Wheatstone SP-42 Technical Manual
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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-4 / Dec 92
SP-40 Series Audio Consoles Technical Manual - 2nd Edition
©1992 Wheatstone® Corporation
600 Industrial Drive
New Bern, North Carolina 28562
252-638-7000 (Fax 252-637-1285)
SP-4 / Apr 00
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.
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.
Contents - Page 1
SP-4 / Dec 92
Table of Contents
CONSOLE OVERVIEW
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
INSTALLATION
Placing the Console ......................................................................... 2-1
Console and Cut-out Dimensions .................................................... 2-1
Static VU Alignment ....................................................................... 2-2
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
CONSOLE I/O CONNECTIONS
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
Contents - Page 2
SP-4 / Dec 92
TABLE OF CONTENTS
CONSOLE I/O CONNECTIONS (continued)
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
OPERATIONAL NOTES
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
Contents - Page 3
SP-4 / Dec 92
TABLE OF CONTENTS
SCHEMATIC DRAWINGS
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
Superphone 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
TROUBLESHOOTING
Basic Troubleshooting Procedures .................................................. 6-1
Integrated Circuits ........................................................................... 6-2
Other Details.................................................................................... 6-3
SP-4 / April 95
Page 1 - 1
SP-4 / Dec 92
CONSOLE OVERVIEW
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
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 on-
air 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 (4-
track) 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 mix-
minus output, three auxiliary sends and cue. Intended to interface with a four-
track 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).
Page 1 - 2
SP-4 / Dec 92
CONSOLE OVERVIEW
CONSOLE OVERVIEW
SP-48 Eight-track Production Console
This is the 8-track version of the console series. It is identical with the SP-
44 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-40 Series Standard Features Listing by Console Model
SP-40 CONSOLE SERIES FEATURESSP-42
SP-44
SP-48
MAINFRAME POSITIONS
16
24/33
35
INPUTS
12
16/24
24
GROUPS
4
8
CONTROL ROOM MODULE
Y
Y
Y
STEREO PROGRAM OUT
Y
Y
Y
STEREO AUDITION OUT
Y
Y
Y
MONO SUM (PGM L+R) OUT
Y
Y
MIX-MINUS OUT
Y
Y
CUE
Y
Y
Y
SEND BUSSES
2
3
3
TIMER
Y
Y
Y
GROUP METERS
4
8
PROGRAM METERS (L & R)
Y
Y
Y
AUDITION METERS (L & R)
Y
Y
Y
SEND METERS (switched w/Group VUs 1-3)
Y
Y
MIX-MINUS METER (switched w/Group VU 4)
Y
Y
LEFTHAND ACCESSORY POSITIONS
2
2
RIGHTHAND ACCESSORY POSITIONS
2
3
3
Page 1 - 3
SP-4 / Dec 92
CONSOLE OVERVIEW
Input Modules – SP-40 Series Audio Consoles
Mono Input
SP-42
Mono Input
SP-44
Mono Input
SP-48
Stereo Input
SP-42
Stereo Input
SP-44
Stereo Input
SP-48
ML- 4
GAIN10
9
8
7
6
5
4
3
2
1
0
MIC / LINE
M
I
C
16
14
-dB+
11
6
3
0
3
6
11
14
16
10K / 5K
PHASE
100 / 50
-dB+
11
3
0
3
11
-dB+ 16
14
11
6
3
0
3
6
11
14
16
EQ IN
A
S
S
I
G
N
C
L
R
P
A
N
1
2
3
4
B
U
S
0
5
10
15
20
30
40
50
60
70
00
M
I
D
H
I
G
H
L
O
W
1/2
S2
9
8
7
6
4
3
2
1
S1
3
10
9
8
7
6
5
4
3
2
1
0
CUE
PRE IN
S
E
N
D
S
L
PAN
LEVEL
dB
5
LINE
TRIM
SL- 4
A / B LINE
16
14
-dB+
11
6
3
0
3
6
11
14
16
1K / 500
-dB+ 16
14
11
6
3
0
3
6
11
14
16
EQ IN
A
S
S
I
G
N
C
L
R
B
A
L
1 / 2
3 / 4
0
5
10
15
20
30
40
50
60
70
00
M
I
D
H
I
G
H
L
O
W
1/2
9
8
7
6
4
3
2
1
3
10
9
8
7
6
5
4
3
2
1
0
CUE
PRE IN
S
E
N
D
S
LT
RT
GAIN
-dB+
11
6
3
0
3
6
11
14
16
16
14
B
B
U
S
5
SL- 2
A / B LINE
16
14
-dB+
11
6
3
0
3
6
11
14
16
1K / 500
-dB+ 16
14
11
6
3
0
3
6
11
14
16
EQ IN
A
S
S
I
G
N
C
L
R
B
A
L
0
5
10
15
20
30
40
50
60
70
00
M
I
D
H
I
G
H
L
O
W
CUE
LT
RT
GAIN
-dB+
11
6
3
0
3
6
11
14
16
16
14
1
10
9
8
7
6
4
3
2
1
0
2
10
9
8
7
6
5
4
3
2
1
0
PRE IN
S
E
N
D
S
B
5
ML- 48
GAIN10
9
8
7
6
5
4
3
2
1
0
MIC / LINE
M
I
C
16
14
-dB+
11
6
3
0
3
6
11
14
16
10K / 5K
PHASE
100 / 50
-dB+
11
3
0
3
11
-dB+ 16
14
11
6
3
0
3
6
11
14
16
EQ IN
A
S
S
I
G
N
C
L
R
P
A
N
1 / 2
3 / 4
5 / 6
7 / 8
B
U
S
0
5
10
15
20
30
40
50
60
70
00
M
I
D
H
I
G
H
L
O
W
1/2
9
8
7
6
4
3
2
1
3
10
9
8
7
6
5
4
3
2
1
0
CUE
PRE IN
S
E
N
D
S
L
dB
5
LINE
TRIM
ML- 2
GAIN10
9
8
7
6
5
4
3
2
1
0
MIC / LINE
M
I
C
16
14
-dB+
11
6
3
0
3
6
11
14
16
10K / 5K
PHASE
100 / 50
-dB+
11
3
0
3
11
-dB+ 16
14
11
6
3
0
3
6
11
14
16
EQ IN
A
S
S
I
G
N
C
L
R
P
A
N
0
5
10
15
20
30
40
50
60
70
00
M
I
D
H
I
G
H
L
O
W
CUE
1
10
9
8
7
6
4
3
2
1
0
2
10
9
8
7
6
5
4
3
2
1
0
PRE IN
S
E
N
D
S
L
dB
5
LINE
TRIM
S2
S1
PAN
LEVEL
S2
S1
BAL
LEVEL
SL- 48
A / B LINE
16
14
-dB+
11
6
3
0
3
6
11
14
16
1K / 500
10K / 5K
100 / 50
-dB+ 16
14
11
6
3
0
3
6
11
14
16
EQ IN
A
S
S
I
G
N
C
L
R
B
A
L
1 / 2
3 / 4
5 / 6
7 / 8
B
U
S
0
5
10
15
20
30
40
50
60
70
00
M
I
D
H
I
G
H
L
O
W
1/2
9
8
7
6
4
3
2
1
3
10
9
8
7
6
5
4
3
2
1
0
CUE
PRE IN
S
E
N
D
S
LT
RT
GAIN
-dB+
11
6
3
0
3
6
11
14
16
16
14
B
5
S2
S1
BAL
LEVEL
8K
7K
5K
2K
500
400
Hz
8K
7K
5K
2K
500
400
Hz
8K
7K
5K
2K
500
400
Hz
AUD
PGM
ON
OFF
AUD
PGM
ON
OFF
AUD
PGM
ON
OFF
PGM
AUD
ON
OFF
AUD
PGM
ON
OFF
ON
AUD
OFF
PGM
Page 1 - 4
SP-4 / Dec 92
CONSOLE 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.
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 - 5
SP-4 / Dec 92
CONSOLE OVERVIEW
Group & Output Modules – SP-40 Series Audio Consoles
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
GP- 4
G1 / S1
0
5
10
15
20
30
40
50
60
70
00
CUE
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
G2 / S2
VU
GRP
SND
G1
VU
G2
G1
GAIN
G2
C
L
R
P
A
N
C
L
R
1
2
2
10
9
8
7
6
5
4
3
2
1
0
1
10
9
8
7
6
5
4
3
2
1
0
T
A
P
E
L
E
V
E
L
G2
GROUPS
1
2
S1
S2
R
R
G1
TAPE TO PAN
CUE
CUE
A
S
S
I
G
N
2
1
MIX
REC
MIX
REC
G2
G1
P
P
PGM
1
2
M
A
S
T
E
R
S
S
E
N
D
S
E
N
D
GP- 4
G3 / S3
0
5
10
15
20
30
40
50
60
70
00
CUE
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
G4 / M–
VU
GRP
SND
G3
VU
G4
G3
GAIN
G4
C
L
R
P
A
N
C
L
R
3
4
4
10
9
8
7
6
5
4
3
2
1
0
3
10
9
8
7
6
5
4
3
2
1
0
T
A
P
E
L
E
V
E
L
G4
GROUPS
3
4
S3
M–
R
R
G3
TAPE TO PAN
CUE
CUE
A
S
S
I
G
N
4
3
MIX
REC
MIX
REC
G4
G3
P
P
PGM
3
S
E
N
D
M
X
M
M
A
S
T
E
R
S
GP- 4
0
5
10
15
20
30
40
50
60
70
00
CUE
G5
VU
G6
G5
GAIN
G6
C
L
R
P
A
N
C
L
R
5
6
6
10
9
8
7
6
5
4
3
2
1
0
5
10
9
8
7
6
5
4
3
2
1
0
T
A
P
E
L
E
V
E
L
G6
GROUPS
5
6
R
R
G5
TAPE TO PAN
A
S
S
I
G
N
6
5
MIX
REC
MIX
REC
G6
G5
P
P
PGM
GP- 4
0
5
10
15
20
30
40
50
60
70
00
CUE
G7
VU
G8
G7
GAIN
G8
C
L
R
P
A
N
C
L
R
7
8
8
10
9
8
7
6
5
4
3
2
1
0
7
10
9
8
7
6
5
4
3
2
1
0
T
A
P
E
L
E
V
E
L
G8
GROUPS
7
8
R
R
G7
TAPE TO PAN
A
S
S
I
G
N
7
7
MIX
REC
MIX
REC
G8
G7
P
P
PGM
SM- 2
LT
RT
AUD
LT
PGM
AUD
BUS
TAPE
RT
LT
PGM
RT
LT
RT
AUD
PGM
VU
GAIN
MASTER
10
9
8
7
6
5
4
3
2
1
0
A
U
D
0
5
10
15
20
30
40
50
60
70
00
PGM
MASTER
T
T
SM- 4
MASTER
10
9
8
7
6
5
4
3
2
1
0
P
G
M
MONO
LT
RT
AUD
LT
PGM
AUD
BUS
TAPE
RT
LT
PGM
RT
LT
RT
AUD
PGM
VU
GAIN
M
O
N
O
MASTER
10
9
8
7
6
5
4
3
2
1
0
A
U
D
0
5
10
15
20
30
40
50
60
70
00
PGM
MASTER
T
T
10
9
8
7
6
5
4
3
2
1
0
10
9
8
7
6
5
4
3
2
1
0
CUE
CUE
1
2
M
A
S
T
E
R
S
S
E
N
D
S
E
N
D
Page 1 - 6
SP-4 / Dec 92
CONSOLE 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 ses-
sions.
Each fader (two to a panel) controls the level of one track sent to the multi-
track 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 associ-
ated 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.
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 multi-
turn 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 - 7
SP-4 / Dec 92
CONSOLE OVERVIEW
Monitor Modules – SP-40 Series Audio Consoles
Control Room
SP-42
Control Room
SP-44/48
Studio (opt.)
SP-42
Studio (opt.)
SP-44/48
10
9
8
7
6
5
4
3
2
1
0CUE
HDPN
10
9
8
7
6
4
3
2
1
0
5
CR
10
9
8
7
6
4
3
2
1
0
5
CR- 2
TB
10
9
8
7
6
5
4
3
2
1
0
STUDIO
10
9
8
7
6
4
3
2
1
0
5
SC- 2
TB
10
9
8
7
6
5
4
3
2
1
0 CUE
HDPN
10
9
8
7
6
4
3
2
1
0
5
CR
10
9
8
7
6
4
3
2
1
0
5
CR- 4
TB
10
9
8
7
6
5
4
3
2
1
0
STUDIO
10
9
8
7
6
4
3
2
1
0
5
SC- 4
TB
EXT1
EXT2
PGM
AUD
MON
S
O
U
R
C
E
S
E
L
E
C
T
EXT1
EXT2
PGM
AUD
MON
S
O
U
R
C
E
S
E
L
E
C
T
EXT1
EXT2
PGM
AUD
S
O
U
R
C
E
S
E
L
E
C
T
EXT1
EXT2
PGM
AUD
S
O
U
R
C
E
S
E
L
E
C
T
AUTO
RESTART
H
O
L
D
R
E
S
E
T
S
T
A
R
T
S
T
O
P
TIMER
AUTO
RESTART
H
O
L
D
R
E
S
E
T
S
T
A
R
T
S
T
O
P
TIMER
Page 1 - 8
SP-4 / Dec 92
CONSOLE OVERVIEW
Accessory Modules – SP-40 Series Audio Consoles
Stereo Selector
Tape Remote
Superphone
Intercom
TR- 4
ICM- 4
S
O
U
R
C
E
S
E
L
E
C
T
LS- 4
SPN-4
A
S
S
I
G
N
RECORD
EXT
MIC
TRIM
PGM
ON
OFF
0
5
10
15
20
30
40
50
60
70
00
2
AUD
MXM
CALL 1 CALL 2
1
CUE CALLER
READY
INTERCOM
MIC
NULL
BUSY
PRIVACY
>>
<<
PLAY
REC
STOP
>>
<<
PLAY
REC
STOP
TR- 4
Page 1 - 9
SP-4 / Dec 92
CONSOLE OVERVIEW
The following programmable functions are available: CUE may be pro-
grammed 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-pro-
grammed 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.
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 automati-
cally 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
SP-4 / June 93
Page 1 - 10
SP-4 / Dec 92
CONSOLE 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 an-
nouncer 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 / June 93
CUE TO HDPN
SPLIT CUE
DIP SW
CUE
LOGIC
MUTE
LOGIC
L
E
V
E
L
M
U
T
E
ON-AIR
TALLY
OPTO
HDPN
JACK
LT
RT
HDPN
LEVEL
EXT 2
EXT 1
PGM
AUD
MONO
CUE
OUT
HDPN
INTRPT
SW
CR
CUE
LEVEL
LT
RT
LT
RT
L
H
L
H
STUDIO
OUT
MUTE
LOGIC
L
E
V
E
L
M
U
T
E
STUDIO
/TB
INTRPT
FET SW
LT
RT
PGM
AUD
MONO
EXTERNAL
TB OUT
TB MUTE
FET SW
STUDIO
TB
LEVEL
LT
RT
OFF
TB
COUGH
ON
TO MIC CHANNEL LOGIC PORT
REMOTE
MIC
CONTROLS
R
EXT 1
L
R
EXT 2
L
R
L
R
EXT 4
L
R
EXT 5
L
R
EXT 6
L
EXT 3
R
L
EDIT
>>
<<
PLAY
REC
STOP
EDIT
>>
<<
PLAY
REC
STOP
LINE SELECT
RESET
HOLD
STEREO
MASTER
CR MONITOR
STUDIO MONITOR
TAPE
REMOTE
SP-40 CONSOLE SERIES
SYSTEM FLOW DIAGRAM
INTERCOM
LOGIC
I/O PORT
2-WAY
AUDIO
H
L
LISTEN
FET SW
MIC
NULL
TALK
FET SW
FM
AM
NEWS
PROD
BOOTH
ENG
CALL LINES
To Other Stations
TB MIC
IN
TIMER
CLOCK
S / S
AUTO
VU
EQ -IN
GAIN
ON
OFF
ON TALLY
OFF TALLY
MIC / LINE INPUT
COUGH
+48v
L
H
L
H
TRIM
M / L
SW
EQ
LH
OUT
L
H
IN
1
2
3
4
PAN
L
R
SEND
1 / 2
SEND
3
PRE
POST
CUE
FET SW
F
A
D
E
R
MIX-MINUS
DIP SW
TIMER RESTART
STUDIO MUTE
CR MUTE
ON
CUE
PATCH
MIC
LINE
LOGIC
J
J
TB TO STUDIO
PAN
D
I
P
A - COMMON
TB
B - COMMON
PHASE
SW
OFF
CUE LOGIC
PGM
AUD
ON
FET SW
TRIM
ON
OFF
START
STOP
READY
COMMON
EQ -IN
PAN
SEND
1 / 2
SEND
3
PRE
POST
DIP SW
ON
CUE
LOGIC
J
TRIM
L
H
L
H
L
H
L
H
L
A
1 - 2
3 - 4
5 - 6
7 - 8
L
R
R
TIMER RESTART
B
A
L
O
N
F
A
D
E
R
PGM
AUD
L
R
A
B
S
E
L
E
C
T
E
Q
OFF
CUE LOGIC
A / B LOGIC
STEREO LINE INPUT
CUE
FET SW
LOCAL READY
SEPARATE
FOR A & B
CR
INTRPT
FET SW
AUD
ON SW
L
H
L
H
ON
MIX
MINUS
Monitor
DIP SW
MIC
IN
L
H
MIC
TRIM
AUD
Monitor
HYBRID
1 IN
CALL 1
FADER
MXM
ON SW
HYBRID
2 IN
CALL 2
FADER
SUPER
PHONE
OFF
CALL 1
CUE SW
CUE LOGIC
COMPOSITE
OUT
MICS TO
TRK 1
TO HYBRID
1
TO HYBRID
2
CALLERS
TO TRK
3 & 4
TRIM
TRIM
TRIM
TRIM
TRIM
R
L
EXT
IN
L
H
ON
FET SW
PGM
SW
START
STOP
COMMON
LOGIC
REC
READY
SW
TRIM
PROGRAM
AUDITION
MONO
LT
RT
LT
RT
PAN
GAIN
L
H
L
H
TAPE
OUT
TAPE IN
TAPE
LEVEL
L
H
LEVEL
VU
L
H
LEVEL
GROUP MASTER #1
SEND 1
CUE SW
TAPE
TO PAN
SW
PGM
SW
GROUP
FADER
GROUP
/SEND
VU SW
PAN
GAIN
L
H
L
H
TAPE
OUT
TAPE
LEVEL
VU
TAPE
TO PAN
SW
PGM
SW
GROUP
FADER
GROUP
/SEND
VU SW
CAL
CAL
SEND
1
OUT
SEND
2
OUT
SENDS
CHANNEL 1
TAPE IN
CHANNEL 2
CUE LOGIC
CR MUTE
∑
∑
LT
RT
B
LT
RT
REC READY
CUE LOGIC ENABLE
TIMER RESTART
STUDIO MUTE
CR MUTE W/PGM
CR MUTE
STUDIO MUTE W/PGM
MIX-MINUS
MICS to
PGM
EXT
TRIM
∑
CALL 2
CUE SW
∑
SEND 2
CUE SW
∑
CUE
MUTE
FET SW
CUE MUTE
ENABLE
L
R
L
R
∑
L
H
L
H
L
H
L
H
EXT 2
EXT 1
L
R
L
R
TB
SW
∑
STUDIO
TALLY
OPTO
TRIM
TO
CUE
SPKR
L
H
J
LINE IN
PRIVACY
SWITCH
DIPSW
F
E
T
S
W
System Flow Diagram — SP-44 (48) Series Audio Console
Page 1 - 11
CUE TO HDPN
SPLIT CUE
DIP SW
CUE
LOGIC
MUTE
LOGIC
L
E
V
E
L
M
U
T
E
ON-AIR
TALLY
OPTO
HDPN
JACK
LT
RT
HDPN
LEVEL
EXT 2
EXT 1
PGM
AUD
CUE
OUT
HDPN
INTRPT
SW
CR
CUE
LEVEL
LT
RT
LT
RT
L
H
L
H
STUDIO
OUT
MUTE
LOGIC
L
E
V
E
L
M
U
T
E
STUDIO
/TB
INTRPT
FET SW
LT
RT
PGM
AUD
EXTERNAL
TB OUT
TB MUTE
FET SW
STUDIO
TB
LEVEL
LT
RT
OFF
TB
COUGH
ON
TO MIC CHANNEL LOGIC PORT
REMOTE
MIC
CONTROLS
R
EXT 1
L
R
EXT 2
L
R
L
R
EXT 4
L
R
EXT 5
L
R
EXT 6
L
EXT 3
R
L
EDIT
>>
<<
PLAY
REC
STOP
EDIT
>>
<<
PLAY
REC
STOP
LINE SELECT
RESET
HOLD
STEREO
MASTER
CR MONITOR
STUDIO MONITOR
TAPE
REMOTE
SP-42 AUDIO CONSOLE
SYSTEM FLOW DIAGRAM
INTERCOM
LOGIC
I/O PORT
2-WAY
AUDIO
H
L
LISTEN
FET SW
MIC
NULL
TALK
FET SW
FM
AM
NEWS
PROD
BOOTH
ENG
CALL LINES
To Other Stations
TB MIC
IN
TIMER
CLOCK
S / S
AUTO
VU
EQ -IN
GAIN
ON
OFF
ON TALLY
OFF TALLY
MIC / LINE INPUT
COUGH
+48v
L
H
L
H
TRIM
M / L
SW
EQ
LH
OUT
L
H
IN
L
R
SEND
1
SEND
2
PRE
POST
F
A
D
E
R
MIX-MINUS
DIP SW
TIMER RESTART
STUDIO MUTE
CR MUTE
ON
CUE
PATCH
MIC
LINE
LOGIC
J
TB TO STUDIO
PAN
D
I
P
A - COMMON
TB
B - COMMON
PHASE
SW
OFF
CUE LOGIC
PGM
AUD
ON
FET SW
TRIM
ON
OFF
START
STOP
READY
COMMON
EQ -IN
SEND
1
SEND
2
PRE
POST
DIP SW
ON
CUE
LOGIC
J
TRIM
L
H
L
H
L
H
L
H
L
A
L
R
R
TIMER RESTART
B
A
L
O
N
F
A
D
E
R
PGM
AUD
L
R
A
B
S
E
L
E
C
T
E
Q
OFF
CUE LOGIC
A / B LOGIC
STEREO LINE INPUT
CUE
FET SW
LOCAL READY
SEPARATE
FOR A & B
CR
INTRPT
FET SW
AUD
ON SW
L
H
L
H
ON
MIX
MINUS
Monitor
DIP SW
MIC
IN
L
H
MIC
TRIM
AUD
Monitor
HYBRID
1 IN
CALL 1
FADER
MXM
ON SW
HYBRID
2 IN
CALL 2
FADER
SUPER
PHONE
OFF
CALL 1
CUE SW
CUE LOGIC
COMPOSITE
OUT
MICS TO
TRK 1
TO HYBRID
1
TO HYBRID
2
CALLERS
TO TRK
3 & 4
TRIM
TRIM
TRIM
TRIM
TRIM
R
L
EXT
IN
L
H
ON
FET SW
PGM
SW
START
STOP
COMMON
LOGIC
REC
READY
SW
TRIM
PROGRAM
AUDITION
LT
RT
LT
RT
L
H
LEVEL
L
H
LEVEL
SEND 1
CUE SW
SEND
1
OUT
SEND
2
OUT
SENDS
CUE LOGIC
CR MUTE
∑
∑
LT
RT
B
LT
RT
REC READY
CUE LOGIC ENABLE
TIMER RESTART
STUDIO MUTE
CR MUTE W/PGM
CR MUTE
STUDIO MUTE W/PGM
MIX-MINUS
MICS to
PGM
EXT
TRIM
∑
CALL 2
CUE SW
SEND 2
CUE SW
∑
CUE
MUTE
FET SW
CUE MUTE
ENABLE
L
R
L
R
∑
L
H
L
H
L
H
L
H
EXT 2
EXT 1
L
R
L
R
TB
SW
∑
STUDIO
TALLY
OPTO
TRIM
TO
CUE
SPKR
L
H
J
LINE IN
PRIVACY
SWITCH
DIPSW
F
E
T
S
W
CUE
FET SW
CUE
FET SW
System Flow Diagram — SP-42 Audio Console
Page 1 - 12
Page 2 - 1
SP-4 / Dec 92
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.
Bear in mind that final console placement should take into consideration
avoiding proximity to any electromagnetic fields, such as large power trans-
formers, motors, and flourescent lighting fixtures.
Make the required cut-out, and lower the unpacked console into place.
20.3
CW
25.7
4.0
1.4
5.3
9.3
5.2
1.1
SP-40 SERIES CONSOLE
MAINFRAME DIMENSIONS
MAINFRAME
CW
CUT–OUT
SP–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
Page 2 - 2
SP-4 / Dec 92
INSTALLATION
SP-4 / April 95
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.
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".
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.
Page 2 - 3
SP-4 / Dec 92
INSTALLATION
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.
CONSOLE
2-TRACK
MULTI-TRACK
AC BREAKER
BOX
DEVICE 1
DEVICE 2
DEVICE N
CONSOLE POWER SUPPLY
CONTROL ROOM POWER AMP
STUDIO POWER AMP
OTHER
POWER COMPANY
EARTH GROUND
HEAVY
(#4 or #6)
COPPER
WIRE
HIGH POWER
EQUIPMENT RACK
COPPER ROD
SOIL
3-wire ground or separate wire run from chassis
EFFECTS RACK
MIC PANEL
GND
TYPICAL SYSTEM
GROUNDING SCHEME
etc.
3–5 ft.
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.
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.
Page 2 - 4
SP-4 / Dec 92
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).
The aforementioned "isolated
AC ground" (orange studio
outlet; see page 2-2) can also
be used to accomplish the
required grounding.
Page 3 - 1
SP-4 / Dec 92
CONSOLE I/O CONNECTIONS
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
Page 3 - 2
SP-4 / Dec 92
CONSOLE I/O CONNECTIONS
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 DB-
25 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
The AMP tool insulation displacement connector system. Note the right angle hood with self-
locking 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 - 3
SP-4 / Dec 92
CONSOLE I/O CONNECTIONS
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.
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 equip-
ment. 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 de-
activated 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).
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 cost-
effective 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 - 4
SP-4 / Dec 92
CONSOLE I/O CONNECTIONS
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 nothing 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.
The ability to use output HIGH or
LOW permits an easy phase re-
versal of the console's output sig-
nals, should this be desired.
RED
BLK
SHIELD
RED
BLK
SHIELD
BALANCED INPUT
UNBALANCED INPUT
Balanced
Source
Output
Unbalanced
Source
Output
CONSOLE INPUT
CONSOLE INPUT
2142
H
L
SH
BALANCED
OUTPUT
2142
H
L
SH
UNBALANCED
OUTPUT
+
–
CONSOLE OUTPUT
CONSOLE OUTPUT
SP-40 CONSOLE OUTPUTS
SP-40 CONSOLE INPUTS
Tie low (black) and shield
together at source end
Page 3 - 5
SP-4 / Dec 92
CONSOLE I/O CONNECTIONS
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
Mono Mic/Line Module Control Ports
The following control functions, listed by pin number, are available at the DB-
25 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).
Typical DB-25 I/O connector.
SP-4 / Dec 92
SP-4 / March 99
Page 3 - 6
SP-4 / Dec 92
CONSOLE I/O CONNECTIONS
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.
Once the dipswitch settings have been made, check that each ML-4 input
module dipswitch is correctly programmed before continuing.
Mix-minus assign is available only
on SP-44 and SP-48 consoles.
SP-42 consoles do not have a
mix-minus ACN bus.
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.
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.
2
4
3
1
OFF ON
ST MUTE
CR MUTE
PHANTOM
TALKBACK
SP-4 / Apr 00
Page 3 - 7
SP-4 / Dec 92
CONSOLE I/O CONNECTIONS
STEREO LINE INPUT MODULE (SL-4)
Stereo Line Module Audio Connections (Upper DB-25 Connec-
tor )
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
Stereo Line Module Control Ports
The following control functions, listed by pin number, are available at the DB-
25 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.
Page 3 - 8
SP-4 / Dec 92
CONSOLE I/O CONNECTIONS
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:
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.
Mix-minus assign is available
only on SP-44 and SP-48 con-
soles. SP-42 consoles do not
have a mix-minus ACN bus.
2
4
3
1
OFF ON
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 po-
sition is OFF when the left-hand
side is DOWN.
Page 3 - 9
SP-4 / Dec 92
CONSOLE I/O CONNECTIONS
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 Connec-
tor)
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
Page 3 - 10
SP-4 / Dec 92
CONSOLE I/O CONNECTIONS
MASTER OUTPUT MODULE (SM-4 or SM-2)
SP-40 series output modules have two DB-25 I/O connectors: Upper ("U-
DB"; 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-42 consoles only
Page 3 - 11
SP-4 / Dec 92
CONSOLE I/O CONNECTIONS
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
Page 3 - 12
SP-4 / Dec 92
CONSOLE I/O CONNECTIONS
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:
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.
2
4
3
1
OFF ON
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 po-
sition is OFF when the left-hand
side is DOWN.
Page 3 - 13
SP-4 / Dec 92
CONSOLE I/O CONNECTIONS
OPTIONAL STUDIO MONITOR MODULE (SC-4)
Studio Module Audio Connections (Lower DB-25 Connec-
tor)
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
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.
Page 3 - 14
SP-4 / Dec 92
CONSOLE I/O CONNECTIONS
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
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
SP-4 / April 96
Page 3 - 15
SP-4 / Dec 92
CONSOLE I/O CONNECTIONS
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
Page 3 - 16
SP-4 / Dec 92
CONSOLE I/O CONNECTIONS
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
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
Page 3 - 17
SP-4 / Dec 92
CONSOLE I/O CONNECTIONS
1B
2B
3B
4B
5B
6B
1A
2A
3A
4A
5A
6A
Tape Remote Module
I/O Connector Pinouts
I/O PORTS
(Upper DB-25)
I/O PORTS
(Lower DB-25)
SW 6A COM
SW 6A LED–
SW 5A COM
SW 5A LED–
SW 4A COM
SW 4A LED–
SW 3A COM
SW 3A LED–
SW 2A COM
SW 2A LED–
SW 1A COM
SW 1A LED–
N/C
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+
5
4
3
2
1
17
16
15
14
8
7
6
20
19
18
10
9
23
22
21
13
12
11
25
24
5
4
3
2
1
17
16
15
14
8
7
6
20
19
18
10
9
23
22
21
13
12
11
25
24
SW 6B COM
SW 6B LED–
SW 5B COM
SW 5B LED–
SW 4B COM
SW 4B LED–
SW 3B COM
SW 3B LED–
SW 2B COM
SW 2B LED–
SW 1B COM
SW 1B LED–
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+
SP-4 / Feb 97
>>
<<
PLAY
REC
STOP
>>
<<
PLAY
REC
STOP
TR- 4
Page 4 - 1
SP-4 / July 92
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,
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.
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.
If there is no headphone out-
put check to make sure no input
module CUE switches are acti-
vated, as they will automatically
interrupt the regular headphone
program.
Page 4 - 2
SP-4 / July 92
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, mix-
minus 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).
OPERATIONAL NOTES
SP-4 / June 93
Page 5 - 1
SP-4 / July 92
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 /April 95
Page 5 - 2
SP-4 / July 92
Typical Printed Circuit Board (mic/line input shown)
Upper DB I/O edgecard con-
nector 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 con-
nector 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.)
Lower bus connector pins
(50). Even pins 2 (top) thru
50 (bottom) are on the com-
ponent side (shown). Odd
pins 1 (top) thru 49 (bottom)
are on the solder side of the
card.
5-pin fader connector
4-position programming dipswitch
Channel ON/OFF switch connector
(14-pin dip socket)
Fuse link resistors (3.3Ω)
These may be identified on
each module by their stand-
offs (see page 6-2).
Upper bus connector pins
(50). Even pins 2 (top) thru
50 (bottom) are on the com-
ponent side (shown). Odd
pins 1 (top) thru 49 (bottom)
are on the solder side of the
card.
4-position programming dipswitch
600 Industrial Drive
New Bern, NC 28562
8-20-99
SP-4/Aug 1999
1 OF 1
Line Select Module Schematic - Sheet 1 of 1
SA
Page 5-5
W# 700150
LS-4 PCB
11S000X
LS-4
D
REV
SIZE
SHEET
DWG. NO.
FSCM NO.
SCALE
CONTRACT NO.
DATE
APPROVALS
DRAWN
CHECKED
ISSUED
A
2
1
2
3
4
5
6
7
8
8
7
6
5
4
3
1
B
C
D
D
C
B
A
AGND
LS-4 IN/OUTS
DB Connector Pinouts
DB Connector Pinouts
(Upper DB-25)
(Upper DB-25)
(Lower DB-25)
(Lower DB-25)
LINE 1 LT IN HI
LINE 1 LT IN LO
LINE 1 LT IN SH
LINE 1 RT IN HI
LINE 1 RT IN SH
LINE 1 RT IN LO
LINE 2 LT IN SH
LINE 2 LT IN LO
LINE 2 LT IN HI
LINE 2 RT IN LO
LINE 2 RT IN SH
LINE 2 RT IN HI
LINE 3 LT IN HI
LINE 3 LT IN LO
LINE 3 LT IN SH
LINE 3 RT IN HI
LINE 3 RT IN SH
LINE 3 RT IN LO
LINE 4 LT IN SH
LINE 4 LT IN LO
LINE 4 LT IN HI
LINE 4 RT IN LO
LINE 4 RT IN SH
LINE 4 RT IN HI
LINE 5 LT IN HI
LINE 5 LT IN LO
LINE 5 LT IN SH
LINE 5 RT IN HI
LINE 5 RT IN SH
LINE 5 RT IN LO
LINE 6 RT IN LO
LINE 6 RT IN SH
LINE 6 RT IN HI
LINE 7 LT IN HI
LINE 7 LT IN LO
LINE 7 LT IN SH
LINE 7 RT IN HI
LINE 7 RT IN SH
LINE 7 RT IN LO
LINE 6 LT IN HI
LINE 6 LT IN LO
LINE 6 LT IN SH
N/C
LINE LT OUT HI
LINE LT OUT LO
LINE LT OUT SH
LINE RT OUT SH
LINE RT OUT LO
LINE RT OUT HI
INPUT PORTS
INPUT PORTS
INPUT PORTS
INPUT PORTS
INPUT PORTS
INPUT PORTS
N/C
INPUT/OUTPUT PORTS
INPUT/OUTPUT PORTS
INPUT/OUTPUT PORTS
INPUT/OUTPUT PORTS
INPUT/OUTPUT PORTS
INPUT/OUTPUT PORTS
UPPER DB-25 CONNECTOR
I/O CONNECTORS
CHART
LOWER DB-25 CONNECTOR
LINE1INLTHI
LINE1INLTLO
LINE1INRTHI
LINE1INRTLO
LINEOUTLTHI
LINEOUTLTLO
LINEOUTRTHI
LINEOUTRTLO
LINE2INLTHI
LINE2INLTLO
LINE2INRTHI
LINE2INRTLO
LINE3INLTHI
LINE3INLTLO
LINE3INRTHI
LINE3INRTLO
LINE4INLTHI
LINE4INLTLO
LINE4INRTHI
LINE4INRTLO
LINE7INLTHI
LINE7INLTLO
LINE7INRTHI
LINE7INRTLO
LINE6INLTHI
LINE6INLTLO
LINE6INRTHI
LINE6INRTLO
LINE5INLTHI
LINE5INLTLO
LINE5INRTHI
LINE5INRTLO
LINE4INRTHI
AGND
LINE4INLTLO
LINE3INRTHI
AGND
LINE3INLTLO
LINE2INRTHI
AGND
LINE2INLTLO
LINE1INRTHI
AGND
LINE1INLTLO
LINE4INRTLO
LINE4INLTHI
AGND
LINE3INRTLO
LINE3INLTHI
AGND
LINE2INRTLO
LINE2INLTHI
AGND
LINE1INRTLO
LINE1INLTHI
AGND
UDBPIN13
LINEOUTRTHI
AGND
LINEOUTLTLO
LINE7INRTHI
AGND
LINE7INLTLO
LINE6INRTHI
AGND
LINE6INLTLO
LINE5INRTHI
AGND
LINE5INLTLO
LINEOUTRTLO
LINEOUTLTHI
AGND
LINE7INRTLO
LINE7INLTHI
AGND
LINE6INRTLO
LINE6INLTHI
AGND
LINE5INRTLO
LINE5INLTHI
AGND
LDBPIN13
1 HZ INPUT
CT2/2
1 HZ OUTPUT
CT2/3
GND
GND
10M
R18
10pF
C4
GND
10M
R17
4148
D2
SECONDS
1
2
3
4
5
6
7
8
9
10
11
13
12
14
15
16
17
18
DS2
c
g
dp
f
e
d
b
a
COM2
COM1
dp2
g2
f2
b2
a2
c2
e2
d2
d1
e1
c1
dp1
g1
f1
b1
a1
a
b
d
e
f
dp
g
c
4148 D3
4148 D1
VCC
GND
J2
MINUTES
5
6
7
8
9
10
11
13
12
18
17
16
15
14
4
3
2
1
DS1
c
g
dp
f
e
d
b
a
COM2
COM1
dp2
g2
f2
b2
a2
c2
e2
d2
d1
e1
c1
dp1
g1
f1
b1
a1
a
b
d
e
f
dp
g
c
VIEWED FROM ABOVE
(COMPONENT SIDE)
7 SEGMENT
DISPLAY PINOUT
e1
d1
c1
dp1
e2
d2
g2
c2
dp2
b2
a2
f2
COM2
COM1
b1
a1
g1
f1
c
g
f
e
d
b
a
dp
dp
a
b
d
e
f
g
c
18
17
16
15
14
13
12
11
10
9
8
7
6
5
4
3
2
1
74AC00
IC PINOUT
VIEWED FROM ABOVE
(COMPONENT SIDE)
VCC
I2d
I1d
Od
I2c
I1c
Oc
Ob
I2b
I1b
Oa
I2a
I1a
14
13
12
11
10
9
8
7
6
5
4
3
2
1
VSS
74AC08
IC PINOUT
VIEWED FROM ABOVE
(COMPONENT SIDE)
VCC
I2d
I1d
Od
I2c
I1c
Oc
Ob
I2b
I1b
Oa
I2a
I1a
14
13
12
11
10
9
8
7
6
5
4
3
2
1
VSS
74AC14
IC PINOUT
VIEWED FROM ABOVE
(COMPONENT SIDE)
VCC
Od
Ob
Oa
14
13
12
11
10
9
8
7
6
5
4
3
2
1
VSS
O2c
Oe
Ie
Ic
Ia
Ib
Id
Of
If
74LS74
IC PINOUT
VIEWED FROM ABOVE
(COMPONENT SIDE)
VCC 14
13
12
11
10
9
8
7
6
5
4
3
2
1
VSS
CLRa
Da
CKa
PRa
Qa
Qa
Qb
Qb
PRb
CKb
Db
CLRb
74HC4511
IC PINOUT
VIEWED FROM ABOVE
(COMPONENT SIDE)
16
15
14
13
12
11
10
9
8
7
6
5
4
3
2
1
VDD
VSS
D1
D2
LT
BI
LE
D3
D0
QE
QD
QC
QB
QA
QG
QF
74HC4060
IC PINOUT
VIEWED FROM ABOVE
(COMPONENT SIDE)
16
15
14
13
12
11
10
9
8
7
6
5
4
3
2
1
VDD
VSS
Q12
Q13
Q14
Q6
Q5
Q7
Q4
CTC
RTC
CLK
RST
Q9
Q8
Q10
74HC192
IC PINOUT
VIEWED FROM ABOVE
(COMPONENT SIDE)
16
15
14
13
12
11
10
9
8
7
6
5
4
3
2
1
VDD
A
C
VSS
B
QB
QA
DN
UP
QD
QC
D
LD
CO
BO
CL
TO TIMER
CONTROL
CT1
2
3
4
5
6
7
8
1
CT2
TO CLOCK
2
3
4
5
6
7
8
1
RESET
CT1/1
POWER INTERFACE
F1
.3A
POLYSW
0.1uF
C8
GND
5
VCC
U12
5
6
4
74ACT08
U11
9
8
74AC14
U13
6
5
4
74ACT00
VCC
10.0K
R36
15
14
13
12
11
10
9
7
6
5
4
3
2
1
U9
74HC192
QA
A
QB
B
QC
C
QD
UP
DN
CL
CO
BO
LD
D
0-5
1
2
3
4
5
6
7
9
10
11
12
13
14
15
U5
74HC4511
QA
D0
QB
D1
QC
D2
QD
D3
QE
LT
QF
BI
QG
LE
U10
13
12
11
10
9
8
74LS74
D
Q
Q
CLR
PR
CK
8
9
10
U12
74ACT08
32.768kHz
Y1
10pF
C6
74HC4060
1
2
3
4
5
6
7
11
12
13
14
15
9
10
U1
RTC
Q4
RST
Q5
CLK
Q6
Q7
Q8
CTC
Q9
Q10
Q12
Q13
Q14
50pF
C5
100uF
C3
1uF
C15
1uF
C14
330uF
C7
100uF
C1
1N4002W
D4
600 Industrial Drive
New Bern, NC 28562
Wheatstone/Oct 2000
00S0008D
TM-6SD PCB
W# 700248
1 OF 1
TM-6
SA
Page 6-9
Timer Schematic - Sheet 1 of 1
10-24-00
D
REV
SIZE
SHEET
DWG. NO.
FSCM NO.
SCALE
CONTRACT NO.
DATE
APPROVALS
DRAWN
CHECKED
ISSUED
A
2
1
2
3
4
5
6
7
8
8
7
6
5
4
3
1
B
C
D
D
C
B
A
1
2
3
LM2940
Q1
OUT
VIN
GND
GND
VCC
RESTART
START/STOP
RESET
HOLD
+DIGin
GND
1HZOUT
1HZIN
GND
+DIGin
+DIG
RESTART
RESET
START/STOP
HOLD
1HZ
1HZIN
+DIGin
GND
+DIGin
GND
1HZOUT
600 Industrial Drive
New Bern, NC 28562
0.47uF
C27
.0047uF
WHT-BLK
BLACK
VIO
VIO
LAMP
COMMON
D
GRN
YLW
H
+LAMP
DIGITAL
COMMON
F
BRN
VIO
E
PHANTOM
C
BLU
-V AUDIO
A
BLK
AUDIO
COMMON
B
RED
+V AUDIO
Z15L390
GRN
N/C
J
N/C
I
BLACK
Z15L390
BROWN
WHT-BRN
BROWN
ORANGE
YELLOW
ORANGE
GREEN
RED
RED
Z15L390
Z15L390
Z15L390
Z15L390
Z15L390
MB3510 +
-
~
~
MB3510 +
-
~
~
MB3510 +
-
~
~
LM1085/
LM350/LM317
IC PINOUT
VIEWED FROM BOTTOM
(SOLDER SIDE)
1
2
3
IN
ADJ
OUT
CASE
A.C.
SUPPLY
CABLE
105-120
VAC
60Hz
INPUT
.0047uF
GRN
Z15L390
MB3510 +
-
~
~
AGND
G
ORG
+DIG
J) N/C
A) AUDIO/PHANTOM COMMON
POWER SUPPLY CONNECTOR
F) DIGITAL COMMON
I) N/C
H) +LAMP
G) +DIGITAL
E) +PHANTOM
D) LAMP COMMON
B) +V AUDIO
C) -V AUDIO
J
I
H
G
F
E
D
C
B
A
BLACK
BLACK
MB3510
MB3510
MB3510
MB3510
PS-410E PCB
00S0018E
8-31-01
A-300/Aug 2001
5 OF 7
SA
W# 700259
PSC-340S
Power Supply Schematic - Sheet 1 of 1
Page 5-35
ISSUED
CHECKED
DRAWN
APPROVALS
DATE
CONTRACT NO.
SCALE
FSCM NO.
DWG. NO.
SHEET
SIZE
REV
D
2
1
2
3
4
5
6
7
8
8
7
6
5
4
3
1
A
B
C
D
D
C
B
A
+11V
TRIM
10 PIN
OUTPUT
CONNECTOR
~115VAC
IMPORTANT:
FOR Q1-Q7 USE HIGHT THERMAL CONDUCTIVITY
CERAMIC FILM INSULATOR!
~42VAC
~13.5V
~13.5V
~27VAC CT
3A
~37VAC CT
~37VAC CT
~18.5V
~18.5V
~18.5V
~18.5V
~22VAC CT
~11V
~11V
+58V
+
-
-
+
-
+
-
+
~
~
PS-410 PCB
(RIGHT)
PS-410 PCB
(LEFT)
Page 6 - 1
SP-4 / Dec 92
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.
NOTE: THE FOLLOWING PRECAUTIONS SHOULD BE TAKEN WHILE TROUBLE-
SHOOTING 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 card-
board 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 - 2
SP-4 / Dec 92
TROUBLESHOOTING
INTEGRATED CIRCUITS
The audio circuits of the console consist almost entirely of plug-in IC op-
amps. 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 vanish-
ingly 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 / May 96
Page 6 - 3
SP-4 / Dec 92
TROUBLESHOOTING
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.
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.
