FIVE Monitor Contents
1
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FIVE Monitor
Contents
1. Introduction
Introduction
1.1
1.2
1.2
Warranty
2. Installation
Dimensions
2.1
2.2
2.3
2.4
2.6
Precautions and Safety Instructions
Mains Installation
Connections
Block Diagrams
3.1
3.2
3.3
3.4
3.5
3.6
3.7
3.10
24-bus Mono Input Module
32-bus Mono Input Module
24-bus Stereo Input Module
32-bus Stereo Input Module
32-bus Output Module
Master Module
EQ Output Module
Functional Description
Mono Input Module
Stereo Input Module
Output Module
4.1
4.2
4.6
4.10
4.14
Master Module
Specifications
5.1
FIVE Monitor Contents
i
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ii
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FIVE Monitor
Introduction
1
FIVE Monitor Introduction
1.1
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Introduction
Congratulations on purchasing a Soundcraft console.
Series FIVE Monitor is a dedicated Monitor mixing console designed to meet the
exacting requirements of major tours and installations.
System Overview
l Available in two versions: 24+2 or 32+2 bus
l Frame sizes from 40-60 mono inputs
l Optional stereo input module
l 4-band parametric EQ on all inputs including stereos
l Sends can be globally configured as mono or stereo
l Comprehensive output matrix built-in
l 8 VCA Groups plus 8 Mute groups
l Remote control of BSS Varicurve via midi
l LED input metering plus VU output metering
Power Supply
l The FIVE Monitor uses the CPS2000 Power Supply.
1.2
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Warranty
1 Soundcraft is a trading division of Harman International Industries Ltd .
End User means the person who first puts the equipment into regular
operation.
Dealer means the person other than Soundcraft (if any) from whom the
End User purchased the Equipment, provided such a person is authorised
for this purpose by Soundcraft or its accredited Distributor.
Equipment means the equipment supplied with this manual.
2
If within the period of twelve months from the date of delivery of the
Equipment to the End User it shall prove defective by reason only of faulty
materials and/or workmanship to such an extent that the effectiveness
and/or usability thereof is materially affected the Equipment or the defec-
tive component should be returned to the Dealer or to Soundcraft and
subject to the following conditions the Dealer or Soundcraft will repair or
replace the defective components. Any components replaced will become
the property of Soundcraft.
3
4
Any Equipment or component returned will be at the risk of the End User
whilst in transit (both to and from the Dealer or Soundcraft) and postage
must be prepaid.
This warranty shall only be available if:
a) the Equipment has been properly installed in accordance with instruc-
tions contained in Soundcraft’s manual; and
b) the End User has notified Soundcraft or the Dealer within 14 days of the
defect appearing; and
c) no persons other than authorised representatives of Soundcraft or the
Dealer have effected any replacement of parts maintenance adjustments or
repairs to the Equipment; and
d) the End User has used the Equipment only for such purposes as
Soundcraft recommends, with only such operating supplies as meet
Soundcraft’s specifications and otherwise in all respects in accordance
Soundcraft’s recommendations.
5
Defects arising as a result of the following are not covered by this
Warranty: faulty or negligent handling, chemical or electro-chemical or
electrical influences, accidental damage, Acts of God, neglect, deficiency in
electrical power, air-conditioning or humidity control.
6
7
The benefit of this Warranty may not be assigned by the End User.
End Users who are consumers should note their rights under this Warranty
are in addition to and do not affect any other rights to which they may be
entitled against the seller of the Equipment.
FIVE Monitor Introduction
1.3
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1.4
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FIVE Monitor
Installation
2
FIVE Monitor Installation
2.1
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Dimenions
914.00
(35.98")
112.35
(4.42")
251.12
(9.89")
69.64
(2.74")
373.18
(14.69")
284.46
(11.20")
169.38
(6.67")
All dimensions are in millimeters (inches in brackets)
CONSOLE
TOTAL WIDTH
WEIGHTS
32-bus, (24-bus, 44ch), 40ch 2007.80 (79.05") 156kg (343lbs)
32-bus, (24-bus, 52ch), 48ch 2269.80 (89.36") 170kg (374lbs)
32-bus, (24-bus, 60ch), 56ch 2531.80 (99.67“) 185kg (407lbs)
Mono Input
Output
Master
40 ch
48 ch
56 ch
2.2
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Precautions and Safety Instructions
General Precautions
Avoid storing or using the mixing console in conditions of excessive heat or cold,
or in positions where it is likely to be subject to vibration, dust or moisture. Do
not use any liquids to clean the fascia of the unit: a soft dry brush is ideal. Use only
water or ethyl alcohol to clean the trim and scribble strips. Other solvents may
cause damage to paint or plastic parts.
Avoid using the console close to strong sources of electromagnetic radiation (e.g.
video monitors, high-power electric cabling): this may cause degradation of the
audio quality due to induced voltages in connecting leads and chassis. For the
same reason, always site the power supply away from the unit.
Caution!
In all cases, refer servicing to qualified personnel.
Handling and Transport
The console is supplied in a strong crate. If it is necessary to move it any distance
after installation it is recommended that this packing is used to protect it. Be sure
to disconnect all cabling before moving. If the console is to be regularly moved we
recommend that it is installed in a foamlined flightcase. At all times avoid applying
excessive force to any knobs, switches or connectors.
Power Supplies & cables
Always use the power supply and cable supplied with the mixer: the use of alter-
native supplies may cause damage and voids the warranty; the extension of power
cables may result in malfunction of the mixing console.
Warning!
Always switch the power supply off before connecting or disconnecting
the mixer power cable, removing or installing modules, and servicing. In
the event of an electrical storm, or large mains voltage fluctuations,
immediately switch off the PSU and unplug from the mains.
Warning!
Use only the Soundcraft CPS2000 power supply with your console.
Signal Levels
It is important to supply the correct input levels to the console, otherwise signal to
noise ratio or distortion performance may be degraded; and in extreme cases,
damage to the internal circuitry may result. Likewise, on all balanced inputs avoid
sources with large commonmode DC, AC or RF voltages, as these will reduce the
available signal range on the inputs. Note that 0dBu = 0.775V RMS.
FIVE Monitor Installation
2.3
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Mains Installation
General Wiring Procedures
To take full advantage of the excellent signal to noise ratio and low distortion of
Soundcraft consoles care must be taken to ensure that incorrect installation and
wiring does not degrade the performance of the desk. Hum, buzz, instability and
Radio Frequency interference can usually be traced to earth loops and inferior earth-
ing systems. In some areas, especially heavily industrial areas, the incoming mains
earth will not be adequate and a separate technical earth for all the audio equipment
must be supplied. However, check with your local electricity supply company to
ensure that safety regulations are not infringed or negated.
The successful, hum free, installation of a system requires forethought, and the estab-
lishment of a set of ground rules, which must be consistently adhered to at all stages
of installation.
Initial Wiring Considerations
For optimum performance, it is essential for the earthing system to be clean and noise
free, as all signals are referenced to this earth. A central point should be decided on
for the main earth point system, and all earths should be `star fed’ from this point. It
is common electrical practice to ‘daisy chain’ the earths to all electrical outlets but this
method is unsuitable for audio installations. The preferred method is to run an indi-
vidual earth wire from each outlet, back to the system star point to provide a safety
earth screen reference for each piece of equipment.
A separate earth wire should also be run from each equipment rack and area, to the
star point. This may or may not be used depending on circumstances, but it is easier
to install in the first place, than later when problems arise.
The location of the star point should be a convenient, easily accessible place, prefer-
ably at the rear of the console or in the main equipment rack.
Install separate ‘clean’ and ’dirty’ mains outlets, wired individually back to the incom-
ing mains distribution box. Use the ‘clean’ supply for all audio equipment and the
‘dirty’ supply for all lighting, etc. Never mix the two systems.
If necessary, to provide sufficient isolation from mains borne interference, install an
isolating transformer. This should be provided with a Faraday Shield which must be
connected with earth.
Never locate the incoming mains distribution box near audio equipment, especially
tape recorders, which are very sensitive to electro-magnetic fields.
Ensure that all equipment racks are connected to earth, via a separate wire back to
the star point.
Equipment which has unbalanced inputs and outputs may need to be isolated from the
rack to prevent earth loops.
Audio Wiring
Having provided all equipment with power and earthing connections, consideration
must be given to the method of providing audio interconnection and adequate screen-
ing of those interconnections. This must be done in a logical sequence to avoid prob-
lems and assist in the localisation of problem equipment.
l Connect the Monitor system to the console and check for any hum, buzz, or
RFI. Only when you are satisfied with the quietness of the console and the
monitor system should you proceed with the next step.
l Connect stereo tape recorders, echo and foldback sends one at a time, check-
ing and isolating any connection which degrades performance.
l Connect all other peripheral devices.
2.4
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l Connect all microphone lines.
By following this sequence much time and future trouble will be saved, and the result
will be a quiet, stable system.
Shielding
Audio equipment is supplied with a variety of input and output configurations, which
must be taken into consideration when deciding where the screen connections should
be made. There are three sources of unwanted signal being impressed on the screen,
which are as follows:
l Extraneous electrostatic or electromagnetic fields.
l Noise and interference on the earth line.
l Capacitive coupling between the screen and signal wires.
To minimise the adverse affects of the unwanted coupling to the signal wires, it is
important that the screen is connected at one end only, i.e. the screen must not carry
any signal current. Any signal on the wires within the screen will be capacitively cou-
pled to the screen. This current will ultimately be returned to the source of the sig-
nal, either directly, if the screen is connected at the signal source end, or indirectly via
the earthing system, if the signal is connected at the signal destination end. The indi-
rect connection will cause an increase in high frequency cross-talk, and should be
avoided wherever possible.
Therefore, in general, always connect the shield only at the signal source end. In high
RF areas, the screen can also be connected to earth via a 0.01µF capacitor. This will
present a short circuit at RF frequencies, thus lowering the effective shield impedance
to ground. However, at low audio frequencies the reactance of the capacitor will be
sufficiently high not to cause an earth loop problem.
Points to Remember
l In all cases, use good quality twin screened audio cable. Check for instability at
the output.
l Always connect both conductors at both ends, and ensure that the screen is
only connected at one end.
l Do not disconnect the mains earth from each piece of equipment. This is
needed to provide both safety and screen returns to the system star point.
l Equipment which has balanced inputs and outputs may need to be electrically
isolated from the equipment rack and/or other equipment, to avoid earth
loops.
It is important to remember that all equipment which is connected to the mains is a
potential source of hum and interference and may radiate both electrostatic or elec-
tromagnetic radiation. In addition, the mains will also act as a carrier for many forms
of RF interference generated by electric motors, air–conditioning units, thyristor light
dimmers etc. Unless the earth system is clean, all attempts to improve hum noise lev-
els will be futile. In extreme cases there will be no alternative but to provide a com-
pletely separate and independant ‘technical earth’ to replace the incoming ‘noisy
earth’. However, always consult your local electricity supply authority to ensure that
safety regulations are not being infringed.
FIVE Monitor Installation
2.5
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Connections
Audio Connectors
ALL INPUTS
ALL OUTPUTS
3-pole XLR
2
1
1
2
GROUND (SCREEN)
COLD (OUT OF
PHASE SIGNAL)
HOT
3
3
Socket(female)
Plug(male)
(IN PHASE SIGNAL)
1/4" Stereo Jack Plug used as balanced Input/Output, inc. Insert Send/Return
Tip - HOT(IN PHASE SIGNAL)
Ring - COLD(OUT OF PHASE SIGNAL)
Sleeve - GROUND(SCREEN)
1/4" Stereo Jack Plug used for Headphones
Tip - LEFT SIGNAL
Ring - RIGHT SIGNAL
Sleeve - GROUND(SCREEN)
Lamp Connectors
MIDI Connectors
MIDI IN
MIDI OUT
Pins 1 and 3 = +/-12V
Pin 4 = 0V
2.6
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Jumper Options
Mono Input Module (SC 3917)
Jumper
Function
Default
Option
Option
JMP 1-6
JMP 7-9
Channel Insert Position
J1/2/3 Pre EQ
J7 Pre Fade
J4/5/6 Post EQ
J8 Pre Mute
Prefade Source Select
GRPS L+R
J9 Pre EQ
JMP 10-12 Prefade Source Select
GRPS 9-16
J10 Pre Fade
J13 Pre Fade
J11 Pre Mute
J14 Pre Mute
J12 Pre EQ
J15 Pre EQ
J16 Post Fade
JMP 13-15 Prefade Source Select
GRPS 1-8
JMP 16-18 Direct Output Source
J18 Post I/P Amp J17 Pre Fade
JMP 19
JMP 20
Pre EQ Mute
Enabled
Post
Disabled
Pre
Pre Mute Source
Post EQ Insert Post EQ Insert
JMP 21-23 Meter Source
J21 Post I/P Amp J22 Pre Mute
J23 Post Fade
Master Module LH PCB (SC3923)
J1
Talk Back to Foh DC Signal Enabled
Disabled
24 Bus
J2
J3
Oscillator Routing to Buses
Wedge Source If no Solo
32 Bus
No Signal
GRPL+R
VCA Fader (SC3926)
J1-8
VCA Solo Signal (Select by VCA Position)
VCA Control Level (Select by VCA Position)
VCA Mute Signal (Select by VCA Position)
J11-18
J21-28
Power Distribution & Link PCB (SC3927)
J1
J2
Matrix Ext. Input L Sensitivity +4dBu
Matrix Ext. Input R Sensitivity +4dBu
-10dBu
-10dBu
Output Module LH PCB (SC3921)
J1-16
“A” Group Input Select (GRPS 1-16)
J17-20
J21-36
J37-68
J70
“A” Group Input Select 24 Bus Consoles Only
“B” Group Input Select (GRPS 1-16)
A+B Group Output Select (GRPS 1-16)
Ground Cancel Bus Select
J71-86
J87-90
J101-116
Matrix Output Select
Matrix External Input Option Select
Mono/Stereo Mode Switch Select
FIVE Monitor Installation
2.7
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2.8
FIVE Monitor Installation
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FIVE Monitor
Block Diagrams
3
FIVE Monitor Block Diagrams
3.1
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24-Bus Mono Input Module
B U S M O D E
M O N O / S T E
B U R S
G R P
B U L S G R P
( 1 - 3 2 ) B U S G R O U P
B U A F L
R S
B U L S A F L
B U S P F L
IP SOLO DET
IP SOLO CLR
FLASH
VCA LEVEL 8
VCA LEVEL 1
MUTE BUS
MUTE BUS
8
1
VCA MUTE
VCA MUTE
8
1
VCA SOLO
VCA SOLO
8
1
3.2
FIVE Monitor Block Diagrams
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32-Bus Mono Input Module
B U S M O D E
M O N O / S T E
B U R S
G R P
B U L S G R P
( 1 - 3 2 ) B U S G R O U P
B U A F L
R S
B U L S A F L
B U S P F L
IP SOLO DET
IP SOLO CLR
FLASH
VCA LEVEL 8
VCA LEVEL 1
MUTE BUS
MUTE BUS
8
1
VCA MUTE
VCA MUTE
8
1
VCA SOLO
VCA SOLO
8
1
FIVE Monitor Block Diagrams
3.3
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24-Bus Stereo Input Module
B U S M O D E
M O N O / S T E
B U R S
G R P
B U L S G R P
B
A
9 - 1 6 B U S
G R O U P
G R O U P
G R O U P
G R O U P
9 - 1 6 B U S
1 - 8 B U S
1 - 8 A B U S
B
B U
R
S
A F L
B U L S A F L
B U S P F L
VCA LEVEL
VCA LEVEL
8
1
IP SOLO DET
IP SOLO CLA
FLASH
MUTE BUS
MUTE BUS
8
1
VCA MUTE
VCA MUTE
8
1
VCA SOLO
VCA SOLO
8
1
3.4
FIVE Monitor Block Diagrams
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32-Bus Stereo Input Module
B U S M O D E
M O N O / S T E
B U R S
G R P
B U L S G R P
B
A
9 - 1 6 B U S
G R O U P
G R O U P
G R O U P
G R O U P
9 - 1 6 B U S
1 - 8 B U S
1 - 8 A B U S
B
B U
R
S
A F L
B U L S A F L
B U S P F L
VCA LEVEL
VCA LEVEL
8
1
IP SOLO DET
IP SOLO CLA
FLASH
MUTE BUS
MUTE BUS
8
1
VCA MUTE
VCA MUTE
8
1
VCA SOLO
VCA SOLO
8
1
FIVE Monitor Block Diagrams
3.5
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32-Bus Output Module
INSERT
RETURN
SEND
OPTIONAL
MULTIPIN
CONNECTOR
PART OF
UPPER
MASTER
REARCON
A OUTPUT
DRILL-OUT PADS
OPTIONAL EDAC
OR TRANSFORMER
INSERT
Ø
-2dBu
OUT
FADER
+10dB
+
-
DIM
6dB
MUTE
+4dBu
+4dBu
å
-2dBu
A
å
GROUP
OUTPUT
DRILL-OUT PADS
L
OPTIONAL EDAC
OR TRANSFORMER
POSTMUTE
PART OF
UPPER MASTER REARCON
A GROUP
EXTERNAL
INPUT
R
TO ALL MATRIX
SECTIONS AND
GROUP METER
IN OVERBRIDGE
POSTFADE
PREFADE
GLOBAL
STEREO
-
±10dB
TB
STEREO
+
ALT
TALKBACK
MONO
SOLO
TRIM
-
MUTE
SOLO
-6dB
MONO
+
SOLO
LOGIC
B
GROUP
-6dB
EXTERNAL
INPUT
MONO
A GROUP
MUTE LOGIC
OPTIONAL EDAC
OR TRANSFORMER
PART OF
LINK REARCON
MIDI
CONTROL
STEREO
-4.5dB
GLOBAL
STEREO
DRILL-OUT PADS
SOLO
STEREO
GLOBAL
STE
ALT
MUTE
SOLO
LOGIC
-4.5dB
MONO
±10dB
MIDI
CONTROL
MONO
B GROUP
MUTE LOGIC
-6dB
MONO
PREFADE
SOLO
TRIM
-6dB
STEREO
POSTFADE
POSTMUTE
TO ALL MATRIX
SECTIONS AND
GROUP METER
IN OVERBRIDGE
GLOBAL
STEREO
L
PART OF
UPPER
INSERT
SEND RETURN
MASTER
REACON
DRILL-OUT PADS
R
OPTIONAL EDAC
OR TRANSFORMER
OPTIONAL
MULTIPIN
CONNECTOR
B
OUTPUT
INSERT
OUT
PART OF
UPPER MASTER REARCON
Ø
FADER
+10dB
-2dBu
+
DIM
+4dBu
+4dBu
å
-
B
6dB
å
GROUP
OUTPUT
-2dBu
ALT
MUTE
TALKBACK
OPTIONAL
EXTERNAL
INPUT
SELECTION
TB
EXT
EXT
L
EXTERNAL
SOURCE
SELECTION
DRILL-OUT PADS
R
SOLO
EXT
MONO
OPTIONAL EDAC
OR TRANSFORMER
OPTIONAL
INDIVIDUAL
MATRIX
EXT
SOLO
LOGIC
EXTERNAL
INPUT
OPTIONAL
BUFFER
AMP
GRP
R
INSERT
SEND RETURN
PART OF
LOWER
MASTER
REARCON
GRP
L
MIDI
CONTROL
TO MATRIX
METER IN
OVERBRIDGE
GRP 10B
OPTIONAL
MULTIPIN
CONNECTOR
OPTIONAL
MULTPIN
CONNECTOR
-2dBu
OPTIONAL
MULTPIN
CONNECTOR
PANEL
SIGNAL
-30dBu
GRP 10A
DRILL-OUT PADS
GRP 9B
INSERT
OUT
OPTIONAL EDAC
OR TRANSFORMER
MATRIX
EXTERNAL
+10dB
GRP 9A
GRP 7A
GRP 5A
GRP 3A
GRP 1A
OPTIONAL
E DAC OR Tx
DRILL-OUT PADS
MUTE
+
-
-2dBu
INPUT
L
+4dBu
GRP 8B
-
GRP 8A
+
MATRIX
MASTER
+4dBu/
-10dBv
å
GRP 7B
GRP 5B
GRP 3B
GRP 1B
MATRIX
-
6dB
DIM
MATRIX
OUTPUT
+
TB
GRP 6B
MATRIX
EXTERNAL
INPUT
R
OPTIONAL EDAC
OR TRANSFORMER
å
GRP 6A
PART OF
POWER
DISTRIBUTION
PCB
DRILL-OUT PADS
PART OF
LOWER MASTER
REARCON
PART OF
LINK REARCON
GRP 4B
GRP 4A
MUTE
MATRIX
MUTE LOGIC
GRP 2B
OUTPUT BUS
GRP 2A
TALKBACK
3.6
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Master Module (1)
GRP L
POSTMUTE
INSERT
RETURN
±10dB
SEND
DRILL-OUT PADS
PFL
TRIM
WEDGE
MONO
SOURCE
OPTIONAL EDAC
OR TRANSFORMER
WEDGE
INSERT
PART OF
LINK REARCON
MASTER
MODE
PFL/AFL
FADER
+10dB
WEDGE
ON
+4dBu
IN
R
DIM
PFL
-2dBu
+
_
WEDGE
OUTPUT
L
-2dBu
20dB
+4dBu
å
EXT PFL
INPUT
_
+
PART OF UPPER
MASTER REARCON PCB
AFL
L
OPTIONAL EDAC
OR TRANSFORMER
DRILL-OUT PADS
INSERT
RETURN
SEND
-2dBu
WEDGE
DIM
å
å
å
EXT AFL
INPUT
L
_
+
+4dBu
AFL
R
DIM
+10dB
+
_
-2dBu
WEDGE
OUTPUT
R
20dB
+4dBu
-2dBu
WEDGE
MONO
SOURCE
EXT AFL
INPUT
R
_
+
L
PART OF LOWER
MASTER REARCON PCB
WEDGE
DIM
PHONES
POWER AMP
GRP
TO WEDGE
ENABLE
L
&
R
GRP R
POSTMUTE
PHONES OUTPUT
(FADER PANEL)
DIM
POWER
AMP
SOLO
AUTO
CANCEL
INPUT
PRIORITY
15dB
å
å
CLEAR
ON
ON
AFL R
OUTPUT
15dB
DIM
SOLO
LOGIC
PHONES OUTPUT
(UPPER MASTER
REARCON)
PHONES
LEVEL
PHONES
DIM
TALKBACK
TO PHONES
AFL L
OUTPUT
TO WEDGE METERS
IN OVERBRIDGE
DRILL-OUT PADS
PRE
OPTIONAL EDAC
OR TRANSFORMER
MAIN WEDGE/
ALT SOLO
ALT
LEVEL
PFL
OUTPUT
ALT
ON
+4dBu
ALT
PFL
DIM
SRC
+10dB
ALT WEDGE
L
OUTPUT
PART OF LOWER
MASTER REARCON
20dB
å
å
å
ALT
AFL
DRILL-OUT PADS
WEDGE
DIM
OPTIONAL EDAC
OR TRANSFORMER
L
+4dBu
DIM
ALT
AFL
ALT WEDGE
OUTPUT
L
20dB
R
PART OF LOWER
MASTER REARCON PCB
WEDGE
DIM
-30
TB
LEVEL
-20 TO -50dBu
TB MIC
FRONT PANEL
XLR
+4dBu
FOH
-2dBu
FOH TB
OUTPUT
PAD
FOH
TB
TB MIC
PART OF LOWER
MASTER REARCON PCB
+48V
PHANTOM
15v
CONTROL
VOLTAGE
ENABLE
+48V
PART OF LOWER
MASTER REARCON
PCB
EXT
TALKBACK TO PHONES
+
_
TO OUTPUTS
VIA TB
ON
FOH TB
INPUT
WEDGE DIM
PHONES DIM
TB LOGIC
ON
OSC
TO
OUTPUT
FREQ
OSC
TO
BUSSES
PINK
LEVEL
ON
OSC
OUTPUT
OSC
X10
OSCILLATOR ON
PART OF LOWER
MASTER REARCON PCB
OSC TO
OUTPUTS 25-32 ENABLE
+
/
-17V
PSU
PSU
1
SUPPLY
RAIL
SENSE
CIRCUITRY
PSU RAIL
INDICATORS
+5V
2
+48V
PART OF POWER
DISTRIBUTION PCB
FIVE Monitor Block Diagrams
3.7
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Master Module (2)
INSERT
RETURN
SEND
OPTIONAL
MULTIPIN
CONNECTOR
PART OF
UPPER
MASTER
REARCON
L
OUTPUT
DRILL-OUT PADS
OPTIONAL EDAC
OR TRANSFORMER
INSERT
Ø
-2dBu
OUT
FADER
+10dB
+
-
DIM
6dB
MUTE
+4dBu
+4dBu
å
-2dBu
GROUP
OUTPUT
L
å
DRILL-OUT PADS
OPTIONAL EDAC
OR TRANSFORMER
PART OF
UPPER MASTER REARCON
GROUP
EXTERNAL
INPUT
L
POSTFADE
TO ALL MATRIX
SECTIONS AND
WEDGE INPUT
GLOBAL
STEREO
-
±10dB
PREFADE
TB
STEREO
MONO
+
ALT
SOLO
TRIM
-
MUTE
SOLO
MONO
MONO
+
SOLO
LOGIC
GROUP
EXTERNAL
INPUT
R
GROUP
MUTE LOGIC
L
OPTIONAL EDAC
OR TRANSFORMER
PART OF
LINK REARCON
STEREO
-4.5dB
MIDI
CONTROL
GLOBAL
STEREO
GLOBAL
STE
DRILL-OUT PADS
SOLO
STEREO
ALT
MUTE
SOLO
LOGIC
-4.5dB
MONO
±10dB
MIDI
CONTROL
MONO
GROUP R
MUTE LOGIC
-6dB
MONO
PREFADE
SOLO
TRIM
-6dB
STEREO
POSTFADE
GLOBAL
STEREO
PART OF
UPPER
INSERT
SEND RETURN
MASTER
REACON
DRILL-OUT PADS
TB
OPTIONAL EDAC
OR TRANSFORMER
OPTIONAL
MULTIPIN
CONNECTOR
R
OUTPUT
INSERT
OUT
PART OF
UPPER MASTER REARCON
Ø
FADER
+10dB
-2dBu
+
+4dBu
+4dBu
å
-
6dB
GROUP
OUTPUT
R
å
-2dBu
MUTE
DIM
TO ALL MATRIX
SECTIONS AND
WEDGE INPUT
3.8
FIVE Monitor Block Diagrams
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Master Module (3)
PART OF
MASTER
MODULE
LAMP
DIM
PART OF
COMMS LINK/MIDI REARCON
IN
CALL
SIGNAL
DETECT
CONSOLE
LAMPS FLASH
OSCILLATOR
CONSOLE
LAMPS
DIMMER
CONSOLE
LAMPS
COMMS LINK
OUT
PART OF
MASTER MODULE
COMMS LINK/MIDI REARCON
FLASH BUS
OSCILLATOR
IN
MUTE FLASH
DISABLE
(HIDDEN SWITCH)
MIDI MERGE
PROCESSOR
LOGIC TRIGGER
FROM OUTPUT
SOLO REMOTE
& MATRIX
SOLO BUTTONS
OUT
NOMINAL
VCA 1
FADER
VCA VOLTAGE
REFERENCES
IN
MUTE
FX RACK
CONTROLLER
MODULE
OUT
MIDI
SOLO
LOGIC
THRU
SOLO
VCA FADER
-
1
VCA 2 ARE IDENTICAL
B
MUTE MASTER
MUTE
ALL
OUTPUTS
M1 SHOWN
M2
-
M8 ARE IDENTICAL
M1
CONSOLE
LINK OUT
PART OF
CONSOLE
LINK IN
PART OF
LINK REARCON
LINK REARCON
MUTE GROUP
1
OUT
MUTE GROUP
1
IN
MUTE GROUP
MUTE GROUP
1
2
LINK SHOWN
IDENTICAL
-
8
VCA 1 OUT
+
_
å
VCA 1 IN
VCA 1 LINK SHOWN
VCA 2 IDENTICAL
-
8
VCA SOLO
VCA MUTE
1
1
IN
IN
VCA SOLO
VCA MUTE
1
OUT
OUT
1
IP SOLO DET OUT
OP SOLO DET OUT
IP SOLO DET IN
OP SOLO DET IN
IP SOLO CLEAR IN
IP SOLO CLEAR IN
IP SOLO CLEAR OUT
IP SOLO CLEAR OUT
OP SOLO CLEAR IN
OP SOLO CLEAR IN
OP SOLO CLEAR OUT
OP SOLO CLEAR OUT
OP SOLO INHIBIT IN
OP SOLO INHIBIT OUT
FIVE Monitor Block Diagrams
3.9
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EQ Output
3.10
FIVE Monitor Block Diagrams
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FIVE Monitor
Functional Description
4
FIVE Monitor Functional Description
4.1
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Input Module
SENS (Sensitivity)
1
The SENSitivity Control adjusts the level of the signal which is present on the
Input XLRs. The input can handle mic or line level signals up to +30dBu, with the
RANGE switch (see below) selecting high or low sensitivity.
INPUT A/B - B
2
Every input has A and B XLR inputs, allowing a large number of inputs to be con-
nected to the console without repatching. Normally the A input is active, unless
the B switch is pressed to select the alternative input.
k
Ø (Phase)
3
The PHASE switch reverses the phase of the selected input signal, to compensate
for incorrect wiring or mic placement. The switch is internally illuminated when
phase is reversed.
RNGE (Range)
4
The RNGE (Range) switch selects between an input range of -2dBu to -70dBu
(switch released), and +10dBu to -20dBu (switch pressed and lit), enabling both
mic and line level signals to be handled by a common input stage.
CAUTION: Phantom power should not be switched on when unbalanced
sources are connected to the XLR input.
48V A and B
5
The 48V switches, when depressed, place 48V phantom power on pins 2 & 3 of
the respective XLRs. Integral LEDs illuminate when the phantom power is on.
INS (Insert Point)
6
The Insert Point may be switched in circuit by the INS switch. The insert uses sep-
arate balanced jacks for send and return. It is normally positioned after the filter
and before the equaliser, but can be repositioned using internal jumpers to be
post-EQ if required. The insert is in-circuit when the switch is illuminated.
HPF (Highpass Filter)
7
Two sweepable filters are provided, offering the capability of cleaning up both
ends of the input signal, minimising the amount of corrective EQ which needs to
be applied.
The High-pass Filter (HPF) control (upper knob) sets the cutoff (-3dB) frequency
of the High-pass filter: it is adjustable between 20Hz and 600Hz. The control also
has a built-in switch to switch the filter out of circuit when rotated fully anticlock-
wise.
The Low-pass Filter (LPF) control (lower knob) sets the cutoff (-3dB) frequency
of the Low-pass filter: it is adjustable between 1kHz and 20kHz. The control also
has a built-in switch to switch the filter out of circuit when rotated fully anticlock-
wise.
EQ
8
The EQ section comprises four fully parametric bands, with adjustable Q. The EQ
is enabled when the EQ switch is pressed, and bypassed when the switch is
released. The EQ is active when the EQ switch is illuminated.
Each section has a dual concentric control providing 15dB boost or cut (upper
knob) at a variable frequency (lower knob) and a separate Q control.
FIVE Monitor Functional Description
4.2
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HF
The HF section is fully sweepable from 1kHz to 20kHz. Q is variable from 0.5 to
3.0, or the band may be switched to a shelving response by turning the Q control
fully anticlockwise.
HMF
The HMF spans the range 500Hz to 8kHz. Q is variable from 0.5 to 3.0.
LMF
The LMF spans the range 70Hz to 1.5kHz. Q is variable from 0.5 to 3.0.
LF
The HF section is fully sweepable from 30Hz to 480Hz. Q is variable from 0.5 to
3.0, or the band may be switched to a shelving response by turning the Q control
fully anticlockwise.
EQ
9
The EQ section is active when the EQ switch is pressed, and bypassed when the
switch is released, allowing easy A/B comparison of the signal with or without EQ.
L/R Monitor Sends
0
A dual-concentric control routes the signal to the L/R output (on the lower section
of the Master Module). The control may either be configured as two mono sends
(Left and Right), or, if the Global Mode STE switch on the output section on the
Master module is pressed, the send becomes a stereo pair, with the top knob
being send level, and the lower knob being a PAN control. The sends are muted
unless the ON switch is pressed, and may be switched pre-fader by pressing the
PRE switch. The pre-fade source may be configured as pre-fade/post-mute, pre-
mute or pre-EQ/pre-insert using internal jumpers. (see chapter 2).
Mono/Stereo Monitor Sends
q
The sends to outputs 9-16 (24-bus consoles) or 1-16 (32-bus consoles) are on dual
concentric pots, and each row can be configured at the touch of a button as either
a stereo send with level on the top knob and pan on the lower, or a pair of mono
sends. These pairs of mixes are controlled by the faders in the output modules,
and are labelled 1A & B (8A & B on 24-bus consoles)to 16A and B. Stereo mode is
selected by pressing the Global Mode STE button on the respective output mod-
ule. The sends are muted unless the ON switch is pressed, and may be switched
pre-fader by pressing the PRE switch. The pre-fade source for sends 9-16 may be
configured as pre-fade/post-mute, pre-mute or pre-EQ/pre-insert using internal
jumpers. (see chapter 2).
Mono Monitor Sends
(24-bus consoles only)
w
The lower 8 sends on 24-bus consoles are configured as full-time mono sends,
using single pots. The output modules for these mixes are similar to the output
modules for stereo pairs of outputs, except the Global Mode STE switch is omit-
ted, and the modules comprise two separate output sections. The sends are
muted unless the ON switch is pressed, and may be switched pre-fader by press-
ing the PRE switch. The pre-fade source for sends 1-8 may be configured as pre-
fade/post-mute, pre-mute or pre-EQ/pre-insert using internal jumpers. (see chap-
ter 2).
Fader
e
A high-quality 100mm channel fader controls the level to all busses, and has 10dB
of gain when full up as well as an expanded scale around the critical unity gain area,
for maximum resolution.
FIVE Monitor Functional Description
4.3
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MUTE
Rr
The Channel MUTE switch mutes all feeds from the input channel, and can be
remotely controlled by the console’s Mute Master section, allowing creation of up
to 8 mute groups. The integral LED illuminates when the Mute is active.
1
2
3
4
7
6
7
8
MUTE SAFE
t
A semi-recessed Mute SAFE switch allows the channel to be prevented from
remote muting by mute groups, but still allows it to be locally muted. Safe mode
is selected when the switch is pressed and internally illuminated.
MUTE SAFE is particularly useful for protecting key channels and their associated
FX returns from accidental Muting, or for over-riding any remote muting when a
problem occurs during a show and conventional manual control is temporarily
required.
1
2
3
4
7
6
7
8
MUTE ASN (Mute Group Assignment)
Each input channel can be assigned to any combination of 8 mute groups, using the
recessed switch bank next to the fader. The corresponding Mute Master buttons
are located on the Master module.
yI
VCA ASN (VCA Group Assignment)
uI
A bank of 8 latching VCA Assign switches with internal LEDs allow the channel to
be assigned to any of the eight VCA Groups. Any combination of assignments is
possible. When no VCA is assigned, the VCA element itself is switched out of the
signal path, to maximise performance. MUTEs or SOLOs on the VCA Group
Master Faders will activate the MUTE or SOLO respectively on any assigned input
channels, allowing groups of inputs to be controlled together with a single button
press.
SOLO
SOLO
i
The SOLO button is conveniently located below the fader, and provides a mono
PFL or stereo AFL feed to the engineer’s headphones or monitors or triggers a
destructive SOLO-IN-PLACE, depending on the mode selection at the Master
section. The SOLO button can also be activated remotely from a VCA SOLO but-
ton, if the channel is assigned to a VCA Group. Intercancel or additive soloing is
possible, with or without Input Priority, and solos can be cleared with a single but-
ton press (SOLO CLEAR) at the master section. The integral LED illuminates to
indicate that a SOLO is active.
LED input metering
o
The channel is fitted with a 10-segment peak-reading bargraph meter, positioned
next to each fader for maximum visibility and giving immediate and graphic indica-
tion of incoming (pre-EQ) signals. The top (red) LED in the bar is configured as a
Peak LED, and monitors the signal path in three places, (input, pre-Mute and post-
fader) giving warning that the signal is exceeding +20dBu. The meter point is
jumper-selectable to be post-fader if required (see Chapter 2).
Direct Output
A balanced direct output is available on a male XLR on the rear panel. This is fed
from a pre-fade signal which can be jumper selectable to be pre or post-EQ, and
pre or post-mute, or may be jumper-selected as post-fade.
FIVE Monitor Functional Description
4.4
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Rearcon Panel
The connections on the rearcon panel are as follows:
INPUT A and B XLR
Pin 1
Pin 2
Pin 3
Gnd (Screen)
Hot (In-phase signal)
Cold(Out-of-phase signal)
DIRECT OUT
Pin 1
(Balanced)
Gnd (Screen)
Pin 2
Pin 3
Hot (In-phase signal)
Cold(Out-of-phase signal)
INSERT SEND
Tip
(Balanced)
Hot (In-phase signal)
Cold (Out-of-phase signal)
Gnd(screen)
Ring
Sleeve
INSERT RETURN
Tip
(Balanced)
Hot (In-phase signal)
Cold (Out-of-phase signal)
Gnd(screen)
Ring
Sleeve
FIVE Monitor Functional Description
4.5
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Optional Stereo Input Module
The optional Stereo module has Left and Right input XLRs and the module may
either be configured as a stereo signal path or the Left or Right signals may be fed
in mono to both sides of the input.
SENS (Sensitivity)
1
The SENSitivity Control adjusts the level of the signal which is present on the
Input XLRs. The input can handle mic or line level signals up to +30dBu, with
individual RANGE switches (see below) for L and R selecting high or low sensitivi-
ty.
RNG (Range) L/R
2
The RNGE (Range) switches selects between an input range of -2dBu to -70dBu
(switch released), and +10dBu to -20dBu (switch pressed and lit), enabling both
mic and line level signals to be handled by each side of the input.
CAUTION: Phantom power should not be switched on when unbalanced
sources are connected to the XLR inputs.
Ø (Phase)
3
The PHASE switch reverses the phase of the Left input signal when pressed, to
compensate for incorrect wiring or mic placement. The switch is internally illumi-
nated when phase is reversed.
48V L and R
4
The 48V switches, when depressed, place 48V phantom power on pins 2 & 3 of
the respective Left and Right input XLRs. Integral LEDs illuminate when the phan-
tom power is on.
CAUTION: Phantom power should not be switched on when unbalanced
sources are connected to the XLR inputs.
MNO (Mono) L and R
5
The MNO L and R switches select the Left or Right sides of the source signal (post
input amp) and feeds either or both signals to both channels of the module. This is
very useful when a single mono source is attached to just one leg of the input, but
is required to feed both sides of an Output pair which has been globally configured
as Stereo.
INS (Insert Point)
6
The Insert Point may be switched in circuit by the INS switch. The insert uses sep-
arate balanced jacks for send and return. It is normally positioned after the filter
and before the equaliser, but can be repositioned using internal jumpers to be
post-EQ if required. The insert is in-circuit when the switch is illuminated.
HPF (Highpass Filter)
7
A sweepable High-pass Filter (HPF) control sets the cutoff (-3dB) frequency of the
High-pass filter: it is adjustable between 20Hz and 600Hz. The filter is active when
the IN switch is pressed, and bypassed when the switch is released, allowing easy
A/B comparison of the signal with and without the extreme low end content.
FIVE Monitor Functional Description
4.6
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EQ
8
The stereo EQ section comprises four fully parametric bands, with adjustable Q.
Each section has a dual concentric control providing 15dB boost or cut (upper
knob) at a variable frequency (lower knob) and a separate Q control.
HF
The HF section is fully sweepable from 1kHz to 20kHz. Q is variable from 0.5 to
3.0, or the band may be switched to a shelving response by pressing the associated
SHELF switch.
HMF
The HMF spans the range 500Hz to 8kHz. Q is variable from 0.5 to 3.0.
LMF
The LMF spans the range 70Hz to 1.5kHz. Q is variable from 0.5 to 3.0.
LF
The HF section is fully sweepable from 30Hz to 480Hz. Q is variable from 0.5 to
3.0, or the band may be switched to a shelving response by pressing the SHELF
switch.
EQ
9
The EQ section is active when the EQ switch is pressed, and bypassed when the
switch is released, allowing easy A/B comparison of the signal with or without EQ.
L/R Monitor Sends
0
A dual-concentric control routes the signal to the L/R output (on the lower section
of the Master Module).
The send is globally switched into stereo as on the mono input, but in a slightly dif-
ferent way. In stereo mode, the control works as upper=level, lower=balance,
with the left half of the module routed to the L bus and the right half to the R bus.
The balance control then gives unity to both sides when in centre, and +4.5dB to
one side when fully turned that way, and OFF to the other side.
In mono mode, the upper and lower knobs are both level controls, the upper
feeding a mono sum (pre or post-fade as selected by the PRE switch) to the L bus
and the lower a mono sum to the R bus, with a gain of 5dB at full rotation.
The send is muted unless the ON switch is pressed, and may be switched pre-
fader by pressing the PRE switch. The pre-fade source may be configured as pre-
fade/post-mute, pre-mute or pre-EQ/pre-insert using internal jumpers. (see chap-
ter 2).
Mono/Stereo Monitor Sends
q
The sends to outputs 9-16 (24-bus consoles) or 1-16 (32-bus consoles) are on dual
concentric pots, and each row can be configured at the touch of a button as either
a stereo send or a pair of mono sends. In stereo mode, the controls work as
upper=level, lower=balance, with the left half of the module routed to the L bus
and the right half to the R bus. The balance control then gives unity to both sides
when in centre, and +4.5dB to one side when fully turned that way, and OFF to
the other side.
In mono mode, the upper and lower knobs are both level controls, the upper
feeding a mono sum (pre or post-fade as selected by the PRE switch) to the L bus
and the lower a mono sum to the R bus, with a gain of 5dB at full rotation.
FIVE Monitor Functional Description
4.7
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These pairs of mixes are controlled by the faders in the output modules, and are
labelled 1A & B (8A & B on 24-bus consoles)to 16A and B. Stereo mode is select-
ed by pressing the Global Mode STE button on the respective output module.
The sends are muted unless the ON switch is pressed, and may be switched pre-
fader by pressing the PRE switch. The pre-fade source for sends 9-16 may be
configured as pre-fade/post-mute, pre-mute or pre-EQ/pre-insert using internal
jumpers. (see chapter 2).
L
R
1
2
3
4
7
6
7
8
Mono Monitor Sends
(24-bus consoles only)
w
The lower 8 sends on 24-bus consoles are configured as either individual sends,
each fed with a mono sum of the stereo signal, or (by pressing the STE switch) as
stereo pairs, with odd numbers feeding the L busses and even numbers feeding
the R busses. This switching is done in four blocks of two sends, i.e. there is a STE
switch for every pair of mono sends. The PRE switches also affect adjacent pairs
of sends.
1
2
3
4
7
6
7
8
The output modules for these mixes are similar to the output modules for stereo
pairs of outputs, except the Global Mode STE switch is omitted, and the modules
comprise two separate output sections. The sends are muted unless the ON
switch is pressed, and may be switched pre-fader by pressing the PRE switch.
The pre-fade source for sends 1-8 may be configured as pre-fade/post-mute, pre-
mute or pre-EQ/pre-insert using internal jumpers. (see chapter 2).
Fader
e
A high-quality 100mm channel fader controls the level to all busses, and has 10dB
of gain when full up as well as an expanded scale around the critical unity gain
area, for maximum resolution.
SOLO
MUTE
Rr
The Channel MUTE switch mutes all feeds from the input channel, and can be
remotely controlled by the console’s Mute Master section, allowing creation of up
to 8 mute groups. The integral LED illuminates when the Mute is active.
MUTE SAFE
t
A semi-recessed Mute SAFE switch allows the channel to be prevented from
remote muting by mute groups, but still allows it to be locally muted. Safe mode
is selected when the switch is pressed and internally illuminated. MUTE SAFE is
particularly useful for protecting key channels and their associated FX returns
from accidental Muting, or for over-riding any remote muting when a problem
occurs during a show and conventional manual control is temporarily required.
MUTE ASN (Mute Group Assignment)
Each input channel can be assigned to any combination of 8 mute groups, using
the recessed switch bank next to the fader. The corresponding Mute Master but-
tons are located on the Master module.
yI
VCA ASN (VCA Group Assignment)
uI
A bank of 8 latching VCA Assign switches with internal LEDs allow the channel to
be assigned to any of the eight VCA Groups. Any combination of assignments is
possible. When no VCA is assigned, the VCA element itself is switched out of the
signal path, to maximise performance. MUTEs or SOLOs on the VCA Group
Master Faders will activate the MUTE or SOLO respectively on any assigned input
channels, allowing groups of inputs to be controlled together with a single button
press.
FIVE Monitor Functional Description
4.8
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SOLO
i
The SOLO button is conveniently located below the fader, and provides a mono
PFL or stereo AFL feed to the engineer’s headphones or monitors depending on
the mode selection at the Master section. The SOLO button can also be activated
remotely from a VCA SOLO button, if the channel is assigned to a VCA Group.
Intercancel or additive soloing is possible, with or without Input Priority, and solos
can be cleared with a single button press (SOLO CLEAR) at the master section.
The integral LED illuminates to indicate that a SOLO is active.
LED input metering
o
The channel is fitted with a dual 5-segment peak-reading bargraph meter, posi-
tioned next to each fader for maximum visibility and giving immediate and graphic
indication of incoming (pre-EQ) signals. The top (red) LED in the bar is configured
as a Peak LED, and monitors the signal path in three places, (input, pre-Mute and
post-fader) giving warning that the signal is exceeding +20dBu. The meter point is
jumper-selectable to be post-fader if required (see Chapter 2).
Rearcon Panel
The connections on the rearcon panel are as follows:
INPUT L and R XLR
Pin 1
Pin 2
Pin 3
Gnd (Screen)
Hot (In-phase signal)
Cold(Out-of-phase signal)
INSERT SEND
Tip
(Balanced)
Hot (In-phase signal)
Cold (Out-of-phase signal)
Gnd(screen)
Ring
Sleeve
INSERT RETURN
Tip
(Balanced)
Hot (In-phase signal)
Cold (Out-of-phase signal)
Gnd(screen)
Ring
Sleeve
FIVE Monitor Functional Description
4.9
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Output Module
The standard Output sections of the 24 and 32 bus frame sizes are very similar,
and differ only in the omission of one switch and Matrix labelling.
An alternative version of the Output Module is available which offers a full 4-band
parametric EQ (see Input module for description) on each output, instead of the
Matrix section. This module can be used to reduce the amount of external EQ
required, particularly for in-ear monitoring applications. The redundant Matrix
Output XLR is used for a mono sum of the A and B outputs, which is useful for
feeding an on-stage sub-woofer.
MATRIX OUTPUTS
The Matrices are controlled via the upper section of the Output modules - one
matrix per module, hence 12-Output matrix on the 24-bus version, and 16-
Output matrix on the 32-bus version. An External Input, L/R bus, and the first 10
pairs of Output busses are available as contributions into the matrix via the 11
dual- concentric and single mono pots.
EXT IN
1
The EXT IN level control adjusts the level of a stereo External Input which can be
mixed to each matrix. The External input Left and Right signals are shared by all
matrix sections in the console and are electronically balanced.
The signal is fed one of two ways to the EXT receive controls on the matrix sec-
tions: either a mono sum of the left and right external inputs is fed to each receive
pot, or the left input is fed to all odd numbered matrix Outputs, and the right
input to all even matrix Outputs. The type of feed to each receive pot is set by
internal jumpers.
GROUPS MIX TO MATRIX
11 dual-concentric controls mix the Group output signals to the matrix. The
Group assignment is different between the 24-bus and the 32-bus consoles and is
arranged as follows:
2
24-bus version
32-bus version
1A/1B
Group Outputs 1/2
Group Outputs 3/4
Group Outputs 5/6
Group Outputs 7/8
Group Outputs 9A/B
Group Outputs 10A/B
Group Outputs 11A/B
Group Outputs 12A/B
Group Outputs 13A/B
Group Outputs 14A/B
Group Outputs L/R
Ext Input
2A/2B
3A/3B
4A/4B
5A/5B
6A/6B
7A/7B
8A/8B
9A/9B
10A/10B
L/R
Ext Input
SIG LED
3
The SIG LED shows post-fade signal present, illuminating when -30dB is passing
through the Matrix path.
INS (OUT)
4
The Insert Point consists of separate Send and Return jacks on the rear panel. The
Send is normalled to the Return. The OUT switch bypasses the Insert Point when
pressed, but leaves the pre-fade output signal on the Send jack to feed external
equipment if required. The switch is illuminated when the insert is bypassed.
FIVE Monitor Functional Description
4.10
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MATRIX MASTER
5
This control sets the master level for the Matrix and provides 10dB of gain when
fully clockwise.
MUTE
6
The Matrix output is muted when the switch is pressed, and the integral LED illu-
minates to show that the MUTE is active. Note that TALKBACK may still be sent
to that output (if TB is pressed), as it is injected post-mute.
TB
7
Pressing the latching TB switch arms the Matrix output to receive talkback from
the central talkback section on the Master, when the master “TO OUTPUTS VIA
TB” INT switch is active. The switch illuminates to warn that TB is armed. The
output is dimmed by 6dB when talkback is active. Alternatively, if the Master
Talkback signal is already active, pressing TB routes the Talkback signal to the out-
put, until the switch is released.
SOLO
8
The SOLO switch routes the signal from the associated Matrix to the mono PFL
or stereo AFL busses of the desk, as defined in the Master SOLO mode. The feed
to the AFL bus is post-fade but pre-MUTE, allowing AFL SOLOing of MUTEd
Matrix Outputs.
ALT (SOLO)
9
The ALT switch sets the Matrix Output to feed the ALT SOLO busses instead of
the primary SOLO busses. The operator can now switch between two SOLO
Output systems when a secondary monitoring system is in use (e.g. Primary is
Wedge, Secondary is In-Ear).
INSERT
A balanced Insert Point is provided, consisting of separate Send and Return jacks
on the rear panel. The Send is normalled to the Return.
GROUP OUTPUTS
The module comprises two identical Output sections which may be used individu-
ally or linked as a stereo pair.
FADER
9
The 100mm fader controls the final level to the electronically balanced output.
MUTE
0
The output is muted when the switch is pressed, and the integral LED illuminates
to show that the MUTE is active.
TB
q
Pressing the latching TB switch arms the output to receive talkback from the cen-
tral talkback section on the Master, when the master “TO OUTPUTS VIA TB”
INT switch is active. The switch illuminates to warn that TB is armed. The output
is dimmed by 6dB when talkback is active. Alternatively, if the Master Talkback
signal is already active, pressing TB routes the Talkback signal to the output, until
the switch is released. TB is injected post the meter takeoff point, so talkback sig-
nals do not appear on the meterbridge.
FIVE Monitor Functional Description
4.11
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Ø (Phase)
w
Pressing the Ø (Phase) switch reverses the phase of the output, to allow experi-
mentation for best feedback immunity with a multiple-mic setup. The switch is
illuminated when the phase is reversed.
INSERT (OUT)
e
The Insert Point consists of separate Send and Return jacks on the rear panel.
The Send is normalled to the Return.
The OUT switch bypasses the Insert Point when pressed, but leaves the pre-fade
output signal on the Send jack to feed external equipment if required. The switch
is illuminated when the insert is bypassed.
GRP TO L/R
r
The internally illuminated L and R switches route the post-mute, post-fade output
signal to the last pair of output busses (designated L and R) for subgrouping. This
allows the FIVE Monitor to be used as a Front-of-House mixer if necessary, sum-
ming the Groups for a pair of stage fills, or perhaps giving a simple and quick
method for the Monitor Engineer to make a 2-track recording of certain channels
for later reference.
SOLO TRIM
t
SOLO TRIM gives +/- 10dB adjustment to the signal sent from that Output to the
AFL/PFL bus. This is useful for trimming a number of Outputs of varying levels to
give a consistent monitor level, thus reducing the requirement for manual Wedge
or ALT master adjustments whenever a SOLO is selected.
GLOBAL MODE (STE)
y
The GLOBAL MODE STE switch (not present on Output modules 1-4 of a 24-
bus FIVE Monitor which are mono only) provides switching of the associated pairs
of send controls on the input channels between MONO and STEREO operation.
In STEREO mode, the SOLO switches on the two Outputs are linked in software,
so that pressing one automatically activates the other. See SOLO below for infor-
mation on how this switch affects the sends to the SOLO busses.
&
SOLO / ALT
u i
The SOLO switch feeds the pre and post-fade Group signal to one of two sets of
PFL and stereo AFL busses: Main or Alternate, depending on the setting of the
mechanically latching ALT switch
ed by the global PFL/AFL mode switch on the Master module. The PFL feed is
post-INSERT.
. The PFL / AFL state of the SOLO is affect-
i
The function of the Output SOLO switch is also affected by the GLOBAL MODE
(STE) switch. If the mode is mono, each Output SOLO button switches an equal
feed at unity gain to each of the AFL left and right busses, and a PFL signal to the
PFL bus. If the mode is stereo, the odd and even SOLO switches are logic linked
as a pair and the feed is changed to odd Group AFL to left AFL bus, even to right,
at unity gain. The PFL feed remains mono.
The SOLO swithces can also remotely control a BSS Varicurve™ system - see
page 4.20 for details.
METERING
The FIVE Monitor is fitted with two banks of VU Meters for all Group outputs,
with switching of the lower bank to display Matrix outputs if required. Two large
VUs read the Left and Right outputs.
FIVE Monitor Functional Description
4.12
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Rearcon Panels
The connections on the rearcon panes are as follows:
All Output XLRs (balanced)
Pin 1
Pin 2
Pin 3
Gnd (Screen)
Hot (In-phase signal)
Cold(Out-of-phase signal)
INSERT SEND & RETURN (balanced)
Tip
Ring
Sleeve
Hot (In-phase signal)
Cold (Out-of-phase signal)
Gnd(screen)
FIVE Monitor Functional Description
4.13
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Master Module
LAMP DIMMER
1
The Lamp Dimmer controls the voltage to the 4-pin XLR socket which is provid-
ed for the connection of Littlites™.
The pinout is as follows:
Pin 1 & 3
Pin 4
+/-12V
0v
max. current 400mA
PSU RAILS
2
Three LEDs monitor the status of the power supply rails.
MUTE FLASH DISABLE
3
When an input channel MUTE is triggered by the MUTE switch of either a VCA
Master or a MUTE master, it will flash to show that it is under the control of a
remote trigger. This flashing may be disabled with the MUTE FLASH DISABLE
switch (which is recessed to avoid accidental selection).
OSCILLATOR SECTION
The oscillator generates either tone or pink noise, and has its own independent
balanced XLR output on the rear panel. The oscillator can be routed to all busses
simultaneously.
PINK
4
The oscillator generates either TONE (switch released), or pink noise (switch
pressed and illuminated).
FREQ / X10
5
The frequency range of the oscillator is variable form 63Hz to 1kHz. Pressing the
x10 switch (internal LED lit)provides a higher range of 630Hz to 10kHz.
LEVEL
6
This control adjusts the oscillator level to both the XLR output and the internal
busses.
OSC TO XLR OUTPUT / ALL BUSSES
The rear panel OSC OUT XLR is enabled when the OSC TO (XLR OUTPUT)
ON switch is pressed. The internal illumination indicates when the output is
active.
7
The Oscillator may also be routed directly to all busses simultaneously by pressing
the OSC TO (ALL BUSSES) ON switch (LED illuminated) where it mixes with
any existing signal.
TALKBACK SECTION
The TALKBACK system allows communication by the operator to the Group and
Matrix Outputs, and to and from the front of house (FOH) console.
TALKBACK MIC
8
Talkback Mic input XLRs are provided on the front and rear panel.
LEVEL
9
This control adjusts the gain of the Talkback Mic preamp over a 30dB range.
FIVE Monitor Functional Description
4.14
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+48V
0
The +48V switch applies phantom power to the Talkback mic input XLRs when
pressed.
-30dB
q
The -30dB switch inserts a 30dB pad in the input for use with high level signals or
external test generators.
FOH
w
The FOH button (momentary/latching, green LED) initiates talkback to the front
of house console using either the Soundcraft proprietary “Blythphone” system, or
a Clear-Com™ compatible intercom system. With the latter, an incoming CALL
signal is displayed by the console lamps flashing, and pressing the FOH button will
then allow 2-way communication, with incoming Talkback appearing on the con-
sole headphone Output, dimming the existing signal by 15dB, and dimming the
wedge Output by 20dB.
TO OUTPUTS VIA TB (INT)
e
Pressing TO OUTPUTS VIA TB (INT) routes the talkback signal internally to any
outputs (Group or Matrix) which have been previously armed for talkback (local
TB switch ON). If the switch is pressed momentarily, the switch latches.
Alternatively, pressing and holding the switch for more than about one second
produces a momentary action until the switch is released. The switch illuminates
to warn that TB is active. This action also dims the wedge Output by 20dB.
CALL
r
Pressing the momentary CALL switch sends a CALL signal to the intercom loop.
Talkback communication may then be activated by pressing FOH (see above).
PFL / AFL SECTION
PFL TRIM
t
The PFL trim control gives +/-10dB of level adjustment to the input solo level
heard in the Wedge and Phones outputs. The output AFL solos have their own
individual trim controls on their respective output modules.
SOLO CLEAR
y
Pressing SOLO CLEAR cancels any solos on the console.
INPUT PRIORITY
u
The INPUT PRIORITY (ON) switch, when selected, allows an input solo to tem-
porarily override any output solo which may be present. When the input solo is
released, the original output solo will reappear on the monitors. If AUTOCAN-
CEL (see below) is also ON, input solos still have priority, but input solos will only
cancel other input solos, and output solos will only cancel other output solos.
AUTO CANCEL
i
The AUTOCANCEL (ON) button, when selected, allows any solo button selected
to cancel the previous solo, so that only one SOLO can be active at once. With
the switch released, SOLOs are additive.
MASTER MODE (PFL / AFL)
The global PFL/AFL mode for the console is set by this switch, as either PFL
(switch released) or AFL (switch pressed).
o
FIVE Monitor Functional Description
4.15
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L & R OUTPUT SECTION
The lower half of the Master module comprises the Left/Right Output, which may
be used as two individual outputs or linked as a stereo pair.
FADER
p
The 100mm fader controls the final level to the electronically balanced output.
MUTE
a
The output is muted when the switch is pressed, and the integral LED illuminates
to show that the MUTE is active.
TB
s
Pressing the latching TB switch arms the output to receive talkback from the cen-
tral talkback section, when the master “TO OUTPUTS VIA TB” INT switch is
active. The switch illuminates to warn that OSC is armed. The output is dimmed
by 6dB when talkback is active. Alternatively, if the Master Talkback signal is
already active, pressing TB routes the Talkback signal to the output, until the
switch is released. TB is injected post the meter takeoff point, so talkback signals
do not appear on the meterbridge.
Ø (Phase)
d
Pressing the Ø (Phase) switch reverses the phase of the output, to allow experi-
mentation for best feedback immunity with a multiple-mic setup. The switch is
illuminated when the phase is reversed.
INSERT (OUT)
f
The Insert Point consists of separate Send and Return jacks on the rear panel. The
Send is normalled to the Return.
The OUT switch bypasses the Insert Point when pressed, but leaves the pre-fade
output signal on the Send jack to feed external equipment if required. The switch
is illuminated when the insert is bypassed.
SOLO TRIM
g
SOLO TRIM gives +/- 10dB adjustment to the signal sent from that Output to the
AFL/PFL bus. This is useful for trimming a number of Outputs of varying levels to
give a consistent monitor level, thus reducing the requirement for manual Wedge
or ALT master adjustments whenever a SOLO is selected.
GLOBAL MODE (STE)
h
The GLOBAL MODE STE switch provides switching of the associated pairs of
send controls on the input channels between MONO and STEREO operation. In
STEREO mode, the SOLO switches on the L/R Outputs are linked in software, so
that pressing one automatically activates the other. See SOLO below for informa-
tion on how this switch affects the sends to the SOLO busses.
&
SOLO / ALT
j k
The SOLO switch feeds the pre and post-fade Group signal to one of two sets of
PFL and stereo AFL busses: Main or Alternate, depending on the setting of the
mechanically latching ALT switch
by the global PFL/AFL mode switch (see above). The PFL feed is post-INSERT.
. The PFL / AFL state of the SOLO is affected
k
FIVE Monitor Functional Description
4.16
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The function of the Output SOLO switch is also affected by the GLOBAL MODE
(STE) switch. If the mode is mono, each Output SOLO button switches an equal
feed at unity gain to each of the AFL left and right busses, and a PFL signal to the
PFL bus. If the mode is stereo, the SOLO switches are logic linked as a pair and
the AFL feed is changed to stereo, at unity gain. The PFL feed remains mono.
The SOLO switches can also remotely control a BSS Varicurve™ system - see
page 4.20 for details.
EXTERNAL PFL/AFL
Additional PFL, AFL left and AFL right external inputs, from XLRs on the rearcon,
allow SOLO signals from another console to be added to the Main PFL and AFL
busses. The external PFL level is trimmed by the PFL TRIM pot (see above). When
no solos are active on the console, both PFL and AFL left and right external signals
are monitored by the Headphones and Wedge. The facility would be used when
linking another console as a slave to the FIVE Monitor.
FIVE Monitor Functional Description
4.17
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WEDGE OUTPUT
WEDGE FADER
l
A stereo 100mm fader is provided for engineer’s Wedge speakers, and this nor-
mally receives the EXT SOLO signal (i.e. no signal, unless another slave console is
connected.) Whenever an input or output SOLO button is pressed, the Wedge
output switches to the corresponding internal or external PFL or AFL signal. An
internal jumper allows the output to be configured to receive the Left/Right output
instead of EXT SOLO, unless an internal SOLO is active. The Fader also controls
the overall level of the ALT WEDGE outputs if these are configured to follow the
Main Wedge (see SRC below).
MAIN WEDGE ON
;
The Main Wedge is enabled when the switch is pressed. Note that the ALT
WEDGE output is unaffected, even if configured to follow the Main Wedge (see
SRC below).
MONO SOURCE L/R
z
MONO SOURCE buttons L and R allow either the Left or Right output/solo sig-
nals to be fed in mono to both Left and Right Wedge outputs without a gain
change, or if both are pressed, the output will be a mono sum of Left and Right.
This MONO SOURCE function is useful when handling stereo AFL signals on a sin-
gle monitor wedge.
WEDGE INSERT (IN)
x
The Wedge Insert Point is normally bypassed, unless the IN switch is pressed, and
is before the Mono Source switching and the feed to the ALT WEDGE, so that
both Wedge outputs are affected by any devices inserted into the signal path. ALT
SOLO is not affected by the Insert.
ALT WEDGE LEVEL
c
An Alternate Wedge stereo output is provided, with its own level control. The
feed to this output may either follow the Main Wedge or ALT SOLO, depending
on the position of the SRC (Source) switch (see below). The ALT WEDGE dims
with the Main Wedge.
ON
v
Pressing the internally illuminated ON switch enables the Alt Wedge output, inde-
pendently of the Main Wedge.
SRC (Source)
b
When this switch is released, the Alt Wedge follows the Main Wedge, including the
Mono Source switching, Wedge Insert and Wedge Fader (subject to the PRE
switch, see below), but before the Main Wedge ON switch. When the SRC
switch is pressed the Alt Wedge listens to ALT SOLO.
PRE
n
The feed from the Main Wedge to Alt Wedge is normally sourced post the main
wedge fader, but may be switched to pre-fade by pressing the PRE switch.
PHONES
m
The engineer’s phones (and Wedge Meter in the overbridge) are fed by the post-
insert Wedge, pre Mono Source Wedge signal, but have a separate phones volume
control. The headphone socket is recessed into the front of the fascia (and dupli-
cated on the Master rear panel), and is driven by a high-power (1W into 8ohms)
headphone amp.
FIVE Monitor Functional Description
4.18
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MUTE MASTERS
MUTE ALL OUTPUTS
,
The MUTE ALL OUTPUTS switch will MUTE every Group and Matrix Output on
the console (useful as either a ‘panic’ or ‘desk unattended’ switch). This switch is
covered to prevent accidental triggering.
MUTE MASTERS
.
8 recessed latching buttons control the mute status of any channels assigned to the
appropriate mute group.
Inputs may be assigned to any combination of the eight master mute busses.
When an input channel is assigned to a mute bus, it is muted when the corre-
sponding MUTE MASTER is pressed. The MUTE MASTER illuminates and the
input channel MUTE switch also illuminates to indicate that a non-local mute is
active.
VCA MASTER FADERS
These modules offer master controls for the 8 VCA Groups.
MUTE
/
Activating the MUTE on a VCA master will activate the MUTE on any slave input
channel, allowing groups of inputs to be MUTEd together with a single button
press.
MUTE MASTERS
[
The attenuation or gain applied on a VCA Master Fader will be applied to all input
faders assigned as slaves to that VCA. The VCA Master Fader has 10dB of gain in
hand at the top of the fader.
The adjacent NOMINAL LED illuminates when the VCA Master Fader is at unity
gain. This is useful as an aid in setting ‘flat’ VCA Masters when the console is con-
figured as a logic-linked slave to another ‘Master’ FIVE Monitor console.
SOLO
]
Activating a SOLO on a VCA Master will activate the SOLO on any slave input
channel, allowing groups of inputs to be PFL / AFL’ed together with a single but-
ton press.
FIVE Monitor Functional Description
4.19
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BSS VARICURVE™ REMOTE CONTROL
FIVE Monitor may be inserted into the MIDI loop of a BSS FPC-900 Varicurve™
Remote Control and Slave system (see diagram below.)
When so connected, pressing a SOLO on an Output of the FIVE Monitor will cause
the necessary MIDI command to be sent to the Remote unit to SELECT the EQ
associated with that Output, thus automatically bringing the EQ for the SOLO’ed
channel onto the remote for editing.
This feature saves time when setting up and editing the EQ parameters for a
Monitor rig, as the engineer no longer has to manually scroll through the various
slave units to find the appropriate device to edit - a press of the SOLO on the
FIVE Monitor will suffice.
Note that this function requires the Varicurve™ remote to be fitted with operating
system EPROM V1.16 or above; contact BSS for further information.
Varicurve Slave 1
Varicurve Slave 2
Varicurve Slave 3
Varicurve Remote
FPC-900
(software V1.6 or above)
Varicurve Slave 4
Varicurve Interface
Console is inserted
into the MIDI loop here
MIDI loop
MIDI merge
processor
FIVE Monitor Console
Logic Trigger from
output SOLO buttons
4.20
FIVE Monitor Functional Description
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LOGIC IN // LOGIC OUT
Rear Panel EDAC connectors are provided to link the logic systems of one FIVE
Monitor with a second console in a Master/Slave configuration. See Chapter 2,
Installation, for connection details.
Rearcon Panel
The connections on the Master rear connector panel are as follows:
All Audio XLRs
Pin 1
Pin 2
Pin 3
Gnd (Screen)
Hot (In-phase signal)
Cold(Out-of-phase signal)
3-pole ‘A’ gauge Jack - Inputs/Outpus (inc. Inserts)
Tip
Ring
Sleeve
Hot (In-phase signal
Cold(Out-of-phase signal)
Gnd (Screen)
3-pole ‘‘A’ gauge JJack (Headphones)
Tip
Left Signal
Ring
Sleeve
Right Signal
Gnd (Screen)
4-pin XLR (Lamp Connection)
Pin 1 & 3
Pin 4
+/-12V max. current 400mA
0v
FIVE Monitor Functional Description
4.21
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4.22
FIVE Monitor Functional Description
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FIVE Monitor
Specifications
5
FIVE Monitor Specifications
5.1
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Typical Specifications
Frequency Response
Any Input to any output
. . . . . . . . . . . . . . . .20Hz - 20kHz, +0/-0.5dB
Total Harmonic Distortion
All measurements at 20dBu
Line In to Direct Out (VCA out) . . . . . . . . . . . . . . . .Less than 0.006% @1kHz
Line In to Direct Out (VCA In) . . . . . . . . . . . . . . . .Less than 0.02% @1kHz
Line In to Mix Out (VCA out)
. . . . . . . . . . . . . . . .Less than 0.008% @1kHz
Noise
22Hz - 22kHz bandwidth, unweighted
Mic input Equivalent Input Noise . . . . . . . . . . . . . . . .Less than -127dBu (150Ω source)
Group Output Noise
Mix Output Noise
. . . . . . . . . . . . . . . .Less than -80dBu (32 ch routed)
. . . . . . . . . . . . . . . .Less than -80dBu (32 ch routed)
Group Output Noise (residual) . . . . . . . . . . . . . . . .Less than -92dBu
Crosstalk
All measurements at 1kHz
Input Channel Muting
Input Channel Fader Isolation
. . . . . . . . . . . . . . . .Greater than 90dB
. . . . . . . . . . . . . . . .Greater than 90dB
Input Send Pot Routing Isolation . . . . . . . . . . . . . . . .Greater than 90dB
Group to Group Crosstalk
Group to Mix Crosstalk
. . . . . . . . . . . . . . . .Less than -90dB
. . . . . . . . . . . . . . . .Less than -90dB
Input and Output Impedances
Mono Input
. . . . . . . . . . . . . . . .1.6kΩ balanced
All Insert Sends
All Insert Returns
Outputs
. . . . . . . . . . . . . . . .Less than 75Ω balanced
. . . . . . . . . . . . . . . .Greater than 10kΩ balanced
. . . . . . . . . . . . . . . .Less than 75Ω balanced
Input/Output Capability
Maximum Input Level
All Insert Sends
All Insert Returns
All Balanced Outputs
Headphone Output
. . . . . . . . . . . . . . . .+30dBu
. . . . . . . . . . . . . . . .+26dBu into 1kΩ
. . . . . . . . . . . . . . . .+26dBu
. . . . . . . . . . . . . . . .+26dBu into 1kΩ
. . . . . . . . . . . . . . . .+20dBu into 1kΩ
. . . . . . . . . . . . . . . .8W into 8Ω
Input and Output Levels
Mono Input Sensitivity (XLR)
All Insert Send/Return
Outputs
. . . . . . . . . . . . . . . .-2dBu to -70dBu, +10dBu to -20dBu
. . . . . . . . . . . . . . . .+4dBu nominal
. . . . . . . . . . . . . . . .+4dBu for 0VU
Weights
24-bus, 44ch / 32-bus, 40ch
24-bus, 52ch / 32-bus, 48ch
24-bus, 60ch / 32-bus, 56ch
. . . . . . . . . . . . . . . .156kg (343lbs)
. . . . . . . . . . . . . . . .170kg (374lbs)
. . . . . . . . . . . . . . . .185kg (407lbs)
5.2
FIVE Monitor Specifications
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