Recall RN - Amek

A Harman International Company
Artistry in AnalogueTM Recall RN
Product Overview

RL1 RN Mono Input Module
+48 V
Mic/
Line
Monitor
Input
Input and EQ
+48 V
Mic/Line Gain:
0to+66dB
Trim:
Phase +/-6 dB
Reverse
Insert In
Insert point
when selected
to Pre EQ
Internal
(Internal switch)
Key Select
Fader and Routing
VCA
Control
In
Fader
Auto
Soft Mute
Fader Isolate
(Master)
VCA
Control
Out
Aux Sends
Internal / External Key (Auto)
Virtual
Dynamics
Control
VCA
Direct
Output
Source
Select
Post
Pre
Post
Pre
Post
Pre
Pan
Aux 1
Aux 2
Filters to VD sidechain
Filters In
Auto
Auto
On
On
Pan to
Groups
Aux 3 On Aux 4 to Aux 8 are
identical to Aux 3
Aux 11 & 12 / Monitor Post
Aux 11 & 12 / Monitor Pre
Direct Post Fader
Aux 12 to Direct
Monitor
Source
Select
PFL
AFL
(Internal)
Recall RNModule
HF
Bell
To Virtual
Dynamics
sidechain
Aux 11
Solo
LF
Bell
HF HMF LMF LF
EQ In
Insert In
Insert point
when selected
to Post EQ
(Internal switch)
Meter
Group 1 Group 3 Group 5 Group 7 Stereo
Group 2 Group 4 Group 6 Group 8
Pre Pan
Post Pan
(Internal)
Post
Pre
Aux 9
Aux 10
Aux 11 & 12 (Mono)
Monitor (Stereo)
Monitor
Pan Left
Aux 12 level /
Monitor Pan Right
Aux9&10On
Monitor AFL
Direct Post Fader
Aux 12 to Direct
Aux11&12On
Direct
Output

Introduction
One console, many applications.
With a proven track record across a wide variety of applications, Recall
RN from AMEK is without question one of the most flexible production
consoles on the market today. Time after time it not only satisfies the
demanding criteria of both On Air Broadcast and TV Production, it is
trusted implicitly to work Front of House in hundreds of concert venues,
theatres, houses of worship and various other fixed installations all over
the world.
Success and the Recall have over the years become inter-linked. It has
been and is continually selected to mix Front of House for glamorous
music events, such as, the Grammy Awards, the Eurovision Song
Contest and the MTV Music Awards. Recall RN is not only the central
ingredient in countless large scale music concerts, but earns it's keep
daily in some of the world's most prestigious broadcast organisations
and fixed installations, for example, the Sydney Opera House and the
Opera De Paris.
Originally introduced back in 1993 as a computer assisted live
performance console, Recall quickly revolutionised the sound
reinforcement industry in terms of defining a higher level of
performance, control and versatility. With Recall, AMEK can proudly
claim to be the pioneer of the first dedicated cue based automation
system that truly won over the live performance engineer, providing
innovative features and benefits previously only available to the studio
environment.
Continuous refinement has ensured the console does not excel solely in
live sound. The added flexibility and production advantages Showtime
automation provides means it is well suited to a wide variety of
applications. Offering greater flexibility in management of both the
console and outboard equipment, Showtime reduces the number of
routine tasks allowing the engineer substantially more freedom to
concentrate on the creative aspect of his/her work. For instance, the
ability to store and then quickly bring back console settings for different
acts/programmes is made easy by using the Recall function, this is ideal
when there is a need to change sound scenes very quickly. These
settings can be stored to a single floppy disc and then used on any
other Recall RN console around the world to ensure a consistent
performance every time.
AMEK Supertrue dynamic automation
encompassing the largest installed user base of
any console automation system in the world
can also be optionally fitted. The added
versatility Supertrue provides allows
Recall RN to be equally at home in a
multitrack mixing
environment.
But what of the sound?
AMEK's mastery of analogue
circuitry is second to none and all
modern day Recall's benefit from the RN
treatment as standard. RN provides you
with an audio path of exceptionally high
quality via an Equaliser and Mic Pre
designed by Mr. Rupert Neve. The
added benefit of this is quite
simply unrivalled sonic quality.
Over half a century of audio
artistry and experience has been
harnessed to deliver precise control of gain
settings as well as that celebrated warm and sweet
sound like no other.
Built to an exceptional standard of quality Recall RN comfortably
withstands the heavy demands of touring and compact frame sizes
make it an ideal choice for outside broadcast applications. Over 500
Recall consoles are in use daily around the world, which provides
testimony to the high level of trust and confidence operators have in the
console. So whether the application is mixing live in front of a hundred
thousand people, broadcasting a sporting event across the globe or
even producing a weekly game show, Recall RN really is the choice of
discerning professionals.
EQ & Mic Pre by Mr. Rupert Neve
Sweepable high & low pass Filters
Optional Stereo inputs
8 VCA groups
8 Mute Groups
8 Audio Sub-groups
12 Auxiliary busses
Built in 10x8 matrix
Cue based Showtime automation
Optional Supertrue dynamic automation
Recall of pots and switches
Virtual Dynamics on each input
VFX control of select midi devices
Redundant power supply
LED Metering on every channel
LED and VU Meterbridge
40 and 56 Channel frames sizes
Optional Flightcase

Operation
Since it's release the AMEK Recall RN has been relied upon by the
world's top audio companies for their most demanding projects. Only a
console with great sound, advanced features and solid, easy to use
automation could keep its place at the top as the Recall RN has done
for many years.
During high profile shows such as the Grammy or MTV Awards which
are broadcast live to millions of people around the world, equipment
failures are not an option; success has to be achieved first time in very
little time, this is where the Recall RN excels. Analogue circuitry is
reliable and sounds great; the audio path in the Recall RN is allanalogue
and the mic pre and EQ section are designed by the
legendary Mr. Rupert Neve.
Showtime software permits mutes and VCA levels to be programmed
prior to a show, ensuring more time to concentrate on the task of mixing
a song or scene without the usual scramble to set up the faders for any
particular segment. A total of 256 scenes can be pre-programmed to
allow the automation of even the most complex of performances. The
console's software also gives access to onboard Virtual Dynamics, for
the assignment of Noise Gates, Compressors, Expanders or Limiter for
each and every input.
Recall RN's software stores the position of every pot and switch on the
surface of the console. Then with the help of the interactive screen and
the voice of Mr. Rupert Neve all of the console settings can be restored
to exactly recreate that great sounding mix. There are no glitches or
inaccurate recalls, just perfect reliability every time.
Mike Piper of DB Sound, Lollapalooza
Example 1: The Live Concert
When mixing for multiple bands at a festival, it is necessary for every
band to get a sound check. At the end of each sound check a snapshot
is taken of the console settings. This saves the status of the mutes, all
of the input and VCA group fader positions, the VCA and mute group
assignments, as well as the status of the auxiliary 1 and 2 and the mute
group switches. The positions of the pots and switches on the console
are also stored for later recalling to a file on the computers hard drive or
floppy disk. This process is repeated until you have stored the settings
for each band.
After the sound checks are over, simply loading the file containing the
opening act's console set up and Showtime automation will assign
dynamics to the appropriate channels, with exactly the same
parameters as were stored earlier. Pressing the Load Cue button on the
console restores the VCA and mute groups, and resets the mutes and
VCA levels to their stored positions. To "play back" the VCA levels, put
some or all of the input and VCA master faders into Update mode using
the Sel button above the fader set, move the faders to the 0dB position
and the exact position of the VCA faders will be played back as stored.
A quick glance at the computer screen will show relative levels and
adjustments can be made using the fader as normal.
Using the Recall function, the pots and switches on the input strips can
quickly be adjusted to the positions as stored during the sound check.
Repeating this procedure before every act ensures a great mix every
time.

RTP - Radiodifusão Portuguesa, Digital OB#1
Example 2: Theatre/Houses of Worship
In a theatre application a production can be stored scene by scene
using the Showtime software and any fine adjustments made
manually if required using the Load Cue button on the console. Up to
256 scenes can be stored in this way. Updating a scene that has
changed in the production is as easy as hitting the F6 key, which will
store the settings for replaying next time the cue is triggered. Using the
Edit Sequence Page, cue's can be moved, inserted or deleted ensuring
the cue list is always current. Midi cues and dynamic cues (which are
used to change Virtual Dynamics devices) can also be inserted in the
sequence. Should a cue be missed, it is easy to skip forward and catch
up with a show without loading unnecessary cues in-between. There is
also a useful Note function in the Edit Sequence Page for
notes/reminders that can be displayed in the cue box on the
Showtime screen.
For performances which require cues to be fired from external sources,
the Recall RN SMPTE timecode reader allows cues to be triggered by
incoming timecode. In addition, Showtime software has options for
Midi Show Control with a Wait function for cues which are to be loaded
automatically after a given time interval; useful for fading in and out
sound effects amongst other things. The flexible Matrix on the Recall RN
provides the theatre engineer with access to multiple speaker zones,
enhancing the intelligibility of the audio and allowing the creation of
special effects around the room.
Recall RN has proved itself to be an invaluable console for use in
houses of worship. Where services or events are repeated regularly,
settings can be stored in Showtime and later recalled just prior to the
event, thereby saving time and also helping new operators to achieve
the same high standard of mix straight away. The Recall function is
particularly useful for use in this application because often there are a
number of volunteer engineers involved. Recalling the same tried and
tested console settings each time, instead of starting from scratch,
ensures the standard of audio is kept consistently high. As in the theatre
application, houses of worship also use multiple speaker zones to
enhance intelligibility. Whether an LCR system or many rows of delay
speakers are in operation the Recall RN has ample outputs.
Example 3: Broadcast
The Recall RN is used by many broadcast organisations worldwide as a
general purpose production console. Scene automation is invaluable in
this application particularly in scripted live shows where the whole
performance is rehearsed. Settings can be stored in Showtime and
played back at the touch of a button as the show goes live. In all live
applications having a contingency plan is vital. Should it be necessary to
make last minute changes to a program, the software has the flexibility
to allow the operator to re-establish manual control of the console.
Instantly.
Recall RN's scene automation and the "Recall" function for storing and
resetting the surface controls are 100% accurate. Each input module on
the Recall RN has a direct output which can be fed either post fader or
from a pot on the input strip. This feature allows the broadcast engineer
to send any input of his Recall RN via a patch bay to any other device,
for example, a multitrack recorder for mix down at a later date. The
Recall RN also has an extra input on each channel, which can be
utilised to monitor the track returns from a tape machine.
As well as the ability to record to tape or digital hard disk via direct
outputs, Recall RN can be supplied with the renowned Supertrue
dynamic automation system for mixing or posting to picture. Once
installed the optional Supertrue package provides dynamic
automation of all faders and channel mutes.
The Recall RN is a reliable, great sounding and flexible mixing
console. It’s use with many of the world's top Sound Companies,
Theatres, Houses of Worship and Broadcast companies is
testimony to this fact and it’s continued popularity around the
world will ensure it's owners a valuable return on their investment
for years to come.
Graha Bethany Surabaya, Indonesia

RN-RL1 Mono Input Module
Routing - The 8 group busses are selected using the
assignment switches.
Pan Grps (Pan to Groups) selects the 8 Group bus assigns
post-panpot.
Inputs - The Mr. Rupert Neve mic amp is controlled by a 12
position rotary switch with a range of 0 to 66dB, and a
separate trim control with a range of +/- 6dB.
Phantom Power is sent to the socket when the 48 (+48V DC)
switch is pressed.
Equalisation - The EQ is designed by Mr. Rupert Neve and a
greater degree of cut and boost (+/-18dB) is available on each
of the four bands, with a continuously variable Q on the two
mids.
As well as the normal function of the rotary Hi and Low Pass
filters, there is also a second path To S/C that routes the filter
into the Virtual Dynamics side chain.
Low Pass Filter is continuously variable between 25Hz and
500Hz @ 12dB/octave.
High Pass Filter is continuously variable between 2kHz and
30kHz @ 12dB/octave.
HF (High Frequency) : is continuously variable 2kH to 20kHz,
boost/cut +/- 18dB, Bell/Shelf switch.
HMF (High Mid) : is continuously variable 500Hz to 4.5kHz,
boost/cut +/- 18dB, continuously variable Q.
LMF (Low Mid) : is continuously variable 100Hz to 1kHz,
boost/cut +/-18dB, continuously variable Q.
LF (Low Frequency) : is continuously variable 30Hz to 300Hz,
boost/cut +/- 18dB, Bell/Shelf switch.
Separate In/Out switches are provided for the filters and EQ
sections.
Insert - The insert point is post EQ, pre-fader and has its own
In/Out switch.
An internal switch allows the Insert to be positioned pre-EQ.
Ø- the Phase Reverse switch acts on the Mic/Line input.
Auxiliary Sends - Recall has 12 Auxiliary busses.
Auxes 1-8 have dual concentric knobs, each with its own
On/Off and Pre/Post switches (Off and Post are in the switch
up position).
Auxes 9&10and11&12aresourced from dual concentric
knobs. Each pair of sends has its own Pre/Post and On/Off
switches. An internal jumper allows Auxes 11 & 12 to have a
level and Pan arrangement.
Aux1&2On switches are automated.
Mon Source - changes Aux 11/12 into a monitor and converts
it to a level and pan arrangement, this input is sourced from a
separate connector.
Dir Aux 12 - inserts send 12 into the Direct Output path to
provide a variable output level, which can be derived Pre or
Post fader. An internal jumper allows the Pre signal to be
derived Pre EQ.
Pan - The Panpot follows the fader and is -3dB, centreindented.
Fader - The 100mm conductive plastic Fader has an
associated VCA, (for the 8 VCA groups and snapshot
facilities). VCA Groups can be set up from the console surface
or the computer.
SEL - The SEL switch allows you to step through the 3
Automation Modes, Safe, Update and Override.
Meter - Each channel has an 8-LED Pre-Fader Meter
calibrated from -30 to +8dB with the top LED giving overload
indication when the signal reaches approximately 6dB below
clipping. The Overload LED has a fast attack and a slow
decay time.
Mute - A large illuminated Mute is provided. This is
automated.
PFL - The PFL button provides a Pre-Fade Listen signal, but
may be internally selected to provide stereo ALF (After-Fade
Listen).
The PFL switch may be operated in either momentary,
latching or interlock modes as selected from the RL4 module.
A full Solo In Place system is also provided by assigning the
SEL switch to be a Solo switch (from the RL4).
Fader - The 100mm conductive plastic Fader has an
associated VCA, (for the 8 VCA groups and snapshot
facilities). VCA Groups can be set up from the console surface
or the computer.
Virtual Dynamics - Level on the channel output and Auxiliary
send sourced post-fader can be controlled using the Virtual
Dynamics system which provides a choice of one from ten
software-driver gain controllers. The Dynamics side chain
input can be internally jumpered to be either Post EQ or Pre
EQ Post filters.
Automation - Aux1&2 On,theMute switch and VCA fader
are all automated.

RL10 - Stereo Input Module
A full-function stereo module is available as an option. This
module can be retrofitted to any input module position. As
many stereo inputs as are desired may be fitted.
Routing - The 8 Group busses are selected using the four
assignment switches, which address the busses in pairs.
The post-fader, post-balance control signal can also be routed
to auxiliary busses 9&10and11&12inpairs.
Inputs - The module has Left and Right line level inputs. Gain
is controlled by the rotary control, which has a range of
+/-20dB.
Mono - Mono Left and Mono Right switches are fitted. If
Mono Left only is pressed, the left input to the module is
routed through both Left and Right channels equally. If both
Left and Right Mono are pressed, a mono sum of both inputs
at 6dB level is routed through both channels of the module.
Ø Phase - The Phase Reverse switch is used when it is
desired to correct a phase reversal on one side of stereo
source.
Equaliser - The four-band Equaliser operates simultaneously
on both channels of the module.
Facilities are as follows:
HF:
+/-18dB boost/cut with two switch-selected turnover
points, 6kHz or 12kHz.
HMF:
+/-14dB, sweep range 450Hz to 8kHz, Q switched
between 0.7 and 2.
LF:
+/-18dB boost/cut with two switch-selected turnover
points, 40Hz or 80Hz, or by using the x3 multiplier, 120Hz and
240Hz. A separate EQ In/Out switch is provided.
High Pass Filter - A fixed frequency switch-operated High
Pass filter is provided with a roll-off rate of 12dB per octave
below 120Hz.
Auxiliary Sends - 8 Auxiliary Sends on rotary controls are
fitted. These sends carry a sum of the Left and Right channel
signals and are unaffected by the position of the channel
balance control. Internal switches change the sends to true
stereo with the odd Aux level being the Left send and the even
being the Right.
Individual pre/post switches are provided for Auxiliary Sends
1-4,5 &6and7&8.
On switches are provided for Auxiliary Sends 1,2,3 and 4
individually and for Sends 5&6AND7&8inpairs. The On
switches for Aux Sends 1 and 2 are sent as stereo from the
routing switches at the top of the module. The signal is
derived post the balance control. The Left channel signal is
sent to the odd-number bus and Right channel signal is sent
to the even-numbered bus.
Balance - The balance control adjusts the relative volume of
the Left and Right signals send to the stereo bus and the
groups.
SEL - The SEL switch is used to select the automation mode
for the channel.
Meter -
The meter reads the Pre-fader signal and has 4 LEDs.
These are calibrated to indicate at -30, -15, 0 and Overload.
The Overload threshold is set at +15dBu.
Mute - A large illuminated Mute is provided. This is
automated.
PFL - When the PFL switch is pressed a stereo signal derived
pre-fader is sent to the Monitor A output. An internal switch
can be used to set the signal to be AFL (After-Fade Listen).
PFL links to the Momentary/Latch/Interlock Solo mode
system, which is a feature of the Recall RN console.
Fader - The 100mm conductive plastic Fader has an
associated VCA, (for the 8 VCA groups and snapshot
facilities). VCA Groups can be set up from the console surface
or the computer.
Virtual Dynamics - Virtual Dynamics also operates with the
stereo input but the dynamics control signal is derived from a
Left + Right 6dB sum of the stereo signal. This means that the
dynamics control function depends on the amplitude of the
mono-derived signal and is not set individually for each stereo
channel.
Automation - Aux1&2 On,theMute switch and VCA fader
are all automated.

RL2 - Matrix/Group Module
The console is fitted with 8 RL2 modules. Each module has
several functions: a Mono Ext Input, one set of sends and one
master for the Matrix, an Aux Master, an Audio Subgroup
Master Fader, a VCA Group Master and a Mute Group Master.
The module controls the same numbered functions in each
respective position, ie, module 1 will contain Mono Ext 1 input;
Matrix Output 1; Aux Master 1; Audio Subgroup 1; Mute
Group Mute 1 and VCA Master Fader 1.
Ext Input - The Gain Control has a +/-20dB range and is
centre indented at the unity gain position. The return can be
routed to the Group, Aux or Matrix outputs and is mixed in
with signals on that path; muting the signal fed to each path is
done by lifting the relevant assignment switch.
A PFL switch is provided.
This Mono Return can be used as an expansion input from
other consoles, as a return for effects or other external
sources, or, if nothing else is assigned to an Audio Group, as
an additional input to the stereo bus with automated muting
(using the Group mute switch).
The Matrix
Each RL2 module contains a set of matrix sends, which are
derived from the audio subgroup master of that module.
The default source for the Matrix is post the Subgroup fader;
pressing PRE GRP sources the signal pre the Subgroup
fader. The matrix output fader controls the level of the Matrix
output. Each Matrix output has mute and AFL switches.
The Auxiliary Master
A rotary level control is provided for Aux bus 1-8. The control
has 10dB extra gain over the 0 (unity gain) position.
Each Aux Master has a talkback enable switch which allows
the user to talk to that Aux Bus via the talkback system on the
RL4 module.
Each Aux Master has mute and AFL switches.
Foldback Setup - When using the Recall RN as a foldback
console the 12 Aux Masters, which are normally controlled by
rotaries, can be controlled instead by faders using a
combination of the 8 Subgroup faders and Matrix Output
Faders 1-4 or 5-8. Thus faders can be used to control all the
Aux Master Sends.
Fader Off Aux - is used to switch Auxiliary mix bus signals 9-
12 to the Matrix Faders. Aux bus 9 is parallel-wired to Fader
Off Aux switches 1 and 5; Aux bus 10 is parallel-wired to
Fader Off Aux switches 2 and 6, and so forth. The Matrix
Fader which will be used to control the Auxiliary output level is
selected by pressing the respective Fader Off Aux switch.
When this is done the fader is disconnected from the Matrix
mix bus.
In this mode the fader output continues to appear at the Matrix
output XLR socket. The normal Aux Master rotary level control
and output XLR are not affected.
Fader Rev - swaps the Subgroup Master Fader and the Aux
Master Level. In this mode the Aux Master level is controlled
from the Fader and the Subgroup Output is controlled from the
Aux Master.
Audio Subgroup Master - The fader controls the level of one
of the 8 Audio Subgroups. Subgroup output is normally
selected to the stereo bus via the ST switch and the Group
panpot.
AFL and an automated mute are provided.
Insert - The Insert is normally in the Group Output but it can
be selected to the Matrix Output using the MTX switch.
An Insert IN/OUT switch is provided.
Mute Group - This switch is used to set up and trigger the
Mutes grouped to it.
VCA Mute - The large, momentary, illuminated VCA Group
Mute switch can be automated if required using Showtime.
Soloing of VCA Groups can be accomplished using the
automation system.
VCA Master - The VCA Master fader is situated in the fader
block.
SEL - The SEL switch allows the 3 automation modes (SAFE,
UPDATE and OVERRIDE -see RNRL1) to be accessed,
giving control of the module's automated functions.
Metering - Each RL2 module has its own LED meter. The
source is selected using status switches on the RL4 monitor
module.
To meter individual paths, the various PFL/AFL switches can
be used in conjunction with the monitor meters.

RL3 - Stereo Master Module
RL3 contains two Stereo Returns, Matrix feeds from
the stereo output, Aux Masters 9-12 and other
functions.
Stereo Returns - Each of the two Stereo Returns can
be used as an expansion input from other consoles or
as an input for Effects or other external sources.
The Gain control has a +/-20dB range and is centreindented
at the unity gain position. The Return can be
routed to Monitor A, Monitor B or Stereo and is mixed
in with signals on that path; muting the signal fed to
each path is done by lifting the relevant assignment
switch.
Stereo A can be used to link the stereo bus on two
consoles. A PFL switch is provided.
The Matrix - The RL3 module contains two additional
sets of Matrix Sends which are derived from the Left
and Right Stereo outputs.
The source for the Matrix can be pre- or post- the
corresponding Left or Right fader, using the PRE ST
switch.
Faders Isolate - disconnects the VCAs from the
computer and connects them directly to the fader,
allowing complete manual operation. To avoid
accidental selection this is carried out by holding down
the Faders Isolate switch until the READY LED
illuminates, releasing the switch and holding it down
again until the ON LED illuminates.
Auxiliary Masters 9-12 - Rotary Master level controls
are provided for Aux sends 9-12. The control has
10dB extra gain over the 0 (unity gain) position.
Each Aux Master has a Talkback Enable switch which
allows talkback to be routed to that Aux Bus from the
talkback system on the RL4 module.
Each Aux Master also has mute and AFL switches.
Stereo Output - Individual Left and Right VCA faders
are provided on the Stereo Mix output faders, situated
in a separate output block. Gain may adjusted using
the trimmers.
The Left and Right paths have -6dBv insert points prefader.
A stereo output mute switch is provided.
SEL - The SEL switch allows the 3 automation modes
(SAFE, UPDATE and OVERRIDE - see RNRL1) to be
accessed, allowing the stereo faders to be placed
under control of the Showtime automation system.
Mono Wedge Source - A Mono Wedge speaker
output is provided, with level controlled by a fader.
This may be sourced pre or post the stereo bus or
from the PFL system using the selector switches.
Cue Control - The Showtime automation system
allows up to 256 snapshots or 'scenes' to be created.
The Scene Control section allows scenes to be loaded
without having to reach for the computer. The stepper
keys < and > allow the scene number to be selected;
the Load Cue key loads all the scene data into the
console. If, for example, the running order of the
songs is changed mid-performance or there is an
encore performance which is a repeat of an earlier
song, the engineer can quickly step to relevant scene
number.
Group Set Up - This key activates set up mode for
VCA and Mute Groups. In this mode the channel VCA
status LEDs are used to indicate the Group settings.
A VCA group is created by first selecting one of the
VCA Group Mute switches; the switch will then flash.
To add a channel to the group, press the channel's
SEL switch; if a channel is already included in that
group it’s status LEDs will flash, to de-select, press
the SEL switch. A maximum of 3 group masters may
be assigned to any one input fader.
Mute Groups are set up by pressing one of the Mute
Group switches, which will cause it to flash. To add a
channel to the group, press the channel's SEL switch;
if a channel is already included in that group it’s status
LEDs will flash, to de-select, press the SEL switch.
Each channel can be assigned to any combination of
Mute Group masters.

Dimensions
1044.63mm (41.13”)
414.63mm (16.33”)
Input source selection to the eight group meters and the main L&R meters are provided on the RL4 module.
The group meter audio sources are derived on the RL2 modules with source selection control via a pair of
buttons labelled Meters 1-8 on the RL 4 module.
These buttons source a pair of address lines giving four logical switch combinations. The default is both
buttons up, which presents the audio group signals to the meters. The other three switch combinations
present the matrix signals, auxiliary send signals and external input (return) signals to the group meters.
RN-RL1 Mono Input Modules RL2 Matrix/Group Modules
RL3 Stereo Master Module
Side Elevation Front Elevation 56 Pos
1143.82mm (45.03”)
1020mm (40.16”)
630mm (24.8”)
755mm (29.72”)
50mm (1.97”) 2182.04mm (85.91”)
50mm (1.97”)
50.8mm (2”)
2098.04mm (82.6”)

RL5 Master Fader Panel
The L & R meter feeds normally follow Monitor A input source selectors (pre-level control) so that the currently
monitored source is also metered. The Peak/VU switch changes the ballistics of the L & R meters.
The AFL to L & R Meters switch in the PFL area cuts off the normal feeds and routes the stereo AFL/Solo prelevel
control signals to the L&R meters.
50mm (1.97”) 1694.360mm (66.71”)
50mm (1.97”)
50.8mm (2”)
Front Elevation 40 Pos
1610.360mm (63.4”)
RL4 Monitor Module
MPS-15
Height: (excl. feet) 266mm (10.47”) (6U)
Width: 483mm (19”)
Depth: (excl. connectors) 560mm (22.04”)
Weight: (excl. packing) 45kg (100lb)
The Recall RN is supplied with two MPS-15 power supplies.
Power Supply
The Recall RN features on-board backup supply operation via diode merging
on the internal power distribution card.

RL4 - Monitor Module
This module provides Oscillator, Communications and
Monitoring functions.
Oscillator - The three-frequency Oscillator has outputs at
100Hz, 1kHz and 10kHz with either preset or adjustable
levels. When none of the frequency switches are pressed, the
Oscillator has no output. When both are pressed, output is at
1kHz; the other frequencies are selected from the individual
switches.
CAL mode provides a fixed output at 0VU = +4dB which may
be adjusted using the Trimmer if other operating levels are
required; when not using CAL, level can be adjusted using the
Osc Level control.
The Oscillator output may be selected to the Talkback routing
system by pressing Osc Enable. A separate balanced output
is also provided.
Communications - An interface is provided for an external 3wire
Comms. system, access being made using the Call
switch. Connection is made using an XLR on the rear panel of
the console.
An XLR input connector is located on the module front panel
for a dynamic Talkback microphone. Mic gain is adjustable
from +10 to +60dB using the Mic gain control.
The Comms Null preset allows cancellation of the operator's
microphone output in his own headset.
The Talkback (and/or Oscillator) may be routed to the Stereo
Bus, Groups, Matrix and Bus via the appropriate Comms
Routing selector switch. The Talk switch sends the signal to
the required output. The Communications signal may also be
routed to the headphone amplifier by pressing Comms To
Phones.
Meter Input Selection - 8 LED meters are sourced from the
RL2 Group modules. Inputs to these meters can be selected
using two source selector switches labelled 1TO8.
Input
sources include the Subgroup output; the Matrix output; the
Aux Send outputs; and the 8 Returns.
Separate switches allow the Left-Right meter ballistic to be
selected to either PEAK or VU mode.and to be sourced from
the PFL signal instead of the selected Monitor A source.
Solo System - Recall RN has both PFL/AFL and Solo In
Place modes.
Solo In Place - is enabled via the Solo In Place switch and
uses the channel SEL switch to activate the solo. Solo In
Place mutes all other channels except the channel selected to
Solo.
Solo Defeat - prevents the selected channel from being
muted when a Solo is selected. Channels can be set to Solo
Defeat mode as required.
Pressing a SEL switch on a VCA Master fader will solo the
whole VCA group.
A PFL/AFL Level control is fitted allowing overall adjustment
of level to the monitor system. The AFL signal is stereo and
the PFL signal comes to the Left and Right sides equally. The
PFL/AFL bus may be selected to the monitor meters.
The basic operating mode for all PFL and AFL switches is
momentary. Two additional modes may be selected:
INTERLOCK, which makes each PFL/AFL switch exclusive so
that when it is pressed, any other PFL/AFL switch currently
selected is cancelled, and
LATCH, which makes each PFL/AFL switch latch when
pressed, allowing all selected PFL/AFL switches to mix
together.
Clear - deselects all PFL/AFL switches.
Monitor Systems - Two similar but independent monitor
paths, denoted A and B, are provided. These multi-source
outputs can be used for various applications, such as
recording, extra stereo output feeds, etc.
Each path can select from four sources - External stereo
inputs 1-3 and the Stereo mix.
Each path has its own Level control, Mono and mute
switches.
Monitor A -
is the primary path as it also feeds the
headphone amplifier and accepts the PFL/AFL signal. A Dim
switch, which lowers monitor level by 20dB, is also fitted.

Schedule of Connections
Key
XM
XF
Male XLR Connector
Female XLR Connector
Jacksocket
XF
XF
XF
XF
XF
XF
XF
XM
XM
XM
XM
XM
XM
XF
XM
Inputs
Outputs
Inserts
Recall RN
RN-RL1 Mic/Line
RN-RL1 Monitor Input
RL10 Stereo Input Left
RL10 Stereo Input Right
External Input
Stereo Return 1
Stereo Return 2
Monitor-Ext 1
Monitor-Ext 2-3
Aux Bus Link
Solo Control
Comms
Group Ouputs
Matrix Outputs
Stereo Output
Aux Sends
Channel Direct Output
Monitor
B
U
Headphones
Oscillator
Solo Control
Comms
Channel Send
Channel Return
Group/Matrix Ins Send
Group/Matrix Ins Return
Stereo Output Send
Stereo Output Return
Aux Output Send
Aux Output Return
Balanced Circuit
Unbalanced Circuit
One Connector for Comm In/Out
Not used with RL10

Showtime Automation
Where functionality, flexibility and
operational ease converge.
Showtime has already taken it’s place in history as the first dedicated
console automation system to win over the live engineer. It is powerful
and easy to operate, incorporating fader and switch automation,
Visual FX, Virtual Dynamics and Recall as standard. We
understand that functionality is of paramount importance. That's why
Showtime's feature set ensures that you don't have to compromise.
Showtime has proved itself to be a console automation system of the
highest calibre. It brings the level of automation enjoyed by studio
engineers into the live arena. The console’s ability to control not only the
VCA levels but also the on-board dynamics processors and outboard
effects means that you can mix an entire song without having to think
about the changes you need to make before the next number.
In-built flexibility allows you the freedom to work the way you choose.
Operation of Showtime is logical and practically instinctive. Freelance
engineers are able to quickly drive the automation system, typically they
have either used the system before, or they find it so simple and logical
to operate that the learning curve is always a short one. This makes
commercial sense.
Since it’s introduction we have invested considerable time and effort in
Showtime's development. Through this commitment and by listening to
the ideas and suggestions of our customers worldwide we have been
able to raise it’s operational standard and enhance it’s feature set to an
outstanding level. You can take comfort in the knowledge that once you
become a Recall RN customer you will continue to receive the benefits
of Showtime for many years to come.
Showtime is operated from a main screen, where various options and
sub-routines are accessed through drop-down windows or from the
seven menus.
Snapshot Based Automation System
Instant capture/replay of all of the console’s automated functions.
Cue List
Ability to add other functions to the snapshots. This includes dynamics,
VFX settings, MIDI settings and on-screen notes.
Recall
The Recall RN offers full recall of all parameters. The Recall system
allows the positions of all knobs and switches to be stored, except the
AFL/Solo switches and of course the Showtime automated functions.
Settings can be saved into the computer before running a mix.
The Recall system's AutoScan procedure speeds console setup. When
a recall is activated, the computer scans the console and only pauses
when it finds an incorrectly set control. It then brings up a graphics
display of the module's controls. The control is adjusted until it matches
the target position.
VFX
Provides full remote control of parameters on a number of commonly
used outboard signal processing devices.

Virtual Dynamics
Fitted as standard, this unique software manipulation of the console's
hardware processors allows each VCA fader to have its own Dynamics
control device.
Virtual Dynamics is based on digital control of all parameters and
therefore gives the user the ability not only to specify gain contours with
great accuracy but also to produce gain control effects difficult to
emulate with standard analogue hardware. Showtime also allows the
user to store favoured settings, either within the Dynamics library or in
the Cue List.
Virtual Dynamics units are resident within the software and can be
called to the screen at any time, offering a choice of any one of the ten
available devices.
Easy Gate
A simplified gate device, fast and easy to setup. Includes settings for
threshold, range and release time with a switchable ‘fast’ attack mode.
Gate
The standard general purpose gate, similar to the Easy Gate with added
variable attack and hold times.
Super Gate
A fully-featured gate with all of the standard gate’s functionality plus
manual/auto hysteresis, peak, decay, mask time, variable gain and a
switchable release curve (log).
Easy Compressor
A quick and simple compressor, includes variable settings for threshold
and compression with switchable attack and release modes.
Compressor
The standard compression device. Variable settings for threshold,
attack, release, compression ratio and make-up gain. Includes a ‘soft’
setting to provide a gradual transition after the threshold is reached.
Dual Compressor
A complex compression device with an expander section and
compressor with two thresholds and compression ratios.
Limiter
A limiting device with variable ratio, enabling true limiting at 10:1 or
lesser values for alternative forms of compression.
Autopanner
An autopanner provides image shifting across two channels. This is
achieved by the device controlling the level of the faders once panning
has been set. Autopanner events are triggerable and variable points
with variable divergence can be set. A variety of other options make this
a very flexible tool.
Expander
A straightforward expansion device with variable threshold, ratio, attack,
hold and release times and expansion range.
Expander/Compressor
This device enables you to combine expansion and compression on a
single channel.

Technical Specification
Noise
Microphone Equivalent Input Noise
Measured at ST bus output, 22Hz-22kHz band, RMS.
IP termination = 200ohm. Gain +60dB.
+22dBu
Impedance
Mic Input
Measured using Audio Precision System One protocol
>1k5 @ 1kHz
Line Input
Measured using Audio Precision System One protocol
>10k @ 1kHz
Outputs
Measured using Audio Precision System One protocol

RL2 Aux, Group and Matrix Module
RL10 Stereo Input Module
Mono External Input
Input and EQ
Meter Select
Q
Q
PFL
Aux
Group
Matrix
Module
Meter
EQ In
Filter In
LF
Bell
Lo
Hi
Lo
Hi
HF
Bell
Phase
Reverse
Right
Mono
Right
Mono
Left
Mono
External
Input
O
Mono
Input
HF HMF LMF LF
Control signal
from RL4 module
Gain:
+/-20 dB
Gain
+/-20 dB
Solo
PFL
AFL
(Internal)
Aux Output
1to8
Fader and Routing
Fader Reverse
To meter
select
Talkback
Enable
Talk to Aux
from RL4
Aux
Fader
Mute
Mono External Input
to Aux
Mix
Aux
11+12
Stereo Aux
9+10
Group
7+8
Group
5+6
Group
3+4
Group
1+2
Aux
Output
Pan
Insert point
Mute
Mix
Aux
Mix Buss
VCA
AFL
Bypass Option
(Internal jumper)
Auto
Fader Isolate
(Master)
VCA
Control
In
To meter
select
Group Output
1to8
Insert to Matrix
Mono External Input
to Group
Mix
Fader
Pan ST
Talk to Groups
from RL4
Group
Fader
Mute
Insert In
Mono sum
Pre&Post
VCA
Control
Out
Group
Output
Insert point
Group
Mix Buss
Aux 7-8
Stereo
Mono
Aux 5-6
Stereo
Mono
Aux 1-4
Stereo
Mono
Aux Sends
Mix
AFL
PFL
AFL
Auto
Matrix Sends
#1 #8
(Internal
Switch)
Post
Pre
On
Aux 1
Post
Pre
Matrix Output
1to8
On
Aux 5
Post
Pre
Auto
Talk to Matrix
from RL4
Mono External Input
to Matrix
Mix
Aux 6
On
Aux 2
Post
Pre
To meter
select
Matrix
Fader
Mute
Matrix
Fader
off Aux
Matrix
Output
Mix
Matrix
Mix Buss
On
Aux 7
Post
Pre
Auto
AFL
Matrix1to4fedfromAux9to12
Matrix5to8fedfromAux9to12
On
Aux 3
Post
Pre
Aux 8
On
Aux 4
Post
Pre

RL4 Monitor Module
RL3 Main Output Module
Stereo Return Inputs 1-2
Monitor A
Stereo Return 1 & 2
from RL3 module
Stereo
Monitor B
(in RL4)
Monitor A
(in RL4)
PFL
Stereo
Monitor B
(in RL4)
Monitor A
(in RL4)
PFL
External 1
Stereo
Return
Input #2
Stereo
Return
Input #1
Mute
Monitor A
Level Dim
Mono
Solo
Mix
Monitor A
Output
External 2
Gain:
+/-20 dB
Gain:
+/-20 dB
Dim control
from talkback
switch
Solo
control
Headphone Select
Mon A
Comm
PFL/AFL
Mix
Level
External 3
Headphone
Output
Matrix Sends
#1 #8
Meter Select
Mon A
PFL/AFL
Left
Post
Pre
Main Output
Solo
Mix Buss
Solo to Mono
(Wedge) output
(RL 3 module)
Stereo Buss
(Internal)
#1 #8
From RL3
module
Right
Monitor B
Main to RL4 Monitor Module
Mix
Amp
Main
Output
VCA
Stereo Return 1 & 2
from RL3 module
Insert point
Monitor B
Level Mute
Mono
External 1
Trim
+/-3 dB
Talk to Stereo
from RL4
Stereo
Mix Buss
Mix
Monitor B
output
VCA
Mono
Fader
Mono Source (Wedge)
Mix Pre
Mono mix
Mix Post
Solo (Wedge)
Fader Isolate
(Master)
Control
In
External 2
Mono Output
Mono Mix
Amp
L+R
Faders
External 3
Solo Signal
from RL4 module
VCA
Control
Out
Stereo Buss
Aux Master 9 to 12
AFL
Oscillator
Talkback
Enable
Talk to Aux
from RL4
Cal
Osc Level
Oscillator
Output
10 kHz
100 Hz
1 kHz
Aux
Master
Mute
Mix
Amp
Comm to Groups
(RL2 module)
Cal Level
Aux Output
Mix
Aux
Mix Buss
Osc to Routing
Comm to Matrix
(RL2 module)
Aux signal to matrix fader
(RL2 module)
Mix
Talkback
Comm to Aux
(RL2 and RL3 modules)
Talk
Dim control to
Monitor A
Comm to Stereo mix buss
Talkback
Output
Talkback
Mic
Talkback Gain
+10 to +60 dB
Mix Buss
Call
Comm
In/Out

5
4
3
2
1
0
-1
-2
-3
-4
Mic Input Freq. Response
-5
10 100 1k 10k 100k 200k
Mic Amp to Direct Output Frequency Response at Unity Gain
Great care has been taken to maintain excellent bandwidth, the graph
above shows that at 10Hz the response is totally flat, giving superb low
frequency reproduction. At high frequency the bandwidth is extended to
-2dB at 200kHz to ensure there is no degradation of high frequency
signals in the audio band.
0.010
Mic Amp Distortion - (+10dB, Measured at Insert Send)
0.1
0.001
.0005
20 100 1k 10k 20k
Mic Amp Distortion at Unity Gain, Measured at the Insert Send.
(Level= +10dB)
The Mic Amplifier and following circuitry is capable of very low distortion
levels, less than 0.002%, 20Hz to 20kHz as shown in the graph above.
20
15
10
5
0
-5
-10
-15
Filters
-20
10 100 1k 10k 50k
20
15
10
5
0
-5
-10
-15
Equaliser - High Frequency
-20
10 100 1k 10k 50k
20
15
10
5
0
-5
-10
-15
Equaliser - High Mid Frequency
-20
10 100 1k 10k 50k
20
15
10
5
0
-5
-10
-15
Equaliser - Low Mid Frequency
-20
10 100 1k 10k 50k
20
15
10
5
0
-5
-10
-15
Equaliser - Low Frequency
-20
10 100 1k 10k 50k
*All measurements taken on a Recall RN, 56 input frame with automation running. Test equipment: Audio Precision System One.
All results are gain compensated.

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Tel: +44 (0) 161 868 2400
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The company has an established policy of seeking improvements to the design,
specifications and manufacture of its products. Alterations take place continually,
often without prior notification outside the company. The contents of the company's
literature must not be regarded as an infallible guide to the specifications available
despite considerable effort to produce up-to-date information. No literature
constitutes an offer for sale of any particular console or product. The company's
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© 2000 Harman International Industries Ltd.