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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 Broadway Assignable Audio Console3 Introduction.4 INPUT CONTROL SURFACE.5 Input Control Surface.6 ACS.6 Encoder Panel.8 Fader Tray.8 Rear Panel.9 MASTER CONTROL SURFACE .10 Master Control Surface.11 Meterbridge.11 GrAux Fader tray.11 VCA Fader tray.11
2、Control Presets.13 Bank Select.13 Cue Presets.13 CPU Housing and Touchscreen.13 Main Cue Transport Controls.13 Rear Panel.14 VCA Extender Surface.15 Input Audio Rack.17 Input Card.17 EQ Card.17 Buffer Card.17 Mix Bus Card.17 Rear Panel.18 PSU and Network Interface.18 Output Audio Rack.21 Configurati
3、on Options.21 Input Card.21 EQ Card.21 Buffer Card.21 Mix Bus Card.21 Output Card.21 Rear Panel.22 Network Interface.22 Software.24 VCAs.25 Offset Groups.27 Show Storage.30 Touchscreen Software.30 MIDI.30 External PC compatibility.30 Installing and Moving the System.33 Installation.33 Transportation
4、.34 Internal Rack Dimensions (without flightcase).35 RadioFans.CN 收音机爱 好者资料库 Broadway Assignable Audio Console4 Introduction Sound designers are accustomed to being asked for the impossible. Todays top dramatic and musical productions call for large sound reinforcement systems, sophisticated cues an
5、d effects, and crystal-clear sound reproduction. To the problems of total repeatability on every night of a production might be added the challenge of taking that same show on tour. On top of that, the cost to a theatre of giving up even a single seat means that installations must be as small as pos
6、sible. Engineers and operators know only too well that the integration, automation and flexibility to achieve all this is rarely seen in audio systems - and certainly not in a mixer with a small footprint. Until now, that is. Thanks to its advanced implementation of digitally controlled analogue tec
7、hnology, and a modular system design, the Soundcraft Broadway rewrites the rulebook for theatre sound. Without compromising either quality or the systems operational limits, both the control hardware and audio electronics can be independently configured to your precise requirements, and located wher
8、ever the situation demands. Broadway is the last word in audio production tools for theatre. With its modular analogue audio components, you can add as many inputs as you need, without limits. Rather than tie you down with a fixed configuration, Broadways 32 GrAux busses can be used as groups or aux
9、es as required. Outputs come in modular form so you may add further outputs as required, to suit even the most complex system design. No matter how you configure your audio, you are still free to put together whatever combination of input and master control surfaces best fits your system requirement
10、s and your space constraints. For example, a number of extra control surfaces could be added during rehearsals, then this number could be cut back to a basic control configuration for the first production night, or for taking the show on the road. Motorised moving faders are used throughout, while p
11、owerful snapshot automation helps both the sound designer and engineer to achieve their creative goals. An unlimited number of cues are available to reset the desk, recalling not just the routing and EQ, but the complete desk configuration right down to a custom control layout for each scene or soun
12、d cue. Familiarity and ease of use are also strong points of Broadways design, combining traditional mixer hardware with the complete assignability required by such a flexible design. MIC MIC LINE LINE B B A A 48V 48V GAIN INPUT SOURCE SOURCE INSERT EQ SIGNAL ASSIGNABLE CHANNEL STRIP FILTERS F1F2F3F
13、4 -10 10+ + + 0 0 10 0 25 35 20 50 30 70dB + + 10dB 5 5 10 20 SOLO MUTE EQUALISATIONGRAUX SENDS 30 50 8 0dB - - - - - - FADER VCA 1324567891112131415161718192010 L L OP 1 ININ SHELFSHELF ININ PRE EQ PAN OP 2 OP 4OP 5 OP 3 CHAN HOLD ISO GRAUX SWAP STEREO -50 -40 -20 -10 - 5 5 10 15 + + + 0 R R 25Hz 4
14、0 63 100 250 400Hz1k25 3k15 5k 8k 16k 20kHz LF 250 400Hz20Hz 160 LMIDHMIDHF 8006k312k5 1k2510k20k 1/17 9/25 3/19 11/27 4/20 12/28 5/21 13/29 6/22 14/32 7/23 15/31 8/24 16/32 2/18 10/26 63Hz400Hz1kHz 6304k8k 15dB15dB 0-+ 15dB15dB 0-+ 15dB15dB 0-+ 15dB15dB 0-+ 0 5 10 0 5 10 0 5 10 0 5 10 0 5 10 0 5 10
15、 0 5 10 0 5 10 0 5 10 0 5 10 0 5 10 0 5 10 0 5 10 0 5 10 0 5 10 0 5 10 ONPRE ONPRE ONPRE ONPRE ONPRE ONPRE ONPRE ONPRE ONPRE ONPRE ONPRE ONPRE ONPRE ONPRE ONPRE ONPRE LOCK LOCK LOCK LOCK LOCK LOCK LOCK LOCK LOCK LOCK LOCK STEREO EQINSDYN ISO STEREO EQINSDYN ISO STEREO EQINSDYN ISO STEREO EQINSDYN IS
16、O STEREO EQINSDYN ISO STEREO EQINSDYN ISO STEREO EQINSDYN ISO STEREO EQINSDYN ISO STEREO EQINSDYN ISO STEREO EQINSDYN ISO STEREO EQINSDYN ISO STEREO EQINSDYN ISO STEREO EQINSDYN ISO STEREO EQINSDYN ISO STEREO EQINSDYN ISO STEREO EQINSDYN ISO STEREO EQINSDYN ISO STEREO EQINSDYN ISO STEREO EQINSDYN IS
17、O STEREO EQINSDYN ISO GRX 8 7 6 5 4 3 2 1 VCA MTX SOLO SEL MUTE SOLO SEL MUTE SOLO SEL MUTE SOLO SEL MUTE SOLO SEL MUTE SOLO SEL MUTE SOLO SEL MUTE SOLO SEL MUTE SOLO SEL MUTE SOLO SEL MUTE SOLO SEL MUTE SOLO SEL MUTE SOLO SEL MUTE SOLO SEL MUTE SOLO SEL MUTE SOLO SEL MUTE SOLO SEL MUTE SOLO SEL MUT
18、E SOLO SEL MUTE SOLO SEL MUTE Broadway Assignable Audio Console6 Input Control Surface Though the Input section is normally used to control the levels, EQ, and routing of any 20 channels (or, using the BANKS, up to 160 channels), it may alternatively be used as the control surface for GrAux (Group /
19、 Aux) or Matrix outputs, enabling effects sends, foldback feeds and matrix mixes to be set up from a single control surface. A fourth mode enables the 20 faders on the Input surface to be used as 20 VCA master faders, giving the user access to all 20 VCA groups on a single surface. Normally used in Input mode, if the Input Control Surface is selected to GrAux mode, the 20 faders become the first 20 (or, on bank two, the last 12) GrAux master faders, and the six rows of encoders above become the sends from that
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