Omnia Audio ToolVox Operating Manual

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Version 1.1

1 February, 2001

USERS MANUAL

Customer Service

We support you...

By phone/fax in the USA.

Customer service is available from 9:30 AM to 6:00 PM USA Eastern Time, Monday through Friday at +1 (216) 241-7225. Fax: +1 (216) 241-4103.

By phone/Fax in Europe.

Service is available from Cutting Edge Europe in Germany at +49 81 61 42 467.

Fax: +49 81 61 42 402.

By E-Mail.

The address is: support@nogrunge.com.

Via World Wide Web.

The Cutting Edge Web site has a variety of information which may be useful for product selection. The URL is: http://www.nogrunge.com.

Feedback

We welcome feedback on any aspect of the ToolVox many good ideas from users have made their way into software revisions or new products. Please contact us with your comments.

™

or this manual. In the past,

Cutting Edge

2101 Superior Avenue

Cleveland, OH 44114

USA

+1 (216) 241-3343

Fax: +1 (216) 241-4103

Updates

™

The operation of the ToolVox

is determined almost by software. A continuous program of improvement is underway. Contact us to determine if a newer release is available.

Trademarks

Cutting Edge, the Cutting Edge logo, Omnia and ToolVox are trademarks of TLS Corporation. All other trademarks are property of their respective holders.

CUSTOMER SERVICE I

Copyright © 1994-99 by TLS Corporation. Published by Cutting Edge, who reserves the right to make improvements or changes in the products described in this manual, which may affect the product specifications, or to revise the manual without notice. All rights reserved.

Notice

All versions, claims of compatibility, trademarks, etc. of hardware and software products not made by Cutting Edge mentioned in this manual or accompanying material are informational only. Cutting Edge makes no endorsement of any particular product for any purpose, nor claims any responsibility for operation or accuracy.

Warranty

This product is covered by a one year limited warranty, the full text of which is included in the Appendix of this manual.

Service

You must contact Cutting Edge before returning any equipment for factory service. Cutting Edge will issue a Return Authorization number which must be written on the exterior of your shipping container. Please do not return cables or accessories unless specifically requested by Cutting Edge technical support. Be sure to adequately insure your shipment for its replacement value. Packages without proper authorization may be refused. USA customers: please contact Cutting Edge technical support at +1 (216) 241-3343. All other customers should contact their local dealer to make arrangements for service.

CUSTOMER SERVICE II

Notices and Cautions

Notices and CautionsNotices and Cautions

CAUTION:

THE INSTALLATION AND SERVICING INSTRUCTIONS IN THIS MANUAL ARE FOR USE BY QUALIFIED PERSONNEL ONLY. TO AVOID ELECTRIC SHOCK, DO NOT PERFORM ANY SERVICING OTHER THAN THAT CONTAINED IN THE OPERATING INSTRUCTIONS UNLESS YOU ARE QUALIFIED TO DO SO. REFER ALL SERVICING TO QUALIFIED PERSONNEL.

WARNING:

TO REDUCE THE RISK OF ELECTRICAL SHOCK, DO NOT EXPOSE THIS PRODUCT TO RAIN OR MOISTURE. DO NOT SHOWER WITH THE UNIT.

THIS SYMBOL, WHEREVER IT APPEARS, ALERTS YOU TO THE PRESENCE OF UNINSULATED, DANGEROUS VOLTAGE INSIDE THE CLOSURE - VOLTAGE WHICH MAY BE SUFFICIENT TO CONSTITUTE A RISK OF SHOCK.

THIS SYMBOL, WHEREVER IT APPEARS, ALERTS YOU TO IMPORTANT OPERATING INSTRUCTIONS.

THIS SYMBOL REFERS TO A HOT TIP. HOT TIPS ARE USEFUL BITS OF INFORMATION THAT WILL HELP YOU GET THE MOST OUT OF YOUR TOOLVOX.

CUSTOMER SERVICE III

TO PREVENT RISKS OF

ELECTRIC SHOCK,

DISCONNECT POWER

CORD BEFORE SERVICING

USA CLASS A COMPUTING DEVICE INFORMATION TO USER. WARNING:

If it is not installed and used as directed by this manual, it may cause interference to radio communication. This equipment complies with the limits for a Class A computing device, as specified by FCC Rules, Part 15, Subpart J, which are designed to provide reasonable protection against such interference when this type of equipment is operated in a commercial environment. Operation of this equipment in a residential area is likely to cause interference. If it does, the user will be required to eliminate the interference at the

user’s expense. other devices are connected to this device without the use of shielded interconnect cables. FCC rules require the use of only shielded cables.

This equipment generates, uses, and can radiate radio-frequency energy.

NOTE:

Objectionable interference to TV or radio reception can occur if

CANADA WARNING: “

This digital apparatus does not exceed the Class A limits for radio noise emissions set out in the Radio Interference Regulations of the Canadian Department of Communications.” “Le present appareil numerique n’emet pas de bruits radioelectriques depassant les limites applicables aux appareils numeriques (de les Class A) prescrites dans le Reglement sur le brouillage radioelectrique edicte par le ministere des Communications du Canada.”

CUSTOMER SERVICE IV

Table of Contents

1 INTRODUCTION – WHAT IS THE TOOLVOX?...................................................1

2 INSTALLATION......................................................................................................3

3 QUICK SETUP GUIDE ...........................................................................................5

3.1 Powering Up...................................................................................................................................................... 5

3.2 Attaching Audio Cables .................................................................................................................................. 5

3.3 A Quick Look at the Front Panel................................................................................................................... 5

3.4 The Headphone Output .................................................................................................................................. 6

3.5 Installing the Remote Application Software ................................................................................................ 6

3.6 Connecting Your Computer to the ToolVox................................................................................................ 7

3.7 Creating a Connection to the ToolVox.......................................................................................................... 8

3.7.1 Serial connection ....................................................................................................................................... 9

3.7.2 Network connection .................................................................................................................................. 9

3.8 Adjusting the Audio Levels........................................................................................................................... 11

3.9 Let’s Begin Processing Some Audio ............................................................................................................ 11

3.10 Time to Become a Pro with ToolVox........................................................................................................... 12

4 THE FRONT PANEL ............................................................................................13

4.1 The LCD Screen and Edit Knob.................................................................................................................. 13

4.2 The Network LED.......................................................................................................................................... 14

4.3 The Phantom LED......................................................................................................................................... 14

4.4 LED Level Meter and Input / Output LEDs.............................................................................................. 14

4.5 Noise Gate LED.............................................................................................................................................. 14

4.6 De-esser LED .................................................................................................................................................. 15

4.7 Processing LED Bar graph........................................................................................................................... 15

4.8 Headphone Output and Control.................................................................................................................. 15

4.9 Setup Menu ..................................................................................................................................................... 16

TABLE OF CONTENTS V

5 THE REMOTE APPLICATION.............................................................................19

5.1 The File Menu................................................................................................................................................. 19

5.1.1 Open Preset.............................................................................................................................................. 19

5.1.2 Save Preset............................................................................................................................................... 20

5.1.3 Save Preset As ......................................................................................................................................... 20

5.1.4 Print Preset............................................................................................................................................... 20

5.1.5 Exit ........................................................................................................................................................... 20

5.2 The Options Menu ......................................................................................................................................... 21

5.2.1 Connect .................................................................................................................................................... 21

5.2.2 Disconnect................................................................................................................................................ 21

5.2.3 Edit Connection....................................................................................................................................... 22

5.2.4 Command Line........................................................................................................................................ 23

5.2.5 Preferences............................................................................................................................................... 24

5.3 The System Menu........................................................................................................................................... 25

5.3.1 Expert Edit Mode .................................................................................................................................... 25

5.3.2 Save System and I/O ............................................................................................................................... 25

5.3.3 I/O Configuration ....................................................................................................................................26

5.4 The Preset Menu ............................................................................................................................................ 28

5.4.1 Select........................................................................................................................................................ 28

5.4.2 Save Preset............................................................................................................................................... 28

5.4.3 Save Preset As ......................................................................................................................................... 29

5.5 The Help Menu............................................................................................................................................... 29

5.5.1 About........................................................................................................................................................ 29

5.5.2 Version…................................................................................................................................................. 29

5.6 The Processing Diagram ............................................................................................................................... 29

5.7 The Metering Screen ..................................................................................................................................... 30

5.7.1 Input Level............................................................................................................................................... 30

5.7.2 Output Level............................................................................................................................................ 30

5.7.3 AGC ......................................................................................................................................................... 31

5.7.4 Expander .................................................................................................................................................. 31

5.7.5 Compressor.............................................................................................................................................. 31

5.7.6 De-Esser................................................................................................................................................... 31

5.8 Advanced network parameters.................................................................................................................... 32

5.9 Security ............................................................................................................................................................ 33

6 THE AUDIO PROCESSING CHAIN IN DETAIL .................................................35

6.1 A Look at Audio Levels in the ToolVox...................................................................................................... 35

6.2 The Analog Limiter and Analog Level Control......................................................................................... 36

6.3 The Highpass Filter........................................................................................................................................ 38

6.4 The Phase Rotator.......................................................................................................................................... 38

TABLE OF CONTENTS VI

6.5 The Automatic Gain Control........................................................................................................................ 41

6.5.1 Manual or Automatic .............................................................................................................................. 41

6.5.2 Reference .................................................................................................................................................41

6.5.3 Attack and Release .................................................................................................................................. 42

6.5.4 The Freeze Gate....................................................................................................................................... 43

6.6 The Three Equalizers .................................................................................................................................... 44

6.6.1 Frequency................................................................................................................................................. 44

6.6.2 Gain.......................................................................................................................................................... 44

6.6.3 Q Factor ................................................................................................................................................... 45

6.6.4 Highpass................................................................................................................................................... 46

6.6.5 Lowpass ................................................................................................................................................... 47

6.6.6 Bandpass .................................................................................................................................................. 48

6.6.7 High Shelving.......................................................................................................................................... 49

6.6.8 Low Shelving........................................................................................................................................... 50

6.6.9 Peak.......................................................................................................................................................... 51

6.7 The Compressor ............................................................................................................................................. 52

6.7.1 Threshold .................................................................................................................................................52

6.7.2 Attack ....................................................................................................................................................... 52

6.7.3 Release ..................................................................................................................................................... 53

6.7.4 Ratio ......................................................................................................................................................... 53

6.7.5 Boost ........................................................................................................................................................53

6.8 The Expander .................................................................................................................................................55

6.8.1 Threshold .................................................................................................................................................55

6.8.2 Attack ....................................................................................................................................................... 55

6.8.3 Release ..................................................................................................................................................... 55

6.8.4 Ratio ......................................................................................................................................................... 55

6.9 The De-Esser................................................................................................................................................... 56

6.9.1 Threshold .................................................................................................................................................57

6.9.2 Max Reduction ........................................................................................................................................ 57

6.10 TrueVerb

6.11 Output Stage ................................................................................................................................................... 65

6.11.1 Panorama .................................................................................................................................................65

6.11.2 Gain Control ............................................................................................................................................ 65

by Waves..................................................................................................................................... 58

7 SPECIFICATIONS................................................................................................67

8 WARRANTY AND APPLICATION CAUTION ....................................................69

9 APPENDICES.......................................................................................................69

TABLE OF CONTENTS VII

TABLE OF CONTENTS VIII

TOOLVOX USERS MANUAL

1 Introduction – What is the ToolVox?

The Omnia ToolVox is a high-performance, all-digital voice processor designed to work in concert with on-air broadcast or webcast processing to deliver a smooth yet powerful voice presence. It integrates everything needed for voice into a single system—including state-of-the art DSP reverb. The algorithms used in ToolVox were born out of the extensive dynamics control developed for the Omnia broadcast processor. ToolVox fully exploits the power of DSP to perform frequency domain analysis while implementing the latest discoveries in speech psychoacoustics. An example is its de-esser, which uses an advanced FFT method to predict and reduce the sibilant energy that often causes excessive clipping in on-air processors. The result is a voice sound that’s smooth, never grating and always powerful.

ToolVox includes:

• A studio reference-grade mic preamp with up to 70 dB of programmable gain and built-in phantom power;

• 24-bit A/D and D/A converters for maximum digital fidelity;

• Slow gain-riding AGC with smart-freeze gate, compressor and noise gate sections, designed with ratios and time-constants that work in concert with those found in onair and webcast processors;

• A phase rotator for reducing the amount of asymmetry in voice,

• Fully adjustable HP, LP and shelving filters plus parametric EQ; and

• TrueVerb, a powerful psychoacoustic room simulation program from Waves

Each ToolVox can store 100 presets that can be easily edited, moved or deleted as

required by the system administrator using the included Windows

Remote Control

application.

Presets can be manually selected from the front panel in a jock-friendly fashion: Rotate a knob until the desired preset name is displayed, then press a button to load the preset. Presets can also be remotely and automatically selected since ToolVox is a network-ready processor. To prevent unauthorized tampering, ToolVox includes built-in security features.

ToolVox includes both processed stereo analog and AES/EBU digital outputs as well as an unprocessed output specifically designed for feeding telephone hybrids. An AES/EBU Sync Input is included for those facilities using a master sample or house clock.

A front panel volume control and stereo headphone jack are included for convenient monitoring of the mic processing.

To help you get started, several factory presets are provided in each ToolVox–from these starting points, we’re certain you’ll want to make your own.

Omnia, the promise of digital. . . delivered.

CHAPTER 1 1

INTRODUCTION

2 Installation

Analog Limiter Setting (Internal Switch)

Before rack mounting your ToolVox, determine if there is a need to defeat the builtin analog limiter that protects the A/D converter against short transient signal peaks. We recommend that the limiter be left in the signal path. If your application requires that the limiter be taken out of the signal path, you must take off the top cover on the unit and set switch SW2 to position C2.

Rack Mounting

The Omnia ToolVox requires 1RU (1.75" (44.45 mm)) of rack space. If possible, try to leave one empty space above the ToolVox to provide extra ventilation. If rack space is available, add another empty space below the ToolVox.

ToolVox is normally placed in the studio or on-air control room where it can be accessed by board-operators or on-air talent to select presets as required. There is no danger of accidental preset “corruption,” since all preset programming is performed through software running on a computer. The only controls on the unit are for selecting and loading processing presets.

TOOLVOX USERS MANUAL

Rear Panel Connections & Controls

Power

The unit’s internal switching power supply can operate on 50 or 60 Hz power mains supplying from 90 to 260 VAC. Plug the IEC power cord into the AC power entry module on the rear of the unit. Turn on the power switch, also on the power entry module.

DIP Switch (between MIC IN and HYBRID OUT)

The four position DIP switch is used to set installation parameters. At this time, switches 1,2 and 3 are reserved for future options and are not used. Switch 4, when set UP, turns on phantom power to the MIC IN connector. Circuitry in the ToolVox actually confirms that 48 Volts is present before turning on the front panel “Phantom” status LED.

RS232

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INSTALLATION

TOOLVOX USERS MANUAL

A 9-pin serial port connection for a local PC running the ToolVox Remote application.

10Base-T

Ethernet network connector for connecting the ToolVox to a facility LAN. A single computer, running the ToolVox applications, can control multiple ToolVox units once each has been assigned a unique network address (TCP/IP). The Green LED adjacent to the connector confirms a valid Ethernet connection, and the yellow LED will flash during periods of network activity.

MIC IN (female XLR-type connector)

Any balanced dynamic or condenser microphone can be connected. If +48 Volt phantom power is required, set DIP switch #4 (next to the MIC IN connector) to its UP position. A front panel LED lights to indicate phantom power is switched on. If a dynamic microphone is used set DIP switch #4 DOWN to turn off phantom power. Level control is set using the ToolVox remote control application.

HYBRID OUT (male XLR-type connector)

A balanced +6 dBu mono output of the preamplified mic signal, designed for feeding a telephone hybrid. This signal is extracted after the analog limiter. This analog feed should connect directly to the SEND input of the telephone hybrid. Better hybrid performance can be obtained by using unprocessed audio, so the HYBRID OUTPUT is just a loopback of the analog input to the ToolVox.

ANALOG OUT (male XLR-type connector)

Stereo processed audio connections (LEFT OUT and RIGHT OUT) using standard active balanced 50 Ohm outputs.

Connecting the ToolVox Output to Unbalanced Equipment

We urge you to always use balanced connections between equipment in a studio. Connecting an unbalanced device in a very noisy environment might lead to noisy audio signals. One possible way to improve signal quality in such a situation is to ground one of the signal pins. ToolVox provides internal jumpers that allow pin 3 to be grounded on the analog output connectors. [this should be repeated in the

installation section earlier before the customer puts the unit in the rack].

AES/EBU SYNC (female XLR-type connector)

Only used when a facility requires a house sample clock reference signal to synchronize all digital devices. Connect using 110 ohm digital cable.

AES/EBU OUT (male XLR-type connector)

Stereo digital output of the processed microphone audio. Use 110 ohm digital cable to route the output to a digital console or other AES/EBU-compatible device.

CHAPTER 2 4

INSTALLATION

3 Quick Setup Guide

3.1 Powering Up

As described in the previous section, apply AC via the IEC style connector on the back of the unit. The power switch is located just above the power connector.

3.2 Attaching Audio Cables

The microphone should be connected to the Mic In female XLR connector. This should be a balanced connection to reduce the effect of common-mode noise induced in long cables. Adjust Dip-Switch 4 to the UP position when +48V Phantom Power is required for your microphone.

For analog output, attach a female XLR cable to the Analog Out connector. The analog output of the ToolVox is adjustable and has a 50 ohm source impedance. A peak level of +15dBu is available.

TOOLVOX USERS MANUAL

For digital output, connect a female XLR cable to the AES/EBU OUT connector. The Professional Mode AES/EBU format is used by the ToolVox. The output is transformer isolated with 110 ohm source impedance (standard AES/EBU).

The HYBRID OUTPUT connector is provided for the broadcast facility which wants to feed the output of the ToolVox into a call-in talk show system. This analog feed should connect directly to the SEND input of the telephone hybrid. Better hybrid performance can be obtained by using unprocessed audio, so the HYBRID OUTPUT is just a loopback of the analog input to the ToolVox.

In many all-digital installations, an AES/EBU sync clock is used to synchronize all of the equipment in a facility to a common sample rate. If your facility has such a clock, the AES/EBU SYNC input connector should be used. This is also a standard 110 ohm AES/EBU connector.

3.3 A Quick Look at the Front Panel

CHAPTER 3 5

QUICK SETUP GUIDE

Once your audio connectors have been made, power up the unit and check the front panel indicators. You should see a preset name and number indicated on the front panel LCD. Assuming you have no audio input, the PROCESSING meter should indicate a gain of 0dB, and no level should be present on the LEVEL meter. The INPUT and OUTPUT LEDs indicate the audio source for the LEVEL meter.

You can change the current preset by rotating the large knob to the right of the LED screen. Select a preset by pressing the ENTER button.

3.4 The Headphone Output

A ¼” stereo jack is provided on the front panel for monitoring the ToolVox. The headphone volume is controlled by the knob on the far right of the front panel.

TOOLVOX USERS MANUAL

listening to the headphone output.

3.5 Installing the Remote Application Software

Included with the ToolVox is a CDROM containing the ToolVox Remote Application and additional information about the ToolVox. All of the features of the ToolVox are accessible through this program, so before operating the processor this application must be installed on a computer.

The Remote Application must be run on a Microsoft Windows compatible PC. Insert the disk in your CDROM drive. Open Windows Explorer. Select the drive letter of your CDROM drive and copy the REMOTE.EXE file from the SOFTWARE subdirectory on the CDROM to your hard drive (a good location would be a c:\ProgramFiles\Cutting Edge\ToolVox directory).

Start with the Headphone volume set to its lowest position before

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TOOLVOX USERS MANUAL

3.6 Connecting Your Computer to the ToolVox

The ToolVox must be connected to your computer by either of 2 methods:

•

Serial connection

Use the serial port on the back of your computer to link to the RS-232 port on the ToolVox. Use the 9-pin serial cable included with the ToolVox, or use your own serial cable. The RS-232 port on the ToolVox is a standard female DB9 connector and can be attached to your computer’s DB9 or DB25 serial port using standard (nonnull modem) cables.

• TCP/IP Network Connection

Use a 10Base-T cable to connect the ToolVox to the local network. Also make sure that the computer on which you will use the Remote Application software is connected to the network.

If you use the serial port, make a note of which COM port to which you have attached the serial cable, so you can configure the Remote Application quickly and correctly.

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QUICK SETUP GUIDE

TOOLVOX USERS MANUAL

3.7 Creating a Connection to the ToolVox

Now you’re ready to begin experiencing the power of ToolVox. Start the ToolVox Remote Application by either choosing it from the Start Menu – Programs selection tool, or double-clicking the program icon from Explorer. The window below appears:

The first time you use the program, you will see a warning window appearing with the following message: ”No connection database, creating database.” Press OK.

You must create and configure a Connection using the application software. Go to the Options Menu and choose Edit Connection. The dialog box shown below will appear and will allow you to enter the connection parameters.

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TOOLVOX USERS MANUAL

3.7.1 Serial connection

First, give your connection a meaningful name. Then, enter the ToolVox password that gives you the level of control you want. For example, use the password “corli”; this gives the highest level of access to the ToolVox features. A complete list of passwords and access levels is provided in the Remote Application chapter of this manual. Now choose the COM radio button to select the RS-232 type of connection. Select the COM port you used when attaching the serial cable to the unit, and press OK.

3.7.2 Network connection

• Remote Application settings

First, give your connection a meaningful name. Then, enter the ToolVox password that gives you the level of control you want. For example, use the password “corli”; this gives the highest level of access to the ToolVox features. A complete list of passwords and access levels is provided in the Remote Application chapter of this manual. Now choose the TCP/IP radio button to select the Network connection. Enter the IP Address of the ToolVox you want to connect to, on the right of the radio button, and press OK.

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QUICK SETUP GUIDE

For more details concerning advanced network parameter settings (gateway and subnet mask), see chapter 5.8.

• ToolVox Settings

In order to use the ToolVox through the network, you need to assign it an unique IP Address (To obtain an available address on the network you are connecting the ToolVox to, see your network administrator).

Once you get this address, set up the ToolVox by holding the ENTER button for at least 3 seconds. You will then see the Setup Menu appearing on the LCD screen. Press ENTER again to select the IP Address item. The first number of the IP address will be blinking. Use the large Edit Knob to scroll up (to the right) or down (to the left) through the numbers from 0 to 255. Then, press the ENTER button to confirm and switch to the next number. Repeat this last action for the three other numbers.

TOOLVOX USERS MANUAL

Once the four numbers building the IP address are set, the ToolVox will automatically reboot. Now, the ToolVox is ready for a network connection.

During the manipulations in the ToolVox Setup Menu, if no parameters are changed in the 20 seconds following the last change, the ToolVox will automatically close the menu and come back to the presets view.

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QUICK SETUP GUIDE

TOOLVOX USERS MANUAL

Now that you have created a Connection, you can use it to communicate with the ToolVox. Under the Options menu select Connect and choose any connection from the list box. Press OK or double-click on the name to activate the connection. After a few moments you should see the ToolVox Processing Diagram and the meter information appear on the screen as shown below. If this doesn’t happen you may have chosen the wrong COM port or the wrong IP address in your connection creation. You can use Options – Edit Connection to change the settings of the connections should you need to.

3.8 Adjusting the Audio Levels

To calibrate audio levels, you will need to provide an audio source to the unit: your own voice will do just fine. Go the System menu and select I/O Configuration. In the dialog box, change the Front Panel Level Meter selection to Input. Press OK. Test the microphone input level by speaking in a normal voice and watching the input level meter. If it is not peaking between -10dB and +10dB, you should adjust the analog input level. Click once on the Input box in the Processing block diagram and adjust the Analog Input Level until the audio level peaks in the range cited above when you speak.

If the input is slightly out of range, don’t panic. The powerful AGC functions in the ToolVox will optimize your levels.

Now monitor your output with the headphone jack on the front panel. Adjust the headphone volume to a comfortable level.

3.9 Let’s Begin Processing Some Audio

The heart of the ToolVox is the ability to create custom presets tailored to the individual(s) whose voices need to be processed. The ToolVox can store up to 100

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QUICK SETUP GUIDE

TOOLVOX USERS MANUAL

presets in the unit’s memory. The factory presets which come with the unit can be replaced with your own at any time. Choose a preset by selecting Preset – Select from the drop down menus. The Remote Application will upload all of the presets from the unit’s memory (this will take a moment). Choose a preset to edit from the list. Don’t worry about overwriting the factory preset now; you won’t be saving this preset unless you absolutely want to.

To edit a preset, use the Processing Diagram in the upper half of the application window. The Processing Diagram is a graphical interface to the ToolVox processing parameters. Select a box in the diagram by clicking on it once. A dialog box will appear and display the parameters associated with that processing function. Try selecting different boxes and become familiar with the parameters and their effects.

Notice that the dialog boxes that appear can be moved around the screen just like any other window. This is useful for viewing several processing parameters at once, as well as keeping the meters in view when you adjust the sound.

Change the LEVEL meters so that they indicate the output level of the ToolVox analog output by selecting System – I/O Configuration from the drop-down menu. Using the Output processing box you can change the output level to match your facility’s optimal audio level. Keep in mind that this will also change the volume in your headphones.

3.10 Time to Become a Pro with ToolVox

Now that you are familiar with the ToolVox editing environment you can completely customize your audio with the advanced features of ToolVox. The rest of this manual covers every aspect of the Remote Application, Processing Parameters. Take the time to read through all of the sections – you will want to know the ToolVox inside and out to get the most out of this revolutionary new product!

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QUICK SETUP GUIDE

TOOLVOX USERS MANUAL

4 The Front Panel

Because the ToolVox system is designed to work primarily with the Remote Application software, the front panel of the ToolVox is somewhat spare, displaying only the essential information needed to indicate proper operation and to select presets.

4.1 The LCD Screen and Edit Knob

The LCD indicates the currently selected preset. Use the large Edit Knob to scroll through the presets stored in the unit. Press the Enter button to select a new preset.

The LCD screen and Edit Knob also allow access to a SETUP MENU (see chapter

4.9).

The ToolVox remembers the last preset selected. You can “double-click” the Enter button to do an A/B comparison of the current preset and the last preset selected.

CHAPTER 4 13

THE FRONT PANEL

4.2 The Network LED

When the ToolVox is properly connected to a TCP/IP network, this LED will illuminate.

4.3 The Phantom LED

This LED indicates the status of the 48V phantom power on the microphone input. Phantom power is selected using Dip Switch 4 on the back panel of the ToolVox. ToolVox actually monitors the Phantom Power voltage, so this LED will also help you troubleshoot any problems you might have (such as turning Phantom Power on, and not getting any).

TOOLVOX USERS MANUAL

4.4 LED Level Meter and Input / Output LEDs

The LED bar graph on the left side of the front panel can be configured to display one of the following audio levels: input, analog output, or digital output. A range of –15dB to +15dB is indicated on the bar graph, with each LED representing an additional 3dB of level. The range from +3dB to +15dB is indicated by red warning LEDs. 0dB refers to the unit’s analog reference level of –15dBFS.

The Input and Output LEDs indicate which level is displayed. Use the Remote Control application to change the level meter function (under the System – I/O Configuration drop-down menu). The LED meters indicate the RMS average level, as well as the true peak level of the audio.

4.5 Noise Gate LED

This LED follows the operation of the Expander.When the audio level is below the Expander threshold, the Noise Gate LED will illuminate.

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TOOLVOX USERS MANUAL

4.6 De-esser LED

When the De-esser is operating, this LED will indicate when there is excessive sibilance being removed from the audio signal. The De-esser is controlled from the Remote Application, in the Processing Diagram.

4.7 Processing LED Bar graph

The Processing LED bar graph shows a composite of the control signals applied by the AGC, Compressor, Expander and De-esser sections. When any one of the functions is controlling the audio, the Processing bar graph will indicate the amount of gain increase (0 to +15dB) or decrease (0 to –15dB) applied to the audio level.

If only the AGC section is turned on, the bar graph will only display a control signal if the AGC is set to Automatic. The Manual setting disables the display of the AGC control voltage.

4.8 Headphone Output and Control

The ¼” Stereo Headphone Jack on the right side of the front panel allows monitoring of the Analog Output of the ToolVox. Adjusting the Analog Output in the Output block of the Remote Application Processing Diagram will change the level in the headphone monitor. The headphone volume is controlled by the knob to the right of the headphone jack.

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THE FRONT PANEL

TOOLVOX USERS MANUAL

4.9 Setup Menu

On the ToolVox, a SETUP MENU is implemented. This menu is composed of three options.

•

IP Address : used to set up the ToolVox dedicated IP address.

• Reboot function: used to reboot the ToolVox.

• Exit: exit from the Setup Menu.

To access this menu, hold the ENTER key for 3 seconds. The Setup Menu appears on the LCD screen with the first option on the second line(IP Address).

To select or change the IP address, press the ENTER key. You will see the first number of the IP address blinking. Use the large Edit Knob to scroll up (to the right) or down (to the left) through the numbers from 0 to 255. Then, press the ENTER button to confirm and switch to the next number. Repeat this last action for the three other numbers. Once the four numbers building the IP address are set, the ToolVox will automatically reboot.

To reboot the ToolVox, go to the Setup Menu, select the Reboot option by scrolling to the right one time. Then, press ENTER. The ToolVox will reboot.

To exit from the Setup Menu, scroll right (or left) using the large Edit Knob until you find the Exit option. Then, press ENTER. The ToolVox will end up at the Setup Menu without rebooting.

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During the reboot function, be aware that you will loose all the I/O and preset settings that you changed, unless you have saved them.

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5 The Remote Application

The installation of the Remote Application software was covered in the Quick setup section.

5.1 The File Menu

The File menu allows you to Load and Save presets from/to your hard drive or floppy disk, Print preset settings, and Exit the Program. Preset files (files with extension PRS) are used to store presets on your computer for archiving and copying to other ToolVox units in your facility.

5.1.1 Open Preset

Use this command to load preset files from your computer into the Remote Application. The stored preset will be immediately activated as the current preset in the ToolVox connected to your computer.

Preset files can be downloaded from the Cutting Edge web site, as well as e-mailed to different facilities and copied to other computers.

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5.1.2 Save Preset

After you Open a preset into the Remote Application, you can make changes to the preset and then save it back to your computer using the same name by selecting Save Preset from the File menu.

TOOLVOX USERS MANUAL

Using Save Preset will overwrite the existing preset on your computer.

5.1.3 Save Preset As

Use Save Preset As to save the currently modified preset to your computer using a new name. The dialog box will ask you to specify the directory in which to save the preset file, as well as the name of the file.

5.1.4 Print Preset

Print Preset is a used for generating a hard copy of the entire preset. This is a useful technique to save your work in tangible form. In addition, there is the possibility that new software revisions of the ToolVox will be incompatible with your current presets. Printing the preset is a useful way of keeping the preset parameters handy in case you need to enter the preset should you receive an incompatible software version.

5.1.5 Exit

A nice way to quit out of the Remote Application.

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5.2 The Options Menu

5.2.1 Connect

Connect brings up the list of Connections stored on your computer (assuming you have created at least one). A list of the available connections will appear, allowing you to choose one and connect to the ToolVox. After choosing a connection, the Processing Diagram and Meter Screen should appear. If not, use Edit Connection to check the particulars of this connection and make the necessary changes. Also check your cabling and make sure the ToolVox is powered up.

TOOLVOX USERS MANUAL

5.2.2 Disconnect

Disconnect will immediately terminate any connection you have running. If there are multiple ToolVox units that you are configuring (on a LAN, for example), use Disconnect to drop the current connection and then Connect to the next ToolVox to be configured.

You can open more than one instance of the Remote Application to connect to more than one ToolVox at a time. This is particularly useful in LAN applications, but if you have multiple ToolVox units connected to separate COM ports on your computer, this will work as well.

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5.2.3 Edit Connection

Choosing Edit Connection brings up the following dialog box:

TOOLVOX USERS MANUAL

To make a new connection, select New. A default name will appear in the Name box, and the other boxes will be set to their default settings. Change the name to something meaningful (e.g. AirStudio). Enter the password (see Security in this chapter) appropriate for this connection. Select either COM for a serial connection, or TCP/IP for a LAN connection.

You are not required to enter the password when you create a new Connection. The Remote Application will prompt you to enter the password when you connect to the ToolVox. This is useful for maintaining security on your computer.

For a COM connection, enter the phone number to dial (assuming you are using a modem to configure the ToolVox), or simply choose the appropriate COM port for this connection.

For a TCP/IP connection, enter the IP address for the ToolVox.

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To edit an existing connection, select that connection from the list box. The parameters for that connection will be shown in the appropriate boxes. Make any changes and then click OK to save them.

A new Connection should be created for each ToolVox in your facility which will be connected to this computer.

5.2.4 Command Line

Command Line brings up the following window:

TOOLVOX USERS MANUAL

The command line is a very low level interface to the ToolVox operating system. If you are having difficulty with the ToolVox, Cutting Edge Customer Service may instruct you to open a Command Line interface to assisting in troubleshooting the problem. There are a few other reasons to enter the Command Line which will be covered later in the manual.

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5.2.5 Preferences

This screen allows you to customize the look and feel of the Remote Application software.

TOOLVOX USERS MANUAL

Connect to Last Connected – When this box is checked, the Remote Application will automatically connect to the last Connection used when you start up the application. This is useful when you have your ToolVox on a LAN, or when you leave it permanently connected to your computer’s serial port.

Decay Fade – When this box is checked, the level meters on the Remote Application will visibly fade when the audio level is decaying.

Peak Indicator – The thin line on the Remote Application Level Meters that holds the peak level can be turned on and off with this box.

Show as Solid Color – When checked, the 3-D appearance of the level meters will be changed to a solid color.

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5.3 The System Menu

5.3.1 Expert Edit Mode

Currently not implemented.

5.3.2 Save System and I/O

TOOLVOX USERS MANUAL

This will immediately save the current I/O configuration (see I/O Configuration) to the memory of the ToolVox. This prevents the ToolVox from reverting to the default settings when you reboot the unit. This has no effect on presets or the audio processing parameters.

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5.3.3 I/O Configuration

TOOLVOX USERS MANUAL

The I/O Parameters dialog box is divided into 2 parts: Appearance and Output. Appearance parameters control the front panel of the ToolVox and what information is displayed there. Output parameters control the source of the output audio as well as AES/EBU Synchronization.

Front panel level meter has two choices: INPUT causes the LED bar graph to display the level of the Input Audio (after the analog gain / limiting stage). OUTPUT displays either the Digital Output level or the Analog Output level (selected by the

Output Meter selection).

Output METER allows you to display the DIGITAL or ANALOG output levels on

the level meters (both front panel and Remote Application).

Contrast selects among 3 choices for the LCD display contrast setting.

Backlight allows you to turn the LCD backlight on and off.

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TOOLVOX USERS MANUAL

Listen to selects the current audio processing parameters used to control the audio. You can use this feature to do an A/B comparison of your current parameter settings to those stored in the last selected preset within the ToolVox

When using the Listen to function, be aware that the Input Analog Gain parameter is not considered a processing parameter. Thus, it won’t change between the current state and the stored state.

Bypass all? Allows you to bypass the entire audio processing chain to listen to the raw input audio. This is a good way to A/B the processed and unprocessed audio.

channel source is a unique feature that gives you the ability to listen to the audio

removed by the de-esser in its analysis of the input audio. Selecting ANALYTIC mode puts only the removed sibilance on the right channel output. This is a good way to find out how much of the audio is being removed by the De-esser stage.

AES/EBU mode allows you force the AES/EBU output to synchronize to the AES/EBU SYNC input source. The digital output will be sample-rate converted to the recovered clock on the AES/EBU SYNC input.

Analog reference allows you to specify the output reference level for the analog outputs. The gain (or cut) applied at this point will be based on the I/O reference level of –15dBFS. This is explained in more detail in the Audio Processing section. This setting is independent of the presets and should be set to optimize the output level for your installation..

Digital reference allows you to specify the output reference level for the digital output. The gain (or cut) applied at this point will be based on the I/O reference level of –15dBFS. Again, this setting is independent of the presets.

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5.4 The Preset Menu

The Preset Menu gives you limited control over the presets stored in the connected ToolVox. ToolVox has room for 100 presets in its internal memory. These presets are all filled with factory presets when shipped. You can load any of the factory presets, change them, and replace them using the Preset Menu. You can also load your own presets and change them.

TOOLVOX USERS MANUAL

Note: The items in the Preset Menu affect presets stored in the ToolVox. This is in contrast to the File Menu preset controls which modify presets on your computer.

5.4.1 Select

Select brings up a dialog box containing the list of all presets stored in the connected ToolVox. Clicking on one loads the selected preset.

5.4.2 Save Preset

Save Preset overwrites the current stored preset with the currently used set of processing parameters. The name of the preset will not be changed, but the stored preset will be lost (overwritten).

When you replace a preset inside the unit you will permanently lose the old preset in that slot.

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5.4.3 Save Preset As

This choice allows you save the current preset under a new name. The old preset will still be overwritten, as the same memory slot is used.

5.5 The Help Menu

5.5.1 About

The About screen displays pertinent information about the Remote Application, including the version number.

5.5.2 Version…

Version displays the software revisions of all software pieces in the connected ToolVox.

TOOLVOX USERS MANUAL

5.6 The Processing Diagram

The Processing Diagram is the graphical user interface used to adjust the audio processing parameters in the ToolVox. The Diagram is shown as a signal flow chain to make it easy to visualize the effects and locations of the different processing blocks.

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Clicking once on any block in the chain will bring up a dialog box containing the processing parameters for that block. Each dialog box can than be dragged to any location on the screen, and another processing block opened for editing. In this way, you can modify several different processing blocks and listen to how they work in concert.

Typically, you would begin editing a preset by starting with the blocks at the far left of the chain. Calibrate your input levels, for example, using the INPUT block. The PHASE ROTATOR is next because it doesn’t have any effect on the audio level. The AGC, EQ, and COMPRESSOR / EXPANDER are next in order to optimize the audio level for the more analytical blocks – the DE-ESSER and REVERB. Finally, the OUTPUT block would be adjusted to give the correct analog or digital levels for your installation.

The next chapter covers each audio processing block in very fine detail, including tips on how to get the particular effect you might be looking for.

5.7 The Metering Screen

The bottom half of the Remote Application window contains the Metering Screen. The screen displays the audio levels and control signals within the ToolVox in realtime; this makes it easy for you to adjust each processing block and immediately see the effect (if any) on the audio.

TOOLVOX USERS MANUAL

5.7.1 Input Level

The left-most meter displays the level of the audio input, after the analog limiter and analog gain stage. Use this level indicator to ensure you are running your input at an optimum level: that is, not so low that the noise floor will become a problem, and not so high that you run out of headroom. A level indication of -10 to +10 dB is ideal at this stage of the audio chain (the AGC and Compressor / Expander will fine tune the level later). Note that the Input and Output levels on the remote do not indicate the true Peak (like the LED meters), but rather show the peak of the RMS value (this was done because of the sluggishness of the Windows interface).

5.7.2 Output Level

The output level meter shows either the digital or the analog output level (each can be run at different gains). Choose the level to be displayed by using the System – I/O Configuration drop-down menu. Each installation will have a different optimal output level: use this meter to adjust yours.

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5.7.3 AGC

The AGC meter displays the amount of boost or cut (attenuation) applied to the audio in order to maintain a constant level throughout the unit. The THRESH symbol illuminates when the audio is below the freeze threshold. This means that the freeze gate is active. In other words, the audio level is so quiet that the AGC will not respond; this is useful to keep the AGC from trying to bring up the level of what is perceived as noise. When the audio level comes back up above the freeze threshold, the AGC will take over and begin controlling the audio level again.

TOOLVOX USERS MANUAL

Note that the output level is in stereo, while the input is mono. This is because the TrueVerb processing generates a stereo reverb signal.

5.7.4 Expander

The Expander meter displays the amount of attenuation applied to the audio signal during quiet passages. The THRESH symbol will illuminate when the audio is below the selected threshold and the expander is working to attenuate the noise (thereby expanding the dynamic range of the audio).

5.7.5 Compressor

The Compressor displays the amount of attenuation applied to the audio during louder passages (to compress the dynamic range of the audio signal). The THRESH symbol will illuminate when the audio level is above the selected compressor threshold and the compressor is operating to reduce the level.

5.7.6 De-Esser

The De-esser meter displays the amount of attenuation applied to the audio during periods of sibilance (when the De-Esser Threshold is exceeded). Notice that the attack and release times of the de-esser are much faster than the other control signals because the goal of the de-esser is to only remove sibilants and leave the rest of the audio unchanged.

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5.8 Advanced network parameters

In a network configuration the two following advanced parameters other than the IP address need to be set up on the ToolVox:

• Gateway* (also called IP router): this parameter represents the IP address of

the router that allows the ToolVox to be accessed from outside of the local network.

• Subnet mask*: this parameter depends on the Class type (A, B or C) of the

network, which the ToolVox is connected to.

*To obtain these parameters, see your network administrator.

To set up the Gateway and subnet mask parameters, you need to use the Command line interface (see chapter 5.2.4) of the remote application by opening OPTIONS menu and selecting Command Line.

Once the window is opened, use the Edit command window to perform the following commands:

• setgateway <Gateway address>: (ex: setgateway 192.160.0.145). If the

address is correctly entered, you will see the following message appear in the Messages window: IP Gateway set to [Gateway address].

• setmask <subnet mask>: (ex: setmask 255.255.255.0). If the number is

correctly entered, you will see the following message appear in the Messages window: IP network mask set to [Subnet mask].

• netinfo: this command displays a summary of the network settings: IP

address, gateway and subnet mask.

• Setip <IP address>: (ex: setip 192.160.0.123). It is also possible to change

the dedicated IP address of the ToolVox from the remote application.

If you change the dedicated IP address of the ToolVox from the remote application, be aware that you will loose the current connection (even if you are connected through the serial port) and that the ToolVox will reboot automatically.

During the reboot function, be aware that you will loose all the I/O and preset settings that you changed, unless you have

saved them.

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5.9 Security

The ToolVox Remote Application allows you to maintain a degree of security with regard to who can edit presets, and the degree to which each user can alter the settings. Use the following list of passwords and security levels when giving access to users:

Password Access

None None

“noac” Reserved for future use

“susa” User level: View settings, select presets

“corli” Administrator level: alter presets, save

TOOLVOX USERS MANUAL

presets

To change the passwords you must bring up the Command Line window (under the Options menu). Type in the following command:

>> passwd <oldpassword> <new password> <new password>

The new password is entered twice for your protection.

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TOOLVOX USERS MANUAL

6 The Audio Processing Chain in Detail

The audio processing in the ToolVox is incredibly sophisticated. This chapter will explain in a high level of detail each of the pieces of the ToolVox processing chain. This will allow you to have greater control in your attempts to create the “perfect” sound for your application.

6.1 A Look at Audio Levels in the ToolVox

From the first analog input stage to the final output stage, the ToolVox maintains several different reference levels that must be understood to fully utilize the different algorithms in the processing chain. It will also allow you to maintain the highest audio quality (measured by signal-to-noise ratio and harmonic distortion). The following diagram illustrates how the peak and reference levels shift through the different stages of processing.

The analog input section expects a nominal level of 0dBu, with a peak level of +22dBu. This can be attained by appropriately choosing the analog gain setting in the Input processing block. The analog limiter in the microphone preamplifier will limit the input audio to a peak level of +15dBu (the maximum input level of the A/D converter). The limiter has a “soft knee” and will actually begin applying control

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TOOLVOX USERS MANUAL

when the audio level exceeds 0dBu. The amount of control will increase as the audio level increases.

After the A/D converter, the +15dBu peak level will become 0dBFS (the maximum audio level that can be represented in the digital domain). The 0dBu analog reference level will be represented by –15dBFS (referred to as the I/O reference level).

Before the AGC block, the audio level is reduced by 10dB. The ToolVox has an internal reference level of –25dBFS, which will hereafter be simply referred to as 0dB. All thresholds in the processing chain will be referenced to this level. For example, setting the AGC Reference level to –5dB, will actually mean –30dBFS. The reason for the– 25dBFS reference is to maintain adequate headroom for each of the processing blocks. The noise floor in the DSP is less than –140dB, so this low reference level will not affect the audio performance.

The AGC will attempt to keep the audio level at 0dB, assuming an AGC reference level of 0dB.

The internal reference level is changed at the end of the processing chain to more closely match the I/O reference of –15dBFS. The reference level in the ToolVox processing chain is much lower than the A/D and D/A reference levels to provide headroom for processing. The reference correction at the end of the chain will depend on the Processing Parameters (Preset-based). The output level is adjustable (for both the analog and digital outputs) to provide the right levels for your particular installation. This Output Level Adjustment is tied to the ToolVox (independent of presets).

Keep these levels in mind as you make adjustments to the audio chain; this way you can avoid clipping the audio at the different stages in the processing.

6.2 The Analog Limiter and Analog Level Control

The ToolVox analog input section has 4 discrete gain settings that can be selected: 0dB, +20dB, +40dB, and +60dB. This allows ToolVox to work with a wide range of

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TOOLVOX USERS MANUAL

microphones, and even line levels. Choose a gain setting for your particular microphone that produces, during normal speech, a level of approximately –10 to +10dB as viewed on the level meters.

In addition to gain programming in the analog section, there is also a limiter. This limiter is designed to reduce peak levels on the microphone input in order to maximize the headroom of the input audio. The limiter will apply a maximum of 7dB of gain reduction when the input audio exceeds the limiter threshold of +15dBu. The limiter has a “soft knee,” so different amounts of gain reduction will be applied depending on the audio level. This has the effect of allowing the input to be 7dB hotter when applied to the A/D converter (in effect adding 7dB of headroom).

The limiter can be removed from the input circuit, although this is not recommended. To disable the limiter, turn off the ToolVox remove the lid, and set switch SW2 to position C2.

The following graph illustrates the input/output characteristics of the analog limiter in the ToolVox.

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6.3 The Highpass Filter

The Highpass Filter is designed to reduce rumble, wind noise, and other low frequency sounds not normally associated with voice-band audio. Use the slide bar to adjust the cutoff frequency of the filter from 20Hz to 100Hz, depending on the frequency content of the audio you want eliminated. The filter can be disabled using the On/Off box.

TOOLVOX USERS MANUAL

6.4 The Phase Rotator

The Phase Rotator can be turned on and off, and the amount of phase rotation (1 being the least, and 5 the most) can be adjusted in the Phase Rotator processing block.

The Phase Rotator is an all-pass filter (meaning no attenuation of the signal at any frequency) with a specific phase response designed to eliminate the asymmetry commonly found in speech. Typical speech waveforms are such that the signal amplitude is often greater on one side of the amplitude axis than the other. When an asymmetric signal is clipped, the results are far more unpleasant to the ear than symmetric clipping. Since clipping is often used in broadcast audio processing, a phase rotator is a useful tool in a microphone processor.

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TOOLVOX USERS MANUAL

The following figures demonstrate the effect of a phase rotator on an asymmetric audio waveform. The left-hand figures are (in descending order):

1) An asymmetric waveform consisting of the sum of two sine waves of

different amplitude, phase and frequency.

2) One of the sine waves

3) The other sine wave (higher frequency with a phase shift)

In the right column, the resulting signals are shown after the original audio is passed through the phase rotator. The dotted lines in the top picture indicate a possible clip threshold; you can see the difference in the symmetry of the clipped audio. The bottom sine wave has been phase shifted with respect to the upper waveform. The reason for this is shown below.

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TOOLVOX USERS MANUAL

The 3 graphs show the magnitude response, phase response, and group delay of a phase rotator. The top graph shows that no gain or attenuation of the audio occurs at any frequency. The third diagram is the most important indicator of the efficacy of a a phase rotator. The group delay of a filter shows the amount of time delay applied to different frequency components in a signal. A phase linear filter would show a constant group delay, meaning no frequency component would be delayed with respect to another. The phase rotator group delay curve shows that there is a significant difference in group delay at low frequencies, but a constant delay at higher frequencies. It is the changing group delay in the lower bands that remove the asymmetry in audio by time-shifting the audio in those bands.

The 5 level settings affect the frequency at which the group delay curve begins to level out. The higher the level setting, the higher the frequency where the curve begins to flatten. In effect, the higher level settings will apply phase rotations to a larger portion of the audio spectrum. The chosen setting will depend heavily on the speaker and microphone selection. Generally speaking, the more asymmetric the audio signal, the higher you should set the phase rotator level.

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TOOLVOX USERS MANUAL

6.5 The Automatic Gain Control

The purpose of the Automatic Gain Control in the ToolVox is to maintain a constant audio level inside the processing chain (refer to the section on Audio Levels in the ToolVox for details). The AGC can apply gain or attenuation to the audio depending on the level going into the block, and the threshold (reference level) you choose.

6.5.1 Manual or Automatic

The first field in the dialog box allows you to set the gain control to Automatic or Manual. The Manual setting forces a constant gain (or cut) to be applied to the audio, regardless of the input level. Use the Manual Gain Setting slider at the bottom of the dialog box to set the amount of gain you want. Using Manual effectively bypasses all of the settings in the dialog box. Typically, you would use the Automatic setting, as the amount of gain applied is a function of the input audio and will more accurately control the audio level in the ToolVox.

6.5.2 Reference

This slider allows you to adjust the target level for the AGC. This is the audio level that the AGC will attempt to maintain, regardless of the input level. The levels shown on the slider are relative to the –25dBFS nominal level in the ToolVox. For example, a reference level setting of -5dB on the slider will cause the AGC to maintain an audio level of –30dBFS in the processor (-25dBFS + -5dB).

The higher settings will result in louder audio at the expense of headroom; lower settings maximize headroom (allowing you to boost the audio more in the equalizer) while bringing the audio level closer to the noise floor.

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6.5.3 Attack and Release

The Attack and Release sliders allow you to control how quickly the AGC control signal will respond to changes in audio level. Move the slider to the left for fast response (up to 500mS), and to the right for the slowest (20 seconds). These times refer to the time constant of the filter applied to the control signal. The following example demonstrates this.

Here, an audio waveform is applied to the AGC. In this example, the numbers are chosen simply to illustrate the effect of AGC and are not related to the actual ToolVox levels and time constants. The audio begins with a peak amplitude of 0.5, but suddenly increases to an amplitude of 1.0, and then drops to an amplitude of 0.25. The AGC reference level is set to 0.5, the Attack time to 1mS, and the Release time to 0.5mS. As you can see, when the audio level is exactly at the reference level, there is no control applied to the audio (control signal = 0dB). But, when the audio level increases above the threshold of 0.5, the control signal immediately begins to try and reduce the audio level – finally reaching a stable point of –6dB (one half). The Attack time controls how quickly the AGC will reduce the gain. When the audio level drops below the 0.5 reference, the AGC applies a positive control signal to the audio and brings the level back up – reaching a stable point of +6db. The Release time controls how quickly the AGC will increase the gain.

TOOLVOX USERS MANUAL

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TOOLVOX USERS MANUAL

AGC Control (Attack = 1.0mS, Release = 0.5mS)

0.8

0.6

0.4

0.2

-0.2

-0.4

Signal Amplitude

-0.6

-0.8

-1

Original Audio

Control Signal (dB)

0.006 0.012

Time (S)

-2

Control Signal (dB)

-4

-6

-8

Fast Attack and Release times can be useful for creating a very uniform output level, but may cause an unpleasant “sea-sickness” effect on the listener, as the level is constantly riding up and down. The slower time constants will reduce the audible artifacts of the AGC, but will obviously do less to keep the level uniformly constant.

6.5.4 The Freeze Gate

One of the inherent problems with a typical AGC is that when the audio level drops very low (during pauses or periods of silence), the AGC will increase the gain to its maximum. When the audio resumes, the huge boost will cause the audio to be incredibly loud, and often clipped. For this reason, the ToolVox includes a Freeze Gate as part of the AGC section. The Freeze Gate, during periods of low level, will cause the AGC to hold the control signal level until the input audio exceeds the gate threshold. This gate threshold is set by the Freeze Gate slider (from –28dB to +10dB).

A high freeze threshold is good for speakers who maintain a constant level, but for dynamic speakers, a high threshold will not adequately boost the level during quiet speech periods. A low threshold is much better in that case, because it will not

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disturb the normal speech, but will still prevent the AGC from boosting the noise floor, and then distorting the normal audio.

6.6 The Three Equalizers

TOOLVOX USERS MANUAL

There are three filters that can be activated to equalize the audio. Each filter has a separate On/Off setting, and each can be configured to one of six different filter styles. In addition, each filter style has one or more configurable parameters to fully customize the effect of the filter.

6.6.1 Frequency

This slider changes the cutoff frequency for the Highpass and Lowpass filters. In the case of the High Shelving and Low Shelving filters, the slider controls the point at which the boost or cut will start being applied. For Bandpass and Peak filters, the Frequency adjustment changes the center frequency of the filter.

6.6.2 Gain

The Gain slider applies the specified boost or cut to the Peak, High Shelving and Low Shelving filters. Gain has no effect on the Highpass, Lowpass and Bandpass filters.

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6.6.3 Q Factor

The Q factor alters the width of the Bandpass and Peak filters. High Q produces a very narrow width, while low Q causes a wide spread. Q Factor has no effect on the other filter types.

TOOLVOX USERS MANUAL

A note on the use of the different filters: A common misconception among users attempting to “fix” their sound is to constantly boost certain frequencies. A better technique in certain cases is to cut the audio level in a frequency range. For example, a user who complains that their audio signal sounds “muddy” will usually boost the high frequencies with a highshelving filter. This only serves to partially mask the problem. A better solution would be to cut out the troublesome low end with the low-shelving filter. This will reduce the amount of energy in the lowend, rather than push the whole audio signal closer to the clip-point, and possibly run into trouble later in the chain.

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6.6.4 Highpass

Parameters: Cutoff Frequency (100Hz to 18kHz)

TOOLVOX USERS MANUAL

The Highpass filter is a second order filter with a rolloff of 12dB per octave. The pass band has a gain of 0dB. The adjustable Highpass filter can be used to achieve different audio effects, but would not normally be used in the chain (except with a very low cutoff frequency to remove out of band ambient noise).

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6.6.5 Lowpass

Parameters: Cutoff Frequency (100Hz to 18kHz)

TOOLVOX USERS MANUAL

The Lowpass filter is a second order filter with a rolloff of 12dB per octave. The pass band has a gain of 0dB. The lowpass filter is similar to the highpass in that it can be used as an effect or to cut out unwanted signals, but would not normally be in the chain.

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6.6.6 Bandpass

Parameters: Center Frequency (100Hz to 18kHz)

TOOLVOX USERS MANUAL

Q Factor (0.25 to 10)

Use the Q factor to adjust the width of the pass band. The pass band has a gain of 0dB. The bandpass filter is an excellent way to simulate certain audio conditions, such as a telephone call or loudspeaker system (with large Q factors) or to isolate the speaker’s audio from ambience (with small Q factors).

Tip: compare this filter with the Peak filter described below.

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6.6.7 High Shelving

Parameters: Cutoff frequency (100Hz to 18kHz)

Gain (-15dB to +15dB)

TOOLVOX USERS MANUAL

The shelving filter acts like a treble control with adjustable cutoff frequency: boosting or cutting the high frequencies while not affecting the low frequencies. The figure shows 8 High Shelving Filters with a cutoff frequency of 5000Hz and different gain settings.

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6.6.8 Low Shelving

Parameters: Cutoff frequency (100Hz to 18kHz)

Gain (-15dB to +15dB)

TOOLVOX USERS MANUAL

The shelving filter acts like a bass control with adjustable cutoff frequency: boosting or cutting the low frequencies while not affecting the high frequencies. The figure shows 8 Low Shelving Filters with a frequency of 500Hz and different gain settings.

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6.6.9 Peak

Parameters: Center frequency (100Hz to 18kHz)

TOOLVOX USERS MANUAL

Gain (-15dB to +15dB)

Q Factor (0.25 to 10)

The peak filter boosts or cuts the level for a specific frequency range. Use the Q Factor to control the width of the frequency range. The above figure shows 8 Peak Filters, each with a center frequency of 800Hz, a gain (or cut) of 10dB, and 4 different Q Factors. The peak filter is similar to the bandpass filter, except that it can be used to boost or cut frequencies in the pass band (whereas the band pass filter only removes frequencies outside the pass band). Interesting effects can be achieved with a high-Q peak filter and some boost.

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6.7 The Compressor

TOOLVOX USERS MANUAL

The Compressor is used to increase the density of the audio signal by reducing the level of the audio above a certain, adjustable, threshold. While the AGC slowly rides the gain of the audio up and down to keep a constant level, the Compressor intentionally decreases the level of audio that exceeds the chosen Threshold, and then applies gain to the entire signal. This has the effect of compressing the dynamic range of the audio, giving a more controlled, tighter feel to the processed audio.

6.7.1 Threshold

The Threshold setting specifies the audio level at which the compressor will begin applying gain reduction. A low threshold will dramatically reduce the dynamic range (because it will cause the compressor to operate more often) but should be used with caution as it will reduce the naturalness of the speech.

6.7.2 Attack

The Attack setting adjusts how quickly the control signal will attenuate a rise in input audio level. A fast attack is useful for attenuating loud transients; a slower attack is less noticeable to the listener.

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6.7.3 Release

)

The Release time controls how quickly the control signal will recover after the compressor applies attenuation. As the input audio level falls, the amount of attenuation will decrease with the speed specified by the Release control.

6.7.4 Ratio

The Ratio setting controls the amount of attenuation applied for a given audio level. The lowest ratio gives a compression ratio of 1:1, meaning that for a 1dB rise in level, the output will rise 1dB – no compression takes place. A compression ratio of 1:20 means that a 1dB rise in input causes a 0.05dB (one twentieth of a dB) rise in output level. The Compressor in the ToolVox is a nonlinear compressor, meaning that the compression ratio actually changes slightly over the audio range. For this reason, the Ratio adjustment in the dialog box isn’t indicated by a strict ratio (such as 1:20) but as a numerical setting which will guide you from a lower to a higher ratio.

TOOLVOX USERS MANUAL

COMPRESSOR

The figure above shows the compressor operating with a Threshold of +15dB and several different compression ratios.

6.7.5 Boost

OUTTPUT (dB

RATIO = 1 :1

RATIO =1 :20

INPUT (dB)

The Boost setting is the amount of gain applied to the audio at the output of the compressor. Because the Compressor reduces the overall level of the audio, apply

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the Boost to bring the level back up. The amount of Boost should be changed with different Thresholds and Ratios in the compressor.

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6.8 The Expander

The (downward) Expander in the ToolVox can be thought of as a Noise Gate. This means that for low input levels (below the specified threshold), the Expander will reduce the output level, attenuating the low level signals even further. This will serve to cut down on the presence of ambient noise during speech.

6.8.1 Threshold

The Threshold setting controls the audio level at which the expander will begin applying attenuation to the audio. This level should be chosen carefully based on the surroundings in which the voice talent is speaking (a studio versus a dance club, for instance) and the speaker’s style of speech. A high threshold, while useful for isolating the speaker’s voice from ambience, can cause a “chopping” effect, often cutting off the ends of sentences, or completely muting the voice should the talent be speaking quietly.

6.8.2 Attack

TOOLVOX USERS MANUAL

The Attack time controls how quickly the Expander will recover when the audio level increases. If the attack time is too slow, the beginnings of sentences and phrase may be missed, as the attenuation applied by the Expander is still muting the audio. If the attack is too fast, the Expander may improperly release the attenuation if the ambient noise suddenly exceeds the Expander threshold.

6.8.3 Release

The Release setting of the Expander controls how quickly the Expander will react when the audio level drops. Again, care should be taken to adjust this for each speaker and their context. If the release time is too slow, ambient noise may not be attenuated quickly enough. A fast release time can make the audio sound like a halfduplex speaker phone, with the sudden muting of the audio after each phrase. Generally speaking, a fast attack time and medium-slow release time will achieve the desired effect.

6.8.4 Ratio

The Ratio controls the amount of attenuation applied when the audio is below the Threshold (see the Compressor section for a detailed description of ratios). The Expander is linear, unlike the Compressor, so the dialog box indicates the exact Expansion ratio applied. As an example, an Expander Ratio of 1:10 means that a 1dB decrease in input audio level causes a 10dB decrease in output level. A 1-to-infinity ratio would completely mute any audio below the threshold.

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)

EXPANDER

-4

-144 -134 -124 -114 -104 -94 -84 -74 -64 -54 -44 -34 -24 -14 -4

-14

-24

-34

-44

-54

-64

-74

-84

OUTPUT (dB

-94

-104

-114

-124

-134

-144

RATIO = 1:1

INPUT (dB)

RATIO = 1:10

In the above figure, an Expander Threshold of –28dB was chosen and 5 different ratios are shown.

6.9 The De-Esser

The De-Esser is a sophisticated piece of the audio processing chain specifically designed to detect and reduce the amount of Sibilance in the audio signal. Sibilants are typically caused by S’s and C’s (e.g. Cease), as well as CH (e.g. Cheese, Teach) and SH (e.g. Shoot, dish) in speech. In the broadcast environment, the large amount of energy contained in sibilance (because they resemble something close to white noise) can cause undesired effects in the air chain (and are subject to the most distortion during transmission). One problem in the broadcast environment is the pre-emphasis applied to the air signal. The pre-emphasis can drive the high frequencies contained in sibilance into clipping sooner than the rest of the audio.

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Multipath distortion can also cause phasing and other distortion to sibilance. This distortion is easily recognized by the listener (as are most distortions applied to speech). For this reason, a De-Esser is a valuable tool in any voice processor used in the broadcast arena. Outside the broadcast environment, a de-esser can be valuable as well. Because of the nature of human speech, sibilance is not as prominent when speaking face-to-face because of the spreading of the audio in space (the human mouth is far from a point source of audio). However, when speech is recorded and played through a loudspeaker (which does approximate a point source), the presence of sibilance can be much more unpleasant.

In the ToolVox, the recognition of sibilance is done by taking an FFT (fast fourier transform) of the audio. Then, judgments on the sharpness by applying a series of measurements to the level at each frequency (these measurements are based on a model of human hearing). When sibilance is detected, a control signal is applied to the audio to reduce the level during periods of sibilance. This control signal is actually applied to a subband of the audio (after an adaptive bandpass filter – a filter whose frequency response changes according to the audio signal).

6.9.1 Threshold

The Threshold adjustment controls the audio level of the sibilance required for the De-Esser to begin applying a control signal. A Threshold of 0% will cause the DeEsser to reduce the level of any sibilance detected. This is the most aggressive setting. A Threshold of 100% gives the least amount of action. Typically, a Threshold setting of 40-60% would be the most useful. The lower thresholds (010%) have a tendency to muffle the audio, and the higher thresholds are very mild in their effect.

TOOLVOX USERS MANUAL

6.9.2 Max Reduction

The Max Reduction setting controls the maximum amount of attenuation applied to the audio signal during periods of sibilance. A lower setting (0-6dB) will have a milder effect on the audio; the higher settings (24-30dB) have the most aggressive effect (almost muting the audio during sibilance and causing the speaker to sound like they have a lisp). Choose a setting that is most applicable to your situation: how much sibilance can your application handle? This is a trade-off between wellcontrolled audio and noticeable processing.

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6.10 TrueVerb® by Waves

The TrueVerb reverberation software from Waves consists of state-of-the-art algorithms for modeling all types of rooms, wall construction, and physical layout of venues. The ToolVox implementation allows you to select from 17 different models, to customize the levels of the direct audio signal and the reverb signal, as well as turn the reverb on and off.

TOOLVOX USERS MANUAL

TrueVerb models physical venues using many different characteristics. The primary modeling characteristics are room size, wall construction, and distance from the source. From these primary inputs (and several other less dominating inputs) Waves has constructed the 17 presets included in the ToolVox.

A TrueVerb reverb algorithm will (based on the input physical characteristics) creates a signal consisting of two main parts: Early Reflections and Reverberations. Early Reflections are the echoes received by the listener based on the first reflections of the source material off the boundaries of the modeled room. These reflections are usually quite similar to the original audio (except diminished in amplitude) and spaced apart in time based on the room size. Reverberations are the low level reflections of the Early Reflections themselves as they are continually bounced off the surrounding walls. These echoes bear little resemblance to the original audio, and will eventually fade into an approximation of white noise (as more and more reflections are built up). The Reverberations will taper off in amplitude (and their frequency content affected) as a function of the wall construction (damping factor of the material) and the distance from the listener to the source.

Each preset is listed here with 4 descriptive terms to distinguish them (and allow you to choose a preset based on the characteristics you desire). The four terms are:

Room Size – The room size will be listed as Large, Medium or Small. Large rooms will typically be greater than 7,000 square meters. Medium rooms are between 500 and 7,000 square meters. Small rooms are less than 500 square meters. The Room Size will have a direct effect on the time it takes for the early reflections to become

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TOOLVOX USERS MANUAL

reverberations: Reverberations will begin sooner in small rooms. In addition, the early reflections will be spaced much closer in time in a small room.

High Frequency Damping – Each modeled room has a different effect on the amount of high frequencies maintained during reverberations. Wall Construction is the dominating factor in this area. Each preset will have either a High or Low damping factor: High damping means more attenuation of the high frequency components.

Reverb Start – This factor describes how quickly the early reflections become reverberations (Early, Medium, or Late). This is closely tied to Room Size (reverberations begin sooner in smaller rooms).

Reverb Amplitude – Reverb Amplitude is expressed as a ratio of the amplitude of the reverberations to the amplitude of the early reflections (High, Medium, Low). This is in direct proportion to the distance from the source to the listener. As an example, think of a long tunnel, with the source at one end and the listener at the other. The listener will hear little of the the Early Reflections and more Reverberations (since the sound traveling down the tunnel will be continuously bouncing off the walls). This would be described as having a High Reverb Amplitude.

There are a couple of things to keep in mind when using the TrueVerb in the ToolVox. The ToolVox gives you control over the level of the Reverb signal and the Direct signal. These settings will obviously have a significant effect on the perception of the reverb. An example: If you choose the Cathedral setting, but have a high value for the Direct signal level, you will lose the “Cathedral” feeling because, while the reverb signal is generated on the physical model of the space, you have essentially placed the listener directly in front of (and very close to) the source. The reverb will be overwhelmed by the Direct signal and lose its impact. The TrueVerb presets will generate accurate models of the physical space, but it is up to you to set the ratio of the Direct and Reverb gain settings to achieve the effect you’re after.

A final note: The TrueVerb algorithms will create a stereo image from your mono source. This dramatically heightens the effect of the reverb algorithms because of the “space” it creates in the sound field. This is the reason for having the stereo outputs on the ToolVox.

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TOOLVOX USERS MANUAL

Preset Room Size HF Damping Reverb Start Reverb

Ampl.

Medium

medium low medium low

Concert

Studio A medium high early low

Cathedral large high late high

Large Concert large low late low

Drum Room small high early low

Med. Plate medium high medium medium

Bijou Theater medium low medium low

Stadium large high late medium

Studio B small high early low

Estate

small low early high

Bathroom

Millennium large high late high

Snare Trap medium low medium low

Short Plate medium high medium low

Med. Concert II medium high medium medium

Large ConcertIIlarge high late medium

NY Plate small low early low

NY Tight small high early low

Listed below are each of the Reverb Presets with the actual descriptions provided by Waves (in a general-purpose context).

The Room Size (in cubic meters), the duration of the Reverberations (in seconds), and the Distance from the source (in meters) are also given.

Medium Concert

Room Size: 5,500 cu. m.

Rev. Time: 1.8 s

Distance: 5.97 m

A medium room, with warm low end, slightly bright high end, and a long reverb time.

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TOOLVOX USERS MANUAL

Studio A

Room Size: 1,450 cu. m.

Rev. Time: 0.8 s

Distance: 6.10 m

Emulating a classic big studio recording room usually used for tracking string sections or orchestras. A relatively short reverb time in a realistic sized-room, with distance set to sound reasonable for actual pop string section recording. Designed with MIDI string sections in mind, but quite good for the real thing too.

Cathedral

Room Size: 20,000 cu. m.

Rev. Time: 7 s

Distance: 25 m

Really big space, long distance, very long "hang time" for the reverb. High frequency absorption and damping are heavy to properly emulate the real space of Europe's cathedrals. Excellent with vocals and appropriate church instruments. Makes an electronic pipe organ sound unbelievable.

Large Concert

Room Size: 15,000 cu. m.

Rev. Time: 3s

Distance: 10 m

The room size is larger than an actual large orchestral concert hall would be, but this is the "Hollywood" version of reality, and very similar to what is being put onto some classical recordings these days. Distance is set for middle of the hall, maybe 12

row seats. Longer reverb than the Medium Concert Hall, but, as would be expected, more "air" in the reverb itself.

Drum room

Room Size: 499 cu. m.

Rev. Time: 0.6 s

Distance: 3.45 m

Rather small room designed for close-miked drums or drum machines. The small room pushes the early reflections together for a tight sound, although bigger than most drum rooms.

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TOOLVOX USERS MANUAL

Medium Plate

Room Size: 4,692 cu. m.

Rev. Time: 3.3 s

Distance: 7.27 m

Plates really don't have cubic space, but this gives the expected plate sound, with a characteristic rise in the mid-highs and very crisp reverb (no reverb shelf at all), and a reduced low end response.

Bijou Theatre

Room Size: 5,516 cu. m.

Rev. Time: 1.2 s

Distance: 9 m

This is a direct subjective modeling of a 1900's-era theatre (plaster walls) in Knoxville, Tennessee (where the US Waves office is located), which seats about 800 people. The cubic measurements are based on the real room, and the frequency response is set purely by ear to recreate the sound of the room while sitting in a good “$20” seat.

Stadium, Enclosed

Room Size: 18,950 cu. m.

Rev. Time: 2.7 s

Distance: 20 m

Most indoor rock concerts (seating about 20,000) are in modern rooms that sound much like this. Developed so that an "off the board" tape of a live show could be recreated to emulate a very-high quality PA system in a huge indoor stadium or arena. If a drum mix is played into this setting, the effect is very much like the classic drum solo in such concerts. The reverb tail is a little brighter than the early reflections.

Studio B

Room Size: 200 cu. m.

Rev. Time: 0.5 s

Distance: 2.5 m

Emulating the smaller studio recording room. Similar to the design of Studio A.

Estate Bathroom

Room Size: 5,500 cu. m.

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TOOLVOX USERS MANUAL

Rev. Time: 1.8 s

Distance: 5.97 m

Very bright room (as in a tiled bathroom, but a very big one). No low end reverb at all, with a distinctive high frequency boost. A 50 cubic meter bathroom would be rather large, but that's why it is from an Estate. Very good for singing-in-the-showerif-you-were-Donald-Trump effect.

Milleniumverb

Room Size: 12,000 cu. m.

Rev. Time: 14 s

Distance: 40 m

The reverb tail of the TrueVerb has no pitch shifting functions, so it holds pitches perfectly for very long times, up to 100 seconds. This setup was designed for ambient music or "new age" improvisation, and has a non-room response with very long reverb time (14 seconds) that is not too bright in the high end. The low end is flat to avoid excessive rumble.

Snare Trap

Room Size: 3,991 cu. m.

Rev. Time: 0.7 s

Distance: 3 m

Designed for a snare track, it works well for vocals too. The medium room size and flat early absorption response gives an edge to the sound that cuts through mixes.

Short Vocal Plate

Room Size: 3,354 cu. m.

Rev. Time: 1.1 s

Distance: 4 m

Again, the typical mid-high boost of the reverb with very little low end reflects the nature of plate reverbs.

Medium Concert II

Room Size: 5,000 cu. m.

Rev. Time: 1.3 s

Distance: 7 m

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TOOLVOX USERS MANUAL

Basically a different flavor of the Medium Concert preset listed previously, but with a shorter reverb time and less low frequency boost in the tail.

Large Concert II

Room Size: 20000 cu. m.

Rev. Time: 3 s

Distance: 40 m

Not really based on a real room, nor on the other preset called Large Concert. This was derived as a clear alternative to the other preset, with a huge room definition (to get large spacing between reflections) and more of a "slap" sound from the back wall. The frequency response, however, is very similar to the other preset.

New York Plate

Room Size: NA

Rev. Time: 3.2 s

Distance: 7.1 m

No early reflections at all. This was created to get a pure plate sound for a vocal, again with the characteristic frequency response of a plate (no lows, mostly midhighs).

NY Tight Room

Room Size: 500 cu. m.

Rev. Time: 0.8 s

Distance: 1.1 m

Assuming most home or project studios in New York City would be small, which isn't true, this emulates a small-room sound that would be found anywhere (such as a bedroom recording studio). The close Distance (1.1) gives just enough air around the sound that the room is very real. The reverb level is so low it is nearly inaudible, as would be expected in a small room, but it does add the required "finish" to the room emulation.

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6.11 Output Stage

The Output processing block is used to optimize the output reference level based on your processing configuration. In addition, the Pan position can be set for the output as well.

TOOLVOX USERS MANUAL

6.11.1 Panorama

Slide the Panorama slider to the left to reduce the output level on the right channel of the stereo output. Move the slider to the right to reduce the left channel output level. This is useful for assigning a ToolVox to the left or right pan position in your facility (especially if multiple ToolVoxes are used simultaneously). One example would be a Morning Show where you would want to assign one talent more to the left channel and one more to the right channel for a stereo effect on the listener.

6.11.2 Gain Control

The stereo Reverb signal will remain stereo regardless of the Panorama setting. The Pan works ONLY on the direct audio signal.

This setting controls the reference level correction at the end of the processing chain. Setting the Gain Control to Automatic will automatically adjust the reference level to

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–15dBFS. If the AGC was set to Automatic mode, gain is determined by the Reference Level setting. If you set the AGC to Manual mode, the gain at this stage will complement your manual gain setting.

Manual mode allows you to set a specific gain (independent of reference levels) for the end of the processing chain. This gain is saved with the Preset. The Manual setting is provided for users who apply large amounts of boost or cut in the EQ stage and do not use the Compressor to limit the levels. The Automatic mode does not incorporate these large gain swings in its calculation.

It is highly recommended that you use Automatic mode as this will keep you from having to adjust the output level every time you change the AGC settings.

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7 Specifications

AUDIO PERFORMANCE

• Frequency Respo nse: •0.2 dB, 20 Hz - 20 kHz

• System Distortion: <0.01% THD+N @ unity gain, <0.02% THD+N @ 60 dB gain

• Signal-to -Noise Ratio: >-105 dB @unity gain, >-96 dB @ 60 dB gain

PREAMPLIFIER & A/D CONVERSION SECTION

• Microphone Input: Balanced, t ransformerless, XLR, Female, EMI suppressed

• Impedance: 150 ohm source, >3 k load imp edance, electronically balanced bridging input

• Input reference l evel: 0 dBu (-15 dBFS)

• Analog gain setti ngs: 20, 40, 60 dB

• Analog pad: -20 dB

• Headroom: >20 dBu with internal limiter, 15 dBu with limiter out of circuit

• Equivalent I nput Noise: <-100 dBV using 150 ohm so urce

TOOLVOX USERS MANUAL

• Common Mode rejection (@60 dB gain, 150 ohm source, 50 Hz - 20 kHz): >-65 dB

• THD + N (at unity gain, 20 Hz - 20 kHz, +15 dBu input, 150 ohm sour ce): <0.005%

• Converter: 24-bit Delta-Sigma using 128x ov ersampling

• Sample Rate: 48 kHz

• Discrete Left/Right Audio Outputs: 600 Ω load or greater, electronically balanced, 24-bit digital-to-

analog converter

HYBRID OUTPUT

• Connection: Balan ced, transformerless, XLR, Male, internal jumpe r for unbalanced output

• Impedance: 50 ohm source, 600 ohm min. load impedance

• Level: +6 dBu nominal, +20 dBu max.

ANALOG OUTPUT

• Connection: Balan ced, transformerless, XLR, Male, internal jumpe r for unbalanced output

• Impedance: 50 ohm source, 600 ohm min. load impedance

• Level: program mable by the user, +15 dBu max. (equival ent to 0 dBFS)

• D/A: 24-bit, 128x oversampling

DIGITAL I/O SECTION

• Configurat ion: AES/EBU output with AES/EB U Sync Input

• Output Sampling Rate: 48 kHz

• Output Connect or: XLR, EMI suppressed, balanced and float ing

FRONT PANEL HEADPHONE OUTPUT

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SPECIFICATIONS

TOOLVOX USERS MANUAL

• Impedance: 50 ohm source, 600 ohm min. load impedance

TOTAL SYSTEM DELAY

• Total System Delay: 2.8mS

COMPUTER INTERFACE

• RS-232 (DB-9 connector) for local serial connection.

• 10Base-T for local area network ( TCP/IP, Telnet, SNMP connection).

• Communications: Window s• -based ToolVox Remote Control and Preset Management applications

(supplied).

POWER

• Universal power supply accepts 90-260 VAC, 50-60 Hz, 15 watts.

• Connector: IEC, det achable 3-wire power cord, EMI suppressed.

DIMENSIONS & WEIGHT

• 19" wide x 12.5" deep x 1.75" high (48.3 x 31.60 x 4.28 cm)

In the interests of product improvement, Cutting Edge reserves the right to change, add

or modify any specification.

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8 Warranty and Application Caution

TOOLVOX LIMITED WARRANTY

This Warranty covers “the Products,” which are defined as the various audio equipment, parts, software and accessories manufactured, sold and/or distributed by TLS Corp.,d/b/a Cutting Edge (hereinafter “Cutting Edge”).

With the exception of software-only items, the Products are warranted to be free from defects in material and workmanship for a period of one year from the date of receipt by the enduser. Software-only items are warranted to be free from defects in material and workmanship for a period of 90 days from the date of receipt by the end-user.

This warranty is void if the Product is subject to Acts of God, including (without limitation) lightning; improper installation or misuse, including (without limitation) the failure to use telephone and power line surge protection devices; accident; neglect or damage.

EXCEPT FOR THE ABOVE-STATED WARRANTY, CUTTING EDGE MAKES NO WARRANTIES, EXPRESS OR IMPLIED (INCLUDING IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE).

In no event will Cutting Edge, its employees, agents or authorized dealers be liable for incidental or consequential damages, or for loss, damage, or expense directly or indirectly arising from the use of any Product or the inability to use any Product either separately or in combination with other equipment or materials, or from any other cause.

In order to invoke this Warranty, notice of a warranty claim must be received by Cutting Edge within the above-stated warranty period and warranty coverage must be authorized by Cutting Edge. If Cutting Edge authorizes the performance of warranty service, the defective Product must be delivered, shipping prepaid, to: Cutting Edge, 2101 Superior Avenue, Cleveland, Ohio 44114.

Cutting Edge at its option will either repair or replace the Product and such action shall be the full extent of Cutting Edge’s obligation under this Warranty. After the Product is repaired or replaced, Cutting Edge will return it to the party that sent the Product and Cutting Edge will pay for the cost of shipping.

Cutting Edge’s authorized dealers are not authorized to assume for Cutting Edge any additional obligations or liabilities in connection with the dealers’ sale of the Products.

Cutting Edge products are to be used with registered protective interface devices that satisfy regulatory requirements in their country of use.

9 Appendices

Manual History

0.1 SS 110699

1.0 SS 012100

1.1 JRC 020101

Omnia Audio ToolVox Operating Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

1 Introduction – What is the ToolVox?

INSTALLATION

3.1 Powering Up

3.2 Attaching Audio Cables

3.3 A Quick Look at the Front Panel

QUICK SETUP GUIDE

3.4 The Headphone Output

3.5 Installing the Remote Application Software

3.6 Connecting Your Computer to the ToolVox

3.7 Creating a Connection to the ToolVox

3.7.1 Serial connection

3.8 Adjusting the Audio Levels

3.9 Let’s Begin Processing Some Audio

4.1 The LCD Screen and Edit Knob

THE FRONT PANEL

4.2 The Network LED

4.3 The Phantom LED

4.4 LED Level Meter and Input / Output LEDs

4.5 Noise Gate LED

4.6 De-esser LED

4.7 Processing LED Bar graph

4.8 Headphone Output and Control

On the ToolVox, a SETUP MENU is implemented. This menu is composed of three options.

5.1 The File Menu

THE REMOTE APPLICATION

5.1.2 Save Preset

Use Save Preset As to save the currently modified preset to your computer using a new name. The dialog box will ask you to specify the directory in which to save the preset file, as well as the name of the file.

5.2 The Options Menu

Disconnect will immediately terminate any connection you have running. If there are multiple ToolVox units that you are configuring (on a LAN, for example), use Disconnect to drop the current connection and then Connect to the next ToolVox to be configured.

5.2.3 Edit Connection

Command Line brings up the following window:

5.2.5 Preferences

5.3 The System Menu

5.3.2 Save System and I/O

5.3.3 I/O Configuration

5.4 The Preset Menu

Select brings up a dialog box containing the list of all presets stored in the connected ToolVox. Clicking on one loads the selected preset.

Save Preset overwrites the current stored preset with the currently used set of processing parameters. The name of the preset will not be changed, but the stored preset will be lost (overwritten).

5.4.3 Save Preset As

5.5 The Help Menu

The About screen displays pertinent information about the Remote Application, including the version number.

5.6 The Processing Diagram

5.7 The Metering Screen

5.7.1 Input Level

The Expander meter displays the amount of attenuation applied to the audio signal during quiet passages. The THRESH symbol will illuminate when the audio is below the selected threshold and the expander is working to attenuate the noise (thereby expanding the dynamic range of the audio).

The Compressor displays the amount of attenuation applied to the audio during louder passages (to compress the dynamic range of the audio signal). The THRESH symbol will illuminate when the audio level is above the selected compressor threshold and the compressor is operating to reduce the level.

5.8 Advanced network parameters

5.9 Security

6 The Audio Processing Chain in Detail

6.1 A Look at Audio Levels in the ToolVox

6.2 The Analog Limiter and Analog Level Control

6.3 The Highpass Filter

6.4 The Phase Rotator

6.5 The Automatic Gain Control

6.5.3 Attack and Release

6.6 The Three Equalizers

6.6.3 Q Factor

6.6.4 Highpass

6.6.5 Lowpass

6.6.6 Bandpass

6.6.7 High Shelving

6.6.8 Low Shelving

6.6.9 Peak

6.7 The Compressor

6.7.3 Release

6.7.5 Boost

6.8 The Expander

6.8.2 Attack

6.9.2 Max Reduction

6.10 TrueVerb® by Waves

6.11 Output Stage

6.11.1 Panorama

6.11.2 Gain Control

SPECIFICATIONS

8 Warranty and Application Caution

9 Appendices