Dodge 2006 Caravan Automobile Safety and Operating Instruction

Fostex
MIXING CONSOLE
Model 2412
Operation Manual
RISK OF ELECTRIC SHOCK
DO NOT OPEN
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK,
DO NOT REMOVE COVER{OR BACK).
NO USER-SERVICEABLE PARTS INSIDE.
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
The lightning {lash with arrowhead symbol,
within an equilateral triangle, is intended to
alert the user to the presence of uninsulated
"dangerous voltage” within the product's en-
closure that may be of sufficient magnitude to
constitute a risk of electric shock to persons.
“WARNING”
“TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK,
DO NOT EXPOSE THIS APPLIANCE TO RAIN OR MOIS-
TURE."
SAFETY INSTRUCTIONS
1.
2.
Read Instructions — All the safety and operating instruc-
tions should be read before the appliance is operated.
Retain Instructions — The safety and operating instructions
should be retained for future reference.
Heed Warnings —-Ali warnings on the appliance and in the
operating instructions should be adhered to.
Follow instructions — All operating and use instructions
should be followed.
Water and Moisture — The appliance should not be used
near water — for example, near a bathtub, washbowl, kit-
chen sink, laundry tub, in a wet basement, or near a swim-
ming pool, and the like.
Carts and Stands — The appliance should be used only
with a cart or stand that is recommended by the manu:
facturer.
An appliance and cart combination should be moved
with care. Quick slops, excessive force, and uneven
surfaces may cause the appliance and cart combination
to overturn.
Wall or Ceiling Mounting — The appliance should be mount-
ed to a wall or ceiling only as recommended by the manu-
tacturer.
Ventilation — The appliance should be situated so that its
location or position does not interfere with its proper venti-
lation. For example, the appliance should not be situated
on a bed, sofa, rug, or similar surface thal may block the
ventilation openings; or, placed in a buiit-in installation,
such as a bookcase or cabinet that may impede the flow of
air through the ventilation openings.
10.
11.
13.
14.
16.
The exclamation point within an equilateral
triangle is intended to alert the user to the
presence of important operating and mainte-
nance (servicing) instructions in the literature
accompanying the appliance,
Heat — The appliance should be situated away from heat
sources such as radiators, heat registers, stoves, or other
appliances (including amplifiers) that produce heat.
Power Sources — The appliance should be connected to a
power supply only of the type described in the operating
instructions or as marked on the appliance.
Grounding or Polarization — The precautions that should
be taken so that the grounding or polarization means of
an appliance is not detealed.
Power Cord Protection — Power supply cords should be
routed so that they are not likely to be walked on or
pinched by items placed upon or against them, paying
particular attention to cords at plugs, convenience recep-
tacies, and the point where they exit from the appliance.
Cleaning — The appliance should be cleaned only as
recommended by the manufacturer,
Nonuse Periods — The power cord of the appliance should
be unplugged from the outlet when left unused for a long
period of time.
Object and Liquid Entry — Care should be taken so that
objects do not fall and liquids are not spilled into the enc-
losure through openings.
Damage Requiring Service — The appliance should be
serviced by qualified service personnel when:
A. The power supply cord or the plug has been damaged;
or
B. Objects have fallen, or liquid has been spilled into the
appliance; or
C. The appliance has been exposed to rain; or
D. The appliance does not appear to operate normally or
exhibils a marked change in performance; or
E. The appliance has been dropped, or the enclosure
damaged.
Servicing — The user shouid not attempt to service the
appliance beyond that described in the operating instruc-
bons. All other servicing should be referred to qualified
service personnel,
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Section 1. Features ......coeenenn. rerersansasresennes e eonaucoocovaorcooccaoecacaes 2
Section II. Safety Precautions ............-.eceos0rrocccocnaroscccereraono 5
Section HI, Impedance .........2s022cccooorosscocanacaosrnececcconees 6
Section IV, Level Setting ......... .........—>.>.>.> paneencccoooreccenrooeccccee. 7
Section Y. Parametric EQ ......ecsncorooccooocoorocerorcroencoroccorenecanace 8
Section VI. Names and Functions of Controls ...............w... 9
Input Module .......... 9
Input Section
Monitor/Submix Section
High and Low Equalizer Section
Mid-Range Equalizer Section
Input Channel Section
Monitor/Submix Module .......... 13
Auxiliary Master Section
Foldback Sends Section
Monitor/Submix Master Section
Stereo Master Module .......... 16
Phantom Power Status
Snapshot Mutes
% Snapshot Mute Operation .......... 16
Solo Master/Monitor Section
Talkback/Stereo Master Section
AUX Return Module .......... 20
Group Master Module .......... 21
Meter Pod .......... 22
Rear Panel .......... 23
Section VII. Basic Signal Flow ..............->++-econocccorecccrrecenacas 27
Route 1: Recording the input sound sources
on amultitrack recorder,
Route2: Monitoring the outpiut signal of
a multitrack recorder while recording.
Section VIIL Application ........e.=......w..... 0400000010000 33
1. Original Recording Section
2. Overdubbing
3. Mixdown
Section IX. $ pecifications ................eeonecroserce e DO 38
Block Diagrams
Appendix: MIDI Interface
Section I. Features
Introduction
Features
Thank you for purchasing our 2412 console, With proper care and
maintenance, the 2412 will give you years of reliability and great
sound, The Fostex 2412 has been designed for the professional audio
market. As such, this manual will be somewhat technical in nature.
We have included data and diagrams that should be helpful to those
professional engineers who use this console. However, we hope that
this manual is both clearly written and simple enough for the novice
user to understand. If you have any questions or comments regarding
this manual, the 2412, or any other Fostex product, do not hesitate
to contact your authorized Fostex Service Department. We will be
happy to help you in any way we can.
The 2412 is designed to be a superb recording console. The 2412
has two groups of 24 channel inputs for a total of 48 inputs. The
twelve group output is designed to work directly with a 24 track
recorder and, especially, our G24S. The advanced electronics, noise
free operation, sophisticated circuitry, and quality construction make
the 2412 anideal console for the studio and its precision size makes
it an outstanding choice for live recording situations. The same
requirements that make the 2412 so valuable to the recording engi-
neer also make it perfect for anyone who demands flexibility, ver-
satility and sonic accuracy in sound reinforcement.
Features include :
№ The 2412 has A and B input sections totaling 48 inputs. Each
section has two AUX, one foldback, and solo. The equalizer section
comprises two fixed band equalizers and two variable sweep midrange
parametric equalizers. These equalizers may be split between the two
input sections or used exclusively for one section. The equalizer
section may be used for either inputs A or B, or may be subdivided
between the two. In other words, input A can be assigned to the
parametric equalizer while input B is assigned to the fixed band
equalizer or vice versa.
Midi Snapshots Mutes
MI Phantom power is supplied to all 24 channels. A select switch
enables a choice of power supply to the input section via 8 channel
modules. Please note that this switch is after the meters in the circuit
and its operation will not effect them.
M The 2412 has six AUX RTN, Each one has one AUX, foldback,
and solo.
M There are fourteen bargraph meters (12 groups and L/R). For solo
monitoring, the L/R meter indicates the solo monitor level,
ME All channel inputs (MIC/LINE, TAPE IN), as well as, group and
stereo and mon/sub outputs have insert jacks.
M The 2412 mixer uses our own patented faders. These faders have
a conductive rubber assembly that is much smoother and more
accurate than conventional brush types. In addition, these faders will
last longer and are quieter (less than 20 x Vp-p noise level).
BM The 2412 features MIDI control by either NOTE or CONTROL
CHANGE messages. In addition to single channel capability, the
2412 features OMNI ability. This feature enables the controller to
receive messages on all channels. Functions such as mute OFF/ON,
scene changes via the scene storage mode, L-R panning, etc. can be
automated with a MIDI sequencer.
№ With the 2412's scene preview mode, the user can store four
different mute scenes in a nonvolatile memory, This feature is
extremely useful when a variety of mute set ups are necessary for
recording or performance.
Bl The controls of the 2412 are logically laid out by function
enabling the engineer to set up the console quickly and accurately
in a variety of situations.
This section captures desk mute status into a designated scene. Using
this feature permits a preview of a designated mute scene via two
color mute and routing LEDs. The green LEDs indicates the channel
mute will be active if the scene is executed. There are four different
snapshot storage locations (A-D). When pressing the MUTE button,
the red LEDs will light, For details on how to use this function, please
see the information under "Snapshot Mutes" in the discussion of
controls and functions, 1tems 48 and 49.
Section Il. Safety Precautions
O The Fostex power supply unit that comes with the 2412 may be
used with either 50 or 60 Hz without any change. Absolutely donot
use a power supply of another manufacturer. If the 2412 is to be used
in an area with another voltage, please check with your nearest Fostex
dealer for the proper power supply unit.
@ When disconnecting the power supply unit from an AC outlet,
always grasp the plug itself. Pulling on the cord may damage it.
O Do not plug the power supply into an AC outlet with wet or damp
hands. Doing so may cause a severe electrical shock.
@ It is dangerous to use any electrical appliance with a worn or
frayed cord. If the cord has been damaged, please contact your
nearest Fostex dealer for repair or replacement.
@ Donotopen the 2412's case or power supply unit. There are no
user serviceable parts inside either unit. Electrical shock could result
from opening these units. Fostex will void the warranty on any
products so tampered with.
O Be careful not to allow water or foreign objects to enter the 2412
or its power supply unit. Severe damage could result. If water, etc.
accidentally gets inside, immediately pull out the power supply cord
from the AC outlet and contact your nearest Fostex dealer or service
station.
@ To avoid damage to the 2412 or any monitor speakers, be sure
to switch on the 2412 before turning on any peripheral equipment
that is connected to it. Also, when plugging or unplugging any micro-
phones or "line in” components, be sure that the input volume or fader
is set to "minimum".
Section HI. Impedance
Input and Output Impedance Values for the 2412.
Input and output impedance must be considered when connecting any
peripheral equipment to the mixer. Impedance is the resistance value
against alternating currents, such as sound signals, within the circuits
of an electrical sound device. The unit of measurement is the
ohm( © ). If the impedance of the mixer does not match that of any
peripheral equipment that may be connected, the results can range
from distortion to serious damage to the mixer or peripheral equip-
ment. In general, output impedance should be low and input imped-
ance should be high. For information on input and output impedance
values of the 2412, please refer to the specifications at the end of this
manual.
< Note >
Always use a direct box when connecting any outputs rated in watts
to the input section of the 2412. Failure to do this may result in serious
damage to the power amplifier circuit as well as other components
of the console.
Section IV. Level Setting
Level settings of the 2412 and sources connected to the
mic/line input jack are controlled by the input A gain
knob.
Gain should be adjusted so that the Peak Indicator A
LED does not light too frequently.
< INPUT MODULE >
MI input
C/LINE inpu As the best range of the input fader for low noise and
distortion is 0 +/- 5 dB, the fader should be preset to this
TAPE Input position before gain A is adjusted. Ifthe channel input
selector is set to A, the input A gain knob will be
adjusted.
Sources connected to the tape input jack are adjusted by
ma the input B gain knob and are indicated by peak indi-
cator B. This assumes that input B has been selected.
In the case of sending a signal to the monitor/submix
section, the monitor/submix level knob works the same
as an input fader.
Monitor/submix
level control
< NOTE >
Set the monitor/submix knob to 10, its maximum posi-
tion, and adjust the input volume with the individual A
A/B selector a E and B gain knobs.
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Section Y. The Parametric Equalizer
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FREQUENCY
Two fixed frequency shelving type
equalizers, as well as, two variable
band parametric equalizers are as-
signed to each channel] of the 2412.
The mid low band equalizer may be
set from 60 Hz to 1.2kHz, and the
high mid band equalizer from 1kHz
to 16kHz. The frequencies selected
may be boost or cut +15dB, These
controls are particularly effective in
controlling fundamental and har-
monic overtones which determine
the timbre of the haman voice and
most musical instruments. It is im-
portant to remember that, for the
best and most natural amplified and
recorded sound, microphone place-
ment is the first alternative chosen
by professional engineers. À differ-
ent microphone or a different place-
ment of a microphone can have a
significant effect on recorded sound.
It is only after microphone place-
ment has been finalized, that judi-
cious use of the midrange controls
should be used.
Section VI. Names and Functions of Controls
NOTE: Letters in parenthesis are identical to panel lettering.
Input Section
1. Line Switch [LINE]
Use this switch to assign the signal to input A, MIC or LINE. The
lower position is LINE.
2. Peak LED [PEAK]
The upper LED indicates overload of the pre-amp of input A (MIC/
LINE). The lower LED indicates in the same way as input B (TAPE).
The lighting level is +26dB.
3. Gain Control A [GAIN A]
This control adjusts input A gain. Usually, this is a microphone input
with variable gain of 10dB to 60dB. When switched to line (LINE
switch [1]), gain levels are variable from -15dB to +35dB. This wide
gain range precludes the need to use any pads. Use the LINE switch
[1] to select line (jack) input to input A.
4. Gain Control B [GAIN 8]
This control adjusts the gain for input B. Gain is-12dB to +12dB.
Monitor/Submix Section
D. Foldback 1 Gain [FB1]
This controls the foldback or monitor gain. The pre "level" signal
is sent to the FB1 buss. When overdubbing, and the A/B selector
[10] 1s set to "B" while using the monitor gain level [9] for control
room monitoring, this control may be used for a separate mix for
musicians in the studio room. In P.A. applications, this control may
be used for a stage monitor mix. This enables the operator to have
two monitor mixes on stage, i.e., alouder mix for the drummer and
10 —
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a softer mix for the singer, etc.
6. Auxiliary 1 [A1]
This adjusts the auxiliary 1 output. The post “level” signal is sent
to the AUX 1 buss. When overdubbing and "B" is selected [10], use
this control for effect level. When mixing down and "A" is selected,
use this for submixing
synchronized MIDI sound modules.
7. Auxiliary 2 [A2 STEREO]
This controls the gain for auxiliary 2. This is a stereo output. The
signal is sent "post" level to the AUX 2 buss. When using stereo
effectors, use this gain control.
8. Auxiliary 2 Pan Pot / Monitor/Submix Pan Pot [PAN]
This controls the panning of the auxiliary 2 and monitor/submix
signal simultaneously. Please note that control [7] and control [8]
work in co-ordination to route these signals.
9. Monitor/Submix Gain [LEVEL]
The signal gain that is selected by the A/B selector [10] is controlled
here.
10. A/B Selector [[A] INPUT B OR]
This selects input from gain A or B. In the up position, input B, as
an independent input is selected. In the down position, input A 1s
selected. Input B is selected for inline tape monitoring purposes.
11. Assignment Button [[L-R] OP TO]
This1s the L-R assignment button for stereo/ monitor/submix. Up
position 18 monitor/submix buss. Down position is stereo buss.
12. Solo Button [SoLo]
Solo button for monitor/submix. When this button is pushed, the solo
LED "B INPUTS" on the master module will light. This solo is stereo
and 1s post fade.
High and Low Frequency Equalizer Section
13. Fixed Band EQ [HF 11kHz]
This controls the fixed band equalizer for inputs A or B. This EQ
controls the high end of the signal.
14. Fixed Band EQ [LF 45Hz]
The fixed band equalizer for inputs A or B. This EQ controls the
low range of the signal.
15. Select Button [EQ IN A OR [B]].
This button selects either input A or B for the fixed band equalizer.
The up position selects A. The down position selects B.
Mid-Range Equalizer Section
16. Select Button [EQ IN A OR [B]]
“This button functions the same as [15]. Please note that you may
assign input A or B to either section of the equalizer independently.
Both the high/low and mid range equalizer sections are assigned to
input signal path A.
17. Boost/Cut [Hi MID]
18. Select Frequency [Hi MDF]
These two knobs work together to adjust the high end of the midrange
frequencies. Control [17] adjusts the output, while control [18]
selects the frequency to be equalized. A + 15dB cut or boost can be
applied in a range of 1kHz to 16kHz with this section.
19. Boost/Cut [MID Lo]
20. Select Frequency [MID LOF]
These two knobs work together in the same manner as [17] and [18]
above. These are for controlling the low midrange. The variable
sweep is from 60Hz to 1.2kHz.
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Input Channel Section
21. Foldback 2 Gain [FB2]
This controls the foldback 2 gain. This pre-fader and pre-EQ signal
is sent to the FB2 buss.
22. Auxiliary 3 [A3]
This functions the same as auxiliary 1 [6]. The post fader signal is
sent to the AUX3 buss.
23. Auxiliary 4 [A4 STEREO]
This control functions the same as auxiliary 2 {7]. This controls the
stereo post fader output and sends the post fader signal to the AUX4
buss.
24. Auxiliary 4 Pan Pot/Assignment Pan Pot [PAN]
This control places the signal in the stereo mix and Auxiliary 4. The
pan control positions the signal between odd/even busses to groups
and the L/R.
25. Input Select [INPUT A OR [B]]
This button selects input A or B. The up position is A while the down
positionis B.
26. Mute LED [MUTE]
This LED indicates whether muting on the channel is active. This
LED indicates the status of the Scene/MIDI controlled channel
routing. Red indicates audio mute 1s active while green indicates
preview mode.
27. Mute Button [MUTE]
Pressing this button activates muting on this channel.
28. Stereo Assign Switch [L-R]
This L-R button is the master stereo control. Use this button to assign
the channel to the overall stereo mix.
Track Assingnment
M : DownPosition
(I : UpPosition
Sending 10
GROUP-1 buss
Sending to
GROUP-4 buss
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29. Track Assignment Buttons [1-2, 3-4, ......, 11-12]
These buttons assign the individual input to any or all groups 1-12.
The up position is off. To assign an input, press the desired button
and then use the pan knob [24] to assign to either an odd or even
numbered channel. As an example, when pressing down 1-2, L
becomes 1 and R becomes 2.
30. Solo Button [SoLo]
Press this button for solo monitor. This solo is stereo and is post fade.
When this button is pressed, the solo LED "A INPUTS" on the stereo
master module will be lit.
31. Input Fader
This fader adjusts the signal output of the channel input section.
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Auxiliary Master Section
32. AUX 1 Master/AFL Button [A1/AFL]
This knob controls the master level of AUX 1 buss. When pressing
the AFL button, the solo "AUX RTN/SEND" LED will be lit on the
stereo master module. This controls the post AUX 1 Master level
signal to stereo solo buss.
33. AUX 2 Master/AFL Button [A2STEREO/AFL]
This knob controls the master level of AUX 2 stereo buss. This button
controls the Post AUX 2 Master level to stereo in-place solo buss (the
same as [32]).
34. AUX 3 Master/AFL Button [A3/AFL]
Post AUX 3 Master controls the master level of AUX buss 3 and the
signal level to the stereo solo buss.
35. AUX 4 Master/AFL Button [A4 STEREO/AFL]
This functions the same as [33].
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36. AUX 5 Master/AFL Button [AS/AFL]
This functions the same as [32].
Foldback Sends Section
37. Foldback 1 Master/AFL Button/CANS Button
[FB1/AFL/CANS]
This knob is the master output level control of foldback 1 buss. AFL
buton controls the post FB1 master level signal to the solo buss. When
this button is pressed, the solo LED "FB/MON MIX" on the stereo
master module will be lit. CANS button switches the FB1 signal to
the headphone mix. This is effective only when the MON button [40]
is in the up position.
38. Foldback 2 Master/AFL Button/CANS Button
[FB2/AFL/CANS]
This knob is the master output level control of foldback 2 buss. AFL
buton controls the post FB2 master level signal to the solo buss.
CANS button switches the FB2 signal to the headphone mix.
39. Foldback 3 Master/AFL Button/CANS Button
[FB3/AFL/CANS]
This knob is the master output level control of foldback 3 buss. AFL
buton controls the post FB3 master level signal to the solo buss.
CANS button switches the FB3 signal to the headphone mix.
< NOTE >
37, 38, and 39 all function in an identical manner.
40. Monitor Button [MON]
This control selects the control room monitor signal path to the
headphones. In the up position, each foldback signal is selected. In
the down position, the same signal as MON OUT jack is selected.
41. CANS Master [CANS]
The master headphone output control is located here.
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Monitor/Submix Master Section
42. Echo Return [MON/SUB ECHO]
Mon/Sub Echo is an independent stereo input to the monitor/submix
buss. This input is ideal for effectors such as echo, reverb, etc. for
monitoring,
43. Mute LED
This LED indicates the routing of the MON/SUBMIX output to the
stereo buss. When pressing the L-R button [44], this LED will be
litred. In the preview mode it will be lit green (the same as the MUTE
LED [26]). This LED will light when the L-R master is muted.
44. MON/SUB to L-R Mute Button[L-R]
This is a momentary type switch that toggles the output status of the
"monitor/submix” to "left/right" master buss. This control functions
the same as the MUTE button [27].
45. Solo Button[soLo]
While pressing this button, Solo LED "FB MON/MIX" on the stereo
master module will be lit. This sends the monitor/submix master
fader signal to in-place stereo solo buss.
46. Monitor/Submix Master Fader
This fader controls output level of the monitor/submix jack.
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Phantom Power Status
47. Phantom Power Indicators [1-8, 9-16, 17-24]
These indicators are for the 48V phantom power supply. The power
is switchedin 8 modules per bank with therear panel switches [96].
Snapshot Mutes
48. Store button/LED [STORE]
This button “captures” the current mute status into designated mute
scene.
49. Preview button/LED [PREVIEW]
This button is for confirmation and editing of the scene memory. It
permits a non-destructive preview of a designated mute scene via two
color mute and routing LEDs. Green light indicates that the channel
will be active if the scene is executed. When executed, the LEDs
will be red.
50. Scene A through D/LED [SCENE A-D]
This recalls the various scenes in a nonvolatile memory.
Snapshot Mute Operation |
Store the Memory.
1. Create the mute pattern by using each MUTE button [27].
2. Press the STORE button [48]. The LED will light.
3. Select one, A through D, and push the desired SCENE button. The
SCENE LED will light.
4. In about a second, both LED's will extinguish. The scene has been
stored.
Recall the Scene Memory.
<NOTE >
Confirmation of the
Memory by Preview Mode.
<NOTE >
Editing of the Memory
with the Preview Mode.
Clearing the Scene Pattern.
1. Check that the STORE and PREVIEW LEDs are extinguished.
2. Press the desired SCENE button [50]. The SCENE status will be
indicated by each LED and will be executed.
Afterrecalling the memory, if you press any of the MUTE buttons,
the selected SCENE LED will be extinguished. The LED will not
light again if you press the same MUTE button.
The preview mode is for monitoring the memorized pattern. This
pattern will be indicated by green LEDs. This is a preview mode and
will not execute the mute pattern.
1. Press the PREVIEW button [49]. The LED will light.
2. Press the desired SCENE button. LED will also light. The mute
scene will be indicated by the green LEDs,
3. Press another scene button, and that stored pattern will be indi-
cated.
4. To cancel the preview mode, press the PREVIEW button.
After a red LED is lit by pressing a MUTE button, entering the
preview mode will cause it to light green. The LED will then be
amber, a mixture of red and green.
1. Press the PREVIEW button [49] (LED will be Lit).
2. Press the desired SCENE button [50] (LED will light).
3. The mute pattern can be changed by pressing each MUTE button
[27].
4. Press the STORE button and, then, the SCENE button.
5. In about a second, the new scene will be stored.
1. When in the store or preview modes, press the STORE and
PREVIEW buttons at the same time.
2. The scene pattern will now be cleared. In addition, the STORE and
PREVIEW modes will be canceled,
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Solo Master/Monitor Section
51. Solo LEDs
[A INPUTS, B INPUTS, AUX RTN/SEND, FB/MON MIX, GROUPS]
These five LEDs indicate the territory of solo activity in the console.
A INPUTS: When pressing the SOLO A button
on the input module, will be lit.
B INPUTS: When pressing the SOLO B button
on the input module, will be lit.
AUX RTN/SEND: When pressing the SOLO button
on the AUX RTN module, will be lit.
or
When pressing the AFL button
on the AUX master section, will be lit.
FB/MON MIX: When pressing the AFL button on the
FB SENDS section, will be lit.
or
When pressing the SOLO button on the
monitor/submix section, will be lit.
GROUPS: When pressing the SOLO button on the
group master module, will be lit.
52. Solo Master [soLo]
This controls the output of the stereo SOLO monitor. When only solo
monitoring, the L-R bargraphs will indicate solo levels. -
53. Two Track Button [2TK]
This selects the "two track" signal for the control room monitor circuit
(monitor output level [55]). When this buttonis pressed, only the
2 track signal can be monitored.
54. Monitor Echo [MON ECHO]
This controls the stereo monitor echo to the control room monitor.
This is an independent input, i.e., MON ECHO jack to the MON OUT
jack.
55. Monitor Output [MONITOR]
This adjusts the level of the signal to the control room monitor output
(MON OUT jack).
Talkback/Stereo Master Section
56. Talkback Level [TALK BACK]
This controls the built in talkback microphone.
57. Tape Assign Button [TAPE]
This is for talking to the group 1 through 12. This button allows you
to talk to group 1 through 12 and record your voice into monitor.
58. Cans Assign Button [CANS]
Press this button to talk to anyone connected to this circuit (FB1~FB3)
via headphones.
59. Talkback Microphone [1/8 Mic]
This 1s the internal front panel mounted electret microphone.
60. Stereo Master Fader
This fader is the L-R master output fader. Please note that these faders
are our patented conductive roller faders.
Fu
61, 62. Assignment Buttons
[L-R, 1-2, 3-4, ..., 11-12]
These buttons are for assigning the AUX RE-
TURN section, With these buttons, you may
assign to the master stereo mix or to individual
group channels. Use L-R to select input signal
to the main stereo buss via the pan pot. The
routing matrix selects the AUX RETURN signal
to any or all groups 1-12. Routing is odd/even
via the pan pot.
63. Solo Button [SOLO]
Use this button for stereo solo of aux return input. When pressing
this button, the solo LED "AUX RTN/SEND in the stereo master
module will be lit.
64. Foldback 3 [FB3]
This control is the pre-gain control for [67]. This pot sends the signal
to the FB3 buss.
65. Auxiliary 5 [As]
This controls the signal strength to the auxiliary section via the AS
buss. This control is the post gain control for [67].
06. Pan Pot [PAN]
This is the pan pot for the AUX RTN section. This pan pot assigns
the signal into the stereo mix or to individual group channels.
67. AUX Return Level Control [LEVEL]
This controls the level of AUX RTN input.
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68. Pan Pot to L-R Master [PAN TO L-R MASTER]
Assigns the buss position of each buss signal when mixing the output
signal of the group buss to the L-R master.
69. Mute LED
This LED lights when the group out to the L-R master is muted. After
the assignment has been made, the status LED will extinguish.
70. Pan Pot Mute Button [PAN]
This control functions as a mute button for group to L-R. After the
assignment has been made, the mute LED will extinguish.
71.SOLO Button [soLo]
This sends the group master fader signal to the stereo solo buss. While
pressing this button, "GROUPS" on the stereo master module will
light.
72. Group Master Fader
This fader controls the output level of each group output.
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73. Meter Segments [1~12/L,R]
The 12 bar meter segments are visual monitors
of the group output. Each baris composed of
12 segments. In addition, there are two bars
for stereo output. All meters have a peak hold
function. Peak hold time is about one second.
When using any of the solo buttons, the L-R
bars will indicate solo buss level.
74. Power Indicator [POWER]
The red light indicates that power is ON.
< NOTE >
The power switch is on the power supply unit.
75. Headphone Output [PHONES]
‘The headphone signal is output here. It is the same signal as the
CANS jack. CANS MASTER [41] controls the output level for both
outputs.
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76. Microphone Inputs [mic]
These are balanced microphone inputs for XLR
balanced connectors.
< NOTE >
80 When using as unbal-
1. GROUND
anced inputs, connect
pin 1 and pin 2 as ground.
Pin 3 is hot. This will 2 HOT
deactivate the phantom |
power switch.
77, 78.Line Level Inputs/Insert Jacks [LINE IN/ INSERT]
The line inputs are for standard 1/4 inch stereo plugs. The INSERT
inputs are for connecting peripheral equipment or inputting effectors
on individual channels. In the insert jack, the tip is send and the ring
isreceive.
79, 80. Tape Inputs/Insert Jacks [TAPE/ INSERT]
Connect tape recorders or other recording devices here. Please see
specifications for further information.
< Example: Insertion cable >
Tip: SEND
Ring: RECEIVE
Sleeve: GROUND
Eo
SEND
Connect the
insert jack RECEIVE
1/4 inch stereo plug
1/4 inch mono plug
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81. Monitor/Submix Echo [ECHO RTN L/R]
These 1/4 inch stereo phone jacks are the echo return jacks.
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82. Tow Track Input [2 TRACK IN L/R]
This input is for the two track stereo input. Use this input when
connecting amaster recorder.
83. Foldback Output [FB1, FB2, FB3]
The foldback signal is output here. This is a pseudo balanced circuit.
Connect an amplifier and speaker here for foldback monitor.
84. Head Phone Signal Output [CANS]
Plug in a 1/4 inch stereo phone jack here for headphone signal. The
tip of the jack is left while the ring is right.
< NOTE >
This output is the same as the headphone jack on the bar graph pod.
85. Monitor Echo [ECHO TO MON UR]
Plug in here for monitor echo. Normally, this is used to plug in an
effector for the monitor circuit.
86. Monitor Output [MON OUT LR]
The monitor signal is output here. Connect an amplifier here for
control room monitoring.
87, 88. Groups Output/Insert Jack [GROUPS OUT 1-12]
This section is the main output of the console. Connect the 2412 to
the recorder here, Use the INSERT jack to introduce sound effectors/
processors into the signal chain for that particular channel. The group
output jacks are pseudo balanced.
89. AUX Output [AUX OUT 1, 2L/R, 3, 4L/R, 5]
Auxiliary is output here. The jacks are 1, 2L, 2R, 3, 4L, 4R, 5.
90. AUX Return [Aux RTN 1-6]
Auxiliary returns, numbered 1 thru 6, are located here. In normal
practice, aux return is connected in parallel to outputs of a MIDI
sound or effectors module.
91, 92. Stereo Output/Insert Jack [STEREO OUT L/R]
Stereo outputis here. The jacks include stereo L and R in addition
to INSERT L and R.
93, 94. Monitor Submix Output/Insert Jack
[MONITOR/SUBMIX OUT L/R]
The monitor/submix signal is output here. Stereo L-R, as well as,
inserts L and R are located here.
95. MIDI Connection [MIDI IN/OUT/THRU]
This is the MIDI connection to the console. Settings are IN, OUT,
and THRU. Please refer to "MIDI interface" for more details.
96. Phantom Switch [PHANTOM 1-8, 9-16, 17-24 ON/OFF]
Phantom power is switchable in groups of eight. The phantom switch
LED [47] on the stereo master module will light.
97. Group Output Level [GROUP OUT LEVEL +4dBu/-10dBV]
Group out has two nominal output levels controlled by a sliding
switch. One level is -10dBV while the other 15 +4dBu.
98. Power Connector [POWER]
Thisis the power connection for the console. Please do not discon-
nect this cord while the power is on, as damage to the board or
electrical shock may result. Itis IMPORTANTE o pul! the securing
ring back before attempting to remove the power cord. Also, itis
IMPORTANT to use only a Fostex power supply that has been
specifically made for the 2412. If you are in need of a different input
rated power supply, i.e., you have moved to a country with different
public utility electric values, contact your nearest Fostex dealer to
Section VII. Basic Signal Flow
< NOTE >
Ín general, the basic signal flow of the sound signal during multitrack
recording can be separated into two routes.
ROUTE 1: RECORDING THE INPUT SOUND SOURCES
ON A MULTITRACK RECORDER.
ROUTE 2: MONITORING THE OUTPUT SIGNAL OF A
MULTITRACK RECORDER WHILE RECORDING.
To illustrate this, we will assume that you are recording a live
situation with an 2412 and a Fostex G24S. Please refer to the
following illustration.
ROUTE 1: The input signal from the various instruments and microphones is sent
to the input faders via the input selector, then assigned to group busses
by the assign switches and pan knobs. Then the overall level is
adjusted by the group master faders and finally the signal is output
to the G24S via the group out jacks,
ROUTE 2: The output signals of the G24S are sent to tape input. Then, according
to the balance setting of aux pan, they are sent to aux buss (L,R). The
combined signals are level adjusted with the aux master level knob
and/or the cans level knob. By adjusting these levels, monitoring of
the recording process is possible.
These two signal paths are separate and distinct. Almost all console
problems are inevitably the result of confusing these two functions.
If you experience loss of signal, ground loops, feed back or other
potential problems in signal flow, please consider the above.
Basic Signal Flow For Multitrack Recording
There are two signal paths routed through the 2412. Signal path one
sends the sound signal through the console and to a multitrack
recorder. Signal path two is the signal from the recorder being
monitored via the console. The 2412 console can perform these two
functions simultaneously. These are two separate and distinct sources.
If these sources are confused, unwanted feedback, loss of signal, and
etc. will result.
Route 1:
< NOTE >
Recording the input sound sources on a multitrack
recorder.
O In the diagram, the 2412 console is connected to a Fostex G24S
and two sound effectors.
@ The signal is from a microphone via the mic input. The mic/line
switch is set to "mic". Input level ıs controlled by gain A. There
is no insert connection.
@ The signal is next sent to the A/B selector (A is Chosen). The signal
then goes to the input fader. The signal is adjusted at the fader
and then sent to the mute switch. If the mute switch is off, the
signal goes to the stereo assignment pan pot. After that, the signal
goes to the assignment switch.
O After the position has been assigned, the signal goes to the group
1-12 buss. From there, itis sent via the group insert to the group
master fader. This output, 1 to 12, 1s hard wired to tracks 1 to 12
ofthe G24S5. Please note that the G245 has parallel input connec
tions l to 12 and 13 to 24, In other words, track 1 is connected
to 13, track 2 to 14, track 3 to 15, etc.
The foldback 2 signal is also effected by the input A/B selector. For
purpose of simplicity, this block diagram does not show this.
@ Aux 3, Aux 4, and L-R buss go to the Aux Out via the Aux 3 and
Aux 4 master controls. These signals are sent to the effectors and
then returned via the Aux 1-4 jacks. This signal is assigned by
the stereo pan pot and stereo assignment switch. The signal is then
sent to the mix group 1-12 group buss.
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Route 2:
Monitoring the output signal of a multitrack
recorder while recording.
O The signal from the recorder is sent to the input jacks of the 2412.
O This signal is controlled by the input B control.
O The signal then goes to the shelving EQ A/B selector via the tape
insert jacks (nothing inserted). Position A is selected. Because
the input signal is routed through the EQ section, the monitored
signal from the recorder bypasses this section, as well as, the par
ametric EQ section. The signal is sent to FB 1, FB 1 master, and
the FB 1 jack before the EQ section. FB 1 is for the musician's
monitor,
@ After bypassing the EQ section, the signal goes to the monitor/
submix A/B selector. In this example, B position has been
selected. The signal then goes to the monitor/submix level control,
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Section VIII. Application
The following information should help in understanding the many
different functions the 2412 performs. We have tried to cover as many
different aspects as possible. However, every situation is unique and
you may have to use thisinformation as a basis for your own needs.
Application Examples
We hope that the preceding sections have been helpful to you in
explaining the many functions of the 2412. The following section
gives examples of how the 2412 may be connected to other equip-
ment. Every application of the 2412 will be different. However, by
examining these examples, it is hoped that the use of the 2412 for
basic procedures will be clarified.
Multitrack Recording
The following diagram illustrates one of the basic configurations
when using the 2412 for multitrack recording situations. Please use
this chart when deciding future configurations with your peripheral
equipment.
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This section will describe multitrack recording with the 6248.
for sonal
| |
(for recording)
O Step 1. Rhythm Section.
O Step 2. Microphone, keyboard signal, bass guitar through a direct box. This recording is done
via input section assignment to the group fader to the G24S tracks.
O Atthistime a decision about the use of phantom power must be made. If you are using condenser
microphones, then phantom power must be used. Otherwise, there is no need to use this option.
O The electric guitar and bass may be plugged into a microphone input. If these instruments are
to be plugged into the console, we recommend the use of a direct box for impedance matchin g.
If necessary, a limiter can be introduced into the recording chain at the MIC/LINE insert jack.
@ When recording drums in a multi-microphone situation, we recommend the use of a noise gate
to prevent unwanted masking of the recorded sound as well as to reduce "booming" from drum
heads.
@ The signal from the G24S is connected to the MON/SUBMIX section. You can monitor this
signal from the monitor jack via the MON/SUBMIX master fader. To monitor the effect sound,
use the Monitor/Submix Echo jack. Effect volume is controlled by the MON/SUBMIX Echo
Level control.
@ Effector output for recording signal is found at the aux return jack to aux return module. This
signal is sent to any group buss and then to the (G248.
@ For musicians monitoring, use Fold Back volume 1 and 2. A good monitor sound can be found
here.
Overdubbing, the process of recording new material with that previously recorded, is possible using
the 2412 and a G24S. You can monitor the playback signal from the G24S during RECORD mode.
This signal can be monitored via the MON/SUBMIX section.
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The following is a good practice when overdubbing.
Example: Tracks 1-12 are recorded. Track 13 will be used for overdubbing.
O A sound source is applied to 14-24 inputs, MIC or LINE. These signal groups go to group master
fader 1. Then this signal is sent to track 13.
O Tracks 1-12 playback and the track 13 recorded signal are mixed and sent to the stereo buss
L-R. This combined output is sent to monitor out.
O Effect output of monitor can be connected to any channel.
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Every track of the G24S signal goes to the input fader and is then mixed with the other input signals.
@ !fthe G24S has an 8330 synchronizer cardinstalled, TC mute on/off canbe controlled by a MIDI
signal from a computer control.
O Tracks 1-23 are assigned via the L-R buss.
Alternate Method
In this method, the signal is sent to the group Master fader. It is possible to group these signals. Next,
assign these signals to the master fader via the L-R pan pot.
< NOTE >
When a MIDI signal generator output is connected to the MIC/LINE input jack, this signal is sent to the
MON/SUBMIX section and is then assigned to the stereo L-R buss.
Section IX. Specifications
MIC INPUT (X24)
LINE INPUT (X24)
TAPE INPUT (X24)
INSERT SEND (X24)
INSERT RCY (X24)
GROUP OUTPUT (X12)
STEREO OUTPUT (L, №)
Monitor Submix Output (L, R)
FB (Mono X3)
AUX OUTPUT (Mono X3, L, R X2)
MONITOR OUT (L, R)
HEADPHONE OUT (L, R)
AUX RETURN (X6)
2 TRACK INPUT (L, R)
ECHO RETURN (L, R)
ECHO TO MON (L, R)
Mic Impedance
Input Impedance
Level (nominal)
(minimum)
(maximum)
Impedance
Level (nominal)
(minimum)
(maximum)
Impedance
Level (nominal)
(minimum)
(maximum)
Load Impedance
Output Level
(Maximum)
Impedance
Level (nominal)
Load Impedance
Output Level
(maximum)
Load Impedance
Output Level
(maximum)
Load Impedance
Output Level
(maximum)
Load Impedance
Max Output Level
Input Impedance
Level (nominal)
Input Impedance
Level (nominal)
3k) or less
13k Q balanced, XLR type
-70dBY to -20dBYV
-80dB Y
+8dB Y
20k Q stereo phone jack, bal.
-45dBV to +5dBY
-55dBV
+33dBV
20k OQ stereo phone jack, bal
-8dBu to +16dBu
-18dBu
+32dBu
10К 2 or high, phone jack
-10dBV (0.3V)
+18dBV
10k Q , phone jack
-10dBY (0.3V)
10k Q or high, phone jack
+4dBu/-10dBV (0.3V) switchable
+20dBu/+18dBV
10k Q or high, phone jack
+4dBu
+20dBu
10k or high, phone jack
+4dBu
+20dBu
8-50N ,stereo phone jack
500mw
20k bal, stereo phone jack
+4dBu
20k 00 unbal., stereo phone jack
+4dBu
60 to 1.2kHz + 15dB
Sweep
EQUALIZER
1kHz to 16kHz £ 15dB
11kHz + 15dB
45Hz + 15dB
Shelving
20~20kHz +1/-2dB
Mic. Input
FREQUENCY RESPONSE
20~20kHz +1/-1.5dB
Line Input
20~20kHz +1/-3dB
Headphone Ош
-128dB V unwtd./-130dB V wtd. (IEC/ANSTI)
EQUIVALENT INPUT NOISE
0.05% (at 1kHz, nominal level)
Group Out
T.H.D
0.1% (at 1kHz, 10m W/50 2)
Headphone Out
CROSSTALK
better than 80dB (at 1kHz)
120V/60Hz, 95W
POWER REQUIREMENTS
220/240V/50Hz, 95W
1108(W) X 582(D) X 203(H)
122(W) X 231(D) X 93(H)
Model 2412:
PHYSICAL DIMENSIONS
Power suplly unit:
25kg
Skg
Model 2412:
WEIGHT (net)
Power suplly unit:
DC48 Y
PHANTOM POWER
203
1108
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Table of Contents
Introduction
Appendix: MIDI Interface
The 2412 MIDI interface................e..minic ree e 2
Setting up a MIDIchannel...................... eee e. 2
Recall and clear the mute pattern
by PROGRAM CHÁNGE..........—..emme0c es 3
Setting the MUTE, L-R, PAN switches
to ON/OFF EN 3
Initializing procedure
Selecting the kind of MIDI message,.................ecreeeme a. 3
Selecting the NOTE message................. oreaonenenoaeoenarones 4
Selecting the CONTROL CHANGE message.........e.m.ercsmnamnenoos 4
Operation
Controlling the 2412 from the MIDI keyboard .............. me... 6
Automation by MIDI seguencer serie Er TEE EEE 8
When selecting the NOTE message... 8
When selecting the CONTROL CHANGE message.......... 9
Storing the memory by MIDI.....................ecercarencacceoenes 11
About the other MIDI messages..................e..emrercececó 11
The 2412 canbe MIDI controlled. Mute switches, scene memo-
ries, and muting can be controlled by a MIDI keyboard or sequencer,
When using a MIDI sequencer synchronized to a recorder, the mute
switches on the 2412 may be synchronized as well. This is an
excellent feature during mixdown operations when rapid and varied
muting sequences are required. The MIDI controls may be pro-
grammed allowing you to sequence the mutes accurately in real time,
While these procedures may initially seem complex, with a little
practice they are very easy. Please use the following information
to set up the 2412 for MIDI control operations.
<Input module channel 5>
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The 2412 MIDI interface
The 2412 has various MIDI functions. It can:
№ receivé a PROGRAM CHANGE, and change snap shot patterns.
M receive a NOTE ON/OFF or the CONTROL CHANGE message,
change muting ON or OFF, and control the L-R, PAN switches.
№ receive a CONTROL CHANGE message and automatically store
the status of the mute, L-R, PAN switches to scenes À through
D memory.
Setting up a MIDI channel
The 2412 uses the mute switch of the input module for setting the
MIDI channel. To set the MIDI channel for either transmitting or
receiving, while pressing the mute switch of the channel that you
wish to set, turn the power on. This process will set the MIDI channel.
<Input module channel 5>
Example: Setting the MIDI channel to "five".
While pressing the mute switch of channel five, turn the power on.
<NOTES>
e If the power is turned on without pressing a mute switch, the
MIDI channel will automatically be set to 1.
e When pressing multiple switches, the MIDI channel is assigned
to the smallest number,
® When initially turning on the power, the 2412 will be in the OMNI
"OFF" mode. Inthe OMNI "OFF" mode, the 2412 receives only
one set channel MIDI message. After receiving an OMNI "ON"
message, the 2412 will enter the OMNI "ON" mode. In the OMNI
"ON" mode, the 2412 can receive "all channel" MIDI messages.
Recall and clear the mute pattern by PROGRAM CHANGE
By sending a PROGRAM CHANGE message to the MIDI IN con-
nector, the 2412 can recall snap shot patterns stored in memory
scenes A through D. Programs number one through four are each
applied to scenes A through D. Applying program number zero
will clear the recalled memory,
Program change byte composition of program number "3",
Cnh O3h
This will indicates "program number=3"
(MIDI channel)
This is the status byte of the program change.
* Each byte "h" indicates the hexadecimal.
* Please refer to the specific MIDI equipment manual for further
information.
< NOTE >
Scene À, when assigned to program number "1”, is not "0".
Pressing the scene keys recalls the memories and outputs the
program change messages of the program number that is
applied to the scene memory from the MIDI OUT connector
(when the store and preview indicators are extinguished).
Pressing the STORE and PREVIEW buttons clears the recalled
memory and outputs the program change messages.
Setting the MUTE, L-R, PAN switches to ON/OFF
Initializing Procedure
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When controlling MUTE, L-R, and PAN switches by MIDI messages,
the 2412 may be switched to either NOTE ON/OFF or CONTROL
CHANGE.
< NOTE >
When turning on the power, the 2412 automatically enters the NOTE
ON/OFF message mode. If you are using NOTE ON/OFF messages
only, the following operations are not necessary.
When assigning NOTE message mode control, transmit the CON-
TROL CHANGE message to the 2412 as follows:
MIDI IN MIDI OUT
MIDI
muy Es = Jo
MODEL 2412 CONTROL NUMBER= "0"
(MIDI Channel=n}
Byte composition of CONTROL CHANGE message
Bnh OOh OOh
Indicates "Control number =0"
Indicates "Value =0".
This is the status byte of the CONTROL
(n= MIDI channel)
* Each byte "h" indicates the hexadecimal.
* Please refer to the specific MIDI equipment manual for the writing
and transmitting of CONTROL CHANGE messages.
Example 1: When setting the 2412 MIDI channel 1 to 2:
Example 2:
Transmit to the 2412 | ВА ОО
When slo the control mode with the CONTROL CHANGE
message, transmit the CONTROL CHANGE message as follows to
the 2412.
MIDI IN MIDI OUT MIDI
[HI] fe
| TRANSMISSION CHANNEL="n"
MODEL 2412 CONTROL NUMBER. "0"
(MIDI Channel=n)
(BITE COMPOSITION © Bnh 00h xxh)
Sequencer
< NOTE >
The "xx" range of the 2412 MIDI commands is 19h to 60h (decimal:
2510 96). Please stay within this range when setting MIDI commands
with the 2412.
The relationship between the "xx" values and the 2412 switches
shows as follows.
"yy" works as follows: 00h is switch "OFF", except when 00h is assigned to switch "ON".
Control number
to be transmitted
for the switch
in due control | XX | XX41 |= ХХ + 23 || | ХХ - 24 XX-19 | XX-18 |—| XX-8
change message
MUTE switch| Mutaswiich MUTE switch !! L-R assign switch || ip switch PAN switch PAN switch
Switch names | ofchannel1 | ofchannel2 | ™ lof channet 24 (MON/SUB module) ol Group 1 ofGroup2 mun | OI Group 12
(Group module) | (Group module) (Group module)
Example 1:
Example 2:
When transmitting "xx = 20h (value = 32" to the 2412.
MODEL Bnh 00h 20h MIDI
2412 | equipment
will be set
as follows
Control change message to be assigned to switch the channel h
1 tomute ON/OFF,.... Bnh 20h yyh
Controlchange message to be assigned to switch the channel
2 to mute ON/OFF..... Bnh21hyyh
Control change massage to ba assigned to switch the channel
24 to mute ON/OFF..... Bnh 37h yyh
Controi change message to be assigned to switch the L-R Bnh 08h yyh
assign switch to ON/OFF.....
Controt change message to be asslgnad to switch the PAN
switch of Goupo 1 to ON/OFF... Binh 00h yyh
Control change message to be assigned to switch the PAN
switch of Goupe 2 to ON/OFF..... Bnh OER yyh
Control change message to be assigned to switch the PAN
switch of Goupe 1210 ON/OFF..... Bnh 18h yyh
When the control number "25" (hexadecimal: 19h) is
assigned to channel 1 mute switch, the same as, 20" is
channel 2, …
TER} to the 2412. At the same time, control number 7
will be assigned to the L-R assign switch, and "6" ~ "17"
to group 1 to 12 PAN switches.
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At power ÓN, the default setting of the 2412 is NOTE message. The
following is the simplest operation using the keyboard. It is not
necessary to assign a MIDI message.
MIDI IN MIDI OUT MIDI
ИИ Fee aon |
{with touchsence ) |
MODEL 2412 |
1. After checking that power is off to the 2412 and MIDI keyboard,
connect the MIDI cables as shown in Figure 6, Turn the keyboard
on, then the 2412. Match the MIDI channel of both the keyboard
and the 2412. Please refer to "Setting the MIDI channel” for details.
2. Press the middle "C" key (equals note number: 60) on the keyboard
firmly. Channel 1 of the 2412 will be mute "ON".
3. Next, press the same key softly, Channel 1 will be mute "OFF".
4. In the same manner, push the "B" key one octave up, channel
24 will be changed to mute on/off.
When controlling the 2412 with note messages, each channel is
controlled by a note and is operated by how hard the operator presses
the key, i.e., firmly for "ON" and lightly for "OFF".
Byte composition of NOTE ON message
2nh kkh vvh
| velocity
note number
This is the status byte of the NOTE ON
message.
(n= MIDI channel )
* Each byte "h" is indicated the hexadecimal.
Note number
Velocity
NOTE OFF
The 2412 presets the note number "60" (center C) to channel 1 MUTE
"61" to channel 2...... , up to "83" for channel 24. Also,
note numbers "41" through "52" are assigned to group 1 to 12 PAN
switch,
switches, as well as "36" to the L-R assign switch. These default
parameters can not be changed.
NOTE ON with a velocity range 01h to 3Fh (decimal: 1 to 63) is
assigned to switch "OFF". Conversely, NOTE ON with the velocity
range 40h to 7Fh (decimal: 64 to 127) is assigned to switch "ON".
NOTE OFF** has no meanings to the 2412. However, the MIDI
standard 1s standardized as follows:
"NOTE ON and NOTE OFF must be used as a pair."
** This means NOTE OFF has status byte "8nh" and/or NOTE ON
that has a velocity equal to 00h (decimal: 0).
When transmitting a NOTE ON message to the 2412, please transmit
a NOTE OFF message with the same note number at the same time.
Example: when assigning channel 4 mute to "ON", transmit to
the 2412:
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The following shows the relationship between note number and
switches, and also between velocity and switch ON/OFF.
Recelving note number Switch number Receiving velocity
D1h-3Fh(hexadecimal} — 40h-7Fh(hexadecimal)
hexadecimal decimal 1-5Ydecimai) 64~127(decimal)
ach 60 Channel 1 MUTE switch OFF ON
3Dh 61 Channel 2 MUTE switch OFF ON
3Eh 62 Channel 3 MUTE switch OFF ON
53h 83 Channel 24 MUTE switch
29h 41 Group 1 PAN switch
1 J J
34h 59 Group 12 PAN switch
24h 26 L-R assign switch OFF ON
Connecting
The 2412 switch control is done automatically by using a MIDI
sequencer as follows:
MIDI IN MIDI OUT MIDI
< Sequencer
MODEL 2412 |MIDI OUT MIDI IN | MIDI OUT
INPUT 1-12
4
Pfarr
— MIDI sound modules MIDI IN
Audio Signal
When selecting the Note messages
When selecting the NOTE message mode, changing ON to OFF or
OFF to ON by pressing the 2412's switch, NOTE ON messages will
be output from the 2412 MIDI OUT connector only when the PRE-
VIEW indicator is turned off. The note number is applied to that
switch. When switching to OFF, the NOTE message will be output
with velocity "01h". When switching ON, the NOTE message will
be output with velocity "7Fh”.
Example 1: When pressing the mute switch of channel 2 and
à ÍA will be
transmitted from the MIDI OUT connector.
Example 2: When pressing the mute > switch of channel 1, muting
is executed. 251 ПО is transmitted from
the MIDI QUT connector.
Channels 1 to 24 muting is controlled by the keyboard. To turn
muting "ON", press the key firmly (fortissimo) Conversely, to turn
the muting "OFF" press the respective control key softly (pianis-
simo). This information is transmitted from the MIDI OUT connector
and is recorded by the sequencer and played back. The following
procedure is for setting up automation sequences:
1. Connect the 2412 and MIDI sequencer, MIDI sources as shown
below.
2. Initialize the MIDI sequencer. Details are....., Set the MIDI
sequencer torecord the NOTE message that the 2412 outputs, and
assign the recording MIDI track, etc.
3. Playback another track (recorded information), or playback a
multitrack recorder that is synchronized to the MIDI sequencer, and
monitor the outputs. Finally, input something to the 2412 and check
the mute on/off application by pressing the mute switches.
4. Start the MIDI sequencer in real time writing mode. Press the
mute switch before starting the music and record the mute pattern
at the music's starting point. In other words, in real time write, the
initial settings of mute status at the beginning of the piece of music.
This is very important for "setting up” the following mute pattern
status. Otherwise, mute settings from a previous piece of music will
be in effect at the start of the new recording/performance.
5. As the music is played, press the mute switch and write the
necessary NOTE messages to the sequencer.
6. After you have finished, play back the sequencer to check the
mute pattern for correctness.
<NOTE>
The preceding procedure controls the mute switch. The PAN mute
and/or MON/SUB TO L-R switches may also be controlled in the
same manner.
When selecting the CONTROL CHANGE message
When selecting CONTROL CHANGE, message mode and changing
the OFF/ON status, all commands will be output from the 2412 MIDI
OUT connector unless the 2412 is in preview mode. When selecting
OFF, the CONTROL CHANGE message will be output with the value
"00h". When selecting ON, the CONTROL CHANGE message will
be output with the value "7th".
Example 1: While using ¢ the ROL CHANGE message mode,
> EF O O is transmitted from the MIDI QUT connector.
When using a CONTROL CHANGE message, channels 1 to 24 mute
switches work the same as switches that output the CONTROL
CHANGE message with control numbers "xx" to "xx +23". When
entering "ON" by pressing the mute switch, a CONTROL CHANGE
message with the value "7Fh" and a control number is transmitted
from the MIDI OUT connector. When entering "OFF", the CON-
TROL CHANGE message with a value "00h" as well as the control
number are transmitted. These messages are recorded to the MIDI
sequencer and playback. The following is the procedure for auto-
mation control of the 2412:
1. Connect the 2412, the MIDI sequencer, and the MIDI sources
as below:
2. Initialize the MIDI sequencer. Details are...., Set up the MIDI
sequencer to record the control change message that the 2412
outputs, and assign the MIDI track, etc.
3. As with NOTE message check, input something to the 2412 to
check if you are correctly turning the mute on and off.
4.Start the MIDI sequencer in real time writing mode. As with the
NOTE message mode, be sure to record the initial mute pattern at
a point just before the beginning of the recorded material. In addition,
when using a CONTROL CHANGE message, record (Bnh 00h xxh)
to assign the CONTROL CHANGE message from the previous
pattern. This is very important; when you turn the power off and
back on again the 2412 will automatically return to the NOTE
message mode. In addition, the 2412 will not recognize any value
assigned to "xx". Because the 2412 cannot output a CONTROL
CHANGE message, (Bnh 00h xxh), please write this with the MIDI
sequencer's step write mode, or send it to the sequencer from another
piece of MIDI equipment.
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5. Use the mute switch to write the CONTROL CHANGE messages
to the sequencer as the music is played.
6. Playback the sequencer after performing the above steps and check
the mute pattern (changing). Record the CONTROL CHANGE
message as either “00h” or "7Fh". When "00h" is received, the
2412 will switch off the mute switch. When receiving "7Fh" the
2412 switches on the mute switch.
<NOTE>
The above described procedure is for the mute switch. However,
the same principles apply to the PAN MUTE and/or MON/SUB TO
L-R switches.
Storing the memory by MIDI
By sending a CONTROL CHANGE message with the control number
"120 (78h)", the 2412 can store the current status of each switch
in scenes A through D memory, The values 1 to 4 (01h to 04h) are
applied to scenes A to D,
Example: Send a CONTROL CHANGE message with the control
number "120 (78h) and the control value "2" to the
2412 (Bnh 78h 02h). The current ON/OFF switch
pattern is stored to the Scene B memory.
<NOTE>
Pressing the STORE and SCENE keys stores the memories and
outputs the CONTROL CHANGE message from the MIDI QUT
connector.
About the other MIDI messages a 1 о
LOCAL ON/OFF Whenthe2412receivesa LOCAL OFF message, the mute will not
switch on or off even though the mute switch has been pressed.
However, this MIDI message will be output. After receiving a
LOCAL ON message, the 2412 will reset.
OMNI ON/OFF When the 2412 receives an OMNI ON message, the 2412 will
recognize MIDI messages on all MIDI channels. In this mode, press
the 2412 switches, and the 2412 will output MIDI messages, trans-
mitting on the currently set MIDI channel. After receiving an OMNI
OFF message, the 2412 will reset.
FOSTEX
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O PRINTED IN JAPAN JULY 1991 8288 282 000 FX