airlab mk-2 - Broadcast Partners

airlab mk-2 - Broadcast Partners
AIRLAB MK-2
“a reliable choice to be On-Air”
The new AIRLAB MK-2 radio ON-AIR
console is D&R's solution for applications
where features and functions has to be
weighed up against operational simplicity.
A simple direct accessible control
surface combined with intelligent
instantly reset able digital functions
enables customizing to station
requirements and even to personal
requirements because of the use of a
personalized chip card holding all
important functional data.
Purchasing choices are
straightforward: the welded steel frame
will accommodate a maximum of 16 triple
input modules with or without EQ (and its
knobs), a digital in/output module and an
unlimited number of Telco modules (up to
16) plus the master section with script
space.
The main outputs are electronically
balanced (transformer balancing is an
option) and the majority of connectors
are on balanced XLRs.
With a sales track record (2007) of
more than 800 consoles in the field, this
On-Air mixing console has proved its
popularity and… reliability.
AIRLAB MK-2
TRIPLE INPUT
MODULES.
The AIRLAB triple input
module combines a high
quality mic input with two
stereo line inputs. The
mic input is electronically
balanced with the
industry standard SSM
2019 low noise mic preamp. A 48 volt phantom
power switch is provided
for. Apart from the gain
control we have built in a
front panel accessible
trimmer to adjust the mic
gain range.
A low cut filter can be
activated by a jumper on
the PCB. The mic input
(with jack insert) is
located at the back of the
console on female XLR
connectors.
The unbalanced stereo
line B input, accessible on
Cinch connectors, can be
fitted with an RIAA plugin PCB to also accept
phono players.
The Line A input is
balanced and on XLR
connectors.
There is a choice out of
EQ or non EQ modules
and a digital in/output
module with the same
front controls but now
interfacing with digital
sources through AES3.
The fixed, +/- 12dB
limited three band
equalizer is followed by a
SUB and PROGRAM
assign switch that routes
signals to both outputs
allowing production work
to be carried out during
broadcast.
The stereo Aux. control
can be selected pre or
post VCA/MUTE,
depending on jumper
settings on the PCB.
The stereo Aux. send is
followed by a Pan control,
a CUE/SELECT switch and
the channel ON switch
disabling Cue, although it
can be reactivated while
the channel is on.
It is also possible to
activate CUE via the
channel remote.
Cue becomes a Cough
facility when the Mic
input and the “ON-AIR”
status is selected.
The AIRLAB is
equipped with linear KALPS 100mm faders
controlling high quality
“THAT” VCA's, another
high end industry
standard.
Start can be activated
with the fader or ON
switch, depending which
is activated first.
Start can be software
configured so that
switching is from line A or
line B. Similarly, the Cue
switch is under software
control avoiding
impossible settings.
TELCO MODULE.
The AIRLAB has the
possibility to be loaded
with up to 16 Telco
modules.
Due to an ingenious
Mix-Minus system,
alignment is only
necessary during
installation.
The AIRLAB Telco
module is a straight
forward design making
communication very
easy.
The first control is the
front panel accessible, R
BAL. trimmer for side
tone adjustment, only
necessary during
installation.
The Telco Send knob
controls the outgoing
signal to the caller.
This signal is coming from
the PROGRAM or SUB
bus.
The line input can be
switched to a balanced
XLR input connector to
accept an external
(digital) hybrid instead of
its own internal hybrid.
A separate input gain
control with HP and LP
filters can be used to
enhance intelligibility.
The SUB and
PROGRAM assign switch
routes the signal to both
outputs if needed.
The stereo Aux. control
has jumpers that select
its source to be pre or
post VCA/MUTE.
A Pan-pot and
CUE/SELECT switch plus
the ON switch completes
the Telco module.
A 100mm linear fader
controls a high quality
THAT VCA, eliminating
any fader wears out in
the future.
A Caller can be taken
with the ON switch when
the fader is up or with
the CUE/SELECT/RING
switch when the fader is
down.
When CUE is active in
the TELCO module, the
caller is connected to the
CUE bus and also the
engineers talk-back, but
does not go ON-AIR yet
as the fader is down.
It is possible to
connect both the CUE
and ON switch to a
remote unit, allowing a
director to control the
broadcast. A “Connect”
LED positioned below the
High Cut switch indicates
that the internal Hybrid is
active.
CENTRALISED MASTER SECTION WITH
PROGRAMMABLE UTILITIES AND SCRIPT
SPACE.
The master module is divided in three
sections. The first “module” houses the TAPE
SEND controls which selects the feed to the
tape output. This could be either the SUB
output signal or the AUX. output signal.
The ST Aux master controls the outgoing
Aux signals from the input modules. A Talkback to AUX switch is provided for.
The lower part of this “module” houses the
Control Room Monitor section that can be fed
by an EXT(ernal) stereo input, the stereo Aux
output, a stereo ON-Air signal or the stereo
SUB output signal. All selections have LED
indicators and the lowest positioned switch has
priority over the input selectors positioned
directly above.
The CUE BALance pot adjusts the balance
between the PROGRAM output or another
selected input source and the CUE signal
(when selected). A cue LED indicates when a
CUE signal is on the CRM or Phones.
Separate Phones and CRM controls, with a
DJ mic on mute indicator complete this section.
COMMUNICATION IS ON BOARD.
The second “module section” houses the
Talk back level control for the electret
microphone and the Studio section, usually
used to monitor the PROGRAM output, with the
ability to switch to from Air, from SUB or the
Control Room Monitor signal. When the studio
mic is open the studio output is muted,
indicated by the studio MUTE LED. The studio
output is fitted with a Talk-back switch
Communication is very important in broadcast
studio’s, so we decided to go for three separate
outputs. One for Studio, one for Guest's) and
one for the Announcer.
All outputs receive the same signal that is
selected by the input selection switches, or the
Program output signal when no switch is
activated. The Studio output has a mute LED
indicator when the output is muted.
All three outputs have a direct Talk back
access switch for instant communication
between control room and presentation area.
The Cue buss is the main communication
buss in the console. When a listener calls the
station, by pushing the Cue switch of the Telco
module you have him or her directly on the
control room monitors. At the same time the
internal electret microphone is activated so you
can immediately respond. The announcer can
depress his remote communication button and
is linked to the same Cue buss, so that is three
of you talking with each other.
The AIRLAB has four VU meters of which two
are always connected to the main outputs and
the other two are following whatever is heard
on the CRM.
*
*
*
*
*
Timer start pulse per module.
On-Air control signal on/off per module.
Auto communication Announcer on/off.
Auto CUE reset on/off.
Auto CUE on/off.
SOFTWARE CONTROLLABLE SET-UP
CAN BE STORED ON A CHIP CARD.
A speciality of the AIRLAB is its ability to
program all sorts of internal settings and then
save it to a personalised chip card for instant
reset. The following settings can be
programmed.
*
*
*
*
*
*
*
Module set as DJ mic input.
Module set as Announcer mic input.
Module set as Studio mic input.
Start/Stop plus Pulse/Cont per module.
Cue start active
Fader start or “ON” start per module.
External remote (in)active per module.
A BUILT IN TIMER MODULE EXTENDS
THE POSSIBILITIES OF THE AIRLAB.
There is a Timer function built in the
AIRLAB for time related measurements such
as duration of an incoming/outgoing call.
Timer set-up can be software controlled and
stored.
The AIRLAB is D&R’s latest addition to a
growing series of broadcast consoles. Its high
quality clean audio path with a minimum of
hardware switches in the audio path is your
guarantee that this is a reliable radio console
for daily
broadcast
for many
years to
come.
BACK PANEL
SPECIFICATIONS
INPUTS:
Mic inp. bal. 2kOhm - 128dBr (40dB gain range
plus 30dB of trim range)
Line inp. bal 10kOhm +/- 20dB gain range.
Telco input (XLR) 10kOhm bal. 0dBu nominal.
CMRR: mic input max.. gain: 1kHz 85dB
Line inp. max.. gain 1 kHz 80dB
DIMENSIONS
AND WEIGHT
50 kg / 110 Lbs
Drop through
mounting hole
dimensions:
530mm x 775mm
EQUALISATION:
+/- 12 dB @ 10kHz shelving
+/- 12 dB @ 3kHz bell curve
+/- 12 dB @ 60 Hz shelving
Low Cut: 80Hz, 12dB per octave (mic only)
Low Cut: 200Hz, 6 dB per octave (Telco only)
High Cut: 8 kHz, 6 dB per octave (Telco only)
OUTPUTS:
Left/Right: +6dBu electronically balanced
(transformer balancing is an option)
Sub: +6dBu electronically balanced.
All other outputs: +6dBu unbalanced.
OVERALL:
Frequency response: 20-20.000 Hz +/-0.5dB
Harmonic distortion: 0.035% (VCA in, 2nd
harm)
Crosstalk: less than -90dBr
Noise: -86dBr
Headroom: +22dB internal, 16dB on outputs
Mix-Minus rejection: @1kHz -60dB
Channel fader attenuation: 1kHz, 100dB
REMOTES:
All channel remotes are on stereo jack
sockets.
Start/Stop switching is by isolated reed relays.
Both ON-AIR 1 and 2 (red light) outputs are
isolated by relays.
For more info on this and many other
broadcast consoles contact your nearest dealer
or
D&R Electronica Weesp b.v.
Rijnkade 15B,
1382GS Weesp
The Netherlands
Phone: +31 294-418 014
Fax: +31 294-416 987
Website: www.d-r.nl.
E-mail: [email protected]
Was this manual useful for you? yes no
Thank you for your participation!

* Your assessment is very important for improving the work of artificial intelligence, which forms the content of this project

Download PDF

advertisement