``MARILON`` USERMANUAL - D&R Broadcast Mixing Consoles
Contents
1. MARILON USER MANUAL Du Marilon Owners Manual CONTENTS Introduction and Product Overview 1 0 The Chassis system description 1 1 The chassis system 2 0 The Master section description 2 1 Stereo effects returns 1 8 2 2 Control room monitor module 2 8 Studio solo module 2 4 Stereo cue phones module 2 5 Communications module 2 6 Oscillator module 2 7 Auxiliary master modules 2 8 Master inputs outputs 2 9 Metering 3 0 The In line module description 3 1 Ledbar section 8 2 Assign section 3 3 Input section 3 4 Equalizer section 3 5 Auxiliary send section 3 6 Monitor section 3 7 Channel solo mute section 3 8 Fader section 3 9 Inputs outputs 4 0 The Optional Patchbay description 4 1 Optional patchbay points 4 2 Patchbay wiring 5 0 Instructions for operation 6 0 Installation electrical 7 0 Installation audio 8 0 Troubleshooting and servicing 9 0 Connectors 10 0 Specifications Dear client Thank you for selecting the D amp R Marilon series The Marilon was created using the latest in computer aided design and assembling technology and incorporates the most advanced circuit components which results in the Marilon being another D amp R product unsurpassed in the electronics industry We are confident that you will be using the Marilon for many years to come and wish you much success We always value suggestions from our clients and we would be grateful if yo2. Switches are used for selecting the desired CRM system DIM A Dim switch drops the level of the CRM by 20 dB while leaving the level control at the desired position MONO The Mono switch allows the user to check for any out of phase signals or simply used for monitoring your mix in mono Page 2 The Master Section CRM Module continued MUTE Also fitted in this section is a mute switch to allow you to completely mute the CRM Faders Located in the bottom of the CRM amp Studio modules are two mono faders which control the main stereo mix busses 2 3 The Studio Solo Module STUDIO The Studio section performs in a similar way to the CRM module sending signals to the studio amp from the CRM or Aux 7 8 This section has a mute switch and level control with level ranges up to a balanced 4 dB nominal level 26 dB maximum The mute switch is used to mute the output of the studio module SOLO The Solo section has a level control and master status switching for the PFL mono or Stereo solo in place system A solo active LED is fitted to show when the solo system is active 2 4 Stereo Phones Module PHONES This module has a stereo level control mute switch and source switching from the CRM section or Aux 7 amp 8 sends which are used for a stereo headphone mix 2 5 Communications Module Communications The communications module performs all communication functions between the control room studio and any
3. Return CRM 1 Left CRM 1 Right CRM 2 Left CRM 2 Right CRM 3 Left CRM 3 Right Tip hot Ring cold Sleeve ground Tip hot Ring cold Sleeve ground Tip hot Ring cold Sleeve ground Tip hot Ring 7 cold Sleeve ground Tip hot Ring 7 cold Sleeve 7 ground Tip hot Ring 7 cold Sleeve 7 ground Tip hot Ring cold Sleeve ground Tip hot Ring 7 cold Sleeve 7 ground Tip hot Ring 7 cold Sleeve ground Tip hot Ring 7 cold Sleeve 7 ground Tip hot Ring 7 cold Sleeve 7 ground Tip hot Ring cold Sleeve ground Page 19 Installation audio continued 7 5 3 Master section modules Aux 3 Return Left Aux 3 Return Right Master Insert Send Left Master Insert Return Left Master Output Left 4 Master Output Left 10 Studio Output Left Studio Output Right 7 5 4 Master section modules Aux 4 Return Left Aux 4 Return Right Master Insert Send Right Master Insert Return Right Master Output Right 4 Sois Aux return 3 amp Studio Tip hot Ring cold Sleeve ground Tip hot Ring cold Sleeve ground Tip hot Ring cold Sleeve ground Tip hot Ring cold Sleeve ground Tip hot Ring cold Sleeve ground Tip hot Ring cold Sleeve Tip hot Ring cold Sleeve ground Tip hot Ring cold Sleeve NS Aux return 4 amp Phones Tip hot Ring cold Sleeve ground Tip
4. hot Ring 7 cold Sleeve 7 ground Tip hot Ring cold Sleeve ground Tip hot Ring 7 cold Sleeve ground Tip hot Ring cold Sleeve ground Page 20 Installation audio continued Module 4 continued Master Output Right 10 Tip hot Ring cold Sleeve ground Phones Output Left Tip hot Ring cold Sleeve ground Phones Output Right Tip hot Ring cold Sleeve 7 ground 7 5 5 Master section modules Aux return 5 amp Communications Aux 5 Return Left Tip hot Ring cold Sleeve 7 ground Aux 5 Return Right Tip hot Ring 7 cold Sleeve ground Remote Talkback Switch In Tip hot Ring cold Sleeve 7 ground Studio Listen Mic Input Tip hot Ring 7 cold Sleeve 7 ground Power Supply Cable Pin 1z Pin 2 Pin 3 Pin 4 Pin 5 Ground Terminals Main Shield Patch 7 5 6 Master section modules Aux return 6 amp Oscillator Aux 6 Return Left Tip hot Ring 7 cold Sleeve ground Aux 6 Return Right Tip hot Ring cold Sleeve ground Oscillator Output Tip hot Ring cold Sleeve ground Page 21 Installation audio continued 7 5 7 Master section modules Aux return 7 amp Aux sends 1 3 5 amp 7 Aux 7 Return Left Aux 7 Return Right Aux 1 Output Aux 3 Output Aux 5 Output Aux 7 Output Tip hot Ring cold Sleeve ground Tip hot Ring cold Sleeve 7 ground Tip hot Ring cold Sleeve gr
5. improp erly wired buildings it can possibly be as high as 240 volts Allthough removing the ground wire sometimes cures a system hum it will create a very hazar deous situation for the performing musician Always earth all your equipment by the grounding pin in your mains plug Hum loops should be only cured by propr wiring and isolation input output transformers Replace fuses always with the same type and rat ing after the equipment has been turned off and unplugged If the fuse blows again you have an equipment fail ure do not use it again and return it to your dealer for repair And last but not least be carefull not to touch a person being shocked as you yourself could also be shocked Once removed from the shock have someone send for medical help inmediately Aways keep the above mentioned in formation in mind when using electri cally powered equipment D amp R ELECTRONICA B V WEESP
6. module The GROUP OUTPUTS tape outs are used as a summed output of any channel IL will appear as a direct output of the channel when you push the color coded assign switch and the BNC switch in the routing section The extra output is used for Aux 7 amp 8 when line D is used Page 23 Troubleshooting and servicing 8 0 Troubleshooting Itis essentialto study the signal flow chart carefully only then can you hope to isolate problems By tracing the signal from input to output jacks it is possible to locate a problem If for any reason you are unable to isolate a problem contact the D amp R Technical Support Department for advice If the problem cannot be corrected over the phone D amp R will despatch a replacement module freight prepaid the same day Most problems can be found using logical thinking and simply replacing socketed integrated circuits 8 1 Removing a Module The Marilon is a complex piece of equipment and some understanding of its internal layout is necessary before removing a module An input module has wiring to the ledbar fader master section and backplates and to the star ground system All of these wires must be removed before withdrawing a module from the console Each module has computer grade connectors for ease of the disconnect Turn off the power supply Remove the backplates behind the ledbar and underneath the monitor fader section first Then remove the two backplate screws which hold the input out
7. monitor the stereo main outputs which is the sum of all the monitor sections and L R routing switches in the input output modules as well as all 8 effects modules The Marilon has four dedicated balanced 4 dBv or 10 dBu tape return inputs which can be wired to the outputs of stereo master machines cassette CD player or DAT recorders Utilising any of these switches enables playback or post tape monitoring of a master mix Aux 7 8 can be monitored in stereo to allow the building up of a stereo cue mix for the headphone system through the control room monitors level The CRM level controls the total outgoing level to the CRM 1 2 3 monitors When in the full clockwise position a balanced signal of 4 dBv is given out to the CRM monitor amps It is important to have the monitor amps correctly adjusted You should adjust the CRM monitor amps input level controls to an undistorted level with the CRM level control fully clockwise NOTE This allignment is imperative in order to avoid damage to the tweeters or in some cases damage to the ears of the listener Three Monitor Systems The Marilon has three CRM systems intended for use with large monitors small monitors and nearfield monitors We advise that nearfield monitors be wired to the CRM 2 output as the studio communication takes place over this monitor while dimming the main monitor CRM 3 is designed for connection to small monitors or other alternative monitoring purposes
8. ring cold amp sleeve ground Master module 2 effects return 2 and CRM The inputs outputs backpanel provides inputs for effects return 2 left and right two track A B C Dright inputs and CRM 1 2 amp 3 left and right outputs All inputs and outputs on this module are balanced 1 4 connectors tip hot ring cold amp sleeve ground Master module 3 effects return 3 and Studio The inputs outputs backpanel provides inputs for effects return 3 left and right master left insert send and recieve 4dB master left output XLE 10 dB master left output as well as studio left and right outputs All inputs and outputs on this module are balanced 1 4 connectors tip hot ring cold amp sleeve ground unless indicated Master module 4 effects return 4 and Phones The inputs outputs backpanel provides inputs for effects return ff 4 left and right master right insert send and recieve 4dB master right output XLR 10 dB master right output as well as phones left and right outputs inputs and outputs on this module are balanced 1 4 connectors tip 7 hot ring 7 cold and sleeve ground unless indicated Master module 5 effects return 5 and Communications The inputs outputs backpanel provides inputs for effects return 5 left and right remote talkback switch output studio listen mic input power supply connector and three ground posts Master module 6 effects return 6 and Oscillat
9. to the mix If an unexpected sound is heard or if something appears to be missing from the mix depress the phase switches for those channels suspected to be in error If the sound improves then that channel was out of phase with the others Page 7 The In line Module continued If using multiple mikes on the same signal such as drums vocals horns strings etc it is possible to create an acoustical phase cancellation In most cases physically moving the mike s a few inches will correct this phase cancellation In addition the Marilon s phase meter can be helpful with this problem The dual concentric gain controls are the single most important controls on the console With these controls accurately set it is possible to achieve the very best signal to noise ratio and maximum headroom required for high quality recordings The top control is for adjusting the line mic input and the bottom control is for adjusting the tape return input After plugging in a mike or line signal depress the channel solo switch above the channel fader you are setting set the solo status switch to pfl in the master section then turn the gain control clockwise until a 0 output level is reached on the master meters Now slide up the channel fader to 0 If the signal source gets louder or softer it may be necessary to re check this setting The volume will also fluctuate if you boost or cut the equaliser section The TAPE gain is an actively cont
10. 1 24 For channel selections above 24 the channel fader will feed the monitor directly In the down position tape the tape return monitor in feeds the monitor signal path NOTE The channel s ledbar display follows this switch The GRP group switch inserts the monitor fader into the multitrack summing amps of that particular channel relevant functions of the monitor section are also inserted The stereo solo in place or pfl system and mute can be used on this group fader as well as auxilliary sends and equaliser but the monitor signal path is obviously lost mix channel status switch has no infuluence on the group switch The monitor and channel fader can be reversed REV when use of the large fader for monitoring during recording is preferable All functions such as assigned Aux sends solo and mute functions stay in their actual signal path Only the faders are electronically reversed The SOLO switch has two modes pfl pre fade listen or a destructive stereo solo in place system Master status switching located in the master section selects the solo in place or PFL mode for the entire console Activating the solo switch in the pfl mode will send the prefader signal of the monitor section to the CRM speakers In the solo in place mode the post monitor panpot signal is heard and all other channels are muted within the stereo mix buss solo indicator LED is fitted next to the solo switch The MUTE syste
11. AGE section CAUTION Never remove any panels or open this equipment No user servicable parts inside Equipment power supply must be grounded at all times Only use this product as described in user manual or brochure Do not operate this equipment in high humidity or expose it to water or other liquids Check the AC power supply cable to assure secure contact Have your equipment checked yearly by a qualified dealer service center Hazardous electrical shock can be avoided by carefully following the above rules EXTRA CAUTION FOR LIVE SOUND Ground all equipment using the ground pin in the AC power supply cable Never remove this pin Ground loops should be eliminated only by use of isolation transformers for all inputs and outputs Replace any blown fuse with the same type and rating only after equipment has been disconnected from AC power If problem persists return equip ment to qualified service technician PLEASE READ THE FOLLOWING IN FORMATION VERY CAREFULLY Especially in sound equipment on stage the follow ing information is essential to know An electrical shock is caused by voltage and cur rent actually it is the current that causes the shock In practise the higher the voltage the higher the current will be and the higher the shock But there is another thing to consider and it is re sistance When the resistance in Ohms is high be tween two poles the current will be low and vica versa All three of t
12. Hz and has a maximum boost or cut of 16 dB The bandwidth has a Q factor of 1 5 The HMF and LMF bands can be switched in or out of the channel and or monitor circuit paths If the equaliser is only partly inserted in a signal path the equliser on off switch has priority over the monitor switches All level controls are center detented making neutral positions easy to establish All frequency ranges have been carefully selected following extensive examination of all types of music and noise which makes this equaliser a pleasure to work with Noise and distortion are kept to an absolute minimum 3 5 Auxilliary Send Section The Marilon has eight auxilliary send busses switchable to twenty four Auxilliary sends 1 amp 2 are on concentric controls the top one for Aux 1 and the lower one for Aux 2 Aux 3 amp 4 are on concentric controls also All four can be fed from either the channel path or monitor and are pre post switchable Auxilliary 5 8 are simular to auxilliaries 1 4 having channel monitor and pre post switching Aux 5 amp 6 can be routed to the multitrack busses to net a total of 32 aux send busses Auxilliary 7 8 are a stereo pair The top knob is the level control The bottom control knob is the pan capable of moving the signals from left Aux buss 7 to right Aux buss 8 in the stereo image of a foldback or cue headphone mix During recording Auxilliaries 7 8 are the preferred sends to use as headphone sends A stereo im
13. S A Tel 409 588 3411 Fax 409 588 3299 THE CHASSIS SYSTEM 1 0 The Chassis System The Marilon is available in two frame sizes 57 position and 73 position The basic frame has five blank modules two are located on the extreme left and right of the frame two more are on the left and right of the master section and the fifth is located to the left of the patchbay These locations cannot be used for in line modules as they conceal mechanical constructions wiring and power distribution The 57 position frame will fit 32 in line modules patchbay 8 master modules and 5 blank modules standard configuation has from left to right 24 in line modules 8 master modules 8 in line modules and patchbay Custom configuations are available at no extra charge The 57 position frame can accept up to 44 in line modules if the patchbay is not utilised The 73 frame can accept up to 48 in line modules master section and patchbay Larger frames are optional The standard configuation has from left to right 32 in line modules 8 master modules 16 in line modules and patchbay Custom configuations are available at no extra charge The 73 position frame can accept up to 60 in line modules if the patchbay is not utilised Both the master section and patchbay can be installed wherever most suitable but the request must be made at the time of ordering Unless otherwise specified the 57 position frame 32 will be supplied wit
14. TE MAKE SURE THAT YOU CHECK FOR HUM OR NOISE AS EACH INPUT OR OUTPUT IS CONNECTED 7 3 Shielding and Grounding of Audio Equipment The shield of any audio cable connection should be connected at one end only If not ground loops and high frequency cross talk could result Connect the shield as a general rule to the signal source output of anything In high RF areas it is wise to ground the other end of the shield through a 0 01 microFarad capacitor This will ground the RF but will not affect audio frequencies Fa 1 gt Installation audio continued 7 4 Typical Interface Situation Table Output Input Connect shield at Unbalanced Unbalanced Output Unbalanced Balanced Output Unbalanced Differential Output Balanced Unbalanced Input Balanced Balanced Output Balanced Differential Input Differential Unbalanced Output Differential Balanced Output Differential Differential Output Use the above table to interface your Marilon to any external equipment such as multi track machines signal processing and power amps Balanced in the above illustration means balanced while differential means electronically balanced There are some cases which net better results in practice Connect one circuit at a time and check for hum or noise When connecting balanced microphones use two conductor shielded audio cable and connect both conductors and the shield at both ends When connecting line level cables use two conductor shielded c
15. able and follow the instructions in the interface table The only exception to these rules is with patch cords These grounds are tied together in the console We realise that the correct interfacing of all different equipment is difficult but once properly installed the system will be clean and noise free It is important to understand the term balanced Balanced does not mean the input or output is professional the single factor that normally determines whether something is professional is the level of the input or the output 4 dBu is considered professional 10 dBv is considered semi professional Because many semi professional tape machines are built to professional specifications D amp R builds into its console series the ability to interface with both levels 7 5 1 Master section modules Aux return 1 Tip hot Ring 7 cold Sleeve 7 ground Aux 1 Return Left Tip hot Ring cold Sleeve 7 ground Aux 1 Return Right Tip hot Ring cold Sleeve ground 2 Track A Left Return 2 Track B Left Return hot Ring cold Sleeve ground 2 Track C Left Return Tip hot Ring cold Sleeve ground 2 Track D Left Return hot Ring cold Sleeve ground Page 18 Installation audio continued 7 5 2 Master section modules Aux return 2 amp CRM Aux 2 Return Left Aux 2 Return Right 2 Track A Right Return 2 B Right Return 2 Track C Right Return 2 Track D Right
16. age can be easily constructed by adjusting the level and pan control knobs During mixdown Auxilliaries 7 8 can be made available as an extra input and assigned to the Stereo mix buss by pressing the line B switch This input is accessable on the backplate of the in line module or in the optional patchbay 3 6 Monitor Section The monitor is the second signal path in the Marilon in line channel In record mode the mix switch in the up position the monitor section is fed by either the tape return or group output tape return or tape send In mix mode mix switch depressed the monitor section is fed by the mic line input and the tape return now moves to the channel and is controlled by the long fader Page 9 The In line Module continued Two bands of the equaliser as earlier stated can be inserted into the monitor section making the monitor path a fully functioning input usable in the mix mode for other signals different from the signal present in the channel Both channel and monitor paths can have mic line or tape inputs chosen with a full bandwidth equalizer on each at the same time Auxilliary sends can be assigned to both channel or monitor in groups of four Both signal paths have their own PFL pre fade listen stereo solo in place and mutes The tape switch allows you to choose from where the monitor gets its signal In the up position source the channel fader feeds the monitor through summing amps
17. alog meters are mounted when reading 0 on the VU meter you should have 4 dBu or 1 22 volts on a volt ohm meter Another standard feature of the Marilon is a phase correlation meter This meter measures the phase relationship of two signals between 0 and 180 degrees Due to the advanced circuitry of the Marilon all signals between 40 dB and 20 dBu will give an exact reading of their phase relationship If only one signal is presented to the phase meter the circuitry will prevent the meter from registering a reading Allreadings up to 90 degrees are acceptable for mono compatability Readings above 90 degrees might cause problematic mono compatability and should be avoided This can be done by accurate microphone placement and or reversing phase on the channels Page 6 The In line Module 3 0 The In Line Module The Marilon in line module is a basic input output design whereby all signal flow takes place from the microphone to the multitrack The following sections explain its many functions and features 3 1 Led Bar Graph Meters The 13 segment led bar graph meter is a peak reading device with attack and release times in conformance with world standards It reads the level travelling to or from the mutitrack depending upon the monitor sections tape switch setting NOTE The first led in the bargraph is a power supply indicator 3 2 Assign section The routing gives selection to the 24 mutitrack output busses using
18. amp R Technical Support Department DO NOT REPLACE THE FUSE WITH ANY OTHER TYPE AS THIS CAN BECOME A SAFETY HAZARD AND WILL VOID THE WARANTY Electrical Wiring To take full advantage of the excellent signal to noise ratio of the Marilon it is necessary to read this part of the manual carefully Hum radio frequency interferance buzzes and instability are often caused by improper wiring and poor grounding Sometimes the incoming electrical ground is inadequate and a dedicated ground would need to be installed for the audio equipment Your local electric power company will provide you with all local electrical codes and safety regulations There are some grounding rules to follow All signals in a recording studio are referenced to ground This ground must be clean and free of noise A central point should be selected as the main grounding point and all grounds should originate from this point This is commonly referred to as a star ground system In some instances electrical contractors will daisy chain ground connections This is unsuitable for a studio Ideally run a separate ground wire from each outlet and a separate ground wire for each piece of equipment separate wire from each equipment rack to the dedicated ground point is useful in cases where AC outlet grounds are not satisfactory The dedicated ground point should be located at the rear of the console or equipment rack Separate and identify clean and dirty AC outlets Us
19. aster modules are identical in function One module controls the Aux sends 1 4 and the second module controls Aux sends 5 8 The Aux 1 8 masters control the Aux 1 8 signals from the channels The mute switch completely mutes the balanced output however the afl switch continues its signal to the control room monitors which is a postfader signal The associated led lights indicating the activated solo switch The meters on the Marilon are peak reading meters and therefore read 6 dB when a sine wave with a 4 dB output level sent to the meter Measuring the 4 dB output level of the channel or master with a AC voltmeter would give a 1 22 volt reading The led meter would actually be reading 6 dB on the scale When monitoring program material you will see higher levels on the peak reading meters Page 4 The Master Section backplate connections 2 8 Master In Outputs The Marilon has two methods of interfacing with external equipment such as signal processors headphone amps and power amps Interfacing is possible using the connectors on the master bottom panels through 25 pole sub D male connectors or a mixture of both Listed below are all inputs and outputs for the eight master modules Master module 1 effects return 1 The inputs outputs backpanel provides inputs for effects return 1 left and right as well as two track A B C D left inputs All inputs on this module are balanced 1 4 connectors tip hot
20. cated on the master module backplate to the inputs of your control room speaker power amps Now turn on the console power supply and then turn the power amp on and check for any hum buzz or interferance Slowly turn the CRM control clockwise until it is wide open while listening for excessive noise You should only hear a faint hiss If everything is O K continue If any hum or excess noise is present stop and try different ground and shielding arrangements until the system 18 clean b Before making any other connections move each monitor fader to the 0 dB position with the tape switch depressed on each monitor section Connect the multitrack outputs to the tape return XLE s on the backplate of each in line module or via the 25 pole sub D connector if the optional patchbay is installed then connect each connector on the tape output of your multitrack Check for hum or noise after each track has been hooked up Hiss will normally increase slightly with each track Connect the tape send output jacks to the inputs of the multitrack Carefully listen for excessive noise or hum If after hooking up an input or output excessive noise or hum is detected stop and take corrective action before proceeding Do not hook up all 16 24 32 or 48 tracks and then listen You may need to rewire the entire cable harness to make the system clean c Connect stereo tape recorders inputs and outputs stereo headphone amp and all signal processors NO
21. d aux sends can be used to send signals to signal processors such as the D amp R Qverb 16 bit digitalreverb effects processors and digital delays The aux sends are usually post fader in order that the right balance between untreated and treated signals is maintained however it is possible to switch to pre fader Effects Returns In the modern recording or MIDI studios of today there is a demand for many effect returns For that reason D amp R has designed the Marilon with 8 stereo effects returns as part of the master modules unused channel or monitor input can also be used for returning effects Every channel can accept two returns with equalization and aux send capabilities Sequence 2 The Playback Multitrack playback The Marilon gives you a convenient way of monitoring your multitrack recorder Put all the tape switches in their down position Now the tape outputs are feeding the monitor path and you can adjust the amount of signal you desire and pan it within the stereo image Auxilliary sends and equalisation can be inserted in both signal paths whenever needed Control over this processing is carried out by independant solo mute systems in both signal paths Sequence 3 The Overdub Multitrack synchronizing Overdubbing is the process of building up a recording track by track while listening to previously recorded tracks The Marilon has an in line monitor for each track of the recorder making it easy to overdub In t
22. e clean outlets for audio equipment and the dirty ones for lighting air conditioning freezers etc Do not intermix these two types of outlets AC interferance can be greatly reduced by using an isolation transformer Juice Goose to power clean outlets Ground this transformer directly to the dedicated ground point or as close as possible to the incoming ground All equipment should be physically located as far as possible from the main breaker panel Unbalanced equipment may require isolation from the equipment rack so that ground loops are avoided Page 16 7 0 Installation audio 7 1 Interface CRM Levels The Marilon in its standard configuration can interface with all available equipment Attention concerning CRM output must be noted This output delivers a balanced nominal 4 dBulevel which is sometimes too high for power amps rated at 300mV sensitivity for full output In some instances an input attenuator at the power amp s input is required to reduce this 4 dBu level by up to 12 dB Contact the D amp R Technical Support Department for details 7 2 The Initial Hook Up First connect the rack mounted power supplies two supplies are provided with the 32 or 48 chassis to the console faders monitors and effect returns must be in the down or off position In order to ensure the best signal to noise ratio for your system the next steps should be performed in the order they are printed a Connect the CRM outputs lo
23. e of the console wiring Page 24 sInpolu 498jSDUU NO lle VA N3LSI1 ILONAA le t p m sdnouo B o 0100215 Nals arn no EIEZJE EJ KERE CI Ov 1d4 TT JOVIdNI 0105 TT ONON tle CPP NON t av 91S alc vic S 8 line module n Z o a lt r Specifications 10 0 Specifications Pave 26 Dear Marilon owner In this manual we have tried to give you an overview of all that the Marilon series has to offer If you have any questions do not hesitate to contact us or the D amp R USA customer support department With the Marilon series there is no limit to your creativity We wish you many years of enjoyable mixing Best regards Duco de Rijk PRESIDENT D amp R HOLLAND This manual was written by Duco de Rijk D amp R Holland and Paul Westbrook D amp R USA We hope you will find it to be useful and easy to understand As ever we are open to any suggestions about this manual or any D amp R product Page 21 PRODUCT SAFETY This product is manufactured with the highest standards and is double checked in our quality control department for reliability in the HIGH VOLT
24. h points from left to right are Line A input Line B input channel insert send amp return monitor input monitor insert send amp return group output The tape inputs and outputs if ordered are normalled to group outputs and monitor inputs The master section contains six rows of Bantam type jacks First Row Left master insert send amp return right master insert send amp return 4 outputs left amp right 10 outputs left amp right Second How Tape or mastering machines A B C amp D inputs left amp right Third Row Tape or mastering machines A B C amp D outputs left amp right Fourth Row Tape DAT CD and two track machine playback inputs to CRM Fifth Row Aux send outputs 1 thru 8 Sixth Row Two sets of four mults parrallels Tie Lines The tie lines 144 in total are in rows of eight The tie lines are for any signal processing equipment For ease of use all outputs are on blue sockets and all inputs are on black sockets 4 2 Patchbay Wiring All interfacing with external machines effects or amplifiers can be done via the connector panels on the bottom plates of the console or via the multipins on the patchbay connector panel If the optional patchbay is installed the connector system is 25 pole D type The cabling must be wired to male 25 pole sub D type connectors All the connectors are able to handle eight balanced signals and are wired identically The wiring is also silk
25. h twenty four input channels left of the master section eight input channels on its right and the patchbay located in the far right position If your requirements are for your patchbay to be remotely mounted ask D amp R for a custom quote Unless otherwise specified the Marilon 48 frame has left to right 32 inputs modules master section 16 input modules and patchbay The Marilon legs are not assembled for shipping Assembly takes approximately twenty minutes Page 1 THE MASTER SECTION 2 1 Stereo Effects Returns There are eight stereo effects returns located on the top portion of each master section module On each of the stereo returns is a mono switch which can be used for any effect that only has one output gain control below the mono switch is for matching the output level of different devises to the effects return inputs A two band stereo equalizer is fitted to EQ the effect return signals Aux sends 5 amp 6 can be sent seperately while aux 7 amp 8 are sent via one stereo control This control is used to send effects returns to the stereo cue phones system A balance control solo amp mute switch and 60mm fader complete each stereo return 2 2 CRM Module The CRM control room module module contains the electronics for monitoring all the signal paths in the Marilon CRM Source switching From top to bottom there are the five CRM signal sources With all these switches in the up position the CRM will
26. he monitor section of the in line module you push all tape switches down and do all your sync switching from the tape machine or remote The headphone mix is done on the aux send 7 and 8 busses Aux 7 and 8 should get their signal from the monitor section It is best to activate aux 7 8 pre fader switches Page 14 Operational instructions continued Sequence 4 The Remix Multitrack mixing Remix is the process of combining all recorded tracks with keyboards and drum machines for MIDI signal processing and sending the mix to a two track master machine DAT machine or cassette recorder On the in line module you must push the mix switch down This routes the tape return to the channel input and routes the mike line inputs to the monitor section of the module At this point you can use either a mike or line input into the monitor and it will feed the stereo mix buss if required This will give you two inputs per module in the mix down You can activate the EQ to mon switches and have the high and low and or HMF and LMF sections of the equalizer on the monitor You must activate the EQ switch if you desire EQ on the channel or monitor The incoming signals can be routed to the stereo mix buss via the L R switch in the channel section The monitor section normally feeds the stereo mix buss Sub groups can be made up as required in the same way as during recording You can have aux sends 1 8 getting their signal from the
27. hese voltage current and resistance are important in determining the effect of an elec trical shock However the severity of a shock primarily deter mined by the amount of current flowing through a person A person can feel a shock because the muscles in a body respond to electrical current and because the heart is a muscle it can affect when the current is high enough Current can also be fatal when it causes the chest muscles to contract and stop breathing At what potential is current dangereous Well the first feeling of current is a tingle at 0 001 Amp of current The current between 0 1 Amp and 0 2 Amp is fatal Imagine that your home fuses of 20 Amp can han dle 200 times more current than is necessary to kill How does resistance affect the shock a person feels A typical resistance between one hand to the other in dry condition could well over 100 000 Ohm If you are playing on stage your body is perspir ing extensively and your body resistance is lowered by more than 50 This is a situation in which current can easily flow Current will flow when there is a difference in ground potential between equipment on stage and in the P A system Please do check if there is any potential between the housing of the mikes and the guitarsynth amps which will be linked by your body on stage Imagine a guitar in your hand and your lips close to the mike A ground potential dif ference of above 10 volts is not unusual in
28. is channel Phantom powering is applied if necessary The EQ switch should be in the up position unless you require EQ on that mike The signal flows through the fader and is available postfader to be routed by way of the assignment switches on top of the module which can feed the input to your multitrack recorder The LED bargraph reads the outgoing signal Microphone Line Gain The amount of gain required may depend on the type of microphone being used the sound pressure level and the distance between the sound source and microphone 10 dB pad can be inserted where levels are too hot When the line switch is activated the same gain control varies the gain of the separate electronics for the balanced line input The phase switch affects both the mike and line inputs Monitoring With the Marilon series you are able to monitor your multitrack by way of the separate monitor section The monitor section of the in line module allows you to have two usable inputs both with EQ both being able to send to the aux busses both with their own volume control mutes and solos and all routed at the same time Multiple Modules Assigned to One or Two Tracks When more than one microphone or line signal has to be recorded on a single track or in stereo on two tracks a submix facility is required This can be done easily on the Marilon by way of the the internal subgroup amplifiers located on every channel module Simply route to one
29. ld Sleeve 7 ground The default setting on these outputs are 4 dBu A setting of 10 dBV can be chosen on the channel board using jumper settings The group output will be connected to the multitrack input from this socket or via the multipins on the patchbay whichever best suits your requirements The extra output jack socket is used for aux sends when you do not have the optional patchbay the first output would be wired to the multitrack tape machine Page 11 THE OPTIONAL PATCHBAY 4 0 The Optional Patchbay description The recessed patchbay section is built around Bantam type tiny telephone jack sockets This optional patchbay is completely modular and designed to allow the user or installation person to hook up the cables between the channel modules and patchbay modules It can be expanded as your budget allows or ordered complete All master inputs outputs and 144 tie lines for signal processing are standard when you order the patchbay The whole patchbay is balanced and internally starground wired Each four rows of channel patch points are followed by four channels of multitrack inputs and outputs The multitrack patch points are also optional The patchbay can accept a maximum of 48 channel sections and up to 32 channels of multitrack inputs and outputs All interfacing is via 25 pin sub D connectors which accept eight balanced pairs of signals per connector 4 1 Optional Patchbay points Channel patc
30. m is a special soft muting integrated circuit completely click free A mute indicator LED is fitted next to the mute switch NOTE Always make sure that unused monitor sections are muted as the unterminated inputs will degrade the excellent low noise performance of the mixing amps 3 7 Channel Solo Mute Section A PEAK LED is fitted to allow for proper input level adjustment of the mic or line input The I R switch assigns the channel panpot to the stereo mix buss while the channel PAN control pans the signal between the main stereo mix I R busses and or the odd and even multitrack summing busses if assigned The mute and solo systems are identical to the monitor system refer to section 3 6 in the monitor section portion of this manual 3 8 Fader Section The Marilon has a separate fader section with a high quality 100mm fader Alps or P amp G faders or various moving fader automation systems are available The Marilon s mute system can be integrated in the C Mix fader automation system Moving fader systems can also be built into the unit please ask for details and quotation Page 10 3 9 In line Module Input and Output connectors In addition to the optional patchbay every channel also has the following connectors at the bottom of the housing Balanced XLR connector for the microphone input Pin 1 ground Pin 2 hot in phase Pin 8 cold out of phase The balanced line A input is a stereo 1 4 jack s
31. monitor section or channel path in sections of four If you need more aux sends remove the outputs of aux 5 amp 6 from their respective busses by depressing the switch labeled BUSS 1 24 You can now use the multi track assign switches as extra aux send busses which will get their signal from aux 5 amp 6 sends on each channel This extends the number of aux send busses to 30 Sequence 5 The MIDI or Virtual Tracking Virtual Tracks The MIDI Set Up In most MIDI studios there will be an eight track rather than a sixteen or twenty four track tape machine The majority of music production is programmed on a sequencer using MIDI keyboards sound modules drum machines or other MIDI related equipment Therefore you will only require tape tracks for vocals and those instruments not adequately reproduced on today s keyboards If there is a multitrack recorder in the MIDI studio one of the tracks would be used to record a time code SMPTE or MIDI code This will allow your sequencer to keep keyboards drum machines and other MIDI equipment synchronized The Marilon was designed with the multi track and MIDI studio in mind In today s medium to large MIDI studio there is a need for as many as 100 inputs to be used for everything from tape tracks to keyboards and drum machines In the 32 frame Marilon 32 in line modules amp patchbay you can have 112 inputs in the mix session The 48 frame Marilon would net 160 inputs in the mix session o
32. nd Sony type s The MIC INPUT is used for plugging in all types of microphones or direct boxes This is an active balanced input using the latest circuit technology available today Each channel module has 48 volt phantom powering indivually switchable DO NOT USE EXTERNAL PHAMTOM POWER AND THE POWERING IN THE CONSOLE AT THE SAME TIME The LINE INPUTS are used for plugging in the outputs of digital reverbs digital delays drum machines samplers keyboards CD players cassette machines and any machines with line level outputs CHANNELINSERT and MONITORINSERT sends and returns are used to patch pre fade into the channel or monitor any signal processing equipment such as compressors limiters equalisers etc MONITOR INPUT is used for conncecting the output of your multitrack tape machine or the outputs of any effects such as digital delays digital reverbs aural exciters etc This track or effect will now appear in the monitor section if the tape switch is depressed If the mix switch is depressed this track or effect will appear in the channel and be controlled by the channel fader If the mix switch is depressed this track or effect will appear in the channel and be controlled by the channel fader The microphone input or line input will now appear in the monitor section of the same module It will be controlled by the monitor fader and panned onto the stereo mix buss This allows you to mix two completely independant signals on the same
33. ocket Tip hot Ring cold Sleeve ground The balanced line B input is a stereo 1 4 jack socket Tip hot Ring 7 cold Sleeve ground The balanced channel inserts are on two stereo jack sockets Tip hot Ring cold Sleeve 7 ground The channel inserts are on two balanced stereo jack sockets The send socket has the inphase signal on the tip and the ring is ground compensated to earth The sleeve is ground level 0 dB The send socket is normalled to the return socket and balanced with the tip as the inphase input and the ring as the out of phase input The sleeve is ground The monitor section input is a 1 4 stereo jack socket which has a level adjustment on the front panel ajustable 20 dB The tape machine outputs must be wired to these monitor inputs in order to monitor the multitrack tape channels The balanced monitor input is on a stereo jack socket Tip hot Ring 7 cold Sleeve 7 ground The balanced monitor inserts are on 1 4 stereo jack sockets Tip hot Ring 7 cold Sleeve 7 ground The monitor inserts are on two balanced stereo jack sockets The send socket has the inphase signal on the tip and the ring is ground compensated to earth The sleeve is ground level 0 dB The send socket 18 normalled to the return socket and balanced with the tip as the inphase input and the ring as the out of phase input The sleeve is ground The two group outputs are on balanced stereo jack sockets Tip hot Ring co
34. of the 24 subgroups by activating a channel routing switch on as many input modules as required Decide on which track you wish to record these signals and activate the related number The channel metering will show the subgroup level which can be changed overall by the monitor group fader Grp switch has to be depressed In order to monitor these tracks on the modules the tape switch in the monitor section should be in the up position for monitoring pre tape console out and in the down position for monitoring post tape tape switch down Page 13 Operation instructions continued Insert Channel Group For high dynamic range types of inputs a signal processor such as a compressor limiter can be inserted in the channel or even in the monitor insert if an entire group signal needs to be processed To do this it is necessary to activate the GRP switch in the summing channel to use the monitor insert Headphone Que During recording it is essential that the talent hear an independant mix of what the engineer and producer are hearing Headphone mixes are usually derived from pre fader auxilliaries In the Marilon aux 7 8 are ideal for this purpose The best way to build a mix for the headphones is to have the monitor section of the in line module feed aux busses 7 and 8 When there is limited time to set up a headphone mix give the talent the CRM mix and build up 8 new headphone mix on aux 7 amp 8 Effect Sends All unuse
35. or The inputs outputs backpanel provides inputs for effects return ft 6 left and right and the oscillator output All inputs and outputs on this module are balanced 1 4 connectors tip hot ring cold amp sleeve ground Master module 7 effects return 7 and Aux 1 3 5 amp 7 The inputs outputs backpanel provides inputs for effects return 7 left and right and outputs for aux sends 1 3 5 and 7 All inputs and outputs on this module are balanced 1 4 connectors tip hot ring cold amp sleeve 7 ground Master module 8 effects return 8 and Aux 2 4 6 amp 8 The inputs outputs backpanel provides inputs for effects return 8 left and right and outputs for aux sends 2 4 6 and 8 All inputs and outputs on this module are balanced 1 4 connectors tip hot ring cold amp sleeve 7 ground Page 5 Master Metering 2 9 Metering The Marilon is fitted with peak reading high resolution ledbar meters with attack and release times which conform to world standards The attack is 10msec for 20 dB range and the release is 1 5msec NOTE Peak reading meters give a reading 6 dB below the actual level when using a sine wave For example 4 dBu at the output connectors would give a reading of 6 dB on the meter using the oscillator If U K reading ledbars are ordered they will have attack and release times of 300msec and 4 dBu level on the connectors will give a0 dB reading on the scale If an
36. other rooms linked into the circuit T B When you depress the T B talkback switch a built in electret microphone sends the control room conversation to several destinations such as tape studio phones and to backpanel connector LISTEN When you depress the locking LISTEN switch a two way communication can be performed between the studio and control room An extra input on the back panel of this module is fitted for a mic which can be mounted in the studio The LISTEN control will allow you to set the level of that mic through the CRM 2 speakers REMOTE The REMOTE switch will allow the user to activate the optional wireless remote talkback switch or the optional footswitch Page The Master Section continued 2 6 Oscillator Module At the top of the module is the three frequency oscillator which is a low distortion phase shift model The three frequencies are 100Hz IKHz and 10kHz Each ferquency has its own front panel alignment trimmer and overall level LVL control with which to precisely align the oscillator for precise alignment of the console and tape machines The level ranges from 35 dB to 20 dB with marked mid position of 4 dBv The oscillator can either be routed to the AUX send busses GROUPS or an output socket on the module backpanel which is activated by the EXTERN switch NOTE the CRM dim is activated when the oscillator is active 2 7 Auxilliary Master Modules The auxilliary m
37. ound Tip hot Ring cold Sleeve ground Tip hot Ring cold Sleeve ground Tip hot Ring cold Sleeve 7 5 8 Master section modules Aux return 8 Aux 8 Return Left Aux 8 Return Right Aux 2 Output Aux 4 Output Aux 6 Output Aux 8 Output This concludes the master section module connections Refer to section 7 0 of this manual for Tip hot Ring 7 cold Sleeve 7 ground Tip 7 hot Ring 7 cold Sleeve 7 ground Tip hot Ring cold Sleeve ground Tip hot Ring 7 cold Sleeve ground Tip hot Ring 7 cold Sleeve 7 ground Tip hot Ring cold Sleeve ground usefull ideas and wiring techniques Paege 22 Installation audio continued 7 6 Connecting the In Line Module Description Mic input balanced Line input A amp B balanced Channel insert send amp return Monitor in tape return balanced Monitor insert send amp return Group out 2 tape sends balanced Connector Female XLR 1 4 Stereo plug 1 4 Stereo plug 1 4 Stereo plug 1 4 Stereo plug 1 4 Stereo plug Connect Pin 1 shield Pin 2 hot Pin 3 com Tip hot Ring com Sleeve ground Tip hot Ring com Sleeve ground Tip hot Ring com Sleeve ground Tip hot Ring com Sleeve ground Tip hot Ring com Sleeve ground Use 10 dBv jumper settings on the PCB s for Fostex type equipment and 4 dBu connections for Studer a
38. put connector Now remove all flat cables from the bottom of the module PCB It is often easier to also remove the backplates positioned left and right of the module under test Remove the ledbar wiring and the two star ground cables connected to the module Finally remove the metal cover underneath the ledbar front which conceals the screws retaining the module It is now possible to remove the two module retaining screws and carefully lift the module until the fader wiring can be unplugged At this point extender cables if ordered can be connected The master sections can be removed from the frame in the same way Because of the many flat cables on the bottom of the master section it is wise to remove all retaining screws from all master sections and remove the blind panel on the right side of the master section This will allow all the master modules to be moved slightly without unplugging all the flat cables A qualified service technician will be able to service the modules in this way NOTE The left blank panel protects the power distribution board and need not be removed Patchbay The patchbay is fully modular and can be serviced after first removing the backplates then removing the cables attached to the card that needs servicing The card can be removed after unscrewing two screws that push the patchpanel card downwards The card will still be connected to the star ground system which will need unplugging before the card comes fre
39. r paths The Highpass filter is a fixed 12 dB per octave Butterworth model which reduces low frequency noise effectively and musically It can be switched on or off in the channel path The HF high frequency section is a constant Q type resulting in precise shaping of sounds without adding additional side band noise high frequency section ranges from 1000 Hz to 20 000 Hz with a maximum boost or cut of 16 dB This band has a 1 5 fixed factor The LF low frequency section is a constant Q type resulting in precise shaping of sounds without adding additional side band noise The low frequency section ranges from 50 Hz to 1 000 Hz with a maximum boost or cut of 16 dB This band has a 1 5 fixed Q factor The BELL switch allows you to change the HF and LF bands from bell peak dip to shelving The high frequency and low frequency sections can be inserted in the channel or monitor path Page 8 The In line Module continued The HMF High Mid Freq section has level and frequency controls and is also a constant Q type therefore the bandwidth setting will match that of the level control frequency ranges from 1 000 Hz to 20 000 Hz and has a maximum boost or cut of 16 dB The bandwidth has a Q factor of 1 5 The LMF Low Mid Freq section has level and frequency controls and is also a constant Q type therefore the bandwidth setting will match that of the level control The frequency ranges from 50 Hz to 1 000
40. r virtual tracking session Each in line module is designed to net three inputs per module each with level control panpot and mute switch T wo of the three inputs per module can have a full bandwidth equalizer at the same time and feeds to the aux sends The three inputs are the channel monitor and line B which is aux 7 amp 8 when the line B switch is pressed NOTE When aux 7 amp 8 are used for the extra line input it would not have axcess to the EQ or other aux sends Page 15 6 0 Installation Electrical Local Electrical Voltage Before connecting the Marilon check the AC supply voltage setting by looking at the sticker on the back of the rack mount power supply This sould be 110V for use in areas with an AC supply between 100V and 120V and 220V for use in areas with an AC supply between 220V and 240V The main fuse should be 6 3 amp 20mm fast blow for 110V service and 8 15 amp 20mm fast blow for 220V service The phantom power supply fuse should be a 2 amp fast blow and the 18V supply fuses should be 6 3 amp 20mm fast blow If one or more of the power supply LED indicators should go out turn off the power supply and check the fuses on the front panel of the rack mount power supply After replacing a blown fuse with the correct size and rating turn the power supplies on and check the three LED indicators If you are still missing one or more of the power rails turn off the power supply and call the D
41. rolled feedback type gain control with a range of 40 dB Any incoming tape or line level signals can be actively controlled using the this control The tape input normally feeds the monitor section but can alternatively be switched to the channel path using the MIX switch NOTE It is important to ensure that the signal being miked remains at a constant volume when recording begins or the above setting procedure will need to be carried out again You should do this procedure for every mike input or line input in order to achieve the high quality performance D amp R products are renowned for Mix the record mix status switch selects the basic signal path in the module When in the record mode up position the mike line input signal is routed through the channel path with or without equalisation and or aux sends and then to the long fader and channel panpot It can then be sent to the main I R bus and or be assigned to the multitrack busses With the mix switch in the up position the multitrack inputs or outputs are heard through the monitor section When in the mix mode down position the channel signal flow is rerouted mike line inputs are assigned to the monitor section light colored and the tape input is rerouted to the channel path This can be regarded as an input flip switch mike line and tape input are reversed 3 4 Equaliser Section This four band parametric equaliser can be switched in pairs into the channel or monito
42. screened on the patchbay connector panel The installation section of this manual gives wiring schemes for all connectors in the Marilon Page 12 5 0 Instructions for operation The Marilon is designed to be the perfect answer for multitrack and MIDI studios In order to get more familiar with the Marilon we shall discuss the entire recording process and divide it into five basic sequences Sequence 1 through 4 are for the more conventional recording studios and sequence 5 is for the MIDI studio 1 The session Recording from microphone or line input onto the multitrack machine This could be from one or more channels at a time 2 The playback In this mode you would listen to what has been recorded on the multitrack machine 3 The overdub Overdubbing is listening to already recorded tracks and recording on empty tracks until all tracks are filled 4 The remix Playing of all recorded tracks together with signal processing equipment and all that is necessary to create the final mixdown 5 The MIDI or Virtual Tracking Programmed keyboards drum machines reverbs effects Aunt Susie singing and who knows what else all at the same time direct to your Dat Machine two track master machine or cassette deck Sequence 1 The Session Record This is the beginning of a session All input channels are placed in the mike mode by leaving the line switch in the up position if the microphone input is to be used in th
43. seven pushbuttons The red colored pushbutton indicates assignment to its own multitrack summing amp The bounce switch bnc alternates between 1 12 or 13 24 With every pair of summing amps you have the choice of assigning to the odd or even amp using the channel panpot in the channel strip dark colored section The Marilon s summing amp and internal structure means that it is extremely quiet and distortion free therefore a direct button to bypass the amps is not necessary Every channel is individually assigned to the multitrack input which allows for mixing to be simple and consistant 3 3 Input Section The input section controls all incoming signals from microphone line and tape A 48V phantom power switch for condenser microphones or direct boxes can be silently switched in or out of the circuit The pad inserts a 10 dB attenuation into the mike input amp If the signal source is too loud this switch can be used in conjuction with the mike line gain to give increased control on the channel faders Line A switches the mike input to line A input on the channel The line has its own balanced input amp and is controlled by the active dual gain control Phase is used to reverse the phase of any mike line input coming from a mike or signal that may be out of phase with other mikes or signals A successful method of checking for out of phase signals is to depress the mono switch on the master section and listen closely
44. u could complete and return the questionaire included at the back of this manual once you become familiar with your Marilon We learn from your comments and appreciate your time With kind regards D de Rijk President D amp R Electronica b v Marilon Series Recording Console The D amp R Marilon series is a totally balanced 24 buss in line format recording and mixing console designed to take the central role in a recording facility The Marilon is completely modular and can be configured to precisely suit your particular system requirements Due to the fact that all inputs and outputs can be connected using the individual module and master section connectors the Marilon patchbay is entirely optional When the patchbay is installed the Marilon offers you the opportunity to wire up using multipins and individual input output connectors If you ordered your Marilon short loaded and without the patchbay you may install the patchbay at a later date To become completely familiar with your Marilon and gain the maximum benefit from its use we recommend that you read this manual thoroughly It will provide important information about all aspects of the Marilon including installation operation and servicing Head Office Factory D amp R Electronica B V Rijnkade 15B 1382 GS Weesp The Netherlands Tel 31 2940 18014 Fax 31 2940 16987 U S A Office D amp R U S A Rt 3 Box 184 A Montgomery TX 77356 U
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