Audio Developments AD146 - Manual (Page 31)

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The monitor module is associated with all aural monitoring of input and output signals
together with communications between the sound operator and an outstation.
It is necessary to be able to audition (in left-right stereo, ie a form the human brain
understands), an X-Y (A-B) stereo microphone and an M-S stereo microphone
whether the channel panpots are set centrally or hard left and hard right (thus creating
conflicting monitor requirements). It is also necessary to be able to audition X, Y, M,
S in isolation.
Similarly, facilities must be provided to monitor main outputs
individually and as stereo pairs, whether they be in the M-S or L-R domain. It is a
bonus to be able to determine the potential of these various signals in
their after-life, ie in post-production.
The signal/s to be auditioned on the left and right outputs of monitor 1 and monitor 2
is/are selected from the bank of switches (1) to (9).
These switches are not
interlocked in order that any desired mix of signals may be achieved.
Switch (2) selects A output from the mixer to monitor 1 (&2) left and right outputs.
Switch (3) selects B output from the mixer to monitor 1 (&2) left and right outputs.
Switch (4) selects outputs A & B as a stereo pair to monitor 1.
MONO (14) mixes any two-channel signal appearing on monitor 1 path and presents it
to both left and right outputs of monitor 1 - in this case a mono mixdown of the
A.B stereo signal. A & B [(2) & (3)] produces the same result.
Switches (6), (7), (8) provide the same functions for C and D outputs from the mixer.
Signals for output monitoring are taken from the final mixer outputs, ie after the
faders, output matrix-amplifiers and limiters.
Switches (8) and (9) route the two stereo-returns to monitor 1
CH (1) operates in conjunction with the MON switch on the channels. The MON
signal is the same as that which drives A,B,C,D mix busses. If MONO (14) is also
selected, the monitored signal becomes a true (mono) AFL (after-fader listen) signal
from the channel.
‘How does a microphone signal sit in the mix?’ By alternating CH (1) and
STEREO (4) or (7) and routeing the appropriate microphone channel to MON, the
question is easily answered. This is SOLO-IN-PLACE (SIP) use of the monitor 1
path.
The output from the monitor 1 path (and to monitor 2 output) is controlled by a pair of
potentiometers - left (10), right (11).
If (11) is turned fully counter-clockwise, (10)
controls monitor 1 output as a stereo pair. Should the monitor 1 signal be in the M-S
domain at this point, varying R (11) will change the width of the stereo signal - after it