"DAYNER" USER MANUAL
Table of Contents Introduction: Product Overview Page 1 1 1 1.0 The "Chassis" System 1.1 The Desktop Chassis 1. 2 The Studio Chassis 2.0 The 2 .1 2.2 2.3 2 .4 2.5 2.6 2.7 2.8 2.9 2 .10 3.0 The "In-line" Module 3 .1 Output section 3 . 2 Input section 3 . 3 Equalizer section 3 . 4 Aux send section 3 . 5 Monitor section 3 . 6 Assign section 3 .7 Channel section 3 .8 Input/output jacks 6 6 7 8 9 10 11 11 12 4.0 The "Split" Module 4 .1 Output section 4 . 2 Input section 4 . 3 Equalizer section 4 .
D&R Dayner Series Recording Console 1.0 INTRODUCTION 1.1 PRODUCT OVERVIEW The D&R DAYNER Series console is extremely compact, user friendly, and incorporates innovative ideas to simplify multitrack recording. Utilizing five different frames, (21, 31, 42, 59, and 84), five types of modules to choose from, and a comprehensive master module (which will mount anywhere in the chassis), you can customize the Dayner Series to fit your system needs.
The Dayner Chassis 1.0 The "Chassis" System The D&R Design Team had a real challenge when the requirement was to design a console that would allow the master module or any modules to be mounted in any open space in the frame in any order. On top of all that, they were asked to make the module connector system and meters follow any possible combination. In designing the Dayner Series, they exceeded not only D&R's high standards, but designed the first totally modular console chassis.
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2.0 Master Module The Dayner master module contains all the electronics for the summing of the left/right signals, aux master section, a single frequency oscillator, talkback section, subgroup amps, 3 tape returns as well as the Control Room Monitor section. The width of this module is 90mm (3 times the width of a channel module). 2.1. a. +18v b. -18v c. +48v These three LEDs indicate that power is present on the voltage rails throughout the Dayner chassis.
5 channel to pfl mode The Dayner Series has a dual function solo system. This switch activates the pfl (pre fade listen) mode to all channels allowing you to hear the input signal before he fader, mute switch, and channel insert when you push a channel solo or monitor solo switch. When you listen under these conditions, the signal in the pfl mode will be in mono (both speakers).
2.6. f, alt This switch allows you to switch an alternative (near field) monitor speaker amplifiers. 2.7 talkback This is a conventional talkback switch which routes the talkback to the Aux 1 and 2 busses. At the same time it dims the C.R.M. output by 20dB to avoid feedback. An electronic delay in the activating of the electret microphone avoids mechanical noise when the talkback switch is pushed. Routing to aux 3-8 is optional. 2.8 solo/afl LED If anywhere in the console a solo/a.f.1.
2.12.b. two track C This jack is a stereo input for returning stereo machine C, which could be a DAT machine, CD player, or cassette recorder for playback (switchable on master section). The mating plug is a 1/4" stereo plug, tip is left, ring is right, and sleeve is ground for both. Level setting with internal jumper +4dBu or -lOdBv. 2.13.a.b. master inserts These 2 jacks are right inserts. The provided to insert stereo devices into master faders. devoted to the master left and level is OdBu.
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3.0 The "In-line" Module The In-line module is our most popular module in the Dayner Series. The next few paragraphs will explain its many functions and features. Channel LED Bargraph Meters The six segment L.E.D. bargraph meter is a peak-reading device that conforms to world standards for attack and release times. It reads the outgoing level which is on the output jack of the channel backplate.
3.2 Input Section 3. 2.a. +48v Phantom power switch direct injection boxes. for condenser microphones or 3.2.b. pad Using this switch inserts a 20dB attenuation into the mic input amp. If the signal source is too loud, you use this in conjunction with the mic/line gain to allow you more control on the channel faders. 3.2.c. phase Use this switch to reverse the phase of any mic input coming from a mic or signal that may be out of phase with other mics or signals.
2. f. remix Switches the tape return from the monitor section to the channel input (controlled by channel fader) and at the same time switches the mic or line input into the monitor section controlled by the monitor pot. This gives you double the inputs in mix. This is effective for effect returns or virtual tracks (live tracks, ie. midi synchronised tracks). Refer to paragraph 3.3.f (split EQ) for EQ in the monitor section of the in-line module. 3 Equalizer Section 3.a.
3.4 Aux Send Section 3.4.a. aux 1-2 The top control is aux send 1 and bottom control is aux send 2. This pair of aux sends are most commonly used for cue sends (stereo headphones), top control being left or cue 1 and bottom control being right or cue 2. Aux sends 1 and 2 can be used as effect sends in the mixing session. 3.4.b. post: This switch allows you to choose from where aux 1 and 2 get their signal.
5 Monitor Section 5.a. aux to channel This switch will allow all aux sends to get their signal from the channel fader, except those who are permanently set with the jumper settings. 5.b. tape This switch will choose from where the monitor gets it's signal. In the up position (source), the channel fader feeds the monitor and in the down position (tape), the tape return feeds the monitor. 5.c. pan This control will pan the signal in section between the left/right stereo image mix buss. 5.d.
3.6 Assign Section 3.6.a. channel pan This control allows you to place the signal anywhere in the stereo image, which feeds the mix busses or the subgroups buss assigns. 3.6.b. 1-2 This switch allows you to assign to subgroups 1 & 2. 3.6.C. 3-4 This switch allows you to assign to subgroups 3 & 4. 3.6.d. 5-6 This switch allows you to assign to subgroups 5 & 6. 3.6.e. 7-8 This switch allows you to assign to subgroups 7 & 8. 3 . 6.f. mix Assigns the channel to the stereo mix busses. 3.
3.8 Input/Output Jacks 3.8.a. mic input This is the balanced XLR input for condenser or dynamic microphones, This input can become a balanced line input if desired. Contact the D&R Technical Support Department or details. 3.8.b. line input LINE INPUT is used for plugging in the outputs of digital reverbs, digital delays, drum machines, samplers, keyboards, CD players, cassette machines or any other line level outputs. 3.8.c.
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4.0 The "Split" Module The "Split" module is not unlike most split format input modules with the exception of a couple of features. As you read this section, these features will become prevalent. Channel LED Bargraph Meters The six segment L.E.D. bargraph meter is a peak-reading device that conforms to world standards for attack and release times. It reads the outgoing level which is on the output jack of the channel backplate.
4.2 Input Section The channel can operate in either microphone or line input mode. The microphone input is a electronic balanced, transformerless design. The input-impedance is greater than 2 Kohms, which will not cause any loading effects on todays studio microphones. The line input; which can be used or effect returns, digital recorder playback, CD players, or any line level device, has an input impedance greater than 0 Kohms, which is high enough to interface with all available peripheral equipment. 4.
4.2.e. line/group The line input is activated by pushing the line/group switch. The line input can also be used when the entire module (fader, full EQ, and all aux send busses) is required to return the output of a "Floating Subgroup". An external patch must be made between the channel output and the line input of the same module. Refer to the "Subgrouping" section. The cable for this is special made. CAUTION: DO NOT USE A NORMAL PATCH CORD FOR THIS PATCH. Refer to the Section 4.7 for details. 4.
3 . f. low The low control has a shelving characteristic just like the high (3.a) control. 16dB of boost or cut is available at 60Hz. (Boost or cut of all frequencies below 60Hz). NOTE: The eq. section can be easily modified to increase or decrease the frequency range of each band to best suit your individual needs. Contact the D&R Customer Support Department for details. 3.g. eq on The equalizer section can be switched in comparing equalized or unequalized signals.
4.5 Assign Section The channel input signal can be routed to any or all of the 8 subgroup busses as well as the stereo mix busses byselecting the relevant routing push-buttons. 4.5.a. pan This control (with a 4.5 dB loss at its center point) pans the signal between the odd and even subgroup busses as well as the left and right master busses, when selected. 4.5.b.c.d.e.f.
EXAMPLE: Let's say you have a Dayner with 48 input modules and a 48 track machine. The kick drum is on module 1 and the snare is on module 2. You would not assign these inputs because they will feed directly to tracks 1 and 2 on the Recorder. Now, input modules 3,4,5, and 6, each have toms and you want to record a stereo mix of them on tracks 3 and 4. No problem! Use the assign switches 1-2 on each of those inputs (3 thru 6) and pan each input where you would like it placed in the stereo image.
4.7 Input/Output Jacks 4.7.a. mic input This is the balanced XLR input for condenser or dynamic microphones. This input can become a balanced line input if desired. Contact the D&R Technical Support Department for details. 4.7.b. line input The line input is unbalanced, (balanced is optional). This input has a sensitivity of -20dB maximum to infinity. The input impedance (lOKohms) will allow proper interface of any line outputs of tape recorders or signal processors. 4.
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5.0 "Optional" Modules 5.1 Tape/Effect return module This module is the most cost effective way of returning tape tracks, effect returns, drum machines, keyboards, or any other line level device needed on the mix. Each module has four returns with a volume control, pan pot, mute switch solo switch, and two aux sends (switchable pre/post). Each return feeds the stereo mix busses. All four inputs are electronically balanced. 5.
6.0 "Operation" (How to use) The DAYNER is designed to be the perfect answer for MIDI Studios where you do mostly virtual recording or in a morestandard recording studio with up to 48 tracks of analog or digital recording. To get more familiar with the DAYNER we shall discuss the whole recording process and divide it into 5 basic sequences. Sequence 1 through 4 are for the more conventional recording studio and sequence 5 is for the MIDI studio.
MICROPHONE/LINE GAIN The amount of gain required may depend on the type of microphone, the sound pressure level, and the distance between the sound source and microphone. A 20dB pad can be inserted where levels are too hot. When the line/group (line/mic on In-line Module) switch is activated, the same gain control varies the gain of the separate electronics for the line input. MONITORING The Dayner Series gives you a couple of different ways of monitoring your multitrack recorder.
INSERT CHANNEL/GROUP For high dynamic range types of inputs, a signal processor such as a compressor/limiter can be inserted in the channel or even in the group insert (Split Module only), if an entire group signal needs to be processed. HEADPHONE(CUE) During recording it is essential that the talent hear an independent mix of what the engineer and producer is hearing. Headphone mixes are usually derived from pre fader auxiliaries. In the DAYNER Aux 1 and 2 are ideal for this purpose.
SEQUENCE 2: The Playback Multitrack Playback The Dayner Series gives you a couple of different ways of monitoring your multitrack recorder. The most cost effective way is to use Tape/Effect Return modules (each module has four balanced inputs) to monitor and playback the tracks. Each input has a volume control, panpot, two aux sends with a pre/post switch (for a stereo headphone mix), a mute switch and a solo switch.
SEQUENCE 4: The Remix Multitrack Mixing Remix is the process of combining all recorded tracks together with (keyboards and drum machines for MIDI), signal processing and sending the mix to a two track master machine, DAT machine or cassette machine. On the In-Line Module, you must push the remix switch down. This routes the tape return to the channel input and routes the mic/line inputs to the monitor section of the module.
SEQUENCE 5: The MIDI or Virtual Tracking. Virtual Tracks: The MIDI Setup In most MIDI studios you will see an 8 track tape machine rather than a 16 or 24 track. Most all of the music production is programmed on a sequencer using MIDI keyboards, drum machines, or any other MIDI equipment. Because of this, you only need tape tracks for vocals and some instruments not adequately reproduced on keyboards today.
7.0 Installation; Electrical 7.1 Local Electrical Voltage Before switching on the D&R power supply, check the AC voltage of the supply by looking at the sticker on the back of the 19" housing. This should be 110 volts for areas with AC voltages from 100 to 120 Volts and 220 Volts for areas with 220 to 240 volts. The main fuse should be 6.3 amp, 20mm (fast blow) for 110 Volt service and 3.15 Amp, 20mm (fast blow) for areas only providing 220 Volts.
8.0 Installation; Audio 8.1 Interface CRM Levels The DAYNER is ready to interface with all available equipment in its standard configuration (refer to section 8.7). One point of attention must be made concerning the C.R.M. output. This output delivers a nominal +4dBU level which is sometimes too high for power amps rated at 300mV sensitivity for full output. In some cases, an input attenuator at the power amps input is needed to reduce this +4dBU level up to 12dB.
8.3 Shielding/Grounding of Audio Equipment The shield of any audio connection should be connected at one end only. If not, ground loops and high frequency crosstalk could result. Connect the shield (as a general rule) to the signal source (output) of anything. In high R.F. area's it is wise to ground the other end of the shield wire via a O.Oluf capacitor. This will short circuit the R.F. but will not affect audio frequencies. 8.4 Typical Interface Situation Table Output Input Connect shield .
8.5 Connecting the In-line Module Description Connector Connect XLR Pin 1 : Shield Pin 2 : Hot + Pin 3 : Com - 1/4" Mono Jack Tip : Hot Ring : N/C Sleeve : Ground Mic Input Balanced Line Input NOTE: With special orders, we can increase the pad to 30dB and the impedance as well, to provide for, switched balanced mic/balanced line inputs.
TAPE RETURN is used for plugging the output of your multitrack tape machine or the outputs of any effects such as digital delays, digital reverbs, aural exciters, etc. this track or effect will now appear in the monitor section if the tape switch is down. If you push down the remix switch, this track or effect will now appear in the channel and be controlled by the channel fader. The microphone input or line input will now appear in the monitor section of the same module.
L/R master out level : -10/+4 (jumpers) shield pin 1 (balanced) + hot pin 2 - com pin 3 Stereo Tape A Tape B Tape C returns level : = +4dB = -10/+4dB (jumpers) = -10/+4dB (jumpers) C.R.M./CR.M.alt Power (XLR): pin pin pin pin pin tip : left ring : right sleeve : ground level : +4dBU (1.
Trouble Shooting It is essential to study the signal flow chart carefully. Only in this way can you isolate problems. By following the signal through input and output jacks, it is possible to locate the problem. If you are unable to isolate the problem, contact the D&R Technical Support Department for advice. If the technical staff is unable to correct the problem over the phone, D&R will send out a replacement module the same day.
Specifications INPUTS: Microphone inputs: Balanced 2k0hm C.M.R.R. at 50 Hz -76dB Sensitivity: -80 dBu for +4 dBu output. Signal to noise ratio: -129 dB. Pad: -20 dB. Line inputs: Unbalanced lOkOhm (Balanced optional) Sensitivity: -20dBu max. Signal to noise ratio: -90 dBu. Inserts: Unbalanced 0 dBu/lOkOhm. Tape inputs: +4 dBu/-10 dBV at lOkOhm. Effect inputs: Balanced -20 dBu/lOkOhm Two track inputs: +4 dBu/-10 dBV. OUTPUTS: Channel/Group outputs: +4 dBu at 750 Ohm. -10 dBV at 680 Ohm.
EQUALIZATION: In-line Module: +/- 16 +/- 16 +/- 16 +/- 16 dB dB dB dB at 12kHz Shelving from 500 Hz - 10kHz Sweepable from 50 Hz - 1kHz Sweepable at 60 Hz Shelving Split Module: +/+/+/+/- dB dB dB dB at 12kHz Shelving from 1kHz - 11kHz Sweepable from 80 Hz - 1kHz Sweepable at 60 Hz Shelving 16 16 16 16 OVERALL: Nominal operating level: 0 dBu (0.775 mV) Frequency response: 20-20,000 Hz +/- 0.025 dB. Harmonic distortion: less than 0.039% at all levels Max gain through mixer: 80 dB.
DIMENSIONS: 31 Chassis: 10" x 34" x 38" 42 Chassis: 10" x 34" x 51" 59 Chassis: 10" x 34" x 71" 84 Chassis: 10" x 34" x 102" 42 Studio Chassis: 35" x 36" x 53" 59 Studio Chassis: 35" x 36" x 73" 84 Studio Chassis: 35" x 36" x 104" WEIGHT: 31 Chassis full: 132 lbs. 42 Chassis full: 169 lbs. 59 Chassis full: 242 lbs. 84 Chassis full: 338 lbs.
In this manual we've tried to give you an oversight of all the possibilities the DAYNER Series has to offer. If you have any questions, do not hesitate to contact the D&R Customer Support Department. With the DAYNER Series, there is no limit to your creativity. We wish you many years of enjoyable mixing. Best regards, D. de Rijk President, D&R Holland This manual was written by Duco de Rijk, Gregg Jampol, and Paul Westbrook. We hope you find it usefull and easy to understand.
