4) Most users do not get involved with the routing of control room mic to headphone stations in any
tricky or involved way. Most simply use the built in CUE system of the recording console to feed a
basic mix into the station's (stereo) input 6. This is sometimes the monitor mix and sometimes a
basic headphone mix to which the musicians add a whole bunch more of themselves. The advantage
of this is that the recording console's basic talkback system is used as designed and no extra wiring
or panels or switching has to considered. Engineers don't have to be shown some custom system.
The only disadvantage is that some of the communication features built into the stations will not be
available. This includes the INTerrupt mode and talking to individual stations. Monitoring the
TALK buttons/mic of the stations can be done with the TALKBACK line providing the stations are
"linked" (daisy chained). The next 4 suggestions are for more elaborate systems.
5) The TALKBACK signal could be used for the control room mic send to the stations. The
TALKBACK lines can double-duty as a send and return. The built in station mic is mixed onto this
line when the TALK button is pushed so that LINKed stations can hear each other. If the source
impedance of control room mic amp is low the linked stations will not hear each other. This may be
desirable or not. One might want to put a 1K ohm resistor in series with the signal from the control
room mic amp. One could even put a 5K pot to act as a "balance" between inter-station and contol
room mic levels.
6) No signal on the TALKBACK lines will be heard at the stations unless the LOGIC lines are
switched. Simply shorting the two lines will activate the TALK mode. A negative 5 to 15 volts on
LOGIC A will also activate "TALK". The green LED will turn on. The same negative voltage on
LOGIC B will activate" INT" and INTerrupt the music and allow the producer to stop a bad take
rather than have to wave arms and hope somebody is watching the control room window. The music
is muted and the red LED will turn on. There is no provision for a musician to kill the music in the
other headphones. Respectfully, this should be the producer's responsibility only. However, a
footswitch and a 9V battery wired to an ELCO would do the trick.
7) Given above that control of the LOGIC lines are needed for use of the TALKBACK signal - if
one needed to communicate with individual musicians or the conductor then individual LOGIC lines
are all that is needed on wall panels ELCOs. This type of distribution where there are several wall
mounted ELCOs can also be used to monitor the mixes of individual stations and monitor the
switched or unswitched station microphones. The most complete solution is to have a dedicated
mixer / switcher in the control room rather than use the main console.
8) if one wanted different tracks to different musicians then the concept of wall panel ELCO's could
be extended. A few or all send channels to individual ELCOs could be wired to the main patchbay
and normalled as desired. This would effectively give a very wide range of headphone mixes with
the fewest complications.
We expect most users to set up simple systems with basic ADAT cables and not need the huge range
of possible features this system is capable of. This is true with most comprehensive products. The
"special" features detailed on this page are for those who need "the works" and can not get it with
any other package. Some studio technical expertise and wiring work is needed for all the features to
become a reality.
