ORION
USER
MANUAL
Page 1
OrionX Owners Manual
Introduction and Product Overview
1.0 The Chassis system - description
1.0 The Orion chassis system
2.0 Master section - description
2.1 Solo section
2.2 CRM section
2.3 Oscillator section
2.4 Communications section
2.5 Auxiliary send masters
2.6 Studio section / Phones section
2.7 Master inputs / outputs
2.8 Master meters / Channel meters / Phase meter
3.0 "LCRS" in-line module - description
3.1 Input section
3.2 Equalizer section
3.3 Auxiliary send section
3.4 Monitor section
3.5 Floating Subgroup section
3.6 Channel assign / Fader section
3.7 Automation
For inputs / outputs - see 4.7
4.0 Standard in-line module - description
4.1 Input section
4.2 Equalizer section
4.3 Auxiliary send section
4.4 Floating Subgroup System
4.5 Monitor section
4.6 Channel assign / Fader section
4.7 Inputs / outputs
5.0 Dual Stereo Aux Return module - description
5.1 Input section
5.2 Equalizer section
5.3 Aux send section
5.4 Floating Subgroup System
5.5 Channel assign / Fader section
5.6 Inputs / outputs
Page 2
6.0 Optional Patchbay - description
6.1 Patchbay - points
7.0 Instructions for operation
7.1 The Tracking session
7.2 The Playback session
7.3 The Overdub session
7.4 The Remix session
7.5 The MIDI or Virtual Session
8.0 Installation - electrical
8.1 Local Electrical Voltage
8.2 Electrical Wiring
9.0 Installation - audio
9.1 Interface with Power Amps
9.2 The Initial Hook-up
9.3 Shields & Grounds of Equipment
10.0 Master Section Connectors
10.1 Connecting the Master Module # 1
10.2 Connecting the Master Module # 2
10.3 Connecting the Master Module # 3
10.4 Connecting the Master Module # 4
10.5 Connecting the In-line / LCRS Module
11.0 Troubleshooting and servicing
11.1 Troubleshooting
11.2 Removing a module
11.3 Patchbay - servicing
12.0 Specifications
Page 3
Letter from the Prez
Dear Orion owner,
Thank you for selecting the D&R Orion series.
The Orion was created using the latest in computer aided design and assembling
technology and incorporates the most advanced circuit components available which
results in the Orion being another D&R product unsurpassed in the electronics
industry.
We value your suggestions and would appreciate you taking the time to complete and
return the questionnaire included at the front of this manual (once you become
familiar with your Orion). We listen and learn from your comments and you can be
assured that our research and development department will take your comments very
serious.
Built to the highest standards, we are confident that the Orion will help produce "state
of the art" recordings for many years and wish you much success.
With kind regards,
D. de Rijk
President, D&R Electronica b.v.
RAISING
THE
STANDARD
Page 4
Orion Recording Console
The D&R Orion series is a balanced, 8 or 16 buss, in-line format recording and
mixing console designed to take the central role in a recording, mixing, or post
production facility.
The Orion is completely modular and can be configured to precisely suit your
particular system requirements. Due to the fact that all inputs and outputs can be
connected using the individual module and master section connectors, the Orion
patchbay is entirely optional. When the Orion patchbay is installed, the Orion can be
interfaced using 25 pin sub D multipin connectors. If you have your own patchbay
or perfer to wire your own, individual input / output connectors (rear of
meterbridge) can be used for the interface. If you ordered your Orion short-loaded
and without the patchbay, you may install the patchbay at a later date.
To become completely familiar with your Orion and gain the maximum benefit from
its use, we recommend that you read this manual thoroughly. It will provide
important information about all aspects of the Orion including; installation,
operation, and servicing.
If we can be of any assistance to you, don't hesitate to call.
Head Office / Factory:
D&R Electronica B.V.
Rijnkade 15B
1382 GS Weesp
The Netherlands
Tel: (-) 31 2940 18014
Fax: (-) 31 2940 16987
Page 5
THE CHASSIS SYSTEM
1.0 The Orion Chassis System
The Orion is available in three frame sizes; 30, 38, and 51 (larger frames can be
special ordered). The basic frame has four blank modules, two are located on the
extreme left and right of the frame and two more are on the left and right of the
master section. The extreme left and right blanks cannot be used for input modules
as they conceal mechanical construc- tions, however, the blanks on either side of the
master can be replaced with input modules. A heavy duty rack-mount power supply,
master modules, and internal cable harness are included.
Note: Due to the LCRS module and standard in-line module being the in-line design
format, we will refer to both as in-line modules. As always, with D&R you can pick and
choose how many of any of the three modules you want and where you would like them in
the frame.
The frame 30 will fit 32 input modules (in-line, or dual stereo modules), 4 master
modules, and 2 blank modules. The standard configuration has (from left to right)
24 in-line modules, 4 master modules, and 6 duel stereo return modules. Custom
configurations are available at no extra charge.
The frame 38 will fit 40 input modules (in-line or dual stereo modules), 4 master
modules, and 2 blank modules. The standard configuration has (left to right) 24
in-line modules, 4 master modules, 8 in-line modules, and 6 dual stereo return
modules. Custom configurations are available (no charge).
The 51 position frame will fit 40 input modules (in-line or dual stereo modules), 4
master modules, patchbay, and 2 blank modules. The standard configuration has
(from left to right) 24 in-line modules, 4 master modules, 8 in-line modules, 6 dual
stereo return modules, and patchbay. Custom configurations are available at no
extra charge. The 51 position frame can accept up to 54 input modules if the
patchbay is not utilized.
Both the master section and patchbay can be installed wherever most suitable, but
the request must be made at the time of ordering. If your requirements are for your
patchbay to be remotely mounted, ask D&R for a custom quote. The Orion is
available with or without the pedestal base and stabilizing beam. If ordered with
console, the pedestal is not assembled for shipping. Assembly takes approximately
twenty minutes.
Page 6
THE MASTER MODULES
2.0 Master section - description
The Orion has four master modules mounted in a single front panel .
All inputs and outputs are located on the back of the meter bridge.
The paragraphs below give a description of each module section.
2.1 Solo section
The Solo section has a master volume control with a center detent
for nominal levels and a CHANnel to PFL (pre-fade listen) switch
with an LED indicator mounted. When this switch is in the up
position, all solo switches on the input modules are in the
"stereo-in-place" mode when activated. With this switch in the down
position, any solo depressed would be in pre-fade listen mode. An
LED indicator is also fitted next to the solo level control to show
when a solo circuit is activated.
2.2 CRM section
The CRM (control room monitor) section contains the electronics
for monitoring all signal paths in the Orion.
CRM Source switching
From the top of this section, there are the four CRM signal sources.
With all these switches in the up position, the CRM will monitor the
stereo main outputs which is the sum of all the monitor sections
(assigned on LCRS), Left / Right routing switches in the input /
output modules, and all (assigned) stereo inputs from the dual stereo
modules. The Orion has three dedicated balanced +4 dBv or -10
dBu tape machine returns which can be wired to the outputs of
stereo master machines, cassette machines, CD players, or DAT
recorders or to the Orion patchbay. Utilizing any of these switches
enables playback or post tape monitoring of a master mix.
Aux 1-2 (7-8 if fitted with LCRS modules) can be monitored in
stereo to allow the building-up of a stereo cue mix for the headphone
system through the control room monitors.
Page 7
CRM level
The CRM level controls the output level to the control room
monitors amps. The Orion has two CRM systems intended for use
with large monitors and nearfield monitors which are switchable
via the CRM 2 switch. We advise that nearfield monitors be
wired to the CRM 2 output since the communica- tion takes place
over this monitor while dimming the main monitor.
MONO
The Mono switch allows the user to listen for any out-of-phase
signals or merely used for monitoring your mix in mono.
Faders
Located in the bottom of the left two master modules (not drawn)
are two 100mm mono faders which control the main stereo mix
busses.
2.3 Oscillator section
A three frequency, low distortion, phase shift type oscillator is
fitted. The three frequencies are; 100Hz, 1kHz, and 10kHz. Each
frequency has its own front panel alignment trimmer and overall
level control to adjust the oscillator for precise alignment of the
console and tape machines. The level ranges from -35 dB to +20
dB with a detented mid-position calibrated at +4 dBv. The
oscillator is routed to the stereo mix busses and switchable to the
GROUPS.
NOTE: The CRM will dim 20dB when the oscillator is active.
The meters on the Orion are peak reading meters and will read -6
dB when a sine wave with a +4 dB output level is sent to the
meter. Measuring the +4 dB output level of the channel or
master with a AC voltmeter would produce a 1.22 volt reading.
The LED meter would actually be reading -6 dB on the scale.
When monitoring "program" material, you will see higher levels
on the peak reading meters. A pair of analog VU meters are
available as an option to fit alongside the master peak meters.
Page 8
Note: When aligning your tape machines to the peak meters on the console, do
not set the peak meters to "0". The meters should be set to -6 on the console
meters. If analog VU meters are used on the master section, they would be set to
"0".
2.4 Communications section
The communications section allows all communication functions
from the control room to the STUDIO, PHONES, and GROUPS.
Each buss has its own assignment switch and is feed via the T.B.
control and built-in condenser mic.
The T.B. REM. (remote) switch is for locking in the talkback
allowing the engineer or producer to carry on a two way
conversation with the studio from remote areas in the control room.
When depressing this push-on push-off switch, you can communicate
without holding down the talkback switch.
The talkback switch is a momentary type which allows you to talk to
the headPHONES, STUDIO speakers, and 8 GROUP outputs as
well as the "Floating Subgroup System". The stereo phone jack
sockets located above the aux master sections are for checking (on
stereo headphones) the mix being sent to either output section.
Page 9
2.5 Auxiliary send masters
The eight auxiliary master sections are identical in function.
Mounted in the first module are aux sections 1, 3, 5, & 7 and
mounted in the second module are aux sections 2, 4, 6, & 8. Each
Aux master pot controls the sum of all channel or monitor aux send
busses. The solo switch sends the (post fader) aux buss signal to the
control room monitors. The associated LED lights indicating the
activated solo switch. When using any aux send buss, turn the aux
master full clockwise for the correct amount of output. If the input
level of your effects device seems to be low, make sure the input
gain on any module you are sending from is adjusted correctly. In
order to adjust this control, refer to section 4.1 of this mauual.
2.6 STUDIO and PHONES section
The STUDIO section and PHONES section performs in a similar
way to the CRM module, however, the signals are sent to the studio
or phones amp from the CRM or Aux 1 & 2. If you press only the
Aux 1 switch, you will hear only the Aux 1 buss (in mono) through
the studio speakers (or the headphones) and if you press only the
Aux 2 switch, you will hear only the Aux 2 buss (in mono) through
the studio speakers (or headphones), however, if you press both Aux
1 and Aux 2 switches you will hear Aux 1 in the left studio speaker
(or headphone) and Aux 2 in the right studio speaker (or
headphone). When pressing both switches, you can have a stereo
mix playing through the studio speakers (or stereo headphones).
Page 10
Also fitted in this section is a mute switch and level control with level
ranges up to a balanced +4 dB nominal level (+26 dB maximum).
The mute switch is used to mute the output of the studio or phones
module. The studio output section can be used for feeding a
completely separate mix to a second set of studio headphones.
2.7 Master Inputs/Outputs
The Orion has two methods of interfacing with external equipment
such as two track master machines, signal processors, headphone
amps, and power amps. Interfacing is possible using the connectors
on the master back panels, through 25 pole sub D male connectors
(if utilizing the optional patchbay), or a mixture of both. Listed
below are all inputs and outputs for the four master modules. The
next four drawings and paragraphs describe and explain the
backplate and all connectors.
Master module # 1 & 2 (CRM & SOLO and OSCILLATOR &
COMM.) This double backpanel houses (from top to bottom) the
right and left master insert sends & returns, two track A, B, & C
right and left playback inputs (from two track machines), -10 dBv
right and left outputs, and +4 dB balanced right and left outputs
fitted on male XLRs. Also fitted on male XLRs are CRM 1 & 2
outputs. The ground terminals and power supply connector are
located on this backplate as well.
Page 11
Right and left master insert in and out.
Right and left two track A (playback)
Right and left two track B (playback)
Right and left two track C (playback)
Right and left -10dBv main outputs
Right and left +4 dB balanced main outputs
Power supply connector / Control room 1 output
Ground terminals and Control room 2 output
Master module # 3 & 4 (Aux masters 1 through 8 and Studio &
phones sections). The connectors on this module backplate are
the studio & phones stereo outputs and the balanced Aux 1
through 8 master outputs. The Phones jacksocket is a stereo
1/4" output which should be wired to the inputs of a stereo power
amplifier intended to drive the headphones in the studio. The
Studio jacksocket is a stereo 1/4" output which should be wired
to the inputs of a stereo power amplifier intended to drive the
Studio playback speakers.
Phones output and Studio output
Aux 8 output and Aux 7 output
Aux 6 output and Aux 5 output
Aux 4 output and Aux 3 output
Aux 2 output and Aux 1 output
Automation remote control
MIDI in, out, and thru din sockets
Aux sends 1 through 8 are used for sending signals within the
console to eight different signal processors such as digital
reverbs. These outputs are balanced (ground compensated).
Page 12
2.8 The Master, Channel, & Phase Meters
Master Metering
The Orion master is fitted with peak reading, high resolution,
LEDbar meters with attack and release times which conform to
world standards. The attack is 10msec. for a 20 dB range and the
release is 1.5msec.
NOTE: Peak reading meters give a reading 6 dB below the actual
level when using a sine wave. For example, +4 dBu at the output
connectors would give a reading of -6 dB on the meter using the
oscillator.
If U.K. reading ledbars are ordered, they will have attack and release
times of 300msec. and a +4 dBu level on the output connectors will
give a 0 dB reading on the meter.
Channel metering
Each in-line channel is fitted with peak reading, eleven segment
LEDbar meters mounted in the meter bridge. The attack and
release times conform to world standards. The attack is 10msec.
for a 20 dB range and the release is 1.5msec.
NOTE: Peak reading meters give a reading 6 dB below the actual
level when using a sine wave. For example, +4 dBu at the
output connectors would give a reading of -6 dB on the meter
using the oscillator.
Phase Meter
Fitted in the meterbridge is a phase corelation meter. This meter is
used for checking for phase cancellations in the stereo mix or when
miking anything in stereo. It is normal for your meter to display up
to 90 degrees when monitoring in stereo.
Page 13
The LCRS Module (OrionX)
3.0 The LCRS Module - description
The Orion LCRS module is a basic input / output design (in-line) whereby all signal
flow takes place from the microphone to the multitrack. Each LCRS module is
shipped with an 11 segment LED bargraph meter. The following sections explain
the many functions and features of this module.
3.1 Input section
The input section controls all incoming signals such as microphones, keyboards, or
any line level device. Fitted at the top of the module is a 48V phantom power
switch for powering condenser microphones or active direct
boxes.
The GAIN control is actually one knob which turns two pots
adjusting two sets of electronics. If the MIC/LINE switch is in
the up position, the GAIN control will adjust the microphone
input and if the MIC/LINE switch is in the down position, the
GAIN control will adjust the line input level. In order to make it
more accessible, the PHASE switch is located next to the monitor
fader. It is used for reversing the polarity (phase) of the
microphone and line input.
3.2 Equalizer section
Just below the input section is the four band fully sweepable Extended Range
"Hi-Def" (high definition) equalizer. The HF (high frequency) band has a boost
or cut of 16 dB and is sweepable from 4kHz to 22kHz and is a shelving type. The
HMF (high mid freq.) band sweeps from 600Hz to 15kHz. A
MIDS TO MONitor switch allows the two sweepable mids to be
moved to the monitor equalizer creating a full four band
sweepable equalizer in the monitor path. The LMF (low mid
frequency) band sweeps from 40Hz to 1kHz. Both mid freq.
bands are peak/dip types with a boost or cut of 16dB. The LF
(low frequency) band starts at 10Hz and sweeps out to 500Hz. It
is a shelving type with a boost or cut of 16dB. A high pass filter
switch is fitted just below the equalizer to allow the user to cut the
low frequencies below 100Hz. It is a 12dB per octave
Butterworth type. An EQ in/out switch completes the channel
equalizer section.
Page 14
3.3 Auxiliary send section
Each LCRS module has 8 discrete aux sends. Aux send 1 & 2 are
fed from either the channel path or the monitor path and switchable
pre/post fader.
Aux 3 & 4 are always fed post fader from the channel path.
Aux 5 & 6 are post fader fed from channel or monitor. Aux 5-6
sends can be sent to the 16 busses (to subs) to extend the 8 aux
sends to 24 aux send busses.
When pressing the Aux 5 & 6 TO SUBS switch, Aux 5 & 6 sends
will take priority over the monitor and channel bussing.
3.4 Monitor section
Aux 7 & 8 are always in the monitor path with level and pan control
and are pre/post fader switchable.
The Monitor Equalizer section is a shelving type with the same
extended range as in the channel path. Sweepable from 10Hz to
500Hz and 4kHz to 22kHz in two bands, this "Ext-Hi-Def"
equalizer has an ultra transparent quality to its sound. The two mid
bands of the channel equalizer can be switched into the monitor
equalizer making it full four bands.
An EQ in/out switch allows for easy comparisons.
The monitor section can be assigned to the 16
busses for maximum tracking flexibility. If
channels are assigned to the 16 busses and you
press the monitor TO SUBS switch, the monitor
bussing will take priority over the channel bussing.
The L/R switch allows the monitor panpot to be
assigned to the stereo mix buss. The monitor
PANpot pans between the left and right stereo
mix busses.
The GROUP (GRP) switch inserts the monitor
fader into the group output buss in the associated
channel and allows the control of a output using
the monitor fader as a sub group control.
Page 15
The Tape switch selects the monitor to listen pre or post
multitrack. The LED bargraph meter normally follows the tape
switch but can be switched (MTR) to follow the input signal post
channel (balanced) insert.The MIX switch swaps the mic / line into
the monitor and tape into the channel (from tracking to mixdown
mode) on individual modules.
The Phase switch reverses the phase for both mic and line inputs.
3.5 Floating Subgroup System
Located in the lower part of the monitor section, the "Floating
Subgroup System" is one of D&R's most unique features.
Although the Orion LCRS has 16 conventional busses, the FSS
allows the user to buss any input (or any amount of inputs) to
those tracks above 16 without having to use the patchbay. As an
example, if you have a 32 track tape machine and want to buss
some inputs in stereo to tracks 31 & 32, you would assign and pan
between busses 1 & 2 (or 3 & 4) on all desired inputs and then go
to modules 31 & 32 and press FROM SUBS 1 & 2 (or 3 & 4) on
both from sub sections. Now a stereo mix of all assigned channels
will feed tracks 31 & 32 through the outputs of modules 31 & 32.
At the same time, the input sections, eq sections, and channel
assign sections of modules 31 & 32 can be used for other inputs.
The Monitor section has two SOLO modes available, PFL or Solo in Place. The
SOLO switch has an LED as an indicator.
Fitted below the solo switch is an automated MUTE switch. MidiFade (D&R's
midi sequencer controlled automation) and PowerVCA (D&R's SMPTE based
automation) will control this mute. The MUTE switch has an LED indicator.
3.6 Channel assign / fader section
The LCR panpot allows for easy surround sound mixes when needed or can be
used as a normal panpot when the LCR switch is not activated. When active, the
center output of the panpot will feed the Aux 4 buss directly creating a third
channel needed for the center of Surround mixing. In this condition, the aux 4 send
pot (on this channel) is not active.
The surround sound can be fed from aux three if a four channel surround mix is
required. If a six channel surround mix is required, aux 5 could be used as left
surround and aux 6 for right surround or the stereo aux 7-8 could be used for the
left &
right surround sounds. If six channel surround is required, aux 3 would be the sub
woofer send.
Page 16
The channel SOLO switch allows for both PFL and Solo in Place
listening and has an LED indicator.
The channel MUTE switch fitted below the solo switch is an
automated MUTE. MidiFade (D&R's midi sequencer controlled
automation) and PowerVCA (D&R's SMPTE based automation)
will control this mute. The MUTE switch has an LED indicator.
The channel can be assigned to the left / right stereo mix busses by
pressing the L / R switch.
Assignment to the 16 busses is performed by pressing any or all of
the 1 through 8 buss switches. The BNC switch bounces between
busses 1 through 8 and 9 through 16. The "Floating Subgroup
System" is routed through the first four busses.
When you press the ISO switch on this module, the internal high
quality VCA can be individually switched out of the signal path for
"audio purists".
The SEL switch changes the automation modes from ISO (VCA in,
but not controlled by the computer) Read mode, Write mode, and
Update mode (relative).
An external sequencer can control the internal automation hardware
if the optional D&R PowerFade automation hardware and software
is not purchased.
This module can accept a dynamics option which will be introduced
later. The DYNamics option will require some hardware and
software. Planned for release in late '95, the DYNamics option will
have compressors, limiters, and gates available.
3.7 Automation
The Orion LCRS module comes standard with part of the hardware
for MidiFade, a MIDI based VCA fader automation or D&R's
PowerVCA SMPTE based automation system. Channel faders,
channel mutes, and monitor mutes are automated in either system
with the addition of the optional
Page 17
LCRS Module....continued
Automation CPU with remote and one 8 channel Multiplex card for
every eight LCRS modules to be automated. If you start with D&R
MidiFade, D&R PowerVCA software and hardware can easily be
installed into your 486/66 IBM (or clone) personal computer. After
market automation systems can be installed at D&R or in your studio
by a certified technician.
Note: As with all console manufacturers and after market
automation systems, it is best to have the automation installed by the
console manufacturer or automation factory trained technicians.
Page 18
THE IN-LINE MODULE
4.0 The In-line module - description
The Orion in-line module is a basic input / output design whereby all signal flow
takes place from the microphone to the multitrack. Each in-line channel is shipped
with an 11 segment LED bargraph meter. The following sections explain the many
functions and features of the in-line channel.
4.1 Input section
The input section controls all incoming signals from microphone and line inputs.
A +48V phantom power switch for condenser microphones or direct boxes can be
silently switched in or out of the circuit.
Phase is used to reverse the phase of any mic / line input coming from a mike or
signal that may be out of phase with other mics or signals. A successful method of
checking for "out of phase" signals is to depress the mono switch on the master
section and listen closely to the mix. If an unexpected sound is heard or if something
appears to be missing from the mix, depress the phase switch for those channels
suspected to be in error. If the sound improves, then that channel was out of phase
with the others.
When the GAIN control is accurately set, it is possible to achieve the very best
signal to noise ratio and maximum headroom required for high quality recordings.
This control is for adjusting the line and mic inputs (with seperate elec- tronics),
although only one knob adjusts the dual pot.
LINE switches the microphone input to line input on the channel. The line has its
own balanced input amp and is controlled by the active (dual) gain control.
MIX, (the record / mix status switch) selects the basic signal path in the module.
When in the record mode ("up" position) the mic / line input signal is routed through
the channel path with or without equalization and / or aux sends and then to the long
fader and channel panpot. It can then be sent to the main Left / Right bus and/or be
assigned to the multitrack busses. With the mix switch in the "up" position, the
multitrack outputs are heard through the monitor section. When in the mix mode
("down" position) the channel signal (mic / line) is rerouted to the monitor section
(light colored), and the tape return input is rerouted to the channel path.
Page 19
The TAPE switch allows you to choose from where the monitor gets its signal. In
the up position (source), the channel fader feeds the monitor through summing amps
1-8. For channel selections above 8, the channel fader will feed the monitor directly.
In the down position (tape), the tape return (monitor in) feeds the monitor signal
path.
4.2 Equalizer Section
This four band semi parametric equaliser is unique in its design. There are four
bands, the high and low are sweepable frequency with shelving characteristics with a
boost or cut of 16 dB. The two mid bands are sweepable with a boost or cut of 16
dB and are bell curve characteristics. The HMF (High / Mid Frequency) and LMF
(Low / Mid Frequency) can be switched into the monitor path.
The 100 Hz Highpass filter is a fixed 9 dB per octave Butterworth model which
reduces low frequency noise effectively and musically. It can be switched on or off
in the channel path.
The HF (high frequency) section is a varible frequency shelving type, sweepable
from 4,000 Hz to 20,000 Hz with a maximum boost or cut of 16 dB.
The LF (low frequency) section is a varible frequency shelving type, sweepable from
20 Hz to 500 Hz with a maximum boost or cut of 16 dB.
The HMF (High / Mid Freq.) section has level and frequency controls with varible
frequency ranges from 600 Hz to 15,000 Hz and has a maximum boost or cut of 16
dB. The bandwidth has a Q factor of 1.5.
The LMF (Low / Mid Freq.) section has level and frequency controls with varible
frequency ranges from 40 Hz to 900 Hz and has a maximum boost or cut of 16 dB.
The bandwidth has a Q factor of 1.5.
Page 20
The HMF and LMF bands can be switched in or out of the channel and / or monitor
circuit paths by pressing the MF to MON switch. If the equalizer is only partly
inserted in a signal path, the equlizer (EQ) switch has priority over the monitor
switch. All level controls are center detented making neutral positions easy to
establish.
All frequency ranges have been carefully selected following extensive examination of
all types of music (and noise). Test comparisons of other equalizers helped the D&R
design team to create an equalizer that sounds very musical , but at the same time,
raising the standard in specs and sound quality. Noise and distortion are kept to an
absolute minimum.
4.3 Auxilliary Send Section
The Orion has eight auxilliary send busses. While in the tracking session, some aux
sends are used for feeding the headphones and some are used for effects sends.
During the mix session, all aux sends are used for effects sends.
Auxilliary sends 1&2 are on dual concentric controls. The top control is the send
control for aux 1 and the bottom control is the send for aux 2. These Aux busses
are normally used for stereo headphone sends in the tracking session.
Aux 3&4 are also on dual concentric controls. The top control is Aux 3 and the
bottom control is Aux 4.
Aux sends 1 - 4 can be fed from either the channel path or MONitor path and are
PRE / post switchable.
Auxilliary 5-6 are switchable to Aux 7-8 busses.
4.4 Floating Subgroup System
The "Floating Subgroup System" is one of D&Rs most unique features.
Although the Orion has 8 conventional busses, the FSS allows the user to buss any
input (or amount of inputs) to those tracks above 8 without having to use the
patchbay. As an example, if you have a 32 track tape machine and want to buss some
inputs in stereo to tracks 31 & 32, you would assign and pan between busses 1 / 2
(or 3 / 4) on all desired inputs and go to modules 31 & 32 and press FROM SUB
1-2 (or 3-4) on each from sub section.
Page 21
Now a stereo mix of all assigned channels will feed tracks 31 & 32. The "Floating
Subgroup System" can be used for 48 and 64 tracks as well. The Orion series
bussing is only limited by the amount of input / output channels in any given frame.
The FSS is one of the most misunderstood features, however, once understood, it
can be the most used and appreciated feature in the Orion.
4.5 Monitor Section
The monitor section is the second signal path in the Orion in-line channel. It has its
own volume control, panpot, and mute & solo switches as well as a Group switch
and fader reverse switch.
In record mode (the mix switch in the up position), the monitor section is fed by
either the tape return or group output (tape return or tape send). In mix mode (mix
switch depressed), the monitor section is fed by the mic / line input and the tape
return now moves to the channel and is controlled by the long fader.
Two mid bands of the equalizer can be inserted into the monitor section. This
feature makes a fully functioning input usable in the mix mode for signals other than
the channel signal. Channel and monitor paths can have either tape return or mic /
line inputs with a two band equalizer (on each) at the same time.
The GRP (group) switch inserts the monitor pot into the output summing amps of
that particular channel. All relevant functions of the monitor section are also
inserted. The stereo solo-in-place or pfl (pre fade listen) solo system and mute can
be used on this group fader as well as auxilliary sends and equalizer, but control of
the monitor signal path is obviously lost, however is still monitored. The mix
channel status switch has no infuluence on the group switch.
The monitor pot and channel fader can be reversed (REV) when use of the fader for
monitoring during recording is preferable. All functions such as assigned Aux sends,
solo, and mute functions stay in their normal signal path. Only the fader and monitor
pot are electronically reversed.
The SOLO switch has two modes, pfl (pre fade listen) or a "destructive" stereo
solo-in-place system. Master status
switching (located in the master section) selects the status of "solo- in-place" or
"PFL" mode for the entire console. When activating any solo switch in the pfl
mode, it will send the prefader signal of the monitor section to the CRM speakers in
mono. In the solo in-place mode, the post monitor panpot signal is heard (where
panned in stereo), and all other channels are muted within the stereo mix buss. A
solo indicator LED is fitted next to the solo switch.
Page 22
The MUTE system is designed around a special soft-muting integrated circuit,
completely click-free. A mute indicator LED is fitted next to the mute switch.
NOTE: Always make sure that unused monitor sections are muted as the
unterminated inputs will degrade the excellent low noise performance of the mixing
amps.
4.6 Channel assign / Fader section
The Channel assign section allows the user to assign to any of the 8 busses as well as
the "Floating Subgroup System". The routing switches buss to the 8 multitrack
output busses using four pushbuttons. With each switch routing to a pair of
summing amps, you have the choice of assigning to the odd or even amp using the
channel panpot.
The MIX switch (assign section) assigns the channel panpot to the stereo mix buss
while the channel pan control pans the signal between the main stereo mix L / R
busses and / or the odd and even multitrack summing busses if assigned.
The summing amp and internal structure yields the Orion's extremely quiet and
distortion free sound, therefore a direct button to bypass the amps is not necessary.
Every channel is individually assigned to the multitrack input which allows for
tracking to be simple and consistant.
The SOLO switch has two modes, pfl (pre fade listen) or a "destructive" stereo
solo-in-place system. Master status switching (located in the master section) selects
the "solo in-place" or "PFL" mode for the entire console.
Activating the solo switch in the pfl mode will send the prefader signal of the channel
section to the CRM speakers in mono. In the solo in-place mode, the post channel
panpot signal is heard where panned and in stereo and all other channels are muted
within the stereo mix buss. A solo indicator LED is fitted next to the solo switch.
The solo LED has two functions; when in the solo mode it is a solo indicator and
when that channel is not soloed, the LED is a post EQ peak indicator for the channel
input.
Page 23
The MUTE system is designed around a special soft-muting integrated circuit,
completely click-free. A mute indicator LED is fitted next to the mute switch.
NOTE: Always make sure that unused channel sections are muted as the
unterminated inputs will degrade the excellent low noise performance of the mixing
amps.
Fader section
The Orion has a high quality 100mm fader. Alps or P&G faders are optional. You
can order either the PowerVCA Automation (D&R's VCA fader & mute
automation), PowerFade (D&R's moving fader automation), V/Desk, Uptown,
Tetra, or any other after market automation system. Any of the above automation
systems can be built-in at the factory or installed later. If you choose to add
automation later, it is always best to talk to your D&R representative first.
Page 24
4.7 LCRS/In-line Module connectors
Input and Output connectors.
In addition to the optional patchbay, every channel also has the following connectors
at the back of the housing. The in-line module backplates are double width to
accomadate two channels.
The balanced Group (GRP.) output is a stereo 1/4" jack socket:
Tip = hot
Ring = cold
Sleeve = shield
The MONitor insert is on a stereo jack socket.
Tip = return
Ring = send
Sleeve = shield
The CHANnel insert is a 1/4" stereo jack socket:
Tip = return
Ring = send
Sleeve = shield
The balanced MONitor input is a stereo 1/4" jack socket:
Tip = hot
Ring = cold
Sleeve = ground
Note: The default setting on the monitor inputs and group outputs are +4 dBu. You
can choose jumper settings of -10 dBV on the channel (PCB) boards using small
needle nose pliers.
The balanced LINE input is on a 1/4" stereo jack socket:
Tip = hot
Ring = cold
Sleeve = shield
A balanced XLR connector is for the MICrophone input.
Pin 1 = shield
Pin 2 = hot (in phase)
Pin 3 = cold (out of phase)
Page 25
THE DUAL STEREO MODULE
5.0 The Dual Stereo Aux Return module
This stereo return module is one of the most flexible stereo modules ever designed.
It actually has two stereo returns (four inputs). Although designed for effects
returns, this module can be used for stereo keyboards, drum machines, or any device
needing two inputs on one fader. The paragraphs below describe stereo return A in
full. Stereo return B is identical.
5.1 Input section
The input section has a stereo GAIN pot controlled by one knob. The gain control is
a dual pot used to adjust the gain of two line amps (stereo input). The adjustment
range is from -20dB to +20 dB. The backpanel jack sockets actively mixes the two
inputs into a mono signal when only one input is used. This is done when you need
to feed the output of a mono device to both channels.
5.2 Equalizer section
The two band stereo equalizer was designed for the type of equalization needed for
stereo returns. The high frequency band is a shelving type at 12,000 Hz. The low
frequency band is a shelving type at 60 Hz. Each band has a boost or cut of 16dB
for both left / right channels.
5.3 Aux send section
The Aux send section has dual concentric pots to feed Aux busses 1&2 which is
used for stereo effects returns to the stereo phone system as well as sends to other
devices. Aux sends 1&2 are pre / post switchable. Aux send 3 (5) and 4 (6) send a
post summed mono signal to the master aux busses. Aux 3 & 4 can be switched to
Aux busses 5 & 6.
5.4 Floating Subgroup System
The stereo return can be bussed to any pair of outputs on in-line modules which
allows for routing to any multitrack inputs. Also fitted on each stereo return section
is a stereo balance control (not a pan pot), solo switch with indicator, mute switch
with indicator, and 60mm stereo fader. The lower section "B" is identical to the
upper section "A".
Page 26
5.6 Dual Stereo Aux Return Module Inputs
Input connectors.
The Dual Stereo Return modules are not wired to the patchbay inside the console
because some owners would rather have their reverbs go to dedicated inputs in order
to free-up patch points for more signal processing. If you would prefer having the
Dual Stereo Returns in the patchbay, we would suggest wiring them to the last rows
in the far right column of the tie lines. A permanent magic marker can color the blue
jacks black (all inputs). If you need assiatance, call your D&R Representitive.
The balanced inputs are on 1/4" stereo jacks.
Tip = hot
Ring = cold
Sleeve = shield
There are four input jack sockets on the back panel of each Dual Stereo Return
module
Page 27
Orion's Patchbay
6.0 Optional Patchbay - description
The patchbay is designed around Bantam type tiny telephone jack sockets. This
optional patchbay is completely modular and can be expanded as your budget allows
or ordered complete. All master inputs / outputs and 120 tie lines (for signal
processing) are standard when you order the patchbay. The entire patchbay is
balanced and internally "starground" wired.
6.1 Patchbay - points
Channel patch points from left to right are:
Line input - channel insert send & return - monitor input - monitor insert send &
return - group output.
Each four rows of channel patch points are followed by four channels of multitrack
inputs and outputs. The tape inputs and outputs are normalled to group outputs and
monitor inputs inside the patchbay.
The Master Section has six rows of Bantam type jacks.
First Row:
Left master insert send & return, right master insert send & return, +4
outputs left & right, -10 outputs left & right.
Second Row: Tape or mastering machines A, B, & C inputs left & right.
Third Row: Tape or mastering machines A, B, & C outputs left & right.
Fourth Row: Tape, DAT, CD, or two track machine playback inputs to CRM.
Fifth Row: Aux send outputs 1 thru 8. You can normal these jacks to the inputs
of selected signal processing.
Sixth Row: Two sets of four mults (parrallels) used for patching the output of
one device to the inputs of other devices.
Tie Lines:
The tie lines (120 in total) are in rows of eight. The tie lines are for
any signal processing equipment. For ease of use, all outputs are on
blue sockets, and all inputs are on black sockets. The drawing shows
the first 40 (of 120) tie lines. Interfacing with external machines,
effects, or power amplifiers can be performed via the connector
panels on the backplates of the console or via the 25 pin sub 'D"
connectors on the patchbay connector panel.
Page 28
Using Your Orion
7.0 Instructions for operation
The Orion is designed to be the perfect recording /mixing console for multitrack,
post production, and MIDI studios. In order to get more familiar with the Orion, we
shall discuss the entire recording process and divide it into five basic situations.
Situation 1 through 4 are for the more conventional recording studios, and situation
5 is for the MIDI studio.
1. The session - Recording from microphone or line input to the multitrack machine.
This could be from one or more channels at a time.
2. The playback - In this mode you would listen to what has been recorded on the
multitrack machine.
3. The overdub - Overdubbing is listening to already recorded tracks and recording
on empty tracks until all tracks are filled.
4. The remix - Playing of all recorded tracks together with signal processing
equipment and all that is necessary to create the final mixdown.
5. The MIDI or Virtual Session - Programmed keyboards, drum machines,
reverbs, effects, vocal and/or instrument tracks from a multitrack machine and who
knows what else, all at the same time......direct to your Dat Machine, two track
master machine, Hard Disk editing system, CD recorder, or cassette deck.
7.1 Situation 1 - The Tracking Session
Recording basic tracks - This is the beginning of a session. All input channels are
placed in the mike mode by leaving the line switch in the up position if the
microphone input is to be used in this channel. Phantom powering is applied if
necessary. The EQ switch should be in the up position unless you require EQ on
that channel signal. The signal flows through the fader and is available postfader to
be routed by way of the assignment switches which can feed the input to your
multitrack recorder. The LED bargraph reads the outgoing signal.
Page 29
Microphone / Line Gain
The amount of gain required may depend on the type of microphone being used, the
sound pressure level, and the distance between the sound source and microphone.
When the
line switch is activated, the same gain control varies the gain of the separate
electronics for the balanced line input. The "phase" switch affects the mike input
only.
After plugging in a mike or line signal, depress the channel solo switch above the
channel fader you are setting, set the solo status switch to pfl in the master section,
then turn the gain control (of that channel) clockwise until a "0" output level is
reached on the master meters. Now slide up the channel fader to "0". Now switch
the solo out. If the signal source gets louder or softer, it may be necessary to
re-check this setting. The volume will also fluctuate if you boost or cut the
equaliser section.
Monitoring
With the Orion series, you are able to monitor your multitrack by way of the
separate monitor section. The monitor section of the in-line module allows you to
have two usable inputs, both with EQ, both being able to send to the aux. busses,
both with their own volume control, panpots, mutes and solos, and able to be routed
at the same time.
Multiple Modules Assigned to One or Two Tracks
When more than one microphone or line signal has to be recorded on a single track
or in stereo on two tracks, a submix facility is required. This can be done easily on
the Orion by way of the the internal subgroup amplifiers located on every channel
module or the four "Floating Subgroups". Simply route to one of the 8 subgroups
by activating a channel routing switch on as many input modules as required.
Decide on which track you wish to record these signals and activate the related
number. The channel metering will show the subgroup level which can be changed
overall by the monitor group fader (Grp switch must be pressed). In order to
monitor these tracks on the modules, the tape switch should be in the up position for
monitoring pre-tape (console out) and in the down position for monitoring post-tape
(tape switch down). If you wish to route several inputs to a track higher than 8, you
would use the "Floating Subgroup System" (see section 3.4).
Page 30
Insert Channel / Group
For high dynamic range types of inputs, a signal processor such as a compressor /
limiter can be inserted in the channel or even in the monitor insert if an entire group
signal is to be processed. To do this, it is necessary to activate the GRP switch in
the summing channel to use the monitor insert.
Headphone (Que)
During recording it is essential that the talent hear an independent mix of what the
engineer and producer are hearing. Headphone mixes are usually derived from
pre-fader auxilliaries. In the Orion aux 1 & 2 are ideal for this purpose. The best
way to build a mix for the headphones is to have the monitor section of the in-line
module feed aux busses 1 & 2. When there is limited time to set up a headphone
mix, give the talent the CRM mix (in the Phones section of the master modules) and
build up an independant headphone mix on aux 1 & 2 when time allows.
Effect Sends
All unused aux sends can be used to send signals to signal processors such as the
D&R "Qverb" 16 bit digital reverb, effects processors, and digital delays.
The aux sends are usually post-fader in order that the right balance between
untreated and treated signals is maintained however, it is possible to switch to
pre-fader.
Effects Returns
In the modern recording or MIDI studios of today, there is a demand for many effect
returns and inputs for MIDI related gear. For that reason D&R has designed the
Orion with stereo effects return modules. See section 5.0 of this manual for a
complete description of this module. Any unused channel or monitor input can also
be used for returning effects. Every channel can accept two returns with
equalization and aux send capabilities. Due to the phase uncertainties of stereo
reverbs and such, it is always best to keep anything in stereo in the stereo domain.
You will find that the dual stereo return module has the lowest cost per input ratio of
any available modules in the Orion series.
Page 31
7.2 Situation 2 - The Playback
Multitrack playback
The Orion gives you a convenient way of monitoring your multitrack recorder. Put
all the tape switches in their down position. Now the tape outputs are feeding the
monitor path and you can adjust the amount of signal you desire and pan it within the
stereo image. Most multitrack recorders today have input monitoring on their
remote which will allow for monitoring tape until you press record and then it will
monitor what you are sending to the track.
Auxilliary sends can be switched to get their signal from either tape or channel and
equalization can be inserted in both signal paths whenever needed. Independent
control over processing is monitored by solo in either signal path.
7.3 Situation 3 - The Overdub
Multitrack synchronizing
Overdubbing is the process of building up a recording track by track while listening
to previously recorded tracks.
The Orion has an in-line monitor for each track of the recorder making it easy to
overdub. Connected to the monitor section of the in-line module, you push all tape
switches down (located above the equalizer) and do all your sync switching from the
tape machine or remote. The headphone mix is on the aux send 1 & 2 busses. Aux
1 & 2 should get their signal from the monitor section. It is best to activate aux 1 - 2
or 7 - 8 PRE fader switches anytime you're using Aux 1 & 2 or 7 & 8 for a
headphone mix (depending on whether you have standard or LCRS modules.
7.4 Situation 4 - The Remix
Multitrack mixing
Remix is the process of combining all recorded tracks with (keyboards and drum
machines for MIDI) signal processing and sending the mix to a two track reel to reel
master machine, Hard Disk editing system, CD recorder, DAT machine, or cassette
recorder. On the in-line module you must push the upper "mix" switch down. This
routes the tape return to the channel input and routes the mike/line inputs to the
monitor section of the module. At this point you can use either a mic or line input in
the monitor section which will feed the stereo mix buss. This will give you two
inputs per module in the final mix. You can activate the MF to MON switch and
have the HMF and LMF sections of the equalizer on the monitor section while the
HF and LF bands remain on the channel.
Page 32
You must activate the EQ switch if you desire EQ on the channel or monitor. The
incoming signals can be routed to the stereo mix buss via the "MIX" switch in the
channel assign
section. The monitor section normally feeds the stereo mix buss. Sub groups can be
made up (as required) in the same way as during recording. Aux sends 1 - 4 can get
their signal from the monitor section or channel path with pre / post switching. Aux
sends 5 thru 8 get their signal from the channel section in the post fader position.
7.5 Situation 5: MIDI or The Virtual Session
Virtual Tracks: The MIDI Set-Up
In most MIDI studios there will be an eight-track rather than a sixteen or twenty four
track tape machine. In the MIDI studio, the majority of music production is
programmed on a sequencer using MIDI keyboards, sound modules, drum machines,
or other MIDI related equipment.
Therefore, you will only require tape tracks for vocals and those instruments not
adequately reproduced on today's keyboards. If there is a multitrack recorder in the
MIDI studio, one of the tracks would be used to record time code (SMPTE or MIDI
code). This will allow your sequencer to keep keyboards, drum machines, and other
MIDI equipment synchronized.
The Orion was designed with the multi-track and MIDI studio in mind. In today's
medium to large MIDI studio, there is a need for as many as 100 inputs to be used
for everything from tape tracks to keyboards and drum machines. For this reason,
the Orion, when fitted with both in-line modules and stereo return modules, can net
over 100 inputs in the virtual track session or mix down.
Page 33
8.0 Installation - Electrical
8.1 Local Electrical Voltage
Before connecting the Orion, check the AC supply voltage setting by looking at the
sticker on the back of the rack mount power supply. This sould be 110V for use in
areas with an AC supply between 100V and 120V, and 220V for use in areas with
an AC supply between 220V and 240V.
The main fuse is a 6.3 amp fuse with a 125 volt rating (10 amp fuse in America with
a 250 volt rating). After replacing a blown fuse with the correct size and rating, turn
the power supply on and check the three LED indicators. If you are still missing
one or more of the power rails, turn off the power supply and call the D&R
Technical Support Department.
NOTE: DO NOT REPLACE THE FUSE WITH ANY OTHER TYPE AS THIS CAN
BECOME A SAFETY HAZARD AND WILL VOID YOUR WARANTY.
8.2 Electrical Wiring
To take full advantage of the excellent signal to noise ratio of the Orion, it is
necessary to read this part of the manual carefully.
Hum, radio frequency interferance, buzzes and instability are often caused by
improper wiring and poor grounding. All equipment using three wire ac connectors
should have a ground lift adaptor on each cable before plugging into the ac outlet.
In most cases, the incoming electrical ground is inadequate and a dedicated ground
system should be installed for the audio equipment. Your local electric power
company will provide you with all local electrical codes and safety regulations.
There are some ground rules to follow. All signals in a recording studio are
referenced to ground. This ground must be clean and free of noise. A central place
(central to all equipment) should be selected as the "central star ground point" and all
grounds should terminate at this point. This point can be a solid metal plate with at
least 50 places to hookup all incoming grounds. This is commonly referred to as a
"star ground system".
In some instances electrical contractors will daisy chain ground connections in the ac
distribution system. This is not suitable for a studio. Ideally, run a separate ground
wire from each piece of equipment to the "central star ground point". The "central
star ground point" should be connected to a pair of eight foot ground rods using
larger (#10) wire than your equipment ground wires. Separate and identify "clean"
and "dirty" AC outlets.
Page 34
Use clean outlets for audio equipment and the dirty ones for lighting, air
conditioning, cola machines etc. Do not intermix these two types of outlets. AC
interferance can be greatly reduced by using an isolation transformer or some type of
balanced ac power device to power outlets. Ground this transformer directly to the
"central star point". After all equipment is connected to the ac power, check with a
ohm meter or continuity tester to be sure of no possible chance of ground loops.
All equipment should be physically located as far as possible from the main breaker
panel and should be totally isolated from the equipment rack and other equipment so
ground loops are avoided. Equipment can be mounted in wood rack rails to avoid
ground loops.
Now you can run a #12 stranded wire with jacket from each piece of equipment to
the "central star ground point". All ground wires should be the same length with a
tolerance of plus or minus 10% in order to have the same ground potential
everywhere. On the equipment ends of each ground wire you should solder a round
hole screw terminal. Remove a chassis screw from each piece of equipment and file
the paint in that area so it will make good contact when you connect the terminal.
Next, connect the ground wire termanal to each piece of equipment and connect
each wire at the other ends to the "central star ground point".
9.0 Installation - audio
9.1 Interface CRM Levels
The Orion in its standard configuration can interface with all available equipment.
As a service of D&R, free installation consultation is available. Contact your
supplier for details.
Attention concerning the CRM output must be noted. This output delivers a
nominal +4 dBu level which is sometimes too high for power amps rated at 300mV
sensitivity for full output. In some instances an input attenuator at the power amp's
input
is required to reduce this +4 dBu level by up to 12 dB. Contact the D&R Technical
Support Department for details.
NOTE: This allignment is imperative in order to avoid damage to the speakers, or
in some cases, damage to the ears of the listener.
Page 35
9.2 The Initial Hook-Up
First connect the rack-mounted power supply to the console. All faders, monitors,
and effect returns must be in the "down" or "off" position. In order to ensure the
best signal to noise ratio for your system, the next steps should be performed in the
order they are printed.
a. Connect the CRM outputs (located on the master module backplate) to the inputs
of your control room speaker power amps. Now turn on the console power supply
and then turn the power amp on and check for any hum, buzz, or interference.
Slowly turn the CRM control clockwise until it is wide open while listening for
excessive noise. You should only hear a faint "hiss". If everything is O.K.,
continue. If any hum or excess noise is present, stop and try different ground and
shielding arrangements until the system is clean. After checking the main power
amp and speakers, check CRM 2.
b. Before making any other connections move each monitor fader to the 0 dB
position with the tape switch depressed on each monitor section. Connect the
multitrack outputs to the tape return connectors on the backplate of each in-line
module (or via the 25 pole sub-D connector if the optional patchbay is installed),
then connect each connector on the tape output of your multitrack. Check for hum
or noise after each track has been hooked up. "Hiss" will normally increase slightly
with each track. Connect the tape send output jacks to the inputs of the multitrack.
Carefully listen for excessive noise or hum. If after hooking up an input or output
excessive noise or hum is detected, stop and take corrective action before
proceeding. Do not hook up all 16, 24, 32, or 48 tracks and then listen. You may
need to rewire the entire cable harness to make the system clean.
c. Connect stereo tape recorders (inputs and outputs), stereo headphone amp, and all
signal processors.
NOTE: MAKE SURE THAT YOU CHECK FOR HUM OR NOISE AS EACH
INPUT OR OUTPUT IS CONNECTED.
Page 36
9.3 Shields & Grounds of Equipment
The shield of any audio cable connection should be connected at one end only. If
not, ground loops and high frequency cross-talk could result. Connect the shield as a
general rule to the signal source (output) of anything. In high RF areas it is wise to
connect the other end of the shield through a 0.01 microFarad capacitor. This will
ground the RF but will not affect audio frequencies. When connecting balanced
microphones, use two conductor shielded audio cable and connect both conductors
and the shield at both ends.
When connecting line level cables, use two conductor shielded cable and follow the
instructions in the paragraph above. Remember, the shield is not considered to be
"ground" and it should only be connected at the output of any device. There are
only a couple of exceptions to this rule, one is patch cords and the other is
microphone cables. We realize that the correct interfacing of different equipment is
difficult, but once properly installed, the system will be clean and noise free.
It is important to understand the term balanced. Balanced does not mean the input
or output is professional, the single factor that normally determines whether
something is professional is the level of the input or the output. +4 dBu is considered
professional. -10 dBv is considered to be semi-professional. Because many
semi-professional tape machines are built to professional specifications, D&R builds
into the Orion console the ability to interface with both levels.
Note: When checking your new Orion console for noise, you will notice that the
console is extremely quiet without any external equipment hooked up. D&R is not
responcible for the noise you will experience when interfacing other equipment.
Since you are use to other consoles when first encountering a D&R, the lack of
noise from your Orion makes you more aware of noise from other equipment as you
hook it up. D&R recomends using the highest quality external equipment with the
Orion. Because high quality sound must be monitored with speakers and amps with
extreme specs, D&R suggests using Pacific Innovative Amps to drive your speakers.
Ask your D&R representative for more information.
Page 37
10.0 Connecting the Orion
10.1 Master module # 1 (CRM & Solo)
Master insert left
Tip = return
Ring = send
Sleeve = ground
Two track A, B, & C
Tip = hot
Ring = cold
Sleeve = shield
-10 dBv left output
Tip = hot
Ring = n / c
Sleeve = ground
+4 dB left
balanced output
Tip = hot
Ring = cold
Sleeve = shield
CRM 1 & 2
Tip = left
Ring = right
Sleeve = ground
10.2 Master module # 2 (Oscillator and Communications)
Master insert right
Tip = return
Ring = send
Sleeve = ground
Two track A, B, & C
Right (playback)
Tip = hot
Ring = cold
Sleeve = shield
-10 dBv left output
Tip = hot
Ring = n / c
Sleeve = ground
+4 dB left
balanced output
Tip = hot
Ring = cold
Sleeve = shield
Power supply
Pin 1 = Ground
Pin 2 = +18 vdc
Pin 3 = -18 vdc
Pin 4 = +48 vdc
Pin 5 = Ground
Page 38
10.3 Master module # 3 (Aux 1, 3, 5, & 7 and Studio)
Aux 1 output
(balanced)
Tip = hot
Ring = cold
Sleeve = shield
Aux 3 output
(balanced)
Tip = hot
Ring = cold
Sleeve = shield
Aux 5 output
(balanced)
Tip = hot
Ring = cold
Sleeve = shield
Aux 7 output
(balanced)
Tip = hot
Ring = cold
Sleeve = shield
Studio Output
Tip = left
Ring = right
Sleeve = ground
10.4 Master module # 4 (Aux 2, 4, 6, & 8 and Phones)
Aux 2 output (balanced)
Tip = hot
Ring = cold
Sleeve = shield
Aux 4 output (balanced)
Tip = hot
Ring = cold
Sleeve = shield
Aux 6 output (balanced)
Tip = hot
Ring = cold
Sleeve = shield
Aux 8 output (balanced)
Tip = hot
Ring = cold
Sleeve = shield
Phones Output
Tip = left
Ring = right
Sleeve = ground
This concludes the master section module connections. Refer to section 8.0 through
9.4 of this manual for usefull ideas and wiring techniques.
Page 39
10.5 Connecting the In-Line / LCRS Module
Description:
Connector:
Connection:
Group output
(tape send) balanced
1/4" TRS
Tip = hot
Ring = cold
Sleeve = shield
Monitor INSert
send & return
1/4" TRS
Tip = return
Ring = send
Sleeve = ground
Channel INSert
Same as above
MONitor input
(tape return) balanced
1/4" TRS
Tip = hot
Ring = cold
Sleeve = shield
LINE input
balanced
1/4" TRS
Tip = hot
Ring = cold
Sleeve = shield
Mic input (balanced)
XLR
Pin 1 = shield
Pin 2 = hot +
Pin 3 = comm -
11.0 Troubleshooting and servicing
11.1 Troubleshooting
It is essential to study the signal flow chart carefully, Knowing and understanding the
signal flow of your console will help to isolate problems. By tracing the signal from
input to output jacks, you can locate and correct the problem. If for any reason
you are unable to isolate a problem, contact the D&R Technical Support
Department for advice. If the problem cannot be corrected over the phone, D&R
will despatch a replacement module (ground freight prepaid) the same day. Most
problems can be found using logical thinking and simply replacing socketed
integrated circuits.
11.2 Removing a Module
The Orion is a complex piece of equipment and some understanding of its internal
layout is necessary before removing a module.
Page 40
An input module has wiring to the LEDbar, master section and backplates. All of
these wires must be removed before withdrawing a module from the console. Each
module has computer grade connectors for ease of the disconnect.
Turn off the power supply. If servicing the LEDbar meter, remove the backplates
behind the LEDbar section which hold the input / output connectors. It is often
easier to also remove the backplates positioned left and right of the module under
test. Unplug the ribbon cable from the ledbar and remove the upper and lower
screws from the meter front panel and you are ready to remove the meter. If
servicing the module, remove the
metal strip underneath the LEDbar front which holds the plexiglas in place and
conceals the screws retaining the module. It is now possible to remove the two
module retaining
screws and carefully lift the module until all flat cable connectors on the bottom of
the module PCB can be unplugged. At this point extender cables (if ordered) can be
connected.
The master sections can be removed from the frame in the same way.
Because of the many flat cables on the bottom of the master section, it is wise to
remove all retaining screws from all master sections, and remove the blank module
on the right side of the master section. This will allow all the master modules to be
moved slightly without unplugging all the flat cables. A qualified service technician
will be able to service the modules in this way.
Note: Turn the power supply off each time you pull or replace a module!
11.3 Patchbay - servicing
The patchbay is fully modular and can be serviced after first removing the mounting
screws, then lift up on the (armrest) end of the patchbay. A one foot stick can be
used to prop up the patchbay while servicing it. Remove the cables attached to the
card that needs servicing. The card can be removed after unscrewing two screws
and then push the patchpanel card downwards. The card will still be connected to
the star ground system which will need to be unconnected before the card can be
removed from the console.
Page 41
SPECIFICATIONS:
Inputs:
Mic input, balanced, RF suppressed, 2 kOhm.
C.M.R.R. at 50 Hz, -70 dB.
Sensitivity: -80 dBu max for +4 dBu output.
Noise mic: -129.5 dBu, (A-weighted) 150 Ohms.
Line inputs: balanced, 10kOhms, -20dB to +20dB.
Tape inputs: +4 dBu balanced / -lOdBv unbalanced.
Mon./chan. lnserts: 10kOhm/47 0hrn unbalanced OdBu.
Stereo machines: +4 dBu balanced -10dBv unbalanced
Outputs:
Main outputs, + 4dBu balanced / -10 OdBv unbalanced.
Tape outputs: + 4dBu / -10dBv balanced.
All other outputs + 4dBu balanced.
Noise master fader down: -lOO dBr (A-weighted).
Noise 32 channels routed: -87 dBr (A-weighted).
Noise 64 channels routed: -84dBr (A-weighted).
Equalization: High pass filter, -3dB at 100Hz.
H.F. +/- 16dB from 4kHz to 20kHz (22kHz) shelving.
L.F. +/- 16dB from 20Hz (10Hz) to 500Hz shelving.
H.M.F. +/- 16dB from 600Hz to 15kHz bell, Q factor 1.5
L.M.F. +/- 16dB from 40 Hz to 900Hz bell, Q factor 1.5
H.M.F. and L.M.F. switchable between channel and monitor with bell curves
High pass in channel path only
Overall:
Nominal internal operating level OdBu (0.775 V).
Frequency response, any input to any output anywhere in the console.
20Hz-20kHz,-0.5dB.10Hz • 100kHz, -3dB.
Total harmonic distortion:
Mic. in Grp. out: 1 kHz: 0.015%, 10kHz: 0.025%.
Maximum output: +26dBu into 600 Ohm balanced.
Maximum headroom: not less than +22dB
Crosstalk:
Mic to line: < 105 dB at 1 kHz.
Channei mute: < 110 dB at 1kHz.
Pan-pot isolation: < 75dB at 1kHz.
Channel routing: < 9OdB at 1kHz.
Channel fader: < 95dB at 1 kHz.
Aux send kill: -9OdB at 1 kHz
Standard Configuations:
Frarne 38 (32 in-lines and 12 stereo returns).
Frame 51 (32 in-lines and 12 stereo returns with patchbay).
Note: Patchbay 32 width equivalent to 13 module positions.
Page 42
Weight:
30 frame: 60kg / (132 Lbs).
38 frame: 90kg / (198 Lbs).
51 frame: with patchbay 100kg ( 220 Ibs).
Dimensions:
Height: 966mm / 38.03"
Depth: 929.68mm / 36.60"
Width:
Orion 30 chassis: 1282 mm / 50.47"
Orion 38 chassis: 1561 mm / 61.46"
Orion 51 chassis: 1995 mm / 78.54"
Options:
Conductive plaslic faders
Analog VU Meters (master)
Pedastal base
MidiFade Automation
PowerMute Automation
PowerVCA Automation
PowerFade Moving Fader Automation
After-market automation: V/Desk - Uptown - Tetra
D&R reserves the right to change specifications without prior notice.
As with all D&R products, the Orion exceeds most of the printed
specifications.
Factory / Head office:
D&R Electronica b.v.
Rijnkade 15B
1382 GS WEESP
The Netherlands
Phone: (--) 31 2940-18014
Fax:
(--) 31 2940-16987
Email: info@d-r.nl
Web: d-r.nl
Page 43
DECLARATION OF CONFORMITY
Manufacturers Name:
D&R Electronica Weesp b.v.
Manufacturers Address:
Rijnkade 15B,
1382 GS Weesp,
The Netherlands
declares that the product
ORION / ORION-X
conforms to the following product specifications:
EMC:
EN 55022: 1987
CISPR 22 (1993) class B
EN 500082-1 (1992)
Supplementary Information:
The products herewith complies with the requirements of the EMC Directive
89/336/EEC (1989) as amended by the CE Marking Directive 93/68/EEC (1993).
D&R Electronica Weesp b.v.
Rijnkade 15 B
1382 GS WEESP
The Netherlands
President of Engineering
Page 44
Page 45
Download PDF
Similar pages