Amek | bb100 series | Specifications | Amek bb100 series Specifications

Amek bb100 series Specifications
BB100
Broadcast Mixer
TECHNICAL MANUAL
A Harman International Company
Serial No:
IMPORTANT
For convenience, write your serial number in the box above and keep this
manual in a safe place. The number can be found on the rear of the product.
This number MUST be quoted in all communications in order to obtain
technical support and spare parts from either the factory or your dealer.
Technical Manual
© Harman International Industries Ltd. 1998
All rights reserved.
Parts of the design of this product may be protected by worldwide patents.
AMEK is a trading division of Harman International Industries Ltd.
Information contained in this manual is subject to change without notice and
does not represent a commitment on the part of the vendor. AMEK shall not be
liable for any loss or damage whatsoever arising from the use of information or
any error contained in this manual or through any mis-operation or fault in
hardware or software contained in the product.
No part of this manual may be reproduced, stored in a retrieval system,
transmitted in any form or by any means, electronic, electrical, mechanical,
optical, chemical, including photocopying and recording, for any purpose
whatsoever without the express written permission of AMEK.
It is recommended that all maintenance and service on the product should be
carried out by AMEK or it's authorised agents. AMEK cannot accept any liability
whatsoever for any loss or damage caused by service, maintenance or repair by
unauthorised personnel.
Part No: MANBB100 Issue 3
Amek, a division of
Harman International Industries Ltd
Langley House, Third Avenue
Trafford Park, Manchester, M17 1FG
United Kingdom
Tel: +44 (0) 161 868 2400
Fax: +44 (0) 161 873 8010
E-mail: amek@amek.com
Web: http://www.amek.com
1-2
Introduction
Issue 3 © AMEK
Contents
© AMEK Issue 3
1
Introduction
2
Installation
3
Power Supplies & Cabling
4
Connectors
5
Modules
6
System Architecture
7
Maintenance
8
Specification
9
Schematics
Introduction
1-3
1-4
Introduction
Issue 3 © AMEK
© AMEK Issue 3
Introduction
1-5
1-6
Introduction
Issue 3 © AMEK
Precautions and Safety Instructions
Caution
For your own safety and to avoid invalidation of warranty, all text
marked with these Warning Symbols should be read carefully!
Please keep this information!
Important information.
Read this before
proceeding.
Hazard or unsafe practice
which can result in severe
personal injury or death.
Cautionary Advice
Important
Please read this manual carefully before connecting the power supplies to the
mains for the first time!
Obey all safety instructions in this manual where marked with any of the above
symbols. Read and understand these instructions before operating the product,
doing any troubleshooting, testing, adjustments or repairs. Failure to comply
with the safety instructions may result in personal injury.
Warning
To avoid the risk of fire, do not expose this unit to rain or moisture. Unplug this
apparatus during storms or when unused for long periods of time.
Caution
The apparatus will operate as a free standing unit without requiring any special
cooling arrangement but should not be allowed to be accidentally or deliberately
covered in any way. Do not obstruct the ventilation slots in the upper and lower
surfaces.
© AMEK Issue 3
Introduction
1-7
Note de Précaution et Sécurité
Précaution
Pour votre sécurité et afin de ne pas interrompre la garantie il est important de
lire attentivement les paragraphes marqués d'un symbole!
Conserver ce document!
Importante information.
Priere de lire avant utilisation.
Hazadeuse ou dangereuse manipulations
peuvent provoquées de graves blessures
ou même la mort.
Note de précaution.
Importante
Ce manuel est à lire attentivement avant de brancher cet appareil pour la
première fois!
Suivre les instructions de sécurité. Lire et comprendre ces intructions avant
l'utilisation de l'appareil ou avant dépannage, essai, ajustement ou réparation.
Ne pas se conformer aux instructions de sécurité peut provoquer de graves
blessures.
Avertissement
Afin d'éviter un risque de feu, ne pas exposer l'appareil à la pluie ou à l'humidité.
Débranchez l'appareil en cas d'orage éléctrique ou si l'appareil n'est pas utilisé
pendant une longue periode.
Précaution
Cet appareil fonctionnera de lui-même sans supplément de ventilation mais ne
doit en aucun cas être recouvert, afin ne pas bloquer les fentes de ventilation
inférieures et supérieures.
1-8
Introduction
Issue 3 © AMEK
Warranty
1.
Amek is a trading division of Harman International Industries Ltd.
End User means the person who first puts the equipment into regular
operation.
Dealer means the person other than Amek (if any) from whom the End
User purchased the equipment, provided such a person is authorised for
this purpose by Amek or it’s accredited Distributor.
Equipment means the equipment supplied with this manual.
2.
If within the period of twelve months from the date of delivery of the
Equipment to the End User it shall prove defective by reason only of faulty
materials and/or workmanship to such an extent that the effectiveness
and/or usability thereof is materially affected, the Equipment or the
defective component should be returned to the Dealer or to Amek and
subject to the following conditions, the Dealer or Amek will repair or
replace the defective components. Any components replaced will become
the property of Amek.
3.
Any Equipment or component returned will be at the risk of the End User
whilst in transit (both to and from the Dealer or Amek) and
postage/shipping must be prepaid.
4.
This warranty shall only be available if:
a)
The Equipment has been properly installed in accordance with instructions
contained in Amek’s manual; and
b) The End User has notified Amek or the Dealer within 14 days of the defect
appearing; and
c)
No persons other than the authorised representatives of Amek or the
Dealer have effected any replacement of parts, maintenance adjustments or
repairs to the Equipment; and
d) The End User has used the Equipment only for such purposes as Amek
recommends, with only such operating supplies as meet Amek’s
specifications and otherwise in all respects in accordance with Amek’s
recommendations.
5.
Defects arising as a result of the following are not covered by this Warranty:
Faulty or negligent handling, chemical or electro-chemical or electrical
influences, accidental damage, Acts of God, neglect, deficiency in electrical
power, air-conditioning or humidity control.
© AMEK Issue 3
6.
The benefit of this Warranty may not be assigned by the End User.
7.
End Users who are consumers should note their rights under this Warranty
are in addition to and do not affect any other rights to which they may be
entitled against the seller of the Equipment.
Introduction
1-9
Introduction
BB100 Hardware
The BB100 Series is a range of compact, high quality audio consoles designed for
broadcast professionals. Although it has been designed primarily for broadcast
use, the BB100 will find numerous applications in other areas where a
cost-effective and flexible audio mixer is required that does not compromise
build quality or performance in the least.
The console is available in 4 frame sizes and can be supplied as drop through
or desktop style chassis. Standard features include conductive plastic faders, 28
segment light meters, Cleanfeeds and Fader Starts. The professional standard
interface provides electronically balanced inputs together with Stereo, Auxiliary,
Cleanfeed and Group Outputs.
Console Size
BB100 Series – 14 Position Console
BB100 Series – 22 Position Console
BB100 Series – 30 Position Console
BB100 Series – 38 Position Console
Main console features include:
q Mono Input modules
q Stereo Input modules
q Up to 4 Cleanfeeds with 4 Cleanfeed Outputs
q Up to 4 Stereo Group Returns
q Up to 8 Audio Groups
q 8 Auxiliary Sends
q Comprehensive Monitoring
q Comprehensive Metering
q Soft Mutes
1-10
Introduction
Issue 3 © AMEK
© AMEK Issue 3
Installation
2-1
Contents
Installation . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-3
Power Supplies . . . . . . . . . . . . . . . . . . . . . . . . . 2-3
EMC Precautions . . . . . . . . . . . . . . . . . . . . . . . . 2-7
BB100 Chassis Dimensions . . . . . . . . . . . . . . . . . . . 2-10
2-2
Installation
Issue 3 © AMEK
Installation
Before disposing of the packaging, check that all
expected items are present and correct. Refer to
the enclosed packing list!
Power Supplies
Three different types of power supply unit may be used with BB100 consoles.
The type supplied depends on the console size and the date it was built.
The PSU 300 and the MPS 20 are switch mode supplies whilst the MPS 5 is a
linear supply.
Note: - Always use the Power Supply which is supplied with the Console.
Positioning the Power Supply Unit(s)
All the PSU are designed for installation in a 19” rack unit. Adequate ventilation
should be provided for the PSU with an unrestricted air flow through the unit.
The air intake and the outflow holes must be inspected regularly and cleaned if
necessary to maintain good airflow through the unit. This will be particularly
important if the unit is used in a dusty environment. The PSU300 draws air
through the top of the unit and is expelled through the left and right sides.
The MPS 5 draws air through the rear of the unit and is expelled through the
front panel.
The MPS20 draws air through the rear of the unit and is expelled through the
left side.
All power units should be placed close enough to the console to use the
standard 8 metre DC power cables. Avoid placing the units close to other
sensitive audio equipment to reduce the risk of hum pickup from external stray
magnetic fields e.g. mains transformers.
© AMEK Issue 3
Installation
2-3
Checking and connecting the power units
BEFORE connecting any power units to the chassis, follow the procedure
below:
WARNING:
THIS APPARATUS MUST BE EARTHED.
Use the terminal provided on the rear of the chassis if necessary and connect it
to the technical ground for the installation. DO NOT disconnect the safety earth
from the AC mains cords.
q Make sure the AC operating voltage settings are correct for the local
mains supply.
(Refer to the power supply section of this manual if necessary).
q Use the moulded IEC power cords provided with the console or by the
distributor.
q Connect all power units to the local mains supply. DO NOT connect
the DC cables to the chassis at this point.
q Switch each unit ON in turn and check that all the power rail LEDs on
the front panels illuminate properly.
STOP IMMEDIATELY if any LEDs fail, TURN OFF the power unit and
refer to the power supply section of this manual. DO NOT attempt to
use this power unit until the fault has been rectified.
q If ALL power unit LEDs illuminate correctly, TURN OFF all power
units and connect the DC cables between the power units and the
chassis.
q TURN ON all power units again and check that the power supply
LEDs illuminate properly and that the VU lamps are ON.
STOP IMMEDIATELY if any LEDs or lamps fail, TURN OFF the power
units and rectify the fault before proceeding further.
If all above steps are healthy the console can be safely powered up.
WARNING:
Always switch off the Power Supply Unit OFF before connecting
or disconnecting the Console.
NEVER remove modules while the PSU is ON
Avoid using the console close to magnetic fields such as video monitors and
power supply units as this will cause degradation of the audio performance of
the console.
Mounting
Diagrams showing sizes of the consoles are shown at the end of this Chapter.
The design of the BB100 console is based on long established audio principles
but uses the latest technology to produce its outstanding performance. Only
when the console is carefully installed in accordance with our recommendations,
will you obtain the best results. EMC precautions are described at the end of
this chapter.
2-4
Installation
Issue 3 © AMEK
Earthing
The most reliable earthing system is to have only one point to which all
equipment is earthed. It is essential for safety that all mains powered equipment
in the system has a mains (safety) earth connected. This is especially important
on computers with an internal power supply. Connecting a non earthed
computer to the console can cause serious damage.
Clean Earth
The console has an external M4 stud, for a clean or ‘technical’ earth to be
connected. This stud is located on the rear panel of the console. The incoming
technical earth should be connected to this star point; the incoming cable should
be terminated in an M4 eyelet. In the best installations, a clean earth is provided
from a specially constructed earth rod system. Use of the console’s earth
terminal is preferred whenever possible, but if there is no clean technical earth,
an adequate earth can sometimes be provided by the console’s power supplies.
These have a limited earth via a resistor/capacitor network. The lack of a clean
earth is especially likely to cause noise problems.
Earth loops
Earth loops occur whenever a piece of equipment has two connections to earth.
This can happen if there is an earth through the mains lead and a second one
through a cable screen to another piece of earthed equipment. This may cause
hum and other problems. Always avoid earth loops in the system wiring.
If you have earth loops in your installation, they must never be ‘solved’ by
removing safety earth connections.
Microphone Cables
All microphone and line level connections in the control room and studio should
be wired using a high quality twin screened cable. The screens of the cables
should be connected to one ground only. With microphone inputs this is not
difficult as microphones do not normally have any ground connection other than
the one through the cable. It is therefore correct and essential that the
microphone cables have the screen connected at both ends.
Wiring Conventions
Amek uses the standard XLR wiring convention on all consoles. Not all
equipment uses this convention so check your wiring to prevent any phase
reversals. See Table below for wiring convention.
Pins
© AMEK Issue 3
Pin 2
HIGH (HOT) +
Pin 3
LOW (COLD) -
Pin 1
SCREEN (GROUND)
Pins
¼ Inch Jack Plug
Tip
HIGH (HOT) +
Ring
LOW (COLD) -
Screen
SCREEN (GROUND)
Installation
2-5
Signal Levels
The BB100 has been designed to operate with a wide range of studio
equipment. All input and output levels are therefore suitable to match +4dBu
systems and the meters are calibrated to read “0” for output levels of +4dBu.
The meter trim controls can allow the meters to be adjusted to read “0” for
output levels of +6dBu.
Refer to Chapter 8 (Specifications) for details of input / output levels.
Module Removal
Never remove or insert modules or any system parts when the power are
switched ON.
Maintenance
All maintenance and repair work should be carried out by a qualified and trained
technician. Failure to do so may invalidate the product warranty. Refer to the
warranty information in Section 1 of this manual.
2-6
Installation
Issue 3 © AMEK
EMC Precautions
Introduction
EMC (electromagnetic Compatibility) is the ability of equipment to function
correctly in locations where electromagnetic interference is present.
Examples of electromagnetic interference are Radiated Interference
e.g. from local broadcast transmitters, mobile phones Conducted interference.
This can be introduced into console signal, mains, or dc power cables when they
are located close to cables for electrical plant which contain “spikes”
Electrostatic discharge. e.g. the shock you can get when touching a piece of
equipment after walking on a nylon carpet. EMC precautions are common-sense
measures, which should be carried out, in any quality audio installation.
For good EMC performance, the console must be installed in accordance with
our recommendations.
Giving some thought to EMC at the planning stage can provide protection,
which costs very little.. Interference field strength diminishes with distance, so
locate audio equipment far from strong emitters such as fixed radio, TV or radio
transmitters and industrial equipment such as welders, RF furnaces
Console shipping and storage
During shipping, and if the console is stored before installation, it must be kept
dry. Corrosion on metal parts can drastically reduce EMC performance.
EMC Environment
The console is designed to be installed in a “Commercial / Light Industrial”
environment.
Mains supplies
The console is designed to be used in an environment, which is protected
against mains-borne transients, and no console cabling should be routed in the
vicinity of power cables carrying switched high current loads. Supply mains
power for the studio equipment from separate phases or better still from
different distribution transformers.
RF immunity
When exposed to a field of 3 volts / metre (European Standard), a loss of
performance may be noticeable. Typical field strength from mobile phones or
nearby communications transmitters is usually substantially less than this level.
Field strengths of up to 10 V/m can be encountered within 20m of amateur
radio transmitter and performance degradation may be noticeable in these
conditions. If the console is to be sited close to strong radio frequency sources,
such as a broadcast transmitter, please contact the factory.
Static and furnishings
The degree of inconvenience caused by a ‘click’ is very subjective, in many cases,
a single transient can be ignored. If there are any circumstances where this is not
acceptable, the first step should be to remove the possibility of static generation
by selection of furniture and flooring materials, humidity control and other
anti-static procedures. In low humidity climates, extra static precautions may be
required.
© AMEK Issue 3
Installation
2-7
Do-it-yourself testing
You can do a simple check of the local electromagnetic environment using a
radio or television, or, better, an all-wave ham radio or scanner.
Antennas and receivers for wireless microphones
The antenna of the receiver for a wireless microphone is very sensitive to rf.
Because the frequency bands allocated to wireless microphones differ greatly
among CENELEC countries, it is not possible just to specify very low emission
limits over a particular frequency range. Nor is it economic to design equipment
to have very low emissions over the whole range required for all CENELEC
states (31,6 to 1000 MHz). Care must therefore be taken with the location of
the antennas and receivers.
Installation cables - type and location
Amek consoles are designed to have good EMC performance, but a poor
installation can easily negate this.
Type of cable
For best EMC performance, audio circuits should all be wired in twisted-pair
screened cable. Twisted pair cables should have a tight twist (20 twists per
metre or better). The screen of audio cables should have good coverage.
We recommend a double lapped screen with lapping in opposing directions.
Copper screens are preferred over conducted plastic because they provide
effective screening over a wider frequency range. If AC magnetic fields are likely,
use star-quad cable, and route them as far as away as possible from the fields to
minimise hum pickup.
Location of Cable
Audio cables should be routed in metal ducts where possible. This is especially
important in an environment, which contains high RF fields. Pickup of RF fields
can be reduced by routing cables so that they “cling to” large ground plane areas
such as equipment racks or steel-reinforced concrete floors. Separate trunking
should be used for (a) Console signal cables (b) Mains for the console, and (c)
Power cables carrying switched high current loads. Don’t use cables longer than
necessary. Coiling of excess length is a bad idea.
Connectors - type and termination of cables
Mating connectors should have a metal body and the cable screen should be
connected to the connector body.
Termination
When terminating cables, the hot, cold and screen wires must be kept as short
as possible inside the connector. ‘Pigtails’ should not be used for the cable
screen connection.
High RF fields
Cable screens should normally be terminated at one end only. However, if a
high RF field is present in the installation, try connecting the screen at the tied
back end via a high quality 0.01uF capacitor. In extreme cases, you may need to
parallel several capacitors of different values, this is to compensate for
resonance in the capacitor.
Jackfield cords
These should be less than 1m long
2-8
Installation
Issue 3 © AMEK
Connecting unbalanced equipment
Equipment with unbalanced audio ports should be avoided or used with one of
the many “unbalanced-to-balanced” interface boxes" available. If it is unavoidable
to use unbalanced equipment, it must be wired in twin-screened cable. In this
case, unbalanced inputs are worse than unbalanced outputs.
EMC precautions during Maintenance
Mixer panelling
To maintain good immunity to an electrostatic discharge or rf field, metal panels
should be kept on the console at all times. All screws should be fitted and should
be kept tight.
Service staff should be made aware of this.
Modifications by the console’s owner
Modifications to the console can easily reduce the effectiveness of the console’s
EMC.
If any changes are made, the person who made them becomes the “owner” of,
and therefore responsible for, the console’s EMC performance.
© AMEK Issue 3
Installation
2-9
BB100 Chassis Dimensions
BB100 Chassis Dimensions
14 Position Frame - 483mm
22 Position Frame - 726mm
30 Position Frame - 969mm
38 Position Frame - 1212mm
6mm
PUSH
PUSH
PUSH
PUSH
PUSH
PUSH
PUSH
PUSH
14 Position Frame - 431mm
22 Position Frame - 674mm
30 Position Frame - 917mm
38 Position Frame - 1160mm
594mm
127mm
166mm
249mm
536mm
2-10
Installation
Issue 3 © AMEK
© AMEK Issue 3
Power Supplies & Cabling
3-1
Contents
Power Supplies & Cabling . . . . . . . . . . . . . . . . . . . 3-3
Mains Lead Connections. . . . . . . . . . . . . . . . . . . . . 3-3
Supply types & Description . . . . . . . . . . . . . . . . . . . 3-4
Technical Specifications . . . . . . . . . . . . . . . . . . . . . 3-7
Connector Pinouts. . . . . . . . . . . . . . . . . . . . . . . . 3-9
Output Voltage Adjustments - PSU 300 . . . . . . . . . . . . . 3-10
Output Voltage Adjustments - MPS 5 . . . . . . . . . . . . . . 3-11
Output Voltage Adjustments - MPS 20 . . . . . . . . . . . . . 3-12
3-2
Power Supplies & Cabling
Issue 3 © AMEK
Power Supplies & Cabling
WARNING:
THIS APPARATUS MUST BE EARTHED.
WARNING:
It is important that a console is never left connected to a defective PSU.
This may cause serious damage to the console.
WARNING:
The power cord must be disconnected before removing cover plates. The
power supply MUST be earthed. Under no circumstances should the mains
earth be disconnected from the power supply unit. Lethal voltages are present
on the printed circuit boards. Do not operate the unit with the top cover
removed.
Mains Lead Connections
FOR UK USER ONLY
All mains leads must have the green/yellow wire connected to mains earth. The
cores of the lead are colour coded:
Brown = LIVE
Blue = NEUTRAL
Green / Yellow = EARTH
As the colours of the wires in the mains lead may not correspond with the
coloured markings identifying the terminals in your plug, proceed as follows.
q The wire which is coloured Green and Yellow must be connected to
the terminal in the plug which is marked with the letter E or by the
Earth symbol.
q The wire which is coloured Blue must be connected to the terminal in
the plug which is marked with the letter N or coloured Black.
q The wire which is coloured Brown must be connected to the terminal
in the plug which is marked with the letter L or coloured Red.
Never remove any green/yellow earth connections. If you have earth loops in
your installation, they must never be ‘solved’ by removing safety earth
connections. The IEC connector is supplied, moulded to the mains lead and
should not be rewired.
© AMEK Issue 3
Power Supplies & Cabling
3-3
Supply types & Description
Three different types of power supply unit may be used with BB100 consoles.
The type supplied depends on the console size and date it was built.
The PSU 300 and the MPS 20 are switch mode supplies whilst the MPS 5
is a linear supply.
There are no user serviceable parts in the units. In the event of failure for any
reason, the switched mode module should be replaced with a spare and the
faulty module returned to AMEK for repair or replacement subject to current
warranty conditions. All switched mode modules must be fitted by qualified and
approved technicians.
Console Size
PSUs Supplied
BB100 – 14 Position
Console
PSU 300 / MPS 5
BB100 – 22 Position
Console
PSU 300 / MPS 5
BB100 – 30 Position
Console
MPS 20
BB100 – 38 Position
Console
MPS 20
Main Voltage Selection
PSU 300 / MPS 20
The MPS 20 and the PSU 300 are auto-ranging units and do not require any
adjustment for the mains input. The supply ranges for the correct operation are
90v – 254v AC @ 47 – 63 Hz.
MPS 5
Do not change the voltage setting without first turning the unit off and
removing the mains lead.
The MPS 5 mains input has to be selected for the level of local mains voltage
supply. The supply may be preset at the factory for your mains voltage but this
must be verified before switching on or serious damage may result. Amek
cannot accept responsibility for failures caused by wrongly adjusted power
supplies. Voltage selection is achieved by positioning the fuse carrier so that the
required voltage appears next to the arrow which is moulded in the connector.
In this way the unit is set up for operation at one of the following ranges of
mains supply.
Nominal Voltage
Operating Voltage Range - MPS 5
(+10/-15%)
3-4
Vrms AC
Vrms AC
230
196 - 253
115
98 - 126
100
85 - 110
85
73 - 93
Power Supplies & Cabling
Issue 3 © AMEK
Replacing Mains Fuse – PSU 300 / MPS 5
WARNING:
To avoid risk of fire use the correct value fuse as indicated on the units.
Switch the ON/OFF switch to the OFF position. Remove the mains lead from
the connector. Use a small screwdriver to prise the fuse carrier from its location
in the connector. Check the fuse and replace if necessary. In the event of
repeated failure of the mains fuse consult the AMEK dealer from where the unit
was purchased.
Note: The MPS 20 is not fitted with an external fuse, each switched mode
module is locally protected.
Location and Cooling air
All the PSU are designed for installation in a 19” rack unit Adequate ventilation
should be provided for the PSU with an unrestricted air flow through the unit.
The air intake and the outflow holes must be inspected regularly and cleaned if
necessary to maintain good airflow through the unit. This will be particularly
important if the unit is used in a dusty environment.
The PSU 300 draws air through the top of the unit and is expelled through the
left and right sides.
The MPS 5 draws air through the rear of the unit and is expelled through the
front panel.
The MPS 20 draws air through the rear of the unit and is expelled through the
left side.
Magnetic fields
Magnetic fields are radiated from all power supplies and this provides a further
reason to allow space above and below the PSU. Care should be taken not to
place items of equipment, which are sensitive to magnetic fields close to the
console power supply.
DC Cables
Consoles are supplied with eight metre DC connection cables. Every effort
should be made to site the power supply within this distance from the console
as extending PSU cables is not recommended. If a longer cable must be
substituted please bear in mind the following factors.
The cable must be of at least 5mm² cross section for each conductor and under
no circumstances should the length exceed 12 metres. Console performance
may be unaffected by extended PSU cables but it should be noted that the
specification is only guaranteed when the cables supplied with the console are
used.
Earthing
The most reliable earthing system is to have only one point to which all
equipment is earthed. It is essential for safety that all mains powered equipment
in the system has a mains (safety) earth connected. This is especially important
on computers with an internal power supply. Connecting a non earthed
computer to the console can cause serious damage.
© AMEK Issue 3
Power Supplies & Cabling
3-5
Clean Earth
The console has an external M4 stud, for a clean or ‘technical’ earth to be
connected. This stud is located on the rear panel of the console. The incoming
technical earth should be connected to this star point; the incoming cable should
be terminated in an M4 eyelet.
In the best installations, a clean earth is provided from a specially constructed
earth rod system. Use of the console’s earth terminal is preferred whenever
possible, but if there is no clean technical earth, an adequate earth can
sometimes be provided by the console’s power supplies. These have a limited
earth via a resistor/capacitor network. The lack of a clean earth is especially
likely to cause noise problems.
Earth loops
Earth loops occur whenever a piece of equipment has more than ONE
connection to earth. This can happen if there is an earth through the mains lead
and a second one through a cable screen to another piece of earthed
equipment.
This may cause hum and other problems. Always avoid earth loops in the system
wiring. If you have earth loops in your installation NEVER resolve them by
removing safety earth connections.
3-6
Power Supplies & Cabling
Issue 3 © AMEK
Technical Specifications
Mains Input Voltage
Range
PSU 300
90v – 254V AC @ 47 – 63 Hz
MPS 5
85/100/115/230V AC @ 50 – 60 Hz
MPS 20
90v – 254V AC @ 47 – 63 Hz
Rated Input Power
PSU 300
380 watts
MPS 5
450 watts
MPS 20
700 watts
Mains Fuse Rating
PSU 300
Use T8A/250V (slow-blow) for 90 - 132V
Use T8A/250V (slow-blow) for 180 - 254V
MPS 5
Use T3.15A/250V (slow-blow) for 230V
Use T6.3A/250V (slow-blow) for 85/100/115V
MPS 20
N/A No External Fuse Fitted
Output Capacity
PSU 300
±17.5v @6.5 Amps
48v @ 0.35 Amps
MPS 5
±17.5v @5.25 Amps
48v @ 0.3Amps
MPS 20
±17.5v @15 Amps
48v @ 0.5 Amps
O p e r a t i n g
Temperature Range
(Ambient)
© AMEK Issue 3
PSU 300
-10 to +40C.
MPS 5
-10 to +40C.
MPS 20
-10 to +40C.
Power Supplies & Cabling
3-7
Overall Dimensions
PSU 300
MPS 5
MPS 20
Height. (exc. Feet)
133.50mm (3U)
Width
482.60mm
Depth. (exc. Connectors)
103.50mm
Height. (exc. Feet)
88.10mm (2U)
Width
482.60mm
Depth. (exc. Connectors)
350.50mm
Height. (exc. Feet)
133.50mm (3U)
Width
482.60mm
Depth. (exc. Connectors)
400.00mm
Weight (Exc. Packing)
PSU 300
5Kg
MPS 5
11Kg
MPS 20
15Kg
Note: All Voltage and Current measurements are taken at the console end of
the power supply cable.
3-8
Power Supplies & Cabling
Issue 3 © AMEK
Connector Pinouts
Pin
Voltage
PSU 300
Pin 1
0v
Pin 2
+17.5V DC
Pin 3
-17.5V DC
Pin 4
48V DC
MPS 5
Pin A
AGND (0V)
Pin B
AGND (0V)
Pin C
+17.5V DC
Pin D
-17.5V DC
Pin E
+5V DC
Pin F
+48V DC
Pin G
DGND
Pin H
Chassis GND
MPS 20
© AMEK Issue 3
A
+48V DC
B
0v (±17V & 48V DC) AGND
C
0v (±17V & 48V DC) AGND
D
+17.5V DC
E
+17.5V DC
F
-17.5V DC
G
-17.5V DC
H
CGND (±15VGND)
J
+15V DC
K
-15V DC
L
DGND
M
DGND
N
DGND
P
DGND Sense
R
+5V DC
S
+5V DC
T
+5V DC
U
+5V DC Sense
V
N.C.
Power Supplies & Cabling
3-9
Output Voltage Adjustments
The voltage adjustment presets are adjusted during manufacture and should not
need resetting unless major repairs have be done to the units. The adjustment
trimmers for each PSU are shown in the following diagrams. Any adjustment
should be checked with the unit on load.
Note: Only an insulated trimmer tool should be used before making any
adjustment.
Note: There are no user trimmable controls on the PSU 300 except for a
for a voltage adjustment on the 5v output. This is accessed through a small hole
in the rear panel.
Note: The BB100 does not use the 5V rail on the PSU 300.
3-10
Power Supplies & Cabling
Issue 3 © AMEK
Output Voltage Adjustments - MPS 5
© AMEK Issue 3
Power Supplies & Cabling
3-11
Output Voltage Adjustments - MPS 20
Mains Switch
LED Control Card
+17v ADJ
+5v ADJ
-15v ADJ
+15v ADJ
-17v ADJ
+15v
0v (±15v)
-15v
+17v
0v (±17v / 48v)
-17v
+5v
0v (+5v)
+48
48v Card
+Sense (+5v)
Mains Filter
-Sense (+5v)
Filter Card
Output Connector
Mains Input
90 - 254v AC
@ 47 - 63Hz
700 WATTS
3-12
Fan
MPS20 Overlay Diagram
Power Supplies & Cabling
Issue 3 © AMEK
© AMEK Issue 3
Connectors
4-1
Contents
Connections. . . . . . . . . . . . . . . . . . . . . . . . . . . 4-3
Back Panel Layout 4 Group . . . . . . . . . . . . . . . . . . . 4-4
Back Panel Layout 8 Group . . . . . . . . . . . . . . . . . . . 4-5
Fader Starts / Monitor Logic / Remote Mutes . . . . . . . . . . 4-6
56 Way I/O EDAC Connections . . . . . . . . . . . . . . . . . 4-7
Power Supplies . . . . . . . . . . . . . . . . . . . . . . . . . 4-8
4-2
Connectors
Issue 3 © AMEK
Connections
All the main audio inputs and outputs are located on the back panel of the
console. The Mic inputs are balanced and are via 3 pin female XLR connectors.
Inputs and Outputs are electronically balanced excluding the send, which is
Ground Compensated. The headphone output is located at the front of the
console and is via a stereo ¼ inch jack socket.
Audio Connectors
PUSH
Power Connectors
PUSH
PUSH
PUSH
PUSH
PUSH
PUSH
PUSH
Fader Starts / Remote Mutes
Connectors
Rear view of console (14 Position)
Wiring Conventions
Amek uses the standard XLR wiring convention on all consoles. Not all
equipment uses this convention so check your wiring to prevent any phase
reversals. See table below for wiring convention.
© AMEK Issue 3
Pin
XLR
Pin 2
HIGH (HOT) +
Pin 3
LOW (COLD) -
Pin 1
SCREEN (GROUND)
Pin
¼ Inch Jack Plug
Tip
HIGH (HOT) +
Ring
LOW (COLD) -
Screen
SCREEN (GROUND)
Connectors
4-3
4-4
Right O/P
Connectors
EARTH Post
56 Way I/O EDAC
COMMS
RET
2
Send
2
GRT
2
O/P
2
RET
3
Send
3
GRT
3
RET
4
Send
4
GRT
4
RET
L
Send
L
ST Ret
L
RET
R
Send
R
ST Ret
R
Power Input Connectors
Mic
PUSH
Line
Direct O/P
Send
Return
Fader Starts
Monitor Logic
25 Way Female D Type
A
R
Line
R
Line
O/P
1
B
L
Line
L
Line
GRT
1
R
Ret
L
Send
L
Ret
R
Send
R
Ret
L
Send
L
Ret
Stereo Channels
Group 1
R
Send
Send
1
RET
1
Aux
5
Aux
1
Group 2
Clean-Feed
Aux
6
Aux
7
Aux
2
Aux
8
Aux
3
Aux Sends
Group 3
SPK 1
L
Aux
4
Group 4
SPK 1
R
Left O/P
Mic
PUSH
Line
Direct O/P
Send
Return
Send
Return
Mic
PUSH
Line
Direct O/P
Fader Starts
Remote Mutes
15 Way Female D Type
Mic
PUSH
Line
Direct O/P
Send
Return
BB100 4 Group Back Panel
Mic
PUSH
Line
Direct O/P
Send
Return
Mic
PUSH
Line
Direct O/P
Send
Return
Fader Starts
Remote Mutes
15 Way Female D Type
Mic
PUSH
Line
Direct O/P
Send
Return
Mic
PUSH
Line
Direct O/P
Send
Return
Back Panel Layout 4 Group
Issue 3 © AMEK
© AMEK Issue 3
Connectors
RET
4
Send
4
GRP
4
RET
5
Send
5
GRP
5
RET
6
Send
6
GRP
6
RET
7
Send
7
GRP
7
RET
8
Send
8
GRP
8
Insert
Insert
GRP O/P
EARTH Post
Power Input Connectors
GRT
4
GRT
5
GRT
6
GRT
7
GRT
8
GRP Ret
Aux
4
L
Send
Aux
5
R
Ret
Aux
6
Clean 3
R
Send
Aux
7
Clean 4
ST Ret
L
Aux
8
Left O/P
ST Ret
R
Aux Sends
Right O/P
56 Way I/O EDAC
COMMS
SPK 1
R
GRT
2
RET
2
Send
2
GRP
2
GRT
3
RET
3
Send
3
GRP
3
Aux
2
L
Ret
Aux
3
Clean 2
Mic
PUSH
Line
Mic
PUSH
Line
Direct O/P
Send
Return
Mic
PUSH
Line
Direct O/P
Fader Starts
Remote Mutes
15 Way Female D Type
Mic
PUSH
Line
Direct O/P
Send
Send
Send
Direct O/P
Return
Return
Return
Fader Starts
Monitor Logic
25 Way Female D Type
GRP
1
Send
1
RET
1
GRT
1
SPK 1
L
Aux
1
Clean 1
BB100 8 Group Back Panel
Mic
PUSH
Line
Direct O/P
Send
Return
Mic
PUSH
Line
Direct O/P
Send
Return
Fader Starts
Remote Mutes
15 Way Female D Type
Mic
PUSH
Line
Direct O/P
Send
Return
Mic
PUSH
Line
Direct O/P
Send
Return
Back Panel Layout 8 Group
4-5
Fader Starts / Monitor Logic / Remote Mutes
Fader Start
The Fader Start switch allows tape recorders or similar equipment to be remote
started. The connection is designed for use with 5 volt (TTL/CMOS type) logic
systems and is controlled by an active low. Internal module jumpers select
whether or not the TALLY Led can be controlled internally or externally. The
TALLY Led when set to external is controlled by applying an active low to a pin
on the D Type connector located on the rear panel. If the internal Tally as been
selected then the LED is directly driven of the fader start system.
Monitor Logic / Remote Mutes
The Monitor Logic and the Remote Mutes are controlled by applying an active
low to a pin on the D Type connectors located on the rear panel.
Fader Starts
Monitor Logic
25 Way Female D Type
25
1
Viewed From OUTSIDE The Console
Note: All controls are activated
by an active LOW
Fader Starts
Remote Mutes
15 Way Female D Type
15
1
Viewed From OUTSIDE The Console
Note: All controls are activated
by an active LOW
4-6
Pin 1: Chassis Ground
Pin 2: User Switch O/P
Pin 3: External Talkback Control
Pin 4: Group Mute Control (GRP3) (Option)
Pin 5: Group Mute Control (GRP1) (Option)
Pin 6: Remote Mute Control (Pos 13)
Pin 7: Remote Mute Control (Pos 11)
Pin 8: Remote Mute Control (Pos 9)
Pin 9: External Fader Start (Pos 12)
Pin 10: External Fader Start (Pos 11)
Pin 11: External Fader Start (Pos 10)
Pin 12: External Fader Start (Pos 9)
Pin 13: A Ground
Pin 14: User Tally Control
Pin 15: Remote User In
Pin 16: Group Mute Control (GRP 4) (Option)
Pin 17: Group Mute Control (GRP 2) (Option)
Pin 18: Studio Remote Cut
Pin 19: Remote Mute Control 12
Pin 20: Remote Mute Control 10
Pin 21: Remote External Tally Control 12
Pin 22: Remote External Tally Control 11
Pin 23: Remote External Tally Control 10
Pin 24: Remote External Tally Control 9
Pin 25: Analogue Ground
Pin 1: Chassis Ground
Pin 2: Remote Channel Mute (Pos 3)
Pin 3: Remote Channel Mute (Pos 1)
Pin 4: External Fader Start (Pos 4)
Pin 5: External Fader Start (Pos 3)
Pin 6: External Fader Start (Pos 2)
Pin 7: External Fader Start (Pos 1)
Pin 8: A Ground
Pin 9: Remote Channel Mute (Pos 4)
Pin 10: Remote Channel Mute (Pos 2)
Pin 11: Remote External Tally Control (Pos 4)
Pin 12: Remote External Tally Control (Pos 3)
Pin 13: Remote External Tally Control (Pos 2)
Pin 14: Remote External Tally Control (Pos 1)
Pin 15: A Ground
Connectors
Issue 3 © AMEK
56 Way I/O EDAC Connections
Input and Output Connections
I/O connections are supplied via a 56 way EDAC located on the rear panel.
56 Way I/O EDAC
A
E
B
W
a
K
P
N
M
S
R
J
H
F
L
D
C
U
T
V
Z
Y
X
c
b
d
e
f
j
h
m
l
k
p
u
z
KK
t
w
AA
EE
DD
s
r
v
y
x
BB
FF
LL
n
CC
HH
MM
JJ
A Chassis Ground
Tape 4R-Hi
Tape 4R-Lo
B
C
D
E
Chassis Ground
PPM-L
F A Ground
H Chassis Ground
J Tape 4L-Hi
K Tape 4L-Lo
L Chassis Ground
M Tape 3L-Hi
N Tape 3L-Lo
P Chassis Ground
R Tape 3R-Hi
S Tape 3R-Lo
T Chassis Ground
U Tape 2R-Hi
V Tape 2R-Lo
W Tape 2L-Hi
X Tape 2L-Lo
Y Tape 1R-Hi
Z Tape 1R-Lo
a Chassis Ground
b Chassis Ground
c Chassis Ground
d Chassis Ground
e Tape 1L-Hi
f PPM-R
h Tape 1L-Lo
j A Ground
k Chassis Ground
l Chassis Ground
m Chassis Ground
n Chassis Ground
p SPK2R-Hi
r
SPK2R-Lo
s SPK2L-Hi
t SPK2L-Lo
u Monitor SPK2R-Hi
v
Monitor SPK2R-Lo
w Chassis Ground
x Monitor RET4-Hi
y Monitor RET4-Lo
z Chassis Ground
BB
Monitor SPK2L-Hi
Monitor SPK2L-Lo
CC
Chassis Ground
AA
KK
Chassis Ground
Monitor RET2-Hi
MM Monitor RET2-Lo
NN Chassis Ground
LL
Monitor RET3-Hi
EE Monitor RET3-Lo
DD
FF Chassis Ground
HH Monitor RET1-Hi
JJ
Monitor RET1-Lo
NN
Viewed From OUTSIDE The Console
© AMEK Issue 3
Connectors
4-7
Power Supplies
4-8
Connectors
Issue 3 © AMEK
© AMEK Issue 3
Modules
5-1
Contents
LB1 The Mono Input Module. . . . . . . . . . . . . . . . . . 5-3
LBS The Stereo Input Module . . . . . . . . . . . . . . . . . 5-5
LB2 The Dual Group Module . . . . . . . . . . . . . . . . . 5-7
LB6 The Auxiliary Master Module . . . . . . . . . . . . . . . 5-9
LB4 The Stereo Master Module . . . . . . . . . . . . . . . . 5-10
Metering . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-11
BB100 Jumper and Switch Options . . . . . . . . . . . . . . . 5-12
14 Position Motherboard . . . . . . . . . . . . . . . . . . . . 5-12
LB1 Mono Input Module Options . . . . . . . . . . . . . . . . 5-15
LBS Stereo Input Module Options . . . . . . . . . . . . . . . . 5-17
LB2 Dual Group Module Options . . . . . . . . . . . . . . . . 5-19
LB4 Master Module Options . . . . . . . . . . . . . . . . . . 5-21
LB6 Aux Master Comms Module Options . . . . . . . . . . . . 5-24
5-2
Modules
Issue 3 © AMEK
LB1 Mono Input Module
The LB1 Mono Input is provided with XLR and ¼ jack connectors, either of
which may be used for any level of input signal.
The channel is provided with Insert points using a Ground Compensated Send
and a Balanced Return at a nominal level of +4dBu located on the rear panel.
1.
The 48V switch applies 48v phantom power to the Mic Input XLR.
Note: Under no circumstances press the 48v switch if an unbalanced
source is connected to the XLR.
2.
The Pad attenuates the Mic Input by -15dBu and allows high level signal
to be used. Maximum input level +7dBu.
3.
The Line switch selects the Line Amp instead of the Mic Amp.
4.
The Ø (Phase) switch reverses the phase of the Mic Input or the Line
Input. The switch should normally be released.
5.
The Gain control adjusts the sensitivity of both the XLR and jack inputs.
The Mic range is +10dBu to +70dBu. The Line range is ± 20dBu.
Equaliser
6.
The EQ section has four bands. The HF and LF sections have a shelving
response with selectable frequencies. The two MID sections have a bell
response at a variable frequency.
•
•
•
•
© AMEK Issue 3
The HF control gives 18dB of cut or boost switchable at frequencies
6kHz or 12kHz.
The LF control gives 18dB of cut or boost. The frequency switch selects
between 40 Hz and 80Hz. Using the X3 switch multiplies the selected
frequencies by three giving a selection of 120Hz or 240Hz.
The HMF cut and boost control gives a range of ± 14dB. The HMF
frequency control gives a variable frequency range of 300Hz to 6kHz.
Using the X3 switch multiplies the selected frequencies by 3 giving a
range of 900Hz to 18kHz. Using the Q switch selects either 0.7 or
1.3 Q Factor.
The LMF cut and boost control gives a range of ± 14dB. The LMF
frequency control gives a variable frequency range of 40Hz to 800Hz.
Using the X3 switch multiplies the selected frequencies by three giving
a range of 120Hz to 2.4kHz. Using the Q switch selects either 0.7 or
1.3 Q Factor.
7.
The HP switch inserts a HI-PASS filter into the signal path. The -3dB point
is fixed at 80Hz at 18dB per octave.
8.
The EQ IN switch inserts the equaliser into the signal path.
Modules
5-3
Auxiliary Sends
9.
Signal is sent to the Aux 1-8 buses via the eight LEVEL controls. All the
Auxs have unity gain when the controls are fully clockwise and are switched
pre or post in pairs by the PRE switches.
10. Auxs 1 & 2 has an internal switch option to configure the Aux to a Stereo
level/pan arrangement.
Routing
11. The Pan control feeds the signal to the Stereo mix and the groups. Panning
left pans to the odd groups and Stereo left, panning right pans to the even
groups and Stereo right. In the centre position there is a drop of -3dB.
12. The Group Disable switch when selected disables panning across the
groups.
13. The Mute switch cuts off all output from the channel and utilises a soft
mute for click free switching.
14. The PFL switch provides a pre fade signal to the monitor speakers replacing
the selected source. There is an internal switched option, which allows the
PFL to become After Fade listen.
15. The Fader is the main level control for the channel. It has 10dB of gain at
the top of travel.
16. The Group switches assign the signal in pairs to the group buses. The
source signal can be pre or post pan as selected by the Group Disable
switch. Groups are available only if the appropriate amount of group
modules is fitted.
17. The Stereo switch assigns the signal to the Stereo bus.
18. The four segment PFL meter displays the channel pre-fade level.
The meter monitors the signal pre and post EQ simultaneously.
The O/L led illuminates when the signal reaches +18dB.
19. A Ground Compensated Direct Output is provided which is normally
feed from the post fade signal (Factory Pre-set) but can be selected to be
pre fade/post mute or pre EQ by internal jumpers.
The Direct Outputs are fed to jacks on the rear panel.
5-4
Modules
Issue 3 © AMEK
LBS Stereo Input Module
The LBS Stereo Input Module is provided with ¼ jack connectors on the rear
panel.
The channel is provided with Stereo insert points using Ground Compensated
Sends and Balanced Returns at a nominal level of +4dBu located on the rear
panel. The insert points have an internal option to move the points post pan.
1.
The Mono Left switch applies the left hand signal to the left and right of the
module.
2.
The Mono Right switch applies the right hand signal to the left and right
hand side of the module. If both switches are pressed together the left and
right signals appear on both sides of the module @ -6dB.
3.
The Ø (Phase) switch reverses the phase of the right hand side signal only.
The switch should normally be released.
4.
The Gain controls adjust the sensitivity of both the left and right jack inputs.
The Line range is ± 20dBu.
Equaliser
5.
The EQ section has three bands. The HF and LF sections have a shelving
response with selectable frequencies. The MID sections have a bell
response at a variable frequency.
•
•
•
© AMEK Issue 3
The HF control gives 18dB of cut or boost switchable at frequencies
6kHz or 12kHz.
The LF control gives 18dB of cut or boost. The frequency switch selects
between 40 Hz and 80Hz. Using the X3 switch multiplies the selected
frequencies by three giving a selection of 120Hz or 240Hz.
The MF cut and boost control gives a range of ± 14dB. The HMF
frequency control gives a variable frequency range of 80Hz to 5kHz.
Using the X3 switch multiplies the selected frequencies by 3 giving a
range of 240Hz to 15kHz. Using the Q switch selects either 0.7 or 1.3
Q Factor.
6.
The HP switch inserts a HI-PASS filter into the signal path. The -3dB point
is fixed at 80Hz at 18dB per octave.
7.
The EQ switch inserts the equaliser into the signal path.
Modules
5-5
Auxiliary Sends
Note: The pre and post signals are the sum of the left and right signals except
Aux 1 & 2 which has an internal switch option to configure it to a Stereo
level/pan arrangement i.e. Aux 1 will be fed by the left only and Aux 2 will be
fed from the right only.
8.
Signal is sent to the Aux 1-8 buses via the eight LEVEL controls.
All the Auxs have unity gain when the controls are fully clockwise
and are switched pre or post in pairs by the PRE switches.
Routing
9.
The Pan control feeds the signal to the Stereo mix and the groups.
Panning left pans to the odd groups and Stereo left, panning right pans to
the even groups and Stereo right. In the centre position there is a drop
of -3dB.
10. The Stereo Mute switch cuts off all output from the channel and utilises
a soft mute for click free switching.
11. The PFL switch provides a pre fade signal to the monitor speakers replacing
the selected source. There is an internal switched option, which allows the
PFL to become a post fade signal - this signal is a derived post pan.
12. The Stereo Fader is the main level control for the channel. It has 10dB of
gain at the top of travel.
13. The Group switches assign the signal in pairs to the group buses.
The source signal is all ways post pan. Groups are available only if the
appropriate amount of group modules are fitted.
14. The Stereo switch assigns the signal to the Stereo bus.
15. The four segment PFL meter displays the channel pre-fade level.
The meter monitors the signal pre mute, left and right simultaneously.
The O/L led illuminates when the signal reaches +18dB.
5-6
Modules
Issue 3 © AMEK
LB2 Dual Group Module
The Dual Group Module is provided with XLRs on a 4 group console and
¼ jacks on a 8 group console, insert send and returns. Clean feed outputs
are provided on XLRs on an 8 group console and jacks on a 4 group console.
1.
Signal is sent to Aux 1-4 buses via the four level controls. The Auxs have
unity gain when the controls are fully clockwise. The source signal is fed
from pre or post group faders. The pre or post switch operates on all four
Auxs.
2.
The other four Auxiliaries are fed from the other group (Right) fader.
Each Dual Group module contains one clean-feed master therefore the
amount of clean-feed buses is dependent on the amount of Dual Group
modules fitted.
3.
The Level control adjusts the level of the balanced Clean-Feed output
which is fed from the selected clean-feed input module. Jumpers make the
clean-feed bus selection of which positions are used to source on the 14
position motherboard. Therefore if the signal is inserted into the first of the
input modules (clean-feed 1) it will then be removed from the clean-feed
output 1 on the group module.
4.
The Talk Enable switch provides signal from the Comms system to be fed
to the clean-feed outputs when the Comms system is activated.
5.
The clean-feed Mute switch cuts off the signal to the clean-feed outputs.
6.
The clean-feed AFL switch provides the post level signal to the monitor
speakers replacing the selected source.
7.
Signal is sent to the Aux 1 & 2 bus via the Aux Level control
(optionally Aux 3 & 4 using the internal jumpers). All the Auxs have unity
gain when the controls are fully clockwise and are switched pre or post in
pairs by the PRE switches. The source is fed from the Group Return.
8.
The Stereo Return Level control adjusts the level of the return signal.
Gain of +10dB of gain is provided when the control is fully clockwise.
9.
The ST/Mix Group switch determines whether the output can be sent to
the Stereo Bus or the associated pair of groups.
10. The Pan control feeds the signal to the Stereo mix or the groups.
In the centre there is a drop of -3dB.
11. The Return Mute switch cuts of the signal from the Stereo bus or the
group bus. Also mutes the PFL and aux pre and post.
12. The Return PFL switch provides Pre Fade signal to the monitor speakers
replacing the selected source.
13. The ST Assign switch assigns the signal to the Stereo bus.
The source signal is from the group output fader.
14. The Pan control feeds the signal to the Stereo bus and to the Stereo AFL
bus. In the centre there is a drop of -3dB.
15. The Mute switch cuts off all output from the channel and utilises a soft
mute for click free switching.
© AMEK Issue 3
Modules
5-7
16. The AFL switch provides a post fade signal to the monitor speakers
replacing the selected source.
17. The ST Assign switch assigns the signal to the Stereo bus.
18. The Pan control feeds the signal to the Stereo bus and to the Stereo AFL
bus. In the centre there is a drop of -3dB.
19. The Mute switch cuts off all output from the channel and utilises a soft
mute for click free switching.
20. The AFL switch provides a post fade signal to the monitor speakers
replacing the selected source.
21. The Faders are the main level control for the Dual Group module. They
have 10dB of gain at the top of travel.
Metering
The group output meter signal is derived post fade and is supplied to the group
meter in the meter hood. A trimmer is supplied for calibration. (Factory Preset).
The clean-feed null trim is used to optimise clean feed attenuation.
(Factory Preset).
Each Dual Group has a pre fade insert point (located on the back panel) using a
Ground Compensated Send and a Balanced Return at a nominal level of -2dBu.
5-8
Modules
Issue 3 © AMEK
LB6 Auxiliary Master Module
The Aux Master module is provided with jack connectors for the outputs
Comms
The Talkback system provides communication to the Groups and Aux outputs
and speaker outputs.
1.
The 3 pin XLR connector provides a balanced talkback input for a local
microphone or gooseneck mic. The sensitivity of the mic input is variable
between +10dBu and +70dBu.
2.
The Talk switch can be momentary or latching depending on the length of
time pressed. Destination of the talkback sources are selected by 4
switches. Slate assigns the comms system to the group buses 1-8 and/or
the Stereo Bus. Aux 5-6 assigns the comms system to aux 5,6,7,8.
Aux 1-4 assigns the comms system to aux 1,2,3,4. Speaker assigns the
comms system to Monitor 2 speaker outputs and/or the comms output
connector located on the backpanel.
3.
A User switch at the top of the module can activate ON-AIR mode. When
the On-Air mode is enabled no access to the slate bus is available from both
the comms or the oscillator. The oscillator is disabled from the Aux buses
and the comms output but the Comms System still has access. The User
switch automatically mutes the Mon 2 speakers.
4.
The Auxiliary Master level controls set the output level of the Aux send
mixes. With the controls fully clockwise 10dB of gain is provided. The Aux
outputs are fully balanced and terminate via jack connectors on the rear
panel.
5.
The AFL switch provides a post fade signal to the monitor speakers
replacing the selected source.
6.
The Mute switch cuts off all output from the Aux masters
Oscillator
7.
A Trimmer is provided for the calibration of the oscillator.
(Factory Preset @ +4dB).
8.
A three frequency oscillator is selected by two switches. The 1kHz switch
provides a 1kHz sinewave. The 10kHz switch provides a 10kHz sinewave.
Pressing both switches provides 100Hz. When not in use both buttons
should be released to prevent leakage from the oscillator onto the console
outputs. The oscillator utilises the same four assignment switches as the
comms system to enable access to the slate, aux sends and speaker outputs.
9. A Headphone output is provided which can be fed from the Control Room
Monitors or optionally Mon 2, selected by internal jumpers. The phones
output socket is a ¼ inch jack. It should not be used with headphones of
less than 200 ohms impedance. A second headphones jack is provided on
the console chassis.
© AMEK Issue 3
Modules
5-9
LB4 Stereo Master Module
1.
Signal is sent to the Aux 1-4 buses via the four Level/Pan controls.
The upper four are sourced from the left Stereo bus and the lower four
from the right Stereo bus. They are switched pre or post in groups of four
by the PRE switches. Internal jumpers can configure the Aux controls as
a level/level option.
A further option allows the source signal to be derived from the monitor
return inputs instead of the Stereo bus, via internal jumpers.
The Aux sends can alternatively be Clean-Feed sends again via internal
jumpers.
2.
The ST Return Level control adjusts the level of the return signal.
The level range is -20dB to +10dB.
3. The Mute switch cuts off all output from the Return to the Stereo bus.
4.
The PFL switch provides a pre fade signal to the monitor speakers replacing
the selected source.
5.
The VU/PEAK switch provides switching between VU and PEAK
characteristics for the LED bargraph meters. The VU setting shows the
average level of the program. The PEAK setting will show transients levels
within the program.
6.
The PFL/AFL Level control adjusts the level of the solo bus to the monitor
speakers. The level control is unity gain when fully clockwise. The PFL/AFL
Led indicates an active solo system.
7.
The Monitor 2 Level control adjusts the level of the Monitor 2 speakers
or Headphone output. There is a power on mute for click free power ups.
8.
ST Mix / CR MON switch. When the switch is released the Stereo Bus will
be fed to the Monitor 2 output. When the switch is depressed
(now CR MON) Monitor 2 will follow the CR MON source selection.
9.
ST Return switch. When the switch is depressed it overrides the
ST Mix / CR MON switch making the ST Return the source to the MON 2
output.
10. There are four 2 Track Return inputs, electronically balanced, which are
fed from a 56 way EDAC connector on the rear panel. Tape 1 has an
internal jumper selection, which allows the sensitivity of the input to be set
at +4dBu or -6dBu. All other monitor inputs operate at a nominal level of
+4dBu.
11. The ST Return switch selects the ST Return signal to be fed to the Monitor
output speakers. Internal jumpers can reconfigure the ST Return switch to
alternatively source the Aux sends.
12. The ST Mix switch selects the Stereo Bus to be fed to the Monitor outputs.
13. The Level control adjusts the level to the Monitor outputs (Control Room)
and / or headphone outputs.
14. The SPK 2 switch provides the ST monitor output to be fed to an
alternative pair of speakers. Monitor outputs are provided with a Ground
Compensated output at a nominal level of +4dB to a ¼-inch jack on the
rear panel. SPK 2 outputs are provided on a 56 way EDAC on the rear
panel.
5-10
Modules
Issue 3 © AMEK
15. The Mute switch cuts off all output from the console to the Monitor
speakers.
16. The Faders are the main level control for the Stereo Master.
They have 10dB of gain at the top of travel.
17. The Mix Mute switch cuts off the output from the Stereo Bus.
Metering
Level indication is monitored by 28 segment LED bargraph meters and VU
meters, which are located in the meterhood. The meters read Group Output,
Stereo Mix or 2 Track Returns or the PFL/AFL bus.
The bargraph meters can be set to read VU or PEAK by the switch on the
Stereo Master module LB4.
The meter source select switch, CR Mon / PFL, enables the VU meters to
monitor the Control Room outputs or the PFL bus.
Meter trims are provided for the fine adjustment of the VU meters.
(Factory Pre-set).
© AMEK Issue 3
Modules
5-11
BB100 Jumper and Switch Options
14 Position Motherboard - GL 1850
Jumpers P1 to P10 are the Cleanfeed options and will be set depending on the
operation and configuration of the console.
P1/ P5
Cleanfeed Position 5
To enable the module in position 5 to be the cleanfeed
input link pins 1 – 2.
This can only be applied to a Mono channel or the right
input for a Stereo channel.
Note: - P5 should be in the disabled position if a Mono
channel is fitted. If a Stereo channel is fitted Jumper P5 will
be set as P1 and applies to the left input for the Stereo
channel.
5-12
Modules
Issue 3 © AMEK
P2 / P6
Cleanfeed Position 6
To enable the module in position 6 to be the cleanfeed
input link pins 1 - 2.
This can only be applied to a Mono channel or the right
input for a Stereo channel.
Note: - P6 should be in the disabled position if a Mono
channel is fitted. If a Stereo channel is fitted Jumper P6 will
be set as P2 and applies to the left input for the Stereo
channel.
P3 / P7
Cleanfeed Position 7
To enable the module in position 7 to be the cleanfeed
input link pins 1 - 2.
This can only be applied to a Mono channel or the right
input for a Stereo channel.
Note: - P7 should be in the disabled position if a Mono
channel is fitted. If a Stereo channel is fitted Jumper P7 will
be set as P3 and applies to the left input for the Stereo
channel.
P4 / P8
Cleanfeed Position 8
To enable the module in position 8 to be the cleanfeed
input link pins 1 - 2.
This can only be applied to a Mono channel or the right
input for a Stereo channel.
Note: - P8 should be in the disabled position if a Mono
channel is fitted. If a Stereo channel is fitted Jumper P8
will be set as P4 and applies to the left input for the Stereo
channel.
P9
Cleanfeed position 9
If position 9 has a Group module fitted P9 must be in the
disabled position. If a Stereo module is fitted and it is to be used
as a Cleanfeed input P9 has to be enabled.
To enable link pins 1 – 2.
© AMEK Issue 3
Modules
5-13
P10
Cleanfeed position 10
If position 10 has a Group module fitted P10 must be in
the disabled position.
If a Stereo module is fitted and it is to be used as a
Cleanfeed input P10 has to be enabled.
To enable link pins 1 – 2.
Jumpers P11 and P12 are the Virtual Earth Disable options and will be set
depending on the operation and configuration of the console.
P11
Virtual Earth Disable options
Cleanfeed Jumpers. In an eight group console no jumpers are
fitted. In a four group console jumpers are fitted to disable
the unused Cleanfeed buses 3 and 4. To disable link pins 5 - 6
and 7 - 8.
If the Cleanfeed buses 3 and 4 are unused link pins 1 - 2
and 3 - 4.
When Group modules 5 to 8 are omitted the relevant virtual
earth buses are grounded. To disable the Groups 5 to 8 link
pins 9 – 10, 11 – 12, 13 – 14 and 15 – 16.
P12
When Group modules 5 to 8 are omitted the relevant virtual
earth buses are grounded. To disable the Groups 5 to 8 , link pins 1 - 2, 3 - 4,
5 - 6 and 7 - 8.
5-14
Modules
Issue 3 © AMEK
LB1 Mono Input Module
Jumper and Switch Options – GL1864
P1
Signalisation Select
To enable the remote mute facility on the channel, link pins
4 – 6 (Factory Pre-set). Applying an active low to a pin on
the 15 way D Type connector controls the remote mute.
This is located on the back panel. To disable the remote
mute and enable the optional VCA, link pins 2 – 4.
To enable the external Tally indicator, link pins 3 – 5.
Note:- The Tally LED indicator when set to external is
controlled by applying an active low to a pin on the 15 way
D Type connector, This is located on the back panel.
If the internal Tally has been selected by linking pins 1 – 3
(Factory Pre-set) the LED is driven directly off the fader start system.
P2
Direct Source
Gives the option of selecting the source signal for the
Direct output. To select the source signal to be Pre Eq, link
pins 1 - 2. To select the source signal to be Post Fader, link
pins 3 – 4 (Factory Pre-set). To select the source signal to
be Pre Fader, Post Mute link pins 5 – 6.
P3.
Signalisiation Source.
To enable the Local mode link pins 1 – 2 (Factory Pre-set).
To enable the Group / Master mode link pins 2 - 3.
Local mode, if the Mic / Line switch is selected to Line and
the channel fader is open, an active low is sent to the 15
way D Type connector. This is located on the back panel.
If the Mic is selected and the fader is open the Studio
outputs will mute. No signal is sent to the back panel.
The Group / Master mode operation is as above, except a
Group or Master fader has to be open to trigger the signal
signalisiation.
© AMEK Issue 3
Modules
5-15
S31
PFL / AFL Select Switch.
When the switch is out (Factory Pre-set), pre fade listen is
sent to the Monitor outputs when any SOLO switch is
pressed. When the switch is pressed in, stereo after fade
listen is sent to the Monitor outputs when any SOLO switch
is pressed.
S32.
Aux 1 & 2 Mono Stereo Switch.
When the switch is out, Aux 1 & 2 acts as a
level / level arrangement (Factory Pre-set). When the switch
is pressed in, Aux 1 & 2 are converted to a level / pan
arrangement.
5-16
Modules
Issue 3 © AMEK
LBS Stereo Input Module
Jumper and Switch Options – GL1865
P1
Signalisation Select
To enable the remote mute facility, link pins 4 – 6
(Factory Pre-set). Applying an active low to a pin on the
25 / 15 way D Type connector controls the remote mute.
This is located on the back panel.
(25 way for Group position, 15 way for Input position).
To disable the remote mute and enable the optional VCA
control link pins 2 – 4.
To enable the external tally indicator, link pins 3 – 5.
Note:- The Tally LED indicator when set to external, is
controlled by applying an active low to a pin on the 25 / 15
way D Type connector. This is located on the back panel
(25 way for Group position, 15 way for Input position).
If the internal Tally has been selected by linking pins 1 – 3
(Factory Pre-set), the LED is driven directly off the fader start system.
P2.
Stereo Insert Position Select.
To select stereo insert position to be Post Eq, link pins
1 – 2, 3 – 5, 4 – 6, 7 – 8, 9 – 11 and 10 – 12
(Factory Pre-set).
To select the stereo insert position to be Post Fader and
Post Pan, link pins 1 – 3, 2 – 4, 5 – 6, 7 – 9, 8 – 10
and 11 - 12.
P3
Signalisiation Source
To enable the Local mode, link pins 1 – 2 (Factory
Pre-set). To enable the Group / Master mode, link pins 2
- 3. Local mode, if the channel fader is open an active low
is sent to the 15 way D Type connector. This is located on
the back panel. The Group / Master mode operation is as
above except a Group or Master fader has to be open to
trigger the signal signalisiation.
© AMEK Issue 3
Modules
5-17
S27
PFL / AFL Select Switch
When the switch is out (Factory Pre-set), stereo pre fade
listen is sent to the Monitor outputs when any SOLO switch
is pressed.
When the switch is pressed in, stereo after fade listen is sent
to the Monitor outputs when any SOLO switch is pressed.
S28
Aux 1 & 2 Mono Stereo Switch
When the switch is out, Aux 1 & 2 is fed by a mono mix of
left and right (Factory Pre-set).
When the switch is pressed in, Aux 1 & 2 are sourced in
stereo so Aux 1 is left only and Aux 2 is right only.
5-18
Modules
Issue 3 © AMEK
LB2 Dual Group Module
Jumper and Switch Options – JP 1866
P1
Cleanfeed Off Group Source
To route the signal from the Aux Pre / Post switch and
send it to the Cleanfeed output, link pins 3 – 5 and 4 – 6.
E.g. If the module is Groups 1 & 2, Groups 1 & 2 will be
sent to Cleanfeed 1. To disables the function, link pins 1 – 3
and 2 – 4 (Factory Pre-set).
P2
Cleanfeed Jumper
Linking pins 3 – 5 (Factory Pre-set) enables the chosen
Cleanfeed bus to be connected to the Cleanfeed mix amp.
Linking pins 1 – 3 disconnects Cleanfeed bus from the
Cleanfeed mix amp. Linking pins 4 – 6 (Factory Pre-set)
sends the Cleanfeed cancellation signal to the Cleanfeed
mix amp. This signal is out of phase and will cancel out any
identical signal on the selected Cleanfeed bus.
Linking pins 2 – 4 disables the Cleanfeed cancellation signal.
P4
Cleanfeed Bus Selection
This allows you to select the appropriate Cleanfeed buses.
To connect Cleanfeed bus 1 to the module in the first
group position, link pins 7 – 8.
To connect Cleanfeed bus 2 to the module in the second
group position; link pins 5 – 6.
To connect Cleanfeed bus 3 to the module in the third
group position, link pins 3 – 4.
To connect Cleanfeed bus 4 to the module in the fourth
group position link pins 1 – 2.
Note: - In a four Group console Cleanfeed buses 3 and 4 will be used for
Cleanfeed outputs 1 & 2. Only link one bus per modules.
© AMEK Issue 3
Modules
5-19
P5
Return Aux Send Bus Select
To select Aux buses 1 & 2, link pins 4 – 6 and 3 – 5
(Factory Pre-set).
To select Aux buses 3 & 4, link pins 1 – 3 and 2 – 4.
P6
Group Bus Select
These jumpers should be set for the appropriate Group
buses.
To select Groups 1 & 2, link pins 1 – 2 and 3 - 4.
To select Groups 3 & 4, link pins 5 – 6 and 7 - 8.
To select Groups 5 & 6, link pins 9 – 10 and 11 - 12.
To select Groups 7 & 8, link pins 13 – 14 and 15 - 16.
Note: - Only link one pair of buses per module.
P7
Remote Mute / VCA Control Select
To enable the remote mute facility on the Group module,
link pins 1 - 2 (Factory Pre-set).
Applying an active low to a pin on the 25 way D Type
connector controls the remote mute. This is located on the
back panel. To disables the remote mute and enables the
optional VCA control, link pins 2 – 3.
P8
Signalisation Select
To disable the Group fader start switch; link pins
1 – 2 (Factory Pre-set).
To enable the Group fader start switch; link pins 2 – 3.
S16
Group Sends Aux
When the switch is pressed in, the Group sends are Aux
sends 1 to 4 (Factory Pre-set).
5-20
Modules
Issue 3 © AMEK
LB4 Master Module
Jumper and Switch Options – GL 1867
P1, P2, P8, and P9
Monitor Aux Send Mono / Stereo Select
Stereo bus left and right has four sets of Aux sends.
These can be configured as a stereo / level pan
arrangement or mono level / level arrangement in pairs.
P9 operates off the Stereo bus left for Aux 1 and 2.
P8 operates off the Stereo bus left for Aux 3 and 4.
P2 operates off the Stereo bus right for Aux 1 and 2.
P1 operates off the Stereo bus right for Aux 3 and 4.
To configure as Stereo. (Factory Pre-set), link pins 3 – 5,
4 – 6, 9 – 11 and 10 – 12.
To configure as Mono, link pins 1 – 3, 2 – 4, 7 – 9 and
8 – 10.
P3 and P5
Aux sends / Return Level Destination Select
Configures the destination of the Aux level controls.
To select Aux buses 1, 2, 3, and 4, link pins 13 – 14
and 15 – 16 on both jumpers (Factory Pre-set).
To select the Matrix buses, link pins 9 – 10 and 11 – 12 on
both jumpers.
To select the Stereo bus, link pins 17 – 18 and 19 – 20 on
both jumpers.
To select Control Room Monitor, link pins 1 – 2 and 3 – 4
on both jumpers.
To source the Cleanfeed buses off the Stereo Bus Pre, link
pins 5 – 6 and 7 – 8 (Factory Pre-set).
P7 and P10
Aux sends / Return level source select
This configures the source for the Aux send level controls.
To source the Stereo bus, link pins 1 – 3 and 2 – 4
(Factory Pre-set). To source the Monitor Returns 1 to 4,
link pins 3 – 5 and 4 – 6. P10 configures the left hand side
of the Stereo bus and Monitor Returns 1 and 2. P7
configures the right hand side of the Stereo bus and
Monitor Returns 3 and 4.
© AMEK Issue 3
Modules
5-21
P4 and P6
Monitor Return Bus Select
The Monitor Return outputs can be configured to feed the
Aux sends.
To disable the Monitor Returns (Factory Pre-set), link pins
1 – 2 and 7 – 8 on both jumpers.
To feed the Aux buses, link pins 3 – 4 and 9 – 10 on both
jumpers.
P6 configures the Monitor Returns 1 and 2.
P4 configures the Monitor Returns 3 and 4.
P11
Stereo Return Switch Source
To define the source for the Stereo Return switch to be
the stereo return signal, link pins 1 – 3, 2 – 4, 5 – 7 and 6 –
8 (Factory Pre-set).
To convert the Stereo Return switch to a Monitor Mix
switch, which sends the Stereo Bus or the Monitor Returns
1 to 4 to the Control Room speakers, link pins 3 – 5, 4 – 6,
7 – 9 and 8 – 10.
P12
Monitor 2 Cut Disable / Enable
To enable the external Monitor cut to be active, link pins
2 – 3 (Factory Pre-set).
To disable the function, link pins 1 – 2.
Applying an active low to pins on the 25 way D Type
connector controls it.
This is located on the back panel.
P13
Tape 1 Sensitivity Adjust Switch
To increase the sensitivity of the Tape 1 input to –6dBu,
link pins 1 – 2, 3 – 4, 5 – 6 and 7 – 8.
To select unity gain fit no jumpers (Factory Pre-set).
P14
Headphones Source Select
The source for the Headphones output can follow the
Control Monitors or Monitor 2.
To select the Control Monitors (Factory Pre-set), link pins
3 – 5 and 4 – 6.
To select Monitor 2, link pins 1 – 3 and 2 – 4.
5-22
Modules
Issue 3 © AMEK
P15
Remote Mute / VCA Control Select
To enable the remote mute facility for the Control Room
Monitors, link pins 3 - 4. (Factory Pre-set).
Applying an active low to a pin on the 25 way D Type
connector controls the remote mute.
This is located on the back panel.
To enable Stereo Bus to be cut externally, link pins 5 – 6.
To enable Monitor 2 to be cut externally, link pins 1 – 2.
Note:- If fitted with optional VCAs, link pins 7 – 8
to provide external control.
P16
Control Room Monitor Dim Select
To enable the Dim control (Factory Pre-set), link pins 2 –
3. The attenuation level is set at –20dB.
To disable the Dim control, link pins 1 – 2.
P17
Fader Start Select
To enable the fader start link, pins 2 – 3.
To disable the function, link pins 1 – 2 (Factory Pre-set).
© AMEK Issue 3
Modules
5-23
LB6 Aux Master Comms Module
Jumper and Switch Options – GL 1868
P1
User Tally / On Air Select
To select the internal User Tally indicator, link pins 1 – 3
(Factory Pre-set).
To select the external User Tally, link pins 3 – 5.
Applying an active low to a pin on the 25 way D Type
connector controls the external User Tally.
This is located on the back panel.
To activate On Air Mode, link pins 4 – 6 (Factory Pre-set).
To disable it, link pins 2 – 4.
P2
Slate Destination Select
To enable the oscillator to slate to the Stereo Bus, link pins
1 – 3 (Factory Pre-set).
To enable it to slate to the Group Buses, link pins 2 – 4
(Factory Pre-set).
To disable slate to the Stereo Bus, link pins 3 – 5.
To disable the slate to the Group Buses, link pins 4 – 6.
P3
Comms Output / Comms to Monitor 2
To enable the comms signal to route to the Comms
output, link pins 3 – 5 (Factory Pre-set).
For the oscillator to route to the Comms output link pins
1 – 3.
To enable the comms signal to route to the Monitor 2
output, link pins 4 – 6.
To disable the comms to Monitor 2, link pins 2 – 4
(Factory Pre-set).
5-24
Modules
Issue 3 © AMEK
© AMEK Issue 3
System Architecture
6-1
Contents
BB100 Meterhood Layouts . . . . . . . . . . . . . . . . . . . 6-3
Power and Ribbon Harness Locations . . . . . . . . . . . . . 6-4
6-2
System Architecture
Issue 3 © AMEK
BB100 Meterhood Layouts
© AMEK Issue 3
System Architecture
6-3
Power and Ribbon Harness Locations
To gain access to the power and ribbon harnesses remove the underside panel.
See the following diagrams for the location and function of the harnesses.
Power Distribution Diagram
6-4
System Architecture
Issue 3 © AMEK
Motherboard Harness Locations
© AMEK Issue 3
System Architecture
6-5
Power Distribution and Harness Location (1851)
6-6
System Architecture
Issue 3 © AMEK
© AMEK Issue 3
Maintenance
7-1
Contents
Maintenance . . . . . . . . . . . . . . . . . . . . . . . . . . 7-3
Removing the Modules . . . . . . . . . . . . . . . . . . . . . 7-3
Audio and Level Alignment . . . . . . . . . . . . . . . . . . . 7-3
Moving Coil Meter Alignment . . . . . . . . . . . . . . . . . . 7-3
Oscillator Level . . . . . . . . . . . . . . . . . . . . . . . . . 7-3
Clean-Feed Trim . . . . . . . . . . . . . . . . . . . . . . . . 7-4
7-2
Maintenance
Issue 3 © AMEK
Maintenance
There are no user serviceable parts in the console, all maintenance work should
be carried out by AMEK or the authorised dealer.
The unit should be cleaned with a soft brush around the controls.
DO NOT use solvent cleaners under any circumstances.
Removing the Modules
Modules are taken out by removing the fixing screws at the top and bottom
ends. The modules are removed by pulling them directly upward. Never
remove or refit the modules with the power on.
Audio and Level Alignment
Bargraph meter calibration
The console bargraph meters are calibrated during factory testing to read ‘0’ for
output levels of +4dBu. Level indication is by 28 segment LED bargraph meters,
which are located in the meterhood.
The meters read Group Output, Stereo Mix or 2 Track Returns.
Where fitted, the two far right meters read the PFL/AFL bus.
The meters can be set to read VU or PEAK by the switch on the Stereo Master
module LB4.
The trim adjustments for each Group meter are accessed through the top
faceplate of each Group module (LB2).
The trim adjustments for the Clean-feed output meters (optional extras)
are accessed through the top faceplate of each Group module (LB2).
The trim adjustments for the Monitor output meters are accessed through
the top faceplate of the Stereo Master module (LB4).
The trim adjustments for the PFL/AFL meters are accessed through the top
faceplate of the Stereo Master module (LB4).
Moving Coil meter Alignment
The console VU meters are calibrated during factory testing to read ‘0’ for
output levels of +4dBu. The fine trim adjustments are located on the front of
the meterpanel.
Oscillator Level
The trim adjustment for the Oscillator is accessed through the top faceplate
of the Auxiliary Master module (LB6).
(Factory Pre-set @ +4dB).
© AMEK Issue 3
Maintenance
7-3
Clean-Feed Trim
The clean-feed null trim is used to optimise clean feed attenuation.
(Factory Preset).
The trim adjustment for the null is accessed through the top faceplate
of the Dual Group module (LB2).
The null trim is used to cancel the pre stereo bus signal with the chosen
clean-feed input modules direct output.
The result in cancellation appears on the clean-feed output.
Power and Ribbon Harness Location
To gain access to the power and ribbon harnesses remove the underside access
panel. See Chapter 6 for location and function of harnesses.
7-4
Maintenance
Issue 3 © AMEK
© AMEK Issue 3
Specifications
8-1
Contents
Technical Specification . . . . . . . . . . . . . . . . . . . . . 8-3
Console Types . . . . . . . . . . . . . . . . . . . . . . . . . . 8-3
8-2
Specifications
Issue 3 © AMEK
Technical Specification
Console Types
All specifications for the BB100 console apply to consoles that are installed
completely in accordance with Amek’s recommendations. This includes
recommendations on power supply cables and grounding.
The figures in this specification are typical figures measured on a console,
immediately after completing normal production tests.
Figures will therefore vary slightly from console to console and the results here
should not be regarded as ‘guaranteed minimum performance’.
They should be taken only as indicative of the results that might be obtained.
Noise
Microphone equivalent input noise
Measured at the channel insert point,
22Hz – 22kHz band, RMS.
Input terminated with 200 ohm
source. Gain +70 dB.
Typically -127 dBu
One Line Input to Stereo Bus
Measured at the Stereo Bus output,
22Hz – 22kHz band, RMS. Gain unity
Typically -89 dBu (14 position frame)
Mic input to Main output
Measured at the Stereo Bus output
with 10K or 600 ohm load. Test
signal –30 dBu @ 1 kHz, Gain 40 dB.
22Hz – 22kHz band, RMS.
<0.03%
Line input to Main output
Measured at the Stereo Bus output
with 10K or 600 ohm load. Test
signal +20 dBu @ 1 kHz, Gain unity.
22Hz – 22kHz band, RMS.
<0.01%
Mic input to Main output
All Filters & EQ out. Measured at the
Stereo Bus output with 10K load.
Test signal –40 dBu, Gain 60 dB.
+/- 0.5dBu (20Hz – 20kHz)
Line input to Main output
All Filters & EQ out. Measured at the
Stereo Bus output with 10K load.
Test signal +20 dBu, Unity gain.
+/- 0.5dBu (20Hz – 20kHz)
Channel breakthrough
Channel 1 to Subgroup 1, Channel 4
to Subgroup 4. Test signal +20 dBu
to Channel 1, Unity gain, 200 ohm
load to Channel 4. Measured @
Subgroup output 4.
Better than –90dB (40Hz – 15kHz)
Channel Pan cut-off
Channel 1 to Subgroup 4, Pan hard
right, Test signal +20 dBu to
Channel 1, Unity gain, Measured @
Subgroup output 3.
Better than –65dB @ 1kHz
Total harmonic distortion
Frequency response
X-Talk
© AMEK Issue 3
Specifications
8-3
Headroom
Mic input
Measured at the channel insert point.
Gain 10 dB. PAD in.
>+25dBu
Line input
Measured at the channel insert point.
Gain unity.
>+25dBu
Subgroup & Stereo Bus output
Measured at the Stereo Bus output
with 600 ohm load. Gain unity.
>+25dBu
Mic input
Measured using Audio Precision
System One protocol
>1k2 @ 1kHz
Line input
Measured using Audio Precision
System One protocol
>15k @ 1kHz
Outputs
Measured using Audio Precision
System One protocol
<70 ohm @ 1kHz
Impedance
Equaliser & Filter
LB1 Mono Input Channel
HF
The HF control gives 18dB of cut or boost switchable at frequencies 6kHz or
12kHz.
LF
The LF control gives 18dB of cut or boost. The frequency switch selects
between 40 Hz and 80Hz. Using the X3 switch multiplies the selected
frequencies by three giving a selection of 120Hz or 240Hz.
HMF
The HMF cut and boost control gives a range of ± 14dB. The HMF
frequency control gives a variable frequency range of 300Hz to 6kHz. Using
the X3 switch multiplies the selected frequencies by 3 giving a range of
900Hz to 18kHz.
Using the Q switch selects either 0.7 or 1.3 Q Factor.
LMF
The LMF cut and boost control gives a range of ± 14dB. The LMF frequency
control gives a variable frequency range of 40Hz to 800Hz. Using the X3
switch multiplies the selected frequencies by three giving a range of 120Hz to
2.4kHz.
Using the Q switch selects either 0.7 or 1.3 Q Factor.
HI-PASS Filter
The HP switch inserts a HI-PASS filter into the signal path. The -3dB point is
fixed at 80Hz at 18dB per octave.
hhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh
hhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh
hhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh
hhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh
hhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh
hhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh
hhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh
8-4
Specifications
Issue 3 © AMEK
LBS Stereo Input Channel
HF
The HF control gives 18dB of cut or boost switchable at frequencies 6kHz or
12kHz.
LF
The LF control gives 18dB of cut or boost. The frequency switch selects
between 40 Hz and 80Hz.
Using the X3 switch multiplies the selected frequencies by three giving a
selection of 120Hz or 240Hz.
MF
The MF cut and boost control gives a range of ± 14dB. The HMF frequency
control gives a variable frequency range of 80Hz to 5kHz. Using the X3
switch multiplies the selected frequencies by 3 giving a range of 240Hz to
15kHz.
Using the Q switch selects either 0.7 or 1.3 Q Factor.
HI-PASS Filter
The HP switch inserts a HI-PASS filter into the signal path.
The -3dB point is fixed at 80Hz at 18dB per octave.
Power Consumption
10 – 4 – 2 BB100 Console
0.5kVA
32 – 8 – 2 BB100 Console
1.2kVA
Notes:-
© AMEK Issue 3
1.
0dBu = 0.775 Volts.
2.
Published specifications apply to standard consoles.
3.
All measurements taken using the Audio Precision System One test set.
4.
Where no load impedance is specified, the equipment should be loaded
with 10K ohms or greater.
5.
These figures are typical of performance in a normal electromagnetic
environment. Performance may be degraded in severe conditions.
6.
Amek has an established policy of seeking improvements to designs,
specifications and manufacture of its products. Alterations take place
continually, often without notice outside the company. Amek’s literature
must not be taken as an infallible guide to the specifications available
despite a considerable effort to produce up to date information.
Specifications
8-5
8-6
Specifications
Issue 3 © AMEK
Was this manual useful for you? yes no
Thank you for your participation!

* Your assessment is very important for improving the work of artificial intelligence, which forms the content of this project

Download PDF

advertising