JLCooper Electronics MixMate User manual

Mix
Mate
eight track automation system
owners manual
first edition
(c) 1988
J.L.Cooper Electronics

Thank you for purchasing MixMate, the
world's first self-contained mixdown automa-
tion system for the eight-track studio. The
J.L.Cooper MixMate is an integrated system
combining professional quality audio with in-
ternal computer control, including the most
comprehensive array of synchronization op-
tions ever made available. When you mix-
down with MixMate, you will be using the
same read/write/update utilities found on con-
sole automation systems that typically cost
$25,000 to $500,000. All in one single user
friendly package. With the MixMate PLUS op-
tion,you also get an attractive graphic display
of fader position, expanded memory, and disk
archiving. Please fill out your warranty card
and mail it soon, (no postage necessary in the
U.S.) so we can keep you abreast of any soft-
ware updates as they become available. If
you have purchased MixMate without the
PLUS option, it may be added at a later time.
Contact your dealer or J.L.Cooper Electronics
for details.
Greetings

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Contents
Chapter 1
Chapter 2
Chap-
ter 3
Chapter 4
Chapter 5
Chapter 6
Chapter 7
Chapter 8
Chapter 9
Chapter 10
Chapter 11
Chapter 12
GETTING STARTED......................................................
THE FRONT AND REAR PANEL...............................
HOOKUP...AUDIO..........................................................
SETTING UP FOR SYNC.............................................
Choosing Sync Type
Hookup For Sync
Striping Sync
Selecting Sync In and Out
MixMate (NORMAL MODE)........................................
Fader and Mute Controls
Clearing Memory
Mixing
Editing
End of Session
MixMate (PLUS MODE)..............................................
Introduction
The Screen
Fader and Mute Controls
Clearing Memory
Mixing
Editing
End of Session
MixMate(LOBO MODES)............................................
MIDI IMPLEMENTATION (INCLUDING SYSEX).....
TROUBLESHOOTING AND SERVICE.......................
SPECS............................................................................
QUICK REFERENCE: MixMate(NORMAL).........
QUICK REFERENCE MixMate(PLUS)...............
1

2

Chapter 1 GETTING STARTED
Chapter 1 GETTING STARTED
MixMate from J.L.Cooper has an amazing number of possible and improba-
ble uses. Please do not be overwhelmed by the sheer number of options.
Rather, be comforted by the fact that once you've completed your set-up,
MixMate's "user transparent" design approach makes operation quite
simple.There are really only three principle ways to run MixMate:
In NORMAL MODE, the "control smarts" reside within MixMate, a "stand
alone " automation system. (Chapter 5)
In PLUS MODE, the "control smarts" reside within an external
computer, using a special software package and circuit card option. (Chap-
ter 6)
In the two LOBO MODES, MixMate has no intelligent control of its own
VCAs, however its synchronization functions still operate. (Chapter 7)
MixMate will default to NORMAL on power up. If you have the PLUS option
installed, MixMate will shift to PLUS mode upon first receipt of commands
from the attached computer. You may also select modes manually.
PRINCIPLE MODE SELECTION IS MADE BY HOLDING THE SHIFT KEY
AND PRESSING EITHER NORMAL, PLUS, LOBO 1, OR LOBO 2.
The LEDs indicate your selection.
If you plan on using MixMate (NORMAL), we recommend that after you
do your audio hook-up, and then make a decision regarding sync, go on
ahead to chapter (5) and start mixing, skip chapter (7), and then read the
remainder of the manual so you will know where to find things when you
need them.
If you own a MixMate with the PLUS OPTION, skip chapter (5) and read
chapter (6) to start mixing. Then read the remainder of the manual.
If you only plan on using MixMate as a brainless box of MIDI-controllable
VCA's, mercilessly slaved to some computer-based event controller
such as DigiDesign's Q-Sheet™ program, chapter (7) "LOBO Modes" will
deal with your kind.
At the very end of the manual you will find two QUICK REFERENCE
summaries.
3

Chapter 2 The Front and Rear Panel
12 456783
Mix
Mate
MUTE MODE
SHIFT SYNC
ENABLE
NULL
Norm Plus Lobo1 Lobo2 F1 MTC CPF F2
[3, 13]
[2, 14]
[4, 12]
[6] [7] [8] [8] [9] [11] [9] [10] [5]
88
88 77
77 66
66 55
55 44
44 33
33 22
22 11
11
IIIINN
NN PP
PPOO
OOWW
WWEE
EERR
RR
OO
OOUU
UUTT
TT
PP
PPLL
LLUU
UUSS
SS
PP
PPOO
OORR
RRTT
TTSS
SS
MM
MMIIIIDD
DDIIII SS
SSYY
YYNN
NNCC
CC
TT
TTOO
OO
TT
TTAA
AAPP
PPEE
EE FF
FFRR
RROO
OOMM
MM
TT
TTAA
AAPP
PPEE
EE
[[
[[11
1177
77]]
]]
[[
[[11
1188
88]]
]] [[
[[22
2211
11]]
]]
[[
[[22
2222
22]]
]]
[[
[[11
1166
66]]
]]
[[
[[11
1199
99]]
]]
[[
[[22
2200
00]]
]] [[
[[22
2233
33]]
]]
[16]
[1]
[17]

ENABLES: Makes fader "live". Toggles fader from READ to either WRITE or UP-
DATE modes. In MUTE MODE, activates mute on specific audio channel.
MODE: Selects Fader and Mute Edit Modes.
SYNC: Selects SMPTE or FSK operation. While holding this button down, pressing
button #1 or #2 will select either the FSK Fast or Slow mode.
MUTE: Selects MUTE mode.
SHIFT: Enables access to SHIFT functions
SHIFT functions:
NORMAL: This puts MixMate into the standard self-contained mode. The unit will de-
fault to NORMAL when power is switched on.
PLUS: This is used with the PLUS OPTION circuit card installed for graphic dis-
play and expanded memory.
LOBO 1 and LOBO 2 : Allow the MixMate to send and respond to MIDI Controller
or Note Commands in any range on a selected MIDI channel to allow an external se-
quencer or event controller to store fader/mute moves.
F1 and CPF: Future modes to be determined, your suggestions are welcome!
ECHO (Labeled F2 on some units): Enables MIDI echo on.
MTC: Enables output of MIDI Time Code when receiving SMPTE.
ERASE: Clears memory.
STRIPE: Initiates striping of selected sync tone to tape. While holding these two but-
tons down, you may select a SMPTE Frame Rate by pressing on keys #1 through
#4.
CHAN: Display and select MIDI channel (LOBO modes only).
DUMP: Pressing SHIFT: SYNC: MODE will cause MixMate to perform a Systems
Exclusive Dump of its memory.
ENABLE: These generally either show the write enable status of a given channel's
fader, or (in mute mode) show if a channel's mute is ON.
NULL: These show the agreement between the physical position of the fader and the
actual level of the VCA. In Update Mode, the Null Leds show agreement between the
fader and its "punch-in" position.
WRITE ON : WRITE MODE
UPDATE ON : UPDATE MODE
Both On : MANUAL MODE
Both Off : READ ALL MODE
FSK ON : "smart" FSK Mode or external MIDI Sync
SMPTE ON : SMPTE Mode
While holding SHIFT: SYNC, ENABLE LEDs #1 through #4 display the selected
(1)
(2)
(3)
(4)
(5)
(6)
(7)
(8)
(9)
(10)
(11)
(12)
(13)
(14)
(15)
switches
switches
leds
leds
5

SMPTE Frame Rate.
While holding the SYNC key, Enable LEDs #1 and #2 display the selected FSK Fast/Slow
mode.
Power Connector... Insert the DIN plug of the power pack into this jack, not
the MIDI connectors!
MIDI IN... This connects to the Midi Out of an attached sequencer
which is either controlling (Lobo Mode) or supplying syn-
chronization to the MixMate.
MIDI OUT This connects to the Midi In of an attached device which
is relying upon MixMate for MTC or MIDI Clock data.
When Echo function is enabled, data going into Midi In
will echo out this port.
PLUS PORT IN This would attach to the Midi Out of the Atari St or Macin-
tosh computer running the Plus Option software.
PLUS PORT OUT This would attach to the Midi In of the Atari ST or Macin-
tosh computer running the Plus Option software.
TO TAPE When striping FSK or SMPTE tone to tape, this jack pro-
vides the signal.
FROM TAPE The sync signal from the tape recorder attaches to this
connector.
IN and OUT (1-8) These are the audio signal jacks that either attach to the
Insert points of the mixer board, or are attached between
the tape deck and the mixer board.
(16)
(17)
(18)
(19)
(20)
(21)
(22)
(23)
leds
rear panel
6

Chapter 3 Hookup Audio
The MixMate uses standard RCA connectors for both audio and sync.
Each channel of audio is to be routed through a dbx VCA, which acts as
an attenuator. This means that when the MixMate's fader is "full on", the
signal level coming out of the MixMate will be equal to the signal level
coming in ("unity gain"). The MixMate operates at -10dBm (that is,0 VU)
so the Mix Mate may be either inserted into the signal path between your
transport and your console, or into the console's individual channel insert
points. Channel send goes into an IN, and OUT goes to the channel re-
turn.
Alternately, you may use your MixMate to automate the output level of
synths, tone generators, or practically anything you wish! (Provided that
the signal level is approximately -10dBm)
You'll notice that if you are automating tape tracks that you will only need
to hook-up seven tracks, because one track will have a sync tone record-
ed on it. That will free up an extra VCA for you to find some interesting
use for ( an AUX send, perhaps).
The power supply uses a five-pin DIN plug. Just be sure that you plug it
into the jack marked POWER.
Turn power on by pushing the switch marked POWER. TRY OUT Mix-
Mate NOW TO VERIFY YOUR AUDIO HOOK UP. To use MixMate as
a gain controller without sync, you may have MixMate in any mode. You
can now control the level of each audio channel by moving the faders.
(Leave the faders on your mixing console at 0 dB . Pressing the MUTE
key puts MixMate into MUTE MODE [MUTE LED on]. Use the ENABLE
keys above each fader to mute channels.)
If you have the MixMate PLUS option, you'll need to use two MIDI cables
to hook up the PLUS PORT OUT to your computer's MIDI IN. Hook up
PLUS PORT IN to computer's MIDI OUT. ( And vice versa.)
power
verify
plus
audio
7

8

9
Chapter 4 Setting Up for Sync
CHOOSING SYNC TYPE
MixMate has available a wide array of synchronization options.This sec-
tion is included to aid you in your selection. Remember that once you com-
mit to a mode of syncing, you must stay in that mode of sync until the pro-
ject you are working on is finished. You cannot stripe the tape with FSK
and then expect MixMate to generate MTC, nor can you enter fader
moves with respect to MIDI sync and expect the same moves to make
sense when locked to SMPTE.
SMPTE was developed in the 1960's as a way to uniquely number each
frame of a video tape for the purposes of editing. On audio tape SMPTE
consists of an audio tone that shifts its phase in a special way called "bi-
phase" to encode binary data. This tone is a continuous,"up-counting"
data stream representing hours, minutes, seconds, and frames.
The frame rate may be either 24 frames/second (used for 35mm film), 25
(European video), 30 (general purpose tape sync), or 30 drop-frame (U.S.
video).
MixMate will slave ("lock to") ALL formats of SMPTE. In addition, Mix-
Mate (Normal) will stripe ALL formats of SMPTE starting at 00:59:45:00.
MixMate PLUS will stripe all formats of SMPTE starting at any user-
selected SMPTE time.
If you choose to use MixMate in SMPTE mode, all the fader moves you
make will be remembered with respect to hours:min:sec:frames.
While MixMate is reading SMPTE, you may elect to output MTC (MIDI
Time Code).
MTC is a recent addition to the MIDI spec. MTC is merely a MIDI rep-
resentation of SMPTE, that is, a way of sending hours:min:sec:frames on a
MIDI cable. It is required to drive many of the new post-production orient-
ed software packages,including Q-Sheet™ by DigiDesign, AuricleII™ by
Auricle Control Systems, and CUE™ by Opcode.
MTC IS NOT MIDI SYNC! MTC IS NOT SONG POINTER! At the time
of printing this manual, MOST CONVENTIONAL SEQUENCERS OR
DRUM MACHINES CANNOT READ MTC. However, this situation may
change in the near future.
CHOOSE SMPTE: IF YOU ARE WORKING IN A VIDEO POST-
PRODUCTION
ENVIRONMENT,
IF YOU MUST HAVE A SOURCE OF MTC
IF YOU WANT TO LOCK MIXMATE TO AN EXIST-
smpte
mtc

10
ING SOURCE OF SMPTE (SYNCHRONIZER OR
PRE-RECORDED TAPE).
IF YOU WANT TO LOCK MIXMATE TO TAPE
WITHOUT USING A MIDI SEQUENCER.
MixMate employs the same "smart" FSK converter found in J.L. Cooper's
popular PPS-1.
In the past, typical MIDI sync-to-tape FSK required you to roll back to the
beginning of the song each time that you wanted to lock a MIDI device
to tape. This is of course entirely unsuitable for automation purposes! Un-
like ordinary sync tones , "smart" FSK has tempo AND song position en-
coded within it.
When this mode is selected, MixMate can stripe this special fsk tone
when MixMate receives MIDI SYNC clocks from an external drum ma-
chine or sequencer.Upon tape playback, or when advancing or rewinding
tape to do overdubs or mixdown, the FSK tone is fed back into MixMate.
MixMate converts the FSK tone into a MIDI Song Position Pointer, fol-
lowed by MIDI SYNC clocks, sent out of the MixMate's MIDI OUT, to
your sequencer or drum machine. THIS ALLOWS YOUR SEQUENCER
OR DRUM MACHINE AND THE MixMate TO CHASE AND LOCK TO
TAPE.
This tone is completely compatible with the J.L.COOPER PPS-1. Since
striping this special tone requires playing back a previously recorded se-
quence,this sync mode MUST BE USED WITH A SEQUENCER OR
DRUM MACHINE.
CHOOSE FSK: IF YOU WANT TO LOCK A MIDI SEQUENCER OR
DRUM MACHINE TO TAPE WHILE MIXMATE
CONTROLS THE AUDIO.
Nothing exotic here. MixMate will respond in this mode to MIDI Song
Position Pointer and slave to plain old MIDI SYNC clocks coming from a
sequencer or drum machine, or an existing synchronizer. (By "existing" we
simply mean one that you are already using). MIDI SYNC mode may also
be used when you want to automate audio levels live on stage with a se-
quencer providing the timing. MIDI SYNC mode will also be used if you
already have some type of synchronizer in place (e.g. Roland SBX-80,
Fostex 4050, Steinburg SMP-24, etc.), and you don't want to change your
set-up. The same clocks and song pointer that are driving your sequenc-
er can also drive MixMate.
CHOOSE MIDI SYNC: IF YOU WANT MixMate TO SLAVE ITS
choose
"smart" fsk
choose

11
MEMORY TO A SEQUENCER OR DRUM
MACHINE.
IF YOU WANT TO STORE MOVES IN Mix-
Mate WITHOUT ANY TAPE ROLLING.
IF YOU WANT TO USE MixMate LIVE ON
STAGE.
IF YOU ARE ALREADY SET-UP TO WORK
WITH AN EXISTING SYNCHRONIZER THAT
CAN GENERATE MIDI SYNC WITH SONG
POINTER.
There may be situations where you do not wish to "sync" MixMate at all. In
the two LOBO modes, MixMate becomes a brainless box of MIDI con-
trolled VCA's and Midi-generating faders and mute switches. You may
wish to store the fader moves in some place other than the MixMate's
memory. You could, for example, store the fader moves on a free track of
a MIDI sequencer. If you are not using SMPTE (MTC) or FSK, syncing
could then become the responsibility of the "host" system. See Chapter 7
for more details.
The sync hook-up will depend on your application . If you plan on locking
to SMPTE or "smart" FSK, connect the SYNC TO TAPE output jack to ena-
ble you to record ("stripe") a tone on the last track of your tape. Typically
this means track number eight on an eight track. You will need to route the
signal through the mixing console to adjust the striping level. Connect the
sync track output to the SYNC FROM TAPE input on MixMate.
If you plan on locking to MIDI SYNC from an external sequencer, hook up
a MIDI cable from the MIDI OUT of your sequencer to the MIDI IN of the
MixMate. (Don't use the PLUS ports if present.)
If you plan on using the MixMate to sync a MIDI sequencer or drum
machine to tape while controlling the mix at the same time, or for any MTC
application, hook up BOTH MIDI and SYNC cables according to the illustra-
tion. You will also need to hook up another MIDI cable from the MIDI
midi sync
choose
otherwise

12
OUTPUT of the MixMate to the MIDI INPUT of the sequencer or drum ma-
chine.
If you chose to use MixMate in SMPTE or FSK modes you will first need to
stripe the tape. IF YOU ARE USING A PRE-STRIPED TAPE OR OTHER
SOURCE OF SMPTE, OR IF YOU ARE LOCKING TO MIDI SYNC, SKIP
THIS SECTION and turn to page 15.
You will need to lay a SMPTE or FSK stripe down on tape to synchronize
to. Generally, this is recorded on the highest track available. The qual-
ity of the stripe is going to be important to the success of the automation,
so start with fresh, unspliced tape.
MixMate's stripe output level is approximately +2dB. You should set your
record level to somewhere between -7 and -3VU. The higher the level the
less vulnerable you will be to "drop out". However, on decks with poor
track separation, you may opt for the lower level to avoid hearing the sync
tone "spill" over into an adjacent track.
You should not in any way alter the tone, or you will corrupt the digital infor-
mation encoded within it. Therefore, it is very important that NOISE RE-
DUCTION BE DEFEATED DURING RECORD AND PLAYBACK. Fortu-
nately, many multi-tracks with built-in noise reduction include a single track
defeat option. Sometimes a sync tone will survive dbx™ processing but
we cannot guarantee it. Also, since you have routed the sync signal
through a mixing console channel, BE SURE THAT EQ IS BYPASSED.
MixMate(NORMAL) will stripe any format of SMPTE beginning at
{00:59:45:00}. MixMate(PLUS) can start striping at any Hour/Minute.
Press the SYNC key to Select SMPTE. (SMPTE LED ON). Check your
hook up and start the multitrack in RECORD. If you are using MixMate
(PLUS), select SET-UP on the menu bar of the computer. Select STRIPE.
The screen will prompt you to select SMPTE format and start time. If you
are using MixMate(NORMAL) select SMPTE format as follows. Press and
hold down SHIFT key, and while holding press and hold STRIPE. (That's
the same as the SYNC key).
The first four ("left side") Enable LEDs indicate the SMPTE format being
striped.
LED 1: 24 frames/sec
LED 2: 25 frames/sec
LED 3: 30 frames/sec drop
LED 4: 30 frame/sec
While still holding SHIFT:STRIPE, you may use the first four ENABLE
keys to change striping format. MixMate will stay set to the selected for-
mat until it is turned off, and will default to 30 frames/sec when power is
turned back on.
hookup for sync
striping tape,
general info

13
As soon as you release the keys, SMPTE generation will begin at once
and the green LOCK LED will turn on.
Be sure to monitor the tape input level.
ALWAYS stripe SMPTE the length of the WHOLE tape, as it is impossible
to go back later and add "a little extra" stripe. At the end of the tape, stop
SMPTE generation by pressing the SHIFT key. The green LOCK LED will
turn off. Stop the tape.
Striping with J.L.Cooper's "smart" FSK requires a MIDI sequencer or
drum machine with a song already programmed in it. Leave your se-
quencer or drum machine set to INTERNAL SYNC. Also (very important),
make certain that it is set up to put out MIDI SYNC. (Some sequencers
have a disable option). The tempo of the song should not exceed 240
beats per minute. Check your hook up and set the multitrack to RECORD.
Press the SYNC key to Select FSK. (FSK LED ON). To start FSK gener-
ation, press and hold down SHIFT key and while holding press STRIPE.
(That's the same as the SYNC key). The green LOCK LED will flash,
and MixMate will produce a reference tone so you can adjust the record
level. Start the tape transport and after about 15 seconds of leader tone,
start the sequencer or drum machine in play. The green LOCK LED will
come on steady to indicate the reception of MIDI start and clock com-
mands.
Be sure to monitor the tape input level.
The MixMate sync tone perfectly follows any and every tempo change
while keeping track of song position. At the end of the song, the green
LOCK LED will start blinking again. Stop the tape. Press the SHIFT key
again to return MixMate to normal operation.
Tap the SYNC key to select SMPTE or FSK. If you are driving MixMate
with MIDI Sync, just ignore the sync LEDs because MixMate knows how
to automatically sense incoming MIDI clocks.
If MixMate is locking to SMPTE, you may elect to have MixMate output
striping tape,
smpte

14
MTC. To enable MTC output, press SHIFT key and while holding, press
MTC. The LEDs indicate your selection. Follow any special instructions for
MTC given by the manufacturer of the system or software.
If you have selected FSK as your mode of syncing and are planning on
locking a sequencer or drum machine to tape, there are a few more things
you should know. The MixMate, when it reads FSK off tape, will first look
for a number in the tone to decode and send out as a MIDI Song Position
Pointer. This is followed by a MIDI Continue command, and then MIDI
SYNC clocks. This is the special feature that allows any MIDI sequenc-
er or drum machine that can read Song Pointer to lock to tape no matter
where you start the tape from!
Most sequencers and drum machines chase and lock almost instantane-
ously. However, a very few machines (most notably the KORG DDD-1)
have sluggish chase times. MixMate easily accommodates these
slower devices by providing a hidden function known as "SLOW CHASE".
When "SLOW CHASE" enabled, MixMate waits a few seconds after send-
ing out the Song Pointer, allowing time for the chase. Then MIDI SYNC
clocks are sent as usual.
The result of all this is that the "slow" device will still chase and lock, but
you will have to allow a little "pre-roll" time.That is, instead of fast wind-
ing to the exact part of the song that you want to edit or overdub, you will
wind the tape to a point a few seconds before the part to allow everything
time to lock up.
IF USING A KORG DDD-1, YOU MUST ENABLE THE "SLOW CHASE"
striping tape,
fsk

15
FUNCTION.
TO ENABLE "SLOW CHASE" PRESS AND HOLD SYNC KEY , AND
WHILE HOLDING PRESS ENABLE KEY #2. MixMate defaults to "FAST
CHASE" whenever you power up. ENABLE key #1 will select FAST
CHASE, and the LEDs indicate your selection.
selecting sync,
in
selecting sync,
out

16

17
MixMate has four fader edit modes. Tapping the MODE key cycles
through the various edit modes you will use for mixing.
MANUAL MODE is the simplest mode of operation. In MANUAL MODE,
fader and mute moves are not memorized and incoming sync of any kind is
completely ignored, except that it is translated to MTC or MIDI Clocks as
appropriate, and sent out of the MIDI OUT connector. MANUAL MODE is
used to verify audio and also to experiment with a mix while tape is rolling
without committing moves to memory.
To put MixMate into MANUAL MODE, tap the MODE key until both
WRITE and UPDATE LED's are lit.
WRITE MODE is the mode in which fader and mute moves are "recorded"
by MixMate's memory while locked to any type of sync. When an au-
dio channel is put into WRITE MODE, fader and mute moves will replace
(or "overwrite") all previously recorded moves on that audio channel.This
overwriting can take place on any number of selected (ENABLED) chan-
nels. (Unlike some gain controllers, MixMate lets you move as many fad-
ers as you wish in a single pass.) Channels that are not ENABLED will be
in playback or "READ" mode.
To put MixMate into WRITE MODE, tap the MODE key until just the
WRITE LED is lit.Then use the individual channel ENABLE keys to toggle
specific channels from "READ" to WRITE.
READ ALL MODE is used for "playing back" moves stored in Mix-
Mate's memory while locked to any form of sync. READ ALL MODE is a
"safety" mode in that no new moves will be recorded while in this mode.
MixMate automatically returns to this mode whenever it stops receiving
sync. This mode will also likely be used on your final mixdown to two-
track.
To put MixMate into READ ALL MODE, tap the MODE key until both
WRITE and UPDATE LED's are off.
UPDATE MODE is a special editing mode. Fader moves that you have pre-
viously recorded will not be overwritten or replaced. The relative moves
will be left intact but the overall gain will be "re-scaled" or "off-set". Since
this mode isn't as "obvious" as the others,here is an example: Say you
made some very complicated fader moves while riding a vocal track, with
a channel enabled in WRITE MODE. You roll back tape to audit what
you've done, and you like the results, but you just wish that the whole track
were a bit softer. UPDATE MODE would allow you to shift up or down the
level by adding or subtracting from the moves already entered, without
Chapter 5 MixMate (NORMAL)
section 1,
fader and mute
controls
manual
write
read all
update

18
having to re-enter all the moves. (But the MixMate will not under any cir-
cumstances exceed unity gain.)
UPDATE MODE is also used for editing Mute moves. When a mute key is
pressed in UPDATE MODE, no change is made to the LED status, nor is
the event written into memory. Rather, this tells MixMate to ignore any
previously stored mute events until tape is stopped, or until you go to the
READ ALL MODE.
To put MixMate into UPDATE MODE, tap the MODE key until just the UP-
DATE LED is lit. Then use the channel ENABLE keys to toggle specific
channels from "READ" to UPDATE.
MUTE MODE is used to observe and change mute status. The MUTE key
toggles MixMate in and out of MUTE MODE.
To mute a channel, put MixMate into MUTE MODE by pressing MUTE
key. (MUTE LED on.) Now the individual channel ENABLE keys above
each fader act as channel mute keys. When in MUTE MODE, the individ-
ual ENABLE LEDs indicate the mute status. ENABLE LED ON indicates
that the channel is muted.
If you were to mute some channels, and then go out of MUTE MODE
(MUTE LED off), the channels would stay muted until you go back into
MUTE MODE and then turn each channel back on with the ENABLE
keys. In other words, any channel muted in MUTE MODE will stay muted,
even if the MUTE MODE LED is off.
Also, any faders that have been enabled in some Fader Edit Mode will
stay enabled when MixMate is put into MUTE MODE.
You can see now that the ENABLE keys and associated LEDs above
each fader have a dual function, relating to either fader or mute status. Try
to stay conscious of the fact that the MUTE key will determine just what all
of the ENABLE keys and LEDs mean.
It is always best to begin a session with a "clean slate". To empty Mix-
Mate's memory press and hold SHIFT: ERASE. Continue holding for
three seconds, until all NULL and ENABLE LEDs turn on to indicate that
memory has been erased.
You may want to set up some initial fader levels and mute conditions be-
fore actually storing moves. Put MixMate into MANUAL MODE, and start
the tape transport (or other source of sync). Move the faders to get some
general idea of what you plan on doing. Enter MUTE MODE by press-
ing MUTE key (MUTE LED on). Then use the ENABLE keys above each
fader to mute channels (ENABLE LEDs on). Tap MUTE key again to re-
turn to MANUAL MODE. Leave the faders and mutes in the initial condi-
update
example
mute mode
enable keys
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