Information in this document is subject to change without notice and does not represent
a commitment on the part of Sonifex Ltd. Sonifex Ltd shall not be liable for any loss or
damage whatsoever arising form the use of information or any error contained in this
manual.
No part of this manual may be reproduced or transmitted in any form or by any means,
electronic or mechanical, including photocopying, recording, or information storage and
retrieval systems, for any purpose other than the purchaser’s personal use, without the
express written permission of Sonifex Ltd.
Unless otherwise noted, all names of companies, products and persons contained herein are
part of a completely ctitious adaptation and are designed solely to document the use of
Sonifex products.
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Redbox User Handbook No 3
Page 3
CONTENTS
Warranty i
Warranty and Liability - important the purchaser is advised to read this clause i
Unpacking the Redbox ii
Returning the Warranty Card iii
Safety Information iii
Safety of Mains Operated Equipment iii
Voltage Setting Checks iii
Fuse Rating iii
Power Cable and Connection iv
Ordering the Correct Mains Lead iv
Installation Information iv
Atmosphere iv
Electromagnetic Radiation iv
Fitting Redboxes iv
WEEE & RoHS Directives - Sonifex Statement vi
1 RB-SS10 10 Way Stereo Analogue Source Selector/Mixer 1
Introduction 1
System Block Diagram 2
Front Panel Indicators & Controls 2
Illuminated Push Buttons 2
Front Panel Gain Controls 3
Headphone Output 3
Volume Control 3
Additional Modes 3
Conguring the Additional Modes 3
4 RB-SSML1 Mic/Line Source Selector with Compressor Limiter 25
Introduction 25
System Block Diagram 26
Rear Panel Connections 26
Stereo Monitor Inputs 27
Stereo Monitor Pad & Volume Control 27
Mic Input 27
Mic Input Gain 27
Using Phantom Powered Microphones 27
Using the LF Filter 28
Compression Active on Mic Input Only 28
Peak Hold Disabled on LED Meter 28
Stereo Line Input 28
Stereo Input Gain Pad 28
CONTENTS
Stereo Line Output 28
Stereo Output Gain Pad 28
Front Panel Controls 28
Mic & Line Volume Controls 29
Mic/Line Select Switch 29
Bypass Button 29
Applying Compression 29
LED Metering 29
Headphone Outputs 29
Technical Specications RB-SSML1 30
5 RB-MA1 Single & RB-MA2 Dual Microphone Ampliers 31
Introduction 31
System Block Diagram 31
Rear Panel Connections and Operation 32
Mic Inputs 32
Input Gain 32
Using Phantom Powered Microphones 33
Using the LF Filter 33
Output 33
Technical Specications RB-MA1 & RB-MA2 34
6 RB-DMA2 Dual Digital Microphone Amplier 35
Introduction 35
System Block Diagram 36
Front Panel Indicators & Controls 36
Sync & Power Indicator 37
Input Level Adjustment 37
Disabling the Fine Gain Control Knob 37
Input Level Indicators 37
Rear Panel Connections and Operation 37
RB-DMA2 Inputs 38
Rear Panel Controls 39
Technical Specications RB-DMA2 42
7 RB-ML2 Stereo Microphone & Line Level Limiter 44
Introduction 44
System Block Diagram 45
Rear Panel Connections and Operation 45
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Redbox User Handbook No 3
Page 5
CONTENTS
Mic / Line Inputs 46
Mic Input Gain 46
Using Phantom Powered Microphones 46
Using the LF Filter 46
Mic / Line Outputs 46
Mic / Line Output Gain 47
Level Limiting 47
Mode Select Switch 47
Technical Specications RB-ML2 48
8 RB-SL2 Twin Mono, or Stereo, Limiter 50
Introduction 50
System Block Diagram 50
Rear Panel Connections and Operation 51
Outputs 51
Inputs 51
Gain Control 51
Mode Switch 51
Technical Specications RB-SL2 52
9 RB-SM1 Single & RB-SM2 Dual Stereo To Mono Converter 53
Introduction 53
System Block Diagram 53
Rear Panel Connections and Operation 54
Introduction 64
System Block Diagram 64
Front Panel Indicator 65
Rear Panel Connections and Operation 65
Stereo Inputs From Mixer Main Output 65
Input From Mixer Telephone Fader 65
Output Null Adjustments (LF and Full-Band) 65
Band Pass Filter Switch 66
Output to Telephone Balance Unit (TBU) 66
Output Level Adjustment 66
Operation of the RB-MM1 66
Technical Specications RB-MM1 66
12 RB-OA3 3 Studio On-Air Switcher 68
Introduction 68
System Block Diagram 69
Rear Panel Connections and Operation 70
Installation Guide for the RB-OA3 70
CONTENTS
Redbox User Handbook No 3
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Page 6
CONTENTS
Setting the Unit’s Identity Using The Mode ID DIP Switches 70
Setting The Boot Up Mode 70
Force Last Used Studio Mode 71
Force Studio 1 Mode 71
Conguring for Operation 71
Single (MASTER) Mode 71
Studio Connections 71
Control Panels 71
Profanity Delay Connector 71
Mix Input 71
LSO Expansion Port 72
Serial Ports 72
Studio Expansion 72
Studio Connections 72
Control Panels 72
Profanity Delay Connector 72
Mix Input 72
LSO Expansion 72
Serial Ports 72
Bus Expansion 73
CONTENTS
Studio Connections 73
Control Panels 73
Profanity Delay Connector 73
Mix Input 73
LSO Expansion 73
Serial Ports 73
Studio & Bus (4 Unit) Expansion 74
Studio Connections 74
Control Panels 74
Profanity Delay Connector 74
Mix Input 74
LSO Expansion 74
Serial Ports 75
Transmission Outputs and Studio 1-3 Audio Connection Details 81
Studio 1-3 Control Port Connection Details 83
Profanity Delay Control 84
Serial Ports 84
Fig 12-17: RB-OA3 Studio 1-3 Audio
Connector Denitions. 82
Fig 12-18: RB-OA3 Studio 1-3 Audio
Connector Details. 82
Fig 12-19: RB-OA3 Studio 1-3 Control
Connector Denitions. 83
Fig 12-20: RB-OA3 Switch & Lamp
Control Details. 83
Fig 12-21: RB-OA3 Profanity Delay Control
Connector Denitions.. 84
Fig 12-22: RB-OA3 Profanity Delay
Control Connector Details. 84
Fig 12-23: RB-OA3R Front Panel. 86
Fig 12-24: RB-OA3R Control Function
lndication Colours. 86
Fig 12-25: RB-OA3R Rear Panel. 86
Fig 12-26: RB-OA3R Pin Out Denitions. 87
Fig 12-27: RB-OA3R Pin Out Positions. 87
Fig 13-1: XLR Connectors. 90
Fig 13-2: RCA Phono Connector. 90
Fig 13-3: ¼” Jack Connector. 90
Fig 13-4: 25 Way D-Type Connectors. 91
Fig 13-5: 15 Way D-Type Connectors. 91
Fig 13-6: 9 Way D-Type Connectors. 91
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Redbox User Handbook No 3
Page 9
WARRANTY
Warranty
Warranty and Liability - important the purchaser is advised to read this clause
(a) The Company agrees to repair or (at its discretion) replace Goods which are found to
be defective (fair wear and tear excepted) and which are returned to the Company
within 12 months of the date of despatch provided that each of the following
are satised:
(i) Notication of any defect is given to the Company immediately upon its
becoming apparent to the Purchaser;
(ii) The Goods have only been operated under normal operating conditions and
have only been subject to normal use (and in particular the Goods must have
been correctly connected and must not have been subject to high voltage or
to ionising radiation and must not have been used contrary to the Company’s
technical recommendations);
(iii) The Goods are returned to the Company’s premises at the Purchaser’s expense;
(iv) Any Goods or parts of Goods replaced shall become the property of the
Company;
(v) No work whatsoever (other than normal and proper maintenance) has been
carried out to the Goods or any part of the Goods without the Company’s prior
written consent;
(vi) The defect has not arisen from a design made, furnished or specied by the
Purchaser;
(vii) The Goods have been assembled or incorporated into other goods only in
accordance with any instructions issued by the Company;
(viii) The defect has not arisen from a design modied by the Purchaser;
(ix) The defect has not arisen from an item manufactured by a person other than
the Company. In respect of any item manufactured by a person other than the
Company, the Purchaser shall only be entitled to the benet of any warranty or
guarantee provided by such manufacturer to the Company.
(b) In respect of computer software supplied by the Company the Company does not
warrant that the use of the software will be uninterrupted or error free.
(c) The Company accepts liability:
(i) For death or personal injury to the extent that it results from the negligence of
the Company, its employees (whilst in the course of their employment) or its
agents (in the course of the agency);
WARRANTY
Redbox User Handbook No 3
i
Page 10
WARRANTY
(ii) For any breach by the Company of any statutory undertaking as to title, quiet
possession and freedom from encumbrance.
(d) Subject to conditions (a) and (c) from the time of despatch of the Goods from the
Company’s premises the Purchaser shall be responsible for any defect in the Goods
or loss, damage, nuisance or interference whatsoever consequential economic or
otherwise or wastage of material resulting from or caused by or to the Goods. In
particular the Company shall not be liable for any loss of prots or other economic
losses. The Company accordingly excludes all liability for the same.
(e) At the request and expense of the Purchaser the Company will test the Goods to
ascertain performance levels and provide a report of the results of that test. The
report will be accurate at the time of the test, to the best of the belief and Knowledge
of the Company, and the Company accepts no liability in respect of its accuracy
beyond that set out in Condition (a).
(f) Subject to Condition (e) no representation, condition, warranty or other term, express
WARRANTY
or implied (by statute or otherwise) is given by the Company that the Goods are of
any particular quality or standard or will enable the Purchaser to attain any particular
performance or result, or will be suitable for any particular purpose or use under
specic conditions or will provide any particular capacity, notwithstanding that the
requirement for such performance, result or capacity or that such particular purpose
or conditions may have been known (or ought to have been known) to the Company,
its employees or agents.
(g) (i) To the extent that the Company is held legally liable to the Purchaser for any
single breach of contract, tort, representation or other act or default, the
Company’s liability for the same shall not exceed the Price of the Goods.
(ii) The restriction of liability in Condition (g)(i) shall not apply to any liability
accepted by the Seller in Condition (c).
(h) Where the Goods are sold under a consumer transaction (as dened by the
Consumer Transactions (Restrictions on Statements) Order 1976) the statutory
rights of the Purchaser are not aected by these Conditions of Sale.
Unpacking the Redbox
The Redbox is shipped with the following equipment. Please check your packaging to
ensure that you have all of the items below. If anything is missing, please contact the
supplier of your equipment immediately.
Item Quantity
Redbox audio interface 1
IEC Mains lead tted with moulded mains plug 1
Handbook and warranty card 1
Fig A: Packing List.
ii
Redbox User Handbook No 3
Page 11
SAFETY & INSTALLATION
INFORMATION
Each Redbox is shipped in protective packaging and should be inspected for damage before
use. Where an item is found to have transit damage, notify the carrier immediately with all
the relevant details of the shipment. Packing materials should be kept for inspection and
also for if the product needs to be returned.
Returning the Warranty Card
In order to register the date of purchase so that we can keep you informed of any design
improvements or modications, it is important to complete the warranty registration
document that is enclosed and return it to Sonifex Ltd in the UK, or register online at
www.sonifex.co.uk/register
For your own records you should write down the serial number (which can be found on the
rear of the Redbox).
Serial Number………………………………………
Safety Information
Safety of Mains Operated Equipment
This equipment has been designed to meet the safety regulations currently advised
in the country of purchase and it conforms to the safety regulations specied by
use of the CE Mark.
Warning : There are no user serviceable parts inside the equipment. If you should ever
need to look inside the unit, always disconnect the mains supply before removing the
equipment covers.
SAFETY & INSTALLATION INFORMATION
Voltage Setting Checks
Ensure that the machine operating voltage is correct for your mains power supply by
checking the box in which your Redbox was supplied. The voltage is shown on the box label.
The available voltage settings are 115V, or 230V. Please note that all Redboxes are either
switchable between 115V and 230V, or have a universal power supply.
Fuse Rating
The Redboxes are supplied with a single fuse in the live conducting path of the power
infeed at the power supply. For reasons of safety it is important that the correct rating
and type of fuse is used. Incorrectly rated fuses could present a possible re hazard, under
equipment fault conditions. See the Technical Specications of each product for the fuse
rating. The active fuse is tted on the outside rear panel of the unit.
Redbox User Handbook No 3
iii
Page 12
SAFETY & INSTALLATION
INFORMATION
Power Cable and Connection
An IEC power connector is supplied with the Redbox, which has a moulded plug, attached
– this is a legal requirement. If no moulded plug has been supplied with your Redbox, please
contact your supplier, because an IEC connector is always supplied from the Sonifex factory.
If for any reason, you need to use the Redbox with a dierent power cable, you should use
the following wiring guidelines:
Wire ColourConnection
Green, or green and yellowEarth (E)
Blue, or BlackNeutral (N)
Brown, or RedLive (L)
Fig B: Mains Cable Wire Colours
Ordering the Correct Mains Lead
When ordering a Redbox from Sonifex, it is helpful if you can specify your required
operating voltage and mains lead. After the product code add:
UK, for 230V, UK 3 pin to IEC lead
EC, for 230V, European Schuko 2 pin to IEC lead
iv
US, for 115V, 3 pin to IEC lead
AU for 230V, Australasian 3 pin to IEC lead
Fig C: Mains Lead Table.
E.g. order RB-MA1 UK for a UK IEC lead to be supplied.
Installation Information
Atmosphere
The units should be installed in an area that is not subject to excessive temperature
SAFETY & INSTALLATION INFORMATION
variation (<0°C, >50°C), moisture, dust or vibration.
Electromagnetic Radiation
The cover is connected to earth by means of the xing screws. It is essential to maintain
this earth ground connection to ensure a safe operating environment and provide
electromagnetic shielding.
Fitting Redboxes
Redboxes can be xed to the underside of a mixing desk, or other surfaces using 4.2mm
holes in the sides and xed with 2 x M4 screws or 2 x No. 6 countersink wood screws.
Redbox User Handbook No 3
Page 13
SAFETY & INSTALLATION
INFORMATION
They can also be rack-mounted, with either the front, or rear of the Redbox positioned at the
front of the rack:
Front Mounting Redboxes: For rack mounting smaller (28cm) units the optional RB-RK1
(Red) or RB-RK1B (Black) kit can be used (which include 4 o M6 panel xing screws).
Fig D: RB-RK1Small Redbox Front Rack-mount Kit .
Wherever you see this symbol an RB-RK1 front panel rack kit can be used :
Rear Mounting Redboxes: For rear panel mounting you can use either the RB-RK2, or
RB-RK3, depending on the size of your Redbox.
RB-RK2 1U rear panel rack kit for small Redbox range, e.g., RB-BL2
Fig E: RB-RK2 Small Redbox Rear Rack-mount Kit.
e.g. for tting an RB-BL2:
SAFETY & INSTALLATION INFORMATION
Wherever you see this symbol an RB-RK2 small Redbox rear panel 19” rack kit can be used :
RB-RK3 1U rear panel rack kit for large Redbox range, e.g., RB-DA6
Fig F: RB-RK3 Large Redbox Rear Rack-mount Kit.
e.g. for tting an RB-DA6:
Wherever you see this symbol an RB-RK3 large Redbox rear panel 19” rack kit can be used :
Note: When tting the rear-mounting rack-kits, a notch has been
left on the inside of the right-hand rack-piece for the mains cable to
pass through. Make sure that the mains cable has been put through
the notch before attaching the right hand rack-piece.
Redbox User Handbook No 3
v
Page 14
SAFETY & INSTALLATION
INFORMATION
WEEE & RoHS Directives - Sonifex Statement
The Waste Electrical and Electronic Equipment (WEEE) Directive was agreed on
13 February 2003, along with the related Directive 2002/95/EC on Restrictions
of the use of certain Hazardous Substances in electrical and electronic
equipment (RoHS).
The Waste Electrical and Electronic Equipment Directive(WEEE) aims to minimise the
impacts of electrical and electronic equipment on the environment during their life times
and when they become waste. It applies to a huge spectrum of products. It encourages
and sets criteria for the collection, treatment, recycling and recovery of waste electrical and
electronic equipment. All products manufactured by Sonifex Ltd have the WEEE directive
label placed on the case. It gives a contact for individuals who are unsure about the correct
procedure when the product has reached its “end of use”.
Sonifex Ltd will be happy to give you information about local organisations that can
reprocess the products, or alternatively all products that have reached “end of use” can be
returned to Sonifex and will be reprocessed correctly free of charge.
Sonifex Ltd has phased out the use of certain hazardous substances identied in the
European Union’s Restriction of Hazardous Substances (RoHS) directive. The RoHS directive
limits the use of certain hazardous substances currently used in EEE manufacture, including
lead, mercury, cadmium, hexavalent chromium, and halide-containing compounds PBB
(polybrominated biphenyl) and PBDE (polybrominated diphenyl ether). Elimination of these
substances will result in more environmentally friendly recycling of electronic equipment.
For the products which Sonifex manufacture, the main area where products were aected
was in the use of lead for manufacturing and assembling electronics circuit boards.
Sonifex Ltd practices lead-free (LF) manufacturing processes. LF solder is used on the
surface-mount PCB manufacturing processes and for hand soldering. The printed circuit
boards (PCBs) used are either gold plated, or immersion tin plated, both of which use no
lead. Historically the PCBs were hot air solder levelled (HASL) PCBs which used tin/lead
based solder.
The manufacturing processes include the assembly of purchased components from various
sources. Product is oered as RoHS compliant, or LF, only after sucient evidence is received
SAFETY & INSTALLATION INFORMATION
from the component manufacturers that their components are RoHS compliant. Sonifex
Ltd relies solely on the distributor, or manufacturer, of the components for identication of
RoHS compliance. Thus whilst every eort is made to ensure compliance, Sonifex Ltd makes
no warranty, or certication, or declaration of compliance concerning said components.
Sonifex Ltd denes “Lead Free” as pertaining to any product, which has been manufactured
by Sonifex Ltd using components which have been declared by the manufacturers as
“Lead Free”. All statements by Sonifex Ltd of RoHS compliance are based on component
manufacturer documentation.
vi
Redbox User Handbook No 3
Page 15
MIXER & SOURCE SELECTORS
1 RB-SS10 10 Way Stereo Analogue Source Selector/Mixer
Introduction
Fig 1-1: RB-SS10 Front Panel.
The RB-SS10 10 Way Stereo Analogue Source Selector/Mixer is a 1U rack-mount unit that
produces a stereo analogue audio output from 10 selectable stereo analogue sources. There
are 10 illuminated front panel push buttons, which select and indicate the current channel
selection. The selection and indication is also available through a remote connector on the
rear panel. To stop accidental front panel selection there is a remote input to inhibit the
front panel buttons.
As well as being able to act as a source select module, the RB-SS10 can act as a mixer, by
enabling the mix mode (using the remote input).
The gain for left and right inputs can be individually adjusted by using the preset
potentiometers on the front panel.
As well as routing the selected audio signal, the unit will also route a remote signal input
through the remote connector to the selected input source, for starting external audio
equipment such as a CD player.
The front panel headphone output has its own volume control, which is independent of
the level adjustment for the main outputs, and has a maximum output level of +12dBu. The
volume control can be made to also alter the output level of the main XLR outputs by using
a switch on the rear panel to enable/disable this feature.
There is a designation strip on the front panel, useful for giving the buttons a meaningful
description. The strip covers the input gain controls so that once congured, they can’t
easily be altered – ideal for installation work.
The LED on the front panel is used to indicate that power is present on the unit.
1
MIXER & SOURCE SELECTORS - RB-SS10
Redbox User Handbook No 3
1
Page 16
1
MIXER & SOURCE SELECTORS
System Block Diagram
Inputs
L
1
R
Audio
Inputs
L
2
R
Audio
Inputs
3-6
Audio
Inputs
7-10
Fig 1-2: RB-SS10 System Block Diagram.
Remote
Start I/O
Input Gain
Stage
x10
R
L
Remote
Start In
Front Panel Indicators & Controls
Remote Select/
Switch Inputs
Front Panel
Inhibit
Analogue
Switches
Illuminated
Push Buttons
Mix Mode
MCU
Push Button
Switches
Outputs
Volume
L
R
Status
Outputs
Headphone
Outputs
Outputs
2
MIXER & SOURCE SELECTORS - RB-SS10
Fig 1-3: RB-SS10 Front Panel.
Power LED
Indication
Front Panel
Gain Controls
Underneath
Designation Strip
Headphone
Output
Illuminated Push Buttons
The front panel contains 10 illuminated push buttons, used for selecting an analogue
source. The push button illuminates when the input is selected. The status of pin 12 on the
remote connector determines whether the unit is in the selector mode, or the mix mode.
When pin 12 is connected to 0V, mix mode is enabled.
In selector mode, one push of a button will select the desired analogue stereo source and
pushing the button again will turn it o.
Redbox User Handbook No 3
Volume
Control
Page 17
MIXER & SOURCE SELECTORS
In mix mode, each button you press will select that source allowing multiple sources to be
mixed to a single output. Pressing the button again will switch o a source.
There is also a remote input to inhibit the front panel switches. When the front panel inhibit
is active, pressing the front panel switches has no eect on the current channel selection.
Front Panel Gain Controls
The input gain can be individually adjusted for left and right channels through pre-set
potentiometers which are accessible through the front panel. The gain range of the input is
-8dBu to +20dBu.
Headphone Output
The front panel headphone output is a ¼” stereo jack socket and is designed to drive
150mW into 32 - 600 professional headphones.
Volume Control
The volume control is used to alter the headphone output. It can also be used to alter the
main XLR output levels by using a rear panel switch to enable/disable the control.
Additional Modes
An option to set the unit in dierent modes of operation is available and can be congured
at anytime while the unit is powered.
There are currently three modes of operation: Alternate mode, Latched mode and Protected
Alternate mode: -
Alternate Mode
In this mode the channels are selected and deselected by a press of the button, as described
previously.
Latched Mode
In this mode the selected channel is active only while the button is pressed. As soon as
button is released the channel becomes inactive.
Protected Alternate Mode
Operates in a similar manner to the Alternate mode, but a channel cannot be turned o
unless switching to another input or while operating in mix-mode and there is more than
one channel active. In other words, there will always be a channel routed to the output.
NOTE: after setting this mode there will be no channel selected.
Conguring the Additional Modes
While the unit is powered, hold down the input 10 button and press the input 5 button
ve times. Once completed, the input 10 button will start to ash and the rst 3 input
buttons will display the current operating mode (as shown below). To change the mode,
simply press the input 10 and the buttons will indicate the newly selected mode. Once the
required operating mode has been set the unit will restart within ve seconds from the last
button press.
1
MIXER & SOURCE SELECTORS - RB-SS10
Redbox User Handbook No 3
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1
MIXER & SOURCE SELECTORS
INPUT 1 button on=Alternate mode
INPUT 2 button on=Latched mode
INPUT 3 button on=Protected Alternate mode
Rear Panel Connections and Operation
Master
Output
Control
OutputsInput 1Status
Fig 1-4: RB-SS10 Rear Panel.
Inputs
Two of the stereo analogue audio inputs are on XLR-3 pin sockets (female) so that they can
be used for equipment which you may want to plug/unplug on a regular basis and isn’t
pre-wired, e.g. portable recorders.
The four XLR-3 inputs can take balanced professional levels, or unbalanced by using the
front panel gain controls, and by connecting the non-phase to the signal ground. They have
the following connections:
Pin 1: Screen
Pin 2: Phase
Pin 3: Non-phase
Outputs
The two XLR 3 pin outputs are electronically balanced, and can be wired unbalanced. Each
MIXER & SOURCE SELECTORS - RB-SS10
output is individually buered so that a short circuit on one output will not aect the others.
They have the following connections:
Pin 1: Screen
Pin 2: Phase
Pin 3: Non-phase
Altering the Master Output Level
When the Output Level Control push-switch is Enabled (pushed in) on the rear panel, it
changes the functionality of the front panel volume control to also alter the level of the
master output, as well as the headphone volume.
Input 2
Additional
Audio Input
Connects
Remote Select/
Switch Inputs
Outputs
Remote
Start I/O
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Redbox User Handbook No 3
Page 19
MIXER & SOURCE SELECTORS
RB-SS10 Additional Audio Input Connectors
There are 2 o 25 way D-type sockets (female) used for the remaining audio inputs.
The INPUTS 3 - 6 (upper) connector contains analogue inputs 3-6, and the INPUTS 7 – 10
(lower) connector contains analogue inputs 7-10.
Pin 14IAudio input 3 left non-phaseAudio input 7 left non-phase
Pin 15IAudio input 3 right phaseAudio input 7 right phase
Pin 16-Chassis groundChassis ground
Pin 17IAudio input 4 left non-phaseAudio input 8 left non-phase
Pin 18IAudio input 4 right phaseAudio input 8 right phase
Pin 19-Chassis groundChassis ground
Pin 20IAudio input 5 left non-phaseAudio input 9 left non-phase
Pin 21IAudio input 5 right phaseAudio input 9 right phase
Pin 22-Chassis groundChassis ground
Pin 23IAudio input 6 left non-phaseAudio input 10 left non-phase
Pin 24IAudio input 6 right phaseAudio input 10 right phase
Pin 25-Chassis groundChassis ground
1
MIXER & SOURCE SELECTORS - RB-SS10
Fig 1-5: Analogue Audio Inputs Pin Connections
Redbox User Handbook No 3
5
Page 20
1
MIXER & SOURCE SELECTORS - RB-SS10
MIXER & SOURCE SELECTORS
RB-SS10 Remote Start I/O
This 25 way D-type plug (male) connector contains the remote start input connection and
the corresponding 10 opto-isolated remote start outputs. This is intended to be used as
a method for re-directing a remote start command using a single switch or mixer fader
start output, to selected equipment, i.e. CD player, or MD player, etc. This operates in both
selector mode and mix mode enabling a single switch to remotely control whichever source
is selected or mixed.
Pin No.I/ODescription
Pin 1OStart output 1 collector
Pin 2OStart output 2 collector
Pin 3OStart output 3 collector
Pin 4OStart output 4 collector
Pin 5OStart output 5 collector
Pin 6OStart output 6 collector
Pin 7OStart output 7 collector
Pin 8OStart output 8 collector
Pin 9OStart output 9 collector
Pin 10OStart output 10 collector
Pin 11-No internal connection
Pin 12-No internal connection
Pin 13IRemote start input signal
Pin 14OStart output 1 emitter
Pin 15OStart output 2 emitter
Pin 16OStart output 3 emitter
Pin 17OStart output 4 emitter
Pin 18OStart output 5 emitter
Pin 19OStart output 6 emitter
Pin 20OStart output 7 emitter
Pin 21OStart output 8 emitter
Pin 22OStart output 9 emitter
Pin 23OStart output 10 emitter
Pin 24-No internal connection
Pin 25-Signal ground
Fig 1-6: Remote Start Pin Connections.
6
Redbox User Handbook No 3
Page 21
MIXER & SOURCE SELECTORS
The collector connects to the start pin of the equipment, and the emitter connects to the
common pin of the equipment.
1
Start Output
Collector 1 to 10
(Pins 1 to 10)
Start Output
Emitter 1 to 10
(Pins 14 to 23)
Fig 1-7: Connection Example.
Remote Select/Switch Inputs
This 25 way D-type socket (female) connector contains the front panel inhibit input
connection and the remote switch inputs to control the channel selection.
Pin No.I/ODescription
Pin 1IRemote input 1 – active low to ground
Pin 2IRemote input 2 – active low to ground
Pin 3IRemote input 3 – active low to ground
Pin 4IRemote input 4 – active low to ground
Pin 5IRemote input 5 – active low to ground
Pin 6IRemote input 6 – active low to ground
Pin 7IRemote input 7 – active low to ground
Pin 8IRemote input 8 – active low to ground
Pin 9IRemote input 9 – active low to ground
Pin 10IRemote input 10 – active low to ground
Pin 11IFront panel inhibit signal – active low to ground
Pin 12IMix Mode – active low to ground
Pin 13-No internal connection
Pins 14 to 25-Signal ground
Play
Command
Command
Common
MIXER & SOURCE SELECTORS - RB-SS10
Fig 1-8: Remote Select/Switch Input Connections.
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MIXER & SOURCE SELECTORS - RB-SS10
MIXER & SOURCE SELECTORS
All of the active low signals have internal pull-ups.
Remote Inputs 1 to 10
Front Panel Inhibit Mix Mode
(Pins 1 to 12)
Signal Ground
(Pins 14 to 24)
Fig 1-9: Connection Example.
Status Outputs
This 25 way D-type socket (female) connector contains the remote status tallies.
Pin No.Signal NameI/ODescription
Pin 1REMTALLY1OInternal open collector to ground for output 1
Pin 2REMTALLY2OInternal open collector to ground for output 2
Pin 3REMTALLY3OInternal open collector to ground for output 3
Pin 4REMTALLY4OInternal open collector to ground for output 4
Pin 5REMTALLY5OInternal open collector to ground for output 5
Pin 6REMTALLY6OInternal open collector to ground for output 6
Pin 7REMTALLY7OInternal open collector to ground for output 7
Pin 8REMTALLY8OInternal open collector to ground for output 8
Pin 9REMTALLY9OInternal open collector to ground for output 9
Pin 10REMTALLY10OInternal open collector to ground for output 10
Pin 11N/C-No internal connection
Pin 12N/C-No internal connection
Pin 13GND-Signal ground
Pins 14 to 23+5VOTo supply up to a maximum of 500mA
Pin 24N/C-No internal connection
Pin 25N/C-No internal connection
Fig 1-10: Status Output Pin Connections.
Pins 1 to 10 are to replicate the front panel push button indicators and have a maximum
sink current of 100mA per pin. An example of how to connect the signals is shown below.
Pins 11, 12, 24 and 25 have no connection inside the unit.
8
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+5V
(Pins 14 to 23)
Remote Tally 1 to 10
(Pins 1 to 10)
Fig 1-11: Connection Example.
MIXER & SOURCE SELECTORS
1
Technical Specications RB-SS10
Audio Specications
Input Impedance: 20k bridging
Output Impedance: <50
Maximum Input Level: +28dBu
Maximum Output Level: +28dBu
Frequency Response: 20Hz to 20kHz ±0.1dB (600 load, ref 1kHz)
Input Gain Range: Adjustable 8dB loss to 20dB gain (L & R adjust).
Common Mode Rejection: >66dB typically
Noise: -96dB unity gain ref +8dBu
Max Headphone Output Level: +12dBu
Connections
Inputs: 4 x XLR 3 pin female (2 x stereo) (balanced, can be
unbalanced)
2 x 25 way D-type socket (female) (4 stereo balanced
channels on each)
Outputs: 2 x XLR 3 pin male (stereo balanced, can be unbalanced)
Remote Start I/O: 25 way D-type plug (male)
Remote Select/ Switch Inputs: 25 way D-type socket (female)
The RB-DSS10 10 Way stereo Digital Source Selector is a 1U rack-mount which produces
an AES/EBU and S/PDIF level digital audio output from 10 selectable AES/EBU or S/PDIF
digital input signals. There are 10 illuminated front panel push buttons, which select and
indicate the current channel selection. The selection and indication is also available through
a remote connector on the rear panel. To stop accidental front panel selection there is a
remote input to inhibit the front panel buttons.
The digital receivers in this unit are fully 24 bit, 96kHz capable. When an input is selected
from the front panel, or remotely, the unit will attempt to capture the incoming signal
on either the AES/EBU or the S/PDIF signal inputs, with priority given to the AES/EBU
input. If the AES/EBU signal becomes locked while the S/PDIF signal is routed, the unit will
automatically switch to the incoming AES/EBU signal.
Once the receiver has successfully locked to a digital input, the LED illuminates, the tally
is made, and the audio is routed simultaneously to both the digital audio outputs and
converted to analogue audio for monitoring on the front panel headphone socket. If the
incoming audio signal is not present, the push button LED and remote tally ash to indicate
that the incoming digital signal is missing.
The headphone output has its own volume control, which is independent of the level
adjustment for the main outputs, and has a maximum output level of +12dBu.
As well as routing the selected audio signal, the unit will also route a remote signal input
through the remote connector to the selected input source, for starting external audio
equipment, such as a CD player.
There is a designation strip on the front panel, useful for giving the buttons a meaningful
description.
The LED on the front panel is used to indicate that power is present on the unit. However, it
also has a secondary role to indicate whether the selected channel is routing the AES/EBU
(red LED) or S/PDIF input (amber LED).
2
MIXER & SOURCE SELECTORS - RB-DSS10
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MIXER & SOURCE SELECTORS
System Block Diagram
Remote Start I/O
Remote
Start In
Inputs
AES/
EBU
S/PDIF
S/PDIF
Output
Fig 2-2: RB-DSS10 System Block Diagram.
Data
Selector
AES
Receiver
AES
Receiver
Front Panel Indicators & Controls
Data
Selector
Remote Select/
Switch Inputs
MCU
DAC
AES
Transmitter
Illuminated
Push Buttons
Push Button
Switches
Data
Selector
Volume
Control
Outputs
Status
Outputs
Headphone
Output
AES/
EBU
12
MIXER & SOURCE SELECTORS - RB-DSS10
Power LED
Indication
Fig 2-3: RB-DSS10 Front Panel.
Headphone
Output
Power Indicator
The LED on the front panel is used to indicate that power is present on the unit. However, it
also has a secondary role to indicate whether the selected channel is routing the AES/EBU or
S/PDIF input:
Red indicates AES/EBU input.
Amber indicates S/PDIF input.
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Volume
Control
Page 27
MIXER & SOURCE SELECTORS
The LED and remote tally ash, if the incoming audio signal is not present, to indicate that
the incoming digital signal is missing.
Illuminated Push Buttons
The front panel contains 10 illuminated push buttons, used for selecting a digital source.
The push button illuminates when the input is selected and ashes when the selected input
loses lock.
There is also a remote input to inhibit the front panel switches. When the front panel inhibit
is active, pressing the front panel switches has no eect on the current channel selection.
Headphone Output
The output available on the front panel through a ¼” stereo jack socket, is designed to drive
150 mW into 32to 600 professional headphones.
Volume Control
The headphone output has its own volume control and has a maximum output level of
+12dBu.
Additional Modes
An option to set the unit in dierent modes of operation is available and can be congured
at anytime while the unit is powered.
There are currently three modes of operation: Alternate mode, Latched mode and Protected
Alternate mode: -
Alternate Mode
In this mode the channels are selected and deselected by a press of the button, as described
previously.
Latched Mode
In this mode the selected channel is active only while the button is pressed. As soon as
button is released the channel becomes inactive.
Protected Alternate Mode
Operates in a similar manner to the Alternate mode, but a channel cannot be turned o
unless switching to another input. In other words, there will always be a channel routed to
the output. NOTE: after setting this mode there will be no channel selected.
2
MIXER & SOURCE SELECTORS - RB-DSS10
Select & Conrm Mode
In this mode, input button 10 acts as a CONFIRM button for input selection 1 to 9. Once one
of the inputs is pressed, this selection will then ash along with button 10. You must press
button 10 within 5 seconds to conrm the selection or the original input selection times out.
Only inputs 1 to 9 are selectable and there is always an input channel routed in this mode.
NOTE: Initially, after setting this mode there will be no input selected.
Conguring the Additional Modes
While the unit is powered, hold down the input 10 button and press the input 5 button
ve times. Once completed, the input 10 button will start to ash and the rst 3 input
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MIXER & SOURCE SELECTORS
buttons will display the current operating mode (as shown below). To change the mode,
simply press the input 10 and the buttons will indicate the newly selected mode. Once the
required operating mode has been set the unit will restart within ve seconds from the last
button press.
INPUT 1 button on=Alternate mode
INPUT 2 button on=Latched mode
INPUT 3 button on=Protected Alternate mode
INPUT 4 button on=Select & Conrm mode
Rear Panel Connections and Operation
AES/EBU
Inputs
Remote
Start I/O
AES/EBU
Output
Remote Select/
Switch Inputs
14
Digital Audio
Inputs & S/PDIF
Output
Fig 2-4: RB-DSS10 Rear Panel.
RB-DSS10 Inputs
AES/EBU Inputs
The 8 digital input XLR 3 pin sockets have an impedance of 110. They have the following
connections:
Pin 1: Screen
Pin 2: Phase
Pin 3: Non-phase
MIXER & SOURCE SELECTORS - RB-DSS10
The signals on this connector should meet the IEC 60968 specication
RB-DSS10 Outputs
AES/EBU Outputs
The digital output XLR 3 pin socket has an impedance of 110. It has the following
connections:
Pin 1: Screen
Pin 2: Phase
Pin 3: Non-phase
The signals on these connectors will comply with the IEC 60968 specication
Status
Outputs
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MIXER & SOURCE SELECTORS
Digital Audio Inputs & S/PDIF Output
This connector contains the other two remaining professional AES/EBU input connections,
and the 10 S/PDIF input connections. It also has the S/PDIF digital output. The S/PDIF
digital inputs and the output have an impedance of 75.
Pin No.I/ODescription
Pin 1IAES/EBU input 9 signal phase
Pin 2-Signal ground
Pin 3IAES/EBU input 10 signal non-phase
Pin 4IS/PDIF input 1 signal
Pin 5IS/PDIF input 2 signal
Pin 6IS/PDIF input 3 signal
Pin 7IS/PDIF input 4 signal
Pin 8IS/PDIF input 5 signal
Pin 9IS/PDIF input 6 signal
Pin 10IS/PDIF input 7 signal
Pin 11IS/PDIF input 8 signal
Pin 12IS/PDIF input 9 signal
Pin 13IS/PDIF input 10 signal
Pin 14IAES/EBU input 9 signal non-phase
Pin 15IAES/EBU input 10 signal phase
Pins 16 to 23-Signal ground
Pin 24OS/PDIF output signal
Pin 25-Signal ground
2
MIXER & SOURCE SELECTORS - RB-DSS10
Fig 2-5: Digital Audio Inputs and S/PDIF Output Pin Connections.
Note: The actual phase of the AES/EBU signals is not relevant.
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MIXER & SOURCE SELECTORS - RB-DSS10
MIXER & SOURCE SELECTORS
Remote Start I/O
This 25 way D-type plug (male) connector contains the remote start input connection and
the corresponding 10 opto-isolated remote start outputs.
Pin No.I/ODescription
Pin 1OStart output 1 collector
Pin 2OStart output 2 collector
Pin 3OStart output 3 collector
Pin 4OStart output 4 collector
Pin 5OStart output 5 collector
Pin 6OStart output 6 collector
Pin 7OStart output 7 collector
Pin 8OStart output 8 collector
Pin 9OStart output 9 collector
Pin 10OStart output 10 collector
Pin 11-No internal connection
Pin 12-No internal connection
Pin 13IRemote start input signal
Pin 14OStart output 1 emitter
Pin 15OStart output 2 emitter
Pin 16OStart output 3 emitter
Pin 17OStart output 4 emitter
Pin 18OStart output 5 emitter
Pin 19OStart output 6 emitter
Pin 20OStart output 7 emitter
Pin 21OStart output 8 emitter
Pin 22OStart output 9 emitter
Pin 23OStart output 10 emitter
Pin 24-No internal connection
Pin 25-Signal ground
16
Fig 2-6: Remote Start Pin Connections.
These signals should be connected to external equipment, such as a CD player (as shown
following). The collector connects to the start pin of the equipment, and the emitter
connects to the common pin of the equipment.
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MIXER & SOURCE SELECTORS
2
Start Output
Collector 1 to 10
(Pins 1 to 10)
Start Output
Emitter 1 to 10
(Pins 14 to 23)
Fig 2-7: Connection Example.
Remote Select/Switch Inputs
This 25 way D-type socket (female) connector contains the front panel inhibit input
connection and the remote switch inputs to control the channel selection.
Pin No.I/ODescription
Pin 1IRemote input 1 – active low
Pin 2IRemote input 2 – active low
Pin 3IRemote input 3 – active low
Pin 4IRemote input 4 – active low
Pin 5IRemote input 5 – active low
Pin 6IRemote input 6 – active low
Pin 7IRemote input 7 – active low
Pin 8IRemote input 8 – active low
Pin 9IRemote input 9 – active low
Pin 10IRemote input 10 – active low
Pin 11IFront panel inhibit signal – active low
Pin 12-No internal connection
Pin 13-No internal connection
Pins 14 to 24-Signal ground
Pin 25-No internal connection
Fig 2-8: Remote Select/Switch Input Connections.
Play
Command
Command
Common
MIXER & SOURCE SELECTORS - RB-DSS10
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MIXER & SOURCE SELECTORS
Status Outputs
This 25 way D-type socket (female) connector contains the remote status tallies.
Pin No.Signal NameI/ODescription
Pin 1REMTALLY1OInternal open collector to ground for output 1
Pin 2REMTALLY2OInternal open collector to ground for output 2
Pin 3REMTALLY3OInternal open collector to ground for output 3
Pin 4REMTALLY4OInternal open collector to ground for output 4
Pin 5REMTALLY5OInternal open collector to ground for output 5
Pin 6REMTALLY6OInternal open collector to ground for output 6
Pin 7REMTALLY7OInternal open collector to ground for output 7
Pin 8REMTALLY8OInternal open collector to ground for output 8
Pin 9REMTALLY9OInternal open collector to ground for output 9
Pin 10REMTALLY10OInternal open collector to ground for output 10
Pin 11N/C-No internal connection
Pin 12N/C-No internal connection
Pin 13GND-Signal ground
Pins 14 to 23+5VOTo supply up to a maximum of 100mA
Pin 24N/C-No internal connection
Pin 25N/C-No internal connection
18
Fig 2-9: Status Output Pin Connections.
Pins 1 to 10 are to replicate the front panel push button indicators. An example of how to
connect the signals is shown below.
Pins 11, 12, 24 and 25 have no connection inside the unit.
MIXER & SOURCE SELECTORS - RB-SS10
+5V
(Pins 14 to 23)
Remote Tally 1 to 10
(Pins 1 to 10)
Fig 2-10: Connection Example.
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MIXER & SOURCE SELECTORS
Technical Specications RB-DSS10
Audio Specications
Input Impedance: 110 ±20% balanced (AES/EBU)
Input Impedance: 75 ±5% unbalanced (S/PDIF)
Output Impedance: 110 ±20% balanced (AES/EBU)
Output Impedance: 75 ±5% unbalanced (S/PDIF)
Signal Level: 3V/10V peak to peak min/max (AES/EBU)
0.5V ±20% peak to peak (S/PDIF)
Sample Freq Range: 30-100kHz (i.e. including 32kHz, 44.1kHz, 48kHz, 64kHz,
88.2kHz and 96kHz), following input signal
Bit Depth: 16 - 24 bits, following input signal
Max Headphone Output Level: +12dBu
Audio Connections
Audio Inputs: 8 x AES/EBU XLR 3 pin female
2 x AES/EBU (part of 1 x 25 way D-type plug)
10 x S/PDIF (part of 1 x 25 way D-type plug)
Audio Outputs: 1 x AES/EBU XLR 3 pin male
1 x S/PDIF (part of 1 x 25 way D-type plug)
2
MIXER & SOURCE SELECTORS - RB-DSS10
Other Connections
Remote Start I/O: 1 x 25 way D-type plug (male)
Remote Input Select
& Switch Inputs: 1 x 25 way D-type socket (female)
The RB-PMX4 is a high performance 10 mono input to 4 mono output preset mixer. Each of
the four outputs has a 10 way DIP switch associated with it to select which of the 10 inputs
are routed to it. So, by altering the DIP switches, any of the input sources can be mixed to
any of the outputs. The DIP switches are enclosed by a screw-on cover on the front panel so
that the settings can not be accidentally changed for secure applications.
The RB-PMX4 has been designed for situations where a small mixer is needed for
installations where it will be congured and then only altered occasionally, or never altered.
Uses for this product are numerous including a four bus mini-mixer, a 4 zone mixer for pubs
and clubs, a multiple clean-feed generator and a quad stereo to mono converter to name
a few.
The XLR-3 inputs and outputs are electronically balanced and can be wired unbalanced.
Each output is individually buered so that a short circuit on one won’t aect the others.
Each input has its own gain control which is a pre-set potentiometer accessible through the
front panel. This provides gain adjustment of -8dB to 18db. This is useful for normalizing
consumer and professional signals to give outputs of -15dBu and 0dBu respectively.
The front panel is held on by 2 o M3 x 6 stainless steel dome-head screws and can be
removed using a 2mm AF hex key (allen key). Each 10-way switch represents an output and
the individual switches represent the inputs that will be mixed to that output. Switches are
in the ON (down) position to be mixed and the OFF (up) position for o.
The XLR-3 outputs are electronically balanced and can be wired unbalanced. Each output is
individually buered so that a short circuit on one won’t aect the others.
An LED power indicator on the front panel displays the power supply connection.
3
MIXER & SOURCE SELECTORS - RB-PMX4
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MIXER & SOURCE SELECTORS
System Block Diagram
Balanced XLR
Input 1
Balanced XLR
Input 2
Balanced XLR
Input 3
Balanced XLR
Input 4
Balanced XLR
Input 5
Balanced XLR
Input 6
Balanced XLR
Input 7
Balanced XLR
Input 8
Balanced XLR
Input 9
Balanced XLR
Input 10
Gain
Gain
Gain
Gain
Gain
Gain
Gain
Gain
Gain
Gain
Output 1
Switch Bank
Output 3
Switch Bank
Balanced XLR
Output 1
Balanced XLR
Output 3
Output 2
Switch Bank
Output 4
Switch Bank
Balanced XLR
Output 2
Balanced XLR
Output 4
22
Fig 3-2: RB-PMX4 Block Diagram.
Rear Panel Connections and Operation
MIXER & SOURCE SELECTORS - RB-PMX4
Fig 3-3: RB-PMX4 Rear Panel.
InputsOutputs
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MIXER & SOURCE SELECTORS
Inputs 1-10
The XLR-3 input sockets can take balanced professional levels, or unbalanced by using the
front panel gain controls, and by connecting the non-phase to the signal ground screen. The
XLR 3 pin input has the following connections:
Pin 1: Screen
Pin 2: Phase
Pin 3: Non-phase
Outputs 1-4
The XLR 3 pin output plugs are electronically balanced, and can be wired unbalanced. Each
output is individually buered so that a short circuit on one output will not aect the others.
They have the following connections:
Pin 1: Screen
Pin 2: Phase
Pin 3: Non-phase
Front Panel Controls
INPUT LEVEL
3
1210987654
3
MIXER & SOURCE SELECTORS - RB-PMX4
Input Gain ControlsSwitch Banks
Fig 3-4: RB-PMX4 Front Panel Controls.
Switch Banks
There are 4 o 10-way switch banks, one for each output. Using these switches, each
input channel can be individually selected to each output. When the switches are up (OFF)
position, they are o and mixed when in the down (ON) position.
Input Gain Controls
The gain for each input may be individually varied from –8dB to 18dB by adjusting
the pre-set potentiometers, which are accessible through the holes in the front panel.
This is useful for normalising consumer and professional signals to give outputs of –15dBu
and 0dBu respectively.
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MIXER & SOURCE SELECTORS
Technical Specications RB-PMX4
Audio Specications
Maximum Input Level: +28dBu
Input Impedance: >20k balanced bridging
Maximum Output Level: +28dBu
Output Impedance: <50
Frequency Response: 20Hz to 20kHz ±0.1dBu (600 load, @ 1kHz)
Input Gain Range: Adjustable 8dBu loss to 18dBu gain.
Common Mode Rejection: >60dBu typically
O-isolation/Crosstalk: >90dBu @ 1kHz
Noise: -86dBu RMS 22Hz-22kHz, unity gain, ref +8dB
Distortion: <0.01% @ 1kHz, 0dBu to +26dBu
Connections
Inputs: 10 x XLR 3 pin female (Balanced, can be unbalanced)
Outputs: 4 x XLR 3 pin male (Balanced, can be unbalanced)
Mains Input: Filtered IEC, 110V-120V, or 220-240V switchable, fused,
6W maximum
Fuse Rating: Anti-surge fuse 100mA 20 x 5mm (230VAC)
Anti-surge fuse 250mA 20 x 5mm (115VAC)
24
Equipment Type
RB-PMX4: 10 input, 4 output analogue preset mixer
MIXER & SOURCE SELECTORS - RB-PMX4
Physical Specications
Dimensions (Raw): 48cm (W) x 10.8cm (D) x 4.2cm (H) (1U)
19” (W) x 4.3” (D) x 1.7” (H) (1U)
Dimensions (Boxed): 53cm (W) x 20.5cm (D) x 6cm (H)
21” (W) x 8” (D) x 2.4” (H)
4 RB-SSML1 Mic/Line Source Selector with Compressor Limiter
4
Introduction
Line
Mic
Volume
Select Switch
Fig 4-1: RB-SSML1 Front Panel.
The RB-SSML1 is a 1U rack-mountable source selector for compressing or limiting an
incoming microphone or stereo line signal and mixing this signal with a stereo monitor
input, which can then be metered and mixed to two headphone outputs. The unit is mainly
used in situations where level control is required, for example in voiceover applications.
The mic input consists of an independent low-noise microphone pre-amplier for
converting microphone level signals to a line level. There are independent switches to
control a high pass lter (low frequency roll-o at 125Hz) and to provide phantom power at
+48V to the connected microphone. A preset pot on the rear panel allows adjustment of the
mic gain from 36dB to 75dB.
A front panel switch selects between mic and line inputs. Both mic and line inputs have fully
adjustable volume control via front panel pots, with the line input having an additional 10dB
gain increase via a switch on the rear panel for use with unbalanced equipment. The mono
mic input is converted to a stereo signal before being passed to the compressor/limiter.
The XLR-3 stereo monitor input has an adjustable volume control via a back panel recessed
pot, and has an additional 10dB gain increase via a switch on the rear panel, for use with
unbalanced equipment. The audio on this input is only present on the headphone outputs,
and is therefore suitable as a return feed from a codec, a PC audio output, or similar
equipment.
The compression ratio and threshold limits of the compressor/limiter section are fully
adjustable via linear pots situated on the front panel. The threshold can be set between
-30dBu and +20dBu. When the input signal rises above the threshold level a soft-knee
compression is applied at the selected ratio. The compressor has an attack time of
approximately 20ms and a release time of approx 400ms, and can operate at ratios of 1:1
(no compression) to ∞:1 (limiting). A front panel BYPASS switch can be used, where no
compression is applied. A rear-panel DIPswitch allows compression only to be applied to the
mic input and not the stereo line input.
Volume
Mic/Line
Bypass
Switch
LED Metering
Threshold
Control
Compression
Control
Headphone
Outputs
Headphone
Volume
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MIXER & SOURCE SELECTORS
The metering is carried out after the compressor/limiter section and consists of two rows
of 12 round LEDs showing levels between -17dB and +11dB. An internal jumper allows the
metering to follow either the stereo output, or the headphone monitor outputs and a rear
panel DIPswitch can disable the peak hold display.
The XLR-3 stereo line output can be fed from either the mic or line input, but not the stereo
monitor input. The line output is electronically balanced and can be wired unbalanced
by grounding the non-phase signal, allowing you to feed both balanced and unbalanced
equipment. A pushbutton switch is provided to reduce the output by 10dB for this purpose.
The headphone output volume control is on the front panel. Each headphone output is
designed to drive 150 mW into 32 to 600 stereo headphones.
An LED power indicator on the front panel displays the power supply connection.
System Block Diagram
Phantom
Power (48V)
Fixed Gain
Stereo
Line
Fixed Gain
Fixed Gain
Stereo
Monitor
Fixed Gain
Fig 4-2: RB-SSML1 Block Diagram.
Rear Panel Connections
Stereo
MIXER & SOURCE SELECTORS - RB-SSML1
Monitor
Inputs
Monitor
Gain Pad
Fig 4-3: RB-SSML1 Rear Panel.
Mic
Gain
Phantom
On/Off
L
R
L
R
Monitor
Volume
L.F. Filter
L.F. Filter
In/Out
Option
Switches
Mic.
Volume
Line Volume L
Line Volume R
Line Volume L
Line Volume R
Mic
Input
Mic
Gain
Threshold
Compression
Compressor
Stereo Line
Inputs
Stereo Line
Gain Pad
Analogue
Switch
Controls
M
M
Stereo Output
Gain Pad
Fixed
Gain
Jumper
Jumper
Volume
Audio Output
Amplifier
Stereo
Outputs
Fixed
Gain
Stereo
Output
LED Level
Meter Drivers
Peak
Hold
On/Off
Stereo Jack
Output
Stereo Jack
Output
26
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MIXER & SOURCE SELECTORS
Stereo Monitor Inputs
The 2 x XLR 3 pin sockets used for the monitor input are electronically balanced. They have
the following connections:
Pin 1: Screen
Pin 2: Phase
Pin 3: Non-phase
Note: The monitor input can not be mixed to the stereo line output, it is only used for
headphone monitoring.
Stereo Monitor Pad & Volume Control
A 10dB gain pad is available by depressing the rear panel switch, for handling connection
from unbalanced outputs. A MONITOR VOLUME control is available as a pre-set
potentiometer, located on the back panel. The monitor input channel with the volume
control fully up, has a gain of +6dB.
Mic Input
The XLR 3 pin socket used for the microphone is electronically balanced. It has the following
connections:
Pin 1: Screen
Pin 2: Phase
Pin 3: Non-phase
Mic Input Gain
A recessed GAIN pre-set potentiometer allows for adjustment of the gain of the microphone
input. This provides a gain range of 36dB to 75dB which enables the use of dynamic and
powered microphones. Connect the mic input and adjust the gain until the line output is at
the required level. The front panel MIC VOLUME reduces the volume to –80dB.
Using Phantom Powered Microphones
For the microphone input channel there is a switch to provide phantom power at +48V to
the connected microphone. With phantom power selected, a voltage of +48V is applied to
pins 2 and 3 of the XLR connector to power the microphone, supplied through 6k8 resistors
giving a current of 14mA. Phantom power is enabled when the switch is pointing towards
the arrow.
4
MIXER & SOURCE SELECTORS - RB-SSML1
OnOff
1 Low Frequency (LF) Filter
2 Phantom Power
123
OnOn
Fig 4-4: DIP Switch to Control Mic & Meter Features.
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3 Compress In Mic Mode Only
4 LED Meter Peak Hold
27
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4
MIXER & SOURCE SELECTORS - RB-SSML1
MIXER & SOURCE SELECTORS
Using the LF Filter
This switch provides control for a high pass lter on the mic input with low frequency roll
o at 125Hz. The roll-o lter is in circuit when the switch is down (towards the arrow).
Compression Active on Mic Input Only
With this feature enabled, the compressor/limiter will only operate when the microphone
input is selected. This mode becomes active when switch 3 is down (towards the arrow).
Peak Hold Disabled on LED Meter
By default, the LED meter operates with peak hold active on the top 5 segments. This can be
disabled by moving switch 4 to the up position (towards the arrow).
Stereo Line Input
The 2 x XLR 3 pin sockets used for the line input are electronically balanced. They have the
following connections:
Pin 1: Screen
Pin 2: Phase
Pin 3: Non-phase
Stereo Input Gain Pad
The line input channel with the volume control fully up, has a gain of +6dB. An extra 10dB of
gain is available by depressing the rear panel INPUT LEVEL switch. The LINE VOLUME control
is located on the front panel.
Stereo Line Output
The XLR 3 pin plug output connectors are electronically balanced and can be wired
unbalanced by grounding the non-phase signal, allowing you to feed balanced and
unbalanced equipment. They have the following connections:
Pin 1: Screen
Pin 2: Phase
Pin 3: Non-phase
The connector provides a line level output with an impedance of <50 and a maximum
output level of +28dBu.
Stereo Output Gain Pad
The output gain switch provides a 10dB drop in gain.
Front Panel Controls
Mic
Volume
Line
Volume
LED Metering
Threshold
Control
Headphone
Outputs
28
Fig 4-5: RB-SSML1 Front Panel.
Mic/Line
Select Switch
Bypass
Switch
Compression
Control
Headphone
Volume
Redbox User Handbook No 3
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MIXER & SOURCE SELECTORS
Mic & Line Volume Controls
The front panel MIC VOLUME reduces the volume to –80dB. The line input
channel with the LINE VOLUME control fully up, has a gain of +6dB.
Mic/Line Select Switch
To select between microphone or stereo line inputs, use the Mic/Line select switch; stereo
line is in the up position.
Bypass Button
The compressor/limiter section of the product can be switched in and out by using the
BYPASS button.
Applying Compression
Compression is applied by setting a threshold at which the compressor begins to operate,
and a compression ratio to which all audio above the threshold will be compressed. To
enable the compressor, release the unit from bypass mode (ensure the bypass LED is o).
The compression ratio and threshold limits of the compressor/limiter section are fully
adjustable via the COMPRESSION and THRESHOLD linear pots situated on the front panel.
The threshold can be set between -30dBu and +20dBu. When the input signal rises above
the threshold level a soft-knee compression is applied at the selected ratio. The compressor
has an attack time of approximately 20ms and a release time of approx 400ms, and can
operate at ratios of 1:1 (no compression) to ∞:1 (limiting).
The compressor is temperature sensitive and in cold conditions may take a short time for the
threshold levels to settle. In any case you should always allow the unit to fully come to its
normal operating temperature before setting the threshold level.
LED Metering
The metering is carried out after the compressor/limiter section and consists of two rows of
12 round LEDs showing levels between -17dB and +11dB.
The LED meter source can be set to either the output, or a mix of the output and the
monitor input (i.e. the audio present on the headphones). The default setting is a mix of the
output and monitor input. This can be changed by altering the setting of jumpers J1 and J2
inside the unit.
Position A: Meter a mix of output and monitor input.
Position B: Meter output only.
Headphone Outputs
There are two ¼” stereo jack headphone sockets, with a headphone output volume control
which controls the volume for both outputs. Each headphone output is designed to drive
150mW into 32 to 600 stereo headphones.
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MIXER & SOURCE SELECTORS - RB-SSML1
MIXER & SOURCE SELECTORS
Technical Specications RB-SSML1
Audio Specications (Bypass Mode)
Maximum Input Level: -10dBu (mic), +28dBu (line), electronically balanced
Input Impedance: 20k nominal balanced
Maximum Output Level: +28dBu
Output Impedance: <50
Headphone Output Level: Drives 150mW into 32 to 600 headphones
Low Frequency Roll-O: 125Hz @ 6dB/octave
Gain Range (mic): Adjustable 36dB to 75dB gain (-80dB volume min.)
Volume Control (line): -80dB to +6dB gain (+16dB with additional input gain)
E.I.N: 130dB
Distortion: <0.02% THD @ 1kHz, ref +8dBu output
Common Mode Rejection: >66dB typically
Phantom Power: 48V
Frequency Response: 20Hz to 20kHz ±0.3dB (600 load, ref 1kHz)
Connections
Mic Input: 1 x XLR 3 pin female (Balanced)
Stereo Line Input: 2 x XLR 3 pin female (Balanced, can be unbalanced)
Stereo Monitor Input: 2 x XLR 3 pin female (Balanced, can be unbalanced)
Stereo Output: 2 x XLR 3 pin male (Balanced, can be unbalanced)
Headphone Outputs: 2 x ¼” (6.35mm) A/B gauge 3-pole stereo jack sockets
Mains Input: Filtered IEC, 110V-120V, or 220-240V switchable, fused,
9W maximum
Fuse Rating: Anti-surge fuse 100mA 20 x 5mm (230VAC)
Anti-surge fuse 250mA 20 x 5mm (115VAC)
Equipment Type
RB-SSML1: Mic/Line source selector with compressor limiter
30
Physical Specications
Dimensions (Raw): 48cm (W) x 10.8cm (D) x 4.2cm (H) (1U)
19” (W) x 4.3” (D) x 1.7” (H) (1U)
Dimensions (Boxed): 53cm (W) x 20.5cm (D) x 6cm (H)
21” (W) x 8” (D) x 2.4” (H)
5 RB-MA1 Single & RB-MA2 Dual Microphone Ampliers
Introduction
5
Fig 5-1: RB-MA1 & RB-MA2 Front Panel.
The RB-MA1 consists of an independent low-noise microphone pre-amplier for converting
microphone level signals to line level, or for driving long lines from microphones to mixing
equipment. The RB-MA2 dual microphone amplier consists of two low noise pre ampliers.
All connections and controls are on the rear panel. The microphone input is XLR-3 type and
is electronically balanced. The input gain can be adjusted individually by a recessed pre-set
potentiometer.
The XLR-3 line output is electronically balanced and can be wired unbalanced by grounding
the non-phase signal, allowing you to feed both balanced and unbalanced equipment.
For each channel there are independent switches to control a high pass lter (low frequency
roll-o at 125Hz) and to provide phantom power at +48V to the connected microphone. An
LED power indicator on the front panel displays the power supply connection.
The rest of this chapter will refer to both RB-MA1 and RB-MA2 unless stated otherwise.
Fig 5-2: RB-MA1 & RB-MA2 Block Diagram Single Channel.
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MICROPHONE AMPLIFIERS
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Rear Panel Connections and Operation
Phantom powerInput Gain
Control
Mic InputLF FilterOutput
Fig 5-3: RB-MA1 Rear Panel.
Input Gain
Control
Mic Input
Fig 5-4: RB-MA2 Rear Panel.
Mic Inputs
The XLR 3 pin sockets used for the microphone are electronically balanced. They have the
following connections:
Pin 1: Screen
Pin 2: Phase
Pin 3: Non-phase
Input Gain
Recessed pre-set potentiometers allow for adjustment of the gain of the microphone
inputs. This provides a gain range of 36dB to 75dB which enables the use of dynamic and
powered microphones. Connect the mic input and adjust the gain until the line output is at
the level that you need.
Fig 5-5: Switch to Control LF Filter and Phantom Power.
Using Phantom Powered Microphones
For the input channel there are independent switches to provide phantom power at +48V
to the connected microphones. With phantom power selected, a voltage of +48V is applied
to pins 2 and 3 of the XLR connector to power the microphone, supplied through 6k8
resistors giving a current of 14mA. Phantom power is used when the switch is pointing
towards the arrow.
Using the LF Filter
A switch also provides control for a high pass lter with low frequency roll o at 125Hz. The
lter is in when the switch is in the down position (towards the arrow).
Output
The XLR 3 pin plug output connector is electronically balanced and can be wired
unbalanced by grounding the non-phase signal, allowing you to feed balanced and
unbalanced equipment. It has the following connections:
Pin 1: Screen
Pin 2: Phase
Pin 3: Non-phase
The connector provides a line level output with an impedance of <50 and a maximum
output level of +28dBu.
The RB-DMA2 consists of two independent low-noise microphone preampliers for converting microphone level signals to digital AES/EBU,
or S/PDIF, and analogue line level outputs. The RB-DMA2 can be used
as a front end for digital mixing desks or routers, which do not have
microphone inputs. The analogue outputs can be used for routing to
talkback systems.
The microphone inputs are XLR-3 type and are electronically balanced. The input gain for
each input can be adjusted individually by coarse and ne gain controls on the front panel
and each input has a level indicator. Additionally the ne gain control knob can be disabled
by internal jumpers. A switch on the rear panel allows input 1 to be routed to both left and
right digital outputs, or as input 1 to left output and input 2 to right output respectively.
For each channel there are independent switches to control a high pass lter (low frequency
roll-o at 125Hz) and to provide phantom power at +48V to the connected microphones.
It also has AES/EBU, S/PDIF and Word Clock sync inputs.
The unit operates in four modes:
Master Mode - In this mode the unit receives a microphone-input signal, which is digitised
and formatted for digital serial transmission (IEC958). The necessary clock signals are
generated internally from an on board master clock at a selectable rate (32kHz, 44.1kHz,
48kHz, 64kHz, 88.2kHz or 96kHz).
Slave Mode - In this mode the unit automatically detects the presence of a digital audio
sync signal, if present at the digital input or word clock input, and synchronises the digital
output to it. If no sync is present, no output will be generated.
Auto Mode - Here the unit synchronises to the digital audio sync signal if present at the
digital input and uses the internal master clock only if no sync input signal is detected. In
this case, the internal master clock is used at the selected sample rate.
Auto Lock Mode - This operates like the auto mode except that if no sync-input signal
is detected, it will use the internal master clock to sync to the sample rate which was last
clocked to. When operating in sync modes, the front panel power LED ashes whenever the
unit is not synchronised to the incoming digital signal, or when the unit is being calibrated.
The unit should be calibrated once it has been powered up for more than 10 minutes.
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MICROPHONE AMPLIFIERS
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For the digital output, there is a switch available to dene the content of the channel
status bits embedded within the digital audio stream. The channel status bits will be forced
to Professional Mode for sample rates above 48kHz, as they are not supported by the
Consumer Mode. For sample rates of 32kHz, 44.1kHz and 48kHz, the status bits can be either
set to Professional or Consumer Mode.
The bit depth of the digital output can be set to 16, 20 or 24 bits, with a psycho acoustic
noise lter used to dither signals below 24 bit.
System Block Diagram
LF Filter
1
Balanced
Mic Inputs
2
Word
Clock
AES/EBU
S/PDIF
Digital Sync Inputs
Fig 6-2: RB-DMA2 System Block Diagram.
48V Phantom
Power
LF Filter
Digital
Sync Select
Front Panel Indicators & Controls
Sync & Power
MICROPHONE AMPLIFIERS & LIMITERS - RB-DMA2
Fig 6-3: RB-DMA2 Front Panel.
Indicator
Gain Control
Gain Control
ADC
AES
Receiver
Recovered
Clock
XLR
1
Balanced
Line Outputs
2
AES
Transmitter
Master Clock
Generator
Input Level
Indicators
Digital
Send Select
Frequency
Select
Input Level
Adjustment
AES/EBU
S/PDIF
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Sync & Power Indicator
The LED on the front panel is normally red to indicate that power is present on the unit.
However, it also has a secondary role to indicate the status of the digital inputs: Fast ashing
between red and amber indicates a loss of digital input signal, or that the unit is being
calibrated.
Input Level Adjustment
Front panel potentiometers, coarse and ne, allow for adjustment of the gain of each
microphone input. The recessed screw-head potentiometer coarse control provides a total
gain range of 44dB, with the level knob ne control providing a ±12dB adjustment.
Connect the mic input and adjust the gain until the line output is at the level that you need.
The wide gain range allows the use of both dynamic and powered microphones.
Disabling the Fine Gain Control Knob
Each ne control also has the ability to be disabled via a jumper (JP1 for MIC1 and JP2 for
MIC2) situated on the PCB. When the jumper is tted the control is enabled.
6
MICROPHONE AMPLIFIERS & LIMITERS - RB-DMA2
JP2
Fig 6-4: Jumpers to Disable Fine Gain Control.
Input Level Indicators
For each input there is a tri-colour LED to give an indication of the level of the incoming mic
signals. Green indicates -18dBFS, orange indicates -12dBFS and red indicates -6dBFS.
JP1
Rear Panel Connections and Operation
Inputs
Phantom
Power &
LF Filter
Fig 6-5: RB-DMA2 Rear Panel.
Redbox User Handbook No 3
Mic
Analogue
Line
Outputs
AES/EBU
Output
S/PDIF
Sync
Input
S/PDIF
Output
Digital Sync &
Output Select
Buttons
AES/EBU
Sync
Input
Clock Sync
Status
Select
Switches
Word
Input
Freq’ & Sync
Mode Rotary
Switch
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MICROPHONE AMPLIFIERS
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RB-DMA2 Inputs
Mic Inputs
The XLR 3 pin sockets used for the microphone inputs are electronically balanced. They have
the following connections:
Pin 1: Screen
Pin 2: Phase
Pin 3: Non-phase
AES/EBU Sync Input
The digital AES/EBU synchronisation input XLR 3 pin socket has an impedance of 110 Ω and
the signals meet the IEC 60968 specication. It has the following connections:
Pin 1: Screen
Pin 2: Phase
Pin 3: Non-phase
Word Clock Sync Input
The BNC TTL word clock input has an impedance of 50 Ω.
S/PDIF Sync Input
The S/PDIF digital phono input has an impedance of 75 Ω.
RB-DMA2 Outputs
AES/EBU Output
The digital output XLR 3 pin socket has an impedance of 110Ω and the signals on this
connector comply with the IEC 60968 specication. It has the following connections :
Pin 1: Screen
Pin 2: Phase
Pin 3: Non-phase
S/PDIF Output
The digital output S/PDIF phono output has an impedance of 75Ω.
Analogue Line Outputs
There is an analogue output on XLR 3 pin plug for each microphone input. The plug has the
following connections:
Pin 1: Screen
Pin 2: Phase
Pin 3: Non-phase
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MICROPHONE AMPLIFIERS
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Rear Panel Controls
Status Select Switches
These switches are used to determine the status or content of the digital output signals.
The type of information encoded in the channel status bits of a digital audio signal can be
professional or consumer and is determined by switch 1. However at frame rates higher
than 48kHz, consumer mode is not available, so professional mode is used and this switch
will be ignored.
The sample size for the analogue to digital conversion can be set to 24, 20 or 16 bits
(switches 3 & 4). When the signal is truncated from 24 bits, a psycho-acoustic lter is applied
to maintain optimum signal quality. These settings are summarised below and also on the
top panel of the unit.
StatusBits
1ON Professional162024
1OFF Consumer3OFFONON
2ON Dual Mono4OFFOFFON
2OFF Mono
Fig 6-6: RB-DMA2 Status Select Switches.
Output Routing
This uses switch 2 of the STATUS dipswitch block. When switch 2 is “ON”, the audio signal
from Mic input 1 is copied to both channels of the digital output signal (channel B = channel
A) and Mic input 2 is ignored (Dual mono mode). When “OFF”, the Mic input 1 signal is on
channel A only of the digital output signal and channel B contains the Mic input 2 signal
(Mono mode).
Note: This does not aect the routing of the analogue outputs.
Phantom Power & LF Filter
For each channel there are independent switches to provide phantom power at +48V to the
connected microphones. With phantom power selected, a voltage of +48V is applied to pins
2 and 3 of the XLR connector to power the microphone, supplied through 6k8
resistors giving a current of 14mA. Phantom power is used when the switches are
towards the arrows.
The LF lter switches provide control for a high pass lter with low frequency roll o at
125Hz. The roll-o lters are switched “in” when the switches are in the down position
(towards the arrows).
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MICROPHONE AMPLIFIERS
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Digital Sync & Output Select Buttons
These buttons are used to switch the digital connection between the AES/EBU XLR
connector (button out) and the S/PDIF phono connector (button in) independently for the
digital sync input and the digital output.
Note: There is no switch to select the Word Clock as a sync input. The unit automatically
searches for a sync signal on the Word Clock, or the selected digital input, and
automatically locks to a valid sync clock.
Frequency and Sync Mode Rotary Switch
This rotary switch is used to select the Synchronisation Mode and to select the frequency
of the digital output when using the on-board clock generator. There are 4 modes of
operation: - Master Mode, Auto Sync Mode, Auto Lock Sync Mode & Slave Mode.
• In Master Sync Mode, switch positions 0 – 5, the digital output sample rate is simply
set by, and locked to, the internal on-board clock generator. No sync signal is used or
required.
• In Auto Sync Mode, switch positions 6– B, the digital output sample rate follows the
digital input. When the digital input signal is not present the output sample rate
will be set by, and locked to, the internal on-board clock generator at a frequency
determined by the switch position.
• In Auto-Lock Sync Mode, switch position C, No output will be generated until lock is
achieved with a digital input signal. The digital output sample rate now follows the
digital input. If the digital input signal is removed then the output sample rate will be
set by, and locked to, the internal on-board clock generator at the closest frequency
available to the previous digital input.
• In Slave Sync Mode, switch position D, the digital output sample rate follows the
digital input. When the digital input signal is not present the digital output is
turned o.
The following table, also printed on the top of the unit, summarises the above settings
and shows the sample rate generated by the internal clock generator in master and auto
sync modes.
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Frequencies and Sync Modes
Rotary
Switch
Number
0Master32
1Master44.1
2Master48
3Master64
4Master88.2
5Master96
6Auto32
7Auto44.1
8Auto48
9Auto64
AAuto88.2
BAuto96
CAuto Lock-
DSlave-
FCalibration-
Fig 6-7: RB-DMA2 Frequency and Sync Rotary Switch Selections.
Test/Calibration Mode
For optimum performance of the RB-DMA2, the unit should be calibrated when it has been
powered up for approximately 10-15 minutes. The circuitry and chipsets contained in the
unit will warm up during this time and the performance will deteriorate unless calibrated
(the noise oor and dynamic range will be 1-2dB lower than the best possible performance).
The calibration cycle calibrates the gain and the zero reference of the A/D converter.
To calibrate the RB-DMA2, set the rotary FREQUENCIES AND SYNC MODES switch to position
“F”. The power LED on the front panel will ash quickly for 2 – 3 seconds and will illuminate
fully when the unit is calibrated. Once calibration is complete, reset the rotary switch to the
position that you require.
ModeSample
Frequency
(kHz)
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Technical Specications RB-DMA2
Connections
Analogue Mic Inputs: 2 x XLR 3 pin (balanced)
Analogue Line Outputs: 2 x XLR 3 pin (balanced)
Digital Sync Inputs: 1 x AES/EBU XLR 3 pin female
1 x S/PDIF RCA phono
1 x TTL BNC female (sync) 50 ohm impedance
Digital Outputs: 1 x AES/EBU XLR 3 pin plug
1 x S/PDIF RCA phono socket
Mains Input: Filtered IEC, 110-120V, or 220-240V switchable,
fused 10W max
Fuse Rating: Anti-surge fuse 100mA 20 x 5mm (230VAC)
Anti-surge fuse 250mA 20 x 5mm (115VAC)
Audio Specication
Min/Max Input Level: -63dBu / 5dBu to give FSD
Input Impedance: 2kΩ nominal balanced
Gain Range: 68dB
Signal to Noise: 128dB EIN
Dynamic Range: >110dB
Distortion and Noise: < 0.01% THD + N absolute @ 1kHz
Phantom Power: +48V
Low Frequency Roll-o: 125Hz @ 6dB/octave
Analogue Output Level: +18dBu Ref. FSD
42
Operational Controls & Indicators
Bit Depth: 16, 20 or 24 bits via DIP switch
MICROPHONE AMPLIFIERS & LIMITERS - RB-DMA2
Digital Output Select: AES/EBU or S/PDIF, via push-switch
Sample Frequencies: 32kHz – 96kHz, via rotary switch
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MICROPHONE AMPLIFIERS
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Sync Modes: Master, Slave, Auto, Auto-Lock via rotary switch
Digital Input Select: AES/EBU or S/PDIF, via push-switch
Channel Status Bits: Set to consumer or professional mode via DIP switch
Output Routing: Set dual mono output via dipswitch
Led Level: Green ind. -18dBFS, Orange ind. -12dBFS, Red ind. -6dBFS
6
Equipment Type
RB-DMA2: Dual digital microphone amplier
Physical Specications
Dimensions (Raw): 48cm (W) x 10.8cm (D) x 4.2cm (H) (1U)
19” (W) x 4.3” (D) x 1.7” (H) (1U)
Dimensions (Boxed): 53cm (W) x 20.5cm (D) x 6cm (H)
21” (W) x 8” (D) x 2.4” (H)
The RB-ML2 is a stereo microphone and line level limiter. The unit is mainly used where
assistance with level control is required, for protection of mixer inputs and to prevent
distortion. The RB-ML2 is ideal for news-booths, and the input to PC work stations, it
provides an economical level control solution.
The RB-ML2 has two electronically balanced XLR-3 inputs, which are routed to a line
amplier, or microphone amplier, via a rear push-button. The microphone ampliers have
independent pre-set gain controls, and DIP switches for a high pass lter (low frequency
roll-o at 125Hz) and phantom power to provide +48V to the connected microphones.
The outputs of these ampliers are passed through a VCA limiter circuit that can operate
jointly on the signals in stereo mode, or independently in dual mono mode. The rear panel
mode switch changes the unit from dual mono to stereo.
The two XLR-3 electronically balanced outputs can be set to either line or mic output levels
via a push button. This allows the RB-ML2 to be used in line with a line or mic input on a
mixer, or similar equipment
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System Block Diagram
MICROPHONE AMPLIFIERS
& LIMITERS
7
Mic/Line
Input 1
Mic/Line
Input 2
Fig 7-2: RB-ML2 Block Diagram.
Mic
Phantom
Power
(48V)
Line
Mic
Phantom
Power
(48V)
Line
Gain
Gain
LF Filter
LF Filter
Rear Panel Connections and Operation
Mic/Line
Input 1
Input 2
Switch
Mic/Line
Input 2
Select
Option
Switches
Output 1
Select
Switch
Limiter
Stage
Gain and
Limit
Control
Gain and
Limit
Control
Limiter
Stage
Gain
Gain
Output 2
Select
Switch
Mic/Line
Output
Mic/Line
Output
MICROPHONE AMPLIFIERS & LIMITERS - RB-ML2
Mic 1
Input 1
Gain
Select
Switch
Stereo/Dual Mono
Select Switch
Fig 7-3: RB-ML2 Rear Panel.
Redbox User Handbook No 3
Mic 2
Gain
Mic /Line
Output 1
Limit
Gain
Limit
Level
Mic /Line
Output 2
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MICROPHONE AMPLIFIERS & LIMITERS - RB-ML2
MICROPHONE AMPLIFIERS
& LIMITERS
Mic / Line Inputs
The XLR 3 pin sockets used for the mic/line inputs are electronically balanced. They have the
following connections:
Pin 1: Screen
Pin 2: Phase
Pin 3: Non-phase
Mic Input Gain
Recessed pre-set potentiometers allow for adjustment of the gain of the microphone
inputs. This provides a gain range of +22dB to +67dB which enables the use of dynamic and
powered microphones. Connect the mic input and adjust the gain until the line output is at
the level that you need.
On On
1
234
OnOn
Fig 7-4: Switch to Control LF Filter and Phantom Power.
Using Phantom Powered Microphones
For the mic input channel there are independent switches to provide phantom power at
+48V to the connected microphones. With phantom power selected, a voltage of +48V is
applied to pins 2 and 3 of the XLR connector to power the microphone, supplied through
6k8 resistors giving a current of 14mA. Phantom power is used when the switch is pointing
towards the arrow. The phantom power only applies when the input is set to mic mode.
Using the LF Filter
A switch also provides control for a high pass lter with low frequency roll o at 125Hz. The
lter is in when the switch is in the down position (towards the arrow). The lter only applies
when the input is set to mic mode.
Mic / Line Outputs
The XLR 3 pin plug output connector is electronically balanced and can be wired
unbalanced by grounding the non-phase signal, allowing you to feed balanced and
unbalanced equipment. It has the following connections:
Pin 1: Screen
Pin 2: Phase
Pin 3: Non-phase
The connector provides a line level output with an impedance of <50Ω in line mode and
150Ω in mic mode, with a maximum output level of -18dBu(mic) or +28 dBu(line).
1 Channel 1 Low Frequency (LF) Filter
2 Channel 1 Phantom Power
3 Channel 2 Phantom Power
4 Channel 2 Low Frequency
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Mic / Line Output Gain
The output gain is adjustable from -54dB to -24dB when mic is selected and adjustable
between -8dB to +22dB for line, with reference to 0dBu line input. The gain is adjusted via
two potentiometers on the rear panel of the unit, although it is pre-set in production.
Level Limiting
Stereo limiting operates by limiting both left and right outputs if either the left and right
input needs to be limited. Dual mono limiting operates by limiting left and right signals
individually.
The characteristics of the limiter can be set via level threshold pre-sets. For each channel
there is an input gain and a threshold level control. With the limit threshold set to maximum,
the input through to output can be normalised using the input potentiometers. Once the
unit is acting as a buer with gain/attenuation, the limit threshold level can be set, with the
recovery adjusted for the application. The power LED indicates limiting by ashing.
Mode Select Switch
The mode switch changes the unit from dual mono to stereo mode. In stereo mode, only
the pre-sets for channel 1 (left) are active and they are applied to both channels. Stereo
limiting operates by limiting both left and right outputs if either left or right input needs to
be limited. Dual mono limiting operates by limiting left and right signals individually – you
can use the RB-ML2 as two separate mono limiters.
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Technical Specications RB-ML2
Audio Specications
Maximum Input Level: -6dBu (mic), +28dBu (line), electronically balanced
Input Impedance: >20kΩ balanced bridging
Input Gain Range: Adjustable +22dB to +67dB gain (mic)
Via 2 x pre-set potentiometers (L&R), 0dB gain (line)
Maximum Output Level: -18dBu (mic), +28dBu (line), electronically balanced
Output Impedance: 150Ω(mic), <50Ω balanced (line)
Output Gain Range: -8dB to +22 dB gain (line), ref 0dBu line input
Gain via 2 x pre-set potentiometers
Limit Threshold: Adjustable -8dBu to +28dBu
Frequency Response: 20Hz to 20 kHz +/- 0.1dB (600 ohm load, ref 1kHz)
E.I.N: 130dB
Distortion: <0.02% THD @ 1kHz, ref +8dBu output
Common Mode Rejection (mic): >86dB typically
Common Mode Rejection (line): >66dB typically
Phantom Power: 48V
LF Filter: 125Hz@6dBs/octave
48
Connections
Analogue Input: 2 x XLR 3 pin female mic or line switchable
(Balanced)(L &R)
Mic/Line Input Control: 2 x push-buttons for mic/line inputs
Analogue Outputs: 2 x XLR 3 pin male or line switchable(Balanced)(L&R)
Mic/Line Output Control: 2 x push-button for mic/line outputs
Phantom Power & LF Filter: 1x 4-way DIP switch
Mono/Stereo Mode Select: 1 x push button
MICROPHONE AMPLIFIERS & LIMITERS - RB-ML2
Limit Level Threshold Set: 2 x pre-set potentiometers
Mains Input: Filtered IEC, 110V-120V, or 220-240V switchable,
fused, 6W maximum
Fuse Rating: Anti-surge fuse 100mA 20 x 5mm (230VAC)
Anti-surge fuse 250mA 20 x 5mm (115VAC)
Redbox User Handbook No 3
Page 63
MICROPHONE AMPLIFIERS
& LIMITERS
Equipment Type
RB-ML2: Stereo microphone & line level limiter
Physical Specications
Dimensions (Raw): 28cm (W) x 10.8cm (D) x 4.2cm (H) (1U)
11” (W) x 4.3” (D) x 1.7” (H) (1U)
Dimensions (Boxed): 36cm (W) x 20.5cm (D) x 6cm (H)
The RB-SL2 is a stereo, or twin independent mono, VCA limiter for use in news-rooms and
other locations where the correct level into recording equipment is required, but not
necessarily under the control of an engineer, for example, for overload protection. It can also
be used as an inexpensive main output limiter for low cost radio installations, RSL’s, hospital
and student radio.
The XLR-3 electronically balanced inputs and outputs can be wired unbalanced to accept an
output from domestic equipment. For each channel there is an input gain and a threshold
level control.
A rear panel switch changes the unit from dual mono to stereo, when only the pre-sets for
channel 1 (left) are active and apply to both channels. An LED power indicator on the front
panel displays the power supply connection and also indicates limiting.
1) Steady “Amber” indicates that the unit is powered and not in limiting.
2) Flashing “Amber” “Red” indicates that input 1 left channel is in limit.
3) Flashing “Amber” “Green” indicates that input 2 right channel is in limit.
4) Flashing “Amber” on and o indicates that both inputs are in limit.
Please note that all four conditions are possible in “Dual Mono” mode but only conditions
1 and 4 are valid in “Stereo” mode.
System Block Diagram
Limiter
Balanced
Professional
Input L
Stage
Gain and
Limit
Control
Balanced
Professional
Output L
50
MICROPHONE AMPLIFIERS & LIMITERS - RB-SL2
Balanced
Professional
Input R
Fig 8-2: RB-SL2 Block Diagram.
Select Stereo/Mono
Gain and
Limit
Control
Limiter
Stage
Balanced
Professional
Output R
Redbox User Handbook No 3
Page 65
MICROPHONE AMPLIFIERS
& LIMITERS
Rear Panel Connections and Operation
Stereo
Outputs
Input
Stereo/Mono
Switch
Stereo
Fig 8-3: RB-SL2 Rear Panel.
Outputs
The XLR 3 pin plug connectors are electronically balanced and can be wired unbalanced to
accept an output from domestic equipment. They have the following connections:
Pin 1: Screen
Pin 2: Phase
Pin 3: Non-phase
Inputs
The XLR 3 pin sockets are electronically balanced, and can be wired unbalanced to accept an
output from domestic equipment. They have the following connections:
Pin 1: Screen
Pin 2: Phase
Pin 3: Non-phase
Gain Control
Each channel has an input gain (GAIN) and a threshold level control (LIMIT LEVEL). Setting
the limit level to maximum (fully anti-clockwise) enables the input through to output to be
normalised using the input gain potentiometers. Once the unit is acting as a buer with
gain/attenuation, the limit level can be set, with the recovery adjusted for the application.
Limiting is indicated by the power LED on the front panel. (see page 50).
Mode Switch
This switch changes the unit from dual mono to stereo mode. In stereo mode, only the
pre-sets for channel 1 (left) are active and they are applied to both channels. Stereo limiting
operates by limiting both left and right outputs if either left or right input needs to be
limited. Dual mono limiting operates by limiting left and right signals individually – you can
use the RB-SL2 as two separate mono limiters.
Stereo
Input
8
MICROPHONE AMPLIFIERS & LIMITERS - RB-SL2
Redbox User Handbook No 3
51
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8
MICROPHONE AMPLIFIERS
& LIMITERS
Technical Specications RB-SL2
Audio Specications
Maximum Input Level: +28dBu
Maximum Output Level: +28dBu
Input Impedance: >20kΩ bridging
Output Impedance: <50Ω
Input Gain: Adjustable -8dBu to +18dBu gain
Limit Threshold: Adjustable -8dBu to +28dBu
Frequency Response: 20Hz to 20kHz ±0.1dB (600Ω load, ref 1kHz)
Noise: -100dB unity gain, ref +8dBu
Distortion: 0.01% THD @ 1kHz ref +8dBu output,
threshold set at +10dBu
Common Mode Rejection: >66dB typically
Connections
Inputs: 2 x XLR 3 pin female (Balanced, can be unbalanced)
Outputs: 2 x XLR 3 pin male (Balanced, can be unbalanced)
Mains Input: Filtered IEC, 110V-120V, or 220-240V switchable,
fused, 6W maximum
Fuse Rating: Anti-surge fuse 100mA 20 x 5mm (230VAC)
Anti-surge fuse 250mA 20 x 5mm (115VAC)
52
Equipment Type
RB-SL2: Twin mono, or stereo, limiter
MICROPHONE AMPLIFIERS & LIMITERS - RB-SL2
Physical Specications
Dimensions (Raw): 28cm (W) x 10.8cm (D) x 4.2cm (H) (1U)
11” (W) x 4.3” (D) x 1.7” (H) (1U)
Dimensions (Boxed): 36cm (W) x 20.5cm (D) x 6cm (H)
9 RB-SM1 Single & RB-SM2 Dual Stereo To Mono Converter
Introduction
Fig 9-1: RB-SM1 & RB-SM2 Front Panel.
The RB-SM1 consists of an independent converter that will produce a fully buered and
balanced mono line output from a stereo input. The RB-SM2 consists of two independent
converters and will produce two fully buered and balanced mono line outputs from two
stereo inputs.
All connections are on the rear panel. The XLR-3 inputs are electronically balanced with an
impedance of 20kΩ bridging. These can be wired unbalanced to accept an output from
domestic equipment.
The XLR-3 line output’s are electronically balanced with an output impedance of <50Ω. The
output’s can be wired unbalanced by grounding the non-phase signal, allowing you to feed
both balanced and unbalanced equipment.
Output gain adjustment using a pre-set potentiometer for both converters allows a
normalised mono output from domestic stereo equipment. The potentiometer is accessible
through the rear panel. An LED power indicator on the front panel displays the power
supply connection.
The rest of this manual will refer to the SM1 unless stated otherwise.
9
STEREO TO MONO CONVERTERS - RB-SM1 & RB-SM2
System Block Diagram
Left
Professional
Balanced
Stereo Input
Right
Fig 9-2: RB-SM1 & RB-SM2 Block Diagram Single Channel.
Redbox User Handbook No 3
Summing
Amplifier
Gain
RB-SM2=X2
Professional
Balanced
Mono Output
53
Page 68
9
STEREO TO MONO CONVERTERS
Rear Panel Connections and Operation
Stereo
Inputs
Output
Gain Control
Fig 9-3: RB-SM1 Rear Panel..
Stereo
Inputs
Output
Gain Control
Fig 9-4: RB-SM2 Rear Panel.
Mono
Output
Mono
Output
Stereo
Inputs
Mono
Output
54
STEREO TO MONO CONVERTERS - RB-SM1 & RB-SM2
Redbox User Handbook No 3
Page 69
STEREO TO MONO CONVERTERS
Stereo Inputs 1 (& 2)
The input’s are a stereo pair consisting of two XLR 3 pin sockets electronically balanced with
an impedance of 20kΩ bridging. They can be wired unbalanced to accept an output from
domestic equipment. They have the following connections:
Pin 1: Screen
Pin 2: Phase
Pin 3: Non-phase
Mono Output 1 (& 2)
The XLR 3 pin mono output connectors are electronically balanced with an output
impedance of <50Ω. They can be wired unbalanced by grounding the non-phase signal,
enabling you to feed both balanced and unbalanced equipment. The output has the
following connections:
Pin 1: Screen
Pin 2: Phase
Pin 3: Non-phase
Output Gain
Output gain adjustment using a pre-set potentiometer for the converters allows a
normalised mono output from domestic stereo equipment. The potentiometers are
accessible through the rear panel and provide a gain range of 8dB loss to 18dB gain.
9
STEREO TO MONO CONVERTERS - RB-SM1 & RB-SM2
Redbox User Handbook No 3
55
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9
STEREO TO MONO CONVERTERS
Technical Specications RB-SM1 & RB-SM2
Audio Specications
Maximum Input Level: +28dBu
Maximum Output Level: +28dBu
Input Impedance: >20kΩ balanced bridging
Output Impedance: <50Ω balanced
Frequency Response: 20Hz to 20kHz ±0.1dB (600Ω load, ref 1kHz)
Gain Range: Adjust 8dB loss to 18dB gain, ref 0dB input on L and R
Common Mode Rejection: >66dB typically
Distortion: 0.01% THD @ 1kHz, ref +8dBu output
Noise: -100dB unity gain, ref +8dBu output
Connections
Inputs: 2 (4 on RB-SM2) x XLR 3 pin female (Balanced, can be
unbalanced)
Output: 1 (2 on RB-SM2) x XLR 3 pin male (Balanced,
can be unbalanced)
Mains Input: Filtered IEC, 110V-120V, or 220-240V switchable,
fused, 6W maximum
Fuse Rating: Anti-surge fuse 100mA 20 x 5mm (230VAC)
Anti-surge fuse 250mA 20 x 5mm (115VAC)
56
Equipment Type
RB-SM1: Dual stereo to mono converter
RB-SM2: Single stereo to mono converter
Physical Specications
Dimensions (Raw): 28cm (W) x 10.8cm (D) x 4.2cm (H) (1U)
11” (W) x 4.3” (D) x 1.7” (H) (1U)
Dimensions (Boxed): 36cm (W) x 20.5cm (D) x 6cm (H)
The RB-LC3 is a triple output switching unit for controlling external mains indicators,
primarily studio status lights for broadcasting applications, such as On-Air, Mic-Live and
Rehearsal/Live lights. Each output can be individually controlled by one of three remote
inputs (pulled high, or low), by a telephony input (when ringing, or o-hook or both), or
a combination of two inputs (to control two outputs, e.g. for Rehearsal/Live situations).
The type of control is set using a 12 way DIP switch (4 switches for each output allowing
16 dierent settings, 14 for control type selection and 2 for operating mode selection).
All connections are on the rear panel. The three IEC outputs are controlled by zero-cross
point drivers. When an output is activated, the A.C. voltage level at that output will be equal
to the mains input voltage used to power the unit.
External control of the switched mains outputs is via the 15 way D-type plug connector.
The telephone Line input and Handset output are via two RJ11-4 type connectors. The
telephone connections are wired pin to pin from Line to Handset except when the remote
Ring Mute control input is asserted. In this case the ring signal to the Handset is muted. The
status of the telephone Line is continually monitored so that Handset ringing and o-hook
conditions can be indicated.
A pre-set potentiometer on the rear panel controls the ash rate of the output when the
appropriate mode is selected. Neon indicators on each power socket show the status of the
mains output.
An LED power indicator on the front panel displays the incoming power supply connection.
GENERAL INTERFACES - RB-LC3
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Page 72
10
GENERAL INTERFACES
System Block Diagram
Cross-point
Cross-point
Mains
Input
Remotes
Settings
And
Control
Telephone
Line Input
Fig 10-2: RB-LC3 Block Diagram.
Cross-point
Status Detection
& RingMute
Zero
Switch
Zero
Switch
Zero
Switch
Mains
Output 1
Mains
Output 2
Mains
Output 3
Telephone
Handset Output
58
Rear Panel Connections and Operation
Remote External
Control Inputs
Conguration
Switches
GENERAL INTERFACES - RB-LC3
Telephone
Connections
Fig 10-3: RB-LC3 Rear Panel
Flash
Rate
Potentiometer
Switched
Mains
Output
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Page 73
GENERAL INTERFACES
Switched Mains Outputs
The 3 o IEC connectors provide the switched mains outputs. Each output is rated at 1A and
is individually fused. A neon indicator shows when the output is live. The outputs are driven
by zero cross-point drivers. When an output is activated, the A.C. voltage level at that output
will be equal to the mains input voltage used to power the unit.
Telephone Connections
The telephone connections are wired pin to pin from Line to Handset except when the
Ring Mute control input is asserted. In this case the ring signal to the Handset is muted. The
status of the telephone Line is continually monitored so that Handset ringing and o-hook
conditions can be indicated. (Please note that the ring mute function will only work on
handsets that use pin 3 of a standard BT connector. This is often not connected on common
phones that typically use tone dialling. Phones that support pulse dialling should have the
connection and should therefore work with the RB-LC3).
Remote External Control Inputs
The 15 way D-type connector provides the control inputs that switch the three mains
outputs and control the telephone handset ring mute. All inputs have both active high
(+5V to +30V) and active low (0V) control. An output-on or “Tally” indication for each
output is also provided on this connector in the form of three open-collector driven
outputs capable of sinking 20mA each. The connections are as follows:
The conguration switches are used to set the ash mode for each output separately.
The selections allow the outputs to be controlled by a remote input, a telephone call, or a
combination of remote inputs, say, for example to control 2 lights such as “Rehearsal” and
“Live”, using the Settings in Figure 10-4 to 10-6.
Latching and Momentary Mode
The conguration switches are also used to select the operating mode, either latching or
momentary, for each output. The operating mode is set when power is applied to the unit
and the conguration switches are set to either Setting 15 or 16. The Output will ash once
to indicate latching mode has been selected or twice to indicate momentary mode has
been selected. The conguration switches can then be returned to the required Setting.
In Latching Mode (Setting 15 selected on power up), the Output is On/Flashing only while
the selected Remote Inputs remain asserted. In Momentary Mode (Setting 16 selected on
power up), each separate assertion of the selected Remote Inputs changes the state of the
Output. For example, using setting 4, the rst assertion of Remote 1 switches Output 1 on.
The second assertion of Remote 1 switches Output 1 o. The operating mode has no eect
when using Settings No1-3.
The available settings for output 1, congured using switches Sw1 to Sw4, are
detailed below:
60
GENERAL INTERFACES - RB-LC3
Setting
Sw1Sw2Sw3Sw4 Description
No
1 OOOO
2OnOOOOutput 1 On when telephone is o-hook
3OOnOOFlash Output 1 when telephone rings
4OnOnOOOutput 1 On when Remote 1 asserted
5OOOnOOutput 1 On when Remote 2 asserted
6OnOOnOOutput 1 On when Remote 3 asserted
7OOnOnOFlash Output 1 when Remote 1 asserted
8OnOnOnOFlash Output 1 when Remote 2 asserted
9OOOOnFlash Output 1 when Remote 3 asserted
10OnOOOnOutput 1 On when Remote 1 or Remote 2 asserted
11OOnOOn
12OnOnOOn
Flash Output 1 when telephone rings.
Output 1 On when telephone is o-hook
Output 1 On when Remote 1 asserted and Remote
2 not asserted
Output 1 On when Remote 1 not asserted and
Remote 2 asserted
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GENERAL INTERFACES
10
13OOOnOn
14OnOOnOnReserved for future assignment
15OOnOnOnLatching Mode selection for Output 1
16OnOnOnOnMomentary Mode selection for Output 1
Fig 10-4: Output 1 Conguration Setting.
The available settings for output 2, congured using switches Sw5 to Sw8, are
detailed below:
Setting
Fig 10-5: Output 2 Conguration Settings.
Sw5Sw6Sw7 Sw8 Description
No
1 OOOO
2OnOOOOutput 2 On when telephone is o-hook
3OOnOOFlash Output 2 when telephone rings
4OnOnOOOutput 2 On when Remote 1 asserted
5OOOnOOutput 2 On when Remote 2 asserted
6OnOOnOOutput 2 On when Remote 3 asserted
7OOnOnOFlash Output 2 when Remote 1 asserted
8OnOnOnOFlash Output 2 when Remote 2 asserted
9OOOOnFlash Output 2 when Remote 3 asserted
10OnOOOnOutput 2 On when Remote 1 or Remote 2 asserted
11OOnOOn
12OnOnOOn
13OOOnOn
14OnOOnOnReserved for future assignment
15OOnOnOnLatching Mode selection for Output 2
16OnOnOnOn
Output 1 On when Remote 1 asserted and Remote
2 asserted
Flash Output 2 when telephone rings.
Output 2 On when telephone is o-hook
Output 2 On when Remote 1 asserted and Remote
2 not asserted
Output 2 On when Remote 1 not asserted and
Remote 2 asserted
Output 2 On when Remote 1 asserted and Remote
2 asserted
Momentary Mode selection for
Output 2
GENERAL INTERFACES - RB-LC3
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10
GENERAL INTERFACES
The available settings for output 3, congured using switches Sw9 to Sw12, are
detailed below:
Setting
Sw9 Sw10 Sw11 Sw12 Description
No
1OOOO
2OnOOOOutput 3 On when telephone is o-hook
3OOnOOFlash Output 3 when telephone rings
4OnOnOOOutput 3 On when Remote 1 asserted
5OOOnOOutput 3 On when Remote 2 asserted
6OnOOnOOutput 3 On when Remote 3 asserted
7OOnOnOFlash Output 3 when Remote 1 asserted
8OnOnOnOFlash Output 3 when Remote 2 asserted
9OOOOnFlash Output 3 when Remote 3 asserted
10OnOOOn
11OOnOOn
12OnOnOOn
13OOOnOn
14OnOOnOnReserved for future assignment
15OOnOnOnLatching Mode selection for Output 3
16OnOnOnOnMomentary Mode selection for Output 3
Flash Output 3 when telephone rings.
Output 3 On when telephone is o-hook
Output 3 On when Remote 1 or Remote 2
asserted
Output 3 On when Remote 1 asserted and
Remote 2 not asserted
Output 3 On when Remote 1 not asserted and
Remote 2 asserted
Output 3 On when Remote 1 asserted and
Remote 2 asserted
GENERAL INTERFACES - RB-LC3
Fig 10-6: Output 3 Conguration Settings.
Flash Rate Preset Potentiometer
This preset potentiometer sets the rate at which the mains output is switched on/o when
one of the Flash Output settings is selected. The range of adjustment is from 0.5 seconds to
2 seconds.
62
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Page 77
GENERAL INTERFACES
Technical Specications RB-LC3
Connections
Mains Input: Non-ltered IEC, 110V-240V auto-adjusting,
fused, 6W maximum
Fuse Rating (Mains Input): Anti-surge fuse 100mA 20 x 5mm (230VAC)
Anti-surge fuse 250mA 20 x 5mm (115VAC)
Mains Outputs: 3 x Non-ltered IEC plugs, 1A fused
Fuse Rating (Mains Outputs): 3 x Anti-surge fuse 1A 20 x 5mm
Telephone: 2 x RJ11-4 sockets
Control Inputs & Outputs: 15 way D-type plug
Inputs: 0V– 5V DC
Outputs: Open Collector 20mA sink capability
Equipment Type
RB-LC3: 3 way light/power controller
10
GENERAL INTERFACES - RB-LC3
Physical Specications
Dimensions (Raw): 28cm (W) x 10.8cm (D) x 4.2cm (H) (1U)
11” (W) x 4.3” (D) x 1.7” (H) (1U)
Dimensions (Boxed): 36cm (W) x 20.5cm (D) x 6cm (H)
Whenever programming originates from outside of the studio, or if listeners/viewers are
calling up a phone-in using telephone hybrids or codecs, mix-minus feeds are required.
Most telephone lines incur delays which prohibit o-air monitoring, because the caller, or
remote talent, would hear their own voice in delay which is very disconcerting. The solution
is to feed a mix back to the caller minus his or her own voice. Some mixing desks do not
have a dedicated telco channel to generate a clean-feed, or mix minus, so the RB-MM1 can
be used.
The RB-MM1 is a unit for generating a suitable mix to send to a telephone hybrid or codec.
A stereo output is taken from a mixer, together with a post fader output from the mono
telephone fader on the mixer. The caller audio is removed from the station output so that it
can be sent to the telephone line via the hybrid.
Analogue audio inputs and outputs are via Neutrik XLR connectors. The output level to the
TBU can be adjusted using a rear panel pre-set potentiometer. To control the cancellation
null, 2 multi-turn potentiometers are provided, one for the LF null and the other for the fullband null. Additionally, a band pass lter can be switched in and out, via a rear panel switch,
to condition the signal for the telephone hybrid. To use the RB-MM1 unit with full-band
ISDN codecs, the band pass lter can be switched out. For stereo codecs, or conference calls,
multiple RB-MM1 units can be used.
A red LED indicates when power to the RB-MM1 is on.
64
System Block Diagram
InputsOutput
Input From
L
R
Null
LF Null
Filter
Switch
Bandpass
Filter
Output
Level
Balanced Stereo
Input From Mixer
Balanced Mono
Telephone Fader
Fig 11-2: RB-MM1 System Block Diagram.
Balanced Output
To TBU
Redbox User Handbook No 3
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GENERAL INTERFACES
Front Panel Indicator
The LED on the front panel is normally red to indicate that power is present on the unit.
Rear Panel Connections and Operation
Null Adjustment
From Mixer
Main Output
LF Full-
Band
Output
to TBU
11
GENERAL INTERFACES - RB-MM1
From Mixer
Telephone
Output
Fig 11-3: RB-MM1 Rear Panel.
Stereo Inputs From Mixer Main Output
These inputs should contain the main mixer output which will be a feed of the programme
plus the audio that you want to remove by the mix-minus unit. Ideally, the input should
be presented at 0dB. The XLR 3 pin sockets used for the left and right channel inputs are
electronically balanced and have an impedance of greater than 10k bridging. Each XLR has
the following connections:
Pin 1: Screen.
Pin 2: Phase.
Pin 3: Non-phase.
Input From Mixer Telephone Fader
This mono input should contain the audio that needs to be removed by the RB-MM1, usually
from the telephone/telco fader of a mixing console. Ideally, the input should be presented
at 0dB. The XLR 3 pin socket used for the mono channel input is electronically balanced and
has an impedance of greater than 20k bridging. The XLR has the following connections:
Pin 1: Screen.
Pin 2: Phase.
Pin 3: Non-phase.
Output Null Adjustments (LF and Full-Band)
The 2 x null preset potentiometers are used to adjust the null between the input from the
telephone fader and the main stereo input. The telephone input is made anti-phase and
used to cancel out that signal in the main stereo signal. So, the nulls adjust the level of antiphase signal required to achieve the best mix-minus null.
Bandpass
Filter
Switch
Output
Level
Adjustment
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11
GENERAL INTERFACES - RB-MM1
GENERAL INTERFACES
Band Pass Filter Switch
The band pass lter, when in the ON position, is used to limit the audio bandwidth of the
output to the TBU between 200Hz and 4kHz. When using the RB-MM1 in full bandwidth
equipment, e.g. for ISDN audio codecs, set this switch to the OFF position.
Output to Telephone Balance Unit (TBU)
The mono XLR 3 pin output plug connector is electronically balanced with an output
impedance of less than 50. It has the following connections:
Pin 1: Screen.
Pin 2: Phase.
Pin 3: Non-phase.
Output Level Adjustment
The TBU output gain can be adjusted from -15dB to +12dB, ref 0dBu by using the LEVEL
preset potentiometer.
Operation of the RB-MM1
Before you receive your RB-MM1, it is calibrated at Sonifex by using two signals of equivalent
amplitude and frequency. In some cases it may require recalibrating for use on a mixer to
match the properties of that mixer. In order to do this make the following connections:
1. Mixer left output to the RB-MM1 left input .
2. Mixer right output to the RB-MM1 right input.
3. Mixer post fade output from the relevant input channel (usually telco) to the RB-MM1
telephone fader input.
Then apply a signal to the input channel and raise the fader to its maximum level. To get the
best results connect a level meter to the “Output to TBU” connector. Alternatively monitor
the output acoustically and tune by ear.
Then adjust the NULL potentiometer until the output is as low as possible, if there is still
some low frequency output adjust the LF NULL as well. The null available on this product is
>40dB at 1kHz.
66
Technical Specications RB-MM1
Audio Specication For RB-MM1
Maximum Input Level: +28dBu
Input Impedance: >20k
Maximum Output Level: +28dBu
Output Impedance: <50
Output Gain Range: Adjustable -15dB to +12dB, ref 0dBu gain via a multi-turn
pot
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GENERAL INTERFACES
Common Mode Rejection: >60dB
Band Pass Filter Range: 200Hz to 4kHz, 12dB/octave
The RB-OA3 is a 1U rack-mount, unity gain on-air switcher, capable of switching three stereo
pairs between three studios. Each studio can control the transmission path together with
two peripheral paths for equipment such as a codec or hybrid and there is also a last studio
to oer (LSO) bus, allowing for seamless and continuous broadcast from any multi-studio
radio network. A sustain mode allows for a sustaining system, such as a PC automation
system, to control the broadcast. Multiple RB-OA3 units can be connected together to
switch more studios or more stereo pairs.
The switching is achieved using relays, except the last studio to oer which is switched by
an analogue switch. The transmission path is switched using latching relays. This means that
if there is a power failure to the unit, the transmission path will remain selected.
All studios are connected using 25 way D-types for electronically balanced audio signals and
control is achieved using 15 way D-types, connecting to an external control unit such as the
Sonifex S2-MTBS mixer control panel or the RB-OA3R remote switcher panel.
GENERAL INTERFACES - RB-OA3
A transmission mix connection is included to mix into the transmission path audio which is
generic to all studios. This could be used for jingles or adverts for example. The RB-OA3 also
allows for the control of a profanity delay to be shared by all connected studios.
Each studio has the ability to oer the transmission. Once oered, the transmission is fed
to the other studios via the last studio to oer bus. By adding the LSO bus as an input to
the mixer, the next scheduled station can then fade in the transmission and accept at the
appropriate time meaning the transmission can be continuous.
The sustain mode can be used to control an automated studio, such as a PC based overnight
music system which conventionally wouldn’t be in its own studio and would therefore need
external control to take transmission back from it. Think of it as a studio which has no Oer
and Accept controls of its own, but which can still be put to and from transmission by the
other studios.
Studio 1 LED
Studio 3 LEDDelay LED
68
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GENERAL INTERFACES
The RB-OA3 can be expanded to switch between up to 5 studios or up to 6 stereo pairs by
connecting a multiple of units together. With the addition of a single unit, expansion in
studio mode allows for 2 additional studios to take control of the transmission path and
additional equipment. If the expansion is made in bus mode, then three additional stereo
channels can be added. In total 4 x RB-OA3 units can be connected together to switch 6
stereo pairs between up to 5 studios. An optional cable kit, the RB-OA3C, is available to
connect expansion RB-OA3 units to a master RB-OA3.
The modes are congured by dip switches on the rear of each unit. Two dip switches control
the unit ID and two switches control whether the unit is in studio or bus mode.
A master unit, dened by a preset ID, conducts all communication between all units.
System Block Diagram
12
GENERAL INTERFACES - RB-OA3
Control
Panels 1
Studio 1
Studio 2
Studio 3
All audio connections are balanced stereo
Fig 12-2: RB-OA3 System Block Diagram.
Dip
Switch
LSO Feeds
Control
Panels 2
Processor
Relay & LSO
Switching
Serial
Port
Panels 3
Push
Switch
Transformer
Control
Audio
Mix
Input
Delay/
Control Dump
Transmission
Extra Paths
(1 & 2)
LSO
Expansion
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GENERAL INTERFACES
Rear Panel Connections and Operation
70
LSO Expansion
Connector
Mix Input
Connector
Fig 12-3: RB-OA3 Rear Panel.
Transmission
Output Connector
Studio 2 Audio
Connector
Mix Input
ON/OFF Switch
Studio 2 Control
Connector
Studio 1 Audio Connector
Studio 1 Control
Connector
Studio 3 Audio
Connector
Profanity Delay
Control
Studio 3 Control
Connector
Serial
Port 1
Serial
Port 2
Fuse
IEC Mains
Input
Mode Select
Switches
Installation Guide for the RB-OA3
Setting the Unit’s Identity Using The Mode ID DIP Switches
Multiple RB-OA3 units can be combined to oer expansion of either the number of
studios (STUDIO EXPANSION), or the number of stereo audio pairs available to switch (BUS
EXPANSION), or both (STUDIO & BUS EXPANSION). Up to 4 units can be connected together
and each unit will have a dierent Mode ID.
The identity of the unit is dened by setting the rst two MODE ID DIP switches as per the
following table:
DIP
GENERAL INTERFACES - RB-OA3
Switch 1
OFFOFFMASTER
ONOFFSTUDIO EXPANSION SLAVE
OFFONBUS EXPANSION SLAVE
ONONSTUDIO & BUS EXPANSION SLAVE
Fig 12-4: RB-OA3 Unit Identity Denitions.
If you have just a single RB-OA3, dene it as the MASTER, i.e. DIP switches 1 and 2 set to OFF.
For more information on the expansion modes, see pages 72-74.
If you would like to change the identity of a unit, it will have to be reset.
Note: The recommended time to change the unit ID is on power down.
Setting The Boot Up Mode
On rst powering up the RB-OA3, the unit will default to giving transmission control to
Studio 1. The third DIP switch controls what studio the unit will boot to on subsequent
initialisations. The dierent modes provided are:
DIP
Switch 2
Unit Identity Denition
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GENERAL INTERFACES
OFFThis will set the unit to Force Last Used Studio mode
ONThis will set the unit to Force Studio 1 mode
Fig 12-5: RB-OA3 Unit Identity Reset Settings.
Force Last Used Studio Mode
When a studio is selected, the value of that studio is stored in the unit. This is then recalled
on boot up so that the last studio to transmit is reconnected. This is useful in loss of
power situations, since the latching relays will remain in position on start up, leaving the
transmission path unaected.
Force Studio 1 Mode
On boot up Studio 1 is given transmission control. This is useful for returning the unit to a
known position.
Note: When connecting multiple units together ensure that there is only one of
each type of unit. If you connect units of the same type, communication errors
will occur. For security, once initialized, the unit will retain its ID until power down
regardless of any DIP switch changes.
12
Conguring for Operation
The RB-OA3 can be used in both single (MASTER) and multiple expansion modes.
Single (MASTER) Mode
When used as a single (MASTER) unit, the RB-OA3 is used to switch 3 stereo busses between
3 studios, allowing them to share the same transmission path and peripheral devices such
as hybrids or profanity delays. A single unit must always be congured as a MASTER unit.
Studio Connections
Each connector has a dedicated channel for the master transmission and for each of the two
additional balanced stereo channels. The connector also provides the Last Studio to Oer
(LSO) feed. The Transmission path is a latched pathway so that it will remain even if there is
no power supply. For this reason, the transmission output of your mixer should always be
routed to this channel. The peripheral channels are non-latching.
Control Panels
Connect the chosen control panels, such as an RB-OA3R, one to each STUDIO CONTROL
port. The control ports are designed to allow 200mA at 15V from each chosen connector.
An excess will cause a polyfuse to cut the voltage supply which can be reset by removing
the load.
Profanity Delay Connector
You can control a profanity delay connected to the unit. The control pulses are relay based
and can be wired either normally open or normally closed, to route a common signal.
Mix Input
If the mix input is to be used, connect the source to the unit. If not, the socket must be
terminated, or the MIX INPUT ON/OFF switch must be OFF, otherwise the output signal may
experience a loss of level (see page 80).
GENERAL INTERFACES - RB-OA3
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GENERAL INTERFACES - RB-OA3
GENERAL INTERFACES
LSO Expansion Port
Leave disconnected.
Serial Ports
Leave these disconnected.
Studio Expansion
Master Transmission
Fig 12-6: RB-OA3 Studio Expansion Diagram.
Connect two units to allow the switching of 3 stereo busses between 5 studios giving the
user control over more studios. To achieve this congure one unit as the MASTER and one
unit as the STUDIO EXPANSION:
Studio Connections
Connect three studios to the master unit and connect the MASTER RB-OA3 TRANSMISSION
OUTPUT to the STUDIO 1 AUDIO input of the STUDIO EXPANSION RB-OA3 using a
transmission expansion cable (available in the RB-OA3C cable pack). Then connect studios 4
and 5 to the STUDIO 2 AUDIO and STUDIO 3 AUDIO connectors on the STUDIO EXPANSION SLAVE unit. The TRANSMISSION OUTPUTS port of the STUDIO EXPANSION unit is the main
output of this system.
Control Panels
Connect three control panels to the MASTER STUDIO CONTROL PORTS 1 - 3, one for
each studio. The control panels for studio 4 and 5 need to be connected to the STUDIO 2
CONTROL and STUDIO 3 CONTROL ports of the STUDIO EXPANSION unit.
Profanity Delay Connector
A profanity delay can be connected to either of the two units. However, it is recommended
that it is connected to the MASTER. See Single (MASTER) Mode set up for more information.
Mix Input
The mix input must be connected to STUDIO EXPANSION unit to ensure that the mix input
is on all ve studios. Ensure that the MASTER mix input is terminated correctly or that the
MIX INPUT ON/OFF switch is OFF (see page 80).
LSO Expansion
The LSO feed needs to travel between the units. Do this by connecting the LSO expansion
ports on each unit with an LSO expansion cable (available in the RB-OA3C cable pack).
Serial Ports
Connect the serial ports of the MASTER and STUDIO EXPANSION units together using a
standard RJ45 network cable (available in the RB-OA3C cable pack).
DIP Switch Settings
M
S
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GENERAL INTERFACES
12
Bus Expansion
Master Transmission
Fig 12-7: RB-OA3 Bus Expansion Diagram.
Connect two units to allow the switching of 6 stereo busses between 3 studios so that
the studios can share more peripheral devices. To achieve this congure one unit as the
MASTER and one unit as the BUS EXPANSION SLAVE:
Studio Connections
Connect three studios to the MASTER unit and connect the MASTER TRANSMISSION
OUTPUT to your transmission output destination. The BUS EXPANSION SLAVE switches as
the MASTER.
To access the three extra balanced stereo channels, connect to the transmission and
peripheral paths of the BUS EXPANSION SLAVE STUDIO 1-3 AUDIO connectors. The outputs
for these paths will be the TRANSMISSION OUTPUT of the BUS EXPANSION SLAVE.
Control Panels
Connect three studio control panels to the MASTER STUDIO CONTROL PORTS 1 - 3, one for
each studio. If control panels are connected to the BUS EXPANSION SLAVE the LEDS will
simply follow the master control panels, however no action can be initiated with a slave
control panel.
Profanity Delay Connector
A profanity delay can be connected to either of the two units. However, it is recommended
that it is connected to the MASTER. See Single (MASTER) Mode set up for more information.
Mix Input
The mix input must be connected to the MASTER. Because it’s not being used, ensure that
the BUS EXPANSION SLAVE mix input is terminated correctly or that the MIX INPUT ON/OFF
switch is OFF for this SLAVE (see page 80).
LSO Expansion
Leave disconnected on both units.
Serial Ports
Connect the serial ports of the MASTER and BUS EXPANSION SLAVE units together using a
standard RJ45 network cable (not a cross-over cable).
DIP Switch Settings
M
B
GENERAL INTERFACES - RB-OA3
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12
GENERAL INTERFACES
Studio & Bus (4 Unit) Expansion
DIP Switch SettingsDIP Switch Settings
Master Transmission
M
B
Fig 12-8: RB-OA3 Studio & Bus Expansion Diagram.
Connect two units to allow the switching of 6 stereo busses between 3 studios allowing
the studios to share more peripheral devices. To achieve this congure one unit is set as
the MASTER, one unit as the STUDIO EXPANSION SLAVE, one unit as the BUS EXPANSION SLAVE and one unit as the STUDIO & BUS EXPANSION SLAVE:
Studio Connections
Connect the STUDIO EXPANSION SLAVE and the BUS EXPANSION SLAVE as shown
previously to give you a system of three units. The STUDIO & BUS EXPANSION SLAVE
is added as a bus expansion for studios 4 and 5. To connect this unit, use a second
transmission connection cable to connect the TRANSMISSION OUTPUT of the BUS EXPANSIONSLAVE with the STUDIO 1 AUDIO connector of the BUS EXPANSION SLAVE.
The TRANSMISSION OUTPUT from the BUS EXPANSION SLAVE acts as the I/O for all the bus
expansion paths.
Control Panels
Connect three control panels to the MASTER STUDIO CONTROL PORTS 1 - 3, one for each
studio. The control panels for studio 4 and 5 need to be connected to STUDIO CONTROL
GENERAL INTERFACES - RB-OA3
PORTS 2 and 3 of the STUDIO EXPANSION. There is no need to connect control panels to the
BUS EXPANSION SLAVE and STUDIO & BUS EXPANSION SLAVE although, if connected, they will reect the situation shown by the control panels connected to the MASTER and STUDIO
EXPANSION SLAVE units.
Profanity Delay Connector
A profanity delay can be connected to either of the four units. However, it is recommended
that it is connected to the MASTER. See Single (MASTER) Mode set up for more information.
Mix Input
The mix input must be connected to the STUDIO EXPANSION SLAVE to ensure that the mix
input is on all ve studios. Ensure that the MASTER mix input is terminated correctly or that
the MIX INPUT ON/OFF switch is OFF (see page 80).
LSO Expansion
The LSO feed needs to travel between units. This is achieved by connecting the LSO
expansion ports on the MASTER and STUDIO EXPANSION with an
LSO expansion cable
S
B&S
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GENERAL INTERFACES
(available in the RB-OA3C cable pack). For the BUS EXPANSION SLAVE and STUDIO & BUS
EXPANSION SLAVE, there is no need to connect the LSO expansion cables since the LSO is
Connect the serial ports of the MASTER and all the SLAVE units together using a standard
RJ45 network cable. It is recommended that a full ring system is implemented by
connecting each unit to two others.
This ensures that if one connection is lost, there is still a path for communication for each
unit. If the decision is taken to use three cables rather than four, please ensure that there is a
direct link between the MASTER and STUDIO EXPANSION SLAVES.
Indications – How The LEDS Are Used
FRONT PANEL LEDS
The unit is supplied with 7 LEDs on the front panel. These LEDs are used to indicate all the
various states of the unit:
POWER
This LED is used to indicate whether the unit is currently powered. It is illuminated RED if the
unit is powered and extinguished if not.
DELAY
This LED is used to show whether the Delay function has been activated. Its operation
is momentary and each burst will last for approximately half a second. If the button is
illuminated RED this means that the delay pulse has been activated.
DUMP
This LED is used to show whether the Dump function has been activated. Its operation
is momentary and each burst will last for approximately half a second. If the button is
illuminated RED this means that the dump pulse has been activated.
OFFER
This LED is used to show whether the system is currently in OFFER mode. This LED is
illuminated YELLOW while the unit is on oer and extinguished otherwise. If this LED ashes
this means that the unit is currently in SUSTAIN ACTIVE mode (see page 77).
STUDIO 1-3
These LEDS are used to indicate which studio is currently switched to the transmission path.
Each one is illuminated RED to represent each specic studio when that studio is switched
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GENERAL INTERFACES - RB-OA3
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GENERAL INTERFACES - RB-OA3
GENERAL INTERFACES
in. When the unit is operating as a STUDIO EXPANSION SLAVE, if one of the MASTER unit’s
studios is routed to the transmission path, STUDIO 1 LED will always be illuminated. If one of
SLAVE’S studios is selected, the MASTER unit’s studio indications will all be extinguished.
CONTROL PANEL LEDS
Each of the control panel connectors has the ability to switch on four LEDS. In the case of
the S2-MTBS and the RB-OA3R, the LEDS are built into the buttons.
OFFER
This LED is used to show whether the system is currently in OFFER mode. This LED is
illuminated while the unit is on oer and extinguished otherwise. If this LED ashes this
means that the unit is currently in SUSTAIN ACTIVE mode.
ACCEPT
This LED is illuminated if the studio is currently on the transmission path. In SUSTAIN ARMED
mode this LED will ash repeatedly until the specic studio is selected. The ACCEPT LED will
always ash to indicate SUSTAIN ARMED mode.
DELAY
This LED is used to show whether the studio has activated a delay pulse. It is illuminated
when a delay pulse is activated.
DUMP
This LED is used to show whether the studio has activated a dump pulse. It is illuminated
when a dump pulse is activated.
EMERGENCY MODE
If the MASTER loses contact with any of the SLAVES, the SLAVES will enter emergency
mode. In emergency mode all the LEDS except the power led will ash repeatedly until
contact with the master is re-established.
Operational Modes
OFFER
If a studio is transmitting, this mode is used to oer the transmission path to other studios.
When the OFFER button is pressed, the OFFER button in all studios is illuminated. This
unlocks the operation of the ACCEPT button in all other studios. To remove this mode,
simply press the OFFER button again. Pressing this also switches the current studio to the
LSO bus.
ACCEPT
This mode is used to accept the transmission path. To do this, press the ACCEPT button once
the oer has been made. Once the studio has accepted, this switches the OFFER, DELAY,
DUMP and SUSTAIN functions to that studio.
SUSTAIN
This mode is used to switch to a sustaining service, for example, a PC automation system,
which conventionally wouldn’t be in its own studio and would therefore need external
76
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GENERAL INTERFACES
control to take transmission back from it. Think of it as a studio which has no Oer and
Accept controls of its own, but which can still be put to and from transmission by the other
studios.
The sustain studio is Studio 3 by default and this cannot be changed. Once the sustain
function is activated, the transmission path switches instantly to Studio 3 and is
automatically oered back to all studios. To enter SUSTAIN mode, press the OFFER button to
enter oer mode then hold the ACCEPT button for three seconds. DELAY and DUMP modes
are inactive in SUSTAIN.
The SUSTAIN mode has two phases:
SUSTAIN ACTIVE
In this phase, studio 3 is transmitting and the oer is made to all studios. The oer button
ashes in all studios to let the controllers know that the sustain mode is active. To retrieve
the control, a studio must press the ashing OFFER button. SUSTAIN mode then enters
phase 2, SUSTAIN ARMED.
SUSTAIN ARMED
In this phase, a studio is ready to take control. The OFFER button is constantly lit in the
studio that triggered this phase and the ACCEPT will ash in both the arming studio and
Studio 3. In the other studios, all the buttons will be inactive and the LEDS will all be o.
The arming studio can now accept the transmission path by pressing the ACCEPT button.
If the arming studio wants to return the unit to SUSTAIN ACTIVE phase, the OFFER button
should be pressed.
DELAY/DUMP
These functions are used to control a profanity delay. To use these functions route the
transmission to the delay unit control input and setup the delay unit accordingly. The
output is then taken from the delay unit. The unit has both a normally closed and normally
open relay trigger. When the DELAY or DUMP button is pressed, a half second pulse triggers
the specic relay which will either connect to, or break, the connection with a Common
signal (supplied from the delay unit).
EMERGENCY
In the multiple unit cases there is an EMERGENCY mode. This mode is activated with
the SLAVE units to alert the user that communication with the MASTER has broken down.
In this mode, all LEDS associated with the unit will start ashing (except the POWER LED).
While the unit is in this mode it will not respond to any commands. Once the unit
re-establishes a connection with the MASTER, the unit will return to the position it was in
prior to the disconnection, if the MASTER is unchanged, or it will update if the MASTER has
changed. As an extra safety feature, if the STUDIO EXPANSION SLAVE loses communication
while studio 4 or 5 is transmitting, the MASTER will lock all ability to change transmission
studio until contact is re-established. If the MASTER loses power or all communication
paths, all SLAVES will display emergency mode. In addition if any SLAVE loses power it will
automatically reboot into the correct state.
12
GENERAL INTERFACES - RB-OA3
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12
A
A
A
A
GENERAL INTERFACES
Transmission Studio
ACCEPT
CCEPT
ATE
ST
Press OFFER
to offer control
OFFER
ATE
ST
SUSTAIN
CTIVE
ATE
ST
Press OFFER to
take back control
Studio 3 Always
Transmission Studio
ACCEPT
OFFER
OFFER
Other Studio
OFFERACCEPT
Press ACCEPT
to take control
Other Studio
OFFERACCEPT
Press OFFER to arm
GENERAL INTERFACES - RB-OA3
SUSTAIN
RMED
ATE
ST
(IF ANOTHER
STUDIO ARMS)
SUSTAIN
RMED
ATE
ST
(IF STUDIO
3 ARMS)
Fig 12-10: Oer & Accept Button Operation (Flashing is indicated by radial lines around a button).
SUSTAIN MODE
Press OFFER to
take back control
78
Press OFFER to arm
SUSTAIN MODE
Press ACCEPT to take control or
press OFFER to return to
SUSTAIN ACTIVE
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GENERAL INTERFACES
Rear Panel Connections & Operation
LSO Expansion
The connector is 9 a pin female D-type and is used to transfer the last studio to oer channel
between units, when used in multiple unit mode.
The interface is a 9 pin female D-type and is used to mix a stereo feed into the transmission
path by using the MIX INPUT ON/OFF SWITCH, push button (rear panel, located next to the
mix input). This could be an emergency announcement system, PC automation playout
system, or other audio source.
Note: If this input is not being used it must either be switched o using the pushbutton, or terminated by connecting pins 2 & 7 together and pins 4 & 9 together. If it is
not terminated the noise on the transmission output can be worse by 3-6dB.
Mix Input Connector Details
1Mix Input Right Phase
2Mix Input Right Non Phase
3Mix Input Left Phase
4Mix Input Left Non Phase
5NC
6Analogue Ground
7Impedance Connection
8Analogue Ground
9Impedance Connection
80
Fig 12-13: RB-OA3 Mix Input Connector Denitions.
GENERAL INTERFACES - RB-OA3
Fig 12-14: RB-OA3 Mix Input Connector Details.
15
69
If not being used these pins
must be connected
Mix Input Left
Mix Input Right
If not being used these pins
must be connected
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GENERAL INTERFACES
Transmission Outputs and Studio 1-3 Audio Connection Details
There are three studio interfaces to connect three individual studios to the unit. There is also
a transmission interface which carries the main transmission output and 2 balanced stereo
connections for interfacing with external units such as hybrids, or codecs, which you may
want to share between studios. These are all 25 way female D-Types and they each carry 4
balanced stereo pairs or 8 mono.
Transmission Outputs I/O Connector Details
1Transmission Left Phase (Output)
3Transmission Right Non Phase (Output)
41st external unit Left Phase (Input/Output)
61st external unit Right Non Phase (Input/Output)
nd
72
92nd external unit Right Non Phase (Input/Output)
14Transmission Left Non Phase (Output)
15Transmission Right Phase (Output)
171st external unit Left Non Phase (Input/Output)
181st external unit Right Phase (Input/Output)
202nd external unit Left Non Phase (Input/Output)
212nd external unit Right Non Phase (Input/Output)
Fig 12-17: RB-OA3 Studio 1-3 Audio Connector Denitions.
GENERAL INTERFACES - RB-OA3
Fig 12-18: RB-OA3 Studio 1-3 Audio Connector Details.
113
1425
Transmission RightLast Studio to Oer Right 2nd External Unit Right 1st External Unit Right
Transmission LeftLast Studio to Oer Left 2nd External Unit Left1st External Unit Left
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GENERAL INTERFACES
Studio 1-3 Control Port Connection Details
Each studio can be controlled externally via the optional RB-OA3R rack control system or, if
the studio uses the Sonifex S2 mixer, the S2-MTBS panel which can be connected to the unit
via these control ports. Each control panel enables control of the Oer, Accept and Sustain
functions as well as Dump and Delay.
There is a pin for each function which needs to be pulled low to activate the function.
There is also a pin that becomes grounded once that function is selected. This is so that an
indicator such as a tally LED can be used. There is also a Digital Ground and 15V supply.
The connectors are 15 pin Female D-types.
115V
2Oer Signal Input
3Oer LED
4Accept Signal Input
5Accept LED
6Delay Signal Input
7Delay LED
8Dump Signal Input
9Dump LED
15Digital Ground
12
GENERAL INTERFACES - RB-OA3
All other pins are unused.
Fig 12-19: RB-OA3 Studio 1-3 Control Connector Denitions.
18
915
For Switch Control
Offer, accept,
delay or dump
Signal Input
For Lamp Control
15V (Pin 1) or Own Voltage SourceOffer, accept, delay
Fig 12-20: RB-OA3 Switch & Lamp Control Details.
Redbox User Handbook No 3
Momentary switch
Lamp
Circuitry
or dump LED
GND (Pin 15)
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GENERAL INTERFACES
Profanity Delay Control
A profanity delay unit can be attached and controlled to the unit via this interface. The
control is achieved using a relay. Each relay has a common input pin and two possible
output pins (open or closed). The relay can then be congured to route the applicable
voltage to it’s output pins. For example for an active low triggered input, 0V would be
connected to the relevant Common pin and the profanity delay input pin would be
connected to the Normally Open pin of the relay.
The interface is a 9 pin male D-type.
1Digital Ground
2NC
3Delay Normally Closed Output
4Dump Relay Common
5Dump Normally Open Output
6NC
7Delay Relay Common
8Delay Normally Open Output
9Dump Normally Closed Output
Fig 12-21: RB-OA3 Profanity Delay Control Connector Denitions..
84
15
GENERAL INTERFACES - RB-OA3
69
Dump Connections
Delay Connections
Fig 12-22: RB-OA3 Profanity Delay Control Connector Details.
Serial Ports
There are two parallel serial ports on the back of each unit to enable the connection of
multiple RB-OA3 units. These use standard RJ-45 connectors.
When connecting multiple RB-OA3 units together, simply connect these ports together.
If you have more than two RB-OA3 units, multiple connections can be made to ensure that
all units communicate even if one connection is lost.
Digital Ground
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GENERAL INTERFACES
Technical Specications RB-OA3
LSO
Path:
Input Impedance: >20k
Output Impedance: <50
Gain Range: Unity gain
Frequency Response: 20Hz to 20kHz ±0.1dB
Common Mode Rejection: < -52dB typically
Distortion: 0.01%THD @ 1 kHz
Noise: ~ -87dB unity gain, ref +8dBu
Mix Audio Transformer Specications:
Common Mode Rejection: < -64dB @ 10kHz
Distortion: 0.5% THD ref 17dBu @ 40Hz
Bandwidth: ±0.5dBu 10Hz to 36kHz
Connections:
Studio Audio I/O: 3 x 25 way D type socket (female)
Transmission I/O: 1 x 25 way D type socket (female)
Dump/Delay Control: 1 x 9 way D type plug (male)
Studio Control: 3 x 15 way D type sockets (female)
LSO Expansion Port: 1 x 9 way D type socket (female)
Mix Input: 1 x 9 way D type socket (female)
Serial Ports: 2 x RJ45
Mains Input: Filtered IEC, 110V-120V, or 220-240V
switchable, fused, 9W maximum
12
GENERAL INTERFACES - RB-OA3
Equipment Type
RB-OA3:
Physical Specication
Dimensions (Raw): 48cm (W) x 15.8cm (D ) x 4.2cm (H) (1U)
19” (W) x 6.2” (D) x 1.7” (H) (1U)
Dimensions (Boxed): 59cm (W) x 27.4cm (D ) x 10.8cm (H)
The RB-OA3 has been designed for installation in a central technical area with cabling to
custom panels, or selection switches, in each studio. If you don’t have any custom switch
panels available, you can use an RB-OA3R in each studio. The RB-OA3R is a 1U rack mount
switch unit for use in each studio that needs to be connected to the STUDIO 1-3 CONTROL
connectors on an RB-OA3. It takes it’s power from the RB-OA3 unit so needs no power
supply itself.
It contains four buttons which are used to control the functions of the RB-OA3. Each front
panel push button is illuminated by coloured LEDs and controls the OFFER, ACCEPT, DELAY
and DUMP functions:
Fig 12-24: RB-OA3R Control Function lndication Colours.
GENERAL INTERFACES - RB-OA3R
The connector on the rear of the RB-OA3R is a 15 way D type plug which connects to the
Studio Control inputs on the RB-0A3.
Indicator
OerGreen
AcceptRed
DelayYellow
DumpYellow
Oer Button
Accept ButtonDelay Button
Dump ButtonPower On
86
Studio Control Connector
Fig 12-25: RB-OA3R Rear Panel.
Redbox User Handbook No 3
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