Dc2020 Brochure

silent integrated
automation
I ntegral to the DC2020 is a • Moving monitor
and master faders
revolution in automated
mixing technology. • Automated channel
and monitor cuts
The C3 console control system • 2 automated Aux

combines digital and analogue send switches per
channel
circuitry without the need for
VCAs and their associated • 4 automated
stereo return and
ergonomic and sonic group cuts
limitations.
Perhaps of • Built-in machine
control interfaces
even
more • MIDI event control
significance,
• Automatic mix save
C3 banishes the
noise problems normally • Simple backup
and archiving
associated with digital
control techniques. • Drop-in/out
DC2020 is as easy to use as with preview
any in-line console. And with

• Track record enable
all automation functions easily
accessed from the console, • 24, 32 and 40
channel frames
engineers quickly feel
completely at home in the DC2020’s • Up to 88 inputs for
final mixing
familiar working environment.
the
commercial edge
Until now, equipping a post

production room with a highly
specified automated console has
placed an almost unbearable
strain on all but the most
extravagant
budgets.
I n an increasingly
Enter the Soundcraft
DC2020.
competitive post production
A development of
market, facility owners are
the ground
faced by ever more critical
breaking DC2000,
hardware decisions.
the DC2020 delivers performance and
Clients demand more and expect flexibility way beyond that suggested
it for less. by its modest price.
With digital recording now the Suddenly post-production facilities can
norm, automated mixing can offer state of the art automation
add that commercial edge that without having to pass on unpalatable
ensures a studio gets, and price rises to their clients.
more importantly keeps, its And that’s a competitive advantage
clients. that can’t be ignored.
But at what cost?
T hrough the Central Touchscreen, the
operation of the DC2020 is broken down
into a simple, logical sequence of events.
Console configuration. The console can be set up

to suit an individual operator’s working practices and
choice of tape machines including pre-roll time and
automatic saving of mixes.
Machine selection. With on-board support for a
wide variety of interfaces, machines may be
controlled via RS422 and/or MIDI protocols.
Source allocation. Using the on-screen Qwerty
keyboard, tracks and channels can be named and
project titles assigned.
Marking MIDI events, cue points and snapshot
presets. The initial skeleton of a mix is
established.
Pre-Mix. Groups of tracks may be
premixed without committing to tape and
individual channels can be grouped.
Final mix. All channels can be assigned and reassigned at
any time to the four floating group faders. The console
jog wheel can be used to scrub the mix allowing for 1/4
frame accurate on-line editing of all parameters. Mixes can
be built up in layers and sections from completed mixes may
be cut and pasted between versions.
DC2020 operation
Up to 50 cue points may be stored per mix with • 24, 25, 30D and
instant locate and on-screen editing. Previous mixes 30ND frame SMPTE
may be recalled and protected to prevent compatible
overwriting. A new mix can be created instead of
editing existing versions. Mixes may be copied to
floppy disks for archiving. • Timecode and video
synchronisation
Events and names are edited on screen using a
standard format QWERTY keyboard layout combined
• RS422 9-pin and
with the jog wheel. Timecode values can be edited
using a similar numeric keypad. MIDI machine control
• Snapshot presets
The DC2020 reads and writes SMPTE/EBU timecode at

24, 25, 30D and 30ND frame rates, either as a master • Snapshot-to-mix
or a slave. The on-board generator can be used for transfer
striping tapes etc. and synchronised to video.
MIDI timecode is also supported and any incoming
format can be converted before re-sending. • On-line mix editing
using jog wheel
Machine types are selected from the on-screen

menu; three different machines are selected from • Quarter-frame cut
the Setup screen. MIDI machines can be linked with resolution
RS422 controlled recorders for chasing or controlled
separately without re-wiring.
• 4000-step fader
resolution
MIDI events can be assigned to any timecode value
facilitating effects processor program changes as • Cut and paste off-
well as note and sequence information for samplers. line mix editing
Additionally, timecode values can be copied from
the cue list or created on-screen.
• Simple transfer
between consoles
Titles, Projects, Users and Studio configurations can
be saved to 3.5” floppy disks for archiving or
• 4-band semi-
transferring to other consoles, enabling the entire
setup to be saved with the mix. parametric EQ
Simple housekeeping duties can also be performed
from the touchscreen.
• Unique “floating
bus” routing
absolute control
A t the heart of the DC2020 • On/Off-line
Touchscreen
console lies the Central Control operation
Panel – a touchscreen driven on-
• Dedicated transport
board computer that takes care controls
of console automation, machine
control and project • Built-in project
management system
management.
• Low-noise digital
circuitry
The DC2020’s
automation • Integral hard
system is highly disk and RAM
storage
intuitive, with no
compromises • Digital level
metering
made in the console’s
control surface and no new • 4 assignable
skills to learn. The consequent “floating” control
groups
ease of operation makes
engineers immediately feel at • Built-in printer
interface
home and lifts productivity to
new heights. • PC/Mac interface
Without leaving the console, all for touchscreen
popular digital and analogue tape

• 4 stereo groups
machines and sequencers can be with effects returns
controlled remotely. Functions include

• Optional patchbay
Auto Play/Return, Drop In/Out points,
Record Enable and Preview.
Additionally, projects can be stored to the
internal hard disk giving near instant recall
of studio setups including tape machines and
System Diagrams
Sound for Picture
VIDEO MONITOR
RS-422 9-pin control is used for VTR transport and record enables.
MIDI control is used to set digital tape machine record enables and
timecode chasing plus effects processor program changes and sample
cues. The VTR acts as sync master while the audio multitrack and
DC2020 chase to timecode.
A DAT machine is used as the final audio master while the VTR may be DAT RECORDER
used for intermediate stereo mastering.
VIDEO
REC LEVEL
ON
EJECT DAT
0 10
ON
TIMECODE OUT T/C IN
EJECT
MASTER VCR
9-PIN IN/OUT
TASCAM DA-88
AUDIO IN
TIMECODE IN EFFECTS UNIT

MIDI IN MIDI IN
POWER DATA ENTRY
MIDI THRU
1 2 3 4 5 6 7 8
MIDI OUT
MIDI THRU
L/R AUDIO INPUT

AUDIO IN/OUT
AUDIO IN/OUT
SLAVE 1
TASCAM DA-88
SYNC/CONTROL
AUDIO PROCESSOR
1 2 3 4 5 6 7 8
POWER DATA ENTRY LEVEL

MIDI IN
MIDI THRU
AUDIO IN/OUT
SLAVE 2
AUDIO IN/OUT
TASCAM DA-88
AUDIO SAMPLER
SENDS/RETURNS
SENDS/RETURNS
LEVEL
SENDS/RETURNS
1 2 3 4 5 6 7 8 1 2 3
MIDI IN DATA
4 5 6
TIMECODE IN
7 8 9
9-PIN IN/OUT
MASTER L/R
C/ROOM L/R
TAPE
TAPE
AUDIO OUT
0
9-16
CURSOR
1-8
OUTPUT
OUTPUT
17-24
TAPE
MIDI IN
MIDI IN
AUDIO IN/OUT
AUDIO INPUT POWER AMP

CHANNEL VOLUME
A B
AUDIO
IN POWER
MONO
BRIDGE 0 10
TEMP
AUX OUTPUTS
HEADPHONES
STEREO RETURNS
INSERTS
MOVING FADER
MONITOR LOUDSPEAKERS
Tapeless Surround Sound Facility

VIDEO MONITOR
The DC2020 issues transport commands to an external record
select matrix via RS-422 9-pin protocol. Machines are all
controlled from the selector which provides master timecode for
all machines and the console. Frame-accurate location of audio,
video and the DC2020 is almost instant. A surround sound
encoder/decoder interface is fed by the group outputs, providing
solo in place, panning and off-tape monitoring.
VIDEO
DAT STEREO
MASTER MACHINE
HARD DISK VIDEO SYSTEM
REC LEVEL
ON ON
EJECT DAT
0 1
HARD DISK
RECORDERS
ON DATA REMOTE IN
M/C 2
M/C 3 8-TRACK
HARD DISK RECORDER
M/C 4 ON DATA
OUTPUS
M/C 1 RS-422 RECORD

1 2 3 4 5 6 7 8
SELECT MATRIX
ON DATA
INPUTS
1 2 3 4 5 6 7 8
T/C OUT
IN/OUT POWER
1 2 3 4 5 6 7 8 1-24 AMPS
DISCRETE AND ENCODED FEEDS
ON DATA TO/FROM SURROUND SOUND MONITOR CHANNEL VOLUME
SURROUND SOUND A B
AND ROUTING INTERFACE MONO
BRIDGE HEADPHONES
POWER
TEMP
0 10
CHANNEL VOLUME
A B
MONO
1 2 3 4 5 6 7 8
GROUP OUTPUTS 1-8
POWER BRIDGE HEADPHONES

TEMP
ON DATA 0 10
CHANNEL VOLUME
RS 422 9-PIN IN/OUT
A B
MONO
POWER BRIDGE HEADPHONES
TEMP
TAPE 0 10
SEND/RETURN
SMPTE IN
1 2 3 4 5 6 7 8 1-24
AUDIO INPUTS
1-24
VOICEOVER
STUDIO
SURROUND
SOUND
MONITOR
MOVING FADER SYSTEM
Patchbay and Rear panel
MON
MON
MON
MON
MON
MON
MON
MON
MON
MON
IN
IN
IN
IN
IN
IN
IN
IN
IN
IN
PHASE
STUDIO OUTPUTS
R
ALT OUTPUTS
RET
RET
RET
RET
RET
RET
RET
RET
RET
RET
PARALLEL
TP
TP
TP
TP
TP
TP
TP
TP
TP
PARALLEL
PARALLEL
PARALLEL
PARALLEL
PARALLEL
TP
OUT
SND
SND
SND
SND
SND
SND
SND
SND
SND
SND
TIMECODE
TP
TP
TP
TP
TP
TP
TP
TP
TP
TP
SMPTE
L
OUT
OUT
OUT
OUT
OUT
OUT
OUT
OUT
OUT
OUT
CH
CH
CH
CH
CH
CH
CH
CH
CH
12
16
20
24
28
32
36
CH
40
IN
4
8
RET
RET
RET
RET
RET
RET
RET
RET
RET
RET
INS
INS
INS
INS
INS
INS
INS
INS
INS
INS
120
24
24
48
72
96
C/ROOM OUTPUTS
R
R
STUDIO PHONES
SND
SND
SND
SND
SND
SND
SND
SND
SND
SND
INS
INS
INS
INS
INS
INS
INS
INS
INS
INS
119
23
23
47
71
95
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
6
IN
IN
IN
IN
IN
IN
IN
IN
IN
IN
118
22
22
46
70
94
L
L
GROUP OUTPUTS
MON
MON
MON
MON
MON
MON
MON
MON
MON
MON
IN
IN
IN
IN
IN
IN
IN
IN
IN
IN
117
21
21
45
69
93
RET
RET
RET
RET
RET
RET
RET
RET
RET
RET
TP
TP
TP
TP
TP
TP
TP
TP
TP
TP
116
20
20
44
68
92
2
2
FOLDBACK O/P'S
SND
SND
SND
SND
SND
SND
SND
SND
SND
2-TRK B RET
SND
TP
TP
TP
TP
TP
TP
TP
TP
TP
TP
115
19
19
43
67
91
OUT
OUT
OUT
OUT
OUT
OUT
OUT
OUT
OUT
OUT
15
19
23
27
31
35
11
39
CH
CH
CH
CH
CH
CH
CH
CH
CH
CH
3
114
18
18
42
66
90
1
1
RET
RET
RET
RET
RET
RET
RET
RET
RET
RET
INS
INS
INS
INS
INS
INS
INS
INS
INS
INS
113
17
17
41
65
89
SND
SND
SND
SND
SND
SND
SND
SND
SND
SND
INS
INS
INS
INS
INS
INS
INS
INS
INS
RET
INS
112
16
16
40
64
88
4
8
2
SND
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
2-TRK A RET
IN
IN
IN
IN
IN
IN
IN
IN
IN
IN
111
15
15
39
63
87
MON
MON
MON
MON
MON
MON
MON
MON
MON
MON
RET
IN
IN
IN
IN
IN
IN
IN
IN
IN
IN
110
14
14
38
62
86
3
7
1
SND
AUX INPUTS
RET
RET
RET
RET
RET
RET
RET
RET
RET
RET
TP
TP
TP
TP
TP
TP
TP
TP
TP
TP
LINE INPUTS
109
13
13
37
61
85
TIE LINES
TIE LINES
TIE LINES
TIE LINES
TIE LINES
SND
SND
SND
SND
SND
SND
SND
SND
SND
SND
RET
TP
TP
TP
TP
TP
TP
TP
TP
TP
TP
R
2-TRK B
108
12
12
36
60
84
SEND
2
6
SND
OUT
OUT
OUT
OUT
OUT
OUT
OUT
OUT
OUT
OUT
CH
CH
CH
CH
CH
CH
CH
CH
CH
CH
L
10
14
18
22
26
30
34
38
2
107
11
35
59
83
11
RET
RET
RET
RET
RET
RET
RET
RET
RET
RET
RET
INS
INS
INS
INS
INS
INS
INS
INS
INS
INS
106
2-TRK A
10
10
34
58
82
SEND
5
1
GROUP INSERTS
SND
SND
SND
SND
SND
SND
SND
SND
SND
SND
SND
INS
INS
INS
INS
INS
INS
INS
INS
INS
L
INS
105
33
57
81
9
9
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
RET
IN
IN
IN
IN
IN
IN
IN
IN
IN
IN
104
32
56
80
8
8
4
R
SND
MIX OUTPUTS
MON
MON
MON
MON
MON
MON
MON
MON
MON
MON
L
IN
IN
IN
IN
IN
IN
IN
IN
IN
IN
103
31
55
79
7
7
RET
RET
RET
RET
RET
RET
RET
RET
RET
RET
RET
TP
TP
TP
TP
TP
TP
TP
TP
TP
TP
102
30
54
78
6
6
3
L
STEREO INPUTS
SND
SND
SND
SND
SND
SND
SND
SND
SND
SND
SND
L
TP
TP
TP
TP
TP
TP
TP
TP
TP
TP
101
29
53
77
5
5
OUT
OUT
OUT
OUT
OUT
OUT
OUT
OUT
OUT
OUT
13
17
21
25
29
33
37
CH
CH
CH
CH
CH
CH
CH
CH
CH
CH
RET
1
SND RET
R
100
28
52
76
4
4
R
2
2
SND
MIX INSERTS
RET
RET
RET
RET
RET
RET
RET
RET
RET
RET
INS
INS
INS
INS
INS
INS
INS
INS
INS
INS
27
51
75
99
3
3
SND
SND
SND
SND
SND
SND
SND
SND
SND
SND
INS
INS
INS
INS
INS
INS
INS
INS
INS
RET
INS
SND RET
R
26
50
74
98
2
2
L
1
1
SND
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
IN
IN
IN
IN
IN
IN
IN
IN
IN
IN
25
49
73
97
1
1
32 channel patchbay
The DC2020 is available with an integrated patchbay which provides a compact, convenient connection point for all line-level inputs and outputs. In addition to the
DC2020’s dedicated connections, jacks are provided for up to 120 tie-lines for custom patching arrangements. Occupying a standard 8-way module at the right hand side
of the console, the DC2020 patchbay presents all external connections (except microphone inputs) on industry-standard EDAC multipin connectors.
L L L
L L L L
MIX AUX SMPTE
C/RM 2 TK - A OUT FB1 OUT 1 STE - D STE - C STE - B STE - A
IN
PORT 1
MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC
R R R R R R R
FB2 AUX SMPTE
OUT 2 OUT
LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE LINE
L L L L PORT 2
MIX STUDIO AUX GRP GRP GRP GRP
ALT 2 TK - B PHONES MIDI
INS OUT 3 INS 7 INS 5 INS 3 INS 1
IN
INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT
R R R R
AUX GRP GRP GRP GRP MIDI PORT 3

OUT 4 INS 8 INS 6 INS 4 INS 2 THRU
RETURN RETURN RETURN RETURN RETURN RETURN RETURN RETURN RETURN RETURN RETURN RETURN RETURN RETURN RETURN RETURN RETURN RETURN RETURN RETURN RETURN RETURN RETURN RETURN RETURN RETURN RETURN RETURN RETURN RETURN RETURN RETURN
L
STUDIO MIDI
TRACK TRACK TRACK TRACK TRACK TRACK TRACK TRACK TRACK TRACK TRACK TRACK TRACK TRACK TRACK TRACK GRP GRP GRP GRP OUT TRACK TRACK TRACK TRACK TRACK TRACK TRACK TRACK TRACK TRACK TRACK TRACK TRACK TRACK TRACK TRACK
SPEAKERS OUT 7 OUT 5 OUT 3 OUT 1 PORT 4
SEND SEND SEND SEND SEND SEND SEND SEND SEND SEND SEND SEND SEND SEND SEND SEND SEND SEND SEND SEND SEND SEND SEND SEND SEND SEND SEND SEND SEND SEND SEND SEND
R
GRP GRP GRP GRP
OUT 8 OUT 6 OUT 4 OUT 2
PORT 5 PARALLEL
VIDEO SYNC
75 V
MASTER REAR
INPUT REAR FACIA INPUT REAR FACIA FACIA
MADE IN ENGLAND
INPUT REAR FACIA INPUT REAR FACIA
24 channel patchbay frame shown

The DC2020 is modular in blocks of eight inputs, with a central group/master section, which houses the Central Control Panel. The console modules are arranged so that
the master section is positioned between inputs 16 and 17, regardless of frame size. Audio connections to the standard console are made by industry-standard XLR
connectors and 0.25” (6.35mm) jacks. The patchbay version of the console interfaces via EDAC multipins, retaining the XLR connectors for microphone inputs. D-type
connectors are used for RS-422 and parallel data ports, while MIDI signals are presented on standard DIN connectors. A video sync input is provided in the form of a BNC
connector, with timecode in/out connections being made via separate 0.25” (6.35mm) jacks.
L L L
L L L L
MIX AUX SMPTE
C/RM 2 TK - A OUT FB1 OUT 1 STE - D STE - C STE - B STE - A
IN
PORT 1
MIC MIC MIC MIC MIC MIC MIC MIC
R R R R R R R
FB2 AUX SMPTE
OUT 2 OUT
LINE LINE LINE LINE LINE LINE LINE LINE

L L L L PORT 2
MIX STUDIO AUX GRP GRP GRP GRP
ALT 2 TK - B PHONES MIDI
INS OUT 3 INS 7 INS 5 INS 3 INS 1
IN
INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT

R R R R
AUX GRP GRP GRP GRP MIDI PORT 3

OUT 4 INS 8 INS 6 INS 4 INS 2 THRU
RETURN RETURN RETURN RETURN RETURN RETURN RETURN RETURN
L
STUDIO MIDI
TRACK TRACK TRACK TRACK TRACK TRACK TRACK TRACK GRP GRP GRP GRP OUT
SPEAKERS OUT 7 OUT 5 OUT 3 OUT 1 PORT 4
SEND SEND SEND SEND SEND SEND SEND SEND
R
GRP GRP GRP GRP
OUT 8 OUT 6 OUT 4 OUT 2
PORT 5 PARALLEL
VIDEO SYNC
75 V
MASTER REAR
INPUT REAR FACIA FACIA
MADE IN ENGLAND
131mm
Dimensions
4.5"
837mm
32.9"
213mm
8.4"
903mm
987mm
781mm
38.9"
30.7"
35.6"
Console Width Weight
24 Channel 1368mm / 53.9” 158 Ibs / 72kgs
24 Channel + Patchbay 1688mm / 66.5” 176 Ibs / 80kgs
728mm 172mm
28.7" 6.8"
BELL SHELF BELL SHELF
HIQ HIQ
+48V BUSSES
PHASE FILTER IN ROUTING
GAIN CUT/BOOST MATRIX
CUT/BOOST
CHANNEL PATH
MIX L
FREQ MIX
MIC FREQ
CHANNEL CUT SHORT MIX R
INPUT INSERT CHANNEL
(BAL) SEND/RETURN FADER
PEAK (UNBAL) CHAN
PEAK PAN
INPUT 100Hz GROUP 1

LINE HF/LF EQ HMF/LMF EQ CUT 1-2
AMPLIFIER FILTER
GROUP 2
LINE
INPUT PFL GROUP 3
(BAL)
3-4
GROUP 4
CHANNEL
POSTFADE
EQ IN
(BOTH)
GROUP 5
5-6
TRIM EQ TO EQ TO GROUP 6
MONITOR MONITOR MONITOR/MIX PATH
LONG BNCE GROUP 7
MONITOR CUT MOTOR 7-8
MONITOR GROUP 8
FADER MON
PEAK PEAK PAN
TAPE TAPE
INPUT RETURN CUT
(BAL)
MIX L
MONITOR PFL
SOURCE
CHAN POST MIX R
CHAN
+4DBU/-10DBV
METER SELECT
METER MON POST
ACCESS
UNDER SWITCH CHAN MON
CONSOLE TO METER PREFADE POST PREFADE
AUX1 AUX2 AUX3 AUX4
CHANNEL
POSTFADE
ARM CHAN MON
AMB AMB ARM POSTFADE POSTFADE
ON ON
ON ON
TAPE SWITCH GRN GRN FB2
TAPE SLATE BUS N
ISEND SEND TO TAPE FB1
OUTPUT TO TAPE
(GNDCOMP)
AUX1 AUX2 AUX3 AUX4
FB1 FB1 FB2

GROUP MON/
RETURN LEFT
TALKBACK SLATE
OSCILLATOR ENABLE CHAN CHANNEL MONITOR
PEAK MNTR
PEAK PEAK PEAK
PEAK RED FROM PEAK RED
FROM DETECT MNTR DETECT
CHAN
Channel/Monitor Input
Mic, line and tape return inputs are balanced, with the nominal tape input/output level being selected (to +4dBu or -10dBV) by a switch located under the console. The
unbalanced insert point follows the HF/LF EQ routing to the monitor or channel path. The channel and monitor Peak indicators both warn of excessive level at two points;
after the input amplifier and after the channel or monitor fader. The normal tape source may be switched over to one of the group outputs allowing channels to be
grouped before recording; similarly, the monitor source may be selected to be off-tape or channel output to provide automated mic or line faders if required. Aux 1 and 3
On switches, channel and monitor Cut switches and the main monitor fader are all automated.
Stereo Return/Group Output

The line level stereo inputs may be selected to +4dBu or -10dBV sensitivity and may be routed to the corresponding group or the stereo mix bus. Depending on the status
of the foldback outputs, the returns are routed in stereo or summed to mono before adding to the FB1 and FB2 mixes. The four stereo group outputs are provided with
unbalanced insert points and may be used as independent outputs or routed to the stereo mix. Automated functions include stereo return and group Cut switches.
HF LF
L PREFADE
ST METER L
PFL
GRP ODD
L POSTFADE
STEREO
INPUT INPUT HF/LF EQ MONO
AMP CUT SUM
LEFT
(BAL)
R PREFADE FB1/L FB2/R
MIX L
LEFT
NORMALLED
TO RIGHT CUT R POSTFADE
-10 ROTARY MIX GRP
FOR MONO FADER SWITCH
FB1 FBL FB2 FBR
AUTOMATED
SWITCHES
GRP EVEN SOLO CUT FOLDBACK BUSSES
TO FOLDBACK MASTER
STEREO
INPUT INPUT HF/LF EQ CUT
RIGHT AMP
(BAL)
AMB ON AMB ARM
MIX R
ST METER R CUT
RED
STEREO RETURN SECTION
PFL
GROUP OUTPUT SECTION GRP METER ODD

PFL GROUP TO INPUT GRP RETN
INSERT FADER
AUTOMATED
SWITCHES
GRP SUM
BUS AMP CUT GROUP OUT ODD ST METER L METER
ODD ODD GNDCOMP SOLO CUT CHANGE METER
GROUP OVER LEFT
METER
ODD
CUT MIX MIX BUS

L&R ST METER R METER
ON ARM METER
AMB AMB CHANGE
GROUP OVER RIGHT
INSERT METER
CUT EVEN
RED
GRP SUM
AMP CUT GROUP OUT EVEN
BUS GNDCOMP
EVEN EVEN METER SELECT
GRP METER EVEN

PFL
TO INPUT GRP RETN

Block Diagrams
AFL
AFL
AMB AMB
CUT AFL EN AFL ON

TO AUTOMATION CUT TO AUTOMATION
AFL AFL
SWITCH AFL SWITCH AFL
(PFL BUS) (PFL BUS)
ARM ARM
AMB AMB
CUT CUT
GRN GRN
LEVEL LEVEL
AUX AUX1 AUX AUX2

AUX1 SUMMING ELEC AUX2 SUMMING
AMPLIFIER AMPLIFIER OUTPUT AMPLIFIER ELEC AMPLIFIER OUTPUT
SWITCH (GNDCOMP) BUS SWITCH (GNDCOMP)
CUT CUT
FROM FROM
AUTOMATION AUTOMATION
LINK LINK
AUX AUX
3 TO 1 4 TO 2
AFL AFL
AMB AMB
CUT TO AUTOMATION AFL EN AFL BN

CUT TO AUTOMATION
AFL AFL
SWITCH AFL SWITCH AFL
ARM (PFL BUS) (PFL BUS)
ARM
AMB AMB
CUT CUT
GRN GRN
LEVEL LEVEL
AUX AUX3 AUX AUX4

AUX3 SUMMING OUTPUT AUX4 SUMMING
BUS ELEC AMPLIFIER BUS ELEC AMPLIFIER OUTPUT
AMPLIFIER (GNDCOMP) AMPLIFIER SWITCH
SWITCH (GNDCOMP)
CUT CUT
FROM FROM
AUTOMATION AUTOMATION
Aux Masters
The four mono Aux outputs are fed via rotary master faders and automated cut switches. Aux 3 may be linked to Aux 1 if required to allow monitor and channel aux
feeds to be summed; similarly, Aux 4 may be added to the Aux 2 output. FB1 and 2 may be used as additional auxiliary mixes, giving a total of six effects sends.
Stereo Mix and Control Room Monitoring

The main stereo mix output benefits from unbalanced insert points and a motorised, automated master fader. The stereo mix signal is fed to control room monitors
unless overridden by a PFL or AFL selection. Alternatively, control room monitors may be switched to one of two stereo tape inputs for off-tape listening. Solo level
may be trimmed by +/-10dB to match master output levels, and mono compatibility may be checked by summing the left and right signals. An automatic dim is
enabled whenever talkback to studio is selected. The engineer’s headphone feed on the front of the DC2020 disconnects the control room speaker outputs. An
alternative pair of switched outputs is available for near-field monitors.
TALKBACK TO MIX TALKBACK TO MIX

MIXL MIXR
METER METER
TO CRM TO CRM
MIXL SUMMING SELECT MIXR SUMMING SELECT
BUS AMPLIFIER BUS AMPLIFIER
MIXL MIXR
OUTPUT OUTPUT
SUMMING VCA AMPLIFIER SUMMING AMPLIFIER

AMPLIFIER AMPLIFIER VCA
(GNDCOMP)
(GNDCOMP)
MONL SUMMING MONR SUMMING
BUS AMPLIFIER BUS AMPLIFIER
CONTROL CONTROL
FROM FROM
AUTOMATION CADENCE
INSERT INSERT
SEND/ SEND/
RETURN RETURN
(UNBAL) (UNBAL)
TO STUDIO MONITOR
METER
CONTROL ROOM MONITORING
OUTPUT CIRCUIT
2 TRKA LEFT
LEFT
(BAL)
INPUT PFL/
2 TRKB AFL MONO DIM LEFT
LEFT AMPLIFIER PHONES
CHANGE CIRCUIT CIRCUIT AMPLIFIER AMPLIFIER
(BAL) (MIXING)
CRM
LEFT
TRIM
MIX (GNDCOMP)
LEFT
NORMALLING
FROM MIX OUT ALT
LEFT LEFT
CRM PHONES
DIM CRM LEVEL
PFL/ MONO FROM DIM JACK ALTERNATIVE
CRM SELECT SPEAKERS
AFL PFL/AFL TALKBACK (DISCONNECTS
PFL/AFL BUS CRM SPEAKERS)
SUMMING SIGNAL
AMPLIFIER CRM
RIGHT RIGHT
TO STUDIO
OUTPUT CIRCUIT (GNDCOMP)
NORMALLING
2 TRKA
RIGHT
(BAL) ALT
RIGHT
2 TRKB INPUT PFL/

AMPLIFIER AFL MONO DIM RIGHT PHONES
RIGHT CIRCUIT CIRCUIT AMPLIFIER
(BAL) (MIXING) CHANGE AMPLIFIER
RED
MIX PFL/
RIGHT PFL EN MONITOR
AFL
DETE METER
FROM MIX OUT AFL EN CTOR RIGHT
STUDIO OUTPUTS
OUTPUT OUTPUT
MONITOR TALK TO TALK TO
SELECT FOLDBACK/CRM BACK AMPLIFIER STUDIO BACK AMPLIFIER STUDIO
LEFT SUB MIXER TO STU PHONES TO STU SPKRS
LEFT LEFT
(GNDCOMP)
AMB
AFL
TALKBACK
CRM TO FB1 FB2 STUDIO TO STUDIO CRM TO TALKBACK
FROM CRM STUDIO
INPUT STUDIO PHONES FROM TO STUDIO
PHNS STEREO LEVEL SPKRS
SELECT AFL FROM
CIRCUIT AFL BUS PHONES TALKBACK
(SEE MANUAL) SWITCH ENABLE STUDIO
AFL ENABLE
OUTPUT OUTPUT
TALK TO TALK TO
MONITOR FOLDBACK/CRM BACK AMPLIFIER STUDIO BACK AMPLIFIER STUDIO
SELECT SUB MIXER TO STU PHONES TO STU SPKRS
RIGHT RIGHT RIGHT
(GNDCOMP)
TB TO
STUDIO
SPKRS
OR
LEVEL PHONES
FOLDBACK MASTERS ARM
OSCILLATOR/ STUDIO
SPKRS
TO
STU AMB CUT AMB TALBACK
FOLDBACK PHNS
BUSSES CUT
AFL AFL GRN
GLOBAL SWITCH
CHAN/ AFLEN TALK ENABLE
FB1 TO
MON RED MIC TO
FOLDBACK 1 ELEC FB1 STUDIO DIM
TRONIC OUT MIC CRM
SUMMING AMPLIFIER AMP
AMPLIFIER SWITCH (GRNCOMP) CAL
FROM FB1
INPUT MON/ STUDIO
FB1 PHONES
SENDS LEFT LEV 1K/10K
FROM LEV
AUTOMATION OSC
FB2 TO
TAPE
TALK ENABLE
SLATE TO
FB1 SIG PHONES DIM
ARM SWITCH CRM
TO CUT
STU AMB AMB
PHNS SINE OSC SLATE
CUT TO OSCILLATOR TAPE
AFL WAVE
FROM AFL GRN OSCILLATOR MIX
FBL SWITCH 20HZ - 20DB
STEREO AFLEN MIX
INPUT STEREO
SWITCH BUS
SENDS
FOLDBACK 2 ELEC FB2
SUMMING TRONIC AMPLIFIER OUT TALK DIM CRM
AMPLIFIER SWITCH (GRNCOMP) TO
TAPE
FB2
LEV TB + SLATE SIG
FBR
FROM
AUTOMATION
Studio, Foldback and Oscillator Outputs

Studio headphones are fed in stereo by a mix of the control room feed, FB1 and FB2 and talkback. The studio speakers are fed independently by a mix of the control
room feed and talkback. Foldback signal FB1 is selected globally to be fed from the input monitor or channel paths; FB2 is permanently allocated to the monitor
inputs. FB1 and FB2 may be paired to work as a stereo feed, with panning achieved via the dual controls on each input and the returns routed in stereo. A 1kHz/10kHz
variable level oscillator may be routed to the tape sends for line-up and to the main mix outputs. The DC2020’s talkback section permits the engineer to talk
independently to the studio speakers, headphones and slate to tape, mixed with a 20Hz oscillator signal.
Machine Compatibility
The DC2020 operating software is regularly upgraded, and as a result the range of compatible machines is continually widening. Many machines not quoted here will
interface directly with the DC2020 using standard MIDI Machine Control or Sony 9-pin protocols. The DC2020 itself will act as a timecode master or slave, enabling
simple chasing to take place.
Machine Transport Record Enable Drop In/Out Locate Timecode Interface Req’d
Tascam DA-88 MMC or 19-pin Tracks 1-8 With preview LO, LI Cuepoints, MTC or LTC SY-88 card
Chase, Jog/Shuttle 1
Alesis ADAT MMC All tracks 2 With preview 2 LO, LI Cuepoints MTC or off- AI-2 or 2BRC
tape LTC remote
Fostex G-series MMC All tracks With preview LO, LI Cuepoints MTC or off- None
tape LTC
Fostex RD8 MMC Tracks 1-8 With preview LO, LI Cuepoints MTC None
Sony UVW 9-pin RS-422 All tracks - LO, LI Cuepoints, LTC None
Jog/Shuttle
Sony P2 9-pin RS-422 All tracks - LO, LI Cuepoints, LTC None

Jog/Shuttle
Akai - Tracks 1-4 - LO, LI Cuepoints MTC, LTC 3 IB-113M MIDI board
3
IB-112T SMPTE board
Automation
Machine Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MIDI Machine Control, 9-pin RS-422, SMPTE Master.
Synchronisation and Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MIDI Timecode, SMPTE (24, 25, 30D, 30ND fps).
Mix Data Storage. . . . . . . . . . . . . . . . . 4 to 12mb RAM, 80 to 120Mb Hard disk drive, 1.44Mb IBM-format floppy disk drive Video Sync.
Fader Resolution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4096 steps (within 0.25dB @ 0dB gain).
Fader Accuracy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . within 0.75 frame.
Switch Accuracy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . within 0.25 frame.
DC2020 Specifications
Low-noise
+48v
LINE
balanced Mic, Line Connections Impedance Level
-20 20 30 and Tape inputs Mic (XLR) 2kΩ balanced . . . . . . . . . . . . . . . . . . . . . . . -60dBu to 0dBu (+20dBu max)
15 40
INPUT
0 60 Floating bus Line (Jack)* >10kΩ balanced . . . . . . . . . . . . . . . . . . -40dBu to +20dBu (+40dBu max)
100Hz
architecture Insert (Jack)* <75Ω/>10kΩ unbalanced . . . . . . . . . . . . . . . . . . . . . -2dBu (+21dBu max)
TAPE -0+ allows flexible
Tape Send (Jack)* <75Ω gnd comp . . . . . . . . . . . . . . . . . . . +4dBu (+21dBu max) into 600Ω
RETURN
TRIM
track routing
RET
20 20
MON
without -10dBV (+7dBV max) into 600Ω
SND
SRC
repatching
DIR TAPE
SRC
Tape Return (Jack)* (+4dBu) >20kΩ balanced. . . . . . . . . . . . . . . . . . . . . . . . . . . . . +26dBu max
GRP 1
HF
6
3
-0+
3
6
(-10dBV) >10kΩ balanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . +12dBV max
9 9
12 12
15 15
1k
2k 3k
4k
Stereo Return (Jack)* (+4dBu) >20kΩ balanced. . . . . . . . . . . . . . . . . . . . . . . . . . . . . +26dBu max
8k
500
-0+
18 kHz (-10dBV) >10kΩ balanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . +12dBV max
LF 3 3
Four-band semi-
6 6
Group Insert (Jack)* <75Ω/>10kΩ unbalanced . . . . . . . . . . . . . . . . . . . . . -2dBu (+21dBu max)
9
12 12
9
parametric EQ
15
200 300
15
section with Q Group Output (Jack)* <75Ω gnd comp . . . . . . . . . . . . . . . . . . . +4dBu (+21dBu max) into 600Ω
100
400
switching and Aux Output (Jack)* <75Ω gnd comp . . . . . . . . . . . . . . . . . . . +4dBu (+21dBu max) into 600Ω
M 800
O
N 50 1.6 kHz shelf/bell
HI
MID
6
3
-0+
3
6
selection. Foldback Output (Jack)* <75Ω gnd comp . . . . . . . . . . . . . . . . . . . +4dBu (+21dBu max) into 600Ω
9 9
LO
12 12
15
0
15
EQ May be
HI 1k
2k 3k
4k
switched in pairs
Mix Output (Jack)* <75Ω gnd comp . . . . . . . . . . . . . . . . . . . +4dBu (+21dBu max) into 600Ω
C/room Speakers (Jack)* <75Ω gnd comp . . . . . . . . . . . . . . . . . . . +4dBu (+21dBu max) into 600Ω
8k
500 18 kHz of bands to
LO -0+
MID
6
3 3
6 channel or C/room H/phones (Jack)* <75Ω gnd comp . . . . . . . . . . . . . . . . . . . +4dBu (+21dBu max) into 600Ω
9 9
LO
12 12 Monitor path
0
15
200
15
300
50mW into 8Ω
HI 100
400
800
Studio Speakers (Jack)* <75Ω gnd comp . . . . . . . . . . . . . . . . . . . +4dBu (+21dBu max) into 600Ω
50 1.6 kHz
M
O
N
EQ
IN
Up to six Auxiliary Studio H/phones (Jack)* <75Ω gnd comp . . . . . . . . . . . . . . . . . . . +4dBu (+21dBu max) into 600Ω
5
MON 4 6
3 7 sends for effects
AUX
1
2
1 9
8
routing (or four

SMPTE Input/Output (Jack), Midi In/Thru/Out (5-pin DIN), Sony RS-422 (9-pin D-type), Printer (25-pin D-type)
0 10
plus stereo
4
5
ON
6
foldback). Filter Freq Slope
AUX
2 2
3 7
8
Two automated
1
0 10
9
Aux ‘On’ switches HP 100Hz 18dB/Oct
CHAN
5
4 6
3 7
AUX
3 2 8
1
0 10
9
EQ Freq Gain Q
ON
AUX
4
3
4
5
6
7 HF 500Hz - 17kHz 615dB 1.5/Shelf
2 8
1
0 10
9
HMF 700Hz - 17kHz 615dB 1.2/2.0
5
4 6
FB1/L
CH/
MON
2
3 7
8
LMF 50Hz - 1kHz 615dB 1.2/2.0
1 9
0 10
LF 50Hz - 1.7kHz 615dB 1.3/Shelf
POST
5
4 6
FB2/R
MON 2
1
3 7
9
8 Auxiliaries and Foldback
0 10 ‘Bounce’ switch
1
0
1
for routing Aux 1 . . . . . . . . . . . . . . . . . . . Post fade . . . . . . . . . . . . . . . . . . . . . Monitor
2 2
MON
PAN 3 3 Monitor input to
4
L 5 5
4
R Groups Aux 2 . . . . . . . . . . . . . . . . . . . Post fade . . . . . . . . . . . . . . . . . . . . . Monitor
BOUNCE
0
Aux 3 . . . . . . . . . . . . . . . . . . . Post fade. . . . . . . . . . . . . . Monitor/Channel
1 1
CHAN
2 2 Sub-group routing Aux 4 . . . . . . . . . . . . . . . . . . . Post fade. . . . . . . . . . . . . . Monitor/Channel
PAN 3 3
4 4 for Channels
L
MIX
5 5 R
inputs FB 1. . . . . . . . . . . . . . . . . . . . . Pre/Post fade . . . . . . . . . . Monitor/Channel

1-2 FB 2. . . . . . . . . . . . . . . . . . . . . Pre/Post fade . . . . . . . . . . Monitor/Channel
10 3-4
60mm Channel
5 5-6 Input fader
Oscillator
0
7-8
5
1kHz/10kHz variable level
CHAN
10 PEAK
25
15
20
MON
Automated Frequency Response
30
40 SOLO
Channel and
Monitor Cut Any input to any output 20Hz -20kHz, +0/-0.5 dB
switches
CUT
THD and Noise

CHANNEL
Track Enables
MONITOR
SOLO remotely activated Line in to Tape Send +20dBu Input Level . . . . . . . . . . . . . . . . . . . . . . . . . <0.002% THD @ 1kHz
from the console Tape Return to Mix Out +20dBu Input Level . . . . . . . . . . . . . . . . . . . . . . . . . . <0.02% THD @ 1kHz
10
CUT
Monitor Input Mic E.I.N. 22Hz - 22kHz unweighted . . . . . . . . . . . . . . . . . . . . . . <-128dBu @ 200Ω

Fader 100mm Tape Send Noise 22Hz - 22kHz unweighted . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . <-85dBu
5
touch-sensitive
Mix Output Noise 22Hz - 22kHz unweighted . . . . . . . . . . . . . . . . . . <-75dBu (32 ch. routed)
0 long-throw
SEL
Moving Fader
WR
under C3 control Isolation and Crosstalk
5
SW
RD
10 WR Simple fader and Input Channel Muting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . >95dB @ 1kHz

15 FDR
RD switch automation Input Channel Fader Isolation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . >70dB @ 1kHz
20 1
CNTR 2
mode selection
25
30
GRP
ASN 3 Mix/Group Routing Isolation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . >90dB @ 1kHz
4
40
Group-Mix Crosstalk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . <-80dB @ 1kHz
Four assignable
Control Groups Group-Group Crosstalk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . <-75dB @ 1kHz
*EDAC connections on patchbay version

HARMAN INTERNATIONAL INDUSTRIES LTD.
CRANBORNE HOUSE, CRANBORNE INDUSTRIAL ESTATE, CRANBORNE RD., POTTERS BAR, HERTS, EN6 3JN, ENGLAND.
TEL: +44 (0)1707 665000 FAX: +44 (0)1707 660482
SOUNDCRAFT JBL PROFESSIONAL

8500 BALBOA BLVD. NORTHRIDGE, CA 91329
TEL: 1-818-893-4351 FAX 1-818-893-0358 FLASHFAX 1-818-895-8190
Part No. A4; ZL0219

US; ZL0220
Soundcraft Electronics Limited reserve

the right to improve or otherwise
alter any information supplied in this
document or any other
documentation supplied hereafter.

Dc2020 Brochure

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Dc2020 Brochure

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silent integrated

The C3 console control system • 2 automated Aux

any in-line console. And with

Until now, equipping a post

Console configuration. The console can be set up

The DC2020 reads and writes SMPTE/EBU timecode at

Machine types are selected from the on-screen

popular digital and analogue tape

controlled remotely. Functions include

TIMECODE IN EFFECTS UNIT

L/R AUDIO INPUT

POWER DATA ENTRY LEVEL

AUDIO INPUT POWER AMP

Tapeless Surround Sound Facility

M/C 1 RS-422 RECORD

POWER BRIDGE HEADPHONES

AUX GRP GRP GRP GRP MIDI PORT 3

24 channel patchbay frame shown

LINE LINE LINE LINE LINE LINE LINE LINE

INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT

AUX GRP GRP GRP GRP MIDI PORT 3

RETURN RETURN RETURN RETURN RETURN RETURN RETURN RETURN

SEND SEND SEND SEND SEND SEND SEND SEND

INPUT 100Hz GROUP 1

FB1 FB1 FB2

Stereo Return/Group Output

GROUP OUTPUT SECTION GRP METER ODD

CUT MIX MIX BUS

GRP METER EVEN

TO INPUT GRP RETN

CUT AFL EN AFL ON

AUX AUX1 AUX AUX2

CUT TO AUTOMATION AFL EN AFL BN

AUX AUX3 AUX AUX4

Stereo Mix and Control Room Monitoring

TALKBACK TO MIX TALKBACK TO MIX

SUMMING VCA AMPLIFIER SUMMING AMPLIFIER

2 TRKB INPUT PFL/

Studio, Foldback and Oscillator Outputs

Sony P2 9-pin RS-422 All tracks - LO, LI Cuepoints, LTC None

routing (or four

inputs FB 1. . . . . . . . . . . . . . . . . . . . . Pre/Post fade . . . . . . . . . . Monitor/Channel

THD and Noise

Monitor Input Mic E.I.N. 22Hz - 22kHz unweighted . . . . . . . . . . . . . . . . . . . . . . <-128dBu @ 200Ω

10 WR Simple fader and Input Channel Muting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . >95dB @ 1kHz

*EDAC connections on patchbay version

SOUNDCRAFT JBL PROFESSIONAL

Part No. A4; ZL0219

Soundcraft Electronics Limited reserve

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