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Headphone Output, Superior Ohm (AES3) Support Also Available User Guide Issue 6, July 2015 This User Guide is applicable for serial numbers: M212-01151 and later Copyright © 2015 by Studio Technologies, Inc., all rights reserved www.studio-tech.com 50330-0715, Issue 6 This page intentionally left blank. Table of Contents Introduction ................................................................... 5 System Features ........................................................... 6 Installation and Setup ................................................... 10 Configuration ................................................................ 15 Operation ...................................................................... 24 Technical Notes ............................................................. 27 Specifications ................................................................ 34 Appendix A .................................................................... 35 Block Diagram Model 212 User Guide Issue 6, July 2015 Studio Technologies, Inc. Page 3 This page intentionally left blank. Issue 6, July 2015 Model 212 User Guide Page 4 Studio Technologies, Inc. Introduction What This User Guide Covers This User Guide is designed to assist you when installing, configuring, and using Model 212 Announcer’s Consoles with serial numbers of 01151 and later. Addition- al background technical information is also provided. A product block diagram is included at the end of this guide. System Overview The Model 212 Announcer’s Console is designed to serve as the audio control center for announcers, commentators, Figure 1. Model 212 front panel and production talent. With its digital audio input and output resources the tabletop unit is well suited for numerous applica- tions including on-air television sports broadcasting. The broadcast-standard interfaces allow direct integration into con- temporary “all digital” environments. The Model 212 integrates all on-air, talkback, and cue audio signal routing into one com- pact system. Some of the unit’s highlights include ease of use, configuration flexibility, and sonic excellence. Figure 2. Model 212 back panel Whether it’s microphone preamplifica- tion, switching of main and talkback audio (AES3id) are standard with balanced 110 signals, or the headphone output, superior ohm (AES3) support also available. audio quality is maintained throughout. A microprocessor provides the Model 212’s While “all-digital” audio installations are logic power, allowing precise control of the getting closer and closer to reality, ana- unit’s operation. A range of choices allows log signals continue to play a role and the desired operating configuration to be will probably do so for many years. As easily selected. While flexible, the user is such, the Model 212 also offers support presented with an easy-to-use set of con- for analog audio inputs, main output and trols and indicators. The digital audio inter- talkback outputs functions. While requiring faces are directly compatible with system the installation of optional connectors or environments that use AES digital audio modules, these analog resources can help signals as their preferred transmission complete specialized applications. method. Unbalanced, 75 ohm interfaces Model 212 User Guide Issue 6, July 2015 Studio Technologies, Inc. Page 5 A truly next-generation product, extensive routed to the inputs of their respective research into the needs and desires of analog-to-digital converter circuits. The field production personnel was integral to threshold of the compressor can be con- the Model 212’s creation. While primarily figured from among two values. With the targeted for on-air television applications, compressor configured to –14 dBFS some specialized features are included to allow dynamic range control would be expected the Model 212 to be used in a variety of during normal operation. While possibly other audio applications. These include inappropriate for major on-air situations, on-air radio broadcasting, stadium an- having dynamic range control of the nouncement, live production, and voice- signal can offer increased performance over/narration booths. for many applications. This would be ap- propriate for applications such as stadium announcement positions, sports events System Features using nonprofessional on-air talent, as well as situations where the risk of digital Microphone Input “clipping” is present. When configured A high-performance microphone pre- for –4 dBFS, dynamic range control will amplifier circuit provides low-noise/ only take place as the signal approaches low-distortion amplification over a 10 to the level limit of the digital signal. During 50 dB gain range. The gain is adjustable normal operation the compressor would in 10 dB steps. The input is compatible not be active. with balanced dynamic or condenser microphones. The microphone power Main and Talkback Audio source is 48 volts nominal and meets the Channels worldwide P48 phantom standard. An LED indicator serves as an aid for optimizing Internally, the Model 212 creates analog the setting of the preamplifier’s gain. The main and talkback audio channels. The output of the microphone preamplifier main audio channel is designed to serve is routed to the compressor circuit that as the on-air, stadium announcement, or supports the main and talkback audio other primary audio feed. The talkback channels. audio channel is intended to provide production trucks, control rooms, or sup- Dynamic Range Control port personnel with a talent-originated cue signal. The two analog channels are A studio-quality compressor circuit is converted to 24-bit PCM digital audio and provided to control the dynamic range multiplexed and formatted into an AES of the analog signal coming from the digital audio “stream.” The A/D converters microphone preamplifier. Far from a and digital transmitter circuitry is synchro- simple “clipper,” the circuit utilizes a nized (“locked”) to the selected digital sophisticated laser-trimmed voltage- input signal. If that signal Is not present controlled-amplifier (VCA) integrated cir- the Model 212 will automatically revert to cuit for quiet, low-distortion level control. an internal clock which provides a 48 kHz The output of the compressor is used by sampling rate. The main audio channel is the main and talkback channels, being assigned to digital channel 1 with talkback Issue 6, July 2015 Model 212 User Guide Page 6 Studio Technologies, Inc. audio assigned to digital channel 2. The powerful when used in a live event applica- composite digital audio signal is routed tion, such as serving as a master console to two physical interfaces. One output is for a production director. AES3id compliant (unbalanced, 75 ohms) By installing optional connectors or mod- with a BNC connector for interfacing. ules analog line-level versions of the main This professional interface is transformer- and talkback output signals are available. coupled and capable of driving long These “click-free” outputs can be useful in broadcast cable runs. applications where both digital and analog The digital audio output signal is also signals are required. routed to a unique bidirectional digital interface. Similar to AES3id, it uses a User Controls and Status BNC connector and supports two chan- Indicators nels of audio in each direction over a single 75 ohm cable. The bidirectional Two pushbutton switches, three LED in- audio interface will find use in specialized dicators, and two rotary controls provide applications, including direct integration the user with a clear, easy-to-use interface. with panel ports on Riedel® intercom One pushbutton switch controls the status systems. Note that audio signals received of the main audio channel. This is the audio from the bidirectional interface are signal intended for on-air, announcement, described in the Cue Sources section or other primary uses. Two LEDs display of this document. the on/off status of the main audio channel. A second pushbutton switch controls the For enhanced flexibility, the Model 212 status of the talkback audio channel. This includes the resources to support a third is the audio signal used to communicate digital output. Circuitry, located on the with producers, directors, spotters, or other printed circuit board assembly, creates an behind-the-scenes production personnel. A AES3 compliant, 110 ohm nominal, trans- status LED is associated with the talkback former-balanced digital output. Gaining button. Two rotary controls allow the user access to this output simply requires add- to adjust the level of the stereo headphone ing a 3-pin male XLR connector to one of output. the two spare connector locations on the Model 212’s back panel. Connector kits, Operational Flexibility available from Studio Technologies, make Much of the Model 212’s unique capabili- this a simple task. ties derive from the ability to configure the The Model 212 isn’t limited for use in “on- on/off control of the main and talkback air” applications. A special feature can be audio channels. To meet the needs of the enabled, placing the unit in a “production” many specific broadcast and production mode. When this mode is active enabling applications, a variety of button operat- the talkback audio channel will no longer ing modes are available. The main button, force the main audio channel to mute. located on the left side of the front panel, This allows the main audio channel to be can be selected to operate from among used as a second talkback output. In this four modes. In the “push-to-mute” mode configuration the unit can be even more the
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