
62
Issue 21
TX500 series technical manual
5
Hardware configuration
This section has been provided as a guide to the settings required on each of the boards
contained within the system, including the DVE. The Pro-Bel module number, where
applicable, is listed in brackets for ease of identification. These numbers can be found on the
card ejectors.
To access the Pro-Bel cards, open the frame doors as shown in section 2. To open the Snell
& Wilcox DVE frame, remove the four screws from the front corners and pull the door
forward to remove.
The switch/jumper and LED numbers indicated in the table are silk-screened onto the
boards themselves beside the relevant part.
5.1 5029 Audio Mixer
The 5029 is a nine input, six output digital audio mixer, compatible with Dolby-E signals. It is
designed to fit into an TX mixer frame equipped with a TX500 series rear panel. The basic
module provides operation for balanced synchronous AES inputs and outputs only; however
it has been designed to accept unbalanced AES signals via a special build of TX500 series
rear panel. Any other format of audio must be converted by external ICON cards.
5.1.1 Dolby-E compatible functions
The 5029 card has DSP code that enables detection of Dolby-E signals on the PGM and
PST inputs this is done by looking at SMPTE-337 header information. This mode alters the
way it handles transitions by changing them into cuts at the appropriate time. The 5029
Mixer can detect all the current forms of Dolby data: 16, 20 and 24 bit word-lengths, all the
supported encoded bit rates and any Coding Mode (5.1, 7.1, 3/2 etc.).
5.1.2 Transitions and Voice-Overs
Whenever Dolby-E is detected on the PGM path, the DSP is set to bypass the co-efficients
inside and the output becomes an exact copy of the input. This means that any content-
modifying operation can no longer be used; no Voice-Overs can be added to the mix, no
fade to or from silence can be performed, and the only way to change from the PGM to the
PST is to perform a cut.
For clean cuts between two Dolby-E signals, both signals must be aligned to the vertical
interval of the video reference locking the TX500 system. If both the PGM and PST are
Dolby-E and aligned with each other, a cut takes place from the PGM Dolby-E to the PST