D&R Mic-Amp User Manual

"DAYNER" USER MANUAL

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3.0 The "In-line" Module The In-line module is our most popular module in the Dayner Series. The next few paragraphs will explain its many f

3.2 Input Section 3. 2.a. +48v Phantom power switch for condenser microphones or direct injection boxes. 3.2.b. pad Using this switch inserts a 20dB a

2. f. remix Switches the tape return from the monitor section to the channel input (controlled by channel fader) and at the same time switches the mic

3.4 Aux Send Section 3.4.a. aux 1-2 The top control is aux send 1 and bottom control is aux send 2. This pair of aux sends are most commonly used for

5 Monitor Section 5.a. aux to channel This switch will allow all aux sends to get their signal from the channel fader, except those who are permanentl

3.6 Assign Section 3.6.a. channel pan This control allows you to place the signal anywhere in the stereo image, which feeds the mix busses or the subg

3.8 Input/Output Jacks 3.8.a. mic input This is the balanced XLR input for condenser or dynamic microphones, This input can become a balanced line inp

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Table of Contents Introduction: Product Overview Page 1.0 The "Chassis" System 1 1.1 The Desktop Chassis 1 1. 2 The Studio Chassis 1 2 . 0 T

4.0 The "Split" Module The "Split" module is not unlike most split format input modules with the exception of a couple of features

4.2 Input Section The channel can operate in either microphone or line input mode. The microphone input is a electronic balanced, transformerless desi

4.2.e. line/group The line input is activated by pushing the line/group switch. The line input can also be used when the entire module (fader, full EQ

3 . f. low The low control has a shelving characteristic just like the high (3.a) control. 16dB of boost or cut is available at 60Hz. (Boost or cut of

4.5 Assign Section The channel input signal can be routed to any or all of the 8 subgroup busses as well as the stereo mix busses by-selecting the rel

EXAMPLE: Let's say you have a Dayner with 48 input modules and a 48 track machine. The kick drum is on module 1 and the snare is on module 2. You

4.7 Input/Output Jacks 4.7.a. mic input This is the balanced XLR input for condenser or dynamic microphones. This input can become a balanced line inp

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5.0 "Optional" Modules 5.1 Tape/Effect return module This module is the most cost effective way of returning tape tracks, effect returns, dr

6.0 "Operation" (How to use) The DAYNER is designed to be the perfect answer for MIDI Studios where you do mostly virtual recording or in a

D&R Dayner Series Recording Console 1.0 INTRODUCTION 1.1 PRODUCT OVERVIEW The D&R DAYNER Series console is extremely compact, user friendly, a

MICROPHONE/LINE GAIN The amount of gain required may depend on the type of microphone, the sound pressure level, and the distance between the sound so

INSERT CHANNEL/GROUP For high dynamic range types of inputs, a signal processor such as a compressor/limiter can be inserted in the channel or even in

SEQUENCE 2: The Playback Multitrack Playback The Dayner Series gives you a couple of different ways of monitoring your multitrack recorder. The most c

SEQUENCE 4: The Remix Multitrack Mixing Remix is the process of combining all recorded tracks together with (keyboards and drum machines for MIDI), si

SEQUENCE 5: The MIDI or Virtual Tracking. Virtual Tracks: The MIDI Setup In most MIDI studios you will see an 8 track tape machine rather than a 16 or

7.0 Installation; Electrical 7.1 Local Electrical Voltage Before switching on the D&R power supply, check the AC voltage of the supply by looking

8.0 Installation; Audio 8.1 Interface CRM Levels The DAYNER is ready to interface with all available equipment in its standard configuration (refer to

8.3 Shielding/Grounding of Audio Equipment The shield of any audio connection should be connected at one end only. If not, ground loops and high frequ

8.5 Connecting the In-line Module Description Connector Connect Mic Input Balanced XLR Pin 1 : Shield Pin 2 : Hot + Pin 3 : Com -Line Input 1/4"

TAPE RETURN is used for plugging the output of your multitrack tape machine or the outputs of any effects such as digital delays, digital reverbs, aur

The Dayner Chassis 1.0 The "Chassis" System The D&R Design Team had a real challenge when the requirement was to design a console that w

L/R master out level : -10/+4 (jumpers) (balanced) Stereo returns level : Tape A = +4dB Tape B = -10/+4dB (jumpers) Tape C = -10/+4dB (jumpers) pin 1

Trouble Shooting It is essential to study the signal flow chart carefully. Only in this way can you isolate problems. By following the signal through

Specifications INPUTS: Microphone inputs: Balanced 2k0hm C.M.R.R. at 50 Hz -76dB Sensitivity: -80 dBu for +4 dBu output. Signal to noise ratio: -129 d

EQUALIZATION: In-line Module: +/- 16 dB at 12kHz Shelving +/- 16 dB from 500 Hz - 10kHz Sweepable +/- 16 dB from 50 Hz - 1kHz Sweepable +/- 16 dB at 6

DIMENSIONS: 31 Chassis: 10" x 34" x 38" 42 Chassis: 10" x 34" x 51" 59 Chassis: 10" x 34" x 71" 84 Chassi

In this manual we've tried to give you an oversight of all the possibilities the DAYNER Series has to offer. If you have any questions, do not he

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2.0 Master Module The Dayner master module contains all the electronics for the summing of the left/right signals, aux master section, a single freque

5 channel to pfl mode The Dayner Series has a dual function solo system. This switch activates the pfl (pre fade listen) mode to all channels allowing

2.6. f, alt This switch allows you to switch an alternative (near field) monitor speaker amplifiers. 2.7 talkback This is a conventional talkback swit

2.12.b. two track C This jack is a stereo input for returning stereo machine C, which could be a DAT machine, CD player, or cassette recorder for play