Gates Radio Company 994-6158-02 User manual

INSTRUCTION BOOK
For
The Executive
994-6158-02 Stereo Transistor Console
IB-888-0939-001 Gates Radio Company
6/26/1962 Quincy, Illinois

.TIgL :t'XECU,:£IVE
,2,94 6158 002 STEREO }lRAl'1SISTOR CONSOLE.
INDEX
Page
SF EOIFIG.ATIONS .............................. 1-,2
INTRODUCTION
....................................
•• • ••••••••••••• 0 ••• 0 ........... 0
.1
2
.Arlbi,ent Tenperatures ................................... 3
Cable and Conduit IJayout ••••.•••..••••.• 3
Grounding Circuits ......................................... 4
Balanced and Unbalanced Lines •••.••.••.• 5
ctrcuit Iopedances ...................... 5
INSTALLATION
\.JIRING .. OJ .. " ......................... ..
6
Power Connections ......... oR .... " ...... ,. ..... 00' • • 6
Studio Intercon "lJiring •••••••••.••••.••• 6
Monitor Speakers ...... G................. 7
Microphone Input Connections •••••••••••• 7
Turntab.le Inputs ••.••..•.•...•..•..•.••• 9
Tape Inputs .... II' ...... " ................ ,. • " • " • • 10
Renote Inputs .................. "" .... "........ 10
Ne'bwork Inpu't" ............ "................. 11
Heno Input ................... 0 • • • • • • • • • • }.1
Line Output Connections ,,' • •••• • • • • • • • • • • • 11
Earphone Connections..................... 11
OPERATION •••••••••••••••••••••••••••••••••• 11
Microphone Selector Switches •••••••••••• 11
Turntable Switching ..................... 12
Tape Input Switching •••••••••••••••••••• 12
Renote Input Switching •••••••••••••••••• 13
Network Input •..•• ~~ •. a ••• &.A.~~~~ •• _.& ~3
NenD Input .................•..•.......•• 1.4·
Monitor Input Selector and I,evel •••••••• 14-
Line imp Input Se.lectors •••••••••••••••• 14
Master Gain Contro.ls •••••••••.•••.•••••• 15
Cue .. ·lntercoD Sys ten ....................• 15
VU Meter Switch ................•........ 16
Headphone Jacks .......................•. 16
PRINCIPLES liND TH.:GORY OF OPERATION ••••••••• 16
Trf?nsistor ADplifi.er Circuitry ••••••• ~ • • 17
Cue·-IntercoI1 Systell •...................• 17
/
The Executive
6/28/62 -1-

Simultaneous Feed to Line Amp. 2 & , .......... .
Mixing System •................•.......•...•.•.•
VU Meter and Isolation Pads ••••••••••••••••••••
Relay Deck •.•••.••..•••••••...••••.•.••••.•••••
Speaker I~latching Transformers ................••
Regulated Power Supply & .Power Transformer •••••
MAINTENANCE ••••••••••••••••••••••••••••••••••••••••••••
Voltage Measurements •...•••..••.•••.•.•.••..•••
Mechanical Components •••.......•••.•••••••.••••
MODIFICATIONS •.••.•••••..••••...•••••••.•..••••••••••••
Patch Panel Faciliti.es •••.•••••••.•••••••••••••
Muti,ng Relays ••.•..•...•••••.••••... '" ..•.••••.•
Stereo Network Operation •..•...•••...••••.•••..
PARTS LIST
PARTS LIST
DRAWINGS:
.........................................~ ...
- M6205 Regulated. Power Supply •••••••••••••
842 3492 001. - Functional Block Diagram
852 5854 001 - Console Schematic
826 8534 001 -Component Layout
813 7290 001 - Microphone Input Connections
/
18
18
18
18
19
19
19
19
20
20
21
21
22
1·-4
1
81, 7289 001 -Power Transformer & Warning Light Connections
813 7,00 001 - Monitor Speaker Connections
813 7721 001 - Earphone Jack Connections
842 ,485 001 - Schemati.c, M6205 Regulated Power Supply
INSTRUCTION BOOKS:
6/28/62
M-5700A Transistori.zed Program Amplifi.er
M-6034 Transistorized Console Preamplifier
M·-60'5 Transistori zed Cue-Intercom Amplifier
M-6108A Transistori.zed Monitor Amplifier
-2-
The Executive Console

GAIN:
/
SP-",CIFICATIONS
---
THZ .r1X.ii:CUTIVE
.994 6158 .. 002 STEREO THAN3IST03 CCN:30LE.
Remote/Network to :Line Out: 50 DB + 2 DB
Remote/Network to Speaker: 58 DB minimum
Microphone In)ut to Li.m; Output: 102 DBt2 DB.
Turntable Input to Line Output: 56 DB '+2 DB.
Microphone Input to Speaker Output: 106 DB mlillmum.
Turntable Input to .Speaker Output: 64 DB minimum.
FREr",UENCY R:GS.20NSE: (1 KC Reference)
+1.0 DB from 30 to 15,000 cps in all regular program
circuits.
:!;2 DB from 30 .to 15,000 cps in all emergency program
circuits.
+1.5 DB from 30 to 15,000 cps in all monitoring
speaker circuits.
HARMONIC DISTORTION:
0.5% maximum, 30 to 15,000 cps @ +8 DBI-I output on all
program lines.
0.5% maximum, 50 to 15,000 cps @ +18 DBl'1 output on all
program li.nes.
1.0% maximum, 50 to 15,000 cps @ +39 DBn (8 watts)
output on all monitoring speaker outputs.
1.l'1. DISTORTION:
NOISE:
0.596 maximum
(llO/7000 cps @ 4:1) @+8 DErl egui.va1ent
sine wave output on all regular program circuits, 1.5%
maximum @ +18 DBl'1 out.
1. 0% maximum @ +39 DBrl equivalent sine vlave output on
all monitoring speaker outputs.
-122 DBl'1 relative i.nput noise on mi.crop]:lOne channels •
.. ·75 DBl'1 relati.ve input noise on turntable cha=els.
CROSST.ALK:
Below noise leve1 in all stereo cha=els.
CHANNELS:
10 Stereophonic.
Rev. 3/23/64
The Executive
-1···

/
SPECIFICATIONS CONT'D.
INPUTS:
6 stereo mics, 4- stereo turntables, 4- stereo tapes,
4 mono remotes and 1 mono netvlOrk (can be wired for
stereo), and 1 high level aUA"i.liary stereo input.
OUTPUTS:
Program left, program right, program compatible,
.3 stereo speaker lines with muting (plus one
optional~, 1 stereo speaker line Vii thoUG muting
2 studio intercom speaker lines and 2 phone jacks.
TOTAl, TRANSISTORS:
SIZE:
2N1307
2N4-22
2N14
14-
2N2l4-
2N1l83
2N1225
2N1539
Qty. 2
Qty. 10
Qty. 4-3
Qty. 5
Qty. 8
Qty. 2
Qty. 6
To·tal 76
53}?" long, 11·_·3/8" hi.gh, 17-·3/8" deep.
Net weight- 107 lbs.
-2-
The Executive

INTRODUCTION
The Gates 994 6158 002 Stereo Control Console is a versatile and
efficient ten channel audio control center especi.ally designed to
fill the need for such equipment created by the establishment of
FM stereo broadcasting.
This console provides for the nixing cueing, and moni toring of a
variety of program sources. These sources include microphones,
turntables, tape recorders, remote pickups, and networks. These
signals are fed to the two stereo channels in the transmitting
system.
Due to the flexibility of the console, other combinations of out·-
put feeds are also possible. .Provisions are inCluded for the ad·-·
dition of a third. output channel so that, simultaneously with the
Fl'I stereo program feed, a compatible signal (combination of left
and right) may be fed to the A.."1 transmitter. This third channel
may also be used to broadcast a completely different monophonic
signal to the Al"I transmitter. \men stereo programs are not being
broadcast, the two output channels of the console may be used t;o
feed a monophonic signal to two transmitters simultaneously, or
two completely different programs may be handled at once.
Microphone input sl-,i tching is arranged so that a single microphone
can feed both channels for isolated monophonic announcements on
stereo broadcasting. Or, two microphones can be used for stereo
announcements. Stereo monil;oIing of ooth bhe program output and
the audition bus is provided, as w·e.lI as an external stereo monj.·-,
tor ampli.fier input.
More details on the operation of the console may be found in the
section of this book titled OP'G'RATION.
The console is completely transistorized and self,-contained except
for the power transformer, which h8.s been placed externally to
minimize hum pickup in the console and the earphone jack panel.
Breaki.ng and jumpering of all major circuits allows full use of
normal ling jack fields, with all comlections brought out to ter'--
minal blocks for ease of installation and fu'ture circ'.lcit check-.
ing. Three speaker muting and warning light relays are supplied
with provisions included for the add.ition of a fourth relay.
Compensation of si.gnal levels by the use of fixed pads throughout
the console minimizes the necessity of readjusting gain controls
\'I"hen switching from one c ircui t to another.
The cue,-intercom system provides cueing of turntable and tape
sources as well as intercom faci.lities between the control room
and each of the studios as v,el1 as the remote lines. The cue-
intercom system is interlocked with the speaker muting relays
so that cueing and intercom signals cannot inadvertently get on
the air.
The .Executive
6/26/62
.... 1--

This introduction has touched on some of the more important points
of the console to give gene:cal information Vii thout excessive de-.
tails. Those concerned with the daily operati.on should study I;he
section labeled OP...otul:J'ION. The insta.Llation cre"l should study
their section before actually starting the Vlork. Bach section is
broken down to cover different phases so that unnecessary confusion
may be eliminated and the answer to any particular question may be
easily found. '1'he engineering staff is urged to become acquainted
with all sections so that they can advise other groups in the best
performance, as \vell as being able to keep the console in top
operating condi.tion.
INSTALLATION
All the packing material, including any shipping frames and plat-
forms, should be carefully removed prior to the installation of
the J:16158 .. l Stereo Control Console. The removable items include:
6 994
6034
OOl
Transistor
Preamp1ifi.ers.
2
994-
6034 001 Transistor
Booster Ampl i f i.ers
(same as the
Pream,;lif iers).
2
994- 5700
001
'I'rans istor
Program Amplifiers.
1
994-
6035
OOl
Transistor
Cue··· Intercom
Amp Ufier.
1
992
1335
001 Phone
Jack Plate.
1
472
0429 000 Power
Transformer
1
646
0379
000 Group
of Knob Decals.
1 888
0939
001
Insi.;luccj,Oll
i'lanualo
If any of the i'ems listed above are missing, search all of the
packing materi.al again to determine if they have been overloolwd.
If still missing, contact the Gates Hadio Company for instructions.
SIZE:
deep.
The I16158A Console is 53-1/2" long, 11,·3/8" high and 17.-3/8
11
The net weight is 107 pound.s.
With the plug-in amplifiers removed, place the console on the con-
trol desk in the final operating positi.on. Determine the routing
of the interconnecting cables into the cabinet and the method of
co=ecting the cables to the control desk. The conduit and/or
duct layout should also be considered in the pla=ing of the
interconnecting cable runs. If the cables are to come up through
the surface of the desk, mark the cable access holes (in the con-
sole base) on the desk top so they may be accurately drilled after
removal of the cabinet.
In some cases,it is preferred to elevate the console cabinet
sufficiently to permit the cables to lay between the desk top
and the console base, making a right angle turn '-lith the cables
to enter the cabinet. The cables are then dressed off the rear
of the desk and generally a protective cover is installed down
the rear of tho desk.
6/26/62
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The Executive

In either type of i.nstallation, the console should be fastened
securely to the control desk after the wi:ring is complete. This
is facilitated by the holes in the center of several of the large
dimples jn the cabinet base. The wiring adjacent to the mounting
holes should be fully protected during the securing operation.
The transistor amplifiers and the power sup;Jly used in the conso:le
have been designed for reliable operation at temperatures up to
55° C. or 131° F. No special ventilation is required. HO.lever,
prolonged sine wave testing (especially in the monitor amplifiers)
should be avoided to allow heat, built up in the power output
transistors, to be dissipated. See the instruction books provi-
ded at the end of this manual for more information.
Cable and conduit layout is of utmost importance in the studio
installation. Good results, with a minimum of noise and cross·_·
talk, require careful planning and construction. A system hastily
installed, VIi thout thorough planning., i.nvari.ably results i.n con·_·
ti.nuous trouble unti.l rebuilt.
First, the matter of signal levels: Cables should generally be
di. vided i.nto three groups, low level cabl es may include levels
from ·-60 DBi'1 to-·20 D13N. Nedium] evel cables may include levels
from ·-20 DBrl to +14 DEl'i. The high level cable> may include levels
from +14 DEI"! to +40 DBN. AC power wiring should be run in sepa·-
rate cables.
vJhenever possible, do not run any of the four cables listed in a
conduit along with cables of different level classification. If
two or more cabl0s must be run in a COilliilon conduit, never exceed
a difference of 40 db in level bet,veen the highest and thE) lowest
level in either cable. Use high quali.ty shielded twisted pair for.
all audio wiring, such as Gates catalog number 1261. For all
microphone wiring and long medium level cable and conduit runs
the use of rubber, p19.stic or cloth covered shielded pairs elim--
inates multiple ground .Loops and the resultant noise problems.
Gates catalog number 8440 microphone cable is reco=ended.
In parallel cable runs of different levels, the most important
aid i.s physical isolation. Up to six inch spacing is preferred.
If there is not room for this isolation, do not lace all of the
wires in the same cables. Keep the cables laced separately for
the di.fferent level classi.fications even if two or more must lay
together. This will give much better isolation than when formed
into one cable. The deviations from the preferred methods must
not be taken lightly. Use them only as a last resort, not just
for convenience.
The Executive
6/26/62
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/
Terminal layout is arrangsa. ~n thci console to allow adequate
separation of cablss up to the point of connectlng to the ter-
minal blocks. Low level microphone cables connect on the left
to TBl. Medium .level cables connect in the, cent8r to TB3. High
level cables connect to TB4 and (in the rear) to TB6. Intercom
"Tiring conn8ctions are brought out to TB6 since these are auxil.-·
iary circuits which may vary in level from -·50 DB to +28 DBN.
The speaker outllUt cables are hi.gh level and should not be run
with low level cables.
Conduit generally affords enough shielding so that different
levels in separate condui.t presents no isolati.on problem sven
wi thout spaci.ng them apart. liicrophone level condui t and
speaker level conduit can probably run along tog8ther with no
crosstalk. HovlBvor, if practical, it is advisable to maintain
physical separation and add to the safety of the installation.
Fower Circuits, especially those with high current, should not
be in close proximi ty "lith program carrying conduit; elec tro-
mag'letic shielding is poor in most conduit.
Grounding circuits, like cable layout and most systems work
methods, are unpredictable to a certain extent. Therefore, no
hard and fast rules apply 100% of t;he time. In this section it
is attempted to cover the things to avoid and to present gener-
ally accepted. :practices tbat always give good J.:esul ts, Ol-' all.cv;
good results to be obtained ,vi -eh minor modii ication, Entir'ely
dif ferent approaches have been used, some with good results, but
unless you are an expert on the subject, most are risky.
The console grounding system i.s based on the one point ground.
Different circuit grounds are insulated from the chassis and
other grounds except at one point, where they all join together
and go to earth ground. This system .prevents multiple ground
loops vii th the result ing hum pickup from Circulating currents
~nd l~F pickup and regeneration •
. External circuits connected in the console should not destroy
this system. Microphone circuits are not grounded in the con--
sole. The shi.elds should not be grounded externaLly except after
noise checks. They may then be grounded if better results are
obtained. 'rurntable and. tape inputs are unbalanced and the
common side is grounded. If the inputs are unbalanced, the
common side should connect to the back row of the terminal
blocks (IB, 2B, 3B, etc.). If the input circui.t is grounded
external to the console, the ground should be 1 if ted if pos-"
sible to prevent ground loops. If the ground cannot be re-·
moved, or if tho circui.t impedance ,"111 not match the 600 ohm
input, a matching transformer should be used. Order Gates A·-21
line matching and isolation transformer.
The Executive
6/26/62
-4·-

Thus, a safe ru1e to follow is: Do not ground either side of
external circuits. GGn8rally, the shields of the cables should
ground at thG console only. They may be connected to the ground
terminals in the; consolD. TheI'e may be exceptions to this ru18
esp8cially on microphone input circuits, so the shield grounds'
should be wirGdin such a manner that they can be lifted in the
console and grounded at the other end. Again, this is part of
the test procedure to obtain lowest noise.
If patch panel facilities are used, special consideration of
circuit grounding is necessary. .Look in the section marked
MODIFICATION FOR EXrpRA FACI.Ll'1'Iji;3 for instructions.
BAL"NCED AND UHBALANCED LINES
---,--------,----
If a circuit is unground.ed, it is considered balanced to ground.
If one sicle is grounded it is unbalanced. If the circuit is
center,,·tap grounded 'v1..th a pad or coil it is balanced to ground.
Refer to the third paragraph under GHOUNDING CIRCUITS for deter-
mining proper classification. THisted shielded pairs should be
used for all circuits whether they are ba]anced or unbalanced,
Cancellation of noise and crosstalk pickup is app:coximately the
same for either "Ihen the one point ground system is used.
If it i.s necessary to connect a balanced line to an unbalancea~
line, or the opposite, an isolation transformer should be used
betvieen them. The transformer must have good balance, an electro-·
static shield, and magnetic shi.eldillg sClffic..ient to reduce the
hum pickup at least 65 DB below the signal level. Impedance t;:lPS
on pri.mary and secondary are important to properly match both
circui ts. The Gates Radio Company I s general catalog lists tllGse
transformers. Balanced lines requiTe balanced pads and attenua--
tors, unbalanced li.nes requiro unbalanced ones. Mixing them
generally resul.ts in poor noi.se, frequency response or other
.poor operation.
CIRCUIT HlP.2DANCBS
The mi.crophone inputs are factory connected for 150 ohms. These
are balanced inputs. The impedance can be changed to 50 ohms
balanced by changing the co=ections of the input transformer on
the preamp board. See the preamp instruction book included at
the back of this book for more informati.on on this change.
The turntables and tape inputs are 600 ohms unbalanced. These
impedances cannot be changed in the console and if other iill-'
pedances are desired, a matching pad or an isolation transformer
must be used. If a matching pad is used it should be unbalanced
and its common side connec ted to the CO';11Ilon or grounded side of
the inputs.
The Executive
6/26/62
-,5-

/
The remote input 1 ines and the auxiliary stereo input to chanr181
10 are 600 ohm balanc8d circuits. The impe;danc8 can be changed
by changing taps on Tl, T9, and ']'10, the matching transform",r in
thes0 channo1s. riS connectod, to 1 and 3, the impedance is 600
ohms. Connect to land 2 for 150/200 ohms and to 2 and 3 for
30/50 ohms. ~rhe net input to chann01 9 is 600 ohms and no match",
ing transformer is included in this channel. If othor i.mp",dancus
are desired an external transformer must be used.
INSTALLATION ___ ,!IHINQ
PO'JER CONlBC'T'TONS
A 117 VAC ci.rcui t should be connect0d tc terminals 1 and 3 on
the power transformer. '[,erminals 1 and 2 should be; used if
local AC line voltage is low (105,-110 V.) and t0rmi.nals 1 and 4
should be used where the AC voltage is hi.gh (120 to 125 V.).
The three 28 Vo secondary windings of the powGr transformer,
terminals 5 and 6, 7 and 8, 9 and 10 should be connected to
terminal block 8, terminals land 2, 3 and Lj, 5 and 6.
117 VAC for the warning li.ghts should be connected to terminals
1 and 2 of terminal block 7. Studio A warning lights connect
to terminals 3 and 4 of terminal block 7. 117 vAC will appe3.r
at these terminals when channel one Lever mii tch is placed in
program or audition posi liiODS. T,i.ghts conn0cted to theSE' t8l"-
mina1s should, therGfore, be i.n tho same studio as microphonos
connected to channel 1 i.nputs. Studi.o B w'lrning lights should
be conn8cted to terminals 5 and 6. Those li.ghts wi11 be on
"lhen channel 2 lever sl'J"itch is in program or audition positi.on
and should be in the same studio as microphones conn8cted to
chanrlel 2 inputs. Control room 1rrarning lights, ac ti vated by
lev6r switch:;' should bG connocted to terminals 7 and 8 of
terminal block 7. Terminals 9 and 10 are wired for use with
a fourth relay. See the: section on modifications for mor'e
information. \~arning light circuits should not be grounded
at any point and should not draw mOLe than 2 amps of current.
Drawing 813 7289 001 shoW's the above connections in detail.
STUDIO INTERCOTL 'JIRlNG
\Jhen connecting the studio i.ntercom units, the wiring should
be kept separat'2d from program ciI'cui ts. Connect the Studio
A unit to terminal block 6, terminals 5A and 5B. The Studio
B unit should connect to terminals 7A and 7B on terminal block
6. These circuits should not be grounded.
The .c!,xecutive
6/26/62

/
MONITOR SPEAKERS
All speaker Hiring is high level and must be run in separate
cOllduit m;ay from 10Vi level program circui.ts. Stereo monitor-·
ing is providod to all studios as well as external lobby sp~ak
ers. 45/60 to 6/8 ohm speaker matching transformers should be
used. Gates 478-Q291 speaker trans.formc:rs are satisfactory. Tho
relay deck has 4-7 ohm back loading resistors across the lines
when the speakers are muted. Do got parallel sPeakers across
the monitor outputs without using the matching transfoI'mers
just mentioned since serious damage to th0 monitor amplifiers
will rccsult if they are operated with a load of less than 4 ohms.
Speakers connect as folloVis to terminal block 6 .-
9.1?S,
ak
£E
Terminal
Studio
A
.-
Left
8A 8B
Studio
A
,.,.
Right
9A 9B
Studio
B -
Left
lOA lOB
Studio
B
._.
Ri.ght
llA
llB
Control
300m
--
Left
12A 12B
Control
Room
.~"
Right
13A 13B
Lobby
-
Left
18A 18B
Lobby
.-
Right
20A 20B
The "hot" side of each speaker should connect to the A termi.nal
on TB6 to insure proper phasing of speakers fo:r b8St stcrc~Q
operation.
Studio A spoakers will mute "Then channel 1. .l8ver switch is in
program or audition position. Studio B speakers mute "hen chan--
nel 2 .lever switch is operated and control room speakers are
muted. when channel 3 lever s.J1 tch is operated. SP.t<;AKJ;B CL~Q.QITS
MUST NOT BE G'ROUND~~D.
-_ ... _--------
External monitor illj:;uts, if used, should connect to TB5, 21\. .. -2:B
for the left channel and TB5, lA-.JB for the ri:;ht channel.
111CROPH0t:_~ I~ Cm~NJC!!9E§.
E3.ch microphone ch3.nnel has provisions for ·two stereo microphone
combinations, or a total of four microphones per chaILYJ.el.
switching between com.binations, or frolli stereo to monaural,
is done on the front panel.
Channell: \.lith 39 in "mic 1" position and S12 in "stereo"
position, the console is set UP for stereo broadcasting from
microphones connected to the first hID inputs on terminal
block 1. 1·Ji.th S12 in "mono" position, the signal from micro-'
phone input; 1 is fGd through both preamps so that both left
The Executi.ve
6/26/62
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/
and right ChanI181s will carry the same signal. l'loving S9 to
"mic 2" position, SVli-tch8S microphones connected to terminals
3 and 4 into the channell pre3.mps. The function of 812, the
mono'-stcrco switch, remains the salla with microphone 3 feeding
both 1uft and right char.ne1s (vlhen 812 i.s placed i.n th0 "mono"
position). Refcrence to the fUilctiona.l block diagram, drawing
842 3492 001, wi 11 hGlp clarify these; functions. Channel 1
microphones should be located in the same studio as the speakurs
that are connected to mute when the channell lever sivitch is
operated.
Channel 1 microphone connections are mdde to terminal block 1
as follol'JS·- -
1
1
2
2
Left
Flight
Left
Right
Terminal
11'.
2A
31'.
4A
IB
2B
3B
4B
The microphone inputs are balanced 150 ohm and the external
circuit should not be grounded.
(See Instruction Book for the preamps for informa bion on chang·-
ing the impedance to 30/50 ohms.) (See section on GHOUNDIIlG
CI.2CUIIJ.'S fo!' in~:tallation techniql}8S ,_)
It is important in stGreo broadcasting that the left and right
p:r'ogram sources b3 ir.:. th8 correct 'Dhase Vii tll each other to
maintain proper sound persp8ctivu.- This fact must be taken
into account when connecting in.Quts 'to the stereo console ..
Color codi.ng of I'licrojJhone cables or connector pin numb8ring
should be noted and the same lead connectecl fro];! each micro--
phone to the cor'I'c;sponding ter::ninal on TBI in each channel.
Microphone arrangements for channel 2 are the same as for
chann8l 1. ;3witching fUIlcti.ons of S10 and 813 are the same
as 89 and 812 r8sp8ctively, as 8xplained 8.bove. Th8 fune·-
tional diagram drawing 8L [phone], shows these fUl1cti.ons.
Channel 2 microphones shoU:ld be in the same studio as the
speakers conn8cted to mute when the channel 2 lover key is
operat8d.
Microphone cor.nections to channel 2 are as f0110Vls-,
6/26/62
3
3
4
4
LGft
Right
Left
Right
Terlu
i
119.l Block 1
5A
61'.
7A
8.11.
5B
6B
7B
8B
The Executive

Again, proper phasing must be obta1ned betvleen microphones for
best operation.
Switches S11 and 814 perform the same functions as S9 and S12
respectlvely, as explained under channel 1.. Channel 3 micro·-
phones should be in the same studio as the speakers connected
to mute when the channel 3 lever s1l1i tch is operated. Again,
phasing of inputs is important and microphone polarity should
be closely observed.
Connections should be made as follows '.'
Microphone
Terlll2:nal
Block
_1
5
Left
9A 9B
5
Right lOA lOB
6
Left llA
llB
6
Right 12A 12B
Drawing 813 7290 001 shows the above microphone connections.
Provision i.s made for four stereo turntable inputs, eaoh of
\,hich can be mli tohed to mixers 4 or 5. Turntabl e inputs are
medium level (..-20 DBI1) 600 ohm unba.lanced. If the output of
turntable preamp is unbalanced, the common side should be con-
nected to the common si.de of the input termi.naJ.s (ROI, B) on
terminal block ;;. . As with mi.crophone inpu'~s. polari.ty of the
turnto.'blo 1.np::::8 r:u.st be observed. to insure:; t::.2:: !li.ght SJ:;!,Q
left channel si.gnals are in proper phase relationship. This
requires checki.ng of all the ~dring from the stereo pickup,
through the preamp to the console for proper connections,
Inputs to the turntable chann.els should not be ground.ed ex·-
ternally, Isolation transformers may be used. if necessary
to isolate external groUllds or to connect i.nputs that should
not be grounded to the unbalanced turntable i.nputs.
Turntable inputs connect to terminal block 3 as follows .• ,
.Tur~le .Terminal !i
1
Left Channel lA IB
1
Right Channel 2A
2B
2 Left Channel
3A
3B
2
Right Channel
4A
4B
3
Left Channel
5A 5B
3
Right Chanr!el 6A
6B
4 Left Channel
7A
7B
4 Ri.ght Channel
8A 8B
See the section on
OPERATION
for
detai.ls
on
switching functions.
6/26/62
-9-
The Executi.ve

/
TAPE INPUTS
.. _---
Four stereo tape inputs aI'''' provided, S\·Jitchable bctweGrl chan-·
nels 6 and 7. ThGse are "mGdi.um·-level" 600 ohm unb;ilcnc cd inputs.
Connecti.ons arE: made to terminal block 3 as follO"l'lS .-
1
1
2
2
3
Tape
Left
Right
Left
Eight
~=
Left
Right
Left
Right
Torminal
._----
9A.
lOA
llA
12A
13A
14A
15A
16A.
9B
lOB
11B
12B
13B
14B
15B
1GB
As with othor stereo inputs, tape CODll.eC1;lOllS must be mdde
1!lith proper polari.ty to insure proper phasi.ng of stereo
signals.
Alt;hough the console is intended to hundle 4 turntablc:s and
1+ tapes, lTIOre than thl s number of turntablos may be used by
connecting to tap'" inputs and switching them into mixers 6
and 7. Of course, one, or morE: of the tape inputs must be
s3erj f:i ceCl c In the SU2:},e manner,) more than 1.1- tape inyuts can
'be obtained by using tUInte.ble inputs and bri.nging the Cldcli·-
tional tapes i.nto mixers 4 and 5& In thi s case, one ox- more
turntable inputs will be sacrificed. Of course, not all the
tape or turntable inputs need be used.
REI'10T
'E
INPUI'S
---.--
Provision is made for the connec"tion of 4 remote lines to
mixer 8. These are "medium'"·level" GOJ ohm bahmced mono-
phonic i.nputs. Connections for these inputs are locat8d
on terminal block "3 as follows '.'
Remote .ld.ll~
1
2
3
4
Terminals
-.
l?A
l8A
19A
20A
17B
l8B
19B
20B
It is suggested that, rather than connect the remote ~ines
directly to the consol,), they be brought out to jacks i .. n
the station patch panel to allow a greater versatility in
progra=ing. 2xternal ciI.'cui'cs should. not. be grounded.
The input level of these lines should be about ·-20 DBl"I.
This allows the use of isolati.on pads or eou()'lizc)rs and
still have sufficient gain for proper operation.
The Executive
6/26/62
·-10-

NETWOR.1{ INPUT
A 600 0hI:! monophonic network input is provided with mlxlng accomp·_·
lished through L1ixer 9. This channel can be converted to stereo
if desired (see the section on MODIFICATIOJlTS for details). As
ltfired, the network wi.ll feed both left and ri ght program channels.
The network line should be connected to TB5, teruinals 17A and 17B.
NEl"I0 INPUT.
Channel 10 is a high level stereo channel provided for auxiliary
use. Input connection should be made to TB5, 19A and 19B for the
left channel and TB5, 20A and 20B for the right channel.
LINE OUTPUT COl\TNECrnOJITS
. ~.~------
The level of these lines will be +8 DBM and they should be routed
carefully to prevent crosstalk back into low level input circuits.
Connect output line 1 to TB4 terminals 1311. ... l3B. Output line 3
connec ts to TB4 terminals 15A ... 15B. 'Line 2, if used, connects
to TBLj- terminals l4A-· l4B. These are 600 ohm balanced outputs.
Observe correct phase relationship between output lines to insure
proper sOlmd perspective betl1een left and right channe1s. In .. -
structions for balancing lef t and right channels uay be found i.n
the MASTER GAIJIT CONTROLS Section, page 15.
-_._._-----------
EA;[i'PHOJITE COJITJITECTIONS
The earphone jaeks for both the cue .. intercom system and the line
monitoring circuits are mounted externally on a jack panel. The
panel should be mounted in a convenient location in the control
room and shielded tHisted pair should be used to connect to tho
console. Drawing 813 7721 001 shows the cooplete wiri.ng details
necessary for proper installation.
OPERAr;rIO~
The arrangeoent of panel controls gives maximum versatility to
console operation while keeping actual operating as siLlple as
possible. Control functions are explained in the following
sections. In all cases, reference to the block diagran of the
console, dral1ing 8423492 001, will help clarify these functions.
MICROPHONE SELECTOR Sl-JITCHES
On the upper left side of the panel, above channel Llixers 1,
2 and 3, are three pairs of switches. These switches perforn
identical functions for each channel. The uicrophone selec .. ·
tor swi tch is used to s\vi tch betwoen t\'lO sets of stereo Llicro·-
phones in each studi.o. Wi th the Llono·-stereo sl1i tch in the
6/26/62
-·11-· The
Executive

/
starGo position, the left and right Iilicrophones vJill be
switched to the loft and right prograB bUSSGS Nhan the proper
mixer kc;y is placed to thG right. Those same microphones
v,il1 be svritched to left and right audition busse)s when thG
mixer key is placed to tho left. If the) mono-,stereo sHi tch
is plac2d in the Iilono positi,on, tho left microphone will feGd
both left and right program or 3.udition busses when the mix(,r
key is placed in the program or audi tion position. This al,-·
10vlS
announcements to be made on both channGls while broad,··
casting stereo frol1 other lilicrophonG combi,nations. .For stereo
broadcasting, the 1 in8 output sv/i tch must be in "otereo posi,·"
tion", as oxplainod under LINB INFUT ScIiTCHING.
TU"INTABLB .81,.jE'CHIHG
The four turntable, switches, abOV0 mixers L+ and 5, selGct the
desired input to each mixer < ',fIlen thu channel switches, above
mixer 4, are in the "o.FF" position, turntable inputs aro nor""
malled through to the mixer 5 switches. 1,Jhen any of the svlitches
jn channel 4 are swi tclled "ON", the turntable input l,rill ap'-'
pear at the output of mix8r 4,< Moving the channel 4 mixer koy
to the right "lil1 bring up tho turntable input on the left and
right program busses, while moving tlw mixer key to th0 left
vlill switch tho signal to the 18ft and right audition busses.
1'10ving tho desired turntilble in"ut switch to the "ON" posi,-
tion, above mixer 5, Hill switch thG d8sired turntable input
into this mixer. S .... ri tching is arrD.l1G2d so th.} t a turnt::'1.ble
cannot bil s,li tchcdinto ;;}ixer 5, if it is alree.dy switched
into mi xor 4. This prevents loading the turntable outl}utby
paralleling it into tl,'O console inputs. Cueing facilitieS
are provided for by turning uither·turntClble mixer fadar fully
c ounterc} ocll:wise. This co=cocts tllG turntab10 inputs to the
cue,-,intercom amp. Cuoing can be accomplished by USIng the
panel IilOUlltcod speaker or hoadphonos (plugged into the cue
phono jack). The operati.on of the cue-,intercom system is
covered in a l"ctor s0ction. No special provision is nl,ces,-
sClry for monophonic op0ration, since mono records played on
a storoo turntable vJill result in idontical signals in both
left and right chann.]ls.
T,,;,p;§. .. INFUT S')I'T'CHING
Mixers 6 and 7, located to the right of the VU rueters'are
idGnt.ical in operation to the turntable inputs discussed
above. Four storeo inputs can be switchod to either mixers
6 or 7. Outputs of mixGrs 6 and 7 can -08 s'\,itched to "program"
or "audi tion" busses. Cuoing f3.cilities are provided by turn,-
ing mixer 6 or 7 fully counterclockwiso, thus, connecting the
mixer to th0 cue-·intercom system.
Tho Executive
6/26/62
-,,12,·-

/
RENOTE INPUT SlllTCHING
Four le~er s~itches, located ~bove mixer 8, control four reDote
inputs. The re;]lOte svJitches provide talkbBck and cueingfucil·····
ities to the remote operator. In the center position, they re-
ceive pIogrclD cue sign3l froel the moni toring a:J.plif ier. :The
level is adjusted to approxinately +8 VU. This si6nal is fed
back to the IeDote operator to allow hin to start hi.8 progral:l
at the proper time. The lower position is the ;'Eix" position
and connects the remote program into the progra;J or audition
bus through Lli.xer 8. The upper position of the s\-litehes have
a terminati.ng load f or the remote lines and allo\'1 over·-,ride
and talkback iuncti.ons. See the section CUE·,IWij:!:RCOI1 dYS'l'EI1
for explanation of these functions. The remote lines are not
tied togeth"r when any or all of the reLlote keys are in th"
talkback posi tion. The~-e is sufficient isola ti on between then
even with the over,·ride tie-in on all lines.
A typic:ll sequence of operation for a reLlote line wi,ll be:
Before air time, the studio operator would place the appro-
priate reElOte line switch in the "TB" position, and the cue--
intercom j,nput selector s1<Jitch to the "remote" position. \-Jhen
the reLlote operator arrives at the broadcast site, he would
call in on the remote line. The stUdio operator woulel hedr
his call and be able to tQlk ba.ck via tha cue·-intercoLl sYSGeLl.
After pre l.il1inary instructi ons, the renote input switch woulel
be pl3.csd. in the lIeue If posi tion" ~ .. -Tb.en the :reDot:e o:pt3r"Yt:01~
l:eccives bis cue the :ce::Jote input swi tch is noved to the "llJix"
position and the re~lClte signal is brought up on llJixer 8. An
alternate :Jethod of operati.on, before c;)ntact is est:lblisheel
,lith rel.lote o"Oera tor, is to place the rnlPro"Oriate reDOGe input
switch in ths C "ni.x" position anel the ch;llnel 8 IJixer in the
"cue" posi tion. This alloVJs the renote operator to call in
and be hearel regctrdless of the position of the cue-intercom
input selector. ,\.iter the call is heard, the rellJote switch is
placed in the "TB" position and the cue-·intercollJ input selec-"
tor to the "rewote" position and the above procedure is fol·,
lo"ed.
NET1,JORK IN?UT
-----
The network in,?ut is cormected directly to mixer 9 anel is put
in use by pIgcing the llJixer key to the progran or audi.tion
position ,mel turnin[; up the mixer gain control. Preview
T;coni toring of the network is provided by turning the Bixer
control fully counterclockl'lise into the "cue" position. Ne t-,
work can tbell be LlOni tored wi th the "cue input" swi tcll jn
any positi.on. If it is desired to monitor the network with
the r.lixer turned up ready for use, the "cue i.nput" switch
should be tUl'ned to the "net" position allowing the network
to be heard in the cue-intercoD systen.
The Executive
6/26/62
,-13-

/
NEli0 INljUT
-------
Channel 10 i.s a stereo channel Vii th th8 input connected di.rectly
into the Bixel'. Cueing is available by turning the mixer fully
counterclockwise.
~lONI'I'OR INPUT S.8LBCTOR AND LEVEL
The monitor iEput selector is located on the 10Vier center of
the panel. Input switching allows stereo Doni toring of progr.Jili1,
audition or an external signal source. The gain of both the
"left" and "right" BonitoI' allplifiers i.8 c'lntrolled by the dual
gain control located to the leit of the BonitoI' input selector.
The inputs to iine ahlpJiiiers 2 and 3 are select8d by the two
switches in the upper right corn8r oi the panel. Only the in--
puts to the o.bove aHplifiers are switch selected. Iline aBp 1
is fed frod the 1I10ft' prograB bus at all tiD8s.
For stereo broadcEls ting, 1 ine aillp ." input is sl,ri tched to the
"stereo!! posi tiOIlc This ,sll:li tches the IIrightll program bus i.nto
line amp 3 and 1l1eftl1 El.nd r!rightll stereo out;put vJill appear at
the outputs of h.ne ahlps 1 and 3 r0spe6tively. If it i.s de···
sired to feed 1:;1'1'3 Silllep,-"ograhl to 1 ines 1 o.nd 3 siLlul taneously,
the line cE";)T ." input s",i tcll should be placed in the upper or
"Sl'.-·U' "DOoi+j"on 'l'J" 1 +-hl'S" -~OQi'1'--:-l'or, -:-:L'I:-~ '::-;-'-·"1""'; '"r·' -!-11(~ "l.,.[.'!-
.!.ll .Le .... "') .... _d _ .... u ~ "-'·_v _, v I:; '-'-'-'Did., V.l UJ.v ..L ...... "J..u
program bus \"i1J :rppear at both Itne 1 and 3 outpui;s. -rlacing
the line allp 3 inl)ut s"itcil in thl) conter or 'lmd L" position
swi.tches line ::l:~p '3 'input to the 1I1eftll audi.tion bus~ This
enables the console to bo operated as a dual channel console
vlith line 1 boing fed froD the "leit" program bus and line 3
being fed froE. the "left" audition bus. Stereo programs can· ..
not be broadcast 1"lhen the: console is operated in this Banner.
Provision is includsd for the addition of a third line awpli ..
fior to feed the line 2 output. \Jith this unit in place, the
'versatility of ths console is greatly increased.
The line =plifi.er 2 input switch selects the desi,roo input.
In the'L + 11" position, a cOTJpatible (h;ft plus right) sig-
nal i.s available at the output of line 2. This allo\'ls broad ..
casting a conpal;ible lilonophonic signal on li.ne 2 while a
stereo progrclLl is carried on lines land 3.
1,lith the line =p 2 input sv!itclr in the "aud L" position the
line ai:Jp is switched to the "left" audition bus. Thi s a110,18
a cowpletely di.ffarent i'lonaural si.gna1 to be carried in the
middle channel, while stereo is being broadcast on channels
1 and 3. \·lhen the line 2 3.wp input svli tCll is plo.c0d in the
"siIm1." position, the signal on the ".left" prograD bus will
appear siDultElneously at both li.ne 1 and 2 outputs.
The Executi.ve
6/26/62

/
It is evident that several possible operational setups are possible.
Stereo can be broadcast on line 1 and :3 with a compatible (L + R)
si gnal on li.ne 2, or a cODplete.ly independent program can be hand,",
led on li.ne 2 through the "aud." bus. All three lines can hand.le
the same prograc materi.al, or the console can be used as a duo].
channe.l systen, hand.ling' two separate progrm:as into t\'w or three
lineso
MASTER GAIN CONTROLS
The gai.n controls for line aL1pS 1 (left) and :3 (right) are located
on the upper ri.ght side of the panel.
The e;ain control for the optional .line amp is located on the =pli-
fier itself, and i.s accessible at the right end of the =plifier
when the console cover is raised. Signal levels in the console
are adjusted with the input channel mixers so that control should
not need adjustDent after being ini tially set to Da tch the output
level s of Ii.nes land 3.
Once the gain of line m:l' #1 Cleft channel) has been adjusted to the
desired level, interchannel (left-·right) balance can be set using
the channel ba.l ance lever switch (S44) lecated to the left of the
conso Ie Donitor speaker on the hinged consol e control panel. 1,Jith
SLJ.4 .in the "nu1:1" position, VU Deter 7'12 is connected across the
top of the left and right channels, and thus reads the difference
in signal levels between channels. Adjust the level of li.ne amp
#3 (right Daster gain control) until VU 2 Deter nulls. This in-
dicates there is no difference in level between rhannels, and thus
the left and right channels are balanced. It should be obvious
that a nonophonic record [mst be used as a signal source .vhen bel-
ancing the stereo chmmels, since a stereo source seldon has the
S8.L'le levels Simultaneously on left 2-'1d right channels. The level
difference bet\'10en channels properly adjusted in accorde.nee wi.tb
the above procedure should not be more than ± .. 1 db at 8 VU output.
When the balancing procedure is cODp.leted, S44 should be returned
to the "norraal" position.
CUE-INTERCOM SYSTEM
Controls for the cue,-intercom aLlplifier are located be.low the VU
meter.
The top control is the gain control, and oontrols the level for
both the "talk" and "listen" functions. Below the level control
is the cue""'intercoD input selector switch, whicli has 6 positions.
In the "net" position, the network line can be Donitored. Talk--
baok i.s not possi bl e in tho network position. The relilOte 1, 2, 3
and 4 posi ti.ons tie the cue-intercoD aDp to the 1, 2, 3 or 4 ref.1ote
lines. For talkback fad Ii ties, the intercon selector is swi tched
to the desired reDote line and the :xppropriote renote input switoh
is placed in the "TB" position. The inconing reLote si.gnal line
will then be heard in the panel r;ounted speaker. When the control
rOOD operator desires to talk out on the renote li.ne, he siJ;'.ply
pushes the red "talk" button in the center of the panel and speaks
into. the po.nel speaker. "STl" and "ST2" positions o.llow listening
and to.lkback into Studios :1 o.nd 2 if intercon units have been in-·
stalled in theL:.
11/20/64
-"15-
Executive Console