Telex Music Mixer Q II FOH User Manual

Q II - FOH  
Operators Manual  
Klark Teknik Building  
Walter Nash Road  
Kidderminster  
Worcestershire  
DY11 7HJ  
Tel: +44 (0) 1562 741515  
Fax: +44 (0) 1562 745371  
Q II - FOH Operators Manual  
ï›™ Telex Communications (UK) Limited  
In line with the company’s policy of continual improvement, specifications and function maybe subject  
to change without notice. This Operator Manual was correct at the time of writing. E&OE.  
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Declaration of Conformity  
The Manufacturer of the Products covered by this Declaration is  
Klark Teknik Building, Walter Nash Road, Kidderminster, Worcestershire, DY11 7HJ.  
The Directives Covered by this Declaration.  
89/336/EEC Electromagnetic Compatibility Directive, amended by 92/31/EEC & 93/68/EEC  
73/23/EEC Low Voltage Equipment Directive, amended by 93/68/EEC.  
The Products Covered by this Declaration.  
Equipment type  
Product Name  
Q2  
Variants  
Audio Mixing Console  
Audio Mixing Console  
Audio Mixing Console  
Audio Mixing Console  
Audio Mixing Console  
Audio Mixing Console  
Audio Mixing Console  
Audio Mixing Console  
Q2 VCA  
Q2 Monitor  
QMR  
Meterbridge  
Meterbridge  
FMR  
Forum  
PA,Matrix,Mute  
Meterbridge  
Forum Monitor  
XL200  
XL250  
The Basis on which Conformity is being Declared  
The products identified above comply with the protection requirements of the EMC Directive and with the principal elements of  
the safety objectives of the Low Voltage Directive, and the manufacturer has applied the following standards:  
EN 55013 : 1990  
Limits and methods of measurement of radio disturbance characteristics of Broadcast Receivers and Associated Equipment.  
EN 50082-1 : 1992  
Electromagnetic Compatibility - Generic Immunity Standard Part 1. Residential, commercial and light industry.  
EN 60065 : 1994  
Safety requirements for mains operated electronic related apparatus for household and similar general use.  
The technical documentation required to demonstrate that the products meet the requirements of the Low Voltage Directive has  
been compiled by the signatory below and is available for inspection by the relevant enforcement authorities. The CE mark was  
first applied in 1996.  
Signed:  
Authority:  
Date:  
Product Support Manager.  
1st, January 1997.  
G.M.Squires  
Attention  
The attention of the specifier, purchaser, installer, or user is drawn to special measures and limitations to use which must be  
observed when these products are taken into service to maintain compliance with the above directive. Details of these special  
measures and limitations to use are available on request, and are also contained in product manuals.  
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Three channel or Left, Centre, Right panning differs from the  
normal stereo panning arrangement in that where the conventional  
left/right pan moves the signal across the stereo image, LCR  
panning moves the mono signal across three distinct positions.  
Using LCR panning gives a more spatial effect, offers more control  
over vocal and effects positioning, and brings theatre performances  
to life in a way that conventional stereo panning cannot.  
GENERAL  
INFORMATION  
In the LCR mode, the pan pot acts as follows. When panned hard  
left, the signal is only fed to the left channel of the main output (or  
sub-group). As the pan is rotated towards the centre, the signal to  
the left decreases, and the signal to the centre channel increases  
until at dead centre the signal only goes to the centre output. At  
this point, no signal is fed to the right channel at all.  
LEFT  
CENTRE  
RIGHT  
Rotating the pan pot further (to the right) decreases the centre feed  
while the right feed increases until at full clockwise rotation the  
signal is only on the right channel.  
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Providing a hard centre image in addition to left and right speaker  
clusters improves localisation, as has already been proven in the  
cinema industry. Stars and soloists are typically mixed to the centre  
channel. Back-up vocals and orchestra or band may be wrapped  
around the vocalist in stereo, or panned across the three channels.  
THE Q2 IN USE  
In Theatrical performances, LCR panning may be used to follow an  
actor around the stage.  
Q2's typical use in the theatre maybe as follows.  
The main LCR output is used to feed the audience clusters. Further  
flexibilty in mixing is provided if the 4 LCR sub-groups are fitted,  
as groups can be formed with all signals in place, then simply  
fader-controlled as a group to the main output.  
Four of the auxiliary sends, labelled foldback, may be used to  
provide stage monitoring, as the term foldback suggests. The other  
four auxiliaries are then free for effects sends, perhaps using the  
dual concentric controls as stereo pairs.  
The matrix section has numerous uses. Apart from creating foyer  
and backstage feeds, it can be used for distributed loudspeaker  
arrays for SPL control further back in the house (see the section on  
the Q2 matrix). If the Q2 stereo sub-groups are fitted, the matrix is  
fully stereo, so that delayed arrays can be easily set up as distinct  
and controllable stereo pairs down each side of the auditorium.  
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Consultants and contractors will be pleased to note that Q2 has  
balanced inputs and outputs throughout, including inserts. In  
addition, all inputs and outputs (with the obvious exception of the  
mic input) operate at a nominal level of +4dBu. This alone means  
no catering for special levels on inserts, no compensating for  
unbalanced insert sends which combine with balanced returns.  
System connection and signal flow is therefore not console  
dependant.  
LEFT  
CENTRE  
RIGHT  
F/B  
(4)  
EFFECTS  
Q2  
MATRIX OUTPUTS (8)  
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If within a period of twelve months from the date of delivery of the  
equipment to the End User it shall prove defective by reason only  
of faulty materials and/or workmanship (but no faulty design) to  
such an extent that the effectiveness and/or the usability thereof is  
materially affected, the Equipment or the faulty component shall be  
returned to the Distributor or DDA and subject to the following  
conditions the Distributor or DDA will repair or at its option re-  
place the defective components. Any components replaced will  
become the property of DDA.  
WARRANTY  
Any Equipment or component returned will be at the risk of  
the End User whilst in transit (both to and from the Distributor or  
DDA) and postage and/or freight charges must be prepaid.  
This Warranty shall only be available if:-  
i) The Equipment has been properly installed in accordance  
with the instructions contained in this manual.  
ii) The End User has notified the Distributor or DDA in writing  
within 14 days of the defect appearing.  
iii) No persons other than authorised representatives of DDA or  
the Distributor have effected any replacement of parts,  
maintenance adjustments or repairs to the Equipment.  
iv) The End User has used the Equipment for such purposes as  
DDA recommends with only such operating supplies as meet  
DDA’s specifications or approval and otherwise in all  
respects in accordance with DDA’s recommendations.  
Defects arising as a result of the following are not covered by this  
Warranty : -  
Faulty or negligent handling, chemical or electro-chemical or  
electrical influences, accidental damage, Acts of God, neglect,  
defficiency in electrical power, air conditioning or humidity  
control.  
Benefit of this Warranty may not be assigned by the End User.  
End Users who are consumers should note that their rights  
under this Warranty are in addition to and do not affect any other  
rights to which they may be entitled against the seller of the  
Equipment.  
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DDA shall not be liable for any damage caused to persons  
or property due to :-  
i) Incorrect usage of the Equipment  
ii) Other equipment attached to the Equipment, which is not  
approved by DDA  
iii) Modifications made by non-authorised persons, or by using  
non-recommended parts, or incorrectly made.  
In no circumstances shall DDA be liable for any indirect or  
consequential costs, damages or losses (including loss of business  
profits, operating time or otherwise) arising out of the use or  
inability to use the product, whether or not the likelihood of  
damage was advised to DDA or its distributor.  
Fuses and filament lamps are specifically excluded from the  
warranty  
This notice does not affect your statutory rights.  
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Q2 Dimensions  
DIMENSIONS  
24 Input Frame  
Width  
Depth  
: 1255mm / 49.4"  
: 810mm / 31.9"  
: 368mm / 14.5"  
Height  
32 Input Frame  
Width  
Depth  
: 1505mm / 59.25"  
: 810mm / 31.9"  
: 368mm / 14.5"  
Height  
40 Input Frame  
Width  
Depth  
: 1755mm / 69.1"  
: 810mm / 31.9"  
: 368mm / 14.5"  
Height  
48 Input Frame  
Width  
Depth  
: 2005mm / 78.9"  
: 810mm / 31.9"  
: 368mm / 14.5"  
Height  
Floorstand (optional)  
Height to underneath of console : 700mm / 27.5"  
Q2 Power Supply Dimensions  
Height  
Depth  
Width  
:
:
:
134mm / 5.25" (3U rack mounting)  
265mm / 10.5"  
Front panel 483mm / 19"  
Housing 438mm / 17.25"  
7.8 Kg / 17.2 lbs  
Nett Weight (unpacked):  
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Note : All specifications relate to dBu, ie 0dBu = 0.775V RMS  
MAXIMUM GAIN  
SPECIFICATIONS  
Mic Input to Mix Output:  
Line Input to Mix Output:  
86dB  
40dB  
FREQUENCY RESPONSE  
Mic Input to Mix Output:  
(gain 55dB)  
20Hz , -0.50dB  
20kHz, -0.20dB  
Line Input to Mix Output  
(gain 0dB)  
20Hz , -0.50dB  
20kHz, -0.20dB  
NOISE, DIN Audio Weighted  
Microphone Input  
Gain 55dB, EIN Ref 200 Ohm  
<-127.5dBu  
<-83dBu  
Line Input to Mix Output  
Gain 0dB, 16 inputs routed  
DISTORTION  
Microphone Input to Mix Output  
-50dBu input, +4dBu output  
<0.005%  
<0.005%  
Line Input to Mix Output  
+4dBu input, +4dBu output  
CROSSTALK  
Adjacent Channel,  
Group to Mix,  
Fader Attenuation  
Panpot Isolation,  
1kHz  
1kHz  
1kHz  
1kHz  
<-100dBu  
<-88dBu  
<-95dBu  
<-72dBu  
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Q2 Power Supply Specifications  
AC Mains Voltage selection :-  
110V/120V/220V/240V  
Power Consumption (max) : 750VA  
AC Mains frequency : 50Hz. - 60Hz  
Fuse Ratings:  
220/230/240V - 6.3A  
90/100/120V  
- 10A  
Cooling Method:  
Internal fan  
DC Power Outputs:  
+17 Volts,  
-17 Volts,  
+48 Volts,  
7A max  
7A max  
0.35A max  
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To take full advantage of the excellent audio performance of DDA  
mixing consoles, it is essential that the installation is carried out  
with care and attention. All audio signals are referenced to the  
system earth, which must be clean and noise-free, and essentially  
equipotential. In addition, the earth system integrity is absolutely  
necessary for safety.  
WIRING  
CONSIDERATIONS  
Do not disconnect the mains earth wire from each piece of equip-  
ment as this could create a hazardous situation.  
If in doubt consult a competent engineer and your local electricity  
supply company to ensure that safety regulations are not infringed  
or negated.  
The console metalwork MUST ALWAYS be connected to the  
Mains earth via the PSU lead. However, the user has a choice as  
regards the Audio 0V.  
GROUNDING  
The Audio 0V should be taken from the Studio earthing System  
which should take the form of a star wired system. Decide on a  
central point for the main earth system and starfeed to all mains  
outlets and equipment racks from this point. Common electrical  
wiring practice is to daisy-chain earth wires from outlet to outlet,  
but this is not recommended for audio installations. The location of  
the earth system star point should be in a convenient, easily  
accessible position, such as the main equipment rack. The star  
point must then be connected to the incoming mains earth but  
preferably should be connected to a totally separate technical  
earth (if local electrical regulations permit).  
This should take the form of a large copper plate or stake  
buried as deeply as practical into the ground (a 1 metre [39"] cop-  
per stake hammered fully into the ground would be suitable).  
This should then be fed to the studio star system via heavy gauge,  
low impedance cable, with adequate precautions being taken to  
prevent excessive corrosion of the cable/earth stake.  
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Do not install other equipment (lighting, vending machines etc) to  
the technical earth - only use it for Audio Equipment.  
If the star point is derived from mains earth, however, and not from  
a ground stake/plate, install separate clean and dirty mains outlets,  
wired individually to the mains distribution box. Use the clean  
supply for all audio equipment, and the dirty supply for all lighting,  
vending machines etc. Do not mix the two systems. It may be  
necessary to install an isolating transformer for the clean supply to  
ensure adequate isolation from mains-borne interference. The  
isolating transformer must be of adequate current capability and  
should incorporate a Faraday Shield, connected to the incoming  
mains earth.  
All audio connecting cables should be good quality twin screened  
cable. Do not use single screened cable.  
It is very important that the screen is not used as the signal return.  
Therefore connect the screen at one end only. Connecting the  
screen at both ends will cause an earth loop into which external  
hum fields will be induced.  
In areas where high levels of radio frequency interference are  
present the open end of the screen can be connected to earth  
through a 0.01 microfarad capacitor. This will appear as a short  
circuit at high frequencies, and lower the effective shield imped-  
ance to earth. However at audio frequencies the reactance of the  
capacitor will be sufficiently high to not cause an earth loop.  
In general, the screen should be connected at the signal source,  
and not at the signal destination. The exception to this rule of  
thumb is when connecting to an unbalanced input or to an elec-  
tronically balanced input. In these cases the wires being screened  
are referenced to the destination earth.  
Electronically balanced outputs which are to be operated in the  
unbalanced mode should be unbalanced at the output connector,  
not at the signal destination so that the signal current returns to  
earth via the shortest, least reactive route.  
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Rack mounted equipment which has unbalanced inputs and outputs  
may need to be electrically isolated from the equipment rack and/  
or other equipment to avoid earth loops.  
DO NOT DISCONNECT THE MAINS EARTH.  
Connect all equipment in a logical sequence, starting with the  
monitor systems, followed by the multitrack and then the stereo  
machines and the peripheral devices and isolate any earth loop  
problems as they occur. It is very difficult to rectify a  
problematical installation after everything has been connected due  
to interaction between the various earth loops.  
The Console is supplied with 1 power supply unit 3U high (5.25"),  
19" rack mounting. The PSU supplies the console with +18V, -  
18V, +48V phantom and Audio Ground (0V). Connection  
between supplies and console is a cable, terminated at both ends by  
polarised Harting multiway connectors. At the console the  
connector is located on the rear panel of the console.  
The normal length of the PSU-Console cables is 25 feet (8  
metres).  
The power supply requires the following Mains supplies :-  
220-240 Volts AC, 6.3 A (Maximum current ratings)  
100-120 Volts AC, 10 A (Maximum current ratings)  
and is connected to the AC Mains via standard IEC 3 pin lead.  
The PSU has an integral low-noise cooling fan and should be  
provided with at least 1U (1.75") of rack space above and below it.  
WARNING - ENSURE THAT THE CORRECT VOLTAGE  
HAS BEEN SELECTED ON THE PSU BEFORE SWITCHING  
ON THE UNIT.  
The selection of the mains input voltage is made by removing the  
fuse holder from the rear panel of the PSU, and replacing it in the  
correct orientation for the local voltage supply. Ensure that the  
correct value fuse is fitted to correspond to the supply.  
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ATTENTION  
CABLES  
This product should only be used with high quality, screened  
twisted pair audio cables, terminated with metal bodied 3-pin XLR  
connectors. The cable shield should be connected to Pin 1. Any  
other cable type or configuration for the audio signals may result in  
degraded performance due to electromagnetic interference.  
ELECTRIC FIELDS  
Should this product be used in an electromagnetic field that is  
amplitude modulated by an audio frequency signal (20Hz - 20Khz),  
the signal to noise ratio may be degraded. Degradation of up to  
60dB at a frequency corresponding to the modulation signal may be  
experienced under extreme conditions (3V/m, 90% modulation).  
No permanent damage or degradation of performance will be  
caused by these conditions.  
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Before describing the module functions, it is worth looking at some  
of the facilities in some depth which would otherwise be too long to  
describe within the module texts.  
MODULE  
DESCRIPTIONS  
Q2's cue system, smart cue, is as flexible as you want it to be. It  
can be operated in several modes, the simplest of which is of course  
a regular PFL solo system.  
THE CUE SYSTEM  
SOLO MODE  
The three modes of cue listening are PFL (pre-fade), AFL (after-  
fade), and SIP (solo-in-place). The overall level of the cue signal  
fed to the monitors is adjustable on the stereo master module, so  
PFL signals will not present high level signals to the monitor  
outputs.  
The solo-in-place mode is different from the normal recording SIP  
or other SIP modes in that cueinga channel or group will not  
actually mute all the other channels. It would would be useless if  
by soloing a group you cut the inputs to that group.  
Instead, in SIP mode, any group cue pressed will override and  
replace whatever signal is present on the main output, until the cue  
is released when the original signal is returned. No channels are  
muted, so all active parts of the group remain intact.  
As this function could be considered as dangerous in a performance  
situation, the SIP mode switch is located at the top of the module  
away from all the other cue mode controls.  
Q2's smartcue system incorporates a cue priority function. Two  
leds on the stereo master module indicate whether an INPUT CUE  
or an OUTPUT CUE is active. If an output cue is active, pressing  
an input cue will override and replace the output cue until released,  
when the output cue signal will be returned. This is an important  
facility in live sound production.  
CUE PRIORITY  
The action of the cue buttons is functional in two ways.  
If the button is pressed quickly (normally), the channel latches into  
cue mode, with a flashing led , and remains in cue mode until the  
button is pressed again. This is the "latching" mode, and is the  
normal method of cue operation.  
CUE BUTTON ACTION  
MOMENTARY OR  
LATCHING  
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If the cue button is held depressed for at least one second, the cue  
will become momentary, and only active until the cue button is then  
released. This allows you to listen to a signal for a short period of  
time and only have to press the button once.  
A further method of operation involves a choice of additive or  
exclusive cues.  
CUE INTERLOCK  
MODE  
In normal mode, the cues are additive. That is, any cue button  
pressed adds its signal to any cues already pressed, so any number  
of cues may be active at one time. To clear all the cues completely,  
press the CUE RESET button on the stereo master module.  
MASTER CUE RESET  
In the INTERLOCKED mode. pressing a cue button will clear the  
previous cue, so only one cue may ever be active at any time. This  
prevents cue signals adding.  
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Nowadays, any console destined for theatre or similar live  
performance use must have a matrix. This matrix takes the group  
signals, and probably other signals, and allows different sub mixes  
to be created for many uses.  
THE MATRIX  
SECTION  
Traditionally, matrices have been used to provide backstage mixes,  
dressing room and foyer feeds where some elements of the mix are  
not required. For example, you may want to send a different mix of  
an opera or stage show to the dressing rooms to acentuate certain  
points in the peformance.  
Now, with demands for sound level control increasing, a matrix is  
mandatory for distributing sound throughout an auditorium. Using  
the normal front of house stacks, people at the rear of a hall may  
need the system power increased for suitable listening levels, while  
those at the front will no doubt then be deafened. The answer is to  
provide arrays of loudspeakers, with mixes of suitably delayed  
signals, stretching from the front of the hall to the back, to provide  
more comfortable localised levels for better audience reception.  
Here, the matrix increases the potential of creativity of the  
performance, as by utilising the mixing facilities of the matrix, a  
more surround sound effect may be created by perhaps focusing  
vocals to the front, and mixing effects and music around the hall.  
Q2's matrix offers all the flexibility that you need. In addition to a  
feed from all the group outputs each matrix output may be fed from  
the main stereo and mono (or LCR) buses, and any 2 of the four  
foldnack mixes. This latter facility is extremely useful when you  
consider that you can now set up one mix on a foldback bus, and  
feed portions of that mix to any or all of the matrix outputs.  
With fader control, CUE and ON/OFF facilities, Q2's matrix is  
peraps one of the most powerful systems available on a console.  
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One trend in modern console design that DDA has chosen not to  
follow is the removal of the traditional 20dB pad in favour of a  
wide range gain control system.  
THE 20DB PAD  
The reason for this is mostly due to the use of microphone input  
transformers. Their position in the circuit is always before the  
input amplifier. Without a pad, the risk of saturating the  
transformer with high level microphone outputs is extreme, unless  
very large transformers are used.  
DDA's philosophy places the 20dB pad before the transformer to  
eliminate the risk of transformer saturation.  
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INPUT MODULE  
The input module is essentially the same for all subgroup versions  
of Q2, with links selecting whether the buses feed 8 mono, 8 stereo,  
4 LCR or 16 mono subgroups. Dedicated LCR input modules have  
4 routing buttons marked A, B, C, and D instead of buttons 1-8.  
MTR  
This sub-panel preset is for calibration of the external meter output  
of the module.  
48V  
Provides phantom power for a condenser microphone, or DI box.  
Optional balancing transformers may be fitted on the Mic input.  
-20dB (PAD)  
This inserts a 20dB attenuator in circuit with the Mic input. It may  
be used when high-output microphones are employed, or for the  
use of the Mic input for Line-level signals.  
GAIN  
The gain control is a wide range rotary potentiometer, and is active  
on both Mic and Line Inputs. On Mic, the gain can be adjusted  
from 12 to 66dB. For Line inputs, the adjustment is from -10 to  
+20dB.  
LINE  
The LINE switch selects the signal on the line input socket to feed  
the channel path when it is down. In this case, the Mic signal is  
disconnected. The led illuminates when Line is selected.  
PHASE  
The PHASE REVERSE switch inverts the phase of the selected  
input, to allow compensation for different wiring standards.  
FILTER  
The Filter switch inserts a tuneable highpass filter with a roll-off of  
12dB per octave into circuit after the input amplifier. This may be  
used to eliminate unwanted low-frequency noises such as rumble,  
or camera buzz.  
FILTER FREQUENCY CONTROL  
The frequency range of the filter is continuously variable between  
20Hz to 500Hz.  
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EQUALISER  
The Q2 Equaliser is a four-band design, all bands having sweep  
frequency adjustment. Each band consists of two dual-concentric  
pots. The upper pot is the gain adjustment, the lower control being  
the frequency adjustment. The two mid-range sections each have a  
switch-selectable Q.  
HF  
Shelving section, providing +/-15dB of gain with an adjustable  
frequency range of 2kHz to 20kHz.  
HI MID  
Peaking section, providing +/-15dB of gain, at frequencies from  
525Hz to 15kHz.  
Q
Selects the Q to be 0.9 or 1.8. The Q is 0.9 when the switch is in  
the ‘down’ position.  
LO MID  
Peaking section, providing +/-15dB of gain, at frequencies from  
80Hz to 2.2kHz.  
Q
Selects the Q to be 0.9 or 1.8. The Q is 0.9 when the switch is in  
the ‘down’ position.  
LF  
Shelving section, providing +/-15dB of gain with an adjustable  
frequency range of 20Hz to 500Hz.  
EQ IN  
The EQ switch inserts the entire equaliser circuit into circuit.  
When switched out, the equaliser is totally bypassed, keeping the  
signal path to a minimum. The led in the switch illuminates when  
the EQ is in circuit. The Insert point is normally located after the  
EQ section, but a switch located on the module pcb allows the  
insert to be pre-EQ.  
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AUXILIARIES  
Q2 has eight auxiliary buses, accessed on the Input module from 4  
sets of dual-concentric controls. In addition, the channel direct  
output may be controlled via one pot, to provide extended auxiliary  
sends. For convenient assignment four of the auxiliary buses are  
denoted as foldback buses.  
F/B 1 (Foldback 1, upper control)  
Controls the level of the channel signal fed to the Foldback 1 bus.  
This signal is normally post-fader, unless the PRE button, just  
below, is depressed. Internal links on the module pcb allow the  
pre-fader feed to be pre or post-EQ (paired with F/B 2).  
F/B 2 (Foldback 2, lower control)  
Controls the level of the channel signal fed to the Foldback 2 bus.  
This signal is normally post-fader, unless the PRE button, just  
below, is depressed.  
PRE  
Selects the signal feed for Foldbacks 1 and 2 to be pre-fader rather  
than post-fader.  
F/B 3 (Foldback 3, upper control)  
Controls the level of the channel signal fed to the Foldback 3 bus.  
This signal is normally post-fader, unless the PRE button, just  
below, is depressed. Internal links on the module pcb allow the  
pre-fader feed to be pre or post-EQ (paired with F/B 4).  
F/B 4 (Foldback 4, lower control)  
Controls the level of the channel signal fed to the Foldback 4 bus.  
This signal is normally post-fader, unless the PRE button, just  
below, is depressed.  
PRE  
Selects the signal feed for Foldbacks 3 and 4 to be pre-fader rather  
than post-fader.  
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AUX 1 (Upper control)  
Controls the level of the channel signal fed to the Aux 1 bus. This  
signal is normally post-fader, unless the PRE button, just below, is  
depressed. Internal links on the module pcb allow the pre-fader  
feed to be pre or post-EQ (paired with Aux 2).  
AUX 2 (Lower control)  
Controls the level of the channel signal fed to the Aux 2 bus. This  
signal is normally post-fader, unless the PRE button, just below, is  
depressed.  
PRE  
Selects the signal feed for Auxes 1 and 2 to be pre-fader rather than  
post-fader.  
AUX 3 (Upper control)  
Controls the level of the channel signal fed to the Aux 3 bus.  
This signal is normally post-fader, unless the PRE button, just  
below, is depressed. Internal links on the module pcb allow the pre-  
fader feed to be pre or post-EQ (paired with Aux 4).  
AUX 4 (Lower control)  
Controls the level of the channel signal fed to the Aux 4 bus. This  
signal is normally post-fader, unless the PRE button, just below, is  
depressed.  
PRE  
Selects the signal feed for Auxes 3 and 4 to be pre-fader rather than  
post-fader.  
DIR  
Re-routes the signal on the Aux 4 control to feed the Channel  
Direct output. The signal no longer feeds the Aux 4 bus, and can  
be used either as an additional single effects send, or as a feed to a  
multitrack for example.  
Note: Dir and Pre are local to the module, they do not affect the  
signal flow on any other module than the one on which they are  
located.  
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ROUTING AND STATUS  
PAN  
In normal mode and with the PAN set to centre, equal levels are  
sent to both sides of the stereo mix or to ODD and EVEN groups  
that are in use, with a 4.5dB drop relative to fully clockwise or anti-  
clockwise. Setting the PAN control fully anticlockwise sends full  
level to the Left bus, cutting the send to the Right bus; fully  
clockwise rotation sends full level to the Right bus, cutting the  
feed to Left.  
L/R  
Routes the post-fade, post-pan channel signal to the main stereo  
mix bus, with led indication. The PAN control is automatically  
inserted into circuit.  
MONO  
Routes the post-fade, post-pan channel signal to the main mono  
mix bus, with led indication.  
PAN  
Switches the PAN control in circuit across odd and even group  
buses, with led indication.  
LCR  
Changes the mode of the pan pot from conventional stereo (L/R  
panning as described above to Left-Centre-Right mode. In this  
mode, the pan control acts across all three main buses, using the  
mono bus as a centre bus. When the pan is fully anti-clockwise,  
signal is sent only to the left bus, with no signal to centre or right  
buses. In the centre, signal is sent only to the centre (mono) bus,  
with no signal to left or right buses. When fully clockwise, signal is  
only sent to the right bus, with no signal sent to left or centre buses.  
If a pair of groups (eg 1 and 2) is selected, the pan also acts in LCR  
mode, but without a centre output from the groups unless the LCR  
group modules are fitted.  
11  
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1
Routes the post-fade, post-pan channel signal to output bus 1, with  
led indication.  
2 ( and 3, 4, 5, 6, 7, 8)  
Routes the post-fade, post-pan channel signal to output bus 2 (and  
3, 4, 5, 6, 7, and 8 if pressed), with led indication.  
ON  
The ON switch enables the channel signal path, and is indicated by  
an led in the switch when the channel is active. When OFF, all  
post-fade auxiliary sends and routing assignments are muted.  
Internal links allow the ON switch to be configured as a channel  
CUT.  
METER  
The six segment led meter comprises a five segment meter, fed  
from one of three points in the signal chain, and the PEAK led,  
which is fed simultaneously from all 3 points, giving a warning of  
potential overload signals within the signal path.  
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CUE  
The CUE (or SOLO) button feeds a Pre-fader or post-fader signal  
(as selected on the master module PFL or AFL) to the Monitor  
section (loudspeakers or headphones), replacing the selected  
monitor source if one is selected. The main stereo output of the  
console is not affected unless SIP (Solo-in-place) mode has been  
selected on the master. The yellow led in the CUE switch will flash  
when the CUE function is active. CUE signals from different  
sources that are active simultaneously in the non-interlocked mode  
will be summed.  
To latch the CUE function, press the button quickly and release. To  
unlatch, repeat. To CUE a signal momentarily, hold down the CUE  
button for at least 1 second. On release, the CUE will also be  
released.  
See THE CUE/SOLO SYSTEM on page 16 for full functional  
details.  
FADER  
The fader is the main signal level control for the channel, and is a  
long-throw type which gives smooth control of the channel level.  
SAFE  
Deselects the return from the VCA/MUTE Group system, without  
affecting the mute group assignments. Useful to locally protect  
signals, or manually override grouped MUTE ON conditions.  
MUTE GROUP 1  
Assigns the channel to MUTE Group 1. Similarly for MUTE  
Groups 2 through 8.  
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CONNECTORS AND PIN ASSIGNMENTS  
MIC INPUT  
Nominal level  
:XLR type 3 pin connectors, Balanced  
: -56dBu to -8dBu  
Pin 1 - Ground  
Pin 2 - Signal +ve (hot)  
Pin 3 - Signal -ve (cold)  
Input impedance :  
>2k.  
LINE INPUT  
:1/4" TRS Jack Socket, 'A' Guage, Balanced  
Nominal Input Level : +4dBu  
Tip : Signal +ve (Hot)  
Ring : Signal -ve (Cold)  
Sleeve: Ground  
Input Impedance :  
>10 kOhm  
INSERT SEND :  
1/4" TRS Jack socket, ‘A’ Gauge, Balanced  
Nominal Output level: +4dBu  
Tip : Signal +ve (Hot)  
Ring : Signal -ve (Cold)  
Sleeve: Ground  
Output Impedance:  
<75 Ohm  
INSERT RETURN :  
1/4" TRS Jack Socket, ‘A’ Gauge, Balanced  
Nominal Input Level: +4dBu  
Tip : Signal +ve (Hot)  
Ring : Signal -ve (Cold)  
Sleeve: Ground  
Input Impedance :  
>10 kOhm  
DIRECT OUTPUT : 1/4" TRS Jack socket, ‘A’ Gauge, Balanced  
Nominal Output level: +4dBu  
Tip : Signal +ve (Hot)  
Ring : Signal -ve (Cold)  
Sleeve: Ground  
Output Impedance:  
< 75 Ohm  
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VCA INPUT MODULE  
Q2 may also be supplied with 8 VCA/Mute groups. The input  
module is essentially the same as the standard mono input, with the  
addition of the 8 VCA/Mute groups, and mutes on most of the  
auxiliary sends.  
Replacing 4 input modules are the VCA master modules, which are  
the fader and mute masters to control the 8 VCA/Mute groups.  
Each module has 2 such masters, and a stereo effects return input.  
Only the differences from the standard module are described here,  
which are in fact all on the lower section of the module.  
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F/B 1/2 ON  
Enables the channel feeds to the foldback buses 1 and 2.  
F/B 3/4 ON  
Enables the channel feeds to the foldback buses 3 and 4.  
AUX 1/2 ON  
Enables the channel feeds to the foldback buses 1 and 2.  
EXT  
This led illuminates when the channel is muted via an external  
source, for example a noise gate control system using the channel  
VCA. The remote control input accepts a DC voltage in the range  
0 -10V. This facility is not available on current consoles, unless to  
special order, although the led indicator has not been removed.  
The wiring diagram overleaf should be followed to minimise noise  
on the control lines when using external inputs.  
MUTE SAFE (Not active on VCA consoles)  
This may not be fitted to future production.  
VCA/MUTE GROUP 1 ASSIGN  
Assigns the channel mute to VCA/Mute Group 1, with led  
indication. The channel level is now dependant on both the  
position of the local fader and the position of the VCA master  
fader. Similarly for assigns 2, 3, 4, 5, 6, 7 and 8.  
Internal links allow the MUTE GROUPS to become SCENE  
PRESETS, that is when a MASTER is pressed, all assigned  
channels are switched ON, not muted.  
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EXTERNAL VCA  
FADER CONTROL  
WIRING  
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STEREO EFFECT RETURN MODULE  
As an option, in place of a standard input, a stereo effect return  
input may be fitted. The effect return section may be controlled by  
the VCA master, if VCA/Mute subgrouping is fitted to the console.  
GAIN  
Adjusts the gain of the effect return input section. The gain is  
adjustable from -15dB to +15dB.  
L CUT  
Cuts the signal feed to the left channel, with led indication.  
R CUT  
Cuts the signal feed to the right channel, with led indication.  
PHASE REVERSE  
Inverts the phase of the signal on the right channel input.  
WIDTH  
Varies the width of the stereo image from mono through normal  
stereo to a wide signal where the left and right signals appear to  
come from outside their normal image positions.  
M/S DECODING  
If the width is set fully anticlockwise to MONO and the PHASE  
REVERSE switch is pressed the module will decode line level M/S  
(Sum and Difference) signals. This may be the output of a  
pre-amp, or recorded material.  
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HF EQ  
A shelving equaliser with an adjustable gain of +/-15dB at a  
frequency of 12kHz.  
LF EQ  
A shelving equaliser with an adjustable gain of +/-15dB at a  
frequency of 50Hz.  
F/B and AUXILIARY SENDS  
F/B 1/2  
This dual concentric pair of level controls adjusts the amount of  
signal fed to foldback buses 1 and 2 (or 3 and 4 if the switch 3-4 is  
pressed). The upper control adjusts the level for bus 1 (3), the  
lower for bus 2 (4). Internal links allow these feeds to be selected  
from a mono sum of the stereo signal, or left to 1, right to 2 (all  
selectable pre or post fader by links).  
3-4  
The switch assigns the level controls to feed foldback buses 3/4  
instead of 1/2.  
AUX 1/2  
This dual concentric pair of level controls adjusts the amount of  
signal fed to auxiliary buses 1 and 2 (or 3 and 4 if the switch 3-4 is  
pressed). The upper control adjusts the level for bus 1 (3), the  
lower for bus 2 (4). Internal links allow these feeds to be selected  
from a mono sum of the stereo signal, or left to 1, right to 2 (all  
selectable pre or post fader by links).  
3-4  
The switch assigns the level controls to feed auxiliary buses 3/4  
instead of 1/2.  
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BAL  
Balances the stereo signal within the stereo bus, or within pairs of  
groups if the MONO/STEREO button is set to STEREO.  
MONO/STEREO  
If set to MONO, a mono sum of the stereo signal is fed to any  
selected group. If set to stereo, a stereo signal is sent to pairs of  
groups via the BAL control, left to odd, right to even.  
MONO  
Assigns a MONO sum of the stereo signal to the main MONO  
(Centre) bus.  
L/R  
Assigns the stereo signal to the main STEREO L/R bus.  
1
Assigns signal to group 1, either as a mono sum, or the left channel,  
depending on the setting of the mono stereo switch. Similarly for  
groups 2-8.  
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SAFE (Not active on VCA modules)  
Deselects the return from the MUTE Group system, without  
affecting the mute group assignments. Useful to locally protect  
signals, or manually override grouped MUTE ON conditions.  
VCA/MUTE GROUP 1  
Assigns the channel to VCA/MUTE Group 1. Similarly for VCA/  
MUTE Groups 2 through 8. If the VCA option is fitted then the  
post fader level will depend upon the local fader and the VCA  
group master fader.  
CUE  
Assigns the stereo signal to the CUE system, with flashing led  
indication when enabled.  
ON  
Enables the Effect Return signal path.  
FADER  
Controls the post fader signal level.  
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CONNECTORS AND PIN ASSIGNMENTS  
LINE A : 3 Pin XLR type, Balanced  
Nominal Input Level: +4dBu  
Pin 2 : Signal +ve (Hot)  
Pin 3 : Signal -ve (Cold)  
Pin 1 : Ground  
Input Impedance : >10 kOhm  
LINE B : 1/4" TRS Jack Socket, ‘A’ Gauge, Balanced  
Nominal Input Level: +4dBu  
Tip : Signal +ve (Hot)  
Ring : Signal -ve (Cold)  
Sleeve: Ground  
Input Impedance : >10 kOhm  
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MONO SUBGROUP OUTPUT MODULE  
Either 8 or 16 mono subgroup modules may be fitted in Q2. If 16  
are fitted, routing is paired, with active pan across the group buses  
at all times. For 8 modules, routing is individually selected, with  
pan only switched in across odd and even groups as required.  
The module comprises the group control and output (lower part of  
module) and a matrix mixer section (upper part of module).  
Each module has controls for inputs to the Matrix mixer, ie they are  
not feeds from that group to the matrix buses, but feeds from the  
groups etc to the matrix.  
F/B 1/3  
Adjusts the level of the Foldback 1 master output (or 3) fed to the  
Matrix bus on the module. This may be used to feed a global mix  
set-up on the F/B 1 bus to any of the 8 matrix outputs.  
F/B 3 (switch)  
Selects the Foldback output 3 to the matrix instead of F/B 1.  
F/B 2/4  
Adjusts the level of the Foldback 2 master output (or 4) fed to the  
Matrix bus on the module.  
F/B 4 (switch)  
Selects the Foldback output 4 to the matrix instead of F/B 2.  
L/R  
Adjusts the level of the summed (mono) signal from the main  
stereo left and right outputs fed to the Matrix on the module.  
MONO  
Adjusts the level of the main Mono (centre) signal from the main  
mono output fed to the Matrix on the module.  
1
Adjusts the level of the post-fader Group 1 signal input to the  
Matrix. Similarly for Controls 2-8 for Group signals 2 to 8.  
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T/B  
Enables talkback signals to be routed to the Matrix output when the  
communication system is used, with led indication. This can be  
used to prevent talkback signals going to unwanted destinations.  
ON  
Enables the Matrix output, with led indication.  
MATRIX METER  
Sub-panel preset used to calibrate the Matrix level meter.  
GROUP METER  
Sub-panel preset used to calibrate the Group level meter.  
CUE/SOLO  
Solo’s the Matrix signal to the main monitors (headphones or  
loudspeakers), with flashing led indication. See the Input Module  
for a functional description of the solo button.  
FADER  
The 60mm fader controls the level of the Matrix output signal.  
PAN  
Pans the Group signal across the main Stereo bus, or if in LCR  
mode across the Left, Right and Centre (mono) buses. In the  
centre, in L/R mode, the signals are 4.5dB below the signals when  
hard-panned left or right.  
PAN (mode)  
In the ‘up’ position the pan mode is conventional Stereo (L/R)  
panning. In the ‘down’ position, the group is panned across the  
three main outputs in Left-Centre-Right mode.  
When the pan is fully anti-clockwise, signal is sent only to the left  
bus, with no signal to centre or right buses. In the centre, signal is  
sent only to the centre (mono) bus, with no signal to left or right  
buses.  
When fully clockwise, signal is only sent to the right bus, with no  
signal sent to left or centre buses.  
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SUB/LCR  
Routes the group signal to the main Stereo (Left/Right) and main  
Mono (centre) buses, with led indication.  
ON  
The ON switch enables the group output, and is indicated by an  
led in the switch when the output is active. Internal links allow the  
ON switch to be configured as a group CUT.  
MATRIX SEND PRE  
Allows the Group input to the Matrix to be fed pre-fader, rather  
than post-fader.  
CUE/SOLO  
Solo’s the Group signal to the main monitors (headphones or  
loudspeakers), with flashing led indication. See the Input Module  
for a functional description of the solo button.  
MUTE SAFE (Not active in VCA consoles)  
Prevents the Mute Group (or scene preset) master from muting the  
channel, and may be used to locally override muted channels.  
VCA/MUTE GROUP 1 ASSIGN  
Assigns the channel mute to VCA/Mute Group 1, with led  
indication. Similarly for assigns 2, 3, 4, 5, 6, 7 and 8. If the VCA  
option is fitted then the channel level will depend upon the position  
of the channel fader and the VCA group master.  
Internal links allow the MUTE GROUPS to become SCENE  
PRESETS, that is when a MASTER is pressed, all assigned  
channels are switched ON, not muted.  
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CONNECTORS AND PIN ASSIGNMENTS  
Group Ouptut : 3 Pin XLR type, Balanced  
Nominal Output Level: +4dBu  
Pin 2 : Signal +ve (Hot)  
Pin 3 : Signal -ve (Cold)  
Pin 1 : Ground  
Output Impedance : <75 Ohm  
Matrix Ouptut : 3 Pin XLR type, Balanced  
Nominal Output Level: +4dBu  
Pin 2 : Signal +ve (Hot)  
Pin 3 : Signal -ve (Cold)  
Pin 1 : Ground  
Output Impedance : <75 Ohm  
Insert Send : 1/4" TRS Jack socket, ‘A’ Gauge, Balanced  
Nominal Output level: +4dBu  
Tip : Signal +ve (Hot)  
Ring : Signal -ve (Cold)  
Sleeve: Ground  
Output Impedance: <75 Ohm  
Insert Return : 1/4" TRS Jack Socket, ‘A’ Gauge, Balanced  
Nominal Input Level: +4dBu  
Tip : Signal +ve (Hot)  
Ring : Signal -ve (Cold)  
Sleeve: Ground  
Input Impedance : >10 kOhm  
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STEREO SUBGROUP OUTPUT MODULE  
Eight stereo subgroup modules may be fitted in Q2, and routing is  
individually selected.  
The module comprises the Stereo Group control and output (lower  
part of module) and a Stereo Matrix mixer section (upper part of  
module). Each module has controls for inputs to the Stereo Matrix  
mixer ie they are not feeds from that Group to the Matrix buses, but  
feeds from the Groups etc to the Matrix.  
F/B 1/3  
Adjusts the level of the Foldback 1 master output (or 3) fed to the  
Stereo Matrix bus on the module. This may be used to feed a global  
mix set-up on the F/B 1 bus to any of the 8 Stereo Matrix outputs.  
The control is a dual-concentric pair with Level and Pan adjust  
across the Stereo Matrix.  
F/B 3 (switch)  
Selects the Foldback output 3 to the matrix instead of F/B 1.  
F/B 2/4  
Adjusts the level of the Foldback 2 master output (or 4) fed to the  
Matrix bus on the module. The control is a dual-concentric pair  
with Level and Pan adjust across the Stereo Matrix.  
F/B 4 (switch)  
Selects the Foldback output 4 to the matrix instead of F/B 2.  
L/R  
Adjusts the level of the main Stereo Left and Right outputs fed to  
the Stereo Matrix on the module.  
MONO  
Adjusts the level of the main Mono (centre) signal from the main  
Mono output fed to both sides of the Stereo Matrix on the module.  
1
Adjusts the level of the post-fader Stereo Group 1 signal input to  
the Stereo Matrix. Similarly for Controls 2-8 for Group signals 2 to  
8.  
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T/B  
Enables talkback signals to be routed to the Matrix output when the  
communication system is used, with led indication. This can be  
used to prevent talkback signals going to unwanted destinations.  
ON  
Enables the Matrix output, with led indication.  
MATRIX METER (L and R)  
Sub-panel preset used to calibrate the Stereo Matrix level meters.  
GROUP METER (L and R)  
Sub-panel preset used to calibrate the Stereo Group level meters.  
CUE/SOLO  
Solo’s the Stereo Matrix signal to the main monitors (headphones  
or loudspeakers), with flashing led indication. See the Input  
Module for a functional description of the solo button.  
FADER  
The 60mm fader controls the level of the Stereo Matrix output  
signals.  
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BAL  
Adjusts the Stereo Group signal within the main Stereo Left and  
Right buses. The range of adjustment is +/-3dB.  
SUB/LCR  
Routes the Stereo Group signal to the main Stereo (Left/Right) bus,  
and/or the main Mono (centre) buses, with led indication.  
ON  
The ON switch enables the group output, and is indicated by an  
led in the switch when the output is active. Internal links allow the  
ON switch to be configured as a group CUT.  
MATRIX SEND PRE  
Allows the Stereo Group input to the Stereo Matrix to be fed  
pre-fader, rather than post-fader.  
CUE/SOLO  
Solo’s the Group signal to the main monitors (headphones or  
loudspeakers), with flashing led indication. See the Input Module  
for a functional description of the solo button.  
MUTE SAFE (Not active on VCA consoles)  
Prevents the Mute Group (or scene preset) master from muting the  
channel, and may be used to locally override muted channels.  
VCA/MUTE GROUP 1 ASSIGN  
Assigns the channel mute to VCA/Mute Group 1, with led  
indication. Similarly for assigns 2, 3, 4, 5, 6, 7 and 8. If the VCA  
option is fitted then the channel level will depend upon the position  
of the channel fader and the VCA group master.  
Internal links allow the MUTE GROUPS to become SCENE  
PRESETS, that is when a MASTER is pressed, all assigned  
channels are switched ON, not muted.  
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CONNECTORS AND PIN ASSIGNMENTS  
Group Output : 3 Pin XLR type, Balanced  
Nominal Output Level: +4dBu  
Pin 2 : Signal +ve (Hot)  
Pin 3 : Signal -ve (Cold)  
Pin 1 : Ground  
Output Impedance : <75 Ohm  
Matrix Output : 3 Pin XLR type, Balanced  
Nominal Output Level: +4dBu  
Pin 2 : Signal +ve (Hot)  
Pin 3 : Signal -ve (Cold)  
Pin 1 : Ground  
Output Impedance : <75 Ohm  
Insert Send : 1/4" TRS Jack socket, ‘A’ Gauge, Balanced  
Nominal Output level: +4dBu  
Tip : Signal +ve (Hot)  
Ring : Signal -ve (Cold)  
Sleeve : Ground  
Output Impedance: <75 Ohm  
Insert Return : 1/4" TRS Jack Socket, ‘A’ Gauge, Balanced  
Nominal Input Level: +4dBu  
Tip : Signal +ve (Hot)  
Ring : Signal -ve (Cold)  
Sleeve: Ground  
Input Impedance : >10 kOhm  
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LCR SUBGROUP OUTPUT MODULE  
The LCR Subgroup Output module has three outputs (for the left,  
centre and right outputs from each group). It may be used with  
either the normal input module or the dedicated LCR input module.  
The module comprises the LCR Group control and output (lower  
part of module) and a mono Matrix mixer section (upper part of  
module). Each module has controls for inputs to the Matrix mixer  
ie they are not feeds from that group to the matrix buses, but feeds  
from the groups etc to the matrix.  
F/B 1/3  
Adjusts the level of the Foldback 1 master output (or 3) fed to the  
Matrix bus on the module. This may be used to feed a global mix  
set-up on the F/B 1 bus to any of the 8 matrix outputs.  
F/B 3 (switch)  
Selects the Foldback output 3 to the matrix instead of F/B 1.  
F/B 2/4  
Adjusts the level of the Foldback 2 master output (or 4) fed to the  
Matrix bus on the module.  
F/B 4 (switch)  
Selects the Foldback output 4 to the matrix instead of F/B 2.  
L/R  
Adjusts the level of the summed (mono) signal from the main  
stereo left and right outputs fed to the Matrix on the module.  
MONO  
Adjusts the level of the main Mono (centre) signal from the main  
mono output fed to the Matrix on the module.  
1
Adjusts the level a summed mono signal of the post-fader LCR  
Group A (1) signal input to the Matrix. Similarly for Controls 2-4  
for LCR Group signals B, C and D (2 to 4).  
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T/B  
Enables talkback signals to be routed to the Matrix output when the  
communication system is used, with led indication. This can be  
used to prevent talkback signals going to unwanted destinations.  
ON  
Enables the Matrix output, with led indication.  
MATRIX METER  
Sub-panel preset used to calibrate the Matrix level meter.  
GROUP METERS (L, C, R)  
Sub-panel presets used to calibrate the LCR Group level meters.  
CUE/SOLO  
Solo’s the Matrix signal to the main monitors (headphones or  
loudspeakers), with flashing led indication. See the Input Module  
for a functional description of the solo button.  
FADER  
The 60mm fader controls the level of the Matrix output signal.  
SUB/LCR  
Routes the group signal to the main LCR Stereo (Left/Right) and  
Centre (mono) buses, with led indication.  
ON  
The ON switch enables the group output, and is indicated by an  
led in the switch when the output is active. Internal links allow the  
ON switch to be configured as a group CUT.  
MATRIX SEND PRE  
Allows the Group input to the Matrix to be fed pre-fader, rather  
than post-fader.  
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CUE/SOLO  
Solo’s the Group signal to the main monitors (headphones or  
loudspeakers), with flashing led indication. See the Input Module  
for a functional description of the solo button.  
MUTE SAFE (Not active in VCA consoles)  
Prevents the Mute Group (or scene preset) master from muting the  
channel, and may be used to locally override muted channels.  
VCA/MUTE GROUP 1 ASSIGN  
Assigns the channel mute to VCA/Mute Group 1, with led  
indication. Similarly for assigns 2, 3, 4, 5, 6, 7 and 8. If the VCA  
option is fitted then the channel level will depend upon the position  
of the channel fader and the VCA group master.  
Internal links allow the MUTE GROUPS to become SCENE  
PRESETS, that is when a MASTER is pressed, all assigned  
channels are switched ON, not muted.  
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CONNECTORS AND PIN ASSIGNMENTS  
Group Output : 3 Pin XLR type, Balanced  
Nominal Output Level: +4dBu  
Pin 2 : Signal +ve (Hot)  
Pin 3 : Signal -ve (Cold)  
Pin 1 : Ground  
Output Impedance : <75 Ohm  
Matrix Output : 3 Pin XLR type, Balanced  
Nominal Output Level: +4dBu  
Pin 2 : Signal +ve (Hot)  
Pin 3 : Signal -ve (Cold)  
Pin 1 : Ground  
Output Impedance : <75 Ohm  
Insert Send : 1/4" TRS Jack socket, ‘A’ Gauge, Balanced  
Nominal Output level: +4dBu  
Tip : Signal +ve (Hot)  
Ring : Signal -ve (Cold)  
Sleeve: Ground  
Output Impedance: <75 Ohm  
Insert Return : 1/4" TRS Jack Socket, ‘A’ Gauge, Balanced  
Nominal Input Level: +4dBu  
Tip : Signal +ve (Hot)  
Ring : Signal -ve (Cold)  
Sleeve: Ground  
Input Impedance : >10 kOhm  
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FOLDBACK MASTER MODULE  
F/B 1 LEVEL  
Adjusts the level of the Foldback 1 Master output signal.  
ON  
Enables the Foldback 1 Master output signal, with led indication.  
CUE/SOLO  
Solo’s the Foldback signal to the main monitors (headphones or  
loudspeakers), with flashing led indication. See the Input Module  
for a functional description of the solo button.  
Foldbacks 2-4 are identical to Foldback 1 above.  
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AUXILIARY MASTER MODULE  
AUX 1 LEVEL  
Adjusts the level of the Auxiliary 1 Master output signal.  
ON  
Enables the Auxiliary 1 Master output signal, with led indication.  
CUE/SOLO  
Solo’s the Auxiliary signal to the main monitors (headphones or  
loudspeakers), with flashing led indication. See the Input Module  
for a functional description of the solo button.  
Auxiliaries 2-4 are identical to Auxiliary 1 above.  
MUTE GROUP MASTER 1  
When pressed, mutes all channels and outputs assigned to MUTE  
GROUP 1. MASTER MUTES 2-8 operate in a similar fashion for  
MUTE GROUPS 2-8.  
HEADPHONES/HEADSET OUTPUTS  
Two pairs of headphones (impedance 200-600 Ohms) may be  
plugged in to the module. A Clearcom-type headset may also be  
connected, complete with boom microphone, on a 4-pin XLR  
connector.  
HEADPHONES LEVEL  
Adjusts the level of the monitor signal in the headphone or headset,  
independently of the main monitor level control.  
ON  
Switches on the headphone/headset outputs.  
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STEREO MASTER MODULE  
SOLO METER  
Indicates the level of the Solo signal in stereo.  
PFL METER  
Indicates the level of the PFL signal.  
METER CALIBRATIONS  
Sub-panel presets to calibrate all module and meterbridge master  
meters.  
PSU INDICATOR LEDs  
Three led’s which indicate all DC voltages are present.  
CUE MODE SIP  
Selects the CUE mode to be SIP (Solo-in-Place). This mode does  
not mute inputs when a channel or output is solo’ed. The main  
output signal is replaced by the solo’ed signal, until the cue/solo is  
cleared when the original signal is returned to the main outputs.  
EXTERNAL TAPE INPUT  
An external input is provided, for use as interval playback, or  
effects input.  
L/R  
Assigns the Tape input to the main Stereo Left and Right Outputs.  
MONO  
Assigns the Tape input to the main Mono (Centre) Output.  
TAPE PLAY LEVEL  
Adjusts the level of the Tape Input.  
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INTERNAL SINEWAVE/NOISE GENERATOR  
Q2 features an integral generator capable of producing a 1kHz  
sinewave or pink noise for system testing and alignment.  
PINK/1kHz  
Selects the type of output from the generator. In the ‘up’ position,  
the generator produces PINK noise, in the ‘down’ position a 1kHz  
sinewave tone.  
ON  
Enables the generator, with led indication  
OSC  
Adjusts the level of the generator output.  
GENERATOR/TALKBACK ASSIGN MATRIX  
Both the internal generator and talkback system share a matrix of  
assign switches to all outputs.  
F/B 1-2, 3-4  
Assigns the generator and/or talkback to Foldback buses 1 and 2  
and 3 and 4 respectively.  
AUX 1-2, 3-4  
Assigns the generator and/or talkback to Auxiliary buses 1 and 2  
and 3 and 4 respectively.  
GROUPS  
Assigns the generator and/or talkback to all the Group buses.  
MTX  
Assigns the generator and/or talkback to all the Matrix buses which  
have their T/B assign buttons pressed.  
L/R  
Assigns the generator and/or talkback to the main Left and Right  
outputs.  
MONO  
Assigns the generator and/or talkback to the main Mono (centre)  
output.  
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MONITOR SECTION  
Any of three sources may be fed to the monitoring section, in  
addition to the CUE/SOLO signal. If no source is selected, nothing  
is heard on monitors until a CUE/SOLO is pressed.  
TAPE  
Selects the Tape input as the monitor source.  
L/R  
Selects the main Stereo Left/Right output as the monitor source.  
MONO  
Selects the main Mono output as the monitor source.  
If both L/R and MONO are pressed, monitoring is in true LCR  
mode, ie three channel outputs for simulation of the main speaker  
system. This facility is very useful when the console is located in a  
screened booth in a Theatre.  
MONITOR LEVEL  
Adjusts the level of the monitor outputs.  
MONO  
Assigns the monitor outputs to the mono (centre) monitor output.  
DIM  
Reduces the level of the monitoring system by 20dB.  
ON  
Enables the monitoring system.  
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CUE/SOLO MASTER SECTION  
PFL/AFL  
Selects the Cue/Solo mode to be PFL, or AFL when the switch is  
depressed.  
TRIM  
Adjusts the level of the Cue/Solo signal, most useful in the PFL  
mode.  
CUE INTLK  
Interlock mode selection. In normal mode, Cues are additive. That  
is any number of Cue buttons may be pressed and the signals will  
be added. In INTERLOCK mode, only one Cue may be active at  
any time, so pressing a Cue will automatically cancel the  
previously selected Cue.  
CUE I/P  
Indicates that an input CUE is pressed. Inputs take priority over  
outputs in normal mode, so pressing an input CUE will suspend an  
output CUE until the input is released.  
CUE O/P  
Indicates that an output CUE is pressed. This led will extinguish if  
an input CUE is pressed while an output CUE is already active.  
CUE RESET  
Clears all pressed CUE buttons.  
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TALKBACK SYSTEM  
In addition to the normal talkback microphone input, Q2 includes a  
Clearcom-type communications interface.  
S/TONE  
Sub-panel preset for adjusting the sidetone of the Clearcom  
compatible interface. Sidetone is the level of your own voice that  
you will hear in the headphones when speaking into the  
communications microphone. Some sidetone is usually preferred  
as it gives confidence that the system is working.  
T/B LEVEL  
Adjusts the level of the talkback microphone system.  
COMMS ON  
Enables the communication system.  
CALL  
The led in the switch illuminates when the console is being called.  
Alternatively, pressing CALL sends out a call signal to the Master.  
TB  
Pressing TB (Talkback) routes the talkback signal to all assigned  
outputs.  
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MASTER OUTPUT CONTROL  
PRE  
Allows the signal feed from the main Left/Right outputs to the  
Mono (Centre) output to be pre-fader rather than post-fader.  
L/R TO MONO  
Assigns the post-fader Left/Right Output to the main Mono  
(Centre) output.  
L/R CUE/SOLO  
Solo’s the main Left/Right output to the main monitors  
(headphones or loudspeakers), with flashing led indication.  
MONO CUE/SOLO  
Solo’s the main Mono (Centre) output to the main monitors  
(headphones or loudspeakers), with flashing led indication.  
FADERS  
Three faders control the output level of the main Left, Right and  
Centre (mono) signals. The user may determine the configuration  
of the faders to be L, C, R or L, R, C.  
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MASTER CONNECTOR PANEL  
CONNECTORS AND PIN ASSIGNMENTS  
Main Left, Right and Mono Outputs,  
Monitor Outputs, Auxiliary Outputs,  
and generator output :  
3 Pin XLR type, Balanced  
Nominal Output Level: +4dBu  
Pin 2 : Signal +ve (Hot)  
Pin 3 : Signal -ve (Cold)  
Pin 1 : Ground  
Output Impedance : <75 Ohm  
Mix Insert Send :  
Talkback Microphone Input :  
3 pin XLR type, Balanced  
Nominal Input Level: -62dBu to -8dBu  
Pin 2 : Signal +ve (Hot)  
1/4" TRS Jack socket, ‘A’ Gauge, Balanced  
Nominal Output level: +4dBu  
Tip : Signal +ve (Hot)  
Ring : Signal -ve (Cold)  
Sleeve: Ground  
Pin 3 : Signal -ve (Cold)  
Pin 1 : Ground  
Output Impedance: <75 Ohm  
Input Impedance : >2 kOhm  
+48V Phantom power optional  
Mix Insert Return :  
Tape Play Input :  
1/4" TRS Jack Socket, ‘A’ Gauge, Balanced  
Nominal Input Level: +4dBu  
Tip : Signal +ve (Hot)  
Ring : Signal -ve (Cold)  
Sleeve: Ground  
3 Pin XLR type, Balanced  
Nominal Input Level: +4dBu  
Pin 2 : Signal +ve (Hot)  
Pin 3 : Signal -ve (Cold)  
Pin 1 : Ground  
Input Impedance : >10 kOhm  
Input Impedance : >10 kOhm  
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VCA MASTER MODULE  
The effect return VCA master is only fitted to consoles with the  
optional VCA Grouping inputs. The effects return section may be  
controlled by the VCA masters.  
GAIN  
Adjusts the gain of the effect return input section. The gain is  
adjustable from -15dB to +15dB.  
L CUT  
Cuts the signal feed to the left channel, with led indication.  
R CUT  
Cuts the signal feed to the right channel, with led indication.  
PHASE REVERSE  
Inverts the phase of the signal on the right channel input.  
WIDTH  
Varies the width of the stereo image from mono through normal  
stereo to a wide signal where the left and right signals appear to  
come from outside their normal image positions.  
M/S DECODING  
If the width is set fully anticlockwise to MONO and the PHASE  
REVERSE switch is pressed the module will decode line level M/S  
(Sum and Difference) signals. This may be the output of a  
pre-amp, or recorded material.  
HF EQ  
A shelving equaliser with an adjustable gain of +/-15dB at a  
frequency of 12kHz.  
LF EQ  
A shelving equaliser with an adjustable gain of +/-15dB at a  
frequency of 50Hz.  
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F/B and AUXILIARY SENDS  
F/B 1/2  
This dual concentric pair of level controls adjusts the amount of  
signal fed to foldback buses 1 and 2 (or 3 and 4 if the switch 3-4 is  
pressed). The upper control adjusts the level for bus 1 (3), the  
lower for bus 2 (4). Internal links allow these feeds to be selected  
from a mono sum of the stereo signal, or left to 1, right to 2 (all  
selectable pre or post fader by links).  
3-4  
The switch assigns the level controls to feed foldback buses 3/4  
instead of 1/2.  
AUX 1/2  
This dual concentric pair of level controls adjusts the amount of  
signal fed to auxiliary buses 1 and 2 (or 3 and 4 if the switch 3-4 is  
pressed). The upper control adjusts the level for bus 1 (3), the  
lower for bus 2 (4). Internal links allow these feeds to be selected  
from a mono sum of the stereo signal, or left to 1, right to 2 (all  
selectable pre or post fader by links).  
3-4  
The switch assigns the level controls to feed auxiliary buses 3/4  
instead of 1/2.  
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BAL  
Balances the stereo signal within the stereo bus, or within pairs of  
groups if the MONO/STEREO button is set to STEREO.  
MONO/STEREO  
If set to MONO, a mono sum of the stereo signal is fed to any  
selected group. If set to stereo, a stereo signal is sent to pairs of  
groups via the BAL control, left to odd, right to even, groups.  
MONO  
Assigns a MONO sum of the stereo signal to the main MONO  
(Centre) bus.  
L/R  
Assigns the stereo signal to the main STEREO L/R bus.  
1
Assigns signal to group 1, either as a mono sum, or the left channel,  
depending on the setting of the mono stereo switch. Similarly for  
groups 2-8.  
ON  
Enables the Effect Return signal path.  
SAFE  
Deselects the return from the VCA/MUTE Group system, without  
affecting the mute group assignments. Useful to locally protect  
signals, or manually override grouped MUTE ON conditions.  
VCA/MUTE GROUP 1  
Assigns the channel to VCA/MUTE Group 1. Similarly for VCA/  
MUTE Groups 2 through 8.  
CUE  
Assigns the stereo signal to the CUE system, with flashing led  
indication when enabled.  
FADER  
Controls the level of the EFFECT RETURN section of the module.  
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VCA MASTER SECTION  
CUT 1  
Mutes all channels assigned to VCA/MUTE Group 1. Similarly for  
for CUT 2 through 8.  
VCA 1  
Switches in the VCA master fader to control VCA/Mute Group 1.  
If the VCA is not switched in, the VCA control reverts to a fixed  
unity gain setting. This is useful for quickly resetting all inputs to  
their nominal gains (as set on their individual faders).  
VCA MASTER FADER (100mm)  
Controls the overall level of all the channels assigned to that group.  
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CONNECTORS AND PIN ASSIGNMENTS  
LINE A : 3 Pin XLR type, Balanced  
Nominal Input Level: +4dBu  
Pin 2 : Signal +ve (Hot)  
Pin 3 : Signal -ve (Cold)  
Pin 1 : Ground  
Input Impedance : >10 kOhm  
LINE B : 1/4" TRS Jack Socket, ‘A’ Gauge, Balanced  
Nominal Input Level: +4dBu  
Tip : Signal +ve (Hot)  
Ring : Signal -ve (Cold)  
Sleeve: Ground  
Input Impedance : >10 kOhm  
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Q2 TECHNICAL DESCRIPTION  
This consists of two main boards and one sub board. The sub  
board carries the balanced tape inputs, balanced mix outputs,  
balanced Left, Centre and Right monitor outputs and the Left AFL  
Meter. The tape signals are fed down to the audio master board  
while the mix and monitor outputs are fed in to the sub board from  
the master board.  
THE AUDIO  
MASTER MODULE  
The main audio board carries the Right AFL meter and the main  
circuitry for the Left, Centre and Right outputs of the console in  
addition to the monitoring functions.  
Typically the signal path from the left mix bus to the mix output is  
as follows. The signal from the LEFT bus is mixed in a virtual  
earth amplifier and immediately after this the LMIXPRE signal is  
taken to other parts of the circuit. The signal then passes through  
an SSM2404 switch which operates as a changeover to allow SIP  
signals onto the signal path in place of the mix signal. Following  
this an SSM2142 is used to send a balanced insert send signal to the  
send jack which is normalled to the return jack. From here the  
signal passes through an SSM2143 balanced to unbalanced stage to  
the main fader (one each for Left Centre and Right). A fader buffer  
stage follows after which the signal is fed up to the sub board to the  
main mix outputs of the console. The signal is known as LMIX at  
this point. A further buffer stage follows and the signal is then  
known as LEFTMIX which goes to the matrix link connector. The  
MIXL signal, in addition to going to the sub board connects to the  
PRE switch which allows either a mix pre or post fade signal to be  
selected as the source for the centre mix when mix left and right are  
assigned to it. The combined signal is fed onto the CMIX bus.  
The Left Right and Centre PRE signal derived immediately after  
the mix amplifiers is used for SOLO and PFL and is fed via  
SSM2404s onto the solo buses. A switch selects PFL or AFL  
operation while a further switch located towards the top of the  
module is used to select SIP operation. The output of the PFL/AFL  
switch feeds the AFL meters which are mounted on the module  
before entering the monitoring system via an SSM2404. A SOLO  
TRIM pot can be used to alter the PFL solo level although it will  
not of course change the level shown on the meter. The external  
feeds to the meterbridge are permanently tied to the mix outputs of  
the console.  
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A rotary pot is used to control the monitor outputs although not  
directly. A control voltage is derived from the pot which is fed to  
three VCAs on the sub board which control the monitor levels for  
Left, Centre and Right. The monitor has associated MONO, DIM  
and ON buttons and can be selected to carry CUE, TAPE, L/R and  
Centre signals. If both the L/R and CENTRE buttons are depressed  
then L C R monitoring will result. If no buttons are depressed then  
CUE will be selected. Headphone monitoring is also available and  
the left and right headphone feeds have the centre channel mixed in  
with them. The headphones receive the same feed as the monitor  
outputs of the console.  
SIP monitoring uses the main mix outputs of the console in order  
that an output solo does not cut the inputs assigned to that group  
and the SIP signals enter the signal chain immediately before the  
insert send points for the Left, Centre and Right mixes.  
A RESET button disables any active cues on the console without  
having to locate the soloed channel. The solo function is also  
available for the L/R and Mono outputs of the console. A further  
section of logic is associated with the solo function and the  
operation is as follows.  
First of all it is necessary to understand that input priority is the  
normal condition in which any input solo will cancel an output solo  
for its duration. Multiple input and output solos can be active in  
this mode. Interlock mode means that only one solo in the console  
can be active at any time. The reset button can be used to clear the  
last required solo.  
Consider first of all an input solo in the input priority condition.  
The solo makes the output of IC44 pin 1 go low causing TR1 to  
switch on which in turn causes TR2 to switch on giving INPUT  
SOLO indication. Pin 7 of IC44 will go high as it will invert the  
low from pin 1 causing TR4 to switch on which in turn switches  
TR8 on. The causes the RESET line to stay in a high condition  
which disables the solos on the output modules.  
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Further input solos can be added and the reset button can be used to  
cancel them. If a solo is to be cancelled from the master reset  
button then a positive voltage is fed to the base of TR9 to switch it  
on causing the reset line to go low. Some means must be used to  
turn off TR8 as otherwise the Vdd and Vss rails would be shorted  
together and TR3 is turned on to prevent this from occurring.  
In the INTERLOCK position of the switch pin 1 of IC44 is also fed  
to IC45 which is configured as a virtual earth mixer. Pin 7 of IC45  
will thus go high and be applied to the voltage comparator IC46.  
With only one solo active this comparator will not operate and the  
output will remain low. When a second solo is received then pin 1  
of IC44 will rise higher in voltage causing pin 7 of IC45 to rise  
which in turn will cause the voltage comparator to operate giving a  
reset via TR9. Of course solos can still be cancelled on the  
modules on which they are active. The same is true for output  
solos which enter via IC45 and are mixed with the input solos  
before reaching the voltage comparator. A reset can thus be  
generated by requesting another solo or by operating the master  
reset.  
The solo circuits on the input and output modules are a little  
complex and will be explained in the relevant sections.  
The second main board is the COMMS board and as the name  
suggests this board handles talkback and related functions. The Q2  
is fitted with a CLEARCOM communication interface which is a  
three wire system carrying DC signalling and two way audio. The  
PFL meter is located on this board along with the external meter  
drives and their associated trimmers.  
The oscillator can generate either 1kHz or pink noise whose level  
can be controlled by a pot. The talkback and oscillator can be  
routed to foldback, auxiliaries, groups, matrix, L/R mix and Mono  
outputs. To talk to the matrix a further switch must be pressed on  
the required output module.  
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The talkback microphone amplifier is adjustable in level from a  
front panel control and can be routed to the same destinations as the  
oscillator in addition to the CLEARCOM interface. Incoming  
communication from the CLEARCOM interface can be routed to  
the monitor system by use of the COMMS ON key.  
A SIDETONE trimmer allows the level of sidetone to be adjusted.  
This is the amount of your voice that you will then hear in the  
headphones when using the CLEARCOM system. IC6A is used to  
amplify incoming communications and to reject outgoing talkback  
which travels on the same wire as the incoming talkback. PR6  
alters the rejection and hence the sidetone can be increased or  
decreased. When talkback is used a DIM command is sent to the  
main board. Talkback audio is also incoming from the headset and  
this is fed to the CLEARCOM interface together with any audio  
from the console talkback microphone.  
The COMMS ON switch has several functions as follows:_  
To allow incoming talkback onto the monitor system by operating  
an electronic switch and passing audio over to the main board.  
Allowing either the talkback microphone or the output of the  
CLEARCOM system to go to talkback routing.  
Routing the talkback microphone to the CLEARCOM system.  
Putting a call out on the CLEARCOM system.  
Also located on the COMMS board are the FLASH oscillator for  
flashing lamps and the MONO solo switch circuit.  
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THE AUXILIARY MASTER MODULE  
This board contains the master sections for the auxiliary outputs of  
the console in addition to headphone amplifiers and a talkback  
microphone amplifier for the headset microphone.  
The 4 auxiliaries are identical and therefore it is only necessary to  
describe one. The signal from the bus is mixed by IC1 and is then  
passed through the fader followed by the ON switch to an  
SSM2142 balanced line driver which connects to the rear panel on  
the console. A feed for the meters and the solo system is taken  
immediately after the ON switch. There are headphone amplifiers  
for the front panel headphone sockets and another amplifier to feed  
the headset. A separate talkback amplifier exists for the headset  
microphone and this is fed to the COMMS board.  
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THE FOLDBACK MASTER MODULE  
This contains the four master foldback sections which are identical  
to the auxiliary master sections. A matrix link connector takes the  
foldback outputs across to the output modules for use on the  
matrices.  
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THE INPUT MODULE  
THE SIGNAL PATH  
The Q2 is equipped with a microphone and a line input selected by  
a switch and controlled by the same pot. The microphone input  
may have a 20dB pad switched in and a phantom supply can be fed  
to the microphone from each module. From here the signal enters  
or by-passes a phase reverse circuit which is simply a unity gain  
inverting stage. The signal then enters or by-passes the sweepable  
high pass filter. At this point the equaliser can be selected pre or  
post the insert point and from here the signal enters the cut SSM  
followed by the fader, the fader buffer stage and the pan circuit  
before going to the routing switches. A VCA version of the  
module will allow for VCA level control and VCA muting.  
THE RESET CIRCUIT.  
A reset for the module logic is given by the RC network formed by  
C41 and R142. On power up C41 will charge through R142  
causing TR1 to switch on. This applies a low to the SET input of  
the flip flop and a high to the reset input causing Q bar to go high  
giving a channel ON condition. The RESET line is also fed to the  
SOLO enable circuit.  
THE SOLO SYSTEM  
The Q2 solo system is a little more comprehensive than in other  
consoles and there are some novel features about the way in which  
it operates.  
The SOLO button can be pressed fleetingly and the solo will latch  
until the button is pressed for a second time. If the button is  
depressed for a longer period then the solo will not latch but will  
release as the solo button is released. There is also a facility for all  
solos to be cleared by the operation of a master button on the  
console.  
The heart of the system is IC11 a dual D-Type flip flop. Normally  
the reset pin will be held low and under this condition the state of  
the Q output will toggle with each operation of the solo switch.  
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If the solo switch is held down then C43 will charge through D13  
and R155 causing pin 1 of IC12 to go high. Pin 2 is already high as  
the flip flop has operated to give a solo and thus pin 3 of IC12 will  
go low. This low is applied to pin 2 of IC13 and when the solo  
button is released pin 1 will also go low. Pin 3 of IC13 then goes  
high causing the flip flop to be reset thus cancelling the solo. TR6  
is also switched on to discharge C43. The output of IC12 will then  
revert to a high state causing the reset to go low and allow normal  
operation of the flip flop. A RESET signal from the master module  
will be received by pin 2 of IC13 and will cause pin 3 to go high  
(since pin 1 will already be low) again giving a reset and cancelling  
any solo.  
Another version of the above circuit exists based around 4001 OR  
gates although the principle behind it is exactly the same. The  
example shown is an output solo and in order for the input priority  
system to work then an extra gate is used - IC47D. When a solo is  
requested audio is allowed onto all four solo buses with selection  
being made on the master module depending upon the selected solo  
mode.  
The RESET line from the master module is in fact tri-state and in  
the high condition it is used to pull pin 11 of IC47D low cancelling  
the solo. This only occurs when input priority mode is selected and  
when an input solo is called for. The RESET does not reset the  
output solo latch so that when cancelled the previous output solo  
can again take effect. When the RESET line goes high it will go to  
almost the audio positive rail. This excess voltage is removed by  
zener diode D50 which is used to block the output of IC47B which  
will be at 5V. When the RESET line goes low then IC48A will be  
reset cancelling any solo.  
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Q2 PANNING  
The Q2 console can exploit either L-R panning or L-C-R panning  
selected by a switch. In either case the same components are  
employed as follows.  
The pan pot VR7 is centre tapped and under normal operation the  
input signal is fed to the top of the pot (the hot end). This is  
connected to the centre tap by a 10k resistor to give the appropriate  
law and the wiper signals are fed to the pan buffer IC9. These  
signals leave the module as LSUB or RSUB to give normal stereo  
panning. The MIXC output is directly connected to the (mono)  
input of the pan pot. The CGROUP output is grounded.  
If the switch is depressed to give L-C-R panning then the centre  
taps of the pots are grounded meaning that the pots will only work  
across half of their range which is the required condition. The  
signal can now leave as LSUB or RSUB or indeed PANL and  
PANR if link 22 is installed in an LCR console. The output of the  
pan buffers are combined by IC10A along with an out of phase feed  
of the input signal to give a centre signal which is fed out as  
CGROUP or MIXC.  
A signal panned fully left will appear at the LEFT output only, a  
CENTRE panned signal will appear on the centre output only and  
of course a RIGHT panned signal will appear on the right output  
only. A signal panned for example between left and centre will  
have no output on the right output whereas it would if normal  
stereo panning was employed.  
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ON/CUT CIRCUIT  
The ON circuit of an input module is based around IC11 a dual,  
positive edge triggered S/R Flip Flop. Under static conditions C40  
will charge through R140 holding the clock input low. Pressing the  
ON switch applies Vdd to the clock input causing pin 2 to be  
clocked through to pin 1 reversing the states of Q and Q bar. For  
the channel to be on Q bar should be high. Assuming that the  
channel is SAFE at the moment then pin 10 of IC12 will go low  
causing pin 11 to go high. Following this through the ON LAMP  
link TR3 will be switched off by this high causing TR5 to be off  
which means that the LED will be ON. An anti phase feed is taken  
to the series and shunt FETs such that in the ON condition the  
series FET receives a high while the shunt FET receives a low.  
An alternative is for the lamp to indicate the CUT condition. A  
local channel CUT will set Q bar low and thus pin 10 of IC12 will  
be high. This will cross the cut lamp link and switch TR3 off  
causing the LED to come on indicating a mute. At this time Q is  
high causing pin 4 of IC13 to be low and therefore pin 6 of IC12 to  
be low. If the channel is not locally cut but an external cut is  
received from one of the master cut switches Q will be low and the  
external cut signal will put a low on to pin 6 of IC13. Pin 4 will  
thus go high and allow the FLASH signal to blink the CUT lamp if  
LK9 is installed. The external cut is also applied to pin 8 of IC12  
causing pin 10 to go high to operate the FETs and the lamp. Thus a  
flashing cut lamp is an indication that a remote cut has been  
received.  
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THE MIDI INTERFACE.  
A cut is also possible from a midi muting system and this operates  
on the flip flop by setting Q high and Q bar low from the same  
signal which is inverted at TR2. The cut is a high on pin 2 of  
CON8. The local cut switch is connected to pin 1 of CON8 to feed  
a cut to the midi system.  
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Q2 ROUTING  
There are 20 buses available in the Q2 console giving rise to  
several possibilities. An input module can be configured to route to  
8 mono groups, 16 mono groups with paired routing, 8 stereo sub  
groups or 4 LCR groups. The following tables can be used to  
check which links and resistors should be installed for the different  
configurations.  
INPUT MODULE RESISTORS  
Resistor Standard/LCR Stereo/Mono 16  
94  
98  
102  
189  
227  
91  
*
*
*
*
*
*
*
*
*
*
*
*
228  
95  
229  
99  
230  
186  
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INPUT MODULE ROUTING LINKS  
LK Mono  
Stereo  
LCR  
6
*
*
*
*
*
*
*
*
20  
21  
22  
23  
24  
25  
26  
27  
*
28  
31  
32  
33  
34  
35  
36  
37  
38  
*
*
*
*
*
*
*
*
*
*
*
*
*
THE LEVEL METER  
The peak LED operates independently from the remainder of the  
meter and is wired to three points as follows:-  
Pre EQ  
Post EQ  
Post fader  
Thus a high level on any of the three points may bring the peak  
LED on. The main meter can be wired to any one of the three  
points to indicate the desired level and is normally linked to the pre  
equaliser signal.  
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FOLDBACK and AUXILIARIES  
The Foldbacks and Auxiliaries can be switched pre or post fader.  
In the pre fade position the signal can be sourced pre or post the  
equaliser or post cut switch. Auxiliary 4 can be switched to control  
the direct output which is normally post fader. The VCA version of  
the console incorporates on/off switches for the auxiliary and  
foldback sends which are mounted on the sub board. The sub  
board connector is removed and replaced by links in a non VCA  
console.  
INPUT MODULE LINKS  
Link  
Function  
1, 2  
3, 4, (5)  
7
Transformer Bypass  
External Meter Pre EQ, Post EQ, Dir  
Cut Lamp  
(8)  
On Lamp  
9
Cut Lamp Flash  
(10)  
Link for non VCA version  
Internal Meter Pre EQ, Post EQ, Post  
(11), 12, 13  
(14), 15, 16  
(17), 18, 19  
(29), 30  
Foldback Pre  
Auxiliary Pre  
Mute, Scene  
Pre EQ, Post EQ, Post Cut  
Pre EQ, Post EQ, Post Cut  
( ) Factory Position  
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THE MONO GROUP OUTPUT MODULE  
This module contains the circuit for one group output and one  
matrix output. The signal path for the group signal is from the bus  
through the appropriate link depending upon which group the  
module is programmed to receive into the bus mixing amplifier.  
The signal then is fed to the balanced insert send output by an  
SSM2142 and returned by an SSM2143 before entering the  
SSM2402 used for the cut function. From here the signal passes  
through the fader which has 10dB of gain in hand followed by the  
fader buffer to make up the 10dB of gain. The signal is then  
balanced in an SSM2142 to become the group output signal. The  
group signal can be sub mixed to the main LCR bus and this can be  
done in stereo or full LCR if selected.  
The matrix send can be taken pre or post fade and in the pre fade  
position it can be link programmed to be either pre or post mute.  
The signal is then buffered and sent onto the matrix buses. The  
matrix operates differently to previous DDA matrices and a full  
level signal is sent to all buses. Thus the matrix pots are controlling  
signal coming into their module as opposed to the previous  
situation where the pots would control the level going to another  
matrix output. The matrix signals are picked up, level controlled  
and mixed together before going to the matrix ON switch. In  
addition to the eight send signals the foldback, mix left/right and  
mix centre signals are available on the matrix. Immediately after  
the ON switch talkback is injected although the enable switch must  
be operated for this to happen. The signal is then balanced in an  
SSM2142 to become the matrix out signal.  
Both the matrix and the group signals can be soloed and the solo  
enable circuits are as previously described. If LCR mode is  
selected then the group AFL solo will be across the three buses,  
otherwise it will be in stereo. The matrix solo is across the L/R  
buses. The group cut is electronically operated through an identical  
circuit to that of the input module and again there is provision for  
the group to be muted by any of eight master mute groups.  
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MONO GROUP OUTPUT LINKS  
Link  
Function  
1, 2  
Group Bus Programming  
**  
3, 4  
Matrix Send Programming **  
Group Transformer Balancing  
Post/Pre Mute Matrix Send  
Matrix Transformer Balancing  
Link for non VCA version  
(5), (6)  
(7), 8  
(9), (10)  
(11)  
12, 13, (14)Cut/On Lamp  
** Installed link depends upon module position  
( ) Factory Position  
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THE STEREO GROUP OUTPUT MODULE  
The stereo module is very similar to the mono group output but of  
course the signal paths must be duplicated. There are two group  
output signal paths and two matrix sends which can selected pre or  
post fader. The matrix returns are fed to ganged pots and the matrix  
output is again duplicated to give a stereo output.  
Sub grouping to the L/R and Mono buses is done independently  
and there is a balance facility for the stereo sub signal. Soloing of  
the group and matrix signals is possible using identical circuitry to  
that described previously.  
STEREO GROUP OUTPUT LINKS  
Link  
Function  
1, 2  
Group Bus Programming  
**  
3, 4  
(7), 8  
(207), 208  
11  
12, 13, (14)  
(15), 16  
Matrix Send Programming **  
Post/Pre Mute Matrix Send  
Post/Pre Mute Matrix Send R  
Link for non VCA version  
Cut/On Lamp  
Mute/Scene  
** Installed link depends upon module position  
( ) Factory Position  
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THE LCR GROUP OUTPUT MODULE  
Three group outputs are required on this module to give the  
required Left, Centre and Right outputs. The signal path for each  
of these outputs is as for the mono group output. The matrix output  
is mono and is fed from a mix of the LCR signals.  
The matrix returns are stereo capable and again foldback and the  
mix can be merged onto the matrix send.  
LCR GROUP OUTPUT LINKS  
Link  
Function  
1, 2, 17  
3, 4  
(7), 8,  
(207), 208  
(307), 308  
11  
12, 13, (14)  
(15), 16  
Group Bus Programming  
**  
Matrix Send Programming **  
Post/Pre Mute Matrix Send L  
Post/Pre Mute Matrix Send R  
Post/Pre Mute Matrix Send C  
Link for non VCA version  
Cut/On Lamp  
Mute/Scene  
** Installed link depends upon module position  
( ) Factory Position  
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Q2 VCA  
The modules are similar to the normal Input and Output modules  
but with different sub boards. The VCA sub board carries the VCA  
and its associated control voltage circuits along with a mute  
switch interface for the auxiliaries and foldbacks.  
INPUT MODULE  
An SSM2018 VCA is used and audio is connected to this from the  
main board via CON4. The control voltage is fed from IC3B and  
this voltage can be a sum of the channel fader, the VCA group  
master fader and an external fader input. The channel fader is  
an audio fader and consequently it must be processed via a log-  
amp before it can be used to control the VCA. IC1A buffers the  
fader voltage while TR1 and IC2 form the log-amp.  
The output of the log-amp is linked via LK2 to IC3B the control  
voltage buffer. If a VCA taper fader is used then LK2 should be  
removed and LK1 installed. This takes the buffered fader voltage  
straight to the control voltage buffer IC3B. The external fader  
voltage is received at CON2 and buffered by IC1B which feeds a  
virtual earth summing point.  
The VCA group control voltage comes from CON12 and is  
summed with the external fader voltage at this point before going to  
the control voltage buffer IC3B. LK5 should be normally be  
installed to allow the VCA group control voltage to operate. The  
output of the summing amplifier IC3A is also fed to IC5 which is  
used as a comparator. If LK6 is installed then when the comparator  
detects that the control voltage is such that the channel is  
closed a mute signal will be sent to the mute circuit on the main  
circuit board.  
ICs 7 and 8 form a noise gate interface using the audio sent to  
the VCA which if used would be sent to a noise gate processor via  
a ground sensing output. LED4 would indicate the gate  
functioning by looking at the return signal from the noise gate  
processor and the return signal would close the VCA.  
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The odd numbered group routing switches are mounted on the sub  
board along with the direct switch. Switches for enabling  
Foldbacks 1,2,3,4 and Auxiliaries 1,2 are also mounted on the sub  
board.  
LK3 is normally installed but if removed and LK4 installed then  
auxiliary 3 is routed through the direct switch. This gives the  
option of having no direct switch but an auxiliary 3,4 enable  
switch is created.  
INPUT SUB BOARD LINKS  
LK  
Function  
VCA fader  
* if factory installed  
1
2
3
Audio fader  
Aux 3 normal  
*
*
4
Aux 3 depends on DIR switch  
5
6
7
27  
28  
CV Input  
VCA Mute  
Ground Link  
Stereo module  
Mono module  
*
*
*
Note that if an external fader is used then LK7 should be removed  
and the fader wired as shown in the drawing AS1358-1.  
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OUTPUT MODULE  
The output module sub board varies according to the output module  
that it is fitted to. It may require 1,2 or 3 VCAs to be fitted  
and there is no auxiliary enable switching.  
The control voltage circuits are identical to those found on the  
input VCA sub board as are the VCA circuits. A mono module  
requires 1 VCA, a stereo module requires 2 VCAs and of course an  
LCR output module requires 3 VCAs to be fitted.  
OUTPUT SUB BOARD LINKS  
LK  
Function  
* if factory installed  
1
2
3
VCA fader  
Audio fader  
CV Input  
*
*
ADJUSTMENTS  
The only adjustments that may be required are to trim the  
distortion of the VCAs.  
Input module PR2  
Output Module PR2, PR4, PR6  
Sending a signal of 0VU 1kHz through the VCA with the gain at  
unity the distortion should be trimmed for a null.  
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VCA MASTER MODULES  
The VCA master module contains two VCA group master faders  
and their associated cut switches. A reference voltage of -5V is fed  
to the faders and applied to ICs 12A and B where it is offset by  
a fraction of the original reference voltage. The output of the  
ICs is fed via an enable switch to the VCA group buses from  
where it will be received by modules assigned to that VCA bus.  
The VCA group cut switch is a two pole switch. One pole is used  
to illuminate the switch LED and the other switches the -5V  
reference to the VCA buses to give a mute. The mute switch  
feeds the buses after the VCA enable switch so that it can be  
used even if VCA fader control is not selected.  
The remainder of the module is taken up by a stereo effect  
return. It is possible to select between input A and input B by  
a switch, the output of which goes to IC1A and 2A, the balanced  
input stages. Following the left side only the signal then goes  
to a gain trim stage formed by IC1B and then through the LEFT  
CUT switch. A width control is next formed by ICs 4A and 5A.  
This stage may be bypassed when not in use. The left and right  
signals are combined in this stage to give an image which can be  
reduced from full stereo to mono and expanded again into stereo  
but with the left and right channels reversed.  
A phase reverse circuit formed by IC3A operates on the right  
signal only and again is bypassed when not in use. IC4B forms  
a simple 2 band equaliser for the left signal which is then sent  
to the fader and buffered by IC6B on its return. A feed of the  
pre-fade signal is sent to IC18, an SSM2402. The left and right  
pre fader signals both use this chip as a mute IC. The left and  
right signals are also combined to give a mono pre fader signal.  
From the fader buffers the left and right signals both go through  
IC17, again an SSM2402, which cuts the post fader effect return  
signals. A pan stage follows and from here the signals can be  
routed to the various buses.  
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Auxiliaries 1,2 and Foldbacks 1,2 can be accessed by the effect  
return and links 1 - 8 determine the signal that will be the  
source for these feeds.  
The mute control circuits and solo circuits are as previously  
described for other modules in the Q2 console.  
VCA Master Links  
LK  
Function  
* if factory installed  
*
1
FB1,2 Pre  
2
FB1,2 Post  
3
4
5
FB1,2 Left Pre  
FB1,2 Left Post  
Aux1,2 Pre  
6
7
8
9
Aux1,2 Post  
Aux1,2 Right Pre  
Aux1,2 Right Post  
Non VCA Link  
Group Scene  
Group Mute  
*
*
*
*
10  
11  
12  
13  
14  
23  
24  
25  
26  
29  
30  
31  
32  
Cut Lamp  
On Lamp  
Cut Lamp Flash  
VCA to bus 1  
VCA to bus 3  
VCA to bus 5  
VCA to bus 7  
VCA to bus 2  
VCA to bus 4  
VCA to bus 6  
VCA to bus 8  
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Links 15 - 22 are used for bus routing and are installed as  
follows.  
Link  
Standard Input Stereo/Mono 16  
15  
16  
17  
18  
19  
20  
21  
22  
*
*
*
*
*
*
*
*
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