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RDS/RBDS and SCA injections are read on the
CARRIER MODU-
LATION
display
(2)
using the scale below the readout.. Typical-
ly, RDS/RBDS will be in the 4% to 5% range, and SCAs up around
10%.
38kHz
“Residual”
Stereo-FM broadcasting encodes the L–R ‘stereo-difference’ in-
formation as a double-sideband, suppressed-carrier signal that
is added to the L+R (mono) program. Historically, this DSB
subcarrier was generated with analog multiplier circuits, and
these had to be carefully balanced to null (suppress) the 38kHz
carrier frequency completely. Although modern FM stereo gen-
erators employ digital techniques to generate the entire com-
posite baseband signal, regulating agencies may nonetheless
still specify a maximum level for the 38kHz residual compo-
nent in the absence of audio modulation.
For measuring the 19kHz stereo pilot and analog or digital sub-
carriers, a narrow filter is used to extract the targeted signal
from the composite baseband. The pilot and subcarriers are
protected by guardbands, or a dead space above and below.
Sidebands of the 38kHz stereo subchannel, on the other hand,
can, in theory, extend right down to the subcarrier frequency.
Thus program modulation
must be turned off to
get a meaning-
ful measurement of any residual 38kHz component. What
shows on the display when program information is present is
low-frequency stereo-difference information.
Demod Metering
The default mode for
DEMOD METERING
(7)
displays left- and
right-channel program material with the
LEFT / RIGHT
indicator
(8)
lighted.
Use the
SELECT
button (
11)
to cycle the
DEMOD METERING
display
(7)
to show stereo sum and difference. The
L+R / L–R
indicator
(9)
will light, but headphones continue to monitor the
L/R stereo program.
Unless something is terribly wrong (like one channel missing
entirely), the L+R sum will always have more energy than the
L–R difference. In the real world this energy rule applies to
nearly all recorded music. Two notable exceptions are: 1) pop
music that has been processed with ‘spatial enhancement’ de-
vices that augment the stereo difference information, and: 2)
classical music that has been recorded as ‘true binaural’ using
only two microphones. (Nearly all popular music is initially
recorded as a number of monaural tracks, and then manipulat-
ed to create an artificial ‘stereo soundstage’ during the mix-
down process.)
In some instances the L+R and L–R meters may be close in val-
ue, but the L–R meter should generally lag the L+R meter by at
least a few dB. For voice announcements without background
music, or for other mono sources, the L–R indication may drop
almost off-scale.
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