Description:
Audio monitor speaker signals often contain unwanted noise that is distracting to performers between musical selections or when the monitors are not in use. Examples include ambient pickup from live microphones or hum from instruments. During periods when it is desired to mute the monitors, users may manually turn them off using the RDL ST‑SSR1 solid‑state audio switch module (use 2 for stereo as shown). The RDL RT2 remote control may be mounted in any convenient location (such as podium or wall). The RT2 controls the ST‑SSR1(s) to switch on and off the stage monitor feed as required. This application may be used to mute the audio inputs to power amplifiers feeding either fixed or portable monitor speakers. This application is ideal for church choir monitors or for any performance area using stage monitors.

The RDL TX‑PA40D 40 W Stereo Audio Power Amplifier is shown in this system. RDL offers a wide range of power amplifiers for monitor and public address applications.

Description:
The daily Calendar of Events listing at this hotel is generated from an office computer. An RDL EZ‑VM14 distributes the VGA signal of the schedule display to three monitors located near the entrances of the hotel meeting rooms. The wide bandwidth of the EZ‑VM14 insures that the same high resolution image seen at the local monitor is seen at each hotel monitor.

Description:
This is a simple four channel mixing system for choir microphones in a house of worship. The FP‑MX4 Four Channel Audio Mixer mounts to any flat surface, typically above or near the choir loft. Each mic input has switch‑selectable phantom power and an individual gain trimmer. The mixer can be set up and adjusted for different mic types or distances from the choir. The FP‑MX4 output is available at both mic and line level, so it may be wired to either a mic or line input of the main house mixer. If choir monitors are installed, the FP‑MX4 output is normally connected to feed only the main mix, not the monitors. This compact FP‑MX4 provides simple, cost effective, studio‑quality mic mixing.

Description:
Unbalanced audio is not suited to long distance transmission due to susceptibility to hum and ground loops. This problem is avoided by balancing the audio source prior to transmission and by isolating the received signals with effective common mode (hum) rejection. This application uses an RDL STA‑2A Dual Line Amplifier to boost the unbalanced stereo source up to the standard +4 dBu level to drive a pair of balanced lines. The balanced lines may be shielded or unshielded (UTP) and may be up to several hundred feet long. An RDL TX‑A2D Dual Audio Converter receives the balanced audio, converts it to unbalanced and attenuates it to a standard ‑10 dBV level feeding RCA output jacks. Studio quality audio transformers in the TX‑A2D provide very high common‑mode hum rejection and galvanic isolation from the balanced lines. The received remote source is connected to one of the stereo unbalanced inputs of an RDL EZ‑MX4L stereo audio mixer that feeds the conference room amplifiers and speakers.

Description:
This RDL Format‑C twisted pair system allows for the distribution of both audio and composite video over a standard CAT5 cable. This simplifies and speeds up system installation by allowing one economical cable to deliver both audio and video signals. The Format‑C sender in the data closet feeds the audio and video to receivers mounted behind each flat panel display. Twisted pair cables loop from one receiver to the next. A Format‑C distributor would allow for configurations with multiple distribution branches.

Description:
The RU‑VCA6A Six Channel Digitally Controlled Attenuator and RLC10K Remote Level Control are used to increase and decrease the level of the 5.1 Surround Sound source feeding the amplifiers. The RU‑VCA6A offers clickless level adjustment, accurate tracking and outstanding wide‑band, low‑noise studio quality performance. It can be controlled remotely by a variety of RDL or third‑party controls and/or locally via front‑panel pushbuttons. Each audio input and output may be configured balanced or unbalanced. Multiple RU‑VCA6As and/or RU‑VCA2As may be linked together for single‑point level control of 7.1, 10.2 or 22.2 surround sound systems.

Description:
This system is set up in a basic two room combining configuration. The rooms can be separated/joined by a movable wall. The room audio can be combined and uncombined at the main control unit in the rack. Each room is equipped with a local audio input wall plate that accepts both mic‑level and line‑level audio. A room control plate allows volume control and the selection of local sources or background music. The second room in this system is equipped with an additional volume control at the opposite end of the room. When the rooms are separated the local inputs are associated with that room only. When the rooms are combined, the local audio from each room is combined, creating one large room. This example uses an FP‑PA20A 20 Watt 70 V amplifier for each room. Facility‑wide paging is available through the rack mounted system controller. The RCX‑5C can be used for room combining systems of two to five rooms.

Description:
The RDL EZ‑MCP1 Microphone Compressor is installed in‑line between the church pulpit/lectern‑mounted microphone and the house mixer. The EZ‑MCP1 automatically adjusts the volume for best intelligibility for a wide range of presenters’ speaking styles. Phantom voltage (IEC Standard 24 Volt) is provided by the EZ‑MCP1 when it senses phantom voltage from the house mixer. The EZ‑MCP1 provides transparent audio level adjustment and compression over a 30 dB range. Its audio performance is excellent while providing a user interface that accommodates the non‑professional. It insures freedom from clipping and overload distortion, providing consistent audio levels throughout a presentation and/or from one presenter/speaker to the next.

Description:
Video monitors in public spaces often include speakers with insufficient fidelity and/or volume. Such flat panels typically offer only speaker level outputs. This application couples good quality speakers with RDL modules to fill the space with full fidelity audio. The only audio outputs on the flat screen are speaker‑level outputs. Each output channel is fed to the input of an RDL TX‑8A Adjustable Line Transformer which attenuates the signal to a standard balanced (or unbalanced) line level. The line‑level signals are amplified by a pair of ST‑PA18 18 W RMS Power Amplifiers to drive quality loudspeakers. The loop out of each ST‑PA18 is fed to one of the summing inputs on the ST‑CX2S Subwoofer Filter. The ST‑CX2S combines the left/right channels and applies the subwoofer low‑pass crossover. The ST‑CX2S output feeds an ST‑PA18 which is used to drive a subwoofer. This application is often installed on flat panels that have audio amplifier power ratings that should be sufficient for the space if they applied to each channel and were usable RMS power. The ST‑PA18 modules employ integral aurally transparent compression to deliver more of the modules’ average power to the speakers, often producing astounding fidelity when compared against the amplifier/speaker combination in the source flat panel.

Description:
The RDL FP‑ECC1 Energy Conservation Controller automatically powers up the electronics for this church sanctuary when needed and powers down the equipment after the service to conserve energy and reduce operating costs. The FP‑ECC1 is triggered by any one of three events: 1] Speaking into the Dynamic Microphone; 2] Stepping on the Pressure Pad Switch; 3] Opening the sanctuary door. Once on, audio feeding the sanctuary speakers keeps the system powered. After a switch‑selectable time period of 15, 30, or 60 minutes of audio inactivity, the FP‑ECC1 will turn off the system electronics. No operator intervention is needed to turn the system on or off.

Description:
The RCX Room Combining System allows between two and five separate audio systems to act independently, be combined as one complete system, or be combined in multiple combinations. Shown in this House of Worship example are three multi‑use rooms that are adjacent to the main sanctuary. Each room has its own amplifier system using the RDL FP‑PA20A amplifier. Two rooms have local audio sources connected to the RCX‑J3 audio input plates. The output of the sanctuary mixer is also fed to the RCX‑5C. Two of the rooms are divided with air‑walls (retractable walls) which, when removed, create a single larger area. When the rooms combine, so must their associated audio systems. Source selection and audio level control is provided by the RCX‑2 room controllers. The third space, separated by a solid wall, does not have a local input plate and only requires audio level control (RCX‑10R). The RCX‑5C System Controller manages the local input(s) and sanctuary mixer audio allowing the independent audio systems and room controllers to sync up for combined functions or remain separate for independent functions.

Description:
The RDL RU‑ADL2 Professional Audio Delay is used in this church sanctuary to time align the sound heard in seating areas served by the two sets of rear speakers. Prior to installing the RU‑ADL2, people seated in the balcony or in the rear portion of the main seating area will hear amplified sound, in real time, from the nearby rear speakers. They will also hear delayed sound from the front speakers. The acoustic delay is caused by the time required for the sound to reach the rear of the sanctuary from the front‑of‑house speakers. The effect is similar to an echo, muddying the sound of music from the system and making speech harder to understand. The reverberant acoustics in many houses of worship further reduce intelligibility in areas where sounds are heard from multiple speakers at different times. The RU‑ADL2 allows the time delay for speaker signals to be aligned so worshipers hear the amplified sound from all the speakers at the same time. The RU‑ADL2 provides two independent time‑delayed audio outputs. Each is set to equal the acoustic delay caused by the distance from the front speakers to each set of rear speakers (balcony and back‑of‑house). With these delays added, the sound arriving from the front and rear speakers is time aligned for those seated in the rear seats and balcony. This is an economical and reliable way to insure crisp, intelligible sound in the rear seating areas of worship spaces of all sizes.

Description:
Live sound mixing often requires the use of recorded music or effects from tape, CD players, or other sources. Using the cue or solo options of the main mixer can result in inadvertent errors in the house mix. The EZ‑HSX4 four input switcher provides a high quality headphone output which can be used for auditioning recorded audio sources. The EZ‑HSX4 provides source selection between four additional audio sources without dedicating additional channels on the main mixer to sources that are seldom used. Any of the sources switched by the EZ‑HSX4 can be cued or auditioned without operating the main mixer. This compact EZ series product will extend the functions of any live sound mixer.

Description:
One channel of the rack‑mounted RDL HR‑MCP2 Dual Microphone Compressor is connected in‑line between each church microphone and the house mixer. The HR‑MCP2 automatically adjusts the volume for best intelligibility for a wide range of presenters’ speaking styles, from soft‑spoken to boisterous. Phantom voltage (IEC Standard 48 Volt) may be provided by the HR‑MCP2 to power any condenser microphone. The HR‑MCP2 provides transparent audio level adjustment and compression over a 25 dB range. It insures freedom from clipping and overload distortion, providing consistent audio levels throughout a presentation and/or from one presenter/speaker to the next. A single HR‑MCP2 provides automatic gain reduction for the two separate microphones, pulpit/lectern and wireless (with mic‑level output). Front‑panel LED metering strings simplify proper gain adjustment. Mount multiple HR‑MCP2 Dual Microphone Compressors in the rack to control all the microphones in the church for maximum system intelligibility.

Description:
The mixing of multiple phantom‑powered mics is often required in various stage or public meeting room installations. The STD‑150 mixes the mic signals equally and passes phantom voltage generated by the mic preamp back to each of the mics. Each mic should have the same gain and should operate from a wide range of phantom voltage, as there is a small phantom voltage loss through the STD‑150. The STM‑3 works well in most applications but for critical, low noise installations the FP‑MP1 is recommended. The gain of the three microphones is set on the STM‑3. If individual mic gain adjustment is desired, use the RDL FP‑MX4 (4 channel ultra‑low‑noise mixer with switchable phantom and gain for each mic).

Description:
Audio monitor speaker signals often contain unwanted noise that is distracting to performers between musical selections or when the monitors are not in use. Examples include ambient pickup from live microphones or hum from instruments. During these periods when performers are not actively listening to the monitors, the RDL ST‑GLA1 (use 2 for stereo as shown) mutes the audio signal to the monitor amplifier(s). The muting threshold is adjusted on the module to activate the audio for valid signal levels. The monitors will be muted at all other times. This application may be used in installations using either fixed or portable monitor speakers. It is ideal for church choir monitors or any performance area using stage monitors.

The RDL TX‑PA40D 40 W Stereo Audio Power Amplifier is shown in this system. RDL offers a wide range of power amplifiers for monitor and public address applications.