Wern Ovewiew
I
The 300 presents you with an incredible number of choices -all of which can
be made through the front and rear panel. Although you could certainly operate
syS@lIl &/erI&w
the300 bysettingeach IVOconfigurationandeffectparameterby handeachtime
!
you use it, you probably wouldn’t enjoy k-so we’ve tried to organize the 300
so that its considerable flexibiliiy doesn’t become an obstacle. Before digging
into the details of operation presented in this manual, you may find this brief
overview useful.
,
The block diagram shown below illustrates the basic flow of audio through the
300, Analog and/or digital audio enters on the left. Each is conditioned and
translated as required and, in the case of digital audio, a sample clock is
extracted. The resultant digital audio streams are sent to effect processing, then
converted to appropriate analog and digital outputs (on the rtght).
Digita
out
I
I
k -__-- --__-,
Panel, MIDI and Time Code
Program Change
As you can see from the figure, the 300 has a rich set of l/O capabilities, with
many choices available to the user, including:
Sample Rate
Analog or Digital Input connector
Digital and Analog Emphasis/De-emphasis
Digital Output format (AES or SPDIF)
Digital Copy (SCMS) and Emphasis bit manipulation
Processor Configuration
The l/O organization is part of the 300% Control Mode.
Other items which form
part of the global operaton of the box are: Time Code event list viewing and
editing, MIDI Mapping Tables, Purge functions for User RegistersCopy Tools,
and Bypass button functions.
2-7
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