ADVANCED MIXING MATRIX SURROUND SOUND

WITH AN ORDINARY 4-TO-10-SUBGROUP MIXER

HOW THIS WORKS:

This method of mixing matrixed surround sound uses the pan positions and phases used in real surround sound systems.
This list shows how the methods handle the signals:

Panning left and right provides the left to right positioning of the sound source.
Changing the bus pair selects front-back positioning. Some systems require a crossfader and two channel strips.
Various techniques can be used to position a sound source at the location of the listener or over his head
Adding reverb (not part of this plan, but can be available on the mixer) moves a sound source farther away.
Doubling a part spreads it out. But it must be a real double, with the part being sung twice (*--*).
One thing that is not covered here in detail is that some systems of reproducing surround sound require that the treble be rolled off above 7 KHz when a source is panned to the back. This can be done with the EQ controls on your channel strips.

Several matrix encoding systems exist, but many are no longer used. They include:

RM - Regular Matrix, including Dolby Surround, Sansui QS, Dynaquad, and Electro Voice.
AP - Acroperiphonics (overhead sounds)
SQ - The CBS SQ system, used extensively in the 1970s.
SQ Basic (Single) - The CBS SQ system, but placing sounds only between the front speakers, or between the back speakers.
UM - The Denon basic matrix of the UMX system.
HM - The BBC Matrix H (not supported here)
CS - CircleSurround
BH - Ambisonics (not supported)
3D - The 3D Dolby Surround variations

An SQ decoder can be connected to encode SQ for either the front pair or the back pair. Two identical SQ decoders can be connected as a full SQ encoder. Do not use two different models of SQ decoder

CHOOSING A RECORDING SYSTEM:

With the details on how the systems work, it becomes clearer how to add such a feature to a recording setup.

Several setups are outlined on the following page. Choose what capabilities fit your needs and budget:

Click here for: Choosing an Encoding System

If you need nothing but RM, click here for: Basic Mixing Matrix Surround Sound

CONSTRUCTING THE ENCODING CIRCUITS:

Click here for: Building Matrix Surround Sound Encoders

FLIPPING BETWEEN GROUPS:

To FLIP the channel assign selection between groups is necessary to select either FRONT or BACK encoding positions, but not both.
This procedure assumes that either the FRONT group or the BACK group is already assigned.
The FLIP operation consists of deselecting one group, and simultaneously assigning the other. This is easy to do with most mixers:

On mixers with separate FRONT and BACK channel assign buttons, press both buttons at exactly the same time. One will latch as the other unlatches. The Mackie SR 24.4 has this type of group assign.
On mixers with ALT 3-4 GROUP channel assign buttons, pressing the single button automatically disconnects one group as it assigns the other. The Samson PL2404 has this type of assign.
If you accidentally assign both groups at the same time, the sound image will shift to the wrong position.
If you accidentally disconnect both groups at the same time, the source will disappear from the mix.

SETTING UP THE CONTROLS:

Assign the RM FRONT, RM BACK, SQ FRONT and SQ BACK subgroups or returns and the AP RETURN to the RM FRONT or MAIN output, depending on the mixer used.
Note: On the Special Mackies, the AP RETURN must be assigned to the RM BACK for it to work right).
If stereo inputs are used for the RM BACK, SQ FRONT and SQ BACK RETURNs, center the BALANCE controls and assign them to RM FRONT.
If two mono channels are used for each of the RM BACK, SQ FRONT and SQ BACK RETURNs, set the left one's PAN control all the way left, and the right one's PAN control all the way right. Assign them to RM FRONT.
If channel strips are used for the RM BACK, SQ FRONT and SQ BACK RETURNs, turn all aux sends on the strips all the way down.
Center the BALANCE or PAN control of the AP RETURN (if used).
If you can, set the RM BACK, SQ FRONT and SQ BACK SUB OUTs to unity gain.
If you can, set the RM BACK, SQ FRONT and SQ BACK RETURNs to unity gain (This is also the SUB OUT fader if inserts are used).
Connect a sound source to one of the channel inputs. For this setup, monitor in stereo, not surround.
Turn the channel strip's AUX SEND all the way down.
Mute (or fade down) the AP RETURN.
Assign the source's channel input to the RM FRONT (if not used, assign SQ FRONT) group and adjust the TRIM, channel fader, and MAIN fader for good sound level.
Turn the PAN control of the sound source all the way LEFT.
FLIP (see procedure above) the source's channel from the FRONT group to the corresponding BACK group. The sound level should not change. If it does change, adjust the BACK OUT fader pair and the ENCODER RETURN (preferably one not calibrated for unity gain). Always set both BACK OUT faders to the same setting.
FLIP (see procedure above) back and forth between FRONT and BACK. The level should not change as you switch the assignment.
Repeat the above test with the source's PAN control all the way RIGHT.
Repeat the entire sequence with the sound source for the remaining groups used, testing them against the FRONT pair originally used.
Mark the settings of the various SUB OUTs and RETURNs on tape, so you can accurately set them again.
Set up the Ultimate Pairs as RM encoders.
Activate the surround decoder to be used, and repeat the sequence with the sound source, to make sure the sounds come from the correct speakers.

If you are not using the digital delay for overhead sounds, you are done with the adjustments. Otherwise, continue.

Set the digital delay for a 15 millisecond delay.
Assign the source's channel to the RM BACK (Note: For the AP function to work right on the Special Mackies, use FRONT instead).
Mute (or fade down) the AP RETURN, and notice the sound level.
Set the source's AUX SEND to unity gain.
Mute (or fade down) the RM BACK and open the AP RETURN. Adjust the controls of the digital delay and the AP RETURN for the same level noticed earlier. (On the Special Mackies, this is impossible to do. Instead, try to adjust the AP RETURN so it gives the same amount of sound as the FRONT output from the channel.)
Alternately open either the RM BACK or AP RETURN (with the other closed) to get the same sound level from both.
Mark the settings on the digital delay and AP RETURN controls with tape, so you can accurately set them again.

USING THE RM / DS ENCODER:

QS and RM Encoding

Set all of the marked controls to their marked settings.
Each input channel can be positioned independently in the surround image.
Always use the proper decoder to monitor the mix as it is made.
To place or pan a channel in the front half of the surround image, turn down the AUX SEND and assign only the RM FRONT group. Use the PAN control to position the source laterally.
(NOTE: at the extreme ends of the PAN control, the source will curve around to the straight left or straight right position.)
To place or pan a channel in the rear half of the surround image, turn down the AUX SEND and assign only the RM BACK group. Use the PAN control to position the source laterally.
Again, the source will curve around at the ends of the PAN control.
To make a source jump from the front to the back half, FLIP (see procedure above) it from the RM FRONT group to the RM BACK group.
To make a source jump from the back to the front half, FLIP it from the RM BACK group to the RM FRONT group.
To make a source pan from the front to the back half, turn the PAN control all the way left (or right). Then quickly FLIP from the RM FRONT group to the RM BACK group. Then pan the source to where it will end up.
To make a source pan from the back to the front half, turn the PAN control all the way left (or right). Then quickly FLIP from the RM BACK group to the RM FRONT group. Then pan the source to where it will end up.
The previous two procedures can be combined to make a source circle the audience.
Notice that when you SOLO a channel in AFL, it always appears in the front half in the SOLO output, no matter where it is actually encoded. This is a characteristic of most SOLO systems, not a failure.
At all times, the FADER can be used alone to fade the source down to inaudibility.

Here is a sample mixer with settings used for various RM pan positions:

The label on the mixer I designed this diagram from says LEV (level) instead of FADER, possibly because it has rotary faders. I preserved it in the diagram. The mixer has a 2+2 bus.

USING RM / DS ACROPERIPHONY:

To place a source overhead (assuming the surround speakers are higher than ear level), select only the RM BACK group, center the PAN control, and set the source's AUX SEND to unity gain. It is necessary to use a lower channel FADER setting to maintain the same overall sound level.
On the Special Mackies, to place a source overhead, select the RM FRONT group, center the PAN control, and set the source's AUX SEND to unity gain. It is necessary to use a lower channel FADER setting to maintain the same overall sound level.
Off center overhead sources are hard to locate by ear, but can be created by use of the PAN, FADER, and AUX SEND controls on the channel:
- On the Special Mackies, interchange the words "back" and "front" in this list:
- Use the PAN control for left-right positioning. It will not pan clear to the sides, but will move the source in an arc curving toward the front at the ends (on the special Mackies, it will curve toward the back instead).
- Use a lower setting of the AUX SEND control (and higher FADER setting) to move the source toward the back.
- Use a higher setting of the AUX SEND control (and lower FADER setting) to move the source toward the front.
- At positions nearest the front, the PAN control does nothing (On the special Mackies, this happens at the back).
Always use the proper decoder to monitor the mix as it is made.
At all times, the FADER can be used alone to fade the source down to inaudibility.

USING THE RM / DS SINGLE SQ ENCODER FOR SQ:

Single SQ

Notice that this encoder cannot encode sounds directly to the left or the right of the listener in SQ.

Set all of the marked controls to their marked settings.
To encode RM or DS, use the procedure for the RM/DS encoder above.
For SQ encoding, turn down the aux send for AP, if it exists).
Each input channel can be positioned independently in the surround image.
Always use the proper decoder to monitor the mix as it is made.
To place or pan a channel along the front of the image, assign only the SQ FRONT group.
Use the PAN control to position the source laterally.
NOTE: the source will NOT curve around to the straight left or straight right position.
To place or pan a channel in along the rear of the image, assign only the SQ BACK group.
Use the PAN control to position the source laterally.
Again, the source will not curve around at the ends of the PAN control.
To make a source jump from the front to the back half, FLIP (see procedure above) it from the SQ FRONT group to the SQ BACK group.
To make a source jump from the back to the front half, FLIP it from the SQ BACK group to the SQ FRONT group.
The source can not be panned directly to the sides with this system. It also can not use the diagonal splits.
An AFL SOLO channel always appears in the front half in the SOLO output, no matter where it is actually encoded.
- This is a characteristic of most SOLO systems, not a failure.
At all times, the FADER can be used alone to fade the source down to inaudibility.
For acroperiphonics, the crossfader (or a splitter) and two channel strips are needed.

USING THE SINGLE SQ ENCODER WITH NO RM:

Use the same procedure used for the RM/DS SINGLE SQ ENCODER.

Note that acroperiphonics is available.
The image at right portrays this encoder, but can be used for all of the other SQ systems.
Buses 1-2 are RM FRONT, and buses 3-4 are SQ BACK.
For acroperiphonics, side panning, or diagonal splits, the crossfader (or a splitter) and two channel strips are needed.

Here is a sample mixer with settings used for various SQ pan positions:

This mixer has a 2+2 bus

USING THE SWITCHED RM / DS OR DOUBLE SQ ENCODER FOR RM OR SQ:

Set all of the marked controls to their marked settings.
Each input channel can be positioned independently in the surround image.
Always use the proper decoder to monitor the mix as it is made.
To encode RM or DS, Bypass the SQ decoders and set the phase switch to reverse. Then use the procedure for the RM / DS encoder above.
To encode SQ, Enable the SQ decoders. Then use the procedure for the Double SQ encoder above.
If the SQ decoders have separate bypass switches, the following features also become available:
- RM Acroperiphonic Sound
- SQ Acroperiphonic Sound
At all times, the FADER (or faders) can be used alone to fade the source down to inaudibility.
For acroperiphonics, side panning, or diagonal splits, the crossfader (or a splitter) and two channel strips are needed.

Setting the switches:

SWITCH TABLE
FRONT BYPASS SWITCH	BACK BYPASS SWITCH	MATRIX SELECT	RESULT
RM	RM	RM	RM Encoder
RM	RM	RM Normal	Stereo
SQ	SQ	SQ 4−C	SQ 4−Corners Encoder
SQ	SQ	SQ DGS or F−O	SQ Forward−Oriented Encoder
SQ	RM	RM	RM Acroperiphonic Encoder
RM	SQ	SQ 4−C	SQ Acroperiphonic Encoder

USING THE RM / DS DOUBLE SQ ENCODER FOR SQ:

Double SQ

Set all of the marked controls to their marked settings.
To encode RM or DS, use the procedure for the RM/DS encoder above.
For SQ encoding, turn down the aux send for AP, if it exists).
Each input channel can be positioned independently in the surround image.
Always use the proper decoder to monitor the mix as it is made.
To place or pan a channel along the front of the image, assign only the SQ FRONT group. Use the PAN control to position the source laterally.
NOTE: The source will NOT curve around to the straight left or straight right position.
To place or pan a channel along the rear of the image, assign only the SQ BACK group. Set the phase switch to not reverse the phase, and use the PAN control to position the source laterally.
Again, the source will NOT curve around at the ends of the PAN control.
To make a source jump from the front to the back half, FLIP (see procedure above) it from the SQ FRONT group to the SQ BACK group.
To make a source jump from the back to the front half, FLIP it from the SQ BACK group to the SQ FRONT group.
To place a source along the left or right side, or along a diagonal split, two channel strips are needed. Use a splitter cable to feed the same source to both strips. Assign one strip to SQ FRONT and the other to SQ BACK. Set the phase switch to reverse. Then use the following settings:
- For the left side, pan the SQ FRONT strip left, and the SQ BACK strip left. Set the channel faders to position the source.
- For the right side, pan the SQ FRONT strip right, and the SQ BACK strip right. Set the channel faders to position the source.
- For the LF−RB diagonal split, pan the SQ FRONT strip left, and the SQ BACK strip right. Set the faders to position the source.
- For the LB−RF diagonal split, pan the SQ FRONT strip right, and the SQ BACK strip left. Set the faders to position the source.
An AFL SOLO channel always appears in the front half in the SOLO output, no matter where it is actually encoded.
- This is a characteristic of most SOLO systems, not a failure.
At all times, the FADER (or faders) can be used alone to fade the source down to inaudibility.
For acroperiphonics, side panning, or diagonal splits, the crossfader (or a splitter) and two channel strips are needed.

Here is a sample mixer with settings used for various Double SQ pan positions:

USING THE DOUBLE SQ ENCODER WITH NO RM:

Use the same procedure used for the RM / DS DOUBLE SQ ENCODER. Note that acroperiphonic is not available.

USING THE RM / DS SINGLE, DOUBLE, OR SWITCHED SQ ENCODER FOR SQ ACROPERIPHONIC:

To place a source equally in all speakers, two channel strips are needed. Use a splitter cable to feed the same source to both strips.
Assign one strip to RM FRONT and the other to SQ BACK. Set the phase switch to reverse. Then use the following settings:
- Turn the pan controls near center, but they can be adjusted to reposition the image left or right.
- Set the channel faders to position the source more to the front or the back.
Always use the proper decoder to monitor the mix as it is made.
At all times, the FADER (or faders) can be used alone to fade the source down to inaudibility.
For side panning or diagonal splits, the crossfader (or a splitter) and two channel strips are needed.

USING THE RM / DS DOUBLE OR SWITCHED SQ ENCODER FOR RM ACROPERIPHONIC:

To place a source equally in all speakers, two channel strips are needed. Use a splitter cable to feed the same source to both strips.
Assign one strip to SQ FRONT and the other to RM BACK. Set the phase switch to reverse. Then use the following settings:
- Turn the pan controls near center, but they can be adjusted to reposition the image left or right.
- Set the channel faders to position the source more to the front or the back.
Always use the proper decoder to monitor the mix as it is made.
At all times, the FADER (or faders) can be used alone to fade the source down to inaudibility.
For acroperiphonics, side panning, or diagonal splits, the crossfader (or a splitter) and two channel strips are needed.

USING ANY OF THE SQ SYSTEMS FOR CIRCLESURROUND:

Use ONLY ONE of the following procedures:
1. Trade the connections for the SQ BACK feeds into the SQ decoder being used as the back encoder. Use if nothing but CS is to be used.
2. Turn the SQ BACK pan control to the right for left back, and to the left for right back. Use if both CS and SQ are to be used.
Then follow the SQ encoding procedures above, with the chosen change in place.
Always use the proper decoder to monitor the mix as it is made.
For acroperiphonics, side panning, or diagonal splits, the crossfader (or a splitter) and two channel strips are needed.

USING THE RM / DS DOUBLE SQ ENCODER FOR 3D RM:

Set all of the marked controls to their marked settings.
Each input channel can be positioned independently in the surround image.
Always use the proper decoder to monitor the mix as it is made.
To encode RM or DS around the edge of the room, use the procedure for the RM/DS encoder above.
To place a source above or below the listener, two channel strips are needed. Use a splitter cable to feed the same source to both strips. Assign one strip to either RM FRONT or RM BACK and the other to SQ BACK. Set the phase switch to reverse, then use the following settings:
- Turn the pan for the SQ BACK all the way left for below the listener, or all the way to the right for above the listener. Note that the proper 3D playback equipment is needed to tell the difference.
- For directly above or below the listener, set the fader for the SQ BACK channel to the desired level, and turn the other fader down.
- To move the sound source away from directly above or below, set the RM channel to the desired direction, and use the faders to position the source closer or farther from the vertical.
All of the procedures combined can place the source anywhere on the surface of a sphere surrounding the listener.
Notice that when you SOLO a channel in AFL, it always appears in the front half in the SOLO output, no matter where it is actually encoded. This is a characteristic of most SOLO systems, not a failure.
At all times, the FADER (or faders) can be used alone to fade the source down to inaudibility.
For 3D RM, the crossfader (or a splitter) and two channel strips are needed.

USING EITHER DOUBLE SQ ENCODER FOR THE BASIC MATRIX OF UMX:

Set all of the marked controls to their marked settings.
Turn down the aux send for AP, if it exists).
Each input channel can be positioned independently in the surround image.
Always use the proper decoder to monitor the mix as it is made.
Set the phase switch to reverse.
To place a source anywhere in the space among the speakers, two channel strips are needed. Use a splitter cable to feed the same source to both strips. Assign one strip to SQ FRONT and the other to SQ BACK. Then use the following settings:
- To move the source from left to right, pan the SQ FRONT strip left or right. For straight left or straight right, reduce the SQ BACK strip to inaudibility.
- To move the source from front to back, pan the SQ BACK strip left (for front) or right (for back). For straight front or straight back, reduce the SQ FRONT strip to inaudibility.
- The combinations of both strips can place the sound anywhere within the plane of the speakers.
Notice that when you SOLO a channel in AFL, it always appears in the front half in the SOLO output, no matter where it is actually encoded. This is a characteristic of most SOLO systems, not a failure.
At all times, the FADER (or faders) can be used alone to fade the source down to inaudibility.
For UMX, the crossfader (or a splitter) and two channel strips are needed.

USING SETS OF ULTIMATE ENCODER PAIRS:

Set all of the marked controls to their marked settings.
Turn down the aux send for AP, if it exists).
Each input channel can be positioned independently in the surround image.
Always use the proper decoder to monitor the mix as it is made.
Choose two pairs of buses and set them up as one of these, using the switch table below:
- Stereo, RM, RM Acro, SQ 4−corner, SQ Diagonal Split, SQ Forward−Oriented, SQ Backward−Oriented, SQ Acro, UMX Basic, RM 3D Front, RM 3D Back
- One pair of buses can be used with more than one of these sets.
For RM or SQ 4−Corners encoding, only one channel strip is needed.
For RM Acro, SQ Diagonal Split, SQ Forward−Oriented, SQ Backward−Oriented, SQ Acro, UMX Basic, RM 3D Front, or RM 3D Back, two channel strips are needed. Use a splitter cable or the crossfader to feed the same source to both strips. Assign the strips to the buses set up as in the table. Then use the following settings:

Setting the switches:

SWITCH TABLE
OPERATION	CHANNELS	SWAP SWITCH	PHASE SWITCH 1	PHASE SWITCH 2	MODE SWITCH	PAN POT CONTROLS	CROSS−FADE CONTROLS
Stereo Pass−Through	Stereo	Normal	Normal	−	RM	L − F − R	not used
Stereo Pass−Through	Phased	Normal	Normal	−	SQF	L − F − R	not used
RM Encoder	Front	Normal	Normal	−	RM	L − LF − F − RF − R	not used Use Flip Buses
RM Encoder	Back	Normal	Reverse	−	RM	L − LB − B − RB − R	not used Use Flip Buses
RM Acroperiphonic Encoder	Front	Normal	Normal	−	RM	L − LF − F − RF − R	F − C − B
RM Acroperiphonic Encoder	Back	Normal	Reverse	−	SQF	L − LB − B − RB − R	F − C − B
SQ 4−Corners Encoder	Front	Normal	Normal	−	SQF	LF − F − RF	not used Use Flip Buses
SQ 4−Corners Encoder	Back	Normal	Normal	Normal	SQB	LB − B − RB	not used Use Flip Buses
SQ Diagonal−Split Encoder	Front	Normal	Normal	−	SQF	LF − F − RF	F − Split − B
SQ Diagonal−Split Encoder	Back	Normal	Reverse	Normal	SQB	LB − F − RB	F − Split − B
SQ Forward−Oriented Encoder	Front	Normal	Normal	−	SQF	LF − F − RF	F − Side − B
SQ Forward−Oriented Encoder	Back	Normal	Normal	Reverse	SQB	LB − F − RB	F − Side − B
SQ Backward−Oriented Encoder	Front	Normal	Reverse	−	SQF	LF − B − RF	F − Side − B
SQ Backward−Oriented Encoder	Back	Normal	Reverse	Reverse	SQB	LB − B − RB	F − Side − B
SQ Acroperiphonic Encoder	Front	Normal	Normal	−	RM	LF − F − RF	F − C − B
SQ Acroperiphonic Encoder	Back	Normal	Normal	Normal	SQB	LB − B − RB	F − C − B
UMX Basic Encoder	Left−Right	Normal	Normal	−	SQF	L − C − R	[L−R] − C − [F−B]
UMX Basic Encoder	Front−Back	Normal	Normal	Reverse	SQB	F − C − B	[L−R] − C − [F−B]
RM 3D Front Encoder	Front	Normal	Normal	−	SQF	L − LF − F − RF − R	Horiz − Oblique − Vert
RM 3D Front Encoder	Down−Up	Normal	Normal	Reverse	SQB	N − NF − F − ZF − Z	Horiz − Oblique − Vert
RM 3D Back Encoder	Back	Normal	Reverse	−	SQF	L − LB − B − RB − R	Horiz − Oblique − Vert
RM 3D Back Encoder	Down−Up	Normal	Reverse	Reverse	SQB	N − NB − B − ZB − Z	Horiz − Oblique − Vert
CircleSurround Encoder	Front	Normal	Normal	−	SQF	LF − F − RF	F − Side − B
CircleSurround Encoder	Back	Swap	Normal	Reverse	SQB	LB − F − RB	F − Side − B

Note that more than two sets are possible at the same time with only 8 buses. For example:

If you set up two pairs for RM and two pairs for SQ forward, the following can be used simultaneously:

SAMPLE ENCODER TABLE
	RM Encoder		SQ Forward−Oriented
ENCODING SET	SUB 1−2 RM Front	SUB 3−4 RM Back	SUB 5−6 SQ Front	SUB 7−8 SQ Back
RM	Front	Back
SQ			Front	Back
RM Acroperiphonic		Back	Front
SQ Acroperiphonic	Front			Back
RM 3D Encoding		Back	Front	Vertical
UMX Basic			Left−Right	Back−Front

If you set up two pairs for SQ Front−Oriented and two pairs for SQ Back−Oriented, the following can be used simultaneously:

SAMPLE ENCODER TABLE
	SQ Forward−Oriented		SQ Backward−Oriented
ENCODING SET	SUB 1−2 SQ Front	SUB 3−4 SQ Back	SUB 5−6 SQ Front	SUB 7−8 SQ Back
SQ Forward−Oriented	Front	Back
SQ Backward−Oriented			Front	Back
RM	Front		Back
SQ 4−Corners	Front			Back
RM 3D Encoding	Front	Vert Front	Back	Vert Back
UMX Basic	Left−Right	Back−Front

Notice that when you SOLO a channel in AFL, it always appears in the front half in the SOLO output, no matter where it is actually encoded. This is a characteristic of most SOLO systems, not a failure.
At all times, the FADER (or faders) can be used alone to fade the source down to inaudibility.
For acroperiphonics, side panning, diagonal splits, RM 3D, or UMX, the crossfader (or a splitter) and two channel strips are needed.
To use more pairs than you have bus pairs, you can bounce bus pairs to pairs of tracks.
This can even be used with a 4 bus (or 2+2) with only one Ultimate Encoder Pair and a stereo pair (RM Front). All tracks using the same matrix settings can be bounced to a pair of tracks. Then the bounced pairs can be mixed in stereo.

TABLES OF MODULATIONS:

TABLE OF DIRECTIONS
LETTER	SOUND DIRECTION	LETTER	SOUND DIRECTION	LETTER	SOUND DIRECTION
L	To the left	C‡	Centered	R	To the right
F	To the front	C‡	Centered	B	To the back
Z	To the zenith (up)	C‡	Centered	N	To the nadir (down)
(LR)(FB)(ZN)		Order of use

‡ Omitted if other letters present.

TABLE OF MODULATIONS AND DIRECTIONS
SIGNALS		DIRECTIONS
LETTER	MODULATION	RM	SQ	UMX
L	Left channel	L	LF	L
R	Right channel	R	RF	R
I	In phase	F	F	C
O	Out of phase	B	B	−
K	Koino−clockwise	N	LB	F
A	Anti−clockwise	Z	RB	B
?	Any on pan pot	?	?	?
(LR)(IO)(KA)		Order of use

TABLE OF PAN POSITIONS
CHANNEL ASSIGN	MATRIX SELECT	PAN L	PAN C	PAN R
RM FRONT	RM	L	I	R
RM BACK	RM	L	O	R
SQ FRONT	SQ any but B−O	L	I	R
SQ BACK	SQ 4−C or B−O	K	O	A
SQ BACK	SQ F−O or DGS	K	I	A
SQ FRONT	SQ B−O	L	O	R

TABLE OF SURROUND RECORDING PAN SETTINGS
S Y S	CHANNEL STRIP #1	CHANNEL STRIP #2	MATRIX SELECT	CONTROL IN USE	CONTROL POSITION	1	2	3	4	5	CONTROL POSITION
R M	RM FRONT	(none)	RM	Pan pot #1	Pan Left	L	LF	F	RF	R	Pan Right
R M	RM BACK	(none)	RM	Pan pot #1	Pan Left	L	LB	B	RB	R	Pan Right
R M 3 D	SQ BACK††	SQ 4−C	NORMAL	Pan pot #1	Pan Left	N	NB	B	ZB	Z	Pan Right
	SQ BACK††	(none)	SQ F−O	Pan pot #1	Pan Left	N	NF	F	ZF	Z	Pan Right
	RM any pan†	SQ BACK pan left	SQ ††††	Cross Fade	RM any pan	RM	−−	RM N	−−	N	SQ BACK
	RM any pan†	SQ BACK pan right	SQ ††††	Cross Fade	RM any pan	RM	−−	RM Z	−−	Z	SQ BACK
S Y S	CHANNEL STRIP #1	CHANNEL STRIP #2	MATRIX SELECT	CONTROL IN USE	CONTROL POSITION	1	2	3	4	5	CONTROL POSITION
S Q	SQ FRONT	(none)	SQ any but B−O	Pan pot #1	Pan Left	LF	−−	F	−−	RF	Pan Right
	SQ BACK††	(none)	SQ 4−C	Pan pot #1	Pan Left	LB	−−	B	−−	RB	Pan Right
	SQ FRONT pan left	SQ BACK pan left	SQ F−O or B−O	Cross Fade	SQ FRONT	LF	−−	L	−−	LB	SQ BACK
	SQ FRONT pan right	SQ BACK pan right	SQ F−O or B−O	Cross Fade	SQ FRONT	RF	−−	R	−−	RB	SQ BACK
	SQ FRONT pan left	SQ BACK pan right	SQ DGS	Cross Fade	SQ FRONT	LF	−−	C	−−	RB	SQ BACK
	SQ FRONT pan right	SQ BACK pan left	SQ DGS	Cross Fade	SQ FRONT	RF	−−	C	−−	LB	SQ BACK
S Y S	CHANNEL STRIP #1	CHANNEL STRIP #2	MATRIX SELECT	CONTROL IN USE	CONTROL POSITION	1	2	3	4	5	CONTROL POSITION
U M X B M X	SQ FRONT	(none)	SQ any but B−O	Pan pot #1	Pan Left	L	−−	C	−−	R	Pan Right
	SQ BACK††	(none)	SQ F−O	Pan pot #1	Pan Left	F	−−	C	−−	B	Pan Right
	SQ FRONT pan left	SQ BACK pan left	SQ F−O	Cross Fade	SQ FRONT	L	−−	LF	−−	F	SQ BACK
	SQ FRONT pan right	SQ BACK pan left	SQ F−O	Cross Fade	SQ FRONT	R	−−	RF	−−	F	SQ BACK
	SQ FRONT pan left	SQ BACK pan right	SQ F−O or DGS †††	Cross Fade	SQ FRONT	L	−−	LB	−−	B	SQ BACK
	SQ FRONT pan right	SQ BACK pan right	SQ F−O or DGS †††	Cross Fade	SQ FRONT	R	−−	RB	−−	B	SQ BACK

TABLE OF SURROUND RECORDING MODULATIONS
S Y S	CHANNEL STRIP #1	CHANNEL STRIP #2	MATRIX SELECT	CONTROL IN USE	CONTROL POSITION	1	2	3	4	5	CONTROL POSITION
S I G N A L S	RM FRONT	(none)	RM	Pan pot #1	Pan Left	L	LI	I	RI	R	Pan Right
	RM BACK	(none)	RM	Pan pot #1	Pan Left	L	LO	O	RO	R	Pan Right
	SQ FRONT	(none)	SQ any but B−O	Pan pot #1	Pan Left	L	LI	I	RI	R	Pan Right
	SQ BACK††	(none)	SQ 4−C	Pan pot #1	Pan Left	K	OK	O	OA	A	Pan Right
	SQ BACK††	(none)	SQ DGS or F−O	Pan pot #1	Pan Left	K	IK	I	IA	A	Pan Right
	RM FRONT any pan	SQ BACK any pan	SQ 4−C	Cross Fade	RM FRONT	?I	−−	C	−−	?O	SQ BACK
	SQ FRONT pan left	SQ BACK pan left	SQ F−O or B−O	Cross Fade	SQ FRONT	L	−−	LK	−−	K	SQ BACK
	SQ FRONT pan right	SQ BACK pan right	SQ F−O or B−O	Cross Fade	SQ FRONT	R	−−	RA	−−	A	SQ BACK
	SQ FRONT pan left	SQ BACK pan right	SQ DGS	Cross Fade	SQ FRONT	L	−−	LA	−−	A	SQ BACK
	SQ FRONT pan right	SQ BACK pan left	SQ DGS	Cross Fade	SQ FRONT	R	−−	RK	−−	K	SQ BACK

4−C = 4−Corner, DGS = Diagonal Split, F−O is Forward−Oriented, B−O is Backward−Oriented.

† Use either RM FRONT or RM BACK, for any pan position around the RM periphery. See the Table of Pan Positions.
If using Ultimate Encoder Pairs, SQ Forward−Oriented FRONT and SQ Backward−Oriented FRONT work better.

†† This could be Channel Strip #2 if a pair is needed for other positions.

††† Best to use Forward−Oriented SQ if available. Diagonal SQ is second best.

†††† Best is Forward−Oriented SQ for front half, Backward−Oriented SQ for back half. Use Diagonal Split if Forward and/or Backward are not available.

If 10 buses are available, all encoders except acroperiphonic are possible. Use SQ Front, SQ B−O Front, SQ DGS Back, SQ F−O Back, and SQ B−O Back.