12,000 Series: Arrakis Systems, Inc

Arrakis Systems, inc.
12,000 series
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Section 1 P
Product Description s
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Section 2
Japan Atlanta
Operating Instructions
Section 3 M
Taiwan Dallas
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Installation Procedures A
Section 4 N
MexicoCity
NewZealand Electronic Description U
Section 5 A
Venezuela Australia Specifications
Section 6
L
Maintenance & Service
Section 7
Warranty
Arrakis Systems, inc --- 6604 Powell st., Loveland, CO 80538 --- 970-461-0730
WELCOME
A WELCOME TO THE 12,000 SERIES

The 12,000 Series consoles represent the pinnacle of over two decades of dedication to audio broadcast
console design by Arrakis Systems, inc. These consoles combine the engineering and manufacturing
excellence that has made Arrakis #1 in radio console unit sales in the United States & well respected
throughout the world!
The 12,000 console is a unique synthesis of old and new technologies. It was engineered for the specific
purpose of creating a new Arrakis console standard. The concept was to create a console for all markets.
To do this, the product had to be flexible, reliable, and easy to service. For ease of installation, service
and expansion, the console is entirely front panel modular. Breaking new ground, the console is also of a
universal bus design. This means that every audio bus, logic bus, and audio output is supported in each
module position in the mainframe, hence any module may be placed in any mainframe slot. More impor-
tantly, it removes the functional limitations imposed by fixed bus mainframe designs. With three main-
frame sizes of 8, 18, & 28 input module slots , the 12,000 fits any size market or application.
To be able to function in all market sizes, the 12,000 also supports a large standard complement of mod-
ules. There are four types of input module. Each features two stereo active balance inputs and three ste-
reo assignable bus outputs. There is a basic MIC level input module, a more advances MIC input module
(with PAN), a basic line level input module and a more advanced line level module (with INPUT MODE
select). The console supports the control room and two studios with comprehensive monitoring and
talkback/intercom systems. All three stereo buses are individually metered. Mono sum outputs are stan-
dard. Two internally assignable mix-minus buses support the telephone interface and are pre-set once by
the engineer and should be left alone. Once set up, the telephone operation is user transparent requiring
no additional action by the console operator. A ten minute up timer with panel controls and module reset
capability is standard. All input modules, of course, support advanced logic control such as remote tur-
rets, remote start and stop of sources, ready status lights, etc. A variety of option modules are also avail-
able such as D.A. modules, remote selector (input expander) modules, turret modules and digital worksta-
tion control modules.
The input modules features VCA (voltage controlled amplifier) control of audio to eliminate noisy faders
due to time and wear. No audio passed through the fader and ON/OFF switches, just DC control voltag-
es. Only the finest quality components are used throughout such as Penny & Giles slide faders, custom
conductive plastic rotary faders with stainless steel shaft and bushing, ITT-Cannon switches, heavy alu-
minum panels, and solid furniture quality oak trim. Only gold PC board connectors are use. All IC’s are
socketed. Modules are programmable via DIP switches. The TURBO series of the 12,000 console line
features an attractive and durable polycarbonate overlay on each module, improved ON/OFF switches
with refined electronics an PC boards. The TURBO series also features a more comprehensive
talkback/intercom system with station call and answer capabilities. Attention to detail makes the 12,000
perfect for the rugged professional broadcast environment.
The 12,000 is a truly remarkable console. The application of Arrakis ingenuity and creativity have made
these consoles a major market console in features and performance. The advantage of Arrakis volume
buying and manufacturing experience have brought these consoles within the budget of most small and
medium market broadcasters. Rugged, reliable and with the features and performance to match any
product on the market, the 12,000 Series Consoles is a console designed with today’s digital audio
world in mind
Arrakis Systems, inc. --- 6604 Powell st., Loveland, CO 80538 --- 970-461-0730 --- www.arrakis-systems.com
WELCOME
PUBLICATION DATE - 1/99 REV H1
This manual covers the entire 12,000 Turbo and 22,000

Series console line by Arrakis Systems inc.
DANGER
This product contains potentially lethal voltages and
currents and should be installed or serviced only by
trained and experienced personnel.
WARNING
Audio consoles are complex products. Unlike consumer component
stereo equipment, they cannot be properly installed, calibrated, or
serviced except by trained and experienced technicians. Arrakis
Systems does not take responsibility for warranty repairs to improperly
installed equipment.
WELCOME
Table of Contents
Section 1 PRODUCT DESCRIPTION
1-1) Features
1-2) Electronic Specifications
1-3) Physical Specifications
Section 2 OPERATING INSTRUCTIONS

2-0) General Operating Instructions
2-1) TPM1 Stereo Line Level Input Module
2-2) TPM1-M Mono MIC Level Input Module
2-3) TPM2 Mono MIC Level Input Module with PAN
2-4) TPM3 Stereo Line Level Input Module with MODE
2-5) TOB1 Output Module
2-6) TCRM1 Monitor Module
2-7) TRS1 Remote Selector Module
2-8) TDA1 Distribution Amp Module
2-9) TRR1 Motion Control Module
2-10) TPH1 - Phone System Module
2-11) Engraved ON/OF Caps, Colored Fader Knobs
2-12) VU Meter Bridges
Section 3 INSTALLATION PROCEDURES

3-0) IMPORTANT
3-1) Unpacking & Physical Installation
3-2) Grounding Systems and Ground Loops
3-3) Audio Wiring - Console Inputs
3-4) Audio Wiring - Console Outputs
3-4g) Crimping Instructions
3-5) TPMI - Connectors and Interface Notes
3-6) TPMI-M - Connectors and Interface Notes
3-7) TPM2 - Connectors and Interface Notes
3-8) TPM3 - Connectors and Interface Notes
3-9) TOB1 - Connector Diagram
3-10) TCRM1 - Connector Diagram
3-11) TRS1 - Connector Diagram
3-12) TDAI - Connector Diagram
3-13) TRR1 - Connection Information
WELCOME
Table of Contents
3-14) TGEM-VID - 6 Position Binary Switch
3-15) GEM-DL4 - Digilink IV Control Module
3-16) TPH1 - Phone Systems Module
3-17) Muting Systems
3-18) Monitor, Headphone and Cue Systems
3-19) Calibration
Section 4 ELECTRONIC DESCRIPTION

4-0) Resistor Color Code & IC Pinouts
4-1) Power Supply Description & Schematics
4-2) Mainframe Description
4-3) TPM1 Input Module
4-4) TPM1-M Input Module
4-7) TOB1 Output Module
4-8) TCRM1 Monitor Module
4-9) TRS1 Remote Selector Module
4-10) TDA1 Distribution Amp Module
4-11) TGEM-VID 6 Position Binary Switch
4-12) GEM-DL4 Digilink IV Control Module
4-13) TPHI Phone System Module
Section 5 SPECIFICATIONS & TESTING

5-0) Introductions
5-1) Frequency Response
5-2) Signal to Noise Radio (SNR)
5-3) Total Harmonic Distortion (THD)
5-4) Crosstalk
5-5) Proof of Performance

6-1) Maintenance
6-2) Service
Section 7 WARRANTY
PRODUCT DESCRIPTION
SECTION ONE
Product Description
PRODUCT DESCRIPTION
1-1) FEATURES
Totally Modular Console- Input modules, Output modules, Monitor modules
Ease of Service
Ease of Installation
Ease of Expansion
Totally Passive Motherboard Backplanes
Three Mainframe Sizes - 8 channels (TMF-8), 18 channels (TMF-18) and 28 channels (TMF-28)
Newsroom
Production
'ON AIR'
Two Choices of Color - Tan (Standard) or Platinum (Deluxe)

Deluxe models also feature illuminated VU meters, thru-table mounting and upgraded trim
Ultra-high Quality Construction and Design

Penny and Giles 3000 Series slide faders
VCA’s DC control removes audio from the slide faders
ITT-Cannon switches
Conductive plastic rotary pots with stainless steel shaft and bushing
Gold connectors-- IC's socketed -- regulated power supply -- heavy construction
Durable and attractive polycarbonate overlays
Quiet action ON/OFF switches
Highest quality double sided fiberglass PC boards with solder masking
Easy Connectorized Installation

VCA Controlled Faders
Universal Bus - Mainframe Design - any module can be placed in any slot
Pre-fader Patch/Insert points on each input module
Post-fader Direct Out on each input module
Comprehensive Logic system

Start and stop sources by isolated (dry contact) internal reed relays
Remote channel ON/OFF control with Tally for turret/studio interface
Flashing OFF switches for cart machine status
Three muting buses for Control room and two studio monitoring systems
Timer reset selectable on each module
Monitor DIM function during cue and talkback
Total Turret Support

External regulated and protected Power Supply - 110/220 VAC, 60/50 Hz
MIC Modules available with Panning feature
Line Modules available with Mode Select feature
Three Stereo Output Buses with two Mono Sums
Monitor System for Control Room and Two Studios
Stereo and mono Cue systems
Talkback/Intercom to and from Two Studios
Two User-transparent Telephone Mix-minus Buses
Four Output Stereo D.A. Module (optional)
Remote Selector (Input Expansion) Module (optional)
Built-in Digital Timer with controller (10 minute up timer)
Two Year Warranty
1.1
PRODUCT DESCRIPTION
1-2) ELECTRONIC SPECIFICATIONS
FREQUENCY RESPONSE
±.5dB (20Hz -20kHz)
NOISE
Mic - 77dB below +8dBu out with -50dBu input , 20kHz filter
Line - 85dB below +8dBu out with +8dBu in, 20kHz filter
DISTORTION
Total Harmonic - .01% typical, 30kHz filter
INTERCHANNEL CROSSTALK
-75dB at 20kHz typical
IMPEDENCES
Mic Input - above 10,000 ohms, active balanced
Line Input - above 20,000 ohms, active balanced
Outputs - smaller than 100 ohms, active balanced smaller than 50 ohms, active unbalanced
OUTPUT LEVELS
Main Outputs - +27dBm max., active balanced, into 600 ohms
Monitor, Cue, Earphones - +19dBm max., unbalanced active, into 600 ohm
Tests are performed as per factory approved test procedures and equipment. All specifications are typical and are subject to change without notice
1.2
PRODUCT DESCRIPTION
1-3) PHYSICAL SPECIFICATION

1-3a) MAINFRAME
- The 12,000 Series console mainframe is constructed of irridited, hardened aluminum panels of no less then .125" thickness.
- The panels are precision formed. There are no welds.
- The mainframe is finished with a two-part baked-on epoxy underlay covered with a durable industrial grade splatter coat.
- A series of threaded studs, washers and hex nuts are used to affix the high quality MIL-SPEC epoxy-fiberglass double sided solder
masked motherboards
- All fasteners are nickle plated or black oxidized for lasting corrosion resistance and appearance.
- Attractive and durable hand rubbed oak panels finish the mainframe in front and on both sides.
- The Meter Bridge hinges up at the back for easy access to all the input and output connectors.
- The mainframe is available in tabletop or thru-table mounting configurations.
1-3b) MODULES
- All modules are covered with a 1/8" thick hardened aluminum faceplate.
- All faceplates are irridited, epoxy painted then finished with a durable and attractive
polycarbonate overlay.
- All printing on the front of the modules is covered with this polycarbonate therefore it is nearly
impossible to wear off the lettering and other markings.
- PC boards are made from the finest MIL-SPEC epoxy-fiberglass material. The boards are
double sided and feature a green solder masking.
- All modules plug into the mainframe via gold plated computer style card edge connectors.
- All electronic components are evaluated for physical ruggedness, durability and longevity.
1-3c) POWER SUPPLY

- The power supply chassis is housed in an aluminum enclosure which features a a two-part
baked-on epoxy underlay covered with a durable, industrial grade splatter coat.
- The power supply is designed to withstand vigorous mechanical shock and vibration.
- The power supply and mainframe are connected via heavy gauge cabling 18 feet long.
1.3
OPERATING INSTRUCTIONS
SECTION TWO
OPERATING
INSTRUCTIONS
2-0) GENERAL OPERATING INSTRUCTIONS

2-0a) GENERAL DESCRIPTION
The 12,000 Series console is a sophisticated electronic product with many automatic features. It is highly recommended that users carefully
study the console‘s operation before going ON AIR or performing production. The console is designed to be very user friendly and therefore
relatively easy to operate. Learning to use the 12,000 can be an enjoyable and rewarding experience.
2-0b) PROPER CONSOLE OPERATION

The 12,000 is manufactured to the state-of-the-art in terms of ruggedness of design, ease of use, and surviving the often harsh broadcast
environment. Premium grade electronic and mechanical components are used throughout. The life of the console, however, can be
dramatically extended if care is taken in day to day operation. Abuse of switches and faders will reduce effective life to only a few years or less.
Painted surfaces, while they consist of the hardest epoxy paint available, will scratch and wear quickly if abused. Polycarbonate overlays are
susceptible to gouging and scratching if they are subjected to sharp instruments. All efforts have been made to make the console as “DJ
proof” as possible, however, heavy handed operation, spilled liquids, heavy smoke and ball point pens can ruin even the most durable
equipment.
With proper care and maintenance the 12,000 will function reliably and attractively for many years.
2.0
2-1) TPMI -- STEREO LINE LEVEL INPUT MODULE

2-1a) AUDIO FUNCTION
This module is the basic line level, stereo input module used in this console series. The module‘s audio features are:
1) Two stereo balanced inputs (A & B)
2) Three stereo output buses (PGM, AUD, UTL)
3) Stereo CUE- (assigned by fader detent)
4) Illuminated channel ON and OFF SWITCHES
5) Stereo DIRECT OUT (turns on, off and fades with the module)
6) Stereo PREFADER PATCH (for insertion of an audio processing loop in the signal path) TPM1
7) Two MIX-MINUS buses for telephone interfacing
2-1b) LOGIC FUNCTION A
The module also carries extensive logic control capability for both the “A” and “B” inputs. B
The module‘s logic features are: PGM
1) REMOTE START and STOP of audio sources (features dry contact reed relay closures.
AUD
The relays are totally floating and isolated so there is no ground path between machines)
2) READY STATUS capability for the OFF switch (The internal OFF lamp driver can be UTL
disabled so that a cart machine can flash the OFF lamp to indicate that the cart is ready)
3) REMOTE CHANNEL ON/OFF (the module may be turned on or off from a remote
location such as a news booth)
5) Three independent muting buses (assignable CR (control room), STUDIO 1 and/or
STUDIO 2. Can mute monitors andactivate logic for “ONAIR” lights etc.)
6) The above functions are “A/B STEERED” (they follow the A/B SWITCH)
7) TIMER RESET capability (can be switched on or off)
8) Logic features set with DIP switches (no solder jumpers)
2-1c) ELECTRONIC FUNCTION

The module features a sophisticated state-of-the-art electronic design resulting in dependable 0
long term operation and a high level of sonic performance. The module‘s electronic features
include:
1) VCA‘s (Voltage Controlled Amplifiers- removes audio from the fader. The fader adjusts a DC
voltage which in turn controls the VCA‘s volume. Virtually eliminates scratchy faders)
2) Penny and Giles 3000 Series slide fader
3) ITT-Cannon switches in the audio path (silver contacts)
4) High performance NE5532 Op Amp ICs (socketed for easy servicing)
5) 1% metal film resistors
6) Conductive plastic single turn trim pots for level adjust
7) Double sided solder masked PC board with gold plated edge connectors
ON
OFF
TPM1
2.1
2-1)
2-2) TPMI-M -- MONO MIC LEVEL INPUT MODULE
This module is the basic MIC level, mono input module used in this console series. The module‘s audio features are:
1) Two mono MIC level balanced inputs (A and B)
2) Three output buses (PGM, AUD, UTL)
3) CUE/TALKBACK- (into the monitor system. Activated by external logic control)
5) DIRECT OUT (turns on, off and fades with the module)
6) PREFADER PATCH (for insertion of an audio processing loop in the signal path) TPM1-M
A
2-2b) LOGIC FUNCTION
The module also carries extensive logic control capability for both the “A” and “B” inputs. The module‘s logic B
features are: PGM
1) ON/OFF TALLY (will drive external lamps to indicate if module is on or off) AUD
2) COUGH MUTE (allows momentary muting of the module with an external logic command)
3) REMOTE CHANNEL ON/OFF (the module may be turned on or off from a remote location such UTL
as a news booth)
5) Three independent muting buses (assignable CR (control room), STUDIO 1 and/or STUDIO 2. Can
mute monitors andactivate logic for “ONAIR” lights etc.)

The module features a sophisticated state-of-the-art electronic design resulting in dependable long term
operation and a high level of sonic performance. The module‘s electronic features include:
1) High performance MIC preamp IC (SSM2017) 0
2) Input level trim adjust allows preamp gain ranging 30dB to 70dB
3) VCA (Voltage Controlled Amplifier- removes audio from the fader. The fader adjusts a DC voltage which in
turn controls the VCA‘s volume. Virtually eliminates scratchy faders)
4) Penny and Giles 3000 Series slide faders
8) Conductive plastic multi-turn trim pot for level adjust
ON
OFF
TPM1
TPM1-M
2.2
2-2) TPM2 -- MONO MIC LEVEL INPUT MODULE with PAN

2-3)
This module is the advanced MIC level, mono input module used in this console series. The module‘s audio features are:\
1) Two mono MIC level balanced inputs (A and B)
2) PAN pot and IN/OUTswitch (allows left to right panning of the signal for precise placement of the voice in the stereo image)
4) CUE/TALKBACK- (into the monitor system. Activated by external logic control)
6) Stereo DIRECT OUT (turns on, off, fades and PANs with the module) TPM2
7) PREFADER PATCH (for insertion of an audio processing loop in the signal path)
A
2-3b) LOGIC FUNCTION B

The module also carries extensive logic control capability for both the “A” and “B” inputs. The module‘s logic PGM
features are: AUD
1) ON/OFF TALLY (will drive external lamps to indicate if module is on or off)
UTL
2) COUGH MUTE (allows momentary muting of the module with an external logic command)
3) REMOTE CHANNEL ON/OFF (the module may be turned on or off from a remote location such PAN
as a news booth)
5) Three independent muting buses (assignable CR (control room), STUDIO 1 and/or STUDIO 2. Can
mute monitors and activate logic for “ONAIR” lights etc.)
8) Logic features set with DIP switches (no solder jumpers) PAN

The module features a sophisticated state-of-the-art electronic design resulting in dependable long term 0
1) High performance MIC preamp IC (SSM2017)
2) VCA (Voltage Controlled Amplifier- removes audio from the fader. The fader adjusts a DC voltage which
in turn controls the VCA‘s volume. Virtually eliminates scratchy faders)
4) Proprietary design Clarostat MOD-POT for PAN
5) ITT -Cannon switches in the audio path (silver contacts)
6) High performance NE5532 Op Amp ICs (socketed)
7) Conductive plastic multi-turn trim pot for level adjust
9) Double sided solder masked PC board with gold plated edge connectors ON
OFF
TPM1
TPM2
2.3
2-4) TPM3 -- STEREO LEVEL LEVEL INPUT MODULE with MODE SELECT
This module is the advanced line level, stereo input module used in this console series. The module‘s audio features are
1) Two stereo balanced inputs (A and B)
2) MODE SELECT switch (selects input mode-- STEREO: normal mode, MONO: sums left and right inputs and feeds to both
sides, LEFT: feeds left input to both sides, RIGHT: feeds right input to both sides)
4) Stereo CUE- (assigned by fader detent or push button)
5) Illuminated channel ON and OFF SWITCHES TPM3
6) Stereo DIRECT OUT (turns on, off and fades with the module)
7) Stereo PREFADER PATCH (for insertion of an audio processing loop in the signal path)
8) Two MIX-MINUS buses for telephone interfacing A
B
2-4b) LOGIC FUNCTION PGM
The module also carries extensive logic control capability for both the “A” and “B” inputs. The module‘s
AUD
logic features are:
1) REMOTE START and STOP of audio sources (features dry contact totally isolated reed relay UTL
closures) CUE
2) READY STATUS capability for the OFF switch (a cart machine can flash the OFF lamp to
indicate that the cart is ready)
3) REMOTE CHANNEL ON/OFF (the module may be turned on or off from a remote location Stereo
Mono
such as a news booth) Left
5) Three independent muting buses (assignable CR (control room), STUDIO 1 and/or STUDIO 2. Right
Can mute monitors and activate logic for “ONAIR” lights etc.) MODE
0
The module features a sophisticated state-of-the-art electronic design resulting in dependable long
term operation and a high level of sonic performance. The module‘s electronic features include:
1) VCA‘s (Voltage Controlled Amplifiers- removes audio from the fader. The fader adjusts a DC
voltage which in turn controls the VCA‘s volume. Virtually eliminates scratchy faders)
3) Greyhill “HI-REL” MODE switch
7) Conductive plastic single turn trim pots for level adjust ON
OFF
TPM1
TPM3
2.4
2-5a) TOB1 -- OUTPUT FUNCTION

This module performs the audio bus summing, drives the console outputs and drives the VU meter/monitor bus. The module‘s audio
features are:
1) Stereo balanced outputs (can drive 600½) for:
a) PGM (program)
b) AUD (audition)
c) UTL (utility)
2) Mono balanced outputs (can drive 600½) for: TOB1
a) PGM MONO (mono sum of program left and right)
b) AUD MONO (mono sum of audition left and right)
2) Unbalanced outputs for: A
a) PGM MIX-MINUS (interface to telephone hybrid from PGM)
B
b) AUD MIX-MINUS (interface to telephone hybrid from AUD)
3) VU meter drivers (also drives monitoring system) for: PGM
a) PGM AUD
b) PGM MONO
UTL
c) AUD
d) UTL
2-5b) LOGIC FUNCTION

The module also carries drivers for external relays to be activated by the three independent muting systems.
The module‘s logic features are:
1) CR MUTE RELAY OUTPUT (is activated when the control room MIC is turned on. Can trigger
“ON AIR” lights, logging recorder phone ringer mute etc.),
2) STUDIO 1 MUTE RELAY DRIVER (is activated when any MIC‘s assigned to STUDIO 1 are
turned on)
3) STUDIO 2 MUTE RELAY DRIVER (is activated when any MIC‘s assigned to STUDIO 2 are
0
turned on)

The module features a sophisticated state-of-the-art electronic design resulting in dependable long term
ON
OFF
TPM1
TOB1
NOTE - Remove the cover panel (two screws) to access the level adjust trim pots.
2.5
2-6) TCRM1 -- MONITOR MODULE

2-6a) MODULE FUNCTION
This module is handles monitoring, talkback/intercom and timer control functions. The module‘s features include:
1) MONITOR SELECT switch. Consists of:
a) Two external monitor inputs (EXT 1 and EXT 2 are stereo active balanced line level inputs)
b) PGM select (monitor program output)
c) AUD select (monitor audition output)
d) UTL select (monitor utility output)
2) MONITOR MONO button (mono sums the right and left monitor outputs together TCRM1
when pressed. Use for phase error or mono-compatibility checks)
3) TIMER CONTROL section consists of:
a) START button (starts the timer when AUTO is not pressed) EXT
A 1
b) STOP button (stops the timer when AUTO is not pressed) EXT
B 2
c) RESET button (resets the timer)
PGM
d) AUTO button (when this button is pressed the timer will automatically reset when an input module is
turned on) AUD
4) TALKBACK/INTERCOM section consists of: UTL
a) TALKBACK TO STUDIO 1/STUDIO 2 buttons Monitor
Mono
b) CALL LOGIC TO STUDIO 1/STUDIO 2 outputs
c) CALL LOGIC FROM STUDIO 1/STUDIO 2 inputs Start
(The console operator can talk to a studio by pressing the appropriate TALKBACK button. This will not only
Stop
send the CR MIC‘s signal to the studio, but will also send “CALL LOGIC TO” that studio. The call logic tells
the studio who is calling. When a studio is calling the control room the appropriate TALKBACK button will Reset
light up (CALL INDICATOR) telling the control room operator which studio is on the line (“CALL LOGIC AUTO
FROM” a studio). When a studio is calling, the normal program audio into the control room monitor and TIMER CONTROL
headphones will DIM (or DUCK) allowing the TALKBACK audio to be heard. DIM level is adjustable)
5) HEADPHONES and MONITOR volume pots (also trim pot adjustable)
6) HEADPHONES and MONITOR outputs (monitor will mute with CR MUTE logic)
arrakis
SYSTEMS, INC.
7) STUDIO 1 MUTED and STUDIO 1 UNMUTED outputs (STUDIO 1 MUTED output is 0
T
usually connected to the studio #1‘s monitor speaker system. The output will mute with STUDIO 1 A
L
MUTE logic. STUDIO 1 UNMUTED is commonly used to feed studio #1‘s headphones) K
8) STUDIO 2 UNMUTED output (can feed studio #2‘s monitor and headphone systems. B
A
An external muting relay is required if monitor muting is desired) C
K
9) Output to AUX VU meters (sends monitor audio to the switch in the Meter Bridge. When this
switch is in the bottom position the AUX meters read whatever the monitor is selected to)
10) AUTOCUE feature (mixes CUE audio into the control room monitor and headphones when
cueing. The normal program audio will DIM during AUTOCUE so the CUE audio can be heard
through the monitor and headphones)
HEADPHONES
11) MONO CUE output (is a mono sum of left and right CUE signals. Will mute with CR MUTE logic)
12) TALKBACK BUS (simplifies connecting the CR MIC into the TALKBACK TO STUDIOS ON
1 AND 2 system)
13) EXTERNAL STUDIO MONITOR inputs (can be used to feed a seperate signal to the studios)
OFF
MONITOR
TPM1
TCRM1
2.6
2-7) TRS1 -- 1X5 STEREO REMOTE SELECTOR SWITCH MODULE

This module selects one of five STEREO BALANCED audio sources to be routed to a destination or selects one of five destinations to
receive a source.
1) The TRS1 is commonly used as selector switch to route remote audio and NET feeds to an input module.
2) The module can also function as an input pre-selector for the TCRM1 Monitor module‘s EXT MON inputs.
3) Since the switch is bi-directional, it can also be used as an output destination router.
2-7b) ELECTRONIC FUNCTION TRS1

The module contains no active electronics, just passive interlocking 4PDT switches.
OFF
TRS1
2.7
2-8) TDA1 -- 1X4 STEREO DISTRIBUTION AMPLIFIER MODULE

This module performs audio amplification and distribution. The module‘s audio features are:
1) Stereo active balanced input
2) Five stereo active balanced outputs (can drive 600½)
3) Seperate trim pot adjustments for all outputs.
2-8b) ELECTRONIC FUNCTION TDA1

The module features a sophisticated state-of-the-art electronic design resulting in dependable long
term operation and a high level of sonic performance. The module‘s electronic features include:
NOTE: Remove the cover panel (two screws) to access the level adjust trim pots.
TDA1
2.8
2-9) TRR1 -- DUAL MACHINE CONTROL MODULE

2-9a) MODULE FUNCTION
This module has two banks of switches, each intended to provide convenient remote control of typical recorder shuttle functions.
Each switch bank consists of five MOMENTARY DPST switches, of which one contact is normally open and the other is
normally closed. Each switch has a 12 volt lamp built in to provide tally indication.
The two switch banks are labled:
1) REC (cap color = RED, fill color = WHITE)
2) FWD (cap color = WHITE, fill color = BLACK)
3) RWD (cap color = WHITE, fill color = BLACK) TRR1
4) PLAY (cap color = GREEN, fill color = WHITE)
5) STOP (cap color = YELLOW, fill color = BLACK)
A REC
Upon special order the following STANDARD ENGRAVED CAPS are available: B
1) TER (cap color = WHITE, fill color = BLACK)
PGM
2) SEC (cap color = WHITE, fill color = BLACK) FWD
3) STRT (cap color = GREEN, fill color = WHITE) AUD

4) AUTO (cap color = RED, fill color = WHITE) UTL
RWD
5) TALK (cap color = WHITE, fill color = BLACK)
6) CGH (cap color = YELLOW, fill color = BLACK)
7) RSET (cap color = WHITE, fill color = BLACK) PLAY
8) ON (cap color = RED, fill color = WHITE)
9) OFF (cap color = YELLOW, fill color = BLACK)
STOP
Also upon special order CUSTOM ENGRAVED CAPS are available. Up to four characters
(including spaces) can be engraved on a cap. There are four colors available:
1) RED with WHITE fill
2) GREEN with WHITE fill
3) WHITE with BLACK fill
4) YELLOW with BLACK fill 0 REC
FWD
RWD
PLAY
ON
STOP
OFF
TPM1
TRR1
2.9
2-10) TPH1 Phone System Module

This module selects the feed to a telephone hybrid, and allows the caller and an announcer to easily communicate and cue off
air. The announcer may select the caller to hear just the announcer (cue mode), the Program MIX (-) feed, Audition MIX (-), or
one of two auxiliary signals.
With or without this module, the announcer is placed On-Air by activation of the announcer’s MIC module and the caller is place
On-Air by activating the input module assigned t the hybrid’s caller output.
TPH1
2-10b) SWITCH FUNCTION
Switch 1: CUE places caller onto console’s CUE bus and routes the announcers MIC to the
hybrid, so the caller and the announcer may communicate off air. The announcer’s MIC channel ON- 1
OFF switch would normally be off at theis time ( the feed to this module is not effected by the MIC 2
channel’s On-Off status). The particular MIC channel which feeds the module is determined when
the console is wired up. 3
4
Switch 2: PGM feeds Program MIX (-) to the hybrid.
5
Switch 3: AUD feeds Audition MIX (-) to the hybrid. OFF
Switch 4: AUX 1 feeds Auxiliary Input #1 to the hybrid.
Switch 5: AUX 2 feeds Auxiliary Input #2 to the hybrid.
Switch 6: OFFS
The module features dependable long term operation and a high level sonic performance. The mod-
ule’s electronic features include:
2) Double sided PC board with gold plated edge connectors.
3) A conductive plastic single turn trimpost allows adjustment of the caller’s audio levels onto
the console’s CUE bus.
4) High quality long lasting selector switches with silver plated contacts.
TPH1
2.10
2-11) ENGRAVED “OFF” CAPS & COLORED FADER KNOBS

2-11a) STANDARD ENGRAVED "OFF" CAPS
The blank yellow "OFF" cap on each input module can be replaced with an engraved one. Engraved caps are available from Arrakis
Systems upon special order (part N¼ TSC-xxxx, TSC-MIC1 for example). A list of available engravings:
MIC CART REM DAT HOST
ANNC 2 1 2 MIC
MIC CART REM DAT TALENT

1 3 2 3
MIC CART REM TRACK NEWS

2 4 3 1
MIC CART RR TRACK TRAFC

3 5 1 2
CD CART RR TRACK NET

1 6 2 3
CD TT RR TRACK EFX
2 1 3 4
CD TT CD TRACK CHURCH
3 2 4 5
CART TT CASS TRACK SPORTS

REC 1 3 1 6
CART PHONE CASS TRACK STUDIO

REC 2 1 2 7
CART PHONE CASS TRACK EAS

REC 3 2 3 8
CART PHONE DAT GUEST WX

1 3 1 MIC
2-10b) CUSTOM ENGRAVED CAPS

Custom engraving is also available (part N¼ TCC-xxxx). The cap will fit two lines of type, with 7 characters per line (including blank spaces).
The red “ON” cap can also be engraved.
2-10b) COLORED FADER KNOBS

Black fader knobs come standard with the input modules. Colored fader knobs are available through special order. The part number
is TCF-xxxx. For example, a RED knob is called TCF-RED.
Available colors: RED YELLOW ORANGE GREY GREEN WHITE BLUE
2.11
2-12) VU METER BRIDGES

2-12a) THE VU METER BRIDGE
The VU Meter Bridge houses different arrangements of VU meters depending on mainframe size. There is metering for the
Program (PGM), Audition (AUD), Utility (UTL), PGM MONO and MONITOR VU buses. MONITOR metering is done through
the AUX VU meters. PGM MONO metering is available on the TMF-28 meter bridge only. Deluxe (platinum colored) consoles
feature illuminated meters. Standard (tan) consoles do not have illuminated meters, however illumination kits are available.
TMF-8
Mainframe
PGM (or AUX) TIMER
AUX
Meter
Switch
TMF-18
Mainframe
PGM AUD AUX TIMER
AUX
Meter
Switch
TMF-28
Mainframe PGM
PGM AUD AUX MONO TIMER
2-12b) AUX METER SWITCHING

On the left side of the VU meter panel is a two position switch. This switch selects the input to the 'AUX' set of meters. The top switch
position normals the AUX meters to the UTL output bus. The bottom switch connects the AUX meters to the monitor selector switch
on the Control Room Monitor module. The AUX meters will indicate whatever audio is coming through the monitor speakers (except
cue and talkback audio). This makes it possible to meter external inputs to the monitor system such as the AIR MONITOR signal etc.
2-12c) TIMER
The meter bridge contains a 10 minute up-timer. The timer is controlled by a set of switches on the Control Room Monitor module.
There are controls for:
a) TIMER START
b) TIMER STOP
c) TIMER RESET
d) AUTO (reset from module)
2.12
INSTALLATION PROCEDURES
SECTION THREE
INSTALLATION
PROCEDURES
IMPORTANT
- READ THESE INSTRUCTIONS CAREFULLY -
These instructions provide specific information for this product that
must be followed for correct installation and calibration. Incorrect
installation will reduce performance, damage the console, or
damage other equipment in the studio. Arrakis Systems does not
take warranty responsibility for equipment that is not installed per
this manual.
3.0
3-1) UNPACKING & PHYSICAL INSTALLATION

3-1a) UNPACKING
The 12,000 Series console is shipped in a specially designed cardboard shipping container with foam fill. This box contains the console
but not the power supply or installation supplies. The power supply is shipped in a seperate cardboard carton along with the manual, spare
parts kit and installation kit. Check all cartons and equipment for shipping damage immediately upon recipt. If any damage is found
contact Arrakis Systems immediately at (970) 461-0730. Do NOT throw away any packaging material until after console installation is
complete and satisfactory.
3-1b) TABLETOP INSTALLATION

The tabletop version of the 12,000 Series console does not require a hole for console mounting, however holes must be provided for cable
routing.
There must be sufficient clearance above and behind the console to accomodate the upward hinging meter panel. Refer to the
diagram on the next page for console dimensions and clearances. In general, the console should be installed in a tabletop 36" deep with
at least 3 to 4" of clearance on either side, 10" clearance above and 6" clearance behind.
The console can be screwed down to the tabletop if deemed necessary. Holes can be drilled through the bottom of the console in
front of and behind the motherboards. The console can then be screwed down.
Arrakis Systems does not cover under warranty any damages incurred due to improper installation, therefore take care when
drilling holes in the console mainframe. Even the smallest metal filing can cause a short circuit. Take appropriate steps to see that no metal
debris gets under the motherboards or in the electronics. It is highly recommended to vacuum out any filings ordebris (as a result of drilling)
from the console mainframe before powering up the console.
3-1c) THRU-TABLE INSTALLATION

The thru-table ("Deluxe") version of the 12,000 Series console requires a mounting hole in the tabletop. See the next page for hole
dimensions.
The console can be screwed down if deemed necessary. It is suggested to screw the console down by drilling
holes up through the tabletop into the console‘s wood side panels.
3-1d) POWER SUPPLY INSTALLATION

The console's power supply mounts beneath the tabletop, up under the table. It may also be mounted in the bottom or side of a cabinet.
The power supply should be screwed down utilizing the screw holes provided for that purpose. Be sure to provide enough ventilation to
insure adequate power supply cooling.
Power Cable lengths

a) Power supply AC power cable - 6 feet POWER SUPPLY DIMENSIONS
b) Power Supply DC power cable - 10 feet
c) Console DC power Cable - 8 feet 9 1/4"
front side view
6 1/4" view
12" 10"
3.1
3-1) UNPACKING & PHYSICAL INSTALLATION (continued)
3-1e) STANDARD (TABLETOP MOUNT) CONSOLE DIMENSIONS AND CLEARANCES
3" 4 3/4"
4
9 3/4"
7 3/8" 1 1/4"
6 3/8" 23 5/8"
CABLE ACCESS HOLES
3/4“
23 5/8"
3 1/8"
TMF-8A: 17 1/4"
TMF-18A: 32 5/8"
TMF-28A: 48 1/8"
3.2
3-1) UNPACKING &PHYSICAL INSTALLATION (continued)

3-1f) DELUXE (THRU-TABLE MOUNT) CONSOLE DIMENSIONS & CLEARANCES
3
7 3/4" 4 3/4"
4
5 5/8" 2"
1 7/8"
THRU-TABLE HOLE
5 3/4" 22 3/8"
3/4 “
22 3/8"
2"
TMF-8D: 17 1/2"
TMF-18D: 32 7/8"
TMF-28D: 48 3/8"
3.3

3-1g) CABLE ACCESS CUTOUT DIMENSIONS
3 3/8" 4" 2 1/2“ 4" 3 3/8"

TABLETOP CONSOLES :
1/2" Cabling routes through CABLE
1 1/2" ACCESS CUTOUTS in the bottom
rear of the console. Cut holes in the
tabletop beneath the console to ease
cable routing and installation.
TMF-8
3 3/8" 4" 1 1/2 4" 1 1/2 4" 1 1/2 4" 1 1/2 4" 3 3/8"
1/2"
1 1/2"
TMF-18
1 1/2 1/21
"
4" 4" 4 4" 4" 4"
3 3/8 4 3/4 4 3/4 4 3/4 3 3/8
1/2"
1 1/2"
TMF-28
3.5

3-1h) TABLETOP CUTOUT DIMENSIONS, THRU-TABLE CONSOLEs
TMF-8D THRU-TABLE CONSOLEs :

A rectangular hole in the tabletop is required
for console installation.
20 3/8" UT Common tabletop dimensions are:

TO TMF-8 ---- 36" x 36"
CU TMF-18 -- 45" x 36"
TMF-28 -- 54" x 36"
7 1/2"
15 7/8"
TMF-18D
20 3/8" O UT
T
CU
7 1/2"
31 5/8"
TMF-28D
20 3/8" O UT
T
CU
7 1/2"
47 1/8"
3.6
3-2) GROUNDING
3-2a) GROUNDING OVERVIEW
An audio installation is only as good (or bad ) as its grounding system. Poor grounding practices are the number one cause of RF
interference, hum, crosstalk and noise.
Grounding is used for FOUR distinct and different purposes:
(1) SAFETY FROM SHOCK HAZARD

(2) SHIELDING FROM RF INTERFERENCE
(3) AC POWER DISTRIBUTION
(4) REFERENCING BETWEEN TWO OR MORE
PIECES OF ELECTRONIC EQUIPMENT
(ELECTRONIC GROUND)
These four purposes are often at odds with each other and therefore require separate grounding systems. As an example, AC
power ground carries large current and creates transients as equipment is turned on and off. It is therefore not a clean ground and
should not be used for or connected to Electronic Ground where it will induce noise. As another example, RF ground should drain
RF energy away from electronic semiconductor devices AND Electronic Ground where the RF can be reintroduced into the
equipment. A last example is Shock Hazard ground (Chassis ground) which is AC ground from the third prong of the AC power
plug. This ground is normally connected to the metal chassis of the electronic product to prevent shock hazard. If this ground is
connected to Electronic Ground and an unbalanced signal wire is used (it will have Electronic Ground also), then there are two different
ground paths and a ground loop is created with its associated 60 cycle hummmmmm. The important point in this discussion is to
remember the basic principle that Electronic Ground must remain pure and NOT connected to (1) Safety Ground (2) RF Ground
or (3) AC Power Ground. Star ground networks are effective in reducing crosstalk and hum.
IMPORTANT - SMALL STUDIOS CAN BE ASSEMBLED USING SLOPPY GROUNDING PRACTICES

AND OFTEN WORK ACCEPTABLY. HOWEVER, THAT IS SIMPLY LUCK. GOOD GROUNDING
PRACTICES SHOULD ALWAYS BE USED.
SINGLE
STAR GROUND
POINT
EARTH
GROUND
INDIVIDUAL
GROUND
CONDUCTORS
Star Ground Network
3.7
3-2) GROUNDING (continued)

3-2b) CONSOLE GROUNDING
The console has two parts. One is the console itself, the second is the power supply.
POWER SUPPLY GROUND

Since the power supply contains AC, the chassis of the power supply is connected internally to the third prong of the AC power plug (AC
System Ground). This should NEVER be defeated through the use of a 3-2 prong adapter. If the chassis of the power supply is not
grounded a serious shock hazard exists. The Electronic Ground from the open-frame supplies in the cabinet are FLOATED with respect
to power supply Chassis Ground. The 3-2 prong adapter therefore will not remove a ground loop since none exists.
CONSOLE CHASSIS GROUND

The chassis of the console is ENTIRELY floating. It is not connected to Electronic Ground, AC Ground or anything else. There is AC in the
meter panel to the timer module. Therefore, the chassis of the console MUST be grounded for AC shock protection . It should be
connected to Station Ground for AC protection, to drain static shocks from the chassis and to shield against RF Interference.
To connect the console chassis to ground, a 1/4" hole is provided for a grounding stud. The hole is located on the bottom right side of the
mainframe beneath the Meter Bridge. In high RF fields, or highest quality installations, a 4 inch copper ground strap should be used to ground
the console chassis to the main Station Ground. The Meter Bridge can also be grounded for added safety. Be sure to scrape away
any paint which may compromise the ground integrity.
The 12,000 Series console features a GROUNDING STRIP which runs across the rear of the mainframe. This strip can has a series
of tapped holes (4-40) which can be used to affix ground wires to the console mainframe. It is suggested to run a ground strap from this strip
to the 1/4" grounding stud discussed above. Once again, be sure to scrape away any paint when affixing ground wires to the strip.
CONSOLE AND POWER SUPPLY GROUNDING DIAGRAM
CONSOLE
FLOATING ELECTRONIC GROUND
CHASSIS
GROUND
POWER
SUPPLY
CHASSIS
MAIN GROUND
STATION TO MAIN
GROUND AC GROUND
3.8
3-2)
3-2c) GROUND LOOPS
Modern audio consoles do NOT generate 60 or 120 cycle hum. Hum is caused by 60 cycle radiation from power supply transformers
located too close physically to electronic equipment (generally 1"-6") or by GROUND LOOPS.
A ground loop is a low frequency LOOP ANTENNA which picks up 60 cycles being radiated within the building from its AC power
distribution system. The loop is created when two pieces of equipment have more than one ground path between them.
THE WAY TO REMOVE THE HUM IS TO SIMPLY TO BREAK THE LOOP !!
No ground loop
ELECTRONIC CART
GROUND MACHINE
CHASSIS
GROUND
FLOATING
ELECTRONIC
GROUND
CHASSIS
GROUND
With ground loop
CART
MACHINE
NOTE - A ground loop is created when chassis and electronic ground are connected in both pieces of equipment. This is generally
accomplished through the AC ground on the third prong of the AC power cord or by connecting the audio cable shield at both ends.
3.9
3-2) GROUNDING (continued)

3-2c) GROUND LOOPS (continued)
FLOATING
ELECTRONIC
Unbalanced source ground loop GROUND
Electronic CHASSIS
ground GROUND
A typical ground loop is formed when Electronic Ground is connected within the product to Chassis Ground. Unbalanced semi-pro
equipment is often built this way. Unbalanced equipment requires that Electronic Ground be connected through the audio signal
cable between the two pieces of equipment. The third prong of the AC power plug completes the ground loop. Lifting of the third
prong or insertion of an audio isolation transformer are the only ways to break the loop.
Shield ground loop
shield
Another typical ground loop is created when audio cabling has the shield connected at both ends between two pieces of equipment.
It doesn‘t matter whether the shield is connected to Chassis or Electronic Ground, it is incorrect. Correct procedure is for the shield to be
connected at ONE end only and that end should be the SOURCE equipment chassis. Remember, the only purpose for the
shield is to drain RF interference to ground away from Electronic Ground and any electronic components. That means that
grounding of the shield is only required at one end.
3.10
3-3) INPUT WIRING

3-3a) RECOMMENDED WIRE
Only individually FOIL SHIELDED TWISTED PAIR cable is recommended by Arrakis Systems. Use of unshielded twisted pair
such as multipair telephone cable is NOT recommended for a quality installation that will achieve the maximum possible performance
from this console.
3-3b) BALANCED SOURCE OUTPUT TO BALANCED CONSOLE INPUT

The use of BALANCED wiring is strongly recommended
ACTIVE
BALANCED CONSOLE
AUDIO INPUT
SOURCE
(+) (+)
(-) (-)
SHIELD
CHASSIS
GROUND
3-3c) UNBALANCED SOURCE OUTPUT TO BALANCED CONSOLE INPUT

Use this wiring method for low noise installation of unbalanced audio sources to the console. 60 cycle hum will be rejected and ground
loops avioded IF the Electronic Grounds are not connected between the source and console.
UNBALANCED CONSOLE
AUDIO INPUT
SOURCE
Signal (+)
Electronic (-)
Ground
SHIELD
CHASSIS
GROUND
3.11
3-3) INPUT WIRING (contined)

3-3d) LINE LEVEL TRANSFORMER BALANCED SOURCE OUTPUT TO ACTIVE BALANCED CONSOLE INPUT
The Source Transformer Output wants to see a fixed impedance of generally 600 ohms for it to meet frequency response and
distortion specifications. The Console Input is high impedance (>10,000 ohms). To match impedances, a 600 ohm resistor
must be placed across the input of the console as shown below.
TRANSFORMER 600½
MATCHING RESISTOR CONSOLE
BALANCED
LINE INPUT
AUDIO
SOURCE (+) (+)
Zin > 10k
(-) ohms
(-)
SHIELD
CHASSIS
GROUND
3-3e) MIC LEVEL BALANCED SOURCE OUTPUT TO MIC LEVEL ACTIVE BALANCED CONSOLE INPUT
Most MICs will interface directly to the console's high impedance input, however some MICs require a matching resistor to be placed
across the console input to insure proper frequency response and distortion characteristics . Refer to the MIC‘c spec sheet for
impedance matching information. High voltage static discharges can ruin the MIC module‘s input stage. The MIC channel inputs are
diode protected against most static discharges.
150½ TYPICAL
MATCHING RESISTOR CONSOLE
MIC INPUT
(+) (+)
MIC Zin > 1k
(-) (-) ohms
SHIELD GND
SHIELD
CASE
GROUND
Stereo MICs need to be run through an outboard stereo MIC preamp then brought into the console as a stereo line level signal.
3.12
3-3) INPUT WIRING (continued)

3-3f) UNBALANCED SOURCE OUTPUT THROUGH AN ISOLATION TRANSFORMER TO BALANCED
CONSOLE INPUT
In some situations an Isolation Transformer is required to solve tough RF Interference or ground loop problems where the Source
Output is unbalanced. The Isolation Transformer must be impedance matched to both the source and the console.
Typically a 600½ audio transformer is used whose inputs and outputs want to see a fixed impedance of 600½ for it to meet frequency
response and distortion specifications. The Console Input is high impedance (>10,000 ohms). To match impedances, a 600 ohm
resistor must be placed across the input of the console as shown below.
Most unbalanced sources are low impedance but not all. Check the Zout spec of the source device to insure the proper matching
resistors are placed in series with the transformer primary leads. The total resistance, Zout + Zseries, should equal 600½ for a 600½
transformer. Different transformers and resistors may have to be used for proper impedance matching.
560½ TYPICAL
MATCHING RESISTOR
UNBALANCED 600½
ISOLATION MATCHING RESISTOR CONSOLE
AUDIO
TRANSFORMER LINE INPUT
SOURCE
(+)
OUTPUT (+)
(-) Zin > 10k
ELECT GND ohms
(-)
SHIELD
CHASSIS
GROUND
3.13
3-4) OUTPUT WIRING

3-4a) CONSOLE BALANCED OUTPUT TO ACTIVE BALANCED INPUT
The console outputs are low impedance (>100 ohms balanced) and can therefore directly drive multiple high impedance inputs
(>10k½) without a distribution amplifier. These active balanced (transformerless) outputs do NOT require a terminating resistor as
a transformer balanced output would.
CONSOLE ACTIVE BALANCED

LINE OUTPUT INPUT DEVICE
(+) (+)
Zin > 10k
(-) (-) ohms
SHIELD
CHASSIS
GROUND
3-4b) CONSOLE BALANCED OUTPUT TO UNBALANCED INPUT

This diagram illustrates an active balanced console output to an unbalanced equipment input. Note that the (-) console output is left
unconnected. If the (-) console output is grounded as you would with a transformer balanced output, then the console‘s output
driver amplifier would be shorted and eventually fail.
CONSOLE UNBALANCED
LINE OUTPUT INPUT DEVICE
(+) INPUT
(-)
ELECTRONIC ELECTRONIC
GROUND GROUND
SHIELD
CHASSIS
GROUND
NO CONNECTION
3.14
3-4) OUTPUT WIRING (continued)

3-4c) CONSOLE BALANCED OUTPUT TO TRANSFORMER BALANCED INPUT
The console Output is low impedance (<100 ohms) and can therefore directly drive only ONE 600½ input impedance transformer
balanced input without a distribution amplifier. The transformer needs to see a 600 ohm balanced driving impedance for
accurate frequency response and low distortion. Each console Output has a 47½ series resistance already built in. This means
that a 253½ (255½ is the closest standard value) series resistor must be added to each leg of the balanced console output as
shown below.
TRANSFORMER
CONSOLE 255½ MATCHING RESISTORs BALANCED INPUT
LINE OUTPUT DEVICE
Zout (+) (+)

<100½
(-) (-)
SHIELD
CHASSIS
GROUND
3-4d) CONSOLE BALANCED OUTPUT TO ISOLATION TRANSFORMER TO UNBALANCED INPUT

In some situations an Isolation Transformer is required to solve tough RF Interference o ground loop problems where the Input
Device is unbalanced. The Isolation Transformer must be impedance matched to both the console and the Input Device.
Typically a 600½ audio transformer is used whose inputs and outputs want to see a fixed impedance of 600½ for it to meet frequency
response and distortion specifications. The Console Ouput is low impedance (<100½). To match impedances, a 253½ sereis
resistor must be added to each leg of the console output as shown above. A 600 ohm resistor must be placed across the input of
the Input Device (as shown below) assuming the Input Device is high impedance. Place the transformer close to the console output.
CONSOLE ISOLATION MATCHING RESISTOR UNBALANCED

LINE OUTPUT TRANSFORMER INPUT
600 ohm
(+) Zin
Zout (+) INPUT
>10k½
<100½ (-) ELECT.
(-) GROUND
SHIELD
CHASSIS
GROUND
3.15
3-4) OUTPUT WIRING (continued)

3-4e) CONSOLE OUTPUTS TO TELEPHONE LINES
Under NO circumstances should a console output be used to directly drive telephone lines. The console outputs WILL be destroyed
most likely by lightning. A telephone company approved coupler or (preferrably) a telephone hybrid MUST be used. Arrakis Systems
doesn‘t, under any circumstances, warranty damage due to lightning or any telephone line transients.
3-4f) MONITOR, HEADPHONE AND CUE SYSTEMS
The monitor, headphone and cue outputs are unbalanced with Zout <50½. These outputs will drive HI-Z headphones (>600 ohm)
with no difficulty. These outputs will NOT, however, drive 8½ speakers or LO-Z headphones directly. In order to interface monitor and
cue speakers to the console external power amplifiers must be used.
The monitor and cue outputs mute electronically when activated therefore do not require external muting relays.
The diagram below shows how to interface the unbalanced Monitor output to a balanced input power amplifier.
CONSOLE POWER
MONITOR AMPLIFIER
OUTPUT INPUT
Signal (+)
Audio
Ground
(-)
SHIELD
CHASSIS
GROUND
3.16
3-4g) CONSOLE WIRING - CRIMP TOOL & CRIMP PINS

Good crimps are mandatory for reliable console operation and clean signal path. It pays to be extra careful in crimping right from the
beginning. A good crimp now may save many hours of frustration later. A good crimp will exclude air from the joint. If air gets in the crimp
joint oxidation can occur resulting in an intermittant contact. A good crimp will strain relieve the joint by grabbing the cable insulation taking
most of the strain off the wire itself.
STEP 1 : CRIMP THIS PART

ONTO TINNED WIRE LEAD
STEP 2 : CRIMP THIS PART CRIMP PIN
ONTO WIRE INSULATION
INSERTION DEPTH
TINNED WIRE LEAD

1/8"
WIRE INSULATION
STRIP LENGTH
CRIMPING INSTRUCTIONS
1) STRIP the wire‘s insulation off exposing the recommended wire length
2) TIN the exposed wire with a small amount of solder.
3) INSERT A PIN in the crimp tool such that the tool is aligned with the part of the pin which will crimp onto the tinned wire lead. Use the “B” part of the
tool for most applications. Hold the pin in place by partially squeezing the crimp tool.
4) INSERT THE WIRE into the pin to the prescribed depth then...
5) CRIMP the pin by squeezing the tool until the pin is squashed. Oversqueezing the crimp pin will cause it to easily break in half, under-squeezing
will allow the wire to slip out.
6) REINSERT the pin in the crimp tool such that the tool is aligned with the part of the pin which will crimp onto the wire insulation. free joint. Too
much solder will inhibit pin insertion.
7) SQUEEZE the crimp tool once again to crimp the insulation. This acts as a strain relief.
6) SOLDER the wire/pin joint with a SMALL amount of solder. This will insure a long lasting trouble
7I I NSTALL the pin into the housing (after all crimps on the cable end are completed).)
NOTES
1) The connector and pins are made by AMP.
CONNECTOR HOUSING = AMP P/N 350720-1
.086" FEMALE CRIMP PIN = AMP P/N 350689-1
2) A PIN EXTRACTION TOOL is available to remove pins from housings.
AMP P/N 305183
3) If the wire is too large to effectively crimp, try just soldering the pin on without crimping.
3.17
3-5) TPM1 -- STEREO LINE LEVEL INPUT MODULE

CONNECTOR ONE (CN1)
BACK OF THE CONSOLE
1) 'A' READY STATUS (OFF) LAMP (+VDC)
2) ‘A’ REMOTE START/STOP COMMON
3) ‘A’ LEFT (-) AUDIO INPUT 9 6 3
4) ‘A’ READY STATUS (OFF) LAMP (DRIVER)
5) ‘A’ REMOTE STOP (MOMENTARY) CN1
8 5 2
‘A’ REMOTE START (SUSTAINED)*
6) ‘A’ RIGHT (-) AUDIO INPUT 7 4 1
7) ‘A’ REMOTE START (MOMENTARY)
8) ‘A’ LEFT (+) AUDIO INPUT
9) ‘A’ RIGHT (+) AUDIO INPUT
9 6 3
CONNECTOR TWO (CN2) CN2

8 5 2
1) 'B' READY STATUS (OFF) LAMP (+VDC)
2) ‘B’ REMOTE START/STOP COMMON 7 4 1
3) ‘B’ LEFT (-) AUDIO INPUT
4) ‘B’ READY STATUS (OFF) LAMP (DRIVER)
5) ‘B’ REMOTE STOP (MOMENTARY) OR
‘B’ REMOTE START (SUSTAINED)* 9 6 3
6) ‘B’ RIGHT (-) AUDIO INPUT CN3
7) ‘B’ REMOTE START (MOMENTARY) 8 5 2
8) ‘B’ LEFT (+) AUDIO INPUT 7 4 1
9) ‘B’ RIGHT (+) AUDIO INPUT
CONNECTOR THREE (CN3)

1) AUDIO GROUND
2) RIGHT PREFADER PATCH OUT NOTE - ALL CONSOLE INPUT/OUTPUT
3) REMOTE CHANNEL ON CONNECTORS ARE LOCATED UNDER
4) RIGHT PREFADER PATCH IN THE METER PANEL AT THE REAR OF THE
5) LEFT PREFADER PATCH OUT CONSOLE
6) LEFT DIRECT OUT (MODULE OUTPUT)
7) LEFT PREFADER PATCH IN
8) REMOTE CHANNEL OFF
9) RIGHT DIRECT OUT (MODULE OUTPUT)
REMOTE CHANNEL ON/OFF

THE REMOTE CHANNEL ON/OFF FEATURE ALLOWS THE MODULE TO BE TURNED ON OR
OFF FROM A REMOTE LOCATION SUCH AS A TALK BOOTH. A SIMPLE MOMENTARY CLOSURE
TO GROUND (CN3-1) FROM THE REMOTE CHANNEL ON OR OFF LOGIC PORT (CN3-3 OR CN3-8)
WILL TURN THE CHANNEL EITHER ON OR OFF. A REMOTE START OR STOP RELAY CLOSURE (TO
ACTIVATE AUDIO SOURCE DEVICES) WILL BE GENERATED AS USUAL.
*DEPENDS ON DIPSWITCH SETUP. SEE MODULE PARTS LAYOUT FOR DIPSWITCH INFO.
3.18
3-5) TPM1 -- STEREO LINE LEVEL INPUT MODULE
Connectors CN1 and CN2 are the 'A' and 'B' line inputs to the TPM1 input module. Each connector handles audio inputs
and A/B steered control logic.
REMOTE START/STOP
The control logic supports remote start and remote stop of audio source devices. If a momentary
remote start closure is desired, then connect the source device‘s start lines between pins 2 and 7. 9 6 3
If a sustained start closure is called for, connect the source device‘s start lines between pins 2 and 5, CN1
then flip the appropriate dipswitches to set up the module for a “SUSTAINED START” closure 8 5 2 CN2
(see dipswitch info). The relay will be closed as long as the module is ON. If a momentary remote 7 4 1
stop is desired, connect the source device‘s stop lines between pins 2 and 5. In this case no
dipswitches need to be flipped. There is no sustained remote stop closure available.
CAUTION: THE REMOTE START AND STOP RELAYS ARE RATED FOR A MAXIMUM CURRENTOF
50 mA. EXCEEDING THIS RATING WILL WELD THE CONTACTS OF THE RELAY TOGETHER WITH
RUINOUS RESULTS! ARRAKIS SYSTEMS DOES NOT COVER UNDER WARRANTY DAMAGE
DUE TO IMPROPER CONSOLE INSTALLATION.
The remote start/stop relays are totally floating in respect to the console electronics and ground therefore they are true “DRY CONTACT”
READY STATUS
The module allows easy access to the OFF lamp for interface to a cart machine‘s “Ready Status” output. When the “OFF LAMP
(DRIVER)” and “OFF LAMP (+VDC)” dipswitches are turned off, then the module‘s OFF lamp is entirely disconnected from the
console’s electronics. The lamp will light whenever 12-14VDC (80mA) is applied between pins 1 and 4. If the “OFF LAMP (+VDC)”
dipswitch is left “ON”, then the OFF lamp will light whenever pin 4 is connected to ground (CN3-1).
CAUTION: THE “OFF LAMP (DRIVER)” DIPSWITCH MUST BE FLIPPED “OFF” BEFORE APPLYING
ANY VOLTAGES OR GROUND TO PIN 4. FAILURE TO DO SO WILL RESULT IN THE DESTRUCTION
OF THE INTERNAL OFF LAMP DRIVER!
Once again, Arrakis Systems does not cover under warranty damages resulting from improper installation. Connector CN3 handles
auxilliary audio and control logic.
PREFADER PATCH
The prefader patch allows audio processing gear to be added to the signal chain. When the
“PATCH JUMPER” (see module layout) is removed the signal chain is broken within the 9 6 3
module. Now the PATCH OUT and PATCH IN connections must be used to complete the
signal path. The processing gear is placed in series between the patch out and in. The levels at 8 5 2 CN3
the patch are around 0dBu unbalanced. With the “PATCH JUMPER” left in place the
7 4 1
PATCH OUTs can also be utilized as a prefader AUX send... a sort of one output DA. The
PATCH OUTs are very low impedance, <2½, therefore external resistance is suggested.
The PATCH INs have a 18k ohm input impedance.
DIRECT OUT
The DIRECT OUT is a postfader signal which turns on and off along with the module. It can be used as a post fader AUX send for
a variety of purposes. The level at the DIRECT OUTs are around0dBu unbalanced. The DIRECT OUTs are also very low
impedance, <2½.
3.19
3-6) TPM1-M -- MONO MIC LEVEL INPUT MODULE
CONNECTOR ONE (CN1) BACK OF THE CONSOLE

1) ‘A’ REMOTE CHANNEL ON
2) ‘A’ LOGIC GROUND
3) SHIELD GROUND 9 6 3
4) ‘A’ REMOTE CHANNEL OFF CN1
8 5 2
5) ‘A’ COUGH MUTE
6) ‘A’ MIC LEVEL INPUT (-) 7 4 1
7) ‘A’ ON/OFF TALLY (+VDC = OFF, -VDC = ON)
8) ‘A’ CUE/TALKBACK
9) ‘A’ MIC LEVEL INPUT(+)
9 6 3
CONNECTOR TWO (CN2)
1) ‘B’ REMOTE CHANNEL ON CN2
8 5 2
2) ‘B’ LOGIC GROUND
3) SHIELD GROUND 7 4 1
4) ‘B’ REMOTE CHANNEL OFF
5) ‘B’ COUGH MUTE
6) ‘B’ MIC LEVEL INPUT (-)
7) ‘B’ ON/OFF TALLY (+VDC = OFF, -VDC = ON) 9 6 3
8) ‘B’ CUE/TALKBACK
CN3
9) ‘B’ MIC LEVEL INPUT(+) 8 5 2
7 4 1
1) AUDIO GROUND
2) NC
3) NC
4) PREFADER PATCH OUT
5) TALKBACK BUS ASSIGN NOTE - ALL CONSOLE INPUT/OUTPUT
6) DIRECT OUT (MODULE OUTPUT) CONNECTORS ARE LOCATED UNDER
7) PREFADER PATCH IN THE METER PANEL AT THE REAR OF THE
8) NC CONSOLE
9) DIRECT OUT (MODULE OUTPUT)
TALKBACK BUS ASSIGN, CR MIC

THE TALKBACK BUS ASSIGN FEATURE (CN3-5) ROUTES MIC AUDIO INTO THE TALKBACK/INTERCOM
SYSTEM. CONNECTING A JUMPER FROM THE PREFADER PATCH OUT (CN3-4) TO THE
TALKBACK BUS ASSIGN (CN3-5) PUTS THE MIC ON THE “TALKBACK TO STUDIO MONITORS” SYSTEM.
TYPICALLY THIS JUMPER SHOULD BE INSTALLED ON THE “CONTROL ROOM” OR “ANNOUNCER” MIC.
THIS MIC WILL THEN TALKTO THE STUDIOS WHEN THE CONSOLE OPERATOR PRESSES
“TALKBACK TO STUDIO ONE“ OR “TALKBACK TO STUDIO TWO” ON THE TCRM1 CONTROL ROOM
MONITOR MODULE.
3.20
3-6) TPM1-M -- MONO MIC LEVEL INPUT MODULE

Connectors CN1 and CN2 are the 'A' and 'B' MIC inputs to the TPM1-M input module. Each connector handles audio
inputs and A/B steered control logic.
The control logic allows the module to be operated from a remote location, typically a
9 6 3
talk booth or interview table. A MIC control panel mounted in a turret provides the necessary
functions to fully control the MIC module. CN1
8 5 2 CN2
The following diagram outlines a typical interface used to control the MIC module from 7 4 1
a remote turret control panel.
CGH
COUGH MUTE 5 CGH
LAMP TYPE:
TB ML-73
CUE/TALKBACK 8 (IN SWITCH) Mic Control
ON Panel with
ON TALLY TB
REMOTE CHANNEL ON 1 Talkback
LAMP
OFF OFF TALLY
REMOTE CHANNEL OFF 4 ON
LAMP
1N914
LOGIC GROUND 2
OFF
ON/OFF TALLY 7
COUGH MUTE
When COUGH MUTE (pin 5) line is held to LOGIC GROUND (pin 2) then the module is muted. No audio will pass until
ground is removed from pin 5.
CUE/TALKBACK
When CUE/TALKBACK (pin 8) is held to LOGIC GROUND then the MIC audio will appear in the console‘s CUE system.
The MIC signal will be heard through the headphones (AUTOCUE) and the CUE speaker. This allows talkback from the talk
booth (studio) TO the control room.

The module will turn ON or OFF with a momentary closure to logic ground.
ON/OFF TALLY
Indicates whether the module is ON or OFF. A “+” (positive) voltage here indicates that the module is OFF. A “-” (negative) voltage here
indicates that the module is ON. This output will directly drive ML-73 incandescent lamps or LEDs (add 1k ohm series resistance
for LED operation).
PREFADER PATCH
The PREFADER PATCH function is explained in section 3-5.
NOTE: The PATCH OUT level is about 0dBu. This output, a MIC preamp output with MIC level inputs and a line level output, can
be utilized in a number of ways. The output impedance is 47½.
DIRECT OUT
The DIRECT OUT function is explained in section 3-5.
3.21
3-7) TPM2 -- MONO MIC LEVEL INPUT MODULE WITH PAN
CONNECTOR ONE (CN1)

1) ‘A’ REMOTE CHANNEL ON BACK OF THE CONSOLE
2) ‘A’ LOGIC GROUND
3) SHIELD GROUND
4) ‘A’ REMOTE CHANNEL OFF 9 6 3
5) ‘A’ COUGH MUTE CN1
8 5 2
6) ‘A’ MIC LEVEL INPUT (-)
7) ‘A’ ON/OFF TALLY (+VDC = OFF, -VDC = ON) 7 4 1
8) ‘A’ CUE/TALKBACK
9) ‘A’ MIC LEVEL INPUT (+)
CONNECTOR TWO (CN2) 9 6 3

1) ‘B’ REMOTE CHANNEL ON
2) ‘B’ LOGIC GROUND CN2
8 5 2
3) SHIELD GROUND
4) ‘B’ REMOTE CHANNEL OFF 7 4 1
5) ‘B’ COUGH MUTE
6) ‘B’ MIC LEVEL INPUT (-)
7) ‘B’ ON/OFF TALLY (+VDC = OFF, -VDC = ON)
8) ‘B’ CUE/TALKBACK 9 6 3
9) ‘B’ MIC LEVEL INPUT (+) CN3
8 5 2
CONNECTOR THREE (CN3) 7 4 1
1) AUDIO GROUND
2) NC
3) NC
4) PREFADER PATCH OUT
5) TALKBACK BUS ASSIGN
6) LEFT DIRECT OUT (MODULE OUTPUT) NOTE - ALL CONSOLE INPUT/OUTPUT
7) PREFADER PATCH IN CONNECTORS ARE LOCATED UNDER
8) NC THE METER PANEL AT THE REAR OF THE
CONSOLE
TALKBACK BUS ASSIGN, CR MIC

THE TALKBACK BUS ASSIGN FEATURE (CN3-5) ROUTES MIC AUDIO INTO THE TALKBACK/INTERCOM
SYSTEM. CONNECTING A JUMPER FROM THE PREFADER PATCH OUT (CN3-4) TO THE
TALKBACK BUS ASSIGN (CN3-5) PUTS THE MIC ON THE “TALKBACK TO STUDIO MONITORS” SYSTEM.
TYPICALLY THIS JUMPER SHOULD BE INSTALLED ON THE “CONTROL ROOM” OR “ANNOUNCER” MIC.
THIS MIC WILL THEN TALK TO THE STUDIOS WHEN THE CONSOLE OPERATOR PRESSES
“TALKBACK TO STUDIO ONE“ OR “TALKBACK TO STUDIO TWO” ON THE TCRM1 CONTROL ROOM
MONITOR MODULE.
3.22
3-7) TPM2 -- MONO MIC LEVEL INPUT MODULE WITH PAN

Connectors CN1 and CN2 are the 'A' and 'B' MIC inputs to the TPM2 input module. Each connector handles audio inputs
The control logic allows the module to be operated from a remote location, typically a 9 6 3
talk booth or interview table. A MIC control panel mounted in a turret provides the CN1
8 5 2 CN2
necessary functions to fully control the MIC module.
7 4 1
The following diagram outlines a typical interface used to control the MIC module from
a remote turret control panel.
CGH
COUGH MUTE 5 CGH
LAMP TYPE:
TB ML-73
CUE/TALKBACK 8 (IN SWITCH) Mic Control
ON Panel with
ON TALLY TB
REMOTE CHANNEL ON 1 Talkback
LAMP
OFF OFF TALLY
REMOTE CHANNEL OFF 4 ON
LAMP
1N914
LOGIC GROUND 2
OFF
ON/OFF TALLY 7
COUGH MUTE
When COUGH MUTE (pin 5) line is held to LOGIC GROUND (pin 2) then the module is muted. No audio will pass until ground
is removed from pin 5.
CUE/TALKBACK
When CUE/TALKBACK (pin 8) is held to LOGIC GROUND then the MIC audio will appear in the console‘s CUE system.
The MIC signal will be heard through the headphones (AUTOCUE) and the CUE speaker. This allows talkback from the talk
booth (studio) TO the control room.

The module will turn ON or OFF with a momentary closure to logic ground.
ON/OFF TALLY
Indicates whether the module is ON or OFF. A “+” (positive) voltage here indicates that the module is OFF. A “-” (negative) voltage here
indicates that the module is ON. This output will directly drive ML-73 incandescent lamps or LEDs (add 1k½ series resistance for LED
operation).
PREFADER PATCH
The PREFADER PATCH function is explained in section 3-5.
NOTE: The PATCH OUT level is about 0dBu. This output, a MIC preamp output with MIC level inputs and a line level output,
can be utilized in a number of ways. The output impedance is 47 ohm.
DIRECT OUT
The DIRECT OUT function is explained in section 3-5.
3.23
3-8) TPM3 -- STEREO LINE LEVEL INPUT MODULE WITH MODE SELECT
CONNECTOR ONE (CN1)
1) ‘A’ READY STATUS (OFF) LAMP (+VDC)
BACK OF THE CONSOLE
2) ‘A’ REMOTE START/STOP COMMON
3) ‘A’ LEFT (-) AUDIO INPUT
4) ‘A’ READY STATUS (OFF) LAMP (DRIVER) 9 6 3
5) ‘A’ REMOTE STOP (MOMENTARY) OR
‘A’ REMOTE START (SUSTAINED)* CN1
8 5 2
6) ‘A’ RIGHT (-) AUDIO INPUT
7) ‘A’ REMOTE START (MOMENTARY) 7 4 1
8) ‘A’ LEFT (+) AUDIO INPUT
9) ‘A’ RIGHT (+) AUDIO INPUT

1) ‘B’ READY STATUS (OFF) LAMP (+VDC) CN2
2) ‘B’ REMOTE START/STOP COMMON 8 5 2
3) ‘B’ LEFT (-) AUDIO INPUT 7 4 1
4) ‘B’ READY STATUS (OFF) LAMP (DRIVER)
5) ‘B’ REMOTE STOP (MOMENTARY) OR
‘B’ REMOTE START (SUSTAINED)*
6) ‘B’ RIGHT (-) AUDIO INPUT
7) ‘B’ REMOTE START (MOMENTARY) 9 6 3
8) ‘B’ LEFT (+) AUDIO INPUT CN3
8 5 2
9) ‘B’ RIGHT (+) AUDIO INPUT
7 4 1
1) AUDIO GROUND
2) RIGHT PREFADER PATCH OUT
3) REMOTE CHANNEL ON
4) RIGHT PREFADER PATCH IN NOTE - ALL CONSOLE INPUT/OUTPUT
5) LEFT PREFADER PATCH OUT CONNECTORS ARE LOCATED UNDER
6) LEFT DIRECT OUT (MODULE OUTPUT) THE METER PANEL AT THE REAR OF THE
7) LEFT PREFADER PATCH IN CONSOLE
8) REMOTE CHANNEL OFF

THE REMOTE CHANNEL ON/OFF FEATURE ALLOWS THE MODULE TO BE TURNED ON OR OFF
FROM A REMOTE LOCATION SUCH AS A TALK BOOTH. A SIMPLE MOMENTARY CLOSURE TO
GROUND (CN3-1) FROM THE REMOTE CHANNEL ON OR OFF LOGIC PORT (CN3-3 OR CN3-8) WILL
TURN THE CHANNEL EITHER ON OR OFF. A REMOTE START OR STOP RELAY CLOSURE (TO ACTIVATE
AUDIO SOURCE DEVICES) WILL BE GENERATED AS USUAL.
*DEPENDS ON DIPSWITCH SETUP. SEE MODULE PARTS LAYOUT FOR DIPSWITCH INFO.
3.24
3-8) TPM3 -- STEREO LINE LEVEL INPUT MODULE WITH MODE SELECT
Connectors CN1 and CN2 are the 'A' and 'B' line inputs to the TPM3 input module. Each connector handles audio inputs
REMOTE START/STOP 9 6 3
The control logic supports remote start and remote stop of audio source devices. If a CN1
8 5 2 CN2
momentary remote start closure is desired, then connect the source device‘s start lines between
pins 2 and 7. If a sustained start closure is called for, connect the source device‘s start lines 7 4 1
between pins 2 and 5, then flip the appropriate dipswitches to set up the module for a
“SUSTAINED START” closure (see dipswitch info). The relay will be closed as long as the module
is ON. If a momentary remote stop is desired, connect the source device‘s stop lines between pins 2 and 5. In this case no dipswitches need
to be flipped. There is no sustained remote stop closure available.
CAUTION: THE REMOTE START AND STOP RELAYS ARE RATED FOR A MAXIMUM CURRENT OF 50 mA.
EXCEEDING THIS RATING WILL WELD THE CONTACTS OF THE RELAY TOGETHER WITH RUINOUS
RESULTS! ARRAKIS SYSTEMS DOES NOT COVER UNDER WARRANTY DAMAGE DUE TO IMPROPER
CONSOLE INSTALLATION.
The remote start/stop relays are totally floatingin respect to the console electronics and ground therefore they are true “DRY CONTACT”
closures.
READY STATUS
The module allows easy access to the OFF lamp for interface to a cart machine‘s “Ready Status” output. When the “OFF LAMP
(DRIVER)” and “OFF LAMP (+VDC)” dipswitches are turned off, then the module‘s OFF lamp is entirely disconnected from the
console’s electronics. The lamp will light whenever 12-14VDC (80mA) is applied between pins 1 and 4. If the “OFF LAMP (+VDC)”
dipswitch is left “ON”, then the OFF lamp will light whenever pin 4 is connected to ground (CN3-1).
CAUTION THE “OFF LAMP (DRIVER)” DIPSWITCH MUST BE FLIPPED “OFF” BEFORE: APPLYING ANY
VOLTAGES OR GROUND TO PIN 4. FAILURE TO DO SO WILL RESULT IN THE DESTRUCTION OF THE
INTERNAL OFF LAMP DRIVER!
Once again, Arrakis Systems does not cover under warranty damages resulting from improper installation.
** Connector CN3 handles auxilliary audio and control logic. **
PREFADER PATCH
The prefader patch allows audio processing gear to be added to the signal chain. When the 9 6 3
“PATCH JUMPER” (see module layout) is removed the signal chain is broken within the module.
8 5 2 CN3
Now the PATCH OUT and PATCH IN connections must be used to complete the signal path.
The processing gear is placed in series between the patch out and in. The PATCH OUTs are 7 4 1
very low impedance, <2½, therefore external resistance is suggested. The PATCH INs have a
18k ohm input impedance.
DIRECT OUT
The DIRECT OUT is a postfader signal which turns on and off along with the module. It can be used as a postfader AUX send for a
variety of purposes. The level at the DIRECT OUTs are around 0dBu unbalanced. The DIRECT OUTs are also very low
impedance, <2 ohm.
3.25
3-9) TOB1 -- OUTPUT MODULE

1) AUDIO GROUND
2) PROGRAM OUT LEFT (-)
3) PROGRAM MONO SUM OUT (-) 9 6 3
4) PROGRAM OUT RIGHT (+) CN1
5) PROGRAM OUT LEFT (+) 8 5 2
6) AUDITION MONO SUM OUT (+)
7 4 1
7) PROGRAM OUT RIGHT (+)
8) PROGRAM MONO SUM OUT (+)
9) AUDITION MONO SUM OUT (-)

1) AUDIO GROUND CN2
8 5 2
2) STUDIO 1 MUTE RELAY DRIVER OUT
3) AUDITION MIX-MINUS OUT (UNBALANCED) 7 4 1
4) LOGIC GROUND
5) STUDIO 2 MUTE RELAY DRIVER OUT
6) NC
7) CR MUTE RELAY DRIVER OUT
9 6 3
8) PROGRAM MIX-MINUS OUT (UNBALANCED)
9) NC CN3
8 5 2
CONNECTOR THREE (CN3) 7 4 1

1) AUDIO GROUND
2) UTILITY OUT LEFT (+)
3) AUDITION OUT RIGHT (-)
4) UTILITY OUT RIGHT (+)
5) UTILITY OUT LEFT (-) NOTE - ALL CONSOLE INPUT/OUTPUT
6) AUDITION OUT LEFT (+) CONNECTORS ARE LOCATED UNDER
7) UTILITY OUT RIGHT (-) THE METER PANEL AT THE REAR OF THE
8) AUDITION OUT RIGHT (+) CONSOLE
9) AUDITION OUT LEFT (-)
MODULE INTERFACING NOTES

-- THE CONSOLE OUTPUTS ARE ACTIVE BALANCED...THERE ARE NO TRANSFORMERS. DO NOT CONNECT ANY
CONSOLE OUTPUT TO GROUND AS YOU MIGHT WITH A TRANSFORMER BALANCED OUTPUT. ALTHOUGH
INTERNALLY PROTECTED, THE OUTPUT DRIVERS WILL EVENTUALLY FAIL UNDER SHORTED CONDITIONS.
-- NEVER CONNECT A CONSOLE OUTPUT DIRECTLY TO A PHONE LINE THE OUTPUT WILL BE DESTROYED BY PHONE
LINE TRANSIENTS. PLEASE USE AN APPROVED TELEPHONE HYBRID OR COUPLER.
-- THE CONSOLE SUPPORTS THREE INDEPENDENT MUTING SYSTEMS, CR MUTE, STUDIO 1 MUTE AND STUDIO 2 MUTE.
EACH INPUT MODULE MAY BE SET UP TO ACTIVATE ONE OR MORE OF THESE MUTES VIA DIP SWITCHES (SEE DIP SWITCH
SETUP INFO). THE RELAY DRIVER OUTPUTS (-12VDC, 50mA MAX) WILL DRIVE MOST SMALL RELAYS. THE COIL OF THE
RELAY CONNECTS BETWEEN THE RELAY DRIVER OUTPUT (CN2-7 FOR EXAMPLE) AND LOGIC GROUND (CN2-4). A BACK
EMF DIODE IS RECOMMENDED. TYPICAL APPLICATIONS INCLUDE ACTIVATION OF “ON AIR” LIGHTS, PHONE RINGER
MUTE, LOGGING RECORDERS ETC. SEE SECTION 3-16 FOR MORE INFORMATION.
3.26
3-10) TCRM1 -- CONTROL ROOM MONITOR MODULE

1) AUDIO GROUND
2) EXTERNAL MONITOR INPUT #2 RIGHT (-)
3) EXTERNAL MONITOR INPUT #1 LEFT (+) 9 6 3
4) EXTERNAL MONITOR INPUT #2 RIGHT (+) CN1
8 5 2
5) EXTERNAL MONITOR INPUT #2 LEFT (-)
6) EXTERNAL MONITOR INPUT #1 RIGHT (-) 7 4 1
7) EXTERNAL MONITOR INPUT #2 LEFT (+)
8) EXTERNAL MONITOR INPUT #1 RIGHT (+)
9) EXTERNAL MONITOR INPUT #1 LEFT (-)
9 6 3
CONNECTOR TWO (CN2)
1) AUDIO GROUND CN2
8 5 2
2) HEADPHONE OUT RIGHT
3) MONITOR OUT RIGHT 7 4 1
4) NC
5) HEADPHONE OUT LEFT
6) EXTERNAL STUDIO MONITOR INPUT LEFT
7) MONO CUE OUTPUT 9 6 3
8) MONITOR OUT LEFT
CN3
9) EXTERNAL STUDIO MONITOR INPUT RIGHT 8 5 2
7 4 1
1) AUDIO GROUND
2) INTERCOM AUDIO IN FROM STUDIO 1
3) STUDIO 2 UNMUTED OUT RIGHT 1
4) STUDIO 1 MUTED OUT RIGHT 2
5) INTERCOM AUDIO IN FROM STUDIO 2 3 CN4
6) STUDIO 1 UNMUTED OUT LEFT 4
7) STUDIO 1 MUTED OUT LEFT 5
8) STUDIO 2 UNMUTED OUT LEFT 6
9) STUDIO 1 UNMUTED OUT RIGHT
CONNECTOR FOUR (CN4)

1) CALL LOGIC TO STUDIO 2
2) CALL LOGIC TO STUDIO 1
NOTE - ALL CONSOLE INPUT/OUTPUT
CONNECTORS ARE LOCATED UNDER
3) CALL LOGIC FROM STUDIO 2
THE METER PANEL AT THE REAR OF THE
4) CALL LOGIC FROM STUDIO 1 CONSOLE
5) TALKBACK BUS INSERT INPUT
6) AUDIO GROUND

-- CN4 IS USED WHEN INTERFACING THE CONSOLE‘S TALKBACK/INTERCOM FUNCTIONS TO OTHER
12,000 TURBO SERIES CONSOLES.
-- THE FOLLOWING PAGES DESCRIBE SOME OF THE MANY POSSIBLE TALKBACK AND
INTERCOM CONFIGURATIONS.
3.27

MODULE INTERFACING NOTES (CONTINUED)
-- THE TCRM1 AUDIO OUTPUTS ARE UNBALANCED. THEY ARE REFERENCED TO AUDIO GROUND.
-- THE MONITOR AND CUE OUTPUTS WILL NOT DIRECTLY DRIVE 8½ SPEAKERS. AN EXTERNAL
POWER AMPLIFIER MUST BE USED.
-- THE HEADPHONE OUTPUTS WILL DIRECTLY DRIVE HI-Z (³50½) HEADPHONES. AN EXTERNAL
HEADPHONE AMPLIFIER MUST BE USEDTO DRIVE LO-Z HEADPHONES.
STUDIO TO STUDIO INTERFACE -- MONITORING AND TALKBACK/INTERCOM

SYSTEMS
The TCRM1 CONTROL ROOM MONITOR module provides full communications facilities to accomodate the control room
and two studios. The control room, in this scenario, is equipped with a 12,000 TURBO series console. The two studios may or may
not be equipped with 12,000 TURBO series consoles. Some basic interface schemes are discussed here. There are many
variations.
I) BASIC CONTROL ROOM TO TALK BOOTH INTERFACE -- In many circumstances the 12,000 is in a control
room looking into an adjacent talk booth, news room or interview room where a few MICs are set up. There is no console in the booth.
CR MIC - Set up DIP switches for CR MUTE. This MIC is assigned to

the TALKBACK BUS via a jumper from CN3-4 to CN3-5.*
TB
HOST MIC - Set up DIP switches for ST1 MUTE. This MIC will
talk back to the control room when a ground is applied to CN1-8.
GUEST MICs - Set up DIP switches for ST1 MUTE. These

MICs will not have talkback.
HOST HEADPHONES - are connected

to the STUDIO 2 UNMUTED output (TCRM1)
GUEST HEADPHONES and STUDIO MONITOR

POWER SPEAKERS - are connected to the STUDIO 1 UNMUTED
AMP and MUTED outputs respectively (TCRM1).
When the console operator presses TALKBACK TO STUDIO MONITOR 1 (on the TCRM1 module) the CR MIC will be
heard through the LEFT studio monitor speaker and the LEFT guest headphones. When the console operator presses
TALKBACK TO STUDIO MONITOR 2 the CR MIC is heard through the host‘s LEFT headphone only allowing private
conversation from the control room to the host without the guests‘ listening. In both cases the RIGHT audio through the monitors and
headphones is not effected.
*This assumes the CR MIC is connected to either a TPM1-M or TPM2 MIC level input module. If the CR MIC is brought in through a line level module
(TPM1 or TPM3) then a jumper must be made from the module‘s PATCH OUT (CN3-2 or CN3-5) to the TCRM1’s TALKBACK BUS INSERT input
(CN4-5).
3.28

MONITORING AND TALKBACK/INTERCOM SYSTEMS (continued)
2) CONTROL ROOM TO STUDIO INTERCOM, TWO 12,000‘S -- In many circumstances there is one 12,000
Series console in the CONTROL ROOM and another 12,000 in an adjacent NEWSROOM (for example). The TCRM1‘s
intercom features can be used to interface the two rooms.
CALL LOGIC TO STUDIO 2

CALL LOGIC FROM STUDIO 2
STUDIO #1 (CONTROL ROOM)

CR MIC - This MIC is assigned to the TALKBACK
BUS via a jumper from CN3-4 to CN3-5.*
AUDIO LOGIC
SIGNAL SIGNAL
STUDIO 2 UNMUTED OUT LEFT FLOW FLOW
TALKBACK AUDIO FROM STUDIO 2
STUDIO 1 UNMUTED OUT LEFT

TALKBACK AUDIO FROM STUDIO 1
STUDIO #2 (NEWSROOM)
NEWSROOM MIC #1 - This MICis assigned to the

TALKBACK BUS via a jumper from CN3-4 to CN3-5.*
CALL LOGIC TO STUDIO 1

CALL LOGIC FROM STUDIO 1
When the console operator in the Control Room presses TALKBACK 2 (on the TCRM1 module) the CR MIC will feed to
STUDIO 2 UNMUTED OUT LEFT. This in turn will feed the Newsroom‘s RIGHT monitor speaker and headphone by way
of the TALKBACK FROM STUDIO 1 input. The TALKBACK 1 button on the Newsroom‘s TCRM1 will also light, indicating
CALL FROM STUDIO 1 (Control Room). When the Newsroom operator presses the TALKBACK 1 button, audio from the main
Newsroom MIC will be fed, via the STUDIO 1 UNMUTED LEFT output and the TALKBACK AUDIO FROM STUDIO 2
input, to the Control Room‘s RIGHT monitor speaker and headphone. The TALKBACK 2 button on the Control Room‘s
TCRM1 will also light, indicating CALL FROM STUDIO 2 (Newsroom). If AUTOCUE has been defeated then TALKBACK
will appear on the MONO CUE OUTPUT, mixed with any CUE audio which may be present. Monitor and CUE speakers
will still mute whenever there is an open MIC.
These examples demonstrate two of the many different ways to utilize the 12,000‘s extensive remote control, monitoring, talkback and
intercom capabilities. With a bit of ingenuity, an effective system can be created for most any circumstance.
*This assumes the CR MIC is connected to either a TPM1-M or TPM2 MIC level input module. If the CR MIC is brought in through a line level module (TPM1
or TPM3) then a jumper must be made from the module‘s PATCH OUT (CN3-2 or CN3-5) to the TCRM1‘s TALKBACK BUS INSERT input (CN4-5).
NOTE Jumpers J3 and J4 must be cut on both 12,000‘s TCRM1 modules to make the intercom work properly.
3.29
3-11) TRS1 -- 1x5 STEREO REMOTE SELECTOR SWITCH

1) SWITCH #3 LEFT (+)
2) SWITCH #2 LEFT (-)
3) SWITCH #1 RIGHT (-) 9 6 3
4) SWITCH #2 RIGHT (+) CN1
8 5 2
6) SWITCH #1 LEFT (-) 7 4 1
7) SWITCH #2 RIGHT (-)
8) SWITCH #1 RIGHT (+)
9 6 3
CONNECTOR TWO (CN2)
1) SWITCH #5 LEFT (-) CN2
8 5 2
3) SWITCH #3 RIGHT (+) 7 4 1
5) SWITCH #4 LEFT (-)
7) SWITCH #4 RIGHT (+) 9 6 3
CN3
9) SWITCH #3 LEFT (-) 8 5 2
7 4 1
1) NC
2) OUTPUT LEFT (-)
3) NC
4) OUTPUT RIGHT (-)
5) OUTPUT LEFT (+) NOTE - ALL CONSOLE INPUT/OUTPUT
6) SWITCH #5 RIGHT (-) CONNECTORS ARE LOCATED UNDER
7) OUTPUT RIGHT (+) THE METER PANEL AT THE REAR OF THE
8) SWITCH #5 RIGHT (+) CONSOLE
9) NC

-- THE SWITCH IS A 4P5T CONFIGURATION WHICH HANDLES FIVE STEREO BALANCED SIGNALS.
-- TYPICAL APPLICATIONS INCLUDE INPUT MODULE PRE-SELECTOR AND EXTERNAL MONITOR

INPUT EXPANDER.
-- THE SWITCH IS BI-DIRECTIONAL THEREFORE IT CAN BE USED ON AN OUTPUT AS WELL AS

ON AN INPUT.
-- THE BOTTOM MOST POSITION IS “OFF”.
3.30
3-12) TDA1 -- 1x4 STEREO DISTRIBUTION AMPLIFIER MODULE - CONNECTOR ONE (CN1)
1) AUDIO GROUND
2) CH 2 OUT LEFT (+)
3) CH 1 OUT RIGHT (-) 9 6 3
4) CH 2 OUT RIGHT (+) CN1
8 5 2
5) CH 2 OUT LEFT (-)
6) CH 1 OUT LEFT (+) 7 4 1
7) CH 2 OUT RIGHT (-)
8) CH 1 OUT RIGHT (+)
9 6 3
CONNECTOR TWO (CN2)
1) AUDIO GROUND CN2
8 5 2
2) INPUT RIGHT (-)
3) NC 7 4 1
4) INPUT LEFT (+)
5) INPUT RIGHT (+)
6) NC
7) INPUT LEFT (-) 9 6 3
8) NC
CN3
9) NC 8 5 2
7 4 1
1) AUDIO GROUND
3) CH 3 OUT RIGHT (+)
4) CH 4 OUT RIGHT (-)
5) CHL 4 OUT LEFT (+) NOTE - ALL CONSOLE INPUT/OUTPUT
6) CH 3 OUT LEFT (-) CONNECTORS ARE LOCATED UNDER
7) CH 4 OUT RIGHT (+) THE METER PANEL AT THE REAR OF THE
8) CH 3 OUT RIGHT (-) CONSOLE
9) CH 3 OUT LEFT (+)

-- THE DA OUTPUTS ARE ACTIVE BALANCED...THERE ARE NO TRANSFORMERS. DO NOT CONNECT ANY CONSOLE
OUTPUT TO GROUND AS YOU MIGHT WITH A TRANSFORMER BALANCED OUTPUT. ALTHOUGH INTERNALLY PROTECTED,
THE OUTPUT DRIVERS WILL EVENTUALLY FAIL UNDER SHORTED CONDITIONS.
-- NEVER CONNECT A CONSOLE OUTPUT DIRECTLY TO A PHONE LINE . THE OUTPUT WILL BE DESTROYED BY PHONE LINE
TRANSIENTS. PLEASE USE AN APPROVED TELEPHONE HYBRID OR COUPLER.
3.31
3-13) TRR1 -- MACHINE CONTROL MODULE

The TRR1 Machine Control module utilizes ten double pole, single throw momentary switches. Each switch has a built in lamp for tally indication.
SWITCH PINOUT NO
1 2
3 4
NC
LAMP PINOUT +
NOTES
1) The switch contacts are rated at 1A @125 VAC. Maximum lamp voltage 28V.
2) Each switch is equipped with a Microlamp ML-73 incandescent lamp. The lamp is a T1 3/4 wedge base. The lamp is rated at
14V @ 80mA. Other voltages are available from local suppliers.
3.32
3-14) TGEM-VID -- 6 POSITIN BINARY SELECT SWITCH

CONNECTOR ONE (CN1)
1)
2)
3)
4) BACK OF THE CONSOLE
5)
6)
7) 9 6 3
8)
8 5 2 CN1
9)
7 4 1
CONNECTOR TWO (CN2)
1)
2) COMMON
3)
4) 9 6 3
5) CN2
8 5 2
6) BIT 1
7) 7 4 1
8) BIT 2
9) BIT 3

9 6 3
1)
2) CN3
8 5 2
3)
4) 7 4 1
5)
6)
7)
8)
9)
IMPORTANT :Pins not defined may BIT #

beconnected internally. Do not connect. 210
1 00X Function
The TGEM-VID Binary Select Switch allows selection between six
2 0X0
binary encoded functions using only four wires.
3 0XX
The module was designed to interface to the Arrakis VGEM-6AF
X00 video routing switcher, however may be used for any three bit binary
4
controlled equipment in a similar manner to a BCD thumbwheel
5 X0X switch.
OFF XX0
3.33
3-15) TPH1 -- PHONE SYSTEM MODULE

1) AUDITION MIX-MINUS AUDIO INPUT (+)
2) PROGRAM MIX-MINUS AUDIO INPUT (-)
3) CUE SWITCH’S LOGIC INPUT 9 6 3
4) INPUT FROM HYBRID’S CALLER OUT (-) (NC) CN1
8 5 2
5) PROGRAM MIX-MINUS AUDIO INPUT (+)
6) ANNOUNCER MIC LINE LEVEL INUPT (-) 7 4 1
7) PGM SWITCH’S LOGIC INPUT
8) INPUT FROM HYBRID’S CALLER OUT(+)
9) ANNOUNCER MIC LINELEVEL I NPUT (+)
9 6 3
CONNECTOR TWO (CN2)
1) AUX 2 AUDIO INPUT (-) CN2
8 5 2
2) AUX 1 SWITCH’S LOGIC INPUT
3) NC 7 4 1
4) AUX 2 AUDIO INPUT (+)
5) AUX 1 AUDIO INPUT (-)
6) AUD SWITCH’S LOGIC INPUT
7) NC 9 6 3
8) AUX 1 AUDIO INPUT (+)
CN3
9) AUDITION MIX-MINUS AUDIO INPUT (-) 8 5 2
7 4 1
1) AUDIO GROUND
2) OUTPUT TO HYBRID’S PHONE SEND INPUT (-)
3) NC
4) SWITCHED LOGIC OUTPUT
5) OUTPUT TO HYBRID’S PHONE SEND INPUT (+) NOTE - ALL CONSOLE INPUT/OUTPUT
6) AUX 2 SWITCH’S LOGIC INPUT CONNECTORS ARE LOCATED UNDER
7) CONSOLE CUE BUS AUDIO INSERT, UNSWITCHED THE METER PANEL AT THE REAR OF THE
8) NC CONSOLE
9) NC

-- CONNECT THE TCRM1 MONNITOR MODULE’S MIX (-) OUTPUTS TO THIS MODULE’S MIX (-) INPUTS.
-- CONNECT THE ANNOUNCER MIC INPUT MODULE’S PATCH OUTPUT TO THIS MODULE’S INPUT.
-- CONNECT THE hYBRID’S COLLER OUTPUT TO BOTH THIS MODULE AND AN INPUT MODULE DESIGNATED FOR THE
PHONE.
-- CONNECT THIS MODULE’S OUTPUT TO THE HYBRID’S PHONE SEND INPUT.
-- THE SWITCHED LOGIC CURRENT MUST NOT EXCEED 50mA, AND MAY BE USED FOR ANY PURPOSE
-- CALLER’S LEVEL TO THE CONSOLE’S CUE BUS IS ADJUSTABLE VIA TRIMPOT ON THIS BOARD
3.34
3-16) MUTING SYSTEMS

3-16a) GENERAL MUTING SYSTEM DESCRIPTION
The 12,000 Series mainframe is equipped with three independant muting systems. These are: a) CR MUTE (Control Room),
b) STUDIO 1 MUTE and c) STUDIO 2 MUTE. Each input module features DIP switches that determine which muting system,
if any, is activated by that channel. The input module can be set up to mute on either the A input, the B input or both A and B. Refer to
the DIP switch setup information found on the particular module‘s Major Parts Layout page in Section 4. When the CR MUTE logic
is activated from an input module, the Control Room Monitor and Cue system outputs will mute and the CR MUTE RELAY DRIVER
output (on the TOB1 module) will activate. Likewise, STUDIO 1 MUTE logic will inturrupt the monitor module‘s STUDIO 1
MUTED outputs and activate the STUDIO 1 MUTE RELAY DRIVER. The STUDIO 2 muting system activates only the
STUDIO 2 MUTE RELAY DRIVER. There is no STUDIO 2 MUTED outputs on the TCRM1 Control Room Monitor module.
3-16b) EXTERNAL MUTE RELAY DRIVERS

The 12,000 Series console‘s three muting systems are brought out to three Open Collector EXTERNAL MUTE RELAY DRIVERS.
These outputs will drive small relays directly to activate “ON AIR” lights, logging recorders, phone ringer mute, extra muted outputs etc.
The drivers are located on the TOB1 output module (see Section 3-9).
The RELAY DRIVER OUTPUT voltages are:

MUTED: -12 VDC (APROX.)
UNMUTED: FLOATING
OPEN COLLECTOR
TRANSISTOR
MUTING
BUS BACK
EMF
DIODE
TOB1
OUTPUT
MODULE EXTERNAL
LOGIC GROUND RELAY
NOTES
1) 50 mA MAX CURRENT SINK - Do not use relays which require more than 50mA coil current. If a larger relay is needed simply drive the larger
(>50mA) relay with a smaller (<50mA ) relay.
2) Use LOGIC GROUND from the TOB1 Output module to reference the relay coil.
3) A back EMF diode is recommended.
3.35
3-17) MONITOR, HEADPHONE & CUE SYSTEMS

3-17a) MONITOR SYSTEM
The 12,000 Series Console features a comprehensive monitoring system which supports the Control Room and two studios.
All monitor outputs are UNBALANCED LINE LEVEL with a nominal output level (trimpot adjustable) of +4dBu. THESE
OUTPUTS WILL NOT DRIVE 8 ohm SPEAKERS DIRECTLY therefore an external power amplifier must be used.
The Studio Monitor outputs (muted and unmuted) can be utilized in a number of ways (see the TCRM1 Module Interfacing notes for
some examples). The console operator can talk back into the Studio Monitor speakers by pressing one of the TALKBACK
buttons on the TCRM1 Control Room Monitor module and speaking into the Control Room MIC (TALKBACK from Control
Room TO a studio). The talkback audio will appear on the LEFT studio monitor outputs. Note that the Control Room MIC input
module must be set up to feed the TALKBACK BUS via the module‘s TALKBACK BUS ASSIGN connector pin.
3-17b) HEADPHONE SYSTEM

The Headphone outputs are also UNBALANCED LINE LEVEL with a nominal output level (trimpot adjustable) of +4dBu. The
Headphone outputs will directly drive HI-Z (³ 50ohm) headphones but will not drive LO-Z (8ohm) headphones. Use an external
headphone amplifier to drive LO-Z headphones.
The UNMUTED Studio Monitor outputs are often wired to headphone jacks instead of monitor speakers.
3-17b) CUE/AUTOCUE SYSTEMS

The 12,000 Series Console features AUTOCUE INTO MONITOR AND HEADPHONES Whenever an
input module is placed into CUE the AUTOCUE feature is activated.
AUTOCUE will:
a) DIM the Control Room Monitor and Headphones
b) feed CUE audio into the Control Room Monitor and Headphones.
The normal program audio will DIM (or DUCK) to a preset level during CUE. This level is adjustable, via trimpots on the TCRM1 Monitor
module, for a DIM attenuation up to 20dB. DIM attenuation is factory preset to -12dB. CUE audio is automatically mixed over the DIM‘d
program audio. This is a stereo cue.
AUTOCUE is also activated during TALKBACK from a studio TO the Control Room. When the CUE/TALKBACK logic pin on
a TPM1-M or TPM2 MIC module is activated then the Control Room Monitor and Headphones will DIM and the TALKBACK
voice audio will automatically be mixed in.
The MONO CUE OUTPUT is a MONO UNBALANCED LINE LEVEL signal with a NON-ADJUSTABLE nominal
output level of 0dBu. MONO CUE volume adjust must be done external to the console. This output will not drive an 8½ speaker
directly. Use a power amplifier. This output can be used if the AUTOCUE feature is defeated.
3-17b) AUTOCUE DEFEAT

The AUTOCUE feature can be defeated. See AUTOCUE DEFEAT PROCEDURE on the TCRM1 Monitor
module Major Parts Layout (section 4-8b).
3.36
3-18) CALIBRATION
3-18a) GENERAL CALIBRATION
-- The console has gain adjustment trim pots on each Input module, the Output module and the module.
-- Line level input modules have trim pots which independently adjust left and right channels. There is approximately 20dB of trim
available allowing the module to accomodate input signal levels ranging from - 10dBu (consumer) to +8dBu (professional).*
-- MIC level input modules have approximately 40dB of trim and can accomodate MIC level signals from - 70dBu to -30dBu.
-- The output module has a trim gain adjust of roughly 10dB. The console can be set up to operate at nominal station operating levels
ranging from 0dBu to +8dBu.
-- The Monitor module has six trim pots which set the Control Room Monitor, Headphone and DIM levels.
3-18b) FACTORY PRESET LEVELS

The console is factory pre-calibrated for +4dBu IN = +4dBu OUT = 0VU. Therefore, when a +4dBubalanced signal is applied to a line
input module and the fader is set at the thick black line, then the VU meters will read 0VU and the console will be sending out a +4dBu
balanced output. MIC inputs are factory calibrated for -55dBu IN = +4dBu OUT = 0VU.
3-18c) ADJUST FOR YOUR STATION LEVEL

If your station operating level is somthing other than +4, then the console will need to be adjusted. Simply recalibrate the VU meters to
reflect your nominal station level (“0VU”).
DO NOT TOUCH THE OUTPUT LEVEL TRIMPOTS!!! ONLY THEVU METER DRIVER TRIMPOTS
NEED BE ADJUSTED. See TOB1 Output module Major Parts Layout (section 4-8b) for trim pot locations. The trim pots are
very easily bumped out of calibration so take care to not touch the wrong ones.
ADJUST FOR YOUR STATION LEVEL: RECALIBRATION PROCEDURE

a) Generate a test tone and feed this tone BALANCED into an input module. This should be no problem if you have a balanced test tone.
If your tone generator has unbalanced outputs hook the SIGNAL lead from the tone generator to the (+) input on the module, and hook
the GROUND from the signal generator to the (-) input on the module. This is effectively a balanced connection.
b) calibrate the output of the tone generator to your chosen station operating level.
c) adjust the fader at the thick black line
d) set the module‘s VU METER DRIVER trim pots such that the meters read 0VU. The VU METER SELECT SWITCH (located
on the left side of the VU meter bridge) should be in the top position.
The outputs of the console will now be at your station operating level when the VU meters read “0VU”. Note that the input module did not
require adjustment nor did the console output trimmers! Only the VU METER DRIVER trim pots were adjusted.
NOTE TO TMF-8 USERS: Even though the TMF-8 does not have AUD and UTL meters, those drivers must still be calibrated.
The VU meter drivers also feed the monitor, so if the AUD and UTL VU meter drivers are turned down, the monitor system will not function
properly.
VU METER RECALIBRATION PROCEDURE (continued, for TMF-8 consoles)
e) after setting the PGM VU meters to “0VU”, press the bottom position on the VU SELECT SWITCH.
f) select PGM on the MONITOR SELECT switch (TCRM1 Monitor module). The meters will now read a little low. Compensate by
moving the input module fader up until the meters again read “0VU”. :
g) select AUD on the MONITOR SELECT switch. Adjust the AUD VU METER trim pots for “0VU”.
h) select UTL on the MONITOR SELECT switch. Adjust the UTL VU METER trim pots for “0VU”.
NOTE: 0dBu = 0.775 VRMS with no load. dBu is compatible with all active-balanced equipment (low Zout, high Zin). If 600½ transformer balanced
equipment is used, these calibration levels may change.
WARNING: Some voltmeters are optimized for 60 cycles and will not be accurate at midband audio
frequencies (1kHz). 3.37

3-18) CALIBRATION (continued)

3-18d) OVERALL RECALIBRATION PROCEDURE
INTERNAL BUS LEVEL -- The key to calibration of the 12,000 Series console is to set the internal summing bus audio level
to -2dBu (.615 VRMS, 1.7V peak to peak). This maximizes headroom and signal to noise ratio (SNR) while it minimizes distortion
(THD). After the bus levels are correctly set the Output module (TOB1) can be calibrated then the input modules.
TO RECALIBRATE THE ENTIRE CONSOLE, FOLLOW THIS PROCEDURE:
STEP 1 -- CALIBRATE VU METERS

To set the console‘s VU meters you must choose a nominal audio operating level for all the equipment in your facility. This “0VU”
reference audio level is often “+4". Other common station levels are “0" or “+8". +4dBu nominal station operating level (+4dBu = 0VU)
is assumed for this discussion.
0dBu = .775VRMS = 2.2V peak to peak
+4dBu = 1.23VRMS = 3.5Vpp
+8dBu = 1.95VRMS = 5.5Vpp
a) With an audio frequency tone generator, feed a midband (~1kHz) tone into any line level input module. The level of this tone is not
important “at this time, nor is the fader setting on the particular input module, however the tone should be around +4. Feed the signal
into both left and right inputs.
b) Connect a voltmeter, dB meter or oscilloscope to the PROGRAM LEFT output of the console. Measure between
PROGRAM OUT LEFT (+) And PROGRAM OUT LEFT (-). This is a BALANCED measurement (do NOT measure
between PGM L and GROUND. That would be an unbalanced measurement). There should be no other load on the output.
Do not put a 600ohm load on the output unless the output of the console is to be wired to a 600½ transformer balanced device. Be
aware that some voltmeters are not accurate at midband audio frequencies since they may be optimized for 60 cycles.
c) Adjust the level of the tone until the voltmeter, dB meter or scope indicates +4dB. This can be accomplished by either adjusting the input
module‘s slide fader or by adjusting the tone generator’s output. Do not be concerned with the console‘s fader and trim pot setting at this
time as we are now only setting the VU meters.
d) Adjust the PGM L VU METER DRIVER trim pot until the PGM L meter reads “0VU”. The VU METER DRIVER trim pots are
located on the TOB1 Output module. See TOB1 Major Parts Layout (section 4-8b) for trim pot locations.
e) Repeat steps b) and c) for PGM R, PGM MONO (SYSTEM 18 ONLY), AUD L and AUD R
f) After confirming that the VU METER SELECT switch on the meter bridge is in the TOP position, repeat steps b) and c) for UTL L and
UTL R.
NOTE TO TMF-8 USERS: Refer to “ NOTE TO TMF-8 USERS” on the previous page. follow those steps d) - g) to finish
VU meter calibration.
STEP 2 -- SET INTERNAL BUS LEVEL

The Internal Bus Level is identical to the levels found at the input module‘s DIRECT OUT outputs. The optimum bus level is -2dBu.
a) Connect your voltmeter, dB meter or scope between the input module‘s LEFT DIRECT OUT and AUDIO GROUND. This is an
unbalanced measurement. There should be no additional load on this output.
b) Adjust the input module‘s slide fader until the voltmeter, dB meter or scope indicates -2dBu (-2dBu = .615VRMS = 1.7Vpp). It is
recommended to tape the slide fader in place to retain its setting.
c) Move the voltmeter, dB meter or scope to the RIGHT DIRECT OUT output. Adjust the RIGHT input module trim pot until RIGHT
DIRECT OUT reads -2dBu. Now both left and right audio buses are set for -2.
d) DO NOT MOVE THE SLIDE FADER OR TRIM POTS on the input module. Both left and right bus levels must be held at
-2dBu throughout the next step, Output module calibration.
3.38

3-18d) OVERALL RECALIBRATION PROCEDURE (continued)
STEP 3 -- CALIBRATE OUTPUT MODULE
With the bus levels held at -2dBu, the TOB1 Output module can be calibrated. Only the CONSOLE OUTPUT trim pots need
adjustment. The VU METER DRIVER trim pots have already been done.
a) Adjust the CONSOLE OUTPUT trim pots (see section 4-7b, TOB1 Major Parts Layout for trim pot locations) until all VU meters
read “0VU”. DO NOT TOUCH THE VU METER DRIVER TRIM POTS!! ONLY THE CONSOLE
OUTPUT TRIM POTS.
b) Carefully replace the TOB1 faceplate to protect the trim pots from unintentional changes. TMF-8 CONSOLES: Use the Meter
Bridge‘s VU METER SELECT SWITCH and the TCRM1’s Input Select switch to complete calibration as previously
described in VU Meter calibration section.
STEP 4 -- CALIBRATE INPUT MODULES

Each input module can now be calibrated to the station operating level you have chosen...“+4" in this case for line level and -55dBu
for MIC inputs.
a) Connect the test tone to the first line level input module to be calibrated. The connection should be BALANCED. This should pose
no problem if you have a balanced test tone. If your tone generator has unbalanced outputs hook the SIGNAL lead from
the tone generator to the (+) input on the module, and hook the GROUND from the signal generator to the (-) input on the
module. This is effectively a balanced connection.
b) Calibrate the output of the tone generator to +4dBu = 1.23VRMS = 3.5Vpp.
c) Set the module‘s fader at the thick black line
d) Adjust the input module trim pots such that the meters read 0VU. This can usually be done by removing the module to the right
of the module to be calibrated leaving a space to access the trim pots. The module can also be placed on the extender cables
supplied with the console to provide access to the trim pots.
e) Go on to the next input module.
f) Calibrate the MIC input modules with a small bladed screwdriver.
If all your audio source devices (cart machines, CD players etc.) are properly calibrated to your station operating level, all inputs
will be correct. Confirm calibration of the audio source devices. If there is a calibration mismatch either change the source‘s output
levels or recalibrate the particular input module in question to match the source. To interface the 12,000 Series console to
consumer level (-10dB) equipment, simply increase the gain on that particular input module until the console‘sVU meters
read “0VU”.
STEP 5 -- CALIBRATE MONITOR MODULE

The TCRM1 Monitor module, in most cases, should not require recalibration. If necessary:
a) Place the TCRM1 Monitor module on extender cables (optional) or remove the module‘s faceplate.
b) Feed a test signal into the console such that the VU meters read “0VU”.
c) Turn the MONITOR and HEADPHONES volume pots up full.
d) Make sure that no modules are in CUE. Any module in CUE will activate the DIM feature resulting in an inaccurate calibration.
e) Adjust the MONITOR and HEADPHONE TRIM pots until all the outputs read the same. The actual level is not as
important as the balance between left and right signals. See the TCRM1 Major Parts Layout page (section 4-8b) for the location
of the trim pots. The pots can be accessed by reaching behind the cabling with a small screwdriver. As previously mentioned, the
module‘s faceplate may be removed to ease trimpot access. Skip steps f) and g) if the AUTOCUE feature on the TCRM1
module has been defeated.
f) Place an unused input module into CUE. This module should NOT have any signal fed to it. The monitor and headphone
outputs should DIM.
g) Adjust the right and left DIM levels by turning the DIM trim pots.
NOTE- problems with calibration can add hum, noise, pops & clicks, distortion etc. Call the
Calibration is now complete! Arrakis Customer Service Dept. at the factory if you have These symptoms or trouble with calibration.
3.39

3-18e) TDA1 DISTRIBUTION AMPLIFIER MODULE CALIBRATION
The TDA1 Distribution Amplifier module is normally calibrated for UNITY GAIN. That is, the level of the signal coming out is the same as
the level of the signal going in.
CALIBRATION PROCEDURE
1) Feed a signal BALANCED into the LEFT DA input
2) Measure the BALANCED output level from CH 1 LEFT.
3) Adjust the appropriate trim pot (see TDA1 Major Parts Layout, section 4) until the level OUT is the same as the level IN.
4) Repeat for channels 2, 3 and 4.
5) Repeat for RIGHT input.
6) Immediately replace the blank cover panel to protect the trim pots from being bumped. It is very easy to throw the module
out of calibration by inadvertently bumping a trim pot.
3-18f) TPH1 -- PHONE SYSTEM MODULE CALIBRATION

A trimpot on the module allows adjustment of the level of the phone hybrid in the console’s CUE system.
3.40
ELECTRONIC DESCRIPTION
SECTION FOUR
ELECTRONIC
DESCRIPTION
4-0) RESISTOR COLOR CODE & IC PINOUTS
RESISTOR CAPS CONSIST OF

ALL RESISTORS ARE METAL FILM, 1%, 1/4 WATT CAPACITOR 1) DISC CERAMIC:
ALL POTS ARE CONDUCTIVE PLASTIC 2) MONOLYTHIC CERAMIC
3) TANTALUM
COLOR CODE:
ALL CAPS ARE RATED 16VDC OR GREATER
FIRST VALUE BAND
SECOND VALUE BAND
THIRD VALUE BAND
MULTIPLIER
TOLERANCE (BROWN = 1%) DIODE
ALL DIODES, EXCEPT LEDs, ARE 1N914
EXAMPLE: YELLOW / VIOLET / GREEN / RED / BROWN
4 7 5 3 1 = 47.5 k½ 1%
OPAMP NE5532 OP AMP VCA SSM2018T VOLTAGE MIC PRE

CONTROLLED AMP. SSM2017 MIC PREAMP
USE NO SUBSTITUTIONS USE NO SUBSTITUTION
MANY “EQUIVALENT” ICs MANUFACTURED BY MANY “EQUIVALENT” ICs
ARE PIN COMPATIBLE BUT ANALOG DEVICES ARE PIN COMPATIBLE BUT
LACK PERFORMANCE. LACK PERFORMANCE.
SSM2018TP
MANUFACTURED BY MANUFACTURED BY
PHILLIPS OR NATIONAL 1 16 ANALOG DEVICES
+ VDC 2 15
SSM2017P
NE5532N
3 14 OUT
A B
GAIN 1 8 GAIN
4 13 GND
OUT 1 8 + VDC (-) IN + VDC
2 7
5 12
(-) IN 2 7 OUT (+) IN 3 6 OUT
IN 6 11 VOL DC
(+) IN 3 6 (-) IN - VDC 4 5 GND
7 10 - VDC
- VDC 4 5 (+) IN
8 9
SWITCHES SELECT SWITCHES 4PDT DC POWER DISTRIBUTION

TRANSISTORS
MANUFACTURED
BY ITT CANNON 2N3904 NPN EBC
POWER BUS VDC TO IC
ON/OFF SWITCHES ARE SPST
MANUFACTURED
BY EAO OLTEN
2N3906 PNP EBC
.1µF BYPASS
1 2
J111 JFET SDG = AUDIO GROUND = LOGIC GROUND
A
{ } B a b = AUDIO POWER = LOGIC POWER
{ }
1
C D a b
2
LAMP
THE ON/OFF LAMPS DPST RELAY DPST RELAYS MRB 2A12
ARE ML-386,A T1 3/4 MIDGET MANUFACTURED BY CLARE
GROOVED LAMP (14V, 80mA)
NOTE: A SMALL PIECE OF SHRINK TUBING CAN BE FASHONED

TO REMOVE LAMPS FROM THEIR SOCKETS.
NOTE: MODULE REMOVAL & REPLACEMENT ANY

MODULE CAN BE FULLY REMOVED OR INSERTED WHILE
THE CONSOLE IS “HOT” (POWERED UP). THIS WILL NOT
CAUSE ANY HARM TO THE CONSOLE ELECTRONICS
4.0
4-1) POWER SUPPLY DESCRIPTION

4-1a) TPS2 POWER SUPPLY -- GENERAL DESCRIPTION
The TPS2 power supply, used with 8 and 18 channel mainframes, contains one 3 Amp bipolar open frame power supply
(as illustrated below). The TPS2-28 (used with 28 channel mainframes) contains two supplies, one 1.5 Amp supply (powers
audio circuits) and one 3.0 Amp supply (powers logic circuits).
ALL DC VOLTAGES
3.0 AMP ARE APPROXIMATELY
BIPOLAR ± 12.6VDC
SUPPLY
FUSE HOLDER
TPS2 TOP VIEW
DC POWER CONNECTOR 1) (-) 12.6VDC OUT (BLU)

2) GROUND (GRN)
3) (+) 12.6VDC OUT (ORN)
7 4 1
4) NC
5) NC
8 5 2 6) NC
9 6 3 7) (+) 12.6VDC OUT (BLU)
8) GROUND (GRN)
9) (-) 12.6VDC OUT (ORN)
4-1b) FUSES
The power supply cabinet is equipped with an INTERNALAC fuse. If the fuse blows, then replace it with a 2 AMP SLO-BLO FUSE.
Use no substitutions!
NOTE: WARNING!!! ALWAYS unplug the power supply before opening the chassis. Potentially deadly AC line voltage
is present within the power supply cabinet.
4-1c) GROUNDING
THE POWER SUPPLY CABINET MUST BE GROUNDED AT ALL TIMES!!!
Grounding is accomplished by plugging the power supply into a grounded three prong AC outlet. The power supply‘s electronic ground
is totally floating in respect to the cabinet’s chassis ground (AC ground), therefore there is no advantage to removing the third prong on the
AC power cord to try to alleviate a ground loop. If the AC ground is defeated on the power cord or AC outlet then the the power supply
cabinet MUST be grounded through other means. Failure to do so will result in a serious safety hazard.
4.1
4-1) POWER SUPPLY DESCRIPTION

4-1d) OPEN FRAME POWER SUPPLIES
The 12,000 series console uses two independent power supplies to provide DC power to the audio and logic circuitry. All power
supplies are bipolar (positive and negative DC) “International Series” open frame supplies built for Arrakis by Power One Inc. Each
supply is adjustable from roughly 10-17 VDC. Protection is provided in the form of current limiting-foldback. Load regulation is ± .05%
for 50% load change. Ripple is 5mv peak to peak maximum. Transient response is 50ms to a 50% load change.
SAFETY SPECIFICATIONS
Power One literature shows they meet or exceed safety requirements for IEC380, IEC435, VDE 0730 Part 2, VDE 0804,
ECMA-47, CEE 10 Part 2P, UL1012, CSA22.2 No. 143, CSA 22.2 No. 154. Specifically, leakage current is less than
5 milliamps. Dielectric withstand is 3750VAC input to chassis and input to output with 300VDC output to chassis.
110VAC to 220VAC Conversion

The power supplies can be operated on a variety of AC line voltages. The supplies are set up for 120VAC operation as shipped
from the factory unless otherwise requested. The supplies will run on frequencies from 47 to 63 Hz and voltage variations of
+10% to -13%. Conversion to different line voltages is accomplished by moving jumpers on the open frame supplies.
JUMPER CONNECTIONS FOR VARIOUS AC SUPPLY VOLTAGES

AC line input voltage conversion requires reconfiguration of the power supply‘s AC transformer:
FOR 110VAC OPERATION -- APPLY AC TO PINS1 AND 5

Jumper pins1 to 3 and pins 2 to 4

Jumper pins1 to 3 and pins2 to 4

Jumper pin 2 to pin 3
FOR 230VAC OPERATION -- APPLY AC TO PINS 1 AND 4

Jumper pin 2 to pin 3
5
1
3
2
4
TRANSFORMER AC
POWER
PLUG
EXAMPLE- Transformer shown above set up for 120VAC operation
4.2
4-2) MAINFRAME DESCRIPTION

4-2a) MOTHERBOARD LOCATION
The mainframe contains one or more 10 channel motherboards. The motherboards are fixed into place on the mainframe
with a series of nuts and washers. All audio and logic signal buses are located on the bottom side of the motherboards.
10 CHANNEL MOTHERBOARDS
4.3
4-2) MAINFRAME DESCRIPTION

4-2b) MOTHERBOARD DESCRIPTION
INPUT/OUTPUT CONNECTORS
These nine pin connectors (made by AMP) are labled CN1, CN2 and
CN1 CN3 on the module input/output connector diagrams.
CN2
CN3 INTERCOM CONNECTOR
This six pin connecto (made by MOLEX) is utilized by the TCRM1, when it
P1 is in this second from the last slot, for talkback/intercom.
P2
DC POWER CONNECTIONS
(+) AUDIO ---------- RED WIRE
( - ) AUDIO ---------- WHITE WIRE
CARD EDGE CONNECTORS
( - ) AUDIO ---------- WHITE WIRE
These 50 pin gold plated connectors provide contacts for all input/output
( - ) LOGIC ---------- BLUE WIRE
audio, logic, and power bus connections to and from, the modules.
LOGIC GROUND - GREEN WIRE
P1 interconnects the modules with CN1,CN2 and CN3. P2 is the bus
(+) LOGIC ----------- ORANGE WIRE
connector for audio, logic and power.
MOTHERBOARD INTERCONNECT
is accomplished via 50 pin headers. Provides interconnect for all audio, logic and power buses. Also routes signal up to the meter bridge.
CONNECTOR P1 CONNECTOR P2
1) 9 2) NC 1) PROGRAM LEFT A 2) AUDIO GROUND
3) 6 4) NC 3) PROGRAM RIGHT U 4) AUDIO GROUND
5) 3 C 6) NC 5) AUD MIX-MINUS D 6) AUDIO GROUND
7) 8 N 8) NC 7) PGM MIX-MINUS I 8) AUDIO GROUND
9) 5 1 10) NC 9) AUDITION LEFT O 10) AUDIO VDC (-)
11) 2 12) NC 11) AUDITION RIGHT 12) AUDIO VDC (-) AUDIO
13) 7 14) NC 13) UTILITY LEFT B 14) AUDIO VDC (+) POWER
15) 4 16) NC 15) UTILITY RIGHT U 16) AUDIO VDC (+)
17) 1 18) NC 17) TALKBACK BUS S 18) LOGIC VDC (+) LOGIC
19) 9 20) NC 19) NC E 20) LOGIC VDC (-) POWER
21) 6 22) NC 21) CUE RIGHT S 22) LOGIC GROUND
23) 3 24) NC 23) CUE LEFT 24) LOGIC GROUND
25) 8 C 26) NC 25) AUTOCUE LOGIC 26) NC
LOGIC
27) 5 N 28) NC 27) TIMER RESET BUS 28) RESET TO TIMER
BUSES
29) 2 2 30) NC 29) STUDIO 2 MUTE 30) TIMER HOLD
31) 7 32) NC 31) STUDIO 1 MUTE 32) CR MUTE
33) 4 34) NC 33) NC 34) NC
VU DRIVE/
35) 1 36) NC 35) NC 36) NC
MONITOR
37) 6 38) 9 37) NC 38) NC
C BUSES
39) 8 40) 3 39) NC 40) NC
41) 2 N 42) 5 41) MONITOR VU LEFT 42) MONITOR VU RIGHT
43) 4 3 44) 7 43) AUDITION VU MONO 44) PROGRAM VU MONO
45) NC 46) 1 45) PROGRAM VU LFT 46) PROGRAM VU RIGHT
47) NC 48) NC 47) AUDITION VU LEFT 48) AUDITION VU RIGHT
49) NC 50) NC 49) UTILITY VU LEFT 50) UTILITY VU RIGHT
4.4
4-2) MAINFRAME DESCRIPTION (continued)
4-2c) ANALOG VU METER DESCRIPTION & WIRING

VU METERS - Each Selco AL-29/39R meter has a series capacitor (.47µF) an a series resistor (2.2k ohm) in each spade lug
attached to the meter.
2.2k ohm
.47µF
4-2d) VU METER LAMPS (ANALOG METERS, DELUXE MAINFRAMES)

Replacement VU meter lamps are available from Arrakis Systems Customer Service department. The lamps are also available
from Selco/SIAFAM (800-229-2332). The SELCO part number is 19-29-39/12V. The lamps are rated for 100mA at 12VDC.
upon the National Semiconductor LM3916N IC.
4-2f) VU METER WIRING HARNESS

The VU meter wiring harness extends to the motherboards‘ power and VU meter busses via the 50 pin ribbon cable connector attached
to the motherboard on the right side of the console.
4-2g) TIMER DESCRIPTION

The 12,000 Series Console‘s 10 minute up timer uses the Arrakis timer PC board. The board has connections for power and logic lines.
The board is based upon the Harris ICM7217CIPI and ICM7213IPD ICs.
4-2g) TIMER WIRING HARNESS

The timer‘s wiring harness extends to the motherboards’ power and timer logic busses via the 50 pin ribbon cable connector attached to the
motherboard on the right side of the console.
4.5
4-3a) TPM1 -- INPUT MODULE CARD EDGE CONNECTOR DIAGRAM
CONNECTOR P1
Foil Side Component Side
1) 'A' Right (+) Audio Input 2) NC
3) 'A' Right (-) Audio Input 4) NC
5) 'A' Left (-) Audio Input 6) NC
7) 'A' Left (+) Audio Input 8) NC 1
9) 'A' Remote Stp (mom)/Start (sus) 10) NC P
11) 'A' Remote Start/Stop Common 12) NC 1
13) 'A' Remote Start (momentary) 14) NC 49
15) 'A' "OFF" Lamp (driver) 16) NC
17) 'A' "OFF" Lamp (ground) 18) NC F
19) 'B' Right (+) Audio Input 20) NC O
21) 'B' Right (-) Audio Input 22) NC I
23) 'B' Left (-) Audio Input 24) NC 1
26) NC
L P
25) 'B' Left (+) Audio Input
27) 'B' Remote Stp (mom)/Start (sus) 28) NC 2
29) 'B' Remote Start/Stop Common 30) NC S 49
31) 'B' Remote Start (momentary) 32) NC I
33) 'B' "OFF" Lamp (driver) 34) NC D
35) 'B' "OFF" Lamp (ground) 36) NC
37) Left Direct Output 38) Right Direct Out
E
39) Remote Channel OFF 40) Remote Channel ON
41) Right Prefader Patch Output 42) Left Prefader Patch Out
43) Right Prefader Patch In 44) Left Prefader Patch In
45) Audio Ground 46) Audio Ground
47) NC 48) NC
49) NC 50) NC
CONNECTOR P2
1) Program Left Summing Bus 2) Audio Ground
3) Program Right Summing Bus 4) Audio Ground
2
5) Audition Mix-Minus Summing Bus 6) Audio Ground P
7) Program Mix-Minus Summing Bus 8) Audio Ground 1
9) Audition Left Summing Bus 10) Audio VDC(-)
11) Audition Right Summing Bus 12) Audio VDC(-) 50
13) Utility Left Summing Bus 14) Audio VDC(+)
15) Utility Right Summing Bus 16) Audio VDC(+)
C
17) NC 18) Logic VDC(+) O
19) NC 20) Logic VDC(-) M 2
21) Cue Right Summing Bus 22) Logic Ground P P
23) Cue Left Summing Bus 24) Logic Ground O 2
25) Autocue Logic Bus 26) NC
27) Timer Reset Logic Bus 28) NC N 50
29) Studio 2 Mute Logic Bus 30) NC E
31) Studio 1 Mute Logic Bus 32) Control Room Mute Logic Bus N
33) NC 34) NC T
35) NC 36) NC
37) NC 38) NC
39) NC 40) NC S
41) NC 42) NC I
43) NC 44) NC D
45) NC 46) NC E
47) NC 48) NC
49) NC 50) NC
4.6
P1-37 DIRECT OUT L
P1-44
PREFADER P1-43 P1-38 DIRECT OUT R
PATCH P1-41
P1-42 91 AUDIO BUSES
1 Q1
P2-23 CUE LEFT
200 83 14 12
'A' LEFT P1-5 75 76 CN1
INPUT 122 87 92
P1-7 3 4 1 2 1 60 3 85 P2-1 PGM LEFT
6
7 +
S1-C 6 14 64
1B SSM 2 1
TR1 5 215 4A
205 120 4 2018T 3 +
12 P2-9 AUD LEFT
5
'B' LEFT P1-23 2 89 93
77 78 201 204 IC2 10
206
INPUT P1-25 S1-A 40 10 8
16 P2-13 UTL LEFT
1
A/B INPUT 13
2 7 11
90 94
SELECT SWITCH LEFT
202 Q2
'A' RIGHT P1-3 79 80 P2-21 CUE RIGHT
84 15 13
INPUT P1-1 95
2 123 88 96
TR2 1 2
S1-B 1A 61 11 3 86 P2-3 PGM RIGHT
3 +
6 14
SSM 6 7 +
216 4B
121 4 2018T 5
12
'B' RIGHT P1-21 65 P2-11 AUD RIGHT
81 82 203 5
INPUT P1-19 S1-D 2 97
IC3 10
11 8
16 P2-15 UTL RIGHT
1 207
S1 REMOTE CHANNEL OFF P1-39 13
7 11 98
GRY REMOTE CHANNEL ON P1-40 RIGHT 99
S3-C P2-7 PRG MIX ( - )
2
210 3
5A 100
RED 3 3 1
208 P2-5 AUD MIX ( - )
101 S4-D DIP1
6
SLIDE YEL 5 66 + 5B LOGIC BUSES
5 7 + 8
FADER 67 P2-25 AUTOCUE
52
BLU 2 P2-27 TIMER RESET
SF1 209 50 7 9
P2-32 CR MUTE
10
WHT 1 2 P2-31 STUDIO 1 MUTE
CUE
102 103 S2-A P2-29 STUDIO 2 MUTE
CN2 1 11
DIP3 DIP2
51 3 12
3
1 + Q5
ORN 3 CTRL ‘A’ LOGIC
ON 5 6A -V = ON 175 6 S2-C
2 +V = OFF
SWITCH 42 ON 108 152 153 P1-13 MOM. START
CN3 Q3 P1-11 COMMON
150 106 RY1
1 P1-9 MOM. STOP/SUS.
L1 START S2-B P1-15 READY START
12 DIP 4-3 156
P1-17 READY
BRN 5 DIP 3-3
151 107 DIP 4-4
6 109 S2-D
RED 4 6 5 6B Q4
7
2 DIP 4-1 A/B INPUT
BLU 7 OFF +
OFF SELECT
50 13
SWITCH Q6 SWITCH
104 105 4
DIP 3-4 155 5 ‘B’ LOGIC
L2 25 154
P1-31 START
GRN 8
RY2 P1-29 COMMON
STOP P1-27 MOM. STOP/SUS.
GRY 1 P1-33 READY START
P1-35 READY
VIO 2
IC 1,4,5 --- NE5532N (PHILLIPS) L1,2 ------ 386 (T1 3\4 MIDGET GROOVED 14V, 80mA) C1-2 -------- 10 pF R1-6 ------------- 1k ohm R150-156 ---- 22k ohm TR1,2 --- 10k ohm TRIM
C10-15 ---- 47 pF R25 -------------- 2.2k ohm R175 ------------ 47k ohm SF1 ------- 10k ohm TPM1 - INPUT MODULE
IC 6 --------- NE532N (PHILLIPS) Q1,2 ------ J111 JFET
IC 2,3 --- SSM2018T (ANLG DEV) Q3-6 ----- 2N3904 NPN C40-42 ---- .1µF R50-52 -------- 4.7k ohm R200-210 --- 100k ohm (P&G 3210) SCHEMATIC PC1111-PB1
D1-12 ---- 1N914 RY1,2 -- MRB2A12 (CLARE) C50 --------- .47µF R75-109 ----- 10k ohm R215-216 --- 124k ohm REV C 7-95 GF 11/99
C60-66 --- 10µF TANT. R120-123 -- 18.7k ohm ALL RESISTORS 1% METAL FILM ARRAKIS SYSTEMS, inc.
CN 3 CN 2
(8) GROUND (6) NC S1
(7) "OFF" SWITCH S2
(5) VOLUME LEFT S3
(6) (+) VDC S4
(4) NC S5
(5) "ON" LAMP RIGHT INPUT
(3) GROUND INPUT TRIM
(4) GROUND (2) (-) VDC
(3) "ON" SWITCH TRIM
(1) CUE TR2 TR1
(2) "OFF" LAMP GROUND
(1) "OFF" LAMP DRIVER
CN2
Q5 IC1
Q4 Q6
L IC3
IC2
1
ON
DIP 4
ON
RY1 IC4 CN1
1
RY2 DIP1 1
CN3 2 1 2 3 4
S DIP2
IC6 3 Q1 Q2
4
S T ON
T A
ON O
1
R IC5
1 2 3 4
2 P T
Q3
3
1
4
CONNECTOR 1 (CN1)
DIP 3 (1) PATCH RETURN LEFT
TPM1---BASIC STEREO LINE LEVEL INPUT MODULE (2) PATCH RETURN RIGHT
(3) PATCH SEND LEFT
DIP SWITCH LIST (4) PATCH SEND RIGHT
DIP 1 (5) NC
(1) PGM MIX- MINUS ASSIGN (6) NC
COMPONENT PARTS -LIST BY FUNCTION
IC1 -------- (NE5532N) DUAL OP AMP -- INPUT PREAMP STAGE (2) AUD MIX- MINUS ASSIGN
IC2 -------- (SSM2018TP) VOLTAGE CONTROLLED AMPLIFIER (VCA) -- CONTROLS LEFT LEVEL (3) PGM RIGHT ASSIGN
IC3 -------- (SSM2018TP) VCA -- CONTROLS RIGHT LEVEL (MFG BY ANALOG DEVICES) (4) PGM LEFT ASSIGN MODULE CALIBRATION
IC4 -------- (NE5532N) DUAL OP AMP -- STEREO SUMMING AMP FOR SSM2018 VCA ICS' RIGHT CHANNEL-
IC5 -------- (NE5532N) DUAL OP AMP -- DRIVER FOR VCA GAIN CONTROL PORTS DIP 2
(1) TIMER RESET ASSIGN Adjust TR1
IC6 -------- (NE532N) DUAL OP AMP -- CONFIGURED AS A FLIP FLOP FOR MODULE ON/OFF* LEFT CHANNEL-
Q1,2 ------ (J111) JUNCTION FET'S -- SWITCHES AUDIO TO CUE SUMMING BUS (2) CR MUTE ASSIGN
(3) STUDIO 2 MUTE ASSIGN Adjust TR2
Q3 --------- (2N3904) NPN TRANSISTOR -- "ON" LAMP AND VCA UN-MUTE DRIVER GAIN VARIATION = ~20dB.
Q4 --------- (2N3904) NPN TRANSISTOR -- "OFF" LAMP DRIVER (4) STUDIO 1 MUTE ASSIGN
Q5,6 ------ (2N3904) NPN TRANSISTOR -- REMOTE START/STOP RELAY DRIVERS THE MODULE WILL
RY1,2 ---- (MRB2A12) REED RELAYS -- REMOTE START/STOP DIP 3
(1) MUTE ON "B" INPUT ACCOMMODATE INPUT
(2) MUTE ON "A" INPUT LEVELS FROM -10dBu
*NOTE- IF CHANNELAUDIO DOES NOT TURN OFF, BUT YELLOW "OFF" LAMP LIGHTS, TO +8dBu.
THEN CONFIRM IC6 IS NE 532 N AND NOT NE 5532 N. (3) "OFF" LAMP (DRIVER)**
(4) "OFF" LAMP (GROUND)**
CONNECTOR LIST DIP 4
CN1 -- PREFADER PATCH JUMPER. IF THE PATCH IS TO BE COMPLETED SWITCH (1) "ON" AND SWITCH (4) "OFF" =
EXTERNAL TO THE MODULE (THROUGH A RACK MOUNT COMPRESSOR, MOMENTARY REMOTE START AND STOP.
EQ ETC.) THEN REMOVE THE JUMPER ON THIS CONNECTOR. IF THE JUMPER SWITCH (1) "OFF" AND SWITCH (4) "ON" =
IS REMOVED AND THE PATCH IS NOT COMPLETED EXTERNAL TO THE SUSTAINED REMOTE START CLOSURE.
MODULE THEN THE MODULE WILL NOT FUNCTION. (2) NC
CN2 -- SLIDE FADER (3) ALWAYS LEAVE "ON" !!! TPM1- INPUT MODULE
CN3 -- ON/OFF SWITCH AND LAMPS MAJOR PARTS LAYOUT
**ALWAYS TURN THESE SWITCHES OFF WHEN DRIVING THE "OFF" LAMP
FROM A CART MACHINE (READY STATUS INDICATION). FAILURE TO DO REV C 7-95 PC1111-PB1
SO MAY CAUSE DAMAGE TO THE LAMP DRIVER (Q4).
ARRAKIS SYSTEMS INC.
4-4a) TPM1-M -- INPUT MODULE CARD EDGE CONNECTOR DIAGRAM
CONNECTOR P1
1) 'A' Mic (+) Audio Input 2) NC 1
3) 'A' Mic (-) Audio Input 4) NC P
5) Shield Ground (not switched) 6) NC 1
7) 'A' Cue/Talkback Logic Input 8) NC 49
9) 'A' Cough Mute Logic Input 10) NC
11) 'A' Logic Ground 12) NC F
13) 'A' On/Off Tally 14) NC O
15) 'A' Remote Channel OFF 16) NC
I 1
17) 'A' Remote Channel ON 18) NC
19) 'B' Mic (+) Audio Input 20) NC L P
21) 'B' Mic (-) Audio Input 22) NC 2
23) Shield Ground (not switched) 24) NC S 49
25) 'B' Cue/Talkback Logic Input 26) NC I
27) 'B' Cough Mute Logic Input 28) NC
29) 'B' Logic Ground 30) NC
D
31) 'B' On/Off Tally 32) NC E
33) 'B' Remote Channel OFF 34) NC
35) 'B' Remote Channel ON 36) NC
37) Direct Output 38) Direct Output
39) NC 40) NC
41) NC 42) Talkback Bus Audio Input
43) Prefader Patch Out 44) Prefader Patch In
45) NC 46) Audio Ground
47) NC 48) NC
49) NC 50) NC
CONNECTOR P2
Foil Side Component Side 2
1) Program Left Summing Bus 2) Audio Ground P
3) Program Right Summing Bus 4) Audio Ground 1
5) Audition Mix-Minus Summing Bus 6) Audio Ground 50
7) Program Mix-Minus Summing Bus 8) Audio Ground
9) Audition Left Summing Bus 10) Audio VDC(-) C
11) Audition Right Summing Bus 12) Audio VDC(-) O
13) Utility Left Summing Bus 14) Audio VDC(+) M 2
17) Talkback Bus 18) Logic VDC(+)
P P
19) NC 20) Logic VDC(-) O 2
21) Cue Right Summing Bus 22) Logic Ground N 50
23) Cue Left Summing Bus 24) Logic Ground E
25) Autocue Logic Bus 26) NC N
27) Timer Reset Logic Bus 28) NC
29) Studio 2 Mute Logic Bus 30) NC
T
31) Studio 1 Mute Logic Bus 32) Control Room Mute Logic Bus
33) NC 34) NC S
35) NC 36) NC I
37) NC 38) NC
39) NC 40) NC
D
41) NC 42) NC E
43) NC 44) NC
45) NC 46) NC
47) NC 48) NC
49) NC 50) NC
4.7
P2-37
PREFADER P1-44
1 P1-38
PATCH
P1-43
2 10
CN1 102 AUDIO BUSES
25 P2-23 CUE LEFT
12 13
75 2
76 251 82
1 + 100 S3-B
7A 250 60 3 77 P2-1 PGM LEFT
3 61 + 6 14 DIP1-4
63
SSM 325 2 1 +
A/B INPUT 4 2018T 3 3A S4-B 83
12 AUD LEFT
SELECT SWITCH P2-9
5
11 99 2
'A' MIC P1-1 IC2 10 84
15 16 14 8
S5-B
INPUT 3 Q1 16 UTL LEFT
P1-3 7 1 P2-13
7 TR1 1 13
6 165 7 11
SSM 6
S1-D IC1 2017 7
8 5 7B 103
8 125 200 9
275 4 5 P2-21 CUE RIGHT
2
80
'B' MIC P1-19 40 S3-A 85
INPUT S1-B P2-3 PGM RIGHT
P1-21
DIP1-3
S1 S4-A 86
210 P2-11 AUD RIGHT
TALKBACK TALKBACK
S5-A 87
ASSIGN P1-42 P2-17 BUS
202 P2-15 UTL RIGHT
375
REMOTE CHANNEL OFF P1-15
P1-33
88
S3-C P2-7 PRG MIX ( - )
205 REMOTE CHANNEL ON P1-17 1
RED 3 1 P1-35 2 P2-5 AUD MIX ( - )
209 203
98 S4-C DIP1 100
SLIDE + 6 LOGIC BUSES
YEL 5 64 5B 12
5 7
FADER P1-25 AUTOCUE
207
50 6 65 Q12
BLU 2 + P1-27 TIMER RESET
SF1 204 54 Q10 Q11 3
CN2 206 208 2 P1-32 CR MUTE
6 153 154
2 4 P1-31 STUDIO 1 MUTE
90 91 1 S2-A 3 P1-29 STUDIO 2 MUTE
1
DIP3 DIP2
3
51
1 CTRL ‘A’ LOGIC
ON ORN 3 6A -V = CH ON 7 17 52 S2-C
2 2 +V = CH OFF Q9
SWITCH 42 ON 96 P1-13 ON/OFF TALLY
LED 176
CN3 Q3 P1-11 LOGIC GROUND
150 94 Q7
4 P1-9 COUGH/MUTE
L1 14 Q8 S2-B
BRN 5 P1-7 CUE/TALKBACK
104 151 95
6 97 S2-D
RED 4 3 101 P1-5 SHIELD
5
6B Q4
7
5 175 A/B INPUT P1-23 GROUND
OFF BLU 7 OFF Q5
Q6 8 SELECT
SWITCH 50 53
SWITCH
92 93 2 ‘B’ LOGIC
L2 P1-31 ON/OFF TALLY
GRN 8 5
P1-29 LOGIC GROUND
3 + P1-27 COUGH/MUTE
62
GRY 1
R1-9 ------------ 1k ohm 13
P1-25 CUE/TALKBACK
VIO 2 R25 ------------- 47.5 ohm R175-176 --- 47.5k ohm
IC1 ----------- SSM2017 L1,2 --------------- 386 (T1 3\4 MIDGET GROOVED C10-14 ---- 47pF R50-54 ------- 4.75k ohm R200-210 -- 100k ohm
TPM1-M - INPUT MODULE
IC 3,5,7 ------ NE5532N (PHILLIPS) Q5,8,12 ------------ 2N3906 PNP 14V, 80mA) C40-42 ---- .1µF R75-104 ---- 10k ohm R250-251 -- 18.7k ohm TR1 --------- 500 ohm
IC 6 ----------- NE532N (PHILLIPS) Q9 ----------------- 2N6426 NPN DARLINGTON C50 ---------- .47µF R125 ---------- 12.1k ohm R275 ---------- 10 ohm SF1 --------- 10k ohm SCHEMATIC PC1111-PB2
IC 2 ----------- SSM2018TP (ANLG DEV) Q1 ----------------- J111 JFET C60-69 --- 10µF TANT. R150-154 -- 22k ohm R325 --------- 124k ohm REV C 7-95 GF 1/99
D1-17 --------- 1N914 Q3,4,6,7,10,11 -- 2N3904 NPN C80 --------- 270pF R165 ---------- 33.2k ohm R375 ---------- 3.24k ohm ALL RESISTORS 1% METAL FILM ARRAKIS SYSTEMS, inc.
CN 2
CN 3 (6) NC S1
MIC PREAMP S2
(8) GROUND (5) VOLUME S3
LEVEL ADJUST S4
S5
(7) "OFF" SWITCH (4) NC (MODULE CAL.)
(6) (+) VDC (3) GROUND
(5) "ON" LAMP (2) (-) VDC
(4) GROUND (1) CUE TR1
(3) "ON" SWITCH
(2) GROUND Q5
CN2
(1) "OFF" LAMP IC7 IC1
Q12
Q4 Q11 IC3 IC2
Q10 1
ON
CN1
CN3 DIP1 1
NE532 N 1 2 3 4
IC6 Q6
ON Q1
ON
Q9 1
2
IC5 1 2 3 4
Q3 3
4
1
Q7 Q8 DIP2
DIP 3
CONNECTOR 1 (CN1)
(1) PATCH RETURN
TPM1-M --- MIC LEVEL INPUT MODULE (2) PATCH SEND
(3) NC
(4) PAN POT
COMPONENT PARTS -LIST BY FUNCTION (5) GROUND
(6) PAN POT
IC1 --------- (SSM2017P) -- MIC INPUT AUDIO PREAMP STAGE DIP SWITCH LIST
IC2 --------- (SSM2018TP) -- VOLTAGE CONTROLLED AMP (VCA) -- CONTROLS AUDIOLEVEL
DIP 1
'SSM' ICs ARE MANUFACTURED BYANALOG DEVICES
(1) PGM MIX- MINUS ASSIGN MODULE CALIBRATION
IC3 --------- (NE5532N) DUAL OP AMP -- VCA SUMMING AMP
(2) AUD MIX- MINUS ASSIGN
IC5 --------- (NE5532N) DUAL OP AMP -- DRIVER FOR VCA GAIN CONTROL PORT
(3) PGM RIGHT ASSIGN MIC INPUT LEVEL
IC6 --------- (NE532N) DUAL OP AMP -- CONFIGURED AS A FLIP FLOP FOR MODULE ON/OFF*
(4) PGM LEFT ASSIGN Adjust TR1
IC7 --------- (NE5532N) DUAL OP AMP -- BUFFER AMP
Q1 --------- (J111) JUNCTION FET -- SWITCHES AUDIO TO CUE SUMMING BUS (TALKBACK)
DIP 2 GAIN VARIATION = ~40dB.
Q3 --------- (2N3904) NPN TRANSISTOR -- "ON" LAMP AND VCA UN-MUTE DRIVER
(1) NC
Q4 --------- (2N3904) NPN TRANSISTOR -- "OFF" LAMP DRIVER
(2) CR MUTE ASSIGN THE MODULE WILL ACCOMODATE
Q5 --------- (2N3906) PNP TRANSISTOR -- COUGH MUTE
(3) STUDIO 2 MUTE ASSIGN INPUT LEVELS FROM -70dBu TO -30dBu.
Q6 --------- (2N3904) NPN TRANSISTOR -- COUGH MUTE
(4) STUDIO 1 MUTE ASSIGN
Q7 --------- (2N3904) NPN TRANSISTOR -- ON/OFF TALLY
Q8 --------- (2N3904) NPN TRANSISTOR -- ON TALLY DRIVER
DIP 3
Q9 --------- (2N6420) NPN DARLINGTON TRANSISTOR -- OFF TALLY DRIVER
(1) MUTE ON "B" INPUT
Q10,11 --- (2N3904) NPN TRANSISTOR -- TIMER RESET
(2) MUTE ON "A" INPUT
Q12 ------- (2N3906) PNP TRANSISTOR -- TIMER RESET
(3) TIMER RESET ASSIGN
(4) NC
*NOTE- IF CHANNEL AUDIO DOES NOT TURN OFF, BUT YELLOW "OFF" LAMP LIGHTS THEN CONFIRM IC6 IS NE532N AND NOT NE5532N.,
CONNECTOR LIST
CN1 --- PREFADER PATCH JUMPER. IF THE PATCH IS TO BE COMPLETED
EXTERNAL TO THE MODULE (THROUGH A RACK MOUNT COMPRESSOR,
EQ ETC.) THEN REMOVE THE JUMPER ON THIS CONNECTOR. IF THE
JUMPER IS REMOVED AND THE PATCH IS NOT COMPLETED EXTERNAL
TO THE MODULE THEN THE MODULE WILL NOT FUNCTION. TPM1-M INPUT MODULE
CN2 --- SLIDE FADER MAJOR PARTS LAYOUT
CN3 --- ON/OFF SWITCH AND LAMPS REV C 7-95 PC1111-PB2
ARRAKIS SYSTEMS, inc.

CONNECTOR P1
1) 'A' Mic (+) Audio Input 2) NC
3) 'A' Mic (-) Audio Input 4) NC
5) Shield Ground (not switched) 6) NC
7) 'A' Cue/Talkback Logic Input 8) NC 1
9) 'A' Cough Mute Logic Input 10) NC P
11) 'A' Logic Ground 12) NC 1
13) 'A' On/Off Tally 14) NC 49
15) 'A' Remote Channel OFF 16) NC
17) 'A' Remote Channel ON 18) NC F
19) 'B' Mic (+) Audio Input 20) NC O
21) 'B' Mic (-) Audio Input 22) NC I
23) Shield Ground (not switched) 24) NC 1
25) 'B' Cue/Talkback Logic Input 26) NC
L P
27) 'B' Cough Mute Logic Input 28) NC 2
29) 'B' Logic Ground 30) NC S 49
31) 'B' On/Off Tally 32) NC I
33) 'B' Remote Channel OFF 34) NC D
35) 'B' Remote Channel ON 36) NC
37) Direct Output 38) Direct Output
E
39) NC 40) NC
41) NC 42) Talkback Bus Audio Input
43) Prefader Patch Out 44) Prefader Patch In
47) NC 48) NC
49) NC 50) NC
CONNECTOR P2
2
5) Audition Mix-Minus Summing Bus 6) Audio Ground
P
1
15) Utility Right Summing Bus 16) Audio VDC(+) C
17) Talkback Bus 18) Logic VDC(+) O
23) Cue Left Summing Bus 24) Logic Ground
O 2
33) NC 34) NC T
35) NC 36) NC
37) NC 38) NC
39) NC 40) NC S
41) NC 42) NC I
43) NC 44) NC D
45) NC 46) NC
47) NC 48) NC
E
49) NC 50) NC
4.8
P1-25 DIRECT OUT L
PREFADER P1-44
1 P2-25 DIRECT OUT R
PATCH
P1-43
2 10
CN1 102 AUDIO BUSES
25 P2-25 CUE LEFT
12 13
75 2
76 251 82
1 + 100 S3-B
7A 250 60 3 77 P2-25 PGM LEFT
3 61 + 6 14 DIP1-4
SSM 2 1 201
A/B INPUT 325 3A S4-B 83
4 2018T 3
12 +
SELECT SWITCH P2-25 AUD LEFT
5
11 99 2
IC2 63
'A' MIC P1-1 10 S5-B 84
15 16 14 8
INPUT 3 Q1 16
7 1 P2-25 UTL LEFT
P1-3 7 TR1 1 13
6 165 7 11
SSM 6
S1-D IC1 2017 7
8 5 7B 103
8 125 200 9
275 4 5 P2-25 CUE RIGHT
2 15
80
'B' MIC P1-19 40 85
300 S3-A
INPUT S1-B P2-25 PGM RIGHT
P1-21 66
+ DIP1-3
350 1 +
S1 2
S6-A 80 4A S4-A 86
3
78 210 68 P2-25 AUD RIGHT
211 202
TALKBACK TALKBACK PAN 87
16 + S5-A
ASSIGN P1-42 P2-17 BUS TR2 P2-25 UTL RIGHT
375 212 301 69
REMOTE CHANNEL OFF P1-15 79
P1-33 67 88
S6-B +
6 7 S3-C P2-25 PRG MIX ( - )
P1-17 4B 1
RED 3
205 REMOTE CHANNEL ON 213 351 81 5
1 P1-35 P2-25 AUD MIX ( - )
209 203 2
98 S4-C 100
6 DIP1
SLIDE YEL 5 64 + 5B 12 LOGIC BUSES
5 7
FADER P2-25 AUTOCUE
207
50 6 65 Q12
+ P2-27 TIMER RESET
SF1 BLU 2 204 54 Q11 3
Q10 P2-32 CR MUTE
6 206 208
CN2 153 154 STUDIO 1 MUTE
2 P2-31
90 91 1 S2-A P2-29 STUDIO 2 MUTE
1
DIP3 DIP2
3
51
1 CTRL
ON ORN 3 6A -V = CH ON 7 17 ‘A’ LOGIC
2 2 +V = CH OFF
52 Q9 S2-C
SWITCH 42 ON 96 P1-13 ON/OFF TALLY
LED 176
CN3 Q3 P1-11 LOGIC GROUND
150 94 Q7 P1-9 COUGH/MUTE
L1 4
14 Q8 S2-B
BRN 5 P1-7 CUE/TALKBACK
104 151 95
6 97 S2-D
RED 4 3 6B 101 P1-5 SHIELD
5
Q4
7
5 175 A/B INPUT P1-23 GROUND
OFF BLU 7 OFF Q5
Q6 8 SELECT
SWITCH 50 53
SWITCH
92 93 2 ‘B’ LOGIC
L2 P1-31 ON/OFF TALLY
GRN 8 5
P1-29 LOGIC GROUND
3 + P1-27 COUGH/MUTE
62
GRY 1
R1-9 --------------- 1k ohm 13
P1-25 CUE/TALKBACK
VIO 2 R25 ---------------- 47.5 ohm R175-176 ----- 47.5k ohm R350-351 ---- 26.7k ohm
IC1 ---------- SSM2017 L1,2 ---------------- 386 (T1 3\4 MIDGET GROOVED 14V, 80mA) C10-16 -------------- 47pF R50-54 ----------- 4.75k ohm R200-213 ----- 100k ohm R375 ------------ 3.24k ohm
Q5,8,12 -------------- 2N3906 PNP C40-42 -------------- .1µF R75-104 --------- 10k ohm R250-251 ------ 18.7k ohm
TPM1-M INPUT MODULE
IC 3,4,5,7 - NE5532N (PHILLIPS) TR1 -------------- 500 ohm
IC 6 ---------- NE532N (PHILLIPS) Q9 ------------------ 2N6426 NPN DARLINGTON C50 ------------------- .47µF R125 -------------- 12.1k ohm R275 -------------- 10OHM TR2 -------------- 10k ohm SCHEMATIC PV1111-PB2
IC 2 ---------- SSM2018TP (ANLG DEV) Q1 ------------------ J111 JFET C60-69 ------------- 10µF TANT. R150-154 ------ 22k ohm R300-301 ------ 39k ohm SF1 -------------- 10k ohm REV C 7-95 GF 1/99
D1-17 -------- 1N914 Q3,4,6,7,10,11 -- 2N3904 NPN C80 ------------------- 270pF R165 -------------- 33.2k ohm R325 --------------- 124k ohm ALL RESISTORS 1% METAL FILM ARRAKIS SYSTEMS,inc
CN 2
CN 3 (6) NC S1
MIC PREAMP S2
(8) GROUND (5) VOLUME S3
LEVEL ADJUST S4
S5
(7) "OFF" SWITCH (4) NC (MODULE CAL.) S6
(6) (+) VDC (3) GROUND
(5) "ON" LAMP (2) (-) VDC
(4) GROUND (1) CUE TR1
(3) "ON" SWITCH
(2) GROUND Q5
CN2
(1) "OFF" LAMP IC7 IC1
Q12
Q4 Q11 IC3 IC2
Q10 1
ON
IC4 CN1
CN3 DIP1 1
1 2 3 4
NE532 N Q6
IC6
ON Q1
ON
1
Q9
2
IC5 1 2 3 4
Q3 3
4
1
Q7 Q8 DIP2
DIP 3
CONNECTOR 1 (CN1)
(1) PATCH RETURN
TPM2 ---ADVANCED MIC LEVEL INPUT MODULE W/ PAN (2) PATCH SEND
(3) NC
(4) PAN POT
COMPONENT PARTS -LIST BY FUNCTION (5) GROUND
(6) PAN POT
IC1 --------- (SSM2017P) -- MIC INPUT AUDIO PREAMP STAGE DIP SWITCH LIST
IC2 --------- (SSM2018TP) -- VOLTAGE CONTROLLED AMP (VCA) -- CONTROLS AUDIOLEVEL
DIP 1
'SSM' ICs ARE MANUFACTURED BYANALOG DEVICES
(1) PGM MIX- MINUS ASSIGN MODULE CALIBRATION-
IC3 --------- (NE5532N) DUAL OP AMP -- VCA SUMMING AMP
(2) AUD MIX- MINUS ASSIGN
(3) PGM RIGHT ASSIGN MIC INPUT LEVEL
IC5 --------- (NE5532N) DUAL OP AMP -- DRIVER FOR VCA GAIN CONTROL PORT
(4) PGM LEFT ASSIGN Adjust TR1
IC6 --------- (NE 532 N) DUAL OP AMP -- CONFIGURED AS A FLIP FLOP FOR MODULE ON/OFF*
DIP 2 GAIN VARIATION = ~40dB.
Q1 --------- (J111) JUNCTION FET -- SWITCHES AUDIO TO CUE SUMMING BUS (TALKBACK)
(1) NC
Q3 --------- (2N3904) NPN TRANSISTOR -- "ON" LAMP AND VCA UN-MUTE DRIVER
(2) CR MUTE ASSIGN THE MODULE WILL
Q4 --------- (2N3904) NPN TRANSISTOR -- "OFF" LAMP DRIVER
(3) STUDIO 2 MUTE ASSIGN ACCOMODATE INPUT
Q5 --------- (2N3906) PNP TRANSISTOR -- COUGH MUTE
(4) STUDIO 1 MUTE ASSIGN LEVELS FROM -70dBu TO -30dBu.
Q6 --------- (2N3904) NPN TRANSISTOR -- COUGH MUTE
Q7 --------- (2N3904) NPN TRANSISTOR -- ON/OFF TALLY
DIP 3
Q8 --------- (2N3904) NPN TRANSISTOR -- ON TALLY DRIVER
(1) MUTE ON "B" INPUT
Q9 --------- (2N6420) NPN DARLINGTON TRANSISTOR -- OFF TALLY DRIVER
Q10,11 -- (2N3904) NPN TRANSISTOR -- TIMER RESET
(3) TIMER RESET ASSIGN
Q12 ------- (2N3906) PNP TRANSISTOR -- TIMER RESET
(4) NC
*NOTE -- IF CHANNEL AUDIO DOES NOT TURN OFF, BUT YELLOW "OFF" LAMP LIGHTS THEN CONFIRM IC6 IS NE532N AND NOT NE5532N.
CONNECTOR LIST
CN1 -- PREFADER PATCH JUMPER. IF THE PATCH IS TO BE COMPLETED EXTERNAL TO THE MODULE (THROUGH A RACK MOUNT COMPRESSOR, EQ ETC.) THEN REMOVE THE JUMPER
ON THIS CONNECTOR. IF THE JUMPER IS REMOVED AND THE PATCH IS NOT COMPLETED EXTERNAL TO THE MODULE THEN THE MODULE WILL NOT FUNCTION.
CN2 -- SLIDE FADER TPM2- INPUT MODULE
CN3 -- ON/OFF SWITCH AND LAMPS MAJOR PARTS LAYOUT
REV C 7-95 PC1111-PB2
ARRAKIS SYSTEMS, inc.

CONNECTOR P1
1) 'A' Right (+) Audio Input 2) NC
3) 'A' Right (-) Audio Input 4) NC
5) 'A' Left (-) Audio Input 6) NC
7) 'A' Left (+) Audio Input 8) NC 1
9) 'A' Remote Stp (mom)/Start (sus) 10) NC P
11) 'A' Remote Start/Stop Common 12) NC 1
13) 'A' Remote Start (momentary) 14) NC 49
15) 'A' "OFF" Lamp (driver) 16) NC
17) 'A' "OFF" Lamp (ground) 18) NC F
19) 'B' Right (+) Audio Input 20) NC O
21) 'B' Right (-) Audio Input 22) NC I
23) 'B' Left (-) Audio Input 24) NC 1
25) 'B' Left (+) Audio Input 26) NC
L P
27) 'B' Remote Stp (mom)/Start (sus) 28) NC 2
29) 'B' Remote Start/Stop Common 30) NC S 49
31) 'B' Remote Start (momentary) 32) NC I
33) 'B' "OFF" Lamp (driver) 34) NC
D
35) 'B' "OFF" Lamp (ground) 36) NC
37) Left Direct Output 38) Right Direct Out E
39) Remote Channel OFF 40) Remote Channel ON
41) Right Prefader Patch Output 42) Left Prefader Patch Out
43) Right Prefader Patch In 44) Left Prefader Patch In
45) Audio Ground 46) Audio Ground
47) NC 48) NC
49) NC 50) NC
CONNECTOR P2
2
P
1
O 2
33) NC 34) NC T
35) NC 36) NC
37) NC 38) NC
39) NC 40) NC S
41) NC 42) NC I
43) NC 44) NC D
45) NC 46) NC
47) NC 48) NC
E
49) NC 50) NC
4.9
P1-37 DIRECT OUT L
P1-44
P1-38 DIRECT OUT R
PREFADER P1-43
PATCH P1-41
P1-42 91 AUDIO BUSES
1 Q1
P1-23 CUE LEFT
200 83 14 12
'A' LEFT P1-5 CN1
75 76 92
INPUT 3 4 1 2 122 87 S3-B
P1-7 1 P1-1 PGM LEFT
6
60 3 85
7 + DIP1-4
S1-C 6 14 64
1B SSM 2 1
TR1 5 215 4A S4-B 93
L 205 120 4 2018T 3 +
12 P2-9 AUD LEFT
R 5
'B' LEFT P1-23 2 89
77 78 201 M 204 IC2 10
206 S5-B 94
INPUT P1-25 S1-A 40 10 8
16 P2-13 UTL LEFT
ST 1
A/B INPUT 13
2 7 11
LEFT 90
SELECT SWITCH S7
Q2 95
'A' RIGHT 202 CUE RIGHT
P1-3 79 80 84 P2-21
INPUT L 15 13
P1-1
2 R 123 88 S3-A 85
TR2 1 2
S1-B 1A P2-3 PGM RIGHT
61 11 3 86
3 M + DIP1-3
6 14
SSM 6 7 +
ST 216 4B S4-A 97
110 121 4 2018T 5
12
'B' RIGHT P1-21 65 P2-11 AUD RIGHT
81 82 203 5
INPUT P1-19 S1-D MODE 2
111 SELECT IC3 10 S5-A 98
CUE 11 8
2 16 P2-15 UTL RIGHT
SWITCH 1
S1 3
5A 13
1 7 11
S6-B 99
GRY RIGHT
S3-C 1 P2-7 PRG MIX ( - )
210 REMOTE CHANNEL OFF P1-39
RED 3 3
2 P2-5 AUD MIX ( - )
208 REMOTE CHANNEL ON P1-40 100
101 S4-D DIP1
6
SLIDE YEL 5 66 + 5B LOGIC BUSES
5 7 + 8
FADER 67 P2-25 AUTOCUE
52
P2-27 TIMER RESET
SF1 BLU 2 209 50 7 1
2 P2-32 CR MUTE
WHT 1 2 4 P2-31 STUDIO 1 MUTE

CUE
102 103 S2-A 3 P2-29 STUDIO 2 MUTE
CN2 1
DIP2
12 DIP3
3 51 3
1 + Q5
ORN 3 CTRL ‘A’ LOGIC
ON 5 6A -V = ON 175 6 S2-C
2 +V = OFF START
SWITCH 42 ON 108 152 153 P1-13
Q3 P1-11 COMMON
CN3 150 106
1 RY1 P1-9 MOM. STOP/START
L1 START S2-B P1-15 READY START
12 DIP 4-3 156
P1-17 READY
BRN 5 DIP 3-3
151 107 DIP 4-4
6 109 S2-D
RED 4 6 5 6B Q4
7
2 DIP 4-1 A/B INPUT
BLU 7 OFF +
OFF SELECT
50 13
SWITCH Q6 SWITCH
104 105 4
DIP 3-4 155 5 ‘B’ LOGIC
L2 25 154
P1-31 START
GRN 8
RY2 P1-29 COMMON
STOP P1-27 MOM. STOP/START
GRY 1 P1-33 READY START
P1-35 READY
VIO 2
IC 1,4,5 --- NE5532N (PHILLIPS) L1,2 ------- 386 (T1 3\4 MIDGET GROOVED 14V, 80mA) C1-2 ------ 10 pF R1-6 ----------- 1k ohm R150-156 --- 22k ohm TR1,2 --- 10k ohm TRIM
IC 6 -------- NE532N (PHILLIPS) Q1,2 ------ J111 JFET C10-15 --- 47 pF R25 ---------- 2.2k ohm R175 -------- 47k ohm SF1 ------ 10k ohm TPM3 - INPUT MODULE
IC 2,3 ----- SSM2018T (ANLG DEV) Q3-6 ------ 2N3904 NPN C40-42 --- .1µF R50-52 ------ 4.7k ohm R200-210 - 100k ohm (P&G 3210) SCHEMATIC
D1-12 ----- 1N914 RY1,2 ---- MRB2A12 (CLARE) C50 ------- .47µF R75-111 ----- 10k ohm R215-216 - 124k ohm REV C 7-95 GF 11/99
C60-66 --- 10µF TANT. R120-123 - 18.7k ohm ALL RESISTORS 1% METAL FILM ARRAKIS SYSTEMS, inc.
CN 2
CN 3 (6) NC S1
S2
(8) GROUND (5) VOLUME LEFT S3
S4
(7) "OFF" SWITCH (4) NC S5
RIGHT INPUT S6
(6) (+) VDC (3) GROUND INPUT TRIM
(5) "ON" LAMP (2) (-) VDC TRIM
(4) GROUND (1) CUE TR2 TR1
(3) "ON" SWITCH
(2) "OFF" LAMP GROUND
CN2
(1) "OFF" LAMP DRIVER
Q5 IC1
Q4 Q6
R IC3
L IC2
1
ON
DIP 4
ON
RY1 IC4 CN1
1
RY2 DIP1 1
CN3 2 1 2 3 4
IC6 3
DIP2 Q1 Q2
4 ON
ON
1 IC5
1 2 3 4
2
Q3 3
1
4
CONNECTOR 1 (CN1)
DIP 3 (1) PATCH RETURN LEFT
TPM3--- ADVANCED STEREO LINE LEVEL INPUT MODULE WITH MODE SELECT (2) PATCH RETURN RIGHT
(3) PATCH SEND LEFT
(4) PATCH SEND RIGHT
COMPONENT PARTS -- LIST BY FUNCTION DIP SWITCH LIST (5) NC
(6) NC
IC1 ---------- (NE5532N) DUAL OP AMP -- INPUT PREAMP STAGE DIP 1
IC2 ---------- (SSM2018TP) VOLTAGE CONTROLLED AMPLIFIER (VCA) -- CONTROLS LEFT LEVEL (1) PGM MIX- MINUS ASSIGN
IC3 ---------- (SSM2018TP) VCA -- CONTROLS RIGHT LEVEL (MFG BY ANALOG DEVICES) (2) AUD MIX- MINUS ASSIGN
IC4 ---------- (NE5532N) DUAL OP AMP -- STEREO SUMMING AMP FOR SSM2018 VCA ICS' (3) PGM RIGHT ASSIGN MODULE CALIBRATION
IC5 ---------- (NE5532N) DUAL OP AMP -- DRIVER FOR VCA GAIN CONTROL PORTS (4) PGM LEFT ASSIGN RIGHT CHANNEL-
IC6 ---------- (NE532N) DUAL OP AMP -- CONFIGURED AS A FLIP FLOP FOR MODULE ON/OFF* Adjust TR1
Q1,2 -------- (J111) JUNCTION FET'S -- SWITCHES AUDIO TO CUE SUMMING BUS DIP 2 LEFT CHANNEL-
Q3 ---------- (2N3904) NPN TRANSISTOR -- "ON" LAMP AND VCA UN-MUTE DRIVER (1) TIMER RESET ASSIGN Adjust TR2
Q4 ---------- (2N3904) NPN TRANSISTOR -- "OFF" LAMP DRIVER (2) CR MUTE ASSIGN GAIN VARIATION = ~20dB.
Q5,6 ------- (2N3904) NPN TRANSISTOR -- REMOTE START/STOP RELAY DRIVERS (3) STUDIO 2 MUTE ASSIGN
RY1,2 ----- (MRB2A12) REED RELAYS -- REMOTE START/STOP (4) STUDIO 1 MUTE ASSIGN THE MODULE WILL
*NOTE - IF CHANNEL AUDIO DOES NOT TURN OFF, BUT YELLOW "OFF" LAMP LIGHTS, THEN CONFIRM IC6 IS NE532N AND NOT NE5532N. ACCOMODATE INPUT
DIP 3 LEVELS FROM -10dBu
(1) MUTE ON "B" INPUT TO +8dBu.
CONNECTOR LIST (3) "OFF" LAMP (DRIVER)**
CN1 -- PREFADER PATCH JUMPER. IF THE PATCH IS TO BE COMPLETED EXTERNAL TO THE MODULE (4) "OFF" LAMP (GROUND)**
(THROUGH A RACK MOUNT COMPRESSOR, EQ ETC.) THEN REMOVE THE JUMPER ON THIS CONNECTOR.
IF THE JUMPER IS REMOVED AND THE PATCH IS NOT COMPLETED EXTERNAL TO THE MODULE THEN THE DIP 4
MODULE WILL NOT FUNCTION. SWITCH (1) "ON" AND SWITCH (4) "OFF" =
CN2 -- SLIDE FADER MOMENTARY REMOTE START AND STOP.
CN3 -- ON/OFF SWITCH AND LAMPS SWITCH (1) "OFF" AND SWITCH (4) "ON" =
SUSTAINED REMOTE START CLOSURE.
(2) NC
**ALWAYS TURN THESE SWITCHES OFF WHEN DRIVING THE "OFF" LAMP FROM A CART MACHINE (READY STATUS INDICATION). TPM3- INPUT MODULE
FAILURE TO DO SO MAY CAUSE DAMAGE TO THE LAMP DRIVER (Q4). (3) ALWAYS LEAVE "ON" !!!
MAJOR PARTS LAYOUT
REV C 7-95 PC1111-PB1
4-7a) TOB1 -- OUTPUT MODULE CARD EDGE CONNECTOR DIAGRAM
CONNECTOR P1
1) Audition Mono Sum (-) Output 2) NC
3) Audition Mono Sum (+) Output 4) NC
5) Program Mono Sum (-) Output 6) NC
7) Program Mono Sum (+) Output 8) NC 1
9) Program Left (+) Output 10) NC P
11) Program Left (-) Output 12) NC 1
13) Program Right (+) Output 14) NC 49
15) Program Right (-) Output 16) NC
17) Audio Ground 18) NC F
19) NC 20) NC O
21) NC 22) NC I
23) Audition Mix-Minus Output 24) NC 1
25) Program Mix-Minus Output 26) NC
L P
27) Studio 2 Mute Relay Driver Out 28) NC 2
29) Studio 1 Mute Relay Driver Out 30) NC S 49
31) CR Mute Relay Driver Output 32) NC I
33) Logic Ground 34) NC D
35) Audio Ground 36) NC
37) Audition Left (+) Output 38) Audition Left (-) Output
E
39) Audition Right (+) Output 40) Audition Right (-) Output
41) Utility Left (+) Output 42) Utility Left (-) Output
43) Utility Right (+) Output 44) Utility Right (-) Output
47) NC 48) NC
49) NC 50) NC
CONNECTOR P2
2
P
1
21) NC 22) Logic Ground P P
23) NC 24) Logic Ground
25) NC 26) NC
O 2
27) NC 28) NC N 50
33) NC 34) NC T
35) NC 36) NC
37) NC 38) NC
39) NC 40) NC S
41) NC 42) NC I
43) Aud Mono Sum VU/Monitor Bus 44) Pgm Mono SumVU/Monitor Bus D
45) Program Left VU/Monitor Bus 46) Program Right VU/Monitor Bus
47) Audition Left VU/Monitor Bus 48) Audition Right VU/Monitor Bus
E
49) Utility Left VU/Monitor Bus 50) Utility Right VU/Monitor Bus
4.10
25 MAIN CONSOLE
AUDIO BUSES 33 AUDIO OUTPUTS
41
57
PGM LEFT P2-1 1 33 17 P1-9 VU METER
+ 9
1B 49 PGM L 49 TR9 MONITOR
9 5A P1-11 BUSES
81 5B 58 + 25
TR1 34 41 73
26 42 P2-45 PGM L
17 13B
82 59
PGM RIGHT P2-3 2 34 18 P1-13 50 TR10
+ 50 10
1A PGM R
10 6A P1-15 26
+
27 6B 60 42 74
TR2 35
43 18 13A P2-46 PGM R
61 51 TR11
AUD LEFT P2-9 3 35 19 P1-37
+ 11
2B 51 AUD L
P1-38 + 27
11 7A 43 75
83 7B
TR3 62 19 14B P2-47 AUD L
36
28 44 52 TR12
63
AUD RIGHT 4 84 20 P1-39
P2-11 +
36 28
52 12 AUD R +
2A 44 76
12 8A P1-40 14A P2-48 AUD R
8B 64 20
29 TR4
37 53 TR13
45
65
UTL LEFT 5 21 P1-41 +
29
P2-13 +
37 45 77
3B 53 13 UTL L
21 15B P2-49 UTL L
13 9A P1-42
30 9B 66 54 TR14
TR5 38
46
67 +
30
46 78
UTL RIGHT P2-15 6 38 22 P1-43
+ 54 22 15A P2-50 UTL R
3A 14 UTL R
14 10A P1-44 55 TR15
57 10B 68
TR6
39
47 +
31
47 79
69 PGM MONO
91 39 23 P1-1 23 16A P2-44
+ PGM MONO MIX
17B 55 15 56
SUM TR16
15 11A P1-3
58 11B 70
TR7 40 +
32
48 80
48 AUD MONO
71 24 16B P2-43
MIX
92 40 24 P1-5
+ AUD MONO
17A 56 16 R 1-32,91,92 --------------- 10k ohm
12A SUM
16 P1-7 D1-3-------3V ZENER R41-48 ------------------------ 1k ohm
12B 72 R49-56 ------------------------ 200k ohm
TR8 ALL RESISTORS 1% METAL FILM
R33-40 ------------------------ 100k ohm
31
88 IC 1-17 ---NE5532 R57-72,88-90 ------------- 47 ohm
MUTING BUSES R73-80 ------------------------ 300 ohm
85 P1-31 CR (+)VDC
PGM CR P2-32 Q1 MUTE R81-87 ------------------------ 22k ohm
P2-7 7 2 -A 8
MIX-MINUS RELAY 1 C25-48,57,58 ------------- 10pF
4B D1 3 +
89 DRIVER C49-56 ------------------------ 47pF
PGM 86 P1-29 ST1 C9-24 ------------------------- 10µF, 16V TANT
32 ST1 P2-31 OUTPUTS
P1-25 MIX-MINUS Q2 6 -
B 7 TOB1 -OUTPUT MODULE
D2 5 +
AUD 4
AUD P1-23 87 P1-27 ST2 SCHEMATIC PC1111-OB1
P2-5 8 MIX-MINUS (-)VDC
MIX-MINUS ST2 P2-29 Q3 90 REV B 9-90 GF
4A
D3 ARRAKIS SYSTEMS INC
UR UL AR AL PR PL PM AM
OUTPUT LEVEL TRIMPOTS
TR7 TR8
TR2 TR1
TR4 TR3
TR6 TR5
VU METER TRIMPOTS
UR UL AR AL PR PL PM NC
IC RIGHT
IC
11
17 IC6
TR15 TR16 MONO IC8
TR9 IC
TR10 IC
TR12 TR11 10 12 LEFT
TR14 TR13 IC3 IC2 IC4 IC1 IC5
IC7
UTL AUD MIX (-) PGM IC9
IC
IC 16 MONO
IC 13 PGM
IC 14 AUD
UTL
15
MONO
PGM
AUD Q1 Q2 Q3
UTL
TOB1 -- OUTPUT MODULE

CALIBRATION
COMPONENT PARTS- LIST BY FUNCTION CONSOLE OUTPUTS VU METER/MONITOR DRIVERS
IC1-IC4 ----------- (NE5532N) DUAL OP AMP --- STEREO SUMMING AMPS PGM L ------------------------- TR1 PGM L ------------------------- TR9*
IC5-IC12 --------- (NE5532N) DUAL OP AMP --- OUTPUT DRIVERS PGM R ------------------------ TR2 PGM R ------------------------ TR10
IC13-IC16 ------- (NE5532N) DUAL OP AMP --- VU METER/MONITOR DRIVERS AUD L -------------------------- TR3 AUD L -------------------------- TR11
Q1-Q3 ------------ (2N3904) NPN TRANSISTOR --- MUTE RELAY DRIVERS AUD R ------------------------- TR4 AUD R ------------------------- TR12
UTL L -------------------------- TR5 UTL L -------------------------- TR13
UTL R -------------------------- TR6 UTL R -------------------------- TR14
*IF THE TCRM1 MONITOR MODULE DOES NOT FUNCTION CONFIRM TRIMMERS 9-15 PGM MONO SUM ------- TR7 PGM MONO SUM ------- TR15
ARE NOT TURNED DOWN. THE MONITOR AND VU METERS WORK OFF THE SAME SIGNAL BUS.,
AUD MONO SUM -------- TR8 TR16 --------------------------- NC
TOB1- OUTPUT MODULE

MAJOR PARTS LAYOUT
REV B 9-90 PC1111-OB1
4-8a) TCRM1 -- MONITOR MODULE CARD EDGE CONNECTOR DIAGRAM

CONNECTOR P1
1) External 1 Left (-) Monitor Input 2) NC
3) External 1 Right (-) Monitor Input 4) NC
5) External 1 Left (+) Monitor Input 6) NC
7) External 1 Right (+) Monitor Input 8) NC 1
9) External 2 Left (-) Monitor Input 10) NC P
11) External 2 Right (-) Monitor Input 12) NC 1
13) External 2 Left (+) Monitor Input 14) NC 49
15) External 2 Right (+) Monitor Input 16) NC
19) External Studio Monitor Right In 20) NC O
21) External Studio Monitor Left In 22) NC I
23) Monitor Output Right 24) NC 1
25) Monitor Output Left 26) NC
L P
27) Headphone Output Left 28) NC 2
29) Headphone Output Right 30) NC S 49
31) Cue Mono Out to External Amp 32) NC I
33) NC 34) NC D
37) Studio #1 Left Unmuted Output 38) Studio #1 Right Unmuted Output
E
39) Studio #2 Left Unmuted Output 40) Studio #2 Right Unmuted Output
41) Talkback from Studio #1 42) Talkback from Studio #2
43) Studio #1 Right Muted Output 44) Studio #1 Left Muted Output
45) Call Logic to Studio #2 46) Audio Ground
47) Call Logic from Studio #2 48) Call Logic to Studio #1
49) Talkback Bus Insert Input 50) Call Logic from Studio #1
CONNECTOR P2
2
P
1
9) NC 10) Audio VDC(-)
11) NC 12) Audio VDC(-) 50
13) NC 14) Audio VDC(+)
15) NC 16) Audio VDC(+) C
17) Talkback Bus 18) Logic VDC(+) O
O 2
27) Timer Reset Logic Bus 28) Reset Logic to Timer N 50
29) NC 30) Hold Logic to Timer E
33) NC 34) NC T
35) NC 36) NC
37) NC 38) NC
39) NC 40) NC S
41) Monitor Left VU Bus 42) Monitor Right VU Bus I
43) NC 44) NC D
45) Program Left VU/Monitor Bus 46) Program Right VU/Monitor Bus
47) Audition Left VU/Monitor Bus 48) Audition Right VU/Monitor Bus
E
49) Utility Left VU/Monitor Bus 50) Utility Right VU/Monitor Bus
4.11
LEFT 224 82
MONITOR INPUT SELECT SWITCH P2-41 VU BUS
225 81
CUT JUMPER WHEN
3
200 276 CUE L
USING INTERCOM OR
P1-1 S1-D EXTERNAL STUDIO 2
P2-23 BUS
MONITOR INPUTS 5A
J1 J2 4 275 1 3
EXT 1 L 6
202 5B 5
7
P1-5 S1-C 1 CUE R
CUT JUMPERS TO P2-21
DEFEAT AUTOCUE BUS
75 J3 7 AUDIO FEED TO
204 MONITOR SYSTEM
89
214
P1-9 S2-D 90 TALKBACK AUDIO
218 81 P1-41
EXT 2 L 2 1 + 222 FROM STUDIO 1
1A 62 3 TR3
206 76 3 2 + 91
2A TALKBACK AUDIO
P1-13 S2-C 60 3 1 P1-42
FROM STUDIO 2
Q5 226
208 77 20 83 RY1
2 250
PGM L P2-45 S3-A ST1 CALL ST2 CALL PT1-A 3A P1-25 L
1 3 1 MONITOR
DIM L 251 OUTPUT
210 MONITOR 4 P1-23 R
AUD L P2-47 S4-A L1 L2 TR4 92
LEVEL +
TR1
64 93
212 MONO 227
UTL L P2-49 S5-A 84 Q1
S6-A,B 6
236 DIODE LOCATED ON 150
95 PT1-B 5
3B 7 BACK OF PC BOARD
Q8 175 6
CALL LOGIC: TR5
5 252
220 40 P1-27 L
FROM ST1 P1-50 24 99 HEADPHONE
228 253 OUTPUT
FROM ST2 P1-47 85 P1-29 R
221 2
PT2-A 3
4A 1
201 3 7
P1-3 S1-B Q9
TR2 HEAD- P2-32 CR MUTING
96 6 TR6
EXT 1R PHONE 97 LOGIC
203 DIM R P2-31 ST1
2 63 LEVEL BUSES
P1-7 S1-A 2 229 98
+ 86 8
78 8
216 6
205 Q4 PT2-B 4B
5 7
P1-11 S2-B 223 P1-37 L
61 UNMUTED
EXT 2R 6 7 +
1B SW2 TALKBACK P1-38 R AND
207 79 5 6 7 TO STUDIO 1
P1-15 S2-A 5
2B MUTED
219 82 RY2
STUDIO 1
Q6 P1-44 L
209 80 217 OUTPUTS
CUT JUMPER WHEN USING INTERCOM OR
PGM R EXTERNAL STUDIO MONITOR INPUTS 4
P2-46 S3-B P1-43 R
151
211 94
J4
AUD R S4-B SW3 TALKBACK
P2-48 CUT JUMPER TO DEFEAT
230 L TO STUDIO 2
MONITOR DIM DURING AUTOCUE P1-21 Q2
EXTERNAL P1-39 L UNMUTED
213 STUDIO
254 Q7
UTL R STUDIO 2
P2-50 S5-B MONITOR
J5 INPUT R 5 P1-40 R OUTPUTS
231 P1-19
80 255 RY3 P1-31 MONO CUE OUT
234
235 232 10
100 P1-48 P2-30 TIMER HOLD
AUTOCUE
P2-25 P2-42 AUTO RESET START
LOGIC P1-45
7
RIGHT VU BUS 233 87 9
TALKBACK 6 11
6B 51 152 P2-28
P2-17 5 5
BUS 50 RESET
Q3 STOP LOGIC
TO TIMER
TALKBACK P1-49
DIODE LOCATED ON
6
INSERT R1-6 -------- 1k ohm BACK OF PC BOARD
P2-27 +
1 65
R10-11 ----- 4.75K ohm TIMER RESET BUS
L1,2 ------- ML-73 LAMP (14V, 80mA) C1-8 ------ 10pF R75-100 --- 10k ohm R275,276 ---- 200k ohm
IC1-6 --- NE 5532 N (SIGNETICS) Q1-3 ------ 2N3906 PNP TRANSISTOR C40 ------- .1µF R150-152 -- 22k ohm TR1,2 --------- 10k ohm TCRM1 -MONITOR MODULE
D1 ------ 1N5225 3V ZENER Q4-7 ------ J111 JFET TRANSISTOR C50,51 --- .47µF R175 -------- 47k ohm TR3-6 --------- 500k ohm
SCHEMATIC PC1111-CRM1
D2-9 --- 1N914 Q8,9 ------ 2N3904 NPN TRANSISTOR C60-65 --- 10µF TANT. R200-236 -- 100k ohm PT1,2 --------- 100k ohm
RY1-3 ---- MRB2A12 RELAY (CLARE) C80-82 --- 270pF
REV B 9-90 GF 1/99
R250-255 -- 47 ohm ALL RESISTORS 1% METAL FILM
S1
S2
S3
S4
DIM LEVEL S5
S6
HEADPHONE LEFT RIGHT
MONITOR LEVEL AUTOCUE DEFEAT
LEVEL JUMPERS TR1 TR2
LEFT RIGHT
LEFT RIGHT TR6
TR5
Q4
TR4
TR3 J2 IC1
Q1
Q3 Q2
IC4 J1 IC2
Q5 Q7 Q6
IC3
RY3 RY2 RY1 J3 J4 IC IC

5 6 Q9 Q8
J5
AUTOCUE DEFEAT PROCEDURE CALIBRATION

PERFORM THESE TWO STEPS IF AUTOCUE INTO THE MONITOR AND TR1 - LEFT DIM TRIM (20dB)
JUMPERS J3 AND J4 DEFEAT AUDIO FEED
TO STUDIO MONITORS FROM CONTROL HEADPHONE SYSTEMS IS NOT DESIRED. WIRE THE CUE SPEAKER TR2 - RIGHT DIM TRIM (20dB)
MONITORS (CUT JUMPERS WHEN USING AMPLIFIER TO "MONO CUE OUTPUT". TR3 - LEFT MONITOR TRIM
INTERCOM OR EXTERNAL STUDIO MONITOR INPUTS) TR4 - RIGHT MONITOR TRIM
STEP 1 : STEP 2 : TR5 - LEFT HEADPHONE TRIM
CUT JUMPER J5 TO DEFEAT CUT JUMPERS J1 AND J2 TO TR6 - RIGHT HEADPHONE TRIM
AUTOCUE LOGIC CONTROL INTURRUPT THE STEREO CUE
SIGNAL. THE MONITOR AND AUDIO FEED TO THE MONITOR
HEADPHONE OUTPUTS WILL AND HEADPHONE OUTPUTS. CUE NOTE: TO ADJUST THE TRIM POTS, PUT THE
NOT DIM DURING CUE WHEN WILL ONLY APPEAR ON THE MODULE ON EXTENDER CABLES
THIS JUMPER IS CUT. "MONO CUE" OUTPUT WHEN (OPTIONAL). IF EXTENDER CABLES ARE
THESE JUMPERS ARE CUT. NOT AVAILABLE, THE MODULE FACEPLATE
WILL NEED TO BE REMOVED TO ACCESS
THE TRIM POTS.
TCRM1- CONTROL ROOM MONITOR MODULE
COMPONENT PARTS - LIST BY FUNCTION
IC1 -------- (NE5532N) DUAL OP AMP -- EXTERNAL MONITOR INPUT STAGE RY 2 ------ (MRB2A12) REED RELAY -- ST1 MUTE
IC2 -------- (NE5532N) DUAL OP AMP -- BUFFER AMP RY 3 ------ (MRB2A12) REED RELAY -- MONO CUE MUTE
IC3 -------- (NE5532N) DUAL OP AMP -- MONITOR OUTPUT DRIVER Q1,2,3 -- (2N3906) PNP TRANSISTORS--- REED RELAY DRIVERS
IC4 -------- (NE5532N) DUAL OP AMP -- HEADPHONE OUTPUT DRIVER Q4,5 ----- (J111) FET -- DIMS MONITOR & HEADPHONE
IC5 -------- (NE5532N) DUAL OP AMP -- CUE SUMMING AMP Q6,7 ----- (J111) FET -- SWITCHES TALKBACK TO THE STUDIO MONITORS
IC6 -------- (NE5532N) DUAL OP AMP -- TALKBACK SUMMING AMP Q8,9 ----- (2N3904) NPN TRANSISTORS -- DRIVE “CALL” LAMPS
RY1 ------- (MRB2A12) REED RELAY -- CR MUTE
TCRM1-MONITOR MODULE
MAJOR PARTS LAYOUT
NOTE -- IF THE TCRM1 MONITOR MODULE IS NOT FUNCTIONAL CHECK TO SEE IF THE VU METERS ARE MOVING. THE MONITOR
GETS ITS AUDIO FEED FROM THE VU METER DRIVERS (ON THE, TOB1 OUTPUT MODULE). THEREFORE, IF THE VU METERS ARE REV B 9-90 PC1111-CRM1
NOT MOVING THE MONITOR WILL, BY DEFINITION, NOT WORK. ARRAKIS SYSTEMS, inc
4-9a) TRS1 -- REMOTE SELECTOR #1 CARD EDGE CONNECTOR DIAGRAM

CONNECTOR P1
1) Switch #1 Left (+) 2) NC
3) Switch #1 Left (-) 4) NC
5) Switch #1 Right (-) 6) NC
7) Switch #1 Right (+) 8) NC 1
9) Switch #2 Left (+) 10) NC P
11) Switch #2 Left (-) 12) NC 1
13) Switch #2 Right (-) 14) NC 49
15) Switch #2 Right (+) 16) NC
17) Switch #3 Left (+) 18) NC F
19) Switch #3 Left (-) 20) NC O
21) Switch #3 Right (-) 22) NC I
23) Switch #3 Right (+) 24) NC 1
25) Switch #4 Left (+) 26) NC
L P
27) Switch #4 Left (-) 28) NC 2
29) Switch #4 Right (-) 30) NC S 49
31) Switch #4 Right (+) 32) NC I
33) Switch #5 Left (+) 34) NC D
35) Switch #5 Left (-) 36) NC
37) Switch #5 Right (-) 38) NC
E
39) Switch #5 Right (+) 40) NC
41) Output Left (-) 42) Output Left (+)
43) Output Right (-) 44) Output Right (+)
45) NC 46) NC
47) NC 48) NC
49) NC 50) NC
CONNECTOR P2
1) NC 2) NC
3) NC 4) NC
2
5) NC 6) NC
P
7) NC 8) NC
1
9) NC 10) NC
11) NC 12) NC 50
13) NC 14) NC
15) NC 16) NC C
17) NC 18) NC O
19) NC 20) NC M 2
21) NC 22) NC P P
23) NC 24) NC
25) NC 26) NC
O 2
27) NC 28) NC N 50
29) NC 30) NC E
31) NC 32) NC N
33) NC 34) NC T
35) NC 36) NC
37) NC 38) NC
39) NC 40) NC S
41) NC 42) NC I
43) NC 44) NC D
45) NC 46) NC
47) NC 48) NC
E
49) NC 50) NC
4.12
4-10a) TDA1 -- CARD EDGE CONNECTOR DIAGRAM

CONNECTOR P1
1) CH 1 Left (-) Ouput 2) NC
3) CH 1 Left (+) Output 4) NC
5) CH 1 Right (-) Ouput 6) NC
7) CH 1 Right (+) Output 8) NC 1
9) CH 2 Left (-) Output 10) NC P
11) CH 2 Left (+) Output 12) NC 1
13) CH 2 Right (-) Output 14) NC 49
15) CH 2 Right (+) Output 16) NC
19) NC 20) NC O
21) NC 22) NC I
23) NC 24) NC 1
25) NC 26) NC
L P
27) Right (+) Input 28) NC 2
29) Right (-) Input 30) NC S 49
31) Left (-) Input 32) NC I
33) Left (+) Input 34) NC D
37) CH 3 Left (-) Ouput 38) CH 3 Left (+) Output
E
39) CH 3 Right (-) Output 40) CH 3 Right (+) Output
41) CH 4 Left (-) Output 42) CH 4 Left (+) Output
43) CH 4 Right (-) Output 44) CH 4 Right (+) Output
47) NC 48) NC
49) NC 50) NC
CONNECTOR P2
2
P
1
9) NC 10) Audio VDC(-)
11) NC 12) Audio VDC(-) 50
13) NC 14) Audio VDC(+)
15) NC 16) Audio VDC(+) C
17) NC 18) NC O
19) NC 20) NC M 2
21) NC 22) NC P P
23) NC 24) NC
25) NC 26) NC
O 2
27) NC 28) NC N 50
29) NC 30) NC E
31) NC 32) NC N
33) NC 34) NC T
35) NC 36) NC
37) NC 38) NC
39) NC 40) NC S
41) NC 42) NC I
43) NC 44) NC D
45) NC 46) NC
47) NC 48) NC
E
49) NC 50) NC
4.13
4-10a) TDA1 -- CARD EDGE CONNECTOR DIAGRAM

25
33 41
3 57
P1-31 1 33 17 P1-1
1A
+
49 9
P1-33 CH 1 LEFT
9 2A P1-3
4 2B
LEFT INPUT 58
TR1
34
7 42
59
34 18 P1-9
+ 10 CH 2 LEFT
50
10 3A P1-11
3B 60
TR2 MAIN D.A.
35 43 AUDIO
61 OUTPUTS
35 19 P1-37
+ 11
51 CH 3 LEFT
11 4A P1-38
4B 62
TR3
36 44
63
+
36 20 P1-41
52 12 CH 4 LEFT
12 5A P1-42
26 5B 64
TR4
37 45
5 65
P1-29 2 37 21 P1-5
+
1B 53 13 CH 1 RIGHT
P1-27 6A P1-7
13
6 6B 66
RIGHT INPUT
TR5
38 46
8
67
+
38 22 P1-13
54 14 CH 2 RIGHT
14 7A P1-15
7B 68
TR6
39 47
69
39 23 P1-39
+
55 15 CH 3 RIGHT
15 8A P1-40
8B 70
TR7 40 48
71
R1-24 ---------- 10k½ +
40 24 P1-43
R33-40-------- 4.7k½ 56 16 CH 4 RIGHT
R49-56 -------- 32k½ 16 9A P1-44
9B 72
R33-40 -------- 100k½ TR8
R56-80 -------- 47½
C9-16 ---------- 10µF, 16V TANT
C25-48 --------- 10pF TDA1 -D.A. MODULE
IC1-16 -------- NE5532N
ALL RESISTORS 1% METAL FILM
SCHEMATIC PC1111-OB1
REV B 9-90 GF
4.14
4R 4L 3R 3L 2R 2L 1R 1L
OUTPUT LEVEL TRIMPOTS
TR1
TR5
TR6 TR2
TR3
TR7
TR8 TR4
IC
11
IC6
IC IC8
IC
10
IC1 12
IC5
IC7
IC9
TDA1 -1x4 STEREO DISTRIBUTION AMPLIFIER MODULE
CALIBRATION
DA OUTPUTS
COMPONENT PARTS- LIST BY FUNCTION CH1 L ----- TR1
IC1 ----------- (NE5532N) DUAL OP AMP --- STEREO DIFFERENTIAL INPUT AMP CH1 R ---- TR5
IC2-IC9 ----- (NE5532N) DUAL OP AMP --- OUTPUT DRIVERS CH2 L ----- TR2
CH2 R ---- TR6
CH3 L ----- TR3
CH3 R ---- TR7 TDA1- OUTPUT MODULE
CH4 L ----- TR4 MAJOR PARTS LAYOUT
CH4 R ---- TR8 REV B 9-90 PC1111-OB1
4-11a) TGEM-VID -- CARD EDGE CONNECTOR DIAGRAM

CONNECTOR P1
1) NA 2) NC
3) NA 4) NC
5) NA 6) NC
7) NA 8) NC 1
9) NA 10) NC P
11) NA 12) NC 1
13) NA 14) NC 49
15) NA 16) NC
17) NA 18) NC F
19) BIT 0 20) NC O
21) BIT 1 22) NC I
23) NA 24) NC 1
25) 26)
L P
BIT 2 NC
27) NA 28) NC 2
29) COMMON 30) NC S 49
31) NA 32) NC I
33) NA 34) NC D
35) NA 36) NC
37) NA 38) NC
E
39) NA IMPORTANT: 40) NC
41) NA 'N/A' PINS MAY BE 42) NA
43) NA CONNECTED 44) NA
45) NC INTERNALLY. 46) NC
47) NC 48) NC
49) NC 50) NC
CONNECTOR P2
1) NC 2) NC
3) NC 4) NC
2
5) NC 6) NC
P
7) NC 8) NC
1
9) NC 10) NC
11) NC 12) NC 50
13) NC 14) NC
15) NC 16) NC C
17) NC 18) NC O
19) NC 20) NC M 2
21) NC 22) NC P P
23) NC 24) NC
25) NC 26) NC
O 2
27) NC 28) NC N 50
29) NC 30) NC E
31) NC 32) NC N
33) NC 34) NC T
35) NC 36) NC
37) NC 38) NC
39) NC 40) NC S
41) NC 42) NC I
43) NC 44) NC D
45) NC 46) NC
47) NC 48) NC
E
49) NC 50) NC 4.15

4-12a) TPH1 -- CARD EDGE CONNECTOR DIAGRAM

CONNECTOR P1
1) Line Level MIC Input (+) 2) NC
3) Line Level MIC Input (-) 4) NC
5) CUE Switch’s Logic Input 6) NC
7) Input from Hybrid (+) 8) 1
NC
9) PGM Mix-Minus Input (+) 10) P
NC
11) PGM Mix-Minus Input (-) 12) 1
NC
13) PGM Switch’s Logic Input 14) NC 49
15) Input from Hybrid (-) (nc) 16) NC F
17) AUD Mix-Minus Input (+) 18) NC O
19) AUD Mix-Minus Input (-) 20) NC I
21) AUD Switch’s Logic Input 22) NC L
23) NC 24) 1
NC
25) AUX 1 Audio Input (+) 26) S P
NC
27) AUX 1 Audio Input (-) 28) I 2
NC
29) AUX 1 Logic Input 30) NC D 49
31) NC 32) NC E
33) AUX 2 Audio Input (+) 34) NC
35) AUX 2 Audio Input (-) 36) NC
37) AUX 2 Logc Input 38) NC
39) NC 40) NC
41) Output Hybrid (-) 42) Output to Hybrid (+)
43) Swtiched Logic Output 44) CUE Bus Insert
47) NC 48) NC
49) NC 50) NC
CONNECTOR P2
2
5) Audition Mix-Minus Summing Bus 6) Audio Ground P
7) Program Mix-Minus Summing Bus 8) Audio Ground 1
C
O
M
17) NC 18) Logic VDC(+)
P
19) NC 20) Logic VDC(-) 2
O
21) Cue Right Summing Bus 22) Logic Ground P
N
23) Cue Left Summing Bus 24) Logic Ground 2
E
25) Auto Cue Logic Bus 26) NC
N 50
27) Timer Reset Logic Bus 28) NC (Reset to Timer)
T
29) Studio 2 Mute Logic Bus 30) NC (Timer Hold)
31) Studio 1 Mute Logic Bux 32) Control Room Mute Logic Bus
S
33) NC 34) NC
I
35) NC 36) NC
D
37) NC 38) NC
E
39) NC 40) NC
41) NC (MONITOR L VU) 42) NC (MONITOR R VU)
43) NC (AUD L VU) 44) NC (PGM M VU)
45) NC (PGM L VU) 46) NC (PGM R VU)
47) NC (AUD L VU) 48) NC (AUD R VU)
49) NC (UTL L VU) 50) NC (UTL R VU)
4.16
20 21
CUE BUS P1-44 P2-23
INSERT 22
P2-21
CUE SWITCH PGM SWITCH TR1 AUD SWITCH
CUE LOGIC P1-25 PGM LOGIC P1-13

AUD LOGIC P1-21
S1-A S2-A S3-A
1
LINE LEVEL PGM MIX (-) 3
P1-3 P1-11
MIC INPUT (-) INPUT (-) AUD MIX (-)
P1-19
S1-B S2-B INPUT (-) S3-B
HYBRID P1-7 HYBRID

P1-15
INPUT (+) INPUT (-) (NC) NC P1-23
S-C S2-C S3-C
2
LINE LEVEL P1-1 PGM MIX (-) P1-9
MIC INPUT (+) INPUT (+) 4
AUD MIX (-) P1-17
INPUT (+)
S1-D S2-D S3-D
SW1 SW2 SW3
LOGIC
P2-23
OUTPUT
AUX 2 SWITCH
AUX1 SWITCH AUX 2 OUTPUT TO
P1-21 P2-23 HYBRID (+)
LOGIC
AUX 1
P1-13
LOGIC S5-A
7
S4-A AUX 2
5 P1-19 OUTPUT TO
INPUT (-)
AUX 1 P2-21 HYBRID (-)
P1-11
INPUT (-) S5-B
9 10
S4-B NC P1-23
NC P1-15
S5-C
S4-C AUX 2 8
6 INPUT (+) P1-17
AUX 1 P1-9
INPUT (+) S5-D AUDIO AUDIO
P1-27 P1-27
GROUND GROUND
S4-D
SW5
SW4
R1-10 ----- 1 ohm TPH1 - PHONE SYSTEM MODULE

R20,22 --------- 10k ohm SCHEMATIC PC1111-RS1
TR1 --------- 5k ohm REV B 8-89 GF 9/99
ALL RESISTORS 1% METAL FILM
S1
S2
S3
S4
S5
S6
RESISTORS ARE PRESENT ON BACK OF BOARD
TPH1 -- PHONE SYSTEM MODULE

PROOF OF PERFORMANCE
SECTION FIVE
PROOF OF
PERFORMANCE
SPECIFICATIONS & TESTING
5-0) INTRODUCTION
The performance test listed this section are:

1) Frequency Response
2) Signal to Noise Ratio
3) Total Harmonic Distortion
4) Crosstalk
The purpose of this section of the manual is to provide a general description of the mea-
surement techniques used by Arrakis Systems.
IMPORTANT - many types of test equipment, test setups, test conditions and test methods
are used in our industry. It is impossible to provide information for all the various combina-
tions used in the real world. For this reason all specifications listed in this manual, or in
any other published literature on these products, are general. Specifications amy change
without notice and may differ between the manual and other literature.
5-1) FREQUENCY RESPONSE

5-1a) DEFINITION
This test defines the product’s bandwidth and measures any variations in the product’s
output level as a function of frequency. In consumer audio the test is performed from 20Hz
to 20,000 Hz. In broadcast, this test is typically performed from 50Hz to 15,000 Hz.
Generally, the frequency response specification if referenced to an arbitrary 0dB. Any
deviation from this 0dB reference is specified as plus and/or minus dB over the stated
bandwidth. The frequency response spec is “+.5dB 20Hz-20kHz.” It is generally accepted
that a person with good hearing can hear a level change as small as .2dB.
5-1b) TEST
The test is performed with an audio signal generator and a voltmeter* (or oscilloscope).
The signal generator is connected either balanced or unbalanced to a console input.
The voltmeter is connected either balanced or unbalanced to a console output (such
as Program Left Output). The frequency of the signal generator is varie over the audio
band of interest (20Hz-20kHz or 50Hz to 50kHz) while recording the Program output level
on the voltmeter. nay variatin in the output level is noted over the entire frequency range.
Many newer model digital voltmeters measure in absolute and relative dB which makes
the test very simple. if you do not have this type of voltmeter, then you must calculate dB
using the following formula (see next page).
*WARNING: some voltmeters are optimized for AC line measurements (50/60Hz) and are not accurate over the entire
audio frequency range (20Hz-20kHz).
5.0
5-1) FREQUENCY RESPONSE (continued)
dB = 20[log(V1/V2)]
where V2 is the reference level (some arbitrary voltage usually measured at 1kHz) and V1
is the voltage level in question.
5-1c) CONSOLE PERFORMANCE
All Arrakis consoles feature ‘Active (electronic) Balanced’ inputs and outputs. That is,
there are no transformers or frequency response is flat across the product’s entire band-
width (between the upper and lower rolloff frequencies). The product’s bandwidth is con-
trolled strictly by internal RC time constants.
5-2) SIGNAL TO NOISE RATIO

5-2a) DEFINITION
All Arrakis consoles feature ‘Active (electronic) Balanced’ inputs and outputs. That is,
there are no transformers or frequency response is flat across the product’s entire
bandwidth (between the upper and lower rolloff frequencies). The product’s bandwidth
is controlled strictly by internal RC time constants.
5-2b) TEST
This test is extremely difficult to perform due to differences in test procedures, setup
and equipment. Many times consistent results are elusive. Careful attention to test
parameters is essential to obtaining meaningful results.
The equipment needed for this test is an audio frequency signal generator and an audio
millivoltmeter.
The signal is applied to a console input, either mic or line, at a known level and imped-
ance. The AC millivoltmeter is connected to a console ouput, Program Left for exam-
ple. The levels are set up such that the VU meters read “0VU” with all the slide faders
at their nominal setting (the “thick line” or “in hand setting”). the ouput level is recorded.
This is the ‘signal’ part of the SNR measurement. The input signal is then removed
from the console and noise level is measure using the AC millivoltmeter. The RATIO
between the SIGNAL out of the console and the residual NOISE measured by the
millivoltmeter SNR. The formula for the SNR is:
SNR = 20[Log(Vsignal/Vnoise)]
5.1
5-2) SIGNAL TO NOISE RATIO (continued)

The many variable factors associated with this test make it difficult to accurately com-
pare the SNR specifications between equipment manufacturers. Differences in signal
levels, input and output impedances, band limiting filters, test setup and other factors
have substantial impact on the test results. Therefor, SNR specs obtained using differ-
ent test methods cannot be accurately compared. Futhermore, once the console is
installed, 60 or 120 cycle hum (evene if very, very low) cn be the limiting noise factor in
the test

SNR TEST: MIC LEVEL INPUT
Most microphones have low-Z output. These MICs require, for proper performance,
that theinpu impedance of the console be matched to the MIC’s output impedance. The
input impedance of the console is high, therefore an impedance matching resistor must
be placed acreoss the MIC input terminals. Place a 150 ohm METAL FILM 1% reistor
across the (+) and (-) inputs of the MIC channel. If the signal generator is UN-balanced,
then connect the (+) input to ground with a wire jumper and feed audio into the (-) input.
If you have a balanced signal generator apply balanced (+) and (-) audio to the MIC
input. Do NOT connect the (+) ternimal to ground in the balanced signal generator
case. Use a millivoltmeter to confirm that a -50dBm (2.4mVRMS) tone is being applied
to the MIC input. Do NOT rely on a -50dBm calibrated setting from the signal generator.
this setting is calibrated for a 600 ohm load, NOT a 150 ohm load. Set the channel
fader to normal, the operating positin (the thick black line or ‘in hand setting’). The input
module should already be calibrated for normal bus level (see “Calibration” section of
the manual). Make certain that onoly one input channel is on. Adjust a output summing
amp trimpot to give a +8dBm (1.95 VRMS) at on of the console outputs (no load neces-
sary on the output). Your SIGNAL is therefore +8dBu. Remove the signal generator
leads from the input connector (remove the ground from the (+) input if applicable. the
level that you now read at the output is the NOISE. Compute SNR using the formula
shown on the previous page.
SNR TEST: LIVE LEVEL INPUT

Apply a +8dBu (1.95 VRMS) tone from the signal generator to a line level input module.
the conncteions can be either balanced or unbalanced as outlined above. An input ter-
minating resistor is not necessary. Set the channel fader to the normal operating posi-
tion. The input module should be adjusted for porper bus level (see “Calivration” sec-
tion of the manual). Adjust a output summing amp trimpot to give a +8dBu (1.95
VRMS) at one of the console outputs (no load is necessary on the output). Your SIG-
NAL is therefore +8dBu. Remove the signal generator leads from the input connector
(remove the ground from the (+) input if applicable). The level that you now read at the
output is the NOISE. Compute SNR using the formula shown on the prevoius page.
5.2
5-2) SIGNAL TO NOISE RATIO (continued)
IMPORTANT
The IC used for the VCA (SSM2018) has a noise floor that, due to slew rate optimiza-
tion, increases with the frequency above 45kHz. This increase in the noise floor occurs
outside the aduio frequency band and can (should be) ignored. A broadband noise
measurement would include those frequencies above 45kHz hence this type of mea-
surement would be misleading. Therefore, a 20kHze or 30kHz band limiting filter
MUST be used during SNR measurements to obtain accurate results!!
Additionally,
1) A peak reading meter will measure 1.1dB better than an RMS reading meter.
2) A 20kHz filter will read approximately 1.8dB better than a 30kHz filter.
3) Stray 60/120 cycle fields and RFI will effect the test.
5-3) TOTAL HARMONIC DISTORTION
5-3a) DEFINITION
This test measures the nonlinear response of the signal chain to a fixed frequency
sinusoidal tone. A tone is applied to an audio input. A measuring device at the output
cancels (nulls) the input tone then measures the total energy of the remaining harmon-
ics (harmonics are multiples of the frequency of the applied tone) and any noise pres-
ent. The ratio of the total energy of the harmonics plus noise to that of the fundamen-
tal (applied tone) X100 is the percent harmonic distortion +N. It is generally accepted
that a good ear can hear 0.1% THD.
5-3b) TEST
A low distortion audio signal generator is connected to a console input, balanced or
unbalanced as outlined above in the SNR description. A distortion analyzer is connect-
ed to a console output, balanced or unbalanced. The distortion analyzer will null out
the fundamental frequency and read distortion in percent (%) THD+N.
IMPORTANT
A distortion test is limited by the noise in the system. As an example, a 60dB S/N ratio
means that the noise is down only 1000 times from signal. This would measure .1%
THD+N even if no distortion harmonics were present at all. An 80dB SNR means a
minimum THD+N of .01%. To find true THD, where noise limits the test, a spectrum
analyzer must be used.
Once again, attention must be paid to filtering and test setup since excess noise will
result in excess THD+N.
5.3
5-4) CROSSTALK
5-1a) DEFINITION
Crosstalk is a measure of the amount fo signal that bleeds from one audio chain into
another. Problems occur when producing two seperate programs on a console at the
same timeor when cueing during programming. If audible crosstalk occurs, then ON
AIR integrity can be compromised or a recording can be effected.
5-1b) TEST
Apply a test tone to one audio chain, such as Audition Left & Right. Measure, with a
millivoltmeter, how many dB down (from applied signal) the signal appears in
another audio chain, such as Program Left or Right.

Crosstalk takes place in two basic ways. The first is capacitive crosstalk which increases
20 dB for a ten times increase in frequency. The worst case frequency for this type of
crosstalk is therefore 20kHz. The second type of crosstalk is power supply related where
ground between two circuits is modulated by heavy currents. Ground modulation
crosstalk tends to be of a low frequency nature and sounds like bandlimited audio while
capacitive crosstalk has a higher frequency spectrum.
5.4
MAINTENANCE & SERVICE
SECTION SIX
MAINTENANCE
& SERVICE
6-1) MAINTENANCE
Arrakis 12,000 Series console require no periodic maintenance with the exception of
occasional cleaning and lamp replacement.
SWITCHES
Switches typically require no cleaning, just operate the switch a few dozen times
SLIDE FADERS
The Penny & Giles slide faders in the Arrakis 12,000 Series consoles have conductive
plastic elements and can be cleaned with warm water. They do no require disassembly.
Remove the fader’s knob by pulling up on it. remove the fader from the console by
removing the two mounting screws, clipping cable ties andn carefully pulling the connec-
tor from the PC board. To clean, simply hold the fader under a stream of warm tap water
and operate back and forth 50 to 100 times. For extremely dirty faders a mild soap solu-
tion can also be used. Allow the faders to dry TOTALLY before using (this often means
they must dry overnight). A light silicone based lube can be applied SPARINGLY to the
slide fader if required: take the cover plate off the fader (two screws) and use a swab to
apply some lube to the fader’s two guide rods. IMPORTANT: Do NOT use solvents,
cleansers or sprays on the faders. The warm water with mild soap cleaning technique is
recommended by Penny & Giles.
ROTARY POTS
The rotary pots are sealed and cannot be disassembled. Front panel knobs may be
removed by:
1) loosen the collet under the collored knob cover
2) lift the knob from the shaft
Replacement pots are available from Arrakis
SURFACES
Use mild soap and warm water. Abrasives will scratch the polycarbonate overlays, and
solvents will RUIN thse plastic surfaces! Damp dust the wood panels and occasionally
treat with common furniture wax.
6-1b) ROUTINE PARTS REPLACEMENT

The front panel controls on a console are obvious subject to ordinary wear and tear. Abu-
sive treatment of the controls will result in a substantial reduction of their life expectancy.
Be aware of the average use each control in the console is subjected to. It is possible to
predict the life expectancy a switch by noting its frequency of use and comparing that to
the switch’s life expectancy rating. Provisions can then be made to schedule mainte-
nance and request budgeting for replacements parts. For example, consider a channel
ON switch. This switch can be operated 4 million times before a failure can be expected.
If this switch is operated once every 3 minutes, 24 hours a day, 7 days a week, then this
switch has an expected life of almost 23 years!
MANUFACTURER SUGGESTED LIFE EXPECTANCY

ON/OFF Switches - 4 million operations Faders - 100,000 operations (10%
Momentary Switches (Talkback, Cue, etc.) - 100,000 resistance change)
Latching Switches (PGM, PAN, etc.) - 50,000 Lamps - continuous 40,000 hrs
6.1
6-2) SERVICE
6-2a) TECHNICAL QUESTIONS
Arrakis Systems maintains a staff of friendly broadcast engineers, design engineers, and
technicians who have many years of in depth field experience in broadcasting. All of our
technical resources are available to you to answer installation questions, solve problems,
and repair equipment. If you have a question or problem, please fell free to call us. We
are here to help and must have you field feedback to advance and improve our product.
We can’t solve every problem, but out people are here to try.
To contact our service department call on weekdays ONLY between:

8am to 5 pm (Mountain Standard Time)
10am to 7 pm (Eastern Time)
9am to 6pm (Central Time)
7am to 4pm (Pacific Time)
The phone number is: (970) 461-0730
Note - collect calls will not be accepted!
6-2b) TEST
Arrakis Systems will replace, at no charge, parts that fail due to defects in material or
workpersonship during the warranty period of the product to the original owner only.
Arrakis Systems does not warranty equipment that has failed due to
improper installation, abuse, or acts of nature. It is solely at the discre-
tion of Arrakis Systems as to whether a part is defective under warranty
conditions.
6-2c) WARRANTY SERVICE PROCEDURE
Arrakis Systems assumes that its customers have on staff (or access to) competent tech-
nical personnel and adequate test equipment. If a product fails, we will first seek to
ascertain the problem over the phone and solve it at the “component level” where we find
the specific part(s) that have failed and repair or replace them. This is the least expen-
sive and time consuming solution for you. Depending on the circumstances and at our
discretion, Arrakis will replace the specific PC board that we suspect to be at fault. If
replacing PC boards does not solve the problem, then the console is to be returned to the
factory where it will be repaired (normally with two days) and returned to you. Return
shipping over and above the cost of UPS ground will be born by the customer.
Under NO circumstances will Arrakis Systems replace the defective

console with a new one. Under absolutely NO circumstances does
Arrakis take any resposiblity for non-factory technical expenses!!
6.2
6-1) SERVICE (continued)

6-2d) WARRANTY REPLACEMENT OF PARTS
To have apart replaced under warranty, you must:
1) Call or write the “Customer Service Department” and describe what parts need
replacement and the circumstances of the failure.
2) A RMA (Return Merchandise Authorization) number will be issued
3) Return ALL defective parts to the factory (shipping prepaid) to the attention of the
“Customer Service Department” with a letter referring to the replacement parts and
your NAME, CALL LETTERS, ADDRESS, DATE, and RMA#.
4) Parts replaced under warranty will be shipped at Arrakis expense by UPS ground.
Any expense over and above UPS ground will be born by the customer.
IMPORTANT!!
If the defective parts are not returned within 30 days, you will be invoiced for
them and it will be assumed that they do not fall under warranty. Also, until it is
cleared up, further customer service may be refused.
SPARE PARTS
A spare parts kit is provided with the console. These parts are provided to take care
of evergency failure. Thse parts, when used to rplace failures, are not replaced under
warranty.
PURCHASED PARTS
Any Arrakis customer may purchase spare or replacement parts from the factory at
reasonable prices. Arrakis Systems does no believe in operating it’s Customer Ser-
vice Department as a profit center and therefore charges as little as possible. We
have a fixed service charge to cover paperwork expenses to which we add the price of
the parts and shipping expenses.
PAYMENT OPTIONS
Parts may be purchased either by:
1) COD shipping
2) Credit card
3) Through Arrakis authorized dealer, who may offer terms. Arrakis does not sell
items on account or payment plac, although dealers may.
IMPORTANT
NON-PAYMENT OR LATE-PAYMENT FOR PARTS WILL MAKE IT NECESSARY TO
REFUSE FURTHER CUSTOMER SUPPORT UNTIL THE PROBLEM IS RESOLVED.
6.3
WARRANTY
SECTION SEVEN
WARRANTY
WARRANTY
Arrakis Systems, inc. warrants this product to purchaser against defects in

material and workpersonship for a period of two year from the date of original
retail purchase. No claim shall be maintained hereunder unless written
notice is received by seller within 30 days of the facts giving rise to the claim.
The sole or exclusive liability of Seller for breach of warranty shall be refund
of the purchase price of the item sold, or at it’s option, to replace or repair the
item or part concerned FOB it’s factory. Arrakis’ liability shall arise only if the
purchaser causes the defective part or item to be delivered to Arrakis for
inspection upon Arrakis’ request at Purchaser’s expense. This warranty shall
not be effective if the alleged defect is due to abuse, damage by accident,
misuse, misapplication, has been modified without express written permis-
sion of Arrakis Systems, exposure, excessive moisture, or any other use of
the equipment other than the use for which the manufacturer prescribed.
No warranties express or implied shall be applicable to any equipment sold

hereunder, and the foregoing shall constitute the Buyers’ sole right and reme-
dy under the agreements in this paragraph contained. In no event shall
Arrakis Systems, inc. have any liability for consequential damages or for loss,
damage, or expense directly or indirectly arising from the use of the products,
or any inability to use them either separate or in combination with other
equipment or materials of from any other cause.
Arrakis’ warranty is given solely to the original user and only to the extent
above described. No other dealer, agent, or employee is authorized to make
any modification, extension, or addition to this warranty.
7.1

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Arrakis Systems, inc.

A WELCOME TO THE 12,000 SERIES

PUBLICATION DATE - 1/99 REV H1

This manual covers the entire 12,000 Turbo and 22,000

Section 2 OPERATING INSTRUCTIONS

Section 3 INSTALLATION PROCEDURES

Section 4 ELECTRONIC DESCRIPTION

Section 5 SPECIFICATIONS & TESTING

Section 6 INSTALLATION PROCEDURES

Two Choices of Color - Tan (Standard) or Platinum (Deluxe)

Ultra-high Quality Construction and Design

Easy Connectorized Installation

Comprehensive Logic system

Total Turret Support

1-2) ELECTRONIC SPECIFICATIONS

1-3) PHYSICAL SPECIFICATION

1-3c) POWER SUPPLY

2-0) GENERAL OPERATING INSTRUCTIONS

2-0b) PROPER CONSOLE OPERATION

2-1) TPMI -- STEREO LINE LEVEL INPUT MODULE

2-1b) LOGIC FUNCTION A

2-1c) ELECTRONIC FUNCTION

2-2c) ELECTRONIC FUNCTION

2-2) TPM2 -- MONO MIC LEVEL INPUT MODULE with PAN

2-3b) LOGIC FUNCTION B

2-3c) ELECTRONIC FUNCTION

2-5a) TOB1 -- OUTPUT FUNCTION

2-5b) LOGIC FUNCTION

2-5c) ELECTRONIC FUNCTION

2-6) TCRM1 -- MONITOR MODULE

2-7) TRS1 -- 1X5 STEREO REMOTE SELECTOR SWITCH MODULE

2-7a) AUDIO FUNCTION

2-7b) ELECTRONIC FUNCTION TRS1

2-8) TDA1 -- 1X4 STEREO DISTRIBUTION AMPLIFIER MODULE

2-8a) AUDIO FUNCTION

2-8b) ELECTRONIC FUNCTION TDA1

2-9) TRR1 -- DUAL MACHINE CONTROL MODULE

3) STRT (cap color = GREEN, fill color = WHITE) AUD

2-10) TPH1 Phone System Module

Switch 4: AUX 1 feeds Auxiliary Input #1 to the hybrid.

Switch 5: AUX 2 feeds Auxiliary Input #2 to the hybrid.

2-10c) ELECTRONIC FUNCTION

2-11) ENGRAVED “OFF” CAPS & COLORED FADER KNOBS

MIC CART REM DAT TALENT

MIC CART REM TRACK NEWS

MIC CART RR TRACK TRAFC

CD CART RR TRACK NET

CART TT CASS TRACK SPORTS

CART PHONE CASS TRACK STUDIO

CART PHONE CASS TRACK EAS

CART PHONE DAT GUEST WX

2-10b) CUSTOM ENGRAVED CAPS

2-10b) COLORED FADER KNOBS

Available colors: RED YELLOW ORANGE GREY GREEN WHITE BLUE

2-12) VU METER BRIDGES

2-12b) AUX METER SWITCHING

3-1) UNPACKING & PHYSICAL INSTALLATION

3-1b) TABLETOP INSTALLATION

3-1c) THRU-TABLE INSTALLATION

3-1d) POWER SUPPLY INSTALLATION

Power Cable lengths

3-1) UNPACKING & PHYSICAL INSTALLATION (continued)

Connector CN3 handles auxilliary audio and control logic.