Omnia Audio Unity AM Operating Manual

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Cutting Edge

Unity AM Broadcast Processor

Cutting Edge Technologies

2101 Superior Avenue

Cleveland, OH 44114 • USA

(216) 241-3343• Fax (216) 241-4103

Manual Version: Preliminary AM (4.0.0)

Jan 1995

A letter from Frank Foti,

Dear Cutting Edge Customer,

Personally, I would like to thank you for selecting the Unity AM! What you have in your possession right now is, not only years of research and development, but years of my passion for broadcast audio processing. Add to that, a multitude of ideas, thoughts, and opinions of the many associates, friends, and yes, even foes that I have encountered along the way! Who knows maybe even you yourself have at sometime helped with a suggestion or idea! Again my heartfelt thanks!

You and I share a good common bond, radio! Before beginning Cutting Edge in 1988, I too was on your side of the fence, in radio. As a broadcast engineer, I can totally relate to the day to day life in a radio station. I have been there in the trenches just like you are right now! That’s why I am so excited about the Unity AM, because someone designed it in the trenches, for radio, in radio!

Early concepts and ideas for this project actually began in the early 1980’s while I was enjoying the life of great Album Rock at WMMS-FM, the Home of the Buzzard, right here in Cleveland! A brief stint in San Francisco at Country music KSAN-FM and KNEW-AM gave me the opportunity to hone my processing skills on something other than Rock-N-Roll! But the true test of ability, and far and away the most pleasure and success, was achieved at that tiny Flamethrower atop the Empire State Building, WHTZ-FM, better known as Z-100!

As a designer, engineer, and user, I know only too well how subjective audio processing is. There is no right way, or wrong way to do it. As the sneaker manufacture Nike would say, “Just Do it”. (I love the “Can Do” attitude!) We all know when it does not sound right, but to just “get it right” can take quite an effort. So as you proceed with the installation of our product, I can only hope that you will approach this endeavor with an open mind, patience, and time. Why? Because sometimes what you desire, and what you initially receive may be two different things altogether!

For the majority of our customers, the Unity AM has made a big difference right off the bat. But I’d be lying if I told you that, just by installing the Unity AM, your station would immediately be far and above all the rest. It may take some time, but fear not, our goal is to get you to that point!

Well, enough of carrying on about myself. Here is where I would like to acknowledge the “known” many who helped in delivering to you the Unity AM: Mozie, my Family, Pete Townshend, Steve Church, Neil Glassman, Raymond Douglas Davies, Matthew Connor, David Reaves, M.D.D., David “Zeke” Booth,“Don” Corleone, Doug Howland, Cate Cowan, John Granchi, F.Joseph Foti, Margot Daly, Kevin Nosé, Dan Mettler, Marc Augis, Phillipe Legros, Bob Martin, Mark Hoageson, Mike Maczuzak, Bruce Vanek, Don Coulter, Todd Linderman, Mary Dennis, Roz Brazleton, Danielle Kreinbrink, Dee Oulds, Rich Matanowitch, Tom Petty, Madonna, John Alan, Judy Chamberlain, Carlos Baerga, Dwayne Burlison, Paula Abdul, Emmylou Harris, Dean Thacker, Christine McVie, the Cleveland Orchestra, The Who, Don Williams, the Bellamy Bros, Hiroshima, Frank Sinatra, Amy Grant, Janet Jackson, The Kinks, Geary Morrill, Barry Thomas, Bonnie Riatt, James & Mary Anne

Duffy, Quincy Jones, Bernie Kosar, Dorothy Fuldhiem, Billy Joel, Roxette, Chief Wahoo, Dire Straits, Jack Barnes, Steve Pepe, Wickliffe Sr. High, and the many, many individuals who helped make this project a reality!

Kindest Regards,

Frank Foti

Jan 1995

About this manual

You have just opened the carton of a one of the most sophisticated pieces of broadcast audio equipment. And we know how you feel. You don’t want to sit around a read a manual. You want to plug it in and hear what it can do. You want to start pushing all the buttons and exploring the full range of processing possibilities the Unity AM presents. We know how you feel, because when we get a new, expensive toy, we feel the same way.

As much as we understand your excitement, we ask you to please try to demonstrate some selfcontrol.

This manual is designed to first introduce you to the capabilities of the Unity AM and then clearly instruct you on its installation and operation. (Unlike most other manuals, large sections don’t even require you to be sitting in front of the product.) We hope you will take the time to read the manual. We trust you will enjoy it and that it will provide you with new and useful information on audio processing.

Not yet convinced to wait a few hours? OK, here is where we have to warn you that we are not responsible for anything that may happen to the Unity AM or the equipment to which you connect it or to your station’s on-air sound or to your job if you do not read the manual.

Table of Contents

Introduction 1

A little history Just what the world needs, another audio processor A word about loudness The bottom line

Unity AM Overview 11

Unified Processing User interface Processing functions Special features

Processing Concepts 15

Why our processor sounds better Processing designed for the ears Feedforward control Quality versus loudness Keep and open mind

Installation 21

Clarify your objectives Available time Installation considerations Installation checklist Mounting and connections Setting pre-emphasis Rear panel connections Setting de-emphasis

Operation 32

The obvious The LCD display The jog wheel and buttons Security The real time clock Orientation to the Main Menus Setting the Unity AM input levels Setting the Unity AM output levels

The Processing Display 42

Input level meters Wide Band AGC display Level indicators Limiter indicators Display Interpretations

Processing Presets 46

Loading factory presets Before you make adjustments to the presets Modifying and adding presets Loading user added presets Updating user added presets Deleting user added presets Renaming user added presets

Main Menu Reference 54

Leveler Menu Limiter Menu Clipper Menu Other Menu In Case of Difficulty

Technical Descriptions 69

Troubleshooting Guide 81

Appendix 83

Remote Operation Worksheets Schematics

Introduction

A little history

Like most of us with a passion for radio, Frank Foti started young. He was six years old when he first dismantled and successfully reassembled his AM/FM radio. (His father is a little vague about how many radios he took apart before he figured out how to put them back together.) By the time he was a teenager, Frank was building Heathkits in his basement and, as a high school senior, designed and built his own stereo system. After his high school graduation, Frank received a full scholarship to a Cleveland, Ohio broadcasting school and earned his FCC First Class Radio Operator’s license in

1974.

His first job was with WELW, a small AM station located in Willoughby, Ohio. He was not only the engineer, but also wore the hats of production director, morning disc jockey, play-by-play announcer, and music director. When the grass needed cutting, he did that too! Honestly!!

In 1978, after answering a blind ad in Broadcasting , Frank was hired as Assistant Engineer at Malrite Communications’ WHK/WMMS in Cleveland. This was more than just a better position at a bigger station. For a rock & roll junkie like Frank, working at legendary album rock station WMMS was a dream come true. When his boss was fired, Frank was promoted to Chief Engineer of the combo.

Frank did more than hone his engineering skills during the three years he spent at WHK/WMMS. He began to explore processing, the art and science of enhancing audio and tailoring sound to fit programming needs. It was here in Cleveland that Frank first tinkered with various processing theories and “hot rodding” existing audio components.

In 1981, Malrite shipped Frank west to be Chief Engineer at country formatted KNEW/KSAN in San Francisco. But the “city by the bay” was not his only assignment. Frank was flown to several stations in the group to work on their processing chains. He gained experience in a wide variety of formats and every station he visited experienced a ratings increase due in part to Frank’s processing.

In July of 1983, Frank was assigned to New York to be Chief at Malrite’s just purchased WHTZ-FM (Z-100). Frank, along with a team that included programming wizard Scott Shannon, had the responsibility of pulling the lowest rated station in the market out of the basement.

When Z-100 went on the air one month later, it skyrocketed from worst to first in just 74 days! Z100’s rise to the top was due to three factors: the format, the promotion, and the sound. Frank combined several off-the-shelf processing products with some of his own inventions to create a larger than life sound. (Frank borrows the word of Roger Daltry of The Who to describe the sound as “getting punched in the nose and having somebody say I love you.”)

In 1985, Frank started to sell his first product to other engineers. The Vigilante multi-band limiter

was initially sold by word of mouth. Stations that used the Vigilante kept this “secret weapon” behind security covers so that the competition would not know what they were using. Frank discovered that radio stations with the most successful audio chains (and the improved ratings) were the ones that had all the separate components working in concert. Every part of the system had to be tuned for maximum benefit; the sum of all the parts.

Frank returned to Cleveland in 1987 to become Malrite’s corporate Director of Engineering and supervise the technical aspects of its seven radio properties. A “hands-on” manager, Frank traveled the country to work with his engineers. Processing remained his primary interest and he was frequently solicited to consult with other stations. His reputation as radio’s number one expert in broadcast processing was now well established.

At home, Frank kept tinkering. And the tinkering soon became serious research. What he learned from scores of engineers and programmers and from listening to stations all over the country was that radio could sound better. And that better sounding radio meant more listeners.

Frank left Malrite in June of 1988 to create his own company and called it Cutting Edge Technologies. More traveling, more consulting, and more research in the basement. Frank knew what kind of processor radio demanded. And in 1994, he delivered it. The Unity AM.

Just what the world needs, another audio processor

Next to the fates and fortunes of local sports teams, nothing causes more arguments at radio stations than processing.

In one corner there is the group who wants to burn a hole in the dial. In this day of high octane, “Tastes Great… Less Filling,” extremely competitive, kill for the last dollar radio, the tendency in many cases, has been towards creating a behemoth over-the-air. Utilizing as much of the latest, greatest, tweaked, modified, and super-charged products available, we crank them up until we achieve a sound that is “louder than anyone can ever be, but is totally clean.”

Who are we kidding? Hopefully, by now, we all know that all this does is create the potential for fatigue, tune-out, and decreased time spent listening. The bottom line is that the listeners go somewhere else.

On the other side of the debate are the sonic purists who want to transparently reproduce the source material, just as it was recorded. Too little processing can be as bad as too much processing. Listeners are more sophisticated and in the age of CDs (and now MDs) they know what sounds good. The transmission chain and the receiving radios significantly effect audio dynamics and quality. It takes careful, adequate processing to keep music sounding, well, musical.

The main reason this debate exists is that the processors you have been using don’t let you get the

sound you want and need for your station. Yes, they sound all right in most circumstances and each processor does have a sweet spot that performs satisfactorily in many circumstances. But they also have built-in limits on what you can creatively accomplish. This, however, is the real world of competitive radio… you can’t afford to sound “all right.” You have to stand out on the dial. With traditional processors, whether you crank the processing up or down, you lose musicality.

Until Frank Foti (with the help of a couple of hundred radio engineers, programmers, and managers) designed the Unity AM, you had only two options. Live with what you had or add another processor to the chain. Or perhaps two more processors. Or perhaps… well, you get the idea. Adding on to the processing chain was the way Cutting Edge got started. But it is not where we ended.

Frank determined that, when the optimum sound could not be achieved in a multiple box processing system, the weakness was often the inability of the audio chain, as a system, to work in an integrated manner. The strengths of one box did not always compensate for the deficiencies of the others.

The bottom line was that the world did need another audio processor. A device that has an open, accurate sound over the full range of processing. It took Frank a long time to get the Unity AM right. The proof that he got it right is the way the Unity AM sounds.

A word about loudness

Making this confession is a little like telling your parents you dented the car. But here it goes.

It is OK for your station to be loud. Very loud.

In the past, loudness was a problem due to the limitations of the processors you had available to you. If you processed more heavily, then you either had to adjust your single box outside of its “safe” range or use multiple boxes and risk their conflicting with each other.

Frank Foti and the Unity AM have changed all of that. Frank knows how to get a station sounding loud without the artifacts or grunge created by your current processor when you try to make it loud. And he knows how to make loud an option for all formats.

One more confession. It is also OK for your station to not sound loud. Because the Unity AM has given you the choice. Our intention is to provide you with a system that will maximize the audio quality of your signal, yet at the same time maintain your competitive requirements.

The bottom line

The Unity AM is unique in its approach to audio processing. It sounds better and is easier to use than any other processor available.

And how has the market reacted? As we look back over the past few years, the reaction has not been unlike that to other “edge of technology” products like the original Apple computer.

• First, the Unity AM was ignored.

• Then it was accused (by other processing manufacturers) of being ineffective.

• Gradually, it was accepted by users with tolerance for risk and novelty.

• And now the Unity AM, is being accepted by large numbers of users.

You won’t find the Unity AM on the air at every station. But at the stations where it is installed, you will find engineers, programmers, and managers happier than ever with their on-air sound.

Today, Cutting Edge is more than just Frank Foti. While Frank is glad to have someone else build the boxes and keep the books, he’s still a busy guy. And we don’t mean spends the summers watching Cleveland Indian games. No, he is still working on new ways to improve the sounds of broadcast audio. And he is still spending a few hours each day talking with other broadcasters.

If your processing has you baffled, or you think you have a system that sounds better than Frank’s, give him at call. The number is (216) 241-3343. His fax number is (216) 241-4103 if you are located outside of the United States or a shy person. He’s a good talker and a great listener.

Unity AM Overview

Unified Processing

We reassembled the pieces of the processing puzzle to get more out of the system as a whole; sort of rearranging the furniture to get better use of the room. We call it Unified Processing. This arrangement allows us to “unify” all functions of a broadcast audio chain into one package. In one seven-inch tall chassis is the processing flexibility and power of at least three, and as many as six, different pieces of equipment.

To help you get begin to adjust a processor that sounds great at all settings, Frank has provided presets for a number of formats and programming requirements. These are used as a starting point for your processing adjustments. Once you have found a setting you like, there are fifty user memory locations provided for safe keeping. Comparing two setups is as easy as pushing a button.

User interface

Total operation of this system is accomplished through microprocessor control. With the Unity AM, we have strayed from the conventional methods of operation. Gone are mechanical switches and pots. In their place are a button pad, jog wheel, and LCD screen. Through user menus, you can achieve better flexibility as well as rapidly store and retrieve settings.

In designing our user menus, we have avoided creating too many “layers” that would require excessive navigation. Most processes and functions are accessed in three steps and the menus are arranged in a logical manner that can be learned in minutes.

The Unity AM presents extensive set-up metering in the Processing Display. At all times, you can see the activity of all processing functions so that you can determine the overall effect of any changes you make. Our display is uniquely designed to provide a significant amount of easy to interpret information.

Processing functions

The Unity AM provides eight processing functions, all are operated by a single control interface. When you create a processing setting, you have the advantage of doing so for every part of your processing chain.

The Unity AM’s eight processing functions are:

1) Selectable Wide Band AGC that reacts as if it was a “slow hand” on the output of the audio

console so that the levels coming into the Unity AM are always within a consistent window.

This slow acting gain control circuit provides ±10dB of leveling. Imagine, if you will, someone that would continually insure that the output of the audio console was always within a specific level. The “platform leveling” control circuit for the AGC is intelligent enough to know that if the incoming audio level is correct it will shut down its operation and wait until gain correction is needed. The AGC is therefor only operating when needed, eliminating the constant seeking of unneeded level changes.

2) Selectable Phase Rotator circuits that, when utilized, can assist in eliminating vocal distortion

during periods of heavier processing needs.

These specialized delay circuits create a “flywheel” effect on a certain range of frequencies. In this case, audio within the main vocal range of 300Hz to 2kHz will change in phase as frequency increases through the stated passband.

The reason we incorporate phase rotators is a problem created by the human voice. Most human voices are asymmetrical in nature, meaning one side of the waveform is larger than the other. The delay circuits of the phase rotators synthesize the symmetry of the waveform for vocal audio through the passband. By doing this, the upper and lower crests of the vocal waveform are processed more evenly.

For heavier processing situations, use of the phase rotators helps cut down on clipper induced distortion on voices. For lighter processing requirements, the phase rotators can be defeated.

3) Selectable and adjustable low frequency Bass Enhancer circuit that provides a deep, full, and rich

texture to the bass line.

This is not just another low frequency equalizer. This section provides up to a 12dB boost to the bass frequencies as well as the harmonic rich sub-bass region. The enhancement scheme used here generates that deep, rich, and full low end that is sought after by so many contemporary programmers. Unlike the use of conventional equalizers, there is no exaggeration of the upper low frequency range causing the bass to sound unnatural and “tubby.”

4) The Selectable Matrix Processing Option allows the Unity AM to operate in either discrete

left/right or matrixed L+R/L-R processing for AM Stereo broadcasting. For detailed explanation about matrix processing please refer to the technical description in the back of this manual.

5) Phase linear 4-way Adjustable Crossover Networks that allow all processing to be tailored to

any format requirement. This network provides perfect linearity as well as ±.5dB of flat response when summed back together. Frequency response along with harmonic integrity are totally maintained with this network. Since the crossover frequencies are adjustable, all crossover points can be tuned for the appropriate programming format.

6) Four band Processor/Leveler that “intelligently” levels each audio band in an effort to generate a

high modulation average, while at the same time creating spectral consistency.

Our unique leveler circuit actually “learns” what it needs to know about the incoming audio signal, makes some decisions on what to do, feeds the information forward to a dynamically adjustable gain block, and then makes whatever any necessary changes. All functions are performed in the digital domain.

This feedforward approach allows the signal processor to operate at a constant ratio. The benefit is consistent leveling for whatever amount of processing employed. This is the key reason why the leveler is almost always in its “sweet-spot” of operation. Also because each section works off a platform, the control circuitry has the ability to produce ±7.5dB of RMS leveling. Since all operation is RMS, only the average level is analyzed and corrected. This yields a better modulation average for each audio band.

The processing display on the front panel of the Unity AM shows the state of all leveler bands. Each leveler band also has the intelligence to wait or cease operation if the incoming audio level is correct for that moment. The output of the four leveler bands can be independently adjusted to create a custom spectral mix that will feed their respective limiter bands.

7) Four band multiple time constant Limiter that is dedicated to each Processor/Leveler band to

provide consistent peak control and low dynamic distortion.

Each limiter band operates in a fashion similar to the leveling scheme described above. The exception is that the limiter bands deal predominately with peak level information and work at higher, yet consistent, ratios.

Each band is fed directly from the preceding leveler band. Adjustment is available for attack, release, and threshold levels for each limiter band. An output mix function allows contouring of the spectral levels that are sent to the subsequent clipper section.

The utilization of multiple time constant networks allows each limiter to reduce dynamic distortion through delayed release times. When a quick transient peak comes along, the limiter will react and dynamically adjust the peak level. Once the peak has passed, the initial release time is contoured somewhat fast, and then much slower. If during this slower period another transient comes along, the limiter is still at some level of gain reduction and has already accomplished some of its work. It does not have to begin limiting again from the initial processing point.

Multiple time constants offer a significant advantage over single time constant limiters. In the scenario described above, a single time constant limiter will only apply a fast release time to a quick transient peak. When another peak comes along, the limiter, which has totally recovered, will be forced to limit again from the initial starting point. The sonic benefit of multiple time constants are significant. Listeners will not hear the fast dynamic level changes so typical of peak

limiting schemes. .

8) Integrated Clipper/Low Pass Filter system that self-controls distortion to achieve clean,

competitive audio while providing exceptional bandwidth control.

This static circuit plays a large role in mediating the quality versus loudness debate. With ±5dB of drive, a wide window is provided to suit all programming needs. From virtually no clipping to a “wall of sound,” just about any sonic texture can be realized. Using proprietary circuitry, the clipper will “self-control” clipping induced distortion products, allowing the audio to sound cleaner at higher clipping levels.

The phase linear non-overshooting 10kHz low pass filter provides an exceptionally clean spectrum. The upper frequency spectrum is protected to at least -80dB by ninth order topology. With the suppression of upper spectrum energy, coverage in “fringe” signal areas may improve.

There are also two selectable Interface Ports that will allow ancillary audio equipment, if needed, to be inserted. You may want to insert reverb, stereo enhancement, or whatever else you require. One port is located just after the Wide Band AGC and the other is between the Processor/Leveler and Limiter.

Special Features

All of the Unity AM’s features can be accessed by an IBM compatible computer through the Serial Communications port. With a modem connected to the computer, you can control the Unity AM from virtually anywhere. Compare processing settings in your home or even your car to get know how your station will sound in the real world.

Another benefit of the Unity AM is Day-part Processing . This function allows the system to automatically change its processing setup at specific days and times according to a schedule that you create. For example, processing can be programmed to a preset best suited for the “morning drive” and automatically change to a different preset that better complements the “mid-day” programming. Up to fifty events can be scheduled in two formats. The Weekly Calendar Format is used for regularly scheduled day-to day programming. For special event programs, such as remote broadcasts and concerts, a Specific Date Format is also available.

The Unity AM features a multi-level password protection scheme. This station personnel to have access to only those programming areas appropriate to their job.

Processing Concepts

Why our processing sounds better

The Unity AM utilizes advanced digital processing techniques that expand the performance ability of the system. A single bit, digital gain block is employed to provide all dynamic processing functions.

Processing functions are a true representation of any gain changes that are implemented. This allows the gain block to create dynamic level changes that are determined by the control circuitry only. This is unlike typical analog processors where unwanted sonic artifacts are attributable to the limitations of the gain stage.

The crossover networks, filtering, and NRSC low pass filter are all of a true phase linear design. Sonic integrity is maintained in both frequency response and group delay/harmonic response.

A key important feature to the sound of the Unity AM is the unique Linear Response Algorithm (LRA). This function provides intelligent high frequency control before the insertion of pre-emphasis. Competing systems provide high frequency control after pre-emphasis, which compromises sonic clarity and can sound dull, harsh, or lacking in natural content. LRA, on the other hand, yields improved transparency in the presence and high frequency bands. As the ear is more sensitive to fatigue and distortion in these ranges, thanks to LRA the Unity AM sounds more musical.

Processing designed for the ears

We won’t pretend that we have the answers to all of the audio processing questions that exist in our industry. But we do think that the experiences and research of Frank Foti and our other engineers have provided us with an understanding of many processing issues. What follows are some concepts that should help guide you through the operation and adjustment of the Unity AM. These issues are important because no matter how much we tell you in the manual, not matter how much time we spend speaking with you on the telephone, and even if we visit you, you are ultimately responsible for making the Unity AM sound best for your stations format and requirements.

What device is used to recognize the perception of audio loudness? If you answered the ear, you are correct! The ear perceives loudness by sensing how much average (RMS) level is present in the ear canal. The higher the average, the louder the perception. On the other hand, peak level by definition is very low in average level and therefore less noticeable to the sense of hearing.

To translate the same concept to broadcasting, perceived loudness is directly related to the RMS level of the modulated signal. This is commonly know as the peak to average ratio. the greater the level of average modulation maintained, the louder it will sound to the listener. The secret then, is to discover what method to use to achieve high average modulation, while maintaining excellent sonic quality as well. The key word is RMS. If we can utilize processing to build a good RMS base, then we can accomplish the goal of high average modulation while sustaining quality.

In a broadcast processing system, we can accomplish this with three stages of operation. In the Unity AM, we begin with a gently operating, RMS controlling device, the Processor/Leveler. This first section is able to generate a semi-controlled output that is high in both average and peak level. Because it is “gentle” in control, quality is maintained. Since RMS adjustment ignores the peak content of the signal the Limiter, which operates more aggressively follows and yields a better controlled output. Now our signal is high in average level, but with peak level reduced. The final stage is the Clipper, set to remove the remaining peak excursions. This results in a signal that is very high in average, with little or no peak energy.

LEVELERS LIMITERS FINAL LIMIT

RMS

Control

Peak

Control

Clipping

Figure - This diagrams a simplified system that produces an

RMS signal that will yield a high peak to average ratio.

The above illustrated system can produce both quality and quantity (dBs) of audio. The perceived processing artifacts are minimized by the gentle, qualitative, operation of the RMS stage, which the ear recognizes. Since the ear is less perceptive to peak levels, harder limiting and clipping on peak information can therefore be performed in an inaudible manner. Competitive loudness is generated from the combined efforts of all three stages.

Many present processing systems, which operate without an RMS stage, rely on large amounts of limiting and clipping to achieve high average modulation. Although accomplished, a noticeable loss in quality occurs due to the aggressive action of the limiting and clipping functions.

The figure on the next page expands our concept of maintaining a high peak to average ratio to help you further understand a basic philosophy behind the Unity AM.

Consider, if you will, the audio signal as it exists at the output of your audio console. Generally it is of wide dynamic range. We know that, for it to be transmitted in a qualitative, yet competitive manner, the dynamic range must be reduced. The wide dynamic range needs to be funneled down to the smaller range. In other words, we are using the processor system as an audio funnel to accomplish the desired goal.

If we were to break down the funnel into sections, we could assign a different function to each area.

Controlled Output Signal

In making use of each function, we could funnel down the dynamic range of the audio signal as it passes from one area to another.

Wide-Band AGC

Multiband Leveling

Multiband Limiting

Clipping

Dynamic Input Signal

Figure - Audio Processing Funnel Concept

The less aggressive RMS functions, (AGC and Leveling) are assigned to the wider dynamic range areas. This permits the funnel effect to begin without causing the perception of being affected. As the dynamic range is reduced, more aggressive peak functions (Limiting and Clipping) can be added to complete the process, again without the perception of affecting the audio.

From this brief discussion, you may be able to see why the aggressive functions, such as limiting and clipping, can sound overly aggressive, or even offensive, if used within the wrong stages of a processing system. Later, we will put this concept to use with respect to making adjusts of the parameters on the processing system.

Feedforward Control

Vital to the great sound of the Unity AM is our use of feedforward control circuitry in all the dynamic processing functions, i.e., the Wide Band AGC, Multiband Levelers, and Multiband Limiters. This enables the processing ratio to remain constant across all levels of processing. By using feedforward control, the Unity AM will always operate at the same processing ratio, providing a wider range of operation. This yields improved sonic consistency, regardless of the amount of processing employed. Feedback systems, found in most other processors, have “sweet spot” windows that narrow with the changing of ratios as the amount of processing varies. This is why most, if not all, feedback processors develop a thick, dense, mushy, and unnatural quality to their sound as they are driven deeper and deeper into gain reduction.

Gain Element

F EEDFORWARD CONTROL

Audio In Audio Out

•

Control Information

CONTROL CIRCUITS

Figure - Feedforward control circuitry

In feedforward dynamics control, the input audio signal to the gain control circuits is monitored, and adjusted if necessary, before the gain element. The resulting control information is then “fed forward” to the element. This produces dB linear gain control at a consistent ratio that remains constant regardless of the amount of processing is employed.

For example, if the low band leveler is operating with a compression ratio of 4:1, any amount of control, whether it is 3dB or 23dB, will operate the 4:1 ratio. Because the developed control information is derived from the input side of the gain element, all corresponding control reaches the gain element as it happens in real time. As the incoming input audio changes, the gain element is able to make the same corresponding level adjustment change at the same time.

The gain element in a feedforward control scheme is a “dumb” device. It only does what it is told to do by the control information and nothing more. If the control circuits are able to develop the correct information, then the gain element is capable of providing a very natural and smooth effect to the audio that is available over a wide operating range. If the control circuits develop the wrong information, i.e. incorrect time or ratios, the gain element will produce an unnatural audio effect. The Unity AM utilizes feed forward control which aids in creating its natural unprocessed sound.

As you can see from the figure below, when using a feedback gain processing technique the control circuits develop the control information after the audio has passed through the gain element. The information is then “fed back” to the element to accomplish gain control. Gain control operates in a dB log/linear fashion. This changes and increases the processing ratio and continues to do so as more processing is employed. For example, when 3dB of audio crosses the processing threshold the ratio may be 3:1, but at 23dB the ratio may have increased to 20:1.

FEEDBACK CONTROL

Gain Element

Audio In Audio Out

Control Information

•

CONTROL CIRCUITS

Figure - Feedback control circuit

Notice that the gain element is operating within the closed loop of the control circuits. By the time the control information reaches the gain element, the level that required adjustment has already passed the point of control. This is especially problematic when transient peak information occurs. The gain element never really adjusts the leading edge of the peak, leaving the peak to be processed by a subsequent stage. If a dynamic limiter follows, the limiter should take care of the peak, although the resultant sound may be perceived as “dense” due to high limiting ratios. If a feedback limiter follows, that limiter will not be able to control the leading edge of the waveform resulting in added, and sometimes excessive, clipping of the waveform.

If the audio levels to be adjusted and the control information generated to process that audio vary over a wide range, the gain element will generate increased intermodulation distortion. This is a key reason why feedback gain control circuitry yields a “denser” and more fatiguing sound the harder it is driven with audio level. This explains why these systems always will have a narrow “sweet spot” of operation that is usually ranges only a few dB.

This discussion may lead you to ask why feedforward control is not more prevalent. The reason is, in part, to the difficulty in designing the needed control circuits within the true analog domain. In order for this style of circuit to operate, true dB linear adjustment is necessary and, for this to take place in analog, log circuits are needed to create the dB linear control. In the past, such analog circuitry usually was very unstable, cumbersome, and costly and could cause inconsistency within the processing circuits. Since this dB linear function is performed digitally in the Unity AM, simple, consistent, and reliable operation is achieved.

Quality versus loudness

The tradeoff between quality and loudness is primarily affected by the use of the limiting and clipping sections. While either function will generate more “dial presence,” they both offer differing artifacts and side-effects. With additional use of limiting, intermodulation distortion is increased. The added dynamic activity of the limiters causes the audio to sound as if it is “overly controlled.” This can be perceived to the ear as “pumping,” “breathing,” “dense,” or “mushy.” When the clipping is raised,

harmonic distortion is increased. The audio level is in effect “running into the brick wall.” This may causes to sound “broken-up,” “torn,” “rough,” or “edgy.” As you might imagine, the harder limiters and clippers are driven, the louder the perception…and the more likely you have increased intermodulation and harmonic distortion.

Through the careful use of the multiband Leveler sections, high RMS levels can be created. This will allow consistently controlled amounts of limiting and clipping to be used without the cost of added distortion. If increased loudness is the goal, two possible methods should be experimented with. The first makes use of the multiband Levelers and Limiters. By increasing the output of the multiband Leveler sections, you are raising the controlled RMS levels to the Limiters. This will build increased loudness by, in effect, driving the Limiting harder. The second possibility will be to increase the amount of Clipping. With either of these two options, it is suggested that when making changes, work with small 5% increments.

Keep an open mind

The Unity AM, is a different kind of processing system. We realize that many of your views on audio processing are based upon your experiences with products with which you have previously worked. You may find that the techniques and procedures that you have utilized up until the present, may not create, perform, or have the same affect with the Unity AM. Because of this, we ask that you proceed with the installation, setup, and operation with an open mind.

While the Unity AM operates around concepts that are not being utilized in other processing systems, this is not a reason for you to be concerned. In fact, we have created a whole new realm of possibilities. Here is a chance for you to master new processing techniques. And whatever your processing requirements, needs, or desires are, the Unity AM can achieve them.

It would have been easy for us to “repackage” old technologies and stick the word “digital” on the front panel. Instead, with the Unity AM, we have created something completely new. Once you have has a chance to use the Unity AM, we know you will appreciate our efforts.

Installation

Clarifying Your Objectives

Your success in installing and getting the most our of a processing product is, or lack of, will be directly related to how well you have developed your objectives for the product. With a clear set of objectives, your tasks will be more clearly defined. Whether you are seeking better overall quality or specific spectral improvements, try to articulate and write down your goals. Do you want a little more loudness or “presence” on the dial? Are there certain characteristics of the sound of other stations in your market that you want to emulate? Are there any you want to avoid? If you are installing the Unity AM on evaluation, it is equally important to have a list of specific factors you are going to use to make your comparison.

Engineering, programming, and management should all participate in the development of these objectives. After all, processing can have a direct effect on the bottom line of your station. A little bit of agreement before installation can save you a whole lot of disagreement afterwards.

Available time

Let’s get one thing straight: It takes time, a good deal of serious time, to process your station. We realize in our business today, time is a precious commodity. Our Unity AM, and its competitors, are expensive and multifaceted. We hate to sound like we are nagging, but don’t try to install the Unity AM in between other major projects or the week your boss or your assistant is on vacation. Make certain in advance that the staff members who helped you set your objectives will be available to consult with you when you adjust the Unity AM.

How much is enough time? Good question! We feel that working with a system for at least a week is a good starting point. (Look at the clock and see how long it has taken you to read the manual to this point. And we have not even told you how the turn on the Unity AM!) We don’t suggest that you drop everything for a solid week. What we do recommend that you install the Unity AM during a week when you can spend a few hours day on the project.

Installation considerations

Installing the Unity AM requires a bit more than mounting it in the rack, connecting some cables, and then putting it on the air. (We modestly believe, however, that our processor is the easiest to install in its class.) Among the factors you should consider are:

1) Monitor Location You should have a good location in which the system, once on the air, can be

monitored. We suggest a good tuner, with good reception, feeding a set of studio monitor speakers to be sufficient. While car radio and other “typical listener situation” settings are important, they should not be the main reference points.

2) Good, Clean Source Material A well respected processing colleague once said, “Garbage in,

produces more garbage out!” He was not kidding. If you are using poor source material, or poor performing playback equipment, you will not get maximum sonic benefit from your demo. Anomalies that you perceive to be processing problems, may be source problems that the processing is exaggerating! Make sure that you start out with a good first step - good source material!

3) Mic Processing This may appear trivial, but the perceived sound of “live” voices over the air can

change dramatically with different processing systems. Whatever the effect your on-air microphones will probably change when you change your processing. If you utilize mic processing, you may have to adjust it to suit the operation of the new processing system. Most announcers develop a “comfort zone” with respect to the sound of their voice over the air. When that “comfort zone” is changed or modified, the common response is that something is wrong. Mic processing can be a very important part of your overall station sound.

4) Operating Levels This is another simple area where trouble can develop. Make sure the input

and output levels of the Unity AM are at the operating at the proper level within your system. (Did you know that operating a processor with insufficient level into an STL system will cause loss of modulation and loudness? I only mention it, because we’ve seen it happen more than a few times!) If you are comparing the Unity AM with another processor, be sure they are both operating at the same levels. Your modulation monitor is an important tool in any processing comparison.

Installation checklist

The following checklist will further assist with installation:

1) Finish reading this manual. (Sorry, we could not resist slipping this in one more time.)

2) Quickly revisit your goals and objectives, and decide upon whom is to assist with the evaluation.

3) Mail or fax the initial warranty registration to Cutting Edge. This way we will know who you are

if you call for assistance.

4) Perform the physical installation and initial set up. Start with one of the factory presets.

5) Once on the air, proceed from a processing level similar to that currently used by your station and

then if desired, become more aggressive. This is less likely to draw hasty, and negative, opinions.

6) Listen for awhile, then adjust. Try to avoid the temptation to “fiddle” with adjustments, moments

after getting the system on the air. Remember you should evaluate the operation over time, not moment to moment! When it is time to adjust, the provided worksheets that can assist in establishing improved settings of operation.

7) In making changes to the system, do not make hasty or radical changes. Also, do not make

too many different adjustments all at once. If too many parameters are changed at one time, it is hard to determine which change made the difference. That can be frustrating whether the change made you station sound better or worse!

8) A procedure we have found successful is the “sleep on it” method. Spend time adjusting and then

listening, and when the system gets to a point where it sounds good, stop for the day. In making changes, there does come a time when the ears become less and less sensitive to adjustments performed. The ears sort of “burn out.” That is why spreading the adjustment period over a number of days is recommended. If it still sounds good after you have “slept on it,” quit adjusting. If it does not, continue with this method until you’re satisfied. If the procedure is working, you will find that each day the discrepancies are smaller and you’re making fewer adjustments.

9) When you get it where you like it, STOP! Nothing more said!

10) Send in the second registration card. Now we know who you are an how you are using the Unity

AM.

A Word About Relative Phase

If the relative phase relationship of this system is different to your existing system, or the system you are comparing it too, it could cause your announcers to sound “weird” in their headphones. If this happens, then the relative phase of the Unity AM is 180 degrees different than what your announcers are used to. To remedy this, just reverse the polarity to both of the inputs on the Unity AM.

Mounting and connections

Before rack mounting the Unity AM, review all items in this section. Some require that you change jumpers on the cards located inside the unit and we know you will say nasty things about us if we didn’t warn you.

We recommend installing the Unity AM with at least one rack height of space open above the unit. This will enhance ventilation and prolong component life.

Setting pre-emphasis

For AM broadcasting worldwide, some form of pre-emphasis boost is employed. Generally it is 50µs

or 75µs. For North and South America, the modified 75µs NRSC standard is used. The NRSC standard provides a 10dB boost at 10 kHz. A shelving response for frequencies above 10kHz, along with a tight 10kHz low pass filter, is employed to control out of band emissions.

The factory default pre-emphasis setting in the Unity AM is the modified 75µs NRSC standard. The pre-emphasis can be changed will relative ease.

Before going on to the next step, be aware sophisticated microprocessor controlled products like the Unity AM do not like to be zapped by static electricity. Please take all required precautions to create a static free environment before opening the Unity AM.

To change the pre-emphasis, locate and remove card #8, the eighth card from to the right of the power supply, and set the “berg” jumpers according to the diagrams that follow:

x x x x x x

NO PRE-EMPHASSIS

50 us PRE-EMPHASSIS

x x x x x x

75 us PRE-EMPHASSIS

Rear Panel Connections

AC connection

AC power is applied to the EIC style connector. The Unity AM will operate from 100 to 240VAC. Voltage selection is made using the jumper located in the fuse compartment of the AC connector assembly. The default voltage shipped by the factory is 120VAC. We may have changed the operating power setting at your request before shipping the unit.

Always turn the Unity AM off and disconnect the power cord before attempting to replace the fuse or change the operating voltage. Always replace the fuse compartment before applying power to the unit.

To access the fuse compartment, insert a small screwdriver into the tab just below the power connector and pull the fuse compartment gently towards you. Grab the compartment on both sides to remove it. Slide out the small circuit card with the jumper on it. Locate, on the top of the board, the voltage to which you want to set the Unity AM. Orient the jumper so that it points in the direction opposite that label. Insert the board with the side indicating the proper voltage first so that the jumper sticks out towards you. Replace the fuse compartment and check that the jumper is displaying the operating voltage you need. To change the operating voltage, locate the white jumper at the bottom of the compartment.

When changing the operating voltage to 220 or 240VAC, change the fuse value to .200 amps.

Audio input

Before connecting audio to the Unity AM, you need to choose either -10dB or +4dB as your input operating level. The factory default setting is +4dB. If you want the input sensitivity to be configured for an input level of -10dB, you will need to change some “berg” jumpers on the input board.

To change the operating levels, remove the cover. Lift out Card 2, the second board from the left hand side. With the board facing you and the connectors facing down, you will notice two “berg” jumpers to the left side. They are located near U101 and are labeled J101 and J102. The “berg” jumpers are mark for either +4dB or -10dB input level. To change the input level sensitivity, move the jumper from the +4dB to -10dB position.

Connect the input audio to the female XLR jacks on the back. The input circuitry is active balanced, pin #2 high, pin #3 low, and pin #1 ground. Make sure to connect accordingly. If unbalanced, make sure to use pin #2 as high, and tie pin #3 to the system ground. Ground loop “hum” can develop if this is not done.

Discrete Left/Right Audio Outputs and De-emphasis Selection

Individual Left and Right channel outputs are available on the male XLR jacks. This signal is the output of the final processing function of the system, the Clipper/Low Pass Filter. The output circuitry is active balanced, pin #2 high, pin #3 low, and pin #1 ground. Make sure that pin #2 is connected to the “+” terminal of the audio input on the transmitter. If not, incorrect modulation polarity can result.

It is important in AM broadcasting to observe correct output polarity. Since the Unity AM is capable of modulating asymmetrically , incorrect polarity, coupled with asymmetrical operation, could actually cost modulation. This would occur by modulating the asymmetrical waveform in the negative direction. Thus yielding positive modulation of about 80%, having an adverse affect on signal coverage.

Under normal circumstances the output signal is pre-emphasized, but through jumpers, located on the motherboard, the signal can be de-emphasized for installations that require a “flat” response as would be the case when feeding land lines.

It should be noted that through the system jumpers, two different “flat” response audio conditions could be created. The first, is when no pre-emphasis or de-emphasis is used. Passing the audio signal through the system without any specified boost and complimentary cut to the high frequencies. The second, is when a specific amount of pre-emphasis is utilized to boost the high frequencies, and then the corresponding de-emphasis is used to reduce to the high frequencies to an “overall” flat response.

If there are two options, what are the differences, and why use them? Good question! In the first instance, there is never any boost to the high frequencies. Because of this, any subsequent preemphasis boost employed AFTER the Unity AM will cause unwanted overshoots in the signal. This occurs because there is not any final limiting control that follows the pre-emphasis curve that is used AFTER the processing of the UNITY. These overshoots cause “lost” modulation because their amplitude must be accounted for in the total modulation of the system.

The second option, where pre-emphasis and de-emphasis is used, makes use of the final limiting system within the Unity’s processing structure. Since this follows whatever pre-emphasis has been selected, tight control of the high frequencies is accomplished. Even though the signal is subsequently de-emphasized, any post pre-emphasis that will then be employed will only boost the high frequencies to the already previously controlled level. This will allow the system, as a whole, to modulate with relatively low, or no overshoots.

When, or where is either of these options applied? The answer is determined by what type of system follows the Unity AM. If any portion of the following system does not employ ANY form of preemphasis, then the first option can be used. Applications might be: final limiting before power amplifiers, final mixing, and final limiting for mastering purposes.

The second option must be used in any application that will utilize sort form of emphasis. This would include: broadcast applications where land lines or some form of STL must be connected to a second party stereo coder/modulator that will provide pre-emphasis. Any satellite uplink or digital converter that uses an emphasis technique for improved S/N ratio.

Setting De-emphasis

The jumpers for the de-emphasis options are located in the upper right-hand corner of the Motherboard. If you are facing the unit, it would be the area to the right, in the rear. Position the jumpers as described in the following diagrams for the desired de-emphasis.

UNITY MOTHERBOARD

CONNECTOR

JUMPERS

X X X X X X

AD 713

X X X X X X

NO DEEMPHASSIS

UNITY MOTHERBOARD

CONNECTOR

JUMPERS

X X X X X X

JUMPERS

AD 713

X X X X X X

NRSC DEEMPHASSIS

Matrix Processing Option (For Stereo Only)

For some AM Stereo broadcast applications, it is desirable to setup the processing to operate in a matrixed L+R/L-R configuration. Accomplishing this is as easy as changing two jumpers on circuit board #2 inside the Unity AM. Refer to the following diagram for jumper placement. Once this option is activated, the outputs of the system will provide L+R and L-R signals. The L+R output will be present out of the Left output connector, and L-R will appear on the Right output connector.

L+R

x x x

L-R

x x x

Diagram showing matrix jumpers

Interface Port

There are two selectable patch points accessed through the Interface Port connector that will allow ancillary audio equipment, if desired, to be inserted. You may want to insert reverb, stereo enhancement, or whatever else you require. One port is located just after the Wide Band AGC and the other is between the Processor/Leveler and Limiter.

Should you choose to install ancillary equipment through the interface ports, we recommend that you first complete total installation of the Unity AM without the external device(s). This will allow you to set audio and processing levels that you can then maintain after adding your extra component.

The DB-25 connector labeled Interface Port provides you with a stereo balanced output from the Wide Band AGC section and balanced input to the Processor/Leveler and a stereo balanced output from the Leveler section and balanced input to the Limiter. The connector pins are as follows:

Patch Point #1 Patch Point #2

Pin - 1: WB AGC Left Out (+) Pin - 10 : Leveler Left Out (+) Pin - 2: WB AGC Left Out (-) Pin - 11: Leveler Left Out (-) Pin - 3: WB AGC Right Out (+) Pin - 12: Leveler Right Out (+) Pin - 4: WB AGC Right Out (-) Pin - 13: Leveler Right Out (-) Pin - 5: Leveler Right In (+) Pin - 22: Limiter Right In (+) Pin - 6: Leveler Right In (-) Pin - 23: Limiter Right In (-) Pin - 7: Leveler Left In (+) Pin - 24: Limiter Left In (+) Pin - 8: Leveler Left In (-) Pin - 25: Limiter Left In (-)

Pin - 18: Ground Pin - 19: Ground Pin - 20: Ground Use this connector to wire to and from the Unity AM. The outputs are approximately +4dBm and the inputs will accept a +4dBm level as well. The outputs of the Interface ports are fixed so level adjustments will have to be made from your ancillary device. The return input level of the first patch point is fixed. The input level of the second patch point may be adjusted.

First patch point

To connect your ancillary equipment between the Wide Band AGC and the Processor/Leveler, you should first make note of the processing levels of the Levelers. This is important as you will need this information to restore the processing levels after installation of your ancillary equipment.

Next, you will need to create a cable. Use the pins for the Wide Band AGC outputs and Leveler inputs to connect to your devices inputs and outputs directly. (Don’t forget the ground connection.) If your external device has an unbalanced input or output, be certain to tie the low (-) pin to ground.

The patch point is activated by moving two jumpers located on the motherboard. With the top removed, locate the two berg jumpers between circuit boards #2 and #3. Both jumpers are capable of only two positions. Move both jumpers to the alternative position. Patch point #1 is now activated.

When you do your processing set up, be sure to review the instructions for setting the return level from you external device to the Processor/Leveler inputs. Set the output level of the ancillary device to provide unity gain. This will insure that the same amount of audio drive is provided to the multiband processors. If the output gain of the ancillary device is too high, the multiband processors can be overdriven. This could result in the audio sounding too processed.

Second patch point

Under normal operating conditions, each Leveler band feeds its own limiter band directly and the Unity AM operates with only one crossover network. When the second patch point on the Interface Port is used, the wide band audio that is returned to the Unity AM must be band split again. We have accommodated this by providing an additional crossover network on the limiter circuit board. The crossover points will exactly mirror those that you will chose in the Leveler section a few chapters from now when we finally let you play with the processing parameters. To activate this second crossover network, which you must do when you use the second patch point on the Interface Port, you must change some jumpers on the limiter board.

To access the jumpers, start by removing the Unity AM from service and removing the cover. Lift out Card 6, the sixth circuit board from the left. You will notice eight “berg” jumpers located to the left of the board. Just change the position of each jumper and replace the board. You have now added the additional crossover network.

If you are worrying about the addition of this network, just think for a moment how many different band splitting networks you were using in your old processing chain before the Unity AM! You may find that, even with two networks in the Unity AM, you have fewer than you had before!

Put the cover back on the Unity AM and place it back into service. When you do you processing set up, be sure to review the instructions for setting the return level from your external device to the Limiter inputs.

Serial Communication Port

RS-232, RS-422, and RS-485 serial communication is available at the Serial Port. Using a wiring configuration that will allow compatibility of the three communications protocols, the Unity AM can be remote accessed by either a null modem, single line modem, or even a network modem.

The wiring for the DB-9 Serial Port is as follows:

Pin - 2: RS-232/RS-485 RCV (-) Pin - 3: RS-232 TX (-) Pin - 4: DTR Pin - 5: Ground Pin - 7: RS-485 RCV (+) Pin - 8: RS-485 TX (+)

Operation

STATUS SECTIO

The obvious

When all connections are made and your Unity AM is sitting in the rack, you are ready for good stuff. (We assume you have turned the unit on from the switch at the top of the AC input.)

On power up, the Unity AM will read UNITY AM on the LCD screen. We will refer to this as the Home Screen. You will notice some activity on the Leveler meters that fades after about 10 seconds. This is normal.

The LCD display

On all screens, other than the Home Screen, the LCD display is divided into the Status Section and the Menus and Parameters Section. These two areas are divided by a solid line located about onequarter of the way down from the top of the screen.

CURRENT PRESET

MENU LEVEL

DAY DATE TIME

ACCESS LEVELINDICATOR

MENUS & PARAMETERS

LAYOUT OF LCD SCREEN

Figure-Layout of LCD Screen

The Status Section provides current status of certain system functions: CURRENT PRESET indicates the processing preset currently active MENU LEVEL indicates where you are in a particular menu hierarchy DAY OF WEEK, DATE, TIME ACCESS LEVEL indicates the security level currently active MODIFIED PARAMETER INDICATOR will appear when a processing parameters have been modified and but have not yet been stored as a preset

All of this information is found within the top two lines of the screen. The Status Section displays the same information regardless of where you are in the menu system. If the day of week, date, and time are not on the display, it is because the internal clock of your Unity AM has not yet been set. We will do this shortly.

In the Menus and Parameters Section, information is displayed that show you where you are in the menu system and, when you are at the appropriate level, the status of particular functions and features.

The jog wheel and buttons

The jog wheel and buttons combine to make the Unity AM intuitive and easy to operate.

The six Main Menu buttons on the far right of the unit bring you to the primary Unity AM menus. This makes it easy to you to go quickly to the processing section or features upon which you want to operate. These buttons are also used for password entry.

The jog wheel is used for several purposes. When in a menu or sub-menu is displayed, turn the jog wheel counter-clockwise to go down the menu and clockwise to go up the menu. When a variable function is displayed, the jog wheel is used to adjust that function.

The Select buttons are used to navigate lists of processing functions or features, which represent the lowest level in the menu system. Use the top Select Up button to move either up a list or to the right along a list and the lower Select Down button to move either down a list or to the left along a list.

The Enter button is used to store your settings. The Escape button moves you up the menu system one step at a time until you reach the Home Screen. The Escape button can be of great help when you are not certain to where in the menu system you have navigated. Just a few presses on the button and you are back to the Home Screen.

Security

Password Security Levels

A this point you may be getting a little impatient. You’ve been reading this manual for a long time and you have yet to run audio through the Unity AM. Hang in there, because we will get to the good stuff in just a few more sections.

Before you can get started, you must establish a Password Security Level that grants you access to programming the Unity AM. Upon initial power up, the Unity AM is set to the factory default, Password Security Level 0. This is indicated in the Status Section of the LCD display by a L:0. This security level does not allow access to any of the functions except the Passwords sub-menu displayed when the Other Menu is selected by pushing the Other button. So please, do not panic if you are pushing other buttons with no results.

The Unity AM provides four levels of security, ranging from absolutely no access to any of the processing adjustments and parameters to full access to all functions. These four levels are indicated in the Status Section of the LCD screen by L:0 , L:1, L:2, and L:3.

Level 0 is the total “lockout” level. Level 0 provides no access to all processing functions. (That is why we gave it the number zero.) The only menu that can be accessed is the Passwords sub-menu of the Other Menu. This level also has no password code to access it.

Level 1 permits all processing parameters to be viewed but not adjusted. In addition, the Serial Communications port and the LCD screen functions can be adjusted. When changing to this level, the factory default code is: 1 2 3.

Level 2 provides the same access as Level 1, but with additional access to the Preset List and the Day-part List in the Other Menu. This level is designed for a Program Director, because it allows him or her to make processing changes based on preset parameters and to make scheduling changes. When changing to this level, the factory default is: 2 3 4.

Level 3 grants full access. All functions and parameters can be monitored and adjusted from this level. Once this level is selected, be careful because you can make a good mess of things. When changing to this level, the factory default is: 3 2 1.

To permit you to change Password Security Levels rapidly, you enter password numbers using the Main Menu buttons. For the purpose of entering passwords, use the top button for “1,” the next button for “2,” and so on down the row.

Changing Password Security Levels

The first time you power-up your Unity AM, the Password Security Level will be set to 0. To access the Change Password Sub-menu, press the Enter button. Next to the text, NEW LEVEL, the number 0 will appear, reverse highlighted, in a box on the screen.

The number will match the current Password Security Level indicated in the Status Section of the LCD display. Use the jog wheel to change to the desired level. If you are performing initial setup, scroll to Level 3. Push the Enter button.

The words Enter Password appear with a blinking cursor. Use the Main Menu buttons to enter default password 3 2 1 by pressing the third, second, and first (Clipping, Limiter, and Leveler) Main Menu buttons one at a time in the indicated order. Press the Enter button. The level indicated in the Status Section of the LCD display should now be 3 and you will see a message that reads PASSWORD CORRECT. LEVEL CHANGED. You will have full access. Press the Enter button to return to the Home Screen.

The procedure above can be used to quickly change Password Security Levels from the Home Screen.

You may alternately use the menu system to change the Password Security Levels. Start by pressing the Other button to show the Other Menu in the Menus and Parameters Section of the LCD display.(If

you are not at the Home Screen, press the Escape button until you are.) A list of sub-menus will appear. Turn the jog wheel until the Systems Options Sub-menu is highlighted. When it is, press the Enter button and you will now see the sub-menu.

From the Systems Options Sub-menu, locate the Passwords Sub-menu and turn the jog wheel until it is highlighted. Press the Enter button and you will see the Passwords Sub-menu

From the Passwords Sub-menu, locate the CHANGE LEVEL function and turn the jog wheel until it is highlighted. Press the Enter button.

Now, next to the text, NEW LEVEL, the number of the current Password Security Level will appear, reverse highlighted, in a box on the screen. The number will match the current Password Security Level indicated in the Status Section of the LCD display. Use the jog wheel to change to the desired level. Push the Enter button. The Password Security Level can be changed to a more secure setting without a password. (For example, when going from level 3 to level 1.) If you are going to a more secure level, the words LEVEL CHANGED will appear. Press the Enter button to return to the Home Screen.

When changing to a higher, less secure setting, a password is required. The words Enter Password appear with a blinking cursor. Use the Main Menu buttons to enter default password 3 4 5 by pressing the third, fourth, and fifth (Clipping, Stereo Generator, and Composite Clipper) Main Menu buttons one at a time in the indicated order. Press the Enter button. The level indicated in the Status Section of the LCD display should now be 3 and you will see a message that reads PASSWORD CORRECT. LEVEL CHANGED. You will have full access. Press the Enter button to return to the Home Screen.

Changing passwords

The passwords to levels 1, 2, and 3 can be changed to any custom password that you desire. Passwords may be up to five digits and use the numbers 1, 2, 3, and 4 corresponding to the Main Menu buttons.

If you are not in the Passwords Sub-menu, navigate to that sub-menu. From the Home Screen, start by pressing the Other button to show the Other Menu in the Menus and Parameters Section of the LCD display.(If you are not at the Home Screen, press the Escape button until you are.) A list of sub-menus will appear. Turn the jog wheel until the Systems Options Sub-menu is highlighted. When it is, press the Enter button and you will now see the sub-menu.

From the Systems Options Sub-menu, locate the Passwords Sub-menu and turn the jog wheel until it is highlighted. Press the Enter button and you will see the Passwords Sub-menu. Locate the CHANGE PASSWORD function and turn the jog wheel until it is highlighted. Press the Enter button.

Now a number should appear, reverse highlighted, in a box on the screen. The number will match the current Password Security Level indicated in the Status Section. Use the jog wheel to choose the level

whose password you want to change. Push the Enter button.

As a security measure, you will be asked to enter your old password, which can be accomplished by using the Main Menu buttons. You will then be prompted to enter your new password, which again is accomplished with the Main Menu buttons. You will be prompted again, this time to confirm your new password by entering it again. This helps prevent your entering a wrong password accidentally. The screen will now display PASSWORD HAS BEEN CHANGED.

When you are finished, press the Escape button twice to return to the Home Screen.

Notes on passwords

Passwords only provide security if you use them. Distribute passwords only to station personnel only when they must have access to Unity AM functions. Instruct everyone with a password to return the Unity AM to Level 0 after they have finished working with it so that it is again in its most secure state.

If you change your passwords and forget them, you have a significant, but not impossible problem. You can restore the Unity AM to factory defaults using a Hardware Initialization function. In doing so, you will erase all of your custom programming and processing settings. And we mean all of your custom programming! Hours and hours of processing decisions could be lost forever if you do not have a backup copy of your settings. Remember, this is a consequence of losing your password.

Hardware Initialization should only be used as a last resort.

To accomplish Hardware Initialization, you will have to take the Unity AM out of service, turn off the power, and remove the top cover of the unit. Locate Card 1, the Micro-Controller, which is the first board to right of the Power Supply or the left-most board in the chassis. Located about mid-board and to the rear of the is a jumper. Change the jumper to the other position and replace the card. Turn the Unity AM on, wait 15 seconds, and turn it off again. The Unity AM has re-initialized itself with all the factory defaults in place. Again remove Card 1, and restore the jumper to its original position. If you fail to take this last step, the unit will initialize every time it powers up! The Unity AM may now be reinstalled.

The Real Time Clock

For the Unity AM to be able to schedule processing events, the Real Time Clock must be set. The format of the clock, which is displayed in the Status Section of the LCD display is the day of the week, date, and time of day. The day of the week is represented by a two letter designation: SU for Sunday, MO for Monday, TU for Tuesday, WE for Wednesday, TH for Thursday, and SA for Saturday. The date is represented in a month/day/year format common in the United States. We hope that users in other countries who use a different date format will forgive us for this preference.

Time of day is represented with a 24 hour notation from 0:00:00 to 23:58:59. For those used to using the AM and PM connotations, note that the hours from midnight to just before high noon are indicated as 0:00:00 to 11:59:59 and the hours from high noon to midnight are indicated as 12:00:00 by 23:59:59. As an example, 9:15 AM would be indicated as 9:15:00, whereas 9:15 PM would be indicated as: 21:15:00.

Setting the Clock

To set the Real Time Clock, start at the Home Screen, press the Other button to show the Other Menu in the Menus and Parameters Section of the LCD display. (If you are not at the Home Screen, press the Escape button until you are.) A list of sub-menus will appear. Turn the jog wheel until the Systems Options Sub-menu is highlighted. When it is, press the Enter button and you will now see the sub-menu.

From the Systems Options Sub-menu, locate the Clock Sub-menu and turn the jog wheel until it is highlighted. Press the Enter button and you will see the Clock Sub-menu

From the Clock Sub-menu, locate the Set Clock function and turn the jog wheel until it is highlighted. Press the Enter button.

The current Real Time Clock setting will appear in the format will appear in showing the date, and time of day. (For example, it may read as follows: 4/21/93 14:34:43. Notice that the number designating the month is reverse highlighted showing that you may now use it. Turn the jog wheel until the month is correct and press the Select Up button. Now the day portion is reverse highlighted. Turn the jog wheel until the day is correct and press the Select Up button. Now the year portion is reverse highlighted. Turn the jog wheel until the year is correct and press the Select Up button.

Continue using the same procedure to correctly set the hour, minutes and seconds. At any time, you can go back to correct a previous setting by pushing the Select Up (to move right) or Select Down(to move left) buttons. When you have finished setting the seconds, press the Enter button. The Real Time Clock has now been entered into the system and will appear in the upper right-hand corner of the Status Section of the LCD display. Any changes that need to be made to the Real Time Clock are performed using the procedure detailed above. Press the Escape button three times to return to the Home Screen if you like.

Daylight Savings Time (Summer Time)

The Real Time Clock of the Unity AM has the ability to recognize and automatically adjust to Daylight Savings Time. (Daylight Savings Time is called Summer Time in some countries.) This is an optional function as not everyone uses Daylight Savings Time. This function will set the Real Time Clock ahead one hour at the time and date you select as the start of Daylight Savings Time and will set the Real Time Clock back one hour at the time and date you select as the end of Daylight Savings Time. If Daylight Savings or Summer Time is not required, you may skip this section as the factory default for this feature is off.

We will use Daylight Savings Time start and ending dates for the United States as an example. In the US, Daylight Savings time begins on the first Sunday of April, and ends on the last Sunday of October. (If Daylight Savings or Summer Time is different in your country, use the same procedure substituting the times and dates appropriate to your country.)

For the purpose programming Daylight Savings Time, think of Sunday as the first day of the week. Using our US example, we will program the Unity AM to turn on Daylight Savings Time on the first day (Sunday) in the first week during April and restore standard time on the first day (Sunday) in the fifth week during October. Our programming format should set Daylight Savings Time correctly every year without your having to take any action. (We cannot guarantee that in a certain year, however, the rules for the start and end dates or Daylight Savings Time will not change in your locality.). In the event that the daylight savings format be changed, or different, we have also provided access to the programming function so that it can be modified.

To turn on and set the Daylight Savings Time feature, you should be in the Clock Sub-menu. If you are not in the Clock Sub-menu, start at the Home Screen, press the Other button to show the Other Menu in the Menus and Parameters Section of the LCD display.(If you are not at the Home Screen, press the Escape button until you are.) A list of sub-menus will appear. Turn the jog wheel until the Systems Options Sub-menu is highlighted. When it is, press the Enter button and you will now see the sub-menu.

From the Systems Options Sub-menu, locate the Clock Sub-menu and turn the jog wheel until it is highlighted. Press the Enter button and you will see the Clock Sub-menu. From the Clock Sub-menu, locate the Daylight Savings function and turn the jog wheel until it is highlighted. Press the Enter button to toggle the function On and Off until it is set the way you want it.

To set the start and end of Daylight Savings Time, use the jog wheel to scroll to Start Date/Time, and press the Enter button. The first number, designating the week of the month is highlighted. For example, if a 1 is displayed, it indicates that the first week of the month will be programmed. To change week of the month, turn the jog wheel until the week of the month you want is displayed. Now press the Select Up button. The day of the week indicator is now highlighted. For example, if a 1 is displayed, it indicates that the first day of the week (Sunday) will be programmed. To change the

day of the week, turn the jog wheel until the day of the week you want is displayed. Now press the Select Up button.

The month indicator is now highlighted. For example, if a 4 is displayed, it indicates that the fourth month (April) will be programmed. To change month, turn the jog wheel until the month you want is displayed. Now press the Select Up button.

Continue using the same procedure to correctly set the hour, minutes and seconds you want Daylight Savings Time to start. At any time, you can go back to correct a previous setting by pushing the Select Up (to move right) or Select Down(to move left) buttons. When you have finished setting the seconds, press the Enter button. This sets or modifies the Start Date/Time. To set the End Date/Time, use the jog wheel to scroll to End Date/Time and use the same procedure to set this function.

Orientation to the Main Menus

Imagine each of the Main Menu buttons as the key to opening the door or each processing function. Press the Leveler button. You should now see a number of menu choices on the screen. These are all the functions of the Leveler that are available to you. We will get into these in more detail in just a few moments. You can switch from a Main Menu to another by just pushing a Main Menu button. You may also move from a sub-menu to a Main Menu by pressing a Main Menu button a few times until the desired Main Menu appears.

Let’s move from the Leveler Main Menu. The Unity AM saves you steps by allowing you to navigate directly between any two Main Menus. Press the Clipping button. We are now looking at the Main Menu choices for the Clipper. Notice that we did not have to step back to the Home Screen to move between Main Menus. However, you can use the Escape button to return to the Home Screen any time you like. Try it now.

The Escape button will always “raise” your operation one level of menu choices. You will find the Escape button to be very handy and utilized often.

Setting the Unity AM input levels

To further our tour of operation, let’s select and operate a function. All Unity AM units are shipped with the input levels set at 50%. We can start by adjusting the input audio levels.

Select the Leveler Main Menu by pressing the Leveler button. The top sub-menu is the Input Levels Sub-menu. If the Input Levels Sub-menu is not highlighted, turn the jog wheel until it is. Press the Enter button.

Notice two choices, Left Input and Right Input, each with a numeric bar graph next to it. The numbers next to the menu choices represent the percent of the input range you have used from 0% to 100%.

(All Unity AM menu choices with range adjustments use percentages, except in the Crossover Submenu where frequency values are used )

The Left Input should be highlighted. If it is not, press one of the Select buttons until it is highlighted. This indicates that the left channel input level can now be adjusted. By rotating the jog wheel under the LCD screen, the input level can be adjusted. To adjust the Right Input press one of the Select buttons to highlight the Right Input Adjustment of the right channel audio level can now be accomplished. After adjusting, the input levels, press the Enter button to store the adjustments within the system. If you do not press the Enter button, the settings will default back to the previous

settings. Please make note of this requirement, as it affects any menu choice that requires setting an operating range.

To set your input levels correctly, we will use the Input Level located on the far left of the Processing Display.

Run a typical audio source into your Unity AM. As you adjust the input levels up and down using the jog wheel, you will observe the Input Level Meters are multicolored. At higher inputs, the level meters will show red at the top of the scale. Proper input levels for the Unity AM should have the first and second red meter indicators light on peaks approximately 50% of the time. With a +4dBm input, this should occur when the input ranges on the Menu and Parameter Section of the LCD screen are at 50%. (If you have the Unity AM set for -10dB operation, the 50% settings apply when a –10dB input is provided.)

Remember that the Wide Band AGC will accommodate input levels that may be a little too high or a little too low. For best Unity AM performance, with lowest noise and processing artifacts, you will want to set the input levels properly. When you are finished adjusting the input levels, press the Escape button twice to return the LCD display to the Home Screen.

Setting the Unity AM output levels

If the indicators on your transmitter or other device indicate that the output levels are too high or too low, use the following procedure to adjust the output level. Be certain of which output(s) you have connected to which device(s) before you begin. Individual controls are provided for the two outputs. This will allow equipment requiring different output levels to be adjusted appropriately.

Starting from the Home Screen, press the Clipping button to access the menu. Use the jog wheel to select the Discrete Output Sub-menu and press the Enter button. Use the Select buttons to highlight the Output Level you wish to modify. Use the jog wheel to adjust the bar graph to the desired level. If you wish, again use the Select buttons to highlight other Output Level you wish to modify. When done, press the Enter button to store your new settings and you will be returned to the Clipper Menu.

Note: For stereo operation the two outputs can be used for the left and right channels. When setup in the Matrix Processing Option, output #1 is for the L+R signal, and output #2 is for the L-R signal.

See how easy it is

In the small exercise just completed, you have utilized many of the Unity AM’s menu functions. We promised you it would be easy. This allows you to work on the sound of the processor quickly and efficiently. At this time, take some time to Select the other Main Menus of the Unity AM. We recommend that you do this to get a feel for the operation of the Unity AM. Try to avoid changing too many of the setting just yet, but do not worry if you do. After the next section, which describes the Processing Display, we will use the factory processing presets to listen to audio through your Unity AM.

The Processing Display

The Processing Display has six sections. The first, the Input Level Meters, we have just used. The next section shows the activity of the Wide Band AGC. The next four sections each show the processing activity of one frequency band. We call our four bands Low, Mid, Presence, and High. Each display section shows the activity of the Leveler and Limiter for that frequency band.

Input Level Meters

These meters show the input audio level of the Unity AM as we have just previously explored.

Wide Band AGC Display

The display for this processing section has three vertical parts. In the center, is a meter showing the activity of the 20dB of RMS platform leveling by indicating how much the processor is increasing or decreasing the audio above or below unity gain. The green bar at the center of the meter illuminates to show the unity gain reference point of the processor. The green dots above the bar indicate that the Wide Band AGC is increasing gain above unity and the red dots below the bar indicate that the Wide Band AGC is decreasing gain below unity gain.

To the left of the meter is a red Gate indicator. This Gate indicator will light when the input level has dropped below the processing threshold. This correlates to the meter returning to mid-scale indication and unity gain of the Wide Band AGC.

The activity of the gate correlates to both a silence and noise gate function. Any momentary, or short term, pauses in the audio will activate the silence gate function. This function basically “freezes” the gain until the audio level exceeds the gate level again. Then the processing action of the Wide Band AGC picks up processing where it left off. Any prolonged pauses in the audio will activate the noise gate function. This happens only when the short term “time out” function of the silence gate passes, and the audio signal has not exceeded the gate threshold. The noise gate function will return the processor section to the unity gain level. By doing this, we have eliminated the boosting of noise when the audio is low in level, or not present.

This dual gate feature is present not only in the Wide Band AGC but the multi-band Leveler functions as well.

To the right of the meter are three indicators. The green INC indicator lights when the processor decides to INCrease or INCrement gain. The amber WAIT indicator is displayed when the processor decides that the incoming audio level is within acceptable limits. When this happens, a wait condition exists, and the processor ceases operation. This correlates to suspended movement by the meter. The red DEC indicator lights when the processor decides to DECrease or DECrement gain.

Leveler Indicators

Each of the four sets of Leveler indicators are identical and display information on a particular frequency band. These band are determined by the Unity AM’s crossovers which are user adjustable.

Each Leveler indicator has three sections. In the center, is a vertical meter showing the activity of the 15dB of RMS platform leveling by indicating how much the processor is increasing or decreasing the audio above or below unity gain in the particular frequency band. The green bar at the center of the meter illuminates to show the unity gain reference point of the processor. The green dots above the bar indicate that the Leveler is increasing gain above unity and the red dots below the bar indicate that the Leveler is decreasing gain below unity gain.

To the left of the meter are two red Gate indicators. These Gate indicators, one each for the left and right channel, will light when the input level has dropped below the processing threshold. This correlates to the meter returning to mid-scale indication and unity gain of the Leveler.

The Gate function operates exactly in the same manner as the procedure described above for the Wide Band AGC section.

Note: When operating in the Matrix mode for stereo, the left Gate indicator will indicate the status for the L+R signal, and the right indicator will reflect the Gate operation for the L-R. Since most stereo program content will contain more L+R signal than the L-R, it will appear normal if the L-R, rightmost Gate indicators are in the GATED mode more often than the L+R indicators. Furthermore, matrix processing will affect the action of the Leveler bargraghs. Since the bargraghs only indicate the maximum processing action at any given moment, and the more predominant signal in the processing matrix is the L+R signal, it is safe to say the bargraghs are indicating the processing action of the L+R signal.

Limiter Indicators

On the right of each Leveler indicator, is a Limiter indicator that shows a 15dB indication of dynamic peak limiting in that audio band. This meter starts at the center line of the Leveler display and the meter illuminates downward to illustrate greater limiting activity.

Interpreting Processing Displays

Through observation of the processing bargraghs, significant information can be acquired and analyzed about the audio signal. Almost as if we were to take a moment by moment snapshot of what is happening.

Since the Unity AM is capable of performing many different processing functions at different times, the display bargraghs may indicate various levels of operation . This is based upon dynamic range differences in the program material. For program material that is already processed, or lacking dynamic range, this will cause the bargraghs to indicate differently than material that possesses a high degree of dynamic range. What is meant by this? Consider the following. Audio signals that lack dynamic range, naturally or by previous processing, will possess a high level of RMS energy, and a low level of PEAK energy. Whereas audio signals with dynamic range possess lower levels of RMS energy compared to higher levels of PEAK energy.

In relation to the processing displays on the Unity AM, program material that has low dynamic range, high RMS and low PEAK levels, will create more action on the LEVELER sections and less activity on the LIMITER sections. This is because the LEVELER section responds to RMS energy, and the LIMITER section reacts to PEAK energy. When these situations occur, it is normal for the unit to indicate more LEVELER action compared to LIMITER action. Sometimes the LIMITER section may not indicate any action! Examples might be: heavily processed commercials or music. Music with passages of sustained level. A good test example is the AEROSMITH CD “PUMP”. This record has very little dynamic range. Try any up tempo selection from this disk and you will see the LEVELER sections make initial adjustments along with small amounts of limiting. Once adjusted, the LEVELER sections will basically not move and limiting action will almost be non-existent.

When the signal is has high dynamic range, low RMS and high PEAK levels, the opposite will occur. The LIMITER section will become very active, while the LEVELER section will respond much less. During these situations it is possible that the LIMITER sections could approach full scale while the LEVELER sections may only indicate half scale. Examples are: vocal passages or live voice, classical music, or passages with transient levels. Good test examples: almost anything classical, almost anything Steely Dan!

Also keep in mind, that the LEVELER sections will operate much slower that the LIMITER sections. This is in part due to the nature of each function. Remember the LEVELER sections operate on the RMS energy. RMS level is calculated, over time, by the signal processor, this is known as the integration time. It is during the integration time that the “average” level is established, and then processing adjustment, if needed, is applied. This is why the LEVELER sections will move slower, since they are making changes, as needed, over time.

With the LIMITER sections, the story is a bit different. Here the intention is to control the PEAK activity. This is accomplished by controlling, or limiting, the highest crest, or peak, of the signal waveform. For signal processing there is not much time allowed to get this job done. When the

LIMITER section operates, it must quickly grab the signal, reduce the level within the proper operating range, and then return the level to normal as long as another PEAK signal, that needs limiting, does not occur. PEAK energy must be detected and adjusted in a fast and accurate manner, while at the same time not interfere with the sonic integrity of the audio signal. For this reason, the LIMITER sections operate very quickly on an “as needed” basis.

Since these displays are capable of providing a wide range of information, we do not recommend setting up this system to any specified amount of processing based upon meter indications. Instead, we recommend setting up the processing by using the ears to judge the sound, and we provide the meters to analyze the signals, and aid you on adjusting the specific parameters needed to achieve the final result.

Processing Presets

A primary operational benefit that the Unity AM provides is the ability to set a processing structure that is perfectly compatible to your radio station’s format. This is done through the Preset lists. Upon selection, the processing parameters of that preset are designed to complement that particular format. A total of ten presets are provided by Cutting Edge:

A/C & OLDIES AOR/CLASSIC ROCK BYPASS CHR/MODERN ROCK CLASSICAL COUNTRY JAZZ/NEW AGE NEWS TALK SPORTS TALK URBAN

These processing presets have been developed by Frank Foti and others at Cutting Edge based on years of processing experience. We feel that for most stations the Unity AM, right out of the carton, is able to improve your station’s sound through the use of these presets. Of course, we leave our arsenal of processing tools totally at your disposal for you to create and store up to 50 custom settings of your own. (We call these custom settings added presets.) As good as our presets sound, we suspect that 100% of the Unity AM users will create added presets of their own.

Our presets range in operation from Classical, which is probably the most "tame," most relaxed setting, to CHR?MODERN ROCK which is set for the most aggressive processing. On initial powerup, the unit defaults to the A/C & Oldies preset. This is indicated by the preset being named in the upper left-hand corner of the Status Section of the LCD screen. When making parameter changes to a preset, or creating a custom setting, an “X” will appear on the right side of the Status Section. This indicates that a setting or settings have been changed from the preset originally selected and have not yet been stored as a new or modified setting. Again selecting and entering that setting will restore the previous settings as stored in the preset.

The ten presets are provided are “hard coded” within the system. These means that particular setting can not be “written over” when saving processing changes/adjustments or creating additional custom settings. These presets are indicated by a “•” after their names. This will help you discerning the factory presets from your custom settings. Your added presets will not have the “•” indicator.

Loading factory presets

At this point you should have your audio input levels operating correctly. Now we will install one of our factory presets This will initially put all parameters at a starting point for whatever format you select. Select the Other Menu by pressing the Other button. On the Other Menu, rotate the jog wheel until the Preset List Sub-menu is selected. Press the Enter button.

Using the jog wheel again, select the preset you would like to use. (Note that arrows to the right of the preset list will indicate that the list “scrolls off “ the screen. Turning the jog wheel brings the “hidden” presets into view.) Press the Enter button. At this point you will see the word LOAD on the right side of the screen. This indicates that the preset is ready to be loaded, but has not yet been loaded. A  will appear next to the preset about to be loaded. To load the preset, press the Enter button again. All processing parameters are now set according to that format’s factory preset. Notice that once you have selected a preset, the presets name will appear in the Status Section of the LCD screen.(If you change your mind and do not wish to load the preset, hit the Escape key.)

The Unity AM is now processing for the format you have selected. You will need to set your output modulation in the Discrete Output Menu, but at this point you should be able to go on the air! If you want to work with the Unity AM off the air, you may make initial adjustments using the audio output as it will indicate the effects of all of the Unity AM’s processing.

Before you make adjustments to the presets

At this point you may be ready to customize your station’s sound using a factory preset as a starting point. In making adjustments, decide upon what areas you feel changes are necessary.

At this point, if you are going to start customizing, we recommend that you jump ahead to the Menu Reference section of this manual. Iit provides detailed information on what you will find on every Main Menu and Sub-menu.

The following points are presented as a quick review to assist with the adjustment process:

1. Quickly revisit your goals and objectives, and decide upon what direction to take in achieving

them.

2. Once on the air, start out tame and work your way up to more aggressive processing. This is less

likely to draw hasty, and negative, opinions.

3. Listen for awhile, then adjust. Try to avoid the temptation to “fiddle” with adjustments, moments

4. In making changes to the system, do not make hasty or radical changes. Also, do not make

too many different adjustments all at once. If too many parameters are changed at one time, it

is hard to determine which change made the difference. That can be frustrating whether the change made you station sound better or worse!

5. Use the “sleep on it method”!

6. When you get it where you like it, STOP! Nothing more said!

Take your time with the Unity AM. You have a great deal of processing power at your finger tips. In order for you to become “sonically” comfortable, you should learn the limits of each function. Try making changes in different operating levels. We suggest making changes in increments of no more that 5%. Try turning different functions on and off. Working this way, you will be able to get a better feel for what the Unity AM is capable of performing.

Modifying and adding presets

Once you have established a setting that you would like to save, they can be added to one of the fifty available preset locations. Storing “work in progress” is essential to our “sleep on it” processing method.

Select the Other Menu by pressing the Other button. On the Other Menu, rotate the jog wheel until the Preset List Sub-menu is selected. Press the Enter button.

Turn the jog wheel until you have highlight the –ADD PRESET– choice. Press the Enter button and the –ADD PRESET– item will change to a highlighted, bracket blank field. The brackets indicate the maximum amount of space the name can be, which is twenty characters. The first character space in the field will be highlighted. This is where we will name the preset.

Use the jog wheel to scroll through the character set to name your preset. After selecting a letter or number, press the Enter button. For naming purposes, letters, numbers, and general “ASCII” characters are provided by the system. The highlighted character has moved one space to the right. Continue the naming process using the jog wheel and Enter button. When you have completed naming your preset, you must inform the Unity AM that you have reached the last character. To do so, turn the jog wheel until the carriage return symbol appears after the last character of your preset name. This tells the Unity AM that you have completed the naming process. (The carriage return symbol is one character before the bank space near the end of the character list. The fastest way to get to it is to turn the jog wheel in a counter-clockwise manner.) Press the Enter button. The newly named preset is now be added to the Preset List.

If you change your mind about the name of your preset or make an error before pressing the Enter button to store the preset, press the Escape button and begin again.

Note that the preset is added in alphabetical order to the rest of the list. It also appears in the upper left-hand corner of the Status Screen of the LCD display indicating that the new preset is currently operational. Your newly added preset does not have an “•” after it. This is a quick visual indication that the preset is user added, and thus can be renamed or deleted.

Non-volatile RAM prevents the Unity AM from loosing any settings during power up, power down, or power outage conditions. When a power interruption does occur, the Unity AM will restore previous settings within 2 seconds of power being restored.

Loading added presets

The procedure for loading your custom settings is similar to loading factory presets.

Select the Other Menu by pressing the Other button. On the Other Menu, rotate the jog wheel until the Preset List Sub-menu is selected. Press the Enter button.

Using the jog wheel again, select the preset you would like to use. Press the Enter button. At this point you will see the words LOAD, SAVE, DELETE, and RENAME appear on the right side of the screen. A  will appear next to the preset about to be modified. This indicates that the preset is ready to be loaded, but has not yet been loaded.

To load the preset, turn the jog wheel until LOAD is highlighted and press the Enter button again. All processing parameters are now set according to the preset you have loaded. Notice that once you have selected a preset, the presets name will appear in the Status Section of the LCD screen.

Comparing presets is easy. Simply repeat the loading procedure, toggling between two presets.

Updating added presets

With any user added preset, adjustments can be made to the system and then saved to that particular preset. (This can only be performed on added presets, and not factory presets.) With fifty user presets available, be certain you have no use for a preset before you overwrite its settings. You may prefer to rename the old preset and save it for a few weeks until you are absolutely certain it is disposable.

Select the Other Menu by pressing the Other button. On the Other Menu, rotate the jog wheel until the Preset List Sub-menu is selected. Press the Enter button. Using the jog wheel, select the preset you would like to modify. Press the Enter button. At this point you will see the words LOAD, SAVE, DELETE, and RENAME appear on the right side of the screen. A  will appear next to the preset about to be modified.

To save your modified the preset, turn the jog wheel until SAVE is highlighted and press the Enter button again.

To load the preset, make certain the preset is highlighted, and press the Enter button. At this point you will see the words LOAD, SAVE, DELETE, and RENAME appear on the right side of the screen. Turn the jog wheel until LOAD is highlighted and press the Enter button. All processing parameters are now set according to the preset you have modified. Notice that once you have selected a preset, the presets name will appear in the Status Section of the LCD screen.

Deleting user added presets

Any user preset can be deleted With fifty user presets available, be certain you have no use for a preset before you overwrite its settings. You may prefer to rename the old preset and save it for a few weeks until you are absolutely certain it is disposable. Factory presets may not be deleted

To delete your preset, turn the jog wheel until DELETE is highlighted and press the Enter button again. The preset has now been deleted.

Renaming user added presets

Any user preset can be deleted. Factory presets may not be deleted

To rename your preset, turn the jog wheel until RENAME is highlighted and press the Enter button again.

The preset will change to a highlighted, bracket blank field, as it was when it was first entered. The brackets indicate the maximum amount of space the name can be, which is twenty characters. The first character space in the field will be highlighted. This is where we will name the preset.

Use the jog wheel to scroll through the character set to name your preset. After selecting a letter or

number, press the Enter button. For naming purposes, letters, numbers, and general “ASCII” characters are provided by the system. The highlighted character has moved one space to the right. Continue the naming process using the jog wheel and Enter button. When you have completed naming your preset, you must inform the Unity AM that you have reached the last character. To do so, turn the jog wheel until the carriage return symbol (ø) appears after the last character of your preset name. This tells the Unity AM that you have completed the naming process. (The carriage return symbol is one character before the bank space near the end of the character list. The fastest way to get to it is to turn the jog wheel in a counter-clockwise manner.) Press the Enter button. The renamed preset is now be added to the Preset List.

Main Menu Reference

The system architecture of the Unity AM has a great number of audio processing functions and features. This section details all of the adjustments you can make from the various menus. As you have already been navigating through the menu system, you should be comfortable with the Unity AM’s controls and ready to tackle the processors’ more sophisticated adjustments.

Along with the instructions that follow are some conceptual discussions on the different processing parameters. We will avoid repeating the processing basics previously covered in the manual. An understanding of those concepts, along with the ideas that follow, can assist you in customizing the sound of your station and help you avoid driving your ears over the cliff of distortion.

Leveler Menu

This menu provides access and adjustment to parameters that deal with the input audio, wide band leveling, and multi-band leveling. To access the Leveler Menu, press the Leveler button, the first Main Menu button located to the right of the LCD display.

INPUT LEVEL PHASE ROTATOR ON/OFF WIDE-BAND AGC ON/OFF BASS ENHANCE CROSS-OVER POINTS MIX LEVELS GATE LEVEL

To select a particular menu item, use the jog wheel to highlight your selection. Push the Enter button to turn on/off functions or to gain access items that represent sub-menus.

Input Level Sub-menu

The right and left input gain of the Unity AM are individually adjusted from this sub-menu. All Unity AM units are shipped with the input levels set at 50% and may be adjusted. Changing the input levels using the Input Levels Sub-menu is discussed in an earlier section of the manual.

Phase Rotator

The Phase Rotator circuits, when utilized, can assist in eliminating vocal distortion during periods of heavier processing needs. These specialized delay circuits create a “flywheel” effect on a certain range of frequencies. In this case, audio within the main vocal range of 300Hz to 2kHz will change in phase as frequency increases through the stated passband. The reason we incorporate phase rotators is to address a problem created by the human voice. Most human voices are asymmetrical in nature, meaning one side of the waveform is larger than the other.

The delay circuits of the phase rotators synthesize the symmetry of the waveform for vocal audio through the passband. By doing this, the upper and lower crests of the vocal waveform are processed more evenly.

When to use the Phase Rotators:

For heavier processing situations, use of the Phase Rotators helps cut down on clipper induced distortion on voices. For lighter processing requirements, the phase rotators can be defeated.

The Phase Rotators can be turned on and off by using the jog wheel to select the Phase Rotators function in the Leveler Menu and pressing the Enter button until the desired status is highlighted. When you are finished, turn the jog wheel to operate another function or press the Escape button to return to the Home Screen.

Wide Band AGC

The Wide Band AGC that reacts as if it was a “slow hand” on the output of the audio console so that the levels coming into the Unity AM are always within a consistent window. This slow acting gain control circuit provides ±10dB of leveling. Imagine, if you will, someone that would continually insure that the output of the audio console was always within a specific level. The “platform leveling” control circuit for the AGC is intelligent enough to know that if the incoming audio level is correct it will shut down its operation and wait until gain correction is needed. The AGC is therefor only operating when needed, eliminating the constant seeking of unneeded level changes.

When to use the Wide Band AGC:

Generally the Wide Band AGC should be left on. Only when you are certain that the levels you are sending to the Unity AM are extremely consistent should you turn the Wide Band AGC off. . Since the Wide Band AGC actually turns itself off, automatically, when not required, there is no benefit to taking it out of service. Another reason to keep the Wide Band AGC engaged is that it prevents the multi-band Levelers from “working too hard.”

The Wide Band AGC can be turned on and off by using the jog wheel to select the Wide Band AGC function in the Leveler Menu and pressing the Enter button until the desired status is highlighted. When you are finished, turn the jog wheel to operate another function or press the Escape button to return to the Home Screen.

Bass Enhance

The selectable and adjustable low frequency Bass Enhancer circuit provides a deep, full, and rich texture to the bass line. This is not just another low frequency equalizer. This section provides up to a 12dB boost to the bass frequencies as well as the harmonic rich sub-bass region. The enhancement scheme used here generates that deep, rich, and full low end that is sought after by so many contemporary programmers. Unlike the use of conventional equalizers, there is no exaggeration of the upper low frequency range causing the bass to sound unnatural and “tubby.”

On the Bass Enhance Sub-Menu, 100% on the LCD bar graph is full enhancement and 0% defeats the effect. The topology of this circuit is a shelving equalizer that is DC coupled, and breaks about 105Hz. A third order slope allows more use of the enhancement without exaggerating annoying upper bass frequencies around 120 to 150Hz.

To adjust the Base Enhancer, use the jog wheel to select the Base Enhance Sub-menu in the Leveler Menu. Press the Enter button. Use the jog wheel to adjust the bar graph to the desired level and press the Enter button to store your new setting. When you are finished, turn the jog wheel to operate another function or press the Escape button to return to the Home Screen.

The components that determine the shelf equalizer are mounted on a “dip” socket, so that the contour of the enhancement can be altered if desired. Contact Cutting Edge for details.

Crossover Points

The phase linear, 4-way adjustable Crossover Networks allow all processing to be tailored to any format requirement. The crossover follows a 6dB/octave slope. This network provides perfect linearity as well as ±.5dB of flat response when summed back together. Frequency response along with harmonic integrity are totally maintained with this network. Since the crossover frequencies are adjustable, all crossover points can be tuned for the appropriate programming format, adjustable for all four bands.

To adjust the Crossover Points, use the jog wheel to select the Crossover Points Sub-menu in the Leveler Menu. Press the Enter button. Use the Select buttons to highlight the first Crossover Point you wish to modify. Use the jog wheel to adjust the bar graph to the desired frequency. Again use the Select buttons to highlight other Crossover Points you wish to modify. When done, press the Enter button to store your new settings and you will be returned to the Leveler Menu.

Mix Levels

The RMS controlled output for each band can be adjusted, or “mixed” in relation to the other three. Another way to look at this parameter is four individuals drive for the following limiter stage. Turning the output level of particular band up, will increase the drive to its corresponding limiter.

To adjust the Mix Levels, use the jog wheel to select the Mix Levels Sub-menu in the Leveler Menu. Press the Enter button. Use the Select buttons to highlight the first Mix Level you wish to modify. Use the jog wheel to adjust the bar graph to the desired level. Again use the Select buttons to highlight other Mix Levels you wish to modify. When done, press the Enter button to store your new settings and you will be returned to the Leveler Menu.

It is recommended that any desired changes to the EQ of your sound be made with use of the mix levels.

Gate Level

This sets the threshold point of processing for all four of the Leveler sections. On the bar graph, a lower the setting correlates to a lower gate level.

To adjust the Gate Level, use the jog wheel to select the Gate Level Sub-menu in the Leveler Menu. Press the Enter button. Use the jog wheel to adjust the bar graph to the desired level. When done, press the Enter button to store your new settings and you will be returned to the Leveler Menu.

Limiter

A multiple time constant Limiter is dedicated to each Processor/Leveler band to provide consistent peak control and low dynamic distortion. Each band is fed directly from the preceding Leveler band. Adjustment is available for attack, release, and threshold levels for each Limiter band. An output mix function allows contouring of the spectral levels that are sent to the subsequent Clipper section. On pressing the Limiter button, the following sub-menus will appear:

ATTACK RELEASE THRESHOLD LEVELS LIMITER MIX LEVELS PATCH POINT INPUT

Attack

This sets the attack time for the limiter stage and is adjustable for all four bands. Faster attack times correspond to higher numeric readings on the bar graph.

To adjust the Attack Levels, use the jog wheel to select the Attack Levels Sub-menu in the Limiter Menu. Press the Enter button. Use the Select buttons to highlight the first Attack Level you wish to modify. Use the jog wheel to adjust the bar graph to the desired level. Again use the Select buttons to highlight other Attack Levels you wish to modify. When done, press the Enter button to store your new settings and you will be returned to the Limiter Menu.

Limiter attack times are:

LOW: 10ms & greater MID: 10ms & greater PRESENCE: 5ms & greater HIGH: 1ms & greater

Release

This sets the release time for the limiter stage and is adjustable for all four bands. Faster release times correspond to higher numeric readings on the bar graph.

To adjust the Release Levels, use the jog wheel to select the Release Levels Sub-menu in the Limiter Menu. Press the Enter button. Use the Select buttons to highlight the first Release Level you wish to modify. Use the jog wheel to adjust the bar graph to the desired level. Again use the Select buttons to highlight other Release Levels you wish to modify. When done, press the Enter button to store your new settings and you will be returned to the Limiter Menu.

Limiter release times are: LOW: Approximately up to 1 second MID: Approximately up to 1 second PRESENCE: Approximately up to 750ms HIGH: Approximately up to 500ms

Threshold

This sets the level at which the limiter will begin operation and is adjustable for all four bands. This is not a drive control. A high threshold level will yield less dynamic limiting (little or no meter activity)

and allows more peak energy to pass to the Clipper stage that follows. A low threshold level produces more dynamic limiting (heavier meter activity) and reduces energy to the Clipper. This can cause the audio to sound more “processed” and can possibly lose loudness.

To adjust the Threshold Levels, use the jog wheel to select the Threshold Levels Sub-menu in the Limiter Menu. Press the Enter button. Use the Select buttons to highlight the first Threshold Level you wish to modify. Use the jog wheel to adjust the bar graph to the desired level. Again use the Select buttons to highlight other Threshold you wish to modify. When done, press the Enter button to store your new settings and you will be returned to the Limiter Menu.

Remember, higher threshold levels correlate to lower bar graph readings. This can be confusing, so be careful with when adjusting this parameter!

Limiter Mix Levels

The peak limited output for each band can be adjusted or mixed in relation to the other three. You can also look at this as an individual drive for the Clipper stage that follows. Turning the output level of particular band up will increase the drive for that frequency range to the clipper.

To adjust the Limiter Mix Levels, use the jog wheel to select the Limiter Mix Levels Sub-menu in the Limiter Menu. Press the Enter button. Use the Select buttons to highlight the first Limiter Mix Level you wish to modify. Use the jog wheel to adjust the bar graph to the desired level. Again use the Select buttons to highlight other Limiter Mix Levels you wish to modify. When done, press the Enter button to store your new settings and you will be returned to the Limiter Menu.

It is suggested to use the limiter mix levels as a minor EQ adjustment. Major mix level changes in this area can cause excessive clipping in one or more of the processing bands. As an example, if the LF MIX level is set at 75% and the rest of the bands are set at 50%, the LF level will be driven into more clipping than the rest of the bands. Be careful with this adjustment!

Patch Point

When using the second patch point of the Interface Port, this controls the return audio level to the multi-band Limiter.

To adjust the Patch Point Input levels, use the jog wheel to select the Patch Point Input Sub-menu in the Limiter Menu. Press the Enter button. Use the Select buttons to highlight the left Patch Point Input level and use the jog wheel to adjust the bar graph to the desired level. Again use the Select buttons to highlight the right Patch Point Input level and use the jog wheel to adjust the bar graph to the desired level. When done, press the Enter button to store your new settings and you will be returned to the Limiter Menu.

Clipper

CLIPPER DRIVE DISCRETE OUTPUT

The integrated Clipper/Low Pass Filter system, with ±5dB of drive, provides a wide window to suit all programming needs. From virtually no clipping to a “wall of sound,” just about any sonic texture can be realized. Using proprietary circuitry, the clipper will “self-control” clipping induced distortion products, allowing the audio to sound cleaner at higher clipping levels. The Low Pass filter at 10kHz is phase linear 9th order elliptical and overshoot controlled.

In this menu, there is a sub-menu to adjust the amount of audio drive to the Clipping/Low Pass Filter section. This control will directly govern the quality vs. loudness tradeoff. Again be very careful. Here is where you can greatly improve or damage your on-air sound.

The Clipper Menu also has a sub-menu to adjust the Discrete Output levels.

To adjust the Clipper Drive, use the jog wheel to select the Clipper Drive Sub-menu in the Clipper Menu. Press the Enter button. Use the jog wheel to adjust the bar graph to the desired level. When done, press the Enter button to store your new settings and you will be returned to the Clipper Menu.

To adjust the Discrete Output levels, use the jog wheel to select the Discrete Output Sub-menu in the Limiter Menu. Press the Enter button. Use the Select buttons to highlight the left Discrete Output level and use the jog wheel to adjust the bar graph to the desired level. Again use the Select buttons to highlight the right Discrete Output level and use the jog wheel to adjust the bar graph to the desired level. When done, press the Enter button to store your new settings and you will be returned to the Clipper Menu.

Asymmetry

For AM or MW broadcasting it is sometimes desirable to transmit an asymmetrical signal. This is achieved by allowing the positive portion of the waveform to posses a greater amplitude than the negative portion. The theory behind this is that the added positive energy, when transmitted, will add average power to the AM or MW carrier signal. This can be beneficial in improving coverage in outer “fringe” areas. This type of signal can be generated in the Unity AM.

This adjust is one of the few that can not set from the front panel. Since it is normally a one time only adjustment, this should be performed during installation. To adjust the symmetry, remove the top cover. Locate the Low Pass Filter board #8. It is the second board over from the right side of the unit, when facing the front. Located at the very front of board #8, is a twenty-turn pot. While monitoring the output, adjust this control for desired asymmetrical modulation. NOTE: If it is observed that the level of positive modulation is not increasing, and the negative modulation is increasing, the output polarity of the Unity AM is reversed. To correct, flip the polarity of the audio connection to the transmitter.

It should be noted that while asymmetrical modulation will improve “fringe” area coverage, it may also add a small amount of distortion to the audio. This is due to the result of added odd harmonic distortion created from the asymmetrical signal. Depending on the program material involved, it may not be noticeable. If distortion is perceived, try reducing the amount of asymmetry of the signal.

Setting Output Tilt

While the Unity AM is capable of generating an efficient solid signal, there are still a few transmitter related items that can actually “undo” the signal. This can lead to wasted modulation and “lost” loudness. The most important item is Tilt. This generally results in older plate modulated transmitters that can not handle low frequency signals that have been heavily processed. What transpires is that the modulation transformer in the transmitter will have problems passing the low frequency signals.

The transformer will distort the waveform in a manner that will add to the amplitude of the signal. This added amplitude becomes wasted modulation, since the peak of this signal must never exceed the maximum modulation limit.

All is not lost! Within the Unity AM is an adjustment that will provide compensation to offset tilt that can be generated by the transmitter. By creating a pre-distortion signal that is exactly opposite of the distortion created by the transmitter, tilt can be reduced, if not eliminated. Refer to the following example diagram.

+ =

PREDISTORTED INPUT SIGNAL TRANSMITTER RESPONSE DESIRED WAVEFORM

To accomplish the procedure, an audio generator and oscilloscope must be used. This adjustment is also only available on the #8 low pass filter board. As with the symmetry adjustment, the top must be removed.

Set the audio generator for 60Hz sine wave output and an operating level of +4 dBm. Connect this signal to the input of the Unity AM. Set the following processing parameters to allow the audio signal to activate the clippers. Set all Limiter Thresholds to 0%, and set the Clipper Drive to 100%. This should create a clipped square wave at the output of the Unity AM. Modulate the transmitter at about 75% - 80% modulation. There is no need to operate at 100% modulation, and this will prevent additional stress on tubes and transformers. Set the oscilloscope to monitor the transmitter carrier signal. Synchronize the scope so that one or two cycles can be observed. If the signal appears as the the desired waveform pictured in the above diagram, then there is no tilt present, and no adjustment is necessary. If the waveform appears like or similar to that as described as TRANSMITTER RESPONSE in the diagram, then adjustment in needed.

Located on the #8 low pass filter board are four tilt adjustments, two per audio channel. One is marked “FREQ” , and the other “EQ”. Adjust each of the “FREQ” and “EQ” pots until the observed signal matches the desired waveform diagram. If the desired waveform can not be achieved, adjust for the closest resemblance. Adjust each channel independently for stereo. When finished, restore the processing parameters to a normal operating preset. Note: When using the Matrix Processing Option, only use the left tilt adjustments for both FREQ and EQ. The two right trim pots should be set to the full counter-clockwise position.

With the completion of this test, and adjustment, maximum modulation can be efficiently achieved with the Unity AM.

Other

PRESET LIST DAY-PART LIST SYSTEMS OPTIONS

Preset List

Presets are discussed in a previous section of the manual.

Day-part List

Another featured benefit of the Unity AM is the ability to Day-part Process. It allows the system to select different audio processing presets at specific dates and times that are scheduled by the user. Through Day-part Processing, the audio processing can be set to a preset best suited for the “morning drive,” and then automatically changing to a different preset that better complements the “mid-day” programming. The Day-part function of the Unity AM will allow the user to schedule up to fifty events.

The Day-part function is presented in two formats. A Sunday through Saturday Format is used when scheduling events of repetition, such as regularly scheduled day to day programming. The other format is a Specific Date Format that allows events to be scheduled at a specified date and time. This is used for special event programs like remote broadcasts, concerts, and events out of the ordinary.

When entering a Day-part event, you will generally need to enter two events. Your first event is to start the preset change and the second will be to resume you previous format. This may sound very obvious, but is a step that can easily be forgotten!

Adding Events

The Day-part scheduling system is not active unit an event is added to the system. This is accomplished through the Day-part List Sub-Menu in the Other Menu. Use the jog wheel to highlight the Day-part List Sub-menu in the Other Menu. When adding an event for the first time, the phrase –ADD EVENT– will appear highlighted. Press the Enter button. When scheduling an event, you must first decide whether you want to use the Sunday through Saturday Format or Specific Date Format. Upon entering the –ADD EVENT– Sub-menu, the Sunday through Saturday Format is presented as your first option and ? SMTWTFS is presented on the screen. Notice the question mark in front of the line. This indicates that you will need to make a decision on which format to use. If you rotate the jog wheel , ? XX/XX/XX will be displayed showing today’s date. This presents the Specific Date Format as an option.

Decide which of the formats you would like to use and press the Enter button. For our first example, let us schedule a Sunday through Saturday Format event. Press the enter key when your turn of the

jog wheel displays ? SMTWTFS.

The LCD now displays SMTWTFS 00:00:00 FORMAT, with the current date and format in use. In the default mode, every day is selected. To select the day(s) of the week you would like to event to occur, specific days can be turned on and off by using the jog wheel. Let’s suppose you want to have this event to occur every Monday, Tuesday, Wednesday, Thursday, and Friday. To begin, use the Select buttons to highlight the first S for Sunday. Turn the jog wheel. Notice that the S goes blank and returns with each click of the wheel. By making the S go blank, the event will not occur on Sunday. Leave the Sunday S in the blank state and use the Select keys to highlight the second S for Saturday. Use the jog wheel to turn the S blank. Now MTWTF is displayed acknowledging that those are the days of the week your event will run.

Once the days of the week have been established, the event’s starting time is programmed. Press the Select Up button until the hours position of the time segment is highlighted. Use the jog wheel to set the hour position. Continue setting the start time utilizing the Select Up button and the jog wheel. After setting the seconds with the jog wheel, press the Select Up button again. A scrolling list of all presents now appears.

Use the jog wheel to highlight the desired subset and press the Enter button. A complete command line will appear that indicates the day(s) of the week, time of day, and Preset of the event. Just below the line –ADD EVENT– appears. To add more events, select this with the jog wheel and repeat the above procedure.

To create a Day-part event using the Specific Date Format (rather than the Sunday through Saturday Format detailed above) the procedure varies slightly. When you first press the Enter button after selecting –ADD EVENT– you will see ? SMTWTFS displayed. Notice the question mark in front of the line. This indicates that you have not yet chosen which format to use. If you rotate the jog wheel , ? XX/XX/XX will be displayed showing today’s date in a month, day, year format.

Press the Enter button and the LCD now displays XX/XX/XX 00:00:00 FORMAT, with the current date, time, and format in use. Notice the * to the left of the line. This is the Auto-Delete indicator. When this indicator is left visible, the scheduled event in the Specific Date Format will be automatically deleted from the Day-part List after it has occurred. This feature is useful when scheduling events that will happen only once. To turn off the Auto Delete feature, use the Select Up Button to highlight the * and turn the jog wheel one click to turn it off and then press the Select Up button to move to the month field. Using the jog wheel and Select Up button, program the date, time, and format of your event just as you did above. After selecting a format preset, press the Enter button, and your event is stored.

Editing Day-part Events

Once a Day-part Event has been created, it can be modified or deleted. This is accomplished through the Day-part List Sub-menu found in the Other Menu. From the Other Menu, use the jog wheel to

highlight the Day-part List Sub-menu and press the Enter button. Use the jog wheel to scroll to the Day-part Event to be modified. When the event you want to change is reverse highlighted, press the Enter button.

The Day-part Event you have highlighted will have a checkmark to its left and on the right side of the screen you will see a list with the choices EDIT and DELETE. If you want to edit the event, use the jog wheel to select and press the Enter button. You may now edit your event using the same procedure as when you originally entered it.

To delete a Day-part Event, select and press the Enter button. The Day-part event is now deleted.

System Options

The System Options Sub-Menu found in the Other Menu is used to control a number of features.

Passwords

The Passwords Sub-Menu is described in detail in a previous section of the manual.

Serial Comm

Remote operation can be achieved through the use of the Serial Communications port located on the back panel. By using a remote computer, all front panel adjustments can be achieved. This is accomplished with use of software designed to access the serial communications port. Installation and usage of the remote software for the Unity AM is covered in a later section, but very soon!

The Unity AM supports RS-232, RS-422, and RS-485 interfacing. The pinout description at the front of this manual provides interconnect information. Standard RS-232 connection protocol is supported, but if you are intending to connect to RS-422, or RS-485, you will need to refer to the description. For RS-232, any standard nine pin serial cable will work for direct null modem connections.

IMPORTANT NOTE FOR MODEM USE: When connecting to a modem, some interconnection cables may not work! This is due to the RS-422/RS-485 serial comm DB-9 pinout on the Unity. Pins #1 and #4 of the serial comm connector provide the inverting signals for the RS-422/RS-485 protocol. Any serial cable that “connects through” pins #1 and #4, from end to end, probably will not work with a modem. Any connection to a modem must use ONLY pins #2, #3, and #5 of the DB-9 serial comm connector! Refer to the following diagram for proper connector pinout configuration.

-9

CONNE CTO R TO UNITY DB

PIN #2

CONNE CTO R TO COM PUTER/M ODEM

PIN #2

PIN #3

PIN #5

PIN #3

PIN #5

RS-232 SERIAL CABLE CONFIGURATION DB-9 T O DB-9

DB-9 CONNE CTO R TO UN ITY

PIN #2

PIN #3

PIN #5

DB-25 CONNE CTO R TO C OM PUTER /M ODEM

PIN #2

PIN #3

PIN #7

RS-232 SERIAL CABLE CONFIGURATION DB-9 T O DB-25

The Serial Communications Sub-menu is used to establish the operating parameters of the Unity AM’s Serial Port. From the Other Menu, highlight the System Options Sub-Menu and press the Enter button. Use the jog wheel to select the Serial Communications Sub-menu and press the Enter button.

This sub-menu has four items. STATUS allows you to turn the Serial Port on and off. Use the jog wheel to select STATUS. Press the Enter button until the desired status appears. Use the jog wheel to adjust another item in the sub-menu or press Escape to move back up the menu hierarchy. Whenever the Serial Port is set to ON, local operation of the Unity is still in effect. It may appear to respond a bit slower, but that is acceptable.

CONNECTION allows you to choose whether the Serial Port will be directly connected to your computer’s Serial Port or will communicate with a remote computer via modem. Use the jog wheel to select CONNECTION. Press the Enter button until the desired status appears. Your choices are DIRECT and MODEM. Use the jog wheel to adjust another item in the sub-menu or press Escape to move back up the menu hierarchy. When changing the CONNECTION to modem, it is best to make the change with the STATUS set to OFF. Once the CONNECTION is changed, set the STATUS to ON if remote operation is desired. By doing this, the Unity will automatically initialize the modem.

SPEED allows you to choose the data rate (sometimes called baud rate) of the Serial port. Use the jog wheel to select SPEED and press the Enter button. A scrolling list appears with data communication rates in bits per second. Use the jog wheel to select the desired rate and press the Enter button to store your setting.

NOTE: When setting the baud rate with a modem connection, always set the speed within the range of the modem. Example, when using a 2400 baud modem, the speed setting on the Unity can only be

at the 1200 or 2400 baud rate. If the baud rate of the Unity is set at a rate greater than the maximum of the modem, the communication with the modem will not work!

Clock

The Clock Sub-Menu is described in a previous section of the manual.

LCD

This sub-menu controls your view of the LCD display.

CONTRAST adjusts the contrast of the display to make it easier to read in your particular lighting conditions. From the Other Menu, use the jog wheel to select the System Options Sub-menu and press the Enter button. Use the jog wheel to select the LCD Sub-menu and press the Enter button. Use the jog wheel to select CONTRAST and press the Enter button. A bar graph will appear. Use the jog wheel to select the desired contrast and press the Enter button store your setting.

The BACKLIGHT menu provides options to turn the backlight on, off, or allow it to follow the timeout of the screen saver. From the LCD sub-menu, select the BACKLIGHT option and press ENTER. A small pop-up menu will appear to the right of the display with three options: OFF, AUTO, and ON. Use the jog wheel to select the option desired and press ENTER.

The SCREEN SAVER DELAY can be useful in prolonging the life of the backlight and LCD screen. This feature works like most screen saver options found on computer systems. When there is no activity with the user interface beyond the selected time, the screen will go dark. Pressing any key will restore the operation of the LCD and backlight. The SCREEN SAVER DELAY can be set in one minute increments up to thirty minutes. When the setting is set to zero, the SCREEN SAVER is defeated.

To adjust, select SCREEN SAVER DELAY from the LCD sub-menu and press ENTER. The number to the right of SCREEN SAVER DELAY will be highlighted. Use the jogwheel to adjust the number of minutes required and press ENTER.

Erase Day-parts

There may come a time when the list of Day-part Events will become full of unwanted events. The Erase Day-Parts function allows you to wipe the slate clean and begin anew.

Be careful, this option will remove all previously stored Day-part Events. Make sure you are not removing an item of importance.

From the Other Menu, use the jog wheel to select the System Options Sub-menu and press the Enter button. Use the jog wheel to select the Erase Day-parts function and press the Enter button.

You are presented with a statement that all Day-part events are about to be erased. To help prevent accidental erasure, NO is initially selected. If you want to continue and erase all Day-part Events, use a Select button to highlight YES and press the Enter button. All Day-part Events are now erased.

Re-Init System

This re-initializes (or resets or reboots) the Unity AM operating system. This restores all settings to the factory defaults. In doing so, you will erase all of your custom programming and processing settings. And we mean all of your custom programming! Hours and hours of processing decisions could be lost forever if you do not have a backup copy of your settings.

Re-Init System should only be used as a last resort.

From the Other Menu, use the jog wheel to select the System Options Sub-menu and press the Enter button. Use the jog wheel to select the Re-Init System function and press the Enter button.

You are presented with a statement that the system is about to be re-initialized. To help prevent accidental erasure, NO is initially selected. If you want to continue and re-initialize the system, use a Select button to highlight YES and press the Enter button. The system has now be re-initialized and the factory default values are restored.

TECHNICAL DESCRIPTIONS

The Technical Descriptions are divided up into the five following categories : micro controller, digital algorithm, signal path, signal processors, and the stereo generator. Due to the diversity of each section, it will be much easier to understand the technical operation of the complete system, buy examining it as a sum of the individual sections.

MICRO CONTROLLER

The heart and soul of operations for the system is the micro controller. All control, status, and interfacing centers around this function. This creates the central nervous system of sorts! The key components to the micro-controller are the micro control board, circuit board #1, and the front panel circuit board. Refer to the schematics as the circuit level descriptions are explained.

The center of the architecture is U701, an 80188 microprocessor. This along with EPROM U704 and SRAM U703 provide all the software and memory needed for the system to operate. U702, U714-715 decodes all the address and data bussing for the structure. U705 provides a “Watchdog” monitoring function for the microprocessor. In the event the power supply should fall below 5% toleration of 5 volts, or the software loses control, the “Watchdog” will reset the system in hopes of returning the operation to a normal level.

U708 is an UART, which is used to establish serial communications with the microprocessor. Jumper JP-1 sets the “HARDWARE RE-INITIALIZATION” mode. When the jumper is set in the normal position, the /CTS pin on the UART, U708, is tied low. When the jumper is the in INIT position, the /CTS pin is tied high, and the system will re-initialize upon power-up. U710 and U711 provide the serial interfacing to the outside world. Notice that they are setup to accept either RS-232, RS-422, or RS-485 as interface connections.

U706 and U707 are Peripheral Interface Adapters, PIA’s, for interconnecting the digital attenuators, the ON/OFF functions and the MUXED A/D Converter. All of the digital attenuators operate on a three bit serial interfacing scheme. Each attenuator makes use of a common clock input, CLK, a common data input, DQ, but each has it’s own chip select, /RST. So while common data will be present at all times to all the digital attenuators on two of the bits, each attenuator will only respond to data when it’s specific chip select is enabled.

U709 is a nineteen channel multiplexed A/D converter. Here is where all processing samples are read into the system for display on the front panel. U709 communicates with the system also through a three bit serial address that

interfaces with PIA U706.

With regard to the Front Panel, all display information for the LCD and LED bargraghs, along with the operation of the keypad is facilitated via the system data buss and first four address lines. The LCD display is a self-contained display module that directly connects to the microprocessor. The Inverter Module located on the Front Panel circuit board creates the High Voltage for the Backlight of the LCD module.

NOTE: This module is converting 10 VAC at 50/60 Hz to @ 1000 VAC at @32 kHz. Be Careful!

The LED displays operate in a scanned matrix manner. This means that only one LED is on at a time. Since it happens so fast, it appears that all LEDS are lit all at once. On the Front Panel circuit board, U1 - U5, and U8 - U12 provide the decoding and current driving for the LED modules. U8 - U12 perform the decoding, and U1 - U5 accomplish the current driving.

The keypad also operates using the scanned matrix data that also controls the LED displays. Notice the first four bits of U11. These are routed by the way of each pushbutton of the keypad. With any closure of the keypad, that specific address line is read back into the system. Depending which address is read, will decode as to which button was pushed.

DIGITAL ALGORITHM

The technique by which all dynamic processing is accomplished, is known as Digital Sampled Analog. This approach was chosen for two specific reasons. First it is capable of exceptional audio performance. Second it provides absolutely no time delay to the signal passed through it. For those of you who wish to claim that this is an analog function, you are incorrect. This procedure actually samples the analog signal digitally and performs immediate digital adjustments to it.

Using a single bit digital gain cell, and a sampling frequency of 152 kHz, accurate level changes with precise resolution, are faithfully performed on the audio signal. Because of the high sampling frequency, very gentle reconstruction filters are used to remove any residual sampling energy. This is especially important since it provides excellent group delay through the system. As the signal path is explained, you will be able to see how this technology is applied.

SIGNAL PATH

The audio signal path is contained on circuit boards #2, WB-AGC, #3 & #6, Signal Processors, and on #8, low pass filter. Each board will be explained

separately. Unless otherwise noted, the Left Channel signal flow will be explained. Operation of the Right Channel is a mirror image of the Left.

Input Section/ø Rotator/WB-AGC/Bass Enhance

Printed Circuit Board #2

Input Level

Input audio appears at J1 pins 1 & 2 for the Left Channel and pins 3 &4 for the Right Channel. U101 is setup as a balanced differential amplifier with an input impedance of 20 k or greater. JP-1 establishes the resistive pad for either 10dBm or +4dBm operation.

Input level for each channel is adjusted through U102. This is a digital potentiometer that operates as a 256 position stepped attenuator as addressed by the Micro controller. As level is adjusted on the front panel, serial data is routed to U102 to set the system input levels. U103 provides a buffered output to the input displays and the first section of conditioning, the

ø Rotator.

Rotator

Phase Rotation is created by the all-pass filter associated with U110. An all-pass network is a filter whose amplitude level remains constant with respect to frequency, but whose time delay, or phase, characteristics vary with frequency. This feature is provided in an effort to create symmetrical waveforms associated with the human voice. Most human voices are naturally asymmetrical. This means that either the positive or negative half of the waveform is larger in amplitude than the other half.

The all-pass network is designed to create a non-linear time delay through the 300 - 2000 Hz frequency range. This is the normal range for voice. As this delay occurs, it creates a “reversal” of phase at specific frequencies within the vocal range. This is like a “flywheel” effect. The resulting signal will then possess a waveform that is considerably more symmetrical than before. The problem, that can arise, is when harder or aggressive processing is employed, asymmetrical waveforms may become clipped on the larger half of the waveform. This translates to an audio signal that is rich in third harmonic distortion, which can be unpleasant to listen to.

ø Rotator is a selectable function. Bilateral switch U111 controls the

The IN/OUT status. In listening to music through this network, it is virtually transparent to the phase delay that is being applied. A good subjective test is to

listen to music through the system, and then switch the

ø Rotator in and out.

There should not be any difference to the quality of the material.

WB-AGC

The next section is the Wide Band AGC (WB-AGC ). The audio portion of the WB-AGC consists of U112, U113 and associated components. U112 is a bilateral switch that is operating as a digital gain control. Since this gain control is inserted in front of opamp U113, dynamic level adjustment is easily accomplished. Bilateral switch U114 selects the IN/OUT operation of the WBAGC.

The control for the WB-AGC is developed using a feed-forward approach. U104 and U105 provide rectification and integration for the incoming signal. C111 and R139 provide integration timing for the GATE function. D101 and D102 serve as an absolute value summing network for the left and right channels. This “averaged” signal is compared to the GATE reference level at comparator U106. When the “averaged” level fells below the GATE reference, U106 changes to a high state, and the following two occurrences result. First, bilateral switch U109B will switch on to begin resetting the gain at U112 to unity. Second, any other processing adjusting that was happening, is defeated as NOR gates U107A and U107B are put in a low state. When the “averaged” level form U105B exceeds the reference level, U106C goes to a low condition. This “opens” U109B, and enables NOR gates U107A and U107B for dynamic adjustment.

The integration time of C111 and R139 is set fairly fast. This will allow the WBAGC to “freeze” during short term pauses in the audio signal. This creates the silence gate. A longer time constant is developed around R147 and C112 to form the noise gate configuration when the WB-AGC is in the GATE mode.

C110 and R137 provide integration timing for the RMS control associated with the dynamic leveling action. D103 and D104 serve as an absolute value summing network, along with U105A, for the left and right channels. The buffered output of U105A, which is the “averaged” signal, is compared to the present control signal by window comparator U106A and U106B. A window comparator is also known as a “dead band” comparator. This means that the system is capable of indicating three limits. Lower , upper, or in-between limits. In this case, it is desired to set the limits where increasing the gain, decreasing the gain, or not changing the gain occurs. Since the present gain of the WB-AGC is always being compared to the constantly updated “averaged” level, a good histogram is developed.

If the incoming signal to the window comparator exceeds the present control level, a Decrease level or Decrement state is initiated. What transpires is that the

output of U106B will go low. As long as the system in not in the GATE mode, the output of U106C should also be low. Both of these low states will cause the output of NOR gate U107B to go high. This activates bilateral switch U109D that will then begin decreasing the gain of the WB-AGC until it falls within the dead band area of the window comparator. The output of U107B also drives a front panel buffer that will illuminate the DEC led to indicate that the audio gain is being decreased.

Increasing or Incrementing gain is accomplished in the same manner. As the incoming signal drops below the lower limit of comparator U106A, the Increase state is initialized. Again the low output of U106A along with the low output of U106C will cause U107A to go high. This activates U109C which in turn boosts the audio level of the WB-AGC until it reaches the dead band area of the window comparator. The output of U107A also drives a front panel buffer that will illuminate the INC led to indicate that the audio gain is being increased.

When the input signal is within sufficient operating limits to the WB-AGC, a WAIT condition is initiated. This basically shuts down all dynamic leveling, and “waits” until there has been a sufficient enough level change in incoming level to warrant any needed processing. Whenever the present control signal and the incoming “averaged” signal are equal or close to equal, their level will fall into the dead band area of the comparator. When this occurs, the outputs of comparators U106A, B, C are all low. Since each state is low, there is not any activity among the bilateral switches and no dynamic leveling is taking place. This is the WAIT function of the WB-AGC. This causes the output of triple NOR gate U108A to go high. This drives an LED buffer on the front panel to indicate that the WAIT function has occurred.

The actual control signal is present at the output of U105D. This signal feeds both the upper limit of the window comparator and is also feed on to the log comparator for dB conversion. Comparator U118A compares the control signal to a 152 kHz clocked non-linear ramp signal. The “slope” of this ramp signal falls off in a logarithmic manner. The output of U118A will be anything from DC to various widths of the 152 kHz signal. This signal is then summed at AND gate U118C. This creates the single bit digital signal to feed digital gain cell U112. U114 provides the IN/OUT function of the WB-AGC.

Bass Enhance

Bass Boost equalization is developed around U115A and U117B. For each channel, two 14 dip sockets house header modules that determine the Bass Enhance characteristics. Module #1 comprises a high pass filter. This is basically

the main audio signal. Module #2 is a low pass filter with gain. The outputs of these filters are summed at U115B. When the gain, of module #2, is set to equal that of module #1, the overall response of the system is flat. But as gain is increased at module #2, the boosted low frequencies will occur, in the response of a shelving equalizer, along the slope of the low pass filter. If the modules are configured as third order, then the shelving EQ will follow a third order response. Likewise if the modules are configured as second order filters. The stock configuration provides a third order bass enhance that begins around 105 Hz.

SELECTABLE MATRIX NETWORK

U119A/B and the associated resistors create the L+R, L-R matrix for sum and difference processing. Amplifier U119A/B is set for a gain factor of 0.5. When summing a left/right signal that consists of full mono content, the summing action provides a 6dB increase in level. When this is coupled with a gain stage of 0.5, unity gain of the stage is accomplished in full mono. This is done so that the gain structure of the rest of the processing system can remain the same.

The output of U119A/B is routed to the berg jumpers that allow selection of discrete L/R or matrixed L+R/L-R operation. When in the matrix configuration, the L+R signal occupies the left side processing, and the L-R occupies the right side.

CROSS-OVER and DIGITAL PROCESSORS

Circuit Boards #3 & #6

Circuit boards #3 and #6 are essentially the same board. Board #3 handles the initial cross-over network and provides the multiband leveling audio path. While #6 performs the limiting function and provides a second cross-over, necessary only when the second path-point is utilized. Since the technical description is similar, only the #3 board will be discussed. However, any small differences between the two, will be referenced.

Wideband input audio appears, unbalanced, at pins 9 and 10 of J-1. Inputs for each individual band will be described later. U202 and U205 form a phase linear bi-quad cross-over network. U203, U204, and U206 are used to adjust the cross-over frequencies. The output of each band appears at the three pin jumpers for each band. These jumpers select the input mode for each processor. In the first position, the output of the cross-over is selected to feed the processor. This is the normal operation mode for board #3. The second position selects the direct input to the processor. This configuration allows direct input from a preceding processor section. This is the normal mode for board #6 where direct audio is arriving to each limiter band directly from the preceding leveler band.

Whenever the second patch-point is used, the jumpers on board #6 would be set to the first position to accept audio from the cross-over network on board #6. It should be noted that whenever the second cross-over is utilized, the cross-over frequencies automatically match the cross-over points of the first

cross-over located on board #3. This is set in software so that discrepancies between the cross-over sections can not occur. Since these cross-over designs are phase linear, using one or more of them has little or no effect on the overall group delay to the audio signal. Thus, maintaining good sonic integrity to the system.

FEEDBACK PROCESSING OPTION

On circuit boards #3 and #6, the lower two bands can be set to operate as feed-back processors instead of the stock feed-forward setup. Some processing applications call for an added density to the quality of the signal. This is usually at the expense of some quality or clarity. This option is easily accomplished by the changing of jumpers located on the #3 and #6 circuit boards. Setting of these jumpers should be done on a subjective basis. Generally changing the limiter options will provide more dramatic effect to the audio signal. Once changed, it may require re-adjustment of the system to achieve the desired sound.

The output of the jumpers feed the processor sections. U209 and U210 comprise the digital dynamic level adjusting section. Single bit digital data appears at U209 to affect any level changes needed. U215, U216, and associated components (R220-R222, C204-C206) form gentle third order filters to perform critical reconstruction of the audio signal.

U211 - U214 are used as mixing controls to mix the relative audio bands with each other. For board #3, these act as both EQ and individual band drivers for the following limiter sections. For board #6, these act as the final spectral mix for the following clipper/filter section. Both the #3 and #6 boards provide two forms of output for the audio signal. U217A/B provides both a summing and balancing function so that wideband balanced audio can be provided. This is used for the balanced output on patch-point #2 to feed any ancillary processing equipment. On board #6, the summed unbalanced output of U217B provides the output signal to the following clipper/filter. The individual buffered outputs are used on board #3 to drive the individual following limiters of board #6 when the system is used in the normal stock configuration.

Clipper/ NRSC Low Pass Filter

Circuit Board #8

Input audio appears at pins 7 and 5 respectively for the left and right channels. U601 is used as an adjustable voltage divider to provide drive/attenuation for the clipper section. It is setup to provide +/5dB of clipping. U602, R530, R531, C519, and C520 form the pre-emphasis options for the system. Through the usage of jumpers J1 and J2, the modified 75 µs NRSC pre-emphasis boost is created.

The output of the pre-emphasis section feeds the “MR GIBBS MODULE”. Here is where the magic takes place! Within this module, loudness clipping and distortion control are performed. Without writing a detailed technical thesis on overshoots and specific physical phenomenon, just understand and accept that here is where the system is trying to fool the ear into accepting more distortion than it would normally notice.

The output of this module is a very precise controlled amplitude signal. U603 and U604, along with associated components form a phase linear 7th order low pass filter. With a cut-off frequency of 9.2 kHz and an elliptical response, the NRSC 10 kHz bandwidth is achieved. Due to the phase linearity of the filter, and prior overshoot control of the GIBBS MODULE, overshoot of the final filter is kept to a minimum. Safety clippers D501 and D502 eliminate an residual overshoot from the system. The output of U605A/B will be a pre-emphasized, amplitude and frequency limited signal that will now be used to feed the discrete left/right output sections located on the motherboard.

Transmitter Tilt is corrected through the use of the RC equalizer network “around” U-606A/B. Adjustment of VR-1 A/B will set the amount of Tilt correction, while adjustment of VR-2 A/B will set the optimum frequency for correction. AM transmitter Tilt occurs because of the negligence of LF response of the modulator stage. This is very common in older plate modulated transmitters. The Tilt correction circuit actually creates a “pre-distortion” signal exactly opposite that of the transmitter Tilt. When the “pre-distorted” signal is modulated by the transmitter, the two “opposing” tilt signals cancel each other out, and optimum low frequency modulation is achieved. Refer to the discussion on page 54 of this manual for a detailed description.

MULTIBAND LEVELER AND LIMITER ALGORITHMS

The processing algorithms for leveling and limiting are performed on circuit boards #4 ,#5, and #7. Boards #4 and #5 handle the multiband levelers, #4 for left, #5 for right. Board #7 takes care of the multiband limiting. For both leveling and limiting only one band of one channel will be detailed. Since this system is a four band stereo processor, there are a total of eight levelers and eight limiters overall.

MULTIBAND LEVELERS

Circuit Boards #4 & #5

Control for the MULTIBAND LEVELERS is developed using a feed-forward approach. The input audio signal appears at pins 1 - 4 of J1. This is band limited audio as set by the cross-over network. Pin 1 is for the low band, pin 2 the mid band, pin 3 the presence band, and pin 4 is the high band signal. U301B, D302, D303, R312, and R313 form the full-wave rectifier for the following integrators. U301A, U302A/B are configured as integrators that will develop control voltages for various aspects of the signal waveform.

U302A forms the integrator that provides control signal for the GATE detector. As was previously discussed in the WB-AGC section, the operation of the GATE detection is exactly the same. When the “averaged” level fells below the GATE reference, U303B changes to a high state, and the following two occurrences result. First, bilateral switch U307D will switch on to begin resetting the gain to

unity. Second, any other processing adjusting that was happening, is defeated as NOR gates U305 and U306 are put in a low state. When the “averaged” level form U302A exceeds the reference level, U303B goes to a low condition. This “opens” U307D, and enables NOR gates U305 and U306 for dynamic adjustment.

The integration time of C301 and R304 is set fairly fast. This will allow the processor to “freeze” during short term pauses in the audio signal. This creates the silence gate. A longer time constant is developed around R309 and C306 to form the noise gate configuration when the processor is in the GATE mode.

C302 and R317 provide integration timing for the RMS control associated with the “normal” dynamic leveling action. The output of U301A, which is the “averaged” signal, is compared to the present control signal by window comparator U304A and U304B. A window comparator is also known as a “dead band” comparator. This means that the system is capable of indicating three limits. Lower , upper, or in-between limits. In this case, it is desired to set the limits where increasing the gain, decreasing the gain, or not changing the gain occurs. Since the present gain of the processor is always being compared to the constantly updated “averaged” level, a good histogram is developed.

If the incoming signal to the window comparator exceeds the present control level, a Decrease level or Decrement state is initiated. What transpires is that the output of U304B will go low. As long as the system in not in the GATE mode, the output of U303B should also be low. Both of these low states will cause the output of NOR gate U306 to go high. This activates bilateral switch U308D that will then begin decreasing the gain of the processor until it falls within the dead band area of the window comparator.

Increasing or Incrementing gain is accomplished in the same manner. As the incoming signal drops below the lower limit of comparator U304A, the Increase state is initialized. Again the low output of U304A along with the low output of U303B will cause U304A to go high. This activates U308C which in turn boosts the audio level of the processor until it reaches the dead band area of the window comparator.

When the input signal is within sufficient operating limits to the processor, a WAIT condition is initiated. This basically shuts down all dynamic leveling, and “waits” until there has been a sufficient enough level change in incoming level to warrant any needed processing. Whenever the present control signal and the incoming “averaged” signal are equal or close to equal, their level will fall into the dead band area of the comparator. When this occurs, the outputs of comparators U303B, and U304A/ B are all low. Since each state is low, there is not any activity among the bilateral switches and no dynamic leveling is taking

place. This is the WAIT function of the processor.

Integration amplifier U302B creates a faster control signal as compared to the signal generated by U301A. This signal is damped in gain so that it only exceeds the level of U301A only during fast, large changes in the program signal. When this occurs, the signal of U302B will activate comparator U303A, which is referenced to the present control signal. When U303A goes high, it disables the decision making NOR gates, U305 and U306, and activates U307C which provides faster leveling until the abrupt change in program material in brought under control. This would be analogous to using an automatic transmission in a car to switch gears.

The actual control signal is present at the output of U309B. U309A forms an antilog amplifier. Using the differential inputs, processing ratio of the levelers can be set. This signal feeds both the upper limit of the window comparator and is also feed on to the log comparator for dB conversion. Comparator U319D compares the control signal to a 152 kHz clocked non-linear ramp signal. The “slope” of this ramp signal falls off in a logarithmic manner. The output of U319D will be anything from DC to various widths of the 152 kHz signal. This signal is then summed at AND gate U320. This creates the single bit digital signal to feed digital gain cell on board #3.

MULTIBAND LIMITERS

Circuit Board #7

The MULTIBAND LIMITERS operate much in the same manner as the LEVELERS, except instead of controlling the RMS level, they will be operating on the PEAK level. Feed-forward in design, the limiters are the last stage of dynamic processing before reaching the hard limiting or clipping stage.

The input signal first passes through U401. This operates as a digital attenuator that is used for setting the threshold point of the limiter. Output from the attenuator feeds the full-wave peak rectifier. This is comprised of U402A/B and associated components. Output from the rectifier is passed through U 403, which sets the ATTACK time of the limiter. U403 along with U404 and C401, C402, R408, and R409 create the multi-time constant for limiter activity. Quick responding peak energy is controlled by U403, C401, and R408. Slower or longer responding peak energy is controlled by the action of R408, R409, C402, and U404. Release time is adjusted through U404. The ensuing control signal is buffered by U405B.

The actual control signal is present at the output of U405A. This signal feeds log comparator U423C for dB conversion. Comparator U423C compares the control

signal to a 152 kHz clocked non-linear ramp signal. The “slope” of this ramp signal falls off in a logarithmic manner. The output of U423C will be anything from DC to various widths of the 152 kHz signal. This signal is then summed at AND gate U424. This creates the single bit digital signal to feed digital gain cell on board #6.

LOG GENERATOR

Circuit Board #9

The log generator operates off a master clock frequency of 1.216mHz. Crystal X601 and U607 generate the clock signal. U606A/B divides the signal down to 608kHz and 304kHz. U604A divides the 304kHz clock down to 152kHz. This is the master clock for the signal processor sections. This clock signal feeds both the LOG PROCESSOR module and the AC couple pulse generator. These are the respective signals used with the control signals on boards #2, #4, #5, and #7 to generate all dynamic processing functions.

In Case of Difficulty

Should you encounter problems with the Unity AM, do not fret! Most problems can be diagnosed with the following Troubleshooting Guide. If you are experiencing problems right out of the box, make sure that the unit was delivered in good condition. Sometimes checking “under the hood” to see if all is OK inside will do the trick.

If that still does not provide you with satisfaction, then we recommend that you contact the Cutting Edge Customer Service Department. From there a suitable plan of action can be assembled!

UNITY TROUBLESHOOTING GUIDE

UNIT DOES NOT “BOOT” (screen is blank) + problem with micro-controller PCB #1

- bad PCB connection

- bad EPROM, U703 on PCB #1

- bad RAM, U704 on PCB #1

- bad CPU (80C188), U701 on PCB #1

- bad UART (82050), U708 on PCB #1

- bad “Watchdog” DS-1232, U705 on PCB #1 + problem with Display PCB

- bad interconnect to motherboard

- bad connection

- bad LCD screen module + power supply +5V is out of 5% supply tolerance

- causing DS-1232 “watchdog” to reset

UNIT LOSES MEMORY

- check UART, U708 on PCB #1

- check RAM, U704 on PCB #1

- check DS-1232, U705 on PCB #1

- verify PS +5V is within 5% of supply voltage

FRONT PANEL BUTTONS DO NOT OPERATE

- loss of any, or all of U9, U11, U12 FRONT PANEL BARGRAGHS DO NOT WORK

- loss of LED +25V supply

+ loss of A/D on PCB #1 (ADC0819)

- sometimes this chip “loses” memory and just needs to be reseated by removing and reinserting + loss of any or all of the following matrix decoding chips + U1, U2, U3, U4, U5, U8, U9, U10, U11, U12

- this may coincide with loss of front panel button operation

FRONT PANEL BARGRAGHS ARE ALL AT FULL SCALE + problem with A/D on PCB #1 (ADC0819)

- sometimes this chip “loses” memory and just needs to be reseated by removing and reinserting

NO OUTPUT SIGNAL

- discrete output amplifier failure on Motherboard

+ clipper/filter failure PCB #8

- this can be confirmed if signal is present at input to PCB #8 + loss of ramp generator signal on PCB #9

- this would cause all AGC sections to shut off + loss of signal through the audio path of system

- check signal from input through each board - #2, #3, #6, #8

DISTORTED OUTPUT + check processor settings

- if “clip” drive levels are too high, distortion will be created

- if limiter mix levels are too high, distortion will be created

- if “Threshold” levels are too low on limiter, dist can happen + failure of distortion control module

- check waveforms on PCB #8

ALL ADJUSTABLE FUNCTIONS ARE ERRATIC

- verify DQ & CLK trace connections on Motherboard

- check PIA’s on PCB #1

- verify that “DQ” & “CLK” are present through the system

- possible shorted DS-1267 that causes failure of DQ or CLK

SPECIFIC ADJUSTABLE FUNCTIONS ARE ERRATIC

- verify DQ & CLK trace connections to specific DS-1267

- check DS-1267 relative to that function

APPENDIX

Unity-AM Remote Software

Improved remote operation of the Unity-AM-AM is made available through the serial communication port. When connected to a host computer, the remote operation of the front panel has been enhanced with new features like remote processing metering, upload/download capabilities, and a dialing directory.

The processing bargraghs are now available to be displayed on the computer in real time. All of the bargraghs that are locally available on the front panel of the Unity- AM, are now displayed on the computer screen. They even have the same appearance on the computer as they do on the front panel.

Second, is the ability to save processing settings to disk . In this manner, backup copies of processing settings can be stored by dowloading, or settings can be easily transferred, by uploading to other processors with relative ease.

Third, a dialing directory has been added for those situations where more than one location needs to be accessed. This is especially useful for multi-stations, group, or network facilities. The dialing directory can accommodate up to twenty locations.

The host software is able to automatically acknowledge either a Unity-AM 2000i FM processor, or a Unity-AM-AM processor. By creating a common host software package, it allows the user to have the ability to communicate with either system. The software has been designed to automatically create only those needed screen options for whichever system is being utilized.

Remote operation can be configured in one of two ways. The “DIRECT” mode, where the computer is connected locally via null modem to the Unity-AM that is on the same premises. This would be the case when the unit is installed in a master control room, and operation is located in another office. “MODEM” mode, where the computer is remotely operating at another location, and the Unity-AM and computer communicate to each other via dialup modem.

Installation, setup, and operation of the upgrade is fairly quick and easy. Just follow the ensuing instructions. Before getting started though, it is wise to verify that the computer to be used, will support the enclosed software. Unity-AM remote software will operate on any DOS supported computer that provides VGA graphics. System requirements are at least 300K of disk space, and at least the same amount of RAM space. Systems operating with less than VGA capabilities, will not be able to support the software.

Software Installation

<Enter> Local F1 Dial F2 Change Port F3 Change Baud F4 Change Number

The software is supplied in both 3 1/2” and 5 1/4” disk formats. For faster operation, it is recommended that the program be installed on a hard disk, although the program will run directly off the floppy disk as well. If installing on a hard disk, create a directory where the program will reside. May we suggest a directory named Unity-AM? If so, use the DOS M ake Directory command to create the directory.

Starting at the computer’s root directory, type MD Unity, then hit the <Enter> key. Now type CD

Unity to change to the new directory. The computer screen should display the following:

C:\Unity

Place the floppy disk in drive A. Select drive A by typing A: then hit <Enter>. The screen should now display the drive A: prompt. Use the DOS WILDCARD COPY command to copy the program files to drive C. To do this, type COPY *.* C: then hit the <Enter> key. The computer should copy the program files and put them into the C:\Unity directory. To verify this, Select the hard drive by typing C: and then <Enter>. The screen should change to C:\Unity on the display. Use the DOS DIR *.* to check the directory. This completes the installation of the software.

Setup

Starting the remote software is easy. For hard disk users, make sure you are in the Unity subdirectory and type Unity, then press the <Enter> key. If starting from a floppy disk, insert the remote software into the desired drive and type Unity, then press <Enter>. The program will begin by displaying a setup screen. The screen should look like this:

Software Version: 4.00 Unity Remote (C) Cutting Edge 1995

Start New Connection

Comm Port : Comm1 Baud Rate : 9600 Unity Location : WCET Phone Number : 555-9825

UNITY REMOTE

Across the top will be a menu bar of setup options that allow the program to be configured. The following describes each option:

<Enter> Local

SELECTION UNITY LOCATION TELEPHONE NUMBER SAVE FILE

4 _______________________________ ____________________________ ______

5 _______________________________ ____________________________ ______

6 _______________________________ ____________________________ ______

7 _______________________________ ____________________________ ______

8 _______________________________ ____________________________ ______

9 _______________________________ ____________________________ ______

10 _______________________________ ____________________________ ______

11 _______________________________ ____________________________ ______

12 _______________________________ ____________________________ ______

13 _______________________________ ____________________________ ______

14 _______________________________ ____________________________ ______

15 _______________________________ ____________________________ ______

16 _______________________________ ____________________________ ______

17 _______________________________ ____________________________ ______

18 _______________________________ ____________________________ ______

19 _______________________________ ____________________________ ______

20 _______________________________ ____________________________ ______

This enables communication with the Unity-AM by direct connection between a computer and the processor by way of a serial cable operating as a null modem. From the setup screen, connection can be established by pressing the <ENTER> key on the computer.

F1 Dial

When connecting via modem, pressing the F1 key will activate the modem and dial the telephone number assigned. When using the modem, the program will update the screen on initializing, dialing, and connection status.

F2 Change Port

By pressing the F2 key, the desired communications port of the computer can be selected. The program provides options to select among Comm 1 to Comm 4. Pressing F2 will automatically toggle between the choices.

F3 Change Baud

The baud rate is selected by pressing the F3 key. This will toggle the available rate between 1200, 2400, 4800, and 9600 baud. Remember that when setting the baud rate for a modem, to never exceed the maximum rate of the modem.

F4 Change Number

When dialing with a modem, the desired number to call is set here. Press F4 ,the dialing directory screen will display. The screen will appear like:

Dialing Directory

1 TRANSMITTER 555-1003 Y 2 MASTER CONTROL 9, 555-8931 N 3 WCET 555-9825 Y

ACTIVE LOCATION HIGHLIGHTED ENTER SELECTION

ADD NEW NUMBER CHANGE NUMBER DELETE NUMBER LOAD NUMBER

Setting up and using the dialing directory is quite simple. Four options are provided to Add New Number, Change Number, Delete Number, and Load Number. The bottom of the diagram indicates these options.

Add New Number

Pressing A will begin the Add New Number process. A field will open up requesting a Unity-AM Location. Type in the location name here, then press <Enter>. This can be the call letters of a radio

station, facility location, etc. The screen will prompt for the Telephone Number. Enter the number that is to be dialed. Type in the complete number. It is acceptable to use hyphens or dashes. Example, when dialing a listed number such as 241-3343, it could be entered as 2413343, or 241-3343.

If dialing out from a PBX system where a local line must be selected, enter the access number followed by a comma, then the number to be dialed. Example, if you must dial 9 to get an outside line, you would enter 9, 241-3343. The comma inserts a pause in the modem string and allows the outside line to be connected before the actual number is dialed. Once the desired number to dialed is entered, press the <Enter> key. The phone number will now be displayed in the Telephone Number field on the dialing directory.

The File Save column on the dialing directory, indicates if the selected location has saved the operational settings. This is shown with a Y or a N in the column. This feature is not accessed from the directory, but from the system once connection is made. Operation of this feature is discussed later. The above diagram lists some locations and numbers as examples.

Change Number

To change an existing number or location, press the C key. The screen will prompt with a message asking for a selection to change. Enter the selection number to modify. Using the above example, if the WCET location needed to be changed, selection 3 would be entered at the prompt. The screen will then prompt with the Unity-AM Location and Telephone Number fields. At each prompt, enter the needed change, when finished press <Enter>.

Delete Number

To delete an existing number or location, press the D key. The screen will prompt with a message asking for a selection to delete. Enter the selection number to remove. Using the above example, if the WCET location needed to be deleted, selection 3 would be entered at the prompt. The screen will then prompt with the message: “Selection 3 to Be Deleted: Press Y/N ”. If Y is pressed, selection 3 will be removed.

Load Number

To load a selection to dial, press L. The screen will ask for a selection number to be entered. Press the desired location number. Notice that on the dialing directory, the selected location is now highlighted. This confirms the selected location is set to dial. If finished with the directory, press the <Enter> key. This will return to the setup screen.

Preparing a Connection

Before accessing the Unity-AM, a few items must be set within the system. First the unit must be set for Serial Communication. If this has not been done, do it now. Remember to set the Unity-AM Serial Comm port to ON as well as setting the DIRECT/MODEM and BAUD RATE options. While these are explained in the Unity-AM manual, a quick “refresher” is provided here!

Before activating the Serial Comm port, two items must first be set, the type of connection either

DIRECT or MODEM, and the BAUD RATE . From the front panel press the button marked OTHER. From the list of sub-menus, use the jog wheel and scroll down until SYSTEM OPTIONS

is highlighted, then press <ENTER>. Another list of sub-menus should appear. Scroll down and select SERIAL COMM. After pressing <ENTER>, the list of serial comm options will now be present. Scroll down to the CONNECTION option and press <ENTER>. The connections options will appear. Use the jog wheel to select either DIRECT or MODEM, then press <ENTER>. The connection type is now set.

Next, select the BAUD RATE from the options menu. Use the jog wheel to select. Note that for 9600 baud modem operation, there are additional options that have been customized to particular modems. These should only be selected for those specific listed models. If your model is not listed, use the generic 9600 baud setting, if you are trying to operate at this speed.

Now the STATUS option can be activated. Scroll to the STATUS field and press <ENTER>. The LCD screen will indicate ON.

Very Important Note: Once the serial comm port has been activated, front panel operation will become very sluggish. This occurs because the on-board computer has now given operational priority to the serial port. Trying to adjust any parameter will cause the unit to react very slowly. If trying to adjust a bargragh, operation will occur once every 30 seconds or so. The only exception to this is when the system is actually connected and communicating with a computer. Then the front panel operates normally. Any adjustment made with the front panel appears on the computer and all computer adjustments appear on the LCD screen, if that field is selected locally on the Unity-AM. It is recommended that when local adjustment is necessary, that the serial comm option be turned OFF first.

Another option that appears on the sub-menu list is DIAGNOSTICS. This is reserved for use when troubleshooting the serial data structures. Activating the diagnostic function will cause the LCD screen to display the transmitted and received data character set. This can be useful in comparing what is sent and received between the computer and Unity-AM for data integrity purposes. Under

most conditions, this function should not be used, and thus be left in the OFF mode.

Establishing Communication

Set the options just described for the remote software. Make sure that the baud rate is set to the same rate as the Unity-AM. If operating in the LOCAL/DIRECT mode, it is recommended to set the baud rate to 9600. This will allow faster response between the Unity-AM and the computer. Note: In order to provide the best meter resolution, it suggested to use the highest possible baud rate. This provides optimum display resolution. Although acceptable metering operation is possible with decent resolution at the 2400 baud rate.

If accessing by a LOCAL/DIRECT connection, you should be able to connect by pressing the <Enter> key on the computer. The computer will ask you for a password. You must enter the appropriate password for whichever level you wish to access. If you are using the default password for security level three, which is 3 2 1, then, you must enter 3 2 1, then <Enter> in order to gain remote access. Upon connection, the computer will display the Leveler screen. If the connection is not made, a beep will be heard from the computer. If unable to connect, check all software settings, and hardware connections/options and try again. If using a modem, press the F1 key. After completing the dialing procedure and connecting, the computer will ask for a password. Once connection has been made, the system will take a moment to update the computer of all remote information and then display the Leveler screen. The Leveler screen should appear as the following:

UNITY-AM

Input Levels: Mix Levels: Left 50% Low 70%

Right 50% Mid 70% Presence 55% Phase Rotator ON High 45% Wide Band AGC ON

Bass Enhance Gate Level: 20% Level: 15%

Crossover Points: (50 - 3000Hz) Low - Mid 200 Hz (600 - 3300Hz) Mid - Presence 1500 Hz (1200 - 7000Hz) Presence- High 5999 Hz

F1 Leveler F2 Limiter F3 Clipping F4 Preset F5 Daypart F6 Other F7 Refresh F8 Metering On <Esc> Quit

IMPORTANT NOTE FOR MODEM USE: When connecting to a modem, some interconnection cables may not work! This is due to the RS-422/RS-485 serial comm pinout on the Unity-AM. Pins #7 and #8 of the serial comm DB-9 connector provide the inverting signals for the RS-422/RS-485

Leveler

protocol. Any serial cable that “connects through” pins #1 and #4, from end to end, probably will not

-9

work with a modem. Any connection to a modem must use ONLY pins #2, #3, and #5 of the serial comm DB-9 connector! Refer to the following diagram for proper connector pinout configuration.

ADDITIONAL NOTE: All units are shipped from the factory setup for use with the RS-232C protocol. Beginning with production units manufactured after April 1995, protocol for the RS422/RS-485 is selectable through a jumper located on the microcontroller board, PCB #1. If you wish to use the RS-422/RS-485 protocol, just move the berg jumper at JP-2 to the other available position on the circuit board.

CONNE CTO R TO UNITY DB

PIN #2

CONNE CTO R TO COM PUTER/M ODEM

PIN #2

PIN #3

PIN #5

RS-232 SERIAL CABLE CONFIGURATION DB-9 T O DB-9

DB-9 CONNE CTO R TO UN ITY

PIN #2

PIN #3

PIN #5

DB-25 CONNE CTO R TO C OM PUTER /M ODEM

RS-232 SERIAL CABLE CONFIGURATION DB-9 T O DB-25

Operation

Basic operation is achieved by using the following keys.

<TAB> Allows movement from one field to another within the screen.

PIN #3

PIN #5

PIN #2

PIN #3

PIN #7

<ENTER> Confirms options selected.

<ESC> Escapes from selected options, and is also used to terminate the remote connection.

<SPACEBAR> and <ARROW KEYS> Used to change parameter values, or select parameter

options.

<F1 - F8, F10> Used to select different menu screens.

Notice at the bottom of the Leveler screen, is another menu bar. Listed are the <F1 - F8, F10>, and <Esc> keys. They list the additional menu options available. Pressing any of the F1 - F8 keys will

display the additional menu screens. Pressing the <Esc> key will terminate the connection and end the Unity-AM remote program. The menu bar will be present at the bottom of all menu screens. At this time try making some adjustments. From the initial connection the Leveler menu screen should be displayed, the Left Input Level should be highlighted. To adjust this parameter, use the Up/Down arrow keys. The screen should respond to adjustments made. Use the <TAB> key to move to another field on the screen. When adjusting an On/Off function, the Up/Down arrow keys will toggle between on and off. Try changing to another menu screen, press the F2 key. The screen should display all of the Limiter parameters. Adjustments are made the same as in the Leveler menu.

The F4 and F5 keys present the Preset and Daypart menus respectively. Selecting and setting these options is done in the same manner as if setting the Unity-AM locally. For these menus, the <ARROW>, <SPACEBAR>, and <ENTER> keys will be used. For most changes, the screen will prompt you on which keys to use. This prompt will appear just above the menu bar.

F4 Presets

Pressing F4 will display the preset menu screen. Use the <ARROW> keys to select the desired preset and press <ENTER>. The selected preset will be displayed just below the menu bar in the field marked Unity-AM PRESET. If adding a preset, select ADD PRESET and press <ENTER>. A small sub-menu will appear just above to menu bar in the lower right hand side of the screen. Type in the name that you want to name the added preset and press <ENTER>. The new name will be added to the list, as well as be displayed in the Unity-AM PRESET field.

F5 Dayparts

Dayparts are added, or changed with the F5 key. When adding a daypart, press <ENTER> after selecting ADD DAYPART. If no dayparts are listed, just press <ENTER> . Follow the prompt of instructions at the top of the menu bar to facilitate the daypart function.

F6 Other

Processing settings can downloaded and uploaded between the Unity-AM and computer using the F6 key. Also, the dialing directory can be wiped clean from this menu. The following diagram lists the three available options:

UNITY-AM

A) Download Unity Settings to Disk B) Upload Settings from Disk to Unity C) Clear All Entries from the Dialing Directory

F1 Leveler F2 Limiter F3 Clipping F4 Preset F5 Daypart F6 Other F7 Refresh F8 Metering On <Esc> Quit

Selecting option A will download all current Unity-AM settings to the computer hard disk. Upon selection, the screen will prompt for a Yes/No selection to confirm the download. When completed, all of the Unity-AM presets, and daypart settings will be stored onto the hard disk. These will be stored in the dialing directory along with the Unity-AM Location and Telephone Number of the listed location. Here is where the Save File column of the dialing directory applies. If the current location was marked N in the Save File column of the dialing directory, it will now be updated to Y upon completion of the download. Each download is automatically saved to the selected location in the dialing directory.

Options

Option B will upload any settings that have previously been saved in the dialing directory, into the Unity-AM. This option will also prompt for conformation. Upon doing so, the computer will then upload all stored settings and overwrite whatever parameters were within the system.

Selecting option C will erase the dialing directory. Any and all Unity-AM Locations, Telephone Numbers, and Saved Files will be erased. As a safety measure the computer will prompt for conformation. Also, for security purposes option C can only occur once communication has been established. Since a password is required before a connection is established, erasing the dialing directory is safeguarded by the communication password!

F7 Refresh

Pressing the F7 key will update the remote settings of the computer and reset the screen.

F8 Meters On/Off

This toggles the processing bargraghs on and off. When on, the meters are displayed on the bottom portion of the screen. The meters are only available to the F1 (Leveler), F2 ( Limiter), and F3 (Clipping) screens since these are the only screens that will cause any affect to the metering displays.

Metering will not be indicated in the F4 (Preset), and F5 (Daypart) screens. When the metering function is disabled, the bottom portion of the screen is replaced with status information.

Note, that when the meters are on, there is a “line quality” indicator in the lower right-hand corner of the screen. This will toggle between an indication of GOOD, POOR, or WAITING. When WAITING appears, it means that the system is synchronizing itself with the computer. During this process, the meters are temporarily frozen, and all keyboard activity is defeated. Once a GOOD condition returns to the screen, all operation is resumed to normal operation.

F10 Freeze Meters

Used as a utility function, pressing F10 will freeze the metering displays at the present indication.

This completes the installation, setup, and operation instructions for the Unity-AM remote software. It is recommended that before full usage in the field, the system be setup and operated in the LOCAL/DIRECT mode. This will give the user the opportunity to experiment and get a feel for the system when both the Unity-AM and computer are located next to each other. This may save embarrassment from making unwanted changes live “on-air”!

PRESET LIST DEFAULT SETTINGS

A/C General Low Mid Presence High

Bass Enhance 20% Crossover Frequencies 250 748 3019 Leveler Mix Levels 70% 70% 60% 65% Gate Level 15%

Limiter Attack Time 70% 60% 40% 60% Limiter Release Time 50% 50% 50% 40% Threshold Levels 55% 50% 40% 75% Limiter Mix Levels 50% 50% 45% 45%

Clipper Drive 35%

AOR/CLASSIC ROCK General Low Mid Presence High

Bass Enhance 25% Crossover Frequencies 250 1002 3019 Leveler Mix Levels 75% 75% 60% 65% Gate Level 15%

Limiter Attack Time 70% 60% 40% 60% Limiter Release Time 55% 60% 60% 40% Threshold Levels 55% 50% 40% 75% Limiter Mix Levels 50% 50% 45% 45%

Clipper Drive 40%

BYPASS General Low Mid Presence High

Bass Enhance 0% Crossover Frequencies 200 1002 3019 Leveler Mix Levels 50% 50% 50% 50% Gate Level 15%

Limiter Attack Time 0% 0% 0% 0% Limiter Release Time 0% 0% 0% 0% Threshold Levels 0% 0% 0% 0% Limiter Mix Levels 50% 50% 50% 50%

Clipper Drive 0%

CHR/MODERN ROCK General Low Mid Presence High

Bass Enhance 45% Crossover Frequencies 200 1002 3019 Leveler Mix Levels 80% 80% 65% 70% Gate Level 15%

Limiter Attack Time 70% 60% 40% 60% Limiter Release Time 75% 65% 75% 40% Threshold Levels 60% 60% 45% 75% Limiter Mix Levels 50% 50% 45% 45%

Clipper Drive 50%

CLASSICAL General Low Mid Presence High

Bass Enhance 0% Crossover Frequencies 200 1002 3019 Leveler Mix Levels 65% 65% 45% 50% Gate Level 15%

Limiter Attack Time 60% 55% 35% 60% Limiter Release Time 20% 20% 20% 20% Threshold Levels 55% 50% 35% 75% Limiter Mix Levels 50% 50% 45% 45%

Clipper Drive 30%

COUNTRY General Low Mid Presence High

Bass Enhance 25% Crossover Frequencies 250 1002 3019 Leveler Mix Levels 75% 75% 50% 60% Gate Level 15%

Limiter Attack Time 70% 60% 40% 60% Limiter Release Time 60% 50% 40% 50% Threshold Levels 55% 50% 40% 75% Limiter Mix Levels 50% 50% 45% 45%

Clipper Drive 40%

JAZZ/NEW AGE General Low Mid Presence High

Bass Enhance 25% Crossover Frequencies 200 1002 3019 Leveler Mix Levels 65% 65% 50% 55% Gate Level 15%

Limiter Attack Time 70% 60% 40% 65% Limiter Release Time 30% 40% 40% 40% Threshold Levels 55% 50% 35% 75% Limiter Mix Levels 50% 50% 45% 45%

Clipper Drive 30%

NEWS TALK General Low Mid Presence High

Bass Enhance 0% Crossover Frequencies 200 1002 3019 Leveler Mix Levels 65% 65% 50% 55% Gate Level 15%

Limiter Attack Time 70% 60% 40% 65% Limiter Release Time 50% 50% 50% 40% Threshold Levels 55% 50% 40% 75% Limiter Mix Levels 50% 50% 45% 45%

Clipper Drive 35%

SPORTS TALK General Low Mid Presence High

Bass Enhance 35% Crossover Frequencies 200 1002 3019 Leveler Mix Levels 70% 70% 55% 60% Gate Level 15%

Limiter Attack Time 70% 60% 40% 65% Limiter Release Time 75% 60% 50% 50% Threshold Levels 55% 50% 40% 75% Limiter Mix Levels 50% 50% 45% 45%

Clipper Drive 40%

Bass Enhance 65% Crossover Frequencies 200 1002 3019 Leveler Mix Levels 80% 70% 50% 60% Gate Level 15%

Limiter Attack Time 70% 60% 40% 60% Limiter Release Time 70% 60% 60% 50% Threshold Levels 60% 50% 35% 75% Limiter Mix Levels 50% 50% 45% 45%

Clipper Drive 40%

URBAN General Low Mid Presence High

BLANK PROCESSING WORKSHEET

ITEM General Low Mid Presence High

Bass Enhance

Crossover Frequencies

Leveler Mix Levels

Gate Level

Limiter Attack Time

Limiter Release Time

Threshold Levels

Limiter Mix Levels

Clipper Drive

ITEM General Low Mid Presence High

Bass Enhance

Crossover Frequencies

Leveler Mix Levels

Gate Level

Limiter Attack Time

Limiter Release Time

Threshold Levels

Limiter Mix Levels

Clipper Drive

ITEM General Low Mid Presence High

Bass Enhance

Crossover Frequencies

Leveler Mix Levels

Gate Level

Limiter Attack Time

Limiter Release Time

Threshold Levels

Limiter Mix Levels

Clipper Drive

Omnia Audio Unity AM Operating Manual

Specifications and Main Features

Frequently Asked Questions

User Manual