Shure SR101 Series II User Guide

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SRlOl

Series 2 Audio Console

OPERATION AND SERVICE MANUAL

Evanston, Illinois

(SD)

(95E652)

Manufactured

SHURE BROTHERS INC.

222

Hartrey Avenue

60204

U.S.A.

Printed

U.S.A.

SR101 Series 2 Audio Console

SPECIFICATIONS

Equipment Type Number of

lnput Channels Power Output Voltage Gain*

Program

Monitor

Link

. . .

Accessory

Frequency Response

lnput Sensitivity Distortion

Noise

(300 Hz-20 kHz)

.....

. . .

. . . .

. .

. . . .

. . . . . . .

. .

. . . . . . . . .

. .

. . . .

All silicon transistor mixerlpre-

amplifier (20 Hz-20 kHz)

Hum and Noise

. . . .

+19

dBm (program line level)

.73

k3 dB MIC input to LlNE

LEVEL out

k3 dB AUX input to LlNE

LEVEL out

23 t3d~

out

. . .

.78 13 dB MIC input via PRO-

GRAM MONITOR to LlNE LEVEL out

GRAM MONITOR to PHONES out Input Clipping Level

nel MONITOR to LINE LEVEL out

.38 _t3 dB MIC input to LlNK OUT

(with 600-ohm termination)

out

. . .

.48 t2 dB MIC input to ACCES-

SORY output (via pins

PUTS)

43 i.3 dB MIC inputs to ACCES-

SORY output (via pin GRAM)

. .

13 dB, 20 Hz-20 kHz (150-ohm

source; 600-ohm load)

. . .

0.4 mV max. for f 4 dBm program output

THD less than

30 Hz -20 kHz; IM distortion less than 1% at t12 dBm

. .

128 dBV(equiva1ent input noise

at full gain)

78 dBm output noise (MASTER

Volume Control down)

53 dBm output noise (one channel Volume Control and Equalization MASTER Volume Control up)

MIC

input

MIC

LEVEL

k3 dB MIC input via PRO-

23 dB MIC input via one chan-

dB LlNK IN to LlNE LEVEL

1-8lIN-

91PRO-

at +12 dBm,

Signal to Noise Ratio

(20 Hz-20 kHz)

lnput Attenuation

MIC Input

AUX Input

Input Common

Mode

LOW-~requency

Equalization

Hig h-Frequency

kHz:

Rejection

. . . . .

. . . .

. . .

125 dBV (equivalent input hum

and noise at full gain)

68 dBm output noise (MASTER

Volume Control down)

50 dBm output noise (one channel Volume Control and MASTER Volume Control up)

. .

.Typically 81 dB at maximum out-

put with one channel Volume Control and MASTER Volume Control at 10 (approximately 60 dB gain)

.O-30 dB (10 dB steps)

. .

,315 mV (INPUT ATTEN at 0; Ch.

Volume at 2)

17.5

mV (INPUT ATTEN at 0; Ch.

Volume at 14)

10V (INPUT ATTEN at -30; Ch.

Volume at 2)

0.56V (INPUT ATTEN at -30; Ch. Volume at 14)

. .

.3.15V (INPUT ATTEN at 0; Ch.

Volume at 2)

0.18V (INPUT ATTEN at 0; Ch. Volume at 14)

IOOV (INPUT ATTEN at -30; Ch.

Volume at 2)

5.6V (INPUT ATTEN at -30; Ch. Volume at 14)

. . .

100 dB min. at 100 Hz (balanced

inputs)

. . .

-;I3 dB at 100 Hz with respect to 0 (flat) setting

k12 dB at 10 kHz with respect to

. . .

0 (flat) setting

'Measurement conditions: MIC input through

kilohms LlNK IN through LlNE

LEVEL

ohms. MONITOR PHONES terminated in 8 ohms: MASTER Volume. Channel ~olur;le and MONITOR Controls full up; all other controls and switches 0 or off.

terminated In

600

ohms PROGRAM LlNE LEVEL and MONITOR

600

O~~~.'PROGRAM MIC LEVEL terminated in

150

ohms, AUX input through

150

SR101 Series 2 Audio Console

SPECIFICATIONS

Feedback Filter VU Meter Calibration

Frequencies

Tone Oscillator

lnput Impedance

at 1 kHz:

Microphone Auxiliary

(Channels

and 8). .I70 kilohms unbalanced

Link Input .35 kilohms unbalanced

Output Impedances:

Program

Monitor

Link Output

Monitor System

Reverberation

System

Link Jack System

.......

........

.I30 Hz; 800 Hz; 2 kHz; 5 kHz

1 kHz; less than 1% distortion;

.....

.1.2 kilohms balanced (for use

........

.......

.........

......

.......

.............

......

Balanced line level: 120 ohms

Microphone level: 0.5 ohms actual

.Unbalanced line level: 600 ohms

Headphones: 3 ohms

ACCESSORY AUX LEVEL

.600 ohms (actual)

Headphone andlor 600-ohm line

Spring type with individual chan-

External signal conditioning out-

variable level

with 25- to 600-ohm' phones)

actual (for use with 600-ohm lines)

(for use with 25- to 600-ohm inputs)

actual (for use with 600-ohm or high-impedance phones, or 600-ohm lines)

use with 4- to 16-ohm headphones)

anced) pins 1-811NPUTS: 33

actual (for use with 3-

ohms

kilohm

PROGRAM: 600 ohms actual

output; individual and mixed channel select or program; pre-

and post-link monitoring

nel and low-frequency equalization

putlinput; amplifier and tape recorder signal output; connection (mix bus); remote master volume

or greater loads); pin 91

intensity controls and high-

high-level auxiliary

multiple Console

control

micro-

actual (for

(unbal-

Phasing (polarity).

Phase Switch Output polarity-reversing switch

30 Vdc Bus

Operating Voltage

Power Consumption

Temperature Range:

Operating Storage

Dimensions

Installation

Weight

................

Finish Certifications

.........

..........

............

..........

...........

..............

.........

...

$4 dBm (1.23 Vrms) at 1 kHz to

600-ohm load (METER TlVlTY ~ontrol'in [22 dB-range METER SENSITIVITY position provides 0 VU reading of -18 ohm load]

.AUX LEVEL input and LINK IN

....

tips and pin 3 of INPUT con-

nectors in phase with pin 9 of

ACCESSORY OUTPUT; tips of

LlNK OUT, PROGRAM LlNE LEVEL, and MONITOR LlNE LEVEL outputs; tip of PHONES jack; and pin 3 of PROGRAM LlNE and MIC LEVEL outputs. (PHASE Switch in 0" position.) Pins 1-8 of ACCESSORY OUTPUT out of phase with the above.

(0°, 180°) (reverses phase of all program outputs)

.Pin 10 on ACCESSORY

LEVEL connector is regulated +30 ground (earth). May be used to power accessories with up to

....

.90-132 Vac, 50160 Hz (SR101)

90-132, 180-250 Vac, 50160 Hz

(SR101-2E)

...

20 watts max. (Console only). 500

watts max. (SWITCHED A. receptacle)

-7' to 54OC (20' to 130°F)

-29' to 71°C (-20' to 160°F)

.311 mm x 483 mm x 162 mm

(121/'"

Equipped for standard 19" rack

mounting be operated in accessory AlOlA Carrying Case or in custom control center

.22 Ib (10 kg)

Matte black, with beige write-on

trim strip

Listed by Underwriters' Labora-

tories, Inc.; listed by Canadian Standards Association as certified

Control in full clockwise dBm (0.1 Vrms) on 600-

~3.5 Vdc supply; pin 11 is

mA.

H x 19" W x 6%''

(12%" height); may

(SRIOI only)

CAL position)

SENSI-

AUX

iii

SR101 Series 2 Audio Console

TABLE OF CONTENTS

Section Page

SPECIFICATIONS ii DESCRIPTION

OPERATING INSTRUCTIONS

Functional Identification General Operating Instructions Mounting and Ventilation Power Supply Functional Circuit Description Input Channels Source Cuing 7 Reverberation Monitor System Monitor Mixer System Program Mix Amplifier Link Jacks Feedback Filters Program Output VU Meter Circuit Tone Oscillator Basic Operating Hints

SPECIAL OPERATING INSTRUCTIONS

High-Impedance Microphones

Musical Instruments Tape Recording

Record Playback Tape Playback Talkback Circuit Additional Mixer Inputs

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3 3 4 5 5 7

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7 8 8 9 9 9

9 10 10 11

11 11 12 12 12 13 13

Section Page

Additional Console Inputs (Two Consoles) Redundant Console Set-up (Two Consoles) 15 Stereo Operation 16 Remote Volume Control 17 Telephone Line Surge Protection 17

SERVICE INSTRUCTIONS

Console Service 18 Replacement Parts 18 Fuse Replacement 18 Knob Replacement ServiceAccess 18 Lamp Replacement 18 Reverberation Assembly Board Removal VU Meter Removal VU Meter Calibration Volume Control Assembly Parts Removal Transistor and Diode Removal Transistor and Diode Checking Service Illustrations Optional Accessories Guarantee Shipping Instructions

PARTS CONDENSED OPERATING INSTRUCTIONS

ARCHITECTS' AND ENGINEERS'

SPECIFICATIONS 47

...................................

LIST

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18 20 20 20 21 22 22 22 22 22 22

23 47

SR101

Figure Page

1 SR101 Audio Console Front Panel ........... 2

SR101 Audio Console Rear Panel

SRlO1 Audio Console Dimensional

Outline Drawing SR101 Audio Console Block Diagram

4 5 Monitor Mixer Applications 6 Tone Oscillator Applications 7 Preamplifier-Console Connnections 8 Tape Recording 9 Record Playback 13

Talkbackcircuit

10 11 Carbon Microphone Power Supply 12 Additional Mixer Inputs 13 Additional Inputs: Two Consoles 14 Redundant Consoles 15 Stereo Tape Recording

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Series 2 Audio Console

LlST

............

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ILLUSTRATIONS

........

.........

..........

2 5

9 10 11 12

13 13 14 15 16 17

Figure Page

16 Remote Volume Control 17

17 Printed Circuit Board and Parts Location 19 18 Volume Control Assembly

19 Board 1: Preamplifier 20 Board 2A: Channel Equalizer 21 Board 22 Board 3: Program Mix Amplifier 23 Board 4: Reverb Mix Amplifier 24 Board 5: Program Output

26 Board 7: Reverb Spring Amplifier 27 Board 8: Monitor 28 Board 9: Power Supply 29 Board 30 Transistor Lead Codes 31 32 Circuit Diagram

28: Reverb Equalizer

Board 6: Feedback Filters

0: Program Mute

SR101-2E Power Supply

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.4 4-45

21 33 34 34 35 35 36 37 37 38 38 39 41 42

SRIOI Series 2 Audio Console

DESCRIPTION

(Shown

in Carrying Case AlOlB

AIOIA

with

Panel Lamp)

The Shure Model SR101 series 2 Audio Console is a solid-state, eight-channel microphone mixer-preamplifier that enables the operator to mix as many as eight microphones with individual control over volume, reverberation, and high- and low-frequency equalization. The Series 2 Consoles have rear-panel provisions for connection to up to eight Shure

SR110 Professional Monitor Mixers. The SR110 is a self-contained, eight-channel, line level mixer designed to provide a separate stage monitor mix that follows the program mix levels. In addition, it may be used

in multi-track recording as a recording mix panel. The Con-

sole has two outputs: a program output and a monitor out-

put. In addition, channels

and 8 contain switch-selectable input connectors for .use with auxiliary high-level sources or high-impedance microphones. Master volume controls

regulate program and monitor outputs. Program and monitor switches permit the operator to select the input signals

to be routed to each of the two outputs.

The program output has both a 600-ohm, balanced, line level output and a low-impedance, balanced, microphone output. The monitor has two outputs: a 600-ohm unbalanced output and an 8-ohm balanced headphone output. Four switch-selectable feedback filters are included in the program output, and a pair of link jacks facilitate connec-

tion to an additional audio console, mixer, or external equipment such as compressors, limiters or equalizers.

The Console contains a VU meter with adjustable sensi-

tivity to indicate program output level. A built-in 1 kHz

tone oscillator facilitates synchronization of all meters in the system. An optional panel lamp accessory may be connected to the front panel lamp connector for illumination of controls. Accessory equipment drawing up to 500 watts

may be connected to the rear-panel switched ac receptacle.

A front-panel trim strip provides space for pencilled notations.

The regulated power supply is designed to operate over a wide range of input voltages, permitting the use of extremely long ac extension cables without performance degradation.

The solid-state components in the

SR101 Audio Console are protected against damage as a possible result of open-circuit or short-circuit conditions on the inputs or outputs. All components are conservatively rated and are operated well within their respective ratings to assure long life and trouble-free performance.

The Console is supplied with rack-mounting screws and

spare fuses (the

SRlOI-2E comes with a detachable line

cord).

The Console is Underwriters' Laboratories,

Inc., listed, and is listed by the Canadian Standards Association as certified

(SRI 01 only).

The following accessories are specifically designed for

use with the

SRlOl Series 2 Audio Console:

AlOlA Carrying Case A101 B Panel Lamp Accessory SR110 Professional Monitor Mixer

FIGURE 1. SRlOl SERIES 2 AUDIO CONSOLE FRONT PANEL

(SR101

Only)

FIGURE

(SR101 - 2E

SRlOl SERIES 2 AUDIO CONSOLE REAR PANEL

Only)

SR101

Series 2 Audio Console

OPERATING INSTRUCTIONS

FUNCTIONAL IDENTIFICATION (Refer to Figures 1 and 2, Page 2.) NOTE: All push-button switches are "on" when in (depressed) and "off" when out (released). Input attenuator switches are calibrated in decibels; all other front panel controls are numbered for reference only.

1. lndividual Channel Volume Slide Controls (Eight) Control volume and input clipping level of each channel separately.

Con-

OUT-

2. REVERB INTENSITY Rotary Controls (Eight) trol reverb level for each channel.

3. Master REVERB Push-Button Switch -Turns on (or off) amount of reverb preset by channel REVERB IN-

TENSITY controls.

4. REVERB FREQuency Adjusts low-frequency reverb signal equalization. lndividual Channel FREQuency EQualizer-LOW Rotary

Controls (Eight) ization for each channel.

6. REVERB FREQuency

Adjusts high-frequency reverb signal equalization.

7. lndividual Channel FREQuency

tary Control (Eight) equalization for each channel.

8. PHONES Output Jack

stereo or monophonic headphones for monitoring.

9. Panel LAMP Accessory Connector nection for optional panel lamp accessory to illuminate front panel.

10. MONITOR Level Rotary Control level to PHONES Jack (8) and MONITOR OUTPUT/ LlNE LEVEL Jack (30).

11. PROGRAM MONITOR Push-Button Switch nects total program output (all channels and reverb) to PHONES Jack (8) and MONITOR

LEVEL Jack (30).

12. lndividual Channel MONITOR Push-Button Switches

(Eight) out reverb) to PHONES Jack (8) and MONITOR PUT/LINE

ITOR Switch (11) is off.

13. lndividual Channel PROGRAM Push-Button Switches (Eight) gram output.

14. lndividual Channel INPUT Switches (Eight) tenuation for each channel. Dual switches on channels impedance (AUX) input connections.

15. FEEDBACK FILTERS Push-Button Switches (Four) Provide for elimination of acoustic feedback in four most probable audio frequency ranges.

16. TONE Turns on and adjusts level of 1 internally for set-up purposes.

17. True VU Meter output. (Meets all current standards for VU Meters).

18. METER SENSITIVITY Rotary Control meter sensitivity for wide ranges of program level indication.

19.

POWER ON-OFF Toggle Switch - Applies ac power to power supply and SWITCHED A.C. Receptacle (23).

20. MASTER Volume Slide Control program output.

Connect individual channel outputs (with-

LEVEL Jack (30) when PROGRAM MON-

Connect individual channel inputs to pro-

and 8 also select low-impedance (MIC) or high-

Oscillator LEVEL SwitchIRotary Control

EQualizer-LOW Rotary Control

Adjust low-frequency signal equal-

EQualizer-Hlgh Rotary Control

EQualization-Hlgh Ro-

Adjusts high-frequency signal

Provides for connection of

Provides con-

Controls volume

OUTPUT/LINE

ATTENuator Rotary

Provide choice of input signal at-

kHz

tone generated

Indicates volume level of program

Adjusts VU

Adjusts level of total

21. Ac Grounded Line Cord to Console power supply 3AG-3/16A SLO-BLO Ac Fuse - Protects Console ac

22. input line against overload

23. SWITCHED A. C. Grounded Receptacle

to 500 watts of switched ac power to accessory equip-

iSR101 only).

ment

24.

PROGRAM OUTPUTSIMICrophone LEVEL 3-Pin Con-

nector program output.

25. PROGRAM (Two) nections to power amplifier.

26. PROGRAM verses phase (polarity) of program outputs with respect to inputs.

27. PROGRAM

Provides balanced output connection to power

amplifier.

28. LlNK IN Phone Jack- Provides input connection for external equipment (compressor, limiter, equalizer, etc.).

29. MONITOR Switch after external equipment connection to LlNK Jacks (28,

31).

30. MONITOR vides monitor output connection to power amplifier.

31. LlNK OUT Phone Jack for external equipment, or mix bus to add Consoles. INPUTS/AUX. LEVEL Phone Jacks (Two) - Provide

32. for connection of high-impedance sources to channel

or 8 inputs.

33. INPUTS/ MICROPHONE LEVEL 3-Pin Jacks (Eight) Provide for balanced connection of low-impedance sources to channels 1 through 8 inputs.

34. ACCESSORY AUX LEVEL output connection to Shure

35. AC (MAINS) POWER 3-Pin Connector-Connects ac power cable to Console power supply

36. VOLTAGE SELECTOR Slide Switch-Selects operating voltage range of 90 to 132 or 180 to 250 50/60

37. 180-250V 0.1 Console ac input line against overload

only).

GENERAL OPERATING INSTRUCTIONS

Provides low-impedance microphone-level

OUTPUTS/LINE LEVEL Phone Jacks

Provide balanced or unbalanced output con-

OUTPUTS/PHASE Slide Switch - Re-

OUTPUTSILINE LEVEL 3-Pin Connector

OUTPUTIPOST LINK-PRE LlNK Slide

Selects program monitoring either before or

OUTPUTILINE LEVEL Phone Jack - Pro-

Hz (SRIOI-2E only).

AT/90-132V 0.2AT Ac Fuse-Protects

Connects ac power source

(SRlO1 only).

(SRlOl only).

Provides up

LlNE LEVEL and MIC LEVEL

Provides output connection

1 I-Pin Connector-Provides

SR110 Monitor Mixer.

(SRlOl-2E only).

WARNING

Voltages in this equipment are hazardous to life. Make all input and output connections with ac power disconnected. Refer servicing to qualified service personnel.

1. Using hardware provided, install Console securely in standard ing Case prior to making electrical connections. For custom installations, see mounting template supplied with Console. If desired, connect Accessory to LAMP Connector (9).

19" (483 mm) rack or optional AlOIA Carry-

AlOlB Panel Lamp

Vac,

(SR101-2E

2. Set all front-panel switches to off (out) and all controls to

3. Connect desired PROGRAM OUTPUT/LINE LEVEL Connector ing cable. (NOTE: Shure are supplied with audio connecting cables.) If Console output is to be fed to another mixer or tape recorder microphone input, use PROGRAM LEVEL Connector (24). If desired, connect monophonic or stereo headphones to front-panel PHONES Jack (8). Connect speakers to power amplifier.

4. Connect one or more low-impedance microphones to rear-panel (33). Any high-quality dynamic, ribbon or condenser low-impedance microphone may be used. Connect high-impedance microphones or auxiliary high-level sources to channels 7 or 8 only. If AUX. LEVEL Connectors are used, set corresponding front-panel ATTEN) Switch (14) to AUX.

5. If external signal-processing equipment such as an equalizer, compressor or limiter is to be used, connect Console equipment input and Console to external equipment output. (See Link Jacks, Page

SR101: Connect ac line cord (21) to grounded 90- to 132-volt,

Line cord

3-pin grounding plug. If extension cords are required,

use high-quality, rubber-jacketed cable with 18 gauge

or larger wire. SRlOl-2E: Obtain suitable &pin male ac connector and attach to line cord: brown lead to "hot" or "live" terminal, yellow lead to ground or earth terminal. (Connector should be installed by qualified service personnel.)

Select proper operating voltage (90-132V or 250V) that switch positions are marked 115 and 220 volts.

Make certain proper fuse is installed in fuseholder

(37):

switch set to 115. Insert female end of line cord into chassis power connector (35) and connect male plug

to 3-wire grounded ac power receptacle providing

proper operating voltage.

7. Turn on front-panel POWER Switch (19) and allow one to two minutes allows the supply voltages to stabilize and capacitors to charge to provide optimum performance. Depress

PROGRAM Switch (13) for channel to be used. (IM-

PORTANT: No program output will result if this switch is not depressed!) Set INPUT that channel initially to for instrumental music, or to -20 or -30 for "hard"

rock music. For AUX. INPUT sources (channels 7 and

0. Set rear-panel PHASE Switch (26) to 0'. (25,27) to power amplifier input connect-

SR105 Power Amplifiers

OUTPUT/MIC

INPUTS/MICROPHONE LEVEL Connector

INPUTS/AUX. LEVEL Connectors (32) in

MIC/AUX (INPUT

LlNK OUT Connector (31) to external

LlNK IN Connector (28)

for detailed information.)

50/60 Hz ac source.

a 2.44m (8-ft.), 3-conductor cord with

blue lead to neutral terminal, and green/

using VOLTAGE SELECTOR Switch (36). Note

O.1AT with switch set to 220, or 0.2AT with

warmup time. This warmup time

ATTEN Control (14) for

0 for normal or PA use, to -10

180-

8), set INPUT ATTEN Control initially to -20 or -30.

Set MASTER Volume Control (20) to 7. Set METER SENSITIVITY Control (18) to CAL position. Have someone sing or talk into microphone and raise channel Volume Control (1) to achieve desired sound level. If VU Meter (17) reads too low at proper sound level, increase METER SENSITIVITY Control until normal me-

ter movement

occasional peak excursions into red area

operation in black area of scale with

is ob-

tained. If meter still reads low, reduce power amplifier volume level and increase channel volume level. For single microphone set-up, if meter indicates excessively high level ("pinning" or "pegging" needle), decrease channel Volume Control to obtain good meter reading and increase power amplifier volume level or input sensitivity to obtain proper sound level.

In multiple microphone set-up, it may be necessary decrease MASTER Volume Control in order to maintain channel Volume Control setting. Ideally, channel Volume Control should remain approximately at mid-

range (7-9) to facilitate increases or decreases in control setting due to program change; INPUT Control (14) adjustment will aid in maintaining this setting. If feedback occurs below desired sound level,

consult section on Feedback

9. Set HI and LO FREQ EQ Controls (7,5) for channel in use. Vertical position sponse. Clockwise quency (treble) or low-frequency (bass) equalization

and counterclockwise

quency equalization. Note that these controls also affect feedback; readjustment of Feedback Filters (15) may be necessary.

10. If reverberation is desired, depress REVERB Switch (3) and adjust REVERB INTENSITY Control (2) to

desired level for channel in use. Recommended settings are: speech 5-10. Adjust HI and LO REVERB FREQ EQ Controls

(6,4) for desired frequency equalization.

11. To monitor channel in use, depress MONITOR Switch

(12) for that channel. Monitor output is available at

front-panel PHONES Jack (8) and rear-panel MONI-

OUTPUT/LINE LEVEL Jack (30). Adjust MONI-

TOR TOR Control (10) for comfortable listening level. Note

that any or all channels may be monitored whether or not PROGRAM Switch (13) for that channel is de-

pressed; merely depress MONITOR Switch for desired channel. When total program output monitoring is desired, depress PROGRAM MONITOR Switch (11). Note too that only those channels with PROGRAM Switch (13) depressed will be heard while monitoring with PROGRAM MONITOR Switch depressed.

12. NOTE: During temporary shutdown (break, intermission), it is not necessary to turn off Console power. It

is designed to operate continuously, and optimum performance is maintained after internal voltages are allowed to stabilize. Also, do not turn off all microphones.

Leave the master or announcer's microphone on (PROGRAM Switch depressed) so that unattended, announcements may be made, and the Console operator will be alerted that the next performance is about to begin.

MOUNTING AND VENTILATION

The Shure standard 19" (483 mm) audio equipment rack, in a Shure AlOlA Carrying Case, or custom-mounted in a table- or desk-type control center. Four rack-mounting screws are provided with the Console. These screws may also be used if the Console is to be custom-mounted in a metal-top control center.

A custom-mounting template is supplied with the Console. Cutting dimensions and drill hole locations are given, as are clearances for insertion and ventilation. The

SR101 Audio Console may be operated in a

(0) indicates "flat" frequency re-

(+)

0, vocals - 3-6, instruments

Filters

settings increase high-fre-

(-)

settings decrease fre-

(Page 8).

the Console is left

ATTEN

dimen-

sions given should be followed to provide adequate cable clearance (see Figure 3, Page 5).

In either rack- or custom-mounted installations, consider rear-panel access before installation is made. Although most installations will not require frequent access, it should be remembered that input and output changes, and some

switch movements, will necessitate rear-panel access. Rear

panels are most easily reached in standard audio racks or in custom installations having bottom access, such as an

open desk or a lower control center access panel.

NOTE: CLEARANCE DIMENSIONS

SHOWN. SEE MOUNTING TEMPLATE.

NOT INCLUDING CONNECTOR/CABLE CLEARANCE

FIGURE

DIMENSIONAL OUTLINE DRAWING

SRlOl AUDIO CONSOLE

DEPTH.

POWER SUPPLY

SR101: The SR101 regulated power supply is designed to operate from 90 to 132 volts ac,

50/60 Hz without adjust-

ments, allowing the Console to meet all specifications over this wide range of ac input voltages. A three-conductor, grounded line cord (21) supplies ac power to the Console through the front-panel POWER ON-OFF Switch (19). The

Console consumes 20 watts maximum (0.2 amperes) and

the ac line input is protected by a

(22) and a wired-in

3/10-ampere slo-blo fuse in series. A

3/16-ampere slo-blo fuse

wired-in 1-ampere slo-blo fuse protects the 5.6-volt second-

ary winding (indicator lamp) of the power transformer.

CAUTION

These fuses should not be replaced with any other size or type of fuse.

Accessory equipment may be connected to the

panel SWITCHED A.C.

Receptacle (23). The accessory

equipment may consume up to 500 watts maximum, which

provides for use with high-power amplifiers such as the

SR105. Note that the receptacle is switched but not

Shure

fused; all accessory equipment used with the Console

should contain its own fuse.

SR101-2E: The SR101-2E regulated power supply is designed to operate from either 90 to 132 volts ac or 180 to 250 volts ac,

50/60 Hz, as selected by the rear-panel VOLTAGE SELECTOR Switch (36). A three-conductor, grounded line cord supplies ac power to the Console through the front-panel POWER ON-OFF Switch (19). The

line cord does not have a connector on the power source end of the cord. Obtain a suitable three-pin male ac connector and install it on the line cord: brown to "hot" or

"live" terminal, blue lead to neutral terminal, and green/ yellow lead to ground or earth terminal. (Connector should be installed by qualified service personnel.) The ac line is protected by a 0.1-ampere Slo-Blo fuse (for 180- to 250-volt

rear-

SR101-2E

operation) or a 0.2-ampere Slo-Blo fuse (for 90- to 132-volt operation). Wired-in

3/10- and 1-ampere fuses protect the

ac line and power transformer 5.6-volt secondary winding,

respectively. FUNCTIONAL CIRCUIT DESCRIPTION

(See Figure 4, Page 6)

Each 3-pin professional audio input Microphone Connector (33) feeds its own low-impedance lnput Transformer, which provides a gain increase of 23 dB. Channels

also contain switchable AUX LEVEL phone jacks (32) which accept high-impedance microphones or other inputs. The

lnput Transformers (and, on channels

and 8, the AUX-

MIC Switch) are fed to 0-30 dB INPUT ATTEN Controls (14)

and then to the Preamplifier, which provides a

A6 to $30 dB gain increase. The amount of gain provided by the Preamplifier (6 to 30 dB) is controlled by the Channel Volume Control

(I), providing an increase in input clipping level as gain is reduced. The Preamplifier circuits contain the individual Channel Volume Controls and feed the individual Channel Equalizer (HI and LO FREQ EQ) Controls which decrease the signal approximately 2 dB when set to the 0, or "flat," setting.

The Equalizer outputs go to the Program and Monitor circuits, and to the ACCESSORY AUX LEVEL Connector (34) for interconnection with Channel Equalizer outputs going to the Program circuits

go first to the individual channel PROGRAM Switch

SR110 Monitor Mixers. The

and subsequently to the Reverb circuits and individual channel REVERB INTENSITY Controls (2). When reverb is not used, the REVERB INTENSITY Control is set to 0, and the channel output is sent directly to the Program Mix

Amplifier. When reverb is employed

depressed

the REVERB INTENSITY Control feeds the

REVERB Switch (3)

Reverb Intensity Mix Amplifier, Reverb Equalizer, Reverb Driver and Differential Amplifiers, Reverb Output Mix Amplifier, and then into the Program Mix Amplifier. Note that as

the control is increased the amount of non-reverb ("dry")

signal sent to the Program Mix Amplifier is reduced, while

the signal sent to the Reverb lntensity Mix Amplifier is

increased.

The Channel Equalizer output to the Monitor input, con-

trolled for each channel by a MONITOR Switch

(12), is fed

to the Monitor Mix Amplifier, which changes the input by

+3 to -13 dB. The Amplifier output goes to the PROGRAM

MONITOR Switch (1 through the MONITOR Level Control Amplifier, and to the rear-panel MONITOR

I), where it may be selected to continue

(lo), +40 dB Monitor

OUTPUT/LINE

LEVEL jack (30) and front-panel PHONES jack (8).

The Program Mix Amplifier goes to both the PRE LlNK

side of the POST

LINK/PRE LlNK Switch (29) for routing to the Monitor circuits, and through a 560-ohm resistor to the LlNK jacks

(28,31). When accessory equipment is not connected to the LlNK jacks, the jacks are bypassed and the program signal is fed to the POST LlNK side of the POST LINK/PRE LINK Switch for monitoring, and to the MASTER Volume Control (20). Note that the PRE

LINK/POST LlNK Switch output to the Monitor circuits is also routed to the ACCESSORY AUX LEVEL Connector (34).

The output of the MASTER Volume Control, after feeding

0 dB gain Amplifier, is sent through a bank of four select-

a able FEEDBACK FILTERS

(15), which provide attenuation

at 130, 800, 2000 and 5000 Hz for feedback control. The

FEEDBACK FILTERS output goes to a

+6 to +31 dB Amplifier, also controlled by the MASTER Volume Control, through a

180' PHASE Switch (26), and into the Program

and 8

(73)

(13),

NOTE

(

TYPICAL OF CHANNELS 1-8

lMlCROPHONE LEVEL

200

HIGH

X~~~

1+23 dB1

RESISTOR

0-30 dB CHANNEL

INPUT

ITTEN

TONE

OSC

LEVEL

VOLUME - CHANNEL

(SECTION

CHANNEL REVERB

VOLUME

(SECTION

-2

dB REVERB

EWALIZER

0) (SECTION A)

pimq

OUT

IN (SECTION 0)

FEEDBACK

FILTERS]

INTENSITY

(SECTION

NOTES: I. AUX. LEVEL INPUT AND AUX-MIC SWITCH

ON CHANNELS

AND 8 ONLY.

FlGUR,E

[PHASE]

MASTER

VOLUME

MON

LEVEL

1-10 dB1

SRlOl SERIES 2 CONSOLE BLOCK DIAGRAM

PROGRAM OUTPUTS

LEVEL

Output Transformer. The Transformer feeds three LlNE

LEVEL Output Connectors (25,27) and a MIC LEVEL Output Connector

to $-31 dB Amplifier also feeds the METER SENSITIVITY Control (18), which goes to a +22 dB Meter Amplifier, and then to the VU Meter (17).

The Console also contains a 1 use in set-up and checkout. The Generator is activated and controlled by the TONE OSC LEVEL and the control output is fed to the Program Mix Amplifier.

A detailed description of the Console circuits and controls and their uses is provided in the following paragraphs of this section.

(24), which is at

dB below line level. The

kHz Tone Generator for

SwitchIControl (16),

INPUT CHANNELS

Eight professional, three-pin, audio MICROPHONE LEVEL lnput Connectors (33) are provided on the upper rear panel of the Console. The Console is designed to operate with high-quality, low-impedance dynamic, ribbon or condenser microphones. Two additional AUX. LEVEL In-

and

put Connectors (32) are provided for channels These standard quarter-inch phone jacks allow connection to auxiliary high-level sources or high-impedance micro-

phones. Switches on the channels 7 and Control (14) allow the user to select between either the low-impedance microphone input (MIC), or the pedance auxiliary input (AUX). Each low-impedance microphone input is connected to a low-impedance, balancedinput transformer, the output of which is connected to a 0-30 dB input attenuator. On channels 7 and of the low-impedance microphone transformer and the AUX. LEVEL lnput Jack (32) terminate in the AUX-MIC Switch. The output of this switch goes to the 0-30 dB INPUT ATTEN Switch (14). Note that the AUX-MIC Switch has two detented positions; no output will be obtained when the switch is between detent positions. The MIC-AUX Switch grounds the unselected input to reduce crosstalk. This should be considered when connecting inputs to this channel. A AUX input circuit. When the AUX input is not selected, this

resistor is grounded, placing the input. If the source connected to this input is also bridged to feed other inputs, an additional isolation resistor may be required.

The INPUT

input attenuations of 0, 10, 20, or 30 dB. This switch allows the user to compensate for the differences in levels due to different sources, such as close talking or distant microphone placement, and to compensate for high output levels from condenser microphones.

The Channel Volume Control (1) is a dual control: one section, in a feedback circuit, sets the gain of the preamplifier, and the second section is a preamplifier output

ator.

input clipping level as the Volume Control is reduced to lower settings. Ideally, the control should operate in the

middle range, between 7 and complished by proper INPUT

The output of the Channel Volume Control (1) feeds the

equalizer circuit. Individual HI and LO FREQ EQ controls

(7,5)

channel without affecting the other channels on the Console. The HI FREQ controls provide up to 13 dB of boost or cut at 10 kHz with a 1 kHz hinge point. The LO FREQ controls provide up to 13 dB of boost or cut at 100 Hz with

I-kilohm isolation resistor is provided in the

I-kilohm load on the AUX

ATTEN (14) four-position switch provides

This circuit configuration increases the preamplifier

This can generally be ac-

ATTEN Control (14) setting.

allow the user to shape the sound of each input

INPUT ATTEN

the outputs

high-im-

attenu-

(+)

a 1 kHz hinge point. Control settings with plus

(-)

indicate boost, and minus setting provides a normal or "flat" frequency response.

The output of the equalizer feeds the channel PROGRAM and MONITOR Switches selects the channels to be connected to the program out-

put. The MONITOR switches select the channels to be connected to the monitor output. The two switches are independent and have no effect on each other.

markings denote cut. A 0

(13,12). The PROGRAM Switch

markings

SOURCE CUING

Microphones, tape recorders, or other sources may be preset, or cued, during a performance in the following manner. With PHONES Jack (8) or rear-panel Jack (30) (high-impedance headphones only), depress the PROGRAM MONITOR Switch (11) and a PROGRAM Switch (13) for a channel that has program material at the proper level on it. Adjust the MONITOR Level Control (10) until an adequate audio level is heard in the headphones. Release the PROGRAM MONITOR Switch and PROGRAM Switch for that channel, and depress the MONITOR Switch (12) for the channel being cued. With the MONITOR Level Control previously set, raise the channel Volume Control (1) until the same audio level heard in the other PROGRAM channel has been reached.

With the channel PROGRAM Switch (13) released and the channel MONITOR Switch (12) depressed, the source

will be heard on the headphones and not on the program channel. This allows the Console operator to cue up tapes, check out microphones, etc., without interfering with the program. When the channel is to be activated, depress the channel PROGRAM Switch.

It is most important to have a good knowledge of microphone placement and the performer's microphone technique when cuing a microphone. Always begin cuing in the

new microphone at the lowest estimated volume setting. If volume level correction is necessary, slowly raise the Vol-

ume Control (14) setting is required, wait until the vocalist takes a breath or the instrumentalist takes a rest to balance out the

volume and attenuation levels to the required degree. Note that minor changes in volume during a performance per-

ceptible to the Console operator are rarely noticed by the audience. However, if the channel level is set too high when the channel is turned on, the sound may "blast" the audience, or cause acoustic feedback, or both. Either condition will prove embarrassing to the Console operator.

headphones connected to the front-panel

MONITOR

(1)

level. If a change in the INPUT ATTEN

LlNE LEVEL

REVERBERATION

The SR101 Audio Console contains a built-in electromechanical spring-type reverberation device utilizing four coil springs in two transmission paths. Reverberation is accomplished by driving the input ends of the springs in a

torsional mode and transferring the torsional movement

back into an electrical signal which exhibits time delay with a long decay time at the opposite ends of the springs. Since

the reverberation device is electromechanical in nature, it

is sensitive to mechanical shock.

The Console is designed to provide a foundation of "dry,"

or non-reverb, signal on the total output, no matter how the channel REVERB INTENSITY Controls (2) are set. Of great

importance, too, is the fact that reverb intensity can be

increased without increasing overall gain.

which employ artificial reverberation, the total gain

In most units

in-

creases as the intensity of the reverberant signal is increased. This generally leads to acoustic feedback. However, the reduces the "dry" signal as the reverb signal is increased; this provides an almost constant gain and reduces the

possibility of feedback as reverb is added.

The following controls are pertinent to reverb operation.

The output of the PROGRAM Switch (13) feeds the channel

REVERB INTENSITY Controls (2). These are dual controls:

one section controls the amount of "dry" signal fed to the

program mix amplifier, and the other controls the amount

of signal fed to the reverb mix amplifier. As each REVERB

INTENSITY Control is increased, the amount of signal to the program mix amplifier is reduced and the amount of signal to the reverb mix amplifier is increased. As stated

above, this action keeps the same approximate overall

volume level to avoid feedback problems. The REVERB

INTENSITY Control is generally used at settings of

speech, 3-6 for vocals, and 5-10 for instruments.

The reverb mix amplifier combines the output of all channel REVERB INTENSITY Controls sending it to the REVERB FREQ EQ Controls output of the reverb equalizer circuit drives the reverbation system. The separate REVERB FREQ EQ-HI and -LO Controls affect the reverb signal only. These reverb controls modify the reverberant signals in essentially the same way the channel equalization controls modify both "dry" and reverb signals. The REVERB FREQ EQ Controls allow the

user to change the reverberant sound to compensate for the reverberation in each room in which the Console is used. In a crease the REVERB FREQ EQ-LO Control or increase the

REVERB FREQ-HI Control, or do both until the proper equalized reverb sound is achieved.

The output of the reverberation spring is fed to a differential amplifier whose output is connected to the REVERB Switch (3). This switch turns the reverb system on (in) and off (out) without affecting the overall level or the RE-

VERB INTENSITY Controls (2). In this manner, the REVERB INTENSITY Controls may be preset, and when the REVERB Switch is depressed, the reverb level is predetermined. The reverb signal, after passing through the REVERB Switch, is routed to the program mix amplifier and combined with the "dry" signals from the program channels.

SR101 Audio Console reverb mixing system

0 for

(2), mixing the signal and

(6,4). The

"boomy" (low-frequency resonant) room, de-

MONITOR SYSTEM

The output of the individual channel MONITOR Switches

(12) are combined in the monitor mix amplifier. The channels that appear on the monitor system are independent of the setting of the PROGRAM Switches (13). This feature allows the signals that do not appear on the program output to be fed to the monitor output. This may be useful for providing a

The monitor mix amplifier is a passive mix amplifier; its

gain depends on the number of channels selected to be monitored. This type of mixing means that as channels are added to the monitor system, the overall apparent level remains constant while each individual channel contribution is reduced. The output of the monitor mix amplifier feeds the PROGRAM MONITOR Switch (11). When this switch is released, the monitor system carries the channels selected by the individual channel MONITOR Switches (12). When the PROGRAM MONITOR Switch is depressed, the monitor system monitors the output of the program mix amplifier.

It should be noted that the individual channel MONITOR

talkback or for a "click track" signal feed.

Switches (12) monitor the channels ahead of the reverb, and the PROGRAM MONITOR Switch (11) monitors the entire program after reverb. The output signal from the

PROGRAM MONITOR Switch is fed to the MONITOR Level

Control

monitor output amplifier. The signal from this amplifier

appears on the MONITOR

on the rear panel, and also through a headphone matching

transformer to the PHONES Jack

These two outputs may be used simultaneously.

use of either monophonic or stereo headphones (4-16 ohms

impedance) without rewiring. High-impedance mono-

phonic headphones may be connected to the rear-panel

MONITOR

to use headphones to monitor the program if the PROGRAM

MONITOR Switch (11) is depressed, or to monitor the in-

dividual channels. Monitoring the individual channels

allows the operator to determine which microphones are

in use, which are turned off, or which may be malfunction-

ing. Note that it is also possible to use the monitor output to

listen to a microphone or cue a tape that is driving a chan-

nel

signal on the program output.

vide on-stage monitoring, or foldback, which allows the

performers to hear themselves, but only gives them a

partial mix. This is useful in a system where all the instruments have microphones but the vocalists only want-to hear themselves and one or two instruments, such as the piano, to be able to keep in tune. When used in this manner, the

MONITOR to the input of an auxiliary power amplifier that is connected in turn to monitor speakers located on stage.

(lo), which provides an output signal to drive the

OUTPUT/LINE LEVEL Jack (30)

(8)

on the front panel.

(8)

Note that the front-panel PHONES Jack

OUTPUTILINE LEVEL Jack (30).

The purpose of the monitor system is to allow an operator

or 8 AUX. LEVEL lnput Jack (32) without having the

The second major use of the monitor system is to pro-

OUTPUT/LINE LEVEL Jack (30) is connected

permits the

MONITOR MIXER SYSTEM

The rear-panel ACCESSORY OUTPUT/AUX LEVEL Connector (34) of the to eight Shure

put of each individual channel after the volume, equal-

ization and attenuation channel controls appears on this connector as do the and the power supply connections. The

contained, eight-channel, line level mixer designed for use with the

can provide a separate stage monitor "mix" that follows the program "mix" levels coming from the eight channels of the track recordings: use two quadriphonic.

line level inputs to its mixing circuitry, one high-impedance,

unbalanced, line level input to its Output Selector Switch for monitoring the program mix, and one line level,

ohm, balanced output. Individual channel and master vol-

ume controls are provided, as is a switch to choose between monitoring the channels in use (Mixed Inputs) and

the total program mix (Program Input). The Mixed Inputs

position takes the signal from each channel frequency

equalization circuit, and the Program lnput position ob-

tains the mixed signal at the PRE

(29).

female connectors. These connectors permit the connect-

ion of additional tandem or "stacked"

application is shown in Figure

SRlOl Series 2 or similar equipment. The SR110

SR101. In addition, it may be used in making multi-

The

SR110 provides eight high-impedance, unbalanced,

The SR110 has parallel accessory inputloutput male and

SR101 provides for interconnection to up

SR110 Professional Monitor Mixers. The out-

LlNK INPUTIOUTPUT total mix signal

SRllOs for stereo and four for

LINK/POST LlNK Switch

SRI10 is a self-

600-

SRllOs. A typical

Page 9.

POWER PA

AMPLIFIER SPEAKERS

LEVEL

SRllO STAGE

MONITOR

MIXER

SRllO

MONITOR

MIXER

MONITOR

FIGURE

PROGRAM

SR110 MONITOR MIXER APPLICATIONS

MIX

AMPLIFIER

POWER MONITOR

AMPLIFIER

STEREO

RECORDER

SPEAKER

The program mix amplifier is an active mixing amplifier

in which gain remains constant independent of the num-

ber of individual channel PROGRAM Switches (13) that are activated. The output of the program mix amplifier is connected through a 560-ohm mixing resistor to the LlNK

(28,31).

Jacks

LlNK JACKS

The LlNK Jacks (28,31) on the rear panel of the Console enable the user to interconnect more Consoles for additional inputs or add external equipment, such as equalizers,

compressors, or limiters. When connecting two or more SR101 Audio Consoles together to provide many channel inputs, connect the LlNK OUT Jacks (31) of all the units together. It should be noted that the LlNK OUT Jack is actually a two-way jack; the impedance at this point is actually 600 ohms and any number of units may be tied together at this point. The LlNK IN Jack (28) is an input-only jack and has switching contacts that disconnect the output of the program mix amplifier from the MASTER Volume Control (20).

If an equalizer, limiter or compressor is connected to the Console, the LlNK OUT Jack (31) is connected to the input of the external unit and the output of the external unit is connected to the LlNK IN Jack (28).

The signals at the LlNK JACKS are typically at a level 10

dB below line level. These jacks will accommodate signal

levels in the range between -30 to

+I0 dBm. The LlNK IN input impedance is greater than 20 kilohms and may be considered a bridging impedance. The output of the LlNK

Jacks feeds the MASTER Volume Control (20) which is a

two-section control similar to those used in the individual

channels. The POST

LINK/PRE LlNK Switch (29) on the rear panel, in the monitor circuit, allows the operator to monitor the program before (PRE) or after (POST) the LlNK

Jacks.

FEEDBACK FILTERS

The output signal from the MASTER Volume Control

(20)

attenuator section is sent to the feedback filter circuit at this point. The FEEDBACK FILTERS (15) are four notch

Hz,

800

Hz,

filters whose center frequencies are 130

and

kHz.

These jil'lers are designed

minimize

kHz,

the

acoustic feedback (speaker howl or squeal) that may occur through some combination of room acoustics, microphone

and speaker placement, volume increase, or equalization control boost. Each filter modifies the frequency response of the program output, with the lowest (130 Hz) filter affecting the lowest feedback pitch (howl) and the highest (5 kHz) filter affecting the highest feedback pitch (squeal). The two center frequency filters affect feedback modes in the middle ranges of the audio frequency spectrum.

The three upper frequency filters have little effect on voice tonal qualities. The 130 Hz filter, generally used to eliminate low-frequency room reverberations, causes some decrease in bass tones. This may be compensated for by increasing the FREQ EQ-LO Controls (5) slightly for the individual channels in use.

If feedback is present, locate the one FEEDBACK FILTER

Switch (15) which eliminates it. Then increase the VOLUME

(1) or FREQ EQ Controls (5,7) as desired until another feedback pitch occurs. Then locate the filter to eliminate the new feedback mode. IMPORTANT: Up to two FEEDBACK FILTERS may be used at one time; more than two filters will reduce overall gain and significantly affect system tonal quality.

Note that the PHASE Switch

(26), which allows the Con-

sole operator to change the output phase, functions to

reduce or eliminate acoustic feedback, too. It is normally used to obtain maximum gain before feedback, or to obtain

the highest pitched feedback for elimination by the feed-

back filters.

PROGRAM OUTPUT

The output signal from the feedback filters drives the

program output amplifier. The gain of this amplifier is con-

trolled by one-half of the MASTER Volume Control (20) (the

other half is a preamplifier output attenuator). The output of

the program amplifier is sent to the PHASE Switch (26)

mounted on the rear panel of the Console. This switch allows the user to change the phase of the program output, which may be helpful in eliminating or reducing

low-frequency acoustic feedback. Generally, this switch is adjusted to the position which either gives the most gain before feedback or, if both positions give the same gain before feedback, use the position that produces the highest

pitch feedback. The program signal, after leaving the

PHASE Switch, is routed to the output transformer which

provides both LlNE LEVEL and MIC LEVEL outputs. The LlNE LEVEL output is connected to one professional

threepin, male, audio output connector (27) and two three-circuit phone jacks (25). The MIC LEVEL output is a

low-im-

pedance output, 50 dB below the LlNE LEVEL output, and is connected to a professional three-pin male, audio output connector (24).

Note that all of the program outputs are balanced with respect to ground. If a phone plug is used to connect the mixer line level output to an amplifier or tape recorder and the phone plug is a two-circuit type, the line outputs will automatically become unbalanced. If the 3-pin unbalanced

also

output is used and a phone jack output is

to be used, obtain a stereo phone plug and connect the tip and ring of the plug only. (The sleeve is a shield and would cause a ground loop.)

If it becomes necessary to use the MIC LEVEL Output Connector (24) to feed a high-impedance input, use a matching transformer such as one of the Shure A95 Series at the high-impedance input.

The output of the program output amplifier is also fed the VU Meter (17) circuit.

VU METER CIRCUIT

To allow a wide range of signals to be handled by the VU Meter output of the program amplifier is fed to the METER SENSITIVITY Control (18) which in turn feeds the VU Meter amplifier and the Meter. The METER SENSITIVITY Control is calibrated in its maximum counterclockwise position only.

The calibration of this position is internally adjusted at the

factory for program output. The VU Meter amplifier provides the proper signal, impedance, and level for proper VU Meter ballistics and calibration. This amplifier also isolates the Meter from the program output and eliminates the distortion normally caused by the nonlinearities of VU Meters.

TONE OSCILLATOR

The Console contains a built-in 1 kHz tone oscillator for

set-up and checkout purposes. The TONE OSC LEVEL Con-

trol program mix amplifier. The tone is processed through the program channel in the same manner as microphone or auxiliary input signals, except that the reverb system is by passed.

When using the tone oscillator, calibrate the Console VU Meter (17) and proceed as follows: With the METER SENSITIVITY Control (18) set to CAL, increase the MASTER

Volume Control (20) and TONE OSC LEVEL Control (16)

until a reference level has now been established. The Console LlNE LEVEL Output the MIC LEVEL Output (24) is approximately 4 millivolts. These reference signals may be used to set up power amplifiers, tape recorders, or other equipment connected to

these outputs (Figure

level (or volume) controls on the associated equipment, all the meters in the audio system can be made to "track." This allows the Console operator to observe the Console VU Meter (17) to see if all the equipment is in its proper operating range. This reference tone may also be used to check out cables and equipment for proper operation.

To check a microphone cable, connect the cable between the Console MIC INPUT Jack (33) (any channel) and the MIC LEVEL Output Jack (24) (refer to Figure

10). Connect headphones to the PHONES Jack (8). Release the PROGRAM MONITOR Switch being used, depress the MONITOR Switch PROGRAM Switch to 0, the channel Volume Control (1) to mid-range, and INPUT heard through the headphones as the MONITOR Level Control (10) is increased.

The same process may be used to check out a Console channel. With

tions described above. The tone should be heard clearly through the headphones. If a channel is suspected of poor quality, it can be compared with another channel by con-

necting the microphone cable to the second channel with all controls set in the same manner as the first. By care-

(17), a 22 dB VU Meter amplifier is provided. The

+4 dBm at 0 VU across a 600-ohm load on the

a-nd ON-OFF Switch (16) injects the 1 kHz tone into the

0 VU reading is obtained on the VU Meter. A tone

(25,27) is now +4 dBm (1.23 volts) and

6A, Page 10). By adjusting the input

(ll), and for the channel

(12), release the

(13), and set the FREQ EQ Controls (5,7)

ATTEN Switch (14) to 0. An audible tone should be

good microphone cable, make the connec-

6B, Page

fully noting the level and quality of tone on each channel, any significant differences can be established.

To check out an auxiliary channel, perform the process described above, except connect a phone plug to phone plug cable between the LlNE LEVEL Output Jack (25) and

the AUX. LEVEL Input Jack (32) for the channel being checked (Figure

Switch (14) to AUX and INPUT ATTEN Switch to -30.

The tone oscillator may also be used to provide a check

of cables and equipment connected to the link output. With

LINK OUT Jack (31) connected to the input of an ex-

the ternal equipment, such as a Shure SE30 Gated

pressor1Mixer connect the program output, either at the back of the Console, power amplifier or speakers (Figure Turn the METER SENSITIVITY Control (18) to CAL, set the

MASTER Volume Control (20) to 7, and increase the TONE

OSC LEVEL Control (16) for a

Slide the MASTER Volume Control down to set-up condition, the external equipment may now be calibrated or checked out without affecting the program output. After calibrating the external equipment, turn off the tone oscillator, and return the MASTER to 7. Reconnect the

power amplifier or speakers.

MIC~

AUDIO CONSOLE AMPLIFIER RECORDER

which in turn feeds a broadcast line, dis-

ILINE,

SR I01 POWER TAPE

MIC LEVEL

INPUT JACK OUTPUT JACK

INPUT JACK

AUx.

POWER AWL

SR lOl

AUDIO CONSOLE

FIGURE

6C, Page 10). Set the MIC/AUX

6D, Page 10).

Meter (17) reading.

0. Under this

LINE^

AUDIO CONSOLE

LEVEL

AUDIO CONSOLE

PHONES JACK

TON'E OSCILLATOR APPLICATIONS

MIC LEVEL

lOl

OUTPUT JACK

101

LlNE LEVEL

AUX LEVEL

INPUT JACK

C0E;:SOR

GATED

MIXER

or 8)

Com-

BASIC OPERATING HINTS

Should any difficulty be encountered in Console operation, the problem may often be traced to some simple source

is offered as a basic guide to problems of this sort.

Symptom: Console is Check: 1. Check that ac Dower source is "live" and

Symptom:

Check: 1. Check that PROGRAM Switch or Switches

such as an error in interconnection. The following

out)

that Console is plugged in.

Check that POWER ON-OFF Switch (19) is on.

3. Check to see that rear-panel SLO-BLO Fuse (22) is good. 2. Check that channel PROGRAM Switch (13)

Console is "dead" (no output, VU Meter lamps

lit) 3. Check that AUX-MIC Switch (14) (channels

(13) are depressed.

"dead" (no output, VU Meter lamps

3AG-3116A Check: 1. Check for defective input cable or source.

Symptom:

2. Check that cable from PROGRAM PUT/LINE accidentally been connected to PROGRAM OUTPUT/MIC LEVEL Connector (24).

3. Check that PHASE Switch (26) is not between positions.

4. Check that external equipment is properly connected to

One channel is "dead" (other channels

ating properly)

is depressed.

and 8 only) is not between positions or in

the wrong position.

LEVEL Connector (27) has not

LINK Jacks (28,31).

OUT-

oper-

SR101 Series 2 Audio Console

SPECIAL OPERATING INSTRUCTIONS

The previous section described normal interconnection The high-impedance cable should be limited to 6.lm and operation of the SR101 Audio Console; this section (20 ft.). If a long cable length is required, use up to 3.05m provides information on special set-ups to more fully utilize (10 ft.) of high-impedance, single-conductor, shielded the capabilities of the Console.

HIGH-IMPEDANCE MICROPHONES

UP to two high-impedance dynamic, ribbon or condenser microphones (crystal or ceramic microphones are not recommended) can be used with the need for line matching transformers simply by using the AUX. INPUT Jacks (32) on channels corres~ondincl INPUT ATTEN Switch (14) to AUX. NOTE:

very highoutput produced by s0m.e dondenser micro-

The

phones may be compensated for by proper setting of the

INPUT

the low-impedance MIC LEVEL Input Jacks

matching transformer (Shure A95 Series) must be used.

ATTEN Control.

If a high-impedance microphone is to be used with one of

Console without the

or 8 and moving the

(33), a line

cable (Belden phone and line matching transformer, and add as much

low-impedance, two-conductor, shielded cable #8412,' and Console input jack. These precautions will help avoid high-frequency hum and noise.

Musical instruments, acoustical tical-electrified, or electrified, may be amplified through the Console. For acoustical instruments, place a microphone close to the instrument strings, sounding board, or mouth. Adjust equalization, reverb and volume controls as sary.

#8401, #8410, or #8411) between the micro-

(Belden

or #8422) as necessary between the transformer

signal loss and reduce the possibility of

INSTRUMENTS

(non-electrified), acous-

neces-

AUX OR HEADPHONE OUT

PREAMPLIFIER

3.05

(10') MAX.

FIGURE

-I

A95 LINE

MATCHING

TRANSFORMER

LOW IMPEDANCE

MICROPHONE

PREAMPLIFIER-CONSOLE CONNECTIONS

PUP

LOW IMPEDANCE HIGH IMPEDANCE

CABLE

305 m (1000')

MIC LEVEL

INPUT

AUDIO CONSOLE

lOl

For acoustical-electrified instruments such as classic or folk guitars with pickups and preamplifier outputs, or pianos with pickups and preamplifier outputs, either place the microphone as described above, or connect the pickup to an AUX. LEVEL lnput Jack (32) on the Console. If the cable from the instrument to the Console is greater than

6.lm (20 ft.), use a line matching transformer as described under High-Impedance Microphones (Page 11). This transformer also allows the instrument to be connected to chan-

nels 1-6. Adjust the Console INPUT

ATTEN Control (14) for the channel in use to provide the desired sound level with the channel Volume Control (1) set at about mid-scale.

To use a preamplifier auxiliary output with the Console

(instrument or tape recorder preamplifier, or hi-fi amplifier tape monitor output jack, or headphone jack; never speaker jacks), connect the preamplifier auxiliary output through

3.05m (10 ft.) of cable to the high-impedance side of

up to a line matching transformer (Shure A95 Series) as shown in Figure 7, Page 11. Connect the low-impedance side of the transformer through a low-impedance microphone cable

[up to 305m (1000

ft.)] to a Console MICROPHONE LEVEL

lnput Jack (33). Adjust Console equalization controls for optimum sound. Adjust the Console INPUT

ATTEN Control (14) for the channel in use to provide the desired sound level with the channel Volume Control (1) set at about

mid-

scale.

Fully electrified instruments may also be amplified using a microphone in front of the instrument speaker, or the instrument output (not the speaker jack) may be fed directly to an input jack as described above. It is important to note that the tonal quality of fully electrified instruments is primarily formed by the instrument amplifier and speaker; an external microphone picking up the instrument speaker output may very well provide a more desirable sound than that obtained by direct connections.

The cable length restrictions applying to high-impedance

microphones also apply to most musical instruments (see

High-Impedance Microphones, Page 11).

TAPE RECORDING

The Console output may be recorded on a tape recorder

from either the LlNE LEVEL Output

(25,27), MIC LEVEL Output (24) or LlNK OUT (31) Jacks. The Console Program Outputs are after the FEEDBACK FILTERS (15) and MASTER Volume Control (20); the LlNK OUT Jack is before these circuits. In considering a tape recorder connection, the operator should consider whether he wants the tape level to follow the MASTER Control.

To use a LlNE LEVEL Output Jack feeding a

high-impedance auxiliary tape recorder input, connect a cable from one LlNE LEVEL Jack to the tape recorder input (see Figure 8, Page 12). If the LINE LEVEL Output is being used and a two-circuit phone jack is used to connect the Console to the tape recorder, this will unbalance the LlNE LEVEL Output (refer to Program Output, Page 9).

If the MIC LEVEL Output Jack (24) is to be used, connect a cable from it to the tape recorder low-impedance microphone input. If the microphone input on the tape recorder is designed to be used with high-impedance microphones (greater than

1000 ohms), insert a line matching trans-

former (Shure A95 Series with proper connectors) between

the MIC LEVEL Output Jack and the tape recorder input

(refer to Program Output, Page 9).

To use the LlNK OUT Jack

(31), use a two-circuit phone plug on the cable to the tape recorder auxiliary or line input. The input impedance of the tape recorder should be

600

ohms minimum.

The low output impedance of the Console provides for unlimited cable length between the Console output and tape recorder input. Low-capacitance, single-conductor,

shielded cable (Belden

#8401, #8410, or #8411) is recom-

mended to reduce the possibility of hum and noise pickup.

For operation with a stereo tape recorder, refer to Stereo

Operation, Page 16.

LOW IMPEDANCE BALANCED LlNE

SHIELD

MIC LEVEL OUTPUT

TRANSFORMER

SRlOl

AUDIO CONSOLE RECORDER

FIGURE

TAPE

RECORDING

RECORD PLAYBACK

To play records through the Console using a turntable

or record changer with a stereo magnetic cartridge and no

preamplifier, the most expedient method is to join the left

"Y"

and right channel leads from the turntable in a

adapter and connect the joined output to a channel 7 (or 8) AUX. LEVEL lnput Connector (32) on the Console (see Figure

9A, Page 13). Note that the total lead length between turntable and Console should not exceed five feet. To approximate the RlAA equalization curve, set the Console FREQ EQ-LO Control (5) to +4, the FREQ EQ-HI Control (7) to -6, and the INPUT

ATTEN Control (14) to 0 for the channel (7 or 8)

being used. Adjust the channel Volume Control (1) as

necessary.

A better method of performing this interconnection involves the use of a phono preamplifier such as the Shure M64 Stereo Preamplifier (see Figure

96, Page 13). In this set-up, RlAA equalization will be achieved at the preamplifier, before the signal enters the Console. In this manner, the Console equalization controls may be used to optimize the room sound, rather than compensating for the input signal. The joined turntable leads enter the channel 1 input of the preamplifier, and the output is taken from the channel 1 low level output and fed to the channel 7 (or 8) AUX. LEVEL lnput Jack (32) of the Console. Set the Console

ATTEN Control (14) to 0 with this set-up.

INPUT

Note also that this set-up removes the cable restriction

between turntable and Console described above: although

1.5m

a maximum of

ft.) between turntable and preamplifier is mandatory, the cable length between the preamplifier and Console is virtually unlimited.

TAPE PLAY BACK

To play tape-recorded material through the Console,

connect a cable from the tape recorder auxiliary or line

level output to the channel

or 8 AUX. LEVEL lnput Jack (32). Turn the front-panel AUX-MIC Switch (14) on Channel 7 or 8 (whichever is being used) to AUX. Set the INPUT ATTEN Switch (14) to -20 to start, and adjust it and the channel Volume Control

(1) as required.

lTl.5~~~m~y

TURNTABLE

1.5

(5') MAX.

TURNTABLE

ONLY

CHAN.

INPUT

ONE

CHANNEL

AUX

lOl

AUDIO

CONSOLE

M64

STEREO

PREAMPLIFIER

USED

LEVEL

FOR

INPUT

FREQ.

(

FREQ.

PUP

CHAN.

LOW

LEVEL

OUTPUT

THIS

APPLICATION.

EQ-LO: EQ-HI:

305

-6

(1000')

)

AUX

LEVEL

INPUT

lOl

AUDIO

CONSOLE

FIGURE

TALKBACK CIRCUIT

It is often necessary to provide a "talkback" circuit (or

"intercom," or

to instruct or cue performers, lighting control, announcers,

etc. It also enables the operator to avoid hand or light signals which may not be visible during a performance. The talkback circuit requires the use of one input channel, removing that channel from use by performers. Note too that the monitor circuit is being used, preventing its use for other purposes.

To use low-impedance (not carbon) microphones, connect the microphone of a single headset-microphone to a Console MIC LEVEL lnput Jack (33) (see Figure 10, Page

13). Connect the headset to the front-panel PHONES Jacks (8). For high-impedance headphones, connect to the rearpanel MONITOR LlNE LEVEL Jack (30). Additional headsets may be connected through

PHONES or MONITOR LlNE LEVEL Jack. If additional

microphones are to be connected,

391Q13,391Q53 or equivalent) should be used to con-

craft nect these to the MIC LEVEL lnput Jack. Depress the MONITOR Switch (12) for the the MONITOR Level Control (10) as desired. Do not depress the PROGRAM Switch (13).

"com line") to enable the Console operator

"Y"

adapters to the

"Y"

adapters (Switch-

talkback channel and adjust

lOl

AUDIO CONSOLE

FIGURE

10.

TALKBACK CIRCUIT

MIC

LEVEL

PHONES

RECORD PLAYBACK

If this set-up does not work, and the microphone type being used is unknown, it is possible that it is a carbon microphone. To use carbon microphones such as found in Western Electric-type operator's headsets, a battery power supply is required to power the microphone (see Figure 11,

Page 13). A common battery may be used for powering a number of carbon microphones, though each microphone

requires its own 100-ohm resistor and Shure A95 Series

line matching transformer.

Should a large number of headphones be required, a

power amplifier or headphone distribution amplifier should be inserted in the headphone circuit between the MONI-

TOR LlNE LEVEL Output (30) and the distribution amplifier

input.

LOW

IMPEDANCE

100

OHMS

1/2

3-6V

LANTERN

BATTERY

NEDA

915

,908

CARBON

MICROPHONE

FIGURE

ADDITIONAL MIXER INPUTS

Additional microphone or other source inputs may be obtained using a high gain, low noise, microphone mixer such as the Shure LEVEL lnput Jack sole will provide a total of 11 inputs (see Figure

14). (Note that adding a mixer at an lnput Jack converts that channel to a submaster control; the total number of inputs will thus be the mixer total plus the Console total 8 - minus 1 for the submaster.)

11.

CARBON MICROPHONE POWER SUPPLY

M68FC. When connected to a MIC

(33), the M68FC and SR101 Audio Con-

12A, Page

A common practice when adding a mixer in this manner is to connect similar-use microphones (for instance, all drum, string or horn microphones) to a single mixer which

is fed into the Console. The Console individual channel Volume Control (1) then controls an entire section, facilitating adjustment of that section during a performance. With this set-up, set the channel INPUT adjust the mixer volume controls in the mid-to-high range; adjust the mixer master volume control as required to keep the Console volume control in the desirable middle range.

M68FC mixer has a switch-selectable low- or high-

The impedance microphone output. When using an M68FC-type mixer into a Console MIC LEVEL lnput Jack (33), set the mixer MIC OUT switch to low impedance, and make necessary adjustments as described above. It is sometimes desirable to use the auxiliary output from the mixer into the Console channel 7 (or 8) AUX. INPUT Jacks (32) if the mixer output is derived from a source which is not required constantly (such as an orchestra); the same channel

MIC LEVEL lnput Jack can be used as a regular microphone

input, with the front-panel AUX-MIC Switch (14) selecting one or the other for the program. (Refer to lnput Channels,

Page 5, for a description of the AUX-MIC Switch function.)

To use this set-up with an

between the mixer auxiliary output (phono pin jack) and the Console AUX. INPUT Jack (32) on channel 7 (or 8) (phone jack) (Figure Control (14) to -20. To use this set-up with other mixers,

128, Page 14). Set the Console INPUT ATTEN

LOW IMPEDANCE

MIC LEVEL MIC LEVEL

AUX LEVEL AUX LEVEL

MlXER

M68FC mixer, connect a cable

ATTEN (14) to 0 and

(or 8)

essenfially the same procedure is followed. The Shure M67

mixer, for instance, may be connected to the Console AUX: INPUT Jack through the mixer line out connector (binding posts) or headphone output (phone jack) (Figure

14). Because of the difference in outputs between 'the M68FC and M67, the Console INPUT ATTEN Control, when used with the M67, should be set at -30. Note that the M67 microphone output should not be used into the Console AUX. INPUT without a line matching transformer.

If a mixer is to be used with the Console but it is desirable

to maintain as many Console channels as possible, the

mixer can be connected to the Console LlNK OUT Jack (31) (Figure

the channel reverb, equalization and monitor functions for

the sources entering through the mixer (monitoring of the total program can still be accomplished with the POST

LINKIPRE LlNK Switch (29) set to POST LINK). The only Console control functions operating on the mixer sources in this set-up are the MASTER Volume Control

BACK FILTERS Switches Switch (26). In addition, any mixer used in this set-up re-

quires a 2.2-kilohm resistor in series with the mixer output

to provide an attenuator bridging connection; the resulting

signal level will be down -10 dB (see Figure

14). The M67 Mixer headphone jack has suitable built-in

resistors and may be connected directly to the Console

LlNK OUT Jack. Only mixers with 600-ohm line outputs may

be used in this configuration. Note that the Shure

mixer cannot be used this way. several mixers. Each mixer output must contain its own

2.2-kilohm resistor prior to being joined in a

connecting their headphone jacks in parallel. The paral-

leled headphone output is then connected to a Console AUX. LEVEL lnput Connector (32). The INPUT

Control (14) should be set at -20 as an initial position and

adjusted in balance with the M67 meter reading and the

channel 7 (or 8) Console Volume Control setting (1). In this

set-up the M67 VU meter switch should be set at +4, the

master volume to 3, and the individual volume controls to

7 or

12D, Page 14). However, this requires sacrificing

(15), and rear-panel PHASE

The mixer-to-link jack connection can also be used with

Any number of M67 mixers may be interconnected by

12C, Page

(20), FEED-

12D, Page

M68FC

"Y"

adapter.

ATTEN

LINE OUT OR AUX LEVEL

PHONES OUT

LINE OUT

FIGURE

MIXER

PHONES

MIXER

600n

MIXER

12.

ADDITIONAL MIXER INPUTS

SRlOl

;IP;

SRlOl

AUDIO CONSOLE

TOTAL:

CHANNELS

IN0

EQUALIZATION OR

REVERB

~67 INPUTS)

ADDITIONAL CONSOLE INPUTS (TWO CONSOLES)

A total of 16 microphone inputs can be obtained using two Consoles in a common mix mode. Connect a cable to the "slave" Console LlNK OUT Jack (31) and to the "master" Console LlNK OUT Jack (Figure that the LlNK OUT Jack is both an input and output jack. This interconnection provides a two-way path between the two Consoles. When operating the two Consoles side by side, the slave input can be monitored on the master Console as part of the total program output with the POST LINK/PRE LlNK Switch (29) set to POST LlNK and the PROGRAM MONITOR Switch (11) depressed. With the POST LINKIPRE LlNK Switch in the PRE LlNK position the Program Monitor only monitors the eight inputs on that Console. The monitor point is switched ahead (PRE) of the LlNK Jacks. In this set-up both Consoles contain the total program mix. Each Console MASTER Volume Control (20) is independent, and may be used to control two separate program outputs.

An expansion of this method of interconnecting two Consoles which will enable full monitoring involves the sacrifice

13A, Page 15). Note

OPTIONAL SLAVE

INPUTS

1111111

"SLAVE"

SRlOl

AUDIO CONSOLE

INPUTS

AUDIO CONSOLE AUDIO CONSOLE

OUT OUT OUT

LINK LINK

INPUTS

111111

"MASTER"

SRlOl

AUDIO CONSOLE

INPUTS

LINE

TO POWER AMPLIFIER

TO HOUSE PA

FIGURE

of one master Console input channel (Figure 13B, Page 15). Connect a cable between the master Console channel 7 (or 8) AUX. INPUT Jack (32) (phone jack) and the slave Console rear-panel MONITOR LlNE LEVEL Output Jack (30) (phone jack). Set the master Console channel

ATTEN Control (14) to -30, channel Volume Control

INPUT (1) to mid-range, and channel PROGRAM Switch (13) to off. To monitor, for instance, channel 2 on the slave Console, depress the slave channel 2 MONITOR Switch release the PROGRAM MONITOR Switch (ll), and preset

the channel Console, depress the MONITOR Switch for channel and release the PROGRAM MONITOR Switch. With the master Console MONITOR Level Control (1) previously adjusted for normal listening, adjust the slave Console MONITOR Level Control for the same level.

The interconnections used in the above paragraph may

also be used in a set-up where the slave Console is to feed

a built-in, or

up, the master Console feeds the portable power amplifier and speakers, or Connect the slave Console program output, either LlNE

LEVEL

"house" PA. The master Console MASTER Volume Control

(20) will control the portable system speakers; the slave Console MASTER or channel Volume Controls (1) will con-

Volume Control to mid-range. On the master

"house" PA (Figure 138, Page 15). In this set-

broadcast line feed, or a tape recorder.

(25,27) or MIC LEVEL (24) to the input of the

13.

ADDITIONAL INPUTS: TWO CONSOLES

(or 8)

(12),

(or 8),

TO POWER AMPLIFIER, BROADCAST LINE. OR

TAPE

RECORDEE

trol the "house" speakers. Note that this set-up provides

total sole at the master Console.

master is made by connecting the slave Console LlNK OUT Jack (31) to the master Console channel PUT Jack (32) and the slave LlNK IN Jack (28) to the master

LlNK OUT Jack (31) (refer to Figure 13C, Page 15). In this set-up the total mix from the slave Console enters channel 7 (or 8) on master Console channels and may be monitored from the master Console; individual slave Console channels

must be monitored from the slave Console monitor system. This set-up is on the slave Console. The channel 7 (or 8) Volume Control on the master Console provides a single control (sub-

master) to mix the total orchestra sound with the vocals.

The result is that the two MASTER Volume Controls (20)

provide two independent outputs, each with the total pro-

gram mix and each with separate equalization adjustments.

monitor output for the

REDUNDANT CONSOLE SET-UP

certain types of failure in one will not cause the loss of

channels connected to that Console; in a failure in the

selective channel monitoring from the slave Con-

A different set-up that uses the slave Console as a

(or 8) AUX. IN-

helpful.when an orchestra (or band) is mixed

Note that two Shure

Two Consoles can be connected in parallel such that

SRllOs may be added to provide a

inputs.

(TWO

CONSOLES)

sub-

output of one Console, the channel inputs of both units

will be routed through the operative Console. This type of

system is termed "redundant," that is, the reliability of the

system is enhanced through parallel functioning devices.

Connect a cable between the LlNK OUT Jacks (31) of

each Console. Construct a resistor network as shown in

Figure 14, Page 16, and insert it between the

LlNE LEVEL Output Jacks (27) on both Consoles and the balanced bridging input of the power amplifier. The resistor network matches the output of the two Consoles to the balanced line to the power amplifier.

A method of total redundancy using two Consoles is parallel-connect 391Q53

or equivalent adapters. The second (redundant)

("Y")

all inputs using Switchcraft 391Q13,

Console may be kept on with all Volume Controls

(1,20)

down, and the required controls brought up to the desired

level only upon. failure of one channel. The same output

attenuator network as described above is required.

STEREO OPERATION

Stereo operation, for PA or tape recording purposes, may be accomplished in several ways. The most common are described in the following paragraphs.

Stereo operation is most easily achieved using the setup previously described in Monitor Mixer System, Page 8. The use of Shure

SRllOs as shown in Figure 5, Page 9, provides for a stereo tape recorder mix which is separate from the PA and stage monitor mixes.

Stereo operation may obviously be obtained by using two Consoles in separate PA systems without any system interconnections. If it is desired to have one microphone

"Y"

connected to both systems, use

adapter (Switchcraft 391 Q13, 391 (2.53 or equivalent) on the microphone and feed its output to a MIC LEVEL

LlNK

OUT

SR lOl

AUDIO CONSOLE

LINK

OUT

SRlOl

AUDIO CONSOLE

FIGURE

LINE

LEVEL

LlNE

LEVEL

LINE LEVEL

RESISTORS ARE CARBON COMP..

14.

RESISTIVE

NETWORK

REDUNDANT CONSOLES

lnput Jack (33) on

POWER

I I

AMPLIFIER

POWER

AMPL

BALANCED

BRIDGING

INPUT

112 W,5%

each Console. To record stereo tapes with this set-up, connect the

LlNE LEVEL Output Jack (25) on one Con-

sole to the left input channel of a stereo tape recorder and

LlNE LEVEL Output Jack on the other Console to the

the right input channel.

An alternate method of stereo operation using only a single Console involves the use of the program output system as one stereo channel (right) and the monitor output system as the other channel (left). With microphones placed

for stereo effect, connect a PROGRAM

LlNE LEVEL Output Jack (25) to the right power amplifier and speaker set (or the right channel input of a stereo tape recorder), and

the MONITOR LlNE LEVEL Output Jack (30) to the left

power amplifier and speaker set (or the left channel input of the stereo tape recorder). Depress the channel PROGRAM Switches (13) for the microphones assigned to the right, and depress the MONITOR Switches (12) for microphones assigned to the left. Release the PROGRAM MONITOR Switch (11). Center microphones may be assigned to both left and right channels by depressing both PROGRAM and MONITOR Switches for those inputs. Note that the channel MONITOR Switches should be preset and not changed during a performance because the total MONITOR level changes as a function of the number of inputs assigned to the MONITOR system. Also note that reverb is obtainable only on those inputs whose PROGRAM Switches are depressed. This set-up works well for stage plays where the left and right speakers are closely spaced,

such as to the sides of a narrow stage, and are projecting into a deep room. Shure speaker columns are an ideal

speaker choice because of their wide horizontal coverage

pattern.

A convenient method of stereo recording is to record the vocals on one tape channel and the instruments on the other. For this set-up, connect either the Console MIC LEVEL (24) or

LlNE LEVEL (25) Output Jack to one chan-

nel input of a stereo tape recorder (refer to Tape Record-

ing, Page 12). Connect a microphone to the remaining

tape channel input; an omnidirectional unit suspended from the ceiling will pick up the full acoustic output of the instruments.

An expansion of the stereo recording set-up described above-separate vocal and instrument channels-depends on whether the stereo tape recorder to be used has a single set of inputs (MIC) or whether it also has auxiliary (AUX) inputs with separate volume controls. With micro-

phone and auxiliary inputs, connect the system as shown in Figure

15A, Page 17. Place the vocal microphones as required and connect them to the MIC LEVEL lnput Jacks (33) of the Console. Connect the LlNE LEVEL Output Jack

"Y"

(25) through a

adapter to the auxiliary inputs of the tape recorder. Place the instrumental microphones as required and connect them to the microphone inputs of the tape recorder.

If the stereo tape recorder has a single set of inputs, that is, when the auxiliary inputs are connected, the microphone inputs are disconnected, or if separate volume control of the microphone and auxiliary inputs cannot be

main.tained, then a stereo mixer such as the Shure M688 may be used to combine the Console output prior to entering the recorder (refer to Figure

15B, Page 17). Place the vocal microphones and connect them to the Console MIC LEVEL lnput Jacks (33). Connect the Console MIC LEVEL Output Jack (25) to the MIC 4 input of the

M688. Place the instrumental microphones as desired and connect them to the MIC 1 (left) and MIC 2 (right) inputs of the

M688. Connect

the left and right auxiliary outputs of the M688 to the auxiliary inputs of the tape recorder. Before making re-

cordings, adjust the M688 MIC 4 slide control to a mid-

position for the most desirable balance of vocal microphone

levels.

REMOTE VOLUME CONTROL

remote volume control may be constructed for' adjusting the output level at a considerable distance from the Console. For remote control up to 50 feet, obtain a

linear-taper potentiometer with knob (any value from 1000

to 2500 ohms), a standard phone plug, and a length of

single-conductor, shielded microphone cable (such as Belden #8401, #8410, or #8411). Connect the potentiometer and plug as shown in Figure 16A, Page 17, and connect the phone plug to the Console

LlNK OUT Jack (31).

If hum or noise is encountered with the above set-up,

it may be necessary to provide a two-wire control. Using the same potentiometer, obtain two standard phone plugs and twice the desired length of single-conductor, shielded

microphone cable. Connect the potentiometer and plugs

as shown in Figure

16B, Page 17, and plug the control

assembly into the LlNK OUT (31) and LlNK IN (28) Jacks.

For distances over

15.2m (50 ft.) or for permanent in-

stallations where hum or noise may be encountered, use

low-capacitance, two-conductor, shielded cable

#8412

or #8422). Connect as shown in Figure 16C, Page

(Belden

17, and use a metal box to contain the potentiometer. The cable shield must be connected to the metal box containing the

potentbmeter, to the common conductor (black),

and not to the sleeve connections of the phone plugs.

IMPORTANT: To avoid hum caused by a ground loop, do not ground the metal box to any metal such as electrical conduit, water pipes, heating ducts, or structural steel.

TELEPHONE LlNE SURGE PROTECTION

When using the Console to feed a telephone line that may be subject to lightning-induced voltage surges, the following part should be installed across the telephone line to provide additional protection for output circuit components: Thyrector, General Electric Part No.

6RS20SPlBl.

(INSTRI MIC IN

(

"OCAL'

(INSTRI

SRlOl

AUDIO CONSOLE

*NOTE,

THIS TYPE OF RECORDER DOES HAVE SEPARATE MIC AND AUX CONTROLS,AND PLUGGING IN THE

AUX

INN1 JACK USUALLY DISCONNECTS

THE MIC INPUT.

STEREO

RECORDER

M688 STEREO

STEREO

MIXER

TAPE

RECORDER

101 OUT

AUDIO

CONSOLE

SR 101

AUDIO

CONSOLE

SRlOl LINK

AUDIO CONSOLE

LlNK

-j

---------

1 1

FIGURE 15. STEREO TAPE RECORDING FIGURE

16.

REMOTE VOLUME CONTROL

SR101 Series 2 Audio Console

SERVICE INSTRUCTIONS

CONSOLE SERVICE (SEE GUARANTEE, Page

The SR101 Audio Console uses components of the highest quality, operating well within their respective ratings to assure long life.

22.)

WARNING

Voltages in this equipment are hazardous to life. Make all input and output connections with ac power disconnected. Refer servicing to qualified service personnel.

REPLACEMENT PARTS

Parts that are readily available through local electronic

parts distributors are not shown on the accompanying

Parts List. Their values are shown on the Circuit Diagram

(Figure 31, Pages 44-45). Commercial parts not readily available and unique parts are shown on the Parts List and may be ordered directly from the factory.

The commercial alternates shown on the Parts List are

not necessarily equivalents, but may be used in the event

that direct factory replacements are not immediately avail-

able. To maintain the highest possible performance and reliability Shure factory replacement parts should be used.

When ordering replacement parts, specify the Shure Re-

placement Kit Number (RKC), description, product model number, and serial number.

FUSE REPLACEMENT

To replace line fuse F1 (with no apparent problems in

the Console), disconnect the line cord from the ac source

and remove the rear-panel fuseholder cap. Replace the

only

defective fuse

SR101-2E contains a 0.1A Slo-Blo fuse for 180- to

only; 250-volt operation, or a

volt operation).

If trouble symptoms-overheating, erratic operation, etc.-were apparent before the fuse blew, or if the replacement fuse blows, a qualified serviceman should troubleshoot the Console carefully to find the source of the trouble. Do not continue to replace fuses until the trouble has been corrected.

The Console also contains two wired-in fuses, one in series with rear-panel line fuse one in the meter and accessory lamp circuit Blo). If replacement becomes necessary, replace only with identical fuses.

KNOB REPLACEMENT

All front-panel control knobs are pull-off types and are interchangeable with others of the same function. The

only exceptions are the channel Switches (S7,S8) which contain separate AUX-MIC knobs. When ordering replacement knobs, be sure to order the

proper color-coded type for the desired control.

with a 3AG-3/16A Slo-Blo fuse (SRI 01

0.2A Slo-Blo fuse for 90- to 132-

CAUTION

F1 (F2, 3/10A, Slo-Blo) and

(F3,

IA, Slo-

and 8 INPUT ATTEN

SERVICE ACCESS

To open the Console for servicing, carefully place the Console front-panel downward on a firm, flat, padded face. A rubber, plastic, corrugated cardboard, or cloth pad should be placed between the work surface and the Console controls. Remove the three Phillips head screws securing the upper and lower rear panels to each other, the four Phillips head screws securing the lower rear panel to the Console sides, and the two Phillips head screws securing the upper rear panel to the Console sides. Open the two halves to the limit of their hinges (lower half first) to obtain access to the printed circuit boards (NOTE: Although not normally required for servicing, the lower

panel may be completely removed from thi Console by removing two hex-head screws, one at either side of the

console

LAMP REPLACEMENT

nating the VU Meter assembly holding the lamp to be replaced upward and off the Power Supply printed circuit board bracket. Lift the lamp socket upward, taking care not to crimp or break any associated wiring. Replace the defective lamp and carefully return the lamp assembly to its original position.

REVERBERATION ASSEMBLY

connect the input, output and ground leads. Remove the four Phillips head screws securing the assembly to the

lower rear panel and remove the assembly. If the Console

is to be operated with the Reverb Assembly removed, make sure the associated wires are not left free to short out any other wiring. Remove the input and output wires from the

Reverb Spring Amplifier circuit board, and remove the ground wire from its lug.

BOARD REMOVAL

ferent manners. The following paragraphs describe the

best method of removing these boards after wires and

cable assemblies have been removed. disconnecting push-on terminals or soldered board con-

nections, make sure each wire is identified for proper re-

connection. This may be done by affixing a piece of mask-

ing tape marked with the connection or terminal letter or

color to each wire.

case,

and

disconnecting

To replace either of the two #47 lamps (PLI,PL2) illumi-

(MI), carefully raise the metal clip

To remove the Reverberation Assembly (AlO), first dis-

The various printed circuit boards are mounted in dif-

the

black

IMPORTANT:

ground

sur-

lead.)

When

CAUTION

Push-on terminals must be removed by pulling terminals straight up from printed circuit board surface. Do not apply side force when removing or reconnecting terminals, or damage may result.

Refer to Figure 17, Page 19, for location of each board.

AIO MP12 AI-A9 RIB -RE0 RIA-R8A

BD.5

R168

"i16

J'"

TI-TB R27 J12 J17 J21 JII J14 J15 J13

FIGURE

17.

PRINTED CIRCUIT BOARD AND PARTS LOCATION

J"'/

~"3""

I"\

\""

The function of each board assembly is defined in the table below.

Board No.

1 2A 28

4 5 6

Function

Preamplifier Board ~~ualizer Boards (8) Reverb Equalizer Board Program Mix Amplifier Board Reverb Mix Amplifier Board Program Output Board Feedback Filters Board

Reverb Spring Amplifier Board Monitor Board Power Supply Board Program Mute Board

Component

VU METER REMOVAL

If the VU Meter as follows. Disconnect all push-on terminals on the Power Supply board (Figure securing the Power Supply bracket to the side panel. Swing the Power Supply bracket to one side, exposing the VU

Meter. Remove the two wires connected to the VU Meter. Remove the two screws in recessed slots near the meter electrical contacts; this will free the meter retaining brackets, bracket screws, and rubber feet. Carefully pass the meter assembly out through the front panel. To reassemble the meter, reverse the above steps, taking care to insert the bracket screws in the closed-end eyelets in the rubber feet and tighten them as necessary to retain the meter against the front panel.

(MI) requires replacement, remove it

17,

Page 19). Remove the t&o screws

A magnetic screwdriver is recommended for board fastener removal. When removing front-panel control or switch

retaining nuts with a not to damage the black plastic surface.

Preamplifier Board ing the board to the upper rear panel, disconnect the eight color-coded channel output leads, and lift the board up and over for service access. When re-fastening the board, be careful not to crimp wires or wiring assemblies beneath the board.

Channel and Reverb Equalizer (Board nine boards may be removed by removing the two frontpanel equalizer control knobs and retaining nuts associated with that channel. The eight Channel Equalizer boards (not the Reverb Equalizer board) are identical and may be interchanged without modification.

Program Mix Amplifier (Board

front-panel REVERB INTENSITY Control knobs and retaining nuts for channels straight up.

Reverb Mix Amplifier (Board

panel REVERB INTENSITY Control knobs and retaining

nuts for channels 1 through 4, and lift the board straight up.

Program Output (Board

securing the board to the front panel and lift straight up. (NOTE: The VU Meter Calibration resistor sible without removing the board.)

Feedback Filters (Board

curing the filter switch frame to the front panel and lift straight up. Be careful not to damage the electrostatic foil shield when removing or inserting board.

Reverb Spring Amplifier (Board

screws securing the board to the front panel and lift straight

UP.

Monitor (Board

securing the bracket above the Monitor board. Remove the two screws securing the board and lift the board straight

UP.

Power Supply (Board

ing the board and lift straight up.

Program Mute (Board

ing the bracket on which transformer

Mute board are mounted. Turn the bracket so that the

four screws securing the Program Mute board can be removed. When replacing the board, be sure to pass the same wires between the board and bracket as were removed.

8):

nutdriver or wrench, be careful

(1):

Remove the seven screws secur-

2):

Each of these

3):

Remove the four

through 8, and lift the board

4):

Remove the four front-

5):

Remove the three screws

(R529) is acces-

6):

Remove the two screws se-

7):

Remove the four

Remove the two side-panel screws

9):

Remove the four screws secur-

0):

Remove the two screws secur-

T9 and the Program

CAUTION

Do not overtighten screws so as to deform meter retaining brackets.

Make sure the red and green leads from transformer are positioned behind the electrostatic foil shield flap attached to the Feedback Filters board.

VU METER CALIBRATION

With the Console turned off, the front-panel VU Meter (MI) should read 0 on the lower of the two meter scales. If it does not, adjust the screw below the meter face to obtain the correct reading.

To calibrate the meter, connect an ac voltmeter across the PROGRAM the Console and adjust the TONE OSC LEVEL Control and the MASTER Volume Control (A9) until a reading of +4 dBm (1.228V across 600 ohms) is obtained on the voltmeter. Turn the front-panel METER SENSITIVITY Control (R17) to the CALIBRATE position. Adjust potentiometer R529 (VU Calibrate) on the Program Output board until the VU Meter reads

Note that the VU Calibrate potentiometer range allows the VU Meter to be adjusted to 0 dBm and

LINE LEVEL OUTPUT (J14-J16). Turn on

0 on the upper of the two scales.

0 for any output between

dBm.

VOLUME CONTROL ASSEMBLY

To replace a channel or MASTER Volume Control assembly

slider knob for the assembly to be replaced. Unsolder the

leads connected to each potentiometer in the assembly, noting each lead connection. (Note that the lower potenti-

ometer-"B" section-utilizes only two of the three leads.)

Remove the two screws and lockwashers securing the

assembly to the front panel. Carefully lift the Volume Control assembly up and out of the unit. Replace the new

assembly by reversing the above steps.

ing the Volume Control assembly (see Figure 18, Page remove the assembly as described in the paragraph above. Remove the original dust cover by lifting both ends

off the slide actuator and sliding the dust cover out from beneath the guide attached to the side of the mounting bracket opposite the actuator. Attach one end of the new dust cover to the slide actuator and pass the other end over the lower black plastic bearing assembly. Insert the

loose end between the metal guide and synchronizing

(Al-A9), proceed as follows. Pull off the front-panel

To replace the black plastic dust cover

(MP12) surround-

TI1

(R9)

21),

POTENTIOMETERS

RIA-RBA, R16A SLIDE ACTUATOR

SYNCHRONIZING

POTENTIOMETERS APPROXIMATELY

RIB-R88, R16B 1/16 IN. PLAY

LOWER

BEARING

ASSEMBLY

'-SETSCREW

\LOWER

PULLEY

18.

FIGURE

VOLUME CONTROL ASSEMBLY

belt, pass it over the upper black plastic bearing assembly, and attach it to the slide actuator. Reassemble the Volume Control assembly as described above.

To replace one of the linear volume potentiometers (Rl-R8: individual channels; R16: MASTER), remove the assembly and dust cover as described above. Using an

0.050" Allen wrench, loosen and remove the pulley attached to the potentiometer to be replaced and the synchronizing belt. (NOTE: The upper potentiometer is the

"B"

"A" section and the lower is the Volume Control assembly.) Use a

section for each

3/8" wrench to remove

the old potentiometer. Position the new potentiometer in the mounting bracket, leads extending away from the

actuator side of the assembly, and finger-tighten the

3/e"

mounting nut. From the potentiometer shaft side of the assembly and with the actuator upward, rotate both potentiometer shafts clockwise (from shaft side) to their

stop positions. Note the setscrew position on the remaining pulley. Carefully insert the removed pulley, washer side toward mounting bracket, with the setscrew facing in the same direction as the setscrew on the other pulley. Slip on the synchronizing belt over the two pulleys.

Before tightening the

%I' nut on the replaced poten-

tiometer, position the upper potentiometer to provide

%,'I

about

(1.6 mm) play in the belt. The upper potentiometer is adjustable to set synchronizing belt tension: if the lower potentiometer has been replaced, tighten the lower potentiometer and loosen, adjust and tighten the upper potentiometer. If the upper potentiometer has been

replaced, adjust it for proper belt tension, and tighten.

(NOTE: The simplest method providing proper belt play

is to hold the assembly by the mounting frame vertically with the actuator resting on the platform of a small postal scale or attached to a small spring scale, and move the assembly downward. A 1 pound maximum-approximately

454

grams-force should be required to move the actuator.)

When the potentiometer is properly positioned, tighten

3/s"

the

mounting nut. Make sure the replaced pulley is aligned with the center of the nearest black plastic bearing assembly and tighten the pulley setscrews. Move the actuator along the length of its travel. The actuator should move smoothly from one end to the other. If it stops before reaching the end of its normal movement, gently but firmly force the actuator to "jump" as many teeth as necessary to reach the end. Replace the black plastic dust cover and the entire assembly as described in the first

two paragraphs of this section.

PARTS REMOVAL

Access to certain parts in the Console is not always apparent due to the large number of parts and assemblies, and the requirements for their placement. The following information is given to help locate and gain access to these

parts (see Figure 17, Page 19).

PHONES Jack

(J18), transformer TI0 and MONITOR Level Control (R20) may be reached by removing the bracket over the Monitor board. The bracket holding transformer

TI0 must be removed for access to potentiometer

R20.

Insert assemblies for MIC LEVEL Input three-pin, pro-

fessional, female connectors for channels (J2-J7) may be removed by first removing the transformer or transformers nector.

Three-pin, professional, male, audio connector J14 (LINE LEVEL Output) may be removed by first removing the bracket containing the Program Mute board.

The TONE OSC LEVEL SENSITIVITY Control (S29) are accessible by removing the knob and retaining nut on the desired control, and removing the two screws securing the Power Supply bracket to the side panel. Carefully swing the bracket to one side, exposing the control.

All push-button switches, with the exception of the

FEEDBACK FILTER Switches which are fastened to the

Feedback Filters board, may be removed by disconnecting electrical connections, and either unscrewing the screws of the switch module frame or bending the switch module mounting tab into line with its slot and removing the individual switch module.

(TI-T8) mounted above the desired con-

Switch/Control (R9), METER

(R17), and POWER ON-OFF Switch

through

TRANSISTOR AND DIODE REMOVAL

Most transistors and all diodes used in the Console are mechanically supported by their leads. When replacing these devices, proper lead configurations must be followed.

Minimum soldering heat (preferably with a low-wattage soldering iron) should be used to avoid damage to the device. Be sure to place heat-shrinkable tubing or "spaghetti" on leads where the original device contained such tubing. Transistor lead codes are included in the Notes

to Circuit Diagram (Figure 30, Page 41). Be sure to replace ferrite bead rings on those transistor leads where they were removed.

IMPORTANT:

To check transistors, the ohmmeter should the 100- or 1,000-ohm scale. Transistors and diodes must be removed from the circuit before testing. If all conditions

in the following table are met, the transistor may be considered free of any major defect; if any of the following conditions are not met, the transistor should be replaced. See Notes to Circuit Diagram, Figure 30, Page 41, for transistor terminal codes.

OHMMETER CONNECTIONS

"Plus" Lead "Minus" Lead

Collector Emitter Emitter Collector Collector Base Emitter Base Base Collector

Base Emitter

'Not a significant measurement.

OHMMETER READING

NPN PNP

Transistor Transistor High High High High High Low

Low High Low

be set to

Low

SERVICE ILLUSTRATIONS

Immediately following the parts list on the pages that follow are parts location drawings (Figures 19 to 29, Pages 33-39), and an overall Circuit Diagram (Figure 31, Pages 44-45). Once a board has been located through the parts

location photo (Figure 17, Page that board may be located from the corresponding parts location drawing. Foil circuit paths are shown as shaded areas on the drawings. The overall Circuit Diagram (Figure 31, Pages 44-45) shows all board circuits and

mounted parts.

19), the components on

chassis-

OPTIONAL ACCESSORIES

The following optional accessories are specially designed for use with the Shure sole:

AlOlA Carrying Case AlOlB Panel Lamp Accessory SR110 Professional Monitor Mixer

SR101 Series 2 Audio Con-

TRANSISTOR AND DIODE CHECKING

Defective transistors and diodes may be located by use of a standard ohmmeter such as a ity of the ohmmeter must be verified before these checks are made.

With a known diode orientation, measure the diode resistance in the forward and reverse directions. The lowest meter reading will establish the probe at the cathode end (schematic symbol arrow points to cathode) as the "minus" probe while the other probe will be "plus." Some ohmmeters are not polarized in this manner with relation to "volts plus probe" and "volts minus probe." With the ohmmeter "plus" probe on the anode end of

the "minus" probe on the cathode end, the ohmmeter should read approximately 2000 ohms or less. With the

meter probes reversed, a reading of about 10,000 ohms or more should be obtained. If either of these conditions is not met, the diode should be replaced.

Simpson 260. Polar-

diode, and

GUARANTEE

This Shure product is guaranteed in normal use to be free from electrical and mechanical defects for a period of one year from date of purchase. Please retain proof of purchase date. This guarantee includes all parts and

labor. This guarantee is in lieu of any and all other guarantees or warranties, express or implied, and there shall be no recovery for any consequential or incidental

damages.

SHIPPING INSTRUCTIONS

Carefully repack the unit and return it prepaid to:

Shure Brothers Incorporated

Attention: Service Department

1501 West Shure Drive Arlington Heights, Illinois 60004

If outside the United States, return the unit to your dealer or Authorized Shure Service Center for repair. The unit will be returned to you prepaid.

SR101

Series 2 Audio Console

REPLACEMENT PARTS LIST

NOTE:

Reference

CHASSIS-MOUNTED PARTS AND ASSEMBLIES

Bd. 1

Bd. 2A

Bd.

Bd. 3

Bd. 4

Bd.

Bd. 6

Bd.

Bd. 8

Bd. 9

Bd.

A1 -A9

A1 0 C17

C18

The commercial alternates shown in the following list are not necessarily equivalent parts, but are electrically and mechanically similar, and may be used if direct factory replacements are not immediately available. To maintain highest possible performance and reliability, Shure Factory Replacement Parts should be used.

Designation

Replacement Kit

No.+

~ty.

Replacement Kit Consists

part NO.

90A2250

90A2247

90A2249

90A2464

90A2463

90A2465

90A1818

90A1827

90A2462

90A2210

90A2254

90A2423

90A2910

50KB104

86A641

Printed Circuit Assembly, Preamplifier

Printed Circuit Assembly,

Channel Equalizer, with

HI and LO controls

Printed Circuit Assembly, Reverb Equalizer, with HI and LO controls

Printed Circuit Assembly,

Program Mix Amplifier, with REVERB INTENSITY controls

Printed Circuit Assembly,

Reverb Mix Amplifier,

with REVERB INTENSITY

controls

Printed Circuit Assembly,

Program Output

Printed Circuit Assembly,

Feedback Filters, with switches

Printed Circuit Assembly,

Reverb Spring Amplifier

Printed Circuit Assembly, Monitor

Printed Circuit Assembly,

Power Supply

Printed Circuit Assembly,

Program Mute

Volume Control Assembly,

with Potentiometers

(Individual Channel and

MASTER) Reverberation Assembly Capacitor, Film,

Capacitor, Dual Electrolytic, 1000

PF, 70V

Of:

Description

.lpF, 1OOV

Commercial Alternate

None

None Sprague

225P10491;

CDE DMF-1P1-10

None

'Parts listed as

RKC

Kits

should be ordered by that

kit

number.

Any orders received

for piece parts where

RKC

Kit number is shown will

be shipped in

RKC

quantities.

REPLACEMENT PARTS LIST FOR SR101 SERIES 2 AUDIO CONSOLE

Reference

Designation

J1-J8

J9-Jll

J12

J13-J14

J15-J16, J18

J17

J19

J20

J21

J 22

-L5

M 1

MP1

MP2

M P3

M P4

M P5

MP6

Replacement

Kit No.'

RKC87

RKC68

Qty.

Replacement Kit Consists Of:

Part No.

8081 59

80C258

80D258

80A267

80A268

958246

95C446

958446

958247

9513446

958658

95A809

958590

95A655

95A689

80A250

95A615

90F2085

90A2085

90A1850

65A946A

90D2085

90C2085

Fuse, Ac, 3AG-3/16A, 125V, Slo-Blo (SRI

O.lAT for 220V operation,

0.2AT for 11 5V operation, Fuse, Ac, 250V (SRI 01-2E)

Fuse, Ac, Pigtail,

Fuse, Dc, Pigtail, IA, 125V, Slo-Blo

Connector, Female, 3-pin Audio, MICROPHONE LEVEL

Connector, Phone Jack, 2-Conductor, Single Closed Circuit, AUX LEVEL

LlNK IN lnput

and Connector, Phone Jack, 2-Conductor,

Open Circuit, Connector, Male, 3-Pin Audio,

MIC LEVEL and Connector, Phone Jack, 3-Conductor,

Open Circuit,

and PHONES Output

Connector, Phone Jack, 2-Conductor, Open Circuit, MON Output

Connector, Female, SWITCHED A.C., 500 WATTS MAX.

Connector, Female, Panel LAMP Accessory

Connector, Female, ACCESSORY AUX LEVEL

Connector, 3-Pin, AC (MAINS) POWER

Ferrite Bead Ring

Meter Assembly, VU

Knob Assembly, Grey, MONITOR Knob Assembly, Green, INPUT

ATTEN (Channels 1-6) Knob Assembly, Green, INPUT

ATTEN (Channels 7-8 only)

Switch Actuator, (Channels 7-8 only)

Knob Assembly, Orange, HI FREQ EQ

Knob Assembly, Red, LO FREQ EQ

Description

3/10A

LlNK OUT

LlNE LEVEL Output

LlNE LEVEL

(SRI 01 -2E)

AUX/MIC

01)

lnput

LlNE LEVEL

(SR101 only)

1 I-Pin,

Commercial Alternate

Littelfuse 31 3000; Bussman MDX3

20mm

Littelfuse 31 5.300

Littelfuse 31 5001 Bussman MVD

Switchcraft D3F

Switchcraft 12A

Switchcraft 11

Switchcraft D3M

Switchcraft 128

Switchcraft

None

Amphenol 126-805

None

Stackpole

57-0181

Ferronics

21 -031 J API Instruments

361, A-Scale

Kone None

None

;

11 1

;

*Parts listed as RKC Kits

should be ordered by that kit

number.

Any orders received

for piece parts where RKC Kit number is shown will

be shipped in RKC quantities

REPLACEMENT PARTS LIST FOR SR101 SERIES 2 AUDIO CONSOLE

Reference

Designation

MPIO MP11

MP12

Replacement Kit No.*

Qty.

Replacement Kit Consists

Part No.

9082085

90E2085

90A1812

39A424

39A345

34A518

95A466 / Lamp, Indicator, 6.3V

86A338

Knob Assembly, Blue,

REVERB INTENSITY

Knob Assembly, Black, TONE OSC

LEVEL and METER SENSITIVITY

Knob Assembly, Individual Channel

and MASTER Volume

Nameplate, Write-on

Nameplate, SHURE Dust Cover, Mylar, Black,

Volume Control

Transistor, Silicon, NPN

Potentiometer, Linear,

Of:

Description

50k, Volume

None

None None None

RCA None

Commercial Alternate

2N3441

46A038

46A037

46A036

Potentiometer, Modified Log, 50k, Volume

Potentiometer, 50k, with On-Off

Switch, TONE OSC LEVEL

Potentiometer, 50k, METER SENSITIVITY

Potentiometer, 50k, MONITOR

Switch, Rotary, INPUT

ATTEN (Channels 1-6)

Switch, Rotary, Dual, INPUT

ATTEN (Channels 7-8 only)

Switch Assembly, Beige, (8 modules plus frame), Push-button, DPDT, PROGRAM

Switch Assembly, Grey, (8 modules plus frame), Pushbutton, DPDT, MONITOR

Switch, Slide, DPDT, PRE LINKIPOST LINK and PHASE

Switch, Push-button, Blue,

DPDT, REVERB Switch, Push-button, Grey,

DPDT, PROGRAM MONITOR Switch, Toggle, SPST,

POWER ON-OFF

Switch, Toggle, SPST, POWER

ON-OFF

Switch, Slide, DPDT, VOLTAGE

SELECTOR (SR101-2E)

(SR101-2E)

(SRlO1)

None

Cutler-Hammer

K13

7501 None

None

'Parts listed as RKC Kits should be ordered by that kit number. Any orders rece~ved for piece parts where RKC Kit number is shown will be shipped in RKC quantities.

**See also Assernblles A1-A9.

REPLACEMENT PARTS LIST FOR SRlOl SERIES 2 AUDIO CONSOLE

Reference

Designation

Replacement

Kit

No.'

Qty.

Part No.

Replacement Kit Consists

Transformer and Shield

Assembly, Mic lnput

Transformer, Line Level Output

Transformer, Headphone Monitor Output

Transformer, Ac Power Transformer, Ac Power (SR101-2E) Cable and Plug Assembly,

Reverb Output Cable and Plug Assembly,

Reverb lnput Line Cord, Ac, Grounded,

("/.A"

9-Foot Line Cord, Ac, Grounded, %Foot,

Single Connector (SR101-2E) Fuseholder, Miniature,

Panel-Mounting (SRI Fuseholder, Miniature, Panel-

Mounting (SRlOl-2E)

Lampholder and Bracket

Assembly, Solder Terminal Lampholder and Bracket

Assembly, Wire Terminal SR101 Audio Console

Mounting Template

Of:

Description

Diameter) (SRlOl)

01)

(SR101)

Commercial Alternate

None

None None None

None

Belden 17408

None

Littelfuse 342014

None

PREAMPLIFIER (BOARD

*Parts listed as RKC Kits should be ordered by that kit number. Any orders received for piece parts where

Capacitor, Film, 0.1

Capacitor, Electrolytic,

22 PF, 35v

Capacitor, Electrolytic,

4.7 or

Capacitor, Electrolytic,

86J628

86L628

86A410 / Silicon Rectifier, 10OV.

Capacitor, Electrolytic,

250

PF, 35V

PF,

40V

PF, IOOV

1/2A

RKC

Kit number is shown

CDE DMF-I PI-10

Sprague

226G050CE10; Mallory MTV-25CB35

Sprague 300-TE1303; CDE NLW-5-50

Sprague 30D-TE1307;

CDE NLW-50-50

None

Motorola 1 N4002

will

be shipped

502D-

RKC

quantities.

REPLACEMENT PARTS LIST FOR SR101 SERIES 2 AUDIO CONSOLE

Reference

Designation

EQUALIZER (BOARDS

C200, C201,

C208

C205,

Replacement Kit No.*

and

28)

Qty.

Replacement Kit Consists

Part

No.

Of:

Description

Ferrite Bead Ring

Transistor, Silicon, Low

Commercial

Alternate

Stackpole 57-01 80; Ferronics 21

-030J

Motorola 2N5210

Power, NPN

Transistor, Silicon, Low

Power, PNP

Transistor, Silicon, NPN

Motorola or Fairchild

2N5087

Motorola 2N5088;

TI 2N3711

Capacitor, Electrolytic,

4.7

or 5 PF, 35V

Sprague 30D-TE1303;

CDE NLW-5-50

Q200, Q201"

PROGRAM MIX AMPLIFIER (BOARD

C300-C302

Transistor, Silicon, NPN

Motorola

2N5088;

TI 2N3711

Potentiometer, HI and

Capacitor Electrolytic,

4.7 or 5

PF, 35V

Capacitor Electrolytic,

PF,

35V

50k,

FREQ EQ

None

Sprague

30D-TE1303;

CDE NLW-5-50 Sprague

476G016CCl

502D-

C; Mallory MTV-35CB25

Diode, Silicon, Computer, 75V Silicon Rectifier, Ferrite Bead Ring

Y.A

Motorola 1 N4002

Stackpole 57-0181

;

IOOV,

Ferronics 21 -031 J Transistor, Silicon, NPN Transistor, Silicon, PNP

Motorola

Motorola or Fairchild

2N5210

2N5087 Transistor, Silicon, NPN

'Parts listed as RKC Kits should be ordered by that kit number.

"'Not

included on Bd.

28.

Transistor, Silicon, PNP Potentiometer, Dual,

REVERB INTENSITY

Any

orders received for piece parts where RKC Kit number

50k/50k,

None

shown w~ll be shipped in RKC quantit~es

REPLACEMENT PARTS LIST FOR SR101 SERIES 2 AUDIO CONSOLE

~eferensel

Desianation Kit No.'

Replacement

Replacement Kit

Cons;sts

Of:

Commercial Alternate

REVERB MIX AMPLIFIER (BOARD

C400-C402

C403

C404

D400, D401

L400

Q400

(2401

Q402

(2403 R400-R403

RKC89

RKC65 RKC66

86A630

868629

86L628

86A415

80A250

86A350

86A348

86A334 86A335 46A035

Capacitor, Electrolytic,

4.7 or 5

Capacitor Electrolytic, 22

Capacitor Electrolytic, 250

Diode, Silicon, Computer, 75V

Ferrite Bead Ring

Transistor, Silicon, NPN

Transistor, Silicon, PNP

Transistor, Silicon, NPN Transistor, Silicon, PNP Potentiometer, Dual,

50k/50k, REVERB INTENSITY

,uF, 35V

,F, 35V

,F, 40V

Sprague 30D-TE1303;

CDE NLW-5-50 Sprague

502D-226G050CE1 C; Mallory MTV-25CB35

CDE BR250-50

TI or GE IN4148

Stackpole 57-0181 Ferronics 21 -0351

Motorola 2N5210 Motorola or Fairchild

2N5087 TI TIS92 TI TIS93

None

;

PROGRAM OUTPUT

C500

C505

C507

'2510, C511, C516, C517, C519

C514

C515

C518

(BOARD

86L628

86F630

50KB104

86A630

86B629

86N628

86A629

Capacitor, Electrolytic,

,F, 40V

250 Capacitor, Electrolytic,

,uF, 25V

Capacitor, Film,

OOV

Capacitor, Electrolytic,

4.7 or 5

Capacitor, Electrolytic, 22

Capacitor, Electrolytic, 100

Capacitor, Electrolytic,

,F, 35V

p.F, 25V

,lF, 12V

,F,

CDE

BR250-50

Sprague 30D-TE1200;

CDE NLW-1-25

Sprague 225P10491; CDE DMF-lP1-10

Sprague 30D-TE1303; CDE NLW-5-50

Sprague 502D-226G050CE1 C; Mallory MTV-25B35

Sprague 30D-TE1211;

Mallory MTA-100F35;

CDE NLW-100-25 Sprague

502D-476G016CCl C;

Mallory MTV-35CB25

'Parts listed as RKC Kits should be ordered by that kit number. Any orders rece~ved for piece parts where RKC Kit number is shown will be shipped in RKC quantities.

REPLACEMENT PARTS LIST FOR SR101 SERIES 2 AUDIO CONSOLE

Reference

Designation

Replacement Kit No.*

Qty.

Part No.

Replacement Kit Consists

Description

Of:

Commercial Alternate

RKC50

FEEDBACK FILTERS (BOARD

Silicon Rectifier, IOOV, Y2A

Diode, Silicon, Computer, 75v

Transistor, Silicon, NPN

Transistor, Silicon, PNP

Transistor, Silicon, N-Channel, Field Effect

Transistor, Silicon, NPN

86A334 / Transistor, Silicon, NPN

86A335

Transistor. Silicon, PNP Potentiometer,

VU Cal.

Capacitor, Electrolytic,

,F, 35v

Transistor, Silicon, NPN

IOk,

Motorola

N4002

1 TI or GE 1 N4148

Motorola 2N5210

Motorola or

Fairchild

Motorola

2N5458

Motorola 2N5088;

TI 2N3711

TI TIS92 TI TIS93

None

Sprague 502D-226G050CE1 C; Mallory

Motorola 2N5088;

TI 2N3711

2N5087

MTV-25CB35

REVERB SPRING AMPLIFIER (BOARD

'Parts listed as

RKC

Kits should be ordered by that kit number.

Switch Assembly (4 switch modules plus frame), Push-button, DPDT,

FEEDBACK FILTERS

Capacitor, Electrolytic,

250

,LF,

40V

Capacitor, Electrolytic,

,LF,

35V

Capacitor, Film,

oov

Capacitor, Electrolytic,

OOV, Y2A

1/2

pF, 35V

4.7 or

Silicon Rectifier,

Silicon Rectifier, 50V,

Any

orders rece~ved for piece parts where RKC Kit number is shown will be shipped

pF,

None

BR230-5

CDE

Sprague 30D-TE1307; CDE NLW-50-50

Sprague 225P10491; CDE DMF-1P1-10

Sprague 30D-TE1303; CDE NLW-5-50

Motorola

N4002

Motorola

N4001

RKC quantities.

REPLACEMENT PARTS LIST FOR SR101 SERIES 2 AUDIO CONSOLE

Reference

Designation

Q700

MONITOR (BOARD

C800, C803, C805, C807, C808

Replacement Kit No.*

RKC12

~tv.

Replacement Kit Consists Of:

Part No.

86A336 I~ransistor, Silicon, NPN

Transistor, Silicon, Power, NPN

Transistor, Silicon,

Power, PNP

Transistor, Silicon, NPN

Descri~tion

Alternate

Motorola MPS-U02;

D40D4

Motorola MPS-U52;

D41D4

Motorola

TI 2N3711

2N5088;

Capacitor, Electrolytic,

4.7 or 5

Capacitor, Electrolytic, 100

Silicon Rectifier, 100V, %A

Diode, Silicon, Computer,

75v Transistor, Silicon, NPN

Transistor, Silicon, PNP Motorola or Fairchild

Transistor, Silicon, NPN Transistor, Silicon, PNP Transistor, Silicon, NPN

pF, 35V

pF, 25V

Sprague 30D-TE1303: CDE NLW-5-50

Sprague 30D-TE1211; Mallory MTA-100F35; CDE NLW-100-25

Motorola

N4002

2N5087

Motorola

TI 2N3711

2N5088;

POWER SUPPLY (BOARD

'Parts listed as RKC Kits should be ordered by that kit number.

Capacitor, Electrolytic,

pF, 60V

250 Capacitor, Electrolytic,

pF, 40V

250 Capacitor, Film,

1 OOV

Silicon Rectifier,

OOV,

'hA

1 Silicon Zener Diode,

32V,

Transistor, Silicon, Power, NPN

Resistor, Fixed, 2.0

ohms,

Any

orders recelved for piece parts where RKC Kit number is shown will be shipped in RKC quantities.

pF,

None C900

CDE BR250-50

Sprague 225P10491; CDE DMF-1P1-10

Motorola

N4002

Motorola

N4752B

1 RCA 40347

None

REPLACEMENT PARTS LIST FOR SR101 SERIES 2 AUDIO CONSOLE

Reference

Designation

PROGRAM

MUTE

C90

C91

D90-D92

Q90

Q91 RLY9O

'Parts listed as RKC Kits should be ordered by that kit number.

Replacement Kit No.*

(BOARD

RKC21

RKC9

RKC12

Qty.

Replacement Kit Consists Of:

Part

No.

50KC104

86A632

86A404

86A349

86A336 55A93

Capacitor, Film, .I

OOV

Capacitor, Electrolytic,

,uF,

1000

25V

Silicon Rectifier, 100V,

1/2A

Transistor, Silicon, NPN

Relay, Reed, SPST,

24 Vdc

Any

orders rece~ved for piece parts where RKC

Description

pF,

Kit

number is shown will be shipped In RKC quantities

Commercial Alternate

Sprague 225P10491; CDE DMF-1P1-10

Sprague TVA-1211

Motorola

N4002

Motorola 2N5088;

TI 2N3711

TI TIS97

None

FIGURE 20. BOARD 2A: CHANNEL EQUALIZER

2247-21224631587-4

FIGURE 21. BOARD 28: REVERB EQUALIZER

2249-212248-31588-4

FIGURE 22. BOARD 3: PROGRAM MIX AMPLIFIER

2464-1 12458-1 1647-1

FIGURE 23. BOARD

REVERB MIX AMPLIFIER

2463-1 12460-1 1646-1

FIGURE

25.

BOARD

FEEDBACK FILTERS

1818-3/1817-1/482-3

FIGURE

26.

BOARD

REVERB SPRING AMPLIFIER

1827-3/488-3

FIGURE

27.

BOARD 8: MONITOR

2462-1 12461

-1

1644-1

FIGURE 28. BOARD 9: POWER SUPPLY

2210-9/2251-3/591-4

FIGURE 29. BOARD

PROGRAM

MUTE

2254-3/592-4

SR101

Series 2 Audio Console

NOTES TO

GENERAL

Shure part numbers are not shown in the Parts List

accompanying the Circuit Diagram (Figure 31, Page 44)

if parts are readily available through local electronics parts suppliers. In these instances, the Circuit Diagram shows only the reference designation and value of the standard parts. area.

All capacitor values are shown in microfarads unless otherwise designated. All non-electrolytic capacitors are 100 working volts dc or more unless otherwise specified. Electrolytic capacitors are shown in microfarads

All resistor values are shown in ohms (k sistors are sistors are

Transistor lead codes are as shown in Figure 30. Ac-

ceptable replacements are as shown in the Parts List.

The following ground symbols denote:

Chassis Ground Circuit Ground Printed Circuit Board Ground

TROUBLESHOOTING

A general troubleshooting process is as follows: If the J14 (pins

Console is completely "dead," check the ac power source, fuses, and power supply output (30V between pins B and G, Board 9). If the indicator lamps are on but the output is

10% tolerance unless otherwise specified. Re-

%-watt unless otherwise specified.

lfi&

CIRCUIT DIAGRAM

distorted, low or not present, apply an input signal as described under

mine that the input and output voltage to each board assembly is correct. If an incorrect ac voltage is found at any board output, perform on that board as described below to isolate the problem

AC VOLTAGE MEASUREMENTS

The numbers within rectangular symbols

volts.

1000). Re-

circuit diagram denote the ac voltages at that point under the following test conditions:

1. Voltages measured with respect to chassis unless otherwise indicated.

Line voltage: 120V, 60 Hz (SRIO1)

3. Test signal of 1 mV, 1 of connector J1.

4. Ac voltage measurements may vary 230% from values shown.

greater input impedance.

600-ohm load across LINE LEVEL Output Connector

All Equalization Controls in 0 (flat) setting.

9. All Volume Controls set to

Measurements made with ac VTVM of 1 meaohm or

FEEDBACK FILTERS Switches released (out).

Voltage Measurements below, and deter-

Voltage Measurements

120V or 240V,

kHz

(SRI 01

applied across pins 2 and'3

-2E)

and 3).

maximum (14).

on the

FIGURE

~lIWR~IN

30.

TRANSISTOR LEAD CODES

SOURCE

10. Reverb circuit measurements made with REVERB INTENSITY Controls full clockwise, and Master Reverb

Switch depressed (on). Note that reverb spring and following stages vary with frequency; measurements given are typical only.

11. Monitor circuit measurements made with all MON-

ITOR Switches depressed (on), and PROGRAM MONITOR Switch released (off).

12. Tone oscillator circuit measurements on Program Out-

put (Bd.

made with TONE OSC LEVEL Switch on.

DC VOLTAGE MEASUREMENTS

The numbers within elliptical symbols

circuit diagram denote the dc voltages at that point under

the following test conditions:

Voltages measured with respect to chassis unless otherwise indicated.

on the

2. Line voltage:

No input signal applied.

4. Dc voltage measurements may vary values shown.

Measurements msde with VTVM of 11 megohms or

greater input impedance.

Tone oscillator circuit measurements on Program Out-

(Bd.

put

120V, 60

120V or 240V, 60

made with TONE OSC LEVEL Switch on.

(SR101)

(SR101-2E)

*20% from

RESISTANCE MEASUREMENTS

With the ac line cord disconnected from the ac source and the POWER ON-OFF Switch in the OFF position, the following ohmmeter measurements may be made:

1. Reverberation Assembly A10 output coil: approximately 180 ohms; input: approximately 10 ohms.

2. Transformers may be checked for continuity of each

winding.

To test transistors and diodes, see Page 22.

S29

POWER

180-250 90- 132 V .2

SLO

FIGURE

BLO

SLO BLO

3/10

31.

SRlO1-2E POWER SUPPLY

BLK

TI1

BLKfGRN

81293-1

1-1

ISSUE

1 2

REFERENCE NUMBER

94A1293-11-1 94A1293-11-2

DESCRIPTION

ADDED R537

FIGURE

32.

SR101 SERIES 2 AUDIO CONSOLE CIRCUIT DIAGRAM

(TONE

OSCILLATOR)

ISSUE REFERENCE NUMBER

94A1293-11-1

2 94A1293-11-2 ADDED

DESCRIPTION

R537

LINE

LEVEL

(600

1L)

FIGURE 32. SR101 SERLES 2 AUDIO CONSOLE CIRCUIT DIAGRAM

SR101 Series 2 Audio Console

CONDENSED OPERATING

INSTRUCTIONS

1. Set all switches and controls to OFF or 0.

2. Connect PROGRAM OUTPUT (LINE or MIC LEVEL) to power amplifier, broadcast line feed, etc. Connect speakers to power amplifier. Connect headphones to PHONES or

3. Connect sources (microphones, tape recorders, etc.) to INPUT Connectors. Set Channel 7 or 8 Switches as necessary.

4. Connect external signal-processing equipment (com-

pressor, equalizer, etc.) to LlNK Jacks. (To connect

two Consoles, connect LlNK OUT Jacks together.)

5. Connect ac line cord to ac source.

6. Turn on POWER ON-OFF Switch and allow one to two

minutes

Depress PROGRAM Switches for input channels to be

used.

MONITOR/LINE LEVEL jack.

MIC/AUX

10. Adjust HI and LO FREQuency

11. Depress REVERB Switch. Adjust REVERB INTENSITY,

12. Depress MONITOR Switches to monitor individual in-

warmup time.

SR101 Series 2 Audio Console

ARCHITECTS' AND ENGINEERS' SPECIFICATIONS*

The Audio Console shall be a self-contained 90- to 132volt, 50 to 60 Hz, line-operated, all-silicon transistor mixing amplifier with preamplifiers and controls to mix eight independent low-impedance microphone input

provide two independent outputs: Program and monitor.

Each input independent HIGH-FREQUENCY and LOW-FREQUENCY to EQUALIZATION controls, four-position zero to 30 dB ATTENUATOR Switch, linear-motion LEVEL control, REVERB

INTENSITY control and independent output assignment switches for the PROGRAM and MONITOR buses. The 7th and 8th input channels shall each have two additional input

connectors (AUX. LEVEL) and an additional switch to se-

lect the desired input connector.

The

balanced

1% distortion with a minimum clipping level of +I9 dBm

and a low-impedance, balanced, microphone-level output

level switch shall be provided to reverse the phase of both the LlNE and MICROPHONE LEVEL outputs.

The program channel shall have a linear motion MASTER

LEVEL

FILTERS, a built-in reverberation system with high-frequency equalization and a REVERB "IN/OUTU Switch, and a 76.2 mm (3 in.) illuminated VU meter with a zero to 22 dB variable SENSITIVITY control.

pair of LlNK Jacks shall be provided in the program circuit to allow connection to external equipment such as compressor, limiter, equalizer, additional console, etc.

The monitor circuit shall have a

trol, a

PROGRAM

cally overrides the individual channel MONITOR switches,

a 600-ohm unbalanced LlNE LEVEL output, and a transformer-coupled headphone (PHONES) output.

*AII specifications apply to

180-250

channel in the Audio Console shall have

OUTPUT

below

four

line level Output

control,

circuit

rated

+I2

the

LEVEL

switchable notch-type

MONITOR

MONITOR =IN/OUT~

volts; no switched AC receptacle is provided.

SRIOI-2~

except: operating voltage is

signals and to

have

dBm

output,

600-ohm

less

than

A PHAS~

FEEDBA~~

LEVEL

Switch that electri-

con-

90-132

dB and a maximum microphone input sensitivity of 0.4 millivolts for a

tenuator setting, shall be 17.5 millivolts minimum with the linear-motion LEVEL control at maximum and shall increase

control near minimum. designed for rack-mounting in standard 19-inch (483 mm)

Audio Equipment Racks, desk-top mounting, or mounting in

in.) in height, 483 mm (19 in.) in width, 143 mm in depth below the rack-mounting surface and 22.2 mm

(,/8

be not

with a LEVEL

on the front panel. A POWER tacle rated for 500 watts maximum load shall be provided.

male professional audio type. The AUX. INPUT ~Onne~tOr~ for channels 7 and 8, the LlNK Jacks, and the MONITOR

LINE LEVEL OUTPUT Jack shall be two-circuit %-inch phone jacks. The PROGRAM LINE LEVEL OUTPUT con-

nectors

headphone (PHONES) connector shall be a three-circuit

inch phone jack to be used with either mono Or Stereo phones with an impedance of 4 ohms or higher. An 11-pin

cations shall be deemed unacceptable under this specification. The Audio Console shall be a Shure Model SR101.

8. Set INPUT type of material to be used

strumental music, -20 or -30 for Channel 7 or 8 AUX INPUT: -20 or -30).

9. Set MASTER Volume Control to 7, and METER SENSITIVITY Control to CAL. With source input, raise Chan-

nel Volume Control for desired sound level. Readjust INPUT

necessary. and HI and LO REVERB

trols as necessary.

put channels. Raise MONITOR Control to comfortable listening level. Depress PROGRAM MONITOR for total

program monitoring (overrides MONITOR Switches).

The Audio Console shall have a voltage gain of 73

The input channel input clipping level, with a zero at-

315 millivolts minimum with the linear-motion LEVEL

The

Audio

accessory

The

Audio Console dimensions

in,) above the rack-mounting surface. The weight shall

The Audio Console shall have a built-in tone oscillator

The MICROPHONE INPUT connectors shall be 3-pin fe-

shall be a 3-pin male professional audio-t~~e. The

Any Audio Console not meeting all of the above

ATTEN Switches to preliminary position for

(0 for speech, -10 for in-

"hard" rock music;

ATTEN Switch if necessary.

EQualization Controls as

FREQuency EQualization Con-

+4 dBm program output.

console

vinyl-covered wood portable case.

than

control1

located

AUX

shall be enclosed in a metal housing

shall

(23 Ib.),

and

the

LEVEL

ON/OFF toggle switch shall

panel. A switched AC recep-

Output shall provide

lamp

311

(5%

specifi-

(121,,4

in.)

1/4-

Shure SR101 Series II User Guide

Specifications and Main Features

Frequently Asked Questions

User Manual