D&R Airlab User Manual

AIRLAB

User Manual

Mixing consoles

Version 2.03

D&R ELECTRONICA WEESP BV
Rijnkade 15B
1382 GS Weesp
The Netherlands
Phone: [phone]
Fax: [phone]
Website: http://www.d-r.nl
E-mail: [e-mail]

Introduction

1 INTRODUCTION ............................................................................................................................................. 3

2 PACKAGE CONTENTS.................................................................................................................................. 4

3 SYSTEM DESCRIPTION ................................................................................................................................ 5

4 TRIPLE LINE INPUT STEREO MODULE....................................................................................................... 8

4.1 SHORT OVERVIEW OF TRIPLE LINE MODULE FUNCTIONS............................................................. 10

5 TRIPLE DIG INPUT MODULE ...................................................................................................................... 16

5.1 SHORT OVERVIEW OF TRIPLE DIG INPUT FUNCTIONS................................................................... 18

6 TELCO MODULE.......................................................................................................................................... 24

6.1 COMMUNICATION WITH TELCO MODULE ......................................................................................... 27

7 MODULE CONNECTORS............................................................................................................................. 28

8 MASTER SECTION....................................................................................................................................... 29

9 TIMER AND SYSTEM-SETUP...................................................................................................................... 32

9.1 CUE RESET .......................................................................................................................................... 32

9.2 AIRLAB METERING .............................................................................................................................. 33

10 BACK PANEL CONNECTORS................................................................................................................. 34

11 AIRLAB MASTER BACK PANEL WIRING .............................................................................................. 37

12 AIRLAB JUMPER SETTINGS .................................................................................................................. 39

12.1 TRIPLE INPUT MODULE....................................................................................................................... 39

12.2 TRIPLE DIG INPUT MODULE................................................................................................................ 41

12.3 TELCO MODULE................................................................................................................................... 43

13 INSTALLING/SERVICING THE AIRLAB.................................................................................................. 44

14 HOW TO PROGRAM THE AIRLAB.......................................................................................................... 48

14.1 MODULE SETTINGS............................................................................................................................. 48

14.2 MASTER SETTINGS ............................................................................................................................. 59

14.3 SYSTEM SETUP ................................................................................................................................... 60

14.4 TIMER.................................................................................................................................................... 62

14.5 MENU DIAGRAM................................................................................................................................... 63

15 WINDOWS SOFTWARE........................................................................................................................... 64

15.1 INSTALLATION ..................................................................................................................................... 64

15.2 GETTING STARTED ............................................................................................................................. 64

16 SPECIFICATIONS..................................................................................................................................... 67

17 SICO REMOTE UNIT ................................................................................................................................ 68

18 DIRECTOR UNIT (DISCONTINUED)........................................................................................................ 69

19 LIST OF FIGURES.................................................................................................................................... 70

20 LIST OF TABLES...................................................................................................................................... 71

21 AIRLAB USER QUESTIONNAIRE............................................................................................................ 72

22 PRODUCT SAFETY.................................................................................................................................. 73

23 DECLARATION OF CONFORMITY.......................................................................................................... 75

24 DISCLAIMER ............................................................................................................................................ 76

Introduction

1 INTRODUCTION

Dear client,

Thank you for choosing the Airlab console.

The Airlab is designed by specialists in the field of radio broadcast and is intended to be used as a 24 hour
"On-Air" console as well as a production console.

We are confident that you will be using the Airlab for many years to come, and wish you much success.

We always value suggestions from our clients, and we would therefore be grateful if you could complete
and return the questionnaire included at the back of this manual, once you have become familiar with your
Airlab. We will certainly learn from your comments, and very much appreciate your time doing this.

With kind regards,

Duco de Rijk
PRESIDENT

Package Contents

2 PACKAGE CONTENTS

The Airlab package comes with the following parts inside.

• 1x Airlab

• 1x This manual

• 1x Airlab Control Center supporting Win98SE/Win2000/WinXP/WinNT4.0

• 1x Chip card

• 1x Power cable

System Description

3 SYSTEM DESCRIPTION

D&R Quality

D&R has been the largest manufacturer of mixing consoles and signal processors in the Netherlands for
26 years. More than 90% of the total production is exported worldwide. This market demands excellent
pricing and quality standards.
D&R products are used in studios and live performances, both of which require 100% reliability, which is
the result of 26 years of research, design and manufacturing.

These high standards of reliability are also to be found imbedded in the new line of broadcast mixers,
which is particularly important for this type of product, required to work around the clock.

Airlab Quality

The high standard of quality of the Airlab is demonstrated by the welded steel RF screening and sturdy
housing, the heavy duty power supply, its modular approach and locking IDC connectors mounted on high
quality double sided, plated through, glass epoxy printed circuit boards.

The signal paths are electronically switched using CMOS logic and 'FET' components, ensuring reliable
and smooth switching.

High quality 100mm faders control the new redesigned "THAT" VCA's. Switching is performed by isolated
encapsulated reed relays guaranteeing many years of trouble free smooth switching.

Airlab flexibility

The Airlab is a specially designed production/ On-Air broadcast console. Although the design has been
carefully budgeted, no compromises have been made in either quality or features, particularly in the areas
of VCA control, switching, signaling, fader start/stop and communication.

The Airlab is fully modular, which means flexibility in the configuration. The Triple input modules as well as
the Telco input modules can be placed anywhere in the chassis. A partially loaded Airlab can be completed
using low cost 'blind modules'.

Digital programmable

Most of the important module functions such as module set-up as well as overall master settings are
programmable and can be saved on a personal memory card or in the internal memory of the Airlab.
The LCD in the master section helps you with the programming. There is also a possibility to do this on
your PC by way of RS232 communication.

System Description

The Airlab is a complete and self-contained piece of hardware, requiring no additional items in order to be
operated. All relevant functions are built-in, such as fader start/stop (pulse or continuously selectable).
There is also no need for complex mic-on/cough switching to the announcer booth. A stereo jack, a LED
and a simple push-button switch complete this task.
The optional SiCo unit is a nice looking alternative with many extras for Cough switching and monitoring.

Built-in stereo headphone amp

The Airlab contains built-in headphone amps for the Announcer and Guests. No additional amps are
needed. The Studio output needs to be hooked up to a power amp that can handle +6 dBu as nominal
level for full power.

Clear layout

To create a clear layout most of the switches have LED indicators, large CUE/SELECT and ON switches
and the front panels are angled for visibility.

All similar functions in the triple input channels are color-coded with additional fader knobs available for
personalized channel color-coding.

Example: Microphone channels: red fader knobs
Telephone channels: gray fader knobs
Stereo channels: black fader knobs

Radio communication

On the basis that there's no radio without communication, the Airlab has extensive possibilities for
signaling and communications. Every microphone channel has its own signaling and talk back circuitry and
all outputs can also be connected to the talk back circuitry.

The announcer/technician/producer/director can communicate with the announcer booth, guests,
monitoring system, all connected Telco modules and auxiliaries, either individually or in any combination.
A very intelligent CUE system connects every activated CUE switch with each other to create a transparent
and intuitive communication system. It will be explained in detail further in this manual.

Signaling

It is extremely important in broadcast to know whether a microphone channel is active.
Every channel has a red light signaling available on the remote connector.
The Airlab has two external connectors for ON-AIR (mic-on) signaling to control external relays activating
high voltage ON-AIR lamps.

NEVER CONNECT 115-230 VOLT LAMPS DIRECTLY TO THE ON-AIR SIGNALING OUTPUTS IN
THE MASTER SECTION!!

System Description

Broadcasting Options

In designing the Airlab, D&R decided to make the system as flexible for the operator as possible. Therefore
the Airlab can be used in many ways.

There's a minimum of jumper settings, which can be set to suit your own needs. Most of the settings are
under software control in the master section and can be stored to a chip card.
The Airlab can be used in a traditional manner with separate control and announcer rooms, or in a more
open way, whereby announcing and engineering control are carried out in one room. A self-op setup or a
combination of several setups is possible.

More than one Broadcast Studio

There are numerous monitor facilities in the Airlab for external sources as well as internal sources. The
control monitors (and meters) can be switched to follow the control room for separate (stereo) sources.
These features mean that the Airlab is specially suited to work in a studio-complex environment, where
there is more than one studio/control room being used for broadcast.
In this situation, the Airlab is capable of being the main On-Air console due to the two main outputs it
contains. These main outputs can be fully transformer balanced as an option.

Special Recording Outputs

The Airlab has a special Tape/Recording output on a 0dBu output level.

Double Stereo VU/Peak Metering

In order to achieve a good balance between spoken words and music, it's important to be able to read the
recording level accurately. The Airlab has a standard 4 VU meters reading per pair the main output and the
CUE output. A PPM version of the VU meter is available as an option.

SUMMARY

Whilst using the Airlab, you'll discover its many hidden features, and will continue to appreciate its
extensive capabilities.

Triple Line Input Stereo Module

Airlab from D&R Phone [phone], email: [e-mail] Page 8

4 TRIPLE LINE INPUT STEREO MODULE

MONO

Every channel has a mono switch with LED to send a mono input signal to both outputs of
the module.

(PHANTOM POWER, not on front panel.
48 volt switchable by a jumper setting (see also chapter 12))

MIC-TRIM

The trim control adds an extra 13dB of mic gain to the mic pre-amp. An optimal gain range
can be accomplished in this way.

GAIN

The gain control adjusts the incoming signal level on the MIC and LINE input.

LINE A

The triple module default is in 'LINE A' mode. Operating the 'LINE B' switch or the MIC
switch changes the mode.

LINE B

When line B is selected (with optional RIAA correction amp), the green LED is illuminated.

MIC

MIC input selector switch between MIC-input or Line-A/B input. When the LED is illuminated
the MIC-input is activated.

HIGH

Adjusts high frequencies with +/- 12 dB at 10 kHz shelve.

MID

Adjusts mid frequencies with +/- 12 dB at 1 kHz bell.

LOW

Adjusts the low frequencies with +/- 12 dB at 60 Hz bell.

SUB

The sub switch assigns the signal in stereo to the sub output.

PROG(RAM)

The program switch assigns the signal in stereo to the program output.

STEREO AUX

Transmits a stereo signal to the AUX master post fader. A jumper on the board determines
whether this is pre or post VCA.
The channel 'ON' switch also affects the aux send (only when set to post fader).

Triple Line Input Stereo Module

Airlab from D&R Phone [phone], email: [e-mail] Page 9

PAN

Allows adjustment between the left and right channel outputs.

CUE/SELECT

Stereo pre-fade listening; allows pre-fade listening of the channel with the fader closed.
The CUE function will be automatically TURNED OFF when the channel becomes active.
The CUE switch also generates a start/stop pulse in the line-mode.
The CUE switch also acts as a SELECT switch for the programming of the modules
functions.

ON

Channel on/off switch. The Airlab is capable of sending out a pulse by ON switch as well as
by fader. This is software programmable. In any case the adjacent LED will lit when the ON
switch is activated.

FADER

The linear fader controls a VCA that controls the module's overall level. Electronics sense
when the fader is opened and generates (when programmed) the start for remotely
connected devices.

Triple Line Input Stereo Module

Airlab from D&R Phone [phone], email: [e-mail] Page 10

4.1 SHORT OVERVIEW OF TRIPLE LINE MODULE FUNCTIONS

Microphone input: Electronically balanced
Impedance: 2 kOhm
Level: From -70 dBu microphone input to 0 dBu
Connectors: XLR female, Pin 1 = ground. Pin 2 = in phase. Pin 3 = out of phase
48 Volt phantom: Jumper enabled/disabled, (see chapter 12)
Mic High pass filter: At 80 Hz internally set by a jumper, (see chapter 12)

REMOTE: (Only when programmed)
Remote control of the channels CUE and/or Cough/Communication
'Channel-on' light signaling. Connection by way of a stereo jack

Tip = Positive supply voltage, current limited at 6 mA when the channel is 'active
(fader up)'. A direct connection to a LED is possible between tip and sleeve.
Ring = When momentarily connected to ground, the channel will be muted and CUE
is activated creating a Cough/Communication function when the channel is in
the Mic mode. CUE can be normally activated when in LINE mode.
Sleeve = ground.

A-Input and B-Input: The input impedance for both 'A' and 'B' are >10 kOhm, and the maximum
sensitivity ranges from -20 dBu to +20 dBu. The signal to noise ratio is -90 dBr
(R.I.A.A. = -70 dBr). Nominal level of the A input is +4dBu and for the B input
0dBu.

Connector is Jack: LINE A = balanced wired to a female XLR connector Pin 2 is in phase,
Pin3 is out of phase and pin1 is ground
LINE B = unbalanced on Cinch connectors.

NOTE: By adding an optional plug-in stereo R.I.A.A. pre-amp, the B input is able to accept M.D.
phono pick-ups. See (see chapter 12)!

START: Stereo jack plug
Tip = Center contact
Ring = Normally open
Sleeve = Normally close
Maximum voltage/current that can be handled=24 volt at 50mA

NOTE: Polarity is not important with reed relays!

DO NOT CONNECT 115/230VOLT AC TO THIS CONNECTOR!!!

Pulse or Continuous Signal:

Software programmable between active or not and between pulse or

continue

Triple Line Input Stereo Module

Airlab from D&R Phone [phone], email: [e-mail] Page 11

Mono Microphone input

The front end of this module is designed to amplify balanced microphone signals. A +48 Volt phantom
power supply is available for condenser microphones. The Airlab has the ultimate in mic amplification with
a wide dynamic range and extremely low noise.
The microphone input is electronically balanced and protected against R.F. interference.
Input impedance is 2 kOhm. This is high enough to accept all modern microphones.
The Gain control can vary the input levels with a range of 40dB in one turn.
The signal to noise ratio is -127.0 dBr and is therefore well suited to low noise applications.

Phantom Powering

This +48 Volt power is required for condenser microphones and can be applied to the microphone inputs
via a jumper setting on the PCB. (See also chapter 12)

When the phantom power is applied and the channel is active, a 'click' can be heard when a microphone is
plugged in. This is due to a D.C. component on the input, which is suddenly interrupted and amplified by +/­70 dB. It's therefore important NOT to do this with channel faders up and channel ON. It's even better to
switch of the console entirely before connecting or disconnecting any kind of equipment.

DO NOT use unbalanced or electret microphones when the phantom power is applied as it could damage
the microphones.

High-Pass Filter on MIC

The high-pass filter attenuates the low frequencies below 80 Hz and can be switched on or off by jumper
settings (see also chapter 12). It is only active on MIC inputs.

NOTE: Some microphones have built in high-pass filters and therefore do not require use of the
Airlab high-pass filter.

Microphones used for speech are usually set for high-pass filtering in order to avoid 'popping' and other
unwanted low frequency rumble and therefore improve the quality and intelligibility of the spoken word.

Triple Line Input Stereo Module

Airlab from D&R Phone [phone], email: [e-mail] Page 12

A. COUGH / REMOTE / SIGNALING IN MIC MODE

This useful feature has two important functions:

1. Cough/Communication,

2. 'MIC-on' (CUE on)
Both functions are software programmable.

1. Cough/Communication

(A push-button needs to be connected to the ring and sleeve of the remote jack plug.)
Using the push-button during broadcast, the announcer can temporarily mute the
microphone in order to cough (where the name comes from). At the same time his
microphone will be routed to the CUE system, in order to give him the opportunity to
communicate with the engineer/producer. Cough works on every programmed mic input.

2. 'MIC-on'

When the channel is active a voltage is applied between Tip (+) and Sleeve (0V),
which can be used to activate a LED (red) or an opto-coupler.
In addition to the localized 'mic-on' signaling, there's also a master signal in the
master section. The ON-AIR signaling outputs 1 and 2 offer the option of driving
external red light indicators in the studio by way of external high voltage relays.

B. REMOTE/SIGNALLING IN LINE MODE

In this mode CUE can be switched on/off via a remote external push-button.
When the channel is active a voltage is applied between Tip (+) and Sleeve (0V),
which can be used to activate a LED (red) or an opto-coupler.

Alignment of the MIC input

With the fader in the 'down' position, and the CUE activated, the input signal is adjusted with the gain
control until the 0 dB position in the master VU meter is reached. When the fader is in its 0 dB position, the
signal has a nominal level in the Airlab. This way of alignment will give enough headroom to compensate
for signal losses of up to 10 dB, whilst the noise floor remains well below the nominal level.

Airlab Line input module

This part of the triple input module is specially designed to accept balanced and unbalanced stereo input
signals. There are two stereo inputs; line A and line B. Both inputs can have fader start functions. By
changing software settings this can be accomplished.

R.I.A.A.

As an option, a stereo phono pre-amp with R.I.A.A. filter curves can be plugged onto the motherboard,
in order to accept Magnetic Dynamic Phono cartridges. The Line B input will be converted.

Triple Line Input Stereo Module

Airlab from D&R Phone [phone], email: [e-mail] Page 13

START/STOP FUNCTIONS CONFIGURED

The 'Start' is only active when this is activated in the software.

These remote connectors are activated by the fader and/or `ON' switch in the channel module. The start
jack connectors are electronically separated by use of encapsulated reed relays.

Reed relays are ideal devices for eliminating ground loops and limited life span effects of other switches
and can easily be interfaced with all modern equipment.

The start connectors are connected to separate reed relays.
The maximum VOLTAGE/CURRENT is 24v/50mA. (Polarity is not important with reed relays!)

NOTE 1: Nearly all of the modern devices require pulse information. Continuous signals
however, can have the advantage that during broadcast a CD player cannot
be accidentally stopped. One disadvantage however is that some CD players
are blocked from other functions when started with a continuous pulse.
NOTE 2: It is advisable to only use the pulse start mode with jingle machines. The cart
has to finish its tape to the end and then automatically rewinds.
NOTE 3: Some of the older products such as the A-77, require additional relays or
switching transistors to operate satisfactorily, contact your dealer for more
information.

MIC/LINE GAIN

The Gain control (only active when the line input is selected) adjusts the gain of the stereo channel pre­amps, within a range of -20 dB to +20 dB for the line level and +/-40 dB for the Mic level. The range of the
fader (VCA) gives an additional 10 dB of gain when needed.

Alignment of the LINE input of a channel

To align the line input of a channel close the fader and activate the cue switch. The gain control is used to
adjust the level of the incoming signal until a 0 dB reading is achieved. If the `ON' switch is now activated,
the signal level will be nominal. When the fader is opened, the CUE signal will be automatically reset, and
its associated LED will switch off.

Triple Line Input Stereo Module

Airlab from D&R Phone [phone], email: [e-mail] Page 14

Equalizer

The equalizer is optimized for broadcast. Center detents on all equalizer controls indicate their flat position.
(On special demand we could manufacture modules without an EQ section)
The maximum lift and cut is 12 dB at the following frequencies:
10 kHz: Shelve
1 kHz: Bell
60 Hz: Bell

SUB

The Sub switch switches the stereo modules output to a separate SUB mix amp located in the master
section of the console.
This setup makes production work possible during ON-AIR broadcast due to extremely good cross talk
figures achieved in the Airlab console by careful usage of high-end CAD design systems in the initial
design stage of the console.

PROGRAM

The Program switch switches the stereo modules output to the main mix amps located in the master
section of the console.

Auxiliary

The stereo auxiliary send is post fader, bringing the signal to the master stereo auxiliary send. When the
input module is used for microphone signals only both left and right signal paths are fed by the same mono
mic input signal. The channels `ON' switch will also switch the Auxiliary send on or off when its jumper is
set to post fader.

PAN

The PAN enables adjustment between the left and right signals. The range is not restricted in order to
enable to position any incoming signal anywhere in the stereo image.

CUE

This is an automatic pre-fade-listen system, which enables you to listen to a channel without actually
opening that channel. When the CUE button is activated, the channel signal will be connected to the cue
output and meter circuitry; the red cue LED indicator will illuminate.
When the channel is active, the CUE system will be reset, including its associated LED, however it's
possible to re-activate the CUE switch.
Channel Cueing on DJ channels will only be heard in the headphone outputs. The CRM output will be
muted.
The CUE switch can also generate a start pulse for remotely connected machines by software
programming.

The CUE signal can be heard in two ways:

1. Through the stereo Control Room Monitors by activating the “CUE to CRM” function switch in
the master section. If the cue is activated in one of the channels, the CRM and meters will be
activated without interruption of the main output.

2. By way of an externally connected cue amplifier with loudspeaker.

Triple Line Input Stereo Module

Airlab from D&R Phone [phone], email: [e-mail] Page 15

ON

The channel on/off switch operates in tandem with the fader.

There are two methods of activating the channel:

A. Press the `ON' switch (Green LED is on). Then by moving up the fader, the signal is sent to
the master and at the same time a mic-on/channel on indication is sent to the remote
connector.

B. When the 'ON' switch is 'OFF', no LED is illuminated. As the fader is moved upwards, the
channel is put into 'stand-by'.
At this point there is no “mic-on/channel on” signaling or audio to the master. Pressing the 'ON'
switch activates the channel and the green LED is on.

In order to switch the channel and mic-on signaling off, the 'ON' switch should be deactivated, or the
fader closed.

Fader

The fader is an ultra smooth 100mm model controlling the internal high quality VCA's and sending on/off
information to the logic circuitry. There is no audio going through the faders, which guarantees noise free
fading forever! W hen the fader is closed, the signal is automatically muted, providing a cut-off in excess of
100 dB. This high dB cut-off value ensures that the main output is protected from cross talk from
announcers.

Triple Dig Input Module

Airlab from D&R Phone [phone], email: [e-mail] Page 16

5 TRIPLE DIG INPUT MODULE

MONO

Every channel has a mono switch with LED to send a mono input signal to both outputs of
the module.

(PHANTOM POWER, not on the front panel. But 48 volt switch able by a jumper setting (see also
chapter 12))

MIC-TRIM

The trim control adds an extra 13dB of mic gain to the mic pre-amp. An optimum gain
range can be accomplished in this way.

GAIN

The gain control adjusts the incoming signal level on the MIC and DIG-LINE inputs.

LINE A

The triple-dig module default is in 'LINE A' mode (AES3). If no AES3 signal is connected
or the AES3 signal can’t be read, the LED will be red-flashing. Operating the 'DIG-LINE
B' switch or the MIC switch changes its mode.

LINE B

When ‘LINE B’ is selected (S/P-dif) the green LED is illuminated. If no S/P-dif signal is
connected or the S/P-dif signal can’t be read, the LED will be red-flashing.

MIC

MIC input selector switch between MIC-input or Line-A/B input. When the LED is illuminated
the MIC-input is activated.

HIGH

Adjusts high frequencies with +/- 12 dB at 10 kHz shelve.

MID

Adjusts mid frequencies with +/- 12 dB at 1 kHz bell.

LOW

Adjusts the low frequencies with +/- 12 dB at 60 Hz bell.

SUB

The sub switch assigns the signal in stereo to the sub output.

PROG(RAM)

The program switch assigns the signal in stereo to the program output.

STEREO AUX

Transmits a stereo signal to the AUX master post fader. A jumper on the board determines
whether this is pre or post VCA.
The channel 'ON' switch also affects the aux send (only when set to post fader).

Triple Dig Input Module

Airlab from D&R Phone [phone], email: [e-mail] Page 17

PAN

Allows adjustment between the left and right channel outputs.

CUE/SELECT

Stereo pre-fade listening; allows pre-fade listening of the channel with the fader closed.
The CUE function will be automatically TURNED OFF when the channel becomes active.
The CUE switch also generates a start/stop pulse in the line-mode.
The CUE switch also acts as a SELECT switch for the programming of the modules
functions.

ON

Channel on/off switch. The Airlab is capable of sending out a pulse by ON switch as well as
by fader. This is software programmable. In any case the adjacent LED will lit when the ON
switch is activated.

FADER

The linear fader controls a VCA that controls the module's overall level. Electronics sense
when the fader is opened and generates (when programmed) the start for remotely
connected devices.

Digital Output

The Digital output is the PROG-bus or the SUB-bus by Jumper selectable. The output
level (digital headroom) can be trimmed by the internal level trimmers

(see also chapter

12).

The audio signal on the AES3-out and S/P-dif-out are the same.

Triple Dig Input Module

Airlab from D&R Phone [phone], email: [e-mail] Page 18

5.1 SHORT OVERVIEW OF TRIPLE DIG INPUT FUNCTIONS

Microphone input: Electronically balanced
Impedance: 2 kOhm
Level: From -70 dBu microphone input to 0 dBu
Connectors: XLR female, Pin 1 = ground. Pin 2 = in phase. Pin 3 = out of phase
48 Volt phantom: Jumper enabled/disabled, (see chapter 12)
Mic High pass filter: At 80 Hz internally set by a jumper, (see chapter 12)

REMOTE: (Only when programmed)
Remote control of the channels CUE and/or Cough/Communication
'Channel-on' light signaling. Connection by way of a stereo jack

Tip = Positive supply voltage, current limited at 6 mA when the channel is 'active
(fader up)'. A direct connection to a LED is possible between tip and sleeve.
Ring = When momentarily connected to ground, the channel will be muted and CUE
is activated creating a Cough/Communication function when the channel is in
the Mic mode. CUE can be normally activated when in LINE mode.
Sleeve = ground.

Dig. A-Input: transformer balanced 110ohm AES3 input on XLR
Data: 24bit, 32..96kHz. Dynamic Range, S/N: 100dB

Input level: -9dBFS = 0dBU preGain (gain +/-20dB)

Dig. B-Input: unbalanced 75ohm S/P-dif input on Cinch (black).
Data: 24bit, 32..96kHz. Dynamic Range, S/N: 100dB

Input level: -9dBFS = 0dBU preGain (gain +/-20dB)

Digital output: AES3: transformer balanced 110ohm on XLR
S/P-dif: 75ohm, unbalanced on Cinch (red).
Data: 24bit, 32..96kHz. Dynamic Range, S/N: 100dB

The digital output frame clock (sample rate) can be setup in two different ways
by internal jumper setting (see also chapter 12).

1. Fixed. Output Frame Clock (sample rate) is always 44.1kHz

2. PLL. Output Frame Clock (sample rate) is identical to the clock signal of
the digital input.

Jumper selectable SUB or PROG output.
Output level: adjustable (normal 0dBu = -9dBFS)

Connector is Jack: LINE A = AES3 balanced wired to a female XLR connector

Pin 2 is in phase, Pin3 is out of phase and pin1 is ground

LINE B = S/P-dif unbalanced on Cinch connectors.

START: Stereo jack plug
Tip = Center contact
Ring = Normally open
Sleeve = Normally close
Maximum voltage/current that can be handled=24 volt at 50mA

NOTE: Polarity is not important with reed relays!

DO NOT CONNECT 115/230VOLT AC TO THIS CONNECTOR!!!

Pulse or Continuous Signal:

Software programmable between active or not and between pulse or

continue

Triple Dig Input Module

Airlab from D&R Phone [phone], email: [e-mail] Page 19

Mono Microphone input

The front end of this module is designed to amplify balanced microphone signals. A +48 Volt phantom
power supply is available for condenser microphones. The Airlab has the ultimate in mic amplification with
a wide dynamic range and extremely low noise.
The microphone input is electronically balanced and protected against R.F. interference.
Input impedance is 2 kOhm. This is high enough to accept all modern microphones.
The Gain control can vary the input levels with a range of 40dB in one turn.
The signal to noise ratio is -127.0 dBr and is therefore well suited to low noise applications.

Phantom Powering

This +48 Volt power is required for condenser microphones and can be applied to the microphone inputs
via a jumper setting on the PCB. (See also chapter 12)

When the phantom power is applied and the channel is active, a 'click' can be heard when a microphone is
plugged in. This is due to a D.C. component on the input, which is suddenly interrupted and amplified by +/­70 dB. It's therefore important NOT to do this with channel faders up and channel ON. It's even better to
switch of the console entirely before connecting or disconnecting any kind of equipment.

DO NOT use unbalanced or electret microphones when the phantom power is applied as it could damage
the microphones.

High-Pass Filter on MIC

The high-pass filter attenuates the low frequencies below 80 Hz and can be switched on or off by jumper
settings (see also chapter 12). It is only active on MIC inputs.

NOTE: Some microphones have built in high-pass filters and therefore do not require use of the
Airlab high-pass filter.

Microphones used for speech are usually set for high-pass filtering in order to avoid 'popping' and other
unwanted low frequency rumble and therefore improve the quality and intelligibility of the spoken word.

Triple Dig Input Module

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A. COUGH / REMOTE / SIGNALING IN MIC MODE

This useful feature has two important functions:

1. Cough/Communication,

2. 'MIC-on' (CUE on)
Both functions are software programmable.

1. Cough/Communication

(A push-button needs to be connected to the ring and sleeve of the remote jack plug.)
Using the push-button during broadcast, the announcer can temporarily mute the
microphone in order to cough (where the name comes from). At the same time his
microphone will be routed to the CUE system, in order to give him the opportunity to
communicate with the engineer/producer. Cough works on every programmed mic input.

2. 'MIC-on'

When the channel is active a voltage is applied between Tip (+) and Sleeve (0V),
which can be used to activate a LED (red) or an opto-coupler.
In addition to the localized 'mic-on' signaling, there's also a master signal in the
master section. The ON-AIR signaling outputs 1 and 2 offer the option of driving
external red light indicators in the studio by way of external high voltage relays.

B. REMOTE/SIGNALLING IN LINE MODE

In this mode CUE can be switched on/off via a remote external push-button.
When the channel is active a voltage is applied between Tip (+) and Sleeve (0V),
which can be used to activate a LED (red) or an opto-coupler.

Alignment of the MIC input

With the fader in the 'down' position, and the CUE activated, the input signal is adjusted with the gain
control until the 0 dB position in the master VU meter is reached. When the fader is in its 0 dB position, the
signal has a nominal level in the Airlab. This way of alignment will give enough headroom to compensate
for signal losses of up to 10 dB, whilst the noise floor remains well below the nominal level.

Airlab Dig Line input module

This part of the triple input module is specially designed to accept balanced (AES3) and unbalanced (S/P­dif) digital input signals. There are two digital inputs; line A (AES3) and line B (S/P-dif). Both inputs can
have fader start functions. By changing software settings this can be accomplished.

Triple Dig Input Module

Airlab from D&R Phone [phone], email: [e-mail] Page 21

START/STOP FUNCTIONS CONFIGURED

The 'Start' is only active when this is activated in the software.

These remote connectors are activated by the fader and/or `ON' switch in the channel module. The start
jack connectors are electronically separated by use of encapsulated reed relays.

Reed relays are ideal devices for eliminating ground loops and limited life span effects of other switches
and can easily be interfaced with all modern equipment.

The start connectors are connected to separate reed relays.
The maximum VOLTAGE/CURRENT is 24v/50mA. (Polarity is not important with reed relays!)

NOTE 1: Nearly all of the modern devices require pulse information. Continuous signals
however, can have the advantage that during broadcast a CD player cannot
be accidentally stopped. One disadvantage however is that some CD players
are blocked from other functions when started with a continuous pulse.
NOTE 2: It is advisable to only use the pulse start mode with jingle machines. The cart
has to finish its tape to the end and then automatically rewinds.
NOTE 3: Some of the older products such as the A-77, require additional relays or
switching transistors to operate satisfactorily, contact your dealer for more
information.

MIC/LINE GAIN

The Gain control (only active when the line input is selected) adjusts the gain of the stereo channel pre­amps, within a range of -20 dB to +20 dB for the line level and +/-40 dB for the Mic level. The range of the
fader (VCA) gives an additional 10 dB of gain when needed.

Alignment of the LINE input of a channel

To align the digital-line input of a channel close the fader and activate the cue switch. The gain control is
used to adjust the level of the incoming signal until a 0 dB reading is achieved. If the `ON' switch is now
activated, the signal level will be nominal. When the fader is opened, the CUE signal will be automatically
reset, and its associated LED will switch off.

Triple Dig Input Module

Airlab from D&R Phone [phone], email: [e-mail] Page 22

Equalizer

The equalizer is optimized for broadcast. Center detents on all equalizer controls indicate their flat position.
(On special demand we could manufacture modules without an EQ section)
The maximum lift and cut is 12 dB at the following frequencies:
10 kHz: Shelve
1 kHz: Bell
60 Hz: Bell

SUB

The Sub switch switches the stereo modules output to a separate SUB mix amp located in the master
section of the console.
This setup makes production work possible during ON-AIR broadcast due to extremely good cross talk
figures achieved in the Airlab console by careful usage of high-end CAD design systems in the initial
design stage of the console.

PROGRAM

The Program switch switches the stereo modules output to the main mix amps located in the master
section of the console.

Auxiliary

The stereo auxiliary send is post fader, bringing the signal to the master stereo auxiliary send. When the
input module is used for microphone signals only both left and right signal paths are fed by the same mono
mic input signal. The channels `ON' switch will also switch the Auxiliary send on or off when its jumper is
set to post fader.

PAN

The PAN enables adjustment between the left and right signals. The range is not restricted in order to
enable to position any incoming signal anywhere in the stereo image.

CUE

This is an automatic pre-fade-listen system, which enables you to listen to a channel without actually
opening that channel. When the CUE button is activated, the channel signal will be connected to the cue
output and meter circuitry; the red cue LED indicator will illuminate.
When the channel is active, the CUE system will be reset, including its associated LED, however it's
possible to re-activate the CUE switch.
Channel Cueing on DJ channels will only be heard in the headphone outputs. The CRM output will be
muted.
The CUE switch can also generate a start pulse for remotely connected machines by software
programming.

The CUE signal can be heard in two ways:

1. Through the stereo Control Room Monitors by activating the “CUE to CRM” function switch in
the master section. If the cue is activated in one of the channels, the CRM and meters will be
activated without interruption of the main output.

2. By way of an externally connected cue amplifier with loudspeaker.

Triple Dig Input Module

Airlab from D&R Phone [phone], email: [e-mail] Page 23

ON

The channel on/off switch operates in tandem with the fader.

There are two methods of activating the channel:

A. Press the `ON' switch (Green LED is on). Then by moving up the fader, the signal is sent to
the master and at the same time a mic-on/channel on indication is sent to the remote
connector.

B. When the 'ON' switch is 'OFF', no LED is illuminated. As the fader is moved upwards, the
channel is put into 'stand-by'.
At this point there is no “mic-on/channel on” signaling or audio to the master. Pressing the 'ON'
switch activates the channel and the green LED is on.

In order to switch the channel and mic-on signaling off, the 'ON' switch should be deactivated, or the
fader closed.

Fader

The fader is an ultra smooth 100mm model controlling the internal high quality VCA's and sending on/off
information to the logic circuitry. There is no audio going through the faders, which guarantees noise free
fading forever! W hen the fader is closed, the signal is automatically muted, providing a cut-off in excess of
100 dB. This high dB cut-off value ensures that the main output is protected from cross talk from
announcers.

Digital Output:

The Airlab Triple digital input has 2 digital outputs. AES3 on the XLR and S/P-dif on de black cinch.
Dependent on the jumper setting the output is giving the stereo PROG signal or the stereo SUB-signal.
Normal the output level is -9dBFS but the level (headroom) can be adjusted (see also chapter 12).
The digital output frame clock (sample rate) can be setup in two different ways by internal jumper
setting.

1: PLL. Output Frame Clock (sample rate) is identical to the clock signal of the digital input
(Select by the ‘Line B’ switch, 32..96 kHz). If the digital-input is not in lock (no input signal
or a wrong signal) the Output Frame Clock will jump back to 44.1kHz.
2: Fixed. Output Frame Clock (sample rate) is always 44.1kHz

Be wary: In the ‘PLL’ mode the digital output signal will shortly be muted if you change de
digital input selection (‘Line B’ switch) or if the digital input lose lock.

So for a Digital Main output the ‘Fixed’ setting is recommended. At connecting for instance a DAT or
MD player/recorder, the ‘PLL’ setting can be used.

In PLL mode:

In the ‘PLL’ mode the digital output sample-rate is in sync with the digital input.
If no digital input signal is connected or selected (Line-B LED will be RED-flashing) the output
frame clock will be 44.1kHz.
If a digital input signal is connected and selected the Line-B LED well be GREAN (Line B
select) or off (Line A select). The output frame clock well be equal to the digital input frame
clock.

In Fixed mode:

The digital output frame clock will be fixed at 44.1kHz.

Telco Module

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6 TELCO MODULE

TRIM

The trim control adjusts the optimum side-tone suppression (R-balance). The trim needs
to be re-adjusted with every new installation.

TELCO SEND

This gain control adjusts outgoing levels coming from the main output or the SUB output.

LINE

The Line input switches the modules input from the internal hybrid to a female XLR on
the connector panel to eventually accept an external (digital) hybrid.

GAIN

This control adjusts incoming call levels.

LC/HC

Fixed low and high frequency roll off.

CONNECT

Indicates that the internal hybrid is active.

SUB

Assigns input signal to separate SUB master.

PROG(RAM)

Assigns input signal to main master busses.

ST(ereo) AUX

Transmit a signal to the aux. master pre or post fader. The channel ON switch also affects
the aux send.

PAN

Allows adjustment between the left and right channel outputs.

CUE

Pre-fade listening. Allows pre-fade listening of the input signal and allows communication
such as taking an incoming call with the fader closed. The CUE LED is also a ring indicator
for incoming calls. When this LED flashes the “call” can be taken by pushing the CUE
switch.

ON

Channel on/off switch. While in closed fader stand-by mode, i.e. when green LED is off
incoming calls can be connected by pressing the "ON" switch.

FADER

Channel VCA volume-control adjusts overall channel level.

Telco Module

Airlab from D&R Phone [phone], email: [e-mail] Page 25

Airlab TELCO input module

This input module is specially designed to accept a telephone line. An internal telephone
hybrid circuit simplifies connection of telephone lines and phone appliances.
There is a LINE input to accept external hybrids, a WALL connector for connecting to the
telephone line and a “TO PHONE” output that connects to the phone device.

Jumpers

Aux send pre/post and C balance are jumper enabled/disabled. All other functions are
software programmable.

TELCO SEND

The Telco send controls the outgoing signal to the caller. This can be either the MIX and/or
Sub output dependent upon the SUB/PROG switch settings in the Telco module. This
switch not only controls the assignment of the incoming signal to the masters but also which
signal is sent to the caller.

GAIN

The Gain control adjusts the gain of the incoming phone call within a range of -20 dBu to
+20 dBu. The range of the fader (VCA) gives an additional 10 dB of gain when needed.

LC (Low Cut)

The high pass filter smoothly filters out all frequencies below the pass band of the
telephone line.

HC (High Cut)

The low pass filter effectively filters out all above telephone line frequencies.

CONNECT
This LED indicates the internal Hybrid being active.

SUB

The SUB switch switches the Telco modules output to the SUB mix amps located in the
master section of the console.

PROGRAM

The PROGRAM switch switches the stereo modules output to the main mix amps located in
the master section of the console.

Auxiliary

The stereo auxiliary sends a post fader signal, dependent upon the 'ON' switch of the input
channel, to the master auxiliary busses. The PAN control creates a stereo image in the Aux
masters. This setup makes production work possible during ON-AIR broadcast.

Telco Module

Airlab from D&R Phone [phone], email: [e-mail] Page 26

PAN

The PAN enables positioning of the incoming caller signal. The range is not restricted in
order to enable to position any incoming signal anywhere in the stereo image.

CUE/SELECT/RING

Automatic pre-fade listening/post pan, or cue, allows a caller to be heard without being in
the broadcast. When activating the cue switch, the caller is connected to the CUE bus and
listens to the talk back MIC of the engineer (fader closed).
The CUE switch shows an incoming call by a flashing CUE LED. Hitting the CUE switch
makes a connection as described above. A remote switch can pick up a call by wiring the
remote connector of the Telco module.

The 'ON' switch works in conjunction with the fader switch.
If the green LED is on, the channel is 'active'.

There are two methods of activating an incoming call:

A. If the 'ON' switch is pressed, the green ON LED and the “CONNECT” LED
will illuminate and the caller is connected to the Telco module but not yet heard in the
broadcast because the fader is still down.
By opening the fader, the Telco module will be activated and the signal will enter the
program. When the fader is closed again the program signal will be muted, when the
fader is at its lowest position.

B. When the `ON' switch is not pressed, no LED is illuminated even if the fader is
now opened. In this situation, none of the signals are active but as soon as the ON
switch is activated (with a flashing CUE/RING switch) the caller will be "On-AIR".
All switching is carried out electronically and free of noise for years to come.

If the CUE function is active, it will be disabled when the channel is activated.

NOTE: In the Telco module it is not possible to "Cue" when the channel is up and

the module is ON.

FADER

The Airlab is fitted with a modern ultra-smooth linear fader controlling a high quality VCA
and the Airlab internal logic circuitry. This system eliminates any noise from disturbing the
audio signal path. When the fader is closed, the signal will be automatically muted, which
provides excellent fader attenuation in excess of 100dB.

Telco Module

Airlab from D&R Phone [phone], email: [e-mail] Page 27

6.1 COMMUNICATION WITH TELCO MODULE

ENGINEER TO/FROM TELCO

Communication with the engineer is easily accomplished by activating the CUE switch in the Telco module.
An open communication is achieved now between caller and engineer.

ANNOUNCER TO/FROM TELCO

The CUE switch on the Telco module has to be activated. The moment the Announcer hits his cough
switch communication takes place between announcer and caller (Telco module).
There are several software programmable functions available here. In chapter 14 you can find detailed
information about the programmable options of the Airlab.

ALIGNMENT OF THE CHANNEL

With the fader closed (or muted channel) the CUE switch will be activated; the CUE to CRM function in the
master section must be activated. The gain control is used to adjust the level of the incoming signal until a
0 dB reading is achieved. If the 'ON' switch is now activated, the signal level will be nominal. When the
fader is opened, the CUE signal will be automatically reset (turned off), and its associated LED will be
switched off.

The CUE signal can be heard in two ways:

1. Through the stereo Control Room Monitors by activating the CUE to CRM function in the master
section. If the CUE is activated in one of the channels, the CRM and meters will be activated
without interruption of the main output.

2. By way of an externally connected CUE amplifier with loudspeaker.

Module Connectors

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7 MODULE CONNECTORS

MIC Input / From Hybrid

Connector type is female XLR: Pin1 = ground
Pin2 = in phase
Pin3 = out of phase

LINE A LEFT / DIG-IN (AES3) / WALL

Connector type is female XLR: Pin1 = ground / ground
Pin2 = in phase / A (wire)
Pin3 = out of phase / B (wire)

LINE A RIGHT / DIG-OUT (AES3) / TO PHONE (this XLR is a Male for digital)
Connector type is (fe)male XLR:Pin1 = ground/ground
Pin2 = in phase / phone line A-wire
Pin3 = out of phase / phone line B wire

The input impedance for 'Phone' is optimized for correct loading of modern telephone
stations.

LINE B INPUT / DIG-B IN/OUT (S/P-dif) / TELCO OUTPUT

Connectors are Cinch: Cinch A= left in / DIG-OUT / Telco out, in phase (+)
Cinch B= right in / DIG-IN / Telco out, out of phase (-)

REMOTE

The remote connector lets you activate the CUE of the module / Telco module when
the module is in its "off" or "standby" mode.
An ON LED can be connected to the remote to indicate the "ON" status of the Telco
module. The same LED indicates incoming calls by flashing.

REMOTE - Input

Connector type is jack: Tip = Channel "ON" LED
Ring = CUE control
Sleeve = Ground

START

Connector type is jack: REED RELAY MAX VOLTAGE 24VOLT/50mA
Tip = Center contact
Ring = Normally open
Sleeve = Normally closed

MIC INSERT

Connector type is jack: Tip = Channel SEND
Ring = Channel RETURN
Sleeve = Ground

Figure 1: The

connections on

a module

Master Section

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8 MASTER SECTION

TAPE SEND

This section of the master houses
the switches and controlling what's
going to the tape outputs.
A selection can be made between
three outputs of the Airlab. With all
switches up the main program
signal is recorded. As soon as one
of the other switches is pressed,
the corresponding FROM SUB or
FROM AUX. output signals are
recorded.

NOTE: With this circuitry it is
possible to record stereo
sources from the channels
assigned to the sub buss during
broadcast.

AUX OUT STEREO

This is a stereo output of the AUX
masters. The level is +6dBu.

The corresponding talk back switch
sends the talk back signal to both
outputs.

NOTE: Overall level of Aux.
outputs also affects the talk back level for these outputs only.

CRM

The CRM is normally following the Program output unless one of the input bank switches is active.

EXT(ERN)

This stereo input can be used for any stereo source that needs to be monitored in the CRM outputs. The
input level is set to be 0dBu.

AUX

This input source switch lets you listen to the stereo Aux. outputs.

(FROM) AIR

This is the input select for the CRM/phones output. Either the program mix is heard in the CRM/phones or
the 'from air' signal.

Figure 2: The Master Section

Master Section

Airlab from D&R Phone [phone], email: [e-mail] Page 30

(FROM) SUB

This is a stereo switch bringing the
Sub output into the CRM/phones
output. It will override the 'from air'
and other selected sources when
selected.

CUE BALANCE

The CUE balance pot continuously
adjusts the balance between the
stereo CUE signal and the stereo
input selection made with the
switches described above.

(AUTO)CUE

This LED indicates that both CRM
outputs are automatically
connected to a selected CUE
switch in stereo. When this LED is
not active the CRM will monitor the
main program outputs. The CUE
signal will always be present at the
CUE output jack when
programmed.

PHONES LEVEL

This controls the overall level of the
stereo headphones output.
A headphone socket is conveniently placed just beneath the armrest.

CRM

The control room monitor controls the outgoing level to the control room monitors. The level is +6dBu on a
cinch connector. A mute LED indicates when the CRM is muted. This is the case when the Airlab is used
as “self op” mixer. The DJ channel forces the CRM to mute when the Microphone is active in the control
room itself. This is software configurable.

TALKBACK

This section houses most of the controls needed to communicate with every connected source to the
Airlab. Communication is one of the most important parts of a broadcast, inside and outside the console.
We have done a great deal of thought concerning this part of the console.

The talk back microphone is a built in Electret microphone with its associated level control. The mic-amp is
protected against clipping.

The talk back switches are momentary so leaving talk back mics open is a thing of the past. The talk back
mic can be assigned to several outputs at the same time when more than one switch is activated. The
Studio, Guest and Announcer outputs are driven post their volume controls, so communication is always
possible. Talk back to the SUB output is possible with the talk back switch positioned in the SUB section of
the master.