Studio Signal Infrastructure - MediaVerse Construction Guide

1. Signal Flow Overview

All audio and video signals between rooms route through wall-mounted stageboxes and the buffer spine corridor. No direct cable runs bypass the acoustic partitions -- every penetration passes through sealed 32mm steel conduit.

Audio (Mic/Line)

Video (SDI/HDMI)

Data (Cat6A/Dante)

Talkback

Design Principle

All signal paths between acoustically isolated rooms pass through sealed steel conduit with fire-rated putty at both ends. No cable ever penetrates an acoustic partition without proper conduit and sealing. The buffer spine acts as the primary routing corridor for east-west signal paths (Control Room to Video Studio via SB-02).

2. Stagebox Details -- SB-01 & SB-02

Both stageboxes follow an identical 4+4 per-side panel layout: 4 XLR connectors on the top row for mic/line inputs, and 4 TRS connectors on the bottom row for line returns (cue mix, talkback, spare). SB-02 adds BNC and Cat6A for video and Dante.

Panel Face Layout (Each Side)

Audio Signal Chain Through Stagebox

SB-01: Control Room ↔ VO Live

Control Room Side

Wall: North (partition wall at y=237)

Position: x:120, y:237 Height: 90 cm

Row	Qty	Type	Part Number
Top	4x	XLR Female	Neutrik NC3FD-L-1
Bottom	4x	TRS 6.35mm Male	Neutrik NP3X

VO Live Side

Wall: South (partition wall at y=237)

Position: x:120, y:237 Height: 90 cm

Row	Qty	Type	Part Number
Top	4x	XLR Male	Neutrik NC3MD-L-1
Bottom	4x	TRS 6.35mm Female	Neutrik NJ3FP6C

Conduit Spec

32mm steel conduit through partition wall. Acoustic sealed both ends with fire-rated putty.
Cable types: Mogami W2534 quad-core (XLR runs), Mogami W2549 (TRS runs)
Additional: 1x Cat6A (Neutrik NE8FDX-P6) per side for future Dante expansion
Total connectors: 18 (4 XLR + 4 TRS per side = 16, plus 2 Cat6A)

SB-01 Connector Inventory

Individual connector detail for SB-01. Each side is mirror-imaged with gender-swapped connectors.

VO Live Side (Talent Room)

XLR
M

Ch 1 -- XLR Male (Mic/Line IN)

Neutrik NC3MD-L-1 • D-series panel-mount • Gold-plated contacts
Signal direction: VO Live → Control Room • Talent plugs mic cable (XLR-F end) into this jack

Top Row, Pos 1

XLR
M

Ch 2 -- XLR Male (Mic/Line IN)

Neutrik NC3MD-L-1 • Second mic input for guest or ambient
Signal direction: VO Live → Control Room

Top Row, Pos 2

XLR
M

Ch 3 -- XLR Male (Mic/Line IN)

Neutrik NC3MD-L-1 • Third input for multi-talent sessions
Signal direction: VO Live → Control Room

Top Row, Pos 3

XLR
M

Ch 4 -- XLR Male (Spare / Line)

Neutrik NC3MD-L-1 • Spare channel for room mic or additional source
Signal direction: VO Live → Control Room

Top Row, Pos 4

TRS
F

Ch 1 -- TRS Female (Cue Left)

Neutrik NJ3FP6C • 6.35mm TRS • Receives stereo cue mix left channel
Signal direction: Control Room → VO Live • Feeds HA-400 headphone amp

Bottom Row, Pos 1

TRS
F

Ch 2 -- TRS Female (Cue Right)

Neutrik NJ3FP6C • 6.35mm TRS • Receives stereo cue mix right channel
Signal direction: Control Room → VO Live

Bottom Row, Pos 2

TB
F

Ch 3 -- TRS Female (Talkback)

Neutrik NJ3FP6C • 6.35mm TRS • Engineer talkback to talent headphones
Signal direction: Control Room → VO Live • Press-to-talk via TFS-1 footswitch

Bottom Row, Pos 3

SPR
F

Ch 4 -- TRS Female (Spare / Click)

Neutrik NJ3FP6C • 6.35mm TRS • Click track, timecode, or future expansion
Signal direction: Control Room → VO Live

Bottom Row, Pos 4

Control Room Side

Mirror of VO Live panel with gender-swapped connectors: XLR Female (NC3FD-L-1) on top row receives cables from conduit, TRS Male (NP3X) on bottom row sends cue/talkback into conduit. Plus 1x Cat6A (NE8FDX-P6) for future Dante expansion.

SB-02 Additional Connectors

SB-02 includes all the same audio connectors as SB-01, plus video and data connectors on each side:

BNC

BNC Female -- SDI Video

Neutrik NBNC75BFG7 • 75Ω BNC panel-mount • HD-SDI capable
Cable: Belden 1694A through 32mm conduit in buffer spine • Video Studio camera → CR SDI monitor

Extra Row, Each Side

Cat6A

Cat6A Keystone -- Dante / Network

Neutrik NE8FDX-P6 • Shielded Cat6A etherCON • Dante PTP ready
Currently provisioned for future networked audio. No additional conduit needed.

Extra Row, Each Side

TRS Return Channel Assignment (Both Stageboxes)

Channel	Assignment	Signal	Notes
Ch 1	Cue Left	Line level, stereo left	Stereo cue mix from DAW, left channel
Ch 2	Cue Right	Line level, stereo right	Stereo cue mix from DAW, right channel
Ch 3	Talkback	Line level, mono	Engineer talkback mic to talent headphones
Ch 4	Spare / Click	Line level, mono	Click track, timecode, or additional cue send

SB-02: Control Room ↔ Video Studio

Control Room Side

Wall: East (buffer spine at x=206)

Position: x:206, y:180 Height: 90 cm

Row	Qty	Type	Part Number
Top	4x	XLR Female	Neutrik NC3FD-L-1
Bottom	4x	TRS 6.35mm Male	Neutrik NP3X
Extra	1x	BNC Female (SDI)	Neutrik NBNC75BFG7
Extra	1x	Cat6A (Dante)	Neutrik NE8FDX-P6

Video Studio Side

Wall: West (buffer spine at x=221)

Position: x:221, y:310 Height: 90 cm

Row	Qty	Type	Part Number
Top	4x	XLR Male	Neutrik NC3MD-L-1
Bottom	4x	TRS 6.35mm Female	Neutrik NJ3FP6C
Extra	1x	BNC Female (SDI)	Neutrik NBNC75BFG7
Extra	1x	Cat6A (Dante)	Neutrik NE8FDX-P6

Conduit Routing

SB-02 has a 130 cm Y-offset between CR side (y=180) and Studio side (y=310). Conduit routes vertically through the buffer spine interior with a 90° bend -- NOT a straight-through path. Extra cable length required. All cables must be dressed with service loops at both panels.
Cable types: Mogami W2534 (XLR), Mogami W2549 (TRS), Belden 1694A (SDI/BNC)
Total connectors: 20 (4 XLR + 4 TRS + 1 BNC + 1 Cat6A per side)

3. Talkback System

The talkback system allows the engineer in the Control Room to communicate with talent in the VO Live room and Video Studio without leaving the mixing position.

Control Room Equipment

Beyerdynamic TG D58c -- Gooseneck talkback mic, cardioid condenser
K&M 23250 -- Weighted desk stand with gooseneck adapter (always within engineer reach)
TFS-1 Momentary Footswitch -- Press-to-talk operation. Released = mic muted. Prevents accidental open talkback.

Signal Routing

Critical

VO Live must NEVER have an open talkback speaker. Any open speaker in the VO Live room will cause bleed into the recording microphone, contaminating takes. Talkback is fed exclusively through talent headphones. The talent mic serves as the natural return path to the Control Room.

Talkback Accessories

Item	Model	Qty	Location	Notes
Talkback Microphone	Beyerdynamic TG D58c	1	Control Room desk	Gooseneck condenser, always within engineer reach
Desk Stand	K&M 23250	1	Control Room desk	Weighted base, gooseneck compatible. TG D58c mounts directly into this base.
Footswitch	TFS-1 Momentary	1	Under desk, engineer position	Press-to-talk operation. Released = mic muted. Prevents accidental open talkback.

Recording Tally Lights

Red LED "RECORDING" signs activate when the DAW transport is in record mode, warning talent and visitors not to enter or create noise. Linked to DAW transport via MIDI macro or dedicated relay circuit.

ID	Location	Type	Switch	Power
TALLY-01	Above door D2 (Control Room, buffer side)	LED "RECORDING" sign, red, 12V DC, 5W	Momentary toggle inside Control Room (wired to tally + linked to DAW transport)	12V DC PSU from AV-01 circuit
TALLY-02	Above door D4 (Video Studio, buffer side)	LED "RECORDING" sign, red, 12V DC, 5W	Momentary toggle inside Video Studio	12V DC PSU from AV-03 circuit

Important

Tally lights must be visible from the corridor approach to both recording rooms. Mount at 200 cm from finished floor level, centered above door frame. Use diffused red LED for visibility without glare. Wire to dedicated low-voltage circuit — do NOT share power with audio equipment.

Wiring: 2-core 18 AWG stranded (0.75 mm²) low-voltage cable, run through existing cable conduit in buffer spine. Terminate at sign with screw terminals; at switch with spade lugs on momentary toggle (SPST, rated 12V DC / 3A). 12V DC PSU (regulated, 1A minimum) mounts inside equipment rack or behind wall plate near AV circuit outlet.

Primary activation: Manual momentary toggle switch inside each room (simple, no software dependency).

Future Option

The manual toggle can be supplemented with a MIDI Solutions Relay (~$80) wired in parallel, allowing the DAW (Cubase) to auto-trigger the tally via MIDI CC when Record is engaged. No rewiring required — the relay simply adds a second trigger path alongside the manual switch. Install when/if the manual workflow becomes inconvenient.

Room-by-Room Talkback Behavior

Room	Talkback Output	Return to CR	Notes
VO Live	Headphones only (via cue mix)	Talent mic (standard workflow)	NO open speaker permitted
Video Studio	Headphones + small monitor (mute relay)	Studio mics	Monitor mutes automatically during record

4. Headphone Distribution

Control Room

1x Beyerdynamic DT 900 Pro X
Open-back reference, 48Ω. For critical mix referencing. Fed from audio interface headphone output or monitor controller.
1x Beyerdynamic DT 770 Pro
Closed-back, 80Ω. For monitoring while recording, isolating from room sound.

VO Live

3x Beyerdynamic DT 770 Pro (80Ω)
Closed-back isolation. One for primary talent, two for guests.
1x Behringer HA-400
4-channel headphone amp. Fed from SB-01 cue return (TRS Ch 1 + Ch 2).
3x K&M 16085
Wall-mounted headphone hooks near talent positions.

Video Studio

3x Beyerdynamic DT 770 Pro (80Ω)
Closed-back isolation. For on-camera talent and podcast guests.
1x Behringer HA-400
4-channel headphone amp. Fed from SB-02 cue return (TRS Ch 1 + Ch 2).
3x K&M 16085
Wall-mounted or podcast table headphone hooks.

Headphone Inventory Summary

Item	Qty
DT 900 Pro X (open, 48Ω)	1
DT 770 Pro (closed, 80Ω)	7
Behringer HA-400 amps	2
K&M 16085 hooks	6

Microphone Accessories by Room

Mic accessories are deployed alongside headphone distribution equipment. These are referenced from the studio infrastructure SSOT data.

VO Live Mic Accessories

Item	Model	Qty
Boom Arm	Rode PSA1+ (desk-clamp)	1
Pop Filter	Stedman Proscreen XL (metal mesh)	1
Shock Mount	Matched to primary mic (included)	1
Music Stand	Manhasset M48 Symphony (black)	1
Reflection Filter	sE Electronics Reflexion Filter Pro	1

Reflexion Filter is portable -- for close-mic isolation boost when recording in less-treated positions.

Video Studio Mic Accessories

Item	Model	Qty
Boom Arms	Rode PSA1+ (desk-clamp)	3
Pop Filters	Stedman Proscreen XL	3
Shock Mounts	Matched to podcast mics	3

Three boom arm positions on podcast table, each with pop filter and shock mount.

Monitor Connections

Nearfield monitors in the Control Room are powered (active) speakers with built-in amplifiers. They connect via balanced XLR cables (Mogami W2534) from the monitor controller — the same cable type already specified in the Audio Cable Specifications section above. No separate speaker wire or power amplifier is needed. Signal chain: Audio Interface Line Out → Monitor Controller → XLR → Powered Monitor. VO Live dubbing monitors are HDMI displays (video only, audio muted) — connected via HDMI-over-Cat6A extenders.

Control Room Ergonomic Accessories

These accessories support the monitoring and headphone workflow at the engineer position.

Item	Model	Qty	Notes
Monitor Isolation Pads	IsoAcoustics ISO-155 (pair)	1	Decouple nearfield monitors from desk surface
Monitor Arm	Ergotron LX (single)	1	DAW primary display -- adjustable height for sight line over monitors
Keyboard Tray	Under-desk sliding, 650mm wide	1	Integrated into custom desk build
Engineer Chair	Herman Miller Aeron (mesh-back)	1	Acoustically transparent mesh prevents reflection buildup behind engineer
Talent Stool (VO Live)	K&M 14047 Studio Stool	1	Adjustable height, no squeaks -- critical for quiet recording

5. Cue Mix System

The cue mix system provides separate monitor mixes to talent rooms so performers hear their own performance plus backing tracks without hearing the engineer's control room monitors.

Parameter	Specification
Method	Software cue sends from DAW (Pro Tools / Logic / Reaper cue bus)
Output Count	2 independent stereo cue mixes from audio interface
Cue 1 Destination	VO Live (via SB-01 TRS Ch 1 + Ch 2)
Cue 2 Destination	Video Studio (via SB-02 TRS Ch 1 + Ch 2)
Signal Path	Interface line outputs → stagebox TRS → room headphone amp
Level Control	DAW cue bus fader (engineer) + HA-400 volume knob (talent side)

Note

Each cue mix is fully independent. The engineer can send different levels and content to each room. Talent has local volume control via the HA-400 headphone amp but cannot change the mix balance.

6. Video Monitoring

VO Live Camera Feed

Camera: Small PTZ or fixed USB webcam (low-cost, no SDI needed)
Transport: USB via Cat6A extender through existing data run
Display: DAW secondary monitor in Control Room
Purpose: Engineer visual of talent for punch-in cues and communication

Video Studio Camera Feed

Camera: Main production camera SDI output
Transport: BNC SDI through SB-02 to Control Room
Display: 7" field monitor or DAW secondary display in CR
Cable: Belden 1694A through 32mm conduit in buffer spine
Purpose: Director/engineer monitors framing and talent performance

7. Dubbing / ADR Video Feed (L.7b)

The dubbing system sends video from the Control Room DAW to talent rooms so actors can watch picture while recording dialogue replacement. HDMI-over-Cat6 extenders avoid long HDMI cable limitations (max 15m passive).

VF-01: Control Room → VO Live

Parameter	Specification
Source	DAW secondary HDMI output (Control Room)
Extender	OREI EX-330 HDMI-over-Cat6 (1080p/60Hz, up to 50m)
TX Location	Control Room, near DAW workstation
RX Location	VO Live, near actor monitor positions
Cable Route	Cat6A through SB-01 conduit (shares existing 32mm conduit)
Splitter	1x2 HDMI splitter (powered, HDCP compliant) at receiver output
Monitors	2x 24" IPS monitors (1080p, VESA wall-mount in VO Live)
Monitor Height	150 cm from finished floor
Audio	Monitors MUTED -- audio via headphones only

VF-02: Control Room → Video Studio

Parameter	Specification
Source	DAW secondary HDMI output or dedicated playback machine
Extender	OREI EX-330 HDMI-over-Cat6 (same model as VF-01)
Cable Route	Cat6A through SB-02 conduit
Splitter	1x2 HDMI splitter for talent + director/camera monitor
Monitors	Uses existing production monitors (no additional displays needed)

Dubbing Accessories in VO Live

Portable Acoustic Gobo -- 1800mm H x 900mm W x 50mm D, rigid frame with 50mm rockwool core, fabric-wrapped both sides, NRC 0.80. Placed between 2 actor positions during multi-actor dubbing to prevent voice bleed. Removable -- zero impact when stored flat against wall.
2x Manhasset M48 Symphony -- Black note/music stands, low-reflection finish. One per actor position during dubbing sessions.
2x K&M 21090 Boom Mic Stands -- Floor boom, low-profile base. For dual-actor dubbing when actors are standing.

VO Live Dubbing Configuration

Equipment Totals

2x HDMI-over-Cat6 extender kits | 2x HDMI splitters | 2x additional 24" monitors (VO Live only) | Cat6A runs share existing stagebox conduits (no new penetrations needed).

8. Patchbay

Parameter	Specification
Model	Neutrik NYS-SPP-L1 (48-point TRS patchbay)
Location	Control Room -- rack-mounted or desk shelf
Wiring Mode	Half-normal (signal flows through unless patch cable inserted)
Points	48 points = 24 pairs (top/bottom)
Connections	All stagebox returns, interface I/O, and outboard normalled through patchbay

Half-Normal Wiring Diagram

Design Principle

The patchbay allows re-routing any signal path without re-cabling behind the desk. All interface inputs/outputs and stagebox connections are normalled to their default routing. Patch cables are only needed for non-standard signal routing (e.g., inserting outboard processing).

Normalling Assignments (24 Pairs)

Default signal routing when no patch cable is inserted. Top row = source output, Bottom row = destination input. Pairs 1-8 handle stagebox audio, 9-14 handle cue/talkback returns, 15-20 handle interface I/O, and 21-24 are spare.

Pair	Top (Source Out)	Bottom (Dest In)	Signal
1	SB-01 XLR Ch 1 (CR side)	Interface Mic/Line In 1	VO Live primary mic
2	SB-01 XLR Ch 2 (CR side)	Interface Mic/Line In 2	VO Live guest mic
3	SB-01 XLR Ch 3 (CR side)	Interface Mic/Line In 3	VO Live ambient / spare
4	SB-01 XLR Ch 4 (CR side)	Interface Mic/Line In 4	VO Live spare
5	SB-02 XLR Ch 1 (CR side)	Interface Mic/Line In 5	Video Studio mic 1
6	SB-02 XLR Ch 2 (CR side)	Interface Mic/Line In 6	Video Studio mic 2
7	SB-02 XLR Ch 3 (CR side)	Interface Mic/Line In 7	Video Studio mic 3
8	SB-02 XLR Ch 4 (CR side)	Interface Mic/Line In 8	Video Studio spare
9	Interface Line Out 3	SB-01 TRS Ch 1 (Cue L)	Cue 1 Left → VO Live
10	Interface Line Out 4	SB-01 TRS Ch 2 (Cue R)	Cue 1 Right → VO Live
11	Interface Line Out (TB)	SB-01 TRS Ch 3 (Talkback)	Talkback → VO Live
12	Interface Line Out 5	SB-02 TRS Ch 1 (Cue L)	Cue 2 Left → Video Studio
13	Interface Line Out 6	SB-02 TRS Ch 2 (Cue R)	Cue 2 Right → Video Studio
14	Interface Line Out (TB2)	SB-02 TRS Ch 3 (Talkback)	Talkback → Video Studio
15	Interface Line Out 1	Monitor Controller L	Main monitor left
16	Interface Line Out 2	Monitor Controller R	Main monitor right
17	Interface HP Out L	Engineer HP Amp L	Engineer headphone left
18	Interface HP Out R	Engineer HP Amp R	Engineer headphone right
19	Interface SPDIF Out	(open)	Digital output -- expansion
20	Interface ADAT Out	(open)	Digital output -- expansion
21	Spare	Spare	Unassigned -- future outboard insert send
22	Spare	Spare	Unassigned -- future outboard insert return
23	Spare	Spare	Unassigned -- future expansion
24	Spare	Spare	Unassigned -- future expansion

Labeling

Every patchbay pair must be labeled on the front panel with both pair number and circuit description. Use the same Brady BMP21-PLUS label printer specified in the Cable Management section. Labels must be legible under dim Control Room lighting.

9. Cable Management

Labeling Standard

Parameter	Specification
Label Printer	Brady BMP21-PLUS
Label Type	TLS 2200 compatible self-laminating labels
Label Rule	All cables labeled at BOTH ends with circuit ID and destination
Format	`SB-01.XLR.CH1 → IF.IN1` (stagebox, connector, channel → interface input)

Cable Routing Rules

Rule	Requirement
Tie Method	Velcro cable ties ONLY — never zip ties (crush damage, rattle risk). Service loops in figure-8 pattern (not coiled — coiling creates inductance)
Under-desk	Cable mesh trays (baskets) at each desk position
Power/Audio Separation	600mm minimum on parallel runs (studio standard — 4× TIA-569 commercial minimum). Studios operate at -60 to -40 dBu mic levels — 1000× more sensitive than office data
Power/Data Separation	300mm minimum on parallel runs (Cat6A S/FTP with EMT conduit)
Crossings	90° perpendicular crossings only, 75mm clearance even at crossings. No parallel runs within separation distance
Conduit Sharing	Audio (XLR/TRS) in dedicated conduit — NEVER with digital (ethernet, DMX) or AC power. DMX can share with ethernet. Dimmed lighting in separate conduit from non-dimmed
Shield Grounding	XLR pin 1 to chassis ground (not audio ground, per AES48). For in-wall runs: ground shield at one end only (equipment/patch bay end) to prevent ground loops
Starquad Requirement	Mandatory for any audio run within 600mm of power cables or near dimmers. Starquad (Mogami W2534 / Canare L-4E6S) provides 20–30 dB better noise rejection than standard 2-conductor
DMX Cable	Use proper 120Ω DMX cable (Belden 9841) for permanent installation — NOT Cat5 (100Ω impedance mismatch causes reflections on longer runs)
HDMI Long Runs	Use HDMI-over-Cat6A extenders for runs >5m (passive HDMI 2.0 max ~7.5m). Cat6A infrastructure serves dual purpose for network and AV
Service Loops	10 ft (3m) at racks, 30cm min at wall plates, 1–1.5m at stageboxes. Figure-8 pattern, never coiled
Labeling (TIA-606)	Machine-printed labels at both ends, within 300mm of termination. Format: `SB-01.XLR.CH1 → IF.IN1`
Plenum Rating	All above-ceiling cables must be CMP (plenum-rated) if ceiling space is HVAC air return

Spare Cable Inventory (22 total)

XLR (Mogami W2534)

3m length

XLR (Mogami W2534)

7m length

TRS 6.35mm

3m length

Cat6A Patch

2m length

USB-C (3.1 Gen 1)

2m length

USB-A to USB-B

2m length

HDMI 2.0 Patch

1m length

BNC (SDI)

3m length

USB & HDMI Short Runs

USB connections within the Control Room (audio interface, MIDI controller, webcam) are short local runs (<2m) and do not require conduit. Use USB-C 3.1 Gen 1 (5 Gbps) for the audio interface, USB-A to USB-B for MIDI controllers. For USB runs exceeding 5m (e.g., webcam in Video Studio), use USB-over-Cat6A extenders through existing data conduit.

HDMI patch cables (1m, HDMI 2.0 High Speed, 18 Gbps) connect DAW output to the HDMI-over-Cat6A transmitter unit within the Control Room rack. These are local connections — long-distance runs use the Cat6A extender system documented in the Video Monitoring section.

Maintenance

All spare cables must be stored in a labeled drawer or bag in the Control Room. Re-stock immediately when a spare is placed into service. Quarterly cable inspection: check all connections for oxidation, intermittent contact, and label legibility.

Cable Specifications Reference

All inter-room cables are permanently installed through sealed conduits. This table documents the exact cable types, their technical specifications, and application within the facility.

Cable	Application	Conductor	Shield	OD	Impedance	Used In
Mogami W2534	XLR mic/line runs	4-conductor quad-core, 26 AWG OFC	Braided copper + conductive PVC	6.0 mm	N/A (balanced analog)	SB-01, SB-02 (all XLR channels)
Mogami W2549	TRS line returns	2-conductor, 24 AWG OFC	Braided copper	6.0 mm	N/A (balanced analog)	SB-01, SB-02 (all TRS channels)
Belden 1694A	SDI video	Single conductor, 18 AWG bare copper	Duofoil + tinned copper braid	6.9 mm	75Ω	SB-02 (BNC/SDI)
Cat6A S/FTP	Dante / HDMI extender	4-pair, 23 AWG solid copper	Individual pair foil + overall braid	7.5 mm	100Ω differential	SB-01, SB-02 (Cat6A jacks)

Termination Standard

All XLR and TRS connections are soldered -- no IDC (insulation displacement) termination permitted for permanent installed cables. IDC is acceptable only for Cat6A keystone jacks where the standard requires it. Solder joints must be clean, no cold joints, heat-shrink over exposed connections.

Conduit Summary

Conduit	Route	Diameter	Cables Inside	Fill Ratio	Seal
C-SB01	SB-01 through partition (CR ↔ VO Live)	32 mm steel	4x Mogami W2534 + 4x Mogami W2549 + 1x Cat6A	~60%	Fire-rated putty both ends
C-SB02	SB-02 through buffer spine (CR ↔ Video Studio)	32 mm steel	4x Mogami W2534 + 4x Mogami W2549 + 1x Belden 1694A + 1x Cat6A	~70%	Fire-rated putty both ends

Fill Ratio Warning

Conduit C-SB02 is at ~70% fill. NEC/IEC standards recommend maximum 40% fill for easy cable pulling. However, these are short runs (<3m) with no sharp bends beyond the single 90-degree turn in the buffer spine. If additional cables are needed in the future, consider adding a second parallel conduit rather than exceeding fill.

10. Digital Sync

Parameter	Specification
Clock Master	Audio interface internal clock (USB-connected to DAW)
Distribution	All digital devices sync to interface clock via USB or Dante network PTP
External Clock	NOT required for current setup (single interface topology, no external converters)
Sample Rate	48 kHz default (96 kHz available for high-resolution recording)
Dante PTP	Available for future expansion via Cat6A jacks at both stageboxes

Clock Architecture

Note

The current single-interface topology means all A/D and D/A conversion happens in one device, eliminating the need for external word clock distribution. Dante PTP is provisioned at both stageboxes (Cat6A connectors) for future networked audio expansion without additional conduit work.

Sample Rate Configuration

Parameter	Default	Alternative	Notes
Recording Sample Rate	48 kHz	96 kHz	48 kHz for all standard VO, podcast, and video production work
Bit Depth	24-bit	32-bit float (if supported)	24-bit provides 144 dB dynamic range -- more than sufficient
Buffer Size	128 samples	64 / 256 samples	128 = ~2.7ms latency at 48 kHz. Use 64 for lowest latency during tracking, 256 for mixing.
When to Use 96 kHz	High-resolution music recording, orchestral sessions		Doubles CPU load and file sizes. Only use when specifically required by client or project spec.

Dante Upgrade Path (Future)

The facility is pre-wired for Dante networked audio via Cat6A jacks at both stageboxes (SB-01 and SB-02). When the studio moves to Dante, the analog stagebox infrastructure remains in place as a backup while Dante provides the primary signal routing over IP.

Upgrade Component	Model (Recommended)	Purpose
Master Clock	Mutec MC-3+ Smart Clock	Word clock master if external converters are added alongside the interface
Dante AVIO Adapters	Audinate AVIO 2-channel (analog I/O)	Convert analog stagebox signals to Dante at the panel location
Managed Switch	Cisco SG350-10 or equivalent	Dante-certified Gigabit switch with QoS, IGMP snooping, and EEE disabled
Dante Controller	Audinate Dante Controller (software)	Signal routing matrix -- runs on DAW workstation
PTP Clock	IEEE 802.1AS (built into Dante devices)	Replaces word clock with network-based PTP synchronization

Pre-Wired Readiness

No additional conduit penetrations are needed for the Dante upgrade. All Cat6A runs are already installed through the existing stagebox conduits. The upgrade is purely equipment-based: add Dante AVIO adapters at each stagebox, connect to a managed Gigabit switch, and configure routing via Dante Controller software. Analog stagebox paths remain functional as redundant backup.

11. Stagebox Installation Detail

This section documents the physical installation requirements for both stageboxes — exact panel face layouts, conduit routing, acoustic sealing, and mounting heights. Hand this directly to the electrical contractor.

Contractor Note — Read First

Both stageboxes penetrate STC-rated acoustic partitions. Every conduit hole must be sealed with fire-rated acoustic putty (Tremco Fyre-Sil or equivalent) immediately after cable pull. Do NOT leave openings overnight. Each stagebox box must have acoustic putty pads on all 5 exposed interior sides before the panel faceplate is installed. Failure to seal compromises STC rating and voids acoustic warranty.

SB-01 Installation — VO Live / Control Room Partition

SB-01 mounts in the partition wall separating VO Live (north) from Control Room (south). The conduit passes straight through the wall at x=120, y=237 with no bends required.

SB-02 Installation — Control Room / Buffer Spine / Video Studio

SB-02 crosses the buffer spine. The CR panel is at x=206 (west face, y=180) and the Studio panel is at x=221 (east face, y=310). The 130 cm Y-offset requires a conduit routed vertically inside the buffer spine with a 90-degree bend.

Contractor — SB-02 Extra Cable Length

Due to the 130 cm Y-offset, all cables in C-SB02 must be cut longer than C-SB01. Add at least 200 cm to each cable length estimate to account for the vertical run inside the buffer spine plus service loops at both panels. Do not tension cables — dress with Velcro ties every 30 cm inside the spine.

Installation Checklist (Both Stageboxes)

Step	Task	Verification
1	Mark conduit centerline at 90 cm from finished floor on both sides of wall	Laser level, pencil mark
2	Core drill 36 mm hole (slightly oversize for 32 mm conduit + seal)	Hole diameter confirmed with template
3	Install 32 mm EMT steel conduit — lubricate ends, verify alignment	Conduit flush with wall face both sides
4	Pull cables — lubricate with cable pulling gel rated for plenum cable	No kinks, cable jacket undamaged
5	Apply fire-rated acoustic putty (Tremco Fyre-Sil) around conduit both ends	No voids, minimum 25mm depth all around
6	Install acoustic putty pads on all 5 exposed sides of every panel box	No gaps, pads compressed to box surface
7	Solder all XLR and TRS connections per SSOT cable spec — no IDC	Continuity test with multimeter
8	Label all cables at both ends (Brady BMP21-PLUS)	Labels confirmed before faceplate
9	Mount panel faceplate — verify all connectors seated, no wobble	Visual inspection
10	End-to-end signal test: mic signal passes, talkback returns work	Engineer sign-off required

12. Cable Route Map

Floor plan showing all conduit paths between rooms. Use this drawing to verify conduit locations during rough-in. All conduit is 32mm EMT steel. Maintain all separation zones shown — do not reroute conduit to reduce separation distances.

Before Rough-In — Read This

This map uses the coordinate system from the SSOT (origin at SW corner, x=east, y=north, units=cm). All conduit entry points must match these coordinates ±5 cm. If structural interference forces a deviation, consult the acoustic engineer before proceeding — conduit relocations near acoustic partitions require new sealing calculations.

Conduit Routing Specifications

Conduit ID	Route	Size	Contents	Special Notes
C-SB01	Control Room ↔ VO Live through partition at x=120, y=237	32 mm EMT steel	4× Mogami W2534 (XLR) + 4× Mogami W2549 (TRS) + 1× Cat6A S/FTP	Straight through, no bends. Fire-rated putty both ends.
C-SB02	Control Room → Buffer Spine interior → Video Studio (CR at x=206, y=180; Studio at x=221, y=310)	32 mm EMT steel	4× Mogami W2534 (XLR) + 4× Mogami W2549 (TRS) + 1× Belden 1694A (SDI) + 1× Cat6A S/FTP	Single 90° bend inside spine. 130 cm Y-offset. Fire-rated putty at both wall faces.
DATA-CR	Editing Suite patch panel → Control Room data outlet	25 mm EMT steel	Cat6A S/FTP runs (≤4 runs)	300 mm min from power conduit. 90° crossings only.
DATA-ST	Editing Suite patch panel → Video Studio data outlets	25 mm EMT steel	Cat6A S/FTP runs (≤4 runs)	300 mm min from power conduit. 90° crossings only.
CR-FB	Wall conduit stub-up → Control Room floor box	25 mm EMT → liquidtight flex	XLR patch cables, TRS patch cables (not permanently installed)	Rigid EMT transitions to liquidtight flexible conduit at floating floor boundary. Rigid conduit must NOT bridge slab to float — this destroys acoustic isolation.
ST-FB	Wall conduit stub-up → Video Studio floor box	25 mm EMT → liquidtight flex	XLR patch cables, TRS, HDMI short runs	Same floating floor isolation transition requirement as CR-FB.

Critical — Floor Box Conduit Isolation

Conduit stub-ups for floor boxes (CR-FB and ST-FB) must transition from rigid EMT to liquidtight flexible conduit at the boundary between structural slab and floating floor. If rigid conduit bridges the isolation pads, it creates a direct vibration path that destroys the acoustic isolation of the floating floor. Flex transition minimum length: 300 mm. Install BEFORE floating floor deck is laid (Phase 2 of construction sequence).

13. Dubbing Video Feed Wiring

This section provides a complete wiring diagram for both video feeds used during dubbing/ADR sessions. Video is transported over Cat6A using HDMI-over-Cat6A extender kits — this avoids long passive HDMI runs (15m passive HDMI limit) while reusing the existing stagebox conduit infrastructure.

No New Conduit Needed

Both VF-01 and VF-02 Cat6A cables route through existing C-SB01 and C-SB02 conduits respectively. The Cat6A S/FTP cable shares the conduit with the analog audio cables — this is permitted because the HDMI-over-Cat6 signal is high-frequency differential and the conduit provides EMI shielding. Both cables must be S/FTP (shielded) rated.

VF-01: Control Room → VO Live (Dubbing Feed)

VF-02: Control Room → Video Studio (Director Feed)

VF Equipment List

Item	Model	Qty	Location	Notes
HDMI-over-Cat6 Extender Kit (VF-01)	OREI EX-330 (or equivalent 1080p/60Hz, 50m range)	1 kit (TX+RX)	TX in Control Room, RX in VO Live	Powered via included 5V DC adapters. Cat6A cable provides signal only — not PoE.
HDMI-over-Cat6 Extender Kit (VF-02)	OREI EX-330	1 kit (TX+RX)	TX in Control Room, RX in Video Studio	Same model as VF-01 for spare parts commonality.
1×2 HDMI Splitter (VF-01)	Powered HDCP 2.2 compliant, 4K-ready	1	VO Live, at RX output	Must be powered (not passive) — passive splitters cause HDCP handshake failure with extender output.
1×2 HDMI Splitter (VF-02)	Powered HDCP 2.2 compliant	1	Video Studio, at RX output	Same spec as VF-01 splitter.
VO Live Monitors (VF-01 only)	24" IPS 1080p, VESA 75×75 or 100×100	2	VO Live — wall-mounted, angled toward actor positions, 150 cm from FFl	Audio output must be muted or disabled — all audio goes through headphones only.
HDMI patch cables	Monoprice Certified 18 Gbps HDMI 2.0, 1m	4	At TX and RX endpoints (2 per extender kit)	Short local runs only — long-distance runs use Cat6A through conduit.
Cat6A S/FTP cable (in-conduit)	Belden 10GXS12 S/FTP CMP plenum-rated	2 runs	C-SB01 (VF-01) and C-SB02 (VF-02)	Shares existing audio conduit. Must be shielded (S/FTP) to coexist with analog audio cables.

14. Cable Separation & Acoustic Sealing Rules

This section is the binding acoustic and electrical specification for all cable installation work. These rules are not suggestions — deviation requires written approval from the acoustic engineer.

Cable Separation Requirements

Rule 1 — Audio-to-Power Separation

600 mm minimum between audio cable conduit and AC power conduit on all parallel runs. Studio mic-level signals operate at −60 to −40 dBu — 1,000× more sensitive than commercial data cabling. Standard TIA-569 minimum (150 mm) is insufficient for professional audio.

Cable type: Mogami W2534 (starquad) for XLR runs — 20 to 30 dB better common-mode rejection than standard 2-conductor. Mandatory for any run within 600 mm of power or dimmers.

Rule 2 — Data-to-Power Separation

300 mm minimum between Cat6A conduit and AC power conduit on parallel runs. Cat6A S/FTP cable (shielded, foil + braid) in EMT conduit meets this reduced requirement. PVC conduit or unshielded Cat6 cable requires the full 600 mm.

Rule 3 — 90-Degree Crossing Rule

Where audio, data, and power conduits must cross, they must cross at 90 degrees only. No parallel runs within the separation distance, even briefly. Maintain 75 mm clearance even at perpendicular crossings. Mark crossing points with permanent marker on conduit during installation for future reference.

Rule 4 — Conduit Sharing

Audio cables (XLR, TRS) must run in dedicated conduit — never with digital (ethernet, DMX) or AC power. Exception: Cat6A sharing with the HDMI-over-Cat6 signal is permitted in the same conduit as audio because both use the same 32mm EMT conduit through the stagebox, and the Cat6A is shielded S/FTP. DMX can share conduit with ethernet. Dimmed lighting circuits must use separate conduit from non-dimmed circuits.

Rule 5 — Cable Ties

Velcro (hook-and-loop) straps only for all cable management. Never use zip ties — they crush cable jackets over time, damage the quad-spiral geometry of starquad cable, and rattle in low-frequency resonance. Service loops must be dressed in figure-8 pattern, not circular coils (coils create inductance and signal degradation on long runs).

Acoustic Sealing Requirements

No Back-to-Back Boxes Rule

Critical — Flank Path Prevention

Zero back-to-back electrical boxes across any STC-rated wall. Back-to-back boxes create a thin air gap directly between two rooms — this flank path can reduce the effective STC by 15 to 20 points, destroying expensive acoustic wall construction. Minimum horizontal offset between boxes on opposite sides of the same wall: 600 mm.

Plan all outlet and panel positions on both sides of each partition wall before any box is mounted. If the position conflicts, relocate one box — never compromise this rule.

Complete Sealing Rules Reference

Item	Rule	Product
Conduit penetrations through acoustic walls	Fire-rated acoustic putty, minimum 25 mm depth all around conduit, both ends. Zero voids. Apply immediately after cable pull — do not leave open overnight.	Tremco Fyre-Sil or Hilti CP 617 firestop putty pad
Electrical box sides (all STC walls)	Acoustic putty pads on all 5 exposed sides (top, bottom, left, right, back) of every box. Install DURING wall construction before gypsum closes.	Tremco TREMstop Acrylic putty pads, cut to box dimensions
Cable entry to box perimeter	Tremco acoustic sealant around all cable entries at box knockouts and at wall penetration perimeter.	Tremco Acoustical Sealant 834 or equivalent
Box installation timing	All boxes must be mounted to studs DURING wall construction (Phase 3) while cavities are open. Never cut boxes into finished STC-rated walls.	Reference INSTALLATION-SEQUENCE.html Phase 3
Box material	Heavy-gauge steel only — no plastic boxes in any STC-rated partition. Plastic boxes transmit vibration directly through the wall assembly.	Raco 505 series or equivalent steel 1-gang box
Floor box conduit transition	Rigid EMT must transition to liquidtight flexible conduit at floating floor boundary. Minimum flex section: 300 mm. Rigid conduit must NOT bridge slab-to-float — this creates direct vibration transmission.	Carflex LFNC-B liquidtight flexible nonmetallic conduit, 32 mm

15. Headphone Distribution Wiring

This section shows the complete wiring chain from the DAW cue bus to each talent headphone position. Includes talkback routing, headphone amp wiring, and the critical rule that talkback must never reach an open speaker in VO Live.

Full Signal Path: DAW → Headphones (Both Rooms)

Headphone Wiring Specifications

Cable Run	From	To	Cable Type	Connector	Notes
CR Interface Out 3/4 → SB-01 TRS Sends	Interface line output (TRS-M, 6.35mm)	SB-01 CR side, Ch 1+2 TRS-M jacks	Mogami W2549, balanced TRS	6.35mm TRS both ends	Stereo cue 1 send. One cable per channel (L and R separate).
CR Interface Out 5/6 → SB-02 TRS Sends	Interface line output (TRS-M, 6.35mm)	SB-02 CR side, Ch 1+2 TRS-M jacks	Mogami W2549, balanced TRS	6.35mm TRS both ends	Stereo cue 2 send. Routed through C-SB02 (130cm offset — add extra length).
Talkback CR → SB-01 Ch3	Interface talkback output (TRS-M)	SB-01 CR side, Ch 3 TRS-M jack	Mogami W2549	6.35mm TRS both ends	Talkback bus from DAW. Footswitch (TFS-1) controls mute — connects to interface footswitch input, not inline on cable.
Talkback CR → SB-02 Ch3	Interface talkback output (TRS-M)	SB-02 CR side, Ch 3 TRS-M jack	Mogami W2549	6.35mm TRS both ends	Same talkback bus, second send. Engineer can mute per room via DAW cue routing.
SB-01 VO side Ch 1+2 → HA-400 Input	SB-01 VO Live side, Ch 1+2 TRS-F jacks	HA-400 stereo input	Mogami W2549, balanced TRS	6.35mm TRS both ends	Short run inside VO Live (under 2m). Connects to HA-400 stereo in or mono sum input depending on amp model.
SB-02 Studio side Ch 1+2 → HA-400 Input	SB-02 Video Studio side, Ch 1+2 TRS-F jacks	HA-400 stereo input (Video Studio)	Mogami W2549, balanced TRS	6.35mm TRS both ends	Short run inside Video Studio (under 2m).
HA-400 Out 1–4 → DT 770 headphones	HA-400 headphone output jacks 1–4	3× Beyerdynamic DT 770 Pro (80Ω) per room	OEM DT 770 cable (coiled, 3m)	6.35mm TRS (straight or coiled OEM cable)	Headphones connect directly to amp front panel. Mount K&M 16085 hooks at 150cm for storage when not in use.

Critical — VO Live Talkback Rule (Repeated for Emphasis)

There must never be an open speaker in VO Live that receives talkback signal. Even a small monitor playing talkback will bleed into the recording microphone during takes, contaminating recordings. Talkback to VO Live talent is exclusively via headphone cue mix. The talent's microphone serves as the natural return path to the Control Room (engineer hears talent through the mic feed). This is standard professional recording studio practice and is non-negotiable.