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CONCEPT
In a dream world every console would have unlimited the low budget recording console runs out of muscle. Mixing and
inputs, unlimited faders, unlimited aux sends, infinite equalisers, recording techniques are now well established, however the
reset itself every session and come complete with a mind reading demands of special effects mixing, digital recording and electronic
computer interface and be small enough to sit on your lap. music have increased the demands on the console's capacity,
While we are working in that one we offer the Sigma Series versatility and performance.
as a practical solution to real sound control challenges available Take for granted that the sonic performance of Sigma
now at attractive prices. Look at the module summaries for details consoles is transparent for all practical purposes. What you will
of the controls available. There are more module types available hear in the mix is your client's performance plus a little bit of noise,
than it is necessary to install in any one Sigma console. Each distortion and hum from your mics, instruments, multitrack and
console is the response to a particular sound control task. Your effects units. If you have been used to low budget consoles with
task may call for more inputs and fewer outputs, or sophisticated clicking mutes, inconsistent pot laws and noisy inputs you will
monitors or many simple monitors, in-line type controls or split breathe a sigh of relief using Sigma. The designers of Sigma have
"inputs left" "outputs right" controls or any combination. li stened to the complaints about low cost products. Sigma
The Sigma Series is AHB's response to the demand for consoles are not big low cost products. Sigma consoles are for
increasingly sophisticated multitrack and live mixing consoles at clients who want good sound consistently from reliable income --
increasingly attractive prices. Sigma consoles take over where earning hardware.
MIXING/RECORDING TECHNIQUES WITH SIGMA MODULE SYSTEMS
Each module has an individual data sheet, here are M410 inputs provide mic line and tape inputs so that the
summaries of the benefits of each standard console system. choice of source during recording and mixing does not involve
replugging. With this system track bouncing is done via the M420
M410 and M430 modules: modules. SSR automutes operate on the input faders and monitor
Split module system with inputs on the left, outputs on the faders but not on the group outputs.
right. The M430 is a high density module which compressed two Choose this combination when you want high performance
outputs and monitor sections into a single module width, leaving from inputs and monitors and ergonomic efficiency. All faders in
more space for M410 inputs in a standard frame. Two large faders the M410/420 system can be non automated, VCA or automation
with each M430 provide the group outputs. Two monitor sections types as an option.
each have three sources; outputs, tape or (echo) return line inputs.
One equaliser is shared between both monitors. Fader reverse M470 in-line module system:
allows mixing the monitor sources on large faders. Due to space All that is required for multitrack record overdub and remix.
li mitations these faders are not automation capable. Each module provides three inputs and one output (to tape). The
This is the choice when space is at a premium and inputs inputs are mic and line on the small fader (normally). The monitor
more important than track monitors. input selects between output and tape input and uses the large
M410 inputs provide mic line and tape inputs so that the fader (normally). For recording and bouncing operations the
choice of source during recording and mixing does not involve module works as a single entity to provide controls for record
replugging. With this system track bouncing is done via the input input to tape plus monitor input from tape to the monitor/remix
modules. SSR Automutes operate on the input fader and monitor output. Equalisation and aux send are shared between the input
level controls but not on the group outputs. and monitor. Both inputs have the standard Sigma PFL/AFL,
SOLO MUTE, MUTE AND AUTOMUTE. There is no fader for record
M410 and M420 modules: output. Trim of record level is provided by a rotary control.
Split module system with inputs left and outputs right. M420 For mixing operations the primary function of the large
modules are called line I/O types since one module provides fader is to mix the track with EQ and echo. The small fader can be
output to tape and input from tape to the stereo mix AND group used as a second input to the mix with echo send or as an
output. Of course, there is also the additional (echo) return line additional echo send itself via assignment. Echo returns use spare
input source provided so that the module provides two functions: modules and inputs. Analogue subgroups to the mix are available
1. mix and output, 2. monitor of output, tape input or return on modules 17-24 (16 track systems) and 25-32 (24 track
input. systems) on small or large fader. Within a small frame M470 in line
A full set of input controls occupies most of the M420 panel. systems give the maximum facilities for highly efficient multitrack
Group output controls are located above the large fader. The rest operations.
of the module is monitor input controls. These include assign to When the situation demands high priority for live inputs
groups, EQ, aux send, mute and a small fader which may be from many sources simultaneously, electronic music sessions for
reversed with the large fader below. Choose the way you want to example, then the M470 system gives two line inputs to the mix
work -- output on large fader or monitor on large fader. Either way simultaneously with EQ and echo send shared. Input reverse
when it comes to bouncing tracks you simply select the new allows the choice of large or small fader preference to be given to
output. The valuable EQ and echo settings do not have to be the three source programmes at will.
copied across to an input module. This not only saves time it All large faders in the M470 system can be non automated.
reduces the risk of an operator error. VCA or automation types as an option. SSR Automutes operate on
all small and large faders.
SSR AUTOMUTE SYSTEM
The SSR MIDI remote controller is a powerful micro CLOCK MODE 4
computer enabling the automatic control of channel and monitor SSR controlled by MIDI timing data, START, STOP, CLOCK,
mutes as well as up to 16 effects devices under MIDI control. Pre CONTINUE START and SONG POSITION. Also providing MIDI to
programmed mute patterns and MIDI patch changes can be SYNC 24 converter.
synchronised to a MIDI sequencer, driven from the SSR's internal CLOCK MODE 5
sequencer or MIDI clock generated from SMPTE to MIDI Data entry in real time with the internal clock. Each
converter, and the SSR recognises MIDI song pointer information. depression of a footswitch enters current song time into event
The SSR can control a complete Sigma automute system of ti ming data. Error correction via INSERT and DELETE facilities.
up to 64 inputs, up to 16 different MIDI controlled effects devices,
CLOCK MODE 6
enables MIDI keyboards and sequencers to have precise control
Data entry in real time with timing data from SYNC 24 pulse
over muting and effects, or the SSR can operate as a conventional
code, with full error correction and editing facilities.
music sequencer or computer recorder. In the sequencer mode it
enables switching from one SSR MIDI programme plus one MUTE CLOCK MODE 7
PATCH combination to another, under manual or automatic timing This enables real time recording in synchronisation with
control. MIDI clock, with full error correction and editing facilities.
There are 8 alternative clock options for operation in the The control unit is illustrated below approximately half real
sequencer mode allowing for different synchronisation methods. size and is a mobile panel connected to the console through a data
CLOCK MODE 0 cable.
Manual footswitch stepping of MIDI and mute data, useful All program data is stored in the KMM memory cartridge and
for work with pre-recorded material with no sync-track. li braries of data can be created to accompany synth discs and
RAM packs for example.
CLOCK MODE 1
SSR mute commands operate the console audio mutes in
As above but steps automatically to next song, enables
co-operation with manual local pushbutton mute commands. An
more than 100 steps to be used under manual control.
un-muted channel (or monitor) responds to SSR mute and de-mute
CLOCK MODE 2 commands. A channel (or monitor) which is manually muted does
SSR runs the sequencer from its internal clock, from 29 to not respond to SSR commands.
320 BPM. The MIDI and MUTE data will be changed when the SSR is a unique innovative system which exploits MIDI for the
internal clock time and event times coincide. benefit of the electronic music artist in particular. In applications
CLOCK MODE 3 which do not call for this benefit, the system may be operated
SSR driven from external clock 24 (sync 24) pulse code, without the SSR control unit, alternatively simply select a mute
with stop/start control, also providing SYNC 24 to MIDI converter. patch where all mutes are cleared.
MODULE M410: MONO MIC/LINE INPUT.
Phantom power on switch
Mic input phase reverse switch
20dB mic input pad switch
Mic input gain control
Input source selections: either mic or line or tape source is available.
Tape and line input GAIN control with gain indications.
EQUALISER section: pre fader, post insertion point. Dual concentric controls.
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