Untitled - Solidyne
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Broadcast mixing consoles - 2600 series
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 Connections................................................................11 3.8 2630VQR Hybrid’s processor.............................31
2.2.7 INPUT MODULES................................................11
3.7.1 Using the VQR......................................................31 Line inputs..................................................................11 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 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
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 48V Phantom power...................................................17
Chapter 5.......................................................38 Using a mic into the Control Room............................17 CUE mode..................................................................17 5.1 General Measurements........................................38 Link to 'Master Mic' (mic channels only).....................17
5.1.1 Microphone....................................................................38 Auto-On (only for online channels).............................17
5.1.2 Line................................................................................38 Remote dimming (PAD).............................................18
5.1.3 Aux Input........................................................................38
2.4.3 Jumpers on Master Module..................................18
5.1.4 Balanced Outputs..........................................................39 Hybrid’s priority circuit................................................18
5.1.5 Unbalanced Outputs......................................................39 External control of Master MIC button........................18
5.1.6 Gain...............................................................................39 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
5.2 Bock diagrams......................................................41
5.3 Technical specs....................................................44
Broadcast mixing consoles - 2600 series
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Broadcast mixing consoles - 2600 series
Chapter 1
Getting started
1.1 What’s in the box?
With the console, you will receive the following
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
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
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
Microphone modules (2610 and 2612): The
modules 2610 manage two microphone channels
(MIC) and two unbalanced stereo line inputs
(AUX). The 2610 features:
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
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
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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
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.
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2600 XL
2600 XX
2600 XD
2600 XZ
Up to 16
Up to 26
Up to 16
Up to 28
Remote Control
(MIC 2601, 2612;
LIN 2610, 2602)
Broadcast mixing consoles - 2600 series
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
Output for active speakers, with gain control.
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"
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.
Broadcast mixing consoles - 2600 series
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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.
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.
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.
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 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: 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.
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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.
SOL-XLRM Adapter RJ45-Female to 2 XLR-Male connectors (balanced)
SOL-XLRF Adapter RJ45-Female to 2 XLR-Female connectors (balanced)
SOL-MINIM Adapter RJ45-Female to 1 Miniplug 1/8”
stereo (unbalanced)
SOL-TRSM Adapter RJ45-Female to 2Plug ¼” TRS balanced (separated Left and Right).
SOL-RCAM Adapter RJ45-F to 2 RCA connectors (unbalanced)
Broadcast mixing consoles - 2600 series
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
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
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
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.
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.
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
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.
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
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.
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
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 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. 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
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. 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
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
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. 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 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 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
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
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).
Left channel (+)
Left channel (-)
Right channel (+)
Right channel (-)
-15 (optional)
+15 (optional)
Left channel (+)
Right channel (+)
-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
Module 2610 (microphones)
Module 2612 (microphones)
1 Left channel (+)
2 Left channel (-)
3 Right channel (+)
Next tables shows the pin out for all inputs and
outputs, balanced and unbalanced.
6 Right channel (-)
7 -15 (optional)
8 +15 (optional)
Input ON-AIR L
No connected
Input ON-AIR R
5 Input CUE
6 No connected
7 -15 (optional)
8 +15 (optional)
Page 12
Broadcast mixing consoles - 2600 series
2.3.4 RJ45 to standard connectors
5 Output mix-minus
Blue/White To an unbalanced phone-RCA
6 Right channel (-)
7 -15 (optional)
8 +15 (optional)
Brown 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
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. 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). 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).
1 Left channel (+)
2 Left channel (-)
3 Right channel (+)
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). 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.
TIP ”Canal “B”
(for 2612 is canal C)
RING Canal “A” 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 AoIP
Please see “2.7 Models 2600/AoIP 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.
PGM (+)
AUD (-)
PGM (-)
AUD (+)
Shield (RJ45 chassis)
Broadcast mixing consoles - 2600 series
2.3.8 Ground connections recommended for protection against electric storms
Broadcast mixing consoles - 2600 series
Page 15
2.3.9 Schematic Diagram – Recommended connection of 2600 consoles
Page 16
Broadcast mixing consoles - 2600 series
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:
Switch off all assignments and close the
faders A and B in the module.
Press and hold any of the buttons AIR. After
5 seconds the module enters in mode
"setup" and several buttons start flashing.
Each button enables (on) or disables (off)
one function (see 2.4.2).
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”
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. 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
Line channels:
PAD (software)
CUE mode
CUE auto-of
In mic channels:
Link to Master-Mic
In line channels:
enables auto-start 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). Link to 'Master Mic' (mic channels only) 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
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. 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 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.
2.4.3 Jumpers on Master Module 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
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 External control of Master MIC button
OUT 15 V (Master Mic pressed)
Connector EXT MIC CONTROL allows remotely to
turn on/off the “Masters MIC” button. Same con-
MASTER MIC ON (joint to turn-on) Jumper’s table for 2610, 2612 y 2601
Bypass EQ
Jumper 1-2 = EQ disable (by-pass).
Jumper 2-3 = EQ enable
See last letter of jumper name
Fig.12 – Mic module 2610 (circuit board side)
Page 18
Broadcast mixing consoles - 2600 series
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.
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
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
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. Define the destination IP
The status screen indicates the IP port
configuration. The module is factory-configured as
Studio Encoder (option "Location" → 'Studio
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. 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:
Page 20
"Stream method" should be "Push (RTP)"
In the URL field defines the DNS name or
IP address, and the destination port to
which 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
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. Audio settings
Step 5
Go to Config → Audio
Input source: Default is Stereo Line. Don't change it.
Broadcast mixing consoles - 2600 series
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.
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]
2.7.3 Decoding using a computer
To receive the streaming from 2600/IP using a
computer, set the audio format (see – Audio
settings) as PCM16 @ 44.1KHz; or any MP3
NOTE: Some versions of 'VLC Player' also supports the string
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.
The audio player software must supports the RTP
protocol. We recommends using VLC Player
To start to play in VLC, go to Media –> Open network
In URL enter:
In where RTP is the protocol used by the Solidyne
2600/IP; 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).
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
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
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
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
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
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 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
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
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
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
3.4 Telephone Hybrid section
For the explanation, we define three scenarios of
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).
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.
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
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,
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.
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]).
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.
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.
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.
To listen to the caller, release TALK and press
and hold CUE [27]. The CUE signal hears by
CUE speaker.
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).
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.
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
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.
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
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
Page 26
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”.
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
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. 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
Press TALK [6] to dialog with the caller. It
will light in red. Press TALK again to end the
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
To put the calling on-air, raise the main
fader (TELECOM) until reach the appropriate level on VU meters.
NOTICE Make a call from cell phone
In the cell phone, switch from mode "Bluetooth"
to mode "Headset" as was explained in " 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
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. 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 " 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.
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
To HOLD the call, move the main fader to the zone
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.
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’
Air Button. Activates the
channel when is pressed.
Main fader for program level
2610 Microphone module
Page 28
Broadcast mixing consoles - 2600 series
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
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
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.
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 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 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:
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
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.
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
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
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
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,
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.
 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.
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
accessed using the IP address. The IP Discovery
Tool lets you know the current IP of the console.
Download the following file:
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
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:
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
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
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
"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: 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". Cross-fades
This function produces a channel fading and the
progressive increasement of another. The fade
Page 34
Broadcast mixing consoles - 2600 series
3.9.4 Channels settings
Advanced settings
The "Advanced" button to access the options in Virtual 2600. Username and password is required.
Default is 'admin' for both. 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". 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.
'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 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. 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"
Chapter 4
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
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Broadcast mixing consoles - 2600 series
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.
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
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
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.
Broadcast mixing consoles - 2600 series
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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.
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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
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
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
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.
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
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.
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
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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
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
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.
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Broadcast mixing consoles - 2600 series
Bock diagrams
Broadcast mixing consoles - 2600 series
Page 41
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Broadcast mixing consoles - 2600 series
Broadcast mixing consoles - 2600 series
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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
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
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
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)
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:
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.
22 dB @ LIN a PGM Ref + 4dBu/10 k
Frequencies response
20-20.000 Hz +/- 0.25 dB (LIN or MIC to PGM)
MIC, EIN=-132 dBu/200 ohms
LINE, S/N > 95 dBA
Dynamic range
From LINE to PGM > 110dBA (better than “CD quality”)
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 signal output (turns on when MIC is open) 12 VDC @ 0,3
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PGM-AUD-SEND > 90 dBA @30-10.000 Hz
L-R & R-L > 80 dBA @ 1khz
From LINE to PGM out < 0.01 % THD @30-15.000 Hz.
From MIC to PGM out < 0.01 % THD @30-15.000 Hz
From Line to PGM, < 2º L&R @50-10.000 Hz
Broadcast mixing consoles - 2600 series
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
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
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
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