Telus Studio
AUDIO
SYSTEM
BASIC
OPERATING
INSTRUCTIONS
A Handbook by Ian Pratt, Theatre Program, The University of British Columbia
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BCTel AUDIO SYSTEM
Notes:
•
•
It is good practice to turn on audio system components in the
following order:
1. Individual components (CD, Reverb, etc.)
2. Mixer
3. Power amplifiers
Shut down should be done in reverse order.
•
System power switches are located on the individual
components. The mixer power switch is located on the back
of the unit. When sitting at the mixer, reach over the top right
hand corner.
•
There are two patch panels in the system, one for low-level
signals (microphone and line level), the other for connecting
the power amplifiers to loudspeakers.
•
Proper use of the graphic equalizer, reverb unit and voice
processor are too complex to cover in these notes. See the
attached operation manuals.
Mixer Terminology:
The mixing console (referred to as “mixer” or “console”)
consists of Input channels (1 - 16) through which signals are
brought in from sources (mics, cassettes, CD’s, etc.) The
input controls (Gain, EQ, Fader) set the level (volume) and
equalization (tonal quality) of the signal, after which it can be
sent out through the various output channels by means of
Assignment buttons labeled 1-2, 3-4, and L-R. The output
controls (the faders on the right with blue or yellow knobs) set
the volume of the output signal and send it through power
amplifiers to loudspeakers. Signals from the mixer may be
recorded on cassette, mini-disk or DAT machines.
Many of the mixer controls are “push-on, push-off” buttons
which remain depressed until pushed a second time. In
these notes, a push-button is ON if it is depressed, and OFF
if it is up.
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Clearly there are lots of controls to adjust, but a means has
been provided whereby you can listen to sound cues very
easily, through the use of the PFL (Pre-Fader Listen) buttons,
which bypass most of the other controls and send the signal
directly to the console monitor system.
Sound sources are normally connected to the mixer as
follows:
Source
Mixer Input Channel
Mini-Disk 1, left
Mini-Disk 1, right
2
3
Mini-Disk 2, left
Mini-Disk 2, right
5
6
CD # 1, left
CD # 1, right
9
10
CD # 2, left
CD # 2, right
11
12
DAT, left
DAT, right
13
14
Basic setup:
For in-booth listening, consult the patch panel diagram on the
next page, and begin with only two patch cords in the lowlevel patch:
•
•
From:
To:
Strip LF Mixing Console Mon Out L
Strip LG Power Amp 5 Input 1
•
•
From:
To:
Strip LF Mixing Console Mon Out R
Strip LG Power Amp 5 Input 2
Begin with all the console Input gain controls (red knobs) set
at minimum (counter clockwise), all the A-B switches set to B
(depressed), all the EQ controls set at 12 o’clock, all PFL
buttons off (up), all Pan Pots at 12 o’clock, all channel faders
down and the Monitor Volume control down. Consult the
mixer diagram for help if necessary.
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For in-booth listening, recording and editing, only Power
Amplifier #5 (at eye-level in the amp rack) should be turned
on. Set the volume controls for channels 1 & 2 at 6.
To listen to a CD, MD, or DAT:
Set up as above. Load and begin to play the source sound.
You will probably see green Signal LED’s illuminated on the
channels through which the signal enters the mixer. In any
case, press the PFL buttons on the channels labeled for your
source.
Set the PFL Gain control at 12 o’clock. Raise the Monitor
Gain to hear the sound.
Trouble-shooting. If sound is not audible, make sure that:
•
•
•
•
•
The source machine is actually playing (counter running and/or
signal on bargraphs).
Patch cords connect Cons. Mon L & R to Amp. 5 In 1 & 2.
Power amp #5 is on and channels 1 & 2 are set at 6.
Re-check mixer set-up above.
If not seeing green Signal LEDs on mixer, raise channel input
gain controls slowly.
To listen to a cassette:
Set up system as above, then add the following patch cords:
•
•
•
•
From :
To :
From:
To:
Strip
Strip
Strip
Strip
LC
LD
LC
LD
Cas Out L
Mixing Console Line Input #15
Cas Out R
Mixing Console Line Input #16
Play cassette through input channels 15 & 16 using PFL buttons.
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To play sound cues into the theatre:
Begin by locating the loudspeaker(s) which you wish to use
and identifying the speaker lines into which they are plugged,
(e.g. Sound Panel 110, line 2). On the amplifier rack, find the
corresponding connectors on the jack field named
Loudspeaker Lines to Sound Panels. Make connections
from speaker lines to desired Power Amplifier Outputs. Note
that you may plug two speakers into one amplifier output
channel if you wish.
Selecting an amplifier:
If you are using only the usual full-range speakers, it is most
convenient to use Amps 1 and 2, which are normally
connected to the 4 sub-group outputs of the console. No
patching is needed between the console and these amps.
Simply assign the inputs to 1-2 and 3-4 and be sure the subgroup output channels are switched “On”.
The BCTel system includes a crossover network (EV Xp200A
System Controller) which is important if separate full-range
and sub-woofer speakers are to be used. No amplifier input
patching is required; simply play the sound through the L & R
(Mix) outputs of the console; patch the full-range speakers to
Amplifier 3 outputs and the sub-woofers to Amplifier 4.
CAUTION:
The amplifiers are powerful enough to damage both
loudspeakers and human hearing if you are not careful.
Never plug patch cords to amp inputs unless the amp volume
controls are turned down. Until the system is set up and
working properly, turn the amp volume controls up to 25%
maximum.
Trouble-shooting:
If you don’t hear sound in the theatre, check the following:
•
•
•
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Source machine is actually playing (counter running
and/or signal on bargraphs).
Line B selected on input channels.
If not seeing green Signal LEDs on mixer, raise channel
input gain controls slowly. If red Peak LEDs flash, reduce
the gain.
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•
•
Input channels must be switched ON, assign buttons
pressed, input channel faders must be up.
Output faders must be switched ON, and faders up.
At this point there should be monitor sound and mixer bargraph
activity.
•
•
•
•
If you are using a non-standard amplifier setup, check that
patch cords actually connect console outputs to amp
inputs.
Check that amplifier is turned on, volume controls turned
up.
Check amp output-to-speaker patching.
Check speaker connections.
Recording:
Signals are normally fed from the mixer to recording devices
through the Mixing Console Rec Out L & R jacks (on Strip
LF). These outputs are normally connected to the DAT
recorder. No patching is necessary to record on DAT. If you
wish to record on a mini-disk or on the cassette, patch from
the Console Rec Out jacks to either Cas Input L & R (Strip LC
), or MD 1 In L & R (Strip LD). As of July 1998, there is no
input connection for MD 2 R on the patch.
Procedure:
•
•
•
•
•
•
•
Turn off all unused input channels.
Active input channels must show green Signal LEDs
Channels must be On, with Assignment buttons L & R On
Channel fader must be up. Output faders are not used.
Monitor the signal via PFL buttons.
If recording on DAT, set sampling frequency Fs=44.1. The
48kHz rate is not compatible with Mini-disks if later dubbing is
required.
Recorder input must be set to Balanced (analog). If there is a
Cal/Uncal switch, set it to Uncal. Adjust input volume on the
recorder.
Recording levels:
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Each recording medium has an ideal signal level for optimal
recording quality. Too low, and there will be noise audible
during playback; too high, and distortion results, often
making the recording unusable. Our equipment
incorporates meters in the form of LED bargraphs to help you
find the right setting.
Never raise the channel Gain control to the point of making
the “peak” LED flash. Channel and output faders should not
be so high that the bargraphs above the output faders go into
the red.
All equipment is set up so that the maximum level should be
“0 dB” or “0 VU”, which is found near the top of the scale(!)
Lower levels are denoted by negative numbers, for example,
“ minus 20 dB”.
Adjust your levels so that, on the cassette recorder, the
loudest signals just reach 0, and only momentarily. On
digital equipment, overloading is a more serious problem, so
be sure that signals never go above -5dB.
To record a sound cue:
On mini-disk:
To see input levels on the bargraphs:
press
Record + Ready
To begin recording:
Press
Play
To play back recording:
Mixer channels 2 & 3
On cassette deck:
PFL
On
Place a recordable cassette in the machine.
To see input:
press
Record + Pause
To begin recording
Press
Record + Play
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To play back tape:
Cas Out must be patched to Console Line Inputs (probably
15 & 16). Press PFL buttons on those channels only.
Recording On DAT:
To see input:
press
Record + Pause
To begin recording:
Press
Rec + Play
To play back recording:
Mixer channels 13 & 14
PFL
On
Stage Monitor System:
A microphone is normally hung from the catwalk and plugged
into Sound Panel 405-1. This mic provides a feed for the
control booth speakers, dressing room program sound and
the infra-red hearing assistance system.
For booth sound, patch:
SP 405-1 (strip MD)
Proc Out (strip LF)
Multiple (strip LE)
Multiple (strip LE)
to Processor Mic In (strip MD).
to Multiple (Strip LE)
to Amp 6 Input 3
to Amp 6 Input 4
Amp 6 Out 3 (speaker patch)
Amp 6 Out 4 (speaker patch)
to SP 410
to SP 411
The signal is controlled by the Symetrix Voice Processor
which is located directly below the low-level patch panel. The
settings for this device are complicated. To start with, set
controls as indicated below (and on masking-tape markers
on the unit).
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Adjust Amp 6 channel 3 & 4 volume controls as required for
audibility.
For Dressing Room program sound and I-R system:
Patch mic SP 405-1 to Processor Mic Input
Switch ON the power supply labeled Dress Rm. Prog.
Sound (top left of rack).
Note: Signal is controlled by the Voice Processor, but no output
patch cords are required.
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