D&R CinemIX User manual

Cinemixman.lwp
CinemiX
OWNERS MANUAL
Cinemix manual page: 1

Cinemix Manual
version: 1.3
Introduction and Product Overview
1.0 The Chassis system - description
1.1 Cinemix chassis
2.0 Master section - description
2.1 Solo Section
2.2 Meters to main
2.3 CRM Section
2.4 DECODER/ENCODER Active
2.5 CRM control room monitor
2.6 Oscillator / talkback section
2.7 Talk back section
2.8 Dynamics section
2.9 Aux section
2.10 Studio 1/2 section
2.11 Metering
2.12 Master in/outputs
2.13 Recall/automation
2.14 Tape switch
2.0 FILM MASTER
2.15 Solo Section
2.16 Meters to main
2.17 CRM Section
2.18 DECODER/ENCODER Active
2.19 CRM control room monitor
2.20 Oscillator / talkback section
2.21 Talk back section
2.22 Dynamics section
2.23 Aux section
2.24 Studio 1/2 section
2.25 Metering
2.26 Master in/outputs
2.27 Recall/automation
2.28 Tape switch
3.0 "Dual-Path" mono module - description
3.1 Channel section
3.2 Equalizer section Chan path
3.3 Aux 1-4 section
3.4 Pan pot
Cinemix manual page: 2

3.5 Phase switch
3.6 Insert
3.7 Sel switch
3.8 SOLO
3.9 Mute function
3.10 Fader
3.11 CHAN/MIX status section
3.12 MIX path
3.13 LCRS pan-pot
3.14 CHAN/MIX path in/outputs
4.0 Dual Stereo return module
4.1 Input ssection
4.2 Equalizer sections
4.3 Aux send 1-4 section
4.4 Status section
4.5 Aux 5-10 section
4.6 Equalizer section
4.7 Balance pot
4.8 Status section B path
4.9 In/outputs
5.0 Patchbay - description
5.1 Patchbay points
6.0 Instructions for operation
6.1 The Tracking session
6.2 The Playback session
6.3 The Overdub session
6.4 The REmix session
6.5 MIDI or Virtual session
6.6 Surround mixing
7.0 Installation - electrical
7.1 Local Electrical Voltage
7.2 Electrical Wiring
8.0 Installation - audio
8.1 Interface with Power Amps
8.2 The Initial Hook-up
8.3 Shields & Grounds of Equipment
Cinemix manual page: 3

9.0 Troubleshooting and servicing
9.1 Troubleshooting
9.2 Removing a module
9.3 Patchbay - servicing
10.0 Connectors
10.1 Master section connectors
10.2 Patchbay connectors
11.0 Specifications
12.0 Signal flow master section
13.0 Signal flow input module
14.0 System signal flow Cinemix
15.0 Interfacingwith external equipment
16.0 Interfacing with DS4E / SDU4
17.0 Interfacing with SEU4 / SDU4
18.0 Interfacing with JS-3000
19.0 Installation and alignment of the Control Room Monitor Matrix
19.1 Installation and alignment of the matrix module
20.0 Conformity safety
21.0 Product safety
Cinemix manual page: 4

Letter from the Prez
Dear Cinemix owner,
The Cinemix was created using the latest in computer aided design and assembling
technology and incorporates the most advanced circuit components available
which results in Cinemix being another D&R product unsurpassed in the
electronics industry.
In D&R's quest to "raise the standard", Cinemix is designed and manufactured to
the highest degree. We are confident that Cinemix will play the central roll in
producing "state of the art" recordings for many years and wish you much success.
We value your suggestions and would appreciate you taking the time to complete
and return the questionnaire included at the front of this manual (once you
become familiar with your Cinemix).
We listen and learn from your comments and you can be assured that our research
and development department will take your comments very serious.
With kind regards,
Duco de Rijk
President D&R Electronica Weesp b.v.
Cinemix manual page: 5
RAISING
THE
STANDARD

Cinemix Recording Console
The D&R Cinemix is a 24 buss, dual path in-line format recording and mixing
console designed to take the central role in a recording/mixing facility.
With up to 30 projects storable, the wasted time between sessions is a thing of
the past.
An essential part of Cinemix is his ARM (Advanced Routing Multiplex).
With ARM you can digitally route any input in Cinemix to a number of places
and be able to recall all stored setups by a couple of key strokes. This feature
alone saves valuable time between sessions.
A first in mixing console technology is Cinemix's surround master section with
the ability to mixdown a 5.1 surround mix, fully automated.
Easy monitoring of all surround outputs is standard and automated Joysticks
with Virtual Vision makes 360 degrees panning very easy to lay down in the final
mix.
Completely modular, Cinemix can be configured precisely to suit your particular
system requirements. A Cinemix standard is the internally wired patchbay on the
right end and interfaces with all external equipment using
25 pin sub D connectors, and chassis mount XLR connectors.
To become completely familiar with your Cinemix and gain the maximum benefit
from his use, we recommend that you read this manual thoroughly.
It will provide important information about all aspects of Cinemix including;
installation, operation, and servicing.
Head Office / Factory
D&R Electronica Weesp B.V.
Rijnkade 15B
1382 GS Weesp
The Netherlands
Tel: (-) 31 294 418 014
Fax: (-) 31 294 416 987
Website: http://www.d-r.nl
E-mail: [e-mail]
Cinemix manual page: 6

Cinemix's CHASSIS SYSTEM
1.0 Cinemix's Chassis
The Cinemix is available in two frame sizes; 32 and 48. The basic frame has one
blank module located on the extreme left of the frame. The three blanks
positioned right from the master section can be replaced by an optional Film
Stems module. This is a module that returns 24 track machine outputs directly
into the CRM summing busses for monitoring pre-recordings.
The blank on the far left side of the frame cannot be replaced with an input
module as they conceal mechanical constructions and internal wiring.
Included with Cinemix's frame are; the master section with associated VU
metering, patchbay, all internal cable harnessing, and rack mount power supply.
Frame 32
The frame 32 will fit 32 dual path mono, 3 optional Stems modules and a
miaximum of 5 dual path stereo modules, the master section, and patchbay.
Frame 32 standard configuration:
From left to right; 24 dual path mono modules, master section, 3 blank modules,
8 dual path mono modules and a maximum of 5 dual path stereo return modules
(10 stereo returns), and pacthbay.
Frame 48
The frame 48 will fit 48 dual path mono, 3 optional stems modules, 3blanks and
5 dual path stereo modules, master section and patchbay.
Frame 48 standard configuration:
From left to right; 32 dual path mono modules, master section, 3 optional stems
modules, 16 dual path mono modules, 5 dual stereo return modules (10 stereo
returns), and patchbay.
Note: Cinemix's patchbay can be ordered on either end of the frame for a small
price increase covering extra mechanical work for re-arranging of internal
mounting of automation and Dynamics PCB's.
Cinemix manual page: 7

THE VIDEO MASTER SECTION
2.0 Master section - description
Cinemix's master section is equivalent (in width) to 6 input modules.
All CRM outputs are located on the rear of the console below the meter bridge.
The following paragraphs give a brief description of each section.
2.1 SOLO SECTION
The Solo section has a solo master volume
control and AFL (after fade listen) switch.
A center detent (for nominal level) is built-in to
the volume control. With the AFL switch in its
up position, the Channel and Mix solo switches
function in the PFL (pre fade listen) mode.
A Solo Active LED above the solo level control
indicates a SOLO switch is depressed.
This is also shown in the LC Display for your
convenience. If the AFL switch is depressed,
any Solo switches function in the non destructive
after fade listen mode.
2.2 METERS TO MAIN.
In the up position, all six meters read the monitor
CRM outputs prior to the Encoder insert, when
the "Meters to main" is depressed both the main
left and right meters will always follow the main
Left and Right output without being interrupted
by the solo system, the 2 Tracks and decoder
active switches.
When the Encoder switch is depressed the
left/Right meters will read the encoded signal.
2.3 CRM Section
The CRM (control room module) section
contains the electronics for monitoring all signal
paths in Cinemix as well as source switching for
six track machines and four two track machines,
as well as Solo-ing of Center, Surround, and Sub
Woofer (except for decoder mode).
2.4 DECODER ACTIVE.
You can see the decoder active switch as a full 6 channel Dolby CP65 control
room monitor insert. When this switch is in its up position a normal or eventually
encoded stereo signal will be heard (If the encoder is active of course and the
decoder switch is ON). When no Decoding device is connected to the Cinemix,
there will be no signal when the DECODER ACTIVE switch is on
Cinemix manual page: 8

ENCODER ACTIVE.
This switch changes the Main output signal from the console to the Encoder
output of an externally connected Encoder. The Surround left/Right signal will
be mono summed .
2.5 CRM CONTROL ROOM MONITOR.
The large CRM knob controls the total of 6 outgoing levels to the control room
monitor power amps. This encoder controls all
six tracks with a superb tracking and level
repeatability. Attenuation of the CRM is always
shown in the LC display in the first level of the
menu. It ranges from 0dB down to -63dB in
0.5dB steps and then it mutes the CRM
completely. The Cinemix has three CRM
systems intended for alternative stereo nearfield
monitors which are switchable via the CRM 2,
and 3 switches. Each alternate speaker system
have their own ground compensated balanced
XLR output for easy interchange of nearfields by
free lance engineers. The main CRM output
together with the Center Stereo Surround, and
Subbass output are on a 25 pole sub D
connector. Also fitted on the back of the master
section are the sub D connectors for the
encoding and decoding surround processors.
MONO
The mono switch lets you check mono
compatability.The Mono switch allows the user
to check for any out-of-phase signals or simply
monitoring your mix in mono.
DIM
The dim switch temporarily dims Cinemix's CRM
level by a pre programmable amount of
attenuation. This dimming circuitry is also driven
by the oscillator circuitry as well as the Talkback
circuitry. The LC Display shows the amount of
dimming when activated.
PRESET 1/2
These switches lets you determine a fixed CRM
level, programmable in the automation. In this way it is always possible to return
to a reference level of surround monitoring. By turning the CRM control to a
desired level and pushing the Preset 1 or 2 for about 7 seconds the present
attenuation level is stored. The preset led will lit, when storage is active.
Two fixed levels can be set in this way.
Cinemix manual page: 9

SOURCE SWITCHING
Four two track return source switches and one six track return source switch is
fitted to allow pre or post monitoring of a stereo mix from up to four stereo
machines such as Dat, Reel to Reel, Cassette, and CD players, and/or Six track
master machines.
Two track A through C are +4dBu and two track D is -10dbV (6Track is on
+4dBu pro audio level). All of the 2 Tracks sources can be summed if
necessary. When sourcing 2 Track machines all
surround CRM monitors will be switched off,
unlesss the Decoder Active switch is activated then
the 2 Track signal will be decoded into full surround
on all monitors.
Note: The 6 track source selector as well as the 2
Tracks to CRM will interrupt the CRM signal.
The 2 Tracks A/B/C/D switches will not interrupt
the CRM monitoring unless the 2 Tracks to CRM
is activated!
MAIN FADER.
Located in the bottom of the master section is one
100mm PowerVCA controlled fader controlling six
precision high end VCA's.
2.6 OSCILLATOR/TALKBACK SECTION
The three frequency, low distortion oscillator is a
phase shift design. The frequencies are: 100Hz,
1kHz, and 10kHz. Each frequency has its own front
panel alignment trimmer. A master level control is
fitted to adjust the output of the oscillator for
precise alignment of the console and tape machines.
The level ranges from -35 dB to +20 dB with a
detented mid-position of +4 dBu which can be
trimmed by the CAL trimmer. There is also a pink
noise generator built in for checking pan-pot
movements and jopystick routing.
The oscillator can be assigned to The LCRS and
Subbass busses, the Group busses, the Aux/Joystick
busses, and Studio 1/2 outputs, as well as the direct
output (in the patchbay). Each of the oscillator
assignment switches have a LED indicator.
The CRM will dim when the oscillator is active. (there is no dimming when the
pink noise generator is active.
Cinemix manual page: 10

2.7 TALKBACK SECTION
A one way communication system is built into Cinemix. The built-in talkback
mic can feed the LCRS/Sub Bass Groups, Auxes/Joystick busses, and/orStudio
1/2 outputs. The momentary TB talkback switch activates the internal electret
microphone while dimming the main CRM monitor speakers.
2.8 DYNAMICS SECTION
Four LEDS indicate whether the optional virtual dynamics is active on any of the
main output signals. (How the dynamics work will be discussed later in a specific
13.00 dynamics section).
2.9 AUX MASTER SECTION
The Aux master section is located at the right side of the master module and
houses the 10 Aux masters controlling the output
level of the Aux sends. Aux 1 through 4 are fixed in
the CHAN path and Aux 5/6 selectable between
CHAN and MIX.
Aux 7/8 and 9/10 are always in the MIX path.
Each Aux master has its own solo switch.
All Aux master solo switches are AFL (after fade
listen) switches independent of the selection made in
the SOLO control section. All mutes are soft mutes
and under control of the automation section. The
Aux outputs are ground compensated balanced and
normalled in the patchbay to the Tie-lines.
2.10 STUDIO 1 - 2 SECTIONS.
STUDIO 1 and STUDIO 2 sections get their signal
from several different places and feed two sets of
stereo outputs which are also located in the master
section of the patchbay. The 2 studio outputs can
source the Aux 1-2 and /or Aux 7-8. The 2
TRACKS switch needs a little more explanation.
With Cinemix, you can listen to stereo machines in
the studio while listening to the stereo mix outputs in
the control room by pressing one of the 2 track
source switches and the 2 Tracks switch. By having
all the source switches in their up position no signal
is fed to the Studio systems. Aux 1-2 and Aux 7-8
can be mixed (from the input modules) and fed to the
Studio 1, 2, or both outputs. With the 2 TRACKS
switch in the down position, a selection can be made
from any or all two track source switches in the
CRM section. If you would like to build up a mix
from one of the Aux pairs, press Aux 1-2 and or
Aux 7-8 switches. Studio 1, 2, or both can be used
for stereo headphone feeds or studio playback
speakers.
Cinemix manual page: 11

2.11 METERING
Master metering
The Cinemix has a total of six VU meters above the master section in the
meterbridge. Analog VU meters will indicate the average level in the signal
paths.
A separate Phase meter indicates any phase shift between the left and right
signals. In most cases, switching the phase switch on selected input modules can
correct the phase shift.
Mono and Stereo module meters
Due to the extreme transients in digital recordings, Cinemix's "Peak" reading
channel meters have an extended range from -30dB up to a reading
of +6dB. The bottom LED on all D&R LED bargraph meters is an
indicator that the associated module is on. When first powering up,
always check all "ON" LEDs under each meter.
If any "ON" LED is not lite, turn off the power supplies and call
D&R for service advice. Both mono and stereo input module
meters have peak ballistics with 13 segments. Cinemix's meters can
be switched (individually) to read the CHANnel section or MIX
section of each module locally.
The channel meters are a peak reading design and read 0dB when an
oscillator sine wave with a +4 dB output level is sent to the meter.
Measuring the +4 dB output level of the channel or master with a
AC voltmeter would give a 1.22 AC volt reading.
When monitoring the oscillator on analog VU meters, the VU
meters should read "0" when the channel meters are reading 0dB.
We have discontinued the habit of making peak reading meters to
read -6 dB down from the actual output level for corresponding VU
meter readings.
With more and more digital equipment being used for laying down
tracks, the actual level is of primary importance to know to avoid
digital overloads.
After all alignment procedures have been performed, playing
program material will show a difference in reading on the VU meters
compared to the peak reading ledbars in the channels.
Cinemix manual page: 12

2.12 MASTER INPUTS/OUTPUTS
Cinemix interfaces easily with external equipment
such as two track master machines, signal
processors, headphone amps, and power amps.
Interfacing is possible using the connectors on the
master back panels, and through 25 pole sub D
male connectors. Listed below are all inputs and
outputs for the master modules.
The master backpanel houses the 24 Track Stems
inputs for a maximum of two 24 track machines,
the six (5.1) CRM outputs, encoder and decoder
sub-D connector. A six track input CRM 2 and 3
on XLR connectors. The PC computer connector
and the Midi in, thru, and out din type connectors.
A Speakon type connector is used for powering
up the Cinemix and a separate chassis ground is provided. A detailed connection
diagram will be shown in the installation section of the manual.
2.13 RECALL / AUTOMATION
If you would like to set-up for your first Cinemix
session, read the following simple steps. It is
most important to understand that the Recall
Automation is static and PowerVCA (faders,
Mutes) automation is dynamic and completely
separate. We will first discuss
Recall/Automation.
The LC Display boots up with the same
information it had when it was powered down.
Press ESC until it
reads as follows:
PROJ. (Project) Numbering your Project.
For ease of understanding we will call the four
grey Switches (below the LCD display) S1 S2 S3
and S4.
After pressing S3 (Project), you can enter the
project number (from 1 to 32).
You can Call and Save projects in the same
manner.
NOTE: A project saves all routing settings and the Joystick setup.
Cinemix manual page: 13
CRM: -10dB SOLO
ARM Dyn Proj Setup

ARM
Press the ESC switch until the LCD display reads as follows:
By pressing ARM (S1), the ARM software will become
active and the following changes take place in the LC
Display: See the example printed alongside the page.
You could then turn the DATA ENTRY wheel (or the <<
>>) until the desired module's ARM switch is lite.
The LC Display module number changes and the ARM
switches switch lights change to the adjacent module (in
either direction) as you turn the wheel. In most cases it is
faster to go to the module you would like to route from and
press the local ARM switch. The ARM switch in the selected module lights up.
By pressing any ARM switch, new module numbering information in the LCD
will appear and the corresponding routing settings will be shown by the LEDs in
the ARM section of that module.
The ESC switch will take you out of the ARM menu. You can press an active
ARM switch to achieve the same results. The ARM mode will show the
routing settings of the selected module.
ROUTING INPUT MODULES
A more detailed explanation of input module routing is described in the next
section of this manual, we will discuss a simplified version now (this makes it
easier to understand other functions being discussed in this section).
Step 1: Press an ARM switch on any desired input module.
Step 2: If you would like this module's CHANnel section routed to track 24,
press the CHAN switch under the black routing switches labeled
(1-2 / 3-4 / 5-6) and then press the 23-24 switch.
Now the routing you've made is stored in memory.
Step 3: If you would like this same module's MIX section to be routed to the
stereo mix buss so you could monitor that track, press the black L/R switch in
the mix section right from the tape switch. Now you have two different things
from that input module stored.
You can assign the Aux 5-6 in the same manner. In order to have more aux send
busses, you can route AUX 5-6 to the 24 routing busses.
CHANGING CHANNEL DATA.
In the ARM section of the master module you can assign all module routing
settings by pressing the associated switches. These settings will be stored in real
time.
If new data is entered in the ARM section and you're not pleased press the Undo
switch to restore the old data. The CLR switch will erase all data in that module.
The << and >> switches as well as the DATA ENTRY (encoder) knob will
allow you to select another module. A faster method is to hit the ARM switch
in the module that needs routing changes.
Cinemix manual page: 14
CRM: -10dB
ARM Dyn Proj Setup
-ARM set- Mod: 1
Undo Dyn Copy Erase

MODULE SETUP COPYING
The S3 (Copy) switch allows you to copy a selected module's setup to another
module or to all modules. The following are easy steps describing this
operation.
Step 1: Select a module, press the S3 (Copy) switch and
select another module by the DATA ENTRY (encoder)
control knob.
Step 2: As soon as you hit ENTER all data will be
copied to the selected module (or all) and the data from these modules will be
stored in Cinemix's memory (on board microprocessor).
S4 will also store the copying process.
Note: Press ESC to leave the copy menu.
DYNamics
By depressing the Dyn switch S2 you enter the dynamics menues. It looks like
this
The data entry knob let’s you toggle between the channel and Mix part of the
input modules, while the ARM switches let’s you choose
the module you want to ad dynamics to.
All data related to the selected module can be changed by
pushing S1 up to S4. Its related LED lites and the encoder
can change dynamics data. The << >> switches rolls through all the parameters
that can be adjusted by the data wheel.
ESC leaves the Dynamics parameter menu and lets you move to another module
by way of the local module’s ARM switch or the Data entree wheel.
PROJECT
All settings related to a project are made in "Dynamics" display.
S3 (Proj)selects the project. In the project menu you can select a project
number by depressing the << and >> switches or turning the DATA ENTRY
encoder control.
A maximum of 32 projects can be stored
The S1 (CALL) switch Recalls a project. S4 (save) saves the project.
Cinemix manual page: 15
-ARM Set- Mod: 1
Undo Dyn Copy Erase
-ARM set- Mod: 1
Copy to
Mod: 2
-Dynamics- Mod Mn 1 Chan
Dyn ARM Proj Lib
Project Proj. 32
Call Save

Cinemix's SET menu
When you press Cinemix's Set (S4) switch, the LC Display
reads as follows:
By pressing SetM (S1) all MUTE switches will mute.
Pressing ResetM (S2) all mute switches will un-mute.
AUTOMATION.
Paragraph 12.0 PowerVca automation will outline the setup and use of D&R's
PowerVCA SMPTE based Automation. Since this section of Cinemix's manual
is an insert, the page numbers will not be in sequence with the balance of this
manual. Optional PowerFade (D&R's moving fader automation) is available,
however not discussed in this section.
ARM/SET FOR AUTOMATED JOYSTICKS.
A unique feature in Cinemix are the two automated joysticks with its Virtual
Vision concept of showing you the position of the audio signal when controlled
from D&R's PowerVCA automation.
The "Set-up" switch serves actually the same purpose as the ARM switches in
the modules.
ASSIGNING A CHANNEL TO A JOYSTICK
To assign a channel to a Joystick follow the next steps.
a. depress an ARM switch in a module
and be sure that no master routing switch such
as L/R, Center, SRND L/R, is assigned at that
moment.
b. Joystick 1 output corresponds with
the CHAN routing section and Joystick 2 output
with the MIX routing section below the black
12 ARM routing switches.
c. Now pan in the module fully left
(joystick 1) or fully right
(joystick 2) and assign the corresponding
joystick switches (top row is Joystick 1 and
lower row is Joystick 2). let's assume you want
to use Joystick 1.
d. Pan fully left in the module (either
Chan or Mix path) and depress the upper or
lower yellow Joystick assign switch.
The module's signal path is now assigned to the
joystick input (either 1 or 2).
Cinemix manual page: 16
-Setup-
SetM ResetM Mod Dyn

e. Now depress the ARM switch in the Joystick area and assign the
joystick output to L/R, Center or SRND (all or any combination).
The Virtual Vision matrix will show the panning ranges possible with
corresponding assignments.
All movements will be memorized in PowerVCA together with mutes.
NOTE:
Joystick 1 output corresponds with the upper (CHAN) row for joystick output
assignments.
Joystick 2 output corresponds with the lower (MIX) row for joystick output
assignments.
The SubBass routing switch
will not follow the joystick
outputs.
All joystick routing switches
can also be assigned directly
from the channels pan-pots,
together with the Sub Bass
output of course.;
A host of possibilities are
there to explore, It will take
some time to manipulate all
the possibilities Cinemix
gives you in this area.
Features like read and write
on the automation screen
and Solo and Mute.
2.14 TAPE SWITCH
The tape switch will globally
switch all mono dual input
channels' mix sections to
follow either the group
output or the multitrack tape
output.
Cinemix manual page: 17

THE FILM MASTER SECTION
2.15 Master section - description
Cinemix's film master section is equivalent (in width) to 6 input modules.
All CRM outputs are located on the rear of the console below the meter bridge.
The following paragraphs give a brief description of each section.
2.16 SOLO SECTION
The Solo section has a solo master volume
control and AFL (after fade listen) switch.
A center detent (for nominal level) is built-in to
the volume control. With the AFL switch in its
up position, the Channel and Mix solo switches
function in the PFL (pre fade listen) mode.
A Solo Active LED above the solo level control
indicates a SOLO switch is depressed.
This is also shown in the LC Display for your
convenience. If the AFL switch is depressed,
any Solo switches function in the non destructive
after fade listen mode.
2.17 METERS TO MAIN.
In the up position, all six meters read the monitor
CRM outputs prior to the Encoder insert, when
the "Meters to main" is depressed both the main
left and right meters will always follow the main
Left and Right output without being interrupted
by the solo system, the 2 Tracks and decoder
active switches.
When the Encoder switch is depressed the
left/Right meters will read the encoded signal.
2.18 CRM Section
The CRM (control room module) section
contains the electronics for monitoring all signal
paths in Cinemix as well as source switching for
six track machines and four two track machines,
as well as Solo-ing of Center, Surround, and Sub
Bass. (except for decoder mode)
2.19 DECODER ACTIVE.
The decoder switch converts the eventually encoded stereo signal back to the
CRM.You can also see it as a full 6 channel Dolby CP65 control room monitor
insert. When this switch is in its up position a normal or eventually encoded
stereo signal will be heard (If the encoder is active of course and the decoder
switch is ON). When no Decoding device is connected to the Cinemix, there will
be no signal when the DECODER ACTIVE switch is on.
Cinemix manual page: 18

ENCODER ACTIVE.
This switch changes the Main output signal from the console to the Encoder
output of an externally connected Encoder. The Surround left/Right signal will
be mono summed.
2.20 CRM CONTROL ROOM MONITOR.
The large CRM knob controls the total of 6 outgoing levels to the control room
monitor power amps. This encoder controls all
six tracks with a superb tracking and level
repeatability. Attenuation of the CRM is always
shown in the LC display in the first level of the
menu. It ranges from 0dB down to -60dB in
0.5dB steps and then it mutes the CRM
completely. The Cinemix has three CRM
systems intended for alternative stereo nearfield
monitors which are switchable via the CRM 2,
and 3 switches. Each alternate speaker system
have their own ground compensated balanced
XLR output for easy interchange of nearfields by
free lance engineers. The main CRM output
together with the Center Stereo Surround, and
Subbass output are on a 25 pole sub D
connector. Also fitted on the back of the master
section are the sub D connectors for the
encoding and decoding surround processors.
MONO
The mono switch lets you check mono
compatability.The Mono switch allows the user
to check for any out-of-phase signals or simply
monitoring your mix in mono.
DIM
The dim switch temporarily dims Cinemix's CRM
level by any amount which is programmable in
the setup menu. This dimming circuitry is also
driven by the oscillator circuitry as well as the
Talkback circuitry. The LC Display shows the
amount of dimming when activated.
PRESET 1/2
These switches lets you determine a fixed CRM
level, programmable in the automation. In this way it is always possible to return
to a reference level of surround monitoring. By turning the CRM control to a
desired level and pushing the Preset 1 or 2 for about 3 seconds the present
attenuation level is stored, untill changed by another setting. Two fixed levels
can be set in this way.
Cinemix manual page: 19

SOURCE SWITCHING
Four two track return source switches and one six track return source switch is
fitted to allow pre or post monitoring of a stereo mix from up to four stereo
machines such as Dat, Reel to Reel, Cassette, and CD players, and/or Six track
master machines.
Two track A through C are +4dBu and two track D is -10dbV (6Track is on
+4dBu pro audio level). All of the 2 Tracks sources can be summed if
necessary. When sourcing 2 Track machines all
surround CRM monitors will be switched off,
unlesss the Decoder Active switch is activated then
the 2 Track signal will be decoded into full surround
and all monitors.
Note: The 6 track source selector as well as the 2
Tracks to CRM will interrupt the CRM signal.
The 2 Tracks A/B/C/D switches will not interrupt
the CRM monitoring unless the 2 Tracks to CRM
is activated!
MAIN FADER.
Located in the bottom of the master section is one
100mm PowerVCA controlled fader controlling six
precision high end VCA's.
2.21 OSCILLATOR/TALKBACK SECTION
The three frequency, low distortion oscillator is a
phase shift design. The frequencies are: 100Hz,
1kHz, and 10kHz. Each frequency has its own front
panel alignment trimmer. A master level control is
fitted to adjust the output of the oscillator for
precise alignment of the console and tape machines.
The level ranges from -35 dB to +20 dB with a
detented mid-position of +4 dBu which can be
trimmed by the CAL trimmer. There is also a pink
noise generator built in for checking pan-pot
movements and jopystick routing.
The oscillator can be assigned to The LCRS and
Subbass busses, the Group busses, the Aux/Joystick
busses, and Studio 1/2 outputs, as well as the direct
output (in the patchbay). Each of the oscillator
assignment switches have a LED indicator. The
CRM will dim a programmed amount of attenuation when the oscillator is active.
(there is no attenuation when the Pink Noise generator is active.
2.22 TALKBACK SECTION
A one way communication system is built into Cinemix. The built-in talkback
mic can feed the LCRS/Sub Bass Groups, Auxes/Joystick busses, and/orStudio
Cinemix manual page: 20