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C-17

Rev 2.2, 10/31/94

Table 35. ARM Threshold (dB)

0

1

2

3

4

5

6

7

8

9

0:

OFF

OFF

OFF

OFF

-0.1

-0.1

-0.1

-0.1

-0.2

-0.2

10:

-0.2

-0.2

-0.4

-0.4

-0.4

-0.4

-0.6

-0.6

-0.6

-0.6

20:

-0.8

-0.8

-0.8

-0.8

-1.0

-1.0

-1.0

-1.0

-1.2

-1.2

30:

-1.2

-1.2

-1.5

-1.5

-1.5

-1.5

-1.8

-1.8

-1.8

-1.8

40:

-2.0

-2.0

-2.0

-2.0

-2.2

-2.2

-2.2

-2.2

-2.5

-2.5

50:

-2.5

-2.5

-2.8

-2.8

-2.8

-2.8

-3.0

-3.0

-3.0

-3.0

60:

-3.2

-3.2

-3.2

-3.2

-3.5

-3.5

-3.5

-3.5

-3.8

-3.8

70:

-3.8

-3.8

-4.0

-4.0

-4.0

-4.0

-4.5

-4.5

-4.5

-4.5

80:

-5.0

-5.0

-5.0

-5.0

-5.5

-5.5

-5.5

-5.5

-6.0

-6.0

90:

-6.0

-6.0

-6.5

-6.5

-6.5

-6.5

-7.0

-7.0

-7.0

-7.0

100:

-7.5

-7.5

-7.5

-7.5

-8.0

-8.0

-8.0

-8.0

-8.5

-8.5

110:

-8.5

-8.5

-9.0

-9.0

-9.0

-9.0

-9.5

-9.5

-9.5

-9.5

120:

-10.0

-10.0

-10.0

-10.0

-12.0

-12.0

-12.0

-12.0

Table 36. Time Constant Table

0

1

2

3

4

5

6

7

8

9

0:

100µs

150µs

200µs

250µs

300µs

350µs

400µs

500µs

600µs

700µs

10:

800µs

900µs

1.0ms

1.5ms

2.0ms

2.5ms

3.0ms

3.5ms

4.0ms

4.5ms

20:

5.0ms

5.5ms

6.0ms

7.0ms

8.0ms

9.0ms

10ms

12ms

14ms

16ms

30:

18ms

20ms

22ms

24ms

26ms

28ms

30ms

32ms

34ms

36ms

40:

38ms

40ms

45ms

50ms

55ms

60ms

65ms

70ms

75ms

80ms

50:

85ms

90ms

95ms

100ms

110ms

120ms

130ms

140ms

150ms

160ms

60:

170ms

180ms

190ms

200ms

210ms

220ms

230ms

240ms

250ms

260ms

70:

270ms

280ms

290ms

300ms

320ms

340ms

360ms

380ms

400ms

420ms

80:

440ms

460ms

480ms

500ms

520ms

540ms

560ms

580ms

600ms

620ms

90:

640ms

660ms

680ms

700ms

725ms

750ms

775ms

800ms

850ms

900ms

100:

925ms

950ms

975ms

1.0s

1.1s

1.2s

1.3s

1.4s

1.5s

1.6s

110:

1.7s

1.8s

1.9s

2.0s

2.5s

3.0s

3.5s

4.0s

4.5s

5.0s

120:

5.5s

6.0s

6.5s

7.0s

7.5s

8.0s

9.0s

10.0s

Table 37. Compresser/Expander Knee Table (in db)

0

1

2

3

4

5

6

7

8

9

0:

6

6

6

6

6

6

6

6

6

6

10:

6

6

6

6

6

6

6

6

6

6

20:

6

6

6

6

6

6

6

6

6

6

30:

6

6

12

12

12

12

12

12

12

12

40:

12

12

12

12

12

12

12

12

12

12

50:

12

12

12

12

12

12

12

12

12

12

60:

12

12

12

12

18

18

18

18

18

18

70:

18

18

18

18

18

18

18

18

18

18

80:

18

18

18

18

18

18

18

18

18

18

90:

18

18

18

18

18

18

24

24

24

24

100:

24

24

24

24

24

24

24

24

24

24

110:

24

24

24

24

24

24

24

24

24

24

120:

24

24

24

24

24

24

24

24

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Summary of Contents for 601

Page 1: ...pyright c 1992 1994 Symetrix Inc All rights reserved Batteries not included Ground isn t ground Available at finer studios everywhere No part of this manual may be reproduced or transmitted in any form or by any means electronic or mechanical including photocopying recording or by any information storage and retrieval system without permission in writing from the publisher Symetrix 601 601 Digital...

Page 2: ...within Word for Windows Body text is set in Bookman 10pt and Section Heads are set in various sizes of Helvetica Bold Helvetica Narrow was used for Figure and Table captions This manual was printed directly from PostScript files generated by Word for Windows on a Xerox Docutech printer This unique device is actually a laser printer capable of 600 dpi resolution with a page throughput that rivals a...

Page 3: ...2 4 6 Brilliance 2 3 2 4 7 Conclusions 2 4 2 4 8 Equalizing for Speech 2 4 2 4 9 Peaking or Shelving 2 6 2 5 De Essing 2 6 2 6 Noise Reduction 2 7 2 7 Downward Expansion 2 7 2 8 Compression 2 7 2 9 AGC 2 8 2 10 Delay 2 9 2 11 Modulated Delay 2 9 2 12 MIDI 2 9 2 13 Program Memory 2 10 3 Technical Tutorial 3 1 3 1 Matching Levels vs Matching Impedances 3 1 3 2 Signal Levels 3 2 3 3 I O Impedances 3 ...

Page 4: ... ARM integration TC 4 11 4 5 7 8 ARM Signal Noise threshold 4 11 4 5 7 9 Log converter time constant 4 11 4 5 7 10 Lookahead delay time 4 11 4 5 7 11 De ess absolute threshold 4 12 4 6 Delay Group 4 12 4 7 Output Group 4 14 4 8 System Group 4 14 4 8 1 Global Switch 4 14 4 8 2 MIDI Switch 4 15 4 9 Presets Group 4 16 4 10 Setting Scenarios 4 17 4 11 Restoring Factory Presets 4 19 4 12 Disabling the ...

Page 5: ...7 5 10 Downward Expander 7 13 7 5 11 Delay 7 14 7 5 11 1 Echo effects 7 14 7 5 11 2 Flanging 7 14 7 5 11 3 Chorus effects 7 15 8 Applications 8 1 8 1 Broadcast Voice Processing 8 1 8 2 Voice over Processing 8 1 8 3 Foley Processing 8 1 8 4 Digital Mastering 8 1 8 5 Musical Applications 8 1 8 6 Sound Reinforcement Applications 8 1 9 Troubleshooting Chart 9 1 10 601 Digital Voice Processor Limited W...

Page 6: ...ossary D 1 D 2 Bibliography D 11 E Architect s and Engineer s Specification E 1 F Disassembly Instructions F 1 F 1 Top Cover Removal F 1 F 2 Circuit Board Removal F 1 F 2 1 Analog Board Removal F 1 F 2 2 Digital Board Removal F 2 F 2 3 Power Supply Board Removal F 2 F 2 4 Front Panel Board Removal F 2 F 3 XLR Connector Removal Important F 2 G Presets and Other Stuff G 1 G 3 Presets and Building Bl...

Page 7: ...IDI BLOCK 1 C 12 TABLE 24 REALTIME MIDI BLOCK 2 C 13 TABLE 25 MISCELLANEOUS C 13 TABLE 26 ATTN18 TABLE DB C 14 TABLE 27 ATTN82 TABLE DB C 14 TABLE 28 ATTN100 TABLE DB C 14 TABLE 29 PARAMETRIC BANDWIDTH TABLE IN OCTAVES C 15 TABLE 30 FREQUENCY TABLE HZ C 15 TABLE 31 OUTPUT LEVEL TABLE DB C 15 TABLE 32 EXPANDER RATIO TABLE C 16 TABLE 33 COMPRESSOR RATIO TABLE C 16 TABLE 34 AGC RATIO TABLE C 16 TABLE...

Page 8: ...ONSE TABLE 2 C 4 EDIT BUFFER DATA SET TABLE 3 C 4 EXPANDER RATIO TABLE TABLE 32 C 16 EXPANSION PARAMETERS TABLE 17 C 10 FILTER 1 TABLE 11 C 8 FILTER 2 TABLE 12 C 8 FILTER 3 TABLE 13 C 8 FREQUENCY TABLE HZ TABLE 30 C 15 GLOBAL TABLE 10 C 8 HEX TO DECIMAL TABLE 46 C 22 IDENTIFY REQUEST TABLE 7 C 6 IDENTIFY RESPONSE TABLE 8 C 6 LOG CONVERTER PARAMETERS TABLE 21 C 11 MAKEUP GAIN TABLE ATTN24 TABLE 38 ...

Page 9: ...ice singing or monologue dialogue enhancement its powerful digital engine works wonders on any signal Processing includes fully parametric EQ shelving EQ notch filtering dynamic noise filtering de essing delay first reflection stereo synthesis gating expansion compression and AGC automatic gain control Get the picture One aspect of many digital processors is the difficulty of use The 601 was desig...

Page 10: ...01 describes the use of the 601 in detail Chapter 8 Applications describes some of the myriad uses for the 601 Chapter 9 Troubleshooting tells what to do if the 601 doesn t work Chapter 10 Limited Warranty describes the 601 s warranty Chapter 11 Repair Information tells how to get your 601 repaired Chapter 12 Specifications lists the technical specifications of the 601 s performance Appendix A App...

Page 11: ...nventions are used in this manual Some paragraphs may use Note Caution or Warning as a heading These headings have the following meaning Convention Description Caution Identifies information that if not heeded may cause damage to the 601 or other equipment in your system Note Identifies information that needs extra emphasis A Note generally supplies extra information to help you use the 601 better...

Page 12: ...hat may appear to be insulated can render an electric shock Proper Power Cord Use only the power cord and connector specified for the product and your operating locale Use only a cord that is in good condition Proper Fuse The fuse is mounted internally and is not considered user serviceable The fuseholder accepts American sized fuses 1 4 in dia or European sized fuses 5 mm dia For 117V ac operatio...

Page 13: ...anted the way that you access these controls may be different but how much difference is there in seeing 9 dB on an LED display or in reading it off of a knob against a scale on the front panel 2 3 Gain Setting Wire is probably the only component of a sound system where we don t need to take signal levels into account usually Any other active component of a sound system that passes signal has a fi...

Page 14: ...ndamentals of piano organ and even the harp reach well into this range Harvey Fletcher of Fletcher Munson fame charted the sensitivity of the ear for various parts of the spectrum at levels that are lower than those of reality Fletcher s compensation curves the well known Fletcher Munson curves show that for equal loudness in this range at lower recorded and reproduced levels shows requirements fo...

Page 15: ...re lost and without attenuation of this region an unconscious strain with increasing fatigue is felt according to the amount of 3 kHz boost 2 4 5 Presence Range The usual band affecting clarity in male speech is 3000 to 6000 Hz In a woman s voice the fundamentals are roughly an octave higher than a man s and a woman s range of consonant clarity lies between 5000 and 8000 Hz the high end of this ra...

Page 16: ...it is for someone to get hopelessly screwed up the attitude of most station s PDs and engineers was to hide the equalizer somewhere preferably under lock and key The 601makes it easy for each personality to have their own individualized curve Granted if you give the jocks access to the unit someone will inevitably shoot themselves in the foot but at least everyone can have their own curve Some gen...

Page 17: ...frequencies when you close talk them On the negative side any room rumble present with the microphone will be boosted along with the voice if you try to equalize at the lower frequencies Next add or remove low frequencies in the 100 300 Hz range until you get a weight or fullness that is pleasing Next add midrange boost in the 2 5 kHz to 5 kHz range to add punch and presence experiment with the ba...

Page 18: ...UTE PICCOLO WIND INSTRUMENTS STRING INSTRUMENTS HUMAN VOICE BASS TREBLE 16 35 18 35 20 60 21 83 24 50 27 50 30 87 32 70 36 71 41 20 43 65 49 00 55 00 61 74 65 41 73 42 82 41 87 31 98 00 110 00 123 47 130 81 146 83 164 81 174 61 196 00 220 00 246 94 261 63 293 66 329 63 349 43 392 00 440 00 493 88 523 25 587 33 659 26 698 46 783 99 880 00 987 77 1046 50 1174 70 1318 50 1396 90 1568 00 1760 00 1975 ...

Page 19: ...as originally developed for motion picture dialogue recording when it was discovered that speech Range Description women 100 250 Hz Fullness 250 400 Hz Bassiness bigness 400 600 Hz Warmth 600 1 kHz Volume 2 kHz 4 kHz Clarity 3 kHz 5 kHz Nasal yell presence 5 kHz 8 kHz Enunciation intimacy 10 kHz up Air mouth noises Range Description men 75 200 Hz Balls rumble heaviness 200 300 Hz Bassiness bigness...

Page 20: ...ignal is present it tends to mask the noise So when the signal is quiet or absent reduce the noise by reducing the high frequency response and when the signal is present remove the high frequency rolloff and pray that the signal masks the noise If you re handed a noisy signal then a single ended noise reduction processor is your best weapon against the noise If you combine this with some careful e...

Page 21: ...o achieve 6 dB or so of gain reduction Set the attack time to retain some of the edge of each word and set the release time fast enough to follow the speech For a heavily limited sound set the ratio higher 10 1 or higher and use very fast release times3 2 9 AGC The letters AGC stand for Automatic Gain Control An AGC can also be considered as a special case of a compressor having a relatively low r...

Page 22: ...unction Thus the overall gain is highest anytime that the signal falls below the compressor s threshold By itself this isn t disastrous perfectly workable with a noiseless input signal but the sudden change in noise level when a normal level signal presents itself is a dead giveaway that your compressor is lacking in the IQ department This is the BUT mentioned earlier The 601 s AGC function perfor...

Page 23: ... implementation is described in Appendix C What does this mean for the 601 At a very basic level it means that you could have several setups stored in the 601 and change between them remotely If you re a broadcaster you could have a MIDI controller output program change commands based on a clock which would change the settings of the on air 601 to the personalized settings for each of your on air ...

Page 24: ...anced lines and impedances are related or even worse that they are associated with a particular type of connector Not so Unbalanced signals are not necessarily high impedance and balanced signals lines are not necessarily low impedance Similarly although 1 4 inch jacks are typically used for things like guitars which are high impedance and unbalanced this does not predispose them to only this usag...

Page 25: ...nit is quiet enough to operate at lower signal levels such as those found in semi pro or musical instrument MI equipment 10 dBu or 300 millivolts The microphone input is designed around the output levels delivered by typical professional microphones 60 dBm to 20 dBm 45 dBm to 5 dBm with the pad engaged 48V phantom powering is available for condenser microphones Be sure to depress the rear panel sw...

Page 26: ...unbalanced input at the input connector This works but is more susceptible to hum and buzz than the preferred method There is no level difference between either method You can drive unbalanced loads with the 601 s outputs by using the XLR connector with pin 3 left open In an emergency the show must go on you can ground pin 3 but if you have the choice leave it open If you must ground pin 3 it is m...

Page 27: ...TS PLUG TIP HIGH SLEEVE GROUND LOW TERMINAL STRIP HIGH LOW GROUND TERMINAL STRIP HIGH LOW GROUND TERMINAL STRIP HIGH NOT USED GROUND FEMALE XLR PIN 1 GROUND LOW PIN 2 HIGH PIN 3 NOT USED 2 2 2 3 3 3 1 1 1 RING RING SLEEVE SLEEVE TO BALANCED IN TO BALANCED IN TO UNBALANCED IN TIP TIP TO UNBALANCED IN FROM TRANSFORMER COUPLED OR FLOATING BALANCED OUTPUT TO BALANCED IN REV B Figure 3 1 Input and outp...

Page 28: ...ne impedance The digital input and output is transformer coupled for freedom from ground loops 3 7 MIDI I O Considerations The 602 has two MIDI connections MIDI in and MIDI out There is no MIDI thru connection Both connectors follow the standard defined by the IMA International MIDI Association The MIDI out jack echoes the MIDI input minus any sysex messages aimed at the 602 that owns the MIDI con...

Page 29: ...en the program has loaded the display says donE and the number stops flashing Note the 601 always loads a copy of the program stored in program memory into the edit buffer The contents of the edit buffer are lost only when another program has been loaded If the program stored in the edit buffer is dirty i e it has been modified the red SAVE switch flashes It is possible to intentionally overwrite ...

Page 30: ...e either under direction of the front panel or MIDI In essence the rate parameter rt affects how fast the knob can turn the knob is a virtual knob that represents a parameter that can be adjusted using the Wheel or via MIDI You can see which parameters have an associated rate parameter by referring to the table in section C 3 1 4 3 Input Level Control Block This switch and control block sets the o...

Page 31: ...a bandpass peak dip or low frequency shelf The EQ range is 18 dB to 50 dB 31 Hz to 21 11 kHz 05 to 3 octaves bandwidth Q 29 to 0 4 Pressing this switch toggles the Band 1 equalizer between in and out BAND 2 Band 2 is a bandpass peak dip The EQ range is 18 dB to 50 dB 31 Hz to 21 11 kHz 05 to 3 octaves bandwidth Q 29 to 0 4 Pressing this switch toggles the Band 2 equalizer between in and out BAND 3...

Page 32: ...es quite broad The rate of change value is shared with and accessed with the FREQ switch since both are frequency related parameters 4 5 Dynamics Processing Block The dynamics processing block encompasses the de esser dynamic noise reduction NR downard expander compressor and AGC Whenever one of the dynamics processors has been selected for edting the output LED display changes to a gain reduction...

Page 33: ...es the high frequency content and relies strictly upon signal level information Typically the absolute threshold should be set to equal the noise floor of the program material the useful range for this parameter being from 80 to 50 dB 4 5 2 De Esser Block Like the NR system the de esser is a feedback control system The de esser uses a broadband limiter with a peaked highpass filter in its sidechai...

Page 34: ...ER Switch Toggles the Expander between in and out When editing the expander switch LED flashes otherwise it reflects the state of the expander in or out When active all of the dynamics parameter modification switches are active Whenever the expander is currently being edited the output LED display changes to read gain reduction ATTACK Switch Sets the time required for the expander to terminate exp...

Page 35: ...he gain to return to the below threshold value RATIO Switch Controls the compression gain ratio compression ratio The range is from 1 1 out to 10 1 A 10 1 ratio means that a 10 dB input change results in a 1 dB output change provided that the level of the entire change was above the threshold setting The compressor s makup gain may be set manually by pressing the RATIO switch until the display rea...

Page 36: ...lease time constant of the AGC Remember that during no signal periods the AGC causes the release time to be infinite gain reduction release only occurs when there is no valid signal RATIO Switch Adjusts the compression ratio of the AGC Leveler between 1 1 out and 4 1 The compression ratio is the ratio of dB input change to dB output change The compressor s makup gain may be set manually by pressin...

Page 37: ...ttack release compression ratio makeup gain 100 0 dB 0 1 9999 ms 100 9999 ms 1 1 10 1 auto 24 dB AGC THRESHOLD ATTACK RELEASE FREQ RATIO auto release threshold attack release compression ratio makeup gain 100 0 dB 0 1 9999 ms 100 9999 ms 1 1 4 1 auto 24 dB 4 5 7 Additional Dynamics Parameters In addition to the previously mentioned controls there are several additional parameters affecting the dyn...

Page 38: ...ncy Shelving highpass filter to limit subsonic response of control chain sidechain 65 Log converter time constant Initial log averaging time constant for the dynamics sidechain 66 Lookahead delay time Provides thinking time for dynamics sidechain which can prevent overshoot 67 De ess absolute threshold Sets threshold for onset of de ess action The relative threshold affects the degree of de ess ac...

Page 39: ... 2 5 seconds Refer also to Section 4 5 7 7 4 5 7 7 ARM integration TC This parameter edit buffer 63 affects the signal level history of the ARM subsystem Shorter time constants require higher signal peak to average ratios to trigger the AGC hold function thereby releasing the gain reduction This time constant and the time constant used for offset 62 should be in the same range of 1 to 3 seconds 4 ...

Page 40: ...pth amplitude and rate frequency are adjustable The delay group creates effects ranging from simple slapback through small room simulation chorusing and flanging MIX Switch Sets the MIX ratio between the direct and the lowpass filtered delayed signal Holding down the Mix switch rt allows editing the rate of change of the mix gains This parameter s rate of change is shared with the FEEDBACK switch ...

Page 41: ...lly important when creating flanging effects Pressing this switch repeatedly toggles between out and the current feedback setting FILTER Switch The signal from the delay line drives a single pole 6 dB octave lowpass filter with a range of 600 to 18kHz The output of the lowpass filter then feeds the feedback and mix controls RATE Switch Sets the rate frequency for the delay time modulation generato...

Page 42: ...ith programs operating parameters including MIDI All global parameters are stored in battery backed up memory thus they are retained even in the absence of AC power 4 8 1 Global Switch The GLOBAL switch is a multi mode switch with the following modes GAIn Sets digital input gain over a 18 dB range before any digital processing modules The gain setting is saved on a per program basis P PAd Controls...

Page 43: ...illuminates 44 1 48 0 Selects 44 1kHz or 48kHz as the internal sampling rate for analog input signals This menu selection is only valid for internal clock sources CLCI 4 8 2 MIDI Switch The MIDI switch sets various MIDI parameters in the 601 In addition it accesses the realtime block editor allowing modification of either of the two realtime blocks or setting any parameter within the edit buffer A...

Page 44: ...Buffer Memory Protection SAVE LED SAVE switch Display reads clean disabled off steady no save clean enabled on out no save Prt dirty enabled on out no save Prt dirty disabled off flashes program saved donE COMPARE Switch The COMPARE switch toggles the 601 s settings between those stored in the edit buffer and those stored in program memory This allows making quick a b comparisons between the origi...

Page 45: ...input LEDs to MIC or LINE r Click globals again to C or CLCI or CLCE Set to CLCI for internal master sample clock r Click globals again to 44 1 or 48 0 Select sample rate Situation 2 Internal ADC mic or line external sample clock DACs fed from DSP r Under globals click to InP Set left hand input LEDs to MIC or LINE r Click globals again to C or CLCI or CLCE Set to CLCE for master sample clock from...

Page 46: ...4 18 Rev 2 2 10 31 94 This page is blank believe it or not ...

Page 47: ... make the unit impervious to adjustment The 601 has three levels of security None This is what you normally get when you turn the 601 on Partial Disables everything except the Wheel and the load button Since no other buttons operate it is impossible to alter programs or to overwrite other programs Maximum Disables everything Nothing on the front panel works To activate or deactivate any of the sec...

Page 48: ...4 20 Rev 2 2 10 31 94 Notes ...

Page 49: ...itch Push push switch turns the 601 on and off MIDI connectors 5 pin DIN connectors used for MIDI output and input DIGITAL OUTPUT RCA connector and XLR male connector used for S PDIF and AES EBU respectively digital output Push push switch selects between protocols DIGITAL INPUT RCA connector and XLR female connector used for S PDIF and AES EBU respectively digital input Push push switch selects b...

Page 50: ...5 2 Rev 2 2 10 31 94 Notes ...

Page 51: ...Connect the 601 s analog outputs to your console s line inputs using the XLR connectors The digital input output connectors are intended for sources or loads conforming to the S PDIF or AES EBU digital interface standards The 601 s digital input accepts any word length up to 24 bits The analog and digital inputs and outputs may be used in any combination i e analog in analog out analog in digital ...

Page 52: ...d to the next step 2 Depress the GLOBAL switch once The display reads GAIn Rotate the Wheel to set the digital input gain this is not the gain applied to AES EBU or S PDIF sources to 0 3 Depress the GLOBAL switch again The display reads Pd Rotating the Wheel enables or disables the microphone input 15 dB pad Rotate the Wheel to select Pd or PAd pad in 4 Depress the GLOBAL switch again The display ...

Page 53: ...as required The 601 should now pass signal Rev B MIXER ANALOG TAPEDECK ANALOG PHANTOM BYPASS 48V POWER MIC INPUT BALANCED OUT R BALANCED OUT L AES EBU DIGITAL INPUT S PDIF S PDIF AES EBU LINE INPUT DIGITAL OUTPUT S PDIF AES EBU S PDIF MIDI INPUT MIDI MANUFACTURED IN THE USA BY THIS UNIT CONTAINS NO USER SERVICEABLE PARTS POWER OUTPUT 12 5W MAXIMUM AES EBU R P S S E ESS PR ESS PR Figure 6 2 Using t...

Page 54: ...The clock sample rate reference is the external digital signal Refer to Chapter 4 for additional information 6 Depress the Global switch again The display reads nP not protected or Prt protected Select memory protection as required 7 Depress the level switch The display reads L 0 0 If not rotate the Wheel until the display reads L 0 0 This sets the output gain to 0 dB Set the input level by access...

Page 55: ...ther channel The control signal processing is still shared between the two channels Digital signals at either 44 1 kHz or 48 kHz sample rates may be fed directly into the 601 for processing The processed signals are available at the outputs as AES EBU or S PDIF and stereo analog balanced line level The digital outputs and analog outputs operate simultaneously The 601 does not perform dithering or ...

Page 56: ...g the analog outputs ensure that they are plugged into a line level input 4 dBu nominal level If you have to plug the 601 into a microphone input 40 dBu nominal level then you ll need to pad attenuate the output of the 601 down to microphone level A simple U pad is sufficient A suitable design can be found in Figure 7 1 Although a far preferable connection would be to bypass your console or mixer ...

Page 57: ...AES EBU INPUT SELECT CIRCUITRY DUAL A D CONVERTER CLOCK CLOCK INPUT OUTPUT DSP1 BATTERY BACKUP AES EBU OUTPUT SELECT REV E OUTPUT MUTE RELAYS DATA INPUT ENCODER LINE OUTPUT LEFT LINE OUTPUT RIGHT S PDIF OUTPUT AES EBU OUTPUT ANALOG DIGITAL INPUT SELECT CIRCUITRY CLOCK OSC S CLOCK SELECT CLOCK INPUT DSP2 CONVERTER DUAL D A DELAY RAM PROGRAM RAM PROGRAM PARAMETER ROM CLOCK INPUT AES EBU OUTPUT SELEC...

Page 58: ...rocessors 7 3 3 Dynamics Block The compressor and expander operate simultaneously The gain reduction value is determined by the processor having the greatest gain reduction output The auto release circuitry operates when the AGC Leveler is engaged The signal path delay compensates for the computational time needed to compute the gain reduction amount For extremely short attack times you may need t...

Page 59: ...y Release Ed Buf 47 Release Ed Buf 53 58 Output 1 Output 2 Make Up Gain Ed Buf 83 Ratio Ed Buf 48 Knee Ed Buf 49 Ratio Ed Buf 54 59 MIDI Knee Ed Buf 55 60 Hold Auto Release Threshold Ed Buf 61 Auto Release Integration Tc Ed Buf 63 Digital Controlled Amplifiers Digital Controlled Attenuators Rev G Filter Low Shelf Low Pass Figure 7 4 Dynamics block Filter NR Rest Frequency Ed Buf 27 Filter HP HP HP...

Page 60: ...ur console Use the 601 s line input and one or both of the 601 s line outputs If you use both line outputs then you ll need a second channel at your console for the 601 s second line output 7 4 2 Using the 601 in a Send Receive Loop The 601 can also be used in a console s send receive effects loop Drive the 601 s line input from the console s effects send and feed one or both of the 601 s line out...

Page 61: ...paralleling more than 2 inputs as loading of the clock source becomes a problem The sample rate clock should be a dedicated AES EBU signal source 7 4 5 Input Output Clock Summary The following table tabulates the various input output clock possibilities See also section 4 8 1 Input Source Setting Input LED Glows Digital IN SYNC LED Sample Rate Clock Ref Clock Setting Notes Analog Line or Mic off 4...

Page 62: ...n parameters may be accessed via MIDI A list of all accessible parameters may be found in Appendix A These parameters may be altered via a MIDI sysex message or by using the procedure found in Section 7 4 10 7 4 8 Realtime MIDI Many of the 601 s MIDI controllable parameters lend themselves to realtime control using a MIDI continuous controller Some of these parameters are 1 Output level and pan 2 ...

Page 63: ... 0 0µS 127 2 6 ms 48kHz See Sidechain Lookahead Time Table Modifying some of these parameters incorrectly can result in improperly operating modules but reloading the program will restore the original settings To edit one of these parameters use the realtime editing mode 1 Cycle through the MIDI switch until the display reads rEAL then hold down the switch The display reads bLC Block 2 Use the Whe...

Page 64: ...ber for the modified program remember between 1 and 128 then pressing and holding the SAVE button The program has been saved when the display reads donE You can also store a modified program by pressing and holding the save button at any time When the display reads donE the 601 reverts to whatever mode it was in when the save button was pressed 7 5 2 Metering The 601 has two LED bargraphs that ser...

Page 65: ...alization The 601 s parametric equalizer has three overlapping bands Each band can operate as a peaking or notching equalizer and bands 1 and 3 may be converted to lowpass and highpass shelving curves Each band operates over a range of 31 to 21 11 kHz with a bandwidth range of 05 octave to 3 octaves The boost and cut range for each band is 18 50 dB Since each band covers the same frequency range i...

Page 66: ...bsolute level it is easier to adjust There are three front panel adjustable parameters FREQ and THRESH The FREQ parameter sets the resting frequency of the sliding filter and has a range of 1 kHz to 21 11 kHz The THRESH parameter sets the relative threshold r of the onset of filter activity Pressing on the THRESH switch again accesses the absolute threshold A which governs the transition between s...

Page 67: ...gnal level not to remove all variation completely You set the AGC much like you set the 601 s compressor The big difference is the THRESH setting which becomes the auto release threshold This determines the level at which the compressor allows its gain to rise You don t want the gain to rise trying to track a signal buried in noise right Set the THRESH so that the lowest desired signal causes fluc...

Page 68: ...e of sound set the MIX to 50 set the DELAY to 330 ms for both channels set the FILTER to 18 kHz and finally set the FEEDBACK to 0 You into mic Hello 601 Hello Hello Experiment with different delay times What does it sound like when the delay time is quite short say around 10 ms What does it sound like when the delay time is mid range say 40 to 80 ms Now experiment with different mix settings Liste...

Page 69: ...ariation on flanging The effect gives the impression of multiple sources On the 601 start with the DELAY time at about 10 milliseconds MIX at 50 FEEDBACK around 80 modulation RATE around 20 modulation DEPTH at 100 and the delay time rate of change at its minimum setting Listen in stereo Experiments should include varying the delay time s altering the rate of change altering the wet dry mix and the...

Page 70: ...7 16 Rev 2 2 10 31 94 Notes ...

Page 71: ...g Since the 601 can operate in digital in digital out mode use it when making production masters of digital material You can add compression make level changes EQ changes etc If you re not particularly enamored with the ADC in your digital recorder you can use the 601 as a converter if your digital recorder has digital S PDIF or AES EBU inputs 8 5 Musical Applications The particular combination of...

Page 72: ...8 2 Rev 2 2 10 31 94 Notes ...

Page 73: ...re the power amplifier s clipping Is something else clipping Check input digital gain and output digital gain settings Noise hiss Check input signal levels and level control setting The HEADROOM display should indicate signal up to but not including the CLIP led Check gain settings on downstream equipment The system gain structure should be such that the 601 operates at or near unity gain Is the i...

Page 74: ...9 2 Rev 2 2 10 31 94 Notes ...

Page 75: ... are in lieu of all other warranties whether oral written express implied or statutory Symetrix expressly disclaims any IMPLIED warranties including fitness for a particular purpose or merchantability Symetrix s warranty obligation and buyer s remedies hereunder are SOLELY and exclusively as stated herein This Symetrix product is designed and manufactured for use in professional and studio audio s...

Page 76: ...10 2 Rev 2 2 10 31 94 costs and expenses incurred in connection with labor overhead transportation installation or removal of products or substitute facilities or supply houses ...

Page 77: ...ight fee We ll pay the return freight If you choose to send us your product in some sort of flimsy non Symetrix packaging we ll have to charge you for proper shipping materials If you don t have the factory packaging materials then do yourself a favor by using an oversize carton wrap the unit in a plastic bag and surround it with bubble wrap Pack the box full of Styrofoam peanuts Use additional bu...

Page 78: ...11 2 Rev 2 2 10 31 94 Notes ...

Page 79: ...all approximation Peak Dip Bandwidth 0 05 to 3 octaves Maximum boost cut 18 dB boost 50 dB cut Delay Block Effects Echo generation with filtered feedback distance simulation flanging or chorusing Delay time 0 5 ms to 330 ms Lowpass frequency 600 18 kHz Modulation Random sine wave or triangle wave Depth 0 100 Dynamics Block Types De essing dynamic noise reduction downward expansion compression AGC ...

Page 80: ...Analog Input Clip Indicator Red LED indicates clipping at analog inputs Output Headroom Display 8 LED bargraph Midi Implementation Access MIDI program change sysex aftertouch pitch bend bank select MIDI channel range 1 128 omni mode Accessible parameters Most front panel parameters plus internal constants Connectors midi in midi out Data dump current program or entire memory Manufacturer ID 00 00 ...

Page 81: ... MIDI control change packet needs 2nd parameter setting AF MIDI after touch Pb MIDI pitch bend dL1 Delay modulation oscillator 1 dL2 Delay modulation oscillator 2 LoG Dynamics section log signal level nr NR center frequency NR must be engaged CGr Instantaneous compressor gain reduction EGr Instantaneous expander gain reduction bLC1 Block 1 output only in Block 2 edit 2nd MIDI control type for MIDI...

Page 82: ...L parameter to 15 dB and the BW parameter to 0 5 Access realtime edit mode by pressing the MIDI button until the display reads rEAL Pressing the MIDI button again the display now reads bLC Select block 0 using the Wheel Press the MIDI button again Use the Edit Buffer parameter table to locate the offset of the desired parameter We want parameter 10 Press the MIDI button again The display reads SrC...

Page 83: ...ts are just that comments The following 9 steps exactly parallel the first 9 steps of the table Refer also to the edit buffer parameter tables in Appendix C Read the notes presented after the procedure They explain some of the details behind the steps This should help if you re trying to translate the procedure to a different MIDI controller Step What to do 1 Press the MACH key on the MRC The disp...

Page 84: ...evice type 16 00 unit channel 17 1C edit buffer data set 18 page DEFINE SYSEX BYTES 8 9 19 47 edit buffer 71 20 BYTE send slider setting 21 page LABEL FOR slr1 T Y P E use sliders 1 4 to set label to T Y P E Make slider 2 control the second parameter of the Real time MIDI block 22 page SOURCE DEST OUT now do slider 2 23 SOURCE slr2 use button 1 to change source 24 DEST SYSEX use slider 2 to set de...

Page 85: ...ype 50 00 unit channel 51 1C edit buffer data set 52 page DEFINE SYSEX BYTES 8 9 53 49 edit buffer 73 54 BYTE send slider setting 55 page LABEL FOR slr3 56 O F F S use sliders 1 4 to set label to O F F S Make slider 4 control the multiplier value 57 page SOURCE DEST OUT setup for slider 4 58 SOURCE slr4 use button 1 to set source to slr4 59 DEST SYSEX use slider 2 to set DEST to SYSEX 60 OUT 1 use...

Page 86: ...87 1C edit buffer data set 88 page DEFINE SYSEX BYTES 8 9 89 4F edit buffer 79 90 BYTE send slider setting 91 page LABEL FOR slr2 92 P A R M use sliders 1 4 to set label to P A R M 93 page SOURCE DEST OUT 94 store 1 save your work Use machine 15 setup 9 to control the delay 95 mach MACH 15 GMIDI Setup 1 16 use slider 1 to set mach to 15 96 enter TYPE 2NDP OFFS MPLY 97 setup GMIDI SETUP 1 DYNAM 1 9...

Page 87: ... slider 3 to set OUT to 1 121 page DEFINE SYSEX BYTES 2 3 122 F0 SYSEX 123 00 mfrID0 124 00 mfrID1 125 page DEFINE SYSEX BYTES 4 7 126 5E mfrID2 127 01 device type 128 00 unit channel 129 1C edit buffer data set 130 page DEFINE SYSEX BYTES 8 9 131 23 edit buffer 35 132 BYTE send slider setting 133 page LABEL FOR slr2 134 D L Y 2 use sliders 1 4 to set label to D L Y 2 135 page SOURCE DEST OUT Set ...

Page 88: ...3 to set OUT to 1 157 page DEFINE SYSEX BYTES 2 3 158 F0 SYSEX 159 00 mfrID0 160 00 mfrID1 161 page DEFINE SYSEX BYTES 4 7 162 5E mfrID2 163 01 device type 164 00 unit channel 165 1C edit buffer data set 166 page DEFINE SYSEX BYTES 8 9 167 27 edit buffer 39 168 BYTE send slider setting 169 page LABEL FOR slr4 170 M I X use sliders 1 4 to set label to M I X Set slider 5 to control rate of change 17...

Page 89: ...lider 3 to set OUT to 1 194 page DEFINE SYSEX BYTES 2 3 195 F0 SYSEX 196 00 mfrID0 197 00 mfrID1 198 page DEFINE SYSEX BYTES 4 7 199 5E mfrID2 200 01 device type 201 00 unit channel 202 1C edit buffer data set 203 page DEFINE SYSEX BYTES 8 9 204 27 edit buffer 39 205 0 kills wet signal 206 page LABEL FOR slr5 207 K I L L use sliders 1 4 to set label to K I L L 208 page Set switch 2 to turn on sine...

Page 90: ...o SYSEX 235 OUT 236 use slider 3 to set OUT to 1 237 page DEFINE SYSEX BYTES 2 3 238 F0 SYSEX 239 240 mfrID0 241 242 mfrID1 243 page DEFINE SYSEX BYTES 4 7 244 5E mfrID2 245 246 device type 247 248 unit channel 249 1C edit buffer data set 250 page DEFINE SYSEX BYTES 8 9 251 2A edit buffer 42 252 7F 7F triangle 253 page LABEL FOR swt3 254 T R I use sliders 1 4 to set label to T R I 255 page Set swi...

Page 91: ... SYSEX BYTES 4 7 265 5E mfrID2 266 01 device type 267 00 unit channel 268 1C edit buffer data set 269 page DEFINE SYSEX BYTES 8 9 270 2A edit buffer 42 271 0 0 random 272 page LABEL FOR swt4 273 R A N D use sliders 1 4 to set label to R A N D 274 page 275 store 1 save your work you re done ...

Page 92: ...to send an ON command Step 172 Notice that we set the source to switch 1 instead of slider 1 Step 185 Edit buffer offset 27h is the delay block mix control Sending a 0 value to in step 186 turns the delay off by making the level of the wet portion of the delay mix to zero When using the delay controller setup notice that the numbers shown in the MRC s display range from 0 127 To turn these numbers...

Page 93: ... numbers are followed with d Type refers to the length of the request or response C 1 1 Control Change Bn The control change message commands all devices sharing a given MIDI channel to change one of the following parameters Typically only like devices share the same MIDI channel C 1 1 1 Example Command the 601 to set the output panning to center Send hex MIDI command nnnn data data Bn 0A 40 where...

Page 94: ... apply an upper CLPH clip hi and lower CLPL clip lo limit to the final parameter value You can use these parameters to keep a realtime MIDI value within a useful range Realtime Block 2 has an additional modulation source bLC1 that is the output of Realtime Block 1 As each parameter change request arrives it immediately modifies the appropriate edit buffer location and inserts a DSP update request ...

Page 95: ...itions under which sysex messages are echoed through the 601 to the MIDI OUT connector The message s manufacturer s ID or product identifier is for a different product The message s destination number does not match The message s command is not recognized The message s destination unit number does not match The message s destination unit number is the omni value of 7fh The 601 recognizes the messa...

Page 96: ... 0 0 2 mfdID 1 0 3 mfdID 2 5E 4 device type 1 5 unit channel 0 7E 7F all 6 command 11 7 parameter offset 0 7F 8 EOX F7 Table 2 Edit Buffer Data Response DATA FROM 601 Type Short Returns One parameter in Edit Buffer Off dec Value Range hex 0 sysex F0 1 mfrID 0 0 2 mfdID 1 0 3 mfdID 2 5E 4 device type 1 5 unit channel 0 7E 7F all 6 command 1 7 parameter 0 7F 8 parameter value 0 7F 9 EOX F7 Table 3 E...

Page 97: ...smit one edit buffer size worth 11 number of bytes middle 7 bits special case 7F 7F 7F transmit all 12 number bottom 7 bits 13 EOX F7 Table 5 Data Response RESPONSE FROM 601 Type Long Requests Block of parameters by Offset dec Data ordering Edit Buffer 128 User Programs 128 ROM Programs Machine Setup Off dec Value Range hex 0 sysex F0 1 mfrID 0 0 2 mfrID 1 0 3 mfrID 2 5E 4 device type 0 5 unit cha...

Page 98: ...number of bytes top 2 bits 11 number middle 7 bits 12 number bottom 7 bits 13 data bytes data data EOX F7 Table 7 Identify Request REQUEST TO 601 Purpose Request the identity of a 601 Off dec Value Range hex 0 sysex F0 1 mfrID 0 0 2 mfrID 1 0 3 mfrID 2 5E 4 device type 1 5 unit channel 0 7E 7F all 6 command 13 7 EOX F7 Table 8 Identify Response RESPONSE FROM 601 Purpose 601 response to Identify Re...

Page 99: ... L R 3 AES inputs to L R stereo 4 Analog input 1 to L R 5 Analog input 2 to L R 6 Analog inputs summed to L R 7 Analog inputs to L R independent gain controls stereo 25706 Signal Clock Configuration BIT0 0 DSP DAC 1 AES DAC BIT2 0 ADC INPUT 1 AES INPUT BIT1 0 ADC MCLK 1 AES MCLK BIT4 0 44 1 kHz sample rt 1 48 0 kHz sample rt 25707 MIDI echo 0 no echo 1 echo 25708 Memory protect 0 no protection 1 p...

Page 100: ...0 highpass shelving 127 lowpass See also offset 65 1 De esser sidechain filter frequency 0 default 5 kHz 1 127 See Frequency Table 2 Input Gain See Attn18 Table Table 11 Filter 1 Offset dec Description Range dec Reference 3 F1 Mode 64 shelving 127 bp 4 F1 Freq See Frequency Table 5 F1 Q See BW Table 6 F1 Level 81 out See Attn82 Table 7 F1 Freq BW Rate of Change See Tc Table 8 F1 Level Rate of Chan...

Page 101: ... Table 16 Delay Processor Offset Description Range Reference dec hex dec 33 21 Mode 0 off 127 on 34 22 Delay Line 1 Delay Time 0 127 0 500 µs 127 330 ms See DelayTime Table 35 23 Delay Line 2 Delay Time 0 127 0 500µS 127 330ms See DelayTime Table 36 24 Delay Line Rate of Change 0 127 See Tc Table 37 25 Cross Recirculation Attenuation 0 pos 0 dB 64 off 127 neg 0 dB See Delay Feedback Table 38 26 Fi...

Page 102: ...Attn100 Table 52 34 Attack Time See Tc Table 53 35 Release Time See Tc Table 54 36 Compression Ratio See Compression Ratio Table 55 37 Knee Control 0 6dB 43 12 dB 85 18 dB 127 24 dB 83 53 Makeup Gain 0 127 0 auto 1 0 dB makeup gain 127 24 dB makeup gain Shared with AGC See Attn24 Table Table 19 AGC Parameters Offset Description Range Reference dec hex dec 56 38 Threshold See Attn100 Table 57 39 At...

Page 103: ...s 48 kHz linear scale See Sidechain Lookahead Table Table 22 Output Offset Description Range Reference dec hex dec 68 44 Output Attenuation See Output Level Table 69 45 Output Pan 0 127 0 ch 1 max 64 center 127 ch 2 max See Default Pan Table 70 46 Output Gain Rate of Change See Tc Table Offset Description Range Reference dec hex dec 61 3D Auto Release Threshold See Attn100 Table 62 3E ARM Peak Rel...

Page 104: ...NR center freq 8 Instantaneous gain reduction value compressor 9 Instantaneous gain reduction value expander 72 48 3 Byte MIDI Message Second Parameter 0 127 73 49 Control Offset dec 0 127 64 0 0 128 127 127 74 4A Control Scaling 0 127 64 No Effect 0 4 127 4 Realtime Scaling Table 75 4B Parameter to Modify Offset dec Edit Buffer Offset Address 0 70 81 51 Realtime Block 1 Floor Clip 0 127 Minimum n...

Page 105: ...ealtime Scaling Table 80 50 Parameter to Modify Offset dec Edit Buffer Offset Address 0 70 The Program Name offset 84 99 is not accessible from the front panel it is only accessible via MIDI You can use this with an external MIDI editor to give your 601 programs meaningful to you names Table 25 Miscellaneous Offset Description Range Reference dec hex dec 81 51 Realtime Block 1 Floor Clip 0 127 Blo...

Page 106: ...0 0 68 0 10 68 0 66 0 64 0 62 0 62 0 60 0 58 0 56 0 54 0 54 0 20 52 0 50 0 48 0 48 0 46 0 44 0 42 0 40 0 40 0 38 0 30 36 0 34 0 32 0 32 0 31 0 30 0 29 0 29 0 28 0 27 0 40 26 0 25 0 25 0 24 0 23 0 22 0 22 0 21 0 20 0 19 0 50 18 0 18 0 17 0 16 0 15 0 15 0 14 0 13 0 12 0 11 0 60 11 0 10 0 9 0 8 0 7 0 7 0 6 0 5 5 5 0 5 0 70 4 5 4 0 3 5 3 0 3 0 2 5 2 0 1 5 1 5 1 0 80 0 5 0 0 0 5 0 5 1 0 1 5 2 0 2 0 2 5...

Page 107: ...233 250 268 268 287 308 330 330 354 379 50 406 406 435 467 500 500 536 574 616 616 60 660 707 758 758 812 871 871 933 1000 1072 70 1072 1149 1231 1320 1320 1414 1516 1625 1625 1741 80 1866 2000 2000 2144 2297 2462 2462 2639 2828 3031 90 3031 3249 3482 3732 3732 4000 4287 4287 4595 4925 100 5278 5278 5657 6063 6498 6498 6964 7464 8000 8000 110 8574 9190 9849 9849 10556 11314 12126 12126 12996 13929...

Page 108: ... 8 1 8 1 8 2 0 2 0 2 0 2 0 2 0 40 2 0 2 0 2 0 2 5 2 5 2 5 2 5 2 5 2 5 2 5 50 2 5 2 5 3 0 3 0 3 0 3 0 3 0 3 0 3 0 3 0 60 3 5 3 5 3 5 3 5 3 5 3 5 3 5 3 5 3 5 4 0 70 4 0 4 0 4 0 4 0 4 0 4 0 4 0 5 0 5 0 5 0 80 5 0 5 0 5 0 5 0 5 0 5 0 6 0 6 0 6 0 6 0 90 6 0 6 0 6 0 6 0 7 0 7 0 7 0 7 0 7 0 7 0 100 7 0 7 0 7 0 8 0 8 0 8 0 8 0 8 0 8 0 8 0 110 8 0 9 0 9 0 9 0 9 0 9 0 9 0 9 0 9 0 9 0 120 10 0 10 0 10 0 10 0...

Page 109: ... 12ms 14ms 16ms 30 18ms 20ms 22ms 24ms 26ms 28ms 30ms 32ms 34ms 36ms 40 38ms 40ms 45ms 50ms 55ms 60ms 65ms 70ms 75ms 80ms 50 85ms 90ms 95ms 100ms 110ms 120ms 130ms 140ms 150ms 160ms 60 170ms 180ms 190ms 200ms 210ms 220ms 230ms 240ms 250ms 260ms 70 270ms 280ms 290ms 300ms 320ms 340ms 360ms 380ms 400ms 420ms 80 440ms 460ms 480ms 500ms 520ms 540ms 560ms 580ms 600ms 620ms 90 640ms 660ms 680ms 700ms 72...

Page 110: ...48 0 50 0 52 0 54 0 56 0 58 0 60 30 0 62 0 65 0 67 0 69 0 71 0 73 0 75 0 77 0 79 0 81 40 0 83 0 85 0 87 0 90 0 92 0 94 0 96 0 98 1 00 1 02 50 1 04 1 06 1 08 1 10 1 12 1 15 1 17 1 19 1 21 1 23 60 1 25 1 27 1 29 1 31 1 33 1 35 1 37 1 40 1 42 1 44 70 1 46 1 48 1 50 1 52 1 54 1 56 1 58 1 60 1 62 1 65 80 1 67 1 69 1 71 1 73 1 75 1 77 1 79 1 81 1 83 1 85 90 1 87 1 90 1 92 1 94 1 96 1 98 2 00 2 02 2 04 2...

Page 111: ... 5000 5000 5000 5500 5500 5500 5500 6000 6000 50 6000 6000 6500 6500 6500 6500 7000 7000 7000 7000 60 7500 7500 7500 7500 8000 8000 8000 8000 8500 8500 70 8500 8500 9000 9000 9000 9000 9500 9500 9500 9500 80 10000 10000 10000 10000 10500 10500 10500 10500 11000 11000 90 11000 11000 11500 11500 11500 11500 12000 12000 12000 12000 100 13000 13000 13000 13000 13500 13500 13500 13500 14000 14000 110 1...

Page 112: ... 15 0 37 5 0 1 5 8 0 0 14 0 38 5 5 1 5 9 0 0 13 0 39 5 5 1 5 10 0 0 12 0 40 6 0 1 5 11 0 0 11 0 41 6 5 1 0 12 0 5 10 0 42 7 0 1 0 13 0 5 9 5 43 7 5 1 0 14 0 5 9 0 44 8 0 1 0 15 0 5 8 5 45 8 5 0 5 16 1 0 8 0 46 9 0 0 5 17 1 0 7 5 47 9 5 0 5 18 1 0 7 0 48 10 0 0 5 19 1 0 6 5 49 11 0 0 0 20 1 5 6 0 50 12 0 0 0 21 1 5 5 5 51 13 0 0 0 22 1 5 5 5 52 14 0 0 0 23 1 5 5 0 53 15 0 0 0 24 2 0 5 0 54 16 0 0 0...

Page 113: ...28 2 5 3 5 102 48 10 0 0 5 17 8 0 0 14 0 60 28 2 5 3 5 103 49 11 0 0 0 18 8 0 0 14 0 61 29 3 0 3 5 104 49 11 0 0 0 19 9 0 0 13 0 62 29 3 0 3 5 105 50 12 0 0 0 20 9 0 0 13 0 63 30 3 0 3 0 106 50 12 0 0 0 21 10 0 0 12 0 64 30 3 0 3 0 107 50 12 0 0 0 22 10 0 0 12 0 65 30 3 0 3 0 108 51 13 0 0 0 23 10 0 0 12 0 66 31 3 5 3 0 109 51 13 0 0 0 24 11 0 0 11 0 67 31 3 5 3 0 110 52 14 0 0 0 25 11 0 0 11 0 68...

Page 114: ... 92 93 94 95 60 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 70 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 Table 47 Decimal to Hex 0 1 2 3 4 5 6 7 8 9 0 0 1 2 3 4 5 6 7 8 9 10 a b c d e f 10 11 12 13 20 14 15 16 17 18 19 1a 1b 1c 1d 30 1e 1f 20 21 22 23 24 25 26 27 40 28 29 2a 2b 2c 2d 2e 2f 30 31 50 32 33 34 35 36 37 38 39 3a 3b 60 3c 3d 3e 3f 40 41 42 43 44 45...

Page 115: ...rcuit adjusts the gain of an audio device in inverse proportion to the signal level entering the device An example is a portable tape recorder which is designed for speech recording When the talker is close to the microphone the gain is reduced so as not to overload the tape As the level from the talker decreases for instance because of a greater distance the gain increases to keep the recorded le...

Page 116: ...wall filters are commonly used for anti aliasing and anti imaging TAD Chorus An electronic music effect that modifies the sound of a single instrument to simulate a large group of the same instruments for example a vocal chorus or a string section The subjective effect of a real chorus is caused by the fact that the many sound sources being mixed together all have slightly different frequencies an...

Page 117: ...rm This causes the capacitance to vary in like manner and because the charge is fixed the voltage on the backplate will vary according to the laws governing the capacitor This voltage variation is the signal output of the microphone The condenser microphone has extremely high output impedance and must be placed very near a preamplifier to avoid loss of the signal It is possible by special treatmen...

Page 118: ...ocessor Digital to Analog Converter DAC The component within a digital audio device which converts binary digital words into an analog signal that can be amplified and sent to a loudspeaker etc The DAC is the last link in the digital chain just before the anti imaging filter TAD See also analog to digital converter Distortion Theoretically any addition or modification to a signal caused by any typ...

Page 119: ...ense it should probably be called an unequalizer However the first equalizers were used to make the energy at all frequencies equal or to achieve flat response in telephone lines and this is where the term originated Another early use of equalizers was in the sound motion picture industry where they were used to improve intelligibility in film sound tracks Later on equalizers were found useful for...

Page 120: ...is referred to as full scale Gate A circuit which performs like a switch allowing a signal either to pass or not is called a gate The position of the gate open or closed is controlled by an applied voltage which can come from a number of different places If the level of the signal determines the gate opening it is a noise gate closing when the signal level is so low that the noise would be audible...

Page 121: ...r in practice TAD Oversampling In some digital audio components the sampling frequency 44 1 kHz for compact discs is raised to a multiple of that frequency For example if the sampling frequency were raised by a factor of 4 three artificial samples must be created in between each pair of original samples These samples are zero in level and they do not change the information content of the original ...

Page 122: ...ced close to a directional microphone will sound much bassier and improvement in some voices I suppose Some of the early radio crooners and radio announcers used proximity effect to deepen and enrich their voices and many frequently still do TAD Q In reference to a resonant mechanical or electrical circuit or a capacitor Q stands for quality factor In the case of a resonant system Q is a measure o...

Page 123: ...s carry two audio channels as well as status information The signal is unbalanced and RCA connectors are typically used for interconnection between devices The format of S PDIF signals is somewhat similar to the AES EBU format Sampling Rate In a digital audio system the audio signal must be fed into an analog to digital converter ADC to be changed into a series of numbers for further processing by...

Page 124: ...le D microphone is a directional microphone having a multiplicity of entrances for off axis sounds Variable D microphones exhibit proximity effect although not to the degree that single D microphones do The term Variable D is a trademark of Electro Voice ...

Page 125: ...rinciples of Digital Audio Ken C Pohlmann Copyright 1989 Howard W Sams Company Indianapolis IN This is a good reference on the ins and outs of digital audio The author covers basics as well as advanced topics The book is available at major booksellers like Tower Books or from the publisher 317 298 5699 The following publications are available from the Audio Engineering Society 60 E 42nd Street New...

Page 126: ...D 12 Rev 2 2 10 31 94 Notes ...

Page 127: ...y and provision shall be made to allow adjusting the delay times simultaneously while maintaining an offset in the delay times The dynamics block shall provide the following functionality De ess Dynamic noise filter Compressor AGC Leveler and Downward Expander Within the dynamics block all sections are user and MIDI programmable and each dynamics function shall provide the following features De Es...

Page 128: ... accepting digital input signals conforming to the AES EBU standard or to the S PDIF standard Two such digital inputs shall be provided The digital inputs shall utilize a 3 pin XLR female connector and an RCA connector The digital inputs shall conform to the AES EBU standard and S PDIF standard respectively The ISP shall be capable of delivering digital output signals conforming to the AES EBU or ...

Page 129: ...3 Disconnect the ribbon wire jumper between the analog and digital boards It is sufficient to remove disconnect only one end 4 Remove four 6 32 x 1 4 screws from the shield surrounding the analog board Remove the shield 5 Unlock the inserts within the four XLR connectors see procedure elsewhere in this section 6 Slide the analog board towards the front of the unit then lift it clear of the chassis...

Page 130: ...nel Board Removal 1 Disconnect all of the ribbon wire connectors from the digital board 2 Loosen the setscrew on the Wheel and remove it 3 Rotate the two gain controls until you can see the two setscrews on the shaft coupler near the circuit board mounted potentiometer Loosen the screw located towards the front of the unit and slide the knob and shaft out of the chassis Repeat for the remaining ga...

Page 131: ... 94 G Presets and Other Stuff This appendix contains material that defies categorization or inclusion elsewhere You ll find things like the Preset Programs list a Programmer s Worksheet and the MIDI implementation table ...

Page 132: ...ock 3 Pk Shlf Hz dB Oct DE ESS Attk Rel Abs Thr Rel Thr NR Rel Thr Abs Thr Freq IN OUT ms ms dB dB IN OUT dB dB Hz DYNAMICS Status Attack Release Ratio Threshold Expander IN OUT ms ms dB Compressor IN OUT ms ms dB AGC IN OUT ms ms dB SEt Param SEt Param DELAY Mix Delay 1 Delay 2 Feedback Filter Mod Rate Mod Depth Level ROC Delay ROC Osc Type Random Sine Triangle OUTPUT Output Level Output Pan Outp...

Page 133: ...cks Pitch Bender X O Realtime MIDI blocks Control Change X 07 Volume 10 Pan 32 Bank Select Any using realtime MIDI blocks Program Change True X O 0 127 Program 1 128 System Exclusive O O System Common Song Pos Song Sel Tune X X X X X X System Real Time Clock Commands X X X X Aux Messages Local ON OFF All Notes OFF Active Sense Reset X X X X X X Notes Mode 1 OMNI ON POLY Mode 3 OMNI OFF POLY Mode 2...

Page 134: ...lange Female Female EQ settings with light flanger effect 13 141 Supremes Bright EQ settings with flutter echoes 14 142 Speech Leveling Female AGC program with EQ set for female speech 15 143 Aggressive bright narration AGC set for intelligibility 16 144 Mellow narration Close intimate sound 17 145 FM Disc Jockey 1 Morning show 18 146 FM Disc Jockey 2 Drive time show 19 147 FM Disc Jockey 3 Midnig...

Page 135: ... 58 186 E Guitar Chorus 1 Fat chorus for electric guitar 59 187 E Guitar Chorus 2 Really fat chorus for E guitar Sweetening and Effects RAM ROM Name Description 60 188 Bad Audio Restoration EQ set to brighten signal stereo image widening 61 189 Tape Transfer Mastering Light compression 62 190 Tape Transfer Voice De essing and noise reduction EQ set for voice 63 191 Basic Echo Adjust Feedback contr...

Page 136: ...iption 100 228 Panner Output Levels attached to oscillator adjust rate control for faster or slower panning 101 229 Doppler effect Output level and band 1 frequency attached to oscillator 102 230 Compressor Sidechain Filter 30Hz shelf 103 231 Compressor Sidechain 200Hz shelf 104 232 Compressor Sidechain 500Hz shelf 105 233 Compressor Signal Delay Look ahead compressor with signal delayed Maximum 1...

Page 137: ... to zero any user program 1 127 in the 601 for creating new programs or for starting over Note Program 256 works by overwriting the selected RAM location 1 127 with a set of rational settings Use this program to create a fresh starting point for a program of your own or for when one of your programming efforts turns into Godzilla and must be destroyed Some of the preset programs modify parameters ...

Page 138: ...G 8 Rev 2 2 10 31 94 Notes ...

Page 139: ...eters Table 14 C 9 tutorial 2 6 default pan table C 20 delay 7 14 chorus 7 15 delay filter table C 19 delay time table Table 40 C 18 feedback table C 19 flanging 7 14 making echoes 7 14 modes 4 13 modulation 2 9 7 14 7 15 parameters Table 16 C 9 settings 7 14 tutorial 2 9 diagram simplified block 6 1 differences digital analog 2 1 digital inputs 4 14 inputs and outputs 3 5 output 5 1 DIGITAL IN SY...

Page 140: ... setting general 7 11 gain reduction display 4 4 global parameter offset table C 7 global parameters Table 10 C 8 headroom display 4 2 tutorial 2 1 impedance input and output 3 2 matching 3 1 initializing 4 19 InP 4 14 input ac 5 1 analog 5 1 digital 5 1 selector 4 14 installation requirements 7 1 leave edit 4 17 LeaveEdit 4 1 LED clip 4 2 line 4 3 mic 4 3 level matching 3 1 loading programs 4 1 4...

Page 141: ...ources 6 2 compressor 7 13 de esser 7 12 delay 7 14 digital sources 6 4 downward expander 7 13 equalizer 7 11 gain 2 1 MIDI channel 4 15 MIDI unit number 4 15 noise reduction 7 12 scenarios 4 17 store and recall 7 10 setup data request C 5 signal levels 3 2 specifications 12 1 Stand alone Operation 7 2 storing programs 4 16 switch AGC 4 8 AGC attack 4 8 AGC release 4 8 bypass 4 14 compressor attac...

Page 142: ...Table 7 C 6 identify response Table 8 C 6 inaccessable parameters 7 9 input modes 1 1 input output clock 7 7 installation requirements 7 1 log converter paramters Table 21 C 11 makeup gain Table 38 C 18 memory protection 4 16 miscellaneous parameters Table 25 C 13 noise reduction Table 15 C 9 normalized pan input Table 45 C 21 output level Table 31 C 15 output parameters Table 22 C 11 parameter ma...

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