Limited One Year Manufacturer’s Warranty
Allen & Heath warrants the Play Differently branded hardware product and accessories contained in the original
packaging against defects in materials and workmanship when used in accordance with Play Differently user manual,
technical specifica ons and other Play Differently product published guidelines for a period of ONE (1) YEAR from the date
of original purchase by the end-user purchaser ("Warranty Period").
This warranty does not apply to any non- Play Differently branded hardware products or any so'ware, even if packaged or
sold with Play Differently branded hardware except for the power supply supplied with the product or as an approved
spare.
Repair or replacement under the terms of the warranty does not provide right to extension or renewal of the warranty
period. Repair or direct replacement of the product under the terms of this warranty may be fulfilled with func onally
equivalent service exchange units.
This warranty is not transferable. This warranty will be the purchaser’s sole and exclusive remedy and neither Allen &
Heath nor its approved service centres shall be liable for any incidental or consequen al damages or breach of any
express or implied warranty of this product.
Condi ons of Warranty
The equipment has not been subject to misuse either intended or accidental, neglect, or altera on other than as described
in the User Guide or Service Manual, or approved by Allen & Heath. The warranty does not cover fader wear and tear. Any
necessary adjustment, altera on or repair has been carried out by an authorised Play Differently distributor or agent.
The defec ve unit is to be returned carriage prepaid to the place of purchase, an authorised Play Differently distributor or
agent with proof of purchase. Please discuss this with the distributor or the agent before shipping. Units returned should
be packed in the original carton to avoid transit damage.
Check with your Play Differently distributor or agent for any addi onal warranty informa on which may apply. If further
assistance is required please contact Allen & Heath Ltd.
Any changes or modifica ons to the equipment not approved by Allen & Heath could void the compliance of the product
and therefore the user’s authority to operate it.
www.allen-heath.com
Play Differently MODEL 1 complies with the European Electromagne c Compa bility direc ves 2004/108/EC
and the European Low Voltage direc ves 2006/95/EC.
Any changes or modifica ons to the equipment not approved by Play Differently could void the compliance of the product
and therefore the users authority to operate it.
MODEL 1 User Guide Issue 1
Copyright © 2016 Play Differently. All rights reserved
Allen & Heath Limited
Kernick Industrial Estate, Penryn, Cornwall, TR10 9LU, UK
www.allen-heath.com www.playdifferently.org/
Introduction
1
The MODEL 1 is a 6 channel professional mixer designed for use in the club environment by professional DJs and
producers , but is equally at home in a small studio or as a compact outside broadcast desk that does not require
microphone inputs.
Model 1 is unique in offering six fully featured input channels plus two stereo returns in an industry standard “10” format.
It has many features not currently available on any comparable device, such as Input pre-amplifier drive control, Hybrid
Filter/swept Bell EQ, Dual Cue system, Mixer and Cue linking system, and a fully balanced “Tascam format DB25”
connector system for easy interfacing to external soundcards .
Model 1 is a purely analogue mixer and features technology normally found on the finest classic studio desks, such as a
fully balanced mix buss, zero crossing detec on for seamless Filter rou ng and high voltage differen al power rails.
Model 1 is also internally fully modular.
INDEX
Introduc on ................................................................................... 1
Front Panel Overview ..................................................................... 2
Return Sec on ................................................................................ 3
Master Filter .................................................................................. 4
Main Channel Strip ......................................................................... 5
Contour and Sculpt EQ .................................................................... 6
Master Sec on ............................................................................... 7
Headphone Cue System .................................................................. 8
Drive Control .................................................................................. 9
Rear Panel Overview..................................................................... 10
Rear Panel connec ons - Outputs ................................................. 11
Rear Panel connec ons - Inputs ................................................... 12
Mixer linking................................................................................. 13
Power Supply................................................................................ 15
Block Diagram............................................................................... 16
Specifica ons ............................................................................... 17
2
Front Panel Overview
Return Section
3
Descrip on
The Return sec on is located on the upper le'-hand side of the front panel and
consists of two basic stereo channels for use as return inputs from external effects
processors. Connec on to the Return channels is via 4 x 1/4” TRS Jack sockets
mounted on the rear panel, however the Return channels can also be fed from the
DB25 connector DSUB IN 2 - see page 12 for details.
TRIM - Adjusts the level of the return signal. Each Return input pre-amplifier is
equipped with a Hard-Limiter circuit and an excess of gain, (+28dB), allowing the
return signal to be driven into distor on (as an effect). Turning the Trim control clockwise beyond the “0” and into the regain marked “DRIVE” will progressively distort the
signal un l it reaches maximum clipping. See Page 9 for more informa on on Drive.
CUE - Routes the pre-Level signal to both the Cue A and Cue B monitor systems.
Return Meters - Provides a visual indica on of each Return signal level. The Peak (PK)
LED will illuminate at signal levels above +8dBu. This is set lower than on the main
channels due to the fixed Drive circuit - note that signal levels above PK will ac vate
the distor on circuits.
LEVEL - A rotary fader to adjust the amount of the Return signal fed into the main Mix.
RETURN 1-2 LOW CUT - Ac vates a filter that aKenuates the low frequency response
on both Return 1 and Return 2. The filter has a slope of 6dB per octave and is set at
320Hz (-3dB).
RETURN 1-2 TO MASTER FILTER - This routes both Return 1 and Return 2 to the
Master Filter sec on. This switch is controlled by the zero-crossing detec on system
so can be used as a performance effect.
Frequency response of Returns with Low Cut switch ac ve
4
Master Filter
Descrip on
The Master Filter sec on consists of a High-Pass Filter (HPF), a Low-Pass Filter (LPF),
and a resonance control (RES) to adjust the sharpness of the High-Pass filter. Unlike a
Voltage-Control Filter system, (VCF) the filter elements are passive in order to
minimise distor on and eliminate DC voltage breakthrough, and because the filter is
passive there is also zero thermal frequency dri'. The Master Filter can be used as a
swept frequency performance effect, or as pre-set frequency mix tool to instantly cut
the Low or High frequencies of any channel routed to the Filter.
HPF RES - Adjusts the sharpness (Q) of the High-Pass Filter. Set to minimum the HPF
will have a smooth roll off with a low Q. Turning the control clockwise will
progressively increase the Q of the HPF and the gain at the cut-off point - see graph
below for illustra on. Because high Q levels at low frequency can damage the PA
system, high Q seMngs are automa cally reduced as the HPF control is turned counter
clockwise.
LPF - Progressively aKenuates the high frequency content as it is rotated counter
clockwise. A virtually flat frequency response up to about 20kHz is achieved with the
control fully clockwise. With the control set fully counter clockwise all frequencies
above 500Hz will be progressively aKenuated. The Q of this filter is fixed and is not
affected by the resonance control.
HPF - Progressively aKenuates the low frequency content as it is rotated clockwise.
A flat frequency response down to 30Hz is achieved with the control fully counter
clockwise. With the control set fully clockwise all frequencies below 1kHz will be
aKenuated. The Q of this filter is adjusted by the Resonance control.
MASTER FILTER ON - Turns the Master Filter ON. This switch is controlled by the zerocrossing detec on system so can be used as a performance effect. The zero crossing
system minimises audible clicks and switching ar facts when rou ng channels to the
Master Filter or switching the filter ON.
This graph illustrates how the resonance of the High-Pass Filter is automa cally
reduced as the frequency is lowered
Main Channel strip
5
Descrip on
MODEL1 has six iden cal main channel strips, each equipped with 2 auxiliary sends,
Input drive control, a unique hybrid EQ filter system, Dual Cues, and a high quality
60mm, twin rail fader. The input to each channel is via an RCA connector on the rear
panel, or via the fully balanced DB25 system (see page 12). Channels 3, 4, and 5, are
also equipped with an RIAA pre-amplifier for use with turntables.
AUX Sends - The two AUX controls send the channel signal to the Aux mix output jack
sockets (and the DB25 Out) for use with external effects processors or, in some
applica ons, local monitors. The PRE FADE switch selects whether AUX 1 sources its
signal Pre or Post the channel fader; default is post fader, (switch up posi on). AUX 2
is always post fader though there is an internal op on to allow Aux 2 to be switched
Pre or Post fader along with AUX 1.
LINE/PHONO/DSUB - This switch selects which input connector the channel signal is
sourced from. The default (switch up posi on) sources the signal from its associated
RCA connector on the rear panel. Pressing the switch routes the signal from the DSUB
(DB25) connector system - see page 12. Channels 3, 4, and 5 can be configured for
use with turntables (Phono) by selec ng the small red buKon on the rear panel,
situated below its associated earth binding post. If this buKon is pressed the LINE/
PHONO/DSUB switch cap will glow red (only in the up posi on) to indicate that this
channel has been configure as a turntable input.
DRIVE - This unique control varies the maximum signal level the channel input preamplifier can pass (headroom) before it is driven into clipping (distor on). With the
control fully counter clock-wise the channel headroom is unaffected, and signal levels
of > +20dBu will remain clean. As the drive control is rotated clockwise input
headroom is progressively reduced, un l at maximum rota on the pre-amplifier will
start to clip at signal levels above –4dBu. The sha' of the drive control is illuminated
and will light red to give a visual indica on of the clip func on. See page 9 for more
informa on on the drive control.
CONTOUR/SCULPT - Unique Hybrid EQ. See page 6 for details.
FILTER - This switch routes the channel signal through to the Master Filter sec on, see
page 4 for more informa on on the Master Filter. This switch is controlled by the zero
-crossing detec on system so can be used as a performance effect.
CUE A, CUE B - MODEL 1 is equipped with two independent Cue systems, CUE A and
CUE B. CUE A sends the channel pre-fader, post-EQ, signal to the right headphone
monitor sec on, and CUE B to the le' headphone monitor. Both Cue systems have an
auto-cancel feature, where selec ng one Cue will automa cally cancel the previous
selec on.
VCA FADER - The 60mm fader controls the DC level for the channel VCA (voltage
control amplifier). These twin rails faders have been carefully chosen to ensure long
life and smooth opera on, and feature a heavy feel for greater precision.
6
Contour and Sculpt
Descrip on
MODEL 1 provides a unique alterna ve to the standard type of fixed frequency EQ,
which we feel offers greater crea vity and the ability to perform smother mixes.
Whereas a standard EQ has three or four controls providing cut or boost at a fixed
frequency, MODEL 1 u lises a combina on of high and low pass filters plus a wide
frequency range, swept equaliser, with asymmetric cut and boost.
CONTOUR - As the name implies these two controls allow you to “contour” the
frequency range of the audio signal. They consist of low Q, High-Pass and Low-Pass
filters designed not to add colour to the sound as they are swept across their
frequency range. Due to the low Q , these filters only cut, they do not boost, and are
shown in the posi on to a give a FLAT frequency response.
The two graphs below illustrate how the frequency response is gently rolled off as
these controls are operated, and show the high degree of out-of-band aKenua on
they offer, cuMng the high or low frequency content of the audio signal.
HPF
LPF
SCULPT - “SCULPT” is a semi-parametric swept bell filter, and consist of two controls,
FREQ which sets the centre frequency and CUT/BOOST which adjust the gain or
aKenua on at this frequency. The level of cut/boost is asymmetric; maximum boost
is limited to +8dB, while the cut is extended to -20dB.
Sculpt has a wide Q and a frequency range that covers almost seven octaves.
The Boost/Cut control is detented in the centre 0 posi on to indicate a flat frequency
response. The FREQ control isn’t detented and can be swept smoothly across its
range.
This graph shows the Cut/Boost response of Sculpt at Max/Min frequency
Master Section
7
Descrip on
The Master sec on includes the two Mix level controls, the Master EQ, main buss
metering, record output and the Booth monitor sec on.
RECORD OUT - 3.5mm TRS Jack socket feeds the post Master EQ signal as a prefader record output. Nominal level is –6dBu
LEFT/RIGHT - Two, ten point peak reading LED meters provide visual indica on of the
mix buss level. Although MODEL 1 has a considerable 28dB of headroom and is
unlikely to suffer from clipping due to high signal levels, it is recommended to keep
the average signal level between 0 and +6. Occasional peaks to +9 is acceptable but
opera on with the PK LED ON is best avoided due to the possibility of damaging any
connected PA systems or clipping soundcards, record devices etc.
Play into the RED and Orange but avoid opera ng in the White!
MASTER 1, 2 - These controls set the output level for the two main mix outputs.
Master 1 controls the XLR outputs and Master 2 the TRS outputs.
MASTER EQ - Three-Band asymmetric EQ affects all mix outputs, including Booth and
Record. The EQ ON switch is controlled by zero-crossing detec on circuitry which
allows it to be used as a performance affect, as well as a frequency correc on tool.
The response of the Master EQ is show below.
BOOTH - This sec on controls the level and frequency response of the Booth
outputs. The Booth sec on incorporates a 2-Band equaliser allowing the user to adjust
the frequency response of the Booth monitors to suit their own preference.
This graph shows the response of the Booth EQ.
8
Headphone Cue system
Descrip on
MODEL 1 has two independent Cue systems, A and B. Cue A routes to the right hand
side headphone monitor and the Cue B routes to the le' hand headphone monitor.
The dual Cue system makes it much easier for two DJs to perform on the mixer
together as each can select a separate channel to monitor without interfering with the
other performer’s monitoring. This dual system also allows for Cue interac on
between two mixers linked together. See page 13 for details of mixer linking.
Each headphone monitor is equipped with both 1/4” and 3.5mm TRS jack sockets.
SPLIT CUE/SOURCE - Split Cue works in conjunc on with the Source control. When
the Split Cue switch is up the Source Control adjusts the level balance between the
Cue and Mix Busses. When the switch is pressed down the Source control pans
between the Cue signal in the le' earphone and the Mix signal in the right earphone.
Level - Sets the headphone volume level.
Warning - The headphone amplifiers are capable of driving sensi ve headphones to
very high sound pressure levels (SPL) which could result in permanent hearing
damage!
Specifica on
Maximum output power
Headphone A
850mW RMS into 45 Ohms 1kHz
Headphone B
500mW RMS into 100 Ohms 1kHz
Headphone Impedance range
30 Ohms to 150 Ohms
Drive Control
9
Descrip on
Signal Level
Clip Level
PRE-AMP
MODEL 1 incorporates a unique feature on every input, the DRIVE control. This control
allows the user to adjust the level at which the channel pre-amplifier clips the input signal,
thus crea ng harmonic distor on as an effect. This is achieved by adjus ng the conduc on
threshold of circuitry in the feedback loop of the pre-amplifier by rota ng the “Drive”
control. The drive control incorporates an LED which illuminates the transparent sha' to
indicate when the clip threshold has been reached.
The Drive control and Trim work in combina on with each other and the amount of
distor on is dependant on several factors; the level of the input signal, the posi on of the
Trim and the posi on of the Drive. With the Drive control fully counter clock-wise the
distor on circuitry is disabled and the channel can be run cleanly well beyond the level at
which the Peak LED lights. With the control fully clockwise, any signal level above
approximately -4dBu will trigger the distor on circuits.
The Drive control is also linked to the channel fader VCA and automa cally adds make-up
gain at extreme clip levels, therefore it is normal behaviour for there to be a discrepancy
between the Channel and Master buss metering signal levels. Post –fader level also
influences brightness of the Drive LED illumina on.
Fixed level Drive circuitry is built into the Return input pre-amplifiers, and can be triggered
by driving the Return signal level beyond that which lights the Peak LEDs
This trace shows two signals, one running through the
drive circuit and one not. As the clip threshold has not
been reached, both signals are iden cal.
This trace shows the signal level at the clip threshold
with the peaks being slightly rounded or “so' clipped”
which will add warmth and strong 2nd harmonics
Driving the signal level higher results in greater
compression of the signal peaks.
This shows the signal very heavily clipped, virtually to a
square wave .
10
Rear Panel
Rear Panel Connections - Outputs
11
MASTER 1 - Main mix outputs for direct connec on to the system PA.
Balanced XLR, conven onally configured for:
Pin 1 = Ground
Pin 2 = Posi ve Phase
Pin 3 = Nega ve Phase
Nominal output level 0dBu, maximum output level +28dBu.
MASTER 2 - Secondary mix outputs for feeding a separate zone or PA.
Impedance balanced 1/4” TRS Jack sockets
Nominal output level 0dBu, maximum output level +23dBu.
BOOTH - Output to the Booth Moni on system.
Impedance balanced 1/4” TRS Jack sockets
Nominal output level 0dBu, maximum output level +23dBu.
AUX 1, 2 - Outputs to external effects units or local moni on system. These signals are also
sent to the DSUB output connector
Impedance balanced 1/4” TRS Jack sockets
Nominal output level -2dBu, maximum output level +23dBu.
DSUB OUT - Conforms to the TASCAM DB25 connector standard and allows mul ple channels to
be sent fully balanced down a single connector for rapid connec on to external soundcards. The
DSUB Output can also be used to feed the main House PA, bypassing the Mix 1 Level control if
desired.
Balanced TASCAM DB25
DSUB OUT Pinout
Nominal output level +4dBu, maximum level +28dBu.
1 = Mix Le'
2 = Mix Right
3 = Aux 1 Le'
4 = Aux 1 Right
5 = Aux 2 Le'
6 = Aux 2 Right
7 = Cue B Le' (Post Level)
H = Hot (+)
8 = Cue B Right (Post Level)
Tip!
DSUB OUT channels 7-8 can be configured as a third FX send using the Cue B phones to adjust the level, and the Cue B Cue
switches to choose the channels to send from.
12
Rear Panel Connections - Inputs
RETURN 1,2 - TRS Jack inputs for the two Return channels. These Jacks are “normalled” to the
DSUB2 IN connector, therefore if nothing is plugged into these sockets the Returns source their
signal from the DSUB system
Input impedance = 5K Ohms
Maximum signal input level +23dBu.
RCA Inputs - These are the default inputs to all six channels. On channels 3, 4, and 5 these inputs
can be configured for use with turntables by pressing the small red buKons located below each
earth binding post. Channels that are configured for turntables (phono) will show the input
selector switch illumina ng red.
Input impedance = 5K Ohms
Maximum signal input level +26dBu
PHONO - Press this switch to configure the channel for use with vinyl turntables.
Nominal level 5 - 10mV 1kHz. Maximum input level 108mV 1kHz
Input impedance 47K Ohms. Input capacitance 250pF
DSUB IN 1,2 - Conforms to the TASCAM DB25 connector standard and allows mul ple channels
to be sent fully balanced down a single connector for rapid connec on to external Line Level
devices. In a fixed installa on these connectors are ideal for connec ng mul ple CD players,
soundcard etc, leaving the RCA connectors free for guest DJs to use without disconnec ng the
House system.
Balanced TASCAM DB25
Nominal input level +4dBu, maximum level +28dBu.
DSUB IN 1 Pinout
1 = Channel 1 Le'
H = Hot (+)
C = Cold (-)
G = Ground
DSUB IN 2 Pinout
1 = Channel 5 Le'
2 = Channel 1 Right
2 = Channel 5 Right
3 = Channel 2 Le'
3 = Channel 6 Le'
4 = Channel 2 Right
4 = Channel 6 Right
5 = Channel 3 Le'
5 = Return 1 Le'
6 = Channel 3 Right
6 = Return 1 Right
7 = Channel 4 Le'
7 = Return 2 Le'
8 = Channel 4 Right
8 = Return 2 Right
Mixer Linking
13
MODEL 1 incorporates a unique system that allows mul ple mixers to be linked together, either for use with two or
more performers, or as a way to expand the number of channels.
When Linked together the mixers share a common mix buss so only one set of outputs are needed for feeding the PA
and Booth monitors. In addi on, the two Cue systems are joined allowing interac ve cueing between mul ple
performers.
The illustra on below shows a typical link scenario:
Performer 1 uses Cue A
Mixer 1
Linking two mixers
Performer 2 uses Cue B
Mixer 1 feed to Booth Monitors
Mixer 2
Connect Link Out on Mixer 2 to Link In on Mixer 1
In this setup Performer I and 2 each have their own individual Cue system, but if Performer 1 (using
Cue A) wants to send a Cue signal to Performer 2, they can by selec ng a Cue B, and visa versa for
Performer 2.
Mixer 1 feed to PA
IMPORTANT! - When linking two mixers together one will need to be assigned to feed its buss signal through the Link
Cable and on to the main PA and Booth Monitor connected to the other mixer.
In the above diagram it is Mixer 2 that will need to be assigned.
To assign the mixer, turn it over and locate the small 3mm hole underneath the back right hand side rubber foot. Peel
back the foot to expose the hole and using a thin bladed tool, (small screwdriver or similar), press in the switch located
just below the base panel. It is a good idea to check that this switch on the other mixer (Mixer 1) is not selected, i.e.
switched out.
If the mix signal is not being passed through to the other mixer it likely that this switch has not be
assigned correctly on one of the mixers
Loca on of assign switch
14
Mixer Linking continued
In order to link mixers you will need a 9 pin female to female DSUB cable. An inexpensive computer RS232 cable would
probably suffice, (as long as it is connected pin 1 to pin1, pin 2 to pin 2 etc.), as all Mix buss connec ons are fully
balanced, however for best performance we would strongly recommend using an audio grade cable.
LINK OUT Pin connec ons
1 = Mix Out Le' Hot +
2 = Mix Out Right Hot +
3 = Mix Out Le' Cold 4 = Mix Out Right Cold 5 = Ground
6 = Cue B IN Right
7 = Cue B IN Le'
8 = Cue A OUT Right
9 = Cue A OUT Le'
LINK IN Pin connec ons
1 = Mix IN Le' Hot +
2 = Mix IN Right Hot +
3 = Mix IN Le' Cold 4 = Mix IN Right Cold 5 = Ground
6 = Cue B OUT Right
7 = Cue B OUT Le'
8 = Cue A IN Right
9 = Cue A IN Le'
Power Supply
15
MODEL 1 is powered by an external 90W 24V universal voltage PSU. There are many advantages to powering the mixer
in this way, firstly it frees up internal and rear panel space for extra circuitry for greater func onality in a compact format,
it reduces heat build up inside the mixer, it removes the danger of electrical shock in case of liquid spills, and it virtually
eliminates mains hum fields for beKer noise performance. It also allows the addi on of a unique feature (on such a
compact mixer) of powering with dual supplies, a feature usually only found on premium live sound and recording
consoles.
Internally, the 24 volts from the external supply, is converted to just under +/- 20V for the analogue power rails using
high frequency switching technology, giving MODEL 1 some of the highest signal headroom of any professional mixer,
irrespec ve of its applica on.
The power supply shipped with the MODEL 1 has been carefully selected to
ensure reliable opera on over extended periods, and in most environmental
condi ons - do not use any other type of supply as it could damage the mixer or
impair its performance.
A single supply is perfectly adequate to power the MODEL 1, and this supply can
be plugged into either PSU 1 or PSU 2 sockets. However in certain applica ons
having a second supply powering the mixer can offer greater security, such as at
a fes val where each supply is powered from separate mains phases. In the
event of one phase going down the other supply will automa cally take over
powering the mixer.
When connec ng the PSU to the mixer, ensure that the FLAT face of the plug is
towards the le', looking from the rear. Make sure the pins are lined up and
push the plug fully into the socket un l it latches. This is a locking connector
and is released by pulling back the spring loaded sleeve on the plug, which
allows the lock to release. NEVER plug out the connector by pulling on the
power lead as this could damage the locking mechanism.
Make sure the rear panel POWER SWITCH is in the OFF posi on before
connec ng or disconnec ng the power supply.
Correct orienta on of the
power lead connector with
the FLAT facing LeE
16
Block Diagram
Specifications
Maximum output level
+28dBu Balanced, +23dBu Unbalanced
Output Impedance
50R Balanced, 68R Unbalanced
Noise Line in to Line out Unity
-90dBu Un-weighted, 22Hz to 20kHz
Residual Noise
-100dBu Un-weighted, 22Hz to 20kHz
Dynamic range
> 112dB
Frequency Response
20Hz - 40kHz +0/-2dB
Distor on (THD+N)
0.008% Line In to Mix 1 out, 0dBu Unity Gain
Control AKenua on
BeKer than 80dB
Inter-channel Crosstalk
< -100dB
Le'/Right Crosstalk
-80dB 1kHz
Maximum Headphone Output
850mW RMS into 45 Ohms (Cue A)
Power consump on
50W maximum
Weight
5.40kG (Packed 9.10kG)
Dimensions
L 37cm x W 32cm x H 11.5cm (Packed L 62cm x W 45cm x H 26cm)
Mixer Dimensions
17
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