Wheatstone SP-42, SP-44, SP-48 Technical Manual

SP

-

40

Series

Audio Production Consoles

Model SP-42 2-track console Model SP-44 4-track console Model SP-48 8-track console

TECHNICAL MANUAL

December 1992

Second Edition – For consoles with serial numbers 20556 and up

SP-40 Series Audio Consoles Technical Manual - 2nd Edition

SP-4 / Dec 92

600 Industrial Drive New Bern, North Carolina 28562 252-638-7000 (Fax 252-637-1285)

Addenda

ALL Module Schematics:

All modules now use P&G 8000 series fader with JST connectors. Fader

pinout is as follows:

MONO: STEREO:

Pin 9 HI Pin 9 HI Pin 8 GND Pin 8 GND Pin 7 GND Pin 7 GND Pin 6 WIPER Pin 6 WIPER Pin 5 NC Pin 5 GND Pin 4 NC Pin 4 WIPER Pin 3 NC Pin 3 GND Pin 2 NC Pin 2 GND Pin 1 NC Pin 1 HI

If your console's Stereo Line Input Module printed circuit boards are version SLE-4D, then the following component changes will apply to the SLE-4C schematics included in this manual:

(1) C70 & C73 capacitor values are changed from 22uF to 100uF. (2) C71 & C87 capacitor values are changed from 100uF to 22uF.

(3) Integrated circuit U12 (Type 4053) will be implemented differently: Pins 4, 9, 3 & 5 are now unused (i.e., grounded out) and Pins 14, 11, 13 & 12 are employed instead (i.e., 10K resistor R102 now feeds pin 14, pin 13 feeds capacitor C44, pin 11 feeds pin 9 of U3, and pin 12 goes to ground).

SL-2 Stereo Line Input Module Schematic (SP-42 Console only):

EQ switches "SW2" and "SW4" are not loaded.

GP Group Module Schematic:

If your console is equipped with the optional mix-minus monitor bus: level control CR2 ("Send 2") is jumper-bypassed and resistor R55

becomes 10KΩ.

If your console has more than one studio module: jumper J6 becomes a 10KΩ resistor and resistor R55 becomes 20KΩ.

Stereo Line Input Schematic (SL-4, SL-42, SL-44, SL-48):

R21 resistor changed from 1K 5% to 4.7K 5%.

Stereo Line Input Schematic (SLE-42, SLE-44, SLE-48):

D7 changed from 1N914 to QMBR130 schottky diode.

Mic/Line Input Modules (MLE-48, MLE-42, MME-48) Schematic Diagrams:

The SW15 position numbers for Phantom Power and TB To Studio are incorrectly shown. Phantom Power is position 3, and TB To Studio is position 4.

SP-4 / Apr 00

Module Removal Tools

Your Wheatstone audio console is equipped with two "module extractor tools" which are mounted in the front panel of the console mainframe.

All modules are held into the console mainframe by two mounting screws (top and bottom) which, when removed, leave specially threaded holes that accept the two extractor tools.

To remove a module faceplate from the mainframe:

Remove the top and bottom module mounting screws, unscrew the extractor tools from the mainframe, and screw each tool into a module mounting hole. Use only four or five turns (do not over-insert!). Using the extractor tools as handles, pull the module straight up out of the mainframe.

Console Overview

CHAPTER CONTENTS

Series Description............................................................................ 1-1

SP-42/44/48 features table............................................................... 1-2

Input Module Faceplates (dwg)....................................................... 1-3

Mono mic/line input ........................................................................ 1-4

Stereo line input............................................................................... 1-4

Group and Output Module Faceplates (dwg) .................................. 1-5

Group modules ................................................................................ 1-6

Stereo Master Output module.......................................................... 1-4

Control room module ...................................................................... 1-4

Monitor Module Faceplates (dwg) .................................................. 1-7

Accessory Module Faceplates (dwg)............................................... 1-8

Studio module.................................................................................. 1-9

Stereo line selector module ............................................................. 1-9

Tape remote module ........................................................................ 1-9

Superphone module ......................................................................... 1-9

Intercom module............................................................................ 1-10

SP-44 (48) System Signal Flow Diagram ..................................... 1-11

SP-42 System Signal Flow Diagram ............................................. 1-12

Performance Specifications ........................................................... 1-13

C

ONSOLE OVERVIEW

SP–40 SERIES DESCRIPTION

The Wheatstone SP-40 console series is a dual purpose design intended for applications where the console will be used for both production work and onair applications. As such, its module layout has characteristics similar to both traditional on-air boards and production models. Generally speaking, the lower half of a typical input module emulates on-air control layout, while the upper half contains equalization and send controls. This hybrid architecture allows both production and on-air personnel to easily learn and operate all models of the series.

There are three models: the SP-42 (intended for 2-track use), the SP-44 (4track) and the SP-48 (8-track). All models are similar in layout, but differ primarily in the number of outputs available. The standard model is the SP-44.

SP-44 Four-track Production Console

This console comes equipped with four subgroups, two stereo outputs (Program and Audition), one mono sum output (Program L+R), one mixminus output, three auxiliary sends and cue. Intended to interface with a fourtrack tape recorder (the subgroup outputs feed the recorder; multitrack playback is normally through the subgroups' tape inputs), the console may be ordered with 16 or 24 input channels. The mainframe includes VU meters for the subgroups, Program (left & right), Audition (left & right), and Mono (Program L+R). Group VUs can also meter the three sends and mix-minus, via front panel switching on the subgroup modules. A control room monitor module is standard equipment. The mainframe has room for five accessory modules (three on the right and two on the left).

SP-4 / Dec 92

Page 1 - 1

C

SP-40 CONSOLE SERIES FEATURES

SP-42

SP-44

SP-48

MAINFRAME POSITIONS

16

24/33

35

INPUTS1216/24

24

GROUPS48

CONTROL ROOM MODULE

YYY

STEREO PROGRAM OUT

YYY

STEREO AUDITION OUT

YYY

MONO SUM (PGM L+R) OUT

Y

MIX-MINUS OUT

Y

CUEYY

Y

SEND BUSSES

233

TIMERYY

Y

GROUP METERS

4

8

PROGRAM METERS (L & R)

YYY

AUDITION METERS (L & R)

YYY

SEND METERS (switched w/Group VUs 1-3)

Y

MIX-MINUS METER (switched w/Group VU 4)

Y

LEFTHAND ACCESSORY POSITIONS

22RIGHTHAND ACCESSORY POSITIONS

233

ONSOLE OVERVIEW

C

ONSOLE OVERVIEW

SP-48 Eight-track Production Console

This is the 8-track version of the console series. It is identical with the SP44 except it has eight subgroup channels instead of four. This also means there are an additional four VU meters housed in the mainframe. The SP-48 comes with 24 inputs.

SP-42 Two-track Transfer Console

This compact unit (26 by 26 inches) has 12 inputs and is designed to interface directly to a 2-track tape machine. It has two stereo outputs (Program and Audition), two auxiliary sends and cue. Four VU meters (Program and Audition left and right) are included. The mainframe includes a control room monitor module and has room for two accessory modules (righthand frame positions only).

SP-4 / Dec 92

SP-40 Series Standard Features Listing by Console Model

Page 1 - 2

N

05101520

30

40

50

60

70

0

1/2

3

CUE

L

dB

A / B LINE

1K / 500

05101520

30

40

50

60

70

0

1/2

3

CUE

GAIN

05101520

30

40

50

60

70

0

CUE

GAIN

1

2

PHASE

100 / 50

N

05101520

30

40

50

60

70

0

1/2

3

CUE

L

ML- 2

100 / 50

N

05101520

30

40

50

60

70

0

CUE

1K / 500

100 / 50

05101520

30

40

50

60

70

0

1/2

3

CUE

GAIN

ON

OFF

ON

OFF

ON

OFF

3

2

1

MIC / LINE

6

11

14

10K / 5K

11

500

400

6

11

14

3

2

1

3

2

1

A S S I G N

0

GAIN

PHASE

16

-dB+

16

-dB+

EQ IN

0

PRE IN

0

PGM

AUD

L R

C

ONSOLE OVERVIEW

ML- 4

654

7

M

8

I

C

9

10

LINE TRIM

L

303

H

6

I

11

G

14

H

16

dB

303

5K2K

M

Hz

11

I

D

7K

8K

303

6

L O

11

W

14

16

5

64

7

8

9

S

10

1

E

N

654

D

7

S

8

9

10

2

C

P A

3

2

1

MIC / LINE

6

11

14

10K / 5K

11

500

400

6

11

14

3

2

1

3

2

1

A S S

I

G N

0

GAIN

PHASE

16

-dB+

100 / 50

16

-dB+

EQ IN

S1 PRE IN

0

PGM

AUD

L R

B U S

654

7

8

9

10

LINE TRIM

303

6

11

14

16

303

5K2K

Hz

11

7K

8K

303

6

11

14

16

5

64

7

8

PAN

9

S2

LEVEL

654

7

8

9

10

C

P A

1

2

3

4

ML- 48

654

7

M

I

C

H I G H

M

I

D

L O W

S E N D S

3

2

1

MIC / LINE

6

11

14

10K / 5K

11

500

400

6

11

14

3

2

1

3

2

1

A S S

I

G

N

0

GAIN

16

-dB+

16

-dB+

EQ IN

PRE IN

0

PGM

AUD

L R

B U S

M

8

I

C

9

10

LINE TRIM

303

H

6

I

11

G

14

H

16

dB

303

5K2K

M

Hz

11

I

D

7K

8K

303

6

L O

11

W

14

16

5

64

7

8

PAN

9

S

S2S1

LEVEL

E N

654

D

7

S

8

9

10

C

P A

1 / 2

3 / 4

5 / 6

7 / 8

SL- 2

A / B LINE

6

11

14

6

11

14

6

11

14

3

2

1

3

2

1

A S S I G

N

16

-dB+

1K / 500

16 16

-dB+

16

-dB+

EQ IN

0

PRE IN

0

PGM

AUD

L R

LT

RT

B

303

6

11

14

16

303

6

11

14

303

6

11

14

16

5

64

7

8

9

10

654

7

8

9

10

C

B A L

SL- 4

LT

RT

B

H I G H

M

I

D

L O W

S E N D S

11

A S S

I G N

6

14

6

14

6

14

3

2

1

3

2

1

16

-dB+

16 16

-dB+

16

-dB+

EQ IN

5

PRE IN

0

PGM

AUD

C

L R

B U S

303

6

11

14

16

303

6

11

14

303

6

11

14

16

64

7

8

BAL

9

S2S1

LEVEL

654

7

8

9

10

B A L

1 / 2

3 / 4

SL- 48

LT

RT

B

A / B LINE

10K / 5K

H I G H

M

I

D

L O W

S E N D S

11

14

11

14

11

14

2

A S S I G N

6

16

6

16 16

6

16

EQ IN

3

1

PRE IN

3

1

0

L R

B U S

-dB+

5

PGM

AUD

C

303

H

6

I

11

G

14

H

16

303

6

M

11

I

D

14

303

6

L O

11

W

14

16

64

7

8

BAL

9

S

S2S1

LEVEL

E N

654

D

7

S

8

9

10

B A L

1 / 2

3 / 4

5 / 6

7 / 8

SP-4 / Dec 92

0

ON

Mono Input

SP-42

0

ON

Mono Input

SP-44

Mono Input

SP-48

Stereo Input

SP-42

Stereo Input

SP-44

Input Modules – SP-40 Series Audio Consoles

ON

Stereo Input

SP-48

Page 1 - 3

C

ONSOLE OVERVIEW

STANDARD MODULES

Mono Mic/Line Input (ML-48)

This module brings mic signals into the console; when switched to line input

it is used to play individual tracks from the multi-track machine.

Familiar PGM and AUD switches are provided for on-air application and rapid learning curves. They also make easy work of routine 2–track transfers and dubs. Bus assign switches are also provided for 8–track production sessions. Additionally, there is an internal dipswitch feeding a mix-minus bus—perfect for call-in production work. A powerful three-band equalizer permits total creative freedom (the EQ may be switch bypassed). The panpot pans between the left and right PGM and AUD buses or Odd and Even pairs on the bus assign switches. Three auxiliary sends are provided. Sends 1 and 2 appear on a concentric knob pair (Level and Pan 1/2); they may be switched pre or post. Send 3 can be internally selected pre or post. A CUE switch (w/ LED) is also provided. CUE is automatically released when the channel on button is activated or when CUE is pressed again. CUE may be programmed to automatically interrupt control room or headphone feeds.

Other features include dipswitch selected phantom power, a phase reverse switch and a mic/line selector switch. Separate mic gain and line trim controls are provided.

The lower section of the module includes a P&G fader. Channel ON/OFF switches interface to the console’s dipswitch programmed logic system, which allows remote channel on, off, tally and cough. Console command functions include control room and studio mute, and timer restart. Of course, control room and studio tally relays are included. These permit an on-air type production environment as well as direct-to-air capability.

SP-4 / Dec 92

Stereo Line Input (SL–48)

This module is used for stereo sources such as CDs, tape recorders, and cassette players. Its A/B source selector switch doubles the module’s input capacity. Calibration procedures are made easy with the multi-turn front panel gain trims. The 3-band EQ section (with switchable center frequencies) provides reciprocal curves, allowing easy removal of previously applied equalization—a real plus for last minute afterthoughts. EQ bypass is provided.

Assign switches route signal to the stereo and 8-track machine in stereo pairs, and are provided with a balance control. The SP-48’s unique stereo/ mono send section provides for mono or stereo effects. Pre/post selector switches increase production flexibility. Like the mono mic module, a sophisticated automatic CUE system is included. A P&G stereo fader provides smooth, troublefree mixing.

Channel ON/OFF buttons are coupled to an on-air type machine and console logic system. Each color-coded button is illuminated. For long life and low maintenance, on/off lamps are solid state. When channel on status is selected, external machines, such as carts and CDs, may be started and can in turn send channel on/off commands back to the console. The logic system may be dipswitch selected to command control room and studio mute, and timer restart. A local or external ready command may signal back to the module.

Page 1 - 4

C

05101520

3040506070

0

CUE

VU

GAIN

N

1

GROUPS

1

2

R

TAPE TO PAN

CUE

2

1

G2

G1

PGM

1

2

05101520

3040506070

0

CUE

VU

GAIN

N

3

GROUPS

TAPE TO PAN

CUE

4

3

REC

G4

G3

PGM

3

05101520

3040506070

0

CUE

GAIN

N

5

T A P E

L E V E

L

GROUPS

TAPE TO PAN

6

5

G6

G5

PGM

05101520

3040506070

0

CUE

GAIN

A

N

7

GROUPS

TAPE TO PAN

7

G8

G7

PGM

AUD

PGM

AUD

TAPE

AUD

05101520

3040506070

0

PGM

MASTER

AUD

TAPE

AUD

A U D

05101520

3040506070

0

PGM

MASTER

CUE

1

2

GP- 4

654

7

3

S E

8

2

1

2

3

1

G1 / S1

G2 / S2

3

1

3

1

A S S

I G N

0

GRP SND

0

2

C

L R

C

N

9

D

10

654

7

S E

8

N

9

D

10

S1

S2

G1

VU

G2

G1

G2

654

7

T

8

A P

9

10

E

L

654

E

7

V

8

E

9

L

10

P

M A S T E R S

GP- 4

654

7

3

S E

8

2

1

3

2

1

2

3

2

1

3

1

A S S

G N

G3 / S3

G4 / M–

I

0

GRP SND

0

3

0

4

C

L R

C

N

9

D

10

654

7

M

8

X M

9

10

S3

M–

G3

VU

G4

G3

G4

654

7

T

8

A

P

9

10

E L

654

E

7

V

8

E

9

L

10

P

P A

M A S T E R S

P A

GP- 4

3

2

1

3

2

1

A S S

G N

0

I

L R

GP- 4

G5

VU

G6

G5

G6

654

7

8

9

10

5

654

7

8

9

10

6

P

C

P A

C

3

2

1

3

2

1

A S S

G N

0

I

L R

G7

VU

G8

G7

G8

654

7

T

8

A P

9

10

E

7

L

654

E

7

V

8

E

9

L

10

8

P

C

P

C

M A S T E R S

GAIN

SM- 2

654

7

3

8

2

9

1

10

0

654

7

3

8

2

9

1

10

0

PGM

VU

PGM

654

7

3

8

2

9

1

10

0 MASTER

ONSOLE OVERVIEW

SM- 4

S E N D

654

GAIN

3

2

1

10

0 MASTER

PGM

VU

PGM

654

3

2

1

10

0 MASTER

S E N D

LT

RT

LT

RT

LT

RT

LT

RT

A U D

M

7

P

O

G

8

N

M

9

O

LT

RT

MONO

LT

RT

LT

RT

LT

RT

7

8

9

L R

2

MIX REC

G1

G2

L R

4

MIX

G3

G4

3 4

L R

6

R

MIX

R

REC

MIX

R

REC

G5

G6

5 6

0

L R

8

MIX

REC

MIX

REC

G7

G8

7 8

R

BUS

T

BUS

PGM

T

0

SP-4 / Dec 92

Group #1

SP-44/48

Group #2

SP-44/48

Group #3

SP-48 only

Group #4

SP-48 only

Stereo Master

SP-42

Stereo Master

SP-44/48

Group & Output Modules – SP-40 Series Audio Consoles

Page 1 - 5

C

ONSOLE OVERVIEW

Group Modules (GP)

These modules provide the record outputs to the tape recorder during the multi-track lay-up, and provide subgrouping functions during mixdown sessions.

Each fader (two to a panel) controls the level of one track sent to the multitrack recorder. By acting as a record level to the tape recorder modulation levels can be precisely controlled from one fader, rather than having to adjust individual or groups of different faders, thus greatly improving productivity and avoiding the chance of losing the mix balance.

Once the eight tracks are recorded, the mixdown session can be handled in one of two ways. First, Bus/tape switches are switched to select the tape playback signals, which are routed through the group faders and their associated panpots to the PGM stereo output. In the second method the bus/tape switch is left in Bus mode and the mic/line modules are switched to line input (which are also connected to the tape machines playback); signals are then routed from the input module, grouped to the subgroups, and then mixed to the stereo output. This leaves the operator the choice of fast layups or more involved sessions when you’re looking for that major market polish.

A CUE switch allows quick checking of the recording or subgroup signal. The pan off switch allows the groups to operate independently of the stereo mix for mix-minus, IFB, or bilingual production requirements, or in applications where it is desirable to feed the multi-track while simultaneously using the stereo PGM buses for other applications, such as dubbing or even live use.

Master level controls for the three auxiliary sends and the internal mix-minus bus are located at the top of the first two group modules. Front panel gain and VU multi-turn trimmers allow easy calibration.

SP-4 / Dec 92

Stereo Master Output (SM–4)

This module provides master output level control for the PGM, AUD and PGM mono sum outputs. PGM master is provided with a stereo P&G fader that would normally be used as the record level control to your 2–track master or output level to your on-air feed. A pair of bus/tape switches are provided that allow you to bring the input of your 2–track back to the module so you may easily check your completed recordings. The AUD and PGM mono outputs are both provided with conductive plastic rotary level controls. Front panel multiturn gain and VU trims allow easy calibration.

Control Room Monitor (CR-4)

This standard module handles source and level controls to the control room, headphone and cue circuits. The source selector can pick up the PGM, AUD, and MONO buses as well as two external balanced line inputs, such as tape recorders or air returns. The CUE circuit can be programmed to interrupt the control room or headphone feeds for automatic operation. A high quality conductive plastic headphone level control is provided to assure reliable operation. The under- counter headphone jack is driven by a built-in power amplifier to assure plenty of drive. An external headphone I/O port is also provided for an external power amp if desired. The CR pot is conductive plastic and drives an electronically balanced output.

Page 1 - 6

CUE

HDPN

CR

CR- 2

TB

STUDIO

TB

CUE

HDPN

CR

TB

STUDIO

TB

MON

C T

AUTO

TIMER

AUTO

TIMER

CR- 4

SC- 2

SC- 4

C

ONSOLE OVERVIEW

EXT1

EXT2

PGM

AUD

3

2

1

0

RESTART

S O U R C E

S E L E

EXT1

EXT2

PGM

AUD

S O U R C E

S E L E

EXT1

EXT2

PGM

AUD

S O U R C E

S

E L E

EXT1

EXT2

PGM

AUD

S O U R C E

S E L E

MON

654

7

8

9

10

S

T

A

O

R

P

T

R

E S E T

H O

L

D

3

2

1

0

RESTART

654

7

8

9

10

S

T

A

O

R

P

T

R

E S E T

H O

L

D

654

7

3

8

2

9

1

10

0

654

7

3

8

2

9

1

10

0

SP-4 / Dec 92

5

6

4

7

3

8

2

9

1

10

0

5

6

4

7

3

1

0

SP-42

8

9

10

2

Control Room

5

6

4

7

3

8

2

9

1

10

0

5

6

4

7

3

1

0

SP-44/48

8

9

10

2

Control Room

5

6

4

3

2

1

10

0

Studio (opt.)

SP-42

7

8

9

5

6

4

7

3

2

9

1

10

0

Studio (opt.)

SP-44/48

8

Monitor Modules – SP-40 Series Audio Consoles

Page 1 - 7

U R C E

L

E

C T

LS- 4 SPN-4

RECORD

TRIM

ON

OFF

0

5

101520

30

40

50607000

AUD

MXM

CALL 1

CALL 2

CUE CALLER

BUSY

PRIVACY

TR- 4 ICM- 4

TR- 4

C

ONSOLE OVERVIEW

EXT

A S S

I G N

READY

MIC

PGM

1

2

S

O

S E

>>

<<

PLAY

REC

STOP

MIC

NULL

INTERCOM

SP-4 / Dec 92

>>

<<

PLAY

REC

STOP

Stereo Selector Tape Remote Superphone Intercom

Accessory Modules – SP-40 Series Audio Consoles

Page 1 - 8

C

ONSOLE OVERVIEW

The following programmable functions are available: CUE may be programmed to interrupt HDPN or CR monitor; HDPN interrupt receives the CUE signal; CR interrupt provides a split feed, with PGM on left and CUE on the right (interrupts are dipswitch-selectable). This module also includes a control room mute circuit, which may be activated from an appropriately pre-programmed input channel, and also includes an on-air tally relay. This module also houses the optional timer control panel. Controls include timer START/ STOP, RESET and HOLD buttons. An AUTO-RESTART enable switch links the timer to automatically restart from pre-programmed input channels.

OPTIONAL MODULES

Studio Module (SC–4)

The optional studio control module is provided with a source selector similar to the CR module, a conductive plastic studio level control (with electronically balanced output) and a talkback-to-studio circuit. The TB switch routes the announcer’s mic to the studio output and also an external TB out port. The TB level control is used to preset the TB level to the studio independently of the studio level pot. This module also includes a studio mute circuit, which may be activated from an appropriately pre-programmed input channel. An on-air tally relay is included.

SP-4 / Dec 92

SP-4 / June 93

Stereo Line Selector (LS–4)

A source select switchbank with 6 stereo inputs and one stereo output. The output may be fed (via the module’s standard DB-25 I/0 connectors) to any line input module, control room or studio module to increase its input source capacity.

Tape Remote Module (TR–4)

Available in two versions: Full Function (FF-2, with full control of two machines) and Start/Stop (SS-6, six pairs of start/stop buttons for control of six different machines). All buttons have LED indicators.

Superphone Module (SPN–4)

This module provides a new way of handling telephone segments: when a phone segment is desired, the announcer simply activates the module, and all mute, level and combining functions are handled automatically. It automatically selects the announcer’s mic and mix-minus sources with a press of its ON button and allows conferencing between two callers (each on their own fader) and the station’s microphones. Caller CUE switches provide a quick way to preview the callers, or even conduct the segment through the console’s cue speaker. The PGM assign switch permits live talk-ins. An AUD input switch allows callers to receive any additional channels that have been assigned to the AUD bus. The MXM internal programming switches can be preset for your

Page 1 - 9

C

ONSOLE OVERVIEW

normal talk segment, so the operator would hit the ON button and his mic and the MXM signals would be routed to the callers. It even has a balanced external input port—handy for remotes.

The module has logic circuitry linked to its ON/OFF switches that can start and stop an external tape machine, initiate record, activate cue, mute control room and studio, and restart the console timer—all from channel ON/OFF switches. It provides separate multitrack tape recorder feeds that route announcer mics and program material to track 1, a composite announcer and caller sum to track 2, and callers only to tracks 3 & 4. By splitting the mics from the callers, the operator can edit by using simple track punch-ins rather than razor edits.

Intercom Module (ICM–4)

This module is a major advance beyond the simple control room talkback button. The operator can communicate with the studio (as with traditional TB), but he can also talk with other studios and control rooms throughout the entire station complex. It is part of an integrated intercom system; a family of modules available for all Wheatstone radio consoles, plus a rackmount version for equipment room installation. It also interfaces with the Wheatstone TS-500 Talent Station.

When a call button is pressed, the anxnouncer mic is routed to any one of six destinations. The operator at the receiving end will hear the caller’s voice through the cue speaker (unless, of course, he’s on-the-air) and he can answer hands free to the initiating caller. A tally lamp at the receiving end illuminates to indicate which intercom station is initiating the call. The privacy button will mute the announcer’s mic. Each module is self-powered from its host console, and a simple daisy chain interface is all that’s required for installation.

SP-4 / Dec 92

SP-4 / June 93

Page 1 - 10

ON

ON OFF ON TALLY OFF TALLY COUGH TB A - COMMON B - COMMON

CUE

ON

OFF

IN

PATCH

OUT

MIC

H L

LINE

H L

ON OFF START STOP READY

COMMON

CUE

ON

OFF

H

LT

L

A

H

RT

L

H

LT

L

B

H

RT

L

START STOP REC READY COMMON

EXT

IN

MIC

IN

MIX

MINUS

Monitor

AUD

Monitor

HYBRID

1 IN

HYBRID

2 IN

SUPER PHONE

OFF TB COUGH

TO MIC CHANNEL LOGIC PORT

LOGIC

F

H L

+48v

D

I

P

A / B LOGIC

A B

S E L E C T

A D E R

GAIN

M / L

SW

TRIM

LOGIC

FOR A & B

SEPARATE

EQ -IN

L

TRIM

E Q

TRIM

R

STEREO LINE INPUT

ON

OFF

LOGIC

REC

READY

SW

H L

L R

H L

EXT

TRIM

MIC

TRIM

MXM

ON SW

AUD

ON SW CALL 1

FADER CALL 2

FADER

CALL 1

CUE SW

CALL 2

CUE SW

DIP SW

PRE

POST

ON

FET SW

PHASE

EQ

SW

EQ -IN

MIC / LINE INPUT

DIP SW

∑

O N

F

E

A

T

D

S

E

W

R

DIP SW

PGM

SW

MICS to

∑

CUE LOGIC

REMOTE

CONTROLS

CR MUTE STUDIO MUTE TIMER RESTART MIX-MINUS

TB TO STUDIO

CUE LOGIC

SEND

1 / 2

J

SEND

3

PAN

LOCAL READY

CR MUTE TIMER RESTART MIX-MINUS

CUE LOGIC

PRE

SEND

POST

1 / 2

SEND

3

J

∑

L

B A L

R

CR MUTE CR MUTE W/PGM STUDIO MUTE STUDIO MUTE W/PGM TIMER RESTART CUE LOGIC ENABLE

TRIM

PGM

TRIM

MIC

CUE

FET SW

PAN

L

PGM

R

AUD

J

CUE

FET SW

PAN

L

PGM AUD

R

ON

FET SW

COMPOSITE

OUT

MICS TO

TRK 1

CALLERS

TO TRK

3 & 4

TO HYBRID

1 - 2 3 - 4 5 - 6 7 - 8

1

2

CUE

MUTE

FET SW

HDPN

INTRPT

SW

CR INTRPT FET SW

TB MUTE

FET SW

TB SW

STUDIO

/TB

INTRPT

∑

FET SW

To Other Stations

CALL LINES

FM

AM

NEWS

PROD

BOOTH

ENG

L

EXT 1

R

L

EXT 2

R

L

EXT 3

R

L

EXT 4

R

L

EXT 5

R

L

EXT 6

R

LINE SELECT

CUE OUT

LT

HDPN JACK

RT

H

LT

CR

OUT

RT

ON-AIR

TALLY

OPTO

EXTERNAL

TB OUT

LT

STUDIO

OUT

RT

STUDIO

TALLY

OPTO

EDIT

L

H L

M U T E

>> <<

PLAY

REC

STOP

EDIT

>> <<

PLAY

REC

L R

STOP

TAPE

REMOTE

L E V E L

STEREO MASTER

SENDS

CAL

GAIN

TO PAN

H L

GAIN GAIN

CUE LOGIC

H L

GAIN

TAPE

TO PAN

SW

TAPE

SW

VU

MONO

VU

SEND

VU

PGM

H L

PGM OUT

L H

H L

AUD OUT

L H

1

OUT

2

OUT

TAPE

OUT

H L

TAPE

OUT

H L

CUE

LEVEL

H

L

EXT 1

H

R

L H

L

EXT 2

H

R

L

H L

DIPSW

TO

CUE

SPKR

TB MIC

IN

H

L

LINE IN

I/O PORT

2-WAY AUDIO

PGM

AUD

MONO

CUE

LOGIC

MUTE

LOGIC

L

EXT 1

R

L

EXT 2

R

PGM

AUD

MONO

MUTE

LOGIC

TRIM

J

L H

LT

RT

LT

RT

CLOCK

S / S

RESET

HOLD

AUTO

HDPN

LEVEL

CR

LT

L E V E L

RT

CR MONITOR

DIP SW

CUE MUTE ENABLE

SPLIT CUE CUE TO HDPN

STUDIO

LT

RT

LOGIC

LISTEN

FET SW

PRIVACY

SWITCH

TALK

FET SW

TIMER

∑

TB

LEVEL

L E V E L

STUDIO MONITOR

∑

MIC

NULL

INTERCOM

LEVEL

BUS / TAPE

BUS/

TAPE

SEND 1

CUE SW

SEND 2

CUE SW

LEVEL

GROUP

/SEND VU SW

GROUP

FADER

CAL

F A D E R

CAL

MONO

∑

PROGRAM

H L

TAPE

IN

H L

1 2 3 4

AUDITION

TAPE

IN

H L

CHANNEL 1

PAN

PGM

SW

GROUP

/SEND VU SW

GROUP FADER

TAPE

LEVEL

H L

TAPE IN

CHANNEL 2

PAN

PGM

SW

TAPE

LEVEL

H L

TAPE IN

GROUP MASTER #1

SP-40 CONSOLE SERIES

SYSTEM FLOW DIAGRAM

System Flow Diagram — SP-44 (48) Series Audio Console

Page 1 - 11

ON OFF ON TALLY OFF TALLY COUGH TB A - COMMON B - COMMON

CUE

ON

OFF

IN

PATCH

OUT

MIC

H

L

LINE

H

L

ON OFF START STOP READY

COMMON

CUE

ON

OFF

H

LT

A

H

RT

H

LT

B

H

RT

START STOP REC READY COMMON

EXT

IN

MIC

IN

MIX

MINUS

Monitor

AUD

Monitor

HYBRID

1 IN

HYBRID

2 IN

SUPER

PHONE

ON

L

OFF TB COUGH

TO MIC CHANNEL LOGIC PORT

H

L

H

L

GAIN

D

I

P

TRIM

+48v

SEPARATE

A / B LOGIC

A B

L

S

TRIM

E

TRIM

L

E

R

C

T

OFF

LOGIC

REC

READY

SW

H

L

H

L

R

H

L

H

L

DIP SW

LOGIC

PRE

POST

F

A

ON

D

FET SW

E

R

M / L

SW

EQ

EQ -IN

PHASE

SW

MIC / LINE INPUT

DIP SW

LOGIC

FOR A & B

∑

EQ -IN

E Q

O N

L

F

E

A

T

D

S

E

W

R

STEREO LINE INPUT

PGM

SW

DIP SW

MICS to

PGM

∑

CUE LOGIC

ON

EXT

TRIM

MIC

TRIM

MXM

ON SW

AUD

ON SW

CALL 1 FADER

CALL 2

FADER

CALL 1

CUE SW

CALL 2

CUE SW

REMOTE

CONTROLS

CR MUTE STUDIO MUTE TIMER RESTART MIX-MINUS TB TO STUDIO

CUE LOGIC

SEND

1

J

SEND

2

L

PAN

R

LOCAL READY

CR MUTE TIMER RESTART MIX-MINUS

CUE LOGIC

PRE

SEND

POST

1

SEND

2

J

L

∑

R

B A L

CR MUTE CR MUTE W/PGM STUDIO MUTE STUDIO MUTE W/PGM TIMER RESTART CUE LOGIC ENABLE

TRIM

COMPOSITE

TRIM

MIC

CUE

FET SW

PGM

AUD

CUE

FET SW

PGM AUD

ON

FET SW

OUT

MICS TO

TRK 1

CALLERS

TO TRK

3 & 4

TO HYBRID

1

TO HYBRID

2

PROGRAM

H L

TAPE

IN

H L

AUDITION

H L

TAPE

IN

H L

BUS / TAPE

BUS/

TAPE

SEND 1

CUE SW

SEND 2

CUE SW

LEVEL

CAL

F A D E R

CAL

L E V E L

CAL

STEREO MASTER

GAIN GAIN

CUE LOGIC

SENDS

H L

VU

H L

PGM OUT

L H

VU

H L

AUD OUT

L H

VU

SEND

1

OUT

SEND

2

OUT

CUE

LEVEL

H

L

EXT 1

H

R

L H

L

EXT 2

H

R

L

LT

RT

LT

RT

PGM

AUD

CUE

LOGIC

MUTE

LOGIC

H

L

EXT 1

H

R

L H

L

EXT 2

H

R

L

PGM

AUD

HDPN

LEVEL

CR

LT

L E V E L

RT

CR MONITOR

DIP SW

CUE MUTE ENABLE

SPLIT CUE CUE TO HDPN

TB

LEVEL

STUDIO

LT

L E V E L

RT

∑

CUE

MUTE

FET SW

HDPN

INTRPT

SW

RT

CR INTRPT FET SW

TB MUTE

FET SW

TB

SW

STUDIO

/TB

INTRPT

∑

FET SW

LT

M U T E

EXTERNAL

M U T E

HDPN JACK

LT

CR

OUT

RT

ON-AIR

TALLY

OPTO

TB OUT

LT

STUDIO

OUT

RT

CUE OUT

H L

STUDIO MONITOR

STUDIO

TALLY

OPTO

EDIT

>>

<<

PLAY

REC

STOP

EDIT

>>

<<

PLAY

REC

STOP

TAPE

REMOTE

DIPSW

TO

CUE

SPKR

TB MIC

IN

H L

LINE IN

I/O PORT

2-WAY AUDIO

CLOCK

MUTE LOGIC

TRIM

J

S / S

RESET

HOLD

AUTO

L H

LOGIC

LISTEN FET SW

PRIVACY

SWITCH

TALK

FET SW

TIMER

To Other Stations

∑

MIC

NULL

INTERCOM

L

R

L

R

L

R

L

R

L

R

L

R

LINE SELECT

CALL LINES

FM

AM

NEWS

PROD

BOOTH

ENG

EXT 1

EXT 2

EXT 3

EXT 4

EXT 5

EXT 6

L R

SP-42 AUDIO CONSOLE

SYSTEM FLOW DIAGRAM

System Flow Diagram — SP-42 Audio Console

Page 1 - 12

Installation

CHAPTER CONTENTS

Placing the Console ......................................................................... 2-1

Console and Cut-out Dimensions .................................................... 2-1

Console Power Supply .................................................................... 2-2

Dual Failsafe Supply................................................................... 2-2

System Ground ................................................................................ 2-3

Typical Grounding Scheme (dwg) .............................................. 2-3

Further Grounding Details .......................................................... 2-4

PLACING THE CONSOLE

SP-40 series consoles come shipped in two parts: a cardboard carton containing the rackmount power supply and its connecting cable, and a wooden crate containing the console itself. The wooden crate also contains a small package (the console connector kit: DB-25 I/O connector hoods and an AMP brand insulation displacement crimp tool). Begin the installation by unpacking and locating these items. Set the connector kit aside for later (its use is discussed in the next chapter).

SP-40 consoles are designed to be dropped into a countertop cut-out. The drawing and table below call out the various console dimensions and required cut-out sizes.

SP-4 / Dec 92

25.7

1.1

5.2

1.4

SP-40 S

M

AINFRAME DIMENSIONS

ERIES CONSOLE

CW

20.3

MAINFRAME CW CUT–OUT

48

(24 inputs) 55 20.5 x 53.2

SP–

44

(24 inputs) 52 20.5 x 50.2

SP–

44

(16 inputs) 38.4 20.5 x 36.6

SP–

42

(12 inputs) 26.4 20.5 x 24.6

SP–

Bear in mind that final console placement should take into consideration avoiding proximity to any electromagnetic fields, such as large power transformers, motors, and flourescent lighting fixtures.

Make the required cut-out, and lower the unpacked console into place.

5.3

9.3

4.0

Page 2 - 1

The power feed recommended

in the text is often installed and

referred to in studios as an

"isolated AC ground" outlet.

It is usually orange in color.

I

NSTALLATION

THE CONSOLE POWER SUPPLY

The console power supply is a standard 19" rackmount unit. It should be mounted in an adjacent equipment rack within 15 feet (but preferably no closer than 3 feet) of the console. The mounting location should allow proper air circulation around the unit. Avoid locating any high gain equipment (such as phono preamps, tape recorders, etc.) too near the power supply, to avoid magnetic interference into that equipment.

The power supply is fitted with a 3-wire grounded AC cord that should be plugged into a clean 120V AC outlet (that is, an AC source that feeds only the control room audio gear). This AC source should be a separate feed from those powering lighting, air-conditioning, or any other non-audio machinery. The third pin ground wire of the AC source should be tied to the central system ground point (see SYSTEM GROUND below).

With the power supply in place, plug in the AC power cord. Note the power supply uses a 3-amp slo-blo fuse (back of chassis). The five LED indicators on the supply's front panel should light up (PHANTOM, +V, –V, +5V, and +24V). Unplug the power supply and connect it to the console, using the supplied multi-conductor cable. Note the cable plugs into the back of the supply chassis and into the bottom of the console (righthand end). With the console connected, re-energize the power supply. The display indicators should again light; the console's VU meters should light up, and individual module ON/OFF switches and green CUE LEDs will power up randomly.

SP-4 / April 95

SP-4 / Dec 92

Dual Failsafe Supply

Your console may have been ordered with a dual failsafe option; in this case you will have two separate rackmount supplies with a single combiner panel that mounts between them. If this is the case, then connect both supplies to the combiner panel with the two short cables supplied, and connect the combiner panel to the console with the regular long cable. Note that both supplies must be energized for the failsafe function to work.

The first major installation step is to make sure the console is properly grounded. Once this is accomplished, audio and control connections (next chapter) may be made.

Unplug the power supply, and proceed with the next section, "System Ground".

Page 2 - 2

I

CONSOLE

AC BREAKER

BOX

EQUIPMENT RACK

EFFECTS RACK

GROUNDING SCHEME

SYSTEM GROUND

Safety requirements dictate that a positive connection from the console mainframe to electrical ground be made in the completed installation.

The system ground serves two important purposes:

(1) Provide a zero signal reference point for the entire audio system; (2) Assure safety from electrical shock.

There exist two terms that one encounters in a discussion of ground:

(A) EARTH GROUND, which is usually a heavy copper rod driven into

the soil adjacent to the building (around 6 feet down) or a connection to the copper water pipes leading into the building. Either is acceptable, unless, of course, the water pipe is plastic.

(B) THE POWER COMPANY EARTH CONDUCTOR that enters the

building at the power line breaker box; this conductor should be (and is often by code) tied to the above-mentioned earth ground at one point. This point is the SYSTEM EARTH GROUND.

MIC PANEL

NSTALLATION

Tie the console mainframe ground to the system earth ground. Tie every piece of

equipment in the entire audio

system to the console

mainframe ground.

2-TRACK

MULTI-TRACK

POWER COMPANY

EARTH GROUND

COPPER ROD

3–5 ft.

GND

HEAVY (#4 or #6) COPPER

WIRE

SOIL

3-wire ground or separate wire run from chassis

DEVICE 1

DEVICE 2

etc.

DEVICE N

HIGH POWER

CONSOLE POWER SUPPLY

CONTROL ROOM POWER AMP

STUDIO POWER AMP

OTHER

TYPICAL SYSTEM

The grounding point on SP-40 consoles is a terminal lug strip located on the bottom of the mainframe, near the power connector. This is the central grounding point for the console mainframe. TIE THE CONSOLE MAINFRAME TO THE SYSTEM EARTH GROUND. TIE EVERY PIECE OF EQUIPMENT IN THE ENTIRE AUDIO SYSTEM TO THE CONSOLE MAINFRAME GROUND. If the system earth ground point is inaccessible, tie the console ground mainframe ground to the power company earth conductor at the main breaker box.

SP-4 / Dec 92

Page 2 - 3

The aforementioned "isolated

AC ground" (orange studio

outlet; see page 2-2) can also

be used to accomplish the

required grounding.

Each piece of equipment should be connected by its own ground wire (usually the round third pin on the AC cord). This means that every AC outlet must have a separate conductor run to the console ground lug terminal; the outlets cannot be daisy-chained as is normally encountered in commercial and residential AC systems. Any equipment not supplied with 3-wire AC cables must have individual ground wires (16 gauge or larger) connected to their chassis grounds and then run to the console mainframe ground.

Further Grounding Details

Check all equipment to be absolutely certain that each unit is power transformer isolated from the AC mains to prevent safety hazards.

It is assumed that in each piece of audio equipment the audio ground and the chassis are tied together at some point. Any piece of equipment lacking a grounded chassis is likely to be prone to interference problems.

Locate all unbalanced audio equipment in the same rack if possible, to minimize chassis ground potential differences. It may also be helpful to insulate each piece of unbalanced equipment from its mounting rails in the rack by means of nylon 10-32 screws and insulating washers between rails and faceplates.

Once the system is properly grounded, you may proceed with the audio and control input/output connections (next chapter).

SP-4 / Dec 92

Page 2 - 4

C

ONSOLE

Console I/O Connections

CHAPTER CONTENTS

General .........................................................................................................3-2

AMP Tool Connector System ....................................................................3-2

Balanced vs Unbalanced I/O Connections.................................................3-3

Typical I/O Connections (wiring diagrams) ..............................................3-4

Mono Mic/Line Input Module (ML-4).......................................................3-5

Audio Connections.....................................................................................3-5

Control Ports ..............................................................................................3-5

Dipswitch Controlled Functions ................................................................3-6

Stereo Line Input Module (SL-4)...............................................................3-7

Audio Connections.....................................................................................3-7

Control Ports ..............................................................................................3-7

Dipswitch Controlled Functions ................................................................3-8

Group Module (GP-4) .................................................................................3-9

Audio Connections.....................................................................................3-9

Stereo Master Output Module (SM-4) ....................................................3-10

Audio Connections...................................................................................3-10

Control Room Monitor Module (CR-4)...................................................3-11

Audio Connections...................................................................................3-11

Auxiliary Control Ports............................................................................3-12

Dipswitch Controlled Functions ..............................................................3-12

Studio Monitor Module (optional) (SC-4)................................................3-13

Audio Connections...................................................................................3-13

Control Ports ............................................................................................3-13

Talkback Interrupt Jumpers .....................................................................3-13

Superphone Module (optional) (SPN-4)...................................................3-14

Audio Connections...................................................................................3-14

Control Connections ................................................................................3-14

Intercom Module (optional) (ICM-4)........................................................3-15

Audio Input connections ..........................................................................3-15

Control Connections ................................................................................3-15

Audio Output Connections.......................................................................3-15

Stereo Line Select Module (optional) (LS-4) ...........................................3-16

Audio Connections...................................................................................3-16

Tape Remote Module (optional) ...............................................................3-17

I/O C

ONNECTIONS

SP-4 / Dec 92

Page 3 - 1

C

ONSOLE

I/O C

ONNECTIONS

GENERAL

All audio and control I/O connections to SP-40 series consoles are made through DB-25 multipin connectors located on the bottom of the console mainframe. All input and group module mainframe positions have one DB25 I/O connector each; output and control room monitor modules, as well as all accessory module positions, have two each.

The Insulation Displacement Connector System

The I/O wiring interface system is based on insulation displacement technology. A special AMP wiring tool is included with each console; it is auto-indexing, and allows individual wire connections to be positively made with a single squeeze of the tool's trigger. The trigger action is ratchet controlled, and will not release until a full connection is made. Once released, the DB-25 connector held in the tool's jaw automatically indexes to the next connector pin. The technology is such that no stripping, soldering or tinning of wire ends is required; all that is needed is for the twenty-five wires destined for the connector be snub cut and laid out in order (although tubing should be used on bare drain wires).An empty DB-25 connector is

SP-4 / Dec 92

The AMP tool insulation displacement connector system. Note the right angle hood with selflocking tabs. The tool, DB-25 connectors (with gold plated pins) and latching hoods are supplied with each console.

inserted into the tool, indexed to the first pin, and the wires are inserted one by one into the jaw and the trigger squeezed.In this way a single multipin connector can be completely wired up in a minute or two.

In the event of a wiring error, connector pins may easily be removed from the shell with the wire still attached, and inserted into the correct position. Observe the side of the connector, with the metal part down.You'll see a row of "Vees"—simply

Page 3 - 2

C

ONSOLE

press the top of the vee together with a scribe or other sharp instrument; this will unlock the pin from the shell, and it can be removed and inserted into the correct position. Spread the vee apart to lock the pin in the new position. It should never be necessary to discard a connector due to a wiring error.

Note that mating right angle hoods for each connector are also supplied with the console. These have locking tabs that hold the connectors securely to the bottom of the console mainframe.

I/O C

ONNECTIONS

Factory Programming

As supplied from the factory, the console requires no logic connections to function. Therefore an orderly installation begins with the audio wiring. Once proper audio operation is verified (i.e., no ground loops),proceed with the control wiring.

Refer to the Module I/O Pinout text to connect the console to your equipment. Recommended setup is to have all microphone inputs connected to the first channels (mono mic/line type), with the remaining input channels used as stereo line inputs. It is good practice to group input types together. For example, if you have three cart machines, connect them to the inputs of three successive stereo line modules.

Stereo line inputs are factory programmed to restart the console's digital timer whenever a channel ON switch is pressed. This feature may be deactivated if desired (see "stereo line module dipswitch controlled functions", page 3-8)

Consoles are normally supplied with all mic channels pre-programmed to mute the control room speakers, so you won’t hear anything from the control room speakers or CUE if any mic channels are turned ON. This mute function can be re-programmed (see "mono mic/line module dipswitch controlled functions", page 3-6).

Note the console's microphone inputs are provided with insert points for external processing. If you do not wish to use these patch points, it will be necessary to bridge them at the appropriate connector(s) before signal will pass. See "mono mic/line module audio connections" for details (page 3-5).

SP-4 / Dec 92

Balanced vs Unbalanced I/O Connections

Probably the most-asked questions about installing a console have to do with connecting unbalanced equipment at the inputs and outputs. By now everyone knows (or should know) that balanced inputs and outputs are highly desirable

- they have an intrinsic ability to reject hum, noise, crosstalk, and RF, even if the shielding and grounding leave something to be desired. Telephone companies routinely pack hundreds of balanced lines into one cable, with no shielding, next to AC power lines and street lights, and if good balance is maintained, the individual circuits are completely free of noise and crosstalk.

Not all equipment used in stations is balanced, however, and the most costeffective devices often don’t have +4 dBu output levels, either. Because of these realities, all Audioarts consoles are designed to accept balanced or unbalanced sources with levels as low as -10 dBu.

Page 3 - 3

The ability to use output HIGH or

Unbalanced

Source Output

SP-40 CONSOLE OUTPUTS

SP-40 CONSOLE INPUTS

LOW permits an easy phase reversal of the console's output signals, should this be desired.

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Connecting unbalanced inputs is simple - wire to the console with typical shielded two conductor cable (like Belden 9451), just as if you were connecting a balanced source. At the unbalanced machine’s output, connect the black wire (LOW) to the shield. This “pseudo-balanced” connection has proven to be the simplest and most trouble-free way to go. Another plus is that the wiring need not be changed out if a balanced output machine is subsequently installed in that position. If the machine has a -10 dBu output, don’t hesitate to turn your input trimmers as high as is needed.

SP-40 consoles use a new type of balanced output circuit, which behaves exactly like the secondary of a high-quality transformer, with no center tap - this output is both balanced and floating. Either the HIGH or LOW side of the output should be strapped to ground, with the output taken from the other side.(Normally you’d strap LOW to ground, and take HIGH to feed your unbalanced equipment.)

This type of self-compensating active-balanced output has been tried before, but it required costly hand-matching of resistors to maintain stability and low distortion. The 2142 balanced line driver IC uses laser-trimming of the on-chip resistors, under computer control, to achieve the desired results at a realistic price. A major advantage over the discrete component designs is the ability to replace the IC without the need for hand-picking resistors to restore the performance of the circuit. If lightning ever strikes in your neighborhood, you know that n

othing is totally immune to a close hit. It’s comforting to know that you can simply unplug the left or right Program output stage, and swap in another (let’s say, for example, from an Audition output or a group module Send output), and be back up and running in minutes.

ONNECTIONS

SP-4 / Dec 92

Balanced

Source Output

Tie low (black) and shield

CONSOLE OUTPUT

2142

CONSOLE OUTPUT

2142

RED

BLK

SHIELD

RED

BLK

SHIELD

together at source end

H

L

SH

CONSOLE INPUT

H L

SH

+

–

BALANCED

OUTPUT

UNBALANCED

OUTPUT

BALANCED INPUT

UNBALANCED INPUT

Page 3 - 4

Typical DB-25 I/O connector.

SP-4 / Dec 92SP-4 / March 99

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MONO MIC/LINE INPUT MODULE (ML-4)

Mono Mic/Line Audio Connections (Upper DB-25 Connector)

Pin 25 - MIC INPUT, SHIELD Pin 12 - MIC INPUT, LOW Pin 24 - MIC INPUT, HIGH Pin 11 - LINE INPUT, SHIELD Pin 23 - LINE INPUT, LOW Pin 10 - LINE INPUT, HIGH Pin 22 - PATCH INSERT OUT, SHIELD Pin 9 - PATCH INSERT OUT, LOW Pin 21 - PATCH INSERT OUT, HIGH Pin 8 - PATCH INSERT IN, SHIELD Pin 20 - PATCH INSERT IN, LOW Pin 7 - PATCH INSERT IN, HIGH

If you do not intend to use the electronically balanced insert patch loop, bridge pin 21 to pin 7 and pin 9 to pin 20 to preserve

the signal path gain structure. Pin 19 - AUDIO COMMON Pin 6 - AUDIO COMMON Pin 13 - AUDIO COMMON

SP-4 / Dec 92

Mono Mic/Line Module Control Ports

The following control functions, listed by pin number, are available at the DB25 I/O connector of each mono mic/line input module:

PIN 16: ON - When user-supplied circuitry provides a closure to DIGITAL

COMMON (Pin 18; see below) this port turns the module ON.

PIN 3: OFF - When user-supplied circuitry provides a closure to DIGITAL

COMMON (Pin 18; see below) this port turns the module OFF.

PIN 1: COUGH - When user-supplied circuitry provides a momentary

closure to DIGITAL COMMON (Pin 18; see below) this port turns the module OFF for as long as the closure is maintained.

PIN 14: TALKBACK - When user-supplied circuitry provides a momentary

closure to DIGITAL COMMON (Pin 18; see below) this port sends the module's signal to the console's cue/talkback bus for as long as the closure is maintained.

PIN 18: DIGITAL COMMON - Used for remote ON, OFF, COUGH and

TALKBACK functions (see preceding).

NOTE: You can program the above remote functions to follow

the module's MIC/LINE switch if desired; instead of providing

a closure to Pin 18 (DIGITAL COMMON), make a closure to

either Pin 17 (MIC LOGIC COMMON) or Pin 4 (LINE LOGIC

COMMON). PIN 17: MIC LOGIC COMMON - Used for remote ON, OFF, COUGH and

TALKBACK functions (see preceding).

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Mix-minus assign is available only on SP-44 and SP-48 consoles. SP-42 consoles do not have a mix-minus ACN bus.

View of typical MLE-4 PCB mounted 4-position dipswitch. In this case position 2 has been activated. Assuming this is dipswitch #15, the module is now programmed to automatically mute control room whenever it is turned ON.

OFF ON

1

2 3 4

Note that a position is ON when the righthand side of the rocker switch is pressed DOWN; a position is OFF when the lefthand side is DOWN.

ST MUTE CR MUTE PHANTOM TALKBACK

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PIN 4: LINE LOGIC COMMON - Used for remote ON, OFF, COUGH

and TALKBACK functions (see preceding).

PIN 15: ON LAMP TALLY - This logic control pin provides sink for an

external tally lamp by going "low" when the module is ON. See mono mic/line input module schematic (page 5-3) for details.

PIN 2: OFF LAMP TALLY - This logic control pin provides sink for an

external tally lamp by going "low" when the module is OFF. See mono mic/ line input module schematic (page 5-3) for details.

PIN 5: +5V DIG - Used for ON and OFF TALLY functions (see preceding).

Mono MicLine Module Dipswitch Controlled Functions

There are two 4-position dipswitches on the printed circuit board of each mono mic/line input module. They may be user-programmed to provide the following functions:

Programmable Dipswitch "SW14"

Position 1: PRE FADER - When activated, takes the module's SEND 3 signal tap before the channel fader. Follows channel ON/OFF.

Position 2: POST FADER - When activated, takes the module's SEND 3 signal tap after the channel fader. Follows channel ON/OFF.

NOTE: Positions 1 and 2 are mutually exclusive; that is, activate one or the other, but not both.

Position 3: MIX-MINUS - When activated, sends the module's signal to the console's mix-minus bus. (The mix-minus signal tap is factory-programmed post fader.)

Position 4: RESTART - When activated, automatically sets the console's digital timer to zero and starts a count whenever the module's ON switch is pressed.

Programmable Dipswitch "SW15"

Position 1: ST MUTE - When activated, automatically mutes talkback out and the console's studio output whenever that input module is turned ON and MIC is selected as the input source. This is used to prevent feedback from the studio announcer's mic. Note the studio tally relay is also activated.

Position 2: CR MUTE - When activated, automatically mutes the console's control room and cue speaker output whenever that input module is turned ON and MIC is selected as the input source. This is to prevent feedback from the CR announcer's mic. Also mutes CUE and activates the control room monitor module's TALLY relay, which may be used to control a user powered "On-Air" light.

Position 3: PHANTOM PWR - When activated, sends +48V phantom power to the microphone input pins.

Position 4: TALKBACK TO STUDIO - When activated, sends the module's signal to the console's talkback bus. When the console's TALKBACK button (on the optional studio monitor module) is pushed, the signal is routed to the console's talkback output and the studio speakers are interrupted. Note the talkback feed is taken pre-fader, pre-ON/OFF, so it is not necessary for the module to be ON in order to talk back to the studio.

SP-4 / Dec 92

SP-4 / Apr 00

Once the dipswitch settings have been made, check that each ML-4 input module dipswitch is correctly programmed before continuing.

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STEREO LINE INPUT MODULE (SL-4)

Stereo Line Module Audio Connections (Upper DB-25 Connector )

Pin 25 - LINE A INPUT LEFT, SHIELD

Pin 12 - LINE A INPUT LEFT, LOW

Pin 24 - LINE A INPUT LEFT, HIGH

Pin 11 - LINE A INPUT RIGHT, SHIELD

Pin 23 - LINE A INPUT RIGHT, LOW

Pin 10 - LINE A INPUT RIGHT, HIGH

Pin 22 - LINE B INPUT LEFT, SHIELD

Pin 9 - LINE B INPUT LEFT, LOW

Pin 21 - LINE B INPUT LEFT, HIGH

Pin 8 - LINE B INPUT RIGHT, SHIELD

Pin 20 - LINE B INPUT RIGHT, LOW

Pin 7 - LINE B INPUT RIGHT, HIGH

Pin 13 - AUDIO COMMON

SP-4 / Dec 92

Stereo Line Module Control Ports

The following control functions, listed by pin number, are available at the DB25 I/O connector of each stereo line input module:

PIN 16: "A" ON - When user-supplied circuitry provides a closure to DIGITAL COMMON (Pin 1; see below) this port turns the module ON.

PIN 3: "A" OFF - When user-supplied circuitry provides a closure to DIGITAL COMMON (Pin 1; see below) this port turns the module OFF.

PIN 19: "B" ON - When user-supplied circuitry provides a closure to DIGITAL COMMON (Pin 1; see below) this port turns the module ON.

PIN 6: "B" OFF - When user-supplied circuitry provides a closure to DIGITAL COMMON (Pin 1; see below) this port turns the module OFF.

PIN 1: DIGITAL COMMON - Used for remote ON and OFF functions (see preceding).

PIN 15: "A" START - Provides a closure via the LOGIC COMMON pin (see below) when the module's ON switch is pressed. Used to start remote source machines (cart and tape machines, CD players, etc.).

PIN 2: "A" STOP - Provides a closure via the LOGIC COMMON pin (see below) when the module's OFF switch is pressed. Used to stop remote source machines (cart and tape machines, CD players, etc.).

PIN 18: "B" START - Provides a closure via the LOGIC COMMON pin (see below) when the module's ON switch is pressed. Used to start remote source machines (cart and tape machines, CD players, etc.).

PIN 5: "B" STOP - Provides a closure via the LOGIC COMMON pin (see below) when the module's OFF switch is pressed. Used to stop remote source machines (cart and tape machines, CD players, etc.).

PIN 4: LOGIC COMMON

External START and STOP functions will follow the module's A/B source selector switch when provided with a closure to this pin.

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PIN 14: READY "A" - Used to light the indicator lamp in the module's OFF

button with an external source machine. The switch lamp then functions as a tally for the machine. The machine's READY (or tally) lines must also be hooked up to DIGITAL COMMON (Pin 1) to complete the lamp circuit.

PIN 17: READY "B" - Used to light the indicator lamp in the module's OFF

button with an external source machine. The switch lamp then functions as a tally for the machine. The machine's READY (or tally) lines must also be hooked up to DIGITAL COMMON (Pin 1) to complete the lamp circuit.

NOTE: There is a PCB mounted dipswitch ("SW15") on stereo line modules with a LOCAL READY programming position on it. When the position (#1 on the switch) is activated the module's OFF SW indicator lamp will light whenever the module is turned OFF. If the dipswitch position is de-activated, then the lamp will light only from an external machine.

Stereo Line Module Dipswitch Controlled Functions

There are two 4-position dipswitches on the printed circuit board of each stereo line input module. They may be user-programmed to provide the following functions:

Mix-minus assign is available only on SP-44 and SP-48 consoles. SP-42 consoles do not have a mix-minus ACN bus.

OFF ON

1 2 3 4

View of typical PCB mounted 4-position dipswitch. Note that a position is ON when the righthand side of the rocker switch is pressed DOWN; a position is OFF when the left-hand side is DOWN.

Programmable Dipswitch "SW14"

Position 1: PRE FADER - When activated, takes the module's SEND 3 signal tap before the channel fader. Follows channel ON/OFF.

Position 2: POST FADER - When activated, takes the module's SEND 3 signal tap after the channel fader. Follows channel ON/OFF.

NOTE: Positions 1 and 2 are mutually exclusive; that is, activate one or the other, but not both.

Position 3: MIX-MINUS - When activated, sends a summed (L+R) version of the module's signal to the console's mix-minus bus. (The mix-minus signal tap is factory-programmed post fader.)

Position 4 is not used.

Programmable Dipswitch "SW15"

Position 1: LOCAL READY - When activated the module's OFF SW indicator lamp will light whenever the module is turned OFF. If the dipswitch position is de-activated, then the OFF SW lamp will light only from an external machine. See Pin 14 ("Ready") above.

Position 2: CUE DROPOUT - When activated, causes the module's CUE function to be dis-engaged whenever the module's ON SW is pressed.

Position 3: RESTART - When activated, automatically sets the console's digital timer to zero and starts a count whenever the module's ON switch is pressed.

Position 4: CR MUTE - When activated, causes the console's control room output to be muted whenever the module is ON. The console cue speaker is also muted (though this may be bypassed; see dipswitch 8, position 4, on control room monitor module schematic, page 5-10), and the console tally opto relay is activated.

SP-4 / Dec 92

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GROUP MODULE (GP-4)

SP-40 series group module complements vary according to console model number. SP-42 consoles have no group modules at all. SP-44 consoles have two group modules; each module houses circuitry for two subgroup channels. SP-48 consoles have four group modules for a total of eight subgroup channels. Thus the pinouts that follow will vary according to which group module you are connecting to. On an SP-44 console I/O pin #15 will be "group 1 output high" for the first group module and "group 3 output high" for the second group module. Likewise Sends 1 and 2 on the first group module become send 3 and mix-minus on the second module. Note that on SP-48 consoles the last two group modules do not have send or mix-minus outputs at all. The pins associated with these outputs would be "no connection".

Group Module Audio Connections (Upper DB-25 Connector)

Pin 25 - TAPE 1 INPUT, SHIELD Pin 12 - TAPE 1 INPUT, LOW Pin 24 - TAPE 1 INPUT, HIGH Pin 11 - TAPE 2 INPUT, SHIELD Pin 23 - TAPE 2 INPUT, LOW Pin 10 - TAPE 2 INPUT, HIGH Pin 16 - GROUP 1(3/5/7) OUT, SHIELD Pin 3 - GROUP 1(3/5/7) OUT, LOW Pin 15 - GROUP 1(3/5/7) OUT, HIGH Pin 2 - GROUP 2(4/6/8) OUT, SHIELD Pin 14 - GROUP 2(4/6/8) OUT, LOW Pin 1 - GROUP 2(4/6/8) OUT, HIGH Pin 19 - SEND 1(3) OUT, SHIELD Pin 6 - SEND 1(3) OUT, LOW Pin 18 - SEND 1(3) OUT, HIGH Pin 5 - SEND 2(MIX-MINUS) OUT, SHIELD Pin 17 - SEND 2(MIX-MINUS) OUT, LOW Pin 4 - SEND 2(MIX-MINUS) OUT, HIGH Pins 8,22 - AUDIO COMMON Pins 7,9,20,21 - NO CONNECTION

SP-4 / Dec 92

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MASTER OUTPUT MODULE (SM-4 or SM-2)

SP-40 series output modules have two DB-25 I/O connectors: Upper ("UDB"; for inputs) and Lower ("L-DB"; for outputs).

Master Output Module Audio Connections

Inputs; Upper DB-25 Connector

Pin 25 - TAPE 1 INPUT LT, SHIELD Pin 12 - TAPE 1 INPUT LT, LOW Pin 24 - TAPE 1 INPUT LT, HIGH Pin 11 - TAPE 1 INPUT RT, SHIELD Pin 23 - TAPE 1 INPUT RT, LOW Pin 10 - TAPE 1 INPUT RT, HIGH Pin 22 - TAPE 2 INPUT LT, SHIELD Pin 9 - TAPE 2 INPUT LT, LOW Pin 21 - TAPE 2 INPUT LT, HIGH Pin 8 - TAPE 2 INPUT RT, SHIELD Pin 20 - TAPE 2 INPUT RT, LOW Pin 7 - TAPE 2 INPUT RT, HIGH Pins 2,5,16,19 - AUDIO COMMON Pins 1,3,4,6,8,14,15,17,18 - NO CONNECTION

Master Output Module Audio Connections

Outputs; Lower DB-25 Connector

Pin 25 - PROGRAM OUT LT, SHIELD Pin 12 - PROGRAM OUT LT, LOW Pin 24 - PROGRAM OUT LT, HIGH Pin 11 - PROGRAM OUT RT, SHIELD Pin 23 - PROGRAM OUT RT, LOW Pin 10 - PROGRAM OUT RT, HIGH Pin 22 - AUDITION OUT LT, SHIELD Pin 9 - AUDITION OUT LT, LOW Pin 21 - AUDITION OUT LT, HIGH Pin 8 - AUDITION OUT RT, SHIELD Pin 20 - AUDITION OUT RT, LOW Pin 7 - AUDITION OUT RT, HIGH Pin 19 - SEND 1 OUT, SHIELD* Pin 6 - SEND 1 OUT, LOW* Pin 18 - SEND 1 OUT, HIGH* Pin 5 - PROGRAM MONO (SEND 2*) OUT, SHIELD Pin 17 - PROGRAM MONO (SEND 2*) OUT, LOW Pin 4 - PROGRAM MONO (SEND 2*) OUT, HIGH Pins 2,16 - AUDIO COMMON Pins 1,3,14,15 - NO CONNECTION

SP-4 / Dec 92

*SP-42 consoles only

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CONTROL ROOM MONITOR MODULE (CR-4)

Control Room Module Audio Connections

Lower DB-25 Connector

Pin 25 - EXTERNAL LINE 1 IN LEFT, SHIELD Pin 12 - EXTERNAL LINE 1 IN LEFT, LOW Pin 24 - EXTERNAL LINE 1 IN LEFT, HIGH Pin 11 - EXTERNAL LINE 1 IN RIGHT, SHIELD Pin 23 - EXTERNAL LINE 1 IN RIGHT, LOW Pin 10 - EXTERNAL LINE 1 IN RIGHT, HIGH Pin 22- EXTERNAL LINE 2 IN LEFT, SHIELD Pin 9 - EXTERNAL LINE 2 IN LEFT, LOW Pin 21 - EXTERNAL LINE 2 IN LEFT, HIGH Pin 8- EXTERNAL LINE 2 IN RIGHT, SHIELD Pin 20 - EXTERNAL LINE 2 IN RIGHT, LOW Pin 7 - EXTERNAL LINE 2 IN RIGHT, HIGH Pin 19 - CR OUTPUT LEFT, SHIELD Pin 6 - CR OUTPUT LEFT, LOW Pin 18 - CR OUTPUT LEFT, HIGH Pin 5 - CR OUTPUT RIGHT, SHIELD Pin 17 - CR OUTPUT RIGHT, LOW Pin 4 - CR OUTPUT RIGHT, HIGH

Control Room Output is electronically balanced, low source impedance; load impedance is 600Ω or greater.

Pin 16 - CUE OUTPUT, SHIELD Pin 3 - CUE OUTPUT, LOW Pin 15 - CUE OUTPUT, HIGH

SP-4 / Dec 92

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Control Room Module Auxiliary Ports

Lower DB-25 Connector

Pin 1 - ON-AIR TALLY opto collector

Pin 14 - ON-AIR TALLY opto emitter

The On-Air Tally opto is activated by input module ON switches that have been programmed to Mute CR (page 3-6).

Pin 2 - N/C

Control Room Module Dipswitch Controlled Functions

There is a PCB-mounted 4-position dipswitch on the printed circuit board of the control room monitor module. It may be user-programmed to provide three special functions:

OFF ON

1 2 3 4

View of typical PCB mounted 4-position dipswitch. Note that a position is ON when the righthand side of the rocker switch is pressed DOWN; a position is OFF when the left-hand side is DOWN.

Control Room Module Programmable Dipswitch "SW8"

Position 1: SPLIT CUE - When activated, causes CUE mode to interrupt the console's regular control room output. How the signal is interrupted depends on four programming jumpers ("J1 thru J4") on the CR PCB. These jumpers allow a summed (L+R) version of the regular program (determined by the SOURCE SELECT switchbank on the module) to be sent to one side of the CR monitor stereo output, while CUE is sent to the other. See control room monitor module schematic (page 5-10) for exact details. NOTE that consoles are normally programmed at the factory for CUE to appear on the right channel, while L+R source select sum appears on the left.

Position 2: HDPN - When activated, causes CUE mode to interrupt the console's headphone output. The headphone signal (which follows the CR module source select switchbank) is replaced by CUE in both left and right channels. OPERATIONAL NOTE: the headphone level control is bypassed, and the CUE level is determined by the setting of the CUE master control level pot.

Position 3: unused

Position 4: CUE MUTE ENABLE - When activated, CR mute logic (see page 3-6) will mute the console's Cue signal.

SP-4 / Dec 92

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OPTIONAL STUDIO MONITOR MODULE (SC-4)

Studio Module Audio Connections (Lower DB-25 Connector)

Pin 25 - EXTERNAL LINE 1 IN LEFT, SHIELD Pin 12 - EXTERNAL LINE 1 IN LEFT, LOW Pin 24 - EXTERNAL LINE 1 IN LEFT, HIGH Pin 11 - EXTERNAL LINE 1 IN RIGHT, SHIELD Pin 23 - EXTERNAL LINE 1 IN RIGHT, LOW Pin 10 - EXTERNAL LINE 1 IN RIGHT, HIGH Pin 22- EXTERNAL LINE 2 IN LEFT, SHIELD Pin 9 - EXTERNAL LINE 2 IN LEFT, LOW Pin 21 - EXTERNAL LINE 2 IN LEFT, HIGH Pin 8- EXTERNAL LINE 2 IN RIGHT, SHIELD Pin 20 - EXTERNAL LINE 2 IN RIGHT, LOW Pin 7 - EXTERNAL LINE 2 IN RIGHT, HIGH Pin 19 - STUDIO OUTPUT LEFT, SHIELD Pin 6 - STUDIO OUTPUT LEFT, LOW Pin 18 - STUDIO OUTPUT LEFT, HIGH Pin 5 - STUDIO OUTPUT RIGHT, SHIELD Pin 17 - STUDIO OUTPUT RIGHT, LOW Pin 4 - STUDIO OUTPUT RIGHT, HIGH

Studio Output is electronically balanced, low source impedance; load impedance is 600Ω or greater.

Pin 16 - TB OUTPUT, SHIELD Pin 3 - TB OUTPUT, LOW Pin 15 - TB OUTPUT, HIGH

SP-4 / Dec 92

Studio Module Auxiliary Ports (Lower DB-25 Connector)

Pin 1 - ON-AIR TALLY 2 opto collector Pin 14 - ON-AIR TALLY 2 opto emitter

The On-Air Tally 2 opto is activated by mono mic/line input module ON switches that have been programmed to Mute Studio. See page 3-6.

Pin 2 - N/C

Studio Module Programmable Talkback Interrupt Jumpers

When the module's TALKBACK switch is pressed, the TB signal interrupts the console's regular studio monitor output. How the signal is interrupted depends on four programming jumpers ("J1 thru J4") on the module's PCB. These jumpers allow a summed (L+R) version of the regular program (determined by the SOURCE SELECT switchbank on the module) to be sent to one side of the studio monitor stereo output, while TB is sent to the other. See studio monitor module schematic (page 5-12) for exact details. NOTE that consoles are normally programmed at the factory for TB to appear on the right channel, while L+R source select sum appears on the left. NOTE that the TB interrupt signal level is determined by the TB level control, NOT the STUDIO level pot.

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OPTIONAL SUPERPHONE MODULE (SPN-4)

Superphone Module Audio Connections

Upper DB-25 connector (inputs)

Ext input high is pin #24

Ext input low is pin #12

Ext input shield is pin #25

Mic input high is pin #10

Mic input low is pin #23

Mic input shield is pin #11

The mic input is intended for medium level signals; such as

those found at a mic input module insert point Hybrid 1 input high is pin #21 Hybrid 1 input low is pin #9 Hybrid 1 shield is pin #22 Hybrid 2 high is pin #7 Hybrid 2 low is pin #20 Hybrid 2 shield is pin #8 Audio Common is on pins 19,5,16 and 2 Pins 18,6,4,17,15,3,1 and 14 are N/C

Lower DB-25 connector (outputs)

Composite output high is pin #24 Composite output low is pin #12 Composite output shield is pin #25

The Composite Output is the sum of ALL inputs to the

Superphone module. It may be connected directly to a recorder

input if desired. Mics to Track 1 output high is pin #10 Mics to Track 1 output low is pin #23 Mics to Track 1 output shield is pin #11 Caller Sum output high is pin #21 Caller Sum output low is pin #9 Caller Sum output shield is pin #22 Hybrid 1 output high is pin #7 Hybrid 1 output low is pin #20 Hybrid 1 output shield is pin #8 Hybrid 2 output high is pin #18 Hybrid 2 output low is pin #6 Hybrid 2 output shield is pin #19

SP-4 / Dec 92

SP-4 / April 96

Superphone Module Control Connections

Lower DB-25 connector

The superphone module ON and OFF switches can be used to start and stop a remote tape recorder. A RECORD READY switch is also provided. DB-25 control pin numbers are as follows:

Control logic COMMON is pins #4 and #17

STOP is pins #3 and #16

START (PLAY) is pins #2 and #15

RECORD READY is pins #1 and #14

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OPTIONAL ICM-4 INTERCOM MODULE

Intercom Module INPUT AUDIO connections

Upper DB-25 connector

Balanced line in/out high is pin #15 Balanced line in/out low is pin #3 Balanced line in/out shield is pin #16 Optional speaker output high is pin #1 Optional speaker output low is pin #14 Optional speaker output shield is pin #2

Intercom Module OUTPUT AUDIO connections

Lower DB-25 connector

Balanced line in/out high is pin #15 Balanced line in/out low is pin #3 Balanced line in/out shield is pin #16

Intercom Module CONTROL connections

Upper DB-25 connector

External digital + power feed is pin #10 External digital common is pin #23 Station call line 1 is pin #4 Station call line 2 is pin #17 Station call line 3 is pin #18 Station call line 4 is pin #6 Station call line 5 is pin #7 Station call line 6 is pin #20 External +V feed is pin #24 External -V feed is pin #12 Additional audio commons at pins #5, 8, 11, 19, 22 & 25

Intercom Module REDUNDANT CONTROL connections

Lower DB-25 connector

External digital + power feed is pin #10 External digital common is pin #23 Station call line 1 is pin #4 Station call line 2 is pin #17 Station call line 3 is pin #18 Station call line 4 is pin #6 Station call line 5 is pin #7 Station call line 6 is pin #20 External +V feed is pin #24 External -V feed is pin #12 Additional audio commons at pins #5, 8, 11, 19, 22 & 25

SP-4 / Dec 92

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OPTIONAL STEREO LINE SELECT MODULE (LS-4)

Upper DB-25 Audio Connections

Pin 24 - LINE 1 IN LT high Pin 12 - LINE 1 IN LT low Pin 25 - LINE 1 IN LT shield Pin 10 - LINE 1 IN RT high Pin 23 - LINE 1 IN RT low Pin 11 - LINE 1 IN RT shield Pin 21 - LINE 2 IN LT high Pin 9 - LINE 2 IN LT low Pin 22 - LINE 2 IN LT shield Pin 7 - LINE 2 IN RT high Pin 20 - LINE 2 IN RT low Pin 8 - LINE 2 IN RT shield Pin 18 - LINE 3 IN LT high Pin 6 - LINE 3 IN LT low Pin 19 - LINE 3 IN LT shield Pin 4 - LINE 3 IN RT high Pin 17 - LINE 3 IN RT low Pin 5 - LINE 3 IN RT shield Pin 15 - LINE 4 IN LT high Pin 3 - LINE 4 IN LT low Pin 16 - LINE 4 IN LT shield Pin 1 - LINE 4 IN RT high Pin 14 - LINE 4 IN RT low Pin 2 - LINE 4 IN RT shield

SP-4 / Dec 92

Lower DB-25 Audio Connections

Pin 24 - LINE 5 IN LT high Pin 12 - LINE 5 IN LT low Pin 25 - LINE 5 IN LT shield Pin 10 - LINE 5 IN RT high Pin 23 - LINE 5 IN RT low Pin 11 - LINE 5 IN RT shield Pin 21 - LINE 6 IN LT high Pin 9 - LINE 6 IN LT low Pin 22 - LINE 6 IN LT shield Pin 7 - LINE 6 IN RT high Pin 20 - LINE 6 IN RT low Pin 8 - LINE 6 IN RT shield Pin 15 - OUTPUT LT high Pin 3 - OUTPUT LT low Pin 16 - OUTPUT LT shield Pin 1 - OUTPUT RT high Pin 14 - OUTPUT RT low Pin 2 - OUTPUT RT shield

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1B2B3B4B5B

6B

1A2A3A4A5A

6A

SW 6A COM

SW 5A COM

SW 4A COM

SW 3A COM

SW 2A COM

SW 1A COM

SW 6B COM

SW 5B COM

SW 4B COM

SW 3B COM

SW 2B COM

SW 1B COM

TR- 4

>>

<<

PLAY

REC

STOP

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Tape Remote Module

I/O Connector Pinouts

N/C

13

SW 6A LED–

SW 5A LED–

SW 4A LED–

SW 3A LED–

SW 2A LED–

SW 1A LED–

25 24 23 22 21

20 19 18 17 16 15 14

12 11 10

9 8 7 6 5 4 3 2 1

SW 6A N.O. SW 6A LED+ SW 5A N.O. SW 5A LED+ SW 4A N.O. SW 4A LED+ SW 3A N.O. SW 3A LED+ SW 2A N.O. SW 2A LED+ SW 1A N.O. SW 1A LED+

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I/O PORTS

(Upper DB-25)

SP-4 / Dec 92

SP-4 / Feb 97

>>

<<

PLAY

REC

STOP

SW 6B LED–

SW 5B LED–

SW 4B LED–

SW 3B LED–

SW 2B LED–

SW 1B LED–

25

24

23

22

21

20 19 18 17 16 15 14

13 12

11 10

9 8 7 6 5

4 3

2 1

N/C SW 6B N.O.

SW 6B LED+ SW 5B N.O. SW 5B LED+

SW 4B N.O. SW 4B LED+ SW 3B N.O. SW 3B LED+ SW 2B N.O. SW 2B LED+ SW 1B N.O. SW 1B LED+

I/O PORTS

(Lower DB-25)

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Operational Notes

Chapter Contents

Fader and Level Controls ................................................................ 4-1

Input Assign and Monitor Select Switches ..................................... 4-1

Cueing.............................................................................................. 4-2

Sends................................................................................................ 4-2

Subgroups ........................................................................................ 4-2

Talkback .......................................................................................... 4-2

Note that individual module controls and general uses are explained in the earlier chapter "Console Overview". The following notes are provided as additional information regarding console operation.

FADER AND LEVEL CONTROLS

Normally, the faders will be run at the “in-hand” setting indicated by the darts on the fader scale, corresponding to about 12 dB below maximum fader setting. If you find yourself continually running a channel with the fader all the way to the top, the signal source is probably at too low a level. If the source has its own level control, that control may need to be turned up.

Except for the headphone level, the console’s output level controls will generally be run at a 2 o’clock setting. If this results in the control room speaker amplifier having to be run close to minimum, then turn the console’s CR level control down some, or use external pads to attenuate the input signal to the power amplifier.

Run the headphone level at a setting that is comfortable for you, but remember,

If there is no headphone output check to make sure no input

module CUE switches are activated, as they will automatically interrupt the regular headphone program.

LOUD SOUNDS CAN DAMAGE YOUR HEARING. Remember that a signal source may be at a higher level than you think it is. Be careful when switching channels ON or into CUE, especially if they will be heard in the headphones. NOTE the CUE level control bypasses headphone volume settings for channels that are in CUE. If CUE is turned up, you could get hit with very loud signals, even if the headphone level control is turned down.

SP-4 / July 92

INPUT ASSIGN & MONITOR SELECT SWITCHES

The console is provided with two stereo output busses. The busses are utilized by assigning input channels to them. For example: An input module is assigned to AUD if the AUD button for that channel is down. Further, the AUD bus is selected by the control room monitor speakers when the AUD source select button on the CR-4 module is down. Because of these two actions, the input channel signal is heard in the control room speakers.

The PGM, (or Program) bus is generally used for the on-air signal. For example, if the commercial spot recorded on the cart machine connected to channel 7 is supposed to be heard on the air, then channel 7 should be assigned to PGM. On the other hand, if you have two studio mics that should both be on-air, those two channels should be assigned to PGM.

Even though, at a particular time, only one or two inputs may be assigned to the PGM bus, the other inputs may still be used. For example, while a channel 2 studio mic is on-air, with a CD being played on channel 6 as background to the studio mic, the operator can assign the tape recorder on channel 9 to the AUD (or Audition) bus, with AUD then being selected at the CR (Control Room), so the operator can locate a certain song on the tape without interfering with the on-air signal. Note that input module CUE functions may also be used for the same purpose (see below).

The on-air signal from a modulation monitor or a high-quality tuner can be connected to one of the EXT (External) inputs of the CR module, to allow the operator to hear monitor off-air by using the EXT selector for that module.

Page 4 - 1

O

PERATIONAL NOTES

CUEING

In addition to the assignment features described above, the console has an additional mono CUE bus that can be used by the operator when he or she needs to be sure that, for example, the cart machine on channel 7 is set to play the right jingle. Channel 7 CUE button is pushed, and the associated LED lights. The material on that channel appears at the console CUE output, and (if so programmed) also on the headphones. Meanwhile, the on-air signal is uninterrupted. Once the cart selection is verified, the CUE button is pressed again to take the channel out of CUE. At the proper time, the channel ON button is pushed. If the external logic to the cart is connected to the module logic port, pushing the ON button will also activate the cart machine. Note it is not necessary for the module fader to be up to activate channel ON functions.

SENDS

The console's send bus outputs allow input channel signals to be used for specialized purposes without interfering with normal output and subgroup routing operations. Typical uses might be for feeds to processing or effects devices, communication links, remote monitors, dedicated sub-mixes, mixminus work, etc.

SUBGROUPS

The console's group modules (SP-44 and SP-48 consoles only) are designed to be used as individual track outputs for multi-track tape recording. Track playbacks may be easily accomplished by front panel BUS/TAPE switching for each subgroup channel. It is also possible to bring track playbacks to individual input modules, which permits the addition of EQ during playback. Normally this routing is done through the line inputs of mono mic/line modules or Line Source B of stereo line inputs.

TALKBACK

On consoles equipped with an optional SC-4 Studio Monitor Module, the console's Talkback bus allows the operator's microphone to act as an outgoing intercom signal. By programming the input module controlling this microphone to feed the TB bus (see page 3-6), whenever the console TB button is pressed that microphone's signal will be sent to the console's Talkback output. This output can then be used to feed a remote amp/speaker (or headphone, telephone hybrid, or order wire).

SP-4 / July 92

SP-4 / June 93

Page 4 - 2

Schematic Drawings

CHAPTER CONTENTS

Typical module printed circuit board .............................................. 5-2

Mono mic/line input module (SP-44/48)......................................... 5-3

Mono mic/line input module (SP-42).............................................. 5-4

Dual mic input module (SP-44/48 ..................................................5-4a

Stereo line input module (SP-44/48) ............................................... 5-5

Stereo line input module (SP-42) .................................................... 5-6

Group Module ................................................................................. 5-7

Master Output Module (SP-44/48) .................................................. 5-8

Master Output Module (SP-42) ....................................................... 5-9

Control Room Monitor Module (SP-44/48) .................................. 5-10

Control Room Monitor Module (SP-42) ....................................... 5-11

Studio Monitor Module (SP-44/48) (optional).............................. 5-12

Studio Monitor Module (SP-42) (optional) ................................... 5-13

Stereo Line Select Module (optional)............................................ 5-14

Multi-phone Module (optional) ..................................................... 5-15

Intercom Module (optional) .......................................................... 5-16

Tape Remote Module (optional) ................................................... 5-17

Digital Timer ................................................................................. 5-18

Power Supply................................................................................. 5-19

Failsafe Switchover Panel (optional)............................................. 5-20

SP-4 / July 92

SP-4 /April 95

Page 5 - 1

Upper DB I/O edgecard connector pins. Odd pins 1 (bottom) thru 13 (top) are on the component side (shown). Even pins 2 (bottom) thru 14 (top) are on the solder side of the card. These feed a DB-25 multipin connector mounted on the bottom pan of the console mainframe.

SP-40 series input and group modules have one I/O connector per module; output, control room monitor and all accessory modules each two I/O connectors. (The sec-

ond connector will be located directly beneath the one shown.)

Upper bus connector pins (50). Even pins 2 (top) thru 50 (bottom) are on the component side (shown). Odd pins 1 (top) thru 49 (bottom) are on the solder side of the card.

4-position programming dipswitch

Fuse link resistors (3.3Ω) These may be identified on each module by their standoffs (see page 6-2).

Lower bus connector pins (50). Even pins 2 (top) thru 50 (bottom) are on the component side (shown). Odd pins 1 (top) thru 49 (bottom) are on the solder side of the card.

5-pin fader connector

Typical Printed Circuit Board (mic/line input shown)

SP-4 / July 92

4-position programming dipswitch

Channel ON/OFF switch connector (14-pin dip socket)

Page 5 - 2

876543 1

2

LS-4 IN/OUTS

DB Connector PinoutsDB Connector Pinouts

AGND

LINE1INLTHI

R1

LINE1INLTLO

LINE1INRTHI

LINE1INRTLO

LINE2INLTHI

C

B

LINE2INLTLO

LINE2INRTHI

LINE2INRTLO

LINE3INLTHI

LINE3INLTLO

LINE3INRTHI

LINE3INRTLO

LINE4INLTHI

LINE4INLTLO

LINE4INRTHI

LINE4INRTLO

10.0K

R2

10.0K

R3

10.0K

R4

10.0K

R5

10.0K

R6

10.0K

R7

10.0K

R8

10.0K

LINE 1

1

5

2

6

8

12

7

11

LINE 2

1

5

2

6

8

12

7

11

LINE 3

1

5

2

6

8

12

7

11

LINE 4

1

5

2

6

8

12

7

11

SW1

3

SW1

4

SW1

10

SW1

9

SW2

3

SW2

4

SW2

10

SW2

9

SW3

3

SW3

4

SW3

10

SW3

9

LINE5INLTHI

LINE5INLTLO

LINE5INRTHI

LINE5INRTLO

LINE6INLTHI

LINE6INLTLO

LINE6INRTHI

LINE6INRTLO

LINE7INLTHI

LINE7INLTLO

LINE7INRTHI

LINE7INRTLO

R9

10.0K

R10

10.0K

R11

10.0K

R12

10.0K

R13

10.0K

R14

10.0K

1

5

2

6

8

12

7

11

LINE 6

1

5

2

6

8

12

7

11

LINE 7

1

5

2

6

8

12

7

11

SW5

3

SW5

4

SW5

10

SW5

9

SW6

3

SW6

4

SW6

10

SW6

9

SW7

3

SW7

4

SW7

10

SW7

9

UPPER DB-25 CONNECTOR

AGND

UDB25

LINE1INLTHI

UDB24

LINE1INRTLO

UDB23

AGND

UDB22

LINE2INLTHI

UDB21

LINE2INRTLO

UDB20

AGND

UDB19

LINE3INLTHI

UDB18

LINE3INRTLO

UDB17

AGND

UDB16

LINE4INLTHI

UDB15

LINE4INRTLO

UDB14

LOWER DB-25 CONNECTOR

AGND

LDB25

LINE5INLTHI

LDB24

LINE5INRTLO

LDB23

AGND

LDB22

LINE6INLTHI

LDB21

LINE6INRTLO

LDB20

AGND

LDB19

LINE7INLTHI

LDB18

LINE7INRTLO

LDB17

AGND

LDB16

LINEOUTLTHI

LDB15

LINEOUTRTLO

LDB14

CT1

13

25

12

24

11

23

10

22

9

21

8

20

7

19

6

18

5

17

4

16

3

15

2

14

1

CT2

13

25

12

24

11

23

10

22

9

21

8

20

7

19

6

18

5

17

4

16

3

15

2

14

1

UDBPIN13

LINE1INLTLO

LINE1INRTHI

LINE2INLTLO

LINE2INRTHI

LINE3INLTLO

LINE3INRTHI

LINE4INLTLO

LINE4INRTHI

LDBPIN13

LINE5INLTLO

LINE5INRTHI

LINE6INLTLO

LINE6INRTHI

LINE7INLTLO

LINE7INRTHI

LINEOUTLTLO

LINEOUTRTHI

I/O CONNECTORS

AGND

UDB13

UDB12

UDB11

UDB10

UDB9

UDB8

UDB7

UDB6

UDB5

UDB4

UDB3

UDB2

UDB1

LDB13

LDB12

LDB11

LDB10

LDB9

LDB8

LDB7

LDB6

LDB5

LDB4

LDB3

LDB2

LDB1

LINE 1 LT IN SH

LINE 1 LT IN HI

LINE 1 RT IN LO

LINE 2 LT IN SH

LINE 2 LT IN HI

LINE 2 RT IN LO

LINE 3 LT IN SH

LINE 3 LT IN HI

LINE 3 RT IN LO

LINE 4 LT IN SH

LINE 4 LT IN HI

LINE 4 RT IN LO

INPUT/OUTPUT PORTSINPUT/OUTPUT PORTSINPUT/OUTPUT PORTS

INPUT/OUTPUT PORTSINPUT/OUTPUT PORTS

LINE 5 LT IN SH

LINE 5 LT IN HI

LINE 5 RT IN LO

LINE 6 LT IN SH

LINE 6 LT IN HI

LINE 5

SW4

3

SW4

4

SW4

10

SW4

9

LINEOUTLTHI

LINEOUTLTLO

LINEOUTRTHI

LINEOUTRTLO

LDB/15

LDB/3

LDB/1

LDB/14

CHART

LINE 6 RT IN LO

LINE 7 LT IN SH

LINE 7 LT IN HI

LINE 7 RT IN LO

LINE LT OUT SH

LINE LT OUT HI

LINE RT OUT LO

INPUT PORTSINPUT PORTSINPUT PORTS

INPUT PORTS

INPUT PORTSINPUT PORTS

(Upper DB-25)(Upper DB-25)

13

25

24

23

22

21

20

19

18

17

16

15

14

N/C

12

LINE 1 LT IN LO

11

LINE 1 RT IN SH

10

LINE 1 RT IN HI

9

LINE 2 LT IN LO

8

LINE 2 RT IN SH

7

LINE 2 RT IN HI

6

LINE 3 LT IN LO

5

LINE 3 RT IN SH

4

LINE 3 RT IN HI

3

LINE 4 LT IN LO

2

LINE 4 RT IN SH

1

LINE 4 RT IN HI

INPUT/OUTPUT PORTS

(Lower DB-25)(Lower DB-25)

13

25

24

23

22

21

20

19

18

17

16

15

14

N/C

12

LINE 5 LT IN LO

11

LINE 5 RT IN SH

10

LINE 5 RT IN HI

9

LINE 6 LT IN LO

8

LINE 6 RT IN SH

7

LINE 6 RT IN HI

6

LINE 7 LT IN LO

5

LINE 7 RT IN SH

4

LINE 7 RT IN HI

3

LINE LT OUT LO

2

LINE RT OUT SH

1

LINE RT OUT HI

DD

C

B

AGND

A

Line Select Module Schematic - Sheet 1 of 1

SP-4/Aug 1999

Page 5-5

CONTRACT NO.

LS-4

DRAWN

CHECKED

ISSUED

W# 700150

345678

DATEAPPROVALS

8-20-99

SA

D

SCALE

600 Industrial Drive New Bern, NC 28562

DWG. NO.FSCM NO.

LS-4 PCB

11S000X

SHEET

1 OF 1

21

A

REVSIZE

876543 1

2

START/ STOP

1 HZ OUTPUT

1 HZ INPUT

CT1/3

CT2/3

CT2/2

START/STOP

1HZOUT

1HZIN

C

74AC00

VCC

R39

4.99K

475

C14

1uF

GND

56

74AC14

R38

VCC

U10

U11

4

PR

5

Q

3

CK

2

D

6

Q

1

CLR

4148D2

74LS74

C6

J2

9

8

10

U12

10pF

74ACT08

VCC

U10

U9

D

LD

UP

DN

CL

74HC192

10

PR

9

Q

11

CK

12

D

8

1HZ

Q

13

CLR

74LS74

VCC VCC VCC VCC

U5

3

QAA

21

QBB

6

QCC

QD

13

BO

12

CO

7

1

2

6

3

4

GND GND

5

13

QAD0

12

QBD1

11

QCD2

10

QDD3

9

QE

LT

15

QF

BI

14

QGLE

74HC4511

0-5

U11

13 12

74AC14

J1

VCC VCC

15

10

97

GND GND GND GND

11

5

4

14

10M

R19

Y1

32.768kHz

GND GND

R13

R12

R32

475

10M

R18

10M

R17

TP1

C5

50pF

330K

R16

C4

10pF

GND

MINUTES

16

a1

15

b1

3

c1

f

2

d1

1

e1

f1

e

17

g1

4

dp1

14

COM1

GND GND GND

R33

R34

R15

R14

475

VCC VCC

475

15

12

10

D

11

LD

5

UP

4

DN

14

CL

74HC192

g

d

U8

12

11

9

10

RTC

74HC4060

DS1

a

b

c

dp

3

QAA

QBB

6

QCC

79

QD

13

BO

12

CO

U1

7

Q4RST

5

Q5CLK

4

Q6

6

Q7

14

Q8CTC

13

Q9

15

Q10

1

Q12

2

Q13

3

Q14

VCC

R27

475

11

a2

a

10

b2

8

c2

b

f

g

e

d

6

d2

5

e2

1218

f2

c

7

g2

dp

9

dp2

13

COM2

R10

U4

7

1

2

6

3

LT

4

BI

5

475

13

QAD0

12

QBD1

11

QCD2

10

QDD3

9

QE

15

QF

14

QGLE

74HC4511

0-9

IC PINOUT

VIEWED FROM ABOVE (COMPONENT SIDE)

I1a 14

1

I2a

2

Oa

3

I1b

4

I2b

5

6

VSS

R28

R30

475R9475

475

VCC

I2d

13

I1d

12

Od

11

I2c

10

I1cOcOb

9

87

VCC

GND

R31

R11

475

VIEWED FROM ABOVE (COMPONENT SIDE)

C2

0.1uF

R29

475

74AC08 IC PINOUT

VCC

I1a 14

1

I2d

I2a

13

2

I1d

Oa

12

3

Od

I1b

11

4

I2c

I2b

10

5

I1cOcOb

9

6

87

VSS

VCC

GND

VCC

C10

0.1uF

C11

0.1uF

GND

7 SEGMENT DISPLAY PINOUT

VIEWED FROM ABOVE (COMPONENT SIDE)

18 17 16 15 14 13 12 11 10

f1

g1

b1

a1

a

f

b

g

e

c

d

dp1

e1d1c1

U7

15

QAA

12

QBB

10

QCC

D

QD

11

LD

5

4

14

13

BO

UP

12

CO

DN

CL

74HC192

74AC14 IC PINOUT

VIEWED FROM ABOVE (COMPONENT SIDE)

1

2

3

4

5

6

VCC

C12

0.1uF

GND

f2

a2

a

COM1

COM2

f

b

g

e

c

d

dpdp

e2

c2

d2

g2

3

6

79

Ia

Oa1413

IbIdOf

Ob

O2c

VSS

b2

dp2

987654321

7

1

2

6

3

4

5

VCC

If

12

11

10

OeIeIc

9

87

Od

VCC

GND

U3

LT

BI

74HC4511

0-5

QAD0

QBD1

QCD2

QDD3

QE

QF

QGLE

C13

0.1uF

13

12

11

10

9

15

14

475R5475R4475

74LS74 IC PINOUT

VIEWED FROM ABOVE (COMPONENT SIDE)

VCC 14

1

CLRa

2

Da

CLRb

3

CKa

Db

4

PRa

CKb

5

Qa

PRb

Qa

6

Qb

VSS

VCC

C16

0.1uF

GND

R24

13

12

11

10

9

87

VCC

GND

R25

475

C17

0.1uF

74HC4511 IC PINOUT

VIEWED FROM ABOVE (COMPONENT SIDE)

VCC

C18

0.1uF

GND

R26

R6

475

475R7475

16

1 VDD

D1

15

2

D2

QF

14

3

LT

QG

13

4

BI

QA

12

5

LE

QB

11

6

D3

QC

10

7

D0QEQD

98

VSS

VCC

C19

0.1uF

GND

VCC

R8

475

13

COM2

9

dp2

7

dp

g2

12

f2

5

e2

6

d2

b

8

c2

10

b2

11

a2

15

12

10

D

11

LD

5

UP

4

DN

14

CL

SECONDS

c

a

U6

74HC192

VCC

C20

0.1uF

GND

d

g

f

QAA

QBB

QCC

QD

BO

CO

DS2

e

3

6

79

13

12

74HC4060 IC PINOUT

VIEWED FROM ABOVE (COMPONENT SIDE)

dp

b

1 VDD

Q12

2

Q13

3

Q14

4

Q6

5

Q5

6

Q7

7

Q4

VSS

VCC

GND

c

a

16

15

Q10

14

Q8

13

Q9

12

RST

11

CLK

10

RTC

98

CTC

C21

0.1uF

COM1

dp1

d

g1

e

f1

e1

g

d1

f

c1

b1

a1

7

1

2

6

3

LT

4

BI

5

74HC4511

0-9

VCC

GND

14

4

17

18

1

2

3

15

16

GND

U2

QAD0

QBD1

QCD2

QDD3

QE

QF

QGLE

VIEWED FROM ABOVE (COMPONENT SIDE)

C23

0.1uF

13

12

11

10

9

15

14

74HC192 IC PINOUT

1 VDD

B

2

A

QB

3

QA

CL

4

DN

BO

5

UP

CO

6

LD

QC

7

C

QD

D

VSS

VCC

C25

0.1uF

GND

475R2475R1475

16

15

14

13

12

11

10

98

DD

C

R20

R22

R23

475

R21

475

475R3475

AGND

B

RESET

RESTART

A

VCC

HOLD

CT1/1

CT1/8

CT1/2

RESET

RESTART

HOLD

1

2

U12

74ACT08

VCC

R40

R36

10.0K

R35

R37

R41

100

GND

12

13

U12

74ACT08

4148 D3 4148 D1

C15

1uF

R43

11

C3

100uF

GND

R42

1.00K

GND

U11

1.00K 12

74AC14

C22

1uF

GND

VCC

U11

11 10

74AC14

12

13

74ACT00

9

10

74ACT00

11

U13

8

U13

R44

3

0.001uF

U11

100

C24

74AC14

GND

1

3

U13

2

43

74ACT00

CT1

RESET

1

2

3

4

5

6

7

8

TO TIMER CONTROL

HOLD

START/STOP

VCC

+DIGin

GND

RESTART

CT1/1

CT1/2

CT1/3

CT1/4

CT1/5

CT1/6

CT1/7

CT1/8

RESET

HOLD

START/ STOP

+5V

+DIG IN

DIG.COM

RESTART

4

5

CT2

1

2

3

4

5

6

7

8

TO CLOCK

U12

74ACT08

6

1HZIN

1HZOUT

GND

+DIGin

R45

0.001uF

U11

100

98

C26

74AC14

GND

CT2/1

N/C

CT2/2

1HZ INPUT

CT2/3

1HZ OUTPUT

CT2/4

N/C

CT2/5

DIG.COM

CT2/6

DIG.COM

CT2/7

+DIG IN

CT2/8

+DIG IN

345678

+DIG IN

DIG.COM

4

6

U13

5

74ACT00

+DIGin +DIG

CT1/5

GND

CT1/6

CT1/7

CONTRACT NO.

DRAWN

CHECKED

ISSUED

F1

POLYSW

.3A

W# 700248

B

1N4002WD5

C8

0.1uF

C7

330uF

D4 1N4002W

POWER INTERFACE

Q1

1

3

OUTVIN

GND

LM2940

2

TM-6

C9

0.1uF

VCC

C1

100uF

GND

5

4

A

DATEAPPROVALS

SA

10-24-00

D

SCALE

600 Industrial Drive New Bern, NC 28562

DWG. NO.FSCM NO.

TM-6SD PCB

00S0008D

SHEET

REVSIZE

1 OF 1

21

Wheatstone/Oct 2000

Timer Schematic - Sheet 1 of 1

Page 6-9

8

AUDIO

16V

ADJ

+16V

TEST

C6

LM1085

1

C7

COMMON

A

BLK

WP18

-

OUTPUT

POINT

-

TP3

1uF

47

R4

1uF

WP21

AGND

WP20

D3

+V AUDIO

B

10 PIN

OUTPUT

DC

WP16

CONNECTOR

RED

MB3510

WP17

+

1.0K

R1

+

TP4

.05

R2

3

6A4

D1

Q1

2

.05

R3

1uF

C2

3

LM1085

OUT

Q2

ADJ

1

VIN

2

1uF

C1

.05

R7

1uF

C3

3

LM1085

OUT

VIN

OUT

Q3

ADJ

1

VIN

2

1uF

C5

WP22

1N4002

R5

WP9

NOT

470

7

WP19

INSTALLED

DS6

DS5

D2

C26

500

R6

C4

WP12

+7.5/5V

LED

+16V

LED

6A4

2200uF

+18V

TRIM

123

CR1

620

1uF

WP15

D14

6A4

6

-V AUDIO

C

BLU

MB3510

WP24

1.0K

R20

.05

R14

3

Q5

2

.05

R18

1uF

C13

3

LM1085

OUT

Q6

ADJ

1

VIN

2

1uF

C12

.05

R19

1uF

C16

3

LM1085

OUT

Q7

ADJ

1

VIN

2

1uF

C14

WP25

16V

C17

LM1085 1

C18

-16V

OUTPUT

TEST

POINT

-

TP7

1uF

47

R17

1uF

-

D12

1N4002

R16

470

+

TP8

OUT

ADJ

VIN

NOT

INSTALLED

DS4

DS3

D13

C28

321

500

R15

C15

+11V

-16V

6A4

2200uF

-18V

CR3

620

1uF

WP26

LED

TRIM

D11

1N4002

SW1

1

2

3

Q4

D10

1N4002

4

3

OUT

VIN

2

R13

R12

R11

PHANTOM

POWER ON

DIP SWITCH

C10

LM317

ADJ

1

C9

C8

5

PHANTOM

E

VIO

WP23

+

10K

+

TP6

0.0047uF

D8

1N4002

63V

10uF

0.0047uF

4OV

TEST

+40V

WP14

-

OUTPUT

POINT

-

TP5

220

R10

+LAMP

H

YLW

WP24

+

TP8

2

MB3510

+11V

+

11V

TEST

LAMP

COMMON

D

GRN

WP25

-

OUTPUT

POINT

-

TP7

47

R17

WP26

+11V

LED

DS4

DS3

-16V

LED

NOT

INSTALLED

D13

6A4

C28*

2200uF

+11V

D12

1N4002

R16

220

TRIM

123

500

CR3

R15

620

C15

1uF

WP22

1N4002

R5

WP9

NOT

100

3

WP19

DS6

DS5

INSTALLED

D2

C26

+7.5/5V

321

500

R6

C4

+7.5/5V

+16V

6A4

2200uF

TRIM

CR1

620

1uF

WP12

LED

WP15

D14

6A4

R20

620

C17

1uF

3

LM1085

OUT

Q7

ADJ

1

VIN

2

C18

1uF

4

DIGITAL

+7.5/5V

OUTPUT

7.5/5V

TEST

C6

LM1085

ADJ

1

C7

F

BRN

WP18

POINT

-

TP3

1uF

47

R4

1uF

COMMON

WP21

WP20

-

D3

WP13

N/C

J

WP16

N/C

I

+DIG

G

ORG

MB3510

WP17

+

+40V

LED

NOT

INSTALLED

DS2

DS1

+40V

LED

D9

1N4002

63V

10uF

C11

+40V

TRIM

R9

123

10K

CR2

470

R8

100K

63V

C22

10uF

D1

6A4

1.5K

R1

+

TP4

.05

R2

C2

1uF

3

LM1085

OUT

Q1

ADJ

1

VIN

2

C1

1uF

.05

R7

3

OUT

Q3

VIN

2

1

600 Industrial Drive

PSC-340S

CONTRACT NO.

New Bern, NC 28562

8-31-01

SA

APPROVALS DATE

CHECKED

DRAWN

5 OF 7

SHEET

00S0018E

PS-410E PCB

FSCM NO. DWG. NO.

D

SCALE

SIZE REV

W# 700259

ISSUED

CD

TP1

B

WP1

WP2

+

C19

=21V

DC

50V

10000uF

WP3

TP4

-

+

~

~18.5V

Z15L390

BLACK

A

~

MB3510

-

WHT-BLK

~18.5V

Z15L390

BLACK

~37VAC CT~37VAC CT

8

PS-410 PCB

(LEFT)

WP5

~18.5V

BROWN

7

F1

TP2

10000uF

C23

=21V

DC

WP7

WP6

+

WP8

-

+

~

MB3510

-

Z15L390Z15L390Z15L390Z15L390Z15L390

WHT-BRN

~18.5V

Z15L390

BROWN

~115VAC

BLACK

105-120

VAC

60Hz

INPUT

.0047uF

A.C.

SUPPLY

CABLE

BLACK

3A

6

.4A

POLYSW

100V

C21

470uF

+58V

D4

WP10

1N4002

V1

C27

82V

D5

82ZA2

0.47uF

D7

1N4002

~

1N4002

D6

WP11

50V

C19

1N4002

WP1

~

+

10000uF

=13V

DC

WP2

WP3

+

MB3510

-

YELLOW

~

~11V

ORANGE

~22VAC CT

~

~11V

VIO

GRN

5

VIO

~42VAC

ORANGE

4

TP1

C23

PS-410 PCB

(RIGHT)

TP4

-

WP5

WP6

+

=17V

+

MB3510

-

GREEN

~

~27VAC CT

~

~13.5V

RED

3

10000uF

WP7

DC

~13.5V

RED

GRN

LM1085/

LM350/LM317

WP8

-

2

1

IC PINOUT

VIEWED FROM BOTTOM

(SOLDER SIDE)

2

TP2

B

IMPORTANT:

FOR Q1-Q7 USE HIGHT THERMAL CONDUCTIVITY

CERAMIC FILM INSULATOR!

A) AUDIO/PHANTOM COMMON

E) +PHANTOM

D) LAMP COMMON

B) +V AUDIO

C) -V AUDIO

J) N/C

F) DIGITAL COMMON

I) N/C

H) +LAMP

G) +DIGITAL

A

F

G

ED

H

I

IN

ADJ

CASE

OUT

3

J

A

C

B

POWER SUPPLY CONNECTOR

1

A-300/Aug 2001

Power Supply Schematic - Sheet 1 of 1

Page 5-35

Troubleshooting

CHAPTER CONTENTS

Basic Troubleshooting Procedures .................................................. 6-1

Integrated Circuits ........................................................................... 6-2

Other Details.................................................................................... 6-3

Technical information for the console is contained on the schematic drawings. Installation and hook up information is summarized in the text of this manual (see "Installation" and "Console I/O Connections" chapters).

BASIC TROUBLESHOOTING PROCEDURES

If you have encountered difficulty in testing your installation, check the

items listed below before opening the console. Note that some items may seem

very obvious; it is often the most obvious things that we overlook.

1. Check that the AC power source for the console is live, and that the console

power cable is connected to the AC source.

2. Make sure that the sources you are using to test the console installation are producing normal, line level signals. For example, if a cart machine is the source, is the cart playing? Is the output of it connected to the console?

3. When checking for sound from the control room speakers, is the amplifier on? Is the amplifier volume turned up to a normal level? Are the speakers connected to the amplifier outputs?

4. If you have checked external devices and connections, and feel that the problem is within the console, double check all wiring before attempting to troubleshoot the console itself.

SP-4 / Dec 92

NOTE: THE FOLLOWING PRECAUTIONS SHOULD BE TAKEN WHILE TROUBLESHOOTING OR TESTING A “LIVE” (I.E., POWERED-UP) CONSOLE.

(1) Use extreme care when removing or replacing modules, to prevent shorting

switchboard traces against an exposed metal surface. If a module must be removed, but remain connected while troubleshooting, place a piece of cardboard or other non-conducting material across the console where the module will be placed. This will prevent shorting, and also avoid scratching or marring the faceplates.

(2) Be extremely careful when using meter or oscilloscope test probes, to avoid

shorting a test point to an adjacent connection. This is especially important when probing a pin 7 op-amp output, since the adjacent pin 8 is at 18 volts.

(3) NEVER remove or insert an integrated circuit while the console is powered up.

Page 6 - 1

T

ROUBLESHOOTING

INTEGRATED CIRCUITS

The audio circuits of the console consist almost entirely of plug-in IC opamps. The types called out in the schematic drawings and parts lists are chosen for optimum performance; in an emergency situation other types of known matching pin-out and capability can be temporarily substituted. Some useful troubleshooting hints for these circuits follow.

(1) Resistors and capacitors, including electrolytic capacitors, have a vanishingly small failure rate in this equipment.

(2) Do not attempt to put any significance to the fact that you can measure very low signal levels on the inverting or "minus" input of an op-amp stage. Due to the large open-loop gain of the typical op-amp, the inverting input of an amplifier, configured as an inverter with its non-inverting input grounded, acts as a “virtual ground,” and signal levels at this point can be expected to be extremely low. However, a circuit fault could result in a large signal level at the inverting input, so it may be worth checking.

(3) When one of these ICs fails, it commonly swings its output to one of the power supply rails. This should be a first check when a bad IC is suspected. Measure the output pin of the IC directly (as opposed to measuring after a coupling capacitor) under a no-signal condition and look for a large DC offset at the output. Note that this test is not valid for those op-amps used in non-audio circuits such as integrators and relay drivers.

(4) The capacitive loading effect of a test probe may occasionally cause oscillations in a high gain amplifier circuit. For this reason it is advisable, when using meter probes to measure DC voltage in an amplifier circuit, to isolate the “hot” lead from the circuit under test with a 10K resistor. This introduces a slight measurement error, depending on the meter input impedance, but this error is slight compared to the error that occurs if the amplifier is oscillating. If signal tracing with an oscilloscope, use a low capacity probe.

(5) Because of the feedback loop in the op-amp circuit, sometimes a signal can be measured or heard even when the IC is defective or even removed. Generally this signal will become more and more distorted as the level increases; also the gain of the affected path will be incorrect. Don’t assume that because you can observe an output signal the IC must be working properly.

(6) This console has self-compensating active-balanced outputs on its main output channels (i.e., SENDS, GROUPS, Program, Audition and Mono OUTPUTS plus optional Superphone module outputs). These circuits behave exactly like the secondary of a high-quality transformer, with no center tap— the output is both balanced and floating. When connecting unbalanced equipment, either the HIGH or LOW side of the console output should be strapped to ground, with the output taken from the other side. (Normally you'd strap LOW to ground, and take HIGH to feed your unbalanced equipment; but the ability to use output HIGH or LOW permits an easy phase reversal of the console's output signals should this be desired).

(7) All of the console modules pick up their power supply voltage from the main distribution busses by means of small value (typically 3.3Ω) resistors. These resistors are provided to limit the current drawn by the module under fault conditions and prevent a module level fault from becoming a console level fault. These resistors will generally become open circuits when an IC fails, often with no visual indication. Whenever a fault if suspected check the voltage

SP-4 / Dec 92

SP-4 / May 96

Page 6 - 2

T

ROUBLESHOOTING

on the module side of these resistors. If one needs replacement (there are extras in the spare parts kit) be sure to stand it up from the circuit card as it can become hot enough to burn the card under fault conditions. When all of the circuits in a module indicate the same fault (all outputs have no audio and a large DC value, or all meters are pegged under no signal conditions, etc.) it is generally due to one of these fusing resistors being open. Do not defeat the protection offered by these resistors by replacing them with wires. In a pinch any low value 1/4 watt resistor can be used.

OTHER DETAILS

In general, SP-40 consoles are rugged and user friendly. I/O connections can be unplugged or plugged in while powered up with no damage, provided the precautions described above concerning removal and replacement of modules are carefully followed. Occasionally, this will cause a transient in the logic system that may be sufficient to affect a channel’s ON/OFF status, but this is rare. (Note that mic module ON/OFF status and CUE switches power up randomly when the console is energized; this is normal, and does not indicate anything wrong with the logic system.)

If the power cable is being unplugged from the mainframe or the power supply, be sure to first turn the power off to avoid arcing the connector pins. The Lexan panel overlays are durable, and can be easily cleaned with Windex. If they become burned or torn through carelessness they can be replaced; consult Wheatstone for details. Care should be taken with the plexiglas covering the VU meters, as it is easily scratched. Fader knobs should be removed or installed only when the fader is at the end of its travel, to avoid "bowing" the internal fader structure.

SP-4 / Dec 92

Wheatstone maintains an active program of user support and technical assistance. You are encouraged to call the factory with any questions, problems, ideas, or suggestions regarding your SP-4 console.

Page 6 - 3

Wheatstone SP-42, SP-44, SP-48 Technical Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Addenda

Table of Contents

Console Overview

SP-44 Four-track Production Console

SP-48 Eight-track Production Console

SP-42 Two-track Transfer Console

Mono Mic/Line Input (ML-48)

Stereo Line Input (SL–48)

Stereo Master Output (SM–4)

Control Room Monitor (CR-4)

Studio Module (SC–4)

Tape Remote Module (TR–4)

Superphone Module (SPN–4)

Intercom Module (ICM–4)

Installation

PLACING THE CONSOLE

SYSTEM GROUND

Further Grounding Details

Console I/O Connections

GENERAL

Factory Programming

Balanced vs Unbalanced I/O Connections

Tape Remote Module

Operational Notes

FADER AND LEVEL CONTROLS

INPUT ASSIGN & MONITOR SELECT SWITCHES

CUEING

SENDS

SUBGROUPS

TALKBACK

Schematic Drawings

Troubleshooting

INTEGRATED CIRCUITS

OTHER DETAILS