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OWNERS MANUAL - D&R Broadcast Mixing Consoles

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4. GCH GCH GCH GCH GCH GCH GEH Pin 25 Multitrack output 4 8 12 16 20 24 28 32 36 40 44 48 G BACKVIEW PLUG 25 POLE SUB D Octagon page number 121 SPARE These connectors normally not installed can be used for any other custom option if desired Pin1 Spare 1 in phase Pinl4 Spare 1 out of phase C Pin2 Spare 1 Ground Pin 15 Spare 2 in phase Pin3 Spare 2 out of phase Pin 16 Spare 2 Ground Pin4 Spare 3 in phase Pin 17 Spare 3 out of phase Pin5 Spare 3 Ground Pin 18 Spare 4 in phase Spare 4 out of phase Pin 19 Spare 4 Ground Pin7 Spare 5 in phase Pin 20 Spare 5 out of phase Pin8 Spare 5 Ground Pin 21 Spare 6 in phase 7 5 4 3 2 1 Pin9 Spare 6 out of phase GCH GGH GGH GGH GEH GGH GCH GCH Pin 22 Spare 6 Ground Pin 10 Spare 7 in phase Pin 23 Spare 7 out of phase Pin 11 Spare 7 Ground BACKVIEW PLUG 25 POLE SUB D Pin 24 Spare 8 in phase Pin 12 Spare 8 out of phase Pin 25 Spare 8 Ground Octagon page number 122 13 0 SPECIFICATIONS INPUTS Mic inputs 2 kOhm balanced 129 dBr input noise A weighted gain 84dB max input 12dBu Line inputs 10kOhm balanced 4dBu 20dB gain control max 34dB gain 10dB fader gain Tape inputs 10kOhm balanced 4dBu Insert returns 10kOhm balanced 4dBu Tape line calibr range 4dB Maximum input 22dBu Encoder decoders 10kOhm
5. 581 000 5 e xX2D1 y Z Te T Du7 amp K Tu0I DUJS P is jo9Mqns 21181 2 Zub 5 1797 025 1 Yibri puJ 18300 4415 0105 267 005 00 855 Octagon page number 130 21 0 FILMSTYLE MIXING 4994 3779 SNW 11 11 VG VZ 195 949 5201 8 2 yas 15 4 5 ON 199113 1 582011 21 96 uod XIW9Jd XIN9Jd OD ajosuoy Buiqqng ssoooJd xiu 4204 002 sjueu9 3 paip3 5 551 Kajo4 punos uoi30364 EH Octagon page number 131 22 0 FILMSTYLE MIXING WITHOUT MATRIX i i 3 sH 121 2 8 19po2u3 x 4 saposaq 5 RNa a ee Sa aa a ae ir x aS ae 1 CK P SZ 57 4 EC AC 391 4 4 4 1 0 4 4 4 S auuDu jndu H 025 mud
6. MENO tm un NS REED interrupted then NTE CRM LEVEL o 2 TRACK TO NEAR LEFI 2 CEN 2 FIELD All two tracks normally heard though the main monitors can be switched to the near fields if required CRM TO NEAR FIELD This is the regular near field monitor switch if it is necessary to comparatively listening to material on the near fields NEAR FIELD TO LS1 This switch assigns the near field signal to the Loudspeaker 1 outputs it alternates between LS1 and 2 NEAR FIELD TO LS2 This switch assigns the near field signal to the Loudspeaker 2 outputs Second row of CRM switches CRM SOURCE MASTER Normally the CRM loudspeakers follow all sources selected to them such as Solo and 2 Tracks When this switch is activated the CRM will listen to the main outputs only Octagon page number 15 CRM SOURCE 2 TRACK When this switch is activated the 2 Tracks will be heard via the CRM loudspeakers Note a selection of one or more of the 2 Tracks need to be made first CRM SOURCE 8 TRACK This switch returns the outputs of the 8 track machine to the Control 2 mim VENT ms ASI Monitors CRM FORMAT IP When no switches are active you will have r3 r3 the 7 1 format EJ L L E 5 1 This format switch let s you assign the CRM inner left and right signals Left2 Right2 to the
7. GOH GCH GCH GOH GCH GCH GCH Pin 10 Signal processor 7 in phase Pin 23 Signal processor 7 out of phase Pin 11 Signal processor 7 Ground Pin 24 Signal processor 8 in phase Pin 12 Signal processor 8 out of phase Pin 25 Signal processor 8 Ground BACKVIEW PLUG 25 POLE SUB D Octagon page number 118 SIGNAL PROCESSOR INPUTS 9 16 normalled to AUX outputs Pin Signal processor 9 in phase Pinl4 Signal processor 9 out of phase C Pin2 Signal processor 9 Ground G Pin 15 Signal processor 10 in phase Pin3 Signal processor 10 out of phase Pin 16 Signal processor 10 Ground Pin4 Signal processor 11 in phase Pin 17 Signal processor 11 out of phase Pin5 Signal processor 11 Ground Pin 18 Signal processor 12 in phase Pin6 Signal processor 12 out of phase Pin 19 Signal processor 12 Ground Pin7 Signal processor 13 in phase Pin20 Signal processor 13 out of phase Pin8 Signal processor 13 Ground Pin21 Signal processor 14 in phase Pin9 Signal processor 14 out of phase Pin22 Signal processor 14 Ground Pin 10 Signal processor 15 in phase Pin23 Signal processor 15 out of phase Pin 11 Signal processor 15 Ground Pin 24 Signal processor 16 in phase Pin 12 Signal processor 16 out of phase B8 7 5 4 3 2 1 Pin25 Signal processor 16 Ground M M AAA CA GCH GCH GCH GCH GCH GCH GCH GCH BACKVIEW PLUG 25 POLE SUB D Octa
8. sonos 5 3065 1504 1504 00161 0 8y 8804 Octagon page number 132 23 0 FILM STYLE MIXING SETUP WYO dnjes 15 0 d MOJ J8pD Octagon page number 133 24 0 FILMSTYLE MIXING WITH MATRIX m 5 gt NEN 3 19314 5 2 Japoouq 3 HOO 5129113 OO 150 02 150 2205 5129 9 JU S 1504 ou s 1504 0 161 0 yyy 15579 11 AAG dd dad I CO XIJ10N EH ii 267 ssnq Octagon page number 134 25 00 Octagon External patchbay connections MONO MODULE 1 48 Pin number From To Octagon Pin 1 1 0 1 in phase H Pinl4 1 0 1 out of phase C LINE IN Pin2 1 0 1 Ground G Octagon 102 in phase O 2 out of phase Insert Up 102 Ground Send 10 3
9. EJECT MMC FOH 7FH 7FH 06H OAH CHASE MMC FOH 7FH 7FH 06H MMC RESET MMC FOH 7FH 7FH 06H Automation Macro s can be programmed and there is a choice out of the following functions All ISO All READ ALL AUTO ALL WRITE ALL TRIM UPDATE Other macro s can be Master 1 Macro Master 2 Macro Master 3 Macro Octagon page number 76 The Stems premix optional external module can be loaded with the following macros Dir Sx Playback Sx Direct 1 to 9 group Direct A to G group Playback 1 to 9 group Playback A to G group Midi channels can be programmed Midi channel 01 up to 64 The Stems premix module s solo s mute s Dir and playback functions can be set under a macro Solo 81 up to S8 Mute S1 up to S8 Dir S11 up to S8 Playback S1 up to S8 ESCAPE This switch brings you back to an earlier stage of programming if you have made mistakes PASTE see also COPY The contents of the copy paste buffer can be loaded into any other module by first selecting the SHOW switch and then selecting another module and pressing the PASTE switch An unlimited number of modules can be loaded with the paste buffer See also the Copy text ALL If you activate this switch all programming relate to all the modules in the console not only the ones controlled by the Control Module you are now working with The display will show Module When you depress the MISC switch all faders will go to thei
10. 52 MAN MAN METER 309 2 TRACK CEM EMI NENNE monitoring systems The be assigned to either one of 5 1 LE N gt 3 ccr mE aci MENU 1952 falzi al 2 these systems Both the switches will a alternate between the two settings If desired software can be changed on CEM LEVEL customer demand to be different from FFT FMT ANT default software 2 11 CRM MUTES There is a total mute positioned below the CRM level which completely mutes all outgoing monitoring signals and there are individual mutes muting user selected outputs only These individual selected mute settings are kept in memory when the total mute of the CRM is used temporarily 2 12 CRM PRESET The CRM preset switch returns the CRM level to a fixed preprogrammed level necessary for reference of Dolby mix downs and adjustments of studio control monitor amps 213 CRM DIM MUTES The CRM dim switch let s you dim the CRM output by any software controlled amount This dimming is also automatically activated when the oscillator is switched on When for instance the pink noise generator is used for alignment procedures the DIM switch will not be active of course There is a total mute positioned below the CRM level which completely mutes all outgoing monitoring signals and there are individual mutes muting us
11. patch bay to the signal processor inputs oo Octagon page number 20 223 METERING Master metering The Octagon has a total of eight VU meters or peak reading bd bar meters above the master section in the meterbridge Analog VU meters will indicate the average level in the signal paths and peak meters can be switched between VU characteristics and peak behavior in the master section A separate Phase meter indicates any phase shift between the left and right signals In most cases switching the phase switch on selected input modules can correct the phase shift Mono and Stereo m od ule meters 9 9 transients digital eS recordings ud zs Octagons Peak meters have umm ne extended range from ane 45dB up to a ee PER tue 9 oF 4608 JEN LOCA EI EN all D amp R LED bar graph meters is an indicator that the associated module is on When first powering up always check all ON LED s under each meter If any ON LED is not lite turn off the power supplies and D amp R for service advice Both mono and stereo input module meters have software switch able peak VU ballistics with 37 segments Octagon s meters can be switched individually to read the UPPER section or LOWER section of each module locally Frast The channel meters are of a peak or VU reading design and read OdB when an oscill
12. 25 POLE FEMALE SUB D CONNECTOR Shield 14 NC 2 Data send DSR 15 NC 3 Data Receive Serial in 16 NC 4 Linked to pin 5 17 NC 5 Linked to pin 4 18 NC 6 Data send also linked to pin6 19 NC 7 Ground digital 20 Data receive 8 Data send also linked to pin 6 21 NC GCH GOH GOH GOH GOH GOH GLH GCH 9 NC 22 10 23 11 BACKVIEW PLUG 25 POLE SUBD 24 NC 12 NC 25 26 Shield ASYNC INTERFACE 25 pole sub D Connection is a one to one flat cable to D amp R s own PC interface card Octagon page number 98 KEYBOARD 5 pin Din connector female Keyboard 1 Clock 2 Data 3 NC 4 Ground 5 VCC TRACK BALL TOUCHPAD 9 pole Sub D female connector 1 CD in 2 RX in 3 TX out 4 DTR out 5 Ground 6 DSR in 7 RTS out 8 CTS in 9 RI in Octagon page number 99 The Fourth row This row has a spare connector All Sub D connectors when used for audio are wired consequently in eight balanced pairs see other wiring diagrams At the moment nothing is connected at this connector A parallel connector is wired on the PCB for options REMOTE IN 25 POLE FEMALE SUB D CONNECTOR accepting 5 volt max to control the following internal functions of the Octagon 1 NC 14 NC 2 15 3 NC 16 NC 4 NC 17 NC 5 NC 18 CRM preset 6 Ground 19 NC 7 mute 20 Ground 8 NC 21
13. Midi setup MIDI 01 On 1 4 FO READY The ready menu let s you determine which module will be used to send MIDI data from As soon as you have CRMLevel 20 0dB entered the module number with the encoder confirm this Ready setup and you can link this ready switch to an ON or Off mode The menu to fill in the MIDI data will be shown just as with Module 1 the MIDI setup menu CFG This is configuration menu that is used for servicing and factory settings DYNAMICS When going back to the highest level of the setup menu you an choose between Setup and Dyn The Setup menu has been discussed so the other one is the Dyn amics setup Octagon page number 80 When dynamics is installed in your console the following menu will be displayed There is a choice of a gate CRMLevel 20 0dB compressor or limiter Gate settings Md 1 If you press the Gate switch below the text Gate the Gte Thr Att Rel following menu will be shown By pushing the switch far at On 2dB 50 5m the right below the display 3 more parameters will be shown such as Range Hold and Hyst eresis All data related to the selected module can be changed by pushing S1 up to 54 Its related LED lights and the encoder can change dynamics data Confirm all settings with the ENTER switch The Compressor part of the dynamics has the following parameters On off Threshold Attenuation Release Ratio next menu on the far right The encoder changes all the data
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15. 4 Right in phase 17 Right out of phase 5 Ground 18 Surround Left in phase 6 Surround Left out of phase 19 Ground 7 Surround Right in phase 20 Surround Right out of phase 8 Ground 21 Sub Woofer in phase 9 Sub Woofer out of phase 22 Ground 10 Left 2 in phase 23 Left 2 out of phase 11 Ground 24 Right 2 in phase 12 Right 2 out of phase 25 Ground 8 7 5 4 3 2 1 GOH GCH GOH GOH GOH SCH GCH GCH BACKVIEW PLUG 25 POLE SUB D Octagon page number 89 METERS EXTERN the meters extern connector is a 25 pole female Sub D with 8 balanced wired signals 1 Left in phase 14 Left out of phase 2 Ground 15 Center in phase 3 Center out of phase 16 Ground 4 Right in phase 17 Right out of phase 5 Ground 18 Surround Left in phase 6 Surround Left out of phase 19 Ground 7 Surround Right in phase 20 Surround Right out of phase 8 Ground 21 Sub Woofer in phase 9 Sub Woofer out of phase 22 Ground 10 Left 2 in phase 23 Left 2 out of phase 11 Ground 24 Right 2 in phase 12 Right 2 out of phase 25 Ground B8 7 5 4 3 2 1 GOH GOH GOH GOH GOH SCH GCHGCH BACKVIEW PLUG 25 POLE SUB D Octagon page number 90 Second row of Connectors are for insertion of external encoders and decoders Mono surround trim adjusts the level of the surround loudspeakers according to requested Dolby levels TO also from ENCODER 25 P
16. 412 MUTE The MUTE system is a special soft muting circuit click free and associated with the automation circuitry 413 FADER A 100 mm linear motorfader is fitted which follows the VCA control voltage Today s VCA s have very low distortion and very impressive specs when the VCA s are in circuit noise is kept to an absolute minimum and the ultra low distortion is of the second harmonic type which many engineers and producers like 4 14 UPPER ROUTING STATUS SECTION There are 10 LED s positioned left of the upper balance pot that indicate the basic routing of the upper section Every module shows locally that an assignment has been made by way of an indicator LED To know where the assignment has been made to the SELECT switch has to be activated The Control Module shows in the routing section which buss is assigned to let you know what is routed The upper status green LED s section shows the Left Center Right assignments The yellow LED is on when the surround busses are assigned The red LED is on when the Sub Woofer is assigned The next LED indicates that the Left 2 and Right 2 output busses have been assigned The yellow LED indicates assignment to the main Left Right busses The last three green LED s show assignment to the routing busses and the Joysticks of the upper modules signal Due to the nature of the stereo return module always pairs of signals will be assigned 415 METER READS The module s Peak VU ledbar g
17. 7 5 7 6 1 1 7 8 The Tracking session The Playback session The Overdub session The Remix session The MIDI or Virtual session Surround mixing Six Upper 5 1 DTS Digital Theater Sound SDDS Film style mixing Octagon page number 4 8 0 9 0 10 0 11 0 12 0 13 0 14 0 15 0 Installation electrical 8 1 Local Electrical Voltage 8 2 Electrical Wiring Installation audio 9 1 Interface with Power Amps 9 2 Initial Hookup 9 3 Shields amp Grounds of Equipment Troubleshooting and servicing 10 1 Troubleshooting 10 2 Removing a module 10 3 Patch bay servicing How to use the Octagon 11 1 Control Module 11 2 Setting up the Control Module 11 3 How to use the Control module 11 4 Group output switching 11 5 Input selection 11 6 Aux sourcing and assignment 11 7 Output assignment to master busses 11 8 Fader calibration FDR CAL 11 9 Safe 11 10 Lower pan LCR and Stereo surround 11 11 Fader Set 11 12 The Control Module Group master fader section 11 13 CGM solo 11 14 CGM Mute 11 15 CGM Auto 11 16 Meter reads 11 17 Control Module functions 11 18 Machine remote switches 11 20 Master section Connectors 12 1 Master section 12 2 Patch bay connectors Specifications Signal flow master section Signal flow input module Octagon page number 5 16 0 Digital signal flow 17 0 Level diagram 18 0 Interfacing with DS4E CP65 19 0 Interfacing with Dolby SEU4 5004 20 0
18. GEER AUDC POWER 1 POWER 2 1 1 PIRE FEAT MAZE IN 1 BTZN 4 gt LISTEN Octagon interfaces easily with external equipment such as two track master machines signal processors headphone amps and power amps Interfacing is possible using the connectors on the master back panels and through 25 pole sub D male connectors Listed below are all inputs and outputs for the master modules The master back panel houses the connectors for interfacing with external equipment Octagon page number 22 There are 5 rows of connectors The first row houses Phones output which is powered by the nearfield outputs The balanced near field XLR outputs for easy interfacing with personal monitors The 8 buss CRM LS1 and CRM 1 52 outputs for both control room monitor systems The connector for external connection of meters The second row houses The mono surround trimpot The Pre Encoder out connector and the to Encoder connector The CRM 1 and 2 insert send and returns The third row houses in thru out connectors SMPTE in and outputs RS422 connector to interface with the automation computer Red light jack Communication interface connector for machine control Keyboard connector to be connected to the PC and the pointing device trackball touch pad connector to interface with the mouse output on t
19. Ground 7 Return Surround Right in phase 20 Return Surround Right out of phase 8 Ground 2 Return Sub Woofer in phase 9 Return Sub Woofer out of phase 22 Ground 10 Return Left 2 in phase 23 Return Left 2 out of phase 11 Ground 24 Return Right 2 in phase 12 Return right 2 out of phase 25 Ground 8 7 5 4 3 2 1 GOH GCH GOH GOH GOH SCH GCH GCH BACKVIEW PLUG 25 POLE SUB D Octagon page number 94 CRM INSERT 2 SEND 25 POLE FEMALE SUB D CONNECTOR 1 Send Left in phase 14 Send Left out of phase 2 Ground 15 Send Center in phase 3 Send Center out of phase 16 Ground 4 Send Right in phase 17 Send Right out of phase 5 Ground 18 Send Surround Left in phase 6 Send surround Left out of phase 19 Ground 7 Send Surround Right in phase 20 Send Surround Right out of phase 8 Ground 21 Send Sub Woofer in phase 9 Send Sub Woofer out of phase 22 Ground 10 Send Left 2 in phase 23 Send Left 2 out of phase 11 Ground 24 Send Right 2 in phase 12 Send right 2 out of phase 25 Ground 8 7 5 4 3 2 1 GOH GCH GOH GOH GOH SCH GCH GCH BACKVIEW PLUG 25 POLE SUB D Octagon page number 95 INSERT 2 RETURN 25 POLE FEMALE SUB D CONNECTOR 1 Return Left in phase 14 Send Left out of phase 2 Ground 15 Return Center in phase 3 Return Center out of phase 16 Ground 4 Return Right in p
20. Listen 3 GOH GCH GEH GEH GEH GEH GEH GEH 9 Ground 22 NC 10 Listen 2 23 Ground BACKVIEW PLUG 25 POLE SUB D 11 NC 24 Listen 1 12 Ground 25 NC 26 Shield Octagon page number 100 REMOTE OUT 25 POLE FEMALE SUB D CONNECTOR supplying 5 volt ImS max to indicate the following internal functions of the Octagon 1 Red Light 14 Ground 2 NC 15 NC 3 NC 16 NC 4 NC 17 NC 5 NC 18 CRM preset 6 Ground 19 NC 7 CRM mute 20 Ground 8 21 Listen 3 9 Ground 22 NC 10 Listen 2 23 Ground 11 GCH GLH GOH GCH GCH GHH GCH GCH 24 Listen 1 12 Ground 25 NC 26 Shield BACKVIEW PLUG 25 POLE SUB D MONITOR This is a high density SubD connector to be connected to the cable supplied by D amp R to interface between the TFT LCD and the PC If longer cables are necessary you can not simply extend this cable it is a special that needs to be manufactured by the original manufacturer Please give us a call when you want this arranged for you Octagon page number 101 FIFTH ROW This row is used for connecting power to the Octagon POWER MOTOR 2 3 pole speakon connector POWER LOGIC 2 3 pole speakon connector POWER MOTOR 1 3 pole speakon connector POWER LOGIC 1 3 pole speakon connector CHASSIS GROUND POWER 1 4 8 pole Speakon connector LISTEN 1 2 3 MIC inputs Line 12 volt Neutral 12 volt Gnd Ground Line 12 volt Neutral
21. MON Net MUTE 2 8 NEAR FIELDS The Octagon can handle two stereo near field systems The two switches on the far right of the CRM switch bank selects near fields to either the LS1 outputs or the LS2 outputs on which near field loudspeakers can be connected The near field outputs have their own level control and a mono switch The mono switch lets you check mono compatability The Mono switch allows the user to check for any out of phase signals or simply monitoring your mix in mono 2 9 DIM ri MAIN METER 2 TRACK CEM NEARFLINNZASFLES dim switch temporarily INEENT ENC NS 551 5 MAIN NEARFIELD 51 52 dims Octagon s CRM level by any user definable amount of MAN 2 STRACK CENTER LE SEND CEM 51 Ll2L amp attenuation This dimming circuitry is also active when the oscillator is turned on The LC Display shows the amount of int rrNTFEE Bait 2 dimming when activated L Ld Ld Ld Ld 2 10 MASTER CRM SIND BW ZANDE DS has a wide range Lal L of possibilities concerning its monitoring We shall describe any of the two rows of switches individually located in the upper right corner of the CRM section MASTER OUTPUT SURROUND to MONO This switch lets you convert the main stereo surround output into a mono outpu
22. 0_3 Ground 10 4 in phase O 4 out of phase MAIN Right 0_4 Ground 1 0_5 in phase 0_5 out of phase MAIN Left 0_5 Ground C G 6 in phase 10 6 out of phase MAIN Right 0_6 Ground C G 107 in phase O 7 out of phase MAIN Left 1 0_7 Ground D H 0_8 in phase 10 8 out of phase MAIN Right 1 0_8 Ground D H Octagon page number 139 Octagon External patchbay connections on Sub D connector AUX 1 8 AUX 9 16 Pin From Octagon Pin 1 1 0 1 in phase H Pinl4 1 0 1 out of phase C From AUX1 Pin 2 1 0 1 Ground G Octagon AUX9 102 in phase O 2 out of phase AUX2 0_2 Ground AUX10 0_3 in phase 103 out of phase AUX3 0_3 Ground AUX11 10 4 in phase O 4 out of phase AUX4 0_4 Ground AUX12 1 0_5 in phase 0_5 out of phase AUX5 0_5 Ground AUX13 6 in phase 10 6 out of phase AUX6 0_6 Ground AUX14 107 in phase O 7 out of phase AUX7 1 0_7 Ground AUX15 0_8 in phase 10 8 out of phase AUX8 1 0_8 Ground AUX16 Octagon page number 140 Octagon External patchbay connections on Sub D connector STUDIO 1 2 OSC EXTERN Pin From To Octagon Pin 1 1 0 1 in phase H Pinl4 1 0 1 out of phase C From STUDIO 1 Left Pin2 1 0 1 Ground G Octagon 102 in phase O 2 out of phase STUDIO 1 Right 102 Ground 10 3 in phase 103 out of phase STUDIO 2 Left 0_3 Ground 10 4 in phase O
23. 1 4 only The STEMS controls of the console s mastersection for STEM 1 4 only The Macro keys in any of the console s Control Modules for STEM 1 8 vay v ck v eck e rcv v ic Octagon page number 45 Please note that when the Macro keys used as master controls for the STEMS groups the Macros to be used should be set up for this purpose Instructions on how to program theMacros is explained in the section hereafter MATRIX SETUP Choose an input bank by pushing the bank up or down switches Bank1 Dir PLBck 1 8 Bank2 Dir PLBck 9 16 Bank3 Dir PLBck 17 24 Bank4 Dir PLBck 25 32 5 Dir PLBck 33 40 Dir PLBck 41 48 Bank7 Dir PLBck 49 50 Bank8 Dir PLBck 57 64 Activate Set up Routing Assign each input pair to a CRM output of the Matrix using the Dir and PLBck switch It is also possible to leave an input pair un routed if required SOLO and MUTE functions though will always remain active Activate SETUP STEM Itis possible to group several input pairs in a STEM group Assign each input pair to a STEM group using the Dir and PLBck switch SOLO and MUTE will always remain active Of course input pairs can be left out of STEM groups The controls will then only be accessable on the STEMS module itself Set or Reset the SRND L to SRND R switch Set or Reset the STEM group ISO switches How to program the Control Module s Macro keys for STEMS Groups master
24. 12 volt Gnd Ground Line 12 volt Neutral 12 volt Gnd Ground Line 12 volt Neutral 12 volt Gnd Ground Binding terminal connected to chassis 1 18 volt analog 1 18 volt analog 2 18 volt analog 2 18 volt analog 3 48 volt phantom 3 48 volt phantom 4 Ground analog 4 Ground analog XLR 3 pole female 1 Ground 2 Hot in phase 3 Cold out of phase Octagon page number 102 122 PATCH PANEL CONNECTORS All in outputs are connected via 25 pole sub D connectors in an identical way see diagram below and on back panel of the console s patch bay The drawing is as you see the plug when looking into it after having removed the cover Note Be sure to order high quality sub D connectors with large cable clamps and extended security screws for easy connection and removal to the back panel 25 pole SubD patch bay connectors are wired according to this principle you need to do is to wire 8 balanced pairs of cable into a 25 pole SUB D Male connector or use one 8 pair multi cable per connector Make a planning in advance where you want to position your signal processors and multitrack recording machines Then measure the needed length of cable needed for the job There are 60 SUB D connectors on the back of the patch bay for an Octagon 60 frame So if you want to have enough cable for the job multiply one length times 60 if all the cabling is going to one central point
25. 13 17 21 25 29 33 37 41 45 C Pin2 Multitrack input 1 5 9 13 17 21 25 29 33 37 41 45 G Pin 15 Multitrack input 2 6 10 14 18 22 26 30 34 38 42 46 Pin3 Multitrack input 2 6 10 14 18 22 26 30 34 38 42 46 Pin 16 Multitrack input 2 6 10 14 18 22 26 30 34 38 42 46 G Pin4 Multitrack input 3 7 11 15 19 23 27 31 35 39 43 47 Pin 17 Multitrack input 3 7 11 15 19 23 27 3 1 35 39 43 47 Pin5 Multitrack input 3 7 11 15 19 23 27 3 1 35 39 43 47 Pin 18 Multitrack input 4 8 12 16 20 24 28 32 36 40 44 48 Pin6 Multitrack input 4 8 12 16 20 24 28 32 36 40 44 48 Pin 19 Multitrack input 4 8 12 16 20 24 28 32 36 40 44 48 G Pin7 Multitrack output 1 5 9 13 17 21 25 29 33 37 41 45 Pin 20 Multitrack output 1 5 9 13 17 21 25 29 33 37 41 45 C Pin8 Multitrack output 1 5 9 13 17 21 25 29 33 37 41 45 G Pin 21 Multitrack output 2 6 10 14 18 22 26 30 34 38 42 46 Pin9 Multitrack output 2 6 10 14 18 22 26 30 34 38 42 46 Pin 22 Multitrack output 2 6 10 14 18 22 26 30 34 38 42 46 Pin 10 Multitrack output 3 7 11 15 19 23 27 3 1 35 39 43 47 Pin 23 Multitrack output 3 7 11 15 19 23 27 3 1 35 39 43 47 Pin 11 Multitrack output 3 7 11 15 19 23 27 3 1 35 39 43 47 G Pin 24 Multitrack output 4 8 12 16 20 24 28 32 36 40 44 48 Pin 12 Multitrack output B8 7 5 4 3 2 1 4 8 12 16 20 24 28 32 36 40 44 48 C uc
26. 34 42 in phase Pin3 Signal 2 10 18 26 34 42 out of phase Pin 16 Signal 2 10 18 26 34 42 Ground Pin4 Signal 3 11 19 27 35 43 in phase Pin 17 Signal 3 11 19 27 35 43 out of phase Pin5 Signal 3 11 19 27 35 43 Ground Pin 18 Signal 4 12 20 28 36 44 in phase Pin6 Signal 4 12 20 28 36 44 out of phase Pin 19 Signal 4 12 20 28 36 44 Ground 7 Signal 5 13 21 29 37 45 in phase Pin20 Signal 5 13 21 29 37 45 out of phase Pin8 Signal 5 13 21 29 37 45 Ground Pin21 Signal 6 14 22 30 38 46 in phase Pin9 Signal 6 14 22 30 38 46 out of phase Pin22 Signal 6 14 22 30 38 46 Ground Pin 10 Signal 7 15 23 31 39 47 in phase Pin23 Signal 7 15 23 31 39 47 out of phase Pin 11 Signal 7 15 23 31 39 47 Ground Pin 24 Signal 8 16 24 32 40 48 in phase Pin 12 Signal 8 16 24 32 40 48 out of phase a 5 4 3 2 1 Pin 25 Signal 8 16 24 32 40 48 Ground GCH GCH GCH GCH BACKVIEW PLUG 25 POLE SUB D Octagon page number 113 SIGNAL PROCESSOR OUTPUTS 1 4 normalled to stereo return inputs Pin 1 Pinl4 Pin 2 Pin 15 Pin 3 Pin 16 Pin 4 Pin 17 Pin 5 Pin 18 Pin 6 Pin 19 Pin 7 Pin 20 Pin 8 Pin 21 Pin 9 Pin 22 Pin 10 Pin 23 Pin 11 Pin 24 Pin 12 Pin 25 Signal processor 1 Left in phase H Signal processor 1 Left out of phase C Signal processor 1 Left Ground G Signal processor 1 Right in phase Signal processor 1
27. 4 out of phase STUDIO 2 Right 0_4 Ground 1 0_5 in phase 0_5 out of phase Extern Comm 105 Ground 6 in phase 10 6 out of phase Extern Comm 0_6 Ground 107 in phase O 7 out of phase Extern Osc 1 0_7 Ground 8 in phase 10 8 out of phase Extern Osc 1 0_8 Ground Octagon page number 141 Octagon External patchbay connections on Sub D connector 2TR A 2TR D OUTPUT 2TR E 2TR H OUTPUT Pin Pin 1 1 0 1 in phase H Pinl4 1 0 1 out of phase C CRM Left Pin 2 1 0 1 Ground G 102 in phase O 2 out of phase CRM Right 0_2 Ground 10 3 in phase 103 out of phase CRM Left 0_3 Ground 10 4 in phase O 4 out of phase CRM Right 0_4 Ground 1 0_5 in phase 0_5 out of phase CRM Left 0_5 Ground C G 6 in phase 10 6 out of phase CRM Right 0_6 Ground C G 107 in phase O 7 out of phase CRM Left 1 0_7 Ground D H 0_8 in phase 10 8 out of phase CRM Right 1 0_8 Ground D H Octagon page number 142 Octagon External patchbay connections on Sub connector 8 TRACK OUTPUT Pin From To Octagon Pin 1 1 0 1 in phase H Pinl4 1 0 1 out of phase C To ft Pin 2 1 0 1 Ground G Octagon CR 102 in phase 1 0 2 out of phase To Center 0_2 Ground Octagon CR R D ft R Le 0_3 in phase O 3 out of phase To Right JO 3 Ground Octagon C 10 4 in phase O 4 out of phase To SR
28. 8 Tie line group 9 16 should be wired so that Tie line 9 corresponds with Signal 1 in the Sub D connector and Tie line 16 to signal 8 in the Sub D connector You can prepare all your Tie line cabling in this way up to Tie line 177 184 There are in total 23x Sub D Tie line connectors to wire Octagon page number 104 1 There is one spare connector below the Tie lines that be used for custom options when needed There are 3 more in the rest of the patch bay connector section If no special request is made for these connectors the holes are covered MASTER INSERT SENDS Pin 1 Left in phase Pinl4 Left out of phase C Pin2 Left Ground Pin 15 Center in phase Pin3 Center out of phase Pin 16 Center Ground Pin4 Right in phase Pin 17 Right out of phase Pin5 Right Ground Pin 18 Surround left in phase Pin6 Surround left out of phase Pin 19 Surround left Ground Pin7 Surround right in phase Pin 20 Surround right out of phase Pin 8 Surround right Ground B8 7 5 4 3 2 1 LS LT Lr LT LF FO Pin 21 Sub Woofer in phase GCH GCH GCH GCH GCH GCH GGH GEH Pin9 Sub Woofer out of phase Pin 22 Sub Woofer Ground Pin 10 Left 2 in phase Pin 23 Left 2 out of phase Pin 11 Left 2 Ground BACKVIEW PLUG 25 POLE SUB D Pin 24 Right 2 in phase Pin 12 Right 2 out of phase Pin 25 Right 2 Ground Octagon page number 105 MASTER INSER
29. Control Module is located left or right from the upper module panpot in the controlRouting to Master outputs 11 7 Below this field of 6 X 8 switches is a row of 4 switches which are used to determine the buss structure format in which a module can be set up As the Octagon is a Multi Format console it may be desirable to be able to configure the Group output busses in groups for use in pre recordings or STEMS Following is an explanation of the functioning of the 4 FORMAT SELECTION SWITCHES labelled MONO STEREO LCRS 5 1 SDDS MONO When the mono switch is activated any individual buss can be assigned because there is no pan pot involved and the panpot is taken out of the circuitry This mode is also known as single buss routing STEREO When this switch is active the pan pot will be switched into the circuitry and pans between odd left and even right busses just like in a conventional stereo console LCRS In this mode the pan pot will pan between buss numbers in the following L C R SRND sequence In this way the Group output busses can be configured ideally for Dolby Stereo Pro logic pre mixes and or STEMS Following is a chart showing the buss panning structure in LCRS mode L C R SRND L R SRND 1 2 3 4 5 6 7 amp 9 10 11 12 13 14 15 16 17 18 19 20 2 22 23 24 25 26 27 2 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 In the above setup the assign sequence is Left Center Right
30. Joystick area determines the mixing format diver gence and assignment to the 48 track buses or 8 main output buses The following basic formats can be programmed via the Setup switch Stereo LCRS 5 1 SDDS In all formats individual combinations of outputs can be programmed such as STEREO L R L2 R2 SI Sr off LCRS L C R S L C R L R L R S C S off 5 1 L C R SI Sr L C R L R L R SI Sr C SI Sr L C R S L R S C S off SDDS L L2 C R2 R SI Sr Assignment LED s placed around the LED matrix indicate which outputs have been activated All the usual solo mute and automation switches are of course available when using the joysticks A detailed explanation 9 will be given in the manual s How to LEFT SURGING section MONT JOYSTICKS Octagon page number 19 2 19 COMMUNICATIONS The communications section has three listen switches and three talk back switches The talk back switches are only active when 2 COMMUNICATIONS depressed while the Communication switches are latching r and at the same time activate the Talk back switch making 797 11111 communication very easy either way 7A L d The macro switches will be discussed later they are intended for fast access to often used functions and setups This is also the case for the SOLO 1 to 3 presets The Solo reset cancels all active soloed modules The red light switch acti
31. Left Right speakers Note on CRM only LCRS This format switch for the CRM only assigns the inner left and right signals L2 R2 to the left right CRM outputs The stereo Surround signals are summed to mono and the SubWoofer outputs is assigned to the center STEREO This switch sums the inner left right L2 R2 the SubWoofer the Surround and the Center signals all to the left right outputs of the CRM MONO When both the LCRS and the Stereo switches are activated the CRM format will convert all signals into a mono signal on the control room monitors only CRM INSERT 1 This switch inserts a connected processor in all of the 8 CRM outputs When a decoder is inserted this switch converts the encoded stereo signal into a full Pro Logic or circle Sound surround signal monitored over your four five eight CRM monitors When this switch is in its On position a normal or encoded stereo signal will be heard If the encoder is active of course When no Decoding device is connected to the Octagon there will be no signal when the DECODER ACTIVE switch is on The Sub Woofer output will not give a signal when the Decoder Active or 2 Track switches are depressed Octagon page number 16 CRM INSERT 2 This switch nserts an eventually connected processor in all of the 8 CRM outputs The second insert can be used to insert an academic filter CRM TO LOUDSPEAKER SYSTEM 1 The Octagon has two complete sets of connectors to feed independent 8
32. Noise and distortion are kept to an absolute minimum An equalizer on off switch is fitted to allow easy comparisons 3 3 AUX 1 16 SECTION All Aux sends can be sourced from either the upper signal path or the lower signal path A LED on every module helps you to remind you of the setting programmed locally All Aux pairs have MUTE switches that are under software control and part of the Power VCA automation system PRE POST switching for Aux 1 to 12 is done per pair in the control module A LED on every module helps you to remind you of the setting programmed locally Aux 1 2 can be assigned to the routing as well AUX 9 10 and AUX 11 12 are per pair assignable to the Aux busses 9 10 11 12 13 14 15 16 All these settings are displayed in real time in every module when a selection is made in the Control Module Octagon page number 25 omnes AUX PRE 1 2 ny PAN mute PRE The Auxes 1 2 can be assigned to the 48 busses through the digital routing system The green status LED indicates when AUX 1 2 is assigned to one or more of the routing busses Note When Aux 1 2 are assigned to the routing busses it is not possible to use the busses for anything else Routing AUX 1 2 to the Multitrack Busses Step 1 Press SELECT on the module you would like to route auxes from Step 2 Press the gray RTNG switch in the AUX section labeled RTNG Step 3 Press the Buss switch or switches you woul
33. Right out of phase Signal processor 1 Right Ground Signal processor 2 Left in phase Signal processor 2 Left out of phase Signal processor 2 Left Ground Signal processor 2 Right in phase Signal processor 2 Right out of phase Signal processor 2 Right Ground Signal processor 3 Left in phase Signal processor 3 Left out of phase Signal processor 3 Left Ground Signal processor 3 Right in phase Signal processor 3 Right out of phase Signal processor 3 Right Ground Signal processor 4 Left in phase Signal processor 4 Left out of phase Signal processor 4 Left Ground Signal processor 4 Right in phase Signal processor 4 Right out of phase Signal processor 4 Right Ground B8 7 5 4 3 2 1 Vo qoe GOH GCH GCH GCH GCH GCH GCH BACKVIEW PLUG 25 POLE SUB D Octagon page number 114 SIGNAL PROCESSOR OUTPUTS 5 8 normalled to Pin 1 Pinl4 Pin 2 Pin 15 Pin 3 Pin 16 Pin 4 Pin 17 Pin 5 Pin 18 Pin 6 Pin 19 Pin 7 Pin 20 Pin 8 Pin 21 Pin 9 Pin 22 Pin 10 Pin 23 Pin 11 Pin 24 Pin 12 Pin 25 ste Signal processor 5 Left in phase H Signal processor 5 Left out of phase C Signal processor 5 Left Ground G Signal processor 5 Right in phase Signal processor 5 Right out of phase Signal processor 5 Right Ground Signal processor 6 Left in phase Sign
34. SELECT switches All modules that are assigned to this Control Module are lit If you made a mistake a module can be taken out again by de selecting it 4 When all required modules are assigned press ENTER Select switches will go off now 11 3 HOW TO USE THE CONTROL MODULE It should be understood that settings in a module can only be performed when the SELECT button in either the upper or the lower section is activated telling the Control Module that all actions taken are for that specific module As soon as you press the upper or lower SELECT button of a module the Control Module will show the current status of that particular module with its LEDS Let s assume that nothing is activated and your looking at a dark Control Module Notice that you also can select a module by rotating the Module Select knob positioned right from the display Try it and see that the SELECT switches in the modules will light accordingly to the selected module Octagon page number 63 11 4 GROUP OUTPUT SECTION Positioned at the top of the Control Module are the 48 routing switches for assigning the 48 Group output busses When pressed the LED below the switch will lit up indicating that this particular buss has been assigned Note In order to send signals to the routing section from any input the RTNG switch in the output selection area for the U pper and L ower module part needs to be activated first This section in the
35. Surround Octagon page number 64 5 1 SDDS In this mode the panning for Dolby digital DTS and Sony SDDS is divided across the busses in the following way L S L S R SW 12 R2 1 2 3 4 5 6 7 amp 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 In the above setup the assign sequence is Left Center Right SurroundLeft SurroundRight SW Left2 Right2 11 5 INPUT SELECTION The switches are labeled INPUT TAPE PLAYBACK and GROUP DIR ECT for both the upper and lower section It is also possible not to select any input signal INPUT The INPUT switch selects either a Mic or line signal The input module has a local MIC LINE switch that takes care of this selection TAPE The TAPE input can be assigned to the upper section as well as to the lower section GROUP DIR If this switch is pressed either the group output signal from that specific group corresponding with the module s number is connected to the input or a direct signal post lower fader dir is connected to the inputs For example if the selected module is number 24 you will have the signal from Group output buss 24 NOTE Due to the enormous flexibility of the Octagon it is possible to create feedback when connecting the DIR output from the upper lower section to the input of the upper lower section assignments are instantly and do not need any form of saving storing pushbutto
36. Surround Left Surround amp 9 Right Subwoofer Left2 Right2 Row 3 Master main outputs Left Center Right SurroundLeft Surround Right Subwoofer Left2 Right2 Row 4 Eight track inputs normalled from the main outputs Row 5 6 Two Track A to H normalled to the main Left Right outputs Row 6 Aux 1 3 5 7 9 and Studio 1 left right Row 7 8 Track outputs connected to the CRM 8 track input Octagon page number 48 Row 8 9 2Track outputs A to connected to CRM 2 track inputs Row 10 Two sections of 4 parallel wired bantam jacks Row 11 12 Aux 1 to 8 outputs normalized to signal processor inputs on the next row Row 13 14 Aux 9 16 outputs normalized to signal processor inputs on next row Row 15 Four stereo signal processor outputs normalized to the stereo return modules 1 to 4 Row 16 Four stereo return inputs 1 4 normalled from signal processor outputs Row 17 Four stereo signal processor outputs 5 8 internally normalled to dual stereo return modules Row 18 Stereo return 5 to 8 inputs normalized from signal processor outputs 5 8 Row 19 two sets of 4 paralleled jack sockets Row 20 Four signal processor outputs nr 9 12 normalled to stereo return modules 9 12 on the next row Row 21 Stereo return modules 9 12 normalled to signal processor outputs 9 12 Row 22 Signal processor outputs 13 16 normalled to stereo return modules 13 16 on the next row Row 23 Stereo return modu
37. This could be from one or more channels at a time 2 The playback In this mode you would listen to what has been recorded on the multitrack machine 3 The overdub Overdubbing is listening to already recorded tracks and recording on empty tracks until all tracks are filled 4 The remix Playing of all recorded tracks together with signal processing equipment and all that is necessary to create the final mix down 5 The MIDI or Virtual Tracking Programmed keyboards drum machines reverbs effects any singing and who knows what else all at the same time direct to your Dat Machine two track master machine or cassette deck 6 The film style Recording process in which a reduction of already recorded sounds will be mixed down into pre recordings Stems in a format 7 1 THE TRACKING SESSION This is normally the beginning of a project All input channels are placed in the mic mode by leaving the line switch in the up position if the microphone input is to be used in this upper Phantom powering is applied if necessary The EQ switch should be in the up position unless you require EQ on that upper signal The signal flows through the Upper fader and is available postfader to be routed by way of the routing system feeding the input to your multitrack recorder The LED bargraph reads the outgoing signal if the master Tape switch is in its off state Octagon page number 51 Microphone Line The amount of gain required may dep
38. and servicing Head Office Factory D amp R Electronica Weesp B V Rijnkade 15B 1382 GS Weesp The Netherlands Tel 31 294 418 014 Fax 31 294 416 987 Website http www d r nl E mail info d r nl Octagon page number 8 Octagon s CHASSIS SYSTEM 1 1 OCTAGON S CHASSIS The Octagon is available in two frame sizes 60 and 84 The basic frame has one blank module located on the extreme left of the frame The two blanks positioned left and right from the master section are part of the master sections electronics and can not be replaced by input modules or other equipment filling these positions The blank on the far left side of the frame cannot be replaced with an input module as they conceal mechanical constructions and internal wiring Included with Octagon s frame are the master section with associated VU or LED peak metering patch bay all internal cable harnessing and rack mount power supplies Frame 60 The frame 60 will fit 60 dual path mono modules a maximum of two control modules and a maximum of 8 dual path stereo modules the master section and patch bay 327 OM 1287 n i Frame 60 standard configuration From left to right 16 dual path mono modules control module 8 dual path mono modules master section 16 dual path mono modules a control module 8 dual path mono modules a blank module and a maximum of 8 dual path stereo return modules 16
39. are the two automated joysticks with its Virtual Vision concept of showing you the position of the audio signal when controlled from D amp R s PowerVCA automation The Set up switch serves actually the same purpose as the routing evel 20 0dB SELECT switches in the modules As soon as the Setup switch is activated the following menu will be shown Depressing S2 Format will display the following selection criteria Joystick 1 setup Asgn Out FORMAT CRMLevel 20 0dB Your selection can be seen alongside the LED display Joystick 1 setup The LED s are showing you the active speaker outputs You can choose out of the following formats Hor Ver Clr Stereo Left Right L C R S L C R Surround mono 5 1 Left Center Right Surround stereo SDDS Left L2 Center Right R2 Surround CRMLevel 20 0dB stereo Joystick 1 setup Select with encoder You confirmed this with the lt Enter gt switch Format Stereo ASSIGN The next program step in the joystick setup is the assignment to the busses or the main outputs CRMLevel 20 0dB Selection among the busses will be displayed as follows Joystick 1 setup Main 1 8 9 16 17 24 25 32 33 40 41 48 Select with encoder The LEDs alongside the ledmatrix confirm your choice Assign to Buss 1 8 OUT The Output setup for the joystick is always dependent upon the format selection made It is never possible for instance to activate more than 2 outputs
40. for further wiring to an external patch bay or 19 rack Every 25 POLE FEMALE SUB D CONNECTOR has the following standard wiring for 8 balanced pairs numbered from 1 up to 8 See drawing below B8 7 5 4 3 2 1 y nuum Y camur E aum GOH GOH GOH GOH GOH GCH GEH BACKVIEW PLUG 25 POLE SUB D Octagon page number 103 Every Sub D connector is wired for 8 balanced signals Pin Signal 1 in phase Pinl4 Signal 1 out of phase C 2 Signal 1 Ground Pin 15 Signal 2 in phase Pin3 Signal 2 out of phase Pin 16 Signal 2 Ground Pin4 Signal 3 in phase Pin 17 Signal 3 out of phase 5 Signal 3 Ground Pin 18 Signal 4 in phase Pin6 Signal 4 out of phase Pin 19 Signal 4 Ground 7 Signal 5 in phase 7 6 5 4 3 2 1 Pin 20 Signal 5 out of phase GCH GGH GGH GGH GCH GGH GEH Pin8 Signal 5 Ground Pin 21 Signal 6 in phase Pin9 Signal 6 out of phase Pin 22 Signal 6 Ground BACKVIEW PLUG 25 POLE SUB D Pin 10 Signal 7 in phase Pin 23 Signal 7 out of phase Pin 11 Signal 7 Ground Pin 24 Signal 8 in phase Pin 12 Signal 8 out of phase Pin 25 Signal 8 Ground TIE LINE CONNECTORS The left row of Tie lines are direct connections to the patch bay front panel Signal 1 in the Sub D connector corresponds with the lowest number of every group of 8 Tie lines So Tie line 1 8 naturally corresponds with SUB D 1 to
41. individually Mic inputs are located on the back of the console and are built around the same high quality mic pre amps as the console s inputs The communication buttons are located above the TALK BACK switches in the Communications area When one of the Listen mics is activated the internal Talk back mic will also be activated Octagon page number 11 2 4 STUDIO 1 2 SECTIONS STUDIO 1and STUDIO 2 sections get their signal from several different places and feed two sets of stereo outputs which are also located in the master section of the patch bay The 2 studio outputs can source the Aux 3 4 and or Aux 1 2 and or Left2 Right2 and or Left Right and or the 2 Tracks The 2 Tracks switch needs a little more explanation With the Octagon you can listen to stereo machines in the studio while listening to the stereo lower outputs in the control room by pressing one of the eight 2 track source switches and the 2 Tracks switch By having all the source switches in their up position no signal is fed to the Studio systems Aux 1 2 and Aux 3 4 can be mixed from the input modules and fed to the Studio 1 2 or both outputs With the 2 Tracks switch in the down position a selection can be made from any or all two track source switches in the 2 Tracks section If you would like to build up a mix from one of the Aux pairs press Aux 1 2 and or Aux 3 4 switches Studio 1 2 or both can be used for stereo headphone feeds or studio playbac
42. is possible to switch a group of inputs simultaneously between DIR PLAYBACK Both SOLO and MUTE can also be activated for such a group at the same time A total of 8 groups can be programmed The matrix module is able to show 8 input pairs maximum at a time Through the Bank UP and Bank Down switches all other Matrix groups of 8 can be brought to the surface for adjusting 11111111 1114 d di a Ll zi 1 15 Ia LI Ll SOLO When the SOLO switch is activated on one input pair dir playback E itis anormal PFL function If SOLO is activated via a group function all other input pairs will be muted SIP i MENT nn M TEM MASTER CONTROL OF FUNCTIONS STEM groups can be controlled via the master Dir and master JE E Playb switches By isolating one STEMS group via the ISO mode this group will not slave to the master control switches 518 The Surround L to Surround R function adds the Surround L signal 55 5132 c to the Surround R bus when using the console in a 4 channel format 222212 The complete SET UP of the matrix module will be stored by gt Octagon s Console recall and Console dump system wer were nc vers For the master functions of the STEMS groups the following controls can be used SS ee ME The STEMS module s own controls for STEM
43. overdub Connected to the LOWER section of the dual path module you select the TAPE switch to follow the tape machine and do all your sync switching from the tape machine or remote The headphone lower is on the Aux send 1 2 busses 7 4 THE REMIX SESSION Remix is the process of combining all recorded tracks with keyboards and drum machines for MIDI signal processing and sending the mix a two track master machine DAT machine or cassette recorder On the dual path module your multitrack is connected to the LOWER path This routes the tape return to the LOWER input and leaves the mike line inputs to the upper section of the module At this point you can use either a mike or line input in the upper section which will feed the stereo mix buss This will give you two inputs per module in the final mix You can activate desired EQ on the upper or Lower path The incoming signals can be routed to the stereo mix buss via the Control Module VCA Controle sub groups can be made up as required in the same way as during recording Aux sends 1 16 can get their signal from the LOWER section 7 5 THE MIDI OR VIRTUAL SESSION In most MIDI studios there will be an 8 Track rather than a 16 Track or 24 Track tape machine The majority of music production is programmed on a sequencer using MIDI keyboards sound modules drum machines or other MIDI related equipment Therefore you will only require tape tracks for vocals and those instruments not ad
44. signal to avoid digital overloads LOWER m But for engineers that are used to the old way of observing peak levels a 6 jumper is located on every led meter to convert the meters sensitivity to a 6dB reading compared to VU meter sensitivity Octagon page number 41 511 MODULE SELECT SECTION The LCD shows all sorts of information to help you to program the modules The software is written in a way that after each step the display shows you your next option It will be explained in the How to part of the manual 5 12 ENCODER large knob on the right side of the LCD MODULE SELECT The digital encoder is used to change data displayed in the LCD MENU SHOW MAD ESCAPE 513 COPY The Copy switch lets you load all settings of E a module in a copy paste buffer for further PASTE UNIDO ENTER processing just like a word processor Copy also saves all faders and mute settings m 3 E but only when the Control Module is in its __ WE no module mode 514 MISC This switch has more than one function Normally this switch determines which module should react on the control module if this is not done with the SELECT switch in the modules themselves In the Macro setup mode there are more functions available in a lower layer 515 SHOW When this function is activated it gives you the possibility to see which modules have identical assignments by pus
45. switch 2 Activate the FDR CAL switch now the fader jumps to OdB 3 Deactivate the FDR CAL switch and the fader jumps to its previous position Ad more faders to the calibration function Press the escape switch first so the LCD shows Module None 1 Press the SHOW switch first The display shows Module Select Function 2 Press the FDR CAL switch 3 Then add faders with the SELECT switch or remove faders 4 Finalize this sequence by pressing the ENTER switch The display will now read Module None again Octagon page number 68 11 9 SAFE The SAFE switch is activated when it is desirable that the selected module shall not be muted by the solo system SIP Solo In Place Again a green LED in the module indicates that it is in the SAFE mode HOW TO 1 Make sure the Control Module is in the neutral position display should read Module None 2 Select the requested module 3 Press the required SAFE SIP switch Now thwe LED in the module will turn on to show you that module is isolated from the destructive SIP system 4 4 Finish this procedure by pressing ENTER or by selecting another module An alternative method is Make sure the Control Module is in the neutral position display should read Module None 2 Press SHOW LCD shows Module all Select Function 3 Press SAFE SIP for the U pper or L ower section and press the SELECT module number switch in every module that
46. the dirty ones for lighting air conditioning coke machines etc Do not intermix these two types of outlets AC interference can be greatly reduced by using an isolation transformer or some type of balanced ac power device to power outlets Ground this transformer directly to the central star point After all equipment is connected to the ac power check with a ohm meter or continuity tester to be sure of no possible chance of ground loops equipment should be physically located as far as possible from the main breaker panel and should be totally isolated from the equipment rack and other equipment so ground loops are avoided Equipment can be mounted in wood rack rails to avoid ground loops or you can use HUM FREES Now you can run a 12 stranded wire with jacket from each piece of equipment to the central star ground point ground wires should be the same length with a tolerance of plus or minus 10 in order to have the same ground potential everywhere On the equipment ends of each ground wire you should solder a round hole screw terminal Remove a chassis screw from each piece of equipment and file the paint in that area so it will make good contact when you connect the terminal Next connect the ground wire terminal to each piece of equipment and connect each wire at the other ends to the central star ground point Octagon page number 57 Installation audio 9 0 INSTALLATION AUDIO 9 1 INTERFACE POWER AMPS Th
47. when selected and the ENTER switch confirms this The final parameter of the dynamics is the Limiter settings this is shown as seen to the nght Here you can bypass the limiter and change the threshold level with the encoder The limiter CRMLevel 20 0dB ratio is fixed The ENTER switch confirms the settings Limitersetings Md 1 naturally Lim Thr An 1RAR MISC The final function called miscellaneous shows the following display as seen on the right Tot means that you can totally switch the dynamics on or off for that module Key means controlling the gate input from one of the other 7 dynamics processors located on that board Link let s you combine the compressor limiter control voltage of one or more of the 8 dynamics processors located on one board LIB When the lib function is activated the display changes in the CRMLevel 20 0dB following way A maximum of 16 dynamics settings can be Dynamics library 16 saved and recalled from the internal library Octagon page number 81 HOW RECALL RESET THE CONSOLE CONSOLE RECALL RESET CLEAR a PRESET clear in earlier models GENELE TOTAL This function deletes an already programmed preset EER m m 1 to 5 PRESET PREET 2 PRESET 5 4 PRESE 4 ALL SELECT total select in earlier models This function selects the entire console to be sored O O m O or recalled a NE 5 RECALL CONSOLE Horiz recall earlier models T
48. you want this SAFE function to be active 4 Finalize this procedure with the ENTER switch 11 10 LOWER PAN LCR and STEREO SURROUND When the LCR switch is activated in the control segment below the output assignment row of switches this pot will behave as a real Left Center Right pot for both the main busses and the 48 group busses The ST SRND switch converts the mono surround into stereo activating the LCR surround pot above the main pan pot All these assignments have real time LED indicators in the control module as well as in the module itself for ease of recognition your settings HOW TO 1 Make sure the Control Module is in the neutral position display should read Module None 2 Select the requested module 3 Select the LCR mode and or ST SRND in the Control Module 4 Finish this procedure by pressing ENTER or by selecting another module Octagon page number 69 11 11 FADER SET Group Setup in earlier models The grey FDR SET switches for the upper and lower section are used to bring the faders to their OdB position or their off position HOW TO Ta 1 Make sure the Control Module is in the neutral position display should read Module None 2 Select a module 3 Press the required FDR SET switch for the Upper or Lower section 4 The corresponding fader will go to its OdB position 5 When deactivating the FDR SET switch the fader moves back to it s previous position 142 1114 Alte
49. 0_4 Ground Octagon Le C 10 5 in phase 105 out of phase To SRND 0_5 Ground Octagon Right CR 1 0 6 in phase 10 6 out of phase To Sub 0_6 Ground Octagon Woofer CR 10 7 in phase O 7 out of phase To 0_7 Ground Octagon 1 0_8 in phase 1 0 8 out of phase To 0_8 Ground Octagon Octagon page number 143 26 0 DECLARATION OF CONFORMITY Manufacturers Name D amp R Electronica Weesp b v Manufacturers Address Rijnkade 15B 1382 GS Weesp The Netherlands declares that the product Octagon 60 84 series conforms to the following product specifications EMC NEN EN 55103 1 1995 NEN EN 55103 2 1995 NEN EN 55013 1 1994 Supplementary Information The products herewith complies with the requirements of the EMC Directive 89 336 EEC 1989 as amended by the CE Marking Direc tive 93 68 EEC 1993 D amp R Electronica Weesp b v Rynkade 15 B 1382 GS WEESP The Netherlands President of Engineering The product is tested in a normal users environment PRODUCT SAFETY 27 0 PRODUCT SAFETY This product is manufactured with the highest standards and is double checked in our quality control department for reliability in the HIGH VOLTAGE section CAUTION Never remove any panels or open this equipment No user serviceable parts inside Equipment power supply must be grounded at all times Only use this product as described in user manual or brochure Do not operate this equi
50. 1 Hit the RECALL CONSOLE switch the display will ask you to select one of the 5 presets now and asks you if you want to recall the master settings Now choose the modules that you want to recall by selecting the modules numbers or select the ALL SELECT CRMLevek 20 0 dB switch to recall the preset settings As soon as you select a module Horizontal all faders mutes and all soft switch settings will go instantly to the Modules All 9 stored setting Select preset 1 5 Octagon page number 82 If you push the switch positioned below the display location that asks Mstr it will show you one of the aux pots with an indication that the pot is positioned too high gt gt gt gt gt or too low lt lt lt lt lt or it says okay if the potentiometer s position is okay RECALL MODULE SETTINGS To recall the modules potentiometer settings you have to turn a potentiometer positioned far left on a selected module From all the selected modules the one positioned far left is the master for a horizontal recall of all settings Now too you can turn that potentiometer positioned far left of the selected modules select switch on and immediately all LED bar graphs in the modules will show the corresponding positions of all identical potentiometer functions You now can very easily position all pots in the modules that have a LED bar that is on As soon as you have nulled out all LED s you can go to the next potentio
51. 3 17 METER READ The module s Peak VU led bar graph meter can be assigned to read the input signal Mic Line the Tape input signal or the Group output signal of the module Selection is made in the Control Module It is also possible to switch the ballistics of the meter between VU and Peak Octagon page number 28 GROUP Or 3 18 UPPER ROUTING STATUS SECTION There are 10 LED s positioned left of the upper pan pot that indicate the basic routing of the upper section Every module shows locally that an assignment has been made yes or no by way of an indicator LED To know where the assignment has been made to the SELECT switch has to be activated The Control Module shows in the routing section which buss is assigned to let you know what is routed The upper status green LED s section shows the Left Center Right assignments The yellow LED is on when the surround busses are assigned The red LED is on when the Sub Woofer is assigned The next red LED indicates that the Left 2 and Right 2 output busses have been assigned The yellow LED indicates assignment to the main Left Right busses The last three green LED s show assignment to the routing busses and the Joysticks of the upper modules signal 3 19 LOWER PATH The LOWER section is the second signal path in the Octagon dual path mono module It has a full 4 band eq and can access the 16 aux sends too insertable LCRS pan pot and Mute amp Solo switch
52. 3 2 1 fe a mra Ur an CE GCH GCH GCH GCH GCH GCH GCH GCH Pin7 Surround right in phase Pin 20 Surround right out of phase Pin8 Surround right Ground Pin21 Sub Woofer in phase Pin9 Sub Woofer out of phase Pin 22 Sub Woofer Ground BACKVIEW PLUG 25 POLE SUB D Pin 10 Left 2 in phase Pin 23 Left 2 out of phase Pin 11 Left 2 Ground Pin24 Right 2 in phase Pin 12 Right 2 out of phase Pin 25 Right 2 Ground Octagon page number 110 2TRACK 2TRACK D OUTPUTS normalled to CRM inputs Pin 2 track A Left in phase Pinl4 2 track A Left out of phase C Pin2 2 track A Left Ground G Pin 15 2 track A Right in phase Pin3 2 track A Right out of phase Pin 16 2 track A Right Ground Pin4 2 track B Left in phase Pin17 2 track B Left out of phase Pin5 2 track B Left Ground Pin 18 2 track B Right in phase Pin6 2 track B Right out of phase Pin 19 2 track B Right Ground Pin7 2 track C Left in phase Pin20 2 track C Left out of phase Pin8 2 track C Left Ground Pin21 2 track C Right in phase Pin9 2 track C Right out of phase Pin 22 2 track C Right Ground Pin 10 2 track D Left in phase Pin 23 2 track D Left out of phase Pin 11 2 track D Left Ground Pin 24 2 track D Right in phase Pin 12 2 track D Right out of phase Pin 25 2 track D Right Ground B8 7 5 4 3 2 1 GOH GCH GCH GEH GOH GCH GCH GEH BACKVIEW PLUG 25 POLE S
53. IE 4 8 9120 ssnq unl 8 i wu 1 1 1 1 1 1 ngpo LL OL 2120 ejnpoyw Octagon page number 127 jo uejjeg uBiseq V 866 9 0 18 0 INTERFACING WITH DS4E CP65 492 XISDISS 186917620 xoi AA 5942 3950 00 2 He 1 889M SO 2861 f 060120 5 1 3 1 1 e 5 a 8 1 D LK i SZ SZ i 1 515 pun X141DN 403IUON ME LL 1 1 2 RN D REN 21181 1 ME 714618 u9 npoN c PT ve 2 4 TF a TART ARE A 1 OU NAT 85 zy y y S Ur UA UA E tik ES NAA V 58942 eae g 5 5 1VO 3954
54. Interfacing with JS 300 21 0 Filmstyle mixing signal flow 22 0 Filmstyle mixing without Matrix 23 0 Filmstyle mixing setup 24 0 Filmstyle mixing with Matrix 25 0 External patchbay connections 26 0 Conformity statement according to ISO IEC Nr 22 and EN 45014 27 0 Product safety Octagon page number 6 Dear Octagon owner The Octagon was created using the latest in computer aided design and assembling technology and incorporates the most advanced circuit components available which results in the Octagon being another D amp R product unsurpassed in the electronics industry In D amp R s quest to raise the standard Octagon is designed and manufactured to the highest degree We are confident that the Octagon will play the central roll in producing state of the art recordings for many years and wish you much success We value your suggestions and would appreciate you taking the time to complete and return the questionnaire included at the front of this manual once you become familiar with your Octagon We listen and learn from your comments and you can be assured that our research and development department will take your comments very serious With kind regards Duco de Ryk President D amp R Electronica Weesp b v Due to a policy of continuous product improvement D amp R reserves the right to change specifications and appearance without prior notice 9 RAISING STANDARD Octagon page number 7 Octa
55. LECT switches will go off 7 Normally use the console as desired 8 Push the PASTE switch and all snapshot data will instantly reset all faders and mutes at any moment in your mix MISC MENU in earlier models This switch has many functions depending on where you are in the programming As described before it is used to assign modules to a control module It is also used in the MACRO setup Show and ALL show different functions that will be explained later SHOW This function let s you see which modules have the same programming locally It is used in the following way HOW TO 1 Depress the SHOW switch 2 Now select a function in the Control Module and the local SELECT switches with the module numbering will show modules that have this function active A neat thing is that being in this mode you now can easily add or delete programmed functions at the same time with the SEL switch This is a very easy and fast way of programming The show function can also be used for snapshot recall via the COPY PASTE function as described above Octagon page number 73 MACRO If you activate this switch a sequence of programming instructions can be assigned to one macro switch Activating a programmed Macro switch will perform a number of functions that are user defined The Octagon has per Control Module 25 Macro switches Every macro switch can store a maximum of 48 instructions we have called these slots Every slot can s
56. OLE FEMALE SUB D CONNECTOR 1 To Encoder Left in phase 14 To Encoder Left out of phase 2 Ground 15 Encoder Right in phase 3 To Encoder Right out of phase 16 Ground 4 To Encoder Center in phase 17 To Encoder Center out of phase 5 Ground 18 To Encoder Surround mono in phase 6 To Encoder Surround mono out of phase 19 Ground 7 From Encoder Surround right mono in phase 20 From Encoder Surround right mono out of phase 8 Ground 21 From Encoder Center in phase 9 From Encoder Center out of phase 22 Ground 10 From Encoder Right in phase 23 From Encoder Right out of phase 11 Ground B8 7 5 4 3 2 1 24 From Encoder Left in phase GCH GGH GCH GCH GCH GEH 12 From Encoder Left out of phase 25 Ground PLIG 25 POLE SUB D Octagon page number 91 PRE ENCODER 25 POLE FEMALE SUB D CONNECTOR 1 To Encoder Left in phase 14 To Encoder Left out of phase 2 15 To Encoder Right in phase 3 To Encoder Right out of phase 16 Ground 4 To Encoder Center in phase 17 To Encoder Center out of phase 5 Ground 18 To Encoder Surround mono in phase 6 To Encoder Surround mono out of phase 19 Ground 7 To Encoder Surround Left in phase 20 To Encoder Surround Left out of phase 8 Ground 21 To Encoder Surround Right in phase 9 To Encoder Surround Right out of phase 22 Ground 10 To En
57. Octagonman lwp OCTAGON OWNERS MANUAL Octagon page number 1 Octagon Manual Introduction and Product Overview 1 0 The Chassis system description 1 1 Octagon chassis 2 0 Master section description 2 1 Oscillator Talk back section 272 Talk back section 2 3 Listen section 2 4 Studio 1 2 sections 2 5 2 Tracks 2 6 Solo section 2 7 Control Room Monitor section 2 8 Near fields 2 9 Dim 2 10 CRM switches 2 11 CRM mutes 2 12 CRM preset 2 13 CRM Dim mutes 2 14 Main fader 2 15 Main LCD screen 2 16 Dynamics section 2 17 Console Recall Reset 2 18 Joysticks 2 19 Communications 2 20 Control Monitor Matrix 2 21 Track ball 2 22 AUX Master section 2 23 Metering 2 24 Master Inputs Outputs 3 0 Dual Path mono module 3 1 Upper section 3 2 Equalizer section Upper path 3 3 Aux 1 16 section 3 4 Pan pot 3 5 Insert 3 6 Dynamics 3 7 PHASE 3 8 AUTO 3 9 PFL 3 10 PEAK 3 11 Solo System 3 12 Fader Calibration 3 13 Group Control Display Octagon page number 2 4 0 3 14 3 15 3 16 3 17 3 18 3 19 3 20 3 21 3 22 3 23 3 24 3 25 3 26 3 27 3 28 3 29 3 30 3 31 3 32 3 33 3 34 3 35 3 36 3 37 3 38 Select Mute Fader Meter Read Upper Routing Status section Lower path AUX sends Lower path Equalizer section Lower path High Low pass Filter LCRS Pan pot Insert Lower path Dynamics Lower path PHASE Reverse Lower path AUTO Lower path PFL Lower path PEAK Lower path Safe indicator L
58. P 1 Make sure the Control Module is in the neutral position display should read Module None 2 Position the CGM around OdB 3 Press the CGM s SETUP switch that is right above the CGM fader that you want to be a master 4 Assign individual input module slaves by pressing their SELECT module number switches The Group display in the module now shows the master identification number under which control you just have put this module 5 When ready deactivate the CGM s SETUP switch again In order to take slaves out of a Control Group follow the same procedure At step 4 faders can be taken out of a group by deselecting them HOW TO RECALIBRATE A CGM 1 Make sure the Control Module is in the neutral position display should read Module None 2 Press the SETUP switch of the CGM that needs recalibration 3 Recalibrate the CGM The CGM s slaves are now temporarily disconnected from the CGM Their faders will stay in the same position until the CGM is being made active again 4 When the CGM has been recalibrated de activate the SETUP switch again Now the CGM is connected to it s slaves again 11 13 CGM SOLO The SOLO switch positioned above each CGM allows you to solo the slaves that are assigned to that specific CGM When activated the signals of all slaves will be summed and sent to the console s solo buss 11 14 CGM MUTE The MUTE switch positioned above each CGM mutes all indiv
59. T RETURNS Pin Left in phase H Pinl4 Left out of phase C Pin2 Left Ground Pin 15 Center in phase Pin3 Center out of phase Pin 16 Center Ground Pin4 Right in phase Pin 17 Right out of phase Pin5 Right Ground Pin 18 Surround left in phase Pin6 Surround left out of phase Pin 19 Surround left Ground a 7 amp 5 3 2 1 GCH GCH GCH GCH GCH GGH GGH GEH Pin7 Surround right in phase Pin 20 Surround right out of phase Pin8 Surround right Ground Pin21 Sub Woofer in phase Pin9 Sub Woofer out of phase Pin 22 Sub Woofer Ground PLUG 25 POLE SUB D Pin 10 Left 2 in phase Pin 23 Left 2 out of phase Pin 11 Left 2 Ground Pin24 Right 2 in phase Pin 12 Right 2 out of phase Pin 25 Right 2 Ground Octagon page number 106 MAIN OUTPUTS master outputs normalled to 8 track inputs Pin Left in phase Pinl4 Left out of phase C Pin2 Left Ground Pin 15 Center in phase Pin3 Center out of phase Pin 16 Center Ground Pin4 Right in phase Pin 17 Right out of phase Pin5 Right Ground Pin 18 Surround left in phase Pin6 Surround left out of phase Pin 19 Surround left Ground a 7 amp 5 3 2 1 I LN 4 4 GCH GCH GCH GCH GCH GGH GGH GEH Pin7 Surround right in phase Pin 20 Surround right out of phase Pin8 Surround right Ground Pin21 Sub Woofer in phase Pin9 S
60. Trim both Read and Write LED s on Note These functions are only active when PowerVCA is loaded and active on your PC Octagon page number 31 GROUP CNTRL READY 3 28 PFL LOWER PATH The PFL switch has an adjacent LED as an indicator that it is activated This PFL switch is completely independent from the automated SOLO system However when a Solo switch is active and PFL is activated the Solo switch will be inactive 3 29 PEAK LOWER PATH The PEAK led indicates any overload in the module 4 dB prior to clipping Measured is at pre EQ Post Insert and Post VCA positions 3 30 SAFE INDICATOR LOWER PATH SIP Solo In Place is a destructive solo system muting all other channels except those that are in the Safe mode activated by the Safe switch 3 31 SOLO SYSTEM LOWER PATH The Octagons solo system is very comprehensive Various modes are possible PFL pre fade listen AFL after fade listen and SIP Solo In Place Master status switching located in the master section selects the PFL or AFL mode for the entire console except for the Aux master solo s and the Solo In Place mode Solo In Place is a destructive solo system muting all other channels except those that are in the Safe mode activated by the Safe switch Activating the PFL switch will send the prefader signal of the Upper section to the CRM speakers In the AFL mode non destructive the post upper pan pot signal is heard and all other modules are not mut
61. UB D Octagon page number 111 2 TRACK E 2TRACK OUTPUTS normalled to CRM inputs Pin 2 track E Left in phase Pinl4 2 track E Left out of phase C Pin2 2 track E Left Ground Pin 15 z2 track E Right in phase Pin3 2 track E Right out of phase Pin 16 2 track E Right Ground Pin4 2 track F Left in phase Pin 17 2 track F Left out of phase Pin5 2 track F Left Ground Pin 18 2 track F Right in phase Pin6 2 track F Right out of phase Pin 19 2 track F Right Ground Pin7 2 track G Left in phase Pin 20 2 track Left out of phase Pin8 2 track G Left Ground Pin 21 2 track Right in phase Pn9 2 track G Right out of phase Pin22 2 track G Right Ground Pin 10 2 track H Left in phase Pin23 2 track H Left out of phase Pin 11 2 track H Left Ground Pin 24 2 track H Right in phase Pin 12 2 track H Right out of phase Pin 25 2 track H Right Ground B8 7 5 4 3 2 1 LS Zr LT LF FO GCH GCH GOH GOH GCH GCH GEH BACKVIEW PLUG 25 POLE SUB D Octagon page number 112 LINE INPUTS The third row of Sub D connectors begins with the Line inputs Every Sub D connector is wired for 8 balanced signals There are six times 8 line inputs resulting in a total of 48 balanced line inputs Pin Signal 1 9 17 25 33 41 in phase Pinl4 Signal 1 9 17 25 33 41 out of phase C Pin2 Signal 1 9 17 25 33 41 Ground Pin 15 Signal 2 10 18 26
62. age number 125 PR 1S0d M01 zg pow OL 91029 IPD uxiog du KH od wor 109 5 03 deems y ES 99 16 0 DIGITAL SYSTEM SIGNAL FLOW QR pso0g xnw ndd 24 N N E OZI lt Wy psvog xnw ndd JouuDu AMM T GI z c a 5 1 gt 9 5 5 8 g 8 0190 c 24 0190 uoiod 01 A J8MOg 1 J MOd 32 oiwoukg ja 0 3 xoo g 01 uassngolpny Octagon page number 126 17 0 LEVEL DIAGRAM 6 6 945 uejjeg ubiseq 8661 0 2 3 5 0 40 90 II I YOO PAIT 08 dsoam 59 qc epoxuliy 4 UlJ1 J9JAG4 ui jno al 109 2 ngpz ngPz E
63. al processor 6 Left out of phase Signal processor 6 Left Ground Signal processor 6 Right in phase Signal processor 6 Right out of phase Signal processor 6 Right Ground Signal processor 7 Left in phase Signal processor 7 Left out of phase Signal processor 7 Left Ground Signal processor 7 Right in phase Signal processor 7 Right out of phase Signal processor 7 Right Ground Signal processor 8 Left in phase Signal processor 8 Left out of phase Signal processor 8 Left Ground Signal processor 8 Right in phase Signal processor 8 Right out of phase Signal processor 8 Right Ground reo return inputs B8 7 5 4 3 2 1 LN LT GOH GCH GOH GOH GOH GCH GCHGCH BACKVIEW PLUG 25 POLE SUB D Octagon page number 115 SIGNAL PROCESSOR OUTPUTS 9 12 normalled to stereo return inputs Pin 1 Pinl4 Pin 2 Pin 15 Pin 3 Pin 16 Pin 4 Pin 17 Pin 5 Pin 18 Pin 6 Pin 19 Pin 7 Pin 20 Pin 8 Pin 21 Pin 9 Pin 22 Pin 10 Pin 23 Pin 11 Pin 24 Pin 12 Pin 25 Signal processor 9 Left in phase H Signal processor 9 Left out of phase C Signal processor 9 Left Ground G Signal processor 9 Right in phase Signal processor 9 Right out of phase Signal processor 9 Right Ground Signal processor 10 Left in phase Signal processor 10 Left out of phase Signal processor 10 Left Ground Sig
64. allowing for complex positioning of sound NOTE THE LCRS STEREO SWITCH IS CONTROLLED FROM THE CONTROL MODULE IF USED TO THE GROUP BUSSES THE FORMAT SWITCHES LABELED MONO STEREO LCRS 5 I SDDS HAS TO BE ACTIVATED TO CREATE THE RIGHT PANNING FORMAT PRIOR TO ASSIGNING TO THE BUSSES 3 24 INSERT LOWER PATH Below the pan pot the insert knob switches connected signal processors in the signal path 3 25 Dynamics LOWER PATH A local LED indicates whether this part of the module is assigned to the optional Dynamics package controlled in the master section Comparisons between treated and untreated signal is done in the master with the Dynamics ON OFF switch When the green DYN LED is on an optional compressor limiter gate or other effects signal processors will be inserted into the signal path 3 206 PHASE REVERSE LOWER PATH The PHASE switch below the INSERT switch is used to reverse the phase of any mic or line input A successful method of checking for out of phase signals is to press the mono switch on the master section and listen closely to the lower If an unexpected sound is heard or if something appears to be missing from the lower frequency range press the phase switch on the upper suspected to be in error If the sound improves then that channel was out of phase with the others 3 27 AUTO LOWER PATH The AUTO switch determines the automation mode of the automated fader Either off no LED s on Read R Write W or Update
65. at the same time By activating the external Decoder CRM Insert 1 the encoded stereo signal will be decoded to full surround and fed to Left Center Right and surround monitors for checking When the Decoder Active switch is in its up position a full stereo signal Left total Right total will be heard and mono compatibility is checked with the Mono switch This easy setup of surround sound coding and decoding makes a mix down into surround sound very easy to accomplish 7 7 Dolby 5 1 and DTS DIGITAL THEATER SOUND When mixing down in 5 1 all signals Left Center Right Surround Left Surround Right and Sub Bass are mixed down onto an eight track recorder and monitored back through the 8 Track input eventually with the CP65 Dolby decoder 7 8 SDDS FILMSTYLE MIXING Standard procedure is to record lots of individual signals onto a recording medium These individual sources are mixed down into specific STEMS pre recordings prior to the final mix down You could have 16 tracks of dialogue 8 tracks of ambience folly 16 tracks of music 24 tracks of special effects etc These premixes need to be mixed down to a format that your client wants This could be SDDS with 5 front speakers stereo surround and a sub Woofer channel creating 8 dedicated audio signals Octagon page number 55 Installation Electrical 8 0 INSTALLATION ELECTRICAL 8 1 LOCAL ELECTRICAL VOLTAGE Before connecting the Octagon check the AC supply voltage set
66. ator sine wave with a 4 dB output level is sent to the meter in VU mode Measuring the 4 dB output level of the upper or master with a AC voltmeter would give a 1 22 AC volt reading When monitoring the oscillator on analog VU meters the VU meters should read 0 when the channel meters are reading OdB We have discontinued the habit of making peak reading meters to read 6 dB down from the actual output level for corresponding VU meter readings With more and more digital equipment being used for laying down tracks the actual level is of primary importance to know to avoid digital overloads But for engineers that are used to the standard way of reading peaklevels a 6dB jumper is located on every meter that easily converts the meter to the classic way of observing peak levels Octagon page number 21 After all alignment procedures have been performed playing program material will show a difference in reading on the VU meters compared to the peak reading led bars in the channels 2 24 MASTER INPUTS OUTPUTS 9 NEMELSI 152 Po ry MEIE EAI EEN s ORUAASUREP e CEN INSTI 1 CEM INSP 2 CNE UN ZENE 8 0815 16 s WABEMAZEAP 8 ASIEN Rise RETE iit CONN ATYEDAENM TE e E B gt ple 9 E VANI Ti NEN 2 Fd 4 pu o E
67. ave one instruction at the time for one input module or one RS422 MIDI instruction or one instruction for functions in the master section Before you get a step by step instruction how to program these Macro s we will describe in short what all the activities are prforming below the control surface By pressing the MACRO key the display invites you to select a macro key You can now select one of the 20 small white macro keys positioned below the group master faders or one of the 5 large switches in that area Now the display will ask Select function Due to the overwhelming amount of programming possibilities we could not come up with a better word It is not only a module function that can be selected now but one of the following switchfunctions Module SELECT switch Misc Menu Clear Encoder knob Via the Encoder different slots can be viewed The Encoder is always positioned on the first free slot slot free if there is any free slot after having chosen one of the the Macro switches Now it is possible to program this slot or to erase Clear this slot Now select a function in the Control Module that you want under this Macro switch Let s say Peak Vu switching You will notice that as soon as you hae filled up this slot the next available slot number will be showed By positioning the Encoder on an already programmed slot the Macro can be extended with more instructions such as instructions for RS422 MIDI STEMS control
68. balanced Academy filter inputs 10k Ohm 4dBu balanced OUTPUTS All outputs are electronically balanced 4dBu at 47 Ohm output imp Maximum output 26dBu All Group outputs have a 4dB calibration trimmer OVERALL Headroom No less than 22 dB Frequency response 10 100 000 Hz 2dB VCA in Harmonic distortion 0 016 VCA 2nd harmonic THAT 2180 distortion 0 006 without Noise 32 channels assigned 89dBr Crosstalk No less than 90dBr Phase From line in to group out 0 2 degrees JDKHz Notes 04 775 mV measurements were made on an Audio Precision system One D amp R reserves the right to change these specs at any time due to new product improvements and new components Octagon page number 123 14 0 SIGNAL FLOW MASTER SECTION 370 MO 5 4 0 1109 2021 0410023 2 nuu 0 440 1041002 spiny 550 ZHAOL ONN IGIN 5 WHS ka Sl 22 quib inW 006 dme 403804 1 Ses 3 za 91811 2 81 SN M 103340 f i 7 J g 4544 8 243 fed oT z
69. ch pot is not NOTE In any module that has a pot or hardware switch that is not conform the stored image the write led of the automation will be on Now you have to turn every pot to find out if its position is right or wrong against the memory setting As soon as the pot is touched turned the bar on the left side of the module strip will light above or below the two red LED s indicating that the actual pot setting is too high or too low By turning the pot slowly you will have null out the LED s The moment all the LED s are off you have positioned the pot into the right position which is equivalent to the stored setting in memory This describes the functioning of the Octagon s recall system Practice first and get yourself a library of useful EQ settings This is most helpful in a session HOW TO SAVE RECALL SETTINGS EXTERNALLY In the Octagon it is possible to dump the information located in the 5 presets 1 Go to the PowerVCA software and click on the File menu F1 2 Go to the DUMP section 3 Now you see long list of possibilities The left row is for saving data from the Octagon to the PC and the right row is for getting data from the PC to the Octagon 4 Choose for saving Recall or EQ settings 5 Now all data of all 5 presets are stored in a file in your PC To get this data back into the Octagon is done in reverse actions Octagon page number 84 SETUP FOR AUTOMATED JOYSTICKS A unique feature in the Octagon
70. coder Sub Woofer in phase 23 Encoder Sub Woofer out of phase 11 Ground 24 NC 12 NC 25 8 7 5 4 3 2 1 GOH GCH GOH GOH GOH SCH GCH GCH BACKVIEW PLUG 25 POLE SUB D Octagon page number 92 CRM INSERT 1 SEND 25 POLE FEMALE SUB D CONNECTOR 1 Send Left in phase 14 Send Left out of phase 2 Ground 15 Send Center in phase 3 Send Center out of phase 16 Ground 4 Send Right in phase 17 Send Right out of phase 5 Ground 18 Send Surround Left in phase 6 Send surround Left out of phase 19 Ground 7 Send Surround Right in phase 20 Send Surround Right out of phase 8 Ground 21 Send Sub Woofer in phase 9 Send Sub Woofer out of phase 22 Ground 10 Send Left 2 in phase 23 Send Left 2 out of phase 11 Ground 24 Send Right 2 in phase 12 Send right 2 out of phase 25 Ground 8 7 5 4 3 2 1 NZ NZ NZ NZ LE I 7 NZ GCH GCH GCH GOH GOH GCH GCH BACKVIEW PLUG 25 POLE SUB D Octagon page number 93 CRM INSERT 1 RETURN 25 POLE FEMALE SUB D CONNECTOR 1 Return Left in phase 14 Send Left out of phase 2 Ground 15 Return Center in phase 3 Return Center out of phase 16 Ground 4 Return Right in phase 17 Return Right out of phase 5 Ground 18 Return Surround Left in phase 6 Return surround Left out of phase 19
71. current and because the heart is a muscle it can affect when the current is high enough Current can also be fatal when it causes the chest muscles to contract and stop breathing At what potential is current dangerous Well the first feeling of current is a tingle at 0 001 Amp of current The current between 0 1 Amp and 0 2 Amp is fatal Imagine that your home fuses of 20 Amp can handle 200 times more current than is necessary to kill How does resistance affect the shock a person feels A typical resistance between one hand to the other in dry condition could well over 100 000 Ohm If are playing on stage your body is perspiring extensively and your body resistance is lowered by more than 50 This is a situation in which current can easily flow Current will flow when there is a difference in ground potential between equipment on stage and in the P A system Please do check if there is any potential between the housing of the mikes and the guitar synth amps which will be linked by your body on stage Imagine a guitar in your hand and your lips close to the mike A ground potential difference of above 10 volts is not unusual in improperly wired buildings it can possibly be as high as 240 volts Although removing the ground wire sometimes cures a system hum it will create a very hazardous situation for the performing musician Always earth all your equipment by the grounding pin in your mains plug Hum loops should be only cur
72. cy equalizer on both STEREO A and B input paths The selected frequencies produced the most musical sounding results The HF high frequency section has shelving characteristics with a boost or cut of 16dB at a fixed frequency of 10 7 The high mid frequency section has bell curve characteristics with a Q of 1 5 with a boost or cut of 16dB in the frequency range of 600Hz up to 15kHz LMF The LMF low mid frequency section has bell curve characteristics with a Q of 1 5 with a boost or cut of 16dB in the frequency range of 40Hz up to 1kHz LF The LF low frequency section has shelving characteristics with a boost or cut of 16dB at a fixed frequency of 60Hz Octagon page number 34 level controls are center detented making neutral positions easy to establish All frequency ranges have been carefully selected following extensive examination of all types of music and noise An equalizer on off switch is fitted to allow easy comparisons 4 3 Aux Send Section There are 6 pairs of stereoAux send controls that can be assigned to a maximum of 16 Aux busses in stereo pairs The top control feeds the odd left output and the bottom control feeds the even right output The upper 4 pairs of controls can be assigned to an alternate pair of busses while the lower 2 stereo controls can be assigned to three alternate pair of Aux busses Of course all Aux sends can be sourced from the upper or the lower s
73. d G Octagon 102 in phase O 2 out of phase Center 102 Ground 10 3 in phase 103 out of phase Right 10 3 Ground 10 4 in phase O 4 out of phase SRND 10 4 Ground Left 0_5 in phase 0_5 out of phase SRND 0_5 Ground Right 0 6 in phase 0 6 out of phase Sub 0_6 Ground Woofer 1 0_7 in phase 10 7 out of phase Inner 0_7 Ground Left 8 in phase 1 0 8 out of phase Inner 0_8 Ground Right Octagon page number 137 Octagon External patchbay connections on Sub connector MAIN INSERT RETURN Pin number Pin 1 1 0 1 in phase H Pinl4 1 0 1 out of phase C Left Pin 2 1 0 1 Ground G 102 in phase O 2 out of phase Center 102 Ground 10 3 in phase 103 out of phase Right JO 3 Ground 104 in phase O 4 out of phase SRND 0_4 Ground Left 10 5 in phase 0_5 out of phase SRND 0_5 Ground Right 0 6 in phase 6 out of phase Sub 0_6 Ground Woofer 1 0_7 in phase 10 7 out of phase Inner 0_7 Ground Left 8 in phase 10 8 out of phase Inner 0_8 Ground Right Octagon page number 138 Octagon External patchbay connections on Sub D connector 2TR A 2TR D INPUT 2TR 2TR H INPUT Pin From To Octagon Pin 1 1 0 1 in phase H Pinl4 1 0 1 out of phase C From MAIN Left Pin2 1 0 1 Ground G Octagon 102 in phase O 2 out of phase MAIN Right 0_2 Ground 10 3 in phase 103 out of phase MAIN Left
74. d prefer to buss to Step 4 From Octagon s patch bay patch the group outputs of your choice to one of your signal processing equipment s inputs 3 4 PAN POT Octagon s pan pot is built to achieve minimum cross talk between two selected busses A center detent with 3 dB attenuation is standard for stereo assignments All routing assignments are displayed at the left side of the module alongside the pan pot showing instantly the present routing situation Assignment of routing formats and individual panning assignments are made in the Control Module which will be described later when we explain how to deal with the Control Module in day to day practice 3 5 INSERT Below the pan pot the insert knob switches connected signal processors in the signal path 3 6 Dynamics A local LED indicates that this part of the module is assigned to the optional Dynamics package controlled in the master section Comparisons between treated and untreated signal is done in the master with the Dynamics ON OFF switch When the green DYN LED is on an optional compressor limiter gate or other effects signal processors will be inserted into the signal path Octagon page number 26 GROUP Or 3 7 PHASE The PHASE switch below the INSERT switch is used to reverse the phase of any mic or line input A successful method of checking for out of phase signals is to press the mono switch on the master section and listen closely to the lo
75. de by the encoder and the ENTER switch CRMLevel 20 0dB confirms the setting for the Recall Recall setup Accuracy Normal Octagon page number 79 PK VU This menu let s you toggle between Peak and VU of the CRMLevel 20 0dB master meters by rotating the encoder alongside the Peak Vu setup display The ENTER switch confirms your selection Note If you have NTP RTW metering this function will not work of course Mode VU MIDI By moving the menu display to the nght with the sixth switch labeled gt you will see three more programming menu s called MIDI Ready and Cfg You have to leave the earlier programming menu with the ESC switch or the Enter switch The MIDI setup menu shows like this gt gt CRMLevel 20 0dB Midi Setup MIDI 01 When you have decided which number changed by the encoder from 1 to 64 you want to program hit the ENTER switch and the following menu will be shown CRMLevel 20 0dB Midi setup MIDI 01 On CRMLevel 20 0dB You can select On or Off The following menu will be Dynamics settings shown to program the necessary MIDI data Module 1 The Encoder and the 4 select switches below the display 1 Gate Lim Misc now can change the MIDI data that suits your needs There are 4 pages with MIDI data that can be changed On the right side of the third row is an indication on which page you are 1 4 2 4 3 4 or 4 4 ENTER will confirm your programming
76. e Octagon in its standard configuration can interface with all available equipment Attention concerning the CRM output must be noted This output delivers a nominal 4 dBu level which is sometimes too high for power amps rated at 300mV sensitivity for full output In some instances an input attenuator at the power amp s input is required to reduce this 4 dBu level by up to 12 dB Contact the D amp R Technical Support Department for details Note This alignment is imperative in order to avoid damage to the speakers or in some cases damage to the ears of the listener 9 2 THE INITIAL HOOKUP First connect the rack mounted power supplies to the console All faders monitors and effect returns must be in the down or off position In order to ensure the best signal to noise ratio for your system the next steps should be performed in the order they are printed a Connect the CRM outputs located on the master section back plate to the inputs of your control room speaker power amps Now turn on the analog console power supplies and then the digital supplies This all has to be done as fast as possible when no master mains switch is available for powering the entire console at once Now turn your main power amp on and check for any hum buzz or interference Slowly turn the CRM control clockwise until it is wide open while listening for excessive noise You should only hear a faint hiss If everything is O K continue If any hum or exc
77. e interchanged for use TE LINE TIZ LINE 4137 LINE INIMITS 21 MIILTITEEX K 5 2 Y 1 af 8 venam faenum with any equipment other gt 4 LINE 17 24 I UNE 14 152 LINE NYI 5 17 24 VELI CK 21 than normal stereo two RE RA 55585885468881 inputs and two outputs HE LINE 2 22 Iz LINE 151 de LINE NAI Zo 32 MULI IMS 13 14 devices All interfacing with 5277 B ca GE 5 TFI NF 14 TIE LINE 151 1 LNF 11443 lt 11 23 external machines effects Canina PARENTE processors or amplifiers TELA TIZ UNC 5128 LINZ INZUT5 11 0 MJILTTEACK 21 24 MEER 1 can be accomplished gt 2 4 3 i LINE 11 UNE IT 1ER ura 2 MULI Ilia X 24 28 the connector panel rear CCICIIM aE Eee of master section and via IF LINE 575 Ju md MUI ELI Vosssuroosne 9 DERE IA the 25 pin sub D ILIILILTIM E TFI AF zi NAN INSFT 57NER HANA EMO oO 7 connectors on the patch cov 8 connector panel The TELNE 21 82 VAN INSEIET BCTLEN sona n muintear winne from he 25
78. ead and Write LED s on This automation is extensively described in the Powerfade part of the manual 4 9 PFL The PFL switch has an adjacent LED as an indicator that it is activated This PFL switch is completely independent from the automated SOLO system but when a solo switch is activated in that channel it will be turned off at the same moment LJ a E a 4 10 SOLO The Octagons solo system is very comprehensive Various modes are possible PFL pre fade listen AFL after fade listen and SIP Solo In Place Master status switching located in the master section selects the PFL AFL mode for the entire console except for the Aux master solo s and the Solo In Place mode Solo In Place is a destructive solo system muting all other channels except those that are in the Safe mode activated by the Safe switch Activating the PFL switch will send the prefader signal of the Upper section to the CRM speakers In the stereo AFL mode non destructive the post upper pan pot signal is heard and all other modules are not muted within the stereo lower buss 411 SEL The Select switch is used for many purposes but one of them is to assign the module to the Control Module to be programmed as desired At the same time all LED s in the control module show the actual status of that assigned input module Changes are instantly without having to go to extra store switches and the like Octagon page number 36
79. ection and taken pre or post from the module fader The first Aux send control can also be assigned to the routing busses 1 48 Clear indication of assigned Aux signals are displayed alongside the control knobs on LED s Every Aux send has a soft Mute switch which is under software control and automated by D amp R s Powerfade 4 4 Balance control Just below the Aux section is a stereo balance control fur the upper section On Octagon s stereo module the balance control balances the left and right signals in the stereo image Qux wore Q 1344 4 5 PHASE The Phase switch reverses the right input signal only This could be used for MS signals 4 6 INPUT SELECTION Two switches labeled Left Mno Right select the input signals When the left switch is activated both left and right paths will give the left signal When the right switch is activated both left and right path s will produce the right input signal When both switches are activated a summed left and right signal is routed to both input path s creating a mono signal on both inputs Octagon page number 35 4 7 Dynamics When the DYN LED located left from the balance pot is on an optional compressor limiter or gate The master control of the dynamics is part of the recall automation section s menu 4 8 AUTO The AUTO switch determines the automation mode of the automated fader Either off no LED s on Read R LED on Write W LED on or Update Trim both R
80. ed by proper wiring and isolation input output transformers Replace fuses always with the same type and rating after the equipment has been turned off and unplugged If the fuse blows again you have an equipment failure do not use it again and return it to your dealer for repair And last but not least be careful not to touch a person being shocked as you yourself could also be shocked Once removed from the shock have someone send for medical help immediately Always keep the above mentioned information in mind when using electrically powered equipment Dear Octagon owner In this manual we have tried to give you an overview of all that the Octagon has to offer If you have any questions do not hesitate to contact us We wish you many years of enjoyable mixing Best regards Duco de Ryk President Jan Betten Chief designer Anton Prins Software engineer Peter Wilcke Lay out engineer D amp R Electronica Weesp b v Rijnkade 15B 1382 GS WEESP The Netherlands Phone 31 294 418 014 FAX 31 294 416 987 Website http www d r nl E mail info d r nl We hope you find this manual useful and easy to understand As always we are open to any suggestions about this manual or any D amp R products Due to a policy of continuous product improvement D amp R reserves the right to change specifications and appearance without prior notice OCTAGON SERVICE MANUAL
81. ed within the stereo lower buss 3 32 GROUP CONTROL DISPLAY LOWER PATH Fader Solo Mute and Auto mation functions can be grouped in control groups up to a maximum of 8 The display shows to which control group a specific module is assigned How to do this will be explained in the How to part of the manual Octagon page number 32 GROUP CNTRL READY 3 33 READY SWITCH If wired to a tape machine that specific channel of the tape machine can be put in Ready mode locally in the Octagon s module without having to reach for the tape machine s remote control It is done by way of midi control messgaes and programmed in the Octagon s master section 3 34 SELECT LOWER PATH The Select switch assigns the module to the Control Module to be programmed as desired At the same time all LED s in the control module show the actual status of that assigned input module Changes are instantly without having to go to extra save switches and the like 3 35 MUTE LOWER PATH The MUTE system is a special soft muting circuit click free and associated with the automation circuitry 3 36 FADER The 100 mm linear motorfader controls the internal Today s VCA s have very low distortion and very impressive specs when the VCA is in circuit noise is kept to an absolute minimum and the ultra low distortion is of the second even harmonic type responsible for a natural sound 3 37 UPPER amp LOWER PATH INPUTS OUTPUTS All m
82. en activated 3 0 DUAL PATH MONO MODULE Octagon s Dual Path mono input module is a basic input output design whereby all signal flow takes place from the microphone to the multitrack Each dual path mono module is shipped with PowerVCA Automation and a 37 segment LED bar graph meter The mic line inputs are in the UPPER section of the module while the TAPE machine outputs are in the LOWER section The following sections explain the many functions and features of each section of the dual path input module 3 1 UPPER SECTION Input selection of sources is done in the Control Module and can be sourced from the MIC LINE input the Tape Playback input or the Group Dir output The input section controls all incoming signals from microphone line and multitrack outputs A 48 phantom power switch for condenser microphones or direct boxes can be silently switched in or out of the circuit The Line switch converts the Upper input from a balanced mic input into a balanced line input Octagon has separate electronics for each input The top knob of the dual concentric GAIN control adjusts the mic line levels in the UPPER path and the bottom control adjusts the tape input of the LOWER path When the GAIN control is accurately set it is possible to achieve the very best signal to noise ratio and maximum headroom Octagon was designed to achieve Octagon page number 24 3 2 EQUALIZER SECTION UPPER PATH This four band parametric equalizer is
83. encies are 10kHz 1kHz and 100Hz each frequency has its own front panel alignment trimmer A master level control is fitted to adjust the output of the oscillator for precise alignment of the console and tape machines The level ranges from 10 dB to 10 dB with a detented mid position of 4 dBu which can be trimmed by the CAL trimmer There is also a pink noise generator built in for checking pan pot movements and joystick routing The oscillator can be assigned to The master output busses the Group busses the Aux Joystick busses as well as the direct output in the patch bay Each of the oscillator assignment switches have a LED indicator The CRM will dim adjustable in the software when the oscillator is active there is no 20dB attenuation when pink noise active It is also possible to cancel the dimming by activating the DIM switch when the oscillator is active 2 2 TALK BACK SECTION A multi way communication system is built into the Octagon The built in talk back mic can feed Studio 1 output Studio 2 output or can be assigned to the routing by way of large push buttons positioned right from the 8 track main fader When Routing is selected the same assignment switches as the for the oscillator can be used to further route the talk back mic signal The momentary TB talk back switch activates the internal electret microphone 2 3 LISTEN SECTION Octagon has the ability to communicate with three independent rooms at the same time or
84. ency section is a variable frequency shelving type sweep able from 10 Hz to 500 Hz with a maximum boost or cut of 16 dB The shelving curve can be switched into a Bell curve All level controls are center detented making neutral positions easy to establish All frequency ranges have been carefully selected following extensive examination of all types of music and noise Test comparisons of other equalizers helped the D amp R design team to create an equalizer that sounds very musical but at the same time raising the standard in specs and sound quality Noise and distortion are kept to an absolute minimum An equalizer in out switch with LED indicator is fitted to allow easy comparisons 3 22 HIGH LOWPASS FILTER The Octagon has in its lower signal path a high and low pass filter with a roll off of 12dB per octave The high pass filter has a range of 20 to 500 Hz and the Low pass filter ranges from 4kHz up to 20kHz An on off switch is provided for comparison of treated and untreated signal Octagon page number 30 3 23 LCRS PAN POT Octagon s pan pot is built with special circuitry to allow for Left Center Right and Stereo Surround panning The small upper control knob lets you move the input signal from front LCR to rear In the rear position the signal can be panned between the surround left and right monitor according to the format chosen A LCRS switch toggles between a normal pan pot with 3dB center and a true LCRS pan pot
85. end the type of microphone being used the sound pressure level and the distance between the sound source and microphone When the line switch is activated the same upper gain control varies the gain of the separate electronics for the balanced line input The phase switch affects both mike and line inputs After plugging in a mike or line signal depress the upper solo switch alongside the upper fader you are setting then turn the gain control of that channel clockwise until a output level is reached on the master ledbargraph VU meters Now slide up the upper fader to 0 Now switch the solo out If the signal source gets louder or softer it may be necessary to re check this setting The volume will also fluctuate if you boost or cut the equalizer section Monitoring with the Octagon series You are able to monitor your multitrack by way of the separate LOWER section The LOWER section of the dual path module allows you to have two usable inputs both with EQ both being able to send to the aux busses both with their own volume control panpots mutes and solos and able to be routed at the same time Multiple Modules Assigned to One or Two Tracks When more than one microphone or line signal has to be recorded on a single track or in stereo on two tracks a submix facility is required This can be done easily on the OCTAGON by way of the internal subgroup amplifiers located in every upper module and accessible by the routin
86. end of the shield through a 0 01 micro Farad capacitor This will ground the RF but will not affect audio frequencies When connecting balanced microphones use two conductor shielded audio cable and connect both conductors and the shield at both ends When connecting line level cables use two conductor shielded cable and follow the instructions in the paragraph above Remember the shield is not considered to be ground and it should only be connected at the output of any device There are only a couple of exceptions to this rule one is patch cords and the other is microphone cables We realize that the correct interfacing of different equipment is difficult but once properly installed the system will be clean and noise free It is important to understand the term balanced Balanced does not mean the input or output is professional the single factor that normally determines whether something is professional is the level of the input or the output 4 dBu is considered professional 10 dBv is considered to be consumer level semiprofessional Note When checking your new Octagon console for noise you will notice that the console is extremely quiet without any external equipment hooked up D amp R is not responsible for the noise you will experience when interfacing other equipment D amp R recommends using the highest quality external equipment with the Octagon Because high quality sound must be monitored with speakers and amps with extre
87. equately reproduced on today s keyboards If there is a multitrack recorder in the MIDI studio one of the tracks would be used to record a time code SMPTE or MIDI code This will allow your sequencer to keep keyboards drum machines and other MIDI equipment synchronized Octagon was designed with the digital or analog multi track and MIDI studio in mind In today s medium to large MIDI studio there is a need for as many as 100 inputs to be used for everything from tape tracks to keyboards and drum machines For this reason the Octagon when fitted with both Dual Path modules and stereo return modules can net over 224 inputs in the virtual track session or mix down Octagon page number 54 7 6 SURROUND MIXING The Octagon is the perfect mixer for laying down surround tracks As already mentioned mixing down on 4 Tracks Dolby stereo or even SDDS 7 1 is very easy For Dolby Stereo uses the Left Right and Center outputs and the Surround left or right output which both give the same signal when the Encoder is on These signals are fed to the encoder unit by way of the 25 pole sub D connector and the stereo outputs are fed back into the mixer for checking purposes By depressing the Encoder Main Insert 1 switch the four output signals will be fed to the external Encoder and not to the 4 CRM outputs anymore At that very moment the stereo output of the Encoder is fed to the main CRM monitors The Center and Surround monitors will be muted
88. er selected outputs only These individual selected mute settings are kept in memory when the total mute of the CRM is used temporarily Octagon page number 17 2 14 MAIN FADER Located in the bottom of the master section is one 100mm PowerVCA controlled fader controlling eight precision high end VCA s Its automation switches are located above the main fader 215 MAIN LCD SCREEN The main LCD screen displays most of Octagon s automated functions The principal in working with this screen is that all functions and text shown can be altered by the switch positioned below the character shown The Enter and Esc switches speak for themselves A detailed explanation will follow in later sections of this manual 216 DYNAMICS SECTION A gain reduction meter displays the gain reduction of the optional virtual dynamics assigned to a signal path How the dynamics work will be discussed later in a specific dynamics section 2 17 CONSOLE RECALL RESET The Octagon has the ability to store all potentiometer positions and most of all the switch settings except for the Oscillator Talk back and all functions positioned in the same module in the master section These functions are not necessary to be recalled in normal activities 023314 Octagon page number 18 2 18 JOYSTICKS Both joysticks are fitted with a large LED matrix to easily visualize the movements of the audio controlled by joystick movements The SETUP switch in the
89. es In record mode the LOWER section is fed by either the tape return or group output A master DIR TAPE switch a macro switch selects either one of the above 3 20 AUX SENDS LOWER PATH The lower path can use all of the 16 aux busses like the upper path Sourcing is controlled from the Control Module Aux 1 2 amp 3 4 were designed with a level and pan to build up a stereo mix for headphones See for more details the description of the Aux sends for the upper path 3 21 EQUALIZER SECTION LOWER PATH This four band parametric equalizer is unique in its design There are four bands the high and low bands have sweep able frequency and shelving type boost or cut of 16 dB The two mid bands are sweep able frequency peak dip type with a boost or cut of 16 dB and bandwidth control which ranges from a maximum Q of 3 down to 0 5 The HF high frequency section is a variable frequency shelving type sweep able from 4 000 Hz to 20 000 Hz with a max boost or cut of 16 dB Octagon page number 29 The High Mid Freq section has level and frequency controls with variable frequency ranges from 600 Hz to 15 000 Hz and has a maximum boost or cut of 16 dB The bandwidth has a Q factor ranging from 0 5 up to 1 5 The LMF Low Mid Freq section has level and frequency controls with variable ranges from 40 Hz to 1000 Hz and has a max boost or cut of 16 dB The bandwidth has a Q factor ranging from 0 5 up to 1 5 The LF low frequ
90. ess noise is present stop and try different ground and shielding arrangements until the system is clean After checking the main power amp and speakers check CRM 2 and 3 b Before making any other connections move each monitor fader to the 0 dB position with the master tape switch ON Connect the multitrack cables to the 25 pole sub D connectors on the rear of the patch bay then connect each connector on the tape output of your multitrack Check for hum or noise after each track has been hooked up Hiss will normally increase slightly with each track Connect the tape input jacks to the inputs of the multitrack Octagon page number 58 Carefully listen for excessive noise hum If after hooking up input output excessive noise or hum is detected stop and take corrective action before proceeding Do not hook up all 16 24 32 or 48 tracks and then listen You may need to rewire the entire cable harness to make the system clean c Connect stereo tape recorders inputs and outputs stereo headphone amp and all signal processors Note MAKE SURE THAT YOU CHECK FOR HUM OR NOISE AS EACH INPUT OR OUTPUT IS CONNECTED 9 3 SHIELDS amp GROUNDS OF EQUIPMENT The shield of any audio cable connection should be connected at one end only If not ground loops and high frequency cross talk could result Connect the shield as a general rule to the signal source output of anything In high RF areas it is wise to connect the other
91. flat cables that are connected to other modules It is now possible to remove the two module retaining screws and carefully lift the module At this point extender cables if ordered can be connected The master sections can be removed from the frame in the same way Because of the many flat cables on the bottom of the master section it is wise to remove all retaining screws from all master sections This will allow all the master modules to be moved slightly without unplugging all the flat cables A qualified service technician will be able to service the modules in this way Octagon page number 60 10 3 PATCH BAY SERVICING The patch bay is fully modular and can be serviced after first removing the back plates then removing the cables attached to the card that needs servicing The card can be removed after unscrewing two screws that push the patch panel card downwards The card will still be connected to the internal star ground system which will need to be unconnected before the card can be removed from the console Octagon page number 61 HOW TO USE THE OCTAGON 11 1 CONTROL MODULE Before going to work with the Octagon I am sure you have tried all sorts of knobs some did respond and some did not Believe me there is a reason for that which I am going to explain right now The Octagon has a high quality analog signal path making interfacing very easy with all sorts of equipment while the control of the analog signal path is main
92. functions Activate the Macro setup in the Control Module by pressing the MACRO switch Select a macro switch for the required function Check if the macro slots of the selected macro switch are free with the Encoder If necessary clear all existing macro s that are not used for the new macro programming Select the MISC switch and select out of the available options the requested STEM function such as DIR S1 S8 and Dir Sx for the Master Direct PlayB S1 8 and PlayB Sx for the master playback SOLO S1 S8 or MUTE 51 58 When the required functions have been selected leave the the macro set up via ENTER macro will be stored or via ESC macro will be reset to previous value s Octagon page number 46 L 4 J 0 an HOW USE THE MATRIX An input pair can be locally chosen by selecting the nght input bank and by controlling it locally When an input pair is in a STEM group it can be controlled via the STEM switches on the Matrix module or the master module or via the Macro switches on the Control Module The master STEM dir and master STEM Playback switches it is possible to switchover all STEM groups simultaneously between Direct and PlayBack Activating the ISO switch will isolate a STEM group from these master STEM control functions Octagon page number 47 PATCHBAY SECTION 6 1 PATCH BAY description The patch bay section is built around Banta
93. g system Simply route to one of the 48 subgroups by activating routing switches in the Control Module section on as many input modules as required Decide on which track you wish to record these signals and activate the related number The upper metering will show the subgroup level which can be changed overall by applying a PowerVCA s subgroup fader In order to monitor these tracks on the modules the master tape switch should be in the off position for monitoring pre tape console out and in the On position for monitoring post tape master tape switch lights Insert Upper Group For high dynamic range types of inputs a signal processor such as a compressor limiter can be inserted in the upper insert or in the LOWER insert or activate the optional Dynamics package Octagon page number 52 Headphone Cue During recording it is essential that the talent hears an independent mix of what the engineer and producer are hearing Headphone mixes are usually derived from pre fader auxiliaries In the OCTAGON the Aux 1 2 is ideal for this purpose The best way to build a mix for the headphones is to have the LOWER section of the dual line module feed Aux busses 1 2 When there is limited time to set up a headphone mix give the talent the CRM lower L R in the Control Room section of the master modules and build up an independent headphone lower on aux 1 2 when time allows Effect Sends All unused Aux sends can be used to send signa
94. gon Recording Console The D amp R Octagon is a 48 buss dual path in line format recording and film style mixing console designed to take the central role in a film sound recording facility With up to 64 projects storable the wasted time between sessions is a thing of the past An essential part of the Octagon is its ability to record and mix down in various output formats ranging from mono up to full SDDS formats With its digitally controlled software switches you can route any input in the Octagon to a number of places and be able to recall all stored setups by a couple of key strokes This feature alone saves valuable time between sessions A first in mixing console technology is Octagon s surround master section with the ability to mix down a 7 1 surround fully automated Easy monitoring of all surround outputs is standard and automated Joysticks with Virtual Vision makes 360 degrees panning very easy to lay down in the final mix Completely modular Octagon can be configured precisely to suit your particular system requirements An Octagon standard is the internally wired patch bay that interfaces with all external equipment using 25 pin sub D connectors and chassis mount XLR connectors To become completely familiar with your Octagon and gain the maximum benefit from its use we recommend that you read this manual thoroughly It will provide important information about all aspects of the Octagon including installation operation
95. gon page number 119 STUDIO 1 2 EXTERN OSCILLATOR Pin 1 Studio 1 left in phase Pinl4 Studio 1 left out of phase C Pin2 Studio 1 left Ground Pin 15 Studio 1 right in phase Pin3 Studio 1 right out of phase Pin 16 Studio 1 nght Ground G Pin4 Studio 2 left in phase Pin 17 Studio 2 left out of phase C Pin5 Studio 2 left Ground Pin 18 Studio 2 right in phase H Pin6 Studio 2 right out of phase C Pin 19 Studio 2 Ground G Pin7 Extern al output in phase Pin 20 Extern al output out of phase Pin8 Extern al output Ground Pin21 Extern al output in phase Pin9 Extern al output out of phase Pin22 Extern al output Ground Pin 10 Oscillator output in phase Pin23 Oscillator output out of phase Pin 11 Oscillator output Ground Pin 24 Oscillator output in phase Pin 12 Oscillator output out of phase B8 7 5 4 3 2 1 Pin25 Oscillator output Ground PEN a N GCH GGH GGH GCH GCH GCH GCH BACKVIEW PLUG 25 POLE SUB D Octagon page number 120 MULTITRACK IN AND OUTPUTS The FOURTH row of Sub D connectors begins with the Multitrack inputs and outputs Every Sub D connector is wired for 8 balanced signals There are four balanced inputs and 4 balanced outputs in every Sub D connectors wired as printed below Pin 1 Multitrack input 1 5 9 13 17 21 25 29 33 37 41 45 Pinl4 Multitrack input 1 5 9
96. hase 17 Return Right out of phase 5 Ground 18 Return Surround Left in phase 6 Return surround Left out of phase 19 Ground 7 Return Surround Right in phase 20 Return Surround Right out of phase 8 Ground 2 Return Sub Woofer in phase 9 Return Sub Woofer out of phase 22 Ground 10 Return Left 2 in phase 23 Return Left 2 out of phase 11 Ground 24 Return Right 2 in phase 12 Return right 2 out of phase 25 Ground 8 7 5 4 3 2 1 GOH GCH GOH GOH GOH SCH GCH GCH BACKVIEW PLUG 25 POLE SUB D Octagon page number 96 Third Row of master back panel connectors is the interface type of connectors MIDI CONNECTORS MIDI IN Din Conn 1 none 2 none 3 4 to midi in 5 to midi in MIDI THRU Din Conn 1 Ground 2 Ground 3 Ground 4 to midi thru 5 to midi thru MIDI OUT Din conn 1 Ground 2 Ground 3 Ground 4 Midi Out 5 Midi Out SMPTE Connectors SMPTE IN XLR 3pin female connector balanced 1 2 in phase 3 out of phase SMPTE OUT XLR 3pin male connector balanced 1 2 in phase 3 out of phase RS422 9 pole Sub D female connector 1 Shield 2 Data receive 3 Data send 4 Ground digital 5 NC 6 Ground digital 7 Data receive 8 Data send 9 Shield Octagon page number 97 RED LIGHT Stereo jack plug 1 4 Tip Switch over contact Ring Normally open Sleeve Normally closed COMM UNICATION INTERFACE RS232 to PC
97. he Octagon s recall system consists of automatic storage of all pots switches faders and mute settings and instant reset of all switches all faders and mutes The pot s need to be adjusted by hand individually STORE CONSOLE console store in earlier models If you want to store a console setting press the fourth switch of the upper row labeled STORE CONSOLE CRMLevel 20 0dB HOW TO STORE A SETTING Console store 1 Be sure you are in the highest level of the menu hit the ESC several times 2 Press the fourth red switch of the upper row and the display shows what you see on the right side of this page Now you can choose out of one of the 5 presets in the row below the six switches to store this setting to choose Preset 1 for this CRMLevel 20 0dB example Now the display asks you to select the modules you want Console store to store or if you want to store the whole console select the ALL Select Modules All 2 SELECT switch in the Console recall reset section Mstr The fourth row invites you to store the master section by pressing the related switch below the display text Note You can either select a number of individual modules by pressing the module number switches or you can select ALL SELECT second switch upper row all select switches will be on now Finalize this session with the ENTER switch Select preset 1 5 CRMLevel 20 0dB Horizonthal recall HOW TO RECALL CONSOLE
98. he external PC The fourth row houses Spare connector for custom options Remote in and remote out connectors The remote in let s you externally control the CRM mute the Listen1 2 3 functions and the red light indicator The remote out sends control voltages of afore mentioned functions Monitor connector coming from the internal TFT display The fifth row houses The power supply connectors and chassis ground Below the master back panel are also the three Listen input XLR s to be connected to microphones positioned anywhere in the building A detailed connection diagram will be shown in the installation section of the manual Octagon page number 23 DUAL PATH MONO MODULE DESCRIPTION The Octagon in output module differs from all other modules because it can be controlled from a Control Module All switch functions that need to be addressed immediately are available in every module All switch function that are set once or twice during a session are accessible via the control module The SELECT switch in every in output module connects its functions of that module to the control module At the same time the LED s in the control module indicates its present status and active switches In every module there are also LED s that indicate which function is active so at a glance you can see if a specific function is activated Pressing the SELECT switch further shows in the Control Module which specific function has be
99. hing the specific assignment in the control module you want information about The Select switch will show which modules have identical assignments or settings Another function is that the Select switch can ad or remove modules from that setting in the Control Module 516 MACRO This switch leads you into the macro setup A flow chart shows in the How to section what you can do with it Octagon page number 42 517 ESCAPE Hitting this switch leaves the menu without storing anything 518 PASTE With this switch you can paste a complete module setting from the internal clip board to another module MDIMIJLE SELECT 519 ALL When activated all settings will be send to all modules at same time MENU SHOW MAL MCI ESCAPE The undo function erases the last changes of PASTE UNIDO ENTER functions you have programmed It is not oi ie 521 CLEAR When activated the module will return to the initially programmed settings 5 22 ENTER Activating this switch confirms the changes applied to the channel module via the Control Module 5 23 SOLO There are 4 solo switches related to the 4 group faders When activated all modules in that group will be heard via the solo system 524 MUTE There are 4 mute switches related to the 4 group faders When activated all modules in that group will be muted Octagon page number 43 525 AUTO There 4 auto switches related to the 4 group fader
100. ic inputs are interfaced via female XLR 3 pin connectors located on the module back panels All other module inputs and outputs are located in the patch bay and accessible via 25 pin sub D connectors on the back of the patch bay 3 38 IN OUTPUT MODULE SUMMARY This description concludes the Octagon s mono input module Specific how to use the module will be described later in the How to part of the manual Octagon page number 33 GROUP CNTRL READY DUAL STEREO RETURN MODULE 4 0 THE DUAL STEREO RETURN MODULE Octagon s Dual Stereo Module is one of the most comprehensive products the D amp R design team has developed yet Two completely separate stereo modules four inputs are fitted on the same metal strip Although designed for effects returns this module can be used for stereo keyboards drum machines stereo tape machines or any other device needing both inputs on one fader The maximum number of stereo input modules both frames can accept is 8 More is possible but the inputs will be wired to the Tie line patchpoints These eight stereo modules are normalled to signal processor outputs in the patch bay 41 INPUT SECTION The input section consists of two stereo gain controls with an adjustable input range of 40dB The adjustment range is from 20dB to 20dB There are also four trim controls to fine adjust both input levels 4 2 EQUALIZER SECTION The D amp R design team opted for a four band fixed frequen
101. idual slaves of that specific CGM when activated 11 15 CGM AUTO The AUTO switch positioned above each CGM provides automation mode master control over all slaves of that specific CGM This switch allows the engineer to toggle through the AUTOMODE sequence as has been selected in the console s automation system Octagon page number 71 For example if the in PowerVCA selected Automode s sequence is READ AUTOTAKEOVER WRITE 11 16 METER READS This row of 4 black switches speaks actually for itself The first three switches select if you want to see the Mic line signal The Tape Playback signal or the Group Direct signal The fourth gray switch changes the ballistics from Peak to VU NOTE We have adjusted the input sensitivity when switching between Peak and VU You will not notice an increase in display level when switching to peak and a decrease in display level when switching to VU This 6 dB difference can be nulled out by a jumper setting on the bargraph meter s pcb not in earlier versions of the Octagon sorry 11 17 CONTROL MODULE FUNCTIONS The display shows most of your actions and invites you to the next possible step to take in programming your input modules Below the display you see switches labeled COPY MISC MENU in earlier versions SHOW MACRO ESCAPE PASTE ALL UNDO CLEAR ENTER All these functions shall be described in detail to get familiar with them COPY PASTE SNAPSHOT HOW TO 1 Fir
102. ight master Pin 1 Pinl4 Pin 2 Pin 15 Pin 3 Pin 16 Pin 4 Pin 17 Pin 5 Pin 18 Pin 6 Pin 19 Pin 7 Pin 20 Pin 8 Pin 21 Pin 9 Pin 22 Pin 10 Pin 23 Pin 11 Pin 24 Pin 12 Pin 25 2 track E Left in phase H 2 track E Left out of phase C 2 track E Left Ground G 2 track E Right in phase 2 track E Right out of phase 2 track E Right Ground 2 track F Left in phase 2 track F Left out of phase 2 track F Left Ground 2 track F Right in phase 2 track F Right out of phase 2 track F Right Ground 2 track G Left in phase 2 track G Left out of phase 2 track Left Ground 2 track G Right in phase 2 track G Right out of phase 2 track G Right Ground 2 track H Left in phase 2 track H Left out of phase 2 track Left Ground 2 track H Right in phase 2 track H Right out of phase 2 track H Right Ground outputs B8 7 5 4 3 2 1 GCH GCH GOH GOH GCH GCH GEH BACKVIEW PLUG 25 POLE SUB D Octagon page number 109 8 TRACK OUTPUTS normalled to CRM inputs Pin Left in phase H Pinl4 Left out of phase C Pin2 Left Ground Pin 15 Center in phase Pin3 Center out of phase Pin 16 Center Ground Pin4 Right in phase Pin 17 Right out of phase Pin5 Right Ground Pin 18 Surround left in phase Pin6 Surround left out of phase Pin 19 Surround left Ground 5 7 B 4
103. ignal processor 14 Right Ground Signal processor 15 Left in phase Signal processor 15 Left out of phase Signal processor 15 Left Ground Signal processor 15 Right in phase Signal processor 15 Right out of phase Signal processor 15 Right Ground Signal processor 16 Left in phase Signal processor 16 Left out of phase Signal processor 16 Left Ground Signal processor 16 Right in phase Signal processor 16 Right out of phase Signal processor 16 Right Ground B8 7 5 4 3 2 1 S N LN 4 GOH GCH GOH GOH GOH GCH GCHGCH BACKVIEW PLUG 25 POLE SUB D Octagon page number 117 SIGNAL PROCESSOR INPUTS 1 8 normalled to AUX outputs Pin Signal processor 1 in phase Pinl4 Signal processor 1 out of phase C Pin2 Signal processor 1 Ground G Pin 15 Signal processor 2 in phase Pin3 Signal processor 2 out of phase Pin 16 Signal processor 2 Ground Pin4 Signal processor 3 in phase Pin17 Signal processor 3 out of phase Pin5 Signal processor 3 Ground Pin 18 Signal processor 4 in phase Pin6 Signal processor 4 out of phase Pin 19 Signal processor 4 Ground Pin7 Signal processor 5 in phase Pin20 Signal processor 5 out of phase Pin8 Signal processor 5 Ground Pin21 Signal processor 6 in phase Pin9 Signal processor 6 out of phase Pin22 Signal processor 6 Ground a 7 5 4 3 2 1 OL
104. in a stereo format On the other hand it is possible CRMLevel 20 0dB the assignment to the main output busses to pan with the joystick Joystick 1 setup between L2 and R2 in a stereo format also panning between the Select with encoder surround speaker is possible in the stereo format Activated Joy output The LEDs alongside the display shows you the selected outputs The Enter switch confirms the selection Octagon page number 85 SUBWOOFER The level of the Sub Woofer can be adjusted between off and unity gain with a range of 63 dB in 0 5dB steps to accomodate for any requested level Confirm your choice with lt ENTER gt CRMLevel 20 0dB Joystick 1 setup Select with encoder Subwoofer 9 5dB ASSIGNING A CHANNEL TO A JOYSTICK To assign a channel to a Joystick follow the next steps a Select Joystick 1 or Joystick 2 The Virtual Vision matrix will show the panning ranges possible with corresponding assignments All movements will be memorized in PowerVCA together with mutes A host of possibilities are there to explore It will take some time to manipulate all the possibilities the Octagon gives you in this area Features like read and write on the automation screen and Solo and Mute Octagon page number 86 Installation section Connectors 12 0 CONNECTORS All connectors but the XLR microphone inputs are located on the back of the console behind the master section and the patch bay section We shall de
105. in phase 3 out of phase Inser Up 10 3 Ground Retum 10 4 in phase O 4 out of phase GROUP Out 10 4 Ground Out 0_5 in phase 0_5 out of phase TAPE IN 0_5 Ground Octagon 6 in phase 0_6 out of phase Insert Low 0_6 Ground Send 1 0_7 in phase 10 7 out of phase Insert Low 0_7 Ground Retum 8 in phase 10 8 out of phase NC 0_8 Ground Octagon page number 135 Octagon External patchbay connections on Sub D connector STEREO MODULE 1 2 11 12 Pin number From To Octagon Pin 1 1 0 1 in phase H Pinl4 1 0 1 out of phase C To LINE A mod odd Pin2 1 0 1 Ground G Octagon Left 102 in phase i 102 out of phase To LINE_A mod odd 102 Ground Octagon Right 10 3 in phase 103 out of phase To LINE_B mod odd 0_3 Ground Octagon Left 104 in phase 10 4 out of phase To LINE B mod odd 0_4 Ground Octagon Right 10 5 in phase 0_5 out of phase To LINE A mod even 10 5 Ground Octagon Left 0 6 in phase 0_6 out of phase To LINE_A mod even 0_6 Ground Octagon Right 1 0_7 in phase 10 7 out of phase To LINE B mod even 0_7 Ground Octagon Left 8 in phase 0_8 out of phase To LINE B mod even 0_8 Ground Octagon Right Octagon page number 136 Octagon External patchbay connections on Sub D connector MAIN INSERT SEND Pin number From To Octagon Pin 1 1 0 1 in phase H Pinl4 1 0 1 out of phase C From Left Pin2 1 0 1 Groun
106. is part of the manual carefully Hum radio frequency interference buzzes and instability are often caused by improper wiring and poor grounding All equipment using three wire ac connectors should have a ground lift adapter on each cable before plugging into the ac outlet In most cases the incoming electrical ground is inadequate and a dedicated ground system should be installed for the audio equipment Your local electric power company will provide you with all local electrical codes and safety regulations Octagon page number 56 There some ground rules to follow All signals in a recording studio are referenced to ground This ground must be clean and free of noise A central place central to all equipment should be selected as the central star ground point and all grounds should terminate at this point This point can be a solid metal plate with at least 50 places to hookup all incoming grounds This is commonly referred to as a star ground system In some instances electrical contractors will daisy chain ground connections in the AC distribution system This is not suitable for a studio Ideally run a separate ground wire from each piece of equipment to the central star ground point The central star ground point should be connected to a pair of eight foot ground rods using larger 10 wire than your equipment ground wires Separate and identify clean and dirty AC outlets Use clean outlets for audio equipment and
107. itched into the circuitry and thus active when the following master outputs are assigned Left Right Surround Left amp Right Left 2 Right 2 Routing Group output busses NOTE The input module has to be selected prior to any control function in the Control Module The LCD shows Module 24 Local Setup HOW TO Following is a step by step example of how to route a signal to the Group output busses and or the master output busses Example routing a microphone input signal coming in on module 24 to group output buss 15 and the main L R busses in a stereo setup via the lower fader 1 Select module 24 by pressing the upper or lower SELECT switch The display now should read Module 24 Local Setup 2 Select the Mic input on the top of the module if necessary 3 Go to the corressponding Control Module 4 At the INPUT SELECT section press the INPUT switch of the L ower section 5 At the MASTER OUTPUT ASSIGNMENT section press the L R and switches of the L ower section 6 At the ROUTING OUTPUT section in the upper part of the Control Module press button 15 7 Push the lower fader of module 24 up Octagon page number 67 Now Mic input signal coming in on module 24 is routed to both routing buss 15 and the main Left and Right busses This can be visualised by checking the incoming signal of module 24 and the output signal of buss 15 with help of the me
108. k speakers 2 5 2 TRACKS Octagons 2 Track section allows you to select any or all 8 stereo 2 Track inputs at the same time A neat feature is that it is also possible to feed the 2 Tracks either from the main Left Right busses or from any other 2 Track input for copying purposes This selection is made with the 2 TRACKS INPUT FROM switch located below the 2 Tracks switches in the 2 Tracks section An eight track return switch is located in the CRM section This is also the case with the general 2 Track source switching Just above the CRM level pot you find three switches labeled MAIN to CRM 2 TRACK to CRM and 8 TRACK to CRM These are the main selection sources for the CRM input These switches have to be activated first before any of the selected 2 Track sources will be heard The 2 Tracks can also be assigned to the near fields if desired Its the seventh switch in the upper row of switches located in the CRM section tracks A through are 4dBu of the 2 Tracks sources can be summed if necessary When sourcing 2 Track machines all surround CRM monitors will be switched off unless the Decoder Active switch is activated then the 2 Track signal will be decoded into full surround and all monitors except for the Sub bass output will be active again Note The 8 Track source selector as well as the 2 Tracks to CRM will interrupt the CRM signal The 2 Tracks A B C D E F G H switches will not interrupt the CRM monitoring u
109. le inputs 13 16 normalled to signal processor outputs 13 16 Row 24 Studio amp 1 2 and 3 inputs normalized to Studio 1 2 3 amp outputs on former row Plus two oscillator inputs for further routing to the studio MAIN 01015 00 5100 0 e 29 15190 8109905 je LETT SL SW so OPERERE 19 s 0 01000 0 0 00 510 0 5 0 0 9 LATI TEE imiia wy SSE SOTO 00 6 51019015 jo SONNELIEE Md e wide ojooojjojo e mp LXC UDA BOSE Be 90 002105 21800 BIINAL Wee oe t 00101610 99 je S999 SIZNAL kae eo 9 me eSI spre PPPS ene o 55 POP ele K E 1 1 LOZE wie voee 2 oC TOPIT 9 ate 010101910 510 9 9 o PPTPP 9 7 0 90 010 0 9 0 e Octagon page number 49 TIE LINES The Octagon has 184 Tie lines mounted in 23 rows of eight The tie lines are patching the inputs and outputs of any signal processing equipment For ease of use all outputs are blue sockets and all inputs are black sockets The blue oA TIFI NF TIF 123 INF INF IT3 dh MI 1 and black jack sockets can a 900590000900 meaner 12 11 22 ALII ees b
110. ls to signal processors such as the D amp R Qverb digital reverb effects processors and digital delays The Aux sends are usually post fader in order that the right balance between untreated and treated signals is maintained however it is possible to switch to pre fader Effects Returns In the modern recording or MIDI studios of today there is a demand for many effect returns and inputs for MIDI related gear For that reason D amp R has designed the Octagon with stereo effects return modules See section 4 0 of this manual for a complete description of this module Any unused upper or lower input can also be used for returning effects Every Stereo Module can accept two returns with equalization and Aux send capabilities 7 2 THE PLAYBACK SESSION Multitrack playback The Octagon gives you a convenient way of monitoring your multitrack recorder The tape outputs are feeding the LOWER path and you can adjust the amount of signal you desire and pan it within the stereo image Auxiliary sends and equalization can be inserted in both signal paths whenever needed Control over this processing is carried out by independent solo mute systems in both signal paths Octagon page number 53 7 3 THE OVERDUB SESSION Multitrack synchronizing Overdubbing is the process of building up a recording track by track while listening to previously recorded tracks The Octagon has an in line monitor for each track of the recorder making it easy to
111. ly digital The best of both worlds After having connected the Octagon to its environment and after having powered up all the power supplies This can be done randomly it will have no influence on the performance or startup procedure NOTE You need to switch on the power supplies one by one of course but to avoid any start up problems do it as fast as you can Ideal would be to have one power switch that turns on all the Octagon s power supplies at once Now you are looking at a lot of nice glowing LED s indicating what function is active in the modules master and control modules The design of the Octagon is such that the Control Module provides central control for a number of functions in the individual input modules All functions controlled by the Control Module can be stored in the Octagon s auto reset system When a previous stored setting is recalled all these functions will automatically be reset for all input modules Also positioned on the Control Module are the 4 Control Group masterfaders with their controls On the Control Module the following functions of the input module can be controlled Routing to the 48 group output busses Format selection of the 48 group output busses Input selection of the upper and lower signal paths Aux sourcing and routing Routing of input modules to Master outputs Fader calibration for upper signal path Pan pot configuration of lower signal path SAFE function f
112. m type tiny telephone jack sockets Octagon s patch bay is completely modular and can be expanded as your budget allows If you order a large frame downloaded with less modules the patch bay can be expanded as you order more input modules or ordered complete All master inputs outputs and 184 Tie lines for signal processing are standard when you order the patch bay The entire patch bay is wired balanced and internally star ground wired Each row of UPPER and LOWER patch points are followed by the TAPE inputs and outputs c UPPER s LOWER TAPE 6 2 PATCH BAY points Upper patch points from left to right are Line input LINE 2ND RET 5 RET NF UPPER insert Send amp Return Grp group 1 output LOWER from tape input and Lower LINE END RE SNE RET NP insert Send amp Return The tape input and outputs gt 2 2 0 0 are normalized to Group outputs and LOWER LINT nEF S RTT INF dn 9 9 o Note The main section contains ten rows of 2 SS ATA Bantam type jacks apart from the AUX output 19 290 d i Zu EIE Row 1 Master insert sends ME PET Left Center Right Surround Left Surround 5 9 9 Jog o Right Subwoofer Left2 Right2 LINE RE SEF SNP RET NF 9 9 66 Row 2 Master insert returns onr Left Center Right
113. me specs D amp R suggests using only the best amps to drive your speakers Octagon page number 59 TROUBLE SHOOTING AND SERVICING 10 0 TROUBLE SHOOTING AND SERVICING 10 1 TROUBLESHOOTING It is essential to study the signal flow chart in paragraph 12 0 13 0 carefully only then can you hope to isolate problems By tracing the signal from input to output jacks it is possible to locate a problem If for any reason you are unable to isolate a problem contact the D amp R Technical Support Department for advice If the problem cannot be corrected over the phone D amp R will dispatch a replacement module the same day Most problems can be found using logical thinking and simply replacing socketed integrated circuits 102 REMOVING A MODULE The Octagon is a complex piece of equipment and some understanding of its internal layout is necessary before removing a module An input module has wiring to the LED bar master section and back plates All of these wires must be removed before withdrawing a module from the console Each module has computer grade connectors for ease of the disconnect Turn off the power supply It is often easier to loosen the modules positioned left and right of the module under test Remove the LED bar wiring and remove the metal cover underneath the led bar front which conceals the screws retaining the module Now remove the bottom plate of the console located beneath the module that needs to be taken out Unplug all
114. meter on the far left module and repeat this sequence Note The ALL SELECT switch recalls all soft switch settings and fader and mute positions instantly HOW TO STORE EQ Be sure you are in the highest level of the menu The EQ store works exactly the same as the console store procedure If you want to store an EQ setting depress the fifth switch of the upper row labeled STORE EQ CRMLevel 20 0dB EQ store The display in the master section shows the following text Select preset 1 5 Now you can choose out of the 5 presets in the row below the six switches to store this setting to choose Preset 1 for this example NOTE The EQ store presets are 5 other presets in the memory than the console presets CRM level 20dB Now the display asks you to select an EQ you want to store EQ store Select a module and finalize this session with the ENTER switch Select Module RECALL EQ To recall an Equalizer setting hit the EQ RECALL switch the display will ask you to select one of the 5 presets now As soon as you depress a module all EQ pots will instantly be compared against the present physical setting The ledbar next to the panpots will show any deviation from the EQ CRMLevel 20 0dB memory positions as soon as you turn one of the EQ pots EQ recall Select preset 1 5 Octagon page number 83 MORE BACKGROUND INFO To be able to position all the pots to their correct positions you need information which pot is okay and whi
115. n returns etc In both the Control Module and the channel module LED s will show what you have done Octagon page number 65 If you move to another input module the input module s LED s will stay on to show your input selection Note to check whether signal is entering the module maybe it is wise to read 11 10 first This section deals with the led bars Doing this first helps you to check if the signal is displayed E 11 6 AUX SOURCING AND ASSIGNMENT The Octagon allows you to select the source of all six Aux send pairs individually per pair The first two columns of gray switches select whether the signal is taken pre or post the modules faders and the second switch selects whether the signal is taken from the upper section or the lower section When no LED s are on the Aux sends are fed post fader from the lower section This can be changed to your needs to PRE LED on and or UP AUX send placed in the upper section 1412 1114 The output of the AUX sends be assigned to the 16 Aux send busses with the next columns of black switches The labeling speaks for itself maybe the label RTNG routing needs a little bit of explanation When activated Aux sends 1 and 2 can be routed to any of the 48 Group output busses Please note that the required Group output has to be selected in the Rounting output section 11 4 It is also dependent upon the format selection of the four switches below the 48 ro
116. nal processor 10 Right in phase Signal processor 10 Right out of phase Signal processor 10 Right Ground Signal processor 11 Left in phase Signal processor 11 Left out of phase Signal processor 11 Left Ground Signal processor 11 Right in phase Signal processor 11 Right out of phase Signal processor 11 Right Ground Signal processor 12 Left in phase Signal processor 12 Left out of phase Signal processor 12 Left Ground Signal processor 12 Right in phase Signal processor 12 Right out of phase Signal processor 12 Right Ground B8 7 5 4 3 2 1 Ne a ee ee GOH GOH GOH GOH GOH GCH GCH GEH BACKVIEW PLUG 25 POLE SUB D Octagon page number 116 SIGNAL PROCESSOR OUTPUTS 13 16 normalled to stereo return inputs Pin 1 Pinl4 Pin 2 Pin 15 Pin 3 Pin 16 Pin 4 Pin 17 Pin 5 Pin 18 Pin 6 Pin 19 Pin 7 Pin 20 Pin 8 Pin 21 Pin 9 Pin 22 Pin 10 Pin 23 Pin 11 Pin 24 Pin 12 Pin 25 Signal processor 13 Left in phase H Signal processor 13 Left out of phase C Signal processor 13 Left Ground G Signal processor 13 Right in phase Signal processor 13 Right out of phase Signal processor 13 Right Ground Signal processor 14 Left in phase Signal processor 14 Left out of phase Signal processor 14 Left Ground Signal processor 14 Right in phase Signal processor 14 Right out of phase S
117. nless the 2 Tracks to CRM is activated Octagon page number 12 zm o Le Bo o 9 aijo MUTE mj STUDHYS Tc gt Le gt ux gt ux 2 TRACKS zea Wj gt Wj gt zac Wj gt zo mee 2TRE a IRG Nj PTEEH 2 TRACK INPUT FREM zm Mille 2 6 SOLO SECTION The Solo section has a SOLO TRIM volume control and an AFL after fade listen SIP Solo In Place switch A switch for momentary action of all the SOLO switches and an Interlock switch for interlocking behavior of all solo switches To easily cancel any activated SOLO switch in the entire console you just have to hit the SOLO RESET button and all selected Solo s are canceled It is also possible to create SOLO presets of specific groups of solo switches A maximum of three presets is possible The SOLO 1 2 3 presets are located in the Communication section of the Octagon The SOLO TRIM control has a center detent for nominal level built in to the volume control With the AFL switch in its up position the Upper and Lower solo switches function in the pre fade listen mode A lighting SOLO RESET switch in the communications section indicates that a SOLO switch is depressed anywhere in the console If the AFL switch is depressed any Solo switches function in the non destructive after fade listen mode If the Momentary switch is activated Solo is only ac
118. on LED ON The next 2 switches are responsible for the routing of the Aux pot outputs An Aux pair can be assigned to two sets of aux busses Aux 1 2 can also be assigned to the routing Aux 9 10 can be assigned to Aux buss 9 10 or 11 12 or 13 14 or buss 15 16 Aux 11 12 can be assigned to Aux buss 9 10 or 11 12 or 13 14 or buss 15 16 Octagon page number 39 5 4 PAN ASSIGNMENT Two sets of eight switches in a row are responsible for assignment of the pan pots and the pre pan pot signals to the main output busses Joysticks and Routing The labeling speaks for itself 5 5 FADER CALIBRATION UPPER PN PATH SF SW LEM 5 When a module is assigned this switch calibrates the upper fader at unity gain This is useful when the upper section is used as STEM return The lower section also has a slightly different software controlled 0 dB positioning which shall be described later 5 6 SAFE SIP upper lower path The safe switch excludes an assigned module section from being muted when the SIP Solo In Place system is active 5 7 GROUP SETUP upper and lower section With these switches you can setup groups ated Eme MOND The maximum of 16 Group numbers 1 to 8 A G is determined by the MODULE 9 _ SELECT encoder The selected switch in the module assigns all modules to the selected f UPPER uu grou
119. on as you turn the CRM level control CRMLevel 20 0dB GLOBAL SETUP Global Setup Dyn This first menu is a global setup menu for the master section of the console Below the display there are 6 switches that relate to the characters displayed Try the Global setup switch and the evel 20 0dB following text can be seen as is displayed on the right for you Octagon global setup The last switch with the gt sign shows you more features CRM Dim Pk Vu such as MIDI Ready and Cfg Let s start with the CRM global setup CRM As soon as you depress the switch located below the CRM text the display will change into CRM preset setup CRMLevel 20 0dB With the large encoder knob positioned right from the CRM preset setup display you can program the CRM PRESET switch to any value between 0 and 63dB The ENTER switch confirms leye 10 0dB the chosen value and brings you back one level in menu The ESC also returns to that level without saving the changed values Dim The next global setup is the Dim setup After depressing the switch located below the Dim text in the display the following menu will be shown gt gt CRMLevel 20 0dB The large encoder changes the dim level and the ENTER CRM dim setup switch confirms this setting level 10 0dB Rel The next menu let s you determine the accuracy of the recall system in three steps ranging from fine to normal up to coarse Changes are ma
120. or Solo In Place mode for upper and lower signal paths FADER SET calibration function for upper and lower signal paths Meter sourcing and ballistics Octagon page number 62 11 2 SETTING UP THE CONTROL MODULE When the Octagon is booted up for the first time each Control Module must be configured This is necessary to determine which modules should accessable by each Control Module For example if there are 2 Control modules installed in a frame loaded with 48 input modules you may want to control modules 1 24 with the first Control Module and modules 25 48 with the second Control module When a module is assigned to a Control Module is status will only appear on that specific Control Module when selected with the module s SELECT switch the one with the module number inside With the rotary controller positioned right of the display one can access any module in the console For example if a module has been assigned to Control Module 1 one can access that module from Control Module 2 by selecting it with the rotary controller of that Control Module HOW TO 1 First check if the Control Module is in the neutral position The LCD display should read Module None If the Control Module is in another field keep hitting ESC until it reaches the neutral field 2 Press the Misc or MENU on earlier versions switch below the display 3 Assign the modules to the Control Module by pressing one of their
121. or Master function HOW TO create a Macro for an input module do as follows 1 Press the escape switch first so the LCD shows Module None 2 Select the Macro switch below the LCD the display shows Select a Macra 3 Select one of the 25 white macro keys 4 Select an input module by pressing the module s SELECT module number switch 5 Select a module function on the Control Module you will notice the slot position information passing by By pressing the same function again an OFF programming will be instructed 6 The ENTER switch will finalize this programming Octagon page number 74 create a Macro for RS422 MIDI STEMS or master do as follows 1 Press the escape switch first so the LCD shows Module None 2 Select the Macro switch below the LCD the display shows Select a Macra 3 Select one of the 25 white macro keys 4 Press the Misc menu function 5 Select with the Encoder in the Control Module one of the requested instructions you will notice the slot position information passing by 6 The ENTER switch will finalize this programming The empty slot is now filled up and the Encoder will increase the slot number and the programming can be repeated up to 48 slots programming sequences The ESC switch interrupts your programming without saving any of the afore mentioned programming steps NOTE A number of functions from the MISC Menu tabel will respond by lighting the LED in the programmed MACRO swi
122. ower path SOLO System Lower path Group control display Lower path Ready switch Select Lower path MUTE Lower path Fader Upper amp Lower path Inputs Outputs In Output Module summary The Dual Stereo return module 4 1 4 2 4 3 4 4 4 5 4 6 4 7 4 8 4 9 4 10 4 11 4 12 4 13 4 14 4 15 4 16 4 17 4 18 4 19 Input section Equalizer section AUX send section Stereo A B Status Section Using the Control Module Equalizer section Balance control Stereo B Status Section Using the Control Module Auto PFL Solo SEL Mute Fader Upper Routing Status Section Meter read Lower path LCR control Remote Stereo A B status section using the Control Module Octagon page number 3 5 0 6 0 6 1 7 0 Octagon s Control Module 5 1 9 2 5 3 5 4 5 5 5 6 5 7 5 8 5 9 5 10 5 11 5 12 5 13 5 14 5 15 5 16 5 17 5 18 5 19 5 20 5 21 5 22 5 23 5 24 5 25 5 26 5 27 5 28 Group Busses Input Selection AUX section Pan pot assignment Fader Calibration Upper path SAFE SIP Upper Lower path Group Setup Upper and Lower section LCR Lower path ST SRND Stereo Surround Lower path Meter reads Module Select section Encoder Copy Menu Show Macro Escape Paste All Undo Clear Enter Solo Mute Auto Set Up Group Fader Macro switches MONITOR MATRIX MODULE Patch bay description 6 2 Patch bay points Instructions for operation 7 1 7 2 7 3 7 4
123. p by the encoder INPUT SELECT INPUT TAPCO PLAY DO GROUPIE OE E 5 8 LCR LOWER PATH EET o F uo Ns NE Normally the lower pan pot functions as a left right panner but when this switch is activated the pan pot is converted to a LCR Left Center Right panner Octagon page number 40 5 9 ST SRND stereo surround LOWER PATH Normally the surround channels are mono but shall be stereo when the ST SRND switch is activated Full surround panning is now possible 9 9 9 5 10 METER READS LEFT CENTER SRN Three out the four switches select what you ___ __ __ _ ___ are looking at on the meters Selection can be made between Input mic line Tape playback Group dir group outputs NOTE When the module meter reads a signal coming from the input the group output or the tape input be aware of the fact that it also needs to be assigned to the module Otherwise the signal will not be heard at all but only seen The fourth switch controls the ballistics of the meters The ballistics of the meter can be changed STEREO LORS 5 115016 from Peak to VU There is no level correction between Peak and VU as standard as was the case in the INPUT AYA past with older products Nowadays most of the recording equipment is digital and it is f UPPER essential to know the absolute value of the INPUT SELECT INPUT TAPCIPLAYD GEDUPIDIE incoming outgoing
124. pment in high humidity or expose it to water or other liquids Check the AC power supply cable to assure secure contact Have your equipment checked yearly by a qualified dealer service center Hazardous electrical shock can be avoided by carefully following the above rules EXTRA CAUTION FOR LIVE MIC RECORDING Ground all equipment using the ground pin in the AC power supply cable Never remove this pin Ground loops should be eliminated only by use of isolation transformers for all inputs and outputs Replace any blown fuse with the same type and rating only after equipment has been disconnected from AC power If problem persists return equipment to qualified service technician PLEASE READ THE FOLLOWING INFORMATION Especially in sound equipment the following information is essential to know An electrical shock is caused by voltage and current actually it is the current that causes the shock In practice the higher the voltage the higher the current will be and the higher the shock But there is another thing to consider and it is resistance When the resistance in Ohms is high between two poles the current will be low and vice versa All three of these voltage current and resistance are important in determining the effect of an electrical shock However the severity of a shock primarily determined by the amount of current flowing through a person A person can feel a shock because the muscles in a body respond to electrical
125. r OdB position and hitting this switch twice returns the faders to their off position UNDO This functions restores old data in the module before you changed it Note This function does not work in the ALL mode CLEAR Activating this switch restores the module to a default factory setting and returns the faders to their lowest position Octagon page number 77 This switch confirms what you have done and saves it into the internal memory of the Octagon 11 18 MACHINE REMOTE SWITCHES For ease of day to day work we have when you have requested us labeled the large five macro switches at the bottom of the control module already with tape machione control functions that are very likely to be programmed that way sorry if you have other functions in mind This will conclude the explanation of the Control Module Octagon page number 78 11 20 How to use the MASTER SECTION The master section can be divided into various segments The Aux send masters and alongside the oscillator communication controls studio outputs and 2 track returns Centralized is the CRM section with lots of possibilities that are individually described in the master section s description Important is that you understand how to use all the settings and programming in the master section When you first switch the Octagon on the master display shows you the following text as in the display at the nght It show the actual CRM level that changes as so
126. raph meters can be assigned to read the input signals Line A or B or the Group output signal of the module Selection is made in the Control Module as is the switching of the ballistics of the meter between VU and Peak Octagon page number 37 4 16 LOWER PATH The LOWER section is the second signal path in the Octagon dual path mono module Nearly all functions are identical to the upper path section so we will not describe these functions in detail again Please look at the descriptions for the upper section It has a full 4 band eq and can access the 16 aux sends too There is a balance and front rear control and Mute amp Solo switches The LOWER section is fed by either the Group output or the Line A or Line B input 4 17 LCR CONTROL This control is the only special control that differs from the upper part The LCR control enables you to move the stereo image from Front to Rear Or from LCR panning at the Front to Surround panning at the Rear 418 REMOTE The remote switch can be used for remote control of stereo machines and or fader start purposes Control is performed by midi control messages and programmed in the master section 4 19 STEREO A B STATUS SECTION USING THE CONTROL MODULE The stereo module shall be controlled from the Control Module in the same way as the in output module is designed NOTE When less than 48 modules are installed the stereo modules can process the unused group outputs in pairs When more
127. rnative way An alternative easier way to add or remove more faders from this fader set procedure is done as follows 1 Make sure the Control Module is in the neutral position display should read Module None 2 Press the SHOW switch the ALL switch lits up now the display reads Module Select Function 3 Press FDR SET earlier models Group SETUP 4 Now select the required modules every selected module will bring its fader to its OdB position 5 Removing faders from the OdB setting is done by the pressing the SELECT module number switch switch again 6 ENTER finalizes this procedure 11 12 THE CONTROL GROUP MASTER FADER SECTION CGM Positioned below the Control Module s display and it s controls are the 4 Control Group Master Faders with their controls With these 4 VCA groups per Control Module can be created The movements of the Control Group Masterfader CGM itself are not recorded in the console s automation system The CGM controls the levels of the assigned individual slaves This enables the engineer to use the same CGM for a different group of slaves in the same mix when desired Each CGM is equipped with a master SOLO MUTE and AUTO switch for master control over the assigned slaves for these functions Octagon page number 70 The SETUP switch is used to put the corresponding in it s setup mode in order to assign or take out slaves HOW TO CREATE A CONTROL GROU
128. s In the AFL mode non destructive the post modules pan pot signal is heard and all other modules are not muted within the stereo mix buss Octagon page number 27 _ SRND jew GROUP Or 312 FADER CALIBRATION When this LED is on the upper motorfader is fixed positioned at unity gain This is very convenient when the upper section is used as a fixed STEM return which is normal practice for film style re mixes 3 13 GROUP CONTROL DISPLAY Fader Solo Mute and Auto mation functions can be grouped in control groups up to a maximum of 8 The display shows to which control group a specific module is assigned How to do this will be explained in the How to part of the manual 3 14 SELECT The Select switch is used for many purposes but one of them is to assign the module to the Control Module to be programmed as desired At the same time all LED s in the control module show the actual status of that assigned input module Changes are instantly without having to go to extra store switches and the like 3 15 MUTE The MUTE system is a special soft muting circuit click free and associated with the automation circuitry 3 16 FADER The 100 mm linear motor fader controls the internal VCA Today s VCA s have very low distortion and very impressive specs when the VCA is in circuit noise is kept to an absolute minimum and the ultra low distortion is of the second even harmonic type responsible for a natural sound
129. s When activated all modules in that group will follow the automation settings 5 26 MU IH Eu When this switch is activated the in output modules FECES ECE can be selected with the SEL switch to follow the associated group fader and its related function switches SOLO MUTE and AUTO In the SET UP mode group faders can be recalled via the MISC switch 527 GROUP FADER The group fader controls all slaves assigned to that group The group numbering goes up to 8 and when more than 2 control modules are installed the letters 9 up to G are used to identify the groups 528 MACRO SWITCHES switches located below the control faders macro switches These switches can be programmed to perform often used functions in the control module It also possible to store complete module settings under these Macro switches The How to part of the manual explains this all in detail REW FORW gt Octagon page number 44 6 0 MONITOR MATRIX MODULE INTRODUCTION INPUT ADJUSTMENT The monitor matrix has 64 direct and playback inputs making a total of 128 inputs Per input there is a choice out of Dir pre tape or Playback post tape Every pair of dir playback inputs has the following functions Dir playback SOLO MUTE ROUTING selection 1 to 8 and a STEM group function Through the STEM group function it
130. scribe the master sections back panel connectors first with all individual pinning necessary to know to be able to wire the console in advance or after installation There are five rows of connectors of which the lowest row is for powering The Octagon 121 Master back panel connectors first row Phones Stereo jack Tip left output signal Ring right output signal Sleeve ground Near field LS1 Left Right XLR 3pin male connector balanced 1 2 in phase 3 out of phase Near field LS2 Left Right XLR 3pin male connector balanced 1 2 in phase 3 out of phase Octagon page number 87 CRM LS 1 CRM LS1 main connector is 25 pole female Sub D with 8 balanced wired signals 1 Left in phase 14 Left out of phase 2 Ground 15 Center in phase 3 Center out of phase 16 Ground 4 Right in phase 17 Right out of phase 5 Ground 18 Surround Left in phase 6 Surround Left out of phase 19 Ground 7 Surround Right in phase 20 Surround Right out of phase 8 Ground 21 Sub Woofer in phase 9 Sub Woofer out of phase 22 Ground 10 Left 2 in phase 23 Left 2 out of phase 11 Ground 24 Right 2 in phase 12 Right 2 out of phase 25 Ground Octagon page number 88 CRM 15 2 CRMLS 2 main connector is 25 pole female Sub D with 8 balanced wired signals 1 Left in phase 14 Left out of phase 2 15 Center in phase 3 Center out of phase 16 Ground
131. st select a module with data that you want to copy 2 Press the copy switch As soon as you hit the COPY switch all data of the selected module shall be saved in a copy paste buffer Note Only the switch settings located above the control modules LCD will be copied to the Paste buffer The LED in the paste switch will be on now showing that the paste buffer is loaded If the copy buffer is already loaded the paste buffer LED will turn off a short moment to indicate that new data has been loaded 3 Now you select a module or hit the ALL switch and finalize the process by pasting this data to another module or to all modules This is done by selecting another module with the SELECT switch indicating the module number When you now press the Paste switch the data will be transferred to that module This procedure can be repeated to other modules as well Octagon page number 72 SNAPSHOT Another function of the Copy function is to store snapshots of all faders and mutes settings This can be convenient if in the middle of a mix if a specific balance of faders mutes needs to be restored from memory HOW TO 1 Push the escape switch first so the LCD shows Module None 2 Press COPY now all fader mute data is copied to the Paste buffer 3 Press the SHOW switch first 4 Now press the PASTE switch 5 Now choose with the SELECT switches which modules need to restore their data when needed 6 Press ENTER switch again and all SE
132. stereo returns and patch bay Octagon page number 9 84 The frame 84 will fit 84 dual path mono a maximum of 4 control modules 8 dual path stereo modules and a master section and patch bay SME CN 175 6 TTA a 2651 CHT ur H B M i ld BE B Frame 84 standard configuration From left to right 24 dual path mono modules control module 24 dual path mono input modules control module master section 24 dual path mono modules control module 8 dual stereo return modules 16 stereo returns and patch bay Note Octagon s patch bay can be ordered at either end of the frame Delivery contents In this shipment of your Octagon you will find the following parts please check and contact the factory immediately when something is missing 1 Your configuration of the Octagon 2 Power supplies 2 3 4x analog 1 2x motor and 1 2x Logic power supplies depending on the size of your console 3 Manual with software 4 Cables Serial cable and 4 mains cables 5 Powerfade software 6 PC display card Octagon page number 10 THE MASTER SECTION 2 0 MASTER SECTION DESCRIPTION Octagon s master section is equivalent in width to 14 input modules CRM outputs are located on the rear of the console below the meter bridge The following paragraphs give a brief description of each section 2 1 OSCILLATOR TALKBACK SECTION The three frequency low distortion oscillator is a phase shift design The frequ
133. t signal on both surround outputs Note This is not the CRM but the main surround outputs that are mono summed MASTER OUTPUT INSERT This switch globally switches all 8 balanced main inserts on and off from a connected processor MASTER OUTPUT ENCODER INSERT This switch lets you switch an eventually connected Encoder on and off in the main 8 buss outputs 8 TRACK to ROUTING BUSS 1 8 The 8 track returns normally fed to the CRM but with this switch you can assign the 8 track to group busses 1 8 instantly Octagon page number 14 Normally the 8 output meters will follow all sources selected to the CRM When activated the 8 output meters will read the main outputs directly In the up position all eight meters read the monitor CRM outputs prior to the Encoder insert when the Meters to main is depressed all the meters will always follow the main outputs without being interrupted by the solo system the 2 Tracks and decoder active switches When the Main encoder insert switch is depressed the meters will read the encoded signal SOLO TO NEAR FIELD MONITOR Normally the solo system 15 assigned to the main monitor L2 Rz MAN VAIN METER 2 INSEM ENUINS BUSS T E VAIN Im N ERME ELLE MUNI hab imLt5z system but activating this switch let s you listen to soloed sources through the near field monitors ver
134. tch When more than one function with LED indication is programmed under one Macro switch the LED will be turned on or off by all the programmed functions To be able to receive a RS422 confirmation from the connected device cabling has to be wired correctly so an acknowledge signal from the connected device is returned to the Octagons software Functions that can be programmed under the MISC menu function CRM MUTE CRM DIM CRM PRESET SOLO RESET SOLO AFL SIP SOLO MOMENTARY SOLO INTERLOCK SOLO 1 PRESET SOLO 2 PRESET SOLO 3 PRESET RED LIGHT LISTEN 1 LISTEN 2 LISTEN 3 Octagon page number 75 RS 422 control data to the 9 pin Sony sub D connector can be programmed to perform the following functions FUNCTION PROTOCOL BINARY DATA FAST REVERSE RS 422 20H 20H 40H PLAY REVERSE 5 422 21H 22H 40H 83H STOP RS 422 20H 00H 20H PLAY RS 422 20H 01H 21H FAST FORWARD RS 422 20H 10H 30H RECORD RS 422 20H 02H 22H STANDBY OFF RS 422 20H 04H 24H STANDBY ON RS 422 20H 05H 25H EJECT RS 422 20H 2FH Through MIDI protocol the following functions can be accomplished FUNCTION PROTOCOL BINARY DATA STOP MMC FOH 7FH 7FH 06H OIH PLAY MMC FOH 7FH 7FH 06H 02H DEF PLAY MMC FOH 7FH 7FH 06H 03H F FORWARD MMC FOH 7FH 7FH 06H 04 F REV MMC FOH 7FH 7FH 06H 05H REC STROBE MMC FOH 7 7FH 06H 06H REC EXIT MMC FOH 7FH 7FH 06H 07H REC PAUSE MMC FOH 7FH 7FH 06H 08 PAUSE MMC FOH 7FH 7FH 06H 09H
135. ters 1 Select module 24 by pressing the upper or lower SELECT module number switch 2 Go to the corresponding Control Module 3 At the Meter Reads section press INPUT the incoming signal should now be visible on the module s ledbargraph and the LED in the section METER READS lights 4 Select module 15 by pressing the upper or lower SELECT switch 5 Go to the corressponding Control Module 6 At the INPUT SELECT section press the GROUP DIR switch of the L ower section 7 At the Meter Reads section press GROUP DIR the group output signal should now be visible on the module s ledbargraph 11 8 FADER CALIBRATION FDR CAL This switch calibrates the upper VCA to be functioning at unity gain when activated This is especially attractive when the upper section is used as pre mix STEMS return The local motorfaders will instantly go to the OdB position When the faders are under control of a VCA group the VCA master can always override the OdB setting of the nulling software The master VCA fader has a calibration position as well Note The actual position of the fader knob could be slightly differ from others due to variations in control tracks of the faders themselves The control voltage however guarantees an absolute unity gain situation within 0 25dB HOW TO Press the escape switch first till the LCD shows Module None 1 Select a module with the SELECT
136. than 48 modules are installed the direct output shall give the post signal of the low fader Octagon page number 38 LINEA 7 en PAN RIGHTS x m Control Module 5 0 OCTAGON S CONTROL MODULE All actions in the control module are only possible when a module is selected by way of the SEL switch in the upper lower part of clan module SW LEM MHT 5 1 GROUP BUSSES The upper section of the Control Module is reserved for assignment to the 48 busses and the Format selection of the surround panning Formats can be basically Mono Stereo LCRS SDDS first selecting this format the routing assignment will be as needed for that format 5 2 INPUT SELECTION Both upper and lower section can accept all input signals such as Mic line Tape output signals or the group buss signal from the 48 busses or no signal at all MOND STEREO LORS 5 115016 5 3 AUX SECTION There are six discrete dual concentric pots that can accept signals from either the upper or lower section pre or post the fader UPPER uu The first switch selects if the signal is derived INPUT piSorpost fader SELECT TAPCIPLAYD The second switch selects whether the signal 1 LOWER m comes from the lower section LED OFF or from the upper secti
137. tin sub Revere RARS USAO TTU GUEN 5 2 TE LINE 1 5 17012 17 19 4 4 D connector to the jack ECCLES eiue ECCLES sockets are identical for TIF I 28 BIONA ___ 008 900 8 1000000090900 UPS inputs and outputs USES TF INF E H MORE SEANA X DR E gos DARDAREN i QUDATVOATUE MEMS Lr 8 ruevanzvanr Note TIE LINE 102 115 STRACK UTP ZTUJJUM 2 D c 5 wv Se 23 G Ground TE LINE T 2L 15 C Cold out of phase M eum H Hot in phase DEN ne TI TEAOUTHIT ETETETT ammam 2 amano 99907 ES Octagon page number 50 INSTRUCTIONS FOR OPERATION 7 0 Instructions for operation The Octagon is designed to be the perfect answer for Film Style Post Production Multitrack and MIDI studios In order to get more familiar with the Octagon we shall discuss the entire recording process and divide it into five basic sequences Sequence through 4 are for the more conventional recording studios and sequence 5 is for the MIDI studio We will also address the film style way of recording and mixing in the manual 1 The session Recording from microphone or line input onto the multitrack machine
138. ting by looking at the sticker on the back of the rack mount power supply This should be 115V for use in areas with an AC supply between 100V and 120V and 230V for use in areas with an AC supply between 220V and 240V NOTE The mains ground is not connected to the chassis of the Octagon A special ground pin is located on the backpanel of master section for grounding purposes Allow for a 5 minute wait between switching the Octagon power supply s on or off to cool down the power surge protectors It is suggested to switch the Octagon s power supplies on all at once by one master power supply switch This prevents from locking up software when power is applied in a wrong sequence In cases when no general power switch is available be sure to switch on all the power supplies as fast as possible beginning with the large analog power supplies The main fuse is a 6 3 amp fuse with a 250 volt rating 10 amp fuse in America with a 125 volt rating After replacing a blown fuse with the correct size and rating turn the power supply on and check the three LED indicators If you are still missing one or more of the power rails turn off the power supply and call the D amp R Technical Support Department NOTE DO NOT REPLACE THE FUSE WITH ANY OTHER TYPE AS THIS CAN BECOME A SAFETY HAZARD AND WILL VOID YOUR WARRANTY 8 2 ELECTRICAL WIRING To take full advantage of the excellent signal to noise ratio of the Octagon it is necessary to read th
139. tive when depressed The Interlocking switch creates canceling of previous selected solo switches when selecting new solo sources SIP is possible with all three interacting modes such as momentary interlocking and adding 2 7 CONTROL ROOM MONITOR SECTION The CRM level controls a total of 8 outgoing levels to the control room monitor power amps This encoder controls all eight tracks with a superb tracking and level repeatability Attenuation of the CRM is always shown in the LCDdisplay in all levels of the menu It ranges from OdB down to 75dB in 0 5dB steps and then it mutes the CRM completely The Octagon has a two by two CRM system intended for alternative stereo near field monitors which are switchable via the bank of switches located above the CRM level controller Each alternate speaker system has its own balanced XLR output for easy interchange of near fields The main eight CRM outputs are on a 25 pole sub D connector Also fitted on the back of the master section are the sub D connectors for the encoding and decoding surround processors Nrerr m LI MANI 25 INET mel lt CONTE wEV tal E LEVEL i Octagon page number 13 Sx B gt tock __ nid TERK NCA MXN NIMC Tanna tibi LE ING cm CEV
140. ub Woofer out of phase Pin 22 Sub Woofer Ground PLUG 25 POLE SUB D Pin 10 Left 2 in phase Pin 23 Left 2 out of phase Pin 11 Left 2 Ground Pin24 Right 2 in phase Pin 12 Right 2 out of phase Pin 25 Right 2 Ground Octagon page number 107 2 TRACK 2TRACK D INPUTS normalled to Left right master Pin 1 Pinl4 Pin 2 Pin 15 Pin 3 Pin 16 Pin 4 Pin 17 Pin 5 Pin 18 Pin 6 Pin 19 Pin 7 Pin 20 Pin 8 Pin 21 Pin 9 Pin 22 Pin 10 Pin 23 Pin 11 Pin 24 Pin 12 Pin 25 2 track A Left in phase 2 track A Left out of phase C 2 track A Left Ground G 2 track A Right in phase 2 track A Right out of phase 2 track A Right Ground 2 track B Left in phase 2 track B Left out of phase 2 track B Left Ground 2 track B Right in phase 2 track B Right out of phase 2 track B Right Ground 2 track C Left in phase 2 track C Left out of phase 2 track C Left Ground 2 track C Right in phase 2 track C Right out of phase 2 track C Right Ground 2 track D Left in phase 2 track D Left out of phase 2 track D Left Ground 2 track D Right in phase 2 track D Right out of phase 2 track D Right Ground outputs B8 7 5 4 3 2 1 GOH GCH GCH GOH GOH GCH GCH GEH BACKVIEW PLUG 25 POLE SUB D Octagon page number 108 2 2 INPUTS normalled to Left r
141. unique in its design There are four bands the high and low bands have sweep able frequency and shelving characteristics type with a boost or cut of 16 dB The two mid bands each are sweep able frequency peak dip type with a boost or cut of 16 dB and bandwidth control which ranges from a maximum Q of 3 down to 0 5 The HF high frequency section is a variable frequency shelving type sweep able from 4 000 Hz to 20 000 Hz with a max boost or cut of 16 dB The HMF High Mid Freq section has level and frequency controls with variable frequency ranges from 600 Hz to 15 000 Hz and has a maximum boost or cut of 16 dB The bandwidth has a Q factor ranging from 0 5 up to 1 5 The LMF Low Mid Freq section has level and frequency controls with variable ranges from 40 Hz to 1000 Hz and has a max boost or cut of 16 dB The bandwidth has a Q factor ranging from 0 5 up to 1 5 The LF low frequency section is a variable frequency shelving type sweep able from 10 Hz to 500 Hz with a maximum boost or cut of 16 dB The shelving curve can be switched into a Bell curve All level controls are center detented making neutral positions easy to establish All frequency ranges have been carefully selected following extensive examination of all types of music and noise Test comparisons of other equalizers helped the D amp R design team create an equalizer that sounds very musical but at the same time raising the standard in specs and sound quality
142. uting switches Note that Aux send 2 and 34 level pan controls whereby the pan pot determines to which Aux buss the signal goes T 11 7 OUTPUT ASSIGNMENT TO MASTER BUSSES The two rows of eight black switches positioned below the AUX section are used to assign the module s input signal to the eight main output busses the Group output routing system and joysticks Both rows of switches are identical One is used for the assignments of all upper signal paths marked U the other for the assignments to all lower signal paths marked L Following on the next page is a chart of the 8 switches and their functions Octagon page number 66 L R Routes the input signal to the main Left and Right busses CENTER Routes the input signal to the main Center buss SRND Routes the input signal to the main Surround busses SW Routes the input signal to the main Sub buss 1272 Routes the input signal to the main Left 2 and Right 2 busses RTNG Routes the input signal to the console s Group output section routing of the 48 Group output busses JOY 1 Routes the input signal to the Joystick 1 buss JOY2 Routes the input signal to the Joystick 2 buss assignment switches can be activated independently from eachother creating total separation between assignments from the upper and lower sections Please note that the pan pot is always sw
143. vates a relay built inside the Octagon to felicitate LL nin ME tea OCTAGON DR external red light signaling 2 20 CONTROL MONITOR MATRIX The control room monitor matrix is a built in remote unit to CONTROL ROON MONITOR MATRIX control an optional Stems unit for extending the amount of TMLOGUE MUSIC EFFECTS AMBIANCE inputs when needed A suggested grouping of Dialogue Music Effects and Ambiance eases recognition of the Stems 9 9 9 9 that you are working with A Mute Solo Direct and Playback un LEM E switches are controlling a complete group of signals combined E STEM premix A master Direct Playback switch controls all Stems in one go 2 21 TOUCH PAD DR ai DR MR The internal high quality touch pad needs to be connected to m the external PC that handles the Powerfade automation MUTE MUTE MUTE 2 22 AUX MASTER SECTION T s The Aux master section is located at left side of master module and houses the 16 Aux masters controlling the output level of the Aux sends Each Aux master has its own solo switch All Aux master solo switches are AFL after fade listen switches independent of the selection made in the SOLO control section All mutes are soft mutes and under control m of the automation section The Aux master pots are stored in the Recall p system of the Octagon The Aux outputs are balanced and normalled in the
144. wer If an unexpected sound is heard or if something appears to be missing from the lower frequency range press the phase switch on the upper suspected to be in error If the sound improves then that upper was out of phase with the others 3 8 AUTO The AUTO switch determines the automation mode of the automated fader Either off no LED s on Read R Write W or Update Trim both Read and Write LED s on Note These functions are only active when PowerVCA is loaded and active on your PC 3 9 PFL The PFL switch has an adjacent LED as an indicator that it is activated This PFL switch is completely independent from the automated SOLO system but when a solo switch is activated in that channel it will be turned off at the same moment 3 10 PEAK The PEAK led indicates any overload in the module 4 dB prior to clipping from the following points Pre EQ Post Insert Post VCA 3 11 SOLO SYSTEM The Octagons solo system is very comprehensive Various modes are possible PFL pre fade listen AFL after fade listen and SIP Solo In Place Master status switching located in the master section selects the PFL or AFL mode for the entire console except for the Aux master solo s and the Solo In Place mode Solo In Place is a destructive solo system muting all other channels except those that are in the Safe mode activated by the Safe switch Activating the PFL switch will send the pre fader signal of the Upper section to the CRM speaker

OWNERS MANUAL - D&R Broadcast Mixing Consoles

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OWNERS MANUAL - D&amp;R Broadcast Mixing Consoles

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OWNERS MANUAL - D&R Broadcast Mixing Consoles