Specifications

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Table Of Contents

The Dangerous Music Monitor ST-SR user’s operating guide

Thank you for choosing products from the exciting line of Dangerous Music

recording equipment. Many years of dependable and trouble free service can

be expected from our gear. This has been made possible by careful design,

construction, and top shelf component choices by recording industry

veterans. The Monitor ST is designed to provide quick setup of a stereo

audio monitoring system complete with headphone and talkback system with

the minimum of fuss. The addition of an SR module may be made at any

time without rendering obsolete any part of the ST system to realize an

ergonomic and great sounding surround audio monitor.

There are many functions packed into the small space of ST, SR and the

Remote that controls the system. We tried to write this manual to be succinct

but there is much material to cover. While the ST is easy enough to use right

out of the box, reading this booklet will help the engineer to realize the full

benefits of this system’s function, calibration, and use.

1…………………………… introduction

2…………………………… safety review

3…………………………… overview

4…………………………… ST front panel

5…………………………… ST rear panel

6…………………………… connector pinouts

7…………………………… SR rear panel

8…………………………… SR front panel and alignment

9…………………………… Remote operation

13………………………….. Equipment Interface, grounding and shielding

16………………………….. Specifications

Summary of content (16 pages)

PAGE 1
The Dangerous Music Monitor ST-SR user’s operating guide Thank you for choosing products from the exciting line of Dangerous Music recording equipment. Many years of dependable and trouble free service can be expected from our gear. This has been made possible by careful design, construction, and top shelf component choices by recording industry veterans.
PAGE 2
Safety Review Certain precautions should be taken when using electrical products. Please observe the safety hints by reading the manual and obtaining qualified help if necessary to adhere to the precautions. 1. Always use a properly grounded power supply cord with this product. Please do not defeat the ground pin on the mains plug. This connection provides earth to the chassis and signal grounds inside the device for clean and quiet operation. 2.
PAGE 3
Overview This signal block diagram gives an overall view of the flow in ST. The following pages have back panel and front panel views to help in hooking up and adjusting the box. Addition of the SR surround module is covered. The next section gives details of the remote software and operation. Finally, a discourse on grounding, shielding, and making installation go correctly is provided.
PAGE 4
Monitor ST front panel Controls will be explained in order from left to right The Phones jack is for the engineer to hear what is going out to the talent’s headphones. The Level control adjusts only the front jack level. Please start with the level control down low as the amplifier is very powerful. Typically 2:00 to 4:00 is a good position with today’s medium impedance cans (32-70 ohms). The Talkback section has a mic, an external mic jack, and a level control that lives comfortably around 4:00 usually.
PAGE 5
Monitor ST rear panel The Aux Inputs feed the main and cue amp sections and can be used for many purposes. Three that come to mind immediately are: 1. Mult the vocal mic/EQ/comp signal being fed to the DAW into Aux Inputs for latency free vocals in the cue system. 2. Feed the audio output of your Mac's enclosure into the Aux input to hear computer sound previews. 3. Use a mini mixer for both of the above and a click for voice overs and drummer cue feeds, etc. 4.
PAGE 6
The REMOTE jack hooks up to the remote with shielded CAT 5-e cable that can be up to 100 feet long. Don’t plug this into a router or computer. It is not an Ethernet connection. An RJ-45 jack was used because this allows one to get cable and extensions without a fuss. Please use shielded Cat 5-e cable and connectors. ‘D’ connector pin out pin # 1 14 2 15 3 16 4 17 5 18 6 19 7 20 8 21 9 22 10 23 11 24 12 25 13 The TB Remote connector fires the talkback circuit if pin 2 is connected to pin 3.
PAGE 7
SR rear panel The ‘D’ connectors use the same pin configuration as on the previous page. When the SR is combined with the ST, 2 ribbon cables are connected between them using the ‘To Monitor ST’ and ‘From Monitor ST’ jacks. The remote is plugged into the Remote In jack and a short jumper is run from the Remote Thru to the Remote In jack on the ST unit. The ST then becomes the controller for the left and right front channels in a 5.1 surround system.
PAGE 8
SR front panel The four holes on the front panel are for level trims to adjust the balance between the front speakers (controlled by ST) and the surround speakers. The order on the panel is Left Rear, Right Rear, Center, and LFE. The alignment procedure requires the procurement of a Sound Pressure Level meter and a pink noise generator. There have been many attempts to come up with a practical alignment that covers all the different manufacturer’s methods of properly aligning a surround system.
PAGE 9
Monitor ST Remote Here is a brief description of how the remote works: There are two ways to activate buttons in this system. For descriptive purposes, I’ll call the two actions either a Press or a Hold. A Press means pushing the button for less than ½ a second, a short duration push. A Hold means keeping the button down for more than a second, then releasing it. Remote boots up in about a second when power is applied to the ST or it is hot plugged to a powered up ST.
PAGE 10
Play with the mute buttons for a while to get used to what we call Momentoggle, the difference between a press and a hold. You will notice that if you hold a mute button, the speaker will silence and come back on when the button is released. If the same mute button is pressed, the function will latch and the speaker will stay silent until the button is pressed again. It is good to get familiar with the timing of Momentoggle.
PAGE 11
Setup mode tree Push an input, an output, or the talkback button Inputs 1-4 Outputs 1-3 Talkback Level? 5.1? gain boost? Level? Sub on? Sub Level? Low Pass? Dim Speakers? Engage Aux? Input Setup Mode (Level, 5.1?, gain for -10dBV device?) Enter Setup mode and press an input button that you want to configure. One will notice that a green light is on above the Setup LED.
PAGE 12
Pressing the Sub button twice while in setup mode disengages the subwoofer for that speaker, indicated by the Sub LED extinguishing. The Low Pass Filter is disengaged the same way. If this all sounds complicated, it really is easier to sit down with the remote and plug around with the buttons for a few minutes. It will all become easy after messing with the system. Remember to hold the setup button to exit and store the configuration and gain changes.
PAGE 13
Equipment Interface and other audio gear lore The Difference between Grounds and Shields While the usual scenario in hooking up equipment is that one plugs in the cables and starts to work, the more complicated a system, the more likely it is that something will not work correctly as far as hum and noise performance is concerned. While some would blame the equipment, this is the equivalent of blaming the eggs for a bad soufflé.
PAGE 14
Juice will flow down the shields and broadcast hum into the signal wires they were supposed to protect or wind up imposed on the reference ground of the receiving equipment. This situation manifests itself as the all too familiar buzz of a ‘ground loop’. The intensity depends on many variables but can go from unnoticeable to raging. Some people in desperation resort to using AC plug “ground lifts” to defeat the mains safety grounds in a random fashion until the system quiets down a bit.
PAGE 15
Balanced Audio Connections The beauty of balanced connections is that they promote the idea that current should be prevented from flowing down cable shields while letting the audio pass. Pins 2 and 3 carry a signal across them (transverse mode) and any interference that gets through the shield is picked up equally by the wires (common mode). The common mode noise is canceled by the differential action of the instrumentation amplifiers in the first stage of the Monitor.
PAGE 16
Specifications Frequency response ……………………….. 1Hz – 100 kHz within 0.2dB THD+Noise ……………………………….. 0.002% IMD60 4:1 ………………………………… 0.003% Low Pass Filter…………………………….. 57Hz, 3 pole Bessel/Chebyshev hybrid Interchannel crosstalk …………………….. -95dB Dynamic range …………………………… 110dB Maximum level …………………………… +25dBu Nominal operating level …………………... +4dBu Power consumption ……………………….. 30 watts Warranty …………………………………...