Solidyne D-816
ON-AIR compact console
User’s manual
3 de Febrero 3254 (PC 1429)
Buenos Aires - Argentina
Phone: +54 11 4702 0090
e-mail: [email protected]
Fax: +54 11 4702 2375
Web site:
Last revision: May 2015
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D·816 broadcast console
Table of contentsCHAPTER 1
Overview .................................................5
1.1 Shipping list.....................................................5
1.2 Features...........................................................5
1.2.1 Input channels.....................................................5
1.2.2 Monitoring...........................................................5
1.3.3 Outputs................................................................6
1.3.4 Start devices........................................................6
1.3.5 ETM - VCA............................................................6
Installation and wiring ...........................7
2.1 On installation.................................................7
2.1.1 Parasitic signals..................................................7
2.2 REAR PANEL – connecting............................8
2.2.1 Power Supply......................................................8
2.2.2 Input channels.....................................................8 LINE inputs....................................................8 USB DIGITAL INPUTS..................................8 MICROPHONE INPUTS...............................9
2.2.3 Audio outputs......................................................9 PROGRAM AND RECORDING....................9 USB OUTPUTS...........................................10
2.2.4 Monitoring outputs...........................................10 HEADPHONES...........................................10
2.2.6 Telephonic Hybrid.............................................10 CONNECTING STANDARD LINES............10 CONNECTING A CELL PHONE.................11
Connection to a computer.......................................12
2.2.7 Start Devices.....................................................12
2.2.8 Generals tips.....................................................12
2.2.9 Grounding .........................................................14
2.2.10 Recommended grounding for a FM station..15
Using the console ................................15
3.2.2 Return to phone line.........................................17
3.2.3 Rejection setup (Null).......................................17
3.2.4 Managing conferences.....................................17
3.2.5 Vox-IP communications (Skype).....................17 Connection via Skype, or similar,
with a remote journalist.............................18 Make a conference between Skype
(or similar) fixed lines and cell phone.......18
3.3 Monitor section.............................................19
3.3.1 Using monitors and headphones....................19
3.3.2 Previous listening (CUE)..................................19
3.3.3 Talk-back...........................................................20
3.4 Microphone channels...................................21
3.4.1 Features.............................................................22
3.4.2 Processing.........................................................22
3.5 Line channels................................................23
3.6 Recording programs.....................................23
3.6.1 Direct to Hard Disc recording..........................23
3.6.2 Recording calls.................................................24
Solidyne StudioBox .............................25
4.1 Overview........................................................25
4.2 Connecting the StudioBox...........................25
4.2.1 Connection to the mixer console....................25
4.2.2 Connections at the Studio...............................25
4.3 Using the Studio Box....................................26
Maintenance .........................................27
5.1 How to get a long life of the console.................27
5.2 Preventive Maintenance......................................27
5.3 Spare parts...........................................................27
5.4 Service Manual.....................................................27
3.1.1 Quick checking.................................................15
Specifications .......................................29
3.2Using the hybrid channel..............................16
6.1 Testings.........................................................29
3.2.1 Operation...........................................................16 Use with a CELL PHONE............................17
6.2 Technical specifications...............................31
3.1 Overview........................................................15
D·816 broadcast console
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D·816 broadcast console
1.2.1 Input channels
Shipping list
When unpacking the unit; check the contents to verify that the console has not received blows during the
shipment. Inside the packaging you receive the following elements:
1 power supply.
This user’s manual
1 guaranty agreement
Wiring kit (optional). If you did not acquire the wiring
kit, you will receive the corresponding DIN connectors.
1 tubular connector (2,5 mm) for Tally Light
4 self-adhesive rubber pads.
The console has a folding vu-meters turret. Into the
packing the turret comes refuted backwards. After
unpacking the console, fits with carefully the position
of the turret for an optimal visualization. Usually it is
not necessary, but if you need to fit the screws of the
turret, you will have to use a hexagonal ALEM 5/32”.
There are 3 microphone channels with phantom
power of 48V, switched from the front panel. Mic
channels have a processing stage that includes 4
bands equalizer and automatic dynamic range
compressor. Each microphone channel can be sent
individually to the air signal (PGM) or assigned to the
processing stage. MIC-3 channel can be switched to
AUX stereo line input.
Four LINE channels allow connecting up to 8
sources. Channels 4 and 5 manages balanced analogical inputs whereas channels 6 and 7 are digital,
with direct connection to the computer via USB ports.
Additionally all channels have one analog auxiliary
All the channels count on a gain control, that take effects on the selected input (main or auxiliary).
Chanel # 8 “Telephone Hybrid” manages two land
telephone lines (2 wires) and one cellular phone input (4 wires). Cell phone is connected using the “free
hands” connector. The three phones can be in conference. The use is very simple, since many functions are automated. Additionally, the console has
send and return connector for external hybrids.
1.2.2 Monitoring
The monitoring section distributes the signals to the
loudspeakers and headphones of the study and the
control room.
D-816 console is a compact, solid and elegant unit;
with a great flexibility for interconnection. It includes
USB digital I/O which brings digital link with the computer; avoiding the use of soundcards in the PC.
D-816 has eight professional 100mm Conductive Ceramic faders of with ETM-VCA control that offer a life
utility of one million operations. It is the best solution
for small and medium radios; and for auxiliary
recording studies in great stations.
Studio section has a unique level knob for loudspeakers and headphones; and the assignment
switches that allow select between ON-AIR signal
(external tuner), console output (PGM) or recording
output (REC). Usually the console level is adjusted
for a comfortable headphone level and then the active speakers are adjusted for desired level.
Control Room monitoring has independent control
for headphones and loudspeakers volume. You can
choose between AIR (external tuner), PGM and
CUE monitor The console has a built-in loudspeaker
for cueing, with its own control level. CUE is an internal send that allows listening to the audio signal previous to the fader. The cue signal also is sent to the
Control Room headphones.
D·816 broadcast console
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Additionally, monitoring section contains the Talkback circuit; that operates as well in combination with
loudspeaker CUE to engage in a private dialog from
the hybrid with a telephone call without disturbing the
on-air signal.
It allows to command the automation software computer, digital audio processors like Solidyne 462dsp
& 562dsp or CD/DAT/ Minidisc players, Satellites,
etc., provided with remote control.
1.3.5 ETM - VCA
1.3.3 Outputs
The D-816 console has two main outputs. Line, microphone and hybrid channels have two stereo
sends to the output stage, they are called: PGM (program) and REC (recording).
In addition it has two USB digital outputs that appear in the computer as external sound recording
devices (USB recording devices) and sends the program (channel 6) and REC (channel 7) signals.
Summarizing, the outputs are as follows:
PGM, The PROGRAM output is used the
send the signal to the air.
REC, used to recordings (and allows to listen a channel in the main monitors without
send it to the air).
REC USB, recording output is also available
via USB (only if channel Digital USB-7 is
PGM USB (Which appears in the PC as
“USB recording device #1”). It can be used
as source of signal to WEB casting.
Using the technique of control by ETM-VCA (Electrometric Voltage Controlled Amplifier) the faders DO
NOT manage audio signals. The variation of the
level is made by means of amplifiers of low noise
and great stability. The main faders only handle control signals that modify the gain of the electronic amplifiers. For more information please visit our WEB
The main advantages of this technology are:
Eliminates the noisy signals due to dirty
Eliminates the maintenance and improves
the life of faders.
Gives a perfect stereo tracking (less than
0,1 dB error) between Left and Right channels.
Allows using Conductive Ceramic faders
of one million guaranteed operations
(about 15 years of use).
D-816 has send & return connections for external
hybrid. The audio from the external hybrid enters
trough the “hybrid channel” and operates just as the
built-in hybrids; which continue being operative.
Please note that land lines of internal & external hybrids will work in conference.
The Tally output allows the direct connection of ONAIR LED’s lights. Tally activates when opening the
channels MIC-1 and/or MIC-2 (channel MIC/3 does
not activate the tally; since it can operate as line or
microphone). The LOAD DOES NOT HAVE TO EXCEED the 120 mA (two Solidyne AIR lights).
If your radio uses the old incandescent light bulbs, a
12 V relay must be connected.
1.3.4 Start devices
This D816 console allows starting remote devices
when some faders are opened (MIC-1; MIC-2; LINE
5 and LINE 6)
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D·816 broadcast console
-Installation and wiring2.1 On installation
Installation of Solidyne audio console doesn’t
present particular problems. However, keep in mind
the basic rules for all professional audio installations.
The inputs and outputs of the D-816 series incorporate DIN-5 multi-pin connectors for stereo balanced
inputs (provided with the console). You can acquire
the Solidyne wiring kit (MNG816), which incorporates
all the cables and connectors needed for installing
For console grounding use the rear side GND bronze
tip with a 2mm cable to a good buried cooper bar.
2.1.1 Parasitic signals
All unwanted signals that appear in audio lines usually consider parasitic signals. A common type are
denominated humming, low frequency signals (multiples of 50/60 Hertz) caused by the interaction of
electromagnetic fields coming from the AC line.
When the interference source is a magnetic field
(generally originated in a supply transformer) the resultant interference will be denominated electromagnetic humming. When the interference is due to such
electric potentials as cables that take supply tensions, that are elevated in comparison with the audio
signals present in the circuit, you will be in presence
of electrostatic humming. The distinction is not
merely academic, because the resolution of a problem supposes the knowledge of the noise type to apply the correct solution.
Examples: To minimize the reception of electromagnetic
humming in the wires, remember the following rule: "THE
It implies that the cables will be tied very close, like the
shielded twisted pair audio cables. They should pass far
away from any transformer or devices that manage highintensity currents. Is important to remember that a wire
can be good shielded, but if his conductors don’t complete
the conditions of minimum area it will be susceptible to
take magnetic humming.
Other parasitic signals are: AC HUM, RADIO FREQUENCY and CROSSTALK. As hum noises like the
radio frequency are originated by electromagnetic
fields of high frequency; the first ones are originated
by disturbances due to the connection and discon-
nection of equipment’s to the AC line, the seconds
ones are generated by communications transmitters
or industrial equipment. If these signals penetrate
into audio lines, with sufficient intensity, can surpass
the action of the special protection filters, and to
reach some sensible part of the input stages. In that
case, the interfering signals can be demodulated and
already turned audio signal, and will be amplified by
the rest of the system. It is fundamental, therefore, to
maintain the interference within reduced margins. It
is obtained avoiding very long audio lines, with aerial
sections or that pass near of transformers or RF
transmitters. For protection against very high frequencies is advisable to use double shielded cables,
guarantied by the manufacturer.
CROSSTALK is the reception of signals coming from
other lines of audio. This, like all unwanted noise, it
can be supposed controlled when its level is below
the level of the system residual noise. Then, all considerations mentioned for the case of buzz are valid.
2.1.2 RF interference (Hum)
D-816 consoles have numerous internal protections
against RF fields, for the AM and FM broadcasting
band. When the transmission station is installed correctly, there will be no interference problems, still
with FM equipment of 50 KW installed in the terrace
of the radio station. Nevertheless, when the antenna
is badly positioned with respect to the Studio or has
severe SWR problems, then it does not have the
minimum value of field intensity, downward. Or
maybe there is a faulty ground connection, then,
strong standing waves will appear on the cables of
the Studio that can induce high electrical currents inside the audio console.
Symptoms: If the interference takes place at the
A.M. band, the sound transmitted by the A.M. radio
will be listened in the loudspeakers on background
(or at buses PGM, REC). In case of FM transmissions, the interference inside the console demodulates the A.M component of the FM carrier; (usually
hum from power supply) causing background humming, because in many transmitters of FM, the final
output stage is not powered with stabilized tension.
Therefore, if console D816 presents humming,
please make a test shutting down the transmitter a
few seconds to check if the problem disappears.
Sometimes, an FM transmitter with the output stage
D·816 broadcast console
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badly calibrated also produce interference in which
you can hear the transmitted audio (due to the misalignment a part of the FM modulation is translated
to AM modulation).
Solution: D-816 consoles have internal filters
against RF interference. Therefore, if interference’s
appears, normally is caused by installation problems
on the transmission station that generate elevated
currents in the wiring of audio on the Studies, due to
the standing waves. These currents circulates inside
the cabinet of the console, and interferes to the circuits when overpass the barriers that impose to this
currents the built-in RF filters. The solution, then,
must be external to the console.
The solution is to acquire ferrite
O-rings of 60 mm diameter, to
allow passing the cables and
connectors. They will be used in
each connector, of input and outputs. The total set of
cables that goes to each connector, will have to be
twisted around the ring.
REAR PANEL – connecting
2.2.1 Power Supply
At the left side of the rear panel you will find the connector for the power supply. The switching power
supply (provided with the console) works with any
AC network (90-240 V) and tolerate zones with great
variations of tension. Gives regulated 28 VCC.
The console does not have On/Off switch; reason
why it remains fed while the power supply is connected.
The grounding made through a bronze tip located in
the rear panel that provides the ground connection to
the chassis. Use cable of 2mm to a good buried
cooper bar.
2.2.2 Input channels
On the rear panel are located all the inputs and outputs connectors.
Take in mind that good connections offer safe and free
of faults operation. By this reason we recommend you:
take it the time necessary to make the connections carefully and use always material of first quality.
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LINE inputs
Each line channel has two stereo inputs, selected
from the frontal panel. The ‘BAL-LINE' inputs are
symmetrical balanced. These called “LINE” are unbalanced inputs.
To connect an equipment with balanced output you
will need a cable from DIN-5 to two CANNON (XLR)
or stereo Plug’s (TRS ¼”) according to corresponds.
The pin distribution of DIN-5 and XLR are described
next. Remember that you need to connect TWO XLR
to the DIN (balanced left and balanced right).
DIN 5 (stereo bal.)
1 GND (shield)
2 GND (shield)
2 AUDIO (+)
3 AUDIO (-)
Inputs called ‘LINE' are unbalanced. They use connectors type “RCA”. Equipment with outputs of -10 dBV @
10 KOhms can be connected (home type or semi-pro).
The GAIN control is common for both inputs; that is to
say, that operates on the selected inputs.
Digital channels 6 and 7 are for direct connection to
the computer using USB ports.
Standard cables USB A/B are used. Ports 1.1 or 2.0
are supported. Place the CPU so next to the console
as it will be possible, in order to use cables of 2 to 3
meters of length. If it were necessary, can be used
USB extension cables; but it is recommended not to
exceed 4 meters.
The channels must be connected to a computer running Windows© XP; starting by channel 6. When
only one channel is used; channel 6 must be always used. When connecting the channel to the PC,
Windows© automatically recognizes it and installs
the correspondent drivers. Additional drivers are not
D·816 broadcast console
USB channels appears in Windows© as “recording
device USB 1” and “recording device USB-2” (Windows© numbers them according to the order in
which they were recognized). In the console; the display indicator “Digital In/Out” will show “U4”, indicating that stereo input and output of USB channel was
recognized. When connecting to channel 7 the indicator will change to “U8”; and will appear in the computer a secondary playing and recording device
(USB-2). Both USB channels can be connected to
the same PC or to different computers (please see
“Very Important” note).
The channels for microphones are balanced electronically, with XLR standard connectors.
Remember that you can see the playing and recording
devices from “Control Panel > Audio and sound Devices >
Audio”. In this window you define the preferred devices for
Windows (those that applications use by default). This is
simple since the devices are selected from a drop-down
Channel MIC-3 can work like LINE channel, because
it presents a unbalanced auxiliary input with RCA
connectors. Therefore this channel does not command the Tally light and do not mute the Studio Monitors (still being assigned to entrance MIC-3).
Obviously, you must configure the USB devices in the
automation and editing software that you use. If your PC
does not have installed a soundcard, default playing and
recording device will be USB-1 (channel 6 and PGM output).
The floating phantom power of 48 V activates, for the
three channels simultaneously, from the front of the console. Remember that the dynamic microphones support
without problems 48V of phantom, reason why is possible to mix dynamic and condenser MIC’s.
ON THE LEVEL: After installation, you must adjust the PLAYING LEVEL in the Windows© mixer (“Programs > Accessories
> Entertainment > Windows Mixer”); since both channels “born”
SILENCED. Windows© erroneously shows the faders at middle
scale, but the channels are muted. Set the main fader (gain control) and WAVE faders to the Maximum position.
2.2.3 Audio outputs
In addition to the inputs, the connection of USB channels
offers two USB digital outputs, that appears in Windows© as “recording device USB 1” (Channel-6 /
PGM) and “recording device USB 2” (Channel 7 /
REC). So that you have in the computer, in digital format,
the program and recording outputs (please see “ –
CONNECTED; since it is slave of channel 6. In order to
use only one USB channel always connect “DIGITAL 6”.
Usually channel 6 is used with the air PC; which is 24 Hs
Channels 6 and 7 also present analog inputs. Channel USB 6 has an auxiliary input -LINE 6- stereo, unbalanced; with RCA connectors. Channel USB 7 has
a stereo balanced -BAL-7- with DIN-5 connector.
Program output (PGM) is the main output that takes
the signal that will be emitted to the air. It is balanced, with female TRS connectors (a.k.a. “jack”
Recording output (REC) is balanced with TRS 1/4”
In order to connect these outputs to an unbalance input, connect only the (+) terminal, and leaving unconnected the (-) one.
D·816 broadcast console
Balanced connection Plug to male XLR
(for each channel)
TRS (Plug)
XLR (Cannon)
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GND = sleeve
signal (+) = tip
signal (-) = ring
GND = pin 1
signal (+) = pin 2
signal (-) = pin 3
Please do not connect a signal pin (2 or 3) to
ground. Never uses “mono plug' s” to connect the
The nominal output level is +4 dBu @ 0VU. If you
unbalance the outputs, take in mind that the level reduces in 6 dB, therefore 0VU = -2dBm. MONITORS
Note that if some nonprofessional equipment is connected to the balanced output, may the level be too
high, causing saturation. In those cases a fixed attenuator must be used to reduce the level (a resistive
splitter is a solution).
D-816 was designed to work with active loudspeakers. The STUDIO and CONTROL outputs work with
line level at 0 dBu. They have independent controls
for bus assignment and level. Both outputs use female 1/8” TRS connectors. USB OUTPUTS
The output signals PGM and REC are available also
in digital format; for direct connection to a PC using
the USB ports. This feature does not require any
additional installation. The USB recording devices
are available when connecting the USB input channels (please see “ – USB digital inputs). The
channel 6 USB gives the program signal (PGM)
whereas channel 7 USB sends the recording signal
Usually signal REC will be used for direct to hard
disk recording; whereas PGM, that is the on-air signal, finds its main utility for broadcasting of the signal
via Internet (WEB casting). For details of use the
USB outputs in Windows© please see “3,6 - Recording of programs”.
Remember that studio monitors are muted when channels
MIC-1 or MIC-2 are opened. Control Room speakers are
muted when the button Talkback is pressed.
2.2.5 Tally
Tally output gives 12V/120 mA (2 Solidyne Air lights)
when MIC-1 and/or MIC-2 activates. Channel MIC-3
does not activate the light nor mutes the loudspeakers of the studio; since this channel also can operate
as Line channel. Also MIC3 must be used when the
speaker/DJ operates the console from the Control
Room (self-operation). In this case the control room
loudspeakers must be used with very low volume to
avoid feedbacks loops.
The consumption of the Tally Light output
NEVER must overpass 120 mA.
2.2.4 Monitoring outputs HEADPHONES
There are separate outputs for study and control
room headphones; with individual level adjustment.
The Studio output has a distribution amplifier and
supports up to eight headphones of 32 Ohms connected in parallel. So that each speaker has an independent volume control; you can use headphones
with built-in level control or; as a more professional
solution, to mount a control on the speaker’s table. A
potentiometer of 2 x 1KOhm will be right to manage
the level. In this case the level control of the console
is left to the maximum.
Next scheme is the connection for the external level
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The hybrid channel manages to two land telephone
lines and one cellular phone. The internal adjustments are from factory; so the user do not needs to
make adjustments.
On the rear panel there are three RJ11connectors.
Two are for the telephone lines, and the other one is
for the cell phone adapter cable.
The lines can directly be connected to public central
telephone or the local central (PBX) of the radio station.
D·816 broadcast console
The private central sometimes deteriorates the rejection of the hybrid, reason why we advised to directly
connect the console to the public lines, whenever it
is possible.
The associate telephones (used generally by the
Production to answer the calls) are connected in
parallel to the lines in an external box to the console; or by means of RJ11 type “Y” adapters.
The telephone lines internally are protected against
lightings by metallic oxide varistors (SIOV). Nevertheless, we recommend to use additionally external
line protection of good quality.
Although the console has internal protection; it is
recommended to use external line a protection
against transient voltage peaks due to accidents or
An adapter cable-interface is required to connecting the CELL PHONE to the console. This connection differs according to brand and model of the cellular. The following image shows the cellular to RJ11 connection.
nel. The cell phone works in a mode denominated “4
wires” different from the telephone lines (2 wires).
In almost all models, microphone and speaker disconnects while the cell phone is used in “free hands”
mode. Please refers to the user manual of you cell
phone for details on this way of operation.
D816 allows the user to have cellular and land
phone lines in conference EXTERNAL HYBRID
The D-816 series has a connector with send and return from external hybrid.
“External Hybrid” uses a female TRS of ¼” (Jack)
that gives signal (PGM send) by “tip” and receives
signal (return or input to console) by “ring”.
PGM send is MIX-MINUS, that is to say, it sends all
the signals of ‘Bus' PGM, with exception of the Return from Hybrid, to avoid feedback loops.
The audio from external hybrid enters to the console
through the hybrid channel. The main FADER will
behave in the same way that with the telephone lines
connected to the console, sending the signal to the
air or the previous circuit, according to the fader position.
Connection to a computer
This I/O can be used to connect a computer to use a
VoIP software (like Skype or similar). External Hybrid
connects to the computer to the microphone input and
to the line outputs, with a special “Y” cable (¼” TRS to
two 1/8” TRS). See connection below.
TRS 1/4” to
TRS 1/8” to the PC
line output
TRS 1/8” to the PC
line/mic input
Ring (input)
to Tip (Ring N/C)
Tip (output)
to Tip and Ring
Basically, the cellular connection uses a standard
“free hands” cable purchased for that cellular model.
The console sends the program signal to the cell
phone and receives the audio from the cell phone
that enters to the D-816 through the hybrid chan-
D·816 broadcast console
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only admits conference with the lines of the INTERNAL D816s hybrid.
While “cellular” button is pressed, the external hybrid
is in “hold” mode, that is to say, the caller listen all
(less to the cell phone) but does not leave to the air.
In order to air to the external hybrid, “cellular” button
must be released. When the cellular button is released, the cell phone remains disconnected and the
external hybrid can be on air with normality.
ONLY conferences between lines on the console or
2.2.8 Generals tips
Avoid long cables hanging from connectors. Use
pass-cables canals to distribute cables.
Avoid mixing audio cables with AC cables. Use separated ways for each one.
Does not forget that the console connects to
GROUND using a bronze TIP located in rear panel.
Next is an advanced diagram of grounding.
 Audio equipment manages different signal levels: The professionals ones with balanced outputs operate @ +4 dBm or
+8dBm, whereas the home equipment uses unbalanced outputs of - 10 dBm.
 Use balanced inputs (BAL) for professional equipment, and
the AUX (unbalanced) for home equipment.
2.2.7 Start Devices
The output ‘Start devices' allows to command devices when opening certain channels of the console.
There are three signals of control: channels of microphone 1 and 2 (they handle the same output) channel Line 5 and Line 6.
These three control outputs are of open collector
type. They work like a switch. They present high impedance while the channels are closed. When a
channel opens; the output is grounded.
“Start devices” uses a DIN-5 connector; located on
the rear panel in the LINES sector (over the USB
MAX +24 V / 0,1 A
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D·816 broadcast console
D·816 broadcast console
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2.2.10 Recommended grounding for a FM station
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D·816 broadcast console
-Using the console3.1
The analog line channels manage balanced (BAL) and unbalanced (LINE)
stereo inputs.
The digital channels manage two USB
digital inputs (DIG) and two analogical
stereo inputs (LINE).
Additionally; USB offers direct recording to
Hard Disk for PGM (channel 6) and REC
(channel 7).
You can see five areas in the console:
Input channels.
Hybrid channel.
Studio and Control Room Monitors controls.
VU meters.
The different audio sources (microphones, compact
disc players, computers, telephones, etc.); enter to
the console through the INPUT CHANNELS that amplify them. The consoles mix all sources to generate
a unique audio signal, which is sent to the transmitter. The operator manages the level of each signal
using the main faders. A second stereo signal for
recording purposes can be generated using the REC
bus. This signal is independent of the Program signal.
The operator can listen to these signals before connecting it to air; by pressing the CUE buttons.
The turret contains electronic LED’s VU-meters that
show the recording and program level (average peak
3.1.1 Quick checking
Next are described the basic procedures to verify the
console wiring. In order to check that all is working
well, please follows the next steps:
1. Choose a signal source, like a micro-
phone, a CD player, etc. According to the
used source, select in the channel the correspondent input (MIC-LINE or BAL-LIN).
This can be the first cause of error (there is
no signal because the mistaken input is
Just raising the fader, the channel is on the air.
The switches “PGM / REC” define the output for
each channel. The signal can be on the air (PGM) or
it can be routed to the recording output (REC).
Many channels have two inputs; which are selected
from a switch located at the top of the panel.
2. Press CUE button in the channel in which
the signal is.
3. Open the CUE fader in the MONITOR
Channels MIC 1 and MIC 2 only manages
microphone signal. The phantom switch
48V selects feeding to the THREE MIC inputs. Remember that all dynamic microphones are designed to support 48 V
phantom, so that there is no problem in
mixing condenser microphones with the
dynamic ones.
Channel MIC 3 has a secondary stereo input of LINE level, unbalanced. Then, it can
be used as MIC or LIN input.
The three microphone channels can be
routed to the processing stage (4 bands
EQ and compressor) with independence.
SECTION. The audio will have listened in
the built-in loudspeaker.
On the air:
1. Send the channel to PGM, so that the sig-
nal is sent to the main output.
2. Open the main fader until reach 0 VU in
program VU-meter. The signal will be on
the air.
3. The gain knob must adjust so that the nor-
D·816 broadcast console
mal work position of the main fader is -15
dB (gray zone). In some countries (like
England) the user prefers to adjust the normal level with the fader at maximum.
Page 15
Using the hybrid channel
The hybrid channel manages 2 standard telephone
lines, and one cell phone input. Cell phone connects
using the “free hands” cable set (please see “
Connecting a cell phone”). The three communications
can be in simultaneous conference.
It also supports communication conference 'Vox-IP',
made from a computer connected to channel 7
(USB). Turning the key "Return to Vox-IP", the hybrid
channel audio returns the phone lines to the PC
through the REC bus.
3.2.1 Operation
Its use is simple and error free due to its logic of security and automatic control.
When a call enters, a blue LED in the corresponding
line will blink with each ‘ring'.
You can answer in two ways:
a) From the telephone associated to that line;
b) from the console, by pressing the correspondent
line button. When doing it, you will take the line and
the blinking LED will be stopped.
HYBRID FADER must be closed so that the communication takes place through circuit of CUE. In these
conditions, you will listen to the caller by loudspeaker
CUE of the console and at the operator’s headphones. You can fit to the level with the control “CUE
level”; and with the knob “Cue level” of the own hybrid’s channel. In order to engage in a dialog, use the
microphone of the talkback system, pressing button
TALK (when two lines are taken, the talk-back MIC is
sent to both callers). You will engage in a dialog in
mode half duplex.
When the private dialog finalizes, you can raise the
fader HYBRID towards the position “HOLD”, that
sends the on-air signal to the telephone lines to retain
the caller in waiting mode. The caller listens to the radio (PGM signal). The CUE return disconnects automatically in this position.
If now you raise still more the fader, you send the
calling to the air. The final position of fader is obtained verifying the level of the calling in the PROGRAM VU-meters of the console.
SWITCH PGM - REC: So that the communication be
on air, switch PGM-REC must be on PGM. The hybrid
signal is sent to AIR or to recording output according
to the position of this switch. Please see “3.6.1 Recording of telephone lines”.
In order to quit the calling from the air and to send it to
the CUE circuit, close the fader HYBRID. If you want to
take the communication on the telephone set, you
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D·816 broadcast console
must off-hook the telephone before to release the line
at the console (remember that the associated telephone is connected in parallel). If the telephone is
hung, the communication ends when release the line
brids we use a processed return channel, to avoid distortion at the on-air signal. There are hybrids manufacturers that maintain the return control level as they did
in the past. This allow operators to adjust "by hunch"
this critic level. This makes the voices of the reporters
and interviewed people distorted or with coloration. Use with a CELL PHONE
In Solidyne obviously, we 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.
The procedure is the same one that for land telephone
lines. The difference is: the call is not answered from
the console, but from the own cell phone.
Once answered, press the button “CELLULAR” at the
console to enter the audio. The audio enters to the console through “HYBRID” fader.
Like with the conventional lines, you can listen in previous that call; to engage in a dialog pressing TALK; to
leave waiting to the caller (HOLD) and to send the call
to the air opening the fader (AIR).
If you want to call from the cell phone, it is possible to
make the call and to connect soon the “free hands” cable to the telephone. Or it can contact with the connected telephone, listening to the audio by CUE and
pressing TALK to engage in a dialog (fader closed).
If you need this feature, please use an external hybrid with
Cell Phone connection, like Solidyne HA204.
To achieve this level of quality we use a narrow-band
return filter. Then the return signal is limited to the
band 400 – 2.200 Hz in order not to distort the signal
to the air. This narrow band intelligibility remains high
(due to processing) but occasionally may seem to the
remote people that it "has little volume" because his
band is narrow. This should not worry because it is a
subjective sensation that does not affect the intelligibility of speech.
3.2.3 Rejection setup (Null)
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 air.
Whichever greater it’s this factor more “clean” will be
the sound quality of the local speaker on the air. In order set the rejection, proceed as following:
1. Make a calling through one hybrid of the console.
2. Listening to the voice of the local speaker from the PGM
monitor, carefully turns the preset “Null” until reducing to
zero the distortion superposed to the speaker’s voice.
Please make this adjust when the console is installed.
3.2.2 Return to phone line
3.2.4 Managing conferences
Most of the existing telephone hybrids on the market
today, were designed over 30 years ago for analogue
telephone exchanges (PBX) 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. Therefore the return is automatically adjusted during the transmission and its level is
the maximum allowed by the modern digital telephone
The conference can be made establishing the calls
from the associate telephones and sending them to the
air by pressing “Line 1” and “Line 2” on the console.
Once taken the callings in the console, you must hang
the telephones.
Let us suppose that the speaker is engaging in a dialog
with an interviewed person who called (or he was
called) by the line #1; and you want to add to the conversation another person. Using the associate telephone, you make the call from the line #2. Once contacted; press the button “line 2”. The calling will be DIRECTLY on the air. Remember to hook the telephone.
In the same way proceed with the cell phone.
If you want to check the return level to phone line, you
must use a 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 goes to air. So in Solidyne hy-
3.2.5 Vox-IP communications (Skype)
While not the hybrid channel who provides communication via Internet, we will explain here the procedure for communication using VoIP software like
Skype or similar.
D·816 broadcast console
Page 17
to the air as usual, opening the fader of Channel 8
CONNECTED; since it is slave of channel 6. Both channels can be connected to the same computer.
Usually channel 6 is used with the air PC; which is 24 Hs
Turning on the key "Return VoxIP" in Hybrid (moving it to the left) a return signal from the Hybrid is
send to Skype (through the REC bus). This will see
reflected in the REC VU-meter, since it will shows
the Hybrid signal. This way everyone are in conference.
ATTENTION Connection via Skype, or similar, with a
remote journalist
To make this proceed as follow:
a) At the console, switch the microphones to
the EQ and assign the signal to PGM and
REC (switches to the right).
Communication via SKYPE has a priority system that attenuates the speaker when he is interrupted. This makes it impossible to send the background music in the return signal, it will
cause interruptions in the audio who's talking.
b) The channel 7 must be assigned to PGM,
but not to REC (REC button released).
On the computer connected via USB to channel 7,
make a communication using Skype or similar software. Before, check the devices configuration of
VoIP software to set the I/O devices to USB-2 (D816
CH 7).
During the call, the signal from the microphones is
sent to the remote location via Skype (via the bus
REC). Note that when local journalists speaking, the
VU meters on PGM and REC activates at the same
The audio from remote journalist enters to the D-816
via USB. Opening the channel 7 the Internet signal
is on the air, so the local speaker and remote partner
are communicated with each other, on the air. Make a conference between Skype (or similar) fixed lines and cell phone.
The D-816 allows maximum flexibility to generate a
virtual forum between journalists and interviewees,
very far apart. For this proceed as follows:
1. Keep the controls like previous description
a) and b).
2. At Channel 8 (Hybrid) move the switch
Once communication is established via Skype (or
similar) you will be in the previous situation. You may
receive or generate phone calls from landlines or a
cell phone. Under this conditions, the callers are sent
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D·816 broadcast console
Monitor section
Audition level for
Studio loudspeakers
and headphones.
Assign PGM or REC to the
Studio monitors
Assign output PGM or REC to
the Control Room
Audition level for the Control
Room active loudspeakers
Change the monitoring between external input ‘ON AIR’
and PGM/REC (Requires an
external tuner)
Control Room headphones level
CUE level. Adjust the volume
of the built-in loudspeaker.
The signal CUE also is sent to
the ControlRoom headphones
Talkback volume
PZM MIC. For TalkBack
and hybrid.
Talkback to Studio
MASTER MIC: Enables the 3 microphones.
In channel 3 only takes effect when the input
switch is in position “MIC”. If switch is in “LINE”,
“Master Mic” not take effect over this channel.
3.3.1 Using monitors and headphones
At the monitors section you can observe the following areas:
Studio Monitor: here you define what signal you
will listen at the Studio monitors and headphones.
Control Room Monitor: define what signal you
will listen at the Control Room monitors and headphones.
CUE: set the CUE level of the built-in loudspeaker.
A unique level control manages the headphone and
monitor outputs for the Studio. Normally the monitoring level adjusts from the console for a comfortable
listening in the headphones. In case that you wants
individual control for each headphone; you can make
external level control using a potentiometer of 2 x 1
Kohm, mounted in the table.
The Studio monitors have their own gain control,
since the console’s output was designed to operate
with powered monitors. Remember that when the microphones activate, opening its faders, the audio in
the studio monitors is muted, to avoid feedbacks.
The Control Room section offers independent gain
controls for headphones and monitors. The Control
Room monitors must be powered units (active
Using the routing switches you can choose the signal
that will be listened in monitors and headphones.
The assignments for Studio and Control Room are
independent. The options are:
PGM to listen the console output.
REC allows the listening of the channels that
are assigned to recording output.
AIR switches to an additional input, designed to
connect an external tuner in order to monitoring the transmission from the air. This is the
right way for monitoring; recommended for all
the radios.
3.3.2 Previous listening (CUE)
The D-816 has an internal loudspeaker for previous
listening. Each channel has a button “CUE” that allows to listen the signal present in that channel with
the channel fader closed.
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Page 19
If CUE is pressed in several channels, the signals
are added. Rotary CUE level controls the volume in
loudspeaker CUE.
Additionally, signal CUE is sent to the control room
headphones. In this way the operator can check the
channels using headphones.
3.3.3 Talk-back
The talk-back circuit allows the operator to talk with
the speaker while he is into the studio.
In order to talk, press the Talk-back button (see monitor panel drawing) . The Control Room monitors will
be muted, to avoid feedbacks loops. Your voice will
be listened inside the Studio, by the left channel. The
right channel stays with the on-air audio, so that
speakers and journalists do not lose the On-Air reference. At the same time talk-back microphone will be
listen in all studio headphones.
The operator can press CUE in a microphone channel to engage in a dialog with the Studio.
Page 20
The level of the talk-back microphone comes calibrated from
factory, and usually it is not necessary to modify it. If you
need to change it, there is a preset called “LEVEL” to make
the adjustment.
D·816 broadcast console
Microphone channels
Enable/disable the
phantom power (48V) for
all mic channels.
Input switch (LINE/MIC-3)
4 bands EQ. This stage has a
dynamic range compressor
compresor that begins to work
over 0 VU. The indicator “MIC
compressor” shows its action.
The processed signal can be sent to
PGM and REC. To the left, the
switch cancels the sending.
MIC-3/Line channel can be
send to program bus (PGM
pressed); to recording bus
processor stage (EQ) with
both buttons released. If
both buttons are pressed,
the signal is only sent to
The channels can be assigned
direct to PGM or be send to the
processor stage (EQ)
Previous listening (Cue)
Main fader. To enable the
microphones press the
MASTER MIC button,
located at the right on the
The gain must be adjusted
in order to the main fader
works over -30 dB
indication. OVL indicates
overload, thjat is to say,
excesive input gain.
The apropiate operation
level is mantaining the
peaks at 0 VU
D·816 broadcast console
Page 21
MIC-3 can be assigned directly to recording (note that MIC-1 and MIC-2 only can be
sent to REC through EQ).
MIC-3 does not activate the tally light nor
mute the Studio monitors. If you need to use
only one microphone, please considers that
will have to use MIC-1 or MIC-2, never MIC-3.
Unlike the main line channels, LIN-3 cannot
be assigned simultaneously to PGM and
REC. If you press both buttons PGM and
REC, the audio is sent only to program.
As reference we
said that the LOW
(or bass) control offers “body” and
voices; whereas the
HIGH one adds
“presence” and usually improves the intelligibility. The central frequencies have
a bell-shaped curve
(peak EQ). Mid-bass
is centered in 160
Hertz, where usually
the plopping effect
are concentrated, or
there is excessive
resonance in certain
masculine voices.
The mid-high band
is located at 5 KHz,
because around this
appear the problems
with the “sss” (excessive emphasis
the sibilants sounds,
like “shhh”)
LIN-3 can be routed to EQ. But only in mono
3.4.1 Features
There are three microphone channels. The “Phantom 48V” is common for the three channels; that is
to say, the phantom enables/disables simultaneously
for the three channels. Remember that all dynamic
microphones can connect to a line with phantom
voltage, without risk of damage; because internally
they have a transformer that disconnects the DC. So
it is possible to mix dynamic and condenser microphones.
Channel MIC-3 shares an auxiliary input line (unbalanced). Being a MIC & Line channel, it has some
special features:
All the channels have a gain knob. It must adjust so
that the main fader works over the overload “OVL”
indication (- 30 dB). Remember that in all audio consoles, excessive input gain reduces the dynamic
range. If you work with the main fader below this
level, the signal from the previous stage must be
very high and the peaks will be clipped.
maintains constant
the peak level of the
human voice. It
starts to work when
the signal surpasses
the 0 VU level. Below that level the dynamic range is not affected. D-816
has a very steep compression slope and fast attack and
recovery times.
Indicator “MIC COMPRESSOR” shows in dB the reduction applied to the signal.
3.4.2 Processing
Each MIC channel can be sent directly to the air
(PGM) or the processing stage (EQ + compressor).
As well, the processed signal can be sent to the air
or to recording out.
Equalizer: The equalization settings are the same for all
assigned channels. The figure shows the equalization
curves. These curves are designed to improve the quality
of the human voice. The ends of the spectrum work in
shelving way, with 15 dB action.
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D·816 broadcast console
Line channels
3.6 Recording programs
The D-816 console has four stereo LINE channels.
Line channels have two inputs that are selected from
the front panel.
Channels 4 & 5 have balanced stereo inputs (DIN-5
connector) and unbalanced
stereo inputs (RCA).
Channels 6 and 7 are digital
inputs, with direct connection
to the PC via USB. It is
equivalent to have two external soundcards. Additionally
they provide USB digital outputs (PGM and REC). Channel 6 provides a secondary
analog unbalanced stereo input (RCA), whereas channel
7 has a analog stereo balanced input (DIN-5).
Channel MIC-3 can work as
Line 3 (unbalanced).
Like the microphone channels,
line channels have gain adjustment that must be set for the
channel faders working above
the OVL zone, to avoid overload.
NOTE: please see at “ –
Digital inputs/outputs” the special
note about the USB audio levels
and Windows©.
To route the signal on the air; assign the channel to PGM and
open the fader. The correct level
is obtained when the peaks of
the signal reach 0VU.
Connections are explained at
“Chapter 2 – Installation and
Main faders of all channels work
with ETM-VCA technology
(Electrometric-Voltage Controlled
Amplifier). The fader only manages DC, that control amplifier of variable gain.
This method guarantees very low distortion and full
eliminates the possibility of noise by wearing down of
the fader. Complete information about the new ceramic fader technology, used in D816, will be found
at our WEB site.
D-816 consoles have two stereo output channels.
The main channel is denominated Program (PGM)
and used for the On-Air signal.
For recording REC is used. You can make recordings while, simultaneously, the console is on the air.
We will see like example the procedure to make a
recording in the computer whereas a musical program is on air.
3.6.1 Direct to Hard Disc recording
Remember that the main output (PGM) and the
recording output (REC) are available in digital format, through connections USB.
Once connected, the outputs appear in Windows©
like: (Control Panel/Audio and Sound Devices/Audio)
“USB Recording device USB 1”: corresponds to
channel USB 6 and gives the PGM signal.
“USB recording device USB 2”: corresponds to
channel and gives REC signal.
On the PC: configure your recording software to
use an USB recording device.
At the console: route the channels that you want to
record to REC bus. The others remain assigned to
PGM. You must proceed as follows:
a) In Monitor Section assign the Control Room
monitors to the recording bus (REC). If you
want you can send REC signal to the studio
monitors too.
b) Assign to REC the channels required for the
recording (for example MIC-1 and Line-4).
When a channel is routed to REC it is removed from Air
c) Meanwhile the radio still on air through, for
example, the channel 5 with a musical program.
Now makes the recording on the PC. In order to activate the microphone, open the fader of MIC-1 channel.
The recording level is verified in the REC VUmeter of
the console and in the recording software, and it adjusts from the console. You cannot change the input
level from software (Windows Mixer).
D·816 broadcast console
Page 23
The speakers will listen to the recording USING
HEADPHONES or in loudspeakers. When the
recording ends, it can be listened using the same
REC bus, assigning to REC the channel in which the
When the work is finished, reset all the controls to
the original position, to return the console to the normal way of operation.
3.6.2 Recording calls
The D-816 allows routing the hybrid channel to anyone of the outputs, by means of the switch PGMREC.
You can record calls while a musical programming is
on air. For make this, assigns the hybrid and a microphone to REC out; and proceed with the communication as was explained in “3,2 - Hybrid channel”.
Assign the monitoring to REC to listen to the conversation (see previous point).
Page 24
D·816 broadcast console
-Solidyne StudioBox4.1
StudioBox is an optional accessory which groups in a
single box to all monitoring signals that are needed
into the Studio. It offers the following features:
5 headphone's outputs with independent level
Output for Studio Monitors with level control.
Tally light
Talk-back, to talk with the Control Room operator.
Connecting the StudioBox
MIC (to control room)
2. Studio speakers: Takes the monitoring mix
for the studio speakers. At the Studio, the
speakers (active speakers) will connect to the
3. Studio headphones: Takes the mix for the
studio headphones. Up to 5 headphones can
be used connected to the Studio Box.
4. Reverse talk-back: Is a 1/8” Jack TRS that
sends the signal of the StudioBox's built-in
microphone. This connector allows to plug a
small active speakers at the Control Room,
for the voice talents can talk to the operator
of the Control Room. The operator also can
use the CUE of microphones channels to listen to the Studio voices.
5. Power source: The StudioBox feeds from an
external power source 110/220V 1.25A.
Usually the Studio Box is placed on the table; but a
good choice is fix it to the wall when the table is next to
the Control-Studio window.
4.2.1 Connection to the mixer console
Studio Box connects to the mixer console using a
special cable, which is provided from factory. This cable has a DB15 connecting to the following connectors:
1. Tally light: Is a tubular connector. This connector plugs to Tally output of the mixer to
take the on-air signal and activate the timer
and on-air light of the StudioBox. The second
connector (pass-thru) is for connect the standard tally lights.
4.2.2 Connections at the Studio
Headphone outputs use ¼” stereo TRS (jacks). Any
combination of headphones can be used (16; 32 and
64 ohms).
Loudspeakers output use a 1/8” stereo TRS (minijack). Take in mind that this is a line level output, designed to use with active speakers.
D·816 broadcast console
Page 25
Using the Studio Box
About the Studio Headphones
Studio Box manages up to five headphones with independent level knobs. The maximum level depends
on the Studio Headphones level at the console. The
signal listening also depended on the selection done
in console.
About the Studio Monitors
Loudspeakers output has a level control, but the maximum level and the signal source depended on the
console selection.
If the loudspeakers are connected directly to the console’s speaker outs; “Loudspeaker” doesn’t take effect.
About the Studio Talk-back
The white button has two functions:
When the microphones are off-air, press the
button to speak to the Control Room. The Studio Box has a built-in microphone for this purpose.
At the Control Room, the operator will hear to
the talents using active speakers connected
to the Studio Box. To answer, the operator will
use the standard talk-back circuit of the console.
Being on-the-air, the white button illuminates in
red indicating that microphones are “on-air”.
Obviously, in this condition talk-back feature is
The preset located below the MIC allows to adjust the microphone gain.
About Timer / Clock
The display shows the current time (off-air) or the
time lapsed on air (when microphones activates).
The “counter mode” can be disabled; quitting an internal jumper. Open the back cover of the Studio Box
and to retire the jumper. There is a unique jumper
available. This will always deactivate the on-air
lapsed time counter, being always the time on display.
Page 26
D·816 broadcast console
-MaintenanceIn order to obtain great results with D816 consoles,
we recommend to follow these steps.
5.1 How to get a long life of the console
Maintain the room clean and free of dust. The surface of the console can be cleaning using a very
smooth detergent (the kind used for painted walls)
and a 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
switches. It affects, in addition, to other equipment of
the radio (CD players, microphones, etc.). By the
same reason, don't drink or eat near the console.
D-816 consoles use the new Conductive Ceramic
fader technology with more than one million operation guarantee (usually 15 years of use). Please see
more information at
This faders do not need maintenance nor cleaning.
5.4 Service Manual
Service manuals, with the electrical circuits and components layout, are sent by email to Authorized Solidyne Dealers and radio stations who subscribe a
confidentiality agreement. This Agreement will be
sent by FAX to Solidyne (5411 4702-2375) in paper
letterhead of the radio and signed by its Director or
General Manager
The information is encrypted. To be visualized in the
screen of a computer, the technician will require of a
USB key and software to be able to decode and see
the documentation. This software is sold separately
and is used also for all the Solidyne products.
Please ask your local Solidyne dealer about this software.
Solidyne brings full support to technicians during the
repair work. Please contact us at:
[email protected]
5.2 Preventive Maintenance
The D816 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.
Usually D816 console do not need special maintenance routines. Be sure the operator’s has a gentle
use of the console. Remember that the rear connectors are not designed for daily use; avoid connection
of headsets directly to console. When the operator’s
changes frequently its headsets, use an external
patch panel to avoid wearing console jacks
5.3 Spare parts
All faders are assembled using connectors, and they
are mounted to the chassis with two screws, so its
replacement is very easy.
Once outside, any module is easily repaired thanks
to that all the components are clearly identified in the
Service Manual (see 4,4). Usually we recommend to
acquire the complete module and to change it because its low cost does not justify to repair it.
D·816 broadcast console
Page 27
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Page 28
D·816 broadcast console
-Specifications and testing6.1
The radio stations that have their own Technical Department sometimes needs to carry out measurements
when receiving the console. Also some engineers estimate convenient to make a general inspection every
some years, to verify if the specifications continues being perfect.
The methods and comments that are given next refer to
the Technical Specifications that figure at the end of this
Before starts any measurement, make sure that all
modules present the following conditions: PAN POT
controls must be at the center position. PGM, AUD,
and SEND buttons must be released; and AIR and
CUE must be off. Be sure the console is properly
grounded and no RF is present at the measurement
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.
nect 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
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 mind
that the common mode rejection isn’t applicable for this
Balanced Outputs
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.
Another possibility is to measure all in unbalanced
mode (only one pin), adding 6dB to the results.
Set the audio generator to 1 kHz -80 dBm. Select MIC
and PGM on this channel. Move the main fader 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.
Change to the right input of this channel (or to another
channel) and repeat the procedure.
Adjust the generator to -80 dBm @ 1 KHz. Select MIC
and PGM in this channel. Move the main fader and the
gain knob to the maximum position. The difference between the obtained output level and -80 dB is the gain
of the console.
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; move to the maximum the GAIN knob 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.
Connect a microphone input to an audio generator.
Connect the audio level meter and the oscilloscope to
the output. Charge this output with 600 ohms.
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. Move the main fader to
the value -10 dB. Change the gain of the module or the
generator output until obtaining +4 dBm at the output.
Swap the frequency between 20 and 20.000 Hz and
verify the frequency response.
Increase the gain with the main fader until obtaining +15
dBm at the output. Use this value like reference. Con-
D·816 broadcast console
Page 29
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.
Stereo Tracking
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.
Replace now the audio generator by a resistance of
150 ohms placed inside the 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-RE; that is to say:
EIN (dBm) = 65 + Vn(dBm)
If the “ A” weighted filter is not available, a simple RC filter
will be used, that attenuates 3 dB in 15 khz. The measured
noise will be between 5 and 7 dB above to the real one.
6.1.11 Signal/Noise ratio
Harmonic Distortion (THD)
Connect the audio generator at 1 KHz / 4dBm, 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 BAL and
PGM in this channel. The other switches should be
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.
6.1.10 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-weighting noise filter.
Change the generator output to 1 kHz / -50 dBm. Select MIC and PGM in the channel under test. Enable
the module by pressing AIR. Set the main fader to
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-10 dB. Change the gain control until obtaining +15
dBm at the console output (this is the reference level:
REF). Verify that the signal does not clip.
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.
6.1.12 Crosstalk
Connect the audio generator (+4 dBm; 1kHz), to a
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 REC output. Connect another load of 600 ohms to the left PGM output. All
buses in others modules must be on REC bus. Move
the fader to the maximum. Change the level of the
generator until obtaining +15dBm in the REC output.
Change the position of the audio level meter from
REC to PGM output. Verify that the audio level is +15
dBm +/- 0,5 dB. Change the switch PGM to REC
and measure the residual level of the signal. This
level, referred to +15 dBm, is the crosstalk between
left recording and left program. Repeat for all the
combinations of left and right program with left and
right recording. In the same way, the crosstalk on
PGM bus can be measured. Check it with the console specifications.
D·816 broadcast console
Technical specifications
Audio inputs
Dynamic range
3 balanced MIC inputs (XLR)
3 balanced stereo Line inputs (DIN 5)
4 unbalanced stereo Line inputs (RCA)
2 Digital stereo Line inputs (USB)
From Line to PGM > 90 dBA (CD quality)
Input levels / Impedance
PGM-REC > 65 dBA @ 1 kHz
Balanced MIC= -10 dBu/-75 dBu; 150/250 Ohms
Balanced LINE = -20 dBu/+26 dBu; 600~ 10Kohms
Unbalanced LINE = -15 dBu/+12 dBu; 600~ 10Kohms
Digital: standard USB levels
From LINE to PGM out < 0.03 % THD @30-15.000 Hz.
Phantom power
Stereo tracking
All the MIC inputs have 48 V phantom power supply, with ON / OFF
Below 0.2 dB error L/R in fader range 0 to 40 dB
Analog outputs
Telephonic hybrid
From Line to PGM, < 3º L&R @50-10.000 Hz
2 bus stereo outputs; PGM & REC, balanced + 4 dBm;
Max Level +28dBu (10K), +20dBm (600 ohms)
External Hybrid: unbalanced + 4 dBu
Digital Input/Output levels
It uses the K-12 recommendation for broadcasting; Then, 0 VU is at
-12 dB Full Scale level
Monitor & Hybrid Outputs
1 Stereo Studio, 1 v rms for active speakers, muted
1 Stereo Control, 1 v rms for active speakers, muted
1 Stereo Studio Headphones, with Distribution AMP up to 8 headphones, + 10 dBu
1 Stereo Control Headphones, + 10 dBu
1 External Hybrid send (MIX-Minus) +4 dBu / 10K
Cue monitor
TWO line active Hybrid
It includes a mini-PBX with blue LED silent ringer, Line attention with
free hands operation, and Line Transfer
Frequency Response: 300 - 3.400 Hz
Noise: > 60 dBA S/N
Rejection: > 40 dB rejection
Rejection adjust in front panel preset
Preference attenuator: 12 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 (CUE, private hands free Talk - Hold with Air return - Live On
Telephone input lightning discharge safety
Telephone Hybrid inputs are transformer floating to meet the Public
Telephone service isolation standards. They are protected with SIOV
Varistors against soft lightning discharges.
Internal CUE Monitor Amplifier; 250 mW
24 dB @ LIN to PGM Ref + 4dBu/10 k
Included Talkback MIC, with Audio Limiter. Noise Cancelled PZM
type. Outputs to Phone Line Hybrid or Studio Speakers & Headphones.
Start external devices
From MIC-1 & MIC-2
From Line 5 & 6
Open collector +24V @ 0,1 A
20-20.000 Hz +/- 0.5 dB (LIN to PGM)
4 electronic VU-meters por PGM & REC. Cuasi peak reading, with
standard yellow VU scale.
Microphone compressor indicator 0 - 15 dB
Mic equalizer
Tally Light
Frequency response
Four Bands MIC EQ with In/Out switch; 80 Hz top flat curve, 160 Hz ON-AIR signal output (turns on when MIC is open).
Tubular connector 2.1 mm (internal pin).
bell shaped, 4 kHz bell shaped, 8 kHz top flat
12 V CC @ 0,12 amp (two Solidyne On-Air lights).
Action + 15 dB / -15 dB
Mic compressor
Low distortion MIC compressor with In/Out switch. 20 dB max compression. Attack time < 10 ms. Threshold = 0 VU
Compression ratio: < 2 dB variation for 15 dB change MIC level
MIC input, EIN=-120 dBu/150 ohms
LINE input, S/N > 70 dBA
Tubular connector 1.8 mm (internal pin).
Switching external power supply 90-240 V, 20VA [[email protected],57A]
Dimensions & Weight
350 (D) x 550 x 130 mm 7 Kg shipment weight
D·816 broadcast console
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