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``STYLYX`` USERMANUAL - D&R Broadcast Mixing Consoles

1. 5 lt 10 vet fle gt 5 10 cC e pan gt pie flip at mon Pes e 1048 of solo SUBMODULE STYLYX 24a 24b 24c 24a 24b 24 ae a DE tepe A Ex B ae 28 24 0 28 2 22 9 SUBMOBULE Tape effects returns This switch brings the signal connected to its jack input into the monitoring section of the sub module This switch changes the monitor input from sub aut to tape effectz return AUX 1 AND gt The AUX i and 2 controls are switchable from pre to post monitor by the post pushbutton AUX X AND 4 The AUX 3 and 4 controls can be set internally to pre post monitor by internal jumpersettings PAN FOT Pan pot with a center detent and a 4 5dB down at its centre position pans the signal between the left and right mix busses FLIF The Flip pushbutton rearranges the signal flow in the monitor section If the flip switch is in its up Position the pan pot receives its signal from the monitor volume control When the flip switch down the pan pot receives its signal directly from the subgroup fader An ideai set up for sound reinforcement The monitor pot at the same time is connected to the tape effects return input jack which directly feeds the subgroup cutput buss This feature allows you to use more input feeding the m
2. 13 i aux 2 reset audio 14 i 15 aux 2 set audio 16 4 17 1 set audio 18 1 1 reset audio i9 l Vsi supply from PCB 5 aux 2 LED 2 20 DOX X X X X X X X VIEW CONNECTOR DOXOK X X X X X XXX 2 19 STYLY x ALUIX AUDIO CONNECTOR date 10 04 1988 pin nr function CONN 25 on PCB 5 lt gt CONN 24 on PCB 4 1 i ground shield from 4 2 1 aux 4 slider 3 ground shield from PCB 4 4 aux 3 slider 5 ground shield from 4 6 aux 2 slider 7 i ground shield from PCB 4 i aux i slider 9 ground shield from 4 10 i Vsi from 5 2 10 gt X X X VIEW CONNECTOR DXX X X X i 1 9 STYL YX LEF T MASTER AUDIO CONNECTOR date 10 04 1 nr function CONN 14 on PCB 4 lt gt CONN 11 on PCB 6 L LEDbar send to PCB 4 L out OdBu two track B right input ground shield from PCB 4 two track B left input ground shield from PCB 4 two track A right input ground shield from PCB 4 two track left input ground shield from PCB 4 8 TOP VIEW CONNECTOR X X KKK STYL Y X CPU REF ERENCE CONN date 10 04 1988 pin nr function CONN 5 PCB 5 lt gt on CPU module 18 v 18 48 V phantome earth on off earth chassis earth earth 18 V 18V 2 10 ONO OM BAN
3. 0011 2 shunts 00 00 2 00 0013 f HFF 4 optional in use no shunts STYL_YX 4 WIRING CONN 13 ON colour 1 not connected black 1 2 not connected green 01 2 5 12V red 4013 4 CMIX ground blue 014 CONN 14 LEFT MASTER AUDIO CONN to PCB 6 10 to 10 connector CONN 15 AUX INTERFACE to PCB 5 20 to 20 connector CONN 21 FADER CONN FADER colour 1 not wired black Gb 2 top 3 green 60 32 3 ground H red 0813 4 slider 2 blue 22 LEFT OUTPUT XLR colour not wired black 42024 21 2 ground 1 green 00 uz S out of phase 5 red 2 0 31 4 in phase 2 blue 014 CONN 24 AUX AUDIO to PCB 5 1 pin to 10 connector 3T _ SHUNT SETT INGS date 10 04 1988 CONN 8 R OUT standard 4 dBu 1 shunt optional 10 dBV 1 shunt CONN 10 LEDBAR SELECT standard L R 9090 100 L R OO 1 2 shunts AE E M 1 00 7 SOLO optional SOLO 2 shunts CONN 16 standard not in use 888 OO 1 2 shunts 00 00 2 00 00 3 HH 00 4 optional in use no shunts STYLY WIRING CONN 22 TALKBACK XLR colour 1 TALKBACK input 2 blue 1014 2 ground 5 red Mo NE 5 ground 1 green o 4 not wired black vg 1 CONN 11 LEFT MASTER AUDIO CONN to PCB 4 10 to 10 connector
4. 000 0009 optional pre equalizer O 00 O OO optional pre fader 1 OO O d OO O CONN 4 standard not in use i HH OQ 00 optional in use SS no shunts 00 2 00 5 00 4 CONN 201 CPU CHANNEL INTERFACE 10 2 standard not in use SIDE VIEW PCB HEADER 9 ii U optional CPU in use cemove 2 SHUNTS v xX 16A WIRING CONN 2 MIC INPUT XLR colour 00000 1 not wired black 1234 2 ground 1 green 3 out af phase 3 4 in phase 2 blue CONN 7 FADER CONN FADER colour 0000 1 not wired 1234 2 top 5 green 5 ground 1 red 4 slider 2 blue STYLY X LZ26X SHUNT SETTINGS date 30 05 1988 CONN 4 AUX1 2 optional post fader 000 pan 000 optional switchable O OO zn C O 00 standard pre fader OO 0 0 optional pre equalizer 000 CONN 5 AUX3 4 stendard post fader 000 000 optional switchable 0800 0800 optional pre fader 1 0080 0080 optional pre equalizer O00 eer 000 CONN 6 7 standard not in use i HFF 00 00 optional use 00 1 no shunts OT 32 00 13 00 4 CONN 8 9 DIRECT QUT standard 4dBu i HF OO optional 1
5. ob i Talkback level pine pins ground 18 Volt 18 Volt phantom 4dBV chassis ground 7 dBu to ground hot in phase ground INSTALLATION Applying Powers Before switching on the power supply of the STYLYX check the mains voltage of the supply by looking at the sticker on the back of the 19 housing This should be 110 Volt for area s with voltages from 100 to 120 Volts and 220 Volts for area s with 220 to 240 Volt main voltages The main fuse should be 3 15 Amp 20 mm Anti surge for 220 Volt and 6 3 Amp 20 mm Anti surge for 110 Volt area s Do not replace the fuse with any other type as this could become a safety hazard and will void the warranty INTERFACE LEVELS The STYLYX prepared for interfacing with all available equipment in its standard configuration see Connectors One point of attention has to made concerning the C R M output This output delivers a nominal 4dBU level which is sometimes too high for power amps rated at 9014 sensitivity for full output in those cases install an input attenuator at the power amps input to reduce this 4dBU level by approximately 12 Use 2 2 series resistor and a 680 ohm shunt resistor across the amplifier input GENERAL WIRING PROCEDURES To take full advantage of the excellent signal to noise ratio of the STYLYX it is necessary to carefully read this part of the
6. SIYLYX USER MANUAL Du i INTRODUCTION DAR STYLYX is an extremely compact and easy to handie mixing console which incorporates all necessary facilities for recording and public address it uses split design system which makes it possible to Create subgroups The STYLYX has facilities for musicians and producers that work at home and in life situations midi based environment It s a complete modular system To become familiar with all the facilities of the STYLYX we advise you to read this manual very carefully It wiil give you important information about operating installation and service Electronica B V DR MONO MIC LINE MODULE STYLYX pad 2b phase 260 2 Ine 2 2 2 2 5 prado e RES 5 3 ES mid 4a 2 A 0 5 10k NE gt mid e P sa 1 1 M 5b OS x dis s 6 2 5 e 7 eq EET 2 E XR 10 Ot 2 1 insert post 14c direct out 2 x 2 10 e auxd 8b E 2 145 line 40 1 2 4 14a 5 6 mc TII 1 0 Sue 11 12 solo STYLYX MODULE The channel can operate in either the microphone or line input modes The
7. 8 TOP VIEW CONNECTOR kK KKK STYL YX pin nr i 2 5 i 4 5 6 7 8 9 t 10 2 10 f Sal 9 MASTER INTERFACE date 10 04 1988 function CONN 201 on CHANNEL CONN 201 204 on master LED off audio sw off earth CPU switch status inverted IRQ not wired LED off not wired used for local mode only audio sw off not wired used for local mode only 10 2 VIEW CONNECTOR TOP VIEW PCB HEADER remove SHUNTS when CPU is connected x LED BAR CONNECTOR date 10 24 1988 pin nr function CONN 6 on PCB 3 CONN 9 on PCB 6 D CONN chassis i 4 18 2 H ground logic 3 L master LEDfeed 4 R master LEDfeed 5 i tape return 3 LEDfeed tape return 4 LEDfeed 7 i tape return 7 LEDfeed 8 tape return 8 LEDfeed 9 t tape return 11 LEDfeed 10 tape return 12 LEDfeed 11 tape return 15 LEDfeed 12 tape return 16 LEDfeed 13 tape return 1 LEDfeed 14 i tape return 2 LEDfeed 15 tape return 5 LEDfeed 16 tape return 6 LEDfeed 17 tape return 9 LEDfeed 18 i tape return 10 LEDfeed 19 tape return 13 LEDfeed 20 tape return 14 LEDfeed 2 22 DOX KK KKK KK PKK KK KK KKK um 19 TOP VIEW CONNECTOR STYL YX 1A SHUNT SETT INGS date 10 04 1988 CONN 3 AUX1 2 standard pre fader O HHO optional pre equalizer OO CONN 445 AUX3 4 standard post fader
8. CONN 18 FADER CONN FADER colour 1 not wired black 2 top 5 green 0 2 5 ground 1 red 0 13 4 slider 2 blue iO 4 CONN 19 RIGHT OUT XLR colour 1 not wired black Ori 2 ground i green 0012 5 out of phase 5 red 3 4 in phase 2 blue 4 product safety This product Is manufactured with the highest standards and is double checked our quality control department for reliability in the HIGH VOLTAGE section CAUTIO Never remove any panel or open this equipment No user servicable parts inside Equipment power supply must be grounded at all times e Only use this product as user manual or brochure e Do nol operate this equipment high humidity or expose it to water or other li quids Check the AC power supply cableto assure secure contact Have your equipment checked yearly by a qualified dealer service center described e Hazardous electrical shock can be avoided by carefully following the above rules EXTRA CAUTION FOR LIVE SOUND Ground all equipment using the ground pin in the AC power supply cable Never remove this pin Ground loops should be eliminated only by use of isolation transformers for all inputs and outputs Replace any blown fuse with the same type and rating only after equipment has been disconnected from power If problem persists return equipment to qualified service technician Please carefully read the followig
9. left signal right signal ground maximum of 24 Volt 500 mA changeover contact connected to tip when fader high connected to tip when fader down 55 SUBGROUP MODULE Return A B Tape A B in out Fatch point MASTER MODULE AUX returns AUX outputs Inserts level tip ring sleeve level tip ring sleeve level tip ring sleeve level tip ring sleeve level tip ring sleeve level tip ring sleeve Master outputs left right 2 Track A B level tip ring sleeve level tip ring sleeve i dEBV signal signal signal 087 jumper signal signal signal dBu return send s signal i dBV signal signal signal 4 signal not co signal return send 5 signal ue ose sE level L1 dBYV b pini pina If the unbalanc connect i dBV by jum left right signal 4c BU left right ground UR 4dEBu i0dBV 4dBu ground 4dBu dependent upon settings input output ground Signal ignal ground left right ground in phase hot nnected ground signal ignal ground 4dBu can be set to y jumper setting ground hot in phase cold out of phase utput is used in an ed environment always pin 3 to earth can be set to 4480 per settings ground 1 22 Volt utput output Fower
10. manual Hum radio frequency interference buzzes instability are often caused by improper wiring and inferior earthing systems Sometimes the incoming mains earth not adequate for studio earthing and separate technical earth has to be made for all the audio equipment Your electricity supply company will give you all the details to avoid insufficient safety regulations There are some ground rules to be followed All signals in studio are referenced to earth This earth has ta be clean and free of noise A central point should be decided for the main earth point system and all earths should started from this point way your electricity company has daisy chained the earth your situation is unsuitable for your studio The best way is to run a separate earth wire from each outlet to the system starpoint earth This is the safety earth and screen reference for all your equipment A separate wire from all the equipment racks to the Starpoint to have in cases where the earthing via mains plugs is not satisfying The starpoint should located at the rear of the console equipment rack Install separate clean and dirty mains outlets The clean ones for audio equipment and the dirty ones for lighting air conditioning freezers and so on Do not mix up these two sorts of outlets Mains born interference can be isolated by introducing an isolating transformer for the clean outlets earth
11. microphone input is an electronically balanced transformerless design The input impedance is greater than 2 kohms which will not cause any loading effects on today s studio microphones The balanced line level input which is also to be used as effect and tape return has an input impedance greater than id Kohms which is high enough to interface with all available peripheral equipment 48 VOLT The 48 Volt switch is there to feed condensor microphones and Direct Injection boxes if they have that facility When using other microphones such as dynamic and electric ones the phantom power supply should not be switched on NOTE If phantom power is switched on or aff when the microphone input channel is active a click or thump will be heard This is because you are interrupting a standing DC voltage directly on the Mic input socket Similarly switching from MIC to LINE whilst phantom power is switched on will the same result for the same reason This is not a fault PAD Fushing the pad switch inserts a 2048 attenuation into the input of the microphone amp This could be necessary when modern capacitor microphones are to be used close proximity to musical instruments Even boxes are capable of providing high level signals The pad switch also raises the input impedance providing a balanced line input when the need arises PHASE The phase reverse switch changes the wiring of the mic input only In
12. most cases it the mic signal that s out of phase with another source 4 4 MIC L INE The crosstalk gain line input input is selected by pushing the line button The gain is reduced to minimum gain to avoid between and line inputs with increasing MIC LINE GAIN The microphone input can be varied between 200 and 55 of gain pad of 2 increases the control range to SSdB The line input gain can be varied between 2 dB and Both the and line amplifiers have their own balanced input connectors The amp is balanced on XLR 1 is earth 2 is hot in phase and 3 is cold out of phase The line amp is balanced too on a stereo jack Tip is hot ring cold and shield is earth When you yse this input unbalanced you should always use mono jack for a maximum input stage performance EQUALIZER SECTION The effective entire filter audio section equalizer section of the STYLYX stands out by its very It allows 4 sections of control over the with the addition of a high pass design spectrum HIGH PASS FILTER The high pass filter is switched in and out of the signal path its associated pushbutton The roll off of 12 dE at 100 Hz ensures a very musically sounding effect Note If the eq is switched off the high pass filter will be switched off too HIGH 16dB of boost or cut is available at 12kHz with shelving c
13. or stereo channel has to be removed it is not necessary to remove the metal number indicator strip placed behind the modules It is always easier to remove a module when this strip is also removed but not always necessary number strip can be removed by unscrewing the two bolts on either side of the console hidden behind the caps placed in the sideparts of the console housing When a ledbar mounted this will be removed tagether with the numbering strip The female connector of the ledbar is mounted the metal housing It is a sub D connector mounted below the module retaining screws in the chassis stabalizer section To remove a module first untight the retaining screws which will allow to carefully withdraw the module in an upwards direction When the module is lifted carefully disconnect its flatcable some channels there are two flatcables and remove the module out af the chassis Now extender cables can be connected if ordered The master section can be lifted in the same way but we sauce tO service the master section only by qualified personal To replace module sometimes is easier to unscrew nearby modules retaining screws This will make replacing the modules easier NOTE START with rightening the backscrew first SUMMARY In this manual we have tried to give you an oversight of all the possibilities the STYLYX offers you If there are questions left do not hesitate to contact us or you
14. the transformer directly to the technical earth or as close as possible to the incoming earth All equipment has to be located as far as possible from the incoming mains distribution boxes Unbalanced equipment may need to be isolated from the rack to avoid earth loops SETTING UP THE INITIAL WIRING First connect the power supply of the STYLYX to the console All faders must be down and the C R M fully up Connect the power amps ta the C K M outputs and check far any hum buzz or interference If this allright proceed Now the multitrack can be wired up First the tape out to the line inputs and check noise hum with every connected channel It will built up a little of course Then connect the inputs of the multitrack to the channel outputs of the STYLYX Carefully listen to the noise hum Connect stereo tape recorders studio monitors and all signal processors at the time and keep checking that your system stays clean If note carefully check that there is no earth loop SHIELDING EARTHING OF AUDIO EQUIPMENT The screen of any audio connection should be connected at one end only If not earth loops high frequency crosstalk will be the result Connect the shield as a general rule to the signal source end In high R F area s it wise to earth the other end of the screen via a 0 01 UF capacitor This will be a short circuit at high frequencies but not at low frequencies 29 Typical shie
15. to be used as stereo foldback sends during recording public address setups and switched pastured during remix sessions The AUX sends are wired post equalizer past insertion point and post channel mute switch The STYLYX has provision for automating it s channel fader position by the C Mix fader automation system If the system is activated these AUX sends are wired to post equalizer post insertion point and pre channel mute switch due to the fact that C Mix cannot automate the AUX sends when they are wired pre eq or pre fade The AUX sends 1 and 2 also be set pre equalizer by jumpersettings on the p c b see jumper setting page mic line module AUX SEND 3 AND 4 AUX send is normally post fader wired on the but this be changed easily on the P C B by rerouting the associated jumpersettings See jumper setting instruction page for mic line module in this manual if C Mix is installed and activated read also section 5 ROUTING SECTION The channel input signal be routed to any or all of the 8 subgroups and the stereo mix by selecting the relevant routing push button THE This control with a 4 5 dB lass at its centre point pans the signal between the odd and even subgroups as well as the left and right master buss when selected li a i4 14 i4 b CHANNEL STATUS SECTION The channel on switch is indicated by a green led When
16. LE STYLYX cu ge eo row E fa n 13 20 on 2 ST YEA S e return vs e return m A B 1b gt k A 4 to aux C to aux 1 1 2 1 2 osc aux1 r 30 1kHz t 2 mx group solo 2 e 7 on o 10 M solo E 28 1 12 0 Ic 4612 2 etre Dux3 p s 5 e 10 2 tape A 1f E 2 r 13 on tape BD 4 eta 3 lt 2 T e on 0 1g 1 Lak back soo 1 1 phones MASTER MODULE The master module of the STYLYX contains all the electronics for the summing of the left right signals the aux signals as well as the Control Room Monitor section The width of this module is 92 mm 3 times the channel madule stereo module blind panel subgroup module POWER SUPPLY STATUS The on leds on the ledba
17. a AUX 5 AND 4 be used as effect sends or a separate mix monitoring These can be set pre post fader and or eq by internal jumper settings CHANNEL PAN Allows you ta place the signal anywhere in the stereo image feeding the mix buss or the subgroups 15 b 1 2 Assignment switches to subgroups amp 2 5 4 Assignment switches to subgroups 3 amp 4 5 6 Assignment switches to subgroups 8 amp 7 8 Assignment switches to subgroups 7 amp B Assignment switches to stereo mix buss 10 ig9 c The channel on switch is indicated by a green led When a channel muted all auxiliary sends are also muted with the exception of the signal to the insert jack If is installed and activated read also section S a b c The switch does not affect the p f l signal coming from the channel 1 this mode is selected in the master section The channel solo switch monitors according to the eq Switch setting on the channel the pre eq signal or post eq signal the post insertion point A solo warning led the master indicates together with the channel solo led that at least one channel solo switch is activated The channel led has dual purpose It aiso indicates Signal levels above 170 overload occurring the channel when not activated by its solo push button that case you will monitor the signal level in the channel by the led metering on the ma
18. channel is muted aii auxiliary sends are also muted with the exception of the signal to the insert jack If is installed and activated read also section S5 a b c The on switch does not affect the p f 1 signal coming from the channel if this mode is selected in the master section SOLO PEAE The channel solo switch monitors according to the eq switch setting on the channel the pre eq signal or post eq signal and the post insertion point A solo warning ied the master indicates together with the channel solo led that at least one channel solo switch is activated The channel led has dual purpose It also indicates signal levels above 17dB overload occurring in the channel when not activated by its solo push button In that case you will monitor the signal level in the channel by the led metering on the master CHANNEL FADER The channel fader has a slide length of 100 mm and is manufactured to give an exceptionally smooth feel operation The STYLYX has provision for automating it s volume control by the fader automation system CHANNEL IN OUTPUTS This is the XLR input for balanced condensed or dynamic microphones Pin 1 is earth 2 in phase hot and pin 3 is out of phase cold This is the Line input which is balanced The tip is hot the ring is cold and the sleeve is wired to earth This input has a sensitivity of 2 dB maximum to infinity The input impedance o
19. dBV H O CONN 201 CPU CHANNEL INTERFACE 10 2 standard not use i SIDE VIEW PCB HEADER optional CPU in use remove 2 SHUNTS STYLY X 2A WIR ING CONN 2 3 FADER CONN FADER colour 1 not wired black 4 011 2 top 5 green 012 5 ground 1 red S0 rS 4 slider 2 blue 1014 CONN 10 REMOTE CONN SWITCH color JACK 1 not wired black 2 break contact 2 green sleeve 5 make contact 4 red Cring 4 P contact 1 blue tip SHUNT SETTINGS date 25 04 1988 CONN 2 CONN 7 CONN 2 7 3 4 standard post fader O O 1 O D 2 shunt SS optional pre equalizer 1 OO HR CONN 3 8 TAPE OUT standard 10 dBV O 1shunt optional 4 dBu HE O O CONN 4 9 TAPE IN standard 10 O optional 4 dBu OO CONN 5 SUBGROUP SELECT first module 0000 00s9t 2 shunts 0 second module 0 0 i 00 00 third module OO 0000 fourth module CONN 10 11 standard not in use 2 x 2 shunts oo HH optional use 0011 shunts 0012 00 3 00 4 CONN 201 202 CPU CHANNEL INTERFACE 10 2 standard not in use H SIDE VIEW PCB HEADER Q wa u op
20. f 22Kohm will not toad any line output of tape recorders or signal processors DR STEREO MODULE STYLYX 18 12 et l En hf 4 13a e ma 13b gt e ile 5 1 13c 2 2 S 4 If 2 13 gt 2 M 2 Q 10 vei 2 15a 2 A 2 5 19c remate gt 1 9b direct out 14b stereo hne 19a om 3 15b oe rux lt i e 2 E 15a uu 16 On Solo 17 18 14 This is the output of the channel The tip has a nominal level of 1 dBV and the ring 4dBu One of the two level outputs has to be left unconnected Never use a mono jackplug on this output The 1i dBV is for semi pro equipment and the 4dBu for pro equipment The output signal is post channel fader 14 d This is the channel insert immediately preceding the channel fader The tip is the return while the ring is the send Infout level is dBu 15 STYLYX STEREO MODULE Switches and controls 16 INPUTSELECTOR inputselector has a wide variety of possibilities The upper switch L when activated brings the incaming signal connected to the right and left i e ring and tip of the jackplug input to the left signal patch When both switches are activated at the same time left and
21. g studio To get more familiar with the STYLYX we shall discuss the whole recording process and divide it into 4 basic sequences RECORD Recording fram microphone 1line input on to the multitrack This could be from one or more channels at the time MULTITRACK REPLAY SYNC In this mode you listen to what has been recorded OVERDUBBING This means listening to already recorded tracks and recording spare tracks until all tracks are filled up with music REMIX Replaying of all recorded tracks together with signal processing reverb and all that is necessary to create the final mixdown RECORD MODE This is the beginning of a session All input channels are placed in the mic mode by leaving the line group switch the up position Fhantom powering is applied if necessary Eq switch in the up position The signal flows through the fader and is available postfader at the back of the channel at the output The led bar reads the outgoing signal MONITORING The recorded signal can be monitored in various ways The STYLYX is a split console and therefore the multitrack will connected the subgroup modules Every module can accept two tracks of the multitrack machine There is a choice out of two levels i UdBV or 4dBu The monitoring pots will bring the multitrack signal to the left right mix busses As option the tape return jacks can also be wired to the last 4 8 16 channels of the input
22. i3 d 15 14 14 b 15 the gain control clockwise until you see a UO output level on the master meters Now slide up the channel fader to 0 Remember if the signal source gets louder or softer you may have to go back and check this setting The volume can alsa change if you boost or cut in the equalizer sure the signal being miced stays the same volume when you start recording or you ll need to go back and all this again Do this with every line input to achieve the high quality sound DER products are known for HIGH PASS This switch inserts 12 dB rol off high pass filter starting at 100 Hz into both signal paths It can be switched and out into the circuit by its associated switch HIGH Boost or cut 1698 at 12kHz shelving boost or cut the same amount above LekHz MID Boost or cut 1688 bell curve at with a width of 1 8 octaves LOW MID Boost or cut 16088 bell curve sweepable at 25350Hz with width of 1 5 octaves LOW Boost or cut 16488 at 60 Hz shelving boost or cut the same amount below 60 Hz EQ Switches equalizer or out of the circuit NOTE This also affects the high pass filter It overrides the high filter switch AUX 1 AND 2 Aux 1 and 2 are most commonly used for cue sends stereo headphones These aux sends can be set pre post fader and or eq by internal jumper settings If is installed and activated also read section Se
23. illator level The talkback which has xlr connector on the back is activated by the talkback button situated above the right master fader in the same module 16 MONITOR SECTION This part of the STYLYX lets you monitor individual channels mono or stereo the master mix the AUX outputs and two external stereo sources tape A tape E It is this C R M signal that is constantly monitored by the ledbar meters TAPE These switches when activated connect external stereo inputs to the Control Room Monitor These inputs are intended for your stereo master machines A 1828 2 and 4dBu level choice is available on the p c b see jumper setting page MONO This button provides you with a mono compatibility check of the stereo signal Summing the left right monitor channels will not affect the main stereo output MONITOR C R M C R M stands for Control Room Monitor This control adjusts the outgoing signal to the main monitoring amplifier This signal can be either the output of the solo system the master left right outputs or an external 2 track signal The nominal output is 4dBu The ledbarmeters are not affected by this control PHONES This stereo output located the front panel of the master module is a high power output for headphones with an impedance between 8 and 2000 ohms The level can be adjusted the phones control independant from the monitor control Both phones and mon
24. information Especially sound equipment stage the flowing information is essential to know electrical shock is caused by voltage and current actually it is the current that causes the shock In practise the higher the voltage the higher the current will be and the higher the shock But there is another thing to consider is resistance When the resistance in Ohms is high between two poles the current will be low and vica versa three of these voltage current and resis tance are important in determining the effect of an electrical shock Hewever the severity af sheck is primarily determined by the amsunt current flowing threugh persem h person feel shock because the muscles in a body respond to electrical current and because the heart is muscle it can af fect when the current is high enough Current can also be fatal when it causes the chest muscles to contract and stop breathing Ai what potential is current dangereous Well the first feeling of current is tingle at 0001 Amp of current The current between 01 Amp and 0 2 Amp is fatal Imagine that your home fuses of 20 Amp can handle 200 times more current than neces sary kill How does resistance affect the shock a person feels Atypical resistance between one hand to the other in dry condition could well over 100 000 Ohm If yeu are playing en stage you body perspirimg pefuse ly amd your bsdy
25. itor crm outputs are fed from the Same sources DIM This button only attenuates the monitor level by 2 dB 17 2a 2a 2a 2a 2c MASTER IN OUTPUTS aux L auxe aux returnB aux3 monitor auxa talkback right power 2f Monitor insert j aux return A p A B left 2b 2g 2d 2d 2c TALKBACK SECTION This switch routes the talkback to the mix group AUX 1 and 2 busses At the same time it dims the C R M output by 2808 to avoid feedback 50 075 If anywhere the console solo button is activated this led lights You hear the selected signal instead of the usual master mix at the phones and crm output At the same time the selected signal monitored at both ledbarmeters MASTER IN OUTPUTS This part of the STYLYX provides all the connections with the external equipment such as signal processors and power amps AUXILIARY TPUTS These 4 outputs allow connection to the foldback amps and or signal processors The outgoing level is 4dBu on tip The ring is connected to earth INSERT Two jacks are devoted to the master left right insert The level is The ring is send the tip is return These 2 inserts are provided to insert limiters or other devices into the stereo mix immediately before the master faders Also located at the back you will find the balanced master left right outputs of
26. ix buss without using up any input modules as well as not having to give up any subgroups MONITOR The monitor pot either follows the subgroup output or the tape return dependent upon the position of the return pushbutton switch If the splitbutton is activated the monitor receives its signal only from the return input ON The on switch with its associated led mutes the channel 5 20 20 1 24 24 24 24 This switch brings either the subgroup output signal to the monitoring section or the subgroup monitor input This is dependant upon the status of the return switch The associated led also acts a peak indicator There are two identical sections in this module FADERS The two faders control the outputs of the two subgroups Dependant upon the position into the frame this can be subgroup 1 2 35 4 5 6 7 8 The has provision for C Mix fader automation package IN AND OUTPUTS Patch points These are wired just ahead of the subgroup faders The ring is the send and the tip the return both have a nominal level of dBu 775 mV Tape These stereo jacks both have 4dBu and 1 0dBV level in outputs changeable via jumper settings on the board Return This stereo jack socket is the input for effect returns They both have 4dBu and 10dBV level in one jack The tip has the 1 dBV sensitivity and the ring 4dBu i4 DR DR MASTER MODU
27. lding situations Output Input Screen shield Unbalanced Unbalanced Source Unbalanced Balanced Source Unbalanced Differential Source Balanced Unbalanced Destination Balanced Balanced Source Balanced Differential Destination Differential Unbalanced Source Differential Balanced Source Differential Differential Source Balanced means transformer balanced while differential is electronically balanced There are some cases which give better results practise Always connect one at the time and check Always use twin screened audio cables and connect both conductors at both ends the shielding at one and except patch cords these earths are tied together in the console We know that this part is a difficult ane but once properly installed and wired the results will be clean and noise free FAULT FINDING It is essential to study the signal flow chart carefully Only this way you can isolate problems in the STYLYX By following the signal through in and output jacks its is possible to locate a fault If a fault is located inform your dealer or us and we will try to help you by advice if this will not help just return the channel or master to your dealer or the factory and we will be happy to repair it within 24 hours Many faults can be found by logical thinking and replacing integrated circuits which very easy they are all socketed REMOVING A MODULE Switch off the power supply first case mono
28. ly not the previous recorded signal on that track A most convenient way of headphone mix today is as follows Most of todays multitrack will give the input signal at its output when in recording Derive the headphone from the tape As long as the tape is in the replay mode the musician will hear his previous recorded tracks and the moment the engineer goes into record he will hear himself life This method saves the engineer from continually switching monitor sources By adding the AUX signal from the recording channel the musician will hear himself before the moment of recording too As soon as the multitrack goes into recording a slight increase in the level will be heard Not too bad because the musician exactly knows that what he is doing will be recorded Remix is the process of combining all recorded track together with extensive signal processing In the STYLYX all tape tracks are normalled to the line inputs of the last input channel It is only necessary to switch the microphone inputs to line the in out channels All incoming signals can be routed to the stereo master through the mix push button Subgroups can be made as desired in the same way as during recording The Aux sends and 2 can be switched to post if necessary SET UP The STYLYX is an ideal console for F A It is so compact even with a lot of channels in use In situations it is often desired to have permanent subgrou
29. mic line modules These tape returns are normal fed to the line inputs Situation necessary in remix The two track master machine will be connected between the left right XLR outputs and tape A or B input The factory setting of the levels at the XLR outputs is t4dBU If master machine is connected to these output you may find it necessary to change the jumpers setting at the p c b to adjust the leveis at the outputs or tape inputs according to your tape machine levels MULTIPLE SOURCES ON ONE OR TWO TRACKS When more than one microphone or line signal has to be recorded a single track or in stereo on two tracks submix facility will be required This can be done easily an the STYLYX by way af the routing system Simply route to one of the 8 subgroups by pushing one or more of the channel routing switches The chosen subgroups will send the signal to the connected multitrack MICROPHONE GAIN The amount of gain required depends on the type of microphone the sound pressure level and the distance between the sound source and microphone A 2 dB pad can be inserted where levels are too high INSERT CHANN If the dynamics are too high a compressor limiter can be inserted the channel or even in the subgroup insert if whole group signal has to be compressed This all depends the situation FOL DBACK EFFECT SENDS During recording it is essential that every one hears what s going on Headphone mi
30. ps This can be accomplished as follows Route to more subgroup channels and activate the Split button Now the summed subgroup signal is directly connected to the panpot which is connected to the left right mix busses Now the tape return in the subgroup channels is available for effect return This effect return signal is now routed via the monitor pot directly to the subgroup buss In this situation the relation between original and effect will be maintained on all subgroup fadersettings CONNECTORS XLR input level pin 1 pin 2 pin 3 level tip ring sleeve Line inputs level tip ring sleeve Direct outputs level tip ring sleeve Insert STEREO CHANNEL level tip ring sleeve Line inputs Direct outputs level tip ring sleeve Optional Remote connector level tip ring sleeve 70 ta 2UdE Signal ground screen signal in phase hot signal out of phase cold 20 to infinity signal in phase hot signal out of phase cold signal ground If this input is used in an unbalanced mode always connect the ring to earth or use a mono jack 1 dBV on tip 4dBU on ring Signal low l10dBV signal high 4dBU Signal ground signal input signal output signal ground az 58 Z dB to infinity signal in phase Signal out of phase signal ground 4dBu can be set to 1 dBV by jumper setting signal
31. r dealer With the STYLYX we are sure there is no limit to your creativity anymore We wish you many years of enjoyable music Rest regards de Rijk president 51 MA I N CONNECTOR date 10 04 1988 pin nr function 1 1 digital ground 2 i digital ground 3 181 for logic supplies 4 i 10 for logic supplies 5 audio ground 6 ground logic 7 1 right master mixbuss 8 logic buss 9 i left master mixbuss 10 solo mixbuss 11 i sub 8 mixbuss 12 18 for audio supply 13 sub 7 mixbuss 14 V phantome 48V 15 sub 6 mixbuss 16 i audio ground 17 sub 5 mixbuss 18 i audio ground 19 sub 4 mixbuss 20 i audio ground 21 A sub 3 mixbuss 22 i audio ground 23 4 sub 2 mixbuss 24 audio ground 25 t sub 1 mixbuss 26 audio ground 27 i aux 4 mixbuss 28 audio ground 29 aux 3 mixbuss on off optional 51 aux 2 mixbuss 32 chassis earth 55 i aux 1 mixbuss 34 i 18 V for audio supply 2 34 kK OK KOK OK OK OK OK KO OK KOK Ok OK OK OK OK KOK OK KOK K KOK OK KOK OK TOP VIEW CONNECTOR 33 STYL vY x IX INTERFACE CONNECTOR date 10 04 1988 pin nt function CONN 6 on PCB 5 lt gt CONN 15 on PCB 4 1 aux 4 LED 2 i Vsi supply from PCB 5 5 aux 4 reset 4 5 4 set audio 6 aux 3 LED 7 i aux 3 reset audio 8 9 i aux 3 set audio 10 11 i 1 LED 12
32. r indicate that power has been send to the STYLYX 18 Volt for the electronics and 48 Volt for the phantom powering of condenser microphones and D I boxes AUX RETURNS The STYLYX has two stereo aux returns One connected to the stereo buss and the other to the R mix buss A pushbutton switch can route the stereo aux return signal at the same time to the resp AUX 1 and 2 busses This is to provide cue effect signals to the master as well as the foldbacksystem mostly AUX i and 2 AUXILIARY MASTERS 1 4 These 4 controls handle the outgoing levels to the 4 AUX outputs Every output has an associated and pfl button to allow the signal to be muted and monitored The on button computer controlled when necessary by the optional automation module The solo led indicator is a dual functioning led It also indicates overload in the AUX outputs OSCILLATOR TALKBACK SECTION The STYLYX has multifunctioning oscillator talkback section There is a choice aut of 2 frequencies 30 Hz for slate purposes ideal to identify fast winding tapes and KHz for lining up output sections The red Osc button activates the low distortion oscillator and the next red button below gives a choice whether 20 Hz or necessary The next three buttons are routing buttons to send the osc t b signal to the mix busses the group busses or and the AUX 1 and 2 busses The level adjusts both the talkback and osc
33. resistance is lewered by mere tham 50 This is situation in which current cam easily flew Current will flow when there is a difference in ground potential between equipment on stage and in the P A system Please do check if there is any potential be tween the housing of the mikes and the guitar synth amps which will be linked by your body on stage Imagine a guitar in your hand and your lips close to the mike A ground poten tial difference of above 10 volts is not unusual in improperly wired buildings it can possibly be as high as 240 volts Allthough removing the ground wire sometimes cures a system hum it will create a very hazardeous situation for the performing musician Always earth all yeur equipment by the grounding pim yeur mains plug Hum leeps should only be cured by preper wiring and iselation input output transfermers Replace fuses always with the same type and rating after the equipment has been turned off and unplugged If the fuse blows again you have an equipment failure do not use it again and return it to your dealer for repair And last but not least Be carefull not to touch a person being shocked as you yourself could also be shocked Once removed from the shock have someone send for medical help mediately Always keep the above mentioned information in mind when using electrically powered equipment
34. right signal paths are carrying the same mono sum signal The right R switch brings the incoming signal connected to the left and right i e tip and ring of the jackplug to the right signal path 17 PHASE Use this switch to reverse the phase of the left line input This feature doesn t inverse the wiring but inverses the audio signal A good way to check for out of phase is to push the mono switch on the master section and listen real close to the mix If you hear something that sounds strange or completely missing in your mix push the phase switch an those channels suspected If the sound returns or sounds better that channel was out of phase with the others If one of the mono input selectors is activated it is possible that you will lose your Signal on the AUX sends which are summing the left and right signal paths if you press the phase switch When both mono input selectors and the phase switch are activated it even is possible to use the stereo module as mono module with a balanced input where the ring phase and the tip out of phase 18 BAIN This is the single most important control on your console When this control set properly you can achieve the very best signal to noise ratio and get the most headroom needed for high quality recordings After plugging in Signal push the solo switch just above the channel fader on the channel you re setting with the channel fader off 12 15 1
35. ster FADER The fader is i194 mm smooth action stereo control The P C B has provision for a fader automation package STYLYX STERED MODULE CONNECTIONS LINE INPUT 1 4 stereo jack TIP LEFT INPUT RING RIGHT INFUT SLEEVE SIGNAL GROUND DIRECT OUTPUT 1 4 stereo jack TIF Left at 4dBu RING Right at 4dBu SLEEVE SIGNAL GROUND The 44680 levels can be changed to by the internal jumper setings REMOTE 1 4 stereo jack TIP Normally ciosed RING Normally open SLEEVE Wiper contact LINE INPUT is used for piugging in the outputa of drum machines samplers keyboards or any line level output DIRECT GUTPUT is used as an output of the channel which will get its signal from the post fader amplifier REMOTE This connector be wired to a switch activated by the channelfader to start cartridge machines tape decks red light indicators and so on 11 20 20b 20c 20d 20e 20f 20g 20h 20a 20b 20c 20d 20e 20f 20g 20h 20i DR return vE 1 21 gt gt 10 2 4 aux2 2 gt 5 7 0 10 auxa P o 40 vC 2 pan m p c flip 24 mon gt gt e 6 on solo return at 14 aux we n way 62
36. the STYLYX Signal level is 4dBu xlr outputs are fully balanced 2 is hot 3 is cold and 1 is shield If the outputs are used in an unbalanced environment always connect pin 5 to earth otherwise you will get decrease of 6dB signal level on this output The outputs can set to by jumper settings on the p c b see jumper settings pages i9 2 TRACK A B These 2 jacks accept external stereo sources such as 2 track machines The tip of the jack is the left input the ring is the right input The sensitivity can be changed from 4dBU on the p c b by jumpers The STYLYX easily interfaces with today s two track master machines C R M This the stereo output of the Control Room Monitor and is normally used for connecting to your main amplifiers Nominal level is around 4dBu Tip is left and ring is right Do not load this output with B ohm headphones but only with 600 ohm ones and higher POWER The STYLYX is powered from an external heavy duty power supply supply voltages of 18 Volt and 48 Volt are fused in the power supply The power supply is connected by way of a 5 pin XLR type of connector AUX RETURNS These jacks accept signals down from i1 dBu in stereo tip is left ring is right and will be fed to the master and or AUX busses OPERATION INTRODUCTION The STYLYX is designed to be the perfect answer for 2 to 16 track recordin
37. tional CPU in use remove 2 SHUNTS STYLY X SA WIRING CONN 12 15 FADER CONN FADER colour i not wired s 0 2 top 5 green 012 5 ground 1 red 0153 4 slider 2 blue 014 CONN 6 LEDBAR CONNECTOR 20 5 2 2 FIRST MODULE 15 amp 14 paar ES 14 24 Ks 2 2 r SOLDER SIDE OF HEADER CONN 6 og eee 4 19 1 20 2 SECOND MODUE pin 5 amp 6 pee meum cemere tei Pu 52 3 os 21 22 SOLDER SIDE OF HEADER CONN 6 ssf 22 d 19 1 20 4 2 f THIRD MODULE 15 amp 16 ECL M D EE 12 5 sos s SOLDER SIDE OF HEADER CONN 6 DOE RO BS 19 1 1 20 i 2 FOURTH MODULE pin 7 amp 8 I E M ORA 8535 5 2 8 Ko 3 a SOLDER SIDE OF HEADER CONN 6 Reo 19 i 1 optional FIFTH MODULE pin 17 amp 18 optional SIXTH MODULE pin 9610 optional SEVENTH MODULE pin 19 amp 20 optional EIGHTH MODULE pin 11 amp 12 STYL YX 4A SHUNT SETT INGS date 10 04 1988 CONN 2 L QUT standard 4 dBu Hes oar 1 shunt an E rO optional 10 dBV 1 shunt CONN 5 2 TRACK A B standard 10 dBV i 8 BL BL 81 4 shunts BR BR Fy O 1 AL AL 38 AR AR 8 0 optional 4 dBu no shunts CONN 12 standard not in use
38. urve which means that when the desired amount of boost or cut is reached the curve shelves from that frequency on HI MID SECTION FREGUENCY This control selects the centre frequency of the Hi Mid section It range from S00Hz to 10kHz 4 HI MID This control has range of and 16dB with a bell Curve Having reached its maximum minimum at the selected frequency the amplitude response returns to unity gain on either side of that selected frequency a plot from that response shows bell shape The bandwidth of that bell curve is fixed at 1 5 LO MID SECTION FREGUENCY This control selects the centre frequency of the mid 2 band It ranges from S Hz to l1kHz LO MID This control is exactly doing the same as the Hi mid control but now for the selected frequencies by the Lo mid frequency control L F CONTROL The low control has shelving characteristic just like the high control 16dB of boost or cut is available at EG ON The equalizer section be switched or out for comparing equalized and non equalized signals Note Also the high pass filter will be switched in and aut AUXILIARY SECTION There are 4 AUX sends controls available in total This seems quite a bit but to days extensive signal processing requires a lot af AUX sends 10 AUX SENDS 1 AND 2 Auxiliary sends 1 and 2 are normally pre fader but can be switched post fader if desired They are intended
39. xes are usually derived from pre fader AUXILIARIES in the STYLYX AUX 1 and 2 are ideal for this purpose especially while the talkback is routed to these busses The best way is to derive the AUX sends from subgroup channels This set up is very useful for dubbing situations EFFECT SENDS All unused AUX sends be used to send signals to signal processors such as reverb and delay The AUX sends are usually post fader to always keep the right balance between untreated and treated signals EFFECT RETURN To bring the effect on tape it has to be mixed with the original Replay the effect unused channel and route ait to the recording channel by the routing buttons Also send the source original through the subgroup system MULTITRACK REPLAY REMIX This is already discussed in section 1 record mode but replaying is normally done through channels OVERDUBBING OQverdubbing is the process of building up a recording track by track while listening to previously recorded tracks Some channels will be in the microphone mode while others are replaying the multitrack The replaying tracks are monitored in the subgroup modules Headphone monitoring can be best mixed from the subgroup AUX 1 and sends Here a decision has to be made as to the source of the headphone mix It can be derived from the input channel subgroup channel or both It is up to you From the input channel the musician will hear himself on

``STYLYX`` USERMANUAL - D&R Broadcast Mixing Consoles

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``STYLYX`` USERMANUAL - D&amp;R Broadcast Mixing Consoles

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``STYLYX`` USERMANUAL - D&R Broadcast Mixing Consoles