<h1><strong>The Radial SW8</strong> is an <strong>8-channel auto-switcher</strong> that allows you to set up a redundant backup system with automatic switching between two sources, such as two digital recorders, computers, or network systems.</h1><p><img alt="Radial SW8 è un auto-switcher a 8 canali che consente d'impostare un sistema di backup ridondante con la commutazione automatica tra due sorgenti, come ad esempio due registratori digitali, computer o sistemi di rete." src="/images/uploads//SW8_1200x630_01.jpg" title="Radial SW8 è un auto-switcher a 8 canali che consente d'impostare un sistema di backup ridondante con la commutazione automatica tra due sorgenti, come ad esempio due registratori digitali, computer o sistemi di rete."></p><h2><strong>Key Features</strong></h2><ul style="margin-left: 17px;"> <li><strong>Automatic switching between two playback systems</strong></li> <li><strong>Expandable ‘Link’ with remote control contact closure</strong></li> <li><strong>Balanced or unbalanced Mic and Line-level operation</strong></li> <li><strong>DI with isolation transformer on each output channel</strong></li></ul><p>Primarily designed for live concerts and theatrical performances where backing tracks are used for orchestral sections, vocals, and sound effects, the <strong>SW8</strong> employs an adjustable gate that detects machine malfunction and switches to a backup machine, ensuring seamless performance. The device simply detects the steady operation of a signal on a track and feeds it into the <strong>SW8</strong>. If the signal drops, the <strong>SW8</strong> automatically switches to system B and sounds an alarm. Switching can also be done manually via the A~B switch on the front panel, a rear-access latching switch, or using the optional Radial JR2 footswitch. For larger setups, multiple SW8s can be linked together to create 16, 24, or 32-track systems.</p><p><img alt="SW8 impiega un gate regolabile che rileva il malfunzionamento della macchina e passa a una seconda macchina 'backup' garantendo prestazioni senza problemi. " src="/images/uploads//Radial-SW8-mk2-panels-both-layer_1200x630-s.jpg" title="SW8 impiega un gate regolabile che rileva il malfunzionamento della macchina e passa a una seconda macchina 'backup' garantendo prestazioni senza problemi. "></p><p>Housed in a rugged 14-gauge steel 19" rack enclosure, the <strong>Radial SW8</strong> features input connectors with a choice of 25-pin D-sub or ¼" TRS jacks with D-Sub and XLR outputs. The front panel XLR jacks produce a balanced mic-level DI signal to feed a snake system and are transformer-isolated to eliminate hum and buzz caused by ground loops. The D-Sub connectors on the rear panel provide direct balanced line-level connectivity, and the transformer-isolated outputs can be internally rewired to send the mic-level signal to the 25-pin D-sub output if required. To further suppress switching noise, a series of internal filters helps eliminate DC offset from source devices. A global Mute switch disables the XLR outputs, allowing you to listen to tracks and cue on the fly. A Standby switch keeps the <strong>SW8</strong> on the A source inputs between songs. The Radial SW8 is useful for preventing embarrassing musical backing system malfunctions, a device that ensures problem-free performances.</p><h2><strong>SW8™ - Applications (Practical Solutions)</strong></h2><p style="text-align: justify;">Below are three common live production setups. For obvious reasons, we have removed the names of the groups and technicians who provided this information: many artists prefer to keep their production secrets well hidden! Each scenario might have a click track on a separate output, usually only for the drummer and, very rarely, for front-of-house. Sometimes alternative click tracks are sent, via the monitor desk, to individual band members for certain songs.</p><div class="row"><div class="col-md-6 col-sm-12"><h3><strong>‘Fly-in’ Scenario</strong></h3><p style="text-align: justify;">This is the most common setup for clubs, TV fly-ins, and promotional video tours. In these scenarios, everything that is mixed is sent to a single stereo system or even a mono output feeding a PA system and broadcaster. Some bands have done this with great success, but it requires a lot of work to get the balance right.</p></div><div class="col-md-6 col-sm-12"><img alt="Questa è la configurazione più comune per club, fly-in TV e video tour promozionali. In questi scenari, tutto ciò che è mixato viene inviato ad un singolo impianto stereo o anche una uscita mono alimentando un sistema PA e broadcaster. Alcune band hanno fatto questo con grande successo, ma è necessario molto lavoro per ottenere il giusto equilibrio." src="https://www.algameko.com/images/uploads/sw8-app-1-hirez.jpg" title="Questa è la configurazione più comune per club, fly-in TV e video tour promozionali. In questi scenari, tutto ciò che è mixato viene inviato ad un singolo impianto stereo o anche una uscita mono alimentando un sistema PA e broadcaster. Alcune band hanno fatto questo con grande successo, ma è necessario molto lavoro per ottenere il giusto equilibrio."></div></div><hr><div class="row"><div class="col-md-6 col-sm-12"><h3><strong>‘Moderate’ Scenario</strong></h3><p style="text-align: justify;">In this scenario, 16 backing tracks are mixed into stereo subgroups. This is the most common way to manage backing tracks: the musicians do the main work, and the playback machines are just an addition, like icing on the cake. In these systems, you can find extra drums on the right and left, percussion and rhythms, keyboards and orchestration, guitars and backing vocals, and often all vocal effects.</p></div><div class="col-md-6 col-sm-12"><img alt="In questo scenario vengono mixate 16 basi in sottogruppi stereo. Questa è la forma più comune per gestire delle basi musicali: i musicisti fanno il lavoro principale e le macchine di riproduzione sono solo un'aggiunta come ciliegina sulla torta. In questi sistemi è possibile trovare una batteria extra a destra e a sinistra, percussioni e ritmi, tastiere e orchestrazione, chitarre e cori e spesso tutti gli effetti vocali." src="https://www.algameko.com/images/uploads/sw8-app-2-hirez.jpg" title="In questo scenario vengono mixate 16 basi in sottogruppi stereo. Questa è la forma più comune per gestire delle basi musicali: i musicisti fanno il lavoro principale e le macchine di riproduzione sono solo un'aggiunta come ciliegina sulla torta. In questi sistemi è possibile trovare una batteria extra a destra e a sinistra, percussioni e ritmi, tastiere e orchestrazione, chitarre e cori e spesso tutti gli effetti vocali."></div></div><hr><div class="row"><div class="col-md-6 col-sm-12"><h3><strong>‘Superstar’ Scenario</strong></h3><p style="text-align: justify;">Everything is on backing tracks: drums, electronic rhythms, instruments, backing vocals, vocal effects, and in some cases, even the main vocals. We're talking about various pop groups with extraordinarily huge productions. Each track is broken down into individual channels so that the stage sound engineer can send different mixes to the various musicians and the front-of-house mixer has total control.</p></div><div class="col-md-6 col-sm-12"><img alt="Tutto è su basi: batterie, ritmi elettronici, strumenti, cori, effetti vocali e, in alcuni casi, anche la voce principale. Parliamo di vari gruppi pop con produzioni straordinariamente enormi. Ogni traccia è scomposta su singoli canali in modo che il fonico di palco sia in grado di inviare differenti mix ai vari musicisti e il mixer front-of-house ha il controllo totale." src="https://www.algameko.com/images/uploads/sw8-app-3-hirez.jpg" title="Tutto è su basi: batterie, ritmi elettronici, strumenti, cori, effetti vocali e, in alcuni casi, anche la voce principale. Parliamo di vari gruppi pop con produzioni straordinariamente enormi. Ogni traccia è scomposta su singoli canali in modo che il fonico di palco sia in grado di inviare differenti mix ai vari musicisti e il mixer front-of-house ha il controllo totale."></div></div><hr><h2><strong>SW8: USAGE & APPLICATIONS</strong></h2><h3 style="text-align: justify;"><strong>Connections</strong></h3><p style="text-align: justify;">Before making any connections, always verify that the audio levels on the PA system are at zero to prevent power-up or connection transients from damaging sensitive components like tweeters. There is no power switch on the SW8. Simply connect the 15VDC power supply, and the device automatically powers on. Once connected, either the A or B LED on the front panel will illuminate, depending on the SW8's last use. A convenient cable pass-through is provided to secure the cable. Most backing track systems employ two identical multi-track playback systems that produce balanced or unbalanced signals. To accommodate both types, the SW8 is equipped with 25-pin D-sub input connectors on the rear or two sets of 8 ¼" TRS input connectors on the rear panel. The 8 D-Sub channels are wired to the ProTools / Tascam standard, while the TRS connectors follow the Tip (+), Ring (-), and Sleeve/Ground convention. Unbalanced ¼" cables can also be used as a source. The SW8 has two sets of outputs: the D-Subs on the rear panel are 'straight wire' and are typically used for connection to a professional +4dB balanced line-level device. The front panel XLR jacks are arranged as direct boxes with eight Eclipse transformers that isolate the outputs, producing a lower mic-level signal. These are generally used on stage to send the SW8's output to a snake system and a microphone splitter. For added convenience, you can reverse the SW8 and reassign the isolation transformer in the signal path to the D-sub output by simply moving a jumper cable. To further suppress switching noise, a series of internal filters are designed to remove excess DC and reduce switching noise.</p><h3 style="text-align: justify;"><strong>Verifying Connections</strong></h3><p style="text-align: justify;">Make sure you are in manual mode with the AUTO switch in the OUT position and the LED off. Verify that the JR-2 remote switch is disengaged (OUT position). Always test the audio system at low volumes. Test the connections by playing a signal through input-A. If the audio signal passes, the LED below the threshold releases the front panel A-B switch, deactivating input-A and activating input-B. Activate the second playback device. If you plan to use the transformer-isolated output option, you can use a global -20dB pad. This is typically used if the audio source is a line-level device. If you experience distortion during playback, it could be caused by transformer overload. Simply press the pad switch to reduce the input sensitivity.</p><h3 style="text-align: justify;"><strong>Switching Options</strong></h3><p style="text-align: justify;">There are several ways to switch the SW8: manual switching via the front panel selector, remote switching using a dedicated footswitch or a standard latching switch, or automatic switching through the integrated gate.</p><h3 style="text-align: justify;"><strong>Front Panel A-B Selector</strong></h3><p style="text-align: justify;">You can use the A-B switch on the front panel as described above. This method is used during system adjustment and testing. This is the most basic form of switching, thanks to the convenience of front access.</p><h3 style="text-align: justify;"><strong>Remote Control Contact Closure</strong></h3><p style="text-align: justify;">You can switch the SW8 remotely by simply shorting the tip and ground on the contact closure of the port. This ¼" jack can also be switched via a standard latching footswitch commonly used to change channels or activate effects on guitar amplifiers. You can switch the SW8 remotely with the Radial JR-2, a dual-function footswitch that can be used to remotely control the A~B function or set the SW8 to standby mode. The advantage of using the JR2 is the LED indicators that signal the status. Use the JR2 ON switch to activate the device.</p><h3 style="text-align: justify;"><strong>Automatic Control via Gate Signal</strong></h3><p style="text-align: justify;">You can also set the SW8 for automatic switching using the internal gate. To do this, record a constant 1kHz tone on the primary recorder on one of channels 1 or 8. The SW8 will extract the tone from the track based on how you set the ALT source select switch. You can also separate a track and feed it directly into the auto-switcher's dedicated gate input. Activate the auto-switching circuit by releasing the front panel switch. The LED indicator will illuminate. Once activated, the SW8 automatically switches as soon as the input signal level to the auto-switch circuit drops below a predetermined level. This level is adjusted using the Threshold control on the front panel. The Threshold control is recessed and difficult to access: once set, it cannot be accidentally changed. Set the gate to 12 o'clock and activate the primary playback device. Test the gate function by reducing the threshold (Threshold) - turning the knob clockwise.</p><h3 style="text-align: justify;"><strong>Using SMPTE as Audio</strong></h3><p style="text-align: justify;">For configurations using all playback channels, you can use a SMPTE time code signal as an audio source by feeding it into the auto-switch's gate input and setting the 3-position filter as needed. The filter is used to adjust the digital binary code to produce a more stable signal.</p><h3 style="text-align: justify;"><strong>Using the Standby Function</strong></h3><p style="text-align: justify;">In auto-switch mode, stopping the main recorder (A) will inevitably stop the drone track playing. This will switch the SW8 inputs as soon as the drone track disappears. Although this may not seem like a big problem, it becomes one when the artist decides to pause the songs, forcing an abrupt change in the show. The Standby switch is used to keep the gate and input in the A position. Once ready, activate the playback system and then deactivate Standby mode. This will release the gate for normal operation. The optional connection to a Radial JR2 will allow you to remotely activate or deactivate the Standby function.</p><h3 style="text-align: justify;"><strong>Using the Mute Function</strong></h3><p style="text-align: justify;">Many shows require playback tracks to be prepared to accommodate last-minute variations. This means the playback technician will need to search for songs, listen to them, and prepare them so they are ready when needed. To facilitate this procedure, the SW8 has a Mute function which, when released, disables the front panel XLR outputs that are typically sent to the PA system. The D-Sub connector remains active for monitoring.</p><h3 style="text-align: justify;"><strong>Connecting to other SW8s</strong></h3><p style="text-align: justify;">To expand the system and have 16 or more channels available, the SW8 features a JR2 link function that allows you to connect one SW8 to another using a TRS cable. A typical master-slave configuration is used whereby the first SW8 will be assigned as the master which, in turn, will control the slave units. Once connected, all A~B status changes will be automatically transferred to the cascaded units along with the Standby function. In auto-switch mode, the drone track should be connected to the master SW8, and the slaves would follow in cascade. For those using a second-generation SW8 with a first-generation SW8 unit, the new SW8 should be set as the master, and the top panel switches should be arranged to properly control the first-generation unit.</p><h3 style="text-align: justify;"><strong>Sounding an Alarm!</strong></h3><p style="text-align: justify;">In complex configurations where automatic switching may not be immediate, an alarm in the form of a light or tone can be connected using a special 24-volt relay. When the SW8 switches from A to B, the relay contacts are automatically closed, allowing the system technician to set up an appropriate alarm.</p><h3 style="text-align: justify;"><strong>Noise Suppression</strong></h3><p style="text-align: justify;">In most cases, audio playback systems are very quiet. However, sometimes switching can introduce annoying noise. This phenomenon is usually caused by a DC offset in the recording system. The SW8 includes a series of filters designed to remove excess DC and reduce switching noise.</p>XLR isolation transformers and ground-lift switches help reduce hum and buzz caused by ground loops.
SW8 Technical Specifications
Audio circuit type: Passive signal path with active relay switching
Transformers: Eclipse ET-DB2
Number of channels: 8
Frequency response: 20Hz ~ 20KHz
Dynamic range: >120dB
Gain: -20dB
Total harmonic distortion: 0.002%
Intermodulation distortion: >0.002%
Phase deviation: -2° @ 20Hz
Input impedance: 140k Ohms, balanced
Output impedance: 150 Ohms, balanced
Common-mode rejection ratio: -112dB at 50/60Hz
Equivalent input noise: -95dBu
Residual noise: -115dBu
Maximum input level: 26dBu
Features
Input pad, Ground lift, Remote Footswitch
Input connectors: 1/4" TRS, D-sub
Output connectors: XLR, D-sub
Extras: Contact Alarm Input, JR-2 XLR
General Specifications
Construction: 14-gauge steel chassis and outer shell
Dimensions (L x W x D): 44.5cm x 15.25cm x 4.5cm - 17.5" x 6" x 1.75" (44.5cm x 15.25cm x 4.5cm)
Weight: 9.2 lb (4.2kg)
Power supply: 2 x +15VDC/400mA power adapters supplied
Operating conditions: Dry locations only between 5°C and 40°C
