Professional Audio News

PatchPoint

Sony MXP-3036VF Automated Console

Summary The Sony MXP-3000 console is an inline console built in 20, 36 and 52 input frame sizes. The frame is exceptionally rigid and supports user interchangeable, application specific modules. Operator convenience and sonic performance were two major design criteria. The third major criteria was affor-dability and reliability. Sony/MCI has built more consoles and tape machines than any other manufacturer. They have always had a reputation for innovation, performance and good value for the money. These new large frame consoles continue those traditions. The MXP-3000 is probably the quietest console ever built in its size range. Its use of: Oxygen free copper wiring

Sony MXP 3000 A Console For All Reasons

All gold circuit connections Five (5) equalizer modules Four (4) Sony mic preamps (two additional from third parties). Three (3) metering systems. Two (2) levels of automation. Transformered or transformerless I/O modules. "Wild" automated stereo faders
IN T H I S I S S U E

Two (2) communications modules. demonstrate that the MXP-3000 has plenty of "unstandard" standard features and options. The build quality of the console is outstanding as are its sonics. The price is surprisingly low, especially considering that you buy only what is needed for your applicaContinued on page 13

NAB: Wes Dooley reports on the products making news. Page 2 Tascam's Professional 1/2 inch, the MSR-16 multitrack recorder, boasts pro features at home studio prices. Page 9 Mraz on Midi: Gary Mraz offers advice on creating your own MPE Midi Production Environment and outlines a sample system. Page 4 Nak 'Em Dead DAT with a difference. Page 11

I/O MODULE
Listed below are all controls on the left side and in the center of the module:

I/O MODULE
Listed below are all controls and LEDs on the right side of the module:

MASTER MODULE

Channel Assignment Switches Select the track(s) to which the Channel signal is to be directed.

Channel Assignment Switches Select the track(s) to which the Channel signal is to be directed.

LVL (Level) Sets SEND 1 output signal level. MUTE - Mutes SEND 1 output. LVL (Level) Sets SEND 2 output signal level. MUTE - Mutes SEND 2 output. LVL (Level) Sets SEND 3 output signal level. MUTE - Mutes SEND 3 output.

DIR (Direct) connects the multitrack input directly to the channel output, bypassing the Channel ACN. DUMP Assigns the Monitor signal to the selected Channel ACN. BUS (Bus Trim) Sets the ACN gain level. Has detent at the CAL (0 dB) position. LINE CONTROL Sets line input gain. Has detent at the CAL (0 dB) position. MIC (Pre-amp Gain) Sets mic pre-amp gain. (Limits are 30 to 65 dB when GAIN is selected, otherwise limits are 15 to 35 dB). GAIN Sets range for the MIC control. PHAN (Phantom Power) Supplies Phantom power. Bus Pan Control Pans Channel output between selected odd and even channels. Has detent (C) at center position. SOLO (Channel Solo) Directs the Channel stereo signal to the SOLO bus. BUS Directs Monitor post-Fader signal to the Channel Fader, thus enabling the use of Channel buses as additional Sends. LINE Selects line input as the Channel source.

LVL (Level) - Sets SEND 4 output signal level. MUTE Mutes SEND 4 output.

2-MIX Directs 2-Mix signal to stereo SENDS 5 & 6. LVL (Level) Sets SENDS 5 & 6 output signal levels. MUTE Mutes output from stereo SENDS 5 & 6. SEND 5/6 Sets level of Return 1 signal directed to SENDS 5 & 6.

HI (High Frequency Boost/Cut) Sets High Frequency Equalization. PK (Peak) Selects peaking response for HI control. (When not selected, response is shelving). MID 2 Mid 2 Frequency Boost/Cut.

MID 1 Mid 1 Frequency Boost/Cut. PK (Peak) Selects peaking response for LO control. (When not selected, response is shelving). LO (Low Frequency Boost/Cut) Sets Low Frequency Equalization. EQ (Equalizer) Activates the Equalizer. 0 (Phase) Inverts the phase of the Equalizer input signal. (High Pass Filter) Activates the High Pass Filter. Is independent of the Equalizer. FREQ (Frequency) Sets the cutoff frequency for the High Pass Filter LVL (Send 1 Level) Sets Send 1 signal level. LVL (Send 2 Level) Sets Send 2 signal level. LVL (Send 3 Level) Sets Send 3 signal level. LVL (Send 4 Level) Sets Send 4 signal level. PAN Sets left/right balance for Sends 5 & 6. Has detent (C) at center position. LVL (Send 5 & 6 Level) Sets level for Sends 5 & 6. SOLO (Monitor Solo) Directs the Monitor stereo signal to the SOLO bus. MUTE Mutes the Monitor 2-Mix output. LVL (Rotary Fader) Normally controls the Channel signal level. Controls the Monitor signal when FDR is selected. FDR (Fader Reverse) Reverses the functions of the rotary (Channel) and linear (Monitor) Faders.

FREQ (Frequency) Selects the EQ HI frequency to be boosted or cut. FREQ (Frequency) Selects the EQ MID 2 frequency to be boosted or cut. FREQ (Frequency) Selects the EQ MID 1 frequency to be boosted or cut. FREQ (Frequency) Selects the EQ LO frequency to be boosted or cut. LED Indicator Becomes illuminated to show when EQ is activated. CHAN (EQ to Channel) Switches EQ into Channel path. (When not selected, EQ is in Monitor path). \ (Low Pass Filter) Activates the Low Pass Filter. Is independent of Equalizer. CHAN (Filters to Channel) Switches Low and High Pass Filters into Channel path. (When not selected, Filters are in Monitor path). PRE (Pre-Fader) Directs pre-Fader signal to Sends 1 & 2. (When not selected, postFader signal goes to Sends). CHAN (Channel/Monitor) - Directs Channel signal to Sends 1 & 2. (When not selected, Monitor signal goes to Sends). PRE (PreFader) Directs pre-Fader signal to Sends 3 & 4. (When not selected, post-Fader signal goes to Sends). CHAN (Channel/Monitor) Directs Channel signal to Sends 3 & 4. (When not selected, Monitor signal goes to Sends). PRE (Pre-Fader) Directs preFader signal to Sends 5 & 6. (When not selected, post-Fader signal goes to Sends). 2-MIX Directs 2-Mix to Sends 5 & 6. Monitor Pan Sets left/right balance for Monitor signal. Has detent (C) at center position. SOLO LED Becomes illuminated to show when either Channel or Monitor SOLO has been selected. LINE OUT LED Becomes illuminated when line output is selected as the Monitor source. LINE IN LED Becomes illuminated when line input is selected as the Monitor source. FDR LED Becomes illuminated when FDR is selected and the Fader functions are reversed (VCA is in the Channel path). AGM (Audio Group Master) Enables this I/O as an Audio Group Master. (Is not effective unless I/O has active ACN). REV (Reverse) Switches Monitor path feed between line in and line out signals. PEAK LEDs Green indicates the presence of a -20 dB signal. Red indicates that the signal is approaching the overload (clipping) point.

Return 1 for Pre-Fader listening. SOLO Selects Return 1 for SOLO operation.

PFL (Pre-Fader Listening) Selects

PAN Pans Return 1 signal between left and right 2-MIX buses and Sends 5 & 6. LVL (Level) Sets Return 1 signal level. MUTE Mutes Return 1 signal. SEND 5/6 Sets level of Return 2 signal directed to SENDS 5 & 6. PFL (Pre-Fader Listening) Selects Return 2 for Pre-Fader listening. SOLO Selects Return 2 for SOLO operation. PAN Pans Return 2 signal between left and right 2-Mix buses and Sends 5 & 6. LVL (Level) Sets Return 2 signal level. MUTE Mutes Return 2 signal. SEND 5/6 Sets level of Return 3 signal directed to SENDS 5 & 6. Return 3 for Pre-Fader listening. SOLO Selects Return 3 for SOLO operation. PAN Pans Return 3 signal between left and right 2-MIX buses and Sends 5 & 6. LVL (Level) Sets Return 3 signal level. MUTE Mutes Return 3 signal. SEND 5/6 Sets level of Return 4 signal directed to SENDS 5 & 6. Return 4 for Pre-Fader listening. SOLO Selects Return 4 for SOLO operation. PAN Pans Return 4 signal between left and right 2-Mix buses and Sends 5 & 6. LVL (Level) Sets Return 4 signal level.

PFL (Pre-Fader Listening) Selects

PFL (Pre-Fader Listening) Selects

MUTE Mutes Return 4 signal. SOLO Indicator becomes illuminated when any Return is selected for SOLO operation.

MONITOR MODULE

COMMUNICATIONS MODULE

BDCST (Broadcast) Sets all I/O modules into Broadcast mode, enabling inputs to be fed to Monitor and Channel paths simultaneously.

FREQ Sets the Oscillator frequency. FREQUENCY MULTIPLIER SWITCHES Multiply the selected Oscillator frequency by x1, x10 or x100. OSC (Oscillator) Indicator becomes illuminated when Oscillator is selected. WHT Selects white noise source. NOISE becomes illuminated when either noise generator is selected. PINK Selects pink noise source. OFF Turns off Oscillator and noise generators. LVL (Level) Sets Oscillator or noise generator output level.

LINE OUT Sets all I/O modules for line output monitoring. LINE IN Sets all I/O modules for line input (multitrack output) monitoring.

TALKBACK MICROPHONE.

Control Room Monitor Selectors Select TAPE, SENDS or MIX signals for input to the Control Room Monitor. Studio Monitor Selectors Select TAPE, SENDS or MIX signals for input to the Studio Monitor.

MIC LVL (Microphone Level) Sets the Talkback Microphone level.

TKS (Tracks) Directs the selected Slate, Oscillator, or noise signal to the Multitrack recorder tracks. MIX Directs the selected Slate, Oscillator, or noise signal to the 2-Mix bus.

Control Room Speaker Selectors Select MAIN speaker or alternate speakers 1, 2, or 3 for Control Room monitoring.

PFL LVL (Pre-Fader Listening Level) - Sets the level of the PFL signal to the Meter Housing speaker. PFL (Pre-Fader Listening) Directs the PreFader signal to the SOLO bus (Control Room Monitors).

COH (Phase Coherence) Inverts left channel signal and sums it with right channel to provide a single, out-of-phase component to the Control Room speakers. MONO Directs the mono sum of left and right channels to the Control Room speakers. L MUTE (Left Mute) - Mutes the left Control Room Monitor output. R MUTE (Right Mute) Mutes the right Control Room Monitor output. SOLO TRIM Sets the stereo SOLO output level.

COMM TO SEND Directs the Communication output to selected SEND buses 1-2, 3-4, or 5-6.

COND (Conductor) Screwdriver adjustable control: Presets Talkback level to the Conductor. TALKBACK Screwdriver adjustable control: Presets Talkback output level. SLATE Screwdriver adjustable control: Presets Slate level. COM Screwdriver adjustable control: Presets level of Talkback to the cue system. (Conductor) Directs Talkback audio to the Conductor. (Talkback) Directs Talkback audio to the Studio Monitor). (Slate) Directs Talkback audio to the Slate (Tracks or Mix) system.

STUDIO LVL Sets the level of the signal to the Studio speakers. STUDIO MUTE - Mutes the Studio Monitor signal. Indicator becomes dimmed when signal is muted. DIM LVL Presets the audio dimming level for the Control Room speakers. CNTRL RM LVL Sets the level of the selected Control Room signal.

CONTROL ROOM Reduces the Control Room signal to the preset audio dimming level.

(Communications) Directs Talkback audio to the cue system.

USER-CONFIGURED INPUT SECTIONS AND EQUALIZERS

MICROPHONE PRE-AMPLIFIERS Any of four different microphone pre-amplifier modules can be ordered for installation into the I/O Module. Two microphone preamplifiers are transformerless, electronically balanced type, the MXBK-MI31 (Single) and the MXBK-MI32 (Dual). The other two are transformer coupled, the MXBK-MI33 (Single) and the MXBK-MI34 (Dual).

MXBK-MI31 MXBK-LI32

MXBK-MI32

LINE INPUTS A dual line input module can be ordered for installation into the I/O module. The MXBKLI32 Module provides two additional line input selections for the I/O, each with its own gain trim.
MXBK- MI33 MXBK-MI34

EQUALIZERS Any of five different equalizer modules can be ordered for installation in the I/O Module, these being the Four-band, Fixed-Q, Wien type, MXBKEQ31, the Four-band, Selectable-Q, Wien type, MXBKEQ32, the Four-band, Statevariable type MXBK-EQ33, the Four-band, Passive (LC) type, MXBK-EQ34, and the 10-Band Graphic -type, MXBK-EQ35.

MXBK-EQ31

MXBK-EQ32

MXBK-EQ33

MXBK-EQ34

MXBK-EQ35

ADDITIONAL FEATURES
Six Sends, two mono pairs and one stereo with pan control. Each send available pre- or post-fader. Mono send signals can be taken from either channel or monitor section. 12 dB/octave high pass filter (20 Hz-320 Hz). 12 dB/octave fixed low pass filter (-3 dB at 16 kHz). MXP-3020/3036 Inputs: MIC (Up to 72 channels with dual mic input, Tuchel connector or opt. patch [TT]) Gain . . . . . . . . . . . . . Variable/Switchable 15 to 35, 30 to 65 dB (transformerless) Max. level. . . . . . . . . . . . . . . . . . . . . . . . . . +7 dB Impedance . . . . . . . . . . . . . . 1.2K ohms, balanced Circuit. . . . . . . . Transformerless/transformer (Opt.) LINE (Up to 36 channels, Tuchel connector or patch [TT]) Reference level. . . . . . . . +4 dB Variable 10 dB Max. level. . . . . . . . . . . . . . . . . . . . . . . . . +28 dB Impedance . . . . . . . . . . . . . . 10K ohms, balanced Circuit. . . . . . . . Transformerless/transformer (Opt.) Outputs: LINE (Up to 36 channels, Tuchel connector or patch [TT]) Reference level. . . . . . . . +4 dB at 10K ohm load Max. level. . . . . . . . . . . +28 dB at 10K ohm load Impedance. . . . . . . . . . . . . . . 120 ohms, balanced Circuit. . . . . . . . Transformerless/transformer (Opt.) (Tuchel connector or patch [TT]) Reference level. . . . . . . . +4 dB at 10K ohm load Max. level. . . . . . . . . . . +28 dB at 10K ohm load Impedance. . . . . . . . . . . . . . . 120 ohms, balanced Circuit. . . . . . . . Transformerless/transformer (Opt.) CONTROL ROOM MONITOR (L,R), STUDIO MONITOR (L,R) (Tuchel connector) Reference level. . . . . . . . +4 dB at 10K ohm load Max. level. . . . . . . . . . . +28 dB at 10K ohm load Impedance. . . . . . . . . . . . . . . 120 ohms, balanced Circuit . . . . . . . . . . . . . . . . . . . . . . Transformerless Frequency Response. . . . . . . . . 20 Hz - 20 kHz 0.5 dB Harmonic Distortion . . . . . . . . . . . . . . . . Less than 0.003% (Line in line out, +20 dB in, rotary fader set at unity gain) Less than 0.02% (Line in 2 mix out, +4 dB in, VCA fader set at unity gain) Equivalent Input Noise: MIC. . Less than -128 dB (20 Hz - 20 kHz, +0/-0.5 dB) LINE . . . . . . . . . . . . . . . . . . . . . . . . . . Less than -110 dB (600 ohms terminated, 20 Hz - 20 kHz)
AUX SEND (1-6), 2 MIX (L,R), MONO

Stereo Solo monitor and channel. Two-Stage Peak Indicators (signal present, 2 dB below clipping) monitor either mic pre amp output or EQ output. Patchless Audio Sub Grouping mode. Choice of mechanical VU, or PPM (BBC ballistics) meters. Noise level. . . . . . . . . . . . . . . . . . . . . . . Less than -93 dB (Line input tracks, unity gain direct assigned) Less than -83 dB (Line input to 2-mix, unity gain VCA in monitor, MXBK-VCA31) Crosstalk. . . . . . . . . . . . . . . . . . . . . . . . . Less than -80 dB (Channel line out signal applied to adjacent channel line inputs, at 15 kHz) Less than -60 dB (between channel and 2 mix ACN buses, at 15 kHz) Max. overall gain . . . . . . . . . . . . . . . . . . . . . . . . . . +77 dB at 10k ohm load, mic input to line output (Individual channel) Filter: Low cut. . . . Variable 20-320 Hz (-3 dB), 12 dB/octave High cut . . . . . . . . . . . . . 16 kHz (-3 dB), 12 dB/octave Oscillator. . . . . . . . . . . . . . . . . . . . Variable 20 Hz - 20 kHz with less than 0.1% distortion Output level. . . . . Max. +18 dB at 10k ohm load Transformer output can drive down to 600 ohms Also slate oscillator, 18 Hz, assignable to tracks Weight: MXP-3020 . . . . . . . . . . . Approx. 292.5 kg (650 Ib) MXP-3036 . . . . . . . . . . Approx. 420.45 kg (925 Ib)

SPECIFICATIONS

AC-P3000/P3100 Power Supply Unit

Power Requirements: AC-P3000 . . . . . . . . . AC100/110/120/130/200/220/240/260V selectable 50/60 Hz AC-P3100 . . . . . . . . . . . . . . . . . . . . . . AC100/120/220/240V selectable 50/60 Hz Power Consumption . . . . . 960VA (AC) Audio power supply Dimensions: AC-P3000 . . . . . . Approx. 482.6(W)x431.8(D)x222.2(H)mm

(19 x 17 x 8 3/4") ACP3100 . . . . . . Approx. 482.6(W)x 285.7(D) x133.3(H)mm

(19 X 11 1/4 X 5 1/4")

Weight: AC-P3000 . . . . . . . . . . . . Approx. 36.45 kg (81 Ib) AC-P3100 . . . . . . . . . . . . . . Approx. 17.1 kg (38 Ib) MXP-3020/MXP-3036 Dimensions:

MXP-3020 . . . . Approx. 1,730.3(W)x1,135.4(D)x1,094(H)mm

MXP-3036. . . . Approx. 2,372.4(W)x1,135.4(D)x1.094(H)mm

(681/4 x 443/4 x 431/4")

(931/2 x 443/4 x 431/4")

Sony MXP 3000

Continued from page 1

tion. A brief overview of the MXP 3000 follows. Modularity The key to the flexibility of most of the old "built on site" consoles of the past was the fact that there were standard methods (inherited from the world of broadcast) of connecting and terminating individual sections of electronics. Many manufacturers offered "pre-packaged" circuits and controls that were designed to fit in standard size mounts, or were built on sub-assemblies of a standard width. By careful selection and assembly, a customized package could be put together that would suit the requirements of the job at hand. We now have 24 track, digital, automation systems large and small, interlocked machines, and the vast require-

ments of computer music to consider. To handle this vast increase in possibilities, console manufacturers have been forced to design and build for the proverbial "average user". We now see many examples of the "one size fits all" multichannel mixer, at every level of complexity, quality and cost, from the solid top 16 input keyboard controller through to the 100+ input semi-custom auto-everything charisma consoles. Although most of these designs serve the art fairly well, the possible number of tracks, mixes, processor returns and functions continues to grow. Even on the most deluxe units, there is always some function, feature or control that is not quite right. The prospective purchaser is often forced

into this tough decision; buy low and make do, or, buy high to get the extras, and live with the fact that some part of the console is not needed, and just sits there, gathering dust. Once again, there is a strong need for the master mixer/engineer to have more control over the function and ergonomics of the primary "tool of the trade". The Engineers at Sony Pro Audio in Florida have responded with the MXP3000 system of frames and modular components, and the options reflect the difference between the good old days of direct to the 2 track and the problems of today. Some parts of our industry have not changed, and the primary area that is very little different is the desire for the best possible sound. In the MXP-3000 20, 36 and 52 input

Sony MXP-3056VF Automated Console

frames, SONY has used oxygen-free large crystal copper wire for all internal wiring, and has developed new hybrid I.Cs for the critical differential amplifiers needed for the active balanced mic pre's, the buss summing amps, and the The MXP-3000 is balanced line ins and outs. These probably the custom designed quietest console large junction ever built in its hybrid packages provide the benefits size range of the old-style hand wired discrete transistor circuits without the increased cost of individual component assembly, and this gives you the benefit of great sound at a modest price. Transformers optional Although the active differential amplifier can offer substantial isolation, SONY recognizes that there are some installations that can't afford even the slightest risk of leakage. Transformer isolation of all inputs and outputs is available, and a special mic pre using the Jensen JE-115 feeding a selected 5534 is available "off the shelf". Heavy users of inexpensive "music grade" effects devices might also benefit from ordering a patch bay with a number of transformer isolated lines. A transformer isolated patch here will keep the less-than-state-of-the-art power supply noise from being connected to your whole console along with the "juicy effect" you need on line 18. Some of the older pro audio processors also suffer from hum and buzz due to the use of single ended power or the results of aging parts. A transformer isolated patch point will allow you to gain the benefit of their sonic manipulation without having an antiquated stand-

ard for S/N imposed on your whole mix. Finding a good ground is just as hard today as it was in the good old days. Regardless of the advances in technology, some things never change. What area is the one that is most changed by more tracks? Everyone agrees about this one. It's the change in the function of the equalizer, and that's the module that SONY has made the most flexible in this MXP-3000 system. Five equalizer options Occupying the same physical space, each module offers a different approach to the problem of sonic control. You can mix and match equalizers when you order your console. Since all these modules mount from the top (two fasteners only, and the tool to lift out a module is provided) a functional change in EQ can be made quickly in the middle of a session without rewiring. All equalizers have true "hard wire" bypass switches so you won't have to pass your signal through them if you don't need additional control. MXBK-EQ31 Considered the "stock" or standard module, this 4 band sweep (semi-parametric) unit covers the audio band with generous overlap between the low and mid sections.

FAX!
Our FAX number is (626) 798-2378. If you would like to have your gear on our equipment list or you are looking for something special, FAX us a note and we will get on it. If time zone differences make you play "phone-tag" with us; just FAX it. If you have a long list of things, schematics or custom wiring diagrams for us; just FAX them.

The FAX never closes

(626) 798-2378

With a fixed "Q" of 1.5, 4 sets of controls allow boost/cut in closely related frequencies without losing control of the extremes. 2k up, 5k down, and you still have a section left for that necessary 10k boost. The top and bottom sections can be switched between peaking or shelving action. MXBK-EQ32 Adds a switch to each of the four bands to change the "Q" from a wide range to a much narrower "bite". Each section can be switched separately, and the ranges, overlaps, and peakshelving functions are the same as the MXBK-EQ31. MXBK-EQ33. When complete control of the bandwidth of frequencies affected by a section is desired, the MXBK-EQ33 offers the flexibility of continuously adjustable "Q" from a "wide" .5 to a supertight 6.0. In addition, the overlap range of the upper sections has been greatly extended, and the low frequency section goes down all the way to a 20 Hz center. This type of extremely wide range full function equalizer is usually found only in rack mount versions. If your business is film or special effects, this is definitely the unit to consider. MXBK-EQ34 A quick look at the top panel of this unit might make you think that we have entered a time warp. What, fixed frequencies, in this day and age of sweep everything? Yessir, and its back to the future, as this equalizer uses real (not simulated) inductors! There are many engineers that think that the old style of LC circuit sounds different (and better) than the modern op amp implementations. With the MXBK-EQ34 SONY lets you choose for yourself. If you are the type that has all the old vacuum tube mikes, and a pair of mint condition RCA 44As, this is your dream come true. Four bands, +/- 15 dB, four fixed center frequencies per band, and NO SIMULATED INDUCTORS! REAL WIRE!

Don't go away, we have lots more knobs to talk about. MXBK-EQ35 A complete 10 band ISO center frequency graphic in a single module-wide space! Each section provides +/-12 dB of adjustment for creation of those shaped curves that are almost impossible to get any other way. This type of EQ usually requires an outboard rack and patch cords, forcing you to turn away from your mix to tune your sound. With the SONY MXP-3000 system, you can have full graphic flexibility right in front of you, on the top panel! Independent low pass and state variable high-pass filters A small section on the top, the differences between these controls and the average set of filters might go overlooked. We think that they deserve more than just a word or two. The low pass filter is set for modern times, with a 16kHz 3dB down point, and is not the brute force 10kHz chopper of the past. Broadcasters will appreciate this, as it will eliminate hiss, multiplex, bias interactions and computer line trash and still leave you with a decent bandwidth. The statevariable high pass can work miracles in multitrack. Once you've seen what it can do, you'll wonder how you ever got along without it! The break point for this 12 dB per octave filter is variable, from 20z to 320 Hz, so you work it this way; dial it up until you just hear it bite into the primary sound, then back down until the effect leaves the main signal clear. You have now removed all the room rumble, all the low frequency drum leak, and all the low frequency bandwidth that your track does not need. On snare, this filter can be almost as effective in controlling bass drum leak as a gate, and it is much faster and easier to set. In mixdown, using this filter on all of the tracks that don't actually have low frequency energy will clean up the midrange, and may allow you to hear a surprising amount of mid-range clarity and stereo separation WITHOUT the need for any additional EQ! This is a winning function that no mixdown console should be without. The mic pre's Any one of the four microphone

preamplifiers can be installed in the I/O module, and a dual line level module is an options for those installations that don't require a full complement of mike preamps. MXBK M131 A single channel transformerless mic pre using the new hybrid. The gain range is adjustable, 20

The build quality of the console is outstanding as are its sonics. The price is surprisingly low, especially considering that you buy only what is needed for your application
dB in LOW, and 35 dB in HIGH. Max gain in the HIGH setting is 65 dB. Switchable 48V phantom is provided. MXBK M132 A two channel (either mic A or mic B, switchable) version of the M131. The broadcast community will appreciate the "backup" capability of this option, as it provides instant switchover safety without using up another module. All controls of the M131 are duplicated, and dual. MXBK M133 A transformer isolated preamp using the Jensen JE-115. Phantom power, 40 dB of variable gain and a 20dB pad are provided, with the max (pad out) gain being 65 dB. MXBK M134 The two channel (A, B instant switch) version of the Ml33 described above. Line level MXBK-L132 If your module does not need a mike pre, you can have a dual line input module installed in it's place. Each line has its own +/-10dB trim, and as an additional feature, BOTH lines can be selected and trimmed simultaneously, providing a "quick mix" of the two signals! To get the benefit of transformer isolation, you order the mod as a part of the I/O module. Metering Standard metering is by VU meters. BBC scale PPMs (Peak Program Meters) are one option. Alternately Vacuum Fluorescent (VF) metering may be fitted

which provides four different metering scales: VU, DIN Peak, BBC Peak and Nordic Peak. The VF system can also be used to show the DC control voltages for the VCA faders. Routing 24 individual channel assign switches plus a direct assign make correct bus selection easy. Odd/even bus panning is available. Six auxiliary sends, two mono pairs and one stereo are available pre or post fader. Stereo solo functions are available for bus output and channel input on the I/O module. A new feature provides user-adjustable peak and "signal present" LEDs near the fader area for handy reference. Automation The console can be ordered with manual or automated faders. With automation the dbx 202X VCA is used to maintain the system's low noise floor. A fader reverse function is provided. Two levels of automation are available from Sony as well as third party systems such as GML demonstrated at the NAB. Sony's first level system is tape based. It provides extensive functionality without operator interference by using clever infrared master control that can roll across the fader area. (Look at the photo, it's the unit at the right end of the faders.) Sony's second level of automation can be added to the first level at any time. This is a SMPTE time code based, menu driven, hard disc storage system with a large CRT display and full keyboard. The infrared remote is used for convenient control of normal automation functions. Either level of automation supports the optional "wild" stereo faders (8 maximum). Ask us for more If this article has aroused your curiosity, please give us a call. We'll set up a session for you so you can get your hands on the MXP-3000 system. When you come in we'll be able to show you just how fast the system works, things like the grouping and muting, the extra options for customized extra AUX ins that we haven't fully discussed here, and more. Much more. We like this console system, and we're certain that you will too.