Harrison 950mx Guide d'installation
analog console overview
v1.5 January 2014
950mx analog console overview v1.5 Page 2
Section Heading Page
-- Copyright Information 2
1.0 Introduction 3
2.0 Standard Configurations 4
3.0 Block Diagram 7
4.0 ono ic/Line odule 8
5.0 Stereo Line odule 9
6.0 Dual ix Bus aster odule 10
7.0 Control Room onitor odule 11
8.0 Dual Alternate Output odule 12
9.0 Rear Panel Connections 13
10.0 Specifications 14
11.0 Power Supply Specifications 15
12.0 Environmental Specifications 17
13.0 odule Jumper Settings 18
14.0 Harrison Contact Information 19
Table of Contents
Harrison Consoles Co yright Information 2013
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into any language, in any form or by any means without the prior written consent of an authorized officer of
Harrison Consoles, 1024 Firestone Parkway, La Vergne, TN 37086.
Disclaimer
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document and specifically disclaims any implied warranties of merchantability or fitness for any particular
purpose. We reserve the right to make alterations as technical progress may warrant at the discretion of
Harrison Consoles. Harrison Consoles has no obligation to notify any person or entity of any changes and/or
revisions to this publication. We reserve the right to change materials and specifications without notice.
Pro rietary Information
The information contained in this document is the property of Harrison Consoles. and is proprietary to and a
trade secret of Harrison Consoles. This document and the information contained herein and derived therefrom
are not to be disclosed to any person without the express written consent of an duly authorized officer of
Harrison Consoles.
1.0 Introduction
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The heart of analog - with a modern aesthetic - built with today’s music studio in mind
Analog Mi ing - The 950mx sports a history rich analog design incorporating the same high-end modular
design elements found across the spectrum of Harrison console models from eras past such as the 32
Series, R Series, S10, S12 and LPC. The 950mx provides a superior analog “mixing” platform designed
specifically to complement today’s high performance music studio where powerful DAW’s and high-end
specialized outboard gear are plentiful.
High Performance Design - The 950mx incorporates key high quality design criteria. Double sided
PCB’s, manual PCB layout techniques providing specific trace placement and robust ground plane design,
linear power distribution, gold Euro-card module connectors, gold plated switches, conductive plastic
potentiometers, 100% through-hole design (no surface mount components) and summing busses carried
via PCB’s (no ribbon cable summing busses) all combine to provide the highest performance possible in
analog console design.
Dual Stereo Mi Bus Design – The 950mx provides two distinctly different and independent mix bus
choices. Each channel can route to either or both of the stereo mix busses. The “RED” bus or ix Bus 1
(indicated by the red assignment switch on each channel and the red master fader in the master section)
provides a transformer balanced stereo output stage reminiscent of Harrison’s vintage console models (32
Series and early R Series). The “BLACK” bus or ix Bus 2 (indicated by the black bus assignment
switch on each channel and the black master fader in the master section) provides an electronically
balanced stereo output stage reminiscent of Harrison’s more recent analog console models (S10, S12 and
LPC).
Mono Mic/Line Channels – 4 ono ic/Line Channels are also included in each standard configuration
(custom configurations available upon request) offering a high performance Harrison mic preamplifier, 3
band variable EQ with variable HP and LP filters, with design characteristics found in the S10, S12 and
LPC consoles along with a switchable Line input and balanced insert point ready for your favorite
outboard preamp or other processing gear and a direct output for recording.
Stereo Channels – Unlike traditional analog music console designs the Harrison 950mx provides Stereo
Input Channels as standard equipment.
These precision designed stereo channels are ideally suited for use with today’s typical ‘stereo stem’ track
layout preference of DAW power users. An ample supply of stereo channels in each standard
configuration allows many more tracks to be more efficiently mixed using a smaller more cost effective
console footprint.
DAW Compatible Frame Design – The 950mx frame design is rugged and unique. It is specifically
designed to solve some of the more basic yet troubling ergonomic issues in today’s studio environment.
“Where do I put my keyboard and mouse or trackball?” and “Where do I put my computer monitor/s?” The
950mx solves those issues by providing a 2-tiered front bolster which is wide and deep enough to
comfortably locate your DAW keyboard and mouse/trackball (with sufficient cable access) along with a
generous ‘flat’ top ideal for locating DAW monitor/s and/or small speakers etc. depending on frame size.
Configurations – The 950mx is available in 3 standard configurations featuring 12 channels (4 ono, 8
Stereo), 16 channels (4 ono, 12 Stereo) and 24 Channels (4 ono, 20 Stereo) options. Custom
configurations are available upon request.
Summary – The 950mx is a true ‘blast-from-the-past’ but made for today’s top-end music studios. With its
premium analog circuit designs based on 35 years of expertise, specific ‘DAW friendly’ design criteria and
rugged modular construction, this console is built to last. By focusing on specific analog mixing
requirements of today’s music studio environment Harrison can offer a powerful, high-quality solution at
an affordable price.
2.0 Configurations
16 Channel Example (8 mono / 4 stereo) – 32.1”
12 Channel Example (8 mono / 4 stereo) – 26.4”
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2.0 Configurations
24 Channel Configuration (16 mono / 8 stereo) – 43.4”
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2.0 Configurations
24 Channel Configuration (16 mono / 8 stereo) – 43.4 Shown with optional floor standing frame.
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3.0 Block Diagram
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4.0 Mono Mic / Line Module
Insert Point - Line-level insertion point for an external device. The Insert is always driven and is
pre fader and tone controls. A separate post Fader and Tone controls, line level direct output is
provided on each ono ic / Line module.
Phantom Power - +48 volts DC for microphones that require phantom power.
Filters - Variable HP (24Hz-1.1kHz 12dB per octave), variable LP Filter (20kHz-700hz 12dB per
octave). The filters are not affected by the EQ IN switch.
EQ Controls - HIGH band (+-15dB variable 800Hz-14kHz), ID band (+-15dB variable 400Hz-
8kHz), LO band (+-15dB variable 40Hz-1.8kHz) the IN switch inserts the EQ into the signal path.
The EQ IN switch does not affect the HP and LP Filters.
Pan Control - Deviates the mono signal to the left and right mix busses. Unity gain at center, fully
panned to the left or right gives +3dB.
Input Select - Gain / Level knob controls the ic gain. When LINE is selected the line level input
is selected and feed to the channel at unity gain. When LINE is not selected the ic Preamplifier
input is selected and the gain is from 0dB (level down, 20dB PAD inserted) to 70dB (level up, 20dB
PAD not inserted). Polarity reverse is provided and affects either the ic or Line input.
Au iliary Sends - Aux level control for mono sends 1-2 and for stereo send Aux 3L and 4R.
Jumper options are available on the module for pre or post fader settings. The level control has a
range from mute to unity gain.
Channel ON - Enables the channel VCA. The LED switch is illuminated when the channel is ON.
SOLO - The solo signal is derived after the fader. Selecting SOLO assigns the channel to the solo
bus. To listen to the solo bus the SOLO switch must be selected on the Control Room onitor
module.
Mono Fader - The 100mm linear travel fader carrying DC control voltage is used to vary the main
signal level from mute to +12dB.
Stereo Mi Bus Routing - Stereo ix Bus routing switches 1 and 2 send post fader and pan
switches to either or both stereo mix busses provided. The “RED” bus (1) provides a transformer
balanced output stage while the “BLACK” bus (2) provides an electronically balanced output stage.
Input Meter - The four segment input meter is directly after the input section pre EQ and fader.
Direct Out - The direct out is line level signal that is post EQ, filters, and fader.
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5.0 Stereo Line Module
Insert Point - Line-level insertion point for an external device. The Insert is always driven and is
pre fader and tone controls.
Filters - HP Filter (100Hz - 12dB/Octave), LP Filter (10kHz - 12dB/Octave)
The filters are not affected by the TONE IN switch.
EQ Controls - HIGH (+ -15dB - 10kHz center), ID (+ - 15dB - 4kHz center), LOW (+ - 15dB -
100Hz center). The IN switch inserts the TONE controls into the signal path. The EQ IN switch
does not affect the HP and LP filters.
Balance Control - Deviates the stereo signal to the left and right mix busses. Unity gain at center,
fully positioned to the left or right gives +3dB.
Stereo Input Section - Level knob controls the stereo line input trim from + - 10dB. L > places the
left input to both the left and right sides of the stereo channel. < R places the right signal on both
the left and right sides of the stereo channel. LR together reverses the left and right inputs to the
stereo channel. ONO combines the left and right signals to both sides of the stereo signal.
Au iliary Sends - Aux level control for mono sends 1-2 and for stereo send Aux 3L and 4R.
Jumper options are available on the module for pre or post fader settings. The level control has a
range from mute to unity gain.
Channel ON - Enables the channel VCA. The LED switch is illuminated when the channel is ON.
SOLO - The solo signal is derived after the fader. Selecting SOLO assigns the channel to the solo
bus. To listen to the solo bus the SOLO switch must be selected on the Control Room onitor
module.
Stereo Fader - The 104mm linear travel fader carrying DC control voltage is used to vary the main
signal level from mute to +12dB.
Stereo Mi Bus Routing - Stereo ix Bus routing switches 1 and 2 send post fader and pan
switches to either or both stereo mix busses provided. The “RED” bus (1) provides a transformer
balanced output stage while the “BLACK” bus (2) provides an electronically balanced output stage.
Input Meter - The four segment input meter is directly after the input section pre EQ and fader and
is a sum of the left and right inputs.
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6.0 Mi Bus Master Module
Mi Bus Compressors
Two ix Bus compressor sections are provided one for each of the
stereo mix busses. Compressor controls include: Variable Release Time
(.1ms - 4s), Variable Threshold (-15dB - +15dB), ON switch which
places the compressor in and out of circuit and a gain reduction LED
meter. The compressor Ratio is set at 2:1 with an Attack Time of .1ms.
Oscillator / Talk Assignment
The Oscillator and/or the Talkback icrophone can be sent to the
console busses Aux 1-4 and the 2 ix Busses by selecting the
appropriate switch. When the switches are selected the Oscillator and/or
the Talkback ic will feed the selected busses upon activation.
Au iliary Master Level Controls
Aux master level controls for mono sends 1-2 and for stereo send Aux
3L and 4R. Jumper options are available on each input module for pre
or post fader settings. The level control knob has a range from mute to
unity gain.
Mi Bus Pointer Meters
Pointer VU meters for both the “RED” and “BLACK” ix Bus outputs are
located at the far right end of the console.
Mi Bus Output Faders
104mm faders for each of the stereo mix bus outputs. “RED” bus
(Stereo ix Bus 1) output provides a transformer balanced output stage
while the “BLACK” bus (Stereo ix Bus 2) output provides an
electronically balanced output stage.
Mi Bus Insert Point
Each of the two stereo mix bus outputs has a corresponding balanced
insert point that can be jumper selected as “always inserted” on either or
both stereo mix bus outputs. This insert point allows for an insertion of
external processing directly on either of the two mix bus outputs. No
front panel controls are provided for the mix bus insert points.
Common practice is to enable the jumper and “normal” the insert point
at a patch bay.
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