Production Intercom

Sidetone
Applications Notes
On any Production Intercom station which will accept a headset you will find, on the front panel, a small headset symbol, and a recessed screwdriver-adjust control. This control adjusts sidetone. Sidetone, simply put, is the sound of your own voice as picked up by your headsets microphone and reproduced in your own ear, by your own earspeaker. You experience sidetone every day when you use the telephone. The need for sidetone is psychoacoustic. If we cannot hear ourselves, the brain refuses to accept that anyone else can hear us. It is the explanation for why people shout when wearing stereo headphones. Sidetone provides the brain with the clues it needs to decide how loudly or softly we need to speak. Very high sidetone rejection capability (and the ability to adjust it) are major contributing factors in the superior performance of your Production Intercom system. A few moments adjusting sidetone at each station will substantially enhance performance and listening comfort.

The sidetone adjustment controls on Production Intercom products are null devices. There is a position near the center of the controls rotation (12 OClock) where sidetone is reduced by as much as 55dB. Adjustments clockwise or counter-clockwise from this position will have the same effect - increased sidetone level. Most Production Intercom stations are factory set at the 2 Oclock position. The normal sidetone setting is the lowest level which will overcome the psychoacoustic phenomenon mentioned above. Minimizing sidetone level will reduce the likelihood of feedback occurring when the headset is removed. It is worth remembering that feedback caused by too high a sidetone level will be reproduced throughout the system with unpleasant consequences for those who are still wearing their headsets! In very noisy environments, reducing sidetone level further will cut down the amount of local noise being reproduced in the users ear speaker. Too low a level may have the effect of causing the user to speak too loudly, however, just as too high a sidetone level may cause the user to speak too softly. Sidetone in LS-3 Talkback Loudspeaker Stations - A Very Special Case LS-3 Talkback Loudspeaker Stations are capable of operating in a full-duplex hands-free mode when fitted with an LSM-1 gooseneck microphone. The user may speak and listen simultaneously without pressing any buttons, without the annoying clipping caused by VOX circuits, and without feedback. This feature is made possible by the high degree of sidetone rejection (55dB) in Production Intercom systems. The sidetone control on LS-3s is used find the most effective null-point, reducing sidetone to the lowest possible level. It is this that allows the microphone and loudspeaker to be active simultaneously. When a headset is plugged into an LS-3, it is detected by a special circuit, and sidetone is automatically adjusted to a normal level. Production Intercom Inc.
P.O. Box 3247, Barrington, IL 60011-3247 Voice: (847) 381-5350 Fax: (847) 381- 4360 Sales & Technical Assistance (US & Can):(800) 562-5872 e-mail: support@beltpack.com Web: beltpack.com

Basic Portable System Applications Notes

Production Intercom

PS-1 Power Supply

DC

SB-1

Either Or

SB-1

The PS-1 is a simplified low-cost version of the PS-2. It has the same critical components and supplies the same 2 amps of current. It lacks the front panel switching facilities of the PS-2 and has only one output XLR on the rear panel. It does have the LED indicator for DC, and the power switch does light to indicate that the unit is On. Stations can be connected as shown on the left, by daisy-chaining from one station to the next. Many users find the two cables connected to each station (when daisy-chaining) to be awkward. Using SB-1 Splitter-Isolators, as shown on the right, eliminates this inconvenience at moderate cost.

Production Intercom Inc.

P.O. Box 3247, Barrington, IL 60011-3247 Voice: (847) 381-5350 Fax: (847) 381- 4360 Sales/Technical Assistance (US & Can): (800)
Printed in USA 03/01

U.C. Berkeley
Production Intercom

Football Coach/Spotter Communications

OS1 DS1 DS2 Spare

Applications Notes
P OS2

PS-2 Power Supply

A+B
Production Intercom

PS-2 Power Supply

B+C
< < Link > >

PS-2 Power Supply

A+B DC
Production Intercom

B+C
< < Link > >

PS-2 Power Supply

DC

P OC2 OC1 HC DC1 DC2 Spare Codes: P = Players; OC = Offensive Coaches; HC = Head Coach; DC = Defensive Coaches; OS = Offensive Spotters; DS = Defensive Spotters. In this system the Head Coach monitors both the 1st Offensive Spotter and the 1st Defensive Spotter simultaneously. The system is duplicated on the visitors side of the field. Production Intercom Inc.
P.O. Box 3247, Barrington, IL 60011-3247 Voice: (847) 381-5350 Fax: (847) 381- 4360 Sales & Technical Assistance (US & Can):(800) 562-5872 Printed in USA e-mail: support@beltpack.com Web: beltpack.com

03/01

Basic Portable System Applications Notes

Production Intercom

PS-1B Power Supply

DC

SB-1

Either Or

SB-1

The PS-1B is a simplified low-cost version of the PS-1A/L. It has the same critical components and supplies the same 2 amps of current. It lacks the front panel switching facilities of the PS-1A/L and has only one output XLR on the rear panel. It does have the LED indicator for DC, and the power switch does light to indicate that the unit is On. Stations can be connected as shown on the left, by daisy-chaining from one station to the next. Many users find the two cables connected to each station (when daisy-chaining) to be awkward. Using SB-1 Splitter-Isolators, as shown on the right, eliminates this inconvenience at moderate cost.

Production Intercom Inc.

P.O. Box 3247, Barrington, IL 60011-3247 Voice: (847) 381-5350 Fax: (847) 381- 4360 Sales/Technical Assistance (US & Can): (800) 562-5872 e-mail: support@beltpack.com Web: beltpack.com
Printed in USA 5/99

Connections Cable Types and Sizes

Applications Notes
Connections
1. Single circuit intercom stations should be interconnected with 2-conductor shielded microphone cable. 2. Cable type will be determined by the use and environment of the system. 3. Cable size will depend upon the overall length of the cables in the system and the number and type of stations to be connected. 4. Correct polarity is absolutely essential. Never cross the conductors connected to pins 2 and 3 5. Spurs, tees, daisy-chains and loop-in/loop-out are all acceptable. 6. By convention, to avoid confusion with low impedance microphone connections, intercom outlets on source units (power supplies, master stations, etc.) and on wall plates, etc. should be male. 7. In portable applications the system is connected using conventional microphone cables. Single circuit stations use 2-conductor shielded cable fitted with 3-pin XLRs as shown below, left and center.
XLR 3-pin Male
3-pin XLR Female

Shield

+24VDC

+24VDC

Communications

Communications

8. Multi-circuit enclosed products are equipped with Neutrik 6-pin XLR-type connectors wired as shown above, right. 9. Single circuit products for flush mounting are equipped with 4-position plug-in terminal strips, and are wired as shown below, left.
Grnd.
+24VDC N.C. Circ.

Production Intercom Inc.

P.O. Box 3247, Barrington, IL 60011-3247 Voice: (847) 381-5350 Fax: (847) 381- 4360 Sales & Technical Assistance (US & Can): (800) 562-5872
Printed in USA Rev 12/01

e-mail: support@beltpack.com Web: beltpack.com

1
Shield

Circ A Circ B Circ C Circ D Circ E Circ F Circ G Circ H Circ J No Connect +24VDC Ground
(Shield)

LS-3M Flush-mount, multi- circuit

10. Multi-circuit products for flush mounting are equipped with 12-position plug-in terminal strips and are wired as shown on the previous page, bottom right

Grounding
Rule 1: Cable shields must never be grounded except at the power supply or master station. Rule 2: Re-read Rule 1. 1. The use of one shielded pair in a multi-pair cable is only permitted if the shield of each pair in the cable is isolated from all the other shields. 2. The ground connection on the AC plug on the power supply must be used and must be the only ground point in the system. 3. Where dual muff headsets are used with a binaural belt pack(BP-2B), the common conductors to each earspeaker must remain discrete. 4. If headset leads are extended, the microphone common and earspeaker common must remain discrete.

Cable Type
Portable Systems: For best reliability, use a good quality rubber-covered cable with internal textile reinforcement. This cable is easy to handle, flexible and generally durable. The two most common faults encountered in Production Intercom systems are due to grounding faults and poor quality or excessively worn cable. A shielded pair in a snake may be used, with care to avoid contact by the shield of the pair used, with any other shield or ground point. Permanent Installations: PVC covered 2-conductor shielded cable may be used. It is less bulky, more economical, and better suited to pulling in conduit, etc. Local regulations may limit or specify acceptable types, fire resistance, etc., particularly if the system is part of a life safety application.

Cable Size
Table 2, at the end of this section, is a rough guide to cable sizes in average systems with few, if any, loudspeaker stations. More precise calculations may be made using the data which follows. Power Considerations: The most important factor in choosing the correct size of cable for the majority of systems is the DC power loss due to voltage drop across the length of the cable. Ohms Law: V=I x R Voltage Drop = Current Drawn x Cable Resistance -2-

The voltage drop is dependent upon the number and type of stations and the resistive characteristic of the cable. Production Intercom stations have the following maximum current draw: Typical Headset Station: 0.03A (30mA) (with signal lamps lit) Typical Loudspeaker Station: 0.2A (200mA) (at high volume levels) Other system electrical characteristics: Maximum supply voltage: 30.0 VDC Standard supply voltage: 24.0 VDC Minimum operating voltage: 12.0 VDC Recommended maximum design voltage drop each way: 6.0 V It can be seen that the cable size must be increased for: a) increasing numbers of stations b) increasing length of cable c) use of high current-drawing stations (loudspeaker stations) Particular care must be taken when loudspeaker stations are used at the end of a long cable, for example, 4 loudspeaker stations connected at the end of a 500 cable: 6.0 V (4 x 0.2A) = 7.5 The cable is 500 long but the current traverses the loop out and back again. Therefore we must select a cable with no more than 15 resistance per 1000. Referring to Table 1, the minimum acceptable wire gauge would be 22 AWG. Where voltage drops are excessive, it may be more practical to add a remote power supply than to increase wire gauge. Audio Considerations: The other factor affected by cable size is the high frequency response of the whole system due to the capacitance of the cable. In small systems, under 500 total cable length, capacitance is not normally significant. In systems with total cable lengths in excess of 3000, it may become critical. In these situations the reduction in high frequencies can become significant as the impedance of the cable approaches that of the standard system termination (200). For systems with several very remote outstations, the larger cable required to avoid voltage drops usually ensures that capacitance is sufficiently low. However, this factor must be considered in very long low-current applications. Remember that the whole system will be affected, not just the remote station(s) at the end of the long run, as with voltage drop. The cable length we are considering here is not the just the length of a particular run, but the total of all the cable in the system. Typically, a loss of 3dB at 3kHz is considered the minimum acceptable, though this may not be so in high noise environments where any loss of intelligibility must be avoided. In the following example, we have assumed a 3dB @ 3kHz loss.

-3-

To determine the maximum permissable cable length in a system it is critical to know the capacitance of the cable. This number is readily available from cable manufacturers catalogs or web sites. In the following example we have assumed a cable capacitance of 130pF/meter (approximately 40pF/foot). Heres the math. The key formula is: Z = 1 over 2 FC Where Z = Ohms, F = Hertz, and C = Farads Therefore: C = 1 over 2 FZ For a 3kHz cut off (-6dB point) in 200 Ohm circuit: C = 1 over (2x3.14) x 3000 x 200 Farads \ C = 1 over 3768000 F \ C = 1 over 3.768 uF \ C = 0.264 uF \ C = 264000 pF Permissable cable length is 264000 130 = 2030 meters Permissable cable length is 264000 40 - 6600 ft. This rule applies only to capacitance. Please also read the section on voltage and current requirements.

Table 1
AWG 24 22 20 18 16 14 Cross Section (In.)
.0003 .0006 .0009 .0014 .0020 .0033 Resist. /1000

25 15 10 6 4

Important Note: This table is approximate and for guidance only. AWG figures refer to a range of standard cable sizes, and those given are average figures.

Table 2 Typical Cable Requirements

Important Note: This table is for quick reference only. See detailed notes on correct system design. The table above assumes a system consisting mainly of belt packs or fixed headset stations, with few, if any, loudspeaker stations. Increasing numbers of loudspeaker stations will require larger cable. For critical or marginal applications, contact the cable manufacturer for exact specifications.

Portable System Up to 500 feet Up to 5000 feet

AWG 24 18*

Cross Section (mm) Typical Type .22 .45 Med. duty mic. cable Heavy duty mic. cable

*The math says 20 but we stronly recommend 18 Permanent Installation Up to 250 feet Up to 500 feet Up to 5000 feet 24 20 16 .22 .5 .8 -4To Suit Application

Production Intercom

Crane Communications System

Applications Notes

From cranes 24V electrical system.

In this system, the LS-3T at the base of the crane constantly monitors the crane operator. Response, when necessary, is made using the press-to-talk button. In very noisy situations, a headset can be plugged into the LS-3T, automatically muting the loudspeaker and eliminating the need to press-to-talk. The PS-3 Battery Adaptor connects to the cranes 24V electrical system, and provides the power for the system (restricting current draw to 1A) as well as the necessary termination circuitry for the system. Production Intercom Inc.
P.O. Box 3247, Barrington, IL 60011-3247 Voice: (847) 381-5350 Fax: (847) 381- 436 Sales & Technical Assistance (US & Can):(800) 562-5872 e-mail: support@beltpack.com Web: beltpack.com

Production Intercom

Dual-Circuit Belt Pack Hook-up Options

Applications Notes
BP-1S/L or BP-2 or BP-2B

YC-5F YC-5M EX-5xx WP-5M SB-2 and individual connectors are available from Production Intercom Inc.

3F

4M

3F

3M 3M YC-5F

3M 3M

About 5-Pin XLRs: The choice of 5-pin XLRs in this application was made because a minimum of 4 pins is necessary, but: a) 4-pin connectors are used for headsets, and; b) 6-pin connectors are not compatible from one maker to another.

5F

5M

EX-5-xx Specify length (5, 10 & 25 ft.)

5F

Or
5

5M

Or
3M 5M 3M Out Circ B In 3F

Intercom
5M

Out Circ B In 3F

WP-5M Wall Plate

3F YC-5M

3F
SB-2 Splitter Box

P.O. Box 3247, Barrington, IL 60011-3247 Voice: (847) 381-5350 Fax: (847) 381- 4360 Sales/Technical Assistance (US & Can): (800) 562-5872 e-mail: support@beltpack.com Web: beltpack.com
Printed in U.S.A. Rev.01/01

Production Intercom Inc.

econoCom
Applications Notes
All stations are connected together using standard 2conductor shielded microphone cables fitted with male and female 3-pin XLR-type connectors. For runs of under 100 ft. (30m) cable as small as 22 AWG may be used. For longer distances we recommend 18 AWG. Stations may be daisy-chained or connected through spurs and direct runs back to the PS-4. To simplify cabling or to eliminate having two cables connected to each belt pack, Y-connectors or our SB-1 splitter box may be used. Note: The single most common problem in setting up a system is a pin2/pin3 reversal inside an XLR connector. Always check continuity. The second most common problem comes from grounding the shield in the microphone cables. It must not be grounded anywhere in the system.

Simple

System

DMH320

HH10/A

BP-1

BP-1

SMH310

SMH310

BP-1

BP-1

SMH310 SMH310

SMH310

BP-1 BP-1

BP-1

SMH310 SMH310 PS-4 BP-1 BP-1

AD2410

In an econoCom system all stations are linked together in a party-line configuration. When any signal lamp switch is pressed, all the others will be simultaneously lit. The three convenient XLR jacks on the back of the PS-4 permit the stations to be broken up into one, two or three strings. In this diagram, we have assumed that a stage manager would be in charge of most communications and have provided a belt pack for him on one of the three possible spurs. The econoCom system is capable of handling up to ten beltpacks. Although the power supply components are quite robust, we do not as a rule suggest trying to connect current-hungry loudspeaker stations.
e:\vpwork\applecon.vp

Production Intercom Inc.

P.O. Box 3247, Barrington, IL 60011-3247 Voice: (847) 381-5350 Fax: (847) 381- 4360 Sales/Technical Assistance (US & Can): (800) 562-5872
Printed in USA

e-mail: support@beltpack.com Web: beltpack.com

03/01

Enhanced Portable System Applications Notes

Backstage Crew

Lighting Crew

(Stage Monitor Mix)

Audio

B
PS-2 with signal lamps on Circ. A & C.
Call
Production Intercom

A+B
< < Link > >

B+C
Call

PS-2 Power Supply Sig.A

Sig.C

DC

Stage Manager Lighting Director

Audio

(House Mix)

In this system the Stage Manager is in constant communications with the Stage Crew on circuit B, the Lighting Director with his crew on circuit A, and the Audio Crew connect to each other on circuit C. The Stage Manager can connect to the Lighting Crew by pressing the A + B switch on the PS-2 and the Audio Crew by pressing the B + C switch. The signal lamps on the PS-2 make it possible for the Lighting Crew or Audio Crew to notify the Stage Manager that they need to talk to him. Therefore the Stage Manager does not need to constantly keep the lines open to the Lighting or Audio Crew. The HS1-TL(with strobe) is provided at the Stage Monitor Mix position to attract attention when the HS-1 signal lamp would be inadequate. The system would require a Y-cable to provide two connections to circuit B. This system can be upgraded at any time by adding an MSM-1 Master Station Module. None of the existing gear would be made redundant.

Production Intercom Inc.

P.O. Box 3247, Barrington, IL 60011-3247 Voice: (847) 381-5350 Fax: (847) 381- 4360 Sales & Technical Assistance (US & Can): (800) 562-5872 e-mail: support@beltpack.com Web: beltpack.com Printed in USA

03/01

Production Intercom

FAQ
The Most Common Questions Answered

Applications Notes

Designing, specifying, installing or upgrading a headset intercom system is a sometimes thing for most people, with only a very few having sufficient experience to become expert. For that reason, Production Intercom staffers are always available on our 800 number to help you select the components to meet the requirement of each application, and to optimize your communications budget. In the sections which follow you will find comprehensive information about our equipment and its applications, but we thought it would be worthwhile first to provide short answers to the most commonly asked questions: 1. Compatibility: (Can I hook this up to my XYZ system?) There are several interconnect standards for headset intercom systems, none of which are directly compatible with the others. The most common standards are those originally devised by Clear-Com, Telex and RTS. The Clear-Com standard is also used by Production Intercom, HM Electronics, and a number of English and European manufacturers. Most headset intercom manufacturers either make some kind of adaptor to allow you to interface with another standard, or, in some cases, products of their own which operate on another standard. For example, Clear-Com manufactures equipment which will operate on the RTS standard, and Telex makes belt packs which are switchable between their own standard and Clear-Coms. In this category, Production Intercom offers the AD903, which permits limited interfacing between Production Intercom devices and any other standard. In most cases the audio can be passed successfully from one to the other, but the signal lamp circuit cannot. When adding to an existing system (or when regularly interfacing with a particular type) we believe that its best to stick with equipment on the same standard, as neither manufacturer is going to be too enthusiastic about accepting responsibility for the overall performance of a hybrid system. The good news is that all of the better known companies provide products of high quality, and you can expect excellent performance from any of them. Your selection can be confidently made on the basis of useful facilities, durability, customer support, availability, and cost. 2. Wireless: (Do you have ..... ?) There are circumstances where a wireless headset intercom system is the ideal answer. Production Intercom does not manufacture a wireless system. It is our experience that cost, complexity, and problems associated with low-power transmissions in many public assembly facilities (as well as potential F.C.C. licensing hassles) will discourage all but those who absolutely require wireless. For those few with the budget and willingness to confront the obstacles, there are already several quite competent wireless systems in the marketplace, by manufacturers such as Clear-Com, HM Electronics, Cetec-Vega, etc. Production Intercom Inc.
. P.O. Box 3247, Barrington, IL 60011-3247 Voice: (847) 381-5350 Fax: (847) 381- 4360 Sales & Technical Assistance (US & Can):(800) 562-5872 e-mail: support@beltpack.com Web: beltpack.com Rev.02/01 Printed in U.S.A.

Production Intercom

Basic Football Coach/Spotter Communications

Applications Notes
Defensive Spotter

Offensive Spotter

PS-2 Power Supply

A+B
Production Intercom

B+C
< < Link > >

PS-2 Power Supply

DC

Defensive Coach

Head Coach

Offensive Coach

In this system the head coach communicates with both offensive and defensive coaches and spotters simultaneously. He can talk and/or listen to either or both; control whether he is heard at each; and control the level at which he hears either. With the A+B and B+C buttons on the front of the PS-2 left in their out position the offensive circuit and the defensive circuit would only be combined in the head coachs headset. This system could also be operated from a pair of 12 volt batteries (wired in series to produce 24V) using a PS-3 and an SB-1 (to create 2 circuits) in place of the PS-2.

Production Intercom Inc.

P.O. Box 3247, Barrington, IL 60011-3247 Voice: (847) 381-5350 Fax: (847) 381- 4360
Printed In USA

Sales & Technical Assistance (US & Can):(800) 562-5872 e-mail: support@beltpack.com Web: beltpack.com

03/01

Production Intercom

Equipment Layout for Grand Prix Courses

LS-3 Talkback Loudspeaker Station

Select appropriate AC Voltage: 100/117/220/240

All cabling to be 2-conductor shielded microphone cable fitted with 3-pin XLR-type plugs. The cable should be suitable for its outdoor environment and we recommend water-resistant XLR-type connectors.

BA905

Select appropriate AC Voltage: 100/117/220/240

PS-2 Power Supply

This system would support up to 150 BP-1s. Total estimated cable lennth: 5000 feet.

BA905

Select appropriate AC Voltage: 100/117/220/240

Production Intercom Inc.

P.O. Box 3247, Barrington, IL 60011-3247 Voice: (847) 381-5350 Fax: (847) 381- 4360 Sales & Technical Assistance (US & Can):(800) 562-5872 Printed in U.S.A. e-mail: support@beltpack.com Web: beltpack.com

02/01

Production Intercom

Applications Notes
1) Set up OG904:

Installing an OG904 in an LS-3 with Override keyed by Press-to-Talk

a) Remove link A (if installed) between Logic and Enable. b) Remove switch SW1 if installed c) Confirm that links B and C are installed. 2) Connect 24V supply to OG904: a) Connect pin 2 of SKT1 to ground on the LS-3 board at terminal one of the terminal strip. b) Connect pin 3 of SKT1 to +24V on the LS-3 board at terminal 2 of the terminal strip. 3) Connect OG904 signal output to the LS-3: Connect pin 3 of SKT2 to the top terminal of the LS-3 mic switch SW2. This wire must be shielded with the shield connected only at the OG904 end via pin 2 of SKT2. If supplied with a 2-conductor shielded wire for this purpose, cut back the unused conductor at the LS-3 end. Do not use; do not ground. 4) Connect the trigger from the LS-3 to the OG904: a) At the OG904 end, connect a single 22AWG stranded wire to the pin marked Enable. b) Connect the other end of this wire to Pin 11 of IC3 on the front board (the one closest to the front plate). Since Pin 11 of IC3 is connected via pin 13 on the interconnect strip, it is easier to make this connection on the rear of the rear PC board. The unlabelled link next to the legend number 14 is common with Pin 11 of IC3. Either end of the link may be used as the connecting point. 5) Adjust tone send and tone receive pots for reliable triggering: The center frequency for OG904 operation is 25kHz. Measure the frequency of the output before proceeding. RV1 provides this adjustment. Key override and rotate RV4 on the LS-3 until the green LED for override is lit. To operate two LS-3s in close proximity, equip both with OG904s then tune each to opposite sides of the 25kHz center point. Each will then trigger the other when press-to-talk is operated. Production Intercom Inc
. P.O. Box 3247, Barrington, IL 60011-3247 Voice: (847) 381-5350 Fax: (847) 381- 4360 Sales & Technical Assistance (US & Can):(800) 562-5872
Printed in USA

e-mail: support@beltpack.com Web: beltpack.com

Rev. 03/01

Production Intercom

Override
Applications Notes
Remote Control of Loudspeaker Stations A loudspeaker station which has been turned down or turned off can result in missed cues or messages, without the sender being aware that it has happened. A loudspeaker station blaring out cues or messages not intended for the area served can be, at the least, embarrassing. Two loudspeaker stations in close proximity can create serious feedback problems if switched to talk mode simultaneously.
Production Intercom loudspeaker stations are equipped with a circuit which can be activated remotely, and which overrides the front panel controls. Volume can be turned up or down. Stations which are turned off can be turned back on. Stations can be prevented from trying to talk when they are supposed to be listening.

The override circuit in listen-only (LS-2) and talkback (LS-3) loudspeaker stations is triggered by an ultrasonic (25 kHz) tone generated by an override generator card (OG904) located elsewhere in the system. An OG904 can be fitted into any station which will also accept a microphone, i.e: master stations, headset stations (including belt packs), or even another LS-3 talkback loudspeaker station. The tone can be activated by a separate switch added to the sending station, or by its microphone on/off switch. Since all Production Intercom loudspeaker stations already include the detection and activation circuitry, the only added cost is the OG904 generator card, and its installation in the sending station. When an LS-2 or LS-3 loudspeaker station has been overridden, a green LED on the front panel is lit. Any number of loudspeaker stations can be overridden simultaneously from one OG904 generator card, each to its own appropriate override mode. Applications include: 1. Muting a box office loudspeaker station except when messages are intended for it. 2. Restoring the volume at a dressing room loudspeaker station which has inadvertently been turned down. 3. Switching a backstage loudspeaker station back on when it has been switched off. 4. Muting a second loudspeaker station while a nearby station is in talk mode, to prevent feedback.

Production Intercom Inc.

P.O. Box 3247, Barrington, IL 60011-3247 Voice: (847) 381-5350 Fax: (847) 381- 4360 Sales & Technical Assistance (US & Can): (800) 562-5872
Printed in USA Rev. 03/01

e-mail: support@beltpack.com Web: beltpack.com

Production Intercom

Portable System with Full Master Station

Applications Notes
Lighting Crew Stage Crew

A
MS-200 Master Station with carry handle side panels
Link MS-200 Master Station
Production Intercom

Audio (monitor mix)

Circ A Off on

Circ B Off on
24VDC

A
Signal

Circ

Circ

B
Signal Mic Page On
Off

Listen Main

Spkr

Line

Mic

Level

Stage Manager In this system the Stage Manager is in communication with the Lighting Director and his Stage Crew on circuit A, and the both of the Audio positions on circuit B. The Lighting crew are on circuit Z, which only exists between the B side of the Lighting Directors 2-circuit belt pack (BP-2) and their BP-1 belt packs. During rehearsals the Stage Manager can use the Link switch on this MS-200 to join circuits A and B together. Circuit Z remains isolated. An RSM-1 could be substituted for the BP-2 if table-top or rack-mounting is desired. The Stage Monitor Mix position has been equipped with a Blazon/2 which supplements the signal lamp on the belt pack with a bright flashing strobe light. It also has a buzzer which can be turned off. The Stage Managers MS-200 would be equipped with a headset, handset, or gooseneck microphone.

Z A
Lighting Director

B
Audio (house mix)

Production Intercom Inc.

P.O. Box 3247, Barrington, IL 60011-3247 Voice: (847) 381-5350 Fax: (847) 381- 4360 Sales & Technical Assistance (US & Can):(800) 562-5872 e-mail: support@beltpack.com Web: beltpack.com

Production Intercom

Applications Notes
1) Set up OG904:

Installing an OG904 in an LS-3 with Override keyed by Press-to-Talk

a) Remove link A (if installed) between Logic and Enable. b) Remove switch SW1 if installed c) Confirm that links B and C are installed. 2) Connect 24V supply to OG904: a) Connect pin 2 of SKT1 to ground on the LS-3 board at terminal one of the terminal strip. b) Connect pin 3 of SKT1 to +24V on the LS-3 board at terminal 2 of the terminal strip. 3) Connect OG904 signal output to the LS-3: Connect pin 3 of SKT2 to the top terminal of the LS-3 mic switch SW2. This wire must be shielded with the shield connected only at the OG904 end via pin 2 of SKT2. If supplied with a 2-conductor shielded wire for this purpose, cut back the unused conductor at the LS-3 end. Do not use; do not ground. 4) Connect the trigger from the LS-3 to the OG904: a) At the OG904 end, connect a single 22AWG stranded wire to the pin marked Enable. b) Connect the other end of this wire to Pin 11 of IC3 on the front board (the one closest to the front plate). Since Pin 11 of IC3 is connected via pin 13 on the interconnect strip, it is easier to make this connection on the rear of the rear PC board. The unlabelled link next to the legend number 14 is common with Pin 11 of IC3. Either end of the link may be used as the connecting point. 5) Adjust tone send and tone receive pots for reliable triggering: The center frequency for OG904 operation is 25kHz. Measure the frequency of the output before proceeding. RV1 provides this adjustment. Key override and rotate RV4 on the LS-3 until the green LED for override is lit. To operate two LS-3s in close proximity, equip both with OG904s then tune each to opposite sides of the 25kHz center point. Each will then trigger the other when press-to-talk is operated. Production Intercom Inc.
P.O. Box 3247, Barrington, IL 60011-3247 Voice: (847) 381-5350 Fax: (847) 381- 4360 Sales/Technical Assistance (US & Can): (800) 562-5872 e-mail: support@beltpack.com Web: beltpack.com

Production Intercom

Applications Notes
General

Interfacing with RTS Systems

RTS systems are incompatible with our Production Intercom systems, as well as Clear-Com systems and any other 200W unbalanced system approximating Clear-Com. In addition to the different handling of communications, the means of activating the signal lights couldnt differ more. Important: Connecting a Production Intercom system to an RTS system could cause damage to either or both systems.

Two ways to get around the incompatibility.

Assuming a Production Intercom system and an RTS system, both with their own source of power: Least expensive solution 1. Add an extra RTS belt pack to the RTS system. 2 Add a Production Intercom AD903 I/O adapter to the PI system. (It goes in and is connected to the system just as if it were another belt pack) You will need two if the system is 2-circuit. 3. Using a cable with two individually shield conductors and two 4-pin XLR connectors (male-female) connect the RTS beltpacks headset jack to the 4-pin jack on the rear of the AD903. 4. Set the RTS audio level control at midpoint. 5. Set the RTS microphone switch to On. 6. The rest is tweaking. a) Use the AD903s Null control to eliminate sidetone from the PI system. Having both systems sidetone operating at the same time will give unpleasant results b) Use the two level controls and the two high/low switches on the AD903 to achieve comfortable levels in both systems. 7. Reminders: a)The recessed screwdriver adjust controls on the AD903 have 15 turns between off and maximum. One or two turns may have little if any effect, but when you get to the optimum level, fine tuning is possible. b) This solution does NOT include activation of the signal lights from one system to the other. c) Staff on the PI system will hear precisely what the RTS beltpack would send to its headset Production Intercom Inc.
P.O. Box 3247, Barrington, IL 60011-3247 Voice: (847) 381-5350 Fax: (847) 381- 4360 Sales & Technical Assistance (US & Can): (800) 562-5872 e-mail: support@beltpack.com Web: beltpack.com
Printed in U.S.A. Rev. 02/01

c) If the RTS beltpack is 2-circuit and it mixes the audio from both circuits onto the audio output to the headset that is what will be heard on the PI system. If the RTS belt pack is set to go binaural (circuit A in one ear and circuit B in the other) you will need to add another AD903 and a Y-adaptor to split A and B for connection to two PI circuits The Best Solution: Clear-Com manufactures a sophisticated product solely for this purpose. It not only optimizes the connection but also permits use of the signal lamps across the two systems. The product is model TW-12B and its Pro Net Price at the time of this writing $873.00. A data sheet is available on the Clear-Com web site. This is the professional solution. Due to the limited size of the market for such a device, we do not think it sensible for us to offer an equivalent.

Low Cost Approach

PS-2 Power Supply

RTS Power Supply or Master Station RTS Belt Pack

To Headset XLR Jack

BP-2 Belt Packs

AD903s

RTS Belt Pack

RTS Belt Pack

Best Solution
RTS Power Supply or Master Station
PS-2 Power Supply

BP-2 Belt Packs

TW-12B TW-12B

RTS Belt Pack RTS Belt Pack

Production Intercom

Sidetone
Applications Notes
On any Production Intercom station which will accept a headset you will find, on the front panel, a small headset symbol, and a recessed screwdriver-adjust control. This control adjusts sidetone. Sidetone, simply put, is the sound of your own voice as picked up by your headsets microphone and reproduced in your own ear, by your own earspeaker. You experience sidetone every day when you use the telephone. The need for sidetone is psychoacoustic. If we cannot hear ourselves, the brain refuses to accept that anyone else can hear us. It is the explanation for why people shout when wearing stereo headphones. Sidetone provides the brain with the clues it needs to decide how loudly or softly we need to speak. Very high sidetone rejection capability (and the ability to adjust it) are major contributing factors in the superior performance of your Production Intercom system. A few moments adjusting sidetone at each station will substantially enhance performance and listening comfort.

The sidetone adjustment controls on Production Intercom products are null devices. There is a position near the center of the controls rotation (12 OClock) where sidetone is reduced by as much as 55dB. Adjustments clockwise or counter-clockwise from this position will have the same effect - increased sidetone level. Most Production Intercom stations are factory set at the 2 Oclock position. The normal sidetone setting is the lowest level which will overcome the psychoacoustic phenomenon mentioned above. Minimizing sidetone level will reduce the likelihood of feedback occurring when the headset is removed. It is worth remembering that feedback caused by too high a sidetone level will be reproduced throughout the system with unpleasant consequences for those who are still wearing their headsets! In very noisy environments, reducing sidetone level further will cut down the amount of local noise being reproduced in the users ear speaker. Too low a level may have the effect of causing the user to speak too loudly, however, just as too high a sidetone level may cause the user to speak too softly. Sidetone in LS-3 Talkback Loudspeaker Stations - A Very Special Case LS-3 Talkback Loudspeaker Stations are capable of operating in a full-duplex hands-free mode when fitted with an LSM-1 gooseneck microphone. The user may speak and listen simultaneously without pressing any buttons, without the annoying clipping caused by VOX circuits, and without feedback. This feature is made possible by the high degree of sidetone rejection (55dB) in Production Intercom systems. The sidetone control on LS-3s is used find the most effective null-point, reducing sidetone to the lowest possible level. It is this that allows the microphone and loudspeaker to be active simultaneously. When a headset is plugged into an LS-3, it is detected by a special circuit, and sidetone is automatically adjusted to a normal level. Production Intercom Inc.
P.O. Box 3247, Barrington, IL 60011-3247 Voice: (847) 381-5350 Fax: (847) 381- 4360 Sales & Technical Assistance (US & Can):(800) 562-5872 e-mail: support@beltpack.com Web: beltpack.com

Basic Live Space System Applications Notes

Call
Production Intercom

A+B
< < Link > >

B+C
Call

PS-2 Power Supply Sig.A

Sig.C

DC

Lighting Director/ Stage Manager

Stage Left

Green Room/Dressing rooms

Stage Right

In this system the PS-2 in combination with a belt pack connected to circuit B acts as a master station. When the front panel A+B switch is pressed the Stage Left and Stage Right positions are connected to the Lighting Director. If the Lighting director presses the B+C switch with the A+B switch is Off, the LD will be connected to the Green Room. If the LD then presses the A+B switch, all stations will be connected. To prevent the green room from being accidentally connected, the B+C button can be made mo-

Production Intercom Inc.

P.O. Box 3247, Barrington, IL 60011-3247 Voice: (847) 381-5350 Fax: (847) 381- 4360 Sales/Technical Assistance (US & Can): (800) 562-5872 e-mail: support@beltpack.com Web: beltpack.com
Printed in USA 13/01

Production Intercom

Applications Notes
Stage Crew

Live Performance Space

Run-of-the-Show Pickup Mic.

Audio (Stage Monitor Mix)

Follow-spot Operators

Dressing Rooms

A Y Z
Green Room

Box Office

Y
Stage Manager
Link MS-200 Master Station
Production Intercom

Z
A
Signal Circ Circ

B
Signal Listen
Production Intercom

Circ A Off on

Circ B Off on
24VDC

B
Signal Mic Page On
Off
24VDC

Signal

Listen Main

On

A
Circ Circ

RSM-1
Level

Off

Mic

Spkr
Signal Signal Listen
Production Intercom

Line

Mic

Level

On

A
24VDC

B
Circ Circ

RSM-1
Level

Off

Mic

MS-200

RSM-1

Audio (House Mix)

RSM-1

Lighting Director

B A
Roaming Personnel

Production Intercom Inc.

P.O. Box 3247, Barrington, IL 60011-3247 Voice: (847) 381-5350 Fax: (847) 381- 4360 Sales & Technical Assistance (US & Can): (800) 562-5872 Rev. 03/01 Printed in USA e-mail: support@beltpack.com Web: beltpack.com

Production Intercom

Applications Notes
Stage Crew

Live Performance Space

Run-of-the-Show Pickup Mic.

Audio (Stage Monitor Mix)

Follow-spot Operators

Dressing Rooms

A Y Z
Green Room

Box Office

Y
Stage Manager
Link MS-200 Master Station
Production Intercom

Z
A
Signal Circ Circ

B
Signal Listen
Production Intercom

Circ A Off on

Circ B Off on
24VDC

B
Signal Mic Page On
Off
24VDC

Signal

Listen Main

On

A
Circ Circ

RSM-1
Level

Off

Mic

Spkr
Signal Signal Listen
Production Intercom

Line

Mic

Level

On

A
24VDC

B
Circ Circ

RSM-1
Level

Off

Mic

MS-200

RSM-1

Audio (House Mix)

RSM-1

Lighting Director

B A
Roaming Personnel

Production Intercom Inc.

P.O. Box 3247, Barrington, IL 60011-3247 Voice: (847) 381-5350 Fax: (847) 381- 4360 Sales & Technical Assistance (US & Can): (800) 562-5872
Printed in USA

e-mail: support@beltpack.com Web: beltpack.com

Rev. 03/01

Production Intercom

Road Line-Painting Truck

Applications Notes

System powered by trucks electrical system thru PS-3 Battery

Adapter.

12 VDC

In this system, the driver required communications with the crew located at the end of a towed boom, who are operating the line painting equipment, and dropping cones on the highway. Quick and frequent stops made constant duplex communications important, and ruled out solutions like walkie-talkies. The HS-1 stations were modified to operate on 12VDC.

Production Intercom Inc.

P.O. Box 3247, Barrington, IL 60011-3247 Voice: (847) 381-5350 Fax: (847) 381- 4360 Sales & Technical Assistance (US & Can):(800) 562-5872 e-mail: support@beltpack.com Web: beltpack.com

TV Studio Applications Notes

! General !
A Production Intercom system for use in a studio where there is no communications system built into the cameras and camera control unit (CCU) differs from a theatrical system only in the use of binaural headset stations (BP2B Belt Packs) with a separate program being fed to each ear of a dual-muff headset. The balance of this section will deal with various combinations of existing camera/CCU facilities and Production Intercom systems. Combining a Production Intercom system with existing communications facilities in the cameras and/or CCU varies with the type of circuits provided at the cameras and at the CCU.

Communications

2-wire v.s. 4-wire

Most camera intercom circuits are 2-wire. Both talk and listen occur simultaneously on a single pair of conductors. Although this is essentially the same principle upon which Production Intercom systems operate, the two are not compatible as the table below indicates: Audio Line Impedance Approx. 600 200 1% DC Line Impedance 600 5K Operating Level 0dBm -20dBm

System Camera Intercom

Production Intercom

The audio line impedance in these 2-wire camera systems is highly variable, as the camera circuits usually load the line with a low loading impedance. Thus, each camera added to the line, usually in parallel, reduces the line impedance. The system is then totally dependent upon the number of headsets in use, as well as the volume control settings at each individual camera. It is not possible to successfully integrate a Production Intercom system with these 2-wire systems. A few of the better CCUs provide circuitry, switching and termination points to provide 4-wire connection to their 2-wire head-to-CCU systems. Audio quality may vary from poor to good, but these CCUs can be readily interfaced to a Production Intercom system. Some newer and more sophisticated cameras and CCUs are equipped with a true 4-wire communications system. Talk and listen each have a separate pair of conductors. Audio quality is likely to be superior and a successful interface to a Production Intercom system is probable if access is provided at the CCU. Production Intercom Inc.
P.O. Box 3247, Barrington, IL 60011-3247 Voice: (847) 381-5350 Fax: (847) 381- 4360 Sales & Technical Assistance (US & Can):(800) 562-5872 Printed in USA e-mail: support@beltpack.com Web: beltpack.com
Rev. 03/01

Camera Types
Group 1: These cameras have the simplest of intercoms with a very basic headset circuit in the camera head. In general the performance is so poor that the best solution is a completely independent communications system, with a headset station (belt pack) and headset, connected via a discreet cable to the intercom system. Group 2: The intercoms provided in these are generally better than the most basic ones, but are still 2-wire, and incompatible as noted above. Therefore the use of a separate headset station (belt pack) and headset is still the ideal solution. Cameras of this type frequently have a 3-pin XLR connector for a microphone. The output end of this connector appears at the CCU. Since Production Intercom systems interconnect with microphone cable, this line within the camera cable may be used to connect the headset station back to the CCU. Many cameras have a microphone preamplifier at the head end to raise the microphone signal above the video cable noise. If this connection is used for the headset station, this preamplifier must be bypassed. Check with your camera supplier for details. Group 3: These better cameras, if not equipped with a CCU, can be used as Group 2 types above. However, if a CCU is in use, and the built-in head-to-CCU communications system is of adequate quality, it makes sense to make use of it. The head-to-CCU intercom is most probably 2-wire, but many better CCUs have an intercom output termination which is switchable to a 4-wire format. These CCUs can be connected directly to a Production Intercom system via an AD903 adaptor. Follow the directions for your CCU and the connection and grounding instructions which come with your AD903 carefully. When successfully interfaced, the CCU/camera system will appear on the Production Intercom system just as if it were another headset station. If the head-to-CCU communications system is true 4-wire, connection via an AD903 is easily accomplished, and performance likely to be the best of any combination.If 2-to-4 wire facilities are not provided on the CCU, it may still be possible to connect the CCU to the Production Intercom system via an AD903 adaptor, using the CCUs headset jack. These 1/4 in. headset jacks are 3-wire (talk signal/listen signal/common). Performance degradation in the Production Intercom system will probably occur when this three-wire jack is used as a source. Sidetone stability will deteriorate, and overall system gain may be reduced. Details for connecting to 3-wire systems are given in the AD903 instructions. Pay special attention to the sidetone adjustment instructions.

Adjusting a Hybrid System

Where a communications system is a hybrid consisting of a head-to-CCU system and a Production Intercom system, some simple points should be noted for optimizing performance. Rule #1: One step at a time. Rule #2: Re-read rule #1. 1. Check that each system is operating correctly and at normal levels, independently of each other. Do not adjust these levels again until all the steps below are completed. 2. If there is an auxiliary program feed to the Production Intercom system, connect this to the appropriate input and adjust the level. Be sure that the program material is at normal operating levels and is of the usual content, e.g: speech, music. Usually the program will be at lower level than the communications volume, so that users can speak over the top of the program. Do not adjust this level again until all the steps below are completed. 3. Connections between the Production Intercom system and the external systems are likely to be via the AD903 adaptor. If you are connecting more than one of these, do so one-at-a-time. 4. If possible connect only the send side of the AD903 to the input side of external system. Adjust the send control of the AD903 until the level of the Production Intercom system heard in the external system matches the level between headsets in the external system. Do not adjust the levels set in steps one and two above! 5. Now connect the receive side of the AD903 to the output terminals of the external system and adjust the receive control of the AD903 until the level of the external system as heard in the Production Intercom system matches the level between headset stations in the Production Intercom system. 6. Simultaneously with adjusting the receive level of the AD903, adjust the sidetone null control on the AD903 for maximum performance. See the Sidetone section of this binder for details. 7. If more than one AD903 is connected to one Production Intercom system, some level tweaking may be required as each is added.

Hybrid TV Studio

Applications Notes

System

Group 3 Camera

Group 2 Camera

Group 1 Camera

4-wire CCU

2-wire CCU

Floor Manager

MS-200
Link

RSM-2
10 15 12
Circ Circ MS-200 Master Station Circ A Circ B

Lighting Circuit
6 4 3
Production Intercom

10
Circ Circ

Production Intercom

8 3 1
Main Off on Off on

A
Signal

B
Signal Mic Page On

5
24VDC

A
Signal

B
Signal Mic On

5 4

24VDC

9 2
Spkr

11 Listen 14 13

RSM-2 1 2
Spkr

8
Listen

7
Line Mic

Off

Off

Level

16

17

Level

11

12

Producer

Lighting Director

Audio

Video

Production Circuit

This system is intended to illustrate how cameras from the three groups described on the previous pages may be interfaced with a Production Intercom studio system. Two substantially different CCUs are unlikely to exist together in a real system. The SB-1 Splitter/Isolator is a passive device used to minimize cable runs. The AD913 permits users on the cabled system to communicate with standard simplex walkie-talkies. Production Intercom Inc.
P.O. Box 3247, Barrington, IL 60011-3247 Voice: (847) 381-5350 Fax: (847) 381- 4360 Sales & Technical Assistance (US & Can): (800) 562-5872 e-mail: support@beltpack.com Web: beltpack.com

Pastor

Church System
(Boone)
Monitor Mix

B
MS-200
Link

Lighting Director
10 15 12
Circ Circ MS-200 Master Station

Production Intercom

Circ A

Circ B

8 3 1
Main Off on Off on

A
Signal

B
Signal Mic Page On

A B B

5 4

24VDC

9 2
Spkr

11 Listen 14 13

7
Line Mic

Off

Level

16

17

Front of House Mix

Catwalk Positions Audio Amp Room

A A B

Boone Audio Proposed Intercom Layout: In this system, the power and main control are provided by an MS-200 Master Station. The F.O.H. mix position can monitor and communicate with both main circuits using a handset or headset (not pictured). It is also possible to fit the Master Station with a gooseneck microphone permitting full duplex (hands free) communication using the MS-200s built-in loudspeaker. The Pastor is provided with an HS-1 station (probably an HS-1/T, tabletop version) and a handset. The HS-1 has a signal lamp approximately 3/4in square which lights whenever the signal lamp button on any other station on the A circuit is pressed. The Monitor Mix position has a 2-circuit beltpack which can talk and/or listen to the traffic on both circuits, A & B. Because his function is to listen, he is provided with a handset rather than a headset. Since he is not constantly monitoring the system, and the signal lamps on his BP-2 beltpack might go unnoticed, he is provided with a Blazon/2 signaling device. Light from this strobe and be directed only towards the operator by masking the lens. The Lighting Director and the catwalk positions also have 2-circuit belt packs. In any position with a BP-2 an RSM-1 two circuit remote station could be substituted for the BP-2. The only difference is the physical configuration. Performance is essentially the same. The Audio Amp room would be provided with an LS-3 Talkback Loudspeaker Station. It can be used as a press-to-talk release -to-listen device or may be equipped with a gooseneck microphone for full duplex (hands free) communication. When required a headset or handset can also be plugged into the LS-3. We would suggest equipping the MS-200 with an OG904 Override Generator card. With this in place the operator at the MS-200 will be able to restore the settings of the LS-3 remotely, should anyone turn the unit down or off.

Church System ICB Audio

Roaming Altar Position
HS-1TL

Organist

A
MS-200
Link

Balcony Positions
10 15 12
Circ Circ MS-200 Master Station

Audio

Production Intercom

Circ A

Circ B

8 3 1
Main Off on Off on

A
Signal

B
Signal Mic Page On

5 4

24VDC

9 2
Spkr

11 Listen 14 13

7
Line Mic

Off

Level

16

17

Recording Room

B
Video

HS-1TL w/HH10A

RSM-1
Signal Signal Listen
Production Intercom

B
On

B
Cameras

A
24VDC

B
Circ Circ

RSM-1
Level

Off

Mic

Video Room

ICB Audio

Proposed Intercom Layout:

In this system, the power and main control are provided by an MS-200 Master Station. The recording room position can monitor and communicate with both main circuits using a handset or headset. It is also possible to fit the master station with a gooseneck microphone permitting full duplex (hands free) communication using the MS-200s built-in loudspeaker. The master stations A circuit connects the recording room with the organist, roaming altar position and video room through its A circuit. Its B circuit is connected only to the balcony audio position. Whenever desired the operator can link everyone at all positions together using his Link switch. The organist and the balcony audio position are provided with an HS-1TL station, an HS-1 tabletop version with beacon, and a handset. The video room is connected to the recording room via its a circuit and camera positions via its B circuit.
03/01