TP-Link RX-7-248 User Manual

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Operating Instruction Manual

TOA MIXING CONSOLE

Model RX-7-164, RX-7-248, RX-7-328

TOA ELECTRIC CO., LTD.

KOBE, JAPAN

Contents

Precautions .................................................. 2

General Description ............................................ 3

Features ....................................................... 4

Specifications & Characteristics

Input & Output

Level

Diagrams & Characteristics

IPM-7

GFM-7 (Group/Foldback Module).......................... 11

GEM-7

PGM-7

PHM-7 (Phones Module)....................................... 14

TBM-7

PSM-7 (Power Supply M odule)................................ 16

Meter

RPS-7

General

(Input

(Group/Echo

(Program

(Talkback

Panel

(Power

Information

Specifications

Module)

(RXM-7-25,

Supply

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

Module)

Unit)

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

RXM-7-35,

using

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

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

Diagrams ....................

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

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

RXM-7-43)

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

the

mixing

console

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

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

Function

Connection

Connection Examples

Module

Dimensional Diagrams (RX-7-164, RX-7-248, RX-7-328,

RXM-7-25, RXM-7-35, RXM-7-43, RPS-7).................... 35

Block Diagram............................................... 42

Details

Replacement

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

Examples I ......................................

II ..................................... 32

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

— 1 —

Precautions

1. Power Supply Unit (RPS-7)

The RPS-7 is separate from the console.

If the power switch on the RPS-7 is turned "on" without a connection between the

RPS-7 and the board using the accessory cable packed in the RPS-7, power is not

supplied to the board. The power switch must be "on" after the connection is made.

2. Power Supply

The RPS-7 is designed to operate on local AC (50/60Hz) mains, ±10%.

3. Fuse Replacement

The front panel of the RPS-7 is provided with a fuse holder for the AC line. Replace

only with the Identical Type and Value Fuse.

4. XLR (Cannon) Connector

The connectors are wired in such a manner that pin 1 is ground (shield), pin 2 is cold

(low, minus), and pin 3 is hot (high, plus).

5. Phantom Power Supply

Each RX-7 incorporates a 48V DC Phantom Power circuit. If phantom power is

required, the phantom power Master Switch on the rear panel of the Power Supply

Module should be "on", and the phantom power switch on the front panel of each

Input Module for which phantom power is required should be "on". When using

phantom power, avoid connecting unbalanced microphones or connecting other equipment for which the output transformer center tap is grounded.

6. Description of components and functions

Various descriptions are used by different manufacturers, depending on each

manufacturer's standards. In our Operating and Instruction Manual, explanation of

components and functions is made according to our usage for terminology.

— 2 —

General Description

TOA's RX-7 is a modular 16, 24 or 32 input channel, 4 group output, 4 to 8 program

output mixing console. It is designed to meet a wide variety of requirements in

professional sound reinforcement and recording applications. It is well designed to withstand the rigors of "on the road" use. Modular construction assures versatility in functions, reliability and serviceability.

There are three "standard" models of RX-7 consoles. The RX-7-164 has 16 input

channels, 4 group outputs and 4 program outputs, and consists of the frame/case, power supply unit, and modules, as follows.

16 IPM-7 (Input Module)

2 GFM-7 (Group/Foldback Module) 2 GEM-7 (Group/Echo Module)

2 PGM-7 (Program Module)

1 PHM-7 (Phones Module)

1 TBM-7 (Talkback Module)

1 PSM-7 (Power Supply Module)

1 RXM-7-25 (RX-7-164 Frame/Case)

1 RPS-7 (Power Supply Unit)

The RX-7-248 has 24 input channels, 4 group outputs and 8 program outputs, and

consists of the following modules, frame/case, and power supply unit.

24 IPM-7 (Input Module)

2 GFM-7 (Group/Foldback Module)

2 GEM-7 (Group/Echo Module)

4 PGM-7 (Program Module)

1 PHM-7 (Phones Module)

1 TBM-7 (Talkback Module)

1 PSM-7 (Power Supply Module)

1 RXM-7-35 (RX-7-248 Frame/Case)

1 RPS-7 (Power Supply Unit)

The RX-7-328 has 32 input channels, 4 group outputs and 8 program outputs, and

consists of the following modules, frame/case and power supply unit.

32 IPM-7 (Input Module)

2 GFM-7 (Group/Foldback Module) 2 GEM-7 (Group/Echo Module)

4 PGM-7 (Program Module)

1 PHM-7 (Phones Module)

1 TBM-7 (Talkback Module)

1 PSM-7 (Power Supply Module)

1 RXM-7-43 (RX-7-348 Frame/Case)

1 RPS-7 (Power Supply Unit)

All modules are usable for all RX-7 series consoles.

— 3 —

Features

INPUT MODULE

1. Phantom Power ON/OFF switch.

2. TRIM gain control offers extremely convenient operation when used in

3. MID-EQ is peaking equalization, and its center frequency can be set by a

4. Two foldback control knobs for the 2 foldback busses. One is Pre-fader and the

5. Two echo control knobs for the 2 echo busses. One is Post-fader and the other is

6. Channel ON/OFF pushbutton provides quick connection or disconnection of the

7. DIRECT OUT delivers a signal taken directly from the input module, bypassing

conjunction with INPUT LEVEL switch.

continuously variable frequency control knob.

other is associated with the PRE-POST selector switch for additional effects.

associated with the PRE-POST selector switch.

incoming signal to the mixing busses. The associated green LED illuminates when the channel is connected to the mixing busses.

the pan pot and group assignment switches. This output is provided for direct

routing to a tape recorder track.

8. ACCESSORY SEND/RECEIVE jacks permit inserting a signal processing device into the signal path, or can be used to re-route the signal in special applications.

9. PEAK indicator LED turns on when the input signal reaches l0dB above nominal,

to warn the operator to adjust the input sensitivity.

GROUP/FOLDBACK and GROUP/ECHO MODULES

1. AUX INPUT (Group/Foldback Module) and ECHO IN (Group/Echo Module) are

both balanced (transformer-isolated), with Low, Mid and High-EQ provided for

both types of inputs.

2. ACCESSORY SEND/RECEIVE jacks are located on the rear of the modules for inserting signal processing devices.

3. Group On/Off pushbutton allows rapid punch-ins and punch-outs for temporary

killing of an output without disturbing the mixed level.

4. Foldback (FB) MASTER and ECHO SEND controls adjust each output's level

individually.

5. Peak indicators turn on the warn the operator when the signal level reaches l0dB

above nominal.

— 4 —

PROGRAM MODULE

1. Group 1, 2, 3 and 4 controls pick up the signal from the four group out busses and assign them to the program output. The program output is therefore suitable for

feeding the signal to the house sound system.

2. Program On/Off pushbutton determines whether the individual program output signal is to be fed to the rest of the sound system or other equipment.

3. Peak indicator for detecting overload condition.

4. Program channel mixed signal can be monitored through headphones by phones

selector switches (L and/or R) prior to feeding the signal to the rest of the sound

system or other equipment.

PHONES MODULE

1. Foldback 1 or 2, Echo 1 or 2, Program L and R, Air Monitor L and R can be monitored through headphones by a cluster of selection switches.

2. Air Monitor L and R inputs are provided with PHANTOM power ON/OFF switch.

3. L and R monitor output jacks are located on the rear for monitor loudspeakers

(power amplifiers).

TALKBACK MODULE

1. Oscillator/Pink noise Generator includes 400Hz, 1kHz and 10kHz sine wave signals and pink noise for signal tracing, tape machine alignment, sound system setup or trouble shooting purposes.

2. These signals can be fed to all mixing busses except the cue buss.

— 5 —

Specifications & Characteristics

GENERAL SPECIFICATIONS RX-7-164, RX-7-248 AND RX-7-328

Frequency Response (Measurement of source impedance 150

ohms)

+0dB, -0.5dB; 50Hz to 20kHz +0dB, -2.0dB; 20Hz to 30 kH z

Total Harmonic Distortion

Less than 0.5% at +4dB* output at 1kHz

Hum and Noise (20Hz to 20kHz, input termination of 150 ohms,

Input Level Switches at -60dB, Input Trim at 0)

-128dB* Equivalent Input Noise

-130dB* Equivalent Input Noise, IHF A weighted

-64dB* (68dB S/N) Group Out, Group and one Input Fader

at nominal level

-64dB* (68dB S/N) Program Out, PGM Master and Group controls at max. level, all Group Faders and one Input Fader

at nominal level

-64dB* (68dB S/N) FB Out or Echo Send, FB Master or Echo Send control and one FB or Echo mix control at nominal level

Maximum Voltage Gain

84dB CH IN to Group Out

84dB CH IN to Program Out

84dB CH IN to FB Out 94dB CH IN to Echo send

20dB AUX IN to Group Out

20dB ECHO IN to Group Out 10dB SUB IN to Group Out

Equalization (CH IN, AUX IN, ECHO IN)

LOW 100Hz Shelving (±15dB maximum)

MID 200Hz to 5kHz, variable Peaking (±15dB maximum)

HIG H 10kHz Shelving (±15dB maximum)

High Pass Filter

12dB/octave roll off switchable for 3dB down at 60Hz or

120Hz

Oscillator/Generator

Switchable sine wave at 400Hz, 1kHz and 10kHz (1.0%

Total Harmonic Distortion at +4dB* output) or pink noise.

Inputs and Outputs

See accompanying tables of Input Characteristics and

Output Characteristics.

Crosstalk

-60dB at 1kHz, input to output

VU Meters (0VU = +4dB* output)

RX-7-164

4 large, illuminated meters; switchable for Group or Program 3 smaller, illuminated meters; switchable for 2 Foldback or 2 Echo and CUE or TB

RX-7-248

4 large, illuminated meters for Group

4 large, illuminated meters, switchable for Program 1—5,

2—6,

3 smaller, illuminated meters; switchable for 2 Foldback or 2 Echo and CUE or TB

RX-7-328

4 large, illuminated meters for Group

4 large, illuminated meters, switchable for Program 1—5,

2—6,

6 smaller, illuminated meters for 2 Foldback, 2 Echo, CUE and TB

Peak Indicators

LED built into each input turns on when the pre-Fader level

reaches 10dB above nominal. LED built into each Group, FB, Echo and Program Out turns on when the output level reaches 10dB above nominal.

Phantom Power

48V DC is applied to balanced input transformers for

powering condenser microphones.

Finish

Black panel, rosewood trim, padded armrest

Dimensions (W× D×H)

RX-7-164

40-3/8" × 32-3/8" × 13-7/8" (1026 × 822 × 353 mm) RX-7-248

55-5/8" × 33-1/4" × 15" (1412 × 843 × 382 mm)

RX-7-328

66-5/8" × 32-3/4" × 15" (1691 × 833 × 382 m m)

Weight

RX-7-164; 78kg (171 pounds) RX-7-248; 109kg (240 pounds) RX-7-328; 138kg (303 pounds)

Power Consumption

RX-7-164; 120VA maximum

RX-7-248; 145VA maximum RX-7-328; 170VA maximum

Accessory

Talkback Microphone

3—7,

and 4—8

— 6 —

*0dB is referenced to 0.775V RMS

Input & Output Specifications

Connection

INPUT

1—16, 1—24,

1—32

AUX IN 1 & 2

ECHO IN

1&2

SUB IN 1-4

AIR

MONITOR

L&R

TALK BACK

ACCESSORY

(RCV)

IN PUT 1—16,

1—24

1—32

GROUP 1—4

RX-7 INPUT CHARACTERISTIC

Level

Switch

-60dBm

-40dBm

-20dBm

**All XLR connectors are floating (balanced) and transformer-isolated.

Actual

Load

Impedance

1.2k ohm s

1.7k ohm s

2.5k ohms

4.5k ohms

20k ohms

*0dB is re ferenced to 0.775V RMS.

TRS phone jacks are unbalanced.

Sensitivity is the level required to produce a nominal output of +4dB (1.23V), or th e specified nominal output

level if other than +4dB.

For Use

With

Nominal

50 to 600

ohms mics or

lines

600 ohm lines

50 to 600

ohms mics

10k ohms

lines

Sensitivity*

-80dB (0.08mV)

-60dB (0.78mV)

-40dB (7.8mV)

-16dB (123mV)

-6dB (390mV)

-70dB (0.25mV)

-80dB (0.08mV)

-16dB (123mV)

-6dB (390mV)

Nominal

B (0.78mV) to -30dB (25mV)

-60d B ( 7.8mV ) t o -10dB (250mV)

-40d B (78mV) to +10dB (2.5V)

-20d

B (1.23V)

+4d

+4dB (1.23V)

-70dB (0.25mV) to -40dB (7.8mV)

-60 dB (0.78mV)

+4dB (1.23V)

Input Level*

MAX. Before Clip

-26dB (39mV) to +4dB (1.23V)

-6dB (390mV) to +24dB (12.3V) +14dB (3.9V) to +24dB (12.3V)

+24dB(12.3V)

+24dB (12.3V)

-36dB (12.3mV) to -6 dB (390mV)

-26dB (39mV)

+24dB (12.3V)

Connector**

XLR-3-31

type

XLR-3-31

type

XLR-3-31

type

XLR-3-31

type

TRS

Phone Jack

RX-7 OUTPUT CHARACTERISTICS

Connection

GROUP OUT 1—4 PROGRAM OUT 1—4 or 1—8

F.B. OUT 1 & 2

ECHO SEND 1 & 2

T.B.

OUT

ACCESSORY (SEND) INPUT 1—16

1—24

GROUP 1—4

CH IN

(DIRECT OUT) PHONES OUT

(L&R)

(HEAD) PHONES

1—32

*0dB is referenced to 0.775V RMS.

**All XLR connectors are floating (balanced) and transformer-isolated.

TRS phone jacks are unbalanced except headphone jacks, wired Tip=Left, Ring=Right, Sleeve=Common

Actual Source Impedance

80 ohms

110 ohms

For Use With Nominal

POWER SUPPLY UNIT (RPS-7) SPECIFICATIONS

AC Line Voltage

AC mains 50Hz or 60Hz

DC Output Voltages

±21.5V (for amplifier circuit) 1.8A

+12V ( for relay and LED's) 2.7A

+48V (for phantom power) 0.17A

+6V (VU meter lamps) 1.6A

Power Consumption

170VA maximum

600 ohm Lines

10k ohm Lines

8 ohms or higher impedance lines

Dimensions (W×D×H)

21-1/8" × 14" × 7" (538 × 355 × 179 mm)

Weight

18kg (40 pounds)

Accessories

Power cord Umbilical cable

— 7 —

Output Level*

Nominal

+4dB (1.23V)

-10dB (2 50mV)

MAX Before Clip

+24dB (12.3V)

+10dB(2.5V)

Connector**

XLR-3-32 type

TRS Phone Jack

TRS Phone Ja ck

TRS Phone Jack

Level Diagrams

Characteristics Diagrams

EQUALIZER CURVES

(Fig.

FILTER CURVES

(Fig.

— 8 —

Input Module (IPM-7)

1. XLR type INPUT connector is balanced, transformer-isolated and accepts low impedance

sources from -60dB to +10dB. Prope r adjustment of both the INPUT LEVEL Switch and

TRIM Knob make it possible to provide the optimum setting for each input.

2. GROUND (GND) LIFT Switch is for Pin 1, which makes it easy to avoid ground loops

that are often caused in connection with other equipment and that may induce hum noise. Sliding the ground lift switch from the NORMAL position to the LIFT position cuts

ground loops and may reduce hum noise. For most applications it should be set to the

NORMAL position.

3. ACCESSORY SEND/RECEIVE (ACCESSORY) jacks are unbalanced with an impedance

of 10k ohms and a nominal level of +4dB. These jacks allow inserting signal processing

devices into the signal path. The regular signal path is interrupted at the RCV jack by

inserting a plug into it.

4. DIRECT OUT jack is unbalanced with an impedance of 10k ohms and a nominal level of

+4dB. The jack delivers the signal prior to the pan pot and bus assign switches.

5. PHANTOM power switch permits the user to supply 48V DC through the input connector

to a condensor microphone. If phantom power is required, the phantom power master

switch on the rear panel of the Power Supply Module must be ON before the phantom

power switch on each Input Module is turned ON.

6. PHASE switch reverses the polarity of the incoming audio signal. At "N" (normal)

position, Pin No. 3 of the XLR connector is hot and Pin No. 2 is low. At the "R" (reverse) position, Pin No. 2 is hot. Slide the phase switch to the appropriate position to match the

polarity of the source. Polarity can often be intentionally reversed to eliminate leakage

from adjacent microphones or to create special acoustic effects.

7. INPUT LEVEL switch has 3 settings, -60dB, -40dB and -20dB at the "0" position of the

TRIM knob. Adjust the input level switch, depending on the output level of microphones

or associated equipment.

8. TRIM knob varies the gain of a head-amplifier and provides a continuously variable

control of gain in the range of 0 to —30dB from the input level switch position. It permits

optimum setting of the input channel gain and provides good S/N ratio when used in

conjunction with the INPUT LEVEL switch. Another use of the trim knob is to allow

every input fader to be in a horizontally straight line with proper adjustment of the trim

knob.

9. EQUALIZER consists of three frequency ranges. The HIGH and LOW shelving type

equalizers provide 15dB of boost and attenuation at 10kHz and l00Hz, respectively. The

MID equalizer employs peaking type equalization which provides 15dB boost and

attenuation. The MID-EQ center frequency can be easily set at any frequency between 200Hz and 5kHz by use of a continuously variable frequency setting knob. The "0"

position of each equalizer provides flat response.

10. EQUALIZER IN/OUT switch puts the input signal either in circuit or out of circuit of the

equalizer. The OUT position provides flat response no matter what the position of the EQ

controls.

11. HIGH PASS filter switch provides flat response when OFF, but can be set to cut the

frequency response either below 60Hz or below 120Hz at a 12dB/octave rate.

12. FOLDBACK knobs provide for two independent foldback mixes. The No. 1 foldback knob mixes the signal pre-fader, but the No. 2 foldback knob is associated with the Pre-Post fader selector switch which permits its mix to be either Pre or Post fader.

(Fig.

— 9 —

13. Echo knobs provide for two independent echo mixes. The No. 1 echo knob mixes the signal post-fader, but the No. 2 echo knob is associated with the Pre-Post fader selector switch.

14. PAN POT adjusts the relative output level (balance) to the four mixing busses. It is

operated in conjunction with the group assign pushbuttons to put the desired level of output signal adjusted by the pan pot onto the mixing busses selected by the group assign

pushbuttons. Any selection of the four group assign pushbuttons applies some level of the

output to the related mixing bus, according to wherever the pan pot is situated. Panning to

the center position provides equal output to any of the four mixing busses selected by the

group assign pushbuttons. The following illustration indicates details on the

combinations available of the group asign switches and the pan pot.

(Fig.

4 )

15. GROUP ASSIGN (GROUP) pushbuttons apply the output to any combination of the four

mixing busses.

16. CHANNEL ON/OFF (CHANNEL) pushbutton connects or disconnects the input signal to the mixing busses. The green LED illuminates when the channel is "on".

17. PEAK level indicator turns on when the post-EQ and pre-fader signal level reaches 10dB

above nominal.

18. FADER travel continuously varies the channel level to the four mixing busses. It affects the channel's Foldback 2 and Echo 2 bus sends when the respective Pre-Post selector switches are set at the "post" position and also affects the echo 1 bus sends. The nominal level is "0" position. The fader travel is calibrated in dB and assures very smooth

operation.

19. CUE pushbutton assigns the post-EQ, pre-fader signal to the cue bus for monitoring with headphones, monitor speakers, and/or the cue VU meter. A separate cue VU meter is provided on the RX-7-328, but the cue and talkback VU meter is combined and is switchable on the RX-7-164 and RX-7-248.

— 10 —

Group/Foldback Module (GFM-7)

1. AUX INPUT connector (XLR type) is balanced, transformer-isolated. The nominal level and impedance are +4dB and 600 ohms respectively.

2. GROUND (GND) LIFT switch is for pin 1, which is used to avoid ground loops that are often caused in connection with other equipment and that may induce hum. Sliding the ground lift switch from the NORMAL position to the LIFT position cuts ground loops and may reduce hum. For most applications it should be set to the NORMAL position.

3. ACCESSORY SEND/RECEIVE jacks are unbalanced and their nominal level and impedance are +4dB and 10k ohms, respectively. They provide the ability to insert signal processing devices into the signal path for special applications. The regular signal path between the group mixing bus and group out is interrupted at the RCV jack by inserting a plug into it.

4. SUB INPUT connector (female XLR type) is balanced, transformer-isolated. Its nominal level and impedance are +4dB and 600 ohms, respectively. This connector is useful for cascade connection with another mixer to expand the input capacity.

5. GROUND (GND) LIFT switch is for pin 1 of the Sub Input connector.

6. FOLDBACK PEAK level indicator LED turns on when the foldback output signal level reaches l0dB above nominal.

7. FOLDBACK MASTER control adjusts the output signal level of FB OUT on the rear of the

frame.

8. EQUALIZER for AUX INPUT consists of the following three equalizers HIGH 10kHz ±15dB boost/cut shelving type MID 200—5kHz variable ±15dB boost/cut peaking type LOW l00Hz ±15dB boost/cut shelving type Flat frequency response is provided at "0" position of each equalizer.

9. EQUALIZER IN/OUT switch permits the equalizer to be either in circuit or out of circuit.

10. GROUP ASSIGN pushbuttons apply the AUX input to any of the four group mixing busses.

11. AUX INPUT master control adjusts the level of the signal to be fed to the group mixing busses.

12. CUE pushbutton assigns the signal (pre AUX INPUT master control) to the cue bus for monitoring with headphones, monitor speakers, and/or the cue VU meter. A separate cue VU meter is provided on the RX-7-328, but the cue and talkback VU meter is combined and is switchable on the RX-7-164 and RX-7-248.

13. GROUP ON/OFF pushbutton connects or disconnects the signal to the GROUP out and

group out bus. The adjacent green LED illuminates when the group out is "on".

14. PEAK level indicator turns on when the group output signal level reaches l0dB above

nominal.

15. GROUP FADER TRAVEL is calibrated in dB and insures very smooth operation. The

fader controls the level of the signal to be fed to the group out and group out bus.

16. CUE pushbutton assigns the pre group-fader signal to the cue bus for monitoring with

headphones, monitor speakers, and/or the cue VU meter. A separate cue VU meter is provided on the RX-7-328, but the cue and talkback VU meter is combined and is switchable on the RX-7-164 and RX-7-248.

(Fig. 5)

— 11 —

Group/Echo Module (GEM-7)

1. ECHO IN connector (XLR type) is balanced, transformer-isolated. The nominal level and

impedance are +4dB and 600 ohms, respectively.

2. GROUND (GND) LIFT Switch is for pin 1, which is used to avoid ground loops that are

often caused in connection with other equipment and that may induce hum. Sliding the

ground lift switch from the NORMAL position to the LIFT position cuts ground loops and

may reduce hum. For most applications it should be set to the NORMAL position.

3. ACCESSORY SEND/RECEIVE jacks are unbalanced and their nominal level and

impedance are +4dB and 10k ohms, respectively. They provide the capability to insert

signal processing devices into the signal path for special applications. The regular signal

path between the group mixing bus and group out is interrupted at the RCV jack by

inserting a plug into it.

4. SUB INPUT connector (female, XLR type) is balanced, transformer-isolated. Its nominal

level and impedance are +4dB and 600 ohms, respectively. This connector is useful for cascade connection with another mixer to expand the input capacity.

5. GROUND (GND) LIFT switch is for pin 1 of the Sub Input connector.

6. ECHO SEND PEAK level indicator turns on when the echo send output signal level

reaches l0dB above nominal.

7. ECHO SEND master control adjusts the output signal level of ECHO SEND output on the

rear of the frame.

8. EQUALIZER for ECHO IN consists of the following three equalizers HIGH 10kHz ±15dB boost/cut shelving type

MID 200—5kHz variable ±15dB boost/cut peaking type

LOW l00Hz ±15dB boost/cut shelving type

Flat frequency response is provided at "0" position of each equalizer.

9. EQUALIZER IN/OUT switch permits the equalizer to be either in circuit or out of circuit.

10. GROUP ASSIGN pushbuttons apply the ECHO input to any of the four mixing busses.

11. ECHO IN master control adjusts the level of the signal to be fed to the group mixing

busses.

12. CUE pushbutton assigns the signal (pre ECHO IN master control) to the cue bus for

monitoring with headphones, monitor speakers, and/or the cue VU meter. A separate cue

VU meter is provided on the RX-7-328, but the cue and talkback VU meter is combined

and is switchable on the RX-7-164 and RX-7-248.

13. GROUP ON/OFF pushbutton connects or disconnects the signal to the GROUP out and

group out bus. The adjacent green LED illuminates when the group out is "on".

14. PEAK level indicator turns on when the group output signal level reaches l0dB above

nominal.

15. GROUP FADER TRAVEL is calibrated in dB and insures very smooth operation. The

fader controls the level of the signal to be fed to the group out and group out bus.

16. CUE pushbutton assigns the pre group-fader signal to the cue bus for monitoring with

headphones, monitor speakers, and/or the cue VU meter. A separate cue VU meter is

provided on the RX-7-328, but the cue and talkback VU meter is combined and is switchable on the RX-7-164 and RX-7-248.

(Fig. 6)

— 12 —

Program Module (PGM-7)

Each program module incorporates two program output channels (programs A and B) and

each program channel can be controlled independently.

1. PROGRAM OUTPUT B connector (XLR type) is balanced, transformer-isolated. The nominal level and impedance are +4dB and 600 ohms, respectively. The program output B signal is derived from one of the four group out busses.

may reduce hum. For most applications it should be set to the NORMAL position.

3. PROGRAM OUTPUT A connector (XLR type) is balanced, transformer-isolated. The

nominal level and impedance are +4dB and 600 ohms, respectively. The program output

A signal is derived from one of the four group out busses.

4. GROUND (GND) LIFT switch is for pin 1, which is used to avoid ground loops that are often caused in connection with other equipment and that may induce hum. Sliding the ground lift switch from the NORMAL position to the LIFT position cuts ground loops and

may reduce hum. For most applications it should be set to the NORMAL position.

PROGRAM OUT "A" SECTION

5. GROUP 1, 2, 3 and 4 controls pick up the signal from the four Group out busses, and

assign them to this program output channel.

6. PROGRAM MASTER control adjusts the overall mixed signal level of any four Group

signals assigned to this channel.

7. PROGRAM ON/OFF pushbutton connects or disconnects the program signal to the

program output connector. The green LED illuminates when the program out is "on".

8. PEAK level indicator turns on when the program output signal level reaches l0dB above

nominal.

9. PHONES selector switches assign the program signal of this channel to the phones

module. The switches allow for the selection of L (left) and/or R (right) of the phones

output. If the program output is required for monitoring via headphones, the program

monitoring button on the phones module must be ON.

PROGRAM OUT "B" SECTION

Functions on program out B section are the same as the Program out A.

10. GROUP 1, 2, 3 and 4 controls

11. PROGRAM MASTER control

12. PROGRAM ON/OFF pushbutton

13. PEAK level indicator

14. PHONES selector switches

(Fig.

— 13 —

Phones Module (PHM-7)

1. AIR MONITOR (Ceiling Microphone) inputs, XLR type connectors (L and R) are balanced,

transformer-isolated. The nominal levels and impedances are —70dB and 600 ohms,

respectively.

2. PHONES OUT jacks (L and R) are unbalanced. The nominal levels and impedances are +4dB and 10k ohms, respectively. The jacks provide the signals selected by the phones selector switches for monitoring on the front and can be connected to an amplifier and monitor speakers for use as a monitor system.

3. PHANTOM POWER switch applies 48V DC across the balanced leads and shielded cable

of air monitor microphone (ceiling Microphone).

4. AIR MONITOR (CEILING MICROPHONE) TRIM knobs (L and R) provide continuously variable control within a range of 0dB to —l0dB of the air monitor input sensitivity level.

5. PHONES selector buttons permit the operator to select the desired signals for monitoring.

The switches provide a monaural signal of FOLDBACK 1 and 2, ECHO 1 and 2, and a stereo

signal of PROGRAM (L and R). When the switches are engaged, a bright color indication

appears in the buttons. Insure that the phones selector button is "on" when the program

output is monitored via headphones.

6. PHONES LEVEL control adjusts the signal level of the phones out L and R, and adjusts the

two phones outputs simultaneously.

7. CUE indicator turns on when any cue button is depressed, warning the operator that he is

monitoring the signal from the cue bus.

8. PHONES output jacks are stereo type (for stereo headphones). When two phones are used,

phones must be selected so that the total impedance will be more than 8 ohms.

(Fig.

— 14 —

Talkback Module (TBM-7)

1. TALKBACK OUT connector (XLR type) is balanced, transformer-isolated, and its nominal

level and impedance are +4dB and 600 ohms, respectively. The talkback output includes

the oscillator/pink noise generator signal or talkback mic input, depending on the switch

status on the module. The oscillator/pink noise generator function is used for matching

input and output levels with other associated equipment, and the talkback function is for communication between a recording booth and the outside.

2. GROUND (GND) LIFT Switch is for pin 1, which is used to avoid ground loops that are often caused in connection with other equipment and that may induce hum. Sliding the

ground lift switch from the NORMAL position to the LIFT position cuts ground loops and

may reduce hum. For most applications it should be set to the NORMAL position.

3. This cluster of buttons derives signals from the desired mixing busses, Group busses 1,2,3, and 4, Foldback 1 and 2, and Echo 1 and 2, and assigns them to the talkback output.

4. This cluster of buttons selects the required testing signal from the available Pink noise and

Sinusoidal waves, 10kHz, 1kHz and 400Hz. When the oscillator is not used, the switch must be "off".

5. OSC LEVEL control is provided for adjusting the oscillator output to the desired level.

6. OSC indicator turns on when any of the signal selector buttons is depressed.

7. TALKBACK INPUT CONNECTOR (XLR type) is balanced, transformer-isolated, and its

nominal level and impedance are —60dB and 600 ohms, respectively. An accessory

microphone is connected.

8. TALKBACK LEVEL control adjusts the microphone input level of the signal to be fed to the mixing busses.

9. PRESS TO TALK pushbutton connects the talkback microphone signal to the mixing

busses when pressed. When the button is released, any oscillator signals which may have

been selected are fed.

(Fig. 9)

— 15 —

Power Supply Module (PSM-7)

1. DC POWER INPUT connector accepts DC power from the power supply unit (RPS-7). The

PSM-7 is connected to the RPS-7 with an accessory umbilical cable. The power switch on

the RPS-7 will not turn on without this connection between the RPS-7 and PSM-7.

2. Ground (GND) terminal for the chassis of the RX-7.

3. PHANTOM POWER MASTER switch applies 48V DC which is then supplied to Input

modules and Phones module.

(Fig.

10)

— 16 —

Meter Panel (RXM-7-25, RXM-7-35, RXM-7-43)

METER PANEL (RXM-7-25)

(Fig. 11)

1. Group I/Program 1 VU Meter

An illuminated VU meter provides a visual indication of either Group 1 output level (Post Group 1 Master Fader) or Program 1 output level (Post Program 1 Master Control),

depending on the position of the adjacent selection switch.

2. VU meter selector switch (Group 1 or Program 1)

3. Group 2/Program 2 VU Meter

An illuminated VU meter provides a visual indication of either Group 2 output level (Post Group 2 Master Fader) or Program 2 output level (Post Program 2 Master Control),

depending on the position of the adjacent selection switch.

4. VU meter selector switch (Group 2 or Program 2)

5. Group 3/Program 3 VU Meter

An illuminated VU meter provides a visual indication of either Group 3 output level (Post

Group 3 Master Fader) or Program 3 output level (Post Program 3 Master Control),

depending on the position of the adjacent selection switch.

6. VU meter selector switch (Group 3 or Program 3)

7. Group 4/Program 4 VU Meter

An illuminated VU meter provides a visual indication of either Group 4 output level (Post Group 4 Master Fader) or Program 4 output level (Post Program 4 Master Control),

depending on the position of the adjacent selection switch.

8. VU meter selector switch (Group 4 or Program 4)

9. Foldback 1/Echo 1 VU meter

An illuminated VU meter provides a visual indication of either Foldback 1 output level,

(Post Foldback 1 Master Volume Control) or Echo 1 output level (Post Echo 1 Master

Volume Control), depending on the position of the adjacent selector switch.

— 17 —

10. VU meter selector switch (Foldback 1 or Echo 1)

11. Foldback 2/Echo 2 VU meter

An illuminated VU meter provides a visual indication of either Foldback 2 output level,

(Post Foldback 2 Master Volume Control) or Echo 2 output level (Post Echo 2 Master

Volume Control), depending on the position of the adjacent selector switch.

12. VU meter selector switch (Foldback 2 or Echo 2)

13. Cue/Talk back VU meter

An illuminated VU meter provides a visual indication of either the Cue signal level (the signal fed by a cue switch on each Input module, Group/Foldback module and

Group/Echo module) or Talkback output level (post OSC level control or post TB level

control), depending on the position of the adjacent selector switch.

14. VU meter selector switch (Cue or Talkback)

— 18 —

METER PANEL (RXM-7-35)

1. Group 1 VU Meter (Group 1 output level)

2. Group 2 VU Meter (Group 2 output level)

3. Group 3 VU Meter (Group 3 output level)

4. Group 4 VU Meter (Group 4 output level)

5. Program 1/Program 5 VU Meter

An illuminated VU meter provides a visual indication of either Program 1 output level or

Program 5 output level, depending on the position of the adjacent selector switch.

6. VU meter selector switch (Program 1 or Program 5)

(Fig.

12)

7. Program 2/Program 6 VU Meter

An illuminated VU meter provides a visual indication of either Program 2 output level or

Program 6 output level, depending on the position of the adjacent selector switch.

8. VU meter selector switch (Program 2 or Program 6)

9. Program 3/Program 7 VU Meter

An illuminated VU meter provides a visual indication of either Program 3 output level or

Program 7 output level, depending on the position of the adjacent selector switch.

10. VU meter selector switch (Program 3 or Program 7)

11. Program 4/Program 8 VU Meter

An illuminated VU meter provides a visual indication of either Program 4 output level or

Program 8 output level, depending on the position of the adjacent selector switch.

12. VU meter selector switch (Program 4 or Program 8)

13. Foldback 1/Echo 1 VU meter

An illuminated VU meter provides a visual indication of either Foldback 1 output level

(Post Foldback 1 Master Volume Control) or Echo 1 output level (Post Echo 1 Master

Volume Control), depending on the position of the adjacent selector switch.

14. VU meter selector switch (Foldback 1 or Echo 1)

15. Foldback 2/Echo 2 VU meter

An illuminated VU meter provides a visual indication of either Foldback 2 output level

(Post Foldback 2 Master Volume Control) or Echo 2 output level (Post Echo 2 Master

Volume Control), depending on the position of the adjacent selector switch.

16. VU meter selector switch (Foldback 2 or Echo 2)

17. Cue/Talk back VU meter

An illuminated VU meter provides a visual indication of either the Cue signal level (the

signal fed by a cue switch on each Input module, Group/Foldback module and

Group/Echo module) or Talkback output level (post OSC level control or post TB level

control), depending on the position of the adjacent selector switch.

18. VU meter selector switch (Cue or Talkback)

— 19 —

METER PANEL (RXM-7-43)

1. Group 1 VU Meter (Group 1 output level)

2. Group 2 VU Meter (Group 2 output level)

3. Group 3 VU Meter (Group 3 output level)

4. Group 4 VU Meter (Group 4 output level)

5. Program 1/Program 5 VU Meter

An illuminated VU meter provides a visual indication of either Program 1 output level or Program 5 output level, depending on the position of the adjacent selector switch.

6. VU meter selector switch (Program 1 or Program 5)

(Fig.

13)

7. Program 2/Program 6 VU Meter

An illuminated VU meter provides a visual indication of either Program 2 output level or Program 6 output level, depending on the position of the adjacent selector switch.

8. VU meter selector switch (Program 2 or Program 6)

9. Program 3/Program 7 VU Meter

An illuminated VU meter provides a visual indication of either Program 3 output level or Program 7 output level, depending on the position of the adjacent selector switch.

10. VU meter selector switch (Program 3 or Program 7)

11. Program 4/Program 8 VU Meter

An illuminated VU meter provides a visual indication of either Program 4 output level or Program 8 output level, depending on the position of the adjacent selector switch.

12. VU meter selector switch (Program 4 or Program 8)

13. Foldback 1 VU meter (Foldback 1 output level)

14. Foldback 2 VU meter (Foldback 2 output level)

15. Echo 1 VU Meter (Echo 1 output level)

16. Echo 2 VU Meter (Echo 2 output level)

17. Cue VU meter

18. Talkback VU Meter

— 20 —

Power Supply Unit (RPS-7)

In order to minimize hum, and also to break up the total weight and to protect the body of

the RX-7 from rough transportation, RX-7 series mixers are equipped with a separately

packaged power supply unit (RPS-7).

The RX-7 is designed so that without the connection of the accessory umbilical cable

between the PSM-7 power supply module and the RPS-7, power is not supplied to the mixer even if the power switch on the RPS-7 is on. The power switch on the RPS-7, therefore, must be turned on after the connection between the PSM-7 and RPS-7 is

completed.

The RPS-7 is a regulated DC power supply unit to activate the RX-7.

(Fig.

14)

1. AC Fuse

The fuse should be replaced with one of identical value and type.

2. Pilot Lamp

3. Power Switch

Pushbutton alternately switches AC power on and off.

4. DC output connector

With the accessory umbilical cable, the DC output is connected to the PSM-7 (Power Supply Module).

5. Ground Terminal

6. AC Inlet

Plug an accessory AC power cord into the AC inlet and secure it with the cord clamp.

— 21 —

General Information on using the mixing console

Impedance

Generally speaking, there are two rules to follow when connecting equipment outputs to the inputs of other equipment.

1. Try to properly match the impedances of the outputs and inputs.

2. Connect low impedance outputs to high impedance input.

The above rules about impedance are very important and should be taken into consideration in all connections between equipment.

* Difference between Professional and HI-FI type equipment

Microphones, tape recorders, wireless tuners, and various other equipment may be connected to the inputs of the mixing console. The associated equipment to be connected to the mixer outputs includes graphic equalizers, limiters, compressors and power amplifiers. The RX-7 is equipped with an accessory send (output) and receive (input) on each input module (IPM-7) and group module (GFM/GEM-7). Various equipment such as echo and reverb equipment, graphic equalizers, and noise gates, are available as associated equipment to be connected to the accessory send and receive. All the above associated equipment are generally grouped for professional use and HI-FI use (for consumer use) regardless of their functions. Generally, the output of professional equipment is balanced (transformer-isolated) with an impedance of 600 ohms and is designed to drive 600-ohm or higher impedance loads. The nominal output level of

most professional equipment is +4dB (1.23V RMS). As for the input/output terminals, XLR type audio connector or TRS type connectors are employed for professional equipment. The output of HI-FI equipment is generally unbalanced with an impedance of several kiloohms and designed to drive lOK-ohm or higher impedance loads. The nominal output level of most HI-FI equipment is —20dB to —l0dB. RCA pin connectors are employed for the input/output terminals of HI-FI equipment.

* Balanced type and unbalanced type

If there is any problem as to the grounding method or if cable has to be extended (over 10 feet), experience proves that hum or noise is picked up easily unless the balanced type is used. In the

RX-7, balanced (transformer-isolated) circuits are employed for input/output terminals

necessary for long cable connections, but unbalanced circuits are employed for input/output terminals to be connected to adjacent associated equipment. Recently, electronically balanced circuits have been used in some professional equipment instead of transformer-isolated balanced circuits. It must be noted that special care should be taken as to the grounding method and ground line connection when using equipment with electronically balanced circuits. In particular, problems may occur if an electronically balanced output is connected to the unbalanced input of other equipment. This will not occur with transformers because the transformer-isolated, balanced circuit is not only balanced, but isolates other equipment, thus reducing the possible problems. The electronically balanced circuit, on the other hand, has advantages of better frequency response and quicker slew rate. However, when applying it for on-the-road use where each set-up differs, trouble may occur more often as compared with the transformer-isolated circuit.

— 22 —

* Ground loops

AC ground is provided to the RX-7 and all associated equipment, and this may cause an increase in hum noise if care is not taken in connecting other equipment to the mixer. This is

because a ground loop is made through the shields of the connection cable and the AC line as

shown in Fig. 15, increasing hum noise. To solve this problem, either the chassis ground of the signal line should be disconnected at either piece of equipment, or the chassis earth ground should be disconnected, so that the ground loop is eliminated. This problem can not be easily solved in the case of equipment connected to unbalanced signal lines. However, it is highly dangerous to disconnect the AC ground, as microphone and other equipment connected to the

mixing console are often touched directly by the hand. This may cause an electric shock in the

case of electricity leakage, if any other connected equipment is touched. Therefore the chassis

ground line should be disconnected. Whether to disconnect the chassis ground line of either

piece of equipment depends on various conditions, therefore, they should be checked and

determined for each installation condition.

In the RX-7, a ground lift switch is provided on the balanced inputs and outputs with XLR type connectors (excluding air monitor inputs and talkback input) to prevent ground loops.

This switch is ordinarily set to the NORMAL position, and should be set to the LIFT position

only when ground loops occur.

(Fig.

15)

— 23 —

Function Details

The RX-7 is a sophisticated mixer with many functions. Details on important functions are shown below in order for you to get the best operation and performance and also to avoid

mistakes in operation.

* Phantom Power Switch

The switch on the front panel of both IPM-7 and PHM-7 provides for 48V DC phantom powering for condenser microphones through the input connectors on the modules. Fig. 16 elaborates on the phantom powering circuit, and shows that balanced outputs of associated equipment should be connected to the inputs. Connection with unbalanced outputs does not

damage the RX-7, but may cause troubles like noise, etc. Accordingly, turn the switch "off"

whenever unbalanced inputs are connected.

(Fig.

16)

The Lift position on the ground lift switch cuts the phantom power even if the phantom power switch is "ON". The ground lift switch therefore must be set at "Normal" position whenever phantom power is required.

* Phase Switch

The use of more than one microphone for picking up the same program source may cause an out-of-phase condition resulting in acoustic phasing cancellations. The acoustic phasing

cancellation is particularly noticeable in the low frequencies and the low frequencies may not

be sufficiently reproduced. Accordingly, all inputs on the mixer must be in principle in the same phase. The following method is advisable for checking inputs for correct phase.

1. Place mics 1 and 2 close to the same sound source with appreciable bass, setting the phase switches at Normal positions.

2. Adjust the level of both mics, using the input level switches and trim controls on the mixer.

3. Listen to the blend of the two mics through the cue headphones.

4. Reverse the phase of mic 2 Phase switch.

5. If the bass increases, leave the switch in the Reverse position. If the bass decreases, return

the switch to the Normal position.

6. Check all other mics in the same manner, comparing with mic 1.

In some cases it may be desirable to intentionally reverse the phase of certain mics for

improving the sound.

— 24 —

*Input Level Switch & Trim Control

In accordance with the input signal level, the combination of the Input Level Switch and Trim Control on each input module helps establish the input fader at an easy-operation position. When the Peak level indicator (the red LED) remains on or flashes occasionally, fully attenuate the trim control. If it still continues to flash, change the input level switch setting from "—60dB to —40dB" or "—40dB to —20dB", and readjust the trim control.

(Fig.

17)

The trim control changes the negative feedback volume, so that the gain of the head amp can

also be changed. THIS FUNCTIONS TO YIELD THE BEST COMBINATION OF MAXIMUM HEADROOM AND MINIMUM NOISE CHARACTERISTICS. The level indications

(—60dBm, —40dBm and —20dBm) of the input level switch are nominal levels when the trim control is set at the "0" position.

Input level in conjunction with the Input Level switch and Trim control can be calculated

as follows.

Example 1

Input Level switch

Trim control

Example 2

Input Level switch

Trim Control

— 25 —

(Fig.

18)

* Equalizers

The RX-7 equalizers provide low and high frequency shelving and mid-range peaking, both boost and attenuation. The mid-range EQ center frequency can be set at any frequency between 200Hz and 5kHz with a continuously variable frequency knob. Fig. 19 indicates each instrument and frequency band. The equalizer operation can be made with reference to this figure.

EQUALIZER CURVES

EQUALIZATION CHART

FILTER CURVES

These sounds are felt more than really heard. They give a sense of

power. Too

much produces

a muddy sound.

The rhythm section appears here. Either a fat or thin sound can be heard by misEQ here. Too much

becomes boomy. Bass guitar-Snare-

Toms.

Probably the most

important of all. Most all instruments contain harmonics here. 300Hz b oosting can

cause horn-like

sounds. 1k to 2k

sounds tinny. Too

much here sounds

like the telephone.

Upper vocal region. Too much here will cause great fatigue,

and loss of speech intelligence. Reducing

3k can bring vocals

on top.

Presence range. Great achievement in overall level can be had here. Too little causes a "far away" sound.

Sibilance

levels can be controlled here. Bright,

clean defini-

tion.

— 26 —

INSTRUMENT EQUALIZATION CHART

(Fig.

19)

Acoustic guitar

Electric guitar

Bass guitar

Human voice

Piano (Acoustic)

Piano (Electric)

Organ

Violin

Brass instruments

Bass drum

Snare d rum

Tom Tom

Floor Tom

Hi Hat

Cymbal overhead

Talk Box

Bass strings resonate between 70 to 120Hz, bo dy around 300Hz.

Avoid boosting these to stop feedback. 3kHz and 5kHz give great

"clarity".

Resonances differ— depending on type. Good full sounds around

300 to 500Hz. Clarity at 3kHz.

Extreme lows are at 60 to 90Hz. "Pick" or "pluck" sounds are

around 800 to 1200Hz. Upper harmonics clarified about 3kHz.

Good full ne ss at 150Hz. Watch for "boominess" around 250Hz.

Mid-range 10kHz.

Bass strings resonate around 100Hz. Watch fo r s ub- harmonics at

30 t o 50Hz.

Good mid-clarity at 3kHz to 5kHz thins out rapidly in high end. Be

careful around 1.5kHz to 2.5kHz to avoid the "bar room sound."

Usually dies under 200Hz. Has great mid-sounds around 1200 to

2000Hz. Top end cuts off at 6kHz.

Rich fullness at 400Hz. Nat ural mids around 1500 to 2500Hz.

Avoid "scratch" sounds at 8kHz.

Watch for "hot" mids around 2kHz. Low end boost around 400Hz.

Top end clarity at 6kHz.

Great low "kick" at 40Hz. The mids at 2kHz gives the familiar "punch."

Good fullness at 100Hz. The "crack" is boosted at 2kHz. The

snares extend to above 4kHz.

The main fullness is around 200Hz. The mid punch extends to

4kHz.

Same as tom, bu t extends down to 80Hz.

Watch for the "gong" so und arou nd 300Hz. Good "shimmer"

sounds are around 8kHz to 10kHz.

About the same as hi-hat but has more low end around 150Hz.

Depending on the guitar sound driving it and the resonance of each

player's mouth, should have great "bite" around 1200Hz and dies

above 6kHz.

— 27 —

* Equalizer IN/OUT Switch

Precise equalizer adjustment can be made while comparing the equalized sound effect with the flat sound by use of the Equalizer IN/OUT switch.

*Foldback 1, 2 and Echo 1, 2

The block diagram indicates the overall signal flow of the FB and Echo circuits. The FB circuit is basically designed to derive the pre fader signal mainly, and the Echo circuit the post fader signal. The pre-post fader selector switch is provided for FB 2 and Echo 2. This allows three FB's (pre fader) by setting the Echo 2 selector switch to the "pre" position, leaving one Echo

(post fader).

*Group/Foldback, Group/Echo Modules

The Group/Foldback and Group/Echo modules are the same circuit-wise, but to comply with the purpose in actual use, the label indications (FB or Echo) on the modules and bus line connections in the frame/case are different. The GFM and GEM are equipped for three functions; master control of the FB output or Echo output, controls of the AUX IN or Echo IN, and group master controls. The group outputs, FB outputs and echo outputs are XLR type connectors and are provided on the rear of the frame.

1. FB OR ECHO MASTER CONTROL

2. AUX IN OR ECHO IN CONTROL

3. GROUP MASTER CONTROL

(Fig.

20)

* Program Module

Each program module incorporates two program output channels. The four group volume controls for each program output channel are the volume matrix system which mix the signals derived from the group master faders on the GFM-7 and GEM-7. The mixed signals are finally adjusted by the program master control on the program module and fed to the program output.

— 28 —

*RX-7 Signal Flow

The overall signal flow of the RX-7, from input to output, is shown below.

— 29 —

(Fig.

21)

*Air Monitor (Ceiling Microphones)

In some cases the mixer control room is independent from the hall requiring sound

reinforcement, but the mixer operator must monitor the sound in the hall for mixer operation. For this purpose, air monitor (ceiling microphones) inputs are provided on the phones module

and incorporate 48V DC phantom powering circuit for condenser microphones (e.g. TOA RD-

15C microphone).

* Power Supply Module

The power supply module (PSM-7) accepts DC power from the power supply unit (RPS-7) and

distributes it to each module. The PSM-7 is connected to the RPS-7 by an accessory umbilical cable whose power switch will not turn "on" unless this connection is secure.

* Phantom Power Master Switch

A phantom power master switch is provided on the rear of the PSM-7. Phantom power is not

supplied to the IPM-7 and PHM-7, even at "on" positions of the phantom power switches on

these modules, unless the master switch is "on". In case condenser microphones are not being

used, the phantom master switch should be "off" to avoid potential problems which might be caused by inadvertently turning a phantom power switch "on" on an IPM-7 or PHM-7.

— 30 —

Connection Example I

Portable Entertainment Sound Reinforcement Set-Up

TOA's RX-7 consoles are designed to help out when

you're out on the road. We're sure you'll find just the right

set-ups for each show, but we wanted to show one way it

might be done.

The balanced, low-impedance connectors on the RX-7 can

handle the widest possible range of inputs: dynamic mics,

condenser mics (with our 48V DC phantom power), line inputs, sub-mixers, electric instruments, special effects equipment, wireless units, and on and on. As for outputs, besides the main speakers, you can send your signals to

just about anywhere via FB Out, Echo Send, TB Out and

Accessory Send outputs. Other output terminals can be used to supplement the two FB Out circuits, for optional

versatility. The following illustration shows how the

system can be set up to improve sound imagery, by

inserting delay units in the PGM Outs 3 & 4.

A wide variety of signal processing equipment is

smoothly integrated with the operation of the console.

The main speaker is a 3-way system. And with the

Phones Out for monitor speakers and Air Monitor input

for ceiling mics, what's being played in the hall is heard

wherever you wish.

(Fig.

22)

— 31 —

Mic Setting

Connection Example II

Multi-Track Recording or Track-Down

The TOA RX-7 series of mixing consoles allows better

recordings as well as better concerts. For multi-track recording, direct outputs on each input channel can be connected to multi-channel recorder inputs. There are further optional connections, such as monitoring to a control room or to the performers, as well as a talkback

function. Monitoring to performers can be done via FB1 & 2 Group 1—4, PGM Out and even Echo 1 & 2, with

Accessory Send on each input channel also available.

Monitoring to the control room is by Phones Out L & R, and talkback via Talkback Output. Four-track or stereo recordings can be made through Group Out or PGM Out, while monitoring, talkback functions and signal processing equipment connections are the same as for multi-track recording. For monitoring output, Group Accessory Sends may be applied for recording out, instead of Group Out. Alternatively, signal

processing equipment connections can be made via Group Accessory Send/Receive jacks. The PGM output

can also serve as a link to a sound reinforcement system,

if required in addition to the recording application. There are 4 track-down applications: connecting each input channel of the console to an output channel from a multi-track recorder, mixing down 16 channels to 4, to stereo, or to monaural. Console output is via the Group

Out and PGM Out, while control room monitoring uses Phones Out. A wide variety of signal processing equipment and special effects can be included, such as

harmonizers and flangers. Echo 1 & 2, as well as FB 1 & 2

outputs can be connected to special effects equipment via

Echo In, Aux In or Sub In. Accessory Send/Receive jacks

can also be used for signal processing equipment. Signal processing equipment to affect only one input channel is connected via Direct Out, Aux In and Sub In.

(Fig. 23)

— 32 —

Module Replacement

How to remove modules

1. Remove the armrest from the cabinet in the following manner.

*Put both hands under the armrest and lift it straight up to remove.

(Fig.

24)

2. Loosen the two captive screws on the front of the meter panel and lift panel straight up.

(Fig.

25)

— 33 —

Use fingers to lift up the module.

Insert each module by fitting it into the guide hole in the base

plate of the console unit.

(Fig.

26)

3. Remove the two binding screws on each module. Put your fingers in the two holes on the top and bottom of the module and lift the module straight up to remove it from the cabinet.

* When putting the module back into the cabinet, align it along the guides of the frame, making

the connector on the rear of the module mate with the connector in the cabinet.

* Assemble each module into the cabinet in the reverse manner of removing modules.

— 34 —

Dimensional Diagrams

RX-7-164 APPEARANCE

1. Input Modules (IPM-7)

2. Group/Foldback Modules (GFM-7)

3. Group/Echo Modules (GEM-7)

4. Program Modules (PGM-7)

5. Phones Module (PHM-7)

6. Talkback Module (TBM-7)

7. Power Supply Module (PSM-7)

8. VU Meters for Group and Program Outputs (Switchable)

(Fig.

27)

— 35 —

9. VU Meters for Foldback and Echo (Switchable)

10. VU Meter for Cue and Talkback (Switchable)

11. Foldback Outputs

12. Group Outputs

13. Echo Send Outputs

14. Console Frame/Case (RXM-7-25)

RX-7-248 APPEARANCE

1. Input Modules (IPM-7)

2. Group/Foldback Modules (GFM-7)

3. Group/Echo Modules (GEM-7)

4. Program Modules (PGM-7)

5. Phones Module (PHM-7)

6. Talkback Module (TBM-7)

7. Power Supply Module (PSM-7)

8. VU Meters for Group Outputs

9. VU Meters for Program Outputs (1—5, 2—6, 3—7, 4—8 Switchable)

(Fig.

— 36 —

28)

10. VU Meter for Foldback and Echo Outputs

(Switchable)

11. VU Meter for Cue and Talkback (Switchable)

12. Foldback Outputs

13. Group Outputs

14. Echo Send Outputs

15. Console Frame/Case (RXM-7-35)

RX-7-328 APPEARANCE

Input Modules (IPM-7)

Group/Foldback Modules (GFM-7)

Group/Echo Modules (GEM-7)

Program Modules (PGM-7)

Phones Module (PHM-7)

Talkback Module (TBM-7)

Power Supply Module (PSM-7)

VU Meters for Group Outputs

VU Meters for Program Outputs (1—5, 2—6,

3—7, 4—8 Switchable)

(Fig.

29)

— 37 —

VU Meter for Foldback 1

10.

VU Meter for Foldback 2

11.

VU Meter for Echo 1

12.

VU Meter for Echo 2

13.

VU Meter for Cue

14.

VU Meter for Talkback

15.

Foldback Outputs

16.

Group Outputs

17.

Echo Send Outputs

18.

Console Frame/Case (RXM-7-43)

19.

RXM-7-25 APPEARANCE

Armrest

Bus Chassis

Wood Side Panel

Metal Side Panel

Main Rear Panel

Meter Panel

VU Meters for Group and Program Outputs

(Switchable)

VU Meters for Foldback and Echo Outputs

(Switchable)

(Fig.

30)

— 38 —

VU Meter for Cue and Talkback (Switchable)

10.

Meter Side Panel

11.

Foldback Outputs

12.

Group Outputs

13.

Echo Send Outputs

14.

Base

15.

Module Guide

RXM-7-35 APPEARANCE

Armrest

Bus Chassis

Wood Side Panel

Metal Side Panel

Main Rear Panel

Meter Panel

VU Meter for Group Outputs

VU Meter for Program Outputs (1—5, 2—6,

3—7, 4—8 Switchable)

(Fig.

31)

— 39 —

VU Meter for Foldback and Echo Outputs

(Switchable)

10.

VU Meter for Cue and Talkback (Switchable)

11.

Meter Side Panel

12.

Foldback Outputs

13.

Group Outputs

14.

Echo Send Outputs

15.

Base

16.

Module Guide

RXM-7-43 APPEARANCE

1. Armrest

2. Bus Chassis

3. Wood Side Panel

4. Metal Side Panel

5. Main Rear Panel

6. Meter Panel

7. VU Meters for Group Outputs

8. VU Meters for Program Outputs (1—5, 2—6, 3—7, 4—8 Switchable)

9. VU Meter for Foldback 1

10. VU Meter for Foldback 2

(Fig.

32)

— 40 —

11. VU Meter for Echo 1

12. VU Meter for Echo 2

13. VU Meter for Cue

14. VU Meter for Talkback

15. Meter Side Panel

16. Foldback Outputs

17. Group Outputs

18. Echo Send Outputs

19. Bas e

20. Module Guide

RPS-7 APPEARANCE

(Fig.

33)

1. AC Fuse Holder

2. Power On/Off Indicator

3. Power On/Off Switch

4. DC Power Output Connector

5. Ground Terminal

6. AC Inlet

— 41 —

Block Diagram

(Fig. 34)

— 42 —

TOA ELECTRIC CO., LTD.

KOBE, JAPAN

Printed in Japan

133-02-476-20

TP-Link RX-7-248 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual