Attachment 182110

symphony
Successful recording depends on
careful design, improved switching
operations and an appreciation of
current studio trends and
Features and capabilities.
Ultra low levels of mixing and
inherent noise.
requirements.
Successfulliaison
LN
Absolute minimum of leakage and
cross talk throughout the console.
between ourselves
and studio peisonnel coupled with the
latest technology has produced one of
the finest sounding consoles available
today.· Modern digital recording
practice demands more exacting
console performance whilst satisfying
thè fieed for warmth and c1arity.
These ideals; together with personal
attention form the basis upon which
our range of consoles are designed.
Successful implementation is ours.
Studios and engineers acc1aim our
achievement of excellent sound
Extremely wide bandwidth and
stabie operation.
Exceptional c1arity, minimum of
phasing and absence of colouration.
Flexibility of the console design via
master or local status controls,
listen and safety features.
Sympathetic 5 band parametric and
shelving equalization giving precise
manipulation and subtie control of
the whole audio range.
Fully fitted ADC 19" Bantum patch
bay, 624 jacks minimum on a 40
channel console.
All final console inputs and outputs
are electronically balanced.
quality, extremely low noise and
leakage without sacrifice to
versatility.
Separate fader modules allow fitting
of VCA or moving fader modules.
~-----------
A
LN
symphony
Isymphonyl~
noise
output
ref
range of exceptional sound
quality In Line recording
consoles for music, post
production and mobile
recording facilities which may
include mono, LCRS, stereo
and subgroup channels.
analogu
24 track Itape
machine
Od BV.
- 70 dB
24 to 96 channel. 32 group
recording consoles for tracking
and mixing. May include
moving faders or VCA
grouping and bargraph
metering.
- 80 dB
- 90 dB
Itv
post
A multi-tasking console
providing stereo and LCRS
facilities for recording and
mixing with particular
application to television post
production.
- 100 dB
- 110 dB
TYPICAL NOISE LEVELS
Imobile
SASCOVI
M~KETING
lJROUP
Fax.
Tel.
(416) 420 0718
(416) 420 3946
Local contact
r
L
I
24 to 72 channel, 48 group
consoles with dual microphone
channel modules. 2.5M (8')
standard vehicles will
accommodate a 48 channel
console. A maximum of 96
microphone inputs and 96
monitor returns can be used
simultaneously on a 48 channel
console if the main channel path
is split at the insertion point.
Dual power supplies provide
automatic backup without
interruption to console
performance .
Distributed in North America by;
635 Weyburn Square
PICKERING
Ontario
Canada. L 1V 3V3
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RAINDIRK
AUDIO
BRIDGE STREET DOWNHAM MARKET NORFOLK PE33 9DW
TEL. (44) 01366 382165
FACSIMILE (44) 01366388022
r RAINDIRK 1
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120dB
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CHANNEL INPUTS.
48v m
48v
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PAD
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STANDARD LN 3 IN LINE
CHANNEL MODULE
10
:
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"-:::;:::;;::;:.-
~llINE ~
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9
SET
LVL
lINE:.:.::::.
:.:::":•
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' •....
.A.
LEVEL
~~5 'lt:::::r:'1~2
dB
·_~i\-:):··. 1:
•........
•• ::::::}!::::~
Q
100
•.
0
lINE 2
_3 0 3 6
.A.
The /ïrsl and main line input has a gain range of +/- lSdB and ali input
impcdancc of lOkQ. This line inpul may be replaccd by swilching in the
second line inpul, lhis is conneclcd pre lhe line level gain eonlrol and has
lhe same gain range al lhe fronl panel. An addilional fealure is lhe
provision of a 0 - 14dB 15 lurn pre-sel variabie gain conlrol adjuslcd via
a smal I hole in lhe panel allowing via the L2 switch the instant switching
into circuil ol"any low output signal source.
MON RE·'
MIC GAIN
..::::'
":k.
.......
:.....
:.:..
~200.
3O.1K6
~500
FREQ Hz
..... 00
200
I.tiJx10
fBI] F
30t:::::.:::: 1K6
=rGITI
FREQ
M1
·0
0-.
Hz
inpul and
COMP TO
20_~t,;::;:}
5060
..
70
o
6
3 signal inpul porl,> arc provided, al I balanccd, a microphone
lwo line inpuls for mixing.
M2
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A gain .range of () - 70d13 is givel1 la lhe mierophone input amplifier
which has a nominal balanced inpul impcdance of 3.5kQ. When lhe
allenualor PAD is in circuil lhis impcdance is increascd to 30KQ to
accept synthesii'.ers elc. to bc connecled directly inta the mierophone
input. (The 48v phanlom power would normally be switehcd off during
this particular use of the microphone input) .
PHASE REVERSAL operales IX)slthe microphone/line
input amplil"iers.
5 BAND EQUALIZER
AII conlrols are conlinuously variabie, +/- lSdB of gain is providcd along
wilh a range of 0.5 lo 5 Q conlrol. Frcquency ranges are chosen lo
provide powerl"ul and smooth conl'"OI of lhe audio field. The audio
bandwidlh ol" lhc console is excellenl lhus allowing lhe full I"aeililies of
lhe equalii'.er lo be heard. The equalizer is available lo lhe monitor path
signal as describcd below.
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A wide ranging bass paramelric
shelving response.
C
TREBLE
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BASS::,.
:~:
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30
600
,:~REQ
... I._ 200
FAEQ HZ
'~T::5:!
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30~360
27, Hz
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EQIN
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'AUX 1
-
.
........
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AUX2
'---'
2!ITmO
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10
A seeond paramelric section wilh a more detailcd frequeney sweep
con trol opcrating in conjunelion wilh a x I0 frequeney sealing switeh
enabling preeise conlrol over lhe sensilive area of mid and high
I"requency male rial.
EQ '1'0 MONITOR PATH SWITCHING
The paramelric or bass and lrcble seclions may bc swilchcd
inuependentl y i nlo lhe moni lor palh.
Selcction of EQ 1'0 MONITOR will nol afTccl lhe monilor palh signa!
unlil lhe MONITOR EQ IN/OUT switch is used. A/B of EQ eomparison
of the monitor palh EQ using lhe EQ in/out switch does nol affecl lhe
ehannel palh signal.
TREBLE
This section ha.,>a shelving reslxmse. Because the Symphony console has
an excellenl high I"requency resJXmse the performance of this seclion is
nol curtailcd, a bell lype response al lhesc I"rcqueneies is nol produccd
and lhe darily of lhis imporlanl area of lhe I"rcquency band remains
unallecled by high f"requency loss.
1.:·:·"·:·:·
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';:-:'
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FDR
which may be switehcd
MlD 2
lK6
-
scelion
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AlJX 2'
BA SS
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2_00
The swept ba ..•s eljuali:l.er may bc set to bel! or shelving
response. Wide band con trol may be obtained when uscd in eonjunctionwith the high pass /ïlter. The overall response of the eonsole extends to
61-lz, thcrcforc puri ty am.l ph~L
..•ing of the bass sounu is unaffccteu
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HIGH PASS FILTER
A - 12uB/oclave filter is permanenlly in the ehannel
path and unallccled by the EQ in/out switch.
.-..
.~.
A single lNSERTION POINT may be sc1eeted pre or postthe equalizer.
The insertion point may be switcheu in or out of circuit to judge the
performance or a device .
..
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'AUX 3·
..····
PHE
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ALJX 4 •
fDROg
p~~~D
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8 MONO AUXILlARY SENDS
2 STEREO CUE SENDS
'.e: DO
:::::::,::::::
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AUX
LO
5/6 IN&! 0
FDR
6/8
L
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The auxiliary and cue sends may be switched pre/post either the short or
long rader.
Smal! ycllow and green led's indicate which fader source is bcing used.
One switch route..,>auxiliarie..,> 5/6 simultaneously and another auxiliary
7/K Auxiliary 5/6 level control also sets the send level for auxiliary 7/8,
in this manner the number or mOllo sends is i nere~,>ed to K
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LEVEL
PRED
POST
CUE 1+2
FDRD
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40
·0·
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fM5NEI
Two rurther switches allow the ehanncl to bc muted Vi;'lthe m~ter
and M2 mute lines.
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ISAFE~
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ITAPElo
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A reu illuminatcd switch provides 'SOLO IN PLACE', AFL or PFL as
dictated via master switches at the centre of the console or individually
on cach channel as describcd above. In the AFLlPFL mode the red lamp
n~,>hes.
A green/red LED has a dual rol! in providing visual indication of a signal
levels.
Greater than --40dBV the LED glows green and red for pcak
levels ina preset range or + 12 to + 18u13V.
A Penny and Giles fauer is I(x.:atcu in a separate fader baY. This may bc .
replaced with one or the propriety automation systems.
~O
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SOLO
5 LOCAL STATUS con trol switche..,> allow individualchanncls
to bc
separated from the master status contral or the console.
The SAFE
switch removes the channel rrom the solo in plaee system, a green led
adjacent lo the swi lch i ndicatcs the sare condi tion whether this bc
sc1ecled locally or globally when the whole console would bc in
AFLlPFL
safe moue. If a channcl is in either local or global safe,
pre..,>singthe ehannel solo switch will prouuce an AFL or PFL output al
the monj tors and cause the Solo lamp to l1ash.
A white illuminatcd 'CHANNEL ON' switch mutes the channc1 al lhe
fauer and indudes all aux/eue post rader oulputs.
50
PAN R
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A short rader is provided which is used ror monitoring, the microphone
fader or rOl' sub grouping. At any time the program material on the two
faders nay be reversed \vithout alleeting any olher facility. The mute and
solo switches remain with thcir respcctive monitor and input sections of
the ehannel.
SIG
LN3
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STANDARD LN3 IN LINE,
ROUTING MODULE
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16
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10
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11
12
21
The channel PAN con trol is used to select the odd
or cv en bus .
ST 1 and 2 selects the master stereo busses direct,
these nlixing busses are balanced .
...
-
DIRECT assigns thc channel post fader output
direct to the multitrack input. The routing matrix
may be used to send the channel signal to OTHER
group outputs.
GROUP MIX level adjusts the final overall
bus/group output level to track between infinity
and +5dB.
A snlall ] 5 turn potentiometer is
prov ided to set the group nlix to OdBm at the level
control
centre
position.
Access
to this
potentiometer is through the front panel.
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STEREO 1
8T2
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DIRECT
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CHAN PAN
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GROUP MIX
LEVEL
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MATRIX
48 conventional bus/group outputs are provided.
For smaller applications these may be presented as
32 groups or multiple sub groups.
L-W
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ROUTING
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(!)
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COMPRESSOR
GATE
Comprehensive gate modules are available in either mono or
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O"U~ASE
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0"-:1
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'°0'.
01'01
GA~
stereo fmms for inclusion into thc console situation bctween
thc channcl modules and thc mctcr panels.
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f~~~OW
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10°0'
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10'
G»j-
•0 FAS'
A group of 10 such modulcs maybc mountcd in a 19" rack
mount housing.
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90
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180~O·
200'
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lURE.9tO..D
GATE
tHRE9ta.~4
D'f'NM«:S
0
COMP
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DUAL ECHO RETURN MODULE
ECHO RETURN
A Lhreesection stereo line return input channel having cuntrols for input level, output balance,
3 section fixed frequel1l;y equalizer and ER to the 2 cue groups. Various switches provide for
mono opcration, EQ in/out, AFL, ER on/off and routing to one of the two stereo groups.
A three band equalizer offering bass, presence and treble at fixed frequencies of 80Hz,
2.8KHzand 8 KHz. The con trol range is +/-15d8 in each case. An EQ in/out switch is
provided.
A mono switch combines the left and right inputs.
Outputs from Lhereturn signal are derived post EQ and route via the Cue 1 and 2 pots to the
eue outputs.
ST 112switch selects either of the stereo mixer output busses.
AFL enables a return signal to bc monitored quickly and accurately. The signal source is post
EQ.
A combination of the level and balance controls allow the echo return signal to be precisely
positioned in the stereo mix.
An on/off switch is provided to disconnectthe
signal being routed to the stereo busses.
At the bottom of the modules are momenlary action switches to enable such functions as a
global solo reset of al1 soloed channels, PFLlAFL select, global VU reverse ta change from
meter Ll to LO and vice versa plus 2 spare switches for studio use.
AUXILIARY / CUE MODULE
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AUXILIARY MASTERS
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Each of the 8 auxiliary outputs is provided with a master level con trol and an AFL pushbutlon for
monitoring the signalleaving the console. The LED associatcd with the master AFUSAFE switch
on the monitor module will flash whenever an auxiliary AFL facility is in use. The auxiliary
output is rauted to both len and right AFL busses.
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CUE MASTERS
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Each Cue section is is provided with a master level con trol and an AFL pushbutton for monitoring
the signalleaving the console. Thc LED associated with the master AFUSAFE switch on the
monitor module will flash whenever a cue AFL facility is in use. The stereo image of thc cue
output is reproduced by the stereo AFL system ..
*************
TALKBACK/OSCILLA
TOR MODULE
OSCILLATOR
A six frequency oscillator is provided having a trim con trol and on switch. Oscillator on is
indicated byan LED.
The stereo and multitrack tape machines may be slated to the output busses to check frequency
response and calibration levels. The oscillator on switch and the two slate switches are fitted with
flashing LED's.
TALKBACK
Talkback to the STUDIO and to prc'selected outpUL<;is made via two large pushbuttons. These
may he used simultaneously. Linked to the COMMS switch arc several minor routing
pushbutlons, only those that have been depressed will be in circuit when thc Comms switch is
used. A spare output switch is providcd for a custom facility.
A furthcr switch with an associated flashing LED enables the talkback to he held penTIanently on
which allows for a hands free opcmtion of thc talkback systel11.
Thc contral room monitoring is dimmed whencver the talkback is in use.
The red 'RECORDI~G' light switch is convcnicntly placed immediately above the two talkback
switches. The switch contacL<;arc provided for customer use for use in conjunction with an
extemal'Recording in Progress' red light system. The currentthrough this switch should he
limited to a few milliamperes and a low voltage source, ic. control port of a transistorised relay.
These may he supplied as an option with the console.
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MASTER STATUS
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The operational status of thc console is set via these switches. Thc local switches repcatcd on the
channc1s override the master setting and enable individual channc1s to be used for overdubbing,
track jumping submixing etc.
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Examples of status options arc available drawn in schematic fOnTIand illustrate clcarly thc
arrangement of the circuiL<;for cach status setting .
•
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MONITOR MODULE
PFU AFL CONTROLS
The PFUAFL signal may be routed to a set of external loudspeakers, the signal is automatically
switched to these whenever this facilily is in use and lhe solo safe switch on.
Monitor lo PFUAFL allows a portion of the monilor mix to be added to the PFUAFL
enable a voice or instrument to be within the mix but more promient.
mix to
The monitor dim levc1 is variabIe in the range -25 to -10 dBVU.
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MONITOR SECTION
THREE SETS OF MONITOR LOUDSPEAKERS may he independently selected. The individual
levc1 controls allO\~ loudspeaker levc\s to be balanced so that the engineer may switch safc1y
between loudspeake'f sets when making sound comparisons. Simuftaneous outputs may he used. A
further pre-monitor level send is provided for recording the monilor mix etc., the feed to this
potentiometer is taken to a pateh point in order to use lhe contral as abasic studio playback contro!.
8 MONITOR SOURCES ARE PROVIDED, stereo}, stereo 2 or one of six tape machine outputs.
No damage is caused lo the signal if by desire or accident two or more switches are seleeted
simuItaneously. The output of this source switchbank is metered by a pair monitor meters, these
also automatically monilor the PFUAFL levc1s.
Controls arc provided to MUTE either the left or right output, DIM lhe monitor level and to listen in
MONO mode.
An SOLO SAFE s\\'itch converts the channel and monitor solo systems to an AFL SAFE system. In
this mode a solo button will automatically route a post fader signa} to the monitoring system
WITHOUT muting input or monitor sections of the consolc and thus destroying the recording. A
further switch mounted on an Echo Return module will change the AFL listen mode to PFL.
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STUDIO PLA YBACK
As an option a studio playback monitor section may be added to this module, Refer also to the pre
monitor control above.
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2 pushbullons and a fader arc provided.
Stereo 2 group output may he used in three modes a) as a complctc1y sepamte stereo output
b) switched as a SUBGROUP master inlo stereo group I mix
c) fecding stereo group } output simultaneously wilh stereo} so that CROSS FADES between the
two stereo mixes may be accomplished.
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These illuminated pushbutlons con trol lhe mUling of a channcI or groups of channcIs which are
connecled via lhe individual channcI mute bullons to the muting busses.
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MASTER STEREO 2 SWITCHES
MUTE } A ND MUTE 2
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SYMPHONY
STATUS MODES
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The circuit configuration of each channcl
diagrams. These are the modes available
master status switches or loacally at each
may bc beneficial when setting up mixes
module is describcd in the following schematic
without patching and may be set globally via the
module. Ocaisionally the use of a patch cord
or submixes across separate area of the console.
NOT ES
THE MIX STATUS IS THE MOST DOMINANT.
SECONDARY TO MIX.
ALL OTHER SELECTIONS ARE
FADER REVERSE, (FR) MA Y BE USED AT ANY TIME .. The signals on the short and
long faders reverse their position without altering any other facility. The channel and
monitor switch functions remain in place.
Monitor mute at the channcls is automatically switched on if no status selection has been
made.
REC mode sets the channel to monitor Line input to the tape machine with the microphone
signal passes Via the equalizer and upper pan pot to the rouring matrix.
TAPE mode shifts the monitoring to the tape machine output whilst recording via the
equalizer, upper pan pot and routing matrix.
MIX mode sitches the multitrack tape output via the channelline input 10 the equalizer,
large fader, lower pan pot into cither stereo bus. The SHORT FADER is connected post the
large fader to produce ex tm effects sends via the routing matrix.
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MIX + TAPE switches the short fader to the monitor return jacks of the patch bay in order
to double the mixing inputs. (Note that the moni tor return points are half normalled to the
tape machine outpts).
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Mix + REC sets the channcl into a record mode allowing the channelline input signal to he
recorded via the equalizer and the routing matrix The monitor is set to TAPE INPUT.
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MIX + TAPE + REC sets the channcl into a record mode allowing the channelline input
signal to be recorded via the equalizer and the routing matrix The monitor is set to TAPE
OUTPUT.
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BROADCAST MODE.
REC + TAPE status. The microphone signal passes via the equalizer to the large fader,
lower pan pot to the stereo busses as sclected. A pre fader signal is paralleled via the short
faer and uppcr routing matrix multitrack machine.
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Filler
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5 Band
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Smal/ Fader
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AwclCue
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----------
Cho1ll\ell Group
output 10 tape
Routing Malrix
,
Large Fader
,- -
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Tape Machine
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-./-./-
equalizer
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1
Stereo /
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Stereo /
Stereo 2
,
Record
Signal Routing
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Stereo /
Microphone Amplifier
.5 Band equalizer
Tape MadlÎlU'
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Routing Malrix
MOII
Jack Relum
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,
Large Fader
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BROADCAST MODE
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Standard
48 channel console with producer area and upright patch
USING SHORT MASTER MODULES AND HAVING SMALL KEYBOARD
SPACE
14"
356mm
9" 6"
The central area could include the 2 extreme blank panels to give a 9 module width at the centre (361 mmo 14.2")
Meters 37 to 48
may be replaced with Aux and Cue metering
2889mm
N
~
SAMPLE OF 40 WAY LED BARGRAPH
r:::::J 16
c=J12
r::::::J10
IZ:J 8
c;:]6
c=J 5
r::::::J4
r:::::J3
IZ:] 2
c::J1
r:::J0
r:::J1
c::::J2
r:::J3
c::::J4
r:::J5
c:J6
c:J7
c:J6
r:::J1O
c:J 12
c:J 14
c:J 16
c:J18
c:J20
c:J 22
c:J 24
c:J 26
c:J 28
c:J 30
c:J 32
c:J 34
c:J 36
c:J 36
c:J 40
c::::J
42
c::::J
44
c:J 46
c::::J
46
c:J 50
r:::::J16
c=J12
r::::::J 10
r:::J8
r:::::J
6
1Z:]5
r::::::J4
r:::::J 3
1Z:]2
c::J1 ________
r:::J0
r:::J1
c::::J2
r:::J3
r:::J4
c:J5
c:J6
r=:J7
r:::J8
r:::J10
c:J 1~
c:J 14
c:J16
c:J 18
c:J 20
c:J 22
c:J 24
c:J 26
c:J 28
c:J 30
c:J 32
c:J 34
c:J 36
c:J 36
c::::J40
c::::J42
c:J 44
c:J 46
c:J 5046
CJ
IAUX
t:::J 16
[:::J 12
I:::J 16
1:ZJ10
EZJ 6
t:::J
t:::J
r:::J
c::J
t:::J
EZ:]
7
r:::J 3
IZ::J 2
2
1
2
c::::J 3
CJ4
CJ5
CJ6
CJ
CJ8
CJ10
c:J12
c:J14
CJ16
c:J18
CJ20
7
c:J 22
c:J 24
CJ26
c:J 28
CJ30
c::J 32
c::J 34
CJ36
c::J
IZJ 5
5
3
1
36
c::J 40
CJ42
c::J 44
CJ46
c::J 48
CJ50
10
CZJ 6
r:::J 8
1:::1 7
6
-'E:!
c:J 0
c:J
c:J
1:::1 12
________
1:::1
c::::J 01
c:J
c:J
1
2
c::::J 3
c::::J 4
5
8
c:J
c:J
c:J
c:J
7
8
c:J10
c:J12
c:J14
c:J18
c:J18
8~
c:J
24
c::J 26
c:J28
c:J 30
c::J 32
c:J 34
c:J 36
c:J 36
c:J 40
c:J 42
c:J 44
c:J 46
c:J 48
c::::J 50
21
Each peak meter barg raph consists of 40 led's which illuminate as a
continuous bar. The upper 10 led's are generally red, a choice between
yellow and green is offered tor the remainder to distinguish between the
various outputs trom the console. Pre-set potentiometers are titted tor
alignment and setting the desired signallevel at the zero point.
A jet black plastic overlay is fitted to the tront ot the bargraph having
light grey characters and box outlines. The windows tor the led's are
clear.
..
JACKS 1 - 24
48 CHANNEL PATCH LAYOUT USING 7X 19" x 1U MODULES. 48 JACKS PER ROW.
003000
0 000
B 24
1011
16
22
12
20
14
18
645
89
123
17
13
21
77
22021
15
19
1A
0
SEND
CHANNEllNSERT
2
12
16
14
18
6
89
1
17
13
21
70
24
20
22
19
35000
01011
00
00
045
023
0 1.-DC_.0
00
CHANNEl/GROUP
1E
G
16
20
18
14
645
13
1
23
15
73
222
F 24
12
889
917
19
00
01011
00
03500
02\21
0 1199
CHANNEl TAPE
45
4R
6
4R
72l
IR
2l
4l
CUEIl 2AUXILIARY
OUTPUTS
2R
5R
3R
3
6l
5l
02R
0 0AUXILIARY
.4l
3l
00
00
0 Il HJ06R
II
MONITOR
MACHINE
0
OUTPUTS
RETURN
OUTPUTS
0
INPUTS
0
ECHO
RETURN
MODULE lINES INPUTS
DEVICE
INPUTS
OUTPUTS
ECHO
RETURN
1\
8
I
I8
20
2
12
6
89
18
14
23
13
15
121
573
22
16
417
19
00
00
05 0
01011
0 1Kl24
EXTERNAl
12
10"
8
16
20
22
14
49
20
1
13
23
5
7..3
18
19
21011
521
00
00
0689
017
0500
0 I1NM024
EXTERN
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Al
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EQUIPMENT
INPUTS
0
EOUIPMENT
INPUTS
0
0
JACKS 25 - 48
48 CHANNEL PATCH LAYOUT USING 7X 19" x 1U MODULES, 48 JACKS PEA AOW.
34
44
26
30
32
38
40
28
2
427
3
43
45
33
35
48
42
31
47
39
42.
•A
46
36
33
B·0
0917327
000
00
0
0 25
C
CHANNEL
2526
C
30
38
44
26
34
36
42
28
47
23
4
27
31
4S
45
33
37
39
35
9
1
70
30
D
48
46
40
".0
00
032
00
0 25
44
47
36
40
4S
37
33
26
30
42
34
28
4
23
27
31
39
33
E
F48
00
25
38
32
046
00
035193070
0 25
ILIR2L
44
Ggg
47
45
30
38
40
26
32
34
42
28
2
427
31
37
39
35
9
10
OUT
IR2L
2R
3R
3L
IL
46
36
33
30
3L
048
00
0 25
4R
5L
7R
6R
6L
08R
2R
3R
JO·
2L
l12L
9R
lOR
12R
IIR
lOL
9L
8L
IIL
4l
00
03L
0L0
00
lIL
0 7LSR0
TAPE
46
26
38
40
42
44
30
32
34
47
4
243
4S
31
33
27
35
1
9So
37
3
36
28
39
00
00
0
0 25NM048
10
OUTPUTS
MACHINECHANNELIGROUP
INPUTS
TAPE
MACHINE
IR
STEREO
0
0
0
I
PH ASE
.1
LINES
INPUTS
0
STEREO
I 0 ~.:._~_~
P II l,L
-:'-:::~.:!.:~~_:~_~.~:==H
ECHO MACHINE
RETURN
TAPE
UIPR0 U T2~ U T ~R
0
OUTPUTS
IREQUIPMENT
EXTERNAL
INPUTS OUTPUTS
CONSOLE
STEREO
MONITOR
RETURNS
STEREO EQUIPMENT
TAPE
MACHINE
I
0 00
OUTPUTS
OUTPUTS
IL
IR
2L
2R
IR
2L
2R
IN CHANNEL
OUT
OUTPUT
RETURN
IN PHASE MONITOR
0
MONITORAMP
liPIL INPUTS
3R I
I ST ERE 0 IN S SEN D IS TER EO IN S RE T URN
G,~
4R
26
36
30
32
28
31
33
35
33
5L
2R
3L
2L
27
900
3R
00
4L
034
'0
026L
4l
00
0SR
0 25KL6R
MACHINE
SEND 0
INSERT
TAPE
~!
IL
I
EXTERNAL
IL
EQUIPMENT
INPUTS
0
,/
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CROSS
LlAXIUUU
au
SECTION
VEIW
OF INTEGRAL
PRODUCER/PA
FRONT
PANEL
OUTlINE
PROOUCER
TO
THE
DROP
THROUGH
BOT TOLt OF
AND
THE
AREA
Of PA TCH
UODULE
THIS SECTION IS A VOID
OPEN
BOTTO •••TO ALLOW
TCH
WORKTOP
JO'
LONC
!HC.
ARIIREST
WITH AN
PATCH
CORDS
HANG
OUT
Of
CONSOLE
SYMPHONY
CON~OLE
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