Download Midas HERITAGE 3000 Specifications

OPERATORS MANUAL
Midas
Klark Teknik Building,
Walter Nash Road,
Kidderminster.
Worcestershire.
DY11 7HJ.
England.
Tel:+44 1562 741515
Fax:+44 1562 745371
Email: [email protected]
Website: midasconsoles.com
MIDAS Heritage 4000 Console
Operators Manual DOC02-H4000
Issue 1.1 - February 2004
Due to a policy of continual product improvement, specification
and features may be subject to change without notice.
IMPORTANT SAFETY INSTRUCTIONS
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK,
DO NOT EXPOSE THIS APPLIANCE TO RAIN OR MOISTURE
AVIS: RISQUE DE CHOC ELECTRIQUE. NE PAS OUVRIR
These symbols are internationally accepted symbols that warn of potential hazards with
electrical products.
The lightning flash with arrowhead symbol, within an equilateral
triangle is intended to alert the user to the presence of uninsulated
“dangerous voltage” within the product's enclosure that may be of
sufficient magnitude to constitute a risk of electric shock to persons.
The exclamation point within an equilateral triangle is intended to alert
the user to the presence of important operating and maintenance
(servicing) instructions in the literature accompanying the appliance.
1. Read these instructions.
2. Keep these instructions.
3. Heed all warnings.
4. Follow all instructions.
5. Do not use this apparatus near water.
6. Clean only with a dry cloth.
7. Do not block any of the ventilation openings. Install in accordance with the manufacturers
instructions.
8. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus
(including amplifiers) that produce heat.
9. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two
blades with one wider than the other. A grounding type plug has two blades and a third grounding
prong. The wide blade or the third prong are provided for your safety. If the provided plug does not
fit into your outlet, consult an electrician for replacement of the obsolete outlet.
10. Protect the power cord from being walked on or pinched particularly at plugs, convenience
receptacles, and the point where they exit from the apparatus.
11. Only use attachments / accessories specified by the manufacturer.
12.
Use only with the cart, stand, tripod, bracket, or table specified by the manufacturer,
or sold with the apparatus. When a cart is used, use caution when moving the
cart/apparatus combination to avoid injury from tip-over.
13. Unplug this apparatus during lightning storms or when unused for long periods of time.
14. Refer all servicing to qualified personnel. Servicing is required when the apparatus is damaged in
any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have
fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate
normally, or has been dropped.
IEC-60065-Edn7-Midas
Klark Teknik Group (UK) Plc, Klark Teknik Building, Walter Nash Road,
Kidderminster. Worcs. DY11 7HJ. England
Tel:+44 1562 741515 Fax:+44 1562 745371
www.midasconsoles.com www.klarkteknik.com
DECLARATION OF CONFORMITY
We, Klark Teknik Group (UK) Plc
of,
Klark Teknik Building, Walter Nash Road, Kidderminster, Worcestershire, DY11 7HJ.
Declare that a sample of the following product:Product Type Number
Heritage 4000
Product Description
Professional Audio
Mixing Desk
Nominal Voltage (s) Current
115V AC
230V AC
8.0A
4.0A
Freq
50/60Hz
to which this declaration refers, is in conformity with the following directives and/or standards:Directive(s)
Generic Standard using EN55103 Limits and Methods
Class B Conduct Emissions
Class B Radiated Emissions
Fast Transient Bursts
Static Discharge
Basic Electrical Safety
LVD
Harmonics
Flicker
Signed:............................
Name: Simon Harrison
Test Standard(s)
EN50081/2
EN55103
EN55103
EN61000-4-4
EN61000-4-2
EN60204
EN60065
EN61000-3-2
EN61000-3-3
Date: 1st September 2003
Authority: Research and Development Director, Klark Teknik Group (UK) Plc
Attention!
Where applicable, the attention of the specifier, purchaser, installer or user is drawn to special limitations
of use which must be observed when these products are taken into service to maintain compliance with
the above directives. Details of these special measures and limitations to use are available on request
and are available in product manuals.
A Subsidiary of Telex Communications, Inc.
Thank you
Thank you for purchasing a Midas Heritage 4000 mixing console. The Heritage 4000 has been developed by listening to
the needs of live sound engineers and builds upon the flexibility of the Heritage 3000.
Offering a total of forty (40) aux sends plus stereo masters, the Heritage 4000 is a comprehensive monitor console. With
it’s flexible assignable buss routing, the Heritage 4000 can be quickly configured making the Heritage 4000 just as
comfortable at the Front of House.
As you would expect from Midas, the story does not end there. The Heritage 4000 features Midas XL4 microphone preamps and channel equalisation, VCA and mute automation and independent level control over each and all outputs. All
backed up, of course, with the standard Midas Three Year Warranty.
Please take the time to fill out the registration card and, to obtain the best results with a minimum of effort, read this
operators manual.
Finally, Enjoy your new Midas Heritage 4000 Console!
Contents
Installation & Operation Considerations
Wiring Diagrams
Page 3
Page 3
Mono Input Module
Page 4
Stereo Input Module
Page 10
Auxtender Pod
Page 16
VCA Master Faders
Page 20
Group Output Module
Page 24
Matrix Output Module
Page 28
Master Output Module
Page 30
Monitor Output Module
Page 34
Console Automation
Page 38
Automation and Console Linking Walkthrough
MIDI
CANBUS
Page 46
Page 50
Page 53
Weights and Dimensions
Rear Panel
Page 54
Page 56
Block Diagrams
Page 58
Channel Cribsheet
Page 66
Features and Specifications
Overview
Technical Specification
Page 68
Page 69
Page 70
Operators Manual- Page 2
ATTENTION
The following special limitations must be observed in order to maintain safety and electromagnetic compatibility
performance.
Power Connection
The console should only be operated with the power supply connected to ground via the ground in the mains connector.
Control Connections
The console should only be operated with high quality screened control cables. All connector shells should be of metal
bodied construction such that the shell provides a screen when connected to the console.
All ‘DEE’ connector shells should be connected to the cable screen.
All XLR and DIN connectors should have pin one (1) connected to the cable screen.
INSTALLATION
There are a number of points to consider when installing a mixing console, many of these points will have already been
addressed even before the console is unpacked, however it is worth repeating them.
Position
The console should be located in a convenient location commensurate with the use to which the console is being put.
Ideally a cool area is preferential not too close in proximity to electrical distribution equipment or other sources of
interference. Provision should be made for some flat surface surrounding the console to prevent it’s use as a table top.
Power
The console’s power supply should be located as far away from the console as the connecting cable will allow. It should be
set for the voltage supply available in your area and plugged into the mains outlet using the cable provided.
!
THE POWER SUPPLY SHOULD NEVER BE OPERATED WITH
THE MAINS EARTH DISCONNECTED
Please note that the power supply contains LETHAL VOLTAGES greatly in excess of
the mains voltage and that it’s rails can produce extremely large currents which
could burn out equipment and wiring if shorted. All testing and servicing should
ONLY be carried out by a qualified engineer.
Connections
To ensure the correct and reliable operation or your Midas Heritage 4000 console, only high quality balanced screened
twisted pair audio cable and metal bodied connectors should be used.
3
2
5-Pin Midas Can Bus
Pin 1 - Screen/Ground
Pin 2 - Hot Signal
Pin 3 - Cold Signal
Pin 1 - +18V (100mA max.)
Pin 2 - Can Low
Pin 3 - 0V Can
Pin 4 - Can High
Pin 5 - -18V (100mA max.)
PUSH
1
Female XLR
Male XLR
2
1
3
Pin 1 - Screen/Ground
Pin 2 - Hot Signal
Pin 3 - Cold Signal
RS-232
RS-232
Pin 2 - Receive data
Pin 3 - Transmit data
Pin 5 - GND
Note: Sockets are viewed from the front face.
Quarter Inch Jack
Sleeve - Screen/Ground
Ring - Cold Signal
Tip - Hot Signal
To ensure compatibility between the console and
interconnects, always ensure connectors and cable are of
reputable quality.
Operators Manual- Page 3
Mono Input Module
Operators Manual- Page 4
p
a
n
0
PRE
l
r
c
0
2
PRE
l
r
c
0
3
PRE
l
r
c
0
4
PRE
l
r
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c
0
5
PRE
l
auxtender pod
g
a
i
n
c
1
Auxtender Pod
The auxtender pod provides each input channel strip with an additional 16 mixes (eight stereo auxes) making the
total number of ‘auxiliary’ (aux) outputs for the console forty (40).
Each stereo aux send is enabled by pressing the numbered switch adjacent to the dual-concentric pan/gain
potentiometer (pot). When enabled the accompanying LED will light according to the pre/post switch position.
r
c
Green
Red
0
6
PRE
l
r
c
= Stereo Aux send is POST-Fader
= Stereo Aud send if PRE-Fader
0
7
PRE
l
The inner ring of the dual-concentric pot provides gain control for the aux send while the outer ring provides the
PAN (left-to-right balance) control, allowing the user to position the channel within a stereo image.
r
c
0
8
PRE
l
r
MIDAS
48V +25
+35
PAD
+15
O
+60
gain
0
PRE
+10
direct o/p
5k
0
1k
mono input module
H4002
Mono Input Module
Mono Input Channels
INPUTS
In the process of describing the mono input
channel, controls will be described in order or
signal flow .
Send
Return
The Heritage 4000’s mono input channels each have a
single balanced microphone input, an insert point via two
(2) quarter-inch (0.25”) TRS jack plugs and a balanced
direct output all conventionally wired.
20k
freq
15
bell
2k
15
treble
+/-
dual-concentric pots
0
Dual-concentric pots have an independent
inner and outer ring to allow a greater range of
controls in the same surface area.
Q
0
400
48V - Phantom power is provided to allow the connection of
condenser microphones, direct inject boxes and other devices that
require +48V phantom power to operate. When depressed the 48V
LED will light, indicating that +48V is being applied.
Microphone
Input
8k
freq
INS
15
15
hi-mid
PRE
0
EQ
500
15
100
2k +/-
Direct
Output
Q
freq
PAD - When enabled, the PAD switch provides 25dB attenuation to
the input signal which allows the connection of high output
microphones or line-level signals. If the input amplifier is transformer
coupled (option), the pad greatly reduces the risk of saturation at
very low frequencies. When depressed the pad LED will light,
indicating that the pad is enabled.
0
bell
100
15
20
15
bass
freq400
60
160
20 freq 400
C 0
l
0
1
2 PRE
C 0
r
+6
3
4 PRE
C 0
0
r
+6
l
PHASE (Ø) - The phase switch causes a 180 degree phase
change (with respect to the input) in the input amplifier. Hence
the input channel signal has inverse phase (with respect to the
input). When depressed the phase LED will light, indicating that
the phase change is being applied.
0
PRE
+35
+25
5
PRE 6 PRE
C 0
l
0
r
C 0
0
r
+6
l
9
PRE 10 PRE
C 0
0
r
+6
l
+15
+60
gain
C 0
0
r
+6
C 0
0
r
+6
l
15
PRE 16 PRE
C 0
l
0
r
+6
DIRECT O/P - The direct output pot allows the continuous alteration of the direct output
level from - inf (minus infinity) to +10dB.
C 0
Channel Equalisation
0
r
+6
The treble equalisation is selectable fully parametric or high shelving via the bell switch.
21
PRE 22 PRE
C 0
0
r
+6
Treble Frequency - Selectable frequency centre. Continuously variable from 1kHz to 20kHz.
23
PRE 24 PRE
Treble Gain - The inner dial on the dual-concentric pot controls the gain of the treble EQ
stage and is continuously variable from -15dB to +15dB with a centre detent at 0dB.
5k
C
ST
l
pan r
SIS
stereo
lcr
image
0
MONO
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-25
mute
MIDAS
+10
direct o/p
19
20 PRE
PRE
l
PRE
+6
C 0
l
0
17
18 PRE
PRE
l
+10
direct o/p
0
r
+60
gain
GAIN - The input gain of the Heritage 4000’s input is continuously variable from +15dB to
+60dB.
13
14 PRE
PRE
+15
It is worthy of note that in either state, the direct output is PRE-MUTE and hence is unaffected
by changes in channel mute.
0
11
PRE 12 PRE
l
O
PRE - The PRE switch, in this instance, controls the operation of
the direct output. When enabled the pre LED is lit to indicate that
the direct output signal is derived PRE-Insert and PRE-EQ.
+6
7
8 PRE
PRE
+35
PAD
+6
r
PRE
l
48V +25
15
lo-mid
1k
bell
HS0001
Treble Width - The outer dial on the dual concentric pot controls the band width of the treble
filter when in fully parametric mode (i.e. when the bell switch isdepressed) from 0.1 to 2
octaves with a centre detent at 0.5 octaves.
20k
freq
15
15
treble
Treble Bell - When depressed, the treble equaliser full parametric mode is enabled. When
released, the equaliser Midas shelving mode is enabled.
Operators Manual- Page 5
p
a
n
g
a
i
n
0
PRE
l
r
c
0
2
PRE
l
r
c
0
3
PRE
l
r
c
0
4
PRE
l
r
c
c
0
5
PRE
l
Mono Input Module
auxtender pod
c
1
Both the hi-mid and low-mid are fully parametric equalisers.
2k
0
PRE
l
Q
0
400
r
c
6
+/-
Hi-Mid Freq - Selects the frequency centre of the EQ. Continuously variable from 400Hz to
8kHz (hi-mid) and 100Hz to 2kHz (lo-mid).
Hi/Lo Mid Gain - The inner dial on the dual-concentric pot controls the gain of the EQ stage
and is continuously variable from -15dB to +15dB with a centre detent at 0dB.
8k
freq
r
c
15
0
7
PRE
l
15
hi-mid
r
c
0
8
PRE
l
0
r
MIDAS
The bass equalisation is selectable fully parametric or Midas low shelving via the bell switch.
+35
PAD
+15
O
+60
gain
0
PRE
+10
direct o/p
5k
0
1k
mono input module
H4002
48V +25
Bass Freq - Selectable frequency centre. Continuously variable from 100Hz to 400Hz.
500
15
100
2k +/-
15
2k
15
treble
+/-
Q
0
Q
freq
100
15
20
15
bass
400
60
160
8k
freq
INS
15
Bass Gain - The inner dial on the dual-concentric pot controls the gain of the bass EQ stage
and is continuously variable from -15dB to +15dB with a centre detent at 0dB.
Bass Width - The outer dial on the dual concentric pot controls the band width of the bass
filter when in fully parametric mode from 0.1 to 2 octaves (i.e. when the bell switch is
depressed) with a centre detent at 0.5 octaves.
0
bell
20k
bell
15
lo-mid
freq
400
Hi/Lo Mid Width - The outer dial on the dual concentric pot controls the band width of the eq
filter and is continuously variable from 0.1 to 2 octaves with a centre detent at 0.5 octaves.
Bell - When depressed, the bass equaliser full parametric mode is enabled. When released,
the equaliser Midas shelving mode is enabled.
The input strip equalisation also features a continuously variable high pass filter (HPF) from
20Hz to 400Hz. The HPF switch enables or disables the HPF from the channel strip. The HPF
LED indicates whether or not the HPF is operational.
15
hi-mid
PRE
20 freq 400
0
EQ
500
15
15
lo-mid
100
2k +/-
Q
freq
Channel Operation
0
bell
100
15
20
15
bass
freq400
60
160
20 freq 400
C 0
l
0
0
r
+6
3
PRE 4 PRE
C 0
0
r
+6
C 0
0
r
+6
C 0
r
0
r
20k
freq
bell
+6
11
12 PRE
1k
15
15
treble
Return
0
C 0
5k
0
en
+6
PRE
EQ
EQ - When depressed, the channels equalisation stages are enabled. When released, the
channels equalisation stages.
+6
13
14 PRE
PRE
C 0
0
r
+6
l
PRE
Send
9
10 PRE
C 0
l
Channel
Signal
0
r
PRE
l
i.e.
7
8 PRE
PRE
l
PRE - When enabled, the channel signal passes through the insert point before proceeding to the
EQ stage (the insert is pre-EQ). When disabled, the channel signal passes through the insert point
after the EQ stage (the insert is post-EQ).
5
6 PRE
PRE
l
PRE
1
2 PRE
C 0
l
INS - When enabled, the INS switch enables the insert point of the channel by connecting the
channel input return to the channel signal path.
+6
r
PRE
l
INS
15
PRE 16 PRE
C 0
0
r
+6
l
17
18 PRE
PRE
C 0
l
0
+6
r
19
20 PRE
PRE
C 0
l
0
The Heritage 4000 has 24 assignable buss outputs which are discussed in more detail later in this manual). Each
pair of busses may be assigned:
+6
r
21
22 PRE
PRE
C 0
0
r
+6
l
Signal Routing & busses
23
PRE 24 PRE
C
Mono Auxillary
Stereo Auxillary
Stereo Group
ST
l
pan r
SIS
stereo
lcr
image
MONO
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-25
This enables the Heritage 4000 to be used as an FOH, Monitor or FOH & Monitor console depending upon the
requirements of the user. Essentially the uses are endless, and offer the maximum flexibility to the engineer.
mute
MIDAS
HS0001
Operators Manual- Page 6
p
a
n
0
PRE
l
r
c
0
2
PRE
l
r
c
0
3
PRE
l
r
c
0
4
PRE
l
r
c
c
0
5
PRE
l
auxtender pod
g
a
i
n
c
1
Mono Input Module
In MONO AUX mode:
The buss send pot is a dual purpose switching pot:
l
r
+6
Pressing the pot will enable/disable the buss send for that channel. When depressed, the buss
active LED will light to indicate that the buss send is active and also whether the send is pre or
post-fader.
11
PRE 12 PRE
0
PRE
0
l
r
c
6
C 0
r
c
When the PRE button is depressed, the buss send is PRE-Fader, otherwise the buss send is
POST-Fader. The buss active LED is bi-colour to represent this:
0
7
PRE
l
r
c
0
8
PRE
l
Green
Red
r
MIDAS
= POST-Fade
= PRE-Fade
48V +25
+35
PAD
+15
O
+60
gain
0
PRE
+10
direct o/p
5k
0
1k
mono input module
H4002
Rotating the buss send pot controls the level sent to the mono aux buss.
In this mode the operation is the same for both odd and even numbered buss sends.
In STEREO AUX mode:
The buss send pot is a dual purpose switching pot:
2k
0
r
+6
l
20k
15
15
treble
+/-
Pressing the even numbered pot will enable/disable the buss send for that channel. When
depressed, the buss active LED will light to indicate that the buss send is active and also
whether the send is pre or post-fader.
11
PRE 12 PRE
freq
bell
C 0
When the PRE button is depressed, the buss send is PRE-Fader, otherwise the buss send is
POST-Fader. The buss active LED is bi-colour to represent this:
Q
0
400
8k
freq
INS
15
Green
Red
15
hi-mid
PRE
0
= POST-Fade
= PRE-Fade
EQ
500
15
15
Rotating the even numbered buss send pot controls the level sent to the stereo aux buss.
lo-mid
100
2k +/-
Q
freq
In this mode the odd numbered buss send pot acts as the pan control placing the input signal into a stereo (left-toright) field.
0
bell
100
15
20
15
bass
freq400
60
160
In STEREO GROUP mode:
20 freq 400
C 0
0
The buss send pot is a dual purpose switching pot:
l
+6
r
1
2 PRE
PRE
C 0
0
r
+6
l
C 0
0
r
+6
3
PRE 4 PRE
C 0
0
r
+6
l
5
6 PRE
PRE
C 0
l
0
r
0
r
+6
9
PRE 10 PRE
C 0
+6
PAN - The pan control defines the stereo position of the channel in a stereo group or stereo master.
11
12 PRE
C 0
0
r
+6
C 0
0
r
+6
The pan obeys constant law whereby the centre detent positions the channel in the centre of
the stereo field with each side at
-3dB.
C
13
14 PRE
PRE
l
Pan and Routing
0
r
PRE
l
ST
15
PRE 16 PRE
C 0
0
r
+6
l
17
18 PRE
PRE
C 0
l
+6
0
+6
r
21
22 PRE
PRE
C 0
stereo
0
lcr
image
+6
r
PRE
pan r
SIS
19
20 PRE
C 0
l
l
23
24 PRE
C
ST
l
pan r
SIS
stereo
MONO
ST - When depressed, the ST switch sends the channel output to the Stereo Master Bus via
the Pan Control. The ST LED will light to indicate that the signal has been routed to the stereo
master bus.
0
r
PRE
l
In this mode, the even and odd buss pots have no other use as group sends are always POSTFader and POST-Pan. Hence the signal is sent at UNITY GAIN (i.e. 0dB).
+6
C 0
l
11
PRE 12 PRE
7
8 PRE
PRE
l
l
Pressing the even numbered pot will enable/disable the buss send for that channel. When
depressed, the buss active LED will light to indicate that the buss send is active.
lcr
image
MONO
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-25
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-25
MONO - When depressed, the MONO switch sends the channel output to the Mono Master
Bus. The MONO LED will light to indicate that the signal has been routed to the mono master
bus.
SIS - The SIS switch enables the spacial imaging system which operates in conjunction with
the pan and image controls. It also acts as a left, centre, right master bus enable overriding
any stereo and mono master bus assignments.
mute
mute
MIDAS
HS0001
Operators Manual- Page 7
p
a
n
0
PRE
l
r
c
0
2
PRE
l
r
c
0
3
PRE
l
r
c
0
4
PRE
l
r
c
c
0
5
PRE
l
auxtender pod
g
a
i
n
c
1
Mono Input Module
C
ST
l
pan r
SIS
MONO
r
c
0
6
PRE
l
r
c
0
7
PRE
l
r
stereo
c
0
8
lcr
image
PRE
l
r
MIDAS
48V +25
+35
PAD
+15
O
+60
gain
0
PRE
+10
direct o/p
5k
0
1k
mono input module
H4002
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-25
mute
MUTE
Safe switches disable any remote control over the channel as selected:
15
15
treble
+/-
Q
FDR
MUTE Safe - The channel mute will not be affected by automute or snapshot automation
0
8k
freq
solo
AUTO
INS
LED Signal Meter - The input channel signal can be monitored with the in-line channel
meter which is pre-fader and post insert and EQ.
The input fader panel can be used as a conventional channel fader or as part of the
automation system.
safe’s
20k
2k
400
MUTE - The MUTE switch mutes the input channel at all points after the insert send (i.e. all
aux, buss sends etc..). The switch can also be controlled from snapshot automation.
Input Fader
freq
bell
IMAGE - When the spacial imaging system is active the IMAGE control can modify the action
of the pan control so as to place the channel within a three speaker system. When the image
control is fully clockwise the pan control will operate in full left, centre, right such that a
centre panned signal will route to the centre speaker only and will not appear in either of the
left or right outputs. When the image control is fully anti-clockwise the pan control reverts to
stereo such that a centre panned signal will route at equal power to the left and right
speakers. All other Image control positions generate a composite blend of the stereo and LCR
panning systems so that the optimum degree of center image focus and speaker power can
be obtained. When the image control and pan control are both set central the channel will be
routed with equal power to all three speakers. Constant power is maintained at all times so
that the image can be adjusted during the show without any perceived level change.
15
15
hi-mid
PRE
0
FDR Safe - The channel fader will not be affected by virtual fader automation or the VCA
master fader (including VCA mutes).
EQ
500
15
15
lo-mid
100
2k +/-
Q
freq
15
15
60
20 freq 400
0
r
+6
1
2 PRE
C 0
l
r
+6
3
4 PRE
C 0
0
r
+6
5
PRE 6 PRE
C 0
0
r
+6
l
7
8 PRE
PRE
C 0
0
r
+6
l
9
10 PRE
PRE
C 0
0
r
+6
l
11
PRE 12 PRE
C 0
0
r
+6
l
13
14 PRE
PRE
C 0
l
+6
15
16 PRE
C 0
0
r
+6
l
17
PRE 18 PRE
C 0
0
r
+6
l
19
20 PRE
PRE
C 0
0
r
+6
l
21
PRE 22 PRE
C 0
l
0
+6
r
PRE
SET - The set switch is a momentary switch that toggles the VCA and mute assignments for
the channel.
2
0
3
4
5
6
5
23
24 PRE
In the central console, either mute or VCA operation can be selected. Then using the assign
keys, the appropriate VCA or automute can be selected. Pressing the channel set switch for
more than half a second will erase the existing VCA or automute assignments and then
accept the new ones. A quick press will simply toggle the new settings.
10
i.e. If the channel is assigned to VCA 1,3 and 4 and the assign keys are then set to 1 and 2
and the channel set button is pressed quickly. The resulting VCA assignment for the channel
would be VCA’s 2,3 and 4.
20
When setting mute or VCA assignments, the current assignment will be shown in the ten
(10) LED’s adjacent to the fader.
30
SOLO - The SOLO switch sends the input channel signal to the PFL mono and AFL stereo
busses. If the switch is pressed for a short time it will latch on or off, but if it is held on for
more than 1 second the latching is disabled and when the switch is released the channel
solo will turn off. As a default the solo system is auto cancelling so each new solo cancels the
last. This function is time dependant which allows several solos to be active as long as they
are switched on at approximately the same time. The SOLO ADD MODE switch on the
MONITOR module defeats the auto cancelling and allows multiple channel monitoring. In
this mode input solos have priority over outputs and will temporarily override any active
output solos. The input solos also override any active VCA solos.
7
8
40
9
50
0
r
PRE
5
0
PRE
l
AUTO Safe - The channel will not be affected by snapshot automation. Automutes, VCA
masters and assignment systems will remain active.
160
C 0
PRE
1
bass
freq400
l
10
0
bell
100
20
SET
10
dB
The FADER function varies according to the virtual fader setting. Normally, the fader gives
continuous adjustment of the input channel level from off (-inf) to +10dB.
In Virtual fader mode, the ‘real’ fader is used to trim the ‘virtual’ fader shown on the fader LEDs. When taken to
0dB the fader trims the virtual fader level (i.e. at 0dB the channel level is that of the virtual fader snapshot
memory but can be trimmed to +10dB or down to -inf).
C
ST
l
pan r
SIS
stereo
lcr
image
MONO
In addition to showing VCA and mute assignments, the ten (10) LED’s adjacent to the channel fader perform a
number of different operations depending upon the settings on the central console.
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-25
mute
MIDAS
HS0001
Operators Manual- Page 8
p
a
n
0
PRE
l
r
c
0
2
PRE
l
r
c
0
3
PRE
l
r
c
0
4
PRE
l
r
c
c
0
5
PRE
l
auxtender pod
g
a
i
n
c
1
Input Fader
safe’s
FDR
r
c
l
solo
AUTO
0
6
PRE
r
c
0
7
PRE
FADER MANUAL RECALL AND NULL
MUTE
l
In this mode, the STATUS LEDs are used to prompt the operator where to move the fader. If
the fader is not at the position stored in the current recalled snap shot, one/two LEDs will flash
to indicate where the fader should be. A single flashing LED indicates that the fader should
positioned next to that LED, if two LEDs are flashing the fader should be between the two
LEDs. As the fader is moved closer to the required position the LED(s) will stop flashing and
will be replaced by a single continuously lit LED. Once the fader is at the correct position all
LEDs will extinguish.
r
c
0
8
SET
PRE
l
H4002
48V +25
+35
PAD
+15
O
+60
gain
0
PRE
+10
direct o/p
5k
0
1k
20k
2k
FADER POSITION CHECK
15
4
5
15
Q
0
When a scene's contents are being "checked" (see automation operation) the STATUS LEDs
will indicate the fader position stored in the scene by continuously illuminating one or two
LEDs as appropriate.
0
VIRTUAL FADER RECALL
3
treble
+/-
5
2
6
freq
bell
mono input module
1
400
10
r
MIDAS
5
10
When in VIRTUAL FADER mode (see automation operation) the automation system will
generate a "virtual" fader, set to the level of the input fader at the time the snap shot was
stored. The level of the virtual fader is added to the level of the physical input fader. In this
mode the STATUS LEDs indicate the "position" of the virtual fader by illuminating a bar of
LEDs starting at off (-inf).
20
7
30
8k
freq
INS
15
15
hi-mid
PRE
8
0
40
EQ
500
15
15
lo-mid
100
2k +/-
50
Q
freq
0
bell
10
100
15
20
9
15
bass
freq400
60
dB
160
20 freq 400
C 0
0
r
+6
l
1
2 PRE
PRE
C 0
0
r
+6
l
3
PRE 4 PRE
C 0
0
r
+6
l
5
6 PRE
PRE
C 0
0
r
+6
l
7
8 PRE
PRE
C 0
0
r
+6
l
9
PRE 10 PRE
C 0
0
r
+6
l
11
12 PRE
PRE
C 0
0
r
+6
l
13
14 PRE
PRE
C 0
0
r
+6
l
15
PRE 16 PRE
C 0
0
r
+6
l
17
18 PRE
PRE
C 0
0
r
+6
l
19
20 PRE
PRE
C 0
0
r
+6
l
21
PRE 22 PRE
C 0
0
r
+6
l
PRE
23
24 PRE
C
ST
l
pan r
SIS
stereo
lcr
image
MONO
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-25
mute
MIDAS
HS0001
Operators Manual- Page 9
Stereo Input Module
Operators Manual- Page 10
Auxtender Pod
NO
PRE
gain +6
NO
0
st aux 2
PRE
gain +6
NO
0
st aux 3
PRE
gain +6
NO
0
st aux 4
PRE
gain +6
NO
0
auxtender pod
0
st aux 1
The auxtender pod provides each input channel strip with an additional 16 mixes (eight stereo auxes) making the
total number of ‘auxiliary’ (aux) outputs for the console forty (40).
Each stereo aux send is enabled by pressing the numbered switch adjacent to the gain potentiometer (pot). When
enabled the accompanying LED will light according to the pre/post switch position.
st aux 5
PRE
gain +6
Green
Red
NO
0
st aux 6
PRE
gain +6
= Stereo Aux send is POST-Fader
= Stereo Aud send if PRE-Fader
NO
0
st aux 7
PRE
The gain pot is continuously variable from off (-inf) to + 6dB.
+6
gain
NO
0
st aux 8
PRE
gain +6
MIDAS
+35
+25
PAD
+15
O
+60
gain
c
0
O
balance
5k
0
stereo input module
48V
1k
Stereo Input Module
H404
Stereo Input Channels
INPUTS
In the process of describing the stereo input channel, controls will be described in order
of signal flow.
Send Left
The Heritage 4000’s stereo input channels each have two (2) balanced microphone inputs and one
insert point per input (i.e. two inserts per channel) on conventionally wired TRS quarter-inch
(0.25”) jack plugs.
Send Right
20k
freq
15
bell
15
treble
hi ‘Q’
2k
0
400
The insert points are balanced and hence two TRS quarter inch jacks provide the send and return
for each insert.
Return
Microphone
Left Input
Note that stereo channels do not carry a direct output.
8k
freq
INS
15
15
hi-mid
PRE
For clarity, both the inputs and inserts are labelled left and right.
0
EQ
Microphone
Right Input
500
15
15
lo-mid
100
2k
hi ‘Q’
freq
0
bell
100
15
15
bass
20
freq400
60
160
20 freq 400
l
C 0
0
r
+6
1
PRE 2 PRE
C 0
0
r
+6
l
3
PRE 4 PRE
C 0
0
r
+6
l
5
PRE 6 PRE
C 0
0
r
+6
l
7
PRE 8 PRE
C 0
0
r
+6
l
PRE
9
10 PRE
0
r
+6
PRE
0
+6
13
14 PRE
C 0
l
+6
r
+6
r
19
20 PRE
Channel Equalisation
0
r
+6
21
PRE 22 PRE
C 0
0
r
+6
The treble equalisation is selectable 1.5 octave peaking (bell) or Midas shelving via the bell
switch.
5k
l
PRE
r
Balance - The balance pot is available on stereo input modules only and allows for the
reciprocal adjustment of the stereo left and right signals by +10dB to -10dB. This allows the
fine adjustment of the left and right signal levels.
balance
0
C 0
l
l
balance
+60
l
17
18 PRE
PRE
O
c
0
C 0
l
c
gain
+6
r
PRE
+60
gain
+35
15
16 PRE
C 0
l
+15
0
r
PRE
+15
GAIN - The input gain for both input amplifiers is continuously variable from +15dB to +60dB.
r
PRE
PHASE Ø - The phase switches cause a 180 degree phase change (with respect to the
input) to occur in the input amplifier. The upper switch acts upon the left input whereas
the lower switch acts upon the right input allowing separate phase alteration between
inputs.
O
11
12 PRE
C 0
l
PAD
PAD - Pad provides 25dB of attenuation to both input signals to allow the connection of
high output microphones or line-level signals. If the input signal is transformer coupled
(option), the use of the pad greatly reduces the risk of saturation at very low frequencies.
The pad LED will light when 25dB of attenuation is being applied.
+25
C 0
l
48V - Phantom power is provided to allow the connection of condenser microphones, direct inject
boxes or other devices requiring +48V Phantom power to operate. When
depressed, the 48V LED will light, indicating that phantom power is being
48V
applied. NOTE: On stereo modules, +48V phantom is applied to both left
+25
+35
and right inputs.
23
24 PRE
0
C
Freq - The frequency centre of the EQ is continuously variable from 1kHz to 20kHz.
l
pan r
ST
l
r
MONO
18
15
12
9
6
3
0
3
6
9
25
mute
MIDAS
XL0004
1k
20k
freq
bell
15
15
Treble - Controls the gain of this EQ stage and is continuously variable from -15dB to +15dB
with a centre detent at 0dB.
treble
Bell - The bell switch selects between classic Midas Shelving EQ (bell switch OUT) and 1.5
octave bandwidth Bell EQ (bell switch IN).
Operators Manual- Page 11
Stereo Input Module
NO
PRE
gain +6
NO
0
st aux 2
PRE
gain +6
NO
0
st aux 3
PRE
gain +6
NO
0
st aux 4
PRE
gain +6
NO
0
auxtender pod
0
st aux 1
hi ‘Q’
2k
0
400
Both the lo-mid and hi-mid sections are selectable 1.5 or 0.5 octave equalisers.
Freq - The frequency centre of the EQ is continuously variable from 400Hz to 8kHz (himid) and 100Hz to 2kHz (lo-mid).
8k
freq
st aux 5
PRE
gain +6
15
NO
0
st aux 6
PRE
15
hi-mid
gain +6
hi ‘Q’ - When depressed the bandwidth of the EQ section is set to 0.5 octaves or Hi ‘Q’.
Otherwise the bandwidth of the EQ is set to 1.5 octaves
NO
0
st aux 7
PRE
0
+6
gain
lo/hi-mid - Controls the gain of this EQ stage and is continuously variable from -15dB to
+15dB with a centre detent at 0dB.
NO
0
st aux 8
PRE
gain +6
MIDAS
+35
+25
PAD
+15
O
+60
gain
c
0
O
balance
5k
0
1k
15
15
15
lo-mid
100
2k
hi ‘Q’
freq
0
bell
Freq - The frequency centre of the EQ is continuously variable from 20Hz to 400Hz.
Bass - Controls the gain of this EQ stage and is continuously variable from -15dB to
+15dB with a centre detent at 0dB.
Bell - The bell switch selects between classic Midas Shelving EQ (bell switch OUT) and 1.5
octave bandwidth Bell EQ (bell switch IN).
100
15
15
60
160
bass
20
20k
freq
bell
stereo input module
48V
The bass equalisation is selectable 1.5 octave or Midas shelving via the bell switch.
500
H404
Freq - The High Pass filter frequency is continuously variable from 20Hz to 400Hz and is
enabled by pressing the HPF switch in. The HPF LED indicates the status of the HPF.
freq400
15
treble
hi ‘Q’
2k
0
400
8k
freq
INS
15
20 freq 400
15
hi-mid
PRE
0
EQ
500
15
15
lo-mid
100
2k
hi ‘Q’
freq
Channel Operation
0
bell
100
15
15
bass
20
freq400
60
C 0
0
0
r
+6
3
PRE 4 PRE
C 0
5
6 PRE
0
r
+6
7
8 PRE
PRE
C 0
+6
9
10 PRE
C 0
l
0
0
+6
r
PRE
13
14 PRE
C 0
0
r
+6
l
PRE
15
16 PRE
C 0
l
0
This enables the Heritage 4000 to be used as an FOH, Monitor or FOH & Monitor console depending upon the
requirements of the user. The control over the assignable buss sends will change according to the status of the
buss output modules.
+6
r
17
18 PRE
PRE
C 0
0
r
+6
l
Mono Auxiliary
Stereo Auxiliary
Stereo Group
11
12 PRE
C 0
l
The Heritage 4000 has, in addition to the 8 stereo auxes, 24 assignable buss outputs which are discussed in
more detail later in this manual. Each pair of busses may be assigned:
+6
r
PRE
Signal Routing and Busses
0
r
PRE
In MONO AUX mode:
19
PRE 20 PRE
C 0
0
r
+6
l
PRE
0
r
+6
PRE
pan r
ST
l
r
+6
r
C 0
0
r
+6
MONO
18
15
12
9
6
3
0
3
6
9
25
mute
MIDAS
0
13
PRE 14 PRE
23
24 PRE
C
l
C 0
21
22 PRE
C 0
l
l
EQ - The EQ switch enables the channel equalisation (including HPF) when depressed or bypasses the
channel equalisation when released.
+6
r
C 0
l
EQ
0
PRE
l
PRE - When the pre switch is depressed the insert is selected PRE-EQ, otherwise the insert is selected
POST-EQ (i.e. the signal passes through the EQ before the insert point).
1
2 PRE
C 0
l
PRE
+6
r
PRE
l
INS - When depressed, the insert point of the channel is engaged and the input return is connected to
the channel signal path.
160
20 freq 400
l
INS
XL0004
l
15
PRE 16 PRE
The buss send pot is a dual function switching pot. Pressing the odd or even numbered pot
will enable the buss send. When enabled, the buss send LED will light according to the
setting of the PRE switch. With the PRE switch depressed, the signal will be sent PRE-Fader
to the buss, otherwise the signal will be sent POST-Fader to the buss and the bi-colour LED
will represent this:GREEN - Buss send enabled and POST-Fader
RED - Buss send enabled and PRE-Fader
NONE - Buss send disabled
The odd and even numbered buss sends control the level of signal sent to the buss. The buss
send is continuously variable from off (-inf) to +6dB.
NOTE: When in mono aux mode, a mono sum of the left and right inputs are sent to the buss.
Operators Manual- Page 12
Stereo Input Module
NO
PRE
gain +6
NO
0
st aux 2
PRE
gain +6
NO
0
st aux 3
PRE
gain +6
NO
0
st aux 4
PRE
gain +6
NO
0
auxtender pod
0
st aux 1
In STEREO AUX mode:
The buss send pot is a dual function switching pot. Pressing the odd or even numbered pot will
enable the buss send
C 0
0
r
+6
st aux 5
PRE
gain +6
l
NO
0
st aux 6
PRE
gain +6
PRE
NO
0
st aux 7
PRE
C 0
+6
gain
13
14 PRE
0
NO
0
st aux 8
PRE
gain +6
MIDAS
l
48V
+35
+25
PAD
+15
O
+60
gain
c
0
O
balance
5k
0
1k
stereo input module
H404
+6
r
PRE
15
16 PRE
NOTE: When in stereo aux mode the odd numbered buss send pot sends the left input and the even numbered
buss send pot send the right input.
In STEREO GROUP mode:
The buss send pot is a dual function switching pot. Pressing the odd or even numbered pot will
enable the buss send.
C 0
0
r
+6
20k
15
15
treble
l
hi ‘Q’
2k
PRE
0
400
8k
freq
INS
15
GREEN - Buss send enabled and POST-Fader
RED - Buss send enabled and PRE-Fader
NONE - Buss send disabled
The odd and even numbered buss sends control the level of signal sent to the buss. The buss
send is continuously variable from off (-inf) to +6dB.
freq
bell
When enabled, the buss send LED will light according to the setting of the PRE switch. With
the PRE switch depressed, the signal will be sent PRE-Fader to the buss, otherwise the signal
will be sent POST-Fader to the buss and the bi-colour LED will represent this:-
13
14 PRE
C 0
0
r
+6
In stereo group mode the left input is sent to the odd numbered buss and the right input sent
to the even numbered buss. The signal is always send POST-Fader and POST-Pan at unity
gain. Hence the buss send pots have no other function.
15
hi-mid
PRE
0
EQ
l
500
15
15
PRE 16 PRE
15
lo-mid
100
2k
hi ‘Q’
freq
0
bell
100
15
15
bass
20
freq400
60
160
Pan and Routing
20 freq 400
C 0
0
r
+6
l
C 0
0
r
+6
l
3
PRE 4 PRE
0
r
+6
5
6 PRE
PRE
C 0
l
7
8 PRE
C 0
0
r
+6
PRE
9
10 PRE
C 0
0
r
+6
l
PRE
11
12 PRE
C 0
0
r
+6
l
PRE
13
14 PRE
C 0
0
r
+6
l
PRE
15
16 PRE
C 0
l
MONO
mute
MIDAS
Both pan controls have a constant power law (i.e. -3dB at the centre detent).
ST - Connects the post fader channel signal to the master stereo buss via the pan controls.
MONO - Connects a mono sum of the post fader channel signal to the master mono buss
MUTE - The mute switch mutes the input channel at all points after the insert send. The mute
switch can also be controlled by the snapshot automation system.
METERS - The meters show the peak pre-fader, post-EQ and insert input signal level of the
input channel.
XL0004
+6
17
18 PRE
C 0
0
r
+6
19
20 PRE
PRE
C 0
0
r
+6
l
r
0
r
PRE
l
l
18
15
12
9
6
3
0
3
6
9
25
+6
r
l
pan r
ST
0
PRE
PRE
l
l
C 0
l
PAN - The stereo input channel has two pan controls, one for each input. Hence each input
can be placed anywhere in the stereo image. As well as placement, the pan controls can be
used to adjust the image width from full stereo to mono through to reverse stereo (left and
right crossed over).
C
1
2 PRE
PRE
21
22 PRE
C 0
0
r
+6
PRE
23
24 PRE
C
l
pan r
ST
l
r
MONO
18
15
12
9
6
3
0
3
6
9
25
mute
MIDAS
XL0004
Operators Manual- Page 13
Stereo Input Module
NO
PRE
gain +6
NO
0
st aux 2
PRE
gain +6
NO
0
st aux 3
PRE
gain +6
NO
0
st aux 4
PRE
gain +6
NO
0
auxtender pod
0
st aux 1
st aux 5
PRE
safe’s
The input fader panel can be used as a conventional channel fader or as part of the
automation system.
MUTE
Safe switches disable any remote control over the channel as selected:
FDR
gain +6
MUTE Safe - The channel mute will not be affected by automute or snapshot automation
NO
0
st aux 6
PRE
solo
AUTO
gain +6
FDR Safe - The channel fader will not be affected by virtual fader automation or the VCA
master fader (including VCA mutes).
NO
0
st aux 7
PRE
+6
gain
NO
0
st aux 8
PRE
MIDAS
10
+35
+25
PAD
+15
O
+60
gain
c
0
O
balance
5k
0
stereo input module
H404
48V
1k
SET
gain +6
1
5
2
4
5
5
10
freq
15
15
treble
hi ‘Q’
2k
6
8k
7
freq
INS
15
30
15
hi-mid
PRE
In the central console, either mute or VCA operation can be selected. Then using the assign
keys, the appropriate VCA or automute can be selected. Pressing the channel set switch for
more than half a second will erase the existing VCA or automute assignments and then
accept the new ones. A quick press will simply toggle the new settings.
i.e. If the channel is assigned to VCA 1,3 and 4 and the assign keys are then set to 1 and 2
and the channel set button is pressed quickly. The resulting VCA assignment for the channel
would be VCA’s 2,3 and 4.
20
0
400
SET - The set switch is a momentary switch that toggles the VCA and mute assignments for
the channel.
0
3
20k
bell
AUTO Safe - The channel will not be affected by snapshot automation. Automutes, VCA
masters and assignment systems will remain active.
When setting mute or VCA assignments, the current assignment will be shown in the ten (10)
LED’s adjacent to the fader.
0
8
EQ
40
500
15
15
lo-mid
100
2k
freq
hi ‘Q’
9
15
10
0
bell
50
100
15
bass
20
freq400
60
160
20 freq 400
C 0
0
r
+6
l
1
2 PRE
PRE
C 0
0
r
+6
l
3
PRE 4 PRE
C 0
0
r
+6
l
5
PRE 6 PRE
C 0
l
0
0
r
+6
9
10 PRE
C 0
0
r
+6
l
In Virtual fader mode, the ‘real’ fader is used to trim the ‘virtual’ fader shown on the fader LEDs. When taken to
0dB the fader trims the virtual fader level (i.e. at 0dB the channel level is that of the virtual fader snapshot
memory but can be trimmed to +10dB or down to -inf).
7
8 PRE
C 0
PRE
The FADER function varies according to the virtual fader setting. Normally, the fader gives continuous
adjustment of the input channel level from off (-inf) to +10dB.
+6
r
PRE
l
dB
SOLO - The SOLO switch sends the input channel signal to the PFL mono and AFL stereo
busses. If the switch is pressed for a short time it will latch on or off, but if it is held on for
more than 1 second the latching is disabled and when the switch is released the channel solo
will turn off. As a default the solo system is auto cancelling so each new solo cancels the last.
This function is time dependant which allows several solos to be active as long as they are
switched on at approximately the same time. The SOLO ADD MODE switch on the MONITOR
module defeats the auto cancelling and allows multiple channel monitoring. In this mode
input solos have priority over outputs and will temporarily override any active output solos.
The input solos also override any active VCA solos.
In addition to showing VCA and mute assignments, the ten (10) LED’s adjacent to the channel fader perform a
number of different operations depending upon the settings on the central console.
FADER MANUAL RECALL AND NULL
11
PRE 12 PRE
C 0
l
0
+6
r
PRE
13
14 PRE
C 0
0
r
+6
l
PRE
15
16 PRE
C 0
0
r
+6
l
In this mode, the STATUS LEDs are used to prompt the operator where to move the fader. If the fader is not at the
position stored in the current recalled snap shot, one/two LEDs will flash to indicate where the fader should be. A
single flashing LED indicates that the fader should positioned next to that LED, if two LEDs are flashing the fader
should be between the two LEDs. As the fader is moved closer to the required position the LED(s) will stop flashing
and will be replaced by a single continuously lit LED. Once the fader is at the correct position all LEDs will
extinguish.
17
PRE 18 PRE
C 0
0
r
+6
l
FADER POSITION CHECK
19
20 PRE
PRE
C 0
0
r
+6
l
21
PRE 22 PRE
l
C 0
0
r
+6
PRE
VIRTUAL FADER RECALL
23
24 PRE
C
l
When a scene's contents are being "checked" (see automation operation) the STATUS LEDs will indicate the fader
position stored in the scene by continuously illuminating one or two LEDs as appropriate.
pan r
ST
l
r
MONO
18
15
12
9
6
3
0
3
6
9
25
When in VIRTUAL FADER mode (see automation operation) the automation system will generate a "virtual" fader,
set to the level of the input fader at the time the snap shot was stored. The level of the virtual fader is added to the
level of the physical input fader. In this mode the STATUS LEDs indicate the "position" of the virtual fader by
illuminating a bar of LEDs starting at off (-inf).
mute
MIDAS
XL0004
Operators Manual- Page 14
Auxtender Pod
Operators Manual- Page 16
g
a
i
n
c
0
PRE
l
r
c
0
2
PRE
l
r
c
0
3
PRE
l
r
c
0
4
PRE
l
r
c
c
0
5
PRE
l
mono pod module
p
a
n
1
0
PRE
l
The mono input pod is connected to the mono channel strips on the main Heritage 4000 console internally, hence
there are no connections directly to it on the rear of the pod.
The mono pod module allows the routing of signal to the 8 stereo auxes (outputs on the rear of the auxtender
pod).
Each stereo aux send is enabled by depressing the switch adjacent to the dual-concentric pan/gain
potentiometer. When enabled, the accompanying LED will illuminate according to the pre/post switch.
r
c
6
Mono Pod Module
r
c
0
7
PRE
l
The pre/post switch determines whether the signal is sent PRE or POST Fader. This is displayed on the LED as:r
c
0
8
PRE
l
GREEN
RED
r
MIDAS
- Aux send is enabled and POST-Fader
- Aux send if enabled and PRE-Fader
H4002
The inner ring of the dual-concentric pot provides gain control for the aux send while the outer ring provides the
PAN (left-to-right balance) control allowing the user to position the channel within the stereo aux image.
1
0
PRE
gain +6
0
2
PRE
gain +6
3
0
PRE
gain +6
4
0
PRE
gain +6
0
5
PRE
stereo pod module
NOTE: Unlike the Heritage 4000’s 24 assignable buss outputs, the stereo auxiliaries are always auxes.
0
PRE
The pre/post switch determines whether the signal is sent PRE or POST Fader. This is displayed on the LED as:-
0
+6
gain
GREEN
RED
0
8
PRE
The stereo pod module allows the routing of signal to the 8 stereo auxes (outputs on the rear of the auxtender
pod).
gain +6
7
PRE
The stereo input pod is connected to the stereo channel strips on the main Heritage 4000 console internally, hence
there are no connections directly to it on the rear of the pod.
Each stereo aux send is enabled by depressing the switch adjacent to the dual-concentric pan/gain
potentiometer. When enabled, the accompanying LED will illuminate according to the pre/post switch.
gain +6
6
Stereo Pod Module
gain +6
MIDAS
- Aux send is enabled and POST-Fader
- Aux send if enabled and PRE-Fader
H4005
The pot provides gain control for the aux send which is continuously variable from off (-inf) to +6dB.
optics module
NOTE: Unlike the Heritage 4000’s 24 assignable buss outputs, the stereo auxiliaries are always auxes.
NO
_
+
Optics Module
On the Heritage 4000 the control for the optics system has been moved to the auxtender pod.
The optics system is controlled from the front panel on the auxtender pod.
Brightness - Brightness of the desk lamps (XLR Sockets on the rear of the console aux-extender pod).
ON - Turns the XLR lamps on (depressed) or off (released).
brightness
led
brightness
_
LED Brightness - The brightness of the LEDs in the console surface (with the exception of the major function
LEDs) can be controlled.
+
H4052
Operators Manual- Page 17
0
+10
level
PRE
insert
MUTE
SOLO
TALK
INS
r
+21
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-12
-15
-18
-21
-24
-27
-30
-33
-36
l balancer
0
+10
output level
pod output module
l
direct
input
Output Module
Meters - The 20 LED meters provide peak level metering of the stereo aux output of the desk.
Direct Input - The level of the direct inputs (Left and Right) sent to the output is continuously variable from off (inf) to +10dB.
Pre (insert) - When depressed the direct input signals are connected to the output channel PRE-Insert,
otherwise the direct input signals are connected to the output channel POST-Insert.
Mute (insert) - The direct input signals are muted when the mute switch is depressed.
SAFE
mute
Solo (insert) - The direct input signals are sent to the main Stereo AFL buss and to the main Mono PFL buss.
solo
TALK - The console talk buss is sent to the stereo aux output.
9
10
H4012
INS - When depressed, the stereo aux insert points (on the rear of the aux-extender pod) are engaged into the
aux output signal path. Otherwise the insert points are disabled.
Balance - Sets the stereo balance for the output.
Output Level - The stereo aux output level is continuously variable from off (-inf) to +10dB
Safe - When enabled, the stereo aux mute is removed from the automation system.
Mute - Mutes the output of the stereo aux. This can also be controlled by the mute snapshot system.
Solo - Routes the stereo aux signal to the Stereo AFL and mono PFL busses.
VCA 9/10 - Enables the stereo aux to be controlled by VCA groups 9 and/or 10 including VCA mutes.
Auxtender Pod Rear
left
right
send
insert
Connections to the auxtender pod can be found on the rear in the centre. Channel
connections (i.e. stereo aux sends for each channel) are connected internally so there is no
need to make further connections.
return
PUSH
The auxtender pod adds two (2) insert points (left and right), two (2) direct inputs (left and
right) and two (2) outputs (left and right) per stereo auxiliary.
PUSH
vca
MIDAS
direct
in left
direct
in right
Insert
The balanced insert points are connected by two (2) quarter inch (0.25”) TRS jack plugs
conventionally wired. One send and one return for both left and right per stereo aux.
Direct In
output
left
Two (2) balanced line-level direct inputs are provided (one left, one right) for each stereo
aux.
Output
output
right
Output from the consoles stereo auxes are provided on the rear of the auxtender pod by two
balanced XLR plugs conventionally wired (one left one right).
Connections
To ensure the correct and reliable operation or your Midas Heritage 4000 console, only high quality balanced
screened twisted pair audio cable and metal bodied connectors should be used.
The following diagrams are included as a guide for audio connections only, wiring for specialist cables or
connections may vary.
Quarter Inch Jack
Sleeve - Screen/Ground
Ring - Cold Signal
Tip - Hot Signal
XLR
Pin 1 - Screen/Ground
Pin 2 - Hot Signal
Pin 3 - Cold Signal
1
2
3
Note: Sockets are viewed from the front face.
SR T
To ensure compatibility between the console and
interconnects, always ensure connectors and cable are of
reputable quality.
Operators Manual- Page 18
VCA Master Fader
Operators Manual- Page 20
safe
solo
AUTO
10
5
0
vca master fader
MUTE
VCA Master Fader
MUTE
safe
AUTO
5
The VCA Master Fader panel contains ten (10) long-throw assignable VCA Faders. The Heritage
4000’s input channels may be assigned to any of the ten VCA’s. The Auxtender and Assignable Buss
Outs may be assigned to VCA’s 9 and 10 only.
solo
MUTE - The VCA mute switch acts on any post fader input channel or sub-group that is assigned to
be controlled from the corresponding VCA master.
10
The mute can also be controlled by the snapshot automation system.
10
20
30
AUTO (Safe) - When depressed, the VCA is removed from snapshot automation control over the
VCA fader and VCA mutes.
5
40
50
0
dB
VCA Solo - The VCA solo switches are used to monitor the VCA faders by creating a mix of all the
inputs and sub-groups assigned to that VCA fader and routing the signal to the solo busses.
5
10
If the VCA solo is pressed in briefly, the solo will latch on or off. If the solo is pressed in for more than
one second then the latch is cancelled and the solo will be cancelled as soon as the switch is
released.
20
30
When the console is in solo ADD mode, input channels take priority over VCA fader solos.
40
Fader - The fader adjusts the effective output level provided by the VCA continuously from off (-inf)
to +10dB.
50
dB
Status LEDs
The eleven (11) LEDs adjacent to the fader have a number of purposes depending upon the mode of
the automation system:
When in VCA or Mute Assignment Mode - All the status LEDs are off.
Fader Manual Recall and NULL
In this mode, the status LEDs are used to prompt the operator where to move the fader. When the fader is not at
the position stored in the current snapshot one or two LEDs will flash to indicate it’s preset position. A single
flashing LED indicates that the fader should be brought to this position. Two flashing LEDs indicate that the fader
should be positioned between the two. As the fader is moved towards the desired position the LED will light
continuously. Once the fader is in the correct position all LEDs will be extinguished.
Fader Position Check
When a scene’s contents are being checked (see the automation section) the status LEDs will indicate the fader
position by illuminating one or two LEDs as described above.
assign
keys
1
2
3
4
5
vca assign keys
Virtual Fader Recall
When in virtual fader mode (see the automation section), the atomation system generated a ‘virtual’ fader, set to
the level of the fader at the time the snapshot was stored. The status LEDs will display the level of the fader by
illuminating all the LEDs from -inf to the position of the ‘virtual’ faderA
VCA Assign Keys
The VCA and automute assignments are made using the assign keys.
1
2
The automation system must be unlocked and the correct assign mode selected (VCA or Mute). See
the automation section in this manual for more information.
To add a mute or VCA assignment, the desired assign keys should be selected. Normally pressing an
assign key will deselect the previous one. Should more than one key be desired, a long press of the
desired key will select the additional key without cancelling the previous selection.
6
7
To complete the assignment, select the channel to be assigned to the VCA or automute (see below).
8
9
10
Operators Manual- Page 21
FDR
solo
AUTO
10
input fader
safe’s
MUTE
Input Fader
To assign a channel to a VCA fader or the automute system, the automation system must be
unlocked and the correct assign mode selected (VCA or Mute).
set
1
2
5
3
0
4
5
5
6
7
8
9
10
20
30
40
50
70
10
dB
set
Select the desired automute or VCA using the assign keys (see above) and press the channel SET key.
The channel SET key can be used in two ways:
Long Press - A long press will erase the previous VCA or automute settings for the channel and take the new
setting given by the assign keys.
Short Press - A short press will not erase the previous VCA or automute settings for the channel. Instead, the
selected assign keys will toggle the assigns for the channel.
EG: Steps:
VCA 1,2,3 and 4 are already assigned to a channel
VCA 2 and 5 are selected on the assign keys
The channel select key is [short] pressed
Result:
The channel will now be additionally assigned to VCA 5
The channel’s assignment to VCA 2 will be toggled
i.e. The channel will now have VCA assignments to
1,3,4 and 5.
Operators Manual- Page 22
Group Output Module
Operators Manual- Page 24
1
Send
2
Return
IN
1
group outputs
Send
Return
OUT
The Heritage 4000’s assignable buss (group) outputs are located together on the rear of the console main body.
Pairs of group outputs and their corresponding insert points and direct input are located together
The group insert point is provided by two balanced TRS quarter-inch jack sockets, one send and one return per
output. The top insert point on the console will insert into the odd numbered output while the lower insert point
will insert into the even numbered output.
The output from the group is provided by a balanced male XLR socket. Again the top socket is used for the odd
numbered output while the lower socket is used for the even number output.
IN
2
OUT
The direct input is connected to the group by a single balanced female XLR socket. Again the top socket is used for
the odd numbered group output while the lower socket is used for the even numbered group output.
group module
l
Group Outputs
r
+21+
+18+
+15+
+12+
+9+
+6+
+3+
0
-3-6-9-12-15-18-21-24-27-30-33-36-
In total the Heritage 4000 has 24 group outputs, direct inputs and group inserts.
Group Module
l
r
green = stereo aux
red = mono aux
direct inputs
0
0
+10
+10
level
level
PRE
insert
MUTE
PRE
insert
MUTE
SOLO
SOLO
1
1
0
0
+6
+6
2
2
0
0
3
0
5
0
0
6
0
red = mono aux
0
direct inputs
0
7
0
+6
8
0
0
0
+6
8
+10
level
level
+6
matrix
PRE
fader
PRE
insert
+10
0
+6
PRE
fader
PRE
insert
9
PRE
insert
MUTE
PRE
insert
MUTE
SOLO
SOLO
10
to masters
ST
ST
MONO
MONO
c
c
r
l
pan r
TALK
TALK
INS
INS
Pre (insert) - When depressed, the direct input is applied to the group signal pre-insert.
Otherwise, the direct signal is applies post-insert.
MATRIX Sends
8
0
8
0
mute mute
SAFE
Level - The direct input level is continuously variable from off (-inf) to +10dB. The direct
input signal is summed with the group signal allowing for effects returns or the combination of
a number of consoles. A direct input is provided for both the odd and even numbered group.
Solo - When depressed, the direct input signal is sent to the mono PFL and stereo AFL master
busses. The behaviour of the solo switch follows the solo behaviour of the rest of the console.
If in solo ADD mode, all input channels will take priority over this solo.
9
pan
The console will cycle through these three options indefinitely each time
the switch is pressed, . This allows the console to be reconfigured quickly
and with ease.
Mute - When depressed, the direct input signal is muted from the group at all points.
vca
10
l
- Stereo Aux
- Mono Aux
- Sub-group Output
Group Direct Inputs
+6
+6
7
Green
Red
Off
+6
+6
6
green = stereo aux
0
+6
+6
5
The configuration of the buss is set by pressing the switch which will cycle the buss mode through
three possible options:
0
4
0
Buss Mode Select - An important feature of the Heritage 4000 is the flexible buss routing. This is
achieved by using the buss mode select switch at the top of the group module strip.
+6
+6
4
LED Bargraph Meter - The LED bargraph meter shows the peak POST-Fader group output.
+6
+6
3
The group module controls the signals sent to the assignable buss from the input channels.
+21+
+18+
+15+
+12+
+9+
+6+
+3+
0
-3-6-9-12-15-18-21-24-27-30-33-36-
The H4000 has 8 mono matrix outputs. 8 matrix output sends are provided on each group
module for both the odd and even numbered outputs. The matrix send level is continuously
variable from off (-inf) to +6dB.
SAFE
SOLO split
+6
+6
matrix
solo
solo
10
5
0
5
10
PRE
fader
PRE
insert
PRE
fader
PRE
insert
Pre (fader) - When enabled, the matrix sends are sourced from the group signal PRE-fader.
Otherwise, the signal is sent from the group module POST the group output fader.
Pre (insert) - When enabled, the matrix sends are sourced from the group signal before it is
applied to the insert point (pre-insert). Otherwise, the signal is sourced after the insert return
(post-insert).
20
30
40
group
MIDAS
HS0011
Operators Manual- Page 25
1
Send
2
Return
IN
1
group outputs
Send
Return
Group Module
9
9
VCA Assign - Each of the groups may be assigned to either VCA 9 or VCA 10 control.
vca
10
10
OUT
To Masters
IN
to masters
2
l
Group module
OUT
r
+21+
+18+
+15+
+12+
+9+
+6+
+3+
0
-3-6-9-12-15-18-21-24-27-30-33-36-
ST
ST
ST - When depressed, the ST switch causes the group output to be routed to the master
stereo buss.
MONO
MONO
Mono - When depressed, the MONO switch causes the group output to be routed to the
master mono buss.
c
l
pan
c
r
l
pan
TALK
TALK
INS
INS
r
green = stereo aux
red = mono aux
direct inputs
0
0
+10
PRE
insert
MUTE
SOLO
SOLO
1
0
2
0
0
mute mute
SAFE
SAFE
3
0
SOLO split
+6
+6
4
4
0
0
+6
+6
5
5
0
0
+6
+6
6
6
0
0
7
0
Solo (Split) - When placed in solo split mode, the AFL solos are changed from mono to
stereo.
SOLO - The solo switch sends the group to the stereo AFL and the mono PFL buss and obeys
the console’s standard solo behaviour. Buss outputs take lower priority than input channels
when the console is in solo ADD mode.
Fader - The group output level is continuously variable from off (-inf) to +10dB for each
output.
+6
8
0
solo
0
+6
8
solo
+6
+6
7
Safe - When depressed, the group mute is removed from the snapshot automation system
control.
+6
+6
0
MUTE - When depressed, the mute for the group output is toggled. When lit, the group signal
is muted at every point after the group insert send. This mute is also controllable from the
snapshot automation system.
0
+6
+6
3
INS - When depressed, the insert point of the channel is enabled and the group insert return
is connected to the group signal path.
level
PRE
insert
MUTE
2
Talk - When depressed, signal from the monitor module (i.e. oscillator or microphone) are
routed into the group signal.
+10
level
1
PAN - When sent to the master stereo buss, the PAN control places the group signal within
the stereo image. The PAN pot has a constant power law (i.e. -3dB at the centre detent).
0
+6
+6
matrix
PRE
fader
PRE
insert
PRE
fader
PRE
insert
9
9
vca
10
10
to masters
ST
ST
MONO
MONO
c
l
pan
c
r
l
pan r
TALK
TALK
INS
INS
mute mute
SAFE
SAFE
SOLO split
solo
group
solo
MIDAS
10
HS0011
5
0
5
10
20
30
40
group
MIDAS
HS0011
Operators Manual- Page 26
Matrix Module
Operators Manual- Page 28
1
Send
2
Return
IN
1
matrix outputs
Send
Return
OUT
Matrix Connections
The Heritage 4000’s matrix outputs are located together on the rear of the console main body. Pairs of matrix
outputs and their corresponding insert points and direct input are located together
The matrix insert point is provided by two balanced TRS quarter-inch jack sockets, one send and one return per
output. The top insert point on the console will insert into the odd numbered output while the lower insert point
will insert into the even numbered output.
IN
The output from the matrix is provided by a balanced male XLR socket. Again the top socket is used for the odd
numbered output while the lower socket is used for the even number output.
2
matrix module
OUT
+21+
+18+
+15+
+12+
+9+
+6+
+3+
0
-3-6-9-12-15-18-21-24-27-30-33-36-
For this reason, the upper and lower parts of the matrix module are duplicated to allow control over
all four matrix outputs per module. Ergo, we will consider only one pair of meters and controls per
module.
Meters - The LED bargraph
(post-fader) output level from the matrix.
masters
control
VCA
VCA
TALK
TALK
INS
INS
mute mute
masters
control
VCA
VCA
TALK
TALK
INS
INS
meter
monitors
the
peak
VCA - When depressed, the matrix output is assigned to VCA control from the
master fader so that the matrix output tracks changes in the master output.
+21+
+18+
+15+
+12+
+9+
+6+
+3+
0
-3-6-9-12-15-18-21-24-27-30-33-36-
Talk - When depressed, the matrix output is connected to the monitor module talk buss so that
the talk mic, generator or external talk input may be routed to the matrix.
SAFE
split
SOLO
Matrix Module
The HS0041 matrix module provides control for four (4) matrix outputs per module. Two modules
are required per console.
+21+
+18+
+15+
+12+
+9+
+6+
+3+
0
-3-6-9-12-15-18-21-24-27-30-33-36-
SAFE
The direct input is connected to the matrix by a single balanced female XLR socket. The matrix direct inputs do not
have level control and are connected to the matrix buss at unity. The intention being that matrix direct inputs
should be used for console linking or similar operation.
solo
INS - When depressed, the matrix insert is enabled and the insert return is routed to the matrix
signal path.
solo
10
mute mute
5
0
SAFE
5
10
20
SOLO
SAFE
split
30
40
Mute - The matrix mute switch toggles the matrix mute. When lit, the matrix is muted at all
points after the insert send. This mute switch can be controlled by the snapshot automation
system.
Safe - The safe switch removes the matrix mute from automation system control.
Solo (split) - The solo split switch changes the matrix AFL solos from mono to stereo.
dB
3-4
solo
solo
masters
control
VCA
VCA
TALK
TALK
INS
INS
Solo - The matrix solo switch sends the matrix signal to the AFL stereo and PFL mono busses
and obeys the normal console solo behaviour. In solo add mode, input channels will take priority
over matrix solos.
Fader - The matrix fader allows the continuous adjustment of the matrix output levels from off
(-inf) to +10dB.
10
5
0
mute mute
SAFE
SOLO
5
10
SAFE
split
solo
20
solo
30
40
10
5
0
5
10
dB
20
30
40
matrix
dB
matrix
MIDAS
MIDAS
XL0041
XL0041
Operators Manual- Page 29
Master Output Module
Operators Manual- Page 30
Master Outputs
MASTER
R
RETURN
RETURN
SEND
L
L
M
R
MASTER
M
SEND
RETURN
SEND
The Heritage 4000 main outputs are located on the rear of the console. Six (6) male XLR sockets conventionally
wired are provided - two (2) each for Left, Right and Mono (centre).
l
m-c
+21+
+18+
+15+
+12+
+9+
+6+
+3+
0
-3-6-9-12-15-18-21-24-27-30-33-36-
s
o
l
o
i
n
master module
Six (6) balanced TRS quarter-inch jack sockets provide the send and return sockets for the master output inserts
(two (2) for each Left, Right and Mono).
r
+21+
+18+
+15+
+12+
+9+
+6+
+3+
0
-3-6-9-12-15-18-21-24-27-30-33-36-
p
l
a
c
e
direct0 inputs 0
+10
level
PRE
insert
MUTE
SOLO
left
sum
+10
level
PRE
insert
MUTE
Master Module
l
m-c
+21+
+18+
+15+
+12+
+9+
+6+
+3+
0
-3-6-9-12-15-18-21-24-27-30-33-36-
r
Meter - The output LED bargraph meters monitor the peak master stereo output level (postfader)
+21+
+18+
+15+
+12+
+9+
+6+
+3+
0
-3-6-9-12-15-18-21-24-27-30-33-36-
s
o
l
o
i
n
p
l
a
c
e
Solo In Place - The solo in place switch sets the console to be in Solo In Place
mode. In this mode, when a solo is made on the console all other channels are
muted. Individual channels can be protected from this by enabling their
channel mute safes.
SOLO
1
0
Direct Inputs
right
+6
left
sum
2
0
right
+6
left
sum
3
0
direct0 inputs 0
right
+6
left
sum
4
0
+10
right
+6
left
sum
5
0
right
+6
left
sum
6
0
right
+6
left
sum
7
+10
level
PRE
insert
MUTE
PRE
insert
MUTE
SOLO
SOLO
0
right
+6
left
sum
level
8
0
right
+6
Direct Input - The direct input level is continuously variable from off (-inf) to +10dB. The left
and right direct inputs are summed into the left and right master signals (respectively) and
can be used for effects returns, console linking, etc... The master mono also has a direct
input which is intended for console linking only.
Pre (insert) - When depressed, the direct input is combined with the main signal before the
insert points. Otherwise, the direct input is combined with the main signal after the insert
point return.
Mute - When depressed, the direct input is muted from the master channel at all points.
Solo - When pressed, the direct input is sent to the stereo AFL and the mono PFL busses and
obeys the console’s standard solo behaviour. When the console is in solo ADD mode, input
channels take priority over this solo.
mono
PRE
fader
PRE
insert
0
Matrix Send - Each of the H4000’s eight mono matrix busses can be sent from the master
stereo and mono channels. The inner ring of the dual-concentric pot sends from the master
mono and is continuously variable from off (-inf) to +6dB.
+6
The outer ring of the dual-concentric pot outputs either from the left channel, right channel or
as a mono sum of the left and right channels (switch selectable). The amount sent to the
matrix is then continuously variable from off (-inf) to +6dB.
PRE
insert
Pre (fader) - When depressed, signal is routed to the matrix before the main fader.
Otherwise the signal is routed POST-fader.
0
+10
mono (centre)
TALK
left
sum
8
INST
mute
balance
SAFE
right
balance
l
mono
r
TALK
TALK
INS
INS
PRE
fader
Pre (insert) - When depressed, signal is routed to the matrix before the main insert points.
Otherwise, the signal is routed to the POST-insert.
mute mute
SAFE
SAFE
ST
VCA
link to to mono
mono
10
10
5
5
0
0
5
10
5
10
20
20
30
40
30
40
dB
dB
masters
MIDAS
XL021
0
Mono Level - The level sent to the mono (centre) output is continuously variable from off (inf) to +10dB.
+10
Talk - The mono talk switch connects the mono output to the monitor module so that the
internal talk or oscillator may be routed to the mono output (see the monitor module section
later in this manual).
mono (centre)
TALK
INST
mute
balance
SAFE
INST - When depressed, the INST switch connects the mono insert point into the mono
master signal path.
Safe - When depressed, the mono channel is removed from the mute snapshot automation.
Mute - The mono mute switch toggles the mono mute. When lit, the mono signal is muted at
all points after the mono insert send. This switch can be controlled by the snapshot
automation system.
Operators Manual- Page 31
Master Module
Balance - The balance (Pan) control gives continuous and reciprocal adjustment of the
stereo left and right signals by +3dB to off. This allows fine adjustment of the left, right power
levels and imaging.
balance
l
m-c
+21+
+18+
+15+
+12+
+9+
+6+
+3+
0
-3-6-9-12-15-18-21-24-27-30-33-36-
s
o
l
o
i
n
master module
l
r
+21+
+18+
+15+
+12+
+9+
+6+
+3+
0
-3-6-9-12-15-18-21-24-27-30-33-36-
INS
Talk - The left/right talk switch connects the left/right output to the monitor module so that
the internal talk or oscillator may be routed to the output (see the monitor module section
later in this manual).
SAFE
SAFE
ST
VCA
link to to mono
mono
Mute - The left/right mute switches toggle the left/right mute. When lit, the left/right signal
is muted at all points after the insert send. These mute switches can be controlled by the
snapshot automation system.
VCA (link to mono) - When enabled, the mono signal is VCA controlled by the stereo
master fader so that the mono output tracks changes in stereo output fader.
ST (to mono) - When depressed, a mono sum of the stereo signal (pre-insert) is sent to the
main mono buss.
+10
level
PRE
insert
MUTE
PRE
insert
MUTE
SOLO
left
sum
INS
mute mute
direct0 inputs 0
+10
TALK
INS - The INS switch connects the left/right insert return to the left/right signal path.
p
l
a
c
e
level
r
TALK
SOLO
1
0
right
+6
left
sum
2
0
Fader - The master fader adjusts the level of the master output and is continuously variable
10
5
10 from off (-inf) to +10dB
5
0
0
5
10
5
10
20
20
30
40
30
40
dB
dB
right
+6
left
sum
3
0
right
+6
left
sum
4
0
right
+6
left
sum
5
0
right
+6
left
sum
6
0
right
+6
left
sum
7
0
right
+6
left
sum
8
0
right
+6
mono
PRE
fader
PRE
insert
0
+10
mono (centre)
TALK
INST
mute
masters
balance
SAFE
MIDAS
XL021
balance
l
r
TALK
TALK
INS
INS
mute mute
SAFE
SAFE
ST
VCA
link to to mono
mono
10
10
5
5
0
0
5
10
5
10
20
20
30
40
30
40
dB
dB
masters
MIDAS
XL021
Operators Manual- Page 32
Monitor Module
Operators Manual- Page 34
Monitor Connections
The Heritage 4000 local outputs are located on the rear of the console. Six male XLR sockets conventionally wired
are provided - two (2) each for Left, Right and Mono (centre). The local ouputs are labelled ‘Local Ouputs’ and ‘B
Speaker’.
Six (6) balanced TRS quarter-inch jack sockets provide the send and return sockets for the local output inserts
(two (2) for each Left, Right and Mono).
R
LOCAL
M
L
R
B SPEAKER
M
L
MONITOR
monitor module
RETURN
+21+
+18+
+15+
+12+
+9+
+6+
+3+
0
-3-6-9-12-15-18-21-24-27-30-33-36-
1k
300
1kHz
100 10k
signal freq
generator
0
L
M
R
SEND
RETURN
SEND
RETURN
SEND
Monitor Module
+21+
+18+
+15+
+12+
+9+
+6+
+3+
0
-3-6-9-12-15-18-21-24-27-30-33-36-
Meters - The bargraph LED meters show the peak levels of the left and right monitor paths.
PINK
+10
level
Signal Generator
generator generator
internal external
to all
internal
TALK
1k
300
talk mic
1kHz
100
+40
0
+20 +60
mic gain
+10
level
10k
signal freq
generator
0
+10
level
meter
change
over
Level - The generator level control gives continuous adjustment of the signal generator peak
output from off (-inf) to +10dB.
0
TALK
input
Generator to Internal - This switch connects the signal generator to the console’s internal talk
all and talk select busses.
+10
MONO
masters
Freq - The freq control gives continuous adjustment of the oscillator signal frequency from
50Hz to 5kHz.
Pink - The pink switch overrides the oscillator and replaces it with a pink noise generator.
PINK
talk
talk
internal external
PRE
1kHz - The 1kHz switch overrides the variable frequency control, replacing it with a constant
1kHz sine tone.
level
0
SOLO
+10
level
mono source
mono output
C/O output ‘b’
mute
generator generator
internal external
Generator to External - This switch connects the signal generator to the external output talk
XLR.
0
Talk
+10
MUTE
phones
ST
EXT
MONO
SOLO
TALK
stereo source
stereo output
C/O output ‘b’
to all
internal Talk to All - When enabled, this switch overrides all other talk buss switches and routes the talk
mic or generator to all outputs.
talk mic
Talk Mic - The talk mic socket is a conventionally wired balanced microphone socket accepting
150 ohm microphone signals.
O
MONO
sum
left only
ON
PAD
l-r reverse -20dB
R
L
mute mute
Mic Gain - The gain of the talk mic is continuously variable from +20dB to +60dB. Note: The
talk mic is operated in conjunction with a peak limiter which is factory set at +10dBu.
+40
0
SOLO add mode
SOLO
Level - The level of the talk mic is continuously variable from off (-inf) to +10dB.
pre fade
(pfl)
+20 +60
mic gain
solo clear
10
10
5
5
0
0
5
10
5
10
20
20
30
40
30
40
dB
dB
monitor
MIDAS
+10
level
Talk to Internal - This switch connects the talk mic signal to the console’s internal talk all and
talk select busses. Note: Local outputs are attenuated by 20dB when this switch is activated to
help prevent feedback.
Talk to External - This switch connects the talk mic signal to the external output talk XLR.
talk
talk
internal external
Pre (Meter Change Over) - In normal operation, input meters are pre-fade (but post eq and
post insert) and output and buss meters are post-fade. When the Meter Change Over switch is
meter
PRE change
enabled, the metering is changed to monitor the input amplifier level and the buss driver level.
over
i.e. the input meters become pre-fade, pre-eq and pre-insert. The buss and output meters
become pre-fade.
XL031
Note: the monitor meter is the only meter on the console not changed.
Operators Manual- Page 35
Monitor Module
Mono source
0
TALK
input
+10
MONO
masters
level
Talk (input) - The talk input switch connects the external talk input to the local mono monitor
output.
Level - The level of the external talk inputs is continuously variable from off (-inf) to +10dB.
0
SOLO
+10
Mono (masters) - The Mono (masters) switch routes the post fader mono master mix to the
local mono monitor output.
level
monitor module
mono source
+21+
+18+
+15+
+12+
+9+
+6+
+3+
0
-3-6-9-12-15-18-21-24-27-30-33-36-
Solo - The Solo switch routes solo signals to the local output whenever a solo is active on the
console. This overrides any signals sent from the mono buss but does not override talk inputs.
Mono output
mono output
C/O output ‘b’
mute
C/O (output ‘b’) - The mono output ‘b’ C/O switch disconnects the mono local monitor output
from the main ‘a’ output and reconnects it to the secondary ‘b’ output.
Mute - The mono output mute switch toggles the mono output mute. When lit, the local mono
monitor output is muted.
1k
300
1kHz
100 10k
signal freq
generator
0
PINK
Phones
+10
level
0
generator generator
internal external
Phones - The headphone output level control gives continuous adjustment of the headphone
level from off (-inf) to +10dB.
to all
internal
TALK
talk mic
+10
Mute - When depressed, the headphone output is muted.
MUTE phones
+40
0
+20 +60
mic gain
+10
level
talk
talk
internal external
PRE
Stereo source
meter
change
over
ST - When depressed, the post fader master stereo ouputs are routed to the local stereo
monitor outputs.
0
TALK
input
+10
MONO
masters
level
0
SOLO
ST
EXT
MONO
SOLO
+10
level
mono source
mono output
C/O output ‘b’
mute
stereo source
EXT - When depressed, the external stereo input (2 track, etc...) is routed to the stereo local
monitor outputs.
MONO - The mono master switch routes the post fader master mono buss to the stereo local
monitor outputs.
0
SOLO - The solo switch routes the solo buss signal to the stereo local monitor outputs when
ever a solo is in place on the console overriding signals sent from the stereo master, mono
master or any external input.
+10
MUTE
phones
ST
EXT
MONO
SOLO
stereo source
stereo output
C/O output ‘b’
O
MONO
sum
left only
ON
PAD
l-r reverse -20dB
R
L
Stereo output
stereo output
C/O output ‘b’
C/O (output ‘b’) - The stereo output C/O switch disconnects the local stereo ‘a’ outputs and
connects the secondary ‘b’ local stereo monitor outputs.
mute mute
SOLO add mode
SOLO
pre fade
(pfl)
solo clear
10
10
5
5
0
0
5
10
5
10
20
20
30
40
30
40
dB
dB
monitor
MIDAS
O
MONO
sum
left only
ON
PAD
l-r reverse -20dB
R
L
Ø (left only) - The stereo output left only phase switch causes the phase of the left output of
the local stereo monitors to be inverted.
Mono (sum) - The mono sum switch adds the left and right monitor signals with a 4.5dB
summing loss.
ON (l-r reverse) - When depressed, the left hand monitor signal is routed to the right hand
outputs and the right hand monitor signal is routed to the left hand output.
PAD (-20dB) - When depressed, the three local monitor outputs are attenuated bu 20dB. 20dB
attenuation is also provided when talk inputs are enabled to help prevent feedback.
L - The LEFT switch routes the left hand signal to both left and right local monitor outputs.
XL031
R - The RIGHT switch routes the right hand signal to both left and right local monitor outputs.
Operators Manual- Page 36
Monitor Module
Mute (left) - toggles the mute on the left hand side of the local monitor outputs.
Mute (right) - toggles the mute on the right hand side of the local monitor outputs.
mute mute
SOLO add mode
SOLO
pre fade
(pfl)
Solo (add mode) - The solo add mode switch changes the behaviour of the consoles solo
operation. See the panel below for detailed information)
Solo (pre fade PFL) - The solo PFL switch sends the mono PFL bus signals to the headphones
and local monitor outputs in place of the stereo AFL solo buss signals.
monitor module
Solo Clear - The solo clear button has two functions:-
+21+
+18+
+15+
+12+
+9+
+6+
+3+
0
-3-6-9-12-15-18-21-24-27-30-33-36-
1k
300
1kHz
100 10k
signal freq
generator
0
PINK
+10
level
generator generator
internal external
solo clear
1 - The solo clear button will light to indicate that a solo is in place on the console.
2 - Pressing the solo clear button while lit will clear any active solos on the desk.
10
10
5
5
0
0
5
10
5
10
20
20
30
40
30
40
dB
dB
Fader - The monitor fader allows continuous adjustment of all three local monitor output
signals from off (-inf) to +10dB.
to all
internal
TALK
talk mic
monitor
MIDAS
+40
XL031
0
+20 +60
mic gain
+10
level
Solo Behaviour
talk
talk
internal external
PRE
meter
change
over
0
TALK
input
Normal Solo Function
+10
MONO
masters
level
0
When a channel solo is activated, the signal is sent to the PFL mono and the AFL stereo busses.
SOLO
+10
level
mono source
mono output
C/O output ‘b’
mute
0
If the switch is pressed for a short time, it will latch the solo on or off. The solo system is, by default, auto
cancelling. This means that when a solo is pressed, any previous solos will be released. However, if a number of
solos are pressed within a short period (i.e. almost at the same time) of each other, a number of solos can be
operated simultaneously.
+10
MUTE
phones
ST
EXT
MONO
SOLO
stereo source
stereo output
C/O output ‘b’
O
MONO
sum
left only
ON
PAD
l-r reverse -20dB
R
L
If a solo switch is pressed for more than one second, the solo latch is disabled and the solo is cancelled as soon as
the solo switch is released.
Solo Add Mode
When in solo add mode (solo add mode switch on the monitor module) the auto cancelling solo function is disabled
allowing multiple solos to be activated. There is a priority order for the solo system in this mode which is:(High)
Input Solos
mute mute
SOLO add mode
SOLO
pre fade
(pfl)
(Low)
solo clear
10
10
5
5
0
0
5
10
5
10
20
20
30
40
30
40
dB
dB
monitor
MIDAS
XL031
VCA Solos
Direct In Solos
Group Solos
Output Solos
In the case of a high priority solo being placed after lower priority solo, the higher priority solo will be sent to the
PFL and AFL busses and the lower priority solo will not. Once the higher priority solo is removed, the lower priority
solo will then be sent to the AFL and PFL busses.
Solo Clear
The Solo Clear switch on the monitor module will illuminate to show that a solo is in place on the console.
Pressing the Solo Clear switch on the monitor module will release all active solos on the console.
Operators Manual- Page 37
Console Automation
Operators Manual- Page 38
Automation
VCA and Mute assignment
LOCK
assign
keys
mode
switches
To make assignments to any of the Heritage 4000’s VCA or automutes, the system must
first be unlocked by pressing the lock key (mode switches).
lock
Pressing the lock key will toggle the console lock between off and on. When the switch is
illuminated, changes are not permitted.
vca
After 90 seconds of inactivity, the system will automatically return to a locked state.
1
VCA
2
3
mute
To make assignments to the VCA, VCA mode must be selected by pressing the VCA key. This
may only be done when the console is unlocked. VCA mode is enabled when the VCA key is
illuminated.
4
5
fader
MUTE
6
7
8
virtual fader
recall mode
To make assignments to the Automute system, Mute mode must be selected by pressing
the mute key. Again, the system must be unlocked to do this. Mute mode is enabled when
the Mute key is illuminated.
9
ASSIGN KEYS
10
a
b
To make a channel assignment to a VCA or automute, the console must be unlocked and the
mode must be selected. Then the desired VCA (or automute) can be selected using the
assign keys.
A short press of the assign key will select the key and clear all previous selections. A long press, however, will
allow multiple selections to be made. Pressing an assign key that is illuminated (selected) will cause it to be deselected and the internal LED will be extinguished.
To assign the VCA or Mute to an input channel, press the channel SET key.
A long press on the channel SET key will clear any previous assignments and make new assignments according to
the assign keys.
A short press will toggle the channels existing assigns with the selected assign keys.
i.e.
If a channel has a mute assignment to 1,2 & 3
In Mute mode, Assign keys 2 & 4 are selected
The channels SET key is pressed
Result
Mute 1, 3 & 4 are assigned.
Clear Mode
Mute and VCA assignments may be cleared at the same time. Pressing the VCA and Mute mode switches for
more than half a second will select both VCA and Mute modes. Ensuring all the assign keys are off, longpress the channel SET key for the channel to be erased. This will clear all Mute and VCA assignments for the
channel.
Similarly, to clear only the Mute or VCA assigns, repeat the steps above except select only VCA or Mute
mode.
Operators Manual- Page 39
Automation
MUTE recall
a
1
u
2
t
3
o
4
To recall an automute, press the automute recall switch. Any channel that is assigned to that
automute will be muted/unmuted.
If a channel is assigned to more than one automute, it’s mute will not be released until all
automute switches to which that channel are assigned are released.
Dot Notation
The dot in the upper left hand corner of the numeric
display indicates that the scene number indicated
is the scene in current usage.
5
m
6
u
7
t
8
e
9
s
10
act
scene
The dot in the lower right hand corner of the
numeric display indicates that the scene number
indicated hold scene data (i.e. is not empty).
Backup
virtual fader
recall mode
The Heritage 4000 automation and assignment system uses an on-board micro card to control
the function of the console.
In fact, the H4000 has a redundant micro card should a fault occur on the other. For reliability,
changes to the console are stored to both micro cards so that the information held on each is
identical.
a
b
Beneath the ‘virtual fader recall mode’ switch on the mode switches console are two indicator
LEDs and a switch.
The two LEDs indicate which of the two micro cards are currently in operation or that there is a fault:Green LED - Card Active
No LED
- Card inactive
Red LED
- Card is damaged or not responding - Call an engineer as soon as possible
The switch can be used to switch between the two micro cards should one fail.
!
This is a major function. During the transition,
there will be no control over faders and output
levels WILL change. Treat the A/B switch with
the same caution as power up/down.
Operators Manual- Page 40
Automation
Snapshot automation
automation
system
store
Snapshots of the consoles automation controls can be stored as SCENES or as ACTS.
Essentially, there is no difference between an act and a scene memory except the way in
which they are numbered.
system
midi
As in a play or script, scenes are subsets within an act.
STORE
insert
delete
copy
Pressing the store key will store the current console assignments and settings to the
snapshot memory (as indicated on the numeric display).
check
cancel
confirm NOTE: To prevent overwriting snapshot memories, the console can be locked. See later
in this section.
INSERT
act
scene
act/scene
c/o
down
last
up
now
next
The insert key allows the operator to insert a snapshot memory (at the number
indicated on the numeric display). All snapshot memories in the same scene after this
point will be re-numbered (incremented by one).
COPY
The copy function allows the snapshot (indicated on the numeric display) to be copied to
a temporary memory location. This can then be stored or inserted in the normal manner
OR a fast scene number can be assigned to the scene by pressing the desired fast scene
key.
DELETE
The delete key will delete the contents of the scene indicated on the numeric display.
CHECK
The check key can be used to preview the contents of a scene memory without actually
recalling the memory.
Mute settings will be shown in the SAFE switches so that the actual channel mutes are
not obscured. Whilst in this mode, the act/scene changeover and the up/down switches
can be used to step through the memories on the console.
automation
system
store
midi
system
insert
delete
copy
check
cancel
confirm
The lower 6 keys are used to navigate or load the scene and act memories.
Act/Scene C/O
The act/scene changeover key switches between act or scene mode. The current mode
is indicated under the numeric display.
Up/Down
The up and down keys allow the user to scroll through the scene or act memories on the
console and navigate through menus. The numeric display shows the number of the
memory but note that using the up/down keys does not load the memory.
Please note the function of ‘dots’ on the numeric display (as shown on page38).
act
scene
act/scene
c/o
down
Last/Now/Next
The last, now and next allow quick the recall of memories.
up
Now - Recalls the snapshot memory indicated on the numerical display.
last
now
next
Last - Recalls the snapshot memory that numerically precedes the snapshot memory
that is currently active or stored.
Next - Recalls the snapshot memory that numerically proceeds the snapshot memory
that is currently active or stored.
Operators Manual- Page 41
Automation
Fader automation system
assign
keys
mode
switches
lock
Fader
The fader switch enables the fader assignment/display mode for the fader tray LED’s.
Virtual Fader Recall Mode
The virtual fader recall mode switch enables the operation of the virtual fader system.
vca
1
Real Fader Mode
2
3
In real fader mode, all of the internal VCA systems are controlled by the real (physical)
faders. The automation system can assist in the control of each real fader by prompting the
user using the 11 LEDs next to each fader.
mute
4
5
fader
6
7
8
virtual fader
recall mode
9
10
a
b
The fader positions stored in a snapshot memory can be viewed by recalling the scene and
pressing the virtual fader recall mode switch. The LEDs will flash to indicate the stored
position of the fader. As the fader is moved towards the position shown, the LED will stay
alight continuously until the fader is in the correct position. If the fader is just under the
stored position, a LED will light above the fader position. If the fader is just over the stored
position, a LED will light below the fader position until the fader is positioned to the correct
level.
Virtual Fader Mode
In virtual fader mode, the console automation takes control of all the internal VCA systems
and displays a representation of the virtual fader position using the 11 LEDs next to the real
fader. Additional adjustment trims can be added if necessary.
If the console is unlocked to RECALL mode or higher, scenes may be recalled but not stored
or overstored. If fader adjustments are required, the fader must be ‘picked up’ by taking it
to the 0dB level. Fader adjustments then remain active for all subsequent scenes recalled
(unless the adjustment is cleared).
If the console is unlocked to STORE mode or higher, scenes may be recalled, stored and
overstored. When storing a snapshot, the virtual fader level is always stored, regardless of
the real fader. If fader adjustments are required, the fader must be ‘picked up’ by taking it
to the current virtual fader position. When a new scene is recalled, the fader adjustment is
removed forcing the user to ‘pick up’ the fader again before making further adjustments.
Access levels
system
The Heritage 4000’s automation system can be locked so that it’s memories cannot be
changed, erased or overwritten by mistake.
This is done in the SYSTEM menu (more explanation of this later in this section) under the
LOCK section.
Four (4) options are available which will limit the amount of access granted to users of the
console.
TOTaL
All automation and assignment functions disabled
ReCALl
Only recall and assignment functions are available
STORe
Scene storage/editing, recall and assignment are available
SYSTem
All functions are available
This protection is designed as a protection against accidental rather than security
protection as it is not password protected.
Operators Manual- Page 42
Automation
Virtual fader recall vs store
The differences between virtual fader recall and virtual fader store modes are discussed in more detail:-
Recall Mode
Store Mode
Recall a new scene and leds will indicate the current
virtual fader positions. Note that that these leds
always indicate the actual fader setting that is
controlling the audio.
Recall a new scene and leds will indicate the current
virtual fader positions. Note that that these leds
always indicate the actual fader setting that is
controlling the audio.
To adjust a virtual fader move the real fader to
0dB. When the fader is at 0dB the red set led will
illuminate indicating that the virtual fader is ready
for adjustment. Moving the fader will add an offset
to the original stored scene. The amount of offset is
clearly indicated by the physical position of the
fader above or below the 0dB line. The virtual fader
position can also be viewed via the leds (plus any
adjustment offsets).
To adjust a virtual fader move the real fader to the
same position as the virtual fader. When the fader
has reached this point the red set led will illuminate
indicating that the virtual fader is now “tracking”
the real fader. Moving the real fader will there for
adjust the position of the virtual fader and this is
indicated by changes in the virtual fader leds.
If a new scene is recalled the fader adjustments
made will be added to the new scene also. The
adjustment can be removed by returning the fader
to the 0dB position or by “clearing” the fader to infin as detailed below.
If a new scene is recalled the fader adjustments will
all be cleared and the set leds will extinguish to
indicate that faders are not “tracking” even if their
position suggests that they are (because they are
not set to -infin).
In order to make the virtual fader leds as clear to
view as possible it might be desirable to “clear” all
non adjusted faders to -infin. To do this press the
virtual fader switch and then move any fader that is
to be “cleared” to the -infin position. Press the
virtual fader switch again and the faders will be
ready to be active again. Only faders which do not
need adjustment should be cleared as any virtual
fader level changes made prior to clearing will be
removed at the next scene recall.
In order to make the virtual fader leds as clear to
view as possible it might be desirable to “clear” all
non adjusted faders to -infin. To do this press the
virtual fader switch and then move any fader that is
to be “cleared” to the -infin position. Press the
virtual fader switch again and the faders will be
ready to be active again. Any virtual fader level
changes made prior to clearing will still be active
but they will be cleared at the next scene recall.
Operators Manual- Page 43
Automation
It is possible to “pick up” all the faders and then set
them to 0dB if adjustment is not required. There is
no need to “clear” them. This is a user preference.
If faders are not cleared prior to recalling a new
scene it may be advisable to clear them
immediately afterwards to avoid confusion.
Any virtual fader can be isolated from further scene
recall by pressing the AUTOmation SAFE switch.
After the switch is pressed it will also be possible to
“pick up” the virtual fader at the recalled position
and adjust it using the real fader (exactly the same
as for store mode). Any subsequent scene recall
will have no effect on the virtual fader position.
Any virtual fader can be isolated from further scene
recall by pressing the AUTOmation SAFE switch.
After the switch is pressed it will also be possible to
“pick up” the virtual fader at the recalled position
and adjust it using the real fader. Any subsequent
scene recall will have no effect on the virtual fader
position.
To regain virtual fader control switch the
AUTOmation SAFE switch off and then recall the
current (or next required) scene. Virtual fader
control will resume as the scene is recalled. The
fader will not be “picked up” and can be moved to infin if desired as long as it does not pass through
0dB. If it does pass through 0dB it will “pick up” in
the normal way.
To regain virtual fader control switch the
AUTOmation SAFE switch off and then recall the
current (or next required) scene. Virtual fader
control will resume as the scene is recalled. The
fader will not be “picked up” and can be moved to infin if desired as long as it does not pass through
the virtual fader position. If it does it will “pick up”
in the normal way.
Any input channel virtual fader can be totally
isolated by pressing the FADER SAFE switch. At this
point the virtual fader will "snap" to match the real
fader position and any master VCA and automation
control will be removed. To regain virtual fader
control switch the fader safe off and recall a new
scene. The real fader can then be cleared to -infin
in the normal way.
Any input channel virtual fader can be totally
isolated by pressing the FADER SAFE switch. At this
point the virtual fader will "snap" to match the real
fader position and any master VCA and automation
control will be removed. To regain virtual fader
control switch the fader safe off and recall a new
scene. The real fader can then be cleared to -infin
in the normal way.
It is not possible to store a scene in this mode. The
main reason this is not allowed is because multiple
overstores of faders which have adjustments made
would result in incremental virtual fader position
changes which in most cases would not be desired.
When storing a scene the information loaded into
the scene memory will always be as displayed by
the leds. This still applies if a fader is isolated by
the fader safe or automation safe switches.
Using fader modes
The Heritage 4000 has a flexible fader mode system which, used properly, will allow the user to benefit from the
full functionality of the console. There is no right or wrong way to use the fader modes as this will be largely
dictated by the environment in which the console is being used and the application.
It is worth spending some time to familiarise yourself with the fader modes and automation systems so that they
may be tailored to your specific needs, but as a guide:REAL FADER STORE and RECALL modes
Used for the initial setup of a show and during early rehearsals. Also used for situations where no prior setup has
been possible. Fader positions stored to the automation memory are as per the real faders so great care must be
taken to set them correctly prior to overstoring any adjustments.
VIRTUAL FADER STORE mode
Used for later rehearsals and for shows where there is a large degree of change from night to night due to venue
conditions or ad lib’s etc. Each scene recalled is as it was stored but may need adjustment to suit the prevailing
conditions. Adjustments are clear and fast to implement with the real fader taking over from the virtual fader as
required. Overstoring is easily possible so as to fine tune the data in the automation memory.
VIRTUAL FADER RECALL mode
Used for events and shows that are well rehearsed and predictable. Each scene recalled is as it was stored plus an
offset adjustment from the real fader if required. Any changes that are made are active for all subsequent scenes
until such a time as they are removed by the operator. Overstoring is not possible.
Operators Manual- Page 44
Setup menus
confirm
cancel
check
Operators Manual- Page 45
midi
next
now
last
up
act/scene
c/o
down
scene
copy
delete
insert
act
system
midi
store
automation
system
out1
out2
out3
out4
system
midi out menus share
the same submenus
The numeric display will show the
menu options and the values
which have been assigned.
The up/down keys are used to
navigate the menu system and
cancel/confirm to make or lose
changes.
To enter the menu system, press
either the MIDI or SYSTEM key to
access the relevant menu.
This symbol is used to denote that the confirm
key must be pressed to continue.
To make changes to the console’s configuration or to
invoke memory dumps etc...
A menu map is provided below.
CLR
N_ON
N_OFF
PROG
NOFF
SWGF
C_CH
N_ON
Console configured as a MASTER console
Console configured as a SLAVE console
No consoles connected
YES
NO
CHNN
SERIAL
MIDI
SERIAL
MIDI
All functions available
Recall, Assignment and Store functions are available
Only recall and assignment functions are available
All automation and assignment functions are disabled
xxxx (note)
VXxxx (note velocity)
xxxx (note)
VXxxx (note velocity)
Pxxx (Program Change Number)
This option clears all scene memories on the console to give a clean
starting point for programming
NONE
SLAVE
MAST
SET_P
ENAB
SAVE
LOAD
TOTL
RCAL
STOR
SYST
chxx (midi channel)
chxx (midi channel)
chxx (midi channel)
CLR
CONS
AUTO
DATA
LOCK
Automation
Automation & Linking
Walkthrough
Operators Manual- Page 46
Automation and Linking
Unlocking the Console:
To unlock the mixing console press the SYSTEM menu button. Using the up/down keys scroll through the
menu until LOCK is displayed, press CONFIRM. Using the up/down keys scroll through the menu until the
desired level of unlock is displayed on the screen, then press the confirm button.
Locking the Console:
To lock the mixing console press the SYSTEM menu button. Using the up/down keys scroll through the menu
until LOCK is displayed, press CONFIRM. Using the up/down keys scroll through the menu until TOTL is
displayed on the screen, then press the CONFIRM button.
The LOCK button located on the MODE SWITCHES disables the Assign keys, Mode switches and Set switches
on the Centre section and input faders.
Storing a Scene:
Setting up a scene, Assigning VCA, Mutes, Faders etc.
Assigning VCAs:
Ensure that the lock button is not illuminated on the mode switches (if it is, press the button to extinguish
the LED).
!Press the VCA mode button so that it is illuminated. This has now selected the VCA mode on the input
modules.
!Using the ASSIGN KEY select which master VCA you wish to assign to a particular input module (1-10).
Quickly pressing a key will clear all other buttons enabled so only the one selected is illuminated, push
and holding the key down for 0.25 seconds will not disable other buttons previously enabled.
!On the input channels you wish to assign to the master VCA(s) selected press the SET Button, the
relevant LED(s) on the input channel will illuminate. If the SET button is pressed quickly the VCA's
selected on the assign keys will toggle those already selected on the channel. If the SET button is
pressed and held for a short time then any VCA's already selected on that channel will be cleared and
replaced with those selected by the assign key.
Assigning Mutes:
!Ensure that the lock button is not illuminated on the mode switches. If it is, press the button to
extinguish the LED.
!Press the MUTE mode button so that it is illuminated. This has now selected the mute mode on the
input modules.
!Using the ASSIGN KEY select which Automutes you wish to assign to a particular input module (1-10).
Quickly pressing a key will clear all other keys enabled so only the one selected is illuminated, push
and holding the key down for 0.25 seconds will not disable other buttons previously enabled.
!On the input channels you wish to assign to the Automutes selected, press the channel SET Button. The
relevant LED(s) on the input channel will illuminate. If the SET button is pressed quickly the Automutes
selected on the assign keys will toggle those already selected on the channel. If the SET button is
pressed and held for a short time then any Automutes already selected on that channel will be cleared
and replaced with those selected by the assign key.
Fader Position:
!Ensure the Virtual Fader recall mode button is not illuminated and the faders are in normal mode, if this
is enabled the new fader position will not be stored.
!Move the faders to the desired position. The only other automated buttons on the console to be set are
the Input Mutes, Master VCA Mutes, Group Mutes, Matrix Mutes and Master Mutes.
Selecting a memory number and storing the memory:
!The numbers in the display can be altered as follows. Select either Act or Scene using the ACT/SCENE
C/O switch. You will see either act or scene illuminate below the display.
!The digits can then be altered between 00-99 using the UP and DOWN keys. This function is looping so
if you are on 00 you can go directly to 99 by scrolling down.
!To store a scene press STORE. If the scene is new then it will be stored and the screen will display
done.
Operators Manual- Page 47
Automation and Linking
!If the scene already exists then the display will read over_str and you will need to press the confirm
button. The screen will then read done.
Editing Midi (Program Change):
!Pressing the MIDI button places you in the MIDI menu.
!Using the UP and DOWN buttons scroll through OUT01 to 04
until the required message is reached.
(On the Heritage there are a maximum of 4 MIDI out messages that can be sent per recalled scene).
Press CONFIRM.
!Using the UP and DOWN buttons scroll through the menu until the screen reads PROG. Press the
CONFIRM button
!The display will
read CH00, using the UP and DOWN keys a channel between 01 to 16 can be selected.
Press CONFIRM.
!The display will read P000. Using the UP and DOWN keys, a program change between 00 and 127 can
be selected. Press confirm and you will be dropped back to the first level of the menu. When the
desired messages have been edited press the MIDI button again to drop out of the menu.
!To then store the MIDI information with the scene the STORE button must be pressed followed by
CONFIRM
Assignment of Program changes to a Scene:
!Once a scene has been stored press the STORE button so that the display reads OVER/STOR.
!Press the UP key until the display reads PRCH then press CONFIRM.
!Using the UP or DOWN key chose the required MIDI program change you wish the scene to be recalled
by. You have the choices NONE, Program Changes 000-127.
Inserting Scenes:
!Once you have created the scene you wish to insert edit the act/scene number display using the
ACT/SCENE, UP and DOWN buttons until the desired position is displayed.
!Press the INSERT key. The display will then read done. The original scene and any scene preceding it
will then be incremented by one position.
NB The INSERT button will only be illuminated if a scene exists where you wish to place the scene,
otherwise STORE may be used as normal.
Copying Scenes:
!Recall the scene you wish to copy by selecting the scene number and pressing the NOW button.
!Press the COPY button.
!The MIDI Button will be illuminated as default which indicates that the midi out messages will also be
copied with the scene. If you do not wish the midi out information to be copied to the new scene press
the MIDI button so that the light is extinguished.
!The act/scene numbers can now be scrolled through using the ACT/SCENE,UP and DOWN buttons until
the desired position is reached, then press the STORE button.
Editing the Cross fade Value of a Scene:
!
!
!
!
!
Recall the scene you wish to copy by selecting the scene number and pressing the NOW button.
Press the STORE button, and using the UP and DOWN buttons scroll through the display until XFADE is
shown, press CONFIRM.
The current cross fade speed stored with the screen will be displayed. Using the UP and DOWN buttons
select the required cross fade speed.
Press CONFIRM to store this new speed with the scene.
NB When a scene with a cross fade speed is being recalled the display will flash for the specified cross
fade time
Operators Manual- Page 48
Automation and Linking
Halting a Cross fade:
!
To Pause a crossfade during recall press the CANCEL button. The crossfade can be resumed again by
pressing the CONFIRM button.
Bypassing a Cross fade:
!
A crossfade can be bypassed by pressing the confirm button as the crossfade is being applied, this will
immediately take you to the finished scene.
Previewing a Scene:
To preview a scene without affecting your mix, select the scene number on the display using the ACT/SCENE,
UP and DOWN buttons. Once the desired number is displayed, press the CHECK button. The automated
switch configuration and fader positions stored for that scene can be viewed without changing the actual
settings.
The Automute Safe buttons on the inputs will display the input mute state.
The master VCA mutes will display the Master VCA mute setting with out altering the Audio.
The Group and Matrix Mute Safe buttons will display the checked scene mute status.
The display will also scroll through the other stored scene information, telling you if midi in is enabled and
the channel assigned. The MIDI out information stored with the scene, cross fade value and program change
number the scene will respond to.
Pressing the CHECK button will drop you back into normal mode.
Recalling Scenes:
There are 3 methods by which scenes can be recalled:
!
!
!
Stepping through existing scenes using the LAST and NEXT buttons. This steps through the scenes in
numerical order.
Select the act/scene number using the ACT/SCENE, UP and DOWN buttons, when the correct scene
number is displayed in the screen press the NOW button and the scene will be recalled.
A scene can be assigned to a fast scene key (1-10). In this instance the scene is recalled by just pushing
the fast scene key.
Assigning A Scene To A Fast Scene Key:
!
!
Recall the scene you wish to assign to a FAST SCENE KEY.
Press the COPY button, followed by the FAST SCENE KEY button you wish to assign that ACT/SCENE to.
The screen will then display done.
Deleting a Scene From A Fast Key:
!
!
Press and hold down the FAST KEY you want to delete.
When the YES and NO button start to flash you can now select either YES or NO to delete or cancel
deletion of the FAST KEY.
Deleting A Scene:
!
!
Recall the scene you wish to delete, Or display the scene number on the screen using the ACT/SCENE,
UP and DOWN buttons. When this is done press the DELETE button.
You will be asked to confirm this. Press the CONFIRM button the screen will then say done when the
scene is deleted.
Operators Manual- Page 49
Automation and Linking
Midi In Assignment:
Setting The Console to Respond to MIDI Changes:
The console settings can be accessed via the “AUTO” submenu after pressing the “System” button. This
submenu option is only available when in “SYS” Lock-Mode.
After selecting “AUTO”, there are two further sub-menus:
1.
ENAB -(ENABle), this is the master switch for this function and can be set to “YES” or “NO”.
Toggling this switch will not delete the other setup parameters for this function.
2.
SETP - (SETuP), this is where we set the actual midi parameters that are used for this function.
These parameters define the midi command that the console will respond to, and decode the required
act/scene number. The two parameters that can be set are as follows:
a.
The midi command, this can be either of the following midi commands:
N ON - (Note ON)
NOFF - (Note OFF)
SNGP - (Song Pointer)
PRCH - (Program Change)
b.
The MIDI channel, this covers the full 16 channels possible, the display shows CH 01 -
CH 16.
Notes:
1. To respond to an external midi request to change the act/scene number, the following conditions must be
true:
a. The “AUTO - ENAB” menu setting must be set to “YES”.
b. The console must not be in “TOTL” (TOTaL) Lock-Mode.
c. The console use must not be performing any menu operations.
Setting Up a Midi Device:
To cause the console to automatically change its act/scene, a MIDI command can be sent using the preprogrammed command & channel (as set on the console). The actual act/scene number is encoded into the
MIDI command data that is sent.
The required MIDI command data can be constructed by setting the midi command parameters as follows:
Note ON/OFF : These MIDI commands have two parameters, as follows:
1. NOTE, this parameter is equivalent to the required “ACT” number.
Each note has a numerical equivalent (see table below)
2. Velocity, this parameter is equivalent to the required “SCENE” number.
Example: To program a change to ACT 20, SCENE 44, - Set the note to G#-1,
set velocity to 44.
Song Pointer - The command is a numerical
value and is equivalent to the combined “ACT” &
“SCENE” number.
OCTAVE
-1
0
1
2
3
4
5
6
7
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
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
00
01
02
02
03
04
05
06
8
9
NOTE
Example: To programme a change to
ACT 45, SCENE 02, - set the value to 4502
MIDI Sysex Dumps:
c
0
c# 1
d
2
d# 3
e
4
f
5
f# 6
g
7
g# 8
a
9
a# 10
b 11
Operators Manual- Page 50
108 120
109 121
110 122
111 123
112 124
113 125
114 126
115 127
116 117 118 119 -
Automation and Linking
MIDI Sysex Dumps:
To store the recall a memory between the console and a midi device (such as an Yamaha MDF3 midi Filer) or
the windows software available from Midas, select the SYSTEM menu, using the UP and DOWN keys select
DATA and press CONFIRM. Using the UP and DOWN keys select either SAVE or LOAD and press CONFIRM.
There are 2 communication options, either MIDI (through the midi port rear of the console or via RS232.
Select either MIDI or SERIAL using the UP and DOWN buttons and press CONFIRM. The screen will then
indicate the function being carried out and notify the user when finished.
Saving The Memory From The H4000 To A File
Connect the null modem cable.
Select the Show menu and click on 'Download From Console'. A window will open and set up the Comm
port. The message
Waiting for Show data will then be displayed.
Select the 'SYSTEM' menu on the H4000 and scroll to 'DATA'. Press 'CONFIRM', then scroll to 'SAVE' and
press 'CONFIRM'. Now scroll to 'RS-232' and press 'CONFIRM'. The show memory from the H3000 will then
be down loaded into the computer. When the data transfer is complete, the H4000 will ask you to confirm
the STORE OK, press 'CONFIRM'.
Select the Show menu in Hsutil and click on Save To File.
A prompt will appear asking for a show a name. Give the file type as *.shw.
Click on OK and the file will be saved.
Down Loading A Show Into The H4000
Connect the null modem cable.
Select Show menu and click on 'Load From File'. Using the browse function select the show you wish to
download into the console and click on OK. A window will open telling you the loading is complete, click on
OK.
Select the Show menu in Hsutil and click on Upload to console. A window will open asking you to hit upload
when console is ready.
Select the SYSTEM menu on the H4000, and scroll to 'DATA' then press 'CONFIRM'. Scroll to 'LOAD' and
press 'CONFIRM'. Now scroll to RS232 and press 'CONFIRM'.
Click on the 'Upload' button.
When the file is downloaded successfully, the H4000 will prompt you to press 'CONFIRM'. The show memory
from the computer will now be loaded into the H4000.
Linking Heritage Consoles together Via CAN:
A maximum of 6 consoles can be linked via the CAN bus connector located at the rear of the Heritage
consoles. Any mixture of any Heritage consoles may be linked H4000, H3000,H2000 or H1000. They are
linked using a cable the description of which is given on the next page. If you have more than 2 consoles in a
system the end consoles(either end of the cable) must have the RED termination button in the out position
(default), all other consoles must have this Red button pressed in.
When linked only one console can be the master at any one time, all other linked consoles are slaves. The
following functions are linked:
Master VCA Control
Master AutoMute Control
VCA Master Solo
Solo in Place Mode
Scene Storage and Recall (See attached Note 1)
Mode Switches
Automation Assignment Keys
Solo On
Solo Clear (See Note 2)
Operators Manual- Page 51
Automation and Linking
Note 1
All scene memory information remains local to the console so when saving or loading memories to or from
the console by either computer file or midi sysex dump, each console must be done individually. When
setting up a multiple console system it is recommended that programming is done from the start with all
consoles linked. This is to avoid recalling a scene that does not exist on a slave console. If this is done you
will see a warning message on the Master indicating that the scene does not exist and prompting for
confirmation at which point the master will recall the required scene but the slave will remain on the last
existing scene recalled.
MIDI may only be stored locally on a console, if you wish to program midi outs on slave console you must
first make this the master or stand alone ( this will be described later) and then program your midi out
messages as normal.
Note 2
As the Solo add and Clear function of the Heritage 1000 are controlled differently to that of the 4000, 3000
and 2000. The solo CLR and ADD functions are not linked and must be triggered locally on any 1000 linked
into a system.
Switching a Console to Master or Slave:
Press the SYSTEM menu and using the UP and DOWN keys scroll to CONS then press CONFIRM.
Using the UP and DOWN keys select either Master or Slave then Press CONFIRM.
You will then be prompted to choose the ID number of the console using the UP and DOWN keys you have a
choice of ID 1 to 8. No two consoles in the same system may have the same ID.
Pressing CONFIRM will then synchronize the console with the system.
Note When a console is in slave mode CONS is the only item of the SYSTEM menu that can be accessed. If a
slave console is reconfigured to be a master it will automatically make the original master console a slave
when the CONFIRM button is pressed.
Operators Manual- Page 52
Operators Manual- Page 53
3
4
Issue
1
2
3.
1.
2.
Item
Date
01-12-99
Notes/ECN
Released to Production
Male XLR
From: N/A
Connector (n/a )
Drawn:
Checked:
Approved:
NA
CAN_L
0V CAN
CAN_H
NA
CHASSIS
NA
7.8m
Signal
Pin 1
PIN2
PIN3
PIN4
Pin5
CASE
No Connection
8m
2
1
Qty
Connector Pins
Description
Connectors
5 Pin XLR NC5MXB X-Series
5 Pin XLR NC5FXB X-Series
Cable
Cardinal 48400 ‘Starquad’ 4 Core Cable
CAN CABLE
HS-CAN-8-01
No Connection
CABLE CORE 1
CABLE CORE 3
CABLE CORE 2
No Connection
Braid Screen
Cable Core 4
Cable Core
0.2m
Female XLR
NA
BLUE
GREEN
RED
NA
TIN
White
Cable Colour
To: N/A
Connector (n/a)
Farnell: 152-133
Neutrik: NC5MXB
Neutrik: NC5FXB
Manufacturers’ Reference
H1000 / H2000 / H3000 / H4000
Alison Ashmore
Cable Specification
AS1606-1
Drawing Number
Male XLR
CON31-5MXB
CON31-5FXB
KT Part No.
ACBLX-1606-1
Page 1of 1.
Can Bus
We i g h t s a n d D i m e n s i o n s
Operators Manual- Page 54
12.00°
Operators Manual- Page 55
Dim B=2737.00mm (107.756”)
64 Channel Frame
Dimension A=2780.00mm (109.449”)
*out of flightcase
Dim B=2516.00mm (99.050”)
56 Channel Frame
Dimension A=2559.00mm (100.740”)
566.05mm (22.28”)
Dim B=2225.00mm (87.590”)
363.00mm (14.29”)
48 channel frame
Dimension A=2268.00mm (89.290”)
1054.00mm (41.49”)
Dimension B
Weight* 300kg (661.2lbs)
Weight* 293kg (645.7lbs)
Weight* 255kg (560.0lbs)
Dimension A
Weights and Dimensions
189.00mm (7.44”)
Stereo
Modules
Mono Modules
Matrix
RS-232
For Helix Auto-solo
Groups
Stereo Aux
Outputs / inserts
PSU
Master
Section
inserts
Master outputs
Rear Panel Description
Operators Manual- Page 56
Block Diagrams
Operators Manual- Page 58
Operators Manual- Page 59
LOGIC 2
LOGIC 1
NOISE
REFERENCE
METERS
PRE
TEST
INPUT
(SERVICE
USE ONLY)
MIC/LINE
INPUT
48V
PHANTOM
8
9
9
10
9
8
7
6
5
4
3
2
set
1
-
9
8
7
6
5
4
3
2
1
set
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-25
O
160
solo
lo-mid
15
+/-
0.1
2
15
safe
mute
300
VCA
VOLTAGE
SOLO
CONTROL
MUTE
SAFE
0
EQ
freq8k
3k
15
hi-mid
400
15
bell 100 freq 2k
2
1 6
width
6 0.3
1k
+/-
0
SEND
+
RETURN
_
INSERT POINT
800
0.1
H4000 INPUT FADER MODULE BLOCK DIAGRAM
safe
vca
å
400
freq
20
15
-
+
0.1
+/-
2
0
8k
15
+/-
2
mute
INTERNAL
PRE/POST
OPTIONS
VCA
å
å
PRE
-
+
l
C
r
MONO
= D.C. SIGNALS
= AUTOMATION SIGNALS
lcr
image
stereo
TRANSFORMER
BALANCING
OPTION
PUSH ON
0
+6
0
PUSH ON
ST
SIGNAL PATH KEY
= ANALOGUE SIGNALS
+6
0
PRE
PRE
pan r
direct o/p
l
C
HERITAGE 4000 INPUT MODULE
BLOCK DIAGRAM
bell
0.1
1
width
6 0.3
1k freq 20k
3k
treble
INS
15
16
width
6 0.3
FOUR BAND FULLY PARAMETRIC EQUALISER
1 6
width
6 0.3
160
bass
0
PRE
insert
pre eq
60
15
6
20 freq 400
60
HI-PASS
FILTER
CAN BUS
5
0
5
PHASE
REVERSE
10
10
FADER
VCA
10
POSITION
GROUP
MUTE
INDICATION
GROUP
7
8
safe
automation
6
7
4
3
2
set
1
+60
gain
5
SET LEDS MAY
FUNCTION IN
ANY ONE OF THREE
WAYS AS SHOWN.
FUNCTION IS
DEPENDANT ON
ASSIGN MASTER
SWITCHES.
+15
+35
GAIN
6
5
4
3
2
set
1
PAD
TRANSFORMER
BALANCING
OPTION
+25
SCENE PREVIEW
SIS
LEFT BUS
DIRECT
(ONLY 2 OF 24
SHOWN FOR
CLARITY)
MIX BUS 2
MIX BUS 1
RIGHT SOLO BUS
LEFT SOLO BUS
PFL BUS
RIGHT BUS
MONO BUS
PRE
LINE
INPUT
MIX BUS 1
VCA
MIX BUS 2
OPTIONAL
TRANSFORMER
BALANCING
PRE
MIX BUS 3
MIX BUS 4
VCA DAC
PRE
MIX BUS 5
MIX BUS 6
PRE
MIX BUS 7
MIX BUS 8
PRE
MIX BUS 9
MIX BUS 10
PRE
MIX BUS 11
MIX BUS 12
PRE
MIX BUS 13
MIX BUS 14
PRE
MIX BUS 15
MIX BUS 16
PRE
0
DIRECT
OUTPUT
+6
direct o/p
OPTIONAL
TRANSFORMER
BALANCING
SIGNAL PATH KEY
ANALOGUE SIGNALS
D.C. SIGNALS
HERITAGE 4000 AUXTENDER
INPUT MODULE BLOCK DIAGRAM
Operators Manual- Page 60
Operators Manual- Page 61
VCA 10
VCA 9
PREVIEW
MUTE
AUTOMATION
RIGHT
DIRECT
RIGHT
BUS
NOISE
BUS
LEFT
BUS
LEFT
DIRECT
METERS PRE
TALK
SELECTED
TALK ALL
+
_
+
_
level
red = mono aux
green = stereo aux
+10
level
0
direct input
+10
0
direct input
+10dB
+10dB
MUTE
MUTE
HERITAGE 4000 GROUP MODULE
BLOCK DIAGRAM
SOLO
SOLO
PRE
insert
PRE
insert
TALK
TALK
PRE
insert
PRE
insert
+10
+10
MATRIX
SENDS
(1PAIR
OF8)
0
0
TO MATRIX
2- 8
-
+
-
+
SEND
+
_
RETURN
+
_
RETURN
INSERT POINT
SEND
INSERT POINT
INS
INS
9
10
vca
SAFE
SAFE
MUTE
MUTE
PRE
fader
PRE
fader
5
10
0
5
10
VCA
VCA
l
r
solo
solo
+21+
+18+
+15+
+12+
+9+
+6+
+3+
0
-3-6-9-12-15-18-21-24-27-30-33-36l
l
pan
c
pan
c
r
r
-
+
-
+
SOLO
ST
ST
split
MONO
MONO
MONO AUX
STEREO AUX
BUS LOGIC
PFL
SOLO RIGHT
SOLO LEFT
SOLO LOGIC
RIGHT O/P
LEFT O/P
MASTER
BUS RIGHT
MASTER
BUS LEFT
MASTER
BUS MONO
MATRIX BUS
(1 OF 8)
Operators Manual- Page 62
TALK
0
TALK
MUTE
MUTE
HERITAGE 4000 STEREO AUX
MODULE BLOCK DIAGRAM
+10
level
level
+10
0
insert
PRE
SOLO
insert
PRE
RETURN
SEND
RETURN
INSERT POINT
SEND
INSERT POINT
INST
INST
MUTE
MUTE
SOLO
SOLO
output level
output level
r
l
balance
r
l
balance
SOLO LEFT
PFL
SOLO LOGIC
SOLO RIGHT
l
METERS PRE
TALK
SELECTED
TALK ALL
MATRIX 1
INJECT
+
_
INSERT POINT
SEND
MATRIX
REFERENCE
BUS
+
MATRIX 1
OUTPUT
VCA
+
_
SAFE
RETURN
MUTE
solo
TALK
INST
+
MATRIX 2
BUS
MATRIX 2
INJECT
r
+21+
+18+
+15+
+12+
+9+
+6+
+3+
0
-3-6-9-12-15-18-21-24-27-30-33-36-
INST
+
MATRIX1
BUS
l
r
+21+
+18+
+15+
+12+
+9+
+6+
+3+
0
-3-6-9-12-15-18-21-24-27-30-33-36-
HERITAGE 4000 MATRIX MODULE
BLOCK DIAGRAM
INSERT POINT
-
+
_
SEND
TALK
+
+
_
VCA
RETURN
SAFE
solo
MATRIX 2
OUTPUT
-
MUTE
SOLO split
PREVIEW
SOLO LEFT
MUTE
AUTOMATION
SOLO RIGHT
10
PFL
5
0
MASTERS VCA
MATRIX 5
INJECT
VCA FROM MASTERS
VCA
+
_
INSERT POINT
SEND
MATRIX
REFERENCE
BUS
split
+
VCA
+
_
SAFE
RETURN
MATRIX 5
OUTPUT
MUTE
solo
TALK
INST
+
MATRIX 6
BUS
MATRIX 6
INJECT
SOLO
INST
+
MATRIX 5
BUS
SOLO LOGIC
5
10
INSERT POINT
-
+
_
SEND
TALK
+
_
VCA
+
-
RETURN
SAFE
MUTE
10
5
0
VCA
solo
5
10
VCA FROM MASTERS
Operators Manual- Page 63
MATRIX 6
OUTPUT
Operators Manual- Page 64
MUTE
AUTOMATION
PREVIEW
RIGHT
DIRECT
RIGHT
BUS
NOISE
BUS
LEFT
BUS
LEFT
DIRECT
MONO
BUS
MONO
INJECT
TALK ALL
METERS PRE
TALK
SELECTED
+
_
+
_
+
_
+10
level
0
direct input
l
r
balance
+10
level
0
direct input
+10dB
+10dB
HERITAGE 4000 MASTER MODULE
BLOCK DIAGRAM
MUTE
MUTE
r
SOLO
SOLO
PRE
insert
PRE
insert
+21+
+18+
+15+
+12+
+9+
+6+
+3+
0
-3-6-9-12-15-18-21-24-27-30-33-36-
m-c
+21+
+18+
+15+
+12+
+9+
+6+
+3+
0
-3-6-9-12-15-18-21-24-27-30-33-36-
l
TALK
TALK
ST
TALK
TO MATRIX
2- 8
to mono
-3dB
PRE insert
-
+
-
+
-
+
SEND
RETURN
+
_
RETURN
INSERT POINT
SEND
+
_
RETURN
INSERT POINT
SEND
INSERT POINT
+
_
left
sum
right
oo
s
o
l
o
i
n
mono
INST
INST
p
l
a
c
e
MATRIX SEND
(1 OF 8)
INST
+10
0
SAFE
MUTE
SAFE
MUTE
SAFE
MUTE
PRE fader
VCA
VCA
VCA
5
10
0
5
10
VCA link to
mono
5
10
0
5
10
mono (centre)
+10
0
-
+
-
+
-
+
PFL
SOLO RIGHT
SOLO LEFT
SOLO LOGIC
AUTOMATION
SIP O/P
MASTER
O/P RIGHT
MASTER
VCA O/P
MASTER
O/P LEFT
MASTER
O/P MONO
MONO
VCA O/P
MASTERS
SUM MONO
MASTERS
SUM LEFT
MASTERS
SUM RIGHT’
MATRIX BUS
(1 OF 8)
Operators Manual- Page 65
+
_
+
_
+
_
+
_
EXT
ST
MONO
-3dB
-3dB
MONO masters
pre fade
(pfl)
SOLO
LOGIC
SOLO
COMMS
LEVEL
+10
level
HERITAGE 4000 MONITOR MODULE
BLOCK DIAGRAM
EXTERNAL
INPUT
RIGHT
EXTERNAL
INPUT
LEFT
MASTER
BUS RIGHT
MASTER
BUS LEFT
PFL INJECT
PFL BUS
SOLO
INJECT RIGHT
SOLO
BUS RIGHT
SOLO
INJECT LEFT
SOLO
BUS LEFT
MONO
SUM
TALK
EXTERNAL
0
+10
level
0
SOLO to stereo
+21+
+18+
+15+
+12+
+9+
+6+
+3+
0
-3-6-9-12-15-18-21-24-27-30-33-36-
SOLO to mono
TALK input
-
ON
MONO
TALK
MIC
SEND
10
+10
level
signal
generator
talk
mic
+10
level
0
talk
internal
VCA
VCA
VCA
talk
external
+10
0
solo clear
+V
generator generator
internal external
5
10
0
5
10
SOLO add mode
5
10
+
_
RETURN
INSERT POINT
PINK NOISE
PINK
RETURN
+
_
(HALF NORMALISED)
SEND
INSERT POINT
0
+10
level
0
RETURN
+
_
(HALF NORMALISED)
5
MONITOR
FADER 0
-
+
-
+
SEND
INSERT POINT
OSCILLATOR
1kHz
R TO BOTH
R
L
MONO L TO BOTH
-20dB L/R REVERSE
PAD
O
REVERSE
PHASE
-
+
(HALF NORMALISED)
PRE
TALK
meter
change
over
phones
MUTE
MUTE
MUTE
MUTE
-
+
-
+
-
+
-
+
+10
+10
-
+
-
+
-
+
C/O
A/B
SPEAKERS
C/O
A/B
SPEAKERS
SOLO CLEAR
GLOBAL
METERING
PRE
TALK
SELECTED
TALK ALL
TALK
EXTERNAL
O/P
PFL BUS
O/P
SOLO TO
MASTERS
RIGHT
SOLO BUS
O/P RIGHT
SOLO TO
MASTERS
LEFT
SOLO BUS
O/P LEFT
HEADPHONES
SOLO O/P
RIGHT 'B'
SOLO O/P
RIGHT ‘A'
SOLO O/P
LEFT 'B'
SOLO O/P
LEFT ‘A'
MONO O/P
LEFT 'B'
MONO O/P
LEFT ‘A'
Crib Sheet
Operators Manual- Page 66
p
a
n
0
PRE
l
p
a
n
g
a
i
n
c
1
0
PRE
r
l
l
PRE
r
l
l
l
l
PRE
r
l
l
PRE
r
l
l
PRE
r
l
l
PRE
r
l
PRE
MIDAS
+60
r
PRE
MIDAS
+15
+60
PRE
PRE
+10
2k
15
treble
+/-
2k
15
treble
+/-
freq
INS
15
PRE
INS
15
PRE
5k
15
15
treble
2k
15
treble
INS
15
PRE
freq
INS
15
PRE
r
PRE
H4002
MIDAS
+60
2k
5k
0
20k
15
15
treble
2k
freq
INS
15
15
PRE
8k
freq
INS
15
hi-mid
0
15
0
EQ
EQ
EQ
EQ
EQ
EQ
500
500
500
500
500
500
15
15
lo-mid
Q
2k +/-
20 freq 400
C 0
0
r
+6
1
2 PRE
PRE
0
r
+6
0
r
+6
0
r
+6
0
r
+6
0
r
+6
11
12 PRE
PRE
0
r
+6
l
0
r
+6
15
16 PRE
PRE
0
r
+6
l
0
r
+6
19
20 PRE
PRE
0
r
+6
l
0
r
+6
PRE
r
+6
13
14 PRE
23
24 PRE
0
r
+6
r
+6
17
18 PRE
stereo
lcr
0
r
+6
image
mute
MIDAS
19
20 PRE
channel
+6
0
r
+6
r
+6
13
14 PRE
21
22 PRE
0
r
+6
0
r
+6
r
+6
23
24 PRE
17
18 PRE
0
r
+6
19
20 PRE
stereo
lcr
image
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-25
MIDAS
0
r
+6
channel
r
+6
13
14 PRE
r
+6
0
r
+6
23
24 PRE
r
+6
17
18 PRE
0
r
+6
19
20 PRE
stereo
lcr
image
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-25
MIDAS
0
r
+6
channel
+6
r
+6
r
+6
r
+6
15
16 PRE
23
24 PRE
0
r
+6
r
+6
stereo
lcr
image
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-25
MIDAS
19
20 PRE
0
r
+6
channel
r
+6
13
14 PRE
21
22 PRE
0
r
+6
0
r
+6
r
+6
17
18 PRE
23
24 PRE
0
r
+6
r
+6
21
22 PRE
stereo
lcr
image
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-25
MIDAS
0
r
+6
stereo
lcr
image
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-25
channel
MIDAS
r
+6
channel
+6
7
8 PRE
C 0
0
r
+6
9
10 PRE
C 0
0
r
+6
l
11
12 PRE
C 0
0
r
+6
l
13
14 PRE
13
14 PRE
PRE
C 0
0
r
+6
C 0
0
r
+6
l
15
16 PRE
15
16 PRE
PRE
C 0
0
r
+6
C 0
0
r
+6
l
17
18 PRE
17
18 PRE
PRE
C 0
0
r
+6
C 0
0
r
+6
l
19
20 PRE
19
20 PRE
PRE
C 0
0
r
+6
C 0
0
r
+6
l
21
22 PRE
21
22 PRE
PRE
C 0
0
r
+6
C 0
0
r
+6
l
23
24 PRE
PRE
23
24 PRE
C
pan r
SIS
stereo
lcr
image
MIDAS
ST
l
MONO
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-25
mute
HS0001
0
r
ST
l
MONO
5
6 PRE
C 0
l
C
pan r
SIS
+6
PRE
0
PRE
0
r
l
11
12 PRE
C 0
l
23
24 PRE
mute
HS0001
+6
ST
l
MONO
r
PRE
C 0
3
4 PRE
C 0
PRE
0
l
+6
l
9
10 PRE
C 0
PRE
0
C
pan r
SIS
+6
l
19
20 PRE
C 0
PRE
r
PRE
C 0
0
r
PRE
0
l
1
2 PRE
C 0
l
7
8 PRE
C 0
PRE
0
l
+6
l
15
16 PRE
C 0
PRE
C 0
r
PRE
C 0
+6
PRE
0
l
0
r
l
5
6 PRE
C 0
PRE
0
l
+6
l
11
12 PRE
C 0
PRE
C 0
mute
HS0001
+6
ST
l
MONO
r
l
r
PRE
0
C 0
PRE
0
160
20 freq 400
3
4 PRE
C 0
l
9
10 PRE
C 0
PRE
0
C
pan r
SIS
+6
l
17
18 PRE
C 0
PRE
r
PRE
C 0
+6
PRE
0
l
r
l
7
8 PRE
C 0
PRE
0
l
+6
l
13
14 PRE
C 0
PRE
0
r
60
PRE
0
PRE
0
PRE
0
1
2 PRE
C 0
l
5
6 PRE
C 0
l
11
12 PRE
C 0
l
21
22 PRE
C 0
mute
HS0001
r
PRE
C 0
+6
PRE
0
l
r
l
9
10 PRE
C 0
ST
l
MONO
+6
PRE
C 0
C
pan r
SIS
r
+6
15
bass
freq400
160
r
PRE
0
20
0
l
3
4 PRE
C 0
PRE
0
l
+6
l
7
8 PRE
C 0
PRE
0
PRE
+6
l
15
16 PRE
C 0
l
r
PRE
C 0
r
15
15
20 freq 400
l
Q
0
bass
C 0
PRE
0
PRE
0
l
1
2 PRE
C 0
l
5
6 PRE
C 0
PRE
0
PRE
0
+6
l
11
12 PRE
C 0
l
21
22 PRE
C 0
mute
HS0001
+6
ST
l
MONO
r
PRE
C 0
r
PRE
0
+6
PRE
0
l
9
10 PRE
C 0
l
C
pan r
SIS
+6
PRE
C 0
PRE
r
r
2k +/-
freq
bell
freq400
60
160
0
l
3
4 PRE
C 0
PRE
0
l
+6
l
7
8 PRE
C 0
PRE
0
l
+6
l
15
16 PRE
C 0
PRE
C 0
r
PRE
C 0
r
20
15
lo-mid
100
100
15
15
20 freq 400
l
Q
0
bass
C 0
PRE
0
PRE
0
l
1
2 PRE
C 0
l
5
6 PRE
C 0
PRE
0
l
+6
l
11
12 PRE
C 0
PRE
C 0
mute
HS0001
r
l
r
PRE
0
+6
PRE
0
l
9
10 PRE
C 0
ST
l
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-25
+6
PRE
C 0
ST
MONO
r
r
2k +/-
freq
bell
freq400
60
160
0
l
3
4 PRE
C 0
PRE
0
l
+6
l
7
8 PRE
C 0
PRE
0
C
pan r
SIS
+6
l
15
16 PRE
C 0
PRE
C
r
PRE
C 0
r
20
15
15
lo-mid
100
100
15
15
20 freq 400
l
Q
0
bass
C 0
PRE
0
PRE
0
l
1
2 PRE
C 0
l
5
6 PRE
C 0
PRE
0
l
+6
l
11
12 PRE
C 0
PRE
C 0
l
+6
l
21
22 PRE
PRE
r
PRE
C 0
r
l
+6
PRE
0
l
r
2k +/-
freq
bell
freq400
60
160
0
l
3
4 PRE
C 0
PRE
0
l
+6
l
9
10 PRE
C 0
PRE
C 0
l
+6
l
17
18 PRE
PRE
r
PRE
C 0
r
20
15
15
lo-mid
100
100
15
15
20 freq 400
l
Q
0
bass
C 0
PRE
0
PRE
0
l
1
2 PRE
C 0
l
7
8 PRE
C 0
PRE
C 0
l
+6
l
13
14 PRE
PRE
r
PRE
C 0
+6
PRE
0
l
r
l
5
6 PRE
C 0
PRE
C 0
l
+6
l
9
10 PRE
PRE
r
l
0
PRE
0
160
2k +/-
freq
bell
freq400
60
20 freq 400
3
4 PRE
C 0
PRE
C 0
l
+6
l
7
8 PRE
PRE
r
20
15
15
lo-mid
100
100
15
15
bass
C 0
PRE
0
PRE
C 0
l
1
2 PRE
C 0
l
5
6 PRE
PRE
+6
PRE
C 0
l
r
l
3
4 PRE
PRE
0
PRE
C 0
l
20 freq 400
C 0
Q
0
bell
freq400
60
160
2k +/-
freq
100
15
15
bass
20
15
15
lo-mid
100
0
bell
freq400
60
160
Q
100
15
15
bass
20
2k +/-
freq
100
15
freq400
60
15
15
lo-mid
100
0
bell
100
l
Q
freq
0
bell
15
15
lo-mid
100
15
hi-mid
PRE
0
EQ
15
Q
0
400
8k
500
2k +/-
15
treble
+/-
EQ
freq
15
bell
Q
0
hi-mid
PRE
0
freq
+/-
pan r
SIS
stereo
lcr
image
MONO
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-25
mute
HS0001
channel
Crib sheet
Mono input plus pod
Inputs
to
+10
direct o/p
1k
20k
bell
Q
15
+60
gain
PRE
+10
direct o/p
5k
400
0
+15
O
gain
PRE
15
freq
+35
0
treble
+/-
INS
r
H4002
48V +25
+35
freq
15
l
0
8k
15
hi-mid
0
+15
0
400
8k
15
hi-mid
0
2k
r
0
8
PAD
O
1k
0
400
freq
15
+60
gain
20k
bell
Q
l
c
l
0
+/-
PRE
r
48V +25
+35
freq
15
bell
Q
8k
PRE
MIDAS
+10
5k
r
0
7
0
r
direct o/p
1k
freq
+/-
l
8
H4002
PRE
0
20k
l
c
0
+10
PRE
r
0
PAD
+15
0
c
l
O
direct o/p
1k
20k
2k
hi-mid
0
PRE
0
freq
+60
gain
r
c
l
PRE
r
0
+10
bell
Q
l
48V +25
+35
l
6
500
100
l
15
400
INS
+15
O
direct o/p
5k
treble
+/-
PRE
PRE
r
7
0
MIDAS
r
0
c
8
r
l
5
0
PRE
r
PAD
0
8k
15
hi-mid
PRE
PRE
0
15
0
20
2k
400
freq
15
hi-mid
+60
gain
l
6
0
H4002
l
48V +25
+35
freq
15
bell
Q
8k
PRE
MIDAS
PRE
r
0
c
0
1k
0
400
8k
+15
0
20k
freq
15
bell
Q
r
r
0
4
c
l
PRE
r
0
l
c
l
PRE
r
7
PAD
O
+10
5k
1k
0
400
+60
gain
direct o/p
0
20k
freq
15
bell
+15
l
PRE
r
c
8
H4002
l
48V +25
+35
PRE
+10
5k
1k
freq
PRE
MIDAS
PRE
r
r
0
3
0
5
0
c
0
direct o/p
0
20k
r
l
6
0
PRE
r
0
H4002
0
direct o/p
l
8
l
PRE
r
0
c
PAD
O
gain
l
l
c
4
c
7
c
l
l
PRE
r
PRE
r
0
c
5
0
PRE
r
0
PRE
r
48V +25
+35
0
5k
l
PAD
O
gain
l
l
PRE
r
0
c
7
0
H4002
l
l
6
c
8
PAD
+15
PRE
r
l
PRE
r
r
0
2
c
4
0
l
c
3
c
l
PRE
r
PRE
r
0
PRE
r
5
0
c
48V +25
+35
PAD
l
6
0
PRE
r
PRE
r
c
l
3
0
0
PRE
r
0
2
c
l
c
l
PRE
r
0
4
0
PRE
r
7
0
r
48V +25
1k
PRE
r
8
H4002
l
l
l
g
a
i
n
c
1
c
0
c
5
0
c
0
O
l
6
0
l
PRE
r
0
PRE
r
p
a
n
g
a
i
n
c
1
c
3
0
c
7
c
l
PRE
r
l
2
c
4
0
c
8
PRE
l
PRE
r
PRE
r
0
c
5
0
6
0
MIDAS
PRE
r
c
7
l
PRE
r
0
c
0
PRE
l
0
PRE
r
0
2
c
4
0
l
p
a
n
g
a
i
n
c
1
c
3
c
5
c
6
PRE
r
0
PRE
r
0
0
PRE
r
0
2
c
4
0
PRE
l
3
c
5
l
p
a
n
g
a
i
n
c
1
c
0
PRE
r
0
PRE
r
0
0
PRE
r
p
a
n
g
a
i
n
c
1
c
3
c
4
PRE
l
2
c
0
PRE
PRE
0
2
c
3
PRE
0
c
0
p
a
n
g
a
i
n
c
1
r
c
2
PRE
p
a
n
g
a
i
n
c
1
MIDAS
HS0001
channel
Operators Manual- Page 67
Notes:
Features and Specifications
Operators Manual- Page 68
Overview
Based on a 48 channel Frame (44 Mono + 4 Stereo channels)
Output
'Assignable buss' outputs
'Stereo aux' outputs
Total
Stereo master
Mono master
Matrix
Channel Direct Outputs
Local Outputs
2 (L/R)
1 (M)
8
44
3 (Output 'a' LCR)
3 (Ouput 'b' LCR)
4 (LR AFL)
2 (Mono PFL)
2
SOLO Outputs
Talk EXT
Input
Mono Microphone
Additional
52
1 (Talk Mic)
16 ('Stereo Aux')
24 ('Assignable Buss')
8 (Matrix)
2 (2 Track Return)
Input Channels
'Assignable buss'
'Stereo aux'
Matrx
Monitor
Master
52
24
16
8
3 (LCR)
3 (LCR)
Direct Input
Inserts
24
16
40 aux outputs
XLR Count
Input 103
Output 109
Quarter Inch Jack Count
Total
212
The 4000 has 58 long throw faders for mix control with fader position recall and virtual fader
functions.
The 4000 has a total of 89 peak program meters with 20 LED segments on all outputs and 11
LED segments on input channels.
Automation Features:
10 automute sub groups
10 VCA sub groups (which include VCA sub group muting)
Dual Redundant microcard automation control
Store up to 464 Scenes in 100 Acts*
The 4000 has a total of 1055 automated switch functions as follows:480
8
480
48
24
4
8
3
output channel VCA sub group virtual assign switches
'Stereo Aux' VCA sub group virtual assign switches
input channel mute sub group virtual assign switches
input channel mute switches
audio sub group mute switches
'Stereo Aux' mute switches
matrix mute switches
master mute switches
*Scenes may be numbered in the range 00.01 to 99.99. Memory 00.00 is reserved (thus 463 user storable scenes are
available).
Operators Manual- Page 69
Technical Specification
Input impedance
Mic
Line
2k ohms Balanced
20k ohms Balanced
Mic
Mic + Pad
Line Level Inputs
Continuously variable+15 to +60 dB
Continuously variable-10 to +35 dB
0dB
Mic
Mic + Pad
Line Level Inputs
+6dBu
+31dBu
+21dBu
Mic (gain +40dB)
Mic + Pad (gain 0dB)
Typ. 115dB
Typ. 80dB
Mic (gain +40dB)
Mic + Pad (gain 0dB)
Line
> 100dB
> 60dB
> 50dB
Frequency Response
(20Hz - 20kHz)
Mic to Mix (gain +60dB)
+0dB to -1dB
Noise
(20Hz - 20kHz)
Mic EIN ref. 150 ohm (gain +60dB)
-128dBu
Summing Noise
(48 Channels routed with faders down)
-80dB
Line to Mix Noise
(48 channels routed at 0dB, pan centre)
-75dB
Mic to Mix (gain +60dB, 0dBu ouput)
< 0.03%
Channel to Channel
Mix to Mix
Channel to Mix
Maximum Fader Attenuation
<
<
<
>
All Line Outputs
Headphones
50 ohms Balanced source to
drive > 600 ohms
To Drive > 8 ohm load
All Line Outputs
Headphones
+21dBu
+21dBu
Mic
Line
Headphones
-60dBu to +10dBu
0dBu
+10dBu
Input Gain
Maximum Input Level
CMR @ 100Hz
CMR @ 1kHz
System Noise
(20Hz - 20kHz)
Distortion @ 1kHz
Crosstalk @ 1kHz
-90dB
-90dB
-90dB
80dB
Output Impedance
Maximum Output Level
Nominal Signal Level
Operators Manual- Page 70
Technical Specification
Equaliser
Hi-Pass Slope
High Pass Frequency
12dB / Oct.
Continuously variable
-3dB Point from 20Hz to 400Hz
Treble Gain
Continuously variable-15 to +15dB
Centre detent @ 0dB
Treble Shelving Freq.
Continuously variable
-3dB point from 1kHz to 20kHz
Treble Bell Freq.
Continuously variable
Centre from 1kHz to 20kHz
Treble Bell Bandwidth
Continuously variable from 0.1 - 2.0 Octaves
Centre Detent @ 0.5 oct
Hi-Mid Gain
Continuously variable-15 to +15dB
Centre detent @ 0dB
Hi-Mid Freq.
Continuously variable
Centre from 400Hz to 8kHz
Hi-Mid Bandwidth
Continuously variable from0.2 - 2.0 Octaves
Centre Detent @ 0.5 oct.
Lo-Mid Gain
Continuously variable-15 to +15dB
Centre detent @ 0dB
Lo-Mid Freq.
Continuously variable
Centre from 100Hz to 2kHz
Lo-Mid Bandwidth
Continuously variable from 0.3 - 2.0 Octaves
Centre Detent @ 0.5 oct.
Bass Gain
Continuously variable-15 to +15dB
Centre detent @ 0dB
Bass Shelving Freq.
Continuously variable
-3dB point from 20Hz to 400Hz
Bass Bell Freq.
Continuously variable
Centre from 20Hz to 400Hz
Bass Bell Bandwidth
Continuously variable from 0.4 - 2.0 Octaves
Centre Detent @ 0.5 oct.
Operators Manual- Page 71