Model 76 Central Controller / Model 77 Control

Model 76 Central Controller / Model 77 Control
Model 76 Central Controller / Model 77 Control
As the production of both multi-channel surround (5.1) and 2-channel stereo audio
material has become a day-to-day reality, the need for monitoring these sources is
imperative for recording, post-production, and broadcast facilities. Studio Technologies has addressed this need with the StudioComm for Surround Model 76
Central Controller and Model 77 Control Console. With its digital audio inputs
and analog outputs, it’s a simple task to integrate the system into virtually any
facility. The carefully selected group of features, including downmix, channel
mute/solo, and reference level, make the system both powerful and simple to use.
And by using the best of contemporary technology, as well as following rigorous
design practices, the system’s audio quality is simply excellent. With the StudioComm for Surround system any audio console, disk-based recording system, or
broadcast facility can have a complete multi-channel monitor system.
Model 76 Central Controller
Model 77 Control Console
Key Features:
A StudioComm for Surround system starts with the Model 76 Central Control• Digital audio inputs
ler. It occupies just one rack space but allows connection of two surround (5.1)
• Analog outputs
inputs and three stereo inputs, along with separate surround and stereo moni• Configurable downmix
tor outputs. The surround and stereo inputs are digital and compatible with
• Channel mute/solo
AES3id sources. These unbalanced digital signals utilize BNC connectors and
• Level adjustment, reference level, and dim
are ubiquitous in most post-production and broadcast environments. Sample
rates of up to 192 kHz and bit depth of up to 24 are directly supported. And with
the system’s dynamic range of greater than 106 dB, there isn’t a problem ensuring that a source’s audio quality is maintained. The
monitor outputs are analog, balanced line-level, with a maximum signal level of +26 dBu. They include power-up/power-down
protection circuitry to help maintain the health of the connected loudspeaker systems.
Digital audio signals are interfaced with the Model 76 using nine BNC connectors. Analog monitor output signal connections
are made using one 25-pin D-subminiature connector. An advanced flash-based microcontroller integrated circuit provides the
logic “horsepower” for the unit. AC mains power is connected directly to the Model 76, which is factory selected for 100, 120,
or 220/240 V operation. The internal power supply utilizes two toroidal mains transformers for quiet audio operation. One 9-pin
D-subminiature connector is used to connect the Model 76 with up to four Model 77 Control Consoles. A second 9-pin “D-sub”
connector is used to interface remote control signals with the Model 76.
Model 77 Control Console
The Model 77 Control Console is the “command center” that is designed to reside at an operator’s location. It allows fingertip
selection of all monitoring functions. Numerous LED indicators provide complete status information. A 4-digit numeric display
indicates the monitor output level in real time. While most installations will use only one Model 77 Control Console, up to four
can be connected to a Model 76 Central Controller. This provides multiple users with full control over the monitoring system. Each
Model 77 connects to a Model 76 Central Controller using a 9-pin cable. A major strength of the Model 77 is its ability to configure,
under software control, many important operating parameters.
Model 76 Central Controller Front Panel
50223-1213, Issue 3
Model 76 Central Controller Back Panel
Additional Details
The Model 77 provides five buttons and associated LEDs for selection of the surround and stereo input sources to be monitored.
While in most cases only one input source will be monitored at a time, stereo input C can be selected for simultaneous monitoring
with one of the two surround or other two stereo inputs. This allows the two selected inputs to be combined (“summed”).
The surround and stereo monitor output levels can be controlled by way of a large, easy-to-use rotary control. The level control
auto mute all function ensures that the monitor output channels automatically mute whenever the output level is set to the full
attenuation (minimum) position. By using the reference level function, the monitor output level can set to a pre-configured value.
This is provided for audio-with-picture applications that require a specific monitor level. The reference level is easily configured
by taking an electronic “snapshot” of the desired monitor output level. For operator confirmation a 4-digit LED readout displays the
level of the monitor output. It can be configured to display either the attenuation level or the sound pressure level (SPL).
The dim function allows the monitor output level to be reduced by a fixed dB amount. The dim level is selected from four available
levels. A mute all function allows all monitor output channels to be simultaneously muted.
The channel mute/solo section provides individual channel control. One pushbutton switch sets the operating mode for either
mute or solo. In the mute mode, individual channels can be muted as required. In the solo mode, a single channel can be monitored while the others are automatically muted. Depending on a configuration setting, the mute/solo activity will impact audio
either pre (before) or post (after) the downmix functions. In either solo mode multiple channels can be simultaneously selected
for “soloing.” The flexibility of having both mute and solo available allows an operator to quickly select the most comfortable and
productive operating mode.
A special solo mode is also provided, called channel pop solo, which offers a unique aid in monitoring audio material. Channel
pop solo allows the level of a single channel to be raised while the level of the other channels is reduced. This helps to emphasize
the content on one channel without fully muting the others. Broadcast applications can benefit from this solo mode, allowing,
for example, the center channel to be highlighted while still maintaining some level on the other channels. The amount of level
increase—the “pop”—as well as the amount of attenuation can be configured to meet the needs of specific applications. Note that
channel pop solo is only available when the mute/solo function is configured for post downmix.
Two functions allow the format of the monitored sources to be checked for level or phase inconsistencies. The surround to stereo
downmix function is used to create a stereo signal from the selected surround (5.1) source. The stereo to mono downmix function
allows audio on the left and right channels to be added (summed) and monitored on the center output channel. The two downmix
functions can be simultaneously enabled, allowing a surround source to be checked for mono compatibility. A small speaker simulator feature is associated with the stereo to mono downmix function. It is included to assist an operator in determining compatibility with “real-world” playback environments. It functions by placing an audio bandpass filter into the path of the mono signal,
simulating the response of a loudspeaker associated with an inexpensive television or clock radio.
Up to four Model 77 Control Consoles can be connected to a Model 76 Central Controller. The Model 76 can provide power for
the first two Model 77 units while an external 12 volt DC source is required for a third and fourth unit. The interconnecting cables
use 9-pin D-subminiature connectors that carry RS-485 data and DC power. Remote control signals, including mute all and dim,
connect to the Model 76 using a second 9-pin D-sub connector.
For flexibility, the StudioComm for Surround system is designed to easily integrate with equipment such as production intercom
systems, on-air or recording tally signals, audio consoles, and film motion-control electronics. Two remote-control input functions
are provided: mute all and dim. By providing access to these functions, talkback or slate activity from an audio console or other
communications system can control the monitor output level.
While the StudioComm for Surround system for multi-channel monitoring will do many wonderful things, it is not designed to
selectively route input signals to the different output channels. An input-channel-to-output-channel relationship is maintained. As
an example, a signal that arrives on the center channel of surround input A will output only on the center channel of the monitor
output. Any rerouting of the input signals must be done prior to their connection to the StudioComm for Surround system. This
should not be a drawback in most facilities, but it’s important to highlight this fact.
Studio Technologies, Inc.
StudioComm 76/77, Issue 3, Page 2
Model 76 Central Controller
General Audio:
Frequency Response: digital inputs to monitor outputs loaded with
10 k ohms
32 to 48 kHz Sample Rate: 20 Hz-20 kHz ±0.05 dB
88.2 to 96 kHz Sample Rate: 20 Hz-40 kHz ±0.05 dB
176.4 to 192 kHz Sample Rate: 20 Hz to 40 kHz ±0.05 dB;
down 0.5 dB at 80 kHz
Distortion (THD+N): 0.004%, ref 1 kHz, +4 dBu output
S/N Ratio: 86 dB, ref +4 dBu output
Dynamic Range: greater than 106 dB
Crosstalk: 104 dB at 1 kHz; 90 dB at 20 kHz, ref –1 dBFS input
Digital Audio Inputs: 5
Configuration: organized as two surround (5.1) and three stereo
Supported Sample Rates: 32, 44.1, 48, 88.2, 96, 176.4, and 192 kHz
Word Length: 24 bits maximum
Type: AES3id-2001 (SMPTE 276M)
Impedance: 75 ohms, unbalanced
Reference Level: –20.0, –18.0, –16.0, or –14.0 dBFS, selectable
Sync Source: all inputs independently self-clocking
Monitor Outputs: 8
Configuration: organized as one surround (5.1) and one stereo
Type: electronically balanced, compatible with balanced or unbalanced
Nominal Level: 0.0 or +4.0 dBu, selectable
Maximum Level: +26 dBu into 600 ohms or greater
Remote Control Inputs: 4
Functions: remote mute all, remote dim, two spare
Type: +5 V logic, activates on closure to system common
Functions: surround (5.1) to stereo, stereo to mono
Surround to Stereo: LS @ –3 dB summed with L;
RS @ –3 dB summed with R;
C @ –6 dB summed with L and R;
C, LFE, LS, and RS monitor outputs mute
Stereo to Mono: L @ –3 dB summed with R @ –3 dB to C;
L, R, LS, RS, and LFE monitor outputs mute;
C input mutes
Stereo to Mono Bandpass Filter:
Response: –3 dB @ 100 Hz and 5 kHz, nominal, 12 dB/octave
Control Console Interface:
Power: 12 volts DC, 200 milliamperes maximum
Control Data Type: RS-485
Control Data Rate/Format: 115.2 kbit/s, 8-N-1
Polling Interval: 50 milliseconds
Digital Audio Inputs: 9, 75 ohm BNC
Monitor Outputs: 25-pin D-subminiature female
Control Console: 9-pin D-subminiature female
Remote Control Input: 9-pin D-subminiature female
AC Mains: 3-blade, IEC 320 C14-compatible (mates with IEC 320 C13)
AC Mains Requirement: 100, 120, or 220/240 V, ±10%, factory
configured, 50/60 Hz, 30 watts maximum
Dimensions (Overall):
19.00 inches wide (48.3 cm)
1.72 inches high (4.4 cm)
8.75 inches deep (22.2 cm)
Mounting: one space (1U) in a standard 19-inch rack
Weight: 8.8 pounds (4.0 kg)
Model 77 Control Console
Application: up to four Model 77 Control Consoles can be connected
to Model 76 Central Controller (two can be powered by Model 76)
Power: 12 volts DC, maximum current 100 milliamperes, typically
provided by Model 76 Central Controller
Control Data:
Type: RS-485
Data Rate/Format: 115.2 kbit/s, 8-N-1
Connector: 9-pin D-subminiature female
Dimensions (Overall):
7.20 inches wide (18.3 cm)
2.20 inches high (5.6 cm)
5.40 inches deep (13.7 cm)
Weight: 1.7 pounds (0.8 kg)
Specifications and information contained in this Data Sheet subject to
change without notice.
Studio Technologies, Inc.
Skokie, Illinois USA
© by Studio Technologies, Inc., December 2013
Studio Technologies, Inc.
StudioComm 76/77, Issue 3, Page 3
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