Solidyne D 816 User manual

D·816
3 de Febrero 3254 (PC 1429)
Buenos Aires - Argentina
Phone: [phone]
e-mail: info solidynepro.com
Fax: [phone]
Web site: www.SolidynePRO.com
USB INPUTS/OUTPUTS
DIRECT HARD DISK RECORDING
ON-AIR compact console
User’s manual
Last revision: March 2012

Page 2 D·816 broadcast console SOLID NE

Table of contents-
CHAPTER 1
Overview ..................................................5
1.1 Shipping list.....................................................5
1.2 Features...........................................................5
1.2.1 Input channels.....................................................5
1.2.2 Monitoring...........................................................5
1.3.3 Outputs................................................................6
1.3.4 Start devices........................................................6
1.3.5 ETM - VCA............................................................6
CHAPTER 2
Installation and wiring ............................7
2.1 On installation.................................................7
2.1.1 Parasitic signals..................................................7
2.2 REAR PANEL – connecting............................8
2.2.1 Power Supply......................................................8
2.2.2 Input channels.....................................................8
2.2.2.1 LINE inputs................................................8
2.2.2.2 USB DIGITAL INPUTS..............................8
2.2.2.3 MICROPHONE INPUTS...........................9
2.2.3 Audio outputs......................................................9
2.2.3.1 PROGRAM AND RECORDING ...............9
2.2.3.2 USB OUTPUTS.......................................10
2.2.4 Monitoring outputs...........................................10
2.2.4.1 HEADPHONES.......................................10
2.2.6 Telephonic Hybrid.............................................10
2.2.6.1 CONNECTING STANDARD LINES........10
2.2.6.2 CONNECTING A CELL PHONE.............11
Connection to a computer...................................11
2.2.7 Start Devices.....................................................12
2.2.8 Generals tips.....................................................12
2.2.9 Connection diagram ........................................13
2.2.10 Recommended grounding for a FM station..14
CHAPTER 3
Using the console .................................15
3.1 Overview........................................................15
3.1.1 Quick checking.................................................15
3.2Using the hybrid channel..............................16
3.2.1 Operation..........................................................16
3.2.1.1 Use with a CELL PHONE........................16
3.2.2 Return to phone line.........................................17
3.2.3 Rejection setup (Null).......................................17
3.2.4 Managing conferences.....................................17
3.2.5 Vox-IP communications (Skype).....................17
3.2.5.1 Connection via Skype, or similar, with a re-
mote journalist................................................18
3.2.5.2 Make a conference between Skype (or si-
milar) fixed lines and cell phone. ...................18
3.3 Monitor section.............................................19
3.3.1 Using monitors and headphones....................19
3.3.2 Previous listening (CUE)..................................19
3.3.3 Talk-back...........................................................20
3.4 Microphone channels...................................21
3.4.1 Features.............................................................22
3.4.2 Processing.........................................................22
3.5 Line channels................................................23
3.6 Recording programs.....................................23
3.6.1 Direct to Hard Disc recording..........................23
3.6.2 Recording calls.................................................24
CHAPTER 4
On maintenance ....................................25
4.1 How to get a long life of the console.................25
4.2 Preventive Maintenance......................................25
4.3 Spare parts...........................................................25
4.4 Service Manual.....................................................25
CHAPTER 5
Specifications ans testing ....................27
5.1 Testings ........................................................27
5.2 Technical specifications ..............................29
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Page 4 D·816 broadcast console SOLID NE

CHAPTER 1
-Overview-
1.1 Shipping list
When unpacking the unit; check the contents to ve-
rify that the console has not received blows during
the shipment. Inside the packaging you receive the
following elements:
• 1 power supply.
• T is user’s manual
• 1 guaranty agreement
• Wiring kit (optional). If you did not acquire t e wiring
kit, you will receive t e corresponding DIN connectors.
• 1 tubular connector (2,5 mm) for Tally Lig t
• 4 self-ad esive rubber pads.
The console has a folding vu-meters turret. Into the
packing the turret comes refuted backwards. After
unpacking the console, fits with carefully the position
of the turret for an optimal visualization. Usually it is
not necessary, but if you need to fit the screws of the
turret, you will have to use a hexagonal ALEM 5/32”.
1.2 Features
D-816 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 PC.
D-816 has eight professional 100mm Conductive Ce-
ramic faders of with ETM-VCA control that offer a life
utility of one million operations. It is the best solution
for small and medium radios; and for auxiliary recor-
ding studies in great stations.
1.2.1 Input channels
There are 3 microphone channels with phantom
power of 48V, switched from the front 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 assigned to the
processing stage. MIC-3 channel can be switched to
AUX stereo line input.
Four LINE channels allow connecting up to 8 sour-
ces. Channels 4 and 5 manages balanced analogical
inputs whereas channels 6 and 7 are digital, with di-
rect connection to the computer via USB ports. Addi-
tionally all channels have one analog auxiliary input.
All the channels count on a gain control, that take ef-
fects on the selected input (main or auxiliary).
Chanel # 8 “Telephone Hybrid” manages two land te-
lephone lines (2 wires) and one cellular phone input
(4 wires). Cell phone is connected using the “free
hands” connector. The three phones can be in confe-
rence. The use is very simple, since many functions
are automated. Additionally, the console has send
and return connector for external hybrids.
1.2.2 Monitoring
The monitoring section distributes the signals to the
loudspeakers and headphones of the study and the
control room.
Studio section has a unique level knob for loudspe-
akers and headphones; and the assignment swit-
ches that allow select between ON-AIR signal (exter-
nal tuner), console output (PGM) or recording output
(REC). Usually the console level is adjusted for a
comfortable headphone level and then the active
speakers are adjusted for desired level.
Control Room monitoring has independent control
for headphones and loudspeakers volume. You can
choose between AIR (external tuner), PGM and
REC.
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.
Additionally, monitoring section contains the Talk-
back circuit; that operates as well in combination with
loudspeaker CUE to engage in a private dialog from
the hybrid with a telephone call without disturbing the
on-air signal.
SOLID NE D·816 broadcast console Page 5

1.3.3 Outputs
The D-816 console has two main outputs. Line, mi-
crophone and hybrid channels have two stereo
sends to the output stage, they are called: PGM (pro-
gram) and REC (recording).
In addition it has two USB digital outputs that appe-
ar in the computer as external sound recording devi-
ces (USB recording devices) and sends the program
(channel 6) and REC (channel 7) signals.
Summarizing, the outputs are as follows:
•PGM, T e PROGRAM output is used t e
send t e signal to t e air.
•REC, used to recordings (and allows to lis-
ten a c annel in t e main monitors wit out
send it to t e air).
•REC USB, recording output is also available
via USB (only if c annel Digital USB-7 is
connected).
•PGM USB (W ic appears in t e PC as
“USB recording device #1”). It can be used
as source of signal to WEB casting.
D-816 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. Ple-
ase note that land lines of internal & external hybrids
will work in conference.
The Tally output allows the direct connection of ON-
AIR LED’s lights. Tally activates when opening the
channels MIC-1 and/or MIC-2 (channel MIC/3 does
not activate the tally; since it can operate as line or
microphone). The LOAD DOES NOT HAVE TO EX-
CEED the 120 mA (two Solidyne AIR lights).
If your radio uses the old incandescent light bulbs, a
12 V relay must be connected.
1.3.4 Start devices
This D816 console allows starting remote devices
when some faders are opened (MIC-1; MIC-2; LINE
5 and LINE 6)
It allows to command the automation software com-
puter, digital audio processors like Solidyne 462dsp
& 562dsp or CD/DAT/ Minidisc players, Satellites,
etc., provided with remote control.
1.3.5 ETM - VCA
Using the technique of control by ETM-VCA (Electro-
metric Voltage Controlled Amplifier) the faders DO
NOT manage audio signals. The variation of the le-
vel is made by means of amplifiers of low noise and
great stability. The main faders only handle control
signals that modify the gain of the electronic amplifi-
ers. For more information please visit our WEB site.
The main advantages of this technology are:
•Eliminates t e noisy signals due to dirty
faders.
•Eliminates t e maintenance and improves
t e life of faders.
•Gives a perfect stereo tracking (less t an
0,1 dB error) between Left and Rig t c an-
nels.
•Allows using Conductive Ceramic faders
of one million guaranteed operations
(about 15 years of use).
Page 6 D·816 broadcast console SOLID NE

CHAPTER 2
-Installation and wiring-
2.1 On installation
Installation of Solidyne audio console doesn’t pre-
sent particular problems. However, keep in mind the
basic rules for all professional audio installations.
The inputs and outputs of the D-816 series incorpo-
rate DIN-5 multi-pin connectors for stereo balanced
inputs (provided with the console). You can acquire
the Solidyne wiring kit (MNG816), which incorporates
all the cables and connectors needed for installing
D816.
For console grounding use the rear side GND bronze
tip with a 2mm cable to a good buried cooper bar.
2.1.1 Parasitic signals
All unwanted signals that appear in audio lines usu-
ally consider parasitic signals. A common type are
denominated umming, low frequency signals (multi-
ples of 50/60 Hertz) caused by the interaction of
electromagnetic fields coming from the AC line.
When the interference source is a magnetic field (ge-
nerally originated in a supply transformer) the resul-
tant interference will be denominated electromagne-
tic umming. When the interference is due to such
electric potentials as cables that take supply tensi-
ons, that are elevated in comparison with the audio
signals present in the circuit, you will be in presence
of electrostatic umming. The distinction is not me-
rely academic, because the resolution of a problem
supposes the knowledge of the noise type to apply
the correct solution.
Examples: To minimize t e reception of electromagnetic
umming in t e wires, remember t e following rule: "THE
AREA AMONG TWO AUDIO WIRES WILL BE MINIMUM."
It implies t at t e cables will be tied very close, like t e
s ielded twisted pair audio cables. T ey s ould pass far
away from any transformer or devices t at manage ig -
intensity currents. Is important to remember t at a wire
can be good s ielded, but if is conductors don’t complete
t e conditions of minimum area it will be susceptible to
take magnetic umming.
Other parasitic signals are: AC HUM, RADIO FRE-
QUENCY and CROSSTALK. As hum noises like the
radio frequency are originated by electromagnetic fi-
elds of high frequency; the first ones are originated
by disturbances due to the connection and discon-
nection of equipment’s to the AC 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 filters, and to rea-
ch 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 fundamental, 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 protection against very high fre-
quencies is advisable to use double shielded cables,
guarantied by the manufacturer.
CROSSTALK 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 con-
siderations mentioned for the case of buzz are valid.
2.1.2 RF interference (Hum)
D-816 consoles have numerous internal protections
against RF fields, for the AM and FM broadcasting
band. When the transmission station is installed cor-
rectly, 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 Studio or has
severe SWR problems, then it does not have the mi-
nimum value of field intensity, downward. Or maybe
there is a faulty ground connection, then, strong
standing waves will appear on the cables of the Stu-
dio that can induce high electrical currents inside the
audio console.
Symptoms: If the interference 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 of FM transmissi-
ons, the interference inside the console demodulates
the A.M component of the FM carrier; (usually hum
from power supply) causing background humming,
because in many transmitters of FM, the final output
stage is not powered with stabilized tension. There-
fore, if console D816 presents humming, please
make a test shutting down the transmitter a few se-
conds to check if the problem disappears. Someti-
mes, an FM transmitter with the output stage badly
SOLID NE D·816 broadcast console Page 7

calibrated also produce interference in which you
can hear the transmitted audio (due to the misalign-
ment a part of the FM modulation is translated to AM
modulation).
Solution: D-816 consoles have internal filters
against RF interference. Therefore, if interference’s
appears, normally is caused by installation problems
on the transmission station that generate elevated
currents in the wiring of audio on the Studies, due to
the standing waves. These currents circulates inside
the cabinet of the console, and interferes to the cir-
cuits 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 ferrite
O-rings of 60 mm diameter, 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 – connecting
2.2.1 Power Supply
At the left side of the rear panel you will find the con-
nector for the power supply. The switching power
supply (provided with the console) works with any
AC network (90-240 V) and tolerate zones with great
variations of tension. Gives regulated 28 VCC.
P L E A S E DO N T R E P L A C E T H E O R I G I N AL
P O W E R S U P P LY .
The console does not have On/Off switch; reason
why it remains fed while the power supply is connec-
ted.
The grounding made through a bronze tip located in
the rear panel that provides the ground connection to
the chassis. Use cable of 2mm to a good buried coo-
per bar.
2.2.2 Input 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 LINE inputs
Each line channel has two stereo inputs, selected
from the frontal panel. The ‘BAL-LINE' inputs are
symmetrical balanced. These called “LINE” are un-
balanced inputs.
To connect an equipment with balanced output you
will need a cable from DIN-5 to two CANNON (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 AUDIO (-) RIGHT 1GND (shield)
2 GND (shield) 2AUDIO (+)
3 AUDIO (-) LEFT 3AUDIO (-)
4 AUDIO (+) RIGHT
5 AUDIO (+) LEFT
Inputs called ‘LINE' are unbalanced. They use connec-
tors type “RCA”. Equipment with outputs of -10 dBV
10 KOhms can be connected (home type or semi-pro).
The GAIN control is common for both inputs; that is to
say, that operates on the selected inputs.
2.2.2.2 USB DIGITAL INPUTS
Digital channels 6 and 7 are for direct connection to
the computer using USB ports.
Standard cables USB A/B are used. Ports 1.1 or 2.0
are supported. Place the CPU so next to the console
as it will be possible, in order to use cables of 2 to 3
meters of length. If it were necessary, can be used
USB extension cables; but it is recommended not to
exceed 4 meters.
The channels must be connected to a computer run-
ning Windows© XP; starting by channel 6. When
only one channel is used; channel 6 must be
always used. When connecting the channel to the
PC, Windows© automatically recognizes it and ins-
talls the correspondent drivers. Additional drivers are
not required.
Page 8 D·816 broadcast console SOLID NE

USB channels appears in Windows© as “recording
device USB 1” and “recording device USB-2” (Win-
dows© numbers them according to the order in whi-
ch they were recognized). In the console; the display
indicator “Digital In/Out” will show “U4”, indicating
that stereo input and output of USB channel was re-
cognized. When connecting to channel 7 the indica-
tor will change to “U8”; and will appear in the compu-
ter a secondary playing and recording device (USB-
2). Both USB channels can be connected to the
same PC or to different computers (please see “Very
Important” note).
Remember that you can see the playing and recording
devices from “Control Panel > Audio and sound Devices >
Audio”. In this window you define the preferred devices for
Windows (those that applications use by default). This is
simple since the devices 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, default playing and
recording device will be USB-1 (channel 6 and PGM out-
put).
ON THE LEVEL: After installation, you mus adjus he
PLAYING LEVEL in t e Windows© mixer (“Programs > Acces-
sories > Entertainment > Windows Mixer”); since bot c annels
“born” SILENCED. Windows© erroneously s ows t e faders at
middle scale, but t e c annels are muted. Set t e main fader
(gain control) and WAVE faders to t e Maximum position.
In addition to the inputs, the connection of USB channels
offers two USB digital outputs, that appears in Win-
dows© as “recording device USB 1” (Channel-6 /
PGM) and “recording device USB 2” (Channel 7 /
REC). So that you have in the computer, in digital format,
the program and recording outputs (please see “2.2.3.2 –
USB Outputs”).
VER IMPORTANT
•USB 7 CANNOT BE USED IF CHANNEL USB 6 IS NOT
CONNECTED; since it is slave of channel 6. In order to
use only one USB channel always connect “DIGITAL 6”.
•WHEN TWO PCs ARE CONNECTED; CONSIDER
THAT CHANNEL 7 CANNOT BE USED IF THE COMPU-
TER CONNECTED TO CHANNEL 6 IS POWER OFF.
Usually channel 6 is used with the air PC; which is 24 Hs
operative.
Channels 6 and 7 also present analog inputs. Chan-
nel USB 6 has an auxiliary input -LINE 6- stereo, un-
balanced; with RCA connectors. Channel USB 7 has
a stereo balanced -BAL-7- with DIN-5 connector.
2.2.2.3 MICROPHONE INPUTS
The channels for microphones are balanced electro-
nically, with XLR standard connectors.
Channel MIC-3 can work like LINE channel, because
it presents a unbalanced auxiliary input with RCA
connectors. Therefore this channel does not com-
mand the Tally light and do not mute the Studio Mo-
nitors (still being assigned to entrance MIC-3).
The floating phantom power of 48 V activates, for the
three channels simultaneously, from the front of the con-
sole. Remember that the dynamic microphones support
without problems 48V of phantom, reason why is possi-
ble to mix dynamic and condenser MIC’s.
2.2.3 Audio outputs
2.2.3.1 PROGRAM AND RECORDING
Program output (PGM) is the main output that takes
the signal that will be emitted to the air. It is balan-
ced, with female TRS connectors (a.k.a. “jack” ¼”).
Recording output (REC) is balanced with TRS 1/4”
connectors.
In order to connect these outputs to an unbalance in-
put, connect only the (+) terminal, and leaving un-
connected the (-) one.
Balanced connec ion Plug o male XLR
(for eac c annel)
TRS (Plug) XLR (Cannon)
GND = sleeve
signal (+) = tip
signal (-) = ring
GND = pin 1
signal (+) = pin 2
signal (-) = pin 3
SOLID NE D·816 broadcast console Page 9

Please do not connect a signal pin (2 or 3) to
ground. Never uses “mono plug' s” to connect the
outputs.
The nominal output level is +4 dBu @ 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 atte-
nuator must be used to reduce the level (a resistive
splitter is a solution).
2.2.3.2 USB OUTPUTS
The output signals PGM and REC are available also
in digital format; for direct connection to a PC using
the USB ports. This feature does not require any
additional installation. The USB recording devices
are available when connecting the USB input chan-
nels (please see “2.2.2.2 – USB digital inputs). The
channel 6 USB gives the program signal (PGM)
whereas channel 7 USB sends the recording signal
(REC).
Usually signal REC will be used for direct to hard
disk recording; whereas PGM, that is the on-air sig-
nal, finds its main utility for broadcasting of the signal
via Internet (WEB casting). For details of use the
USB outputs in Windows© please see “3,6 - Recor-
ding of programs”.
2.2.4 Monitoring outputs
2.2.4.1 HEADPHONES
There are separate outputs for study and control
room headphones; with individual level adjustment.
The Studio output has a distribution amplifier and
supports up to eight headphones of 32 Ohms con-
nected in parallel. So that each speaker has an inde-
pendent volume control; you can use headphones
with built-in level control or; as a more professional
solution, to mount a control on the speaker’s table. A
potentiometer of 2 x 1KOhm will be right to manage
the level. In this case the level control of the console
is left to the maximum.
Next scheme is the connection for the external level
control.
2.2.4.2 MONITORS
D-816 was designed to work with active loudspe-
akers. The STUDIO and CONTROL outputs work
with line level at 0 dBu. They have independent con-
trols for bus assignment and level. Both outputs use
female 1/8” TRS connectors.
Remember that studio monitors are muted when channels
MIC-1 or MIC-2 are opened. Control Room spea ers are
muted when the button Tal bac is pressed.
2.2.5 Tally
Tally output gives 12V/120 mA (2 Solidyne Air lights)
when MIC-1 and/or MIC-2 activates. Channel MIC-3
does not activate the light nor mutes the loudspe-
akers of the studio; since this channel also can ope-
rate as Line channel. Also MIC3 must be used when
the speaker/DJ operates the console from the Con-
trol Room (self-operation). In this case the control
room loudspeakers must be used with very low volu-
me to avoid feedbacks loops.
The consumption of the Tally Light output
NEVER must overpass 120 mA.
2.2.6 Telephonic Hybrid
2.2.6.1 CONNECTING STANDARD LINES
The hybrid channel manages to two land telephone
lines and one cellular phone. The internal adjust-
ments are from factory; so the user do not needs to
make adjustments.
On the rear panel there are three RJ11connectors.
Two are for the telephone lines, and the other one is
for the cell phone adapter cable.
The lines can directly be connected to public central
telephone or the local central (PBX) of the radio stati-
on.
Page 10 D·816 broadcast console SOLID NE

The private central sometimes deteriorates the rejec-
tion of the hybrid, reason why we advised to directly
connect the console to the public lines, whenever it
is possible.
The associate telephones (used generally by the
Production to answer the calls) are connected in
parallel to the lines in an external box to the conso-
le; or by means of RJ11 type “Y” adapters.
The telephone lines internally are protected against
lightings by metallic oxide varistors (SIOV). Never-
theless, we recommend to use additionally external
line protection of good quality.
Although the console has internal protection; it is re-
commended to use external line a protection against
transient voltage peaks due to accidents or lightings.
2.2.6.2 CONNECTING A CELL PHONE
An adapter cable-interface is required to connec-
ting the CELL PHONE to the console. This connecti-
on differs according to brand and model of the cellu-
lar. The following image shows the cellular to RJ-11
connection.
Basically, the cellular connection uses a standard
“free hands” cable purchased for that cellular model.
The console sends the program signal to the cell
phone and receives the audio from the cell phone
that enters to the D-816 through the hybrid chan-
nel. The cell phone works in a mode denominated “4
wires” different from the telephone lines (2 wires).
In almost all models, microphone and speaker dis-
connects while the cell phone is used in “free hands”
mode. Please refers to the user manual of you cell
phone for details on this way of operation.
D816 allows the user to have cellular and land
phone lines in conference
2.2.6.3 EXTERNAL H BRID
The D-816 series has a connector with send and re-
turn from external hybrid.
“External Hybrid” uses a female TRS of ¼” (Jack)
that gives signal (PGM send) by “tip” and receives
signal (return or input to console) by “ring”.
PGM send is MIX-MINUS, that is to say, it sends all
the signals of ‘Bus' PGM, with exception of the Re-
turn from Hybrid, to avoid feedback loops.
The audio from external hybrid enters to the console
through the hybrid channel. The main FADER will
behave in the same way that with the telephone lines
connected to the console, sending the signal to the
air or the previous circuit, according to the fader po-
sition.
Connection to a computer
This I/O can be used to connect a computer to use a
VoIP software (like Skype or similar). External Hybrid
connects to the computer to the microphone input and
to the line outputs, with a special “Y” cable (¼” TRS to
two 1/8” TRS). See connection below.
TRS 1/4” to
D816
TRS 1/8” to the PC
line output
TRS 1/8” to the PC
line/mic input
Sleeve Sleeve Sleeve
Ring (input) to Tip (Ring N/C) --
Tip (output) -- to Tip and Ring
SOLID NE D·816 broadcast console Page 11

THE EXTERNAL H BRID AND THE CELL PHO-
NE CANNOT BE ON THE AIR AT THE SAME
TIME.
THE AUDIO FROM THE CELL PHONE IS NOT
SENT TO THE EXTERNAL HYBRID IN ANY CASE.
THERE IS NO CONFERENCE BETWEEN CELLU-
LAR AND AN EXTERNAL HYBRID. The cell phone
only admits conference with the lines of the INTER-
NAL D816s hybrid.
While “cellular” button is pressed, the external hybrid
is in “hold” mode, that is to say, the caller listen all
(less to the cell phone) but does not leave to the air.
In order to air to the external hybrid, “cellular” button
must be released. When the cellular button is relea-
sed, the cell phone remains disconnected and the
external hybrid can be on air with normality.
ONLY conferences between lines on the console or
lines on the external hybrid are supported. CONFE-
RENCES BETWEEN LINES ON THE CONSOLE
AND THE EXTERNAL H BRID ARE NOT SUP-
PORTED.
2.2.7 Start Devices
The output ‘Start devices' allows to command devi-
ces when opening certain channels of the console.
There are three signals of control: channels of mi-
crophone 1 and 2 (they handle the same output)
channel Line 5 and Line 6.
These three control outputs are of open collector
type. They work like a switch. They present high im-
pedance while the channels are closed. When a
channel opens; the output is grounded.
“Start devices” uses a DIN-5 connector; located on
the rear panel in the LINES sector (over the USB
ports).
1ON AIR MIC (MIC 1 & 2 ONL )
2GND
3LINE 6
4NO CONNECTION
5LINE 5
MAX +24 V / 0,1 A
2.2.8 Generals tips
Avoid long cables hanging from connectors. Use
pass-cables canals to distribute cables.
Avoid mixing audio cables with AC cables. Use se-
parated ways for each one.
Does not forget that the console connects to
GROUND using a bronze TIP located in rear panel.
Next is an advanced diagram of grounding.
REMEMBER
•Audio equipment manages different signal levels: The pro-
fessionals ones with balanced outputs operate +4 dBm or
+8dBm, whereas the home equipment uses unbalanced out-
puts of - 10 dBm.
•Use balanced inputs (BAL) for professional equipment, and
the AUX (unbalanced) for home equipment.
Page 12 D·816 broadcast console SOLID NE

SOLID NE D·816 broadcast console Page 13

2.2.10 Recommended grounding for a FM station
Page 14 D·816 broadcast console SOLID NE

CHAPTER 3
-Using the console-
3.1 Overview
You can see five areas in the console:
•Input c annels.
•Hybrid c annel.
•Studio and Control Room Monitors controls.
Talkback.
•Cue
•VU meters.
The different audio sources (microphones, compact
disc players, computers, telephones, etc.); enter to
the console through the INPUT CHANNELS that am-
plify them. The consoles mix all sources to generate
a unique audio signal, which is sent to the transmit-
ter. The operator manages the level of each signal
using the main faders. A second stereo signal for re-
cording purposes can be generated using the REC
bus. This signal is independent of the Program sig-
nal.
The operator can listen to these signals before con-
necting it to air; by pressing the CUE buttons.
Just raising the fader, the channel is on the air.
The switches “PGM / REC” define the output for
each channel. The signal can be on the air (PGM) or
it can be routed to the recording output (REC).
Many channels have two inputs; which are selected
from a switch located at the top of the panel.
•Channels MIC 1 and MIC 2 only manages
microphone signal. The phantom switch
48V selects feeding to the THREE MIC in-
puts. Remember that all dynamic microp-
hones are designed to support 48 V phan-
tom, so that there is no problem in mixing
condenser microphones with the dynamic
ones.
•Channel MIC 3 has a secondary stereo in-
put of LINE level, unbalanced. Then, it can
be used as MIC or LIN input.
•The three microphone channels can be
routed to the processing stage (4 bands
EQ and compressor) with independence.
•The analog line channels manage ba-
lanced (BAL) and unbalanced (LINE) ste-
reo inputs.
•The digital channels manage two USB
digital inputs (DIG) and two analogical ste-
reo inputs (LINE).
•Additionally; USB offers direct recording to
Hard Disk for PGM (channel 6) and REC
(channel 7).
The turret contains electronic LED’s VU-meters that
show the recording and program level (average peak
level).
3.1.1 Quick checking
Next are described the basic procedures to verify the
console wiring. In order to check that all is working
well, please follows the next steps:
1. Choose a signal source, like a micropho-
ne, a CD player, etc. According to the used
source, select in the channel the corres-
pondent input (MIC-LINE or BAL-LIN).
This can be the first cause of error (there is
no signal because the mistaken input is
assigned).
2. Press CUE button in the channel in which
the signal is.
3. Open the CUE fader in the MONITOR
SECTION. The audio will have listened in
the built-in loudspeaker.
On the air:
1. Send the channel to PGM, so that the sig-
nal is sent to the main output.
2. Open the main fader until reach 0 VU in
program VU-meter. The signal will be on
the air.
3. The gain knob must adjust so that the nor-
mal work position of the main fader is -15
dB (gray zone). In some countries (like En-
gland) the user prefers to adjust the nor-
mal level with the fader at maximum.
SOLID NE D·816 broadcast console Page 15

3.2 Using the hybrid channel
The hybrid channel manages 2 standard telephone li-
nes, and one cell phone input. Cell phone connects
using the “free hands” cable set (please see “2.2.6.2
Connecting a cell phone”). The three communications
can be in simultaneous conference.
It also supports communication conference 'Vox-IP',
made from a computer connected to channel 7
(USB). Turning the key "Return to Vox-IP", the hybrid
channel audio returns the phone lines to the PC
through the REC bus.
3.2.1 Operation
Its use is simple and error free due to its logic of secu-
rity and automatic control.
When a call enters, a blue LED in the corresponding
line will blink with each ‘ring'.
You can answer in two ways:
a) From the telephone associated to that line;
b) from the console, by pressing the correspondent
line button. When doing it, you will take the line and
the blinking LED will be stopped.
HYBRID FADER must be closed so that the commu-
nication takes place through circuit of CUE. In these
conditions, you will listen to the caller by loudspeaker
CUE of the console and at the operator’s headpho-
nes. You can fit to the level with the control “CUE le-
vel”; and with the knob “Cue level” of the own hybrid’s
channel. In order to engage in a dialog, use the mi-
crophone of the talkback system, pressing button
TALK (when two lines are taken, the talk-back MIC is
sent to both callers). You will engage in a dialog in
mode half duplex.
When the private dialog finalizes, you can raise the fa-
der HYBRID towards the position “HOLD”, that sends
the on-air signal to the telephone lines to retain the
caller in waiting mode. The caller listens to the radio
(PGM signal). The CUE return disconnects automati-
cally in this position.
If now you raise still more the fader, you send the
calling to the air. The final position of fader is obtai-
ned verifying the level of the calling in the PROGRAM
VU-meters of the console.
SWITCH PGM - REC: So that the communication be
on air, switch PGM-REC must be on PGM. The hybrid
signal is sent to AIR or to recording output according
to the position of this switch. Please see “3.6.1 - Re-
cording of telephone lines”.
IF OU DO NOT HAVE AUDIO OF THE H BRID
ON THE AIR; CHECK THE POSITION OF THE
SWITH “PGM-REC”. THIS MUST BE “PGM”
In order to quit the calling from the air and to send it to
the CUE circuit, close the fader HYBRID. If you want to
take the communication on the telephone set, you
must off-hook the telephone before to release the line
at the console (remember that the associated telepho-
ne is connected in parallel). If the telephone is hung,
the communication ends when release the line button.
3.2.1.1 Use with a CELL PHONE
The procedure is the same one that for land telephone
lines. The difference is: the call is not answered from
the console, but from the own cell phone.
Page 16 D·816 broadcast console SOLID NE

Once answered, press the button “CELLULAR” at the
console to enter the audio. The audio enters to the con-
sole through “HYBRID” fader.
Like with the conventional lines, you can listen in previ-
ous that call; to engage in a dialog pressing TALK; to
leave waiting to the caller (HOLD) and to send the call
to the air opening the fader (AIR).
If you want to call from the cell phone, it is possible to
make the call and to connect soon the “free hands” ca-
ble to the telephone. Or it can contact with the connec-
ted telephone, listening to the audio by CUE and pres-
sing TALK to engage in a dialog (fader closed).
TAKE IN MIND
•EXTERNAL HYBRID AND CELL PHONE CANNOT BE ON AIR
AT THE SAME TIME CELL PHONE BUTTON MUST BE RE-
LEASED IN ORDER TO USE EXTERNAL H BRID
•THE AUDIO FROM THE CELL PHONE IS NOT SENT TO THE
EXTERNAL HYBRID IN ANY CASE. THERE IS NO CONFE-
RENCE BETWEEN CELLULAR AND THE EXTERNAL HY-
BRID. If you need this feature, please use an external hybrid
with Cell Phone connection, like Solidyne HA204.
3.2.2 Return to phone line
Most of the existing telephone hybrids on the market
today, were designed over 30 years ago for analogue
telephone exchanges (PBX) Solidyne hybrids, howe-
ver, have been recently designed for private or public
telephone exchanges today, which are fully digital. The
new technology Hybrids are recognized because they
have no control of air return level to phone line. This is
because inside the hybrid Solidyne uses an audio pro-
cessor for return signal that includes AGC, peak limiter
& audio signal filtering. Therefore the return is automa-
tically adjusted during the transmission and its level is
the maximum allowed by the modern digital telephone
exchanges.
If you want to check the return level to phone line, you
must use a oscilloscope to be placed in parallel with the
telephone line and must verify that the signal is 2 volts
peak to peak.
Please note that above this level the return can produ-
ce problems that will cause intermodulation distortion in
the audio signal that goes to air. So in Solidyne hybrids
we use a processed return channel, to avoid distortion
at the on-air signal. There are hybrids manufacturers
that maintain the return control level as they did in the
past. This allow operators to adjust "by hunch" this cri-
tic level. This makes the voices of the reporters and in-
terviewed people distorted or with coloration.
In Solidyne obviously, we keep a high grade of excel-
lence in the audio quality of the hybrid on-air sound.
And that quality do not depend on the operator set-
tings. Note that the Solidyne Hybrid on- air audio qua-
lity of the local journalists is ever perfect and without
any coloration.
To achieve this level of quality we use a narrow-band
return filter. Then the return signal is limited to the
band 400 – 2.200 Hz in order not to distort the signal
to the air. This narrow band intelligibility remains high
(due to processing) but occasionally may seem to the
remote people that it "has little volume" because his
band is narrow. This should not worry because it is a
subjective sensation that does not affect the intelligibi-
lity of speech.
3.2.3 Rejection setup (Null)
This adjustment is only for LAND lines. The rejection
factor expresses the capacity of the hybrid to avoid that
the transmitted signal returns distorted to the air. Whi-
chever greater it’s this factor more “clean” will be the
sound quality of the local speaker on the air. In order
set the rejection, proceed as following:
1. Make a calling through one hybrid of the console.
2. Listening to the voice of the local speaker from the PGM
monitor , carefully turns the preset “Null” until reducing to
zero the distortion superposed to the speaker’s voice. Ple-
ase make this adjust when the console is installed.
3.2.4 Managing conferences
The conference can be made establishing the calls
from the associate telephones and sending them to the
air by pressing “Line 1” and “Line 2” on the console.
Once taken the callings in the console, you must hang
the telephones.
Let us suppose that the speaker is engaging in a dialog
with an interviewed person who called (or he was cal-
led) by the line #1; and you want to add to the conver-
sation another person. Using the associate telephone,
you make the call from the line #2. Once contacted;
press the button “line 2”. The calling will be DIRECTLY
on the air. Remember to hook the telephone.
In the same way proceed with the cell phone.
3.2.5 Vox-IP communications (Skype)
While not the hybrid channel who provides communi-
cation via Internet, we will explain here the procedu-
re for communication using VoIP software like Skype
or similar.
ATTENTION
•USB 7 CANNOT BE USED IF CHANNEL USB 6 IS NOT
CONNECTED; since it is slave of channel 6. Both chan-
nels can be connected to the same computer.
•WHEN TWO PCs ARE CONNECTED; CONSIDER
THAT CHANNEL 7 CANNOT BE USED IF THE COMPU-
TER CONNECTED TO CHANNEL 6 IS POWER OFF.
Usually channel 6 is used with the air PC; which is 24 Hs
operative.
SOLID NE D·816 broadcast console Page 17

3.2.5.1 Connection via Skype, or similar, with a
remote journalist
To make this proceed as follow:
a) At the console, switch the microphones to
the EQ and assign the signal to PGM and
REC (switches to the right).
b) The channel 7 must be assigned to PGM,
but not to REC (REC button released).
On the computer connected via USB to channel 7,
make a communication using Skype or similar
software. Before, check the devices configuration of
VoIP software to set the I/O devices to USB-2 (D816
CH 7).
During the call, the signal from the microphones is
sent to the remote location via Skype (via the bus
REC). Note that when local journalists speaking, the
VU meters on PGM and REC activates at the same
time.
The audio from remote journalist enters to the D-816
via USB. Opening the channel 7 the Internet signal
is on the air, so the local speaker and remote partner
are communicated with each other, on the air.
3.2.5.2 Make a conference between Skype (or
similar) fixed lines and cell phone.
The D-816 allows maximum flexibility to generate a
virtual forum between journalists and interviewees,
very far apart. For this proceed as follows:
1. Keep the controls like previous description
a) and b).
2. At Channel 8 (Hybrid) move the switch
PGM-REC to PGM.
Once communication is established via Skype (or si-
milar) you will be in the previous situation. You may
receive or generate phone calls from landlines or a
cell phone. Under this conditions, the callers are sent
to the air as usual, opening the fader of Channel 8
(Hybrid).
Turning on the key "Return VoxIP" in Hybrid (mo-
ving it to the left) a return signal from the Hybrid is
send to Skype (through the REC bus). This will see
reflected in the REC VU-meter, since it will shows
the Hybrid signal. This way everyone are in confe-
rence.
ATTENTION
DON'T SEND BACKGROUND MUSIC TO SK PE. ONLY
THE MICROPHONES MUST BE ASSIGNED TO REC BUS.
Communication via SKYPE has a priority system that attenu-
ates the speaker when he is interrupted. This makes it impos-
sible to send the background music in the return signal, it will
cause interruptions in the audio who's talking.
Page 18 D·816 broadcast console SOLID NE

3.3 Monitor section
3.3.1 Using monitors and headphones
At the monitors section you can observe the fol-
lowing areas:
• S udio Moni or: ere you define w at signal you
will listen at t e Studio monitors and eadp ones.
• Con rol Room Moni or: define w at signal you
will listen at t e Control Room monitors and e-
adp ones.
• CUE: set t e CUE level of t e built-in loudspeaker.
A unique level control manages the headphone and
monitor outputs for the Studio. Normally the monito-
ring level adjusts from the console for a comfortable
listening in the headphones. In case that you wants
individual control for each headphone; you can make
external level control using a potentiometer of 2 x 1
Kohm, mounted in the table.
The Studio monitors have their own gain control,
since the console’s output was designed to operate
with powered monitors. Remember that when the mi-
crophones activate, opening its faders, the audio in
the studio monitors is muted, to avoid feedbacks.
The Control Room section offers independent gain
controls for headphones and monitors. The Control
Room monitors must be powered units (active
speakers).
Using the routing switches you can choose the signal
that will be listened in monitors and headphones.
The assignments for Studio and Control Room are
independent. The options are:
•PGM to listen t e console output.
•REC allows t e listening of t e c annels t at
are assigned to recording output.
•AIR switc es to an additional input, designed to
connect an external tuner in order to moni o-
ring he ransmission from he air. T is is t e
rig t way for monitoring; recommended for all
t e radios.
3.3.2 Previous listening (CUE)
The D-816 has an internal loudspeaker for previous
listening. Each channel has a button “CUE” that al-
lows to listen the signal present in that channel with
the channel fader closed.
SOLID NE D·816 broadcast console Page 19
Talkback to Studio
MASTER MIC: Enables the 3 microphones.
In channel 3 only takes effect when the input swit-
ch is in position “MIC”. If switch is in “LINE”, “Mas-
ter Mic” not take effect over this channel.
PZM MIC. For TalkBack
and hybrid.
Audition level for
Studio loudspeakers
and headphones.
Assign PGM or REC to the
Studio monitors
Talkback volume
Audition level for the Control
Room active loudspeakers
CUE level. Adjust the volume
of the built-in loudspeaker.
The signal CUE also is sent to
the ControlRoom headphones
Assign output PGM or REC to
the Control Room
Control Room
headphones level
Change the monitoring
between external input ‘ON
AIR’ and PGM/REC (Requires
an external tuner)

If CUE is pressed in several channels, the signals
are added. Rotary CUE level controls the volume in
loudspeaker CUE.
Additionally, signal CUE is sent to the control room
headphones. In this way the operator can check the
channels using headphones.
3.3.3 Talk-back
The talk-back circuit allows the operator to talk with
the speaker while he is into the studio.
In order to talk, press the Talk-back button (see mo-
nitor panel drawing) . The Control Room monitors
will be muted, to avoid feedbacks loops. Your voice
will be listened inside the Studio, by the left channel.
The right channel stays with the on-air audio, so that
speakers and journalists do not lose the On-Air refe-
rence. At the same time talk-back microphone will be
listen in all studio headphones.
The operator can press CUE in a microphone chan-
nel to engage in a dialog with the Studio.

The level of the tal -bac microphone comes calibrated from
factory, and usually it is not necessary to modify it. If you
need to change it, there is a preset called “LEVEL” to ma e
the adjustment.
Page 20 D·816 broadcast console SOLID NE