Solidyne D-816
Contents
1. 14517 13 D 816 broadcast console reed am wa 66 TEIE 022 SENA DO 27 w4 SOLIDYNE 2 2 10 Recommended grounding for a FM station WOO OYdOUADIIOS MMM WALID 12 5 378 5508 SI 41 S4313N M33V31V4Vd3S 93171081 ONINILH9N zug savo Aiddns Sqn ue asn se jd JO ASIA 6 UOZ INO 9JON 2 4 oa dl fai OL oY SYOLI3LOYA fo pe 3DYVHISIA BE MA 1NIOd 1 NOWINOS 1371100 ov Ry 8 OL 193NO9 01 2 3SN IVNINNIL AS ANNON9 TIVNY31X3 222 OALIYD NOIL93 LOU 6 SINIT 55320 4 OIGNV SOLIDYNE D 816 broadcast console Page 14 CHAPTER 3 Using the console the console 3 1 Overview You can see five areas in the console Input channels Hybrid channel Studio and Control Room Monitors controls Talkback Cue VU meters The different audio sources microphones compact disc players computers telephones etc ent2. 10 4 2 2 Connections at the Studio 25 2 2 6 1 CONNECTING STANDARD LINES 10 r 2 2 6 2 CELL PHONE 00557 2 11 4 3 Using the Studio Box SEE 26 Connection to 12 2 2 7 Start 424 4224244204 4 411 12 CHAPTER 5 2 2 8 Generals 12 2 25 5 2 s si nan 27 2 2 9 Grounding TTT awee ce 14 5 1 How to get a long life of the console 27 2 2 10 Recommended grounding for a FM station 15 5 2 Preventive 27 5 3 mda Buka tea 27 CHAPTER 3 5 4 Service 27 Using the console 15 3 1 15 6 3 1 1 Quick 15 Specifications 29 3 2Using the hybrid 16 6 1 5 A 29 3 2 1 Operation 16 6 2 Technical specifications 31 3 2 1 1 Use with a CELL 17 SOLIDYNE D 816 broadcast console Page 3 Page 4 D 816 broadcast console SOLIDYNE CHAPTER 1 EEN 1 1 Shipping list When unpacking the
3. Solidyne StudioBox StudioBox 4 1 Overview StudioBox is an optional accessory which groups single box to all monitoring signals that are needed into the Studio It offers the following features 5 headphone s outputs with independent level control Output for Studio Monitors with level control Tally light Timer Clock Talk back to talk with the Control Room operator 4 2 Connecting the StudioBox MIC GAIN MIC to control room Usually the Studio Box is placed on the table but a good choice is fix it to the wall when the table is next to the Control Studio window 4 2 1 Connection to the mixer console Studio Box connects to the mixer console using a special cable which is provided from factory This ca ble has a DB15 connecting to the following connec tors 1 Tally light Is a tubular connector This con nector plugs to Tally output of the mixer to take the on air signal and activate the timer and on air light of the StudioBox The second connector pass thru is for connect the stan dard tally lights 2 Studio speakers Takes the monitoring mix for the studio speakers At the Studio the speakers active speakers will connect to the StudioBox 3 Studio headphones Takes the mix for the studio headphones Up to 5 headphones can be used connected to the Studio Box 4 Reverse talk back Is 1 8 Jack TRS that sends the signal of the StudioBox s built
4. CELLULAR PHONE nui 8 TALK AIR HOLD CUE vw The hybrid channel manages 2 standard telephone lines and one cell phone input Cell phone connects using the free hands cable set please see 2 2 6 2 Connecting a cell phone The three communications can be in simultaneous conference It also supports communication conference Vox IP made from a computer connected to channel 7 USB Turning the key Return to Vox IP the hybrid channel audio returns the phone lines to the PC through the REC bus 3 2 1 Operation Its use is simple and error free due to its logic of secu rity and automatic control When a call enters a blue LED in the corresponding line will blink with each ring You can answer in two ways a From the telephone associated to that line b from the console by pressing the correspondent line button When doing it you will take the line and the blinking LED will be stopped HYBRID FADER must be closed so that the commu nication takes place through circuit of CUE In these conditions you will listen to the caller by loudspeaker CUE of the console and at the operator s head phones You can fit to the level with the control CUE level and with the knob Cue level of the own hy brid s channel In order to engage in a dialog use the microphone of the talkback system pressing button TALK when two lines are taken the talk back MIC is sent to both callers
5. 3 de Febrero 3254 PC 1429 Buenos Aires Argentina Phone 54 11 4702 0090 e mail info solidynepro com Fax 54 11 4702 2375 Web site www SolidynePRO com USB USB INPUTS OUTPUTS DIRECT HARD DISK RECORDING ON AIR compact console User s manual Last revision May 2015 Page 2 D 816 broadcast console SOLIDYNE Table of contents of contents CHAPTER 1 3 2 2 Return to phone 2 22 17 OvervieW 2 2 00 5 3 2 3 Rejection setup 17 4 1 Shipping list 5 3 2 4 Managing 5 17 3 2 5 Vox IP communications Skyp6 17 PALA 5 3 2 5 1 Connection via Skype or similar 1 2 1 Input 2 12 5 with a remote pas 18 3 2 5 2 Make conference between Skype 1 2 2 42 2221 5 or similar fixed lines and cell phone 18 1 3 220 ii 6 1 3 4 Start 1 1 6 3 3 Monitor 19 AA 6 3 3 1 Using monitors and 4 19 3 3 2 Previous listening 19 3 33 Falk back ici iia 20 CHAPTER 2 Installation and wiring
6. In addition to the inputs the connection of USB channels offers two USB digital outputs that appears in Win dows as recording device USB 1 Channel 6 PGM and recording device USB 2 Channel 7 REC So that you have in the computer in digital format the program and recording outputs please see 2 2 3 2 USB Outputs VERY IMPORTANT e USB 7 CANNOT BE USED IF CHANNEL USB 6 IS NOT CONNECTED since it is slave of channel 6 In order to use only one USB channel always connect DIGITAL 6 e WHEN TWO PCs ARE CONNECTED CONSIDER THAT CHANNEL 7 CANNOT BE USED IF THE COM PUTER CONNECTED TO CHANNEL 6 IS POWER OFF Usually channel 6 is used with the air PC which is 24 Hs operative Channels 6 and 7 also present analog inputs Chan nel USB 6 has an auxiliary input LINE 6 stereo un balanced with RCA connectors Channel USB 7 has a stereo balanced BAL 7 with DIN 5 connector 2 2 2 3 MICROPHONE INPUTS The channels for microphones are balanced elec tronically with XLR standard connectors o E LINE BAL BAL BAL 1 Channel MIC 3 can work like LINE channel because it presents a unbalanced auxiliary input with RCA connectors Therefore this channel does not com mand the Tally light and do not mute the Studio Mon itors still being assigned to entrance MIC 3 The floating phantom power of 48 V activates for the three channels
7. 7 3 4 Microphone 21 5 22 2 1 f 3 42 IND 22 2 1 1 Parasitic 7 3 3 5 Line 23 2 2 REAR PANEL 8 2 2 1 Power 8 6 Recording ee ae cai aah 29 2 2 2 Input 2 4 2 22 8 3 0 1 Direct to Hard DIGG EBEOPAIM 23 2 2 2 1 LINE 250 8 3 6 2 Recording 5 24 2 2 2 2 USB DIGITAL 8 2 2 2 3 MICROPHONE 9 CHAPTER 4 2 2 3 Audio 40 42 22 22 9 Solidyne 25 2 2 3 1 PROGRAM AND RECORDING 9 2 2 3 2 USB OUTPUTS TE ORE tN MAE A 10 4 1 Overview POPC eee 25 2 2 4 Monitoring 2 2 2 10 4 2 Connecting the 25 2 2 4 1 5 09 44 4 0 10 4 2 1 Connection to the mixer console 25 2 2 6 Telephonic
8. and two analogical stereo inputs LINE e Additionally USB offers direct recording to Hard Disk for PGM channel 6 and REC channel 7 The turret contains electronic LED s VU meters that show the recording and program level average peak level 3 1 1 Quick checking Next are described the basic procedures to verify the console wiring In order to check that all is working well please follows the next steps 1 Choose a signal source like micro phone a CD player etc According to the used source select in the channel the cor respondent input MIC LINE or BAL LIN This can be the first cause of error there is no signal because the mistaken input is assigned 2 Press CUE button in the channel in which the signal is 3 Open the CUE fader in the MONITOR SECTION The audio will have listened in the built in loudspeaker On the air 1 Send the channel to PGM so that the sig nal is sent to the main output 2 Open the main fader until reach 0 VU in program VU meter The signal will be on the air 3 The gain knob must adjust so that the nor mal work position of the main fader is 15 dB gray zone In some countries like England the user prefers to adjust the nor mal level with the fader at maximum SOLIDYNE D 816 broadcast console Page 15 3 2 Using the hybrid channel GAIN BAL DIGITAL Vox IP BAL7 DIGITAL 0 CUE LEVEL ecu RETURN
9. control Auricular 2 y 3 SAL HEADPHONES CONSOLA 2 2 4 2 MONITORS D 816 was designed to work with active loudspeak ers The STUDIO and CONTROL outputs work with line level at 0 dBu They have independent controls for bus assignment and level Both outputs use fe male 1 8 TRS connectors Remember that studio monitors are muted when channels MIC 1 or MIC 2 are opened Control Room speakers are muted when the button Talkback is pressed 2 2 5 Tally Tally output gives 12V 120 mA 2 Solidyne Air lights when MIC 1 and or MIC 2 activates Channel MIC 3 does not activate the light nor mutes the loudspeak ers of the studio since this channel also can operate as Line channel Also MIC3 must be used when the speaker DJ operates the console from the Control Room self operation In this case the control room loudspeakers must be used with very low volume to avoid feedbacks loops AN The consumption of the Tally Light output NEVER must overpass 120 mA 2 2 6 Telephonic Hybrid 2 2 6 1 CONNECTING STANDARD LINES The hybrid channel manages to two land telephone lines and one cellular phone The internal adjust ments are from factory so the user do not needs to make adjustments On the rear panel there are three RJ11connectors Two are for the telephone lines and the other one is for the cell phone adapter cable The lines can directly be connected to public central telephone or the local central PBX
10. faders Eliminates the maintenance and improves the life of faders e Gives a perfect stereo tracking less than 0 1 dB error between Left and Right chan nels Allows using Conductive Ceramic faders of one million guaranteed operations about 15 years of use Page 6 D 816 broadcast console SOLIDYNE CHAPTER 2 Installation and wiring 2 1 On installation Installation of Solidyne audio console doesn t present particular problems However keep in mind the basic rules for all professional audio installations The inputs and outputs of the D 816 series incorpo rate DIN 5 multi pin connectors for stereo balanced inputs provided with the console You can acquire the Solidyne wiring kit MNG816 which incorporates all the cables and connectors needed for installing D816 For console grounding use the rear side GND bronze tip with a 2mm cable to a good buried cooper bar 2 1 1 Parasitic signals All unwanted signals that appear in audio lines usu ally consider parasitic signals A common type are denominated humming low frequency signals multi ples of 50 60 Hertz caused by the interaction of electromagnetic fields coming from the AC line When the interference source is a magnetic field generally originated in a supply transformer the re sultant interference will be denominated electromag netic humming When the interference is due to such electric potentials as cables that
11. gram Now makes the recording on the PC In order to acti vate the microphone open the fader of MIC 1 chan nel The recording level is verified in the REC VUmeter of the console and in the recording software and it ad justs from the console You cannot change the input level from software Windows Mixer RECORDING DEVICES USB1 AND USB2 DO NOT HAVE GAIN CONTROL BY SOFTWARE SOLIDYNE D 816 broadcast console Page 23 The speakers will listen to the recording USING HEADPHONES in loudspeakers When the recording ends it can be listened using the same REC bus assigning to REC the channel in which the PC is At this point BE CAREFUL OF NOT PRO DUCING A FEEDBACK LOOP IN THE OWN COM PUTER MAKE SURE TO MUTE IN THE PC FROM WINDOWS MIXER ALL SOURCES OF SIGNAL EXCEPT WAVE AND GAIN CONTROL MAIN When the work is finished reset all the controls to the original position to return the console to the nor mal way of operation 3 6 2 Recording calls The D 816 allows routing the hybrid channel to any one of the outputs by means of the switch PGM REC You can record calls while a musical programming is on air For make this assigns the hybrid and a mi crophone to REC out and proceed with the commu nication as was explained in 3 2 Hybrid channel Assign the monitoring to REC to listen to the conver sation see previous point Page 24 D 816 broadcast console SOLIDYNE CHAPTER 4
12. 5 to two CANNON XLR or stereo Plug s TRS Y according to corresponds The pin distribution of DIN 5 and XLR are described next Remember that you need to connect TWO XLR to the DIN balanced left and balanced right DIN 5 stereo bal FEMALE XLR 1 AUDIO RIGHT 1 GND shield 2 GND shield 2 AUDIO 3 AUDIO LEFT 3 AUDIO 4 AUDIO RIGHT 5 AUDIO LEFT Inputs called LINE are unbalanced They use connec tors type RCA Equipment with outputs of 10 dBV 10 KOhms be connected home type semi pro The GAIN control is common for both inputs that is to say that operates on the selected inputs 2 2 2 2 USB DIGITAL INPUTS Digital channels 6 and 7 are for direct connection to the computer using USB ports Standard cables USB are used Ports 1 1 or 2 0 are supported Place the CPU so next to the console as it will be possible in order to use cables of 2 to 3 meters of length If it were necessary can be used USB extension cables but it is recommended not to exceed 4 meters The channels must be connected to a computer run ning Windows XP starting by channel 6 When only one channel is used channel 6 must be al ways used When connecting the channel to the PC Windows automatically recognizes it and installs the correspondent drivers Additional drivers are not required Page 8 D 816 broadcast console SOLIDYNE USB channels appears in Window
13. Change the level of the generator until obtaining 15dBm in the REC output Change the position of the audio level meter from REC to PGM output Verify that the audio level is 15 dBm 0 5 dB Change the switch PGM to REC and measure the residual level of the signal This level referred to 15 dBm is the crosstalk between left recording and left program Repeat for all the combinations of left and right program with left and right recording In the same way the crosstalk on PGM bus can be measured Check it with the con sole specifications Page 30 D 816 broadcast console SOLIDYNE 6 2 Technical specifications Audio inputs 3 balanced MIC inputs XLR 3 balanced stereo Line inputs DIN 5 4 unbalanced stereo Line inputs RCA 2 Digital stereo Line inputs USB Input levels Impedance Balanced MIC 10 dBu 75 dBu 150 250 Ohms Balanced LINE 20 dBu 26 dBu 600 10Kohms Unbalanced LINE 15 dBu 12 dBu 600 10Kohms Digital standard USB levels Phantom power All the MIC inputs have 48 V phantom power supply with ON OFF switch Analog outputs 2 bus stereo outputs PGM amp REC balanced 4 dBm Max Level 28dBu 10K 20dBm 600 ohms External Hybrid unbalanced 4 dBu Digital Input Output levels It uses the K 12 recommendation for broadcasting Then 0 VU is at 12 dB Full Scale level Monitor amp Hybrid Outputs 1 Stereo Studio 1 v rms for active speakers muted 1 Stereo Control 1 v rms f
14. TRS 1 4 to TRS 1 8 to the PC TRS 1 8 to the PC D816 line output line mic input Sleeve Sleeve Sleeve Ring input to Tip Ring N C Tip output to Tip and Ring SOLIDYNE D 816 broadcast console Page 11 THE EXTERNAL HYBRID AND THE CELL AN PHONE CANNOT BE ON THE AIR AT THE SAME TIME THE AUDIO FROM THE CELL PHONE IS NOT SENT TO THE EXTERNAL HYBRID IN ANY CASE THERE IS NO CONFERENCE BETWEEN CELLU LAR AND AN EXTERNAL HYBRID The cell phone only admits conference with the lines of the INTER NAL D816s hybrid While cellular button is pressed the external hybrid is in hold mode that is to say the caller listen all less to the cell phone but does not leave to the air In order to air to the external hybrid cellular button must be released When the cellular button is re leased the cell phone remains disconnected and the external hybrid can be on air with normality ONLY conferences between lines on the console or lines on the external hybrid are supported CON FERENCES BETWEEN LINES ON THE CON SOLE AND THE EXTERNAL HYBRID ARE NOT SUPPORTED 2 2 7 Start Devices The output Start devices allows to command de vices when opening certain channels of the console There are three signals of control channels of micro phone 1 and 2 they handle the same output chan nel Line 5 and Line 6 These three control outputs are of open collector type They work like a switch They pres
15. a fixed at tenuator must be used to reduce the level a resistive splitter is a solution 2 2 3 2 USB OUTPUTS The output signals PGM and REC are available also in digital format for direct connection to a PC using the USB ports This feature does not require any additional installation The USB recording devices are available when connecting the USB input chan nels please see 2 2 2 2 USB digital inputs The channel 6 USB gives the program signal PGM whereas channel 7 USB sends the recording signal REC Usually signal REC will be used for direct to hard disk recording whereas PGM that is the on air sig nal finds its main utility for broadcasting of the signal via Internet WEB casting For details of use the USB outputs in Windows please see 3 6 Record ing of programs 2 2 4 Monitoring outputs 2 2 4 1 HEADPHONES There are separate outputs for study and control room headphones with individual level adjustment The Studio output has a distribution amplifier and supports up to eight headphones of 32 Ohms con nected in parallel So that each speaker has an inde pendent volume control you can use headphones with built in level control or as a more professional solution to mount a control on the speaker s table potentiometer of 2 x 1KOhm will be right to manage the level In this case the level control of the console is left to the maximum Next scheme is the connection for the external level
16. in microphone This connector allows to plug a small active speakers at the Control Room for the voice talents can talk to the operator of the Control Room The operator also can use the CUE of microphones channels to lis ten to the Studio voices 5 Power source The StudioBox feeds from an external power source 110 220V 1 25A 4 2 2 Connections at the Studio Headphone outputs use Y stereo TRS jacks Any combination of headphones can be used 16 32 and 64 ohms Loudspeakers output use a 1 8 stereo TRS mini jack Take in mind that this is a line level output de signed to use with active speakers SOLIDYNE D 816 broadcast console Page 25 4 3 Using the Studio Box About the Studio Headphones Studio Box manages up to five headphones with in dependent level knobs The maximum level depends on the Studio Headphones level at the console The signal listening also depended on the selection done in console About the Studio Monitors Loudspeakers output has a level control but the max imum level and the signal source depended on the console selection If the loudspeakers are connected directly to the con sole s speaker outs Loudspeaker doesn t take ef fect About the Studio Talk back The white button has two functions 1 When the microphones off air press the button to speak to the Control Room The Stu dio Box has a built in microphone for this pur pose At the
17. is the call is not answered from the console but from the own cell phone Once answered press the button CELLULAR at the console to enter the audio The audio enters to the con sole through HYBRID fader Like with the conventional lines you can listen in previ ous that call to engage in a dialog pressing TALK to leave waiting to the caller HOLD and to send the call to the air opening the fader AIR If you want to call from the cell phone it is possible to make the call and to connect soon the free hands ca ble to the telephone Or it can contact with the con nected telephone listening to the audio by CUE and pressing TALK to engage in a dialog fader closed A TAKE IN MIND e EXTERNAL HYBRID AND CELL PHONE CANNOT BE ON AIR AT THE SAME TIME CELL PHONE BUTTON MUST BE RE LEASED IN ORDER TO USE EXTERNAL HYBRID THE AUDIO FROM THE CELL PHONE IS NOT SENT TO THE EXTERNAL HYBRID IN ANY CASE THERE IS NO CONFER ENCE BETWEEN CELLULAR AND THE EXTERNAL HYBRID If you need this feature please use an external hybrid with Cell Phone connection like Solidyne HA204 3 2 2 Return to phone line Most of the existing telephone hybrids on the market today were designed over 30 years ago for analogue telephone exchanges PBX Solidyne hybrids how ever have been recently designed for private or public telephone exchanges today which are fully digital The new technology Hybrids are recognized be
18. of the radio sta tion Page 10 D 816 broadcast console SOLIDYNE The private central sometimes deteriorates the rejec tion of the hybrid reason why we advised to directly connect the console to the public lines whenever it is possible The associate telephones used generally by the Production to answer the calls are connected in parallel to the lines in an external box to the con sole or by means of RJ11 type Y adapters The telephone lines internally are protected against lightings by metallic oxide varistors SIOV Never theless we recommend to use additionally external line protection of good quality Although the console has internal protection it is 2 recommended to use external line a protection against transient voltage peaks due to accidents or liahtinas 2 2 6 2 CONNECTING A CELL PHONE An adapter cable interface is required to connect ing the CELL PHONE to the console This connec tion differs according to brand and model of the cel lular The following image shows the cellular to RJ 11 connection MIC SPEAKER SPEAKER GND Free hands cable provided by the cell phone dealer RJ 11 to console viewed from contact side Original components on free hands cable Basically the cellular connection uses a standard free hands cable purchased for that cellular model The console sends the program signal to the cell phone and receives the audio fr
19. unit check the contents to ver ify that the console has not received blows during the shipment Inside the packaging you receive the fol lowing elements 1 power supply e This user s manual 1 guaranty agreement e Wiring kit optional If you did not acquire the wiring kit you will receive the corresponding DIN connectors 1 tubular connector 2 5 mm for Tally Light 4 self adhesive rubber pads The console has a folding vu meters turret Into the packing the turret comes refuted backwards After unpacking the console fits with carefully the position of the turret for an optimal visualization Usually it is not necessary but if you need to fit the screws of the turret you will have to use a hexagonal ALEM 5 32 1 2 Features D 816 console is a compact solid and elegant unit with a great flexibility for interconnection It includes USB digital I O which brings digital link with the com puter avoiding the use of soundcards in the PC D 816 has eight professional 100mm Conductive Ce ramic faders of with ETM VCA control that offer a life utility of one million operations It is the best solution for small and medium radios and for auxiliary recording studies in great stations 1 2 1 Input channels There are 3 microphone channels with phantom power of 48V switched from the front panel Mic channels have a processing stage that includes 4 bands equalizer and automatic dynamic range compresso
20. 400 2 200 Hz in order not to distort the signal to the air This narrow band intelligibility remains high due to processing but occasionally may seem to the remote people that it has little volume because his band is narrow This should not worry because it is a subjective sensation that does not affect the intelligi bility of speech 3 2 3 Rejection setup Null This adjustment is only for LAND lines The rejection factor expresses the capacity of the hybrid to avoid that the transmitted signal returns distorted to the air Whichever greater it s this factor more clean will be the sound quality of the local speaker on the air In or der set the rejection proceed as following 1 Make a calling through one hybrid of the console 2 Listening to the voice of the local speaker from the PGM monitor carefully turns the preset Null until reducing to zero the distortion superposed to the speaker s voice Please make this adjust when the console is installed 3 2 4 Managing conferences The conference can be made establishing the calls from the associate telephones and sending them to the air by pressing Line 1 and Line 2 on the console Once taken the callings in the console you must hang the telephones Let us suppose that the speaker is engaging in a dialog with an interviewed person who called or he was called by the line 1 and you want to add to the con versation another person Using the ass
21. Control Room the operator will hear to the talents using active speakers connected to the Studio Box To answer the operator will use the standard talk back circuit of the con sole 2 Being on the air the white button illuminates red indicating that microphones are on air Obviously in this condition talk back feature is disabled The preset located below the MIC allows to adjust the micro phone gain About Timer Clock The display shows the current time off air or the time lapsed on air when microphones activates The counter mode can be disabled quitting inter nal jumper Open the back cover of the Studio Box and to retire the jumper There is a unique jumper available This will always deactivate the on air lapsed time counter being always the time on dis play Page 26 D 816 broadcast console SOLIDYNE CHAPTER 5 Maintenance In order to obtain great results with D816 consoles we recommend to follow these steps 5 1 How to get a long life of the console Maintain the room clean and free of dust The sur face of the console can be cleaning using a very smooth detergent the kind used for painted walls and a fine cloth hardly humid NEVER USE alcohol benzene or petroleum derivatives Take this rule NO SMOKING at the control room The cigarette ashes are LETHAL for the faders and switches It affects in addition to other equipment of the radio CD players microphone
22. DYNE D 816 broadcast console Page 19 If CUE is pressed in several channels the signals are added Rotary CUE level controls the volume in loudspeaker CUE Additionally signal CUE is sent to the control room headphones In this way the operator can check the channels using headphones 3 3 3 Talk back The talk back circuit allows the operator to talk with the speaker while he is into the studio In order to talk press the Talk back button see mon itor panel drawing The Control Room monitors will be muted to avoid feedbacks loops Your voice will be listened inside the Studio by the left channel The right channel stays with the on air audio so that speakers and journalists do not lose the On Air refer ence At the same time talk back microphone will be listen in all studio headphones The operator can press CUE in a microphone chan nel to engage in a dialog with the Studio factory and usually it is not necessary to modify it If you need to change it there is a preset called LEVEL to make SS The level of the talk back microphone comes calibrated from the adjustment Page 20 D 816 broadcast console SOLIDYNE 3 4 Microphone channels Gain i E Enable disable the phantom power 48V for all mic channels 0 0 30 MIC GAIN 0 30 Input switch LINE MIC 3 un M MIC EQUALIZER 4 BANDS 4 bands EQ This stage has a dynam
23. You will engage in a dialog in mode half duplex When the private dialog finalizes you can raise the fader HYBRID towards the position HOLD that sends the on air signal to the telephone lines to retain the caller in waiting mode The caller listens to the ra dio PGM signal The CUE return disconnects auto matically in this position If now you raise still more the fader you send the calling to the air The final position of fader is ob tained verifying the level of the calling in the PRO GRAM VU meters of the console SWITCH PGM REC So that the communication be on air switch PGM REC must be The hybrid signal is sent to AIR or to recording output according to the position of this switch Please see 3 6 1 Recording of telephone lines IF YOU DO NOT HAVE AUDIO OF THE HYBRID ON THE AIR CHECK THE POSITION OF THE SWITH PGM REC THIS MUST BE PGM In order to quit the calling from the air and to send it to the CUE circuit close the fader HYBRID If you want to take the communication on the telephone set you Page 16 D 816 broadcast console SOLIDYNE must off hook the telephone before to release the line at the console remember that the associated tele phone is connected in parallel If the telephone is hung the communication ends when release the line button 3 2 1 1 Use with a CELL PHONE The procedure is the same one that for land telephone lines The difference
24. akers on background or at buses PGM REC In case of FM transmis sions the interference inside the console demodu lates the A M component of the FM carrier usually hum from power supply causing background hum ming because in many transmitters of FM the final output stage is not powered with stabilized tension Therefore if console D816 presents humming please make a test shutting down the transmitter a few seconds to check if the problem disappears Sometimes an FM transmitter with the output stage SOLIDYNE D 816 broadcast console Page 7 badly calibrated also produce interference in which you can hear the transmitted audio due to the mis alignment a part of the FM modulation is translated to AM modulation Solution D 816 consoles internal filters against RF interference Therefore if interference s appears normally is caused by installation problems on the transmission station that generate elevated currents in the wiring of audio on the Studies due to the standing waves These currents circulates inside the cabinet of the console and interferes to the cir cuits when overpass the barriers that impose to this currents the built in RF filters The solution then must be external to the console The solution is to acquire ferrite Es O rings of 60 mm diameter to allow passing the cables and connectors They will be used in each connector of input and outputs The total set of cables that goes
25. and condenser micro phones Channel MIC 3 shares an auxiliary input line unbal anced Being a MIC amp Line channel it has some special features MIC 3 can be assigned directly to record ing note that MIC 1 and MIC 2 only can be sent to REC through EQ e MIC 3 does not activate the tally light nor mute the Studio monitors If you need to use only one microphone please considers that will have to use MIC 1 or MIC 2 never MIC 3 e Unlike the main line channels LIN 3 cannot be assigned simultaneously to PGM and REC If you press both buttons PGM and REC the audio is sent only to program e LIN 3 can be routed to EQ But only in mono mode All the channels have a gain knob It must adjust so that the main fader works over the overload OVL indication 30 dB Remember that in all audio con soles excessive input gain reduces the dynamic range If you work with the main fader below this level the signal from the previous stage must be very high and the peaks will be clipped 3 4 2 Processing Each MIC channel can be sent directly to the air PGM or the processing stage EQ compressor As well the processed signal can be sent to the air or to recording out Equalizer The equalization settings are the same for all assigned channels The figure shows the equalization curves These curves are designed to improve the quality of the human voice The ends of the spectrum work in shelving way with 15 dB actio
26. at are selected from the front panel e Channels 4 8 5 have bal anced stereo inputs DIN 5 connector and unbalanced db stereo inputs RCA Channels 6 7 are digital un inputs with direct connection to the PC via USB It is equivalent to have two exter nal soundcards Additionally they provide USB digital out puts PGM and REC Chan nel 6 provides a secondary analog unbalanced stereo in put RCA whereas channel 7 has a analog stereo bal anced input DIN 5 Channel MIC 3 can work as Li RES Line 3 unbalancea 4 CUE Like the microphone channels line channels have gain adjust ment that must be set for the channel faders working above the OVL zone to avoid over load NOTE please see at 2 2 2 2 Digital inputs outputs the special note about the USB audio levels and WindowsC To route the signal on the air as sign the channel to PGM and open the fader The correct level is obtained when the peaks of the signal reach OVU Connections are explained at Chapter 2 Installation and wirings Main faders of all channels work with ETM VCA technology Electrometric Voltage Controlled Amplifier The fader only man ages DC that control amplifier of variable gain LIN BAL4 This method guarantees very low distortion and full eliminates the possibility of noise by wearing down of the fader Complete information about the new ce ramic
27. cause they have no control of air return level to phone line This is because inside the hybrid Solidyne uses an audio pro cessor for return signal that includes AGC peak limiter amp audio signal filtering Therefore the return is automat ically adjusted during the transmission and its level is the maximum allowed by the modern digital telephone exchanges If you want to check the return level to phone line you must use a oscilloscope to be placed in parallel with the telephone line and must verify that the signal is 2 volts peak to peak Please note that above this level the return can pro duce problems that will cause intermodulation distortion in the audio signal that goes to air So in Solidyne hy brids we use a processed return channel to avoid dis tortion at the on air signal There are hybrids manufac turers that maintain the return control level as they did in the past This allow operators to adjust by hunch this critic level This makes the voices of the reporters and interviewed people distorted or with coloration In Solidyne obviously we keep a high grade of excel lence the audio quality of the hybrid on air sound And that quality do not depend on the operator settings Note that the Solidyne Hybrid on air audio quality of the local journalists is ever perfect and without any col oration To achieve this level of quality we use a narrow band return filter Then the return signal is limited to the band
28. d CUE must be off Be sure the console is properly grounded is present at the measurement Laboratory 6 1 1 Microphone Connect an audio generator to a microphone input Connect an audio level meter and an oscilloscope to the PGM left output then repeat with the right Connect a 600 ohms charge to the output Set the audio generator to 1 kHz 80 dBm Select MIC and PGM on this channel Move the main fader to the maximum Increase the gain of the module until obtain 4dBm at the output Move GAIN to the minimum Change the generator to 45 dBm Move the fader until you verify that can obtain 4 dBm without clipping at the output Change to the right input of this channel or to another channel and repeat the procedure 6 1 22 Line Connect the generator to left input of a line channel with a level of 20 dBm at 1 KHz Verify that the oscillo scope and audio level meter are connected to the left PGM output Select LIN and PGM in the channel under test move to the maximum the GAIN knob and move the main fader until you verify that can obtain 4 dBm at the output Change the gain control to the minimum and increase the input level up to 18 dBm move the fader until ob tain 4 dBm at the output without visible clipping Increase the gain with the main fader until obtaining 15 dBm at the output Use this value like reference Con nect the balanced input in common mode joining both signal terminals Then
29. d radio stations who subscribe a confidentiality agreement This Agreement will be sent by FAX to Solidyne 5411 4702 2375 in paper letterhead of the radio and signed by its Director or General Manager The information is encrypted To be visualized in the screen of a computer the technician will require of a USB key and software to be able to decode and see the documentation This software is sold separately and is used also for all the Solidyne products Please ask your local Solidyne dealer about this soft ware Solidyne brings full support to technicians during the repair work Please contact us at info solidynePRO com SOLIDYNE D 816 broadcast console Page 27 This page was left empty intentionally Page 28 D 816 broadcast console SOLIDYNE CHAPTER 6 Specifications and testing and testing 6 1 Testings The radio stations that have their own Technical De partment sometimes needs to carry out measurements when receiving the console Also some engineers esti mate convenient to make a general inspection every some years to verify if the specifications continues be ing perfect The methods and comments that are given next refer to the Technical Specifications that figure at the end of this chapter Before starts any measurement make sure that all modules present the following conditions PAN POT controls must be at the center position PGM AUD and SEND buttons must be released and AIR an
30. e via the bus REC Note that when local journalists speaking the VU meters on PGM and REC activates at the same time The audio from remote journalist enters to the D 816 via USB Opening the channel 7 the Internet signal is on the air so the local speaker and remote partner are communicated with each other on the air 3 2 5 2 Make a conference between Skype or si milar fixed lines and cell phone The D 816 allows maximum flexibility to generate a virtual forum between journalists and interviewees very far apart For this proceed as follows 1 Keep the controls like previous description a and b 2 At Channel 8 Hybrid move the switch PGM REC to PGM Once communication is established via Skype or similar you will be in the previous situation You may receive or generate phone calls from landlines or a cell phone Under this conditions the callers are sent to the air as usual opening the fader of Channel 8 Hybrid Turning on the key Return in Hybrid mov ing it to the left a return signal from the Hybrid is send to Skype through the REC bus This will see reflected in the REC VU meter since it will shows the Hybrid signal This way everyone are in confer ence ATTENTION DON T SEND BACKGROUND MUSIC TO SKYPE ONLY THE MICROPHONES MUST BE ASSIGNED TO REC BUS Communication via SKYPE has a priority system that attenu ates the speaker when he is interrupted This makes it impos sib
31. ent high im pedance while the channels are closed When a channel opens the output is grounded Start devices uses a DIN 5 connector located on the rear panel in the LINES sector over the USB ports HEN YO 2 VISTA FRENTE ON AIR MIC 1 amp 2 ONLY GND NO CONNECTION LINE 5 MAX 24 V 0 1 A 2 2 8 Generals tips Avoid long cables hanging from connectors Use pass cables canals to distribute cables Avoid mixing audio cables with AC cables Use sep arated ways for each one Does not forget that the console connects to GROUND using a bronze TIP located in rear panel Next is an advanced diagram of grounding Audio equipment manages different signal levels fessionals ones with balanced outputs operate 4 dBm or 8dBm whereas the home equipment uses unbalanced out puts of 10 dBm e Use balanced inputs BAL for professional equipment and the AUX unbalanced for home equipment Page 12 D 816 broadcast console SOLIDYNE SXUINES 918 4 as DANI Bulpsooay OIPNIS Z GO GO euoIssajold ae 7 i YT Y 29 Qu XNY EE seul siayeads CCCG 105580044 OIPNY g
32. er to the console through the INPUT CHANNELS that am plify them The consoles mix all sources to generate a unique audio signal which is sent to the transmit ter The operator manages the level of each signal using the main faders A second stereo signal for recording purposes can be generated using the REC bus This signal is independent of the Program sig nal The operator can listen to these signals before con necting it to air by pressing the CUE buttons Just raising the fader the channel is on the air The switches PGM REC define the output for each channel The signal can be on the air PGM or it can be routed to the recording output REC Many channels have two inputs which are selected from a switch located at the top of the panel e Channels 1 2 only manages microphone signal The phantom switch 48V selects feeding to the THREE MIC in puts Remember that all dynamic micro phones are designed to support 48 V phantom so that there is no problem in mixing condenser microphones with the dynamic ones Channel MIC has a secondary stereo in put of LINE level unbalanced Then it can be used as MIC or LIN input The three microphone channels can be routed to the processing stage 4 bands EQ and compressor with independence The analog line channels manage bal anced BAL and unbalanced LINE stereo inputs e The digital channels manage two USB digital inputs DIG
33. es the headphone and monitor outputs for the Studio Normally the monitor ing level adjusts from the console for a comfortable listening in the headphones In case that you wants individual control for each headphone you can make external level control using a potentiometer of 2 x 1 Kohm mounted in the table The Studio monitors have their own gain control since the console s output was designed to operate with powered monitors Remember that when the mi crophones activate opening its faders the audio in the studio monitors is muted to avoid feedbacks The Control Room section offers independent gain controls for headphones and monitors The Control Room monitors must be powered units active speakers Using the routing switches you can choose the signal that will be listened in monitors and headphones The assignments for Studio and Control Room are independent The options are PGM to listen the console output REC allows the listening of the channels that are assigned to recording output e AIR switches to an additional input designed to connect an external tuner in order to monitor ing the transmission from the air This is the right way for monitoring recommended for all the radios 3 3 2 Previous listening CUE The D 816 has an internal loudspeaker for previous listening Each channel has a button CUE that al lows to listen the signal present in that channel with the channel fader closed SOLI
34. et Preference attenuator 12 dB local speaker interrupt priority Automatic On Air logic Audio amp Logic are managed from a single 100mm slide fader that performs all the operations in error free mode CUE private hands free Talk Hold with Air return Live On Air Telephone input lightning discharge safety Telephone Hybrid inputs are transformer floating to meet the Public Telephone service isolation standards They are protected with SIOV Varistors against soft lightning discharges Talkback Included Talkback MIC with Audio Limiter Noise Cancelled PZM type Outputs to Phone Line Hybrid or Studio Speakers amp Head phones VU meters 4 electronic VU meters por PGM amp REC Cuasi peak reading with standard yellow VU scale Microphone compressor indicator 0 15 dB Tally Light ON AIR signal output turns on when MIC is open Tubular connector 2 1 mm internal pin 12 V CC 0 12 amp two Solidyne On Air lights Power Tubular connector 1 8 mm internal pin Switching external power supply 90 240 V 20VA 28V 0 57A Dimensions amp Weight 350 D x 550 x 130 mm 7 Kg shipment weight SOLIDYNE D 816 broadcast console Page 31
35. fader technology used in D816 will be found at our WEB site D 816 consoles have two stereo output channels The main channel is denominated Program PGM and used for the On Air signal For recording REC is used You can make record ings while simultaneously the console is on the air We will see like example the procedure to make a recording in the computer whereas a musical pro gram is on air 3 6 1 Direct to Hard Disc recording Remember that the main output PGM and the recording output REC are available in digital for mat through connections USB Once connected the outputs appear in Windows like Control Panel Audio and Sound Devices Audio USB Recording device USB 1 corresponds to channel USB 6 and gives the PGM signal USB recording device USB 2 corresponds to channel and gives REC signal On the PC configure your recording software to use an USB recording device At the console route the channels that you want to record to REC bus The others remain assigned to PGM You must proceed as follows a In Monitor Section assign the Control Room monitors to the recording bus REC If you want you can send REC signal to the studio monitors too b Assign to REC the channels required for the recording for example MIC 1 Line 4 When a channel is routed to REC it is re moved from Air c Meanwhile the radio still on air through for example the channel 5 with a musical pro
36. gain of the module or the generator output until obtaining 4 dBm at the output Swap the frequency between 20 and 20 000 Hz and verify the frequency response SOLIDYNE D 816 broadcast console Page 29 6 1 7 Phase Staying the conditions of the previous item connect the generator to both microphone inputs right and left Connect a digital phase meter to the channels left and right of the program output Load each chan nel with 600 ohms Change the generators fre quency to measure the phase The variation will be smaller than 2 degree between 50 Hz 15 KHz 6 1 8 Stereo Tracking Maintain the conditions of the previous item Change the generator frequency to 1 kHz Take the main fader to the maximum Adjust the Pan Pot to obtain the same level in both channels L amp of out put This level will be in order of 10 dBm Now move the fader between 0 and 30 dB and measure the difference among the levels of both program out puts This difference will be below 0 2 dB 6 1 9 Harmonic Distortion THD Connect the audio generator at 1 KHz 4dBm to a left line input Connect a Harmonic Distortion meter and the oscilloscope to the left program output Load this output with 600 Ohms Then select BAL and PGM in this channel The other switches should be out Take the fader to the maximum level 0 dB Then change the preset line level until obtaining 4 dBm on the left output Measure now the total harmonic d
37. ic range compressor compresor that begins to work over 0 VU The indicator MIC compressor shows its action The processed signal can be sent to PGM and REC To the left the switch cancels the sending 160 OUT rec MIC 3 Line channel can be PGM send to program bus PGM 4 pressed to recording bus pressed to processor stage EQ with both buttons released If both buttons are pressed the signal is only sent to PGM The channels can be assigned direct to or be send to the gt eo processor stage EQ 1 CUE Previous listening Cue Main fader To enable the microphones press the MASTER MIC button located at the right on the console The gain must be adjusted in order to the main fader works over 30 dB indication OVL indicates overload thjat is to say excesive input gain The apropiate operation level is mantaining the peaks at 0 VU 2 3 LIN SOLIDYNE D 816 broadcast console Page 21 3 4 1 Features There are three microphone channels The Phan tom 48V is common for the three channels that is to say the phantom enables disables simultaneously for the three channels Remember that all dynamic microphones can connect to a line with phantom voltage without risk of damage because internally they have a transformer that disconnects the DC So it is possible to mix dynamic
38. inate it Vn dBm Verify in the oscilloscope that there is not any buzz only ran dom noise signal In order to eliminate buzz recon nect the grounds of the measurement instruments so that the buzz disappears The level of equivalent in put noise will be EIN Vgen Vn RE that is to say EIN dBm 65 Vn dBm If the A weighted filter is not available a simple RC filter will be used that attenuates 3 dB in 15 khz The measured noise will be between 5 and 7 dB above to the real one 6 1 11 Signal Noise ratio In the same outline of the previous point connect the audio generator at 1 kHz 4 dBm to the line input Connect to the output an audio level meter with A weighting filter and an oscilloscope Load the output with 600 ohms Move the fader to 10dB position Adjust the line level preset until get 4dBm output and use this value as reference for the measurement of noise Replace the generator by a resistor of 600 ohms and measure the new output level This value plus 4dBm is the S N ratio 4 This measurement result is the noise level dBA 6 1 12 Crosstalk Connect the audio generator 4 dBm 1kHz to a left channel of a line input Connect an audio level meter with A weighting filter an oscilloscope and a load of 600 ohms to the left REC output Connect an other load of 600 ohms to the left PGM output All buses in others modules must be on REC bus Move the fader to the maximum
39. istortion Change the frequency between 30 and 15 000 Hz and to check if the distortion is below the specification Repeat for right channel Reduce now the level from the generator to 50 dBm and connect it to the microphone input Take the fader to 0 dB position Select MIC change the level from the MIC preset gain until obtaining 4 dBm at the output and to proceed like in the previous item It is necessary to keep in mind so that this measurement has valid ity the following conditions must be verified 1 The measurement chain must have a distortion smaller than 0 002 2 The distortion components just as they are seen at the oscillo scope screen connected to the output of the THD meter must be clearly distinguished from the residual noise and buzz 6 1 10 Equivalent Input Noise Connect the audio generator to a microphone input Load it with 600 ohms Connect to PGM output an audio level meter with A weighting noise filter Change the generator output to 1 kHz 50 dBm Se lect MIC and PGM in the channel under test Enable the module by pressing AIR Set the main fader to 10 dB Change the gain control until obtaining 15 dBm at the console output this is the reference level REF Verify that the signal does not clip Replace now the audio generator by a resistance of 150 ohms placed inside the connector Measure the residual noise in the audio level meter with A weight ing filter We will denom
40. le to send the background music in the return signal it will cause interruptions in the audio who s talking Page 18 D 816 broadcast console SOLIDYNE 3 3 Monitor section Audition level for _____ AIR PGM Studio loudspeakers 22 1 e tothe and headphones A REC LEVEL lt Q STUDIO MONITOR M Assign output PGM or REC to Audition level for the Control the Control Room Room active loudspeakers A 1 a AR Change the monitoring be Control Room hea si tween external input ON AIR dphones level and PGM REC Requires an external tuner AA CONTROL MONITOR CUE level Adjust the volume HEADPHONE of the built in loudspeaker The signal CUE also is sent to the ControlRoom headphones o 7 ee Talkback volume MIC PZM MIC For TalkBack and hybrid AA Talkback to Studio AIR MIC E MASTER MIC Enables the 3 microphones D ES In channel 3 only takes effect when the input AE switch is in position MIC If switch is in LINE Master Mic not take effect over this channel MASTER MIC 3 3 1 Using monitors and headphones At the monitors section you can observe the follow ing areas Studio Monitor here you define what signal you will listen at the Studio monitors and headphones Control Room Monitor define what signal you will listen at the Control Room monitors and head phones CUE set CUE level of the built in loudspeaker A unique level control manag
41. me You can choose between AIR external tuner PGM and REC CUE monitor The console has a built in loudspeaker for cueing with its own control level CUE is an inter nal send that allows listening to the audio signal pre vious to the fader The cue signal also is sent to the Control Room headphones SOLIDYNE D 816 broadcast console Page 5 Additionally monitoring section contains the Talk back circuit that operates as well in combination with loudspeaker CUE to engage in a private dialog from the hybrid with a telephone call without disturbing the on air signal 1 3 3 Outputs The D 816 console has two main outputs Line mi crophone and hybrid channels have two stereo sends to the output stage they are called PGM pro gram and REC recording In addition it has two USB digital outputs that ap pear in the computer as external sound recording devices USB recording devices and sends the pro gram channel 6 and REC channel 7 signals Summarizing the outputs are as follows The PROGRAM output is used the send the signal to the air REC used to recordings and allows to lis ten a channel in the main monitors without send it to the air REC USB recording output is also available via USB only if channel Digital USB 7 is connected USB Which appears in the PC as USB recording device 1 It can be used as source of signal to WEB casting D 816 has send 8 re
42. n 15 007 As reference we said that the LOW or bass control of fers body and weigh to the voices whereas the HIGH adds presence and usu oo ally improves the in 20 200 2 telligibility cen tral frequencies a bell shaped curve peak EQ Mid bass is centered in 160 Hertz where usually the plopping effect are concentrated or there is excessive TRNA resonance in certain 20 200 2k masculine voices The mid high band is located at 5 KHz because around this frequency usually appear the problems with the sss ex cessive emphasis the sibilants sounds like shhh 7 50 4 0 007 Gain dB 7 50 15 00 7 507 0 007 Gain dB 7 50 15 00 Gain dB Frequency Hz Compression The compressor maintains constant the peak level of the human voice starts to work when the signal surpasses go the 0 VU level Be Frequency Hz low that level the dynamic range is not affected D 816 has a very steep compression slope and fast attack and recovery times Indicator MIC COMPRESSOR shows in dB the reduc tion applied to the signal Gain dB Page 22 D 816 broadcast console SOLIDYNE 3 5 Line channels 3 6 Recording programs The D 816 console has four stereo LINE channels Line channels have two inputs th
43. ociate tele phone you make the call from the line 2 Once con tacted press the button line 2 The calling will be DI RECTLY on the air Remember to hook the telephone In the same way proceed with the cell phone 3 2 5 communications Skype While not the hybrid channel who provides communi cation via Internet we will explain here the proce dure for communication using VoIP software like Skype or similar SOLIDYNE D 816 broadcast console Page 17 A ATTENTION e USB 7 CANNOT BE USED IF CHANNEL USB 6 IS NOT CONNECTED since it is slave of channel 6 Both chan nels can be connected to the same computer e WHEN TWO PCs ARE CONNECTED CONSIDER THAT CHANNEL 7 CANNOT BE USED IF THE COM PUTER CONNECTED TO CHANNEL 6 IS POWER OFF Usually channel 6 is used with the air PC which is 24 Hs operative 3 2 5 1 Connection via Skype or similar with a remote journalist To make this proceed as follow a At the console switch the microphones to the EQ and assign the signal to PGM and REC switches to the right b The channel 7 must be assigned to but not to REC REC button released On the computer connected via USB to channel 7 make a communication using Skype or similar soft ware Before check the devices configuration of VoIP software to set the I O devices to USB 2 D816 CH 7 During the call the signal from the microphones is sent to the remote location via Skyp
44. om the cell phone that enters to the D 816 through the hybrid chan nel The cell phone works in a mode denominated 4 wires different from the telephone lines 2 wires In almost all models microphone and speaker dis connects while the cell phone is used in free hands mode Please refers to the user manual of you cell phone for details on this way of operation 2 D816 allows the user to have cellular and land phone lines in conference 2 2 6 3 EXTERNAL HYBRID The D 816 series has a connector with send and re turn from external hybrid External Hybrid uses a female TRS of Jack that gives signal PGM send by tip and receives signal return or input to console by ring PGM send is MIX MINUS that is to say it sends all the signals of Bus PGM with exception of the Re turn from Hybrid to avoid feedback loops The audio from external hybrid enters to the console through the hybrid channel The main FADER will behave in the same way that with the telephone lines connected to the console sending the signal to the air or the previous circuit according to the fader po sition Connection to a computer This I O be used to connect a computer to use a VoIP software like Skype or similar External Hybrid connects to the computer to the microphone input and to the line outputs with a special Y cable TRS to two 1 8 TRS See connection below
45. or active speakers muted 1 Stereo Studio Headphones with Distribution AMP up to 8 head phones 10 dBu 1 Stereo Control Headphones 10 dBu 1 External Hybrid send MIX Minus 4 dBu 10K Cue monitor Internal CUE Monitor Amplifier 250 mW Headroom 24 dB LIN to PGM Ref 4dBu 10 k Start external devices From MIC 1 amp MIC 2 From Line 5 amp 6 Open collector 24V 0 1 Frequency response 20 20 000 Hz 0 5 dB LIN to PGM Mic equalizer Four Bands MIC EQ with In Out switch 80 Hz top flat curve 160 Hz bell shaped 4 kHz bell shaped 8 kHz top flat Action 15 dB 15 dB Mic compressor Low distortion MIC compressor with In Out switch 20 dB max com pression Attack time lt 10 ms Threshold 0 VU Compression ratio lt 2 dB variation for 15 dB change MIC level Noise MIC input EIN 120 dBu 150 ohms LINE input S N gt 70 dBA Dynamic range From Line to PGM gt 90 dBA CD quality Crosstalk PGM REC gt 65 dBA 1 kHz Distortion From LINE to out lt 0 03 THD 30 15 000 Hz Phase From Line to PGM lt 3 L amp R 50 10 000 Hz Stereo tracking Below 0 2 dB error L R in fader range 0 to 40 dB Telephonic hybrid TWO line active Hybrid It includes a mini PBX with blue LED silent ringer Line attention with free hands operation and Line Transfer Frequency Response 300 3 400 Hz Noise gt 60 dBA S N Rejection gt 40 dB rejection Rejection adjust in front panel pres
46. r Each microphone channel can be sent individually to the air signal PGM or assigned to the processing stage MIC 3 channel can be switched to AUX stereo line input Four LINE channels allow connecting up to 8 sources Channels 4 and 5 manages balanced ana logical inputs whereas channels 6 and 7 are digital with direct connection to the computer via USB ports Additionally all channels have one analog auxiliary input All the channels count on a gain control that take ef fects on the selected input main or auxiliary Chanel 8 Telephone Hybrid manages two land telephone lines 2 wires and one cellular phone in put 4 wires Cell phone is connected using the free hands connector The three phones can be in con ference The use is very simple since many func tions are automated Additionally the console has send and return connector for external hybrids 1 2 2 Monitoring The monitoring section distributes the signals to the loudspeakers and headphones of the study and the control room Studio section has a unique level knob for loud speakers and headphones and the assignment switches that allow select between ON AIR signal external tuner console output PGM or recording output REC Usually the console level is adjusted for a comfortable headphone level and then the ac tive speakers are adjusted for desired level Control Room monitoring has independent control for headphones and loudspeakers volu
47. s as recording device USB 1 and recording device USB 2 Win dows numbers them according to the order in which they were recognized In the console the dis play indicator Digital In Out will show U4 indicat ing that stereo input and output of USB channel was recognized When connecting to channel 7 the indi cator will change to U8 and will appear in the com puter a secondary playing and recording device USB 2 Both USB channels can be connected to the same PC or to different computers please see Very Important note Remember that you can see the playing and recording devices from Control Panel gt Audio and sound Devices gt Audio In this window you define the preferred devices for Windows those that applications use by default This is simple since the devices are selected from a drop down menu Obviously you must configure the USB devices in the automation and editing software that you use If your PC does not have installed a soundcard default playing and recording device will be USB 1 channel 6 and PGM out put ON THE LEVEL After installation you must adjust the PLAY ING LEVEL in the Windows mixer Programs gt Accessories gt Entertainment gt Windows Mixer since both channels born SILENCED Windows erroneously shows the faders at middle scale but the channels are muted Set the main fader gain con trol and WAVE faders to the Maximum position
48. s etc By the same reason don t drink or eat near the console D 816 consoles use the new Conductive Ceramic fader technology with more than one million opera tion guarantee usually 15 years of use Please see more information at www solidynePRO com This faders do not need maintenance nor cleaning 5 2 Preventive Maintenance The D816 console is manufactured using hi tech in tegrated circuits and heavy duty electronic compo nents that guarantee an excellent reliability and al lows eliminating the routines of preventive mainte nance Usually D816 console do not need special mainte nance routines Be sure the operator s has a gentle use of the console Remember that the rear connec tors are not designed for daily use avoid connection of headsets directly to console When the operator s changes frequently its headsets use an external patch panel to avoid wearing console jacks 5 3 Spare parts All faders are assembled using connectors and they are mounted to the chassis with two screws so its replacement is very easy Once outside any module is easily repaired thanks to that all the components are clearly identified in the Service Manual see 4 4 Usually we recommend to acquire the complete module and to change it be cause its low cost does not justify to repair it 5 4 Service Manual Service manuals with the electrical circuits and com ponents layout are sent by email to Authorized Soli dyne Dealers an
49. simultaneously from the front of the con sole Remember that the dynamic microphones support without problems 48V of phantom reason why is possi ble to mix dynamic and condenser MIC s 2 2 3 Audio outputs MONITOR OUTPUTS srunio __ _ SPEAKER PHONE 12V DC 28V DC 0 15A 0 4 LIGHT lt lt REC OUTPUT BALANCED 4dBm PGM OUTPUT 2 2 3 1 PROGRAM AND RECORDING Program output PGM is the main output that takes the signal that will be emitted to the air It is bal anced with female TRS connectors a k a jack Recording output REC is balanced with TRS 1 4 connectors In order to connect these outputs to an unbalance in put connect only the terminal and leaving un connected the one Balanced connection Plug to male XLR for each channel TRS Plug XLR Cannon SOLIDYNE D 816 broadcast console Page 9 GND sleeve GND pin 1 signal tip signal 2 signal ring signal pin 3 Please do not connect a signal pin 2 or 3 to ground Never uses plug s to connect the outputs The nominal output level is 4 dBu OVU If you unbalance the outputs take in mind that the level re duces in 6 dB therefore OVU 2dBm Note that if some nonprofessional equipment is con nected to the balanced output may the level be too high causing saturation In those cases
50. take supply ten sions that are elevated in comparison with the audio signals present in the circuit you will be in presence of electrostatic humming The distinction is merely academic because the resolution of a prob lem supposes the knowledge of the noise type to ap ply the correct solution Examples To minimize the reception of electromagnetic humming in the wires remember the following rule THE AREA AMONG TWO AUDIO WIRES WILL BE MINIMUM It implies that the cables will be tied very close like the shielded twisted pair audio cables They should pass far away from any transformer or devices that manage high intensity currents Is important to remember that a wire can be good shielded but if his conductors don t complete the conditions of minimum area it will be susceptible to take magnetic humming Other parasitic signals are AC HUM RADIO FRE QUENCY and CROSSTALK As hum noises like the radio frequency are originated by electromagnetic fields of high frequency the first ones are originated by disturbances due to the connection and discon nection of equipment s to the AC line the seconds ones are generated by communications transmitters or industrial equipment If these signals penetrate into audio lines with sufficient intensity can surpass the action of the special protection filters and to reach some sensible part of the input stages In that case the interfering signals can be demodulated and already t
51. to each connector will have to be twisted around the ring 2 2 REAR PANEL connecting 2 2 1 Power Supply At the left side of the rear panel you will find the con nector for the power supply The switching power supply provided with the console works with any AC network 90 240 V and tolerate zones with great variations of tension Gives regulated 28 VCC PLEASE DONT REPLACE THE ORIGINAL POWER SUPPLY The console does not have On Off switch reason why it remains fed while the power supply is con nected The grounding made through a bronze tip located in the rear panel that provides the ground connection to the chassis Use cable of 2mm to a good buried cooper bar 2 2 2 Input channels On the rear panel are located all the inputs and out puts connectors Take in mind that good connections offer safe and free of faults operation By this reason we recommend you take it the time necessary to make the connections care fully and use always material of first quality 2 2 2 1 LINE inputs START BAL LINE gt LINE BAL LINE LINE BAL LINE LINE z 49 ES E DIGITAL USB Each line channel has two stereo inputs selected from the frontal panel The BAL LINE inputs are symmetrical balanced These called LINE are un balanced inputs To connect an eguipment with balanced output you will need a cable from DIN
52. turn connections for external hybrid The audio from the external hybrid enters trough the hybrid channel and operates just as the built in hybrids which continue being operative Please note that land lines of internal amp external hy brids will work in conference The Tally output allows the direct connection of ON AIR LED s lights Tally activates when opening the channels MIC 1 and or MIC 2 channel MIC 3 does not activate the tally since it can operate as line or microphone The LOAD DOES NOT HAVE TO EX CEED the 120 mA two Solidyne AIR lights If your radio uses the old incandescent light bulbs a 12 V relay must be connected 1 3 4 Start devices This D816 console allows starting remote devices when some faders are opened MIC 1 MIC 2 LINE 5 and LINE 6 It allows to command the automation software com puter digital audio processors like Solidyne 462dsp amp 562dsp or CD DAT Minidisc players Satellites etc provided with remote control 1 3 5 ETM VCA Using the technique of control ETM VCA Electro metric Voltage Controlled Amplifier the faders DO NOT manage audio signals The variation of the level is made by means of amplifiers of low noise and great stability The main faders only handle con trol signals that modify the gain of the electronic am plifiers For more information please visit our WEB site The main advantages of this technology are Eliminates the noisy signals due to dirty
53. urned audio signal and will be amplified by the rest of the system It is fundamental therefore to maintain the interference within reduced margins It is obtained avoiding very long audio lines with aerial sections or that pass near of transformers or RF transmitters For protection against very high fre quencies is advisable to use double shielded cables guarantied by the manufacturer CROSSTALK is the reception of signals coming from other lines of audio This like all unwanted noise it can be supposed controlled when its level is below the level of the system residual noise Then all con siderations mentioned for the case of buzz are valid 2 1 2 RF interference Hum D 816 consoles have numerous internal protections against RF fields for the AM and FM broadcasting band When the transmission station is installed cor rectly there will be no interference problems still with FM equipment of 50 KW installed in the terrace of the radio station Nevertheless when the antenna is badly positioned with respect to the Studio or has severe SWR problems then it does not have the minimum value of field intensity downward Or maybe there is a faulty ground connection then strong standing waves will appear on the cables of the Studio that can induce high electrical currents in side the audio console Symptoms If the interference takes place at the A M band the sound transmitted by the A M radio will be listened in the loudspe
54. verify that the output level de crease at least 40 dB Change the test frequency to ver ify the common mode rejection specification Repeat for the right input of this channel or for another channel 6 1 3 Aux Input Connect the generator to the AUX left input Select AUX and repeat the procedure explained for the line chan nels with levels of 25 dBm and 4 dBm Take in mind that the common mode rejection isn t applicable for this input 6 1 4 Balanced Outputs All the measurements must be carried out in the same way that the unbalanced outputs but disconnecting of GND the instrumental used and connect it between the two balanced terminals Another possibility is to measure all in unbalanced mode only one pin adding 6dB to the results 6 1 5 Gain Connect a microphone input to an audio generator Connect the audio level meter and the oscilloscope to the output Charge this output with 600 ohms Adjust the generator to 80 dBm 1 KHz Select and in this channel Move the main fader and the gain knob to the maximum position The difference be tween the obtained output level and 80 dB is the gain of the console 6 1 6 Frequency Response Connect the generator to a microphone input Connect an audio level meter and an oscilloscope to the output Load it with 600 ohms Change the audio generator to 1 kHz 50 dBm Select MIC and PGM in the channel Move the main fader to the value 10 dB Change the
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