Solidyne 2600 series User manual

Page 2 Broadcast mixing consoles - 2600 series solidynepro.com

Table of Contents
Chapter 1.........................................................5
1.1 What’s in the box?.................................................5
1.2 Brief description.....................................................5
1.2.1 Input modules.........................................................5
1.2.2 Outputs...................................................................5
1.2. Start devices output................................................6
1.2.4 Cue.........................................................................6
1.2.5 ETM-CPU faders....................................................6
1.2.6 On-Air mics button..................................................6
1.3 xpansions & accessories....................................6
1. .1 VU-meter and stereo phase vector.........................7
1. .2 Timer / Clock...........................................................7
1. . 26 0-VQR module..................................................7
1. .4 AoIP output.............................................................7
1. .5 AES- outputs (AES/EBU)......................................7
1. .6 HD & HD5 monitoring box....................................7
Chapter 2.........................................................8
2.1 About the wiring.....................................................8
2.2 Inputs & Outputs connections..............................9
2.2.1 Power source..........................................................9
2.2.2 MONITOR OUTPUTS.............................................9
2.2. HEADPHONES.......................................................9
2.2.4 TALLY LIGHT.........................................................9
2.2.5 CONNECTING THE PHONE LINES......................9
2.2.6 StudioBox output..................................................11
2.5. .1 Connections................................................................11
2.2.7 INPUT MODULES................................................11
2.2.7.1 Line inputs..................................................................11
2.2.7.2 Microphone inputs......................................................11
2.2.8 The Master Module...............................................11
2.3 Connectors and wiring........................................12
2. .1 General recommendations...................................12
2. .1 Inputs and outputs................................................12
2.3.3 Additional signals on Master 2608..................12
2.3.4 RJ45 to standard connectors..........................13
2. .5.1 USB connection..........................................................1
2. .8 Ground connections recommended for protection
against electric storms...................................................15
2. .9 Schematic Diagram – Recommended connection of
2600 consoles................................................................16
2.4 Customizing the modules...................................17
2.4.1 Configuration mode..............................................17
2.4.2 Customizable features..........................................17
2.4.2.1 48V Phantom power...................................................17
2.4.2.2 Using a mic into the Control Room............................17
2.4.2. CUE mode..................................................................17
2.4.2.4 Link to 'Master Mic' (mic channels only).....................17
2.4.2.5 Auto-On (only for online channels).............................17
2.4.2.6 Remote dimming (PAD).............................................18
2.4. Jumpers on Master Module..................................18
2.4. .1 Hybrid’s priority circuit................................................18
2.4. .2 External control of Master MIC button........................18
2.4.4.1 Jumper’s table for 2610, 2612 y 2601........................18
2.5 Adding modules to console................................19
2.5.1 USB 2602.............................................................19
2.5.2 26 0 VQR module................................................19
2.6 Set the gain of the inputs....................................19
2.7 Models 2600 /IP.....................................................20
2.7.1 STL link.................................................................20
2.7.2 Using a microwave digital link...............................21
2.7. Decoding using a computer..................................21
Chapter 3.......................................................22
3.1 Introduction...........................................................22
3.2 Meter bridge..........................................................22
.2.1 Audio meters.........................................................22
.2.2 Clock / Timer - Set the hour..........................................22
3.3 2608 Master module.............................................23
. .1 Speakers and headphones...................................24
. .2 CUE......................................................................24
. . Master MIC button................................................24
. .4 Talk-back..............................................................24
.4 Telephone Hybrid section........................................25
3.5 2610 Microphone module & 2601 Line module.28
3.6 2612 Microphone Modules..................................29
3.6 Special features of 2602......................................30
.6.1 Operation with Skype............................................ 0
.6.2 Private comunication using VoIP.......................... 0
.6. Jumpers into 2602's connector............................. 0
3.7 HD3 / HD5 monitoring box...................................30
.7.1 About Studio Headphones.................................... 0
.7.2 About Studio Monitors.......................................... 0
.7. About the Intercom............................................... 0
.7.4 About Timer/Clock (only HD5).............................. 0
3.8 2630VQR Hybrid’s processor.............................31
.7.1 Using the VQR...................................................... 1
3.9 Remote control.....................................................32
.9. Virtual Interface (/VI option).................................. 4
.9.4 Advanced settings................................................ 5
Maintenance..................................................36
Chapter 4.......................................................36
4.1 Fuses....................................................................... 6
4.2 On console’s temperature........................................ 7
4. Cleaning................................................................... 7
4.4 Preventive maintenance.......................................... 7
4.5 Parts Replacement.................................................. 7
4.6 Service Manual........................................................ 7
Specs & Measurements................................38
Chapter 5.......................................................38
5.1 General Measurements........................................38
5.1.1 Microphone.................................................................... 8
5.1.2 Line................................................................................ 8
5.1. Aux Input........................................................................ 8
5.1.4 Balanced Outputs.......................................................... 9
5.1.5 Unbalanced Outputs...................................................... 9
5.1.6 Gain............................................................................... 9
5.1.7 Frequency Response.................................................... 9
5.1.8 Phase............................................................................. 9
5.1.9 Stereo Tracking............................................................. 9
5.1.10 Harmonic Distortion (THD).......................................... 9
5.1.11 Equivalent Input Noise................................................ 9
5.1.12 Signal/Noise ratio........................................................40
5.1.1 Crosstalk......................................................................40
5.2 Bock diagrams......................................................41
5.3 Technical specs....................................................44
solidynepro.com Broadcast mixing consoles - 2600 series Page 3

This page is intentionally left blank
Page 4 Broadcast mixing consoles - 2600 series solidynepro.com

Getting started Chapter 1
1.1 What’s in the box?
With the console, you will receive the following
items:
•This user’s manual. (Rev. May 2017)
•1 Interlock power cord.
•Guaranty certificate.
•1 tubular connector for Tally lights.
•1 set of self-adhesive labels for channel identifica-
tion.
•4 self-adhesive rubber supports.
•1 screwdriver for adjustment of gain presets.
•spare parts: 2-TL074; 1-TL072; 1-CD4013; 1-
NE5532; 1 button MEC; 1 button MULTIMEC; 1
slide potentiomete 10K LIN; 1 ota y potentiome-
te 50K LIN
OPTIONALS
•ON-AIR Tally light
•Wiring kit SOL-45
•STUDIO BOX (headphone distributor/amp)
1.2 Brief description
1.2.1 Input modules
All input modules of consoles Solidyne 2600
manage the audio signal electronically, that is to
say, there is not audio signal on the switches.
The faders are ultra-light touch and operate man-
aging the audio indirectly through digital control
amplifiers. All input modules are programmable
from the front avoiding the use of internal
jumpers.
The Solidyne 2600 consoles have a great flexibil-
ity since they are fully modular. This feature al-
lows to reconfigure the console without leaving
the air. Most the input modules are double. Each
module has two fade s of 100mm that manage
two stereo signals, and each channel has two
inputs (Line or Microphone and Aux) commutable
from a button in the front panel. There are differ-
ent modules to manage different signals, that
are:
Microphone modules (2610 and 2612): The
modules 2610 manage two microphone channels
(MIC) and two unbalanced stereo line inputs
(AUX). The 2610 features:
•Pan-pot
•Gain control with 0dB of range (+/- 15dB)
that allows to adjust the input levels for
comfortable operation of the main fader.
•2 bands low/high EQ, Baxandall type, with
+/- 15dB of rage.
The mic module 2612 manages microphone
channels and unbalanced line inputs (AUX). It
have the same features that the 2610 but include
a stage of microphone processor with dynamic
compression and noise gate.
Line modules (2601): Manage 2 balanced
stereo inputs (LIN) and two unbalanced inputs
(AUX). Main and auxiliary gains can be adjusted
using 4 trims located at the front panel, to match
the levels of the different sources.
Digital inputs 2602: Modules 2602 offers direct
connection to the computer via USB. It works
as external sound card, giving to the computer 2
playing devices and 2 recording devices (PGM
and AUD can be recorder directly).
2602 modules also allow operation with Skype or
telephone hybrids. Each 2602 channel internally
generates its own Mix-Minus signal.
1.2.2 Outputs
All outputs are located on the Master 2608. Line
(2601 and 2602) and microphone modules (2610
and 2612) have stereo sends: PGM (program),
AUD (audition) and SEND.
•The PROGRAM output is the main output,
used to send the audio signal to the trans-
mitter.
•AUDITION is used to record or to hear au-
dio in control monitors but not on the air.
•S ND is a stereo bus. It’s used, by exam-
ple, to make a mix of all input channels, ex-
cept the microphones. This mix can be sent
to the studio monitors. This way the speak-
ers will be able to listen a return in the loud-
speakers, without headphones, still on the
air.
•The CU bus allows hearing the signals
with the channel off and fader closed. The
monaural audio hears through an internal
speaker, located at the right of the meters
bridge. CUE can be assigned to the main
monitors of Control Room.
solidynepro.com Broadcast mixing consoles - 2600 series Page 5

1.2.3 Start devices output
This output modules present in the console
(stereo mini-jack located next RJ45) can com-
mand the Audicom computer, digital audio pro-
cessors or any other device with a remote con-
trol. Activation is performed by opening the fader
and press the AIR button on each channel.
1.2.4 Cue
There are several modes for the cueing:
"Solo": In this mode, when a CUE button is
pressed and then another; the second CUE turn
off the first one. If all channels are set in mode
"soloist"; then only one CUE can be on. By
pressing a CUE buton that is on, it will off.
"Mix": CUE works with independence of other
channels. The CUE button turns on or off each
time that is pressed. All channels defined as "Mix
mode" can have the CUE button turned on at the
same time.
"Auto-off": With independence of the modes ex-
plained above, the option Auto-off turn off the
CUE when the channel is send on-air (AIR button
turned ON and fader raised). The CUE can be
turned on once the channel is on-air, but it will
turned off again if the fader is moved.
The CUE behavior is defined in the configuration
of each module; as explains at “2.4.2. - Custom-
izable features".
The level of the CUE speaker is set using a knob
located at the Master Module.
At the section "Control Room", there is a button
called "CUE to Speaker" that allows to send the
CUE signal to the Control Room's main monitors
and headphones.
1.2.5 TM-CPU faders
The 2600 uses a new generation of slide
potentiometers: conductive ceramic with “feathe
touch”. In normal use, offers more than 20 years
of duty. They have a very solid construction, as
the skate slides on two sylver-steel cylindrical
axis with teflon bushings. The fader generates a
DC voltage that controls the module's internal
computer. In a 2600 mixer the audio signal never
passes through a carbon track neither
mechanical switches. For more information
please visit our web site.
Main advantages of this technology are:
•Eliminates noise generated by dirty faders.
•Maintenance free and greater useful life.
•Maintains a perfect stereo tracking (error >
0,1 dB).
•Allows the use of conductive ceramic sliding
potentiometers which offers 2 millions of op-
erations guaranteed.
1.2.6 On-Air mics button
Located above the main fader, this button turn
on/off the channel. The button lights when is on.
The button ON AIR switch the signal electroni-
cally; there in no mechanical contacts. It gives an
operation clicks & plops free, due to 2600's uses
a fast slope fading action instead of the hard
switch that are characteristic on the mechanical
switches.
When an AIR button is pressed, turns on the
tally light (the console gives 12 V DC as tally
signal). Also, a relay mutes the studio moni-
tors.
A Master Microphone button is located on the
2608 Master module. The purpose of this button
is switch on/off all microphones channels at the
same time. Each channel can be linked to Master
Mic button with independence. By default, all mic
channels are linked to the Master Mic button.
1.3 xpansions & accessories
The series 2600 can be customized according to
the requirements of the radio station. The user
decides how many microphone and line modules
will have.
All models feature as an option the kit of wiring
and adapters for connecting the console without
the need to assemble cables.
You can also choose to include other optional
features, which are described below:
2600 XL 2600 XX 2600 XD 2600 XZ
INPUT
CHANNELS
(MIC 2601, 2612;
LIN 2610, 2602)
Up to 16 Up to 26 Up to 16 Up to 28
AES-3 OUTPUT OPTIONAL OPTIONAL OPTIONAL YES
STREAMING
OUTPUT (AoIP) OPTIONAL OPTIONAL YES YES
VC180 YES YES YES YES
Clock-Co nter YES YES YES (LCD) YES
Remote Control
LAN (/VI) OPTIONAL OPTIONAL OPTIONAL OPTIONAL
Page 6 Broadcast mixing consoles - 2600 series solidynepro.com

1.3.1 VU-meter and stereo phase vector
The Stereo Phase Vector allows measuring the
stereo phase relationship and therefore the
grade of stereo sensation achieved. The range is
0 degrees (mono) to 90º (maximum stereo); with
inverted phase indication (180 grades), to pre-
vent to the operator that a connection’s error ex-
ists in the microphones, or among equipment’s
with analogical connections.
The analogical section is gauged in steps of 20
degrees, with quadrant of vectors. This allows
following the quick program variations. By other
hand, the digital section retains for an instant the
maximum value reached by the phase rotation.
A musical program with good stereo sensation
will have averages (analogic) of 40 to 60 de-
grees, with peaks (digital) of 80 degrees. Read-
ings of 0 and 20 almost indicate a monaural sig-
nal. The indication -0 or INVERTED implies the
serious problem of inverted phase. This must be
quickly corrected because the inverted signals
‘disappear’ when they are listen in mono FM re-
ceivers.
1.3.2 Timer / Clock
a) Provides the current time while the micro-
phone channels are turned-off.
b) Shows a count up (minutes: seconds)
when the microphones are on the air.
The timer mode is activated when the mics are
activated using the Master On-Air button. When
you turn off the microphones, the time will be re-
tained on screen by sec and then the display
will return to ‘clock mode’. If you turn on the mi-
crophones again (in this sec window) the timer
will resume.
1.3.3 2630-VQR module
This optional module allows partially restore the
voice quality that has been degraded by tele-
phone transmission. Can be used with the inter-
nal telephone hybrid , or with external hybrids
connected to the console via "External Hybrid"
connector.
The 26 0-VQR module has three 100 mm faders
that allow to the operator adjust the degree of re-
construction applied to the audio; and a LED indi-
cator showing restoration levels. The module
also features and noise gate of variable thresh-
old.
Refer to " .6 Module 26 0 VQR" for the opera-
tion of this module.
1.3.4 AoIP output
The output "AoIP" st eams the p og am mix to an-
othe console Solidyne 2600. This st eaming also
be decoded with any st eaming playe softwa e; o
by using a Solidyne ADA102 decode .
1.3.5 A S-3 outputs (AES/EBU)
Optionally, models XL & XX can have AES- out-
puts for program and audition.
1.3.6 HD3 & HD5 monitoring box
The optional accessories Solidyne HD and HD5
are compact docks that concentrates all connections
needed to the monitoring at the Studio.
The main features are:
Connection for up to 5 headphones in HD5 (
in HD ) with independent level knobs.
Double bus for monitoring from two
sources.
Output for active speakers, with gain control.
Tally-light.
Talk-back into the Studio. Allows to talk with the
operator at the Control Room.
Timer/Clock (only in HD5)
2600 supports up to three HD or two HD5
docks, connected in cascade.
solidynepro.com Broadcast mixing consoles - 2600 series Page 7

This page is intentionally left blank
Setup and connections Chapter 2
2.1 About the wiring
The consoles come with their inputs and outputs
with RJ45 connectors and are wired using multipair
cable shielded CAT-5. With the advent of audio
over IP (AoIP) various manufacturers started using
RJ45 connectors and shielded multipair cable to re-
place the various audio connectors, to standardize
the entire installation with a single type of connec-
tor and a unique type of cable.
Additionally, the use of structured cable for connec-
tion between remote devices facilitates the installa-
tion anywhere in the world, due to availability of
components and assembly tools used in data net-
works. The multipair cable end that connects to the
audio device (microphones, speakers, playback de-
vices) still require standard audio connectors. For
this, the RJ45 cable provides termination sections
with RJ-45 female at one end and connector audio
as needed at the other.
2.1.1 Solidyne SOL45 wiring kit
Solidyne provides (as option) different kits of cables
“SOL45”, designed to make the installation of a
Solidyne 2600 console in a few minutes. This wiring
kits are made using shielded multipair CAT-5.
2.1.1.1 Standard kit
The basic option is "SOL45 / 10" that connects
consoles up to 10 audio channels. Consolas with
more than 10 channels will use the "SOL45/NN" kit
being "NN" the number of audio channels.
Consoles wired with these kits will have the con-
nections detailed below. But if you need to add
more cables, you can do so freely as explained be-
low.


1 !"

•#$%&#$%&'()&*
+#$%&,(-.#,/0
#1MIC cables ONLY the Le is used.
• /(2341566
.#,6#+

278! , (23( 
•(78!'4)93
6 8":;<%33<"
)"-
 )8%&
3  6(239
(#$%&#$%&)()&*
+#$%&,(-.#/0
#1/=>  
6+7;1
4#$%&#$%&()&*
+#$%&, /8;  
 1
4#$%&#$%&)()&*
+#$%&,(#+/ 6- 1
465?@A)@+=
? /()&
(65?@+8
6()&*(-.#/6
+8=>6+8+7;1
2.1.1.2 Additional cables
6?)?
1. 8(&@8&3#$%&#$%&)B-
)()&@&
  +&
 ?#$%&
2. 8.#+#$%&,(.#
/1
1. 8.#,+#$%&,(.#,
/1
2. 8+#$%&,4 4@9C
/ 1
3. 8#8+#$%&,(= DC#8
/0#1
4. 8#++#$%&,(#+/ 
1
Page 8 Broadcast mixing consoles - 2600 series solidynepro.com

5. 8++#$%&,9/!!1
"""6
2.2 Inputs & Outputs connections
The rear panel contains the connectors for the loud-
speakers monitors, headphones, and telephone
lines with the associate phone sets and the output to
plug the ONAIR light (Tally).
All inputs connectors are located under the rear
panel, using RJ-45 connectors. Remember: good
connections between the console and audio equip-
ment are very important question to guaranty a sure
and free of flaws operation. For that, we recommend
you take the necessary time to carry out the wiring
of the console, with a great care and always using
components of good quality.
A good solution is to acquire the wiring kit Solidyne
SOL45.
Fig. a Rear panel– connectors
2.2.1 Power source
At left, the console's rear panel have the on/off
switch, the main fuse (1 Amp) and the AC connector
(Interlock power-cord, factory provided). The con-
sole can be used with 110/240 VAC 50/60 Hz, with
automatic selection (switching power source).
Fig. b Rear panel– power source
2.2.2 MONITOR OUTPUTS
The outputs "STUDIO" and "CONTROL ROOM" are
of line level, designed to be used with powered
speakers. The connectors are TRS 1/4”. The output
level adjusts from Master module with the knobs
“Sudio” and “Control room” respectively.
2.2.3 H ADPHON S
STUDIO and CONTROL ROOM have independent
outputs, using ¼” jacks connectors. The STUDIO
output allows to connect up to 8 headphones. CON-
TROL ROOM output supports up to 2 headphones.
The headphone outputs have protection against ac-
cidental short circuits.
At the console, the operator has independent level
controls for Studio and Control headphones. We
recommend to install at the Studios the Solidyne
Studio Box (optional): a headphones amplifier/mixer.
This unit is placed on the table and manage up to 5
headphones with independent volume controls. In
addition StudioBox offers talk-back to the control
room.
2.2.4 TALLY LIGHT
The STUDIO LIGHT output gives 12V/0,4A when
one or more microphones are on-air. This allows to
connect up to 5 LED’s lights (12V/60mA).
As alternative, the outputs “Starts Devices” can be
used to manage individuals lights for each micro-
phone. The electric circuit is shown in the general
connections diagram (please see the 2.2.2.4).
FUSE: The o -air light is protected by a i ter al fuse of 1A. If the
fuse blows, you must to remove the rear pa el to replace it. This
fuse is located ear to the tubular tally co ector.
2.2.5 CONN CTING TH PHON LIN S
The Hybrid 2608 manages 2 telephone lines and 1
Bluetooth link for a cell phone.
At the rear panel there are four RJ11 connectors: two
are for telephone lines; two are for connecting the as-
sociated telephone sets (production phones). Once
connected the lines, adjust the rejection factor in or-
der to pair the impedance to the local telephone line
(please refers to . – Master Module 2608).
The lines can be connected directly to the radio sta-
tion's PBX or directly to the public telephone system.
The hybrid inputs have internal filters for RF rejection,
effective in AM, FM and UHF bands. The telephone
lines have internal high tension protection using Metal
Oxide Varistors. But we recommend having addition-
ally a good external protection.
solidynepro.com Broadcast mixing consoles - 2600 series Page 9


I case of damage o the i ter al fuses, it ca be ordered as
spare parts. See Chapter 4
Phone lines protection
The telephone lines m st have protection against
lightning and electrical s rges. Please, see general
protection diagram at the end of this chapter.
2.2.6 PAIR A C LL PHON
Any Bluetooth(c) cell phone can be linked to
Solidyne 2600. The phone can be up to 5 meters
away from the console, but it’s recommended
leave it near to the mixer, but not over the
console.
The procedure to link the mobile phone to the
console is similar to that used for other
Bluetooth(c) devices.
When the cell phone and console are paired, the
cell phone stores the ID of the console. This
operation is performed only once (for each
phone). Once the console and mobile are paired,
the console automatically connects to the cell
phone when the Bluetooth(c) link is enabled on
both devices.
Procedure:
•At the console: Check at the Master Module
that the button BLUETOOTH [21] is off. When
Bluetooth(c) is on, it flash slowly (one flash ev-
ery 2 seconds). In this case, turn off Bluetooth
pressing and holding until the button stops
flashing.
•At the console enable the “discovery” mode.
This mode only can be accessed if Blue-
tooth(c) is turned off. Being the Bluetooth
(c)
off
,
press and hold the button BLUETOOTH
until
the LEDs blinks fast (approx. 10 seconds). It
indicates that Master 2608 is in “Discovery”
mode, to be found by the cell phone.
•At the cell phone: start a search for a Blue-
tooth(c) device. This procedure can vary ac-
cording to the brand and model of cell phone.
Please refers to the owner’s manual.
•When the search ends, look for the 2600’s
Bluetooth(c) device, which will appear as Soli-
dyne BTM641. If the cell phone ask for a
password, enter 0000 and confirm (see the
user’s manual of the cell phone).
•The ID of the Solidyne 2600 is now stored in
the cell phone. The devices are "paired". The
user don’t need to repeat this operation while
using the same phone. BLUETOOTH button
now flash slowly (one flash every 2 seconds),
to indicate "Bluetooth(c) active".
On some phones you need to "connect" the new
device found to stay active. In others, the new
device is enabled after being detected.
2.2.6.1 Re-connect a paired phone
To reconnect to the console a cell phone, proceed
as follow:
•Turn on the Bluetooth(c) on 2600 by pressing
"BLUETOOTH" until the button lights (5 secs
approx). The button will flash slowly in blue.
•Enable the Bluetooth(c) at the cell phone.
When the cell phone notice that the connec-
tion was successfully the cell phone link are
ready. When make or receive a call, the au-
dio is routed to the console.
In some phones the re-connecon is not automac. You
need to "connect" the new device found to stay acve.
2.2.6.2 Set up the level
IMPORTANT: At the cell phone, Bluetooth
volume must be adjusted at maximum level
in order to obtain a good reception and to sure
the best signal to noise ratio.
This adjusng must be done with a real calling using
Bluetooth.
The volume of the phone's speaker is not the same of
Bluetooth device. If you change the phone's level with-
out make a Bluetooth calling you will only be changing
the volume for the phone's speaker not for the Blue-
tooth. To change the level of Bluetooth make a call us-
ing the console (or a hands free headset) and set the
Bluetooth level to the maximum or one step below
the maximun. This se%ng is stored at the cell phone's
memory. If you use another cell phone with the con-
sole you will need to set the Bluetooth level again.
2.2.6.3 Turn off Bluetooth at the console
To turn off, press and hold “BLUETOOTH” until the
button CELL PHONE stop flashing.
2.2.7 xternal Hybrid
The female TRS ¼” labeled “EXT HYBRID” gives
PGM send (tip) and return from Hybrid (ring), to con-
nect an external Hybrid. The PGM send is Mix-minus:
it includes all the signals of the PGM Bus, with excep-
tion of the Retu n f om Hyb id, to avoid a feedback
loop.
The signal that is incoming by the external hybrid’s re-
turn, is routed to the same circuit of control that the
signals of the internal hybrid. Therefore, the "Hybrid
Fader" will behave in the same way that it works with
the telephone lines connected to the console; sending
the signal to the air or to CUE according to the fader
position. When connects an external hybrid, the inter-
Page 10 Broadcast mixing consoles - 2600 series solidynepro.com

nal hybrid remains active and can be used with inde-
pendence of the external hybrid.
The lines connected to console and the external hy-
brid can be in conference.
Remember: once a call is on-air, the cue channel
stays disconnected, so the user must use a phone
associated with that line to speak privately with the
second caller.
Whe make a co fere ce betwee i ter al a d exter al hy-
brid, take care with the o tp t level of the external hy-
brid, so a excessive level ca cause feedbacks.
2.2.6 StudioBox output
The RJ45 named “StudioBox”, located at rear pan-
nel, gives connection to the accesories “Solidyne
HD ” and “Solidyne HD5”, which manages the
monitoring signals into the Studio.
2.5.3.1 Connections
The monitoring boxes HD and HD5 connects to the
2600 using a standar CAT5 STP (Shielded Twisted
Pair) cable, with RJ45 at both ends (pin to pin). This
cable is provided with the 2600 mixer. The cable
connects the “Studiobox” RJ45 of 2600. Through
this cable, the console sends to the Studio the sig-
nals for headphones and loudspeakers
At the Studios, the headphone outputs uses ¼”
stereo jack plug (TRS). Any combination of imped-
ance can be used (16; 2 and 64 ohms).
Loudspeakers output are for the Studio moni-
tors, and use a 1/8” stereo TRS (minijack). This is
a line level output, designed to be used with
powered speakers.
2.2.7 INPUT MODUL S
2.2.7.1 Line inputs
The line inputs are stereo, electronically balanced
(transformerless). It allows the connection of high-
level signals, balanced or unbalanced. Input gain ad-
justs from the frontal panel with the GAIN trims (L &
R). In order to unbalance this inputs, connect the neg-
ative (-) pin to GND and positive pin to signal (see
“2.3 – Connecto s and wi ing”).
AUX inputs are unbalanced stereo. It manages
-10dBu / 10KOhms and +4/+8 dBu line levels. Input
gain adjusts from the frontal panel with the GAIN AUX
trim (L&R).
The impedance of LINE and AUX input is bigger than
10 Kohms (Bridging inputs). This is compatible with
all current equipment (sound cards, CD-player, audio
interfaces, etc.). But if you need to adapt the input to
600 ohms, place inside the connector a 680 ohms re-
sistor in parallel with the input.
2.2.7.2 Microphone inputs
Microphone inputs are electronically balanced. The
gain adjusts from the frontal panel with a trim control
with 0dB of range. The pan-pot allows change the
microphone position in the stereo image. AUX inputs
are similar to line modules, but don't have gain pre-
sets. The MIC modules use RJ45 connectors for mic
and aux inputs. Please see connections at 2.3 ‘Con-
nections and wi ing’.
2.2.8 The Master Module
PGM and AUD outputs are electronically balanced,
with a high reject to common mode signals. To un-
balance a balanced output, only connect the positive
pin (+), and leave unconnected the negative one (-).
SEND output is stereo, unbalanced.
The nominal output level is: 0VU = +4dBm. When a
balanced output is connected to unbalanced input, its
level is reduced in 6 dB, therefore 0VU= -2dBm. No-
tice that if some nonprofessional equipment connects
to the 2600's output, possibly the level will be too high
and some clipping will occur. In this cases use a re-
sistor attenuator to reduce the level.
ON-AIR input: This is a stereo input to connect an
external tuner. Both the studio and control room,
must be heard the tuned air transmission, because
the transmitted audio is processed and therefore
sound levels change with respect to the signal on the
console.
Use professio al tu ers with o tp ts of low impedance
(600 Ohms). I case of use co sumer tu ers, you must add
a li e amplifier betwee the tu er outputs a d the “Air” i put
of Master 2608. This li e amplifier is for adapt the tu er out-
put to low impeda ce.
CU input: Master 2608 have a CUE input, de-
signed to connect an output of a computer. This
way is not necessary to use additional speakers
next to the computer.
This input requires a special cable that connects to
the Master's RJ45 “On air in/Cue In” (see “2. . –
Additional signals of Master 2608”).
solidynepro.com Broadcast mixing consoles - 2600 series Page 11
To 2600 StudioBox Out
To acve speakers
Secondary audio input

2.3 Connectors and wiring
2.3.1 General recommendations
a) Co sider to buy the wiri g kits SOL45 (2.1.1 “So-
lidy e SOL45 wiri g kit”).
b) To arm the cables, use shielded RJ45 a d cable
of good quality. Remember to joi the co ector's
shield with the shield of the cable.
c) Avoid the cables are ha gi g from the co ector.
Use cable guides to distribute cables.
d) Avoid to mix cables with audio with AC cables.
Use differe t ways for each case.
e) If you hear backgrou d hum, it ca be pro-
duced by RF statio ary waves, i duced from
the FM a te a. I this case, you must i stall
ferrite o-ri gs (60mm diameter) i all i put &
output cables like shows the left image (see
2.1.2 – RF i terfere ce).
2.3.1 Inputs and outputs
Module 2601 (lines
Module 2610 (microphones
Module 2612 (microphones
Next tables shows the pin out for all inputs and
outputs, balanced and unbalanced.
RJ-45 RJ45 NOMENCLATURE
PIN WIRE COLOR
4
(
E
%
5
2
F
9
@G

>@G
! 
! @G
>
!@G
!
BALANCED INPUTS / OUTPUTS
PIN WIRE COLOR
40/*1
(0/1
E#/*1
%>;
&#5
2#/1
F4&/?1
9*4&/?1
@G

>@G
! 
! @G
>
!@G
!
UNBALANCED INPUTS / OUTPUTS
PIN WIRE COLOR
40/*1
(
E#/*1
%>;
&#5
2>;
F4&/?1
8 *4&/?1
@G

>@G
! 
! @G
>
!@G
!
2.3.3 Additional signals on Master 2608
The following features requires the use of spe-
cial cables, which are different from the cables
used to the balanced and unbalanced
inputs/outputs.
BALANCED OUTPUT PGM-2 + MONO
PIN WIRE COLOR
40/*1
(0/1
E#/*1
%>;
5 PGM-MONO
2#/1
F4&/?1
9*4&/?1
@G

>@G
! 
Blue/White
>
!@G
!
ON-AIR MONITOR + CUE
PIN WIRE COLOR
4 +#L
(
E +#R
%>;
5 Input CUE
2
F4&/?1
9*4&/?1
@G

>@G
! 
Blue/White
>
!@G
!
Page 12 Broadcast mixing consoles - 2600 series solidynepro.com

2.3.4 RJ45 to standard connectors
2.3.4.1 To an unbalanced phone-RCA
2.3.4.2 To a balanced XLR
2.3.4.3 To a balanced TRS
2.3.5 Module 2602 (USB)
The 2602 module connects directly to the computer
via USB. Each channel is recognized by Windows© as
USB external sound card. In this way, the audio is send
directly from the computer to the console, without leave
the digital domain. In addition, the 2602 provides two
analogical balanced inputs. Balanced inputs are avail-
able on RJ45 connectors.
BALANCED INPUTS + MIX-MINUS
PIN WIRE COLOR
40/*1
(0/1
E#/*1
@G

>@G
%>;
5 Output mix-minus
2#/1
F4&/?1
9*4&/?1
! 
Blue/White
>
!@G
!
2.3.5.1 USB connection
Each USB channel is independent and can connect
to a same computer or two different computers.
Both channels are compatible with USB 1.1 and
2.0.
Connect the module “2602” to any USB port of a
computer running Windows©. When connecting it,
Windows© recognizes the “2602” and install the
drivers. Additional drivers are not required. Each
channel will appear on Windows like one stereo
USB audio device and one stereo USB recording
device.
When a USB channel is plugged, the display on the
module will show “PC4” indicating that one stereo
play channel and one stereo recording channel are
active. If the second USB channel is connected,
the display will change to “PC8”; indicating that the
eight channels were recognized (2 stereo outputs
and 2 stereo inputs).
To check the available sound devices, go to “Win-
dows Cont ol Panel > Sound devices > Audio”.
Here the default sound devices are defined. Re-
member to update the settings on the audio appli-
cations.
In addition, the module 2602 offers two sends by
USB that appears on Windows as “USB recording
devices”. 2602's Channel-A gives the program sig-
nal (PGM) and the 2602's Channel-B sends the Au-
dition signal (AUD). The USB-PGM out can be
used, for example, for web-casting.
The level of the digital signal is set according to the
standard K-15. The 0 VU (+4 dBu) corresponds to -15
dBfs at USB output. There are 15 dB of headroom be-
fore clipping (above +4 dBu).
ABOUT USB D T CTION
solidynepro.com Broadcast mixing consoles - 2600 series Page 13

Before co ecti g the USB cable to the computer, make sure that
both the co sole a d the computer have a effective grou d by
power cords. For safety, co ect a tester i the ra ge of 25VAC
betwee the chassis of the PC a d co sole a d verify that the
voltage is zero. O ly the co ect the USB. If there are differ-
e ces of te sio , the USB port o the co sole or the computer
may result damaged.
We recomme d do ot cha ge the USB cable to other USB ports,
to avoid that Wi dows cha ge the order of USB devices.
Windows 7: Verify that the audio recordi g device was properly
recog ized. If Wi dows 7 recog ized it as "micropho e device",
the recordi gs will be mo o (the same sig al i both cha els). To
correct this: Co trol Pa el → Sou d → Record → choose the
USB device (show as USB micropho e) a d click [Properties].
The select the tab "Adva ced", display the me u of formatti g
optio s a d choose a format for stereo recordi g (2 cha els, 16
bits, 44100Hz).
2.3.5.2 Mix-minus to use with Vo-IP software
2602 modules have the ability to cancel its own sig-
nal on sending PGM USB (mix-minus). This allows
to use the console with any VoIP communication
software (eg Skype). In the VoIP software is as-
signed as the audio source (mic) USB device con-
taining PGM signal. As output device USB device
module 2602 (USB-1 or USB-2 as you want to use
channel A or B module) is assigned.
In order to the channel operates in mix-minus mode
jumpers must be placed in the circuit board (next to
RJ45 connectors). The figure above shows the loca-
tion of the jumpers. To mix-minus on Canal-A place
jumpers JP1 and JP2. To mix-minus on Canal-B
place jumpers JP and JP4.
2.3.6 “Start devices” GPO
Each module has a 'Start devices' (TRS 1/8 ") con-
nector to trigger external devices. This signal can
command devices remotely from the console when
an attenuator is activated; eg Audicom computer
and audio processors. Start Devices' is an "open
collector" output. With the fader closed and/or the
channel off-air, it present an open circuit output.
When the channel is enabled (the fader open and
'AIR' button pressed) the transistor conducts, closing
the circuit. It can manage up to + 24V/100mA.
TRS 1/8” START D VIC S
TIP ”Canal “B”
(for 2612 is canal C) SL V : GND RING Canal “A”
2.3.6.1 Uses of the Start Devices outputs
Some radios use an indicator light for each micro-
phone (tally). In that case, the output "External De-
vices" is used to turn each light microphone; as
shown in the general connection diagram (see 2. .9
- General connection diagram "). "Start Devices" can
also be used to launch audio files; or to switch video
cameras using the Solidyne Audicom software (re-
quires GPIO-USB adapter); or to trigger recorders,
relays or other devices.
2.3.7 Opción VI/Control / AoIP / A S-3
2.3.7.1 AoIP
Please see “2.7 Models 2600/AoIP
2.3.7.2 A S-3
AES- output gives PROGRAM and AUDITION sig-
nals. Are balanced with transformer. Uses an RJ45
connector and must be connected using Category 5
STP cable. Consult your dealer for RJ45 cable two
male XLR.
When AES is acquired after buying the console, it
should be mounted on the Master module by follow-
ing the directions provided with the AES module.
A S-3 RJ45
1PGM (+) 6AUD (-)
2PGM (-) 7NC
3AUD (+) 8NC
4GND 9Shield (RJ45 chassis)
5GND
Page 14 Broadcast mixing consoles - 2600 series solidynepro.com

2.3.8 Ground connections recommended for protection against electric storms
solidynepro.com Broadcast mixing consoles - 2600 series Page 15

2.3.9 Schematic Diagram – Recommended connection of 2600 consoles
Page 16 Broadcast mixing consoles - 2600 series solidynepro.com

2.4 Customizing the modules
2.4.1 Configuration mode
Some console's features can be customized. This
configuration is made on each module as follows:
1. Switch off all assignments and close the
faders A and B in the module.
2. Press and hold any of the buttons AIR. After
5 seconds the module enters in mode
"setup" and several buttons start flashing.
3. Each button enables (on) or disables (off)
one function (see 2.4.2).
4. To confirm the changes, up and down any
fader of this module. The module flashes
and returns to be operating (with all the
buttons off).
2.4.2 Customizable features
2.4.2.1 48V Phantom power
The phantom power can be enabled/disabled in
each MIC modules. 26020 MIC modules manages
two mci channels, so the voltage enables on both
channels of these module (three in the case of
2612 module). Conventional dynamic microphones
can be connected without problems to a phantom
powered channel, since this dynamic microphones
are designed to decouple the DC.
2.4.2.2 Using a mic into the Control Room
There are two features that must be changed to be
able to use a microphone at the Control Room:
a) Unlink the channel from “Master Mic” button.
b) Enable the DeeJay mode.
By default, all microphone modules are switched-
on when master MIC button is on-air, but this link
can be disabled for each channel. That’s is the
case of Dj’s or talents who talks on-live from the
control room. The microphone located in the con-
trol room will not be on-air by the Master On-Air
button.
Radio statio s that works with a u ique room ca (Studio +
Co trol) co ect the mo itors directly to “Studio speakers”
output.
In DeeJay mode (when the talent operates itself
the mixer console and talks from the Control
Room) the Control Room speakers monitors are
muted when DJ mic is on-air and “auto-cue” fea-
ture (which allows cueing the microphones after
pressing the Talkback button) is disabled.
2.4.2.3 CU mode
CUE butons can operate in ways:
"SOLO" mode
[Set: SEND buton ON (default) enables the SOLO
mode for this channel] All the buttons working in
mode “CUE-SOLO” are linked. Only one CUE-
SOLO can be active at the same time. If another
CUE-SOLO buton is pressed it will turn off a
previous CUE-SOLO; but will not take effect over
other channels which working in CUE-standard
mode. If all channels are set as SOLO, only one
CUE can be active in the console.
'Standard' mode
[Set: SEND button switched off] When CUE-SOLO
mode is disabled the CUE works in the traditional
way: each CUE button is switched on/off with
independence from others. When more than one
CUE button is pressed, they will be hear mixed.
CU Auto-off
[Set: is enabled with the button CUE switched ON
(default)] Regardless of the CUE mode used (alone
or standard) the auto-off feature turns the CUE
when the channel is on the air (ON AIR button on
and fader open). CUE can be turned on again while
the channel is on the air (it will shut down again if
the fader is moved).
2.4.2.4 Link to 'Master Mic' (mic channels only)
Link the channel to the "Master Mic" button, located
in the 2608 Master Module. By default all mic
channels are linked to "Master Mic". If this feature
disables, the channel only can be switched from its
own AIR button.
2.4.2.5 Auto-On (only for online channels)
The channel born on when turn on the console
(disabled by default). This feature is used in
solidynepro.com Broadcast mixing consoles - 2600 series Page 17
;$"
Mic channels
=%9A
Line channels
=+;/01



 
7
7 H

automated stations which are reactivated
automatically after a power outage.
2.4.2.6 Remote dimming (PAD)
If PGM button is lighted, that channel is enabled to
respond to global dimming 'PAD', available on 'Vir-
tual2600' software. Enabling 'PAD' in the soft, all
line channels that have this feature enabled will at-
tenuate by 10 dB.
2.4.3 Jumpers on Master Module
2.4.3.1 Hybrid’s priority circuit
The circuit “priority” of the hybrid attenuates the au-
dio coming from the telephone line when the
speaker talks. This way the Studio have priority
over the caller improve the audio quality of the local
voice.
In some uses, like sport transmissions, this effect is
undesired (it is not desired to attenuate the atmos-
phere of the stage when the speaker from studies
reads an announcement). The priority can be dis-
abled quitting the jumper JPRIORITY located in
Master circuit board.
2.4.3.2 xternal control of Master MIC button
Connector XT MIC CONTROL allows remotely to
turn on/off the “Masters MIC” button. Same con-
nector sends a positive voltage when Master button
is ON. “Master MIC” can be remotely switched on
by joining pins and 4 (for example using a relay).
When the Masters MIC button is on, there are 15
VCC in pin 1 of the connector.
Fig. 15 - Master 2608 – circuit board view
MasterMIC external control
1OUT 15 V (Master Mic pressed)
2GND
3MASTER MIC ON (joint to turn-on)
4
2.4.4.1 Jumper’s table for 2610, 2612 y 2601
MOD. JUMP R D SCRIPTION STAT CHANN L
2610 J ’a
J ’b Bypass Q Jumper 1-2 = EQ disable (by-pass). Jumper 2- = EQ enable See last letter of jumper name
Fig.12 – Mic module 2610 (circuit board side)
Page 18 Broadcast mixing consoles - 2600 series solidynepro.com
VQR

2.5 Adding modules to console
2.5.1 USB 2602
The USB 2602 digital module requires connection
to the 2608 Master module, to enable the record-
ing on the PC of Audition and Program signals.
When you buy this module separately, you receive
a ribbon cable with 10-way connector pins.
If you do ot co ect the ribbo cable to the Master, the 2602
module works well, but o ly as playi g device. Whe co -
ects the USB cable, the module is detected by Wi dows a d
the USB devices will be available, but if you try to record au-
dio, the computer will record sile ce.
At the module
The fig.14 (see 2.4.2 – Jumpers on the
modules...) shows the 2602 module circuit board
side. The connector labeled 'JD' must becon-
nected to the Master with the ribbon cable sup-
plied with the module.
When you screw the module, be sure to attach the
lock washers (star washers) in the top screws of
the module, as these washers ensure electrical
continuity between the plate of the module and
the console cabinet. You can use the washers re-
moved from the blind panel or replace new wash-
ers.
At the 2608 Master
You must remove the Master module to connect
the ribon cable; but you don't need to unplug the
Master. Locate the 10-pin connector 'JD' and plug
in the ribbon cable.
When replacing the Master module into her posi-
tion, be sure to attach the lock washers (star
washers) in the top screws of the module. These
washers ensure electrical continuity between the
plate of the module and the console cabinet.
2.5.2 2630 VQR module
This optional module adds to the console a pro-
cessing stage for improve the audio quality of tele-
phonic communications. If you acquire this op-
tional module after purchase the console, proceed
as follow to mount it into the console.
The 26 0 VQR requires one simple-module space
available in the mainframe (it has the same wide
of a 2610 module)
Since it requires connection to the 2608 Master
module, must be placed beside the Master.
If your console does not have free space next to
the Master, considers moving all the modules that
are necessary to leave a place beside the Master.
Is easy to do it since the modules are intercon-
nected by a ribbon cable with polarized connec-
tors. In order to retire a module of the cabinet, re -
move the subjection screws.
Modules a d bli d pa els have a washer type star i
the superior screws that assures electric co tact be-
twee the module a d the body of the co sole; i order
to guara tee a correct grou di g. Does ot omit to re-
tur to place these washers after move a module.
Once available the space for the 26 0 module you
need to retire the Master, to connect the cable
that will join it to the 26 0 VQR. This cable pro-
vides with the module. The previous figure shows
the location of connector VQR in the rear side of
the Master. This is a 6-pins polarized connector,
so that the cable can be plugged only in one way.
The module 26 0 VQR has identical connector, to
which the other end of the VQR cable is con-
nected. This is the only connections that the mod-
ule requires. The 26 0 VQR DON NOT connects
to the main bus like others modules.
Place the fixation screws and power on the con-
sole. By pressing the on/off button on the 26 0
VQR module, this stage is enabled and the
NOISE CONTROL indicator lights (it trigger due to
the absence of signal from the phone line).
2.6 Set the gain of the inputs
These adjustments are necessary to calibrate the
input module gain, so that equal positions of
faders represent equal outputs levels in all mod-
ules. In order to set the input gain for each chan-
nel, use a sinusoidal tone of 1KHz@0dB or a cali-
bration CD.
R M MB R
The audio equipme t ha dle differe t sig al levels: The
professio al audio level, with bala ced outputs operates
at +4dBu or + 8 dBu, whereas home equipme t with u -
bala ced outputs ma ages -10dBu levels.
0 VU refers to the omi al output level. Whe the VU meter
reaches 0 VU, the output level is +4dBu.
Use the bala ced i puts of the co sole for professio al
devices, a d the AUX u bala ced i puts for home quality
devices.
USB cha els do 't have i put gai trims. The i put level
ma ages from the computer.
solidynepro.com Broadcast mixing consoles - 2600 series Page 19

To adjust the input gain, play the test tone and
calibrate the presets with the screwdriver provided
with the console. Left and Right presets at the
front panel, must be calibrated to obtain a mea-
surement of 0VU, with the faders at the center of
the gray zone (-15 dB).
To calibrate the PC channel, proceed in the same
way playing loud music or voice from the PC. Pro-
ceed the same way to calibrate other sources.
2.7 Models 2600 /IP
These models include RJ-45 output that sends
streaming. It allows:
•Link the console with the transmitter plant.
At the transmitter plant the streaming
receives using a dedicated hardware
(Solidyne ADA102 or Solidyne 562dsp
audio processor).
•Link with another 2600 /IP
•Send the program signal to a computer on
the network, using a software to receive
the streaming.
2.7.1 STL link
In studies, the 2600 /IP console works as encoder
to establish a bidirectional link (full-duplex)
between Studios and Transmitter Plant. In the
transmitter plant, the streaming receives using a
hardware like Solidyne ADA102 or 562dsp audio
processor.
2.7.1.1 Set the IP
The setings options are accessed using any web
browser. By default the unit uses "Dynamic IP", so
that when connected to a LAN, gets an IP address
via DHCP (the router assigns an IP). The
procedure is as follows:
Step 1
Connect the mixer to the network via a standard
cable. The network must have a router, so that the
mixer obtains an IP address via DHCP. The mixer
can also connect directly to a modem-router, as it
usually also assign an IP via DHCP.
Once the console gets the IP, is ready to start working.
The green LED on the rear panel (RJ45) is blinking.
Can not find a DHCP se ve then the 2600/IP scans the
netwo k fo a f ee IP add ess (this can take a few minutes).
Step 2
To know the IP assigned to the console, the user
must run the application “Discovery_AoIP”, which is
available at the following link:
solidynepro.com/DW/ IP .exe
The file IP.exe is a self-extracti g ZIP. Whe the user ru s this
file, a folder “Solidy e IP Discovery” will copy to the HD. This
folder co tai s the apps a d i structio s eeded to obtai the
2600's IP address. Look for leame-readme.txt a d follow the i di-
catio s accordi g the case.
Step 3
Open a web browser (eg Firefox, Internet Explorer)
and enter the IP address announced. The Control
Panel of 2600 will appears.
2.7.1.2 Define the destination IP
The status screen indicates the IP port
configuration. The module is factory-configured as
Studio Encoder (option "Location" → 'Studio
Encoder').
Step 4
To check the configuration, access the
"Configuration" and choose "Basic settings" in
the left menu .
1. "Stream method" should be "Push (RTP)"
2. In the URL field defines the DNS name or
IP address, and the destination port to
which the console sends the
streaming.
3. Press "Apply" to confirm the settings.
The co figuratio s listed below require k owledge i
etwork admi istratio .
The desti atio IP address is the exter al address of the
etwork i the Tra smitter Pla t, where it is co ected
DECODER (static IP assig ed by your ISP). Whe the
data packets reach the router / firewall o the other e d,
should be re-directed to the DECODER IP (eg
192.168.0.30).
As the 2600/IP tra smitted to a specific IP address a d
port, i tra smissio pla t all packets arrivi g at that port
o the router address should be forwarded to the
DECODER, or a particular computer, which will tur i to
audio. Ide tify which packets should be se t usi g port
forwardi g.
2.7.1.3 Audio settings
Step 5
Go to Config → Audio
Input source: Default is Stereo Line. Don't change it.
Page 20 Broadcast mixing consoles - 2600 series solidynepro.com