Page 2 Broadcast mixing consoles - 2600 series solidynepro.com Table of Contents Chapter 1.........................................................5 1.1 What’s in the box?.................................................5 2.7.2 Using a microwave digital link...............................21 2.7.3 Decoding using a computer..................................21 1.2 Brief description.....................................................5 Chapter 3.......................................................22 1.2.1 Input modules.........................................................5 1.2.2 Outputs...................................................................5 3.1 Introduction...........................................................22 1.2.3 Start devices output................................................6 3.2 Meter bridge..........................................................22 1.2.4 Cue.........................................................................6 3.2.1 Audio meters.........................................................22 1.2.5 ETM-CPU faders....................................................6 3.2.2 Clock / Timer - Set the hour..........................................22 1.2.6 On-Air mics button..................................................6 3.3 2608 Master module.............................................23 1.3 Expansions & accessories....................................6 3.3.1 Speakers and headphones...................................24 3.3.2 CUE......................................................................24 1.3.1 VU-meter and stereo phase vector.........................7 3.3.3 Master MIC button................................................24 1.3.2 Timer / Clock...........................................................7 3.3.4 Talk-back..............................................................24 1.3.3 2630-VQR module..................................................7 3.4 Telephone Hybrid section........................................25 1.3.4 AoIP output.............................................................7 1.3.5 AES-3 outputs (AES/EBU)......................................7 3.5 2610 Microphone module & 2601 Line module.28 1.3.6 HD3 & HD5 monitoring box....................................7 3.6 2612 Microphone Modules..................................29 Chapter 2.........................................................8 3.6 Special features of 2602......................................30 2.1 About the wiring.....................................................8 2.2 Inputs & Outputs connections..............................9 3.6.1 Operation with Skype............................................30 3.6.2 Private comunication using VoIP..........................30 3.6.3 Jumpers into 2602's connector.............................30 2.2.1 Power source..........................................................9 2.2.2 MONITOR OUTPUTS.............................................9 3.7 HD3 / HD5 monitoring box...................................30 3.7.1 About Studio Headphones....................................30 2.2.3 HEADPHONES.......................................................9 3.7.2 About Studio Monitors..........................................30 2.2.4 TALLY LIGHT.........................................................9 3.7.3 About the Intercom...............................................30 2.2.5 CONNECTING THE PHONE LINES......................9 3.7.4 About Timer/Clock (only HD5)..............................30 2.2.6 StudioBox output..................................................11 2.5.3.1 Connections................................................................11 3.8 2630VQR Hybrid’s processor.............................31 2.2.7 INPUT MODULES................................................11 3.7.1 Using the VQR......................................................31 2.2.7.1 Line inputs..................................................................11 2.2.7.2 Microphone inputs......................................................11 3.9 Remote control.....................................................32 2.2.8 The Master Module...............................................11 2.3 Connectors and wiring........................................12 2.3.1 General recommendations...................................12 2.3.1 Inputs and outputs................................................12 2.3.3 Additional signals on Master 2608..................12 2.3.4 RJ45 to standard connectors..........................13 2.3.5.1 USB connection..........................................................13 2.3.8 Ground connections recommended for protection against electric storms...................................................15 2.3.9 Schematic Diagram – Recommended connection of 2600 consoles................................................................16 2.4 Customizing the modules...................................17 2.4.1 Configuration mode..............................................17 2.4.2 Customizable features..........................................17 3.9.3 Virtual Interface (/VI option)..................................34 3.9.4 Advanced settings................................................35 Maintenance..................................................36 Chapter 4.......................................................36 4.1 Fuses.......................................................................36 4.2 On console’s temperature........................................37 4.3 Cleaning...................................................................37 4.4 Preventive maintenance..........................................37 4.5 Parts Replacement..................................................37 4.6 Service Manual........................................................37 Specs & Measurements................................38 2.4.2.1 48V Phantom power...................................................17 Chapter 5.......................................................38 2.4.2.2 Using a mic into the Control Room............................17 2.4.2.3 CUE mode..................................................................17 5.1 General Measurements........................................38 2.4.2.4 Link to 'Master Mic' (mic channels only).....................17 5.1.1 Microphone....................................................................38 2.4.2.5 Auto-On (only for online channels).............................17 5.1.2 Line................................................................................38 2.4.2.6 Remote dimming (PAD).............................................18 5.1.3 Aux Input........................................................................38 2.4.3 Jumpers on Master Module..................................18 5.1.4 Balanced Outputs..........................................................39 2.4.3.1 Hybrid’s priority circuit................................................18 5.1.5 Unbalanced Outputs......................................................39 2.4.3.2 External control of Master MIC button........................18 5.1.6 Gain...............................................................................39 2.4.4.1 Jumper’s table for 2610, 2612 y 2601........................18 5.1.7 Frequency Response....................................................39 5.1.8 Phase.............................................................................39 2.5 Adding modules to console................................19 5.1.9 Stereo Tracking.............................................................39 2.5.1 USB 2602.............................................................19 5.1.10 Harmonic Distortion (THD)..........................................39 2.5.2 2630 VQR module................................................19 5.1.11 Equivalent Input Noise................................................39 5.1.12 Signal/Noise ratio........................................................40 2.6 Set the gain of the inputs....................................19 5.1.13 Crosstalk......................................................................40 2.7 Models 2600 /IP.....................................................20 2.7.1 STL link.................................................................20 solidynepro.com 5.2 Bock diagrams......................................................41 5.3 Technical specs....................................................44 Broadcast mixing consoles - 2600 series Page 3 This page is intentionally left blank Page 4 Broadcast mixing consoles - 2600 series solidynepro.com Chapter 1 Getting started 1.1 What’s in the box? • With the console, you will receive the following items: • This user’s manual. (Rev. May 2017) 1 Interlock power cord. Guaranty certificate. 1 tubular connector for Tally lights. 1 set of self-adhesive labels for channel identification. 4 self-adhesive rubber supports. 1 screwdriver for adjustment of gain presets. spare parts: 2-TL074; 1-TL072; 1-CD4013; 1NE5532; 1 button MEC; 1 button MULTIMEC; 1 slide potentiometer 10K LIN; 1 rotary potentiometer 50K LIN • • • • • • • • OPTIONALS ON-AIR Tally light Wiring kit SOL-45 STUDIO BOX (headphone distributor/amp) • • • Gain control with 30dB of range (+/- 15dB) that allows to adjust the input levels for comfortable operation of the main fader. 2 bands low/high EQ, Baxandall type, with +/- 15dB of rage. The mic module 2612 manages 3 microphone channels and 3 unbalanced line inputs (AUX). It have the same features that the 2610 but include a stage of microphone processor with dynamic compression and noise gate. Line modules (2601): Manage 2 balanced stereo inputs (LIN) and two unbalanced inputs (AUX). Main and auxiliary gains can be adjusted using 4 trims located at the front panel, to match the levels of the different sources. Digital inputs 2602: Modules 2602 offers direct connection to the computer via USB. It works as external sound card, giving to the computer 2 playing devices and 2 recording devices (PGM and AUD can be recorder directly). 2602 modules also allow operation with Skype or telephone hybrids. Each 2602 channel internally generates its own Mix-Minus signal. 1.2 Brief description 1.2.1 Input modules All input modules of consoles Solidyne 2600 manage the audio signal electronically, that is to say, there is not audio signal on the switches. The faders are ultra-light touch and operate managing the audio indirectly through digital control amplifiers. All input modules are programmable from the front avoiding the use of internal jumpers. The Solidyne 2600 consoles have a great flexibility since they are fully modular. This feature allows to reconfigure the console without leaving the air. Most the input modules are double. Each module has two faders of 100mm that manage two stereo signals, and each channel has two inputs (Line or Microphone and Aux) commutable from a button in the front panel. There are different modules to manage different signals, that are: Microphone modules (2610 and 2612): The modules 2610 manage two microphone channels (MIC) and two unbalanced stereo line inputs (AUX). The 2610 features: • Pan-pot solidynepro.com 1.2.2 Outputs All outputs are located on the Master 2608. Line (2601 and 2602) and microphone modules (2610 and 2612) have 3 stereo sends: PGM (program), AUD (audition) and SEND. • The PROGRAM output is the main output, used to send the audio signal to the transmitter. • AUDITION is used to record or to hear audio in control monitors but not on the air. • SEND is a stereo bus. It’s used, by example, to make a mix of all input channels, except the microphones. This mix can be sent to the studio monitors. This way the speakers will be able to listen a return in the loudspeakers, without headphones, still on the air. • The CUE bus allows hearing the signals with the channel off and fader closed. The monaural audio hears through an internal speaker, located at the right of the meters bridge. CUE can be assigned to the main monitors of Control Room. Broadcast mixing consoles - 2600 series Page 5 1.2.3 Start devices output • Maintains a perfect stereo tracking (error > 0,1 dB). • Allows the use of conductive ceramic sliding potentiometers which offers 2 millions of operations guaranteed. This output modules present in the console (stereo mini-jack located next RJ45) can command the Audicom computer, digital audio processors or any other device with a remote control. Activation is performed by opening the fader and press the AIR button on each channel. 1.2.6 On-Air mics button 1.2.4 Cue Located above the main fader, this button turn on/off the channel. The button lights when is on. There are several modes for the cueing: "Solo": In this mode, when a CUE button is pressed and then another; the second CUE turn off the first one. If all channels are set in mode "soloist"; then only one CUE can be on. By pressing a CUE buton that is on, it will off. "Mix": CUE works with independence of other channels. The CUE button turns on or off each time that is pressed. All channels defined as "Mix mode" can have the CUE button turned on at the same time. "Auto-off": With independence of the modes explained above, the option Auto-off turn off the CUE when the channel is send on-air (AIR button turned ON and fader raised). The CUE can be turned on once the channel is on-air, but it will turned off again if the fader is moved. The CUE behavior is defined in the configuration of each module; as explains at “2.4.2. - Customizable features". The level of the CUE speaker is set using a knob located at the Master Module. At the section "Control Room", there is a button called "CUE to Speaker" that allows to send the CUE signal to the Control Room's main monitors and headphones. The button ON AIR switch the signal electronically; there in no mechanical contacts. It gives an operation clicks & plops free, due to 2600's uses a fast slope fading action instead of the hard switch that are characteristic on the mechanical switches. When an AIR button is pressed, turns on the tally light (the console gives 12 V DC as tally signal). Also, a relay mutes the studio monitors. A Master Microphone button is located on the 2608 Master module. The purpose of this button is switch on/off all microphones channels at the same time. Each channel can be linked to Master Mic button with independence. By default, all mic channels are linked to the Master Mic button. 1.3 Expansions & accessories The series 2600 can be customized according to the requirements of the radio station. The user decides how many microphone and line modules will have. All models feature as an option the kit of wiring and adapters for connecting the console without the need to assemble cables. You can also choose to include other optional features, which are described below: 1.2.5 ETM-CPU faders The 2600 uses a new generation of slide potentiometers: conductive ceramic with “feather touch”. In normal use, offers more than 20 years of duty. They have a very solid construction, as the skate slides on two sylver-steel cylindrical axis with teflon bushings. The fader generates a DC voltage that controls the module's internal computer. In a 2600 mixer the audio signal never passes through a carbon track neither mechanical switches. For more information please visit our web site. Main advantages of this technology are: • Eliminates noise generated by dirty faders. • Maintenance free and greater useful life. Page 6 2600 XL 2600 XX 2600 XD 2600 XZ INPUT CHANNELS Up to 16 Up to 26 Up to 16 Up to 28 AES-3 OUTPUT OPTIONAL OPTIONAL OPTIONAL YES STREAMING OUTPUT (AoIP) OPTIONAL OPTIONAL YES YES VC180 YES YES YES YES Clock-Counter YES YES YES (LCD) YES Remote Control LAN (/VI) OPTIONAL OPTIONAL (MIC 2601, 2612; LIN 2610, 2602) Broadcast mixing consoles - 2600 series OPTIONAL OPTIONAL solidynepro.com 1.3.1 VU-meter and stereo phase vector 1.3.4 AoIP output The Stereo Phase Vector allows measuring the stereo phase relationship and therefore the grade of stereo sensation achieved. The range is 0 degrees (mono) to 90º (maximum stereo); with inverted phase indication (180 grades), to prevent to the operator that a connection’s error exists in the microphones, or among equipment’s with analogical connections. The output "AoIP" streams the program mix to another console Solidyne 2600. This streaming also be decoded with any streaming player software; or by using a Solidyne ADA102 decoder. The analogical section is gauged in steps of 20 degrees, with quadrant of vectors. This allows following the quick program variations. By other hand, the digital section retains for an instant the maximum value reached by the phase rotation. A musical program with good stereo sensation will have averages (analogic) of 40 to 60 degrees, with peaks (digital) of 80 degrees. Readings of 0 and 20 almost indicate a monaural signal. The indication -0 or INVERTED implies the serious problem of inverted phase. This must be quickly corrected because the inverted signals ‘disappear’ when they are listen in mono FM receivers. 1.3.5 AES-3 outputs (AES/EBU) Optionally, models XL & XX can have AES-3 outputs for program and audition. 1.3.6 HD3 & HD5 monitoring box The optional accessories Solidyne HD3 and HD5 are compact docks that concentrates all connections needed to the monitoring at the Studio. The main features are: 1.3.2 Timer / Clock a) Provides the current time while the microphone channels are turned-off. b) Shows a count up (minutes: seconds) when the microphones are on the air. The timer mode is activated when the mics are activated using the Master On-Air button. When you turn off the microphones, the time will be retained on screen by 3 sec and then the display will return to ‘clock mode’. If you turn on the microphones again (in this 3 sec window) the timer will resume. Connection for up to 5 headphones in HD5 (3 in HD3) with independent level knobs. Double bus for monitoring from two sources. Output for active speakers, with gain control. Tally-light. Talk-back into the Studio. Allows to talk with the operator at the Control Room. Timer/Clock (only in HD5) 2600 supports up to three HD3 or two HD5 docks, connected in cascade. 1.3.3 2630-VQR module This optional module allows partially restore the voice quality that has been degraded by telephone transmission. Can be used with the internal telephone hybrid , or with external hybrids connected to the console via "External Hybrid" connector. The 2630-VQR module has three 100 mm faders that allow to the operator adjust the degree of reconstruction applied to the audio; and a LED indicator showing restoration levels. The module also features and noise gate of variable threshold. Refer to "3.6 Module 2630 VQR" for the operation of this module. solidynepro.com Broadcast mixing consoles - 2600 series Page 7 This page is intentionally left blank Chapter 2 Setup and connections NOTE: in all cables the channel marked with a red label is the right channel. 2.1 About the wiring The consoles come with their inputs and outputs with RJ45 connectors and are wired using multipair cable shielded CAT-5. With the advent of audio over IP (AoIP) various manufacturers started using RJ45 connectors and shielded multipair cable to replace the various audio connectors, to standardize the entire installation with a single type of connector and a unique type of cable. Additionally, the use of structured cable for connection between remote devices facilitates the installation anywhere in the world, due to availability of components and assembly tools used in data networks. The multipair cable end that connects to the audio device (microphones, speakers, playback devices) still require standard audio connectors. For this, the RJ45 cable provides termination sections with RJ-45 female at one end and connector audio as needed at the other. 1 MIC & LIN analog inputs. By each MIC or LINE channel there are: • One RJ45-Male to RJ45-Male; length 2,5 m + one Adapter RJ45-Female to 2 x XLR-Female (Left & Right) In MIC cables ONLY the Left is used. • In line modules (2601) will be provided a half of ca- bles with XLR-F and the other half with RCA connector. 2 USB inputs: For each module 2602 are included: • 2 USB cables; length 1,80 meters NOTE: If using Solidyne's DH400 Telephonic Hybrids, or another hybrid with independent mix-minus, ask cables SOL45. 3 Outputs of Master 2608 2 cables RJ45-M to RJ45-M, length 2,5 meters + Adapter RJ45-F to 2 x XLR-M (channels Left and Right) (One cable to balanced PGM output and another cable for balanced AUD). 1 cable RJ45-M to RJ45-M length 2,5 meters + Adapter RJ45-F to miniplug stereo (SND unbal output). 1 cable RJ45-M to RJ45-M, length 2,5 meters + Adapter RJ45-F to 2 RCA (input for external tuner). Note 1: if the console have the optionals /VI, /AoIP each optional includes its cable (2,5m. Note 2: if the console have the optional /AES comes with a cable of 2,5meters + adapter to 2xXLR (one for AES- PGM and another for AES-AUD). 2.1.1 Solidyne SOL45 wiring kit 2.1.1.2 Additional cables Solidyne provides (as option) different kits of cables “SOL45”, designed to make the installation of a Solidyne 2600 console in a few minutes. This wiring kits are made using shielded multipair CAT-5. If additional cables are needed, the options are: 2.1.1.1 Standard kit The basic option is "SOL45 / 10" that connects consoles up to 10 audio channels. Consolas with more than 10 channels will use the "SOL45/NN" kit being "NN" the number of audio channels. Consoles wired with these kits will have the connections detailed below. But if you need to add more cables, you can do so freely as explained below. Page 8 1. SOL-25 /SOL-50 Cable RJ45-M to RJ45-M, flexible shielded, length 2,5/5 meters. Note: Longer cables can be used using CAT-5 shielded multipair and shielded RJ45 connectors. 2. SOL-XLRM Adapter RJ45-Female to 2 XLR-Male connectors (balanced) 1. SOL-XLRF Adapter RJ45-Female to 2 XLR-Female connectors (balanced) 2. SOL-MINIM Adapter RJ45-Female to 1 Miniplug 1/8” stereo (unbalanced) 3. SOL-TRSM Adapter RJ45-Female to 2Plug ¼” TRS balanced (separated Left and Right). 4. SOL-RCAM Adapter RJ45-F to 2 RCA connectors (unbalanced) Broadcast mixing consoles - 2600 series solidynepro.com 5. SOL-TAIL Adapter RJ-45-F to 8 cables (Bare Bone) ready to weld any type of connector.. 2.2 Inputs & Outputs connections The rear panel contains the connectors for the loudspeakers monitors, headphones, and telephone lines with the associate phone sets and the output to plug the ONAIR light (Tally). All inputs connectors are located under the rear panel, using RJ-45 connectors. Remember: good connections between the console and audio equipment are very important question to guaranty a sure and free of flaws operation. For that, we recommend you take the necessary time to carry out the wiring of the console, with a great care and always using components of good quality. A good solution is to acquire the wiring kit Solidyne SOL45. Fig.3a Rear panel– connectors 2.2.1 Power source At left, the console's rear panel have the on/off switch, the main fuse (1 Amp) and the AC connector (Interlock power-cord, factory provided). The console can be used with 110/240 VAC 50/60 Hz, with automatic selection (switching power source). headphones with independent volume controls. In addition StudioBox offers talk-back to the control room. 2.2.4 TALLY LIGHT The STUDIO LIGHT output gives 12V/0,4A when one or more microphones are on-air. This allows to connect up to 5 LED’s lights (12V/60mA). As alternative, the outputs “Starts Devices” can be used to manage individuals lights for each microphone. The electric circuit is shown in the general connections diagram (please see the 2.2.2.4). Fig.3b Rear panel– power source FUSE: The on-air light is protected by an internal fuse of 1A. If the fuse blows, you must to remove the rear panel to replace it. This fuse is located near to the tubular tally connector. 2.2.2 MONITOR OUTPUTS The outputs "STUDIO" and "CONTROL ROOM" are of line level, designed to be used with powered speakers. The connectors are TRS 1/4”. The output level adjusts from Master module with the knobs “Sudio” and “Control room” respectively. 2.2.3 HEADPHONES STUDIO and CONTROL ROOM have independent outputs, using ¼” jacks connectors. The STUDIO output allows to connect up to 8 headphones. CONTROL ROOM output supports up to 2 headphones. The headphone outputs have protection against accidental short circuits. At the console, the operator has independent level controls for Studio and Control headphones. We recommend to install at the Studios the Solidyne Studio Box (optional): a headphones amplifier/mixer. This unit is placed on the table and manage up to 5 solidynepro.com 2.2.5 CONNECTING THE PHONE LINES The Hybrid 2608 manages 2 telephone lines and 1 Bluetooth link for a cell phone. At the rear panel there are four RJ11 connectors: two are for telephone lines; two are for connecting the associated telephone sets (production phones). Once connected the lines, adjust the rejection factor in order to pair the impedance to the local telephone line (please refers to 3.3 – Master Module 2608). The lines can be connected directly to the radio station's PBX or directly to the public telephone system. The hybrid inputs have internal filters for RF rejection, effective in AM, FM and UHF bands. The telephone lines have internal high tension protection using Metal Oxide Varistors. But we recommend having additionally a good external protection. Broadcast mixing consoles - 2600 series Page 9 Phone lines protection The telephone lines must have protection against lightning and electrical surges. Please, see general protection diagram at the end of this chapter. 2.2.6 PAIR A CELL PHONE Any Bluetooth(c) cell phone can be linked to Solidyne 2600. The phone can be up to 5 meters away from the console, but it’s recommended leave it near to the mixer, but not over the console. The procedure to link the mobile phone to the console is similar to that used for other Bluetooth(c) devices. When the cell phone and console are paired, the cell phone stores the ID of the console. This operation is performed only once (for each phone). Once the console and mobile are paired, the console automatically connects to the cell phone when the Bluetooth (c) link is enabled on both devices. Procedure: • At the console: Check at the Master Module that the button BLUETOOTH [21] is off. When Bluetooth(c) is on, it flash slowly (one flash every 2 seconds). In this case, turn off Bluetooth pressing and holding until the button stops flashing. • At the console enable the “discovery” mode. This mode only can be accessed if Bluetooth(c) is turned off. Being the Bluetooth (c) off, press and hold the button BLUETOOTH until the LEDs blinks fast (approx. 10 seconds). It indicates that Master 2608 is in “Discovery” mode, to be found by the cell phone. • At the cell phone: start a search for a Bluetooth(c) device. This procedure can vary according to the brand and model of cell phone. Please refers to the owner’s manual. • When the search ends, look for the 2600’s Bluetooth(c) device, which will appear as Solidyne BTM641. If the cell phone ask for a password, enter 0000 and confirm (see the user’s manual of the cell phone). • The ID of the Solidyne 2600 is now stored in the cell phone. The devices are "paired". The user don’t need to repeat this operation while using the same phone. BLUETOOTH button now flash slowly (one flash every 2 seconds), to indicate "Bluetooth (c) active". Page 10 device found to stay active. In others, the new device is enabled after being detected. In case of damage on the internal fuses, it can be ordered as spare parts. See Chapter 4 On some phones you need to "connect" the new 2.2.6.1 Re-connect a paired phone To reconnect to the console a cell phone, proceed as follow: • Turn on the Bluetooth (c) on 2600 by pressing "BLUETOOTH" until the button lights (5 secs approx). The button will flash slowly in blue. • Enable the Bluetooth (c) at the cell phone. When the cell phone notice that the connection was successfully the cell phone link are ready. When make or receive a call, the audio is routed to the console. In some phones the re-connection is not automatic. You need to "connect" the new device found to stay active. 2.2.6.2 Set up the level IMPORTANT: At the cell phone, Bluetooth volume must be adjusted at maximum level in order to obtain a good reception and to sure the best signal to noise ratio. This adjusting must be done with a real calling using Bluetooth. The volume of the phone's speaker is not the same of Bluetooth device. If you change the phone's level without make a Bluetooth calling, you will only be changing the volume for the phone's speaker, not for the Bluetooth. To change the level of Bluetooth, make a call using the console (or a hands free headset) and set the Bluetooth level to the maximum, or one step below the maximun. This setting is stored at the cell phone's memory. If you use another cell phone with the console, you will need to set the Bluetooth level again. 2.2.6.3 Turn off Bluetooth at the console To turn off, press and hold “BLUETOOTH” until the button CELL PHONE stop flashing. 2.2.7 External Hybrid The female TRS ¼” labeled “EXT HYBRID” gives PGM send (tip) and return from Hybrid (ring), to connect an external Hybrid. The PGM send is Mix-minus: it includes all the signals of the PGM Bus, with exception of the Return from Hybrid, to avoid a feedback loop. The signal that is incoming by the external hybrid’s return, is routed to the same circuit of control that the signals of the internal hybrid. Therefore, the "Hybrid Fader" will behave in the same way that it works with the telephone lines connected to the console; sending the signal to the air or to CUE according to the fader position. When connects an external hybrid, the inter- Broadcast mixing consoles - 2600 series solidynepro.com nal hybrid remains active and can be used with independence of the external hybrid. gain adjusts from the frontal panel with the GAIN AUX trim (L&R). The lines connected to console and the external hybrid can be in conference. The impedance of LINE and AUX input is bigger than 10 Kohms (Bridging inputs). This is compatible with all current equipment (sound cards, CD-player, audio interfaces, etc.). But if you need to adapt the input to 600 ohms, place inside the connector a 680 ohms resistor in parallel with the input. Remember: once a call is on-air, the cue channel stays disconnected, so the user must use a phone associated with that line to speak privately with the second caller. When make a conference between internal and external hybrid, take care with the output level of the external hybrid, so an excessive level can cause feedbacks. 2.2.6 StudioBox output The RJ45 named “StudioBox”, located at rear pannel, gives connection to the accesories “Solidyne HD3” and “Solidyne HD5”, which manages the monitoring signals into the Studio. 2.2.7.2 Microphone inputs Microphone inputs are electronically balanced. The gain adjusts from the frontal panel with a trim control with 30dB of range. The pan-pot allows change the microphone position in the stereo image. AUX inputs are similar to line modules, but don't have gain presets. The MIC modules use RJ45 connectors for mic and aux inputs. Please see connections at 2.3 ‘Connections and wiring’. 2.2.8 The Master Module To active speakers To 2600 StudioBox Out Secondary audio input 2.5.3.1 Connections The monitoring boxes HD3 and HD5 connects to the 2600 using a standar CAT5 STP (Shielded Twisted Pair) cable, with RJ45 at both ends (pin to pin). This cable is provided with the 2600 mixer. The cable connects the “Studiobox” RJ45 of 2600. Through this cable, the console sends to the Studio the signals for headphones and loudspeakers At the Studios, the headphone outputs uses ¼” stereo jack plug (TRS). Any combination of impedance can be used (16; 32 and 64 ohms). Loudspeakers output are for the Studio monitors, and use a 1/8” stereo TRS (minijack). This is a line level output, designed to be used with powered speakers. 2.2.7 INPUT MODULES 2.2.7.1 Line inputs The line inputs are stereo, electronically balanced (transformerless). It allows the connection of highlevel signals, balanced or unbalanced. Input gain adjusts from the frontal panel with the GAIN trims (L & R). In order to unbalance this inputs, connect the negative (-) pin to GND and positive pin to signal (see “2.3 – Connectors and wiring”). PGM and AUD outputs are electronically balanced, with a high reject to common mode signals. To unbalance a balanced output, only connect the positive pin (+), and leave unconnected the negative one (-). SEND output is stereo, unbalanced. The nominal output level is: 0VU = +4dBm. When a balanced output is connected to unbalanced input, its level is reduced in 6 dB, therefore 0VU= -2dBm. Notice that if some nonprofessional equipment connects to the 2600's output, possibly the level will be too high and some clipping will occur. In this cases use a resistor attenuator to reduce the level. ON-AIR input: This is a stereo input to connect an external tuner. Both the studio and control room, must be heard the tuned air transmission, because the transmitted audio is processed and therefore sound levels change with respect to the signal on the console. Use professional tuners with outputs of low impedance (600 Ohms). In case of use consumer tuners, you must add a line amplifier between the tuner outputs and the “Air” input of Master 2608. This line amplifier is for adapt the tuner output to low impedance. CUE input: Master 2608 have a CUE input, designed to connect an output of a computer. This way is not necessary to use additional speakers next to the computer. This input requires a special cable that connects to the Master's RJ45 “On air in/Cue In” (see “2.3.3 – Additional signals of Master 2608”). AUX inputs are unbalanced stereo. It manages -10dBu / 10KOhms and +4/+8 dBu line levels. Input solidynepro.com Broadcast mixing consoles - 2600 series Page 11 2.3 Connectors and wiring 2.3.1 General recommendations a) Consider to buy the wiring kits SOL45 (2.1.1 “Solidyne SOL45 wiring kit”). b) To arm the cables, use shielded RJ45 and cable of good quality. Remember to join the connector's shield with the shield of the cable. c) Avoid the cables are hanging from the connector. Use cable guides to distribute cables. d) Avoid to mix cables with audio with AC cables. Use different ways for each case. e) If you hear background hum, it can be produced by RF stationary waves, induced from the FM antenna. In this case, you must install ferrite o-rings (60mm diameter) in all input & output cables like shows the left image (see 2.1.2 – RF interference). 1 2 3 4 5 6 7 8 Left channel (+) Left channel (-) Right channel (+) GND Reserved Right channel (-) -15 (optional) +15 (optional) Orange/White Orange Green/White Blue Blue/White Green Brown/White Brown UNBALANCED INPUTS / OUTPUTS PIN WIRE COLOR 1 2 3 4 5 6 7 8 Orange/White Orange Green/White Blue Blue/White Green Brown/White Brown Left channel (+) NC Right channel (+) GND Reserved GND -15 (optional) +15 (optional) 2.3.1 Inputs and outputs 2.3.3 Additional signals on Master 2608 Module 2601 (lines) The following features requires the use of special cables, which are different from the cables used to the balanced and unbalanced inputs/outputs. Module 2610 (microphones) BALANCED OUTPUT PGM-2 + MONO Module 2612 (microphones) PIN WIRE COLOR 1 Left channel (+) 2 Left channel (-) 3 Right channel (+) Orange/White Orange Green/White Blue 4 GND 5 PGM-MONO Next tables shows the pin out for all inputs and outputs, balanced and unbalanced. 6 Right channel (-) 7 -15 (optional) 8 +15 (optional) Blue/White Green Brown/White Brown ON-AIR MONITOR + CUE RJ-45 RJ45 NOMENCLATURE PIN WIRE COLOR 1 2 3 4 5 6 7 8 Orange/White Orange Green/White Blue Blue/White Green Brown/White Brown PIN WIRE COLOR 1 2 3 4 Orange/White Orange Green/White Blue Input ON-AIR L No connected Input ON-AIR R GND 5 Input CUE Blue/White 6 No connected 7 -15 (optional) 8 +15 (optional) Green Brown/White Brown BALANCED INPUTS / OUTPUTS PIN Page 12 WIRE COLOR Broadcast mixing consoles - 2600 series solidynepro.com 2.3.4 RJ45 to standard connectors 4 GND Blue 5 Output mix-minus Blue/White 2.3.4.1 To an unbalanced phone-RCA 6 Right channel (-) 7 -15 (optional) 8 +15 (optional) Green Brown/White Brown 2.3.5.1 USB connection Each USB channel is independent and can connect to a same computer or two different computers. Both channels are compatible with USB 1.1 and 2.0. Connect the module “2602” to any USB port of a computer running Windows©. When connecting it, Windows© recognizes the “2602” and install the drivers. Additional drivers are not required. Each channel will appear on Windows like one stereo USB audio device and one stereo USB recording device. 2.3.4.2 To a balanced XLR When a USB channel is plugged, the display on the module will show “PC4” indicating that one stereo play channel and one stereo recording channel are active. If the second USB channel is connected, the display will change to “PC8”; indicating that the eight channels were recognized (2 stereo outputs and 2 stereo inputs). 2.3.4.3 To a balanced TRS To check the available sound devices, go to “Windows Control Panel > Sound devices > Audio”. Here the default sound devices are defined. Remember to update the settings on the audio applications. In addition, the module 2602 offers two sends by USB that appears on Windows as “USB recording devices”. 2602's Channel-A gives the program signal (PGM) and the 2602's Channel-B sends the Audition signal (AUD). The USB-PGM out can be used, for example, for web-casting. 2.3.5 Module 2602 (USB) The 2602 module connects directly to the computer via USB. Each channel is recognized by Windows© as USB external sound card. In this way, the audio is send directly from the computer to the console, without leave the digital domain. In addition, the 2602 provides two analogical balanced inputs. Balanced inputs are available on RJ45 connectors. The level of the digital signal is set according to the standard K-15. The 0 VU (+4 dBu) corresponds to -15 dBfs at USB output. There are 15 dB of headroom before clipping (above +4 dBu). ABOUT USB DETECTION BALANCED INPUTS + MIX-MINUS PIN WIRE COLOR 1 Left channel (+) 2 Left channel (-) 3 Right channel (+) Orange/White Orange Green/White solidynepro.com Broadcast mixing consoles - 2600 series Page 13 Before connecting the USB cable to the computer, make sure that both the console and the computer have an effective ground by power cords. For safety, connect a tester in the range of 25VAC between the chassis of the PC and console and verify that the voltage is zero. Only then connect the USB. If there are differences of tension, the USB port on the console or the computer may result damaged. We recommend do not change the USB cable to other USB ports, to avoid that Windows change the order of USB devices. Windows 7: Verify that the audio recording device was properly recognized. If Windows 7 recognized it as "microphone device", the recordings will be mono (the same signal in both channels). To correct this: Control Panel → Sound → Record → choose the USB device (shown as USB microphone) and click [Properties]. Then select the tab "Advanced", display the menu of formatting options and choose a format for stereo recording (2 channels, 16 bits, 44100Hz). 2.3.5.2 Mix-minus to use with Vo-IP software 2602 modules have the ability to cancel its own signal on sending PGM USB (mix-minus). This allows to use the console with any VoIP communication software (eg Skype). In the VoIP software is assigned as the audio source (mic) USB device containing PGM signal. As output device USB device module 2602 (USB-1 or USB-2 as you want to use channel A or B module) is assigned. channel off-air, it present an open circuit output. When the channel is enabled (the fader open and 'AIR' button pressed) the transistor conducts, closing the circuit. It can manage up to + 24V/100mA. TRS 1/8” START DEVICES TIP ”Canal “B” (for 2612 is canal C) SLEEVE: GND RING Canal “A” 2.3.6.1 Uses of the Start Devices outputs Some radios use an indicator light for each microphone (tally). In that case, the output "External Devices" is used to turn each light microphone; as shown in the general connection diagram (see 2.3.9 - General connection diagram "). "Start Devices" can also be used to launch audio files; or to switch video cameras using the Solidyne Audicom software (requires GPIO-USB adapter); or to trigger recorders, relays or other devices. 2.3.7 Opción VI/Control / AoIP / AES-3 2.3.7.1 AoIP Please see “2.7 Models 2600/AoIP 2.3.7.2 AES-3 In order to the channel operates in mix-minus mode jumpers must be placed in the circuit board (next to RJ45 connectors). The figure above shows the location of the jumpers. To mix-minus on Canal-A place jumpers JP1 and JP2. To mix-minus on Canal-B place jumpers JP3 and JP4. When AES is acquired after buying the console, it should be mounted on the Master module by following the directions provided with the AES module. AES-3 RJ45 2.3.6 “Start devices” GPO Each module has a 'Start devices' (TRS 1/8 ") connector to trigger external devices. This signal can command devices remotely from the console when an attenuator is activated; eg Audicom computer and audio processors. Start Devices' is an "open collector" output. With the fader closed and/or the Page 14 AES-3 output gives PROGRAM and AUDITION signals. Are balanced with transformer. Uses an RJ45 connector and must be connected using Category 5 STP cable. Consult your dealer for RJ45 cable two male XLR. 1 PGM (+) 6 AUD (-) 2 PGM (-) 7 NC 3 AUD (+) 8 NC 4 GND 9 Shield (RJ45 chassis) 5 GND Broadcast mixing consoles - 2600 series solidynepro.com 2.3.8 Ground connections recommended for protection against electric storms solidynepro.com Broadcast mixing consoles - 2600 series Page 15 2.3.9 Schematic Diagram – Recommended connection of 2600 consoles Page 16 Broadcast mixing consoles - 2600 series solidynepro.com 2.4 Customizing the modules 2.4.1 Configuration mode Some console's features can be customized. This configuration is made on each module as follows: 1. Switch off all assignments and close the faders A and B in the module. 2. Press and hold any of the buttons AIR. After 5 seconds the module enters in mode "setup" and several buttons start flashing. 3. Each button enables (on) or disables (off) one function (see 2.4.2). 4. To confirm the changes, up and down any fader of this module. The module flashes and returns to be operating (with all the buttons off). Radio stations that works with a unique room can (Studio + Control) connect the monitors directly to “Studio speakers” output. In DeeJay mode (when the talent operates itself the mixer console and talks from the Control Room) the Control Room speakers monitors are muted when DJ mic is on-air and “auto-cue” feature (which allows cueing the microphones after pressing the Talkback button) is disabled. 2.4.2.3 CUE mode CUE butons can operate in 3 ways: 2.4.2 Customizable features Mic channels: Phantom 48V Dee-Jay Mode case of Dj’s or talents who talks on-live from the control room. The microphone located in the control room will not be on-air by the Master On-Air button. Line channels: PAD (software) CUE mode CUE auto-of In mic channels: Link to Master-Mic In line channels: enables auto-start 2.4.2.1 48V Phantom power The phantom power can be enabled/disabled in each MIC modules. 26020 MIC modules manages two mci channels, so the voltage enables on both channels of these module (three in the case of 2612 module). Conventional dynamic microphones can be connected without problems to a phantom powered channel, since this dynamic microphones are designed to decouple the DC. "SOLO" mode [Set: SEND buton ON (default) enables the SOLO mode for this channel] All the buttons working in mode “CUE-SOLO” are linked. Only one CUESOLO can be active at the same time. If another CUE-SOLO buton is pressed it will turn off a previous CUE-SOLO; but will not take effect over other channels which working in CUE-standard mode. If all channels are set as SOLO, only one CUE can be active in the console. 'Standard' mode [Set: SEND button switched off] When CUE-SOLO mode is disabled the CUE works in the traditional way: each CUE button is switched on/off with independence from others. When more than one CUE button is pressed, they will be hear mixed. CUE Auto-off [Set: is enabled with the button CUE switched ON (default)] Regardless of the CUE mode used (alone or standard) the auto-off feature turns the CUE when the channel is on the air (ON AIR button on and fader open). CUE can be turned on again while the channel is on the air (it will shut down again if the fader is moved). 2.4.2.4 Link to 'Master Mic' (mic channels only) 2.4.2.2 Using a mic into the Control Room There are two features that must be changed to be able to use a microphone at the Control Room: a) Unlink the channel from “Master Mic” button. b) Enable the DeeJay mode. By default, all microphone modules are switchedon when master MIC button is on-air, but this link can be disabled for each channel. That’s is the solidynepro.com Link the channel to the "Master Mic" button, located in the 2608 Master Module. By default all mic channels are linked to "Master Mic". If this feature disables, the channel only can be switched from its own AIR button. 2.4.2.5 Auto-On (only for online channels) The channel born on when turn on the console (disabled by default). This feature is used in Broadcast mixing consoles - 2600 series Page 17 automated stations which are automatically after a power outage. reactivated 2.4.2.6 Remote dimming (PAD) If PGM button is lighted, that channel is enabled to respond to global dimming 'PAD', available on 'Virtual2600' software. Enabling 'PAD' in the soft, all line channels that have this feature enabled will attenuate by 10 dB. nector sends a positive voltage when Master button is ON. “Master MIC” can be remotely switched on by joining pins 3 and 4 (for example using a relay). When the Masters MIC button is on, there are 15 VCC in pin 1 of the connector. VQR 2.4.3 Jumpers on Master Module 2.4.3.1 Hybrid’s priority circuit The circuit “priority” of the hybrid attenuates the audio coming from the telephone line when the speaker talks. This way the Studio have priority over the caller improve the audio quality of the local voice. Fig. 15 - Master 2608 – circuit board view In some uses, like sport transmissions, this effect is undesired (it is not desired to attenuate the atmosphere of the stage when the speaker from studies reads an announcement). The priority can be disabled quitting the jumper JPRIORITY located in Master circuit board. MasterMIC external control 2.4.3.2 External control of Master MIC button 1 OUT 15 V (Master Mic pressed) 2 GND 3 Connector EXT MIC CONTROL allows remotely to turn on/off the “Masters MIC” button. Same con- 4 MASTER MIC ON (joint to turn-on) 2.4.4.1 Jumper’s table for 2610, 2612 y 2601 MOD. JUMPER DESCRIPTION 2610 JE’a JE’b Bypass EQ STATE Jumper 1-2 = EQ disable (by-pass). Jumper 2-3 = EQ enable CHANNEL See last letter of jumper name Fig.12 – Mic module 2610 (circuit board side) Page 18 Broadcast mixing consoles - 2600 series solidynepro.com 2.5 Adding modules to console 2.5.1 USB 2602 The USB 2602 digital module requires connection to the 2608 Master module, to enable the recording on the PC of Audition and Program signals. When you buy this module separately, you receive a ribbon cable with 10-way connector pins. If you do not connect the ribbon cable to the Master, the 2602 module works well, but only as playing device. When connects the USB cable, the module is detected by Windows and the USB devices will be available, but if you try to record audio, the computer will record silence. At the module The fig.14 (see 2.4.2 – Jumpers on the modules...) shows the 2602 module circuit board side. The connector labeled 'JD' must beconnected to the Master with the ribbon cable supplied with the module. When you screw the module, be sure to attach the lock washers (star washers) in the top screws of the module, as these washers ensure electrical continuity between the plate of the module and the console cabinet. You can use the washers removed from the blind panel or replace new washers. are necessary to leave a place beside the Master. Is easy to do it since the modules are interconnected by a ribbon cable with polarized connectors. In order to retire a module of the cabinet, remove the subjection screws. Modules and blind panels have a washer type star in the superior screws that assures electric contact between the module and the body of the console; in order to guarantee a correct grounding. Does not omit to return to place these washers after move a module. Once available the space for the 2630 module you need to retire the Master, to connect the cable that will join it to the 2630 VQR. This cable provides with the module. The previous figure shows the location of connector VQR in the rear side of the Master. This is a 6-pins polarized connector, so that the cable can be plugged only in one way. The module 2630 VQR has identical connector, to which the other end of the VQR cable is connected. This is the only connections that the module requires. The 2630 VQR DON NOT connects to the main bus like others modules. Place the fixation screws and power on the console. By pressing the on/off button on the 2630 VQR module, this stage is enabled and the NOISE CONTROL indicator lights (it trigger due to the absence of signal from the phone line). At the 2608 Master You must remove the Master module to connect the ribon cable; but you don't need to unplug the Master. Locate the 10-pin connector 'JD' and plug in the ribbon cable. When replacing the Master module into her position, be sure to attach the lock washers (star washers) in the top screws of the module. These washers ensure electrical continuity between the plate of the module and the console cabinet. 2.6 Set the gain of the inputs These adjustments are necessary to calibrate the input module gain, so that equal positions of faders represent equal outputs levels in all modules. In order to set the input gain for each channel, use a sinusoidal tone of [email protected] or a calibration CD. REMEMBER 2.5.2 2630 VQR module This optional module adds to the console a processing stage for improve the audio quality of telephonic communications. If you acquire this optional module after purchase the console, proceed as follow to mount it into the console. The 2630 VQR requires one simple-module space available in the mainframe (it has the same wide of a 2610 module) Since it requires connection to the 2608 Master module, must be placed beside the Master. The audio equipment handle different signal levels: The professional audio level, with balanced outputs operates at +4dBu or + 8 dBu, whereas home equipment with unbalanced outputs manages -10dBu levels. 0 VU refers to the nominal output level. When the VU meter reaches 0 VU, the output level is +4dBu. Use the balanced inputs of the console for professional devices, and the AUX unbalanced inputs for home quality devices. USB channels don't have input gain trims. The input level manages from the computer. If your console does not have free space next to the Master, considers moving all the modules that solidynepro.com Broadcast mixing consoles - 2600 series Page 19 To adjust the input gain, play the test tone and calibrate the presets with the screwdriver provided with the console. Left and Right presets at the front panel, must be calibrated to obtain a measurement of 0VU, with the faders at the center of the gray zone (-15 dB). To calibrate the PC channel, proceed in the same way playing loud music or voice from the PC. Proceed the same way to calibrate other sources. 2.7 Models 2600 /IP These models include RJ-45 output that sends streaming. It allows: • Link the console with the transmitter plant. At the transmitter plant the streaming receives using a dedicated hardware (Solidyne ADA102 or Solidyne 562dsp audio processor). • Link with another 2600 /IP • Send the program signal to a computer on the network, using a software to receive the streaming. The file IP.exe is a self-extracting ZIP. When the user runs this file, a folder “Solidyne IP Discovery” will copy to the HD. This folder contains the apps and instructions needed to obtain the 2600's IP address. Look for leame-readme.txt and follow the indications according the case. Step 3 Open a web browser (eg Firefox, Internet Explorer) and enter the IP address announced. The Control Panel of 2600 will appears. 2.7.1.2 Define the destination IP The status screen indicates the IP port configuration. The module is factory-configured as Studio Encoder (option "Location" → 'Studio Encoder'). Step 4 To check the configuration, access the "Configuration" and choose "Basic settings" in the left menu . 2.7.1 STL link In studies, the 2600 /IP console works as encoder to establish a bidirectional link (full-duplex) between Studios and Transmitter Plant. In the transmitter plant, the streaming receives using a hardware like Solidyne ADA102 or 562dsp audio processor. 2.7.1.1 Set the IP The setings options are accessed using any web browser. By default the unit uses "Dynamic IP", so that when connected to a LAN, gets an IP address via DHCP (the router assigns an IP). The procedure is as follows: Step 1 Connect the mixer to the network via a standard cable. The network must have a router, so that the mixer obtains an IP address via DHCP. The mixer can also connect directly to a modem-router, as it usually also assign an IP via DHCP. Once the console gets the IP, is ready to start working. The green LED on the rear panel (RJ45) is blinking. Can not find a DHCP server then the 2600/IP scans the network for a free IP address (this can take a few minutes). Step 2 To know the IP assigned to the console, the user must run the application “Discovery_AoIP”, which is available at the following link: solidynepro.com/DW/IP.exe Page 20 1. "Stream method" should be "Push (RTP)" 2. In the URL field defines the DNS name or IP address, and the destination port to which the streaming. 3. console sends the Press "Apply" to confirm the settings. The configurations listed below require knowledge in network administration. The destination IP address is the external address of the network in the Transmitter Plant, where it is connected DECODER (static IP assigned by your ISP). When the data packets reach the router / firewall on the other end, should be re-directed to the DECODER IP (eg 192.168.0.30). As the 2600/IP transmitted to a specific IP address and port, in transmission plant all packets arriving at that port on the router address should be forwarded to the DECODER, or a particular computer, which will turn into audio. Identify which packets should be sent using port forwarding. 2.7.1.3 Audio settings Step 5 Go to Config → Audio Input source: Default is Stereo Line. Don't change it. Broadcast mixing consoles - 2600 series solidynepro.com Format: Streaming format. Default values are: Format: PCM 16 bits stereo Sample rate: 48 KHz This settings ([email protected]) streaming of 1.6 Mbit/s. generates a 2.7.2 Using a microwave digital link A 2600/IP console connected at the studio to a broadband Internet can cover any distance from the studios and the transmitter plant. For short distances an option is point to point RF link transmiting uncompressed audio (PCM 16 bit/48 KHz). It uses a microwave link for 5.8 GHz (or 2.4 GHz in some countries) using the standard 802.11.x. This band is available in all countries and does not require special authorization. It can cover up to 27 miles if there are no obstacles between the extremes. Logically encoded audio can be transported and for special applications supports bidirectional connection. For more details, please [email protected] contact us at 2.7.3 Decoding using a computer To receive the streaming from 2600/IP using a computer, set the audio format (see 2.7.1.3 – Audio settings) as PCM16 @ 44.1KHz; or any MP3 mode. NOTE: Some versions of 'VLC Player' also supports the string RTP://@:3030 2.7.4 Firmware updates The default firmware for 2600/IP is the STL, for stream to an IP address. To use the console to transmit to an Icecast server, you need to change the firmware. Download the firmware from the following link. The self-executable file contents the instructions. Please read it carefully. www.solidynepro.com/DW/FirmwareAoIP.exe The audio player software must supports the RTP protocol. We recommends using VLC Player (http://www.videolan.org/vlc/). To start to play in VLC, go to Media –> Open network In URL enter: [protocol]://[sourceIP]:[port] Example: RTP://0.0.0.0:3030 In where RTP is the protocol used by the Solidyne 2600/IP; 0.0.0.0 means from any incoming IP and '3030' is the port used. Remember to enable your computer firewall to allow incoming streaming trought port 3030 (or the port that is used). solidynepro.com Broadcast mixing consoles - 2600 series Page 21 Chapter 3 Using the mixer 3.1 Introduction You can discriminate different areas in the console: the input channels; the monitoring levels control, phone hybrid and talk-back (master 2608); and the VU-meters panel. The audio signals coming from the PC, Satellite, DAT, Mini-disc, Microphones, etc, enters to the console through the input channels that amplify them. You can control all sources levels using the main faders, and to listen the signals before send to the air pressing the CUE buttons. To send a channel on the air, press the AIR button and open the main fader until reach the desired level. The buses assignments button’s (PGM, AUD, and SND) sends the channel’s signals to the Master outs. Each input section can receive signal of two different sources: Microphones or stereo Line. The source is selected by a switch located at top of the module. Remember that the modules are doubles: each module has two faders that manage two inputs. Depending of the model this inputs can be: • 2610 Microphone module manages 2 microphones (MIC) and 2 stereo unbalanced inputs (AUX). • 2612 Microphone module manages 3 microphones with EQ and processing, and 3 stereo auxiliary inputs. • 2601 Line modules manages 2 balanced stereo line inputs (LIN) and 2 unbalanced stereo (AUX.) • 2602 modules manage two USB digital inputs and two analog auxiliary inputs The 2608 master module manages the monitoring circuits, Talk-back, and telephone lines. The turret contains the level meters that show the program level; and a speaker for CUE. 3.2 Meter bridge The last scale LED (red) has a dual function: if occasionally ligths, indicates +5 VU in the scale of average level. But if the level drops and the last LED is retained (5 seconds), it indicates CLIPPING. The fact that the level meter reaches the full scale does not always mean that digital clipping occurs; only is clipping if the last LED is retained. Take in mind that when vumeter is at full scale, dBfs peak reading is lost because the peaks are "covered" by the average level indication. The headroom is 15 dB (0 VU = -15 dBfs as AES recommendation K15). The 2600XL models also features level indicator for AUDITION bus while 2600XD models incorporate meters for the SEND bus. 3.2.2 Clock / Timer - Set the hour To adjust the time there are three buttons: MODE, UP and DOWN. • Pressing MODE button the adjustment starts. The less significant minute will blink. With Up and Down buttons, change the value. • Pressing Mode again you can change the most significant minute. • Finally, pressing Mode again the hour character will blink. Set the hour and press Mode to finish the time adjustment MODELS XD: When a console model XD connects for first time to the software 'Virtual 2600'; the console take the current time from the computer. 3.2.1 Audio meters The program level meter has a dual scale: average level (VU) and peak level (dBfs). The floating LED displays the signal peak. Page 22 Broadcast mixing consoles - 2600 series solidynepro.com 3.3 2608 Master module Level of Studio headphones Assigns PGM to Studio Assigns AUD to Studio Level of Studio speakers Assigns ‘Tuner’ input to Studio (external tuner). Assigns CUE to Studio Level of CR headphones Assigns PGM to CR Assigns AUD to CR Level of CR speakers Assigns SEND to CR Assigns ‘Tuner’ input to CR Level of the built-in speaker (CUE) Assigns CUE to CR * When several buttons are pressed, the signals are mixed. Ring level (listened on the CUE speaker) Hybrid Output. PGM to send on-air AUD to recordings. Fix the level of hibridd’s signal sent to CUE Hybrid’s rejection factor (aka Null). (See the following pages) Bluetooth(c) on/off Take the audio from the cell phone Takes the phone lines. PZM MIC for Talk-Back and telephonic communications Talkback level Talkback to Studio On-air hybrid’s level. Automatic switching between HOLD - ON-AIR. Talk-back to telephone line. When this button i pressed the Control Room monitors are muted. The calling is listened on headphones. The PGM audio stays in background Automatic switching threshold Line Hold: Sends PGM signal to the caller. Pressing the button TALK the user can talk to the line. ON AIR: When the fader is over this indication, the calling is sent on-air. solidynepro.com Master MIC button. Enables all microphone channels assigned to MM button. Broadcast mixing consoles - 2600 series Page 23 3.3.1 Speakers and headphones 3.3.2 CUE The Master 2608 Monitoring Section contents the monitoring source selection (what signal the operator will hear) and the knobs to adjust the volume of the speakers and headphones of the Studio and Control Room. The sources available for hearing at the Studio are: The unit has a built-in loudspeaker for the previous listening. Each channel has a button named CUE, that allows to listen the signal present in the channel previous to the fader. Pressing CUE in several channels, the CUE signals are mixed or switched, according to the module settings (please refers to 2.4.2.3 CUE mode). At the Monitor section, the knob “CUE” fix the level of CUE speaker. • PGM: to listen directly the main output of the console (the signal that is sent to the transmitter). • AUD: Allows to hear only the channels assigned to AUD bus. This way, one or more channels can be assigned only to AUD, while the console remains on the air with the signals assigned to PGM. Usually this bus is used for recordings. • AIR: Switch to an external output, typically connected to an FM receiver, in order to hear the real transmission of the radio station (the processed PGM signal) • CUE: Sends the CUE signal to the Studio. The CUE signal adds to others sources. For the Control Room all previous signals are available, in addition of the following ones: • SND: Allows to hear the channels that are assigned to the SEND output. • CUE to SPK (cue to speaker): Send the CUE bus to the main monitors. When this button is pressed, the CUE signal will be listened on the Control Room main monitors and headphones. • Although this button remains pressed, it will not produce no effect if none CUE is active. “CUE to Speaker” will attenuate the signal on main monitors when detects audio on the CUE bus. ATTENTION Although the hearing volume adjusts using the knobs "speakers" and "headphones"; the level for “CUE to SPK” is fixed, and it depends of the level that the signal has at the input. By this reason CUE can sound higher than PGM (or another BUS) at the monitors. Be careful with the volume when use “CUE to SPK”. If two or more source buttons are active at the same time, the signals are mixed. (I.e.: PGM and AUD). Into the Studio must be installed the headphones amp/mixer Solidyne StudioBox. The StudioBox brings 5 headphones outputs with independent control levels. Remember that when a microphone is on-air; the Studio monitors are muted to avoid feedbacks. Page 24 The CUE signal can be sent to the Control Room main monitors (and headphones) by pressing “CUE to SPK” in the source selector at the Control Room section. 3.3.3 Master MIC button The MASTER MIC button (located at the 2608 Master module) activates all microphone modules, and mutes the Studio monitors to avoid signal feedback. The studio headphones are not muted. The link with the Master MIC button can be disabled on each MIC channel. This way a channel only can be turned on from its own ON/OFF button. 3.3.4 Talk-back The talk-back circuit allows the operator to dialogue with the talent located into the studio. The talk-back controls locates at the 2608 Master module. Solidyne uses a proprietary auto switch system. To talk press and hold the button STUDIO. The Control Room monitors will be muted to avoid feedbacks. At the Studio, talk-back signal will be listened in the loudspeakers, and the Program signal is attenuated staying in background. When talk-back is released, the auto switch system activates by 3 seconds all CUE of MIC channels, in order to listen the answer from Studio. The operator hears the sum of all microphones. Then, still when the speaker is far from one microphone, be taken by another. In this way the operator get the dialogue by pressing only one button. The modules 2612 allows disable auto-CUE on talkback. The level of the talk-back microphone can be changed from a preset located above the Talkback button. The Solidyne Studio Box allows “reverse talk-back”, to talk freom the Studio to the Control Room (using a Talkback button on Studio Box). Broadcast mixing consoles - 2600 series solidynepro.com 3.4 Telephone Hybrid section For the explanation, we define three scenarios of working: A) Radios without production room: A DJ or Talent that answer itself the callings of the audience (small stations; also used by many radio stations outside rush hour). 7. To put a calling on-air (or two calls in a conference) raise the main fader [23] until reach the right level on VU meters. 8. To finish a call first close the fader HYBRID and then release the button of the line. For the case the cell phone the call is transferred to the cell phone, and can be re-taken by pressing CELLULAR once. To hang out the cell phone, short touch the button BLUETOOTH [21]. 9. Make a call Each landline have an associated phone set, which is connected to the console. (RJ11 “Phone set”). The calling makes using the associated phone set. To transfer to the console, proceed: B) Radios with production room: There is a producer or telephonist that answer the calls. C) Big stations with complex diagram of mobile transmissions and remote communications. The cases A and B are managed using the 2608 Hybrid’s section. The case C requires an external digital hybrid (Solidyne DH400) connected to 2600’s modules 2602. 3.4.1 Radios without a production room The DJ or Voice Talent answer the callings of the audience The mixer console telecommunication channel manages up to 3 phone lines (one is a cell phone linked by Bluetooth). The DJ/Talent can manage the incoming calls unassisted. 1. When a calling incomes, the button of the corresponding line blink with the ‘ring’ cadence, and a ‘ring’ tone will hear in CUE speaker (the level adjusts from the knob ring [15]). 2. The hybrid’s fader [23] must be closed, in HOLD position [24]. In this condition, the caller hears the program mix, and the audio from the phone line sends to the CUE circuit. 3. To answer a call press the blinking button. The button will light in red. For the case of cell phone, press the button CELLULAR to transfer the audio. NOTE: it´s assumed that cell phone was paired with the 2600 (see “2.2.6 – Pair a Cell Phone”). If two callings are taken in HOLD condition, both will be on-air in conference mode when the main fader is raised. 4. To talk to the line(s), press and hold the button TALK. This action will mute the CR speakers and the CUE speaker. The monitoring signals stays on headphones. 5. To listen to the caller, release TALK and press and hold CUE [27]. The CUE signal hears by CUE speaker. 6. If both TALK and CUE are pressed, the user can talk in “full duplex” using the CR headphones to listen the Hybrid (since CUE speaker will be muted). solidynepro.com • Check the position HYBRID fader, it must be closed (HOLD). • Press the button PHONE 1 or 2 according to the line that is being used. • Hang out the phone set. TAKE IN MIND Please be careful with the on-air level of the callings. Due to the analogical hybrids are not perfect, a brief amount of audio sent to the line is not cancelled, re turns through hybrid and mixes to the direct signal (the voice from studio). Working with normal levels this effect is not noticeable; but using high hybrid output level, the voices of the studio can be distorted (by coloration). A phone calling not always must achieve 0VU to equal the loudness of the voices from the studio. Have in mind that the LF, that carries greater energy, is not present in the telephone line, but there is in the voices at the studio. The lows are those that produce greater deviation in VU-METERS. Nevertheless, for the ear the loudness is defined by the mid rage frequencies. So that if you note that VU Meter “peaks lower” with the telephone line that with the voices from mics on the studio, this not necessarily means that “it’s listened lower”. On the other hand, the audio processor of the radio will be in charge to equal both signals, so you do not leave the VU deceives to you when mix voices of the floor with telephone calls. VERY IMPORTANT NOTE Conference between land lines only are possible if both lines are of the same public central. The lines can be connected to the same private telephonic central (24 or 48 volts). The conference mode IS NOT POSSIBLE BETWEEN DIFFERENT CENTRALS neither different IP converters. If the voice of the Studio Talent is colored when the hybris is on-air, (sounds too much mid-lows or Broadcast mixing consoles - 2600 series Page 25 flanges); th erejection factor of the hybrid needs to be adjusted. See “3.2.5 Rejection factor”. If the calling at CUE listen distorted, or with excessive ambience, the level of preset CUE LEVEL [7] is excessive. Attenuate this level until reach an optimal listening of the MICs at the Studio. 3.4.2 Return level to phone line Most of the existing telephone analog hybrids on the market today, were designed over 30 years ago for analogue telephone exchanges (PBX). The Solidyne hybrids, however, have been recently designed for private or public telephone exchanges today, which are fully digital. The new technology Hybrids are recognized because they have no control of air return level to phone line. This is because inside the hybrid Solidyne uses an audio processor for return signal that includes AGC, peak limiter & audio signal filtering. There fore the return is automatically adjusted during the transmission and its level is the maximum allowed by the modern digital telephone exchanges. If you want to check the return level to phone line, you must use an oscilloscope to be placed in parallel with the telephone line and must verify that the signal is 2 volts peak to peak. Please note that above this level the return can produce problems that will cause intermodulation distortion in the audio signal that is on-air. So in Solidyne hybrids we use a processed return channel, to avoid distortion on-air. There are hybrids manufacturers that maintain the return control level as they did in the past. This allow opera tors to adjust "by hunch" this critic level. This makes the voices of the reporters and interviewed people distorted or with coloration. In Solidyne keep a high grade of excellence in the audio quality of the hybrid on-air sound. And that quality do not depend on the operator settings. Note that the Solidyne Hybrid on- air audio quality of the local journalists is ever perfect and without any coloration. To achieve this level of quality we use a narrowband return filter. Then the return signal is limited to the band 400 – 2.200 Hz in order not to distort the signal to the air. This narrow band intelligibility remains high (due to processing) but occasionally may seem to the remote people that it "has little volume" because his band is narrow. This should not worry because it is a subjective sensation that does not affect the intelligibility of speech. Page 26 3.4.3 HYBRID OUT (PGM/REC) So that the communication can be on air, the switch PGM-REC must be at the position PGM. Please see “3.6.1 - Recording of telephone lines”. IF YOU DO NOT HAVE AUDIO ON-AIR FROM THE HYBRID; CHECK THE POSITION OF THE SWITH “PGM-REC”. THIS MUST BE “PGM” 3.4.4 Using a smartphone If the smartphone will be used with the mixer for first time, the devices must be paired. To know how make this refers to “2.2.6 - Pair a cell phone”. Once paired, the operation is the following: • Make sure that the main fader be closed. • Turns on the Bluetooth at the console, by pressing and holding the button BLUETOOTH [21] (2 seconds approximately) and release it just when the button CELLULAR [20] lights. The button CELLULAR remains blinking in blue slowly to indicate that the Bluetooth link is enabled. • Turns on Bluetooth at the cell phone. If the cell phone was paired with the 2600, the link will be established and in few seconds the phone is linked with the mixer. In this condition, the incoming calls are transferred directly to the console. 3.4.4.1 Incoming calls Next is detailed the use of a cell phone linked with the console. In this condition, the operation is similar to the seen for land lines. • When incomes a call, the 'ringing' listen simultaneously on the cell phone and on the CUE channel. • To answer from the console, make a short touch on the button “BLUETOOTH” (or answer from the cell phone screen). Once the call is answer, the operator can talk with the caller: • With the main fader closed (CUE zone) the caller listens on CUE circuit. Under this condition the “PGM” send to the cell phone is muted. • Press TALK [6] to dialog with the caller. It will light in red. Press TALK again to end the conversation. • Move the main fader to the zone “HOLD”. The caller will hear the PGM signal, but is not on-air. Broadcast mixing consoles - 2600 series solidynepro.com • To put the calling on-air, raise the main fader (TELECOM) until reach the appropriate level on VU meters. NOTICE 3.4.4.4 Make a call from cell phone In the cell phone, switch from mode "Bluetooth" to mode "Headset" as was explained in "3.2.2.3 Resume a call on cell phone." Due to technical characteristics of the digital communication systems, when a conference involves lines and cell phone or VoIP calling (like Skype), the caller who is talking from the land line can hear an echo of their own voice. This echo is not present on the air. Dial the number in the cell phone and call (SEND). 3.4.4.2 END THE CALL Move the main fader TELECOM [9] to the zone HOLD. The cell phone receives the program signal, but remains off-air. Make a short touch on the button "BLUETOOTH" [21]. Or hang out from from the own cell phone. 3.4.4.3 Resume a call on the cell phone To resume the call on cell phone; using the phone menu leave the mode "Headset" (or mode “Bluetooth”) to switch the phone to the "speaker" mode (Speaker). To return the call to the console, return to the "Headset" mode. This operation differs in each cell phone. Please consult the user’s manual of the mobile phone. Next shows a screen-shoot of a cell phone with Android, with Bluetooth mode enabled. To transfer the call to the console, return to the Bluetooth mode on the cell phone (see "3.4.4.3 Resume a call on cell phone"). To put the calling on the air, turn "AIR LEVEL" to the correct volume. To end the call from the console, short touch the button "BLUETOOTH". The call can also be ended from the mobile phone screen. NOTES The calling can be done from cell phone without leave the Bluetooth mode, using the console's talkback circuit. The ring tone and the voice of the caller listens on CUE circuit (main fader closed in zone CUE). To dialogue, use the button TALK [8] of TELECOM channel. To HOLD the call, move the main fader to the zone HOLD. To put the calling on-air, raise the main fader to onair zone To end the call, make a short tap on button “BLUETOOTH”; or hang-up from the cell phone. 3.2.5 Null factor This adjustment is only for LAND lines. The rejection factor expresses the capacity of the hybrid to avoid that the transmitted signal returns distorted to the console. If the rejection factor is not well adjusted, it can produce coloration of the local voices from Studio when a land line is on air. Please refer to “2.6.1 – Null factor” to know how adjust the rejection factor. The example shows the "Headset" icon, which transfers the call to Bluetooth device when it is power on; and return it to the phone when Headset mode is off. Others cell phones can display two buttons; a button with dropdown options; or other combinations. Refer to the cell phone user’s manual. solidynepro.com Broadcast mixing consoles - 2600 series Page 27 3.5 2610 Microphone module & 2601 Line module 2601 LINE MODULES are very similar to 2610 module, with the exception of EQ stage and the AUX input, not available in line modules. AUX / MIC input switch (AUX/LINE in 2301modules) Two bands EQ Gain adjustment for MIC input Assigns the channel to PGM output. Assigns the channel to AUD output. Assigns the channel to ‘SEND’ output. Cue Air Button. Activates the channel when is pressed. Main fader for program level 2610 Microphone module Page 28 Broadcast mixing consoles - 2600 series solidynepro.com 3.6 2612 Microphone Modules At the right, a channel of a 2612 module is showed. The microphone module 2612 has three channels located in the same panel. This module requires the same space that two standard 2610 modules. The EQ and processor works with the MIC input only. The stereo line input has no processing. AUX/MIC input selection MIC input gain 4 bands EQ Pan-Pot Gate threshold. Turn the knob to the left to disable the gate. To use the gate, turn the knob slowly to the right, until the background noise is reduced. Listen carefully into the pauses while speaking. Activates or by-pass the compressor/expander stage. EQ On / Off Output buses assignment (PGM, AUD, SEND) CUE, for previous listening in the built-in speaker. AIR button. Press this button to send the channel to the air. Indicates the action of the compressor, which manage the dynamic range to avoid noticeable differences in the voice level. The compression degree regulates with the main fader. Will must operate at the midle of scale. Main fader. Manage the on-the-air mic level. solidynepro.com Broadcast mixing consoles - 2600 series Page 29 3.6 Special features of 2602 3.6.3 Jumpers into 2602's connector The 2602 line modules offer two USB connections to connect directly to two computers (see 2.3.1.1 Connecting the USB 2602 module). There are not operative differences respect the 2601 line modules, but 2602 have an extra feature: the ability to use the computer to make communications using VoIP software (eg Skype). They also allow the management of digital hybrid conference, as each module generates its own output Mix-Minus. In particular using hybrid Solidyne DH-400; Module 2602 can remotely command them allowing an unlimited number of simultaneous telephone channels. 3.6.1 Operation with Skype The USB connection can be used to make communications running a VoIP software on the computer (Skype or similar). The VoIP software must confugured as follows: • In the VoIP software, assign the desired USB channel as the output device. • In the VoIP software, assigned as input device (microphone) the output of the 2602 channel-A or channel-B (which appears in Windows as USB recording device). See 3.5.1.2 the jumper settings at DB25. The channel-A and channel-B, with the correspondent jumpes, becomes mix-minus sends. This allos to manage a grat number of channels working with VoIP of telephone lines simultaniusly. Audio that delivers VoIP software directly enters to the console by a 2602 module channel. In order to enable the private circuit, you need to plug a DB-25 connector in the 2602 module. This connector must joint pins 5-15-17 if VoIP is used over the Channel-A; and pins 6-19-20 if used over the Channel-B. 3.7 HD3 / HD5 monitoring box 3.7.1 About Studio Headphones The dock HD5 can manage up to 5 headphones. HD3 supports up to 3 headphones. NOTE: HD3 has two level knobs. The headphones 2 and 3 shares the same knob. 3.7.2 About Studio Monitors The output “LOUDSPEAKERS” has their own level knob. The mixer console gives a signal with fixed level to the monitoring box.The signal is switched from the console (PGM, REC, ON-AIR or CUE). 3.7.3 About the Intercom The white button has two functions: 1. When the microphones are off-air, press the button to speak to the Control Room. The HD3/HD5 has a built-in microphone for this purpose. At Control Room, the operator will hear directly by the CUE speaker. The level is controlled with the trim “mic gain” located at the HD3/Hd5 front pannel. The knob “CUE level” of 2600 don't take action over this talk-bak signal. To answer, the operator at the Control Room will use the standard talk-back circuit of the mixer console. 2. When the microphones are on-air, the white button wokrs as a tally light; turning on to indicate that the microphones are “on-air”. In this condition the Intercom feature disables. 3.6.2 Private comunication using VoIP To talk privately proceed as follows: • To listen to the caller without be on-the-air, press CUE in the VoIP channel. The audio from the PC will be heard in the CUE speaker. • To talk, press and hold the CUE button. This enables the talk-back microphone in the 2608 Master. Take in mind that this communication is half-duplex, so you can not listen to the other people while you speaking. • When you release the CUE button, talk-back mic is muted and the CUE turn on. • To send the comunication on-the-air, press AIR button and open the main fader. Using the own loudspeakers level’s control, set the volume of the loudspeakers to a comfortable listening, leaving the knob SPEAKERS of 2600 at the central position. The trim located below the MIC allows to adjust the microphone gain, so it adjust the listening level on the Control Room. 3.7.4 About Timer/Clock (only HD5) The display shows the current time (when the mics are off-air) or the time lapsed on air (when microphones are on). This function operates like the ac- Page 30 Broadcast mixing consoles - 2600 series solidynepro.com cessory “TIMER” for 2600/TM consoles. Please see 1.4.3 – Timer / Clock for more details. In the HD5, the “counter mode” can be disabled by removing an internal jumper. For make this, open the back cover of the HD5 and remove the jumper (there is only one jumper!). This will disable the lapsed time on-air mode, being always the current time on display. The module has a complete panel with luminous level indicators that shows: • • • Degree of restoration for low frequencies. Degree of restoration for high frequencies. Action of the Noise Cancel 3.8 2630VQR Hybrid’s processor If you acquired this module after purchase the console, please see “Chapter 2 – Installation” to connect it. Solidyne VQR (Voice Quality Restoration) is a type of audio processing that allows improving the audio quality of a telephone communication. This technique bases on the reconstruction of the spectrum lost due the transmission. As you know, the bandwidth transmitted through a telephone line reduces approximately to 300 Hz – 3.000 Hz, because this is the range of the human voice. Therefore, the components of low and high frequency, presents in the original signal, are lost in the transmission. These components, although are not important for the understanding of the words, ARE VERY IMPORTANT FOR THE AUDIO QUALITY, because they give “weightiness” and “presence” to the voice. System VQR really reconstructs the bass of the voice, reaching the frequencies of up to 50 Hertz, being able also reconstructing component of high frequency to recreate the highs that are of extreme importance to obtain the presence sensation. In addition, stage VQR has a third control to improve to the dynamic range, obtaining values of up to 70 dBA in a telephone transmission. This processing is applicable as much to calls by terrestrial lines, like a calls made through the mobile telephony. Although the reconstruction reaches to callings made using the internal microphones of the cellular or the fixed telephones, the best results are obtained using a portable audio console and dynamic microphones of good quality. For details on VQR, you can consult the information available in the section “Technical Documentation” on our Web site. 3.7.1 Using the VQR Module 2630 VQR works as much with the internal hybrid of the 2600 console like with any external hybrid; connected to the Master 2608 using the “External Hybrid Send & Return” connections. The VQR processing can be enabled or bypassed pressing the on/off button on the module. By pressing this button the VQR stage activates and the MID BAND indicator lights, (or NOISE CANCEL if the fader NOISE is open, due the absence of audio signal). With the button up the module is by-passed and the audio of the calling is sent on the air without processing. The user adjusts the amount of processed signal using the faders “Low band” and Hi Band”. Both controls even have an ample rank of work, making possible the processing in telephone signals whose bandwidth is very restricted. Low band Manages the level of lows added to the original signal. With the fader closed there is no reconstruction for low frequencies. The level of reconstruction, or the amount of low frequencies that is possible to add to the signal, solidynepro.com Broadcast mixing consoles - 2600 series Page 31 depends on the audio quality of the telephone line (all communications don’t transmit the same bandwidth) and the telephone or microphone used at the other end. Obviously, same results are not obtained using the small microphone of a cellular telephone or a microphone of good quality with a portable console. at least quality has the transmission (smaller bandwidth) smaller will be the action of VQR processing. Closing the fader the expander/gate is turned off. When opening the fader increases the threshold, that is to say, the signal level below which the expander/gate goes off. The action of the expander/gate is showed in the display by the NOISE CONTROL indicator. Make sure to listen to the processing in the main monitors of the control room, to avoid an excessive reinforcement of lows in the processed signal; that can take place if you are monitoring the communication using small headphones or loudspeakers of bad quality. Increase the threshold raising the NOISE fader until eliminating the background noise. An insufficient level will do that the noise remains, although reduced. An excessive level will cause that the audio appears “intermittent”. Hi band How use this control Next some important tips to take in mind when use this control: It controls the level of high frequencies added to the original audio coming from the telephone line. With the fader closed the high processing deactivates. • If the background noise in the communication is very high, will be always over the maximum threshold (fader at top) with which the expander/gate will not work correctly. The action of this control is much more critical that the Low Band, since an excess of highs processing will generate an “artificial” sound; and in extreme case “crashed high” sound can take place, that will be annoying to the listener. • Consider that the expander/gate releases whenever the audio signal is below the threshold. If the background noise is very variable in level (noise from a street, for example), it agrees not to use the NOISE CONTROL to avoid that during the pauses it activates and deactivates generating an intermittent background sound. In these cases it is preferred to leave the ambient noise. • Also can happen that the background noise is very notorious (a strong humming or buzz) and although the gate can attenuate it during the pauses, the effect “appearance” and “disappearance” of the noise is more annoying than the own noise, due to a psycho-acoustic phenomenon according to which the ear “is accustomed” to the floor of constant noise when concentrating the attention in the word. On the other hand, consider that an A.M. radio can require more emphasis in high frequency than a FM; to obtain a well-known improvement on the air; therefore the control Hi Band has an ample rank of action. The reconstruction level -or amount of highs added to the signal- depends on the quality of the transmission. This stage will be affected, mainly, if the line has much background noise. REMEMBER The optimal level of work is obtained when the indicator MID BAND lights with the signal peaks. Lower audio levels can affect the behavior of the VQR processing. NOISE Control (expander) This control is used to reduce the background noise present in the phone line. It acts only during the silences in the conversation, attenuating the level of the signal to suppress the noise. This is quick action gate reason why its effect is imperceptible with normal levels of noise, not affecting the word. The NOISE fader acts changing the threshold of the expander/gate. When de background noise is under this threshold the expander/gate works attenuating the noise. Page 32 According to these advice, the good criterion of the operator will determine when it will make use of the noise gate and in which cases it will prefer not to use it. 3.9 Remote control Models with Ethernet controller (option /VI) can be managed remotely via LAN, using any web browser on any operating system. The console connects to a LAN from the RJ45 connector labeled "IP Control", located at rear panel of Master 2608. This connection uses a standard Ethernet cable. By default the console is set to work with DHCP. When the console connects to a router/switch, it will assign an IP address. Broadcast mixing consoles - 2600 series solidynepro.com accessed using the IP address. The IP Discovery Tool lets you know the current IP of the console. Download the following file: solidynepro.com/DW/IP.exe The file is a self-extracting ZIP. When run is created in the local folder a sub-folder called "Solidyne IP discovery" that contains the applications and instructions. Look in that folder the "readme.txt" file and follow the steps as required. Once the 2600's IP address is obtained; enter it in a WEB browser to access the "Virtual Interface Control. IMPORTANT: The "IP Discovery" tool also must be used when: Once the 2600 / VI is connected to the router, the user accesses the Virtual Interface Control from any computer on the LAN, using a web browser and typing in the address bar the following: 2600XD/ • • If the connection is successful the login screen of the 2600 / VI appears. See "3.8.2 - Virtual Interface" on instructions from the Virtual Control Interface If the login screen does not appear: a) Check the connection of the console to the router on the LAN and try again. • You want to connect the console directly to a computer using a crossover cable (no LAN) for operational tests or demonstrations. • DHCP is disabled and an unknown fixed IP is set to the 2600/VI, being outside the range of the LAN. In this case "IP Discovery" will be used to find the current IP address to access the Control Panel (either to enter a valid IP address or enable DHCP). For details about direct connection using crossover cable, please refer to the additional documentation included with the IP-Discovery. 3.9.2 Accessing to Virtual Interface To access to the control panel, user name and password are required. There are five factory users: user1; user2; user3; user4 and user5; being the default password for all '1234 b) Use the "Solidyne IP Discovery" tool to find the IP address of the console. Enter the IP address in a browser to access the Control Interface. 3.9.1 Solidyne IP Discovery If due to network settings can not access the console using the generic name "2600XD /"; must be solidynepro.com Click "Login" to access the control interface. The option "Advanced" allows to access the configuration options, which are detailed below. Broadcast mixing consoles - 2600 series Page 33 3.9.3 Virtual Interface (/VI option) Virtual2600 operation from the software is similar to the operation in real console. The software interface has some extra facilities: • • • Automatic crossfades with adjustable time. Microphones can group up to three masters buttons. "PAD" button attenuation for line channels (assigned by hardware). time is determined from the "Fade Speed" control, varying between 0.5 (Fast) to 5 seconds (Slow). The image below shows the procedure to perform a crossfade: 3.9.3.1 Manage the levels In each channel level is set from the Master Fader. The red pointers indicate the position of the physical fader on the console. As the console faders are not motorized, changing the level from software positions between the virtual fader and hardware do not match. The current level is always determined by the virtual position in the software. If the actual position is changed in the console, the level is updated in the software and both agree Turning on / off a channel (AIR button) progressive level change occurs. The speed is determined for each channel, and is indicated below the fader. Clicking on the blue tag a menu is displayed 0.5 times to 5 seconds, at intervals of half a second. The "0" value links the channel speed to the control "Fade Speed". 3.9.3.2 Cross-fades This function produces a channel fading and the progressive increasement of another. The fade Page 34 Broadcast mixing consoles - 2600 series solidynepro.com 3.9.4 3.9.4.2 Channels settings Advanced settings The "Advanced" button to access the options in Virtual 2600. Username and password is required. Default is 'admin' for both. 3.9.4.1 Users settings Can be defined up to 5 users. The "User" field allows to update the name for the selected user. "Mobile Interface" enables a reduced version of the graphical interface, designed for mobile devices. If this option is enabled, this user will always enter the 'mobile' interface (no matter the machine that is being accessed). "Password" allows entering a new password for the selected user. For each user can define the visible channels, and enable / disable the control of channel. To save the changes click "Update" This option allows to define the name for each channel, the kind of module and the cross-fade times. To confirm the changes click "Update". 3.9.4.3 Groups of microphones (Master Mic) The "User Settings" window also allows to modify the password for the Administrator user. The user name "Admin" can not be changed. solidynepro.com 'Virtual 2600' has 3 buttons 'Master MIC'. The microphone channels can be assigned to any of the Master MIC buttons. This setting is common to all users. Broadcast mixing consoles - 2600 series Page 35 3.9.4.4 Initialize the console "Listing" and "Update info" are functions that are used for the software to recognize changes in hardware, for example if new modules are added. The procedure is described in the software. The 'Set Time' option sets the console clock with the current time of the computer. When 'Virtual2600' access to the console for the first time, the clock on the console is set to the time of the computer, even though it had already been set manually from the console. 3.9.4.5 Network configuration Default the '2600 'works with Dynamic IP (DHCP), so that the router assigns an IP available. Can be assigned a static IP in the "Network configuration" option. Chapter 4 Maintenance In order to obtain great results with the 2600 consoles that Solidyne guarantees with its design and manufacture, we recommended following the indicated operative procedures in this manual. The phones lines have a circuit to protection against discharges of high voltage. This circuit is mounted in a separated plug-in board, to facilitate its replacement in case of damage. 4.1 Fuses The unit have a main fuse (1A) located at rear panel. Page 36 Broadcast mixing consoles - 2600 series solidynepro.com 4.2 On console’s temperature The rear panel of the VU-meters turret is made in aluminum and dissipates the heat produced by the power supply and audio amplifiers. In models XS and XL the value of overheating with respect to the atmosphere is of around 68º F. That is to say, with a normal atmosphere of 77º F the back panel normally will work at 113º F. In models XL with 16 channels working with 110 V AC (the extreme condition) the temperature can reach 131º F (with 77º atmosphere) in the back panel. This it is a safe value and the console is designed to work at these temperatures, so you don’t worry about it. 4.3 Cleaning Maintain the room clean and free of dust. The surface of the console can be cleaning using a very smooth detergent (like are used for painted walls) and a sponge or fine cloth hardly humid. NEVER USE alcohol, benzene or petroleum derivatives. Take this rule: NO SMOKING at the control room. The cigarette ashes are LETHAL for the faders and affect, in addition, to other equipment of the radio (CD players, minidisks, etc.). By the same reason, don't drink or eat while you are working on the equipment. Special models are provided with the new ESF electrostatic fader technology, without moving contacts, that lasts 25 years. 4.5 Parts Replacement All modules are assembled using connectors. The inputs modules can be disconnected and reconnected while the console stays on the air (Hot Swap technology). The main faders have connectors too. They are mounted to the chassis with two screws, so its replacement is very easy. 4.6 Service Manual You can obtain a service manual of this equipment, free costs. For it the Director of the radio must send by FAX to Solidyne a signed Agreement of Confidentiality (the text is available in our Web). You will receive a link to download the service manual, which include schematics; components layouts and technical information. The document installs in a PC that will be used in the Technical Office of the radio. Downloaded manual only can be viewed in that PC. For more details please consult www.solidynePRO.com. Go to English > Manuals > Service Manuals. If after using the console for a long time, you note that the faders become difficult to handle (hard to move) or fails, probably they are dirty. In order to clean it consults with the technical department of your radio. They will have to use special products. If after cleaning the faders the faults remain, consults with your Solidyne dealer to acquire the corresponding spare parts. Polycarbonate plastic protection: Solidyne consoles use all the front panel modules covered by a hard polycarbonate sheet painted and labeled from the reverse side. This unique protection technology allows for a full protection from hands abrasion. The 2600 console will remains unaltered after a full life of operation. 4.4 Preventive maintenance The preventive maintenance is carried out during the normal operation of the console to avoid flaws. The 2600 console is manufactured using hi-tech integrated circuits and heavy-duty electronic components, that guarantee an excellent reliability and allows eliminating the routines of preventive maintenance. The linear faders manage only DC current. Under normal conditions, the useful life of these faders exceeds 200.000 full cycle operations. Use carefully: don’t’ kick the faders and don’t’ push them with excessive force. solidynepro.com Broadcast mixing consoles - 2600 series Page 37 This page is intentionally left blank Chapter 5 Specs & Measurements 5.1 General Measurements The radio stations that have their own Engineering Department sometimes needs to carry out measurements when receiving the console. Also some engineers estimate convenient to carry out every five years a general inspection of the console to verify if the specifications continues being perfect. The following methods and comments refers to Technical Specifications that figure at the end of this chapter. Before starts any measurement, make sure that all modules present the following conditions: PAN POT at the center position. PGM, AUD, and SEND buttons released; AIR and CUE must be off. Be sure the console is properly grounded and no RF is present at the measurement Laboratory. 5.1.1 Microphone Connect an audio generator to a microphone input. Connect an audio level meter and an oscilloscope to the PGM left output (then repeat with the right). Connect a 600 ohms charge to the output. Set the audio generator to 1 kHz -80 dBm. Select MIC and PGM on the channel which the generator is connected. Enable the channel pressing the AIR button. Move the main fader from this channel to the maximum. Increase the gain of the module until obtain +4dBm at the output. Move GAIN to the minimum. Change the generator to -45 dBm. Move the fader until you verify that can obtain +4 dBm without clipping at the output. Page 38 Change to the right input of this channel (or to another module) and repeat the procedure. 5.1.2 Line Connect the generator to left input of a line channel, with a level of -20 dBm at 1 Khz. Verify that the oscilloscope and audio level meter are connected to the left PGM output. Select LIN and PGM in the channel under test. Enable the module by pressing the Air button; move to the maximum the GAIN preset and move the main fader until you verify that can obtain +4 dBm at the output. Change the gain control to the minimum; and increase the input level up to +18 dBm; move the fader until obtain +4 dBm at the output without visible clipping. Increase the gain with the main fader until obtaining +15 dBm at the output. Use this value like reference. Connect the balanced input in common mode joining both signal terminals. Then, verify that the output level decrease at least 40 dB. Change the test frequency to verify the common mode rejection specification. Repeat for the right input of this channel or for another module. 5.1.3 Aux Input Connect the generator to the AUX left input. Select AUX and repeat the procedure explained for the line channels, with levels of -25 dBm and +4 dBm. Take in Broadcast mixing consoles - 2600 series solidynepro.com mind that the common mode rejection isn’t applicable for this input. 5.1.9 Stereo Tracking All the measurements must be carried out in the same way that the unbalanced outputs, but disconnecting of GND the instrumental used and connect it between the two balanced terminals. Maintain the conditions of the previous item. Change the generator frequency to 1 kHz. Take the main fader to the maximum. Adjust the Pan-Pot to obtain the same level in both channels (L & R) of PGM output. This level will be in order of +10 dBm. Now, move the fader between 0 and -30 dB and measure the difference among the levels of both program outputs. This difference will be below +/- 0.2 dB Another possibility is to measure all in unbalanced mode (only one pin), adding 6dB to the results. 5.1.10 Harmonic Distortion (THD) 5.1.4 Balanced Outputs 5.1.5 Unbalanced Outputs Connect the audio generator to line left input; adjusted at +4dBm/1KHz. Connect an audio level meter and the oscilloscope with a charge of 600 ohms, to the SEND left output (pin 9 of the master connector). In the channel under test, select LIN and SEND. The other buttons must be out. Enable the channel by pressing the AIR button. Open the main fader up to -10 dB. Change the generator level until reach the limit of clipping. Verify that the oscilloscope shows a greater or equal level +18 dBm. Repeat for the right channel (terminal 10 of the Master connector). In the previous condition, repeat the output measurement for mono PGM output. 5.1.6 Gain Connect the microphone input to an audio generator. Connect the audio level meter and the oscilloscope to the output. Charge this output with 600 ohms. Adjust the generator to 1 kHz / -80 dBm. Select MIC and PGM in the channel. Enable the module by pressing the AIR button. Take the main fader and the gain control to the maximum position. The difference between the obtained output level and -80dB is the gain of the console. 5.1.7 Frequency Response Connect the generator to a microphone input. Connect an audio level meter and an oscilloscope to the output. Load it with 600 ohms. Change the audio generator to 1 kHz / -50 dBm. Select MIC and PGM in the channel. Enable the module pressing the AIR button. Move the main fader to the value -10 dB. Change the gain of the module or the generator output until obtaining +4dBm at the output. Change the frequency between 20 and 20.000 Hz and verify the frequency response. 5.1.8 Phase Staying the conditions of the previous item, connect the generator to both microphone inputs (right and left). Connect a digital phase meter to the channels left and right of the program output. Load each channel with 600 ohms. Change the generator’s frequency to measure the phase. The variation will be smaller than 2 degree between 50 Hz -15 KHz. solidynepro.com Connect the audio generator at 1 KHz / + 4 dBm, to a left line input. Connect a Harmonic Distortion meter and the oscilloscope to the left program output. Load this output with 600 Ohms. Then, select LIN and PGM in this channel. The other switches should be out. Enable the module by pressing the AIR button. Take the fader to the maximum level (0 dB). Then, change the preset line level until obtaining +4 dBm on the left output. Measure now the total harmonic distortion. Change the frequency between 30 and 15,000 Hz and to check if the distortion is below the specification. Repeat for right channel. Reduce now the level from the generator to -50 dBm and connect it to the microphone input. Take the fader to 0 dB position. Select MIC; change the level from the MIC preset gain, until obtaining + 4 dBm at the output and to proceed like in the previous item. It is necessary to keep in mind so that this measurement has validity, the following conditions must be verified: 1. The measurement chain must have a distortion smaller than 0,002%. 2. The distortion components, just as they are seen at the oscilloscope screen, connected to the output of the THD meter, must be clearly distinguished from the residual noise and buzz. 5.1.11 Equivalent Input Noise Connect the audio generator to a microphone input. Load it with 600 ohms. Connect to PGM output an audio level meter with A-weighted filter. Change the generator output to 1KHz / -45 dBm. Select MIC and PGM in the channel under test. Enable the module by pressing AIR. Set the main fader to -10 dB. Change the gain control until obtaining +4 dBm at the console output (this is the reference level: REF). Now, replace the audio generator by a resistor of 150 ohms placed inside the D-25 MIC input connector. Measure the residual noise in the audio level meter with “A-weighting” filter. We will denominate it Vn(dBm). Verify in the oscilloscope that there is not any buzz; only random noise signal. In order to eliminate buzz, reconnect the grounds of the measurement instruments so that the buzz disappears. The level of equivalent input noise will be: EIN = Vgen + Vn-REF; that is to say: EIN (dBm) = 49 + Vn (dBm) Waited value: 133 dBm Broadcast mixing consoles - 2600 series Page 39 If the “A- weighted” filter is not available, a simple RC filter will be used, that attenuates 3 dB in 15 KHz. The measured noise will be between 5 and 7 dB above to the real one. 5.1.12 Signal/Noise ratio In the same outline of the previous point, connect the audio generator at 1 kHz / + 4 dBm to the line input. Connect to the output an audio level meter with “A” weighting filter and an oscilloscope. Load the output with 600 ohms. Move the fader to -10dB position. Adjust the line level preset until get +4dBm output and use this value as reference for the measurement of noise. Replace the generator by a resistor of 600 ohms and measure the new output level. This value plus + 4dBm is the S/N ratio. This measurement result is the noise level in dBA. 5.1.13 Crosstalk Connect the audio generator (+4 dBm; 1kHz), to an left channel of a line input. Connect an audio level meter with “A” weighting filter, an oscilloscope and a load of 600 ohms to the left AUD output. Connect another load of 600 ohms to the left PGM output. Select all buses (LIN, PGM and AUD) in the module. All buses in others modules must be out. Enable the module pressing AIR. Move the fader to the maximum. Change the level of the generator until obtaining +15dBm in the AUD output. Change the position of the audio level meter from AUD to PGM output. Verify that the audio level is +15 dBm +/- 0,5 dB. Release the PGM button and measure the residual level of the signal. This level, referred to +15 dBm, is the crosstalk between left audition and left program. Repeat for all the combinations of left and right program with left and right audition. In the same way, the crosstalk on PGM bus can be measured. Check it with the console specifications. Page 40 Broadcast mixing consoles - 2600 series solidynepro.com 5.2 Bock diagrams solidynepro.com Broadcast mixing consoles - 2600 series Page 41 Page 42 Broadcast mixing consoles - 2600 series solidynepro.com solidynepro.com Broadcast mixing consoles - 2600 series Page 43 5.3 Technical specs Audio Inputs Microphone Processor A & B – 2 inputs per channel. 2601 balanced stereo line and unbalanced AUX. 2610/2612 balanced MIC 2620 Digital USB and balanced AUX. Optional MIC module model 2612, 160mm wide, with 3 MIC with processing facilities. 4 band EQ, 80 Hz and 10 kHz shelving, 160 Hz & 5 kHz bell shaped; +/- 14 dB action. Expander Gate to eliminate backgound noise. Audio Compressor, 20 dB action. Iluminated switchs for EQ and Compressor-Expander In option USB 2602, 2 inputs and 2 outputs Outputs 3 bus outputs; PGM & AUD balanced + 4 dBm; AUX Unbalanced + 4 dBm Balanced Outs; Max Level +26dBu (10K), +20dBm (600ohms) Unbalanced Outs; Max Level = +20dBm/600 ohms Optional Digital AES/EBU output for PGM & AUD. Monitor & Hybrid Outputs Inputs Level/Impedance 22 dB @ LIN to PGM Ref + 4dBu/10 k Balanced MIC= -25 dBu/-80 dBu; 150/250 Ohms Balanced LINE = -20 dBu/+22 dBu; 600~ 10Kohms Unbalanced AUX = -20 dBu/+15dBu; 600~ 10Kohms Digital Levels AES-3/SPDIF outputs TCP/IP & USB inputs & outputs; 0VU RMS is set at -15dB Ref Full Scale level. 0dB Peak is set to 100% Full Digtal Scale 1 Separate Hybrid CUE, +4dBu / 10K 1 Hybrid On-Air Receive + 4 dBu/10K 1 Hybrid send (MIX-Minus) +4 dBu / 10K Headroom Digital Control Bus One Start Devices output for each input module, to start external devices when open each channel fader. Out at minijack 1/8" // Ring = A channel (left side) Tip= B channel (Rigth side) Open collector OFF = Open Manages 0-24 V DC @ 100 mA This allows to control audio processors and start audio devices. Frequency response 20-20.000 Hz +/- 0.25 dB (LIN or MIC to PGM) Phantom 48V Standar phantom 48V power supply for up to 10 microphones. Monitor & Hybrid Outputs 4 stereo monitor outputs for active speakers and headphones, including internal hedphones distribution Amp (up to 8 headphpnes) in announcer studio. 1 External Hybrid input + 4 dBu/10K 1 External Hybrid send output (MIX-Minus) +4 dBu / 10K Each 2602 channel has one Mix-Minus out at 0 dBu output Noise MIC input, EIN=-132 dBu/150 ohms LINE input, S/N > 95 dBA at PGM output Dynamic Range From Line to PGM > 110dBA (Better than CD quality) Crosstalk PGM-AUD-SEND > 90 dBA @30-10.000 Hz L-R & R-L > 80 dBA @ 1khz CUE Monitor 3W CUE monitor with internal speaker. Start external devices Phone Hybrid 3 Hybrid inputs, 2 for phone lines and one for cellular phone at 4 wires. It includes a mini-PBX with Ringer, Line attention with free hands operation, and Line Transfer. Frequency Response: Noise: Rejection: Rejection adjust:: 250 - 4.000 Hz > 60 dBA S/N > 30 dB rejection Quick Test Mode to adjust the hybrid balance without disturbing On-air operation. Preference attenuation: 10 dB local speaker interrupt priority. Automatic On-Air logic: Audio & Logic are managed from a single 100mm slide fader that performs all the operations in error-free mode. Lighting discharge safety: Telephone Hybrid inputs are transformer floating to meet the Public Telephone service isolation standards. They are protected with SIOV Varistors against lightning discharges. And are factory tested to 2.000 volts capacitor discharge according to Siemens/Ramatel 44.04 standard. Protector is mounted in plug-in board. We recommend in some areas using external gas discharge protection One Start Devices output for each input module, to start external devices when open each channel fader. Out at minijack 1/8" // Ring = A channel (left side) Tip= B channel (Rigth side) Open collector OFF= Open. Manages 0-24 VDC @ 100 mA. This allows to control Virtual Rack processors and start audio devices. Headroom 22 dB @ LIN a PGM Ref + 4dBu/10 k Frequencies response 20-20.000 Hz +/- 0.25 dB (LIN or MIC to PGM) Noise MIC, EIN=-132 dBu/200 ohms LINE, S/N > 95 dBA Dynamic range From LINE to PGM > 110dBA (better than “CD quality”) Crosstalk Voice Quality Restoration The optional 2630 module allows using VQR technology for all the telephone hybrid signals, included external hybrids. It means to restore the cuasi-original voice quality that is impaired during a telephone or cellular communication. ON-AIR LIGHT ON-AIR signal output (turns on when MIC is open) 12 VDC @ 0,3 amp Page 44 PGM-AUD-SEND > 90 dBA @30-10.000 Hz L-R & R-L > 80 dBA @ 1khz Distortion From LINE to PGM out < 0.01 % THD @30-15.000 Hz. From MIC to PGM out < 0.01 % THD @30-15.000 Hz Phase From Line to PGM, < 2º L&R @50-10.000 Hz Broadcast mixing consoles - 2600 series solidynepro.com Stereo tracking Timer /Clock Option Below 0.2 dB error L/R in fader range 0 to 40 dB Talkback microphone Included Talkback MIC, with Audio Limiter. Noise Cancelled PZM type / Outputs to Phone Line Hybrid and Studio Speaker with AutoSwitch (AutoSwitch allows one-touch Studio communication) Power source 40W switch 90-240V , 50/60 hz, CE, UL, TUV Certified Dimensions & Weight VU-meters 2600XL: 4 digitally controlled VUmeters 24 steps of 1 dB, DUAL type (RMS & Peak) for PGM & AUD. One Timer/Clock and one Stereo Phase Vector display solidynepro.com Timer counts minutes: seconds during on-air MIC in order to avoid excessive speaker on-air time When the Timer is off, a standard clock is activated XL model: 840 wide x 585 depth x 135 height - Weight 15 Kg BOX : 90x65 x 25 cm, 2 Kg 2600XD: 845mm wide, 635mm depth, 125 mm height Weight 15 Kg BOX: 90x70 x 20 cm, 2 Kg Broadcast mixing consoles - 2600 series Page 45
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