9
DA
mixing consoles
AIRCOM
User Manual
DER Electronica ВУ
Rijnkade 15 B
1382 GS Weesp
The Netherlands
Tel: ++31-2940-18014
Fax: ++31-2940-16987
CONTENTS
10.
11.
12.
13.
14.
15.
16.
AIRCOM MANUAL
Version 1.01
1990
Welcome
Introduction to AIRCOM
Description - microphone/line channel
Microphone/line module
Description - stereo channel
Stereo channel
Description - master section
Master section
Jumper settings
Wiring, installation and product safety
Trimming Telephone hybrid
D&R signal processors
Block diagram
Technical specifications and dimensions
Questionnaire
Notes
D&R ELECTRONICS
Rijnkade 15B, 1382 GS Weesp - 02940 18014 - Fax: 02940 16987
D&R USA
Rt. 3 Box 184-A, Montgomery, TX 77356, U.S.A. - (409) 588 3411
Fax: (409) 588 3299
WELCOME!
Dear client,
Thank you for choosing our product.
The Aircom is designed by specialists in the field of radio
broadcast and is intended to be used as an "On-Air" console as
well as a production console.
We are confident that you will be using the Aircom for many years
to come, and wish you much success.
We always value suggestions from our clients, and we would
therefore be grateful if you could complete and return the
questionnaire included at the back of this manual, once you have
become familiar with your Aircom. We will certainly learn from
your comments, and very much appreciate your time to do this.
With kind regards
D. de Rijk
D&R PRESIDENT
INTRODUCTION
The Aircom.
The Aircom is a specially designed broadcast console. Although
the design has been carefully budgeted, absolutely no compromises
were made in either quality or features, particularly in the
areas of switching, signalling, fader start/stop and
communication.
The Aircom, although designed for On-Air purposes, is also
excellent for production work.
A 'Self-Op' switch instantly resets the Aircom to be used by the
announcer himself. This is the D.J. mode whereby the logic
circuitry in the Aircom helps prevent the D.J. from making
mistakes, and therefore reduces the risk of feedback.
D&R Quality.
D&R has been the largest manufacturer of mixing consoles and
signal processors for ten years. More than 70% of the total
production is exported world-wide, a market which demands
excellent price and high quality standards. D&R products are
used in studio's and for live concerts, both of which require
100% reliability, which is the result of ten years of research,
design and manufacture.
These high standards of reliability are also to be found imbedded
in the new line of broadcast mixers, which is particularly
important for this type of product, required to work around the
clock.
Aircom Quality.
The high standard of quality of the Aircom is demonstrated by the
sturdy housing, the heavy duty power supply, its modular approach
and locking iDC connectors mounted on high quality glass epoxy
printed circuit boards.
The signal paths are electronically switched using C-Mos logic,
and 'Fet' components ensure consistant and smooth switching.
High quality 100mm faders with built in switching and opto
couplers guarantee many years of trouble free smooth switching.
Aircom flexilbility.
The Aircom is fully modular, which means that you design the
configuration. The modules and the master section can be placed
anywhere in the chassis. Changing the configuration is also
easily accomplished; a partially loaded Aircom can be completed
using low cost 'blind modules’. In addition, input modules can
be extended to suit future requirements.
INTRODUCTION
The Aircom is complete.
The Aircom is a complete and self contained piece of hardware,
requiring no additonal items in order to be operated. All
relevent functions are built-in, such as fader start/stop (pulse
or continually adjustable). There is also no need for complex
mike-on/cough switching to the announcer booth, a stereo jack, a
led and a simple push-button switch complete this task. All
cabling can be enclosed in the masterhood, which is easily opened
for installing connections. The same masterhood can accept five
9 1/2" signal processors, such as limiters and/or telephone
hybrids, or specialised functions for broadcast stations.
Built-in stereo headphone amps.
The Aircom contains built-in amps for the announcer, guests and
the D.J., no additional boxes are required.
Clear layout.
All switches have led indicators, and the front panels are angled
to aid visisbility.
All similar functions in the channels are grouped and colour
coded, with additional fader knobs available for personalised
channel colour coding.
Example: Microphone channels - red fader knobs
Telephone channels - grey fader knobs
Stereo channels - black fader knobs
Radio communication.
On the basis that there is no radio without communication, the
Aircom has extensive possibilities for signalling and
communicaitons. Every microphone channel has its own signalling
and talkback circuitry, and all outputs can also be connected to
the talkback circuitry.
The announcer/producer can communicate with the announcer booth,
guests, two telephone lines and two auxiliaries, either
individually or in any combination.
Signalling.
It is extremely important in broadcast to know whether a
microphone channel is active, and so the Aircom has an external
led (lamp) connected to every microphone channel. In addition,
when one or more of the microphones are open, the Aircom's Mike-
On' lamp is illuminated. This signalling is also available on a
jack plug for studio red light signalling.
INTRODUCTION
Broadcasting Options.
In designing the Aircom, D&R decided to make the system as
flexible for the operator as possible, and the Aircom can
therefore be used in many ways.
There are several jumper settings which can be set according to
your own needs. The Aircom can be used in a traditional manner,
with separate control and announcer rooms, or in a more open way,
whereby announcing and engineering control are carried out in one
room. A self-op set up, or a combination of several set ups is
possible.
More than one Broadcast Studio.
There are numerous monitor facilities in the Aircom, for external
sources as well as internal. The control monitors (and meters)
can be switched to three separate (stereo) sources. Left and
right can also be operated independantly.
These features mean that the Aircom is especially suited to work
in a studio-complex environment, where there is more than one
studio/control room being used for broadcast. In this situation,
the Aircom is capable of being the main On-Air console, due to
the three main outputs it contains, which are fully transformer
balanced.
Separate Compressions for Mono and Stereo Outputs.
All three main outputs have their own inserts to accept signal
processors such as the D&R compressor/limiters.
A significant feature of the Aircom is that separate compressions
can be set for mono and stereo outputs. For example, a higher
compression can be set for the mono main output, for AM portables
or car radios, and a lower compression set for the main stereo
outputs.
Special Recording Outputs.
The Aircom has separate stereo recording outputs which can be set
to either +4 dBu or -10 dbV, according to the recording equipment
being used. Jumpers also determine whether you record before or
after the limiters.
INTRODUCTION
Stereo Peak Metering.
In order to achieve a good balance between spoken words and
music, it is important to be able to read the recording level
accurately. The Aircom has twenty-five segment fast reading
peak meters, with logarithmic scaling and one led per dB in the
most critical section of the scale.
SUMMARY.
Whilst using the Aircom, you will discover its many ‘hidden'
features, and will continue to appreciate its extensive
capabilities.
Welcome to the world of Aircom.
DESCRIPTION - MICROPHONE LINE CHANNEL
Mono Microphone Line Channel.
This module is designed to amplify balanced microphone signals.
A 48 Volt phantom power supply is available for condensor
microphones. The Aircom has a wide and dynamic range, which
enables balanced line signals to be accepted; a number of
functions can also be set by jumpers.
input.
Connector XLR female: Pin 1 = shield
Pin 2 = hot
Pin 3 = cold
The microphone input is electronically balanced and protected
against В.Е. interferance. Input impedance is 2 kOhm - high
enough to accept all modern microphones.
Input sensitivity ranges from -72 dB to +20 dB, and will
therefore accept any microphone currently available. The signal
to noise ratio is -129 dB, and is therefore well suited to low
noise performances.
Phantom Powering.
This +48 Volt power module is required for condensor microphones,
and can be applied to the microphone inputs via jumper settings,
(see jumper settings 9-1-1).
When the phantom power is applied and the channel is active, a
“click' can be heard when a microphone is plugged in, and/or the
pad is activated. This is due to a D.C. component on the input
which is suddenly interrupted and amplified by +/- 70 dB; it is
therefore important not to do this with the channel active.
DO NOT use unbalanced or electric microphones when the phantom
power is applied, as it could damage the microphones.
High-Pass Filter.
The high-pass filter attenuates the low frequencies - below 80
Hz, and can be switched on or off by jumper settings (see jumper
settings 9-1-1).
Microphones used for speech are usually set for high-pass
filtering in order to avoid “popping' and other unwanted low
frequency rumble, and therefore improve the quality and
intelligability of the spoken word.
DESCRIPTION —- MICROPHONE LINE CHANNEL
NOTE: Some microphones have built in high-pass filters and
therefore do not require use of the Aircom high-pass
filter.
Pad.
This switch inserts a balanced 30 dB pad between microphone input
and the mike-amp, it is therefore not possible to overload the
mike-amp, and the dynamic range of the channel is considerably
improved. When the pad is activated the input ranges from -44 dB
to +24 dBu. In this mode it is an excellent balanced line input
channel with an input impedance of 10 kOhm, perfect for accepting
DER's Telephone Hybrid. The mike-on signalling of the channel
can be used to indicate which Telephone line is 'On-Air'.
Insert.
When a jack is plugged into the insert jack, the signal path is
interrupted. The ring of the jack sends the signal post
equaliser and on the tip of the jack the signal returns just
before the fader. In this way it is therefore possible to insert
a D&R compressor or other signal processor.
It is also possible to use this insert jack as a direct send
without interrupting the signal path. In that case you connect
tip and ring with each other; this can be usefull for driving
external producers desks, or for selective recording etc.
Cough.
This useful feature has two important functions:
1. Cough/communication
2. Mike-on signalling
1. Cough/Communication.
(A pushbutton needs to be connected to the ring and sleeve
of the jackplug.)
Using the pushbutton during broadcast, the announcer can
temporarily mute the microphone in order to cough (thus the
name is derived). At the same time his microphone will be
routed to the cue system, in order to give him the
opportunity to communicate with the engineer/producer.
DESCRIPTION - MICROPHONE LINE CHANNEL
Gain.
The 'Gain' control adjusts the gain of the module. The range is
-74 dBu to -145 dBu; when the pad is activated, the range is -44
dBu to +24 dBu.
Allignment of the Channel.
With the fader in the “down' position, and the cue activated, the
input signal is adjusted with the gain control until the ZERO dB
posititon of the master meter is illuminated. When the fader is
in its 0 dB position, the signal has a nominal level in the
Aircom.
This system will give enough margin to compensate for signal
losses of up to 10 dB, whilst the noise floor remains well below
the nominal level.
Equaliser.
The equaliser is optimised during broadcasting. Centre detents
on all equaliser controls indicate their flat position.
The maximum lift and cut is 12 dB at the following frequencies:
High : 10 kHz
Mid : 3 kHz
Low : 60 Hz
NOTE: When a microphone/line channel is used for processing
a telephone Hybrid, the “high' and “low' controls of the
equaliser will have little effect, because of the limited
bandwidth of the 'phone connection. They are however,
usefull for reducing “hum' and ‘hiss' from the line.
Auxiliary.
The auxiliary sends are postfader, bringing the signal to the
master auxiliary sends. The channels “on' switch will also
switch the two auxiliary sends on or off.
Cleanfeed.
There are two internal cleanfeed mix busses; the channel can be
connected to the cleanfeed busses using jumpers, (see jumper
settings 9-1-1).
DESCRIPTION - MICROPHONE LINE CHANNEL
These cleanfeed busses, or "Mix Minus" busses, are intended to be
used for driving Telephone Hybrid circuits. They fulfill the
need to send the main mix to the telephone hybrid, minus its own
signal.
Four Telephone Hybrids.
The Aircom can accept four telephone Hybrids by also using the
auxiliary sends. In this case, the auxiliary sends are fully
opened except on the channel which the Telephone Hybrid is
connected to.
On!
The channel on/off switch operates in tandem with the fader
start. There are two led indicators:
1. Green led : channel is on “stand-by' mode.
2. Red led : channel is “active'.
There are two methods of activating the channel:
A. Depress the ‘on' switch, (green led is illuminated),
then by moving up the fader, the signal is sent to the
master and at the same time a mike-on indication is
sent to the cough connector. The red led illuminates
when the green one (stand-by) goes off.
В. When the ‘on' switch is in its ‘up' position, neither
of the leds are illuminated. As the fader is moved
upwards, the channel is put into stand-by', and the
green led illuminates; at this point there is no mike-
on' signalling or audio to the master. Pressing the
`оп' switch activates the channel, and the red led is
illuminated, ‘mike-on' signalling is now present, and
the green led goes out.
In order to switch the channel and mike-on signalling off, the
“on' switch should be deactivated, or the fader closed.
Mike-On Signalling.
In addition to the localised "mike-on' signalling, there is also
a master signal in the master section. A mike-on connector would
offer the option of driving an external red light indicator in
the studio. A jumper per channel selects which channel will
activate the master mike-on signal (see jumper setting 9-1-1).
When the channel is used for a telephone hybrid, it is normal
practise not to activate the mike-on signalling. Switching the
channel on and off is carried out electronically, and is
therefore smooth and click-free.
DESCRIPTION - MICROPHONE LINE CHANNEL
2. Mike-On Signalling.
When the channel is active a voltage is applied between Tip
(+) and Sleeve (0V), which can be used to activate a led
(red). It can also be used to activate a lamp (-18
Volt/50mA), but resistor R54 needs to be replaced first-
contact your dealer for additional information.
NOTE: A plug must be inserted into the cough jack at all
times, or the cue circuit cannot be activated; it is
not necessary to wire this plug.
Whilst in 'self-op' mode, the 'cough plug' must be removed.
in this mode it will guard against accidentally activating
the cue switch, which could cause feedback.
Cue.
This is an automatic prefade-listen system which enables you to
listen to a channel without actually opening that channel. When
the cue button is activated, the channel signal will be connected
to the cue output and meter circuitry (when the fader is closed);
the cue led indicator will illuminate.
When the channel fader is moved upwards, the cue system will be
disabled, including its associated led. For the announcers
microphone it is normal practise to have the cue activated at all
times ensuring that there is open communication between the
engineer and the announcer. In this case, it is advisable to use
a separate loudspeaker with a different sound connected to the
cue output, in order to avoid confusion.
There are two ways of listening to the cue signal:
1. Control Room Monitor (CRM).
On the master section it is necessary to activate one or
two "Autocue" switches. If a cue switch is activated
somewhere in the console while in this mode, the Control
Room Monitors will automatically follow the signal
connected to the cue switch. This of course occurs without
any interruption or disturbance to the broadcast outputs.
2. External mono-cue amp and loudspeaker.
NOTE: In the self-op mode, it is not possible to hear the
cue output via a loudspeaker. Therefore, the CRM and the
cue output will be muted when a microphone channel is
opened. Cueing of signals however is possible through the
headphone outputs.
DESCRIPTION - MICROPHONE LINE CHANNEL
The channel on/off switch is also active for the cleanfeeds and
auxiliary sends, not for the insert jack. The cue will be
automatically disabled when the channel is on.
Fader.
The fader is an ultra smooth 100mm model. The fader switch only
drives the Aircom internal logic circuitry, and not the audio
signal. This system gives the advantage of the manual ‘feel' of
switching, without the disadvantages of having audio fed through
a sensitive microswitch. When the fader is closed, the signal
is automatically muted, providing a cut-off in excess of 100 dB.
This high dB cut-off value ensures that the main output is
protected from crosstalk from announcers or fast spooling tape
ecks.
MIC
INSERT
COUGH
AIRCOM MONO MICROPHONE/LINE CHANNEL
MIKE,
Mono microphone (line) input.
Electronically balanced. Impedance - mike
input: 2 kOhm. Line: 10 kOhm. Level: from-
74 dBu microphone input to +24 dB when the
pad is activated.
Connectors: XLR female.
Pin 1 = sleeve. Pin 2 = hot. Pin 3 = cold.
(J) 48 Volt phantom powering internally set
by a jumper, (see jumper settings 9-1-
1) Jmps5.
(J) High pass filter at 80 Hz internally
set by a jumper, (see jumper settings
9-1-1) Jmp4.
INSERT.
Insertion point, unbalanced on a stereo jack
plug. Tip : return. Ring : send. Sleeve
ground. Level : 0 dbU. Send impedance is
47 Ohm, return impedance is 10 kohm.
Inserting a jack will interrupt the signal
path after the equaliser.
COUGH.
Remote control of the channels on/off and
cue switch's, and red light signalling.
Connection by way of a stereo jack.
Tip : positive supply voltage, current
limited on 15 mA when the channel is ‘on’.
A direct connection to a led is possible
between tip and sleeve.
Ring : when connected to ground, the channel
will be muted and the cue activated.
Sleeve : ground.
NOTE: As a precaution against feedback when
the console is in D.J. (self-op) mode, do
not put a jack plug into the cough
connector. This prevents the cue switch
being activated, and therefore avoids
feedback. When a separate announcers booth
is being used, the cough logic is required;
a jack plug (with or without wiring)
inserted in the cough connector will enable
the cue switch to be used again - a simple
but effective method of avoiding misuse of
the cue switch.
AIRCOM MONO MICROPHONE LINE CHANNEL
PAD.
A 30 dB balanced attenuator ahead of the
microphone pre-amp, which avoids overload of
the mike-pre-amp, and enables use of the
mike-input as a balanced line input.
GAIN.
NI, Pre-amp gain adjustment from -74 dBu to -14
> 3 dB, and with the pad from -44 dBu to +24
- = gain dBu.
% q
AT
HIGH.
« Ue, Lift and cut of 12 dB at 10 kHz shelf curve.
= MD € high
“ te
- +, MID.
i Lift and cut of 12 dB at 3 kHz bell curve.
1512
= © 2 mid LOW.
” &
ty Lift and cut of 12 dB at 60 Hz shelf curve.
Es,
> + AUXILIARY 1
= (1 = low -
- > A separate post fader send to the master
+ aux. 1 control in the master section.
e, AUXILIARY 2.
a = oux A second post fader send to the aux. 2
< master control.
10
. (J) CLEANFEED 1. This jumper selects the
a, channel signal post fader to the
= cleanfeed 1 master control.
ou? See jumper settings 9-1-1, Jmpl.
+
10 (J) CLEANFEED 2. This jumper selects the
channel signal post fader to the
cleanfeed 2 master control.
See jumper settings 9-1-1, Jmp2l.
AIRCOM MONO MICROPHONE LINE CHANNEL
(J) MIKE-ON SIGNALLING. Mike-on signalling
can be set on/off by a jumper (Jmp3).
When the channel is “open' a signal
will be sent to the master mike-on lamp
and mike-on connector. In the self-op
mode the CRM and cue output will also
be muted.
See jumper settings 9-1-1, Jmp3.
PAN.
The “pan' enables the signal to be precisely
placed anywhere between fully left or fully
right.
ON.
Channel on/off switch. Switches the channel
to stand-by mode when the fader is closed;
the green led will illuminate. When the
‘on! switch is not activated the channel
fader can be opened (green led on) without
bringing the audio up and without generating
a mike-on signal. The channel can now be
activated, including mike-on signalling, by
pressing the ‘on' switch (green led off, red
led on). The cue will be automatically
disabled.
CUE.
Cue enables pre-fade listening in order to
adjust the gain control whilst the fader is
closed, or the ‘on' switch is in the ‘up'
position. The cue will be automatically
disabled when the channel fader is opened,
if the ‘on' switch is active, or when the
‘on' switch is activated if the fader was
already open.
PEAK.
The peak indicator acts as a warning that
the audio signal is 4 dB below clipping.
AIRCOM MONO MICROPHONE LINE CHANNEL
FADER.
Channel switch and volume control. This
fader controls the audio signal level,
signalling to the cough connector and master
mike-on signal.
DESCRIPTION - STEREO CHANNEL
Aircom Stereo-Line Channel.
This module is specially designed to accept unbalanced stereo
signals. There are two stereo inputs, A and B, input A has fader
start and stop connectors.
R.I.A.A.
As an option, stereo phono pre-amp with R.I.A.A. filter curve can
be plugged onto the mother board, in order to accept magnetic
Dynamic phono cartridges.
Jumpers.
A number of module functions can be activated by jumper settings,
(see jumper settings 9-1-2).
A - Input.
Connector type is XLR: Pin 1 = shield
Pin 2 = signal left
Pin 3 = signal right
В - Input.
Connector type is jack: Tip = left
Ring = right
Sleeve = ground
The input impedance for both A' and B' are 10 kOhm, and the
maximum sensitivity ranges from -20 dB to +20 dBu. The signal to
noise ratio is -90 dBu (R.I.A.A.: -70 dBu).
Fader Start and Stop.
The fader “Start' and “Stop' is only activated when input A is
selected.
These remote connectors are activated by the fader and/or “on'
switch in the channel module. The start and stop jack
connectors are electronically separated by use of opto couplers.
Opto couplers are ideal devices for eliminating ground loops and
limited lifespan effects of other switches, and can easily be
interfaced with all modern equipment.
The start and stop connectors are connected to separate opto
couplers; the switching elements are N.P.N. transistors and
conduct when activated. The maximum current is 50 mA. Current
limiting resistors of 470 Ohm are placed in series with the opto-
couplers to protect them from misuse.
ADDITIONAL INFORMATION
Faderstartswitch from the stereo channel.
The 2D and 2E printedcircuitboard have a different connection
than stated in the drawing.
This reads as followed:
Fader
Fader
Fader
Fader
down start plug
up start plug
down stop plug
up stop plug
tip
tip
tip
tip
Both connectors are wired now
-=> sleeve
--> ring
—-> ring
--> sleeve
as switch over contacts.
DESCRIPTION - STEREO CHANNEL
NOTE: Polarity is important with opto-couplers!
Start connector:- Type : stereo jack plug
Tip : collector (+V)
Ring : emittor (-V)
Sleeve : not connected
stop connector:- Type : stereo jack plug
Tip : collector (+V)
Ring : emittor (-V)
Sleeve : not connected
No damage will be caused if it is necessary to change the start
and stop conncetor plugs.
Pulse or Continuous Signal.
Using the internal jumper, it is possible to choose between a
pulse or continuous signal to the remote device.
NOTE 1: Nearly all modern devices require pulse information.
Continuous signals however, can. have the advantage that
during broadcast a tapedeck cannot be accidentally
stopped. One disadvantage however is that some CD
players are blocked from other functions when started
with a continuous pulse.
NOTE 2: It is advisable to only use the pulse start mode with
jingle machines, and not connect the stop jack. The cart
has to finish its tape to the end, and then automatically
rewinds. |
NOTE 3: Some machines (such as the Technics SL1200) will start on
the first pulse and stop on the second pulse. This could
cause problems, particularly when using automatic start
from a grammaphone, with the fader closed, because as the
fader is opened, the Technics will stop. A small
modification in the Technics avoids this problem - ask
your dealer for details.
NOTE 4: Some of the older products such as the A-77, require
additional relays or switching transistors to operate
satisfactorily - contact your dealer for more
information.
Stereo/Mono Switches.
With two pushbutton switches, Mono-L and Mono-R, the incoming
left and right signals can be switched to mono or stereo. When
both switches are in their “up' positions, the module will accept
stereo signals. When both switches are in their “dow'
positions, Mono summing of the stereo input signals occurs.
DESCRIPTION ~ STEREO CHANNEL
When Mono-L is in its ‘down' position, the mono signal coming in
from the left input will be sent to both signal paths of the
stereo line module.
When Mono-R is activated, only the “right' signal will be sent
to both stereo signal paths.
Gain.
The Gain control adjusts the gain of the channel pre-amp, within
a range of -20 dB to +20 dB. The range of the fader gives ample
slack, with an additional 10 dB still avaialable.
Equaliser.
The stereo equaliser has an optimum range and characteristics,
the neutral position being clearly identified by a centre detent.
The maximum range is approximately 12 dB at frequencies:-
10 XHz : shelf
3 kHz : bell
60 Hz : shelf
Auxiliary.
The auxiliary sends a signal to the master auxiliary busses.
Both auxiliaries are post fader, and dependent upon the on'
switch of the input channel.
Cleanfeed.
There are two internal cleanfeed mix busses, to which the stereo
channels are permanently connected. When a stereo channel needs
to be eliminated from the cleanfeed busses, the following
resistors need to be removed: R16, R17, R35 and R36 - please
contact your dealer for additional information.
On.
The ‘on' switch works in conjunction with the fader switch, and
has two led indicators:-
1. Green led : the channel mode is ‘stand-by'.
2. Red led : the channel is ‘active’.
DESCRIPTION - STEREO CHANNEL
There are two methods of activating the channel:-
A. If the “on' switch is pressed, the green “stand-by' led
will illuminate, then by opening the fader, the ‘start’
jack will be activated and the signal will enter the
program, (the red led will now be illuminated instead of
the green). When the fader is closed again, the program
signal will be muted, when the fader is at its lowest
position the "“stop' output jack will be activated, (the
green led is once again illuminated, and the red led goes
off).
В. When the “on' switch is not depressed, neither of the
leds are illuminated. If the fader is now opened, the
green led illuminates, and the channel is in stand-by
mode. In this situation, none of the signals are active,
and the “start' jack has not yet been activated.
The channel can now be activated, with the fader open, by
simply depressing the ‘on' switch. The input signal will
be electronically activated along with the start output
jack, and the red led will illuminate (green goes off).
From this position, the channel can be muted and the stop
jack activated by either depressing the “on' switch
again, or closing the fader.
All switching is carried out electronically, and is
therefore smooth and click-free.
The channel on switch also mutes the channel cleanfeeds
and auxiliaries. |
If the cue function is active, it will be disabled when
the channel is activated.
NOTE: Jingle machines should only be activated using the
“on' switch option, above.
Cue.
Automatic pre-fade listening, or cue, allows a channel to be
heard without being opened. When activating the cue switch, the
pre-fade signal will be connected to the cue output and meter
circuits, and the led indicator will come on.
Allignment of the channel. With the fade closed (or muted
channel) the cue switch will be activated; the Autocue in the
master section must be activated. The gain control is used to
adjust the level of the incoming signal until a zero dB reading
is achieved. If the ‘on' switch is now activated, the signal
level will be nominal. When the fader is opened, the cue signal
will be automatically disabled, and its associated led will
switch off.
DESCRIPTION - STEREO CHANNEL
The cue signal can be heard in two ways: -
1. Through the stereo Control Room Monitors, by activating
one or two of the autocue switches in the master
sections. If the cue is activated in one of the
channels, the CRM and meters will be activated without
disturbance to the main output.
2. By way of an externally connected cue amplifier with
loudspeaker.
NOTE: The CRM and cue outputs will be switched off when the
unit is in self-op mode, with an open microphone.
Balance.
The balance enables adjustment between the left and right
signals. The range is restricted in order to minimise the risk
of misjudgement.
Peak Indicator.
The peak indicator comes on when the left or right input signals
reach -4 dB from the maximum level of +22 dB.
Fader.
The Aircom is fitted with a modern ultra-smooth stereo fader,
with integrated Ñmicroswitch, which only drives the Aircom
internal logic circuitry, not the audio signal. This system
provides the desirable “feeling' of a switch, without the
dissadvantages associated with passing audio signals through such
a sensitive microswitch.
When the fader is closed, the signal will be automatically muted,
which provides excellent fader attenuation in excess of 100 dB.
This system also negates any possibility of crosstalk from fast-
wind tape recorders during broadcast.
RRC
LINE A
6)
O
LINE B
STOP
START
DOC
AIRCOM STEREO LINE CHANNEL
LINE A.
Stereo line input A.
Level -20 dBu to +20 dBu unbalanced.
Input impedance: 10 kOhm.
Connector: XLR female.
Pin 1 earth. Pin 2 = left.
Pin 3 right.
NOTE: By adding an optional plug in stereo
R.I.A.A. pre-amp, the A input is able to
accept M.D. phono pick-ups. See jumper
settings 9-1-2, Jmpl and Jmp2.
LINE B.
Stereo line input B.
Level and input impedance as A.
Connector: stereo jack plug.
Tip = left. Ring = right. Sleeve = ground.
STOP.
Remote control for ‘stop' command.
Opto-coupler.
Stop: N.P.N. transistor conducting.
Connector: stereo jack plug.
Tip = collector (+). Ring = emittor (-).
Sleeve = not connected.
START.
Remote control for ‘start' command.
Opto-coupler.
Start: N.P.N. transistor conducting.
Connector: stereo jack plug.
Tip = collector (+). Ring = emittor (-).
Sleeve = not connected.
NOTE: polarity when installing!
(J) Pulse or continuous, internally set by
jumper, see jumper settings 9-1-2,
Jmp3.
NOTE: The remote control only works when
line A is connected.
AIRCOM STEREO LINE CHANNEL
MONO.
Witn both left and right switches activated,
the stereo signal will be mixed to mono on
both outputs.
MONO L.
With only Mono L. activated, the left signal
will be sent to both left and right signal
paths.
MONO R.
With only Mono R. activated, the right
signal will be sent to both left and right
signal paths.
STEREO.
In the ‘Stereo' mode, neither Mono L. or
Mono R. switches need to be activated.
A/B.
A/B input selector. When line B is
selected, the red led is illuminated. In
this state, the remote outputs are not
activated.
GAIN.
Enables adjustment of the input level of the
channel, within a range of -20 dBu to +20
dBu.
HIGH.
Adjusts the high frequencies with +/- 12 dB
at 10 kHz.
MID.
Adjusts the mid frequencies with +/- 12 dB
at 3 kHz bell.
AIRCOM STEREO LINE CHANNEL
LOW.
Adjusts the low frequencies with +/- 12 dB
at 60 Hz shelf.
AUX. 1/2.
Transmit a mono summed signal to the aux.
1/2 master post fader. The channel on'
switch also affects the aux. 1/2 sends.
CLEANFEED 1/2.
Internal busses transmit mono summed signals
to the cleanfeed master controls.
BALANCE.
Allows a limited adjustment between the left
and right channel outputs.
ON.
Channel on/off switch. While in closed
fader stand-by mode, i.e. when green led is
illuminated. When the switch is not
activated, the channel fader can be opened
without activating the fader start, and
without opening the program signal, the
green led is illuminated.
The channel can be activated (including the
start/stop command) by pressing the ‘on’
switch, green led off, red led on. The cue
switch, if active, will be automatically
disabled.
CUE.
Stereo pre-fade listening. Allows pre-fade
listening of the channel with the fader
closed. The cue function will be
automatically disabled when the channel is
activated.
peak
AIRCOM STEREO LINE CHANNEL
PEAK.
The peak indicator will indicate when the
signal reaches -4 dB below the clipping
point of the module.
FADER.
Channel volume control adjusts overall
channel level and activates (together with
the “on' switch) all on and off switching of
remote connectors.
DESCRIPTION - MASTER SECTION
Announcer.
The ‘Announcer' has its own built in stereo headphone amp, via a
stereo jack plug.
Tip = left
Ring = right
Sleeve = ground
The signal is powerful enough to drive several 600 Ohm headphones
in tandem.
It is not possible to turn the announcer volume control
completely down; this ensures that it is instantly noticable that
a headphone is connected to the announcers output.
The talkback volume to the announcers output is independant from
the announcers level control; normally the announcer would listen
to the main stereo program material.
Flw Monitor (Announcer).
When the follow monitor switch is depressed, the announcers
output follows the Control Room Monitor. This arrangement allows
the announcer to follow the cue output, in order to check a
record or tape etc. This system is particularly useful for
sports events, whereby it is possible for the announcer to listen
to this channel, so that he can make an instant response to the
action. However, it is not acceptable to lose control of the
main broadcast output, so jumper settings enable the main output
to be sent to the left earphone independantly of the the flw
monitor setting, (see jumper settings 9-2-1, Jmpl).
In addition, by using a second jumper it is possible to choose to
hear the talkback on the right earphone only, leaving the left
earphone entirely for the main broadcast output, (see jumper
settings 9-2-1, Jmp3).
Guest.
A separate stereo headphone output is provided for a guest, and
the talkback is always adressed to both earphones. The output is
identical to that of the announcer, and could therefore be used
as a second announcers output.
Flw Monitor (Guest).
When this switch is activated it will follow the input selection
of the Control Room Monitor. With internal jumper settings, the
left side of the headphone will always follow the program
material, regardless of the position of the ‘flw monitor' switch,
(see jumper setting 9-2-3, Jmp1).
DESCRIPTION - MASTER SECTION
Auxiliaries.
Auxiliaries 1 and 2. The summing amps, master volume controls
and unbalanced output amps with +6 dB output level.
Connector = stereo jack plug
Tip = +6 dBu
Ring/Sleeve = ground
The level of the talkback signal is set by the auxiliary master
controls.
Cue.
The “Cue' switches the auxiliary output signal to the cue amps
and meter circuits.
The auxiliary sends can be used for several purposes, such as
driving effects, reverbs, or the D&R Querb etc.
A useful option during broadcast, is to combine all outputs of
the individual channels, except the studio microphones, and to
amplify the summed signal through a small loudspeaker in the
studio. This enables everyone present in the studio to follow
the program material. If the loudspeaker. is set to a low level,
it will not “colour' the sound of an “open' microphone.
Eventually, during broadcast, the level can be reduced further,
or muted when a microphone is open, so that talkback signals will
also not be heard. The external mike-on control jack is used to
create this set-up.
Cleanfeed 1 € 2.
The cleanfeeds 1 and 2, or mix minus busses, are designed to
drive the telephone hybrids. The signal, apart from the return,
is sent to the caller, (see 11-1-1 - Telephone Hybrid
adjustment).
Cleanfeed means all signals except its own.
In order to avoid feedback, a connected telephone line receives
all channels except the channel the hybrid is connected to via a
hybrid circuit. Therefore, all channels are connected to the
cleanfeed busses, except the channels the hybrid output is
connected to. Those channels have the cleanfeed jumper removed.
DESCRIPTION - MASTER SECTION
Four Telephone Lines on the Aircom.
By using the two cleanfeed busses and the two auxiliary sends, it
is possible to have a maximum of four “phone lines connected at
any one time. The cleanfeeds are jumper selected, and the
auxiliary sends via their controls. This is achieved by opening
all auxiliary sends, except those connected to the outputs of the
telephone hybrids. Four D&R telephone hybrids are required for
this arrangement.
Talkback.
The talkback microphone is a built in Electret microphone with
its associated level control and pulse “on' switch.
When the talkback is activated the Control Room Monitor will be
dimmed by 20 dB to achieve maximum intelligability. The talkback
routing is latching, and can be to several outputs at the same
time. The announcer and guest outputs are driven ???7? their
volume controls, so communication is always possible.
Talkback Inhibit.
If an amplified loudspeaker is connected to the auxiliary output
or an “open telephone hybrid connection', it could be possible to
hear a talkback signal in the broadcast output. In order to
avoid this possibility, an optional Talkback Inhibit circuit can
be built into the system. Please contact your dealer for
additional information. -
Main Outputs.
The Aircom contains three transformer balanced main outputs:
master left, master right and mono. All three outputs have their
own line output amps with high quality output transformers.
The output level is +6 dB at 600 Ohm when the meter reads 0 dB.
Connectors are XLR male: Pin 1 = ground
Pin 2 = hot
Pin 3 = cold
If the Aircom is required to drive unbalanced equipment, Pins 1
and 3 must be short-circuited.
DESCRIPTION - MASTER SECTION
insert L € ВК.
The main outputs Left and Right, each have their own insertion
points.
Tip = return
Ring = send
Sleeve = ground
These inserts are intended to accept D&R limiters or compressors.
Mono Main Output.
The signal for the mono output amp is the summed left/right main
output signal. By means of the jumper settings, it is possible
to determine whether the signal comes from before or after the
stereo insertion points, (see jumper settings 9-3-1, Jmp3).
Insert Mono.
Insertion point for the mono output.
NOTE: The mono output can have its own compressor/limiter, which
would be particularly worthwhile when this output is used
for transmitting through FM. It is usual to have higher
compression ratios to increase the energy for small
protables and car radios.
Master Mono Switch.
The master mono switch is used to make the stereo output mono.
The broadcast becomes mono, and the CRM indicates the fact of it
being a mono signal.
Program and Stereo Record Outputs.
The Aircom has three extra stereo program outputs - Tape Out,
Stereo 1 and Stereo 2. The outputs are distributed through a 680
Ohm resistor, by one main output amp.
The signals for this output amp come before or after the stereo
insertion points, according to the jumper settings.
NOTE: This jumper setting also determines the point from which
the mono output amp recieves its signal, (see jumper
settings 9-3-1, Jmp3 and Jmp6).
It is now possible to choose whether the recorded signal, or the
signal going to other studios is compressed or not.
DESCRIPTION ~ MASTER SECTION
The output level can be set to +6 dB or -10 dBV. (See jumper
settings 9-3-2, Jmp4 and Jmp5). For the large proportion of
semi-professional equipment, -10 dBV is the preferred setting,
which ensures that the input circuitry is not overloaded.
Connector type is stereo jack plug: Tip = left
Ring = right
Sleeve = ground
Output impedance : 680 Ohm. Level +6 dBu or -10 dBV.
Control Room Monitor - Sources.
Tape in, Stereo 1 and Stereo 2.
The sensitivity of these inputs can be individually adjusted
between -20 dB and +6 dB. The main section needs to be
dismantled and lifted at the front. The adjustment pots. are
located on PCB7 for the left inputs, and PCB8 for the right
inputs. A long isolated screwdriver will be required to make
these adjustments.
The inputs are selected via the CRM select switches.
The stereo peak meters follow the selection of the CRM source
switches. If no leds are illuminated near the CRM source
switches, then the main outputs are on the meters and Control
Room Monitors.
The Control Room Monitor can be selected for either left or right
independantly.
Autocue.
If the “Cue' switch is activated on one of the input channels,
and the autocue switches are then activated, the CRM will
automatically be switched to the cue outputs. Leds indicate
whether the autocue function is active.
Stereo 1 - Stereo 2 - Tape.
These inputs are designed to listen to recorders (post tape), or
off-air. A stereo line from studio 2 is also possible.
NOTE 1: It is always advisable to connect an outside line to the
Aircom vía a transformer.
NOTE 2: When a signal is digitally connected from studio to
transmitter, a delay will sometimes be introduced, due
to Analog/Digital conversion. Off air checks will
result in phasing effects.
DESCRIPTION - MASTER SECTION
Control Room Monitors and Headphones.
Control Room Monitor.
The selected signal can be monitored on loudspeakers and the
level adjusted via the CRM potentiometer.
The output is a stereo jack plug.
Tip = left
Ring = right
Sleeve = ground
The output level is +6 dBu.
The CRM output will be muted in the self-op mode, when a
microphone is opened.
NOTE: When using a HiFi amplifier, the output level of the
aircom could be too high. The necessary adjustments can
be made by changing the resistors R21 and R26 to 33 kOhm
(for -10 dBv). External resistor networks such as 22
kOhm in series, and 6 kOhm to earth will also achieve
this.
Headphones.
The "phones amplifier is capable of driving 600 Ohm phones at
extremely high volume. The volume of this output amp cannot be
turned down, because of failure free broadcasting.
There are two connectors for this headphone output, one beneath
the meterhood, the other beneath the arm rest.
Mono.
This switch only switches the CRM to mono, and does not effect
the guest and announcer outputs. It is used for checking mono
compatability.
Stereo Peak Meters.
The Aircom has logarithmic peak reading meters, with 10 m sec.
attack time, and 1.5 sec. release for every 20 dB. Normally
these meters follow the CRM selectors, but internal jumpers can
set the left meter to read the left program material at all
times, (see jumper settings 9-2-1, Jmp2).
DESCRIPTION - MASTER SECTION
NOTE: The following levels should be used for a suitable sound
pressure, for music, talkshows, and interviews etc.
Music : Up to -4 de
Speech : up to 0 de
Telephone : up to +4 dB
A mild compression such as 2:1 with slow attack and a threshold
of -6 dB to limiting around +8 dB will improve the relationship
between different broadcast material.
NOTE: These are average settings only, presentation of modern
pop music will certainly require alternative settings.
On-Air.
The on-air switch corresponds with the on-air output jack. It is
a passive single pole switch, with a maximum current of 150mA at
30 Volts.
This switch can be used when more than one studio is in
operation, as a centralised on-air switch for activating the
studio lights etc.
Connector type is stereo jack plug: Tip = normally open
Ring = nomally closed
Sleeve = centre contact
Self-Op Mode.
Using this mode, the D.J. is able to operate the Aircom himself.
If the mike-on lamp illuminates, the loudspeakers and cue
loudspeaker are automatically muted. Internal microphone
channels can be connected via jumpers to the centralised mike-on
switch connector, so that if one or more of these channels are
then opened, the mike-on signal will be given.
This output can give +15 Volt level current, limited by a 470 Ohm
resistor, and connection of a relay can activate a centralised
mike-on signal. We advise you to use an externally connected
solid state relay. A suitable model is the S 201-S 04 from
Sharp , which switches 220 Volts/1.5 Amp click-free. A solid
state relay is much safer to use, and is more reliable. The
mike-on output can be connected directly to the S 201-8 04 relay.
Connector: Tip = +V
Ring & Sleeve = OV
DESCRIPTION - MASTER SECTION
Mike-On Lamp.
This lamp illuminates when one or more of the microphone channels
are active (and their jumpers are also active). The mike-on
switching output is also triggered when this lamp is illuminated.
Cue Output.
The "Cue' output carries the cue output when any of the local cue
switches are activated. This output is intended to be used as a
cue output with its own speakers, so that the autocue switches in
the CRM section need not be activated.
If only a low output is required, a small 100 Ohm loudspeaker can
be connected directly to the cue output.
Connector type is stereo jack plug: Tip = signal
Ring & Sleeve = ground
The cue output will also be muted when the Aircom is in the
self-op (D.J.) mode.
announcer (+)
ANNOUNCER
AIRCOM MASTER SECTION
ANNOUNCER.
Stereo headphone output for an annoucer,
with level of +15 dBu. DO NOT connect
headphones with a lower impedance than 200
Ohm.
Connector type is stereo jack plug.
Tip = left. Ring = right. Sleeve = ground.
ANNOUNCER LEVEL.
Volume control of the announcers headphone
amp . Usually it will follow the program
output.
NOTE 1: It is not possible to fully
attenuate this output.
NOTE 2: The talkback level is not dependant
upon the setting of the announcers level
control.
(J) (Internal). The standard jumper
setting is no talkback on the left
headphone output (9-2-1, Jmp3).
FLW MONITOR.
Follow monitor selection. When this switch
is depressed, the Announcers output will
follow the control room selection.
(J) (Internal). The default jumper setting
is program signal on the left headphone
output, independant of the follow
monitor selection, (9-2-1, Jmpl).
AUXILIARY 1.
Auxiliaries master control.
AUXILIARY 2.
Auxiliaries master control.
CUE.
After the fade listen swtich, connects the
aux. output to the cue output and meters.
guest +)
AIRCOM MASTER SECTION
MASTER MONO.
Main mono output, level = +6 dBu transformer
balanced. Impedance = 600 Ohm.
Connector type is XLR male.
Pin 1 = ground. Pin 2 = hot. Pin 3 = cold.
(J) (Internal). Jumper settings determine
whether the mono summed signal is
derived PRE or POST the insertion
points of the stereo outputs, (9-3-1,
Jmp3 and Jmp6).
CLEANFEED 2
Cleanfeed 2 output. Level = +6 dBu.
Impedance = 47 Ohm unbalanced.
Connector type is stereo jack plug.
Tip = signal. Ring & Sleeve = ground.
CLEANFEED 1.
Identical to cleanfeed 2.
GUEST OUTPUT.
Guest stereo headphone output.
Level = +15 dBu.
NOTE: DO NOT use headphones with a lower
impedance than 200 Ohm - 600 Ohm is
preferable.
Connector type is stereo jack plug.
Tip = left. Ring = right. Sleeve = ground.
GUEST.
Level control of the stereo headphone amps.
This output normally follows the main
output.
NOTE 1: This output cannot be fully
attenuated.
NOTE 2: The talkback volume is independant
from the guest level settings.
meter
aux 2
aux 1 (+)
announcer (+)
ANNOUNCER.
ATRCOM MASTER SECTION
METER.
This 5 pole din connector is used to connect
the peak meters inside the meterhood of the
Aircom. A zero dB indication stands for +6
dBu output level.
Connector: 5 pole din plug.
Pin 1 = signal right.
Pin 2 = earth.
Pin 3 = -10 Volt.
Pin 4 = signal left.
Pin 5 = +18 Volt.
The meter will indicate the signal chosen by
the CRM input select switches.
(J) Jumper selections (internal).
The left meter (top section) will
always indicate the main output left
signal, regardless of the selection of
the CRM selectors.
See jumper settings 9-2-2, Jmp2.
MIKE-ON.
Microphone on switch connector. This
connector provides a current limited voltage
when one or more microphone input channels
are open - if the mike-on ¡jumper on the
channel module is correctly selected.
Connector type is stereo jack plug.
Tip = +18 Volt. Ring € Sleeve = ground.
AUXILIARY 2.
Main auxiliary 2 output with a level of +6
dBV.
Impedance is 470 Ohm unbalanced.
Connector type is jack plug.
Tip = signal. Ring & Sleeve = ground.
AUXILIARY 1.
Main auxiliary 1 output - identical to
auxiliary 2.
L
MASTER
insert L
insert R
AIRCOM MASTER SECTION
FLW MONITOR.
When this switch is depressed, the guest
output will follow the Control Room Monitor
selection.
(J) Internal default jumper setting is to
always hear the program signal on the
left headphone output, regardless of
the flw monitor setting, (9-2-3, Jmp1).
CLEANFEED 1.
Cleanfeed 1 main output level control.
CLEANFEED 2.
Cleanfeed 2 main output level control.
CUE.
Selects the cleanfeed signal, after the
volume control, to be sent to the cue output
and meters.
MASTER L. AND R.
Main outputs left and right.
Level = +6 dBu, transformer balanced.
Impedance = 600 Ohm.
Connector type is XLR male.
Pin 1 = ground. Pin 2 = hot. Pin 3 = cold.
INSERT LEFT.
Insertion connector of left output,
unbalanced.
Connector type is stereo jack plug.
Tip = return, 0 dBu, imp. 10 kohm.
Ring = send, 0 dBu, imp. 47 Ohm.
Sleeve = ground.
INSERT RIGHT.
Identical to insert left.
insert К (+)
ins mono +)
MASTER
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announcer
guest
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AIRCOM MASTER SECTION
INSERT MONO.
Identical to insert left.
MASTER MONO.
Sums the left and right signal to be mono on
both outputs.
TALKBACK ROUTING.
Routes the talkback
combination of outputs.
signal to any
TALKBACK LEVEL.
Sets the talkback level.
TALKBACK SWITCH.
Activates the built in talkback microphone,
and attenuates the Control Room Monitors by
20 dB.
TAPE OUT, STEREO QUT, STEREO OUT.
These are stereo recording outputs.
Level = +6 dBu or -10 dbv.
Output impedance = 600 Ohm.
Connector type is jack plug.
Tip = left. Ring = right. Sleeve = ground.
(J) (9-3-2, Jmp4 and Jmp5).
(J) Jumper settings can change the
recording signals coming pre or post
tha master left/right inserts, (9-3-1,
Jmp3 and Jmp6).
TAPE IN, STEREO IN 2, STEREO IN 1.
Inputs for external sources.
Level can be adjusted between -20 dBu and +6
dBu. Impedance = 10 kOhm.
Connector type is stereo jack plug.
Tip = left. Ring = right. Sleeve = ground.
tape out (+)
stereo out (+)
и
stereo out (+ )
—
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ON AIR —+
phones (+)
tape in
stereo in 2
cue (+)
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AIRCOM MASTER SECTION
ON-AIR.
Output for on-air signalling. This 15 а
single pole switch over contact, able to
switch 50 Volt/150 mA maximum.
Connector type is stereo jack plug.
Tip = default on. Ring = active on.
Sleeve = change over contact.
CUE.
Mono cue output. Level = 0 dBv.
Impedance = 47 Ohm.
Connector type is stereo jack plug.
Tip = signal mono. Ring & Sleeve = ground.
NOTE: This output will be muted in the
“self-op' mode, in case a mike channel is
opened (mike-on lamp illuminates).
PHONES.
The engineers stereo headphone output, also
to be used as D.J. output.
Level = +15 dBv. Impedance = 47 Ohm.
NOTE: DO NOT use headphones with an
impedance lower than 200 Ohm - 600 Ohm is
preferable.
Connector type is stereo jack plug.
Tip = left. Ring = right. Sleeve = ground.
NOTE: Under the arm rest, there is another
parallel connector for connecting
headphones.
C.R.M.
Control Room Monitor output.
Connector type is stereo jack plug.
Level = 0 dBv. Impedance = 47 Ohm.
Tip = left. Ring = right. Sleeve = ground.
NOTE: This output will be muted in the
“self-op' mode, when a mike channel is
opened (mike-on light illuminates).
AIRCOM MASTER SECTION
CRM.
Level control of Control Room Monitor. This
output will be muted in the ‘self-op' mode
when a mike channel is opened. During
talkback, the CRM is dimmed by 20 dB.
MONO.
Switches meters and CRM to mono. (Also
Phones, Announcer and Guest).
The main outputs will not be switched to
mono.
DER BROADCAST - AIRCOM JUMPER SETTINGS
9-1-1 MIKE/LINE CHANNEL.
Jmp 1 = Cleanfeed 1 1 + 2 = ON 3 + 4 = OFF
Jmp 2 = Cleanfeed 2 1 + 2 = ON 3 + 4 = OFF
Jmp 3 = Mike-On logic 1 + 2 = ON 3 + 4 = OFF
Jmp 4 = Lo-cut filter 1 + 2 = OUT 3 + 4 = IN
Jmp 5 = 48 Volt Phantom 1 + 2 = OFF 3 + 4 = ON
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9-1-2 STEREO LINE CHANNEL.
Jmp 1 = 1 + 2 connects A input LEFT to the channel.
Jmp 2 = 3 + 4 connects A input RIGHT to the channel.
*NOTE*
An optional R.I.A.A. phono pre amp can be plugged
in here. The `А' input of the channel can thus be
connected directly to a phono cartridge. Jumpers
should be removed from the channel completely.
!DO NOT!
plug the jumpers on the lower connecting pins, as
this will short out the positive and negative
channel power supply lines to earth!
REMOTE CONTROL OPERATION MODE.
pulse
Jmp 3 = 1 +
3 + continuous
2
4
*NOTE*
Remote control is active only when the ‘A' input
is selected.
DER BROADCAST AIRCOM JUMPER SETTINGS
9-2-1 MASTER MODULE ANNOUNCER & METER.
Jmp 1
Jmp 3
Announcer phones LEFT select.
1 +2 = Phones LEFT will follow monitor select,
IF the “f£lw monitor' switch is operated.
3 + 4 = Phones LEFT is ALWAYS connected to the
mixer output (regardless of the selection).
Announcer phones LEFT, Talkback select.
1 +2 Talkback to phones RIGHT only.
3 + 4 = Talkback to phones LEFT and RIGET.
9-2-3 METER SELECT.
Jmp 2
1+ 2 = Meter LEFT ALWAYS displays the mixer
output (regardless of the monitor selection).
3 + 4 = Meter LEFT follows monitor selection.
9-2-3 MASTER MODULE GUEST.
Jmp 1
Guest phones LEFT select.
1 + 2 = Phones LEFT will follow monitor select,
IF the ‘flw monitor' switch is operated.
3 + 4 = Phones LEFT is ALWAYS connected to the
mixer output (regardless of the monitor
selection).
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DER BROADCAST AIRCOM JUMPER SETTINGS
9-3-1 MASTER MODULE MAIN LEFT 8 RIGHT OUTPUTS.
Jmp 6 = Selects the signal for the recording outputs
TAPE and STEREO from pre or post the insert of
the stereo output master (e.g. before or after
a comp/lim).
1 + 2 = pre insert (left)
3 + 4 = post insert (left)
Jmp 3 = Same as above, but for the right stereo output
master.
1 + 2 = pre insert (right)
3 + 4 = post insert (right)
*NOTE*
This selection also determines the signal sent to
the MONO output.
*NOTE*
For normal operation Jmp 6 and Jmp 3 should be in
identical positions!
LEVEL SETTING OUTPUTS STEREO 1 & 2, TAPE OUT.
Jmp 4 = Sets level of the left (recording) outputs.
TAPE and STEREO to either -10 dB or +6 dB.
1 + 2 = -10 dB (left)
3 + 4 = +6 dB (left)
Jmp 5 = Same as above, but for right channel.
1+2=-10 dB (right)
3 + 4 = +6 dB (right)
*NOTE*
For normal operation Jmp 4 and Jmp 5 shoulc be in
identical positions!
INSTALLING THE AIRCOM
Mains.
Please check that the local mains supply corresponds with the
voltage selected on the Aircom mains inlet. The Aircom can be
factory set for voltages between 100 - 120 Volt or 220 - 240
Volt.
The Aircom is fused with a 2 Amp slow blow fuse for 110 Volt or
1.2 Amp slow blow fuse for 220 Volt.
DO NOT use any other value, as this would be hazardous, and the
Aircom guarantee will be void.
Clean Power Connection.
Be sure to use a “clean' power outlet, i.e. one that is fed
directly from the mains, including earth.
Only connect the Aircom to this outlet and its associated
equipment. This will act as the centralised mains and earth for
the studio.
It is advisable to install several multiple mains connectors
close to the Aircom, with a master power switch to shut down all
power to the studio. Grounding MUST BE a starground system.
Keep all wires as short as possible, but never install audio next
to power cables.
"Polluted" mains are caused by changing currents on the outlets,
such as air-conditioners, coffee machines, fridges, computers,
dimmer packs etc. DO NOT connect any of these types of items to
the Aircom main power outlet.
Wiring.
In cases where all the equipment is transformer balanced, it is
usual to connect the shielding of the wiring to the source side
only.
In the Aircom, many of the sources will be unbalanced, so a
different strategy needs to be adopted.
Equipment such as CD players do not have a mains ground
connection. In this case the shielding can be connected on both
sides of the connection - a ground loop will not occur. Try to
choose a CD player with metal housing. If you experience
problems with the transmitter interfering with the CD sound,
connect the CD housing to a ceramic capacitor of 0.01 uF/250 V
to the mains earth.
INSTALLING THE AIRCOM
Audio Connections to the Aircom.
Prior to commencing wiring of the studio, it is advisable to
obtain some labels, which will simplify trouble-shooting. Label
such as "CD-1, ch12A".
The first step is to connect the Aircom to the mains, with all
faders closed, no CRM active and the CRM volume controls fully
clock-wise.
A. Connect the CRM amp to the CRM output, and check whether
there is any “hum' or “noise'. |
В. Now connect the phono players, and check again for “hum' and
‘noise’.
NOTE: In most cases it is a matter of finding the best grounding
for the phono ground by trial and error. This might be directly
to the audio ground or to the chassis of the Aircom.
C. Now connect Tapedeck, Cartmachines, CD players etc.
NOTE: Wiring a tuner needs special attention.
If the tuner is 'cable", the coax antennae cable will
probably cause a ground loop. The antennae input of the
tuner must be separated by an H.F. transformer - ask your
dealer or any radio shop for details.
* IMPORTANT *
SAFETY PRECAUTION - All “outside' connections to the Aircom,
even from the same building, must be connected via a
transformer. This avoids the possibility of ground loops and
‘hum’.
The shielding must be connected to the source side.
In areas with a strong H.F. interferance, it is wise to
connect the other side of the shielding through a 0.1 uF/250
Volt ceramic capacitor. The capacitor will not affect the
audio, but will reduce H.F. signals.
Servicing the Aircom.
A. Disconnect the mains supply.
Remove the power cable from the back of the console.
B
C. Lift the meterhood.
D
. Remove cabling as necessary.
INSTALLING THE AIRCOM
E. Unscrew the channel module bolts.
F. Firstly lift the channel down by the fader section, and then
the other side. Carefully lift the module until you see a
connector mounted to a ribbon (flat) cable.
G. On the PCB part of the connector you will see two ejectors,
with which to eject the cable header.
Installing the Channel Module.
A. Plug the ribbon cable connector into the PCB connector,
ensuring that the ejectors are securely replaced.
В. Slowly put the module down into the chassis, rear first.
C. Tighten all screws, and reconnect the channel.
Servicing the Master Section.
Disconnect the Aircom from the mains supply.
Remove all cables,
Remove all holding screws.
Lift the master section, from the fader side first.
Remove the connector to the power PCB.
qd E OU a »
Lift the section upwards until you are able to remove the
ribbon cable from the PCBs.
G. Reverse this procedure to re-mount the master section.
D&R Telephone Hybrid.
A telephone hybrid is required in order to connect the two wire
telephone system to the input and output of the Aircom.
The internal circuitry splits the in-going and out-going signals
using balancing transformers and capacitors.
Due to the fact that the resistance and capacitance of the
nearest "phone company distribution point varies from place to
place, it is necessary to align the Telephone Hybrid.
INSTALLING THE AIRCOM
Installing the Telephone Hybrid.
A. Connect a wire from the Cleanfeed 1/2 or Aux. 1/2 outputs to
the Hybrid input.
B. Connect a wire from the hybrid output to a mike/line channel
with an activated “pad' and with the gain control set to
12 o'clock.
NOTE: Put the mike-on jumper on that channel to “OFF'.
The cough/mike-on output of the channel can be used to
indicate that the hybrid is open.
C. Connect the telephone line and “phone to the hybrid.
Allignment of the Hybrid.
1. Call the weather forecast!
2. Activate the hybrid connect switch.
3. Open the hybrid channel and adjust the level to 0 dB with the
gain control.
4. Put some music on another channel and level this to the
output.
5. Activate the autocue switches in the master. Activate the
cue of the Cleanfeed 1/0utput and adjust the Cleanfeed 1
output for a 0 dB reading. Now deactivate the Cleanfeed 1
cue.
6. Activate the hybrid channel cue.
7. Adjust the R control to decrease the music level.
8. Adjust the C balance control to further decrease the music
level.
NOTE: Repeat steps 7 and 8 several times, until the maximum
attenuation is achieved.
The hybrid is now aligned. Mark the two settings of the R and C
balance controls. All the time the hybrid remains connected to
the same “phone company, no changes need be made to this set up.
NOTE: Try to by-pass the in house telephone system if possible,
otherwise it will be extremely difficult to achieve a good
alignment. A direct connection with the incoming phone company
gives the best results.
SPECIFICATION
INPUTS
Mike inputs: balanced 2 kOhm, R.F. protected.
C.M.R.R. at 50 Hz: -76 dB.
Sensitivity: -70 dBv to -28 dBv for +6 dBv out.
Signal to noise ratio: - 129.00 dB.
Line (stereo) inputs: unbalanced 10 kOhm minimum.
Signal to noise ratio: - 90 dB.
Sensitivity: -20 dBv to +20 dBv active controlled
for +6 dBv output.
Insert: input unbalanced at 10 kOhm.
Sensitivity: OdBv.
Tape returns in master: -20 dBv to +6 dBv at
10 kOhm minimum.
OUTPUTS
Left/right/mono +6 dBv transformer balanced.
Aux. 1/2, Cleanfeed 1/2, Cue, CRM, +6 dBv at
47 Ohm unbalanced.
Phones / announcer / quest, +15 dBv at 47 Ohm.
EQUALISATION
+/- 12 dB at 10 kHz shelf.
+/- 12 dB at 3 kHz bell curve.
+/- 12 dB at 60 Hz shelf.
OVERALL
Frequency response: 20-20.000 Hz +/- 0.5 dB.
Harmonic distortion: less than 0.02% at all
levels.
Max gain through desk: 86 dB.
Cross talk: channel to channel: - 90dB at 1 kHz.
Noise: -86 dBv (one channel @ 0dB).
A/B line cross talk: -80 dB.
Max output: +26 dBv into 2 kOhm.
Headroom: +22 dB above internal nominal level.
REMOTES
All control inputs are on jack sockets.
Channel/master mike-on signalling is via buffered
transistors and or opto-couplers.
Machine remote control is via separate opto
couplers for start and stop pulse or continuous
signals.
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ATRCOM MASTER SECTION
ON-AIR.
Switch to activate the on-air output.
SELF-OP.
enabling the announcer to do
In this mode all
Self operate,
the mixing himself.
loudspeaker outputs are automatically muted
when a mike channel is opened (CRM/Cue).
The mike-on jumper needs to be set to
activate the master logic.
MIKE-ON.
Mike-on signalling to indicate that one or
more mike channels are open.
MONITOR SELECT SWITCHES.
The left and right inputs of the CRM can be
selected separately.
| AUTOCUE.
When this switch is activated, the left,
right, or both CRM outputs are automatically
connected to a selected cue switch. The
corredsponding leds indicate that the
autocue is active.
STEREO 1, STEREO 2, TAPE.
Selects the external sources.
PHONES.
Level control for the engineers headphone
outputs.
NOTE: It is not possible to fully attenuate
this output.
SPECIFICATION
WEIGHT Aircom 16: 40 kg (88 1b).
OPTIONS Conductive plastic faders.
DIMENSIONS O
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HEAD OFFICE
D&R Electronics b.v.
Rijnkade 15B
1382 GS WEESP
THE NETHERLANDS
Phone: (--) 31 2940 18014*
Fax: (--) 31 2940 16987
U.S.A. OFFICE
DER USA
RE 3 Box 184-424
Montgomery, TX 77356
U.S.A.
Phone: (409) 588 3411
Fax: (409) 588 3299
B.R.D. OFFICE
DER Electronica GmbH
Steinkaulstrasse 21
D 5100 Aachen
B.R.D.
Phone: 0031 2940 18014
Fax: 0031 2940 16987
ATRCOM USER QUESTIONNAIRE
Dear Aircom user,
We care very much about your opinion of our product, and would
very much appreciate if you could complete the following
questionnaire, and return it to the address below. Please use
the reverse, or additional paper if required.
AIRCOM SERIAL NO: .....eoeorosdaaaorrdoooorecarorsareoarorrereeo a.
CONFIGURATION ........eo.eñrrorrooosoocodcoranrecereconororoodaosaraeao
DEALER 4040000400 5 000 800 0 0 a 000 00 000 00 800000 00000 0000000 0 0000000
HOW DID YOU HEAR ABOUT THE `АТЕСОМ'?
(Dealer / Advertisement / Exhibition / Other user / Other)
WHAT JOURNALS DO YOU TAKE ON A REGULAR BASIS?
STE eee ey wee eT A =
WHAT IS YOUR OPINIÓN OF THE PRICE/QUALITY OF THE AIRCOM ?
WHAT PRICE WOULD YOU CONSIDER SUITABLE FOR THE AIRCOM'?
ANY OTHER SUGGESTIONS?
"I REQUIRE INFORMATION ABOUT. ........c00c0ceeeeecescennnsosnaas по
WHAT OTHER EQUIPMENT DO YOU USE?
PLEASE SEND TO: D&R Electronics b.v., Rijnkade 15B, 1382 GS WEESP
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