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0% found this document useful (0 votes)
384 views178 pagesMidas HS1000 Service Manual
Midas HS1000 Service manual
Uploaded by
t.rioCopyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF or read online on Scribd
/ 178
SERVICE MANUAL
‘Version 3)
Klark Teknik Group,
Klark Teknik Building,
Walter Nash Road,
Kidderminster.
Worcestershire.
DYII 7HI.
England.
Tel:+44 1562 741515
Fax:+44 1562 745371
Email: [email protected]
Website: midasconsoles.com KLARK TERNIE GROUP
Walter Nash Road, Kidderminster, Worcestershire. DY 1 7H). England
Tels) (0) 1562741515, Fane (440 1552745371
‘Company Registration No: 2414018
RLARR TmibAS
SIGNAL PROCESSING BY DEFINITION
We, Klark Teknik Group (UK) Plc
of, Klark Teknik Building, Walter Nash Road, Kidderminster, Worcestershire, DY 11 7HJ
Declare that a sample of the following product:-
Product Type Number | Product Description | Nominal Voltage (s) | Current | Freq
Heritage 1000 Audio Mixing Console 115V AC 8A 50/60Hz
and dual redundant PSUs 230V AC 4A
to which this declaration refers, is in conformity with the following directives and/or standards:-
Directive(s) Test Standard(s)
Generic Standard using EN55103 Limits and Methods ENSOO81/2
(Class B Conduct Emissions ENSS50103
Class B Radiated Emissions. ENS50103
Fast Transient Bursts EN61000-4-4
Static Discharge EN61000-4-2
Basic Electrical Safety EN60204
Date: 26th May, 2000
Authority: Technical Director, Klark Teknik Group (UK) Ple
Attention!
Where applicable, the attention of the specifier, purchaser, installer or user is drawn to special limitations of use
which must be observed when these products are taken into service to maintain compliance with the above
directives. Details of these special measures and limitations to use are available on request and are available
in produet manuals.
Sud of Te ema be ATTENTION!
The following special limitations apply to the console and must be observed in order to maintain safety and
electromagnetic compatibility performance:
POWER CONNECTION
The console should only be operated with the power supply connected to ground via its mains supply connector.
CONTROL CONNECTIONS
The console should only be operated with high quality screened control cables. All connector shells should be
of metal construction so that they provide a screen when they are plugged into the console. All XLR and DIN
connectors should have pin 1 connected to the cable screen.
AUDIO CONNECTIONS
The console should only be operated with high quality screened twisted pair audio cables. All connector shells
should be of metal construction so that they provide a screen when they are plugged into the console, All JACK
connector shells should be connected to the cable screen. Alll XLR connectors should have pin 1 connected to
the cable screen.
ELECTRIC FIELDS
If the console is operated in an electromagnetic field that is amplitude modulated by an audio frequency signal,
the signal to noise ratio may be degraded. Degradation of up to 604B may be experienced under extreme
conditions (3V/m, 90% modulation).
INSTALLATION
There are a number of points to consider when installing a mixing console. Many of these points will have
been addressed before the console is even unpacked but it is worth repeating them,
POSITION
The console should be located in a convenient space commensurate with the use to which the console is being
put, Ideally a cool area is preferred not in close proximity to power distribution equipment or other potential
sources of interference. Provision should be made for some flat surface surrounding the console to prevent
people using it as a table top.
POWER
The power supply should be located as far from the console as the connecting cable will allow. It should be
set for the appropriate line voltage and plugged into the mains outlet using the supplied cable.
THE POWER SUPPLY SHOULD NEVER BE OPERATED
WITH THE MAINS EARTH DISCONNECTED
Please note that the power supply contains LETHAL VOLTAGES greatly in excess of the mains voltage and
thatlits rails can produce extremely large currents which could burn out equipment and wiring ifshorted. All
testing and servicing should ONLY be carried out by qualified engineers. HERITAGE 1000 CONNECTORS
Bus
IN
#
Input/Output XLR
Pin 1: Ground
(gp Pin2: Hot
@ apo Pin3: Cold
NHL
®
RS-232
Pin 2: Receive Data
Pin 3: Transmit Data
Pin 5: GND
RS-232
Ino
NI
MIDI In
Pin 2: Ground
Pin 4: Int
Pin 5: In-
Midas Can Bus
Pin 1: +18V (100mA max)
Pin 2: Can low
Pin 3: OV Can
Pin 4: Can High
Pin 5: -18V(100mA max)
P
oon
@ wus
Ring: Cold
Sleeve: Ground CONTENTS
Midas HS1001 Mono Input Module
Midas HS1004 Stereo Input Module
Midas HS1011 Group Module
Midas HS1012 Stereo Aux Group Module
Midas HS1021 Master Module
Midas HS1041 Matrix Module
Midas HS1033 Automation Module
Heritage Menu Overview V2.07
Heritage Back Panel
Frame Measurements
Frame layout and Measurements
Heritage Overview and Statistics
Heritage Technical Specifications
Block Diagrams
Input Module
Group Module
Matrix Module
Master Module
Monitor Module
Input Crib Sheet
Page 1
Page 5
Page 9
Page 13
Page 17
Page 21
Page 24
Page 32
Page 41
Page 43
Page 44
Page 45
Page 47
Page 49
Page 50
Page 51
Page 52
Page 53
Page 55 Midas HS1001
Mono Input
Module The INPUT B switch disconnects the
main XLR input from the channel and.
replaces it with the second (B) input.
The B input is also an XLR but itis
normalled through a Y4 inch jack
socket which provides a input for
signals which require protection
against accidental 48 volt connection.
‘All inputs can be used for Mic or Line
level signals and the input B switching
facility provides an easy way to
activate a back up source for critical
‘The PHASE switch activates a 180
degrees phase change within the input
amplifier.
The TREBLE (dual concentric top)
control gives continuous adjustment of
boost and cut from + 15dB to - 15dB
with a OdB centre detent.
The treble FREQ. (dual concentric
bottom) control gives continuous
adjustment of the frequency range that
the treble equaliser acts on from 2K to
20K. The treble equaliser has a
shelving response.
‘The hi mid WIDTH control gives
continuous adjustment of bandwidth
from 0.1 to 2 octaves with a 0.4 octave
centre point.
The lo mid WIDTH control gives
continuous adjustment of bandwidth
from 0.1 to 2 octaves with a 0.4 octave
centre point.
The BASS (dual concentric top)
control gives continuous adjustment of
boost and cut from + 15dB to - 154B
with a OdB centre detent.
The bass FREQ. (dual concentric
bottom) control gives continuous
adjustment of the frequency range that
the bass equaliser acts on from 20Hz
to 200Hz, The bass equaliser has a
_-~The 48V switch connects 48 volt
phantom power to both of the XLR
input connectors. This is suitable for a
condenser microphone or DI box.
The GAIN control gives continuous
adjustment of the input amplifier gain
from + 15dB to + 60dB.
The PAD switch gives 30dB of
attenuation to the input signal which
will allow the connection of high
output microphones or line level
signals. Ifthe input amplifier is
transformer coupled (option) the pad
greatly reduces the risk of saturation at
very low frequencies.
——The hi mid FREQ. (dual concentric
bottom) control gives continuous
adjustment of the frequency range that
the hi mid equaliser acts on from
400Hz to 8K.
“The HI MID (dual concentric top)
control gives continuous adjustment of
boost and cut from + 154B to - 15dB
with a OdB centre detent.
The LO MID (dual concentric top)
control gives continuous adjustment of
boost and cut from + 15dB to - 15dB
with a 0dB centre detent.
“The lo mid FREQ. (dual concentric
bottom) control gives continuous
adjustment of the frequency range that
the lo mid equaliser acts on ftom
100Hz to 2K.
~The EQ switch connects the equaliser
in the input channel signal path.
160
Pty ‘The HI PASS filter control is
a continuously adjustable from 20Hz to
400
The insert PRE switch arranges the hie 400Hz.
input channel signal to pass through ‘The HI PASS switch connects the filter
the equaliser before the insert point in the input channel signal path before
when activated and after the insert the insert point and equaliser.
point when not activated.
shelving response. The aux PRE switches change the
signal sent to the aux busses from post
fader to pre fader.
‘Aux 7,8,9 and 10 can be configured as ~
stereo level and pan if required by
pressing the stereo switch on the
appropriate group modules.
“The AUX controls (1 to 10) give
continuous adjustment of the level sent
from the input channel to the aux
busses. The level adjustment is from +
64B to off.
Aux send ON/OFF switching is
achieved using the console assignment
system. A LED next to each aux pot
provides indication of status. The
assignments may also be stored as part
of a snapshot scene. Use of a matrix
module in conjunction with the
assignment system can provide a
useful means to automatically recall
alternate feed levels to effects
processors from the module.
“When configured as stereo auxes only
the right switches are active. -The ST switch connects the post fader
masters[ st i channel signal to the master stereo bus
==The MONO switch connects the post
masters i
‘The PAN defaults to control the . fader channel signal to the mono
ca Sy ‘master bus.
channel placement within the master Pencion|
stereo mix and has a constant power [ssi
law. ic. - 34B atthe centre position. 1 SIS switch enables the spatial
imaging system which operates in
conjunction with the pan control to
The PAN to groups switch changes all produce a left, centre, right mix, It also
group bus assignments to operate via acts as a left, centre, right master bus
the stereo pan pot. pan itewg] enable overriding any stereo and mono
groups ‘master bus assignments.
‘The recessed AUTOMATION
DISABLE switch sets the module to a _The MUTE switch mutes the input
default routing state with all aux sends ! channel at all points after the insert
ON and all audio group and VCA send. The switch can be controlled
group assignments OFF. The switch is ¥ from snapshot automation and by
not intended for normal console 3 automute scenes.
operation and it should only be used in es:
the event of local automation failure.
. The METER monitors the peak signal
‘The SAFE switch removes the entire “ a i
ut chonoel am automat and MEP level of the pre fader input channel.
snapshot automation control.
Assignment of audio and VCA buses : . ,
will continue to operate in the normal ; ‘The FADER gives continuous
way as will VCA master control. This adjustment of the input channel level
is particularly useful if a guest artist is from + 104B to off.
introduced on a channel that would ee
normally be used for another function. ‘The ASSIGN LEDs are used to show
the status of the AUX, VCA, MUTE
and AUDIO group assignments. The
central controller MODE switches
toggle through the four available
states.
The SOLO switch sends the input
channel signal to the PFL mono and
|| AFL stereo busses. If the switch is
pressed for a short time it will latch on
or off, but, if itis held on for more
Ie emet Ade Vea MO || than i second the latching is disabled
‘AUDIO assignment The central and when the switch is released the
controller MODE switches and channel solo will turn off: As a default
ASSIGN keys ceoct the decred the solo system is auto cancelling so
designment function andthe SET each new solo cancels the last. The
switch toggles the channel on and off SOLO ADD mode switch on the
With eackealtomate prose master module defeats the auto
cancelling and allows multiple channel
‘monitoring. In this mode input solos
have priority over outputs and will
temporarily override any active output
Mee Yee $0, lfthe master module SOLO SIS
is enabled the solo buses will switch to
LCR operation. | Midas HS1004
Stereo Input
Module
ano 7, Za 1tIp spies si aipts gg eT FH
a
i de eee |” The left PHASE switch activates a 180—
degrees phase change within the left
input amplifier.
The right PHASE switch activates a
180 degrees phase change within the
right input amplifier.
The TREBLE control gives continuous
adjustment of boost and cut from
+154B to - 15dB.
The treble FREQ control gives
continuous adjustment of the
frequency range that the treble
equaliser acts on from IK to 20K.
The hi mid FREQ control gives
continuous adjustment of the
frequency range that the hi mid
equaliser acts on from 400Hz to 8K.
The lo mid FREQ control gives
continuous adjustment of the
frequeney range that the lo mid
equaliser acts on from 100Hz to 2K.
The bass FREQ control gives
continuous adjustment of the
frequency range that the bass equaliser
acts on from 20Hz to 400Hz.
‘The left and right HI PASS switches
connect the filters in the input channel
signal path before the insert points.
The 48V switch connects 48 volt
phantom power to both of the XLR
input connectors. This is suitable for a
condenser microphone or DI box.
__The dual concentric GAIN control
gives continuous and independent
adjustment of the input amplifier gains
from + 15dB to + 60dB. The left
channel is on top and the right channel
is on the bottom.
‘The PAD switch gives 30dB of
attenuation to the input signal which
will allow the connection of high
output microphones or line level
signals. If the input amplifier is
transformer coupled (option) the pad
greatly reduces the risk of saturation at
very low frequencies.
‘The HI MID control gives continuous
adjustment of boost and cut from +
154B to - 154B.
~The HI Q control changes the
‘bandwidth of the mid equaliser from
1.5 octave to 0.5 octave.
_--The LO MID control gives continuous
adjustment of boost and cut from +
15dB to - 15¢B.
_=The HI Q control changes the
bandwidth of the mid equaliser from
1.5 octave to 0.5 octave.
‘The BASS control gives continuous
adjustment of boost and cut from +
15dB to - 154B.
The left and right EQ switches connect
-the equaliser into the input channel
signal paths.
‘The HI PASS filter control is
continuously adjustable from 20Hz to
400Hz. The aux PRE switches change the
signal sent to the aux busses from post
fader to pre fader.
NN
Aux send ON/OFF switching is
‘The AUX controls (1 to 10) give
continuous adjustment of the level sent
from the input channel to the aux
busses. The level adjustment is from +
64B to off. All aux signals default as a
‘mono sum of the left and right channel
but aux 7,8,9 and 10 can also be
configured in stereo if required by
pressing the stereo switch on the
appropriate group modules.
achieved using the console assignment
system. A LED next to each aux pot
provides indication of status. The
assignments may also be stored as part
ofa snapshot scene. ‘The LEFT TO BOTH switch takes the. _- The ST switch connects the post fader
left input and routes ito all left and channel signal to the master stereo bus
right outputs; cutting the right input \|_ masters | via the bal control.
signal. ‘The MONO switch connects the post
The RIGHT TO BOTH switch takes
the right input and routes it to all Left
and right outputs; cutting the left input
signal. Pressing both of the above
The BALANCE (pan) control is used
to balance the relative levels of the left
and right channel signals that are sent
to the master stereo mix. The control
has a constant power law, i.c. OdB at
the centre position and + 34B of off at
either extreme setting.
The recessed AUTOMATION
DISABLE switch sets the module
toa default routing state with all aux
sends ON and all audio group and
VCA group assignments OFF. The
switch is not intended for normal
console operation and it should only
be used in the event of local
automation failure.
‘The SAFE switch removes the entire
input channel from automute and
snapshot automation control.
Assignment of audio and VCA buses
will continue to operate in the normal
way as will VCA master control. This
is particularly useful if a guest artist is
introduced on a channel that would
normally be used for another function.
The SET switch is used to programme «
the channel AUX, VCA, MUTE and
AUDIO assignment. The central
controller MODE switches and
ASSIGN keys select the desired
assignment function and the SET
switch toggles the channel on and off
with each alternate press.
fader channel signal to the mono
master bus.
‘The PAN to groups switch changes all
‘group bus assignments to operate via
4 the stereo balance control. When the
switch is off the group assignments
it without the
balance trim facility.
The MUTE switch mutes the input
channel at all points after the insert
send. The switch can be controlled
from snapshot automation and by
automute scenes.
‘The METER monitors the peak signal
level of the pre fader input channel.
e FADER gives continuous
adjustment of the input channel level
from +10¢B to off.
The ASSIGN LEDs are used to show
the status of the AUX, VCA, MUTE
and AUDIO group assignments. The
central controller MODE switches
toggle through the four available
states.
‘The SOLO switch sends the input
J ‘channel signal to the PEL mono and
/ ABL stereo busses. If the switch is
// pressed for a short time it will latch on
or off, but, ifit is held on for more than
1 second the latching is disabled and
when the switch is released the channel
solo will turn off As a default the solo
system is auto cancelling so each new
solo cancels the last. The SOLO ADD
mode switch on the master module
defeats the auto cancelling and allows
multiple channel monitoring. In this
mode input solos have priority over
outputs and will temporarily override
any active output solos. 1 dl
a oF
=
Wi
[a]*
GLee| is
Eg.
aa)
Fi.
Py mneee
at
MIDAS HS1011
Group Module
ee
© The METER monitors the peak signal
level of the post fader sub group
outputs and the BUS PEAK LED
indicates that signals are near clipping
on the sub group bus (pre insert
signals).
‘The METER TO AUX switch moves
the meter and peak LED to monitor
aux signals in place of the sub group
signals.
The TALK switch connect the master auxiliary
module talkback systems to the ; master ‘The PHASE switch activates a 180
individual aux send busses. The. Gay degrees phase change within the post
master module can route it's oscillator, select sax fader aux signal path. This will effect
the post fader feeds to the matrix as
pink noise, external input or talk mic.
reverse 2 well as the main aux outputs.
The MUTE switch mutes the aux post
Z evel control signals. The switch can be
controlled from snapshot automation.
‘The SAFE switch removes the aux
mute from snapshot automation
control.
‘The aux LEVEL control gives a ;
continuos adjustment of output levels a fhe SOLO switch sends the aux signal
from +10dB to off / to the PFL mono and AFL stereo
‘S busses. If the switch is pressed for a
short time it will latch on or off, but, if
it is held on for more than 1 second the
latching is disabled and when the
switch is released the channel solo will
The FADER SWAP switch swaps the. turn off. As a default the solo system is
group output faders and aux master“. auto cancelling so each new solo
rotary controls along with their solo cancels the last. The SOLO ADD mode
and mute switches. Connections for switch on the master module defeats
inserts and XLR outputs are the auto cancelling and allows multiple
unaffected. channel monitoring. In this mode input
solos have priority over outputs and
will temporarily override any active
output solos. ‘The PAN defaults to control the
channel placement within the master
stereo mix and has a constant power
Jaw. ic. - 34B at the centre position.
The GROUP MASTER FADER gives
continuous adjustment of the sub
group level from + 104B to off.
master
master
master
‘wonofgl—J
sis B|
=
1¢ ST switch connects the post fader
group signal to the master stereo bus
via the pan control.
fader group signal to the mono master
bus.
~The SIS switch enables the spatial
imaging system which operates in
conjunction with the pan control to
produce a left, centre, right mix. It also
acts as a left, centre, right master bus
enable overriding any stereo and mono
‘master bus assignments.
| 1¢ MONO switch connects the post
‘The group MUTE switch cuts the post
fade group signal. This mute can be
stored as part of the console snapshot
for scene recall.
“The SAFE switch removes the sub
group mute from snapshot automation
control.
1e SOLO switch sends the sub group
signal to the PFL mono and AFL stereo
busses. Ifthe switch is pressed for a
4 short time it will latch on or off, but, if
itis held on for more than 1 second the
latching is disabled and when the
switch is released the channel solo will
tur off. As a default the solo system is
auto cancelling so each new solo
cancels the last. The SOLO ADD
mode switch on the master module
defeats the auto cancelling and allows
multiple channel monitoring. In this
‘mode input solos have priority over
outputs and will temporarily override
any active output solos. Ifthe master
module SOLO SIS is enabled the solo
buses will switch to LCR operation. The SAFE switch removes the VCA-
virtual fader and mute from snapshot
automation control.
The VCA MASTER FADER controls.
the output level of any input channels
which are assigned to the VCA master
from +10dB to off.
ns
_The VCA MUTE switch acts on the
7” post fader signals of any input
channels which are assigned to the
VCA master. The switch can be
controlled from snapshot automation.
‘The recessed AUTOMATION
DISABLE switch disconnects the
entire module from automation
control, The switch is not intended for
normal console operation and it should
only be used in the event of local
automation failure.
‘The 11 FADER LED's are used to
~ show fader positions. The central
controller selects the mode of the fader
store and recall as either MANUAL
recall and null, or full automated
‘VIRTUAL FADER RECALL. | ks «, id ee .
1|8
i Ee
vay | ae
aS
5 le
MIDAS HS1012
Stereo Aux
Group Module _The METER monitors the peak signal
7 level of the post fader sub group
outputs and the BUS PEAK LED
indicates that signals are near clipping
on the sub group bus (pre insert
signals),
_JThe METER TO AUX switch moves
/ the meter and peak LED to monitor
aux signals in place of the sub group
ay signals.
The TALK switch connect the master ~__[IMRetNG
‘module talkback systems to the Ss The PHASE switch activates a 180
individual aux send busses, The master /, degrees phase change within the post
module can route it’s osei een / fader aux signal path. This will effect
noise, external input or talk mic. the post fader feeds to the matrix as
well as the main aux outputs.
_/The MUTE switch mutes the aux post
Z, evel control signals. The switch can be
The master STEREO AUX switch on controlled from snapshot automation.
groups 8 and 10 change the
appropriate input module aux sends to t Th
‘ _yThe SAFE switch removes the aux
>be used as stereo level and pan pairs. JZ, waute from snapshot automation
control.
The aux LEVEL control gives ; - .
continuos adjustment of output levels wan /lotvePE mono and APL seo
from +10dB to off. /’ vusses. If the switch is pressed for a
short time it will latch on or off, but, if
it is held on for more than 1 second the
latching is disabled and when the
. switch is released the channel solo will
The FADER SWAP switch swaps the. turn off. As a default the solo system is
group output faders and aux master auto cancelling so each new solo
Totary controls along with their solo. cancels the last. The SOLO ADD mode
and mute switches. Connections for switch on the master module defeats
inserts and XLR outputs are the auto cancelling and allows multiple
unaffected. channel monitoring. In this mode input
solos have priority over outputs and
will temporarily override any active
output solos. master | ST i
master M
master (sis,
pon
The PAN defaults to control the
channel placement within the master oe
stereo mix and has a constant power
Jaw. i.e. - 34B at the centre position. group
The GROUP MASTER FADER gives
continuous adjustment of the sub
group level from + 10dB to off.
the SAFE switch removes the sub
‘The ST switch connects the post fader
group signal to the master stereo bus
via the pan control.
—-—The MONO switch connects the post
fader group signal to the mono master
bus.
“
