16

-20

-20

-24

-24

-28

-28

-32

-32

-36

-36

SIG

SIG

0VU

0VU

PU

SH

PU

SH

TA

PE

+ 4

8v

LIN

EH

I PA

SS

PH

ASE

R

EV

INS

ER

T

IN

INS

ER

T

IN

FLIP

SO

URC

E

MIC

LIN

E

SO

UR

CE

LIN

K

PR

E

PO

ST

MIX

MIX

SF P

RE

SF L

EF

T

SF R

IGH

T

LF P

RE

LF L

EFT

LF R

IGH

T

7-8

AU

X 1

AU

X 2

AU

X A

AU

X B

AU

XIL

IAR

Y B

US

ES

LF P

RE

LF P

RE

LF P

OS

T

LF P

OS

T

SF

PO

ST

LF P

OS

T

SF P

RE

SF P

RE

SF

LE

FT

LF L

EF

T

SF P

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1-1

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1&

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(13

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FA

DE

R

MU

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MIC

TA

PE

HF/L

F

IN

MID

S

IN

00

-4-4

-8-8

-12

-12

-16

-16

-20

-20

-24

-24

-28

-28

-32

-32

-36

-36

SIG

SIG

0VU

0VU

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+ 4

8v

LIN

EH

I PA

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PH

AS

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SO

UR

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PU

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LIN

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ST

MIX

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SF

PR

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SF

LEF

TS

F R

IGH

T

LF P

RE

LF L

EFT

LF R

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7-8

AU

X 1

AU

X 2

AU

X A

AU

X B

AU

XIL

IAR

Y B

US

ES

LF P

RE

LF P

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LF P

OS

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LF P

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EFT

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213

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1&

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WN

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3&

4,

5&

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(13

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PLA

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S 1

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BU

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BU

SE

S 1

7-24

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B G

RO

UPS

1-8

0 -4 -8

-12

-16

-20

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-28

-32

-36

0VU

MIX

1-8

9-1

6

17

-24

010

010

010

010

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AU

X 1

A

UX

BU

SE

S

AU

X 3

AU

X 5

AU

X B

US

A

AU

X B

US B

LIN

K T

O A

UX

1

LIN

K TO

AU

X 2

ST

UD

IO S

PEA

KER

S

FO

LD

BA

CK

A

FO

LD

BA

CK

B

LEF

T

LEF

T

LEF

T

RIG

HT

RIG

HT

RIG

HT

TO

DIM

RELA

YT

O M

ULT

ITR

AC

K

&

M

IX B

USE

S

TO

SO

LO

BU

SES

TO

SO

LO

BU

SE

S

TO

MIX

B

USE

S

TO

MIX

BU

SES

TO

SO

LO

BU

SE

S

TO

SO

LO

BU

SE

S

TO

SO

LO

B

USE

S

TO

SO

LO

BU

SE

S

TO

SO

LO

BU

SE

S

TO

SO

LO

BU

SES

Σ Σ Σ

Σ Σ Σ Σ Σ

TO

MU

LT

ITR

AC

K

B

US

ES

MU

LT

ITR

ACK

B

US

ES

FO

LD

BA

CK

MU

LT

ITR

AC

K B

US

ES

AU

X B

US

ES

OSC

ILLA

TO

R

13-24

PU SHPU SH

T/B

STEREO INPUTS

MULTITRACK A REC 1-8 MULTITRACK B R EC 1-8

MULTITRACK A REC 9-16 MULTITRACK B REC 9-16

MULTITRACK A REC 17-24 MULTITRACK B REC 17-24

SUB GROUPS 1-8

0

-4

-8

-12

-16

-20

-24

-28

-32

-36

0VU

MIX

1-8

9-16

17-24

AUX 1 AUX

BUSES

AUX 3

AUX 5

AU X BUS A

AUX BUS B

LIN K TO AUX1

LINK TO AU X 2

STUDIO SPEAKERS

TALKBACK

FOLDBACK A

FOLDBAC K B

L EFT

L EFT

L EFT

RIGHT

RIGHT

RIGHT

TO STUDIO

SPEAKERS

TO FOLDBACK

A/B

TO DIM RELAYTO MULTITRACK

& MIX BUSES

TO SOLO B USES

TO SOLO B USES

TO MIX B USES

TO MIX

BUSES

TO SOLO B USES

TO SOLO B USES

TO SO LO

BUSES

TO SOLO B USES

TO SOLO B USES

TO SOLO B USES

Σ

Σ

Σ

Σ

Σ

Σ

Σ

Σ

TOMULTITRACK

BUSES

MULTITR AC K

B USES

FOLDBACK

MULTITRACK BUSES

AUX BUSES

OSCILLATOR

13-24

OUT

DEV

DEV

OUT

OUT

OUT

OUT

FX IN

L IN

R IN

FX IN

FX IN

FX IN

FX IN

SEND RET

REC A REC B

REC A REC B

REC A REC B

GRP

OUT

DEV

IN

GRP

OUT

GRP

OUT

GRP

OUT

GRP

OUT

GRP

OUT

GRP

OUT

L OUT AMP

L OUT AMP

L OUT AMP

R OUT AMP

R OUT AMP

R OUT AMP

TALKBACK

TALKBACK

Operation Manual

62

Warranty

© 3/2000

WARRANTYYour ASP8024 Console comes with a manufacturers warranty for one year from thedate of despatch to the end user.

The warranty covers faults due to defective materials used in manufacture and faultyworkmanship only.

During this warranty period Audient will repair or at its discretion replace the faulty unitprovided it is returned carriage paid to an authorised Audient service centre.

We will not provide warranty repair if in our opinion the fault has resulted fromunauthorised modification, misuse, negligence, act of God or accident.

We accept a liability to repair or replace your ASP8024 as described above. We do notaccept any additional liability.

This warranty does not affect any legal rights you may have against the person whosupplied this product � it is additional to those rights.

Audient ASP 8024 Manual

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Transcript of Audient ASP 8024 Manual