Manley Langevin HP-100 More-Me Headphone Mixer 2/1995 - 6/ 1996 D-SUB - Manual (Page 5)

could have separate TB boxes. This is appreciated. There are also infrared remotes available that could be
interfaced to one console box. Now the producer can pace and talk more. The "console box" can also be
interfaced to the consoles TB system by a good tech. There are points available to access the basic
functions. There is even points to be attached to the console oscillator. Turn on the oscillator and the
phones turn off. Sort of a no smoking feature....
The patchbay can be wired any way you like but on the "D" panel solution you could have points
for the 8 inputs, 1 TB, 2 SLS and perhaps 2 "station lines" that are selected mics and station monitors.
If one is wiring this system from a patchbay to the studio please consider running more lines than
the 13 lines described. You may want to have each station mic show up at the patch bay. Add lines and
points for this.
Another example, you would like to give 4 musicians a 'MORE ME" signal on channel 1 and still have the
other channels for signals common to all stations. One answer might be to wire the patchbay with the 8
usual shared inputs and 4 or more points that are meant to be these "MORE ME" signals. You could wire
the output of the shared channel 1 patch point to the "half normals" of these 4 "MORE ME" points. The
shared sends are wired in the studio to all of the "D" connectors in the studio and the 4 individual lines are
only wired to the "D" connector corresponding to that station. This requires a 16 pair cable instead of 13
and 4 more patch points. An 8 station system with 1 channel patchable individually is a 20 pair cable. 2
individual channels per station for 6 stations is 24 pairs (23 used) and for 8 stations is 27 pairs. These are
common cable sizes providing uncommon versatility.
OTHER INSTALLATION CONCEPTS
If you have mostly understood the preceeding sections, you can see that a modest system is an
improvement over your present system and that the full blown systems would deliver more features and
performance than you have ever known headphones could have.
Lets consider that you really want 5 or 6 stations and you feel that two panels and 2 console boxes
is a bit of overkill. You're right - you can always daisy-chain or LINK the stations. Each musician can still
have a private mix and volume. When you talk to the first station in a chain the others will hear. Usually,
you only need to talk privately with one person out there - don't chain that station. With Linked or chained
stations you lose their stations mic but their TALK button will tell the system to LISTEN to the first station
in the chain. No problem if they are situated near each other and that would be likely if they are Linked.
How about a major studio with sessions involving 30 musicians. Don't throw away the little boxes
with a volume control for each musician. These Langevin stations will feed quite a number of headphones
and sound better than most head phone systems with one or two big power amps. You will still probably
only give them one or two stereo feeds. The SIM and MONO settings are useful here as is the tone
controls. The MUTE feature where one side can be turned off is very useful with some string and brass
musicians. You also get a separate TB to and from the conductor. These session players often bring in their
own personal battered up phones and ear pieces. We gain some reliability with a distributed system rather
than a single amp. With 30 players getting scale plus reliability is pretty important.
Speaking of ear phones, this is a major trend for stage monitoring. A clever stage monitor mixer
could use these stations as easily as a studio engineer and gain the extra volume and features that are built
in. It could help calm down some of cryptic those hand signals if they have a little mixer like this within
arms reach.