Studio Technologies 60 - Manual (Page 16)

Model 60/61 User Guide Issue 2, March 1998
Studio Technologies, Inc. Page 19
operating, there is no reason why you
can’t disconnect the 5-conductor cable,
move the unit, and then connect it again.
No clicks, pops, or other noises will occur
when the Model 61 is disconnected and
then again connected.
Cue (Talk to Phones) Noise
During field trials of the Model 60 and 61
one item came up for discussion: “thumps”
in the cue function. A brief discussion may
be useful. The Model 60 and Model 61’s
electronics that support the cue function is
quite quiet, not adding appreciable “clicks,
pops, or thumps.” However, mechanical
noise being picked up by the Model 61’s
microphone can be an issue.
If the cue button is pushed using a rela-
tively light “touch” no objectionable noise
will be generated; pressing the button with
“gusto” will cause mechanical noise to be
transferred into the microphone. While the
Model 61’s microphone is of good quality,
shock mounting it was not possible using
a cost-effective method. The fact that the
Model 61 is physically small and the but-
ton is relatively close to the microphone
adds to the difficulty. (Note that most all
recording consoles, both small and large,
share this condition.) So in conclusion, use
a light touch on the button and everyone
should stay reasonably happy!
Power Amplifier Input Sensitivity
Optimum StudioComm performance is
obtained when the input sensitivity of the
control room power amplifier is adjusted to
match the Model 60’s control room output
level. With normal, but loud, listening
levels you should find the level potentiom-
eters on the Model 61 to be set to about
2 o’clock. If you find that you don’t have
to turn up the Model 61’s control that high,
reduce the input sensitivity of the power
amplifier so you can operate at the
2-o’clock position. Most power amplifiers
have controls on their inputs to allow easy
adjustment of their input sensitivity.
Slating Issues/Cue Audio to Dub
Output
From the factory, voice cues are sent only
to the headphone output. It was antici-
pated that this would be the most common
use, specifically allowing personnel in the
control room to talk to talent in a studio
or voice-over booth. In some cases it may
be desirable to have a “slate” function—
sending a voice cue to an audio worksta-
tion or other recording medium. There is
a means of achieving this by modifying the
Model 60 to route the cue audio to the dub
output. From the factory this is not imple-
mented, but is as simple as having a
qualified technician install two resistors
into the Model 60’s printed circuit board.
After the modification, whenever the cue
button is pressed on the Model 61 Control
Console the voice audio will go out both
the headphone and dub output. The limita-
tion here is that you have to be careful of
what is being routed through the dub
output when you are voice cueing to the
headphones, and vice versa; a voice cue
to the phones is a voice cue to the dub!
For details on implementing this modifica-
tion you’ll need a copy of the Model 60
schematic diagrams, available by contact-
ing the factory.
Modifying the Back-Panel Headphone
Output
Each headphone output, front panel and
back panel, is driven by an independent
output circuit. From the factory the same
audio signal connects to each output