The Airlab DT is a digitally-controlled analogue, radio, on-air console. It is a modular design, so up to sixteen channels may be chosen to suit the needs of the station. Most channel modules have a choice of three, switched inputs including microphone and two line inputs; some have EQ. The telephone module includes a telephone hybrid and offers a clean feed output unique to that module, so any number up to 16, can be used. There are two main mixes, integrated talkback, AES digital output options and USB inputs and outputs for connection to an automation PC. The frame suits 'drop-through mounting' in a desk or console.
The mixer is available as a 'fully loaded' version or may be ordered as a selection of modules to be fitted to the frame with master section. It is 775mm wide by 415mm deep.
Airlab-DT Broadcast Mixer
The Airlab-DT Broadcast mixer 'fully loaded' version (95-8671) is fitted with 6x Triple Input EQ Modules, 2x Triple Input Non EQ Modules, Master section, 1x Control Module USB, 4x Triple Input USB EQ, 2x Telephone Modules and software metering.
The Airlab-DT 16 frame includes the frame and Master section. It may be loaded with modules to suit the requirements of the users
The Master section, in the centre of the console, has a recording output that can select its source from the sub or aux mix. There is a master control for the stereo aux mix, with an operator talkback button routing to that output. Within the control room section there are level controls for the operator headphones and the control room monitors. The source of this can be a selection or mix between an external input, the aux, sub, programme, or cue mix. There is a master control for the level of the sub mix, with a talkback button feeding the sub output and there are controls for links to the studio - where a presenter or guest(s) may be located. There are individual level controls for the studio monitors, guest headphones and announcer headphones, each with individual talkback buttons. The audio source can be the programme or sub mix, or can follow the control room. There is a control to adjust the level of the electret microphone on the upper panel.
The programme and sub mixes each have balanced, 3-pin XLR connectors for left and right outputs. Outputs for the studio monitor amplifier and two tape machines, as well as the 'aux' mix and 'cue out' are all available on individual pairs of RCA (phono) connectors. The 'Air In' and the 'external' monitoring inputs are also via pairs of unbalanced RCA (phono) sockets. The announcer and guest headphones outputs use stereo 6.35mm jack sockets and there are two 6.35mm jack sockets for 'On Air 1' and 'On Air 2' lights which are connected to reed relays driven by the input channel logic. Three spare XLR connectors are included for use by the user. A 9-pin D-sub connector provides RS232 connection to a PC , for remote computer configuration and displaying metering information. A separate 9-pin D-sub connector is provided for connecting to external hardware meters.
The base triple input module is offered with or without 3-band equaliser and with analogue, AES, or USB inputs. The module can be selected to operate as a mono input. A screwdriver operated trimmer sets coarse gain for the microphone input; channel fine gain is adjusted with a rotary control. Switches select which of the three inputs is active. The unbalanced line B input can have an optional RIAA Pre Amp PCB fitted for use with turntables. The channel can feed the programme or sub mix or both. A rotary control adjusts the send level to the stereo aux mix; a separate rotary control adjusts pan/balance control. A switch feeds the channel to the cue mix and a button selects the channel as on/off. A 100mm ALPS fader feeds the VCA adjusting the level to the programme or sub mix. Certain fader start, ON and cue buttons functions are configurable via external software.
The microphone input is electronically balanced, via a 3-pin female XLR, with selectable 48V phantom power. The stereo, electronically balanced, line input uses 2x 3-pin female XLRs. The second line input, via two phono plug sockets, is unbalanced. Red light or studio remote connections use a 6.35mm jack socket. Fader start and a microphone 'insert' are via separate 6.35mm jack sockets.
This module is the same as the non EQ module, but offers in addition EQ section with three rotary controls to adjust high, mid and low frequencies. The HF control provides +/- 12 dB at 10kHz, shelving; the MF control +/- 12dB at 1kHz, bell; and the LF +/- 12 dB at 60Hz, bell.
The microphone input is electronically balanced, via a 3-pin female XLR, with selectable 48V phantom power. A single female XLR provides a balanced AES stereo input, compatible with sample rates of 32kHz to 96kHz. A male XLR provides an AES output of the main or sub output. The second digital line input is SPDIF via single RCA (phono) socket; a digital SPDIF output is via another RCA (phono) socket. Red light or studio remote connections use a 6.35mm jack socket. Fader start and a microphone 'insert' are via separate 6.35mm jack sockets. This module also includes the same EQ section as the Airlab Triple Input EQ Module.
The microphone input is electronically balanced, via a 3-pin female XLR, with selectable 48V phantom power. A USB typeB connector on the master section accepts a maximum of 4 stereo inputs. The second line input is un-balanced analogue audio via 2x phono plug sockets. Red light or studio remote connections use a 6.35mm jack socket. Fader start and a microphone 'insert' are via separate 6.35mm jack sockets. This module also includes the same EQ section as the Airlab Triple Input EQ Module.
This has a resistive balance control operated with a screwdriver and a rotary control adjusts the send to the phone line. A switch selects which of the two inputs is active and a rotary control adjusts fine gain. Switches select low-pass and high-pass filters, and an LED indicates when the hybrid is connected. An LED flashes to indicate if the hybrid is receiving an incoming call. The channel can be selected to the programme or sub mix or both and there is a rotary control to adjust the send level to the stereo aux mix as well as a rotary control to control pan/balance. A button selects the channel as on/off. A 100mm fader adjusts level. Certain fader start, on and cue buttons functions are configurable in software.
Airlab Control Module
This module allows hardware interfacing with automation systems, to control such things as jingle start/stop, 'next' in automation, and many others. There are 24 switches that can illuminate red, green or yellow (indicating playing, stopped, ready for example). A push button encoder is used as a selection control. Assignment of button functions is via the included Airlab configuration software.
This plug in card can save personalised settings of the console to the chipcard media. One chipcard is included with the Airlab DT console; additional cards can be purchased. Settings including module setup, start/stop, cue-start active, fader start, timer start, on-air control, auto cue and cue reset can be stored.
Aircast is a radio automation system for Windows based PC computers. It is designed to suit smaller radio stations especially those in community radio, internet radio, hospital radio and schools. It supports virtually any sound card, works with standard PC hardware and offers smooth interfacing with D&R mixers. There are various remote control functions for controlling fader start, 'next', and other remote requirements.
Aircast uses an SQL based, audio database with built in music scheduling. Voice tracking can be produced to enable pre-recorded links for unattended or overnight programmes. There is a built in streaming encoder to stream the programme feed onto the internet, to a Shoutcast or Icecast streaming server.
A play list can be created with 'Live Assist' and 'Automation mode'. The play list contains all audio files that are going to be broadcast during a show. The files can be played manually (live assist mode) or automatically (automation mode). Although Aircast has its own database, third party databases can also be imported, such as iTunes.
There is a 'cartwall' function to play jingles or other audio elements quickly. The number of player slots is unlimited and these pages can be saved for future use, allowing presenters or different shows to keep their own cartwall pages. An included Mix Editor allows creating of segueways and envelope points for voice tracking.