Oxygen 7Oxygen 7 - MONO MODULE
Pag. 16
7.3 INTRODUCTION
Each MONO module has two selectable mono inputs which comes factory
preset for Mic (input A) and Line (input B) levels. Normally input A is
selected but by pressing B SEL button the alternative input is selected.
There are individual preset gain adjustements for each of A and B input
with multi-turn controls and the selected source is fed through a phase
switch and a common gain trim control giving a further ± 10dB of gain
adjustment on the front panel. A jumper is also available to apply phantom
power to microphone A input.
All mono modules are fitted with a high pass filter with variable frequency.
A three band parametric equaliser is also fitted as standard, where the
centre band can be swept from 300 Hz to 4.8 kHz.
The Auxiliary (AUX) send may be switched pre or post fade.
The signal is routed via a pan control and the three stereo routing
switches to either the main stereo programme (Master) or the two stereo
su/jointfilesconvert/268126/bgroups (Sub 1 and Sub 2)
The whole signal path throughout the module is controlled by Vca circuits.
The DUCK switch allows the module to be attenuated from the master
ducker circuits. The MONO module has a jumper fitted to make it a source
for the automatic ducker circuits.
The PFL switch makes the pre-fade signal available for monitoring and
can be programmed to mute or selectively attenuate the main audio path.
The module provides a jumper selectable output to facilitate either Control
Room or Studio Monitor muting, two relay closure. There are also logic
remote input controls for the module On/Off, for the remote Talkback
activation and for the Ducker remote control (f.i. by DJ CONSOLE by Axel
Technology). The remote input/outputs are connected to a 9 way D type
and are fed from opto-isolators.
Jumper selection allows You to configure module activation by fader or by
using the Start button.
The Mono module may also be used to feed talkback path.
The Mono module is intended to be connected to Microphone either
placed in the Control Room or in the Studio. Several jumpers allow the
user to to route the TB accordingly to the microphone installation (TB will
be set as ‘TB to Control Room’ when the announcer’s microphone is in the
studio and as ‘TB to Studio’ for use by the producer or the assistant in the
Control Room).
A selective ‘muting’ of Control Room or Studio speakers is also provided.
This option is for use with the mic input. When a microphone is live to air,
the monitor speakers in the room containing the microphone will need to
be muted so that there is no feedback.
So, for example, if the mic input is being used for a microphone in the
studio, the studio monitors should be muted.
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(35 pages)
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