Solidyne D-612 User manual

rev. March 2015

www.SolidynePro.com Page 2

Contents-
CHAPTER 1
Overview .....................................................5
1.1 Shipping list.....................................................5
1.2 Feat res...........................................................5
1.2.1 Input channels.......................................................5
1.2.2 Monitors................................................................5
1.2.3 Outputs.................................................................5
1.2.4 ETM – VC faders................................................6
CHAPTER 2
Installation and wiring ..................................7
2.1 Overview..........................................................7
2.1.1 Parasitic signals....................................................7
2.2 Rear panel – wiring.........................................8
2.2.1 Power source........................................................8
2.2.2 Input channels.......................................................8
2.2.2.1 LINE inputs.............................................8
2.2.2.2 USB link....................................................8
2.2.2.3 MICROPHONE INPUTS...........................9
2.2.3 UDIO OUTPUTS..............................................10
2.2.3.1 PROGR M ND RECORDINGS............10
2.2.3.2 USB send................................................10
2.2.4 Monitoring outputs..............................................10
2.2.4.1 HE DPHONES.......................................10
2.2.4.2 MONITOR SPE KERS...........................10
2.2.5 Tally light.............................................................11
2.2.6 Telephonic Hybrid...............................................11
2.2.6.1 CONECTING ST ND RD LINE.............11
2.2.6.2 CONECTING CELL PHONE...............11
Re-connections...................................................12
Setup the level....................................................12
2.2.6.3 EXTERN L HIBRYD...............................12
2.2.7 General tips.........................................................12
2.2.8 Grounding against lighting..................................13
CHAPTER 3
Operation ...................................................15
3.1 Overview........................................................15
3.1.1 Quick test............................................................15
3.2Hybrid channel...............................................16
3.2.1 Operation............................................................16
3.2.2 Using a cell phone..............................................16
3.2.2.1 Incoming call...........................................17
3.2.2.2 End the call.............................................17
3.2.2.3 Resume the call on the cell phone..........17
3.2.2.4 Make a call..............................................17
3.2.3 Conferences........................................................18
3.2.3.1 Being the cell phone on-air.....................18
3.2.3.2 Being the landline on-air.........................18
3.2.2 bout return signal to the phone.........................19
3.2.3 Null-factor............................................................19
3.3 Monitor section.............................................19
3.3.1Using monitors and headphones.........................19
3.3.2 Use into integrated Studios.................................20
3.3.3 Previous listening (CUE).....................................20
3.3.4 Talk back.............................................................20
3.4 Microphone channels...................................21
3.4.1 Features..............................................................21
3.4.2 Processing..........................................................21
3.5 Line channels................................................22
3.6 Recordings....................................................23
3.6.1 Direct to Hard Disc recording..............................23
3.6.2 Recording the phone lines..................................23
CHAPTER 4
udio IP (models D612/IP) ........................25
4.1 Introd ction...................................................25
4.2 Power so rce.................................................25
4.3 STL link..........................................................25
4.3.1 IP config..............................................................25
4.3.2 Destiny IP............................................................25
4.3.3 udio settings.....................................................26
4.3.4 Using a microwave digital link.............................26
4.3.5 Decoding using a computer................................26
CHAPTER 5
Studio Box (optional) .................................27
5.1 Overview........................................................27
5.2 Connecting the St dioBox...........................27
5.2.1 Connection to the mixer console.........................27
5.2.2 Connections at the Studio...................................27
5.3 Using the St dio Box....................................27
CHAPTER 6
bout maintenance ...................................29
5.1 How to get a long life of the console......................29
5.2 Preventive Maintenance........................................29
5.3 Spare parts............................................................29
5.5 Tech specs.............................................................31
Notes....................................................................32
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CH PTER 1 Overview
1.1 Shipping list
When unpacking the unit; check the contents to
verify that the console has not received blows dur-
ing the shipment. Inside the packaging you receive
the following 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
1.2 Feat res
D-612 console is a compact, solid and elegant unit;
with a great flexibility for interconnection. It includes
USB digital I/O which brings digital link with the com-
puter; avoiding the use of soundcards in the com-
puter.
D-612 has 5 100mm professional Conductive-Ce-
ramic faders of with ETM-VC control that offer a
life utility of one million operations (over 15 years).
It is the best solution for small and medium radios;
and for auxiliary recording studies in great sta-
tions.
1.2.1 Inp t channels
There are 2 microphone channels with phantom
power of 48V, switched from the front panel. Mic
channels have a processing stage that includes 4
bands eq alizer and automatic dynamic range
compressor. Each microphone channel can be sent
individually to the air signal (PGM) or assigned to the
processing stage. MIC-3 channel can be switched to
UX stereo line input.
Each mic fader can manage two dynamic micro-
phones. t the rear panel you find 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 appropiated 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 di-
rect connection to the computer via USB. In addition,
all channels have one analog auxiliary input.
ll the channels count on a gain control, that take ef-
fects 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 conference. The use is
very simple, since many functions are automated.
dditionally, the console has send and return con-
nector for external hybrids.
1.2.2 Monitors
The monitoring area distributes the signals to the
loudspeakers and headphones on the studio and the
control room.
St dio & Control Room has a unique level knob for
loudspeakers and headphones; and the assignment
switches that allow select between ON- IR signal
(external tuner), console output (PGM) or recording
output (REC). Usually the level in the console is
fixed; since a headphones mixer allows to manage
each headphone and active speakers has it own
level knob.
CUE monitor The console has a built-in loudspeaker
for cueing, with its own control level. CUE is an inter-
nal send that allows listening to the audio signal pre-
vious to the fader. The cue signal also is sent to the
Control Room headphones.
dditionally, monitoring section contains the Talk-
back circuit; that operates as well in combination
with loudspeaker CUE to engage in a private dia-
log from the hybrid with a telephone call without
disturbing the on-air signal.
1.2.3 O tp ts
Solidyne D-612 has two main o tp ts named PGM
(Program) and REC (recording). Phone lines are
sent only to PGM.
In addition it has an USB digital o t-
p t that appear in the computer as
external sound recording devices
(USB recording devices) and sends the program
signals.
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Summarizing, the outputs are as follows:
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.
D-612 has send & return connections for external
hybrid. The audio from 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 of internal & external hy-
brids will work in conference.
The Tally o tp t allows the direct connection of ON-
IR 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.
1.2.4 ETM – VCA faders
Using a technique of control called ETM-VC (Elec-
trometric Voltage Controlled mplifier) the faders DO
NOT manage audio signals. The change on the level
is made using low noise amplifiers of great stability.
The main faders only handle control signals that
modify the gain of the electronic amplifiers. For more
information please visit our WEB site.
The main advantages of 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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CH PTER 2 Installation and wiring
2.1 Overview
Installation of Solidyne D-612 doesn’t present partic-
ular jobs. However, keep in mind the basic rules for
all professional audio installations. The balanced in-
puts of the D-612 uses DIN-5 multipin connectors
(provided with the console). In option, you can ac-
quire the Solidyne wiring kit (MNG612), which inl-
cude all the cables and connectors needed for the
set up.
For console grounding use the rear side GND
bronze tip with a mm cable to a good buried
cooper bar.
2.1.1 Parasitic signals
ll unwanted signals that appear in audio lines usu-
ally consider parasitic signals. common type are
denominated humming, low frequency signals (mul-
tiples of 50/60 Hertz) caused by the interaction of
electromagnetic fields coming from the C line.
When the interference source is a magnetic field
(generally originated in a supply transformer) the
resultant interference will be denominated electro-
magnetic humming. When the interference is due to
such electric potentials as cables that take supply
tensions, that are elevated in comparison with the
audio signals present in the circuit, you will be in
presence of electrostatic humming. The distinction
is not merely academic, because the resolution of a
problem supposes the knowledge of the noise type
to apply the correct solution.
Examples: To minimize the reception of electromagnetic
humming in the wires, remember the following rule: "THE
AREA AMONG TWO AUDIO WIRES WILL BE MINI-
MUM." 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 man-
age high-intensity currents. Is important to remember that
a wire can be good shielded, but if his conductors don’t
complete the conditions of minimum area it will be sus-
ceptible to take magnetic humming.
Other parasitic signals are: C HUM, R DIO FRE-
QUENCY and CROSST LK. s hum noises like
the radio frequency are originated by electromag-
netic fields of high frequency; the first ones are orig-
inated by disturbances due to the connection and
disconnection of equipment’s to the C line, the
seconds ones are generated by communications
transmitters or industrial equipment. If these signals
penetrate into audio lines, with sufficient intensity,
can surpass the action of the special protection fil-
ters, and to reach some sensible part of the input
stages. In that case, the interfering signals can be
demodulated and already turned audio signal, and
will be amplified by the rest of the system. It is fun-
damental, therefore, to maintain the interference
within reduced margins. It is obtained avoiding very
long audio lines, with aerial sections or that pass
near of transformers or RF transmitters. For protec-
tion against very high frequencies is advisable to
use double shielded cables, guarantied by the man-
ufacturer.
CROSST LK is the reception of signals coming
from other lines of audio. This, like all unwanted
noise, it can be supposed controlled when its level
is below the level of the system residual noise.
Then, all considerations mentioned for the case of
buzz are valid.
2.1.2 RF interference (Hum)
D-612 consoles have numerous internal protections
against RF fields, for the M and FM broadcasting
band. When the transmission station is installed
correctly, there will be no interference problems,
still with FM equipment of 50 KW installed in the
terrace of 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 of field intensity, down-
ward. Or maybe there is a faulty ground connection,
then, strong standing waves will appear on the ca-
bles of the Studio that can induce high electrical
currents inside the audio console.
Symptoms: If the interference takes place at the
.M. band, the sound transmitted by the .M. radio
will be listened in the loudspeakers on background
(or at buses PGM, REC). In case of FM transmis-
sions, the interference inside the console demodu-
lates the .M component of the FM carrier; (usually
hum from power supply) causing background hum-
ming, because in many transmitters of FM, the final
output stage is not powered with stabilized tension.
Therefore, if console D-612 presents humming,
please make a test shutting down the transmitter a
few seconds to check if the problem disappears.
Sometimes, an FM transmitter with the output stage
badly calibrated also produce interference in which
you can hear the transmitted audio (due to the mis-
alignment a part of the FM modulation is translated
to M modulation).
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Sol tion: D-612 consoles have internal filters
against RF interference. Therefore, if interference’s
appears, normally is caused by installation prob-
lems on the transmission station that generate ele-
vated currents in the wiring of audio on the Studies,
due to the standing waves. These currents circu-
lates inside the cabinet of the console, and inter-
feres to the circuits when overpass the barriers that
impose to this currents the built-in RF filters. The
solution, then, must be external to the console .
The solution is to acquire fer-
rite O-rings of 60 mm diame-
ter, to allow passing the cables
and connectors. They will be
used in each connector, of input and outputs. The
total set of cables that goes to each connector, will
have to be twisted around the ring.
2.2 Rear panel – wiring
2.2.1 Power so rce
t the left side of the rear panel you will find the
connector for the power supply. The switching
power supply (provided with the console) works
with any C network (90-240 V) and tolerate zones
with great variations of tension. Gives reg lated
28VCC.
PLE AS E DONT RE PL ACE TH E O R G NAL
POW ER SU PP L Y.
The console doesn't have On/Off switch; reason
why it remains fed while the power supply is con-
nected.
The gro nding made through a bronze tip located
in the rear panel that provides the ground connec-
tion to the chassis. Use cable of 2mm to a good
buried cooper bar.
2.2.2 Inp t channels
On the rear panel are located all the inputs and out-
puts connectors.
Take in mind that good connections offer safe and free
of faults operation. By this reason we recommend you:
take it the time necessary to make the connections care-
fully and use always material of first quality.
2.2.2.1 LINEA inp ts
Each line channel has two stereo inputs, selected
from the frontal panel. ‘BAL-1' and 'BAL-2' inputs
are symmetrical balanced, available at DIN connec-
tors. 'LIN-1' and 'LIN-2' inputs are unbalanced, and
uses Phono-RC connectors.
To connect an equipment with balanced output you
will need a cable from DIN-5 to two C NNON (XLR)
or stereo Plug’s (TRS ¼”) according to corresponds.
The pin distribution of DIN-5 and XLR are described
next. Remember that you need to connect TWO XLR
to the DIN (balanced left and balanced right).
DIN 5 (stereo bal.) Female XLR
1 UDIO (-) RIGHT 1GND (shield)
2 GND (shield) 2UDIO (+)
3 UDIO (-) LEFT 3UDIO (-)
4 UDIO (+) RIGHT
5 UDIO (+) LEFT
Unbalanced lines manages signals of -10 dBV @ 10
KOhms (home type or semi-pro).
The GAIN control is common for both inp ts; that is
to say, that operates on the selected inp ts.
2.2.2.2 USB link
The Channel-5 is for direct connection to the com-
puter using an USB port.
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Standard cable USB /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 of 2 to 3 me-
ters of length. USB extension can
be used; but it is recommended not to exceed 4
meters.
The channel must be connected to a computer run-
ning Windows©XP/7/8 Linux or OSX. When con-
necting the channel to the PC, Windows© automati-
cally recognizes it and installs the correspondent
drivers. dditional drivers are not required.
Before connecting the USB cable, make sure the
computer has effectively grounded through its
terminal on the rear panel.
If you want to check the ground, connect a tester
on the scale of 25 Vac between the chassis of the
PC and console, and verify that the voltage is zero
volts (+ / - 5V). Only then connect the USB.
If the equipment is not properly grounded, could
damage the USB port on the console or computer.
Windows© detect the USB channel as “USB a dio
device”. t the console; the display indicator “Digi-
tal In/Out” will show “U4”, indicating that stereo in-
put and output of USB channel was recognized.
Remember that you can see the playing and
recording devices from “Control Panel > udio and
sound Devices > udio”. In this window you define
the preferred devices for Windows (those that appli-
cations use by default). This is simple since the de-
vices are selected from a drop-down menu.
Obviously, you must configure the USB devices in
the automation and editing software that you use. If
your PC does not have installed a soundcard, de-
fault playing and recording device will be the USB
device (Channel-5 input and PGM or REC output).
ON THE LEVEL : After installation, you must a just the
PLAYING LEVEL in the Windows© mixer (“Programs >
Accessories > Entertainment > Windows Mixer” ; since
both channels “born” SILENCED. Windows© erroneously
shows the faders at middle scale, but the channels are
muted. Set the main fader (gain control and WAVE
faders to the Maximum position.
In addition to the input, USB offers a digital send
to the comp ter, 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
Windows XP: Check the input level at the Windows mixer(“Pro-
grams → Accesories → Entretainment → Volume Control”).
Windows 7: Check if Windows has properly recognized the
USB 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 'Advanced
Options', open the drop-down menu Recording format and
choose stereo ( channels, 16 bits, 44100Hz).
2.2.2.3 MICROPHONE INPUTS
Microphone channels are balanced electronically,
with XLR standard connectors.
Each channel has two XLR connectors that are
added internally. If two microphones to the same
channel, agrees that these are dynamic type, the
same make and model. Level differences in the
voices are balanced by the audio compressor con-
sole. The action of the compressor depends on the
level of the main attenuator and is indicated on the
console.
The key "48V" phantom power for channels MIC
MIC-1a and-2a. No power is sent to the inputs "b".
You should remember that if by mistake Dynamic
MIC receives 48V, there is no possibility of damage
because its coil has free floating decouples this ten-
sion.
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2.2.3 AUDIO OUTPUTS
2.2.3.1 PROGRAM AND RECORDINGS
Program o tp t (PGM) is the main output that takes
the signal that will be emitted to the air. It is bal-
anced, with female TRS connectors (a.k.a. “jack”
¼”).
Recording o tp t (REC) is balanced with Phono-
RC connectors.
In order to connect PGM outputs to an unbalance in-
put, connect only the (+) pin, and leaving uncon-
nected the (-) pin.
To connect the balanced TRS output to a balanced
XLR input, the cable will be:
Balance connection 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 a signal pin ( or 3) to ground.
Never uses “mono plug' s” (TS) to connect this out-
puts.
The nominal o tp t level is +4 dB @ 0VU. If you
unbalance the outputs, take in mind that the level re-
duces in 6 dB, therefore 0VU = -2dBm.
Note that if some nonprofessional equipment is con-
nected to the balanced output, may the level be too
high, causing saturation. In those cases a fixed at-
tenuator must be used to reduce the level (a resistive
splitter is a solution).
2.2.3.2 USB send
USB allows direct connection with a computer, and
gives PROGR M or REC signal (it switches from
“USB OUT” in Channel-5). This feature don't requires
special drivers. Windows automatically recognizes
the USB device (see “2.2.2.2 – USB).
Usually USB signal will be used for direct to hard
disk recordings; or webcasting. For details of use the
USB outputs in Windows© please see “3.6 - Record-
ing of programs”.
2.2.4 Monitoring o tp ts
2.2.4.1 HEADPHONES
D-612 has outputs for Studio and Control Room
headphones; with individual level konb. The head-
phones level knob also change the level on speakers
outputs, since this console was designed to be used
with active speakers, that have his own level control.
In the Studio, is convenient to install a headphone's
mixer (like the Solidyne Studio-box) to distribute the
signal to each people; but if you wants, you can con-
nect up to 3 headphones with built-in level control
(32 Ohms) to each Headphone output. nother solu-
tion Is to mount a customized control on the
speaker’s table. potentiometer of 2 x 1KOhm will
be right to manage the level. In this case the level
control of the console is set to the maximum. Next
scheme is the connection for the external level con-
trol.
2.2.4.2 MONITOR SPEAKERS
D-612 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 for bus assignment and level. Both
outputs use female 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.
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