D&R Vision, Vision Series Owner's Manual

Vision manual page:1

Vision

OWNERS MANUAL

VERSION 1.00

Vision Owner’s Manual

Vision manual page:2

1.0 The Vision chassis system

2.0 Master section description

2.1 Control Room Monitor section

2.2 Mono output

2.3 Oscillator section

2.4 Master/channel meters

2.5 Talkback section

2.6 Auxiliary masters

2.7 Phones section

2.8 Stereo return section

2.9 Master in/outputs

3.0 Standard MONO input module

3.1 Input section

3.2 Equalizer section

3.3 Auxiliary send section

3.4 Channel assign / fader section

3.5 Inputs / outputs

3.6 Jumper/connector information

4.0 De Luxe MONO input module

4.1 Input section

4.2 Equalizer section

4.3 Auxiliary send section

4.4 Channel assign / fader section

4.5 Led bar section

4.6 Inputs / outputs

4.7 Jumper/connector information

5.0 Standard Stereo input module

5.1 Input section

5.2 Equalizer section

5.3 Aux send section

5.4 Channel assign and fader section

5.5 In/output connectors

6.0 Deluxe Stereo input module

6.1 Input section

6.2 Equalizer section

6.3 Aux send section

6.4 Channel assign section.

6.5 Led bar section

6.6 Fader section

6.7 In/output section

6.8Jumper/connector formation

Vision manual page:3

7.0 Dual Group module

7.1 Return section

7.2 Equalizer section

7.3 Sub switch

7.4 Auxiliary section

7.5 Level and panpot

7.6 Led bar section

7.7 In/output connectors

7.8 Jumper/connector information

8.0 Matrix Module

8.1 Matrix input control section

8.2 In/output connectors

8.3 Jumper connector information

9.0 Instructions for operation

10.0 Installation electrical

10.1 Installation audio

10.2 Interface CRM levels

10.3 The initial hookup

10.4 Shields and grounds of equipment

10.5 Typical interface situation

11.0 Frame section connector panel

12.0 Connecting the modules

12.1 Mono standard/deluxe module

12.2 Stereo standard/deluxe module

12.3 Group module

12.4 Matrix module

12.5 Master modules

13.0 Trouble shouting/servicing

13.1 Remove a module

14.00 Conformity statement

14.0 1 Safety

15.00 Specifications

Vision manual page:4

Dear Vision owner,

Thank you for selecting the D&R Vision series.

The Vision was created using the latest in computer aided design and assembling technolog y and inc orporates the most
advanced circuit components which results in the Vision being another D&R product unsurpassed in the
electronics industry.

We are confident that you will be using the Vision for many years and wish you much success.

We always value suggestions from our clients and we would be grateful if you could complete and return the
questionnaire included at the back of this manual once you become familiar with your Vision.

We learn from your comments and appreciate your time.

With kind regards,

Duco de Rijk

President, D&R Electronica Weesp b.v.

Vision manual page:5

Vision recording console

The D&R Vision series is a 4/8 buss console designed to take the central role in a live/recording facility.

The Vision is completely modular and can be configured to precisely suit your particular system requirements.

To beco me com pletely famil iar with your Vision and gain the maxi mum benefit from its use, we recommend that you
read this manual thoroughly. It will provide important information about all aspects of the Vision including installation,
operation, and servicing.

Head Office

/

Factory

D&R Electronica Weesp B.V. Rijnkade 15B

1382 GS Weesp

The Netherlands
Tel: (-) 31 294-418014
Fax: (-) 31 294-416987

E-mail: [e-mail]

Website: www.d-r.nl

Vision manual page:6

THE CHASSIS SYSTEM

INTRODUCTION

The Vision is available in three frame sizes; 19" (14 module positions), 38, and 46 module positions.
The basic frame has two blank modules, both located on the extreme left and right of the frame.

An exception is the 19" rack frame, which does not have blanks on either side.

The extreme left and right blanks on the larger frames cannot be used for input modules as they conceal mechanical
constructions.

The frame 38 will fit 40 input modules ( mono, stereo, group, matrix or master modules).

The frame 46 frame will fit 48 in/output modules.

The master section in the 19" rack version needs to be installed on the far right side of the console.

In other frames the master section and all other modules can be installed wherever most suitable, but the request
must be made at the time of ordering.

Vision manual page:7

2. THE MASTER STANDARD/DELUXE MODULES

2.0 Master section description

The Vision has two master modules which are completely modular.
All inputs and outputs are located on the back of the console. The paragraphs below give a
description of each module section.

2.1 Control Room Monitor Section

The Solo section is a soft switching circuit that automatically brings in the soloed channel
when a solo switch is activated. When The SIP switch is in the down position, all solo switches
on the input modules are in the stereo-in-place mode when activated. A LED indicator is
also fitted next to the SIP switch to show when a solo circuit is activated.
The master Aux solo switches do not react on the SIP switch, they shall always be AFL. ( After
Fade Listen). in the Control Room Monitor output and Headphone outputs.

Above the CRM pot, there are the two CRM signal sources. With these switches in the up
position, the CRM will monitor the stereo main outputs which is the sum of all the input
channels assigned to the master plus the group output modules.

The Vision has two dedicated unbalanced +4 dBv or -10 dBu tape return inputs which can be
wired to the outputs of stereo master machines, cassette machines, CD players, or DAT
recorders. Utilizing any of these switches enables play-back or post tape monitoring of a master
mix.

The CRM

level controls the total outgoing level to the control room monitors amps.
The Vision has two CRM systems intended for use with large monitors and near field monitors
which are switchable via the

CRM 2

switch.

2.2 Mono output

The Vision has a separate stereo summed balanced mono output with its own level control.
The output is wired post master left/right inserts.

2.3 Oscillator section (de-luxe master module)

A single 1 kHz frequency, low distortion, phase shift type oscillator is fitted. (more frequencies
are optional)
There is a front panel accessible level control with which to adjust the oscillator for precise
alignment of the console and tape machines. The level ranges from infinity to +20 dB.
The oscillator is either routed to the stereo mix busses and Aux send busses
(ALL) or exclusively to the AUX 1 and 2 busses. This switching is coupled to the Talk back switching.

NOTE:

The CRM will dim 20dB when the oscillator and or Talk back is active.

2.4 Master/channel meters.

The Vision master is fitted with peak reading, high resolution, LED bar meters with attack and
release times which conform to world standards. The attack is 10msec. for a 20 dB range and the
release is 1 .5msec.

NOTE:

Peak reading meters give a reading 6 dB below the actual level when using a sine wave. For example, +4 dBu

at the output connectors would give a reading of -6 dB on the meter using the oscillator.

Vision manual page:8

0dB on the meters equals +10dBu on the outputs!

If V.U. reading led bars are ordered, they will have attack and release times of 300msec. and a
+4 dBu level on the output connectors will give a 0 dB reading on the meter.
Measuring the +4 dB output level of the channel or master with a AC voltmeter would give a 1.22 volt
reading. The LED meter would actually be reading -6 dB on the scale. When monitoring program
material, you will see higher levels on the peak reading meters.

2.5 Talkback section

The talkback section allows all communication functions from the control room to the

Aux Sends and

GROUPS.

The unbalanced talk back input (wired balanced) can be routed to the 4/8 aux sends, all group outputs
and main outputs by activating the

ALL

switch. The Aux 1-2 switch only routes the TB signal to

the Aux 1-2 busses. In both cases the CRM output is dimmed by 20 dB.

The talkback switch is a momentary type which allows you to talk to the above mentioned outputs.

2.6 Auxiliary masters

The auxiliary master sections are identical in function. The first module controls the Aux send busses 1,
2, 3, & 4 and the second module controls Aux send busses 5, 6, 7, & 8. Each Aux master pot controls
the sum of all channel or group aux send busses. The solo switch sends the (post fader) aux buss
signal to the control room monitors. The master SOLO LED indicates the activated solo switch.

2.7 Phones section

The

PHONES

section performs in a similar way to the CRM section.

The phones output simply follows the control room monitor output but with its own level control.

2.8 Stereo return sections

The Vision console has a stereo return control in both the master output modules.
The stereo signal is directly assigned to the master left/right busses.

Vision manual page:9

2.9 Master in/outputs

The Vision can be interfaced with external equipment such as two track master machines,
signal processors, headphone amps, and power amps. Interfacing is possible using the connectors
on the master back panels. Listed below are all inputs and outputs for the two master modules.
Partly the connectors are on the back panels of the modules. Some output connectors are mounted
in the frame along with the MIDI interface connectors.

The Standard Master module houses (from top to bottom) the Aux
1 to 4 outputs ( which are ground compensated) and the stereo Aux "A" return jack. Below these
connectors are the master inserts left and

right.

In the Frame of the Vision series
you will find the balanced XLR
outputs of the Left/right and
Mono outputs.

The ground compensated
Control Room Monitor left and
right outputs.

The unbalanced CRM 2 outputs
as well as the unbalanced two
track returns.

On the right side of the consoles frame there are the MIDI in/out/thru din connectors which are needed when the
MIDI mute system is installed and communication needs to be made between external signal processors and /or midi
sequencers. A separate manual is available for the MIDI control module which will be connected to the REMOTE
connector.

The 19" rack version has an internal power supply and the desktop versions have an external power supply fed by a Speakon
connector that can handle a lot of current.

The DELUXE Master module (Aux masters 5 thru 8 and Talkback) has the following connectors on the back plate.
The connectors on this module back plate are the ground compensated Aux 5 thru 8 master outputs and
the Aux B return input. Aux sends 1 thru 8 are used for sending signals within the console to eight different signal
processors such as digital reverbs. These outputs are ground compensated.

Vision manual page:10

3. STANDARD MONO INPUT MODULES

The Vision standard mono input module is a basic input design whereby all signal flow takes place from the
microphone to the direct output as well as to the main left right outputs and group outputs.

3.1 Input section

The input section controls all incoming signals from microphone and line inputs.

A

+48V

phantom power switch for condenser microphones or direct boxes can be silently switched in or out

of the circuit.

LINE

switches the microphone input to line input on the channel.

The line has its own balanced input amp and is controlled by the active (dual) gain control.

When the

GAIN

control is accurately set, it is possible to achieve the very best signal to noise ratio and

maximum headroom required for high quality recordings. This control is for adjusting the

line

and

mic

inputs (with separate electronics), although only one knob adjusts the dual pot.

3.2 Equalizer section

This three-band parametric equalizer is unique in its design. There are three bands, the high and low
with a boost or cut of 16 dB and the mid band is sweep able with a boost or cut of 16 dB.

The

HF

(high frequency) section is a fixed frequency shelving type at 12 kHz with a maximum boost or cut of

16 dB.

The

LF

(low frequency) section is a fixed frequency shelving type at 60 Hz with a maximum boost or cut of

16 dB.

The

MF

(High / Mid Freq.) section has level and frequency controls with variable frequency ranges from 200 Hz

to 7,000 Hz and has a maximum boost or cut of 16 dB. The bandwidth has a Q factor of 1.5.

All level controls are center detented making neutral positions easy to establish.

All frequency ranges have been carefully selected following extensive examination of all types of music (and
noise) which makes this equalizer a pleasure to work with. Noise and distortion are kept to an absolute
minimum.

3.3 Auxiliary Send Section

The Vision standard mono module has four auxiliary send busses. While in the tracking session, some aux
sends are used for feeding the headphones and some are used for effects sends. During the mix session, all
aux sends are used for effects sends.

Aux

iliary sends 1 is switchable between pre and post fader. This Aux buss is normally used for stereo

headphone send in the tracking session. A PRE switch puts them pre fader for fold back purposes.

Aux 3&4

are on single controls with a post fader factory setting. A pre-fader selection is easy accomplished.

The

DIRECT

output follows the post fader signal coming from the fader creating a dedicated aux send for that
channel only. Or it can be used as a multitrack send. The output level is 0 dBu. The output is ground
compensated.

Vision manual page:11

3.4 Channel assign / fader section

The

Channel assign

section allows the user to assign to a maximum of 4 busses. The routing gives selection
to the 4 group modules using two pushbuttons. With ach pair of summing amps, you have the choice of
assigning to the odd or even groups using the pan-pot.

The

L/R

switch (in the assign section) assigns the pan-pot to the stereo mix buss while the pan control
pans the signal between the main stereo mix L / R busses and / or the odd and even group summing busses if
assigned.

The Vision's summing amp and internal structure means that it is extremely quiet and distortion free,
therefore a direct button to bypass the amps is not necessary.

The MUTE switch is a momentary switch that controls a silent FET switch to mute the channel.
The FET can also be controlled by the optional MIDI mute module.

The

SOLO

switch has two modes, pfl (pre fade listen) or a non-destructive stereo solo-in-place system.
Master status switching (located in the master section) selects the solo in-place or PFL mode for the entire
console. Activating the solo switch in the pfl mode will send the pre-fader signal to the CRM speakers. In the
solo in-place mode, the post monitor pan-pot signal is heard. A solo indicator LED is fitted next to the solo
switch.

Fader section

The Vision has a high quality 100mm fader. Alps or P&G faders are optionally available. You can use any VCA
Mix Automation System which uses the faders and mute system in the Vision. The channels are prewired for
accepting any VCA automation system.

Vision manual page:12

3.5 Input and Output connectors

Every channel has the following connectors at the back of the housing. The balanced

LINE

input is a stereo

1/4" jack socket:

Tip = hot
Ring = cold
Sleeve = shield

The INSERT is on a stereo jack socket.

Tip = return
Ring = send
Sleeve = shield

The ground compensated

DIRECT

output is a stereo 1/4" jack socket:

Tip = hot
Ring = cold
Sleeve = shield

The

REMOTE

connector is internally wired to a 4 pin connector that can be wired to a

faderstart switch if ordered:

Tip = normally open
Ring = normally closed
Sleeve = centre contact

A balanced XLR connector is for the

MIC input.

Pin 1 = shield

Pin 2 = hot (in phase)
Pin 3 = cold (out of phase)

Vision manual page:13

3.6 Jumper/connector settings

J1= Mic input connector pin1= ground

pin2=hot (in phase)
pin3=cold (out of phase)

J5= Fader when automation is installed 1=ground

2=wiper
3 Top of fader

J6= Automation connector or fader connector when no automation is installed

1 =Ground
2= VCA out
3=VCA in
4=Reference voltage
5=+5 volt (dependent upon VCA type)

J7= Aux2 pre/post select pin1/2=post

pin3/4=pre

J9= Aux4 pre/post select pin1/2=post

pin3/4=pre

J12=Tape return connector pin1=tip/break on line input

pin2=ring/ break on line input

J14= Midi mute connector 1=Read

2=Write

J1 5=Pre Mute select 1 /2=Mute ac tive on au x pre fader set t ing

3/4=Mute not active on aux Pre fader setting

J 17=Remote connector pin1 =ti p

pin2=ring
pin3=sleeve

Vision manual page:1

4

4. DELUXE MONO INPUT MODULE

The Vision deluxe mono input module is a basic input design whereby all signal flow takes place from the
microphone to the direct output as well
as to the main left right outputs and group outputs.

4.1 Input section

The input section controls all incoming signals from microphone and line inputs.

A +

48V

phantom power switch for condenser microphones or direct boxes can be silently switched in

or out of the circuit.

Phase

is used to reverse the phase of any mike input coming
from a mike or signal that may be out of phase with other mikes or signals. A successful method of checking
for out of phase signals is to pan the two input signals to the middle and listen closely to the mix. If an
unexpected sound is heard or if something appears to be missing from the mix, depress the phase
switches for those channels suspected to be in error. If the sound improves, then that channel was out of
phase with the others.

Line

switches the microphone input to line input on the channel.
The line has its own balanced input amp and is controlled by the active (dual) gain control.
When the

GAIN

control is accurately set, it is possible to achieve the very best signal to noise ratio and

maximum headroom required for high quality recordings. This control is for adjusting the

line

and

mic

inputs (with separate electronics), although only one knob adjusts the dual pot.

4.2 Equalizer Section

The 100 Hz

Highpass

filter is a fixed 9 dB per octave Butterworth model which reduces low frequency
noise effectively and musically. It can
be switched on or off in the channel path.
This four-band parametric equalizer is unique in its design. There are four bands, the high and low are
sweep able frequency with shelving characteristics with a boost or cut of 16 dB and the two mid bands
each sweep able with a boost or cut of 16 dB.
The

HF

(high frequency) section is a variable frequency shelving type,

sweep able

from 4,000 Hz to

20,000 Hz with a maximum boost or cut of 16 dB.

The

LF

(low frequency) section is a variable frequency shelving type, sweep able from 20 Hz to 500 Hz with

a maximum boost or cut of 16 dB.

The

HMF

(High / Mid Freq.) section has level and frequency controls with variable fre quenc y ranges fro m
600 Hz to 15,000 Hz and has a maximum boost or cut of 16 dB. The bandwidth has a Q factor of 1.5.
The

LMF

(Low / Mid Freq.) section has level and frequency controls with variable frequency rang es from 40

Hz to 900 Hz and has a maximum boost or cut of 16 dB. The bandwidth has a Q factor of 1.5.

The

EQUALIZER can be switched in or out of the channel .

All level controls are center detented making
neutral positions easy to establish.
All frequency ranges have been carefully selected following extensive examination of all types of music (and
noise) which makes this equalizer a pleasure
to work with. Noise and distortion are kept to an absolute minimum.

4.3 Auxiliary send section

The Vision has eight auxiliary send busses. While in the tracking session, some aux sends are used for
feeding the headphones and some are used
for effects sends. During the mix session, all aux sends are used for effects sends.

Aux

illiary sends

1&2

are on dual concentric controls. The
top control is the send control for aux 1 and the bottom control is the send for aux 2. These Aux busses
are normally used for stereo
headphone sends in the tracking session. A PRE switch puts them pre fader for fold back purposes.

Aux 3&4

and

Aux 5&6

are also on dual concentric controls
with the top control as Aux 3 /5 and the bottom control as Aux 4/6. The internal jumper setting for both
concentric controls are post fader. A pre selection is easy accomplished.

Aux 7&8

are also on dual concentric pots and factory set post fader. A jumper can change this to pre

fader if wanted.

The

DIRECT

switch reroutes the post-fader signal coming from the fader to the output of the Aux 8
control, creating a dedicated aux send for that channel only. Or it can be used as a multitrack send
independent of the fader setting. An internal jumper sets the +4dBu or -10dBV level. The output is ground
compensated.

4.4 Channel assign and fader section

The

Channel assign

section allows the user to assign to any
of the 8 busses. The routing gives selection to the 8 group modules using four pushbuttons. With
each pair of summing amps, you have the choice of assigning to the odd or even groups using
the pan pot. The

L/R

switch (in the assign section) assigns the pan pot to the stereo mix buss
while the pan control pans the signal between the main stereo mix L / R busses and / or the odd
and even group summing busses if assigned.

The Vision's summing amp and internal structure means that it is extremely quiet and distortion free,
therefore a direct button to bypass the amps is not necessary.
The MUTE switch is a momentary switch that controls a silent FET switch to mute the channel. The FET can
also be controlled by the optional MIDI mute module.
The

SOLO

switch has two modes, pfl (pre fade listen) or a “non-destructive” stereo solo-in-place
system. Master status switching (located in the master section) selects the “solo in-place” or “PFL” mode
for the entire console. Activating the solo switch in the pfl mode will send the pre-fader signal to the
CRM speakers. In the solo in-place mode, the post monitor pan pot signal is heard. A solo indicator LED
is fitted next to the solo switch.

T

he Vision has a high quality ALPS 100mm faders. P&G faders are optionally available. You can use any VCA Mix
Automation System which uses the faders and mute system in the Vision. The channels are prewired for
accepting any VCA automation system.

4.5 LEDBAR SECTION

The led bar is a peak reading 6 segment led bar following as a factory preset the post equalizer signal,
thus indicating the incoming signal before the insert.
The led bar can be set Post channel indicating the direct output level post fader.

Note: This peak reading device indicates a -6 dB reading below actual level with a steady sinus tone.
So when the internal level is 0 dBu, the meter will indicate -6 dB (The -3 dB led is on, the -10dB led is off)

4.6 Input/output connectors

Every channel has the following connectors at the back of the housing.
The balanced

LINE

input is a stereo 1/4" jack socket:

Tip = hot
Ring = cold
Sleeve = shield

The

INSERT

is on a stereo jack socket.

Tip = return
Ring = send
Sleeve = shield

The ground compensated

DIRECT

output is a stereo 1/4" jack socket:

Tip = hot
Ring = cold
Sleeve = shield

Note:

The default setting on this output is -1 0dB V, a setting of -+ 4dBu can be chosen on the channel (PCB) boards

using jumpers.

The

REMOTE

connector is internally wired to a 4 pin connector that can be wired to a faderstart switch if ordered:

Tip = normally open
Ring = normally closed
Sleeve = centre contact

A balanced XLR connector is for the

MIC

rophone input.

Pin 1 = shield
Pin 2 = hot (in phase)
Pin 3 = cold (out of phase)

4.7 Jumper/connector information

J 17=Remote connector pin1 =tip

pin2=ring
pin3=sleeve

J1 0=Tape return connector pin1 =tip/break on line input

pin2=ring/ break on line input

J1= Mic input connector pin1= ground

pin2=hot (in phase)
pin3=cold (outpof phase)

J7=Aux3/4 pre/post select pi n1/2= post

pin3/4=pre

J8=Aux5/6 pre/post select pi n1/2= post

pin3/4=pre

J9=Aux7/8 pre/post select pi n1/2= post

pin3/4=pre

J9=Aux4 pre/post select pin1/2 =pos t

pin3/4=pre

J5=fader when automation is installed 1=ground

2=wiper
3 Top of fader

J6=Automation connector or fader connector when no automation is installed

1 =Ground
2= VCA out
3=VCA in
4=Reference voltage
5=+5 volt (dependent upon VCA type)

J14= Midi mute connector 1=Read

2=Write

J1 5=Pre Mute select 1 /2=Mut e acti v e on a u x pre f ader s ettin g

3/4=Mute not active on aux Pre fader setting

J12=Led bar input select 1 /2=Pos t channel fad er

3/4=Post EQ (pre insert)

J13= Direct output level 1/2 +3/4=-10dBv

none= +4dBu

Vision manual page:18

5. Standard stereo input module

This stereo module is a flexible stereo module. This module can be used for stereo keyboards, drum machines,
or any device needing two inputs on one fader. The paragraphs below describe the stereo input module in full.

5.1 Input section

Line B

switches the

Line A

input to the line B input of the channel.
The line has its own balanced input amp and is controlled by the active (dual) gain control.
The input section consist of a stereo

GAIN

control.
The gain control is a dual pot used to adjust the gain of two line amps (balanced stereo input).
The adjustment range is from - 20dB to + 20 dB.

NOTE:

In the line B input an optionally available RIAA phono correction ampli fier is available.

5.2 Equalizer section

The three band stereo equalizer was designed for the type of equalization needed for stereo returns.
The high frequency band is a shelving type at
12,000 Hz. The low frequency band is a shelving type at 60 Hz. The mid band has a bell curve at 1 kHz.
Each band has a boost or cut of 16dB.

5.3 Aux and send section

All aux sends are summed stereo signal sends.
The Vision standard stereo module has four auxiliary send busses. While in the tracking session, some aux
sends are used for feeding the headphones and some are used for effects sends. During the mix session, all aux
sends are used for effects sends.
Auxiliary sends 1 is switchable between pre and post fader. This Aux buss is normally used for stereo
headp hone s end i n the tracking session. A PRE switch puts them pre fader for fold back purposes.
Aux 2,3&4 are on single controls with a post fader factory setting. A pre-fader selection is easy
accomplished.

5.4 Channel assign and fader section

The

Channel assign

section allows the user to assign to a maximum of 4 busses. The routing gives selection
to the 4 group modules using two pushbuttons. With each pair of summing amps, you have the choice of
assigning to the odd or even groups using the pan pot.

The

L/R

switch (in the assign section) assigns the signal to the stereo mix buss while the balance control
compensates for any unbalances in the input signal. The Vision's summing amp and internal structure means that
it is extremely quiet and distortion free.
The MUTE switch is a momentary switch that controls a silent FET switch to mute the channel. The FET can
also be controlled by the optional MIDI mute module.
The

SOLO

switch has two modes, stereo pfl (pre fade listen) or a non-destructive stereo solo-in-place
system. Master status switching (located in the master section) selects the “solo in-place” or “PFL” mode for
the entire console. Activating the solo switch in the pfl mode will send the pre-fader signal to the
CRM speakers. In the solo in-place mode, the post monitor pan pot signal is heard. A solo indicator LED is
fitted next to the solo switch.
The Vision has a high quality 100mm fader. Alps or P&G faders are optionally available. You can use any VCA
Mix Automation System which uses the faders and mute system in the Vision. The channels are prewired for
accepting any VCA automation system.

5.5 Input and output connectors

Every stereo channel has the following connectors at the back of the housing.

The balanced

LINE LEFT-A

input is a stereo 1/4" jack socket:

Tip = hot
Ring = cold
Sleeve = shield

The balanced

LINE RIGHT-A

input is a stereo 1/4" jack socket:

Tip = hot
Ring = cold
Sleeve = shield

The balanced

LINE LEFT-B

input is a stereo 1/4" jack socket:

Tip = hot/RIAA
Ring = cold/Ground Sleeve = shield

The balanced

LINE RIGHT-B

input is a stereo 1/4" jack socket:

Tip = hot/RIAA
Ring = cold/Ground Sleeve = shield

The REMOTE connector is internally wired to a 4 pin connector that
can be wired to a faderstart switch if ordered: Tip = normally open

Ring = normally closed
Sleeve = centre contact

5.6 Jumper/connector information

J5=Power connector RIAA pcb pin1 =+Vs

pin2/3=Ground
Pin4=-Vs

J7=Aux2 pre/post select pin1/2 =pos t

pin3/4=pre

J8=Aux3 pre/post select pin1/2 =pos t

pin3/4=pre

J9=Aux4 pre/post select pin1/2 =pos t

pin3/4=pre

J14= Midi mute connector 1=Read

2=Write

J 17=Remote connector pin1=tip

pin2=ring
pin3=sleeve

J 17=Remote connector pin1 =tip

pin2=ring
pin3=sleeve

J1 8=RIAA in/out connector Pin1=line B right input

Pin2=line B right output
Pin3=Line B left input
Pin4=Line B left output

J23=fader LEFT when automation is installed 1=ground

2=wiper
3 Top of fader

J25=Automation connector Left or fader connector when no automation is installed

1=Ground
2= VCA out
3=VCA in 4=Reference voltage
5=+5 volt (dependent upon VCA type)

J26=Pre Mute select LEFT 1/2=Mute active on aux pre fader setting

3/4=Mute not active on aux Pre fader setting

J27=fader RIGHT when automation is installed 1=ground

2=wiper
3 Top of fader

J28=Automation connector Left or fader connector when no automation is installed

1=Ground
2= VCA out
3=VCA in
4=Reference voltage
5=+5 volt (dependent upon VCA type)

J29=Pre Mute select RIGHT 1/2=Mute active on aux pre fader setting

3/4=Mute not active on aux Pre fader setting

Vision manual page:21

6.0 Stereo deluxe input module

This stereo module is a flexible stereo module. This module can be used for stereo keyboards, drum machines, or
any device needing two inputs on one fader. The paragraphs below describe stereo input module in full.

6.1 Input section

The

MONO

switch lets you combine the two input signals into one output signal. It is also possible to feed one
input signal to both outputs of the module.
The

PHASE

switch reverses the balanced line A input wires incase a phase reverse problem needs to be

cured.

LINE B

switches the Line A input to the line B input of the channel.
The line has its own balanced input amp and is controlled by the active (dual) gain control. The input section
consist of a stereo

GAIN

control.
The gain control is a dual pot used to adjust the gain of two line
amps (balanced stereo input). The adjustment range is from - 20dB to + 20 dB.

NOTE:
In the line B input an optionally available RIAA phono correction amplifier is available.

6.2 Equalizer section

The four band stereo equalizer was designed for the type of equalization needed for stereo returns.
The high frequency band is a shelving type at 12,000 Hz. The low frequency band is a shelving type at 60
Hz.
The HMF mid band has a bell curve at 5 kHz.
The LMF mid band has a bell curve with a centre frequency of 250 Hz. Each band has a boost or cut of
16dB.The Equalizer can be switched in and out of the signal paths.
The

HIGH PASS

filter is a rumble filter with a turnover frequency at 5 0Hz. It has a gentle roll off of 9 dB per

octave.

6.3 Aux send section

The Vision has eight auxiliary send busses. While in the tracking session, some aux sends are used for feeding
the headphones and some are used for effects sends. During the mix session, all aux sends are used for
effects sends.

Aux

iliary sends

1&2

are on dual concentric controls. The top control is the send control for aux 1 and the
bottom control is the send for aux 2. These Aux busses are normally used for stereo headphone sends in the
tracking session. A PRE switch puts them pre fader for fold back purposes.

Aux 3&4

and

Aux 5&6

are also on dual concentric controls with the top control as Aux 3 /5 and the bottom
control as Aux 4/6. The internal jumper setting for both concentric controls are post fader. A pre selection
is easy accomplished.

Aux 7&8

are also on dual concentrics and factory set post fader. A jumper can change this to pre fader if

wanted. All eight aux sends are summed stereo signal sends.

6.4 Channel assign section

The

Channel assign

section allows the user to assign to a maximum of 8 busses. The routing gives selection
to the 8 group modules using two pushbuttons. With each pair of summing amps, you have the choice of
assigning to the odd and even groups.
The

L/R

switch (in the assign section) assigns the signal to the stereo mix buss while the balance control
compensates for any unbalances in the input signal.
The Vision's summing amp and internal structure means that it is extremely quiet and distortion free.
The MUTE switch is a momentary switch that controls a silent FET switch
to mute the channel. The FET can also be controlled by the optional MIDI mute module.
The

SOLO

switch has two modes, stereo pfl (pre fade listen) or a “non-destructive” stereo solo-in-place system.
Master status switching (located in the master section) selects the “solo in-place” or “PFL” mode for the entire
console. Activating the solo switch in the pfl mode will send the prefader signal to the CRM speakers. In the solo in­place mode, the post monitor pan pot signal is heard. A solo indicator LED is fitted next to the solo switch.

6.5 Ledbar section

Vision manual page:22

The led bar is a peak reading 6 segment led bar following as a factory preset the post equalizer signal, thus
indicating the incoming signal .The led bar can be set Post channel indicating the direct output level post
fader.

Note: This peak reading device indicates a -6 dB reading below actual level with a steady sinus tone. So when
the internal level is 0 dBu, the meter will indicate -6 dB (The -3 dB led is on, the -10dB led is off)

6.6 Fader section

The Vision has a high quality 100mm fader. Alps or P&G faders are optionally available. You can use any VCA
Mix Automation System which uses the faders and mute system in the Vision. The channels are prewired for
accepting any VCA automation system.

6.7 In/output section

Every stereo channel has the following connectors at the back of the housi ng.
The balanced

LINE LEFT-A

input is a stereo 1/4" jack socket:

Tip = hot
Ring = cold
Sleeve = shield

The balanced

LINE RIGHT-A

input is a stereo 1/4" jack socket:

Tip = hot
Ring = cold
Sleeve = shield

The balanced

LINE LEFT-B

input is a stereo 1/4" jack socket:

Tip = hot/RIAA
Ring = cold/Ground Sleeve = shield

The balanced

LINE RIGHT-B

input is a stereo 1/4" jack socket:

Tip = hot/RIAA
Ring = cold/Ground

5.0 Optional Patchbay - description

6.8 Jumper/connector information

J3/12= LEDBAR INP SELECT LEFT 1/2=Left POST CHAN FADER

3/4=POST EQ Left (pre-insert)

J5=Power connector RIAA pcb pin1 =+Vs

pin2/3=Ground Pin4=-Vs

J7=Aux3/4 pre/post select pi n1/2= post

pin3/4=pre

J8=Aux5/6 pre/post select pi n1/2= post

pin3/4=pre

J9=Aux7/8 pre/post select pi n1/2= post

pin3/4=pre

J14= Midi mute connector 1=Read

2=Write

J 17=Remote connector pin1=tip

pin2=ring
pin3=sleeve

J1 8=RIAA in/out connector Pin1=line B right input

Pin2=line B right output
Pin3=Line B left input
Pin4=Line B left output

Vision manual page:23

J23/27=fader when automation is installed 1=ground

2=wiper
3 Top of fader

J25/28=Automation connector or fader connector when no automation is installed

1=Ground
2= VCA out
3=VCA in
4=Reference voltage
5=+5 volt (dependent upon VCA type)

J26/29=Pre Mute select 1/2=Mute active on aux pre fader setting

3/4=Mute not active on aux Pre fader setting

Vision manual page:2

4

7.0 DUAL GROUP MODULE

The Vision dual group output module is a basic output design whereby all signal flow takes place from the
group summing amps to the group output as well as to the main left right outputs.

7.1 Return Section

The return switch selects whether the input signal for the LEVEL pot is from the group output or from the
RETURN A input on the back of the console.

7.2 Equalizer section

This two-band fixed equalizer is very effective in its design. There are two bands, the high and low are fixed
frequency with shelving characteristics with a boost or cut of 16 dB at 1 2kHz and 60Hz.
The

EQUALIZER

is placed in the monitor path of the subgroup module.
All level controls are center detented making neutral positions easy to establish.
All frequency ranges have been carefully selected following extensive examination of all types of music (and
noise) which makes this equalizer a pleasure to work with. Noise and distortion are kept to an absolute
minimum.

7.3 Sub switch

The SUB switch has several functions which will be explained below.
In the up position the monitor section will follow the signal at the group output and the pan-pot follows the
monitor section.
With the SUB switch in the down position, the monitor section follows the RETurn input and the output of the
level control is sent to the the group mix buss of that same group. At the same time the pan-pot follows the
group output A.
The first set up is mostly used for track laying, The recorded signal is sent to the multitrack from the group
output jack. The group monitor pot and pan-pot follow the signal coming from the tape return A.
The second set up with the SUB switch down is most frequently used in live sound situations, whereby the
grouped signal needs to be directly send via the pan-pot to the main mix buses. An effect return signal
is coming into the group module via the return input and mixed with the "dry" grouped signal prior to the
group fader. So balance between dry and wet signal is always guaranteed.

7.4 Auxiliary section

The Vision group module has two auxiliary send busses. While in the tracking session, some aux sends are used
for feeding the headphones and some are used for effects sends.

Aux

iliary sends

1&2

are on dual concentric controls. The top control is the send control for aux 1 and the
bottom control is the send for aux 2. These Aux busses are normally used for stereo headphone sends in the
tracking session. Each individual aux send can be set pre or post by internal jumpers.
Factory pre-set is Aux 1=post and Aux 2 =pre.

7.5 Level and pan-pot

The group Level pot is fed by the RETurn switch, either from the group output or the Return A input.
The Pan-pot either follows the level pot or the group output dependent upon the SUB switch setting.
The MUTE switch is a momentary switch that controls a silent FET switch to mute the monitor section. The
FET can also be controlled by the optional MIDI mute module.
The

SOLO

switch always receives a pre LEVEL signal coming from the group output or the RETurn input (Tape
replay)
This is independent upon the SIP master status settings in the master module.
A solo indicator LED is fitted next to the solo switch.
The Vision has a high quality 100mm fader. Alps or P&G faders are optionally available.

7.6 Led bar section

The led bar is a peak reading 13 segment led bar following as a factory preset the RETurn signal, thus indicating
the incoming signal from the return input.
The led bar can be set to the group output permanently.

Note: This peak reading device indicates a -6 dB reading below actual level with a steady sinus tone. So when the
outgoing +4dBu, the meter will indicate -6 dB

"The B section is identical to the A section".

Vision manual page:25

7.7 In/output connectors.

Every group module has the following connectors at the back of the housi ng.
The

INSERT "A"

is on a stereo jack socket.

Tip = return
Ring = send
Sleeve = shield

The ground compensated

GROUP

output is a stereo 1/4" jack socket:

Tip = hot
Ring = cold
Sleeve = shield

Note

: The default setting on this output is -1 0dB V, a setting of -+ 4dBu can be chosen on the channel (PCB)

boards using jumpers.

The balanced

RETURN

input is a stereo 1/4" jack socket:

Tip = hot
Ring = cold
Sleeve = shield

Note:

The default setting on this output is -1 0dB V, a setting

of -+ 4dBu can be chosen on the channel (PCB) boards using jumpers.

The "B" section has identical connectors.

7.8 Jumper/connector information

J 4/14=Fader connector pin1=ground

pin2=wiper
pin3=top

J7/17=ledbar select pin1/2=group output

pin3/4=follows return

J9/19=return input level pin1/2= +4 dBu

pin3/4=- 1 0dBv

J10/20=Aux1 pre/post select pin1/2=pre

pin3/4=post

J1 1/21 =Aux2 pre/post select pi n1 /2 =pre

pin3/4=post

J25/26= Midi mute connector 1=Read

2=write

Vision manual page:2

6

8.0 MATRIX MODULE

The Vision matrix output module is capable of making a sub mix from all or some group output signals and
the left/right main output signal as well as an external input.

8.1 Matrix input control section

The 10 input level controls receive their signals from the 8 group outputs and the main left right outputs.
By turning up the level controls individually you can make a mix between several output groups and or the
main output signals.
The balanced External input is a fixed +4 dBu level input for accepting any pro audio output to be mixed
into the matrix section.
The MUTE switch is a momentary switch that controls a silent FET switch to mute the matrix output.
The FET can also be controlled by the optional MIDI mute module.
The

SOLO

switch always receives a post fader signal before the Mute switch. A solo indicator LED is fitted

next to the solo switch.

The “The B”section is identical to the “A” section

.

8.2 In/output connectors.

Every group module has the following connectors at the back of the housi ng.
The

EXTernal "A/B"

input is on a stereo jack socket.

Tip = hot
Ring = cold
Sleeve = shield

The balanced

MATRIX

outputs are on three pin XLR's:

1 =ground hot
2 = hot (in phase)
3 = cold (out of phase)

Note

: The default setting on this output is +4dBu Adjustment from infinity to + 6dBu is

possible on the PCB.

8.3 Jumper settings/connectors

J 3/5=XLR output connector pin1=ground

pin2=hot
pin3=cold

Vision manual page:2

7

9.0 Instructions for operation

The Vision is designed to be the perfect answer for multitrack and MIDI studios as well as live sound mixing.
In order to get more familiar with the Vision, we shall discuss the entire recording process and divide it into five basic
sequences.
Sequence 1 through 4 are for the more conventional recording studios, and sequence 5 is for the MIDI studio.

The session

- Recording from microphone or line input onto the multitrack machine. This could be from one or more

channels at a time.

The playback

- In this mode you would listen to what has been recorded on

the

multitrack machine.

The overdub

- Overdubbing is listening to already recorded tracks and recording on empty tracks until all tracks are filled.

The remix

- Playing of all recorded tracks together with signal processing equipment and all that is necessary to

create the final mix down.

The MIDI or Virtual Tracking

- Programmed keyboards, drum machines, reverbs, effects, Amy singing and who knows what

else, all at the same time direct to your DAT Machine, two track master machine, or cassette deck.

Sequence 1 - The Session
Record -

This is the beginning of a session. All input channels are placed in the mike mode by leaving the line
switch in the up position if the microphone input is to be used in this channel. Phantom powering is applied if necessary.
The EQ switch should be in the up position unless you require EQ on that channel signal.
The signal flows through the fader and is available post fader to be routed by way of the assignment
switches which can feed the input to your multitrack recorder. The GROUP LED bar graph reads the outgoing signal.

Microphone / Line Gain

The amount of gain required may depend on the type of microphone being used, the sound pressure level, and the
distance between the sound source and microphone. When the line switch is activated, the same gain control varies the
gain of the separate electronics for the balanced line input. The “phase” switch affects the mike input only.
After plugging in a mike or line signal, depress the channel solo switch above the channel fader you are setting, set the
solo status switch to pfl in the master section, then turn the gain control (of that channel) clockwise until a “0" output
level is reached on the master meters. Now slide up the channel fader to “0". Now switch the solo out. If the signal
source

gets louder or softer, it may be necessary to re-check this setting. The volume will also fluctuate if you boost

or cut the equalizer section.

Monitoring

With the Vision series, you are able to monitor your multitrack by way of the separate monitor section in the group
output modules. The monitor section of group output module allows you to have a monitor signal with EQ.

Multiple Modules Assigned to One or Two Tracks

When more than one microphone or line signal has to be recorded on a single track or in stereo on two tracks, a
sub mix facility is required. This can be done easily on the Vision by way of the internal subgroup amplifiers located on
the group modules. Simply route to one of the 4/8 subgroups by activating a channel routing switch on as many input
modules as required.
Decide on which track you wish to record these signals and activate the related number. The channel metering will show
the channel level while the subgroup meter shows the subgroup level which can be changed overall by the group fader.
In order to monitor these tracks, the RET (tape) switch should be in the up position for monitoring pre-tape
(console out) and in the down position for monitoring post-tape (RET, tape switch down). If you wish to route
several inputs to a track higher than 8, you would use the direct outputs on the individual channels, or would use Y
cords and extra group returns to listen to the tape returns.

Insert Channel / Group

For high dynamic range types of inputs, a signal processor such as a compressor / limiter can be inserted in the channel or
in the group insert if an entire group signal is to be processed.

Headphone (Cue)

During recording it is essential that the talent hears an independent mix of what the engineer and producer are hearing.
Headphone mixes are usually derived from pre-fader auxilliaries. In the Vision aux 1
and/or 2 are ideal for this purpose. The best way to build a mix
for the headphones is to have the monitor section of the group module feed aux busses 1 and or 2. When there is
limited time to set up
a headphone mix, give the talent the CRM mix (in the Phones section of the master modules) and build up an
independent headphone mix on aux 1 & 2 when time allows.

Vision manual page:2

8

Effect Sends

All unused aux sends can be used to send signals to signal processors such as digital reverbs, effects processors, and
digital delays.
The aux sends are usually post-fader in order that the right balance between untreated and treated signals is maintained
however, it is possible to switch to pre-fader.

Effects Returns

In the modern recording or MIDI studios of today, there is a demand for many effect returns and inputs for MIDI related
gear. For that reason D&R has designed the Vision with stereo modules. Any unused monitor input can also be used for
returning effects. Every group module can accept two returns with equalization and aux send capabilities.

Sequence 2 - The Playback Multitrack playb ack

The Vision gives you a convenient way of monitoring your multitrack recorder. Put all the RET(urn) =tape switches in
their down position. Now the tape outputs are feeding the group monitor path and you can adjust the amount of
signal you desire and pan it within the stereo image.
To be able to fully use the equalizer potential of the Vision it is necessary to connect the tape outputs to the line inputs
of the input modules as well.
At the time of ordering it is however possible at the factory as an option to make internal connections between the
tape returns in the group modules and the tape return connectors on the mono input modules.
The signal will enter the module in the line mode if no jacks are inserted into the line inputs.

Sequence 3 - The Overdub Multitrack synchronizing

Overdubbing is the process of building up a recording track by track while listening to previously recorded tracks.
The Vision has a group monitor for each track of the recorder making it easy to overdub. Connected to the monitor
section of the group module, you push all tape switches (RET)down (located above the equalizer) and
do all your sync switching from the tape machine or remote. The headphone mix is on the aux send 1 & 2 busses. Aux
1 & 2 should get their signal from the monitor section. It is best to activate aux 1 – 2 pre-fader switches at anytime
you're using Aux 1 & 2 for a headphone mix.

Sequence 4 - The Remix Multitrack mixing

Remix is the process of combining all recorded tracks with (keyboards and drum machines for MIDI) signal processing
and sending the mix to a two track master machine, DAT machine, or cassette recorder.

On the input module you must push the LINE switch down (if internal wiring is ordered), otherwise you have to connect
the tape outputs to the line inputs of the mono channels. This routes the tape return to the channel input.
At this point you can use either a spare line input in the console for effect returns which will feed the stereo mix buss.
By unplugging the tape return from the group output, this input is available for effect return with a two band
equalizer.
You must activate the

EQ

switch if you desire EQ on the channel or monitor. The incoming signals can be routed to the
stereo mix buss via the “L/F” switch in the channel assign section. Sub groups can be made up (as required) in the same
way as during recording. Aux sends 1 - 4 (8) can get their signal from the channel path with pre / post switching.

Sequence 5 - MIDI or Virtual Tracking Virtual Tracks: The MIDI Set-Up

In most MIDI studios there will be an eight-track rather than a sixteen or twenty four track tape machine. The
majority of music production is programmed on a sequencer using MIDI keyboards, sound modules, drum machines, or
other MIDI related equipment.
Therefore, you will only require tape tracks for vocals and those instruments not adequately reproduced on today's
keyboards. If there is a multitrack recorder in the MIDI studio, one of the tracks would be used to record a time code
(SMPTE or MIDI code). This will allow your sequencer to keep keyboards, drum machines, and other MIDI equipment
synchronized.
The Vision was designed with the multi-track and MIDI studio in mind. In today's medium to large MIDI studio, there is a
need for as many as 100 inputs to be used for everything from tape tracks to keyboards and drum machines. For this
reason, the Vision, when fitted with both in-line modules and stereo return modules, can net over many inputs in the
virtual track session or mix down.

Vision manual page:2

9

10.0 Installation - Electrical Local Electrical Voltage

Before connecting the Vision, check the AC supply voltage setting by looking at the sticker on the back of the rack
mount power supply. This should be 115V for use in areas with an AC supply between 100V and 120V,
and 230V for use in areas with an AC supply between 220V and 240V.
The main fuse is a 10 amp with a 250 volt rating. After replacing a blown fuse with the correct size and rating, turn
the power supplies on and check the three LED indicators. If you are still missing one or more of the power rails, turn
off the power supply and call the D&R Technical Support Department. DO NOT REPLACE THE FUSE WITH ANY OTHER
TYPE AS THIS CAN BECOME A SAFETY HAZARD AND WILL VOID THE WARANTY.

Electrical Wiring

To take full advantage of the excellent signal to noise ratio of the Vision, it is necessary to read this part of the manual
carefully.
Hum, radio frequency interference, buzzes and instability are often caused by improper wiring and poor grounding.
Sometimes the incoming electrical ground is inadequate and a dedicated ground would need to be installed
for the audio equipment.
Your local electric power company will provide you with all local electrical codes and safety regulations. There are some
grounding rules to follow. All signals in a recording studio are referenced to ground.
This ground must

be clean and free of noise. A central point should be selected as the main grounding point and all
grounds should originate from this point. This is commonly referred to as a “star ground system”.
In some instances electrical contractors will daisy chain ground connections. This is unsuitable

for a studio. Ideally, run a
separate ground wire from each outlet and a separate ground wire for each piece of equipment. A separate wire
from each equipment rack to the dedicated ground point is useful in cases where AC outlet grounds are not
satisfactory. The dedicated ground point should be located at the rear of the console or equipment rack. Separate
and identify “clean” and “dirty” AC outlets. Use clean outlets for audio equipment and the dirty ones for lighting, air
conditioning, freezers etc. Do not intermix these two types of outlets. AC interference can be greatly reduced by
using an
isolation transformer (Juice Goose) to power clean outlets. Ground this transformer directly to the dedicated ground
point or as close as possible to the incoming ground.
All equipment should be physically located as far as possible from the main breaker panel. Unbalanced equipment may
require isolation from the equipment rack so that ground loops are avoided.

10.1 Installation - audio

10.2 Interface CRM Levels

The Vision in its standard configuration can interface with all available equipment.
Attention concerning the CRM output must be noted. This output delivers a nominal +4 dBu level which is sometimes
too high for power amps rated at 300mV sensitivity for full output. In some instances an input attenuator at the
power amp's input is required to reduce this +4 dBu level
by up to 12 dB. Contact the D&R Technical Support Department for details.

NOTE

: This alignment is imperative in order to avoid damage to the speakers, or in some cases, damage to the ears of

the listener.

10.3 The Initial Hook-Up

First connect the rack-mounted power supply to the console. All faders, monitors, and effect returns must be in the
“down” or “off” position. In order to ensure the best signal to noise ratio for your system, the next steps should be
performed in the order they are printed.
Connect the CRM outputs (located on the master module back plate) to the inputs of your control room speaker
power amps. Now turn on the console power supply and then turn the power amp on and check for any hum,
buzz, or interference. Slowly turn the CRM control clockwise until it is wide open while listening for excessive noise.
You should only hear a faint “hiss”. If everything is O.K., continue. If any hum or excess noise is present, stop and try
different ground and shielding arrangements until the system is clean. After checking the main power amp and speakers,
check CRM 2.
Before making any other connections move each monitor fader to the 0 dB position with the tape switch
depressed on each monitor section. Connect the multitrack outputs to the tape return connectors, then connect
each connector on the tape output of your multitrack. Check for hum or noise after each track has been hooked up.
”Hiss” will normally increase slightly with each track. Connect the tape send output jacks to the inputs of the
multitrack. Carefully listen for excessive noise or hum. If after hooking up an input or output excessive noise or hum is
detected, stop and take corrective action before proceeding.

Do not hook up all 16, 24, 32, or 48 tracks and then listen.

You may need to rewire the entire cable harness to make

Vision manual page:3

0

the system clean.
Connect stereo tape recorders (inputs and outputs), stereo headphone amp, and all signal processors.

NOTE:

MAKE SURE THAT YOU CHECK FOR HUM OR NOISE AS EACH INPUT OR OUTPUT IS CONNECTED.

10.4 Shields & Group Equipment

The shield of any audio cable connection should be connected at one end only. If not, ground loops and high
frequency cross-talk could result. Connect the shield as a general rule to the signal source (output) of anything.

In
high RF areas it is wise to ground the other end of the shield through a 0.01 microFarad capacitor. This will ground the
RF but will not affect audio frequencies.

10.5 Typical Interface Situation Table

Outpu

t Input Connect shield at:

Unbalanced Unbalanced Out put
Unbalanced Balanced Output
Unbalanced Differential Output
Balanced Unbalanced Input
Balanced Balanced O u tput
Balanced Differential Input
Differential Unbalanced Output
Differential Balanced Output
Differential Differential Out p ut

Use the above table to interface your Vision to any external equipment such as multi-track machines, signal processing,
and power amps. Balanced (in the above illustration) means transformer

balanced while differential means

electronically

balanced. There are some cases which net better results in practice. Connect one circuit at a time and
check for hum or noise. When connecting balanced microphones, use two conductor shielded audio cable and connect
both conductors and the shield at both ends.
When connecting line level cables, use two conductor shielded cable and follow the instructions in the interface table.
The only exception to these rules is with patch cords. These grounds are tied together in
the console. We realize that the correct interfacing of all different equipment is difficult, but once properly installed the
system will be clean and noise free.
It is important to understand the term balanced.

Balanced does not mean the input or output is professional, the single
factor that normally determines whether something is professional is the level of the input or the output. +4 dBu is
considered professional. -10 dBv is considered semi-professional. Because many semi-professional tape machines are
built to professional specifications, D&R builds into the Vision console the ability to interface with both levels.

Vision manual page:3

1

11.0 Frame section connector panel

Two track A, B,

Tip = left
Ring = right
Sleeve = shield

CRM 2/PHONES

Tip = left
Ring = right
Sleeve = shield

CRM 1 L/R

Tip = hot
Ring = ground compensation Sleeve = shield

MONO/LEFT/RIGHT

1 = shield

balanced output

2 = hot
3 = cold

Power supply

Speakon connector

Pin -1 = - 17.5 volts
Pin +1 = + 17.5 volts
Pin -2 = Ground
Pin +2 = +48volt

12.0 Connecting the modules

12.1 Mono standard/deluxe module

Description: Co n n ector: Con n e ction:

LINE input

1/4" TRS T i p = hot

balanced Ring = cold

Sleeve = shield

INSERTS

1/4" TRS T i p = return

send & return Ring = send

Sleeve = ground

DIRECT OUTPUTS

1/4" TRS T i p = hot

(tape send)ground compensated Ring = cold

Sleeve = shield

REMOTE CONNECTOR

1/4" TRS Tip =normally connect ed

(tape return) balanced Ring =normally open

Sleeve = centre contact

MIC input (balanced)

XLR Pin 1 = shield

Pin 2 = hot +
Pin 3 = cold -

12.2 The stereo standard/deluxe module

Description: Co n n ector: Con n e ction:

LINE inputs

1/4" TRS balanced Ti p = hot

Ring = cold

Sleeve = shield

REMOTE CONNECTOR

1/4" TRS Tip =normally connect ed

(tape return) balanced Ring =normally open

Sleeve = centre contact

Vision manual page:32

12.3 Group module
Description: Co n n ector: Con n e ction:
INSERTS A/B

1/4" TRS T i p = return
send & return Ring = send

Sleeve = ground

I
GROUP OUTPUTS A/B

1/4" TRS T i p = hot

(tape send)ground compensated Ring = cold

Sleeve = shield

RETURN A/B

1/4" TRS T i p =hot

(tape return) balanced Ring =co l d

Sleeve = shield

12.4 Matrix module
EXT. A/B

1/4" TRS T i p =hot

Ring =cold
Sleeve = shield

MATRIX balanced output

XLR Pin 1 = shield

Pin 2 = hot +
Pin 3 = cold –

12.5 Master modules
Description: Co n n ector: Con n e ction:

Aux outputs

1/4" TRS T i p = hot

(ground compensated) Ri n g = co l d

Sleeve = shield

Return A /B 1/4" TRS T i p =left
(tape return) balanced R ing =rig ht

Sleeve = shield

INSERTS L/R Tip=return
1/4" TRS send & return Ri n g = s e n d

Sleeve = ground

Vision manual page:33

13.0 Troubleshooting/servicing

It is essential to study the signal flow chart carefully, only then can you hope to isolate problems. By tracing the signal
from input to output jacks, it is possible to locate a problem. If for any reason you are unable to isolate a problem, contact
the D&R Technical Support Department for advice. If the problem cannot be corrected over the phone, D&R will
dispatch a replacement module (ground freight prepaid) the same day. Most problems can be found using logical
thinking and simply replacing socketed integrated circuits.

13.1 Removing a module

The Vision is a complex piece of equipment and some understanding of its internal layout is necessary before removing a
module.
An input module has wiring to the master section and to the XLR connector. All of these wires must be removed before
withdrawing a module from the console. Each module has computer grade connectors for ease of the disconnect.
Turn off the power supply. Remove the cover strips at the top and bottom of the console which are held in place by
magnetic strips. It is often easier to also remove the channels positioned left and right of the module under test.
It is now possible to remove the two module retaining screws and carefully lift the module until the XLR wiring can be
unplugged. Now remove all flat cables from the bottom of the module PCB. At this point extender cables (if ordered)
can be connected or the module can be laid on top of the other modules. It is wise to put some form of protection on
top of the mounted modules to prevent them from being scratched.
The master sections can be removed from the frame in the same way.
Because of the many flat cables on the bottom of the master section, it is wise to remove all retaining screws from all
master sections, and remove the blank module on the right side of the master section. This will allow all the master
modules to be moved slightly without unplugging all the flat cables. A qualified service technician will be able to
service the modules in this way.

Vision manual page:3

4

14.00

Conformity statement according to

ISO/IEC Nr. 22 and EN 45014

Name Manufacturer :D&R Electronica Weesp b.v.
Address manufacturer :Rijnkade 15B,
:1382 GS Weesp,
:The Netherlands
declares that this product

Name product : VISION
Model number : n.a.
Product options installed : none

passed the following product specifications:

Safety :IEC 60065 (7

th

ed. 2001)

EMC :EN 55013 (2001+A1)
:EN 55020 (1998)

Supplementary Information:

The product passed the specifications of the following regulations;

Low voltage 72 / 23 / EEC
EMC-Directive 89 / 336 / EEC. as amended by Directive 93/68/EEC

(*) The product is tested in a normal user environment.

Vision manual page:35

14.01 PRODUCT SAFETY

This product is manufactured with the highest standards and is double checked in our quality control department for reliability
in the "HIGH VOLTAGE" section.

CAUTION
Never remove any panels, or open this equipment. No user serviceable parts inside. Equipment power supply must be grounded
at all times.
Only use this product as described, in user manual or brochure.
Do not operate this equipment in high humidity or expose it to water or other liquids. Check the AC power supply cable to
assure secure contact.
Have your equipment checked yearly by a qualified dealer service center. Hazardous electrical shock can be avoided by
carefully following the above rules.

EXTRA CAUTION FOR LIVE SOUND
Ground all equipment using the ground pin in the AC power supply cable. Never remove this pin.
Ground loops should be eliminated only by use of isolation transformers for all inputs and outputs. Replace any blown fuse with
the same type and rating only after equipment has been disconnected from AC power. If problem persists, return equipment
to qualified service technician.

PLEASE READ THE FOLLOWING INFORMATION VERY CAREFULLY
Especially in sound equipment on stage the following information is essential to know.
An electrical shock is caused by voltage and current, actually it is the current that causes the shock. In practice the higher the
voltage the higher the current will be and the higher the shock.
But there is another thing to consider and it is resistance.
When the resistance in Ohms is high between two poles, the current will be low and visa versa. All three of these; voltage,
current. and resistance are important in determining the effect of an electrical shock.

However, the severity of a shock primarily determined by the amount of current flowing through a person.

A person can feel a shock because the muscles in a body respond to electric Current can also be fatal when it causes the
chest muscles to contract and stop breathing. At what potential is current dangerous.
Well the first feeling of current is a tingle at 0.001 Amp of current. The current between 0.1 Amp and 0.2 Amp is fatal.
Imagine that your home fuses of 20 Amp can handle 200 times more current than is necessary to kill. How does resistance
affect the shock a person feels.
A typical resistance between one hand to the other in "dry" condition could be well over 100,000 Ohm.

If you are playing on stage your body is perspiring extensively and your body resistance is lowered by more than 50%. This is
a situation in which current can easily flow.

PRODUCT SAFETY

Current will flow when there is a difference in ground potential between equipment on stage and in the P,A. system. Please
do check if there is any potential between the housing of the mikes and the guitar synth amps, which will be linked by your
body on stage.
Imagine, a guitar in your hand and your lips close to the mike! A ground potential difference of above 10 volts is not unusual,
in improperly wired buildings it can possibly be as high as 240 volts. Although removing the ground wire sometimes cures a
system hum, it will create a very hazardous situation for the performing musician.

Always earth all your equipment by, the grounding pin in your mains plug Hum loops should be only cured by proper
wiring and isolation input/output transformers.

Replace fuses always with the same type and rating after the equipment has been turned off and unplugged. If the fuse blows
again you have an equipment failure, do not use it again and return it to your dealer for repair.
And last but not least be careful not to touch a person being shocked as you, yourself could also be shocked. Once removed
from the shock, have someone send for medical help immediately

Always keep the above mentioned information in mind when using electrically powered equipment .

D&R ELECTRONICA B.V. WEESP

HEAD OFFICE

D&R Electronica Weesp b.v. Rijnkade 15B
1382 GS WEESP
THE NETHERLANDS
Phone: [phone]* Fax: [phone]
Website: http//www.d-r.nl

E-mail: [e-mail]

Vision manual page:3

6

15.SPECIFICATIONS

INPUTS:

Mic input, balanced, RF suppressed, 2 kOhm.
C.M.R.R. at 50 Hz, -70 dB.
Sensitivity: -80 dBu max for +4 dBu output.
Noise mic: <-129.0 dBu,(A-weighted) 1500hm

Line inputs: bal. 10kOhm, -20dB to +20dB.
Return inputs: +4 dBu bal./-10dBy
unbalanced.
Grp./chan. inserts: 10kOhm/470hm
unbalanced. 0dBu.
Stereo machines:+4dBu, -10dBv,
unbalanced.

OUTPUTS:

Left/Right/Mono outputs, +4dBu bal /-10dBy bal.
(A-weighted). Aux outputs, +4dBu balanced (ground compensated).
All other outputs: +4dBu / -10dBu bal/gnd comp.

Noise master fader down: -102dBr
Noise 16 channels routed: -89dBr (A­weighted).
Noise 24 channels routed: -87dBr (A­weighted).

EQUALISATION:

High pass filter, -3dB at 50Hz / 100Hz.
H.F. +/- 16dB from 4kHz to 20kHz, shelving.
L.F. +/- 16dB from 20Hz to 500Hz, shelving.

Bell curve mids:
H.M.F. +/-16dB from 600Hz to 15kHz belt,
Q1.5.
L.M.F. +/-15dB from 40Hz to 900 Hz
bell,Q1.5

OVERALL:

Nominal internal operating level 0dBu (0.775 V).
Freq. response, any input to any output 20Hz - 20kHz, -0.5dB.10Hz ­100kHz, -3dB.
Total harmonic distortion:
Mic. in-dir. out: 1 kHz: 0.015%, 10kHz: 0.025%.

Maximum output: +26dBu into 600 Ohm
bal,
+22dBu unbalanced/ground compensated.
Maximum headroom: not less than +22dB
anywhere in the console.

CROSSTALK:

Mic to line: > 100 dB at 1 kHz.
Channel mute: > 90 dB at 1kHz.
Pan-pot isolation: > 75dB at 1kHz.

Channel routing: > 90dB at 1kHz.
Channel fader kilt: > 95dB at 1 kHz.
Aux send kill: > 90dB at 1 kHz.

DIMENSIONS: Vision 19": 483x573x212mm / 19"x22.6"x8.3".

Weight: 25kg

Vision 46: 1568x768x232 mm /
62"x30.2"x9.1".
Vision 38: 1320x768x232 mm /
52"x30.2"x9.1".

OPTIONS:

Conductive plastic faders.
R.I.A.A. pre-amp module for stereo inputs.

Two/Three frequency oscillator.
VU meter bridge.
Break out panels to allow for Line inputs to
be on XLR.

SIDEVIEW OF
DESKTOP
VERSION:

VISION FRAME CONFIGURATIONS

19" Rack accepts:
14 modules (12- 2, 8-8-2)
Weight: 25kg

Frame 38 accepts
38 modules, 32-8-2, 34-4-2, 36-2,
Weight: 80kg

Frame 46 accepts
46 modules, 40-8-2, 42-4-2, 44-2

Weight: 90kg

(All desktop frames include 2 blanks, no
masters)

SIDE VIEW OF
19” RACK
VERSION:

Vision manual page:3

7

Dear Vision owner,

In this manual we have tried to give you an overview of all that the Vision has to offer.

If you have any questions, do not hesitate to contact us or the D&R USA customer support department.

With the Vision series there is no limit to your creativity. We wish you many years of enjoyable mixing.

Best regards,

Duco de Rijk

PRESIDENT D&R, HOLLAND

This manual was written by Duco de Rijk (D&R Holland) and Paul Westbrook. We hope you will find it to be useful and
easy to understand. As always, we are open to any suggestions about this manual or any D&R product.

Vision manual page:3

8

SERVICE MANUAL

(on request)