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SIGMA OPERATING SYSTEM HIGHLIGHTS 24 bus outputs. including microphones, line and tape inputs, group outputs, main Assignment to buses from inputs and from monitors. outputs, etc. 8 auxiliary mixes for cue and echo (in-line M470 systems) 6 on Attention to details of audio performance at all stages. The M410/20/30 systems. electronic signal path is of the high input impedance, low output Two stereo cue outputs with talkback for performer's foldback. impedance type. Coupling capacitor isolate all input connections Stereo monitor/remix main output. and outputs from DC offsets. All switches pot and faders are Mono sum of stereo output. capacitor coupled to prevent clocks and noise. Four variable equaliser sections plus high pass filter provided on Amplifier bandwidths are tailored to accept the maximum inputs and monitors. bandwidth possible while rejecting extreme LF (sub 5Hz) and HF Low residual noise preamps, equalisers, line and mix amplifiers. (over 60KHz) signals. While the external operating level is + 4dBv Low distortion design at all points in the system. (1.23v RMS) the internal level is reduced to 0dBv. This yields 22dB PFL facility on all inputs, groups and monitors. Interrupts LS and internal headroom 0VU sine wave input or output and maximum meter only. output level. AFL facility on all inputs, groups and monitors derived post-pan- The electronically balanced outputs are actively driven by pot. Interrupts LS and meter only. separate amplifiers for each phase (pin 2 hot) and feedback design SOLO MUTE facility on all inputs and monitors. Auto shut-off of all removes drive to either phase if grounded. At the same time the sources not selected SOLO. other phase output amplitude is doubled. SOLO MUTE has two sub systems -- input and monitor. Both can Electronic balanced inputs are differential type on line inputs and be enabled and inhibited independently. symmetrical long tail pair design on microphone input having AUTO MUTE facility on all inputs and monitors, sequence and excellent CMRR. The preamps are designed so that the headroom synchronise audio mutes to MIDI. at the critical input stage is also 22dB. Low noise preamp design Three fader options, retrofit capable. 100mm low cost or VCA achieves noise performance at line inputs superior to the output grouping or fader automation. noise of signal sources including dBx tape and 16 bit linear digital Capacity for 56 modules, potentially 112 inputs to the mix. playback. 2 mainframe lengths 36 and 48 module capacity total. The use of summing amplifiers for every output, main, or sub Complementary module expander frames and patchbay/ system, ensures consistent performance with any module loading producer's desk frames. format. Low noise amplifiers keep noise floors negligible. The High standard of appearance when installed, cabling concealed same high quality standards apply to all outputs. All inputs and within the frame. outputs except group insertion points are phase coherent. Electronic balanced circuits on all main inputs and outputs
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