API Audio Accessories 7-22-10 User manual

All Discrete Surround
Mixing and Recording Console
Operator’s Manual
REVISED
7-22-10
Written for Automated Processes Incorporated
by Daniel Pfeifer
2010

Table of Contents
1.0 Overview
1.1 Introduction and Features
1.2 Vision Mainframe
1.2.1 Channels Bucket
1.2.1.1 Upper 200 Slots
1.2.1.2 Lower 200 Slots
1.2.1.3 500 Slot
1.2.2 Options Bucket
2.0 Channel Signal Flow
2.1 Dual Signal Path Architecture
2.2 Channel Input Selections
2.3 Channel Signal Processing
2.4 Channel Output Assignments
2.5 Channel Components
2.6 Block Diagrams
2.6.1 Basic Fader 1 Block Diagram
2.6.2 Basic Fader 2 Block Diagram
2.6.3 Basic Fader 2 with Direct Out Engaged Block Diagram
2.6.4 Basic Multitrack Recording using Fader 1 and Fader 2 Audio Paths Block Diagram
2.6.5 Complete Fader 1 and Fader 2 Signal Flow Block Diagram
3.0 Channel Controls and Patch Points
3.1 Master Input Selectors (INPUT SELECT)
3.1.1 Fader 1 and Fader 2 Input Selectors
3.1.2 Ancillary Controls
3.2 Channel Input: 212L Microphone Preamplifier or 205L Direct Input
3.3 Signal Processing: Optional Dynamics Processing/Filter Set
3.4 Equalizer: 500 Slot: 550L EQ or 560L Graphic EQ
3.5 1068L Input Module:
3.5.1 Equalizer Assignment
3.5.2 Auxiliary Sends
3.5.2.1 Master Auxiliary Mode Switches
3.5.2.2 Auxiliary Send Controls
3.5.2.3 AUX PRE MUTE
3.5.3 Tape Pad
3.5.4 Fader 2 Path Controls
3.5.5 Fader 1 Path Controls
3.6 Channel Faders
3.6.1 Fader 1
3.6.2 Fader 2
3.6.3 Position Faders
3.6.3.1 Setting Fader Positions
3.7 Channel Meters and Peak Indicators
3.7.1 Channel VU Meters
3.7.2 Fader 1 and Fader 2 Peak Indicators
3.8 Channel Patch Points
3.8.1 Complete Channel Patch Points
3.8.2 Channel Patch Points for Multitrack Recording
3.8.2.1 Fader 2 Patch Points (Multitrack Send)
3.8.2.2 Fader 1 Patch Points (Multitrack Return)
3.9 200 Slot Programming and Patch Points
3.10 Recallable Input Channel Switches and Auxiliary Send Routing
3.10.1 Recallable Input Channel Switches
3.10.2 Recallable Auxiliary Send Routing
3.11 Automated Input Channel Switches
4.0 Channel Output Routing and Bus Assignment
4.1 Channel Direct Output
4.2 Channel Output Assignment Module
4.2.1 Channel Output Display
4.2.2 Channel Set Button
4.2.3 Multitrack Summing Bus Assignments
4.2.4 Program Bus Assignments

4.2.5 Ancillary Controls
4.2.6 Multitrack Summing Bus Assignment Procedure
4.2.7 Program Bus Assignment Procedure
4.2.8 Auxiliary Send 9/10 Assignment Procedure
4.3 Channel Output Assignment Using Vision Software
4.3.1 Recall Settings Window
4.3.2 Channel Grid
4.3.3 Channel Status Indication
4.3.4 Channel Output Assignments
4.3.5 Clear Channel Output Assignments
4.3.6 Procedures for Making Channel Output Assignments Using Software
4.3.6.1 Using the Recall Window to Make Channel Output Assignments
4.3.6.2 Saving Channel Output Assignments in a Snapshot
4.3.6.3 Applying Channel Output Assignments from a Snapshot
5.0 Multitrack Summing Busses, Trims, Signal Flow, and Patch Points
5.1 Multitrack Summing Bus
5.2 Multitrack Output Trim Module
5.3 Multitrack Signal Flow
5.4 Multitrack Patch Points
6.0 Stereo Program Busses, Master Faders, Signal Flow, and Patch Points
6.1 Stereo Program Busses A, B, and C
6.2 Stereo Program Master Faders
6.3 Stereo Grand Master
6.3.1 Grand Master Select
6.4 Stereo Program Signal Flow
6.5 Stereo Program Patch Points
7.0 Surround Program Bus, Master Faders, Signal Flow, and Patch Points
7.1 Surround Program Outputs
7.2 5-Channel Surround Program Bus and Masters
7.3 LFE Feed and Master
7.3.1 Creating a LFE Feed for 5.1 and 7.1 Surround Program Outputs
7.3.1.1 LFE Feed from a Mono Auxiliary Send
7.3.1.2 LFE Feed from Fader 1 and a Multitrack Summing Bus
7.3.1.3 LFE Feed from Fader 2 and a Multitrack Summing Bus
7.3.1.4 LFE Feed from an Unfiltered External Source
7.3.1.5 LFE Feed from a Filtered External Source
7.4 A/B Feed and Master
7.4.1 Creating a LFE Feed for 5.1 and 7.1 Surround Program Outputs
7.4.1.1 A/B Feed from a Stereo Auxiliary Send
7.4.1.2 A/B Feed from Fader 1 and a Pair of Multitrack Summing Busses
7.4.1.3 A/B Feed from Fader 2 and a Pair of Multitrack Summing Busses
7.4.1.4 A/B Feed from an External Source
7.5 5.1 and 7.1 Master Faders
7.6 Surround to Stereo Fold Down (Lt Rt Fold Down Matrix)
7.7 Surround Signal Flow
7.7.1 5.0 Surround Signal Flow without LFE
7.7.2 5.1 Surround Signal Flow with LFE
7.7.3 7.1 Surround Signal Flow with LFE and A/B
7.8 Surround Program Patch Points
8.0 Auxiliary Busses, Masters, Signal Flow, and Patch Points
8.1 Auxiliary Busses
8.2 Auxiliary Send Masters
8.2.1 227L Cue Send Module
8.2.2 227M Cue Master Module
8.2.2.1 Talk Back
8.2.2.2 Stereo Masters to Cue Sends
8.3 Auxiliary Send Signal Flow
8.4 Auxiliary Send Patch Points
9.0 Options Bucket
9.1 E1068L Stereo Surround Echo Return Module
9.1.1 E1068L Signal Flow for Stereo Mixing
9.1.2 E1068L Signal Flow for Surround Mixing

9.1.3 E1068L Patch Points
9.2 Other Modules
9.3 Options Bucket Patch Points
10.0 Control Group Master Faders
11.0 Solo Modes, Controls, and Patch Points
11.1 Solo Modes
11.2 Solo Controls
11.3 Solo: Normal and Solo: Groups
11.4 Solo Bus Access Patch Points
12.0 Talk Back
12.1 Control Room Talk Back
12.2 Reverse Talk Back
12.3 Talk Back Level Controls
12.4 Reverse Talk Back Patch Points
13.0 Monitor Control Sections
13.1 Stereo Monitoring
13.2 Surround Monitoring and Bass Management
13.2.1 Bass Management
13.2.2 LFE and Control Room Insert Controls
13.2.3 LFE Filter and Control Room Insert Patch Points
13.3 Control Room Monitor Source Selection (MONITOR SELECT)
13.3.1 Control Room Monitor Source Selectors and Level Control
13.3.2 Control Room Monitor Insert
13.3.3 Program and Playback Monitor Selector Patch Points
13.4 Control Room Monitor Speaker Solo and Cut Controls
13.5 Control Room Monitor System Selection (CONTROL ROOM)
13.5.1 Control Room Monitor System Controls
13.5.2 Control Room Monitor Output and Amplifier Input Patch Points
13.6 5.1 Test Points
13.7 Studio Monitor Source Selection (STUDIO) and Level Control
13.7.1 Studio Monitor Controls
13.7.2 Studio Monitor Output and Amplifier Input Patch Points
14.0 User Controls
15.0 Oscillator/Pink Noise Generator
15.1 Oscillator/Pink Noise Generator Controls
15.2 Oscillator/Pink Noise Generator Patch Points
16.0 Meters and Peak Indicators
16.1 VU Meter Bridge
16.1.1 Channel Meters
16.1.2 Program Meters
16.1.3 Meter Controls (METER SELECT)
16.2 Channel Peak Indicators and Reference Level Control
16.3 Power Supply Voltage Indicators
16.4 Pinguin Surround Meter Software
17.0 Patchbay
17.1 Patch Bay Normals
17.2 Channel Patch Bay
17.2.1 Complete Channel Patch Points
17.2.2 Fader 1 and Fader 2 Patch Points for Multitrack Recording
17.3 Multitrack Summing Bus/Multitrack Send Patch Bay
17.4 Upper System Patch Bay
17.4.1 227L Cue Send Patch Points
17.4.2 Stereo Program Patch Points
17.4.3 Surround Program Patch Points
17.4.4 Lt Rt Fold Down Matrix Output Patch Points
17.5 Lower System Patch Bay
17.5.1 2-Track and 8-Track Record/Playback Device Returns and Stereo and Surround Monitor
Source Inputs

17.5.2 Control Room Monitor and Studio Monitor Outputs and Control Room Monitor and Studio
Amplifier Inputs
17.5.3 E1068L and Options Bucket Patch Points
17.5.4 LFE Filter Patch Points
17.5.5 Control Room Monitor Insert Patch Points
17.5.6 Stereo, Surround, and Solo Summing Bus Access
17.5.7 Lt Rt Fold Down Matrix External Inputs
17.5.8 Oscillator/Pink Noise Generator Patch Points
17.5.9 Talk Back Patch Points
17.5.10 Phase Reverse (polarity inverter) and Multiple (MULT) Patch Points
17.6 Custom User Patch Bay
18.0 Vision Computer Control
18.1 System Overview
18.2 Hardware and Software Interface
18.3 System Architecture
18.3.1 PC Computer and Vision Software
18.3.2 Vision Control Panel (VCP)
18.3.3 Automation Control Module (ACM)
18.3.4 Fader Control Modules (FCM)
18.3.5 Fader Modules
18.3.6 1068L Input Modules
18.3.7 Output Assignment Modules (Routing Panels)
19.0 Vision Software
19.1 Starting Vision Software
19.2 Main Window
19.2.1 Title Bar
19.2.2 Menu Bar
19.2.2.1 File Menu
19.2.2.2 View Menu
19.2.2.3 Setup Menu
19.2.2.4 Tools Menu
19.3 Primary Windows
19.3.1 Channel Control
19.3.2 ACM Connection
19.3.3 Global Functions
19.3.4 Timecode
19.3.5 Project
19.3.6 Recall Settings
19.3.7 Groups
20.0 File Management
20.1 File Structure
20.2 File Storage
20.3 File Menu
20.3.1 Create a New Project
20.3.2 Using Existing and Recent Projects
20.4 Deleting Project Files and Folders
21.0 Project Window
21.1 Mix Tree Tab
21.2 Songs Tab
21.3 Snapshots Tab
22.0 Songs
22.1 Song List
22.2 Creating a New Song
22.3 Opening an Existing Song
22.4 Deleting a Song
22.5 Editing a Song Title
23.0 Snapshots
23.1 Snapshot Display
23.2 Snapshot Selection
23.3 Snapshot Menu

23.3.1 Edit Name
23.3.2 Take Snapshot
23.3.3 Apply Snapshot
23.3.4 Delete Snapshot
23.3.5 Export Snapshot
23.4 Take Snapshot Window
23.4.1 Snapshot Name
23.4.2 Sections to Save
23.4.3 Channels to Save
23.4.4 Take Snapshot and Cancel Buttons
23.5 Apply Snapshot Window
23.5.1 Sections to Apply
23.5.2 Channels to Apply
23.5.3 Action
23.5.4 Apply and Cancel Buttons
23.6 Default Snapshot
23.7 Snapshot Window Control from the Vision Control Panel
23.8 Snapshot Procedures
23.8.1 Taking a New Snapshot
23.8.2 Applying an Existing Snapshot
23.8.3 Editing a Snapshot Name
23.8.4 Deleting a Snapshot
23.8.5 Exporting a Snapshot
24.0 Recall System
24.1 Recall Settings Window
24.1.1 Channel Selection Grid
24.1.2 Channel Status Indication
24.1.3 Channel Output Assignments
24.1.4 Channel Input Assignments and Recallable Switches
24.1.5 Auxiliary Send Routing
24.1.6 Global Settings and Routing
24.1.7 Clear Settings
24.1.8 Read Console
24.2 Recall System Procedures
24.2.1 Making Software Channel Output Assignments and Recallable Switch Settings
24.2.2 Saving Recall Settings in a Snapshot
24.2.3 Applying Saved Recall Settings from a Snapshot
24.2.4 Clearing Recall Settings on All Channels
25.0 Groups
25.1 Overview
25.2 Group Enables
25.3 Group Masters
25.3.1 Group Master Faders
25.3.2 Group Master Channels
25.4 Groups Window
25.5 Group Selection
25.6 Groups Menu
25.6.1 Edit Group Name
25.6.2 Edit Group
25.6.3 Delete Group
25.6.4 New Group
25.6.5 Disable
25.6.6 Coalesce & Delete Group
25.6.7 Coalesce & Keep Group
25.6.8 Coalesce w/Audio Master
25.7 Edit Group Window
25.7.1 Group Name
25.7.2 Sections
25.7.3 Group Type
25.7.4 Channel or Fader 1 and Fader 2 Selection Grids
25.7.4.1 Selection Grid Status Indication
25.7.4.2 Group Master and Member Selection
25.8 Groups Window Control from the Vision Control Panel
25.9 Default Groups
25.10 Group Setup Procedures

25.10.1 Enabling Groups Globally
25.10.2 Making a New Group
25.10.3 Editing an Existing Group
25.10.4 Editing a Group Name
25.10.5 Deleting Groups
25.10.6 Disabling and Enabling One or More Individual Groups
25.10.7 Coalescing Groups
26.0 Automation System
26.1 Overview
26.1.1 Automation Controls
26.2 Automation Concepts
26.2.1 Automation Hardware Concepts
26.2.2 Automation Software Concepts
26.2.3 Manual Mixing
26.2.4 New Mix
26.2.5 Mix Passes
26.2.6 Initial Positions
26.2.7 End-Of-Pass Processes
26.2.8 Timecode and Synchronization
26.2.9 Function Enables
26.3 Automation System Components
26.3.1 Automation Hardware Components
26.3.1.1 Automation Control Module (ACM)
26.3.1.2 Vision Control Panel (VCP)
26.3.1.3 Fader Control Modules (FCM)
26.3.1.4 Fader Modules
26.3.1.5 1068L Input Modules
26.3.2 Automation Software Components
26.3.2.1 Project Window Mix Tree
26.3.2.2 Channel Control Window
26.3.2.3 Global Functions Window
26.4 Channels and Sections
26.4.1 Selecting Channel Sections Using Software
26.4.2 Global Channel Section Selectors
26.4.3 Channel Status Display
26.4.4 Selecting Channel Sections Using Hardware
26.5 Automation Modes and Submodes
26.5.1 Automation Modes
26.5.2 Mute Overwrite Mode
26.5.3 Automation Submodes
26.5.4 Assigning Automation Modes and Submodes
26.5.4.1 Channel Control Window Mode and Submode Assignment
26.5.4.2 Vision Control Panel Mode and Submode Assignment
26.5.4.3 Fader Module Mode Assignment
26.6 Global Functions
26.6.1 Global Functions Window
26.6.2 Global Automation Functions
26.6.2.1 Solo: Normal and Solo: Groups
26.6.3 Function Enables
26.6.4 Automation Section Safe Modes
26.7 Vision Control Panel
26.7.1 Vision Control Panel Buttons
26.7.1.1 Global Functions Buttons
26.7.1.2 Automation Mode Buttons
26.7.1.3 Automation Submode Buttons
26.7.1.4 Function Enable Buttons
26.7.1.5 Save Mix and Section Select Buttons
26.7.1.6 Navigation Control Buttons
26.7.2 VCP Display
26.7.3 ACM Main Menu
26.7.3.1 PC Window Control
26.7.3.2 New Mix
26.7.3.3 Solo: Normal and Solo: Groups
26.7.3.4 Function Enables (Global Funcs)
26.7.3.5 Clear Recall

26.7.3.6 Defaults
26.7.3.7 Demo Functions
26.7.3.8 Console Settings
26.7.3.9 Code Versions
26.8 Mix Tree
26.8.1 Mix Tree Display
26.8.2 Mix Selection
26.8.3 Mix Tree Edit Functions
26.8.3.1 Duplicate Mix
26.8.3.2 Delete Mix
26.8.3.3 Edit Mix Name
26.8.3.4 Mix Properties
26.8.3.5 Glide Return
26.8.3.6 Copy/Swap Mix Data
26.8.3.7 Clear Mix Data
26.8.3.8 Offline Mix Trims
26.8.3.9 New Song From Mix
26.8.3.10 Export Mix
26.8.3.11 Import Mix
26.9 Mix Tree Control from the Vision Control Panel
26.10 Automation Procedures
26.10.1 Creating a New Mix in Automation
26.10.2 Making a Mix Active
26.10.3 Exporting an Individual Mix
26.10.4 Importing an Individual Mix
26.10.5 Loading Existing Mix Trees
27.0 DAW Control
27.1 Control Surface Controls
27.2 Control Surface Setup
27.3 Control Surface Enable
27.4 DAW Control Surface Applications
27.5 DAW Control Surface Procedures
27.5.1 Using the console control surface to control a DAW
28.0 System Setup, Maintenance, and Updates
28.1 Setup Menu
28.2 Software and Firmware Updates
28.2.1 Updating PC Software
28.2.1.1 Install or Update the Vision PC Software
28.2.2 Updating ACM Firmware
28.2.2.1 Program ACM Firmware
28.2.3 Updating FCM Firmware
28.2.3.1 Program FCM Firmware
28.2.4 Updating VCP Display Firmware
28.2.4.1 Program VCP Display Firmware
28.3 Channel Mapping
28.3.1 Making Changes to the Channel Map
28.4 Timecode Setup
28.4.1 Timecode Source
28.4.1.1 Selecting the Timecode Source
28.4.2 Freewheel Frames
28.4.2.1 Setting Freewheel Frames
28.4.3 SMPTE Timecode
28.4.4 MIDI Timecode
28.4.4.1 Selecting a MIDI Port for MTC
28.4.5 Enable Timecode
28.5 Fader Calibration
28.5.1 Calibrate Faders
28.6 Default Snapshot
28.6.1 Burning the Default Snapshot
28.6.2 Loading the Default Snapshot
28.7 Default Groups
28.7.1 Burning the Default Groups
28.7.2 Loading the Default Groups
28.8 Default File Locations (Options…)
28.8.1 Set A Default Location For New Project Folders and Files
28.8.2 Set A Default Location For ACM, FCM, and VCP Display Firmware

28.9 Control Surface Setup
28.10 VCP Display Setup
28.10.1 Set VCP Display Contrast
Appendix
i. Vision Block Diagram
ii. 200 Slot Choices
iii. Dimensions
iv. Module Information Sheets
a. 205L Discrete Direct Input
b. 212L Discrete Microphone Preamp
c. 215L Discrete High-pass/Low-pass Sweep Filter
d. 225L Discrete Channel Compressor
e. 235L Discrete Channel Noise Gate
f. 525 Re-Issue Discrete Compressor
g. 527 Compressor/Limiter
h. 550L Discrete 4-Band Equalizer
i. 560L Discrete 10-Band Graphic Equalizer
v. Console/Module Setup Sheets
a. 205L Direct Input
b. 212L Microphone Preamp
c. 215L High-pass/Low-pass Sweep Filter
d. 225L Channel Compressor
e. 235L Channel Noise Gate
f. 525 Re-Issue Compressor
g. 527 Compressor/Limiter
h. 550L 4-Band Equalizer
i. 560L 10-Band Graphic Equalizer
j. 1068L Input Module
k. Channel Fader
l. Group/Master Fader
m. Bus Trim
n. 227 Aux Sends
o. E1068L Echo Return
p. Master Section
vi. Automation Quick Reference
Daniel Pfeifer is a professor in the Department of Recording Industry at
Middle Tennessee State University

1.0 Overview
1.1 Introduction and Features
Vision Features
The API Vision is a new surround mixing and recording console, featuring surround assign and
panning on each fader, plus comprehensive central facilities. The only analog console ever
designed from the ground up for surround work.
Overview
•Resettable Switch Automation, assignable per Channel or Globally
•Resettable Bus Assign, assignable per Channel or Globally
•Twenty-Four Multitrack Summing Busses
•Dedicated Surround Mix Bus
•Three Independent Stereo Busses
•Simultaneous Surround and Stereo Mixing
•API's all Discrete Signal Path
•Transformer Outputs
Each Channel Features
•Dual signal path architecture (two independent audio paths, Fader 1 and Fader 2)
•Dual input (MIC and TAPE)
•Two 100mm Automated Moving Faders on each path
•Simultaneous Stereo and Surround Panning on each path
•Ten Auxiliary Sends (two stereo, six mono, all switchable between paths and pre/post
fader)
•40-600 Hz High-Pass Sweep Filter in Fader 1 path
•70 Hz High-Pass Filter in Fader 2 path
•Assignable Equalizer (as fitted):
o550L 4-band
o560L 10-band Graphic
•Optional Processing (as fitted):
o205L Direct Input
o212L Microphone Preamplifier
o215L Sweep Filter
o225L Compressor
o235L Noise Gate
o525 Re-Issue Compressor
o527 Compressor Limiter
•Balanced Insert in each path
•Phase Reverse (Polarity Inverter)
Central Facilities
•Comprehensive Surround Monitoring
•8 Multi-channel playback selectors
•Bass management
•Individual Solo/Mute control of surround monitors
•Surround Fold-down Matrix
•Central Computer/monitor for automation and recall
•Comprehensive automation system (Fader 1, Fader 2, and switches)
•DAW control
•Machine Control (optional)
•Provision for optional signal processing:
o205L Direct Input
o212L Mic Pre
o215L Sweep Filter
o225L Compressor
o235L Noise Gate
o525 Re-Issue Compressor
o527 Compressor Limiter
•Monitor Calibration Controls
•3 sets of speaker assigns

Also Featuring
•The same exacting craftsmanship featured on all API Legacy Series Consoles
•API's unique 5 year warranty
•Full Patch Bay facilities
•Highest Quality Leather and Wood Trim
•Custom Built to Client's Specification
API's VISION responds to the major advances in digital audio recording. Digital media demands a
new level of performance, reliability and flexibility from the professional tools used to create audio
masters. From the mic amps and equalizers, to the signal processing devices and right through
the bus and routing structures of an audio console, we applaud the rising levels of sonic
expectation today's audio performances demand. API proudly presents the Vision Recording and
Mixing Console, built to the same exacting standards of reliability, sonic performance, and
investment grade audio that has made the Legacy Series the standard of modern recording
consoles.
VISION Dedicated to all those who hear, appreciate, and demand the best.

1.2 Vision Mainframe and Slots
The Vision console mainframe comes in a variety of frame sizes built with a Center Section and
three or more 16-channel channel buckets. The smallest frame size is 48 channels. The Patch
Bay is remotely mounted.
The mainframe is designed with a Center Section, a series of channel module buckets, each with
four module slots, and an Options Bucket in which the customer specified modules are installed.
Due to this flexible design, the console may be configured in many ways and each Vision console
is built to meet the specifications determined by the owner. While work flow, capacity, and
patching may vary by configuration, the basic operational premise of all Vision consoles is the
same.
1.2.1 Channel Bucket 16-Channel Bucket
There are five module
slots associated with
each channel bucket in
the Vision mainframe.
From the meter-bridge
to the armrest, the slots
are installed in the
following order:
•Upper 200 Slot
•Lower 200 Slot
•500 Slot
•Input Module
Slot
•Fader 1 Slot
The Input Module Slot
can be equipped only
with a 1068L Input
Module.
The Fader 1 Slot can be
equipped only with a
Fader 1 Fader.

1.2.1.1 Upper 200 Slots
The Upper 200 Slot is used for either input preamplification or channel signal
processing. The Upper 200 Slot may be fitted with the following API 200 Series
modules:
•205L Direct Input
•212L Microphone Preamplifier
•215L Sweep Filter
•225L Compressor/Limiter
•235L Noise Gate/Expander
When the Upper Slot is fitted with a 205L or 212L to serve as a channel preamp, it
is programmed internally to feed the 1068L Input module MIC input.
The channel preamp will typically be installed in the Options Bucket when the
Upper 200 Slot is fitted with a signal processor (215L, 225L, or 235L).
For signal processing, the Upper and Lower Slots are grouped together. Internal
links may be programmed to route both slots to one of the following fixed
locations:
•Fader 1, Pre EQ
•Fader 1, Post EQ
•Fader 2, Pre EQ
•Fader 2, Post EQ
As an alternative, a USER button in the Center Section can be programmed to
switch the Upper 200 Slot to an alternate location. This is a custom option and
may not be programmed on all consoles. Refer to the studio engineering
documents and staff for details on specific installations
If the Upper 200 Slot used with for signal processing, the upper slot is located
before the lower slot in the signal flow.
NOTE: See section 3.8 200 Slot Programming and Patching for details on 200
Slot routing.
1.2.1.2 Lower 200 Slots
The Lower 200 Slot is typically used only for channel signal processing. The
Lower 200 Slot may be fitted with the following API 200 Series modules:
•215L Sweep Filter
•225L Compressor/Limiter
•235L Noise Gate/Expander
For signal processing, the Upper and Lower Slots are grouped together. Internal
links may be programmed to route both slots to one of the following fixed
locations:
•Fader 1, Pre EQ
•Fader 1, Post EQ
•Fader 2, Pre EQ
•Fader 2, Post EQ
The Lower 200 Slot will remain in this fixed location determined by the internal
link and cannot be moved.
If the Upper 200 Slot used with for signal processing, the upper slot is located
before the lower slot in the signal flow.
NOTE: See section 3.8 200 Slot Programming and Patching for details on 200
Slot routing.

1.2.1.3 500 Slot
There is one (1) 500 Slot for each channel. The 500 Slot can be equipped only
with the API 500 Series modules. This slot is typically fitted with one of two
equalizer modules:
•550L 4-Band EQ
•560L 10-Band Graphic EQ
The 500 Slot can be routed to either the Fader 1 or Fader 2 Path or bypassed
completely via controls on the 1068L Input module. The routing maybe stored
using the recall system and the bypass may be controlled using the automation
system.
1.2.2 Options Bucket
The Options Bucket is located on the right-hand side of the Center Section. It has 42 slots
for API 200 and 500 Series modules. It can also accommodate the E1068L Stereo/Surround
Return module for additional echo returns.
The Options Bucket can be fitted with the following modules:
•205L Direct Input
•212L Microphone Preamplifier
•215L Sweep Filter
•225L Compressor/Limiter
•235L Noise Gate/Expander
•550L 4-Band EQ
•560L 10-Band Graphic EQ
•525 Re-Issue Compressor
•527 Compressor Limiter
•E1068L Stereo/Surround Return
Any combination of these modules may be installed.
When the Options Bucket is equipped with preamp modules (205L and/or 212L), the Upper
200 Slots in the channels are available for addition signal processing modules and may be
fitted with such. If the channel Upper 200 Slots are equipped with preamps, the entire
Options Bucket is available for signal processors and echo returns.
NOTE: The E1068L Stereo/Surround Return is two (2) units wide. Each one occupies two
(2) 200 Slots in the Options Bucket and cannot be fitted in a channel 200 Slot.
Refer to the chapter 9.0 Options Bucket for further information.

2.0 Channel Signal Flow
The 1068L Input module is the heart if the channel-strip. The Vision channel design provides two fully-
featured audio paths for multitrack recording (one for routing microphones to a multitrack and one for
mixing the multitrack return) or two complete audio paths with stereo/surround panning for mixing. A
choice of inputs, a comprehensive set of channel patch points, and extensive output options combine
with the other channel features to provide great flexibility.
The 1068L Input module is fully integrated with the Vision software. The recall system can be used for
the setup of one or more channels with switch settings, input/output assignments, auxiliary send
routing, and global features. The automation system records and playback moves made to faders,
mutes, inserts, EQ bypass, and Auxiliary Send on/off switches.
2.1 Dual Signal Path Channel Architecture
The 1068L Input module was designed with a dual-signal-path architecture. Each complete
channel provides two independent audio paths in a single channel strip. These paths are known
as Fader 1 and Fader 2.
Multitrack Recording: In a typical multitrack recording session, the channel signal paths function
as follows:
•Fader 2 carries the signals from a microphone, DI, or other input source to the multitrack
recorder (DAW, hard-disk recorder, or tape machine) via Direct Outputs and/or the 24
Multitrack Summing Busses.
•Fader 1 accepts the returns from the multitrack recorder and routes them to the Program
Busses (mix Busses).
Stereo and Surround Mixing: In a typical multitrack mixing session, the channel signal paths
function as follows:
•Fader 1 accepts the returns from the multitrack recorder and other sources and routes them
to any of the three Stereo Program Busses and/or the Surround Program Bus.
•Fader 2 can also carry multitrack returns and other sources to the Program Busses. Fader 2
is fully automatable and has surround panning.
•Fader 2 may alternately be used as an extra Auxiliary send or LFE send, using the Multitrack
Summing Busses as outputs.
For those familiar with other inline recording consoles, Fader 2 functions as an “input” or
“channel” path (while tracking) and Fader 1 functions as a “monitor” or “mix” path.
2.2 Channel Input Selection
There are two primary choices of input sources for each path. The two input selections are:
•MIC (Mic Preamp Out): This is the output of the installed preamp in the Upper 200 Slot or
Options Bucket. There are two modules available to serve as a preamp:
o212L Microphone Preamplifier
o205L Direct Input
•TAPE (Multitape Output): This is the output from the multitrack recorder interfaced with the
console.
oA -6 dB TAPE PAD can be engaged
NOTE: Fader 2 can alternately receive the output of Fader 1 as its input if the FDR1 switch is
engaged. This topic will be cover in more detail later in this manual.
The Input Select (FDR1 MIC, FDR2 TAPE) switches in the Center Section, the Fader 1 MIC switch,
and the Fader 2 TAPE switch determine which input source is routed to which audio path. The
default Input Selection (no input selection switches engaged) for each path is as follows:
•Fader 1: TAPE
•Fader 2: MIC
Pressing the input selection switches selects the alternate source available, either MIC for Fader 1
or TAPE for Fader 2.
Both faders may be fed from the same source.

NOTE: The 200 Slots may be normalled to a location pre or post the EQ in either path, via an
internal programming link. If the link is set where the 200 Slots are pre the EQ, the
selected input source feeds the slots before proceeding to the Channel Input patch point
for that path (Fader 1 or Fader 2). (Refer to the sections 3.2 and 3.3 for additional 200
Slot information.)
2.3 Channel Signal Processing
The Equalizer (500 Slot) is assignable to either Fader 1 or Fader 2.
•The Equalizer is normally assigned to Fader 1
•The Equalizer may be assigned to Fader 2 using the EQ FDR2 switch
•The Equalizer may be bypassed using the EQ BYP switch
•The 500 Slot may be fitted with the one of the following Equalizers
o550L 4-Band All Discrete EQ
o560L Graphic EQ
Upper and Lower 200 Slots
•The 200 Slots may be routed Pre or Post the EQ in either audio path via an internal
programming link
•The Upper 200 slot can be programmed to change locations using a USER switch
•If preamps are located in the Options Bucket, both 200 Slots may be fitted with signal
processor modules
•The 200 Slots may be fitted with the following signal processing modules:
o215L Sweep Filter
o225L Compressor
o235L Gate
Fader 1 and Fader 2 have the following features:
•Insert Send and Return
•Phase Reverse (Polarity Inverter)
•Trim
•Peak Indicator
•High-pass Filter
oFader 1 has a 40-600 Hz sweep filter
oFader 2 has a 70 Hz fixed filter
•Automatable Fader
•Mute
•Solo Activation
2.4 Channel Output Assignments
Fader 1 and Fader 2 paths have complete access to all output assignment possibilities.
These output assignments are as follows:
•Direct Output
•Stereo/Surround Panning
•Multitrack Summing Busses 1-24
•Surround Program Bus
•Stereo Program Bus A, B, and C
•Auxiliary Sends 1-10
•Insert Send
Direct Output:
•Only one path can be assigned to feed the Direct Output at a time
•Fader 1 normally feeds the Direct Output
•Fader 2 will feed the Direct Output only when the Fader 2 DIR switch is engaged
•The Direct Output and Multitrack Summing Busses provide flexible multitrack routing
options
Multitrack Summing Busses:
•There are twenty-four (24) Multitrack Summing Busses which feed Active Combining
Amplifiers (ACA)
•There is a Trim for each ACA output
•Only one audio path (Fader 1 or Fader 2) can be assigned to the Multitrack Summing
Busses at a time
•The Direct Output and Multitrack Summing Busses provide flexible multitrack routing
options

Stereo/Surround Panning:
•Stereo and Surround panning may be engaged in either path simultaneously
•The Surround Pan-pot in both paths always feed the Surround Program Bus
•Stereo panning may also be engaged in either or both paths
Surround Program Bus:
•Assignments can be made to the Surround Program Bus (L, R, C, Ls, Rs)
•An Low Frequency Effect (LFE) channel can be created using a Auxiliary Send or the Fader
2 audio path via a Multitrack Summing Bus
•Both paths can be assigned to the Surround Program Bus simultaneously
Stereo Program Busses:
•Assignments can be made any of the 3 Stereo Program Busses, A, B, and C
•Both paths (Fader 1 and Fader 2) can be assigned to the all 3 Stereo Program Busses
simultaneously
•Simultaneous assignment to both paths to all Program Busses allows the simultaneous
output of a surround and 3 stereo mixes.
Auxiliary Sends (Aux Sends):
•Either patch can feed the 2 Stereo and 6 Mono Auxiliary Sends.
•An Auxiliary Send can be routed pre or post the fader of the assigned path
•Aux Sends 1-6 are mono
•Aux Sends 7-8 and 9-10 are stereo
•Aux Sends 9-10 can be routed to feed the Multitrack Summing Busses 1-8
2.5 Channel Components
Several sections of the console make up a complete Input/Output (I/O) Channel:
•Channel Meter
•Upper 200 Slot (Channel Input or Signal Processing)
oMicrophone Preamp (212L) OR
oDirect Input (205L) OR
o215L High-Pass Sweep Filter OR
o225L Compressor OR
o235L Gate
•Lower 200 Slot (Signal Processing)
o215L High-Pass Sweep Filter OR
o225L Compressor OR
o235L Gate
•500 Equalizer Slot
o550L 4-Band Discrete EQ OR
o560L Graphic EQ
•1068L Input Module
oInput Selection for both paths
o-6 dB Tape Pad
oChannel Trims for both paths
oPhase Reverse (Polarity Inverter) for both paths
oInsert Send and Return for both paths
oPeak Indicator for both paths
oFader 2
oFilters for both paths
oMutes for both paths
oSolo Controls for both path
oFader 1 Output to Fader 2 Input Routing
oStereo/Surround Panning for both paths
oTen Auxiliary sends (2 stereo, 6 mono)
oAuxiliary and EQ Routing
oAccess to Output Assignments for both paths
•Fader 1

2.6 Block Diagrams
The series of basic block diagrams below indicate the signal flow through the Fader 1 and Fader 2
signal paths. A more technical and detailed signal flow diagram is available in a separate
document.
Each feature of both paths is shown in the order in which they occur within the channel. The
various processes are shown as if they are engaged.
All block diagrams assume the following:
•A 212L Preamp installed in the Upper 200 Slot
•Input Selector switches not engaged (MIC, TAPE, FDR1 MIC, or FDR2 TAPE)
•FDR 1 switch not engaged on Fader 2
•The Lower 200 Slot is Pre-EQ in Fader 1 with a 225L Compressor installed
•Pan-pots engaged
•These block diagrams do not show patch points
2.6.1 Basic Fader 1 Block Diagram
2.6.2 Basic Fader 2 Block Diagram

2.6.3 Basic Fader 2 with Direct Out Engaged Block Diagram
2.6.4 Basic Multitrack Recording Block Diagram using Direct Out for the Multitrack
Feed
NOTE: For mixing signal flow, refer to the basic Fader 1 and Fader Block Diagrams. If Fader 2 is used to
feed the Program Busses, the TAPE switch on the channel will need to be engaged.

2.6.5 Complete Fader 1 and Fader 2 Signal Flow Block Diagram
The block diagram below shows both audio paths, their relationship with each other, the
installed signal processing, and their associated patch points. This configuration is shown
with a 550L EQ installed in the channel 500 slot and a 225L compressor installed in the
upper 200 slot. A USER button has been programmed to switch the upper 200 slot from
post EQ in the Fader 1 audio path to post EQ in the Fader 2 audio path. The meter positions
indicated the feed to the channel VU meter when the adjacent button is engaged. The
output of each audio path is shown with the pan-pot engaged.