JCF Audio PRELIMINARY JCN User manual
JCF Audio
JCN
Safety Information
Do not repair, modify, service this device.
JCF Audio, LLC accepts no responsibility for legal actions or for direct, incidental, or
consequential damages that may result from improper installation, configuration, or use
of the JCN.
Warnings:
Do not connect power supplies to wall without connections to main unit secure.
Do not remove any bucket panels with power applied.
JCN must be earthed to provide compliance with most electrical codes.
JCF Audio JCN Console
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JCF Audio
Overview
Welcome to the JCF Audio JCN manual.
Anyone who has worked with or at least is familiar with inline consoles will hopefully find this
a snap with a few added bonuses. Refer to the block diagrams as you read this text. In many
cases, the picture will say more than the text practically can.
The console is comprised of a master section bucket (which houses the buss, aux, echo returns,
listen and talk systems along with the monitor controller and transport related systems) AND
some number of module sections buckets all of which are of uniform shape and equal to eight
standard module widths of 1.5” + 1/8” (rib width)
Also present are: a separate box with all of the buss amplifiers and assignment matrixing AND
another separate enclosure that houses all of the control circuitry for the fader system. Power
supplies are also external.
The master section can be divided into 5 pieces:
1) The Transport and Options Panels at the bottom - Transport controls, talk and listen controls,
master fader, fader banking and channel controls, automation screen display selects. These are
all usually recessed with a floating mouse panel above it.
2) The Monitor Section, Contains all of the standard listening and speaker management systems
with two columns of source select capabilities for internal and external listening points, and two
columns for global master controls of the entire console.
3) The Master Modules (x8) - The master modules contain 4 systems. the buss output selector,
the aux output selector, the Listen preamp, and the echo return and assignments. The Buss out-
put and Aux output signals are converted via the on-board ADC’s and available at the AES out-
put just as they are in the module buckets.
4) The 500 Series slots (x8)- The master section 500 series slots are essentially free-standing with
input and outputs available at D25 connections on the rear. It is intended operationally that
they be normalled into from the buss amplifier enclosure outputs and out of back into the “wet”
inputs on the master modules.
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5)The Meters (x8)- The master meters can be sourced from 3 points selected on the master mod-
ule associated with the same number meter (The default selection “MO” is a carry-up from the
studio output section of the monitor controller so that metering can be sourced from all moni-
torable points in the console independent of what appears on the CR speakers. The other two
options are “GR” for monitoring the gain reduction circuit on the associated master module
compressor and “EO” to measure the output assignment point of the echo return.
The module buckets can be divided into 6 pieces:
1) The Fader (x8)- contains 4 illuminated buttons and one touch-sensitive servo motorized fader
for workstation control systems and main VCA control voltages
2) The Screen (x8)- What is shown on the screen is mode dependent
3) The “Short” module (x8)- This is a vestigial name, but is derived from its being the module
with the secondary “short”er (which was sometimes linear rather than rotary) fader. Contains
controls for buss assignments, solo, mute and active pan controls for both paths, threshold con-
trol, 3 stereo aux sends with associated pans, error and busy reporting, GR metering control,
status toggle, monitor path toggling
4) The Channel amp (x8)- contains controls for channel sensitivity, DAC input enables, phantom
powering, eq and dynamics assignments, insert selection, and the 10 eq and filter controls
5) The 500 series slots (x8)- The output from this slot is available as “Insert send” on the rear of
the console. It is intended to be normalled down to the “Insert return”. As is the case with most
500 series slots in consoles, dummy plugs must be installed if no module is present in order to
use the insert capability of the console. The input of the 500 slot is normally swallowed by the
associated channel amp but external input (with phantom power) is available as a special mode.
6) The meter (x8)- follows the monitor path of the console. “GR” mode allows monitoring of the
gain reduction applied by the channel amp dynamics
The system is modular horizontally and more module buckets can be added relatively easily.
As with any inline desk there are two audio paths available per module. The function of those
paths is determined by the status of the module (record or mix) and to varying degrees if and
where they are assigned to busses with the buss assignment matrix. Each module has two
channels of ADC and DAC conversion. The DAC’s can feed the channel and monitor paths
while the one ADC channel is permanently affixed to the end of the channel path, the other is
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selectable in the master controls as coming from the Line 2 input with direct external access OR
the end of the monitor path globally (all modules together) for dual path ADC.
Record status (mix not illuminated) generally says that the channel path (small rotary fader) is
not assigned to the stereo buss (main busses 1 and 2) and the secondary monitor path will re-
ceive local monitoring on the way out of whatever recording medium is used (large automated
fader) and is then assigned to the stereo buss.
Mix status (mix illuminated) generally says that the channel path (large automated fader) re-
ceives playback information from the recorder for purposes of mixdown and the secondary
monitor path (small rotary fader) can perform a variety of functions such as being a control
channel for dynamics, the 2nd channel of a L/R pair, a pre-fader send to remaining track busses,
or a plain non-automated input for mixdown. This is likely to be the status a user would want
for “live to two” arrangements with the channel amplifiers set for mic input.
It’s important to remember Record/Mix status is an independent function per module. They
can be globally raked with the “Record” and “Mix” buttons in the master section, however. It is
also important to remember that while the function of the long and short faders trades place
with the module status, the pans which are explicitly labeled “Ch” for channel and “Mn” for
monitor do not.
All controls and switch settings on both modules of the module buckets (except for the rotary
switch input sensitivity control of the preamp / line selector) are fully recallable and motorized
as a screen shot. The same is true of the master modules in the master section. The monitor sec-
tion has and needs no recall ability. The faders are controlled by a separate system and are fully
automated.
Despite its reduced modern usefulness mute follow and mute update on playback automation
capability are included.
The console has a very tight design and as a fringe benefit reasonably energy efficient for a lin-
ear system and a 32 channel system should cost about as much to operate as handful of 100w
lightbulbs.
Now let’s have a look at everything in more detail.
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Transport and Options Panel
Listen Functions:
1-8: momentary switches that will immediately solo the associated listen mic input. These but-
tons will also toggle the status of that listen channel in the group if the group is active (on).
All above buttons also double as group assignment toggles. If the talk group is enacted, mem-
bers can be removed or added by pushing the individual buttons
Grp: Latch toggles a group of listen microphones. Group can contain no members if no control
room listening is required, but LTA leaking is.
At: Auto Listen. Will turn listen group on in transport stop and off in play/rec
Talk Functions:
1/2, 3/4, 5/6: Individual non-latching assignment of talkback input mic pre to Aux busses in
stereo pairs. The level of the assignment is controlled on the master modules by the T “talk” pot
at the desired aux number.
Sw: Individual non-latching assignment of a separate switched comm output for external studio
monitoring systems or utility. This level is controlled by T “talk” on master module 7
Stu: Individual non-latching assignment of the talkback to the Studio output. The level is con-
trolled by T “talk” on master module 8. This level control concurrently controls the level of an
unswitched output that is always connected to the talkback mic.
All above buttons also double as group assignment toggles. If the talk group is enacted, mem-
bers can be removed or added by pushing the individual buttons
Grp: Non-latching group talkback. This switch has external access for parallel foot-switches.
Group can contain no members which is not particularly useful
At: Auto-Talk. Latching. Will turn talkback group on in transport stop and off in play/rec
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Transport functions:
As advertised.
Master Bucket
Monitor Panel Section:
Monitor section block diagram
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Center two columns of buttons:
FWShr / FWLng - mute follow (interlocked momentary w/off). The mute command from the
DAW is passed onto either on-board mute based on this selection. FWShort as a piggybacked
command also changes the 2nd on-board ADC channel to the post-Monitor signal instead of the
standard Line 2 input. FWlong also negates the module bucket’s response to the PFL solo
command if PFL is selected. The modules will not respond with cut function while the master
PFL selection prevents monitor section AFL switchover which allows for additive rather than
replacement automatic listening
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MonoRcLc4321
Dim
Cut
CRStudio
<-
<-
->
Sur
Sur
->
D
C
B
St
A1/2
A3/4
A5/6
D1
D2
Sur
Sur
Sur
LngFW
Curt
SurM
XYZ
FHold
DCh
FrcLI
Recall0
Record
ShrFW
Clr PEP
SClr
PFL
AtMn
A/B
DMn
FrcSpl
WrtAt
Mix
Ext4
D5
D6
Ext3
Ext2
Ext1
Ext0
D7
D8
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Record (mom) - Master status rake for all modules. Unselects all B,C,D assignments.
Mix (mom)- Master status rake for all modules. Unselects all B,C,D assignments as well. If Frc-
Spl selected, the Mix rake command will invoke monitor to stereo buss assignment for double
the number of Mix inputs to the stereo buss.
Recall Zero (mom) - Immediately recalls all switches and pots to zero position based on internal
table data
WrtAt (mom) - Write Pulse - immediately stores values of switches and pots and changes digital
output data to write data out and then returns to normal digital output operation (ADC)
FrcLI (lat) - Force line in - forces all channel amps in line input regardless of rotary sensitivity
setting on the Channel amp
FrcSpl (lat) - Force split prevents all short modules from wet dry blending also forces special
modes for modules in Rec status
DCh (mom) - Forces all channel paths line in point to be sourced from on board DAC channel#1
DMn (mom) - Forces all monitor paths to be sourced from on board DAC channel#2
FHold (lat) - Fader hold - freezes large fader value at current point so faders can be repositioned
for DAW control or other functions
A/B (mom) - A/B monitor functionality for comparing two different sources post pot so dissimi-
lar levels can be normalized.
XYZ (lat) - Puts all modules in surround panning mode (includes equivalent function of select-
ing all pan buttons (no LCR))
AtMn (lat) - AutoMonitor - switches short module monitor path automatically based on trans-
port and local arming status
SurM (lat) - Puts monitor section in 8 ch surround mode, engages all monitor panel outputs si-
multaneously (internal relative output adjustment trims are also defeated for matched gain)
Curt (lat) - Curts short fader so that full CCW position is fader zero and full travel rises +12dB
PFL (lat) - Engages PFL-like behavior for whole desk - a solo will mute everything else
SClr (mom) - Solo Clear (will not clear listen function (which is an effective solo))
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Open (1mom and 1lat) - at the top of each column there is one switch that is unassigned that
can be for application specific tasks. The illustration shows these dedicated to changing the il-
lumination colors of the monitor panel and turning external PEP processing on and off.
Right column of buttons:
D2: Digital input pair 2
D1: Digital input pair 1
A1/2: Aux 1 to Left speaker, Aux 2 to Right speaker
A3/4: Aux 3 to Left speaker, Aux 4 to Right speaker
A5/6: Aux 5 to Left speaker, Aux 6 to Right speaker
D: Buss pair D
C: Buss pair C
B: Buss pair B
St: Stereo buss pair
->: Column function: CR source is from left-hand side column
Left Column of Buttons:
D8: Digital input pair 8
D7: Digital input pair 7
D6: Digital input pair 6
D5: Digital input pair 5
Ext4: External analog input pair 4
Ext3: External analog input pair 3
Ext2: External analog input pair 2
Ext1: External analog input pair 1
Ext0: External analog input pair 0
<-: Column function: Stu source is from right-hand side column. This switch also selects the
source point of the MO metering.
“Sur” markings are indicated as what “should” be selected for the correct information to come
out of the #1 (Front, Bottom) speakers. For instance there are 3 possible 8 channel surround
sources available to monitor in the Left column. A0 (analog input, 8 channel set by itself), A1
(analog, 8 channel set that includes A2, A3, and A4), D5 (digital, 8 channel set that includes D6,
D7, D8).
If in SurM mode D6 were selected that would duplicate the rear and lower speaker set onto the
main (#1) speaker set outputs (front, lower) which is “wrong”, but may be of use in certain cir-
cumstances.
The same is true for A2, etc.
If D8 were selected in SurM mode that would duplicate the rear and upper speaker set onto the
main (#1) speaker set output (front, lower) which is also “wrong”.
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The right column has two surround sources available. The 8 buss points (analog, St. B, C, D)
with “St” being what should be selected for the group is one. The D1 (digital, 8 channel set that
includes D2, and the two sets that are present but not available as sources by themselves: D3
and D4) is the other.
Horizontal row of buttons:
1: Speaker output set select #1
2: Speaker output set select #2
3: Speaker output set select #3
4: Speaker output set select #4
Lc: CR left cut (CR Outputs 1,3,5,7)
Rc: CR right cut (CR Outputs 2,4,6,8)
Mono: Mono CR output(will optionally mono studio output as well)
CR and Studio level pots are useful for avoiding unsavory program material.
Studio Mute button: This is a program material mute only. The indicator light will light when it
is depressed. The Talk to Studio communication bypasses this switch as is indicated by the light
not showing when either Stu or Stu as a result of the group talk function is enacted. (Whether or
not the program material stays muted at this time AND whether or not the Studio level pot
needs to be brought up to a useable level before Talk to Studio communication can be heard is
internally configuration dependent)
Dim: Dims the CR output by a fixed amount. Will illuminate to show dimming which will also
be enacted with various scenarios involving the activation of the talkback mic
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Master module section:
Master modules 1, 3, and 5 are essentially the same with odd numbered echo return assign-
ments. Modules 2, 4, and 6 are also the same with even numbered echo return assignments.
Master modules 7 and 8 do not have aux master controls or LTA controls as there are only 6 aux
sends.
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Byp
Ret
Wet
Am
Err 3
1
7
5
Bsy
Rs
Thr
AM
0
Dry
Bs
LTA
T
L
0
Ac
Lc
Bc
Ec
EO MO
GR
MF
+26
13
7
5
Byp
Ret
Wet
Am
Err
Bsy
Rs
Thr
0
Dry
Bs
T
L
Ac
Lc
Bc
Ec
EO MO
GR
MF
+26
JCF Audio
The first control at the top blends or crossfades between the direct tie from the buss amp box on
the buss number that matches the module and its “wet” input. (“Wet” in this case refers to that
which is influenced by the insert path. It does not refer to echo returns.)
This control blends in whatever is in the insert path which includes the 500 series slot and the
external insert patch path in that order.
The buss path will remain in bypass (meaning the main Buss outputs will be directly connected
to the dry buss input and the “bypass” led will illuminate) while the wet/dry blend remains
fully dry AND the MF control is not assigned to this buss AND no echo returns are assigned to
this buss AND the on-board dynamics are not applied to the buss (Bc illuminated).
If any of the above conditions are not met then the inline buss conditioning circuitry is added in.
Fully CCW dry selection is indicated by the attendant led and the wet path is internally re-
moved.
Fully CW wet selection is indicated by the attendant led and the dry path is internally removed.
The LTA ListenToAux knob will bleed the listen mic pre to the module’s aux number. The “0”
indicator will indicate when this path is muted.
The “0” indicator will remain illuminated unless the Listen group function is enacted (either
manually or automatically)
AND
the knob is off of the fully CCW position
The Lknob is the level of the listen mic pre that is sent to the monitoring solo circuitry.
The Tknob is the level of the talkback mic that is sent to the given aux. T7 is the level to the
switched jack output. T8 is the level to the unswitched/Studio output.
The button panel allows for 1 of 3 sources for metering. GR metering from the master module’s
dynamics section, EO for pre-fader metering of the echo return, MO (default) the carry-up sig-
nal from the monitor section which allows for meter selection of most of the important signals
in the desk.
Also on the button panel are MF toggle assignment of the master fader to that module’s buss
and 1 one of 4 selection for dynamics application. Ec for Echo compress, Bc for buss compres-
sion, Lc (default) for Listen Mic compression, Ac for aux buss compression
The Aux master AM control provides 12dB of boost and cut. The “0” point is in the center-left
and indicated with a led.
The indicator will remain illuminated and the entire aux path bypassed unless:
The knob is turned off of the “0” area
OR
The Talk to Buss pair including the aux module number is enacted (either directly or in the
group)
OR
The LTA conditions above are met
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The listen mic / echo output that is available on the 26 pin output under the Master Module
motherboard can be selected with jumpers on the module to be:
On all of the time
OR
Switched on via group
OR
An on all the time echo return post fader output
Tsh is the threshold control for the module’s dynamics section. The compressor is a soft-knee
feedforward RMS type detection with the sidechain or control source coming from the “wet”
buss input. The ratio is adjustable internally with a trimmer.
Ret is the fader for the echo return. The echo return is applied in equal amounts to the dry and
wet paths. It’s important to note that devices placed in the insert loop (including 500 slot) will
not affect the echo additions at this point. If the echo return information is to be influenced by
loop together with the buss, the echo returns can be patched to open channels on the console, or
added in via the external unity buss inputs, or the master module can simply be used to add in
the desired echo returns and then the Main Buss Output signal can be patched onto other open
master modules for on-board dynamics and/or blending if “dry” buss patch points are set up.
The “Rs” button is a solo command for the echo Return.
Error Err and Busy Bsy indicators are present and their buttons will reset the master module’s
microcontroller if pressed simultaneously. The error indicator will light when there is no valid
digital AES input to the module. The busy indicator will illuminate after the module has re-
ceived a valid recall pulse and before the recall procedure is complete. These indicators have the
same function as the leds on the short modules.
The Am button is a Aux buss cut.
There are four return-to-buss assignments. It’s important to note that the console’s echo returns
are only available in pairs for assignment. Each odd-numbered buss can only accept the addi-
tion of Echo Returns of number 1,3,5,7. Each even-numbered buss can only accept the addition
of Echo Returns of number 2,4,6,8. The assignments to buss are made on the module of the des-
tination buss, not the source. This is a little atypical. If the stereo buss are the only track busses
in use, all echo return assignments would be made on the first two master modules.
The on-board ADC inputs are sourced from the Main Buss Output signal and from the Aux buss
output signal for master modules 1-6. The ADC inputs are Main Buss Output 7 and Switched
Comm (tb) for module 7. The ADC inputs are Main Buss Output 8 and Unswitched Comm (tb)
for module 8.
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Master Rear panel:
See pinout chart at end of manual for details.
The D25F connections on the rear of the Master/Monitor buckets are divided in two sections.
The first 5 pertain to the Master Modules and the last 5 from the Monitor section.
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Insert input
CR AES
Studio AES
Monitor Crtsy Out
Echo In
Master Mod AES5-8
Master Mod AES1-4
Aux in
Buss In
Master Fader Control
Studio In 0
Studio In 1
Studio Output
CR Output
Main Aux Output
Main Buss Out
500 Input
500 Output
JCF Audio
Master Modules:
1) 500 Output
2) 500 Input
3) Main Buss Outputs
4) Main Aux Outputs
5) Insert “Wet” Input (to master module xfaders and/or sidechain Input)
Monitor Panel:
6) CR Output
7) Studio Outputs
8) Studio 1 Input (Ext Analog Inputs 1-4 This is a surround source unto itself.)
9) Studio 0 Input (Ext Analog Input 0 plus 6 additional surround inputs for this source)
10) CR AES (D1,D2,D3,D4 Inputs and regenerated outputs usually for feeding Master Module 1-
4 digital inputs)
The HD26F ports are as follows:
Master Modules:
1) Echo Inputs
2) Aux Inputs (direct from Buss Enclosure or “dry” patch set if Aux inserts are required)
3) Master Module AES (1-4 Inputs for recall streams, 1-4 Outputs for Buss/Aux output A2D
data)
4) Master Module AES (5-8 Inputs for recall streams, 5-8 Outputs for Buss/Aux/Comm output
A2D data)
5) Buss Inputs (direct from Buss Enclosure or “dry” patch set)
Monitor Panel:
6) Monitor Courtesy Analog Output
7) Studio AES (D5,D6,D7,D8 Inputs and regenerated outputs usually for feeding Master Module
5-8 digital inputs)
Transport Panel:
8) Master fader control (same arrangement as fader control for Channel module buckets with
sex reversal)
Monitor Courtesy Output is as follows:
1) CR DAC Output Left (D1 priority)
2) CR DAC Output Right (D1 priority)
3) CR Select Output Left (includes DAC if selected)
4) CR Select Output Right (includes DAC if selected)
5) Studio DAC Output Left (D5 priority)
6) Studio DAC Output Right (D5 priority)
7) Studio Select Output Left (includes DAC if selected)
8) Studio Select Output Right (includes DAC if selected)
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The Listen Microphone inputs, the Programmable Output, and the Talkback mic input are all
available on HD26F connectors inside the master section rear underneath the Master Modules
Channel Amp section:
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10k
6k3k
1k
LF
LFL
LMQ
LMF
LML
HML
HMF
HMQ
Mic
HF
30
2.71.5
3.8
0.4
12
9
6
3
-3
-6
-9
-12
3.8
2.71.5
0.4
1k
600300
100
12
9
6
3
-3
-6
-9
-12
EQMonEQChDChIns
LMMon
LMCh
DMon
+48
60
50
L40
1k6
800
530
360
170
8053
36
24
17
1k4
2k
3k1
4k6 10k 15k
21k
47k
68k
-1
4
6
8
10
12
15
F
-15
-12
-10
-8
-6
-4
3
2
1
0
-2
-3
-3 -2 0123
-4
-6
-8
-10
-12
-15 F15
12
10
8
6
4
-1
HFL
JCF Audio
Top to Bottom:
The channel amp sensitivity adjusts from “L” line level via the Line1 input (no gain) through 30,
40, 50, or 60 dB of composite gain via the Mic input
A red led will illuminate when Line in function is selected either via the switch or via the FrcLI
command
The top end EQ freq select will pan across 10 settings of frequency. This frequency is applicable
for the HF equalizer and filter both of which are 2 pole.
The top end HFL shelving control is out of the circuit completely when “0” in the center is se-
lected. The control moves between a fluted spread of - to +12dB. At the bottom a high pass fil-
ter is selected taking the place of the high frequency shelf. This is indicated again by a red led.
The next 3 control are the High Frequency Bell controls: Q, Freq, Level.
The Q control spans 0.4 (wide) to 4 (narrow)
The frequency control spans from 1KHz to 10KHz
The level control spans - to +12dB
The level control will indicate blue in the center for “0” or no action and all associated circuitry
is inactive. The level control will indicate green for on the boost side and red on the cut side.
The next 3 control are the Low Frequency Bell controls: Q, Freq, Level respectively.
The Q control spans 0.4 (wide) to 4 (high)
The frequency control spans from 100Hz to 1KHz
The level control spans - to +12dB
The level control will indicate blue in the center for “0” or no action and all associated circuitry
is inactive. The level control will indicate green for on the boost side and red on the cut side.
The low end EQ frequency select will pan across 10 settings of frequency. This frequency is ap-
plicable for the LF eq and filter both of which are 2 pole.
The low end LFL shelving control is out of the circuit completely when “0” in the center is se-
lected. The control moves between a fluted spread of - to +12dB. At the bottom a high pass fil-
ter is selected taking the place of the high frequency shelf. This is indicated again by a red led.
The equalizer can be selected to be in either path with the interlocked EQCh / EQLim buttons.
The same is true of the limiter with the interlocked LimCh/LimMon buttons.
DCh. assigns the #1 (left) digital input to be assigned to the Line input point which feeds vari-
ous points in the input routing of the channel amp. (See block diagram)
DMn. assigns the #2 (right) digital input to be assigned to the head of the monitor path. (See
block diagram)
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Both of the digital inputs can be selected to be on with the DCh. and/or DMn. master controls,
but they must be turned off individually.
+48 assigns phantom power to the Mic input and will additionally apply phantom power to the
Line 1 input for all modules in Rec status while FrcSpl is engaged.
This status will also route the Line 1 input to the 500 series slot directly and DCh. will also be
forced on.
Ins will insert the 500 series slot and then the insert send and return loop in that order. Ins will
also override any insert crossfading (See Operation section) that may be active with overlapping
assignment.
Both AC and DC meter trimmers are available through holes in the top of the modules.
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Short Module section:
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GR
Mi/o
Mix
+26
CDCD
B
St
B
St
Mn
Ch
S
P
P
M
R/R
L/F
R/T
L/B
Err
Bsy
+12
8
-
Fdr
Tsh
1/2
5/6
3/4
Mute
Solo
MnP
ChP
5/6 Pan
3/4 Pan
LR
1/2 Pan
R
L
LR
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