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