manual - Solidyne
rev. March 2015
www.SolidynePro.com
Page 2
Contents-
1.1 Shipping list.....................................................5
3.2.3.1 Being the cell phone on-air.....................18
3.2.3.2 Being the landline on-air.........................18
3.2.2 About return signal to the phone.........................19
3.2.3 Null-factor............................................................19
1.2 Features...........................................................5
3.3 Monitor section.............................................19
1.2.1 Input channels.......................................................5
1.2.2 Monitors................................................................5
1.2.3 Outputs.................................................................5
1.2.4 ETM – VCA faders................................................6
3.3.1Using monitors and headphones.........................19
3.3.2 Use into integrated Studios.................................20
3.3.3 Previous listening (CUE).....................................20
3.3.4 Talk back.............................................................20
CHAPTER 2
Installation and wiring ..................................7
3.4 Microphone channels...................................21
CHAPTER 1
Overview .....................................................5
2.1 Overview..........................................................7
2.1.1 Parasitic signals....................................................7
2.2 Rear panel – wiring.........................................8
2.2.1 Power source........................................................8
2.2.2 Input channels.......................................................8
2.2.2.1 LINEA inputs.............................................8
2.2.2.2 USB link....................................................8
2.2.2.3 MICROPHONE INPUTS...........................9
2.2.3 AUDIO OUTPUTS..............................................10
2.2.3.1 PROGRAM AND RECORDINGS............10
2.2.3.2 USB send................................................10
2.2.4 Monitoring outputs..............................................10
2.2.4.1 HEADPHONES.......................................10
2.2.4.2 MONITOR SPEAKERS...........................10
2.2.5 Tally light.............................................................11
2.2.6 Telephonic Hybrid...............................................11
2.2.6.1 CONECTING STANDARD LINE.............11
2.2.6.2 CONECTING A CELL PHONE...............11
Re-connections...................................................12
Setup the level....................................................12
2.2.6.3 EXTERNAL HIBRYD...............................12
2.2.7 General tips.........................................................12
2.2.8 Grounding against lighting..................................13
3.4.1 Features..............................................................21
3.4.2 Processing..........................................................21
3.5 Line channels................................................22
3.6 Recordings....................................................23
3.6.1 Direct to Hard Disc recording..............................23
3.6.2 Recording the phone lines..................................23
CHAPTER 4
Audio IP (models D612/IP) ........................25
4.1 Introduction...................................................25
4.2 Power source.................................................25
4.3 STL link..........................................................25
4.3.1 IP config..............................................................25
4.3.2 Destiny IP............................................................25
4.3.3 Audio settings.....................................................26
4.3.4 Using a microwave digital link.............................26
4.3.5 Decoding using a computer................................26
CHAPTER 5
Studio Box (optional) .................................27
5.1 Overview........................................................27
5.2 Connecting the StudioBox...........................27
CHAPTER 3
Operation ...................................................15
5.2.1 Connection to the mixer console.........................27
5.2.2 Connections at the Studio...................................27
3.1 Overview........................................................15
5.3 Using the Studio Box....................................27
3.1.1 Quick test............................................................15
3.2Hybrid channel...............................................16
3.2.1 Operation............................................................16
3.2.2 Using a cell phone..............................................16
3.2.2.1 Incoming call...........................................17
3.2.2.2 End the call.............................................17
3.2.2.3 Resume the call on the cell phone..........17
3.2.2.4 Make a call..............................................17
3.2.3 Conferences........................................................18
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CHAPTER 6
About maintenance ...................................29
5.1 How to get a long life of the console......................29
5.2 Preventive Maintenance........................................29
5.3 Spare parts............................................................29
5.5 Tech specs.............................................................31
Notes....................................................................32
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Page 4
CHAPTER 1
1.1
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 switching power source 90-240 V
 This user manual
 1 guaranty agreement
 1 tubular connector (2,5 mm) for Tally Light
 4 self-adhesive rubber pads.
Optionally:
Overview
3 LINE channels allow connecting up to 6 sources.
Channels 3 and 4 manages unbalanced analogical
inputs (Line-1 and Line-2) and balanced inputs (Bal1 and Bal-2) whereas channel 5 are digital, with direct connection to the computer via USB. In addition,
all channels have one analog auxiliary input.
All the channels count on a gain control, that take effects on the selected input (main or auxiliary).
“Telephone Hybrid” manages one land telephone
lines (2 wires) and one cellular phone linked via
Bluetooth. Both 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.
 Wiring kit (optional). If you did not acquire the wiring
kit, you will receive the corresponding DIN connectors.
 One RJ45 Ethernet wire (only for models /AoIP)
1.2
Features
D-612 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 computer.
D-612 has 5 100mm professional Conductive-Ceramic faders of with ETM-VCA control that offer a
life utility of one million operations (over 15 years).
It is the best solution for small and medium radios;
and for auxiliary recording studies in great stations.
1.2.1 Input channels
There are 2 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.
Each mic fader can manage two dynamic microphones. At the rear panel you find 4 XLR inputs
(MIC-1a; MIC-1b; MIC-2a; MIC-2b). The built-in
dynamic compressor compensates the level between the microphones. It's appropiated that mic's
connected to the same channel are the same
model.
Page 5
1.2.2 Monitors
The monitoring area distributes the signals to the
loudspeakers and headphones on the studio and the
control room.
Studio & Control Room 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 level in the console is
fixed; since a headphones mixer allows to manage
each headphone and active speakers has it own
level knob.
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.
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.
1.2.3 Outputs
Solidyne D-612 has two main outputs named PGM
(Program) and REC (recording). Phone lines are
sent only to PGM.
In addition it has an USB digital output that appear in the computer as
external sound recording devices
(USB recording devices) and sends the program
signals.
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Summarizing, the outputs are as follows:
1.
PGM, The PROGRAM output is used the
send the signal to the air.
2.
REC, used to recordings (and allows to listen a channel in the main monitors without
send it to the air).
3.
PGM/REC USB, program or recording output is also available via USB.
D-612 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
mic channels. The mixer has built-in tally LED.
TALLY OUTPUT LOAD DOES NOT HAVE TO
EXCEED 120mA (two Solidyne ON-AIR lights).
If your radio uses the old incandescent light
bulbs, a 12 V relay must be connected.
1.2.4 ETM – VCA faders
Using a technique of control called ETM-VCA (Electrometric Voltage Controlled Amplifier) the faders DO
NOT manage audio signals. The change on the level
is made using low noise amplifiers of great stability.
The main faders only handle control signals that
modify the gain of the electronic amplifiers. For more
information please visit our WEB site.
The main advantages of this technology are:

Eliminates the noisy signals due to dirty faders.

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 two
million guaranteed operations (about 15 years
of use).
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Page 6
CHAPTER 2
2.1 Overview
Installation of Solidyne D-612 doesn’t present particular jobs. However, keep in mind the basic rules for
all professional audio installations. The balanced inputs of the D-612 uses DIN-5 multipin connectors
(provided with the console). In option, you can acquire the Solidyne wiring kit (MNG612), which inlcude all the cables and connectors needed for the
set up.
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
AREA AMONG TWO AUDIO WIRES WILL BE MINIMUM." 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 high-intensity 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
disconnection 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,
Page 7
Installation and wiring
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-612 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 D-612 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
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).
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Solution: D-612 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.
2.2
Rear panel – wiring
2.2.1 Power source
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
28VCC.
2.2.2.1 LINEA inputs
Each line channel has two stereo inputs, selected
from the frontal panel. ‘BAL-1' and 'BAL-2' inputs
are symmetrical balanced, available at DIN connectors. 'LIN-1' and 'LIN-2' inputs are unbalanced, and
uses Phono-RCA connectors.
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).
PLEASE DONT REPLACE THE ORIGINAL
POWER SUPPLY.
The console doesn't 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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DIN 5 (stereo bal.)
Female XLR
1 AUDIO (-) RIGHT
1 GND (shield)
2 GND (shield)
2 AUDIO (+)
3 AUDIO (-) LEFT
3 AUDIO (-)
4 AUDIO (+) RIGHT
5 AUDIO (+) LEFT
Unbalanced lines manages signals of -10 dBV @ 10
KOhms (home type or semi-pro).
The GAIN control is common for both inputs; that is
to say, that operates on the selected inputs.
2.2.2.2
USB link
The Channel-5 is for direct connection to the computer using an USB port.
Page 8
Standard cable 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 a wire of 2 to 3 meters of length. USB extension can
be used; but it is recommended not to exceed 4
meters.
The channel must be connected to a computer running Windows©XP/7/8 Linux or OSX. When connecting the channel to the PC, Windows© automatically recognizes it and installs the correspondent
drivers. Additional drivers are not required.
ABOUT USB DETECTION

Windows XP: Check the input level at the Windows mixer(“Pro-

Windows 7: Check if Windows has properly recognized the
grams → Accesories → Entretainment → Volume Control”).
USB recording device. If Windows recognizes the device
wrongly as “microphone device”, the recording will be mono
(same signal in both channels). To fix it, go to: Control Pannel →
Sound → Recording → and choose USB device (appears as
USB microphone). Press [Properties]. Then select 'Advanced
Options', open the drop-down menu Recording format and
choose stereo (2 channels, 16 bits, 44100Hz).
2.2.2.3 MICROPHONE INPUTS
Before connecting the USB cable, make sure the
computer has effectively grounded through its
terminal on the rear panel.
Microphone channels are balanced electronically,
with XLR standard connectors.
If you want to check the ground, connect a tester
on the scale of 25 Vac between the chassis of the
PC and console, and verify that the voltage is zero
volts (+ / - 5V). Only then connect the USB.
If the equipment is not properly grounded, could
damage the USB port on the console or computer.
Windows© detect the USB channel as “USB audio
device”. At the console; the display indicator “Digital In/Out” will show “U4”, indicating that stereo input and output of USB channel was recognized.
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 menu.
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 the USB
device (Channel-5 input and PGM or REC output).
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.
Each channel has two XLR connectors that are
added internally. If two microphones to the same
channel, agrees that these are dynamic type, the
same make and model. Level differences in the
voices are balanced by the audio compressor console. The action of the compressor depends on the
level of the main attenuator and is indicated on the
console.
The key "48V" phantom power for channels MIC
MIC-1a and-2a. No power is sent to the inputs "b".
You should remember that if by mistake Dynamic
MIC receives 48V, there is no possibility of damage
because its coil has free floating decouples this tension.
In addition to the input, USB offers a digital send
to the computer, that appears in Windows© as
“USB recording device” (PGM or REC). So that
you have available in the computer, the program or
recording signal.
Page 9
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2.2.3 AUDIO OUTPUTS
2.2.4 Monitoring outputs
2.2.3.1 PROGRAM AND RECORDINGS
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”
¼”).
Recording output (REC) is balanced with PhonoRCA connectors.
In order to connect PGM outputs to an unbalance input, connect only the (+) pin, and leaving unconnected the (-) pin.
To connect the balanced TRS output to a balanced
XLR input, the cable will be:

Balanced connection Plug to male XLR
(for each channel)
TRS (Plug)
GND = sleeve
signal (+) = tip
signal (-) = ring
XLR (Cannon)
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” (TS) to connect this outputs.
2.2.4.1 HEADPHONES
D-612 has outputs for Studio and Control Room
headphones; with individual level konb. The headphones level knob also change the level on speakers
outputs, since this console was designed to be used
with active speakers, that have his own level control.
In the Studio, is convenient to install a headphone's
mixer (like the Solidyne Studio-box) to distribute the
signal to each people; but if you wants, you can connect up to 3 headphones with built-in level control
(32 Ohms) to each Headphone output. Another solution Is to mount a customized 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 set to the maximum. Next
scheme is the connection for the external level control.
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.
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).
2.2.3.2 USB send
2.2.4.2 MONITOR SPEAKERS
USB allows direct connection with a computer, and
gives PROGRAM or REC signal (it switches from
“USB OUT” in Channel-5). This feature don't requires
special drivers. Windows automatically recognizes
the USB device (see “2.2.2.2 – USB).
D-612 was designed to work with active loudspeakers. The STUDIO and CONTROL outputs work with
line level at 0 dBu (0,775 V RMS). They have independent controls for bus assignment and level. Both
outputs use female 1/8” TRS connectors.
Usually USB signal will be used for direct to hard
disk recordings; or webcasting. For details of use the
USB outputs in Windows© please see “3.6 - Recording of programs”.
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
Remember that studio monitors are muted when mics
are on-air. Control Room speakers are muted when
the button Talkback is pressed.
Page 10
2.2.5 Tally light
2.2.6.2 CONECTING A CELL PHONE
Tally output gives 12V/120 mA (2 Solidyne Air lights)
when MICs activates from Master Mic button.
It requires a phone with Bluetooth connectivity. Any
phone with Bluetooth can be linked to Solidyne D612, eliminating the dependency on the adapter
cable "hands-free". While the phone can be up to 10
meters away from the console, you should leave it
near, but not on the console. The procedure to link
the phone to the console is similar to that used for
other Bluetooth devices.
NEVER overpass 120 mA consumption on Tally
output
By linking your cell phone to the console creates a
link between the two devices, and allows the phone
to store the ID of the console. This operation is
performed only once (for one cell). Once the console
and phone are connected, the console automatically
connects to the phone when the Bluetooth link is
enabled on both devices.
Procedure:
The console has a built-in light; that resolves the onair signalization for small stations.
2.2.6 Telephonic Hybrid
2.2.6.1 CONECTING STANDARD LINE
The hybrid channel manages ONE land telephone
lines and ONE cellular phone. The internal adjustments are from factory; so the user do not needs to
make adjustments. Only the null-factor must be adjusted for the land line, only once on setup.
On the rear panel there are 2 RJ11 connectors; for
the telephone lines and the associated phone set.
The line can directly be connected to public central
telephone or the local central (PBX) of the radio station. The private central sometimes deteriorates the
hybrid rejection, reason why we advised to directly
connect the console to the public line, whenever it is
possible.
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 lightings.
Page 11
1. At the mixer D-612: enable the “discovery”
mode. Being the Bluetooth disabled, press
and hold by 5 seconds the button “Cellular
Phone Bluetooth” until the LED blinks
green-red (Bluetooth LED's are on vumeters
panel). The LED blinking indicates that the
Solidyne D-612 enters in mode “discovery”
to be found by the cell phone.
2. At the cell-phone: make a Bluetooth device
search. This procedure depends on brand
and model of your cell phone, please refers
to the users manual.
3. When the phone finds the Bluetooth device
D-612, appear BTM751 code (or BTH008)
on screen. Select this code and enter the default password: 0000 and confirm (see the
users manual of the phone).
4. The ID of the Solidyne D-612 is now stored
in the cell phone. The devices are "paired",
no need to repeat this operation while using
the same phone. The Bluetooth indicator
light on the console switches to slow flashing
green, indicating "Bluetooth is active".

On some phones you need to "connect" the new device
found to stay active. In others, the new device is
enabled after being detected.
If there are other Bluetooth systems operating in the
studies, please turn off Bluetooth on the D-612, research with the phone and take note of existing ones.
Then, turn on Bluetooth on the D-612 and repeat the
search. The displayed (BTM-751) is the D-612 console.
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Re-connections
2.2.6.3 EXTERNAL HIBRYD
To reconnect to the console a cell phone, turn
Bluetooth on the D-612 by pressing for two seconds
"Cellular Phone Bluetooth", until the green LED
lights. Turn on the phone Bluetooth handsfree
mode if necessary (some phones handsfree off to
turn it off).
Solidyne D-612 has a connector for send and return
from external hybrids.
When the phone warns that the connection has
been made we are ready to operate. When you
make or receive a call, the audio is routed to the
console.
Besides the simplicity of operation, the Bluetooth
connection allows interesting working options, it is
possible to use personal cell or interviewed
journalists with personal contact phone numbers,
who do not want to reveal to the radio. In this way
we obtain interviews to air that would otherwise be
impossible.
“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 hybrid knob 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 knob.
2.2.7 General tips
Setup the level

NOTE: At the cell phone, Bluetooth volume must be
adjusted at maximum level in order to obtain a good
reception and to sure the best signal to noise ratio.
Use the console with the original power
source.

Do not exceed the load on Tally output.

Avoid long cables hanging from connectors. Use pass-cables canals or snakes
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 for grounding.
This adjusting must be done with a real calling
using Bluetooth.
Usually, the volume of the phone's speaker is independent of
the volume of Bluetooth device. If you change the phone's
level without make a Bluetooth calling, you will only be changing the volume for the phone's speaker, not the Bluetooth
level. To change the Bluetooth level, make a call using the
console (or a hands free headset) and set the Bluetooth level
to the maximum. This setting is stored at the cell phone's
memory. If you use another cell phone with the console,
you needs to set the Bluetooth level again.
To turn-off Bluetooth at the console, press and hold
“Cellular Phone Bluetooth” until LED off.

LAND LINE AND CELL PHONE CAN BE
CONFERENCED.
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REMEMMBER
 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.
Page 12
2.2.8 Grounding against lighting
It is very important to follow these recommendations to avoid irreparable damage to equipment and people.
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Page 14
CHAPTER 3
3.1
Overview
Operation

The digital channels manage the USB
digital inputs (DIG) and one analogical
stereo inputs (LINE).

Additionally; USB offers direct recording to
Hard Disk from PGM or REC.
You can see different areas in the console:







Input channels.
Hybrid controls.
Monitoring and talk-back.
CUE
MIC EQ
Audio compressors and USB
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 any signal before send it
on-air; by pressing the CUE buttons.
Line channels will be on-air just opening the fader.
MIC channels are enabled from Master MIC button.
The switches “PGM / REC” define the output for
each channel. The signal can be on the air (PGM)
and 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.
The D-612 turret contains electronic LED’s VU-meters that show the recording and program level (average peak level) and the action of audio compressor.
3.1.1 Quick test
Next are described the basic procedures to verify
the console wiring. In order to check that all is work ing well, please follows the next steps:
 Choose a signal source, like a microphone, 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
assigned).
 Press CUE button in the channel in which
the signal is.
 Open the CUE fader in the MONITOR
SECTION. The audio will have listened in
the built-in loudspeaker.
To send on-air:
Channels MIC 1 and MIC 2 only manages
microphone signal. The phantom 48V switch
enables the phantom power to MIC-1a and
MIC-2a inputs. Remember that all dynamic
microphones are designed to support 48V
phantom, so you can mix condenser with the
dynamic microphones.


The microphone channels can be routed
to the processing stage (4 bands EQ and
compressor) with independence.

The analog line channels manage balanced (BAL) and unbalanced (LINE)
stereo inputs.
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
Send the channel to PGM, so that the signal is sent to the main output.

Open the main fader until reach 0 VU in
program VU-meter. The signal will be on
the air.

The gain knob must adjust so that the normal 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.
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3.2
Hybrid channel
•
•
Release the button CUE.
Turn the control 'AIR LEVEL' until reach the
apropiate level.
The appropiate level for the communication is
adjusted by observing the level meter "PGM", but
also listening to the processed audio on the air.
To put the call off-air and resume in private, turn
down the knob “AIR LEVEL” and press CUE to
listen and Talkback to talk.
To transfer the call to the telephone, turnn down
the "AIR LEVEL" to zero, pick up the phone and
then release the “HOLD/AIR” button on the console.
If the telephone was hung up when release the
HOLD/AIR, the communication will lost.
The hybrid section manages 1 standard telephone
line, and 1 Bluetooth cell phone (see “2.2.6.2 Connecting a cell phone”) Both can be in simultaneous
conference (see 3.2.3 – Conferences).
Its use is simple and error free due to its logic of security and automatic control. The following instructions
explains different scenarios of use.
3.2.1 Operation
When a call enters, a blue LED will blink with the 'ring'
cadence. The calling can be answered in two ways:
a) Using the telephone associated to that line
b) From the console, by pressing the
HOLD/AIR button. When doing it, the line is
taken and the LED stops blinking.
To answer the call from the telephone (connected to
the RJ11 on the rear panel) pick up the phone and
proceed as in normal communication. To put the call on
the air, press the HOLD/AIR button and then hang up
the phone.
To answer the call directly from the console, press
HOLD/AIR. The console picks up the line and the ring's
pilot light turns off.
In this condition, the caller receives the program signal,
and will be on-air if the 'AIR LEVEL' knob opens.
Therefore it is important to check that the 'AIR LEVEL'
knob be closed when take the line.
To talk privately with the caller, press CUE. The caller
is lietened on CUE speaker. In this condition (cue
pressed) the caller not hear the program signal. To talk,
press the TALKBACK and use the talck-back MIC.
To hang up the line, turn AIR LEVEL to zero and
release "HOLD/AIR".
3.2.2 Using a cell phone
The cell phone connects to the Solidyne D612 via
Bluetooth. The first time that a cell phone is used
with the console, it must be paired as explained at
"2.2.6.2 - Connecting a cell phone".
Once paired, the procedure used for the connection
every time is simple:
•
Make sure that the control “AIR LEVEL” is
closed, and the button CUE pressed.
•
Turn ON Bluetooth at the console. For this,
press and hold “CELLULAR PHONE BLUETOOTH” by 2 seconds (approximate) and release when the green LED (located in the VU
meter panel) flashes. The LED remains flashing slowly indicating that Bluetooth is enabled.
•
Turn on Bluetooth at the cell phone. If the cell
phone was already paired, in few seconds the
connection reestablishes and the cell phone
stays linked with the console. Under this condition, incoming calls are transferred directly to
console.
If the console is used exclusively with cellphone, ie,
there is little or no use of the land line, you should
leave the cellphone connected to the console and
handle the calls from the hybrid.
When there is a continuous use of both lines, either
alternately or simultaneously (conference) raises
some peculiarities in the operation, detailed in
"3.2.3 Conferences".
To put the call on the air:
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Page 16
3.2.2.1 Incoming call
Is explained bellow the use of a cell phone in permanent link to the console. In this condition, the procedure to put a calling on-the-air is similar to the seen
for land lines:
•
When a call incomes, the 'ringing' is listened
simultaneously on the telephone and on the
CUE speaker of the console (CUE button
pressed)
•
Check for “AIR LEVEL”. It must be zero.
•
To answer; make a fast touch on the button
“CELLULAR PHONE BLUETOOTH” of the
console (the calling can be answerer too
from the cellphone).
After answering the call, talk to the caller, always using
the hybrid of the console as follows:
•
With the button CUE pressed the caller is
listened on CUE speaker. In this condition
the send of “PGM” to the cell phone is
muted.
•
Press and hold TALCKBAK to talk with the
caller.
•
When CUE is released, the caller will listen
to the PGM signal, but remains off-air due to
the control “AIR LEVEL” stays closed.
•
To put the calling on-the-air, turn up “AIR
LEVEL” until reach the appropriate level on
VU meters.
3.2.2.2 End the call
Pressing with short touch the "CELLULAR PHONE
BLUETOOTH" button on the console, communication ends. It is also possible to end the call from the
cell phone screen.
The example shows the "Headset" icon, which transfers the call to Bluetooth device when it is powered
on; and passes the phone when it is off. Other phone
models can display two buttons; a button with dropdown options; or other combinations. Refer to the
cell phone user manual.
3.2.2.4 Make a call
To make the call using the cell phone:
•
In the cell phone, change the "Bluetooth"
mode to "Headset" mode as explained in
"3.2.2.3 - Resume call on cell phone."
•
Dial the number in the cell phone and call
(SEND).
•
To transfer the call to the console, return to
the Bluetooth mode on the cell phone (see
"3.2.2.3 - Resume call on cell phone").
•
Release the CUE button on the console.
The cell phone receives the program
signal, but remains off the air if "AIR
LEVEL" is zero.
3.2.2.3 Resume the call on the cell phone
To resume the call on cell phone; from the phone
menu exit "Headset" (or Bluetooth) mode and switch
to the "speaker" mode (Speaker).
To transfer the call back to the console, return to the
"Headset" mode. This operation differs depending on
brand and model of cell phone.
Below shows a screenshot of a cell phone with Android, in the case of Bluetooth enabled.
Page 17
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•
To put the calling on the air, turn "AIR
LEVEL" to the correct volume.
•
To end the call from the console, make a
short tap the "CELLULAR PHONE
BLUETOOTH" button. The call can also be
terminated from the mobile phone.
NOTE
The calling can be do from cell phone without leave the Bluetooth mode, using the console's talkback circuit.
• The ring tone and the voice of the caller are listened on
CUE speaker (button CUE pressed).
• To dialogue, use the button Talkback of D-816.
• To hold the call, release the button CUE.
• To put the calling on-air, release “AIR LEVEL”
• To end the call, make a short tap on “CELLULAR PHONE
BLUETOOTH” button of the hybrid; or can hang-up from
the cell phone screen.
•
Make (or receive) the call using the telephone associated with the landline.
•
Talk with the caller. Warn him that the call
will go directly to the air. Remember that this
is because the hybrid is being used by a cell
phone, so operator can not put the second
line on hold or use the talk-back circuit.
•
Press "HOLD/AIR" to put the calling on-air,
then hang up the telephone. The call goes
immediately on-air (since "AIR LEVEL" is
open).
3.2.3.2 Being the landline on-air
Suppose the announcer is talking with a caller (or
has been called) via landline; and the operator requires adding to someone else to the conversation:
•
When is not used, Bluetooth must be off
at the cell phone, and so unlinked from
the console. This way an incoming call (or
is made) arrives to the cell phone with independence from the console.
•
To transfer the call to the console, turn on
the Bluetooth on the cell phone (see the
cell phone user manual). Depending on
brand and model of cell phone, the connection with the console can be immediately re-established; or it may be necessary to select from a menu 'Bluetooth devices' one to re-connect (in this case Solidyne BTM641) Once activated Bluetooth
at cell phone, the call is put on-air immediately, staying in conference with the landline that is on-air at this time.
•
To end the cell phone call, hang up from
the cell phone.
•
Then, turn off Bluetooth at cell phone. This
is only necessary when there are a permanent use of the landline, to avoid that an
incoming call to the cell phone accidentally appears on-air when the landline is
on-air.
•
Alternatively, to resume the call on cell
phone; using the cell phone menu it will
switch to "Headset" mode, as explained in
"3.2.2.3 Resuming the call on the phone"
Bluetooth advantages
Besides the convenience of being able to connect
any cell phone without cables or special connectors,
provides the advantage of placing up to 8 meters
away, for example in a window to get the best
reception.
But also enables new operational advantages for
journalism, it is possible to connect the console in
seconds with the private cell journalist for stories to
people whose phone number is confidential and the
reporter did not want to reveal (very common
circumstance as journalists should be reserved with
your contacts).
3.2.3 Conferences
When regularly using cell phone simultaneously with
the landline, the user must be careful to OFF 'BLUETOOTH' ON CELL PHONE whenever a call ends.
This way, if a new call comes while the landline is on
the air, the call rings at the telephone. If Bluetooth
were active, the call would sound on air.
The procedure for setting a conference depends on
which of the two lines (landline or cell) is on the air.
See the two cases below:
3.2.3.1 Being the cell phone on-air
Suppose the announcer is talking with a caller (or
has been called) via cell phone; and the operator requires adding to someone else to the conversation:
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3.2.2 About return signal to the phone
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 exchanges.
If you want to check the return level to phone line,
you must use an oscilloscope to be placed in parallel
with the telephone line and must verify that the signal
is 2 volts peak to peak.
Please note that above this level the return can produce problems that will cause intermodulation distortion in the audio signal that goes to air. So in Solidyne hybrids 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.
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.
To achieve this level of quality we use a narrowband return filter. Then the return signal is limited to
the band 400 – 2.200 Hz in order not to distort the
signal to the air. This narrow band intelligibility remains high (due to processing) but occasionally may
seem to the remote people that it "has little volume"
because his band is narrow. This should not worry
because it is a subjective sensation that does not affect the intelligibility of speech.
3.2.3 Null-factor
This adjustment is only for LAND lines. The rejection
factor expresses the capacity of the hybrid to avoid
that the transmitted signal returns distorted to the 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.
Ask a speaker to talk into the microphone to the
interviewee. Increase the level from "Telephone
Control" until the voice of the interviewee move
the PGM VU meter into the red zone.
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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. In case that the phone line connected to the
console be changed, this adjustment must be
repeated.
3.3
Monitor section
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.
There is a knob to manages the level of headphones and monitor outputs for the Studio. Usually
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 use an additional headphones
mixer (Solidyne Studio-box or similar), or make customized external level controls using a potentiometer of 2 x 1 Kohm, mounted on the table.
The Studio monitors have their own gain control,
since the console’s output was designed to operate
with powered speakers. Remember that when the
microphones are enabled the audio in the studio
monitors is muted, to avoid feedbacks loops.
Like the Studio section, the Control Room has a
unique knob for headphone ans speakers. Control
Room monitors must be powered units (active
speakers).
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
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air. This is the right way for monitoring;
recommended for all situations.
3.3.2 Use into integrated Studios
It is increasingly common in modern radios, the
console, broadcasters and journalists are located
in the same study, avoiding the use of double
glazing windows separator and reducing the cost
of construction and acoustic treatment.
In this case it uses only one active pair of
speakers connected to the output of Studio
Monitor D-612. When opening the microphones,
these speakers are muted. Also connect
headphones to this output of journalists and
guests. Operator headphones are connected
instead to the output of Control Monitor.
3.3.3 Previous listening (CUE)
The D-612 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.
Audition level for
Studio loudspeakers
and headphones
Audition level for
Control Room loudspeakers
and headphones
CUE level. Adjust the volume
of the built-in loudspeaker.
The signal CUE also is sent to
the C. Room headphones.
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.
3.3.4 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.

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.
Assign PGM or REC to the
Studio monitors
Change the monitoring between
external input ‘ON AIR’ and
PGM/REC (Requires an external tuner)
Talkback volume
Talkback to Studio
PZM MIC. For TalkBack
and hybrid
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Page 20
3.4
Microphone channels
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.
Gain
Enable/disable the
phantom power (48V) for
MIC-1a and MIC-2a.
The processed signal can
be sent to PGM and REC.
To the left, the switch
cancels the sending.
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 console.
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
3.4.1 Features
Equalizer
There are two microphone channels. The “Phantom
48V” is common for both channels; but only MIC-1a
and MIC-2a gives phantom voltage. 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.
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.
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.
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.
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As reference we said that the LOW (or bass) control
offers “body” and “weight” to the voices; whereas the
HIGH one adds “presence” and usually improves the
intelligibility. The central frequencies have a bellshaped 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 frequency usually appear the
problems with the “sss” (excessive emphasis the sibilants sounds, like “shhh”)
Compression
The compressor 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
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range is not affected. D-612 has a very steep compression slope and fast attack and recovery times.
Indicator “MIC COMPRESSOR” shows in dB the reduction applied to the signal.
3.5
Line channels
Solidyne D-612 mixer console has 3 stereo LINE channels. Line channels have two inputs that are selected
from the front panel.

Channels 3 and 4 have balanced stereo inputs (DIN-5
connector) and unbalanced
stereo inputs (RCA).

Channel 5 are digital, with direct connection to the PC via
USB. It is equivalent to have
an external sound card. Additionally it gives USB digital
output (PGM or REC). The
secondary input is analog unbalanced stereo (RCA).
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 “2.2.2.2 –
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
wirings”
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 D-612, will be found at our WEB site.
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3.6 Recordings
D-612 consoles have two stereo output channels.
The main channel is denominated Program (PGM)
and used for the On-Air signal.
For recordings, REC bus is used. The user 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.
NOTE: the two telephone hybrids of this console are
units "aired" and therefore can not be assigned to
the channel REC. If you need to record an interview
you should connect to the console a hybrid external;
Solidyne type HL-202.
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”: corresponds to channel USB 5 and
gives the PGM or 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:
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 recording software, and it adjusts from the console. You cannot change the input level from software (Windows Mixer).
USB RECORDING DEVICES DO NOT HAVE
GAIN CONTROL FROM THE SOFTWARE
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
PC is. At this point; BE CAREFUL OF NOT PRODUCING A FEEDBACK LOOP IN THE OWN COMPUTER. MAKE SURE TO MUTE IN THE PC (FROM
WINDOWS MIXER) ALL SOURCES OF SIGNAL
EXCEPT “WAVE” AND “GAIN CONTROL” (MAIN).
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 the phone lines
Hybrids of the D-612 signal sent only to program,
therefore,
only
be
recorded
telephone
communications PGM signal recording.
To record the PGM output, you must use a wire tap
"Y" for a "copy" of the program output, simply
connecting two parallel cables.
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
“Y” cable - Plug 1/4" BAL to XLR BAL and unbal RCA, to one input channel. For the
other channel you need a second “Y” cable.
c) Meanwhile the radio still on air through, for
example, the channel 5 with a musical program.

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Channel-5 can be used for playing with independence of
the assignment to USB OUT (PGM - REC).
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CHAPTER 4
Audio IP (only D-612/IP)
4.1 Introduction
Step 2
These models include RJ-45 output that sends
streaming. It allows:
Connect the console to the network via a standard
cable. The network must have a router, so that the
console assigned to an IP address via DHCP. D612/IP You can also connect directly to a modemrouter, as it usually also assign an IP via DHCP.
•
•
Link the console with the transmitter. With
high-quality MP3 or PCM using a point to
point wireless link.
Riding a web-radio. The console generates
encoded in MP3 streaming without using a
computer.
There is a Firmware appropriate for each case. The
console is shipped with firmware for Studio to
Transmitter Plant link (STL). Consult your
representative Solidyne if required use the console
for streaming.
4.2 Power source
The IP module receives power from the USB
connection, so it is only available if the console is
connected to a computer via USB. If the console
is not connected to a computer via USB, or if the
computer is off, the IP service is not available.
4.3 STL link
In studies, the console works as ENCODER D-612/IP
to establish a unidirectional link (half-duplex) between
Studios and Transmitter Plant, generating and
transmitting an audio streaming.
At the transmitter plant, a device streaming decoder
receives the transmission (eg Solidyne ADA102) and
sends the audio processor. Another option is to have
a decoder processor with streaming audio, or a
computer running software that play streaming (eg.
VLC Player).
4.3.1 IP config
The configuration options D-612/IP Solidyne are
accessed using a web browser. The unit is factory set
in "Dynamic IP", so that when connected to a LAN,
gets an IP address via DHCP (the router assigns an
IP). The procedure is as follows:
Step 3
The TCP module will announce the IP assigned. To
listen to the IP address, proceed:
•
•
•
Turn "BAL-LIN" Channel-4 to "LIN-2".
Press the CUE button in the Channel-4 and lift the
CUE speaker level.
Disconnect and reconnect the USB cable from the
console (computer must be on).
Take note of the address announced, it will be
needed later. This operation is only needed during
installation.
Step 3
Once you get the IP, is ready to start working. The green
LED on the rear panel (RJ45) is blinking.
Can not find a DHCP server then the D-612 scans the network for
a free IP address (this can take a few minutes).
Step 4
Open a web browser (eg Firefox, Internet Explorer)
and enter the IP address announced. The Control
Panel D-612 is displayed.
4.3.2 Destiny IP
The status screen indicates the IP port configuration.
The module is factory-configured as Studio Encoder
(option "Location" → 'Studio Encoder').
Step 5
To verify the configuration, access the "Configuration"
and in the left menu choose "Basic settings".
Step 1
Connect the console to the power supply. Connect a
computer via USB to the D-612 to enable the IP
module.
Page 25

"Stream
(RTP)"
method"
should
be
"Push
www.SolidynePro.com


In the URL field defines the DNS name or
IP address, and the destination port to
which the console streaming broadcast.
Press "Apply" to confirm your settings.
The configurations listed below require knowledge in
network administration. The destination IP address is the external address of
the network in the Transmitter Plant, where it is
connected DECODER (static IP assigned by your
ISP). When the data packets reach the router /
firewall on the other end, should be re-directed to the
DECODER IP (eg 192.168.0.30).
As the D-612/IP transmitted to a specific IP address
and port, in transmission plant all packets arriving at
that port on the router address should be forwarded
to the DECODER, or a particular computer, which will
turn into audio. Identify which packets should be sent
using port forwarding.
4.3.3 Audio settings
Step 6
Go to Config → Audio
Input source: Default is “Line Stereo”. Do not change
it.
4.3.4 Using a microwave digital link
A console connected studies D-612/IP broadband
Internet to cover any distance from the studios and the
transmitter.
In short distances the option is point to point RF link
transmiting uncompressed audio (PCM 16 bit/48 KHz).
It uses a microwave link for 5.8 GHz (or 2.4 GHz in some
countries) using the standard 802.11.x. This band is
available in all countries and does not require special
authorization. It can cover up to 45 miles if there are no
obstacles between the extremes. Logically encoded
audio can be transported and for special applications
supports bidirectional connection.
For more details, please contact us at our email
(info@solidynepro.com).
4.3.5 Decoding using a computer
To receive the transmission using a computer, you
should use playback software that supports
streaming and RTP protocol. Solidyne recommend
using VLC Player (http://www.videolan.org/vlc/).
To start to play in VLC go to Medio –> Open network
In URL enter:
[protocol]://[sourceIP]:[port]
Format: Streaming format. Default values are:

Format: MPEG stereo

Sample rate: 44.1 KHz (MP3)

Quality: 7 (highest)
Example: RTP://0.0.0.0:3030
In where RTP is the protocol used by the Solidyne D612; 0.0.0.0 means from any incoming IP and '3030'
is the port used. Remember to enable your computer
firewall to allow incoming streaming trought port 3030
(or the port that you use).
These settings produce a stream of 192 kbps. Should
only be changed if the bandwidth of the Internet
connection is limited, or if a link is available that
enables point-to-point transmit uncompressed (PCM).
NOTE: Some versions of VLC Player also supports the string
RTP://@:3030
www.SolidynePro.com
Page 26
CHAPTER 5
5.1
Studio Box (optional)
Overview
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 control.
 Output for Studio Monitors with level control.
 Tally light
 Timer/Clock
 Talk-back, to talk with the Control Room operator.
5.2
Connecting the StudioBox
MIC GAIN
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.
MIC (to control room)
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.
5.2.1 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.
2.- Studio speakers: Takes the monitoring mix for
the studio speakers. At the Studio, the speakers (active speakers) will connect to the StudioBox.
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3.- Studio headphones: Takes the mix for the studio
headphones. Up to 5 headphones can be used connected to the Studio Box.
5.2.2 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.
5.3
Using the Studio Box
On 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.
www.SolidynePro.com
On 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.
On the Studio Talkback
The white button has two functions:
1.
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.
2.
Being on-the-air, the white button illuminates in
red indicating that microphones are “on-air”.
Obviously, in this condition talk-back feature is
disabled.

The preset located below the MIC allows to adjust the microphone gain.
On 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.
www.SolidynePro.com
Page 28
CHAPTER 6
In order to obtain great results with D-612 consoles,
we recommend to follow these steps.
About maintenance
Solidyne provides all necessary parts such as
buttons,
knobs
or
faders.
Write
to:
info@solidyne.com.ar
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.
5.4
Service Manual
Service manuals, with the electrical circuits and components layout, are sent by email to Authorized Solidyne Partners 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
D-612 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 www.solidynePRO.com
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.
This faders do not need maintenance nor cleaning.
Solidyne brings full support to technicians during the
repair work. Please contact us at:
5.2 Preventive Maintenance
The Solidyne D-612 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.
•
info@solidynePRO.com
•
www.solidynePRO.com
Usually D-612 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
Faders for all channels are connectorized. They are
easy to replace, and which are mounted to the
chassis with two screws and have a polarized plug
to connect. In normal use, do not require faders
changed throughout the life of the console, but if
the environment was free of dust, or the operators
were moving unnecessarily (syndrome "nervous
finger"), will eventually require replacement .
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Page 30
5.5 Tech specs
Audio inputs
Distortion
4 balanced MIC inputs (XLR)
2 balanced stereo Line inputs (DIN 5)
3 unbalanced stereo Line inputs (RCA)
1 Digital stereo Line input (USB)
From LINE to PGM out < 0.05% THD @30-15.000 Hz.
Phase
Input levels / Impedance
Stereo tracking
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
Phantom power
Two mic inputs have 48 V phantom power supply, switchable
ON/OFF.
Analog outputs
2 bus stereo outputs; PGM (1/4” TRS plug); REC (RCS connector)
Both at +4dBm = 0VU
PGM balanced: Max level +26dBu (10K), +20dBm (600 ohms)
REC unbalanced: Max level +20 dBu
External Hybrid: unbalanced mix minus out + 4dBu
Digital Input/Output levels
USB digital In/Out; Input to channel 5; Output selected PGM or
REC. It uses the K-15 recommendation for broadcating. 0 VU =
-15 dB Full Scale level
Monitor & Hybrid Outputs
1 Stereo Studio, 0 dBu for active speakers, muted
1 Stereo Control, 0dBu for active speakers, muted
1 Stereo Studio Headphones, with Distribution AMP up to 5 headphones, + 10 dBu
1 Stereo Control Headphones, + 10 dBu
1 External Hybrid send (MIX-Minus) +4 dBu / 10K
Cue monitor
Internal CUE Monitor Amplifier; 250 mW , with built-in speaker.
Headroom
From Line to PGM, < 3º L&R @50-10.000 Hz
Below 0.2 dB error L/R in fader range 0 to 40 dB
Telephonic hybrid
Two channels telephone active Hybrid: One phone line plus one cellular (Bluetooth linked)
Frequency Response: 200 - 5.000 Hz
Noise: > 60 dBA S/N
Rejection: > 35 dB rejection
Rejection adjust in front panel preset
Preference atenuator: 12 dB local announcer interrupt priority
Telephone input lightning discharge safety
Telephone Hybrid inputs is transformer floating to meet the Public
Telephone service isolation standards. It is protected with SIOV
Varistors against soft lightning discharges. External gas discharge
protection is recommended
Talkback
Included Talkback MIC, with Audio Limiter. Noise Cancelled PZM
type. Outputs to Phone Line Hybrid or Studio Speakers & Headphones.
VU-meters
2 x LED vumeters for PGM. Cuasi-peak reading.
Microphone compressor indicator 0-15 dB
Tally Light
ON-AIR signal output (turns on when MIC is open).
12 V CC @ 0,12 amp (two Solidyne On-Air lights)
Tubular connector 2.1 mm (internal pin).
Power
22 dB @ LIN to PGM Ref + 4dBu/10 k
Switching external power supply 90-240 V, 20VA [28V@0,5 A].
Tubular connector 1.8 mm (internal pin).
Frequency response
Dimensions & Weight
20-20.000 Hz +/- 0.25 dB (LIN to PGM)
20-20.000 Hz +/- 0.5 dB (MIC to PGM)
Mic equalizer
Four Bands MIC EQ with In/Out switch; 80 Hz top flat curve, 160
Hz bell shaped, 4 kHz bell shaped, 8 kHz top flat
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
Noise
MIC input, EIN=-120 dBu/150 ohms
LINE input, S/N > 75 dBA
Dinamic range
From Line to PGM > 90 dBA (CD quality)
Crosstalk
PGM-REC > 65 dBA @ 1 kHz
Page 31
Wide: 405 mm; Deep: 385 mm; Height: 95 mm at rear turret
Net Weight: 4,7 Kg
AoIP - Optional TCP / IP Digital Streaming Output
Ethernet RJ45 connection to a standard LAN (Option /AoIP).
Used for sending D612 output to transmitter plant with MP3
Internet streaming or using a 5,8 GHz 802. Link Also can be
used for AoIP connection with another console located inside or outside studios.
It can work in linear PCM at 44.1 & 48 kHz or MP3 VBR.
On-Air information using GPIO for remote processors.
AoIP Delay and user modes
• MP3 Layer 1 (32, 44.1 and 48 kHz)
• MP3 Layer 2 (16, 22.05 and 24 kHz)
• 16bit PCM uncompressed (8,16,32,44.1 & 48 kHz)
Full duplex (transmitting and receiving)
Delay using PCM at 48 kHz Fs (recommended) Less than 5
mS Delay using MP3 streaming. Average 100 mS
www.SolidynePro.com
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