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AIR 3
R ADIO CONSOLE
Technical Guide
June 2010
CONSOLE FEATURES
Console Features
Overview
Each AIR 3 console has two Input panels and one Master panel. The Input panel
consists of six faders with associated switches. The Master panel has a PHONE section,
a CONTROL section, a HEADPHONE section, and a STUDIO section. Each section is
described below.
The basic purpose of the console is to take some of the many audio signals that are
wired to the console inputs, and generate several outputs that combine these inputs in
various groups and at various degrees of loudness, or signal strength. The typical
application is in a radio station where it is desired to develop the signals that the station
will broadcast (the on air signal), as well as several additional signals for recording and
monitoring.
AIR 3 / Mar 2010
page 2
Dimensions
28.4"
4.3"
15.4"
15.4"
1.6"
AIR 3 / Mar 2010
page 3
START OPTO
DB-25
START
START OPTO
START
DB-25
PIN 25
PGM 1
PGM 1
PGM 2
A/B
LOGIC
RJ-45
BALANCED
LT HL
A
/
B
A
RT H
L
INPUT
LT HL
B
RT H
L
F
E
T
L
F
A
D
E
R
R
R
P
G
M
PGM 1 ACN
F
E
T
PGM 2 ACN
L
INPUT CHANNEL
CUE
TB
PGM
PGM
PGM
PGM
MIC
CUE ACN
CUE
FET
DIP SW
LOGIC
1
1
2
2
1
P
G
M
/
T
B
F
E
T
LT
RT
LT
RT
TB
R
PGM 1 RT MON
PGM 1
METERS TO BRIDGE
F
E
T
R
PGM 2 LT MON
L
PGM 2 ACN
R
R
H
L
R
R
LOGIC
FROM
COMPUTER
USB
CODEC
DIP
SW
TO
PGM 2
RJ-45
BALANCED
N.O. DRY
RELAY
ON AIR TALLY
PGM 2 OUT
TRIM
EXT
VU METERS
H
L
L
PGM 2 RT MON
PGM 2/SWITCHED
METERS TO BRIDGE
TRIM
H
L
R
TRIM
F
E
T
L
TRIM
L
PGM 1 OUT
TRIM
P
G
M
R
R
V
U
H RJ-45
L BALANCED
L
L
PGM 1 ACN
2 LT MON
2 RT MON
LT MON
RT MON
PGM 1 LT MON
TRIM
L
PGM
PGM
EXT
EXT
BALANCED
H CALLER TO
HYBRID
L
SUM
L
PGM 1 MON
RJ-45
TRIM
L
CUE SENSE
LOGIC
MUTE/TALLY
PGM 1 LT MONO
PGM 1 RT MONO
PGM 2 LT MONO
PGM 2 RT MONO
PGM 2
CR MUTE/ MUTE/TALLY
AIR TALLY
DIP SW
F
A
D
E
R
H
L
LOGIC
DRIVER
PIN 10
DB-25
PIN 9
CALLER FROM
HYBRID
USB
CONN
PATCH OUT
RJ-45
CUE ACN
CUE
FET
CUE SENSE
LOGIC
CUE
PHONE
TO TALLY LED
TO BRIDGE
TB
EXT IN
EXT IN
PGM 1
PGM 1
STUDIO
MUTE/TALLY INPUT 1
PGM 2
MUTE/TALLY INPUT 12
MUTE/TALLY PHONE
SPLIT CUE
MODE
DIP SW
CONTROL ROOM
PGM 2
CR TO STUDIO TB
LOGIC
DIM OR
INTERRUPT
DIP SW
CUE SENSE
TB TO STUDIO
PGM
PGM
PGM
PGM
EXT
EXT
1 LT MON
1 RT MON
2 LT MON
2 RT MON
LT MON
RT MON
S
T
F
E
T
L
E
V
E
L
L
R
LOGIC
CUE TO CR
ENABLE
DIP SW
ON AIR TALLY
CR MUTE
F
E
T
PGM
PGM
PGM
PGM
EXT
EXT
RJ-45
L
L
ST OUT
R
R
1 LT MON
1 RT MON
2 LT MON
2 RT MON
LT MON
RT MON
C
R
L
F
E
T
R
L
E
V
E
L
CR OUT
R
R
MIC 1 TB
TB TO PHONE
CR MIC 1
RJ-45
TRIM
MIC 1 H
PREAMP L
RJ-45
L
L
F
E
T
CUE MON
CR MIC 1
TRIM
MIC 2 H
PREAMP L
STUDIO/GUEST MIC 2
RJ-45
MIC 2
TO EXT CUE AMP
DB-25
PINS 11,12
GUEST TB TO
CUE/CR
CUE
FET
CUE ACN
CR MUTE
L
E
V
E
L
FET
L
E
V
E
L
EXTERNAL IN
L
F
E
T
L
HDPN OUT
R
R
HDPN JACK
DB-25
PINS 7,8
CUE
MB SPKR
CUE MON
H
L
L
EXT LT MON
L
HEADPHONE
SPLIT CUE MODE
JUMPER
EXT IN
H
L
R
EXT RT MON
R
CUE SENSE
LOGIC
BALANCED
RJ-45
AIR 3
System Flow Diagram
AIR 3 / Mar 2010
page 4
APPENDICES
AIR 3 Performance Specifications
FREQUENCY RESPONSE
Line (20Hz-20kHz) +/-0.1dB
Mic (20Hz-20kHz) +/-0.1dB
113dB
100dB
NOISE
Line
-89dBu
<0.003%
<0.02%
MAXIMUM INPUT
Mic
-100dB
-60dB
1kHz
-60dB
OFF ISOLATION
1kHz
20kHz
-115dB
-95dB
DIMENSIONS
THD+N (20Hz-20kHz)
Line, -4dBu
Mic, -50dBu
20Hz
20kHz
STEREO SEPARATION
DYNAMIC RANGE
Line, unity gain
Mic, 54dB gain
BUS CROSSTALK
Width
Depth
Height (rear)
Height (front)
28.4”
15.4”
4.4”
1.6”
-6dBu
HEADROOM
above -4dB
24dB
Specifications and features subject to change without notice.
AIR 3 / Mar 2010
page 5
CONSOLE FEATURES
Inputs
The AIR 3 console is designed to handle up to 12
24 analog stereo pro level (+4dBu
balanced) inputs, two mono microphone (-50dBu nominal) inputs, and one external
stereo line level (+4dBu balanced) input that goes directly to control room or studio.
The AIR 3 also has one analog (+4dBu balanced) input dedicated to use as
a telephone caller input.
Analog Mono Mic Level Inputs
These inputs are used to connect to microphones, which typically put out signals at
relatively low signal strength, and therefore require more amplification (increase in
signal strength) to be properly audible in the output. Mic level sources are wired to a 6position plug terminal located on the rear of the console. On the rear of the console also
are a pair of RJ-45 connectors used for MIC outputs, and the MIC 1 and MIC 2 GAIN
trimpots for adjusting the level of each microphone input independently.
Example: with a microphone input of –60dBm @150ohm at the port, gain trim can set levels
from -22dBu to +16dBu (note maximum preamp gain is +76dB) at the PGM 1 or PGM 2 output.
These microphone connections are to the inputs of two internal microphone preamplifiers. In order to actually hear the microphone audio, the microphone preamplifier
outputs must be wired to the desired line inputs that feed the faders you will use to control
the microphone levels.
Looking at the rear of the console, there are two RJ-45 connectors towards the left
end of the console labeled MIC 1 OUT and MIC 2 OUT. These are the outputs,
respectively, of the MIC 1 preamp and MIC 2 preamp.
In a typical installation you will want to feed the mic signal to both left and right sides
of the stereo line input. For this reason, we have duplicated the MIC OUT signal as both
left and right, so that a simple RJ-45 patch cord will carry the mic signal to both left and
right sides of the stereo input of whichever line input you want the mic to feed.
Analog Stereo Line Level Inputs
These inputs are typically used to connect to machines, such as tape decks, cart
machines, CD players, etc., that provide analog outputs. As mentioned above, you can
also feed these inputs from the outputs of the internal mic preamps.
Outputs
The console main analog outputs include two Program stereo buses (PGM 1 and
PGM 2). The Program stereo outputs can be programmed to mono outputs via dipswitch
SW 1 (described in the “Console Internal Programming” section).
Monitor outputs include a stereo Control Room output, a stereo Studio output, a
mono cue output, and a stereo headphone jack.
AIR 3 / Mar 2010
page 6
CONSOLE FEATURES
The console’s mono cue signal feeds the internal speaker in the meterbridge, and
also provides the cue signal used to interrupt Control Room and headphones, if such
interrupt has been enabled by the installer.
USB Port
The console contains a USB 2.0 interface, available via the USB Type B connector on the rear panel,
to enable audio to pass between the console and a
USB port on a computer. Internally, dipswitches
select either PGM 1 or PGM 2 as the audio from the
console to the computer (see “Console Internal Programming”). Audio coming back from the computer
via USB shows up as a stereo analog signal on the
USB ANALOG OUT RJ-45 connector. From there,
the audio can be patched to any line input, or to the external input.
Using the USB Port . . .
Any computer having a USB port and installed drivers capable of passing and
utilizing digital audio data should work with the Air 3 USB port. Use a cable having a
USB Type B connector on the Air 3 end and a connector on the other end that will mate
with the computer’s USB port; this will typically be a USB Type A connector.
. . . With a MAC
In general, this will be a plug-and-play process. The main concern is to choose the
USB Audio Codec under System Preferences>Sound as desired for audio input and/or
output. Then simply start the application.
. . . With a Windows® PC
When you first connect the Air 3 USB port to a PC running Windows you will see
the famous “found new hardware” sequence of messages. At some point this sequence
should end with a message that the new hardware is installed and ready to use.
Setting up any given application to use the Air 3 USB port will depend on the
application itself. Generally, you will need to select the appropriate device from a list
of devices in a Preferences dialog.
As an example, let’s look at WinAmp, a free software application used by millions
to play back audio streams from a network (or the Internet), or to play audio streams into
a network.
To play audio from the Air 3 on the computer:
• Install the free LineIn plugin for WinAmp.
• Under Preferences - Input select the LineIn plugin from the Input list and click
Configure, then find the USB Audio Codec in the list of available devices and note
its corresponding device number, which you will need below.
• In WinAmp, choose Play URL...
• Enter “line://dev=n” where ‘n’ is the device value that you discovered above.
AIR 3 / Mar 2010
page 7
CONSOLE FEATURES
• Now when you click Play, WinAmp will play the Air 3 audio on the output device
selected in WinAmp. This could be speakers, a sound card, or even an output
stream.
To play audio from the computer on the Air 3:
• Under WinAmp Preferences - Output select an output plugin and click Configure,
then select the USB Audio Codec as the device.
• Play the desired computer audio with WinAmp and the audio will appear at the
USB ANALOG OUT connector on the back of the Air 3. You must patch this
output to the desired fader (using the appropriate connector from the INPUTS
bank), or to the EXT IN if desired, to route the audio.
Other Computers
If your computer does not use one of the above operating systems, or otherwise
behaves differently than described above, consult the documentation for that computer,
operating system, and/or application.
General Considerations
If any problems are encountered, please consider the following points:
• The audio that is output from the Air 3 on the USB port depends on the setting of
the internal dipswitches that select between PGM 1 and PGM 2 as the source (see
“Console Internal Programming”).
• The audio coming back into the Air 3 on the USB port is available at the USB
ANALOG OUT, which must be patched to a line input if you want it to come up
on a fader, or to the EXT IN if you want it available only in the monitors, or to some
external device if that’s where you want it to show up.
• If you are not able to get the audio into or out of the USB port, check the USB cable,
its connections at both ends, and the port selection settings in the application you
are using.
• If you have the audio flowing where you want and it suddenly becomes intermittent
or disappears, check the USB cable and the connections at both ends.
• Once you have the USB audio under control it is a good idea to make a record of
the application being used, including its version number, the audio direction (into
or out of the computer), and all the settings that were required to make it work. This
information will be invaluable if you later have to troubleshoot the USB audio, or
set it up on another computer.
Mute and Tally
The console has the ability to mute the control room output. The console also has an
ON AIR tally output that is used to drive user-provided external circuitry that will in turn
operate the control room on air indicator. This tally is automatically activated whenever
the control room mute is activated. Thus, turning on any module that activates the
control room mute also turns on the ON AIR tally. Whenever this tally is activated the
ON AIR indicator in the meterbridge will also illuminate.
See the “Console Programming Options” section for details.
AIR 3 / Mar 2010
page 8
CONSOLE FEATURES
Console Programming Options
All programming (except for the headphone split cue option and selection of audio
to feed to an external computer via the USB port) is made via three PCB mounted
dipswitches located on the console’s rear panel. One dipswitch (PGM/CUE switch) is
on the top left side of the rear, and programs the control room cue, the studio dim
function, and the mono program outputs. The two other dipswitches (CR MUTE/AIR
TALLY) are in between the two groups of INPUTS RJ-45 connectors, and activate CR
mute and AIR TALLY.
PGM/CUE Dipswitch
When a PGM/CUE dipswitch position is up it is ON.
Cue Interrupt
The dipswitch pos. 1, when activated, sends cue to the control room.
Split Cue, Control Room
The dipswitch pos. 2, when activated, allows a summed (L+R) version of the regular
program to be sent to the right side of the CR monitor stereo output, while CUE is sent
to the left side.
Split Cue, Headphone
Consoles are normally programmed at the factory for CUE to appear on the left
channel, while L+R sum of the control room output appears on the right. This can be
changed with jumper J1 on the back side of the Master Panel. The jumper normally spans
pins 2 and 3 of the jumper header. To defeat this split cue option, move the jumper to span
pins 1 and 2 instead. Then cue will interrupt both sides of the headphones.
Studio Dim
The dipswitch pos. 3, when activated, allows normal studio audio to DIM (drop
-20dB in level) when talkback to studio is engaged. If this dipswitch is not activated, the
normal studio audio is completely interrupted by the MIC 1 audio when talkback to
studio is engaged.
If the studio is programmed to DIM talkback audio could presumably make it from
the studio monitor speakers to the open studio mic.
AIR 3 / Mar 2010
page 9
CONSOLE FEATURES
Program Mono
The dipswitch pos. 4 - 7, when activated, sums the left and right
PROGRAM channels and sends L+R to the appropriate channel:
Pos. 4 - sends L+R of the PGM 1 to the PGM 1 LT channel;
Pos. 5 - sends L+R of the PGM 1 to the PGM 1 RT channel;
Pos. 6 - sends L+R of the PGM 2 to the PGM 2 LT channel;
Pos. 7 - sends L+R of the PGM 2 to the PGM 2 RT channel.
USB Source Dipswitches (internal)
Dipswitch 2 on the CONA3-4 board is used to determine
whether PGM 1 or PGM 2 will feed the USB link. Positions 1
and 3 should be on to feed USB with PGM 1, while positions 2
and 4 should be on to feed USB with PGM 2. If PGM 1 is to be
used, the PGM 2 positions should be off, and if PGM 2 is to be
used, the PGM 1 positions should be off. DO NOT activate both
PGM 1 and PGM 2 simultaneously!
CR MUTE/AIR TALLY Dipswitches
When a CR MUTE/AIR TALLY dipswitch position is down it is ON.
CR Mutes
An input channel can be programmed to mute the control room speakers when the
channel is ON. Positions 1 through 12 and caller (13) of the dipswitches, when activated,
automatically mute the console’s control room speakers when the corresponding channels
1 through 13 are turned ON. This is done to prevent feedback from the CR announcer’s
mic. At the same time the ON AIR LED in the center of the meterbridge will light up.
AIR 3 / Mar 2010
page 10
CONSOLE FEATURES
On Air Tally
For controlling the “on-air” tally function, a relay is provided. The tally is activated
when any channel set for CR mute is turned on or put into cue.
The relay connections are available at the “LOGIC” DB-25 connector mounted on
the rear of the console. Connect the on-air light to the external user-provided relay.
Do not bring on-air light AC connections to any pin of any connector on the console.
TYPICAL CONTROL ROOM ON-AIR TALLY CIRCUIT
USER-SUPPLIED RELAY TRIGGERED BY CONSOLE CR MUTE CIRCUI
INTERNAL AIR
TALLY RELAY
N.C.
N.O.
CONNECTOR PIN
ON "LOGIC"
DB-25
1N4002
COM 30VDC
2A
max
PIN
10
+
+
–
ECG
B40240
or equiv.
relay
YOUR
POWER
SUPPLY
–
PIN
9
RELAY CIRCUIT POWERED BY USER
SUPPLIED EXTERNAL SUPPLY
AIR 3 / Mar 2010
page 11
AIR 3 / Mar 2010
AIR 3 Console Layout
page 12
CONTROLS AND FUNCTIONS
Controls and Functions
Input Panel (IP-AIR3)
The Input panel of the AIR 3 console has six identical strips representing six input
channels.
AIR 3 / Mar 2010
page 13
CONTROLS AND FUNCTIONS
Source Select
Each input channel accepts two analog stereo sources: A and B,
switched at the top of the panel. The A/B button will be lit when source B
is selected.
Program Assign
Output switches assign the selected source signal to any combination
of the console’s two stereo Program outputs—PGM 1 and PGM 2. The
button will be lit when the source is assigned to its respective bus. To
remove a source from the bus, press the button again; the light will go off
to indicate that the source is no longer assigned to that bus. NOTE that
when the console is powered up all input channels will be off, with source
A selected, and assigned to PGM 1.
Recessed rear panel trimpots adjust the left and right levels of PGM 1
and PGM 2 outputs.
Cue Button
A CUE switch places the channel’s signal on the console’s cue bus,
where it may be heard on the meterbridge mounted cue speaker, as an
interrupt to the console operator’s headphones, and as an interrupt to the
control room monitor speakers, if so programmed.
Press the CUE button. The channel’s input signal will be included in
the console’s CUE output at a level that is independent of the FADER
setting, and the button will light. The fader does not need to be turned ON.
To remove a fader from cue, press the CUE BUTTON again; the light will
go off to indicate the channel is no longer assigned to cue.
Fader
Level is set by a long-throw fader. The fader is the sliding mechanism
that determines how strong is the presence of the input in some of the
various console outputs.
If the fader is all the way down (that is, pulled toward the console
operator), the signal will not be present in either of the two program main
buses to which it is assigned. As the fader is moved up (that is, pushed away
from the console operator) the signal will appear more strongly in each of
the main buses to which it is assigned.
ON Button
The ON button turns the channel on and off by means of electronic
switching and can simultaneously start external source machines. The
channel is ON when the ON button is lit. These can also be programmed
(as mentioned in the previous chapter) to activate control room mute and
on air tally.
AIR 3 / Mar 2010
page 14
CONTROLS AND FUNCTIONS
Master Panel (MST-AIR3)
The Master panel includes the Caller Input, Control Room monitor, Studio monitor,
and Meters sections.
AIR 3 / Mar 2010
page 15
CONTROLS AND FUNCTIONS
Caller Input
The caller section is used for the telephone call-in talk segments, and
controls the audio for the caller. The caller signal enters the console from
your station hybrid.
The caller feed can be either or both of the two Program buses. The caller
feed will never contain the caller’s own voice.
A recessed rear panel trimpot adjusts the caller output level.
Program Assign
Output switches assign the caller to any combination of the console’s two
Program outputs (PGM 1 and PGM 2), and permit live talk-ins.
Pressing either of the two program switches causes the caller’s audio to
be included in the output mix for that bus, at a level dependent on the FADER
setting, as long as the caller section is ON. The button will be lit when the
caller is assigned to its respective bus. To remove the caller from a bus to
which it is currently assigned, press the button again; the light will go off to
indicate that the caller is no longer assigned to that bus.
CUE Button
The CUE button allows interviewing the caller prior to airing by including the caller’s voice in the console’s cue bus, where it may be heard on the
meterbridge mounted cue speaker.
TB Button
When the TB switch is pressed (it is momentary action), the microphone
(MIC 1) will interrupt the regular caller signal, thus allowing the DJ to talk
to the caller prior to airing.
Fader
The long-throw fader sets the caller’s signal level.
If a fader is all the way down the caller’s voice will not be present in either
of the two Program buses (PGM 1 and PGM 2) to which the phone is
assigned. As the fader is moved up the signal will appear more strongly in
each of the main buses to which the phone is assigned.
The fader position will also affect the strength of the caller in the cue
output.
ON Button
The ON button determines if the phone channel is ON or OFF. The
channel is ON when the ON button is lit. The button can also be used to
provide external start logic for the hybrid.
If the phone channel is OFF, caller signal will not be present in any main
bus output, regardless of the status of the PROGRAM ASSIGN buttons or
the position of the fader. If the phone channel is OFF its signal will still be
present in the cue output if it has been assigned to cue.
AIR 3 / Mar 2010
page 16
CONTROLS AND FUNCTIONS
Caller Set-Ups
Pre-air segment communication between the console operator (DJ) and
callers is aided by the CUE button, which places the caller’s voice on the
console’s cue speaker and headphones, and (if so programmed) CR speakers. Additionally, pressing the caller TB switch sends the MIC 1 signal to
the caller output.
A typical call-in segment might proceed as follows:
Caller phones in, DJ picks up off-air during a track play to set up the call.
He places the caller in CUE, and talks to the caller by pressing the TB button.
Neither the DJ mic nor the phone channel need to be ON for two-way
communication.
When he is ready to take the call on-air, the DJ makes sure his mic and
phone are assigned to PGM 1 or PGM 2 and turns them ON. He then
deactivates caller CUE to hear the normal feed.
AIR 3 / Mar 2010
page 17
CONTROLS AND FUNCTIONS
Control Room Monitor
This is the console operator’s monitor
that allows the operator to listen to the
console’s two stereo Program outputs and
an external stereo line level input. This
section of the console includes the monitor level controls for the control room,
headphone, and cue circuits.
In a typical radio application the console is located in the Control Room. Speakers in the Control Room allow the console
operator to listen to the console bus outputs to be assured that the console is
performing as desired. These speakers
are fed by a stereo signal from the
console’s Control Room output. In addition to the Control Room output, the
operator may also desire to listen to specific isolated faders via the cue system
and the console’s internal cue speaker, or
may want to listen via headphones. Thus,
the control room monitor consists of the
above mentioned level controls, along
with two program assign (PGM 1 and
PGM 2) buttons, and an external input
(EXT) button.
In some instances the console operator may also be performing talent whose voice
will be heard over the radio. The operator’s microphone may thus provide a part of the
signal that is going out over the air. If that signal is the one being monitored with the
Control Room speakers, there is the potential for feedback. The amplified signal from
the Control Room speakers is picked up by the microphone and amplified to a new,
higher, level, which then is once again picked up by the microphone. The signal
quickly rises to an ear-splitting screech. To prevent this, the operator’s microphone
is normally set to MUTE the Control Room output to prevent the occurrence of
feedback.
The master CUE circuit drives a meterbridge-mounted speaker through a built-in
power amp, and can be programmed to interrupt control room feed, or provide a split
feed (program mono sum to right, cue to left) to the control monitor speakers. It also
automatically interrupts the headphone feed.
Program Select
Pressing either of the two program (PGM 1 or PGM 2) switches allows the operator
to listen to the selected output bus. The button will be lit when the monitor is assigned
to its respective bus.
AIR 3 / Mar 2010
page 18
CONTROLS AND FUNCTIONS
EXT Switch
Pressing the EXT switch allows the
operator to pick up the external input (useful for such items as tape recorders or air
returns) to listen.
CONTROL ROOM Level Control
The CONTROL ROOM level control
determines the overall loudness of the
signal being monitored as it appears in the
Control Room speakers. As the control is
turned clockwise, the loudness increases
up to a maximum at the limit of mechanical rotation. To decrease the loudness,
turn the control in a counterclockwise
direction.
NOTE: If the Control Room is muted
and you turn the level control all the
way up, then remove the condition that
has the Control Room muted, the sound
in the Control Room speakers will
suddenly be VERY LOUD!
CUE Level Control
The CUE level control determines the overall loudness of the cue signal as it
appears in the console’s cue speaker (located behind the grill in the
METERBRIDGE).
Like the Control Room speakers, the cue speaker also has the potential for
feedback. To avoid this situation, operator mics that mute the Control Room will
also mute the cue speaker.
NOTE: If cue is muted and you turn the level control all the way up, then remove
the condition that has the cue muted, the sound in the cue speaker will suddenly
be VERY LOUD!
HEADPHONE Level Control
The HEADPHONE level control determines the overall loudness of the
headphone output signal, which monitors the same source (PGM 1, PGM 2, or
EXT) as the Control Room speakers.
The headphone output signal appears at the HEADPHONE JACK, located
beneath the armrest near the right side of the console. The jack is provided as a place
to plug in user-supplied stereo headphones having an impedance of 60 Ohms or
higher.
AIR 3 / Mar 2010
page 19
CONTROLS AND FUNCTIONS
Studio Monitor
In addition to the Control Room, there
may be a Studio in which one or more
performers will be assembled, usually
with microphones so that their voices can
become part of the mix. Speakers may be
provided in the Studio to allow the talent
to listen to the console bus outputs at
times that they are not actually on air.
These speakers are fed from the console’s
stereo Studio output.
The studio monitor consists of a STUDIO level control, a TB (talkback) button, two program assign (PGM 1 and
PGM 2) buttons, and an external input
(EXT) button.
A connection is provided on the
console’s DB-25 connector to wire up a
MIC 2 TB to CUE/CR switch provided
by the user. This switch enables a guest
using MIC 2 to talk back to the Control
Room over the console’s cue system.
Program Select
Pressing either of the two program PGM 1 or PGM 2 switches allows the
selected output bus to be heard in the studio. The button will be lit when the monitor
is assigned to its respective bus.
EXT Switch
Pressing the EXT switch allows the external balanced input (such as tape
recorders or air returns) to be heard in the studio.
STUDIO Level Control
The STUDIO level control determines the overall loudness of the signal being
monitored as it appears in the Studio speakers.
TB (Talkback) Button
The TB button lets the operator’s microphone signal interrupt the normal feed
to the studio speakers, allowing the operator to talk to the performers in the Studio.
If the Studio Dim dipswitch (described in Chapter 2) is set to the ON position, the
normal studio feed is not completely removed, but is dimmed by 20dB.
AIR 3 / Mar 2010
page 20
CONTROLS AND FUNCTIONS
Meters (VU-AIR3)
The METERS section consists of two VU meter pairs on the console’s
meterbridge and a METERS select button, located on the Master panel.
VU Meter Pairs
VU meter pairs (PROGRAM 1 VU and SWITCHED VU) are stereo
LED bargraph type meters.
The level of the signal being metered is indicated by the number of
display elements that are lighted. The more elements lighted, the
stronger is the signal being displayed. The right four LEDs in each
bargraph are red to indicate when the signal level is approaching a
clipping (distorted) level. The next four LEDs are yellow, indicating a
normal level range, and the remaining LEDs are green. The top member of the pair
indicates the level of the signal’s left channel, while the bottom member of the pair
indicates the level of the signal’s right channel. Peak (CLIP) indication is also
provided.
The left VU meter pair shows the level of the PGM 1 output, while the right VU
meter pair (the SWITCHED VU) shows the level of the signal that is selected for
it (PGM 2 or EXT).
METERS Select Button
The METERS buttons select the source for the switched meter pair, as indicated
above.
On Air LED
The ON AIR LED, located in the middle of the meterbridge,
lights up when any input channel is programmed by dipswitch
to have the CR MUTE/AIR TALLY dipswitch activated, and
is also ON.
AIR 3 / Mar 2010
page 21
INSTALLATION and POWER
Hook-Ups
The rear of the console has multiple RJ-45 connectors to plug in 24 stereo line inputs,
the external input, caller connections to and from hybrid, as well as providing studio,
control room, microphone, PGM, and USB analog output connections. There is also a
6-pin plug terminal (CT7, on the CONA3-4 PCB) provided for microphone inputs.
A DB-25 is provided for control connections and for the Cue output.
There is also a USB port with type B connector available for interfacing with a
computer (see page 2-4 for details).
Pinouts drawings on pages 1-9 through 1-11 show all wiring connection at glance.
Audio Connections
Analog Stereo Inputs - RJ-45 (1 through 12)
The signals are analog stereo; level is +4dBu balanced.
A RJ-45 Pin 1 – HI
A RJ-45 Pin 2 – LO
A RJ-45 Pin 3 – HI
A RJ-45 Pin 6 – LO
B RJ-45 Pin 1 – HI
B RJ-45 Pin 2 – LO
B RJ-45 Pin 3 – HI
B RJ-45 Pin 6 – LO
INPUT A LT
INPUT A RT
INPUT B LT
INPUT B RT
MIC 1 and MIC 2 Inputs - 6-pin Plug Terminal
All signals are analog mono. The mic input level is normally -50dBu balanced.
Pin 1 – MIC 1 In SH
Pin 2 – MIC 1 In LO
Pin 3 – MIC 1 In HI
Pin 4 – MIC 2 In SH
Pin 5 – MIC 2 In LO
Pin 6 – MIC 2 In HI
These connections are to the inputs of
two internal mic preamplifiers. The outputs of the mic preamplifiers must be
connected to the desired line inputs
before you will be able to hear the
microphones. See page 2-3 for details.
MIC 1 and MIC 2 Outputs - RJ-45
All signals are analog mono, unbalanced.
MIC 1 OUT RJ-45 Pin 1 – HI
MIC 1 OUT RJ-45 Pin 2 – SH
MIC 1 OUT RJ-45 Pin 3 – HI
MIC 1 OUT RJ-45 Pin 6 – SH
MIC 2 OUT RJ-45 Pin 1 – HI
MIC 2 OUT RJ-45 Pin 2 – SH
MIC 2 OUT RJ-45 Pin 3 – HI
MIC 2 OUT RJ-45 Pin 6 – SH
AIR 3 / Mar 2010
page 22
INSTALLATION and POWER
Caller Connections - RJ-45
The signals are analog mono; level is +4dBu balanced.
CALLER IN RJ-45 Pin 1 – HI
CALLER IN RJ-45 Pin 2 – LO
CALLER OUT RJ-45 Pin 1 – HI
CALLER OUT RJ-45 Pin 2 – LO
PGM Outputs - RJ-45
The signals are analog stereo; level is +4dBu balanced.
PGM 1 OUT RJ-45 Pin 1 – HI
PGM 1 OUT RJ-45 Pin 2 – LO
PGM 1 OUT RJ-45 Pin 3 – HI
PGM 1 OUT RJ-45 Pin 6 – LO
PGM 2 OUT RJ-45 Pin 1 – HI
PGM 2 OUT RJ-45 Pin 2 – LO
PGM 2 OUT RJ-45 Pin 3 – HI
PGM 2 OUT RJ-45 Pin 6 – LO
PGM 1 LT OUT
PGM 1 RT OUT
PGM 2 LT OUT
PGM 2 RT OUT
External Inputs - RJ-45
The signals are analog stereo; level is +4dBu balanced.
EXT IN RJ-45 Pin 1 – HI
EXT IN RJ-45 Pin 2 – LO
EXT IN RJ-45 Pin 3 – HI
EXT IN RJ-45 Pin 6 – LO
EXT LT IN
EXT RT IN
Monitor Outputs - RJ-45
The signals are analog stereo; unbalanced.
CR OUT RJ-45 Pin 1 – HI
CR OUT RJ-45 Pin 2 – SH
CR OUT RJ-45 Pin 3 – HI
CR OUT RJ-45 Pin 6 – SH
STU OUT RJ-45 Pin 1 – HI
STU OUT RJ-45 Pin 2 – SH
STU OUT RJ-45 Pin 3 – HI
STU OUT RJ-45 Pin 6 – SH
CR LT OUT
CR RT OUT
STU LT OUT
STU RT OUT
USB Output - RJ-45
The signals are analog stereo; level is +4dBu balanced.
USB PORT OUT RJ-45 Pin 1 – HI
USB PORT OUT RJ-45 Pin 2 – LO
USB PORT OUT RJ-45 Pin 3 – HI
USB PORT OUT RJ-45 Pin 6 – LO
AIR 3 / Mar 2010
USB LT OUT
USB RT OUT
page 23
INSTALLATION and POWER
Cue Output and Control Connections - DB-25
All control ports (except On Air Tally and Mic 2 TB to Cue/CR) use opto-isolators.
Functions include Mic 2 TB to Cue/CR, On Air Tally, and Start for remote source
machines. Several pins can be used for the common side connections to remote starts,
as indicated on the pinout below.
DB-25 Connections
Pin 1 – Start Channel 1
Pin 2 – Start Channel 2
Pin 3 – Start Channel 3
Pin 4 – Start Channel 4
Pin 5 – Start Channel 5
Pin 6 – Start Channel 6
Pin 7 – Cue Out
Pin 8 – Cue Out Audio Common
Pin 9 – On Air Tally N.O.
Pin 10 – On Air Tally Common
Pin 11 – Mic 2 TB to Cue/CR
Pin 12 – Mic 2 TB to Cue/CR Common
Pin 13 – Start Common
Pin 14 – Start Common
Pin 15 – Start Common
Pin 16 – Start Common
Pin 17 – Start Common
Pin 18 – Start Common
Pin 19 – Start Channel 7
Pin 20 – Start Channel 8
Pin 21 – Start Channel 9
Pin 22 – Start Channel 10
Pin 23 – Start Channel 11
Pin 24 – Start Channel 12
Pin 25 – Start Phone Channel
Typical DB-25
connector
Cue Output
The Cue output signal (for feeding an external cue amplifier) is mono unbalanced.
AIR 3 / Mar 2010
page 24
INSTALLATION and POWER
To START Remote Source Machines Using Channel START Switches
EXTERNAL START — Hook up the remote machine’s “start” control pins to the
DB-25 connector control pins; for example, for channel 1 wire to Start Channel 1, Pin 1,
and Start Common, either one of the Pins 13 - 18.
MIC 2 Talkback to Cue/Control Room
The talkback to cue logic input is used to connect an external user-supplied button that
enables the person activating it to talk to the operator in the control room, via the
console’s cue speaker. Provide a closure between Mic 2 TB to Cue/CR, Pin 11 and Mic 2
TB to Cue/CR Common, Pin 12. This will cause the channel’s pre fader signal to be sent
to the console’s Cue bus, where it may be heard by the console operator. This nonlatching condition continues until the closure is released. (Requires a user-supplied
momentary action TALKBACK switch at the studio microphone location.)
On Air Tally
Lets any programmed channel’s START switch control an on-air light or other
“microphone on” indicator at a remote location. This control function provides a contact
closure between Pin 9 (On Air Tally N.O.) and Pin 10 (On Air Tally Common) whenever
the module is ON.
This signal can be used to control an externally powered tally light that requires a
continuous closure to function. Current should not exceed 2 amps at 30 volts DC.
AIR 3 / Mar 2010
page 25
AIR 3 / Mar 2010
AIR 3 Console Rear
page 26
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