Studio-technologies 50 2000 Bedienungsanleitung PDF herunterladen (Seite 35)

Model 50/51 User Guide Issue 4, July 2000

Studio Technologies, Inc. Page 35

in the talent amplifiers, optimal perfor-

mance still requires an input close

to nominal.

The Model 38 Talent Amplifier can also

exhibit reduced performance if the level

of the headphone source is significantly

hotter than nominal. The entire system

has plenty of headroom, but maintaining

proper signal levels, as usual, is impor-

tant. If the source selected for head-

phones has an average level that is exces-

sive, a small amount of bleed-through can

be heard with the Model 38s cue mix level

control set fully counterclockwise. Instead

of having no sound in the phones, a bit of

sound can be heard. This is not a design

problem; the Model 38 has a sensitive

preamplifier section which doesnt like

excessive excursions in the left channel

modulation of the +23Vdc signal. The

Model 38s power supply can reject the

left channel modulation within the design

parameters, creating a clean reference

voltage for the stereo preamplifier. Modu-

lation levels outside the design parame-

ters show up in the reference voltage!

Communication Switch Noise

During field trials of the StudioComm

components one item came up for discus-

sion concerning thumps in the commu-

nications functions. A brief discussion

may be useful. Electrically the Model 50

and Model 51 electronics that support the

communications functions are quite quiet,

not adding appreciable clicks, pops, or

thumps. Software time delays are even

added to minimize noise when the buttons

are pushed. Mechanical noise being

picked up by the Model 51s microphone

can be an issue. If the talk to studio, talk

to phones, or slate buttons are pushed

using a relatively light touch no objection-

able noise will be generated; pressing the

switches with gusto will cause mechani-

cal noise to be transferred into the micro-

phone. While the Model 51s microphone

is of good quality, shock mounting it was

not possible using a cost-effective method.

The fact that the Model 51 is physically

small and the buttons must be relatively

close to the microphone adds to the diffi-

culty. (Note that most all recording con-

soles, both small and large, share this

condition.)

What are the options if the operator(s)

of your Model 51 choose to use a heavy

hand on the switches? Two are readily

available: external communications

switches and an external source of com-

munications audio. A connector on the

back of the Model 51 allows the connec-

tion of external talk to studio and talk to

phones switches. Using external switches

can eliminate the transfer of noise into the

Model 51s microphone. The Mic Module

connector on the back of the Model 50

allows an external source of communica-

tions audio to be substituted for the signal

provided by the Model 51s microphone.

Using a microphone and simple preampli-

fier (or microphones and an inexpensive

mixer) you can optimize the sound quality

and location of the communications

mic(s). With the Model 51s microphone

no longer in use, the switches can be

beaten on with no impact on communi-

cations audio. For details on how to imple-

ment external communication switches or

to use the Mic Module input refer to other

sections in the Advanced Installation Topis

section of the manual.

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