Transcript
SP-40 Series Audio Production Consoles Model SP-42 2-track console Model SP-44 4-track console Model SP-48 8-track console
TECHNICAL MANUAL December 1992 Second Edition – For consoles with serial numbers 20556 and up
SP-40 Series Audio Consoles Technical Manual - 2nd Edition ©1992 Wheatstone® Corporation
600 Industrial Drive New Bern, North Carolina 28562 252-638-7000 (Fax 252-637-1285)
SP-4 / Dec 92
Addenda ALL Module Schematics: All modules now use P&G 8000 series fader with JST connectors. Fader pinout is as follows: MONO:
Pin Pin Pin Pin Pin Pin Pin Pin Pin
STEREO:
9 8 7 6 5 4 3 2 1
HI GND GND WIPER NC NC NC NC NC
Pin Pin Pin Pin Pin Pin Pin Pin Pin
9 8 7 6 5 4 3 2 1
HI GND GND WIPER GND WIPER GND GND HI
If your console's Stereo Line Input Module printed circuit boards are version SLE-4D, then the following component changes will apply to the SLE-4C schematics included in this manual: (1) C70 & C73 capacitor values are changed from 22uF to 100uF. (2) C71 & C87 capacitor values are changed from 100uF to 22uF. (3) Integrated circuit U12 (Type 4053) will be implemented differently: Pins 4, 9, 3 & 5 are now unused (i.e., grounded out) and Pins 14, 11, 13 & 12 are employed instead (i.e., 10K resistor R102 now feeds pin 14, pin 13 feeds capacitor C44, pin 11 feeds pin 9 of U3, and pin 12 goes to ground).
SL-2 Stereo Line Input Module Schematic (SP-42 Console only): EQ switches "SW2" and "SW4" are not loaded.
GP Group Module Schematic: If your console is equipped with the optional mix-minus monitor bus: level control CR2 ("Send 2") is jumper-bypassed and resistor R55 becomes 10KΩ. If your console has more than one studio module: jumper J6 becomes a 10KΩ resistor and resistor R55 becomes 20KΩ.
Stereo Line Input Schematic (SL-4, SL-42, SL-44, SL-48): R21 resistor changed from 1K 5% to 4.7K 5%.
Stereo Line Input Schematic (SLE-42, SLE-44, SLE-48): D7 changed from 1N914 to QMBR130 schottky diode.
Mic/Line Input Modules (MLE-48, MLE-42, MME-48) Schematic Diagrams: The SW15 position numbers for Phantom Power and TB To Studio are incorrectly shown. Phantom Power is position 3, and TB To Studio is position 4.
SP-4 / Apr 00
Module Removal Tools
Your Wheatstone audio console is equipped with two "module extractor tools" which are mounted in the front panel of the console mainframe. All modules are held into the console mainframe by two mounting screws (top and bottom) which, when removed, leave specially threaded holes that accept the two extractor tools.
To remove a module faceplate from the mainframe: Remove the top and bottom module mounting screws, unscrew the extractor tools from the mainframe, and screw each tool into a module mounting hole. Use only four or five turns (do not over-insert!). Using the extractor tools as handles, pull the module straight up out of the mainframe.
Table of Contents CONSOLE OVERVIEW Series Description............................................................................ 1-1 SP-42/44/48 features table............................................................... 1-2 Input Module Faceplates (dwg)....................................................... 1-3 Mono mic/line input ........................................................................ 1-4 Stereo line input............................................................................... 1-4 Group and Output Module Faceplates (dwg) .................................. 1-5 Group modules ................................................................................ 1-6 Stereo Master Output module.......................................................... 1-4 Control room module ...................................................................... 1-4 Monitor Module Faceplates (dwg) .................................................. 1-7 Accessory Module Faceplates (dwg)............................................... 1-8 Studio module.................................................................................. 1-9 Stereo line selector module ............................................................. 1-9 Tape remote module ........................................................................ 1-9 Superphone module ......................................................................... 1-9 Intercom module............................................................................ 1-10 SP-44 (48) System Signal Flow Diagram ..................................... 1-11 SP-42 System Signal Flow Diagram ............................................. 1-12 Performance Specifications ........................................................... 1-13
INSTALLATION Placing the Console ......................................................................... Console and Cut-out Dimensions .................................................... Static VU Alignment ....................................................................... Console Power Supply .................................................................... Dual Failsafe Supply ................................................................... System Ground ................................................................................ Typical Grounding Scheme (dwg) .............................................. Further Grounding Details ..........................................................
2-1 2-1 2-2 2-2 2-2 2-3 2-3 2-4
CONSOLE I/O CONNECTIONS GENERAL ....................................................................................................3-2 AMP Tool Connector System ....................................................................3-2 Balanced vs Unbalanced I/O Connections.................................................3-3 Typical I/O Connections (wiring diagrams) ..............................................3-4 MONO MIC/LINE INPUT MODULE (ML-4)............................................3-5 Audio Connections.....................................................................................3-5 Control Ports ..............................................................................................3-5 Dipswitch Controlled Functions ................................................................3-6
SP-4 / Dec 92
Contents - Page 1
TABLE
OF
CONTENTS
CONSOLE I/O CONNECTIONS (continued) STEREO LINE INPUT MODULE (SL-4) ...................................................3-7 Audio Connections.....................................................................................3-7 Control Ports ..............................................................................................3-7 Dipswitch Controlled Functions ................................................................3-8 GROUP MODULE (GP-4) ...........................................................................3-9 Audio Connections.....................................................................................3-9 STEREO MASTER OUTPUT MODULE (SM-4).....................................3-10 Audio Connections...................................................................................3-10 CONTROL ROOM MONITOR MODULE (CR-4)...................................3-11 Audio Connections...................................................................................3-11 Auxiliary Control Ports............................................................................3-12 Dipswitch Controlled Functions ..............................................................3-12 STUDIO MONITOR MODULE (optional) (SC-4)....................................3-13 Audio Connections...................................................................................3-13 Control Ports ............................................................................................3-13 Talkback Interrupt Jumpers .....................................................................3-13 SUPERPHONE MODULE (optional) (SPN-4)..........................................3-14 Audio Connections...................................................................................3-14 Control Connections ................................................................................3-14 INTERCOM MODULE (optional) (ICM-4) ..............................................3-15 Audio Input connections ..........................................................................3-15 Control Connections ................................................................................3-15 Audio Output Connections.......................................................................3-15 STEREO LINE SELECT MODULE (optional) (LS-4) .............................3-16 Audio Connections...................................................................................3-16 TAPE REMOTE MODULE (optional).......................................................3-17
OPERATIONAL NOTES Fader and Level Controls ................................................................ Input Assign and Monitor Select Switches ..................................... Cueing.............................................................................................. Sends................................................................................................ Subgroups ........................................................................................ Talkback ..........................................................................................
SP-4 / Dec 92
4-1 4-1 4-2 4-2 4-2 4-2
Contents - Page 2
TABLE
OF
CONTENTS
SCHEMATIC DRAWINGS Typical module printed circuit board .............................................. 5-2 Mono mic/line input module (SP-44/48)......................................... 5-3 Mono mic/line input module (SP-42).............................................. 5-4 Dual mic input module (SP-44/48).................................................5-4a Stereo line input module (SP-44/48) ............................................... 5-5 Stereo line input module (SP-42) .................................................... 5-6 Group Module ................................................................................. 5-7 Master Output Module (SP-44/48) .................................................. 5-8 Master Output Module (SP-42) ....................................................... 5-9 Control Room Monitor Module (SP-44/48) .................................. 5-10 Control Room Monitor Module (SP-42) ....................................... 5-11 Studio Monitor Module (SP-44/48) (optional).............................. 5-12 Studio Monitor Module (SP-42) (optional) ................................... 5-13 Stereo Line Select Module (optional)............................................ 5-14 Superphone Module (optional)...................................................... 5-15 Intercom Module (optional) .......................................................... 5-16 Tape Remote Module (optional) ................................................... 5-17 Digital Timer ................................................................................. 5-18 Power Supply................................................................................. 5-19 Failsafe Switchover Panel (optional)............................................. 5-20
TROUBLESHOOTING Basic Troubleshooting Procedures .................................................. 6-1 Integrated Circuits ........................................................................... 6-2 Other Details.................................................................................... 6-3
SP-4 / April Dec 92 95
Contents - Page 3
Console Overview
CONSOLE OVERVIEW
CHAPTER CONTENTS Series Description............................................................................ 1-1 SP-42/44/48 features table............................................................... 1-2 Input Module Faceplates (dwg)....................................................... 1-3 Mono mic/line input ........................................................................ 1-4 Stereo line input............................................................................... 1-4 Group and Output Module Faceplates (dwg) .................................. 1-5 Group modules ................................................................................ 1-6 Stereo Master Output module.......................................................... 1-4 Control room module ...................................................................... 1-4 Monitor Module Faceplates (dwg) .................................................. 1-7 Accessory Module Faceplates (dwg)............................................... 1-8 Studio module.................................................................................. 1-9 Stereo line selector module ............................................................. 1-9 Tape remote module ........................................................................ 1-9 Superphone module ......................................................................... 1-9 Intercom module............................................................................ 1-10 SP-44 (48) System Signal Flow Diagram ..................................... 1-11 SP-42 System Signal Flow Diagram ............................................. 1-12 Performance Specifications ........................................................... 1-13
SP–40 SERIES DESCRIPTION The Wheatstone SP-40 console series is a dual purpose design intended for applications where the console will be used for both production work and onair applications. As such, its module layout has characteristics similar to both traditional on-air boards and production models. Generally speaking, the lower half of a typical input module emulates on-air control layout, while the upper half contains equalization and send controls. This hybrid architecture allows both production and on-air personnel to easily learn and operate all models of the series. There are three models: the SP-42 (intended for 2-track use), the SP-44 (4track) and the SP-48 (8-track). All models are similar in layout, but differ primarily in the number of outputs available. The standard model is the SP-44.
SP-44 Four-track Production Console This console comes equipped with four subgroups, two stereo outputs (Program and Audition), one mono sum output (Program L+R), one mixminus output, three auxiliary sends and cue. Intended to interface with a fourtrack tape recorder (the subgroup outputs feed the recorder; multitrack playback is normally through the subgroups' tape inputs), the console may be ordered with 16 or 24 input channels. The mainframe includes VU meters for the subgroups, Program (left & right), Audition (left & right), and Mono (Program L+R). Group VUs can also meter the three sends and mix-minus, via front panel switching on the subgroup modules. A control room monitor module is standard equipment. The mainframe has room for five accessory modules (three on the right and two on the left). SP-4 / Dec 92
Page 1 - 1
CONSOLE OVERVIEW
SP-48 Eight-track Production Console This is the 8-track version of the console series. It is identical with the SP44 except it has eight subgroup channels instead of four. This also means there are an additional four VU meters housed in the mainframe. The SP-48 comes with 24 inputs.
SP-42 Two-track Transfer Console This compact unit (26 by 26 inches) has 12 inputs and is designed to interface directly to a 2-track tape machine. It has two stereo outputs (Program and Audition), two auxiliary sends and cue. Four VU meters (Program and Audition left and right) are included. The mainframe includes a control room monitor module and has room for two accessory modules (righthand frame positions only). SP-40 CONSOLE SERIES FEATURESSP-42
SP-44
SP-48
MAINFRAME POSITIONS
16
24/33
35
INPUTS
12
16/24
24
4
8
CONTROL ROOM MODULE
Y
Y
Y
STEREO PROGRAM OUT
Y
Y
Y
STEREO AUDITION OUT
Y
Y
Y
MONO SUM (PGM L+R) OUT
Y
Y
MIX-MINUS OUT
Y
Y
GROUPS
CUE
Y
Y
Y
SEND BUSSES
2
3
3
TIMER
Y
Y
Y
4
8
GROUP METERS PROGRAM METERS (L & R)
Y
Y
Y
AUDITION METERS (L & R)
Y
Y
Y
SEND METERS (switched w/Group VUs 1-3)
Y
Y
MIX-MINUS METER (switched w/Group VU 4)
Y
Y
LEFTHAND ACCESSORY POSITIONS
2
2
3
3
RIGHTHAND ACCESSORY POSITIONS
2
SP-40 Series Standard Features Listing by Console Model
SP-4 / Dec 92
Page 1 - 2
CONSOLE OVERVIEW ML- 2
ML- 4
4
5
6
3 2
M I C
8 9
1 0
10 GAIN
2
11
11
14
14
L O W
11
11 14
14
-dB+
14
14
-dB+
EQ IN 5
4 7
2
16
0
16
14
14
1
10
PRE IN 5 4 6 3
7
2
8
1
7
-dB+
A S S I G N
2
A S S I G N
PGM AUD
A S S I G N
3
14
3
6
6
M I D
11
14
14 16
-dB+
0
3
-dB+
16
14 16
16
-dB+
0
1
B U S
-dB+
16
EQ IN 5 4 6 7
3 8
1
10
PRE IN 5 4 6 3
7
7
2
8
8
2
S1
A S S I G N
3
9 S2 LEVEL S
3 2
8
1
10
9 0
A S S I G N
PGM AUD
E N D S
7
3
10
PGM AUD
C
C
B A L R
1/2
PRE IN 5 4 6
9 0
AUD
1
8
1
10
PGM
BAL
9
S1 S2 LEVEL S 1/2 E PRE IN N 5 4 6 D 3 7 S
9
2
L
1/2
14 16
2
S E N D S
B A L L
B A L
R
B U S
L
R
1/2
1/2
3/4
3/4
B U S
5/6
5/6
7/8
CUE
L O W
11
14
BAL
P A N
3/4
6
11
16
3
8
3
6
EQ IN 5 4 6
6
C
R
L O W
11
14
0
3 6
11
9
A S S I G N
1
CUE
0
11
16
6
7
0
AUD
4
SP-4 / Dec 92
14
1
2
3
L O W
11
C
B U S
CUE
M I D
14
3 6
11
10
PGM
L
16
-dB+
3 11
14
3
2
9 0
R
0
6
1
P A N L
16
6
-dB+
14
1K / 500
6
16
11
14
3
11
16
2
8
1
C
R
-dB+
3 8
9
2
AUD
P A N L
14
EQ IN 5
S1 S2 LEVEL S 1/2 E PRE IN N 5 4 6 D 3 7 S
10
PGM
C
M I D
H I G H
6
11
16
PAN
9
3
-dB+ 0
3 11
4 7
1
8
1 0
16
6
16
2
S1 S2 LEVEL S 1/2 E PRE IN N 5 4 6 D 3 7 S
10
14
6
1K / 500
14
16
3 8
9
2
9 0
14
3
6
EQ IN 5 4 6
PAN
0
11
11
16
11 16
10K / 5K 3 0 3 H I G H
6
100 / 50
L O W
11 16
1
S E N D S
-dB+ 0
3
3 6
11
6
2
9
14
B
A / B LINE
3
6
1K / 500
3
6
16
3 8
1
11
11 14
0
3 H I G H
6
-dB+
3 L O W
11 16
3
6
RT
B
A / B LINE
100 / 50
6
11
16
-dB+
10K / 5K 0 dB 3 3 2K 5K Hz M 11 I 11 D 500 7K 400 8K
3
6
EQ IN 5 4 6 3
0
3 6
14
RT
B
0
LT GAIN
RT
3 H I G H
11
14
LT GAIN
A / B LINE
6
16
-dB+
3
L
11
100 / 50
0
LT
LINE TRIM
6
16
10K / 5K 0 dB 3 3 2K 5K Hz M 11 I 11 D 500 7K 400 8K
SL- 48
GAIN
10 GAIN
MIC / LINE
H I G H
11
14
-dB+
M I C
8 9
1
PHASE 3 0 3
11
100 / 50
16
L
6
16
-dB+
3
2
LINE TRIM
6
16
10K / 5K 0 dB 3 3 2K 5K Hz M 11 I 11 D 500 7K 400 8K
6
7
0
SL- 4
6
3
PHASE 3 0 3 H I G H
6
-dB+
10 GAIN
MIC / LINE
PHASE 3 0 3 6
16
M I C
8 9
1
SL- 2 5
4 7
LINE TRIM L
6
3
0
MIC / LINE
14
ML- 48 5
4 7
7/8
CUE
CUE
CUE
0
0
0
0
0
0
5
5
5
5
5
5
10
10
10
10
10
10
15
15
15
15
15
15
20
20
20
20
20
20
30
30
30
30
30
30
40
40
40
40
40
40
50
50
50
50
50
50
60
60
60
60
60
60
70
70
70
70
70
70
00
00
00
00
00
00
ON
ON
ON
ON
ON
ON
OFF
OFF
OFF
OFF
OFF
OFF
Mono Input
Mono Input
Mono Input
Stereo Input
Stereo Input
Stereo Input
SP-42
SP-44
SP-48
SP-42
SP-44
SP-48
Input Modules – SP-40 Series Audio Consoles
Page 1 - 3
CONSOLE OVERVIEW
STANDARD MODULES Mono Mic/Line Input (ML-48) This module brings mic signals into the console; when switched to line input it is used to play individual tracks from the multi-track machine. Familiar PGM and AUD switches are provided for on-air application and rapid learning curves. They also make easy work of routine 2–track transfers and dubs. Bus assign switches are also provided for 8–track production sessions. Additionally, there is an internal dipswitch feeding a mix-minus bus—perfect for call-in production work. A powerful three-band equalizer permits total creative freedom (the EQ may be switch bypassed). The panpot pans between the left and right PGM and AUD buses or Odd and Even pairs on the bus assign switches. Three auxiliary sends are provided. Sends 1 and 2 appear on a concentric knob pair (Level and Pan 1/2); they may be switched pre or post. Send 3 can be internally selected pre or post. A CUE switch (w/ LED) is also provided. CUE is automatically released when the channel on button is activated or when CUE is pressed again. CUE may be programmed to automatically interrupt control room or headphone feeds. Other features include dipswitch selected phantom power, a phase reverse switch and a mic/line selector switch. Separate mic gain and line trim controls are provided. The lower section of the module includes a P&G fader. Channel ON/OFF switches interface to the console’s dipswitch programmed logic system, which allows remote channel on, off, tally and cough. Console command functions include control room and studio mute, and timer restart. Of course, control room and studio tally relays are included. These permit an on-air type production environment as well as direct-to-air capability.
Stereo Line Input (SL–48) This module is used for stereo sources such as CDs, tape recorders, and cassette players. Its A/B source selector switch doubles the module’s input capacity. Calibration procedures are made easy with the multi-turn front panel gain trims. The 3-band EQ section (with switchable center frequencies) provides reciprocal curves, allowing easy removal of previously applied equalization—a real plus for last minute afterthoughts. EQ bypass is provided. Assign switches route signal to the stereo and 8-track machine in stereo pairs, and are provided with a balance control. The SP-48’s unique stereo/ mono send section provides for mono or stereo effects. Pre/post selector switches increase production flexibility. Like the mono mic module, a sophisticated automatic CUE system is included. A P&G stereo fader provides smooth, troublefree mixing. Channel ON/OFF buttons are coupled to an on-air type machine and console logic system. Each color-coded button is illuminated. For long life and low maintenance, on/off lamps are solid state. When channel on status is selected, external machines, such as carts and CDs, may be started and can in turn send channel on/off commands back to the console. The logic system may be dipswitch selected to command control room and studio mute, and timer restart. A local or external ready command may signal back to the module. SP-4 / Dec 92
Page 1 - 4
CONSOLE OVERVIEW GP- 4
GP- 4 5
4
6
3
S E N
7
2
8
N D
9 0
3
S E N D
7 8
1
SM- 4
S1
3
8
4
S E N D
9 0
2
7
9
LT
LT
PGM RT
G5
G7
VU
VU
MONO
VU
VU
G2
G4
G6
G8
G1
G3
G5
G7
RT
G8
LT
GAIN
GAIN
G2
LT
LT AUD RT
GAIN G6
G4
LT
PGM 4
5
6
4
T A P E
7 8
1
9 0
4
10
1 5
L E V E L
6
3
7 8
2 1
9 0
10
2
A 1 S S PGM I 2 G N
5
6
3
8
1
9 0
4
10
3 5
P
L E V E L
6
3
7 8
2 1
9 0
10
4
A 3 S S PGM I 4 G N
P
4
T A P E
7
2
C
5
6
3
8
1
9
4
10
5 5
P
L E V E L
6
3
7 8
2 1
9 0
10
6
A 5 S S PGM I 6 G N
P
4
T A P E
7
2 0
C
5
6
3
8
1
9
4
10
7 5
7 8
2 1
9 0
10
8
P
C
GAIN
GAIN LT AUD RT
R
L
MIX REC
L
R
P
C
MIX REC
L
R
4
G2
1
MIX REC
5
6
3
4
A U D
8 9 0 10 MASTER
5
6
3
7
2
A U D
8
1
9 0 10 MASTER
R
8
MIX REC
G8
4 7
MIX
R
PGM
T
BUS TAPE
PGM
T
BUS TAPE AUD
T
AUD
T
G7
CUE G6
GROUPS
P A N
G7 REC R TAPE TO PAN
G5
CUE G4
2
L
R
R
7 C
R
6
MIX
G6
L
P A N
G5 REC R TAPE TO PAN
G3
CUE
GROUPS
R
5 C
R
4
MIX
G4
L
P A N
G3 REC R TAPE TO PAN
G1
CUE
SP-4 / Dec 92
R
3 C
R
2
MIX
G1 REC R TAPE TO PAN G2
L
P A N
RT
P
1
1
LT
AUD
3
C
RT
L E V E L
6
3
A 7 S S PGM I 7 G N
P
T A P E
7
2 0
PGM RT
2 L
RT
PGM
AUD
3
P M O MN O
8 G 0 10 MASTER
S3
VU
2
6
1
10
M–
G3
GAIN
5
3 2
CUE
G1 VU
S E N D
7
1
10
G3 / S3 GRP SND G4 / M–
VU
6
2
CUE
S2
5
M 1 9 0 10 A 1 S CUE T 5 4 6 E 7 R 3 8 S 2
M X M
9 0
G1 / S1 GRP SND G2 / S2
VU
SM- 2 4
2
CUE
GP- 4
6
M 1 9 0 10 A 3 S CUE T 5 4 6 E 7 R 3 8 S 2
10
2
5
4
M 1 9 D 0 10 A 1 S CUE T 5 4 6 E 7 S R 3 E 8 S 2 1
GP- 4
G8
GROUPS 5
6
GROUPS 7
8
MASTER
MASTER
PGM
PGM
0
0
0
0
0
0
5
5
5
5
5
5
10
10
10
10
10
10
15
15
15
15
15
15
20
20
20
20
20
20
30
30
30
30
30
30
40
40
40
40
40
40
50
50
50
50
50
50
60
60
60
60
60
60
70
70
70
70
70
70
00
00
00
00
00
00
Group #1
Group #2
Group #3
Group #4
Stereo Master
Stereo Master
SP-44/48
SP-44/48
SP-48 only
SP-48 only
SP-42
SP-44/48
Group & Output Modules – SP-40 Series Audio Consoles
Page 1 - 5
CONSOLE OVERVIEW
Group Modules (GP) These modules provide the record outputs to the tape recorder during the multi-track lay-up, and provide subgrouping functions during mixdown sessions. Each fader (two to a panel) controls the level of one track sent to the multitrack recorder. By acting as a record level to the tape recorder modulation levels can be precisely controlled from one fader, rather than having to adjust individual or groups of different faders, thus greatly improving productivity and avoiding the chance of losing the mix balance. Once the eight tracks are recorded, the mixdown session can be handled in one of two ways. First, Bus/tape switches are switched to select the tape playback signals, which are routed through the group faders and their associated panpots to the PGM stereo output. In the second method the bus/tape switch is left in Bus mode and the mic/line modules are switched to line input (which are also connected to the tape machines playback); signals are then routed from the input module, grouped to the subgroups, and then mixed to the stereo output. This leaves the operator the choice of fast layups or more involved sessions when you’re looking for that major market polish. A CUE switch allows quick checking of the recording or subgroup signal. The pan off switch allows the groups to operate independently of the stereo mix for mix-minus, IFB, or bilingual production requirements, or in applications where it is desirable to feed the multi-track while simultaneously using the stereo PGM buses for other applications, such as dubbing or even live use. Master level controls for the three auxiliary sends and the internal mix-minus bus are located at the top of the first two group modules. Front panel gain and VU multi-turn trimmers allow easy calibration.
Stereo Master Output (SM–4) This module provides master output level control for the PGM, AUD and PGM mono sum outputs. PGM master is provided with a stereo P&G fader that would normally be used as the record level control to your 2–track master or output level to your on-air feed. A pair of bus/tape switches are provided that allow you to bring the input of your 2–track back to the module so you may easily check your completed recordings. The AUD and PGM mono outputs are both provided with conductive plastic rotary level controls. Front panel multiturn gain and VU trims allow easy calibration.
Control Room Monitor (CR-4) This standard module handles source and level controls to the control room, headphone and cue circuits. The source selector can pick up the PGM, AUD, and MONO buses as well as two external balanced line inputs, such as tape recorders or air returns. The CUE circuit can be programmed to interrupt the control room or headphone feeds for automatic operation. A high quality conductive plastic headphone level control is provided to assure reliable operation. The under- counter headphone jack is driven by a built-in power amplifier to assure plenty of drive. An external headphone I/O port is also provided for an external power amp if desired. The CR pot is conductive plastic and drives an electronically balanced output. SP-4 / Dec 92
Page 1 - 6
CR- 2
CR- 4
S O U R C E
EXT1
EXT2
S E L E C T
PGM
AUD
SC- 2
S O U R C E
EXT1
EXT2
PGM
S E L E C T
AUD
MON
5
4
6
3
9 0
10
2 1
H O L D
4
5
6
3
6 7
2
9
TB
5
3 8
4 7
2
8
1
10
9 0
1
9 0
6
4 7
1
9
2
5
TB
10
10
4 7
2
8 9 0
10
5
6
3
7
2
8 1
9 0
10
STUDIO
STUDIO
TB
TB
6
3 8
6
1
10
HDPN
3
5
3
8
HDPN
SP-4 / Dec 92
4 7
S T O P
H O L D
10
CR
10
CUE
S T A R T
9
0
S E L E C T
AUD
6
1
R E S E T
8
5
5
2
R E S E T
7
4
PGM
MON
0
S T O P
6
3
0
EXT2
TIMER
S T A R T
5
S O U R C E
EXT1
AUTO RESTART
TIMER
4
AUD
9 0
AUTO RESTART
PGM
4
1
S E L E C T
3 8
CUE
EXT2
7
2
S O U R C E
EXT1
6
3 8
1
5
4 7
2
CONSOLE OVERVIEW
SC- 4
7
2
8 1
9 0
CR
10
Control Room
Control Room
Studio (opt.)
Studio (opt.)
SP-42
SP-44/48
SP-42
SP-44/48
Monitor Modules – SP-40 Series Audio Consoles
Page 1 - 7
LS- 4
TR- 44 TR-
SPN-4
CONSOLE OVERVIEW
ICM- 4
MIC EXT TRIM
NULL MIC
S O U R C E
BUSY
MXM
S E L E C T
AUD
>>
A S S I G N
PGM
<<
PRIVACY
PLAY
REC
RECORD READY
INTERCOM STOP
1
CUE CALLER 2
CALL 1
CALL 2
0 5 10
15
>> 20
<< 30
PLAY
40
50
REC
60 70 00
STOP
ON
OFF
Stereo Selector
SP-4 / Dec 92
Tape Remote
Superphone
Intercom
Accessory Modules – SP-40 Series Audio Consoles
Page 1 - 8
CONSOLE OVERVIEW
The following programmable functions are available: CUE may be programmed to interrupt HDPN or CR monitor; HDPN interrupt receives the CUE signal; CR interrupt provides a split feed, with PGM on left and CUE on the right (interrupts are dipswitch-selectable). This module also includes a control room mute circuit, which may be activated from an appropriately pre-programmed input channel, and also includes an on-air tally relay. This module also houses the optional timer control panel. Controls include timer START/ STOP, RESET and HOLD buttons. An AUTO-RESTART enable switch links the timer to automatically restart from pre-programmed input channels.
OPTIONAL MODULES Studio Module (SC–4) The optional studio control module is provided with a source selector similar to the CR module, a conductive plastic studio level control (with electronically balanced output) and a talkback-to-studio circuit. The TB switch routes the announcer’s mic to the studio output and also an external TB out port. The TB level control is used to preset the TB level to the studio independently of the studio level pot. This module also includes a studio mute circuit, which may be activated from an appropriately pre-programmed input channel. An on-air tally relay is included.
Stereo Line Selector (LS–4) A source select switchbank with 6 stereo inputs and one stereo output. The output may be fed (via the module’s standard DB-25 I/0 connectors) to any line input module, control room or studio module to increase its input source capacity.
Tape Remote Module (TR–4) Available in two versions: Full Function (FF-2, with full control of two machines) and Start/Stop (SS-6, six pairs of start/stop buttons for control of six different machines). All buttons have LED indicators.
Superphone Module (SPN–4) This module provides a new way of handling telephone segments: when a phone segment is desired, the announcer simply activates the module, and all mute, level and combining functions are handled automatically. It automatically selects the announcer’s mic and mix-minus sources with a press of its ON button and allows conferencing between two callers (each on their own fader) and the station’s microphones. Caller CUE switches provide a quick way to preview the callers, or even conduct the segment through the console’s cue speaker. The PGM assign switch permits live talk-ins. An AUD input switch allows callers to receive any additional channels that have been assigned to the AUD bus. The MXM internal programming switches can be preset for your SP-4 / June Dec 92 93
Page 1 - 9
CONSOLE OVERVIEW
normal talk segment, so the operator would hit the ON button and his mic and the MXM signals would be routed to the callers. It even has a balanced external input port—handy for remotes. The module has logic circuitry linked to its ON/OFF switches that can start and stop an external tape machine, initiate record, activate cue, mute control room and studio, and restart the console timer—all from channel ON/OFF switches. It provides separate multitrack tape recorder feeds that route announcer mics and program material to track 1, a composite announcer and caller sum to track 2, and callers only to tracks 3 & 4. By splitting the mics from the callers, the operator can edit by using simple track punch-ins rather than razor edits.
Intercom Module (ICM–4) This module is a major advance beyond the simple control room talkback button. The operator can communicate with the studio (as with traditional TB), but he can also talk with other studios and control rooms throughout the entire station complex. It is part of an integrated intercom system; a family of modules available for all Wheatstone radio consoles, plus a rackmount version for equipment room installation. It also interfaces with the Wheatstone TS-500 Talent Station. When a call button is pressed, the anxnouncer mic is routed to any one of six destinations. The operator at the receiving end will hear the caller’s voice through the cue speaker (unless, of course, he’s on-the-air) and he can answer hands free to the initiating caller. A tally lamp at the receiving end illuminates to indicate which intercom station is initiating the call. The privacy button will mute the announcer’s mic. Each module is self-powered from its host console, and a simple daisy chain interface is all that’s required for installation.
SP-4 / Dec June92 93
Page 1 - 10
ON
OFF
TB
COUGH
TO MIC CHANNEL LOGIC PORT
REMOTE MIC CONTROLS
∑ DIP SW
ON OFF ON TALLY OFF TALLY COUGH TB A - COMMON B - COMMON
TB TO STUDIO
PROGRAM
CUE FET SW PRE POST
SEND 1/2 J
BUS / TAPE
PAN
SEND 3
ON FET SW
L
PGM
R
AUD
PAN
J
OUT H L
L EXT 2 R
H L
H L LT
F A D E R
GAIN
PGM OUT
GAIN
HDPN LEVEL
HDPN INTRPT SW
CUE OUT LT
HDPN JACK RT
LT
L E V E L
RT
CR INTRPT FET SW
∑
M U T E
CR MONITOR
VU
CAL
H TAPE L IN H L
DIP SW CUE MUTE ENABLE
CUE LOGIC
1
PHASE SW
EQ
AUDITION
2
EQ -IN
ON-AIR TALLY OPTO
SPLIT CUE
4
BUS/ TAPE DIP SW SEPARATE FOR A & B
LOCAL READY
LOGIC
MIX-MINUS
CUE FET SW
CUE ON
PRE POST
SEND 1/2
OFF
PAN
L
∑ EQ -IN
B H RT L
L TRIM
F A D E R
E Q
TRIM
R
F E T S W
L B A L
LEVEL
H L
CHANNEL 1
H L
EXT TRIM
MIC IN
H
MIC TRIM
AUD ON SW
HYBRID H L 1 IN
CALL 1 FADER
HYBRID H 2 IN L
CALL 2 FADER
SUPER PHONE
CALL 1 CUE SW CALL 2 CUE SW
TAPE IN
PAN MICS to PGM
LT M U T E
H L
STUDIO OUT RT
H L
STUDIO TALLY OPTO
DIPSW
To Other Stations
TAPE OUT H L
PGM SW
TRIM CALLERS TO TRK 3&4
CHANNEL 2 H L
TRIM PAN TO HYBRID 1
TRIM TO HYBRID 2
TAPE LEVEL
LISTEN FET SW
∑
TB MIC IN
>> <<
AM NEWS PROD
TRIM TALK FET SW
MIC NULL
BOOTH
J
EDIT
>> <<
INTERCOM
CLOCK
TIMER
GAIN
PGM SW
REC STOP
ENG
S/S TAPE TO PAN SW
PLAY
H L I/O PORT L 2-WAY H AUDIO
TAPE OUT H L
GROUP FADER
MICS TO TRK 1
EDIT FM
VU
COMPOSITE OUT
TRIM
TO CUE SPKR
PRIVACY SWITCH
TAPE TO PAN SW
GROUP /SEND VU SW
CALL LINES
LOGIC
GAIN
CAL
TRIM ∑
∑
MUTE LOGIC
VU
TRIM ON FET SW
MXM ON SW
AUD L Monitor R
TAPE LEVEL
H L
CUE LOGIC ENABLE
CUE LOGIC
L
MIX MINUS Monitor
STUDIO MUTE W/PGM
TAPE IN
EXT IN
STUDIO /TB INTRPT FET SW
STUDIO MONITOR
MONO
SEND 2 OUT
GROUP FADER
STUDIO MUTE
PGM SW
SENDS
CAL
7-8
TIMER RESTART
REC READY SW
PGM
L E V E L
AUD
GROUP /SEND VU SW
5-6
CR MUTE W/PGM
LOGIC
STUDIO LT
CUE LOGIC
H SEND 1 L OUT
CR MUTE START STOP REC READY COMMON
TB SW
RT
LEVEL
3-4
R
DIP SW
ON
L EXT 2 R
H L
EXTERNAL TB OUT
1-2
STEREO LINE INPUT OFF
VU
AUD
R
L EXT 1 R
H L
STEREO MASTER
SEND 2 CUE SW
PGM
∑
O N
H L
SEND 1 CUE SW
J
S E L E C T
L H RT
CAL
H TAPE L IN H L
A / B LOGIC
A
AUD OUT
GAIN
TB MUTE FET SW
TB LEVEL
H L
SEND 3
A B
GAIN
TIMER RESTART
CUE LOGIC
H L
H L LT
L E V E L
CR MUTE
COMMON
MUTE LOGIC
VU
CAL
3
MIC / LINE INPUT
ON OFF START STOP READY
H L
AUD
L H RT
LINE IN
M/L SW
+48v TRIM
H L
CR OUT RT
CUE TO HDPN
D I P
LINE H L
CUE MUTE FET SW
CR LT
PGM
GAIN
MIC H L
H L
CAL
CUE LEVEL
MONO
F A D E R
PATCH
LT
VU
CUE LOGIC
H L
H L
L EXT 1 R
H L
TIMER RESTART MIX-MINUS
OFF
RT
H L H L
STUDIO MUTE
LOGIC
ON
LT
H PGM L MONO
LEVEL
CR MUTE
CUE
IN
VU
CAL
MONO
RESET HOLD
AUTO
L R L R L R L R L R L R
EXT 1 PLAY EXT 2 REC EXT 3 EXT 4
L R
EXT 5
STOP
TAPE REMOTE
EXT 6
LINE SELECT
GROUP MASTER #1
SP-40 CONSOLE SERIES SYSTEM FLOW DIAGRAM
System Flow Diagram — SP-44 (48) Series Audio Console
Page 1 - 11
ON
OFF
TB
COUGH
TO MIC CHANNEL LOGIC PORT
REMOTE MIC CONTROLS H L
DIP SW
ON OFF ON TALLY OFF TALLY COUGH TB A - COMMON B - COMMON
CR MUTE STUDIO MUTE MIX-MINUS TB TO STUDIO
PROGRAM
CUE FET SW
ON
PRE POST
F A D E R
H L
PATCH
ON FET SW
BUS / TAPE
SEND 1 J
OFF
SEND 2 L
PGM
R
AUD
PAN
OUT H L
H L LT
F A D E R
GAIN
HDPN INTRPT SW
LT
HDPN JACK RT
RT
M/L SW
+48v TRIM
PHASE SW
EQ
CR INTRPT FET SW
∑
M U T E
VU
RT
EQ -IN
MIC / LINE INPUT
CUE MUTE ENABLE
ON-AIR TALLY OPTO
SPLIT CUE
BUS/ TAPE DIP SW SEPARATE FOR A & B
ON OFF START STOP READY
LOCAL READY
MIX-MINUS CUE LOGIC
CUE FET SW
CUE ON
PRE POST
SEND 1
OFF
SEND 2 L
∑ EQ -IN
CAL
H TAPE L IN H L
H L
S E L E C T
H LT L
B H RT L
L TRIM
F A D E R
E Q
TRIM
R
F E T S W
VU
H L
L
TB SW
L EXT 2 R
H L
STUDIO LT
PGM RT
H SEND 1 L OUT
LEVEL
SEND H 2 L OUT
STUDIO TALLY OPTO
To Other Stations
TO CUE SPKR
EXT TRIM
MIC IN
H
MIC TRIM
AUD ON SW
HYBRID H L 1 IN
CALL 1 FADER
LISTEN FET SW
SUPER PHONE
CALL 2 CUE SW
∑
>> <<
AM NEWS
PRIVACY SWITCH TB MIC IN
LINE IN
PROD
TRIM TALK FET SW
MIC NULL
BOOTH
J
COMPOSITE OUT
∑
TRIM
I/O PORT L 2-WAY H AUDIO
CLOCK
S/S RESET
CALLERS TO TRK 3&4
HOLD
TRIM TO HYBRID 1
TRIM TO HYBRID 2
REC STOP
H L
TRIM MICS TO TRK 1
PLAY
ENG
EDIT
>> <<
INTERCOM
TRIM
CALL 2 FADER CALL 1 CUE SW
TRIM ON FET SW
MXM ON SW
AUD L Monitor R
HYBRID H 2 IN L
CUE LOGIC ENABLE
CUE LOGIC
L
MIX MINUS Monitor
EDIT FM
TIMER RESTART
H L
CALL LINES
LOGIC
R
MICS to PGM
H L
DIPSW
STUDIO MUTE W/PGM
PGM SW
H L
STUDIO OUT RT
MUTE LOGIC
B A L
STUDIO MUTE
LOGIC
EXT IN
∑
LT M U T E
STUDIO MONITOR
CR MUTE
REC READY SW
STUDIO /TB INTRPT FET SW
CUE LOGIC
SENDS
CR MUTE W/PGM START STOP REC READY COMMON
L E V E L
DIP SW
ON
EXTERNAL TB OUT
AUD
LEVEL
AUD
R
STEREO LINE INPUT OFF
L EXT 1 R
STEREO MASTER
SEND 2 CUE SW
PGM
∑
O N
H L
SEND 1 CUE SW
J
A
L H RT
TB MUTE FET SW
TB LEVEL
H L
A / B LOGIC
A B
AUD OUT
GAIN
TIMER RESTART
COMMON
H L
GAIN
CR MUTE
LOGIC
MUTE LOGIC
H L LT
L E V E L
H L
DIP SW
VU
CAL
CR OUT
CR MONITOR
CUE LOGIC
AUDITION
H L
LT
L E V E L
AUD
L H RT
CAL
H TAPE L IN H L
PGM OUT
GAIN
HDPN LEVEL
CUE OUT
CR LT
PGM
GAIN D I P
LINE H L
RT
L EXT 2 R
H L
CUE MUTE FET SW
CUE TO HDPN
MIC H L
LT
VU
CAL
CUE LOGIC
CUE
IN
H L
TIMER RESTART
LOGIC
L EXT 1 R
H L
CUE LEVEL
AUTO
TIMER
L R L R L R L R L R L R
EXT 1 PLAY EXT 2 REC EXT 3 EXT 4
L R
EXT 5
STOP
TAPE REMOTE
EXT 6
LINE SELECT
SP-42 AUDIO CONSOLE SYSTEM FLOW DIAGRAM
System Flow Diagram — SP-42 Audio Console
Page 1 - 12
Installation CHAPTER CONTENTS Placing the Console ......................................................................... Console and Cut-out Dimensions .................................................... Console Power Supply .................................................................... Dual Failsafe Supply ................................................................... System Ground ................................................................................ Typical Grounding Scheme (dwg) .............................................. Further Grounding Details ..........................................................
2-1 2-1 2-2 2-2 2-3 2-3 2-4
PLACING THE CONSOLE SP-40 series consoles come shipped in two parts: a cardboard carton containing the rackmount power supply and its connecting cable, and a wooden crate containing the console itself. The wooden crate also contains a small package (the console connector kit: DB-25 I/O connector hoods and an AMP brand insulation displacement crimp tool). Begin the installation by unpacking and locating these items. Set the connector kit aside for later (its use is discussed in the next chapter). SP-40 consoles are designed to be dropped into a countertop cut-out. The drawing and table below call out the various console dimensions and required cut-out sizes.
25.7 CW 1.1
5.2 5.3 9.3 4.0 1.4
20.3
SP-40 S ERIES CONSOLE MAINFRAME DIMENSIONS
MAINFRAME SP–48 SP–44 SP–44 SP–42
(24 (24 (16 (12
inputs) inputs) inputs) inputs)
CW
CUT– OUT
55 52 38.4 26.4
20.5 20.5 20.5 20.5
x x x x
53.2 50.2 36.6 24.6
Bear in mind that final console placement should take into consideration avoiding proximity to any electromagnetic fields, such as large power transformers, motors, and flourescent lighting fixtures. Make the required cut-out, and lower the unpacked console into place. SP-4 / Dec 92
Page 2 - 1
INSTALLATION
THE CONSOLE POWER SUPPLY
The power feed recommended in the text is often installed and referred to in studios as an "isolated AC ground" outlet. It is usually orange in color.
The console power supply is a standard 19" rackmount unit. It should be mounted in an adjacent equipment rack within 15 feet (but preferably no closer than 3 feet) of the console. The mounting location should allow proper air circulation around the unit. Avoid locating any high gain equipment (such as phono preamps, tape recorders, etc.) too near the power supply, to avoid magnetic interference into that equipment. The power supply is fitted with a 3-wire grounded AC cord that should be plugged into a clean 120V AC outlet (that is, an AC source that feeds only the control room audio gear). This AC source should be a separate feed from those powering lighting, air-conditioning, or any other non-audio machinery. The third pin ground wire of the AC source should be tied to the central system ground point (see SYSTEM GROUND below). With the power supply in place, plug in the AC power cord. Note the power supply uses a 3-amp slo-blo fuse (back of chassis). The five LED indicators on the supply's front panel should light up (PHANTOM, +V, –V, +5V, and +24V). Unplug the power supply and connect it to the console, using the supplied multi-conductor cable. Note the cable plugs into the back of the supply chassis and into the bottom of the console (righthand end). With the console connected, re-energize the power supply. The display indicators should again light; the console's VU meters should light up, and individual module ON/OFF switches and green CUE LEDs will power up randomly.
Dual Failsafe Supply Your console may have been ordered with a dual failsafe option; in this case you will have two separate rackmount supplies with a single combiner panel that mounts between them. If this is the case, then connect both supplies to the combiner panel with the two short cables supplied, and connect the combiner panel to the console with the regular long cable. Note that both supplies must be energized for the failsafe function to work. The first major installation step is to make sure the console is properly grounded. Once this is accomplished, audio and control connections (next chapter) may be made. Unplug the power supply, and proceed with the next section, "System Ground".
SP-4 / April 95 Dec 92
Page 2 - 2
INSTALLATION
SYSTEM GROUND Safety requirements dictate that a positive connection from the console mainframe to electrical ground be made in the completed installation. The system ground serves two important purposes: (1) Provide a zero signal reference point for the entire audio system; (2) Assure safety from electrical shock. There exist two terms that one encounters in a discussion of ground: (A) EARTH GROUND, which is usually a heavy copper rod driven into the soil adjacent to the building (around 6 feet down) or a connection to the copper water pipes leading into the building. Either is acceptable, unless, of course, the water pipe is plastic. (B) THE POWER COMPANY EARTH CONDUCTOR that enters the building at the power line breaker box; this conductor should be (and is often by code) tied to the above-mentioned earth ground at one point. This point is the SYSTEM EARTH GROUND.
MIC PANEL
EFFECTS RACK GND
DEVICE 1
CONSOLE
DEVICE 2
2-TRACK
Tie the console mainframe ground to the system earth ground. Tie every piece of equipment in the entire audio system to the console mainframe ground.
etc.
DEVICE N
MULTI-TRACK
AC BREAKER BOX
HEAVY (#4 or #6) COPPER WIRE
POWER COMPANY EARTH GROUND
HIGH POWER EQUIPMENT RACK CONSOLE POWER SUPPLY
CONTROL ROOM POWER AMP
COPPER ROD STUDIO POWER AMP
OTHER 3–5 ft.
SOIL 3-wire ground or separate wire run from chassis
TYPICAL SYSTEM GROUNDING SCHEME
The grounding point on SP-40 consoles is a terminal lug strip located on the bottom of the mainframe, near the power connector. This is the central grounding point for the console mainframe. TIE THE CONSOLE MAINFRAME TO THE SYSTEM EARTH GROUND. TIE EVERY PIECE OF EQUIPMENT IN THE ENTIRE AUDIO SYSTEM TO THE CONSOLE MAINFRAME GROUND. If the system earth ground point is inaccessible, tie the console ground mainframe ground to the power company earth conductor at the main breaker box. SP-4 / Dec 92
Page 2 - 3
The aforementioned "isolated AC ground" (orange studio outlet; see page 2-2) can also be used to accomplish the required grounding.
Each piece of equipment should be connected by its own ground wire (usually the round third pin on the AC cord). This means that every AC outlet must have a separate conductor run to the console ground lug terminal; the outlets cannot be daisy-chained as is normally encountered in commercial and residential AC systems. Any equipment not supplied with 3-wire AC cables must have individual ground wires (16 gauge or larger) connected to their chassis grounds and then run to the console mainframe ground.
Further Grounding Details Check all equipment to be absolutely certain that each unit is power transformer isolated from the AC mains to prevent safety hazards. It is assumed that in each piece of audio equipment the audio ground and the chassis are tied together at some point. Any piece of equipment lacking a grounded chassis is likely to be prone to interference problems. Locate all unbalanced audio equipment in the same rack if possible, to minimize chassis ground potential differences. It may also be helpful to insulate each piece of unbalanced equipment from its mounting rails in the rack by means of nylon 10-32 screws and insulating washers between rails and faceplates. Once the system is properly grounded, you may proceed with the audio and control input/output connections (next chapter).
SP-4 / Dec 92
Page 2 - 4
CONSOLE I/O C ONNECTIONS
Console I/O Connections CHAPTER CONTENTS
General .........................................................................................................3-2 AMP Tool Connector System ....................................................................3-2 Balanced vs Unbalanced I/O Connections.................................................3-3 Typical I/O Connections (wiring diagrams) ..............................................3-4 Mono Mic/Line Input Module (ML-4).......................................................3-5 Audio Connections.....................................................................................3-5 Control Ports ..............................................................................................3-5 Dipswitch Controlled Functions ................................................................3-6 Stereo Line Input Module (SL-4)...............................................................3-7 Audio Connections.....................................................................................3-7 Control Ports ..............................................................................................3-7 Dipswitch Controlled Functions ................................................................3-8 Group Module (GP-4) .................................................................................3-9 Audio Connections.....................................................................................3-9 Stereo Master Output Module (SM-4) ....................................................3-10 Audio Connections...................................................................................3-10 Control Room Monitor Module (CR-4)...................................................3-11 Audio Connections...................................................................................3-11 Auxiliary Control Ports............................................................................3-12 Dipswitch Controlled Functions ..............................................................3-12 Studio Monitor Module (optional) (SC-4)................................................3-13 Audio Connections...................................................................................3-13 Control Ports ............................................................................................3-13 Talkback Interrupt Jumpers .....................................................................3-13 Superphone Module (optional) (SPN-4)...................................................3-14 Audio Connections...................................................................................3-14 Control Connections ................................................................................3-14 Intercom Module (optional) (ICM-4)........................................................3-15 Audio Input connections ..........................................................................3-15 Control Connections ................................................................................3-15 Audio Output Connections.......................................................................3-15 Stereo Line Select Module (optional) (LS-4) ...........................................3-16 Audio Connections...................................................................................3-16 Tape Remote Module (optional) ...............................................................3-17
SP-4 / Dec 92
Page 3 - 1
CONSOLE I/O C ONNECTIONS
GENERAL All audio and control I/O connections to SP-40 series consoles are made through DB-25 multipin connectors located on the bottom of the console mainframe. All input and group module mainframe positions have one DB25 I/O connector each; output and control room monitor modules, as well as all accessory module positions, have two each.
The Insulation Displacement Connector System The I/O wiring interface system is based on insulation displacement technology. A special AMP wiring tool is included with each console; it is auto-indexing, and allows individual wire connections to be positively made with a single squeeze of the tool's trigger. The trigger action is ratchet controlled, and will not release until a full connection is made. Once released, the DB-25 connector held in the tool's jaw automatically indexes to the next connector pin. The technology is such that no stripping, soldering or tinning of wire ends is required; all that is needed is for the twenty-five wires destined for the connector be snub cut and laid out in order (although tubing should be used on bare drain wires).An empty DB-25 connector is
The AMP tool insulation displacement connector system. Note the right angle hood with selflocking tabs. The tool, DB-25 connectors (with gold plated pins) and latching hoods are supplied with each console.
inserted into the tool, indexed to the first pin, and the wires are inserted one by one into the jaw and the trigger squeezed.In this way a single multipin connector can be completely wired up in a minute or two. In the event of a wiring error, connector pins may easily be removed from the shell with the wire still attached, and inserted into the correct position. Observe the side of the connector, with the metal part down.You'll see a row of "Vees"—simply SP-4 / Dec 92
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CONSOLE I/O C ONNECTIONS
press the top of the vee together with a scribe or other sharp instrument; this will unlock the pin from the shell, and it can be removed and inserted into the correct position. Spread the vee apart to lock the pin in the new position. It should never be necessary to discard a connector due to a wiring error. Note that mating right angle hoods for each connector are also supplied with the console. These have locking tabs that hold the connectors securely to the bottom of the console mainframe.
Factory Programming As supplied from the factory, the console requires no logic connections to function. Therefore an orderly installation begins with the audio wiring. Once proper audio operation is verified (i.e., no ground loops),proceed with the control wiring. Refer to the Module I/O Pinout text to connect the console to your equipment. Recommended setup is to have all microphone inputs connected to the first channels (mono mic/line type), with the remaining input channels used as stereo line inputs. It is good practice to group input types together. For example, if you have three cart machines, connect them to the inputs of three successive stereo line modules. Stereo line inputs are factory programmed to restart the console's digital timer whenever a channel ON switch is pressed. This feature may be deactivated if desired (see "stereo line module dipswitch controlled functions", page 3-8) Consoles are normally supplied with all mic channels pre-programmed to mute the control room speakers, so you won’t hear anything from the control room speakers or CUE if any mic channels are turned ON. This mute function can be re-programmed (see "mono mic/line module dipswitch controlled functions", page 3-6). Note the console's microphone inputs are provided with insert points for external processing. If you do not wish to use these patch points, it will be necessary to bridge them at the appropriate connector(s) before signal will pass. See "mono mic/line module audio connections" for details (page 3-5).
Balanced vs Unbalanced I/O Connections Probably the most-asked questions about installing a console have to do with connecting unbalanced equipment at the inputs and outputs. By now everyone knows (or should know) that balanced inputs and outputs are highly desirable - they have an intrinsic ability to reject hum, noise, crosstalk, and RF, even if the shielding and grounding leave something to be desired. Telephone companies routinely pack hundreds of balanced lines into one cable, with no shielding, next to AC power lines and street lights, and if good balance is maintained, the individual circuits are completely free of noise and crosstalk. Not all equipment used in stations is balanced, however, and the most costeffective devices often don’t have +4 dBu output levels, either. Because of these realities, all Audioarts consoles are designed to accept balanced or unbalanced sources with levels as low as -10 dBu. SP-4 / Dec 92
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CONSOLE I/O C ONNECTIONS
The ability to use output HIGH or LOW permits an easy phase reversal of the console's output signals, should this be desired.
Connecting unbalanced inputs is simple - wire to the console with typical shielded two conductor cable (like Belden 9451), just as if you were connecting a balanced source. At the unbalanced machine’s output, connect the black wire (LOW) to the shield. This “pseudo-balanced” connection has proven to be the simplest and most trouble-free way to go. Another plus is that the wiring need not be changed out if a balanced output machine is subsequently installed in that position. If the machine has a -10 dBu output, don’t hesitate to turn your input trimmers as high as is needed. SP-40 consoles use a new type of balanced output circuit, which behaves exactly like the secondary of a high-quality transformer, with no center tap - this output is both balanced and floating. Either the HIGH or LOW side of the output should be strapped to ground, with the output taken from the other side.(Normally you’d strap LOW to ground, and take HIGH to feed your unbalanced equipment.) This type of self-compensating active-balanced output has been tried before, but it required costly hand-matching of resistors to maintain stability and low distortion. The 2142 balanced line driver IC uses laser-trimming of the on-chip resistors, under computer control, to achieve the desired results at a realistic price. A major advantage over the discrete component designs is the ability to replace the IC without the need for hand-picking resistors to restore the performance of the circuit. If lightning ever strikes in your neighborhood, you know that nothing is totally immune to a close hit. It’s comforting to know that you can simply unplug the left or right Program output stage, and swap in another (let’s say, for example, from an Audition output or a group module Send output), and be back up and running in minutes. CONSOLE INPUT RED Balanced Source Output
BALANCED INPUT
BLK SHIELD
SP-40 CONSOLE INPUTS RED Unbalanced Source Output
UNBALANCED INPUT
BLK SHIELD
CONSOLE INPUT Tie low (black) and shield together at source end
CONSOLE OUTPUT H 2142 L
BALANCED OUTPUT
SH
SP-40 CONSOLE OUTPUTS CONSOLE OUTPUT H
+
2142
UNBALANCED OUTPUT
L – SH
SP-4 / Dec 92
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MONO MIC/LINE INPUT MODULE (ML-4) Mono Mic/Line Audio Connections (Upper DB-25 Connector)
Typical DB-25 I/O connector.
Pin 25 - MIC INPUT, SHIELD Pin 12 - MIC INPUT, LOW Pin 24 - MIC INPUT, HIGH Pin 11 - LINE INPUT, SHIELD Pin 23 - LINE INPUT, LOW Pin 10 - LINE INPUT, HIGH Pin 22 - PATCH INSERT OUT, SHIELD Pin 9 - PATCH INSERT OUT, LOW Pin 21 - PATCH INSERT OUT, HIGH Pin 8 - PATCH INSERT IN, SHIELD Pin 20 - PATCH INSERT IN, LOW Pin 7 - PATCH INSERT IN, HIGH If you do not intend to use the electronically balanced insert patch loop, bridge pin 21 to pin 7 and pin 9 to pin 20 to preserve the signal path gain structure. Pin 19 - AUDIO COMMON Pin 6 - AUDIO COMMON Pin 13 - AUDIO COMMON
Mono Mic/Line Module Control Ports The following control functions, listed by pin number, are available at the DB25 I/O connector of each mono mic/line input module: PIN 16: ON - When user-supplied circuitry provides a closure to DIGITAL COMMON (Pin 18; see below) this port turns the module ON. PIN 3: OFF - When user-supplied circuitry provides a closure to DIGITAL COMMON (Pin 18; see below) this port turns the module OFF. PIN 1: COUGH - When user-supplied circuitry provides a momentary closure to DIGITAL COMMON (Pin 18; see below) this port turns the module OFF for as long as the closure is maintained. PIN 14: TALKBACK - When user-supplied circuitry provides a momentary closure to DIGITAL COMMON (Pin 18; see below) this port sends the module's signal to the console's cue/talkback bus for as long as the closure is maintained. PIN 18: DIGITAL COMMON - Used for remote ON, OFF, COUGH and TALKBACK functions (see preceding). NOTE: You can program the above remote functions to follow the module's MIC/LINE switch if desired; instead of providing a closure to Pin 18 (DIGITAL COMMON), make a closure to either Pin 17 (MIC LOGIC COMMON) or Pin 4 (LINE LOGIC COMMON). PIN 17: MIC LOGIC COMMON - Used for remote ON, OFF, COUGH and TALKBACK functions (see preceding). SP-4 / March Dec 9299
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PIN 4: LINE LOGIC COMMON - Used for remote ON, OFF, COUGH and TALKBACK functions (see preceding). PIN 15: ON LAMP TALLY - This logic control pin provides sink for an external tally lamp by going "low" when the module is ON. See mono mic/line input module schematic (page 5-3) for details. PIN 2: OFF LAMP TALLY - This logic control pin provides sink for an external tally lamp by going "low" when the module is OFF. See mono mic/ line input module schematic (page 5-3) for details. PIN 5: +5V DIG - Used for ON and OFF TALLY functions (see preceding).
Mono MicLine Module Dipswitch Controlled Functions There are two 4-position dipswitches on the printed circuit board of each mono mic/line input module. They may be user-programmed to provide the following functions:
Programmable Dipswitch "SW14"
Mix-minus assign is available only on SP-44 and SP-48 consoles. SP-42 consoles do not have a mix-minus ACN bus.
View of typical MLE-4 PCB mounted 4-position dipswitch. In this case position 2 has been activated. Assuming this is dipswitch #15, the module is now programmed to automatically mute control room whenever it is turned ON. OFF ON 1 2 3 4
ST MUTE CR MUTE PHANTOM TALKBACK
Note that a position is ON when the righthand side of the rocker switch is pressed DOWN; a position is OFF when the lefthand side is DOWN.
Position 1: PRE FADER - When activated, takes the module's SEND 3 signal tap before the channel fader. Follows channel ON/OFF. Position 2: POST FADER - When activated, takes the module's SEND 3 signal tap after the channel fader. Follows channel ON/OFF. NOTE: Positions 1 and 2 are mutually exclusive; that is, activate one or the other, but not both. Position 3: MIX-MINUS - When activated, sends the module's signal to the console's mix-minus bus. (The mix-minus signal tap is factory-programmed post fader.) Position 4: RESTART - When activated, automatically sets the console's digital timer to zero and starts a count whenever the module's ON switch is pressed.
Programmable Dipswitch "SW15" Position 1: ST MUTE - When activated, automatically mutes talkback out and the console's studio output whenever that input module is turned ON and MIC is selected as the input source. This is used to prevent feedback from the studio announcer's mic. Note the studio tally relay is also activated. Position 2: CR MUTE - When activated, automatically mutes the console's control room and cue speaker output whenever that input module is turned ON and MIC is selected as the input source. This is to prevent feedback from the CR announcer's mic. Also mutes CUE and activates the control room monitor module's TALLY relay, which may be used to control a user powered "On-Air" light. Position 3: PHANTOM PWR - When activated, sends +48V phantom power to the microphone input pins. Position 4: TALKBACK TO STUDIO - When activated, sends the module's signal to the console's talkback bus. When the console's TALKBACK button (on the optional studio monitor module) is pushed, the signal is routed to the console's talkback output and the studio speakers are interrupted. Note the talkback feed is taken pre-fader, pre-ON/OFF, so it is not necessary for the module to be ON in order to talk back to the studio. Once the dipswitch settings have been made, check that each ML-4 input module dipswitch is correctly programmed before continuing.
SP-4 / Apr Dec 00 92
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STEREO LINE INPUT MODULE (SL-4) Stereo Line Module Audio Connections (Upper DB-25 Connector ) Pin Pin Pin Pin Pin Pin Pin Pin Pin Pin Pin Pin Pin
25 - LINE A INPUT LEFT, SHIELD 12 - LINE A INPUT LEFT, LOW 24 - LINE A INPUT LEFT, HIGH 11 - LINE A INPUT RIGHT, SHIELD 23 - LINE A INPUT RIGHT, LOW 10 - LINE A INPUT RIGHT, HIGH 22 - LINE B INPUT LEFT, SHIELD 9 - LINE B INPUT LEFT, LOW 21 - LINE B INPUT LEFT, HIGH 8 - LINE B INPUT RIGHT, SHIELD 20 - LINE B INPUT RIGHT, LOW 7 - LINE B INPUT RIGHT, HIGH 13 - AUDIO COMMON
Stereo Line Module Control Ports The following control functions, listed by pin number, are available at the DB25 I/O connector of each stereo line input module: PIN 16: "A" ON - When user-supplied circuitry provides a closure to DIGITAL COMMON (Pin 1; see below) this port turns the module ON. PIN 3: "A" OFF - When user-supplied circuitry provides a closure to DIGITAL COMMON (Pin 1; see below) this port turns the module OFF. PIN 19: "B" ON - When user-supplied circuitry provides a closure to DIGITAL COMMON (Pin 1; see below) this port turns the module ON. PIN 6: "B" OFF - When user-supplied circuitry provides a closure to DIGITAL COMMON (Pin 1; see below) this port turns the module OFF. PIN 1: DIGITAL COMMON - Used for remote ON and OFF functions (see preceding). PIN 15: "A" START - Provides a closure via the LOGIC COMMON pin (see below) when the module's ON switch is pressed. Used to start remote source machines (cart and tape machines, CD players, etc.). PIN 2: "A" STOP - Provides a closure via the LOGIC COMMON pin (see below) when the module's OFF switch is pressed. Used to stop remote source machines (cart and tape machines, CD players, etc.). PIN 18: "B" START - Provides a closure via the LOGIC COMMON pin (see below) when the module's ON switch is pressed. Used to start remote source machines (cart and tape machines, CD players, etc.). PIN 5: "B" STOP - Provides a closure via the LOGIC COMMON pin (see below) when the module's OFF switch is pressed. Used to stop remote source machines (cart and tape machines, CD players, etc.). PIN 4: LOGIC COMMON External START and STOP functions will follow the module's A/B source selector switch when provided with a closure to this pin. SP-4 / Dec 92
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PIN 14: READY "A" - Used to light the indicator lamp in the module's OFF button with an external source machine. The switch lamp then functions as a tally for the machine. The machine's READY (or tally) lines must also be hooked up to DIGITAL COMMON (Pin 1) to complete the lamp circuit. PIN 17: READY "B" - Used to light the indicator lamp in the module's OFF button with an external source machine. The switch lamp then functions as a tally for the machine. The machine's READY (or tally) lines must also be hooked up to DIGITAL COMMON (Pin 1) to complete the lamp circuit. NOTE: There is a PCB mounted dipswitch ("SW15") on stereo line modules with a LOCAL READY programming position on it. When the position (#1 on the switch) is activated the module's OFF SW indicator lamp will light whenever the module is turned OFF. If the dipswitch position is de-activated, then the lamp will light only from an external machine.
Stereo Line Module Dipswitch Controlled Functions There are two 4-position dipswitches on the printed circuit board of each stereo line input module. They may be user-programmed to provide the following functions:
Programmable Dipswitch "SW14" Mix-minus assign is available only on SP-44 and SP-48 consoles. SP-42 consoles do not have a mix-minus ACN bus.
OFF ON 1
Position 1: PRE FADER - When activated, takes the module's SEND 3 signal tap before the channel fader. Follows channel ON/OFF. Position 2: POST FADER - When activated, takes the module's SEND 3 signal tap after the channel fader. Follows channel ON/OFF. NOTE: Positions 1 and 2 are mutually exclusive; that is, activate one or the other, but not both. Position 3: MIX-MINUS - When activated, sends a summed (L+R) version of the module's signal to the console's mix-minus bus. (The mix-minus signal tap is factory-programmed post fader.) Position 4 is not used.
2 3
Programmable Dipswitch "SW15"
4
Position 1: LOCAL READY - When activated the module's OFF SW indicator lamp will light whenever the module is turned OFF. If the dipswitch position is de-activated, then the OFF SW lamp will light only from an external machine. See Pin 14 ("Ready") above. Position 2: CUE DROPOUT - When activated, causes the module's CUE function to be dis-engaged whenever the module's ON SW is pressed. Position 3: RESTART - When activated, automatically sets the console's digital timer to zero and starts a count whenever the module's ON switch is pressed. Position 4: CR MUTE - When activated, causes the console's control room output to be muted whenever the module is ON. The console cue speaker is also muted (though this may be bypassed; see dipswitch 8, position 4, on control room monitor module schematic, page 5-10), and the console tally opto relay is activated.
View of typical PCB mounted 4-position dipswitch. Note that a position is ON when the righthand side of the rocker switch is pressed DOWN; a position is OFF when the left-hand side is DOWN.
SP-4 / Dec 92
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GROUP MODULE (GP-4) SP-40 series group module complements vary according to console model number. SP-42 consoles have no group modules at all. SP-44 consoles have two group modules; each module houses circuitry for two subgroup channels. SP-48 consoles have four group modules for a total of eight subgroup channels. Thus the pinouts that follow will vary according to which group module you are connecting to. On an SP-44 console I/O pin #15 will be "group 1 output high" for the first group module and "group 3 output high" for the second group module. Likewise Sends 1 and 2 on the first group module become send 3 and mix-minus on the second module. Note that on SP-48 consoles the last two group modules do not have send or mix-minus outputs at all. The pins associated with these outputs would be "no connection".
Group Module Audio Connections (Upper DB-25 Connector) Pin 25 - TAPE 1 INPUT, SHIELD Pin 12 - TAPE 1 INPUT, LOW Pin 24 - TAPE 1 INPUT, HIGH Pin 11 - TAPE 2 INPUT, SHIELD Pin 23 - TAPE 2 INPUT, LOW Pin 10 - TAPE 2 INPUT, HIGH Pin 16 - GROUP 1(3/5/7) OUT, SHIELD Pin 3 - GROUP 1(3/5/7) OUT, LOW Pin 15 - GROUP 1(3/5/7) OUT, HIGH Pin 2 - GROUP 2(4/6/8) OUT, SHIELD Pin 14 - GROUP 2(4/6/8) OUT, LOW Pin 1 - GROUP 2(4/6/8) OUT, HIGH Pin 19 - SEND 1(3) OUT, SHIELD Pin 6 - SEND 1(3) OUT, LOW Pin 18 - SEND 1(3) OUT, HIGH Pin 5 - SEND 2(MIX-MINUS) OUT, SHIELD Pin 17 - SEND 2(MIX-MINUS) OUT, LOW Pin 4 - SEND 2(MIX-MINUS) OUT, HIGH Pins 8,22 - AUDIO COMMON Pins 7,9,20,21 - NO CONNECTION
SP-4 / Dec 92
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MASTER OUTPUT MODULE (SM-4 or SM-2) SP-40 series output modules have two DB-25 I/O connectors: Upper ("UDB"; for inputs) and Lower ("L-DB"; for outputs).
Master Output Module Audio Connections Inputs; Upper DB-25 Connector Pin 25 - TAPE 1 INPUT LT, SHIELD Pin 12 - TAPE 1 INPUT LT, LOW Pin 24 - TAPE 1 INPUT LT, HIGH Pin 11 - TAPE 1 INPUT RT, SHIELD Pin 23 - TAPE 1 INPUT RT, LOW Pin 10 - TAPE 1 INPUT RT, HIGH Pin 22 - TAPE 2 INPUT LT, SHIELD Pin 9 - TAPE 2 INPUT LT, LOW Pin 21 - TAPE 2 INPUT LT, HIGH Pin 8 - TAPE 2 INPUT RT, SHIELD Pin 20 - TAPE 2 INPUT RT, LOW Pin 7 - TAPE 2 INPUT RT, HIGH Pins 2,5,16,19 - AUDIO COMMON Pins 1,3,4,6,8,14,15,17,18 - NO CONNECTION
Master Output Module Audio Connections Outputs; Lower DB-25 Connector Pin 25 - PROGRAM OUT LT, SHIELD Pin 12 - PROGRAM OUT LT, LOW Pin 24 - PROGRAM OUT LT, HIGH Pin 11 - PROGRAM OUT RT, SHIELD Pin 23 - PROGRAM OUT RT, LOW Pin 10 - PROGRAM OUT RT, HIGH Pin 22 - AUDITION OUT LT, SHIELD Pin 9 - AUDITION OUT LT, LOW Pin 21 - AUDITION OUT LT, HIGH Pin 8 - AUDITION OUT RT, SHIELD Pin 20 - AUDITION OUT RT, LOW Pin 7 - AUDITION OUT RT, HIGH Pin 19 - SEND 1 OUT, SHIELD* Pin 6 - SEND 1 OUT, LOW* Pin 18 - SEND 1 OUT, HIGH* Pin 5 - PROGRAM MONO (SEND 2*) OUT, SHIELD Pin 17 - PROGRAM MONO (SEND 2*) OUT, LOW Pin 4 - PROGRAM MONO (SEND 2*) OUT, HIGH Pins 2,16 - AUDIO COMMON Pins 1,3,14,15 - NO CONNECTION *SP-42 consoles only SP-4 / Dec 92
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CONTROL ROOM MONITOR MODULE (CR-4) Control Room Module Audio Connections Lower DB-25 Connector Pin 25 - EXTERNAL LINE 1 IN LEFT, SHIELD Pin 12 - EXTERNAL LINE 1 IN LEFT, LOW Pin 24 - EXTERNAL LINE 1 IN LEFT, HIGH Pin 11 - EXTERNAL LINE 1 IN RIGHT, SHIELD Pin 23 - EXTERNAL LINE 1 IN RIGHT, LOW Pin 10 - EXTERNAL LINE 1 IN RIGHT, HIGH Pin 22- EXTERNAL LINE 2 IN LEFT, SHIELD Pin 9 - EXTERNAL LINE 2 IN LEFT, LOW Pin 21 - EXTERNAL LINE 2 IN LEFT, HIGH Pin 8- EXTERNAL LINE 2 IN RIGHT, SHIELD Pin 20 - EXTERNAL LINE 2 IN RIGHT, LOW Pin 7 - EXTERNAL LINE 2 IN RIGHT, HIGH Pin 19 - CR OUTPUT LEFT, SHIELD Pin 6 - CR OUTPUT LEFT, LOW Pin 18 - CR OUTPUT LEFT, HIGH Pin 5 - CR OUTPUT RIGHT, SHIELD Pin 17 - CR OUTPUT RIGHT, LOW Pin 4 - CR OUTPUT RIGHT, HIGH Control Room Output is electronically balanced, low source impedance; load impedance is 600Ω or greater. Pin 16 - CUE OUTPUT, SHIELD Pin 3 - CUE OUTPUT, LOW Pin 15 - CUE OUTPUT, HIGH
SP-4 / Dec 92
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Control Room Module Auxiliary Ports Lower DB-25 Connector Pin 1 - ON-AIR TALLY opto collector Pin 14 - ON-AIR TALLY opto emitter The On-Air Tally opto is activated by input module ON switches that have been programmed to Mute CR (page 3-6). Pin 2 - N/C
Control Room Module Dipswitch Controlled Functions There is a PCB-mounted 4-position dipswitch on the printed circuit board of the control room monitor module. It may be user-programmed to provide three special functions:
Control Room Module Programmable Dipswitch "SW8" OFF ON 1 2 3 4
View of typical PCB mounted 4-position dipswitch. Note that a position is ON when the righthand side of the rocker switch is pressed DOWN; a position is OFF when the left-hand side is DOWN.
SP-4 / Dec 92
Position 1: SPLIT CUE - When activated, causes CUE mode to interrupt the console's regular control room output. How the signal is interrupted depends on four programming jumpers ("J1 thru J4") on the CR PCB. These jumpers allow a summed (L+R) version of the regular program (determined by the SOURCE SELECT switchbank on the module) to be sent to one side of the CR monitor stereo output, while CUE is sent to the other. See control room monitor module schematic (page 5-10) for exact details. NOTE that consoles are normally programmed at the factory for CUE to appear on the right channel, while L+R source select sum appears on the left. Position 2: HDPN - When activated, causes CUE mode to interrupt the console's headphone output. The headphone signal (which follows the CR module source select switchbank) is replaced by CUE in both left and right channels. OPERATIONAL NOTE: the headphone level control is bypassed, and the CUE level is determined by the setting of the CUE master control level pot. Position 3: unused Position 4: CUE MUTE ENABLE - When activated, CR mute logic (see page 3-6) will mute the console's Cue signal.
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OPTIONAL STUDIO MONITOR MODULE (SC-4) Studio Module Audio Connections (Lower DB-25 Connector) Pin 25 - EXTERNAL LINE 1 IN LEFT, SHIELD Pin 12 - EXTERNAL LINE 1 IN LEFT, LOW Pin 24 - EXTERNAL LINE 1 IN LEFT, HIGH Pin 11 - EXTERNAL LINE 1 IN RIGHT, SHIELD Pin 23 - EXTERNAL LINE 1 IN RIGHT, LOW Pin 10 - EXTERNAL LINE 1 IN RIGHT, HIGH Pin 22- EXTERNAL LINE 2 IN LEFT, SHIELD Pin 9 - EXTERNAL LINE 2 IN LEFT, LOW Pin 21 - EXTERNAL LINE 2 IN LEFT, HIGH Pin 8- EXTERNAL LINE 2 IN RIGHT, SHIELD Pin 20 - EXTERNAL LINE 2 IN RIGHT, LOW Pin 7 - EXTERNAL LINE 2 IN RIGHT, HIGH Pin 19 - STUDIO OUTPUT LEFT, SHIELD Pin 6 - STUDIO OUTPUT LEFT, LOW Pin 18 - STUDIO OUTPUT LEFT, HIGH Pin 5 - STUDIO OUTPUT RIGHT, SHIELD Pin 17 - STUDIO OUTPUT RIGHT, LOW Pin 4 - STUDIO OUTPUT RIGHT, HIGH Studio Output is electronically balanced, low source impedance; load impedance is 600Ω or greater. Pin 16 - TB OUTPUT, SHIELD Pin 3 - TB OUTPUT, LOW Pin 15 - TB OUTPUT, HIGH
Studio Module Auxiliary Ports (Lower DB-25 Connector) Pin 1 - ON-AIR TALLY 2 opto collector Pin 14 - ON-AIR TALLY 2 opto emitter The On-Air Tally 2 opto is activated by mono mic/line input module ON switches that have been programmed to Mute Studio. See page 3-6. Pin 2 - N/C
Studio Module Programmable Talkback Interrupt Jumpers
SP-4 / Dec 92
When the module's TALKBACK switch is pressed, the TB signal interrupts the console's regular studio monitor output. How the signal is interrupted depends on four programming jumpers ("J1 thru J4") on the module's PCB. These jumpers allow a summed (L+R) version of the regular program (determined by the SOURCE SELECT switchbank on the module) to be sent to one side of the studio monitor stereo output, while TB is sent to the other. See studio monitor module schematic (page 5-12) for exact details. NOTE that consoles are normally programmed at the factory for TB to appear on the right channel, while L+R source select sum appears on the left. NOTE that the TB interrupt signal level is determined by the TB level control, NOT the STUDIO level pot. Page 3 - 13
CONSOLE I/O C ONNECTIONS
OPTIONAL SUPERPHONE MODULE (SPN-4) Superphone Module Audio Connections Upper DB-25 connector (inputs) Ext input high is pin #24 Ext input low is pin #12 Ext input shield is pin #25 Mic input high is pin #10 Mic input low is pin #23 Mic input shield is pin #11 The mic input is intended for medium level signals; such as those found at a mic input module insert point Hybrid 1 input high is pin #21 Hybrid 1 input low is pin #9 Hybrid 1 shield is pin #22 Hybrid 2 high is pin #7 Hybrid 2 low is pin #20 Hybrid 2 shield is pin #8 Audio Common is on pins 19,5,16 and 2 Pins 18,6,4,17,15,3,1 and 14 are N/C
Lower DB-25 connector (outputs) Composite output high is pin #24 Composite output low is pin #12 Composite output shield is pin #25 The Composite Output is the sum of ALL inputs to the Superphone module. It may be connected directly to a recorder input if desired. Mics to Track 1 output high is pin #10 Mics to Track 1 output low is pin #23 Mics to Track 1 output shield is pin #11 Caller Sum output high is pin #21 Caller Sum output low is pin #9 Caller Sum output shield is pin #22 Hybrid 1 output high is pin #7 Hybrid 1 output low is pin #20 Hybrid 1 output shield is pin #8 Hybrid 2 output high is pin #18 Hybrid 2 output low is pin #6 Hybrid 2 output shield is pin #19
Superphone Module Control Connections Lower DB-25 connector The superphone module ON and OFF switches can be used to start and stop a remote tape recorder. A RECORD READY switch is also provided. DB-25 control pin numbers are as follows: Control logic COMMON is pins #4 and #17 STOP is pins #3 and #16 START (PLAY) is pins #2 and #15 RECORD READY is pins #1 and #14 SP-4 / Dec April 92 96
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OPTIONAL ICM-4 INTERCOM MODULE Intercom Module INPUT AUDIO connections Upper DB-25 connector Balanced line in/out high is pin #15 Balanced line in/out low is pin #3 Balanced line in/out shield is pin #16 Optional speaker output high is pin #1 Optional speaker output low is pin #14 Optional speaker output shield is pin #2
Intercom Module OUTPUT AUDIO connections Lower DB-25 connector Balanced line in/out high is pin #15 Balanced line in/out low is pin #3 Balanced line in/out shield is pin #16
Intercom Module CONTROL connections Upper DB-25 connector External digital + power feed is pin #10 External digital common is pin #23 Station call line 1 is pin #4 Station call line 2 is pin #17 Station call line 3 is pin #18 Station call line 4 is pin #6 Station call line 5 is pin #7 Station call line 6 is pin #20 External +V feed is pin #24 External -V feed is pin #12 Additional audio commons at pins #5, 8, 11, 19, 22 & 25
Intercom Module REDUNDANT CONTROL connections Lower DB-25 connector External digital + power feed is pin #10 External digital common is pin #23 Station call line 1 is pin #4 Station call line 2 is pin #17 Station call line 3 is pin #18 Station call line 4 is pin #6 Station call line 5 is pin #7 Station call line 6 is pin #20 External +V feed is pin #24 External -V feed is pin #12 Additional audio commons at pins #5, 8, 11, 19, 22 & 25
SP-4 / Dec 92
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OPTIONAL STEREO LINE SELECT MODULE (LS-4) Upper DB-25 Audio Connections Pin Pin Pin Pin Pin Pin Pin Pin Pin Pin Pin Pin Pin Pin Pin Pin Pin Pin Pin Pin Pin Pin Pin Pin
24 - LINE 1 IN LT high 12 - LINE 1 IN LT low 25 - LINE 1 IN LT shield 10 - LINE 1 IN RT high 23 - LINE 1 IN RT low 11 - LINE 1 IN RT shield 21 - LINE 2 IN LT high 9 - LINE 2 IN LT low 22 - LINE 2 IN LT shield 7 - LINE 2 IN RT high 20 - LINE 2 IN RT low 8 - LINE 2 IN RT shield 18 - LINE 3 IN LT high 6 - LINE 3 IN LT low 19 - LINE 3 IN LT shield 4 - LINE 3 IN RT high 17 - LINE 3 IN RT low 5 - LINE 3 IN RT shield 15 - LINE 4 IN LT high 3 - LINE 4 IN LT low 16 - LINE 4 IN LT shield 1 - LINE 4 IN RT high 14 - LINE 4 IN RT low 2 - LINE 4 IN RT shield
Lower DB-25 Audio Connections Pin Pin Pin Pin Pin Pin Pin Pin Pin Pin Pin Pin Pin Pin Pin Pin Pin Pin SP-4 / Dec 92
24 - LINE 5 IN LT high 12 - LINE 5 IN LT low 25 - LINE 5 IN LT shield 10 - LINE 5 IN RT high 23 - LINE 5 IN RT low 11 - LINE 5 IN RT shield 21 - LINE 6 IN LT high 9 - LINE 6 IN LT low 22 - LINE 6 IN LT shield 7 - LINE 6 IN RT high 20 - LINE 6 IN RT low 8 - LINE 6 IN RT shield 15 - OUTPUT LT high 3 - OUTPUT LT low 16 - OUTPUT LT shield 1 - OUTPUT RT high 14 - OUTPUT RT low 2 - OUTPUT RT shield Page 3 - 16
TR- 4
CONSOLE I/O C ONNECTIONS
Tape Remote Module I/O Connector Pinouts
SW 6A COM SW 6A LED– 1A
>>
2A
<<
3A
SW 5A COM SW 5A LED– SW 4A COM SW 4A LED– SW 3A COM
PLAY
4A
REC
5A
SW 3A LED– SW 2A COM SW 2A LED– SW 1A COM
STOP
6A
1B
>>
<<
2B
3B
SW 1A LED–
4B
25
SW 6B LED–
24 11 23 10 22 9 21 8 20 7 19 6 18 5 17 4 16 3 15 2 14 1
SW 5B COM SW 5B LED–
SW 4B LED– SW 3B COM
REC
5B
STOP
6B
SW 3B LED– SW 2B COM SW 2B LED– SW 1B COM SW 1B LED–
SP-4 / Dec Feb 97 92
13 12
SW 6B COM
SW 4B COM PLAY
13 12 24 11 23 10 22 9 21 8 20 7 19 6 18 5 17 4 16 3 15 2 14 1 25
N/C SW 6A N.O. SW 6A LED+ SW 5A N.O. SW 5A LED+ SW 4A N.O. SW 4A LED+
I/O PORTS (Upper DB-25)
SW 3A N.O. SW 3A LED+ SW 2A N.O. SW 2A LED+ SW 1A N.O. SW 1A LED+
N/C SW 6B N.O. SW 6B LED+ SW 5B N.O. SW 5B LED+ SW 4B N.O. SW 4B LED+
I/O PORTS (Lower DB-25)
SW 3B N.O. SW 3B LED+ SW 2B N.O. SW 2B LED+ SW 1B N.O. SW 1B LED+
Page 3 - 17
Operational Notes Chapter Contents Fader and Level Controls ................................................................ Input Assign and Monitor Select Switches ..................................... Cueing.............................................................................................. Sends................................................................................................ Subgroups ........................................................................................ Talkback ..........................................................................................
4-1 4-1 4-2 4-2 4-2 4-2
Note that individual module controls and general uses are explained in the earlier chapter "Console Overview". The following notes are provided as additional information regarding console operation.
FADER AND LEVEL CONTROLS
If there is no headphone output check to make sure no input module CUE switches are activated, as they will automatically interrupt the regular headphone program.
Normally, the faders will be run at the “in-hand” setting indicated by the darts on the fader scale, corresponding to about 12 dB below maximum fader setting. If you find yourself continually running a channel with the fader all the way to the top, the signal source is probably at too low a level. If the source has its own level control, that control may need to be turned up. Except for the headphone level, the console’s output level controls will generally be run at a 2 o’clock setting. If this results in the control room speaker amplifier having to be run close to minimum, then turn the console’s CR level control down some, or use external pads to attenuate the input signal to the power amplifier. Run the headphone level at a setting that is comfortable for you, but remember, LOUD SOUNDS CAN DAMAGE YOUR HEARING. Remember that a signal source may be at a higher level than you think it is. Be careful when switching channels ON or into CUE, especially if they will be heard in the headphones. NOTE the CUE level control bypasses headphone volume settings for channels that are in CUE. If CUE is turned up, you could get hit with very loud signals, even if the headphone level control is turned down.
INPUT ASSIGN & MONITOR SELECT SWITCHES The console is provided with two stereo output busses. The busses are utilized by assigning input channels to them. For example: An input module is assigned to AUD if the AUD button for that channel is down. Further, the AUD bus is selected by the control room monitor speakers when the AUD source select button on the CR-4 module is down. Because of these two actions, the input channel signal is heard in the control room speakers. The PGM, (or Program) bus is generally used for the on-air signal. For example, if the commercial spot recorded on the cart machine connected to channel 7 is supposed to be heard on the air, then channel 7 should be assigned to PGM. On the other hand, if you have two studio mics that should both be on-air, those two channels should be assigned to PGM. Even though, at a particular time, only one or two inputs may be assigned to the PGM bus, the other inputs may still be used. For example, while a channel 2 studio mic is on-air, with a CD being played on channel 6 as background to the studio mic, the operator can assign the tape recorder on channel 9 to the AUD (or Audition) bus, with AUD then being selected at the CR (Control Room), so the operator can locate a certain song on the tape without interfering with the on-air signal. Note that input module CUE functions may also be used for the same purpose (see below). The on-air signal from a modulation monitor or a high-quality tuner can be connected to one of the EXT (External) inputs of the CR module, to allow the operator to hear monitor off-air by using the EXT selector for that module. SP-4 / July 92
Page 4 - 1
OPERATIONAL NOTES
CUEING In addition to the assignment features described above, the console has an additional mono CUE bus that can be used by the operator when he or she needs to be sure that, for example, the cart machine on channel 7 is set to play the right jingle. Channel 7 CUE button is pushed, and the associated LED lights. The material on that channel appears at the console CUE output, and (if so programmed) also on the headphones. Meanwhile, the on-air signal is uninterrupted. Once the cart selection is verified, the CUE button is pressed again to take the channel out of CUE. At the proper time, the channel ON button is pushed. If the external logic to the cart is connected to the module logic port, pushing the ON button will also activate the cart machine. Note it is not necessary for the module fader to be up to activate channel ON functions.
SENDS The console's send bus outputs allow input channel signals to be used for specialized purposes without interfering with normal output and subgroup routing operations. Typical uses might be for feeds to processing or effects devices, communication links, remote monitors, dedicated sub-mixes, mixminus work, etc.
SUBGROUPS The console's group modules (SP-44 and SP-48 consoles only) are designed to be used as individual track outputs for multi-track tape recording. Track playbacks may be easily accomplished by front panel BUS/TAPE switching for each subgroup channel. It is also possible to bring track playbacks to individual input modules, which permits the addition of EQ during playback. Normally this routing is done through the line inputs of mono mic/line modules or Line Source B of stereo line inputs.
TALKBACK On consoles equipped with an optional SC-4 Studio Monitor Module, the console's Talkback bus allows the operator's microphone to act as an outgoing intercom signal. By programming the input module controlling this microphone to feed the TB bus (see page 3-6), whenever the console TB button is pressed that microphone's signal will be sent to the console's Talkback output. This output can then be used to feed a remote amp/speaker (or headphone, telephone hybrid, or order wire).
SP-4 / June July 92 93
Page 4 - 2
Schematic Drawings CHAPTER CONTENTS Typical module printed circuit board .............................................. 5-2 Mono mic/line input module (SP-44/48)......................................... 5-3 Mono mic/line input module (SP-42).............................................. 5-4 Dual mic input module (SP-44/48 ..................................................5-4a Stereo line input module (SP-44/48) ............................................... 5-5 Stereo line input module (SP-42) .................................................... 5-6 Group Module ................................................................................. 5-7 Master Output Module (SP-44/48) .................................................. 5-8 Master Output Module (SP-42) ....................................................... 5-9 Control Room Monitor Module (SP-44/48) .................................. 5-10 Control Room Monitor Module (SP-42) ....................................... 5-11 Studio Monitor Module (SP-44/48) (optional).............................. 5-12 Studio Monitor Module (SP-42) (optional) ................................... 5-13 Stereo Line Select Module (optional)............................................ 5-14 Multi-phone Module (optional) ..................................................... 5-15 Intercom Module (optional) .......................................................... 5-16 Tape Remote Module (optional) ................................................... 5-17 Digital Timer ................................................................................. 5-18 Power Supply................................................................................. 5-19 Failsafe Switchover Panel (optional)............................................. 5-20
SP-4 /April / July 95 92
Page 5 - 1
Upper DB I/O edgecard connector pins. Odd pins 1 (bottom) thru 13 (top) are on the component side (shown). Even pins 2 (bottom) thru 14 (top) are on the solder side of the card. These feed a DB-25 multipin connector mounted on the bottom pan of the console mainframe. SP-40 series input and group modules have one I/O connector per module; output, control room monitor and all accessory modules each two I/O connectors. (The second connector will be located directly beneath the one shown.)
Upper bus connector pins (50). Even pins 2 (top) thru 50 (bottom) are on the component side (shown). Odd pins 1 (top) thru 49 (bottom) are on the solder side of the card.
Fuse link resistors (3.3Ω) These may be identified on each module by their standoffs (see page 6-2).
4-position programming dipswitch
4-position programming dipswitch
Lower bus connector pins (50). Even pins 2 (top) thru 50 (bottom) are on the component side (shown). Odd pins 1 (top) thru 49 (bottom) are on the solder side of the card. 5-pin fader connector
Channel ON/OFF switch connector (14-pin dip socket)
Typical Printed Circuit Board (mic/line input shown) SP-4 / July 92
Page 5 - 2
8
7
6
5
4
3
2
LS-4 IN/OUTS
1
DB Connector Pinouts LINE 1
D LINE1INLTHI
LINE1INLTLO
SW1
1 5 R1 10.0K
SW1
2 6
3
LINE5INLTHI
4
LINE5INLTLO
SW5
R9 10.0K
3
SW5
2 6
UPPER DB-25 CONNECTOR CT1
4 UDB25
8 12
LINE1INRTHI
LINE1INRTLO
R2 10.0K
7 11
SW1
10
SW1
8 12
LINE5INRTHI
9
LINE5INRTLO
R10 10.0K
7 11
SW5
UDB24
10
UDB23 UDB22
SW5
UDB21
9
UDB20 UDB19
LINE 2
LINE2INLTLO
C
R3 10.0K
R4 10.0K
7 11
SW2
LINE6INLTLO
10
R11 10.0K
LINE6INRTLO
R12 10.0K
7 11
SW6
UDB17 UDB16
3
UDB15 UDB14
SW6
2 6 8 12
LINE6INRTHI
9
SW6
1 5
LINE6INLTHI
4
SW2
UDB18
LINE 6 3
SW2
2 6 8 12
LINE2INRTHI
LINE2INRTLO
SW2
1 5
LINE2INLTHI
1 5
9
LDB24
LINE3INLTHI
LINE3INLTLO
R5 10.0K
B
LINE3INRTLO
2 6 8 12
LINE3INRTHI R6 10.0K
3
SW3
7 11
SW3
LINE7INLTHI
4
LINE7INLTLO
10
LINE7INRTHI
9
LINE7INRTLO
SW3
LDB21
LINE 7 1 5 R13 10.0K
2 6 8 12
R14 10.0K
7 11
SW7
LDB20 LDB19
3
LDB18 LDB17 LDB16
4
LDB15 SW7
SW7
LDB14
LINE4INLTHI AGND
LINE4INLTLO
R7 10.0K
8 12
LINE4INRTHI
LINE4INRTLO
AGND
2 6
R8 10.0K
7 11
SW4
SW4
SW4
SW4
AGND LINE5INLTHI LINE5INRTLO AGND LINE6INLTHI LINE6INRTLO AGND LINE7INLTHI LINE7INRTLO AGND LINEOUTLTHI LINEOUTRTLO
10
24
11
23
10
22
9
21
8
20
7
19
6
18
5
17
4
16
3
15
2
14
1
UDBPIN13 LINE1INLTLO AGND LINE1INRTHI LINE2INLTLO AGND LINE2INRTHI LINE3INLTLO AGND LINE3INRTHI LINE4INLTLO AGND LINE4INRTHI
25 24 23 22 21 20 19 18 17 16 15 14
13 12 11 10 9 8 7 6 5 4 3 2 1
LDBPIN13 LINE5INLTLO AGND LINE5INRTHI LINE6INLTLO AGND LINE6INRTHI LINE7INLTLO AGND LINE7INRTHI LINEOUTLTLO AGND LINEOUTRTHI
3
LINEOUTLTHI
LDB/15
4
LINEOUTLTLO
LDB/3
10
LINEOUTRTHI
LDB/1
9
LINEOUTRTLO
LDB/14
UDB12 UDB11 UDB10 UDB9 UDB8 UDB7 UDB6 UDB5 UDB4 UDB3 UDB2 UDB1
LDB13 LDB12
LINE 1 LT IN SH LINE 1 LT IN HI LINE 1 RT IN LO LINE 2 LT IN SH LINE 2 LT IN HI LINE 2 RT IN LO LINE 3 LT IN SH LINE 3 LT IN HI LINE 3 RT IN LO LINE 4 LT IN SH LINE 4 LT IN HI LINE 4 RT IN LO
LDB11 LDB9 LDB7 LDB6 LDB5 LDB3 LDB2 LDB1
LINE 5 LT IN SH LINE 5 LT IN HI LINE 5 RT IN LO LINE 6 LT IN SH LINE 6 LT IN HI LINE 6 RT IN LO LINE 7 LT IN SH LINE 7 LT IN HI LINE 7 RT IN LO LINE LT OUT SH LINE LT OUT HI LINE RT OUT LO
APPROVALS DRAWN CHECKED
SP-4/Aug 1999
25 13 24 12 11 23 10 22 9 21 8 20 7 19 6 18 5 17 4 16 3 15 2 14 1
Line Select Module Schematic - Sheet 1 of 1
5
Page 5-5
4
3
W# 700150
B
A
600 Drive NewIndustrial Bern, NC 28562 SIZE FSCM NO. DWG. NO. 11S000X D SCALE
2
N/C LINE 5 LT IN LO LINE 5 RT IN SH LINE 5 RT IN HI LINE 6 LT IN LO LINE 6 RT IN SH LINE 6 RT IN HI LINE 7 LT IN LO LINE 7 RT IN SH LINE 7 RT IN HI LINE LT OUT LO LINE RT OUT SH LINE RT OUT HI
LS-4
DATE
SA 8-20-99
ISSUED
6
C
LDB4
CONTRACT NO.
7
N/C LINE 1 LT IN LO LINE 1 RT IN SH LINE 1 RT IN HI LINE 2 LT IN LO LINE 2 RT IN SH LINE 2 RT IN HI LINE 3 LT IN LO LINE 3 RT IN SH LINE 3 RT IN HI LINE 4 LT IN LO LINE 4 RT IN SH LINE 4 RT IN HI
INPUT/OUTPUT PORTS (Lower DB-25)
LDB8
AGND
AGND
25 13 24 12 11 23 10 22 9 21 20 87 19 6 18 5 17 4 16 3 15 14 21
LDB10
A
8
D
UDB13
I/O CONNECTORS CHART
9
LINE 4 1 5
12
CT2
LDB25
SW6
SW7
13
25
LOWER DB-25 CONNECTOR
10
LDB22
LINE 3
AGND LINE1INLTHI LINE1INRTLO AGND LINE2INLTHI LINE2INRTLO AGND LINE3INLTHI LINE3INRTLO AGND LINE4INLTHI LINE4INRTLO
4
LDB23
SW3
INPUT PORTS (Upper DB-25)
LINE 5 1 5
LS-4 PCB
SHEET
1
REV
1 OF 1
6
5
U11
4 3 2 1
6
74AC14
C14 1uF
D2 4148
PR 5 CK Q D 6 CLR Q
Y1
74LS74
1 HZ OUTPUT
CT2/3
J2
1HZOUT
8
9
U12 10 74ACT08
C5
32.768kHz
C6 10pF
GND
TP1
C4 10pF
50pF GND
GND
GND
VIEWED FROMSIDE) ABOVE (COMPONENT
12
VDD 16
1 Q12
VDD 16
1 B
VCC 14
1 Ia
VCC 14
1 CLRa VCC 14
2 D2
QF 15
2 Q13
Q10 15
2 QB
2 I2a
I2d 13
2 I2a
I2d 13
2 Oa
If 13
2 Da
CLRb 13
3 LT
QG 14
3 Q14
Q8 14
3 QA
CL 14
3 Oa
I1d 12
3 Oa
I1d 12
3 Ib
Of 12
3 CKa
Db 12
4 BI
QA 13
4 Q6
Q9 13
4 DN
BO 13
4 I1b
Od 11
4 I1b
Od 11
4 Ob
Ie 11
4 PRa
CKb 11
5 LE
QB 12
5 Q5
RST 12
5 UP
CO 12
5 I2b
I2c 10
5 I2b
I2c 10
5 Ic
Oe 10
5 Qa
PRb 10
6 D3
QC 11
6 Q7
CLK 11
6 QC
LD 11
6 Ob
I1c 9
6 Ob
I1c 9
6 O2c
Id 9
6 Qa
Qb 9
7 D0
QD 10
7 Q4
RTC 10
7 QD
C 10
7 VSS
Oc 8
7 VSS
Oc 8
7 VSS
Od 8
7 VSS
Qb 8
8 VSS
QE 9
8 VSS
CTC 9
8 VSS
D 9
VCC C2 0.1uF
74AC14
1 HZ INPUT
CT2/2
74LS74
J1
1HZIN
16 15 3 2 1 18 17 4 14
C
GND
A B C D LD UP DN CL
QA QB QC QD
3 2 6 7
BO 13 CO 12
GND
7 1 2 6 3 4 5
U5 D0 D1 D2 D3 LT BI LE
QA QB QC QD QE QF QG
R32 475
R33 475
R34 475
R15 475
R14 475
13 12 11 10 9 15 14
C10 0.1uF
15 1 10 9 11 5 4 14
GND
VCC
U8 A B C D LD UP DN CL
QA QB QC QD
3 2 6 7
BO 13 CO 12
7 1 2 6 3 4 5
U12 74ACT08
3
3
U11
4
74AC14
C24 0.001uF
GND
C13 0.1uF
GND
C17 0.1uF
GND
VCC C18 0.1uF
GND
GND
a
f g
13 9 7 12 5 6 8 10 11
e
a
f g
b e
d c dp
1
2
3
4
5
b
d c dp
6
7
8
1 2
GND
R9 475
R28 475
R30 475
R31 475
R11 475
13 12 11 10 9 15 14
R29 475
9
GND
0-9
15 1 10 9 11 5 4 14
VCC
U7
VCC
A B C D LD UP DN CL
QA QB QC QD
7 1 2 6 3 4 5
3 2 6 7
BO 13 CO 12
GND
R5 475
U3 D0 D1 D2 D3 LT BI LE
QA QB QC QD QE QF QG
R4 475
R24 475
R25 475
R26 475
R7 475
R6 475
13 12 11 10 9 15 14
15 1 10 9 11 5 4 14
GND
4 5
U12 74ACT08
6
VCC
U6
VCC
0-5
U13 3 74ACT00
A B C D LD UP DN CL
QA QB QC QD
RESTART
11
U12 74ACT08
4148 D3
R37 100
CT1/8
BO 13 CO 12
U11
8
74AC14
C26 0.001uF
4 5
1
U11
2
12 13
74AC14
U13 11 74ACT00
QA QB QC QD QE QF QG
R1 475
R20 475
R22 475
R23 475
R3 475
R21 475
13 12 11 10 9 15 14
0-9
74HC4511
B
U13 6 74ACT00 D5 1N4002W
DIG.COM DIG.COM
4148 D1
CT1 1 2 3
GND
4
VCC
HOLD CT1/2
HOLD
R41 100
5 11 C15 1uF GND
AGND
C R2 475
U2 D0 D1 D2 D3 LT BI LE
GND
C3 100uF
AGND
7 1 2 6 3 4 5
3 2 6 7
74HC192
9
GND
CT1/5
CT1/6
+DIGin
F1 POLYSW .3A
C8 0.1uF
D4 1N4002W
VCC
Q1
+DIG
1 C7 330uF
VIN OUT GND
3
2 LM2940
5 C9 0.1uF
C1 100uF
GND
4
POWER INTERFACE
CT1/7
GND
VCC
RESTART
A
GND
C25 0.1uF
GND
74HC4511
74HC192
D
VCC C23 0.1uF
GND
A 15
DS2 COM1 14 COM2 dp1 4 dp2 d d 17 dp g2 dp c e g1 18 e c f1 f2 e1 1 e2 g g d1 2 d2 b f f b c1 3 c2 b1 15 b2 a a a1 16 a2
GND
AGND
C21 0.1uF
GND R10 475
QA QB QC QD QE QF QG
VCC
VDD 16
SECONDS
R8 475
VIEWED FROMSIDE) ABOVE (COMPONENT
VCC C20 0.1uF
GND
18 17 16 15 14 13 12 11 10
U4 D0 D1 D2 D3 LT BI LE
VCC C19 0.1uF
7DISPLAY SEGMENT PINOUT
+DIG IN R43 1.00K
RESET
R40 10.0K 12 13
1uF C22
CT1/1
VCC
VCC
R36 10.0K R35 100
RESET
AGND
C16 0.1uF
GND
GND VCC
VCC
VCC
74HC4511
74HC192
1 2
C12 0.1uF
VCC
GND
0-5
B
GND
11 10 8 6 5 12 7 9 13
a2 a1 a a b2 b1 c2 c1 b b f f d2 d1 g g e2 e1 f2 f1 e c c e g2 g1 dp dp d d dp2 dp1 COM2 COM1
74HC4511
74HC192
VCC
C11 0.1uF
R27 475
DS1
VCC
R44 100
15 1 10 9 11 5 4 14
VCC
U9
VCC
R12 475
VCC
VCC
GND R13 475
VCC
1 D1
VIEWED FROMSIDE) ABOVE (COMPONENT
1 I1a
VCC
MINUTES
U10
VIEWED FROMSIDE) ABOVE (COMPONENT
74HC192 IC PINOUT
VIEWED FROMSIDE) ABOVE (COMPONENT
VCC 14
74HC4060
PR 9 CK Q D 8 1HZ CLR Q
74HC4060 IC PINOUT
VIEWED FROMSIDE) ABOVE (COMPONENT
f1 g1 a1 b1 COM1 COM2 f2 a2 b2
10 11 12 13
VIEWED FROMSIDE) ABOVE (COMPONENT
1
74HC4511 IC PINOUT
74LS74 IC PINOUT
e1 d1 c1 dp1 e2 d2 g2 c2 dp2
13
U11
74AC14 IC PINOUT
2
1 I1a
GND VCC
3 74AC08 IC PINOUT
VIEWED FROMSIDE) ABOVE (COMPONENT
U1 12 RST Q4 7 11 CLK Q5 5 Q6 4 Q7 6 9 CTC Q8 14 10 RTC Q9 13 Q10 15 Q12 1 Q13 2 Q14 3
R17 10M
U10
4 74AC00 IC PINOUT
R16 330K
CT1/3 START/STOP
D
VCC
R39 4.99K
R38 475
START/ STOP
R19 10M
VCC
5
R45 100
7
R18 10M
8
8
Wheatstone/Oct 2000
U11 74AC14
R42 1.00K
10
9 10
RESET HOLD START/STOP VCC +DIGin
6
U13 8 74ACT00
7 8
TO TIMER CONTROL
GND
7
6
Timer Schematic - Sheet 1 of 1
5
Page 6-9
GND GND RESTART
CT2 CT1/1 CT1/2 CT1/3 CT1/4 CT1/5 CT1/6 CT1/7 CT1/8
RESET HOLD START/ STOP +5V +DIG IN DIG.COM DIG.COM RESTART
4
1 2 3 4 5 6 7 8
1HZIN 1HZOUT GND GND +DIGin +DIGin
CT2/1 CT2/2 CT2/3 CT2/4 CT2/5 CT2/6 CT2/7 CT2/8
TO CLOCK
N/C 1HZ INPUT 1HZ OUTPUT N/C DIG.COM DIG.COM +DIG IN +DIG IN
APPROVALS DRAWN SA CHECKED
DATE
10-24-00
ISSUED
3
TM-6
CONTRACT NO.
W# 700248
600 Drive NewIndustrial Bern, NC 28562 SIZE FSCM NO. DWG. NO. 00S0008D D SCALE
2
A
TM-6SD PCB
SHEET
1
REV
1 OF 1
1
2
3
4
5
6
7
8
IN
ADJ
BLACK
WHT-BLK
BROWN
BLACK
WHT-BRN
ORANGE
VIO
VIO
BROWN
YELLOW
RED
ORANGE
GREEN
RED
~
~13.5V
- MB3510 + ~
~
~13.5V
~11V
- MB3510 + ~
~11V
~18.5V
- MB3510 + ~
~
~18.5V
~18.5V
- MB3510 + ~
~
~18.5V
A) AUDIO/PHANTOM COMMON B) +V AUDIO C) -V AUDIO D) LAMP COMMON E) +PHANTOM F) DIGITAL COMMON G) +DIGITAL H) +LAMP I) N/C J) N/C
GRN
~115VAC
C D
I J
B
A
E
H F
G
A
POWER SUPPLY CONNECTOR
CASE OUT 3
2
1
(SOLDER SIDE)
GRN
.0047uF
BLACK
BLACK
LM1085/ LM350/LM317 IC PINOUT VIEWED FROM BOTTOM
.0047uF
105-120 VAC 60Hz INPUT
A.C. SUPPLY CABLE 3A
~37VAC CT ~37VAC CT ~42VAC ~22VAC CT ~27VAC CT
Z15L390 Z15L390 Z15L390 Z15L390 Z15L390 Z15L390 Z15L390 Z15L390
WP8
-
WP7
=17V DC
WP6
+
WP5
TP4
-
WP3
+58V
TP2
10000uF 50V
C19
1N4002
D6
1N4002
D5
1N4002
D7
1N4002
D4
C8
TP2
0.0047uF
10uF 63V
C9
R8
620
R15
1uF
C15
1uF
C18
1uF
C4
1uF
C7
1uF
C1
620
R15
620
R6
10uF 100K 63V
C22
1uF
C15
1uF
R6 620
2
2
2
2
2
2
2
2
2
2
Q2
Q3
Q6
Q7
Q3
D12
B
1uF
C17
+11V TRIM
1N4002
CR3 1 2
500 3
220
3
6A4
+7.5/5V TRIM 2
1uF
C6
1uF
C2
+40V TRIM
1N4002
D3
1 LM1085
VIN OUT ADJ
Q7
D14
CR1 1
500 3
R16
3 1 LM1085
VIN OUT ADJ
R5
3
6A4
1uF
C17
1uF
C16
1uF
C13
-18V TRIM
1N4002
D8
1 LM1085
VIN OUT ADJ
Q1
D1
CR2 1 2
10K 3
100
3 1 LM317
VIN OUT ADJ
1N4002 Q4
D10
D12
1uF
C6
1uF
C3
1uF
C2
+18V TRIM
1N4002
500 3 CR3 1 2
470
3 1 LM1085
VIN OUT ADJ
R9
3 1 LM1085
VIN OUT ADJ
R16
3
6A4
1 LM1085
VIN OUT ADJ
Q5
D14
D3
1N4002
CR1 1 2
500 3
470
3
1 LM1085
VIN OUT ADJ
R5
3
1 LM1085
VIN OUT ADJ
470
3
6A4
1 LM1085
VIN OUT ADJ
Q1
D1
IMPORTANT: FOR Q1-Q7FILM USE INSULATOR! HIGHT THERMAL CONDUCTIVITY CERAMIC
10000uF
C23
TP1
470uF 100V
POLYSW .4A
F1
1uF
C18
C14
10000uF
1uF
C12
1uF
C4
1uF
C23
PS-410 (RIGHT)PCB
=13V DC
WP2
WP1
WP11
+
~
V1
C21
TP1
1uF
10000uF 50V C7
C5
1uF
C1
C19
PS-410 (LEFT) PCB
82V 82ZA2
WP10
0.47uF
C27
~
WP8
-
WP7
=21V DC
WP6
+
WP5
TP4
-
WP3
=21V DC
WP2
+
WP1
B
47 47
A
R17
C
R2 2200uF
C26
R14 10uF 63V
C11
0.0047uF
C10
2200uF
C28
R18 R19
R4 R17
R10 R4
220 47 47
.05 .05
R7
R3 .05 .05 .05 .05 2200uF
C
C28*
2200uF
C26
+4OV TEST POINT -
6A4
D13
TP7
TP8
6A4
D2
TP3
TP4
DATE
DS3
620
R20
DS5
1.5K
R1
-
-
+
+11V LED
-
SCALE
AGND
B
F
G
I
J
E
C
A
GRN
D
YLW H MB3510
BRN
ORG MB3510
VIO
BLU MB3510
BLK
RED MB3510
D
SHEET
5 OF 7
REV
LAMP COMMON
+LAMP
DIGITAL COMMON
+DIG
N/C
N/C
00S0018E PS-410E PCB
6
7
8
1
2
3
4
PHANTOM 5
-V AUDIO
AUDIO COMMON
600 Drive NewIndustrial Bern, NC 28562 DWG. NO.
+V AUDIO
10 PIN OUTPUT CONNECTOR
D
PSC-340S
WP26
WP25
WP24
WP15
WP12
WP19
WP9
WP22
WP20
WP21
+11V OUTPUT
+
+7.5/5V LED
-
WP18
WP17
WP16
WP13
+7.5/5V OUTPUT
+40V LED
WP14
WP23
WP26
WP25
+40V OUTPUT NOT INSTALLED
10K
+
1N4002
D11
+11V LED
NOT INSTALLED
R13
WP24
WP15
WP12
WP19
WP9
WP22
WP20
WP21
-16V OUTPUT
+
+7.5/5V LED
NOT INSTALLED
-
WP18
WP17
WP16
+16V OUTPUT
+
SIZE FSCM NO.
D
DS4
DS6
DS2
10K
DS1
R12 10K
DS4
DS6
R11
DS3
1.0K
R20
DS5
1.0K
R1
SA 8-31-01
W# 700259
ISSUED
CHECKED
APPROVALS DRAWN
-16V LED
NOT INSTALLED
+11V TEST POINT -
+16V LED
NOT INSTALLED
+7.5/5V TEST POINT -
+40V LED
PHANTOM POWER ON DIP SWITCH
1 2 3 4
-16V LED
+16V LED
SW1
+16V TEST POINT -
+16V TEST POINT -
1N4002
D9
TP5
TP6
6A4
D13
TP7
TP8
6A4
D2
TP3
TP4
CONTRACT NO.
.05 R2
Page 5-35
.05
Power Supply Schematic - Sheet 1 of 1 R7
A-300/Aug 2001
Troubleshooting CHAPTER CONTENTS Basic Troubleshooting Procedures .................................................. 6-1 Integrated Circuits ........................................................................... 6-2 Other Details.................................................................................... 6-3 Technical information for the console is contained on the schematic drawings. Installation and hook up information is summarized in the text of this manual (see "Installation" and "Console I/O Connections" chapters).
BASIC TROUBLESHOOTING PROCEDURES If you have encountered difficulty in testing your installation, check the items listed below before opening the console. Note that some items may seem very obvious; it is often the most obvious things that we overlook. 1. Check that the AC power source for the console is live, and that the console power cable is connected to the AC source. 2. Make sure that the sources you are using to test the console installation are producing normal, line level signals. For example, if a cart machine is the source, is the cart playing? Is the output of it connected to the console? 3. When checking for sound from the control room speakers, is the amplifier on? Is the amplifier volume turned up to a normal level? Are the speakers connected to the amplifier outputs? 4. If you have checked external devices and connections, and feel that the problem is within the console, double check all wiring before attempting to troubleshoot the console itself. NOTE: THE FOLLOWING PRECAUTIONS SHOULD BE TAKEN WHILE TROUBLESHOOTING OR TESTING A “LIVE” (I.E., POWERED-UP) CONSOLE. (1) Use extreme care when removing or replacing modules, to prevent shorting switchboard traces against an exposed metal surface. If a module must be removed, but remain connected while troubleshooting, place a piece of cardboard or other non-conducting material across the console where the module will be placed. This will prevent shorting, and also avoid scratching or marring the faceplates. (2) Be extremely careful when using meter or oscilloscope test probes, to avoid shorting a test point to an adjacent connection. This is especially important when probing a pin 7 op-amp output, since the adjacent pin 8 is at 18 volts. (3) NEVER remove or insert an integrated circuit while the console is powered up.
SP-4 / Dec 92
Page 6 - 1
TROUBLESHOOTING
INTEGRATED CIRCUITS The audio circuits of the console consist almost entirely of plug-in IC opamps. The types called out in the schematic drawings and parts lists are chosen for optimum performance; in an emergency situation other types of known matching pin-out and capability can be temporarily substituted. Some useful troubleshooting hints for these circuits follow. (1) Resistors and capacitors, including electrolytic capacitors, have a vanishingly small failure rate in this equipment. (2) Do not attempt to put any significance to the fact that you can measure very low signal levels on the inverting or "minus" input of an op-amp stage. Due to the large open-loop gain of the typical op-amp, the inverting input of an amplifier, configured as an inverter with its non-inverting input grounded, acts as a “virtual ground,” and signal levels at this point can be expected to be extremely low. However, a circuit fault could result in a large signal level at the inverting input, so it may be worth checking. (3) When one of these ICs fails, it commonly swings its output to one of the power supply rails. This should be a first check when a bad IC is suspected. Measure the output pin of the IC directly (as opposed to measuring after a coupling capacitor) under a no-signal condition and look for a large DC offset at the output. Note that this test is not valid for those op-amps used in non-audio circuits such as integrators and relay drivers. (4) The capacitive loading effect of a test probe may occasionally cause oscillations in a high gain amplifier circuit. For this reason it is advisable, when using meter probes to measure DC voltage in an amplifier circuit, to isolate the “hot” lead from the circuit under test with a 10K resistor. This introduces a slight measurement error, depending on the meter input impedance, but this error is slight compared to the error that occurs if the amplifier is oscillating. If signal tracing with an oscilloscope, use a low capacity probe. (5) Because of the feedback loop in the op-amp circuit, sometimes a signal can be measured or heard even when the IC is defective or even removed. Generally this signal will become more and more distorted as the level increases; also the gain of the affected path will be incorrect. Don’t assume that because you can observe an output signal the IC must be working properly. (6) This console has self-compensating active-balanced outputs on its main output channels (i.e., SENDS, GROUPS, Program, Audition and Mono OUTPUTS plus optional Superphone module outputs). These circuits behave exactly like the secondary of a high-quality transformer, with no center tap— the output is both balanced and floating. When connecting unbalanced equipment, either the HIGH or LOW side of the console output should be strapped to ground, with the output taken from the other side. (Normally you'd strap LOW to ground, and take HIGH to feed your unbalanced equipment; but the ability to use output HIGH or LOW permits an easy phase reversal of the console's output signals should this be desired). (7) All of the console modules pick up their power supply voltage from the main distribution busses by means of small value (typically 3.3Ω) resistors. These resistors are provided to limit the current drawn by the module under fault conditions and prevent a module level fault from becoming a console level fault. These resistors will generally become open circuits when an IC fails, often with no visual indication. Whenever a fault if suspected check the voltage
SP-4 / May Dec 92 96
Page 6 - 2
TROUBLESHOOTING
on the module side of these resistors. If one needs replacement (there are extras in the spare parts kit) be sure to stand it up from the circuit card as it can become hot enough to burn the card under fault conditions. When all of the circuits in a module indicate the same fault (all outputs have no audio and a large DC value, or all meters are pegged under no signal conditions, etc.) it is generally due to one of these fusing resistors being open. Do not defeat the protection offered by these resistors by replacing them with wires. In a pinch any low value 1/4 watt resistor can be used.
OTHER DETAILS In general, SP-40 consoles are rugged and user friendly. I/O connections can be unplugged or plugged in while powered up with no damage, provided the precautions described above concerning removal and replacement of modules are carefully followed. Occasionally, this will cause a transient in the logic system that may be sufficient to affect a channel’s ON/OFF status, but this is rare. (Note that mic module ON/OFF status and CUE switches power up randomly when the console is energized; this is normal, and does not indicate anything wrong with the logic system.) If the power cable is being unplugged from the mainframe or the power supply, be sure to first turn the power off to avoid arcing the connector pins. The Lexan panel overlays are durable, and can be easily cleaned with Windex. If they become burned or torn through carelessness they can be replaced; consult Wheatstone for details. Care should be taken with the plexiglas covering the VU meters, as it is easily scratched. Fader knobs should be removed or installed only when the fader is at the end of its travel, to avoid "bowing" the internal fader structure. Wheatstone maintains an active program of user support and technical assistance. You are encouraged to call the factory with any questions, problems, ideas, or suggestions regarding your SP-4 console.
SP-4 / Dec 92
Page 6 - 3
