Orban OPTIMOD 8685 Operating Manual

Operating Manual

OPTIMOD

8685

Surround Audio Processor

Version 1.0 Software

IMPORTANT NOTE: Refer to the unit’s rear panel for your Model Number.

Model Number: Description:

8685 OPTIMOD 8685 audio processor for digital surround transmission channels.

7.1-channel surround processing and three independent 2.0 processors, all
with loudness meters and CBS Loudness Controllers.

Option 1 3G HD-SDI Input/Output Interface Module
Option 2 3G HD-SDI Input/Output Interface Module with Dolby-E Decoder
Option 3 3G HD-SDI Input/Output Interface Module with Dolby-E Encoder
Option 4 3G HD-SDI Input/Output Interface Module with Dolby-E Decoder and Encoder

MANUAL:

Part Number: Description:

8685 Operating Manual

CAUTION:

NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.

TO REDUCE THE RISK OF ELECTRICAL SHOCK, DO NOT REMOVE COVER (OR BACK).

WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRICAL SHOCK,

DO NOT EXPOSE THIS APPLIANCE TO RAIN OR MOISTURE.

This symbol, wherever it appears, alerts you to

the presence of uninsulated dangerous voltage
inside the enclosure ⎯ voltage that may be

sufficient to constitute a risk of shock.

This symbol, wherever it appears, alerts you to important

operating and maintenance instructions in the accompa-

nying literature. Read the manual.

In accordance to the WEEE (waste electrical and electronic equipment) direc­tive of the European Parliament, this product must not be discarded into the
municipal waste stream in any of the Member States. This product may be
sent back to your Orban dealer at end of life where it will be reused or recycled
at no cost to you.

If this product is discarded into an approved municipal WEEE collection site or
turned over to an approved WEEE recycler at end of life, your Orban dealer
must be notified and supplied with model, serial number and the name and
location of site/facility.

Please contact your Orban dealer for further assistance.

www.orban.com

IMPORTANT SAFETY INSTRUCTIONS

All the safety and operating instructions should be read before the appliance is operated.

Retain Instructions: The safety and operation instructions should be retained for future reference.

Heed Warnings: All warnings on the appliance and in the operating instructions should be adhered to.

Follow Instructions: All operation and user instructions should be followed.

Water and Moisture: The appliance should not be used near water (e.g., near a bathtub, washbowl, kitchen sink, laundry tub, in a wet base-

ment, or near a swimming pool, etc.).

Ventilation: The appliance should be situated so that its location or position does not interfere with its proper ventilation. For example, the appli-

ance should not be situated on a bed, sofa, rug, or similar surface that may block the ventilation openings; or, placed in a built-in installation, such as a
bookcase or cabinet that may impede the flow of air through the ventilation openings.

Heat: The appliance should be situated away from heat sources such as radiators, heat registers, stoves, or other appliances (including amplifiers)

that produce heat.

Power Sources: The appliance should be connected to a power supply only of the type described in the operating instructions or as marked on

the appliance.

Grounding or Polarization: Precautions should be taken so that the grounding or polarization means of an appliance is not defeated.

Power-Cord Protection: Power-supply cords should be routed so that they are not likely to be walked on or pinched by items placed upon or

against them, paying particular attention to cords at plugs, convenience receptacles, and the point where they exit from the appliance.

Cleaning: The appliance should be cleaned only as recommended by the manufacturer.

Non-Use Periods: The power cord of the appliance should be unplugged from the outlet when left unused for a long period of time.

Object and Liquid Entry: Care should be taken so that objects do not fall and liquids are not spilled into the enclosure through openings.

Damage Requiring Service: The appliance should be serviced by qualified service personnel when: The power supply cord or the plug has

been damaged; or Objects have fallen, or liquid has been spilled into the appliance; or The appliance has been exposed to rain; or The appliance
does not appear to operate normally or exhibits a marked change in performance; or The appliance has been dropped, or the enclosure damaged.

Servicing: The user should not attempt to service the appliance beyond that described in the operating instructions. All other servicing should be

referred to qualified service personnel.

The Appliance should be used only with a cart or stand that is recommended by the manufacturer.

Safety Instructions (European)

Notice For U.K. Customers If Your Unit Is Equipped With A Power Cord.

WARNING: THIS APPLIANCE MUST BE EARTHED.

The cores in the mains lead are coloured in accordance with the following code:

GREEN and YELLOW - Earth BLUE - Neutral BROWN - Live

As colours of the cores in the mains lead of this appliance may not correspond with the coloured markings identifying the terminals in your plug, pro­ceed as follows:

The core which is coloured green and yellow must be connected to the terminal in the plug marked with the letter E, or with the earth symbol, or col­oured green, or green and yellow.

The core which is coloured blue must be connected to the terminal marked N or coloured black.

The core which is coloured brown must be connected to the terminal marked L or coloured red.

The power cord is terminated in a CEE7/7 plug (Continental Europe). The green/yellow wire is connected directly to the unit's chassis. If you need to
change the plug and if you are qualified to do so, refer to the table below.

WARNING: If the ground is defeated, certain fault conditions in the unit or in the system to which it is connected can result in full line voltage between
chassis and earth ground. Severe injury or death can then result if the chassis and earth ground are touched simultaneously.

Conductor WIRE COLOR

Normal Alt

L LIVE BROWN BLACK

N NEUTRAL BLUE WHITE

E EARTH GND GREEN-YELLOW GREEN

AC Power Cord Color Coding

Safety Instructions (German)

Gerät nur an der am Leistungsschild vermerkten Spannung und Stromart betreiben.
Sicherungen nur durch solche, gleicher Stromstärke und gleichen Abschaltverhaltens ersetzen. Sicherungen nie überbrücken.
Jedwede Beschädigung des Netzkabels vermeiden. Netzkabel nicht knicken oder quetschen. Beim Abziehen des Netzkabels den
Stecker und nicht das Kabel enfassen. Beschädigte Netzkabel sofort auswechseln.
Gerät und Netzkabel keinen übertriebenen mechanischen Beaspruchungen aussetzen.
Um Berührung gefährlicher elektrischer Spannungen zu vermeiden, darf das Gerät nicht geöffnet werden. Im Fall von Betriebsstörun­gen darf das Gerät nur Von befugten Servicestellen instandgesetzt werden. Im Gerät befinden sich keine, durch den Benutzer
reparierbare Teile.
Zur Vermeidung von elektrischen Schlägen und Feuer ist das Gerät vor Nässe zu schützen. Eindringen von Feuchtigkeit und
Flüssigkeiten in das Gerät vermeiden.
Bei Betriebsstörungen bzw. nach Eindringen von Flüssigkeiten oder anderen Gegenständen, das Gerät sofort vom Netz trennen und
eine qualifizierte Servicestelle kontaktieren.

Safety Instructions (French)

On s'assurera toujours que la tension et la nature du courant utilisé correspondent bien à ceux indiqués sur la plaque de l'appareil.
N'utiliser que des fusibles de même intensité et du même principe de mise hors circuit que les fusibles d'origine. Ne jamais
shunter les fusibles.
Eviter tout ce qui risque d'endommager le câble seceur. On ne devra ni le plier, ni l'aplatir. Lorsqu'on débranche l'appareil,
tirer la fiche et non le câble. Si un câble est endommagé, le remplacer immédiatement.
Ne jamais exposer l'appareil ou le câble ä une contrainte mécanique excessive.
Pour éviter tout contact averc une tension électrique dangereuse, on n'oouvrira jamais l'appareil. En cas de dysfonctionnement,
l'appareil ne peut être réparé que dans un atelier autorisé. Aucun élément de cet appareil ne peut être réparé par l'utilisateur.
Pour éviter les risques de décharge électrique et d'incendie, protéger l'appareil de l'humidité. Eviter toute pénétration
d'humidité ou fr liquide dans l'appareil.
En cas de dysfonctionnement ou si un liquide ou tout autre objet a pénétré dans l'appareil couper aussitôt l'appareil
de son alimentation et s'adresser à un point de service aprésvente autorisé.

Safety Instructions (Spanish)

Hacer funcionar el aparato sólo con la tensión y clase de corriente señaladas en la placa indicadora de características.
Reemplazar los fusibles sólo por otros de la misma intensidad de corriente y sistema de desconexión. No poner nunca los fusibles en
puente.
Proteger el cable de alimentación contra toda clase de daños. No doblar o apretar el cable. Al desenchufar, asir el enchufe y no el
cable. Sustituir inmediatamente cables dañados.
No someter el aparato y el cable de alimentación a esfuerzo mecánico excesivo.
Para evitar el contacto con tensiones eléctricas peligrosas, el aparato no debe abrirse. En caso de producirse fallos de funcionamiento,
debe ser reparado sólo por talleres de servicio autorizados. En el aparato no se encuentra ninguna pieza que pudiera ser reparada por
el usuario.
Para evitar descargas eléctricas e incendios, el aparato debe protegerse contra la humedad, impidiendo que penetren ésta o líquidos
en el mismo.
En caso de producirse fallas de funcionamiento como consecuencia de la penetración de líquidos u otros objetos en el aparato,
hay que desconectarlo inmediatamente de la red y ponerse en contacto con un taller de servicio autorizado.

Safety Instructions (Italian)

Far funzionare l'apparecchio solo con la tensione e il tipo di corrente indicati sulla targa riportante i dati sulle prestazioni.
Sostituire i dispositivi di protezione (valvole, fusibili ecc.) solo con dispositivi aventi lo stesso amperaggio e lo stesso comportamento
di interruzione. Non cavallottare mai i dispositivi di protezione.
Evitare qualsiasi danno al cavo di collegamento alla rete. Non piegare o schiacciare il cavo. Per staccare il cavo, tirare la presa e mai
il cavo. Sostituire subito i cavi danneggiati.
Non esporre l'apparecchio e il cavo ad esagerate sollecitazioni meccaniche.
Per evitare il contatto con le tensioni elettriche pericolose, l'apparecchio non deve venir aperto. In caso di anomalie di funzionamento
l'apparecchio deve venir riparato solo da centri di servizio autorizzati. Nell'apparecchio non si trovano parti che possano essere riparate
dall'utente.
Per evitare scosse elettriche o incendi, l'apparecchio va protetto dall'umidità. Evitare che umidità o liquidi entrino nell'apparecchio.
In caso di anomalie di funzionamento rispettivamente dopo la penetrazione di liquidi o oggetti nell'apparecchio, staccare immediatamente
l'apparecchio dalla rete e contattare un centro di servizio qualificato.

PLEASE READ BEFORE PROCEEDING!

Manual

The Operating Manual contains instructions to verify the proper operation of this unit and initialization of certain options.
You will find these operations are most conveniently performed on the bench before you install the unit in the rack.

Please review the Manual, especially the installation section, before unpacking the unit.

Trial Period Precautions

If your unit has been provided on a trial basis:

You should observe the following precautions to avoid reconditioning charges in case you later wish to return the unit to
your dealer.

(1) Note the packing technique and save all packing materials. It is not wise to ship in other than the factory carton. (Re-

placements cost $35.00).

(2) Avoid scratching the paint or plating. Set the unit on soft, clean surfaces.

(3) Do not cut the grounding pin from the line cord.

(4) Use care and proper tools in removing and tightening screws to avoid burring the heads.

(5) Use the nylon-washered rack screws supplied, if possible, to avoid damaging the panel. Support the unit when tighten-

ing the screws so that the threads do not scrape the paint inside the slotted holes.

Packing

When you pack the unit for shipping:

(1) Tighten all screws on any barrier strip(s) so the screws do not fall out from vibration.
(2) Wrap the unit in its original plastic bag to avoid abrading the paint.
(3) Seal the inner and outer cartons with tape.

If you are returning the unit permanently (for credit), be sure to enclose:

• The Manual(s)

• The Registration/Warranty Card

• The Line Cord

• All Miscellaneous Hardware (including the Rack Screws and Keys)

• The Extender Card (if applicable)

• The Monitor Rolloff Filter(s) (OPTIMOD-AM only)

• The COAX Connecting Cable (OPTIMOD 8685 and OPTIMOD 8685 only)

Your dealer may charge you for any missing items.

If you are returning a unit for repair, do not enclose any of the above items.

Further advice on proper packing and shipping is included in the Manual (see Table of Contents).

Trouble

If you have problems with installation or operation:

(1) Check everything you have done so far against the instructions in the Manual. The information contained therein is

based on our years of experience with OPTIMOD and broadcast stations.

(2) Check the other sections of the Manual (consult the Table of Contents and Index) to see if there might be some sug-

gestions regarding your problem.

(3) After reading the section on Factory Assistance, you may call Orban Customer Service for advice during normal Cali-

fornia business hours. The number is (1) 510/351-3500.

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

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

Perform the installation under static control conditions. Simply walking across a rug can gen­erate a static charge of 20,000 volts. This is the spark or shock you may have felt when
touching a doorknob or some other conductive surface. A much smaller static discharge is
likely to destroy one or more of the CMOS semiconductors employed in OPTIMOD 8685.
Static damage will not be covered under warranty.

There are many common sources of static. Most involve some type of friction between two
dissimilar materials. Some examples are combing your hair, sliding across a seat cover or
rolling a cart across the floor. Since the threshold of human perception for a static discharge
is 3000 volts, you will not even notice many damaging discharges.

Basic damage prevention consists of minimizing generation, discharging any accumulated
static charge on your body or workstation, and preventing that discharge from being sent to or
through an electronic component. You should use a static grounding strap (grounded through
a protective resistor) and a static safe workbench with a conductive surface. This will prevent
any buildup or damaging static.

WARNING

WARNING

IMPORTANT

U.S. patent 5,737,434 protects OPTIMOD 8685.

Orban and Optimod are registered trademarks.
All trademarks are property of their respective companies.

Published April 2011.

© Copyright Orban

8350 East Evans Suite C4, Scottsdale, AZ 85260 USA

Phone: (1) [phone]; Fax: (1) [phone]; E-Mail: [e-mail]; Site: www.orban.com

Operating Manual

OPTIMOD

8685

Surround Audio Processor

Version 1.0 Software

Table of Contents

Index.........................................................................................................................0-9

Section 1 Introduction

.........................................................................................................................................1-1

CRUCIAL INFORMATION—PLEASE READ!.............................................................................1-1

USING THIS MANUAL .......................................................................................................1-2

THE OPTIMOD 8685 DIGITAL AUDIO PROCESSOR..............................................................1-2

Absolute Control of Loudness and Peak Modulation...........................................1-3

Flexible Configuration ............................................................................................1-4

Adaptability through Multiple Audio Processing Structures ...............................1-6

User-Friendly Interface............................................................................................1-7

Controllable .............................................................................................................1-7

PRESETS IN OPTIMOD 8685 ............................................................................................1-8

Factory Processing Presets.......................................................................................1-9

User Processing Presets ...........................................................................................1-9

INPUT/OUTPUT CONFIGURATION ......................................................................................1-10

Digital AES3id Inputs/Outputs ..............................................................................1-10

Analog Outputs .....................................................................................................1-11

Remote Control Interface .....................................................................................1-11

Computer Interface ...............................................................................................1-11

RS-485 Serial Ports .......................................................................................................... 1-12

RS-232 Serial Port ........................................................................................................... 1-12

RJ45 Ethernet Connector ............................................................................................... 1-12

Optional HD-SDI Input/Output.............................................................................1-12

ROUTING AUDIO TO AND FROM THE 8685 ........................................................................1-12

Using Lossy Data Reduction before the 8685’s Input................................................... 1-13

Links from the 8685’s Output to a Transmission Encoder or Transmitter ................... 1-13

Sample Frequency Synchronization .............................................................................. 1-14

Using the 8685 to Control Studio Output Levels.......................................................... 1-15

AV-Sync Delay................................................................................................................. 1-15

USING OPTIMOD 8685 AS A STUDIO LEVEL CONTROLLER .................................................1-16

ABOUT TRANSMISSION LEVELS AND METERING ..................................................................1-16

Meters ....................................................................................................................1-16

Figure 1-1: Absolute Peak Level, VU and PPM Reading ............................................... 1-16

Studio Line-up Levels and Headroom ..................................................................1-17

Transmission Levels................................................................................................1-17

LINE-UP FACILITIES .........................................................................................................1-18

Metering of Levels and Subjective Loudness ......................................................1-18

Test Modes .............................................................................................................1-20

Calibrated Bypass Test Mode......................................................................................... 1-20

Calibrated Line-up Tones............................................................................................... 1-21

SETTING OUTPUT/MODULATION LEVELS............................................................................1-21

STREAMING AND NETCASTING APPLICATIONS.....................................................................1-22

Using OPTIMOD 8685 in Streaming Applications......................................................... 1-22

Loudness ......................................................................................................................... 1-22

Choosing your Encoder.................................................................................................. 1-23

EAS TRANSMISSION .......................................................................................................1-23

PC CONTROL AND SECURITY PASSCODE ............................................................................1-23

WARRANTY, USER FEEDBACK ..........................................................................................1-24

User Feedback........................................................................................................1-24

LIMITED WARRANTY .............................................................................................1-24

INTERNATIONAL WARRANTY...............................................................................1-24

EXTENDED WARRANTY ........................................................................................1-25

Section 2 Installation

.........................................................................................................................................2-1

INSTALLING THE 8685.......................................................................................................2-1

Figure 2-1: AC Line Cord Wire Standard).........................................................................2-2

Figure 2-2: Wiring the 25-pin Remote Interface Connector...........................................2-4

8685 REAR PANEL ...........................................................................................................2-5

Table 2-1: Serial Port Pin Identification ........................................................................... 2-5

INPUT AND OUTPUT CONNECTIONS.....................................................................................2-6

AES3id Digital Inputs and Outputs.........................................................................2-6

HD-SDI Input and Output (optional)......................................................................2-7

Wordclock/AES11id Sync Input ...............................................................................2-7

Analog Audio Output .............................................................................................2-7

Power Ground..........................................................................................................2-8

QUICK SETUP...................................................................................................................2-8

I/O SETUP .....................................................................................................................2-19

Table 2-2: Routing Switcher Sources and Destinations................................................. 2-23

USING CLOCK-BASED AUTOMATION.................................................................................2-38

SECURITY AND PASSCODE PROGRAMMING.........................................................................2-40

To Unlock the Front Panel ....................................................................................2-43

8685 User Interface Behavior during Lockout............................................................... 2-43

Default ADMIN Passcode................................................................................................ 2-43

Security and Orban’s PC Remote Application......................................................2-44

Passcodes and Software Updates .........................................................................2-44

If you have forgotten your “All Access” passcode… ..........................................2-44

ADMINISTERING THE 8685 THROUGH ITS RS-232 SERIAL PORT OR ETHERNET ........................2-45

Connecting via the RS-232 Port Using a Terminal Program on a PC..................2-46

Administrative Operations....................................................................................2-47

Connecting to the 8685’s Ethernet Port or RS-232 Port Using TCP/IP................2-52

Using the API: Example .........................................................................................2-54

Recalling a Processing Preset.......................................................................................... 2-54

REMOTE CONTROL INTERFACE PROGRAMMING ..................................................................2-54

NETWORKING AND REMOTE CONTROL..............................................................................2-56

SYNCHRONIZING OPTIMOD TO A NETWORK TIMESERVER.....................................................2-59

INSTALLING 8685 PC REMOTE CONTROL SOFTWARE ..........................................................2-62

Installing the Necessary Windows Services..........................................................2-62

Check Hardware Requirements ............................................................................2-63

Running the Orban Installer Program..................................................................2-63

Setting Up Ethernet, LAN, and VPN Connections ...............................................2-64

Conclusion..............................................................................................................2-65

APPENDIX: SETTING UP SERIAL COMMUNICATIONS .............................................................2-67

Preparing for Communication through Null Modem Cable ..............................2-67

Connecting Using Windows 2000 Direct Serial Connection:..............................2-67

Connecting Using Windows XP Direct Serial Connection ..................................2-72

Preparing for Communication through Modems ...............................................2-77

Connecting Using Windows 2000 Modem Connection ......................................2-77

Connecting using Windows XP Modem Connection ..........................................2-83

UPDATING YOUR 8685’S SOFTWARE.................................................................................2-88

Section 3 Operation

.........................................................................................................................................3-1

8685 FRONT PANEL .........................................................................................................3-1

INTRODUCTION TO PROCESSING..........................................................................................3-4

Some Audio Processing Concepts.................................................................................... 3-4

Distortion in Processing ................................................................................................... 3-4

Loudness and Distortion .................................................................................................. 3-4

Processing for Low Bit Rate Codecs................................................................................. 3-5

Speech/Music Detector..................................................................................................... 3-6

Sound-for-Picture Applications: Controlling Dynamic Range..............................3-6

Optimod 8685 in Audio-Only Applications: From Bach to Rock..........................3-7

ABOUT THE 8685’S SIGNAL PROCESSING FEATURES ..............................................................3-8

Simultaneous Stereo (2.0) and Surround (5.1 or 7.1) Processing .........................3-8

Signal Flow...............................................................................................................3-9

Input Conditioning........................................................................................................... 3-9

Two-Band Gated AGC ...................................................................................................... 3-9

Equalization....................................................................................................................3-10

Multiband Compressor/Limiter...................................................................................... 3-11

LFE Processing................................................................................................................. 3-13

Low-IM Look-Ahead Limiter .......................................................................................... 3-13

Loudness Control............................................................................................................ 3-14

Input/output Delay......................................................................................................... 3-16

CUSTOMIZING THE 8685’S SOUND ...................................................................................3-16

Basic Modify...........................................................................................................3-17

Intermediate Modify .............................................................................................3-18

Advanced Modify ..................................................................................................3-18

Setting Preset Loudness Correctly for Dolby Digital Transmission ....................3-19

Gain Reduction Metering .....................................................................................3-20

To Create or Save a Preset ....................................................................................3-20

ABOUT THE PROCESSING STRUCTURES ...............................................................................3-21

FACTORY PROGRAMMING PRESETS ...................................................................................3-24

To import a 2.0 preset from the 8685’s front panel: .................................................... 3-25

To import a 2.0 preset from PC Remote:....................................................................... 3-25

Sound-for-Picture Presets......................................................................................3-26

Table 3-1: Factory Programming Presets (Sound-for-picture)...................................... 3-27

Protection and Studio AGC Presets ......................................................................3-30

Table 3-2: Pass-Through, Protection and AGC Presets.................................................. 3-31

Radio-Style Presets ................................................................................................3-32

Table 3-3: Radio-Style Presets ........................................................................................ 3-33

EQUALIZER CONTROLS ....................................................................................................3-36

Table 3-4: Five-Band Equalizer Controls........................................................................ 3-38

AGC CONTROLS ............................................................................................................3-41

Table 3-5: AGC Controls................................................................................................. 3-42

Advanced AGC Controls........................................................................................3-43

AGC Controls Exclusive to 2.0 Processing:..................................................................... 3-45

DISTORTION CONTROL ....................................................................................................3-46

Table 3-6: Distortion Control Adjustments ................................................................... 3-46

THE TWO-BAND STRUCTURE ...........................................................................................3-48

Customizing the Settings ......................................................................................3-49

The Two-Band Structure’s Full and Advanced Setup Controls ...........................3-49

Table 3-7: Two-Band Controls ....................................................................................... 3-50

Advanced Two-Band Controls ..............................................................................3-52

Figure 3-2: Output level in dB (y) for a given input level in dB (x) at various settings of

NEE and RATIO control ............................................................................................ 3-54

the K

THE FIVE-BAND STRUCTURE ............................................................................................3-55

Using the Five-Band Structure ..............................................................................3-55

Customizing the Settings ......................................................................................3-56

The Five-Band Structure’s Full and Advanced Setup Controls............................3-56

Table 3-8: Multiband Controls .......................................................................................3-57

Table 3-9: MB Attack/Release Controls..........................................................................3-58

Table 3-10: MB Band Mix Controls................................................................................. 3-60

Advanced Five-Band Controls...............................................................................3-62

Table 3-11: Test Modes...................................................................................................3-64

TEST MODES .................................................................................................................3-64

USING THE 8685 PC REMOTE CONTROL SOFTWARE ...........................................................3-65

To set up a new connection:.................................................................................3-65

To initiate communication:...................................................................................3-66

To modify a control setting:..................................................................................3-66

To recall a preset:...................................................................................................3-67

To import a preset into the 2.0 processing:.........................................................3-67

To save a user preset you have created: ..............................................................3-68

To back up User Presets, system files, and automation files onto your computer’s

hard drive:..............................................................................................................3-68

Note to Users Familiar with Older Version of PC Remote ............................................3-69

To restore archived presets, Setups, and automation files:................................3-69

To modify the active SETUP: ...................................................................................3-70

To modify AUTOMATION: .........................................................................................3-70

To group multiple 8685s: ......................................................................................3-71

Navigation Using the Keyboard ...........................................................................3-71

To Quit the Program..............................................................................................3-71

About Aliases created by Optimod 8685 PC Remote Software .........................3-71

Multiple Installations of Optimod 8685 PC Remote ...........................................3-72

USING THE 8685 FOR PRODUCTION AND MASTERING .........................................................3-73

APPENDIX A: USING THE ITU BS.1770 AND CBS LOUDNESS METERS TO MEASURE LOUDNESS

CONTROLLER PERFORMANCE ...........................................................................................3-78

Test Setup........................................................................................................................3-78

Results..............................................................................................................................3-79

Figure 3-3: Peak output of meters in each 10-second interval as a function of time .3-79

Figure 3-4: Histogram sorting CBS loudness measurements into 1 dB bins................. 3-81

Histograms ......................................................................................................................3-81

Studies indicating that BS.1770 is inaccurate at very low frequencies ........................3-81

Figure 3-5: Histogram sorting BS.1770 loudness measurements into 1 dB bins .......... 3-82

Conclusions......................................................................................................................3-83

Section 4 Maintenance

.........................................................................................................................................4-1

ROUTINE MAINTENANCE ...................................................................................................4-1

SUBASSEMBLY REMOVAL AND REPLACEMENT.......................................................................4-2

FIELD AUDIT OF PERFORMANCE..........................................................................................4-8

Table 4-1: Decoder Chart for Power Supervisor ............................................................ 4-10

Table 4-2: Layout Diagram of J7, with expected voltages on each pin .......................4-10

Table 4-3: Typical Power Supply Voltages and AC Ripple ............................................4-10

Test Procedure for the Base I/O Module ....................................................................... 4-11

Table 4-4: Frequency Tolerance for Various Sample Rates .......................................... 4-11

Table 4-5: Sample screenshot showing a successful test .............................................. 4-12

Table 4-6: SDI Timing & Jitter Specifications................................................................. 4-15

Section 5 Troubleshooting

.........................................................................................................................................5-1

PROBLEMS AND POTENTIAL SOLUTIONS...............................................................................5-1

Loudness incorrect compared to other Dolby Digital Transmissions............................. 5-1

Loudness Controller reduces transient punch of programming.................................... 5-2

Transient loudness events (like esses in speech) sound obtrusively loud...................... 5-2

Commercials too loud in sound for picture applications ............................................... 5-2

LFE channel is unbalanced with respect to the rest of the audio spectrum ................. 5-3

Dialog is buried by music and/or effects......................................................................... 5-3

Dialog is muffled.............................................................................................................. 5-3

Shrill, harsh sound............................................................................................................ 5-3

Dull sound......................................................................................................................... 5-3

Too much bass when the loudness controller is producing large amounts of GR........ 5-4

RFI, hum, clicks, or buzzes................................................................................................ 5-4

Unexpected gain pumping when processing 5.1 material............................................. 5-4

Poor peak modulation control ........................................................................................ 5-4

Audible distortion ............................................................................................................ 5-4

Audible noise.................................................................................................................... 5-5

System will not pass line-up tones at 100% modulation ............................................... 5-6

System will not pass Emergency Alert System (“EAS” USA Standard) tones at the legally

required modulation level ............................................................................................... 5-6

System Receiving 8685’s digital output will not lock ..................................................... 5-6

System will not lock to video sync at 88.2 or 96 kHz...................................................... 5-6

AES Channel Status Bits will not set the 8685’s 2.0 processing to Stereo or Dual-Mono

mode................................................................................................................................. 5-6

Equipment receiving the 8685’s 2.0 Processing output changes operation mode

unexpectedly. ...................................................................................................................5-6

General dissatisfaction with subjective sound quality ................................................... 5-7

Security passcode lost (when unit is locked out) ............................................................ 5-7

Connection Issues between the 8685 and a PC, Modem, or Network ................5-7

Troubleshooting Connections.................................................................................5-7

You Cannot Access the Internet After Making a Direct or Modem Connection to

the 8685: ..................................................................................................................5-8

OS-SPECIFIC TROUBLESHOOTING ADVICE ............................................................................5-9

Troubleshooting Windows XP Direct Connect: .....................................................5-9

Troubleshooting Windows XP Modem Connect: ................................................5-10

TECHNICAL SUPPORT.......................................................................................................5-10

FACTORY SERVICE...........................................................................................................5-11

SHIPPING INSTRUCTIONS ..................................................................................................5-11

Section 6 Technical Data

.........................................................................................................................................6-1

SPECIFICATIONS................................................................................................................6-1

Performance.............................................................................................................6-1

Installation ...............................................................................................................6-2

CIRCUIT DESCRIPTION........................................................................................................6-6

Overview ..................................................................................................................6-7

Control Circuits ........................................................................................................6-7

User Control Interface and LCD Display Circuits ...................................................6-8

Input Circuits............................................................................................................6-9

Output Circuits.......................................................................................................6-10

DSP Circuit..............................................................................................................6-11

Power Supply .........................................................................................................6-12

HD-SDI Module (optional) ....................................................................................6-13

ABBREVIATIONS .............................................................................................................6-13

PARTS LIST.....................................................................................................................6-15

Obtaining Spare Parts ...........................................................................................6-15

Base Board .............................................................................................................6-16

CPU Module ...........................................................................................................6-17

Serial I/O Board ......................................................................................................6-19

Base Input/Output (I/O) Board (for units without SDI) .......................................6-20

DSP Board...............................................................................................................6-22

Interface Board ......................................................................................................6-24

Headphone Board .................................................................................................6-24

Encoder Board .......................................................................................................6-25

LCD Carrier Board ..................................................................................................6-25

Power Supply Distribution Board.........................................................................6-26

Optional HD-SDI I/O Board ...................................................................................6-27

Optional Serial RS-232 / RS-485 Board for HD-SDI Option .................................6-33

SCHEMATICS AND PARTS LOCATOR DRAWINGS ...................................................................6-34

Function Description Drawing Page

Chassis

Base Board

Circuit Board Locator and basic
interconnections
Glue logic; supports CPU module
and RS-232 daughterboard.

Top view
(not to scale)
Parts Locator
Drawing

Contains:

CPU Module

System Connections Schematic 1 of 4
CPU module interface Schematic 2 of 4
Power Supply Monitor Schematic 3 of 4
CPLD, General Purpose Interface,

Schematic 4 of 4

and Remotes
Control microprocessor. Services
front panel, serial port, Ethernet,

Parts Locator

Drawing
DSP board, and control board. Re­sides on base board.

Contains:

RS-232 Board
(base model)

Ethernet Schematic 1 of 5
General Purpose Bus Schematic 2 of 5
Memory Schematic 3 of 5
Miscellaneous Functions Schematic 4 of 5
Power and Ground Distribution Schematic 5 of 5

Supports Serial Port Parts Locator

Drawing
Schematic 1 of 1

6-37

6-38

6-39
6-40
6-41
6-42

6-43

6-44
6-45
6-46
6-47
6-48
6-49

6-50

Function Description Drawing Page

Dual Power

Supply

Distribution

I/O Board

DSP Board

Front-Panel

Boards

Front-Panel

Interface

Board

SDI I/O Board

(optional)

Power supply supervisor automati­cally chooses good power supply if

Parts Locator
Drawing

6-51

one of the dual supplies fails.
Power Supply Input Control Schematic 1 of 2
Power Supply Failure Detector Schematic 2 of 2
Analog Output
AES3 Input/output

Parts Locator
Drawing

6-52
6-53

6-54

Contains:

Analog Outputs Schematic 1 of 6 6-55
Digital I/O and SRC 1-6 Schematic 2 of 6 6-56
Digital I/O and SRC 7-12 Schematic 3 of 6 6-57
Control and Miscellaneous Schematic 4 of 6 6-58
Interface Schematic 5 of 6 6-59
Power Distribution Schematic 6 of 6 6-60

DSP Chips; Local +3.3V regulator.

Contains:

Parts Locator
Drawing

6-61

DSP Interconnects Schematic 1 of 9 6-62
DSP Extended Serial Audio Inter-

Schematic 2 of 9 6-63
face (ESAI)
DSP Control Interface Schematic 3 of 9 6-64
DSP External Memory Control In-

Schematic 4 of 9 6-65
terface
DSP Power and Ground Schematic 5 of 9 6-66
DSP 86xx 8-bit Control Interface Schematic 6 of 9 6-67
Clock Generation and CPLD Schematic 7 of 9 6-68
86xx Power Distribution Schematic 8 of 9 6-69
External Memory Interface Con-

Schematic 9 of 9 6-70
troller
LCD Carrier Parts Locator

6-71

Drawing
LCD Carrier Schematic 1 of 3 6-72
Headphone and Encoder Board Parts Locator

6-73

Drawings
Headphone Board Schematic 2 of 3 6-74
Encoder Board Schematic 3 of 3 6-75

Front Panel Interface Board Parts Locator

6-76

Drawing

Schematic 1 of 2 6-77
Schematic 2 of 2 6-78
Optional HD-SDI I/O Board Parts Locator

6-79

Drawing 1

Contains: Parts Locator

6-80

Drawing 2
System Interconnect Schematic 1 of 17 6-81
Analog Output Schematic 2 of 17 6-82
Video I/O Schematic 3 of 17 6-83
AES I/O Schematic 4 of 17 6-84
SDI I/O Schematic 5 of 17 6-85
PIC Controller Schematic 6 of 17 6-86

Function Description Drawing Page

HD-SDI Serial

Board

(for HD-SDI

Option)

DSP Block

Diagram

Index

Power Supplies & Interface Schematic 7 of 17 6-87
FPGA Schematic 8 of 17 6-88
DDR SDRAM Schematic 9 of 17 6-89
Clock Oscillators Schematic 10 of 17 6-90
AES and Wordclock Sync Schematic 11 of 17 6-91
GTP Power & Filter Distribution Schematic 12 of 17 6-92
Dolby-E Decoder-Encoder Schematic 13 of 17 6-93
Clock Cleaner Schematic 14 of 17 6-94
Genlock Schematic 15 of 17 6-95
SRC Miscellaneous Signals Schematic 16 of 17 6-86

SRC Power Distribution Schematic 17 of 17 6-97
HD-SDI RS232/RS485 serial inter­face board for HD-SDI option

Parts Locator
Drawing

6-98

Contains:

UART Schematic 1 of 2 6-99
Serial Ports Schematic 2 of 2 6-100
Shows signal processing 6-101

2

2.0 preset

importing 3- · 25

2.0 processing · 12
2B Bass Attack control 3- · 53
2B Master Attack control 3- · 53
2B Release Shape 3- · 51

A

AAC codec 1- · 23
Abbreviations

Table of 6- · 13

AC Line Cord Standard 2- · 2
AC3 metadata

interface 6- · 4

ac3_compre 6- · 3
ac3_dialnorm · 3
ac3_dynrnge 6- · 3

Administering 8585 Through Terminal

Program 2- · 45

Administrative Operations

via terminal program 2- · 47

Adobe pdf 1- · 2
Advanced Modify 3- · 18
AES channel status bits 5- · 6
AES/EBU I/O 2- · 6
AES11id 1- · 7
AES11id 6- · 3
AES3 status bits 2- · 18
AES3id 2 · 5
AES3id I/O 1- · 10
AGC

bass attack control 3- · 44
Bass Coupling control 3- · 43
bass release control 3- · 44
bass threshold control 3- · 44
control list 3- · 41
crossover control 3- · 44
defeating 3- · 41
defeating 3- · 32
drive control 3- · 41
Gate Threshold control 3- · 42

idle gain control 3- · 44
master attack control 3- · 44
master release control 3- · 41
meter 3- · 2
ratio control 3- · 44
setting external mode 2- · 20
window release control 3- · 43
window size control 3- · 43

AGC 1- · 6
AGC 3- · 9
AGC controls table 3- · 42
AGC Matrix 3- · 45
AGC mode 2- · 10
AGC+LC presets 3- · 29
allpass crossover 3- · 45
analog I/O 1- · 11
analog output

Circuit description 6- · 10

analog output 2- · 6, 7
analog television

processing for 2- · 31

API

example 2- · 54
via Telnet/SSH 1- · 8

archiving presets 3- · 68
artifacts

minimizing codec 3- · 5

ASCII commands

and RS232 port 2- · 45

asynchronous resampling 1- · 21
ATSC A/85

and streaming 1- · 22

Attack

Multiband 3- · 62

attack 3- · 44
audio

connections 2- · 6
output 2- · 6
output, connecting 2- · 7

audio I/O 2- · 5
audio routing 1- · 12
auditing performance 4- · 8
automation

capabilities 2- · 40

Automation

Clock-based 2- · 38
modifying from PC 3- · 70

automation 1- · 8
automation 3- · 70
automation event

adding 2- · 39

editing 2- · 40

automation lockout 2- · 41
AV Sync

Video Delay control 2- · 24

AV sync 2- · 19
AV-sync 1- · 15

B

B1<>B2 Crossover 3- · 63
B1>LFE Coupling control 3- · 13
backing up presets 3- · 68
balanced

output, simulates transformer 2- · 7

band coupling 3- · 60
Band Mix

Multiband 3- · 60

bandwidth 2- · 10, 20
Base board

removing 4- · 5
Replacing 4- · 6

Basic Modify 3- · 17
Bass Clip control 3- · 46
bass clipper

I/O transfer curves 3- · 47

Bass Frequency control 3- · 36
Bass Gain control 3- · 36
Bass Slope control 3- · 36
bass threshold 3- · 44
Bass>LFE Couple control 3- · 52
Battery

Replacing 6- · 8

bit depth of internal processing 6- · 1
Block diagram 6- · 101
bookmarks 1- · 2
breakpoint 3- · 53
Breakpoint controls 3- · 63
Brilliance control 3- · 39
BS.1770 1- · 7
BS.1770 meter 3- · 78
Buttons

Enter 3- · 1
Escape 3- · 1

buzz 5- · 4
bypass

PC remote 1- · 23
relay 1- · 12
test mode 1- · 20, 78

bypass 1- · 6
Bypass mode 3- · 64

C

CALM Act 1- · 3
CBS Loudness Level meter 1- · 18
CBS Loudness Meter 3- · 78
center channel processing 3- · 12
channel mode

setting 2- · 34

chassis

getting inside 4 · 2
ground 2- · 8

circuit board locator drawing 6- · 37
Circuit description

Control 6- · 7
LCD display 6- · 8
user Control interface 6- · 8

circuit description 6- · 6
Classical music 3- · 32
cleaning front panel 4- · 1
clipper, bass 3- · 11
clipping 3- · 4
clock

reset to hour 2- · 55
setting via timeserver 2- · 59

Clock

Battery 6- · 8
Setting 2- · 38

clock 1- · 8
Clock-based automation 2- · 38
codec

overshoots in 3- · 77
processing for low bit rate 3- · 5

commercial loudness 5- · 2
Components

Obtaining 6- · 15

compression 3- · 4
compression ratio 3- · 53
Compression Ratio controls 3- · 63
compressor gate 3- · 43
computer

connecting to 2- · 4
interface, specifications 6- · 5
Troubleshooting connections 5- · 7
Windows XP 5- · 9

computer interface

RS-232 2- · 5
serial 2- · 5

computer interface 1- · 11
configuration

input/output 1- · 10

connecting

through Win XP direct serial 2- · 72

connection to PC

troubleshooting 5- · 7

connectors

audio 2- · 6

control

Loudness Attack 3- · 15
Loudness Threshold 3- · 14

Control knob 3- · 2
control table

distortion control 3- · 46

controls

2B Bass Attack 3- · 53
2B Bass Coupling 3- · 52
2B Drive 3- · 49
2B Gate 3- · 51
2B Master Attack 3- · 53
2B Release 3- · 49
2B Release Shape 3- · 51
AGC Bass Attack 3- · 44
AGC Bass Coupling 3- · 43
AGC Crossover 3- · 44
AGC Drive 3- · 41
AGC Gate Threshold 3- · 42
AGC Idle Gain 3- · 44
AGC Limit Drive 3- · 48
AGC Master Attack 3- · 44
AGC Matrix 3- · 45
AGC Max Delta GR 3- · 45
AGC Release 3- · 41
AGC Window Release 3- · 44
AGC Window Size 3- · 43
B1<>B2 Crossover 3- · 63
band mix 3- · 60
Bass Clip 3- · 46
Bass Clip Shape 3- · 47
Bass Threshold 3- · 52
Bass>LFE Couple 3- · 52
breakpoint 3- · 53
Breakpoint 3- · 63
Brilliance 3- · 39
Bx Limiter Attack 3- · 62
Bx<>Bx Coupling 3- · 60
compression ratio 3- · 53
Compression Ratio 3- · 63
Delta Release 3- · 62
Delta Threshold 3- · 46
description 3- · 1
DJ Bass 3- · 39
HF Enhance 3- · 40
knee 3- · 53
Knee 3- · 63
LFE Threshold 3- · 52

LO PASS 3- · 40
Loudness Threshold 3- · 52
Main>Center Max Delta GR 3- · 63
Master Threshold 3- · 52
MAX LPF 2- · 10
Maximum Lowpass Filter 2- · 20
MB Downward Expander 3- · 59
MB Limit Drive 3- · 48
MB Release 3- · 57
Metadata Source 2- · 34
Multiband Attack 3- · 62
Mute 3- · 60
Pass Gain 3- · 22
Pass Switch 3- · 23
Phase Rotator 3- · 41
preemphasis 2- · 29
Surround Optimization 3- · 10
SYNC DELAY 2- · 19
Transient Enhance 3- · 48

copying presets 3- · 69
corrosion 4- · 1
coupling controls 3- · 61
cover

Removing 4- · 2

CPU board

Replacing 4- · 7

CPU module

removing 4- · 4

crossover

allpass 3- · 45
modes 3- · 44

crossover frequency

five-band 3- · 23

D

D/A converter

Circuit description 6- · 10
specification 6- · 5

passcode · 43
default passcode 2- · 43
Defaults

Resetting to 2- · 44

delay

AV-sync 1- · 15
setting 2.0 2- · 29
setting processing 2- · 19

delay 3- · 16
delay 6- · 2
delta release control 3- · 62
diagnostic info

fetching via API 2- · 51

dialnorm

setting value of 2- · 15

Dialnorm

and Loudness Controller 3- · 14
and MB limiter drive 3- · 13
and streaming 1- · 22
conveying via RS-485 · 15
re Loudness Level meter 1- · 19
setting 2- · 14

Dialnorm 1- · 1
Dialnorm 3- · 3, 17, 19
dialog intelligibility 3- · 12
digital I/O 1- · 10
Digital input

Circuit description 6- · 9

Digital output

Circuit description 6- · 11

Display

Removing 4- · 4

Display Interface

Removing 4- · 5
Replacing 4- · 6

distortion

excessive 5- · 7
troubleshooting 5- · 4
vs. loudness 3- · 4

distortion control 3- · 46
dither 2- · 28
DJ Bass control 3- · 39
Dolby Digital 1- · 14
Dolby Digital 2- · 14
Dolby metadata

reauthoring 6- · 3

Dolby-E

module specifications 6- · 3
video delay setting for 2- · 25

Dolby-E 1- · 5
downmix

setting gains 2- · 35

downmix 1- · 5
downward expander 3- · 59
DSP

Block diagram 6- · 101
Circuit description 6- · 11

DSP board

Removing 4- · 2
Replacing 4- · 6

dual-mono 1- · 5
dual-mono 2- · 18
dual-mono 6- · 2

dual-mono mode 2- · 34
dull sound

troubleshooting 5- · 3

E

EAS

modulation low 5- · 6
test tones 1- · 23

easy setup 2- · 8
EBU R 128

and streaming 1- · 22

EBU R 128 1 · 18
Enter button 3- · 1
equalizer

bass shelf 3- · 36
control list 3- · 36
parametric 3- · 37

equalizer 3- · 10
Escape button 3- · 1
Ethernet

connecting via TCP/IP 2- · 52

Ethernet 1- · 12
Ethernet 2- · 5, 64
Exponential Shape 3- · 51
exporting presets 3- · 68
external sync

setting source 2- · 27

band coupling controls 3- · 60
delta release control 3- · 62
downward expander thresold control 3- · 59
full modify control list 3- · 56
limiter attack control 3- · 62
multiband drive control 3- · 56
multiband gate threshold control 3- · 58
mutiband release control 3- · 57
output mix controls 3- · 61

five-band 3- · 55
Five-Band Structure

adjusting 3- · 56

passcode · 44
Forgotten passcode 2- · 44
Frequency control (EQ) 3- · 37
frequency response

specification 6- · 1

Front panel

removing 4- · 3
Replacing 4- · 7
Unlocking 2- · 43

Front Panel

Cannot access 2- · 44

front panel 3- · 1
front panel display 3- · 2
Fuse 2- · 2
fuse 6- · 12

G

F

Factory defaults

Resetting to 2- · 44
Restoring via Terminal Program 2- · 48

factory preset

radio 3- · 32
selecting 2- · 16

factory presets 1- · 9
factory programming presets 3- · 24
factory service 5- · 11
fallback

and silence sense 2- · 37

feedback

user 1- · 24

Final Limit control 3- · 48
Firewall 2- · 57, 64
Firmware

updating 8585 2- · 88

five-band

attack time controls 3- · 62

Gain control (EQ) 3- · 37
gain reduction meter

limiter 3- · 3
multiband 3- · 3

gain reduction meter 3- · 20
gate

threshold control 3- · 58

gate 3- · 43
Gate control 3- · 51
Gate indicators 3- · 3
Gateway

Setting via terminal program 2- · 50

Gateway 2- · 56, 64
GPI

programming 2- · 54
specifications 6- · 5

GPI 1- · 7
GPI interface

testing 4- · 13

grounding

loss of 4- · 1

power 2- · 8

grouping 8585s 3- · 71

H

Hard Clip Shape 3- · 47
hard-wire bypass 1- · 12
HD-SDI

3G 6- · 12
I/O specifications 6- · 3

HD-SDI 1- · 12, 7
HD-SDI VANC 6- · 15, 4
HE-AAC 1- · 23
Headphone

Jack 3- · 1
Level control 3- · 1

Headphone amplifier

Reassembling 4- · 7
Removing 4- · 3

headphone jack 1- · 5
headphones

low-delay monitoring 2- · 28

headroom

in codecs 1- · 21
relationship to EQ 1- · 21

HF Enhance meters 3- · 3
HF enhancer 3- · 10
hiding meters 2 - · 41
High Frequency Enhancer 3- · 40
high frequency limiter 3- · 61
high-pass filter

30 Hz 3- · 9

Highpass Filter 3- · 40
hum 5- · 4
hyperlinks 1- · 2
Hyperterminal 2- · 45

I

importing presets 3- · 69
In meters 3- · 2
input

digital, specifications 6- · 2

Input

routing 2- · 23

input level

line-up 1- · 17

input meter 1- · 18
input routing

default 2- · 8

inputs 2- · 5
inspection of package contents 2- · 1
installation procedure 2- · 1
intelligibility

dialog 3- · 12

Interface type

Changing via terminal program 2- · 51

Intermediate Modify 3- · 18
Internet

Cannot access 5- · 8

Internet timeservers

syncing to 2- · 59

IP address

changing via Terminal Program 2- · 49
Entering into 8585 2- · 56
terminal connection via Ethernet 2- · 53
terminal connection via RS-232 · 53

J

J.17

and 8585 digital I/O 1- · 10
defined 1- · 10
preemphasis applied to digital audio output

6- · 3

Jazz format 3- · 34
Jones & Torick 1- · 19
Joystick 3- · 1

I/O

AES/EBU 2- · 6
connections 2- · 3

I/O assembly

Removing 4- · 2

I/O board

Replacing 4- · 6

I/O routing

default 2- · 8

idle gain 3- · 44
importing 2.0 preset 3- · 25

K

Knee control 3- · 53, 63
knee.ratio curves 3- · 54

L

latency 3- · 16
LCD display

Reassembling 4- · 7

LCD display 6- · 9
Less-More control 3- · 24
level

line-up 2- · 25
metering 1- · 17
setting 2.0 reference 2- · 27
setting surround 2- · 33
setup 2- · 11
transmission 1- · 17

level controller 1- · 16
LFE processing 3- · 13
LFE Threshold control 3- · 52
limiter

attack 3- · 62

limiter gain reduction meters 3- · 3
limiting

look-ahead 3- · 4, 13

limiting 3- · 4
Line voltage 2- · 2
Linear Shape 3- · 51
line-up level 2- · 25
line-up tone 1- · 8
line-up tones

system will not pass at 100% modulation 5- ·

6

line-up tones 1- · 21
link to TX 1- · 13
Lo Pass control 3- · 40
locate joystick 3- · 1
location 1- · 12
lock

driven equipment cannot lock to 8585 output

5- · 6

Locked out 2- · 44
lockout

Front panel 2- · 43
UI behavior during 2- · 43

look-ahead limiter 3- · 13
look-ahead limiting 3- · 4
lossy data reduction

in studio 1- · 13

loudness

adjusting presets for correct 3- · 19
and presets 2- · 17
insufficient 5- · 7
insufficient due to poor peak control 5- · 4
setting 1- · 1
vs. distortion 3- · 4

Loudness

increase expected 1- · 22

Loudness Attack control 3- · 15
loudness control 1- · 6
Loudness Controller

adjusting 3- · 15
and presets 2- · 17
impact vs. control tradeoff 3- · 15
threshold control 3- · 52

Loudness Controller 3- · 14
Loudness Controller 5- · 2
Loudness GR meter 3- · 3
Loudness Level meter 1- · 18
Loudness Level meter 2- · 14
Loudness Level meter 3- · 3, 19
Loudness meter

comparing CBS and BS.1770 3- · 78

Loudness Threshold control

setting 3- · 19

Loudness Threshold control 3- · 14, 52

M

Main board

Reattaching 4 · 6

Main>Center Max Delta GR 3- · 12, 55, 63
manual

using 1- · 1

mastering

presets for 3- · 31
setting output level 3- · 77

Mastering

using 8685 in 3- · 73

mastering applications 3- · 73
mastering presets 3- · 74
Matrix

AGC 3- · 45

Max Delta GR

AGC 3- · 45

MB Attack/Release table 3- · 58
MB Limit Drive control

etting 3- · 19

measuring performance 4- · 8
metadata

conveying via RS-485 · 15
I/O 2- · 5
reauthoring 6- · 3
serial I/O 1- · 12

metadata 1- · 5
metadata 2- · 14
Metadata Source control 2- · 34
meter

AGC GR 3- · 2
circuit description 6- · 8
gain reduction 3- · 3, 20
HF Enhance 3- · 3
input 1- · 18
input 3- · 2
limiter GR 3- · 3
loudness 1- · 18
loudness 2- · 14
loudness GR 3- · 3
Loudness Level 3- · 3
output 1- · 18
output 3- · 3
studio 1- · 16

Mode>Out 2- · 18
modem

preparing for connection 2- · 77
recommended baud rate 2- · 78
specification for 2- · 63
Windows 2000 configuration 2- · 77
Windows XP configuration 2- · 83

Modem

Setting up 2- · 58

Modem init string

changing from front panel 2- · 58
Changing via terminal program 2- · 51

modulation

switching 1- · 21

modulation control

troubleshooting poor 5- · 4

mono

2.0 processing mode 1- · 5

MP3 1- · 23
Multiband

gain reduction meters 3- · 3

Multiband Band Mix 3- · 60
Multiband Control table 3- · 57
Multiband Drive 3- · 56
music/speech detector 3- · 6
Mute controls 3- · 60
mutliband compressor

surround 3- · 11

troubleshooting 5- · 5

null modem cable

communicating through 2- · 67

null modem cable 2- · 63

O

OPTIMOD-8585 1- · 2
Out meters 3- · 3
output

2.0 source 2- · 28
analog output level trim adjustment 4- · 10
analog, connecting 2- · 7
analog, specifications 6- · 5
digital, setting dither 2- · 28
digital, setting sample rate 2- · 28
digital, setting word length · 28
digital, specifications 6- · 3
headphone monitoring, setup 2- · 28
setting 2.0 delay 2- · 29
setting 2.0 level 2- · 30, 31
setting surround config. 2- · 33
setting surround level 2- · 33

Output

routing 2- · 23

output configuration

I/O setup 2- · 27

output format 2- · 28
output level

quick setup 2- · 13
setting 2- · 14

output meter 1- · 18
output mix controls 3- · 61
output routing

default 2- · 8

output routing 2- · 11
outputs

analog 2- · 6

outputs 2 - · 5
overshoot

excessive 5- · 4

N

netcasting applications

encoder 1- · 23

netcasting applications 1- · 22
networking 2- · 56
noise

specification 6- · 1

P

parametric equalizer 3- · 10
Parts

Obtaining 6- · 15

Parts list

Base board 6- · 16
CPU module 6- · 17

DSP board 6- · 22
Encoder board 6- · 25
Headphone board 6- · 24
I/O board 6- · 20
Interface board 6- · 24
LCD carrier board 6- · 25
Power supply 6- · 26
RS-232 board 6- · 19

Parts list 6- · 15
Pass Gain control 3- · 22
Pass Switch control 3- · 23
passcode

and software updates 2- · 44
create new 2- · 42
delete 2- · 42
edit 2- · 42
programming 2- · 40

Pass-Through 3- · 22
Pass-Through preset 3- · 31
PC

Orban installer program 2- · 63

PC board locator diagram 6- · 37
PC control

security 1- · 23

PC hardware requirements 2- · 63
PC Remote

aliases 3- · 71
moving alias folders 3- · 72
multiple coexisting versions 3- · 72
upgrading versions 3- · 72

PC Remote software

installing 2- · 62

PC Remote software 1- · 7
PC Remote Software 3- · 65
pdf 1- · 1
Penteo

I/O routing 2- · 23
routing for 2- · 23
using with HD-SDI I/O 2- · 24

Penteo upmixer 1- · 4
performance

measuring 4- · 8

phase rotator 3- · 9, 41
phase-linear 1- · 6
phase-linear crossover 3- · 48
Plink 2- · 53
Plink 2 - · 54
Pop-up menu 3- · 2
port

set for TCP/IP 2- · 57

Port

Terminal 2- · 52

Port #

Setting via terminal program 2- · 50

Ports 2- · 64
power

cord 2- · 2, 5

Power 2- · 2
power supply

dual 1- · 6
Orban part # 6- · 12

Power supply

Circuit description 6- · 12
Parts list 6- · 26
Pin identifier 4- · 10
Removing 4- · 5
Testing 4- · 9

Power supply board

reattaching 4 · 6

PPP

and RS232 port 2- · 45

PreCode 1- · 7
Precode 3- · 5
preemphasis

J.17 2- · 25

preemphasis control 2- · 29
preemphasis processing 2- · 31
preset

AGC 3- · 30
AGC+Flat Limiter · 30
backup 3- · 68
converting to pass-through 3- · 23
copying between 8585s 3- · 69
customizing 3- · 23, 16
Edge 3- · 33
exporting 3- · 68
factory 1- · 9
factory programming 3- · 24
five-band 3- · 23
Gold 3- · 33
Gregg 3- · 34
Impact 3- · 34
importing from PC 3- · 69
importing to 2.0 processing 3- · 67
Jazz 3- · 34
Look-Ahead Limiter 3- · 30
loudness of 2- · 17
oldies 3- · 33
Pass-Through 3- · 31
processing 1- · 8
Protect 3- · 31
protection 3- · 30
radio 3- · 32
radio News-Talk 3- · 34

radio-style 3- · 33
recalling from front panel 1- · 8
recalling from PC 3- · 67
recalling via GPI 2- · 55
Recalling via terminal program 2- · 47
restoring archived 3- · 69
Rock 3- · 35
saving user 3- · 20
Smooth Jazz 3- · 35
Soft-Knee 3- · 31
sound-for-picture 3- · 26, 27
Sports (Radio) 3- · 34
TV 2B Drama 3- · 28
TV 2B Gen Purp NO LC 3- · 28
TV 2B Gen Purpose 3- · 27
TV 5B Drama 3- · 28
TV 5B Drama Coupled 3- · 29
TV 5B GEN PUR W/NR 3- · 28
TV 5B Gen Purp NO LC 3- · 28
TV 5B Gen Purpose 3- · 28
TV 5B News 3- · 29
TV 5B Optical Film 3- · 29
TV 5B Sports 3- · 29
two-band 3- · 23
user presets 1- · 9
WMA Music 3- · 35
WMA News-Talk 3- · 35

presets

wideband control only 3- · 29

processing

2.0 1- · 10

2.0 3- · 12
AGC 3- · 9
center channel 3- · 12
distortion in 3- · 4
equalization 3- · 10
introduction to 3- · 4
LFE 3- · 13
multiband compression 3- · 11
music/speech 3- · 6
radio-style 3 · 7
signal flow 3- · 8
simultaneous stereo & surround 3- · 8
structures 1- · 6
structures 3- · 21
video oriented 3- · 6

Processing

block diagram 6- · 101

Processing Mode control 1- · 10
processing structures

two-band 3- · 27

processing structures 2- · 6
Production

using 8685 in 3- · 73

Proof of Performance 1- · 8
Proof of Performance 3- · 64
protection presets 3- · 31
PuTTY 2- · 53
PuTTY 2 - · 54

Q

quick setup 2- · 8

R

rack-mounting unit 2- · 3
radio · 34
radio news format 3- · 34
radio sports format 3- · 34
radio-style presets 3- · 33
ratio

AGC 3- · 44
compression 3- · 53
control 3- · 10

Rdd06-2008 2- · 15
rear panel 2- · 5
Recalling preset

via terminal program 2- · 47

recalling presets

via scripting 2- · 54

Recalling setup

via terminal program 2- · 48

reference input

audio 6- · 3
video 6- · 4

reference level 2- · 27
registration card 2- · 1
remote control

connecting 2- · 3
GPI, specifications 6- · 5
PC Remote software 3- · 65
programming GPI 2- · 54
via GPI 1- · 7
wiring 2- · 4

remote control 2- · 5
remote interface

GPI 1- · 11
testing 4- · 13
wiring 2- · 4

remote interface connector 2- · 5
Remote software

installing 2- · 62

Resetting 8585 2- · 44
resolution

specification 6- · 1

RFI 5- · 4
Rock format 3- · 35
Rotary encoder

Removing 4- · 4

Rotary Encoder

Reassembling 4- · 7

routine maintenance 4- · 1
routing

default 2- · 8
input 2- · 21
output 2- · 21

routing audio 1- · 12
Routing switcher

sources & destinations 2- · 23

routing switcher 2- · 8
RS232

testing 4- · 13

RS232 board

Replacing 4- · 7

RS-232 connector 2- · 5
RS-232 interface

Circuit description 6- · 8
removing board 4- · 4

RS232 port

configuring 2- · 46

RS-232 port

connecting via TCP/IP 2- · 52

RS232 Serial Port 2- · 45
RS-485

functionality 2- · 15

RS-485 ports 2- · 5
Rumble Filter 3- · 40

S

sample frequency

processing 1- · 14

sample rate

8585 internal 3- · 9
at digital output 6- · 3
internal, specification 6- · 1
setting output 2- · 12, 13

Sample rate

synchronization 1- · 15

sample rate converter

testing 4- · 11, 12, 13, 14

sample rate converter 1- · 14

saving Setups 3- · 20
saving user presets 3- · 20
Schematics

Table of contents 6- · 34

Screen display 3- · 2
screens

System Setup 2- · 8

scripting 2- · 54
SDI

I/O specifications 6- · 3

SDI 6- · 12
SDI Video Delay 2- · 25
searching 1- · 2
security

PC Remote 2- · 44
view meters 2- · 41

security 1- · 23
security 2- · 40
Serial Communications

setting up 2- · 67

Serial connection

Setting up direct 2- · 57

serial connector 2- · 5
serial port

configuring RS232 2- · 46
connecting via TCP/IP 2- · 52
loading correct driver 2- · 45
pin identification 2- · 5

serial port 1- · 12
serial ports

RS-485 2- · 5

service 5- · 11
setting clock

via timeserver 2- · 59

setup

I/O 2- · 19
modifying from PC 3- · 70
quick 2- · 8
recalling via GPI 2- · 55
Recalling via terminal program 2- · 48

setup wizard 2- · 8
Setups

saving 3- · 20

setups 1- · 8
shelving equalizer

bass, slope of 3- · 10

shipping instructions 5- · 11
shrill sound

troubleshooting 5- · 3

signal flow 3- · 9
Signal flow diagram 6- · 101

silence alarm 1- · 8
Silence sense 2- · 37
silence threshold 2- · 37
Sinewave generator 3- · 64
Smooth Jazz 3- · 35
SMPTE 2020 6- · 15, 4
SMPTE 2020-2-2008 6- · 34, 4
SMPTE 259M 1- · 12
SMPTE 259M 6- · 4
SMPTE 274M 1- · 15
SMPTE 274M 6- · 6, 27, 15, 4
SMPTE 292M 6- · 12
SMPTE 296M 6- · 4
SMPTE 424M 6- · 12
SMPTE RDD 06-2008 6- · 4
SMPTE Rdd06-2008 6- · 3
soft-knee presets 3- · 31
Software

updating 8585 2- · 88

software updates

and passcodes 2- · 44

software updates 1- · 8
Solo 3- · 60
sound-for-picture

preset descriptions 3- · 28
processing 3- · 6

spare parts

obtaining 6- · 15

specifications 6- · 1
speech/music detector 3- · 6
station ID

setting 2- · 18

status bits

AES3 2- · 18
setting AES3id 2- · 36

stereo

control by status bits 2- · 18

stereo mode 2- · 34
STL

compatibility with 32 kHz sample rate 2- · 6
overshoot in uncomressed digital 2- · 6

STL systems 1- · 15
Streaming

using Dialnorm in 1- · 22

streaming media 1- · 22
structure

five-band 3- · 23
two-band 3- · 23

structures

switching between 3- · 22
switching between 3- · 22

studio AGC 1- · 16
subassembly removal & replacement 4- · 2
subframe delay 1- · 15
Subnet

Crossing 2- · 57
Mask 2- · 56

Subnet Mask

Setting via Terminal Program 2- · 49

surround

auto-fallback 2- · 37

surround input

ref level, I/O setup 2- · 25

Surround Input Mix control 2- · 35
Surround Optimization control 3- · 10, 11
Switches

Voltage select 2- · 2

sync

SDI 2- · 27
setting source 2- · 27
video 1- · 5, 15
video 2- · 27
video 6- · 4

sync delay 2- · 19
sync input

audio 1- · 5

Sync input

audio 6- · 5

sync input 1- · 14
System clock

Setting 2- · 38

system setup

quick setup 2- · 8

System Setup screen 2- · 8

T

tally outputs

programming 2- · 37
Silence sense threshold 2- · 37

tally outputs 1- · 8
tally outputs 2- · 3
Tally Outputs 6- · 5
TCP/IP

connecting to serial or Ethernet 2- · 52

technical support 5- · 10
telephone support 5- · 10
Telnet 2- · 53
Telnet/SSH 1- · 8
Terminal Port 2- · 52
terminal port #

Changing via terminal program 2- · 51
setting 2- · 53

terminal program

connecting to RS232 2- · 46

test modes 3- · 64
Test Modes table 3- · 64
test tone

frequencies 2- · 28
frequencies vs sample rate 2- · 28
mapping 2- · 32

Threshold

Bass Delta 3- · 46
Master Delta 3- · 46

Time & date 2- · 9
timeservers

syncing to 2- · 59

Tone generator 3- · 64
Transient Enhance 3- · 48
troubleshooting

installation 5- · 1

TVA presets 2- · 31
two-band

bass attack control 3- · 53
bass coupling control 3- · 52
bass threshold control 3- · 52
drive control 3- · 49
full modify controls 3- · 49
gate control 3- · 51
master attack control 3- · 53
master compression threshold 3- · 52
release control 3- · 49

Two-Band Controls table 3- · 50
two-band structure 3- · 27, 48

U

Unbalanced output

wiring for 2- · 8

Unlocking 8585

via Terminal Program 2- · 49

Unlocking 8585 2- · 43, 44
unpacking 2- · 1
updating software

and passcodes 2- · 44

updating software 2- · 88
user feedback 1- · 24
user presets

archiving 3- · 21
creating 3- · 17, 20
saving from PC Remote 3- · 68

user presets 1- · 9

V

VANC 1- · 5
VANC 6- · 15, 4
Video Delay

setting control 2- · 24

video delay 1- · 15
video delay 6- · 4
video reference input 6- · 34, 4
video sync 1- · 15
video sync 2- · 27
video sync 6- · 4
view meters 2- · 41
Voltage select switch 2- · 2
VPN 2- · 57
VPN, setting up 2- · 64

W

warranty

extended 1- · 25

warranty 1- · 24
warranty 6- · 6
wideband control 3- · 29
Width control (EQ) 3- · 37
window

release control 3- · 43
window size control 3- · 43

Windows

installing services 2- · 62

Windows 2000

adding direct serial connection 2- · 68, 72,

78, 84
direct serial connection 2- · 67
modem connection 2- · 77

Windows Media codec 3- · 35
Windows XP

direct connect 5- · 9
modem configuration 2- · 83
modem connect 5- · 10

wizard

quick setup 2- · 8

women

processing for 3- · 5

word length

at output, specification 6- · 3
setting output 2- · 28

wordclock 1- · 5, 7
wordclock 2- · 7, 27
wordclock 6- · 3

X

XLR connector

wiring standard 2- · 8

OPTIMOD SURROUND PROCESSOR INTRODUCTION

Section 1

Introduction

Crucial Information—Please Read!

To make automatic loudness control as straightforward and dependable as possible,
the 8685 operates somewhat differently from other Optimods.

• Dialnorm: The 8685 works very easily with Dolby Digital® transmission systems

if you do one crucial thing: You must tell the 8685 what value of Dolby Digital
Dialnorm metadata you are transmitting to your audience. This will prevent your
transmission from being too loud or quiet compared to other correctly set up
Dolby Digital transmissions.

1-1

• The 8685’s Quick Setup

ting Dialnorm on the 8685. Step 10 on page 2-14 explains how the 8685 uses its
knowledge of transmitted Dialnorm to control loudness.

• Your Dolby Digital transmission’s loudness will automatically be correct if:

• you use a “TV” factory preset (Table 3-1 on page 3-27),

• you

• you

• Setting Output Loudness: To set the 8685’s output loudness, adjust its

D

preset. Both methods cause 8685’s O

have adjusted the 8685’s input reference level so that the processing op­erates with normal amounts of gain reduction (step 7 on page 2-11 or step 7
on page 2-25), and

have adjusted the 8685’s Dialnorm to match the Dialnorm you are trans­mitting (step 10 on page 2-14 or step 13 on page 2-34).

The 8685’s DIALNORM value can be set in two places: There is a global set­ting in the active Setup, which can be overridden by a setting in the ac­tive processing preset. Except for the 2.0 parameters in the analog TV
presets, all factory processing presets are configured to use the global
Dialnorm setting specified in the active Setup.

You can use the 8685’s RS-485 serial ports (serial ports #2 and #3 on the
back panel) to convey D
Conveying Metadata on page 2-15.

IALNORM value or adjust the MB LIMITER DRIVE control in the active processing

wizard (page 2- 8) leads you through the process of set-

IALNORM to the Dolby-Encoder automatically. See

UTPUT LEVEL meter indication to change.

1-2

INTRODUCTION ORBAN MODEL 8685

• Adjusting D

on the 8685’s CBS Loudness Level meter or the amount of gain reduction in
the loudness controller. The peak limiter’s gain reduction will change. This is
the preferred method if the 8685’s loudness controller is active because it has
the smallest effect on the sonic texture of the 8685’s audio processing.

IALNORM changes output loudness without changing the indication

• Adjusting MB

the amount of gain reduction in the loudness controller and peak limiter.

The 8685’s output level controls (called SURROUND OUTPUT 100% and 2.0
OUTPUT 100% for the surround and 2.0 processing chains respectively) do
not change output loudness. Their only purpose is to set the 8685’s
maximum peak output level with respect to 0 dBfs, which allows you to
compensate for transmission channels that introduce peak overshoots.
For example, if you lower an O
the 8685 automatically reduces the gain following its peak limiter by
2 dB and simultaneously increases the drive into the peak limiter by 2 dB.
Hence, the average output level does not change but the maximum peak
output level is constrained to –2 dBfs. This unconventional arrangement
results from the 8685’s handling of Dialnorm—if you have set D
correctly on the 8685, you can change the 8685’s output level control
freely without causing your on-air loudness to be incorrect with respect
to other transmissions.

If you are processing for a Dolby Digital distribution channel and wish to
customize a factory preset, see Setting Preset Loudness Correctly for
Dolby Digital Transmission on page 3-19.

LIMITER DRIVE changes the Loudness Level meter’s indication and

UTPUT 100% control from 0 dBfs to –2 dBfs,

IALNORM

Using This Manual

The Adobe pdf eBook form of this manual contains numerous hyperlinks and book­marks. A reference to a numbered step or a page number (except in the Index) is a
live hyperlink; click on it to go immediately to that reference.

If the bookmarks are not visible, click the “Bookmarks” tab on the left
side of the Acrobat Reader window.

This manual has a table of contents and index. To search for a specific word or
phrase, you can also use the Adobe Acrobat Reader’s text search function.

The OPTIMOD 8685 Digital Audio Processor

Orban’s all-digital Optimod-Surround 8685 Audio Processor can help you achieve the
highest possible quality digital audio broadcast, digital television, and netcast audio
processing using up to 7.1 audio channels. Thanks to versatile compression ratio con­trols and a mastering-quality look-ahead peak limiter, the 8685 is also ideal for mas­tering chores.

The 8685 is Orban’s second-generation surround/2.0 processor. In addition to the ef­fective automatic loudness control and automatic mix correction of its predecessor

OPTIMOD SURROUND PROCESSOR INTRODUCTION

(the 8585), the 8685 offers new input/output capabilities that include support for
SDI and HD-SDI and for Dolby-E. Dual redundant power supplies help ensure maxi­mum uptime. In addition to surround processing, the 8685 can simultaneously pro­vide up to four channels of 2.0 processing, allowing it to provide all the audio proc­essing necessary for a typical ATSC broadcast with multiple subchannels. Like the
8585, the 8685 is dialnorm-aware. Loudness control is excellent when measured by
the ITU BS.1770 standard (as specified in ATSC A/85:2009) or by the 8685’s built-in
CBS Loudness Meters. When properly installed and set up, the 8685 will automati­cally make a station compliant with the CALM Act.

OPTIMOD 8685 is descended from the industry-standard OPTIMOD audio processors
for radio and television. Thousands of these broadcast-specific processors are at­tracting and holding audiences all over the world. They have proven that the
“OPTIMOD sound” can attract and keep an audience even in the most competitive
commercial environment.

Take a little time now to familiarize yourself with OPTIMOD 8685. A small invest­ment of your time now will yield large dividends in audio quality.

The rest of Chapter 1 explains how OPTIMOD 8685 fits into the DAB and DTV broad­cast facilities and how to use it for netcasting. Chapter 2 explains how to install it.
Chapter 3 explains how to operate OPTIMOD 8685. Chapters 4 through 6 provide
reference information.

1-3

OPTIMOD 8685 was designed to deliver a high quality sound while simultaneously
increasing the average modulation of the channel substantially beyond that achiev­able by “recording studio”-style compressors and limiters. Because such processing
can exaggerate flaws in the source material, it is very important that the source
audio be as clean as possible.

For best results, feed OPTIMOD 8685 unprocessed audio. No other audio proc­essing is necessary or desirable.

Absolute Control of Loudness and Peak Modulation

• The 8685 includes third-generation CBS Loudness Controllers™ for DTV appli-

cations. Separate loudness controllers are available in the multichannel and 2.0
processing chains and work with the both Two-Band and Five-Band structures.
The third-generation improvements reduce annoyance more than simple loud­ness control alone, doing so without audible gain pumping. Attack time is fast
enough to prevent audible loudness overshoots, so the control is smooth and
unobtrusive. Loudness control is excellent when measured by the 8685’s built-in
ITU BS.1770 and second-generation (Jones & Torick) CBS Loudness Meters, allow­ing stations to comply automatically with the requirements of the CALM act.
(See Using the ITU BS.1770 and CBS Loudness Meters to Measure Loudness Con-
troller Performance starting on page 3-78.)

• The 8685 pr

maximum level of the digital samples is controlled to better than 2%.

ecisely controls peak levels to prevent digital clipping. The

1-4

INTRODUCTION ORBAN MODEL 8685

• While primarily oriented toward “flat” media, the 8685’s four 2.0 channel

processors can also provide preemphasis limiting for the two standard pre­emphasis curves of 50μs and 75μs. This allows it to protect pre-emphasized ana­log microwave links, satellite uplinks and similar channels where protection lim­iting or light processing is required. It also allows using a 2.0 processor to process
for analog television transmissions, which use either 50μs and 75μs preem­phasis depending on country.

Note that the 8685’s 2.0 channel processing cannot provide simultaneous,
independent audio processing for flat and preemphasized channels. Even
though one output may be pre-emphasized while other is flat, the only
difference between the outputs is that the “flat” output has de-emphasis
applied to it after the processing while the preemphasized output does
not.

Flexible Configuration

• Five processors in one: A gain-coupled multichannel processor for up to 7.1

channels, plus four additional, independent 2.0 channel processors (each of

whose performance is equivalent to an OPTIMOD 6300) that can be used for
many tasks such as processing the audio for a second language or for processing
up to four ATSC subchannels. Because its output can be mixed into the LF and RF
outputs of the multichannel processing, the first 2.0 channel processor can also
be used to process an independent feed (like the output of a sports truck,
news truck, or newsroom) before it is mixed with the station’s main multichan­nel audio path.

• The multichannel and 2.0 processors can operate with separate audio proc-

essing parameters like release times. For example, the 2.0 processors could be

set up for relatively heavy processing to make a newsroom feed more consistent,
while the main processing was set up more conservatively to correct network
material and commercials unobtrusively.

• The base 8685 configuration includes five AESid digital inputs and six AES3id

outputs, all transformer-coupled. These inputs and outputs appear on BNC

connectors and have 75Ω impedance. The digital inputs and digital outputs have
sample-rate converters and can operate at 32 kHz, 44.1 kHz, 48, 88.2, and 96 kHz
sample rates.

• The optional HD-SDI I/O module includes three AES3id inputs and three

AES3id outputs, which can be used as a loop-through for Orban’s Penteo®

2.0Æ5.1 upmixer or to provide I/O for up to three channels of 2.0 processing.

The SDI I/O option provides up to 11 frames of video delay to match the delay
of the 8685’s loudness processing (typically 20 ms) and optional Dolby-E en-
code and decode. A relay provides hard-wire safety bypass from the SDI in­put to the SDI output in case of hardware failure. (See Optional HD-SDI In-
put/Output Interface Module on page 6-3 for details.)

OPTIMOD SURROUND PROCESSOR INTRODUCTION

• OPTIMOD 8685’s inputs and outputs are highly configurable via remote-

controllable internal routing switchers. Additionally, the outputs of the

multichannel and 2.0 processing chains can be independently configured to emit
the output of the AGC or the output of the multiband compressor/limiter,
all configurable to use or bypass look-ahead limiting.

• Via the internal output routing switcher, a given output signal can be applied to

more than one hardware output. This allows using the 8685 as an AES splitter.

• For both the base I/O configuration and the optional HD-SDI module, a stereo

analog monitor output appears on XLR connectors on the rear panel. It can be
configured to emit any 8685 output signal, including a downmix of the mul­tichannel audio. The analog outputs are transformerless, balanced, and floating
(with 50Ω impedance) to ensure highest transparency and accurate pulse re­sponse. They can be used to drive a transmitter, although their normal function
is monitoring.

• A stereo headphone jack is available on the front panel. It can be configured

to emit any 8685 output signal and is independent of the stereo analog monitor
output.

1-5

• Two RS485 serial ports allow the 8685 to accept and emit Dolby Digital

metadata. If the optional HD-SDI module is installed, metadata can also be de-
embedded and re-embedded in the HD-SDI VANC area and, if the Dolby-E
modules are installed, de-embedded from and re-embedded into Dolby-E data

that is conveyed either through from the HD-SDI connection or the AES3id con­nections.

• The 8685’s 2.0 processing offers a dual-mono mode that allows two entirely

separate mono programs to be processed, facilitating multiple-language opera­tion.

In this mode, both processing channels operate using the same process­ing parameters (like release time); you cannot adjust the two channels to
provide different processing textures.

• An audio sync input is configurable to accept AES11id or wordclock sync.

You can synchronize the output sample rate of all AES3id outputs to this input.
You can also synchronize the outputs to the AES3 digital input #1 or to
the 8685’s internal clock. The sync source of each AES3 output is independ­ently selectable.

• In the optional HD-SDI module, a BNC connector can accept video sync per

SMPTE 274M and SMPTE 296M, which can be used as a reference for the out-
put audio sample rate and to correctly align Dolby-E frames with video per
Dolby's requirements. The signal applied to the SDI input can also be used as a
sync reference.

1-6

INTRODUCTION ORBAN MODEL 8685

• Dual power supplies with independent AC line inputs provide redundant op-

eration.

• All input, output, and power connections are rigorously RFI-suppressed to

Orban’s traditional exacting standards, ensuring trouble-free installation.

• The 8685 is designed and certified to meet all applicable international

safety and emissions standards.

Adaptability through Multiple Audio Processing Structures

• A processing structure is a program that operates as a complete audio proc-

essing system. Only one processing structure can be on-air at a time. OPTIMOD
8685 realizes its processing structures as a series of high-speed mathematical
computations made by Digital Signal Processing (DSP) chips.

• The 8685 features two processing structures: Five-Band for a spectrally con-

sistent sound and Two-Band for a more transparent sound that preserves the
frequency balance of the original program material.

• A special Two-Band preset creates a no-compromise “Protect” function that is

functionally similar to the “Protect” structures in earlier Orban digital proces­sors.

• The Five-Band and the Two-Band structures can be switched via a mute-free

crossfade.

• Audio processing can be smoothly activated and defeated on-air, allowing

programs that can benefit from full dynamic range to pass through the 8685
without dynamics compression. This pass-through can be activated and defeated
via clock-based automation, from the 8685’s front panel, from 8685’s PC Remote
software, from 8685’s programmable GPI inputs, or from 8685’s Ethernet or
RS232 serial API.

• The 8685’s AGC rides gain over an adjustable range of up to 25dB, compressing

dynamic range and compensating for both operator gain-riding errors and gain
inconsistencies in automated systems. The AGC output is available to drive STLs,
so the 8685 can be used as a studio AGC.

• The 8685’s processing structures are all phase-linear to maximize audible trans-

parency.

• The 8685’s equalizers and crossovers use 48-bit arithmetic to ensure mastering-

quality noise and distortion performance.

• The 8685 includes third-generation CBS Loudness Controllers™ for DTV appli-

cations. Separate loudness controllers are available in the multichannel

OPTIMOD SURROUND PROCESSOR INTRODUCTION

and 2.0 processing chains and work with the both Two-Band and Five-Band
structures. The third-generation improvements reduce annoyance more than
simple loudness control alone, doing so without audible gain pumping. At­tack time is fast enough to prevent audible loudness overshoots, so the control is
smooth and unobtrusive. Material processed by the CBS Loudness Controller has
been shown to be well controlled when measured with a long-term loudness
meter using the BS.1770 standard. (See Using the ITU BS.1770 and CBS Loudness
Meters to Measure Loudness Controller Performance starting on page 3-78.)

1-7

• Orban’

minimize artifacts caused by low bitrate codecs, ensuring consistent loudness
and texture from one source to the next. It is particularly useful when processing
for netcasts or mastering for any low bit rate channel.

PreCode includes special audio band detection algorithms that are energy and
spectrum aware. This can improve codec performance on some codecs by reduc­ing audio processing induced codec artifacts, even with program material that
has been preprocessed or mastered by other processing than Optimod. There are
several factory presets tuned specifically for low bit-rate codecs.

s PreCode™ technology manipulates several aspects of the audio to

User-Friendly Interface

• A large (quarter-VGA) color liquid crystal display (LCD) makes setup, adjust-

ment and programming of the 8500 easy. Navigation is by a miniature joystick,
two dedicated buttons, and a large rotary knob. The LCD shows all metering
functions of the processing structure in use.

• Use the Locate joystick to navigate through a menu that lets you recall a pre-

set, modify processing (at three levels of expertise), or to access the system’s
setup controls.

Controllable

• The 8685 can be remote-controlled by 5-12V pulses applied to eight pro-

grammable, optically isolated “general-purpose interface” (GPI) ports.

• 8685 PC Remote software is a smooth, responsive graphical application that

runs under Windows XP and Vista. It communicates with a given 8685 via TCP/IP
over modem, direct serial, and Ethernet connections. You can configure PC
Remote to switch between many 8685s via a convenient organizer that supports
giving any 8685 an alias and supports grouping multiple 8685s into folders.
Clicking an 8685’s icon causes PC Remote to connect to that 8685 through an
Ethernet network or initiates a Windows Dial-Up or Direct Cable Connection if
appropriate. The PC Remote software allows the user to access all 8685 features
and allows the user to archive and restore presets, automation lists, and system

1-8

INTRODUCTION ORBAN MODEL 8685

setups (containing I/O levels, digital word lengths, GPI functional assignments,
etc.).

• An API provides remote administration over TCP/IP via the RS232 serial or

Ethernet ports. The 8685 hosts a TCP/IP terminal server to allow external con-

trol of the 8685 from either a Telnet/SSH client or a custom third party applica­tion. All commands are simple text strings. You can recall presets, operate the
input and output routing switchers and more. Password security is provided.

• The 8685 contains a versatile real-time clock, which allows automation of vari-

ous events (including recalling presets) at pre-programmed times. To ensure ac­curacy, the clock can be synchronized to an Internet timeserver.

• Silence alarm and digital audio fault tally outputs are available.

• A Bypass Test Mode can be invoked locally, by remote control (from either the

8685’s GPI port or the 8685 PC Remote application), or by automation to permit
broadcast system test and alignment or “proof of performance” tests.

• The 8685 contains a built-in line-up tone generator, facilitating quick and ac-

curate level setting in any system.

• The 8685’s software can be upgraded by running Orban-supplied download-

able upgrade software on a PC. The upgrade can occur remotely through the
8685’s Ethernet port or serial port (connected to an external modem), or locally
(by connecting a Windows® computer to the 8685’s serial port through the sup­plied null modem cable).

Presets in OPTIMOD 8685

There are two distinct kinds of presets in OPTIMOD 8685: processing presets,
which contain the settings of the 8685’s audio processing controls (like compression
thresholds), and setups, which contain technical setup settings (like input reference
settings and channel routing). You can modify presets and setups and save them as
“user presets” and “user setups.” You can recall these by several means, including
the 8685’s GPI inputs, serial and Ethernet API, PC Remote, clock-based automation,
and front panel.

To recall a preset from the front panel, start from the main screen that shows me­ters. If the screen is not displaying meters, press the E
meters. Then press the E
button to see the preset list. L
it.

SCAPE button and LOCATE to RECALL/IMPORT. Press the ENTER

OCATE to the desired preset and hit ENTER to activate

SCAPE button until you see the

OPTIMOD SURROUND PROCESSOR INTRODUCTION

Factory Processing Presets

The Factory Presets are our “factory recommended settings” for various program
formats or types. There are multiple Factory Presets for both radio-oriented and
video oriented programming. Each Factory Preset on the Preset list is really a library
of more than 20 separate presets, selected by navigating to M
LESS-MORE and using the LESS-MORE control to adjust OPTIMOD 8685 for less or
more processing. The factory presets are listed and described starting on page 3-23.
The description indicates the processing structure and the type of processing.

ODIFY PROCESSING >

1-9

Factory
erased. You can change the settings of a Factory Preset, but you must then store
those settings as a User Preset, which you are free to name as you wish. The Factory
Preset remains unchanged.

The surround and 2.0 processors do not have to use the same Factory Preset. To use
different presets, start by recalling your preferred Factory Preset for the surround
processing. Then “import” a different factory preset for the 2.0 processors and save
the result as a User Preset. This procedure is described in more detail below.

Presets are stored in OPTIMOD 8685’s non-volatile memory and cannot be

User Processing Presets

User Presets permit you to change a Factory Preset to suit your requirements and
then store those changes.

You can store more than 40 User Presets, limited only by available memory in your
8685 (which will vary depending on the version of your 8685’s software). You can
give your preset a name up to 18 characters long.

User Presets cannot be created from scratch. You must always start by recalling a
Factory Preset. Make the changes and then store your modified preset as a User Pre­set. You can also recall a previously created user preset, modify it, and save it again,
either overwriting the old version or saving under a new name. In all cases, the
original Factory Preset remains for you to return to if you wish.

User Presets inherit the structure of their parent Factory Presets (Five-Band or Two­Band). The only way you can choose the structure of a factory preset is to edit it
from a Factory preset having that structure (or to edit it from an older User Preset
having the desired structure). You cannot change an existing User Preset’s structure.

Presets contain parameters for both the surround and 2.0 processors. A preset,
whether Factory or User, can be edited in several ways to create a new User Preset.
You can adjust any individual parameter in the surround and 2.0 sections of the pre­set. You can also bulk-import all of the 2.0 parameters contained in any User Preset
or Factory Preset.

User Presets are stored in non-volatile memory that does not require battery
backup. To Create or Save a Preset
structions for importing and editing a 2.0 preset are on page 3-25.

on page 3-20 has more about User Presets. In-

1-10

INTRODUCTION ORBAN MODEL 8685

Input/Output Configuration

In its base configuration, OPTIMOD 8685 simultaneously accommodates:

• Digital AES3id inputs (5) and outputs (6).

• Two analog monitor outputs.

• A headphone output.

The 2.0 processors in OPTIMOD 8685 can be operated in either stereo or dual-mono
mode via the 2.0
dependently (and have separate Loudness Controllers and Loudness Level Meters),
but the processing parameters that determine the “sound” of the processor are the
same on both channels.

Dual-mono or stereo mode is a global system parameter. You can change modes
manually, via the 8685’s GPI inputs, via 8685 PC Remote software, or via the 8685’s
built-in time-of-day automation. Further, the 8685 can be programmed to recognize
the “stereo” and “dual-mono” flags in the AES input bitstream and to switch modes
accordingly. It will also set these flags appropriately in its output AES bitstream.

PROC MODE control. In dual-mono mode, the channels operate in-

Digital AES3id Inputs/Outputs

The digital input and outputs conform to the professional AES3id standard, which
calls for 75Ω coaxial cable terminated with BNC connectors.

The 8685’s AES3id connections are all internally terminated with trans­formers that expect to see 75Ω. To interface AES3id to AES3 (110Ω bal­anced) connections, we recommend using 75Ω/110Ω matching trans­formers when cable runs are long. For short runs (10 feet or less), trans­formers are usually unnecessary.

In the base configuration, there are five inputs (which carry 10 channels) and six
outputs (which carry 12 channels). In the optional HD-SDI configuration, there are
three inputs and three outputs. All inputs and outputs have sample rate converters
that allow operation at 32, 44.1, 48, 88.2, and 96 kHz sample frequency.

To ensure best control of peak modulation, operate the output at 48 kHz
or higher.

Level control of the AES3id inputs are accomplished via software control through
System Setup (see step 8 on page 2-27) or through PC Remote. Level control is one
of the many parameters contained in a Setup.

output sample rate of each AES3id output can be locked independently to the

The
8685’s internal crystal clock, the sample rate present at its AES3id input, the sample
rate present at the 8685’s AES11id sync input, or 1x word clock.

The 8685 can apply J.17 deemphasis to signals applied to the digital inputs assigned
to the 2.0 processors. J.17 is a 6 dB/octave shelving preemphasis/deemphasis stan-

OPTIMOD SURROUND PROCESSOR INTRODUCTION

dard with break points at 400 Hz and 4 kHz. It is used mainly in older stu­dio/transmitter links that use NICAM technology.

Analog Outputs

The two analog outputs appear on XLR-type male connectors on the rear panel.
These are intended primarily for monitoring. However, their frequency response is
wide enough to limit overshoot to 1% or less, allowing these outputs to be used
feed processed audio to a transmitter or STL.

These outputs can emit many different signals as determined by the 8685’s output
routing switcher. Output impedance is 50Ω; balanced and floating. The outputs can
drive 600Ω or higher impedances, balanced or unbalanced. The peak output level is
adjustable from –6dBu to +24dBu.

Level control of the analog outputs is accomplished via software control through
System Setup (see step 4 on page 2-21 and step 10 on page 2-30) or through PC Re­mote.

1-11

Remote Control Interface

The Remote Control Interface is a set of eight optically isolated GPI inputs on a DB­25 connector, which can be activated by 5-12V DC. They can control various func­tions of the 8685:

• Recall any processing Preset, Setup, Test Mode state (Bypass or Tone), or exit

from a Test Mode to the previous processing preset.

• Reset the 8685’s internal clock to the nearest hour or to midnight.

You can reconfigure the functions of the GPI inputs via System Setup. For
example, if you are not switching between stereo and mono, the inputs
ordinarily dedicated to controlling the stereo/mono status can instead be
re-configured to call additional presets.

See Remote Control Interface Programming on page 2-54 for information on pro­gramming the GPI and step 5 on page 2-3 for wiring information.

Computer Interface

On the rear panel of the 8685 are an RS-232 serial port and an Ethernet port for in­terfacing to IBM-compatible PCs either locally or through a TCP/IP network. The
Ethernet port supports remote control and metering, and allows downloading soft­ware upgrades. The RS-232 port supports ASCII commands through a terminal con­nection.

Each 8685 package ships with 8685 PC Remote software, an application for any PC
running Microsoft Windows XP (SP2 or higher) or Vista. 8685 PC Remote permits you
to adjust any 8685 preset by remote control or to do virtually anything else that you

1-12

INTRODUCTION ORBAN MODEL 8685

can do from the 8685’s front panel controls. The program displays all of the 8685’s
meters on the computer screen to aid remote adjustment. Because of the large
numbers of meters and controls in the 8685, we expect that most users will prefer to
operate it via PC Remote.

RS-485 Serial Ports

There are two RS-485 serial ports on the rear panel (serial ports #2 and #3). These
can operate up 115 kbps. These can accept and emit Dolby® AC3 metadata.

RS-232 Serial Port

8685 PC Remote can communicate at up to 115 kbps direct connection between the
computer and the 8685 through their RS-232 serial ports.

RJ45 Ethernet Connector

The 8685 can be connected to any Ethernet network that supports the TCP/IP proto­col.

See page 2-45 for instructions on how to control the 8685 via the RS-232 and
Ethernet ports via a terminal emulator and
connect to the 8685 via its PC Remote application for Windows.

page 2-65 for instructions on how to

Optional HD-SDI Input/Output

The optional HD-SDI I/O module offers supports SD-SDI (per SMPTE 259M); 1.5 Gbit/s
HD-SDI (per SMPTE 292M; up to 720p and 1080i) and 3.0 Gbit/s single-wire HD-SDI
(per SMPTE 424M; 1080p).

The SDI I/O can de-embed up to eight channels of audio, send them to the 8685’s
DSP for audio processing, and then re-embed them with video that has been de­layed to maintain AV-sync. There are four variants (see Optional HD-SDI In-
put/Output Interface Module on page 6-3 for details).

HD-SDI module can accommodate Dolby-E® decoding and encoding via op-

The
tional plug-in modules.

A relay provides hard-wire safety bypass from the SDI input to the SDI output in case
of hardware failure.

Routing Audio to and from the 8685

Audio links are used in different ways. Performance requirements differ depending
on the application:

• A link that passes unprocessed audio to drive the OPTIMOD 8685 should have

very low noise and low non-linear distortion, but its transient response is not
important.

OPTIMOD SURROUND PROCESSOR INTRODUCTION

• A link that passes OPTIMOD 8685’s peak-controlled output does not need as low

a noise floor as a link passing unprocessed audio. However, if the application
calls for high average modulation, the link’s transient response is critical.

• A link that passes OPTIMOD 8685’s peak-controlled output after it has been

coded by the transmission codec requires bit-accurate transmission of the trans­mission codec’s output. In DTV applications, the 8685 will typically drive a Dolby
Digital encoder at the studio. The link will pass the Dolby Digital encoder’s out­put to the transmitter, either directly or multiplexed onto a transport stream.

Using Lossy Data Reduction before the 8685’s Input

Many broadcasters are now using lossy data reduction algorithms like MPEG-1 Layer
2, Layer 3, or AAC to increase the storage time of digital playback media and to
transmit audio. Sometimes, several encode/decode cycles will be cascaded before the
material is finally delivered to OPTIMOD 8685’s input.

All such algorithms operate by increasing the quantization noise in discrete fre­quency bands. If not psychoacoustically masked by the program material, this noise
may be perceived as distortion, “gurgling,” swishing, or other interference. Psycho­acoustic calculations are used to ensure that the added noise is masked by the de­sired program material and not heard. Cascading several stages of such processing
can raise the added quantization noise above the threshold of masking, making it
audible.

1-13

In addition, at least one other mechanism can cause the noise to become audible at
the radio. OPTIMOD 8685’s multiband limiter performs an “automatic re­equalization” function that can significantly change the frequency balance of the
program (sometimes by more than 10 dB). This can cause noise that would otherwise
have been masked to become unmasked because the psychoacoustic masking condi­tions under which the masking thresholds were originally computed have changed.
Accordingly, if you use lossy data reduction before the 8685, you should use the
highest data rate possible. This maximizes the headroom between the added noise
and the threshold where it will be heard. In addition, you should minimize the
number of encode and decode cycles because each cycle moves the added noise
closer to the threshold where the added noise is heard.

For MPEG Layer 2 encoding, we recommend 384kb/second or higher.

Links from the 8685’s Output to a Transmission Encoder or Transmitter

When used as a transmission processor, the 8685’s output should be connected to
the encoder or transmitter (like Dolby’s DP569 Dolby Digital encoder) so that the
link introduces no change in OPTIMOD 8685’s output bitstream. A simple AES3id
connection is ideal. Alternatively, an uncompressed digital link will pass the 8685’s
output with little or no degradation if the link does not truncate word length (from
20 to 16 bits, for example) and does not require downward sample rate conversion.

The 8685’s look-ahead limiters tightly control peak levels at the 8685’s outputs. Lossy
compression following the 8685’s output can decrease system performance because
the compression adds peak level overshoots. Such links must therefore be carefully
qualified before you use them to carry the peak-controlled output of OPTIMOD
8685 to the transmitter. For example, the MPEG Layer 2 algorithm can increase peak

1-14

INTRODUCTION ORBAN MODEL 8685

levels up to 4dB at 160kb/sec by adding large amounts of quantization noise to the
signal. While the desired program material may psychoacoustically mask this noise, it
is nevertheless large enough to affect peak levels severely. For any lossy compression
system, overshoot decreases as bit rate increases, so use the highest bit rate practical
in your system. In addition, there will be an unavoidable amount of overshoot
caused by asynchronous re-sampling (see page 1-14).

When
amount of peak limiting in the 8685. Heavy peak limiting may introduce audible ar­tifacts as a side effect of precisely controlling peak levels. It is pointless to introduce
such artifacts if the lossy compression compromises the benefits of the limiting by
adding overshoots. Instead, allow a generous amount of headroom when setting
the drive level into the STL. Most lossy digital STLs have a noise floor that is low
enough to make this practical.

The Dolby Digital transmission encoder is lossy and introduces overshoot. Hence, it is
usually unwise to use substantial amounts of peak limiting when the 8685 is used as
a final transmission processor to drive a Dolby Digital encoder. If a reasonable value
of Dialnorm is used, little or no peak limiting should be required in the 8685 because
the Dolby Digital signal path will have a generous amount of headroom.

Peak control in OPTIMOD 8685 occurs at a 48 kHz sample frequency. This is sufficient
to prevent any samples from exceeding the threshold of limiting. However, after re­construction, the analog output may overshoot the nominal 100% level because
these overshoots “fall between the samples,” so the processing cannot be aware of
them. If you pass the 8685’s output through a digital>analog>digital conversion, the
new samples will not be synchronous with the samples inside OPTIMOD 8685. There­fore, they may well fall on the overshoots, causing loss of peak modulation control.
Typically, this introduces less than 1 dB of overshoot, so allowing 1 dB of headroom
in the transmission chain should be adequate to prevent audible problems.

The 8685’s outputs are equipped with sample rate converters that can output at 32
kHz, 44.1 kHz, 48, 88.2, or 96 kHz. Setting the output sample rate below 48 kHz can
cause overshoot due to spectral truncation and asynchronous re-sampling of the 48
kHz peak-controlled samples, just as in the D>A>D case described above. Spectral
truncation can cause overshoots substantially larger than 1 dB. To prevent this, set
the 8685’s bandwidth control (in the active Setup) to so it is lower than the band­width of the downstream link. For example, a 32 kHz sample rate link requires set­ting the 8685’s bandwidth to 15 kHz or lower.

using lossy digital compression, it is particularly important to minimize the

Sample Frequency Synchronization

Virtually all digital broadcasting systems require audio to be synchronized to a mas­ter clock. The 8685 can synchronize the audio sample rate appearing at its AES3id
outputs and optional SDI output to one of several sources. Although the these out­puts can emit different sample rates, they must all be synchronized to the same
source.

If a given output is set to a different sample rate than the sync source, the output
sample rate will equal the sync source’s sample rate multiplied by the ratio of two
integers. For example, if the sync source is 48 kHz and the output sample rate is 32
kHz, the output sample rate will be exactly 2/3 of the sync sample rate.

OPTIMOD SURROUND PROCESSOR INTRODUCTION

The 8685 provides a BNC connector that accepts “house sync” in AES11id (75Ω un­balanced) or 1 x word clock (squarewave at the sample frequency) format. The 8685
automatically detects which of these signals is present, if any. A setup menu selec­tion determine whether the 8685’s outputs are synchronized to the 8685’s sync in­put, its internal clock, or the signal applied to its AES3 audio input, If the optional
HD-SDI module is installed, this adds two more allowable sync sources: video sync
and a signal applied to the SDI input (see below).

Because the 8685’s digital input receivers have sample rate converters, these inputs
can accept any sample frequency from 32 to 96 kHz. These inputs do not need to be
synchronized to house sync.

In the optional HD-SDI module, a BNC connector can accept video sync per SMPTE
274M and SMPTE 296M. This can be used as a reference for the sample rate at the
AES3id outputs and to correctly align Dolby-E frames with video per Dolby's re­quirements (SMPTE RDD 6-2008 and Dolby Labs published specifications) in cases
where HD-SDI is not in use.

When an HD-SDI or SDI signal is present at the SDI input, this signal supplies Dolby-E
frame sync and a reference for the sample rate appearing at the 8685’s AES3id out­puts. As with the base configuration, these outputs can also be synchronized to the
AES11/wordclock input, the signal appearing on AES3id input 1/2, or the 8685’s in­ternal timebase.

1-15

The AES3id inputs are equipped with sample rate converters, so they can receive
signals that are not locked to house sync.

Using the 8685 to Control Studio Output Levels

The 8685 can be used to process a live production like a sports remote or news stu­dio for consistency. In this case, the 8685 is usually not the final peak control device
in the audio chain before the station’s on-air encoder or transmitter. In these appli­cations, it is wise to minimize the amount of peak limiting by turning down the

INAL LIMIT DRIVE control in the 8685’s active preset until the 8685’s limiting meters

F

show little or no gain reduction.

If the 8685 is outside the studio, it is common for the audio to be linked to the stu­dio via a lossy digital STL. See the comments about minimizing peak limiting in the
section Using Lossy Data Reduction before the 8685’s Input on page 1-13 .

AV-Sync Delay

The 8685’s audio processing provides an adjustable audio time delay of up to 60 mil­liseconds. This allows the installer to force the total delay through the processing to
be exactly one or two frames. (Two frames are required for 59.94/60 fps progres­sively scanned video.) The definition of “frame” depends on the system in which
OPTIMOD 8685 is installed.

The selections are MINIMUM (approximately 24 ms delay), 30 fps (NTSC
monochrome video), 29.97 fps (NTSC color video), 25 fps (most PAL
video), and 24 fps (film). You can also adjust the delay in one-millisecond
increments from 25 to 60 ms.

1-16

INTRODUCTION ORBAN MODEL 8685

When the optional HD-SDI module is installed, the 8685 can provide up to 11 frames
of video delay. This is more than enough to maintain AV-sync when the optional
Dolby-E decoder, Dolby-E encoder, and Penteo® upmixer are installed in the audio
path. The delay of the 8685’s audio processing is usually set to exactly one frame.

Using OPTIMOD 8685 as a Studio Level Controller

See page 6-101 for a block diagram of the 8685’s signal processing and routing.

One or more of the 8685’s processors can be used as a studio AGC, digital ra­dio/netcast processor, or low-delay talent headphone processor. The surround and

2.0 outputs can be configured independently to emit one of the following signals:

• Stereo enhancement, equalization, and AGC without look-ahead peak limiting

• Stereo enhancement, equalization, and AGC with peak limiting

• Stereo enhancement, equalization, and multiband processing (two-band or 5-

band, including AGC) without peak limiting

• Stereo enhancement, equalization, and multiband processing (two-band or 5-

band, including AGC) with peak limiting

About Transmission Levels and Metering

Meters

Studio engineers and transmission engineers consider audio levels and their meas­urements differently, so they typically use different methods of metering to monitor
these levels. The VU meter is an average-responding meter (measuring the approxi­mate RMS level) with a 300ms rise time and decay time; the VU indication usually

ABSOLUTE PEAK

PPM

VU

Figure 1-1: Absolute Peak Level, VU and PPM Reading

OPTIMOD SURROUND PROCESSOR INTRODUCTION

under-indicates the true peak level by 8 to 14dB. The Peak Program Meter (PPM) in­dicates a level between RMS and the actual peak. The PPM has an attack time of 5
or 10ms, slow enough to cause the meter to ignore narrow peaks and under­indicate the true peak level by 5 dB or more. The absolute peak-sensing meter or
LED indicator shows the true peak level. It has an instantaneous attack time, and a
release time slow enough to allow the engineer to read the peak level easily. Figure
1-1 shows the relative dif
tions of a VU meter and a PPM for a few seconds of music program.

ference between the absolute peak level, and the indica-

Studio Line-up Levels and Headroom

The studio engineer is primarily concerned with calibrating the equipment to pro­vide the required input level for proper operation of each device, and so that all de­vices operate with the same input and output levels. This facilitates patching devices
in and out without recalibration.

For line-up, the studio engineer uses a calibration tone at a studio standard level,
commonly called line-up level, reference level, or operating level. Metering at the
studio is by a VU meter or PPM (Peak Program Meter). As discussed above, the VU or
PPM indication under-indicates the true peak level. Most modern studio audio de­vices have an analog clipping level of no less than +21dBu, and often +24dBu or
more. So the studio standardizes on a maximum program indication on the meter
that is lower than the clipping level, so those peaks that the meter does not indicate
will not be clipped. Line-up level is usually at this same maximum meter indication.
In facilities that use VU meters, this level is usually at 0VU, which corresponds to the
studio standard level, typically +4 or +8dBu. If the link is PCM digital, there are two
common standards for line-up level: –18 dBfs (EBU) and –20 dBfs (SMPTE).

1-17

For facilities using +4dBu standard level, instantaneous peaks can reach +18dBu or
higher (particularly if the operator overdrives the console or desk). Older facilities
with +8dBu standard level and equipment that clips at +18 or +21dBu will experi­ence noticeable clipping on some program material.

In facilities that use the BBC-standard PPM, maximum program level is usually PPM4
for music, PPM6 for speech. Line-up level is usually PPM4, which corresponds to
+4dBu. Instantaneous peaks will reach +17dBu or more on voice.

In facilities that use PPMs that indicate level directly in dBu, maximum program and
line-up level is often +6dBu. Instantaneous peaks will reach +11dBu or more.

Transmission Levels

The transmission engineer is primarily concerned with the peak level of a program
to prevent overloading or over-modulation of the transmission system. This peak
overload level is defined differently, system to system.

In FM modulation (FM/VHF radio and television broadcast, microwave or analog sat­ellite links), it is the maximum-permitted RF carrier frequency deviation. In AM
modulation, it is negative carrier pinch-off. In analog telephone/post/PTT transmis-

1-18

INTRODUCTION ORBAN MODEL 8685

sion, it is the level above which serious crosstalk into other channels occurs, or the
level at which the amplifiers in the channel overload. In digital channels, it is the
largest possible digital word.

For metering, the transmission engineer uses an oscilloscope, absolute peak-sensing
meter, calibrated peak-sensing LED indicator, or a modulation meter. A modulation
meter usually has two components—a semi-peak reading meter (like a PPM), and a
peak-indicating light, which is calibrated to turn on whenever the instantaneous
peak modulation exceeds the overmodulation threshold.

Line-Up Facilities

Metering of Levels and Subjective Loudness

The meters on the 8685 show peak input levels, the peak output modulation, and
subjective loudness.

• Input levels are displayed using a VU-type scale (0 to –40dB), but the metering

indicates absolute instantaneous peak (much faster than a standard PPM or VU
meter). The maximum digital word at the input corresponds to the 0 dB point on
the 8685’s input meter.

• The output meter indicates the values of the digital samples at the output of the

8685’s audio processing, not at its digital outputs. 0 dB on the output meter cor­responds to the setting of the digital output level control in the active Setup
(S

URROUND OUT 100% for the surround processing and 2.0 OUT 100% for the 2.0

processors). For example, if this control is set to –3 dBfs and the meter indicates 0
dB, the peak level at the 8685’s digital output is –3 dBfs.

• 0 dB on the meter also corresponds to the threshold of limiting of the 8685’s

look-ahead peak limiters, which prevent the processed audio’s level from increas­ing beyond 0 dB.

If the output’s sample rate is set to a rate other than 48 kHz and or
passed through a D/A converter, the peak level of the output may in­crease because of asynchronous resampling. (See page 1-14).

• The subjective loudness meter, labeled LOUDNESS LEVEL in the 8685’s GUI displays

either loudness measured by the EBU R 128-2010
ured using the CBS Technology Center algorithm developed by Jones and Torick

1

EBU Recommendation R 128, “Loudness normalization and permitted maximum

level of audio levels,” Geneva, August 2010. http://tech.ebu.ch/loudness

2

Bronwyn L. Jones and Emil L. Torick, “A New Loudness Indicator for Use in Broad-

casting,” J. SMPTE September 1981, pp. 772-777.

1

standard or loudness meas-

2

.

OPTIMOD SURROUND PROCESSOR INTRODUCTION

Both meters are displayed simultaneously in 8685 PC Remote software.

The meter is scaled so that the loudness level at the consumer’s receiver is correct
when the 8685’s processing is adjusted to make dialog peak at “0 dB” on the
8685’s Loudness Level meter and the Dialnorm value (which you must enter
manually) in the active 8685 Setup is the same as the Dialnorm value being
transmitted to the consumer’s receiver. Because loudness perception combines
the contributions of all acoustic sources, there is only one Loudness Level meter
indication regardless of the number of audio channels.

The CBS meter is a “short-term” Loudness Level meter that displays the
details of moment-to-moment loudness with dynamics similar to a VU
meter. Created using Orban-developed modeling software, the DSP im­plementation typically matches the original CBS analog meter within 0.5
dB on sinewaves, tone bursts and noise.

The Jones & Torick algorithm improves upon the original loudness meas­urement algorithm developed by CBS researchers in 1967. Its foundation
is psychoacoustic studies done at CBS Laboratories over a two year period
by Torick and the late Benjamin Bauer, who built on S. S. Stevens’ ‘50s­era work at Harvard University.

After surveying existing equal-loudness contour curves (like the famous
Fletcher-Munson set) and finding them inapplicable to measuring the
loudness of broadcasts, Bauer and Torick organized listening tests that
resulted in a new set of equal-loudness curves based on octave-wide
noise reproduced by calibrated loudspeakers in a semireverberant 16 x 14
x 8 room, which is representative of a room in which broadcasts are nor-

mally heard. They published this work
tests whose goal was to model the loudness integration time constants of
human hearing. These studies concentrated on the moderate sound lev-

els typically preferred by people listening to broadcasts (60 to 80 phons
and did not attempt to characterize loudness perception at very low and
high levels.

According to this research and its predecessors, the four most important
factors that correlate to the subjective loudness of broadcasts are these:

1. The power of the sound.

2. The spectral distribution of the power. The ear’s sensitivity depends
strongly on frequency. It is most sensitive to frequencies between 2 and 8
kHz. Sensitivity falls off fastest below 200 Hz.

3. Whether the power is concentrated in a wide or narrow bandwidth.
For a given total sound power, the sound becomes louder as the power is

3

along with results from other

4

)

1-19

3

Benjamin B. Bauer and Emil L. Torick, “Researches in Loudness Measurement,” IEEE
Transactions on Audio and Electroacoustics, Volume AU-14, Number 3, September
1966, pp. 141-151

4

The phon is a unit of perceived loudness, equal in number to the intensity in deci­bels of a 1 kHz tone judged to be as loud as the sound being measured.

1-20

INTRODUCTION ORBAN MODEL 8685

spread over a larger number of critical bands (about 1/3 octave). This is
called loudness summation.

4. Temporal integration: As its duration increases, a sound at a given
level appears progressively louder until its duration exceeds about 200
milliseconds, at which point no further loudness increase occurs.

Bauer and Torick used the results of this research to create a loudness
level meter with eight octave-wide filters, each of which covers three
critical bands. (B & T did not use one filter per critical band because this
would have made the meter, which was realized using analog circuitry,
prohibitively expensive.) Each filter feeds a full-wave rectifier and each
rectifier feeds a nonlinear lowpass filter that has a 10 ms attack time and
a 200 ms release time, somewhat like the sidechain filter in an AGC. This
models the “instantaneous loudness” perception mechanism in the ear.
Instantaneous loudness is not perceived directly but is an essential part of
the total loudness model.

To map the instantaneous loudness to perceived short-term loudness, the
outputs of each of the nonlinear lowpass filters are arithmetically
summed with gains chosen to follow the 70 phon equal-loudness curves
of the ear as determined by Bauer and Torick’s research. The sum is ap­plied to a second, slower nonlinear lowpass filter. This has an attack time
of 120 ms and a release time of 730 ms. Along with the eight nonlinear
lowpass filters following the individual filters, this filter models temporal
integration and maps it to the visual display. Meanwhile, the arithmetic
addition models loudness summation.

The internationally accepted unit of subjective loudness is the sone. With
a sinewave, 40 phons = 1 sone. A doubling of sones corresponds to a
doubling of loudness. However, because broadcasters were accustomed
to working in decibel units, Jones and Torick chose to map loudness on a
LED ladder display encompassing –20 to +5 dB in 0.5 dB increments, with
the understanding that the perceived loudness doubles every 10 dB at
loudness levels typically heard by broadcast audiences.

The J & T meter is monophonic. Psychoacoustic studies indicate that
when multiple acoustic sources are present in a room, loudness is most
accurately expressed by summing the power in the sources. For example,
driving two loudspeakers with identical program produces 3 dB higher
loudness than a single speaker produces. Therefore, to extend the J & T
algorithm to surround reproduction, we implement one eight-filter fil­terbank for each channel and compute RMS sums of the outputs of cor­responding filters in each channel before these sums are applied to the
eight nonlinear lowpass filters. As in the monophonic J & T algorithm,
the sum of these lowpass filters drives a second nonlinear filter, which
drives the display.

Test Modes

Calibrated Bypass Test Mode

A BYPASS Test Mode is available to transparently pass line-up tones generated ear-
lier in the system. It will also pass program material, with no gain reduction or pro­tection against overmodulation. It can transparently pass any line-up tone applied
to its input up to about 130% output modulation, at which point clipping may oc­cur.

OPTIMOD SURROUND PROCESSOR INTRODUCTION

BYPASS is not appropriate for normal on-air use because switching to and from it

will usually cause clicks or other program disruptions and because it does not protect
against inadvertent output clipping. To defeat the dynamics processing on-air
(which might be desired when switching from a local to a network program, for ex­ample), use the P

HROUGH factory preset.

T

Calibrated Line-up Tones

To facilitate matching the output level of the 8685 to the transmission system that it
is driving, the 8685 contains a test tone oscillator that produces sine waves at 8685’s
outputs. You can adjust the frequency and modulation level of the built-in line-up
tone via the front panel or PC Remote software, and you can specify which outputs
emit the tone. Outputs that do not emit the tone are automatically set to B
which facilitates using the tone oscillator as a sinewave source to test the 8685—use
a cable to connect an output that is emitting the tone to an input that is in B
mode. (See step 4 on page 4-11 for an example.) You can use the front panel, the

Remote software, or the opto-isolated remote control interface ports to activate

PC
the Test Tone.

ASS-THROUGH factory preset or a user preset derived from the PASS-

YPASS,

YPASS

1-21

Setting Output/Modulation Levels

In a perfect world, one could set the peak level at OPTIMOD 8685’s output to 0 dBfs.
However, there are several potential problems that may make it desirable to set the
modulation level slightly lower.

• First is asynchronous re-sampling, which we have discussed earlier in this chapter.

(See page 1-14.) If any digital processing that causes its output samples to be
asynchronous to its input samples is used after
cause the peak levels of individual samples to increase above the nominal
threshold of limiting. This increase is typically less than 0.5dB.

• Second is additional processing, like equalization. Equalization that applies

boosts at certain frequencies is very likely to add peak level and thus cause clip­ping. However, equalization that attenuates certain frequencies can also cause
overshoots because of added phase shifts. So be wary of any equalization and al­low headroom to accommodate it.

• Third is headroom in lossy data compression systems. A well-designed perceptual

encoder will accept samples up to 0dBfs and will have enough internal head­room to avoid clipping. However, there is no guarantee that receiver manufac­turers or decoder providers will implement perceptual decoders with sufficient
headroom to avoid clipping overshoots. Such overshoots are the inevitable side
effect of increasing the quantization noise in the channel, and can be as large as
3-4dB. Most perceptual encoder algorithms are designed to have unity gain from
input to output. So if peak levels at the input frequently come up to 0dBfs, peak
levels at the output will frequently exceed 0dBfs (and will be clipped) unless the
decoder algorithm is adjusted to have less than unity gain.

OPTIMOD 8685’s output, this can

1-22

INTRODUCTION ORBAN MODEL 8685

Canny engineers familiarize themselves with the performance of real-world receiv­ers and reduce the peak modulation of the transmissions if it turns out that most re­ceivers are clipping due to perceptual encoding overshoots. Our experience to date
suggests that allowing 3dB headroom will prevent audible overshoot-induced clip­ping in low bite-rate systems (e.g., 32 kbps streams), while 1.5 dB is adequate for
128kbps and above. While some clipping may still occur, it will have a very low duty
cycle and will almost certainly be inaudible.

Streaming and Netcasting Applications

This section was written in mid 2008. As the state of the art in netcasting is changing
with ferocious rapidity, we expect it to become outdated quickly. Please check
Orban’s web site, www.orban.com, for newer information.

Using OPTIMOD 8685 in Streaming Applications

You need an audio source connection (AES3id digital or SPDIF digital for the base
configuration; these options plus HD-SDI audio channels when the optional HD-SDI
module is installed). The 8685 AES3id inputs can accept any sample rate from 20 to
96 kHz. You can also use any stream available within the computer’s internal WAVE
audio system, like a digital playout system. If you use the computer’s WAVE audio
system, you will need a sound card with full duplex capability along with digital in­puts and outputs. Connect the digital output of the sound card to the 8685’s digital
input and connect the 8685’s digital output to the input of the sound card.

You will ordinarily connect the signal that the sound card receives to the input of an
encoder application, like Orban’s Opticodec-PC. You then apply the encoded output
of the encoder to a netcast server application, which may operate on the same ma­chine as the encoder, or on a different machine on your network. In the latter case,
you will route the encoded audio to the netcast server application through your
network.

See Processing for Low Bit Rate Codecs on page 3-5.

Loudness

You can expect a significant increase in loudness from OPTIMOD 8685 processing by
comparison to most unprocessed audio.

An exception is recently mastered CDs, which may have already been ag­gressively processed for loudness when they were mastered.

In radio broadcasting, it is generally believed that loudness relative to other stations
attracts an audience that perceives the station as being more powerful than its
competition. We expect that the same subliminal psychology will also hold true in
netcasting.

For sound-with-picture applications, you can use Dialnorm and one of the 8685’s
“TV” presets to standardize loudness so that it is consistent with other transmissions.
We recommend setting Dialnorm to –24 dB, which is consistent with the ATSC A/85
2009 recommendation and acceptably close to the EBU R 128 recommendation,
which specifies –23 dB.

OPTIMOD SURROUND PROCESSOR INTRODUCTION

Choosing your Encoder

The state of the art in encoder technology is rapidly changing. At this writing, the
most efficient audio encoder technology available is MPEG4 HE-AACv2, which also
has the advantage of being standards-based. Orban is the first provider of this tech­nology for streaming audio applications with Opticodec-PC 1010.

Be aware that different encoders are optimized for different bit rates, so you should
match your encoder to your potential audience. An encoder appropriate for a dial­up rate of 20kb/sec may not be optimum for ISDN, DSL, or E-1/T-1 rates. This makes it
necessary to use more than one algorithm to optimally serve audiences with these
disparate connection speeds.

MPEG-1 Layer 3 has become a de-facto standard for distribution of non-streaming,
high fidelity audio on the Internet, although HE-AACv2, as used in Opticodec-PC, is
far more efficient. Thanks to the Apple iPod®, AAC/MP4/M4A is rapidly becoming
the de-facto standard for downloadable music.

OPTIMOD 8685 is well matched to AAC, HE-AAC, and MP3. It can effectively pre­process audio intended for playback from either format. If you decide to use MP3,
choose your MP3 encoder wisely, as not all MP3 encoders are created equal — they
provide different levels of quality for a given bitrate.

1-23

EAS Transmission

In normal operation, 8685 audio processing may not provide the minimum modula­tion level required by EAS Emergency Alert System (EAS) standards. It may therefore
be necessary to defeat the 8685’s dynamics processing during the broadcast of EAS
tones and data.

OOK-AHEAD LIMITER preset provides an easy way to do this. (You could also use

The L

ASS-THROUGH preset.) If you set the level of your EAS message generator ap-

the P
propriately, simply recall the L
the previous processing preset. (Presets can be recalled via the front panel, PC Re­mote, the 8685’s Ethernet terminal server, clock-based automation, and GPI.)

If it is impractical to set the level of the EAS message generator to work correctly
with the fixed throughput gain provided in factory L
can instead edit the L
modulation level. To set the gain, adjust the preset’s G
in Intermediate Modify and Advanced Modify. When you are satisfied, save the re­sult as a User Preset. See Customizing the 8685’s Sound on page 3-16

OOK-AHEAD LIMITER preset’s throughput gain to set the correct

OOK-AHEAD LIMITER preset, run the test, and then recall

OOK-AHEAD LIMITER preset, you

AIN control, which is available

PC Control and Security Passcode

PC software control provides access to OPTIMOD 8685 via network, modem or direct
(null modem cable) connection, with computers running Windows 2000, XP, or Vista.
PC access is permitted only with a valid user-defined passcode.

1-24

INTRODUCTION ORBAN MODEL 8685

PC remote control can be ended from the 8685’s front panel; this feature effectively
prevents simultaneous remote and local control.

See Security and Passcode Programming (starting on page 2-40) for more detail.

Warranty, User Feedback

User Feedback

We are very interested in your comments about this product. We will carefully re­view your suggestions for improvements to either the product or the manual. Please
email us at [e-mail]

LIMITED WARRANTY

[Valid only for products purchased and used in the United States]

.

Orban warrants Orban products against defects in material or workmanship for a
period of two years from the date of original purchase for use, and agrees to repair
or, at our option, replace any defective item without charge for either parts or labor.

IMPORTANT: This warranty does not cover damage resulting from accident, misuse
or abuse, lack of reasonable care, the affixing of any attachment not provided with
the product, loss of parts, or connecting the product to any but the specified recep­tacles. This warranty is void unless service or repairs are performed by an authorized
service center. No responsibility is assumed for any special, incidental, or consequen­tial damages. However, the limitation of any right or remedy shall not be effective
where such is prohibited or restricted by law.

Simply take or ship your Orban products prepaid to our service department. Be sure
to include a copy of your sales slip as proof of purchase date. We will not repair
transit damage under the no-charge terms of this warranty. Orban will pay return
shipping. (See Technical Support on page 5-10.)

No other warranty

This warranty gives you specific legal rights and you may have other rights that vary
from state to state. Some states do not allow the exclusion of limitations of inciden­tal or consequential damages or limitations on how long an implied warranty lasts,
so the above exclusions and limitations may not apply to you.

, written or oral, is authorized for Orban Products.

INTERNATIONAL WARRANTY

Orban warrants Orban products against evident defects in material and workman­ship for a period of two years from the date of original purchase for use. This war­ranty does not cover damage resulting from misuse or abuse, or lack of reasonable

OPTIMOD SURROUND PROCESSOR INTRODUCTION

care, or inadequate repairs performed by unauthorized service centers. Performance
of repairs or replacements under this warranty is subject to submission of this War­ranty/Registration Card, completed and signed by the dealer on the day of purchase,
and the sales slip. Shipment of the defective item is for repair under this warranty
will be at the customer’s own risk and expense. This warranty is valid for the original
purchaser only.

EXTENDED WARRANTY

Any time during the initial two-year Warranty period (but not thereafter), you may
purchase a three-year extension to the Warranty (yielding a total Warranty period
of five years) by remitting to Orban ten percent of the gross purchase price of your
Orban product. This offer applies only to new Orban products purchased from an
authorized Orban Dealer. To accept the extended five-year warranty, please sign and
date below, and fax this copy along with a copy of your original invoice (showing
date of purchase) to Orban Warranty Extension at +1 480.403.8314.

I ACCEPT THE EXTENDED FIVE-YEAR WARRANTY

1-25

__________________________________________________________________________

DATE______________________________________________________________________

MODEL NUMBER: 8685

SERIAL NUMBER____________________________________________________________

OPTIMOD SURROUND PROCESSOR INSTALLATION

Section 2

Installation

Installing the 8685

Allow about 2 hours for installation.

Installation consists of: (1) unpacking and inspecting the 8685, (2) checking the line
voltage setting, fuse, and power cord, (3) mounting the 8685 in a rack, (4) connect­ing inputs, outputs and power, (5) optional connecting of remote control leads and
(6) optional connecting of computer interface control leads.

2-1

When you have finished installing the 8685, proceed to “Quick Setup,” on page 2-8.

1. Unpack and inspect.

A) If you note obvious physical damage, contact the carrier immediately to make

a damage claim. Packed with the 8685 are:

Quantity Item

1 Operating Manual

2 Line Cords (domestic, European)

2 Fuses (½ A-250V Slow-Blow for 115V; 250 mA-250V for 230V)

2 Fuse holders (gray for 115V fuses and black for 230V fuses)

4 Rack-mounting screws, 10-32 x ¾—with washers, #10

1 Ethernet crossover cable

1 PC Remote Software CD

B) Save all packing materials! If you should ever have to ship the 8685 (e.g., for

servicing), it is best to ship it in the original carton with its packing materials
because both the carton and packing material have been carefully designed
to protect the unit.

C) Complete the Registration Card and return it to Orban. (please)

The Registration Card enables us to inform you of new applications, per­formance improvements, software updates, and service aids that may be
developed, and it helps us respond promptly to claims under warranty
without our having to request a copy of your bill of sale or other proof
of purchase. Please fill in the Registration Card and send it to us today.
(The Registration Card is located after the cover page).

2-2

INSTALLATION ORBAN MODEL 8685

Customer names and information are confidential and are not sold to
anyone.

2. Check the line voltage, fuse and power cord.

DO NOT connect power to the unit yet!

A) Check the Voltage Select switch. This is on the rear panel.

The 8685 is shipped from the factory with the Voltage Select switch set to
the 230V position. Check and set the Voltage Select switch to your local
voltage requirements. To change the operating voltage, set the Voltage
Select to 115V (for 90-130V) or 230V (for 200-250V) as appropriate.

B) Install the proper fuse and fuse holder, per your country’s standards.

The 8685 is shipped from the factory with the fuse and fuse holder re­moved. Select the appropriate fuse holder and fuse from the supplied
parts in the accessory kit. Use the gray fuse holder for domestic/115V op­eration, or the black fuse holder for European/230V operation. For safety,
use ½ A-250 V Slow-Blow for 115V and 250mA-250V for 230V for 230V.

TYPE 18/3 SVT COR, TYP

(3 x .82 mm2)

CONDUCTOR

L

N

E

PLUG FOR

115 VAC

(USA)

TYPE H05VV - F - 0.75

PLUG FOR

230 VAC

(EUROPEAN)

Figure 2-1: AC Line Cord Wire Standard)

C) Check the power cord.

AC power passes through an IEC-standard mains connector and an RF fil­ter designed to meet the standards of all international safety authorities.

The power cord is terminated in a “U-ground” plug (USA standard), or
CEE7/7 plug (Continental Europe), as appropriate to your 8685’s Model
Number. The green/yellow wire is connected directly to the 8685 chassis.

If you need to change the plug to meet your country’s standard and you
are qualified to do so, see Figure 2-1. Otherwise, purc
cord with the correct line plug attached.

WIRE COLOR

LINE

NEUTRAL

EARTH GND

CONDUCTOR WIRE COLOR

L

N

E

EARTH GND

NORMAL ALT

BROWN

BLUE

GREEN-YELLOW

LINE

NEUTRAL

GREEN-YELLOW

BLACK

WHITE

GREEN

BROWN

BLUE

hase a new mains

OPTIMOD SURROUND PROCESSOR INSTALLATION

3. Mount the 8685 in a rack.

The 8685 requires three standard rack units (5 inches/12.7 cm).

There should be a good ground connection between the rack and the 8685 chas­sis—check this with an ohmmeter to verify that the resistance is less than 0.5Ω.

It is wise to allow one rack unit of free space for ventilation above and below the
unit. Mounting the unit over large heat-producing devices (like a vacuum-tube
power amplifier) may shorten component life and is not recommended. Ambient
temperature should not exceed 45°C (113°F) when equipment is powered.

Equipment life will be extended if the unit is mounted away from sources of vi­bration, like large blowers and is operated as cool as possible.

4. Connect inputs and outputs.

See the hookup and grounding information on the following pages.

TOPIC PAGE

AES3id Digital Inputs and Output ..............................................................2-6

HD-SDI Input and Output

Analog Audio Output..................................................................................2-7

Wordclock/AES11id Sync Input ...................................................................2-7

Power Ground ..............................................................................................2-8

............................................................................2-7

2-3

5. Connect remote control interface. (optional)

a full listing of 8685’s extensive GPI remote control provisions, refer to

For
Remote Control Interface Programming on page 2-54.

Optically isolated remote control connections are terminated
male connector located on the rear panel. It is wired according to Figure 2-2. To

the desired function, apply a 5-12V AC or DC pulse between the appropri-

select
ate REMOTE
and then connected to ground at pin 1 to create a Remote Common. A current­limited +12VDC source is available on pin 25. If you use 48V, connect a 2kΩ
±10%, 2-watt carbon composition resistor in series with the Remote Common or
the (+) terminal to provide current limiting.

In a high-RF environment, these wires should be short and should be run
through foil-shielded cable, with the shield connected to CHASSIS GROUND at
both ends.

6. Connect tally outputs (optional)

See the schematic on page 6-42.

The 8685 supports two hardware tally outputs,
and operate with respect to pin 1 (common). Therefore, the voltage applied to
the load (like a relay or optoisolator) must be positive. You can use the 12 VDC
source on pin 25 to drive the high side of the load, taking into account the fact
that the voltage on pin 25 is current limited by a 310 Ω resistor.

INTERFACE terminals. The (−) terminals can be connected together

which are NPN open-collector

in a type DB-25

2-4

INSTALLATION ORBAN MODEL 8685

PIN ASSIGNMENT

1. COMMON

2. REMOTE 1+

3. REMOTE 2+

4. REMOTE 3+

5. REMOTE 4+

6. REMOTE 5+

7. REMOTE 6+

8. REMOTE 7+

9. REMOTE 8+

10. TALLY 1

11. TALLY 2

12. N/C

13. POWER COMMON

14. REMOTE 1-

15. REMOTE 2-

16. REMOTE 3-

17. REMOTE 4-

18. REMOTE 5-

19. REMOTE 6-

20. REMOTE 7-

21. REMOTE 8­22-24. N/C

25. +12 VOLTS DC

REMOTE INTERFACE

7. Connec

Figure 2-2: Wiring the 25-pin Remote Interface Connector

The tally outputs are protected against reverse polarity.

To avoid damaging the 8685, limit the current into a tally output to
30 mA. DO NOT connect a tally output directly to a low-impedance volt­age source! The tally outputs are not protected against this abuse and the
output transistors are likely to burn out. When driving a relay or other in­ductive load, connect a diode in reverse polarity across the relay coil to
protect the driver transistors from reverse voltage caused by inductive
kickback.

Note that the tally outputs have no special RFI protection. Therefore, it is wise to
use shielded cable to make connections to them.

See step 22 on page 2-37 for instructions on programming the tally outputs.

t to a computer

You can connect to a computer via the 8685’s serial connector or via an Ethernet
network. See Networking and Remote Control on page 2-56 and Installing 8685
PC Remote Control Software on page 2-62 for more details.

OPTIMOD SURROUND PROCESSOR INSTALLATION

8685 Rear Panel

[Note: The 8685’s front panel is described starting on page 3-1.]

The Power Cord is detachable and is terminated in a “U-ground” plug (USA stan­dard), or CEE7/7 plug (Continental Europe), as appropriate to your 8685’s Model
Number.

2-5

An RS-232 (Terminal) Computer Interface, labeled S

ERIAL PORT, is provided to

connect the 8685 to IBM PC-compatible computers to support ASCII terminal com­mands, Orban’s PC Remote software, or ppp connections. This port is labeled S

ERIAL

1.

Two RS-485 Serial Ports can accept and emit Dolby AC3 metadata that follows the
SMPTE Rdd06-2008 standard.

These ports are labeled SERIAL 2 AND SERIAL 3. You can use these ports to
convey D
matically. See Conveying Metadata on page 2-15.

IALNORM to a Dolby Digital encoder (like Dolby’s DP-569) auto-

A Remote Interface Connector (GPI connector) allows you to connect the 8685 to
your existing transmitter remote control or other simple contact-closure control de­vices. The 8685 remote control supports user-programmable selection of up to eight
optically isolated inputs for any one of the following parameters: recalling any fac­tory- or user presets, selecting tone or bypass modes, recalling Setups, and clock syn­chronization. (See Remote Control Interface Programming on page 2-54.) The 8685
remote control accepts a DB-25 connector

.

The Ethernet Port accepts a 10 Mb/second or 100 Mb/second Ethernet connection
terminated with an RJ45 connector. Because of its speed compared to the RS-232
port, Ethernet is the preferred method of connecting the 8685 to PC Remote.

Digital AES3id Inputs and AES3id Outputs support digital audio signals through
BNC connectors. Hardware inputs and outputs each carry two audio channels.

CHASSIS LABEL

DB-9 GENDER

FORMAT

PINOUT

1 Æ
2 Æ
3 Æ
4 Æ
5 Æ
6 Æ
7 Æ
8 Æ
9 Æ

Table 2-1: Serial Port Pin Identification

SERIAL 1

Male

RS-232

DCD

S IN

S OUT

DTR

Ground

DSR
RTS
CTS

NC

TX A data out -

TX B data out +

SERIAL 2

Female

RS-485

Shield

RX B data in +

Ground

Ground

RX A data in -

Shield

NC

SERIAL 3

Female
RS-485

Shield

TX A data out -

RX B data in +

Ground

Ground

TX B data out +

RX A data in -

Shield

NC

2-6

INSTALLATION ORBAN MODEL 8685

Analog Outputs are mainly provided for monitoring various audio signals through
XLR-type connectors. However, because of low tilt and overshoot they can also drive
transmitters while maintaining tight peak control.

Word clock/AES11id Sync Input is provided on a female BNC connector.

Optional HD-SDI Input and Output supporting SD-SDI (per SMPTE 259M); 1.5

Gbit/s HD-SDI (per SMPTE 292M; up to 720p and 1080i) and 3.0 Gbit/s single-wire
HD-SDI (per SMPTE 424M; 1080p) are provided on two female BNC connectors. See
Optional HD-SDI Input/Output Interface Module on page 6-3.

ideo Sync Input supporting SMPTE 274M and SMPTE 296M is provided on a

V

female BNC connector on the optional HD-SDI module.

Input and Output Connections

AES3id Digital Inputs and Outputs

The base unit has five AES3id audio inputs and six AES3id audio outputs, while the
optional HD-SDI module instead has three AES3id inputs and three AES3id outputs.
The inputs and outputs are all equipped with sample rate converters and can oper­ate at 32, 44.1, 48, 88.2, and 96 kHz. You can force the output sample rate to be
genlocked to signal appearing at either the word clock/AES11id sync input or the
audio input. The output can also synchronize to the 8685’s internal clock.

Inputs and outputs follow the AES3id standard. This specifies 75Ω unbal­anced coaxial cable, terminated in male BNC connectors. It is suitable for
very long cable runs (up to 1000 meters).

If you wish to connect these inputs and outputs to an AES3 balanced
connection, it is wise to insert a 110Ω/75Ω balun transformer between
the AES3 and AES3id sides of the connection to ensure best signal integ­rity.

The digital input clip level is fixed at 0 dB relative to the maximum digital
word. The maximum digital input will make the 8685 input meters dis­play 0dB. The reference level is adjustable using the DI

The 8685’s internal sample rate is 48 kHz. Because of “asynchronous re­sampling,” any output sample rate other than 48 kHz/internal sync can
introduce overshoots.

If you need to use an STL with 32 kHz sample rate (because that is all that
is available), you will achieve lowest overshoot by setting the 8685’s in­ternal bandwidth to 15 kHz. That way, the 8685’s peak limiter operates
on a signal with 15 kHz bandwidth and subsequent sample rate conver­sion will not add overshoot caused by spectral truncation.

For a discussion of sync issues, see Sample Frequency Synchronization on
page 1-14.

REF control.

OPTIMOD SURROUND PROCESSOR INSTALLATION

HD-SDI Input and Output (optional)

The optional HD-SDI input/output supports SD-SDI (per SMPTE 259M); 1.5 Gbit/s HD­SDI (per SMPTE 292M; up to 720p and 1080i) and 3.0 Gbit/s single-wire HD-SDI (per
SMPTE 424M; 1080p). Only audio channels 1 through 8 are supported; these can be
routed to and from several destinations (see Table 2-2: Routing Switcher Sources and
Destinations on page 2-23). See Optional HD-SDI Input/Output Interface Module on
page 6-3 for a detailed specification.

2-7

The HD-SDI input/output has a hard-wire relay bypass that
connector directly to the output BNC connector automatically when no power is
connected to the 8685 and if several classes of faults occur in the 8685’s circuitry.

connects the input BNC

Wordclock/AES11id Sync Input

The sync input accepts a standard 5V p-p squarewave 1 x word clock signal (a
squarewave at the sampling frequency) or an AES11id signal, automatically de­tected. A menu item allows you to synchronize the output sample frequency to the
frequency present at the sync. The connector is a female BNC with the shell
grounded to chassis.

To permit daisy-chaining sync signals, the input impedance is greater than 1 KΩ. If
the 8685 is the last device driven by the sync coaxial cable, you should terminate it
by using a BNC Tee connector and a 75Ω BNC terminator. This will prevent perform­ance-degrading reflections in the cable. This is required for both word clock and
AES11id operation.

Analog Audio Output

• We recommend using two-conductor foil-shielded cable (like Belden 8451 or

equivalent) for the analog output connections because signal current flows
through the two conductors only. The shield does not carry signal and is used
only for shielding.

• Analog output connectors are XLR-type connectors. There are two connectors.

These are intended for monitoring and troubleshooting. You can specify which
signals (LF, RF, C, LS, RS, LFE, LB, RB, STEREO L, STEREO R, DOWNMIX L,
DOWNMIX R, LF/RF, C, LS/RS, LB/RB, STEREO, or DOWNMIX) drive these outputs.

In the XLR-type connectors, pin 1 is CHASSIS GROUND, while pin 2 and
pin 3 are a balanced, floating pair. This wiring scheme is compatible with
any studio-wiring standard: If pin 2 or 3 is considered LOW, the other pin
is automatically HIGH.

• Electronically balanced and floating outputs simulate a true transformer output.

The source impedance is 50Ω. The output is capable of driving loads of 600Ω or
higher; the 100% modulation level is adjustable with the AO
a –6dBu to +24dBu range. The outputs are EMI suppressed.

100% control over

2-8

INSTALLATION ORBAN MODEL 8685

• If an unbalanced output is required (to drive unbalanced inputs of other equip-

ment), it should be taken between pin 2 and pin 3 of the XLR-type connector.
Connect the L
organization’s standards) to ground; take the H
pin. No special precautions are required even though one side of the output is
grounded.

• At the 8685’s output (and at the output of other equipment in the system), do

not connect the cable’s shield to the CHASSIS GROUND terminal (pin 1) on the
XLR-type connector. Instead, connect the shield to the chassis ground at the in­put destination. Connect the red (or white) wire to the pin on the XLR-type con­nector (#2 or #3) that is considered H
Connect the black wire to the pin on the XLR-type connector (#3 or #2) that is
considered L

OW pin of the XLR-type connector (#3 or #2, depending on your

IGH output from the remaining

IGH by the standards of your organization.

OW by the standards of your organization.

Power Ground

• Ground the 8685 chassis through the third wire in the power cord. Proper

grounding techniques never leave equipment chassis unconnected to
power/earth ground. A proper power ground is essential for safe operation. Lift­ing a chassis from power ground creates a potential safety hazard.

Quick Setup

The 8685’s Quick Setup feature provides a guided, systematic procedure for setting
up the 8685. It should be adequate for most users without special or esoteric re­quirements. Following this section, you can find more detailed information regard­ing setup outside the Quick Setup screens. Mostly, you will not need this extra in­formation.

For the following adjustments, use L

NTER) to select parameters. After you have highlighted the desired parameter on

E

the screen, use the front panel control knob to adjust the parameter settings as de­sired.

• The 8685 has input and output routing switchers that connect the 8685’s physical

inputs and output to the logical inputs and outputs of the 8685’s 7.1 surround
and four 2.0 audio processors, all of which are active simultaneously. (If you are
processing 5.1 surround, do not feed program material to the Lb and Rb inputs
of the surround processor.)

Quick Setup allows you to retain a custom routing setup or to use the factory de­fault. In the base unit AES3id input #1=Lf/Rf, #2=C/LFE, #3= Ls/Rs, #4=Lb/Rb (ap­plies to 7.1 processing only), and #5=Stereo (2.0 processor #1). This arrangement
is consistent with the Dolby DP-569 Dolby Digital Encoder’s default I/O routing
setting and with ATSC A/54A.

OCATE (the green joystick, between ESCAPE and

OPTIMOD SURROUND PROCESSOR INSTALLATION

If the optional HD-SDI module is installed, the default routing for the HD-SDI’s
audio channels is #1=Lf, #2=Rf, #3=C, #4=LFE, #5=Ls, #6=Rs, #7=Lst (2.0 processor
#1), #8=Rst (2.0 processor #1). The inputs and outputs of the remaining three 2.0
processors (#2, #3, and #4) are connected to AES3id inputs and outputs 1/2, 3/4,
and 5/6 respectively. The surround processor’s Lb and Rb inputs and outputs are
not connected. This arrangement accommodates 5.1 surround processing for the
audio stream carrying the primary language and 2.0 processing for an audio
stream carrying a secondary language. You can change this routing in the 8685’s
routing switcher as needed. You must do this if you are installing the optional
Penteo upmixer, which is inserted between the 8685’s three AES3id inputs and
outputs—see step 5 on page 2-23.

In addition, a C/
you to swap the C and LFE assignments. (See Table 2-2: Routing Switcher Sources
and Destinations on page 2-23.)

With the 8685’s factory default Setup, the first 2.0 processor
mode and its output is not mixed into the surround processor’s output. We rec­ommend using the default routing for Quick Setup and customizing it after you
run Quick Setup.

1. From the pop-up Menu display, Locate to System Setup, then press the

Enter button.

MAPPING control, located in the INPUT/OUTPUT 4 screen, allows

LF

operates in S

TEREO

2-9

If the pop-up Menu isn’t onscreen, press the control knob in.

2. From the System Setup screen, Locate to the Quick Setup icon, then

press the Enter button.

Quick Setup presents a guided sequence of screens into which you must insert in­formation about your particular requirements.

Each Quick Setup page is titled in the top right corner (e.g., page 1 is Q
SETUP 1).

3. Set time and date.

OCATE to the Time & Date screen (SYSTEM SETUP > QUICK SETUP 2).

A) L

B) Choose Time Format as desired (either 24-hour time or 12-hour AM / PM-style

time).

C) Set hours, minutes, and seconds, in that order, using a 24-hour format for en-

tering hours even if you have set the time format to 12-hour.

Seconds will stop advancing when you set hours and minutes. So set sec­onds last.

D) Choose the desired date format.

UICK

2-10

INSTALLATION ORBAN MODEL 8685

E) Set today’s date.

F) If you want the clock to reset itself automatically to conform to Daylight Sav-

ing Time (Summer Time), use the D

TANDARD TIME MONTH/WEEK. to match the daylight saving and standard times

S
in your area. If you do not wish to use this feature, leave the D

TANDARD TIME fields set to OFF.

and S

Note that the clock will set itself automatically if you have set the 8685 to
synchronize to an Internet timeserver. See Synchronizing Optimod to a
Network Timeserver in page 2-59.

AYLIGHT SAVING > MONTH/WEEK and

AYLIGHT SAVINGS

4. Decide whether you will keep the current Input/Output routing configu-

ration.

L

OCATE to the Time & Date screen (SYSTEM SETUP > QUICK SETUP 3).

To accommodate users who are re-running Quick Setup after they have made
customized routing assignments, it is possible to keep the current Input/Output
routing configuration or to use the factory default configuration.

5. Set the surround and 2.0 maximum low pass filter frequency as appro-

priate to your application.

The audio bandwidth of the 8685’s surround and 2.0 processors (10.0 to 20.0 kHz
in 1.0 kHz steps) can be set in three places: (1) in the active Setup, (2) in the EQ
page of the Modify screen, and (3) by remote control. The 8685’s bandwidth is
always the lowest of these three settings. The frequency in Setup is a technical
parameter that determines the highest bandwidth available. The installing engi­neer should set it to complement the sample rate of the digital system being
driven by the 8685. For example, if the 8685 is driving a system with a 32kHz
sample rate, set the 2.0

MAX LOW PASS FILTER to 15.0 KHZ. That way, a setting of

20 kHz elsewhere will not cause excessive bandwidth and aliasing because the
8685 will automatically override it with the

MAX LPF setting.

For ATSC digital television transmission (which uses 48 kHz sample rate), set the

MAX LOW PASS FILTER to 20 KHZ.

2.0

The 2.0 MAX LOW PASS FILTER for the surround and 2.0 channel processing
are independent.

A) LOCATE to the Lowpass Filter screen (SYSTEM SETUP > QUICK SETUP 4).

B) Set the 2.0

MAX LOW PASS FILTER control as required.

6. Set surround and 2.0 external AGC mode.

Most of the processing structures in the 8685 control level with a preliminary
AGC (Automatic Gain Control). In typical 8685 installations, there is no AGC up­stream from the 8685. However, if you are using a suitable Automatic Gain Con­trol ahead of the 8685 (to protect an STL, for instance), the AGC in the 8685
should be defeated. This is so that the two AGCs do not “fight” each other and
so they do not simultaneously increase gain, resulting in increased noise.

OCATE to Studio Configuration screen (SYSTEM SETUP > QUICK SETUP 5).

A) L

OPTIMOD SURROUND PROCESSOR INSTALLATION

B) Set the Surround External AGC mode.

2-11

• Set the field to Y

ES if you have an external AGC installed at your studio

feeding the studio-to-transmitter link. This setting appropriately defeats
the 8685’s AGC for all presets.

• If you do not have an external AGC installed, set the field to N

O; this set-

ting allows the selected preset to determine the 8685 AGC status.

C) Set the 2.0 External AGC mode (see above for choices).

7. Set surround and 2.0 reference levels.

The Reference Level screen allows you to match the 8685’s processing to the
normal operating level expected at the 8685’s input so the 8685’s AGC can oper­ate in the range for which it was designed. If you know the reference VU or PPM
level (sometimes known as “lineup level”) that will be presented to the 8685, set

URROUND REFERENCE LEVEL to this level.

the S

It is wise to verify your setting with the steps below, which also allow you to set
the reference level controls when you do not know the reference VU or PPM
level that will be presented to the 8685.

A) Feed normal program material to the 8685.

Play program material from your studio, peaking at normal program lev­els (typically 0VU if your console uses VU meters).

B) LOCATE to the Reference Levels screen (SYSTEM SETUP > QUICK SETUP 6).

C) Adjust the S

URROUND REFERENCE LEVEL so that the surround AGC meter reads

an average of 10 dB gain reduction.

[−40 to –10 dBFS (VU), or –33 to –3 dBFS (PPM)] in 0.5 dB steps.]

The D

IGITAL REFERENCE LEVEL VU and PPM settings track each other with

an offset of 8 dB. This compensates for the typical indications with pro­gram material of a VU meter versus the higher indications on a PPM.

D) If you will be using the 2.0 processors, adjust the 2.0 REFERENCE LEVEL so that

the 2.0 AGC meter reads an average of 10 dB gain reduction.

8. Set the surround and 2.0 output feeds and sample rates.

OCATE to the Output Configuration screen (SYSTEM SETUP > QUICK SETUP 7).

A) L

B) Choose one of the following to feed the hardware outputs assigned to the

surround audio processing:

• MB+L

IMIT (stereo enhancement, equalization, AGC, two-band or 5-Band

compression, loudness control, and look-ahead peak limiting). This setting
is correct for most applications, including driving a digital television trans­mitter. It fully supports Dialnorm.

The three settings below do not support Dialnorm automatically:

2-12

INSTALLATION ORBAN MODEL 8685

ULTIBAND (stereo enhancement, equalization, AGC, and two-band or 5-

• M

Band compression, and loudness control without peak limiting).

• AGC+L

IMIT (stereo enhancement, equalization, AGC, and look-ahead peak

limiting)

• AGC

If you set

(stereo enhancement, equalization, and AGC without peak limiting)

EXT AGC to YES in System Setup, this defeats the AGC. In this

case, choosing:

• MB+L

IMIT results in stereo enhancement, equalization, two-band or 5-Band

compression, and loudness control with look-ahead limiting but without
AGC.

• M

ULTIBAND results in stereo enhancement, equalization, two-band or 5-

Band compression, and loudness control without AGC.

• AGC+LIM

results in stereo enhancement, equalization, and look-ahead lim-

iting.

• AGC causes the input signal to be passed to the analog output with no dy-

namics processing (just stereo enhancement and equalization).

The only reason to use an output without peak limiting is if low delay is
needed, as the 8685’s sophisticated, low-IM peak limiter adds about 12
milliseconds of delay. Note that this is only true if a given output’s D
parameter in System Setup is set to M
value, the 8685 will automatically add delay to ensure that the in­put/output delay corresponds to your D
television applications, D
make it easy to retain AV- sync.

In digital radio and netcast applications, you might want to use a low­delay output to drive your studio monitor speakers as well as talent
headphones.

CAUTION: If an output is configured for no peak limiting, it can clip and
distort. If this happens, correct it by turning down the 8685’s MB
DRIVE control (if you are using MULTIBAND mode) or AGC LIMITER DRIVE
control (if you are using AGC mode). Then save the result as a user pre­set. Note that these control settings apply only to the active processing
preset. If you use more than one processing preset, you must adjust the
appropriate L

IMITER DRIVE control for each and save each as a user preset.

ELAY will usually be set to exactly one frame to

INIMUM. If DELAY is set to any other

ELAY control setting. In digital

ELAY

LIMITER

C) Choose the source to feed the hardware outputs assigned to the 2.0 channel

audio processing (see above for the choices). All four 2.0 processors will be set
identcially.

D) Set the surround output sample rate to 32, 44.1, 48, 88.2, or 96 kHz. 48 kHz is

correct for digital television transmission.

The internal sample rate converter sets the rate at the 8685’s digital out­put. This adjustment allows you to set the output sample rate to ensure
compatibility with equipment requiring a fixed sample rate. In all cases,
the 8685’s internal processing sample rate is 48 kHz.

OPTIMOD SURROUND PROCESSOR INSTALLATION

E) Set the 2.0 output sample rate to 32, 44.1, 48, 88.2, or 96 kHz.

9. Set surround and 2.0 output levels.

OCATE to the Set Output Levels screen (SYSTEM SETUP > QUICK SETUP 8).

A) L

2-13

B) Set the S

dB with reference to digital full-scale. (Note: This control is labeled S

URROUND OUTPUT LEVEL control to the desired peak level in units of

URROUND

OUTPUT 100% in PC Remote.)

–2.0 dBfs is an appropriate value. It provides some headroom for any over­shoots introduced by equipment (like codecs) following the 8685.

Note that if a given output is fed with a non-limited signal (AGC or LIMIT),
peak level will not be controlled tightly.

• IMPORTANT: In MB

S

URROUND OUTPUT LEVEL controls do not adjust loudness; they only set the

LIMIT mode, the 8685’s SURROUND OUTPUT LEVEL and

maximum peak level at the 8685’s output. This is to reduce the likelihood
of setup errors when the 8685 is driving a Dolby Digital channel. The active

D

IALNORM value and the MB LIMITER DRIVE controls set output loudness.

• Regardless of the output mode, do not try to adjust loudness at the re-

ceiver by using the 8685’s O
set output headroom. In MB+L
loudness. In MB
In AGC and AGC+L

mode, use the MB LIMITER DRIVE control in the active preset.

IMIT modes, use the AGC LIMITER DRIVE control in the ac-

UTPUT LEVEL controls. Use these controls only to

IMIT mode, use the DIALNORM control to set

tive preset.

• If you have readjusted any L

IMITER DRIVE control (located in the MULTIBAND

MODIFY screens for the surround and 2.0 processing), you must save the re-

sult as a user preset in order to avoid the possibility of losing your settings,
which will otherwise happen if you recall a different preset.

the

This will allow you to use the full amount of headroom available in the
transmission channel following the 8685 and, in digital television service,
will minimize or eliminate the need to apply peak limiting to the signal.
This is because the Dolby Digital system allows you to use the D
metadata parameter to ensure that there is enough peak headroom
through the transmission system. For most digital television transmis­sions, setting D
sure that no peak limiting ever occurs, assuming that you set loudness
with the 8685’s L
meter peak at 0 dB with typical dialog and set the 8685’s O
to –2.0 dBfs, which allows 2 dB of peak headroom for overshoots in the
AC3 codec.

IALNORM to –24 dB or below (i.e., closer to –31 dB) will en-

IMITER DRIVE control to make the 8685’s Loudness Level

C) Set the 2.0 OUTPUT control to the desired peak level in units of dB with refer-

ence to digital full-scale.

D) Set the A

NALOG OUTPUT control to the desired peak level in units of dBu,

where 0 dBu = 0.775 v r.m.s.

IALNORM

UTPUT control

2-14

INSTALLATION ORBAN MODEL 8685

The 8685’s two analog output channels are most commonly used for
monitoring. Nevertheless, they produce low overshoot and can be used
to drive a transmission system with an analog input.

10. Set surround and 2.0 global Dialnorm values. (Do not skip this step!)

If you skip this step, your audio may be objectionably louder or quieter than
other stations’ audio.

The 8685 is designed to work smoothly with Dolby Digital. In essence, the Dolby
Digital Dialnorm metadata sets an invisible volume control that is cascaded with
the volume control in the consumer’s receiver. To produce the same loudness as
other properly set up transmission channels, the 8685 needs to be aware of the
Dialnorm value you are transmitting to the consumer. The 8685 uses this value in
two ways:

• It adjusts the sensitivity of the 8685’s Loudness Level meters so that when the

Loudness Level meters are peaking at 0 dB on speech material, loudness is cor­rect at the receiver. This means that you can use the 8685’s Loudness Level
meter as a reference if you are modifying a factory preset and want to ensure
correct loudness at the consumer’s receiver.

• It scales the output level of the 8685’s presets so that the level will be correct

for the Dialnorm value you are transmitting to the consumer. To do this, it
sets the gain of a hidden level control cascaded with the 8685’s L

IMITER DRIVE

control. This gain adjustment is before the 8685’s look-ahead limiters and

O

UTPUT 100% controls. This arrangement allows you to use the full headroom

of the Dolby Digital transmission channel regardless of the Dialnorm setting.
In addition, changing Dialnorm adds a hidden offset to the L

OUDNESS

THRESHOLD control’s displayed setting, which ensures that the loudness con-

troller’s gain reduction does not change when D

These scale factors adjust themselves automatically so that the loudness
of the consumer’s receiver is the same regardless of the settings of the

8685’s S
purpose is to set the 8685’s maximum peak output level with respect to
0 dBfs. This allows you to compensate for transmission channels that in­troduce peak overshoots.

For example, if you change the SURROUND OUTPUT 100% control from
0 dBfs to –6 dBfs, the drive level into the look-ahead limiters automati­cally increases by 6 dB. Meanwhile, the threshold of the loudness control­ler and the sensitivity of the 8685’s Loudness Level meter decrease by 6
dB. Hence, the r.m.s. drive level into the Dolby Digital encoder stays the
same, the loudness controller produces the same amount of gain reduc­tion, and the Loudness Level meter continues to peak at 0 dB.

To change the 8685’s output loudness, adjust its D
the MB

D

8685’s Loudness Level meter and without changing the amount of gain
reduction in the loudness controller. Adjusting MB
both the Loudness Level meter’s indication and the amount of gain re­duction in the loudness controller.

URROUND OUTPUT 100% and 2.0 OUTPUT 100% controls, whose only

LIMITER DRIVE control in the active processing preset. Adjusting

IALNORM changes loudness without changing the indication on the

IALNORM is changed.

IALNORM value or adjust

LIMITER DRIVE changes

OPTIMOD SURROUND PROCESSOR INSTALLATION

Each processing preset has a Dialnorm value that can override the global Dial­norm values that you set in this step. To use the global Dialnorm value, be sure
that the active processing preset’s Dialnorm value is set to U

SE GLOBAL, which is

true of all Factory Presets except for the analog TV presets. In all cases, you must

ensure that the 8685’s active Dialnorm value matches the Dialnorm value you are
sending to consumers.

Setting the 8685’s active Dialnorm value:

OCATE to the Set Dialnorm screen (SYSTEM SETUP > QUICK SETUP 9).

A) L

2-15

B) Set the S

URROUND DIALNORM value so that it is the same as the Dialnorm value

you are transmitting to the consumer’s receiver.

Most broadcasting organizations have standardized on –24 or –25 dB.
Paragraph H.7 of ATSC Recommended Practice A/85:2009 recommends
–24 dB. (Strictly speaking, it recommends “–24 LKFS,” where LKFS is a
unit of measure for loudness when the ITU-R BS.1770 meter is used for
loudness measurement.)

If you are not driving a Dolby Digital system (in a netcasting application,
for example), you must choose an arbitrary value of Dialnorm. The 8685’s
processing was tuned for a nominal Dialnorm value of –19 dBfs and other
values of the 8685’s D
LIMITER DRIVE and LOUDNESS THRESHOLD controls, as described above.

If you are not using the 8685 to process a Dolby Digital transmission, –19
dBfs is a reasonable choice for the 8685’s D
ence between the SMPTE standard line-up level (–20 dBfs) and the EBU
standard line-up level (–18 dBfs). It offers a good tradeoff between head­room and noise, particularly in 16-bit transmission channels.

As you set Dialnorm closer to –11 dB, loudness increases. Eventually, you
will start to see significant limiter gain reduction as the 8685’s mastering­quality look-ahead limiters work harder and harder prevent peak over­load. Above a certain Dialnorm value, the limiters will start to create au­dible side effects as they create more and more gain reduction. Allowing
up to 6 dB of limiter gain reduction is usually safe, but the best sounding
limiter gain reduction is no gain reduction at all, so we advise taking ad­vantage of any available headroom in your transmission channel to
minimize the amount of look-ahead limiter gain reduction.

IALNORM control produce hidden offsets in the MB

IALNORM. This splits the differ-

C) [Optional] Set the 2.0 DIALNORM value so that it is the same as the Dialnorm

value you are transmitting on your 2.0 channel stream, if any. This setting is
applied to all four 2.0 processors.

Conveying Metadata: All models of the 8685 can, via an SMPTE Rdd06-2008­compliant RS-485 serial connection, automatically convey their active surround
metadata value to a downstream Dolby Digital encoder like the Dolby DP-569,
which must be set up according to its operating instructions to receive and act
upon this input. This greatly reduces the possibility that operator error will cause
the wrong value of surround metadata to be transmitted to consumers.

Units equipped with the optional HD-SDI module can also receive and send
metadata via the HD-SDI VANC data per SMPTE 2020-2-2008 (Method-A) or
SMPTE 2020-3-2008 (Method-B) and, if equipped with the optional Dolby-E

2-16

INSTALLATION ORBAN MODEL 8685

modules, via a Dolby-E encoded bitstream (which is typically conveyed on audio
channels 1 and 2).

In the base unit, to emit an Rdd06-2008-compliant signal the 8685 must be re­ceiving a valid input RS-485 serial stream that is compliant with Rdd06-2008—this
is necessary to synchronize the output metadata to video frame boundaries per
the Dolby specification. In units equipped with the HD-SDI module, frame sync
can also use the SMPTE 274M/296M video reference input or the signal appear­ing at the HD-SDI input.

When a valid input stream is present, the 8685 passes this stream unchanged to
its output except for the following modifications:

• The ac3_dialnorm word in the output metadata stream is reauthored so it is

the same as the 8685's active D

• The ac3_dynrnge word in the output stream is set to 0, indicating that the

downstream AC3 encoder must reauthor the line-mode DRC metadata, fol­lowing the level compression profile found in the ac3_dynrng1 word in the
input metadata.

• The ac3_compre word in the output stream is set to 0, indicating that the

downstream AC3 encoder must reauthor the RF-mode DRC metadata, follow­ing the level compression profile found in the ac3_compr1 word in the input
metadata.

IALNORM value.

Future software upgrades will add more functionality to the 8685’s han­dling of metadata, including the ability to specify a different level com­pression profile than that found in the input metadata, and the ability to
handle 2.0 metadata in addition to surround metadata.

To maintain sync when using metadata, it is important to set the 8685’s audio
delay to one frame of the video associated with the metadata. See step 14 on

page 2-19.

11. Choose a processing preset.

OCATE to the Set Preset screen (SYSTEM SETUP > QUICK SETUP 10).

A) L

B) Turn the knob until your desired preset is highlighted at the top of the screen.

C) Press the E

This step selects the processing to complement various program formats.
There are presets for radio-style and television-style applications. The lat­ter begin with “TV.”

NTER button to put your desired preset on-air.

The “TV xxxx” presets are tuned for strictly for digital television, while
the 2.0 parameters in the “TVA xxxx” presets are tuned to allow the 2.0
processing to be used for analog television transmissions that employ FM
aural carriers having 50μs or 75μs preemphasis. For instructions on how to
set up the 8685’s 2.0 processing for analog television, see step 11 on page
2-31.

After this step, you can always select a different processing preset, pro­gram the 8685 to automatically change presets on a time/date schedule,

OPTIMOD SURROUND PROCESSOR INSTALLATION

use a GPI input to trigger preset changes, modify presets to customize
your sound, and store these presets as User Presets.

Preset names are just suggestions. Feel free to audition different presets
and to choose those whose sound you prefer.

2-17

You can easily modify a preset later with the 8685’s one-knob L

ESS-MORE

feature. Refer to Section 3.

If you want the 8685’s surround and 2.0 processors to operate with dif­ferent presets, import a 2.0 preset into the active preset and save the
combination as a User Preset. Instructions for importing and editing a 2.0
preset are on page 3-25. Note that while the 2.0 and surround processors
can use different presets, all 2.0 processors must use the same preset.

Congratulations! You are now transmitting with your initial sound.

Feel free to
read the material in Section 3 of this manual, which describes the various presets
and how you can customize them to achieve your desired signature sound.

Presets and Loudness: All 8685 TVxxxx presets are designed to produce
very similar loudness with speech and to do so regardless of the setting
of their L
used on-air without need for loudness adjustment, assuming that you
have told the 8685 what D
sumer. We set loudness partly by making appropriate compression
threshold and limiter drive adjustments, and partly by using the 8685’s
Loudness Controller.

Note that TVxxxx presets are designed for digital television. Do not con­fuse these with the TVAxxxx presets, which should be used only when the
8685’s 2.0 processing is driving an analog television transmitter. (See step
11 on page 2-31 for instructions on how to c
log TV.)

We tuned the “Radio” presets to produce loudness that is approximately
the same as the TVxxxx presets. Unlike other Optimods, L
justments have minimal effect on loudness and mainly set the amount of
compression. Because the 8685’s loudness controller is defeated in the
“Radio” presets, loudness will not be as consistent from source to source
as it is with the TVxxxx presets.

You can use the 8685’s loudness controller to improve the loudness con­sistency of a “Radio” preset. First, adjust the preset with L
achieve the desired processing texture. Then activate the loudness con­troller by setting the preset’s L
which matches the loudness controller’s threshold to the active D
value. For the best tradeoff between consistent loudness and potential
artifacts, adjust the MB L
ler’s gain reduction meter typically indicates 3 dB. You should see the
Loudness Level meter peaking around at 0 dB. When you have finished
your adjustments, save the result as a User Preset.

See also Setting Preset Loudness Correctly for Dolby Digital Transmission
on page 3-19.

ESS-MORE controls. Our goal was to allow these presets to be

IALNORM value you are transmitting to the con-

onfigure your 8685 for ana-

ESS-MORE ad-

ESS-MORE to

OUDNESS THRESHOLD control to –10 dB,

IALNORM

IMITER DRIVE control so that the loudness control-

This concludes the guided Quick Setup procedure. However, you may wish to set up
some other 8685 features. These are described in the following optional steps.

2-18

INSTALLATION ORBAN MODEL 8685

12. Complete Station ID (optional).

The Station ID is an optional setting that you can provide to name a given 8685.
The name can be up to eight characters long. It is used to identify your 8685 to
Orban’s 8685 PC Remote application and appears on the Main Screen when PC
Remote is controlling the 8685. It is also displayed on the Meters screen of the
8685 unit.

OCATE to SETUP > PLACE/DATE/TIME > STATION IDENTIFIER (PLACE/DATE/TIME 3).

A) L

B) Use

LOCATE to select each character in the ID and ENTER to confirm the selec-

tion.

C) When finished entering your name, L

D) When you select S

SCAPE, you can see the station name on the main screen.

E

AVE, you will return to the Setup main menu. If you press

OCATE to SAVE. Then press ENTER.

13. Set up the 2.0 processors’ response to and transmission of AES3id status

bits (optional).

The default behavior of the 8685 is to ignore AES status bits because many pieces
of external equipment handle these incorrectly. However, the 8685 allows the
AES3 “channel mode” determine its 2.0 channel processing operating mode (ste­reo or dual-mono). The AES3 channel mode specification provides for “two­channel mode” (corresponding to 8685 dual-mono mode) with bits 1-4 in byte 1
in the pattern “0001,” and “stereophonic mode” (corresponding to 8685 stereo
mode) with these bits in the pattern “0100.”

The 8685 can also emit these status bits at its digital output to control down­stream equipment.

OCATE to INPUT/OUTPUT > 2.0 OUT (INPUT/OUTPUT 3) and set the 2.0 OUTPUT

A) L

FORMAT to AES.

SPDIF cannot be used to handle status bit because the specification does
not allow it.

B) To enable the 8685 to change its operating mode in response to AES status

bits received at its AES input:

OCATE to SYSTEM SETUP > NETWORK/REMOTE > AES STAT BITS

a) L

(NETWORK/REMOTE 4).

b) Set I

N>MODE to ON.

Unless you are sure that upstream equipment will correctly format these
bits, set

c) Make sure that the equipment driving the 8685 is formatting its output as

AES3. SPDIF will not work.

C) To send “two-channel mode” and “stereophonic mode” bits indicating the

8685's current operating mode, set M

IN>MODE to OFF.

ODE>OUT to ON.

OPTIMOD SURROUND PROCESSOR INSTALLATION

If this parameter is set to OFF, then the 8685 will output “0000” (“mode
not indicated’). This is the safest setting if you are uncertain whether
downstream equipment can respond appropriately to these bits.

14. Set the Processing Delay for a given signal path (optional).

[minimum], [30 fps], [29.97 fps], [25 fps], [24 fps], [33-50 ms in 1 ms increments]

You can set the delay through the surround and 2.0 processor paths independ­ently. This feature is usually used in sound-for-picture applications to add time
delay so that the input/output delay through a given processing path is exactly
one or two frames, using a variety of different standards. (Two frames are re­quired for 59.94/60 fps progressively scanned video.) The selections are M
(depends on processing structure in use; typically between 20 and 23 ms), 30 fps,

29.97 fps (NTSC color video), 25 fps (most PAL video), and 24 fps (film). You can
also set the delay in 1 millisecond increments.

When equipped with the optional HD-SDI module, the 8685 offers video delay of
up to 11 frames. This can match the delays of the optional Penteo upmixer and
optional Dolby-E encode and decode modules.

OCATE to I/O CALIB > SURROUND/2.0 OUTPUT and set the delay as required using

L

URROUND and 2.0 fields.

the S

INIMUM

2-19

This control does not affect the delay to a given output if that output is
in

AGC or MULTIBAND mode.

IMPORTANT: If the 8685 is processing Dolby metadata (via its serial or SDI con­nections), you must set the 8685’s processing delay to match the frame rate of
the associated video. This is because the 8685 delays the metadata by exactly one
frame to comply with Dolby’s requirements for synchronization of the metadata
and video frames, so the audio must also be delayed by one frame to keep the
audio and metadata in sync.

To maintain video AV-sync if you are not using the 8685’s HD-SDI option, you
must delay the video by one frame elsewhere in your facility. The 8685’s optional
HD-SDI module will automatically delay the video by one frame, hence keeping
audio, video, and metadata in sync.

If the optional Dolby-E modules are installed and/or the optional Penteo upmixer
is in use, the HD-SDI module will add additional video delay to maintain AV sync.
You must set the V

IDEO SYNC control to AUTO to enable this feature.

I/O Setup

The following material provides detailed instructions on how to set up the 8685. If
QUICK SETUP does not fully address your setup needs or if you wish to customize
your system beyond those provided with QUICK SETUP, then you may need the addi­tional information in the sections below. However, for most users, this material is
only for reference because QUICK SETUP has enabled them to set up the 8685 cor­rectly.

2-20

INSTALLATION ORBAN MODEL 8685

For the following adjustments, use the L

OCATE button to choose the parameter to be

adjusted and the knob to change its value.

Follow steps in order. Some later settings depend on earlier settings being correct.

1. Set the 2.0 maximum lowpass filter frequency as appropriate to your

application.

[10.0 kHz] to [20.0 kHz]; 1 kHz steps

The 2.0 processors’ lowpass filters are located before any dynamics processing
and affects all outputs equally. They are phase-linear FIR filters.

There is only one global bandwidth setting available for the 2.0 processors’
bandwidths; it is not possible to set the bandwidths of the individual 2.0 proces­sors independently.

The surround processing does not offer a lowpass filter because it is
unlikely to be used in applications that need bandwidth limiting below
20 kHz.

The 2.0 processors’ audio bandwidths can be set in the active Setup and in the
EQ pages of the Basic, Intermediate, and Advanced Modify screens. The latter al­lows the active preset to determine the bandwidth so you can change the band­width by recalling a User Preset.

The 2.0 processors’ bandwidth is always the lowest of these settings. The fre­quency in I/O S

ETUP is a technical parameter that determines the highest band-

width available. The installing engineer should set it to be congruent with the
sample rate of the digital system that the 8685 is driving. For example, if the
8685 is driving a system with a 32 kHz sample rate, set the

MAX LPF to 15.0 KHZ.

That way, a setting of 20 kHz elsewhere will not cause excessive bandwidth and
aliasing because the 8685 will automatically override it with the

A) L

OCATE to INPUT/OUTPUT > UTILITIES.

B) Using the 2.0

MAX LOW PASS FILTER control, set the maximum bandwidth for

MAX LPF setting.

the 2.0 processing.

C) (optional) Using the S

This will allow you to recall it later. Even if you do not save the setup ex­plicitly, the 8685 will retain your settings (even after the unit is powered
off) until another Setup is recalled. However, it is wise to save Setups
formally so they cannot be overwritten accidentally.

AVE/SAVE AS > SETUP screen, save the resulting Setup.

2. Temporarily set the external AGC mode to “No.”

OCATE to INPUT/OUTPUT > UTILITIES.

A) L

If you performed the previous step, you should be there already.

B) Set the SURROUND EXTERNAL AGC control to NO.

If you are using an external AGC before the 8685’s surround processing,
you should restore this setting to Y
plete.

ES after the setup procedure is com-

OPTIMOD SURROUND PROCESSOR INSTALLATION

C) Set the 2.0 EXTERNAL AGC control to NO.

If you are using an external AGC before the 8685’s 2.0 processing, you
should restore this setting to Y

ES after the setup procedure is complete.

3. Set the routing between hardware inputs and processing inputs.

OCATE to INPUT/OUTPUT > INP. ROUTING. This screen allows you to choose which

L

hardware inputs feed which processing inputs.

Because each AES3id hardware input receives two audio channels, you
can only route pairs of audio channels. The only exception is C/LFE. The

MAPPING control, located in the INPUT/OUTPUT 4 screen, lets you

C/LFE

swap these two channels.

It is OK to use one hardware input to drive more than one processing in­put. For example, hardware input 1/2 can drive both the 2.0 processing
and the Lf/Rf inputs to the surround processing.

If your 8685 is equipped with Option 1 (HD-SDI I/O), then the routing
switcher will include both the SDI and AES3id sources and destinations.

Refer to Table 2-2: Routing Switcher Sources and Destinations below.

2-21

For an explanation of the F

ALLBACK input, see step 21 on page 2-37.

4. Set the routing between processing outputs and hardware outputs.

OCATE to INPUT/OUTPUT > OUT ROUTING and assign processing outputs to the

L

hardware outputs as desired. Refer to Table 2-2: Routing Switcher Sources and
Destinations below. The sources feeding the outputs are:

• Lf/Rf (left front/right front)

• C/LFE (center/low frequency effects)

The 8685’s audio processing treats C and LFE differently, so it is not pos­sible to pass the center input through the LFE processing channel and
vice-versa without seriously degrading the sound of the processing. The
input routing switcher allows you to swap the C and LFE channels. This is
appropriate if these are not assigned in the customary way on the AES or
SDI input, which is that “left” carries C and “right” carries LFE. You can
easily detect an accidental swap between dialog and LFE by observing
the 8685’s input level meters.

• Ls/Rs (left surround/right surround —the surround channels in 5.1 and 7.1)

• Lb/Rb (left back/right back —the rear channels in 7.1)

The 8685’s audio processing handles Ls and Lb the same, so it is possible
to swap these without compromising the sound of the processing. How­ever, the Ls/Rs and Lb/Rb processing channels are not functionally inter­changeable with the Lf and Rf channels.

• Lst/Rst (left stereo/right stereo — the outputs of the 2.0 processing chains)

2-22

INSTALLATION ORBAN MODEL 8685

• Ldm/Rdm (left downmix/right downmix — the outputs of the surround proc-

essing, downmixed to stereo according to the settings in the

INPUT/OUTPUT >

CHANNEL MODE page). See step 15 on page 2-35.

• Various monophonic variations of the above, which are convenient for doing

things like assigning the left and right outputs of the 2.0 processing to sepa­rate hardware outputs when the 2.0 processing is in dual-mono (1/0/1.0) mode
and carrying independent monophonic programs on the two channels.

You can assign a given processor output signal to more than one hardware out­put. This allows using the 8685 as an AES splitter.

If you wish to use the 8685’s automatic fallback functionality in the base configu­ration (no HD-SDI), you must use the 8685’s default input routing: 1/2>Lf/Rf,
3/4>C/LFE, 5/6>Ls/Rs, and 9/10>Ls/Rs. See step 21 on page 2-37.

INPUT ROUTING MATRIX (no SDI board installed)

Lf/Rf Source 1/2, 3/4, 5/6, 7/8, 9/10, none

Ls/Rs Source 1/2, 3/4, 5/6, 7/8, 9/10, none

C/LFE Source 1/2, 3/4, 5/6, 7/8, 9/10, none

Lb/Rb Source 1/2, 3/4, 5/6, 7/8, 9/10, none

2.0 Processor x Source
for each of four 2.0 processors

OUTPUT ROUTING MATRIX (no SDI board installed)

Channel 1/2 Output Routing Lf/Rf, C/LFE, Ls/ Rs, Lb/ Rb, Lst/Rst, Ldm/Rdm, Lst>MONO, Rst>MONO

Channel 3/4 Output Routing Lf/Rf, C/LFE, Ls/ Rs, Lb/ Rb, Lst/Rst, Ldm/Rdm, Lst>MONO, Rst>MONO

Channel 5/6 Output Routing Lf/Rf, C/LFE, Ls/ Rs, Lb/ Rb, Lst/Rst, Ldm/Rdm, Lst>MONO, Rst>MONO

Channel 7/8 Output Routing Lf/Rf, C/LFE, Ls/ Rs, Lb/ Rb, Lst/Rst, Ldm/Rdm, Lst>MONO, Rst>MONO

Channel 9/10 Output Routing Lf/Rf, C/LFE, Ls/ Rs, Lb/ Rb, Lst/Rst, Ldm/Rdm, Lst>MONO, Rst>MONO

Channel 11/12 Output Routing Lf/Rf, C/LFE, Ls/ Rs, Lb/ Rb, Lst/Rst, Ldm/Rdm, Lst>MONO, Rst>MONO

Analog Output Routing Lf/Rf, Lst/Rst, Ldm/Rdm, Lf, Rf, C, LFE, Ls, Rs, Lb, Rb, Lst, Rst, Ldm, Rdm

Analog Headphone Routing Lf/Rf, Lst/Rst, Ldm/Rdm, Lf, Rf, C, LFE, Ls, Rs, Lb, Rb, Lst, Rst, Ldm, Rdm

INPUT ROUTING MATRIX (SDI board installed)

Lf/Rf Source

Ls/Rs Source

C/LFE Source

Lb/Rb Source

2.0 Processor x Source
for each of four 2.0 processors

Dolby-E Metadata Source Serial, SDI VANC, Dolby-E decoder (if installed)

OUTPUT ROUTING MATRIX (SDI board installed)

AES Channel 1/2 Output Routing

AES Channel 3/4 Output Routing

AES Channel 5/6 Output Routing

1/2, 3/4, 5/6, 7/8, 9/10, Ldm/Rdm, none

AES_1/2, AES_3/4, AES_5/6, SDI_1/2, SDI_3/4, SDI_5/6, SDI_7/8, none;
[Dolby-E option] DE_1/2, DE_3/4_, DE_5/6, DE_7/8
AES_1/2, AES_3/4, AES_5/6, SDI_1/2, SDI_3/4, SDI_5/6, SDI_7/8, none;
[Dolby-E option] DE_1/2, DE_3/4_, DE_5/6, DE_7/8
AES_1/2, AES_3/4, AES_5/6, SDI_1/2, SDI_3/4, SDI_5/6, SDI_7/8, none;
[Dolby-E option] DE_1/2, DE_3/4_, DE_5/6, DE_7/8
AES_1/2, AES_3/4, AES_5/6, SDI_1/2, SDI_3/4, SDI_5/6, SDI_7/8, none;
[Dolby-E option] DE_1/2, DE_3/4_, DE_5/6, DE_7/8
AES_1/2, AES_3/4, AES_5/6, SDI_1/2, SDI_3/4, SDI_5/6, SDI_7/8, none;
[Dolby-E option] DE_1/2, DE_3/4_, DE_5/6, DE_7/8

Lf/Rf, C/LFE, Ls/ Rs, Lb/ Rb, Lst1/Rst1, Lst2/Rst2,Lst3/Rst3, Lst4/Rst4,
Ldm/Rdm, Lst1>MONO, Rst1>MONO, Lst2>MONO, Rst2>MONO,
Lst3>MONO, Rst3>MONO, Lst4>MONO, Rst4>MONO, SDI_1/2, SDI_3/4,
SDI_5/6, SDI_7/8; [Dolby-E option] DE_1/2, DE_3/4, DE_5/6, DE_7/8
Lf/Rf, C/LFE, Ls/ Rs, Lb/ Rb, Lst1/Rst1, Lst2/Rst2,Lst3/Rst3, Lst4/Rst4,
Ldm/Rdm, Lst1>MONO, Rst1>MONO, Lst2>MONO, Rst2>MONO,
Lst3>MONO, Rst3>MONO, Lst4>MONO, Rst4>MONO, SDI_1/2, SDI_3/4,
SDI_5/6, SDI_7/8; [Dolby-E option] DE_1/2, DE_3/4, DE_5/6, DE_7/8
Lf/Rf, C/LFE, Ls/ Rs, Lb/ Rb, Lst1/Rst1, Lst2/Rst2,Lst3/Rst3, Lst4/Rst4,
Ldm/Rdm, Lst1>MONO, Rst1>MONO, Lst2>MONO, Rst2>MONO,
Lst3>MONO, Rst3>MONO, Lst4>MONO, Rst4>MONO, SDI_1/2, SDI_3/4,
SDI_5/6, SDI_7/8; [Dolby-E option] DE_1/2, DE_3/4, DE_5/6, DE_7/8

OPTIMOD SURROUND PROCESSOR INSTALLATION

Lf/Rf, C/LFE, Ls/ Rs, Lb/ Rb, Lst1/Rst1, Lst2/Rst2,Lst3/Rst3, Lst4/Rst4,

SDI Channel 1/2 Output Routing

SDI Channel 3/4 Output Routing

SDI Channel 5/6 Output Routing

SDI Channel 7/8 Output Routing

Analog Output Routing

Analog Headphone Routing

Dolby-E Channel 1/2
Output Routing

Dolby-E Channel 3/4
Output Routing

Dolby-E Channel 5/6
Output Routing

Dolby-E Channel 7/8
Output Routing

NOTES and ABBREVIATIONS:

Ldm/Rdm, Lst1>MONO, Rst1>MONO, Lst2>MONO, Rst2>MONO,
Lst3>MONO, Rst3>MONO, Lst4>MONO, Rst4>MONO, SDI_1/2; [Dolby-E
option] DE_1/2, DE_3/4, DE_5/6, DE_7/8
Lf/Rf, C/LFE, Ls/ Rs, Lb/ Rb, Lst1/Rst1, Lst2/Rst2,Lst3/Rst3, Lst4/Rst4,
Ldm/Rdm, Lst1>MONO, Rst1>MONO, Lst2>MONO, Rst2>MONO,
Lst3>MONO, Rst3>MONO, Lst4>MONO, Rst4>MONO, SDI_3/4; [Dolby-E
option] DE_1/2, DE_3/4, DE_5/6, DE_7/8
Lf/Rf, C/LFE, Ls/ Rs, Lb/ Rb, Lst1/Rst1, Lst2/Rst2,Lst3/Rst3, Lst4/Rst4,
Ldm/Rdm, Lst1>MONO, Rst1>MONO, Lst2>MONO, Rst2>MONO,
Lst3>MONO, Rst3>MONO, Lst4>MONO, Rst4>MONO, SDI_5/6; [Dolby-E
option] DE_1/2, DE_3/4, DE_5/6, DE_7/8
Lf/Rf, C/LFE, Ls/ Rs, Lb/ Rb, Lst1/Rst1, Lst2/Rst2,Lst3/Rst3, Lst4/Rst4,
Ldm/Rdm, Lst1>MONO, Rst1>MONO, Lst2>MONO, Rst2>MONO,
Lst3>MONO, Rst3>MONO, Lst4>MONO, Rst4>MONO, SDI_7/8; [Dolby-E
option] DE_1/2, DE_3/4, DE_5/6, DE_7/8
Lf/Rf, Lst1/Rst1, Lst2/Rst2, Lst3/Rst3, Lst4/Rst4, Ldm/Rdm, Lf, Rf, C, LFE,
Ls, Rs, Lb, Rb, Lst, Rst, Ldm, Rdm, Lst1, Rst1, Lst2, Rst2, Lst3, Rst3, Lst4,
Rst4, AES_1/2, AES_3/4, AES_5/6, SDI_1/2, SDI_3/4, SDI_5/6, SDI_7/8;
[Dolby-E option] DE_1/2, DE_3/4, DE_5/6, DE_7/8
Lf/Rf, Lst1/Rst1, Lst2/Rst2, Lst3/Rst3, Lst4/Rst4, Ldm/Rdm, Lf, Rf, C, LFE,
Ls, Rs, Lb, Rb, Lst, Rst, Ldm, Rdm, Lst1, Rst1, Lst2, Rst2, Lst3, Rst3, Lst4,
Rst4, AES_1/2, AES_3/4, AES_5/6, SDI_1/2, SDI_3/4, SDI_5/6, SDI_7/8;
[Dolby-E option] DE_1/2, DE_3/4, DE_5/6, DE_7/8
Lf/Rf, C/LFE, Ls/ Rs, Lb/ Rb, Lst1/Rst1, Lst2/Rst2,Lst3/Rst3, Lst4/Rst4,
Ldm/Rdm, Ldm/Rdm, Lst>MONO, Lst1>MONO, Rst1>MONO,
Lst2>MONO, Rst2>MONO, Lst3>MONO, Rst3>MONO, Lst4>MONO,
Rst4>MONO, SDI_1/2, SDI_3/4, SDI_5/6, SDI_7/8; [Dolby-E option]
DE_1/2
Lf/Rf, C/LFE, Ls/ Rs, Lb/ Rb, Lst1/Rst1, Lst2/Rst2,Lst3/Rst3, Lst4/Rst4,
Ldm/Rdm, Ldm/Rdm, Lst>MONO, Lst1>MONO, Rst1>MONO,
Lst2>MONO, Rst2>MONO, Lst3>MONO, Rst3>MONO, Lst4>MONO,
Rst4>MONO, SDI_1/2, SDI_3/4, SDI_5/6, SDI_7/8; [Dolby-E option]
DE_3/4
Lf/Rf, C/LFE, Ls/ Rs, Lb/ Rb, Lst1/Rst1, Lst2/Rst2,Lst3/Rst3, Lst4/Rst4,
Ldm/Rdm, Ldm/Rdm, Lst>MONO, Lst1>MONO, Rst1>MONO,
Lst2>MONO, Rst2>MONO, Lst3>MONO, Rst3>MONO, Lst4>MONO,
Rst4>MONO, SDI_1/2, SDI_3/4, SDI_5/6, SDI_7/8; [Dolby-E option]
DE_5/6
Lf/Rf, C/LFE, Ls/ Rs, Lb/ Rb, Lst1/Rst1, Lst2/Rst2,Lst3/Rst3, Lst4/Rst4,
Ldm/Rdm, Ldm/Rdm, Lst>MONO, Lst1>MONO, Rst1>MONO,
Lst2>MONO, Rst2>MONO, Lst3>MONO, Rst3>MONO, Lst4>MONO,
Rst4>MONO, SDI_1/2, SDI_3/4, SDI_5/6, SDI_7/8; [Dolby-E option]
DE_7/8
DE = Dolby-E; dm = downmix; Lstx = left channel of 2.0 processor x (x =
1…4); Rstx = right channel of 2.0 processor x; MONO = identical signals
appear on channels 1 and 2 of given destination

2-23

Table 2-2: Routing Switcher Sources and Destinations

5. Set up routing for the Penteo 2.0Æ5.1 upmixer (optional).

Skip this step if you are not going to use the stand-alone Penteo upmixer.

The routing switcher configuration depends on whether the optional HD-SDI
board is installed and, if so, whether you will be driving the 8685’s surround
processing with the audio embedded on the SDI signal or via the board’s three
AESid inputs.

In all cases, the input applied to the Penteo must be at a 48 kHz sample rate. The
Penteo is not equipped with sample rate converters, so its output sample rate
will be the same as its input sample rate. This will ordinarily be locked to house
sync. For details, see Sample Frequency Synchronization on page 1-14.

2-24

INSTALLATION ORBAN MODEL 8685

• If you will be using the 8685’s AESid inputs to receive the audio input

signal, you must insert the Penteo into the lines driving the 8685:

[AES3id input feed] Æ [Penteo] Æ[8686 AESid inputs]

In this case, set the 8685’s input switcher the same as if you were receiv­ing a true 5.1 source. The Penteo will pass true 5.1 material applied to its
three AES3id inputs and will delay this material to match the delay (ap­proximately 265 ms) of the Penteo upmix process. It will upmix 2.0 mate­rial applied to its AES3id 1/2 input and can be configured so that it de­tects the difference between 5.1 and 2.0 inputs and activates upmixing
automatically as necessary.

• If you will be using audio embedded on the SDI input, you must dedi-

cate the 8685’s three AES3id inputs and outputs to a Penteo loop-through
connection.

This will make these connectors unavailable for use by the 8685’s 2.0
processors.

• Configure the 8685's routing switcher so that audio channels 1/2 received

from the SDI input are routed to Digital Output 1/2 on the SDI card. Simi­larly, route SDI channels 3/4 to Digital Output 3/4 and route SDI channels
5/6 to Digital Output 5/6.

• Configure the 8685's routing switcher so the audio channels 1/2 received on

Digital Input 1/2 (BNC connector) are routed to the Lf/Rf inputs of the
8685's multichannel audio processing. Similarly, route Digital Input 3/4 to
C/Lfe and route Digital Input 5/6 to Ls/Rs.

• Connect the three 8685 digital outputs (1/2, 3/4, and 5/6) to Penteo digital

inputs 1/2, 3/4, and 5/6 respectively.

• Connect Penteo digital outputs 1/2, 3/4, and 5/6 to 8685 digital inputs 1/2,

3/4, and 5/6 respectively.

This will produce following signal processing chain:

[…SDI source] Æ
[8685 SDI RECEIVER Æ 8685 AES3id outputs] Æ
[Penteo] Æ
[8685 AES3id inputs Æ 8685 Audio Processing Æ 8685 SDI transmitter] Æ
[downstream SDI destination…]

The easiest way to configure the 8685’s router for Penteo loop-through is
to recall the 8685’s Penteo System Preset, which we have pre-configured
to realize this block diagram.

AV Sync: Penteo’s delay is large enough to introduce unacceptable AV sync er­rors unless the video signal is delayed equally. The 8685’s optional SDI board can
apply up to 11 frames of video delay to the video, which is more than enough to
accommodate the delay of the Penteo, the 8685 audio processing, and a round­trip Dolby-E decode/encode cycle. If you do not have the SDI board, to maintain
AV sync you must apply video delay or reduce audio make-up delay elsewhere in
your transmission system.

OPTIMOD SURROUND PROCESSOR INSTALLATION

When the SDI VIDEO DELAY control (INPUT/OUTPUT 4 screen) is set to AUTO, the
8685 can calculate the amount of video delay automatically. To do this with Pen­teo, the 8685 must have an Ethernet connection to the Penteo unit so that the
8685 can detect that the Penteo unit is connected.

If the 8685 does not recognize the Penteo, you must set the video delay manu­ally. Set the video delay to one frame (for the 8685’s audio processing) plus seven
frames for Penteo. If the optional Dolby-E decoder module is installed and pass­ing audio, add one frame of video delay. If the optional Dolby-E encoder module
is installed and passing audio, add an additional one frame of video delay. With
all options installed (Penteo, Dolby-E decode, and Dolby-E encode), the required
video delay is 10 frames (1+7+1+1).

6. Set the 2.0 input deemphasis.

[Flat, J.17]

You can configure the 8685 to apply J.17 deemphasis to input signals assigned to
the 2.0 processing. J.17 is first-order shelving preemphasis/deemphasis with
breakpoints at 400 Hz and 4 kHz. It is rarely used now; in broadcasting, it was
mostly used in NICAM links.

2-25

OCATE to INPUT/OUTPUT > INPUT.

A) L

B) Set the 2.0

which is correct for almost all installations.

C) Set the 2.0

7. Adjust the surround input reference Level.

−

40 dBfs to –10 dBfs (VU), or [−33 dBfs to –3 dBfs (PPM)] in 0.5 dB steps

[

This step matches the 8685’s average AGC gain reduction to the level to which
program material is normally peaked on the studio meters. It makes the 8685’s
processing presets operate in their preferred range. Correctly setting the input
reference level ensures that processing presets will produce their intended
sound, controlling loudness effectively and subtly.

• If your organization uses a standardized line-up level, you can simply set the

8685’s S
However, we strongly suggest checking the result of your setting
procedure starting with step (A) and choosing to calibrate using program
(step (G)).

• Note that you are calibrating to the average indication of the studio meters;

this is quite different from the actual peak level.

INPUT PREEMPHASIS control to FLAT or J.17. If in doubt, choose FLAT,

INPUT PREEMPHASIS control to FLAT or J.17

URROUND INPUT REFERENCE VU control to this level and skip to step (H).

by using the

There are two commonly used line-up levels: SMPTE (–20 dBfs) and EBU
(–18 dBfs).

• The reference level VU (average) and PPM (quasi-peak) settings are not inde-

pendent—they track each other with an offset of 7 dB. This compensates for

2-26

INSTALLATION ORBAN MODEL 8685

the typical indications with program material on a VU meter versus the higher
indications on a PPM.

A) L

OCATE to RECALL/IMPORT.

B) Turn the knob until R

C) Press the E

NTER button to recall the preset.

D) Verify that the 8685’s S

Refer to step 2 on page 2-20.

OCK MEDIUM appears in the lower line of the display.

URROUND EXTERNAL AGC control is set to NO.

E) LOCATE to INPUT/OUTPUT > INPUT > SURROUND INPUT REFERENCE (VU or PPM, de-

pending on which metering system you use).

F) Calibrate using tone.

If your facility does not use a formal reference level and/or if the link to
the 8685’s input uses J.17 preemphasis (which is only available for the 2.0
input; see step 5 on page 2-23):

• To calibrate using tone, perform steps (a) and (b) below.

• To calibrate using program material, skip to step (G) on page 2-26.

a) If you are not using a studio level controller, feed

a 400 Hz tone into the Lf
and Rf channels of the 8685 through your console at your normal program
line-up level (typically 0 VU if your console uses VU meters). Do not drive
any other channels.

b) If you are using a studio level controller that performs an AGC function,

feed a 400 Hz tone at your normal program level into its Lf and Rf channels
and adjust the studio level controller for normal operation.

c) Adjust the 8685’s S

URROUND INPUT REFERENCE (VU or PPM) control to make

the 8685’s AGC meter indicate 10 dB gain reduction.

d) Skip to step (H).

G) Calibrate using program.

this step if you are using Tone to calibrate the 8685 to your stan-

[Skip
dard studio level—see step (F) above.]

a) Feed normal program material to the 8685

Play program material from your studio, peaking at the level to which
you normally peak program material (typically 0VU if your console uses
VU meters).

b) Adjust the SURROUND INPUT REFERENCE (VU or PPM) control to make the

8685’s AGC meters indicate an average of 10 dB gain reduction when the
console’s VU meter or PPM is peaking at its normal level.

If the AGC gain reduction meter averages less than 10 dB gain reduction
(higher on the meter), re-adjust the S
PPM) to a lower level.

URROUND INPUT REFERENCE (VU or

OPTIMOD SURROUND PROCESSOR INSTALLATION

If the AGC gain reduction meter averages more gain reduction (lower on
the meter), re-adjust the S
higher level.

URROUND INPUT REFERENCE (VU or PPM) to a

H) When finished, reset the 8685’s SURROUND EXTERNAL AGC control to YES, if re-

quired (e.g., if that was its setting prior to your setting the S

URROUND INPUT

REFERENCE (VU or PPM) level).

Refer to step 2 on page 2-20.

8. Adjust the 2.0 input reference Level.

[Skip this step if you will not be using the 2.0 processing.]

2-27

Repeat step 7 on page 2-25, but use the 2.0

INPUT REFERENCE (VU OR PPM) con-

trol. If you choose to calibrate using tone or program material, drive the 2.0
processing’s inputs. All four 2.0 processors share the same reference level.

9. Set the 2.0 output configuration.

[Skip this step if you will not be using the 2.0 processing.]

All four 2.0 processors share the same configuration and cannot be configured
independently.

LOCATE to INPUT/OUTPUT > 2.0 OUTPUT (INPUT/OUTPUT 3).

A)

B) Set the 2.0

OUTPUT SYNC to INTERNAL, IN 1-2, SYNC IN, VIDEO SYNC, SDI or any of

the 8685’s AES3id inputs.

NTERNAL synchronizes output sample rate of the 2.0-connected hardware

• I

output that carries the 2.0 processing to the 8685 internal crystal time base.

If there is no valid signal present on the chosen reference input, the 8685
uses internal sync until a valid signal appears.

• SYNC IN synchronizes the output sample rate to AES3id, AES11id, or word

clock applied to the 8685’s S
8685’s 2.0 O

1-2 synchronizes the output sample rate to a signal appearing on AES3id

• IN

UTPUT RATE control.

YNC INPUT. It will overwrite the setting of the

input 1-2.

• V

IDEO SYNC synchronizes the sample rate to a SMPTE 274M or SMPTE 296M-

compliant source applied to the 8685’s V
the setting of the 8685’s 2.0 O
only if the optional HD-SDI module is installed.

• SDI

synchronizes the sample rate to a SMPTE 259M, 292M, or 424M-

compiant signal applied to the 8685’s HD-SDI input. This source is available
only if the optional HD-SDI module is installed.

When using Penteo in its loop-though mode when using HD-SDI input
and output (i.e. using the optional HD-SDI module’s AES3id inputs and
outputs to connect to the Penteo), it is unnecessary to lock the sample
rates appearing on the AES3id outputs to house sync because the AES3id

IDEO SYNC INPUT. It will overwrite

UTPUT RATE control. This source is available

2-28

INSTALLATION ORBAN MODEL 8685

inputs are equipped with sample rate converters so no sync reference is
required. (However, there is no downside to locking the sample rate driv­ing the Penteo to house sync.)

C) Set the 2.0 OUTPUT RATE to 32, 44.1, 48, 88.2, or 96 kHz.

• If you are using I

NTERNAL sync [step (B) above], 48 kHz or 96 kHz are pre-

ferred because their samples are synchronous with the peak-controlled
samples in the processing. If you are using external sync, this special rela­tionship no longer holds.

• Selecting a 32 kHz output sample rate will automatically set the highest

available audio bandwidth to 15 kHz.

• 2.0

OUTPUT RATE affects the usable range of test tone frequencies. When

2.0

OUTPUT RATE is set to 32 kHz, the highest usable tone frequency is

15 kHz. When

2.0 OUTPUT RATE is set to 44.1 or above, all tone frequencies

are usable.

D) Set the 2.0

OUTPUT WORD LENGTH.

[14], [16], [18], [20], or [24], in bits

The largest valid word length in the 8685 is 24 bits

The 8685 can truncate its output word length to 20, 18, 16 or 14 bits and
can add appropriate dither before the truncation to linearize it (see the
next step).

E) Set the 2.0 OUTPUT DITHER to IN or OUT, as desired.

[In] or [Out]

When this control is set to I
any truncation of the output word. The amount of dither automatically
tracks the setting of the W
dither considerably reduces added noise in the midrange by comparison
to white PDF dither. However, unlike extreme noise shaping, it adds a
maximum of 3 dB of excess total noise power when compared to white
PDF dither. Thus, it is a good compromise between white PDF dither and
extreme noise shaping.

N, the 8685 adds “high-pass” dither before

ORD LEN control. This first-order noise-shaped

To ensure maximum system linearity, it is wise to set this control to I

F) Set 2.0 OUTPUT FORMAT to AES or SPDIF

G) Set 2.0

OUTPUT SOURCE control. The choices are:

• AGC

• AGC+L

limiting)

• M

ULTIBAND (stereo enhancement, equalization, AGC, and two-band or 5-

Band compression without peak limiting)

• MB+L

compression, and look-ahead peak limiting).

N.

(stereo enhancement, equalization, and AGC without peak limiting)

IMIT (stereo enhancement, equalization, AGC, and look-ahead peak

IMIT (stereo enhancement, equalization, AGC, two-band or 5-Band

OPTIMOD SURROUND PROCESSOR INSTALLATION

See step 8 on page 2-11 for more about these choices.

2-29

H) Set the 2.0

• Use F

few digital channels use preemphasis.) Set the control F

OUTPUT PREEMPHASIS control. The choices are FLAT, 50μs or 75μs.

LAT if you are driving a channel that does not use preemphasis. (Very

LAT for DAB, DRM,

HD Radio, digital television, netcasts, and any other channel that uses a
lossy codec. When in doubt, set this control F

LAT.

• Use 50μs if you are driving a channel that is preemphasized at 50μs, such as

an analog TV aural transmitter in European countries.

• Use 75μs if you are driving a channel that is preemphasized at 75μs, such as

an analog aural transmitter in the Americas (Region 2).

When the control is set to 50μs or 75μs, the signal feeding the 2.0 look­ahead limiter has this preemphasis applied to it before it feeds the limiter
and complementary deemphasis is applied after the limiter. The fre­quency response through the limiter therefore remains flat below the
threshold of limiting but high frequencies cause the limiter to produce
more wideband gain reduction than do low frequencies. Because deem­phasis is applied after the limiter, the transmitter that follows the 8685’s
output must apply the final transmission preemphasis.

With 5-Band presets, the O
band compressor’s sidechain is preemphasized at

UTPUT PREEMPHASIS control determines if the 5-

50μs or 75μs. This makes

the 5-band compressor “preemphasis-aware,” allowing bands 4 and 5 to
be used as a high-frequency limiter to prevent the look-ahead limiter
(which creates wideband gain reduction) from creating audible “pump­ing” or “gulping” artifacts on program material that is rich in high fre­quencies, like “esses” in speech.

The 2.0 processing in the “TVA” presets is tuned to complement 50μs and
75μs preemphasis. See Table 3-1 on page 3-27.

I) Set the 2.0

OUTPUT DELAY control.

This sets the time delay between the 8685’s input and output in units of
milliseconds or frames. All common frame rates are supported without
the need to convert them into milliseconds.

INIMUM delays the signal as little as possible. When MINIMUM is chosen,

M

the delay will depend on which output feed is in use (step (G) above) and

setting of the active preset’s AGC

the
delay is not set to M
as the setting of the 2.0

INIMUM, the delay through the 8685 will be the same

OUTPUT DELAY control regardless of the settings

CROSSOVER control. However, if the

of other controls.

In most cases, it is appropriate to set the delay so that is equal to one or
two frames of the television standard that you are using. (Two frames are
required for 59.94/60 fps progressively scanned video.) This allows you to
apply video delay to maintain AV sync accurately.

If you are using an HD-SDI connection with the 8685’s optional HD-SDI
module, the 8685 can apply the appropriate video delay.

2-30

INSTALLATION ORBAN MODEL 8685

If it is impossible to delay the video, set the O

INIMUM. This will produce approximately 20 ms of delay, which is low

M

UTPUT DELAY control to

enough not to cause detectable AV sync problems.

10. Set the 2.0 processing’s output level if O

UTPUT PREEMPHASIS control is set

Flat.

[Skip this step if the O

L

OCATE to INPUT/OUTPUT > 2.0 OUT > 2.0 OUTPUT LEVEL (100%) and set the 2.0

UTPUT PREEMPHASIS control is set to 50

μ

s or 75μs.]

OUTPUT LEVEL (100%) control to desired peak level in units of dBfs (dB with re-
spect to digital full scale). The setting of the 2.0

OUTPUT 100% control is the

maximum peak level that the 8685 can produce at its output. This level corre­sponds to a reading of 0 dB on the 8685’

Typical settings are –0.5 dBfs to –3.0 dBfs, depending on whether sample
rate conversion and/or lossy encoding is occurring downstream from the

8685. Refer to Setting Output/Modulation Levels on page 1-21.

S 2.0 OUTPUT METER.

• If the 2.0 OUTPUT SOURCE is AGC+LIMIT or MB+LIMIT (step (9.G) on page 2-28),

the 8685’s look-ahead limiter will automatically constrain the peak output
level to the setting of the 2.0

• If and only if the 2.0

OUTPUT SOURCE is MB+LIMIT, the average level and loud-

ness do not change when you adjust the 2.0

OUTPUT 100% control without clipping.

OUTPUT Level (100%) control. The

control only sets the maximum peak level at the 8685’s output. For every dB
that the 2.0

OUTPUT SOURCE is turned down, the 8685 automatically increases

the limiter drive by 1 dB to compensate. This is to ensure that the output
loudness is always consistent with the 8685’s active D

IALNORM setting.

• If the 2.0

OUTPUT SOURCE is AGC or MB, the 8685’s output level is not peak

limited. However, its average value is usually well controlled by the 8685’s
multiband compressor and loudness controller. The 8685’s peak output level
will depend on the peak-to-average ratio of the program material, so clipping
is possible if the 2.0

It is normal for the 2.0 OUTPUT LEVEL meter to indicate 0 dB on peaks
when the

dicate clipping; the look-ahead limiter is constraining peaks to this level.

The only reason to choose the AGC or MB output sources is to minimize
input/output delay, which is important if you are driving talent head­phones from the 8685’s output. Otherwise, AGC+LIMIT and MB+LIMIT are
preferred because the 8685’s look-ahead limiter prevents clipping in
normal operation.

LIMITER DRIVE control in the active preset is set too high.

2.0 OUTPUT SOURCE is AGC+LIMIT or MB+LIMIT. This does not in-

To prevent objectionable clipping distortion when the 2.0 OUTPUT SOURCE
is AGC or MB, set the 2.0

LIMITER DRIVE control as follows:

a) Make sure that the program material is loud enough to produce normal

amounts of gain reduction in the AGC (if activated), the multiband
compressor/limiter, and the loudness controller (if activated).

b) If the 8685’s 2.0

OUTPUT LEVEL meter is frequently hitting the top of its scale

(0 dB) and the 8685’s look-ahead limiter is defeated (as it is when the 2.0

OPTIMOD SURROUND PROCESSOR INSTALLATION

OUTPUT SOURCE is AGC or MB), then excessive clipping is occurring. Turn
down 2.0

LIMITER DRIVE control until you no longer see clipping on the

meter.

Occasional light clipping is usually inaudible. It is sometimes preferable to
allow occasional clipping in order to use the headroom available in the
downstream channel most efficiently. This depends on the headroom
available—for example, in a 24-bit channel, there is no excuse for clip­ping at any time.

2-31

If the 2.0
to turn up the 2.0
headroom.

OUTPUT LEVEL meter is indicating very low levels, you may wish

LIMITER DRIVE control to better use the downstream

c) Once you have determined a good setting for this control, save the preset

as User preset.

11. Set the 2.0 processing’s output level if O

UTPUT PREEMPHASIS control is set

to 50μs or 75μs.

[Skip this step if the O

UTPUT PREEMPHASIS control is set FLAT.]

We recommend using 5-Band “TVA” presets (or User Presets derived from them)
when the 2.0

OUTPUT PREEMPHASIS control [step (9.H) on page 2-29] is set to 50μs

or 75μs. The 2.0 processing in the “TVA” presets is designed to feed an analog TV
aural channel using 50us or 75us preemphasis. The surround processing in these
presets is identical to the surround processing in the corresponding “TV” presets,
whose 2.0 processing is optimized to drive channels with no preemphasis. The
main purpose of the “TVA” presets is to allow the 8685 to process analog and
digital transmission channels simultaneously, which is useful for stations in coun­tries that have not completed the transition to all-digital broadcasting.

To simplify setup, the “TVA” presets have local values of 2.0

OWPASS FILTER CUTOFF (15 kHz), and 2.0 HIGHPASS FILTER CUTOFF (20 Hz).

2.0 L

DIALNORM (–17 dB),

These values override the corresponding global values in the active Transmission
Preset.

The filter settings complement analog aural carriers, while the value of D
matches the loudness of the 8685’s 2.0 processing to the loudness of an Opti­mod-TV designed for analog television (like Optimod-TV 8282 and 8382) when
the peak output levels of the two processors are the same and when the 2.0

UTPUT 100% control is set to 0.0 dBfs.

O

A) Set the 2.0 Output Source to MB+L

The 8685’s look-ahead limiter will automatically control the peak modu­lation of a transmitter that applies 50μs or 75μs to its input. Moreover,
the average level and loudness do not change when you adjust the 2.0
OUTPUT LEVEL (100%) control. The control only sets the maximum peak
level at the 8685’s output. For every dB that the 2.0 Output Source is
turned down, the 8685 automatically increases the limiter drive by 1 dB
to compensate. This is to ensure that the output loudness is always con­sistent with the 8685’s active Dialnorm setting.

B) Make sure that preemphasis is set according to the standard used in your

country. See step (9.H) on page 2-29.

IALNORM

IMIT (step (9.G) on page 2-28).

2-32

INSTALLATION ORBAN MODEL 8685

C) Make sure that your transmitter is configured to apply preemphasis to the

audio it receives from the 8685.

OCATE to INPUT/OUTPUT > 2.0 OUT > 2.0 OUTPUT LEVEL (100%) and set the 2.0

D) L

OUTPUT LEVEL (100%) control to 0.0 dBfs.

E) Set your transmitter’s modulation with tone.

a) L

OCATE to SYSTEM SETUP > TEST MODES.

b) Choose T

c) Click the T

d) L

OCATE to the MAPPING page (to the right of the TEST MODES page) and set

the L

ONE. Set FREQUENCY to 100 HZ and LEVEL to 100%.

ONE button.

2.0 TONE PROC X AND R 2.0 TONE PROC X fields to TONE, where “x” is a

number from 1 to 4 that identifies which of the four available 2.0
processors you are using to drive the transmitter.

e) If you are driving your transmitter with the 8685’s analog outputs: L

NPUT/OUTPUT > UTILITIES and adjust the ANALOG OUTPUT LEVEL control to

to I

OCATE

produce 100% modulation of your transmitter as measured by the peak
modulation instrument specified by your country’s regulatory authority.

This assumes you have routed the 2.0 processing’s left and right outputs
to the analog outputs. The routing matrix is located in the O

ROUTING tab in I/O SETUP.

UTPUT

f) If you are driving your transmitter with an 8685 digital output: Use a gain

control following the 8685 output (typically, your analog transmitter’s
sensitvity control) to produce 100% modulation of your transmitter.

Achieving correct on-air loudness and proper operation of the 8685’s
loudness meter requires you to align the transmission system following
the 8685 so that 0.0 dBfs at the 8685’s output corresponds to 100% peak
modulation of the transmitter. Using the 8685’s 2.0
to set the gain between the 8685 and the transmitter will not produce
correct loudness meter calibration and on-air loudness because this con­trol only sets the maximum peak level while attempting to maintain the
average modulation constant when adjusted. It does this by driving the
look-ahead limiter 1 dB harder for every 1 dB that the 2.0
turned down.

OUTPUT LEVEL control

OUTPUT LEVEL is

F) Test modulation with program material to determine the overshoot in your

transmission system.

OCATE to SYSTEM SETUP > TEST MODES and choose OPERATE.

a) L

b) Recall the TVA

c) Apply typical program material to the 8685’s input. Verify that the 2.0

LIMITER GR meters are indicating gain reduction on peaks, which ensures
that the 8685 is producing 100% peak modulation on program material.

d) Measure your transmitter’s peak modulation. If this exceeds 100%, turn

down the 8685’s 2.0
frequent recurrence is constrained to 100% deviation.

5B GEN PURPOSE preset.

OUTPUT LEVEL control until the modulation of peaks of

OPTIMOD SURROUND PROCESSOR INSTALLATION

Turning down the 2.0 OUTPUT 100% control reduces the peak modula­tion without significantly affecting the average modulation. Hence, using
this technique keeps the 8685’s L
and provides correct on-air loudness.

OUDNESS LEVEL meter correctly calibrated

G) Check loudness with respect to other stations in your market and correct your

average modulation if necessary.

Because there is no standard value for the average modulation in analog
TV transmission, the loudness of your analog transmission might be dif­ferent from other stations in your market. If this is so, match the 8685’s
loudness to the other stations by adjusting the 2.0 D
the on-air preset. In PC Remote, this control is located in the 2.0 L

ORE TAB; on the 8685’s front panel, the control is located in ADVANCED

M

IALNORM control in

ESS-

MODIFY > DISTORTION. For example, changing DIALNORM from –17 dB to
–15 dB makes the transmission 2 dB louder. Adjusting D

IALNORM is the

only correct way to adjust on-air loudness after the system has been cali­brated according to steps (E) and (F) above; this technique will retain cor­rect calibration of the 8685’s loudness level meter and

loudness control-

ler.

Note that increasing the loudness in this way will increase the likelihood
that the 8685’s look-ahead limiter will create audible “pumping” or
“gulping” artifacts on program material that is rich in high frequencies
because the look-ahead limiter is operating on a preemphasized signal
and because turning up D
you hear such artifacts, we recommend that you use a 5-Band TVA preset
if you are not doing so already. This allows you to use the Band 5 com­pressor/limiter as a high-frequency limiter. If you hear audible pumping
on material rich in high frequencies, turn down the B5
until you find the most subjectively pleasing trade-off between high fre­quency loss and look-ahead limiter pumping. You can also try speeding
up the B5
the both controls to taste.

When you use a 2-Band “TVA” preset, some material rich in high fre­quencies may cause subtle pumping even with

nal –17 dB value. This is because the 2-band compressor cannot produce
high frequency limiting, so preemphasis control must be performed by
the loudness controller and look-ahead limiter. We have tuned the 5­Band factory “TVA” presets to produce appropriate amounts of high­frequency limiting. We therefore recommend that if you need to use a
“TVA” preset, use a 5-Band preset unless you have a very good reason
not to do so.

ATTACK control by setting it to a lower number, or adjusting

IALNORM drives the look-ahead limiter harder. If

THRESHOLD control

DIALNORM set to its nomi-

2-33

12. Set the surround output configuration and level.

OCATE to INPUT/OUTPUT > SURROUND OUTPUT.

A) L

B) Follow the procedure in step 9 on page 2-27, replacing “2.0” by “surround.”

Note that

URROUND OUTPUT SYNC and 2.0 OUTPUT SYNC controls track each

the S

other automatically; you cannot have separate sources for surround and 2.0
output sync.

C) Follow the procedure in step 10 on page 2-30, replacing “2.0” by “surround.”

2-34

INSTALLATION ORBAN MODEL 8685

13. Set surround and 2.0 global Dialnorm values. (Very important!)

See step 10 on page 2-14.

The global Dialnorm settings are in

• You can use the 8685’s RS-485 serial ports to convey surround

INPUT/OUTPUT > UTILITIES.

DIALNORM to the

Dolby-Encoder automatically.

• If your 8685 is equipped with the optional HD-SDI module, you can use it as a

metadata source. The metadata in the HD-SD stream must be embedded as
VANC data per SMPTE 2020-2-2008 (Method-A) or SMPTE 2020-3-2008
(Method-B). Select the metadata source with the M
which is located in I

NPUT/OUTPUT>INPUT ROUTING (INPUT/OUTPUT 4).

ETADATA SOURCE control,

• If your 8685 is equipped with the optional Dolby-E decoder, you can use

metadata embedded in the Dolby-E input stream as a metadata source.

See Conveying Metadata on page 2-15 and Conveying and Re-authoring Dolby
Metadata on page 6-3.

14. Set the processing’s channel mode controls.

Note:

Unlike Orban’s earlier 8585 processor, all processors (one 7.1 processor and
four 2.0 processors) in the 8685 are active simultaneously. There is no control to
turn them on or off because none is needed. The only thing the installer must do
is to make sure that no signal is accidentally feeding the Lb and Rb channels of
the surround processing if it is processing a 5.1-channel source (step 15 on page
2-35).

OCATE to INPUT/OUTPUT > CHANNEL MODE.

A) L

B) For each 2.0 processor, set the 2.0

D

UAL MONO mode allows the 2.0 processing to handle two independent

PROC MODE to STEREO or DUAL MONO.

mono (1.0) signals. It removes all stereo coupling and activates a sepa­rate, independent loudness controller and loudness level meter for each
channel. However, you cannot set the processing parameters independ­ently for each mono channel. Moreover, the active 2.0 D

IALNORM value is

applied to both mono channels equally.

TEREO mode allows you to couple or uncouple the channels in the AGC

S
and multiband compressor/limiter to any extent you wish via the M
DELTA GR controls in Advanced Control. However, in STEREO mode there

is only one loudness controller and Loudness Level meter. These work on
the r.m.s. sum of the two channels.

You can also set the 2.0 processing mode by first saving a Setup with the

PROC MODE control set as desired. Then recall the Setup from a GPI in-

2.0

put, the 8685’s clock-based automation, the 8685’s front panel, or PC
Remote. You can also change the 2.0 processing mode by reading chan­nel status data in the AES3id input feeding the 2.0 processing (see step
(B) on page 2-18.) A command from any of these sources overwrites the
current stereo/mono status.

AX

OPTIMOD SURROUND PROCESSOR INSTALLATION

C) You can mix the audio applied to 2.0 processor #1 into the Lf and Rf channels

of the surround processing. (Only 2.0 processor #1 has this feature.) This can
be useful if you want to process some program material (such as a newsroom
or outside broadcast feed) more heavily than the remaining program ele­ments in a surround mix.

2-35

Set the 2.0_1

TO SURROUND INPUT MIX control to LF/RF IN, LF/RF LIM or NO

MIX.

• L

F/RF IN mixes the unprocessed 2.0 left and right inputs (as set in the Input

Routing Matrix) into Lf and Rf channels feeding the surround processor.

• LF/R

F LIM mixes the processed "Multiband" signal from the 2.0 processor

into the surround channel’s Lf and Rf channels. This mixing occurs just be­fore the surround loudness controller and look-ahead limiter so that these
elements can control the loudness and peak level of the mix.

The setting of 2.0 DIALNORM does not affect this 2.0 feed. The SURROUND
DIALNORM setting determines the loudness of the surround processing, in­cluding the 2.0 material that has been mixed in.

This mode can be used to process a 2.0 source (for example, a newsroom
feed) before it is mixed with the main surround audio (for example, a
network feed or commercials).

• NO MIX makes 2.0 processor #1 completely independent of the surround

processing.

• The 2.0

TO SURROUND INPUT LEVEL control sets the amount of 2.0 material

mixed into the surround processing.

15. Configure the input routing switcher for 5.1 or 7.1 surround processing.

OCATE to INPUT/OUTPUT > INPUT ROUTING (INPUT/OUTPUT 4).

A) L

B) If you wish to use the surround processor for 5.1 material, set the L

SOURCE control to NONE. For 7.1 material, set the LB/RB SOURCE control to
match the input audio channel carrying the Lb/Rb audio.

Failure to carry out this step can cause spurious gain reduction in the sur­round processor if material unrelated to the 5.1 source accidentally feeds
the Lb and Rb channels.

16. Set the surround-to-2.0 downmix values (optional).

The 8685 creates two separate 2.0 downmixes from the surround channels:

(1) A downmix of the inputs to the surround processing. This downmix is only
used as one possible source to drive the input of any of the 2.0 processors. It is
selected in the Input Routing Switcher as “Ldm/Rdm.”

(2) A downmix of the surround processing’s output channels. This downmix ap­pears as an available source (“Ldm/Rdm”) in the Output Routing Matrix and is
never applied to a processor's input.

B/RB

2-36

INSTALLATION ORBAN MODEL 8685

Note that even if the surround output is configured as AGC+LIMIT or

IMIT, the output downmix is not consistently peak limited because

MB+L

peak limiting is applied to the individual channels before the downmix.
Hence, the output downmix’s maximum permitted peak level becomes
higher when more channels are active. For example, when a given signal
appears in one channel (like Center), the downmix’s maximum peak level
will be 6 dB lower than it is when the same signal is appears equally in
two channels (such as Lf and Rf).

Moreover, the output downmix will not have fully controlled loudness
because the 8685’s loudness controller and Loudness Level meter use an
r.m.s. summation of the channels, whereas the output downmix is an
arithmetic sum. If you need a downmix whose loudness is perfectly con­trolled and whose maximum peak level is fixed, use the 2.0 processing
chain #1 to control loudness and peak levels by assigning its input to the
input downmix. In this case, the loudness at the 2.0 processing chain’s
output will correctly track the 8685’s active 2.0

DIALNORM value.

LOCATE to INPUT/OUTPUT > CHANNEL MODE. You will see controls that determine the
contribution of the various surround channels to the two downmixes, normal­ized so that the left front and right front are mixed at 0 dB.

• The default is –3dB for all inputs.

• The center is mixed equally into the left and right 2.0 downmix channels. All

other channels are assigned only to left or right.

• The mixer settings apply identically to downmixes (1) and (2).

• To make different sets of mix parameters available, save each mix in a Setup

and recall the Setup when required.

17. Set the 2.0_1 processing’s response to AES3 status bits.

See step (B) on page 2-18.

18. Choose

whether the 8685 2.0_1 output will emit status bits depending

on whether the 8685’s 2.0 processing is in stereo or dual mono mode.

See step (C) on page 2-18.

19. End Analog and Digital I/

If you are using a external AGC and you temporarily set the E
step 2 on page 2-20, set the E

O setup.

XT AGC to NO in

XT AGC to YES.

20. Select a processing preset.

See step (10.C)) on page 2-15.

OPTIMOD SURROUND PROCESSOR INSTALLATION

21. Program Silence Sense (optional)

You can program each processing chain (surround and 2.0) in the 8685 to switch
automatically from its primary digital input to a backup input if the signal at the
primary digital input falls silent.

There are silence detectors for each physical input channel. The silence
sense parameters apply to all silence detectors. All detectors are available
to drive the 8685’s tally outputs. (See step (22.B) on page 2-38.)

In the surround processing chain, silence sense will be triggered only
hardware channels assigned to the surround processing fall silent.

In the 2.0 chain, silence sense will be triggered if either logical input
channel assigned to the 2.0 processing falls silent, thereby protecting
against “loss-of-one-stereo-channel” faults. (Each hardware AES3id input
carries two “logical input channels.”)

if all

A) LOCATE to INPUT/OUTPUT > SILENCE.

2-37

B) Set the S

ILENCE THRESHOLD to the level below which the 8685 will interpret

the input as being silent.

C) Set the S

the S

ILENCE DELAY to the amount of time that the input must be below

ILENCE THRESHOLD before the 8685 automatically switches to the backup

input.

D) Set M

ULTICHANNEL INPUT FALLBACK to YES if you wish the 8685 to automatically

switch the surround processing’s Lf/ Rf input from its assigned hardware input
to a fallback input when silence on all surround channels is detected or an
AES receiver unlock error on the input assigned to Lf/Rf is detected. (Channels
LFE, Lb, Rb, Ls, and Rs will be muted.) Set the control to N

O to defeat auto-

matic switching.

If audio is restored at the input assigned to Lf/Rf, the 8685 will automati­cally reconnect the Lf and Rf channels to this input and unmute the re­maining channels.

E) Set MULTICHANNEL FB SOURCE to the hardware input that will drive the Lf and

Rf channels if silence or an AES receiver unlock error on the normal Rf/Lf input
is detected and S

URROUND INPUT FALLBACK = YES. The choices depend on

whether the 8685 is equipped with the optional HD-SDI module.

F) Set the 2.0

FALLBACK to YES if you wish the 8685 to automatically switch the

2.0 processing from the hardware input normally assigned to the 2.0 process­ing to a fallback input when silence on either channel or an AES receiver
unlock error is detected on the normal input channel. Set the control to N

O to

defeat automatic switching.

G) Set 2.0

FB SOURCE to the hardware input that will drive the 2.0 processing if

silence or an AES receiver unlock error is detected and 2.0
choices depend on whether the 8685 is equipped with the optional HD-SDI
module.

22. Program Tally Outputs.

[Skip this step if you do not wish to use the tally outputs.]

FALLBACK = YES. The

2-38

INSTALLATION ORBAN MODEL 8685

See step 6 on page 2-3 for wiring instructions.

You can program the two tally outputs independently to indicate a number of
different operational and fault conditions.

OCATE to SETUP > NETWORK REMOTE > TALLY OUTPUT > TALLY 1.

A) L

B) Program tally output #1.

To program a given tally output, L
turn the control knob, the functions listed below will appear in the high­lighted field.

• Channel xx Silent: Indicates that the level of the specified hardware input

channel has been below the S
DELAY. See step (21.B) on page 2-37.

This function can detect if the center channel is silent.

• Surround Silent: Indicates that the levels at all hardware input channels

assigned to surround processing have been below the S
for longer than the S

• 2.0 (x) Silent: Indicates that the level at either logical input channel as-

signed to a given 2.0 processor (of which there are four available) has been
below the S

• AES xx In Error: Indicates that the AES input receiver chip on hardware

input xx has detected an unlock error, which can occur if there is no input
carrier or if the carrier is corrupted.

• SDI Error: Indicates that the signal applied to the HD-SDI input is unavail-

able or corrupted.

• Input Normal: Indicates that the silence sense function has not automati-

cally switched an input to its assigned fallback input.

ILENCE THRESHOLD for longer than the SILENCE DELAY.

ILENCE DELAY.

OCATE to TALLY 1 or TALLY 2. As you

ILENCE THRESHOLD for longer than the SILENCE

ILENCE THRESHOLD

• Input Fallback: Indicates that the silence sense function has automatically

switched an input to its assigned backup because it detected silence. See
step 21 on page 2-37.

• No Func

C) Program tally output #2 if you wish, following the procedure in step (B) above

with the T

Using Clock-Based Automation

1. If you have not already done so, set the system clock.

If you can connect your 8685 to the Internet through the 8685’s Ethernet port,
you can specify an Internet timeserver to set your 8685’s clock automatically. In
addition, Optimod PC Remote software can automatically set your Optimod’s lo-

tion: Tally output is disabled.

ALLY 2 field.

OPTIMOD SURROUND PROCESSOR INSTALLATION

cal time, OFFSET, and TIME SERVER to reflect the Windows settings in the machine
running PC Remote software. See Synchronizing Optimod to a Network Time-
server on page 2-59. If you are planning to set your Optimod’s time via PC Re­mote and/or the Internet, skip to step (C).

OCATE to SYSTEM SETUP > PLACE > DATE > TIME.

A) L

B) L

OCATE to the TIME AND DATE screen.

2-39

a) Choose T

IME FORMAT as desired (either 24-hour time or AM/PM-style time).

b) Set hours, minutes, and seconds, in that order.

Seconds will stop advancing when you set hours and minutes. So set sec­onds last.

c) Choose the desired date format.

d) Set today’s date.

e) If you want the clock to automatically reset itself to conform to Daylight

Saving Time (Summer Time), use the D

AYLIGHT SAVING MONTH/WEEK and the

STANDARD TIME MONTH/WEEK fields to specify when Daylight Saving Time

begins and ends in your area. If you do not wish to use this feature, leave
these controls set O

C) (Optional) > L

OCATE to the STATION IDENTIFIER screen to specify your station’s

FF.

identifier (call sign or call letters).

2. Locate to System Setup > Automation.

3. If the far left button reads “Disabled,” choose it and press Enter to en-

able automation.

This button lets you enable or disable all automation events easily with­out having to edit individual automation events.

4. To add an automation event:

A) Select A

DD.

B) You can program an event that occurs only once or an event that occurs in a

weekly preset pattern. Highlight either S

NTER button.

the E

C) For S

ET BY WEEK:

a) L

OCATE to the each day of the week in turn; then use the knob to turn the

day on or off.

You can program the event to occur on as many days as you wish.

b) LOCATE to the Event Time field and set the hour, minute, and second when

the automation event is to occur.

Automation events have a “start” time but no “stop” time. The 8685 will
stay in the state specified by an existing automation event indefinitely,
until its state is changed by another automation event or by another ac-

ET BY WEEK or SET BY DATE and press

2-40

INSTALLATION ORBAN MODEL 8685

tion (like a user’s interacting with the front panel or with the PC Remote
application).

c) LOCATE to the Event Type field and set the desired event. You can recall any

factory processing preset, user processing preset, and Setup. You can
activate B
and E
before you invoked T

Although two Setups might only differ by one parameter (for example,
different values of S
easy way to automate complicated changes involving many parameters
like input/output routing.

YPASS mode (for scheduled transmission network testing), TONE,

XIT TEST, which returns you to the processing preset that was active

ONE or BYPASS.

URROUND DIALNORM), recalling Setups also provides an

D) For SET BY DATE, set the desired date and time for the event and specify the

Event Type.

E) Choose D

ONE and press ENTER.

You will return to the automation event list. You may have to scroll the
list (using the knob) to see the event that you just added.

5. To edit an existing event:

A) Using the knob, highlight the event you wish to edit.

B) Select the E

DIT button and press ENTER. The edit screen appears.

C) Edit the event as desired.

D) When you have finished making edits, choose D

ONE and press ENTER.

6. To delete an event:

A) Highlight the event to delete with the knob.

B) Choose D

7. Choose D

ELETE and press ENTER.

ONE and press Enter to leave the Automation screen.

Security and Passcode Programming

You can use multi-level passcodes to control access to the 8685 via the front panel
and via PC Remote. You can configure a given passcode to allow one of the follow­ing levels of access:

1. All Access (i.e., administrator level)

2. All Access except Security

3. All screens except Modify and Security

4. Recall, Modify, and Automation

5. Recall Presets and program Automation

OPTIMOD SURROUND PROCESSOR INSTALLATION

6. Recall Presets

2-41

Only passcodes with A
missions.

Each Passcode is unique; the software will not let you create duplicate Passcodes.
Further, to prevent accidental lockout, the software requires you to have at least
one passcode with A

Your Optimod secures User Presets by encrypting them (using the Advanced Encryp­tion Standard algorithm with the session passcode as its key) when PC Remote
fetches them. Hence, a packet sniffer cannot intercept User Presets in plaintext form.
PC Remote then writes the fetched User Presets in encrypted form on your hard
drive, where they remain for the duration of your PC Remote session.

If PC Remote exits normally, it will erase these temporary User Preset files
from your computer’s hard disk. If it does not exit normally, these files
will remain in encrypted form. However, the next time that PC Remote
starts up, it will automatically clean up any orphaned files.

1. From the main menu, locate to S

The Security screen lets you set front-panel lockout time, choose if you want the
meters to be viewable when the 8685 is in lockout mode, create new passcodes,
review and/or assign authorization levels for existing passcodes, and delete pass­codes.

LL ACCESS let you do software updates and set passcode per-

LL ACCESS (administrator) privileges.

YSTEM SETUP and then to SECURITY.

If the 8685 is already under security control, you must enter an A
passcode to enter the Security screen.

2. Set the Security Screen “Lockout” parameter.

The choices are 1, 5, 15, or 30 minutes, 1, 2, 4, or 8 hours, or O

Front Panel lockout only occurs when the lockout value is not

The Lockout field sets the time delay between the last user interaction with the
front panel and automatic front-panel lockout. Once the front panel is locked
out, you can only regain access by entering a valid passcode.

The Lockout field does not affect PC Remote connections. Once connected, the
PC Remote application does not time out automatically; it remains connected un­til explicitly disconnected by its user.

The lockout timer begins at the top of the next minute. For example, if you set
Lockout to be 1 minute at 9:10:33 AM and do not touch the front panel again,
the front panel will lock out at 9:12:00 AM.

3. Set the Security Screen “View Meters” parameter.

Select Y

ES to display meters and NO to hide meters when lockout is active.

LL ACCESS-level

FF.

OFF.

2-42

INSTALLATION ORBAN MODEL 8685

4. Create a new passcode (optional).

A) Select the “New” button from the Security screen.

The “Create New Passcode Screen” appears.

B) Use the “virtual keyboard” to create a passcode.

Use the L

OCATE button to locate to each character. Then press ENTER to

accept that character.

The letters on the virtual keyboard are all uppercase. When you use the
passcode later, you must enter it using capital letters because the pass­code is case sensitive. For example, if you set up your passcode as
OOPS25, you must enter it as OOPS25, not as oops25 or Oops25.

C) When you have finished creating

your passcode, write it down so
you do not forget it.

D) Choose S

AVE. The Security screen

reappears.

E) Initially, your new passcode has

LL ACCESS (administrator) privi-

A

leges. To change its privileges,

LOCATE to the PASSCODE

AUTHORIZES ACCESS TO field. Then

turn the knob to choose the de­sired privilege level.

F) Choose D

ONE or press ESCAPE when you are finished. The System Setup screen

appears.

5. Edit or delete an existing passcode (optional).

OCATE to SYSTEM SETUP and then

A) L

ECURITY

to S

If the 8685 is already under secu­rity control, you must enter an

ACCESS-level passcode to enter the

ALL

Security screen.

OCATE to the CURRENT PASSCODE

B) L

field. Use the blue knob to scroll
through the passcodes until you
see the one you wish to edit or de­lete.

C) To delete the passcode, choose the D

ELETE button.

At least one passcode must have “All Access” privileges. If you try to de­lete the last “All Access” passcode, the following dialog box will appear:

You cannot delete this Passcode because you must have at least one
Passcode with All Access privileges. Press OK to continue.

OPTIMOD SURROUND PROCESSOR INSTALLATION

D) To edit the passcode, LOCATE to the PASSCODE AUTHORIZES ACCESS TO field.

Then turn the knob to choose the desired privilege level.

2-43

E) Choose D

You may edit or delete more than one passcode before choosing

Choosing
code settings.

ONE when you are finished. The System Setup screen appears.

DONE on the Security Screen automatically saves all of your Pass-

To Unlock the Front Panel

A) On the 8685 front panel, operate any button or the knob.

The E

NTER PASSCODE screen appears.

B) Enter your passcode using the virtual keyboard.

If you enter a Passcode that does not exist, you are returned to the ENTER
PASSCODE screen.

C) Press ENTER to unlock.

You will be able to access 8685 functions allowed by the privilege level of
your passcode.

After you have finished working, the panel will automatically re-lock af­ter the time delay set in step 2 on page 2-41. If you have A
leges, you can set the delay as desired by following the instructions in
that step.

DONE.

LL ACCESS privi-

8685 User Interface Behavior during Lockout

If security is set so that the meters are hidden during lockout, a Lockout screen re­places the Meters screen. It displays Input Status, Time, Date, Studio Name, and Help
Text.

If you set security to hide meters when the 8685 is locked out, the On-Air Preset and
Meters do not appear. This prevents your competitors from seeing them if your 8685
is installed in a shared facility.

The diagnostic screens are unavailable during lockout unless you enter a passcode of
any privilege level.

Default ADMIN Passcode

When you first open to the Security screen on the 8685, there is one default pass­code: ADMIN (all capitals), which has A
an initial connection to the 8685 via PC remote; you must enter ADMIN when PC
Remote asks you for a passcode.

The front panel lockout feature’s default setting is O
the lockout feature functioning until a lockout time is set.

Any passcode you have programmed into the 8685 (via step 3 on page 2-41) allows
PC Remote connections with the same privileges. For example, if you connect to the
PC Remote and use a Passcode with A

LL SCREENS privileges. This passcode permits

FF, so your 8685 will not have

LL ACCESS access, this Passcode will allow full

2-44

INSTALLATION ORBAN MODEL 8685

access to the 8685 from that PC. Conversely, if you connect to the 8685 with a Pass­code that only allows access to the “Presets” on the 8685, you will only be able to
recall presets from the PC Remote.

To ensure good security, you should first create a new ALL ACCESS passcode
and then delete the ADMIN passcode (in that order) to prevent others from
accessing your 8685 with the ADMIN passcode. The longer a passcode is, the

more secure it is. Moreover, the most secure passcodes use a random combination of
letters and numbers.

Security and Orban’s PC Remote Application

Any passcodes set on the 8685 will allow the PC Remote application to connect via
direct, modem and Ethernet connections at the level authorized by the passcode.

• If no Passcodes are assigned to 8685 except the ADMIN default passcode;

When you attempt a connection to the 8685 via Direct, Modem, and Ethernet
connections, the “Enter Passcode Screen” will prompt you to enter a Passcode.
Type in ADMIN from your keyboard. This will allow you full access to the 8685 via
the PC Remote.

To ensure that your 8685 is fully protected, create a new passcode that has A
SCREENS access. Then delete the ADMIN passcode.

See step 3 on page 2-41 for instructions on how to create a new passcode and
step (5.C) on page 2-42 for instructions on how to delete a passcode.

• Using passcodes to end PC Remote connections from the 8685 front panel:

you try to access an 8685 from its front panel while a remote connection exists,

If
a message will appear asking you whether you want to disconnect the remote
connection. If you choose to disconnect the connection, the “Enter Passcode
Screen” will appear if the unit is locked out.

Passcodes and Software Updates

PC Remote allows a software update to occur regardless of passcode level of the
8685  PC Remote connection. However, PC Remote will only offer to perform a
software update if the version of PC Remote higher than the version of the software
installed in your 8685. Hence, this does not create a significant security issue; the
8685 is silent for only a few seconds when it reboots following a software update
because the DSP continues to process audio while the update is occurring.

If you have forgotten your “All Access” passcode…

LL

You can access the 8685 even if you have forgotten your ALL SCREENS passcode.

A) Press the E

wait while Optimod initializes” screen upon boot-up.

NTER button within two seconds after the 8685 displays its “Please

OPTIMOD SURROUND PROCESSOR INSTALLATION

B) Choose whether you want the 8685 to delete all passcodes while retaining

other customizations (like I/O levels and user presets) or if want the 8685 to
reset itself to its factory defaults. In either case, all existing passcodes will be
erased.

• If you choose to reset the unit to factory defaults, the 8685 will subse-

quently ask whether it should erase all user presets or retain them.

• If you choose to only delete passcodes, the front panel will not unlock

automatically. After you have deleted the passcodes, there will be only one
passcode, ADMIN, which has All Access privileges. Use this passcode to
unlock the front panel normally.

• If you reset the unit to its factory defaults, the panel will unlock automati-

cally. Please note that resetting the unit to its factory defaults:

• Resets all global parameters to factory default settings

• Deletes all Automation Events

2-45

• Restores Remote Interface inputs 1-8 to “no function”.

Administering the 8685 through its RS-232 Serial

Port or Ethernet

You can connect a PC to the 8685’s RS-232 serial port or to its Ethernet port by using
a terminal program like HyperTerminal to administer security and to recall presets
using simple ASCII commands.

You must configure the 8685 so that it loads the correct serial port driver when
booting up. You do this by setting the serial interface type in the N
and then rebooting the 8685. There are two available drivers: One driver supports
simple ASCII commands; the other driver supports communication via TCP/IP and PPP.

Using the RS-232 port to connect to 8685 PC Remote software via a direct
cable connection or modem requires configuring the port as PPP. How­ever, in most cases you will use Ethernet to connect to PC Remote.

The 8685’s two RS-485 ports (Serial Ports 2 and 3) are dedicated to send­ing and receiving Dolby Digital metadata; they cannot be used to control
the 8685.

ETWORK screen

• Valid commands are in either upper or lower case, not a combination.

• Only one valid command is permitted per line.

• The 8685 will not respond to unrecognized commands.

• The character code supported is ASCII.

2-46

INSTALLATION ORBAN MODEL 8685

Connecting via the RS-232 Port Using a Terminal Program on a
PC

• The RS-232 port must be configured as “ASCII.”

• The 8685’s RS-232 port can be used with any computer or terminal that is com-

patible with the RS-232 standard interface.

• Automation systems capable of sending ASCII via an RS-232 port can control the

8685.

• Users will connect their computer or terminal to the 8685 with a null modem ca-

ble. Only direct connections are supported; there is no provision for communica­tions via modem.

• Communications configuration is 9600, N, 8, 1, no handshaking

(flow control = none).

• To facilitate maintaining security at sites shared with others, the 8685 monitors

the RS-232 port for 30 minutes after power-up or after the last valid command is
received, after which all commands are ignored except for recalling a Preset or
Setup.

To allow the 8685 to be controlled through its RS-232 terminal via a PC running a
terminal program like HyperTerminal:

A) From the main menu,

The current setting of the RS-232 Serial Port will appear. If it is not already set
to ASCII, set it there.

B) If you have changed the configuration of the RS-232 port to ASCII from

IRECT or MODEM, you must power-cycle the 8685. It will reboot and load the

D

new serial driver.

C) Connect an available RS-232 serial port (COM port) on your computer to the

RS-232 port on the 8685 via a null modem cable.

You do not need to remove power from either your computer or the
8685 when you do this.

D) Start HyperTerminal. (You can usually access it from Start > Programs > Acces-

sories > Communication.)

EW CONNECTION dialog box appears.

The N

E) Give your new connection a name and choose OK.

The C

ONNECT TO dialog box appears.

F) Set the C

you are using on your PC.

ONNECT USING field to “Direct to COMx,” where “x” is the COM port

LOCATE to SYSTEM SETUP > NETWORK REMOTE > NETWORK.

G) Choose OK.

ORT SETTINGS dialog box appears.

The P