Midas HERITAGE 1000 User manual

Midas,
Klark Teknik Building,
Walter Nash Road,
Kidderminster.
Worcestershire.
DY11 7HJ.
England.
Tel:[phone]
Fax:[phone]
Email: [email protected]
Website: midasconsoles.com
OPERATORS MANUAL
MIDAS Heritage 1000
Operators Manual
Issue 1.1 - February 2003
and features
DOC02-H1000
Due to a policy of continual product improvement, specification
may be subject to change without notice.

IEC-60065-Edn7-Midas
IMPORTANT SAFETY INSTRUCTIONS
These symbols are internationally accepted symbols that warn of potential hazards with
electrical products.
The lightning flash with arrowhead symbol, within an equilateral
triangle is intended to alert the user to the presence of uninsulated
“dangerous voltage” within the product's enclosure that may be of
sufficient magnitude to constitute a risk of electric shock to persons.
1. Read these instructions.
2. Keep these instructions.
3. Heed all warnings.
4. Follow all instructions.
5. Do not use this apparatus near water.
6. Clean only with a dry cloth.
7. Do not block any of the ventilation openings. Install in accordance with the manufacturers
instructions.
8. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus
(including amplifiers) that produce heat.
9. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two
blades with one wider than the other. A grounding type plug has two blades and a third grounding
prong. The wide blade or the third prong are provided for your safety. If the provided plug does not
fit into your outlet, consult an electrician for replacement of the obsolete outlet.
10. Protect the power cord from being walked on or pinched particularly at plugs, convenience
receptacles, and the point where they exit from the apparatus.
11. Only use attachments / accessories specified by the manufacturer.
13. Unplug this apparatus during lightning storms or when unused for long periods of time.
14. Refer all servicing to qualified personnel. Servicing is required when the apparatus is damaged in
any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have
fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate
normally, or has been dropped.
12. Use only with the cart, stand, tripod, bracket, or table specified by the manufacturer,
or sold with the apparatus. When a cart is used, use caution when moving the
cart/apparatus combination to avoid injury from tip-over.
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
WARNING:TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK,
DO NOT EXPOSE THIS APPLIANCE TO RAIN OR MOISTURE
AVIS:RISQUE DE CHOC ELECTRIQUE. NE PAS OUVRIR
The exclamation point within an equilateral triangle is intended to alert
the user to the presence of important operating and maintenance
(servicing) instructions in the literature accompanying the appliance.

DECLARATION OF CONFORMITY
We,
of, Klark Teknik Building, Walter Nash Road, Kidderminster, Worcestershire, DY11 7HJ
Declare that a sample of the following product:-
to which this declaration refers, is in conformity with the following directives and/or standards:-
Signed:............................
Name: David Hoare
Authority: Technical Director, Klark Teknik Group (UK) Plc
Attention!
Where applicable, the attention of the specifier, purchaser, installer or user is drawn to special limitations of use
which must be observed when these products are taken into service to maintain compliance with the above
directives. Details of these special measures and limitations to use are available on request and are available
in product manuals.
Klark Teknik Group (UK) Plc
Walter Nash Road, Kidderminster, Worcestershire. DY11 7HJ. England
Tel: (44) (0) 1562 741515. Fax: (44) (0) 1562 745371
Company Registration No: 2414018
abc abc
SIGNAL PROCESSING BY DEFINITION DESIGNEDFOR APUREPERFORMANCE
Product Type Number Product Description Nominal Voltage (s) Current Freq
Heritage 1000 Audio Mixing Console
and dual redundant PSUs
Directive(s) Test Standard(s)
Generic Standard using EN55103 Limits and Methods EN50081/2
Class B Conduct Emissions EN550103
Class B Radiated Emissions EN550103
Fast Transient Bursts EN61000-4-4
Static Discharge EN61000-4-2
Basic Electrical Safety EN60204
Date: 26th May, 2000
A Subsidiary of Telex communications, Inc.
115V AC 8A 50/60Hz
230V AC 4A

ATTENTION!
The following special limitations apply to the console and must be observed in order to maintain safety and
electromagnetic compatibility performance:
The console should only be operated with the power supply connected to ground via its mains supply connector.
The console should only be operated with high quality screened control cables. All connector shells should be
of metal construction so that they provide a screen when they are plugged into the console. All XLR and DIN
connectors should have pin 1 connected to the cable screen.
The console should only be operated with high quality screened twisted pair audio cables. All connector shells
should be of metal construction so that they provide a screen when they are plugged into the console. All JACK
connector shells should be connected to the cable screen. All XLR connectors should have pin 1 connected to
the cable screen.
If the console is operated in an electromagnetic field that is amplitude modulated by an audio frequency signal,
the signal to noise ratio may be degraded. Degradation of up to 60dB may be experienced under extreme
conditions (3V/m, 90% modulation).
POWER CONNECTION
CONTROL CONNECTIONS
AUDIO CONNECTIONS
ELECTRIC FIELDS
INSTALLATION
There are a number of points to consider when installing a mixing console. Many of these points will have
been addressed before the console is even unpacked but it is worth repeating them.
The console should be located in a convenient space commensurate with the use to which the console is being
put. Ideally a cool area is preferred not in close proximity to power distribution equipment or other potential
sources of interference. Provision should be made for some flat surface surrounding the console to prevent
people using it as a table top.
The power supply should be located as far from the console as the connecting cable will allow. It should be
set for the appropriate line voltage and plugged into the mains outlet using the supplied cable.
POSITION
POWER
THE POWER SUPPLY SHOULD NEVER BE OPERATED
WITH THE MAINS EARTH DISCONNECTED
Please note that the power supply contains LETHALVOLTAGES greatly in excess of the mains voltage and
that its rails can produce extremely large currents which could burn out equipment and wiring if shorted.All
testing and servicing should ONLY be carried out by qualified engineers.

MIDI Out
Pin 2: Ground
Pin 4: In+
Pin 5: In-
MIDI Thru
Pin 2: Ground
Pin 4: In+
Pin 5: In-
MIDI In
Pin 2: Ground
Pin 4: In+
Pin 5: In-
R
Input / Output XLR
Pin 1: Ground
Pin 2: Hot
Pin 3: Cold
RS-232
RS-232
Pin 2: Receive Data
Pin 3: Transmit Data
Pin 5: GND
Input Send / Return
Tip: Hot
Ring: Cold
Sleeve: Ground
Midas Can Bus
Pin 1: +18V (100mA max)
Pin 2: Can low
Pin 3: OV Can
Pin 4: Can High
Pin 5: -18V(100mA max)
BUS
IN
IN
OUT
THRU
MIDI
CAN
BUSS
HERITAGE 1000 CONNECTORS

Midas HS1001 Mono Input Module
Midas HS1004 Stereo Input Module
Midas HS1011 Group Module
Midas HS1012 Stereo Aux Group
Midas HS1021 Master Module
Midas HS1041 Matrix Module
Midas HS1033 Automation Module
Heritage Menu Overview V2.06
Heritage Back Panel
Frame Measurements
Frame layout and Measurements
Block Diagrams
Input Module
Group Module
Matrix Module
Master Module
Monitor Module
Input Crib Sheet
Module
Heritage Overview and Statistics
Heritage Technical Specifications
Page 1
Page 5
Page 9
Page 13
Page 17
Page 21
Page 24
Page 32
Page 41
Page 43
Page 44
Page 45
Page 47
Page 49
Page 50
Page 51
Page 52
Page 53
Page 55
CONTENTS

Midas HS1001
Mono Input
Module
pan
O
O
20
60 160
400
hi
mid
high
pass
bass
gain
freq
2k
5k 10k
20k
400
1k 3k
8k
20
50 100
lo
mid
100
300 800
2k
200
0.1
0.3 0.6
2
0.1
0.3 0.6
2
gain
input
2
8
9
10
4
6
5
1
7
3
5
0
5
10
15
20
25
30
40
50
10
input
l
C
r
0
+6
0
+6
0
+6
0
+6
0
+6
(pan)
(pan)
MIDAS HS1001
groups
pan to
masters
masters
masters
9
8
10
3
5
7
2
4
6
1
level
level
0
+6
on
on
level
level
0
+6
on
on
level
level
0
+6
on
on
level
level
level
level
0
+6
0
+6
on
on
on
on
treble
15
25
60
insert
+9
-25
+3
-3
0
+12
-28
+15
-6
-9
+6
s
a
s
I
g
n
SIS
SOLO
SAFE
PAN
MONO
ST
PRE
PRE
PREPRE
PRE
PRE
PRE
PRE
PRE
PRE
PAD
48V
EQ
O
PRE
B
MUTE
SET
35
disable all
automation
1

20
60 160
400
hi
mid
high
pass
bass
gain
freq
2k
5k 10k
20k
400
1k 3k
8k
20
50 100
lo
mid
100
300 800
2k
200
0.1
0.3 0.6
2
0.1
0.3 0.6
2
gain
input
treble
15
25
60
insert
PAD
48V
EQ
O
PRE
B
35
The INPUT B switch disconnects the
main XLR input from the channel and
replaces it with the second (B) input.
The B input is also an XLR but it is
normalled through a ¼ inch jack
socket which provides a input for
signals which require protection
against accidental 48 volt connection.
All inputs can be used for Mic or Line
level signals and the input B switching
facility provides an easy way to
activate a back up source for critical
The 48V switch connects 48 volt
phantom power to both of the XLR
input connectors. This is suitable for a
condenser microphone or DI box.
The GAIN control gives continuous
adjustment of the input amplifier gain
from + 15dB to + 60dB.
The PHASE switch activates a 180
degrees phase change within the input
amplifier.
The PAD switch gives 30dB of
attenuation to the input signal which
will allow the connection of high
output microphones or line level
signals. If the input amplifier is
transformer coupled (option) the pad
greatly reduces the risk of saturation at
very low frequencies.
The TREBLE (dual concentric top)
control gives continuous adjustment of
boost and cut from + 15dB to - 15dB
with a 0dB centre detent.
The treble FREQ. (dual concentric
bottom) control gives continuous
adjustment of the frequency range that
the treble equaliser acts on from 2K to
20K. The treble equaliser has a
shelving response.
The HI MID (dual concentric top)
control gives continuous adjustment of
boost and cut from + 15dB to - 15dB
with a 0dB centre detent.
The hi mid FREQ. (dual concentric
bottom) control gives continuous
adjustment of the frequency range that
the hi mid equaliser acts on from
400Hz to 8K.
The hi mid WIDTH control gives
continuous adjustment of bandwidth
from 0.1 to 2 octaves with a 0.4 octave
centre point.
The lo mid WIDTH control gives
continuous adjustment of bandwidth
from 0.1 to 2 octaves with a 0.4 octave
centre point.
The LO MID (dual concentric top)
control gives continuous adjustment of
boost and cut from + 15dB to - 15dB
with a 0dB centre detent.
The lo mid FREQ. (dual concentric
bottom) control gives continuous
adjustment of the frequency range that
the lo mid equaliser acts on from
100Hz to 2K.
The BASS (dual concentric top)
control gives continuous adjustment of
boost and cut from + 15dB to - 15dB
with a 0dB centre detent.
The bass FREQ. (dual concentric
bottom) control gives continuous
adjustment of the frequency range that
the bass equaliser acts on from 20Hz
to 200Hz. The bass equaliser has a
shelving response.
The EQ switch connects the equaliser
in the input channel signal path.
The HI PASS filter control is
continuously adjustable from 20Hz to
400Hz.
The HI PASS switch connects the filter
in the input channel signal path before
the insert point and equaliser.
The insert PRE switch arranges the
input channel signal to pass through
the equaliser before the insert point
when activated and after the insert
point when not activated.
2

0
+6
0
+6
0
+6
0
+6
0
+6
(pan)
(pan) 9
8
10
3
5
7
2
4
6
1
level
level
0
+6
on
on
level
level
0
+6
on
on
level
level
0
+6
on
on
level
level
level
level
0
+6
0
+6
on
on
on
on
PRE
PRE
PREPRE
PRE
PRE
PRE
PRE
PRE
PRE
The AUX controls (1 to 10) give
continuous adjustment of the level sent
from the input channel to the aux
busses. The level adjustment is from +
6dB to off.
The aux PRE switches change the
signal sent to the aux busses from post
fader to pre fader.
Aux send ON/OFF switching is
achieved using the console assignment
system. A LED next to each aux pot
provides indication of status. The
assignments may also be stored as part
of a snapshot scene. Use of a matrix
module in conjunction with the
assignment system can provide a
useful means to automatically recall
alternate feed levels to effects
processors from the module.
Aux 7,8,9 and 10 can be configured as
stereo level and pan if required by
pressing the stereo switch on the
appropriate group modules.
When configured as stereo auxes only
the right switches are active.
3

pan
O
O
input
2
8
9
10
4
6
5
1
7
3
5
0
5
10
15
20
25
30
40
50
10
l
C
r
MIDAS HS1001
groups
pan to
masters
masters
masters
+9
-25
+3
-3
0
+12
-28
+15
-6
-9
+6
s
a
s
I
g
n
SIS
SOLO
SAFE
PAN
MONO
ST
MUTE
SET
disable all
automation
The FADER gives continuous
adjustment of the input channel level
from + 10dB to off.
The ST switch connects the post fader
channel signal to the master stereo bus
The MONO switch connects the post
fader channel signal to the mono
master bus.
The SIS switch enables the spatial
imaging system which operates in
conjunction with the pan control to
produce a left, centre, right mix. It also
acts as a left, centre, right master bus
enable overriding any stereo and mono
master bus assignments.
The PAN defaults to control the
channel placement within the master
stereo mix and has a constant power
law. i.e. - 3dB at the centre position.
The PAN to groups switch changes all
group bus assignments to operate via
the stereo pan pot.
The MUTE switch mutes the input
channel at all points after the insert
send. The switch can be controlled
from snapshot automation and by
automute scenes.
The recessed AUTOMATION
DISABLE switch sets the module to a
default routing state with all aux sends
ON and all audio group and VCA
group assignments OFF. The switch is
not intended for normal console
operation and it should only be used in
the event of local automation failure.
The SAFE switch removes the entire
input channel from automute and
snapshot automation control.
Assignment of audio and VCA buses
will continue to operate in the normal
way as will VCA master control. This
is particularly useful if a guest artist is
introduced on a channel that would
normally be used for another function.
The METER monitors the peak signal
level of the pre fader input channel.
The ASSIGN LEDs are used to show
the status of the AUX, VCA, MUTE
and AUDIO group assignments. The
central controller MODE switches
toggle through the four available
states.
The SET switch is used to programme
the channel AUX, VCA, MUTE and
AUDIO assignment. The central
controller MODE switches and
ASSIGN keys select the desired
assignment function and the SET
switch toggles the channel on and off
with each alternate press.
The SOLO switch sends the input
channel signal to the PFL mono and
AFL stereo busses. If the switch is
pressed for a short time it will latch on
or off, but, if it is held on for more
than 1 second the latching is disabled
and when the switch is released the
channel solo will turn off. As a default
the solo system is auto cancelling so
each new solo cancels the last. The
SOLO ADD mode switch on the
master module defeats the auto
cancelling and allows multiple channel
monitoring. In this mode input solos
have priority over outputs and will
temporarily override any active output
solos. If the master module SOLO SIS
is enabled the solo buses will switch to
LCR operation.
4

bal
+9
-25
+3
-3
0
+12
+18
+15
-6
-9
+6
O
O
gain
stereo input
disable
auto
2
8
9
10
4
6
5
1
7
3
10
5
0
5
10
15
20
25
30
40
50
right
left
l
C
r
0
+6
0
+6
0
+6
0
+6
0
+6
l
l
l
l
l
r
r
r
r
r
c
c
c
c
c
level
level
level
level
level
level
level
level
level
level
0
0
0
0
0
MIDAS HS1004
right
left
15
25 35
60
20
60 160
400
high
pass
15
15
bass
freq
20 400
0
100
100 2k
15
0
lo-mid
500
15
1515
0
hi-mid
freq
freq
400
2k
8k
freq
1k
5k
20k
1515
0
treble
groups
pan to
s
a
s
I
g
n
on
on
on
on
on
7
9
6
8
10
masters
masters
to
both
on
on
on
on
on
1
3
5
2
4
SOLO
SAFE
SET
PAN
MONO
ST
PRE PRE
PRE PRE
PRE PRE
PRE PRE
PRE PRE
RIGHTLEFT
MUTE
PAD
O
HI Q
HI Q
EQEQ
48V
O
Midas HS1004
Stereo Input
Module
5

gain
right
left
right
left
15
25 35
60
20
60 160
400
high
pass
15
15
bass
freq
20 400
0
100
100 2k
15
0
lo-mid
500
15
1515
0
hi-mid
freq
freq
400
2k
8k
freq
1k
5k
20k
1515
0
treble
PAD
O
HI Q
HI Q
EQEQ
48V
O
The left PHASE switch activates a 180
degrees phase change within the left
input amplifier.
The 48V switch connects 48 volt
phantom power to both of the XLR
input connectors. This is suitable for a
condenser microphone or DI box.
The dual concentric GAIN control
gives continuous and independent
adjustment of the input amplifier gains
from + 15dB to + 60dB. The left
channel is on top and the right channel
is on the bottom.
The right PHASE switch activates a
180 degrees phase change within the
right input amplifier. The PAD switch gives 30dB of
attenuation to the input signal which
will allow the connection of high
output microphones or line level
signals. If the input amplifier is
transformer coupled (option) the pad
greatly reduces the risk of saturation at
very low frequencies.
The TREBLE control gives continuous
adjustment of boost and cut from
+15dB to - 15dB.
The treble FREQ control gives
continuous adjustment of the
frequency range that the treble
equaliser acts on from 1K to 20K. The HI MID control gives continuous
adjustment of boost and cut from +
15dB to - 15dB.
The hi mid FREQ control gives
continuous adjustment of the
frequency range that the hi mid
equaliser acts on from 400Hz to 8K.
The HI Q control changes the
bandwidth of the mid equaliser from
1.5 octave to 0.5 octave.
The LO MID control gives continuous
adjustment of boost and cut from +
15dB to - 15dB.
The lo mid FREQ control gives
continuous adjustment of the
frequency range that the lo mid
equaliser acts on from 100Hz to 2K.
The HI Q control changes the
bandwidth of the mid equaliser from
1.5 octave to 0.5 octave.
The BASS control gives continuous
adjustment of boost and cut from +
15dB to - 15dB.
The bass FREQ control gives
continuous adjustment of the
frequency range that the bass equaliser
acts on from 20Hz to 400Hz. The left and right EQ switches connect
the equaliser into the input channel
signal paths.
The HI PASS filter control is
continuously adjustable from 20Hz to
400Hz.
The left and right HI PASS switches
connect the filters in the input channel
signal path before the insert points.
6

0
+6
0
+6
0
+6
0
+6
0
+6
l
l
l
l
l
r
r
r
r
r
c
c
c
c
c
level
level
level
level
level
level
level
level
level
level 0
0
0
0
0
on
on
on
on
on
7
9
6
8
10
on
on
on
on
on
1
3
5
2
4
PRE PRE
PRE PRE
PRE PRE
PRE PRE
PRE PRE
The AUX controls (1 to 10) give
continuous adjustment of the level sent
from the input channel to the aux
busses. The level adjustment is from +
6dB to off. All aux signals default as a
mono sum of the left and right channel
but aux 7,8,9 and 10 can also be
configured in stereo if required by
pressing the stereo switch on the
appropriate group modules.
The aux PRE switches change the
signal sent to the aux busses from post
fader to pre fader.
Aux send ON/OFF switching is
achieved using the console assignment
system. A LED next to each aux pot
provides indication of status. The
assignments may also be stored as part
of a snapshot scene.
7

bal
+9
-25
+3
-3
0
+12
+18
+15
-6
-9
+6
O
O
stereo input
disable
auto
2
8
9
10
4
6
5
1
7
3
10
5
0
5
10
15
20
25
30
40
50
l
C
r
MIDAS HS1004
groups
pan to
s
a
s
I
g
n
masters
masters
to
both
SOLO
SAFE
SET
PAN
MONO
ST
RIGHTLEFT
MUTE
The ST switch connects the post fader
channel signal to the master stereo bus
via the bal control.
The MONO switch connects the post
fader channel signal to the mono
master bus.
The LEFT TO BOTH switch takes the
left input and routes it to all left and
right outputs; cutting the right input
signal.
The RIGHT TO BOTH switch takes
the right input and routes it to all left
and right outputs; cutting the left input
signal. Pressing both of the above
The BALANCE (pan) control is used
to balance the relative levels of the left
and right channel signals that are sent
to the master stereo mix. The control
has a constant power law, i.e. 0dB at
the centre position and + 3dB or off at
either extreme setting.
The PAN to groups switch changes all
group bus assignments to operate via
the stereo balance control. When the
switch is off the group assignments
remain in stereo but without the
balance trim facility.
The MUTE switch mutes the input
channel at all points after the insert
send. The switch can be controlled
from snapshot automation and by
automute scenes.
The recessed AUTOMATION
DISABLE switch sets the module
to a default routing state with all aux
sends ON and all audio group and
VCA group assignments OFF. The
switch is not intended for normal
console operation and it should only
be used in the event of local
automation f ailure.
The SAFE switch removes the entire
input channel from automute and
snapshot automation control.
Assignment of audio and VCA buses
will continue to operate in the normal
way as will VCA master control. This
is particularly useful if a guest artist is
introduced on a channel that would
normally be used for another function.
The METER monitors the peak signal
level of the pre fader input channel.
The FADER gives continuous
adjustment of the input channel level
from +10dB to off.
The ASSIGN LEDs are used to show
the status of the AUX, VCA, MUTE
and AUDIO group assignments. The
central controller MODE switches
toggle through the four available
states.
The SET switch is used to programme
the channel AUX, VCA, MUTE and
AUDIO assignment. The central
controller MODE switches and
ASSIGN keys select the desired
assignment function and the SET
switch toggles the channel on and off
with each alternate press.
The SOLO switch sends the input
channel signal to the PFL mono and
AFL stereo busses. If the switch is
pressed for a short time it will latch on
or off, but, if it is held on for more than
1 second the latching is disabled and
when the switch is released the channel
solo will turn off. As a default the solo
system is auto cancelling so each new
solo cancels the last. The SOLO ADD
mode switch on the master module
defeats the auto cancelling and allows
multiple channel monitoring. In this
mode input solos have priority over
outputs and will temporarily override
any active output solos.
8

MIDAS HS1011
Group Module
meter
aux
reverse
master
master
master
select
auxiliary
master
vca
auto
disable
bus
peak
+21
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-12
-15
-18
-21
-24
-27
-30
-33
-36
fader
swap
group
aux
group
10
5
0
5
10
15
20
25
30
40
50
o
o
groupgroup
10
5
0
5
10
15
20
25
30
40
50
o
o
aux
aux
aux
MIDAS HS1011
panpan
l
C
r
0
+10
level
group
MUTE
O
MUTE
SAFE
TALK
SAFE
SAFE
9
MONO
ST
MUTE
SOLO
SOLO
9
SIS
9

meter
aux
reverse
select
auxiliary
master
bus
peak
+21
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-12
-15
-18
-21
-24
-27
-30
-33
-36
fader
swap
aux
0
+10
level
group
O
MUTE
SAFE
TALK
9
SOLO
9
.
The METER monitors the peak signal
level of the post fader sub group
outputs and the BUS PEAK LED
indicates that signals are near clipping
on the sub group bus (pre insert
signals).
The METER TO AUX switch moves
the meter and peak LED to monitor
aux signals in place of the sub group
signals.
The TALK switch connect the master
module talkback systems to the
individual aux send busses. The
master module can route it's oscillator,
pink noise, external input or talk mic.
The PHASE switch activates a 180
degrees phase change within the post
fader aux signal path. This will effect
the post fader feeds to the matrix as
well as the main aux outputs.
The MUTE switch mutes the aux post
level control signals. The switch can be
controlled from snapshot automation.
The SAFE switch removes the aux
mute from snapshot automation
control.
The aux LEVEL control gives
continuos adjustment of output levels
from +10dB to off.
The SOLO switch sends the aux signal
to the PFL mono and AFL stereo
busses. If the switch is pressed for a
short time it will latch on or off, but, if
it is held on for more than 1 second the
latching is disabled and when the
switch is released the channel solo will
turn off. As a default the solo system is
auto cancelling so each new solo
cancels the last. The SOLO ADD mode
switch on the master module defeats
the auto cancelling and allows multiple
channel monitoring. In this mode input
solos have priority over outputs and
will temporarily override any active
output solos.
The FADER SWAP switch swaps the
group output faders and aux master
rotary controls along with their solo
and mute switches. Connections for
inserts and XLR outputs are
unaffected.
10