Studiomaster 16x4x2 User manual

16x4x2 MIXERAPPLICATIONS
LIVE SOUND REINFORCEMENT
The extreme ver~a My 01the 1€x4x2 provides a level of control mo'e than equal
lodemandinglives,Iualions
MULTI TRACK
Inte1acesperlectlywith4\racktransportslorsupefbmu'j'-trackmas1ersas
well aspalching fac;li\ies for 2t,ack mix down
THEATRICAL PRODUCTION
Thf" f~xib,Jtty ,md expandlb'l,ty of the 1$.4.2 allow the theat,;,;:al user mo.a
:haner>oughoptionslordramaticandmusicalpresentaHons
VIDEO POST PRODUCTION
A superb unit for profes~io"al audio results in both the commercIal film and
",deomediurns
PERMANENT INST ALlA TION/CHURCHES'INSTITUTIONS
Mult;~le inpU $ a~,d outputs allow for selective signal distnbut.on fOtmats not
usualtyk'1,mdinordinarymixers
Toc~'_oca:'nf"'mal""".'''''oce"""pa'''are.'''';_
'"<o"gl'.ny."1hor;'edde.lero<represen1a';vewo<i<1_
F",f\.""",~..,.,""tt","""·.S udo"",,,.ter,",eof
p<~,""e"'_ofl"e_essesl;,,,,,~OOIow

Thank you forpurchas'nglheStud'omaster1Sx4x2mixer
The Stud>o master 1h4x2 mixer has been carefully designed tOf .ecord'rlg as well as live pertormanC( mIxing
Ful1hef, this mIXer can be used lor slmunaneous recording ot liH. performances in add'I00I110 ,emixing of mulh·
track master record'ngs. Thismixerhastheflex'bil'tytomootvirtua Ilyanyuniqueaudiositualioounderthemost
strenuous conditions and provide superb aud,ble results. The 16x4x2perf ectlymatchesany4tracl('eoord'I\Q
transport making this board perfect in both home and stud;o recording environments
Read this manual carefully and familiarize yoo~ellwlth'hefeaturesandfurdions beforeoperatong Wesugges1
atwayskeepingth,smanualwiththem'xer.
We at Studiomasler are proud of our mixers and we believe you will t>eequally proud w;th you, purchase
CONTENTS
INPUTCHANNELS1·16
SUSGROUPCONTROlS 1-4
AUXILIARY CONTROLS SECTION
MASTER QUTPUT ANDJ<:jXILLARY 8E-
TURNS
SACKPANElFEATURES
16x4x2 MIXER APPLICATIONS
16.4x2 LIVE SOUND REINFORCEMENT
16.4.2 RECORDING AND MIXING
16.4.2 THEATRICAL PRODUCTION
16x4.2 VIDEO POST PRODUCTION
PERMANENT INST ALLA TIONS
SCHEMA TIC
TECHNICALSPECIFICATIQN
1-. _
1

c ~)
BASS FREQUENCY
BASS CUT BOOST
AUX1 (POST)
AUX 2 PREPOST SWITCH
AUX3(PRE)
SOLO ASSIGN SWITCH
L&A ASS.G~ SWITCH
SUBGROUP
ASSIGN SWITCHES
CHANNEL
FADER
OVERLOAD INDICATOR

Each input channel consists of the lollowing con- 'AUX2
trolsandleature.: Thiscontrol,likeAux 1, isnormatty post ta(/er. Au'2
MIC LINE SWITCH however, is p'o~ided with a pre-fade, sele<:tor switch for
This swilch allows lor any channel fo be used with eifher bussing ot pre-tader sigr1als fa fhe Aux 2 masler secllon
a microphone le~el Olpul (balanced low impedance -200 'AUX 3
ohm) 0' a line le~el input (unbalanced 600 ohm.) lsee The Au,iliary 3 conlrol allows for bussing ot a pre-fader
page 25 Ior details) signaltolheAu,3maslerse{:tionPrefade,signalsare
normallyusedlorstagemonilor,studiotoldbackorcue-
PAD SWITCH
Thisswitchprovidesa20dBpaddirectlytolhemicinput
and 10dB to iine, and can be used to attenuafe high
level signals
The gain control is continuously variable from 1QdBfa
6OdB.Thiscontroideterminesthenominalcharmelsen·
siti~ity by varying the pre amp gain, preserving
maximum head,oom <lnd minimum r.ois"withoutaffec1
inginputsignalsensittvity
The 16x.h2 utilizes the famoos Studio master sem;-
P<lrametricEO.network. TI>e Ireble control network is
an <lctive sI1elving-type high pass filter lunct,oning from
10kHz,provid,nglor16dBboostorcut
Themidrange networkoonsists Of <Icontinuously ~ari·
able frequency control with a sweep of from 200Hz fa
BkHz.Thisiscombinedwith<lseperateg<l,ncontrolpro-
vi(/ing 16dB boost or cut ove' the chosen frequency
"od
The bass r>etwork oonsists of a oontinuOlJsly ~ar;able
shelving frequencyco"trol with <Isweep oTfrom 25Hz
to 350Hz This is combined wilh a seperate gai" control
provid,ng16dBboostorcutonallfrequerICiO 'Sbelowthe
chosencutollpoinl
Thlsswilch ailowst~Et us&r to bypass thEtequalLzallon
network input
Th;scontr~ailowstorbuSSlngolapOstTatI"r$igoalto
rhe Au,iiiary 1 maste, section, Post fader sends are
comn1Of'1iyuse<:: 10' WEt with Etxtemal ecl>o and or "It-
"erbd"~'ces
'(postEa.)
"'9
PAN CONTROL
ThEt rotary postfaderpanconlroldetermonesthEtleft-lo-
right balancEtotthEt signal ooing sEtnt to the outpul bus-
sesll1hechannelsigr'lalissentt01hesubgroupS(I-4j,
thEtoddgroupsarelEtftwhHethEtevenar"righl
'SOLO
The~oswitchallowsthechann"lsignaltob6bus:;ed
atapretaderlevEtilothEtMon'toroutputThissignalca"
be used in a pre~iew Q'cueing application. This signal
automaticallya;JpearsonLEDladder#4
LEFT-RIGHT MASTER ASSIGNMEr,;r
This swilch allOws for bussir'lg Ihe pOst pan slgMb d;-
rectlytothEtletlaod"ghtmasleroutputsectio",s.bypas-
sing the subgroIJPS. This sigr'lal may be used tor posl
production ove'dubblng onrecordiogsT~d'osOffor roul-
ingofsinglesignalstotheprogramOIJtputs:nlive;;-er-
formance<lpphcations
SUB GROUP ASSIGNMENT
ThEtIQursubgroupswilchesallowlorbussingthechar1-
ne1sign<lls to any combination 01su Jgroups s,mutlan-e
ouslySubgroupingisprovidedformu~;·trackrecor(j;ng
or for sub mixing signals g'oups. suCh as drums. during
IivesoundrEtinforcEtmenl
LEDQVERLOAOINOICATOR
ThEtinsetLEDne<ttolhEtchanoolfaoorprOVJdesaV1SU-
al indicalionolthEt chanr,, ssigMI status The LEDfwes
<lt4dBbelowClippingallQwongthEtO(>eratOfIOI<1'oc:N..--I
inadvancelflhenominalsgnallevelO$~a
d,stor1edlev"I.T~.eLED6elec\Orc"=:.>II<5;)OS1~anc
E.C
CHANNEL FADER
The100nvncna.....,.,.,faoo,P'O'<"deSOUIpVIIevelCOt1Ifol
Iromfhecl1anoeltoa lpost adefbusse$. Theraooris
callbfa:edIOfaccuraterel"·"EtIe,,e1ir>dlcat>ans

)
SOLO ASSIGN
1kHz SLATE
SUBGROUP FADER
c. ~)
2T TO MONITOR ASSIGN
TB TO AUX 3 ASSIGN
TALKBACK
AUX 1 AuX 2 AUX 3
[MASTER SENDS]

Eao::h'I,IbllrOl,lP,onsitllsolthefollowingleatl,lres&
Y'w:1ion.:
TAPE MONITOR SWITCH
.•..••••••••switches bussthaincoming muW-tracktapain
;Uslrum the line iIlput jacks on input channels JIffi
:YectIyto the monltorootputs. This allows monito-rfng'1,t
f"t'c1ry signal prior to remim>g or eftects additioo Oflor
'-·tapemooitonng
MONITOR CONTROL
'""emonitore:ontrotbussesthesubgroupoutputtothe
"'~ ,md right master outputs, Addltionall~, the signal is
:>..:ssedc "ectly to the monitor output jacks Iocaledon
Iw rearpaneLTheleft.'rightbalanc;eisrontrolledbyttJe
subgroup pan control (see below)
AUX3
1'-l'> 'subgroupsignalcanbabussedtotheAux3master
~viath'ssendoontroI.Thesignalismonauraland
~postsubgroup ader
AUXILIARY 1, 1 & 3 MASTER SECTIONS
Ead1AuxillaryMasterse<:uonisidenticai.thec illerence
:.e;nglnthec &rivationoltheincomingsignals
rne master control determines the level 01signal avai'
~attherorresporidingoutputiack.Thesoloswitct1
••••• saach auxiliary buss to be Seflt to the solo circuit.
-ne:er#4andthemonitoroulputs
SOLOINOICATOR
~soIoLEDwilllightwhenanysignalispresen1inthe
U;lClfcuit, This;n(licatesthe signal is visually present
~rr-.etef"'4an(laudlblyavailableallhemoniloroulpUl
ZTMONITOR
~ allows bussing ot the incomir)Q 2lracl< signal (Irom
r.e2 track retl,lrn jacksl to the monitor outputs. Th'sal-
Cws tor playbad< monitoring 01remixed tapes, tNJS re-
-..:edtapes can be compared in e.ther·dry"or •••••et·
5:atetorfinaloverdubbing
PAN CONTROL
The pan control determines tl1e lefl-to-right balanooot
the SUbgfOUP signal bussed to the moniloroutpllt and
tnemasteroutputs
SOLO SWITCH
The soloswitcl1sends the subgroopsignal to t 1emoni·
toroutputdirectfy,bypassing the moni\Of send and pan
control
The subgroup fader is a 100mmcontrol provided w;th
dB calibrations lor aCCllrate relative signal indication
This ct"'termines the final signal level available at the
subgroup ootput jack as well as to all post tadersub-
groupbusses
SLATE(I<x:-atedinSubgroup4)
The slate tor.e s.••itch applies a Ik•..•z tone to all 4 sub-
groupssimlJllaneously. Additionall)', this tone may be
bussedtothelell&righlpfogramoUtputs.thus,thetone
may be used tor lining up recordbg equ;or:>ent, slatIng
tapesandsystemcheck--outinti"esoundreinlo~ement
applicatIons
TALKBACK VOLUME ANO ROUTiNG SWITCH
ThetalkbackvolumeOO>1troldeterminestr.elevelolar.y
micsignalwith,nthe~ss.Acress'sviatl'>e)(LRj"put
onthe rear panel (see rear paael teatures). Tharo..obr)Q
switchisamomentarypushbuttonopeningtneta'~ >ack
circuitacresstotheAux3bussoolpUl.Thosallowst:OfTr
munications to the stage monitoring sys1em dIn'1g ~
soundleintorcementortotnetoldbacks~~
recording Thetalk·bad<cirruil.V18Aw:3. mayallCO<I
used as part 01an Intercom sys'emlQronBrC '="£iQ '
d;rectloncommunica\lOn5du".ng~~
situ.a\Jons
MONITORVOlU"'EC~
'Thosdetermoroesthea..e-idleWlala-"a.o;ro..c5l9"'.a.
bussedtothemoMOf~as..elaslhe_1Dne
thecontroldoesnote«ectthelevelofs.q'\al$t>JsSed
totneleft&ng/1IprogramootpUlS

c )
MrDRANGE
AUX1 OR2 RETURN
SOLO ASSIGN (MASTER OUTPUT)
UR ASSIGN (AUX)
SUBGROUP ASSIGNS (AUX)

The left. & right program master sK1ions < Ireldenti·
calinleaturesandfuncti0<15.
EQUALIZATION
The output equ<llization on the program masters con-
sistsolthafollcwingnetwor1<.s:
Treble-shelvirogtypew.th 16dBbooslorcu1al 20kHz
Middle-reciprocalcurve(peak'dip)networkwrth
16dBboostorCUlat1.5kHz
Bass -shelvingtypew'th16dBboostorcutat
20<,
MASTER FADER
The program master faders are dB cahbfated lor accu-
rate relalrve signal levelindicatlOJ"ls. The100mmunrts
controlthefinalsignalbuss<Mtotheprogramlett&right
XLRconnectoro
AUXILIARY 1 & 2 RETURNS
These two networl\s are identical in bolhleatures and
functions. Auxiliary return networks do r'IOtneoossarily
require their inputs to be derived from the correspOnd
Ing auxiliary sends and thus can be driven with any
unbalanc<M line level signal
AUXILIARY LEVEL CONTROL
This determines the amounlol returning signal avalJ-
able for oossing to lhe subgroups and·"orp'ogrs.m out-
puts
PAN
ThisdeterminestheleIHo-rightbalanceolthe'ncoming
signals/Ouledlothevariousbusses
RETURN ASSIGNMENTS
These switchesdete,mine the rouling of the auxiliary
signals (pOst pan & level). The signal may be bus~ed
directly to the lett& righlprogram. subg,eups1 and2
and3and4oral'oltheabove
AC SWITCH AND Pfi..OTLlGHT
The AC swilch energizes the entire console. An -AC on-
condilion is indicated by the red LEDlocaled tOlhe liO'tt
olthisswitch

CHANNEL INPUTS 1-Hi
Each oflhe sixteen chanr1els have the following inpul
connections and accesspoir\ls
MICROPHONE INPUT
MIC level j\ow impedance) sigr\als are int'oduced to the
char\r\elthrough the XLR connecto'. This routes the
sfgnal to the balanced discrete p,eamplifie section
LINE INPUT
linelevelsignal(unbalanced)canbeinsertedviathev.'
phone jack located below each mix XLR
CHANNEL PATCHING ACCESS
allows ir\dividual channel signals 10 fo,
example.toanextemalsignalprocessir.g::levicesuch
as an e<:ho Ordelay unil and 'etumed to the channel for
r\Ormalrouhngtotheoulpufs.Thes\>jackscanbeeasily
modified for post fade, operation for larger multi·lrack
sit\.latiol>s. (See P<lge 1Q Auxiliary Bussing)
AUX1,2 3SENDS
Thea\Jdia'Y send jacks derive signals from their re·
spectivemaslerstmdoonfrofs_Auxser\d 1 is designed
pnmarily for use withextemaf signal processir.g and el-
ectsdeviQessuchasechoordigitaldelay.Aux3isp'Q--
vided primarilyfo'sludiofoldback or live sound stage
monilorfeeds, Auxiliary2,whichisselectableaseilher
a pre or post fader signal buss, may be usedfm eifher
Of the above functioos. depernMg0r11hesrtuationar1dl
or user preference
SUBGROUP LINE OUTPUTS 1-4
These 4 oufpls provide an unbalanced line level sigoal
(+4 dBm level) 10' 4 t,ack recording, The signals avai~
ablea,ederivedposffade,arxfa'ep,imarilydes;gned
for use with 4 frac~ fape machines or for live souod
applicafions requi'ir\g multiple, ir\doperldef1t program
lines.Theseoutputsmayalsobeusedlorbussingsig-
nals 10 extemal devices, SUCh as iimiters. whe'ein ft1e
p'ocessoo s>gnal is returned 10the program outpuls via.
ft1eauxiliary1and2retu,nnetworks
2 TRACK LINE IN (RETURN)
These1/4"phor\ejacksprOVldereturnaccessfor-10dB
sigr\als from 2 track tape machioesforplaybackofmas·
teredfapes, The signals a.re routed fo the Mooilor out-
pulswhenthe2T,ack'10-MDf1itorswilchisdep'essed
LEFT AND RIGHT
MAIN OUTS
__ I _ 4
AC INPUT
AUXILIARY SENDS SUBGROUP LINE
OUTPUTS 1-4

I
i
i
I
I
~
MONITOR OUTPUTS
Thetwo1i4-stereophonejacksarepr<MdedrOld"v,ng
headphones or small, low power speakers (8 ohm jack)
or ruu siza s'udioTeferencemonilOlsjislems (600 ohm
iack).The signals present are idenlicalexcept lorlhe
Ioadrequiremen~anda'edenvedlromthesubgroup
monitor send and pan controls The final evel is deter-
mif'>edbylhemonilormaslercontrol
TALKBACK
This XLR accepts a standard low impedance mK:ro-
phoneloruseasac..eingCl intercomconnectionlothe
Aux30ulputbuss
AUXILIARY RETURNS
The two auxiliary jacks are designed:o accepl line ,""vel
signais for bussing 10the programs or 10Ine SUbgroups
(re erlott1eseCliononFrontPaneIConlrols-Auxiliary
Aet,-,ms). The signals may be returned from the auxil-
iaf)' ser>ds, subgroup sends or from inclependente>< er
nalsources
2 TR~CK LIN : Out
The two Irack tine oui j••ch providea-1OdB signal for
fecording 01rem,xed maslar tapes. Thesignalspresent
are idenl,cal to the main left and right program outpUIS,
CHANNEL INPUTS 1-16
~_ CHANNEL PATCHING JACKS
(DIRECT IN OUT LOOPS)
e.ceptinoutpullevel
PROGRAM OutPUTS - LEFT AND RIGHT
Thesign<llsprese"faI1heprog'amXLRcormectorsa'e
balarn:ed with <InomiMllevel of + 4dBm. These are de-
nved'rom the master sections described in the Front
Panel Features section or this ma'1u<l1. These signals
may be used for live s.ound re,n occement or rortwo
IraCkrecording where professional (+4) ~v€lsare/e-
quired
PHANTOM POWER SWITCH
48v of phantom power is aV<lilableloail micoonr>eCtors
I:tyactuafing the phanfom power sNitch
AC POWER CONNECTION, VOLTAGE SELECTION
ANDFUSEHOlOEA
The 16x4.2 isdesignedlooperale ona~j' 01~ voIlages
at either 50 or 60Hz; l00V, 120V, '220V and 240V. Tho
voll<lge should be se ecled before a::a~hing t~e AC
Pows/cord. The se:eclor can be char.gec b~ It li'1gl'>e
squt.reinsertar' dluming heil1se""JI~ i:theor,;;~rvoi-
tage is afigrwsdwllh the arrOl'l O"lr.e "g~,1 ~a;Je roflhe
holder. The AC is introduc"d ..-;" " Slar,d"n; lEG co~-
nector. TheACfu~,aT2AtypC,i$lQ<;aled;ns;jetrt€
vollage seleclor insert

--~
Since the 16~4~2mixingconso emilybeu$edfor
8 variety of audio mixing applications, it is u-
tremely Impo"anl to fully understand the various
functions which may be required. It is atso impor-
tanllounderslandthelolalaspeclandcapabllilyof
the unit, even those not necessarily applicable 10
the final, Immediate , tup, In order O tea1l2e the
bestformalloranygivensitulltionorapplication
LIVE SOUND REINFORCEMENT
The 16x4x2may be used or live soond re,nlorcernent
ina number o ways. Two examples are shown lor con-
cenorlivemusicsituationsanda hirde'amp~shows
a typical theatrical appl'cation_ Tr.e actual set up
selectedwilldependontheamountandtypeolexlernal
equipment (mics, amps, speakers, elc.) used in lhe
overali syslem as well as other variables such as type
cfve •.•ue, mi~erloca1io"'s.typeofpertormaoce, etc. No
allernplismadel1eretodlctatehnalgai"'ande.Q se
t,ngS'Jfslg" ••: bussing, e.cep by e~ampleforinstruc-
honalpurlJOS( s,asthesedepender"ltorelyo •.•i•.•puttype
and sensrt'vity,sig •.•alcomposit,on,e •.•viro •.•mental con-
di 'o~.5a'XIperscnaltasteCaretulstudyoltl1efollowing
exan.,'es will fesu~ ona Deller understanding of the mix-
ers ",verall adaptability and fle.ibllity
~"mIALINPUTSET-UP
In most applications, a tog>cal,well plam1ed layout of
chanr,eldedi<;ation will ease the mi~ing enginoo'sjob
LivlOsoundengonee"ngoflenrequoresrapidcha •.•gesof
key sell'ngsor groups, thus it is usually Deuer 10gfOup
theleadorcnlicali",pulsnearestlhesubgroupa'XImas'
terront'ols,lesscnlicali •.•puts(lhoserequlfingfe .•..
changes afte, the initialseUi •.•g) arebetlerlehou10ftne
.•'ay and are usually placed away tromlhe SUbgfOUPS
a'XImasters, Groups of inpu1s wh>ch are to be routed
lothesamesubgroupsmaybe~aced,nadjacenlchan'
nels. however, any critical inputs to be routed to that
subgroup maybe isolated near the subs and maslers
tofacilitateeasierchar1ges
Forstart'ngpufposcs,m>clevelsig •.•alsshouldhavea
ga,n setb •.•gof 30 with no p.ad and e.q. Ila1. Line level in·
putsshouldbein i 1iallysetat20withnopadande.qllat
EQ. SE I'ings may De iMlally pertormed by rou ,ngthe
inpulto1haheadphonesvia l1esolobuss.Properm,x·
onglech •.•iques should lesult in the channel tader talhng
betwee •.•·5a •.•d·20o •.•thescale,al1houghnolallsignals
aresoobhgi •.•g'
Whe •.•fonahz,ngthegainandEQ.se tingS,keepinmirtd
the Overload i•.•dicalorfiresat 4dS priortocl,pping, thus
it is often normal tor the LED 10 lire i•.• a sporadic,
mome •.•tarymanner, True overload and dis ortion is in·
dicatedbyastrong,contlnllOus·on"condolion.
AUXILIARY SUSSING
During live performances it is oflen nocessary to assign
various input signals to mul1iple access points 01'bus·
ses. Forth'S reaso •.•, the 16.4x2hasbeendesigned
wl h.2 pnmary busses (Program Lett and Right), 4 sub·
groupbusses(1,.2,3artd4)and3auxiliarybusses (Au~
1,.2and 3) as well as channel patch points. This allows
theoperatorachok:eof10distlibut'on'OIJtesfOl'a •.•yin
comi"'gsignal.lnma"'yapplicationsilmayberequifed
toaddexler •.•ale"ectsorco •.•trolS,suchaSOCho,delay
orlimi~og, 10specitic inpuls. Addi\ionallyit is oflen a re·
quiremenl for the on stage lalent to have a refelence
s'gnalormonrtor.lfthemonrtorSlgnalrequirementsare
slmple,as,nglesernlmaybeadequatea •.•dca •.•begen·
era\ed by routing the necessary signals via the au~ 3
buss.lf a more complex monitor mix is required. the aux
2 send may be assig •.•ed a pre-fader status and a sec
ond,independilntmonitorsig •.•algeneraled
Perhapso •.•e of the moSI crilical factors of high quality
hvepertorma •.•ce rei•.•forcemenl is the addlt>on and mIX
i•.•g ofe.ternal signal processong devices such as re·
verbs. delays, compressors. etc. The Sludiomaster
16x4x2isdesig •.•edI0; •.•terfacewilhvirtuallyalfsuchde
vices capable of using line level;nputs and supplying
tine level outputs (Note: Some elfects devices are de·
s;gnedloruse .••••ithhighimpedanceinpuls;gijals, such
as guitars and ge •.•e,alea high impedanceoutpul sig
na. Such units ale oot directly compatible with the
16.4~.2unlessimpedaocematchingdevioosareused
on the input and output signals.) For etfects which are
10beusedonmu\ 'pleinputsignals,e,g reverbonvo<:·
als,the input signals maybe rouledthroughAux1 as
well as assigned to submasler 1. The retuming"Wef"

signals can be retumed via either the Aux 1 or 2 I"€tums
andassignedlosub1.AJ ematemethodsarealsoavail-
at»e,suchasassignirogtheaboveexampletothemas-
lerptograml ••l1andrighloulpulsd'recl~>orbytaking
thelineootofthesubgrou.pstOdrivetheextemaldevice
and retumiog the signals to Ihe program mas ers. This
lattermethodisespecialfyeflectlVeon$lgnalgroupsre-
quiringcompreSs'onand'orlevellimiting
Some incoming signals may require special effects
which are nol required or des,rable on any o her s'gnal
£Xamp~swo~bellanging on a keyboard, ahar.
mcnizer on a guitar or limiting on a snare or bassdrUfTI
These types o effects can bellSed b;'patch,ng Ihe pro-
1,/ :::r::r:::i: :::~a~ok.t~~i~~~ ~:~~~ ~~ac:~
nectOf as the outpul send,the ring connector as the
input retum and tM sleeve connector as the common
shielclfo< both lines Mating cord assemblias maybe
purchasedorconstructedbytheuS€r.(Notell heneed
arises to route an input signal Iromthechannalwitho<Jt
intarruptlngthenormalsigMltlowlt1roughlhemixe<,
the mating piu" wired as above must have a jumper wire
added between the tip and ring oonnectors. When using
this yp€ of passive slgMI spirt arrangement, care must
be taken to avoid e.cessiveoontrol changes In either
the channel tader 01post tader controls or thoS€ on the
device led by the Spilt signal. Since there is no isolation
controlvariatoons made at either end of the signal path
mayaflec1theothe.-side.)
live Sound reinforcement mi1ingoltenlSaneasiertask
~s,milartypesoflnputsaregrou~togetherarxlOOr)-
trolled as a single s'gnal Examples of Ihis type ot use
wouldbemicrophonesusedondrumklts,harmonyandi
orbackgroundvocalmlcsandmul1'plekeyboardlnputs
,/ As variOuS iI1putsare touted to a subgroup,iI1drvioual
channel levels can be set so as to provide a proper
blendandbalance •••.rthinlhesubgroupmi.,'t,torexam·
ple,theleve otthedrumsneedstoberaisedorloweled
relative to the overall pregram level. Ihe subgroop adef
can be 'e-pos'tloned withouldes roying the balance
Th,s stili alLows lorindrvidualchannets within the grO\Jp
to be taised or lowere< as necessary as that channel
signal strength will change in the sub as well as the
maS1er. Another advantage ot sub-masteflng Ot group-
ingistheabilltytoaudlblyplacethesubgroupsignalrel-
ativetolhemaslerleIHo-rightba'ance.Thisisaccom
plishedviathesubglooppancontrol,whicha1lowsthe
englneertosweepthesubgroupsendloreflect.Bywey
of an example, a par1icular drum passage or solo may
be pennedtofoUow Ihe movemer1tot thedtummer with-
out having to amend or alter the set~ngs 01 the iOO,-
v;duatinp<.Jts
Another benefitot subgrOllpingon the 16x4.2 is the
ability to send the subgroup signals out of the mixer
without;
1.lnterruptlngt.t>esignalffowtolhemesters,or:
2.Theneedtoassignthesubgroupsignaltothe
masters
Thisfle,bihtyaitowstheusertoaddeflectstoatotalsub
group or to conlrol 1he tevel externatiyby WilY ofa limi-
ter. In both instances, the subg'oup Oulpu1 would be
broughtbackintothemixerthtougheitherotthetwoaux
return networks after oolng processed by the exlernaJ
device
MASTER OUTPUTS ·lEFT AND RIGHT
The chiet tunchon ot the master outputs istodetermme
and oontrol the overatl final ou put levels. Additionally
the 16x412 masters are provide< with a three band
equalization netwolktor making adjustments in the slg
nattonality, Wh1telhisE.Q. is nol designed to ehminate
theuseofe.terMlmulti-bandequalizersinthose<lPP '-
catOonsrequiringextensivefif1etuninglorv~atiteroom
environments, it can reduce the amount 01 extemat
changes required, It sl>ould be noted that> white
Stl.ldiomaster-does not produce exlernal equalizat>on
"etworks, we believe many sound systems WQuld be
vastly improve<i by the addition of such devices. Addi
tionatly, the human ear, while extremely sensrtlve, can-
not adequatelyproviOO frequency i-dentiflcahon during
Ihe setup of mu1li·bande.q. netWQrks, thus we equally
be ,evenoprotes$ionalsystemistrulycompletew,thoul
1heinclusionofareal- imeaudiospectrumar>.alyzer
Many tt;gh quaLity equalizers and RTA's lire aV<lllable
and no speeificproduct recommendation ismede or im-
pliedbyStudiomaster

i
i
I
I
L ~
I
TV PICAL LIVE SOUND REIN FOFlCEMENT
Inthise.ample, all 16 inpuls ilre utilized by signaisj'om
the performe's and instruments on stage, Tn.s setup ai-
lowssix:"'eninputslobE'bussedtoanyora.llolthe4
suOgrOL pswhich. In IhlS application, are used as sub'
maslers.Theprogramsignals,leftandright.aredenved
horn the main outputs. This setup allows pre·mi~ing ot
"ario~s;npulswrthinthesubgrocrpsprlOr\otheflnalout
pulconlrols
The t~IOWIf1g system diagfams illuslrate just a few 01
the many s" lups feasible Wtth the 16.4x2. Thesedia
grams use suggested chanN31 ded>cationsfor various
app'ications; you •••. ill undou~tedlyarrive aldifferenl ar-
rangementswhicnrnaysuityulJrparbcularneedsmore
effeclive y. Keep in mir>dsignallevel,equalizationand
bu~,singareasirnportanltotheapplicalionaslhep<oper
cO',ne<;tion. ?Iease refer to the appropfia eapplicalion
sact'ontoradd,lionalinformation
'." '-.
LEAD
VOCAL
MONITOR
SYSTEM
LEAD
GUITAR
(MIC)

Thesignalforasimplestagemooitorsystemisde,i~ed
'rom theaux 3 output. Thes'gr"lal available maybe bus
sede;thefpre·faderorbo h
Individual Cllannels may be patched to e>ternal et1ects
devk:esasshownoninpulschannels3.9.10and11
Tllis allows tile engineer to iso'ate spooflc etfectsto
s'nglecharlnelswhileallow'ngbuss'ng. Vla8UX 1 and
2.ofa 1ych8 1r>elstoadditi0"8Ie><temalelfecfs8sillus·
('ated.Additior"lally.aux1aod2retumsmaybebussed
~
to a 1Y sutlgroup allowing IU '\herblending 01 'Weror
"dry" sigr"lals or the selectlQf1ofoneln plaoo Of :he o1her
lor:;pec,llcprogramportiOl1s
'------

l
In t1islargerlivesystem,additionalinpulchannelpalct1-
iog Osutilized and speci ,c subgroup assignmenlsbe
come morecribcaleveolhoughthechaonelulilization
is the same as the prevIOUS e~ample, Sign'ficant
cI1anges are obv,ous in the oulput area,indical,ng an
enti,ely different approach to tne input oulput matrix as
weilasoutput unction
SIDE FILL
SYSTEM
Prima')' and seconda')' prog'am s'9'18\s are derived
t'omlhe prog'am arnl 2 track outputs, fu",lling a need
loradditional illsignals
Thelhree seperate, irJdependentlyconlrolled 0100110'
signalsarederivedjromaux2and3aswellaslrom
2 TRACK TAPE
fOR PRE POST
SIiOWSVSTEM
CHECK

subgroup 2. Si•.•ee different re e'ence materials are
•.•eededineaeh,Msignmentisdoneviathechannoelaux
sendcontrolsaridbysubgroupassig •.•ment
Au.1isdedicaledtoadigi aldelaywhiehmaybel Sed
0'" instruments and'"of vocals, while subgroup 4,con-
ai•.•ingonlythevocals eedstoane.temal'evero .•••.hich
ORUM (MICS)
is bussed,v,a the retum networl<. direct y to the master
outpu1sectio •.•
Itdeslred,a 2 track tape machine can be added, 3S
shown.forpfeo'~stsystemcheckoutaswellasinter
miss"'n illmate,ial

Fo' multi-lrack recording the basic inpul set\;pis similar
10that used for live sound. The pnmary d,fference ISir'l
Ihe buss assignments, asthe subgroups are now used
asmastersfo';ndividualtracks.thusanys,gnaldesired
ontrackol'1wOuldbeassigne::1orllylOsubgroup#1with
Ihechannelpanturnedallthe"aycounlerclockwiseor
let:. The same appliestoanysignalas~gned only to
trac.k3v;asubgmup:3whiles<gnalstosubgroopsa"d
j'acks2arnl4wouldbapannedhardrightofclocKw'se
Foldback signals tor the periormefS may be generated
in a"y of 3 ways. LrvelQldbackmaybederivedusingthe
au~ 3 semi on each inpu desired in the foldback sys-
I
lem. The same method C<lnba pertormed by using the
au~il:ary3send ~\hesubgroups. husalow'ng:h€ art·
is''.1ohparf'lthers;r1'g'eins1ruments.anentlfegroupol
I :=~~:::=.~.:;;.=
l ",,",""·,,°""'''''''''''0''''00''0"0'0",
Formul(i-Irac~record.ng,thelevelsmaybeadjust(>d
p'''''fotheactualrl''COrd.ngbyuSlngthelkHzslatetone
as an ahgnment reterel'\Ce. Thi$toJle can also be used
to record a slate sfgJlal to ease feloca ion 01 va,ious
startingpoiJl sonlheaclualmu~l-trac~mastertape
4 TAACK TO 2TAACK
Itthemastertapeisa4 t,ack. ""e output from the Ifans·
port should be brought bac~ to Ihe hne inpuls 01chan-
n~s 13,14,15 and 16. These d1annels should be
routedlothe~flaJldnghtprogrammaslers,by·pass.ng
allsubg(oups.TI1etl'''o1rac~mastl'fcanbere-mi'edto
eit"", a ·10dBm tel'el using the 2 trac~ lineouljac~s or
a+4dBmlel'elusingthepo-ogfamXLRoutputs
Playhack of the finis.'>ed 2 track maste, can be accom·
plishedvialhe21'ackl.neinjackswhichmatchlheoul·
pulof-10dBmtransportsorthroughtheaux1and2re
lumjacks which will accepl a + 4dBm level. The 2 tracl<:
line ins route di'ec ly 10 tM program masters while the
aux retumsmay t>e re-routed to the subgroups or the
mastefs.EI1he'methcdallowsaccessinr;thesignalsfor
p;aybacklistenlng
eOR 16TRACK TO 2TRACK
Whenmultilrac~masfersofelther80r16t'ackSarelo
t>e'emixedt02traCk,theoutputsfromtMtapetraM

portshouldbeCQnnoctedI0thelineinputsolt~'nput
channels These inputs may, ,nlum, be rouled directly
to the program outputs, as in the above example,Of
may be submixed using the louI subgroups as d,s-
cussed iI1Ihe previous section on five sound rein orce
mentuseAnysignalorsigMlsroutedlOlhesubgroups
couldthenbebussedlOlhehnaloulputsvialhemonllor
sendandpancontrols
One of the mosf unique fealures otthe Studiomasfer
16x4x2 is the <lbility to immediately <emix 4 track or
larger multi-track tapes_TtIe 16x4x2line;nputsarede
signed to inter1ace w'th most transports wrthout the
ne<::ess,tyo ~rgepatct1baysand'oradaptorsor,equor-
ingwholesaleequipmentcharrges
AsshoWT1inthee.ample,fhechannelinpufsaretully
dedicated to studio signal teeds, allowinge.ternalel
lectsta be added eilher via the channel patch points or
theau.' and 2aocessbusses, The mulli-track1rans·
port rewrd signals are derived from the four subgroup
line outpufs, while the playback signals from the trans-
pon arelerminated al the char>net input line jacks (13·
16),Althoughnotuseddurtngtherecordingofthemulti-
tfacl<master,atwo-trackmasteringmach;necanbebed
to the 2-tracktine inputs and outputs in the same man-
The contr~ room mon,torsystem is driveflfromthe pro-
gram outputs which derive the;r signals v,athe sub-
group monilorsends, This allows the engineer 10listen
toaseperatetrackorgroupsoflrackswh'tehaadphone
mooitonng the same s;gnals or Single channel (via
WOo>
Studiololdbacksignalsforthemus~iansistakentrom
theaux30utpul,withasecoodsystemfedfromthe600
monifOfoulput,Thisallowstheengineertosupply€l1her
"wet"(>r"dry·sigr1< lsforrefer€f1ce.
For recofding themulli-track master, each inpuf is as-
s;gned to the desired SUbgfOUp{S),1heoulpulsQ1which
teed to sJngle Ifacks. During remix, Ihe channels used
are assigned directly to the program Ielland r;ghl mas-
terswhict1 in turn buss to \he correspondU'lg 21rack out-
puts_ By routing back through the inputS,viahne,tha
signal composition ot any track or Iracks maybe altered
and'oraudiblyrelocated
~ayback ot the 2 track master may be accompi'shed
without any alte'ationof the syslem or aSSignments
The ;ncoming SigMls w;1Ibe presemonfyirrtheprog.am
outputsorcanbebussedtothemonltoroutputsaswell

M,xing sound o. tI1eatrical prodl.lClions, which ar€
g'eatlydependentupon~ari"gandp.ovidmgaudlO
cues,.equi.esaconsoleofextremeflexibiiity,suChas
the 16x4x2 T~ ~a.ious styles 01 mi<;.ophones and
pickups used, com~ned with the.r plaCEment, .equire
theengineertoha~ecom~eteequali2atiOl1controlatall
times. The 16x4x2withitssemi-p.arametrice.q. on each
inpu1channelsmeetSlhisrJiflicutlc.iteria
REMOTE
(DRESSING ROOM,
LOBBY, LIGHTING,
ETC.)
"OM
DELAV
In this system, each;npu1 maybe assigned tose~eral
or all subgroups e~enthough all the subs may not be
in use s'multaneously_ This allows 10r pre- settiogof
sceneswh,chmaythenbechangedbyc.oss1adingbe-
tweensubgroups
TO INTERCOM
SYSTEM