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25 December 2024

SONIFEX S1 RADIO BROADCAST MIXER Analogue and digital inputs and outputs

Stock code
95-7601
Brand
Sonifex
Model number
  • S1
SONIFEX S1 RADIO BROADCAST MIXER Analogue and digital inputs and outputs
SONIFEX S1 RADIO BROADCAST MIXER Analogue and digital inputs and outputsSONIFEX S1 RADIO BROADCAST MIXER Analogue and digital inputs and outputsSONIFEX S1 RADIO BROADCAST MIXER Analogue and digital inputs and outputsSONIFEX S1 RADIO BROADCAST MIXER Analogue and digital inputs and outputs

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VAT / Delivery
$4,249.60
each (ex. VAT)
Ordered on demand, cancellations may incur charges, available in 1‑2 weeks. Need it sooner? Call us
RoHS Compliant

SONIFEX BROADCAST MIXERS

Sonifex S-series mixing consoles have been designed for applications including broadcast solutions to community, educational and student radio stations, along with professional radio broadcasters. Models are available in either fixed or modular format with the latter having the ability to be scaled to the specifications required.

S1 Broadcast Mixer

Sonifex S1 mixer is a compact, low cost, fixed-format mixing console designed for on-air radio use. It can be fitted flush into a desk-top or can be rack-mounted by the addition of optional rack ears. With a comprehensive set of features it offers a solution appropriate to the needs of community, educational and student radio stations that need a versatile, reliable radio broadcast mixer. It has a 'no compromise on quality' approach, but offers simple, reliable operation.

Each channel has 100mm ALPS long-throw faders controlling voltage controlled amplifiers (VCAs) for reliability. Each has remote control outputs, including fader start for ancillary equipment. General purpose input/output facilities may be programmed and provision is made for mic-live/on-air sign switching. Separate 'telco' and stereo clean feed outputs are present for use with a telephone hybrid and codec respectively. In addition to the main stereo output mix there are two auxiliary mixes, pre or post fader selectable. There are both analogue and digital inputs and outputs. Monitor outputs are provided for presenter headphones, guest headphones and speakers. A pair of LED meters indicate audio levels. There are advanced automation facilities and remote control is available using the free SCi software. The rear connectivity panel can be rotated through 90 degrees onto the base of the chassis, providing easier access to connections when rack mounted.

The front panel has ten strips of controls for the ten input channels. The upper row of controls are source-selection buttons which illuminate when the second choice is selected. Channels one, two and five are mono channels and have, at the top, microphone/line selection buttons, in the case of the the first two, and microphone / telephone on channel five. Channels three and four have microphone/line selection buttons; the line input may be stereo or mono, depending on the connector used. Channels six to ten are stereo channels; the switches offer a choice of input one or input two, except in the case of channel six which offers input one or the stereo clean feed input, for use with such applications as ISDN CODECS, or two-studio link ups. The next row of controls are rotary faders for auxiliary send one. The following row are for auxiliary send two. Next there is a row of rotary controls offering plus or minus 7dB of high frequency boost or cut, then there are ten controls offering the same boost or cut at low frequency. Each channel then has a trim controls offering plus or minus 12dB of gain, followed by pan controls for the mono channels and balance controls for the stereo channels. A row of cue or pre-fade listen buttons latch and illuminate when selected except channels five and six which offer cue/PFL with talkback. Penultimately there are ten 100mm faders, driving VCA circuitry for reliability and good stereo tracking, followed by a row of channel 'ON' buttons, which latch and illuminate when pressed, other than channel five which also 'holds' the telephone line by remote control of an external telephone balance unit (not included). Channel 7 also has a 3.5mm jack socket for playing back from an mp3 player or similar device.

On the upper right two LED bar-graph meters describe an arc; which, for left and right, can be selected to be either PPM or VU ballistics, which is indicated by two LEDs. The meters show the level of a source selected by an illuminated latching switch offering a choice of the main programme output or the selection heard in the presenter's headphones and on the loudspeaker outputs. This is selected with a five-way, electronically-interlocking switch-bank with a choice of the programme output, the two auxiliary outputs or the two external inputs, which can be used for a receiver to check the broadcast 'off air' or the output of another studio. Three 'Auto CUE/PFL' switches, next to rotary volume controls for the presenter's headphones, the loudspeaker output and the guest headphones allows the normal monitoring source to be overridden when a channel 'CUE/PFL' is activated. As a result, each of the three outputs can monitor the signals on the pre-fade monitoring subsystem. In the case of the presenter's headphones, the meters will also show the level of the pre-fade source. A 'TALKBACK' button associated with the guest headphones allows the presenter to talk to a guest using input channel one as the talkback source; return talkback from another location is fed into the presenter's headphones. A 'SPLIT CUE/PFL' button adjacent to the presenter's headphone controls places the selected source in mono in one ear and the 'CUE/PFL' signal in mono in the other. An LED indicates when the loudspeakers are muted by a live microphone, another LED shows when the digital output is locked to either an internal or external clock.

Two rotary faders adjust the level of the two auxiliary outputs. Two associated switches are used to select, globally , whether the relevant auxiliary-send source is either pre or post the main channel faders.

The majority of connections are made on the rear panel. Channels one, two and five, which are mono, each have a pair of XLR connectors for the balanced microphone and line inputs. Adjacent to each pair there are push switches to increase the gain of the line input by 10dB, and to apply 48 volt phantom power to the microphone. Channels 3 and 4, which are stereo, each have an XLR for a mono microphone signal and a combination XLR and jack connector; the XLR is for a balanced, mono input, the jack provides an unbalanced connection for a stereo device. Channels six to ten each have stereo inputs, the first, in all cases, consisting of a pair of XLR connectors at line level with a push-switch to increase the gain by 10dB. The second input for channel six is a pair of balanced XLR connectors for the stereo clean-feed input, again with a +10dB push-button. Channels seven and eight each have a pair of RCA(phono) sockets for unbalanced connections. Channels nine and ten have both RCA(phono) and optical connectors for digital S/PDIF sources. External inputs use a 9-pin D-sub connector, with push switches to increase the gain of external inputs one and two by 10dB.

The analogue outputs are two pairs of balanced XLR connectors for the main stereo output and the stereo clean feed, useful for an ISDN CODEC. The digital output is presented on both an XLR for AES/EBU and an RCA(phono) type for S/PDIF. XLR, RCA(phono) and BNC connectors provide sync inputs for AES/BU, S/PDIF and word clock respectively. The 'telco' clean feed output is a male XLR. Stereo auxiliary outputs use a 9-pin D-sub connector. Analogue outputs for the presenter's and guest's headphones are two 6.35mm stereo jack. The output to a power amplifier for loudspeaker monitoring uses a similar type. RS232 control and the talkback interface each have a a 9-pin D-sub connector, the meter bridge interface uses a 15-pin variant, and two 25-pin types provide remote control and general purpose interfacing connections. The power socket is an IEC inlet.

As is the case with all Sonifex designs, the S1 offers appropriate performance for it's intended application, in some parameters often well in advance of those needs. For in-depth performance figures, as well as a more detailed description, please visit www.sonifex.co.uk or contact Technical Support.

Power source: 85-264V AC, 47-63Hz, 45W nominal, 50W peak. Dimensions: 445 x 400 x 156 (w x d x h)mm. Cut-out dimensions: 440 x 381(d x w) mm.

Included accessories: Manual, AC power cable.
Optional accessories: The S1-RCK brackets mount the S1 in 9 units of a standard 19-inch rack. The S1-CLR wooden collar allows the S1 to be flush-mounted at an angle, using a surrounding collar.

S2 Broadcast Mixer - Modular

Following on from the Sovereign range of audio mixers, the S2 modular mixer combines all the features needed of a radio broadcast mixer in a stylish, flush-mounting chassis. A wide range of input and output channels is offered, supporting essential features such as PFL/Cue, fader-start operation of equipment, automatic monitor muting on mic-live, remote outputs for switching warning lights and two main audio buses, with bus output selection on each module allowing the user to broadcast on the PGM bus while recording on the AUD bus. The S2 has both digital and analogue input channels, together with simultaneous analogue and digital outputs. Options include EQ and gram pre-amplifiers on input modules.

S2 uses Crystal Semiconductor’s technology to allow input and output of digital audio signals up to 24-bit, 96kHz sample-rate. The analogue signal paths use low-noise circuitry to provide excellent audio performance well capable of satisfying radio listeners worldwide. The high reliability and build quality of S2 minimizes the chance of failure, avoiding lost air-time. Each channel is individually checked twice before being assembled into the finished chassis and the whole unit is tested before shipping. ALPS long- throw 100mm faders give a smooth, repeatable response and the Neutrik XLR connectors used are an industry standard (Penny & Giles conductive plastic faders are also available to special order - contact Sales for details). The use of VCAs controlled by the faders ensures tight stereo-tracking and eliminates mechanical and electronic noise. A separate 2U power supply provides regulated, ripple-free power to the mixer and a separate S2-PSUS 1U rackmount power supply switcher can be used to switch between two S2-PSU units in the event of a failure. High-quality stainless steel is used for the chassis and screws to prevent corrosion in high humidity environments.

  • Modular "pop-up" input and output channels means that the mixer can be maintained simply and quickly. Input channels can be individually removed and repaired whilst still on-air.
  • The angle of the meter bridge can be varied and set for best viewing position.
  • Any channel can be in any position, so customising the mixer to suit particular requirements is easy.
  • Large back-lit buttons allow the user to see the status of the mixer at all times.
  • The fitted rear panel hides all cable connections but can be removed easily for maintenance.
  • The modular design of the desk gives the flexibility to expand it at a later date. Another S2 mixer can be added and may be linked together with a bus connector cable to allow for "split" desk configurations.

Mixers are built, configured and tested at the factory using the modules ordered.

Mixer Chassis

S2-05, S2-10, S2-15, S2-20, S2-25, S2-30

S2 has a fully modular build, with six different chassis sizes available, in increments of five channel-widths, allowing 5, 10, 15, 20, 25 and 30 channel-width mixers for use in small newsrooms or large on-air studios. The mixers have been designed to sit in an aperture cut into a work surface. The footprint of the complete frame is approximately 600mm deep. The width is set by the channel width, where each channel width is 38mm. (Make allowance for the end cheeks; drawings of the "cut-outs" for flush mounting are available from Technical Support).

Script Space and Channel Blanking Modules

S2-7SS, S2-10SS

The optional S2-7SS and S2-10SS script spaces occupy an area of seven and ten channel widths respectively, and are designed to hold documents or scripts for the mixer operator when desk space is at a premium.

S2-CB

The blank channels, S2-CB, are used to fill spaces in the chassis not occupied by active channels.

Input Channels

There are eleven input channels which can be fitted in any free position in the lower part of the mixer chassis. The input and output channels can be optionally fitted with high quality Penny & Giles conductive plastic faders (available to special order - contact Sales for details). Each of the input channels can be programmed to enable/disable any of the button functions, if required, as well as to enable different modes of operation of fader-up/ON button.

S2-CML Mic/Line Input Channel

A mono input with a switch button to select either Mic or Mono Line. If the Mic input is used for the presenter's mic it can also become the talkback mic. The talkback function will be retained when the channel input is switched to Line. Equalisation is fitted as standard on this channel and is enabled by the EQ button, providing 10dB cut and boost at HF (6.5kHz) and LF (100Hz). The Mic input has a jumper- selectable high-pass filter to remove low frequency intrusions. A Pan control is available to facilitate stereo imaging. A balanced, line level, insert send and return is available for the Mic input but is disabled in Line mode. Channel coarse gain is set by internal presets for mic and line; fine gain is trimmed by the front- panel Trim control providing +/-12dB of gain. The channel has a Pre Fade Listen (CUE/PFL) facility that can be automatically disabled when the fader is opened. There are remote-control logic inputs for Mic Cough muting and Reverse Talkback, and output controls for Mic cue lights and Line remote start/stop by fader or ON button. (The remote outputs on the 9-way D-sub connector are fed from NPN opto-isolators). The Mic input provides a jumper-selectable output to facilitate either Control Room or Studio Muting and Timer functions. In addition the Line input can be configured with all the features of the Mic input when used as a Mic input with an external mic amp.

S2-CMM Mic/Mic Input Channel

Has all the features of the Mic/Line Input channel except that the Line input is replaced by a second Mic input.

S2-CS Dual Stereo Line Input Channel
Discontinued

Has two balanced stereo inputs with a button switch to select between them. Each input is on XLR connectors with internal coarse gain adjustment. Fine gain is trimmed by the front-panel Trim control providing +/-12dB of gain. A Balance control is available for small adjustments of the stereo image. The channel has a Pre Fade Listen (CUE/PFL) facility that can be automatically disabled when the fader is opened. There are remote control logic outputs for each of the two inputs, providing start/stop functions by fader or ON button. The start function can be configured to be either momentary (500mS) or latched for each input. The remote control outputs on the 9-way D-sub connectors are fed from NPN opto-isolators.

S2-CSE Dual Stereo Line Input with EQ Channel

This channel is similar to the S2CS as above but fitted with equalisation, providing 10dB cut and boost at HF (6.5kHz) and LF (100Hz).

S2-CSG Stereo Line with Gram Input Channel

Similar to the S2CS, fitted with a RIAA input amplifier for use with magnetic turntable pick-up cartridges on the second input. Input connections for this are unbalanced on phono sockets. This channel is also available with equalisation, type S2-CSGE.

S2-CDS Digital Dual Stereo Input Channel

Has two 24-bit 96kHz digital inputs with a button switch to select between them. Either input can be configured to be balanced AES/EBU on standard XLR, or S/PDIF on phono sockets, selected by internal jumpers. The digital signals are converted to analogue and from this point the channel functions are the same as the Dual Stereo Line Input channel.

S2-CDSE Digital Dual Stereo Input with EQ Channel

As the Digital Dual Stereo Input channel as above but fitted with equalisation, providing 10dB cut and boost at HF (6.5kHz) and LF (100Hz).

S2-C6SS Six-Way Stereo Line Source-Select Channel

Has six balanced stereo inputs on a 25-way D-sub connector, selectable by a six- way mechanical interlocking switch bank. The switch bank also controls six sets of remote-control connections allowing each source to have a set of start/stop remote controls. The channel is fitted with EQ as standard and other functions similar to the dual stereo input channel.

S2-CT Telco Input Channel

Controls the connection to an external telephone balance unit (hybrid) such as the Sonifex HY-03. It has only one mono input with EQ fitted as standard. Equalisation is enabled by the EQ button, providing 10dB cut and boost at HF (6.5kHz) and LF (100Hz). A Pan control is available to facilitate stereo imaging. A balanced line level output is provided for the clean-feed back to the hybrid. Channel coarse gain is set by an internal preset and fine gain is trimmed by the front-panel Trim control providing +/- 12dB of gain. The channel has a Pre Fade Listen (CUE/PFL) facility that automatically routes talkback to the caller when selected. PFL can be automatically disabled when the fader is opened. There is a remote-control logic output to place the hybrid "on hold" by fader or ON button. The remote control output on the 9-way D-sub connector is fed from an NPN opto-isolator. The bus system allows for two true clean-feed systems when routed to the PGM outputs. Off-line phone conversations can be recorded via the AUD bus where a clean-feed is generated by the mix-minus method.

S2-CSMM Stereo Mix-Minus Channel

The Stereo Mix-Minus channel has one balanced stereo input and a balanced stereo mix-minus output, on XLR connectors. The channel is intended for use where a remote stereo source, such as another studio connected via ISDN, requires a stereo clean-feed return. The clean-feed is generated by the mix-minus method from either the PGM or AUD outputs, depending on the routing selection. The outputs on the Mix-Minus channel can also be configured as follows: Left channel - mono sum of mix-minus; Right channel - Continuous talkback. This is for use with some ISDN codec applications and mono telephone balance units. Equalisation is fitted as standard on this channel and is enabled by the EQ button, providing 10dB cut and boost at HF (6.5kHz) and LF (100Hz). Coarse input gain is adjusted internally. Fine gain is trimmed by the front panel Trim control providing +/-12dB of gain. A Balance control is available for small adjustments of the stereo image. The channel has a Pre Fade Listen (CUE/PFL) facility that can be automatically disabled when the fader is opened. There is a remote-control logic output, controlled by fader or ON button, which can be configured to be either momentary (500mS) or latched. The remote outputs on the 9-way D-type connector are fed from NPN opto-isolators.

Output Channels

The input and output channels can be optionally fitted with high quality Penny & Giles conductive plastic faders (available to special order - contact Sales for details).

S2-ODP/S2-ODPF Digital PGM Output Channels

These channels are common to every mixer and provide a digital and analogue output from the PGM mix bus. The digital output is available as a balanced AES/EBU signal via standard XLRs or as S/PDIF on phono sockets. The sample-rate can be set automatically or by internal jumpers from 32 kHz to 96 kHz and the output sample size from 16 to 24 bits. The balanced analogue PGM output and mono output is available on a 15-way D-sub connector. Button switches at the top of the channel select the mono output source. The S2-ODPF version has output faders for production work.

S2-ODA/S2-ODAF Digital AUD Output Channel

Similar to the PGM output channels, but provide a digital and analogue output from the AUD mix bus. The balanced analogue AUD outputs are available on a 15-way D-sub connector. Button switches at the top of the channel select the monitoring source to the meter bridge. The S2-ODAF version has output faders for production work.

Monitoring

S2-OMC Control Room Monitor Channel

For the monitoring of various sources on the control room loudspeakers and (presenter's) headphones. A suitable power amplifier connected to the channel monitor output must be used to drive the loudspeakers. A front-panel control is used to vary the monitor level. Headphones can be driven directly from the channel headphone connector on the front or rear panel via the level control. A four- way electronically-interlocking switch bank selects the source routed to the speakers and headphones from either of two external inputs, the PGM, or AUD output. "Auto PFL" buttons adjacent to each level control allow the monitoring of PFL when an input channel has been selected to CUE/PFL. Internal jumpers can be configured to allow PFL to replace or dim the selected source. In addition, Split PFL can be selected to the headphones, which will place the selected source in mono in one ear and PFL in mono in the other. A Global Talkback system can be configured to allow every contribution point in the control room and studio to communicate with each other via their microphone and headphones. An illuminated Mute LED shows when a live microphone channel in the control room has muted the speakers.

S2-OMS Studio Monitor Channel

Used for the monitoring of various sources on the studio loudspeakers and headphones. The front-panel level-control, bank of four source-select switches, Studio mute LED and use of the "Auto PFL" buttons are similar to the control room monitor channel. Headphones can be driven directly from the channel headphone connector on the rear panel via the level control. A Global Talkback system can be configured to allow every contribution point in the control room and studio to communicate with each other via their microphone and headphones. A separate Studio T/B button is provided to allow the presenter/engineer to talk to the studio at other times.

Meter-bridge Panels

There are three styles of dual meter-panels, for displaying signal levels, for mounting in the meter-bridge and up to three meter panels may be fitted to a single mixer. As standard the first meter panel ordered is configured to show the PGM output. The other options are to show the PFL output, or to follow the output of the control room monitor panel. Illuminated LEDs on each meter panel indicate the monitoring source. Meter-bridge blanking-plates from one to five channel widths wide are available. All meter-bridge panels may be placed in any position in the meter-bridge or bridges.

S2-MPPM Dual “PPM” Panel

With two fast-reading moving-coil meters with PPM-style scale.

S2-ML53 PPM and VU LED Panel

53 LED stereo bar graph meter showing PPM and VU scale readings.

S2-MVU, Dual VU Panel

With two moving-coil VU meters

S2-MPH Phase Meter Panel

This operates on the selected source to the connected meters. 5 LED show the phase angle in 45 degree steps from 0 to 180.

S2-ML Loudspeaker Panel

Can be used to monitor PFL and Reverse Talkback via separate level controls. The speaker will mute in a "mic live" situation. Only one may be fitted to a single mixer.

S2-MT Dual Timer Display

For timing events triggered from mic or line input modules. The timer can also display the real time and date synchronised to a standard time broadcast. One timer may be fitted to a single mixer.

S2-MTB6/S2-MTBS Talkback Panels

The S2-MTB6 can be used for communicating with up to six other mixers or dedicated talkback systems, and the S2-MTBS is used for interfacing with a Sonifex Station Master. One talkback panel may be fitted to any single mixer.

S2-M6SS 6 Way Source Select Panel

The meter-bridge source selector panel produces a stereo analogue audio output from 6 selectable stereo analogue sources, which can be connected to a stereo input channel within the mixer, or the EXT 1 and EXT 2 monitor inputs, to provide up to 12 external monitor inputs. There are 6 illuminated push buttons, which select and indicate the current channel selection. The 6 stereo sources are connected on the rear of the panel via a connector, which uses exactly the same pin configuration as the stereo audio source input connector on the S2-C6SS channel.

S2-MSB3 3 Button Switch Panel

This can be used for bespoke control of the mixer modules or for wiring in your own application.

S2-MSB1 1 Button Switch Panel

This is a meter-bridge panel, 1 channel wide, with 1 button which can be used for bespoke control of the S2 or for wiring in your own application., e.g. equipment control.

Ordering

  • Order the first frame. Order up to one additional frame each with an S2-Bl interlink cable (2.4 metres length).
  • Order one power supply, which will power a mixer, split or otherwise, with a full compliment of meter-bridge panels, and up to 30 input/output channels.
  • Order a control room monitor channel, a PGM output channel, an AUD output channel. These are required for all mixers.
  • Order up to one Studio monitor channel.
  • Order any combination of input modules so that the maximum number of input, output and monitoring channels does not exceed 30.
  • Order meter-bridge panels to fill the meter bridge(s), with the proviso that the maximum numbers of meter-bridge panels of each type, as described above, is not exceeded.
  • Order channel blanks or script space to fill the remaining empty channel positions.
  • Configuration: When the order has been processed, Sales will issue configuration sheets which are used to indicate the required layout of the modules chosen.