Kramer Electronics SD-7108 User Manual

KRAMER ELECTRONICS Ltd.

USER MANUAL

SDI and Digital Audio Distribution Amplifiers

Models:

6104 SD-7108 SD-7208 SD-7816

SD-7816B

IMPORTANT: Before proceeding, please read paragraph entitled

"Unpacking and Contents"

KRAMER ELECTRONICS LTD.

P/N: 2900-006002

Table Of Contents

Section Name Page

1 INTRODUCTION 2

1.1 Digital and Analog Signals 2

1.2 Several Points to Consider when Working with Digital Signals 2

1.3 SDI Standards 4

1.4 Factors Affecting Quality of Results 4 2 SPECIFICATIONS 5 3 HOW DO I GET STARTED? 6 4 UNPACKING AND CONTENTS 6 5 OPTIONAL ACCESSORIES 6 6 SDI AND DIGITAL AUDIO DISTRIBUTORS 7

6.1 Getting to Know Your 6104 Distributor 7

6.2 Getting to Know Your SD-7108 Distributor / Deserializer 8

6.3 Getting to Know Your SD-7208 Serializer / Distributor 9

6.4 Getting to Know Your SD-7816 Digital Audio Distributor 10

6.5 Getting to Know Your SD-7816B Digital Audio Distributor 11 7 INSTALLATION 12 8 CONNECTING TO DIGITAL VIDEO DEVICES 12 9 CONNECTING TO DIGITAL AUDIO DEVICES 12 10 TURNING ON THE MACHINES 12

10.1 Operation of the SDI Distributors 13

10.2 Operation of the Digital Audio Distributors 13

10.2.1 Programming 15

10.2.2 Indication 15 11 TAKING CARE OF YOUR MACHINE 15 12 TROUBLESHOOTING 16

12.1 Power and Indicators 16

12.2 SDI and Digital Audio Signals 16 Limited Warranty 17

List Of Illustrations

Figure Page

1 2 3 6104 Front/Rear Panel Features 7 4 SD-7108 Front/Rear panel Features 8 5 SD-7208 Front/Rear panel Features 9 6 SD-7816 Front/Rear panel Features 10 7 SD-7816B Front/Rear panel Features 11 8 Signal peak-to-peak measurement 13 9 Compensation level 14

Digital “eye” Diagram The Digital “eye” after accumulating noise and jitter

List Of Tables

Table Page

1 6104 Front/Rear Panel Features 7 2 SD-7108 Front/Rear panel Features 8 3 SD-7208 Front/Rear panel Features 9 4 SD-7816 Front/Rear panel Features 10 5 SD-7816B Front/Rear panel Features 11 6 Dip-Switch settings for signal level compensation 15

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1 INTRODUCTION

Congratulations on your purchase of this Kramer Electronics SDI / Digital Audio Distributor. Since 1981, Kramer has been dedicated to the development and manufacture of high quality video/audio equipment. The Kramer line has become an integral part of many of the best production and presentation facilities around the world. In recent years, Kramer has redesigned and upgraded most of the line, making the best even better. Kramer’s line of professional video/audio electronics is one of the most versatile and complete available, and is a true leader in terms of quality, workmanship, price/performance ratio and innovation. In addition to the Kramer line of high quality distributors, such as the one you have just purchased, Kramer also offers a full line of high quality switchers, processors, interfaces, controllers and computer-related products.

This manual includes configuration, operation and option information for the following products from the Kramer line of SDI and Digital Audio Distributors.

6104 – 1:4 SDI Distributor (Kramer DigiTOOLS)

SD-7108 – 1:8 SDI Distributor / Deserializer

SD-7208 – Serializer / 1:8 SDI Distributor

SD-7816 – 2x1:8 or 1:16 Digital Balanced Audio Distributor

SD-7816B – 2x1:8 or 1:16 Digital Unbalanced Audio Distributor

1.1 Digital and Analog signals

An analog signal varies continuously. It may have any value (within its physical bounds) and can change at any instant. A digital signal is made up of a finite number of discrete levels, usually – but not always – changing only at discrete time periods. An example of a digitized waveform is shown below.

ANALOG SIGNAL

DIGITAL SIGNAL

1.2 Several points to consider when working with digital signals

The minimum noise introduced by quantizing is 1 bit (1 level), so the higher the number of bits, the lower the inherent noise, and the higher the resolution.

Since A/D and D/A conversions create artifacts, it is important not to convert back and forth. In a “mixed” outfit, the video should be digitized, and all the digital processing done before converting back to analog.

“Multi-media” systems usually quantize the video to 8 bits (i.e. 2

= 256) levels. Some “levels” are dedicated to special codes (SAV, EAV – similar to syncs in analog video), leaving 220 quantization levels (~3mV steps) for the luminance signals. Audio is usually quantized to 16 bits for multi-media systems.

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Broadcast systems usually use 10-bit video, and 20- to 24- bit audio. The advantages of working in a digital domain are obvious – a digital signal may be transported

very easily, and saved and retrieved reliably with no generation losses.

The transmission of a digital video signal is reliable up to a certain length of cable. Beyond this length, the signal is destroyed. This phenomenon is known as the “cliff-effect”. To avoid the “crash” at the cliff, an “equalizer and reclocker” should be inserted at a distance less than the “cliff” length. From this point it is again possible to drive a cable up to the “cliff” length. This is similar to the “repeater” analogy for analog signals. (Note: the term “equalizer” is usually dropped, and the “equalizer and reclocker” is often referred to simply as a “reclocker”).

“Equalization” is a process of amplifying the input signal to overcome losses on the cable. For digital signals, this is possible, since the correct amplitude of the signal is known!

“Reclocking” is a process of “cleaning up” the signal in the time-domain, i.e., removing the jitter which was introduced as a result of the long cable. To do this, the timing source must be recovered from the signal, and the signal is regenerated with stable timing.

A graphic representation of the timing and amplitude distortions is shown in an “eye diagram”, as below:

Figure 1: Digital “eye” Diagram

Increase in jitter and decrease in amplitude cause the eye to “close”. It is clear that jitter of more than ±50% would result in an irretrievable signal (cliff effect).

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Figure 2: The Digital “eye” after accumulating noise and jitter

1.3 SDI Standards

Today, “uncompressed” digital video usually refers to digital component video (the ITU-R BT.601 standard). This is based on a sampling of component video. The sampling scheme stipulates one luminance (Y) sample for each pair of color-difference (R-Y and B-Y) samples.

Luminance sampling is done at 13.5MS/s (mega-samples per second), and each color-difference is sampled at 6.75MS/s. This is also known as 4:2:2 (Y is sampled at 4f differences at 2f

The 8 or 10 bits of data are serialized to produce a single stream of bits (SMPTE-259 standard) at 270MS/s for 10 bits (10X(13.5+6.75+6.75) = 270). This is known as “Serial Component Video”, and is usually referred to as SDI.

“Serial Composite Video” is (true) 4f

sampling of composite video – PAL at ~177MS/s, and

NTSC at ~143MS/s. This standard is hardly used, except in some older installations in the USA.

The “Digital Widescreen” standard was launched in the early 90’s. This is a digital version of Pal Plus (16:9 or Letterbox aspect ratio), and it works at 360MS/s.

(more or less!), and the color

1.4 Factors Affecting Quality of Results

There are many factors affecting the quality of signals transmitted from a source to an acceptor. The following examples illustrate the effect on analog video and audio. For digital signals, the interference would effectively decrease “cliff” length.

Connection cables

Low quality cables are susceptible to interference; they degrade signal quality due to poor matching and cause elevated noise levels. They should therefore be of the best quality.

Sockets and connectors of the sources and acceptors

So often ignored, they should be of highest quality, since "Zero ohm" connection resistance is the objective. Sockets and connectors also must match the required impedance (75ohm in video). Cheap, low quality connectors tend to rust, thus causing breaks in the signal path.

Amplifying circuitry

Must have quality performance when the desired result is high linearity, low distortion and low noise operation.

Distance between sources and acceptors

Plays a major role in the final result. For long distances (over 15 meters) between sources and acceptors, special measures should be taken in order to avoid cable losses. These include using higher quality cables or adding line amplifiers.

Interference from neighboring electrical appliances

These can have an adverse effect on signal quality. Balanced audio lines are less prone to interference, but unbalanced audio should be installed far from any mains power cables, electric motors, transmitters, etc. even when the cables are shielded.

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2 SPECIFICATIONS

Function

Inputs

Outputs

Resolution

Standards

Equalization & reclocking

Control

Display

Dimensions

Weight

Power Source

6104 SD-7108 SD-7208 SD-7816 SD-7816B

1:4 SDI Distributor

1 SMPTE259M Serial Video, 75 ohms on a BNC

4 reclocked SMPTE-259M Serial Video, 75 ohms on BNCs.

8 or 10-bits, automatic

143Mb/s (4fsc NTSC)

177Mb/s (4fsc PAL)

270Mb/s (4:2:2 Component)

360Mb/s (4:2:2 Widescreen)

Automatic up to 30 dB of cable loss

NA Output level Output level

Power ON LED

12cm X 7.5cm X 2.5cm (4.7” X 3” X 1”, W,D,H)

0.3 kg (0.67 lbs.) Approx.

12 VDC, 250 mA.

1:8 SDI Distributor / Deserializer

1 SMPTE-259M Serial Video, 75 ohms on a BNC

8 reclocked SMPTE-259M Serial Video, 75 ohms on BNCs, with adjustable level

8 or 10-bits, automatic

143Mb/s (4fsc NTSC)

177Mb/s (4fsc PAL)

270Mb/s (4:2:2 Component)

360Mb/s (4:2:2 Widescreen)

Automatic up to 30 dB of cable loss

Operating Standard LEDs

19” 1U, rack mountable

2.5 kg (5.5 lbs.) Approx

230 VAC (115 VAC, U.S.A)

14 VA

Serializer, 1:8 SDI Distributor

Parallel Digital Video on DB25F connector, ECL levels

8 reclocked SMPTE-259M Serial Video, 75 ohms on BNCs, with adjustable level

8 or 10-bits, automatic

143Mb/s (4fsc NTSC)

177Mb/s (4fsc PAL)

270Mb/s (4:2:2 Component)

360Mb/s (4:2:2 Widescreen)

Automatic reclocker

Signal lock LED

19” 1U, rack mountable

2.5 kg (5.5 lbs.) Approx

230 VAC (115 VAC, U.S.A)

10 VA

1:16 or 2x1:8 AES/EBU Distributor

Digital Audio, 110 ohm on detachable terminal blocks

16 reclocked digital audio, 110 ohms on detachable terminal blocks

32-96 kHz sampling frequencies

AES/EBU, IEC 958, S/PDIF and EIAJ CP340/1201

Automatic up to 24 dB of cable loss @ 48 kHz

Mode selection, Equalization level

Error and DATA existence LEDs for each input channel

19” 1U, rack mountable

2.6 kg (5.7 lbs.) Approx.

230 VAC (115 VAC, U.S.A)

10 VA

1:16 or 2x1:8 AES/EBU Distributor

Digital Audio, 75 ohm on BNCs

16 reclocked digital audio, 75 ohms on BNCs

32-96 kHz sampling frequencies

AES/EBU, IEC 958, S/PDIF and EIAJ CP340/1201

Automatic up to 24 dB of cable loss @ 48 kHz

Mode selection, Equalization level

Error and DATA existence LEDs for each input channel

19” 1U, rack mountable

2.6 kg (5.7 lbs.) Approx.

230 VAC (115 VAC, U.S.A)

10 VA

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