SPL MMC1 User manual

Manual
Multichannel Mastering Console MMC1
RTW SURROUND MONITOR
Input
Channel
Assignment
To
Channel
Assignment
To
Channel
Assignment
To
Channel
Assignment
To
Channel
Assignment
To
Channel
Assignment
To
Channel
Assignment
To
Channel
Assignment
To
L
L
L
R
LS
LC
LS
C
C
RS
RS
RC
C
R
R
LFE
LFE
LFE
Lt/o
Lt/o
LS
Rt/o
12345678
Rt/o
RS
DTS
Film
SDDS
1
2
3
4
5
6
7
8
1
2
3
4
5
6
7
8
1
2
3
4
5
6
7
8
7
8
7
8
7
8
7
8
7
8
1
2
3
4
5
6
1
2
3
4
5
6
1
2
3
4
5
6
1
2
3
4
5
6
1
2
3
4
5
6

2
Manual, Version 2.0, 5/2004
R & D: Wolfgang Neumann
The information in this document has been carefully verified and is assumed to be
correct. However Sound Performance Lab (SPL) reserves the right to modify the
product described in this manual at any time. Changes without notice. This document
is the property of SPL and may not be copied or reproduced in any manner, in part or
full without the authorization of SPL.
Limitations of Liability:
In no event will SPL be liable for any damages, including loss of data, lost profits,
cost of cover or other special, incidental, consequential or indirect damages arising
from the use of the unit, however caused and on any theory of liability. This limita-
tion will apply even if SPL or an authorized dealer has been adviced of the possibility
of such damage.
Sound Performance Lab
SPL electronics GmbH
P.O. Box 12 27, D- 41368 Niederkruechten, Germany
Phone [phone], Fax [phone]
Email: [e-mail], Internet: www.soundperformancelab.org
© 2004 SPL electronics GmbH
All rights reserved. Technical specifications and appearance are subject to change
without notice.
Multichannel Mastering Console MMC1, Model 2160 Manual

3
Contents
Fade In ............................................................................................................ 4
Configuration Overview/Signal Flow ............................................................... 5
Installation ..................................................................................................... 6
Control Surface .............................................................................................. 8
The Sections In Detail .................................................................................... 9
Source, Input .................................................................................................. 9
Insert .............................................................................................................. 10
Storing a processor sequence ......................................................................... 11
Monitor Section: Speaker Management, Speakers/Dim, Monitor Level ........... 12
Monitor Section: RTW Surround Monitor & VUs .............................................. 13
Master Fader, Output ...................................................................................... 13
Rear Panel/Connections ................................................................................. 14
Stereo and Multi-channel Inputs ..................................................................... 15
Multi-channel Returns .................................................................................... 16
Stereo Returns ............................................................................................... 17
Monitor Outputs ............................................................................................ 18
Stereo Recording Outputs ............................................................................... 19
Multi-channel Recording Outputs .................................................................... 20
Mechanical Drawings ..................................................................................... 21
Control Surface .............................................................................................. 21
Front View ...................................................................................................... 22
Side View ....................................................................................................... 23
Rear View ....................................................................................................... 24
Insert Box ...................................................................................................... 25
Meter bridge ................................................................................................... 26
Internal Wiring ............................................................................................... 27
Measurements ................................................................................................ 28
Block Diagram ................................................................................................ 31
VU Room Temperature Calibration .................................................................. 32
Power Supply ................................................................................................. 33
Warranty ......................................................................................................... 34

4
SPL takes pride in being the first audio manufacturer to have developed a multi-
channel mastering console that provides a complete spectrum of engineering solu-
tions to multi-channel sources for surround mastering. The purpose of this devel-
opment was the creation of a console that would be superior in audio quality to all
known and foreseeable audio formats, whether analog or digital. Such a console
would achieve two important goals of first, an unaltered reproduction in sonic quality
of SACD and DVD-Audio, and second, through such quality, of remaining for many
years a safe capital investment.
The MMC 1 is conceived as the center of a mastering environment that can fulfill the
tasks of speaker management, source connectivity, audio metering, channel assign-
ment, master and monitor level setting and automated 8 x 8 channel insert routing of
external processors.
Digital audio formats have undergone continuous development and change and will
continue to do so. The degree of incompatibility created by the “format war” between
PCM and DSD has persuaded us to opt for a technology that is superior in dynamic
range, headroom and sound quality to either—or any other—such format. It consti-
tutes discrete analog technology in its most advanced implementation.
Moreover, there are additional prerequisites which speak for the employment of high-
performance analog technology:
1. The number of necessary AD/DA conversions should be reduced to a minimum.
With the MMC 1, digital sources can be connected to a digital router, which outputs
the selected source through the preferred DA converter. This ensures that the
sound quality remains comparable and is not affected by converter differences.
2. From a purely aesthetic standpoint, high quality analog outboard processing
consistently proves itself superior to digital processing. The analog concept allows
for problem-free integration of such analog processors.
3. Monitors and power amplifiers are almost exclusively analog in design. Yet another
converter at this point in the chain could only degrade the final monitoring
quality.
New Technologies
SPL’s new SUPRA operation amplifiers are used throughout the MMC 1‘s design. They
perform at an industry benchmark 120 volts and were developed during a four-year
period during which SPL searched for a new generation of superior discrete analog
op amps. The SUPRA op amp achieves a signal-to-noise ratio of 116 dB with a head-
room of 34 dB. The dynamic range amounts to 150dB with a frequency bandwidth of
200 kHz.
With such specifications, the MMC 1 rides comfortably beyond the requirements of
either the current maximum 24 Bit/192 kHz PCM format or 1 Bit/256 fs DSD format.
It is simply not realistic to expect at any foreseeable future date, a digital technology
environment in which the MMC 1 could become a “bottle neck”.
Fade In

5
The Source section provides for the selection of inputs (4 x stereo/4 x 8-channel) and
returns (8 x stereo/8 x 8-channel). The selected input can be monitored at the input
or output stage of the console.
The Input section itself offers a router for assigning various channel configurations
to match the SMPTE channel configuration (which is used throughout the console).
Each input channel is equipped with an On, Phase Reverse and a special Trim switch
for precise increments in 0.5dB steps from -9,5dB to +6 dB.
The Insert section is unique. It offers control functions for an automated patchbay,
called the “Insert Box“. Up to eight, 8-channel processors can be connected to this
breakout box. The mastering engineer can store and compare up to four sequences
with the push of a button. A global bypass switch (Insert On) activates or deactivates
the Insert Box.
The Master section is outfitted with an eight-channel Master fader control for
dynamic mastering purposes. The Master fader and Monitor Level controls are
specially built potentiometers with a tolerance of less the 0.5dB over their entire
range in all 8 levels. This system dispenses with step ladders and proves a quantum
leap in dynamic mastering control.
The Output section offers the same precision trim controls as the Input section.
In each channel, level differences, which may have been introduced by outboard
processing, may be compensated for in 0.5dB steps from -9.5dB to +6dB.
The Monitor section features a central volume control and buttons for Mute and Dim
levels. Two stereo loudspeaker sets and two surround loudspeaker sets of up to
eight speakers can be connected to the MMC 1.
There is an On and Solo button for each loudspeaker. The Solo function operates
as Solo-in-Place, while a Solo-to-Center switch shunts other channels through the
center speaker for better comparison. There is provision to monitor the LFE on the
L/C/R. Three Mono functions (L/R, LS/RS, Lt/o/R t/0) and two mode buttons for stereo
or multi-channel operation round out the Speaker Management section.
The Meter Bridge houses an RTW Surround Monitor 10800x and eight large VU
meters with superb ballistics to display meterings with ultimate precision. The RTW
Surround Monitor remote control is built into the console next to the calibration
switches for the VUs. VUs may be calibrated to eight different values (0 dB/-2/-4/-6/-
8/-10/-12/-14 dB).
Note: Metering always follows monitoring; depending on the selected monitoring
signal (input, output or returns), the according metering is displayed automatically.
Source Input Insert
Master
Output Returns
Monitor
Metering
Configuration Overview/Signal Flow

6
Parts of box #1:
1. MMC1 mastering console
2. MMC1 meter bridge with built-in RTW Surround Monitor
Parts of box #2:
1. Insert Box
2. Insert Box Remote Control data wire (DB 25)
3. Power supply unit (PSU)
4. IEC power cord
5. Multicord power cable
6. RTW external power supply
Connecting the MMC1
Connect the PSU with multicord power cable to the MMC1. The power connector is
placed at the right side of the MMC1 housing.
Above the power connector are two ground connectors (black and yellow). The yellow
connector carries the ground from the PSU. It is bridged to the black connector
connecting the PSU ground to the MMC1 chassis ground.
If external grounding is required, disconnect the bridge and connect the external
ground to the black connector.
IMPORTANT: Using both the external ground and the PSU ground (with the ground
bridge still in use) may cause a ground loop resulting in hum.
Mount the MMC1 meter bridge into the custom built frame. This frame is not provided
as it is part of the studio design.
Connect the meter bridge to the MMC1 with the four ribbon cables according to the
numbers labeled 1 to 4. Make sure that the ribbon cables are connected properly to
both sides of the meter bridge. The end of a ribbon cable goes to the left connector/
meter bridge when looking from behind. The connectors only fit in one direction. Do
not force the connectors.
Ribbon cable #1: VU Logic – connecting connectors SV8 and SV9.
Ribbon cable #2: In Buss – connecting connectors SV3 and SV4.
Ribbon cable #3: Jumper – preconnected between connectors SV1 and SV2.
Ribbon cable #4: Out/Return Buss – connecting connectors SV6 and SV7.
Ribbon cable #5: Jumper – preconnected between SV5 and RTW.
Ribbon cable #6: RTW Remote – connecting remote modul with RTW.
Connect the external RTW power supply to the RTW Surround Monitor.
Switch on the PSU.
Press Back in the Speaker/Dim section on the control surface of the MMC1 once when
powering up the MMC1 for the first time to reset all relays and the TTL logic. Usually
this switch is used to release both Dim and Mute switch functions at once.
Connecting Audio
We recommend to use a multi-channel audio player as reference signal.
Connect your audio player to the multi-channel inputs (L/R/C/LFE/LS/RS) of Input A
on the rear panel of the MMC1.
Connect the multi-channel monitor set to Monitor A on the rear panel of the MMC1.
Select the M-CH. (multi-channel) operation mode in theMonitor/SpeakerManagement
section on the control surface of the MMC1 to engage full multi-channel capability.
Select Input/M-CH. A in the Source section on the control surface of the MMC1.
The Input section above the Source section features routing switches which are used
to assign the source material to the channel configuration of the MMC1. The SMPTE
configuration is used throughout the MMC1.
Installation

7
Besides the SMPTE channel configuration, three of the main channel configurations
(DTS, Film, SDDS) are listed as a reference in the source section.
In case you have connected the multi-channel inputs in SMPTE order (L/R/C/LFE/
LS/RS) you can set the routing switch to 1 for channel one, 2 for channel two ... 6 for
channel six (factory preset).
NOTE: Channels 7 and 8 are only used if the source material carries an 8-channel
signal (e.g. SDDS).
Press the On switches 1 to 6 to activate the respective channels. Channels 7 and 8
should be activated if the source material carries an 8-channel signal (e.g. SDDS)
Make sure that the Phase Reverse switches are not engaged (factory preset).
In the Input section, set the Trim switches to zero (center) on all channels (factory
preset).
In the Output section, set the Trim switches to zero (center) on all channels (factory
preset).
Set the Monitor Level control fully counter clockwise. Turn up the Monitor Level later
when you have completed the checklist.
Set the Master gain control in the Master section to zero. The Master gain control
sets the overall output level of the MMC1 to the recording outs.
Make sure that the Insert On switch in the Insert section is dsabled to maintain the
signal flow if the Insert Box is not yet connected.
Activate the monitors by engaging the M-CH A switch in the Speakers/Dim section.
Make sure that all Dims and the Mute switch are disabled.
Engage the Speaker switches labelled L, C, R, C, LFE, LS and RS in the Speaker
Management section. Make sure that all Solo, Mono and the Solo-to-Center switch
are disabled.
Depress the LFE-to-L/C/R switch in case you are operating a 5.0 monitor set up
without a sub.
Turn up the Volume control and set the monitoring level. You should now be moni-
toring the audio player.
The meter bridge houses a RTW Surround Monitor 10800x and eight big VU meters
with superb ballistics. The remote control for the RTW Surround Monitor is already
built into the control surface of the MMC1 next to the calibration switches for the VUs.
The metering always follows the selected busses: input, output and return. Please
also read the RTW Surround Monitor manual carefully to ensure correct operation.
The VUs can be set to eight different o dB calibrations (0 dB/-2/-4/-6/-8/-10/-12/
-14 dB). To quickly set the VU to 0 dB and –10 dB reference levels two switches labeled
VU=0dB and VU=-10dB are provided.
IMPORTANT: The VU’s superb ballistics are very sensitive to room temperature. The
default calibration is adjusted to 18 °C room temperature. Only a few degrees differ-
ence in room temperature cause deviations.
Calibration to room temperatures can be made after the MMC1 has reached
operating temperature. If re-calibration is necessary, open the meter bridge housing
and adjust the trimmers on the PCB labeled with GAIN (see graphic on page 32). With
a +4 dBu input level, the VU must indicate a 0dB level.
Installation

8
Control Surface
MMC 1
Multi-Channel Mastering Console
20
10 7531035
0
30 50 70 100
%
VU
20
10 7531035
0
30 50 70 100
%
VU
1 _ L
5 _ LS
2 _ R
6 _ RS
O U -1 0 O U -1 0
20
10 7531035
0
30 50 70 100
%
VU
20
10 7531035
0
30 50 70 100
%
VU
20
10 7531035
0
30 50 70 100
%
VU
20
10 7531035
0
30 50 70 100
%
VU
20
10 7531035
0
30 50 70 100
%
VU
20
10 7531035
0
30 50 70 100
%
VU
20
10 7531035
0
30 50 70 100
%
VU
20
10 7531035
0
30 50 70 100
%
VU
3 _ C
7 _
Lt/o
4 _ LFE
8 _
Rt/o
20
10 7531035
0
30 50 70 100
%
VU
20
10 7531035
0
30 50 70 100
%
VU
20
10 7531035
0
30 50 70 100
%
VU
20
10 7531035
0
30 50 70 100
%
VU
20
10 7531035
0
30 50 70 100
%
VU
20
10 7531035
0
30 50 70 100
%
VU
RTW SURROUND MONITOR
MODE
SELECT
MEMO
GAIN
RESET
SHIFT
Input
Monitor Level
Inputs
Returns
L
DimSpeakers
Sequence
Position Processor Selection Store/ Recall
Metering
Trim 1
dB
-9
-8
-7
-6
1
2
3
4
-4
5
6
-5
0
-2
-3
-1
Trim 2
dB Trim 3 dB Trim 4 dB Trim 5 dB Trim 6 dB Trim 7 dB Trim 8 dB
Channel
Assignment
To
Channel
Assignment
To
Channel
Assignment
To
Channel
Assignment
To
Channel
Assignment
To
Channel
Assignment
To
Channel
Assignment
To
Channel
Assignment
To
L
L
L
R
R
LS
LC
C
LS
C
C
LFE
RS
RS
RC
LS
C
R
R
RS
LFE
LFE
LFE
Lt/o
Lt/o
Lt/o
LS
Rt/o
Rt/o
12345678
Rt/o
RS
SMPTE
Master
DTS
Film
SDDS
Output
Source Insert
Monitor
Stereo
M-CH.
1
2
3
4
5
6
7
8
1
2
3
4
5
6
7
8
1
2
3
4
5
6
7
8
7
8
7
8
7
8
7
8
7
8
1
2
3
4
5
6
1
2
3
4
5
6
1
2
3
4
5
6
1
2
3
4
5
6
1
2
3
4
5
6
-9
-8
-7
-6
1
2
3
4
-4
5
6
-5
0
-2
-3
-1
-9
-8
-7
-6
1
2
3
4
-4
5
6
-5
0
-2
-3
-1
-9
-8
-7
-6
1
2
3
4
-4
5
6
-5
0
-2
-3
-1
-9
-8
-7
-6
1
2
3
4
-4
5
6
-5
0
-2
-3
-1
-9
-8
-7
-6
1
2
3
4
-4
5
6
-5
0
-2
-3
-1
-9
-8
-7
-6
1
2
3
4
-4
5
6
-5
0
-2
-3
-1
-9
-8
-7
-6
1
2
3
4
-4
5
6
-5
0
-2
-3
-1
Trim 1
dB
-9
-8
-7
-6
1
2
3
4
-4
5
6
-5
0
-2
-3
-1
Trim 2
dB Trim 3 dB Trim 4 dB Trim 5 dB Trim 6 dB Trim 7 dB Trim 8 dB
-9
-8
-7
-6
1
2
3
4
-4
5
6
-5
0
-2
-3
-1
-9
-8
-7
-6
1
2
3
4
-4
5
6
-5
0
-2
-3
-1
-9
-8
-7
-6
1
2
3
4
-4
5
6
-5
0
-2
-3
-1
-9
-8
-7
-6
1
2
3
4
-4
5
6
-5
0
-2
-3
-1
-9
-8
-7
-6
1
2
3
4
-4
5
6
-5
0
-2
-3
-1
-9
-8
-7
-6
1
2
3
4
-4
5
6
-5
0
-2
-3
-1
-9
-8
-7
-6
1
2
3
4
-4
5
6
-5
0
-2
-3
-1
%
0
5
1
0
1
5
2
0
2
5
3
0
3
5
4
0
4
5
5
0
5
5
6
0
6
5
7
0
7
5
8
0
8
5
9
0
9
5
1
0
0
On1
Rev 1
On2
Rev 2
On3
Rev 3
On4
Rev 4
Stereo
Input A
Stereo
Return A
Return
Stereo
Return E
Stereo
Input B
Stereo
Return B
Stereo
Return F
Stereo
Input C
Stereo
Return C
Stereo
Return G
Stereo
Input D
Stereo
Return D
Stereo
Return H
M-CH.
Input A
M-CH.
Return A
M-CH.
Return E
M-CH.
Input B
M-CH.
Return B
M-CH.
Return F
M-CH.
Input C
M-CH.
Return C
M-CH.
Return G
M-CH.
Input D
M-CH.
Return D
Stereo
A
Solo to
Center LCRLSRSLFE Lt/o Rt/o
Solo Solo
Mono
L/R
Stereo
mode Mono
LS/RS
M-CH.
mode
Mono
Lt/o/Rt/o
Solo Solo Solo Solo Solo Solo
LFE to
L/C/R
Stereo
B
M-CH.
A
M-CH.
B
Deoxydize
Wires
Dim 1
-10 dB
Dim 2
-20 dB
Dim 3
-30 dB
Mute
Back
RTW
Mode
RTW
Memo
RTW
Reset
VU +
VU –
RTW
Select
RTW
Gain
RTW
Shift
VU = 0
VU=-10
M-CH.
Return H
Processor
1
Processor
2
Processor
3
Processor
4
Processor
5
Processor
6
Processor
7
Processor
8
Store
1
Store
2
Store
3
New
Recall
1
Recall
2
Recall
3
Insert On
On5
Rev 5
On6
Rev 6
On7
Rev 7
On8
Rev 8
1
2
3
4
5
6
7
8

9
The Sections In Detail
Source
The Source section is subdivided into two parts. At the left are the input selectors, which
are fed to the mastering path. Here the MMC 1 can accept four stereo inputs and four
8-channel inputs. The Return button allows to switch between the selected input (four
stereo/four multi-channel) and the selected return (eight stereo/eight multichannel). The
returns consist of selection options for returns from recorders, DAW, analog multi-tracks,
SACD and DVD-Players, TV, AC3/DTS encoder/decoder, and so on. The return inputs from
the rear Stereo Return A slot are provided by the Stereo Return buttons A-D, the returns
from the rear Stereo Return B slot are provided by the Stereo Return buttons E-H.
All Input buttons allow for switching between the input monitoring mode and the output
monitoring mode. Press once, the input button is permanently illuminated. The output
signal after the Master fader is monitored. Press again, the input button flashes. The
input signal before the input trim is monitored. This way, you can easily compare what
comes in and what goes out of the console.
IMPORTANT: Selecting the input monitoring mode (input button flashes) overrules the
Return mode.
NOTE: All MMC 1 buttons allow for individual labelling.
Input
Signals selected in the Source section are routed to the Input section. A passive routing
switch, which can route individual channels to any other channel—a function that is
essential to achieving the differing channel configurations of surround formats.
A table gives an overview of the most important channel configurations:
DTS: L / R / LS / RS / C / LFE / L t/o / R t/0
Film: L / LS / C / RS / R / LFE / L t/o / R t/0
SDDS: L / LC / C / RC / R / LFE / LS / RS
The MMC 1 buss structure follows SMPTE/ITU channel configurations:
SMPTE: L / R / C / LF / E / LS / RS / L t/o / R t/0
Note: L
t/o and R t/0 explained: The appendix “t” means “total” and refers to the auto-
matic stereo downmix function within AC3-encoders, whereas the appendix “o” means
“only” and stands for a separate stereo mix. >
Inputs
Returns
Source
Stereo
M-CH.
Stereo
Input A
Stereo
Return A
Return
Stereo
Return E
Stereo
Input B
Stereo
Return B
Stereo
Return F
Stereo
Input C
Stereo
Return C
Stereo
Return G
Stereo
Input D
Stereo
Return D
Stereo
Return H
M-CH.
Input A
M-CH.
Return A
M-CH.
Return E
M-CH.
Input B
M-CH.
Return B
M-CH.
Return F
M-CH.
Input C
M-CH.
Return C
M-CH.
Return G
M-CH.
Input D
M-CH.
Return D
M-CH.
Return H

10
Page 9 continued: The routing selector translates any possible channel configurations
into the SMPTE configuration. The high-quality switch has gold-plated silver contacts
with a life span of over 25,000 switching cycles.
The audio signal continues through an On and a Phase Reverse switch, followed by the
32-position Trim switch. The trimming range is -9.5dB to +6 dB scaled in 0.5dB steps.
The specialty of this switch is its mechanical architecture that involves only two contacts
at a time. Common switches route the audio through a chain of resistors in series.
Thermal noise and tolerances add up. The MMC 1 Trim switch avoids this by routing the
audio through only one 0,1% metal film resistor at any of its 32 positions.
Insert
While it is relatively easy in a stereo environment to connect processors via a patchbay
and specify their position in the audio path, this task is much more complicated and time
consuming when dealing with surround. To help alleviate this complexity, the MMC 1
features an Insert Box to which up to eight 8-channel processors can be connected. The
unique advantage of MMC 1 is that the engineer can specify up to three routings, called
“sequences”, which can be stored and re-called.
The Insert section provides a button for each of the eight external processors. The order in
which the processor selection buttons are activated determines the processor sequence.
A seven segment LED-display next to each button indicates the current position of a
processor. The mastering engineer can use this feature to compare between sequences
in varying order or to compare the same type of processors—such as in the case of an
equalizer from Manufacturer A and one of Manufacturer B.
Three memory banks are available which allow an active signal flow sequence to be
compared instantly at a button push with three others (for a total of four). An Insert On
switch engages the Insert Box or switches to hard-bypass.
The Sections In Detail
Sequence
Position Processor Selection Store/ Recall
Insert
Processor
1
Processor
2
Processor
3
Processor
4
Processor
5
Processor
6
Processor
7
Processor
8
Store
1
Store
2
Store
3
New
Recall
1
Recall
2
Recall
3
Bypass
1
2
3
4
5
6
7
8

11
Storing a processor sequence
1. Press New
2. Select processor sequence
3. Press Store 1, Store 2 or Store 3
To recall a stored processor sequence, press the respective Recall button.
To exclude one or more processors from a stored preset, press the according Processor
Selection button (illumination off). The processor is hard-bypassed. It can be switched
into the signal path at the former position by pressing the Processor Selection button
again (illumination on).
NOTE: When working with a sequence that has not been stored previously, a processor
can not be taken out of the sequence like described above, but you can add proces-
sors to the selection. When working with a previously stored sequence, you can not
add further processors to this selection.
The Sections In Detail

12
Monitor Section
The Monitor section is divided into four sub sections: Speaker Management,
Speakers/Dim, Monitor Level, Metering/RTW Surround Monitor & VUs.
1. Speaker Management
Each loudspeaker is controlled by an On switch, and each is shown with its respec-
tive loudspeaker position. Underneath each control is a Solo function. To improve
comparing channels, a Solo-to-Center function allows for monitoring of each channel
through the center speaker. NOTE: The Solo-to-Center function can only be acti-
vated if a speaker is previously switched to solo. In cases where a surround sound
mix does not have separate LFE subwoofers, the LFE-to-L/C/R switch distributes an
LFE signal (at -18 dB level) to L/C/R channels.
Two Operation Mode buttons are provided to change the MMC 1 configuration from
stereo to multi-channel operation. For improved operational safety and to switch off
all monitoring functions other than L/R, the Stereo button must be pressed before
starting a stereo mastering job.
The Monitor section offers three mono functions: 1. Mono L/R, 2. Mono LS/RS (not
available in stereo mode), 3. Mono L t/o / R t/0 (not available in stereo mode).
2. Speakers/Dim
Three different Dim levels (-10 dB, -20dB, -30dB) can be selected with the respec-
tive buttons. An additional Mute function and Back switch are provided so that
when Mute is activated while a Dim function is on, the Back switch can alone
quickly restore prior monitor level settings. Two stereo pairs and two surround loud-
speaker sets can be connected for monitoring the MMC 1‘s output. Two speaker sets
can be used in parallel for simultaneous monitoring. NOTE: When operating two
speaker sets simultaneously, the speaker’s/amplifier’s input impedance must be
above 10kOhm to avoid level decreases.
3. Monitor Level
The global Monitor Level is regulated with a custom-made eight-tiered potentio-
meter. The MMC 1 does not use DACs, step ladders or VCAs for this function, and
the specifications of this potentiometer are substantially better than either of these
other options normally could be. The maximum tolerance is 0,5dB over the entire
control range. >
The Sections In Detail

13
RTW SURROUND MONITOR
MODE
SELECT
MEMO
GAIN
RESET
SHIFT
20
10 7531035
0
30 50 70 10 0
%
VU
20
10 7531035
0
30 50 70 10 0
%
VU
1 _ L
O U -1 0
Because such an engineering masterpiece deserves an appropriate optical and func-
tional presence, this control sports a massive, 60mm diameter aluminum knob. The
scaling is illuminated with 30 blue LEDs on a circular area of 120 mm with a pointer
element from miniature orange LEDs.
4. Metering/RTW Surround Monitor & VUs
To the right of the Monitor Level potentiometer are the switch functions for the VUs
and the RTW Surround Monitor. All functions of the RTW can be controlled remotely.
They are placed next to the Monitor Control potentiometer for easy access, and thus
the mastering engineer does not need to leave his chosen optimal listening posi-
tion.
Please refer to the enclosed RTW manual for further information.
The VUs are likewise custom-made by Yamaki from Japan which manufacture VUs
with optimal ballistic characteristics. The VUs can be calibrated at eight different
reference levels (0 dB/-2/-4/-6/-8/-10/-12/-14 dB), displayed by two seven segment
LED displays. Two dedicated buttons can be used to quickly calibrate the VUs to
0 dB or -10 dB.
The metering always follows the selected signal: Input is displayed as IN, output is
displayed as OU and return is shown as RT by the seven segment LED displays.
Master Fader
The MMC 1 provides three, eight channel and four dual channel global recording
outputs. This fader features the same level control potentiometer as in the Monitor
Level section. With this control‘s extremely fine level settings, the engineer can attain
every ounce of recording headroom. The result, thanks to these controls of practically
infinite resolution, is an unparalleled excellence in dynamic mastering.
Output
The MMC 1‘s reverse provides three parallel 8-channel and four parallel dual channel
recording outputs. For each channel, there is the same 32-step, 0.5dB trim control as
in the Input section, e g. to compensate for level differences arising from processing
signals through the insert box.
The Sections In Detail
Output
Trim 1
dB
-9
-8
-7
-6
1
2
3
4
-4
5
6
-5
0
-2
-3
-1
Trim 2
dB Trim 3 dB Trim 4 dB Trim 5 dB Trim 6 dB Trim 7 dB Trim 8 dB
-9
-8
-7
-6
1
2
3
4
-4
5
6
-5
0
-2
-3
-1
-9
-8
-7
-6
1
2
3
4
-4
5
6
-5
0
-2
-3
-1
-9
-8
-7
-6
1
2
3
4
-4
5
6
-5
0
-2
-3
-1
-9
-8
-7
-6
1
2
3
4
-4
5
6
-5
0
-2
-3
-1
-9
-8
-7
-6
1
2
3
4
-4
5
6
-5
0
-2
-3
-1
-9
-8
-7
-6
1
2
3
4
-4
5
6
-5
0
-2
-3
-1
-9
-8
-7
-6
1
2
3
4
-4
5
6
-5
0
-2
-3
-1

14
The MMC 1 provides both balanced XLR an EDAC input and output sockets, working
in parallel.
V
DCB
516-38
EDAC
A
E
F
H
J
K
P N ML
R
S
TU
W
Y X
Z
A
A
A
D
A
E
A
F
A
H
A
N
A
M
A
L
A
K
A
J
A
P
A
R
A
S
A
T
A
C
A
B
CANADA
H
(+)
CH. 1
CH. 2
CH. 3
CH. 4
CH. 5
CH. 6
CH. 7
CH. 8
Stereo
left
Stereo
right
L
(-)
GND
( –)
AP
/
PP
AJ
/
JJ
AK
/
KK
AL
/
LL
AR
/
BR
AS
/
SS
AT
/
TT
AM
/
MM
AN
/
NN
AC
/
CC
AH
/
HH
AP
/
PP
AJ
/
JJ
AK
/
KK
AL
/
LL
AR
/
BR
AS
/
SS
Y
UWT
JDK
BHC
EAF
EDAC 38 Pin I/Os
PUSH
21
3Pin Wiring XLR Inputs
1 = Ground, 2 = hot (+), 3 = cold (-) 1 = Ground, 2 = hot (+), 3 = cold (-)
Pin Wiring XLR Outputs
12
3
XLR I/Os
Rear Panel/Connections
INPUT A
L
R
1
L
2
R
3
C
4
S
5
LS
6
RS
7
L
t/o
8
R
t/o
V
DCB
516-38
EDAC
A
E
F
H
J
K
P N ML
R
S
TU
W
Y X
Z
A
A
A
D
A
E
A
F
A
H
A
N
A
M
A
L
A
K
A
J
A
P
A
R
A
S
A
T
A
C
A
B
CANADA
1
L
2
R
3
C
4
S
5
LS
6
RS
7
L
t/o
8
R
t/o
INPUT B
L
R
V
DCB
516-38
EDAC
A
E
F
H
J
K
P N ML
R
S
TU
W
Y X
Z
A
A
A
D
A
E
A
F
A
H
A
N
A
M
A
L
A
K
A
J
A
P
A
R
A
S
A
T
A
C
A
B
CANADA
1
L
2
R
3
C
4
S
5
LS
6
RS
7
L
t/o
8
R
t/o
INPUT C
L
R
V
DCB
516-38
EDAC
A
E
F
H
J
K
P N ML
R
S
TU
W
Y X
Z
A
A
A
D
A
E
A
F
A
H
A
N
A
M
A
L
A
K
A
J
A
P
A
R
A
S
A
T
A
C
A
B
CANADA
1
L
2
R
3
C
4
S
5
LS
6
RS
7
L
t/o
8
R
t/o
INPUT D
L
R
V
DCB
516-38
EDAC
A
E
F
H
J
K
P N ML
R
S
TU
W
Y X
Z
A
A
A
D
A
E
A
F
A
H
A
N
A
M
A
L
A
K
A
J
A
P
A
R
A
S
A
T
A
C
A
B
CANADA
1
L
2
R
3
C
4
S
5
LS
6
RS
7
L
t/o
8
R
t/o
MONITOR A
L
R
V
DCB
516-38
EDAC
A
E
F
H
J
K
P N ML
R
S
TU
W
Y X
Z
A
A
A
D
A
E
A
F
A
H
A
N
A
M
A
L
A
K
A
J
A
P
A
R
A
S
A
T
A
C
A
B
CANADA
1
L
2
R
3
C
4
S
5
LS
6
RS
7
L
t/o
8
R
t/o
L
R
MONITOR B
V
DCB
516-38
EDAC
A
E
F
H
J
K
P N ML
R
S
TU
W
Y X
Z
A
A
A
D
A
E
A
F
A
H
A
N
A
M
A
L
A
K
A
J
A
P
A
R
A
S
A
T
A
C
A
B
CANADA
1
L
2
R
3
C
4
S
5
LS
6
RS
7
L
t/o
8
R
t/o
REC OUT
M-CH. A
V
DCB
516-38
EDAC
A
E
F
H
J
K
P N ML
R
S
TU
W
Y X
Z
A
A
A
D
A
E
A
F
A
H
A
N
A
M
A
L
A
K
A
J
A
P
A
R
A
S
A
T
A
C
A
B
CANADA
1
L
2
R
3
C
4
S
5
LS
6
RS
7
L
t/o
8
R
t/o
RETURN
M-CH. A
V
DCB
516-38
EDAC
A
E
F
H
J
K
P N ML
R
S
TU
W
Y X
Z
A
A
A
D
A
E
A
F
A
H
A
N
A
M
A
L
A
K
A
J
A
P
A
R
A
S
A
T
A
C
A
B
CANADA
1
L
2
R
3
C
4
S
5
LS
6
RS
7
L
t/o
8
R
t/o
REC OUT
M-CH. B
V
DCB
516-38
EDAC
A
E
F
H
J
K
P N ML
R
S
TU
W
Y X
Z
A
A
A
D
A
E
A
F
A
H
A
N
A
M
A
L
A
K
A
J
A
P
A
R
A
S
A
T
A
C
A
B
CANADA
1
L
2
R
3
C
4
S
5
LS
6
RS
7
L
t/o
8
R
t/o
RETURN
M-CH. B
V
DCB
516-38
EDAC
A
E
F
H
J
K
P N ML
R
S
TU
W
Y X
Z
A
A
A
D
A
E
A
F
A
H
A
N
A
M
A
L
A
K
A
J
A
P
A
R
A
S
A
T
A
C
A
B
CANADA
1
L
2
R
3
C
4
S
5
LS
6
RS
7
L
t/o
8
R
t/o
REC OUT
M-CH. C
V
DCB
516-38
EDAC
A
E
F
H
J
K
P N ML
R
S
TU
W
Y X
Z
A
A
A
D
A
E
A
F
A
H
A
N
A
M
A
L
A
K
A
J
A
P
A
R
A
S
A
T
A
C
A
B
CANADA
1
L
2
R
3
C
4
S
5
LS
6
RS
7
L
t/o
8
R
t/o
RETURN
M-CH. C
V
DCB
516-38
EDAC
A
E
F
H
J
K
P N ML
R
S
TU
W
Y X
Z
A
A
A
D
A
E
A
F
A
H
A
N
A
M
A
L
A
K
A
J
A
P
A
R
A
S
A
T
A
C
A
B
CANADA
1
L
2
R
3
C
4
S
5
LS
6
RS
7
L
t/o
8
R
t/o
RETURN
M-CH. D
V
DCB
516-38
EDAC
A
E
F
H
J
K
P N ML
R
S
TU
W
Y X
Z
A
A
A
D
A
E
A
F
A
H
A
N
A
M
A
L
A
K
A
J
A
P
A
R
A
S
A
T
A
C
A
B
CANADA
1
L
2
R
3
C
4
S
5
LS
6
RS
7
L
t/o
8
R
t/o
RETURN
M-CH. E
V
DCB
516-38
EDAC
A
E
F
H
J
K
P N ML
R
S
TU
W
Y X
Z
A
A
A
D
A
E
A
F
A
H
A
N
A
M
A
L
A
K
A
J
A
P
A
R
A
S
A
T
A
C
A
B
CANADA
1
L
2
R
3
C
4
S
5
LS
6
RS
7
L
t/o
8
R
t/o
RETURN
M-CH. F
V
DCB
516-38
EDAC
A
E
F
H
J
K
P N ML
R
S
TU
W
Y X
Z
A
A
A
D
A
E
A
F
A
H
A
N
A
M
A
L
A
K
A
J
A
P
A
R
A
S
A
T
A
C
A
B
CANADA
1
L
2
R
3
C
4
S
5
LS
6
RS
7
L
t/o
8
R
t/o
RETURN
M-CH. G
V
DCB
516-38
EDAC
A
E
F
H
J
K
P N ML
R
S
TU
W
Y X
Z
A
A
A
D
A
E
A
F
A
H
A
N
A
M
A
L
A
K
A
J
A
P
A
R
A
S
A
T
A
C
A
B
CANADA
1
L
2
R
3
C
4
S
5
LS
6
RS
7
L
t/o
8
R
t/o
RETURN
M-CH. H
V
DCB
516-38
EDAC
A
E
F
H
J
K
P N ML
R
S
TU
W
Y X
Z
A
A
A
D
A
E
A
F
A
H
A
N
A
M
A
L
A
K
A
J
A
P
A
R
A
S
A
T
A
C
A
B
CANADA
REC OUT
STEREO
L1
R1
L2
R2
L3
R3
L4
R4
V
DCB
516-38
EDAC
A
E
F
H
J
K
P N ML
R
S
TU
W
Y X
Z
A
A
A
D
A
E
A
F
A
H
A
N
A
M
A
L
A
K
A
J
A
P
A
R
A
S
A
T
A
C
A
B
CANADA
RETURN
STEREO A
L1
R1
L2
R2
L3
R3
L4
R4
V
DCB
516-38
EDAC
A
E
F
H
J
K
P N ML
R
S
TU
W
Y X
Z
A
A
A
D
A
E
A
F
A
H
A
N
A
M
A
L
A
K
A
J
A
P
A
R
A
S
A
T
A
C
A
B
CANADA
RETURN
STEREO B
L1
R1
L2
R2
L3
R3
L4
R4
V
DCB
516-38
EDAC
A
E
F
H
J
K
P N ML
R
S
TU
W
Y X
Z
A
A
A
D
A
E
A
F
A
H
A
N
A
M
A
L
A
K
A
J
A
P
A
R
A
S
A
T
A
C
A
B
CANADA
INSERT
V
DCB
516-38
EDAC
A
E
F
H
J
K
P N ML
R
S
TU
W
Y X
Z
A
A
A
D
A
E
A
F
A
H
A
N
A
M
A
L
A
K
A
J
A
P
A
R
A
S
A
T
A
C
A
B
CANADA
V
DCB
516-38
EDAC
A
E
F
H
J
K
P N ML
R
S
TU
W
Y X
Z
A
A
A
D
A
E
A
F
A
H
A
N
A
M
A
L
A
K
A
J
A
P
A
R
A
S
A
T
A
C
A
B
CANADA
SEND
RETURN
REMOTE
CONTROL

15
INPUT A
L
R
1
L
2
R
3
C
4
S
5
LS
6
RS
7
Lt/o
8
Rt/o
V
DCB
516-38
EDAC
A
E
F
H
J
K
P N ML
R
S
TU
W
Y X
Z
A
A
A
D
A
E
A
F
A
H
A
N
A
M
A
L
A
K
A
J
A
P
A
R
A
S
A
T
A
C
A
B
CANADA
1
L
2
R
3
C
4
S
5
LS
6
RS
7
Lt/o
8
Rt/o
INPUT B
L
R
V
DCB
516-38
EDAC
A
E
F
H
J
K
P N ML
R
S
TU
W
Y X
Z
A
A
A
D
A
E
A
F
A
H
A
N
A
M
A
L
A
K
A
J
A
P
A
R
A
S
A
T
A
C
A
B
CANADA
1
L
2
R
3
C
4
S
5
LS
6
RS
7
Lt/o
8
Rt/o
INPUT C
L
R
V
DCB
516-38
EDAC
A
E
F
H
J
K
P N ML
R
S
TU
W
Y X
Z
A
A
A
D
A
E
A
F
A
H
A
N
A
M
A
L
A
K
A
J
A
P
A
R
A
S
A
T
A
C
A
B
CANADA
1
L
2
R
3
C
4
S
5
LS
6
RS
7
Lt/o
8
Rt/o
INPUT D
L
R
V
DCB
516-38
EDAC
A
E
F
H
J
K
P N ML
R
S
TU
W
Y X
Z
A
A
A
D
A
E
A
F
A
H
A
N
A
M
A
L
A
K
A
J
A
P
A
R
A
S
A
T
A
C
A
B
CANADA
Stereo and Multi-channel Inputs

16
1
L
2
R
3
C
4
S
5
LS
6
RS
7
Lt/o
8
Rt/o
RETURN
M-CH. A
V
DCB
516-38
EDAC
A
E
F
H
J
K
P N ML
R
S
TU
W
Y X
Z
A
A
A
D
A
E
A
F
A
H
A
N
A
M
A
L
A
K
A
J
A
P
A
R
A
S
A
T
A
C
A
B
CANADA
1
L
2
R
3
C
4
S
5
LS
6
RS
7
Lt/o
8
Rt/o
RETURN
M-CH. H
V
DCB
516-38
EDAC
A
E
F
H
J
K
P N ML
R
S
TU
W
Y X
Z
A
A
A
D
A
E
A
F
A
H
A
N
A
M
A
L
A
K
A
J
A
P
A
R
A
S
A
T
A
C
A
B
CANADA
...
Multi-channel Returns

17
RETURN
STEREO A
L1
R1
L2
R2
L3
R3
L4
R4
V
DCB
516-38
EDAC
A
E
F
H
J
K
P N ML
R
S
TU
W
Y X
Z
A
A
A
D
A
E
A
F
A
H
A
N
A
M
A
L
A
K
A
J
A
P
A
R
A
S
A
T
A
C
A
B
CANADA
RETURN
STEREO B
L1
R1
L2
R2
L3
R3
L4
R4
V
DCB
516-38
EDAC
A
E
F
H
J
K
P N ML
R
S
TU
W
Y X
Z
A
A
A
D
A
E
A
F
A
H
A
N
A
M
A
L
A
K
A
J
A
P
A
R
A
S
A
T
A
C
A
B
CANADA
Stereo Returns

18
1
L
2
R
3
C
4
S
5
LS
6
RS
7
Lt/o
8
Rt/o
MONITOR A
L
R
V
DCB
516-38
EDAC
A
E
F
H
J
K
P N ML
R
S
TU
W
Y X
Z
A
A
A
D
A
E
A
F
A
H
A
N
A
M
A
L
A
K
A
J
A
P
A
R
A
S
A
T
A
C
A
B
CANADA
1
L
2
R
3
C
4
S
5
LS
6
RS
7
Lt/o
8
Rt/o
L
R
MONITOR B
V
DCB
516-38
EDAC
A
E
F
H
J
K
P N ML
R
S
TU
W
Y X
Z
A
A
A
D
A
E
A
F
A
H
A
N
A
M
A
L
A
K
A
J
A
P
A
R
A
S
A
T
A
C
A
B
CANADA
Monitor Outputs

19
REC OUT
STEREO
L1
R1
L2
R2
L3
R3
L4
R4
V
DCB
516-38
EDAC
A
E
F
H
J
K
P N ML
R
S
TU
W
Y X
Z
A
A
A
D
A
E
A
F
A
H
A
N
A
M
A
L
A
K
A
J
A
P
A
R
A
S
A
T
A
C
A
B
CANADA
Stereo Recording Outputs

20
1
L
2
R
3
C
4
S
5
LS
6
RS
7
Lt/o
8
Rt/o
REC OUT
M-CH. A
V
DCB
516-38
EDAC
A
E
F
H
J
K
P N ML
R
S
TU
W
Y X
Z
A
A
A
D
A
E
A
F
A
H
A
N
A
M
A
L
A
K
A
J
A
P
A
R
A
S
A
T
A
C
A
B
CANADA
1
L
2
R
3
C
4
S
5
LS
6
RS
7
Lt/o
8
Rt/o
REC OUT
M-CH. B
V
DCB
516-38
EDAC
A
E
F
H
J
K
P N ML
R
S
TU
W
Y X
Z
A
A
A
D
A
E
A
F
A
H
A
N
A
M
A
L
A
K
A
J
A
P
A
R
A
S
A
T
A
C
A
B
CANADA
1
L
2
R
3
C
4
S
5
LS
6
RS
7
Lt/o
8
Rt/o
REC OUT
M-CH. C
V
DCB
516-38
EDAC
A
E
F
H
J
K
P N ML
R
S
TU
W
Y X
Z
A
A
A
D
A
E
A
F
A
H
A
N
A
M
A
L
A
K
A
J
A
P
A
R
A
S
A
T
A
C
A
B
CANADA
Multi-channel Recording Outputs