HENDRIX by

AMEK

Contents

PAGE

O~R~EW 1

IN-LINE INPUT/OUTPUT MODULE HX 10 2

STEREO FX RETURN MODULE HX 11 7

FILM/CUE/OSCILLATORIMETERS MODULE HX 30 12

STUDIO AND CONTROL ROOM MONITORS SOURCE MODULE HX 31 14

KEYBOARDITRACKERBALLITALKBACK MODULE HX 32 15

40 INPUT CHASSIS DIMENSIONS 17

OVERVIEW

HENDRIX, by AMEK, is a further extension of the philosophy, art and science of console design and construction developed and incorporated into the extremely-successful MOZART. Our aim is to present a console which extends this family, and offers the world's engineers and production facilities a further choice in a console technology which has been extensively researched and proven worldwide.

A further and very important point is that HENDRIX and MOZART use exactly the same automation system, the only exception being that HENDRIX has eight automated switches per input against MOZART's fifteen; mix information is therefore fully compatible between both consoles.

HENDRIX is available in two standard sizes: a 40-input chassis which incorporates a maximum of 40 HXI0 Input/Output modules and 4 HXll Stereo Line Input!FX Return modules, as well as the Monitor/Output section and a 56 input chassis which contains a maximum of 56 HXI0 modules.

Each HXI0 module has a dual-path construction allowing it to handle two line level signals during mixdown, both with equalization. The HXll modules provide 4 Stereo FX Return and 4 Equalized Stereo Line Inputs. As a result, the console is capable of 80 mono and 8 stereo signals simultaneously, with equalization on most of them.

Each Input/Output module is fitted with the classic and much-loved AMEK 4-band parametric equalizer as fitted to the M2500, G2520 and APCI000 consoles. This equalizer includes two overlapping Pass Filters. Twelve Auxiliary Send busses are provided and if further auxiliary outputs are required then the 24 multitrack busses may be easily accessed. The microphone amplifier is the latest generation SSM 2016 circuit.

The console has balanced bussing throughout with balanced inputs and outputs. A meter is fitted at each Input/Output module position.

The Stereo Line Inputs are complete with all the controls necessary for the comprehensive handling of stereo signals including a BalancelPan control, a Stereo Equalizer and access to Auxiliary Sends. Additionally each Stereo Line Input can act as a Stereo Subgroup sourced from the multitrack busses for easy "bounce-down" and audio subgrouping on mixdown,

All HENDRIX consoles are fully automated using the proven AMEKISteinberg SUPERTRUE automation system. The built-in Keyboard, Trackerball, Hard Disk, Computer, Screen and Timecode Generator Reader are all supplied as standard and the system as fitted to the HENDRIX automates 8 switches on each channel in addition to providing comprehensive automated control of Fader Levels and Mutes. Additionally, up to 16 VCA fader groups may be created.

VIRTUAL DYNAMICS, the latest AMEK digital dynamics software and hardware package and SUPERLOC, the AMEK machine control package are optional either factory-fitted or as a field retrofit.

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HENDRIX by

AMEK

IN-LINE INPUT/OUTPUT MODULE - HX 10

The module has two effective signal paths, one termed the channel path,the other the monitor path. A comprehensive routing system allows the microphone, line, buss and tape inputs and associated module features to be switched between these two paths. Local module routing switches are fitted and additionally the following 8 switches on the module can be controlled as groups via the console's automation system:-

1) Aux 1+2 Mute

2) Aux 3+4 Mute

3) Aux 5+6 Mute (Stereo)

4) Aux 7+8 Mute (Stereo)

5) EQ In/Out

6) Insert In/Out

7) Monitor Mute

8) Channel Mute

All of these switches are automated using the AMEKISteinberg SUPERTRUE system. Additionally, TapelBuss input selection is controlled by a Master Status switch.

Multitrack Routing

The 24 multitrack busses are accessed from 12 push-button switches located at the top of the channel strip. Normally the signal is selected to switchbank 1-12; the bank select switch (13-24) chooses busses 13 to 24. Access to the Multitrack busses is controlled by the MIX switch which, in RECord mode, sources the busses from the channel path, and in the MIX mode sources the busses from the monitor path.

The STereo buss switch routes the channel signal, post panpot,to the stereo buss.

Both multitrack and stereo busses utilise the balanced virtual earth system. Direct Output: An internal switch is provided on each HX 10 module which enables the channel Direct Output. This function would normally be selected on those channels outside positions 1-24 when 32, 48, 56 or 64 tracks are to be simultaneously recorded.

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AUXILIARY SENDS

12 auxiliary send busses are accessed using 8 pots. AUX 1,2,3 and 4 are mono sends; AUX 5 & 6 and 7 & 8 are stereo sends switchable to access alternative busses 9 & 10 and 11 & 12. The auxiliary send busses utilise the balanced virtual earth system.

AUX 1,2, 3 and 4. Level Controls

AUX 1 and 2 Level controls are presented as dual concentric pots with AUX 1 as the upper knob and AUX 2 as the lower knob. Similarly, AUX 3 and 4 are on a dual concentric pot, AUX 3 being the upper control and AUX 4 the lower control.

MUTE: Each pair of sends is fitted with a LED-indicated MUTE switch. HENDRIX auxiliary send MUTEs are momentary switches and can be automated allowing the composition of effects and foldback mixes to be changed to timecode.

< (PRE): Normally AUX 1, 2, 3 & 4 are post-fader, pressing PRE sources the pair of sends pre-fader.

v (MON): Normally AUX 1, 2, 3, & 4 send from the signal at the channel path. Pressing the switch labeled 'v' sources these sends from the monitor path.

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9-10 accesses alternative auxiliary busses 9 and 10 from the AUX 5-6 level and panpots.

11-12 accesses alternative auxiliary busses 11 and 12 from the AUX 7-8 level and panpots.

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AUX 5-6 and AUX 7-8 Level and Panpots

Stereo sends 5-6 and 7-8 are-presented as a pair of dual concentric controls. On each dual concentric pot level is the upper knob and pan the lower knob. MUTE: Each stereo send is fitted with an LED-indicated MUTE switch. As with AUX 1-4, these sends may be automated using the AMEKISteinberg SUPERTRUE automation system.

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> (PRE): Normally Stereo sends 5-6 and 7-8 are post fader, pressing PRE sources the pair of sends pre-fader.

T (MON): Normally AUX 5-6 and 7-8 send from the signal at the channel path. Pressing the switch labeled 'T' sources these sends from the monitor path.

NOTE: All the above PRE fader selections are normally made after the channel MUTE so muting any channel will mute all sends from that channel whether selected PRE or POST fader.

24TK: Simultaneously removes the output from the AUX 7-8 panpot from send busses 7&8 and assigns this output to the 24 multitrack routing busses. The multitrack routing busses are automatically de-assigned from their previous source. By this method up to 24 extra auxiliary send mixes may be derived from each module, selectable pre or post either the channel fader or monitor level control.

Broadcast Mode:

As all signal paths are of the same audio quality on HENDRIX, so the multitrack tape machine may be fed from AUX 7-8 if desired. This has advantages in Broadcast applications as AUX 7-8 may be selected PRE, thus generating multitrack sends that are unaffected by channel fader movements. In this way, the console may be conveniently set up for simultaneous live mixing to stereo and 'safe' archiving to multitrack.

48V switches the phantom power on at the mic input socket

INPUT AND SIGNAL PATH SELECTION:

There are 4 inputs to each HX 10 input/output module. These are MIC, LINE, TAPE and BUSS. The Inputs are paired MICILINE and TAPEIBUSS. MICILINE selection is made using the switch labeled LN and located below the line level control; BUSSffAPE selection is made using the BUSS switch located in the Monitor section of the module.

Record Mode

The HX 10 module is normally in the 'Record' mode which gives a signal path of:MIC or LINE -> CHANNEL PATH-> Channel Fader -> Multitrack Routing/Stereo TAPE or BUSS -> MONITOR PATH -> Monitor Level Control -> Stereo

The paired input sources - MICILINE and BUSSffAPE - may be placed at either the channel or the monitor paths of the module. Signal flow is modified using the combination of selections made on the MIX and INPUT REVERSE switches (positioned below the line level control), and the FADER REVERSE switch (located at the monitor section).

MIX, the Record! MIX switch, sets the overall mode of the HX 10 input module.

Normally the module is in 'Record' allowing one of the studio sources (Mic or Line) to be recorded via the fader using the multitrack routing. The monitor sources ('off Tape' or 'off Buss') are auditioned at the monitor section using the stereo buss.

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Mixdown Mode

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Pressing MIX illuminates the associated LED indicator and gives this signal path:-

TAPE or BUSS -> CHANNEL PATH -> Channel Fader -> Stereo

MIC or LINE -> MONITOR PATH -> Monitor Level Control-> Multitrack Routing/Stereo

The 'Off Tape' signal is presented to the channel path and fader for mixdown to stereo. Simultaneously the choice ofMICILINE inputs is presented to the monitor path and allowing a second input to each channel on mixdown.

lIP REV (Input Reverse) Swaps the paired input sources of MICILINE and TAPEIBUSS between the Channel and monitor paths. The exact function of IIP REV is dependent on the status of the RecordlMIX switch described above.

EXAMPLE:

In Record, MICILINE is presented to the Channel path,stereo buss and the multitrack routing; TAPEIBUSS to the monitor path and stereo buss only. Pressing lIP REV presents the TAPEIBUSS input to the Channel path - allowing access to the multitrack routing - and simultaneously places MICILINE at the input to the monitor path.

3

HENDRIX by

AMEK

Submixing:

Selecting TAPE allows previously recorded tape signals top be Submixed and 'bounced down' to other tape tracks via the channel fader. Selecting BUSS forms an Audio Subgroup (see below) at the channel fader.

MICILINE Gain Control:

MIC and LINE signals share the same gain control

Mic gain range; +20 to +60dB, input impedance greater than 1 KOhm (suitable for 200/600 ohm microphones), electronically balanced.

Line gain range; -10 to +30dB, input impedance 10 KOhm, bridging, electronically balanced PAD attenuates the MIC signal by 20dB while maintaining constant impedance.

LN (LINE switch): In 'Record' the Mic input is normally selected. Pressing the LED-indicated switch labeled LN presents the LINE input to the'Hx 10 input channel.

TAPElBuss Gain Control

The LED indicated BUSS switch selects between the 'off tape' and 'off buss' inputs. TAPE and BUSS inputs share the same gain control which is centre indented at unity gain.

Tape Input:

Tape input gain range; +/- 20dB, input-impedance 20KOhm, bridging, electronically balanced Buss Input:

Buss input gain range; +/- 20dB, input impedance 20KOhm, bridging, electronically balanced

Pass Filters

Continuously variable high and low pass filters are fitted, operating post input amplifiers, pre the Equalizer. Nominal sweep ranges: High Pass 20Hz to 1.2KHz: Low Pass 25KHz to 800Hz. Roll off rate 12 dB/octave.

The Filters are switched IN, separately to the Equalizer. This switch is LED indicated.

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T,HF+LF to MON, switches the HF and LF sections ofthe equalizer from the channel path into the monitor path.

T, MID to MON, independently switches the MFI and MF2 sections from the channel path to the monitor path. As both pairs of equalizer sections are almost identical and cover the whole audio spectrum it is possible to effectively equalise separate signals in both paths simultaneously.

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EQUALIZER

The equalizer is a 4 band fully-parametric unit, each band having 3 control knobs:- boost/cut, Q (slope) and frequency (band centre). Boost /cut and Q are centre-indented and are presented as a dual concentric pot with level as the upper and 'Q' as the lower knob.

Nominal frequency and Q ranges:

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HF Freq sweep 500Hz-18KHz shelving or a Q range of 0.2 to 1.4 when selected BELL (peaking). Boost/cut is +/-18dB.

MFI Freq sweep 500Hz-18KHz peak with a Q range from 0.5 to 3.5.

Boost/cut is +/- 14dB.

MF2 Freq sweep 40Hz-1.5KHz with a Q range of 0.5 to 3.5.

Boost/cut is +/- 14dB.

LF Freq sweep40Hz-1.5KHz shelving or with a Qrange of 0.2 to 1.4 when

selected BELL (peaking). Boost/cut is +/-18dB.

Note: The HF and LF are switchable between the standard shelving mode and fully parametric operation. The Q control is inoperative in shelf mode.

e, Phase Reverse, is LED indicated and operates after the insert return. Phase reverse can be used on Mic, Line, Buss or Tape signals in the Channel

path. '

EQ IN is LED-indicated; places the Equalizer block into the main Channel path ofthe HX 10 module. EQ IN is part of the console's switch automation system. INSERT IN is LED-indicated and places the insert point in circuit. The insert point is at OdB and has a balanced return with input impedance 10 KOhm.

4

The send line is always active even when Insert In is not pressed. INSERT IN is also part of the console's switch automation system.

BUSS is a recessed trimmer allowing adjustment of the buss output driver.

OIL - The Channel Overload LED is located in the console meterhood above each meter. The threshold is internally adjustable.

MONITOR section.

Monitor rotary LEVEL control - with gain of 10dB above unity. Monitor PANpot - centre indented with -3dB at centre.

Monitor ST: Regardless ofthe selection made on the MIX switch, the ST switch routes the signal at the monitor panpot to the stereo buss. The monitor and stereo busses are one and the same on the AMEK HENDRIX and utilise the balanced virtual earth system.

Monitor MUTE is LED-indicated and, when pressed, cuts all outputs from the monitor level control. The Monitor MUTE switches are part of the console's switch automation system, allowing computer automated muting of the monitor signals. This feature is especially useful when the Monitor path is being used as a second line input on mixdown.

Monitor SOLO and SOLO D (SOLO DEFEAT) are LED-indicated and functions as either Stereo AFL or Solo In Place depending on the status selected on the master module. (See description of Channel SOLO switch below).

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BUSS is LED-indicated and selects between 'off tape' and 'off buss' signals. In 'Record' (and with Input Reverse function not active), the buss or tape inputs are presented to the HX 10 monitor path. This monitor signal will usually be assigned to the stereo buss for auditioning. As the console normally lies in the 'offta pe' mode, pressing the BUSS switch will now present the signal - allowing AlB (BUSS output/Tape playback) comparisons.

In MIX the 'off tape' input is normally selected to the channel path. Pressing the LED-indicated BUSS switch selects the ('off buss') signal on modules in positions 1-24.

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Audio Sub grouping

When the 'off buss' signal is selected on any of the first 24 faders an Audio Subgroup is formed to either the channel fader, or the monitor level control, depending on the MIX mode selected. This subgrouped signal may be processed with the usual input channel facilities ofEQ, Filters, Inserts and Aux Sends and routed to the Stereo mix buss.

Master Status Control

The switch is also controlled by a Master Status switch located on the HX 40 Monitor Module. Pressing the master status switch activates the BUSS function across the entire console; pressing the local switch reverses that function for that module only. By this means signals to and from tape can be compared for any number of tracks at the same time.

FDR REV (Fader Reverse) swaps the monitor level control with the channel fader. Recording in Fader Reverse allows automation-assisted monitoring, this automated monitor mix becoming the final stereo mix if required.

CHANNEL P ANpot is centre indented with -3dB at indentation unless 3- WAY mode is selected.

CHANNEL SOLO AND SOLO·DEFEAT

SOLO: Two types of Solo system are available on HENDRIX - Stereo AFL (After Fade Listen) and Solo In Place (also called Check Solo or Kill Solo) Both systems are operated using the channel and monitor SOLO switches.

Stereo AFL: pressing SOLO will present a stereo image of the soloed channel to the Control Room Monitor output only. The channel signal itself remains unaffected and any signals selected to the Stereo or Multitrack routing will not be interrupted. In this way Stereo AFL allows the precise assessment of individual signals while recording.

PFL: If required, an internal modification can be made to select PFL instead of Stereo AFL. Solo In Place; pressing SOLO will mute all channels not selected Solo Safe. Solo In Place is therefore a destructive Solo, altering the Mix itself and allowing the Solo to be recorded to Stereo or Multitrack tape.

sm (SOLO DEFEAT): In Stereo AFL or Solo In Place modes any channel may be rendered Solo Safe by pressing the Solo Defeat switch; any channels selected Solo Safe will remain open during any AFL or SOLO operation. Solo Defeat is commonly used where channels are employed as effects returns and allows any signal to be auditioned in stereo with its reverb or echo.

5

HENDRIX by

AMEK

3- WAY: Usually the channel panpot pans left and right with -3dB at its centre. Pressing the switch labeled 3-WAY gives three outputs from the panpot - Left, Centre and Right - and a further postfade feed for 'surround', for use in Film sound. When the 3-WAY switch is activated the first 12 multitrack busses are accessed in groups of 4, say 1-4 for music, 5-8 for dialogue and 9-12 for effects and access to the busses follows the pattern: Buss 1 = Pan Left, Buss 2 = Pan Right, Buss 3 = Pan Centre and Buss 4 is the surround feed from the fader. Busses 5-8 and 9-12 operate in a similar fashion. If desired the module can permanently modified to source the surround feed via Aux send 7-8 level controls

REC SWITCH: Provision is made for the remote 'Record Ready' momentary switching for individual tracks on a multitrack tape machine. This facility is operated using the REC switch which, when pressed, gives a 5 volt output. Placing the Multitrack Recorder into RECORD will 'drop in' any tracks corresponding to the REC switches provided that a suitable interface iffitted. Alternatively this switch may be used to start external machines or trigger devices.

SEL SWITCH/SEL LED: These are used to locally change the READIWRITEIUPDATE status of the console VCA faders.

VCA Status Indicators

All HENDRIX consoles are supplied fully automated using the AMEKISteinberg SUPER TRUE system. VCA faders are fitted as standard throughout and these may be grouped through the automation computer and may be used to generate and read automation information. Switch information can also be computer controlled. The switch marked SEL locally toggles the status of each HX 10 input channel to allow it to read from, write to or update SUPERTRUE automation computer mix information. The order in which these modes are selected by the SEL switch is selectable as an option on the automation computer screen but the channel status is indicated locally as follows:When the green READ LED is illuminated, the VCA is reading Fader Levels

and the 8 switches reading Mute and Switch information from the automation computer.

When the red WRITE LED is illuminated, the VeA and the 8 switches are writing information to the automation computer.

Ifboth green and red (READ and WRITE) LEDs are illuminated then the module is in UPDATE mode - reading information from the automation computer unless new information is generated by fader movements or switch changes.

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VCA OUT (BYF ASS): While all HENDRIX consoles are supplied fully-fitted with VCA faders, the VCAs may be individually bypassed using the switch labeled VCA out. This is especially useful where large numbers offaders are in use, only a small number of which are actually required to be under automation control.

MUTE: An illuminated channel MUTE switch is provided below each input channel. Channel Mute cuts all outputs from the fader.

Fader: DBX 2151 VCA faders are fitted as standard to all HX 10 input modules. These are controlled by a lOOmm ceramic coated audio taper fader.

HX 10 Jackfield: Comprehensive jackfield access is provided for all HX 10 modules.

10 Switchcraft metal bodied TT jack sockets are arranged left to right in the following pairs:-

From Mic Lines fully normalled to Mic Amp Input ( Mic Patching). From Studio Lines fully normalled to Line Amp Input (Line Patching). Channel Insert Send halfnormalled to Channel Insert Return. From Buss Output halfnormalled to Multitrack Tape Machine Input (Positions 1-24) or from Direct Output half normalled to Multitrack Tape Machine Input (Positions 24 onwards). From Tape Machine Output half normalled to Tape Return Input.

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MZ 10 Metering: A 15 segment LED meter is fitted to every HENDRIX input position, masterselectable to read Pre Fade channel signals in addition to the usual Buss/Tape (AlB) signals.

Note: While the Buss signal is read in positions 1 to 24, selecting Buss from positions 24 onwards allows the Direct Output level to be measured.

6

DUAL STEREO LINE INPUTIFX RETURN/AUX MASTERS MODULE· HX 11

The 4 module positions to the left of the Master Section are each fitted with a unique combination Stereo Line Input and FX Return module, giving a total of 16 line inputs presented as 8 stereo pairs.

In the standard layout the first module contains stereo line input A and FX return 1, the second stereo line input Band FX return 2, and so on. Each module is fitted with a full multitrack routing section which can be assigned either to the Stereo Line Input or FX returns and the Stereo Line Input appears on an automated stereo fader. The Stereo Line Input section of the module is equipped with all the features necessary for the comprehensive handling of stereo line signals, including a comprehensive stereo equalizer and an auxiliary send section similar to that fitted to the HX 10 In-Line module. The Stereo Line Input signals are normally sourced from the connector panel and patchbay but may also be switched to become subgroups masters for signals at busses 1-8.

Additionally, the Auxiliary Send Masters are located on the HX 11 module.

STEREO FX RETURNS 1, 2, 3 and 4 Multitrack Routing

The 24 multitrack busses are accessed from 12 push-button switches located at the top of the channel strip. Normally the signal is selected to switchbank 1-12; the bank select switch (13-24) chooses busses 13 to 24. The 24 track routing is normally fed by the signal at the Stereo Line Input unless the Multitrack Assign switch is pressed (see below). The multitrack and stereo busses utilise the balanced virtual earth system.

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AUX 1-2 Level Control

The AUX 1-2/5-6 level control is a stereo rotary pot which normally sends the stereo signal at the FX Return section to mono AUX busses It LeftJ and 2(Right).

1-2/5-6 switch: Pressing the switch labeled 1-2/5-6 sends the output from the AUX 1-2/5-6 gain pot to AUX busses 5(Left) and 6(Right). Aux buss 5-6 is a stereo send.

AUX 7-8 Level Control

The AUX 7 -8/3-4 level control is a stereo rotary pot which normally sends the stereo signal at the FX Return section to AUX busses 7(Left) and 8(Right). Aux buss 7-8 is a stereo send.

7-8/3-4 switch: Pressing the switch labeled 7-8/3-4 sends the output from the

AUX 7-8/3-4 gain pot to mono AUX busses 3(Left) and 4(Right).

24TK - Multitrack Assign off Return

Normally the multitrack routing is fed from the Stereo Line Input section of the MZ 20 module. The Stereo Line Input is routed to the stereo buss by the ST switch located at the multitrack routing section, the FX return routed to stereo by the assignment switch located below the first AUX send level pot.

The FX Return signal maybe sent to tape or subgrouped by pressing the Multitrack Assign switch. This simultaneously removes the multitrack routing section from the Stereo Line Input path and places it in the FX Return path. PANpot is a rotary control centre-indented at -3dB.

Level control; The level ofFX return signal is controlled using a rotary level control. All FX return inputs are high level differentially-balanced stereo inputs with an input impedance of 10 KOhms

MUTE -labeled 1,2,3 or 4 - is a larger square switch which forms part ofthe console's switch grouping and switch automation system.

SOLO; Normally pressing this switch presents a Stereo AFL signal to the Control Room Loudspeakers. Pressing Master Solo Enable on the Central Monitor Module ( HX 40) changes this signal to Solo In Place ("Check Solo" or "Kill Solo") and in this mode is automatically selected SOLO DEFEAT to allow the auditioning of effects with other soloed tracks.

ST - a separate stereo assign switch is fitted for each FX Return section.

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HENDRIX by

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MASTER FX SEND SECTlON.

FX send Masters 1, 5 and 9 are located on the HX 11 module furthest to the left ofthe engineer (module position 25). FX send Masters 2,6 and 10 are fitted to the next module and so on. A total of 12 Auxiliary Master level controls are fitted to the AMEK HENDRIX.

AUX Master Level Control

AUX Master AFL. The signal after each AUX Master level control can be auditioned usingtheAUX Master AFL switch. If desired, these signal levels can be measured using the Auxiliary Meters located above the console's central

monitor section.

AUXILIARY SENDS 1,2,3 and 4

Aux 1,2,3 and 4 Level Controls •

Auxiliary sends 1,2,3, and 4 have separate level controls presented on two dual concentric pots where Aux 1 and 3 are the upper knobs and 2 and 4 are the lower knobs.The left stereo signal is sent to busses 1 and 3 and the right to busses 2 and 4.

MUTE: Each pair of pots is fitted with an LED-indicated MUTE switch. These MUTEs may be automated using the console's automation computer.

> (AUX 1-4 PRE); Normally AUX 1, 2, 3 and 4 are post-fader sends for use with

effects devices. Pressing the switch labeled "c-" allows auxiliary sends 1,2, 3 and 4 to be sourced before the stereo fader, more usually used to create headphone

Auxiliary sends 5-6 and 7-8 are stereo sends available on two dual concentric pots where level is the upper and Pan the lower control.

5·6/9·10, when pressed, sends the signal at the AUX 5-6 level control to auxiliary send busses 9-10.

7·8/11·12, when pressed, sends the signal at the AUX 7-8 level control to auxiliary send busses 11-12.

MUTE: Each stereo send is fitted with an LED-indicated MUTE switch. These MUTEs may be grouped and automated using the console's automation computer.

SUB: The full facilities of EQ, AUX SENDS and MULTITRACK ROUTING and FADER are available to the Stereo Line Input signal. Pressing the LEDindicated SUB switch presents a Subgroup Signal to the Stereo Line Input allowing these facilities to act on any signals grouped to Multitrack Busses 1-

2 (Stereo Line Input A), 3-4 (Stereo Line Input B), 5-6 (Stereo Line Input C) and 7-8 (Stereo Line Input D).

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AUXILIARY SENDS 5·6 (9·10) AND 7·8 (11·12) Aux 5·6 (9·10) and 7·8 (11·12) Level Controls

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PHASE inverts the phase of the Left Signal to the Stereo Line Input.

MONO·L presents the signal at the Left channel of the Stereo Line Input to both the Left and Right channels. MONO·R presents the signal at the Right channel of the Stereo Line Input to both the Left and Right channels.

Note: Pressing MONO-L and MONO-R together presents a Mono Sum of Left and Right channels to both channels of the HENDRIX Stereo Line Input.

EQSECTION

Each return section is fitted with a four band equalizer. The nominal frequency ranges are.

HF: +/- 14dB boost/cut. Frequency switched 6K and 12K. Shelving

MF1: +/- 14dB boost/cut, Frequency continuously variable from 500Hz to 18KHz. PeaklDip MF2: +/- 14dB boost/cut. Frequency continuously variable from 100Hz to 4.5KHz. PeakIDip LF: +/- 18dB boost/cut. Frequency switched 80Hz/160Hz .

. \ switches in the high pass filter which operates at 120Hz and has a roll-off of 18dB/Oct. The high pass filter acts on both sides of the signal at the Stereo Line Input.

10

SOLO acts as either a non-destructive Stereo AFL or a destructive Solo In Place (Check Solo, Kill Solo), depending on mode selected on the HX 40 Master Monitor Module module.

SID is the Solo Defeat switch which acts exactly as described on the HX 10 module

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EQ IN is LED-indicated and forms part of the console's switch automation system.

SPLIT - Allows MF1 and LF to act on the Left stereo signal and MF2 and HF on the Right stereo signal. In this way the two sides of a stereo image may be equalised separately, yet be controlled by the same stereo fader. This feature is especially useful for the control of many Mono In/Stereo Out effects devices which can have significant variations in tone between Left and Right signals. ST is the stereo buss assignment switch for the Stereo Line Input. BALANCEIPANpot is the Stereo Line Input Balance control

PAN (BALANCEIPAN switch) : Normally the BALANCEIPAN pot acts as a BALANCE control for the fine control of stereo positioning. In this mode, unity gain is at the centre (indented) position and turning the pot to the left boosts the left channel signal by 3 dB and drops the right signal by 4dB; similarly turning the pot to the right boosts the right channel by 3dB and drops the left signal by 4dB . When PAN is selected (see below) this pot functions as a PAN control. Panning to the left boosts the left channel signal by 3dB and cuts the right channel - an inverse process applies when the pot is turned far right.

MUTE cuts all outputs from the Stereo Line Input. This is a large, red, illuminated switch which is labeled A, B, C or D depending on the module position occupied by the HX 11 module. The Stereo Line Input mute is automated on the AMEK Hendrix.

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REC SWITCH: Provision is made for the remote 'Record Ready' momentary switching for individual tracks on a multitrack tape machine. This facility is operated using the REC switch which, when pressed, gives a 5 volt output. Placing the Multitrack Recorder into RECORD will 'drop in' any tracks corresponding to the illuminated REC switches provided that a suitable

interface if fitted. Alternatively this switch may be used to start external machines or trigger devices.

ORO DVCA

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SEL[8]

SEL SWITCH and VCA Status Indicators

All HENDRIX consoles are sold fully automated using the AMEKISteinberg SUPERTRUE system. VCA faders are fitted as standard throughout and these may be grouped through the automation computer and may be used to generate and read automation information. Switch information is can also be computer controlled. The switch marked SEL locally toggles the status of each automated stereo fader to allow it to read from, write to or update SUPERTRUE automation computer mix information. The order in which these modes are selected by the SEL switch is selectable as an option on the automation computer screen but the channel status is indicated locally as follows.-

When the green READ LED is illuminated, the VCA is reading Fader Levels and the 8 switches reading Mute and Switch information from the automation computer.

When the red WRITE LED is illuminated, the VCA and the 8 switches are writing information to the automation computer.

Ifboth green and red (READ and WRITE) LEDs are illuminated then the module is in UPDATE mode - reading information from the automation computer unless new information is generated by fader movements or switch changes.

11

HENDRIX by

AMEK

The switches which are automated on the STEREO LINE INPUTIFX RETURN MODULE are:-

1) AUX 1&2 MUTE

2) AUX 3&4 MUTE

3) AUX 5-6 MUTE

4) AUX 7-8 MUTE

5) FX RETURN MUTE

6) STEREO LINE INPUT MUTE

7) EQ IN

vex OLJ'T (By!'ASS): while all HENDRIX consoles are supplied fully-fitted with VCA faders, these faders may be individually bypassed using the switch labeled VCA out. This is especially useful where large numbers offaders are in use, only a small number of which are actually under automation control.

STEREO FADER

The stereo fader, located below each FX return module, is used to control the Stereo Line Input Module and (if selected) the output of multitrack busses 1-8. DBX 2151 VCA faders are fitted as standard and these are controlled by a Stereo 100mm ceramic coated audio taper fader.

HX 11 Jackfield: Comprehensivejackfield access is provided for all HX 11 modules. Each module offers the following jackfield facilities:-

Effect Output 1 Left half-normalled to Aux Return 1- Left Effect Output 1 Right half-normalled to Aux Return 1 - Right Aux Send 1 half-normalled to Effect Input 1

Aux Send 5 half-normalled to Effect Input 5

Aux Send 9 half-normalled to Effect Input 9

Stereo Line A Left half-normalled to Stereo Line Input A Left Stereo Line A Right half-normalled to Stereo Line Input A Right Buss 1 Output half-normalled to Group Fader A Left Input

Buss 2 Output half-normalled to Group Fader A Right Input

Group Fader A Left Output half-normalled to Stereo Assign Input Left Group Fader A Left Output half-normalled to Stereo Assign Input Left

AUTOMATION AND MONITOR SECTION

The Automation and Monitor Section is centrally located and contains a variety of modules.

FILM MATRIXICUE/OSCILLATORIMETERS MODULE - HX 30

The HX 30 provides a multi-sourced Stereo Cue system, a Talkback system, an Oscillator and the Meters Mode selector in addition to the matrix selector switches required for Film Monitoring.

CUE

A Stereo Cue system is provided. The outputs would normally feed a stereo amplifier and provide headphone or speaker feeds.

The facilities provided on the Cue system comprise:

LEVEL: Controls the output ofthe Left and Right Stereo Cue signals via a single stereo track pot. INPUT SOURCE Switchbank:

The input to the cue system is selectable between 4 sources from the switchbank:ST selects the signal at the stereo buss.

MON selects the input currently chosen at the Studio Monitors Source Select panel. This may be anyone of 10 stereo sources including the stereo output.

AUX 5-6 selects auxiliary send busses 5 (Left) and 6 (Right). The feed is derived after the auxiliary 5 and 6 master output lever controls.

AUX 7-8 selects auxiliary send busses 7(Left) and 8 (Right). This feed is also derived after the auxiliary 7 and 8 master output level controls.

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OSCILLATOR

The oscillator provides tone at 100Hz, 1KHz and 10KHz using two push buttons. When neither button is pressed the oscillator is off.

LEV:EL sets the level ofthe oscillator tone. Turning the level pot to the far left of its travel selects the preset CAL output level

CAL TRIM varies the preset output level.

SLATE selects the oscillator output to the Multitrack, Stereo and Aux busses.

MASTER SOLO

The SOLO LEVEL pot adjusts the master level of the Stereo AFL signal presented to the control room monitors

CHECK: Normally the solo function is a StereoAFL. This is anon-destructive Solo function - any signal selected Stereo AFL will override any previous signal at the control room monitor outputs but channel signal flow will remain uninterrupted. Pressing CHECK alters the Solo mode to a destructive Solo In Place (Check Solo, Kill Solo) where any signals not selected Solo or Solo Defeat will be muted.

MODE: These two switches control the 15 segment LED bargraph meters.

One meter is fitted directly above each input channel, reading the T APEIBUSS signals in positions 1- 24 and TAPEIDIRECT OUTPUT signals in positions 25 and above.

HOLD is short for memory hold which when selected allows the last highest reading to remain on the meters.

CHN globally selects the meters to read the POST EQ signal at the CHANNEL path of each INPUT/

OUTPUT module. This is especially useful during mixdown when first generation signal sources or effects can be metered in preference to pre-recorded tape tracks. Additionally the CHN switch allows the

display ofMic PFL levels during recording, allowing signal levels to be optimised throughout the signal chain.

SOURCES: The signal presented to the pair of auxiliary meters is selected from a choice of 4 sources using two switches in combination.

Normally the meters read whichever of the 10 signal sources is currently selected at the Control Room Monitors.

Pressing OSC selects the slate and patchbay outputs of the oscillator to the auxiliary meters. Pressing SOLO selects Stereo AFL to the pair of auxiliary meters.

Pressing both OSC and SOLO together selects the fourth source for use in the FILM mode. The auxiliary meters display Centre on the Left Aux Meter and Surround on the Right Aux Meter, Left and Right signals being measured, as usual, on the meters across the stereo output.

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Stereo AFL is usually used when tracking, Solo In Place when mixing.

The Master Check button, when activated, illuminates a large square LED in the meterhood to indicate that any Solo selected will be destructive. Additionally, any individual SOLO button will activate a large Solo Function Active LED in the console meterhood. This LED operates in either the Stereo AFL or the Solo In Place mode.

AUXMETERS

FILM MATRIX -

Busses 1-12 may be combined to form L-C-R-S busses for film application. Left can be a selection or mix of 1,5, and 9; Right, Centre and Surround are similarly composed. If, for example, busses 1-4 are used for Music, 5-8 for Dialogue and 9-12 for FX, the matrix can provide a composite mix of Music, Dialogue and FX. The buss ouputs are available at the multiway connector panel and at the patchbay and can be metered using the Stereo and Aux meters (see above) or via optional meter points.

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HENDRIX by

AMEK

STUDIO AND CONTROL ROOM MONITORS SOURCE MODULE - HX 31

STUDIO MONITOR SOURCE

A Studio Monitor level control is provided with a MUTE switch. This would normally be used to feed speakers placed in the studio playing area for foldback and cues.

MUTE cuts ALL output from the Studio Monitors section. LED indicators on the Studio Monitor MUTE show whether the Mute has been activated locally, or remotely by the RED LIGHT switch. A choice of 10 sources are presented to the Studio Monitors:-

CD player, CASSette recorder (at -10 dB), 4 analogue/digital Tape machines (ST1, ST2, ST3 and ST4), AUX 1&2, AUX 3&4, AUX 5-6, AUX 7-8, the STereo Buss and the CUE mix.

STUDIO MONITOR SOURCE

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CONTROL ROOM MONITOR SOURCE

CONTROL ROOM MONITORS

The Control Room Monitor source selector enables the auditioning of 10 switch-selectable stereo signals on up to 3 pairs of speakers in the control room. Additionally MASTER MODE switches are provided for FILM monitoring and the decoding of DOLBY* signals

FILM

Pressing FILM overrides all monitor selections and reconfigures the monitoring section for film monitoring. The Control Room Monitor section is now sourced from the Left and Right buss outputs as selected from the relevant section of the Film Matrix (see above). Similarly the Studio inputs are sourced from the Centre and Surround selections also made at the Film Matrix.

In this mode the Studio Monitor Level Control is inactive and both the Studio Monitor and Control Room Monitor outputs are governed by the Control Room Monitor Level pot, Mute and Dim.

PLAY is in effect an insert IN switch on the L-C-RS monitor input.This can be used to select a DOLBY film matrix decoder or to select an alternative source.

CONTROL ROOM MONITOR SOURCE SELECTOR

This is an interlocking bank of 10 switches which present a variety of monitoring options. The selectable sources include:

CD player, CASSette recorder (at -10 dB), 4 analogue/digital reel to reel Tape machines (ST1, ST2, ST3 and ST4), AUX 1&2, AUX 3&4, AUX 5-6, AUX 7-8, the STereo Buss and the CUE mix. Control Room Monitors Level, Speaker selection and other functions are conveniently placed lower down the Master Monitor Module.

14

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AUTOMATION COMPUTER KEYBOARD

All AMEK HENDRIX consoles are supplied automated and fitted with a dedicated 64-key control keyboard. In addition to the alpha-numeric keys 6 definable function keys are provided for fast operation. A further remote keyboard may be optionally added and placed in the producer's table area.

The standard automation system for HENDRIX is the proven AMEKISteinberg SUPERTRUE system as fitted to the acclaimed AMEK MOZART console. Mix information is fully interchangeable between both consoles, the HENDRIX automatically disregarding the information associated with the 8 extra automated switches fitted to MOZART.

For full details on the capabilities of the AMEKI Steinberg switch and fader automation system please refer to the detailed user manual.

BUSS is the Master Status BUSSITAPE ( GROUP/ TAPE or AlB) switch. This has a corresponding local switch located on each HX 10 INPUT/OUTPUT

module.

Pressing the BUSSIT APE master The master switch activates the BUSS function across the entire console; pressing a local switch reverses that function for one module only.

RED LIGHT provides signalisation which may be used to trigger external circuitry or relays as required utilising an opto-coupler and may optionally mute the output ofthe Studio Monitors section (illuminating the green Led in the Mute switch). SEL controls the READIWRITEIUPDATE status of the Stereo Master Fader. This is operated as described for the HX 10 module.

VCA OUT (BYPASS) - as with all other VCAs fitted to the AMEK HENDRIX, the Stereo Master fader may be bypassed separately from all other faders.

Normally the console reads "off tape" signals.

CONTROL ROOM MONITORS Level Control varies the output level to the Control Room amplifiers

SPEAKERS 1, 2, and 3 select between three discrete monitor speaker systems - these outputs may be individually trimmed via internally accessed controls.

MONO presents a mono sum of Left and Right signals to the Control Room loudspeaker outputs.

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HENDRIX by

AMEK

DIM provides preset attenuation for the Control Room Monitor signal. This is factory set at -20dB but may be altered by a front panel trimmer

MUTE cuts ALL output from the Control Room Monitors section, the green LED

indicator illuminating if the MUTE is remotely activated.

STEREO selects the Left and Right signals at the Stereo buss to Left and Right auxiliary meters respectively.

COMMUNICATIONS SYSTEM

This section provides level controls and routing for the on-board talkback microphone system. The talkback microphone is built into the HENDRIX meterhood TALKBACK MIC GAIN controls the level of the talkback microphone.

STUDIO routes the talkback signal to the Studio Monitor output.

CUE routes the talkback signal to the Cue outputs.

SLATE routes the talkback signal to the 24 multitrack busses and the Stereo buss.

The TRACKERBALL controls the cursor on the automation computer screen.

STEREO FADER

DBX 2151 VCA faders are fitted as standard and these are controlled by a Stereo 100mm ceramic coated audio taper fader.

Jackfield: see Monitor/AuxlPatchfield layout below.

Metering

The stereo output is metered using two VU meters. Additionally, the stereo output signal can be metered using the two 15 -segrnent LED Auxiliary Meters, accessed using the Aux Meters Select switchbank.

Phase Meter Option

Provision is made for the fitting of a phase meter. When fitted, the input to the phase meter is fed from the Control Room Monitor selector, before the gain control. In this way up to 10 stereo sources may be presented to the phase meter without patching.

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Head Office, Factory and Sales:

AMEK Systems and Controls Ltd.,

New Islington Mill, Regent Trading Estate, Oldfield Road, Salford M5 4SX, England. Telephone: 061·834 6747.

Telex: 668127. Fax: 061·8340593.

AMEK/TAC US Operations:

10815 Burbank Blvd,

North Hollywood, CA 91601. Telephone: 818/5089788. Fax: 818/508 8619.

AMEK SYSTEMS & CONTROLS LTD. part of AMEK TECHNOLOGY GROUP Pic

The company has an established poliCY 01 seeking Improvements to the design. specifications and manufacture of its

consoles and other products Meratlons take place continually often without prior notification outside the company

The contents of the company's literature must not be regarded

as an Infallible gUide to the specifications available despite considerable eltort to produce up-io-date mformallon. No literature constitutes an offer for sale 01 any partIcular console

or product. The company's offICially appointed distnbutors and representatives will advise on any changes when the circumstances 01 the enquIry permit