Poly Soundstructure SoundStructure Design Guide

DESIGN GUIDE

1.9.0 | September 2016 | 3725-33186-002A

Polycom® SoundStructure® C16, C12, C8, and SR12

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Contents

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Introducing the Polycom SoundStructure Product Family . . . . . . . . . . . . . . . . . 17

Defining SoundStructure Architectural Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Understanding Polycom OBAM™ - One Big Audio Matrix . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Understanding SoundStructure C-Series Products . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Understanding C-Series Input Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Creating C-Series Matrix Crosspoints . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Understanding C-Series Output processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Processing C-Series Submixes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Understanding C-Series Acoustic Echo Canceller References . . . . . . . . . . . . . . . . . . . . 31

Understanding SoundStructure SR-Series Products . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Understanding SR-Series Input Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Creating SR-Series Matrix Crosspoints . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Understanding SR-Series Output Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Processing SR-Series Submix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Understanding Telephony Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Introducing SoundStructure Design Concepts . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Understanding Device Inputs and Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Understanding Physical Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Numbering Physical Channel On A Single SoundStructure Device . . . . . . . . . . . . . . . . . 48

Numbering Physical Channel With Multiple SoundStructure Devices . . . . . . . . . . . . . . . 49

Physical Channel Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Understanding Virtual Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Virtual Channel Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Understanding Virtual Channel Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Virtual Channel Group Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Understanding Telephone Virtual Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Defining Logic Pins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Labeling Physical Logic Pins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Controlling Virtual Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

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Controlling Array Virtual Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Understanding IR Receiver Virtual Channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Creating Designs with SoundStructure Studio . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Understanding SoundStructure Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Understanding System Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Viewing Recommended Operating System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Installing SoundStructure Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Operating in Online and Offline Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Customizing SoundStructure Designs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Using the Wiring Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Editing Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Using the Channels Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Editing Virtual Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Creating Virtual Channel Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Setting Input Signals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Enabling Input Signal Meters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Using Input Channel Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Operating Analog Signal Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Changing the Mute Status . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Enabling Phantom Power . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Using the Ungated Type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Using Delay Type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

Using Delay Compensation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Using Trim . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Processing Equalization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Eliminating Feedback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

Enabling Acoustic Echo Cancellation (AEC) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

Processing Noise Cancellation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

Using Automatic Gain Control (AGC) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Using Dynamics Processors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

Using Automatic Microphone Mixing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

Processing Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

Controlling Fader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

Defining a Signal Generator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

Setting Output Signals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

Processing Output Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

Processing Output Equalization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

Processing Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

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Processing Submix Signals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

Processing Output Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132

Processing Output Equalization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132

Processing Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134

Controlling Fader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134

Using the Matrix Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134

Adjusting Crosspoints . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136

Matrix summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141

Using the Telephony Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142

Adjusting Input Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143

Processing Noise Cancellation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144

Using Automatic Gain Control (AGC) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144

Processing Output Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145

Processing Equalization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145

Controlling Fader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146

Processing Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146

Using Telephone Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147

Connecting Over Conference Link2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150

Connecting SoundStructure Conference Link2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150

Integrating Polycom Video Codec . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151

Designing with The Polycom Video Codec . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

Editing The Polycom Video Codec Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

Processing The Polycom Video Codec SoundStructure Signals . . . . . . . . . . . . . . . . . . 156

Understanding The Polycom Video Codec Output Channels . . . . . . . . . . . . . . . . . . . . . 157

Routing The Polycom Video Codec Signals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158

Using the Mute Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159

Using the Volume Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161

Designing With Polycom Digital Microphone Arrays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163

Understanding Digital Microphone Cabling Requirements . . . . . . . . . . . . . . . . . . . . . . . 164

Updating Digital Microphone Firmware . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164

Detecting CLink2 Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166

Viewing Digital Microphone Array Example . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166

Assigning Digital Microphone Array Channels To Physical Inputs . . . . . . . . . . . . . . . . . 169

Numbering Digital Microphone Array . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172

Understanding Installation Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174

Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177

Linking Multiple SoundStructure Devices with One Big Audio Matrix . . . . . . 179

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

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Preparing Units for Linking with OBAM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

Updating SoundStructure Device Firmwa re . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

Linking SoundStructure Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180

Creating a Multi-Device Configuration File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184

Expanding or Contracting an Existing Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

Creating a New Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187

Uploading Configuration Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190

Controlling the SoundStructure System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193

Accessing SoundStructure Logs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194

Connecting Polycom Microphones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195

Connecting Multiple Polycom Video Codec Conferencing Systems . . . . . . . . . . . . . . . . 198

Installing SoundStructure Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201

Configuration Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201

Wiring The Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201

Uploading A Configuration File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205

Downloading A Configuration File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209

Updating Firmware . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209

Configuring The Signal Gains . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211

Input Signal Level Adjustment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212

Signal Meters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212

Room Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214

Telephony Signal Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216

Output Signal Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218

Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223

Preset Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224

Saving Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225

Creating Partial Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227

Running Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231

Removing Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232

Using Events, Logic, and IR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233

Understanding Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233

Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233

Triggers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234

Actions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234

Creating Events With SoundStructure Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236

Adding New Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236

Enable And Disable Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236

Event Entries In The Logs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237

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Removing Events With Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238

SoundStructure Studio Automatically Creates Events . . . . . . . . . . . . . . . . . . . . . . . . . . 238

Polycom IR Remote . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242

Polycom IR Remote Channel ID . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246

IR Receiver Connector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246

Logic Ports . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247

Digital Logic Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248

Analog Logic Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250

Logic Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250

Logic Arrays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251

Viewing Event Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253

Splitting and Combining Presets Triggered from a Logic Input . . . . . . . . . . . . . . . . . . . . 253

Viewing Push To Talk Microphones with LEDs Example . . . . . . . . . . . . . . . . . . . . . . . . 256

Viewing Push and Hold to Temporarily Mute A Microphone . . . . . . . . . . . . . . . . . . . . . . 260

Viewing the Phone Off Hook Drives A Relay Example . . . . . . . . . . . . . . . . . . . . . . . . . . 261

Viewing the Volume Knob Adjusts “Amplifier” Fader Example . . . . . . . . . . . . . . . . . . . . 263

Viewing the Gating Information Sent To A Control System Example . . . . . . . . . . . . . . . 265

Positioning A Polycom Video Codec Camera Example . . . . . . . . . . . . . . . . . . . . . . . . . 267

Creating SoundStructure Events Best Practices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268

Managing SoundStructure Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270

Connecting To The Device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270

LAN Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270

Dynamic IP Addresses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271

Link-Local IP Addresses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273

Static IP Addresses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274

Setting The Time Server . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276

Control And Command Sessions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276

SoundStructure Device Discovery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278

AMX Beacon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278

RS-232 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279

Configuring And Accessing The Logs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279

Using the Polycom® RealPresence Touch™ with a SoundStructure System . 281

Setting Up and Enabling the RealPresence Touch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281

Pairing the RealPresence Touch Device with a SoundStructure System . . . . . . . . . . . . . . . 281

Placing Calls on the RealPresence Touch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282

Use the RealPresence Touch to Generate Touch Tones in a SoundStructure Call . . . . . . . 282

Use the RealPresence Touch to Generate a Flash Hook Command . . . . . . . . . . . . . . . . . . 283

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Integrating The Polycom® Touch Control with SoundStructure Systems . . . 284

Polycom Touch Control and SoundStructure Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284

SoundStructure System Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284

Using a Polycom Touch Control with Video Codec Systems Versus SoundStructure Systems

285

Pairing the Polycom Touch Control with SoundStructure . . . . . . . . . . . . . . . . . . . . . . . . . . . 286

Polycom Touch Control Administrative Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290

Configuring the Polycom Touch Control LAN Properties . . . . . . . . . . . . . . . . . . . . . . . . 291

Configuring Polycom Touch Control Regional Settings . . . . . . . . . . . . . . . . . . . . . . . . . 292

Configuring Security Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293

Setting up Polycom Touch Control log management . . . . . . . . . . . . . . . . . . . . . . . . . . . 293

Updating Polycom Touch Control Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293

Using the Polycom Touch Control with SoundStructure . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295

Designing a SoundStructure Project with the Polycom Touch Control . . . . . . . . . . . . . . 295

Using Multiple SoundStructure Telephony Interfaces . . . . . . . . . . . . . . . . . . . . . . . . . . . 299

Using Multiple Polycom Touch Controls with SoundStructure . . . . . . . . . . . . . . . . . . . . 300

Validating Polycom Touch Control and SoundStructure integration . . . . . . . . . . . . . . . . 301

Integrating SoundStructure with SoundStructure VoIP Interface . . . . . . . . . . 305

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305

How to Read This Chapter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306

SoundStructure VoIP Interface Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306

SoundStructure System Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308

Upgrading a Project to the SoundStructure VoIP Interface . . . . . . . . . . . . . . . . . . . . . . . . . . 308

Upgrading an Existing TEL1/TEL2 Project to the SoundStructure VoIP Interface . . . . . 309

Creating a New Project with the SoundStructure VoIP interface . . . . . . . . . . . . . . . . . . 316

Upgrading the Firmware in the SoundStructu re Syste m . . . . . . . . . . . . . . . . . . . . . . . . . 322

Installing the New Plugin Cards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324

Uploading the Configuration File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326

Configuring the SoundStructure VoIP Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327

Setting the IP address of the SoundStructure VoIP Interface . . . . . . . . . . . . . . . . . . . . . 327

Setting the Provisioning Server settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333

Registering Lines with the SoundStructure VoIP Interface . . . . . . . . . . . . . . . . . . . . . . . 339

Using the SoundStructure VoIP Interface with SoundStructure Studio . . . . . . . . . . . . . . . . . 344

Using the Phone Settings Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344

Customizing SoundStructure Telephony Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347

SoundStructure VoIP Interface Settings on the Wiring Page . . . . . . . . . . . . . . . . . . . . . 348

Setting an IP address with SoundStructure Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 349

Using the SoundStructure Studio Console . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352

Updating Software on the SoundStructure VoIP Interface . . . . . . . . . . . . . . . . . . . . . . . . . . 354

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Upgrading Software with a Local FTP Server . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354

Upgrading Software with an Existing Provisioning Server . . . . . . . . . . . . . . . . . . . . . . . 355

Upgrading Software with the Web Configuration Utility . . . . . . . . . . . . . . . . . . . . . . . . . 357

Validating a SoundStructure VoIP Interface Installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364

VoIP Interface Logs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372

Back up and Restore the VoIP Specific Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374

Importing and Exporting VoIP Parameter Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376

SoundStructure Log Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377

Information Required for Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 379

Understanding SoundStructure VoIP Interface API Commands . . . . . . . . . . . . . . . . . . . . . . 379

Using the SoundStructure API . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382

Dialing a Call . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382

Hanging up a Call . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 383

Putting a Call on Hold and Resuming the Call . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 383

Forwarding an Incoming Call . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384

Transferring a Call . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384

Blind Transfer of a Call . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385

Dialing Two Calls on the Same Line . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386

Dialing Two Calls on Different Lines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 387

SoundStructure API Behavior Changes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 388

Adding Authentication to SoundStructure Systems . . . . . . . . . . . . . . . . . . . . . 390

SoundStructure Authentication Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 390

SoundStructure System Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 390

Enabling Authentication on a SoundStructure System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391

Discovering a System with Authentication . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 392

Removing Authentication from a SoundStructure System . . . . . . . . . . . . . . . . . . . . . . . . . . 394

Viewing SoundStructure Command Logs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395

Understanding SoundStructure System Compatibility Considerations . . . . . . . . . . . . . . . . . 395

SoundStructure Authentication API Command Summary . . . . . . . . . . . . . . . . . . . . . . . . 398

Creating Advanced Applications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400

Creating a One Microphone And Mono Video Conferencing System . . . . . . . . . . . . . . . . . . 400

SoundStructure Studio Steps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 401

Using the Channels Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 404

Using the Matrix Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 405

Understanding Wiring Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 406

Controlling The System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407

Creating Four Digital Array Microphones and A SoundStation VTX1000 Conferencing System .

408

SoundStructure Studio Steps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 410

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Editing Matrix Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 413

Editing Channels Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 415

Understanding Wiring Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 418

Controlling The System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 419

Creating an Eight Microphones, Video, and Telephony Application Conferencing System . 420

Creating a Project in SoundStructure Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 421

Matrix Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 425

Channels Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 427

Wiring Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 428

Controlling The System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 429

Creating a Two PSTN Line Positional “Receive” Audio Conferencing System . . . . . . . . . . . 430

SoundStructure Studio Steps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 432

Matrix Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 436

Channels Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 439

Wiring Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 440

Controlling The System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441

Creating an Eight Microphones and Stereo Video Conferencing System . . . . . . . . . . . . . . . 443

Channels Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 448

Wiring Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 449

Controlling The System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 450

Creating an Eight Microphones with The Polycom Video Codec Conferencing System . . . . 451

SoundStructure Studio Steps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451

Matrix Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 455

Channels Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 456

Wiring Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 457

Controlling The System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 458

Creating an Eight Microphones with Wireless and Lectern Microphones Reinforcement Confer-

encing System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 459

SoundStructure Studio Steps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 461

Matrix Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462

Channels Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 465

Wiring Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 473

Controlling The System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 474

Creating a Sixteen Microphones with Six-Zone Sound Reinforcement Conferencing System . . .

475

SoundStructure Studio Steps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 476

Matrix Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 481

Channels Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 484

Wiring Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 486

Controlling The System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 488

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Creating a Room Combining Application Conferencing System . . . . . . . . . . . . . . . . . . . . . . 488

SoundStructure Studio Steps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 491

Combined Room Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 495

Split Room Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 499

Wiring Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 503

Controlling The System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 504

Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 506

Audio Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 506

Echo Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 508

API Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 512

RS-232 Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 515

Polycom Video Codec Integration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 517

Telco Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 518

Ethernet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 518

Hardware Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 519

OBAM Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 520

Troubleshooting The IR Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 521

Contacting Technical Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 521

Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 522

Technical Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 522

Pin Out Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 524

PSTN Cable . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 525

Conference Link2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 525

OBAM Link . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 526

IR Receiver . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 527

RS-232 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 527

Logic Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 528

Audio Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 529

Using SoundStructure Studio Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 531

Adjusting Knobs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 531

Adjusting Matrix Crosspoints . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 531

Appendix A: Command Protocol Reference Guide . . . . . . . . . . . . . . . . . . . . . . 533

Using SoundStructure Command Protocols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 533

Understanding SoundStructure Control Interfaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 533

Understanding RS-232 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 533

Connecting with the Ethernet Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 534

Using Virtual Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 535

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Design Guide for Polycom C16, C12, C8, and SR12 SoundStructure Studio 1.9.0

Understanding Virtual Channel Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 536

Understanding Virtual Channel Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 537

Understanding SoundStructure Command Syntax . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 538

Controlling SoundStructure Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 538

Understanding the Command Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 540

Understanding the Control Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 541

Understanding Virtual Channel Definition Commands . . . . . . . . . . . . . . . . . . . . . . . . . . 542

Virtual Channel Group Definition Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 546

Adjusting Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 550

Command List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 554

Command Example . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 555

SoundStructure Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 557

Gain and Mute Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 557

Matrix Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 564

Telephony Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 571

Equalizer Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 615

Dynamics Processing Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 634

Algorithm Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 652

Input Path Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 670

Automixer Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 672

GPIO Control Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 682

Control Port Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 685

System Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 695

Appendix B: Address Book . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 709

Using the Address Book . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 709

Address Book SoundStructure System Entries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 710

Address Book Folders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 713

Removing Entries from the Address Book . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 715

Changing the Location of the Address Book . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 715

Appendix C: Designing Audio Conferencing Systems . . . . . . . . . . . . . . . . . . . 716

Large Room Environments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 717

Microphone Selection And Placement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 717

Microphone Fundamentals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 717

Microphones For Conferencing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 720

Automatic Microphone Mixers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 722

Noise Cancellation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 722

Acoustic Echo Cancellation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 723

AEC Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 725

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Design Guide for Polycom C16, C12, C8, and SR12 SoundStructure Studio 1.9.0

Tail Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 725

Transmission Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 726

Echo Return Loss . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 727

Multi Channel vs. Single Channel AEC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 728

Muting Microphones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 728

Volume Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 729

AEC Troubleshooting Guidelines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 729

Telephone Hybrid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 730

Amplifiers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 731

Loudspeakers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 731

Speaker Zoning And Placement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 733

Loudspeakers - How Much Power Is Required . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 735

Spatial Directionality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 735

Microphone And Loudspeaker Placement Considerations . . . . . . . . . . . . . . . . . . . . . . . 735

In-Room Reinforcement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 736

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Introduction

The Polycom® SoundStructure® products are professional, rack-mountable, and audio processing devices that set a new standard for audio performance and conferencing in any style of r oom. With both monaural and stereo acoustic echo cancellation capabilities, the SoundStructure conferencing products provide an immersive conferencing experience that is unparalleled. The SoundStructure products are designed to integrate seamlessly with supported Polycom Video Codec conferencing systems and Polycom touch devices for the ultimate experience with HD voice, video, content, and ease of use.

Note: Recent Product Name Changes Not Shown in Graphics

With the release of SoundStructure Firmware 1.7.0 and SoundStructure Studio

1.9.0, the product names for the Polycom video and microphone conferencing products have changed to reflect added support for Polycom Group Series. However, the product name changes are not reflected in the graphics and screenshots shown in this guide. For example, although Polycom HDX is now Polycom Video Codec, some of the graphics in this guide still display the Polycom Video Codec as HDX.

Additionally, RealPresence Group Series is compatible with older versions of SoundStructure Studio and Firmware, and any concepts that refer to HDX apply for Group Series as well.

RealPresence®

The Polycom SoundStructure C16, C12, and C8 audio conferencing devices are single rack unit devices that have 16 inputs and 16 outputs, 12 inputs and 12 outputs, or 8 inputs and 8 outputs respectively. The SoundStructure SR12 is an audio device for commercial sound applications that do not require acoustic echo cancellation capabilities and has 12 inputs and 12 outputs. Any combination of SoundStructure devices can be used together to build systems up to a total of eig ht SoundStr ucture de vice s and up to 1 28 inputs and 128 outputs. SoundStructure products can be used with any style of analog microphone or line-level input and output sources and are also compatible with th e Polycom table and ceiling microphones.

The SoundStructure products are used in similar applications as Polycom’s V ortex

installed voice products

but have additional capabilities including:

● Stereo acoustic echo cancellation on all inputs

● Direct digital integration with Polycom Video Codec or RealPresence

Group Series systems

● Feedback elimination on all inputs

● More equalization options available on all inputs, outputs, and submixes

● Dynamics processing on all inputs, outputs, and submixes

● Modular telephony options that can be used with any SoundStructure device

● Submix processing and as many submixes as inputs

● Ethernet port for configuration and device management

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● Event engine for using internal state information such as muting, logic input and logic output ports, and an IR remote for controlling SoundStructure

SoundStructure devices are configured with Polycom's SoundStructure Studio software, a Windows

-based comprehensive design tool used to create audio configurations either online—connected to a SoundStructure system—or offline—not connected to a SoundStructure system. SoundStructure Studio is used to upload and retrieve configuration files to and from SoundStructure systems.

For detailed information on how to install a device, terminate cables, and connect other devices to the SoundStructure devices, refer to the SoundStructure Hardware Installation Guide. For information on the SoundStructure API command syntax used to configure SoundStructure devices and control the devices with third party controllers, refer to Appendix A: Command Pr otocol Reference Guide . The SoundStructure Command Protocol Reference Guide can also be found by pointing a browser to the SoundStructure device’s IP address.

This guide is designed for the technical user and A/V designer who needs to us e SoundStructure pro ducts, create audio designs, customize audio designs, and verify the performance of Soun dStructure designs. This guide is organized as follows:

● Introducing the Polycom SoundStructure Product Family is an introduction to the SoundStructure

products including the OBAM

™

architecture and details of the signal processing available for inputs,

outputs, telephony, and submix processing.

● Introducing SoundStructure Design Concepts presents the SoundStructure design concepts of

physical channels, virtual channels, and virtual channel groups. These concepts are integral to making SoundStructure products easy to use and enable control system application code to be reused and portable across multiple installations.

● Creating Designs with SoundStructure Studio describes how to use the SoundStructure Studio

windows software to create a design. Start with this section if you want to get up and running quickly using SoundStructure Studio.

● Customizing SoundStructure Designs provides detailed information on customizing the design

created with SoundStructure Studio including all the controls presented as part of the user interface. Start with this chapter if you have a design and would like to customize it for your application.

● Connecting Over Conference Link2 provides information on the Conference Link2 interf ace and how

SoundStructure devices integrate with the Polycom Video Codec conferencing system.

● Linking Multiple SoundStructure Devices with One Big Audio Matrix provides information on how to

link multiple SoundStructure devices with the OBAM™ interface.

● Installing SoundStructure Devices provides information on how to install, set signal levels, and

validate the performance of the SoundStructure devices. Start here if you have a system already up and running and would like to adjust the system in real-time.

● Using Events, Logic, and IR provides information on how to use SoundStructure ‘events’ with logic

input and output pins, an IR remote, and for options for how to send commands from SoundStructure’s RS-232 interface to other devices including a Polycom Video Codec.

● Managing SoundStructure Systems provides information for the network administrator including how

to set IP addresses and how to view the internal SoundStructure logs, and more.

● Using the Polycom

RealPresence Touch™ with a SoundStructure System provides the steps for

pairing and using the Polycom RealPresence Touch device with a SoundStructure syst em.

● Integrating the Polycom

Touch Control with SoundStructure Systems provides the steps for using

the Polycom Touch Control with a SoundStructure system. See the SoundStructure and the Po lycom Touch Control Users Guide for instructions on how to use the Polycom Touch Control with SoundStructure.

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● Integrating SoundStructure with SoundStructure V oIP Interface provides the steps for designing with,

and configuring, the SoundStructure VoIP interface.

● Adding Authentication to SoundStructure Systems introduces authentication and how to enable

password protection on SoundStructure systems.

● Creating Advanced Applications provides example applications with SoundStructure products

including stereo audio conferencing applications, room co mbining, and more.

● Troubleshooting provides troublesho oting information and steps incl uding details on the status LEDs

on SoundStructure.

● Specifications lists the Specifications for the SoundStructure devices including audio performance,

power requirements, and more.

● Using SoundStructure Studio Controls provides information on how to use the different UI elements

in the SoundStructure Studio software including knobs and matrix crosspoints.

● Appendix A: Command Protocol Reference Guide provides detailed information on the

SoundStructure command protocol and the full command set.

● Appendix B: Address Book provides detailed information on how to use SoundStructure Studio’s

address book functionality to manage and connect to SoundStructure systems across an enterprise’s network.

● Appendix C: Designing Audio Conferencing Systemsis an audio conferencing design guide. Refer to

this section if new to audio conferencing or would like to better understand audio conferencing concepts.

If you are new to the SoundStructure products, re ad this guid e sta rt ing with Introducing the Polycom

SoundStructure Product Family for an overview, Customizing SoundStructure Designs to begin using

SoundStructure Studio, and the remaining chapters as necessary to learn more about using SoundStructure products.

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Introducing the Polycom SoundStructure Product Family

There are two product lines in the SoundStructure product family: the Sound Structure Conferencing ser ies devices (C-series) designed for audio conferencing applications and the SoundStructure Sound Reinforcement series devices (SR-series) designed for commercial sound applications.

While the C-series and SR-series product families share a common design philosophy, both have audio processing capabilities that are designed for their respective applications. As described in detail below, the C-series products include acoustic echo cancellation on all inputs and are designed for audio and video conferencing applications. The SR-series products do not include acoustic echo cancellation and are designed for dedicated sound reinforcement, live sound, broadcast, and other commercial sound applications that do not require acoustic echo cancellation processing.

Defining SoundStructure Architectural Features

This section defines the common architectural features of the SoundStructure products an d deta ils th e specific processing for both the C-series and SR-series products. Details on how to configure the devices are provided in Introducing SoundStructure Design Concepts, Creating Designs with SoundStructure

Studio, and Customizing SoundStructure Designs.

All SoundStructure products are designed with the flexibility of an open architecture and the ease of design and installation of a fixed architecture system. The resulting solution is tremendous flexibility in how signals are processed while simultaneously making it easy to achieve exceptional system performance.

The SoundStructure processing includes input processing available on all inputs, output processing available on all outputs, submix processing available on all submix signals, telephony processing available on all optional telephony interfaces, and an audio matrix that connects this processing together. The high-level architecture is shown in the following figure for a SoundStructure device that has N inputs and N

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Telco

Processing

Telco

Processing

Telco

Processing

Telco

Processing

Matrix

Processing

SubMix

Submix

Processsing

Output

Processing

Output

Processing

Output

Processing

Input

Processing

Input

Processing

Input

Processing

outputs. The specific input and output processing depends on the product family (C-series or SR-series) and is described later in this chapter.

SoundStructure High-Level Architecture

The following table summarizes the number of inputs, outputs, and submixes supp orted within each type of device. As shown in this table, each SoundStructure device has as many submixes as there are inputs to the device.

Supported SoundStructure Inputs, Outputs, and Submixes

SoundStructure

C16 C12 C8 SR12 Inputs 16 12 8 12 Outputs 16 12 8 12 Submixes 16 12 8 12

A summary of the different types of processing in the C-series and SR-series products is shown in the following table. As can be seen in this table, the difference between the products is that the C-series products include acoustic echo cancellation while the SR-series products do not include acoustic echo cancellation. The processing capabilities are described in the following sections.

Types of C-series and SR-series Product Processing Product Processing C-Series SR-Series Input Processing

Up to 8th order highpass and lowpass 4 4 1st or 2nd order high shelf and low shelf 4 4 10-band parametric equalization 4 4 Acoustic echo cancellation, 20-22kHz 200 msec tail-time, monaural or stereo 4 Automatic gain control: +15 to -15dB 4 4

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Types of C-series and SR-series Product Processing

Dynamics processing: gate, expander, compressor, limiter, peak limiter 4 4 Feedback Eliminator: 10 adaptive filters 4 4 Noise cancellation: 0-20dB noise reduction 4 4 Automixer: gain sharing or gated mixer 4 4 Signal fader gain: +20 to -100 dB 4 4 Signal delay to 1000 msec 4 4

Output Processing

1st or 2nd order high shelf and low shelf filters 4 4 10-bands of parametric or 31-band graphic equalizer 4 4 Dynamics processing: gate, expander, compressor, limiter, peak limiter 4 4 Signal fader gain: +20 to -100 dB 4 4 Cross over equalization up to 8th order highpass and lowpass filters, 1st order 4 4 Crossover delay: up to 100 msec 4 4 Signal delay: up to 1000 msec 4 4

Submix Processing

Up to 8th order highpass and lowpass filters 4 4 1st or 2nd order high shelf and low shelf filters 4 4 10-bands of parametric equalization 4 4 Dynamics processing: gate, expander, compressor, limiter, peak limiter 4 4 Signal fader gain: +20 to -100 dB 4 4 Signal delay: up to 1000 msec 4 4

Telco Processing

Line echo cancellation, 80-3300Hz, 32msec tail-time 4 4 Dynamics processing: gate, expander, compressor, limiter, peak limiter on telco transmit and receive

Up to 8th order highpass and lowpass filters 4 4 1st or 2nd order high shelf and low shelf filters 4 4 10-bands of parametric equalization on telco transmit and receive 4 4 Call progress detection 4 4 Signal fader gain: +20 to -100 dB 4 4 Automatic gain control: +15 to -15dB on telco receive 4 4 Signal delay on telco transmit and receive: up to 1000 msec 4 4 Noise cancellation: 0-20dB noise reduction on telco receive 4 4

Understanding Polycom OBAM™ - One Big Audio Matrix

One of the significant advancements in the SoundStructure products is the ability to link together multiple devices and configure and operate those devices as one large system rather than as multiple individual devices required such as complicated sound reinforcement applications.

OBAM's 'one large system' approach provides many benefits including:

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. This feature dramatically simplifies any installation where audio from more than one device is

● Input signals that feed into the single matrix and outputs that are fed from the single matrix.

1. Requires SoundStructure firmware release 1.2 or higher.

OBAM

OUTIN

OBAM

16x16

16x16 12x12

8x8

12x12

36x36

● No limitations on how signals from multiple devices are used together, which is beneficial for A/V designers.

● A transparent device linking scheme for all input signals that you share with all devices, which simplifies the setup, configuration, and maintenance of large systems.

● Inputs and outputs you can view on one screen, which eliminates the need to configure multiple devices by viewing multiple pages.

This one big system design approach is the result of the SoundStructure architectural design and the OBAM high-speed bi-directional link interface between devices. With OBAM, you can link up to eight devices together. If there are plug-in cards installed in multiple linked SoundStructure devices, the plug-in card resources are available for routing to any output across the system. See the Hardware Installation Guide or

Introducing SoundStructure Design Concepts for more information on how to link multiple devices together.

The one large system design philosophy means that the audio matrix of a system of SoundStru cture devices is the size of the total number of inputs and outputs of all the component devices that are linked together. Since one SoundStructure C16 device has a 16x16 matr ix, two C16 devices linked together create a 32x32 matrix and so forth.

The OBAM architecture is shown in the following figure where a C16 device is linked to a C12 device which is linked to a C8 device. The resulting system has 36 x36 inputs a nd 36 outputs ( 16+12+8 = 36) . In addition to all the inputs and outputs, the submixes of each device also feed the matrix a llowing the designer to have 36 submix signals (not shown in the following figure), one for each input that can be used in the system.

OBAM Architecture with Linked SoundStructure Devices

The OBAM design architecture helps A/V designers to no longe r be concerned with d evice linking because multiple SoundStructure devices behave as, and are configured as, one large system.

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Understanding SoundStructure C-Series Products

The SoundStructure C16, C12, and C8 devices are designed for audio conferencing applications where groups of people want to communicate to other individuals or groups such as in a typical room shown in the following figure.

A Conference Room Used with SoundStructure C-series Products

The SoundStructure C-series products feature both monaural a nd stereo acoustic echo cancellation, noise cancellation, equalization, dynamics processing, feedback elimination, and automatic microphone mixing.

Note: Processing Capability for Audio Inputs and Outputs

All audio inputs have the same processing capability and you can use audio inputs with either microphone-level or line-level inputs. Phantom power is available on all inputs.

All outputs have the same processing capability.

A single SoundStru cture C16, C12, or C8 device supports 16, 12, or 8 microphone or line inputs and 16, 12, or 8 line outputs, respectively. You can link up to eight SoundStructure device s to geth er inclu din g any combination of SoundStructure C-series or SR-series products may be used together to build audio processing systems that support up to 128 analog inputs and outputs.

You can use each SoundStructure C-series device with traditional analog microphones or with Polycom's table and ceiling microphones

. For detailed information on using the Polycom table and ceiling

microphones, see Connecting Over Conference Link2.

1. Requires SoundStructure firmware release 1.1 or later.

Polycom, Inc. 21

Telco

Video Codec

Amplifier

SoundStructure

C16

Microphones

Telephony

Playback/Record

Network

PSTN Network

Favorite Content

SoundStructure Installation

Audio and video conferencing are typical applications of the SoundStructur e C-series conferencing products where two or more remote locations are conferen ce d together. The typical connections in a conference room are shown in the following figure.

Typical SoundStructure Video and Audio Connections in a Conference Room

Before designing with SoundStructure products, the details of the SoundStructure signal processing capabilities are presented.

Understanding C-Series Input Processing

The input processing on the SoundStructure C-series devices is de signed to help you cr eate confere ncing solutions with or without sound reinforcement. The audio input processing on a SoundStructure C-series device is shown in the following table.

SoundStructure Input Processing

Input Processing

Up to 8th order highpass and lowpass 1st or 2nd order high shelf and low shelf 10-band parametric equalization Acoustic echo cancellation, 20-22kHz 200 msec tail-time, monaural or stereo Automatic gain control: +15 to -15dB Dynamics processing: gate, expander, compressor, limiter, peak limiter Feedback Eliminator: 10 adaptive filters Noise cancellation: 0-20dB noise reduction Automixer: gain sharing or gated mixer Signal fader gain: +20 to -100 dB Signal delay to 1000 msec

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Mic or Line

Input

Input to

Matrix

Input to

Matrix

Parametric

Equalization

A/D

Converter

Analog

Gain

Acoustic Echo

Cancellation

Noise

Cancellation

Automatic

Gain Control

Automixer

AGC Dynamics Fader Delay

Fader

Automixer

Delay

Automatic

Gain Control

Non Linear

Processing

Feedback

Cancellation

Dynamics Processor

Fader

Input to

Matrix

Automatic

Gain Control

Fader Delay

Dynamics Processor

Delay

Mute

Recording/ Ungated

Conferencing

Sound Reinforcement

The signal processing follows the signal flow, as shown in the following figure.

SoundStructure C-Series Signal Processing and Signal Flow

Telco

Telco Processing Telco

Processing

Input

Processing

Input

Processing

Input

Processing

Matrix

SubMix

Submix

Processing

Processsing

Output

Processing

Output

Processing

Output

Processing

Each analog input signal has an analog gain stage that is used to adjust the gain of the input signal to the SoundStructure's nominal signal level of 0 dBu. The an alog gain stage can provide from -20 to 64 dB o f gain in 0.5 dB steps. There is also an option to enable 48 V phantom power on each input. Finally the analog input signal is digitized and available for processing. The digital signal is processed by five different DSP algorithms: parametric equalization, acoustic echo cancellation, noise cancellation, feedback reduction, and echo suppression (non linear processing).

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Mic or Line

Input

Parametric

Equalization

A/D

Converter

Analog

Gain

Acoustic Echo

Cancellation

Noise

Cancellation

Non Linear Processing

Feedback

Cancellation

Route

C-Series Input Processing

Input to

Matrix

Input to

Matrix

Automatic

Gain Control

Automixer

AGC Dynamics Fader Delay

Fader

Automixer

Delay

Automatic

Gain Control

Dynamics Processor

Fader

Input to

Matrix

Automatic

Gain Control

Fader Delay

Dynamics Processor

Delay

Mute

Recording/ Ungated

Conferencing

Sound Reinforcement

SoundStructure C-Series Signal Input Processing

Mic or Line

C-Series Input Processing

A/D

Parametric

Analog

Input

Converter

Gain

Equalization

Acoustic Echo

Cancellation

Non Linear

Noise

Processing

Feedback

Cancellation

AGC Dynamics Fader Delay

Automatic

Dynamics

Gain Control

Automatic

Gain Control

Automatic

Gain Control

Processor

Dynamics Processor

Router

Automixer

Fader Delay

Fader

Mute

Delay

Recording/

Input to Matrix

Ungated

Input to

Conferencing

Matrix

Sound

Input to Matrix

Reinforcement

Continuing through the signal path, as shown in the next figure, the input signal continues through the automatic gain control (AGC), dynamics processing, an automixer, an audio fader, and finally through the input delay.

SoundStructure C-Series Input Signal Path

AGC Dynamics Fader Delay

Automatic

Dynamics

Gain Control

Processor

Acoustic Echo Cancellation

Cancellation

Non Linear

Noise

Processing

Feedback

Cancellation

A/D

Mic or Line

Input

Parametric

Analog

Converter

Equalization

Gain

Automatic Gain Control

Automixer

Dynamics

Automixer

Processor

Dynamics

Automixer

Processor

Fader Delay

Fader

Mute

Input to

Recording/

Matrix

Ungated

Input to

Delay

Conferencing

Matrix

Sound

Input to Matrix

Reinforcement

Each analog input signal is processed to generate th ree different versions of the processed input signal that can be used simultaneously in the matrix:

● Conferencing version

● Sound reinforcement version

● Recording/ungated version

Polycom, Inc. 24

Mic or Line

Input

Input to

Matrix

Input to

Matrix

Parametric

Equalization

A/D

Converter

Analog

Gain

Acoustic Echo

Cancellation

Noise

Cancellation

Automatic

Gain Control

Automixer

AGC Dynamics Fader Delay

Fader

Automixer

Delay

Automatic

Gain Control

Non Linear Processing

Feedback Reduction

Dynamics Processor

Fader

Input to

Matrix

Automatic

Gain Control

Fader Delay

Dynamics Processor

Delay

Mute

Recording/ Ungated

Conferencing

Sound Reinforcement

C-Series Conferencing Input Processing

Parametric

Equalization

Acoustic Echo

Cancellation

Noise

Cancellation

Automatic

Gain Control

Fader

Automixer

Delay

Non Linear

Processing

Dynamics Processor

Mute

The AGC, dynamics processo r , and input fader are linked together on all three aud io paths, and each apply the same gain to the signal paths based on an analysis of the signal earlier in the signal path.

The automixer processing is applied to the con fe re n cin g an d so un d re inf or ce m en t si gn a l path s to en su re that there is an un-automixed version of the input signal available for recording/ungated applications.

Note: Analog Input Signal Processing

Each analog input signal is processed to create three processed versions that can be used in different ways in the matrix.

These three different versions of the input signal mean that, at the same time, an output signal to the loudspeakers can use the sound reinforcement processed version of an input signal, an output signal to the video conferencing system can use the conferencing processed version of the input signal, and an output signal to the recording system can use the recording processed version of the input signal. The decisio n of which of these three processed versions is used is made at each matrix crosspoint on the matrix as described in the Creating C-Series Matrix Crosspoints section below .

Processing Conferencing Version

The conferencing version is processed with the acoustic echo and noise cancellation settin gs, non-linear signal processing, automatic gain control, dynamics processing, automixer, fader, delay, and input mute. The conferencing signal path and summary block diagram is highlighted in the following figure. This is the path that is typically used to send echo and noise canceled microphone audio to remote locations. This is the default processing for microphone inputs when the automixed version of the signal is selected.

SoundStructure C-Series Conferencing Processing Signal Path

Processing Sound Reinforcement Version

The sound reinforcement version is processed with the echo and noise cancellation, optional feedback elimination processing, automatic gain control, dynamics processing, automixer, fader, delay, and input mute. This is the path that is typically used for sending local audio to loudspeakers in the room for sound reinforcement. There is no non-linear processing on this path so that the local talker audio to the loudspeakers is not affected by the presence of remote talker audio in the local room.

Polycom, Inc. 25

Mic or Line

Input

Input to

Matrix

Input to

Matrix

Parametric Equalization

A/D

Converter

Analog

Gain

Acoustic Echo

Cancellation

Noise

Cancellation

Automatic

Gain Control

Automixer

AGC Dynamics Fader Delay

Fader

Automixer

Delay

Automatic

Gain Control

Non Linear Processing

Feedback

Cancellation

Dynamics Processor

Fader

Input to

Matrix

Automatic

Gain Control

Fader Delay

Dynamics Processor

Delay

Mute

Recording/ Ungated

Conferencing

Sound Reinforcement

C-Series Sound Reinforcement Input Processing

Parametric

Equalization

Acoustic Echo

Cancellation

Noise

Cancellation

Automatic

Gain Control

Fader

Automixer

Delay

Feedback

Cancellation

Dynamics Processor

Mute

The automatic gain control on the sound reinfor cemen t path is d ifferent from the automatic gain control on the conferencing version of the signal because the sound reinforcement automatic gain control does not add gain to the signal. In other words, the sound reinforcement AGC only reduces the gain of the input signal. This restriction on the sound reinforcement AGC is to prevent the automatic gain control on the sound reinforcement path from increasing the microphone gain and consequently reducing the potential acoustic gain before the onset of feedback.

SoundStructure C-Series Sound Reinforcement Processing Signal Path

Note: No Gain Control Added to Signal

The automatic gain control on the sound reinforcement processing path does not add gain to the signal, it only reduces the gain of the signal.

Processing Recording/Ungated Version

The recording version of the processed input signal is specifically designed to not include the gai n sharing or gated style of automatic microphone mixing processing. The recording/ungated version of the input channel is typically used for recording applications or in any application where an un-automixed version of the input signal is required.

For additional flexibility in audio applications, there are four versions of the recording/ungated signal that you can select through the four-input router, as shown in the above processing figures. The selection of which type of recording/ungated signal to choose is performed on an input by input basis within the SoundStructure Studio software, as described in Customizing SoundStructure Designs.

The four recording/ ungated versions are listed below:

● Bypass

● Line Input

● Conferencing

● Sound reinforcement

Processing Recording/Ungated–Bypass

The recording/ungated-bypass has no input processing other than a fader gain control, input delay, and input mute. This version bypasses the automatic gain control and dynamics processing, as shown in the

Polycom, Inc. 26

Mic or Line

Input

Input to

Matrix

Input to

Matrix

Parametric Equalization

A/D

Converter

Analog

Gain

Acoustic Echo

Cancellation

Noise

Cancellation

Automatic

Gain Control

Automixer

AGC Dynamics Fader Delay

Fader

Automixer

Delay

Automatic

Gain Control

Non Linear Processing

Feedback

Cancellation

Dynamics Processor

Fader

Input to

Matrix

Automatic

Gain Control

Fader Delay

Dynamics Processor

Delay

Mute

Recording/ Ungated

Conferencing

Sound Reinforcement

UNGATED - Bypass

Fader Delay

Mute

Mic or Line

Input

Input to

Matrix

Input to

Matrix

Parametric Equalization

A/D

Converter

Analog

Gain

Acoustic Echo

Cancellation

Noise

Cancellation

Automatic

Gain Control

Automixer

AGC Dynamics Fader Delay

Fader

Automixer

Delay

Automatic

Gain Control

Non Linear Processing

Feedback

Cancellation

Dynamics Processor

Fader

Input to

Matrix

Automatic

Gain Control

Fader Delay

Dynamics Processor

Delay

Mute

Recording/ Ungated

Conferencing

Sound Reinforcement

UNGATED - Line Input Processing

Parametric

Equalization

Automatic

Gain Control

Fader Delay

Dynamics Processor

Mute

following figure. You can use the bypass version for minimal audio processing on an input signal. This version of the signal has no acoustic echo cancellation processing and con sequently includes any acoustic echo signal that may be present at the microphones.

SoundStructure C-Series Recording/Ungated–Bypass Path

Processing Recording/Ungated–Line Input

The recording/ungated line input includes equalization, automatic gain control, and the dynamics processing as well as fader gain control, input delay, and input mute, as shown in the following figure. This processing path is typically used by line input signals such as program audio.

SoundStructure C-Series Recording Ungated–Line Input Path

Processing Recording/Ungated–Conferencing

The recording/ungated conferencing processed input includes acoustic echo and noise cancellation, as shown in the following figure. This path is used for the recording of conference microphones as it includes all the acoustic echo cancellation but not the automatic microphone mixer processing.

Polycom, Inc. 27

Mic or Line

Input

Input to

Matrix

Input to

Matrix

Parametric Equalization

A/D

Converter

Analog

Gain

Acoustic Echo

Cancellation

Noise

Cancellation

Automatic

Gain Control

Automixer

AGC Dynamics Fader Delay

Fader

Automixer

Delay

Automatic

Gain Control

Non Linear Processing

Feedback

Cancellation

Dynamics Processor

Fader

Input to

Matrix

Automatic

Gain Control

Fader Delay

Dynamics Processor

Delay

Mute

Recording/ Ungated

Conferencing

Sound Reinforcement

UNGATED - Conferencing Processing

Parametric

Equalization

Acoustic Echo

Cancellation

Noise

Cancellation

Automatic

Gain Control

Fader Delay

Non Linear Processing

Dynamics Processor

Mute

Mic or Line

Input

Input to

Matrix

Input to

Matrix

Parametric Equalization

A/D

Converter

Analog

Gain

Acoustic Echo

Cancellation

Noise

Cancellation

Automatic

Gain Control

Automixer

AGC Dynamics Fader Delay

Fader

Automixer

Delay

Automatic

Gain Control

Non Linear Processing

Feedback

Cancellation

Dynamics Processor

Fader

Input to

Matrix

Automatic

Gain Control

Fader Delay

Dynamics Processor

Delay

Mute

Recording/ Ungated

Conferencing

Sound Reinforcement

UNGATED - Sound Reinforcement Processing

Parametric

Equalization

Acoustic Echo

Cancellation

Noise

Cancellation

Automatic

Gain Control

Fader Delay

Feedback

Cancellation

Dynamics Processor

Mute

SoundStructure C-Series Recording Ungated–Conferencing Path

Processing Recording/Ungated–Sound Reinforcement

Finally, the sound reinforcement recording/ungated input includes the echo and noise cancellation and optional feedback elimination processing, as shown in the following figure.

SoundStructure C-Series Recording Ungated–Sound Reinforcement Path

All versions of the recording/ungated input signal pr ocessing can be used simultaneously in th e matrix. The conferencing version is typically used to send to remote participants, the sound reinforcement version is typically used to send to the local loudspeaker system, and the recording version is typically used for archiving the conference audio content.

Creating C-Series Matrix Crosspoints

The audio matrix is used to create different mixes of input signals and submix signals are sent to output signals and submix signals. Matrix crosspoints gain values are shown in dB where 0 dB means a signal value is unchanged. For example, a crosspoint value of -6 dB lowers the signal gain by 6 dB before it is summed with other signals. You can adjust the matrix crosspoint gain in 0.1 dB steps between -100 and +20 dB, and you can also completely mute the matrix crosspoint. In addition, you can also negate and invert the matrix crosspoint so that the crosspoint arithmetic creates a subtraction rather than an addition. The inversion technique is effective in difficult room reinforcement environments by creating phase differences in alternating zones to add more gain before feedback.

Polycom, Inc. 28

Outputs

Ungated/Recording

Conferencing

Sound Reinforcement

Ungated/Recording

Conferencing

Sound Reinforcement

Ungated/Recording

Conferencing

Sound Reinforcement

Ungated/Recording

Conferencing

Sound Reinforcement

Inputs

Crosspoint background indicates version of input processing White - Ungated/Recording Blue - Conferencing (C-series), Noise cancelled (SR-series) Light Blue - Sound Reinforcement

Value of crosspoint is the gain in dB

Arc indicates L/R balance or pan No arc indicates centered balance/pan

Underscore indicates Inverted polarity

Bold text Indicates signal is unmuted

Matrix crosspoints associated with stereo channels have a balance or pan to control mapping mono to stereo channels, stereo to mono channels, and stereo to stereo channels.

The three different versions of the input processing - the ungated, conferencing, and sound reinforcement

- are selected at the matrix crosspoint. The SoundStructu re Studio software allows the user to select which version of the input signal processing at the matrix crosspoint. As shown in Creating Designs with

SoundStructure Studio, the different versions of the input processing are represented with different

background colors in the matrix crosspoint. The following figure highlights how to interpret the matrix crosspoints in the matrix.

SoundStructure C-Series Matrix Crosspoints

Understanding C-Series Output processing

As shown in the following table and figure, each output signal from the matrix can be processed with dynamics processing, either 10-band parametric or 10-, 15-, or 31-band graphic equalization, a fader, and output delay up to 1000 milliseconds.

SoundStructure C-Series Output Signal Processing Output Processing

1st or 2nd order high shelf and low shelf filters 1st or 2nd order high shelf and low shelf filters 10-bands of parametric or 31-band graphic equalizer Dynamics processing: gate, expander, compressor, limiter, peak limiter Signal fader gain: +20 to -100 dB Signal delay: up to 1000 msec

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Submix

Processing

Matrix

Output

SubMix

Signal

Matrix

Input

SoundStructure C-Series Output Signal Processing

Processing

Telco

Telco Processing

Telco

Output from

Matrix

Output Processing

Dynamics

Processing

Parametric or Graphic

Equalization

Input

Processing

Input

Processing

Input

Processing

Fader Delay

Matrix

SubMix

Submix

Processing

Processsing

Mute

Output

Processing

Output

Processing

Output

Processing

AEC

Reference

D/A

Converter

Analog

Gain

Output

Signal

Processing C-Series Submixes

Submixes are outputs from the matrix that can be routed directly back to th e input of the matrix as shown in the following figure.

SoundStructure C-Series Submix Signal Matrix

As an output of the matrix, any combination of input signals can be mixed together to create the output submix signal. This output signal can be processed with the submix proce ssing and the processed signal is available as an input to the matrix. Microphones, remote audio sources, or other signals are typically sent to a submix channel and the resulting submix signal is used as a single input in the matrix.

SoundStructure C-Series Submix Processing Submix Processing

Up to 8th order highpass and lowpass filters

Polycom, Inc. 30

SoundStructure C-Series Submix Processing

1st or 2nd order high shelf and low shelf filters 10-bands of parametric equalization Dynamics processing: gate, expander, compressor, limiter, peak limiter Signal fader gain: +20 to -100 dB Signal delay: up to 1000 msec

As shown in the following figure, each submix signal from the matrix is processed with dynamics processing, parametric equalization, a fader, and up to 1000 milliseconds of delay. Each SoundStructure device has as many submixes as there are inputs.

SoundStructure C-Series Submix Processing

Telco

Processing

Telco

Processing

Input

Processing

Input

Processing

Input

Processing

Matrix

SubMix

Submix

Proce ssing

Processsing

Output

Processing

Output

Processing

Output

Processing

Submix Processing

Submix Input

from Matrix

Dynamics

Processing

Parametric

Equalization

Fader Delay

Mute

Submix output

to Matrix

Understanding C-Series Acoustic Echo Canceller References

In conferencing applications, an acoustic echo canceller (AEC) removes the remote site's audio that is played in the local room and prevents the audio from being picked up by the local microphones and sent

Polycom, Inc. 31

AmpA

AEC reference for remote roomAEC reference for local room

back to the remote participants. The AEC

Local Room

in the following figure removes the acoustic echo of the

remote talker so the audio is not sent back to the remote talker.

SoundStructure C-Series Acoustic Echo Cancellation Process

Local Room

AEC

LocalTalker Remote Talker

Remote Room

AEC

Remote Room

Acoustic echo cancellation processing is only required on the inputs that have micr ophone audio connected which can potentially hear both the local talkers’ speech and the acoustic echo of the remote talkers’ speech.

In order for the local acoustic echo canceller to cancel the acoustic echo of the remote participants, it must have an echo canceller reference defined. The echo canceller reference includes all the signals from the remote site that needs echo canceling. In the abo ve figure, the AEC reference for both the local and remote rooms includes the audio that is played out the loudspeaker. See Appendix C: Design in g Audio

Conferencing Systems for additional information on audio conferencing systems and acoustic echo

cancellation. Within SoundStructure devices, the acoustic echo canceller on each input can have either one or two AEC

references specified per input signal. For traditional monaural audio or video conferencing applications, only one acoustic echo canceller reference is used which is typically sent to the single loudspeaker zone. See the Creating an Eight Microphones, Video, and Telephony Application Conferencing System in Creating

Advanced Applications for an example.

Applications that have two independent audio sources played into the room such as stereo audio from a stereo video codec require two mono AEC references, or one stereo AEC refer ence. See Creating an Eight

Microphones and Stereo Video Conferencing System in Creating Advanced Applications.

You can create an acoustic echo canceller reference from any output signal or any submix signal. For a SoundStructure C16 device, this means that there are 32 possible echo canceller references (16 outputs + 16 submixes) that you can define and select.

Understanding SoundStructure SR-Series Products

The SoundStructure SR12 has a similar architecture to the SoundStructure C-series. While the SoundStructure SR12 does not include acoustic echo cancellation processing, the SR12 do es include noise cancellation, automatic microphone mixing, matrix mixing, equalization , fee dback elimination, dynamics processing, delay, and submix processing.

Polycom, Inc. 32

Telco

Video Codec

Amplifier

SoundStructure

SR12

Microphones

Telephony

Loudspeakers

Video

Local Audio Playback

Network

PSTN Network

Playback/Record

Favorite Content

Playback/Record

Favorite Content

Amplifier

Loudspeakers

Local Audio Playback

SR-Series

12:00 am

VHS

The SoundStructure SR12 is designed for both the non-conferencing applications where local audio is played into the local room or distributed throughout a facility and for conferencing applications to provide additional line input and output signals when linked to a C-series product. Applications for the SoundStructure SR12 include live sound, presentation audio, sound rein forcement, and broadcasting. The following figure shows an example of using the SoundStructure SR12 to provide additional line level inputs and outputs to a SoundStructure C8 conferencing product.

SoundStructure SR12 Providing Line Level Inputs and Outputs for a SoundStructure C8

The SoundStructure SR12 can not be used to add additional conferencing microphones to a C series product because there is no acoustic echo cancellation processing on the SoundStructure SR12 inputs. The following figure shows an installation that does not work because the microphones that are connected to the SoundStructure SR12 are not echo ca nceled. If you need more conferencing m icrophones than can be

Polycom, Inc. 33

Telco

Video Codec

Amplifier

SoundStructure

SR12

Microphones

Telephony

Loudspeakers

Video

Local Audio Playback

Network

PSTN Network

Amplifier

Loudspeakers

Local Audio Playback

SR-Series

used with a particular SoundStructure C-series device, you can use either the next lar gest C-series device or additional C-series devices to support the number of microphones required.

Installation Not Supported with SoundStructure SR12

Y o u can use the C-series and SR-series produ cts together and link the devices to fo rm larger systems that can support up to eight SoundStructure devices, 128 inputs, 128 outputs, and eight plug-in daug hter cards.

For information on how to rack mount and terminate cables to the SoundStructure devices, refer to the

SoundStructure Hardware Installation Guide.

Understanding SR-Series Input Processing

The input processing on the SoundStructure SR-series devices is designed to make it easy to create commercial sound and sound reinforcement solutions. Each audio input on a SoundStructure SR-series device includes the signal processing path shown in the following table.

SoundStructure SR-Series Signal Input Processing Path SR-Series Input Processing

Up to 8th order highpass and lowpass 1st or 2nd order high shelf and low shelf 10-bands of parametric equalization Automatic gain control: +15 to -15dB Dynamics processing: gate, expander, compressor, limiter, peak limiter

Polycom, Inc. 34

Mic or Line

Input

Input to

Matrix

Input to

Matrix

Parametric

Equalization

A/D

Converter

Analog

Gain

Noise

Cancellation

Automatic

Gain Control

Automixer

AGC Dynamics Fader Delay

Fader

Automixer

Delay

Automatic

Gain Control

Feedback

Cancellation

Dynamics Processor

Fader

Input to

Matrix

Automatic

Gain Control

Fader Delay

Dynamics Processor

Delay

Mute

Recording/ Ungated

Noise Cancelled

Sound Reinforcement

SoundStructure SR-Series Signal Input Processing Path

Feedback Eliminator: 10 adaptive filters Noise cancellation: 0-20dB noise reduction

Automixer: gain sharing or gated mixer

Signal fader gain: +20 to -100 dB Signal delay: up to 1000 msec

The processing for each input is shown in the following figure from analog input signal to the three ver sions of input processing that lead to the matrix.

SoundStructure SR-Series Input Processing

Telco

Telco Processing Telco

Processing

Input

Processing

Input

Processing

Input

Processing

Matrix

SubMix

Submix

Processing

Processsing

Output

Processing

Output

Processing

Output

Processing

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Mic or Line

Input

Parametric

Equalization

A/D

Converter

Analog

Gain

Noise

Cancellation

Feedback

Cancellation

SR-Series Input Processing

Rou

analog gain in 0.5 dB increments. There is also an option to enable 48 V phantom power on each input. Finally, the analog input signal is digitized and ready for processing.

SoundStructure SR-Series Input Processing

Mic or Line

Input

SR-Series Input Processing

A/D

Parametric

Analog

Converter

Gain

Equalization

Noise

Cancellation

Feedback

Cancellation

AGC Dynamics Fader Delay

Automatic

Dynamics

Gain Control

Automatic

Gain Control

Automatic

Gain Control

Processor

Dynamics Processor

Router

Automixer

Fader Delay

Fader

Input to Matrix

Input to

Delay

Matrix

Input to

Delay

Matrix

Continuing through the signal path as shown in the next figure, the input signal processing continues through the automatic gain control (AGC), dynamics processing, an automixer, an audio fader, and finally through the input delay.

Each analog input signal is processed to generate th ree different versions of the processed input signal that can be used simultaneously in the matrix. The following are the three versions of processed input signal:

● Noise canceled

● Sound reinforcement

● Recording/ungated

The AGC, dynamics processor, and input fader are linked together on all three audio paths and apply the same gain to the signal paths based on an analysis of the signal earlier in the signal path.

Polycom, Inc. 36

Input to

Matrix

Input to

Matrix

Automatic

Gain Control

Automixer

AGC Dynamics Fader Delay

Fader

Automixer

Delay

Automatic

Gain Control

Dynamics Processor

Fader

Input to

Matrix

Automatic

Gain Control

Fader Delay

Dynamics Processor

Delay

Mute

Router

Recording/ Ungated

Noise Cancelled

Sound Reinforcement

The automixer processing is only applied to the noise canceled and sound reinforcement signal paths to ensure that there is an un-automixed version of the input signal available for recording/ungated applications.

SoundStructure SR-Series Processed Input Signals

SR-Series Input Processing

A/D

Parametric

Mic or Line

Analog

Converter

Input

Gain

Noise

Equalization

Cancellation

Feedback

Cancellation

AGC Dynamics Fader Delay

Automatic

Dynamics

Gain Control

Router

Processor

Dynamics

Automatic

Processor

Gain Control

Automatic

Dynamics

Gain Control

Processor

Fader Delay

Automixer

Fader

Automixer

Fader

Automixer

Mute

Input to

Recording/

Matrix

Ungated

Delay

Input to

Noise Cancelled

Matrix

Sound

Input to Matrix

Reinforcement

Note: Analog Input Signal Processing

Each analog input signal is processed to create three processed versions that are used in different ways in the matrix.

These three different versions of the input signal mean that, at the same time, an output signal to the loudspeakers can use the sound reinforcement processed version of an inp ut signal, another output signal can use the noise canceled version without feedback processing, and a different output signal can use the recording version of the input signal. The decision of which of these three processed ver sions to use is made at each matrix crosspoint as described in Creating SR-Series Matrix Crosspoints.

Processing Noise Canceled

The conferencing version is processed with input equalization, noise cancellation, automatic gain control, dynamics processing, automixer, fader, delay , and input mute. The noise canceled signal path is highlighted in the following figure and the block diagram of this processing is also shown. Th is is the path that is typically used to send a noise reduced version of the microphone audio to paging zones that are not acoustically

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Mic or Line

Input

Input to

Matrix

Input to

Matrix

Parametric

Equalization

A/D

Converter

Analog

Gain

Noise

Cancellation

Automatic

Gain Control

Automixer

AGC Dynamics Fader Delay

Fader

Automixer

Delay

Automatic

Gain Control

Feedback

Cancellation

Dynamics Processor

Fader

Input to

Matrix

Automatic

Gain Control

Fader Delay

Dynamics Processor

Delay

Mute

Recording/ Ungated

Noise Cancelled

Sound Reinforcement

SR-Series Noise Cancellation Input Processing

Parametric

Equalization

Noise

Cancellation

Automatic

Gain Control

Fader

Automixer

Delay

Dynamics

Processor

Mute

Mic or Line

Input

Input to

Matrix

Input to

Matrix

Parametric

Equalization

A/D

Converter

Analog

Gain

Noise

Cancellation

Automatic

Gain Control

Automixer

AGC Dynamics Fader Delay

Fader

Automixer

Delay

Automatic

Gain Control

Feedback

Cancellation

Dynamics Processor

Fader

Input to

Matrix

Automatic

Gain Control

Fader Delay

Dynamics Processor

Delay

Mute

Recording/ Ungated

Noise Cancelled

Sound Reinforcement

Parametric

Equalization

Noise

Cancellation

Automatic

Gain Control

Feedback

Cancellation

Fader

Automixer

Delay

Dynamics Processor

Mute

coupled to the microphone. This is the default processing for microphone inputs when the automixed version of the signal is selected.

SoundStructure SR-Series Noise Cancellation Processing

Processing Sound Reinforcement

The sound reinforcement version is processed with the parametric equalization , noise cancellation, optional feedback elimination processing, automatic gain control, dynamics processing, automixer , fader , delay, and input mute. This is the path that is typically used for sending local audio to loudspeakers in the room for sound reinforcement.

The automatic gain control on the sound reinfor cemen t path is d ifferent from the automatic gain control on the noise canceled version of the signal in that the sound reinfor cement automatic gain control does not add gain to the signal. In other words, the sound reinforcement AGC only reduces the gain of the signal and does not add gain to the signal. This restriction on the sound reinforcement AGC prevents the automatic gain control from reducing the available poten ti al acoustic gain before the onset of feedback.

SoundStructure SR-Series Sound Reinforcement Input Processing

Processing Recording/Ungated Version

The recording version of the processed input signal is specifically designed to not include any gain sharing or gated-style of automatic microphone mixing processing. The recording/ungated version of the input is used for recording applications or in any application where an un-automixed version of the input signal is required.

For additional flexibility in audio applications, there are four different versions of the recording/ungated signal that can be selected through the four-input router shown in the previous processing figures. This

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selection of which type of recording/ungated signal to choose is performed on an input by input basis within the SoundStructure Studio software as described in Customizing SoundStructure Designs.

The following are four ungated versions of the processed input signal:

● Bypass

● Line input

● Noise cancellation

● Sound reinforcement

Processing Recording/Ungated–Bypass

The recording/ungated bypass version has no input processing other than a fa der gain control, input delay, and input mute. This version bypasses the automatic gain control and dynamics processing, as shown in the following figure. This version can be used when it is important to have minimal audio processin g on an input signal.

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Mic or Line

Input

Input to

Matrix

Input to

Matrix

Parametric

Equalization

A/D

Converter

Analog

Gain

Noise

Cancellation

Automatic

Gain Control

Automixer

AGC Dynamics Fader Delay

Fader

Automixer

Delay

Automatic

Gain Control

Feedback

Cancellation

Dynamics Processor

Fader

Input to

Matrix

Automatic

Gain Control

Fader Delay

Dynamics Processor

Delay

Mute

Recording/ Ungated

Noise Cancelled

Sound Reinforcement

UNGATED - Bypass

Fader Delay

Mute

Mic or Line

Input

Input to

Matrix

Input to

Matrix

Parametric

Equalization

A/D

Converter

Analog

Gain

Noise

Cancellation

Automatic

Gain Control

Automixer

AGC Dynamics Fader Delay

Fader

Automixer

Delay

Automatic

Gain Control

Feedback

Cancellation

Dynamics Processor

Fader

Input to

Matrix

Automatic

Gain Control

Fader Delay

Dynamics Processor

Delay

Mute

Recording/ Ungated

Noise Cancelled

Sound Reinforcement

UNGATED - Line Input Processing

Parametric

Equalization

Automatic

Gain Control

Fader Delay

Dynamics

Processor

Mute

Mic or Line

Input

Input to

Matrix

Input to

Matrix

Parametric

Equalization

A/D

Converter

Analog

Gain

Noise

Cancellation

Automatic

Gain Control

Automixer

AGC Dynamics Fader Delay

Fader

Automixer

Delay

Automatic

Gain Control

Feedback

Cancellation

Dynamics Processor

Fader

Input to

Matrix

Automatic

Gain Control

Fader Delay

Dynamics Processor

Delay

Mute

Recording/ Ungated

Noise Cancelled

Sound Reinforcement

UNGATED - Noise Cancellation Processing

Parametric

Equalization

Noise

Cancellation

Automatic

Gain Control

Fader Delay

Dynamics

Processor

Mute

SoundStructure SR-Series Bypass Signal Processing

Processing Recording/Ungated–Line Input

The recording line input version includes equalization, automatic gain control, and the dynamics processing as well as fader gain control, input delay, and input mute, as shown in the next figure. This processing path is typically used by line input signals such as program audio, and hence the name line input path.

SoundStructure SR-Series Line Input Signal Processing

Processing Recording/Ungated - Noise Cancellation

The noise canceled recording input includes the noise cancellation as shown in the next figu re. This path is typically used for recording of microphone audio as it includes all the noise cancellation but not the automatic microphone mixer processing.

SoundStructure SR-Series Noise Cancellation Signal Processing

Processing Recording/Ungated - Sound Reinforcement

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Mic or Line

Input

Input to

Matrix

Input to

Matrix

Parametric

Equalization

A/D

Converter

Analog

Gain

Noise

Cancellation

Automatic

Gain Control

Automixer

AGC Dynamics Fader Delay

Fader

Automixer

Delay

Automatic

Gain Control

Feedback

Cancellation

Dynamics Processor

Fader

Input to

Matrix

Automatic

Gain Control

Fader Delay

Dynamics Processor

Delay

Mute

Recording/ Ungated

Noise Cancelled

Sound Reinforcement

UNGATED - Sound Reinforcement Processing

Parametric

Equalization

Noise

Cancellation

Automatic

Gain Control

Feedback

Cancellation

Fader Delay

Dynamics

Processor

Mute

Finally, the sound reinforcement recording input includes the noise canc ellation and optional feedback elimination processing as shown in the following figure.

Creating SR-Series Matrix Crosspoints

The audio matrix is used to create different mixes of input signals and submix signals to be sent to output signals and submix signals. Matrix crosspoints gain valu es are show n in dB wh er e 0 dB me a ns th at the signal level is unchanged. Matrix crosspoint gains can be adjusted in 0.1 dB steps between -100 and +20 dB and may also be completely muted. In addition, the matrix crosspoint can also be negated/inverted so that the crosspoint arithmetic creates a subtraction instead of an addition.

Matrix crosspoints associated with stereo virtual channels have a balance or pan to control mapping mono to stereo virtual channels, stereo to mono virtual channels, and stereo to stereo virtual channels.

The different versions of the input processing are selected at the matrix crosspoint. The user interface provides an option for selecting the different versions of the input pr ocessing including the noise cancel ed, sound reinforcement, and ungated/recording version. As shown in Creating Designs with SoundStructure

Studio, different versions of the input processing are represented with different background colors at the

matrix crosspoint. The SoundStructure Studio software a llows the user to select wh ich version of th e input signal processing at the matrix crosspoint.

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The next figure shows how to interpret the matrix crosspoint view.

SoundStructure SR-Series Matrix Crosspoint

Understanding SR-Series Output Processing

The output processing for the SR-series of products is iden tical to the processing for the output processing in the C-series and is shown in the table and following figure.

SoundStructure SR-Series Output Processing Output Processing

1st or 2nd order high shelf and low shelf filters 10-bands of parametric or 31-band graphic equalizer Dynamics processing: gate, expander, compressor, limiter, peak limiter Signal fader gain: +20 to -100 dB Signal delay: up to 1000 msec

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SoundStructure SR-Series Output Processing

Processing

Telco

Telco Processing Telco

Processing

Input

Processing

Input

Processing

Input

Processing

Matrix

SubMix

Submix

Processing

Processsing

Output

Processing

Output

Processing

Output

Processing

SR-Series Output Processing

Output from

Matrix

Dynamics

Processing

Parametric

or Graphic

Equalization

Fader Delay Mute

D/A

Converter

Analog

Gain

Output

Signal

Processing SR-Series Submix

The submix processing for the SR-series of products is identical to the processing for the submix processing in the C-series and shown in the following table and figure.

SoundStructure SR-Series Submix Processing Submix Processing

Up to 8th order highpass and lowpass filters 1st or 2nd order high shelf and low shelf filters 10-bands of parametric equalization Dynamics processing: gate, expander, compressor, limiter, peak limiter Signal fader gain: +20 to -100 dB Signal delay: up to 1000 msec

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SoundStructure SR-Series Submix Processing

Telco

Processing

Telco

Processing

Input

Processing

Input

Processing

Input

Processing

Matrix

SubMix

Submix

Proce ssing

Processsing

Output

Processing

Output

Processing

Output

Processing

Submix Processing

Submix Input

from Matrix

Dynamics

Processing

Parametric

Equalization

Fader Delay

Mute

Submix output

to Matrix

Understanding Telephony Processing

Both the C-series and SR-series SoundStructure device s support optional plug-in cards. Cur rently there are two telephony cards: TEL1, a single-PSTN line, and TEL2, a dual-PSTN line interface card in the form factor, shown in the following figure.

SoundStructure Telephony Card

These cards are field-installable and are ordered separately from the SoundStructure C- or SR-series devices. See the SoundStructure Hardware Installation Guide or the Hardware Installation Guide for the

TEL1 and TEL2 for additional information.

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The SoundStructure telephony cards have been designed to meet various regional telephony requirements through the selection of a country code from the u ser interface. For each telephony interface card, the signal processing is listed in the following table and shown in the following figure.

The telephony transmit path includes dynamics processing, 10 bands of parametric equalization, up to 1000 milliseconds of delay , a fader with gain control from +20 to -100 dB, and a line echo canceller . There is also a tone generator that is used to create DTMF digits and other call progress tones that may be sent to the telephone line and also played into the local room.

SoundStructure SR-Series Telco Processing Telco Processing

Line echo cancellation, 80-3300Hz, 32msec tail-time Dynamics processing: gate, expander, compressor, limiter, peak limiter on telco

transmit and receive Up to 8th order highpass and lowpass filters 1st or 2nd order high shelf and low shelf filters 10-bands of parametric equalization on telco transmit and receive Call progress detection Signal fader gain: +20 to -100 dB Automatic gain control: +15 to -15dB on telco receive Signal delay on telco transmit and receive: up to 1000 msec Noise cancellation: 0-20dB noise reduction on telco receive

On the telephony receive path, the processing includes up to 20 dB of noise cancellation, automatic gain control, dynamics processing, 10-band parametric equalization, fader, and audio delay. In addition there is

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a call progress detector that analyzes the telephony input signal and reports if any call progress tones are present. For example, if the telephony line is busy, the phone rings.

.SoundStructure SR-Series Telco Processing

Telco

Telco Processing Telco

Processing

Input

Processing

Input

Processing

Input

Processing

Matrix

SubMix

Submix

Processing

Processsing

Output

Processing

Output

Processing

Output

Processing

Telephony Processing

To Telco

from Matrix

From Telco

to Matrix

Tone

Generator

Fader

Dynamnics Processing

Parametric

Equalization

Parametric

Equalization

Dynamics

Processing

Automatic

Gain Control

Call Progress

Detection

FaderDelay

Noise

Cancellation

Line Echo

Cancellation

D/A

Converter

A/D

Converter

Analog

Gain

Analog

Gain

Output to

PSTN Line

Input from PSTN Line

Typically, the telephony cards are used in the C-series devices for audio conferencing applications. The telephony cards are also supported on the SR-series allowing additional plug-in cards for multiple audio conferencing telephone lines when C-series products are used with SR-series products. In some commercial sound applications it is also useful to have telep hony access to either br oadcast or monitor the audio in the system. Audio confer encing applications do not work with only SR-series devices because there is no acoustic echo cancellation processing in the SR-series devices.

Note: Using Telephony Cards with the SR-Ser ies

The telephony cards should not be used with the SR-series of products for audio conferencing applications (i.e., simultaneous two-way audio communication) unless all the microphones in the system are connected to SoundStructure C-series devices. The SR-series products do not have acoustic echo cancellation.

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Introducing SoundStructure Design Concepts

Before creating designs for the SoundStructure devices, the concepts of physical channels, virtual channels, and virtual channel groups are introduced. Th ese concepts form the foundation of SoundStructure audio designs. In addition, the concepts of defining control virtual channels and control array virtual channels from the logic input and output pins are introduced.

Understanding Device Inputs and Outputs

All audio devices have inputs and outputs that are used to connect to other devices such as microphones and audio amplifiers. These inputs and outputs are labeled on the front or rear-panel (depending on the product) with specific channel numbers, such as inputs 1, 2, 3, etc., and these label s refer to particular inputs or outputs on the device. For instance, it is common to connect to input “1” or output “3 ” of an audio device. This naming convention works well -- meaning that it provides a unique identifier, or name, for each input and output -- as long as only a single device is used. As soon as a second device is added, input “1” no longer uniquely identifies an input since there are now two input 1’s if a system is made from two devices.

Traditionally, to uniquely identify which input “1” is meant, there’s additional information required such as a device identification name or number , requiring the user to specify input “1” on device 1 or input “1” on device 2 in order to uniquely identify that particular input or output. This device iden tification is also required wh en sending commands to a collection of devices to ensure the command affects the proper input or outp ut signal on the desired device.

As an example, consider what must happen when a control system is asked to mute input 1 on device 1. The control system code needs to know how to access that particular input on that particular device. To accommodate this approach, most audio systems have an API command structure that req uires specifying the particular device, perhaps even a device type if th er e are mu ltiple type s of devices b eing u sed, a nd, of course, the particular channel numbers to be affected by the command. This approach requires that the designer manually configure the device identification for each device that is used and take extra care to ensure that commands are referencing that exact input or output signal. If device identifica tion numbers are changed or different inputs or outputs are used from one design to the next, this requires changing the control system code programming and spending additional time debugging and testing the new code to ensure the new device identifications and channel numbers are used properly. Every change is costly and is error prone, and can often delay the completion of the installation.

SoundStructure products have taken a different, and simpler, approach to labeling the inp uts and outputs when multiple devices are used together. SoundStructure products achieve this simplification through the use of physical channels, virtual channels, and OBAM’s intelligent linking scheme. As shown in the

Understanding Physical Channels section, physical channels are the actual input and outputs numbers for

a single device and this numbering is extended sequentially when multiple devices are u sed. Understanding

Virtual Channels extends this concept by creating a layer over physical channels that allows the physical

channels to be referenced by a user defined label, such as “Podi um mic”, rather than a s a channel numbe r.

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Input Physical Channel 3 Input Physical Channel 10

Output Physical Channel 6

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

OUTPUTS INPUTS

SoundStructure C16

Understanding Physical Channels

SoundStructure defines physical channels as a channel that cor responds to the a ctu al inputs o r outputs o f the SoundStructure system. Physical channels include the SoundStructure analog inputs, analog outputs, submixes, the telephony interfaces, the conference link channels, and the logic input and output pins.

An example of physical channels is input 3, which corresponds to the physical analog input 3 on the rear-panel of a SoundStructure device, input 10 (corresponds to analog input 10), and output 6, which corresponds to the physical analog output 6 on a Soun dS tru ct ur e de vice , as show n in th e follo win g fig ure.

Example of Physical Input Channels

When designing with SoundStructure products, the analog inputs (such as microphones, or other audio sources) and outputs from the system (such as audio sent to amplifiers) connect to SoundStructure’s physical channels.

The physical input channels and the physical output ch annels are numbered from 1 to the maximum numbe r of physical channels in a system. As described below, this approach is an enhancement of how traditional audio signals are labeled and how their signals are uniquely referenced.

Numbering Physical Channel On A Single SoundStructure Device

As described previously, in single-device SoundStructure installations (for example using a single SoundStructure C16), the physical channel numbering for the inputs and outputs corresponds to the

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Input Physical Channels 1 - 16

Output Physical Channels 1 - 16

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

OUTPUTS INPUTS

SoundStructure C16

numbering on the rear-panel of the device. For example, as shown in the following figure, physical input channel 3 corresponds to input 3 on the SoundStructure C16 device.

Example of Corresponding Physical Channels on a Single SoundStructure Device

Numbering Physical Channel With Multiple SoundStructure Devices

When multiple SoundStructure devices are linked using One Big Audio Matrix (OBAM) to form a multi-device SoundStructure system, instead of using a device identification number, the physical channel numbering for both the inputs and the outputs ranges from 1 to the maximum number of inputs and outputs, respectively, in the system. This is an extension of the single device setup where the physical channel numbers for channels on the second device are the next numbers in the sequence of inputs from the first device. For if there are two devices and the first device is a SoundStructure C16, the firs t input on the second device becomes physical input 17. This continuation of the sequence of numbers is possible due to the design of the OBAM Link interface.

OBAM Link is the method for connecting multiple devices together by connecting the OBAM Link cable from one device to the next. The following figure shows the location of the OBAM connections and the OBAM OUT and OBAM IN connections on the rear-panel of a SoundStructure device. To help verify when the OBAM Link is connected properly, there are status LEDs near the outer edge of each connector that illuminate when the devices are linked successfully.

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PIN 2: TXD PIN 3: RXD PIN 5: GROUND PIN 7: CTS PIN 8: RTS

C-LINK2

OBAM IR

RS-232

REMOTE CONTROL 2

IN OUT

12V

REMOTE CONTROL 1

OBAM I

IN OUT

The OBAM link is bidirectional - data flows in both an upstream and downstream direction meaning that the bus does not need to be looped back to the first device.

OBAM Connections on a SoundStructure Device

When multiple devices are linked together via OBAM, the SoundStructure devices communicate to each other, de termine which devices are linked and automatica lly generate internal d evice identifications. These device identifications are sequential from the first device at device ID 1 through the latest device linked over OBAM. Externally, there are no SoundStructure device identifications that must to be set or remembered. The internal device identifications are not required by the user/designer and are not user settable.

As described previously, rather than referring to physical channels on different devices by using a device identification number and a local physical input and output number, SoundStructure devices are designed so that the physical channel numbering is sequential across multiple devices. This allows one to refer to different channels on multiple devices solely by using a physical channel n umber that range s from 1 to the maximum number of channels in the linked system. As shown next, how the devices are OBAM linked determines the resulting numbering of the physical channels for the overall system.

To properly link multiple SoundStructure devices, connect the OBAM OUT port on the first device (typically the top SoundStructure device in the equipment rack) to the OBAM IN port on the next SoundStructure

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Connect OBAM Out to OBAM In

device and continue for additional devices. This connection strategy, shown in the following figures, simplifies the sequential physical channel numbering as described next.

OBAM Connection Strategy for SoundStructure Devices

SoundStructure C16

OUTPUTS INPUTS

PIN 2: TXD PIN 3: RXD PIN 5: GROUND PIN 7: CTS PIN 8: RTS

RS-232

12V

OBAM IR

LAN

C-LINK2

LAN

C-LINK2

LAN

C-LINK2

IN OUT

OBAM IR

IN OUT

OBAM IR

PIN 2: TXD PIN 3: RXD PIN 5: GROUND PIN 7: CTS PIN 8: RTS

RS-232

12V

PIN 2: TXD PIN 3: RXD PIN 5: GROUND PIN 7: CTS PIN 8: RTS

RS-232

12V

REMOTE CONTROL 1

REMOTE CONTROL 2

REMOTE CONTROL 1

REMOTE CONTROL 2

REMOTE CONTROL 1

REMOTE CONTROL 2

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

Once multiple devices are OBAM linked, it is easy to determine the system's input and output physical channel numbering based on the individual device’s physical channel numbering. The way the physical channels in a multiple device installation are numbered is as follows:

1 The SoundStructure device that only has a connection on the OBAM OUT connection

(recommended to be the highest unit in the rack elevation) is the first device and its inputs and outputs are numbered 1 through N where N is the number of inputs and outputs on the device (for instance, 16 inputs for a SoundStructure C16 device).

2 The SoundStructure device whose OBAM IN port is connected to the OBAM OUT connection of the

previous device becomes the next M inputs and outputs for the system where M is the number of inputs and outputs on the second device (for instance, 12 inputs for a SoundStructure C12 device).

3 This continues until the last device in the link which has an OBAM IN connection to the unit above it

and has no connection on the OBAM OUT port.

Note: OBAM Linking Devices

It is recommended that the units be linked together in the top-down order connecting the higher OBAM OUT connection to the next OBAM IN connection. One way to remember this ordering is to imagine the data flowing downhill out of the top unit and into the next unit and so on.

Following the connections in the previous figure, consider the system of three SoundStructu re C16 devices shown in the following figure as an example of this linking order and how the physical channels are numbered. In this example the OBAM output of device A is connected to the OBAM input of device B and the OBAM output of device B is connected to the OBAM input of device C. While the individual devices have physical channel inputs ranging from 1 to 16 and physical outputs ranging from 1 to 16, when linked together, the physical inputs and outputs of the overall system are numbered 1 to 48. These physical

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Device A

Device B

Device C

Input Physical Channels 1 - 16

Output Physical Channels 1 - 16

Input Physical Channels 17 - 32

Output Physical Channels 17 - 32

Input Physical Channels 33 - 48

Output Physical Channels 33 - 48

channel numbers of all the inputs and outputs are important because the physical channel numbers are used to create virtual channels, as discussed in th e ne xt se ctio n.

Physical Channels Numbering when OBAM Linked

OUTPUTS INPUTS

OBAM IR

IN OUT

OBAM IR

IN OUT

OBAM IR

IN OUT

PIN 2: TXD PIN 3: RXD PIN 5: GROUND PIN 7: CTS PIN 8: RTS

RS-232

12V

PIN 2: TXD PIN 3: RXD PIN 5: GROUND PIN 7: CTS PIN 8: RTS

RS-232

12V

PIN 2: TXD PIN 3: RXD PIN 5: GROUND PIN 7: CTS PIN 8: RTS

RS-232

12V

REMOTE CONTROL 1

REMOTE CONTROL 2

REMOTE CONTROL 1

REMOTE CONTROL 2

REMOTE CONTROL 1

REMOTE CONTROL 2

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

SoundStructure C16

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

SoundStructure C16

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

SoundStructure C16

With the linking of devices as shown in the previous figure, the physical ch annels are ordered as expected and shown in that figure and summarized in the following table.

Device A's inputs and outputs become the first sixteen physical inputs and sixteen outputs on the system, device B's inputs and outputs become the next sixteen physical inputs and next sixteen physica l outputs on the system, and device C's inputs and output become the last sixteen physical inputs and sixteen physical outputs on the system.

Local and System Input and Output Numbering for OBAM Linked SoundStructure Devices

Device Local Numbering (input

and output)

System Numbering (input and output)

A 1 - 16 1 - 16 B 1 - 16 17 - 32 C 1 - 16 33 - 48

The system built from the top-to-bottom, OBAM out-to-OBAM-in linking results in a simple way of numbering the physical input and output connections in a simple linear sequential fashion. Conceptually, the linking of these devices should be viewed as creating one large system from the individual systems, as shown in the next figure.

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16 16

OUT

OBAM

16 16

OUT

OBAM

OUT

OBAM

16 17

32 33

16 1

16 17

32 33

Viewing OBAM Linked Devices as One Large System

Note: Numbering Physical Channels in a Multi-Device System

The numbering of the physical channels in a multi-device system is determined by how the devices are linked over OBAM. Changing the OBAM link cabling after a system has been designed and uploaded to the devices causing the system to not operate properly.

If multiple devices are OBAM linked in a different or der , the numbering of the physica l channels is dif ferent. As an example of what not to do, consider the following figure where device C is connected to both device A and to device B. Based on the physical ordering algorithm described previously, device A only has an OBAM OUT connection which makes this device the first device in the link. Next, device C becomes the second device in the link and finally device B becomes the third device in the link. The result is that the inputs

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PIN 2: TXD PIN 3: RXD PIN 5: GROUND PIN 7: CTS PIN 8: RTS

OBAM IR

RS-232

REMOTE CONTROL 2

REMOTE CONTROL 1

IN OUT

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

OUTPUTS INPUTS

SoundStructure C16

12V

PIN 2: TXD PIN 3: RXD PIN 5: GROUND PIN 7: CTS PIN 8: RTS

OBAM IR

RS-232

REMOTE CONTROL 2

REMOTE CONTROL 1

IN OUT

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

OUTPUTS INPUTS

SoundStructure C16

12V

PIN 2: TXD PIN 3: RXD PIN 5: GROUND PIN 7: CTS PIN 8: RTS

OBAM IR

RS-232

REMOTE CONTROL 2

REMOTE CONTROL 1

IN OUT

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

OUTPUTS INPUTS

SoundStructure C16

12V

Input Physical Channels 1 - 16

Output Physical Channels 1 - 16

Input Physical Channels 33 - 48

Output Physical Channels 33 - 48

Input Physical Channels 17 - 32

Output Physical Channels 17 - 32

Device A

Device B

Device C

and outputs on device C become inputs 17-32 and outputs 17-32 on the fu ll system even thou gh device B is physically installed on top of device C.

Example of SoundStructure Devices OBAM Linked Out of Order

Conceptually , this creates a system similar to the system as shown in the next figure and summarized in the following table.

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16 16

OUT

OBAM

16 16

OUT

OBAM

OUT

OBAM

Example of SoundStructure Devices OBAM Linked Out of Order

The organization of the devices in this example would make it confusing to properly terminate inputs and outputs to the desired physical inputs and outputs. Any OBAM linking scheme other than the out-to-in, top-to-bottom system, is not recommended as it can increase system debug and installation time.

Local and System Numbering for SoundStructure Devices OBAM Linked Out of Order

Device Local Numbering System Numbering

A 1 - 16 1 - 16 B 1 - 16 33 - 48 C 1 - 16 17 - 32

Due to this possible confusion of the numbering of physical inputs and outputs, always connect the devices as recommended in the top-down order connecting the higher OBAM OUT connection to the next OBAM IN connection.

Physical Channel Summary

Physical channels and the OBAM Link were introduced in the pr evious section as a simplification of how to refer to the actual physical inputs and outputs when multiple SoundStructure devices are used. By OBAM Linking multiple SoundStructure devices in an OBAM out-to-OBAM-in fashion from top to bottom, the physical channel numbers in a multi-unit installation are sequential from 1 to the maximum number of inputs and outputs in the system. No longer is a specific device identification required to uniquely identify which input “1” is meant when there are multiple devices. When multiple SoundStructur e devices are u sed, there is only one input “1” and it corresponds to the first input on the top device. The first input on the second device is input 17 (if the first device is a SoundStructure C16).

In the next section, the concept of physical channels is extended as the new concept of virtual channels is introduced as a way to easily and more flexibly reference the physical inp ut and output channels, simplifying both SoundStructure device setup and how SoundStructure devices are controlled with external control systems.

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SoundStructure

Studio

Control System

Physical Channel

SoundStructure

Studio

Control

System

Physical

Channel

Left

Physical Channel

Right

“

”

Input 9

Understanding Virtual Channels

A virtual channel can be thought of as a layer that is wrapped around one or more physical channels. A virtual channel can represent either an individual physical cha nnel or it can represent a collection of strong ly associated physical channels, such as a stereo pair of signals as shown in the following figure.

SoundStructure Studio Virtual Channels

Virtual channels are created by specifying a virtual channel name, one or more physical channels, and a type of virtual channel. Once defined, the virtual channel name becomes the primary way of referring to that particular input or output instead of using the physical channel number. For example, an A/V designer defines the virtual channel that is connected to input physical channel 9 as “Podium mic,” as shown in the following figure. From then on, any settings that need adjusting on that input are adjusted by controlling the virtual channel “Podium mic”. The association between the virtual channel and the underlying physical channel or channels means that you can think of virtual channels as describing how the system is wired.

Virtual Channel Naming

Note: Naming Virtual Channels

The virtual channel name is case-sensitive and needs to have the quotes around the text. “Podium mic”, “Podium Mic”, and “PODIUM mic” would represent different virtual channels.

The main benefit of virtual channels is that once a Soun dStructure design is created and the virtual channels have been defined, it is possible to change the particular physical input or output used by moving the physical connection on the rear-panel of the SoundStructure device and redefinin g the virtual channel to use the new physical input or output that is used. Because any control system code must use the virtual channel name, the control source code does not have to change even if the actual wiring of the physical inputs or outputs change. By using virtual channel names the controller code controls (for example, mutes or changes volume) the SoundStructure devices through the virtual channel names, not the underlying physical input and output that a particular audio signal is connected to.

For instance, if a virtual channel were named “Podium mic” then the control system code would control this channel by sending commands to “Podium mic”. It would not matter to the control system if on one

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installation “Podium mic” were wired to input 1 and on another installation “Po dium mic” was wir ed to input

17. The same control system code can be used on both installations beca use the SoundStru cture devi ces translate the virtual channel reference to the underlying physical channel(s) that were specified when th e virtual channel was defined. By using the same API commands on different systems that refers to “Podium mic”, the control system code is insulated from the actual physical connections which are likely to change from one installation to the next. The virtual channel definition makes th e de sig n po rt ab le an d easily reusable.

The use of virtual channels also improves the quality of the control system code because it is easier to write the correct code the first time as it is more difficult to confuse “Podium mic” vs. “VCR audio” in the code than it would be to confuse input 7 on device 2 vs. input 9 on device 1. The clarity and transparency of the virtua l channel names reduces the amount of debugging and subsequently the amount of time to provide a fully functional solution.

Another benefit of working with virtual channels is that stereo signals can be more easily used and configured in the system without having to manually configure both the left and right channels independently. As shown later in the gu ide , th e Sou nd St ru ctu re Stud io softw ar e au to m at ic ally crea te s the appropriate monaural mixes when interfacing a stereo signal to mono destination and vice versa.

Using virtual channels that represent stereo physical signals reduces the chance of improper signal ro utings and processing selections. The net result is that both designs and installations can happen faster and with higher quality.The motivation for using virtual channels is to make the system reusable across different installations regardless of how the system is wired because the SoundStructure device knows how to translate commands that are sent to virtual channels, such as “Podium mic”, to the appropr iate un derlying physical channel.

Note: Defining Virtual Channels

Virtual channels are a high-level representation that encompasses information about the physical channel. Virtual channels are used to configure and control the underlying physical channel(s) without having to know the underlying physical channel numbers.

Virtual Channel Summary

Virtual channels are a new concept introduced for SoundStructure products that makes it possible to refer to one or more physical channels at a higher level by creating a virtual channel and a memorable virtual channel name.

Using SoundStructure virtual channels is the only way to configure and control the underlying physical channels with third-party control systems. The physical input and output channel numbering described in the section Understanding Physical Channels is used only in the definition of virtual channels so that the virtual channel knows which physical channel(s) it refers to.

By using virtual channel names rather than hard wiring physical input and output channels in the control system code, the control system source code is more portable across other installations that use the same virtual channel names regardless of which physical channels were used to define the virtual channels (i n other words, how the system is wired).

Virtual channels also simplify the setup and configuration of a system because it is easier to understand and view changes to Podium mic than it is to have to refer to a signal by a particular physical input or output number such as input 17.

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Physical Channel

Virtual Channel Group

Physical Channel

Left

Physical Channel

Right

Virtual channels are defined by SoundStructure Studio during the project design steps using the vcdef command described in Appendix A. As an example, a mono virtual channel that is connected to physical input 8 would be defined as:

vcdef “Podium mic” mono cr_mic_in 8

Understanding Virtual Channel Groups

It is often convenient to be able to refer to a group of virtual channels and control a grou p of virtual channels with a single command. Virtual channel groups are used with SoundStructu re products to create a single object made up of loosely associated virtual channels. Once a virtual channel group has been created, all commands to a virtual channel group affect the virtual channels that are part of the virtual channel group and command acknowledgments from all the me mbers of the virtual channel group returned. In a ddition the virtual channel group returns an acknowledgment that is the value of the acknowledgment of the first member of the group.

Virtual channel groups are a wrapper around a number of virtual channels, as shown in the followin g figure.

A Virtual Channel Group

As an example of a virtual channel group, consider in the next figure the creation of the virtual channel group “Mics” made up of the entire collection of individual microphone virtual channels in a roo m. Once the vir tual channel group “Mics” has been created, it is possible to configure and control all the microphones at the same time by operating on the “Mics” virtual channel group.

If the group “Mics” is muted with the command:

set mute “Mics” 1

then the acknowledgments returned from the SoundStructure device are:

val mute “Wireless mic” 1 val mute “Table mic 1” 1 val mute “Table mic 2” 1 val mute “Table mic 3” 1 val mute “Table mic 4” 1 val mute “Table mic 5” 1 val mute “Table mic 6” 1 val mute “Table mic 7” 1 val mute “Table mic 8” 1 val mute “Podium mic” 1 val mute “Mics” 1

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“

”

Input 6

“

”

Input 1

“

”

Input 7

“

”

Input 8

“

”

Input 9

“

”

Input 10

“

”

Input 5

“

”

Input 4

“

”

Input 3

“

”

Input 2

“Mics”

The final command acknowledgment value for the g roup “Mics” is the value return ed from th e first member of the virtual channel group “Mics”.

It is possible to have multiple virtual channel groups that include the same virtual channels. Commands sent to the particular virtual channel group af fect the members of the group and all members of the group re spond with the appropriate command acknowledgments.

Note: Virtual Channels Include in Multiple Groups

Multiple virtual channel groups may include the same virtual channels, in other words, a virtual channel can belong to more than one virtual channel group.

A Virtual Channel Group

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C-LINK2

LOGIC IN LOGIC OUT

C-LINK2

OBAM IN

OBAM OUT

LINE

PHONE

Ethernet

RS-232

SoundStructure

C12

Receiver

12:00 am

VHS

Amplifier

Polycom Video Codec System

Loudspeakers

PSTN Network

Favorite Content

Wireless Mic

Amplifier

Record

770-350-4400

To Video Codec

From Video Codec

Podium Mic

Table Mic 1

Table Mic 2

Table Mic 3

Table Mic 4

Table Mic 5

Table Mic 6

Table Mic 7

Table Mic 8

VCR

As an example of using physical channels, virtual channels, and virtual channel groups, consider a SoundStructure C12 device where there are ten microphone inputs, a telephony interface, and a Polycom Video Codec system as shown in the following figure.

SoundStructure C12 with Physical Channels, Virtual Channels, and Virtual Channel Groups

In the above example, there is a wireless microphone and a podium microphone, both reinforced into the room, eight table top microphones, and a stereo VCR for audio playback. As shown in this figure the system is wired with the wireless microphone in input 1, the podium mic on input 2, the table mics 1-8 on inputs 3-10, a stereo VCR is connected to inputs 11 and 12 and a Polycom Video Codec is connected over the digital ConferenceLink interface.

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“Wireless mic”

“Podium mic”

“Table mic 1”

“All Mics”

“Reinforced Mics”

“All Table Mics”

“Program Audio”

“Remote Receive Audio”

“Table mic 2”

“Table mic 3”

“Table mic 4”

“Table mic 5”

“Table mic 6”

“Table mic 7”

“Table mic 8”

“VCR”

Physical Channel

Inputs

Outputs

Virtual Channel Virtual Channel Groups

Line “770-350-4400”

CLink2 “From Video Codec”

“Conferencing Amp”

“Remote Send Audio”

“Record”

Line “770-350-4400”

CLink2 “To Video Codec”

Virtual channel definitions are defined, as shown in the following figure.

Virtual Channel Definitions

The virtual channel definitions make it easy to work with the dif ferent signals since each virtual channel has a specific name and refers to a particular input or ou tput. For instance to take the phone off hook, commands are sent to the “770-350-4400” virtual channel in this example. If there were multiple telephony interfaces, each telephony interface would have its own unique virtual channel de finition. It is possible to create a virtual channel group of multiple telephony virtual channels so all systems could be put onhook together at the end of a call, etc.

In this example there are several virtual channel groups defined including "Reinforced Mics", "All Mics", "All Table Mics", "Program Audio", "Remote Receive Audio", and "Remote Send Audio".

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Virtual Channel Group Summary

Virtual channel groups are an easy way to create groups of signals that may be controlled together by sending an API command to the virtual channel group name. It is possible to have more than one virtual channel group and to have the same virtual channel in multiple virtual channel gr oups. It is also easy to add or remove signals from the virtual channel group making virtual channel groups the preferred way of controlling or configuring multiple virtual channels simultaneously.

Virtual channel groups re defined by SoundStructure Studio during the project design steps using the vcgdef command described in Appendix A. As an example, a virtual channel group with two members, Table Mic 1 and Table Mic 2, would be defined as:

vcgdef “Zone 1” “Table Mic 1” “Table Mic 2”

Understanding Telephone Virtual Channels

Telephony virtual channels are created with the telephony inputs and telephony outputs - each direction on a telephony channel is used to create a virtual channel. There are two types of physical channels used: pstn_in, and pstn_out, in the definition of telephony virtual channels.

By default, SoundStructure Studio creates virtual channel definitions for both the input and output commands. The command set in Appendix A shows which commands operate on the telephone output virtual channels and which operate on the telephony input channels.

For example, the phone_connect and phone_dial commands operate on the telephony output channel while the phone_dial_tone_gain command operates on the telephone input channel.

Defining Logic Pins

SoundStructure logic input and output pins are also considered physical inputs and outputs that can be abstracted with control virtual channels and control array virtual channels.

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Pin 25 Pin 14

Pin 1Pin 13

Pin 14Pin 25

Pin Signal

SoundStructure Logic

REMOTE CONTROL 1

REMOTE CONTROL 2

1 +5V 2 Logic output 1 3 Logic output 2 4 Logic output 3 5 Logic output 4 6 Logic output 5 7 Logic output 6 8 Logic output 7 9 Logic output 8 10 Logic output 9 11 Logic output 10 12 Logic output 11 13 Analog gain input 1

Pin Signal

14 Logic input 1 15 Logic input 2 16 Logic input 3 17 Logic input 4 18 Logic input 5 19 Logic input 6 20 Logic input 7 21 Logic input 8 22 Logic input 9 23 Logic input 10 24 Logic input 11 25 Ground

1 +5V 2 Logic output 12 3 Logic output 13 4 Logic output 14 5 Logic output 15 6 Logic output 16 7 Logic output 17 8 Logic output 18 9 Logic output 19 10 Logic output 20 11 Logic output 21 12 Logic output 22 13 Analog gain input 2

14 Logic input 12 15 Logic input 13 16 Logic input 14 17 Logic input 15 18 Logic input 16 19 Logic input 17 20 Logic input 18 21 Logic input 19 22 Logic input 20 23 Logic input 21 24 Logic input 22 25 Ground

Labeling Physical Logic Pins

The physical logic pins and labeling are shown in the following figure.

Physical Logic Pins and Labeling

REMOTE CONTROL 1

REMOTE CONTROL 2

The logic inputs and logic outputs have physical inputs and outputs 1 - 11 on Remot e Con tr ol 1 con n ec tor and 12 - 22 on Remote Control 2 connector on each SoundStructure device.

When multiple devices are OBAM linked, as shown in the next figure, the logic inputs and outputs on the first device are numbered 1 - 22 and the logic inputs and outputs on the second device (device B) are

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PIN 2: TXD PIN 3: RXD PIN 5: GROUND PIN 7: CTS PIN 8: RTS

OBAM IR

RS-232

REMOTE CONTROL 2

IN OUT

12V

REMOTE CONTROL 1

PIN 2: TXD PIN 3: RXD PIN 5: GROUND PIN 7: CTS PIN 8: RTS

OBAM IR

RS-232

REMOTE CONTROL 2

IN OUT

12V

REMOTE CONTROL 1

PIN 2: TXD PIN 3: RXD PIN 5: GROUND PIN 7: CTS PIN 8: RTS

OBAM IR

RS-232

REMOTE CONTROL 2

IN OUT

12V

REMOTE CONTROL 1

Logic Outputs 23 - 33

Logic Outputs 34 - 44

Logic Outputs 1 - 11Analog Gain Input 1

Logic Outputs 12 - 22

Logic Outputs 34 - 44

Analog Gain Input 2

Analog Gain Input 3

Analog Gain Input 4

Analog Gain Input 5

Analog Gain Input 6

numbered 23 - 44, and so on. The analog gain inputs are n umbered 1 and 2 on the first device, 3 and 4 o n the second device, and so on.

Numbering of Logic Inputs and Outputs on an OBAM Linked SoundStructure Device

Due to the one large system design philosophy, logic input pins on any device can be used to control features on any SoundStructure device - not just provide control on the device the logic inputs are on. Similarly logic outputs can be used to provide status on signals on any SoundStructure device - not just status on a physical channel on that particular device.

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Logic

Status

SoundStructure Logic Input

Logic Input Pin

Logic Pin 25 (Ground)

3.3V

Logic Inputs

All digital logic inputs (logic inputs 1 - 22) operate as contact closures and can be connected to ground (closed) or not connected to ground (open). The logic input circ uitry is shown in the following figure. The default value for logic inputs is 1 due to the pull up resistor. The value for the pin changes to 0 when the pin is shorted to ground. The value of the logic pin is read or written with the digital_gpio_value parameter. See Using Events, Logic, and IR and Appendix A: Command Protocol Reference Gu ide for more details.

Logic Input Circuitry for SoundStructure Devices

Analog Gain Input

The analog gain inputs (analog gain 1 and 2) operate by meas uring an a nalog voltage between the a nalog input pin and the ground pin. The maximum input voltage level sh ould not exceed +6 V. It is recommended that the +5 V supply on Pin 1 be used as the upper voltage limit.

The next figure shows the analog gain input pin and the associated +5 V and ground pins that are used with the analog gain input pin. The analog voltage on th e analog gain input pin is converted to a digital value via an analog-to-digital converter for use within th e Soun dStructure devices. The maximum voltage valu e, that

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Analog Voltage

Value

SoundStructure Logic Input

Analog Gain Input Pin

Logic Pin 25 (Ground)

Logic Pin 1 (+5V)

Logic

Controller

SoundStructure Logic Output

Logic Output Pin

Chassis

Ground

is, 0 dBFS on the analog gain input, is 4.096 V. 0V is converted to 0 and 4.096 V and above is converted to

255.

Analog Gain Input Pin for SoundStructure Devices

Logic Outputs

All logic outputs are configured as open-collector circuits and can be used with external positive voltage sources. The maximum voltage that should be used with the logic outputs is 60 V. Each pin can sink up to 60mA. When using the internal 5V power supply, the maximum current that is supplied across all logic outputs on a SoundStructure device is 500 mA.

Logic Output Pin on SoundStructure Devices

The open collector design is shown in the following figure an d works as a switch as follows: when the logic output pin is set high (on), the transistor turns on and the signal connected to the logic outp ut pin is grounded and current flows from the logic output pin to chassis ground.

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Logic Output = 0 Low (Off)

Logic Output = 1 High (On)

Chassis GroundChassis Ground

Logic Output PinLogic Output Pin

When the logic output is set low (off), the transistor turns off and an open circuit is created between the logic output and the chassis ground preventing any flow of current, as shown in the following figure.

Logic Output Pin Set to Low (Off)

Examples of using logic input and output pins may be found in Using Events, Logic, and IR of this guide.

Controlling Virtual Channels

The concept of virtual channels also applies to the logic inputs and outputs. The A/V designer can create control virtual channels that consist of a logic input or outpu t pin .

Logic pins can be defined via the command line interface from SoundStructure Studio or a control terminal with the following syntax to define a logic input on logic input pin 1:

vcdef “Logic Input Example” control digital_gpio_in 1

which returns the acknowledgment

vcdef "Logic Input Example" control digital_gpio_in 1

A logic output pin definition using output pin 1 is created with the command:

vcdef "Logic Output Example" control digital_gpio_out 1

which returns the acknowledgment

vcdef "Logic Output Example" control digital_gpio_out 1

Once defined, the designer can refer to those control virtual channels by their name. As with the example above, the designer created a control input virtual channel “Logic Input Example”. The SoundStructure device can be queried with a control system to determine the value of the logic pin and when it is active, it could be used to change the status of the device. When the “Logic Inpu t Example” input is inactive, it could, for example, be used with an external control system to unmu te the microphones. In version 1.0 of the firmware logic pins must be queried by an external control system and then the control system can execute commands or a series of commands on the device.

The value of control virtual channels may be queried by the control system by using the command

digital_gpio_state. An example of this is shown below.

get digital_gpio_state “Logic Input Example”

The state of digital logic output may also be set active using the digital_gpio_state command as follows for the control virtual channel “Logic Output Example” that would be created with the vcdef command.

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set digital_gpio_state “Logic Output Example” 1

Additional information about using logic pins may be found in Appendix A.

Controlling Array Virtual Channels

Multiple logic pins may be associated together with a control array virtual channel. Control array virtual channels are created by one or more logic input or log ic output pins. Once a control array channel is defined, the value of the group of pins can be queried or set using the digital_gpio_value command.

The value of the digital control array is the binary sum of the individual logic pins. For example, if a control array virtual channel is defined with digital outp ut pins 2, 3, and 4, then the value of the control array channel is in the range of 0 to 7 with physical logic pin 4 as the most significant bit and physical logic pin 2 as the least significant bit.

As an example, consider a control array named “logic arr ay” that u ses physical logic input pins 2, 3, and 4 that is created with the following syntax:

vcdef “logic array” control_array digital_gpio_in 2 3 4

which returns the command acknowledgment:

vcdef "logic array" control_array digital_gpio_in 2 3 4

In this example, three input pins have been specified with pin 2 first and pin 4 listed last. The value of the digital input array can be queried using the get action:

get digital_gpio_value "logic array" val digital_gpio_value "logic array" 7

The value of the logic array depends on the value of the individual logic input pins 4, 3, and 2. A logic pin has a value of 0 when that the pin is shorted to ground and a value of 1 when that pin is open.

The order that the pins are listed in the control array definition is defin ed so that the last pin specified is the most significant bit and the first pin specified is the least significant bit. For the example above where the control array was defined with pins 2 3 4, the 3-bit value is formed by using pin 4 as the most significant bit, pin 3 as the next bit, and pin 2 as the least significant bit.

Control Array and Logic Input Pin Values

Control Array Value Pin 4 Pin 3 Pin 2

7 111 6 110 5 101 4 100 3 011 2 010 1 001 0 000

In the above table, if all the pins are open, the get command descri bed above returns the value 7. If pin 2 is shorted to ground (value of 0), the value of the get command is 6 and so forth.

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A control array of logic output pins may be specified with the same syntax as in the previous example substituting digital_gpio_out for digital_gpio_in.

See Using Events, Logic, and IR and Appendix A: Command Protocol Reference Guide for more information on control array virtual channels.

Understanding IR Receiver Virtual Channel

The IR receiver input on the SoundStructure device responds with acknowled gments when a valid IR signal is received. The first step towards using the IR receiver is to define the IR receive r virtual channe l. This can be done with the following syntax:

vcdef “IR input” control ir_in 1

where 1 is the only physical channel that can be specified since there is only one physical IR receiver channel.

Once a command from the Polycom IR remote transmitter, a command acknowledgment of the form:

val ir_key_press “IR Input” 58

is generated by the SoundStructure device when a key that corresponds to code 58 is pressed on the IR remote transmitter. The infrared remote controller ID must be set to the factory default of 3 for the IR receiver to properly identify the command.

See Using Events, Logic, and IR for information about how to use the IR receiver with SoundStructure events.

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Creating Designs with SoundStructure Studio

A SoundStruc ture configuration file is a binary file that includes the definition of the virtual channels, the virtual channel groups, the appropriate input and output gain settings, echo cancellation settings, equalization, matrix routings, and more. This file m ay be uploaded to SoundStructure d evices or stored on the local PC for later upload.

By default, SoundStructure products do not have prede fined virtual channels or a predefined matrix routing and therefore must be configured before the SoundStructure products can be used in audio applications. The SoundStructure Studio software with integrated InstantDesigner upload that design to one or more SoundStructure devices.

Note: No Default Configuration for SoundStructure Systems

SoundStructure devices are shipped without a default configuration and must be configured with the SoundStructure Studio software.

The details of creating a new SoundStructure Studio design file are described in this chapter . For information on how to customize a design file, see Customizing SoundStructure Designs and for information on how to use the specific user interface controls with SoundStructure Studio, see Using SoundStructure Studio

Controls.

To create a new SoundStructure Studio project, follow these steps:

™

is used to create a design and to

1 Launch SoundStructure Studio and select New Project from the file menu 2 Follow the on-screen steps to specify the input signals 3 Follow the on-screen steps to specify the output signals 4 Select the SoundStructure devices to be used for the design 5 Create the configuration and optionally upload to the SoundStructure devices

These steps are described in more detail in the following section.

Understanding SoundStructure Studio

The first step to creating a SoundStructure design is to launch the SoundStr ucture Studio application. If the SoundStructure Studio software is not already installed on the local PC, it may be installed from the CD that was included with the product. More recent versions of SoundStructure Studio may also be available on the Polycom website - please check the Polycom website before installing the SoundStructure Studio version that is on the CD-ROM.

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Understanding System Requirements

SoundStructure Studio is supported on Micros of t® Windows XP w/ Service Pack 2 and higher, Microsoft Windows Vista, and Microsoft Windows 7.

SoundStructure Studio requires:

● Microsoft .NET Framework 2.0, which requires 280MB of disk space on an x86 computer architecture, and 610MB on x64 computer architecture

● 40MB of disk space

● 512MB of memory

● A display with 1024x768 re solution.

● A network interface card (wired or wireless) or serial port to connect to SoundStructure devices

Viewing Recommended Operating System

The recommended system for operating SoundStructure Studio has the following characteristics:

● 1GB or higher of memory

● A display with 1280x1024 resolution or higher

Installing SoundStructure Studio

To install SoundStructure Studio,

1 Run the StudioSetup.exe software and follow the prompts. 2 After Studio is installed, launch SoundStructure Studio and select File > New Project, as shown in

following figure.

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Step 1 - Input Signals

Creating a new project displays the Create a Project window , as shown in the following figure. The first step of the design process is to select the inputs to the system.

Creating A Project Dialog in SoundStructure Studio

To create a SoundStructure design:

1 Select the style of input (Microphone, Program Audio, etc.), and specify the type of input (Ceiling,

Lectern, etc.) and the quantity of the input

2 Click “Add”.

The label of the input signal becomes the virtual channel name of tha t input signal. A signal generator is added by default to all projects.

SoundStructure Studio provides a number of pr edefined input types including microph ones, program audio sources, video codecs, telephony interfaces, submixes, and a signal generator.

SoundStructure Studio provides default input gains for the various input and output channels. After the design has been created, these gains, along with all other settings, can be adjuste d as described in

Customizing SoundStructure Designs.

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For more information on integration with table and ceiling microphones, see the Best Practices Guide:

Polycom SoundStructure and Polycom Microphones.

The choices for Hybrids/Codecs include the Polycom Video Codec, the Polycom VSX series, and a generic mono or stereo video codec. When the Polycom Video Codec is selected, it is assumed that the Polycom Video Codec connects to the SoundStructure device over the Conference Link2 interface. To use the Polycom Video Codec with the SoundStructure devices via the analog input and output instead of Conference Link requires selecting a different codec such as the VSX8000 stereo codec. Connecting Over

Conference Link2 provides additional information about integrating with the Polycom Video Codec over the

Conference Link2 interface. A typical system is shown in the next figure where a stereo program audio source, eight table microphones,

a wireless microphone, a telephony input, and a Polycom Video Codec have been selected.

Example Project Created in SoundStructure Studio

The graphic icon next to the signal name in the Channels Defined: field indicates whether the virtual channel is a monaural channel that is defined with one physical chan ne l (a dot with two wa ves on one side) or a stereo virtual channel that is defined with two physical channels (a dot with two waves on both sides).

When a Polycom Video Codec is selected, there are mult iple audio channels that are created automatically and used independently in the SoundStructure matrix. See Connecting Over Conference Li nk2 for additional information on the audio channels and the processing that is available on these channels.

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When a video codec or telephony option is selected, the corresponding output signal automatically appear s in the outputs page as well.

You can delete Channels by selecting the channel in the Channels Defined: field and clicking Remove.

Step 2 - Output Signals

In step 2 of the design process, the outputs from the system are specified in the same manner that inputs were created. A sample collection of outputs is shown in the following figure.

A Sample Collection of Outputs In SoundStructure Studio

The outputs include audio amplifiers, recording devices, assistive listening devices, and also other telephony or video codec systems. If the desired style of outputs is not found, select something close and then customize the settings as described in Customizing SoundStructure Designs.

In this example, a stereo amplifier was selected as well as a mono recording output. The telephone and Polycom Video Codec conferencing system outputs were automatically created when their respective inputs were added to the system. Notice that there are multiple audio channels associated with the Polycom V ideo Codec. See Connecting Over Conference Link2 for additional information.

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Step 3 - Device Selection

In Step 3, select the devices that you are using with the design project, as shown in the following figure.

Selecting Devices to be Used with a Design Project

By default, SoundStructure Studio displays the equipment with the minimum list price although it is possible to manually select the devices by selecting the Manually Select Devices option and adding devices and optional telephony cards.

Y ou can select differ ent devices by clicking on the device, adjusting the quantity, and clicking “Add”. Y ou can remove devices by selecting the device in the Configured Devices window and selecting Remove.

The unused inputs and outputs display whether additional resources are r equired to imple ment the design and also how many unused inputs and outputs are available.

In this example, a SoundStructure C12 and a single-line telephony inter face card are selected to implement the design. The resulting system has one addition al analog input and nine additional analog outputs. The inputs are used by the eight microphones, one wireless microphone , and the stereo progra m audio and the line outputs are used by the stereo amplifier and the mono recorder. The Polycom Video Codec does not require any analog inputs and outputs because the si gnals are transferred over the digital Confere nce Link2 interface.

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Step 4 - Uploading Or Working Offline

In step 4, you can decide to either work of fline or wo rk online. When work ing online, you can sele ct a set of devices to upload the settings to via the Ethernet or RS-232 interfaces. As a best practice, Polycom recommends you design the file offline, customize settings - including the wiring page as described in the

Customizing SoundStructure Designs if the system has already been cabled, and upload the settings to the

device for final online adjustments. In this example, the design file is created offline for offline configuration and later uploaded to the device.

Creating Design Projects Offline

To find devices on the network:

1 Select Send configuration to devices.

SoundStructure Studio searches for devices on the local LAN as d efined by the Ethern et interfac e’ s subnet mask or the RS-232 interface. See Installing SoundStructure Devices for additional information on uploading and downloading configuration files a nd Appendix B: Address Book for how to use the Address Book functionality.

2 Click Finish.

SoundStructure Studio creates a design file including defining all the virtual channels and virtual channel groups such as those shown the following figure.

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The Customizing SoundStructure Designs describes how to custom ize the SoundStructure device settings. If working online, the Ethernet port on the project tree on the left of the screen displays a large green dot

next to the device name. When working offline there is a gray dot next to the device name.

Operating in Online and Offline Mode

SoundStructure Studio has been designed to fully operat e in either online or offline modes. Online operation means that SoundStructure Studio is communicating with one or more SoundStructure devices, sending commands to the devices, and receiving command acknowledgments from the devices. Every change to the SoundStructure design is made in real-time to the actual devices. There is no requirement to compile any SoundStructure Studio code before the impact can be heard.

Offline operation means that SoundStructure Studio is working with an emulation of the SoundStructure devices and is not communicating with actual SoundStructure devices. Commands are sent to the emulator and command acknowledgments receive commands from the emulator allowing the designer to test a SoundStructure system design without ever connecting to a system.

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Regardless of whether the system is operating online or offline with SoundStructure Studio, you can open the SoundStructure Studio Console and see the commands and acknowled gme nts by ri ght clicking on the control port interface as shown in the following figures.

SoundStructure Studio Console

SoundStructure Studio Data Console

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In this example, the virtual channel group “Mics” are muted and the console shows the command in blue and the acknowledgments generated in green.

When SoundStructure Studio is working offline, the prefix [Offline]: is shown in the console as a reminder that commands are not being sent to actual devices. While offline, comma nd s ar e se nt to the SoundStructure device emulator using the command syntax described in Appendix A: Command Protocol

Reference Guide and acknowledgments are received just as if communicating to actual systems.

Offline operation is commonly used prior to the actual installation of the physical SoundStructure devices to adjust the system before on site installation, or when a physical device is not readily accessible.

Note: Working Offline with SoundStructure Studio

With SoundStructure Studio, it is possible to work offline and fully emulate the operation of the SoundStructure devices. You can send commands to the system, the system receives acknowledgments, and the system operation including presets, signal gains, matrix crosspoints, and more are tested without ever connecting to SoundStructure devices.

When working offline, you can save the configuration file at any time by selecting File > Save Project. This creates the file with the name of your choosing and stores the file on the local disk with the .str file extension.

When working online, saving the project prompts you to save the file on th e disk as well as store the settings in the SoundStructure device.

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Customizing SoundStructure Designs

After you create a SoundStructure project file as described in Creating Designs with SoundStructure Studio, you can use the SoundStructure Studio software to adju st and customize the design. This section provides you with in-depth instructions on how to customize the set tin gs by using the Wiring, Channels, Matrix, Telephony, and Automixer pages. For information on uploading and downloading configuration files, see

Installing SoundStructure Devices.

The detailed controls for the inputs, outputs, and submix signals are presented in the order that the controls appear on the channels page.

After you make changes to the configuration, ensure that the settings are stored to a preset (see Installing

SoundStructure Devices) and that you define a power on preset.

Using the Wiring Page

During the design process, SoundStructu re Stud io creates the virtual input and output channels using the labels that were used during design steps 1 and 2 in Creating Designs with SoundStructure Studio as the virtual channel names. The virtual channels are created with default physical input and output channels which are assigned automatically based on the order that the virtual channels are added to the system during the first two design steps. Changing the order that inputs and outputs are selected changes the default physical channel assignments.

The wiring page is where the SoundStructure Studio wiring assignment are reviewed an d changed if SoundStructure Studio wired the system with different inputs and outputs than expected or desired.

As shown in the example in the following figure, the six table top microphones use physical inputs 1 - 6, th e program audio uses inputs 7 and 8 and the wireless micr ophone uses input 9. On the outputs, the amplifier stereo virtual channel uses physical channels 1 and 2 and the recording channel uses physical output 3. Remember that stereo virtual channels are always defined with two physical channels while mono virtual channels are defined with one physical channel.

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The following figure shows the default wiring for an example that the system created with six table top microphones, stereo program audio, and a wireless microphone.

An Example SoundStructure Device with Default Wiring

If it is necessary to change the wiring from the default wiring, you can change the virtual wiring by clicking and dragging signals from their current input or output to a new input or output, as shown in the following figure. In this example, the Recording output changed from physical output 3 to physical output 6.

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Editing Default Wiring in SoundStructure Studi o

When a virtual channel is moved, SoundStructure Studio redefines the virtual channel to use the new physical inputs or outputs that are specified. Moving a virtual channel does not cr eate any visible ch ang es in the Matrix or Channels page because SoundStructure Studio operates at the level of the virtual channel and not the physical channels. The only page that displays a difference is the Wiring page.

It is important to know that the actual wiring of the system needs to match the wiring specified on the Wiring page. Otherwise, the system does not operate as expected. For instance, in the example above, if the recording output is physically plugged into output 3 when SoundStructure Studio notices the recording

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output is plugged into output 6, no audio is heard on output 3 because the au dio is being routed to physical output 6.

Note: Matching Physical Channel Wiring

For proper system operation, make sure the physical channel wiring matches the wiring instructions on the Channel page. You can make adjustments to the wiring by physically moving connections to match the Wiring page, or by moving signals on the Wiring page to match the physical connections.

Editing Devices

When working offline, the Wiring Page includes an Edit Devices control for changing the underlying SoundStructure equipment that was selected duri ng the design process, as shown in the following figure.

Edit Devices in SoundStructure Studio

You can do the following with the Edit Devices control:

● Grow a project from a smaller SoundStructure device to a larger device

● Shrink a project from a larger SoundStructure device to a smaller device, if there ar e enough unused

inputs and outputs

● Add, change, or remove telephony cards

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The Edit Devices control that displays is the same control that was used during the original design process and is shown below.

Edit Devices Page in SoundStructure Studio

To reduce the equipment on a project that has too many inputs or outputs to fit into the next smaller SoundStructure device requires removing audio channels from the Edit Channel cont rol.

Using the Channels Page

The Channels page is the primary area for customizing the signal gains and proce ssing for the input, output, and submix signals. Regardless of the number of SoundStructure devices used in a design, there is only

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one Channels page and that page displays all the virtual channels for the entire design. A typical Channels page is shown in the following figure.

Channels Page in SoundStructure Studio

The input and output signals are shown with dif ferent colored outlines to differentiate among inputs, outpu ts, and submixes. The signals are color coded with the input signals having a green shading and outline, the

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output signals having a blue shading and outline to match the rear-panel labeling, and the submixes have a purple shading and outline, as shown in the following figure.

Color Coding for Inputs, Outputs, and Submixes on the Channels Page in SoundStructure Studio

Y ou can change which types of virtual channels ar e viewed by enabling or disabling groups, inputs, outputs, and submixes with the controls on the top of the Channels page as shown in the following figure.

Editing Controls on the Channels Page in SoundStructure Studio

In addition, you can expand groups of virtual channels to display the individual members of the group by

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clicking Expand All or collapse the channels to only show the virtual channel groups by clicking Collapse

All, as shown in the following figure.

Editing Controls on the Channels Page in SoundStructure Studio

Note: Adjusting Virtual Channel Settings

Any of the settings for virtual channels can be adjusted by either adjusting the virtual channels individually or by adjusting the virtual channel group settings.

Editing Virtual Channels

You can add or delete additional virtual channels by clicking Edit Channels on the Channels page as highlighted in the following figure. You can adjust designs to add more inputs or outputs up to the limit of the number of physical inputs and outputs of the hardware that was selected to implement the design.

Editing Channels on the Channels Page in SoundStructure Studio

The Edit Channels button opens the input and output channel selectio n window and enable s you to add or remove virtual channels, as shown in the following figure. If virtual channels are added, the channels display on the Channels page with default gain settings for the devices and default signal routing created for the matrix based on the type of signal added. If virtual channels are deleted, the channels are removed from the Channels page and the channels’ matrix signal routings are removed.

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Monaural Stereo

The Edit Channels Page in SoundStructure Studio

There is a graphic symbol, see the following figure, at the top of each virtual channel as a reminder of whether the virtual channel is a monaural or stereo virtual channel.

Monaural and Stereo Virtual Channel Symbols

This graphic symbol is also shown on the Edit Channels page associated with each channel in the ‘Channels Defined:’ column.

Creating Virtual Channel Groups

Virtual channel groups are collections of virtual channe ls that you can configure together. When creating a new project, a virtual channel group called “Mics” is automatically created and includes all the micr ophone inputs for the design. The virtual channel group can be used to adjust all the settings for all the signals in the virtual group regardless of whether the group is expanded or contracted.

A virtual cha nnel group may be collapsed or expanded by clicking the graphics respectively, on the top of the group page. All groups in the cha nnels page can be expand ed or collapsed by clicking on th e Expand or Collapse buttons respectively.

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To create additional virtual channel groups:

» Click Edit Groups on the Channels page.

All existing virtual channel groups display on the right of the screen. V irtual channels can be in more than one virtual channel group. For example, Table Mic 1 can be in the virtual channel group Mics and Zone 1 Mics.

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To add a new virtual channel group:

» Enter a group name in the Group Label: field and click Add Group, as shown in the following figures.

This figure shows an example of creating the Zone 1 Mics virtual channel group.

After you define a virtual channel group, you can add virtual channels to the virtual channel group by selecting the desired virtual channels. You can select more than one virtual channel by left clicking on the first channel and holding shift while you click on subsequent virtual channels. After you select the virtual channels, click Add Channel, as shown in the following figure.

Any commands sent to configure the virtual channel group are sent to the members of the virtual channel group. For example, if a mute command is sent to Zone 1 Mics then Table Mic 1, Table Mic 2, and Table Mic 3 are all muted and the Zone 1 Mics logical group display as muted.

If individual members of a group have different values for the same parameter, such as the mute state, the value of the group parameter displays with a crosshatch pattern, as shown in the following figur es.

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Virtual Channels Muted

If the Mics group is unmuted and the Zone 1 Mics group is muted, the mute status of the Zone 1 Mics displays the mute status and the Mics group displays a mixed mute state because some microphones in the group are still muted but others are unmuted. The mixed mute state is shown as a cross hatched bar in the mute button.

Notice in the above figure that the gain for the microphone inputs in the Mics group displays as 43 with dashed lines around it indicates that some - but not all - of the microphones have a gain of 43 dB. In this example, the wireless microphone has a different gain value. The group displays a dashed line if all the values are not the same for the members in the group. In the above figure, all the members of the Zone 1 Mics group have 48 dB of gain, so there are no dashed lines around the gain for the Zone 1 Mics group.

Note: Changing Virtual Channels and Groups

Changing virtual channel group settings changes all the settings for the virtual channels that are a part of the virtual channel group and generate command acknowledgments for the virtual channel group and its virtual channels members.

If a parameter for all members of a virtual channel group is individually changed to the same value, the virtual channel group setting does not set automatically to the common value and consequently are no command acknowledgment that the virtual channel group has that common value. For instance, if all microphones in the Zone 1 group are muted individually, the Zone 1 group does not acknowledge that the group is muted. However, if the Zone 1 group is muted, Zone 1 group acknowledges that the g roup and all the members of the group are in a muted state.

Note: Individually Changing Members in a Virtual Channel Group

Changing the settings of all members in the group individually to a common value does not cause the virtual channel group to show that common value.

Setting Input Signals

The settings applied to input signals depend on the type of virtual channel created from that physical input. For example, there are different controls if the signal is a microphone input, line le vel input, a stereo virtual channel, a signal generator, or a telco input.

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Enabling Input Signal Meters

All input signals have meters that display the signal activity. The meters are enabled from the Tools menu or from the lower right hand corner of the screen.

To enable the signal meters from the Tools menu:

1 Select Tools > Options. 2 Choose the meters entry and select Enable Meters.

You can also enable meters by right clicking on the lower right hand corner of the screen and select the desired meter state. Both options are shown in the following figure.

Enabling meters is a function of SoundStructure Studio and not the particular configuration file . This means that when you enable meters, the meters are enabled for al l projects that SoundStructure Studio opens from then on.

After you enable meters and navigate to a page that displays the meter activity (such as the Channels page), the desired signal meters are automatically registered b y SoundStructure Studio and the meter d ata is sent from the SoundStructure device to SoundStructure Studio. Navigating away from a page with meter information causes the meters unregister and any new meters on the new page are registered. SoundStructure Studio uses the mtrreg and mtrunreg commands to automatically register and unregister meters, respectively

You can view meter information either over RS-232 or Ethernet connections to the SoundStructure device; however, the meters are most responsive over a Ethernet connection. If meters are viewed o ver the RS-232 interface, Polycom recommends that you use the highest data rate of 115,200 baud to minimize any lag between registering for meters and having the meter information displayed on the screen.

Understanding Meter Types

There are typically two types for meters that are availab le for each input channel - a level that is before any processing known as a level_pre and a level that is after any input processing known as level_post.

The level_pre meter always displays the signal level just after the A/D converter. This meter shows the effect of the analog signal gain before any digital processing takes place, as shown in the following figure.

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Equalization

A/D

Converter

Analog

Gain

level_pre

Installing SoundStructure Devices discusses how the analog gain should be set for best performance. The

level_pre for all input signals is shown in the following figure.

Analog Gain Signal Before (level_pre) Digital Processing

Mic or Line

Input

C-Series Input Processing

A/D

Parametric

Analog

Converter

Gain

Equalization

Acoustic Echo

Cancellation

Noise

Cancellation

Non Linear

Processing

Feedback

Cancellation

Router

AGC Dynamics Fader Delay

Automatic

Gain Control

Automatic

Gain Control

Automatic

Gain Control

Dynamics

Processor

Dynamics

Processor

Dynamics

Processor

Automixer

Fader Delay

Fader

Mute

Delay

Input to

Recording/

Matrix

Ungated

Input to

Conferencing

Matrix

Sound

Input to

Matrix

Reinforcement

The level_pre signal meter is adjacent to the analog input gain slider in So undStructure Studio, as shown in the following figure. Ad justments to the gain slider are reflected in the meter - add more gain and the meter displays more signal activity; lower the gain, and the meter displays less signal activity.

The level_pre Signal Meter in SoundStructure Studio

Because the level_pre meter position is before any processing is applied to the signal, even if the signal is muted within the SoundStructure device, the level_pre input meter displays any signal activity on that input.

The level_post meter is after any processing, as shown in the following figure. In the example below, if the input signal is muted the level_post meter does not display any signal activity.

The exact location of the meter in the signal processing path depends on the type of signal that is viewed, as described next.

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Input to

Matrix

Input to

Matrix

Input to

Matrix

Mute

Recording/ Ungated

Conferencing

Sound Reinforcement

Microphone Post Processing Meter

level_post

Measuring Microphone Post Levels

Microphone channels post level measure the signal level at the conferencing ou tput of the input processing, as shown in the following figure.

Microphone Post Level Processing in SoundStructure Studio

Mic or Line

C-Series Input Processing

A/D

Parametric

Analog

Input

Converter

Gain

Equalization

Acoustic Echo

Cancellation

Noise

Cancellation

Non Linear Processing

Feedback

Cancellation

Router

AGC Dynamics Fader Delay

Automatic

Gain Control

Automatic

Gain Control

Automatic

Gain Control

Dynamics

Processor

Dynamics

Processor

Dynamics

Processor

Automixer

Fader Delay

Fader

Mute

Input to

Recording/

Matrix

Ungated

Delay

Input to

Conferencing

Matrix

Sound

Input to Matrix

Reinforcement

You can use the fader on the bottom of the input channel to adjust the gain of the output of the input processing. The fader changes the level of all three outputs going to the matrix. The meter activity displays the affect of any gain adjustments.

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Input to

Matrix

Input to

Matrix

Input to

Matrix

Mute

Recording/ Ungated

Conferencing

Sound Reinforcement

Line Input Post Processing Meter

level_post

Input and Output Fader in SoundStructure Studio

Metering Line Input Post Levels

Line input channels, such as program audio or audio from video codecs that are connected via analog inputs and outputs, are metered at the Record ing/Ungated outp ut, as shown in th e following figure. Stereo virtual channels display two meters - one for each physical channel.

Line Input Channels Metered at the Recording/Ungated Output

Mic or Line

Input

AGC Dynamics Fader Delay

Automatic

Dynamics

Gain Control

Automatic

Gain Control

Automatic

Gain Control

Processor

Dynamics Processor

A/D

Parametric

Analog

Converter

Gain

Equalization

Acoustic Echo

Cancellation

Noise

Cancellation

Non Linear Processing

Feedback

Cancellation

Router

Automixer

Fader Delay

Fader

Mute

Input to

Recording/

Matrix

Ungated

Delay

Input to

Conferencing

Matrix

Sound

Matrix

Reinforcement

Processing with Telephony level_pre and level_post

For telephony channels, the level_pre and level_post for the phone input channel and level_post for the phone output channels are shown in the following figu re. As with the analog input and output channels, the level_pre is before any processing and the level_post is after the processing.

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Phone In Channel

Phone Out

Channel

Fader

Tone

Generator

A/D

Converter

Analog

Gain

D/A

Converter

Analog

Gain

Input from PSTN Line

Output to

PSTN Line

From Telco

to Matrix

To Telco

from Matrix

Noise

Cancellation

Parametric

Equalization

Dynamnics Processing

FaderDelay

Line Echo

Cancellation

Call Progress

Detection

Automatic

Gain Control

Dynamics Processing

Parametric

Equalization

Telephony Processing

level_pre

level_post

level_pre and level_post Input and Output Processing for Telephony Channels

Using Conference Link Channels

The Conference Link channels for Codec Program Audio in and Codec Video Call In have a level_pre and level_post, as shown on the following figure. The Codec Voice In and Codec UI Audio In channels do not have level_pre or level_post meters as those signals a re available directly at the matrix a nd do not have any input processing on a SoundStructure device.

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Matrix

Codec Program

Audio In

Dynamics

Processing

Parametric

Equalization

Fader Delay

Mute

Codec

Video Call In

Dynamics

Processing

Parametric

Equalization

Fader Delay

Mute

Codec

Video Call In

Codec

UI Audio In

Inputs from Polycom Video Codec over CLINK2

level_pre level_post

For more information on the processing available for the Con ference Link2 channels, see Con necting Over

Conference Link2.

level_pre and level_post Processing for Conference Link Channels

Using Input Channel Controls

This section discusses the input controls in the order the channels displa y on the Channels page. The input channel settings are shown in the following figure in both a collapsed view and with the different areas expanded to show the additional controls.

Y ou can al so set any setting for a vir tual channel can by adjusting the settin g on a virtual channel group. By using virtual channel groups, the system can be setup very quickly because the parameters propagate to all the underlying virtual channels.

The input channel controls are expanded to show less frequently used controls such as phantom power, trim, delay compensation, and the selection of the different ungated signal types. See Introducing the

Polycom SoundStructure Product Familyfor more information about the ungated/recording signal types and

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the signal processing that is available on those signal paths. More frequently used controls such as input gain and input fader are always available and are visib l e ev en whe n the co ntr o l is collap sed .

Input Channel Settings in SoundStructure Studio

Operating Analog Signal Gain

SoundStructure devices have a continuous analog input gain stage that operates on the an alog input signal and has a range of -20 dB to +64 dB with 0.5 dB gain increments. Values are rounded to the nearest 0.5 dB. This continuous gain range is different from the gain Vortex products uses because the Vortex

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Input to

Matrix

Input to

Matrix

Delay

Input to

Matrix

Delay

Mute

microphone inputs have a mic/line switch that adds 33 dB of gain to a V ortex input signal. As a r esult, 48 dB of gain on a SoundStructure input is equivalent to a gain of 15 dB on a Vortex mic/line input that is in mic mode because of the additional 33 dB of gain on the Vortex when in mic mode.

Since there is only one large input range on SoundStructure devices, it is easier to see how much gain is required for each microphone input.

Gain settings are adjusted by moving the slider or typing the input value into the user control. Values can also be adjusted by clicking on the slider and using the up and down arrows to increase or decrease the value by 1 dB and by using the page up and page down keys to increase or decrease the value by 10 dB.

By supporting -20 dB as part of the analog gain range, e ffectively there is a 20 dB adjustable pad that makes it possible to reduce the gain of input sources that have a nomina l output level that is greater than the 0 dBu nominal level of the SoundStructure devices.

Changing the Mute Status

Y ou can change the mute status of an input virtual channel, or virtual ch annel group, by clicking Mute. When muted, the channel is muted after the input processing an d before the input is used in the matrix, as shown in the following figure. The location of the input signal mute in the signal processing path ensures that the acoustic echo canceller, autom atic gain control, feedback reduction, and noise canceller con tinue to adapt even while the input is muted.

Muted Channels Before and After Input Processing

Mic or Line

Input

C-Series Input Processing

A/D

Parametric

Analog

Converter

Gain

Equalization

Acoustic Echo

Cancellation

Noise

Cancellation

Non Linear Processing

Feedback Cancellation

AGC Dynamics Fader Delay

Automatic

Dynamics

Gain Control

Automatic

Gain Control

Automatic

Gain Control

Processor

Dynamics Processor

Router

Automixer

Fader Delay

Fader

Mute

Input to

Recording/

Matrix

Ungated

Delay

Input to

Conferencing

Matrix

Sound

Matrix

Reinforcement

Enabling Phantom Power

Enabled or disabled 48 V phantom power on a per input basis by clicking the phantom power button. The SoundStructure device supports up to 7.5 mA of current at 48 V on every input. By default, phanto m power is turned off for all inputs if there is no SoundStructure Studio configuration loaded into the device.

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To enable or disable the phantom power:

» Expand the level control by clicking on the expand graphic in the upper right corner and click the

Phan, the phantom power button.

Using the Ungated Type

The ungated type user control refers to which signal path to use for the ungated (or un-automixed) processing path. The decision of whether to use the ungated version of the input channel processing is made at the matrix crosspoint, as shown in the following figure, where the gated type None is highlighted.

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Poly Soundstructure SoundStructure Design Guide

Specifications and Main Features

Frequently Asked Questions

User Manual

Introduction

Introducing the Polycom SoundStructure Product Family

Defining SoundStructure Architectural Features

Understanding Polycom OBAM™ - One Big Audio Matrix

Understanding SoundStructure C-Series Products

Understanding C-Series Input Processing

Processing Conferencing Version

Processing Sound Reinforcement Version

Processing Recording/Ungated Version

Processing Recording/Ungated–Bypass

Processing Recording/Ungated–Line Input

Processing Recording/Ungated–Conferencing

Processing Recording/Ungated–Sound Reinforcement

Creating C-Series Matrix Crosspoints

Understanding C-Series Output processing

Processing C-Series Submixes

Understanding C-Series Acoustic Echo Canceller References

Understanding SoundStructure SR-Series Products

Understanding SR-Series Input Processing

Processing Noise Canceled

Processing Sound Reinforcement

Processing Recording/Ungated Version

Processing Recording/Ungated–Bypass

Processing Recording/Ungated–Line Input

Processing Recording/Ungated - Noise Cancellation

Processing Recording/Ungated - Sound Reinforcement

Creating SR-Series Matrix Crosspoints

Understanding SR-Series Output Processing

Processing SR-Series Submix

Understanding Telephony Processing

Introducing SoundStructure Design Concepts

Understanding Device Inputs and Outputs

Understanding Physical Channels

Numbering Physical Channel On A Single SoundStructure Device

Numbering Physical Channel With Multiple SoundStructure Devices

Physical Channel Summary

Understanding Virtual Channels

Virtual Channel Summary

Understanding Virtual Channel Groups

Virtual Channel Group Summary

Understanding Telephone Virtual Channels

Defining Logic Pins

Labeling Physical Logic Pins

Logic Inputs

Analog Gain Input

Logic Outputs

Controlling Virtual Channels

Controlling Array Virtual Channels

Understanding IR Receiver Virtual Channel

Creating Designs with SoundStructure Studio

Understanding SoundStructure Studio

Understanding System Requirements

Viewing Recommended Operating System

Installing SoundStructure Studio

Step 1 - Input Signals

Step 2 - Output Signals

Step 3 - Device Selection

Step 4 - Uploading Or Working Offline

Operating in Online and Offline Mode

Customizing SoundStructure Designs

Using the Wiring Page

Editing Devices

Using the Channels Page

Editing Virtual Channels

Creating Virtual Channel Groups

Setting Input Signals

Enabling Input Signal Meters

Understanding Meter Types

Measuring Microphone Post Levels

Metering Line Input Post Levels

Processing with Telephony level_pre and level_post

Using Conference Link Channels

Using Input Channel Controls

Operating Analog Signal Gain

Changing the Mute Status

Enabling Phantom Power