Soundtracs Topaz I think that's what he was trying to say but got confused. I just picked one up from this guy who bought it new 10 years ago and hadnt' changed it at all. So I assume it is stock which it seems might be But then i think the Behringer ADA seems to be db? Right guys, my old studio is dismantled and my new build is about to begin.
Will be connected up to some Samson S-Patch balanced patchbays. I've just picked up a 24 channel Soundtracs Topaz Project 8 which will also eventually be connected to the same patchbays. Some questions Do I actually need to perform this mod based on the audio interfaces I've got here? Do I have to take care of whether I use balanced or unbalanced cables? Is there anything else I need to take into account here? Any help greatly appreciated as this particular field isn't exactly my forte.
Oh, and does anyone have a PDF scan of the manual please? Nightmare trying to track it down and I'm still waiting on access to the Yahoo groups that supposedly host it. All the chat in the low-end theory section is around the 18i20, ADA etc. But from what I understand you can't avoid the pres in those units - since I'll be using the desk pres, are these interfaces the right thing for me to be using?
Or is double-preamp a non issue? The goal is to have the desk be the centre of the whole setup. All synths, mics, and outs from Live will be recorded and mixed through it. Any advice to an OTB noob appreciated. If you're going with a TRS into the combo jacks of those units, you should bypass the mic preamp.
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By unchecking this box you will still have advertisements but they may be less interesting :. Add this product to Mon ancien matos My current gear My wishlist. SoundTracs Topaz Project 8. Analog Mixer from SoundTracs. Product presentation Description. Reviews 1 1. Classified Ads. Contribute Write a user review Post a classified ad Write a tutorial or a tip Suggest a news item Create a topic in the forum Add a picture Add an audio extract Add a video Add a file manual, brochure When the Master fader of a Group is moved, the other channels move proportionally, just as they would in a real subgroup, and no data is recorded into the Group fader as such — all data is stored under the individual channel faders.
Record, Play, Trim buttons and so on are provided adjacent to the Group fader, and these have the effect of acting as masters for whichever channels are in the Group. Similarly, operating the Group Mute button drives the mute switches in the grouped channels, providing a convenient way of muting multiple channels.
Unfortunately, you can't allocate a channel to more than one group at once. This section also operates the automation when you're in the internal sync mode. Looking more closely at the Fader window, you'll see eight buttons alongside each fader, as well as a numeric window where you set which Group the fader should belong to. If zero is set, the fader is ungrouped. These affect all channels except those set to Safe, and further buttons are provided for setting all the faders either to their off position or their 0dB position.
The View button also enables the Fader window to be scaled down, so that more faders can be shown at once — but at the expense of visual resolution. The channel Mute switch operates like the switch on the desk, but does not link to the button LED on the console itself.
Both the mute and fader have their own Record buttons, so that you can record the fader and mute events together or independently. When either the fader or mute is set to record, any changes made while MTC is running are recorded. Similarly, both the fader and mute sections have their own Play buttons, which allow previously recorded automation events to control the mix.
You can still turn mutes on and off manually in Play mode, but the changes won't be recorded. You can move faders in Play mode, but again, no new data is recorded and the fader snaps back to its recorded position as soon as you release it. In common with most VCA automation systems, the Project 8's system has a Trim mode which allows the fader to be used to modify existing automation data rather than to replace it.
The best way to think of this is that in Trim mode, any fader movements are either added to or subtracted from the data already recorded, so if you go into Trim and then push the fader up by 5dB, you'll end up with all the same automation moves as before, but 5dB higher. A True Level indicator line appears on the fader scale after the first mixing pass has been made, so you can see what the VCA level is really doing. Grabbing the fader also puts the channel into record mode. Hitting the Trim button gets you out of Trim mode and allows the auto nulling to smooth the join for you.
An alternative, and equally useful way of working is to use the Manual Nulling feature, which works as follows. At this point, the system drops out of Record, leaving a perfectly smooth transition. If you leave Auto Nulling switched on, it simply does this before you get a chance to move the fader. Another standard VCA automation feature is Isolate, and this may be selected either for the mutes or faders.
In Isolate mode, the selected channels are isolated from the automation system, and so respond only to manual changes made via the mouse. No new data is recorded if moves are made while in Isolate mode. In Safe mode, the mutes and faders behave as though they're in Play mode, except that you can't make any alterations using the mouse, and any safe channels are greyed out.
The main difference between using the Topaz Project 8 automation and something like my own Optifile Tetra system is that there is no physical control link between the console faders and the software — everything has to be done from the screen. Other than that, the software is actually very easy to use, and the screen graphics are beautifully crisp and clearly set out. Creating subgroups is easy, linking two or more channels for ganged operation is just a matter of clicking on arrows, and when you've completed a mix pass, a dialogue box reminds you that you either need to save the new mix data or bin it.
To select mix data, you simply box it using the rectangle tool, after first choosing the icon that determines whether you're editing mutes, levels or both. Selected data can be moved backwards or forwards, copied, or erased altogether, while further tools allow mutes to be inserted, fades drawn across a selected area, or different levels joined by a straight line. It's all very nicely thought out, and unless the mix is really busy, not being able to get your hands on real faders may not bother you at all.
No compromise in sound quality attributable to the VCAs was evident, and the VCAs snap quickly out of circuit when the automation is switched off. The Soundtracs Topaz Project 8 is a good example of a quality, budget recording mixer and the high engineering tolerances ensure that the pots all feel very firm, despite them not being fixed directly to the front panel.
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