Solidyne D-612 User manual

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Contents-
CHAPTER 1 – Overview .........................5
1.1 Abou his manual........................................5
1.2 Shipping lis ..................................................5
1.3 Fea ures........................................................5
1.3.1 Input channels...................................................5
1.3.2 Monitors.............................................................5
1.3.3 Outputs..............................................................6
1.3.4 ETM – VCA aders.............................................6
CHAPTER 2 – Ins alla ion ......................7
2.1 Overview.......................................................7
2.1.1 Parasitic signals.................................................7
2.2 Power source................................................8
2.3 Inpu channels..............................................8
2.3.1 LINE inputs........................................................8
2.3.2 USB audio inter ace...........................................8
2.3.3 MICROPHONE INPUTS....................................9
2.4 AUDIO OUTPUTS.........................................9
2.4.1 PROGRAM AND RECORDINGS......................9
2.4.2 USB send..........................................................9
2.4.3 MONITORING OUTPUTS...............................10
10
2.4.3.1 HEADPHONES....................................10
2.4.3.2 MONITOR SPEAKERS........................10
2.5 Tally ligh ....................................................10
2.6 Telephonic Hybrid......................................10
2.6.1 CONNECTING A STANDARD LINE...............10
2.6.1.1 Null- actor.............................................10
2.6.2 CONNECTING A CELL PHONE.....................10
2.6.2.1 Re-connect a paired mobile.................11
2.6.2.2 Setup the level.....................................11
2.6.2.3 TURN OFF BLUETOOTH....................11
2.6.3 EXTERNAL HYBRID.......................................11
2.7 Grounding agains ligh ing.......................12
CHAPTER 3 – Opera ion ......................13
3.1 Overview.....................................................13
3.1.1 Quick test.........................................................13
Hybrid channel.................................................13
3.2.1 Operation.........................................................14
3.2.2 Using a cell phone...........................................14
3.2.2.1 Incoming call........................................14
3.2.2.2 End the call..........................................15
3.2.2.3 Resume the call on the cell phone.......15
3.2.2.4 Make a call...........................................15
3.2.3 Con erences....................................................15
3.2.3.1 Being the cell phone on-air..................16
3.2.3.2 Being the landline on-air......................16
3.2.4 Send PGM signal to the phone........................16
3.3 Moni or sec ion..........................................16
3.3.1 Using monitors and headphones.....................16
3.3.2 Use into integrated Studios.............................17
3.3.3 Previous listening (CUE).................................17
3.3.4 Talk back.........................................................17
3.4 Microphone channels................................18
3.4.1 Features..........................................................18
3.4.2 Processing.......................................................18
3.5 Line channels.............................................19
3.6 Recordings.................................................19
3.6.1 Direct to Hard Disc recording..........................20
3.6.2 Recording the phone lines...............................20
CHAPTER 4 – D612/IP ..........................21
4.1 In roduc ion................................................21
4.2 Power source..............................................21
4.3 STL link.......................................................21
4.3.1 IP access.........................................................21
4.3.2 Destiny IP address..........................................21
4.3.3 Audio settings..................................................22
4.3.4 Using a microwave digital link.........................22
4.3.5 Decoding using a computer.............................22
4.4 Decode an incoming s reaming................23
4.4.1 Audio rom the incoming streaming.................23
4.5 O hers connec ions....................................23
4.5.1 Full-duplex link with unknown IP at the Studios
..................................................................................23
4.5.2 Link with repeaters..........................................24
CHAPTER 5 – HD3/HD5 ........................25
5.1 Overview.....................................................25
5.2 Connec ions...............................................25
5.2.1 Connection to the mixer console.....................25
5.2.2 Connections at the Studio...............................25
5.3 Using he HD3/HD5.....................................25
CHAPTER 6 – Specifica ions ...............27
6.1 How to get a long li e o the console...................27
6.2 Preventive Maintenance.....................................27
6.3 Spare parts.........................................................27
5.5 Tech specs.........................................................29
No es.................................................................30
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CHAPTER 1 Overview
1.1 Abou his manual
REVISION 18.09, September 2018
REVISION 18.09, September 2018
Solidyne® All rights reserved. No part o this man-
ual may be reproduced, copied or transmitted in
any orm or by any electronic or mechanical
means: either in whole or in part.
1.2 Shipping lis
When unpacking the unit; check the contents to
veri y that the console has not received blows
during the shipment. Inside the packaging you
receive the ollowing elements:
•1 switching power source 90-240 V
•This user manual
• 1 guaranty agreement
• 1 tubular connector (2,5 mm for Tally Light
• 4 self-adhesive rubber pads.
Optionally:
• Wiring kit (optional . If you did not acquire the
wiring kit, you will receive the corresponding
DIN connectors.
•One RJ45 Ethernet wire (only for models
/AoIP
1.3 Fea ures
D612 console is a compact, solid and elegant unit;
with a great lexibility or interconnection. It in-
cludes USB digital I/O which brings digital link with
the computer; avoiding the use o sound cards in
the computer.
D612 has 5 100mm pro essional
Conductive-Ce-
ramic ader o with ETM-VCA control that o er a
li e utility o one million operations (over 15
years). It is the best solution or small and
medium radios; and or auxiliary recording stud-
ies in great stations.
1.3.1 Inpu channels
There are 2 microphone channels, that manages
our microphone inputs. Each input has dual input.
Main inputs MIC-1 and MIC-2 supports phantom
power o 48V, switched rom the ront panel. Mic
channels have a processing stage that includes 4
bands equalizer and automatic dynamic range
compressor. Each microphone channel can be
sent individually to the air signal (PGM) or as-
signed to the processing stage. MIC-3 channel can
be switched to AUX stereo line input.
Each mic ader can manage two dynamic micro-
phones. At the rear panel you ind 4 XLR inputs
(MIC-1a; MIC-1b; MIC-2a; MIC-2b). The built-in
dynamic compressor compensates the level be-
tween the microphones. It's appropriated that
mic's connected to the same channel are the
same model.
3 LINE channels allow connecting up to 6
sources. Channels 3 and 4 manages unbalanced
analogical inputs (Line-1 and Line-2) and balanced
inputs (Bal-1 and Bal-2) whereas channel 5 are
digital, with direct connection to the computer via
USB. In addition, all channels have one analog
auxiliary input.
All the channels count on a gain control, that take
e ects on the selected input (main or auxiliary).
“Telephone Hybrid” manages one land telephone
lines (2 wires) and one cellular phone linked via
Bluetooth. Both can be in con erence. The use is
very simple, since many unctions are auto-
mated. Additionally, the console has send and
return connector or external hybrids.
1.3.2 Moni ors
The monitoring area distributes the signals to the
loudspeakers and headphones on the studio and
the control room.
S udio & Con rol Room has a unique level knob
or loudspeakers and headphones; and the assign-
ment switches that allow select between ON-AIR
signal (external tuner), console output (PGM) or
recording output (REC). Usually the level in the
console is ixed; since a headphones mixer allows
to manage each headphone and active speakers
has it own level knob.
CUE moni or The console has a built-in loud-
speaker or cueing, with its own control level. CUE
is an internal send that allows listening to the audio
signal previous to the ader. The cue signal also is
sent to the Control Room headphones.
Additionally, monitoring section contains the
Talkback circuit; that operates as well in combi-
nation with loudspeaker CUE to engage in a pri-
vate dialog rom the hybrid with a telephone call
without disturbing the on-air signal.
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1.3.3 Ou pu s
Solidyne D612 has wo main ou pu s named
PGM (Program) and REC (recording). Phone lines
are sent only to PGM.
In addition it has an USB digi al ou pu that ap-
pear in the computer as external sound record-
ing devices (USB recording devices) and sends
the program signals.
The outputs are:
1. PGM, The PROGRAM output is used the
send the signal to the air.
2. REC, used to recordings (and allows to lis-
ten a channel in the main monitors without
send it to the air .
3. PGM/REC USB, program or recording out-
put is also available via USB.
4. PGM over Ethernet (optional): Available
in models with the expansion /IP. The con-
sole can send RTP streaming to link with
the transmitter plant; or mpeg streaming to
upload to an Icecast server (see Chapter 4
– Models D612/IP
D612 has send & return connections or ex ernal
hybrid. The audio rom the external hybrid enters
trough the “hybrid channel” and operates just as
the built-in hybrids; which continue being operative.
Please note that land lines o internal & external
hybrids will work in con erence.
The Tally ou pu allows the direct connection o
ON-AIR LED’s lights. Tally activates when opening
the mic channels. The mixer has built-in tally LED.
TALLY OUTPUT LOAD DOES NOT HAVE TO
EXCEED 120mA (two Solidyne ON-AIR lights).
If your radio uses the old incandescent light
bulbs, a 1 V relay must be connected.
1.3.4 ETM – VCA faders
Using a technique o control called ETM-VCA
(Electrometric Voltage Controlled Ampli ier) the
aders DO NOT manage audio signals. The
change on the level is made using low noise ampli-
iers o great stability. The main aders only handle
control signals that modi y the gain o the elec-
tronic ampli iers. For more in ormation please visit
our WEB site.
The main advantages o this technology are:
•Eliminates the noisy signals due to dirty
faders.
•Eliminates the maintenance and improves the
life of faders.
•Gives a perfect stereo tracking (less than 0,1
dB error) between Left and Right channels.
•Allows using Conductive Ceramic faders of
two million guaranteed operations (about 15
years of use).
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CHAPTER 2 Installation and wiring
2.1 Overview
Installation o Solidyne D612 doesn’t present par-
ticular jobs. However, keep in mind the basic rules
or all pro essional audio installations. The bal-
anced inputs o the D612 uses DIN-5 multipin con-
nectors (provided with the console). In option, you
can acquire the Solidyne wiring kit (MNG612),
which include all the cables and connectors
needed or the set up.
For console grounding use the rear side GND
bronze ip with a mm cable to a good buried
cooper bar.
2.1.1 Parasi ic signals
All unwanted signals that appear in audio lines
usually consider parasitic signals. A common type
are denominated humming, low requency signals
(multiples o 50/60 Hertz) caused by the interaction
o electromagnetic ields coming rom the AC line.
When the inter erence source is a magnetic ield
(generally originated in a supply trans ormer) the
resultant inter erence will be denominated electro-
magnetic humming. When the inter erence is due
to such electric potentials as cables that take sup-
ply tensions, that are elevated in comparison with
the audio signals present in the circuit, you will be
in presence o electrostatic humming. The distinc-
tion is not merely academic, because the resolu-
tion o a problem supposes the knowledge o the
noise type to apply the correct solution.
Examples: To minimize the reception of electromag-
netic humming in the wires, remember the following rule:
"THE AREA AMONG TWO AUDIO WIRES WILL BE
MINIMUM." It implies that the cables will be tied very
close, like the shielded twisted pair audio cables. They
should pass far away from any transformer or devices
that manage high-intensity currents. Is important to re-
member that a wire can be good shielded, but if his con-
ductors don’t complete the conditions of minimum area it
will be susceptible to take magnetic humming.
Other parasitic signals are: AC HUM, RADIO FRE-
QUENCY and CROSSTALK. As hum noises like
the radio requency are originated by electromag-
netic ields o high requency; the irst ones are
originated by disturbances due to the connection
and disconnection o equipment’s to the AC line,
the seconds ones are generated by communica-
tions transmitters or industrial equipment. I these
signals penetrate into audio lines, with su icient in-
tensity, can surpass the action o the special pro-
tection ilters, and to reach some sensible part o
the input stages. In that case, the inter ering sig-
nals can be demodulated and already turned audio
signal, and will be ampli ied by the rest o the sys-
tem. It is undamental, there ore, to maintain the in-
ter erence within reduced margins. It is obtained
avoiding very long audio lines, with aerial sections
or that pass near o trans ormers or RF transmit-
ters. For protection against very high requencies is
advisable to use double shielded cables, guar-
antied by the manu acturer.
CROSSTALK is the reception o signals coming
rom other lines o audio. This, like all unwanted
noise, it can be supposed controlled when its level
is below the level o the system residual noise.
Then, all considerations mentioned or the case o
buzz are valid.
2.1.2 RF in erference (Hum)
D612 consoles have numerous internal protections
against RF ields, or the AM and FM broadcasting
band. When the transmission station is installed
correctly, there will be no inter erence problems,
still with FM equipment o 50 KW installed in the
terrace o the radio station. Nevertheless, when the
antenna is badly positioned with respect to the Stu-
dio or has severe SWR problems, then it does not
have the minimum value o ield intensity, down-
ward. Or maybe there is a aulty ground connec-
tion, then, strong standing waves will appear on
the cables o the Studio that can induce high elec-
trical currents inside the audio console.
Symp oms: I the inter erence takes place at the
A.M. band, the sound transmitted by the A.M. radio
will be listened in the loudspeakers on background
(or at buses PGM, REC). In case o FM transmis-
sions, the inter erence inside the console demodu-
lates the A.M component o the FM carrier; (usually
hum rom power supply) causing background hum-
ming, because in many transmitters o FM, the inal
output stage is not powered with stabilized tension.
There ore, i console D612 presents humming,
please make a test shutting down the transmitter a
ew seconds to check i the problem disappears.
Sometimes, an FM transmitter with the output stage
badly calibrated also produce inter erence in which
you can hear the transmitted audio (due to the mis-
alignment a part o the FM modulation is translated
to AM modulation).
Solu ion: D612 consoles have internal ilters
against RF inter erence. There ore, i inter erence’s
appears, normally is caused by installation problems
on the transmission station that generate elevated
currents in the wiring o audio on the Studies, due to
the standing waves. These currents circulates inside
the cabinet o the console, and inter eres to the cir-
cuits when overpass the barriers that impose to this
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currents the built-in RF ilters. The solution, then,
must be external to the console.
To solve it, pass all cables
through ferri e O-rings o 2”
diameter. They will be used in
each connector, o input and
outputs. The total set o cables that goes to each
connector, will have to be twisted around the ring.
2.2 Power source
At the le t side o the rear panel you will ind the
connector or the power supply. The switching
power supply (provided with the unit) works with
any AC network (90-240 V) and tolerate great
variations o tension. Gives regula ed 28VCC.
PLE A S E DON ’ T R EPL A C E T HE O R I GINA L
POW E R SUP P L Y.
The console doesn't have on/o switch. It remains
ed while the power supply is connected.
The grounding made through a bronze tip lo-
cated in the rear panel that provides the ground
connection to the chassis. Use cable o 2mm to a
good buried cooper bar.
2.3 Inpu channels
On the rear panel are located all the inputs and
outputs connectors. Take in mind that good connec-
tions o er sa e and ree o aults operation. By this rea-
son we recommend you: take it the time necessary to
make the connections care ully and use always mate-
rial o irst quality.
2.3.1 LINE inpu s
Each line channel has two stereo inputs, selected
rom the rontal panel. ‘BAL-1' and 'BAL-2' inputs
are symmetrical balanced, available at DIN con-
nectors. 'LIN-1' and 'LIN-2' inputs are unbalanced,
and uses Phono-RCA connectors.
To connect an equipment with balanced output you
will need a cable rom DIN-5 to two CANNON
(XLR) or stereo Plug’s (TRS ¼”) according to cor-
responds. The pin distribution o DIN-5 and XLR
are described next. Remember that you need to
connect TWO XLR to the DIN (balanced le t and
balanced right).
DIN 5 (s ereo bal.) Female XLR
1 AUDIO (-) RIGHT 1GND (shield)
2 GND (shield) 2AUDIO (+)
3 AUDIO (-) LEFT 3AUDIO (-)
4 AUDIO (+) RIGHT
5 AUDIO (+) LEFT
Unbalanced lines manages signals o -10dBV @
10KOhms (home type or semi-pro).
The GAIN con rol is common for bo h inpu s; ha
is o say, ha opera es on he selec ed inpu s.
2.3.2 USB audio in erface
The Channel-5 is or direct con-
nection to the computer using an
USB port.
Standard cable USB A/B are
used. Ports 1.1 or 2.0 are sup-
ported. Place the CPU so next to the console as it
will be possible, in order to use a wire o 2 to 3
meters o length. USB extension can be used; but
it is recommended no o exceed 4 me ers.
The channel must be connected to a computer
running Windows©7/10; Linux or OSX. When con-
necting the channel to the PC, Windows© auto-
matically recognizes it and installs the correspon-
dent drivers. Additional drivers are not required.
Be ore connecting the USB cable, make sure the
computer has e ectively grounded through its
terminal on the rear panel.
I you want to check the ground, connect a tester
on the scale o 25 Vac between the chassis o the
PC and console, and veri y that the voltage is zero
volts (+ / - 5V). Only then connect the USB.
I the equipment is not properly grounded, could
damage the USB port on the console or computer.
Windows© detect the USB channel as “USB au-
dio device”. At the console; the display indicator
“Digital In/Out” will show “U4”, indicating that
stereo input and output o USB channel was rec-
ognized.
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Remember that you can see the playing and
recording devices rom “Control Panel > Audio
and sound Devices > Audio”. In this window you
de ine the pre erred devices or Windows (those
that applications use by de ault). This is simple
since the devices are selected rom a drop-down
menu.
Con igure the USB devices in the automation and
editing so tware. I the computer does not have in-
stalled a soundcard, de ault playing and recording
device will be the USB device (Channel-5 input
and PGM or REC output).
In addition to the input, USB o ers a digi al send
o he compu er, that appears in Windows© as
“USB recording device” (PGM or REC). So that
you have available in the computer, the program
or recording signal.
ABOUT USB DETECTION
Window 7: Check if Window ha properly recognized
the recording device. If Windows recognizes the device
wrongly as “microphone device”, the recording will be mono
(same signal in both channels). To fix it, go to: Control Pannel
→ Sound → Recording → and choose USB device (appears
as USB microphone). Press [Properties]. Then select 'Ad-
vanced Options', open the drop-down menu Recording format
and choose stereo ( channels, 16 bits, 44.1KHz).
2.3.3 MICROPHONE INPUTS
Microphone channels are balanced electronically,
with XLR standard connectors.
Each channel has two XLR connectors that are
added internally. I two microphones to the same
channel, agrees that these are dynamic type, the
same make and model. Level di erences in the
voices are balanced by the audio compressor con-
sole. The action o the compressor depends on the
level o the PGM signal and is indicated on the
console.
The"48V"phantom power is available only or the
channels MIC-1a and MIC-2a. Remember that i
by mistake a dynamic MIC receives 48V, there is
no possibility o damage because its coil has ree
loating decouples this tension.
2.4 AUDIO OUTPUTS
2.4.1 PROGRAM AND RECORDINGS
Program ou pu (PGM) is the main output that
takes the signal that will be emitted to the air. It is
balanced, with emale TRS connectors (a.k.a.
“jack” ¼”).
Recording ou pu (REC) is balanced with Phono-
RCA connectors.
In order to connect PGM outputs to an unbalance
input, connect only he (+) pin, and leaving uncon-
nected the (-) pin.
To connect the balanced TRS output to a balanced
XLR input, the cable will be:
Balan ed onne tion Plug to male XLR
(for each channel
TRS (Plug XLR (Cannon
GND = sleeve
signal (+ = tip
signal (- = ring
GND = pin 1
signal (+ = pin 2
signal (- = pin 3
Please do not connect pin or pin 3 to ground. Never
uses “mono plug' s” (TS) to connect this outputs.
The nominal ou pu level is +4 dBu @ 0VU. I
you unbalance the outputs, take in mind that the
level reduces in 6 dB, there ore 0VU = -2dBm.
Note that i some nonpro essional equipment is
connected to the balanced output, may the level be
too high, causing saturation. In those cases a ixed
attenuation must be used to reduce the level (a re-
sistive splitter is a good solution).
2.4.2 USB send
USB allows direct connection with a computer, and
gives PROGRAM or REC signal (it switches rom
“USB OUT” in Channel-5). This eature don't re-
quires special drivers. Windows automatically rec-
ognizes the USB device (see “2.2.2.2 – USB).
Usually USB signal will be used or direct to hard
disk recordings; or webcasting. For details o use
the USB outputs in Windows© please see “3.6 -
Recording o programs”.
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2.4.3 MONITORING OUTPUTS
2.4.3.1 HEADPHONES
There are outputs or STUDIO and Control Room
headphones. A unique knob manages the level o
the headphone and speakers outputs.
At the Studio, usually is used a headphone's mixer
like the Solidyne Studio-box (not included) to dis-
tribute the signal to each people. See “Chapter 5 –
Studio Box” or details.
2.4.3.2 MONITOR SPEAKERS
D612 was designed to work with active loudspeak-
ers. The STUDIO and CONTROL outputs work with
line level at 0 dBu (0,775 V RMS). They have inde-
pendent controls or bus assignment and level. Both
outputs use emale 1/8” TRS connectors.
Remember that studio monitors are muted when mics
are on-air. Control Room speakers are muted when
the button Talkback is pressed.
2.5 Tally ligh
Tally light output gives 12V/120 mA when MICs
are turned on rom the Master Mic button. This out-
put supports the connection o two standard Soli-
dyne “on-air” tally lights.
NEVER exced 120 mA consump ion on Tally ou pu
The console has a built-in light; that resolves the on-
air signalization or small studios.
2.6 Telephonic Hybrid
2.6.1 CONNECTING A STANDARD LINE
The hybrid channel manages ONE land telephone
lines and ONE cellular phone. The internal adjust-
ments are rom actory; so the user do not needs to
make adjustments. Only the null- actor must be ad-
justed or the land line, only once on setup.
On the rear panel there are two RJ11 connectors;
or the telephone lines and the associated phone
set. The line can directly be connected to public
central telephone or the local central (PBX) o the
radio station. The private central sometimes deteri-
orates the hybrid rejection, reason why we advised
to directly connect the console to the public line,
whenever it is possible.
The telephone lines internally are protected against
lightings by metallic oxide varistors (SIOV). Never-
theless, we recommend to use additionally external
line protection o good quality.
Although the console has internal protection; it is recom-
mended to use external line a protection against tran-
sient voltage peaks due to accidents or lightings.
2.6.1.1 Null-fac or
This adjustment is only or LAND lines. The rejec-
tion actor expresses the capacity o the hybrid to
avoid that the transmitted signal returns distorted
to the air. Whichever greater it’s this actor more
“clean” will be the sound quality o the local
speaker on the air. In order set the rejection, pro-
ceed as ollowing:
1. Make a calling through one hybrid o the con-
sole. Ask a speaker to talk into the
microphone to the interviewee. Increase the
level rom "Telephone Control" until the voice
o the interviewee move the PGM VU meter
into the red zone.
2. Listening to the voice o the local speaker on
main monitors, turns the preset “Null” until re-
ducing to zero the distortion superposed to
the speaker’s voice. Please make this adjust
when the console is installed.
3. In case that the phone line connected to
the console be changed, this adjustment
must be repeated.
2.6.2 CONNECTING A CELL PHONE
It requires a phone with Bluetooth connectivity. Any
phone with Bluetooth can be linked to Solidyne
D612, eliminating the dependency on the adapter
cable "hands- ree". While the phone can be up to
10 meters away rom the console, you should
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