Biamp Legend Recording Console Data Sheet

Biamp Legend Recording Console Data Sheet
 CRAFTSMANSHIP
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The BIAMP LEGEND In-Line mixing console is a highly
compact, modular mixing system designed primarily for
multitrack recording applications. Advanced audio technol-
ogy and old-fashioned craftsmanship have been combined
to produce a creative tool of unmatched flexibility and
superb sonic performance for Audio Professionals.
Features include:
. Four-transistor discrete pre-amplifier stage, using
5532 and TLO72 op-amps throughout for high slew
rate, low distortion and low noise (-128 dBv EIN)
operation.
. 3 band EQ with all filters sweepable, EQ bypass
switch and switchable High Pass Filter.
. Four sends per input channel.
° Tape returns with complete tape monitoring on each
input channel.
a
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sight mono
The LEGEND is available in three frame sizes ranging from
8 to 32 inputs and from 4 to 24 group outputs. Each unit
consists of a Communications Module, a Stereo Mixdown
Module and multiple Input/Output Modules. The external
power supply is rack mounted and passively cooled for
silent, reliable operation.
. Assignable, 12-segment high intensity meters on all
inputs and all outputs.
° Direct outputs and insert patch points on all input
channels and group outputs.
° Full solo capability on virtually every signal path.
° Separate Control Room, Studio and Tape outputs.
. Assignable internal talk-over microphone and
oscillator.
° Balanced group outputs and tape returns
output
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INPUT/OUTPUT MODULE
The Meter switch selects either the post-fader input signal, or the group output or tape return
signal.
Level control to adjust the group output level.
This Solo switch routes the output signal to the solo bus.
The Group Assign section permits routing of the input signal to any or all of the group outputs.
A dual op-amp on the pan pot acts as a buffer to eliminate crosstalk between buses.
The Phantom Power switch has a delayed on/off to eliminate transients.
The Mic/Line: Tape switch selects either the live input signal or the signal from the tape input
buffer amplifier.
A Phase Reversal switch for the mic/line inputs for greater flexibility.
The input Trim control makes optimum use of the wide dynamic range of the LEGEND when
used in conjunction with the LED indicators (+18 dB/-15 dB) just above each channel fader,
allowing the best combination of S/N ratio and headroom.
Pad switch attenuates mic inputs by 20 dB and line inputs 25 dB.
EQ In:Out switch bypasses the EQ section to allow comparison of dry to equalized signal.
3-band EQ with each filter sweepable. The high and low frequency filters are true shelving
resulting in an extraordinarily transparent equalizer section.
The High Pass Filter switch activates an 18 dB/octave low frequency rolloff at 80 Hz,
eliminating problems from subsonic signals.
The Monitor:Fader switch selects as the source for the effects buses either the monitor or
post-fader signals. A jumper strap permits the selection to be Pre-fader:Post-fader.
The two Effects controls, on concentric knobs, adjust the level of the signals sent to each of
the sends buses.
The Pre-EQ:Group/Tape switch selects as the source for the cue buses either the pre-EQ
input signal or, depending on the position of the Group: Tape switch in the monitor section, the
group output signal or tape return.
The two Cue controls, on concentric knobs, adjust the level of the signals sent to the master
cue buses.
The Pre-EQ:Group/Tape switch selects as the source for the monitor buses either the pre-EQ
input signal or, depending on the position of the Group: Tape switch in the monitor section,
the group output signal or tape return.
The Group: Tape switch selects either the group output signal or the tape return signal for the
cue and monitor buses when their respective select switches are not in the pre-EQ position.
The Monitor controls adjust the level and pan the monitor signal between the Left and
Right mix buses.
The Mix switch selects either the monitor signal or the post-fader channel output for routing
through the pan control to the L/R mix.
The Mute switch turns off the channel signal. It does not affect solo, cue, channel patch
or monitor.
This Solo switch assigns the channel signal to the solo bus.
Channel Fader controls the level of the channel output signal.
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STEREO MIXDOWN MODULE
Each of the four effects returns are controlled and routed
through four individual sets of controls and switches...
+ The Cue select switches assign the pan control to the
cue bus allowing effects return signals to be sent to
the musician's headphones during recording,
independent of the recording.
* The Mix:Control Room switch assigns the effects
return to either the L/R mix, or to the control room so
that the effect can be adjusted before it is sent to the
mix.
+ When the Mono Only switch is activated the effects
return is-removed from the cue, the mix or the control
room and is assigned only to the Mono Sum bus.
. The Level and Pan knobs control the level and the
| L/R balance of the effects returns.
The Control Room section includes the necessary controls
to provide for a complete and flexible operation of the
control room and monitoring...
+ The Mono switch, when activated, substitutes two
equal mono signals to the control room monitor
speakers in place of the stereo signals to permit
previewing a mono mix.
. The Mute switch attenuates the control room signal
for phone calls or microphone adjustments.
. The Level control adjusts the output signal level to
the control room monitors.
. The Cue, Tape and Mix switches send to the control
~~ room monitors the outputs from the cue buses, the 2
track returns or the stereo mix.
+ The Solo Level control adjusts the overall level of the
solo mix to permit balancing the solo and mix levels.
«+ The Mix Balance pans the signal of the master stereo
fader to the desired L/R balance.
+ The Solo On LED indicates that one or more channel
| or group solo switches is active. In this case the sum
of all solo switches active will be heard on the control
room speakers, the headphones and the headset.
+ The Stereo Mix Fader adjusts the level of both the
| left and right stereo mix.
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COMMUNICATIONS MODULE
This module provides the controls necessary for effective
slate operation, control room/studio communications and
studio playback...
The console BNC connector and light On:Off switch
provide for use of a bayonet type 12VDC console
lamp.
The Slate Oscillator section provides the controls
required for accurate calibration of meters and tape
machines, including an Oscillator On switch, switches
to select any of three frequencies from the internal
oscillator and the Oscillator Level control. The level
control also adjusts the level of an external click
source if plugged into the rear panel click input
jack.
The Osc:Mic switch selects either the oscillator (or
external click) or the microphone signal to be sent to
the assign switches.
The Mic Level control adjusts the level of either the
internal or an external talkback microphone. The
Int:Ext switch selects between the two.
The Mic/Osc Assign switches send the click signal,
oscillator or talkback microphone signal to the
selected outputs.
The Push to Talk button activates either the internal
or external microphone, sending the signal to the
studio outputs and attenuating the control room
monitors to prevent feedback.
The Studio Level control adjusts the level of the
studio monitors.
The Studio Source switches allow selection of the
signal sent to the studio monitors, or turns the studio
monitors off.
The Headphone jack is for use with stereo head
phones of 8 to 600 ohms impedance.
The Headset connector permits use of stereo or
mono headsets with low impedance microphones.
The Phones Level control adjusts the level of the
headphones or headset phones.
The Group Mono:Mix Mono switch allows selection of
either the mono sum of all group outputs including
mono effects returns or the mono sum of the L/R
stereo mix.
This Solo switch sends the mono mix to the solo bus.
The Mono Mix Fader adjusts the level of the
mono mix.
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with Unbalanced Leit and Right Main Outputs. | à nn ©
Mixdown Module
Communications Module
Bl il A
COMPACT IN-LINE ARCHITECTURE
One of the first things you'll notice about the LEGEND is its
size...or rather its compactness. The in-line architecture
packs the most mixer into the least space. In the 20 input
16 group output configuration, for example, you'll need less
than 37 inches of wall space...only about 7 square feet of
floor space. Compared to many recording consoles of
comparable capability you'll have enough space left over
for a couple of racks of equipment. And you'll find this
compactness makes the LEGEND much easier for one
man operation...no need to wear out the casters on your
chair skating up and down the mixer.
SONIC EXCELLENCE
The quality of the audio signal in a mixing console...the
absence of unwanted noise and distortion...can never be
better than it is coming out of the first stage preamp. The
LEGEND uses a four transistor preamp with high slew rate,
low noise IC’s. The result is a preamp with a clean, undis-
torted signal which maintains a constant input impedance,
common mode rejection ratio and frequency response
regardless of where the trim control is set.
The EQ section uses true shelving high and low frequency
filters resulting in transparent, uncolored equalization you'll
have to experience to believe.
With BIAMP there is never any compromise in the quality
of the sound.
DIGITAL READY
With the growing use of digital recording the expression
“Digital Ready” has become widely used...and abused.
In the BIAMP LEGEND “Digital Ready"has rea/ meaning.
The dynamic range of analog tape decks is typically in the
range of 60 to 70 dB...a modest demand for a good mixing
console. Digital Audio Recording, however, with a dynamic
range of 90 to 95 dB requires much more of a recording
mixer. In a real-world set up the LEGEND has a dynamic
range well over 100 dB...truly “Digital Ready”.
ATTENTION TO DETAIL
Throughout the LEGEND architecture you'll see the results
of BIAMP's well deserved reputation for system design.
The power supply, for example, is often considered a
“necessary evil” by the designers of professional
mixers...but not by BIAMP's craftsmen. The PS100 exter-
nal power supply has fully discrete regulator circuits for low
noise regulation with well less than 1% voltage change
from idle to full drive. BIAMP’s engineers expect you to use
every channel to it fullest...and they know you expect the
console to sound great when you do.
All inputs, group outputs and tape returns are electronically
balanced. Input transformers are available as an option.
Compact...Super Sonic
Specifications...Exceptional Reliability
Unmatched Flexibility
The Legend From Biamp
American Sound Craftsmanship
SPECIFICATIONS
Frequency Response (20Hz - 20kHz)
Mic Input @ 40dB gain to Direct Output
Mic Input @ 40dB gain to any output
+ 0,-.5dB
+0,-1dB
Total Harmonic Distortion (20Hz-20kHz) (+ 4dBu out/80kHz filter)
Mic Input @ 40dB gain to Direct Output
Mic Input @ 40dB gain to any output
.03% max., .01% typical
04% max., .015% typical
Intermodulation Distortion (SMPTE) (+ 4dBu out/80kHz filter)
Mic Input @ 40dB gain to Direct Output
Mic Input @ 40dB gain to any output
.03% max., .01% typical
.04% max., .015% typical
Equivalent Input Noise (20Hz-20kHz) (150 ohm term.) -128dBu
System Noise (20Hz-30kHz) (+ 4dBu ref./150 ohm term.)
Mic Input @ 40dB gain to Direct Output -89dB
Mic Input @ 40dB gain to group output -89dB
Tape input @ unity gain to Stereo Mix Outputs
(eight channels assigned) -78dB
(sixteen channels assigned) -78dB
(residual noise/all faders down) -100dB
Minimum Voltage Gain
Mic input to Group Output 83dB
Crosstalk 1kHz 10kHz
maximum typical maximum typical
Channel to Channel -100dB -105dB -86dB -95dB
Group to Group -70dB -80dB -55dB -60dB
Equalization
High Frequency
Mid Frequency
Low Frequency
High Pass Filter
+ /-18dB @ 2kHz-15Khz true shelving
+ /-12dB @ 100Hz-5kHz peaking (Q = 1.3)
+ /-18dB @ 30Hz-500Hz true shelving
12dB/octave @ 80Hz
Input Impedance
Mic
Line
Tape
Patch
all other inputs
Output Impedance
Stereo and Mono Mix Qutputs
Group Outputs
Headphone Output
all other outputs
3k ohms (bal.)
10k ohms (bal.), 5k ohms (unbal.)
10K ohms (bal./unbal.)
5k ohms (unbal.)
10k ohms (unbal.)
225 ohms (bal./floating)
200 ohms (bal.)
2.7 ohms
50 ohms (unbal.)
Maximum Input
Mix Input + 9dB
Line Input + 23dB
Tape Returns + 23dB
Maximum Output
Stereo and Mono Mix Outputs (into 10k ohms) + 22dBu
Group Outputs (into 10k ohms) + 22dBu
Headphone Output (into 8 ohms) 8 WATTS
all other outputs (into 10k ohms) + 22dBu
Phantom Power + 48 VOLTS
REAR PANEL LAYOUT
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CRAFTSMANSHIP
Biamp Systems, 14270 N.W. Science Park, Portland, Oregon 97229 (503) 641-7287
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