If you plan to use an outboard
patch loop, the console's internal
!
jumper resistor must be removed.
See page A-7.
R-5 / Jan 99
R-5 / Jan 97
OVERVIEW
Each R-5 audio console is supplied with two mono microphone input
channels; each channel can accept two microphone input signals which
are accessed by an A/B input selector switch at the top of the channel. There
are individual microphone gain trims provided for each A and B input,
allowing you to match differing signal levels.
Typically the two microphone channels will be used for the operator's
control room mic and a second microphone in another studio; for this
reason the channels may be programmed to automatically mute control
room or studio monitor speakers (factory preset to dim instead of mute -
see page A-10) when they are turned on, to prevent microphone feedback.
Mic inputs may also be turned ON and OFF from a remote location, allowing
talent in remote studios to control their microphones directly. It is also
possible to activate TALKBACK-to-CR from another studio.
As you can see by the signal flow diagram below, a pre-fader, pre-on/off
insert point is provided for mic inputs, allowing you to use outboard signal
processing (equalization, reverberation, compression/limiting, etc.) for
individual channels. Note this patch point is bridged at the factory with an
internal 10Ω resistor; if you will be using an outboard processing loop, the
jumper resistor must be removed. See page A-7.
Once they have passed through the channel's fader, microphone input
signals are assigned to the console's output busses: PROGRAM (stereo),
AUDITION (stereo) and/or TELEPHONE (mono).
EXTERNAL ON
EXTERNAL OFF
REMOTE ON TALLY
ACTIVATE TB
ON
OFF
OUT
INSERT
IN
TRIM
H
A
L
A / B
TRIM
H
B
L
Mono Mic Input Signal Flow Diagram
J
U
M
P
LOGIC
E
R
S
MONO MIC INPUT
CUE
FET
F
PGM
A
AUD
D
FET
E
TEL
R
M
M
I
ONO
IC
NPUTS
STUDIO MUTE
(CONTROL)
CR MUTE
(CONTROL)
CUE LOGIC
(CONTROL)
(AUDIO)
TB TO STUDIO
TO CUE ACN
(TB to CR audio)
L
R
TO CONSOLE
L
OUTPUT BUSSES
R
M
Page 2 - 2
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