Air-2+

Air-2+
Air-2+
Because sometimes all you need is a simple analog mixer
12 Stereo Input Channels
A / B Inputs on ever channel
2 Microphone Inputs – patchable to any fader channel
Phone Channel Input – with mix-minus feed back to external hybrid
2 Stereo Program Busses
Control Room, Headphone, & Studio Monitor feeds
Selectable Control Room Monitor muting logic
2 Large, easy to read VU meter pairs with peak indicators
Internal Cue Speaker
Modular Construction
Easy Interface
(All specifications subject to change at anytime)
CONSOLE FEATURES
Console Features
Overview
Each AIR 2+ console has two Input panels and one Master panel. The Input
panel consists of six faders with associated switches. The Master panel has a
PHONE section, a CONTROL section, a HEADPHONE section, and a STUDIO
section. Each section is described below.
The basic purpose of the console is to take some of the many audio signals that
are wired to the console inputs, and generate several outputs that combine these
inputs in various groups and at various degrees of loudness, or signal strength. The
typical application is in a radio station where it is desired to develop the signals that
the station will broadcast (the on air signal), as well as several additional signals
for recording and monitoring.
AIR 2+ / Nov 2006
page 1
CONSOLE FEATURES
Inputs
The AIR 2+ console is designed to handle up to 12 analog stereo consumer
level (-10dBu unbalanced) inputs, two mono microphone (-50dBu nominal)
inputs, and one external stereo line level (-10dBu unbalanced) input that goes
directly to control room or studio.
The AIR 2+ also has one analog (+4dBu balanced) input dedicated to use as
telephone caller input.
Analog Mono Mic Level Inputs
These inputs are used to connect to microphones, which typically put out
signals at relatively low signal strength, and therefore require more amplification
(increase in signal strength) to be properly audible in the output. Mic level sources
are wired to 6-position plug terminals located on the rear of the console. On the
rear of the console also are a pair of the RCA connectors used for MIC outputs,
and the MIC 1 and MIC 2 GAIN trimpots for adjusting the level of each
microphone input independently.
Example: with a microphone input of –60dBm @150 Ohm at the port, gain trim can set
levels from -22dBu to +16dBu (note maximum preamp gain is +76dB) at the PGM 1 or
PGM 2 output.
Analog Stereo Line Level Inputs
These inputs are typically used to connect to machines, such as tape decks, cart
machines, CD players, etc., that provide analog outputs.
Outputs
The console main analog outputs include two Program stereo buses (PGM 1
and PGM 2). The Program stereo outputs can be programmed to mono outputs
via dipswitch SW1 (described in the “Console Internal Programming” section).
Monitor outputs include a stereo Control Room output, a stereo Studio output,
a mono cue output, and a stereo headphone jack.
The console’s mono cue signal feeds the internal speaker in the meterbridge,
and also provides the cue signal used to interrupt Control Room and headphones,
if such interrupt has been enabled by the installer.
AIR 2+ / Nov 2006
page 2
CONSOLE FEATURES
Mute and Tally
The console has the ability to mute the control room output. The console
also has an ON AIR tally output that is used to drive user-provided external
circuitry that will in turn operate the control room on air indicator. This tally
is automatically activated whenever the control room mute is activated. Thus,
turning on any module that activates the control room mute also turns on the
ON AIR tally.
See the “Console Programming Options” section for details.
AIR 2+ / Nov 2006
page 3
CONSOLE FEATURES
Console Programming Options
All programming (except for headphone split cue option) is made via three
PCB mounted dipswitches located on the console’s rear panel. One dipswitch
(PGM/CUE switch) is on the top left side of the rear, and programs the control
room cue, the studio dim function, and the mono program outputs. The two
other dipswitches (CR MUTE/AIR TALLY) are in between the two groups of
RCA connectors, and activate CR mute and AIR TALLY. Note that when a
dipswitch position is in the up position it is ON.
PGM/CUE Dipswitch
Cue Interrupt
The dipswitch pos. 1, when activated, sends cue to the control room.
Split Cue, Control Room
The dipswitch pos. 2, when activated, allows a summed (L+R) version of
the regular program to be sent to the right side of the CR monitor stereo output,
while CUE is sent to the left side.
Split Cue, Headphone
Consoles are normally programmed at the factory for CUE to appear on the
left channel, while L+R sum of the control room output appears on the right.
This can be changed with jumper J1 on the back side of the Master Panel. The
jumper normally spans pins 2 and 3 of the jumper header. To defeat this split
cue option, move the jumper to span pins 1 and 2 instead. Then cue will
interrupt both sides of the headphones.
Studio Dim
The dipswitch pos. 3, when activated, allows normal studio audio to DIM
(drop -20dB in level) when talkback to studio is engaged. If this dipswitch is
not activated, the normal studio audio is completely interrupted by the MIC 1
audio when talkback to studio is engaged.
If the studio is programmed to DIM talkback audio could presumably make
it from the studio monitor speakers to the open studio mic.
AIR 2+ / Nov 2006
page 4
CONSOLE FEATURES
Program Mono
The dipswitch pos. 4 - 7, when activated, sums the left and right PROGRAM
channels and sends L+R to the appropriate channel:
Pos. 4 - sends L+R of the PGM 1 to the PGM 1 LT channel;
Pos. 5 - sends L+R of the PGM 1 to the PGM 1 RT channel;
Pos. 6 - sends L+R of the PGM 2 to the PGM 2 LT channel;
Pos. 7 - sends L+R of the PGM 2 to the PGM 2 RT channel.
CR MUTE/AIR TALLY Dipswitches
CR Mutes
An input channel can be programmed to mute the control room speakers when the
channel is ON. Positions 1 through 13 of the dipswitches, when activated, automatically
mute the console’s control room speakers when the corresponding channels 1 through
13 are turned ON. This is done to prevent feedback from the CR announcer’s mic. At
the same time the ON AIR LED in the center of the meterbridge will light up.
On Air Tally
For controlling the “on-air” tally function, a relay is provided. The tally is activated
when any channel set for CR mute is turned on or put into cue.
The relay connections are available at the “LOGIC” DB-25 connector mounted on
the rear of the console. Connect the on-air light to the external user-provided relay. Do
not bring on-air light AC connections to any pin of any connector on the console.
TYPICAL CONTROL ROOM ON-AIR TALLY CIRCUIT
USER-SUPPLIED RELAY TRIGGERED BY CONSOLE CR MUTE CIRCUIT
INTERNAL AIR
TALLY RELAY
N.C.
N.O.
CONNECTOR PIN
ON "LOGIC"
DB-25
1N4002
COM 30VDC
2A
max
PIN
10
+
+
–
ECG
B40240
or equiv.
relay
YOUR
POWER
SUPPLY
–
PIN
9
RELAY CIRCUIT POWERED BY USER
SUPPLIED EXTERNAL SUPPLY
AIR 2+ / Nov 2006
page 5
S
A
B
P
PGM 1
PGM 2
O
U
R
C
E
A
B
PGM 1
R
PGM 2
S
E
L
E
A
B
O
G
R
PGM 1
A
PGM 2
M
C
T
S
A
B
A
S
PGM 1
S
I
PGM 2
A
B
G
A
B
A
B
N
P
PGM 1
PGM 2
PGM 1
PGM 2
PGM 1
PGM 2
O
U
R
C
E
A
B
PGM 1
R
PGM 2
S
E
L
E
A
B
O
G
R
PGM 1
A
PGM 2
M
C
T
A
B
A
S
PGM 1
S
I
PGM 2
A
B
G
A
B
N
PGM 1
PGM 2
PGM 1
PGM 2
CUE
CUE
CUE
CUE
CUE
CUE
CUE
CUE
CUE
CUE
CUE
CUE
START
START
START
START
START
START
START
START
START
START
START
START
PGM 1
CUE
PGM 2
TB
START
0
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METERS
EXT
20
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PGM 1
CALLER
AIR 2+ / Nov 2006
AIR-2+ Console Layout
TB
CUE
EXT
PGM 2
PGM 2
CONTROL
EXT
PGM 1
HEADPHONE
PGM 2
STUDIO
page 6
AIR 2+ / Nov 2006
AIR-2+ Console Rear
page 7
CONTROLS AND FUNCTIONS
Controls and Functions
Input Panel (IP-AIR2)
The Input panel of the AIR 2+ console has six identical strips representing
six input channels.
AIR 2+ / Nov 2006
page 8
CONTROLS AND FUNCTIONS
Source Select
Each input channel accepts two analog stereo sources: A and B,
switched at the top of the panel. The A/B button will be lit when source B
is selected.
Program Assign
Output switches assign the selected source signal to any combination
of the console’s two stereo Program outputs—PGM 1 and PGM 2. The
button will be lit when the source is assign to its respective bus. To remove
a source from the bus, press the button again; the light will go off to indicate
that the source is no longer assigned to that bus. NOTE that when console
is powered up all input channels will be off, with source A selected, and
assigned to PGM 1.
Recessed rear panel trimpots adjust the left and right levels of PGM 1
and PGM 2 outputs.
Cue Button
A CUE switch places the channel’s signal on the console’s cue bus,
where it may be heard on the meterbridge mounted cue speaker, as an
interrupt to the console operator’s headphones, and as an interrupt to the
control room monitor speakers, if so programmed.
Press the CUE button. The channel’s input signal will be included in
the console’s CUE output at a level that is independent of the FADER
setting, and the button will light. The fader does not need to be turned ON.
To remove a fader from cue, press the CUE BUTTON again; the light will
go off to indicate the channel is no longer assigned to cue.
Fader
Level is set by a long-throw fader. The fader is the sliding mechanism
that determines how strong is the presence of the input in some of the
various console outputs.
If the fader is all the way down (that is, pulled toward the console
operator), the signal will not be present in either of the two program main
buses to which it is assigned. As the fader is moved up (that is, pushed away
from the console operator) the signal will appear more strongly in each of
the main buses to which it is assigned.
START Button
The START button turns the channel on and off by means of electronic
switching and can simultaneously start external source machines. The
channel is ON when the START button is lit. These can also be programmed (as mentioned in the previous chapter) to activate control room
mute and on air tally.
AIR 2+ / Nov 2006
page 9
CONTROLS AND FUNCTIONS
Master Panel (MST-AIR2)
The Master panel includes the Caller Input, Control Room monitor, Studio
monitor, and Meters sections.
AIR 2+ / Nov 2006
page 10
CONTROLS AND FUNCTIONS
Caller Input
The caller section is used the for telephone call-in talk segments, and
controls the audio for the caller. The caller signal enters the console from
your station hybrid.
The caller feed can be either or both of the two Program buses. The caller
feed will never contain the caller’s own voice.
A recessed rear panel trimpot adjusts the scaller output level.
Program Assign
Output switches assign the caller to any combination of the console’s two
Program outputs (PGM 1 and PGM 2), and permit live talk-ins.
Pressing either of the two program switches causes the caller’s audio to
be included in the output mix for that bus, at a level dependent on the FADER
setting, as long as the caller section is ON. The button will be lit when the
caller is assigned to its respective bus. To remove the caller from a bus to
which it is currently assigned, press the button again; the light will go off to
indicate that the caller is no longer assigned to that bus.
CUE Button
The CUE button allows interviewing the caller prior to airing by including the caller in the console’s cue bus, where it may be heard on the
meterbridge mounted cue speaker.
TB Button
When the TB switch is pressed (it is momentary action), the microphone
(MIC 1) will interrupt the regular caller signal, thus allowing the DJ to talk
to the caller prior to airing.
Fader
The long-throw fader sets the caller’s signal level.
If a fader is all the way down the caller’s voice will not be present in either
of the two Program buses (PGM 1 and PGM 2) to which the phone is
assigned. As the fader is moved up the signal will appear more strongly in
each of the main buses to which the phone is assigned.
The fader position will also affect the strength of the caller in the cue
output.
START Button
The START button determines if sthe phone channel is ON or OFF. The
channel is ON when the START button is lit. The button can also be used to
provide external start logic for the hybrid.
If the phone channel is OFF, caller signal will not be present in any main
bus output, regardless of the status of the PROGRAM ASSIGN buttons or
the position of the fader. If the phone channel is OFF its signal will still be
present in the cue output if it has been assigned to cue.
AIR 2+ / Nov 2006
page 11
CONTROLS AND FUNCTIONS
Caller Set-Ups
Pre-air segment communication between the console operator (DJ)
and callers is aided by the CUE button, which places the caller’s voice
on the console’s cue speaker and headphones, and (if so programmed)
CR speakers. Additionally, pressing the caller TB switch sends the
MIC 1 signal to the caller output.
A typical call-in segment might proceed as follows:
Caller phones in, DJ picks up off-air during a track play to set up the
call. He places the caller in CUE, and talks to the caller by pressing the
TB button. Neither the DJ mic nor the phone channel need to be ON for
two-way communication.
When he is ready to take the call on-air, the DJ makes sure his mic
and phone are assigned to PGM 1 or PGM2 and turns them ON. He then
deactivates caller CUE to hear the normal feed.
AIR 2+ / Nov 2006
page 12
CONTROLS AND FUNCTIONS
Control Room Monitor
This is the console operator’s monitor
that allows the operator to listen to the
console’s two stereo Program outputs and
an external stereo line level input. This section of the console includes the monitor
level controls for the control room, headphone, and cue circuits.
In a typical radio application the console
is located in the Control Room. Speakers in
the Control Room allow the console operator to listen to the console bus outputs to be
assured that the console is performing as
desired. These speakers are fed by a stereo
signal from the console’s Control Room
output. In addition to the Control Room
output, the operator may also desire to listen
to specific isolated faders via the cue system
and the console’s internal cue speaker, or
may want to listen via headphones. Thus,
the control room monitor consists of the
above mentioned level controls, along with
two program assign (PGM1 and PGM 2) buttons, and an external input
(EXT) button.
In some instances the console operator may also be performing talent
whose voice will be heard over the radio. The operator’s microphone may
thus provide a part of the signal that is going out over the air. If that signal
is the one being monitored with the Control Room speakers, there is the
potential for feedback. The amplified signal from the Control Room
speakers is picked up by the microphone and preamplified to a new, higher,
level, which then is once again picked up by the microphone. The signal
quickly rises to an ear-splitting screech. To prevent this, the operator’s
microphone is normally set to MUTE the Control Room output to prevent
the occurrence of feedback.
The master CUE circuit drives a meterbridge-mounted speaker through
a built-in power amp, and can be programmed to interrupt control room
feed, or provide a split feed (program mono sum to right, cue to left) to the
control monitor speakers. It also automatically interrupts the headphone
feed.
Program Select
Pressing either of the two program (PGM 1 or PGM 2) switches allows
the operator to listen to the selected output bus. The button will be lit when
the monitor is assigned to its respective bus.
AIR 2+ / Nov 2006
page 13
CONTROLS AND FUNCTIONS
EXT Switch
Pressing the EXT switch allows the operator to pick up the external input (useful
for such items as tape recorders or air returns) to listen.
CONTROL ROOM Level Control
The CONTROL level control determines
the overall loudness of the signal being
monitored as it appears in the Control Room
speakers. As the control is turned clockwise, the loudness increases up to a maximum at the limit of mechanical rotation. To
decrease the loudness, turn the control in a
counterclockwise direction.
NOTE: If the Control Room is muted
and you turn the level control all the way
up, then remove the condition that has
the Control Room muted, the sound in
the Control Room speakers will suddenly be VERY LOUD!
CUE Level Control
The CUE level control determines the overall loudness of the cue signal
as it appears in the console’s cue speaker (located behind the grill in the
METERBRIDGE).
Like the Control Room speakers, the cue speaker also has the potential for
feedback. To avoid this situation, operator mics that mute the Control Room
will also mute the cue speaker.
NOTE: If cue is muted and you turn the level control all the way up, then
remove the condition that has the cue muted, the sound in the cue speaker
will suddenly be VERY LOUD!
HEADPHONE Level Control
The HEADPHONE level control determines the overall loudness of the
headphone output signal, which monitors the same source (PGM 1, PGM 2,
or EXT) as the Control Room speakers.
The headphone output signal appears at the HEADPHONE JACK, located
beneath the armrest near the right side of the console. The jack is provided as
a place to plug in user-supplied stereo headphones having an impedance of
60 Ohms or higher.
AIR 2+ / Nov 2006
page 14
CONTROLS AND FUNCTIONS
Studio Monitor
In addition to the Control Room, there is a
Studio in which one or more performers will
be assembled, usually with microphones so
that their voices can become part of the mix.
Speakers may be provided in the Studio to
allow the talent to listen to the console bus
outputs at times that they are not actually on
air. These speakers are fed from the console’s
stereo Studio output.
The studio monitor consists of a STUDIO
level control, a TB (talkback) button, two
program assign (PGM 1 and PGM 2) buttons,
and an external input (EXT) button.
A connection is provided on the console’s
DB-25 connector to wire up a MIC 2 TB to
CUE/CR switch provided by the user. This
switch enables a guest using MIC 2 to talk
back to the Control Room over the console’s
cue system.
Program Select
Pressing either of the two program PGM 1 or PGM 2 switches allows the
selected output bus to be heard in the studio. The button will be lit when the
monitor is assigned to its respective bus.
EXT Switch
Pressing the EXT switch allows the external balanced input (such as tape
recorders or air returns) to be heard in the studio.
STUDIO Level Control
The STUDIO level control determines the overall loudness of the signal
being monitored as it appears in the Studio speakers.
TB (Talkback) Button
The TB button lets the operator’s microphone signal interrupt the normal
feed to the studio speakers. If the Studio Dim dipswitch (described in
Chapter 2) is set to the ON position, the normal studio feed is not completely
removed, but is dimmed by 20dB.
There may be times when the console operator wants to talk to one of the
performers in the Studio. When the TB button in the Studio is pressed the
speaker’s feed, that is normally heard in the studio, will be dimmed.
AIR 2+ / Nov 2006
page 15
CONTROLS AND FUNCTIONS
Meters (VU-AIR2)
The METERS section consists of two VU meter pairs on the console’s
meterbridge and a METERS select button, located on the Master panel.
VU Meter Pairs
VU meter pairs (PROGRAM 1 VU and SWITCHED VU) are stereo
LED bargraph type meters.
The level of the signal being metered is indicated by the number of
display elements that are lighted. The more elements lighted, the stronger
is the signal being displayed. The right four LEDs in each bargraph are red
to indicate when the signal level is approaching a clipping (distorted) level.
The next four LEDs are yellow, indicating a normal level range, and the
remaining LEDs are green. The top member of the pair indicates the level
of the signal’s left channel, while the bottom member of the pair indicates
the level of the signal’s right channel. Peak (CLIP) indication is also
provided.
The left VU meter pair shows the level of the PGM 1 output, while the
right VU meter pair (the SWITCHED VU) shows the level of the signal
that is selected for it (PGM 2 or EXT).
METERS Select Button
The METERS buttons select the source for the switched meter pair, as
indicated above.
On Air LED
The ON AIR LED, located in the middle of the
meterbridge, lights up when any input channel is programmed by dipswitch to have the CR MUTE/AIR TALLY
dipswitch activated, and is also ON.
AIR 2+ / Nov 2006
page 16
START
START OPTO
DB-25
TRIM
TRIM
MIC 1
PREAMP
L
PGM 1
PGM 1 MON
PGM 1
METERS
TO BRIDGE
TRIM
PGM 2
LOGIC
CR MIC 1
RCA
CR MIC 1
R
VU METERS
CR MUTE/
AIR TALLY
DIP SW
H
L
MIC 1 TB
TB TO PHONE
MUTE/TALLY BUSS
ON REAR
TRIM
STUDIO
A/B
PGM 2 LT MON
PGM 2 RT MON
EXT LT MON
L
A
A/B
SEL
FET
SW
R
INPUT
L
B
R
L
L
F
A
D
E
R
R
PGM 1 ACN
PGM
FET
SW
TB
L
VU
FET
SW
PGM 2 /
SWITCHED
METERS
TO BRIDGE
TRIM
EXT RT MON
EXT IN
PGM 1
R
PGM 2 ACN
PGM 2
R
LOGIC
RCA
CUE
FET
SW
CR TO STUDIO TB
DIM OR
INTERRUPT
DIP SW
LOGIC
CUE ACN
EXT
ON REAR
PGM 2
INPUT CHANNEL
CUE
CUE SENSE
LOGIC
PGM 1 LT MON
N.O.
DRY
RELAY
PGM 1 RT MON
LOGIC
DRIVER
PGM 2 LT MON
DB-25
MUTE/TALLY BUSS
PGM 2 RT MON
ST
FET
SW
L
E
V
E
L
L
R
L
L
R
R
FET
SW
ST OUT
EXT LT MON
CUE
PHONE
F
A
D
E
R
H
L
TO TALLY LED
TO BRIDGE
CUE SENSE
LOGIC
CALLER FROM
HYBRID
RCA
EXT RT MON
CUE
FET
SW
TB STUDIO
SPLIT CUE MODE
JUMPER
CUE ACN
LOGIC
CUE SENSE
STUDIO/GUEST MIC 2
TRIM
START
START OPTO
MIC 2
PREAMP
DB-25
HEADPHONE
H
L
MIC 2
RCA
PGM 1
PGM 2
TB
L
E
V
E
L
PGM 1 LT MONO
LOGIC
DIP SW
PGM 1 RT MONO
PGM 2 LT MONO
TO EXT CUE AMP
PGM 2 RT MONO
DB-25
GUEST TB TO CUE/CR
ON REAR
PGM 1 LT
PGM 1 RT
PGM 2 LT
PGM 2 RT
CUE ACN
PGM/
TB
FET
SW
L
L
E
V
E
L
CUE
FET
SW
L
L
FET
SW
HDPN OUT
R
R
DB-25
HDPN
JACK
CUE
MB SPKR
FET
CUE MON
TRIM
H CALLER
L
R
TO
HYBRID
EXT IN
CUE MON
MUTE / TALLY BUS
PGM 1
SUM
MIC 1 TB
DB-25
PGM 2
GUEST TB TO CUE/CR
CONTROL ROOM
CUE TO CR
TRIM
L
L
H
L
TRIM
PGM
PGM 1 OUT
R
R
L
H
L
PGM 2 ACN
L
TRIM
R
R
EXT LT MON
EXT IN
ON AIR TALLY
CUE SENSE
R
R
EXT RT MON
LOGIC
CUE TO CR
ENABLE
DIP SW
SPLIT CUE
MODE
DIP SW
ON REAR
ON REAR
RCA
TRIM
SW
R
L
H
FET
L
L
L
PGM 1 ACN
R
CUE TO CR SPLT
L
EXTERNAL IN
PGM 1 LT MON
PGM 1 RT MON
PGM 2 OUT
H
PGM 2 LT MON
L
PGM 2 RT MON
EXT LT MON
CR
FET
SW
L
R
L
E
V
E
L
L
L
R
R
FET
SW
CR OUT
RCA
EXT RT MON
AIR 2+
System Flow Diagram
AIR 2+ / Nov 2006
CUE MON
MUTE / TALLY BUS
page 17
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