Allen Sigma+Documentation电路图.pdf

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1、RadioFans.CN 收音机爱 好者资料库 RadioFans.CN 收音机爱 好者资料库 RadioFans.CN 收音机爱 好者资料库 CONCEPT In a dream world every console would have unlimited inputs, unlimited faders, unlimited aux sends, infinite equalisers, reset itself every session and come complete with a mind reading computer interface and be small eno

2、ugh to sit on your lap. While we are working in that one we offer the Sigma Series as a practical solution to real sound control challenges available now at attractive prices. Look at the module summaries for details of the controls available. There are more module types available than it is necessa

3、ry to install in any one Sigma console. Each console is the response to a particular sound control task. Your task may call for more inputs and fewer outputs, or sophisticated monitors or many simple monitors, in-line type controls or split inputs left outputs right controls or any combination. The

4、Sigma Series is AHBs response to the demand for increasingly sophisticated multitrack and live mixing consoles at increasingly attractive prices. Sigma consoles take over where the low budget recording console runs out of muscle. Mixing and recording techniques are now well established, however the

5、demands of special effects mixing, digital recording and electronic music have increased the demands on the consoles capacity, versatility and performance. Take for granted that the sonic performance of Sigma consoles is transparent for all practical purposes. What you will hear in the mix is your c

6、lients performance plus a little bit of noise, distortion and hum from your mics, instruments, multitrack and effects units. If you have been used to low budget consoles with clicking mutes, inconsistent pot laws and noisy inputs you will breathe a sigh of relief using Sigma. The designers of Sigma

7、have listened to the complaints about low cost products. Sigma consoles are not big low cost products. Sigma consoles are for clients who want good sound consistently from reliable income earning hardware. MIXING/RECORDING TECHNIQUES WITH SIGMA MODULE SYSTEMS Each module has an individual data sheet

8、, here are summaries of the benefits of each standard console system. M410 and M430 modules: Split module system with inputs on the left, outputs on the right. The M430 is a high density module which compressed two outputs and monitor sections into a single module width, leaving more space for M410

9、inputs in a standard frame. Two large faders with each M430 provide the group outputs. Two monitor sections each have three sources; outputs, tape or (echo) return line inputs. One equaliser is shared between both monitors. Fader reverse allows mixing the monitor sources on large faders. Due to spac

10、e limitations these faders are not automation capable. This is the choice when space is at a premium and inputs more important than track monitors. M410 inputs provide mic line and tape inputs so that the choice of source during recording and mixing does not involve replugging. With this system trac

11、k bouncing is done via the input modules. SSR Automutes operate on the input fader and monitor level controls but not on the group outputs. M410 and M420 modules: Split module system with inputs left and outputs right. M420 modules are called line I/O types since one module provides output to tape a

12、nd input from tape to the stereo mix AND group output. Of course, there is also the additional (echo) return line input source provided so that the module provides two functions: 1. mix and output, 2. monitor of output, tape input or return input. A full set of input controls occupies most of the M4

13、20 panel. Group output controls are located above the large fader. The rest of the module is monitor input controls. These include assign to groups, EQ, aux send, mute and a small fader which may be reversed with the large fader below. Choose the way you want to work output on large fader or monitor

14、 on large fader. Either way when it comes to bouncing tracks you simply select the new output. The valuable EQ and echo settings do not have to be copied across to an input module. This not only saves time it reduces the risk of an operator error. M410 inputs provide mic line and tape inputs so that

15、 the choice of source during recording and mixing does not involve replugging. With this system track bouncing is done via the M420 modules. SSR automutes operate on the input faders and monitor faders but not on the group outputs. Choose this combination when you want high performance from inputs a

16、nd monitors and ergonomic efficiency. All faders in the M410/420 system can be non automated, VCA or automation types as an option. M470 in-line module system: All that is required for multitrack record overdub and remix. Each module provides three inputs and one output (to tape). The inputs are mic

17、 and line on the small fader (normally). The monitor input selects between output and tape input and uses the large fader (normally). For recording and bouncing operations the module works as a single entity to provide controls for record input to tape plus monitor input from tape to the monitor/rem

18、ix output. Equalisation and aux send are shared between the input and monitor. Both inputs have the standard Sigma PFL/AFL, SOLO MUTE, MUTE AND AUTOMUTE. There is no fader for record output. Trim of record level is provided by a rotary control. For mixing operations the primary function of the large

19、 fader is to mix the track with EQ and echo. The small fader can be used as a second input to the mix with echo send or as an additional echo send itself via assignment. Echo returns use spare modules and inputs. Analogue subgroups to the mix are available on modules 17-24 (16 track systems) and 25-

20、32 (24 track systems) on small or large fader. Within a small frame M470 in line systems give the maximum facilities for highly efficient multitrack operations. When the situation demands high priority for live inputs from many sources simultaneously, electronic music sessions for example, then the

21、M470 system gives two line inputs to the mix simultaneously with EQ and echo send shared. Input reverse allows the choice of large or small fader preference to be given to the three source programmes at will. All large faders in the M470 system can be non automated. VCA or automation types as an opt

22、ion. SSR Automutes operate on all small and large faders. SSR AUTOMUTE SYSTEM The SSR MIDI remote controller is a powerful micro computer enabling the automatic control of channel and monitor mutes as well as up to 16 effects devices under MIDI control. Pre programmed mute patterns and MIDI patch ch

23、anges can be synchronised to a MIDI sequencer, driven from the SSRs internal sequencer or MIDI clock generated from SMPTE to MIDI converter, and the SSR recognises MIDI song pointer information. The SSR can control a complete Sigma automute system of up to 64 inputs, up to 16 different MIDI controll

24、ed effects devices, enables MIDI keyboards and sequencers to have precise control over muting and effects, or the SSR can operate as a conventional music sequencer or computer recorder. In the sequencer mode it enables switching from one SSR MIDI programme plus one MUTE PATCH combination to another,

25、 under manual or automatic timing control. There are 8 alternative clock options for operation in the sequencer mode allowing for different synchronisation methods. CLOCK MODE 0 Manual footswitch stepping of MIDI and mute data, useful for work with pre-recorded material with no sync-track. CLOCK MOD

26、E 1 As above but steps automatically to next song, enables more than 100 steps to be used under manual control. CLOCK MODE 2 SSR runs the sequencer from its internal clock, from 29 to 320 BPM. The MIDI and MUTE data will be changed when the internal clock time and event times coincide. CLOCK MODE 3

27、SSR driven from external clock 24 (sync 24) pulse code, with stop/start control, also providing SYNC 24 to MIDI converter. CLOCK MODE 4 SSR controlled by MIDI timing data, START, STOP, CLOCK, CONTINUE START and SONG POSITION. Also providing MIDI to SYNC 24 converter. CLOCK MODE 5 Data entry in real

28、time with the internal clock. Each depression of a footswitch enters current song time into event timing data. Error correction via INSERT and DELETE facilities. CLOCK MODE 6 Data entry in real time with timing data from SYNC 24 pulse code, with full error correction and editing facilities. CLOCK MO

29、DE 7 This enables real time recording in synchronisation with MIDI clock, with full error correction and editing facilities. The control unit is illustrated below approximately half real size and is a mobile panel connected to the console through a data cable. All program data is stored in the KMM m

30、emory cartridge and libraries of data can be created to accompany synth discs and RAM packs for example. SSR mute commands operate the console audio mutes in co-operation with manual local pushbutton mute commands. An un-muted channel (or monitor) responds to SSR mute and de-mute commands. A channel

31、 (or monitor) which is manually muted does not respond to SSR commands. SSR is a unique innovative system which exploits MIDI for the benefit of the electronic music artist in particular. In applications which do not call for this benefit, the system may be operated without the SSR control unit, alt

32、ernatively simply select a mute patch where all mutes are cleared. MODULE M410: MONO MIC/LINE INPUT. Phantom power on switch Mic input phase reverse switch 20dB mic input pad switch Mic input gain control Input source selections: either mic or line or tape source is available. Tape and line input GA

33、IN control with gain indications. EQUALISER section: pre fader, post insertion point. Dual concentric controls. HF shelving 12dB.4k Hz to 12 kHz range. MF peak/dip 12dB.1.1 to 11 kHz sweep range, Q =1 MF peak/dip 12dB.0.35 to 3.5 kHz sweep range, Q =1 80Hz fixed frequency low-cut filter. 12dB/oct. L

34、F shelving 12dB.30Hz to 400Hz range. EQ BYPASS operates on the four variable sections simultaneously. AUXILIARY SENDS: four controls with six outputs. Aux 1 and 2 are switchable, pre or post fader. The pre fader selection is preset internally either pre equaliser or pre fader (ex works standard). Au

35、x 3/5 and 4/6 are preset internally either pre equaliser, pre fader (post equaliser) or post fader (ex works standard). GROUP ASSIGN selectors for group outputs 1 to 24 from input fader: six pushbuttons select twelve outputs in pairs. SHIFT selects either outputs 1 to 12 or 13 to 24. L-R assigns fad

36、er output to the main stereo output. PAN operates with the assign selectors. PEAK responds to pre fader, post eq signal level. SOLO MUTE: with ENABLE (see M450) retains this input and operates the MUTE on all other inputs not selected SOLO. PFL/AFL: operates control room loudspeaker and L/R meter ch

37、angeover to receive either the PFL or AFL mix. PFL is pre fader listen. AFL is After Fader Listen. AFL responds to input pan and mute. MUTE: press to mute the input post fader. Cuts post fader aux, assign and AFL. Also responds to SSR Automute and solo. Fader: choice of 100mm analogue or Fader Autom

38、ation. AHB SF 1/7 AHB SF 1/9 MODULE M420: LINE INPUT/OUTPUT, MONITOR section controls: Input source selectors, choice of group output, tape input or return input. Input GAIN for the selected source. Normal position central. EQUALISER ASSIGN switch to either group output or monitor section. EQUALISER

39、 section: pre fader, post insertion point. Dual concentric controls. HF shelving 12dB.4 kHz to 12 kHz range. MF peak/dip 12dB.1.1 to 11. kHz sweep range, Q =1 MF peak/dip 12dB.0.35 to 3.5 kHz sweep range, Q =1 80Hz fix frequency low cut filter.12dB/oct. LF shelving 12dB.30Hz to 400Hz range. EQ BYPAS

40、S operates on the four variable sections simultaneously. AUXILIARY SENDS: four controls with six outputs. Aux 1 and 2 are switchable pre or post monitor fader. The pre fader selection is preset internally either: pre equaliser or pre fader (ex works standard) Aux 3/5 and 4/6 are preset internally to

41、 be either: pre equaliser, pre fader or post fader (ex works standard). SMALL FADER: normally the monitor input fader to the group assign and post fader sends. See FADER REVERSE. GROUP ASSIGN: selectors for group outputs 1 to 24 from the monitor input fader. Six pushbuttons select twelve outputs in

42、pairs. SHIFT selects 1-2 or 13-24. L-R assigns to stereo output. SOLO MUTE: with ENABLE (see M450) retains this input and operates the MUTE on all other inputs not selected SOLO. PFL/AFL: operates control room loudspeaker and L/R meter changeover to receive either the PFL or AFL mix. PFL is Pre Fade

43、r Listen. AFL is After Fader Listen. AFL responds to input pan and mute. MUTE: press to mute the input post fader. Cuts aux, assign and AFL. Also responds to SSR Automute and Solo. FADER REVERSE: interchanges small and large faders. Pre and post sends not affected. GROUP OUTPUT section controls: PAN

44、 ON connects the group fader output to the main stereo mix. PFL/AFL operates in the same fashion as monitor PFL/AFL above. MUTE: press to mute the GROUP OUTPUT post fader. Cuts output, pan and AFL. This mute is manual only and does not respond to Automute or solo system. LARGE FADER: choice of 100mm

45、 analogue or Fader Automation. AHB SF 1/11 MODULE M430: DUAL OUTPUT/MONITOR MONITOR section for ODD numbered output and inputs: Input selector switches with three sources; group output, tape input, return input. AUXILIARY SENDS: four dual concentric controls with six outputs. Aux 1 and 2 are switcha

46、ble pre or post the monitor level control. The pre fader selection is preset internally either: pre equaliser or pre fader (ex works standard). Aux 3/5 and 4/6 are preset internally to be either: pre equaliser, pre fader or post fader (ex works standard). Monitor LEVEL and PAN are concentric control

47、s. The inner level adjusts output to the console stereo mix. The outer pan adjusts image position. SOLO MUTE with ENABLE (see M450) retains this input and operates the mute on all other inputs not selected SOLO. PFL/AFL operates the control room loudspeaker and L/R meter changeover to receive either

48、 the PFL or AFL mix. PLF is pre monitor level. AFL is after monitor level and pan. MUTE press to mute the input after the level control. Cuts aux, AFL and stereo outputs. Responds to Automute and SOLO commands. EQUALISER section: pre monitor level controls. Dual concentric controls. HF shelving 12dB

49、.4 kHz to 12 kHz range. MF peak/dip 12dB.1.1 to 11 kHz sweep range, Q =1 MF peak/dip 12dB.0.35 to 3.5 kHz sweep range, Q =1 80Hz fix frequency low cut filter.12dB/oct. LF shelving 12dB.30Hz to 400Hz range. EQ BYPASS operates on the four variable sections simultaneously. EQ ASSIGN: places entire equaliser either in ODD or EVEN monitor. MONITOR section for EVEN numbered output and inputs. Facilities identical to ODD section above. GROUP OUTPUT section controls for two outputs, one odd one even. FADER REVERSE interchanges the large fader and the monitor level control. Pre and