Telos Zephyr, User Manual

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Section 4 INSTALLATION &
BASIC OP
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remote audio – thus the “mix- minus” designation. The announcer gets in his
headphones a non- delayed version of himself and a slightly delayed version of all of the
studio pieces.
Phones and Remotes
To save money and hassle, callers are usually received at the studio, rather than at the
remote site. In this situation, phones need to be fed to the remote talent so that they
can hear and respond to callers. And the phone callers need to hear the talent. In many
cases, the remotes are sufficiently distant that the station can not be monitored for the
caller feed. Even if it could, the profanity delay would be a problem, since the talent
needs to hear the phone pre- delay.
The talent hears callers via the return path. As before, this return is fed with mix- minus:
a mix of everything on the program bus minus the remote audio.
As for the second half of the equation, the callers hear the talent because the remote
feed is added to the telephone mix- minus buss. No problem if you have a set- up which
permits selective assignment to the phone mix- minus.
The most common problem with this arrangement is a result of a phone hybrid with too
much leakage combined with the system delay. If the hybrid isn't doing a good job of
preventing the send audio from leaking to its output, the special remote send mix-
minus is corrupted. Remember, if any of the announcer audio from the remote site is
returned via the monitor feed, it will be delayed by the digital link, causing an echo
effect. Problem. The answer is to make sure you have the best possible hybrid with the
maximum trans- hybrid loss. If it has variable override (caller ducking), you could
increase the amount when these remotes are in progress.
Main Program
Output
Telephone
Mix-Minus
Remote
Mix-Minus
Studio Console
Other Sources
for music, etc.
Zephyr
Trans-
mission
Path
Phone
Hybrid
REMOTE SITE STUDIO
Diagram showing system set-up for remotes with delay in the transmission