Sonifex RB-RK1, SON-RBMM1, RB-PMX4, RB-MA2 Users Guide

Page 1
Redbox
User Handbook No3
Mixers & Source Selectors, Microphone Ampliers, Stereo to Mono Converters, General Interfaces
RB-SS10 10 way stereo analogue source selector/mixer
RB-DSS10 10 way stereo digital source selector
RB-PMX4 10 input, 4 output analogue preset mixer
RB-MA1 Microphone amplier, single
RB-MA2 Microphone amplier, dual
RB-DMA2 Dual digital microphone amplier
RB-ML2 Microphone limiter, 2 channel
RB-SL2 Twin mono, or stereo limiter
RB-SM1 Stereo to mono converter, single
RB-SM2 Stereo to mono converter, dual
RB-LC3 3 way light/power controller
RB-MM1 Mix minus generator
RB-OA3 3 studio on-air switcher
RB-OA3R Remote switch panel for RB-OA3
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Revision 2.16 October 2015 ©Sonifex Ltd, 2000-15 All Rights Reserved
Sonifex Ltd, 61, Station Road, Irthlingborough, Northants, NN9 5QE, England.
Tel : +44 (0)1933 650 700 Fax : +44 (0)1933 650 726 Email : [email protected] or [email protected] Web : http://www.sonifex.co.uk
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
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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 Conguring the Additional Modes 3
Rear Panel Connections and Operation 4
Inputs 4 Outputs 4 Altering the Master Output Level 4 RB-SS10 Additional Audio Input Connectors 5 RB-SS10 Remote Start I/O 6 Remote Select/Switch Inputs 7 Status Outputs 8
Technical Specications RB-SS10 9
2 RB-DSS10 10 Way Stereo Digital Source Selector 11
Introduction 11 System Block Diagram 12 Front Panel Indicators & Controls 12
Power Indicator 12 Illuminated Push Buttons 13 Headphone Output 13 Volume Control 13 Additional Modes 13 Select & Conrm Mode 13 Conguring the Additional Modes 13
Rear Panel Connections and Operation 14
RB-DSS10 Inputs 14 RB-DSS10 Outputs 14 Digital Audio Inputs & S/PDIF Output 15 Remote Start I/O 16 Remote Select/Switch Inputs 17 Status Outputs 18
Technical Specications RB-DSS10 19
3 RB-PMX4 10 Input, 4 Output Analogue Preset Mixer 21
Introduction 21 System Block Diagram 22
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CONTENTS
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CONTENTS
Rear Panel Connections and Operation 22
Outputs 1-4 23
Front Panel Controls 23
Switch Banks 23 Input Gain Controls 23
Technical Specications RB-PMX4 24
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 Specications RB-SSML1 30
5 RB-MA1 Single & RB-MA2 Dual Microphone Ampliers 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 Specications RB-MA1 & RB-MA2 34
6 RB-DMA2 Dual Digital Microphone Amplier 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 Specications 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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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 Specications 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 Specications 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
Stereo Inputs 1 (& 2) 55 Mono Output 1 (& 2) 55 Output Gain 55
Technical Specications RB-SM1 & RB-SM2 56
10 RB-LC3 3 Way Light/Power Controller 57
Introduction 57 System Block Diagram 58 Rear Panel Connections and Operation 58
Switched Mains Outputs 59 Telephone Connections 59 Remote External Control Inputs 59 Conguration Switches 60 Latching and Momentary Mode 60 Flash Rate Preset Potentiometer 62
Technical Specications RB-LC3 63
11 RB-MM1 Mix Minus Generator 64
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 Specications 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
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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
Conguring 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
Indications – How The LEDS Are Used 75
FRONT PANEL LEDS 75 CONTROL PANEL LEDS 76
Operational Modes 76 Rear Panel Connections & Operation 79
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
Technical Specications RB-OA3 85
RB-OA3R Remote Switch Panel For RB-OA3 86
Introduction 86 Technical Specications RB-OA3R 88
RB-OA3C Expansion Unit Cable Kit For RB-OA3 89
Introduction 89 Technical Specications RB-OA3C 89
13 Connectors & Cabling 90
XLR 3 Pin Connectors 90 RCA Phono Connectors 90 D-Type Connectors 91
14 Glossary 92
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Figures
FIGURES
Fig A: Packing List. ii
Fig B: Mains Cable Wire Colours iv
Fig C: Mains Lead Table. iv
Fig D: RB-RK1Small Redbox Front Rack-mount Kit . v
Fig E: RB-RK2 Small Redbox Rear Rack-mount Kit. v
Fig F: RB-RK3 Large Redbox Rear Rack-mount Kit. v
Fig 1-1: RB-SS10 Front Panel. 1
Fig 1-2: RB-SS10 System Block Diagram. 2
Fig 1-3: RB-SS10 Front Panel. 2
Fig 1-4: RB-SS10 Rear Panel. 4
Fig 1-5: Analogue Audio Inputs Pin Connections 5
Fig 1-6: Remote Start Pin Connections. 6
Fig 1-7: Connection Example. 7
Fig 1-8: Remote Select/Switch Input Connections. 7
Fig 1-9: Connection Example. 8
Fig 1-10: Status Output Pin Connections. 8
Fig 1-11: Connection Example. 9
Fig 2-1: RB-DSS10 Front Panel. 11
Fig 2-2: RB-DSS10 System Block Diagram. 12
Fig 2-3: RB-DSS10 Front Panel. 12
Fig 2-4: RB-DSS10 Rear Panel. 14
Fig 2-5: Digital Audio Inputs and S/PDIF Output Pin Connections. 15
Fig 2-6: Remote Start Pin Connections. 16
Fig 2-7: Connection Example. 17
Fig 2-8: Remote Select/Switch Input Connections. 17
Fig 2-9: Status Output Pin Connections. 18
Fig 2-10: Connection Example. 18
Fig 3-1: RB-PMX4 Front Panel . 21
Fig 3-2: RB-PMX4 Block Diagram. 22
Fig 3-3: RB-PMX4 Rear Panel. 22
Fig 3-4: RB-PMX4 Front Panel Controls. 23
Fig 4-1: RB-SSML1 Front Panel. 25
Fig 4-2: RB-SSML1 Block Diagram. 26
Fig 4-3: RB-SSML1 Rear Panel. 26
Fig 4-4: DIP Switch to Control Mic & Meter
Features. 27
Fig 4-5: RB-SSML1 Front Panel. 28
Fig 5-1: RB-MA1 & RB-MA2 Front Panel. 31
Fig 5-2: RB-MA1 & RB-MA2 Block Diagram Single Channel. 31
Fig 5-3: RB-MA1 Rear Panel. 32
Fig 5-4: RB-MA2 Rear Panel. 32
Fig 5-5: Switch to Control LF Filter and Phantom Power. 33
Fig 6-1: RB-DMA2 Front Panel. 35
Fig 6-2: RB-DMA2 System Block Diagram. 36
Fig 6-3: RB-DMA2 Front Panel. 36
Fig 6-4: Jumpers to Disable Fine Gain Control. 37
Fig 6-5: RB-DMA2 Rear Panel. 37
Fig 6-6: RB-DMA2 Status Select Switches. 39
Fig 6-7: RB-DMA2 Frequency and Sync Rotary Switch Selections. 41
Fig 7-1: RB-ML2 Front Panel. 44
Fig 7-2: RB-ML2 Block Diagram. 45
Fig 7-3: RB-ML2 Rear Panel. 45
Fig 7-4: Switch to Control LF Filter and Phantom Power. 46
Fig 8-1: RB-SL2 Front Panel. 50
Fig 8-2: RB-SL2 Block Diagram. 50
Fig 8-3: RB-SL2 Rear Panel. 51
Fig 9-1: RB-SM1 & RB-SM2 Front Panel. 53
Fig 9-2: RB-SM1 & RB-SM2 Block Diagram Single Channel. 53
Fig 9-3: RB-SM1 Rear Panel.. 54
Fig 9-4: RB-SM2 Rear Panel. 54
Fig 10-1: RB-LC3 Front Panel. 57
Fig 10-2: RB-LC3 Block Diagram. 58
Fig 10-3: RB-LC3 Rear Panel 58
Fig 10-4: Output 1 Conguration Setting. 61
Fig 10-5: Output 2 Conguration Settings. 61
Fig 10-6: Output 3 Conguration Settings. 62
FIGURES
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FIGURES
Figures (continued)
Fig 11-1: RB-MM1 Front Panel. 64
Fig 11-2: RB-MM1 System Block Diagram. 64
Fig 11-3: RB-MM1 Rear Panel. 65
Fig 12-1: RB-OA3 Front Panel. 68
Fig 12-2: RB-OA3 System Block Diagram. 69
Fig 12-3: RB-OA3 Rear Panel. 70
Fig 12-4: RB-OA3 Unit Identity Denitions. 70
Fig 12-5: RB-OA3 Unit Identity Reset Settings. 71
Fig 12-6: RB-OA3 Studio Expansion Diagram. 72
FIGURES
Fig 12-7: RB-OA3 Bus Expansion Diagram. 73
Fig 12-8: RB-OA3 Studio & Bus Expansion Diagram. 74
Fig 12-9: RB-OA3 Multiple RB-OA3 Expansion Diagram. 75
Fig 12-10: Oer & Accept Button Operation 78
Fig 12-11: RB-OA3 LSO Expansion Connector Denitions. 79
Fig 12-12: RB-OA3 LSO Expansion Connector Details. 79
Fig 12-13: RB-OA3 Mix Input Connector Denitions. 80
Fig 12-14: RB-OA3 Mix Input Connector Details. 80
Fig 12-15: RB-OA3 Transmission I/O Connector Denitions. 81
Fig 12-16: RB-OA3 Transmission Outputs Connector Details. 81
Fig 12-17: RB-OA3 Studio 1-3 Audio Connector Denitions. 82
Fig 12-18: RB-OA3 Studio 1-3 Audio Connector Details. 82
Fig 12-19: RB-OA3 Studio 1-3 Control Connector Denitions. 83
Fig 12-20: RB-OA3 Switch & Lamp Control Details. 83
Fig 12-21: RB-OA3 Profanity Delay Control Connector Denitions.. 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 Denitions. 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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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 satised:
(i) Notication 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 specied 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 modied 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 benet 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
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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 prots 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 specic 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 dened by the
Consumer Transactions (Restrictions on Statements) Order 1976) the statutory rights of the Purchaser are not aected 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.
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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 modications, 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 specied 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 Specications of each product for the fuse rating. The active fuse is tted on the outside rear panel of the unit.
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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 dierent power cable, you should use the following wiring guidelines:
Wire Colour Connection
Green, or green and yellow Earth (E) Blue, or Black Neutral (N) Brown, or Red Live (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.
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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.
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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 identied 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 aected 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 oered as RoHS compliant, or LF, only after sucient 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 identication of RoHS compliance. Thus whilst every eort is made to ensure compliance, Sonifex Ltd makes no warranty, or certication, or declaration of compliance concerning said components.
Sonifex Ltd denes “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.
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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 congured, 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
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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.
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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 eect 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 dierent modes of operation is available and can be congured 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.
Conguring 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.
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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
Outputs Input 1 Status
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 buered so that a short circuit on one output will not aect 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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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 No. I/O INPUTS 3 - 6 connector INPUTS 7 – 10 connector
Pin 1 I Audio input 3 left phase Audio input 7 left phase
Pin 2 - Chassis ground Chassis ground
Pin 3 I Audio input 3 right non-phase Audio input 7 right non-phase
Pin 4 I Audio input 4 left phase Audio input 8 left phase
Pin 5 - Chassis ground Chassis ground
Pin 6 I Audio input 4 right non-phase Audio input 8 right non-phase
Pin 7 I Audio input 5 left phase Audio input 9 left phase
Pin 8 - Chassis ground Chassis ground
Pin 9 I Audio input 5 right non-phase Audio input 9 right non-phase
Pin 10 I Audio input 6 left phase Audio input 10 left phase
Pin 11 - Chassis ground Chassis ground
Pin 12 I Audio input 6 right non-phase Audio input 10 right non-phase
Pin 13 - No internal connection No internal connection
Pin 14 I Audio input 3 left non-phase Audio input 7 left non-phase
Pin 15 I Audio input 3 right phase Audio input 7 right phase
Pin 16 - Chassis ground Chassis ground
Pin 17 I Audio input 4 left non-phase Audio input 8 left non-phase
Pin 18 I Audio input 4 right phase Audio input 8 right phase
Pin 19 - Chassis ground Chassis ground
Pin 20 I Audio input 5 left non-phase Audio input 9 left non-phase
Pin 21 I Audio input 5 right phase Audio input 9 right phase
Pin 22 - Chassis ground Chassis ground
Pin 23 I Audio input 6 left non-phase Audio input 10 left non-phase
Pin 24 I Audio input 6 right phase Audio input 10 right phase
Pin 25 - Chassis ground Chassis ground
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MIXER & SOURCE SELECTORS - RB-SS10
Fig 1-5: Analogue Audio Inputs Pin Connections
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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/O Description
Pin 1 O Start output 1 collector
Pin 2 O Start output 2 collector
Pin 3 O Start output 3 collector
Pin 4 O Start output 4 collector
Pin 5 O Start output 5 collector
Pin 6 O Start output 6 collector
Pin 7 O Start output 7 collector
Pin 8 O Start output 8 collector
Pin 9 O Start output 9 collector
Pin 10 O Start output 10 collector
Pin 11 - No internal connection
Pin 12 - No internal connection
Pin 13 I Remote start input signal
Pin 14 O Start output 1 emitter
Pin 15 O Start output 2 emitter
Pin 16 O Start output 3 emitter
Pin 17 O Start output 4 emitter
Pin 18 O Start output 5 emitter
Pin 19 O Start output 6 emitter
Pin 20 O Start output 7 emitter
Pin 21 O Start output 8 emitter
Pin 22 O Start output 9 emitter
Pin 23 O Start output 10 emitter
Pin 24 - No internal connection
Pin 25 - Signal ground
Fig 1-6: Remote Start Pin Connections.
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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/O Description
Pin 1 I Remote input 1 – active low to ground
Pin 2 I Remote input 2 – active low to ground
Pin 3 I Remote input 3 – active low to ground
Pin 4 I Remote input 4 – active low to ground
Pin 5 I Remote input 5 – active low to ground
Pin 6 I Remote input 6 – active low to ground
Pin 7 I Remote input 7 – active low to ground
Pin 8 I Remote input 8 – active low to ground
Pin 9 I Remote input 9 – active low to ground
Pin 10 I Remote input 10 – active low to ground
Pin 11 I Front panel inhibit signal – active low to ground
Pin 12 I Mix 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
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 Name I/O Description
Pin 1 REMTALLY1 O Internal open collector to ground for output 1
Pin 2 REMTALLY2 O Internal open collector to ground for output 2
Pin 3 REMTALLY3 O Internal open collector to ground for output 3
Pin 4 REMTALLY4 O Internal open collector to ground for output 4
Pin 5 REMTALLY5 O Internal open collector to ground for output 5
Pin 6 REMTALLY6 O Internal open collector to ground for output 6
Pin 7 REMTALLY7 O Internal open collector to ground for output 7
Pin 8 REMTALLY8 O Internal open collector to ground for output 8
Pin 9 REMTALLY9 O Internal open collector to ground for output 9
Pin 10 REMTALLY10 O Internal open collector to ground for output 10
Pin 11 N/C - No internal connection
Pin 12 N/C - No internal connection
Pin 13 GND - Signal ground
Pins 14 to 23 +5V O To supply up to a maximum of 500mA
Pin 24 N/C - No internal connection
Pin 25 N/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.
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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 Specications RB-SS10
Audio Specications
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)
Status Outputs: 25 way D-type socket (female)
Mains Input: Filtered IEC, 110V-120V, or 220-240V switchable, fused, 6W maximum.
Fuse Rating: Anti-surge fuse 160mA 20 x 5mm (230VAC) Anti-surge fuse 315mA 20 x 5mm (115VAC)
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Equipment Type
RB-SS10: 10 way stereo analogue source selector/mixer
Physical Specications
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)
Weight: Nett: 1.5kg Gross: 2.0kg Nett: 3.3lbs Gross: 4.4lbs
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MIXER & SOURCE SELECTORS
2 RB-DSS10 10 Way Stereo Digital Source Selector
Introduction
Fig 2-1: RB-DSS10 Front Panel.
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).
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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
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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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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 eect 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 32to 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 dierent modes of operation is available and can be congured 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.
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MIXER & SOURCE SELECTORS - RB-DSS10
Select & Conrm 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 conrm 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.
Conguring 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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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 & Conrm 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 specication
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 specication
Status
Outputs
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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/O Description
Pin 1 I AES/EBU input 9 signal phase
Pin 2 - Signal ground
Pin 3 I AES/EBU input 10 signal non-phase
Pin 4 I S/PDIF input 1 signal
Pin 5 I S/PDIF input 2 signal
Pin 6 I S/PDIF input 3 signal
Pin 7 I S/PDIF input 4 signal
Pin 8 I S/PDIF input 5 signal
Pin 9 I S/PDIF input 6 signal
Pin 10 I S/PDIF input 7 signal
Pin 11 I S/PDIF input 8 signal
Pin 12 I S/PDIF input 9 signal
Pin 13 I S/PDIF input 10 signal
Pin 14 I AES/EBU input 9 signal non-phase
Pin 15 I AES/EBU input 10 signal phase
Pins 16 to 23 - Signal ground
Pin 24 O S/PDIF output signal
Pin 25 - Signal ground
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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
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/O Description
Pin 1 O Start output 1 collector
Pin 2 O Start output 2 collector
Pin 3 O Start output 3 collector
Pin 4 O Start output 4 collector
Pin 5 O Start output 5 collector
Pin 6 O Start output 6 collector
Pin 7 O Start output 7 collector
Pin 8 O Start output 8 collector
Pin 9 O Start output 9 collector
Pin 10 O Start output 10 collector
Pin 11 - No internal connection
Pin 12 - No internal connection
Pin 13 I Remote start input signal
Pin 14 O Start output 1 emitter
Pin 15 O Start output 2 emitter
Pin 16 O Start output 3 emitter
Pin 17 O Start output 4 emitter
Pin 18 O Start output 5 emitter
Pin 19 O Start output 6 emitter
Pin 20 O Start output 7 emitter
Pin 21 O Start output 8 emitter
Pin 22 O Start output 9 emitter
Pin 23 O Start 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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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/O Description
Pin 1 I Remote input 1 – active low
Pin 2 I Remote input 2 – active low
Pin 3 I Remote input 3 – active low
Pin 4 I Remote input 4 – active low
Pin 5 I Remote input 5 – active low
Pin 6 I Remote input 6 – active low
Pin 7 I Remote input 7 – active low
Pin 8 I Remote input 8 – active low
Pin 9 I Remote input 9 – active low
Pin 10 I Remote input 10 – active low
Pin 11 I Front 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
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Status Outputs
This 25 way D-type socket (female) connector contains the remote status tallies.
Pin No. Signal Name I/O Description
Pin 1 REMTALLY1 O Internal open collector to ground for output 1
Pin 2 REMTALLY2 O Internal open collector to ground for output 2
Pin 3 REMTALLY3 O Internal open collector to ground for output 3
Pin 4 REMTALLY4 O Internal open collector to ground for output 4
Pin 5 REMTALLY5 O Internal open collector to ground for output 5
Pin 6 REMTALLY6 O Internal open collector to ground for output 6
Pin 7 REMTALLY7 O Internal open collector to ground for output 7
Pin 8 REMTALLY8 O Internal open collector to ground for output 8
Pin 9 REMTALLY9 O Internal open collector to ground for output 9
Pin 10 REMTALLY10 O Internal open collector to ground for output 10
Pin 11 N/C - No internal connection
Pin 12 N/C - No internal connection
Pin 13 GND - Signal ground
Pins 14 to 23 +5V O To supply up to a maximum of 100mA
Pin 24 N/C - No internal connection
Pin 25 N/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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Technical Specications RB-DSS10
Audio Specications
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)
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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)
Status Outputs: 1 x 25 way D-type socket (female)
Mains Input: Filtered IEC, continuously rated 85-264VAC @ 47-63Hz, max 10W
Fuse Rating: Anti-surge fuse 1A 20 x 5mm
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MIXER & SOURCE SELECTORS
Equipment Type
RB-DSS10 10 way stereo digital source selector
Physical Specications
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)
Weight: Nett: 1.6kg Gross: 2.2kg Nett: 3.5lbs Gross: 4.8lbs
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MIXER & SOURCE SELECTORS
3 RB-PMX4 10 Input, 4 Output Analogue Preset Mixer
Introduction
Fig 3-1: RB-PMX4 Front Panel .
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 congured 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 buered so that a short circuit on one won’t aect 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 buered so that a short circuit on one won’t aect the others.
An LED power indicator on the front panel displays the power supply connection.
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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.
Inputs Outputs
Redbox User Handbook No 3
Page 37
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 buered so that a short circuit on one output will not aect the others. They have the following connections:
Pin 1: Screen Pin 2: Phase Pin 3: Non-phase
Front Panel Controls
INPUT LEVEL
3
12 10987654
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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3
MIXER & SOURCE SELECTORS
Technical Specications RB-PMX4
Audio Specications
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 Specications
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)
Weight: Nett: 1.5kg Gross: 2.2kg Nett: 3.3lbs Gross: 4.8lbs
Redbox User Handbook No 3
Page 39
MIXER & SOURCE SELECTORS
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-amplier 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
MIXER & SOURCE SELECTORS - RB-SSML1
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4
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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Page 41
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
On Off
1 Low Frequency (LF) Filter
2 Phantom Power
123
On On
Fig 4-4: DIP Switch to Control Mic & Meter Features.
Redbox User Handbook No 3
4
3 Compress In Mic Mode Only
4 LED Meter Peak Hold
27
Page 42
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
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Page 43
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.
4
MIXER & SOURCE SELECTORS - RB-SSML1
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Page 44
4
MIXER & SOURCE SELECTORS - RB-SSML1
MIXER & SOURCE SELECTORS
Technical Specications RB-SSML1
Audio Specications (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 Specications
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)
Weight: Nett: 1.3kg Gross: 2.0kg Nett: 2.9lbs Gross: 4.4lbs
Redbox User Handbook No 3
Page 45
MICROPHONE AMPLIFIERS
& LIMITERS
5 RB-MA1 Single & RB-MA2 Dual Microphone Ampliers
Introduction
5
Fig 5-1: RB-MA1 & RB-MA2 Front Panel.
The RB-MA1 consists of an independent low-noise microphone pre-amplier for converting microphone level signals to line level, or for driving long lines from microphones to mixing equipment. The RB-MA2 dual microphone amplier consists of two low noise pre ampliers.
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.
System Block Diagram
Ultra low noise
high gain
Balanced
Microphone
Input
Phantom
power (48V)
48V
amplifier
Gain
Phantom supply on/off
L.F. Filter in/out
L.F.
Filter
Professional
balanced output
MICROPHONE AMPLIFIERS & LIMITERS - RB-MA1 & RB-MA2
Fig 5-2: RB-MA1 & RB-MA2 Block Diagram Single Channel.
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MICROPHONE AMPLIFIERS & LIMITERS
Rear Panel Connections and Operation
Phantom powerInput Gain
Control
Mic Input LF Filter Output
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.
Phantom Power
Switch
LF Filters Stereo Outputs
32
MICROPHONE AMPLIFIERS & LIMITERS - RB-MA1 & RB-MA2
Redbox User Handbook No 3
Page 47
MICROPHONE AMPLIFIERS
& LIMITERS
5
On On
1
2 3 4
On On
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.
1 Channel 1 Low Frequency (LF) Filter
2 Channel 1 Phantom Power
3 Channel 2 Phantom Power (only applies to MA2)
4 Channel 2 Low Frequency
MICROPHONE AMPLIFIERS & LIMITERS - RB-MA1 & RB-MA2
Redbox User Handbook No 3
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Page 48
5
MICROPHONE AMPLIFIERS & LIMITERS
Technical Specications RB-MA1 & RB-MA2
Audio Specications
Maximum Input Level: -10dBu
Maximum Output Level: +28dBu
Input Impedance: 20k nominal balanced
Output Impedance: <50
Low Frequency Roll-O: 125Hz @ 6dB/octave
Gain Range: Adjustable 36dB to 75dB gain
E.I.N: 130dB
Distortion: 0.01% THD @ 1kHz, ref +8dBu output
Common Mode Rejection: >66dB typically
Phantom Power: 48V
Frequency Response: 20Hz to 20kHz ±0.1dB (600 load, ref 1kHz)
Connections
Input: 1 (2 on RB-MA2) x XLR 3 pin female (Balanced)
Output: 1 (2 on RB-MA2) 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)
34
Equipment Type
RB-MA1: Single microphone amplier
RB-MA2: Dual microphone amplier
Physical Specications
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)
14.2” (W) x 8” (D) x 2.4” (H)
Weight RB-MA1: Nett: 0.90kg Gross: 1.35kg Nett: 2lbs Gross: 3lbs
Weight RB-MA2: Nett: 1.00kg Gross: 1.45kg
MICROPHONE AMPLIFIERS & LIMITERS - RB-MA1 & RB-MA2
Nett: 2.2lbs Gross: 3.2lbs
Redbox User Handbook No 3
Page 49
MICROPHONE AMPLIFIERS
& LIMITERS
6 RB-DMA2 Dual Digital Microphone Amplier
Introduction
Fig 6-1: RB-DMA2 Front Panel.
The RB-DMA2 consists of two independent low-noise microphone pre­ampliers 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.
6
MICROPHONE AMPLIFIERS & LIMITERS - RB-DMA2
Redbox User Handbook No 3
35
Page 50
6
MICROPHONE AMPLIFIERS & LIMITERS
For the digital output, there is a switch available to dene 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
36
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Page 51
MICROPHONE AMPLIFIERS
& LIMITERS
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
37
Page 52
6
MICROPHONE AMPLIFIERS & LIMITERS
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 specication. 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 specication. 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 & LIMITERS - RB-DMA2
Redbox User Handbook No 3
Page 53
MICROPHONE AMPLIFIERS
& LIMITERS
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.
Status Bits
1 ON Professional 16 20 24
1 OFF Consumer 3 OFF ON ON
2 ON Dual Mono 4 OFF OFF ON
2 OFF 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 aect 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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6
MICROPHONE AMPLIFIERS & LIMITERS
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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MICROPHONE AMPLIFIERS
& LIMITERS
Frequencies and Sync Modes
Rotary Switch
Number
0 Master 32
1 Master 44.1
2 Master 48
3 Master 64
4 Master 88.2
5 Master 96
6 Auto 32
7 Auto 44.1
8 Auto 48
9 Auto 64
A Auto 88.2
B Auto 96
C Auto Lock -
D Slave -
F Calibration -
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.
Mode Sample
Frequency
(kHz)
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6
MICROPHONE AMPLIFIERS & LIMITERS
Technical Specications 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 Specication
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
& LIMITERS
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 amplier
Physical Specications
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)
Weight: Nett: 1.6kg Gross: 2.2kg Nett: 3.5lbs Gross: 4.8lbs
MICROPHONE AMPLIFIERS & LIMITERS - RB-DMA2
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MICROPHONE AMPLIFIERS & LIMITERS
7 RB-ML2 Stereo Microphone & Line Level Limiter
Introduction
Fig 7-1: RB-ML2 Front Panel.
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 amplier, or microphone amplier, via a rear push-button. The microphone ampliers 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 ampliers 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
2 3 4
On On
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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MICROPHONE AMPLIFIERS
& LIMITERS
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 buer 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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7
MICROPHONE AMPLIFIERS & LIMITERS
Technical Specications RB-ML2
Audio Specications
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 Specications
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)
14.2” (W) x 8” (D) x 2.4” (H)
Weight RB-ML2: Nett: 0.90kg Gross: 1.35kg Nett: 2lbs Gross: 3lbs
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MICROPHONE AMPLIFIERS & LIMITERS
8 RB-SL2 Twin Mono, or Stereo, Limiter
Introduction
Power LED & Limit Indicator
Fig 8-1: RB-SL2 Front Panel.
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
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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 buer 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
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8
MICROPHONE AMPLIFIERS & LIMITERS
Technical Specications RB-SL2
Audio Specications
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 Specications
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)
14.2” (W) x 8” (D) x 2.4” (H)
Weight: Nett: 1.0kg Gross: 1.45kg Nett: 2.2lbs Gross: 3.2lbs
Redbox User Handbook No 3
Page 67
STEREO TO MONO CONVERTERS
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 buered and balanced mono line output from a stereo input. The RB-SM2 consists of two independent converters and will produce two fully buered 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
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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
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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.
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STEREO TO MONO CONVERTERS - RB-SM1 & RB-SM2
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9
STEREO TO MONO CONVERTERS
Technical Specications RB-SM1 & RB-SM2
Audio Specications
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 Specications
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)
14.2” (W) x 8” (D) x 2.4” (H)
STEREO TO MONO CONVERTERS - RB-SM1 & RB-SM2
Weight RB-SM1: Nett: 1.00kg Gross: 1.45kg Nett: 2.2lbs Gross: 3.2lbs
Weight RB-SM2: Nett: 1.05kg Gross: 1.50kg Nett: 2.3lbs Gross: 3.3lbs
Redbox User Handbook No 3
Page 71
10 RB-LC3 3 Way Light/Power Controller
Introduction
GENERAL INTERFACES
10
Fig 10-1: RB-LC3 Front Panel.
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 dierent 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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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
& Ring Mute
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
Conguration Switches
GENERAL INTERFACES - RB-LC3
Telephone
Connections
Fig 10-3: RB-LC3 Rear Panel
Flash
Rate
Potentiometer
Switched
Mains
Output
Redbox User Handbook No 3
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:
Pin 1: Remote 1 (Active High) Pin 2: Remote 1 (Active Low) Pin 3: Remote 2 (Active High) Pin 4: Remote 2 (Active Low) Pin 5: Remote 3 (Active High) Pin 6: Remote 3 (Active Low) Pin 7: Ring Mute (Active High) Pin 8: Ring Mute (Active Low) Pin 9: Output 1 Tally (Open Collector) Pin 10: Output 2 Tally (Open Collector) Pin 11: Output 3 Tally (Open Collector) Pin 12: No Connection Pin 13: No Connection Pin 14: 0V Pin 15: 0V
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GENERAL INTERFACES - RB-LC3
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GENERAL INTERFACES
Conguration Switches
The conguration 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 conguration 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 conguration 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 conguration 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 eect when using Settings No1-3.
The available settings for output 1, congured using switches Sw1 to Sw4, are detailed below:
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GENERAL INTERFACES - RB-LC3
Setting
Sw1 Sw2 Sw3 Sw4 Description
No
1 OOOO
2 On O O O Output 1 On when telephone is o-hook
3 O On O O Flash Output 1 when telephone rings
4 On On O O Output 1 On when Remote 1 asserted
5 O O On O Output 1 On when Remote 2 asserted
6 On O On O Output 1 On when Remote 3 asserted
7 O On On O Flash Output 1 when Remote 1 asserted
8 On On On O Flash Output 1 when Remote 2 asserted
9 O O O On Flash Output 1 when Remote 3 asserted
10 On O O On Output 1 On when Remote 1 or Remote 2 asserted
11 O On O On
12 On On O On
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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10
13 O O On On
14 On O On On Reserved for future assignment
15 O On On On Latching Mode selection for Output 1
16 On On On On Momentary Mode selection for Output 1
Fig 10-4: Output 1 Conguration Setting.
The available settings for output 2, congured using switches Sw5 to Sw8, are detailed below:
Setting
Fig 10-5: Output 2 Conguration Settings.
Sw5 Sw6 Sw7 Sw8 Description
No
1 OOOO
2 On O O O Output 2 On when telephone is o-hook
3 O On O O Flash Output 2 when telephone rings
4 On On O O Output 2 On when Remote 1 asserted
5 O O On O Output 2 On when Remote 2 asserted
6 On O On O Output 2 On when Remote 3 asserted
7 O On On O Flash Output 2 when Remote 1 asserted
8 On On On O Flash Output 2 when Remote 2 asserted
9 O O O On Flash Output 2 when Remote 3 asserted
10 On O O On Output 2 On when Remote 1 or Remote 2 asserted
11 O On O On
12 On On O On
13 O O On On
14 On O On On Reserved for future assignment
15 O On On On Latching Mode selection for Output 2
16 On On On On
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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The available settings for output 3, congured using switches Sw9 to Sw12, are detailed below:
Setting
Sw9 Sw10 Sw11 Sw12 Description
No
1OOOO
2 On O O O Output 3 On when telephone is o-hook
3 O On O O Flash Output 3 when telephone rings
4 On On O O Output 3 On when Remote 1 asserted
5 O O On O Output 3 On when Remote 2 asserted
6 On O On O Output 3 On when Remote 3 asserted
7 O On On O Flash Output 3 when Remote 1 asserted
8 On On On O Flash Output 3 when Remote 2 asserted
9 O O O On Flash Output 3 when Remote 3 asserted
10 On O O On
11 O On O On
12 On On O On
13 O O On On
14 On O On On Reserved for future assignment
15 O On On On Latching Mode selection for Output 3
16 On On On On Momentary 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 Conguration 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.
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Technical Specications 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
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GENERAL INTERFACES - RB-LC3
Physical Specications
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)
14.2” (W) x 8” (D) x 2.4” (H)
Weight: Nett: 1.00kg Gross: 1.45kg Nett: 2.2lbs Gross: 3.2lbs
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GENERAL INTERFACES - RB-MM1
GENERAL INTERFACES
11 RB-MM1 Mix Minus Generator
Introduction
Fig 11-1: RB-MM1 Front Panel.
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
Inputs Output
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
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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
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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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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.
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Technical Specications RB-MM1
Audio Specication 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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Common Mode Rejection: >60dB
Band Pass Filter Range: 200Hz to 4kHz, 12dB/octave
LF Null Adjustment: Better than 40dB at 100Hz
Mix-Minus Null: Better than 40dB at 1kHz
Frequency Response: 20Hz - 22kHz ± 0.1dB
Distortion: 0.01% THD @ 1kHz, ref +8dBu output (C-Message weighted)
Noise: -90dBu unity gain, ref +6dBu
Connections
Analogue Inputs From 2 x XLR 3 pin female (balanced) (L & R) Mixer Output:
Analogue Input From 1 x XLR 3 pin female (balanced) (L & R) Telephone Fader:
Analogue Output To TBU: 1 x XLR 3 pin male (balanced) (L & R)
Mains Input: Filtered IEC, switchable 110-120V, or 220-240V, fused, 6W max.
Fuse Rating: Anti-surge fuse 100mA 20 x 5mm (230VAC) Anti-surge fuse 250mA 20 x 5mm (115VAC)
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GENERAL INTERFACES - RB-MM1
Equipment Type
RB-MM1: Mix-minus generator
Physical Specication
Dimensions (Raw): 28cm (W) x 10.8cm (D) x 4.3cm (H) 11” (W) x 4.3” (D) x 1.7” (H)
Dimensions (Boxed): 36cm (W ) x 20.5cm (D) x 6cm (H)
14.2” (W) x 8” (D) x 2.4” (H)
Weight: Nett: 1.1kg Gross: 1.5kg Nett: 2.4lbs Gross: 3.3lbs
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12 RB-OA3 3 Studio On-Air Switcher
Introduction
Dump LED
Oer LED
Studio 2 LED
Power On Indicator
Fig 12-1: RB-OA3 Front Panel.
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 oer (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 oer 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 oer the transmission. Once oered, the transmission is fed to the other studios via the last studio to oer 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 Oer 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
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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 congured 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, dened 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 oer 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 dierent Mode ID.
The identity of the unit is dened by setting the rst two MODE ID DIP switches as per the following table:
DIP
GENERAL INTERFACES - RB-OA3
Switch 1
OFF OFF MASTER
ON OFF STUDIO EXPANSION SLAVE
OFF ON BUS EXPANSION SLAVE
ON ON STUDIO & BUS EXPANSION SLAVE
Fig 12-4: RB-OA3 Unit Identity Denitions.
If you have just a single RB-OA3, dene 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 dierent modes provided are:
DIP
Switch 2
Unit Identity Denition
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OFF This will set the unit to Force Last Used Studio mode
ON This 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 unaected.
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
Conguring 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 congured 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 Oer (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 congure 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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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 congure 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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GENERAL INTERFACES
Studio & Bus (4 Unit) Expansion
DIP Switch Settings DIP 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 congure 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 EXPANSION SLAVE 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 reect 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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(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
not used in bus expansion.
Serial Ports
RB-OA3 1 RB-OA3 2
12
RB-OA3 4 RB-OA3 3
Fig 12-9: RB-OA3 Multiple RB-OA3 Expansion Diagram.
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 oer 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 specic studio when that studio is switched
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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 oer 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 specic 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 oer 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 oer 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
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control to take transmission back from it. Think of it as a studio which has no Oer 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 oered back to all studios. To enter SUSTAIN mode, press the OFFER button to enter oer 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 oer is made to all studios. The oer 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 specic 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.
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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: Oer & 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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Rear Panel Connections & Operation
LSO Expansion
The connector is 9 a pin female D-type and is used to transfer the last studio to oer channel between units, when used in multiple unit mode.
LSO Expansion Connector Details
1 LSO Input Left Phase
2 LSO Input Right Phase
3 LSO Output Left Phase
4 LSO Output Right Phase
5 Analogue Ground
6 LSO Input Left Non Phase
7 LSO Input Right Non Phase
8 LSO Output Left Non Phase
9 LSO Output Right Non Phase
Fig 12-11: RB-OA3 LSO Expansion Connector Denitions.
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GENERAL INTERFACES - RB-OA3
69
Fig 12-12: RB-OA3 LSO Expansion Connector Details.
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Analogue Ground
LSO Output Right
LSO Output Left
LSO Input Left
LSO Input Right
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Mix Input Selection
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
1 Mix Input Right Phase
2 Mix Input Right Non Phase
3 Mix Input Left Phase
4 Mix Input Left Non Phase
5NC
6 Analogue Ground
7 Impedance Connection
8 Analogue Ground
9 Impedance Connection
80
Fig 12-13: RB-OA3 Mix Input Connector Denitions.
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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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
1 Transmission Left Phase (Output)
3 Transmission 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)
14 Transmission Left Non Phase (Output)
15 Transmission Right Phase (Output)
17 1st external unit Left Non Phase (Input/Output)
18 1st external unit Right Phase (Input/Output)
20 2nd external unit Left Non Phase (Input/Output)
21 2nd external unit Right Non Phase (Input/Output)
external unit Left Phase (Input/Output)
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GENERAL INTERFACES - RB-OA3
All other pins are analogue ground.
Fig 12-15: RB-OA3 Transmission I/O Connector Denitions.
2nd External Unit Right
2nd External Unit Left
Fig 12-16: RB-OA3 Transmission Outputs Connector Details.
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1st External Unit Right
113
1425
Transmission Left
Transmission Right
1st External Unit Left
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GENERAL INTERFACES
Studio 1-3 Audio Connection Details
1 Transmission Left Phase (Input)
3 Transmission Right Non Phase (Input)
st
41
61st external unit Right Non Phase (Input/Output)
72nd external unit Left Phase (Input/Output)
92nd external unit Right Non Phase (Input/Output)
10 Last Studio to Oer Left Phase (Output)
12 Last Studio to Oer Right Non Phase (Output)
14 Transmission Left Non Phase (Input)
15 Transmission Right Phase (Input)
17 1
18 1st external unit Right Phase (Input/Output)
20 2nd external unit Left Non Phase (Input/Output)
21 2nd external unit Right Phase (Input/Output)
23 Last Studio to Oer Left Non Phase (Output)
24 Last Studio to Oer Right Phase (Output)
external unit Left Phase (Input/Output)
st
external unit Left Non Phase (Input/Output)
82
All other pins are analogue ground.
Fig 12-17: RB-OA3 Studio 1-3 Audio Connector Denitions.
GENERAL INTERFACES - RB-OA3
Fig 12-18: RB-OA3 Studio 1-3 Audio Connector Details.
113
1425
Transmission RightLast Studio to Oer Right 2nd External Unit Right 1st External Unit Right
Transmission LeftLast Studio to Oer Left 2nd External Unit Left 1st External Unit Left
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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 Oer, 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.
1 15V
2 Oer Signal Input
3 Oer LED
4 Accept Signal Input
5 Accept LED
6 Delay Signal Input
7 Delay LED
8 Dump Signal Input
9 Dump LED
15 Digital Ground
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GENERAL INTERFACES - RB-OA3
All other pins are unused.
Fig 12-19: RB-OA3 Studio 1-3 Control Connector Denitions.
18
915
For Switch Control
Offer, accept, delay or dump Signal Input
For Lamp Control
15V (Pin 1) or Own Voltage Source Offer, accept, delay
Fig 12-20: RB-OA3 Switch & Lamp Control Details.
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Momentary switch
Lamp
Circuitry
or dump LED
GND (Pin 15)
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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 congured 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.
1 Digital Ground
2NC
3 Delay Normally Closed Output
4 Dump Relay Common
5 Dump Normally Open Output
6NC
7 Delay Relay Common
8 Delay Normally Open Output
9 Dump Normally Closed Output
Fig 12-21: RB-OA3 Profanity Delay Control Connector Denitions..
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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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Technical Specications 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 Specications:
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
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GENERAL INTERFACES - RB-OA3
Equipment Type
RB-OA3:
Physical Specication
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)
23.2” (W) x 10.8” (D) x 4.3” (H)
Weight: Nett: 1.9kg Gross: 2.5kg Nett: 4.2lbs Gross: 5.5lbs
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3 studio on-air switcher
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RB-OA3R Remote Switch Panel For RB-OA3
Introduction
Fig 12-23: RB-OA3R Front Panel.
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
Oer Green
Accept Red
Delay Yellow
Dump Yellow
Oer Button
Accept Button Delay Button
Dump ButtonPower On
86
Studio Control Connector
Fig 12-25: RB-OA3R Rear Panel.
Redbox User Handbook No 3
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