Extron electronic DMP 64 User Manual

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DMP 64

Digital Matrix Processor

User Guide

Audio Products

Mixers and Processors

68-1790-01 Rev. C

04 13

Safety Instructions

Safety Instructions • English

WARNING: This symbol, , when used on the product, is intended to

alert the user of the presence of uninsulated dangerous voltage within the product’s enclosure that may present a risk of electric shock.

ATTENTION: This symbol, , when used on the product, is intended to alert

the user of important operating and maintenance (servicing) instructions in the literature provided with the equipment.

For information on safety guidelines, regulatory compliances, EMI/EMF compatibility, accessibility, and related topics, see the Extron Safety and Regulatory Compliance Guide, part number 68-290-01, on the Extron website, www.extron.com.

Instructions de sécurité • Français

AVERTISSEMENT: Ce pictogramme, , lorsqu’il est utilisé sur le

produit, signale à l’utilisateur la présence à l’intérieur du boîtier du produit d’une tension électrique dangereuse susceptible de provoquer un choc électrique.

ATTENTION: Ce pictogramme, , lorsqu’il est utilisé sur le produit,

signale à l’utilisateur des instructions d’utilisation ou de maintenance importantes qui se trouvent dans la documentation fournie avec le matériel.

Pour en savoir plus sur les règles de sécurité, la conformité à la réglementation, la compatibilité EMI/EMF, l’accessibilité, et autres sujets connexes, lisez les informations de sécurité et de conformité Extron, réf. 68-290-01, sur le site Extron, www.extron.fr.

Sicherheitsanweisungen • Deutsch

WARNUNG: Dieses Symbol auf dem Produkt soll den Benutzer darauf

aufmerksam machen, dass im Inneren des Gehäuses dieses Produktes gefährliche Spannungen herrschen, die nicht isoliert sind und die einen elektrischen Schlag verursachen können.

VORSICHT: Dieses Symbol auf dem Produkt soll dem Benutzer

in der im Lieferumfang enthaltenen Dokumentation besonders wichtige Hinweise zur Bedienung und Wartung (Instandhaltung) geben.

Chinese Simplified（简体中文）

警告：产品上的这个标志意在警告用户该产品机壳内有暴露的危险

电压，有触电危险。

注意：产品上的这个标志意在提示用户设备随附的用户手册中有

重要的操作和维护(维修）说明。

关于我们产品的安全指南、遵循的规范、EMI/EMF 的兼容性、无障碍使用的特性等相关内容，敬请访问 Extron 网站 www.extron.cn，参见 Extron 安全规范指南，产品编号 68-290-01。

Chinese Traditional（繁體中文）

警告: 若產品上使用此符號，是為了提醒使用者，產品機殼內存在著

可能會導致觸電之風險的未絕緣危險電壓。

注意 若產品上使用此符號，是為了提醒使用者。

有關安全性指導方針、法規遵守、EMI/EMF 相容性、存取範圍和相關主題的詳細資訊，請瀏覽 Extron 網站：www.extron.cn，然後參閱《Extron 安全性與法規遵

守手冊》，準則編號 68-290-01。

Japanese

警告: この記号が製品上に表示されている場合は、筐体内に絶縁されて

いない高電圧が流れ、感電の危険があることを示しています。

注意: この記号が製品上に表示されている場合は、本機の取扱説明書に

記載されている重要な操作と保守(整備)の指示についてユーザーの

  注意を喚起するものです。

安全上のご注意、法規厳守、EMI/EMF適合性、その他の関連項目については、エクストロンのウェブサイト www.extron.comより

『Extron Safety and Regulatory Compliance Guide 』 (P/N 68-290-01) をご覧ください。

Weitere Informationen über die Sicherheitsrichtlinien, Produkthandhabung, EMI/EMF-Kompatibilität, Zugänglichkeit und verwandte Themen finden Sie in den Extron-Richtlinien für Sicherheit und Handhabung (Artikelnummer 68-290-

01) auf der Extron-Website, www.extron.de.

Instrucciones de seguridad • Español

ADVERTENCIA: Este símbolo, , cuando se utiliza en el producto,

avisa al usuario de la presencia de voltaje peligroso sin aislar dentro del producto, lo que puede representar un riesgo de descarga eléctrica.

ATENCIÓN: Este símbolo, , cuando se utiliza en el producto, avisa

al usuario de la presencia de importantes instrucciones de uso y mantenimiento recogidas en la documentación proporcionada

con el equipo.

Para obtener información sobre directrices de seguridad, cumplimiento de normativas, compatibilidad electromagnética, accesibilidad y temas relacionados, consulte la Guía de cumplimiento de normativas y seguridad de Extron, referencia 68-290-01, en el sitio Web de Extron, www.extron.es.

Korean

경고: 이 기호 , 가 제품에 사용될 경우, 제품의 인클로저 내에 있는

접지되지 않은 위험한 전류로 인해 사용자가 감전될 위험이 있음을 경고합니다.

주의: 이 기호 , 가 제품에 사용될 경우, 장비와 함께 제공된 책자에 나와

있는 주요 운영 및 유지보수(정비) 지침을 경고합니다.

안전 가이드라인, 규제 준수, EMI/EMF 호환성, 접근성, 그리고 관련 항목에 대한 자세한 내용은 Extron 웹 사이트(www.extron.co.kr)의 Extron 안전 및 규제 준수 안내서, 68-290-01 조항을 참조하십시오.

FCC Class A Notice

This equipment has been tested and found to comply with the limits for a Class A digital device, pursuant to part15 of the FCC rules. The ClassA limits provide reasonable protection against harmful interference when the equipment is operated in a commercial environment. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instruction manual, may cause harmful interference to radio communications. Operation of this equipment in a residential area is likely to cause interference; the user must correct the interference at his own expense.

NOTE: For more information on safety guidelines, regulatory compliances, EMI/EMF compatibility,

accessibility, and related topics, see the “Extron Safety and Regulatory Compliance

Guide” on the Extron website.

Trademarks

All trademarks mentioned in this guide are the properties of their respective owners.

The following registered trademarks

(R)

, registered service marks

RGBSystems, Inc. or Extron Electronics:

Registered Trademarks

AVTrac, Cable Cubby, CrossPoint, eBUS, EDID Manager, EDID Minder, Extron, Flat Field,GlobalViewer, Hideaway, Inline, IP Intercom, IP Link, Key Minder, LockIt, MediaLink, PoleVault, PowerCage, PURE3, Quantum, SoundField, System Integrator, TouchLink, V-Lock, VersaTools, VNMatrix, VoiceLift, WallVault, WindoWall

Registered Service Mark

AAP, AFL (Accu-Rate Frame Lock), ADSP (Advanced Digital Sync Processing), AIS (Advanced Instruction Set), Auto-Image, CDRS (Class D Ripple Suppression), DDSP (Digital Display Sync Processing), DMI (Dynamic Motion Interpolation), Driver Configurator, DSP Configurator, DSVP (Digital Sync Validation Processing), FastBite, FOXBOX, IP Intercom HelpDesk, MAAP, MicroDigital, ProDSP, QS-FPC (QuickSwitch Front Panel Controller), Scope-Trigger, SIS, Simple Instruction Set, Skew-Free, SpeedMount, SpeedNav, SpeedSwitch, Triple-Action Switching, XTP, XTP Systems, XTRA, ZipCaddy, ZipClip

(SM)

: S3 Service Support Solutions

Trademarks (™

(SM)

, and trademarks

(®)

)

(TM)

are the property of

Conventions Used in this Guide

Notifications

The following notifications are used in this guide:

DANGER: A danger indicates a situation that will result in death or severe injury.

WARNING: A warning indicates a situation that has the potential to result in death or

severe injury.

CAUTION: A caution indicates a situation that may result in minor injury.

ATTENTION: Attention indicates a situation that may damage or destroy the product or

associated equipment.

NOTE: A note draws attention to important information.

TIP: A tip provides a suggestion to make working with the application easier.

Software Commands

Commands are written in the fonts shown here:

^AR Merge Scene,,Op1 scene 1,1 ^B 51 ^W^C

[01] R 0004 00300 00400 00800 00600 [02] 35 [17] [03]

E X! *X1&* X2)* X2#* X2! CE}

NOTE: For commands and examples of computer or device responses mentioned

in this guide, the character “0” is used for the number zero and “O” is the capital letter “o.”

Computer responses and directory paths that do not have variables are written in the font shown here:

Reply from 208.132.180.48: bytes=32 times=2ms TTL=32

C:\Program Files\Extron

Variables are written in slanted form as shown here:

ping xxx.xxx.xxx.xxx —t

SOH R Data STX Command ETB ETX

Selectable items, such as menu names, menu options, buttons, tabs, and field names are written in the font shown here:

From the File menu, select New. Click the OK button.

Specifications Availability

Product specifications are available on the Extron website, www.extron.com.

Introduction ................................................... 1

About This Guide ............................................. 1

About the DMP64 Digital Matrix Processor ..... 1

Features .......................................................... 2

DMP64 Application Diagram ........................... 4

Installation ..................................................... 5

Mounting the DMP64 ..................................... 5

Rear Panel Features and Cabling ..................... 5

USB Configuration Port (Front Panel) ........... 8

Hardware Operation ...................................... 9

DMP64 Operation........................................... 9

Front Panel Operation .................................... 10

Rear Panel Operation .................................... 11

Power Cycle .............................................. 11

Firmware Updates ..................................... 11

Reset Actuator and LED Indicator .............. 12

Digital I/O Ports ......................................... 13

DMPSoftware .............................................. 14

Software Control............................................ 14

Embedded Web Pages.................................. 15

Windows-based Program Control .................. 15

Installing the DSP Configurator Program .... 15

Install the USB Driver ................................. 17

DSP Configurator Program Basics ................. 18

Starting the Program ................................. 18

Using the Program ..................................... 18

Navigation ................................................. 20

Cut, Copy, or Paste Functions ................... 20

DSP Configurator Toolbar Menus ............... 22

Presets Drop-down ................................... 26

Mode Buttons ........................................... 26

Audio Level, Mix-point, Processing Blocks,

and Signal Chains ......................................... 27

Level Control Blocks .................................. 28

Processor Blocks....................................... 28

Mic/Line Input Signal Controls ....................... 30

Gain Control (GAIN) .................................. 30

Filter (FILT) ................................................ 31

Feedback Suppressor (FBS) ...................... 41

Dynamics (DYN)......................................... 45

Delay (DLY) ................................................ 50

Ducking (DUCK) ........................................ 51

Ducking Configuration .............................. 52

Ducker Tutorials ............................................. 54

Pre-mixer Gain (GAIN) ................................ 55

Line Output Channels .................................... 56

Loudness (LOUD) ...................................... 56

Delay Block (DLY) ..................................... 58

Filter Block (FILT) ....................................... 58

Dynamics Block (DYN) .............................. 58

Volume Control (VOL) ............................... 59

Virtual Bus Returns ........................................ 60

Filter (FILT) ................................................. 60

Dynamics (DYN)......................................... 60

Loudness (LOUD) ...................................... 60

Gain (GAIN) ............................................... 60

Primary Mix Matrix ......................................... 61

Mix-point Behavior: .................................... 62

Mix-point Examples ................................... 64

Secondary Mix Matrix .................................... 67

Group Masters .............................................. 69

Group Members ........................................ 69

Grouped Controls ...................................... 69

Configuring a Group Master ....................... 71

Deleting a Group Master ............................ 72

Viewing and Using a Group Master ............ 72

Add a Group .............................................. 72

Tools .......................................................... 73

Soft Limits ................................................. 74

Digital I/O Ports ............................................. 75

Reinitialize Digital I/O .................................. 76

Emulate Mode and Live Mode ....................... 76

Synchronizing ............................................ 76

Selecting Live Mode and

Pushing or Pulling Data ............................. 77

vDMP64 • Contents

Presets .......................................................... 81

Previewing and Recalling a Preset ............. 81

Building a Preset ........................................ 82

Protected Configuration ................................. 84

Save Protected Configuration .................... 84

Recall Protected Configuration................... 84

Change PIN ............................................... 84

DSP Configurator Windows Menus ............... 85

Keyboard Navigation ................................. 85

Optimizing Audio Levels ................................ 88

About Setting Gain Structure ..................... 89

Setting Input Gain ...................................... 89

Setting a Nominal Output Level.................. 89

Adjusting Pre-mixer Gain ........................... 90

Setting Output Gain Structure .................... 90

Setting Mic/Line Input and Mix Levels ........ 91

Adjusting Trim ............................................ 91

Setting Volume Control for the

Amplifier Stage ......................................... 91

SIS Programming and Control ................... 92

Connection Options ....................................... 92

RS-232 Ports ............................................ 93

USB Port (Front Panel) ............................... 93

Ethernet (LAN) Port .................................... 93

Verbose Mode ........................................... 94

Host-to-device Communications ................... 95

DMP64-initiated Messages ....................... 95

Password Information ................................ 95

Error Responses ........................................ 96

Simple Control Port Commands -

Telnet and Web-browser Accessible ......... 97

Command and Response Table for

Basic SIS Commands .................................. 98

Command and Response Tables for

DSP SIS Commands .................................. 103

Symbol definitions ................................... 104

Special Characters ...................................... 104

HTML Operation ........................................ 120

Download the Startup Page ......................... 120

Status Tab ................................................... 122

System Status Page ................................ 122

Configuration Tab ........................................ 123

System Settings Page ............................. 123

Passwords Page...................................... 126

Firmware Upgrade Page .......................... 127

File Management Tab .................................. 131

File Management Page ............................ 131

Control Tab .................................................. 132

Audio Settings Page ................................ 132

Group Controls Page ............................... 134

Presets Page ........................................... 135

Special Characters ...................................... 135

Reference Information .............................. 136

Firmware Loader ......................................... 136

DMP64 Hardware Reset Modes ................. 138

Mounting the DMP64 ................................. 139

Tabletop Use ........................................... 139

UL Rack Mounting Guidelines .................. 139

Rack Mounting ........................................ 139

Furniture Mounting................................... 139

Table or Wall Mounting ............................. 139

DMP64 • Contents vi

Introduction

This section describes this manual and the DMP64, including:

• About This Guide

• About the DMP64 Digital Matrix Processor

• Features

• DMP64 Application Diagram

About This Guide

This guide contains installation, configuration, and operating information for the ExtronElectronicsDMP64ProDSP™ Digital Matrix Processor, software-controlled digital audio processor.

In this guide, the DMP64 can also be referred to as “the mixer” or “device.”

About the DMP64 Digital Matrix Processor

The DMP64 is a standalone audio matrix processor with six microphone/line inputs and four line outputs. Using high-quality 24-bit A/D converters sampling at 48kHz, input signals are converted into the digital domain where Digital Signal Processing algorithms process and mix the signals using Extron floating point ProDSP™ technology. The DMP64 uses a dual-matrix design providing virtual processing busses, with audio signal processing available in any of the input, virtual, and output signal paths. A dual matrix mixer with virtual paths provides extremely flexible architecture, allowing for versatile processing, mixing, and routing scenarios.

The DMP64 is IP Link®-enabled, connecting to a host computer via the Ethernet port for fast configuration and setup. Dual RS-232 ports on the rear panel, plus a USB port located on the front panel provide convenient high-speed access. Six digital I/O ports permit connection of switches and sensors to provide input to the system for triggering a variety of actions within the device.

The DMP64 has no front panel controls therefore, all configuration is performed using the Extron DSP Configurator™ program from a host computer connected by any of the communication ports: RS-232, USB or Ethernet. Signal present and clip LEDs for the six input channels and four output channels are provided on the front panel.

Two operational modes, Live and Emulate, allow a user to work offline from the device to set up a configuration and create presets and group controls as needed before placing the configuration in the DSP 64. DSP Configurator settings developed offline can be saved to disk as a job file to be uploaded to the device at a later time, or can be transferred directly to the device by switching to Live mode. Up to 32 full or partial presets and up to 32 group master controls can be created, loaded into, and stored in the DMP64. The presets and controls can then be recalled through DSPConfigurator, or a control system using Simple Instruction Set(SIS™) commands. Control systems connected to the device either by RS232 or Ethernet can control a limited subset of DMP64 functions using SIS commands.

DMP64 • Introduction 1

Features

• Consumer and professional audio compatibility — Input and output line level can

be set to consumer (–10dBV) or professional (+4dBu).

• Inputs — Six balanced or unbalanced mic/line on 3.5 mm, 3-pole captive screw

connectors.

• Outputs — Four balanced or unbalanced on 3.5 mm, 3-pole captive screw

connectors.

• ProDSP™ audio signal processing — Features 32- and 64-bit floating point

audio DSP processing providing wide dynamic range and maintaining audio signal transparency while preventing DSP signal clipping and simplifying management of gain staging.

• Pro-grade hardware — Studio grade 24-bit, 192 kHz analog-to-digital and

digital-to-analog converters sampling at 48 kHz.

• Low latency DSP processing — The DSP engine supports a large array of

concurrent audio processing within an audio channel and across multiple channels, while maintaining extremely low latency from input to output.

• DSP Configurator software — Powerful, user-friendly PC-based software tool

for managing all audio operations of the DMP64. Enables complete setup and configuration of digital audio processing tools on the ProDSP platform, as well as routing and mixing.

• Intuitive graphical user environment — The DSP Configurator Software features

a Graphical User Environment with a clear view of all input and outputs, audio processing blocks, routing, mix points, and virtual routing in a single window. This allows a designer or installer to quickly view all audio activities without having to access multiple windows or menus.

• SpeedNav keyboard navigation — SpeedNav enables user-friendly, keyboard-

based navigation of the DSP Configurator Software without the need for a mouse or touchpad. Using keyboard navigation keys and shortcuts, a user can access any input or output, mixing points, and all audio DSP tools. Using only the keyboard for software access can help expedite audio system setup and commissioning while on-site using laptop PCs.

• Copy and paste for processing blocks — To help speed audio system design

and setup, parameter settings can be quickly copied between individual processing blocks or identical groups of blocks within the Graphical User Environment, using conventional cut-and-paste commands.

• 32 DSP Configurator presets — Using the DSP Configurator software, parameters

for DSP processing, signal levels, or audio routing can be saved as presets. These settings can be saved for the entire system, or any selected group of inputs, outputs, mixing points, and DSP blocks.

• Six digital I/O ports for remote control or feedback — Six configurable digital I/O

ports are provided that enable the DMP64 to sense and respond to external triggers such as mic activation and muting.

• Dual matrix design — The DMP64 employs a dual matrix design with substantial

flexibility to rout, mix, and process audio input sources. A primary matrix routes each input to any or all four outputs. If desired, any of the six inputs can first be directed into a secondary matrix, which routes the inputs to four virtual buses before being mixed back to the outputs via the primary matrix. Virtual buses allow for inputs to be grouped together and then processed with the same DSP settings and parameters, simplifying system setup and control.

DMP64 • Introduction 2

• Group masters — The DMP64 provides the capability to consolidate gain or mute

control throughout the system. Any gain or mute block within the Graphical User Environment can be selected and added to a group master, which can then be controlled by a single master fader and mute control. Each group master can have up to 16 blocks, and up to 32 group masters can be created.

• Soft limits — Soft limits can be applied to group master faders. Minimum and

maximum limits can be specified and controlled via RS-232 serial control.

• Source signal presence and clipping LEDs — The DMP64 provides indicator

LEDs on the front panel for each input and output providing real-time monitoring of signal presence. A separate set of LEDs illuminates as a warning when signal clipping is detected.

• Flexible control options — The DMP64 can be controlled using the DSP

Configurator Software and a PC connection to the IP Link Ethernet port, the RS-232 serial port, or the USB 2.0 port on the front panel.

• Front panel USB configuration port — Enables configuration without having to

access the rear panel.

• RS-232 serial control port — Using serial commands, the DMP64 can be

controlled and configured via the Extron Windows®-based control program, or integrated into third-party control systems using Extron Simple Instruction Set (SIS™) commands. With two RS-232 serial ports plus the IP Link Ethernet port, the DMP64 offers possibilities for control in single and divisible room applications.

• Two RS-232 ports — The DMP64 is equipped with both primary and secondary

RS-232 serial ports for divided room applications.

• IP Link® Ethernet monitoring and control — Engineered to meet the needs

of professional A/V environments, IP Link enables the DMP64 to be proactively monitored and managed over a LAN, WAN, or the Internet, using standard TCP/IP protocols.

• Versatile mounting options — Rack-mountable 1U, half rack width metal

enclosure.

• Universal power supply — The 100-240 VAC, 50-60 Hz, international power supply

provides worldwide power compatibility.

DMP64 • Introduction 3

DMP64 Application Diagram

AUDIO INPUT

OUTPUT

RGB

LISTED

1T23

U S

I.T.E.

Y, B-Y, R-Y

DVI

RGB

R-Y

VID

B-Y

VID

100-240V 50-60Hz

Extron IN1508

Scaling Presentation Switcher

Desk Microphones

VCR

DVD

DOC CAM

LAPTOP

OFF

DISPLAY MUTE

SCREEN

RS-232

OUTPUT

4 5

Extron TLP 700TV

7" TouchLink

DOWN

™

Ethernet

Tabletop Touchpanel

TCP/IP

Network

Extron IPL 250

Laptop

IP Link Ethernet Control Processor

2 RELAY 1

COM 2

4 RELAY

TXRX

G S G

COM1

RT SC TS

TXRX

COM 3

S G

INPUT

3 4

LAN

POWER 12V 500mA MAX

RS-232 (1)

RESET

LAN

TxRx G

Extron

RS-232 (2)

1 2 3 G

REMOTE

I/O

TxRx G

6 G

4 5

MIC

OUTPUTS

+48V

1 2 3

5 6

DMP 64

POWER

12V

1.0A MAX

MIC/LINE INPUTS

RS-232

DMP 64

Digital Matrix

XPA 2003C -70V

70V

CLASS 2 WIRING

OUTPUTS

4/8

HPF

CH 3

80 Hz

OFF

INPUTS

LEVEL

LIMITER/

REMOTE

PROTECT

TIMER DISABLE

STANDBY

SIGNAL

1.3A MAX

100-240V 50/60 Hz

GREEN - ACTIVE AMBER - STANDBY

Listed

17TT AUDIO/VIDEO

Extron XPA 2003C 70V

Combo Power Amplier

APPARATUS

Extron SI 28

Surface-Mount Speakers

Processor

Extron SI 26CT

Two-Way Ceiling Speakers

DMP64 • Introduction 4

Installation

ab cdefghi

This section describes the installation of the DMP64, including:

• Mounting the DMP64

• Rear Panel Features and Cabling

Mounting the DMP64

The 1U high, half rack width, 9.5 inch deep DMP64 Digital Matrix Processor can be:

• Set on a table,

• Mounted on a rack shelf,

• Mounted under a desk or tabletop, or

• Mounted on a projector bracket.

For detailed mounting options and UL rack mounting guidelines (see Mounting the

DMP64 on page139).

Rear Panel Features and Cabling

DMP 64

POWER

12V

1.0A MAX

MIC/LINE INPUTS

Figure 1. DMP64 Rear Panel

NOTE: Control signal ground pins may be labeled as or “G”. Audio ground pins may

be labeled as or . The wiring and function are the same, whichever way your product is labeled.

MIC

+48V

123

456

123 G

I/O

OUTPUTS

456 G

RS-232 (1)

Tx Rx G

RS-232 (2)

REMOTE

Tx Rx G

LAN

RESET

DMP64 • Installation 5

a Power connector — Connect the included 12 VDC external power supply into the

2-pole 3.5 mm captive screw connector. Be careful to observe the correct polarity.

Smooth

Ridges

Power Supply

Output Cord

SECTION A–A

Tie Wrap

Smooth

2-Pole Orange Captive Screw

Connector

3/16”

(5 mm) Max.

Ridges

(12V)

Figure 2. Power Supply Wiring

Use the supplied tie-wrap to strap the power cord to the extended tail of the connector.

ATTENTION:

• The two power cord wires must be kept separate while the power supply is

plugged in. Remove power before wiring.

• Always use a power supply speciﬁed by Extron Electronics for the DMP64. Use

of an unauthorized power supply voids all regulatory compliance certiﬁcation and may cause damage to the supply and the DMP64.

• When connecting the power supply, voltage polarity is extremely important.

Applying power with incorrect voltage polarity could damage the power supply and the DMP64. Identify the power cord negative (ground) lead by the ridges on the side of the cord or a black heat shrink wrapping around it.

• Unless otherwise stated, the AC/DC adapters are not suitable for use in air

handling spaces or in wall cavities. The power supply is to be located within the same vicinity as the Extron AV processing equipment in an ordinary location, Pollution Degree 2, secured to the equipment rack within the dedicated closet, podium or desk.

• The installation must always be in accordance with the applicable provisions of

National Electrical Code ANSI/NFPA 70, article 75 and the Canadian Electrical Code part 1, section 16. The power supply shall not be permanently ﬁxed to building structure or similar structure.

NOTES:

• The length of the exposed (stripped) copper wires is important. The ideal length

is 3/16 in (5mm). Longer bare wires can short together. Shorter wires are not as secure in the direct insertion connectors and could be pulled out.

• Do not tin the stripped power supply leads. Tinned wires are not as secure in the

captive screw connectors and could be pulled out.

• To verify the polarity before connection, check the no load power supply output

with a voltmeter.

• To avoid losing adjustments when conﬁguring the DMP64 via SIS commands,

issue a 2FF or if using the Extron DSPConﬁgurator, select Tools > Save

changes to device to store the latest changes to the device. Wait several

minutes after saving the adjustments before disconnecting power.

DMP64 • Installation 6

b Mic/Line 1-6 input connectors — 3-pole 3.5 mm double-stacked captive screw

(5 mm) MAX. (typ)

Audio INPUT Wiring

Balanced Input

Sleeve

Ring

Tip

Sleeve

Jumper

Unbalanced Input

connectors accept balanced or unbalanced mono mic or line level signals. Mic/line inputs provide gain settings to accommodate consumer (–10dBV) and professional (+4dBu) operating line level sources, plus microphone level sources. Up to six mono microphones or line inputs, balanced and unbalanced in any combination can be connected to these inputs. See the following diagram for wiring instructions.

(5 mm) MAX. (typ)

Tip

Ring

Sleeve

Balanced Input

Tip

Sleeve

Jumper

Unbalanced Input

Figure 3. Balanced or Unbalanced Mic and Line Input Wiring

c Phantom Power indicators — These green LED indicators light when +48V

phantom power is placed on the corresponding mic/line input. Phantom power is not adjustable.

ATTENTION:

• Condenser microphones require phantom power. Dynamic microphones do

not require power.

• Never set an unbalanced dynamic microphone to 48 V. Doing so can

damage the microphone. For condenser mics, verify the microphone will safely operate at +48 VDC.

d Mono output connectors — 3-pole 3.5 mm captive screw connectors provide

balanced or unbalanced connections for mono line level output signals.

(5 mm) MAX. (typ)

Tip

Ring

Sleeve

Balanced Output

ATTENTION:

the ground contact. DO NOT connect the sleeve to the negative (−) contacts.

Figure 4. Output Connector Wiring

Tip

NO Ground Here

Sleeve

Unbalanced Output

For unbalanced audio, connect the sleeve to

DMP64 • Installation 7

e Digital I/O output connectors — A double-stacked 4-pole 3.5 mm captive screw

RxTx

connector provides six configurable digital input or output ports allowing connection to various devices such as motion detectors, alarms, lights, LEDs, buttons, photo (light) sensors, or temperature sensors.

Digital I/O ports are used to monitor or drive TTL level digital signals. The inputs

can be configured to operate in one of two modes: digital input or digital output. In OUTPUT mode, the device can source up to 250mA at +5 V. In INPUT mode, voltages greater than 1 V indicate a logic 'high' signal while voltages less than 1 V indicate a logic 'low'.

All digital I/O ports are tied to a common ground (one common ground for each

4-pole connector), but can be individually configured to operate in one of two modes: digital input or digital output.

NOTE: These ports can be configured via the DSP Configurator (see Digital I/O

Ports on page75 for additional information).

3 "

(5 mm) MAX.

Do not tin the wires!

-or-

Figure 5. Digital I/O Wiring

f RS-232 connector — Two stacked 3-pole 3.5 mm captive screw connectors,

labeled RS-232 (1) and RS-232 (2), are available for bi-directional RS-232 (±5V) serial control. Default baud rate is 38400.

RS-232 Device

Do not tin the wires!

Transmit (Tx) Receive (Rx)

Ground ( )

Bidirectional

Transmit (Tx)

Receive (Rx) Ground ( )

Figure 6. RS-232 Wiring

g LAN (RJ-45) connector — A standard RJ-45 jack accepts an RJ-45 plug for

Ethernet connection.

• A yellow (ACT) LED indicates data activity on the connection.

• A green (Link) LED indicates the jack is connected properly to the network.

See SIS Programming and Control on page92 for additional information on Ethernet cabling.

h Reset button — The reset button is used to return the DMP64 to different tiers of

default states and to place the unit into an event recording mode for troubleshooting (see DMP64 Hardware Reset Modes on page138).

USB Configuration Port (Front Panel)

A front panel configuration port uses an Extron USB A Male to USB Mini B Male Configuration Cable (part number 26-654-06) for connection to a PC computer and the USB port (see Install the USB Driver on page17 for USB driver installation details).

DMP64 • Installation 8

Hardware Operation

This section describes the the operation of the DMP64, including:

• DMP64 Operation

• Front Panel Operation

• Rear Panel Operation

DMP64 Operation

The DMP64 does not have physical controls. Configuration and operation are accomplished using a PC running Windows XP or newer and the DSPConfigurator software (available on the included disc or at www.extron.com), an embedded web page using Windows Internet Explorer, or the Extron Simple Instruction Set (SIS™) using hyper-terminal or DataViewer.

The DMP64 has several front and rear panel operational indicators described in the following pages.

DMP64 • Operation 9

Front Panel Operation

bc da

CONFIG

CLIP

SIGNAL

INPUTS

123 456

CLIP

SIGNAL

OUTPUTS

1234

DIGITAL MATRIX PROCESSOR

DMP 64

Figure 7. DMP64 Front Panel

Power LED — The power indicator lights when the DMP64 is operational.

Configuration connector — The USB 2.0 port uses a mini type-B connector to

connect to a host computer for control. The DMP64 USB driver must be installed prior to using the port (see Install the USB Driver on page17).

The DMP64 appears as a USB peripheral with bi-directional communication. The USB connection can be used for software operation (see Windows-based Program

Control on page15), and SIS control (see Software Control on page14).

Input Indicators — Stacked red (signal clipping) and green (signal present) LEDs for

inputs 1 – 6 . Each column represents one input channel.

The green signal LED varies in brightness corresponding to the real-time input signal level. It begins to light at – 60dBFS increasing in fifteen steps to full intensity as the signal level increases. When the signal reaches – 3dBFS or above, the red clipping LED lights and remains lit as long as the signal remains above – 3dBFS. When it falls below that level, the red LED remains lit for 200 milliseconds, after which the display resumes real-time monitoring of the signal level.

Output Indicators — Stacked red (signal clipping) and green (signal present) LEDs

for outputs 1 through 4. Each LED column represents one output channel.

The green signal LED varies in brightness corresponding to the output signal level. It begins to light at – 60dBFS increasing to full intensity corresponding to signal level increases. When the signal level reaches – 3dBFS or above, the red clipping LED lights and remains lit as long as the signal remains above – 3dBFS. When it falls below that level, the red LED remains lit for 200 milliseconds, after which the display resumes real-time monitoring of the signal level.

DMP64 • Operation 10

Rear Panel Operation

ab cdefghi

DMP 64

POWER

12V

1.0A MAX

MIC/LINE INPUTS

Figure 8. DMP64 Rear Panel

MIC

+48V

123

456

123 G

I/O

OUTPUTS

456 G

RS-232 (1)

Tx Rx G

RS-232 (2)

REMOTE

Tx Rx G

LAN

RESET

a b d e f

See Rear Panel Features and Cabling on page5 for details.

c Phantom Power indicators (MIC +48V) — These green LED indicators light solid

when +48 V phantom power is placed on the corresponding mic/line input. Phantom power is not adjustable.

ATTENTION:

• Condenser microphones require phantom power. Dynamic microphones do

not require power.

• Never set an unbalanced dynamic microphone to +48V. Doing so can

damage the microphone. For condenser mics, verify the mic will safely operate at +48 VDC.

• When a line level source is connected, be certain the +48V phantom power

is off (unchecked).

g LAN — The LAN connector has a green LED that lights solid to indicate proper

connection to an active LAN and a yellow LED that blinks to indicate data activity.

h Reset — The reset actuator initiates system resets (see Reset Actuator and LED

Indicator on page12).

i Power/Reset LED — The green LED indicator adjacent to the reset button

duplicates the front panel LED operation (see Reset Actuator and LED Indicator on page12).

Power Cycle

Current mixing and audio processor settings (the current state of the device) are saved in nonvolatile memory. When the unit is powered off, all settings are retained. When the unit is powered back on, it recalls settings from the nonvolatile memory. If a configuration was in process during the power down, these saved mix, audio level, and audio DSP processor settings become active.

On power up the unit performs a self-test. The front and rear power indicator LEDs flash during the test, then light solid when the unit is available for operation or programming.

Firmware Updates

The firmware of the DMP64 can be updated through Ethernet, USB, or RS-232 connection. The user can obtain new firmware from the Extron website, or from an Extron Applications Engineer via e-mail. After obtaining the new firmware, upload it to the unit via the served web pages (see HTML Operation on page120), using the Firmware

Loader in the DSPConfigurator program (see DMPSoftware on page14), or using

the Extron standalone FirmwareLoader software application available on the included disc or at www.extron.com.

DMP64 • Operation 11

Reset Actuator and LED Indicator

Rear Panel

A recessed button (h) on the rear panel initiates several reset modes. The rear panel LED (i) blinks to indicate the reset mode.

LAN

RESET

Figure 9. Reset button and LED

Hardware Reset Modes:

NOTE: The reset modes listed below will close all open IP and Telnet connections,

and close all sockets.

The reset modes have separate and distinct functions. Additional information is available (see DMP64 Hardware Reset Modes on page138).

Each reset LED flash lasts for 0.25 seconds.

MODE 1 — Firmware reset:

1. Disconnect power to the DMP64.

2. Press and hold the reset button.

3. Apply power to the device while holding the reset button.

Mode 1 will:

• Return the firmware to the version shipped with the unit from the factory. This

allows recovering a unit with incorrect or corrupt firmware.

• Maintain all user files and settings.

NOTE: Some user web pages may not work correctly if returning the unit to an

earlier firmware release.

MODE 3 — Events reset:

1. Apply power to the DMP64.

2. Press and hold the reset button until the reset LED blinks once (~3 seconds).

Release the reset button,

3. Within one(1) second press the reset button again to toggle events on or off,

depending on the current state.

• If event logging is currently stopped, following the momentary (<1 sec.) press,

the reset LED will flash twice indicating events logging has started.

• If any events are currently running, following the momentary press, the reset

LED will flash three times indicating that events logging has stopped.

If a momentary press does not occur within 1 second, the events logging status before entering reset will remain.

DMP64 • Operation 12

MODE 4 — IP Address reset:

1. Apply power to the DMP64.

2. Press and hold the reset button about 6seconds until the reset LED blinks twice.

Release the reset button.

3. Within (1) second, press the reset button again to reset the IP settings.

If a momentary press does not occur within 1 second, the reset will be ignored.

Mode 4 will:

• Enable ARP program capability

• Set the IP address back to factory default (192.168.254.254)

• Set the Subnet back to factory default (255.255.0.0)

• Set the Gateway back to factory default (0.0.0.0)

• Set the Digital I/O Port mapping back to factory default

• Turn DHCP off

• Turn Events logging off

MODE 5 — Factory default reset:

1. Apply power to the DMP64.

2. Press and hold the reset button until the reset LED blinks 3 times (~9 seconds),

then release.

3. Momentarily (<1 second) press the reset button to return the DMP64 to factory

default conditions.

If a momentary press does not occur within 1 second, the reset is exited.

The default (reset) state of the device is:

• All mix-points set to 0dB gain and muted.

• All outputs active (unmuted, 100% volume).

• No inserted or active DSP processing.

• All audio inputs are set to 0dB gain and muted.

• All preset and group master memory is clear (empty).

Digital I/O Ports

The dual 4-pin Digital I/O ports monitor or drive TTL level digital signals. The ports consist of two banks of three I/Os with the fourth pin used as a ground, providing six ports total. The DSP Configurator software provides selection from a list of scripts, that can be loaded to the DMP64. The scripts provide pre-configured sets of functions.

From the main structure menu, click Tools > Configure Digital IO to access the scripts (see Digital I/O Ports on page75).

DMP64 • Operation 13

DMPSoftware

This section describes the control software for the DMP64, including:

• Software Control

• Embedded Web Pages

• Windows-based Program Control

• DSP Configurator Program Basics

• Audio level, Mix-point, Processing Blocks, and Signal Chains

• Mic/Line Input Signal Controls

• Ducker Tutorials

• Line Output Channels

• Virtual Bus Returns

• Primary Mix Matrix

• Secondary Mix Matrix

• Group Masters

• Digital I/O Ports

• Emulate Mode and Live Mode

• Presets

• Protected Configuration

• DSP Configurator Windows Menus

• Optimizing Audio Levels

Software Control

The DMP64 can be controlled using the DSPConfigurator software, SIS commands through hyper terminal or DataViewer, or using embedded WebPages. IPLink functions will be available through network connection including global viewer functionality.

The DMP64 has the following connection options:

• RS-232 — One single stack 3-pole, 3.5 mm captive screw connector is used for

• LAN — 10 Mbps, 100 Mbps, halfduplex, full duplex connections are supported. Two

• USB 2.0 — A Mini B-type USB connector located on the front panel provides

bi-directional RS-232 (±5 V) serial control.

See Rear Panel Features and Cabling on page5, for additional details on connecting the RS-232 port.

LEDs indicate connection and activity status. The device has the following default Ethernet configurations:

IP Address: 192.168.254.254 Default Gateway: 0.0.0.0

Subnet Mask: 255.255.0.0 DHCP: OFF

See Rear Panel Features and Cabling on page5, and Connection Options on page92 for additional details on connecting the LAN.

high-speed USB 2.0 connectivity to a host computer, backward compatible to 1.0.

DMP64 • Software Control 14

Embedded Web Pages

The embedded web pages, accessible by LAN using a web browser, include the following information, available in a tabbed interface.

• System Status — The opening web page, displaying a report of system status

parameters.

• Configuration — This tab contains the following menu items.

• System Settings. Contains IP address and date/time settings.

• Passwords. Enter/re-enter admin and user password fields to set up password

protected access.

• Firmware Upgrades. Browse/upload firmware to the device.

• File Management — Delete or upload files

• Control — Contains the following menu items:

• Audio Settings. Includes mix matrix, input and output gain control.

• Group Controls. Provides access-only to the group controls.

• Presets. Used to save new presets created on Audio Settings page.

See HTML Operation on page120 for further details.

Windows-based Program Control

The DSP Configurator Control Program is compatible with Windows 2000, WindowsXP, and Vista, and provides remote control of the input gain/attenuation, output volume output adjustment, and other features.

DSP Configurator can control the DMP64 using any of the three control ports, RS-232, USB, or LAN.

Updates to this program can be downloaded from the Extron website at

www.extron.com.

Installing the DSP Configurator Program

The program is contained on the Extron Software Products disk.

Install the software as follows:

1. Insert the disk into the drive

DMP64 • Software Control 15

2. Click the Software tab or software icon.

NOTE: If the DVD setup program does not start automatically, run Launch.exe

from the DVD ROM directory using Windows “My Computer”.

Figure 10. DVD Software Menu

3. Scroll to the DSP Configurator program and click the Install text to its right.

Figure 11. DVD Control Software Menu

4. Follow the on-screen instructions. By default, the installation creates a

C:\Program Files\Extron\DSP_Configurator folder for the DSPConfigurator

program.

5. When the DSP Configurator installation is complete, the USB Installer starts

automatically (see Install the USB Driver on page17). Extron recommends the USB drivers be installed whether they are used immediately or not.

DMP64 • Software Control 16

Install the USB Driver

When the USB installer begins, follow these instructions.

1. When the driver installation window appears (see figure 12), click Next to proceed.

Figure 12. USB Installer Splash Screen

2. The driver installer launches (see figure 13).

Figure 13. USB Driver Installation

DMP64 • Software Control 17

3. When the installer has completed the installation of the USB drivers, the following

screen appears (see figure 14):

Figure 14. Successful USB Driver Installation

4. Click Finish.

USB driver installation is complete.

DSP Configurator Program Basics

Starting the Program

NOTE: Extron recommends connection via the Ethernet LAN port for running the

DSPConfigurator program.

Using the Program

To run the DSP Configurator Program, click

Start > Programs > Extron Electronics > DSP Configurator > DSP Configurator.

The DSP Configurator program starts in Emulate mode (see figure 15, next page). Also (see Emulate Mode and Live Mode on page76) for details of mode operation.

In Emulate mode, audio parameters can be selected, then transferred to the DMP64 by switching to Live mode (while connected to a DMP64). Audio settings can also be tailored while connected to the DMP64 which allows real-time auditioning of the audio output as adjustments are made (see Emulate Mode and Live Mode on page76).

DMP64 • Software Control 18

abcd

jhi

fge

Figure 15. DMP64 Configurator Program

The DSP Configurator program window consists of an input and virtual return signal processor chain, the main mixer, virtual send and receive (secondary) mixers, and an output signal processing chain.

a Mic/Line Input Gain control f Output signal processor chain b Mic/line input signal processor chain g Output volume control c Mic/Line input pre-mixer gain h Virtual Bus signal processor chain d Primary Mix-points i Virtual Bus Return (primary) mix-points e Output trim control (post-mixer trim) j Virtual Bus Send (secondary) mix-points

DMP64 • Software Control 19

Navigation

There are two methods of navigation around the interface:

• Keyboard • Mouse

One element in the user interface always retains focus. When a new DSP Configurator file is opened, the upper left element (Input #1 Gain) is focused by default.

Keyboard Navigation

All user interface elements, including mix-points, have the ability to receive focus using the tab and arrow keys or using the arrow keys following a single left-click. For additional details (see Keyboard Navigation on page85).

Mouse Navigation

Left-click. A single click brings focus to a processor block, as well as other interface elements such as tabs, sliders, check boxes. Other left-click actions follow the Windows standard.

Right-click. A single right-click brings up a context menu specific to the processor block right-clicked. Other right-click actions follow the Windows standard.

Double-click. A double-click opens a dialog window from either the focused or unfocused state of an element.

Cut, Copy, or Paste Functions

The user can cut, copy, or paste a processor. The actions can be performed from a:

• Context menu accessed by a right-click of the processor,

• Using the Edit menu,

• Using standard Windows keystrokes:

• <Ctrl+X> = cut

• <Ctrl+C> = copy

• <Ctrl+V> = paste

Multiple elements can be acted upon but the blocks copied must be compatible with the desired paste blocks. A highlighted group of elements can be cut or copied to a clipboard. The clipboard contents can then be pasted, but only succeeds if there is an exact one-to-one relationship between the clipboard contents and the block or blocks pasted.

In the following example, the Mic #1 input signal path is copied to Mic #5. First, click the mouse and drag it across the entire signal path. The selected blocks are highlighted in green. Press <Ctrl+C>, or use the Edit > Copy menu selection to copy the blocks.

DMP64 • Software Control 20

As shown below, the starting point for the paste, (the upper, leftmost element), must first be focused by left-clicking the mouse on it. Note the green focus outline that appears on the Mic #4 Gain block. The clipboard elements are pasted using the context menu Paste command, the Edit>Paste command, or <Ctrl+V>.

NOTE: A cut and copy of elements can be pasted to multiple locations. To copy the

clipboard to an additional location, click on the leftmost block and paste again.

The program warns that all settings in the section being pasted to will be overwritten:

After clicking Yes, the entire Mic #4 input path is now identical to the Mic #1 input path including signal levels, parameter settings, and mute/bypass selections.

Any single processor block can be copied, then pasted to a similar processor block in the same or different input, virtual or output signal path. Mix-point gains can be copied from one to another; however, input gain, pre-mixer gain, post-mixer trim, and output volume cannot. Mix-point settings can be freely copied between mix-points. The user is always asked whether they want to overwrite the existing information. If an attempt is made to copy a processor block setting to an incompatible block, the user is advised the action cannot be completed.

DMP64 • Software Control 21

DSP Configurator Toolbar Menus

The DSP Configurator contains the following structural menus, arranged horizontally below the title bar:

File

NOTE: New, Open, and Recent Files are unavailable in Live

mode.

• New — Discards the current DSP configuration (after prompting to

save any changes) and opens a blank configuration file.

• Open — Loads and activates a previously saved DSP

configuration file.

• Save — Saves all changes to the current DSP configuration file

under the current file name. If the file has not previously been saved, prompts for a file name.

• Save As — Saves all changes to the current DSP configuration

file under a new file name.

• Backup — Transfers all partial presets plus the current configuration to a DSP

configuration file within the DSP Configurator program.

• Recent Files — Opens a list of recently opened or saved DSP configuration files.

• Exit — Closes the DSP Configurator Program.

Edit

• Cut — Removes all parameters of a selected

processor block or set of selected blocks to the clipboard. If not followed by a Paste command to a different block, the parameters are restored.

NOTE: Processor blocks are not removed from the processor stream after a

Cut and a subsequent Paste operation. Only the parameters are moved.

Processor blocks and their parameters can be pasted only into another block of

the same type. For example, the input 1 filter block and all of its parameters can be copied to the input 2 filter block but not to the input 1 delay block.

• Copy — Copies all of the parameters of a selected processor block, gain block, or

set of selected blocks to the clipboard.

• Paste — Inserts processor blocks and their parameters from the clipboard into the

selected location.

DMP64 • Software Control 22

View

• Meter Bridge — Opens a Meters dialog box with

real-time meters that monitor signal levels at each input and output.

NOTE: Meter Bridge is available in Live mode only while connected using

the LAN port.

Figure 16. Meter Bridge

• Re-enable all dialogs — Re-enables all dialog boxes, the pop-up windows

that allow changes to block parameters.

• Error log — Lists error messages as a troubleshooting tool.

• Group Controls — Opens the Group Controls dialog box (see Group Masters on

page69).

Tools

The Tools menu contains the following items and sub-menu:

• Presets — Provides three options:

• Mark All Items — Mark (select) all parts of the

• Protected Configuration — Live mode only. Allows a user (typically the

current configuration (excluding presets), including processors and mix-points to save as a partial preset.

• Save Preset — Save the currently marked

processors, and mix-points as a partial preset.

• Clear Marked Items — Unmark (deselect) all parts

of the current configuration (excluding presets), including processors and mix-points.

installer) to save and recall a protected configuration. The protected configuration is useful to establish parameters and values (with the exception of the device IP address) in a known state, either as a troubleshooting tool or as a baseline configuration. A protected configuration, once saved in the device, is always present and cannot be overwritten without entering a user-defined Personal Identification Number (PIN) password. The protected configuration is restored without a PIN.

NOTE: The default PIN is 0000.

• Save — Save the current configuration (excluding presets), including processors

and mixes as a password protected configuration. The DSPConfigurator program prompts for a PIN to save.

• Recall — Recall the protected configuration.

• Change PIN — Change the PIN associated with the protected configuration.

DMP64 • Software Control 23

• Configure Digital I/O Ports — Live mode only. Opens a utility to configure

digital I/O ports. The DMP64 provides six digital I/O ports that can be used to trigger external events from DMP64 actions, or for external events to trigger DMP actions (see Digital I/O Ports on page75).

• Connect to/Disconnect from Device (depending on Emulate or Live

mode) — Performs the same functions as the Mode Emulate and Mode Live buttons.

• Issue RESET Command — Initializes and clears the following: mix-points, presets,

processor blocks, and gain blocks. This reset is identical to the E ZXXX} SIS command (see SIS Programming and Control on page92).

• Save changes to device — Live mode only. Saves configuration changes

made in the DSPConfigurator program to the DMP64.

• Firmware Loader — Calls the Firmware Loader program, which allows updates

without taking the DMP64 out of service (see Firmware Loader on page136).

• Configure Groups — Opens the configure groups dialog box (see Group

Masters on page69).

• Device Settings — Live mode only. Opens a dialog box providing a means to

change the IPaddress, set administrator and user passwords, and select the serial port baud rate.

• Options — Opens a tabbed dialog box to customize the DSPConfigurator

appearance and operation.

• Colors — Tailor the appearance of

the various graphs and dialog boxes.

Appearance uses a selected color scheme

for the complimentary and graph colors.

Complimentary Colors allows custom

selection of colors used with the various graphs and dialog boxes. Graph colors change the row colors containing the information and descriptions of the graphs seen in the processor blocks.

• Preferences — The startup splash screen contains options to select the

device to connect to, or to “Always ask” on startup. The selection can be changed using Default Device.

• If Show Meters is set to True, Dynamic

Block Meters is used to tailor the

appearance of the dynamics meters to use the full meter to show input and gain reduction, or to show the level based on the output and gain reduction.

DMP64 • Software Control 24

• Processor Defaults,

Reset All Defaults — Returns the DMP64 processor and level control blocks to factory default settings. Each processor and gain/volume/trim block also has an individual default reset.

• Processor Defaults,

Defaults

— Individually selects the default parameters for the various processor, trim, and gain blocks.

Each row item contains default settings customized for the processor, filter, trim, or gain block it represents.

Gain and volume blocks can be initially muted, while filter and dynamics processor blocks can be initially bypassed.

NOTE: The bypass function is labeled Enable.

• To view the individual processor defaults, press the + button on the name of the

processor, trim, gain or meter device.

Window Menu

• Cascade — Rearranges all open DSP Configurator program

windows, including dialog boxes, in a cascading array.

• Close All Windows — Closes all open dialog boxes.

• Individual Windows — Brings the associated dialog box to the front of the desktop.

Help selection

The Help menu contains the following elements:

• Contents — Opens the Help file at the Contents tab.

• Search — Opens the Help file at the Search tab.

• About... — Displays the name of the application, the current version number, and

NOTE: Help can be activated by pressing the <F1> key from the main screen.

When a dialog box is open the <F1> key opens context-specific help. .

DMP64 • Software Control 25

Presets Drop-down

Displays a list of up to 32 presets. Select a preset from the list to display it in the window and either activate it (Recall), abort the selection without either recalling or deleting it (Cancel), or delete it (Delete).

NOTE: An asterisk in the drop-down list indicates a partial preset exists only in

the DMP64 and has not been uploaded to the DSPConfigurator.

Mode Buttons

Provides selection between Live mode and Emulate mode. See

Emulate Mode and Live Mode on page76 for more information.

Backup

When in Live mode (connected to a DMP64), if presets exist in the DMP64 that are not present in the DSPConfigurator program (indicated by an asterisk next to the preset name), the function halts and prompts the user to run a backup.

Backup (File>Backup) transfers all partial presets plus the current configuration from the DMP64 to a DSP configuration (.edc) file within the DSP Configurator program and then displays a prompt to save the file to the hard drive. Backup is unavailable when the DSPConfigurator program is in Emulate mode.

DMP64 • Software Control 26

abcd

fge

Figure 17. Control Blocks and Processor Chains

Audio Level, Mix-point, Processing Blocks, and Signal Chains

Outlined in red above (see figure 17), all control blocks on the main DSP user interface have one of three main functions in the overall signal chain:

• Level control (gain, trim, and volume),

• Mix-point (signal routing), or

• Signal processing (filter, feedback, dynamics, delay, duck, and loudness).

The signal chain varies depending on whether it is in the input, output, or virtual bus stage. The input chain begins with a level control (GAIN), filter (FILT), feedback suppression (FBS), two dynamics (DYN) and a delay (DLY) processor, followed by ducking (DUCK) and a pre-mixer gain (GAIN) control. The output chain begins with a level control (post-mixer trim [TRIM]), loudness (LOUD), delay (DLY), filter (FILT), and dynamics (DYN) processing blocks, and an output volume control (VOL). Each virtual bus chain has a filter (FILT), a dynamic processing block (DYN), loudness (LOUD), and output trim control (GAIN). All mix-points have a gain control.

Each of the three signal processing chains; Input (a, b, c), Output(e,f,g), and Virtual (h) (see figure 17), consist of a series of control blocks of two basic types specific to that chain: level control (gain, trim, and volume control), and signal processors (frequency filters, feedback suppression, dynamics, delay, ducking, and loudness). Both types of control blocks are always present in the chains. Gain controls default to unmuted and processor blocks are bypassed upon insertion.

Gain, trim and volume blocks can be muted and processor blocks (after being inserted) can be bypassed for signal comparison. Mutes and bypasses are shown by a red indicator in the lower left of the block.

Figure 18. Input Gain Control Muted, Dynamics Processor Bypassed

DMP64 • Software Control 27

Level Control Blocks

Double-click the

To access a gain, trim or volume control to view a setting, make a change, or observe a live audio meter (input gain and output volume blocks only), double-click the gain block icon (see figure 19). This action opens a dialog box that contains the fader for that control.

Double-click a gain, trim, or volume control.

A dialog box opens, containing the full fader control.

NOTE: In Emulate mode (the

startup mode), the meter is not operational.

Figure 19. Accessing a Typical Gain Control Dialog Box

Processor Blocks

Each processor block represents a menu of one or more processors that can be inserted into the audio stream. For blocks that provide more than one processor, only one can be selected. Each block can be inserted by a double-click or right-click>Insert then selecting the desired processor (see figure 20). When a block is inserted, the selected processor is displayed in the block and the block changes color. Processor blocks default to bypassed. To have them default to “not bypassed,” see Tools on page23.

processor block.

Click the desired

-orRight-click the

processor block.

processor.

Click insert.

Figure 20. Selecting a Processor Block

The selected processor is displayed in the block.

To change processor variables, double-click the block again to open the processor dialog box.

Click to select the desired processor.

DMP64 • Software Control 28

Once a processor is inserted, to view associated parameters that define the selected processor (such as a frequency curve) or to remove the bypass, double-click on the processor block. This action opens a new window with a dialog box that contains parameters for the processor (see figure21).

Figure 21. Sample Processor Dialog Box

• The Set Defaults button discards all custom settings and

reloads the default parameters.

• The Bypass button temporarily suspends the processing without

without removing the processor block. Red indicates the processor is bypassed.

By default, each processor block is bypassed when inserted (the Bypass button in the processor dialog box is red). This can be changed for each processor block type, see

Tools>Options and the specific defaults for the processor types.

NOTE: Figure 21 is an example of one type of dialog box. Contents and appearance

of each dialog box are unique to the processor type.

The block can be removed from the signal chain by selecting it with a single mouse click and pressing the keyboard <Delete> key or by right-clicking and selecting Delete.

DMP64 • Software Control 29

Mic/Line Input Signal Controls

The input signal processor chain allows adjustments to program or microphone audio material before input to the main mixer.

Gain Control (GAIN)

The gain control provides a single long-throw fader with a range of –18dB to +80dB, adjustable in 1 dB increments with the fader, or in 0.1dB increments using direct entry in the input signal level readout below the fader. The peak reading meter holds the peak level for one second, displaying it numerically in the box below the meter. The default setting is unity gain (0.0dB).

The Phantom Power checkbox, accessible in the dialog box, toggles the +48 VDC phantom power on and off. Phantom power is typically used to power a condenser microphone.

The Mute button, accessible in the dialog box, silences the input.

The Polarity button, accessible in the dialog box, allows the polarity of the wires connected to the audio connectors (+/tip and –/ring) to be flipped to correct for miswired connectors.

Fader Handle

Input

Signal Level

Readout

DMP64 • Software Control 30

Filter (FILT)

Each filter block allows a total of five filters. The first filter is inserted from a processor list that appears when the block is double-clicked or from a context window that shows a processor list when the block is right-clicked.

Figure 22. Insert Filter Menu

Once inserted, double-click the processor block to change parameters of the filter. After the first filter is inserted, up to four additional filters can be added to the filter block using the dialog box. Select the desired filters from the following list using the drop-down boxes:

• High pass filter — A high pass filter passes a band of frequencies extending from a

specified cutoff frequency (greater than zero) up toward the high end of the frequency spectrum. All frequencies above the specified cutoff frequency are allowed to pass, while all frequencies below are attenuated. The default cutoff is 100 Hz.

• Low pass filter — A low pass filter passes a band of frequencies extending from a

specified cutoff frequency (less than infinite) towards the lower end of the frequency spectrum. All frequencies below the specified frequency are allowed to pass, while all frequencies above are attenuated. The default cutoff is 10 kHz.

• Bass and treble filters — Also known as shelving or tone controls, the separate

bass and treble filters provide the ability to cut or boost gain linearly above or below a specific frequency, with the end-band shape giving the visual appearance of a shelf. The bass default frequency is 100 Hz and the treble default is 8 kHz.

• Parametric equalizer filter — The parametric filter is a frequency equalizer that

offers control of all parameters, including amplitude (the amount of gain/boost or gain reduction/cut applied), center frequency (frequency), and range of affected frequencies (Q) around the center frequency.

DMP64 • Software Control 31

Figure 23. Filter Block Dialog Box

Additional filters are inserted using the open filter block dialog box, and selecting a filter type from the drop-down filter selection list. All filter parameters are modified using the Filter block dialog box. Each filter is loaded with all applicable default parameters displayed to the right of each drop-down filter selection list.

DMP64 • Software Control 32

Figure 24. Filter Dialog Box, Filters Added

Within the dialog box, a filter is focused when a filter type is inserted, or is focused by clicking the filter number to the left of the filter selection drop-down list. Note how box3 (see figure 24) is highlighted in yellow, indicating it is the filter in focus. When bypassed, the results of the filter in focus (independent of other filters) will show in the graph as a dotted line the same color as its filter row. When active (not bypassed), the line is solid.

When multiple filters are enabled, the graph indicates the focused filter result (independent of other filters) in the color of the filter row in the type/parameters table below the graph. The composite response of all filters is displayed in red.

DMP64 • Software Control 33

Figure 25. Filter Dialog Box, Filter Not Bypassed

Above the graph, each filter has a "handle" (circled in red above for the parametric EQ filter) placed directly above the cutoff or center frequency. The handle number corresponds to the filter number (also outlined in red). Clicking a handle or clicking the table row brings focus to that filter. <Click+hold+dragging> the handle horizontally changes the cutoff or center frequency to a new position on the x axis.

The table below shows each filter type with default parameter settings. The table immediately following shows the range for each parameter.

Type Frequency Parameter 1 Parameter 2

Parametric 1000.0 Hz Boost/Cut: 0.0dB Q: 1.0

High Pass 100.0 Hz Slope: 6dB N/A

Low Pass 10000.0 Hz Slope: 6dB N/A

Bass (Tone) 100.0 Hz Boost/Cut: 0.0dB Slope: 6dB

Treble (Tone) 8000.0 Hz Boost/Cut: 0.0dB Slope: 6dB

Filter Parameter Settings Range

Frequency 20Hz to 20kHz

Tone (Boost/Cut) -24dB to +24dB

Q (Parametric EQ only) 0.707 to 15.000

Slope (HP & LP filters only) 1st Order (6dB) and 2nd Order (12dB)

DMP64 • Software Control 34

High Pass

The high pass filter allows frequencies below the specified frequency to pass unattenuated. All frequencies below the cutoff are attenuated.

The default cutoff is 100Hz.

Figure 26. High Pass Filter Response Curve

All frequencies lower than the specified frequency (in this example,100 Hz) are attenuated leaving the upper frequency response flat. Also note that at the specified frequency (100Hz) the signal is 3dB down, typical operation for high pass filters. The 3dB down point will remain constant regardless of the slope setting. Only the steepness of the frequency attenuation curve changes.

DMP64 • Software Control 35

Low Pass

The low pass filter is the opposite of the High Pass filter. All frequencies above the specified frequency are attenuated allowing lower frequencies to pass.

Figure 27. Low Pass Filter Response Curve

Here, the frequencies higher than the specified frequency, 10 kHz, are attenuated leaving the lower frequency response flat.

DMP64 • Software Control 36

Bass and Treble Shelving

Bass and treble shelving can be added to the filter. Also known as shelving or tone controls, the separate bass and treble filters provide the ability to cut or boost gain linearly above or below a selected frequency, with the end-band shape giving the visual appearance of a shelf.

Adding the filter automatically inserts both a bass and a treble control row. If only a bass or only a treble filter is required, either bypass the unneeded control or set it to Unused in the selection box (see row 3, row 4, and row 5 in figure 28).

Figure 28. Bass and Treble Shelving

The corner frequency of the controls can be selected to 0.1 Hz accuracy. Two slopes, 6and 12dB/octave are selectable along with the ability to boost or cut the signal up to24dB.

DMP64 • Software Control 37

Parametric (Equalizer)

The parametric filter is a frequency equalizer that offers control of all parameters, including amplitude (the amount of gain [boost], or gain reduction [cut] applied), center frequency (frequency), and range of affected frequencies (Q) around the center frequency.

Up to five parametric filters can be placed in the filter box at one time. Each can be set to a different frequency creating a five band parametric equalizer. The control boosts or cuts the center frequency. By changing the Q value, the range of affected frequencies is widened or narrowed around the center frequency. In general, a higher Q value results in a narrower affected bandwidth.

To demonstrate how Q affects the filter, see the following filter block (see figure 29) containing five parametric filters centered at different frequencies but with the same Q of 1.0. The filter in focus (c) has a center frequency of 1000 Hz boosting that frequency +12dB over a Q of 1.0. Note the markers on either side of the peak frequency are at 300Hz on the left and 3000 Hz on the right, a bandwidth of about 2700 Hz.

Figure 29. Parametric Filter Dialog Box, 1000 Hz

The dialog box (see figure 29) shows the frequency curve for the single active filter. To add its effect to the overall frequency response, remove the bypass on the other filters.

DMP64 • Software Control 38

By increasing the Q to 10.000, the center frequency remains the same. The markers show the bandwidth of the filter narrowed to between 900Hz and 1200Hz, or about 300Hz (see figure 30). Parametric filters can be used to notch out a very narrow, or very wide range of frequencies using the Q setting.

Figure 30. Parametric Filter at 1000 Hz, Q: 10.000

The dialog window above shows the frequency curve for a single active filter. To add its effect to the overall frequency response, remove the bypass on the other filters.

DMP64 • Software Control 39

The overall frequency response is now shown as a solid red line with the filter in focus (located in row 3 in figure 31) shown in the color of its table row.

Figure 31. All Parametric Filters Active

The parametric filter allows frequency selection accurate to 0.1Hz and either 6 or 12dB of slope. The 3dB down point remains constant regardless of the slope setting. Only the steepness of the frequency attentuation curve changes.

DMP64 • Software Control 40

Feedback Suppressor (FBS)

The Feedback Suppressor is used in live situations when there is an indication of feedback during live operation. Dynamic filters automatically detect feedback on a live microphone channel, and engage a set of up to 5 fixed and 15 dynamic filters to counteract frequency peaks at the detected feedback frequency. Up to 15 separate filters can be employed at any time. The 15 filters act in a FIFO (first in, first out) rotation. If all 15 filters are employed when an additional feedback frequency is detected, it overwrites the first detected feedback frequency and so on.

To avoid a new feedback frequency overwriting a previously detected one, up to five of the dynamic feedback frequencies can be placed into fixed filters. Once written into the fixed filters, the feedback frequency can only be overwritten by the user manually writing a new frequency to the filter.

The FBS dialog box has three tabs; Settings, Dynamic Filters and Fixed Filters. Global settings and view options are controlled from the Settings tab. Dynamic to fixed filter allocations are handled from the Dynamic filters tab. Filter parameters can be modified from the Fixed Filters tab.

The FBS Dialog box provides the following global buttons:

• Clear All — Clears all dynamic filter settings.

• Lock — Locks the dynamic filters to the current settings, preventing automatic

updates. This temporary mode is useful while testing the system, or during the time when dynamic filters are being converted to fixed filters. When the FBS display window is closed, lock mode is automatically disengaged.

• Bypass FBS — Turns off feedback detection when engaged (button is red). Only the

dynamic filters are bypassed. Fixed filters remain active.

• Set Defaults — Click once to return the FBS to default settings.

Figure 32. Feedback Suppressor

DMP64 • Software Control 41

FBS Settings

The Settings tab enables selection of the feedback suppressor parameters.

• For Composite View show: — The graph view is set by one of three buttons:

• Only Dynamic FBS Filters

• Only Fixed FBS Filters

• Dynamic & Fixed FBS Filters (default)

• Mode: Q — Adjusts the notch filter Q used by dynamic filters. Similar to the

parametric filter Q, it changes the bandwidth of the filter. The default setting can be modified in Tools>Options. The range is from 5 to 65. Larger values provide less change to the audio frequency response while lower values can provide greater feedback suppression but with more impact to the tonal response of the source audio. Suggested values for specific applications are:

Q Value Application

7 Voice with considerable feedback potential

30 Voice with less feedback potential

65 Music with minimal feedback potential

• Attack Time — Sets the time at which dynamic filters are generated after feedback

detection. A longer attack time (greater than 200 ms) reduces the chance that music or audio content will trigger the dynamic filters to respond. A shorter attack time (less than 2 ms) reduces the time between when feedback is detected and suppressed.

• Hold Time — Expressed in hours:minutes:seconds up to 9 hours. Hold time sets

the time a dynamic filter setting persists before the filter is cleared. When hold time is disabled, dynamic filters persist indefinitely unless cleared manually or the device is power cycled. Hold time reverts to 00:00:00 when disabled (Enable unchecked).

Figure 33. FBS Settings Tab

DMP64 • Software Control 42

FBS Dynamic Filters

This tab contains the fifteen dynamic filters, with a scroll bar to display filters hidden due to dialog box size.

Dynamic filters are notch filters that are cut only, providing attenuation up to 30dB at the specified Q. The default Q is set in the Tools>Options menu, but can be changed on the settings tab prior to engaging the FBS dynamic filters. Changing the Q setting after dynamic filters have been generated clears all dynamic filters.

Figure 34. FBS Dynamic Filters Tab

Frequency and cut values are read only. Dynamic filters are in auto-detect mode when the FBS block is active (when Bypass FBS is off). If testing reaches a point where no further changes are desired, the lock button can be engaged. The lock mode of operation is temporary, and is intended to be used during setup of the FBS. When the FBS dialog box is closed, lock mode is automatically disengaged.

If there are specific dynamic filters the user wants to assure are not overwritten, press the

Move to Fixed button to write the designated filter settings to the first available filter in the

Fixed Filter tab.

NOTE: When a dynamic filter setting is moved to the fixed filter, it automatically

clears that frequency from the dynamic filter.

The Clear button removes a detected frequency from the corresponding dynamic filter. A cleared filter reverts to auto-detect mode unless Lock mode is engaged.

DMP64 • Software Control 43

FBS Fixed Filters

Fixed filters are notch filters with an adjustable center frequency and Q, and up to 30dB of cut. The fixed filters are typically set by converting dynamic filters to fixed, however adjustments to filter parameters can be made manually from the Fixed Filters tab.

Fixed Filters are inactive and the filter type is set to Unused by default.

Figure 35. FBS Fixed Filters Tab

No filter parameters are displayed when the filter type is set to Unused. As a filter is moved to the fixed filter tab from a dynamic filter, the filter becomes active and displays

Notch as the filter type. The parameters copied from the dynamic filter are displayed in

the same line. Once a fixed filter is active, settings can be modified or adjusted if needed. Fixed filters can also be individually bypassed by clicking the Bypass button.

FBS Settings Ranges and Fixed Filter Defaults

FBS Parameter Settings Range Default Setting

Frequency 20 Hz to 20 kHz N/A

Q 5.000 to 65.000 30.000

Attack Time 0.0 ms to 1000.0 ms 10.0 ms

Filter Hold Time 0 seconds to 9 hours 00:00:00; Disabled

Fixed Filter Parameter Settings Range Default Setting

Frequency 20 Hz to 20 kHz 1000.0 Hz

Q 1.000 to 65.000 30.000

Cut Up to 30dB cut 0.0dB

DMP64 • Software Control 44

Dynamics (DYN)

A dynamics processor alters the dynamic range, the difference between the loudest to the quietest portions, of an audio signal. Each input channel provides two dynamics processor blocks that, when inserted, provide one of four types; AGC, Compressor, Limiter, or a Noise Gate processor.

To insert a processor into an empty block, select Insert from the processor menu. The menu appears when the block is double-clicked, or is accessed from a context menu that appears when the block is right-clicked.

Once the processor has been inserted, individual processor parameters can be changed in the dialog box, accessed by double-clicking the processor block. For comparison, the block can be bypassed by clicking a Bypass button.

All parameters are displayed in a text box with a resolution of 0.1 (dB or ms). Parameters are set by direct entry in the text box to replace existing text, then pressing <Enter>, <Tab>, or clicking to another area. Threshold, gain/attenuation, target, and ratio parameters have adjustment points on the graph display. Use the mouse to click +

drag the graph point to the desired destination or value. All time values have a horizontal

slider allowing adjustment in 1 ms increments by either a click + drag of the slider handle, or focusing on the slider, then using <Left> or <Right> arrow keys (<Page Up> and <Page Down> keys adjust in increments of 10 ms).

The table below lists factory default settings for each dynamics processor type and parameter.

Parameter AGC Compressor Limiter Gate

Threshold -40.0dB -30.0dB -10.0dB -65.0dB

Max Gain 12.0dB

Target -10.0dB

Window 12.0dB

Attack Time 500.0 ms 5.0 ms 2.0 ms 1.0 ms

Release Time 1500.0 ms 100.0 ms 50.0 ms 1000.0 ms

Ratio 2.0 :1 20.0 :1

Hold Time 0.0 ms 100.0 ms 50.0 ms 300.0 ms

Max. Attenuation 25.0dB

Soft Knee Off Off

Details of the individual dynamics blocks follow.

DMP64 • Software Control 45

Automatic Gain Control (AGC)

AGC adjusts the gain level of a signal based upon the input strength to achieve a more consistent volume. Below the set threshold, the signal is not affected. Above the threshold, weaker signals are boosted up to the maximum gain setting to reach a user-defined target level. As the signal approaches the target level it receives less gain or no gain at all. Once the signal reaches the target level all gain is removed. Click in each field to change the values.

Threshold — The input level where maximum gain will be applied (after the attack time is exceeded). On the graph at right, follow the red input level from the lower left to -40dB where the first red circle is. Signal levels less than -40dB remain at their original levels. All signal levels at or exceeding -40dB will have up to 12dB of gain applied (see Maximum Gain, below).

The threshold level can be adjusted from -80.0 to

0.0dB in 0.1dB increments. Default is -40.0dB.

Maximum Gain — The highest amplification applied to a signal exceeding the threshold and up to the lower limit of the window (see Window, below).

Maximum Gain can be set from 0.0dB to +60dB in

0.1dB increments. Default is 12.0dB.

Target — The desired average signal level of the output when AGC is applied. AGC can vary the gain according to the input signal level, specified target level and maximum gain. As the signal approaches the target level of –10dB, gain is reduced until at –10dB, gain is no longer applied.

The target level can be adjusted from -40dB to

0.0dB in 0.1dB increments. Default is –10.0dB.

Window — Indicated by the two yellow lines, is a specified range above and below the target level. Below the lower line maximum gain is always applied to the signal. When the signal reaches the window, gain control begins scaling in a linear fashion to achieve smoother results as the signal reaches the target level.

The window range can be set in 0.1dB increments from 0.0dB to 20.0dB. Default is 12.0dB.

Attack Time — Adjusts the time delay for AGC to engage after the input signal level reaches or exceeds the threshold level.

Attack time can be adjusted from 0.0 to 3000.0 ms in 0.1ms increments. Default is 500.0 ms.

Hold Time — Adjusts how long AGC continues after the input signal drops below the threshold and before release time begins.

Hold time can be adjusted from 0.0 to 3000.0ms in 0.1 ms increments. Default is 0.0 ms.

Release Time — Adjusts the time it takes to return the signal to normal (unprocessed) levels after the signal no longer exceeds the threshold level setting. Release time begins only after hold time is reached.

Release time can be adjusted from 10.0 to 10000.0 ms in 0.1ms increments. Default is 1500.0 ms.

DMP64 • Software Control 46

Compressor

The compressor regulates signal level by reducing (compressing) the dynamic range of the input signal above a specified threshold. The input level to output level ratio determines the reduction in the dynamic range beyond the threshold setting. For example, with a ratio setting of 2:1, for every 2dB of input above the threshold, the compressor outputs 1dB.

Compression is commonly used to contain mic levels within an acceptable range for maximum vocal clarity. A compressor can also make softer sounds louder in one of two ways. The dynamic range can be reduced by compressing the signal above the threshold while raising the post-compressor gain/trim (referred to as "make-up gain"). Alternately, the input signal can be increased while the compression ratio above the threshold is increased correspondingly to prevent clipping. Both techniques have the effect of making louder portions of a signal softer while at the same time increasing softer signals to raise them further above the noise floor.

Compression can also be used to protect a system or a signal chain from overload similar to a limiter. Click in each field to change the value.

Threshold — The input signal level above which compression begins (subject to attack time) and below which compression stops (subject to hold and release time).

The threshold level can be adjusted from

-80.0 to 0.0dB in 0.1dB increments.

Default is -30.0dB.

Ratio — The input signal level reduction when compression is engaged.

Ratio can be adjusted from 1.0 to 100.0 in

0.1 increments.

Default is 2.0:1.

Attack Time — Adjusts the time delay for compression to engage after the input signal level reaches or exceeds the threshold level.

Attack time can be adjusted from 0.0 to

200.0 ms in 0.1ms increments.

Default is 5.0 ms.

Hold Time — Adjusts how long compression continues after the input signal drops below the threshold and before release time begins.

Hold time can be adjusted from 0.0 to

500.0ms in 0.1 ms increments.

Default is 100.0 ms.

Release time can be adjusted from 10 to 1000.0 ms in 0.1 ms increments. Default is 100.0 ms.

Soft Knee — Select the Soft Knee checkbox to smooth and soften the transition from uncompressed to compressed output levels. There are no adjustments.

DMP64 • Software Control 47

Limiter

The limiter restricts the input signal level by compressing its dynamic range above a specified threshold. The limiter is most commonly used to prevent clipping, protecting a system against component or speaker damage. While the limiter is closely related to the compressor, it applies a much higher compression ratio of ∞:1 above the threshold. The ratio is fixed and cannot be changed. Click in each field to change the value.

Threshold — The input signal level above which limiting begins (subject to attack time) and below which compression stops (subject to hold and release time).

Threshold level can be adjusted from – 80.0 to 0.0dB in 0.1dB increments. Default is –10.0dB.

Attack Time — Adjusts the time delay for limiting to engage after the input signal level reaches or exceeds the threshold level.

Attack time can be adjusted from 0.0 to

200.0 ms in 0.1ms increments.

Default is 2.0 ms.

Hold Time — Adjusts how long limiting continues after the input signal drops below the threshold and before release time begins.

Hold time can be adjusted from 0.0 to

500.0ms in 0.1 ms increments.

Default is 50.0 ms.

Release time can be adjusted from 10 to 1000.0 ms in 0.1 ms increments. Default is 50.0 ms.

Soft Knee — Select the Soft Knee checkbox to smooth and soften the transition from uncompressed to compressed output levels. There are no adjustments.

DMP64 • Software Control 48

Noise Gate

The noise gate allows an input signal to pass only when it exceeds a specified threshold level. Above the threshold level, the signal passes unprocessed. Below the threshold the signal is attenuated at the rate set by the ratio adjustment. The typical setting of the noise gate threshold is just above any noise level in the environment or source equipment. That allows signals that are above the noise to pass, and attenuates the noise when there is no signal, eliminating background noise.

Threshold — The input signal level below which attenuation (gating) begins (subject to attack time) and above which gating stops (subject to hold and release time).

The threshold level can be adjusted from

-80.0 to 0.0dB in 0.1dB increments.

Default is -65.0dB.

Max Attenuation — The maximum attenuation of the signal when it drops below the threshold.

Maximum attenuation can be adjusted from

0.0 to 80.0dB in 0.1dB increments.

Default is 25.0dB.

Ratio — The input signal level reduction when gating is engaged.

The ratio can be adjusted from 1.0 to 100.0 in 0.1 increments. Default is 20.0:1.

Attack Time — Adjusts the time delay for gating to engage after the input signal level drops below the threshold level.

Attack time can be adjusted from 0.0 to

200.0 ms in 0.1ms increments.

Default is 1.0 ms.

Hold Time — Adjusts how long gating continues once the input signal rises above the threshold. If the signal is still above the threshold when hold time ends, release time begins.

Hold time can be adjusted from 0.0 to 500.0ms in 0.1 ms increments. Default is 300.0 ms.

Release Time — Adjusts the time it takes to return the signal to normal (unprocessed) levels once the signal has increased above the threshold level setting. Release time begins only after hold time is reached.

Release time can be adjusted from 10.0 to 1000.0 ms in 0.1 ms increments. Default is 1000.0 ms.

DMP64 • Software Control 49

Delay (DLY)

The delay processor, when inserted, provides a means to delay the audio signal. Audio delay syncs audio to video or can time-align speakers placed at different distances from the listener. The DMP64 can set delay by either of two criteria: time or distance (feet or meters).

The default units setting is time with a range of 0.0ms to 200.0 ms adjustable in 0.1 ms steps. Default is 100.0 ms.

Settings are controlled with a vertical slider and indicated with a value readout field. The value can be changed by clicking within the readout field, changing the number, then either pressing <Enter>, <Tab>, or clicking away from the field.

Figure 36. Delay Dialog

Slider adjustments made in feet or meters correspond incrementally to the distance required to make 1 ms or 5 ms adjustments (detailed in the table below). If more precision is required, enter time in 0.1 ms increments directly into the readout field.

Method Time Feet Meters

Click + drag 1 ms ~1.1 feet ~0.3 m

Focus + arrow 1 ms ~1.1 feet ~0.3 m

Focus + Page Up/Down 5 ms ~5.6 feet ~1.7 m

When distance (feet or meters) is chosen, the conditions (temperature) field becomes available and can be set either by degrees Fahrenheit or Celsius. When entering a distance, time delay compensation is automatically modified based on differences in the speed of sound due to air temperature.

Default is 70 degrees Fahrenheit.

NOTE: When using distance (feet or meters), set a temperature value first, then set

the distance.

DMP64 • Software Control 50

Ducking (DUCK)

Ducking provideds a means to duck, or lower, the level of one or more input signals when a specified source must take precedence. The ducking processor block, when inserted, provides a means to duck one or more mics and program material (ducking targets) when the processor detects a signal from the ducking source. Ducking lasts for the duration of the intertrupting signal (ducking source) determined by the threshold setting (plus hold and release time) and restores the original levels of the ducked inputs once the other signal has ceased.

Ducking can be useful when:

• Program material needs to be attenuated in order to more clearly hear a narrator

• One microphone, such as one used by a master of ceremonies, needs to have priority

• A paging mic needs to attenuate all other signals.

All ducking processor blocks are controlled by a common dialog box that opens when any of the ducking blocks are selected (see figure 37). All empty ducking processsor blocks have no ducking source or target settings by default.

When the first ducking processor is inserted, that input is automatically set to Enable

Mic/Line Source. All inactive ducking processor blocks have Enable Mic/Line Source unchecked by default.

voice.

over other mics, program material, or both.

Figure 37. Ducker Configuration Dialog

Any of the six inputs can be ducking sources. Any or all of the remaining inputs and virtual sends can be targets.

DMP64 • Software Control 51

Ducking Configuration

Ducking is configured in a dialog box that opens when an active ducking processor block is double-clicked (see figure 37 on the previous page).

Current source indicator

Shows the input selected as the ducking source. Ducker settings affect the input channel shown here. When a ducker dialog is opened for a channel, the current source defaults to that channel. The current source can also be selected by the priority readout/source selector (see below).

Enable mic/line source checkbox

When checked, ducking is enabled for the current source and the ducker processor block is lit. When unchecked, ducking is disabled for the current source. The ducker processor block is unlit.

a b c

Duck Targets:

Shows all potential input targets. Only inputs that are checked are ducked. The current source is not available as a target (a source cannot duck itself). If the current source is designated as a target of another input channel, that input channel is not available (a target cannot be the source).

Settings:

Used to configure the parameter settings for the ducker source. When a ducker block is copied, these settings are transferred.

Threshold — Sets the input signal level, indB, the ducking source must exceed before ducking begins. If ducking does not occur quickly enough to avoid loss of speech or program material from the ducking source, decrease this setting. If ducking occurs too soon, allowing background noise to trigger ducking, increase the setting.

The range is -60 to 0dB in 1dB increments. Default is -30dB.

Attack Time — Adjusts the time to duck the targets once the threshold is exceeded. The range is 0 to 3000 milliseconds in 1 millisecond increments. Default is 1millisecond.

Hold Time — Determines the time, in milliseconds, after a ducking source signal drops below the threshold before ducking ceases.

The range is 0 to 10000milliseconds in 1 millisecond increments. Default is 1000milliseconds (1second).

Release — Determines how long, in milliseconds, after the ducking source level is below the threshold and the hold time is met, the ducking targets take to restore signal levels.

The range is 10 to 10000 milliseconds in 1 millisecond increments. Default is 1000milliseconds (1second).

DMP64 • Software Control 52

Priority

Displays the hierarchy of ducking source to duck targets (see Ducking Priority below). Priority levels are displayed in tree fashion. Click an input channel to select that channel as the current source. The current source indicator (a) reflects the selected input channel.

By (dB): (Target gain reduction amount)

Individual attenuation settings for each duck target indB. If additional attenuation of a target is required, increase this value. The attenuation range is 80.0 to 0.0dB in 0.1dB increments. Default is 20.0dB.

Mix Status (for virtual returns):

Indicates whether the source is being routed to the virtual sends. This is a readout value only, shown for convenience during ducking configuration.

Ducking Priority

Multiple levels of ducking can be required enabling an input source to take precedence over all but one other input. In this example, inputs 2 through 6 are set to duck when Input #1 has a signal above the ducking threshold. Input#2 is set to duck inputs 5 and 6. Since Input #1 has previously been set to duck Input #2, Input #1 is disabled to prevent contradictory priorities.

Figure 38. Ducker Configuration, Input Priority

The priority tree outlined on the right side of figure 38 shows the inputs arranged by their priority status. Input #1 has all other ducked inputs under it, therefore if a signal is detected, it will trigger Inputs 2 through 6 to duck. If Input #2 detects a signal and there is no signal on Input #1, Input#2 will trigger inputs 5 and 6 to duck. However, if the Input#1 signal exceeds the threshold, it will then duck all inputs including Input #2.

NOTE: Ducking attenuation is not additive. When an input target is ducked,

regardless of how far down the priority list it is, the maximum attenuation is what is set in the “by (dB):” column near the center of the dialog box.

DMP64 • Software Control 53

Ducker Tutorials

Double-click the block,

Right-click the box to open context

The examples below are based on different input configurations. Insert a ducker from a ducker processor block using one of the following methods:

Once inserted, double-click on the ducker block to open the ducker configuration dialog box. The Enable Mic/Line Source box is checked.

Ducking and Priority Ducking

The first inserted channel ducks all selected targets.

To set a ducking source:

1. Insert a ducking processor to input #1.

2. Open the ducker configuration box and select the

The ducking processor also provides a means to have an additional input duck other targets using the priority feature. The second input ducks its selected duck targets, and can also be ducked by the first ducking source.

then click Ducker

-ormenu, then click Insert Ducker

desired duck targets. In this example inputs #2 to #6 are the ducking targets.

A signal on input #1 that exceeds the ducking threshold now ducks inputs#2 to #6.

To set an additional ducking source:

1. Insert a ducking processor on the additional ducking source.

In this example, input #2 is the second ducking source, with input#1, as shown above, as the first source.

NOTE: Since it was previously selected as a

ducking target, Input#1 is not available as a target of input #2.

2. Open the ducking dialog window for the input and

select the desired duck targets. In this example inputs #5 and #6 are the ducking targets of input #2.

Any signal on input #2 that exceeds the ducking threshold now ducks inputs #5 and #6. The ducking targets can be changed at any time by double-clicking the input #2 ducking processor block.

If a signal on input #1 exceeds the ducking threshold, inputs #2 to #6 are still ducked regardless of whether the signal on input #2 exceeds its ducking threshold.

NOTE: No input is ducked more than the level set in the by (dB): box.

DMP64 • Software Control 54

Pre-mixer Gain (GAIN)

The post-input processing gain control (also called the pre-mixer gain) provides gain or attenuation post-processing gain block. It includes a mono long-throw fader with a – 100.0 to +12.0dB gain range, and a current level setting readout below the fader. Fader adjustments are in 1dB increments, while adjustments can be entered manually to 0.1dB resolution. Default is unmuted at unity (0.0dB) gain.

Selecting the fader handle with the mouse or clicking within the fader area brings focus to the fader. The input signal level can be adjusted using any of the following methods:

• Select and hold the fader handle, then drag it to desired level in

1.0dB steps.

• Select or tab to the fader handle, then use the up/down arrow to

set the desired level in 1dB steps. <Page Up> and <Page Down> increases and decreases level in 5dB steps.

Click in or tab to the level readout field. Type a new value, then press <Enter> or <Tab> to another area. .

DMP64 • Software Control 55

Line Output Channels

There are four mono line output channels. Controls and processing blocks, identical for each output channel, are described in the following sections.

Loudness (LOUD)

The loudness processor, when inserted, applies a filter compensation curve to the signal in an inverse relationship to the output volume control setting. The higher the gain setting, the less loudness compensation is applied. Generally, as volume is lowered, perception of certain frequencies is progressively diminished, returning to a more flat response as volume is increased. Loudness boosts those diminished frequencies to the highest degree at low volume levels, decreasing the boost as volume increases.

The bypass button is red when engaged (loudness control defeated), and gray when disengaged (loudness control active).

When bypassed, the graph displays the current filter curve as a dotted line. When bypass is disengaged, the current filter curve is displayed as a solid line.

Figure 39. Loudness Dialog Window

The Loudness dialog window contains the following elements:

• Graph — Displays the compensation curve applied to the signal. These curves are

read-only, and are not adjustable from the graph.

• Loudness Compensation slider — From a center zero-point, the user can slide to

the left for less loudness compensation (filter curve is reduced), or to the right for more (filter curve is increased). The slider position is translated into adB value, displayed in the compensation readout box contained in the Advanced Calibration section. The slider has a 48dB (±24dB) range.

• Advanced Calibration — The advanced calibration box provides a value that

corresponds to the position of the compensation adjustment slider. The SPL box displays the summed value of the slider and the preceding trim control.

DMP64 • Software Control 56

Calibrating Loudness

The user can fine-tune the amount of loudness compensation using the compensation adjustment slider and adjusting "by ear," or by measuring SPL levels in a particular room, then using the slider to adjust the loudness filter relative to the SPL of the room and system gain structure.

Before calibrating loudness, set up the system gain structure (see Optimizing Audio

Levels on page88). A pre-recorded track of pink noise or pink noise from a signal

generator is preferable for this purpose. Program material can also be used (using familiar material is recommended).

If using a signal generator, set it to output -10dBu. Tthen set the input gain of the DSPConfigurator so the input meter reads -20dBFS. If using a recorded source, the pink noise should be recorded at -20dBFS and the player output level setting control set to maximum, or 0dB of attenuation. For program material, set the input level to meter at approximately -15dBFS, with peaks safely below 0dBFS.

Unmute the mix-point from the pink noise source to the output connected to the room amplifier being calibrated. With the basic gain structure previously set up, loudness can be calibrated using an SPL meter or by ear. Loudness can also be set using an SPL meter, then fine-tuned by ear.

To calibrate loudness, use a sound pressure level meter set to “C” weighting:

1. Set the Loudness processor to Bypass (Bypass button red).

2. Place the meter in an average (but somewhat prominent) listening location.

3. Generate pink noise, or start the program material playback.

4. Measure the SPL in the room.

5. In the loudness dialog, adjust the slider until the value in the SPL readout box matches

the reading on the SPL meter.

NOTE: Theoretically, calibration can be performed with the output channel volume

and post-mixer gain level set to any comfortable listening level. But a relatively loud volume (well above the ambient noise in the room) that can be easily

Loudness is now calibrated. Disengage Bypass to hear the compensation.

Alternate method to calibrate loudness:

1. Set up the procedure using step 1 through 3 of the previous procedure.

2. Set the compensation adjustment slider to its default center position

3. Set the output channel volume fader to 0dB (100% volume),

4. Adjust the amplifier until the SPL meter reads 90dB.

Loudness is now calibrated. This method works if 90dB is an acceptable volume limit for the room.

measured is preferred.

Setting Loudness “By Ear”

When setting loudness by ear, it is essential the system gain structure be set up first. Sit in an average (but somewhat prominent) listening location.

1. Set the loudness processor to Bypass.

2. Set the output volume fader in the DSPConfigurator to a relatively quiet listening level.

Filter compensation from the loudness processor is most prominent at low listening levels. Use familiar program material set to the levels described earlier.

DMP64 • Software Control 57

3. Set the Calibrate slider to 0, the center point. Disengage the loudness Bypass. The

result is a moderate enhancement to the program material, with more accentuated bass frequencies (below 500Hz), and more brightness in the high frequencies that carry harmonic content (above 7kHz). Engage and disengage the Bypass switch in order to “A/B” the difference between loudness off and on, respectively.

4. To experiment with loudness compensation, move the loudness compensation slider

to the left (less) or to the right (more).

5. Adjustments made to the loudness compensation slider carry through to all listening

levels. Set the output volume fader in the DSP Configurator to a relatively loud listening level.

6. Engage and disengage the Bypass switch in order to compare the difference between

loudness off and on. At a loud listening level, the difference should be minimal or barely perceivable.

Delay Block (DLY)

The delay processor block, when inserted, provides a means to delay the audio signal to compensate for loudspeaker placement in situations where speakers delivering the same signal are much farther away than others. The delay processor block is identical to the delay processor available on the input and described in Delay (DLY) on page48. Typically the near speakers would be delayed so that audio delivery time matches the speakers further away.

Filter Block (FILT)

The filter processor block, when first inserted, provides one of four filter selections: High Pass, Low Pass, Bass & Treble filters and Parametric EQ. Up to nine filters can be added to each filter block. The output filter block is identical to the input filter processor block except that up to nine filters total can be selected Filter (FILT) on page29.

NOTE: Selecting the Bass & Treble Filter inserts two separate filters.

Dynamics Block (DYN)

A dynamics processor block, when inserted, provides one of four dynamics processors: AGC, Compressor, Limiter, and Noise Gate. The available processors are identical to the processors available on the input dynamics processor block and described in Dynamics

(DYN) on page43.

DMP64 • Software Control 58

Volume Control (VOL)

Each output channel volume block provides a mono long-throw fader with a range of 0 to 100dB of attenuation, and a volume setting readout (indB) below the fader. Volume level is adjustable with the slider or by entering the desired level directly into the volume setting readout in 0.1dB increments.

Clicking the fader handle or clicking within the fader area brings focus to the fader. The input signal level can be adjusted using any of the following methods:

• Click and hold the fader handle, then drag it to desired level in

1.0dB steps.

• Click or tab to the fader handle, then use the <up> and <down>

arrow keys to change the desired level in 1dB steps. The keyboard <PageUp> and <Page Down> keys increase or decrease the level in 5dB steps.

• Click in or tab to the level readout field. Type a new value, then

press <Enter> or <Tab> to another area.

Output polarity switching is also provided with a button that toggles polarity.

The default setting is unmuted, at 0dB attenuation. A peak meter displays the real-time audio level from – 60 to 0dBFS.

The OK button accepts settings and closes the dialog with a click. The Cancel button ignores changes and closes the dialog.

The output volume control provides level control for each output. The output control is a trim control adjustable from – 100.0to 0dB. The default setting is unity gain (0.0dB).

The Polarity button, accessible in the dialog box, allows the polarity of the wires connected to the audio connectors (+/tip and -/ring) to be flipped in order to easily correct for miswired connectors.

The Mute button, accessible in the dialog box, allows the post-meter audio output to be silenced. When the audio output is muted, the mute button lights red, and red indicators in the block turn on. If the output has been grouped with other inputs or outputs, the group number will be indicated on the right side of this button.

DMP64 • Software Control 59

Virtual Bus Returns

There are four mono virtual bus return inputs, fed by the virtual bus sends. Channel controls and processing blocks described in the sub-sections that follow are identical for each virtual bus return channel, A through D.

The virtual bus is used when additional processing of an input signal is required. It is also useful to apply identical filtering, dynamics processing, loudness compensation, or signal gain/attenuation to multiple inputs.

Filter (FILT)

Filter function and interface is identical to the mic/line input channel Filter block with the exception that only three filters are allowed (see Filter (FILT) on page31, for additional information).

Dynamics (DYN)

There is one dynamics processor block available on each virtual path. Dynamics function and interface is identical to the mic/line input channel Dynamics block (see Dynamics

(DYN) on page45 for additional information).

Loudness (LOUD)

There is one loudness processor available on each virtual path. The loudness function and interface is identical to the output channel Loudness block (see Loudness (LOUD) on page56).

Gain (GAIN)

Each virtual input channel gain block provides a mono long-throw fader with a –100.0 to +12.0dB gain range, and a level setting readout below the fader. Fader behavior is identical to the pre-mix-point gain block, described in the mic/line input section (see Pre-mixer gain (GAIN) on page55). Fader adjustments are in 1dB increments, while adjustments can be entered manually to 0.1dB resolution. Default is unmuted at unity gain (0.0dB).

DMP64 • Software Control 60

Primary Mix Matrix

The DSP architecture contains a primary mix matrix that connects the mic/line inputs and virtual bus returns to the line outputs. The DSP Configurator user interface provides control of the primary mix matrix, used to set mix levels from the post processing inputs and post processing virtual returns to each line output bus. Each mic/line input and virtual bus return is connected to a mix-point for each of the four line outputs. In general, mix levels are set relative to each other, achieving a desired blend of input signals at an optimal output level, close to, but not exceeding 0dBFS at the line output volume block level meter (while accounting for processing that can occur in the line output signal chain).

Shown below is a block diagram of the DMP64 represented in the DSPConfigurator, with a red box indicating the primary mix matrix.

NOTE: Although the virtual bus send and return lines, A to D, are shown as end

points in the block diagram below, they are connected A to A, B to B, C to C and Dto D.

From the primary mix matrix, any or all of the six inputs can be routed to any or all of the four outputs. Any or all of the six inputs can also be routed to the secondary mix matrix.

Inputs

Mic/Line Input 1

Mic/Line Input 2

Mic/Line Input 3

Mic/Line Input 4

Mic/Line Input 5

Mic/Line Input 6

Virtual Bus Return

Primary Mix Matrix

Main Mix-Points

GAIN

FLT FBS DYN

GAIN

FLT FBS DYN

GAIN

FLT FBS DYN

GAIN

FLT FBS DYN

GAIN GAIN

FLT FBS DYN

GAIN

FLT FBS DYN

FLT DYN

LOUD

DYN

GAIN

DLY

DUCK

LOUD

GAIN

VOLTRIM

FLTDLY

DYN

VOLTRIM

FLTDLY

DYN

VOLTRIM

FLTDLY

DYN

VOLTRIM

FLTDLY

DYN

Outputs

Virtual Return Mix-Points

Figure 40. Primary Mix Matrix (outlined in red)

ABCD

Virtual Bus Send

DMP64 • Software Control 61

Mix-point Behavior:

No mix information — A faint gray circle on the mix-point indicates it is muted (contains no mix information).

Mix information — A solid teal-colored circle indicates the mix-point contains mix information (the mix-point is unmuted).

Mouse-over — The cursor changes to a hand when a mouse-over occurs at a mix-point, whether the mix-point contains mix information or not.

Single-click — A single-click brings focus to (selects) the mix-point, indicated by a dark green outline around circle.

Double-click — Opens the mix-point dialog box. The focus circle turns light green in color to indicate the open dialog box. If the mix-point is muted, the circle is gray. If unmuted, the circle is teal.

Multiple open dialog boxes — When multiple mix-point dialog boxes are open, the mix-point for the most recently opened dialog box receives the light green focus circle, while previously opened dialog boxes relinquish their focus. Focus can be returned by either clicking on a previously opened dialog box, or by double-clicking on a mix-point.

DMP64 • Software Control 62

Clicking a mix-point brings focus to that mix-point. A circle appears around the teal mix-point which remains transparent. Double-clicking a mix-point opens a configuration dialog box with the following components:

• Mono Fader — Sets the signal level from the selected input

to the output bus. Gain range is -35dB to +25dB. Fader behavior is identical to the input channel gain block described in the mic/line input section with the exception that course adjustment (keyboard <PageUp> and <Page Down>) increases or decreases in 5dB increments.

• Mute — Mutes and unmutes the signal to the output bus. The

mix-point ball is transparent when muted (Mute button red) and solid when unmuted.

• OK/Cancel — click OK to accept changes and close the box.

Cancel ignores changes and closes the dialog box.

The title above the fader reflects the input and output channel names for the mix-point. The example on the right is the Input #1 to Output #1 mix-point set to 0.0dB.

The input level text below the mute button indicates the input level setting for the input gain control of the selected input signal path, in this example 0db.

Only when the mix-point is unmuted does the circle become solid.

DMP64 • Software Control 63

Mix-point Examples

In order to better understand how mix-points work, the following diagrams provide examples of different mix setups.

Inputs

Mic/Line Input 1

Mic/Line Input 2

Mic/Line Input 3

Mic/Line Input 4

Mic/Line Input 5

Mic/Line Input 6

Virtual Bus Return

GAIN

FILT FBS DYN

GAIN

FILT FBS DYN

GAIN

FILT FBS DYN

GAIN

FILT FBS DYN

GAIN GAIN

FILT FBS DYN

GAIN

FILT FBS DYN

FILT DYN

LOUD

DYN

GAIN

DLY

DUCK

GAIN

LOUD

FILTDLY

ABCD

Virtual Bus Send

DYN

VOLTRIM

Outputs

Figure 41. Input 1 to Output 1

In the first example (see figure 41), input audio from Mic/Line Input 1 is processed and arrives at the output mix-point. Double-click on the mix-point to open the dialog box. The mix-point opens muted (mute box is red). When the mute button is released, the mix-point turns teal with a light green circle to indicate the open mix-point dialog box is the focus, and the signal is routed to output1.

The mix level can be adjusted using the slider or by direct input of a value between

-35and 25.0dB into the dialog box below the slider.

DMP64 • Software Control 64

LOUD

DYN

VOLTRIM

FILTDLY

Inputs

Mic/Line Input 1

Mic/Line Input 2

Mic/Line Input 3

Mic/Line Input 4

Mic/Line Input 5

Mic/Line Input 6

Virtual Bus Return

GAIN

FILT FBS DYN

GAIN

FILT FBS DYN

GAIN

FILT FBS DYN

GAIN

FILT FBS DYN

GAIN GAIN

FILT FBS DYN

GAIN

FILT FBS DYN

FILT DYN

LOUD

DYN

GAIN

DLY

Figure 42. All Inputs to Output 1

DUCK

GAIN

LOUD

FILTDLY

ABCD

Virtual Bus Send

DYN

VOLTRIM

Outputs

In the next example (see figure 42), input audio from all six mic/line inputs are processed individually and arrive at the primary mix-points. When the individual mix-point mute buttons are released, the primary mix-point junctions turn teal, and all six signals are routed to output 1. Since all six inputs are now on the output 1 signal line, open the individual mix-point dialog boxes to adjust signal levels for the desired balance.

In this manner, any single input, or any number of inputs can be routed to any single output or any number of outputs.

DMP64 • Software Control 65

LOUD

DYN

VOLTRIM

FILTDLY

Inputs

Mic/Line Input 1

Mic/Line Input 2

Mic/Line Input 3

Mic/Line Input 4

Mic/Line Input 5

Mic/Line Input 6

Virtual Bus Return

GAIN

FILT FBS DYN

GAIN

FILT FBS DYN

GAIN

FILT FBS DYN

GAIN

FILT FBS DYN

GAIN GAIN

FILT FBS DYN

GAIN

FILT FBS DYN

FILT DYN

LOUD

DYN

GAIN

DLY

Figure 43. Input 1 to All Outputs

In this example (see figure 43), input 1 has been routed to all four outputs by unmuting the mix-point for mic/line input 1 on each output (1 to 4) bus. Again, the primary mix-points are teal to indicate the active routing.

DUCK

GAIN

LOUD

FILTDLY

ABCD

Virtual Bus Send

DYN

VOLTRIM

Outputs

DMP64 • Software Control 66

Secondary Mix Matrix

The DSP architecture contains a secondary mix matrix that connects the mic/lineinputs and virtual bus return signals to the virtual bus sends. The DSPConfigurator user interface provides control of the secondary mix matrix, used to set levels from the post-processing input line and virtual bus return signals to the virtual bus sends. Each of the six mic/line and four virtual return inputs connect to a mix-point for virtual bus A through D. Each mix-point is muted and set to 0.0dB (unity gain) by default. In general, mix levels are set relative to each other, achieving a desired blend of input signals at an optimal level close to, but not exceeding 0dBFS at the output volume level meter.

The secondary mix matrix contains a section (see figure 44) allowing virtual bus returns to be routed back to the secondary matrix to allow further processing using an additional virtual bus processing block. To prevent feedback loops, a virtual channel is prevented from being routed back to itself by eliminating the mix-point that would allow that to occur.

In situations requiring extra processing, the virtual bus return output is routed back to the secondary mix matrix, virtual bus send, which then routes the signal back to a processing signal chain other than the one it was routed from.

Inputs

Mic/Line Input 1

Mic/Line Input 2

Mic/Line Input 3

Mic/Line Input 4

Mic/Line Input 5

Mic/Line Input 6

Virtual Bus Return

GAIN

FILT FBS DYN

GAIN

FILT FBS DYN

GAIN

FILT FBS DYN

GAIN

FILT FBS DYN

GAIN GAIN

FILT FBS DYN

GAIN

FILT FBS DYN

FILT DYN

LOUD

DYN

GAIN

DLY

Figure 44. Secondary Mix Matrix

DUCK

GAIN

Secondary Mix Matrix

LOUD

FILTDLY

ABCD

Virtual Bus Send

DYN

VOLTRIM

Outputs

Virtual Bus Send Mix-points (from Mic/Line Inputs)

Virtual Bus Send Mix-points (from Virtual Bus Returns)

DMP64 • Software Control 67

In the example below (see figure 45), input 1 is sent to the virtual bus send by muting all

LOUD

four signals on the input1 primary mix-points. The virtual bus now serves as additional signal processing for the input. The signal routes over virtual bus A and through the signal chain before being sent to the virtual bus return mix-point and output 1.

This configuration is useful when more than one input requires identical processing. For example if all inputs were normalized but required a uniform gain to bring them up to adequate output levels, rather than changing each pre-mix gain control by a similar amount, all six inputs can be routed to virtual bus A. Then, using the virtual bus A return gain control, a single adjustment can apply the same gain to all six inputs before sending the signal to the desired output line.

In other cases, if multiple microphone inputs are being mixed with program material, only the program material might require loudness contouring. The microphones can be routed directly to the output while the program material input is routed to the virtual bus return where loudness contouring can be applied. The program material is then routed to the same output as the microphones.

Inputs

Virtual Bus Return

Mic/Line Input 1

Mic/Line Input 2

Mic/Line Input 3

Mic/Line Input 4

Mic/Line Input 5

Mic/Line Input 6

GAIN

FILT FBS DYN

GAIN

FILT FBS DYN

GAIN

FILT FBS DYN

GAIN

FILT FBS DYN

GAIN GAIN

FILT FBS DYN

GAIN

FILT FBS DYN

FILT DYN

LOUD

DYN

GAIN

DLY

DUCK

GAIN

LOUD

FILTDLY

ABCD

Virtual Bus Send

DYN

VOLTRIM

Outputs

Figure 45. Input 1 to Virtual Bus A

DMP64 • Software Control 68

Group Masters

Group Members

There are 32 Group Masters that can each be configured to simultaneously control up to 16 group members. Group masters are configured in the DSP Configurator program and saved in the device. Working in emulate mode, group masters can be saved in a configuration file and pushed to the device upon connection.

A group master can either be a gain control or a mute control. Only one control type can be selected as group members for control by a group master. For example, a group master can be configured to control post-matrix gain levels, but not post-matrix gains plus input gain block. A group member can, however, be controlled by multiple group masters. It is recommended this feature be used cautiously, as overlapping membership can quickly become unmanageable.

Group master gain controls can send specific values, such as those sent by a fader control. Group master gain can also be set by increment/decrement. For information on using increment/decrement controls within the DSP Configurator software (see Tools on page73).

Once a group has been created, the group members, the individual controls that comprise the group, update to indicate they are now part of a group. Group members can be controlled individually, allowing for relative levels between group members to be fine-tuned. Group member levels can also be set by a preset recall.

Grouped Controls

Grouping is convenient when multiple controls require muting at the same time or when multiple signal levels need to be increased or decreased simultaneously. For example, in a system with several audio outputs dedicated to a single room, the operator may want all outputs to change at the same rate and at the same time. The output 1 through 4 volume controls can be grouped into a master that controls the volume throughout the room.

For further flexibility, individual volume controls in the group can be set for an output level based on its use. When the group fader is moved, all four output control faders move in tandem while retaining their levels relative to each other.

Grouped faders move together at relative levels to the top or bottom of their travel (seeFigure 46). If one fader reaches the limit of its travel first, it retains that position while the other faders continue to travel. When the grouped faders travel in the reverse direction, the fader that was at its limit reverts to its position relative to the other faders.

NOTE: If a block was previously muted when the group mute is activated, that block

remains muted when the group mute is released.

TIP: When including a control in multiple groups, do so with care. Overlapping

group membership can quickly become unmanageable. Use presets to set individual faders to known levels.

DMP64 • Software Control 69

Figure 46. Sample Fader Group Master and Associated Gain Controls

Mute controls within the blocks can also be grouped (see figure 47).

Figure 47. Sample Mute Group Master and Muted Outputs

DMP64 • Software Control 70

Configuring a Group Master

Configure a group as follows:

1. Click Tools > Configure Groups to open the Configure Groups dialog box,

or click View > Group Controls and then click the Add a Group menu selection.

2. In the Select Group drop-down box, click a group to select it (see figure 48). The

list defaults to the first empty group. Select an empty group to begin a new group, or select an existing group to modify.

Figure 48. Configure Groups Add Group Dialog Box

NOTE: <empty> groups have no group members assigned. Numbered groups

(such as <Group #1>) have controls assigned that can be overwritten if selected.

3. In the Select Control Type section, expand the tree for the type of control, Gain

or Mute, then select the desired control type. When a selection is made in the Select

Control Types section, the Available Group Members section populates with all

possible members for the selected control type.

NOTE: Potential group members in step 3 that are assigned to a different group

are displayed in blue.

4. In the Available Group Members section, make appropriate selections by clicking

the checkbox. When a + sign exists, click to expand the tree and select individual controls. Up to 16 group members can be added.

5. Click the Apply button to create or configure the group.

6. Repeat steps 2 through 5 to create or configure up to 32 groups.

7. Click the Close button to exit the configure groups dialog box.

DMP64 • Software Control 71

Deleting a Group Master

To delete a group:

1. Click Tools > Configure Groups to open the configure groups dialog box

or click View > Group Controls and then click Add a Group.

2. In the Select Group drop-down box, click a numbered group (such as "Group #1")

to select it.

3. Click the Delete Current Group button in the lower left area.

4. Click Yes in the Confirm Deletion dialog box.

Viewing and Using a Group Master

Click View > Group Controls to open the group controls dialog box (see figure 49). The group controls dialog contains two menu items:

• Add a Group allows you to add additional groups.

• Tools enable you to perform various functions from the group controls window.

In addition, once groups are created, a single mute button or a group fader plus the current setting readout and any soft limits that have been set are visible.

Figure 49. Group Controls Dialog Box

The group fader controls function as follows:

• Slide a group fader up and down to adjust all gain controls in the group.

• Click and drag a soft limit ( ) to set the ceiling and floor for the group.

NOTE: Soft limits cannot be dragged beyond the current setting of the group

fader.

Add a Group

To launch the configure groups dialog from the group controls window, click

Add a Group. When a new group is added and the Add New Group dialog is closed, the

group controls window refreshes to display the added control.

NOTE: If a block is muted when the group mute is selected, that block remains

muted when the group mute is released.

DMP64 • Software Control 72

Tools

The Tools menu contains three selections:

• Clear All Groups - clears all group members and group master parameters.

• Increment/Decrement Simulator - allows the user to test increment/decrement

values, see below for more information.

• Group Details Report - generates a report, listing all group masters and

membership.

Clear All Groups

Click Tools > Clear All Groups to delete all groups and reset all group memberships. Soft limits are also cleared.

Increment/Decrement Simulator

The Increment/Decrement Simulator provides a control for increment and decrement, with the ability to set increment and decrement values. This control is temporary, since the value is not remembered in the device.

To use the Increment/Decrement Simulator:

1. Select Tools > Increment/Decrement Simulator.

2. Select the group to be controlled from the Select Group drop-down list. The

following dialog box appears:

Figure 50. Increment/Decrement Simulator Dialog Box

NOTE: The Number of Group Members: readout indicates the number of

controls affected.

3. Enter an increment value and a decrement value. The default value is 1.

NOTE: The size of the increment can be changed by typing a value in the

Increment Value or Decrement Value field. Values can be as large as the

maximum range of the control or as fine as 0.1dB. For groups controlling mute, 1 is the only valid value.

4. Click the Increment and Decrement buttons as needed. The group master control

increases or decreases by the set value to the top or bottom of its soft limit range.

NOTE: When set, soft limits cannot be exceeded.

DMP64 • Software Control 73

Group Details Report

Select Tools > Group Details Report to create a Microsoft Word file that details all created groups (see figure 51).

GROUP DETAILS REPORT Group #1

Processor Type: Output Vo lume Current Mute status: Unmuted Current Group Members: Main Amp (Output#1) Left Channel Stage Mixer (Output#2) Right Channel House Video (Output#3) Left Channel Prgm Record (Output#4) Right Channel

Group #2

Processor Type: Pre-mixer Trim Current Gain value: 2 dB Current Group Members: Mic #1 (Input#1) Mic #2 (Input#2) Mic #3 (Input#3) Mic #4 (Input#4) Mic #5 (Input#5) Mic #6 (Input#6)

Figure 51. Sample Group Details Report

Soft Limits

Each gain type control provides upper and lower soft limits that can limit the range of the group master control. Soft limits ( ), shown at left, prevent group controls from exceeding an upper limit or going below a lower limit. They are easily adjustable and provide the ability to set a ceiling and floor for the group. When a group master is created, the soft limits default to the hard limits (maximum and minimum) of that group of controls.

Soft Limits can be defined using the mouse by dragging the soft limit icon. The resolution is 0.1dB. For more precise setting use the keyboard as follows:

Click within the group master fader to bring focus, then use the following key combinations:

To move the upper limit:

• <Shift + Up/Down Arrow> key moves in 0.1dB increments.

• <Shift + Page Up/Page Down> key moves in 10dB increments.

• <Shift + Home> moves limit to upper default.

• <Shift + End> moves limit to the current fader position.

To move the lower limit:

• <Ctrl + Up/Down Arrow> key moves in 0.1dB increments.

• <Ctrl + Page Up/Page Down> key moves in 10dB increments.

• <Ctrl + End> moves limit to lower default.

• <Ctrl + Home> moves limit to the current fader position.

DMP64 • Software Control 74

Digital I/O Ports

The DMP64 provides six digital I/O ports that can trigger external events from DMP64 actions, or allow external events to trigger DMP64 actions. The DSPConfigurator software provides pre-configured scripts with a fixed set of common trigger and event combinations. When selected, the script is compiled and placed onto the File Management system of the device. For more advanced or custom scripts, contact an Extron Electronics Applications Engineer.

When no scripts are active, the digital I/O ports default to DI (digital input) and inactive (‘Logic Hi’ ≈ +5VDC). The DI detects a Logic Hi as +5 VDC and LogicLow (active) as less than +1 VDC.

A DO (digital output) sends a Logic Lo as less than +1 VDC and a Logic Hi as +5VDC. For every script that involves a DO, two versions are available to provide either a Logic Hi or a Logic Lo response to any action. The alternate script is designated as Reverse DO.

To build a script and place it into the DMP64 File Management system:

1. From the tools menu, click Configure Digital I/O>Build Digital I/O

Configuration.

2. This brings up a dialog that allows selection from a list of pre-configured scripts.

3. Select a script from the Select a Digital I/O Configuration section. The

eventdescription section describes the script and how the digital I/O ports act while the script is running. Highlight the desired script, then click OK.

4. A dialog box appears, verifying the file has been successfully uploaded to the device.

NOTE: When performing this procedure in Emulate mode, the connection

dialog appears between step 3 and step 4. DSP Configurator connects and then disconnects during the procedure, returning to Emulate mode when the Digital I/O has been configured.

DMP64 • Software Control 75

Reinitialize Digital I/O

Should the script stop running for any reason, select Tools > Configure Digital I/O, then select Reinitialize Digital I/O. This option is only available in Live mode.

To remove a digital I/O script from the DMP64:

Only one digital I/O configuration can be active at a time. If the I/O activity needs to be modified, remove the current configuration by:

1. From the Tools menu, click Configure Digital I/O, then select Remove Digital

I/O Configuration from the Device and click OK.

2. If the DSP Configurator is connected to a device, the I/O configuration is removed. If it

is not connected, a connection dialog box appears.

3. Make certain the connection information is correct, then press OK. The I/O

configuration script is removed and a confirmation dialog box will appear.

Emulate Mode and Live Mode

The DSP Configurator program has two operational modes, Live and Emulate. In

Live mode, the program has established a connection and is synced with the DMP64.

Changes affect the device in real-time and changes in the current state of the device are reflected in the DSP Configurator. In contrast, Emulate mode allows the user to work offline, creating or editing configurations that do not immediately affect DMP64 operation.

The DSP Configurator program always starts in Emulate mode. All functions of the DSPConfigurator program are available without connecting to the DMP64. The user can build a configuration from the blank screen, or open an existing file that contains the last configuration displayed plus saved presets. All settings and adjustments are saved to a configuration file on the PC. When the saved file is opened in the DSPConfigurator program, the program restores all settings as the current configuration (emulated if in

Emulate mode or live if in Live mode).

Live mode can be entered at any time after program launch, either with a blank

configuration, after creating a configuration, or after loading a previously saved configuration file.

In Emulate mode, the current state is titled Current Emulation. In Live mode, the current state is titled, Current State.

Synchronizing: Pull From or Push To the DMP64

When switching to Live mode after making changes to the current configuration in

Emulate mode, either:

• Pull data from the device and update the DSP Configurator program configuration.

This option downloads device settings from the DMP64 and synchronizes it with the DSP Configurator program overwriting the current DSPConfigurator settings, or

• Push data from the DSPConfigurator program to the device, overwriting settings in

the DMP64.

Live mode can also be used to tailor audio settings in real time while listening to the

audio output.

DMP64 • Software Control 76

Selecting Live Mode and Pushing or Pulling Data

To switch from Emulate mode to Live mode:

1. Select the desired connection to the DMP64 and make the proper connections.

NOTE: Extron recommends connection with the Ethernet LAN port when using

DSPConfigurator.

2. Click the Mode Live button, (see figure 52, b). The Communication Type

selection window appears.

Extron USB device

Figure 52. Selecting Live Mode

3. Click one of the following tabs:

• TCP/IP for connection using the LAN port (preferred) — proceed to step 4,

• RS-232 for connection using either of the rear panel RS-232 ports — proceed to

step 5, or

• USB for connection using the front panel configuration port — proceed to step6.

4. If TCP/IP is selected in step 3:

a. Observe the IP Address field in the IP connection window. The field displays the

last IP address entered.

• If the IP address is correct, proceed to step 4b.

• If the IP address is not correct, either click in the IP Address field and enter

the IP address or click the drop-down arrow to open a list and select from a recently used address. Proceed to step 4b.

NOTE: If the local system administrators have not changed the

address, the factory-specified default, 192.168.254.254, is the correct value for this field.

b. If the device is password protected, click in the Password field and enter the

appropriate administrator password.

c. Click OK.

The Synchronize with Device dialog box (see figure 53 on page 79) opens. Proceed to step 7.

DMP64 • Software Control 77

5. If RS-232 is selected in step 3:

a. Click the com port drop-down list and select the PC comm port connected to

the rear panel RS-232 port.

b. Check the baud rate displayed in the Com Port selection window. If the baud

rate does not match the device’s rate, click the Baud Rate drop-down menu and select the desired baud rate. The default is 38400.

c. Click OK.

The Synchronize with Device dialog box (see figure 53 on page 79) appears. Proceed to step 7.

6. If USB is selected in step 3:

a. Click the USB Device drop-down menu and select DMP 64 (or Extron USB

device, if DMP 64 is not available),

b. Click OK.

The Synchronize with Device dialog box (see figure 53) appears. Proceed to step7.

DMP64 • Software Control 78

7. Click either the:

a. Pull radio button to configure the DSP Configurator program to match

the device — proceed to step 9

-or-

b. Push radio button to configure the device to match the DSPConfigurator

program — proceed to step 8

-or-

Figure 53. Selecting Live Mode, continued

DMP64 • Software Control 79

8. To push all of the DSP Configurator gain and processor block adjustments

(configuration), and all presets to the DMP64, proceed to step 9.

To tailor the push (push only the configuration, only the presets, or the configuration and selected presets), click the Advanced button and proceed to step 8a.

a. Select the Custom radio button.

b. Select the desired checkboxes: Push Configuration, Push Presets or both. If

Push Configuration is the only box checked, click OK and proceed to step 9.

NOTE: Push Configuration includes all mix-point, gain, and processor

block settings. It does not include partial presets.

c. If Push Presets was clicked in step 8b, click All to select all presets or

Selected to choose specific presets.

• If Selected was clicked, click OK and proceed to step 8d.

• If All was clicked (equivalent to a standard push), click OK and proceed to

step 9.

d. If Selected was clicked in step 8c, the Synchronize with Device dialog box (7b)

reappears. Click OK. The presets dialog box appears.

e. Select the desired partial presets to push by clicking the appropriate checkbox.

f. Click OK. — Proceed to step 10.

9. Click OK. The DSP Configurator program is connected live to the device, the

processors and presets are pushed or pulled as selected, and the selection of Live mode is complete.

10. If changes were made to the DSP parameters (including mix-point, gain or processor

blocks) since the last file save, the DSP Configurator prompts to save the file. Click Yes or No.

If a password is required and not entered or if an incorrect password isentered, the program prompts for the password.

The configuration and presets are uploaded to the DMP64.

DMP64 • Software Control 80

Presets

Presets recall a group of frequently used settings. Presets created by DSPConfigurator can contain all elements (gain blocks, processor blocks, and mix-points) or a portion of the elements available within the program. In Emulate mode, up to 32 partial presets can be created, uploaded as a set, and stored to the device or a disk as a configuration file. In Live mode, presets can be created one at a time from the current state. They can then be saved to a chosen preset number in the device, with the option to name or rename, or save it to disk.

When recalled, a preset overwrites only elements contained in the preset. Presets are useful when settings for a particular room or only certain elements of a configuration need to be changed regularly.

Presets can be created in Live or Emulate modes. In Emulate mode, the presets are created, saved to a file, then pushed to the DMP64 when connecting in Live mode.

When a pull data synchronization is performed, preset data remains in the DMP64, with only the list of preset names pulled from the device. Presets in this state are marked with an asterisk until that preset is recalled (which pulls the preset data from the device), or until a backup is performed (see Backup on page26). Presets pulled from the device cannot be saved to disk until they have been recalled, at which time the preset data is pulled into the DSP Configurator. Presets with no asterisk can be saved to disk.

Saved presets can be recalled via the DSP Configurator, or a control system sending an SIS preset recall command. Presets can also be saved and recalled via the embedded web page. Presets saved using the web page interface contain input gain, output volume, and the primary mix-point settings.

Previewing and Recalling a Preset

A preset can be previewed in either Live or Emulate mode by selecting the preset from the preset drop-down list.

The program indicates a view-only preset configuration by displaying each preset element with a translucent green mask over the block.

Figure 54. Preset Preview

Behavior for previewing and applying presets is as follows:

• Live Mode. After selecting a preset, the DSP Configurator displays the preset

elements that will be affected by a preset recall with a translucent mask over the element. It leaves all other DSP Configurator elements unaltered. Elements without a translucent mask represent elements in the current state that will be unaffected by a preset recall. Real-time changes to the current state are not reflected onscreen while previewing a preset, and the user cannot alter those elements. To apply the preset, click Recall. The preset reverts to Current State.

• Emulate Mode. After selecting a preset from the list the DSP Configurator displays

the elements that will be affected by a preset recall with a green translucent mask, leaving all other elements (which represent the current emulation) unaltered. Click

Recall to apply the viewed preset to the current emulation. The preset number

reverts to Current Emulation.

DMP64 • Software Control 81

Building a Preset

Only elements of the preset highlighted (given focus) are saved as a preset. <Ctrl + A> highlights all elements within the DSP Configurator.

To build a preset, highlight the desired DSP Configurator elements (gain and processor blocks, and mix-points) using standard keyboard and mouse actions as follows:

1. Click the desired block to select a single block,

2. <Ctrl + click> to select multiple blocks that are not adjacent,

3. With the first block selected, hold <Shift>, then click the last block in either a vertical

column or horizontal row to select multiple blocks,

4. Click and drag a selection rectangle to select multiple adjacent blocks in either the

vertical or horizontal direction,

5. Go to Tools>Presets>Mark All Items or press <Ctrl + A>. This marks all

elements within the DSP Configurator.

6. To save the selections see Save Preset below.

Save Preset

A preset can be saved in either Emulate or Live mode.

Saving a preset in Emulate mode stores it in the currently open file. The DSPConfigurator file must then be saved to disk using File menu>Save (recommended), or pushed to the device after a connection is established. This differs from Live mode where a created preset is saved in real-time to the device and becomes part of the configuration file.

To save a preset use the following instructions:

1. Highlight the desired preset blocks using the previous instructions.

2. Select Tools>Presets>Save Preset in the main structural menu.

3. Select a preset number. In the Preset Name field, unused presets are named

unassigned. To create a new preset, select an unused preset number and type a

preset name. If no name is entered, a default name will be assigned. To overwrite an existing preset, select a preset with a name other than unassigned.

Figure 55. Save Preset

4. Click OK to save the preset, or Cancel to stop the save preset operation.

DMP64 • Software Control 82

Managing Presets

Once a preset is created (whether or not the DSPConfigurator file is saved), it appears in the preset list, available from the DSPConfigurator user interface.

In Live and Emulate mode, after a preset is selected from the list, action buttons become available next to the presets bar.

The user can either Recall (make the preset active), Cancel (return to the current emulation or state), or Delete the preset.

In Live mode, selecting Recall applies the currently displayed preset elements (“marked” elements) from the stored preset, overwrites that portion of the current state, and then switches the drop-down list to read Current State.

In Emulate mode, the Recall action button applies the currently displayed preset elements (“marked” elements) from the file, overwrite the information contained in the DSPConfigurator as the current emulation, then switch the drop-down list to read

Current Emulation.

When a preset is previewed in either Live or Emulate mode, the Delete button is available. When pressed in live mode, the preset is deleted from the hardware, which is reflected in software (it is removed from the preset list). After disconnecting from the device and before exiting the program, the file must then be saved to retain this change. If pressed in emulate mode, the preset is deleted from the file in software, which must then be saved (before exiting) to retain this change. In either mode, the Cancel button defeats the preview action and returns the user to current state or current emulation, respectively.

Presets: Pull vs. Push or Create Live

When a preset is pulled from the device, the preset data remains in the device until the preset is recalled. The DSPConfigurator pulls only the names of the presets. These presets cannot be saved to disk until they have been recalled.

An asterisk next to the preset name indicates that only the preset name has been pulled from the device, and the preset data exists only in the device (it has not been recalled). Presets pushed to the device or created in Live mode have no asterisk. Presets with no asterisk can be saved to disk.

DMP64 • Software Control 83

Protected Configuration

A protected configuration is secured with PIN protection. The protected configuration can be recalled by any user, but can only be written or overwritten using the assigned 4-digitPIN. Utilities for Save, Recall, and ChangePIN, (separate from preset save), are accessed from the Tools menu as three sub-menus under a protected configuration menu item.

Protected configuration menu items are only available in live mode from the Tools >

Protected Configuration menu. These functions can only be performed in Live

mode:

• Save

• Recall

• Change Password

Save Protected Configuration

The default PIN is 0000. The user can enter the default PIN or use the Change PIN (see below) dialog box to create a new one.

Recall Protected Configuration

The dialog box prompts the user to continue. Click OK to continue or Cancel to cancel the operation.

Change PIN

The change PIN utility allows the user to change a current protected configuration PIN. The current PIN must be entered before changes are allowed.

DMP64 • Software Control 84

DSP Configurator Windows Menus

The DSP Configurator program is fully navigable using the computer keyboard. Some keyboard navigation behavior matches Windows standards, while other behaviors are specific to DSP Configurator.

Keyboard Navigation

When the program starts, the cursor focus defaults to the mic/line input gain block (figure56, a). The input 1 gain block is highlighted green [ ]. The <Tab> key toggles to

the various sections outlined in red in figure 56.

Within the sections, the <navigation arrows> can be used to move one block right, left, up, or down within these sections.

NOTE: The callout numbers for figure 56 are not the same as figure 17.

efg

Figure 56. DSP Configurator Program Window

Standard Windows Navigation

The keyboard keys navigate and function as follows:

• Tab key —

Sequentially jump among major segments of the DSP Configurator program. From the audio input chains (a), sequential jumps are in the following order:

Main mix-points

Virtual return signal path

Virtual return mix-points

Output signal chain

Mode (toggles to Live, then Emulate)

Presets (<Down> arrow can select presets)

DMP64 • Software Control 85

• Shift+Tab key combination — Reverses the direction of the <Tab> key function.

• Arrow ( , , , and ) Keys — Navigate up, down, left, and right within any of

the areas outlined in figure 56.

• Enter Key — Performs the same action as a mouse double-click. For

example, it can open the context menu from which a processor type can be selected, or open a dialog box when applicable. When an action button is highlighted, <Enter> executes the button action and toggles the button when applicable.

• Control key — The <Ctrl> key can be used in the following shortcuts.

• <Ctrl+X> — Cut the selected elements.

• <Ctrl+C> — Copy the selected elements.

• <Ctrl+V> — Paste the selected elements from a previous cut or copy.

• <Ctrl+A> — The first press of the <Ctrl+A> combination highlights all matrix block

nodes.

• Alt key — <Alt> is used with specific letter keys to open and navigate task bar

menus. When the <Alt> key is pressed and released, the File menu opens. When the <Alt> key is pressed and held, the first letters in the menu titles (File, Edit, View, Tools, Window, or Help) become underlined. Press the underlined letter key to open that menu.

• Once a task bar menu opens, use the <Up> and <Down> arrow keys to move up

and down in the menu or submenu, use the <Right> arrow key to open a submenu (if applicable), and use the <Esc> key to back out of an active menu or submenu.

DSP Configurator-unique Navigation

Highlighting and marking items, cutting or copying, saving a preset:

When an item within the program is selected, it is highlighted by a green boundary box. One or more highlighted items can be cut, copied, pasted, or saved as a preset. The cut, copy, and paste functions can be performed using the task bar menus (see the <Alt> key, above) or the shortcuts described on the previous page.

NOTE: When an item is cut, it is not removed from its original location until it has

been pasted in its new location.

Highlight multiple elements for cut, copy, paste, or a preset as follows:

1. Use the <Arrow> ( , , , and ) keys to move to the first block to be highlighted.

2. To highlight a block:

a. Press and hold the <Shift> key, then use the <Arrow> keys to navigate away

from the selected block.

b. To highlight additional sequential blocks, continue to hold the <Shift> key,

then use the <Arrow> keys to navigate away from the selected block. Additional blocks will be highlighted as long as <Shift> is pressed. When the last element is highlighted, move the highlight box one additional block, then release the <Shift> key.

3. To move away from the highlighted block or set of sequential blocks, or to highlight

non-sequential blocks:

a. After highlighting blocks in step 2, press and hold <Ctrl>, then use the <Arrow>

keys to navigate to the next desired element. As long as the <Ctrl> key is held down, the block moved away from will not be highlighted. If the block is highlighted, it will be unhighlighted.

b. Release the <Ctrl> key, but do not press any <Arrow> keys.

DMP64 • Software Control 86

4. To highlight another element or group of elements, repeat steps 2 and 3 as required.

5. To cut or copy, press the <Ctrl+X> or <Ctrl+C> key combination.

6. To save a preset, press <Alt +T>, <Right Arrow>, <Down Arrow>, then <Enter>,

(see figure 57 below).

7. The Save a Preset dialog box appears.

a. <Tab> to highlight the Preset Number field and type a specific number.

b. <Tab> to highlight the Preset Name field and type a name.

NOTE: Unless entering a specific number and name, DSPConfigurator

enters the next sequential unused preset number.

c. <Tab> to highlight the OK button and press the <Enter> key.

Alt

Enter

Figure 57. Saving a Preset Using Keyboard Navigation

DMP64 • Software Control 87

Optimizing Audio Levels

The DMP64 uses floating point DSP technology, processing data using a combination of 32- and 64-bit algorithms. The analog to digital converters (ADC) and digital to analog converters (DAC) sample at 48kHz with 24-bit resolution.

With floating point DSP it is extremely difficult to clip the audio signal within the DSP audio signal chain, after the ADC input and before the DAC output. That means the audio signal must not be clipped at the input ADC. Clipping gives audibly undesirable results and once the audio is clipped at the input there is no way to correct it further down the signal chain. If audio clipping occurs at the output DAC that is not a result of clipping at the input ADC, there are ways to address it within the DSP audio signal chain.

The meters in the DSP Configurator indicate clipping at a user-definable point, with the default setting at –1dB. This means the meter indicates clipping when it reaches –1dBFS, or 1dB below actual clipping (0dBFS). Setting the clipping meter below clipping provides a “safetynet”, allowing the user to reduce input gain before clipping actually occurs. This safetynet can be increased or decreased by selecting

Tools>Options>Processor Defaults>Defaults>Meter Clipping, and setting the Clip Threshold to a number between 0 (dB) and – 20 (dB).

NOTE: When the Clip Threshold is set to 0 (dB), clipping is indicated only when

clipping occurs.

Meters within the DSP Configurator are peak-type meters, referenced to full scale, or 0dBFS. For the DMP64 outputs, 0dBFS corresponds to +21dBu, the maximum output level of the device. Maximum input level is +24dBu. Gain from – 3dB to +80dB is applied in the analog domain, while attenuation from – 3dB to –18dB is applied in the digital domain. The input meters are post-ADC, while the output meters are pre-DAC.

The remainder of this section will reference the gain, trim and volume controls outlined in figure 58 below.

acdeb

Figure 58. Gain, Trim and Volume Controls

Mic/Line input gain d Post-mixer trim

Pre-mixer gain e Output volume

Mix-point gain

DMP64 • Software Control 88

About Setting Gain Structure

There are two approaches the system designer can take in setting up gain structure, depending upon where output volume is to be controlled. The output volume of the DMP64 can be controlled by either of the following two gain blocks (see figure 58 on the previous page):

• Volume (e) and

• Pre-mixer gain (b).

NOTE: While the pre-mixer gain control is not in the output signal chain, it can

be used to control program level independent of mix-point levels.

In the following instructions, setup is described for output volume or pre-mixer gain when appropriate.

Setting Input Gain

Floating point DSP technology is internally more flexible than fixed point. However, the input ADCs and output DACs always run as fixed point, so it is important to optimize the audio by setting the input level as close to 0dBFS as possible. This maintains the resolution at 24-bit. Within the DSP it is not critical to maintain audio levels at 0dBFS in order to secure the resolution at 24-bit.

Input gain can be set using the intended input source device and typical source material for the installation. When source material is not available, it can be set using pink noise obtained either from a pre-recorded track on a DVD or CD, or a signal generator.

For program material, set the input gain level (see figure 58, a) so the meters reach –15to–12dBFS, with peaks at approximately – 5 to – 3dBFS. This setting provides enough headroom to accommodate transients or unanticipated loud events in the program material to avoid clipping.

When using pink noise, it should be recorded at – 20dBFS. If the player has an output level setting control, set the output of the player to its maximum, or 0dB of attenuation.

NOTE: If the maximum output setting provides gain, back the control down slightly

from the maximum setting.

When using a signal generator, set the output at –10dBu.

Whichever pink noise source is used, set the input gain in the DSPConfigurator so the input meter reads – 20dBFS.

Setting a Nominal Output Level

In order to set up a gain structure to include signal processing, listening to the audio can be advantageous. Route the audio that carries program material from the source to the speakers in the room being set up. With the output volume control (see figure 58, e) set to – 20dB, set the external amplifier so the source material plays at a volume level that is reasonably loud, but tolerable.

NOTE: When using the volume control for this purpose, set post-mixer trim (d) to

0dB. If using the post-mixer trim for this purpose, set volume to 0dB (100%).

Verify the amplifier is not clipping by observing the amplifier clip indicator. This sets the amplification (volume) nominal level of the system, and if desired, allows listening while making adjustments. Adjust or mute the volume control as necessary (see Setting

Volume Control for the Amplifier Stage on page91).

DMP64 • Software Control 89

Adjusting Pre-mixer Gain

After setting input gain, add desired processors into the input signal chain (see figure 58 on page 88). The pre-mixer gain control (b) is used to compensate for level changes due to processing. Adding a compressor generally reduces the signal level, while a filter can boost or cut the overall signal level. When changes are made to filter settings after setting dynamics processors, re-check the levels in the dynamics processors to make certain they are still valid.

NOTE: This procedure is valid only when there is no active processing in the output

signal path and if the post-matrix trim value is set to 0dB, unity gain. If processors are inserted in the output signal path, engage Bypass to temporarily remove them.

To adjust pre-mixer gain:

1. Open the line input gain (a), output volume (e), and pre-mixer gain (b) dialog boxes.

2. Connect program material (or pink noise) at the input.

3. Set the output volume to 100% (mute if necessary).

4. Adjust the pre-mixer gain (b) so the meter level on the input gain dialog matches the

meter level of the output volume dialog. This maintains the audio at an optimal level in the input signal chain.

This sets a good starting point. After setting up the microphone input gain and mix-point levels, output processing, and trim levels, if more headroom is required to prevent clipping at the outputs, return to the pre-mixer gain controls (b) and lower each one by specific amounts. Further minor adjustments to the pre-mixer gain controls help to balance perceived audio levels of the different inputs.

When using the pre-mixer gain for output volume control, the procedure can be reversed. Set pre-mixer gain to 0dB. With program material (or pink noise) present at the input, adjust the output volume until the meter level in the output volume dialog box is below clipping (or ideally, matches the level at the input gain meter).

Add all desired processors into the output signal chain. Keep in mind that a filter can boost or cut the overall signal level and adding a compressor generally reduces the signal level. Inserting either or both can require resetting of the output volume.

Since a limiter is the most likely choice for output processing and can only reduce the signal to prevent overload, a reduction of output level does not have to be considered. Loudness boosts the overall signal level, but only at lower volume settings.

After adding processors to the output signal chain, the output volume level can clip when set to 100% (or less). Floating point DSP allows clipping to be overcome by lowering the output volume (e) setting. However, unless a user is prevented from changing the volume setting to 100% (or to any position where clipping occurs), it is best to adjust the pre-mixer gain (b) or post-mixer trim (d) control to prevent any possible clipping.

Alternately, use the post-mixer trim controls to adjust output volume. Post-mixer trim controls provide 12dB of gain, so use a group master with soft limits to control levels, setting an upper limit of 0dB or less. Mic levels also contribute to clipping at the outputs, and can need lowered to maintain the balance between program material (line outputs) and voice.

Setting Output Gain Structure

DMP64 • Software Control 90

Setting Mic/Line Input and Mix Levels

In this example, the mic/line input 1 signal is sent to output 1 (see figure 58 on page 88).

To set the mic/line input and mix levels:

1. Connect a microphone to input #1.

2. Double-click the mix-point (c) for mic/line 1 to output 1 to open the dialog for that

mix-point, then unmute the mix-point to place the signal into the mix. The default level for the mix-point is 0dB, or unity gain.

3. Open the Input 1 Gain (a) dialog and set gain to 0dB (turn on phantom power if the

mic requires it), then unmute the channel.

4. While testing the mic, raise the fader level until the mic is clearly audible. The amount

of gain and the meter level vary at this point, but as a general guideline the input gain level should be at 40 to 50dB, with the meter averaging somewhere around – 20dBFS.

Ideally, audio will be optimized here, but voice levels at microphone inputs can vary greatly. Having the meters average around – 20dBFS allows enough headroom to accommodate sudden changes to voice levels. Further adjustment can be necessary.

Adjusting Trim

This is where setting gain structure becomes a balancing act. The following sections provide guidelines, but it can take a bit of going back and forth to correctly set levels for the installation. For example, output level can be controlled and kept below clipping using a compressor or limiter in the output dynamics block. However, adjusting the post-matrix trim will affect how the compressor or limiter works.

1. Apply program material (or pink noise) at the input to be adjusted.

2. Open the output Volume (e) and post-matrix Trim (d) dialog boxes.

3. Set output volume to 100% (mute if necessary).

4. Adjust the post-matrix trim until the meter level in the output volume dialog is below

clipping (or ideally, matches the level at the input gain meter).

This maintains the audio at an optimal level in the output signal chain while preventing clipping at the output.

Setting Volume Control for the Amplifier Stage

The maximum output of the DMP64 is +21dBu. As an example, assume the maximum input level of a power amp is +4dBu with its input attenuator fully open. If using the output Volume control (e) of the DMP64 to control volume levels, turn down the input attenuator of the power amp the equivalent of 17dB (21 – 4 = 17) to ensure clipping does not occur at the amplifier. That puts the amplifiers input level at –13dB (+4 – 17=–13). If the amplifier setting (when the output volume controls of the DMP64 are at maximum) is too loud for the room, it can need to be reduced further. If it is not loud enough for the room, a more powerful amplifier can be required.

Extron recommends using the output volume or post-mixer trim control on the DMP64 for controlling output volume. When using loudness processing on the unit, it only works in conjunction with these controls.

When using the power amplifier input attenuation to control volume (using the same power amp maximum input level), set the output volume or post-mixer trim control of the DMP64 to –17dB. This is another way that clip points of the two devices are matched. Verify the amplifier is not clipping by observing the amplifier clip indicator.

NOTE: Using the amplifier input attenuation to control volume compromises the

signal-to-noise ratio of the DMP64 and is not recommended.

DMP64 • Software Control 91

SIS Programming and Control

This section describes SIS programming and control of the DMP64, including:

• Connection Options

• Host-to-device Communications

• Command and Response Table for Basic SIS Commands

• Command and Response Tables for DSP SIS Commands

• Special Characters

Connection Options

The DMP64 Digital Matrix Processor can be remotely connected via a host computer or other device (such as a control system) attached to the rear panel RS-232 port or LAN port, or the front panel USB Config port.

The DMP64 can be set up and controlled using SIS commands, embedded web pages, or DSPConfigurator software. See Installation on page5 for pin assignments and details on the configuration and control port connections. For information on DSPConfigurator, see DMPSoftware on page14, and for the embedded web pages, see HTML Operation on page120.

SIS commands can be executed using the Extron Electronics DataViewer program, found on the Software Products DVD included with the product.

DMP64 RS-232 protocol:

• 38400 baud • no parity • 1 stop bit

• 8 data bits • no flow contro

NOTE: Both rear panel configuration ports require 38400 baud communication. This

is a higher speed than many other Extron products use. When using HyperTerminal or a similar application, make sure the PC or control system connected to these ports is set for 38400 baud.

For additional details on connecting the RS-232 port, see RS-232 Ports on page93.

USB port details: The Extron USB driver must be installed before the USB port can be used (see Install the

USB Driver on page17).

LAN port defaults:

DMP64 IP address: 192.168.254.254

gateway IP address: 0.0.0.0

subnet mask: 255.255.0.0

DHCP: off

DMP64 • SIS Programming and Control 92

RS-232 Ports

Pins:

The DMP64 has two serial ports that can be connected to a host device such as a computer running the HyperTerminal utility or DataViewer. The ports make serial control of the switcher possible. Use the protocol information listed to make the connection. For SIS programming details once the connection is made, see Host-to-device

Communications on page95.

USB Port (Front Panel)

The DMP64 has a front panel USB port that can be connected to a host device such as a computer running the HyperTerminal utility, or the DataViewer utility. The port makes serial control of the switcher possible. For SIS programming details once the connection is made, see Host-to-device Communications on page95.

Ethernet (LAN) Port

The rear panel LAN connector on the device can be connected to an Ethernet LAN or WAN. Communication between the device and the controlling device is via Telnet (a TCP socket using port 23). The Telnet port can be changed, if necessary, via SIS. This connection makes SIS control of the device possible using a computer connected to the same LAN or WAN. The SIS commands and behavior of the product are identical to the commands and behavior the product exhibits when communicating via a serial port or USB.

Ethernet Connection

The Ethernet cable can be terminated as a straight-through cable or a crossover cable and must be properly terminated for your application (see figure 59).

12345678

End 1 End 2

Pin Wire Color Pin Wire Color

1 white-orange 1 white-green

Insert Twisted

Pair Wires

RJ-45

Connector

2 orange 2 green 3 white-green 3 white-orange 4 blue 4 blue 5 white-blue 5 white-blue 6 green 6 orange 7 white-brown 7 white-brown 8 brown 8 brown

A cable that is wired as TIA/EIA T568A at one end and T568B at the other (Tx and Rx pairs reversed) is a "crossover" cable.

Figure 59. RJ-45 Ethernet Connector Pin Assignments

Crossover Cable

(for direct connection to a PC)

T568A T568B T568B T568B

Straight-through Cable

(for connection to a switch, hub, or router)

End 1 End 2

Pin Wire Color Pin Wire Color

1 white-orange 1 white-orange 2 orange 2 orange 3 white-green 3 white-green 4 blue 4 blue 5 white-blue 5 white-blue 6 green 6 green 7 white-brown 7 white-brown 8 brown 8 brown

A cable wired the same at both ends is called a "straight-through" cable because no pin/pair assignments are swapped.

DMP64 • SIS Programming and Control 93

To establish a network connection to the DMP64:

1. Open a TCP socket to port 23 using the mixer IP address.

NOTE: If the local system administrators have not changed the value, the

factory-specified default, 192.168.254.254, is the correct value for this field.

2. The DMP64 responds with a copyright message including the date, the name of the

product, firmware version, part number, and the current date and time.

a. If the DMP64 is not password-protected, the device is ready to accept SIS

commands immediately after it sends the copyright message.

b. If the DMP64 is password-protected, a password prompt appears below the

3. If the device is password protected, enter the appropriate administrator or user

password.

a. If the password is accepted, the device responds with Login User or Login

Administrator.

b. If the password is not accepted, the Password prompt reappears. Repeat step 3.

Connection Timeouts

The Ethernet link times out after a designated period of time of no communications. By default, this timeout value is set to 5 minutes but the value can be changed. See the

Configure Port Timeout commands in the “Command and Response Table for

Basic SIS Commands” beginning on page98.

NOTE: Extron recommends leaving the default timeout at 5 minutes and periodically

issuing the Query (Q) command to keep the connection active. If there are long idle periods, disconnect the socket and reopen the connection when another command must be sent.

Verbose Mode

Telnet connections can be used to monitor for changes that occur, such as SIS commands from other Telnet sockets or a serial port. For a Telnet session to receive change notices, the Telnet session must be in verbose mode 1 or 3. In verbose mode 1 or 3, the Telnet socket reports changes in messages that resemble SIS command responses.

DMP64 • SIS Programming and Control 94

Extron electronic DMP 64 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Contents

Introduction

About This Guide

Features

Installation

Rear Panel Features and Cabling

USB Configuration Port (Front Panel)

Hardware Operation

Front Panel Operation

Rear Panel Operation

Power Cycle

Firmware Updates

Reset Actuator and LED Indicator

Digital I/O Ports

Software Control

Embedded Web Pages

Windows-based Program Control

Installing the DSP Configurator Program

Install the USB Driver

DSP Configurator Program Basics

Starting the Program

Using the Program

Navigation

Cut, Copy, or Paste Functions

DSP Configurator Toolbar Menus

Presets Drop-down

Mode Buttons

Audio Level, Mix-point, Processing Blocks, and Signal Chains

Level Control Blocks

Processor Blocks

Mic/Line Input Signal Controls

Gain Control (GAIN)

Filter (FILT)

Feedback Suppressor (FBS)

Dynamics (DYN)

Delay (DLY)

Ducking (DUCK)

Ducking Configuration

Ducker Tutorials

Pre-mixer Gain (GAIN)

Line Output Channels

Loudness (LOUD)

Delay Block (DLY)

Filter Block (FILT)

Dynamics Block (DYN)

Volume Control (VOL)

Virtual Bus Returns

Filter (FILT)

Dynamics (DYN)

Loudness (LOUD)

Gain (GAIN)

Primary Mix Matrix

Mix-point Behavior:

Mix-point Examples

Secondary Mix Matrix

Group Masters

Group Members

Grouped Controls

Configuring a Group Master

Deleting a Group Master

Viewing and Using a Group Master

Add a Group

Tools

Soft Limits

Digital I/O Ports

Reinitialize Digital I/O

Emulate Mode and Live Mode

Selecting Live Mode and Pushing or Pulling Data

Presets

Previewing and Recalling a Preset

Building a Preset

Protected Configuration

Save Protected Configuration

Recall Protected Configuration

Change PIN

DSP Configurator Windows Menus