The GAIN control gives continuous adjustment of the input amplifier gain from + 15dB to + 60dB.

+25 +35

The DIRECT output control gives continuous adjustment of the direct output level from + 10dB to off. The output is derived from the input channel post equaliser pre fader signal. The TREBLE (dual concentric top) control gives continuous adjustment of boost and cut from + 15dB to - 15dB with a 0dB centre detent. The treble WIDTH (dual concentric bottom) control gives continuous adjustment of bandwidth from 0.1 to 2 octaves with a 0.5 octave centre detent. This only operates when the BELL switch is activated. The HI MID (dual concentric top) control gives continuous adjustment of boost and cut from + 15dB to - 15dB with a 0dB centre detent. The hi mid WIDTH (dual concentric bottom) control gives continuous adjustment of bandwidth from 0.1 to 2 octaves with a 0.5 octave centre detent. The insert PRE switch arranges the input channel signal to pass through the insert point before the equaliser when activated and after the insert point when not activated.
The hi mid FREQ control gives continuous adjustment of the frequency range that the hi mid equaliser acts on from 400Hz to 8k. The INS switch connects the input insert return signal to the input channel signal path. The EQ switch connects the equaliser into the input channel signal path.

freq INS PRE EQ

The lo mid FREQ control gives continuous adjustment of the frequency range that the lo mid equaliser acts on from 100Hz to 2k. The bass BELL switch converts the bass equaliser from traditional MIDAS shelving response to full parametric operation. The bass FREQ control gives continuous adjustment of the frequency range that the bass equaliser acts on from 20Hz to 400Hz. The HI PASS switch connects the filter in the input channel signal path before the insert point and equaliser.
The LO MID (dual concentric top) control gives continuous adjustment of boost and cut from + 15dB to - 15dB with a 0dB centre detent. The lo mid WIDTH (dual concentric bottom) control gives continuous adjustment of bandwidth from 0.1 to 2 octaves with a 0.5 octave centre detent. The BASS (dual concentric top) control gives continuous adjustment of boost and cut from + 15dB to - 15dB with a 0dB centre detent.

The TREBLE control gives continuous adjustment of left and right boost and cut from +15dB to -15dB with a 0dB centre detent.
The hi mid HI Q control changes the bandwidth of the hi mid equalisers from 1.5 octave to 0.5 octave.
The HI MID control gives continuous adjustment of left and right boost and cut from +15dB to -15dB with a 0dB centre detent.
The lo mid FREQ control gives continuous adjustment of the frequency range that the lo mid equalisers act on from 100Hz to 2k.
The LO MID control gives continuous adjustment of left and right boost and cut from +15dB to -15dB with a 0dB centre detent.
The bass BELL switch converts the bass equalisers from traditional MIDAS shelving response to bell filters with a 1.5 octave bandwidth. The bass FREQ control gives continuous adjustment of the frequency range that the bass equalisers act on from 20Hz to 400Hz. The HI PASS switch connects the filters in the input channel signal path before the insert points.
The lo mid HI Q control changes the bandwidth of the lo mid equalisers from 1.5 octave to 0.5 octave.
The BASS control gives continuous adjustment of the left and right shelving filters boost and cut from +15dB to -15dB with a 0dB centre detent.

freq400

The HI PASS filter control is continuously adjustable from 20Hz to 400Hz.
The mono AUX controls (1 to 8) give continuous adjustment of the level sent from the input channel to the aux busses. The signal is a mono sum of the left and right signals and the level adjustment is from + 6dB to off.

aux 5 ON pre

The stereo aux ON switches connect signals from the input channel to the stereo aux busses. The stereo aux PRE switches change the signal sent to the stereo aux busses from post fader to pre fader. The MONO switches change either of the stereo aux busses into two independent mono aux busses with the level controls feeding a mono sum of the left and right input signals.

l-level

r-level
The stereo aux LEVEL controls (9 to 12) give continuous adjustment of the level sent from the input channel to the stereo aux busses. The first control routes left channel signal to the left aux bus and the second control routes right channel signal to the right aux bus. The level adjustment is from + 6dB to off.

The INS switches connect the aux insert return signals to the aux mixes.
The TALK switches connect the aux mixes to the MONITOR module. When the TALK INTERNAL or GENERATOR INTERNAL are active on the MONITOR module the oscillator, pink noise and talk mic can be routed into the aux mixes. The aux MUTE switches mute the aux signals at all points after the insert send. The switches can be controlled from snapshot automation.
The mute SAFE switches remove the aux mutes from snapshot automation. The SPLIT switch changes the aux AFL solos from mono to stereo.
The SOLO switches send aux signals to the PFL mono and AFL stereo busses. If a SOLO 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, i.e. to solo both sides of a stereo mix press both solo switches at the same time. Alternatively the SOLO ADD MODE switch on the MONITOR module can be used to defeat the auto cancelling and allow multiple channel monitoring. In this mode input channel solos have priority over the aux solos and will temporarily override them. When the input solos are cancelled the aux solos will be active again.
The AUX faders give continuous adjustment of the aux output levels from + 10dB to off.
+21+ +18+ +15+ +12+ +9+ +6+ +3+ 0 -3-6-9-12-15-18-21-24-27-30-33-36+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
MIDAS HS0021 Masters Module
PRE insert MUTE SOLO left sum right left sum right left sum right left sum right left sum right left sum right left sum right left sum right
mono PRE fader PRE insert

mono (centre)

TALK INST SAFE
ST VCA link to to mono mono

masters

MIDAS HS0021
The METERS monitor the peak signal levels of the three master outputs (post fader).
The SOLO IN PLACE switch sets the console to solo in place mode. In this mode any input solo that is pressed activates a mute of all the other channels. The mute safe switches on the input channels can be used to protect channels from this function if desired. The DIRECT input controls give continuous adjustment of the direct input levels from + 10dB to off. The direct signals are summed into the master left and right signals and can be used as effects returns etc. or for console bus linking. The master mono also has a direct input XLR on the rear of the console for which is intended for console linking only. The direct PRE switches move the point at which the direct signals are summed into the masters. The default is post insert but when the PRE switches are active the signals are summed at the master mix busses. The direct MUTE switches mute the master direct inputs at all points.

The direct SOLO switches send direct input to the PFL mono and AFL stereo busses. If a SOLO 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 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, i.e. to solo both sides of a stereo mix press both solo switches at the same time. Alternatively the SOLO ADD MODE switch on the MONITOR module can be used to defeat the auto cancelling and allow multiple channel monitoring. In this mode input channel solos have priority over all other solos and will temporarily override them.
left sum right left sum right left sum right
The matrix STEREO switches select the source for the lower matrix mix controls as either left channel, right channel or a sum of both.
left sum right left sum right left sum right left sum right left sum
The matrix MIX controls (1 to 8) give continuous adjustment of the master levels sent to the matrix mixes from + 6dB to off. The top control adjusts the feed from the mono master and the lower control adjusts the feed from the stereo masters.
The PRE fader switches change the signals sent to the matrix mixes from post group fader to pre group fader. The MONO level control gives continuous adjustment of the mono master output level from +10dB to off. The mono TALK switch connect the mono master to the MONITOR module. When the TALK INTERNAL or GENERATOR INTERNAL are active on the MONITOR module the oscillator, pink noise and talk mic can be routed to the mono master outputs. The mono INST switch connects the mono insert return signals to the mono master signals.

right mono PRE fader

PRE insert
The PRE insert switches change the signals sent to the matrix mixes from post group insert to pre group insert and override the pre fader switches. It is important to note that pre insert matrix sends are also pre the master mutes.

TALK INST

The MUTE switch mutes the mono master signals at all points after the insert send. The switch can be controlled from snapshot automation.

mute balance SAFE

The mono mute SAFE removes the mono mute from snapshot automation.
The TALK switches connect the stereo masters to the MONITOR module. When the TALK INTERNAL or GENERATOR INTERNAL are active on the MONITOR module the oscillator, pink noise and talk mic can be routed to the stereo masters.

stereo source

The stereo output "b" C/O switch disconnects the stereo local monitor outputs from the main "a" outputs and re-routes them to the secondary "b" outputs. The PHASE switch reverses the phase of the left hand monitor signal. When the left/right reverse is ON the left hand monitor signals are routed onto the right channel output speakers and the right hand monitor signal are routed onto the left channel output speakers. The LEFT switch routes left hand monitor signal to both the left and right local monitor speaker outputs. The left MUTE switch controls the mute function on the left hand side of the stereo local monitor speaker outputs. The SOLO PFL switch sends the mono PFL solo bus signals to the headphones and local monitor outputs in place of the stereo AFL solo bus signals. The SOLO ON / CLEAR switch and indicator has two functions; it illuminates when any solo switch is active and when pressed it clears any active solo switches. The MONITOR fader gives continuous adjustment of all three local monitor output levels from + 10dB to off.
stereo output C/O output b
The MONO sum switch adds the left and right monitor signals with a 4.5dB summing loss. The -20 PAD switch acts on all three local monitor outputs causing them to dim by 20dB. This function is also activated whenever the talk system is in use to prevent howl round. The RIGHT switch routes right hand monitor signal to both the left and right local monitor speaker outputs. The right MUTE switch controls the mute function on the right hand side of the stereo local monitor speaker outputs. The SOLO ADD MODE switch allows multiple channel access to the solo busses. When the solo add mode is off the action of pressing a solo switch will cancel any previously active solo. Multiple solos such as stereo left and right signals can be monitored in this mode of operation as long as the solo switches are pressed at approximately the same time. When the solo add mode is on the auto cancelling is defeated which allows multiple channel or output soloing. In this mode input solos have priority over output solos and VCA solos and will temporarily override them. When the input solo is cancelled the output solos or VCA solos will return.

SOLO add mode SOLO

pre fade (pfl)

MIDAS HS0031

MIDAS HS0041 Matrix Module

masters control

VCA TALK INS VCA TALK INS

HS0041

The METERS monitor the peak signal levels of the matrix outputs (post fader).
The VCA switches assign the matrix outputs to VCA control from the MASTER module fader.

VCA TALK

VCA TALK INS
The INS switches connect the matrix insert return signals to the matrix mixes.
The TALK switches connect the matrix mixes to the MONITOR module. When the TALK INTERNAL or GENERATOR INTERNAL are active on the MONITOR module the oscillator, pink noise and talk mic can be routed into the matrix mixes. The matrix MUTE switches mute the matrix signals at all points after the insert send. The switches can be controlled from snapshot automation.

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.
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.
As you can see from the previous two pages there are many different ways to control faders within the console. There is no right or wrong way and the best method will depend largely on the specific application and the user preference. It is quite likely that the method chosen will change with time as the user gains more confidence in the system the performance becomes more regular and rehearsed. The following recommendations are intended as a guide only:1. REAL FADER STORE AND RECALL MODES Used for initial set up 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. 2. 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 add 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 stored in the automation memory. 3. 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 adjustments that are made are active for all subsequent scenes until such time as they are removed by the operator. Overstoring is not possible.

Storing a Scene Cont. Selecting a memory number and storing the memory: a/ 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. b/ 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. c/ To store a scene press STORE in the scene is new then it will just be stored and the screen will display done. 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): a/ Pressing the MIDI button places you in the MIDI menu. b/ 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. c/ Using the UP and DOWN buttons scroll through the menu until the screen reads PROG. Press the CONFIRM button d/ The window will read CH00, using the UP and DOWN keys a channel between 01 to 16 can be selected. Press CONFIRM. e/ The window 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. f/ 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: a/ Once a scene has been stored press the STORE button so that the display reads OVER/STOR. b/ Press the UP key until the display reads PRCH then press CONFIRM. c/ 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: a/ 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. b/ Press the INSERT switch. The screen will then display 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: a/ Recall the scene you wish to copy by selecting the scene number and pressing the NOW button. b/ Press the COPY button. c/ 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. d/ 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: a/ Recall the scene you wish to copy by selecting the scene number and pressing the NOW button. b/ Press the STORE button, and using the UP and DOWN buttons scroll through the display until XFADE is shown, press CONFIRM. c/ The current cross fade speed stored with the screen will be displayed. Using the UP and DOWN buttons select the required cross fade speed. d/ 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 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 effecting your mix select the scene number on the display using the ACT/SCENE, UP and DOWN buttons. Once the desired number is displayed using 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: a/ Stepping through existing scenes using the LAST and NEXT buttons. This steps through the scenes in numerical order. b/ 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. c/ 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: a/ Recall the scene you wish to assign to a FAST SCENE KEY. b/ 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: a/ Press and hold down the FAST KEY you want to delete. b/ 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.

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 pre programmed 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. Example: To programme a change to ACT 45, SCENE 02, - set the value to 4502
MIDI NOTE to numerical value lookup table OCTAVE -2
c 0 c# 1 d 2 d# 3 e 4 f 5 f# 6 g 7 g# 8 a 9 a# 10 b 11 Midi Sysex Dumps:
To store the recall a memory between the console and a midi device or the windows software available from Midas ( such as an MDF3 midi Filer) 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 of communication either MIDI (through the midi port rear of the console or via RS-232 ( NB software will shortly be available to support this ). 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 H2000 To A File 1/ Connect the null modem cable. 2/ 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. 3/ Select the 'SYSTEM' menu on the H2000 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 H2000 will then be down loaded into the computer. When the data transfer is complete, the H2000 will ask you to confirm the STORE OK, press 'CONFIRM'. 4/ Select the Show menu in Hsutil and click on Save To File. 5/ A prompt will appear asking for a show a name. Give the file type as *.shw. 6/ Click on OK and the file will be saved. Down Loading A Show Into The H2000 1/ Connect the null modem cable. 2/ 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. 3/ 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. 3/ Select the SYSTEM menu on the H2000, and scroll to 'DATA' then press 'CONFIRM'. Scroll to 'LOAD' and press 'CONFIRM'. Now scroll to RS-232 and press 'CONFIRM'. 4/ Click on the 'Upload' button. 5/ When the file is downloaded successfully, the H2000 will prompt you to press 'CONFIRM'. The show memory from the computer will now be loaded into the H2000.

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 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) 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 conformation 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 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: a/ Press the SYSTEM menu and using the UP and DOWN keys scroll to CONS then press CONFIRM. b/ Using the UP and DOWN keys select either Master or Slave then Press CONFIRM. c/ 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 2 consoles in the same system must have the same ID. d/ 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.

Cable Specification

H1000 / H2000 / H3000
Qty Manufacturers Reference KT Part No. CON31-5MXB CON31-5FXB Neutrik: NC5MXB Neutrik: NC5FXB Farnell: 152-133

Cable Core Cable Colour

NA BLUE GREEN RED NA TIN White No Connection CABLE CORE 1 CABLE CORE 3 CABLE CORE 2 No Connection Braid Screen Cable Core 4
CAN CABLE HS-CAN-8-01 Page 1of 1.

ACBLX-1606-1

Item 8m

Signal

NA CAN_L 0V CAN CAN_H NA CHASSIS NA
Description Connectors 5 Pin XLR NC5MXB X-Series 5 Pin XLR NC5FXB X-Series Cable Cardinal 48400 Starquad 4 Core Cable

Connector Pins

Pin 1 PIN2 PIN3 PIN4 Pin5 CASE No Connection

Midas Can Bus Cable

Male XLR
Alison Ashmore Drawn: Checked: Approved: From: N/A Connector (n/a )

Female XLR

Drawing Number

Issue 1 2

01-12-99
Notes/ECN Released to Production

AS1606-1

To: N/A Connector (n/a)

HERITAGE 2000

Back panel
Cover Release Catch Location

MATRIX GROUPS

Send Send Send

Send Send

Send Send Send Send Send

Return Return Return

Return
Return Return Return Return Return Return Return Return

Send Right Send Send

Return Microphone Input Return Return Microphone Input Microphone Input Microphone Input Microphone Input Microphone Input Microphone Input

Microphone Left Input

Microphone Input
MATRIX IN AUX IN GROUPS IN 7 5
Microphone Right Input IN

Microphone Right Input

Direct Output Direct Output

Direct Output

Direct Output Direct Output Direct Output
MATRIX OUT AUX OUT GROUPS OUT 7 5

MATRIX IN AUX IN 6

GROUPS IN 2

MONITOR

MASTER M

SOLO R

SOLO L

EXT 2 TRACK

TALK EXT

CUSTOMER OPTIONS

RETURN

MIDAS CAN BUS

MATRIX OUT AUX OUT GROUPS OUT 4 2

RS-232 MIDI

MASTER

LOCAL M

B SPEAKER M

POWER SUPPLY

Rear Panel Left View

Rear Panel Centre View

Rear Panel Right View
Heritage 2000 Frame Measurements

41.5 1054mm

14.29 363mm

Configuration data

24 channel 32 channel 40 channel 48 channel 56 channel 64 channel 16 extender 20 mono/4 stereo 28 mono/4 stereo 36 mono/4 stereo 44 mono/4 stereo 52 mono/4 stereo 60 mono/4 stereo user specified 133kg 293.2lbs 155kg 341.7lbs 173kg 381.4lbs 200kg 440.9lbs 231kg 509.3lbs 245kg 540lbs 64kg 141.1lbs 1054mm x 1441mm 1054mm x 1985mm 1054mm x 2529mm 1054mm x 657mm 41.49 x 59.73 41.49 x 78.15 41.49 x 99.57 41.49 x 25.88

1054mm x 1713mm 41.49 x 67.44 1054mm x 2257mm 41.49 x 88.86 1054mm x 2772mm 41.49 x 109.1
These weights are approximate and taken out of flight case. Also available as a bob-tail.

7.76 197mm

HI-PASS FILTER PHASE REVERSE

insert pre eq

20 freq 160
SIS INS + INSERT POINT + SEND RETURN _ mute

PHANTOM

TRANSFORMER BALANCING OPTION

LEFT BUS VCA

MIC/LINE INPUT PAD -
+18 +15 +12 +9 +6 +-3 -6 -9 -6 0.0.0.0.3

MONO BUS

RIGHT BUS
TEST INPUT (SERVICE USE ONLY)

PFL BUS

LEFT SOLO BUS

RIGHT SOLO BUS

PAN FOUR BAND FULLY PARAMETRIC EQUALISER width width +/6 0.3 0

1 width

2 width

0.2 0.1 2

GROUP BUS 1

METERS PRE

20 400

bass lo-mid

GROUP BUS 2 (ONLY 2 OF 12 SHOWN FOR CLARITY)

400 freq8k 1k freq 20k

bell 100 freq 2k

aux MONO

AUX BUS 1 (ONLY 1 OF 8 SHOWN FOR CLARITY)

NOISE REFERENCE

level +6
AUX BUS 9 (ONLY 2 OF 4 SHOWN FOR CLARITY) AUX BUS 10
SET SET SET SET 10 safe automation
SET LEDS MAY FUNCTION IN ANY ONE OF THREE WAYS AS SHOWN. FUNCTION IS DEPENDANT ON ASSIGN MASTER SWITCHES. 2

safe vca FDR

VCA VOLTAGE

MUTE SAFE safe mute MUTE

INTERNAL PRE/POST OPTIONS
SIGNAL PATH KEY = ANALOGUE SIGNALS

= D.C. SIGNALS

SOLO CONTROL

SCENE PREVIEW

= AUTOMATION SIGNALS
FADER VCA 10 MUTE GROUP POSITION INDICATION GROUP

CAN BUS

XL2000 INPUT FADER MODULE BLOCK DIAGRAM
HERITAGE 2000 INPUT MODULE BLOCK DIAGRAM ISSUE 1 DATE 14 - 8 - 02
MATRIX BUS (1 OF 8) MONO TO MATRIX 2- 8

MONO MASTER BUS MONO ST

HERITAGE 2000 GROUP MODULE BLOCK DIAGRAM ISSUE A DATE 1 - 5 - 98
MATRIX SENDS (1PAIR OF8) PRE insert PRE fader PRE insert PRE fader

MASTER BUS LEFT

METERS PRE TALK SELECTED TALK ALL PRE insert + INSERT POINT SEND RETURN INST + INSERT POINT TALK SEND RETURN SAFE PRE insert TALK SAFE INST
+21+ +18+ +15+ +12+ +9+ +6+ +3+ 0 -3-6-9-12-15-18-21-24-27-30-33-36l

direct input

MASTER BUS RIGHT + LEFT O/P -

LEFT DIRECT

LEFT BUS

NOISE BUS

RIGHT O/P -

RIGHT DIRECT

SOLO LOGIC SOLO LEFT SOLO RIGHT PFL

PREVIEW MUTE AUTOMATION

VCA 10
HERITAGE 2000 MATRIX MODULE BLOCK DIAGRAM ISSUE A DATE 1 - 5 - 98
METERS PRE TALK SELECTED TALK ALL MATRIX 1 INJECT MATRIX1 BUS MATRIX REFERENCE BUS MATRIX 2 BUS MATRIX 2 INJECT TALK INST + INSERT POINT -

+ INSERT POINT SEND INST

MATRIX 1 OUTPUT

SAFE MUTE

MATRIX 2 OUTPUT
SOLO split PREVIEW MUTE AUTOMATION SOLO LEFT SOLO RIGHT
MASTERS VCA VCA VCA FROM MASTERS

SOLO LOGIC SOLO

MATRIX 5 INJECT MATRIX 5 BUS MATRIX REFERENCE BUS MATRIX 6 BUS MATRIX 6 INJECT
+ INSERT POINT SEND TALK INST + INSERT POINT INST

MATRIX 5 OUTPUT

SAFE MUTE + MATRIX 6 OUTPUT

VCA VCA FROM MASTERS

HERITAGE 2000 AUX MODULE BLOCK DIAGRAM ISSUE A DATE 1 - 5 - 98
METERS PRE TALK SELECTED TALK ALL AUX 1 INJECT AUX1 BUS AUX REFERENCE BUS AUX 2 BUS AUX 2 INJECT TALK INST + INSERT POINT -

AUX 1 OUTPUT

AUX 2 OUTPUT
SOLO split PREVIEW SOLO LEFT MUTE AUTOMATION SOLO RIGHT
VCA 9 VCA 10 VCA VCA VCA 9 VCA 10

SOLO LOGIC

AUX 7 INJECT AUX 7 BUS AUX REFERENCE BUS AUX 8 BUS AUX 8 INJECT

AUX 7 OUTPUT

SAFE MUTE + AUX 8 OUTPUT

VCA VCA VCA

TO MATRIX 2- 8

oo +10

left sum right mono MATRIX SEND (1 OF 8)

MATRIX BUS (1 OF 8)

HERITAGE 2000 MASTER MODULE BLOCK DIAGRAM ISSUE A DATE 30 - 4 - 98

PRE insert PRE fader

MASTERS SUM RIGHT MASTERS SUM LEFT MASTERS SUM MONO MONO VCA O/P
METERS PRE TALK SELECTED TALK INST MUTE + INSERT POINT SEND RETURN ST SAFE

TALK ALL

MONO INJECT

+ _ to mono

MASTER O/P MONO
VCA link to mono PRE insert + INSERT POINT SOLO SEND RETURN INST + INSERT POINT TALK SEND PRE insert MUTE TALK INST

direct input -3dB

MASTER O/P LEFT

MASTER VCA O/P +

l r balance

RETURN SAFE

MASTER O/P RIGHT
AUTOMATION SIP O/P SOLO LOGIC SOLO LEFT SOLO RIGHT PFL

PREVIEW

MUTE AUTOMATION
TALK input A/B SPEAKERS SOLO to mono C/O MUTE + INSERT POINT

TALK EXTERNAL

(HALF NORMALISED)
+ SEND RETURN A/B SPEAKERS -

MONO masters

+ _ VCA

MONO SUM

MONO O/P LEFT A' MONO O/P LEFT 'B'

COMMS LEVEL

O MONO L SOLO to stereo + + MUTE
REVERSE PHASE MONO L TO BOTH

SOLO BUS LEFT

(HALF NORMALISED) INSERT POINT SEND RETURN -
C/O SOLO O/P LEFT A' SOLO O/P LEFT 'B'

SOLO INJECT LEFT

INSERT POINT

SOLO BUS RIGHT +

SOLO INJECT RIGHT

SEND RETURN

PAD -20dB L/R REVERSE R TO BOTH ON R
SOLO O/P RIGHT A' SOLO O/P RIGHT 'B'

-3dB 10

MONITOR FADER 10

hi-mid

100 2k +/0 15

lo-mid

100 15

20 freq 400 60

20 freq 400 C 0 0

pan r SIS

+18 +15 +12 +9 +6 +-3 -6 -9 -25

stereo

MIDAS HS0001
The 48V switch connects 48 volt phantom power to the input connector which is suitable for a condenser microphone or DI box. The PAD switch gives 25dB of attenuation to the input signal which will allow 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. The PHASE switch activates a 180 degrees phase change within the input amplifier. The PRE switch re configures the direct output to derive signal from the input channel pre insert and equaliser. It is important to note that pre insert direct outputs are also pre mute. The treble FREQ control gives continuous adjustment of the frequency range that the treble equaliser acts on from 1k to 20k. The treble BELL switch converts the treble equaliser from traditional MIDAS shelving response to full parametric operation.
The GAIN control gives continuous adjustment of the input amplifier gain from + 15dB to + 60dB.

+25 +35

The DIRECT output control gives continuous adjustment of the direct output level from + 10dB to off. The output is derived from the input channel post equaliser pre fader signal. The TREBLE (dual concentric top) control gives continuous adjustment of boost and cut from + 15dB to - 15dB with a 0dB centre detent. The treble WIDTH (dual concentric bottom) control gives continuous adjustment of bandwidth from 0.1 to 2 octaves with a 0.5 octave centre detent. This only operates when the BELL switch is activated. The HI MID (dual concentric top) control gives continuous adjustment of boost and cut from + 15dB to - 15dB with a 0dB centre detent. The hi mid WIDTH (dual concentric bottom) control gives continuous adjustment of bandwidth from 0.1 to 2 octaves with a 0.5 octave centre detent. The insert PRE switch arranges the input channel signal to pass through the insert point before the equaliser when activated and after the insert point when not activated.
The hi mid FREQ control gives continuous adjustment of the frequency range that the hi mid equaliser acts on from 400Hz to 8k. The INS switch connects the input insert return signal to the input channel signal path. The EQ switch connects the equaliser into the input channel signal path.

freq INS PRE EQ

The hi mid HI Q control changes the bandwidth of the hi mid equalisers from 1.5 octave to 0.5 octave.
The HI MID control gives continuous adjustment of left and right boost and cut from +15dB to -15dB with a 0dB centre detent.
The lo mid FREQ control gives continuous adjustment of the frequency range that the lo mid equalisers act on from 100Hz to 2k.
The LO MID control gives continuous adjustment of left and right boost and cut from +15dB to -15dB with a 0dB centre detent.

2k 0 15

freq hi Q
The bass BELL switch converts the bass equalisers from traditional MIDAS shelving response to bell filters with a 1.5 octave bandwidth. The bass FREQ control gives continuous adjustment of the frequency range that the bass equalisers act on from 20Hz to 400Hz. The HI PASS switch connects the filters in the input channel signal path before the insert points.
The lo mid HI Q control changes the bandwidth of the lo mid equalisers from 1.5 octave to 0.5 octave.
The BASS control gives continuous adjustment of the left and right shelving filters boost and cut from +15dB to -15dB with a 0dB centre detent.

freq400

The HI PASS filter control is continuously adjustable from 20Hz to 400Hz.
The configurable group MIX controls (1 to 24) have two functions:i. They operate as bus assign ON/OFF switches by way of a non latching push/push action with LED status indication. ii. They adjust the levels sent from the input channel to the group busses when in one of the AUX bus modes. The group mix busses can be configured in three modes:- MONO AUX, STEREO AUX or POST PAN GROUP. This is controlled on a bus by bus basis by the global BUS MODE switches on the GROUP modules. When configured as mono auxes the left and right controls give independent level adjustments of the levels sent from a mono sum of the channels left and right sides. The adjustment is from + 6dB to off. When configured as stereo auxes the left controls give level adjustment of the left channel signal levels and the right controls give level adjustment of the right channel signal levels. When configured as stereo groups the level control functions are disabled such that any assigned busses are sent at unity gain from the channel post fader, post pan signals.
The aux PRE switches only operate when in one of the AUX bus modes; they change the signals sent to the group busses from post fader to pre fader.

The global BUS MODE switches configure input module MIX controls to act as either mono aux (level and level), stereo aux (level and pan) or as audio sub groups (post fader and main pan). This makes the console extremely flexible and quick to reconfigure. The DIRECT input controls give continuous adjustment of the direct input levels from + 10dB to off. The direct signals are summed into the sub group signals and can be used as effects returns etc. or for console bus linking. The direct PRE switches move the point at which the direct signals are summed into the sub groups. The default is post insert but when the PRE switches are active the signals are summed at the sub group mix busses. The direct MUTE switches mute the sub group direct inputs at all points.
The matrix MIX controls (1 to 8) give continuous adjustment of the sub group levels sent to the matrix mixes from + 6dB to off.
The PRE insert switches change the signals sent to the matrix mixes from post group insert to pre group insert and override the pre fader switches. It is important to note that pre insert matrix sends are also pre the group mutes.
The PRE fader switches change the signals sent to the matrix mixes from post group fader to pre group fader.

PRE fader PRE insert

The VCA switches assign the audio sub groups to VCA control from VCA masters 9 and 10.

ST ST MONO

The MONO switches connect the post fader sub group signals to the mono master bus.
The ST switches connect the post fader sub group signals to the stereo master stereo busses via the pan controls.
The TALK switches connect the sub groups to the MONITOR module. When the TALK INTERNAL or GENERATOR INTERNAL are active on the MONITOR module the oscillator, pink noise and talk mic can be routed to the sub groups. The MUTE switches mute the sub group signals at all points after the insert send. The switches can be controlled from snapshot automation.
The group PAN controls place the sub groups within the stereo master mix and have a constant power law i.e. -3dB at the centre position.
The INS switches connect the group insert return signals to the sub group signals.

SAFE SAFE

The mute SAFE removes the channel mute from snapshot automation.
The SPLIT switch changes the sub group AFL solos from mono to stereo.

SOLO split

The GROUP FADERS give continuous adjustment of the sub group output levels from + 10dB to off.
The SOLO switches send sub group signals to the PFL mono and AFL stereo busses. If a SOLO 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, i.e. to solo both sides of a stereo mix press both solo switches at the same time. Alternatively the SOLO ADD MODE switch on the MONITOR module can be used to defeat the auto cancelling and allow multiple channel monitoring. In this mode input channel solos have priority over the sub group solos and will temporarily override them. When the input solos are cancelled the mix group solos will be active again. Sub group solos can also be temporarily overridden by activating the corresponding direct input solos.

left sum right left sum right left sum right
The matrix STEREO switches select the source for the lower matrix mix controls as either left channel, right channel or a sum of both.
left sum right left sum right left sum right left sum right left sum
The matrix MIX controls (1 to 8) give continuous adjustment of the master levels sent to the matrix mixes from + 6dB to off. The top control adjusts the feed from the mono master and the lower control adjusts the feed from the stereo masters.
The PRE fader switches change the signals sent to the matrix mixes from post group fader to pre group fader. The MONO level control gives continuous adjustment of the mono master output level from +10dB to off. The mono TALK switch connect the mono master to the MONITOR module. When the TALK INTERNAL or GENERATOR INTERNAL are active on the MONITOR module the oscillator, pink noise and talk mic can be routed to the mono master outputs. The mono INST switch connects the mono insert return signals to the mono master signals.

right mono PRE fader

PRE insert
The PRE insert switches change the signals sent to the matrix mixes from post group insert to pre group insert and override the pre fader switches. It is important to note that pre insert matrix sends are also pre the master mutes.
The MUTE switch mutes the mono master signals at all points after the insert send. The switch can be controlled from snapshot automation.

mute balance SAFE

The mono mute SAFE removes the mono mute from snapshot automation.
The TALK switches connect the stereo masters to the MONITOR module. When the TALK INTERNAL or GENERATOR INTERNAL are active on the MONITOR module the oscillator, pink noise and talk mic can be routed to the stereo masters.
The BALANCE (pan) control gives continuous and reciprocal adjustment of the stereo left and right signal levels by + 3dB to off. This allows fine adjustment of the left, right power levels and imaging.
The INS switches connect the master insert return signals to the stereo master signals. The MUTE switches mute the stereo master signals at all points after the insert send. The switches can be controlled from snapshot automation.
The mute SAFE switches remove the stereo master mutes from snapshot automation.

to all internal

The TALK XLR socket accepts balanced 150W microphone signals.
The MIC GAIN preset gives continuous adjustment of the microphone amplifier gain from +20dB to +60dB and operates in conjunction with a peak limiter which is factory set to +10dBu. The TALK TO INTERNAL switch connects the talk mic output to the console's internal talk system and at the same time dims all the local outputs by 20dB to prevent howl round.
The talk LEVEL gives continuous adjustment of the post limiter signals from +10dB to off. The TALK TO EXTERNAL switch connects the talk mic output to the talk external output XLR. The PRE meter change over switch changes the operation of every meter on the console (except the monitor meters). The "normal" meter operation is to monitor pre fader on input channels and post fader on all other signals. When the pre meter change over is active the meters change to monitor input amplifiers or bus amplifiers (as appropriate) on all signals. The talk LEVEL gives continuous adjustment of the external talk input from +10dB to off. The talk LEVEL gives continuous adjustment of the external talk input from +10dB to off.
The TALK input routes the talk external input to the mono local monitor output. The MONO masters switch routes the post fader mono master mix to the mono local monitor output. The SOLO switch routes solo signals to the mono local monitor output when ever a solo is active on the console. This overrides any signals sent from the mono master but does not override talk inputs. The mono output "b" C/O switch disconnects the mono local monitor output from the main "a" output and re-routes it to the secondary "b" output.
TALK input MONO masters SOLO
The mono output MUTE switch mutes the mono local monitor output.
The PHONES level control gives continuous adjustment of the headphone level from + 10dB to off.
The phones MUTE switch mutes the headphone outputs. The ST master switch routes the post fader stereo master mix to the stereo local monitor outputs. The MONO master switch routes the post fader mono master mix to the stereo local monitor outputs.

phones

The EXT switch routes the stereo external input (2 track return etc.) to the stereo local monitor outputs. The SOLO switch routes solo signals to the stereo local monitor outputs when ever a solo is active on the console. This overrides any signals sent from the stereo master, mono master or external input.

SOLO add mode SOLO

pre fade (pfl)

HS0031

MIDAS HS0041 Matrix Module

masters control

VCA TALK INS VCA TALK INS

SAFE SOLO SAFE

MIDAS HS0041
The METERS monitor the peak signal levels of the matrix outputs (post fader).
The VCA switches assign the matrix outputs to VCA control from the MASTER module fader.

VCA TALK

VCA TALK INS
The INS switches connect the matrix insert return signals to the matrix mixes.
The TALK switches connect the matrix mixes to the MONITOR module. When the TALK INTERNAL or GENERATOR INTERNAL are active on the MONITOR module the oscillator, pink noise and talk mic can be routed into the matrix mixes. The matrix MUTE switches mute the matrix signals at all points after the insert send. The switches can be controlled from snapshot automation.
The mute SAFE switches remove the matrix mutes from snapshot automation. The SPLIT switch changes the matrix AFL solos from mono to stereo.

SAFE SOLO

The SOLO switches send matrix signals to the PFL mono and AFL stereo busses. If a SOLO 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, i.e. to solo both sides of a stereo mix press both solo switches at the same time. Alternatively the SOLO ADD MODE switch on the MONITOR module can be used to defeat the auto cancelling and allow multiple channel monitoring. In this mode input channel solos have priority over the matrix solos and will temporarily override them. When the input solos are cancelled the matrix solos will be active again.
The MATRIX faders give continuous adjustment of the matrix output levels from + 10dB to off.

Automation

assign keys mode switches

a u t o

f a s t s c e n e

automation system

store midi system

insert

delete

cancel

confirm

act/scene c/o down

virtual fader recall mode

Assignment Control

The LOCK switch will toggle state each time it is pressed. When the LOCK switch is illuminated all assignment changes are disabled and virtual fader operation is locked (either on or off). The console will automatically revert to a locked state if no assignment controls are operated within a 90 second period. The VCA, MUTE and FADER switches set the current assignment/display mode for the fader tray LED's. As a default these switches interlock so that only one mode can be viewed at a time. However if Mute and VCA are pressed down for more than 0.5 second the interlock is removed. This is used for clear mode" (see below). If the console is in VCA or MUTE mode, the ASSIGN KEYS can be used to change settings for input VCA assignment or automute assignment in conjunction with the SET switch on each channel as follows:To enter ASSIGNMENT mode first press the LOCK switch (to un-lock the assignment system). Press the ASSIGN KEYS to set up the required group number or numbers; a long press will allow multiple assignment where as a short press will clear the previous settings. Press the SET switch on the input channels to which the assignment is required. Again there are two ways to do this; a long press will remove all prior settings on the input and replace them with the new assignment; a short press will toggle the state of any switches within the assignment set up. i.e. if assign keys one and two are on. Pressing the input SET switch will cause that channel to toggle the number one and two assignments for the channel either from off to on or visa versa. To enter CLEAR mode set all the assign keys to off. To switch the assign keys off simply press the ones that are illuminated which will toggle them off. In this mode operating an input SET switch with a long press will clear all the VCA and /or automute assignments. The mode switches can be used to select which parts are cleared, i.e. press VCA mode to clear VCA's, press MUTE mode to clear automutes, or use a long press to activate both VCA and MUTE mode for simultaneous clearing.

assign keys

mode switches
The VIRTUAL FADER switch enables the operation of the virtual fader system. The virtual fader system can only be active if the console is unlocked to RECALL, STORE or higher.
The A/B switch selects which micro card is controlling the console assignment and automation systems. This is a major function! At the point of change over there is no defined control of the faders within the fader tray and output levels will change. The A/B switch should there for be treated with the same cautions used at console power up/down. For reliability the assignment and automation systems are 100% duplicated. The console can operate on either of the systems. All snap shots are stored on BOTH of the systems. The LED's indicate the status of each system in the following manner:LED green indicates which system is active LED off indicates which system is inactive LED red indicates that a system is damaged or not responding and that a service engineer must be called as soon as possible.
Snapshot Automation System
Snapshots can be stored in the automation system as ACTs or SCENEs. There is no difference between an ACT or a SCENE apart from the numbering; scenes are just sub sets within acts.
The AUTO MUTE GROUP MASTER switches (1 to 10) activate the mute circuits on any, mute group assigned, input channels.
The FAST SCENE keys provide the operator with ten quick entry points within the ACT/SCENE sequence. i.e. If FAST SCENE key one is associated with ACT.SCENE 10.02, pressing it will recall ACT.SCENE 10.02. Fast scenes are generated by using the COPY switch as described on the next page.
If dot is lit the scene number displayed is the scene currently recalled. If dot is lit the scene number displayed has scene information stored in it. The ACT/SCENE C/O switch is used to select the acts or scenes in conjunction with the UP/DOWN switches. An appropriate indication, "ACT" or "SCENE", will be illuminated to indicate this status.

m u t e s

The UP/DOWN switches allow the operator to scroll through act/scene numbers and navigate through menus.
LAST recalls the snap shot numerically preceding the snap shot that is currently recalled/stored.
The LAST, NOW and NEXT switches recall snapshots to the console surface. NEXT recalls the snapshot numerically proceeding the snapshot that is currently recalled/stored.
NOW recalls the snap shot that is currently indicated on the numeric display.
The SYSTEM switch gives the operator access to the system menu. Navigation of the menu is achieved by using the UP/DOWN switches to select an entry and then pressing CONFIRM to execute the selected function or sub menu. To exit a menu or sub menu press CANCEL.

The system menu contains LOCK which defines the level of console operation.
These levels are: TOTL All automation and assignment functions are disabled RCAL Only recall and assignment functions are available. STOR Scene storage/editing, recall and assignment are operational SYSTAll functions are available. Operating the STORE key will store the current console assignments and settings to the snap shot being displayed on the numeric display. The MIDI key allows the operator to edit the snap shot MIDI information. On entering this mode the operator will be presented with a menu of the four MIDI messages that are stored within each snap shot, its operation is similar to the system menu.
The COPY, DELETE and INSERT keys allow the operator to edit the snapshot sequence in the following manner. INSERT. Pressing this key will allow the operator to insert a snapshot at the number on the numeric display. The scene that was originally at the number and all con-current scenes will be re-numbered by adding one to their scene numbers. COPY. This will copy the snapshot currently displayed on the numeric display to a temporary memory location. This can then be stored or inserted to a new scene number in the normal fashion. When in copy mode a fast scene number can also be assigned to the scene by simply pressing the desired fast scene switch. DELETE will erase the snapshot that is currently being displayed on the numeric display from the automation memory. The CHECK switch provides a preview of any snapshot on the console surface WITHOUT recalling the ACTUAL setting to the console surface (mutes are displayed on the safe switches so that current mute status is always present and accurate). Whist in check mode the ACT/ SCENE C/O, and UP/DOWN switches can be used to step through the snapshots.

Fader Automation System

The fader automation operates in two main ways:REAL FADER MODE and VIRTUAL FADER MODE. 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 the real faders by prompting the operator using the 11 LED's next to each fader. If the console is un-locked to RECALL level or higher the operator can view the fader positions required for a given snapshot by recalling the scene and pressing the FADER MODE switch. The LED's will flash to display the approximate position that the fader should be set to and they will extinguish when the fader has been moved to the correct position. When the faders are close to the correct position the LED's will change to give "up" "down" indication either side of the required fader positions. If the console is un-locked to STORE level or higher operator can recall scenes as above and can also store and overstore. When a store is made the fader position stored will always be the actual current position of the real fader.

OUT1 OUT2 OUT3 OUT4

MIDI Out Sub Menus: ( denotes a number ) OUT CLR N_ON N_OFF PROG
Ch (MIDI Channel) Ch (MIDI Channel) Ch (MIDI Channel)

(Note) (Note)

V (Note Velocity) V (Note Velocity)
P (Program Change Number)
Store Menu If storing new scene When storing a new scene there are no options available, the scene will be stored with the fastest cross fade speed and the display will revert back to default. Store Menu When Overstoring When Overstoring an existing scene the following options are available. OVERSTORE OVR/STOR XFADE PRCH The scene is over stored and display reverts back to scene number The cross fade speed can be set from 0.1 to 100 seconds Allows selection of the Program change the scene will respond to between NONE, 000 to 127 ,when MIDI In Program changes are enabled.
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 VCA's: a/ Ensure that the lock button is not illuminated on the mode switches (if it is just press the button to extinguish the LED). b/ Press the VCA mode button so that it is illuminated. This has now selected the VCA mode on the input modules. c/ Using the ASSIGN KEY select which master VCA you wish to assign to a particular input module ( 1-10 ). Quickly enabling a button will clear all other buttons enabled so only the one selected is illuminated, push and holding the button down for 0.25seconds will not disable other buttons previously enabled. d/ 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 be added to 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 on the assign key. Assigning Mutes: a/ Ensure that the lock button is not illuminated on the mode switches if it is just press the button to extinguish the LED. b/ Press the MUTE mode button so that it is illuminated. This has now selected the mute mode on the input modules. c/ Using the ASSIGN KEY select which Automutes you wish to assign to a particular input module ( 1-10 ). Quickly enabling a button will clear all other buttons enabled so only the one selected is illuminated, push and holding the button down for 0.25seconds will not disable other buttons previously enabled. d/ On the input channels you wish to assign to the Automutes selected press the 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 be added to 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 on the assign key. Fader Position: a/ 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. b/ 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.

Storing a Scene Cont. Selecting a memory number and storing the memory: a/ 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. b/ 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. c/ To store a scene press STORE in the scene is new then it will just be stored and the screen will display done. 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): a/ Pressing the MIDI button places you in the MIDI menu. b/ 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. c/ Using the UP and DOWN buttons scroll through the menu until the screen reads PROG. Press the CONFIRM button d/ The window will read CH00, using the UP and DOWN keys a channel between 01 to 16 can be selected. Press CONFIRM. e/ The window 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. f/ 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: a/ Once a scene has been stored press the STORE button so that the display reads OVER/STOR. b/ Press the UP key until the display reads PRCH then press CONFIRM. c/ 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: a/ 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. b/ Press the INSERT switch. The screen will then display 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: a/ Recall the scene you wish to copy by selecting the scene number and pressing the NOW button. b/ Press the COPY button. c/ 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. d/ 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.

MIDI NOTE to numerical value lookup table OCTAVE -1
c 0 c# 1 d 2 d# 3 e 4 f 5 f# 6 g 7 g# 8 a 9 a# 10 b 11 MIDI Sysex Dumps:
To store the recall a memory between the console and a midi device or the windows software available from Midas ( such as an Yamaha MDF3 midi Filer) 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 of communication either MIDI (through the midi port rear of the console or via RS232 ( NB software will shortly be available to support this ). 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 H3000 To A File 1/ Connect the null modem cable. 2/ 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. 3/ Select the 'SYSTEM' menu on the H3000 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 H3000 will ask you to confirm the STORE OK, press 'CONFIRM'. 4/ Select the Show menu in Hsutil and click on Save To File. 5/ A prompt will appear asking for a show a name. Give the file type as *.shw. 6/ Click on OK and the file will be saved. Down Loading A Show Into The H3000 1/ Connect the null modem cable. 2/ 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. 3/ 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. 3/ Select the SYSTEM menu on the H3000, and scroll to 'DATA' then press 'CONFIRM'. Scroll to 'LOAD' and press 'CONFIRM'. Now scroll to RS232 and press 'CONFIRM'. 4/ Click on the 'Upload' button. 5/ When the file is downloaded successfully, the H3000 will prompt you to press 'CONFIRM'. The show memory from the computer will now be loaded into the H3000.
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 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) 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 conformation 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 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: a/ Press the SYSTEM menu and using the UP and DOWN keys scroll to CONS then press CONFIRM. b/ Using the UP and DOWN keys select either Master or Slave then Press CONFIRM. c/ 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 2 consoles in the same system must have the same ID. d/ 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.

Cable Specification

H1000 / H2000 / H3000
Qty Manufacturers Reference KT Part No. CON31-5MXB CON31-5FXB Neutrik: NC5MXB Neutrik: NC5FXB Farnell: 152-133

Cable Core Cable Colour

NA BLUE GREEN RED NA TIN White No Connection CABLE CORE 1 CABLE CORE 3 CABLE CORE 2 No Connection Braid Screen Cable Core 4
CAN CABLE HS-CAN-8-01 Page 1of 1.

ACBLX-1606-1

Item 8m

Signal

NA CAN_L 0V CAN CAN_H NA CHASSIS NA
Pin 1 PIN2 PIN3 PIN4 Pin5 CASE No Connection
Description Connectors 5 Pin XLR NC5MXB X-Series 5 Pin XLR NC5FXB X-Series Cable Cardinal 48400 Starquad 4 Core Cable

Connector Pins

Midas Can Bus Cable

Male XLR

Alison Ashmore Drawn: Checked: Approved: From: N/A Connector (n/a )

Female XLR

Drawing Number

Issue 1 2

01-12-99
Notes/ECN Released to Production

AS1606-1

To: N/A Connector (n/a)

HERITAGE 3000

Back panel
Cover Release Catch Location Cover Release Catch Location

Rear Panel Left View

Rear Panel Centre View

Rear Panel Right View

Heritage 3000 Frame Measurements

41.5 1054mm

14.29 363mm

Configuration data

24 channel 32 channel 40 channel 48 channel 56 channel 64 channel 16 extender 20 mono/4 stereo 28 mono/4 stereo 36 mono/4 stereo 44 mono/4 stereo 52 mono/4 stereo 60 mono/4 stereo user specified 140kg 308.6lbs 165kg 363.8lbs 188kg 414.5lbs 215kg 473.9lbs 253kg 564.4lbs 260kg 573.2lbs 80kg 176.4lbs 1054mm x 1441mm 41.49 x 59.73 1054mm x 1713mm 41.49 x 67.44 1054mm x 1985mm 41.49 x 78.15 1054mm x 2257mm 41.49 x 88.86 1054mm x 2529mm 41.49 x 99.57 1054mm x 2772mm 41.49 x 109.1 1054mm x 657mm 41.49 x 25.88
These weights are approximate and taken out of flight case. Also available as a bob-tail.

7.76 197mm

HI-PASS FILTER PHASE REVERSE

60 160

PHANTOM

48V MIC/LINE INPUT

TRANSFORMER BALANCING OPTION

insert pre eq

SIS INS + INSERT POINT SEND mute
LEFT BUS MONO BUS RIGHT BUS
+18 +15 +12 +9 +6 +-3 -6 -9 -0.3

+ RETURN _

EQ TEST INPUT (SERVICE USE ONLY)
PFL BUS LEFT SOLO BUS RIGHT SOLO BUS
FOUR BAND FULLY PARAMETRIC EQUALISER

PUSH ON

Hi Mid Gain

Hi Mid Freq. Hi Mid Bandwidth

Lo Mid Gain

Continuously variable + 15 dB to - 15 dB Centre detent = 0dB Continuously variable centre from 100Hz to 2k Continuously variable 0.1 Oct. to 2 Oct Centre detent = 0.5 Oct
Lo Mid Freq. Lo Mid Bandwidth

Bass Gain

Continuously variable + 15 dB to - 15 dB Centre detent = 0dB Continuously variable - 3dB point from 20Hz to 400Hz Continuously variable centre from 20Hz to 400Hz Continuously variable 0.1 Oct. to 2 Oct Centre detent = 0.5 Oct
Bass Shelving Freq. Bass Bell Freq. Bass Bell Bandwidth

Klark Teknik Group

DOC02-H3000

11/02/03