The Quad Eight Oral Roberts 3624-AR console comprises a 36 input program section, a 26 input monitor return section, 16 program multitrack busses, 6 program aux sends, 5 monitor aux sends, TT patchbay, and a master section with flexible listen, solo, slate, and talkback features.
The original quad buss has been reconfigured into 2 separate stereo busses: the “FRONT L/R” buss and the “BACK L/R” buss, each with independent assign and panning. These 2 stereo busses, along with the stereo TV buss, are fed by both the program and monitor sections for a total of 62 fader inputs into 3 global stereo mix busses.
PROGRAM SECTION
The 36 input program section is split into two buckets on either side of the center master section. The left bucket has 16 PE 442 AE mic/ line input modules, and the right bucket has 16 PE 442 AE mic/line input modules and 4 PE-442 ER “echo return” transformer line input modules.
Each of the 36 program input channels includes a Duncan 104mm fader, an EQ-444 four band EQ module, and an SM-16 buss routing module.
INPUT MODULES
PE 442 AE PAN ECHO MODULES include mic/line select, mic preamp gain, line trim, polarity reverse switch, over-level LED indicator, post fade transformer direct out switch, 2 pre/post fade selectable foldback sends, 4 pre/post fade selectable echo sends, stereo buss assigns, pan pots, solo and mute.
The mic preamp utilizes a Reichenbach-built 3440A input transformer and a 60 db discreet op-amp gain stage, a hybrid of the Quad Eight AM4 and AM10 designs. The line input is electronically balanced, and cleverly shares high voltage discreet transistor components with the mic preamp.
PE-442ER ECHO RETURN MODULES include transformer line inputs, line trim, polarity reverse switch, over-level LED indicator, post fade transformer direct out switch, 2 pre/post fade selectable foldback sends, stereo buss assign, pan pots, solo and mute. The input transformers are mounted in the console frame, and feed an electronically balanced line input gain stage.
EQ-444 MODULES
Four band quasi-parametric EQ with 2 position LPF and HPF.
ROUTING MODULES AND FADERS
SM-16 BUSS ASSIGN ROUTING MODULES.
Individual or stereo follow pan when stereo buss is selected.
DUNCAN 104MM 600 OHM FADERS
The original VCA automated faders have been removed/ sonically upgraded to NOS Quad Eight Duncan mechanical faders with an Analog Devices OPA604 based post-fader buffer circuit.
MONITOR SECTION
The 26 input monitor section populates a single hinged panel on the left side of the console. It includes 24 tape monitor channels with 4 prefade cue sends and 1 post fade monitor echo send, and 2 additional “monitor echo return” channels with 4 prefade cue sends.
Each monitor input channel utilizes an entirely passive front end: a Quad Eight Electronics 3436 transformer (manufactured by Reichenbach) feeds directly into a 600 ohm Duncan Slideline fader. The signal path consists of an input transformer, a fader, and a single channel of Quad Eight CA-27 discreet op-amp as a post fader buffer, and that’s it!
The 24 tape monitor channels include “PGM/SYNC” switches, which select between either multitrack record buss outputs (PGM or pre-tape), or tape output returns (SYNC or post-tape).
MONITOR SECTION PANEL
CUE MIX PANEL
MONITOR FADER PANEL with 26 Duncan Slideline faders and 3 position/ 3 color toggle switches. Switch positions: red/ down is MUTE, green/ center is ON, yellow/ up is SOLO.
Buss assign, panning and “PGM” multitrack buss master output/ “SYNC” tape return select.
MASTER SECTION
The center master section includes private and group talkback select, RT6 oscillator module and slate controls, pilot lights, 2 quad joysticks (disconnected but look awesome), independent control room and studio listen select, volume control and mutes. 4 Quad Eight AM-2B opto compressors are built into the top of the panel.
The console has a cool relay-controlled A/B input feature which provides source switching between two 24 track tape machines. The master section MULTITRACK PLAYBACK 1 and MULTITRACK PLAYBACK 2 buttons alternately select between two sets of 24 channel monitor inputs, normalled in the patchbay from multitrack outputs. The selected monitor source is normalled simultaneously to program line inputs 1 through 24, AND to monitor inputs 1 through 24. Similarly, there are two sets of 24 channel multitrack input patch points to feed two 24 track tape machines, they share a common “record buss” via patchbay wiring, and are normalled from multitrack buss outputs 1-16, and program direct outs 17-24. VU meters 1 through 24 follow the monitor input or program buss output selection automatically.
The master center section is also home to 16 multitrack buss master faders, 2 TV buss master faders, 2 main buss stereo master faders, a mono master fader, as well foldback, echo, cue, and monitor echo master rotary faders. All busses utilize a CA-27 2 channel discreet opamp card, one channel is configured as a summing amp and the other as a post fader buffer. The master section panel is also home to built-in transport control switches for five tape machines, two EMT plate decay remotes, and a lighted “on-air” button which inhibits slate and tone functions to all output busses.
MASTER SECTION PANEL
2 QUAD JOYSTICKS Currently disconnected, wiring still intact, great conversation starter.
LISTEN SELECT MATRIX, includes 24 channel multitrack source select, 3 external stereo sources, stereo buss, mono buss, “program” buss, foldback and cue buss listen. Other features include a partial mute, and 3 control room speaker out selection.
GLOBAL SOLO
The console was originally designed with independent solo for the monitor and program sections, this configuration was not compatible with the redesigned global stereo busses and has been upgraded accordingly. Previously, the monitor section utilized a destructive solo into the quad buss, and the program section employed a non-destructive listen-in-position stereo solo feature. These two disparate systems have now been merged – the monitor section solo is still destructive, but sums into and activates the program solo buss. Conversely, the program section solo now activates the monitor section solo mode, killing non-soloed monitor channels. The result is a hybrid global post fade stereo in-position solo function, with master level control. Super-neat bonus feature: the entire solo system can be defeated by the SOLO POS MODE button, which allows you to leave any combination of channels in solo mode, while temporarily suspending the solo listen function and reverting t0 the selected control room listen source. This is a very cool feature for A/B-ing between a group of soloed channels and an overall mix.
AM-2B OPTICAL COMPRESSORS
Solid state opto compressors that don’t sound like anything else.
PATCHBAY
1152 TT patch points include: mic recepticals, mic pre inputs, 24 track inputs and outputs (for two machines) normalled into a A/B switchable monitor input buss, line inputs, preamp outputs, EQ inputs, EQ outputs, fader inputs, direct outputs, summing buss outputs, master fader inputs, master fader outputs, monitor inputs plus much more, and many open patch points for outboard gear etc.
A BRIEF HISTORY
In 1976, the Oral Roberts console was custom designed and built by Quad Eight Electronics for the Oral Roberts University broadcast facility in Tulsa, Oklahoma. It was the original production mixer in the Baby Mabee TV production facility, and it handled all the audio for Oral Robert’s TV show as well as TV specials for Johnny Cash, Dionne Warwick and more. More info on Oral Roberts here.
THE PROPHET AND THE KING, MABEE CENTER 1974
The Oral Roberts console was built simultaneously with a sister console for Mouri Studios in Tokyo, Japan. Mouri is a family-run and fully operational production facility to this day, unfortunately the Quad Eight Mouri console was junked when the facility changed locations some time in the 90’s.
THE QUAD EIGHT MOURI CONSOLE, sister console to the Oral Roberts
By the early 1970’s, Quad Eight had an established reputation for large format film mixing consoles featuring some of the first-ever fader automation systems. The Oral Roberts and Mouri represent two of the company’s earliest ventures into the large format music console market. Built-in state of the art features included quad mix capability, 16 multitrack busses, 4 band parametric EQ, optical compressors, push-button 24 track source A/B switching, and SMPTE time code based VCA automation systems.
For a great read on the genesis and history of Quad Eight, including the corporate espionage of design secrets from Electrodyne that launched the company, check out this awesome Tape Op article.
For more excellent Quad Eight info as well as current product information, check out the Quad Eight Electronics LLC site.
In 2002, the Oral Roberts console was moved to Los Angeles, California where it still makes records today. For the past ten years the console has undergone many sonic and operational upgrades. Each modification has been implemented with extreme care and expertise by an original Quad Eight designer to preserve and expand the unique sonics of the console, while adding useful updated features for modern mixing techniques. Some of these mods include: replacing/ upgrading the antiquated VCA fader systems with NOS Quad Eight mechanical faders, splitting the quad mix buss into two independent stereo busses, tieing together the program and monitor sections into three shared stereo busses, input channel and stereo mix buss headroom improvements, and a redesigned control room listen section – utilizing a Quad Eight CA-37 dual op-amp to electronically balance the front end for more transparent sonics and improved noise, distortion and headroom. See a full list of upgrades and modifications here.
CONSOLE DIMENSIONS
DIMENSIONS:
side to side total 125.5″
bottom to tallest point (master meter bridge) 45″
front to back without pad 52″
front to back with pad 56″
front to back wing unit with rack unit detached 59″
front to back wing unit with rack unit attached 80″
rack unit side to side 21″
rack unit front to back 24″
COMPONENT LIST AND MODIFICATIONS
COMPONENT SUMMARY:
1 +/- 28 volt power supply
1 24 volt power supply
32 PE-442 “pan echo” mic/line input/ panning/ routing modules
4 PE-442ER “echo return” transformer line input/ panning/ routing modules
36 EQ-444 EQ modules
36 SM-16 output assignment modules
36 Duncan 104 mm faders
26 Duncan Slideline faders
4 Quad Eight AM-2B opto compressors
56 CA-27 dual op-amp cards
8 CA-127 single op-amp cards with built-in QEE 3442 output transformer
1 CA-40 amplifier card
2 flasher cards
56 Reichenbach-built Quad Eight Electronics 3041B transformers
20 Reichenbach-built Quad Eight Electronics 3041 transformers
45 Reichenbach-built Quad Eight Electronics 3436 transformers
42 large Quad Eight VU meters
2 quad joy sticks
• many RLC-1A relay cards
• complete original documentation
MODIFICATION SUMMARY:
• quad mix buss split into two stereo busses with independent pan control
• quad buss master VCA fader replaced with 2 stereo P and G faders with CA-27 opamp fader buffers
• program stereo busses merged with tape monitor stereo busses for 62 channel mixing into Front L/R, Back L/R, and TV A/B busses
• input channel VCA faders replaced with Quad Eight 600 ohm Duncan faders and OPA604 based fader buffer circuit, resulting in massive post-fader headroom improvement.
• stereo source listen section input transformers bypassed with balanced CA-27 opamp input circuit
• program section solo and monitor section solo merged (see MASTER SECTION for more details)
• design error in original direct out corrected – step up 150/600 output transformer resulted in current limiting near fader nominal point, changed to unity 600/600 wiring.
• +/- 15 volt power buss no longer needed, was used for original VCA system
KNOWN ISSUES:
• monitor section channels can be assigned independently to any combination of Front L/R and Back L/R busses via four individual buss assignment buttons, however the pan pots are still wired for quad output. This is only an issue when pan pot enable is selected and different panning is desired for Front and Back busses.
• minor cosmetics – some chipped laminate, cracked switches, etc.