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On-air consoles

1. 41 5 1 5 Unbalanced OUtpults 5 iiri tede enema 41 5126 CIR PT 41 5 1 7 Frequency Response 41 5 1 6 PASS ee 42 51 9 Stereo TRACKING 42 5 1 10 Harmonic Distortion THD 42 5 1 11 Equivalent Input Noise 42 5 1 42 Signal TaAllOs Ne 42 5 1 13 Cross AIRE ne tS en test 42 Blocks diagrammes 43 5 2 1 2310 MIC module 2 main channels for microphone 43 5 2 2 2312 MIC module 3 main channels for mic with processing 44 Master module Model 2307 47 a a 49 Broadcast mixing consoles 2300 series SOLIDYNE 11 Whats in the box With the 2300 console you will receive the following items This user s manual 1 Interlock power cord A guaranty certificate If you don t acquire the optional wiring kit you receive a DB 25 connector for each module e Atubular connector for on the air lights Tally e 1 set of self adhesive labels for channel identification e 4 self adhesive rubber supports 1 screwdriver for adjustment of gain presets e 1 flat cable 2 pins to 2 pins for Pahntom 48V e 1 flat cable 2 pins to 3 pins for Mic Mute Dj speaker e 1 spare parts kit 2 71074 1 TLO72 1 CD4013 1 button 1 button MULTIMEC 1 fader 10 K LIN 1
2. 28 3 2 2 Master Module general description 29 3 2 3 Monitors and headphones 30 D A Eq D 30 3 2 5 Master MIC 30 9 2 0 TAIKDACR iz tin ana 30 3 3 2310 Microphone module amp 2301 Line Mod le D S 31 3 4 2312 Microphone Modules 32 3 5 2320 AES 3 digital module 33 3 59 1 Lev etus 33 3 5 2 Display 33 3 5 4 Programming the 2320 33 9 0 9 ODE Fallon mds te 34 3 6 2330 Hybrid s processor module 35 3 6 1 USING tlie VOR nd nine 35 3 8 How to record with the 2300 s 37 Broadcast mixing consoles 2300 series Page 3 4 3 8 1 Recording the 37 Maintenance o 39 4 1 On console s temperature 39 42 CICANING 39 4 3 Preventive 39 4 4 Parts Replacement 39 Chapter 5 Specifications amp Measurements 41 5 1 General Measurements 41 D MICTODIDIG din cree 41 ML 41 SMOD diae EE 41 5 1 4 Balanced
3. Locate the 10 pin connector JD and plug in the rib bon cable When replacing the Master module into her position be sure to attach the lock washers star washers in the top screws of the module These washers ensure electrical continuity between the plate of the module and the console cabinet 2 5 2 2330 VQR module This optional module adds to the console a process ing stage for improve the audio quality of telephonic communications you acquire this optional module after purchase the console proceed as follow to mount it into the console The 2330 VQR requires one simple module space available in the mainframe it has the same wide of a 2310 module Since it requires connection to the 2307 Master mod ule must be placed beside the Master lf your console does not have free space next to the Master considers moving all the modules that are necessary to leave a place beside the Master Is easy to do it since the modules are interconnected by a ribon cable with polarized connectors In order to retire a module of the cabinet remove the subjec tion screws Modules and blind panels have a washer type star in the su A perior screws that assures electric contact between the mod ule and the body of the console in order to guarantee a cor rect grounding Does not omit to return to place these wash ers after move a module SOLIDYNE Once available the space for the 2330 module you need to retire the Master t
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5. tive procedures in this manual 4 1 On console s temperature The rear panel of the VU meters turret is made in alu minum and dissipates the heat produced by the power supply and audio amplifiers In models XS and XL the value of overheating with re spect to the atmosphere is of around 68 F That is to say with a normal atmosphere of 77 F the back panel normally will work at 113 F In models XL with 16 channels working with 110 V AC the extreme condition the temperature can reach 131 F with 77 atmosphere in the back panel This it is a safe value and the console is designed to work at these temperatures so you dont worry about it Models XX and XZ have duplicated power supply for this reason the nominal temperatures are lower that in XL models 4 2 Cleaning Maintain the room clean and free of dust The surface of the console can be cleaning using a very smooth detergent like are used for painted walls and a sponge or fine cloth hardly humid NEVER USE alco hol benzene or petroleum derivatives Take this rule NO SMOKING at the control room The cigarette ashes are LETHAL for the faders and affect in addition to other equipment of the radio CD play ers minidisks etc By the same reason don t drink or eat while you are working on the equipment If after using the console for a long time you note that the faders become difficult to handle hard to move or fails probably they are dirty In orde
6. GND 3 DigiSolid Out B ES Modules 2312 has a third DigiSolid connector for the channel C see diagram in 2 4 Customizing the modules In the 2320 digital module the DigiSolid connector locates at the back side of the module beside the DB 25 Is a 5 pines polarized connector that includes a DigiSolid input which allows to control the 2300 channels from the Audi com computer via parallel port enabling the inputs by the automation software to control for example Satellite programs The distribution is indicated in the next table 2320 DigiSolid Connector ous j p 4L own 2 me s mA 27 This connectors are provided with the 2320 modules DigiSolid inputs of channels and can be connected in parallel mode in order to command both channels with an only control signal The channels will be programmed so that when receiving the DigiSolid control signal a channel is activated increasing its level progressively while the other one will fading until Zero achieving this way an per fect automatic cross fade Different attenuation slopes and delay times can be programmed see 3 4 2320 digital line modules Please refers to the documentation of your on air assis tant software to know where to connect the digiSolid in puts It varies on each system Audicom uses an USB port SOLIDYNE 2 2 3 Master Module The main output connector is a multi pin 25 type Optionally you can r
7. The variation will be smaller than 2 degree between 50 Hz 15 KHz 5 1 9 Stereo Tracking Maintain the conditions of the previous item Change the generator frequency to 1 kHz Take the main fader to the maximum Adjust the Pan Pot to obtain the same level in both channels L amp R of PGM output This level will be in order of 10 dBm Now move the fader between 0 and 30 dB and measure the difference among the levels of both program outputs This difference will be below 0 2 5 1 10 Harmonic Distortion THD Connect the audio generator at 1 KHz 4 dBm to a left line input Connect a Harmonic Distortion meter and the oscilloscope to the left program output Load this output with 600 Ohms Then select LIN and PGM in this chan nel The other switches should be out Enable the module by pressing the AIR button Take the fader to the maximum level 0 dB Then change the pre set line level until obtaining 4 dBm on the left output Measure now the total harmonic distortion Change the frequency between 30 and 15 000 Hz and to check if the distortion is below the specification Repeat for right channel Reduce now the level from the generator to 50 dBm and connect it to the microphone input Take the fader to 0 dB position Select MIC change the level from the MIC preset gain until obtaining 4 dBm at the output and to proceed like in the previous item It is necessary to keep in mind so that this measurement has
8. etc Remember The audio equipment handle different signal levels The professional audio level with bal anced outputs operates at 4dBm or 8 dBm whereas home equipment with unbalanced outputs manages 10dBm levels Use the balanced inputs of the console for profes sional devices and the AUX unbalanced inputs for home quality devices DAT decks Cassette players etc SOLIDYNE Broadcast mixing consoles 2300 series Page 23 PAGE INTENTIONALLY Page 24 Broadcast mixing consoles 2300 series SOLIDYNE 2 7 2300 XZ console Installation The model 2300 XZ allows to mount into the meter bridge two 15 plasma flat screen video monitors I E Viewsonic VE500 or similar Usually the video moni tors are not sold by Solidyne The 2300 XZ is packed disassembled for a maximum Space saving for reduction of shipment costs There fore you will need to assemble the console as it s de scribed next 2 7 1 LCD Displays First video monitors will be mounted When you ac quire the monitors verify that its base can dismount Recommended model is Viewsonic VE500 or similar Notice if the base of the monitor is fixed to the body MONTAR LA PANTALLA POR DETRAS MOUNT THE LCD DISPLAY 5 EOFN 4 a 4 1 1 QUITAR TORNILLOS T E Sy d REMOVE THE SCREWS Hl Wl don t be po
9. raise this cover and re tire the connector Remember that the connectors Db 25 type is mounted with two screws If it were necessary to remove the module clear the panel screws and retire it towards you In this way you will access to the connector with greater freedom Notice that to remove the module completely you will have to disconnect the BUS connector from the con sole Page 26 Broadcast mixing consoles 2300 series L E L LATERALDE MADERA WOOD LATERAL PANEL COLOCAR TORNILLOS ALLEN PROVISTO MOUNT THE ALLEN SCREWS PROVIDED WITH THE UNIT TAPA DE ACCESO A CONECTORES OPEN THIS COVER TO ACCESS TO THE CONECTORS RETIRAR EL M DULO RETIRE THE MODULE SOLIDYNE 3 1 Introduction You can discriminate different areas in the console the input channels the monitoring levels control phone hybrid and talk back master 2307 and the VU meters panel The audio signals coming from the PC Satellite DAT Mini disc Microphones etc enters to the console through the input channels that amplify them You can control all sources levels using the main faders and to listen the signals before send to the air pressing the CUE buttons To send a channel on the air press the AIR button and open the main fader until reach the desired level The buses assignments button s PGM AUD and SND sends the channel s signals to the Master outs Each input section can receive signal of two different sourc
10. AIR and CUE must be off Be sure the console is properly grounded and no RF is present at the measurement Laboratory 5 1 1 Microphone Connect an audio generator to a microphone input Con nect an audio level meter and an oscilloscope to the PGM left output then repeat with the right Connect a 600 ohms charge to the output Set the audio generator to 1 kHz 80 dBm Select MIC and PGM on the channel which the generator is con nected Enable the channel pressing the AIR button Move the main fader from this channel to the maximum Increase the gain of the module until obtain 4dBm at the output Move GAIN to the minimum Change the generator to 45 dBm Move the fader until you verify that can obtain 4 dBm without clipping at the output Change to the right input of this channel or to another module and repeat the procedure 5 1 2 Line Connect the generator to left input of a line channel with a level of 20 dBm at 1 Khz Verify that the oscilloscope and audio level meter are connected to the left PGM out put Select LIN and PGM in the channel under test En able the module by pressing the Air button move to the maximum the GAIN preset and move the main fader until you verify that can obtain 4 dBm at the output Change the gain control to the minimum and increase the input level up to 18 dBm move the fader until obtain 4 dBm at the output without visible clipping Increase the gain with the main fader until obtai
11. Air Mics Button Located above the main fader in each input channel this button sends the channel on the air when is pressed Pressing it again the channel is turning off This button lights when is on The On Air button is electronically activated using VCA technology instead mechanical switching It gives free clicks and plops operation due the fact that Solidyne uses a fast slope fading action instead of the hard switch that other brands offer When the console operates under PC control AIR but ton is commanded from the PC A master microphone button is located on the 2307 Master module which activates all microphones chan nels at the same time Or you can change using inter nals jumpers the microphones that go to air in the same batch When the AIR button is on turns on the tally light the console gives 12 V DC as tally signal Also a relay is activated to mute the studio monitors This modality allows an interesting facility because you will always use the MIC master button 1 3 Expansions amp accessories 13 1 Solidyne 2300 series All Solidyne consoles can be customized according to the requirements of your radio station You decide how many microphone and line modules will have your con sole You can opt also to include other optional fea tures that are described next The different models of the series 2300 are e 2300 XS It allows to house up to 12 channels 6 double modules that can be microphone mo
12. Fisk Mmesiacgre 4 dre S PROFESIONALES PARA RADIO On air consoles Users manual 3 de Febrero 3254 1429 Buenos Aires Argentina Phone 54 11 4702 0090 e mail info solidynepro com Fax 54 11 4702 2375 Last revision September 2012 Web www SolidynePRO com 2 Broadcast mixing consoles 2300 series SOLIDYNE SOLIDYNE Table of Contents of Contents Chapter 1 Getting Started 5 1 1 What s in the box sese 5 1 2 Brief description 5 8 eee eee 5 T2 2 COUPE 5 2 3 10150 0 5 ere AE TE 5 1 2 5 rir Rea Id 6 1 2 6 On Air Mics 6 1 3 Expansions amp accessories 6 1 3 1 Solidyne 2300 5 6 1 3 2 VU and stereo phase vector 6 1 3 3 2 22155241 amies 6 1 3 5 AES 3 outputs AES EBU T 135 RCONMECIIONS ta es n epe eva ee 7 1 9 3 2 te n WR ee e E tenus 7 1 36 STUDIO BOX heu 8 1 3 0 2 6 5 a Re aa 8 1 3 6 2 Using the Studio Box 8 Chapter 2 Installing and connecting 9 2 1 About installation 9 2 151 Parasitic SIQMA
13. LED The ring will be listened on the CUE speaker this volume adjusts with the RING knob You can answer the call in two ways a From the tele phone set associated to that line or b from the hybrid of the console To answer from the console press the blink ing button the hybrid will take the line and a pilot light will indicate that the phone line has been taken by the Hybrid The ON AIR Hybrid fader must be closed so that the com munication will be routed through the CUE circuit Under these conditions you will listen to the caller in the CUE speaker The level is adjusted using the CUE knob To di alogue use the Talk back microphone by pressing the button PHONE This button is retained so you must press Page 27 it again to listen the answer at the CUE speaker since it s a half duplex communication But you can dialog in full duplex and free hands staying pressed the button PHONE In this mode the Control Room loudspeakers are muted to avoid loopbacks so you must use headphones to dialog with the caller when the two lines are taken the talk back MIC sent signal to both lines N REMEMBER e f you listens high return with boosted basses of your own voice in headphones the rejection of the hybrid badly is fit It can di rectly fit maintaining it the communication in free hands mode and varying preset NULL until finding the point in where the re turn of your own voice is smaller This adjustment is equiv
14. from the loudspeakers and headphones level knobs the level with which CUE is sent to monitoring is fixed that is to say it depends on the own input sig nal By such reason CUE can sound higher than the PGM signal If you are monitoring at a high level agree that you lower the level of the loudspeakers or headphones before pressing CUE to SPK or CUE if CUE to is already pressed Into the Studio we recommend to install a headphone dis tributor like the Solidyne Studio Box Studio Box brings 5 headphones outputs with independent control levels Remember that when microphones are on the air Studio monitors are muted to avoid feedbacks 3 2 4 CUE The unit has a built in loudspeaker for previous listen ing Each channel has a button named CUE that al lows to listen the signal present in that channel leaving off air button AIR off and main fader closed If you press CUE in several channels the CUE signals are Page 30 Broadcast mixing consoles 2300 series mixed At the Masters CUE knobs manages the level of previous listening in loudspeakers or headphones according to correspond CUE signal can be sent to the Control Room main monitors and headphones as was explained previ ously 3 2 5 Master MIC button The MASTER MIC button located at the 2307 Master module activates all microphone modules and mutes the Studio monitors to avoid signal feedback Obviously the headphones are not mute
15. has three channels located in the same panel This module requires the same space that two standard solidyne 2310 modules The EQ and processor works with the MIC input only The stereo line input _ has no processing 9 cn Gain 98 Gain 98 Gain dB Gain dB Page 32 15 00 Ob gw JE b FOOD Ci 1 fel 1 fj Epi GRUU 1 Ww ina 7 50 Weeden i o PL Cud gw dan db 1 101014 15 00 15 00 4 bands gate turn EQUALIZER AUX MIC input 0 0 MIC input gain ce S 5Khz 8 Khz 0 0 x 160Hz Gate threshold Turn the knob to the left to disable the gate To use the the knob slowly to the right until the background noise is re duced Listen carefully into the pauses while speaking GATE 4 Activates by pass the compressor expander stage 2 i NE 2257 EQ On Of COMP EXP EQ ET Indicates the action of the compressor which manage the eases dynamic range to avoid noticeable differences in the voice level The compression degree regulates with the main fader Will must operate at the midle of scale Output buses assignment PGM AUD SEND 15 00 0 00 me 15 00 F
16. nection is carrying out only by the third pin of the power sup ply cord 2 1 1 Parasitic signals Generally are considerate parasitic signals all unwanted signals that appear in audio lines A common type are denominated hum ming 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 origi nated 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 cur rents 15 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 RAD
17. phone input It has internal precision adjustments factory calibrated So user adjustments don t be required Only the rejection factor must be re adjusted to be adapted to the local telephone line please see 3 2 1 Hybrid 2307 In the rear panel there are 5 connectors RJ11 type Two are telephone lines inputs two are for connecting the as sociated telephone sets Production Phones and the fifth is the cell phone input The lines can be connected directly to the internal radio telephone PBX system instead to the public switch Of course the radio station can connect it to public switching The hybrid inputs have internal filters for RF rejection ef fective in AM FM and UHF bands Usually isn t necessary to add additional filter The telephone lines have internal high tension protection using Metal Oxide Varistors But we recommend having additionally a good external pro tection Phone lines protection lightning and electrical surges Please see general pro The telephone lines will always have protection against tection diagram at the end of this chapter 2 2 1 5 1 Connecting a cell phone Cell phone connects directly to CELL RJ 11 An adapta tion cable is required for connect the cell phone to the console that defers according to mark and model from the cellular The cellular connects to the hybrid using the free hands connection that the cell phones have Consult with his Solidyne dealer by this accessory For
18. program Repeat for all the combinations of left and right program with left and right audition In the same way the crosstalk on PGM bus can be measured Check it with the console specifications SOLIDYNE Blocks diagram 5 2 1 2310 MIC module 2 main channels for microphone IOXLNOO JIN O3 31 S o Aao NOLLO3S W3GQl 8 NOLLO3S 440 NO 7 o m ino sna E dit ES JN JN of SLNdNI 0 OIN 43 Broadcast mixing consoles 2300 series SOLIDYNE 5 2 2 2312 MIC module 3 main channels for microphone with processing 5 n g IORLNOO OIN w 31V9 1 4 JOSS3HdWOO O3M31 5 sna anv X AIN a eo APE e 03 1 _ SLOdNI SOLIDYNE Broadcast mixing consoles 2300 series Page 44 5 2 3 2301 Line module 2 main channels for line sng E sng gt ASI 1 eN NOILO3S 8 NOILLO3S a B 1 1437 INN E 91907 s 1 1H9 INIT C 7xnv 4 TINNVHO xnv 038315 xnv 7xnv 038315 1331 3NI1 a 1 1no 4 sng O3431S TANNVHD LV
19. retained on screen by 3 sec and then the display will return to clock mode If you turn on the microphones again in this 3 sec window the timer will resume Clock Adjustment To adjust the time there are three buttons MODE UP and DOWN Pressing MODE button the adjustment starts The less significant minute will blink With Up and Down buttons change the value Pressing Mode again you can change the most significant minute Fi nally pressing Mode again the hour character will blink Modify the hour and press Mode to finish the time ad justment 1 3 5 3 outputs AES EBU Optionally the Master 2307 can have AES 3 aka AES EBU digital outputs for program and audition If you have an XL2300 with 2Dout option the AES 3 outputs comes from factory This accessory DG2300 option can be acquired later and added to the console In this case you will install it like is described next The optional DG2300 card will be fixed to the Master back side like shows the following figure Turn off the console before the installation Remove the fixation screws of the Master move away it carefully and place the DG2300 card Fix it whit the three screws like it is indicated in the figure After fixing the DG2300 put the interconnection cable The connector only can be con nected in a unique position DG2300 card S Fixation screws DB 9 connector o dB Fig 1 Rear view of the Master 2307 with the o
20. series SOLIDYNE PAGE INTENTIONALLY Page 48 Broadcast mixing consoles 2300 series SOLIDYNE 5 3 Specifications Audio Inputs 2 two stereo inputs each module One balanced stereo line or mono Mic and one AUX unbalanced Option Digital AES EBU SPDIF inputs trans former isolated Inputs Level Impedance Balanced MIC 25 dBu 80 dBu 150 250 Ohms Balanced LINE 20 dBu 22 dBu 600 10Kohms Unbalanced AUX 20 dBu 15dBu 600 10Kohms AES EBU inputs 110 ohms balanced with transformer Outputs 3 bus outputs PGM amp AUD balanced 4 dBm AUX Unbalanced 4 dBm Balanced Outs Max Level 26dBu 10K 20dBm 600ohms Unbalanced Outs Max Level 20dBm 600 ohms Optional Digital AES EBU output for PGM amp AUD Inserts Inserts for both MIC inputs in microphone modules Stereo insert for LINE A in LINE modules Monitor amp Hybrid Outputs 1 Separate Hybrid CUE 4dBu 10K 1 Hybrid On Air Receive 4 dBu 10K 1 Hybrid send MIX Minus 4 dBu 10K Power Monitors Internal Monitor Amplifiers 3W CUE monitor with internal speaker 2 Stereo Monitor outputs Control Room amp Studio with Muting Relays Stereo Power 14 W rms 4 ohms Response 30 15 000 Hz 0 5dB THD lt 0 05 Noise lt 80dBA Microphone Processor Optional MIC module model 2312 160mm wide with 3 MIC with processing facilities 4 band EQ 80 Hz and 10 kHz shelv ing 160 Hz amp 5 kHz bell shaped 14 dB action Expa
21. to 2 2 4 1 DigiSolid A 2 GND 3 Digisolid 2301 2312 DigiSolid OUT 1 DigiSolid Out 2 GND 3 Unconnected Line modules only have two jumpers which must be out when the INSERT is used BS Fig 11 Microphone module 2312 welds side Page 20 Broadcast mixing consoles 2300 series SOLIDYNE Jcue a JPH1esss E uin E me o B _ CONS ee 2 JI b ae JE ar a2 din uou cacy JA D o JE D me 123 522 1 EN J 1 A f pon am CON4 ae ip up pe JPH2 Fig 12 Microphone module 2310 welds side 530410 SOTIDAUE __ START 111 Fig 13 Line module 2301 welds side 3000 150 5 Ye START Fig 14 Line module 2302 welds side 2 4 5 Jumpers on Master Module 2 4 5 1 Hybrid s priority circuit The circuit of priority of the hybrid attenuates the au dio coming from the telephone line when the studio speaker speaks This is thus to give priority to the speaker in a debate when both speak simultane ously the speaker is listened on whom calls and to improve the audio quality of the local voice In some uses like sport transmissions thi
22. to turn on CONTROL ROOM MUTING to mic module 3 pins DG AB connector MUTE oNe Te 3T EXT Mic 2330 CONTROL J PRIORITY Fig 15 Master 2307 circuit board view 2 5 Adding modules to console 2 5 1 USB 2302 The USB 2302 digital module requires connection to the 2307 Master module to enable the recording on the PC of Audition and Program signals When you buy this module separately you receive a ribbon ca ble with 10 way connector pins E If you do not connect the ribbon cable to the Master the 2302 module works well but only as playing device When con nects the USB cable the module is detected by Windows and the USB devices will be available but if you try to record au dio the computer will record silence Page 22 Broadcast mixing consoles 2300 series At the module The fig 14 see 2 4 2 Jumpers on the modules shows the 2302 module circuit board side The con nector labeled JD must beconnected to the Master with the ribbon cable supplied with the module When you screw the module be sure to attach the lock washers star washers in the top screws of the module as these washers ensure electrical continu ity between the plate of the module and the console cabinet You can use the washers removed from the blind panel or replace new washers At the 2307 Master You must remove the Master module to connect the ribon cable but you don t need to unplug the Master
23. with the GAIN AUX presets L amp R The LINE and AUX input impedance is bigger than 10 Kohms Bridging inputs This is compatible with all cur rent equipment sound cards CD player etc But if you need to adapt the input to 600 ohms place inside the con nector a 680 ohms resistor in parallel with the input 2 2 2 2 Digital inputs 2300 console s can have AES 3 inputs modules 2320 which also supports SPDIF signals and direct USB con nection to computer modules 2302 known about AES connecting please refers to 2 3 1 1 2320 AES 3 known about USB connecting please see 2 3 1 2 2302 USB e know the use of AES 3 module 2320 please see 3 5 2320 AES 3 digital module 2 2 2 3 Microphone inputs Microphone inputs are electronically balanced Gain ad justs from the frontal panel with a preset control with 30dB of range The pan pot allows change the micro phone position in the stereo image AUX inputs are similar to line modules but they don t have gain presets The DB 25 connector has the same pin out that the line inputs connectors Please see connections at 2 3 Connections and wiring 2 2 2 4 Inserts Microphone modules have insert connections in both mi crophone channels MIC A and MIC B while the line modules only have a stereo insert for the LINE A Through the insert connection the console sends audio to a external processor i e a compressor The proc
24. B Each channel is recognized by Windows as USB ex ternal sound card In this way the audio is send directly from the computer to the console without leave the digital domain In addition the 2302 provides two analogical balanced auxiliary inputs Balanced inputs are available on DB25 connector and are wired like the balanced inputs of module 2301 please refers to 2 3 3 2 2301 amp 2320 line modules Page 13 Each USB channel is independent and can connect to the same computer or two different computers Both channels are compatible with USB 1 1 and 2 0 Before connecting the USB port of the console to your PC make sure that both the console and the PC have a ground through its power cords To be safe connect one tester in the range of 25 VAC between the chassis of the PC and console and check that the voltage is zero volts Only then connect the USB cable Of Doing so may damage the USB port of your console or PC Connect the 2302 module to any USB port of a com puter running Windows When connecting it Win dows recognizes the 2302 and install the drivers Additional drivers are not required Each channel ap pears on Windows like one stereo USB playing device and one stereo recording device When you plug a channel the display on the module will show PC4 indicating that one stereo play chan nel and one stereo recording channel are active If the second channel is connected the display will cha
25. B in 15 KHz The measured noise will be between 5 and 7 dB above to the real one 5 1 12 Signal Noise ratio In the same outline of the previous point connect the au dio generator at 1 kHz 4 dBm to the line input Con nect to the output an audio level meter with weighting filter and an oscilloscope Load the output with 600 ohms Move the fader to 10dB position Adjust the line level preset until get 4dBm output and use this value as refer ence for the measurement of noise Replace the genera tor by a resistor of 600 ohms and measure the new out put level This value plus 4dBm is the S N ratio 27 This measurement result is the noise level in dBA 5 1 13 Crosstalk Connect the audio generator 4 dBm 1kHz to an left channel of a line input Connect an audio level meter with weighting filter an oscilloscope and a load of 600 ohms to the left AUD output Connect another load of 600 ohms to the left PGM output Select all buses LIN PGM and AUD in the module All buses in others mod ules must be out Enable the module pressing AIR Move the fader to the maximum Change the level of the gener ator until obtaining 15dBm in the AUD output Change the position of the audio level meter from AUD to PGM output Verify that the audio level is 15 dBm 0 5 dB Release the PGM button and measure the residual level of the signal This level referred to 15 dBm is the crosstalk between left audition and left
26. CUE allows listening the audio signal before the fader AIR button press this button to put the channel on the air The signal s level is controlled by the main fader The commutation is made electroni cally increasing the level by a quick slope all modules 2300 uses this method avoiding clicks and plops habitual when the signal is switched mechanically The AIR button can be programmed Slow1 or Slow2 mode for slow fader slopes This way you can operate the console in semiautomatic mode because pressing one button you get a perfect cross fade like when you open and close the faders slowly This simpli fies the operation of the console DIGITAL CONTROL Page 34 Broadcast mixing consoles 2300 series SOLIDYNE 3 6 2330 Hybrid s processor module If you acquired this module after purchase the console please see Chapter 2 Installation to connect it Solidyne Voice Quality Restoration is a type of audio processing that allows improving the audio quality of a telephone communication This tech nique bases on the reconstruction of the spectrum lost due the transmission As you know the bandwidth transmitted through a telephone line reduces approximately to 300 Hz 3 000 Hz because this is the range of the human voice Therefore the components of low and high frequency presents in the original signal are lost in the transmission These components al
27. DC resistance is very near to the nominal 27 impedance For this reason recommend previous to the installation to measure with a tester the resistance that presents the loudspeaker and to discard all the units that has n value smaller than 3 Ohms Loudspeakers outputs use RCA phono connectors Take care with polarity If loudspeakers work with inverted phase it can cause remarkable lost at low frequencies 2 2 1 2 HEADPHONES There are independent outputs for STUDIO and CON TROL ROOM with 74 jacks connectors STUDIO out put allows to connect up to 8 headphones whereas the CONTROL ROOM output supports up to 2 head SOLIDYNE phones Headphone outputs are protected against cidental short circuits At the console the operator has independent level controls for Studio and Control headphones Into the Studio is convenient to install the Solidyne Studio Box headphones distributor This unit is placed on the ta ble and brings up to 5 headphones with its volume control 2 2 1 4 STUDIO LIGHT TALLY The STUDIO LIGHT output gives 12 volts 0 3 A when the studio microphones are activated This allows activat ing LED s On Air lights that are highly reliable and don t need replacement as the systems of incandescent light does The Solidyne On Air Light kit with characters 100 mm high is a professional solution 2 2 1 5 CONNECTING THE TELEPHONE LINES The Hybrid 2307 manages 2 telephone lines and 1 cell
28. IC A XLR HEMBRA 1 mt if 77 25 NOTE If you hear background hum it can be produced by RF sta tionary waves induced from the FM antenna In this case you must install ferrite o rings 60mm diameter in all input amp output cables like shows the left image see 2 1 2 RF interference For use the INSERTS CONNECTIONS you must remove the jumpers JF8 y JF9 from the correspondent module as 15 indicated in 2 4 Broadcast mixing consoles 2300 series SOLIDYNE 2 3 4 Ground connections recommended for protection against electric storms ODINVIINOYULIY13 OdLL 501 BSN ON NOISN3 L 30 OOINOXLLOG T3 153 NN 3100100 SVIN 40 NOISNA3133180S oosani TA 2153 NS IS VLON SOULIN 53 W uvuvd3s X OSIYONI OSNYD V1V4 35 9 22 z unu 2 je STIIVO oe ATARI posae a UVUV 435 1 4 e m SVOINO HHL HOSINSVHL SVINN 2 vans wINHNS THXVOO YOLOILOUd 2 IIMA SVOINO H HI SYINN S3HO12310Ud NOIOOd LOHUd 5 8156 VOVONBINOO3H 17 Broadcast mixing consoles 2300 series SOLIDYNE Schematic Diagram Recommended connection of 2300 consoles SOUOIX9UOD
29. IO FREQUENCY and CROSSTALK As hum noises like the radio frequency are origi nated by electromagnetic fields of high frequency the first ones are originated by disturbances due to the connection and discon nection of equipment s to the AC line the seconds ones are gen SOLIDYNE CHAPTER 2 Installing and connecting erated by communications transmitters or industrial equipment If these signals penetrate into audio lines with sufficient intensity can surpass the action of the special protection filters and to reach some sensible part of the input stages In that case the in terfering signals can be demodulated and already turned audio signal and will be amplified by the rest of the system It is funda mental therefore to maintain the interference within reduced mar gins It is obtained avoiding very long audio lines with aerial sec tions or that pass near of transformers or RF transmitters For pro tection 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 con trolled 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 2300 consoles have numerous internal protections against RF fields for the AM and FM broadcasting band When the transmis sion statio
30. IS siete oan uade patent ico 9 2 1 2 RF cues e Eee in Eos 9 2 2 Inputs amp Outputs connections 10 2 2 Rear 10 2 2 1 1 MONITOR OUTPUTS renerne 10 2 2 1 2 10 2 2 1 4 STUDIO LIGHT 11 2 2 1 5 CONNECTING THE TELEPHONE LINEG 11 2 2 1 5 1 Connecting a cell 11 2 2 1 6 Connecting an external 11 2 2 2 INPOT MODUEES t cte te creme 12 2 2 2 Lie qb ORY tct ins 12 2 2 2 2 Biga ips dee paa ere ha e 12 2 2 2 3 Microphone inputs 12 22 b E 12 2 2 2 5 Digital control DigiSolid in out 12 2 2 9 Master Mod le E Or OS 13 2 3 Connectors and wiring 13 2 3 1 Line and Microphone connectors 13 2 9 2 MASTER 290 f 14 2 3 2 1 Connector pIDIPOU niet un names 14 2 3 3 NNN annee 15 2391 M ster sn 15 2 3 3 22301 amp 2320 Line 15 2 3 3 2 2310 MIC MOdUIES 16 2 3 4 Ground connections recommended for protection against electric storms 17 2 4 Customizing the modul
31. LYASNI Page 45 Broadcast mixing consoles 2300 series SOLIDYNE 5 2 4 FROM 2307 MASTER 2 Connector Flat Cable Page 46 Power supply and monitoring amps HEADPHONE AMP z29 230 ig DISTRIBUTION AMP 229 230 eidem D ar 6 x STUDIO HEADPHONES E ie D TO EXTERNAL STUDIO BOX 233 Z34 D EXTERNAL HYBRID FROM TLBK STUDIO BOX D 214 215 20V PHONE LINES 217 18 19 20 21 22 232 HYBRIO vu Solid gt State gt o 12V Relay 1 A a ome MODULES 20 137 IA 220V T 110v VOLTAJE PROTECTION 77 TO STUDIO BOX USED IN XS MODEL 15W STEREO AMPLIFIER CONTROL 9 s CONTROL gt SPEAKERS 16W STEREO AMPLIFIER STUDIO C suono _ D 5 VU METERS D PGM ig 2 39 ay Sd S 26 Broadcast mixing consoles 2300 series SOLIDYNE Master module Model 2307 8 rs rrr eee es ee es me one ee uota siayebods t 145 Optus 39 yegi SUYO 8 52 jnduj FVD 19734 47 Broadcast mixing consoles 2300
32. NE LINE amp CELLULAR 73 HYBRID ON AIR AIR LINE HOLD CUE D PGM AUD HYBRID OUT CUE TEST ADJ BRID SET CELLULAR PHONE HYBRID PHONE LEVEL CZ e i PHONE MIC INTERCOM TALK BAS STUDIO AUTO SWITCH AIR MIC C RES AIF MASTER MIC Master MIC button Enables all microphone channels and lights the Tally Broadcast mixing consoles 2300 series Assigns PGM to Studio Assigns AUD to Studio Assigns AIR input to Studio external tuner Assigns PGM to Control Room Assigns AUD to Control Room Assigns SEND to Control Room Assigns AIR input to Control Room Assigns CUE to Control Room main Monitors f several buttons are pressed the Signals are mixed Hybrid s rejection factor aka Null See the following pages Adjusts the hybrid level sent to CUE Line taken LED s Takes the audio from Cell phone Takes the phone lines Both lines and the cellular can be in conference Talkback level preset Talkback button Talk to telephone line Free hands dialog mode When this button i pressed the Control Room monitors are muted The calling is listened on headphones The PGM audio stays in background Page 29 3 2 3 Monitors and headphones The Master 2307 monitoring section has two sections Studio Monitor y Control Room Here you find the mon itoring selection what signal do you hear a
33. SWNVZ3dS IOHINOO VOU S3HOLO3NOO ML SHIHVIdS TOHLNOO Od WOOIdNV a l 5245 AND gt HOLO3NOO 1 LNO HOLINON OIQNLS gt CYVINENL YHOLOANOD LH N 01815 ON 1d lt 271 NOIOdO V OIN d A3390Of asid A L OIN ep s zueed Jeioue is Bled ejosuoo e 968 2 ILAN osiq JIN 1 0 01 51010 eue e qeo Jejoeuoo as ejosuoo e ue Aayoor 2910 ep opuesf ofeq 2 C ep SeJe noune JeSf ESaU e 0J u02 un Jesn epend es ugiquie ueuinjoA anb ejsipoued jap 89199 5 Odil OALLOV 3133V8INIIN S34H01n201 54 E TO41NO9 S3LNYTHYd 501 YVLITIGVH TV NVLHOO AS OIGNLSA 30 S31NV THVd SOT 0187153 SOLIDYNE Broadcast mixing consoles 2300 series Page 18 2 4 Customizing the modules According to the connections and use some con sole s modules can require a customized configura tion 2 4 1 Using a mic into the Control Room Ther
34. The modules 2320 manage two digital inputs AES 3 and two analogical unbalanced inputs AUX Each channel have an LCD that shows the input level assigned buses selected in put and more Modules 2302 offers direct connection to the PC via USB It works as external sound card liv ing to the PC 2 playing devices and 2 recording de vices PGM and AUD can be recorder directly 1 2 2 Output All outputs are located on the Master 2307 Line and microphone modules have 3 stereo sends to the mas ter PGM program AUD audition and SEND e PROGRAM output is the main output used to send the audio signal to the transmitter e AUDITION is used to record or to hear audio in control monitors but not on the air SEND is a stereo bus It s used by example to make a mix of all input channels except the microphones This mix can be sent to the studio monitors This way the speakers will be able to listen a return in the loudspeak ers without necessity of headphones still on the air e The CUE bus allows hearing the signals with the chan nel off and fader closed The monaural audio will be lis tened on the internal speaker located at the right of the meter bridge CUE can be assigned to the main moni tors of Control Room 1 2 3 DigiSolid Bus Each channel has a DigiSolid Out control This control supported in all Solidyne equipment allows controlling satellite programs the Audicom software digital audio processors
35. UT C T s ae 60 Ms p 6 dr 3 A sik 1 4 TS PLUG mc r3 SEND L 1 4 Ts PLUG 2 1 mra M AUD R 1 4 TRS PLUG 1f RT 0 3 I9 AUD L 14 TRS PLUG HYBRID MONITORING TO STUDIO MALE RCA PGM R MALE XLR PGM L MALE XLR HYBRID RETURN rs JACK PLUG ee NN 2 3 3 2 2301 amp 2320 Line modules C A P q 3 ru LIN L B PLUG STEREO p 0 gt LIN R B PLUG STEREO 0 gt AUXL B RCAMACHO 20 A AUX R B RCA MACHO WR se AUX R A RCAMACHO i AUX L A RCAMACHO SND 4 INSERT A Left RTN 15 The cable for AES 3 2320 module is similar to the shown one above except for the AUX inputs that corresponds to the AES EBU Ex inputs See 2 3 1 AES EBU inputs typically uses female XLR connectors Analogical balanced inputs for the USB 2302 modules are wired like balanced inputs of 2301 modules SOLIDYNE Broadcast mixing consoles 2300 series Page 15 2 3 3 2 2310 MIC Modules RTN i 3 INSERTB 2119 4 0 794 gt SND INSERT A Customizing modules Page 16 MIC B XLR HEMBRA a EJ pe P AUXL B RCAMACHO Ss P 07 pon AUX RCAMACHO 3 a sa a AUX R A RCAMACHO mJ AUX L A I 71 M
36. Umeters 16 channel Desk or 26 channel mainframe Optional double Power Supply 2300XZ idem XX with VC180 meters and video monitor Power 110 127 V 190 240V with switch 50 60 hz 80 VA Dimensions amp Weight D 500 x 670 x 123 mm 2300 compact D 550 x 840 x 140 mm XL model D 550 x 1240 x 140 mm XX model W 17 Kg included power supply model 2300 Page 49
37. VirtualRack or to start others devices that supports remote control The DigiSolid OUT is sup ported in all modules It activates when you open the main fader or press the AIR button on the channel The DigiSolid IN only for modules 2320 is commanded from a PC via parallel port to turn on off the input chan nels with progressive fades digital controlled 1 2 4 Cue When you press the CUE button the signal present on this channel is listened in the built in speaker when ever the channel is turning off or on the air Pressing CUE again the operation is canceled If CUE is acti vated in several channels you will hear the sum of the signals present in each module The level is adjusted with a CUE fader located in the Master module A button allows hearing the CUE in the main speakers of Control Room and at the headphones Broadcast mixing consoles 2300 series Page 5 1 2 5 Operation The Voltage Controlled Amplifier avoids audio signal circulate trough the fader The level is adjusted using amplifiers of low noise and great stability The fader controls a DC signal that modifies the gain of these amplifiers Main advantages of the VCA technol ogy are e Eliminates the possibility of noise generated by dirty faders e Eliminates the maintenance and cleaning of the faders e Maintains a perfect stereo tracking error gt 0 2 dB e Allows the automation of the console from a puter 1 2 6 On
38. We can listen who calls previous and engaging in a dialog pressing PHONE CUE to leave the call in WAITING AUDIO SEND or to send the call to the air AIR If you need to call from the cell phone you can make the call and and next to plug the hands free cable to the cell phone Or you can make the calling with the cell phone connected to the console hearing by CUE speaker and pressing PHONE to dialog hybrid fader in CUE position 3 2 1 4 Hybrid rejection adjustment NULL The rejection factor expresses the capacity of the hybrid to avoid that the transmitted signal returns to the system Whichever greater it is the rejection factor more clean will be the audio quality of the studio voices In order to fit the rejection proceed as follow a Establish a phone call through the hybrid Listen it in the CUE speaker closing the ON AIR fader b Press and hold the TEST button using a pencil c adjust the preset ADJ until minimizing the audio level PGM that you hear on the CUE speaker Increase the CUE level if needed to hear well this minimum level Another method is to adjust the rejection factor while a calling is answered in free hands mode turning the preset ADJ until obtain the minimum level of your own voice at the headphones see 3 2 1 1 3 2 1 5 Make aconference on the Air The conference must be done previously calling from the associated telephone sets and sending them to the air by pressing the line 1
39. ails Finally is possible to disable the auto cue feature that allows cueing the microphones after pressing the Talkback button For make this quit the jumper Jcue a or Jcue b according to corresponds 2 4 48 Phantom power Built in 48V phantom powering is standard in series X XL XX etc It allows to obtain a phantom volt age of 48 volts on up to 6 microphone inputs 2 x 2312 modules and enables them to operate with condenser microphones When a 2300 s MIC module connects to the phantom voltage the voltage is applied to all channels of these module Conventional dynamic microphones can be SOLIDYNE Broadcast mixing consoles 2300 series connected without problems to a phantom powered channel since this kind of microphones are designed so that they operate without the phantom voltage af fects them because the DC never pass trough the coil To enable the 48V phantom voltage remove the the rear panel and locate the connectors J1 y J2 showed in the figure You can connect up to two MIC modules 3210 or 2312 CAUTION a Ot To avoid risk of electric shock shut down the console and unplug it from the AC outlet before remove the rear panel Use the connection cable provided with the console 2 pin polarized connector at both ends connected CROSSED to connect the phantom voltage output J1 or J2 to the microphone module quitting JPH1 jumper and plugging the cable th
40. alent to the explained previously If the communication listens saturated with high background sound the level of preset CUE is too high Diminishes this level until obtaining an optimal listening With the console a small screwdriver is provided to make these adjustments When finishing private conversation release the PHONE button and use HOLD position of the Hybrid ON AIR com mand to send the program signal to the telephone line This mode named waiting mode allows sending the pro gram signal to the caller Finally when you open the ON AIR fader the telephone call is sent to the air and the audio program returns to the caller so that he can dialogue with the journalist The CUE return is disconnected automatically Please do not exaggerate with the level on air of a com munication Due to the analogical hybrids are not perfect a part of the audio sent to the line that is the voices of the study is not cancelled and returns through hybrid adding itself to the direct voices of the study this is what fits the rejection Working with normal levels this effect is not no ticeable but using the hybrid at high levels the voices of the study can be soiled coloration A telephone communication not necessarily must arrive at 0 VU to equal the loudness of the voices of the study Have in mind that the LF that carries greater energy is not present in the telephone line but in the voices of the study The lows are those t
41. and line 2 buttons Let us suppose that the speaker is dialoguing with an interviewee that called or it was called by the line number 1 and we want to add to the chat to another person We make the call from the line number 2 with the associated telephone set Once the communication has been established we press the Line 2 button to send it to the air CONFERENCES between CELL PHONE and tradi tional LINES are SUPPORTED SOLIDYNE 3 2 2 Master Module general description Studio headphones level Studio monitors speakers level Control Room headpho nes Control Room moni tor speakers CUE level Manages the level of the built in speaker Ring level its listened on the CUE speaker Hybrid Output PGM to send on air AUD to recordings Line calling LED On air hybrid s level Auto matic switching between CUE ON AIR PZM MIC for Talk Back and telephonic communications Automatic switching threshold Cue establish the communica tion by the CUE speaker or free hands mode Line Hold Sends PGM signal to the caller AIR When the fader is over this indication the calling is sent on air SOLIDYNE STUDIO MONITOR STUDIO SPEAKER CONTROL ROOM CONTROL SPEAKER RING LEVEL MONITOR SECTION 2 0 IO HEADPHONES AU 0 MAX CONTROL HEADPHONES ON AIR CUE TO SPK f Y 0 LEVEL QU TELEPHO
42. ation attenuating the level of the signal to suppress the noise This is quick action gate reason why its effect is impercep tible with normal levels of noise not affecting the word The NOISE fader acts changing the threshold of the expander gate When de background noise is under this threshold the expander gate works at tenuating the noise Closing the fader the expander gate is turned off When opening the fader increases the threshold that is to say the signal level below which the ex pander gate goes off The action of the expander gate is showed in the display by the NOISE CONTROL indicator How use this control Increase the threshold raising the NOISE fader un til eliminating the background noise An insufficient level will do that the noise remains although re duced An excessive level will cause that the audio appears intermittent Next some important tips to take in mind when use this control If the background noise in the communica tion is very high will be always over the maximum threshold fader at top with which the expander gate will not work correctly Consider that the expander gate releases whenever the audio signal is below the threshold the background noise 15 very variable in level noise from a street for ex ample it agrees not to use the NOISE CONTROL to avoid that during the pauses it activates and deactivates generating an in termittent background sound In these cas
43. d MIC channels can be customized by jumper to discon nect them from the Master MIC button This way the channel only can be activated from its own AIR button 3 2 0 Talkback The talkback system allows the operator to dialogue with the speaker located into the studio The talkback controls are located at the 2307 Master module Solidyne uses a proprietary AutoSwitch system To make a communication press the Studio button the Control Room monitors will be muted to avoid signal feed backs and the operator will be listened into the Studio at the loudspeakers The Program is attenuated staying in background This is made for not losing the air program reference Otherwise if the order is too long they will lose the listening to a correspondent that speaks from a sta dium or reporting news When the talkback button is released the AutoSwitch system activates during 3 seconds CUE on all MIC mod ules to listen to the speakers answer Pressing the TBK button again this time lengthens The operator hears the sum of all the microphones Then still when the speaker is far from one microphone be taken by another If one of the microphones is used at the control room in stead the studio you must use a microphone with on off switch Make sure that the MIC switch will be at off posi tion to avoid acoustic feedback On modules 2312 you can modify the jumpers to avoid auto CUE on talkback in that channel In this way you get the d
44. dules 2310 2312 and line modules 2301 They have a Master 2307 and a meters panel with two needle VU meters Program Op tionally it can include the VC180 option that is a display with Bar Graph LED true peak VU Stereo Phase Vector Clock amp Timer and AES 3 digital outputs Page 6 Broadcast mixing consoles 2300 series e 2300 XL It allows to house up to 16 channels 8 double modules 2301 2320 2310 2312 Include a Master 2307 and a meters panel with four needle VU meters Program and Audition Optionally it can include the VC180 option that is a display with Bar Graph LED true peak VU Stereo Phase Vector Clock amp Timer e 2300 XX has capacity for 26 channels 13 modules 2301 2310 2320 2312 or 16 channels with central desktop width 400 mm Incorporates a master 2307 and a me ters panel with four needle VU meters Program and Au dition Optionally it can include the VC180 option that is a display with Bar Graph LED true peak VU Stereo Phase Vector Clock amp Timer and AES 3 digital outputs 2300 XZ allows to house up to 26 channels 13 modules 2301 2310 2320 2312 or 16 channels with central desktop width 400 mm Extended VU meters panel with 2 LCD flat screens 157 video monitors Usually has x VC180 units plus Timer 1 3 2 VU and stereo phase vector The Stereo Phase Vec tor allows measuring the stereo phase relationship and therefore the grade of stereo sensation achieved The rang
45. e DigiSolid input in this mode the DigiSolid In will be ignored The values FAST SLOW1 AND SLOW2 indicate the speed of attenuation when pressing AIR or when the console is remotely controlled by DigiSolid IN The de fault value is FAST 2 All the positive values indicates that using DIGISOLID IN with logic 1 the AIR is activated With the negative values the logic of DigiSolid input is inverted O instead 1 For the options that uses delay SLOWX k Delay the opera tion of going from MUTE fader closed to any fader value is not changed but the inverse operation from open fader to MUTE begins after 2 seconds This allows achieving a per fect cross fade with overlapping of audio channels when the console is controlled by a computer Page 33 3 5 3 Operation The 2320 controls are completely compatible with all oth ers 2300 modules 2301 2310 etc in order to unify the operation of the console and to avoid that the operator finds operative differences between analogical and digital solidyne 2 20 Qj solidyme 2 2 modules mnei 12 Input selector it switch between analog input balanced line and digi tal input AES EBU with 3 sampling frequencies 1 2 2 n inc Gain for analog input only Adjusts like was explained for the 2301 line modules Bus selection operates exactly in the same way that the analog mod ules The only difference is that its action is showed at the LCD
46. e are three features that must be changed to be able to use with comfort a microphone at the Control Room a Unlink the channel from the Master Mic button b Enable the MUTING for Control Room monitors Disable the talkback auto cue for this channel By default all microphone modules are turned on when master MIC button is pressed but this feature can be disabled by jumper JA for each channel That s very useful for Dj s who talk s on the air from the control room In this case the microphone located in the con trol room will not be activated by the Master button to avoid accidental loopbacks if this fader is open ES Radios in which studio and control are the same room can con nect the monitors directly to Studio speakers output 5 11 7 For make this remove the JA jumper b or according to the channel This way you can turn on the control room microphone only by pressing ON but ton on this channel On the other hand you can configure the channel so when you turn on this microphone the speakers monitors at the Control Room are muted to avoid feedbacks For this feature you need to connect the Digi Solid out of the MIC channel DG AB connector see Digi Solid 2 2 4 to the MUTE input at the Master module Quit the Master and locate a 2 pins connector labeled MUTE To connect it you need the special flat cable 2 pins to 3 pins provided with the console see page 14 for det
47. e is O degrees mono to 90 degrees maximum stereo with inverted phase indica tion 180 grades to prevent to the operator that a con nection s error exists in the microphones or among equipment s with analogical connections The analogical section is gauged in steps of 20 de grees with quadrant of vectors This allows following the quick program variations By other hand the digital section retains for an instant the maximum value reached by the phase rotation A musical program with good stereo sensation will have averages analogic of 40 to 60 degrees with peaks digital of 80 degrees Readings of O and 20 al most indicate a monaural signal The indication 0 or INVERTED implies the serious problem of inverted phase This must be quickly corrected because the in verted signals disappear when they are listen in mono FM receivers 1 3 3 Timer Clock This panel TM option replaces the CUE speaker and it includes also the speaker and a numeric display with two functions ER CLOCK p CUE SPEAKER MIN TIMER SEC UP DOWN MODE a Clock mode provides the time while the microphone channels are turned off b Timer mode shows a count up minutes seconds when the microphones are on the air SOLIDYNE ON AIR input The timer mode is activated when the mics acti vated using the Master On Air button When you turn off the microphones the time will be
48. equire a complete connections kit Solidyne MNG2300 that includes all standard cables and connectors for inputs and outputs PGM and AUD outputs are electronically balanced with a high reject common mode signals SEND output is unbalanced stereo To un balance a balanced output only connect the positive pin and leave unconnected the negative one The nominal output level is 0 VU 4 dBm When a balanced output is connected to unbalanced inputs its level is reduced in 6 dB therefore 0 VU 2 dBm Notice that if some nonprofessional equipment is connected to the 2300 output possibly the level will be too high and some clipping will occur In this cases use a fixed fader to reduce the level 2 3 Connectors and wiring 2 3 1 Line and Microphone connectors Modulos de linea 2301 y 2320 LINE LEFT LINE RIGTH AUX L pee BU AUXR 2320 INSERT Rigth solo en 2301 AUX R AES EBU AUXL 2320 INSERT Left SND LINE RIGTH solo en 2301 LINE LEFT 7 14 16 18 21 22 23 24 25 GND DB 25 27 2 3 1 1 2320 5 3 Modules 2320 use for the AES 3 connection the same pins used for AUX inputs in modules 2301 and 2310 see 2 3 3 2 2301 and 2320 line modules 5 and 6 signal 18 ground for channel A 8 and 9 signal 21 ground for channel B This means that the cables of modules 2301 and 2320 are compatible The cables that are AUX inputs entered for first for the seco
49. ere see the following table REMEMBER When a microphone module is connected to the phantom power supply the phantom voltage applies to all channels of this module Conventional dynamic microphones can be connected without problems to a phantom powered channel since dynamic microphones are de signed so that they are not affected by phantom power supply 2 4 3 Inserts Microphone and line modules have insertion points which must be enabled by jumpers JI open to be used When inserts are enabled you will not have au dio signal in the module until equipment is connected e g a compressor to the insertion send return Next table describe all configurations including the Digi Solid out connections the DigiSolid connections for digital modules 2320 are explained in 3 5 2320 Digital line module Obviously it will be necessary to retire the modules of the cabinet to carry out the changes Normally you don t need to turn off the con sole Page 19 2 4 4 Jumper s description Table MOD JUMPER DESCRIPTION STATE CHANNEL For 48V Quit the jumper and connect here the 48V phantom Enables Phantom power cable Notice that JPH2 must be open see below 12V provided by module For 12V Quit the jumper from JPH1 and put it on JPH2 or 48V internal power supply When the phantom power isn t used a jumper will have to be placed on JPH1 default Disabled from factory Jumper OFF To enable the 12V phan 12V P
50. ers the following features 5 headphones outputs with independent control level Output line level for Studio Monitors with level trol Tally e Timer Clock Talkback to talk with the Control Room operator MIC GAIN MIC to control room MAX PZM 2 x 9 ON AIR TALLY HN E 0 02 0 SEL PUSH TO TALK SELIDYNE IGITAL POWER 1 2 i o 0 STUDIO BOX 3 5 0 0 o o Usually the Studio Box is placed on the table but good choice is fix them to the wall when the table is next to the Control Studio window 1 3 6 1 Connections Studio Box connects to the Solidyne 2300 console us ing only one cable This cable is female DB 9 to male DB 9 pin to pin NOT crossed and is provided with the unit 5 M length Through this cable the console sends to the Studio the monitoring signals for headphones and loudspeak ers Headphone outputs use 747 stereo TRS jacks Any combination of headphones can be used 16 32 and 64 ohms Loudspeakers output use a 1 8 stereo TRS mini jack This is a line level output so you must use powered speakers for the Studio If you have conven tional loudspeakers you can use the amplified output of the console instead the monitors output of the Stu dio Box In this case the volume could be controlled only by the operator from the console Page 8 Broadcast mixing c
51. es 19 2 4 1 Using mic into the Control Room 19 2 4 2 48V Phantom 19 SUMS CIS m T TT 19 2 4 4Jumper 5 description Table 20 2 4 5 Jumpers on Master Module 21 2 4 5 1 Hybrid s priority 21 2 4 5 2 Mute the control room speakers 21 2 4 5 3 External control of Master MIC button 22 2 5 Adding modules to console 22 2501 USB ZOO Ziadie ne Cove 22 29 2 2330 VOR 22 2 6 Adjusting the input gains 23 2 7 2300 XZ console 1 5 25 2 AN LCD DIS DIAS di 25 2 0 2 o aro prr 25 2 7 3 Mounting the rear panel 26 Chapter 3 os 27 3 1 IntrodU clio oai oes 8 27 C tie scores 27 3 2 Master module 27 3 2 1 Telephone line Mini Central 27 9 2 1 ERE 27 92 12 HYBRID OUT hg teed cibus Elec ME eat 28 3 2 1 3 Using a cell PHONG sn oui en ete 28 3 2 1 4 Hybrid rejection adjustment NULL 28 3 2 1 5 Make a conference on the Air
52. es Microphones or stereo Line The source is selected by a switch located at top of the module Re member that the modules are doubles each module has two faders that manage two inputs Depending of the model this inputs can be e 2310 Microphone module manages 2 microphones MIC and 2 stereo unbalanced inputs AUX e 2312 Microphone module manages 3 microphones with EQ and processing and 3 stereo auxiliary inputs e 2301 Line modules manages 2 balanced stereo line in puts LIN and 2 unbalanced stereo AUX e 2320 Digital module manages 2 AES EBU or S PDIF in puts DIG and 2 balanced stereo analog inputs AUX The 2307 master module manages the monitoring cir cuits Talk back and telephone lines The VU meters panel has four needle VU meters that shows PGM and AUD levels and the built in loud speaker for monitoring CUE In addition depending of the model the VU meters panel can include Stereo Phase Vector LED s VU meters and Clock Timer Some console models can use VC180 units instead of needle VU meters 3 1 1 Checkout At next basics procedures for checking connections are described To check if the signal enters to the module follow the next steps e Use any signal source like a CD players microphone etc According to the used equipment select the corre sponding input MIC aux or Lin aux according to mod ule e Press CUE on the channel which the signal enters SOLIDYNE Broadcast mix
53. es it is preferred to leave the ambient noise Also happen that the background noise is very notorious a strong humming or buzz and although the gate can attenuate it during SOLIDYNE Broadcast mixing consoles 2300 series the pauses the effect appearance and dis 3 8 1 Recording the Hybrid appearance of the noise is more annoying than the own noise due to a psychoacoustic The output of the Master 2307 5 Hybrid can be sent phenomenon according to which the ear is to PGM or AUD outputs This allows to make record accustomed to the floor of constant noise ings while the console is on the air To make this when concentrating the attention in the word proceed as follow a Assign the source of Program to i e According to these advice the good criterion of the computer or CD player operator will determine when it will make use of b Assign to AUD one o more mic s and the hy the noise gate and in which cases it will prefer not aha to use it c Select AUD as source for the Control Room and Studio monitors d Under these conditions make the calling 3 8 How to record with the 2300 5 The audio will be present only at the AUD output to which the recording device is con To recordings you can use the Audition bus AUD nected This allows using a channel for recordings while oth ers channels stays on the air e ON AIR fader sets the recording level of the calling Let s
54. essed signal returns to the microphone module to be mixed in the console That is to say that the processor is connected in series to the input of the module therefore if the pro cessor is power off or disconnected there won t be audio signal in the module input Page 12 Broadcast mixing consoles 2300 series In order to use the inserts remove the and JF9 in the module This jumper connects the send SND with return RTN when there arent insert connection See 2 4 Customizing the modules The connection is detailed in 2 3 1 Line and microphone connectors 2 2 2 5 Digital control DigiSolid in out Each module has a connector to send DigiSolid control signals When you open the main fader the DigiSolid Out activates starting devices like the Audicom system Solidyne 262 digital audio processors CD or Mini disc players etc DigiSolid Out uses an open collector circuit with the fader closed the output presents an open circuit When you open the fader the circuit closes It can manage until 24V 100mA In the 2301 2310 and 2312 modules the DigiSolid Out connector is located under the module on the circuit board for that you must to move away the module in order to connect it see 2 4 Customizing the modules DigiSolid out uses a 3 pins polarized con nector whose location and connections are the same for 2301 2310 and 2312 modules 1 DigiSolid Out A 2
55. external hybrid s return is routed through the same control circuit that the signals of the internal hybrid Therefore the Hybrid fader control will behave in the same way that it works with the telephone lines connected to the console sending the signal to the air or to CUE according to the fader position When you connect an external hybrid the internal hybrid of the con sole remains active and can be used independently of ex ternal hybrid You can conference between the lines connected to con sole and the hybrid content Remember once a call is on air the Hybrid cue channel is disconnected so you must use a phone associated with that line to speak privately with the second call Broadcast mixing consoles 2300 series Page 11 are made take care with the output level at the external When a conference between internal and external hybrid 7 hybrid so an excessive level can cause feedbacks 2 2 2 INPUT MODULES 2 2 2 1 Line inputs All line inputs are stereo electronically balanced trans formerless It allows the connection of high level signals balanced or unbalanced Input gain adjusts from the frontal panel with the GAIN LINE presets L amp In order to unbalance this inputs connect the negative pin to GND and positive pin to signal see 2 2 4 Connections tables AUX inputs are unbalanced stereo It manages 10dBu 10KOhms and 4 8 dBu line levels Input gain adjusts from the frontal panel
56. hantom power sent to tom power quit the jumper from JPH1 and put it on 2 MIC modules Never leave both jumpers ON If 48V phantom power is present leave JPH2 open JE a Jumper 1 2 EQ disable by pass See last letter siiis Dem Jumper 2 3 EQ enable of jumper name All 2310 JA a JA b 9 Module activation from Mas ON Commutable from Master default See last letter E ES a JA b ter AIR button OFF Commutable only from MIC module of jumper name ES ao Jumper by default Remove it for use insertions MIC A 2301 In line modules enables the insert for left chnl of LINE Line A Left 2319 Jumper ON by default Remove it for use inserts MIC B 2312 Enable inserts 2304 In line modules enable the insert for right chnl of LINE A Line A Right 2312 Je Je Enable inserts Enable inserts Jumper Jumper by default Remove it for use inserts Jumper by default Remove it for use inserts default Remove it for use inserts MCC C 2312 aed Disconnect CUE of the Auto Jumper ON auto switch enabled i 5 Jeue c switch Talkback Jumper OFF auto switch disabled 2301 Force the channel to Disable by default 2 3 both channels remain OFF when the START AIR when the console is console starts To enable it change the jumper to pins 1 2 A 2302 SENS power on Channel A will turned on when the console is turned on 2310 2312 DG AB DigiSolid OUT refers
57. hat produce greater deviation in VU METERS Nevertheless for the ear the loudness is defined by the mid rage frequencies So that if you note that VU Meter peaks lower with the telephone line that with the voices of the study this not necessarily means that it is listened lower On the other hand the audio pro cessor of the radio will be in charge to equal both signals Conclusion you do not leave the VU deceives to you when mix voices of the floor with telephone calls To retake the communication in private mode close ON AIR fader and press the line button The line will be addressed to the associated telephone set If the tele phone is hanged the communication ends Page 28 Broadcast mixing consoles 2300 series 3 2 1 2 HYBRID OUT This button allows to assign the hybrid s to PGM or AUD bus Sending the hybrid to AUD you can record a communication without it leaves on air one line channel assigned to PGM with music MIC s hy brid and monitors assigned to Audition Note that when hybrid is assigned to AUD it only receives sig nal from channels assigned to AUD buses 3 2 1 3 Using a cell phone The work flow is the same one that used for standard phone lines The difference is that the call is not taken from the console but from the cellular phone you dont need to press the line buttons in the console When you answer the call from the mobile the audio enters to the console through ON AIR fader
58. hat the oscilloscope shows a greater or equal level 18 dBm Repeat for the right channel terminal 10 of the Master connector In the previous condition repeat the output measurement for mono PGM output 5 1 6 Gain Connect the microphone input to an audio generator Connect the audio level meter and the oscilloscope to the output Charge this output with 600 ohms Adjust the generator to 1 kHz 80 dBm Select MIC and PGM in the channel Enable the module by pressing the AIR button Take the main fader and the gain control to the maximum position The difference between the ob tained output level and 80dB is the gain of the console 5 1 7 Frequency Response Connect the generator to a microphone input Connect an audio level meter and an oscilloscope to the output Load it with 600 ohms Change the audio generator to 1 kHz 50 dBm Select MIC and PGM in the channel En able the module pressing the AIR button Move the main Page 41 fader to the value 10 dB Change the gain of the module or the generator output until obtaining 4dBm at the out put Change the frequency between 20 and 20 000 Hz and verify the frequency response 5 1 8 Phase Staying the conditions of the previous item connect the generator to both microphone inputs right and left Con nect a digital phase meter to the channels left and right of the program output Load each channel with 600 ohms Change the generator s frequency to measure the phase
59. he ac tion of VOR processing Make sure to listen to the processing in the main monitors of the control room to avoid an excessive reinforcement of lows in the processed signal that can take place if you are monitoring the communi cation using small headphones or loudspeakers of bad quality Hi band It controls the level of high frequencies added to the original audio coming from the telephone line With the fader closed the high processing deacti vates The action of this control is much more critical that the Low Band since an excess of highs pro cessing will generate an artificial sound and in extreme case crashed high sound can take place that will be annoying to the listener On the other hand consider that an A M radio can require more emphasis in high frequency than a FM to obtain a well known improvement on the air therefore the control Hi Band has an ample rank of action The reconstruction level or amount of highs added to the signal depends on the quality of the trans mission This stage will be affected mainly if the line has much background noise Page 36 N REMEMBER The optimal level of work is obtained when the indicator MID BAND lights with the signal peaks Lower audio levels can affect the behavior of the VQR processing NOISE Control expander This control is used to reduce the background noise present in the phone line It acts only during the silences in the convers
60. ialogue by pressing only one button The level of the talk back microphone is calibrated in factory and usually isn t necessary to modify it If you need to change it there is a preset located above the Talkback button If you have the Solidyne Studio BOX you can talk at any time with the Control Room using the Talkback button of Studio BOX without having to hope that the operator is watching trough the window SOLIDYNE 3 3 2310 Microphone module 2301 Line module 2310 microphone module odii y ma D zabdyres E lt i AUX MIC input switch AUX LINE in E 2301modules Two bands EQ Balance Gain adjustment for MIC input Assigns the channel to PGM output Assigns the channel to Assigns the channel to SEND output Cue Air Button Activates the channel when is pressed Paste here the channel ID stickers 2 provided with the console B Main fader for program level 9111 7117 2301 LINE MODULES have the 50 same controls that 2310 module with the exception of EQ stage 22 which isn t included in line modules 70 0D the other hand 2301 module 54 have gain presets for AUX inputs e e SOLIDYNE Broadcast mixing consoles 2300 series Page 31 34 2312 Microphone Modules At the right a channel of a 2312 module is showed The microphone module 2312
61. ing consoles 2300 series CHAPTER 3 e f you dont listen anything check if the CUE fader in the Master section is open The audio will be listened thought the built in loudspeaker To send the signal to the air e Press PGM on the bus section The signal will be routed to the PGM main output e Press AIR to activate the channel e Open the main fader The signal will be sent to the air and it will visualize in the PGM VU meters 27 If the channel have Pan Pot it must be in the central position 3 2 Master module 3 2 1 Telephone line Mini Central The Master 2307 manages 2 telephone lines and one cell phone operating as multi line system It allows confer ences between a journalist and 3 phone interviewees The four peoples can be on the air in conference at the same time Cell phone connects to the console using the free hands connector see 2 1 5 Telephone Lines The cell phone also supports conference with the lines The operation is easy and safe against operation errors due to its logic of security and automatic control circuits In spite of being an advanced call center system and not a simple Hybrid we will continue denominating it hybrid from now due to their habitual denomination 3 2 1 1 Operation The 2307 Hybrid must be connected as is indicated in the Chapter 2 of this manual The operation procedures are the following ones When a call is incoming press the line button with the blinking
62. l has an opening that allows retiring the cables backwards Another solution is to perforate the table below the rear panel so that the cables leave downwards This way the cables are not at sight Ob serve the following figures SOLIDYNE Broadcast mixing consoles 2300 series REGULABLES ADJUSTABLE SUPPORT SQUARES Insert the module Page 25 CORREA DE ANCLAJE The previous figure shows the way that must cross the cable once connected to the module The gray zone of the figure indicates the opening for exit of ca bles VISTA TRASERA REAR VIEW ZONA DE SALIDA DE CABLES PASS THE CABLES THROUGH THIS ZONE TAPA DE ACCESO A CONECTORES CONNECTOR S COVER LATERAL VISTO DE COSTADO LATERAL VIEW LATERAL VISTO DESDE ARRIBA TOP VIEW 2 7 3 Mounting the rear panel The following step will be to joint the rear panel with the body of the 2300 XZ This task is very simple since you only must assemble both parts doing to agree the subjection eyelashes as she is next Once the parts agree to place the screws Allen 5 32 xs 25 in the lateral ones ACERCAR PARTES HASTA JUNTAR LOS LATERALES DE APROACH BOTH PARTS UNTIL JOINING THE WOOD PANELS LATERAL DE MADERA WOOD LATERAL PANEL The modules can be disconnected and be retired with no need to disassemble the console The rear panel has a cover that allows acceding to the connectors In order to disconnect a module
63. ly 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 2300 and enters to the console when overpass the barriers that impose to this currents the built in RF filters The so lution 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 one of the D25 connectors in the inputs and outputs The to tal set of cables that goes to each connector will have to be twisted with a complete return around the ring see 2 3 3 Wiring Broadcast mixing consoles 2300 series Page 9 2 2 Inputs Outputs connections 2 2 1 Rear Panel Fig 3a Rear panel power source 5 Emman STUDIO LINE PHONE LINE PHONE CELL EXT LIGHT 12 0 5A HEADPHONES STUDIO CONTROL HYBRID units A E E CONTROL St SS SPEAKER OUTPUTS SPEAKER OUTPUTS 15W Stereo 15W Stereo 2 units Fig 3b Rear panel connectors Looking the console back side you will find at the left side the power on off switch the main fuse 1 Amp and the AC connector for Interlock power cord pro vided with the unit Near to the AC interlock there is a v
64. make this yourself please read the following indications You need a special cable RJ 11 whose connection will depend on the brand and model of your cell phone You will need to purchase the free hands accessory cor SOLIDYNE respondent to your cellular and to consult the documenta tion of the unit to make the connection see the next im age Basically which transmits the cell phone through the free hands connector is the audio signal of the cell telephone microphone and loudspeaker The HA 202 204 receives via cell phone the remote audio that is to say the audio of who is at the other side of the line On the other hand the hybrid sends to the cell phone the audio from the stud ies of the radio return signal Usually microphone and loudspeaker of the cell phone are disconnected while hands free connector is used Pratt siu 1 MIC SPEAKER SPEAKER Free hands cable provided by the cell aii phone dealer RJ 11 to console viewed from contact side Original components on free hands cable 2 2 1 6 Connecting an external Hybrid Series 2300 have SEND and RETURN connections for external Hybrid trough 74 Jack located on rear panel also available in pins 13 and 15 of DB 25 Master connector This send is Mix minus that to say it includes all the sig nals of the PGM Bus with exception of the Return from Hybrid to avoid a feedback loop The signal the incomes by the
65. n 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 posi tioned with respect to the Studio or has severe SWR problems then it does not have the minimum value of field intensity down ward Or maybe there is a faulty ground connection then strong standing waves will appear on the cables of the Studio that can in duce 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 loud speakers on background or at buses PGM AUD or SEND In case of FM transmissions the interference inside the console de modulates 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 2300 presents hum ming please make a test shutting down the transmitter a few sec onds to check if the problem disappears Sometimes an FM transmitter with the output stage badly calibrated also produce in terference in which you can hear the transmitted audio due to the misalignment a part of the FM modulation is translated to AM modulation Solution 2300 consoles already have internal filters to avoid the RF interference Therefore if interference s appears normal
66. nd are 5 3 inputs Remember that to be a digital signal both channels by an only balanced cable are transmitted SOLIDYNE CANAL B CANAL A Broadcast mixing consoles 2300 series ON AIR input Next to the main DB 25 connector there is an 1 8 jack see page 7 fig 1 This is a stereo input to connect an external tuner Both Studio and Control Room monitoring must be done hearing the on air signal N Use professional tuners with outputs of low impedance 600 Ohms In case of use consumer tuners you must add a line amplifier between the tuner outputs and the Air input of Master 2307 This line amplifier is for adapt the tuner out put to low impedance CUE input Master 2307 have a CUE input designed to connect the monitoring output of the computer This way you dont need to use additional speakers next to the computer CUE input is available at DB 25 main connec tor pin 23 Modulos de micr fono 2310 y 2312 CANAL B AUXL AUX R AUX R AUX L CANAL A IDEM canal en 2312 2do conector 7 14 17 18 19 20 21 22 25 GND DB 25 Note In the 2312 modules right connector corresponds to the channels A and B and the left one to the channel C viewing the console from rear You can enter to the AES 3 input with S PDIF connecting signal S PDIF to terminal 2 of the XLR and the shield to ter minals 1 and 3 2 3 1 2 2301 USB The 2302 module connects directly to the computer via US
67. nd the volume control for monitors and headphones of Studio and Con trol Room Monitor options at the Studio are e to listen directly the main output of the console the sig nal that is sent to the transmitter e AUD Allows you to hear only the channels assigned to AUD bus This way assigning only a channel to the AUD bus you can hear the audio of that channel in the main monitors and headphones while the console remains on the air Usually this bus output is connected to the recording system e AIR Switch to an external output typically connected to an AM FM receiver in order to hear the real transmission of the radio station This is the recommended method for all radios For the Control Room all previous options are available in addi tion of the following ones e SND Allows hearing only the channels that are assigned to the SEND output CUE to SPK cue to speaker Allows to send the CUE signal to main monitors When this button is pressed being CUE pressend on one or more channels the will be listened by the Control Room main monitors and headphones while the PGM signal remains attenuated in background Although this button remains pressed it will not produce no effect if does not have audio signal in CUE CUE to Speaker acts by audio detection on the CUE bus so that it only attenu ates Program when audio is present on CUE bus N REMEMBER Although the final level regulates
68. nder Gate to eliminate backgound noise Audio Compressor 20 dB action Illuminated switchs for EQ and Compressor Expander Monitor amp Hybrid Outputs 1 Separate Hybrid CUE 4dBu 10K 1 Hybrid On Air Receive 4 dBu 10K 1 Hybrid send MIX Minus 4 dBu 10K Power Monitors Internal Monitor Amplifiers 3W CUE monitor with internal speaker Stereo Monitor output for Control Room with Muting Relays Stereo Power 14 W rms 4 ohms Response 30 15 000 Hz 0 5dB THD 0 05 Noise lt 80dBA Muted Studio monitor outputs for active speakers Headroom 22 dB LIN to PGM Ref 4dBu 10 k Digital Control Bus One output DigiSolid Bus for each input module This allows to control Virtual Rack processors and start audio devices One DigiSolid input for crossfade in option 2320 Frequency response 20 20 000 Hz 0 25 dB LIN or MIC to PGM Noise MIC input EIN 132 dBu 200 ohms LINE input S N gt 95 dBA SOLIDYNE Broadcast mixing consoles 2300 series Dynamic Range From Line to PGM gt 110dBA Better than CD quality Crosstalk PGM AUD SEND gt 85 dBA 30 10 000 Hz L R amp R L gt 85 dBA 1khz Distortion From digital AES EBU input to PGM out Harmonic Distortion lt 0 002 30 15 000 hz From Analog LINE or MIC to PGM out THD lt 0 02 30 15 000 Hz Phase From Line to PGM lt 2 L amp R 50 10 000 Hz Stereo tracking Below 0 2 dB error L R in fader range 0 to 40 dB Phone Hybrid 2 line active Hyb
69. nge to PC8 indicating that the eight channels were rec ognized 2 stereo outputs and 2 stereo inputs You can check the available sound devices from Control Panel gt Sound devices gt Audio In this Win dow s panel you can set the default sound devices Remember to update the settings on your recording and on air software E We recommend do not change the USB cable conection to other USB ports to avoid that Windows change the order of USB devices 2 3 2 MASTER 2307 2 3 2 1 Connector pin out Windows XP Check the output level in the Windows mixer Pro grams Accessories Entertainment Volume Control Windows 7 Verify that the OS has correctly recognized the audio recording device If Windows 7 was recognized incorrectly as micro phone device the recordings will be mono the same signal in both channels To correct this Control Panel Sound Record choose the USB device shown as USB microphone and click Prop erties Then select the tab Advanced display the menu of format ting options and choose a format recording stereo 2 channels 16 bits 44100Hz Before connecting the USB port of the console to the PC make sure that both the console and the PC have an effective ground by cables For safety connect a tester in the range of 25 between the chas sis of the PC and console and verify that the voltage is zero Only then connect the USB If there are differences of tensi
70. ning 15 dBm at the output Use this value like reference Connect the balanced input in common mode joining both signal terminals Then verify that the output level decrease at least 40 dB Change the test frequency to verify the com mon mode rejection specification SOLIDYNE Broadcast mixing consoles 2300 series CHAPTER 5 opecifications amp Measurements Repeat for the right input of this channel or for another module 5 1 3 Aux Input Connect the generator to the AUX left input Select AUX and repeat the procedure explained for the line channels with levels of 25 dBm and 4 dBm Take in mind that the common mode rejection isn t applicable for this input 5 1 4 Balanced Outputs All the measurements must be carried out in the same way that the unbalanced outputs but disconnecting of GND the instrumental used and connect it between the two balanced terminals Another possibility is to measure all in unbalanced mode only one pin adding 6dB to the results 5 1 5 Unbalanced Outputs Connect the audio generator to line left input adjusted at 4dBm 1KHz Connect an audio level meter and the os cilloscope with a charge of 600 ohms to the SEND left output pin 9 of the master connector In the channel under test select LIN and SEND The other buttons must be out Enable the channel by pressing the AIR button Open the main fader up to 10 dB Change the generator level until reach the limit of clipping Verify t
71. o connect the cable that will join it to the 2330 VQR This cable provides with the module The previous figure shows the location of connector VQR in the rear side of the Master This is 6 pins polarized connector so that the ca ble can be plugged only in one way The module 2330 VQR has identical connector to which the other end of the VQR cable is connected This is the only connections that the module re quires The 2330 VQR DON NOT connects to the main bus like others modules Place the fixation screws and power on the console By pressing the on off button on the 2330 VQR mod ule this stage is enabled and the NOISE CONTROL indicator lights it trigger due to the absence of signal from the phone line 2 6 Adjusting the input gains These adjustments are necessary to calibrate the in put module gain so that equal positions of faders represent equal outputs levels in all modules In or der to set the input gain for each channel use a si nusoidal tone of 1 2 04 or a calibration CD To adjust the input gain play the test tone and cali brate the presets with the screwdriver provided with the console Left and Right presets at the front panel must be calibrated to obtain a measurement of OVU with the faders at the center of the gray zone 15 dB To calibrate the PC channel proceed in the same way playing loud music or voice from the PC Pro ceed the same way to calibrate other sources like decks mini discs
72. oltage selector 220 110 VAC N The rear panel also contains the connectors for the loudspeakers monitors headphones and telephone lines with their associate telephone set and on air light output tally BEFORE CONNECT THE UNIT TO THE POWER LINE CHECK THE 110 220 VAC SELECTOR All inputs connectors are multi pin DB 25 type located under the rear panel Remember good connections between the console and audio equipment are very important question to guaranty a sure and free of flaws operation For that we recommend you take the necessary time to carry out the wiring of the console with a great care and always using high quality com ponents A good solution is to acquire the connec tion s cables kit accessory Solidyne MNG2300 2 2 1 1 MONITOR OUTPUTS The STUDIO and CONTROL ROOM outputs are pow ered so you can directly connect the loudspeakers 4 8 Ohms The internal stereo amplifiers gives 15W RMS power 7 5W 7 5W Amplification can be dis abled by jumper to change the outputs to line level in order to use active speakers There are two jumpers for Studio outs and two for Control Room outs Page 10 Broadcast mixing consoles 2300 series To access to this board you must remove the back panel of the console To disable the amplification for Studio loudspeakers quit the jumpers J15 and J16 To disable the amplification for Control loudspeakers quit the jumpers J18 y J20 See next image The loudspeaker
73. on the USB input on the console or your PC may be damaged In addition module 2302 offers two digital USB sends that appears at Windows like USB recording devices 2302 Channel A gives the program signal PGM and the 2302 Channel B sends the Audition signal AUD The USB out can be used for ex ample to web casting The level of USB signal is set according to the standard K 15 The 0 VU 4 dBu corresponds to 15 dBfs at USB dig ital output There are 15 dB of headroom before clipping above 4 dBu Note that the ballistics of the needle VU meter shows the average level do not show instantaneous peaks while the LED displays VC180 s shows the true peak level being the full scale O dBfs ET Right balanced PGM output EN Mono PGM output 3 The Pin number that appears in first is the positive woo o 56 Left balanced AUD output ET PGM out send to external hybrid The pin number that appears first is the positive M 8 The OVU reference is 4 dBm Right balanced AUD output 17 Noconnected T comes io round the negative pin never connect it to ground wjn o fsm sw faso 0 14 Broadcast mixing consoles 2300 series SOLIDYNE 2 3 3 Wiring 2 3 31 Master 2307 1 CUE INPUT QO EXT HYB SEND STEREO FEMALE MINI JACK 1 8 inch y X 5 4 s 7 2 PGM MONO O
74. onsoles 2300 series 1 3 6 2 Using the Studio Box On the Studio Headphones Although each headphone has its control of level the maximum level is determined by the console As you can suppose which listening is also depended on the selection done in console On the Studio Monitors Like happens with the headphones the loudspeakers output has level control but the maximum level and what you hear is depended on the console If the loudspeakers are connected directly to the con sole s speaker outs Loudspeaker doesn t take ef fect On the Studio Talkback The white button has two functions 1 When the microphones 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 you di rectly by the Left loudspeaker The volume is fixed independent from the loudspeakers knob of the con sole Studio Box has a MIC Gain preset accessible from the frontal panel To answer the operator will use the Talkback of the console 2 Being on the air the white button illuminates in red indicating that microphones are on air Obviously in this condition Talkback feature is disabled The preset located below the MIC allows to adjust the micro phone gain so it adjust the listening level the Control Room On Timer Clock The display shows the current time off air or the time lapsed on air when microphones activa
75. ptional card DG2300 SOLIDYNE 1 3 5 1 Connections The AES EBU now named AES 3 output is balanced with transformer Use shielded twisted pair audio ca bles to connect it The connection to the Master module uses a DB 9 connector with the following distribution DB 9Connector 5 AUDITION 5 3 1 PGMAES 3 __ ______ 2 PGM A S 3 7 GND ______ 3 GND 7 8 GND _____ 4 AUDITION AES 3 9 NC _____ _ 1 3 5 2 Settings Some parameters of the AES 3 protocol can be changed with the jumpers located on the components side of the DG2300 card Then it will be necessary to remove the card from the panel in order to modify the jumpers The following figure shows the default position of the jumpers 11 2896 crystal for Fs 44 100 Hz AUDICION a PROGRAMA a DG2300 card default configuration Normal operation Factory Copy Not allowed with copyright to work with fs 44 1 KHz place a cristal of 11 2896 MHz where the above figure indicates Copyright Emphasis and sample rate Fs configura tions are the same ones for Program and Audition The jumper JX is common for both outputs The non mentioned jumpers JD AUD and JD PRG must re main unchanged Broadcast mixing consoles 2300 series Page 7 1 3 6 STUDIO BOX Studio Box is an optional accessory which concen trates in a unique box all monitoring facilities into the Studio Studio Box off
76. r to clean it con sults with the technical department of your radio They will have to use special products If after cleaning the faders the faults remain consults with your Solidyne dealer to acquire the corresponding spare parts Polycarbonate plastic protection Solidyne con soles use all the front panel modules covered by a hard polycarbonate sheet painted and labeled from the reverse side This unique protection technology al lows for a full protection from hands abrasion The 2300 console will remains unaltered after a full life of operation SOLIDYNE Broadcast mixing consoles 2300 series CHAPTER 4 4 3 Preventive maintenance The preventive maintenance is carried out during the normal operation of the console to avoid flaws The 2300 console is manufactured using hi tech integrated circuits and heavy duty electronic components that guarantee an excellent reliability and allows eliminat ing the routines of preventive maintenance The linear faders manage only DC current Under nor mal conditions the useful life of these faders exceeds 200 000 full cycle operations Use carefully don t kick the faders and don t push them with excessive force Special models are provided with the new ESF elec trostatic fader technology without moving contacts that lasts 25 years 4 4 Parts Replacement All modules are assembled using connectors The in puts modules can be disconnected and reconnected while the console stay
77. requency Hz CUE for previous listening in the built in speaker AIR button Press this button to send the chan nel to the air Paste here the channel ID stickers pro vided with the console Main fader Manage the on the air mic level VCA CONTROL Broadcast mixing consoles 2300 series SOLIDYNE 35 2320 AES 3 digital module The XL2300 consoles with 2320 digital modules can manage analog and digital signals The 2320 are a dual module with two channels Each channel have two inputs one balanced analog input and one profes sional AES EBU digital input now called AES 3 trans former balanced or unbalanced S PDIF with auto matic sample rate selection 32 44 1 and 48 KHz You can select the source for each channel with the DIG LIN button located at top of the module The pin out for the AES EBU inputs is 5 6 18 GND for Channel A 8 9 21 GND for Channel B The fader 2320 is digital manages DC signals that are converted later to digital code that controls a digital am plifier with 0 5dB steps This method guarantees ul tra low distortion absolutely undetectable for the hu man hearing and eliminates the possibility of noise produced by mechanical contacts in the fader 3 5 1 Remote control The module 2320 supports remote control from PC for example to enable one or several satellites remote news to connect with other stations operation from 1 ternet etc For this
78. rid is standard in all models It includes a mini PBX with Ringer line attention with free hands operation and line transfer Frequency Response 300 3 400 Hz Noise gt 60 dBA S N Rejection gt 40 dB rejection Rejection adjust quick Test Mode to adjust the hybrid balance without disturbing On air operation Preference atenuator 12 dB local speaker interrupt priority Automatic On Air logic Audio amp Logic are managed from a single 100mm slide fader that performs all the operations in error free mode Talkback Microphone Included Talkback MIC with Audio Limiter Noise Cancelled PZM type Outputs to Phone Line Hybrid and Studio Speaker with AutoSwitch AutoSwitch allows one touch Studio communication VU meters 2 needle VU meters for PGM bus standard 4 needle VU meters por PGM amp AUD XL amp XX models One Stereo Phase Vector Meter amp True Peak Bar Graph VU option for X models Timer Clock Option Timer counts minutes seconds during on air MIC in order to avoid ex cessive speaker on air time When Timer is off a standard clock is activated Phantom 48v amp Jumpers Phantom 12 is standard jumper selected Optional 48 V internal supply for 6 MIC Internal jumpers for MIC EQ cancellation and logic programation ON AIR Signal ON AIR signal output turns on when MIC is open 12 VDC 0 3 amp Cabinet Models 2300 2 VU meters 12 channel mainframe 2300XL 4 VUmeters 16 channel mainframe 2300XX 4 V
79. rotating fader 50 K LIN e OPTIONALS e AIR Tally light MNG2300 wiring kit e STUDIO BOX e MIC BOX 4 mic patchbay 12 Brief description 1 2 1 Inputs The Solidyne 2300 consoles have a great flexibility since are fully modular It allows to reconfigure the con sole without leaving the air The inputs modules are double Each module has two faders of 100mm that manage two stereo signals and each channel has two inputs Line or Microphone and Auxiliary com mutable from a button in the front panel There are dif ferent models that manage different signals that is Microphone modules 2310 and 2312 The modules 2310 manage two microphone channels MIC and two unbalanced line stereo inputs AUX The 2310 in cludes pan pot and a gain control with range of 30dB 15 dB that allows to adjust the input levels for comfortable operation of the main fader They also have a 2 bands equalizer Baxandall type with a range of 15dB The modules 2312 manage three micro phone channels and three unbalanced line inputs AUX It have the same features that the 2310 and in clude a stage of microphone processor with compres sion and noise gate Line modules 2301 Manage two balanced stereo in puts LIN and two unbalanced AUX Main and auxil lary gains can be adjusted using 4 presets located at the panel to match the levels of the different sources SOLIDYNE CHAPTER 1 Getting started Digital inputs 2320 and 2302
80. s effect is undesired it is not desired to attenuate the atmos phere of the stage when the speaker from studies reads an announcement The priority can be dis abled quitting the jumper JPRIORITY located in Mas ter circuit board SOLIDYNE 2 4 5 2 Mute the control room speakers When microphones in the control room are used the loudspeakers must silence when activating these mi crophones in the same way that happen in the study to avoid feedback This is obtained connecting cable MUTE provided with the console that connects MUTE of the Master 2 pins with the microphone module 3 pins used into the Control Room By default the loudspeakers are silenced by the acti vation of the MIC A So that the loudspeakers be muted by channel B change in the 3 pin connector the pin 1 to pin 3 removing and changing the inter Broadcast mixing consoles 2300 series Page 21 nal contact You can joint 1 to 3 to mute the loud speakers using A or B channels indifferently 2 4 5 3 External control of Master MIC button Connector EXT MIC CONTROL allows to turn on re motely the Masters MIC button By the other hand sends a positive voltage when Masters MIC button is ON Master MIC can be turned on from outside joining terminals 3 and 4 of this connector for example us ing a relay When the Masters MIC button is on there are 15 VCC in pin 1 of the connector OUT 15 V Master Mic pressed Sa MASTER MIC ON joint
81. s on the air Hot Swap technol ogy The main faders have connectors too They are mounted to the chassis with two screws so its re placement is very easy 4 5 Service Manual You can obtain a service manual of this equipment free costs For it the Director of the radio must send by FAX to Solidyne a signed Agreement of Confiden tiality the text is available in our Web You will re ceive a link to download the service manual which in clude schematics components layouts and technical information The document installs in a PC that will be used in the Technical Office of the radio Downloaded manual only can be viewed in that PC For more details please consult www solidynePRO com Go to English Manuals Service Manuals Page 39 PAGE INTENTIONALLY Page 40 Broadcast mixing consoles 2300 series SOLIDYNE 5 1 General Measurements The radio stations that have their own Engineering Depart ment sometimes needs to carry out measurements when receiving the console Also some engineers estimate con venient to carry out every five years a general inspection of the console to verify if the specifications continues being perfect The following methods and comments refers to Technical Specifications that figure at the end of this chapter Before starts any measurement make sure that all modules present the following conditions PAN POT at the center position PGM AUD and SEND buttons released
82. ss the DIG LIN input button this name changes too 3 5 4 Programming the 2320 a Choosing the Input s labels To enter to the programming mode follow the next steps 1 Release the 3 bus buttons neither bus button must be pressed 2 Press and hold the AIR button for 3 seconds PROGRAM INPUT indication will appear in the display and the LED will blink When you release the AIR button the legend Program Input disappear and the LED stays blinking to indicate that this channel is in programming mode Moving the main fader you explore the input names sorted alpha betically There are 50 names available Choose a name and press the AIR button to confirm it You can press the DIG LINE button instead AIR in this case the choose name is stored in the flash memory and you stays in programming mode in order to assign a name for the other input Moving the fader you can choose name for the second input After pressing AIR you enters directly to the Set fader speed mode which is explained next b Fade value selection optional You access to this mode after choosing the input label A new list of options appears which you can explore moving the main fader The available options are FAST SLOW 1 2sec SLOW2 4sec SLOW1 Delay SLOW 2 Delay SLOW 1 2sec SLOW 2 4sec SLOW 1 Delay SLOW2 Delay Press AIR to select an option and leave the program ming mode The option FAST disables th
83. ssible to mount the monitor in the console To install the video monitors proceed in the following way a Remove the cover of the rear panel which is mounted with screws b Relax the fixation belt that will support the screens and the adjustable support squares Put the video monitor in the rear panel from back as shows the figure d Adjust the squares so that the screen will be posi tioned at the correct height e Fit the fixation belts stretching them so that the screen is well firm f Connect the video and power source cables g Proceed in the same way for the second display When the mounting finishes put the rear cover PONER TORNILLOS MOUNT THE SCREWS oo eo 4 oF Sy 1 COVER 1 n gt MONITOR DE PLASMA 151 DISPLAY FIXATION BELT r PONER TORNILLOS AJUSTAR TORNILLOS peu 24 MOUNT THE SCREWS B gt MOUNT THE SCREWS CS aM QUITAR TORNILLOS 2 rdi m REMOVE THE SCREWS E SCUADRAS DE SOPORTE 2 2 Wiring Before assembling both parts of 2300 XZ is strongly recommended to make all connections to the console so the cables will pass through the rear panel as is showed in the next figure Place on the table the con sole main body and place the rear panel behind but without assembling them in order to fit all the connec tors with comfort The back pane
84. suppose that you need to record a commercial spot to the PC audio card while stay on the air with a musical program To record the spot suppose you will use a microphone and a CD player Proceed in the following way f n addition others channels can be assigned to AUD by example to add a background music a In the Monitor Section of the Master module select AUD to monitoring only the channels assigned to audition bus Press AUD in the channels that you will record in this case one microphone channel and one CD player Make sure that the oth ers bus assignments buttons are unassigned c Check the channel that is on the air to verify that this channel doesn t be assigned to AUD bus Now you can make the recording To activate the microphone press the AIR button of the channel The recording level is visualized on the AUD VU me ters of the console but we recommend you that al ways check it on the VU meters of the recording de vice The speakers will listen the return in the head phones or the Studio monitors When the recording ends leave all controls in theirs normal position to prevent confusions SOLIDYNE Broadcast mixing consoles 2300 series Page 37 PAGE INTENTIONALLY Page 38 Broadcast mixing consoles 2300 series SOLIDYNE In order to obtain great results with the 2300 consoles that Solidyne guarantees with its design and manufac ture we recommended following the indicated opera
85. tes This function operates like the accessory TIMER for 2300 consoles Please see 1 4 3 Timer Clock for details An additional option respect to the accessory TM in console is that 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 SOLIDYNE 2 1 About installation Installation of Solidyne audio console doesn t present particular problems However keep in mind the basic rules for all professional audio installations The inputs and outputs of the 2300 series incorporate DB 25 multi pin connectors You can acquire the Solidyne connection s kit MNG2300 which incorporate most of basics connections for the radio equipment so you only will make some few connections All balanced connections will be made using double shielded cable Use only good quality audio cables The high level unbalanced inputs and outputs can be wired using shielded cable For loudspeakers outputs use cable with 2 mm2 section The microphone and loudspeaker cables will take separated paths If you use a microphone connectors box it will be completely shielded and connected to a good ground the same ground that the console To avoid loops grounds that can produce hum and noise a don t connect the audio GND with the AC ground This con
86. the 2320 has an additional connec tor beside the D25 with inputs and outputs for remote control The DigiSolid IN allows to activate remotely with positive or negative slope the AIR button of each channel opening or closing the fader with three preset speeds Fast Slow1 Slow2 with or without delay De lay time is used to make cross fades between channels A and B The DigiSolid OUT is activated every time that you open the main fader with AIR button activated It s an output with open collector circuit that manages from 5V up to 24V 0 25 Amp and it s used to activate relays to starts others devices activation of the auto mation PC or on air indication lights The module 2320 is programmable with nonvolatile EEPROM memory and has a LCD screen 3 5 2 Display information The first text line indicates the bus assignment for this channel PGM RUD 25 5 dB PGM AUD SND PGM AUD 5tedie LINE 2 ALL BUS etc When you modify the fader position the LCD shows the exact attenuation expressed in dB Then it passes to show the input mode analogic or digital and the sample rate for digital signals After few seconds the display returns to the initial mode showing the buses status The display always indicates the input name that you can configure choosing among 50 names stored in the internal memory Audio 1 LINE 2 Studio 3 etc SOLIDYNE Broadcast mixing consoles 2300 series When you pre
87. though are not important for the understanding of the words ARE VERY IMPORTANT FOR THE AUDIO QUAL ITY because they give weightiness and pres ence to the voice System really reconstructs the bass of the voice reaching the frequencies of up to 50 Hertz being able also reconstructing com ponent of high frequency to recreate the highs that are of extreme importance to obtain the presence sensation In addition stage VQR has a third control to im prove to the dynamic range obtaining values of up to 70 dBA in a telephone transmission This processing is applicable as much to calls by terrestrial lines like a calls made through the mobile telephony Although the reconstruction reaches to callings made using the internal microphones of the cellular or the fixed telephones the best results are obtained using a portable audio console and dynamic microphones of good quality For details on VQR you can consult the information available in the section Technical Documentation on our Web site 2 3 6 1 Using the Module 2330 VQR works as much with the internal hybrid of the 2300 console like with any external hy brid connected to the Master 2307 using the Exter nal Hybrid Send amp Return connections The module has a complete panel with luminous level indicators that shows SOLIDYNE Broadcast mixing consoles 2300 series e Degree of restoration for low frequencies e Degree of restora
88. tion for high frequencies e Action of the Noise Cancel WGP commen TELEPHONE VOICE QUALITY 1 RESTORATION LOW NOISE CANCEL HIGH LOW BAND NOISE The VQR processing can be enabled or bypassed pressing the on off button on the module By press ing this button the VQR stage activates and the MID BAND indicator lights or NOISE CANCEL if the fader NOISE is open due the absence of audio sig nal With the button up the module is by passed and the audio of the calling is sent on the air without processing HIGH BAND o Page 35 The user adjusts the amount of processed signal using the faders Low band and Hi Band Both controls even have an ample rank of work making possible the processing in telephone signals whose bandwidth is very restricted Low band Manages the level of lows added to the original signal With the fader closed there is no recon struction for low frequencies The level of reconstruction or the amount of low frequencies that is possible to add to the signal depends on the audio quality of the telephone line all communications don t transmit the same bandwidth and the telephone or microphone used at the other end Obviously same results are not obtained using the small microphone of a cellu lar telephone or a microphone of good quality with a portable console at least quality has the trans mission smaller bandwidth smaller will be t
89. validity the following conditions must be verified 1 The measurement chain must have a distortion smaller than 0 002 2 The distortion components just as they are seen at the oscilloscope screen connected to the output of the THD meter must be clearly distin guished from the residual noise and buzz 5 1 11 Connect the audio generator to a microphone input Load it with 600 ohms Connect to PGM output an audio level Equivalent Input Noise Page 42 Broadcast mixing consoles 2300 series meter with A weighted filter Change the generator output to 1KHz 45 dBm Select MIC and PGM in the channel under test Enable the module by pressing AIR Set the main fader to 10 dB Change the gain control until ob taining 4 dBm at the console output this is the refer ence level REF Now replace the audio generator by a resistor of 150 ohms placed inside the D 25 MIC input connector Mea sure the residual noise in the audio level meter with A weighting filter We will denominate it Vn dBm Verify in the oscilloscope that there is not any buzz only random noise signal In order to eliminate buzz reconnect the grounds of the measurement instruments so that the buzz disappears The level of equivalent input noise will be EIN Vgen Vn REF that is to say EIN dBm 49 Vn dBm Waited value 133 dBm If the A weighted filter is not available a simple RC filter will LS be used that attenuates 3 d

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