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:
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.

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:
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:
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:
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 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:
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.