Polycom C8, C12, SR12, C16 User Manual

Design Guide

for the Polycom SoundStructure

C16, C12, C8, and SR12

Revision E | January 2011 | 1725-33186-001

Design Guide for SoundStructure C16, C12, C8, and SR12

ii	Polycom, Inc.

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The accompanying product is protected by one or more U.S. and foreign patents and/or pending patent applications held by Polycom, Inc.

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© 2011 Polycom, Inc. All rights reserved.

Polycom, Inc. 4750 Willow Road

Pleasanton, CA 94588-2708 USA

No part of this document may be reproduced or transmitted in any form or by any means, electronic or mechanical, for any purpose, without the express written permission of Polycom, Inc. Under the law, reproducing includes translating into another language or format.

As between the parties, Polycom, Inc., retains title to and ownership of all proprietary rights with respect to the software contained within its products. The software is protected by United States copyright laws and international treaty provision. Therefore, you must treat the software like any other copyrighted material (e.g., a book or sound recording).

Every effort has been made to ensure that the information in this manual is accurate. Polycom, Inc., is not responsible for printing or clerical errors. Information in this document is subject to change without notice.

iii

Design Guide for SoundStructure C16, C12, C8, and SR12

iv	Polycom, Inc.

Contents:

1 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1–1

2 SoundStructure Product Family . . . . . . . . . . . . . . . . . . . . . . . . . . . 2–1

SoundStructure Architecture Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2–1 OBAM™ - One Big Audio Matrix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2–3 SoundStructure C-series Products . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2–5 C-Series Input Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2–7 C-Series Matrix Crosspoints . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2–12 C-Series Output processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2–13 C-Series Submix Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2–14 C-Series Acoustic Echo Canceller References . . . . . . . . . . . . . . . . . . . . . . . . 2–15 SoundStructure SR-Series Products . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2–16 SR-Series Input Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2–19 SR-Series Matrix Crosspoints . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2–24 SR-Series Output Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2–25 SR-Series Submix Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2–26 Telephony Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2–27

3 SoundStructure Design Concepts . . . . . . . . . . . . . . . . . . . . . . . . . . 3–1

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3–1

Physical Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3–2

Physical Channel Numbering On A Single SoundStructure Device . . . . . . 3–3

Physical Channel Numbering With Multiple SoundStructure Devices . . . 3–3

Physical Channel Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3–9

Virtual Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3–10

Virtual Channel Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3–11

Virtual Channel Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3–12

Virtual Channel Group Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3–16

Telephone Virtual Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3–16

Logic Pins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3–16

Physical Logic Pins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3–17

Control Virtual Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3–20

Control Array Virtual Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3–21

IR Receiver Virtual Channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3–23

4 Creating Designs with SoundStructure Studio . . . . . . . . . . . . . . . . . 4–1

SoundStructure Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4–3 Step 1 - Input Signals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4–4 Step 2 - Output Signals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4–8

1

Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12

Step 3	- Device Selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	. 4–9
Step 4	- Uploading Or Working Offline . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	4–10
Online vs. Offline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .		4–12

5 Customizing SoundStructure Designs . . . . . . . . . . . . . . . . . . . . . . . 5–1

Wiring Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5–1

Edit Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5–4

Channels Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5–5

Editing Virtual Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5–7

Creating Virtual Channel Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5–8

Input Signals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5–12

Input Signal Meters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5–13

Input Channel Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5–18

Analog Signal Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5–19

Mute . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5–20

Phantom Power . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5–20

Ungated Type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5–21

Delay Type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5–24

Delay Compensation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5–26

Trim . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5–27

Equalization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5–28

Feedback Elimination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5–30

Acoustic Echo Cancellation (AEC) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5–32

Noise Cancellation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5–33

Automatic Gain Control (AGC) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5–34

Dynamics Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5–35

Automatic Microphone Mixing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5–39

Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5–43

Fader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5–43

Signal Generator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5–45

Output Signals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5–46

Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5–47

Equalization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5–47

Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5–49

Submix Signals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5–50

Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5–50

Equalization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5–50

Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5–52

Fader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5–52

Matrix Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5–52

2

Adjusting Crosspoints . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	5–54
Matrix summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	5–59
Telephony Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	5–60
Input Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	5–61
Noise Cancellation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	5–62
Automatic Gain Control (AGC) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	5–62
Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	5–63
Equalization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	5–63
Fader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	5–65
Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	5–65
Telephone Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	5–65

6 Connecting Over Conference Link2 . . . . . . . . . . . .	. . . . . . . . . . . . 6–1
Physical Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	. 6–1
Polycom HDX Integration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	. 6–2
Designing With The Polycom HDX Video Codec . . . . . . . . . . . . . . . . . . . . . . . .	. 6–3
Input Channels From The Polycom HDX . . . . . . . . . . . . . . . . . . . . . . . . . . . .	6–4
Processing On The Signals The Polycom HDX Sends To SoundStructure	6–6
Output Channels To The Polycom HDX . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	6–7
Signal Routing Inside The Polycom HDX . . . . . . . . . . . . . . . . . . . . . . . . . . . .	6–8
Mute Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	6–9
Volume Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	6–11
Designing With HDX Digital Microphone Arrays . . . . . . . . . . . . . . . . . . . . . . .	6–12
Digital Microphone Cabling Requirements . . . . . . . . . . . . . . . . . . . . . . . . .	6–14
Digital Microphone Firmware Updates . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	6–15
Detecting CLink2 Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	6–17
Digital Microphone Array Example . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	6–17
Assigning Digital Microphone Array Channels To Physical Inputs . . . . .	6–20
Digital Microphone Array Numbering . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	6–22
Installation Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	6–25
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	6–28

7 Linking Multiple SoundStructure Devices with OBAM	. . . . . . . . . . . 7–1
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	7–1
Preparing Units for Linking with OBAM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	7–2
Updating SoundStructure Device Firmware . . . . . . . . . . . . . . . . . . . . . . . . .	7–2
Linking SoundStructure Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	7–2
Creating a Multi-Device Configuration File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	7–7
Expanding or Contracting an Existing Project . . . . . . . . . . . . . . . . . . . . . . . .	7–7
Creating a New Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	7–9

3

Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12

Uploading the Configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7–11

Controlling the SoundStructure System . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7–13

SoundStructure Logs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7–14

Connecting Polycom HDX Microphones . . . . . . . . . . . . . . . . . . . . . . . . . . . 7–15

Multiple Polycom HDX Video Conferencing Systems . . . . . . . . . . . . . . . . 7–18

8 Installing SoundStructure Devices . . . . . . . . . . . . . . . . . . . . . . . . . 8–1

Configuration Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8–1

Wiring The Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8–2

Uploading A Configuration File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8–5

Downloading A Configuration File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8–6

Updating Firmware . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8–7

Configuring The Signal Gains . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8–9

Input Signal Level Adjustment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8–9

Signal Meters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8–10

Room Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8–12

Telephony Signal Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8–14

Output Signal Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8–16

Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8–20

Preset Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8–21

Saving Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8–22

Creating Partial Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8–24

Running Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8–28

Removing Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8–29

9 Using Events, Logic, And IR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9–1

Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9–1

Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9–1

Triggers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9–2

Actions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9–2

Creating Events With SoundStructure Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9–4

Adding New Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9–4

Enable And Disable Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9–5

Event Entries In The Logs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9–6

Removing Events With Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9–7

SoundStructure Studio Automatically Creates Events . . . . . . . . . . . . . . . . . 9–7

HDX IR Remote . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9–12

HDX Remote Channel ID . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9–15

IR Receiver Connector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9–15

Logic Ports . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9–16

4

Digital Logic Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9–17 Analog Logic Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9–18 Logic Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9–19 Logic Arrays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9–20 Event Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9–22 Split And Combine Presets Triggered From A Logic Input . . . . . . . . . . . . 9–22 Push To Talk Microphones With LEDs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9–25 Push And hold To Temporarily Mute A Microphone . . . . . . . . . . . . . . . . . 9–28 Phone Off Hook Drives A Relay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9–30 Volume Knob Adjusts “Amplifier” Fader . . . . . . . . . . . . . . . . . . . . . . . . . . . 9–32 Gating Information Sent To A Control System . . . . . . . . . . . . . . . . . . . . . . 9–33 Camera Positioning With An HDX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9–34 Events Best Practices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9–35

10 Network Management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10–1

Connecting To The Device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10–1

LAN Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10–1

Dynamic IP Addresses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10–2

Link-Local IP Addresses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10–3

Static IP Addresses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10–4

Setting The Time Server . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10–7

Control And Command Sessions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10–7

SoundStructure Device Discovery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10–8

AMX Beacon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10–9

RS-232 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10–9

Configuring And Accessing The Logs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10–10

11Integrating The Polycom Touch Control with SoundStructure Systems . . 11–1

Polycom Touch Control and SoundStructure Systems . . . . . . . . . . . . . . . . . . . 11–1 SoundStructure System Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11–1 Polycom Touch Control with HDX Systems vs. SoundStructure Systems 11–2 Pairing the Polycom Touch Control with SoundStructure . . . . . . . . . . . . . . . . 11–3 Polycom Touch Control Administrative Settings . . . . . . . . . . . . . . . . . . . . 11–8 Configuring the Polycom Touch Control LAN Properties . . . . . . . . . . . . . 11–9 Configuring Polycom Touch Control Regional Settings . . . . . . . . . . . . . . 11–10 Configuring Security Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11–11 Setting up Polycom Touch Control log management . . . . . . . . . . . . . . . . 11–11 Updating Polycom Touch Control Software . . . . . . . . . . . . . . . . . . . . . . . . 11–12

5

Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12

Using the Polycom Touch Control with SoundStructure . . . . . . . . . . . . . .	. . 11–13
Designing a SoundStructure Project with the Polycom Touch Control . 11–13
Using Multiple SoundStructure Telephony Interfaces . . . . . . . . . . . . .	. . 11–17
Using Multiple Polycom Touch Controls with SoundStructure . . . . .	. . 11–18
Validating Polycom Touch Control and SoundStructure integration	. . 11–18

12 Advanced Applications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12–1

1 Microphone And Mono Video Conferencing . . . . . . . . . . . . . . . . . . . . . . . . . . 12–1 SoundStructure Studio Steps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12–2 Channels Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12–4 Matrix Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12–6 Wiring Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12–6 Controlling The System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12–7

4 digital Array Microphones And A SoundStation VTX1000 . . . . . . . . . . . . . . 12–9 SoundStructure Studio Steps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12–10 Matrix Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12–13 Channels Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12–14 Wiring Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12–17 Controlling The System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12–18

8 Microphones, Video, And Telephony Application . . . . . . . . . . . . . . . . . . . . 12–19 SoundStructure Studio Steps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12–20 Matrix Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12–21 Channels Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12–23 Wiring Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12–25 Controlling The System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12–25

Two PSTN Line Positional “Receive” Audio Conferencing . . . . . . . . . . . . . . 12–27 SoundStructure Studio Steps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12–28 Matrix Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12–30 Channels Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12–33 Wiring Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12–35 Controlling The System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12–35

8 Microphones And Stereo Video Conferencing . . . . . . . . . . . . . . . . . . . . . . . . 12–38 Channels Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12–43 Wiring Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12–45 Controlling The System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12–45 8 Mics With The Polycom HDX Video Conferencing System . . . . . . . . . . . . . 12–46 SoundStructure Studio Steps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12–46 Matrix Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12–48 Channels Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12–49 Wiring Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12–51

6

Controlling The System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12–51 8 Mics With Reinforcement Of Wireless And Lectern Mics . . . . . . . . . . . . . . 12–53 SoundStructure Studio Steps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12–54 Matrix Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12–55 Channels Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12–57 Wiring Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12–63 Controlling The System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12–63 16 Mics With 6-Zone Sound Reinforcement . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12–65 SoundStructure Studio Steps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12–66 Matrix Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12–69 Channels Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12–73 Wiring Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12–74 Controlling The System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12–75

Room combining application with two rooms . . . . . . . . . . . . . . . . . . . . . . . . . 12–77 SoundStructure Studio Steps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12–79 Combined Room Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12–82 Split Room Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12–85 Wiring Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12–88 Controlling The System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12–89

13 TroubleShooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13–1

Audio Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13–1

Echo Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13–4

API Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13–9

RS-232 Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13–12

HDX Integration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13–13

Telco Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13–14

Ethernet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13–15

Hardware Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13–16

OBAM Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13–17

Troubleshooting The IR Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13–18

Contacting Technical Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13–19

14 Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14–1

Technical Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14–1

Pin Out Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14–4

PSTN Cable . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14–4

Conference Link2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14–5

OBAM Link . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14–6

IR Receiver . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14–7

7

Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12

RS-232 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14–7

Logic Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14–8

Audio Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14–9

15 Using SoundStructure Studio Controls . . . . . . . . . . . . . . . . . . . . . 15–1

Adjusting Knobs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15–1

Adjusting Matrix Crosspoints . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15–2

A Command Protocol Reference Guide . . . . . . . . . . . . . . . . . . . . . . .A–1

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A–1

SoundStructure Control Interfaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A–1

RS-232 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A–2

Ethernet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A–3

Virtual Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A–4

Virtual Channel Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A–6

Virtual Channel Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A–6

SoundStructure Command Syntax . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A–7

Controlling SoundStructure Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . A–8

Command Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A–10

Control Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A–11

Virtual Channel Definition Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . A–13

Virtual Channel Group Definition Commands . . . . . . . . . . . . . . . . . . . . . A–18

Adjusting Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A–22

Command List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A–28

Command Example . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A–28

SoundStructure Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A–30

Gain and Mute Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A–30

Matrix Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A–37

Telephony Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A–43

Equalizer Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A–58

Dynamics Processing Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A–74

Algorithm Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A–87

Input Path Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A–101

Automixer Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A–103

GPIO Control Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A–110

Control Port Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A–113

System Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A–122

8

B	Address Book . . . . . . . . . . . . . . . . . . . . . . . . . . .	. . . . . . . . . . . . B–1
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .		B–1
	Using the Address Book . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	B–1
	Address Book SoundStructure System Entries . . . . . . . . . . . . . . . . . . . . . . . .	B–2
	Address Book Folders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	B–5
	Removing Entries from the Address Book . . . . . . . . . . . . . . . . . . . . . . . . . . .	B–7
	Changing the Location of the Address Book . . . . . . . . . . . . . . . . . . . . . . . . .	B–8
. . .	. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	B–8

C Designing Audio Conferencing Systems . . . . . . . . . . . . . . . . . . . . . C–1

Large Room Environments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C–2 Microphone Selection And Placement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C–3 Microphone Fundamentals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C–3 Microphones For Conferencing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C–6 Automatic Microphone Mixers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C–9 Noise Cancellation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C–10 Acoustic Echo Cancellation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C–11 AEC Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C–13 Tail Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C–13 Transmission Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C–14 Echo Return Loss . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C–15 Multi Channel vs. Single Channel AEC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C–16 Muting Microphones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C–17 Volume Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C–18 AEC Troubleshooting Guidelines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C–18 Telephone Hybrid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C–19 Amplifiers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C–21 Loudspeakers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C–21 Speaker Zoning And Placement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C–23 Loudspeakers - How Much Power Is Required . . . . . . . . . . . . . . . . . . . . . . C–25 Spatial Directionality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C–25 Microphone And Loudspeaker Placement Considerations . . . . . . . . . . . . C–26 In-Room Reinforcement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C–26

9

Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12

10

1

Introduction

The Polycom SoundStructure™ products are professional, rack-mountable audio processing devices that set a new standard for audio performance and conferencing in any style of room. 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 easier than ever to install and configure and have been designed to integrate seamlessly with the Polycom HDX™ video conferencing system and the Polycom Touch Control™ for the ultimate experience with HD voice, video, content, and ease of use.

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 has 12 inputs and 12 outputs and is an audio device for commercial sound applications that do not require acoustic echo cancellation capabilities. Any combination of SoundStructure devices can be used together to build systems up to a total of eight SoundStructure devices and up to one hundred twenty-eight inputs and one hundred twenty-eight outputs. SoundStructure products can be used with any style of analog microphone or line-level input and output sources and are also compatible with the Polycom HDX digital array microphones.

The SoundStructure products are used in similar applications as Polycom’s Vortex® installed voice products but have additional capabilities including:

•Stereo acoustic echo cancellation on all inputs

•Direct digital integration with the Polycom HDX video conferencing system

•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

1 - 1

Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12

•Ethernet port for easy configuration and device management

•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 configuration files to SoundStructure systems and to retrieve configuration files from SoundStructure systems.

For detailed information on how to install, 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 the SoundStructure Command Protocol Reference Guide in Appendix A. The SoundStructure Command Protocol Reference Guide can also be found by pointing a browser to the SoundStructure device’s IP address.

This manual has been designed for the technical user and A/V designer who needs to use SoundStructure products, create audio designs, customize audio designs, and verify the performance of SoundStructure designs. This manual is organized as follows:

•Chapter 2 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.

•Chapter 3 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.

•Chapter 4 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.

•Chapter 5 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.

•Chapter 6 provides information on the Conference Link2 interface and how SoundStructure devices integrate with the Polycom HDX video conferencing system.

•Chapter 7 provides information on how to link multiple SoundStructure devices with the OBAM™ interface.

1 - 2

Introduction

•Chapter 8 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.

•Chapter 9 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 HDX video codec.

•Chapter 10 provides information for the network administrator including how to set IP addresses and how to view the internal SoundStructure logs, and more.

•Chapter 11 provides the steps for using the Polycom Touch Control with a SoundStructure system. See the Users Guide for SoundStructure and the Polycom Touch Control for instructions on how to use the Polycom Touch Control with SoundStructure.

•Chapter 12 provides example applications with SoundStructure products including stereo audio conferencing applications, room combining, and more.

•Chapter 13 provides troubleshooting information and steps including details on the status LEDs on SoundStructure.

•Chapter 14 lists the Specifications for the SoundStructure devices including audio performance, power requirements, and more.

•Chapter 15 provides information on how to use the different UI elements in the SoundStructure Studio software including knobs and matrix crosspoints.

•Appendix A provides detailed information on the SoundStructure command protocol and the full command set.

•Appendix B 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 is an audio conferencing design guide. Refer to this section if new to audio conferencing or would like to better understand audio conferencing concepts.

If new to the SoundStructure products, it is recommended that the manual be read starting from Chapter 2 for an overview, chapter 5 to begin using SoundStructure Studio, and the remaining chapters as necessary to learn more about using SoundStructure products.

1 - 3

Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12

1 - 4

2

SoundStructure Product Family

There are two product lines in the SoundStructure product family - the SoundStructure C-series designed for audio conferencing applications (the “C” stands for conferencing) and the SoundStructure SR-series designed for commercial sound applications (the “SR” stands for sound reinforcement).

While these two product families share a common design philosophy they have audio processing capabilities that are designed for their respective applications. As described in detail below, the C-series of products include acoustic echo cancellation on all inputs and are designed for audio and video conferencing applications. The SR-series of 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.

SoundStructure Architecture Overview

This section defines the common architectural features of the SoundStructure products and then details the specific processing for both the C-series and SR-series products. Details on how to configure the devices are presented in Chapters 3 - 5.

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

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

2 - 1

Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12

the following figure for a SoundStructure device that has N inputs and N outputs. The specific input and output processing will depend on the product family (C-series or SR-series) and is described later in this chapter.

Telco

Telco

Telco

Processing

Telco

Processing

Processing

Processing

1

2

N

Input								Output
Processing								Processing
Input								Output
Processing				Matrix				Processing
Input								Output
Processing								Processing

SubmixSubMix

Processing

Processsing

1

2

N

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

		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

2 - 2

SoundStructure Product Family

echo cancellation. The processing capabilities will be described in the following sections.

	SoundStructure
	C-Series	SR-Series
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
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
Cross over equalization up to 8th order highpass and lowpass filters, 1st order horn equalization
Crossover delay: up to 100 msec
Signal delay: up to 1000 msec
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
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

OBAM™ - One Big Audio Matrix

One of the significant advancements in the SoundStructure products is the ability for multiple devices to be linked together and to be configured and operated as one large system rather than as multiple individual devices1. This feature dramatically simplifies any installation where audio from more than one device is required such as complicated sound reinforcement applications.

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

•It is easier to work with the system because all the input signals feed into the single matrix and all the outputs are fed from the single matrix

1 Requires SoundStructure firmware release 1.2 or higher.

2 - 3

Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12

•The a/v designer can be more creative as there are no limitations on how signals from multiple devices can be used together

•The device linking scheme is completely transparent to the designer - all input signals are shared to all devices dramatically simplifying the setup, configuration and maintenance of large systems

•It is easier to set up the system with SoundStructure Studio as all inputs and outputs are viewed on one screen, eliminating the need to configure multiple devices and view 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 linking, up to eight devices may be linked 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 Chapter 3 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 SoundStructure 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 matrix, two C16 devices linked together create a 32x32 matrix and so forth.

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

16x16

16x16

12x12

8x8

IN OUT

IN OUT

36x36

IN OUT

12x12

OBAM

OBAM

8x8

Because of the OBAM design architecture, the A/V designer no longer has to be concerned with device linking, as multiple SoundStructure devices will behave as, and be configured as, one large system.

2 - 4

SoundStructure Product Family

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.

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

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

All outputs have the same processing capability.

A single SoundStructure C16, C12, or C8 device supports 16, 12, or 8 microphone or line inputs and 16, 12, or 8 line outputs, respectively. Up to eight SoundStructure devices may be linked together (any combination of SoundStructure C-series or SR-series products may be used together) to build audio processing systems that support up to one hundred twenty-eight analog inputs and analog outputs.

2 - 5

Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12

Each SoundStructure C-series device may be used with traditional analog microphones, with Polycom's HDX digital microphone arrays1. For detailed information on using the Polycom HDX digital microphone arrays, see Chapter 6.

Typical applications of the SoundStructure C-series conferencing products are audio and video conferencing where two or more remote locations are conferenced together. The typical connections in the room are shown in the following figure.

	SoundStructure Installation
	Microphones	Telephony	PSTN
		Telco
			Network
		Amplifier
		SoundStructure
		C16
	Playback/Record
	Favorite Content	Video Codec	Network

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

1 Requires SoundStructure firmware release 1.1 or higher.

2 - 6

SoundStructure Product Family

C-Series Input Processing

The input processing on the SoundStructure C-series devices is designed to make it easy to create conferencing solutions either with or without sound reinforcement. Each audio input on a SoundStructure C-series device has the processing shown in the following table.

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

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

Telco

Telco

Telco

Processing

Telco

Processing

Processing

Processing

1

Input

Output

1

Processing

Processing

2

Input

Output

2

Processing

Matrix

Processing

N

Input

Output

N

Processing

Processing

SubmixSubMix

Processing

Processsing

AGC

Dynamics

Fader

Delay

Mute

Automatic

Dynamics

Fader

Delay

Gain Control

Processor

Automixer

Mic or Line

Analog

A/D

Parametric

Acoustic Echo

Noise

Non Linear

Automatic

Dynamics

Automixer

Fader

Delay

Input

Gain

Converter

Equalization

Cancellation

Cancellation

Processing

Gain Control

Processor

Feedback

Automatic

Dynamics

Automixer

Fader

Delay

Cancellation

Gain Control

Processor

	Input to	Recording/
	Matrix	Ungated
	Input to	Conferencing
	Matrix
	Input to	Sound
	Matrix	Reinforcement

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 analog gain stage can provide from -20 to 64 dB of 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

2 - 7

Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12

is processed by five different DSP algorithms: parametric equalization, acoustic echo cancellation, noise cancellation, feedback reduction, and echo suppression (non linear processing).

			C-Series Input Processing
						AGC	Dynamics	Fader	Delay	Mute
						Automatic	Dynamics	Fader	Delay
						Gain Control	Processor
Mic or Line	Analog	A/D	Parametric	Acoustic Echo	Noise	Non Linear
Input	Gain	Converter	Equalization	Cancellation	Cancellation	Processing
						Feedback
						Cancellation

Input to	Recording/
Matrix	Ungated

Mic or Line	Analog
Input	Gain

	C-Series Input Processing
				Route
A/D	Parametric	Acoustic Echo	Noise	Non Linear
Converter	Equalization	Cancellation	Cancellation	Processing
				Feedback
				Cancellation

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

AGC

Dynamics

Fader

Delay

Mute

Automatic

Dynamics

Fader

Delay

Input to

Recording/

Gain Control

Processor

Matrix

Ungated

Automixer

Mic or Line

Analog

A/D

Parametric

Acoustic Echo

Noise

Non Linear

Automatic

Dynamics

Automixer

Fader

Delay

Input to

Conferencing

Input

Gain

Converter

Equalization

Cancellation

Cancellation

Processing

Gain Control

Processor

Matrix

Feedback

Automatic

Dynamics

Automixer

Fader

Delay

Input to

Sound

Cancellation

Gain Control

Processor

Matrix

Reinforcement

	AGC	Dynamics		Fader	Delay	Mute
	Automatic	Dynamics		Fader	Delay	Input to	Recording/
	Gain Control	Processor				Matrix	Ungated
			Automixer
	Automatic	Dynamics	Automixer	Fader	Delay	Input to	Conferencing
	Gain Control	Processor				Matrix
	Automatic	Dynamics	Automixer	Fader	Delay	Input to	Sound
	Gain Control	Processor				Matrix	Reinforcement

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

1.Conferencing version,

2.Sound reinforcement version, and

3.Recording/ungated version

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.

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

2 - 8

SoundStructure Product Family

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 decision of which of these three processed version is used is made at each matrix crosspoint on the matrix as described in the Matrix Crosspoint section below.

Conferencing Version

The conferencing version will be processed with the acoustic echo and noise cancellation settings, 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 cancelled microphone audio to remote locations. This is the default processing for microphone inputs when the automixed version of the signal is selected.

C-Series Conferencing Input Processing

Mic or Line

Analog

A/D

Parametric

Acoustic Echo

Noise

Non Linear

Input

Gain

Converter

Equalization

Cancellation

Cancellation

Processing

Feedback

Reduction

AGC		Dynamics
Automatic		Dynamics
Gain Control		Processor

Automatic	Dynamics
Gain Control	Processor

Automatic		Dynamics
Gain Control		Processor

Automixer

Automixer

Automixer

Fader

Fader

Fader

Fader

Delay

Mute

Delay

Delay

Delay

Input to	Recording/
Matrix	Ungated
Input to	Conferencing
Matrix
Input to	Sound
Matrix	Reinforcement

Parametric

Acoustic Echo

Noise

Non Linear

Automatic

Dynamics

Automixer

Fader

Delay

Mute

Equalization

Cancellation

Cancellation

Processing

Gain Control

Processor

Sound Reinforcement Version

The sound reinforcement version will be 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.

The automatic gain control on the sound reinforcement path is different from the automatic gain control on the conferencing version of the signal because the sound reinforcement automatic gain control will not add gain to the signal. In other words, the sound reinforcement AGC will only reduce the gain of the input signal. This restriction on the sound reinforcement AGC is to prevent the

2 - 9

Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12

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.

C-Series Sound Reinforcement Input Processing

Mic or Line

Analog

A/D

Parametric

Acoustic Echo

Noise

Non Linear

Input

Gain

Converter

Equalization

Cancellation

Cancellation

Processing

Feedback

Cancellation

AGC		Dynamics
Automatic		Dynamics
Gain Control		Processor
Automatic		Dynamics
Gain Control		Processor

Automatic	Dynamics
Gain Control	Processor

Automixer

Automixer

Automixer

Fader

Fader

Fader

Fader

Delay

Mute

Delay

Delay

Delay

	Input to	Recording/
	Matrix	Ungated
	Input to	Conferencing
	Matrix
	Input to	Sound
	Matrix	Reinforcement

Parametric

Acoustic Echo

Noise

Feedback

Automatic

Dynamics

Automixer

Fader

Delay

Mute

Equalization

Cancellation

Cancellation

Cancellation

Gain Control

Processor

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

Recording/Ungated Version

The recording version of the processed input signal is specifically designed to not include the gain 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 different versions of the recording/ungated signal that can be selected through the four-input router shown in the above processing figures. This 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 Chapter 5.

The four ungated versions are described in more detail below:

1.bypass version

2.line input version

3.conferencing version

4.sound reinforcement version

Recording/Ungated - Bypass

The recording/ungated-bypass version 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 following figure. This version can be used when it is important to minimal audio

2 - 10

SoundStructure Product Family

processing on an input signal. This version of the signal has no acoustic echo cancellation processing and will consequently include any acoustic echo signal that may be present at the microphones.

				UNGATED - Bypass
								AGC	Dynamics		Fader
								Automatic	Dynamics		Fader
								Gain Control	Processor
										Automixer
	Mic or Line	Analog	A/D	Parametric	Acoustic Echo	Noise	Non Linear	Automatic	Dynamics	Automixer	Fader
	Input	Gain	Converter	Equalization	Cancellation	Cancellation	Processing	Gain Control	Processor

Feedback			Automatic		Dynamics				Automixer		Fader
Cancellation			Gain Control		Processor

Delay

Delay

Delay

Delay

Mute

	Input to	Recording/
	Matrix	Ungated
	Input to	Conferencing
	Matrix
	Input to	Sound
	Matrix	Reinforcement

Fader			Delay			Mute

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 following figure. This processing path is typically used by line input signals such as program audio, and hence the name line input path.

UNGATED - Line Input Processing

Mic or Line

Analog

A/D

Parametric

Acoustic Echo

Noise

Non Linear

Input

Gain

Converter

Equalization

Cancellation

Cancellation

Processing

Feedback

Cancellation

AGC	Dynamics
Automatic	Dynamics
Gain Control	Processor

Automixer

Automatic		Dynamics				Automixer
Gain Control		Processor
Automatic		Dynamics				Automixer
Gain Control		Processor

Fader

Fader

Fader

Fader

Delay

Delay

Delay

Delay

Mute

Input to	Recording/
Matrix	Ungated
Input to	Conferencing
Matrix
Input to	Sound
Matrix	Reinforcement

Parametric

Automatic

Dynamics

Fader

Delay

Mute

Equalization

Gain Control

Processor

Recording/Ungated - Conferencing

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

UNGATED - Conferencing Processing

Mic or Line

Analog

A/D

Parametric

Acoustic Echo

Noise

Non Linear

Input

Gain

Converter

Equalization

Cancellation

Cancellation

Processing

Feedback

Cancellation

AGC	Dynamics
Automatic	Dynamics
Gain Control	Processor

Automixer

Automatic		Dynamics				Automixer
Gain Control		Processor
Automatic		Dynamics				Automixer
Gain Control		Processor

Fader

Fader

Fader

Fader

Delay

Delay

Delay

Delay

Mute

	Input to	Recording/
	Matrix	Ungated
	Input to	Conferencing
	Matrix
	Input to	Sound
	Matrix	Reinforcement

Parametric

Acoustic Echo

Noise

Non Linear

Automatic

Dynamics

Fader

Delay

Mute

Equalization

Cancellation

Cancellation

Processing

Gain Control

Processor

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Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12

Recording/Ungated - Sound Reinforcement

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

UNGATED - Sound Reinforcement Processing

Mic or Line

Analog

A/D

Parametric

Acoustic Echo

Noise

Non Linear

Input

Gain

Converter

Equalization

Cancellation

Cancellation

Processing

Feedback

Cancellation

AGC	Dynamics
Automatic	Dynamics
Gain Control	Processor

Automixer

Automatic		Dynamics				Automixer
Gain Control		Processor
Automatic		Dynamics				Automixer
Gain Control		Processor

Fader

Fader

Fader

Fader

Delay

Delay

Delay

Delay

Mute

	Input to	Recording/
	Matrix	Ungated
	Input to	Conferencing
	Matrix
	Input to	Sound
	Matrix	Reinforcement

Parametric

Acoustic Echo

Noise

Feedback

Automatic

Dynamics

Fader

Delay

Mute

Equalization

Cancellation

Cancellation

Cancellation

Gain Control

Processor

All three versions (conferencing, sound reinforcement, recording/ungated) of the input signal processing can be used simultaneously in the 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.

C-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 values are shown in dB where 0 dB means a signal value is unchanged. For example, a crosspoint value of -6 dB will lower the signal gain by 6 dB before it is summed with other signals. The matrix crosspoint gain 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 rather than an addition. The inversion technique may be effective in difficult room reinforcement environments by creating phase differences in alternating zones to add more gain before feedback.

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 SoundStructure Studio software allows the user to select which version of the input signal processing at the matrix crosspoint. As will be shown in Chapter 4 Creating Designs, the different versions of the input processing will be represented with different background colors in the matrix crosspoint.

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