Silver 4Bmini User Manual

SILVER Audio Processor 4Bmini User’s manual

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USER’S MANUAL

Silver Audio Processor 4Bmini

Broadcast Audio Processor

Operational Manual

Version 1.3/ 2007-08

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Table of Contents

Safety Instructions ____________________________________________________________________________3

Introduction to the SILVER Audio Processor 4Bmini ________________________________________________5

Silver Audio Processor 4Bmini rear and front panel ________________________________________________6

SILVER Audio Processor 4Bmini Jumper Settings__________________________________________________7

SILVER Audio Processor 4Bmini metering ________________________________________________________8

Introduction to Audio Processing ________________________________________________________________9

The SILVER Audio Processor 4Bmini and Its Processing Structure __________________________________10

T

HE PROCESSING PATH _______________________________________________________________________10

MENU OVERVIEW ____________________________________________________________________________12

Setting up the Processing on the SILVER Audio Processor 4Bmini___________________________________16

Getting the Sound You Want ___________________________________________________________________21

Managing Presets (front panel control) __________________________________________________________24

Factory Presets ______________________________________________________________________________25

Remote Control Of The SILVER Audio Processor 4Bmini ___________________________________________26

Remote Trigger Port __________________________________________________________________________33

Specifications _______________________________________________________________________________36

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Safety Instructions

CAUTION:

To reduce the risk of electrical shock, do not remove the cover.

No user serviceable parts inside. Refer servicing to qualified personnel.

WARNING: To reduce the risk of fire or electrical shock, do not expose this appliance to rain or moisture.

This symbol, wherever it appears, alerts you to the presence of uninsulated dangerous voltage
inside the enclosure—voltage that may be sufficient to constitute a risk of shock.

This symbol, wherever it appears, alerts you to important operating and maintenance instructions

in the accompanying literature. Read the manual.

DETAILED SAFETY INSTRUCTIONS:

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

Retain Instructions:

The safety and operating instructions should be retained for future reference.

Heed Warnings:

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

Follow instructions:

All operation and user instructions should be followed.

Water and Moisture:

The appliance should not be used near water (e.g. near a bathtub, washbowl, kitchen sink, laundry tub, in a wet
basement, or near a swimming pool etc.).
The appliance should not be exposed to dripping or splashing and objects filled with liquids should not be placed on
the appliance.

Ventilation:

The appliance should be situated so that its location or position does not interfere with its proper ventilation. For
example, the appliance should not be situated on a bed, sofa rug, or similar surface that may block the ventilation
openings, or placed in a built-in installation, such as a bookcase or cabinet that may impede the flow of air through
the ventilation openings.

Heat:

The appliance should be situated away from heat sources such as radiators, heat registers, stoves, or other
appliance (including amplifiers) that produce heat.

Power Source:

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

Grounding or Polarization:

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

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Power-Cord Protection:

Power supply cords should be routed so that they are not likely to be walked on or pinched by items placed upon or
against them, paying particular attention to cords and plugs, convenience receptacles and the point where they exit
from the appliance.

Cleaning:

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

Non-use Periods:

The power cord of the appliance should be unplugged from the outlet when left unused for a long period of

Object and Liquid Entry:

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

Damage Requiring Service:

The appliance should be serviced by qualified service personnel when:

- The power supply cord or the plug has been damaged; or

- Objects have fallen, or liquid has been spilled into the appliance; or

- The appliance has been exposed to rain; or

- The appliance does not appear to operate normally or exhibits a marked change in performance; or

- The appliance has been dropped, or the enclosure damaged.

Servicing:

The user should not attempt to service the appliance beyond that is described in the Operating Instructions.
All other servicing should be referred to qualified service personnel.

CE CONFORMANCE

: This device complies with the requirements of the EEC Council

Directives: 9 /68/EEC (CE Marking); 7 /2 /EEC (Safety – low voltage directive);
89/ 6/EEC (electromagnetic compatibility).
Conformity is declared to those standards: EN 0081-1,EN 0082-1.

WARNING: This equipment generates, uses, and can radiate radio frequency energy.
If not installed and used in accordance with the instructions in this manual it may cause
interference to radio communications. It has been tested and found to comply with the
limits for a Class A computing device (pursuant to subpart J of Part 1 FCCRules), designed to provide
reasonable protection against such interference when operated in a commercial environment. Operation
of this equipment in a residential area is likely to cause interference, at which case, the user, at his own
expense, will be required to take whatever measures may be required to correct the interference.

CANADA WARNING:

This digital apparatus does not exceed the Class A limits for radio noise emissions set out in the Radio
Interference Regulations of the Canadian Department of Communications.
Le présent appareil numérique n'émet pas de bruits radioélectriques dépassant les limites applicables
aux brouillages radioélectriques édictés par le ministère des Communications du Canada.

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Introduction to the SILVER Audio Processor 4Bmini

The AUDEMAT-AZTEC SILVER Audio Processor 4Bmini is a new generation of digital audio signal processor that
can be used to process audio ready for FM. Using the latest multi-band DSP technology the SILVER Audio Processor
4Bmini offers a versatile and powerful tool in creating a loud punchy on-air presence.

The SILVER Audio Processor 4Bmini has been designed and built from scratch using a new approach to the design
of a digital audio processor that incorporates the most up to date components. Cutting edge technologies allow the
SILVER Audio Processor 4Bmini to produce similar results to other processors in the market but in a simpler more
cost effective way. The advances we have made have allowed us to pass the savings on to our customers.

What's Under the Lid?
The SILVER Audio Processor 4Bmini is driven by a fast 8 bit micro-controller which controls an array of specialised
analogue and digital circuits: These include 24-bit A/D and D/A converters, analogue level control circuitry, 6 x 24 bit
DSP's, an Ethernet port, a trigger port, an RS232 port, an LCD screen and memory devices to hold the software and
firmware.

The Processing Architecture!
After input selection the 24-bit digital audio signal is passed through conditioning circuitry before being split to four
bands by linear phase time aligned filters. Each band is processed by multiband RMS leveller which corrects for input
level variations and also improves consistency. Each band is further processed by dynamic audio limiter. The
following distortion cancelling clipping ensures your signal is kept to a strict maximum while maintaining crystal clear
sound. A supersonic sample rate DSP stereo encoder provides MPX generation with fantastic stereo separation.

The easy to use front panel control system wit LCD afford the user with ease of use and setup.

Comprehensive control of every processing parameter is available to the user both from the front panel control
system and by remote (computer) control.

Dynamic, fresh & innovative...
... The SILVER Audio Processor 4Bmini

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Silver Audio Processor 4Bmini rear and front panel

Front panel :

Rear panel :

Status

Control

knob

Soft

Ke

y

s

Mains power unit

Lan port

RS232 & Trigger port

AES/EBU Input

Pilot

Output

MPX

Output

SCA

Input

Analogue Input

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SILVER Audio Processor 4Bmini Jumper Settings

Setting input clip level

Setting input clip level is now configurable from the front panel. Level is now fully adjustable between 0 and 24dBu in
1dBu increments.

To do that, use the jogwhell and buttons. Select the INPUT menu and scroll to
find the ‘ANALOG LEVEL’ parameter. Select it and set the desired value. You
can check the current levels with the SILVER Audio Processor 4Bmini at any
time by displaying the metering screen (press the middle soft key on the front
panel).

Ground lift

The ground lift switch is now accessible without opening the unit. It is located on the rear panel, near the MPX output
(see picture below). It removes circuit ground from chassis ground. If you are experiencing hum or buzz in your audio,
you might want to move this jumper to the lifted position as indicated below the switch.

Ground Switch

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SILVER Audio Processor 4Bmini metering

The SILVER Audio Processor 4Bmini metering is accessible at any time by pressing the middle soft key on the front
panel. It shows instant IO meters as well as all processing metering.

I/O metering

The input meters show the level of the input audio. The meters are ‘hooked in’ to the DSP code after the input level
selection and mode options.
The output meters represent the level in dB below full scale output. This output level is the peak output level of
the processing and has nothing to do with the actual output level set by the analogue and digital output level options.

The output meters show a smaller dynamic range compared to the input ones. This reflects the smaller dynamic
range of the audio once processed by the SILVER Audio Processor 4Bmini. If we were to have used the same scale
as the input metering we would not see a lot of activity on the bars.

The multiplex output metering represents the composite outputs peak level. This is a representation of the output
in relation to the peak composite level of the processing and not the actual level set by the multiplex output
level control.

The IO meters follows an approximation of the PPM level of the audio waveform.

Multi-band AGC

The first four gain reduction meters show the gain reduction of the multi-band AGC. The range shown is -21dB
to +21dB in dB steps.
There is only one meter per stereo channel and the value shown is the largest gain reduction of the left and right
channels. Under normal operation (with a stereo audio feed) this is fine but you may observe strange metering if
the channels are not very balanced in level.

Multi-band limiter

The second four gain reduction meters show the gain reduction of the multi-band limiter. The range shown is
0dB to -1 dB in 1dB steps.
There is only one meter per stereo channel and the value shown is the largest gain reduction of the left and right
channels. Under normal operation (with a stereo audio feed) this is fine but you may observe strange metering if
the channels are not very balanced in level.

STATUS LEDS

The SILVER Audio Processor 4Bmini front panel contains three status LEDS.

REMOTE: Indicates that the SILVER Audio Processor 4Bmini is currently talking to a remote computer. This will flash
during
an update of the firmware or remote control with the remote control application.

AES/EBU: Indicates the presence of a valid AES/EBU signal connected to the digital audio input of the
SILVER Audio Processor 4Bmini.

EDIT: Indicates that you are currently editing a parameter

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Introduction to Audio Processing

Most audio processors use a combination of compression, limiting and clipping to 'funnel' the dynamic range down,
reducing the peak to average ratio in each stage. A cascaded arrangement of compressor, limiter and clipper
produces the best results. The first stage of processing usually operates in a slow manner, the processing getting
progressively faster and more aggressive as the audio passes through the chain. The instantaneous peak clipper or
look-ahead limiter is the final stage of the chain and sets the final peak level.

The images below illustrate a section of audio as it passes through a typical audio processor.

The first image to the right is an unprocessed section of audio.
The images that follow represent compression of the input waveform,
followed by limiting and then finally peak clipping.

Compression

Compression reduces the dynamic range of the audio waveform slowly in
a manner similar to a trained operator riding the gain. Compression is usually
performed on the RMS level of the audio waveform and the ratio of compression
is usually adjustable. Compression is usually gated to prevent gain riding and
suck-up of noise during silence or quiet periods.

Limiting

Limiting is a faster form of compression that employs faster time constants and
higher ratios to produce a denser sound while controlling peaks based upon the
peak level of the audio waveform. Excessive limiting can create a busier packed
wall of sound effect.

Clipping

Clipping the audio waveform will not produce any audible side effects if performed
in moderation. Excessive clipping will produce a form of distortion that produces a
tearing or ripping sound. Clipping can also be used as an effective method of high
frequency peak control when used in conjunction with distortion controlling filtering.

Source material Quality

The SILVER Audio Processor 4Bmini has the ability to substantially improve the quality of your ON-AIR broadcast.
However the SILVER Audio Processor 4Bmini can only work with what you provide it. The best performance will be
obtained when the SILVER Audio Processor 4Bmini is fed with very clean source material. After dynamic multi-band
re-equalisation is performed, poor quality source material will sound poorer when processed with the SILVER Audio
Processor 4Bmini.

We strongly advise against the use of MP’s and other compressed audio formats for audio storage. If you must use
compressed audio we advise rates of 2 6 Kbps and higher. Linear formats are always to be preferred.
Compressed audio formats employ frequency masking data reduction techniques to reduce the bit-rate. Through
re-equalisation the SILVER Audio Processor 4Bmini can violate the frequency masking characteristics of the bit
reduction process,
creating distortion that was inaudible prior to the SILVER Audio Processor 4Bmini processing.

SILVER Audio Processor 4Bmini placement

We recommend that the SILVER Audio Processor 4Bmini be placed as close to transmitter as possible. Ideally
SILVER Audio Processor 4Bmini
should be connected directly to the transmitter. Composite studio to transmitter links may introduce additional
overshoots, therefore increasing peak level and reducing average modulation.

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The SILVER Audio Processor 4Bmini and Its Processing
Structure

The SILVER Audio Processor 4Bmini broadcast audio processor is intended to be used for processing audio prior to
broadcast on FM.

Before we discuss the processing structure in full we would like to tell you a little about the final peak limiting stage of
the SILVER Audio Processor 4Bmini. It employs distortion controlled clippers to limit the peaks of the signal.
Distortion controlled clipping is the best method for preserving as much high frequency energy as possible, important
when the high frequency loss characteristics of the FM broadcast de-emphasis curve is taking into account. Distortion
controlled clipping produces harmonic distortion which if used moderately can produce a sizzling bright sound but can
result in a ripping or tearing sound if used excessively (overdriven).

THE PROCESSING PATH

Input selection and conditioning

The SILVER Audio Processor 4Bmini offers the user input selection (analog or digital input) and pre-emphasis
selection.

Bass enhancement

The SILVER Audio Processor 4Bmini offers a bass enhancement via peaking filter that can be set to provide up to
6dB of gain on one of four frequencies with a choice of 4 Q's. This can be thought of as a simple bass parametric.

Xover

The SILVER Audio Processor 4Bmini employs linear-phase time aligned digital FIR filtering to split the audio
spectrum into 4 bands while maintaining sonic transparency.

Multi-band AGC

The SILVER Audio Processor 4Bmini processes each band with RMS based levellers. Each bands gain control
processing function can be configured in different manners to provide different effects. Adjustable timing constants,
drive and gating afford the user with full control of this important re-equalisation stage of the processor.

Multi-band limiters

Each band has its own dynamic peak limiter. Multiple time constant based detectors are fully adjustable as well as
input drives.

Mixer

The four bands are 'virtually' mixed together at this stage, allowing overall EQ adjustment.

Bass clipper

The SILVER Audio Processor 4Bmini peak limits (clips) and linear phase filters the low frequencies before being fed
to the final clipper stages.

Distortion controlled clipper

The SILVER Audio Processor 4Bmini main clipper uses sophisticated algorithms to produce tightly peak controlled
output and maximum distortion control.

Stereo encoder

The SILVER Audio Processor 4Bmini's DSP stereo encoder takes its inputs after peak processing. The stereo
encoder is highly over-sampled and offers superb stereo performance. A composite clipping function is provided for
those who wish to use it.

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SILVER Audio Processor 4Bmini
PROCESSING BLOCK DIAGRAM

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MENU OVERVIEW

This section presents an overview of the four main menus and
their submenus and any parameters that are contained within them.

INPUT: Contains controls that affect input selection and preemphasis.

PROCESS: Contains all the controls that affect the processing.

From here you can fine-tune your sound.

STEREO: Contains all the controls that affect MPX output.

SCHEDULE: Contains all the real time clock controls for

switching presets (Dayparting).

SYSTEM: Contains all the system controls (non processing)
such as remote control and security.

SOFTKEYS: The SILVER Audio Processor 4Bmini has three context sensitive
soft keys that help access commonly used features. These
intuitive softkeys are primarily designed to aid in the selection,
loading and saving of presets, as well as displaying the
metering screen. More information on the softkey functions
are contained in the appropriate sections of this manual.

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The 'INPUT' menu contains options relating to the control and conditioning of the audio inputs.

Source

This parameter allows you to select the between the analog and digital inputs as the source for the

processing.

Pre-emphasis:

This parameter allows you to activate pre-emphasis when the SILVER Audio Processor

4Bminiis being used to process for FM broadcast. The available options are 50uS, 75uS and OFF

The 'PROCESS' menu allows access to all of the processing blocks that make up the SILVER Audio
Processor 4Bmini. There are only sub-menus inside the 'PROCESS' menu. The submenus are laid out in the
same configuration as the signal path through the SILVER Audio Processor 4Bmini.

The

'ENHANCE'

menu contains the low frequency peaking bass equalizer which is used to provide bass
enhancement and help overcome the bass reduction effect of multi-band compression. Four frequencies,
amplitudes and Q's are provided giving you 64 different bass curves to select from. Frequencies selectable: 60Hz,
76Hz, 95Hz and 120Hz. Q's selectable: 0.4, 1, 2 and 4. Gains selectable: 0, 1.5dB, 3dB, 4.5dB, 6dB

The

‘MULTI-BAND AGC’

is designed to re-equalize the program material and create a consistent tonal balance

while maintaining a consistent output level based on the RMS level of the program material.

‘B1-4’

‘DRIVE’

Controls the drive into the AGC. 0dB drive corresponds to a gain reduction of 0dB, the midway
point. The drive can be increased or decreased by up to 12dB. You may need to increase the
drive a little as you go up through the bands to compensate for the fact that music has less energy in
the higher frequency spectrum compared to low frequencies.

‘ATTACK’

Controls the attack rate of the AGC, The time the AGC takes to respond to an increase of
input level. The attack time can be varied between 1 and 10 which corresponds to 100mS to 10S on
a semi-exponential scale.

‘DECAY’

Controls the release/decay rate of the AGC, the time the AGC takes to respond to a decrease of
input level. The DECAY time can be varied between 1 and 10 which corresponds to
100mS to 30S on a semi-exponential scale.

‘GATE THRESHOLD’

The gate function prevents ‘suck-up’ of noise during periods of silence or low
level audio. The level can be adjusted to turn on when the input drops to a level from -20dB to -40dB.
The gate can also be switched off or forced on. The gate when turned on will cause the gain reduction to
move towards the resting 0dB level

The

'MULTI-BAND LIMITERS'

peak limit each of the bands to prevent distortion in the processors clipping peak

control system.

‘MASTERLIMITERDRIVE’

Sets the drive into the multi-band limiter. This control allows a +/- 6dB

adjustment.

'B1-4'

'DRIVE'

Controls the drive into the limiter. The drive can be increased or decreased by up to 12dB.

'PEAK ATTACK'

Controls the attack rate of the limiter, the time the limiter takes to respond to an increase
of input level. The attack time can be varied between 1 and 10 which corresponds to 1mS to 200mS on a
semi-exponential scale.

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'PEAK DECAY'

Controls the peak release/decay rate of the limiter, the time the limiter takes to respond to
a decrease of input level. The DECAY time can be varied between 1 and 10 which corresponds to 10mS to
1000mS on a semi-exponential scale.

'AVG ATTACK'

Controls the average attack rate of the limiter.This control is a modifier control that
scales from the peak attack control. The attack time can be varied between 1 and 10 which correspond to
peak attack time / 2 to peak attack time / 1000 on a semi-exponential scale. The AVGattack control
determines the dynamics of the dual time constant system and how control is shared between the peak
and average circuits.

'AVG DECAY' Controls the average release/decay rate of the limiter, the time the limiter takes to respond
to a decrease of input level. The DECAY time can be varied between 1 and 10 which corresponds to
200mS to 000mS on a semi-exponential scale.

'MIXER' menu. Each band can be adjusted over a small range to provide small EQ changes. These controls are
limited in range to prevent excessive drive into the peak clipping stages and excess distortion being introduced.

BAND1MIX: - dB to + dB of level adjustment is available.

BAND2MIX: - dB to + dB of level adjustment is available.

BAND3MIX: - dB to + dB of level adjustment is available.

BAND4MIX: - dB to + dB of level adjustment is available.

The 'CLIPPER' menu contains the clipping controls that form the final peak limiting stages of the Silver Audio
Processor 4Bmini.

'BASSCLIP' Controls the clip level of the mix of Bands 1 and 2. The clip level range is -6dB to 0dB
referenced to the main clippers output level.

'HFCLIPPLING' This control redistributes high frequency peak control between the limiters and the HF
clipper. The range is 0 to 17 with 0 equating to full control by the limiters and higher numbers producing
less control by the limiters on a frequency dependent basis, leaving control by the HF clipper. This control is
similar to a variable de-emphasis control in the limiters side-chain control signals.

'MAIN CLIP DRIVE' Controls the drive into the main output clipper that defines the systems peak clipping
ceiling. Adjustable over a -6dB to +6dB range.

'MAIN CLIPPER HARDNESS' Another distortion controlling mechanism that helps to reduce IMD in the
final clipper. The range is 1 to 10 with 10 producing the least distortion control. A setting of 10 effectively
bypasses this control.

'OVERSHOOT CONTROL' Controls how much the main clipper will pass overshoots to the composite
clipper. The range of overshoot control is 1 to 10 with lower numbers allowing more overshoots through
to the composite clipper.

'COMPOSITE CLIP Controls the drive into the composite clipper which effectively sets the amount of
composite clipping. The range of composite clipping is -0. dB to +2dB.

The 'STEREO' menu contains all of the controls relevant to the DSP stereo encoder that generates the
multiplex signal.

'LEVEL' Controls the output level of the composite MPX output. Range is 0dBu to +12dBU
'PILOT LEVEL' This parameter sets the level of the composite signals 19 Khz pilot tone. The adjustable

range is 6% to 12% and an OFF setting for mono applications.
'PILOT OUTPUT' This controls the 19KHz pilot output reference signal which is available on the SILVER
Audio Processor 4Bmini back panel. Options are enabled and disabled

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The 'SCHEDULE' menu contains all the controls for the dayparting (REAL TIME CLOCK) preset switching.

'TIME' Sets the time and day of the SILVER Audio Processor 4Bmini’s Real Time Clock.

'DAYPARTING ON/OFF Enables or disables the scheduling.

'DP(X) ON/OFF' Enables or disables an individual daypart schedule.

'DP(X)' Sets the preset to switch to when this daypart is triggered.

'DP(X) START' Sets the start time day and time of the daypart. There is also an ‘ALL days’ option.

'DP(X) LENGTH' Sets the length in minutes that the daypart will run for.

The 'SYSTEM' menu contains all the system controls (non processing) such as remote control and security

'LCD CONTRAST' Sets the contrast of the front panel LCD screen. The range is 0 to 2

'TRIGGER PORT' This enables or disables the rear panel trigger (remote) port. The options are enabled

and disabled. More information is available in the trigger port section of this manual.

'CODE LOCK' This enables or disables the security code lock. The options are enabled and disabled. More
information is available in the code lock section of this manual.

'OUTPUT LOCK' This enables or disables the output code lock. The options are enabled and disabled.
More information is available in the code lock section of this manual.

'REMOTE SOURCE' This selects the serial or the NET/LAN port as the remote control method. The default
option is Off.

The 'LAN CONFIG' menu contains the controls relevant to the LAN/NET port.

'IP' Sets the IP address of the LAN port

'DG' Sets the default gateway of the LAN port

'SM Sets the subnet mask of the LAN port

'MA1' Sets the first half of the MAC address of the LAN port

'MA2' Sets the second half of the MAC address of the LAN port

'PORT' Sets the port number of the LAN port

'ABOUT' SILVER Audio Processor 4Bmini version number and design credits.

'BOOTLOAD' This option is used to FLASH update the software and firmware inside the SILVER Audio

Processor 4Bmini.

Further information on using this option is described in the documentation supplied with the upgrade.

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Setting up the Processing on the SILVER Audio Processor
4Bmini

This section has more detailed information on setting up the SILVER Audio Processor 4Bmini’s processing.

Bass enhancement

The frequency contouring effect of multi-band audio processors often leaves the bass lacking a little. The summation
of the bands tends to give a boost to the presence frequencies and leaves the bass sounding a little thin. This effect
can be compensated somewhat by enhancing the bass prior to multi-band processing.

The SILVER Audio Processor 4Bmini has a pseudo parametric style bass equalizer control that allows you to sweet
tune the bass. Four frequencies, amplitudes and Q's are provided giving you 64 different bass curves to select from.
Frequencies selectable: 60Hz, 76Hz, 95Hz and 120Hz. Q's selectable: 0.4, 1, 2 and 4. Gains selectable: 0, 1.5dB,
3dB, 4.5dB, 6dB. A starting setting of 95Hz, Q of 1 and gain of 4.5dB warms the bass up quite nicely but you are free
to experiment to get the bass sound you're after.

Multi-band AGC

The multi-band AGC in the SILVER Audio Processor 4Bmini employs an RMS based level detector for superior
performance. This enables the SILVER Audio Processor 4Bmini to control input level variations based on the true
loudness of the input waveform unlike other simpler average responding peak detectors used in other digital audio
processors. When you couple the advanced detector with the user adjustable and hidden intelligent controls you
really do have a powerful levelling tool.

The Multi-band AGC stage of the Silver Audio Processor 4Bmini-FM has two main functions.

1. To re-equalise the program material to provide a consistent tonal balance and sonic signature.

2. To prevent excessive limiting by the following peak limiter stages.

Because of the RMS based level detectors the multi-band AGC can re-equalise the sound in a more natural manner
than the peak limiter stages which use peak detectors. As the human ear works on average loudness rather than
peak level the re-equalised audio will sound more natural when dynamic range reduction is performed by RMS based
level detectors.

Because the peak to average ratio of the program material can be quite wide it is still necessary to control the peaks
of the audio with the multi-band limiters but unlike most other audio processors the bulk of the work has been
performed by the multi-band AGC and the limiters can be fed with a more controlled level allowing them to operate in
their sweet spot.

Over the course of the next few pages we have included several scope shots clearly illustrating the input and output
of the single band AGC together with the AGC control signal. The effect of the control signal is clearly evident on the
output audio waveform. These scope shots help to visually illustrate the concepts under discussion.
The multi-band AGC stage is designed so that a 0VU input level to the processor will drive the multi-band AGC to the
midway resting level of 0dB.

Individual drive controls are provided as a way of equalizing the audio before processing. This can be used to add a
touch of more presence or bass. Keep in mind that the mutli-band AGC by it's very nature will tend to compensate
any cut or boost you make here.

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The attack and decay times of the AGC have a range of 1-10 and this corresponds to time constants of 100mS to
30S. We suggest an attack somewhere in the region of 3-4 and a decay setting of 1 or 2 positions higher than that.

Like most competent audio processors the AGC stages in the SILVER Audio Processor 4Bmini are gated.
This slows down the release time of the multi-band AGC when the program material drops below a certain level.
This prevents noise suck up and gain hunting from occurring during quiet periods or lulls in the audio. The SILVER
Audio Processor 4Bmini allows adjusting the gate level over a range of -20dB to -40dB.
This is the level at which the program material must fall below for the gate to become active. The gate level control
has two more options, OFF and ON. OFF is self explanatory and prevents the gate from having any effect. ON is
often referred to in this manual as ‘forced gating’ as it has the effect of switching the gate on at all times with any level
of program material. This option is used to bypass the AGC.

Under gated conditions, the gain reduction will slowly move to average gain the AGC had in the recent past. This
preserves the frequency balance of program material when multi-band AGC is gated.

Multi-band limiters

The multi-band limiter drive can be adjusted over a +/- 12dB range. Increasing the drive will increase the level of
limiting and with it on air loudness. Above a certain level of drive no more loudness will be obtained and all that will
happen is you will generate higher levels of IM distortion and the sound will take on a busy packed texture. You may
also observe higher levels of high frequency noise when the band 3 and 4 drives are increased. We don't usually find
much use for drives above +6dB but more may be required if other settings are adjusted to compensate. In any case,
observe the peak limiter meters for a good indication of how much drive to use. We don't recommend more than 9dB
of gain reduction especially on bands 2, 3 and 4. Gain reductions of 2-6dB are a good compromise between loudness
and quality.

The effects of gating

AGC attacking and decaying with gating
disabled

AGC attacking and decaying but with

g

atin

g

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The multi-band limiters in the SILVER Audio Processor 4Bmini are of the dual time constant variety. There is an
attack and decay to handle the peaks and an attack and decay to handle the average level of limiting. Understanding
how the two time constants interact is imperative if you want to make major changes to how each bands limiter
reacts. We have included some scope screen captures to illustrate things a little clearer. The peak and average
function can clearly be seen in the images.

Traditionally audio limiters have two time constants, an attack, the time is takes the limiter to respond to a signal
above the threshold and a decay or release which is the time is takes to respond to a drop in level. In a traditional
audio limiter the attack time is usually set to somewhere in the region of a few milliseconds and the decay time
considerably longer at somewhere in the hundreds of milliseconds. This is not the most optimum solution because
transients that last only a few milliseconds will reduce the level of the waveform for hundreds of milliseconds,
reducing loudness and creating audible pumping effects.

The solution is multiple time constants where one set of time constants can be set to handle the fast peaks and
another to handle the average level of limiting. Fast transients will release in a faster less noticeable way and won't
punch holes in the sound in a way that single time constant limiters can. The secondary slower time constant circuit
will not have much effect on the audio waveform when hit with a transient because the higher attack time, generally in
the hundreds of milliseconds will not allow a build up of energy. In the case of a sustained envelope of audio above
the threshold the multiple time constant will attack as normal with the peak time constant but the sustained energy will
also charge the secondary slower circuit. When the audio energy falls away and the circuit goes into release the peak
decay will dominate until it reaches a point where it hands over to the slower secondary time constant for a slower
rate of decay. The illustrations show this to good effect, where transients have a fast release but multiple or sustained
transients build up energy in the secondary circuit which acts as a platform for the peak to release to. The secondary
circuit's platform can be thought of as the average level of limiting. Having this fast peak responding circuit ride on top
of the average circuit creates many advantages, limiter transparency, less chance of pumping and greater loudness.
By setting the time constants appropriately we can have the multiple time constant based detectors work as peak
handling, average handling or the optimum setting of a balance of the two.

The peak attack time should be set to the desired attack time required from that limiter. The range is 1-10 which
corresponds to 1 to 200mS on an exponential scale. The peak decay time should be set to the desired peak decay
time required for transients. The range is 1-10 which corresponds to a decay time of 10 to 1000mS.

The average attack time is perhaps the most important control in the dual time constant detector as it sets the
balance between peak and average energy in the detector. With smaller numbers more energy is transferred into the
average circuit and a higher platform level is created so more time will be spent releasing at the slower average rate.
Higher numbers offer slower attack times for the averaging part of the detector and this has the effect of lowering the
average platform level and allowing the peak part of the circuit to dominate with its faster release times.

The average decay time can usually be viewed as the nominal release time of the detector, similar to a standard
single time constant limiters release time.

Limiter control signals response to tone bursts

Peak time constants dominating
control due to a very high setting
of average attack

Peak time constants dominating
to a lesser degree due to high
setting of average attack

Peak time constants dominating to a
much lesser degree due to a lower
setting of average attack

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Limiter control signals response to program material

To recap, the peak attack time and average decay time play the same sort of role as that of a standard conventional
single time constant based limiter. The peak decay time sets the decay time for fast usually inaudible transients and
the average attack time sets the ratio of peak to average control and defines the position of the platform that the peak
circuit releases to.

The mixer

The post limiters mixer in the SILVER Audio Processor 4Bmini is not strictly a mixer but a band output level control
where small EQ changes can be made.

Be careful when making large EQ changes at this stage because there is no peak control prior to the clipping system.
It is easy to overload the clipping stages by setting these controls all to large positive values.
The control range for each band of +/- 3dB is purposely restricted for the above reasons.

Bass clipping

Most competent processors have a bass-clipper prior to the final clipper. The purpose of the bass-clipper is to keep
low frequency energy to a pre-determined level to allow for the summation of the other bands. Without the bass­clipper the bass signal can push the mid and HF audio waveforms into the final clipper creating audible IM distortion,
the worst type of distortion. By restricting the bass to a certain level the mid and HF energy has its own reserved
space in the summated waveform and we reduce the likelihood of bass generated IM distortion.

The downside to bass clipping is you are restricting the bass to a lesser level than what it would be without it. The
upside is that moderate levels of bass clipping won't cause a large loss of bass loudness and should have minimal
audible artefacts.

When bass-clipper is being driven more aggressively you will start to notice generated distortion. This distortion can
be used to actually give the illusion of more bass, especially on smaller radios that are incapable of producing the
lower frequency fundamental bass waveform. This can be viewed as an upside of bass clipping. You need to decide
what level of bass clipping is acceptable to your format, both in creating room for summation from the other bands
and making the punch/distortion trade-off.

The final clipper

The final clipper, used in the FM processing path is a sophisticated highly over-sampled peak limiter that incorporates
distortion controlling techniques and has an embedded 15 kHz low-pass filter. This section of processing is the last
line of defence in the processing and is also the most critical part in the loudness/quality trade-off. While each of the
proceeding processing stages play a part in reducing the peak to average ratio of the audio waveform none has the
same effect on the peak to average ratio as the final clipper.

Peak time constants dominating
control due to a very high setting
of average attack

Peak time constants dominating
to a lesser degree due to a high
setting of average attack

Peak time constants dominating
to a much lesser degree due to a
lower setting of average attack

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Great care is needed in setting the final clipper drive control. This control needs to be adjusted carefully and only you
can make the decision on the balance between loudness and quality. As you increase the drive you will obviously
obtain more loudness but at the expense of distortion. There is a fine line between artistic distortion and distortion
that your listeners will find uncomfortable to listen to, especially for extended periods of time.

The final clipper now has an additional control to help reduce IMD distortion. This clipper hardness control is an
additional program dependent mechanism that helps to reduce distortion by analysing the level of IMD distortion and
dynamically adjusting time constants. The control is subtle and its range has been limited to restrict the amount of
control, preventing pumping and a loss of loudness which would undo what we want to use the clipper for which is
gaining loudness.

You may not notice the effect of this control on all program material. When adjusting the clipper hardness control we
recommend that you turn the final clipper drive up past the point that you have it set at. This will make the effect of
the hardness control much more obvious and allow you to find the setting that sounds best for your format. Once the
clipper hardness control is set you can back down the final clipper drive to the point that sounds best knowing that the
clipper hardness control has been set correctly to help keep the distortion down on difficult program material.

There's also an overshoot control for the clipper. Setting this control to lower numbers allows more overshoots
through to the composite clipper which trades off main clipper distortion for composite clipper distortion. Composite
clipper distortion can sound a touch nicer albeit at the expense of slight contamination of the output spectrum.

Composite clipper

The composite clipper in the SILVER Audio Processor 4Bmini's stereo encoder is highly over-sampled and allows
you to gain an extra dB or two of modulation loudness when using the multiplex output to drive your FM transmitter.
The range of the composite clipper is -0.5 to 2dB.

Here at AUDEMAT-AZTEC we prefer to use the final clipper to generate the required amount of loudness because
composite clipping introduces stereo crosstalk. When we do use the composite clipper we prefer to use small
amounts of no more than 1dB.

Auditioning individual stages of the SILVER Audio Processor 4Bmini processing

When setting up the SILVER Audio Processor 4Bmini it is sometimes useful to hear the effects of the adjustments on
that particular processing stage. By setting the other processing blocks up in a certain way you can make it easier to
hear the effects of the one you are adjusting.

For example, to listen to just the action of the multi-band limiters bypass the AGC stage and back down the multi­band and final clipper drives. To hear just the clippers do the same back the drive down into the limiters to -6dB. You
can then up the drive into the clippers with the clipper drive controls and mixer controls to here just the clippers
working.

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Getting the Sound You Want

While the SILVER Audio Processor 4Bmini can help you obtain the sound that you want we must always take into
account the limitations presented to us by the transmission channel. The biggest problem we have is the maximum
peak level that can be handled by that transmission channel. For FM broadcast this is +/- 75 KHz for 100%
modulation.

The trade off in any audio processor is loudness vs. Quality. The mark of how good a processor is, is how loud the
processor can be whilst maintaining sufficient quality. It is up to you where this loudness / quality trade off point is set.
This point is also usually market and format dependent.

In the effort to squeeze as much bass and high frequency energy into the peak limited channel we must make
compromises. Bass takes up a lot of room in the waveform and pursuit of a 'mega bass' type sound will leave you
less room for high frequencies. When processing aggressively we usually will have to accept a certain level of bass
distortion in making room for high frequencies or we will have to accept a certain level of high frequency distortion if
our desire is lots of clean loud bass.

If your aim is a cleaner sound and a slight loss of loudness is not important then it is easier to get the tonal
characteristic you're after without distortion. Lower clipper drives will provide you with clean bass and crystal clear
razor sharp high frequencies. The choice is yours.

More LOUDNESS

Loudness can be increased in several ways.

Multi-band AGC:

Increase the drives to the bands.
Speed up the release times, making them faster.

While it is possible to create a strange response in the multi-band AGC, it is hard to produce distortion because
whatever gets through the AGC is dealt with by the following peak limiters.

Multi-band Limiters:

Slow down the peak attack times, letting more through to the clippers.
Speed up the release times of the average release time constants.
Slow down the average attack time so that the peak time constants dominate the control signal providing faster
control.
Increase the master limiter drive.
Increase the individual limiter drives.

Extra loudness can be obtained by working on only a single or a couple of the above suggestions. You are likely
to run into trouble if you 'CRANK UP' all of the above settings. You are likely to generate excessive distortion in
the final clippers and generate a fatiguing sound if you're not careful. Less can be more. Make small changes and
compare against the settings of the factory presets if you find you have lost your way some where.

Final clippers:

Increase the final clipper drive and increase its hardness control to a higher number.
Increase composite clipper drive.

WE SUGGEST ONLY SMALL MODIFICATIONS FROM FACTORY PRESET SETTINGS IF YOU ARE
MODIFYING LOTS OF THE PARAMETERS. IF YOU ARE ADJUSTING ONLY A COUPLE FROM THE ABOVE
SUGGESTIONS THEN YOU PROBABLY HAVE A BIT MORE LEE-WAY. IT IS VERY EASY TO BECOME
UNSTUCK AND LOSE YOUR WAY ONCE YOU START 'CRANKING' LOTS OF DIFFERENT SETTINGS.

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More CLARITY

We can obtain extra clarity and quality in several ways.

Multi-band AGC:

Slow down the release times, making them slower.

Multi-band Limiters:

Speed up the peak attack times, letting less through to the clippers.
Slow down the release times of the average release time constants.
Speed up the average attack time so that the average time constants dominate the control signal providing slower
control.
Decrease the master limiter drive.
Decrease the individual limiter drives.

Final clippers:

Decrease the final clipper drive.
Decrease the clipper hardness control.
Decrease the composite clipper drive.

WE SUGGEST ONLY SMALL MODIFICATIONS FROM FACTORY PRESET SETTINGS IF YOU ARE
MODIFYING LOTS OF THE PARAMETERS. IF YOU ARE ADJUSTING ONLY A COUPLE FROM THE ABOVE
SUGGESTIONS THEN YOU PROBABLY HAVE A BIT MORE LEE-WAY. IT IS VERY EASY TO BECOME
UNSTUCK AND LOSE YOUR WAY ONCE YOU START 'TWEAKING' LOTS OF DIFFERENT SETTINGS.

More BASS

We can obtain more bass in several ways.

Bass Enhancement:

Increase the peaking filter gain.
Increase the peaking filter Q factor.

Multi-band AGC:

Increase the drive to the AGC band 1.
Speed up the AGC band 1 release.
Lower the AGC band 1 gate threshold, allowing more gain to be applied to low level bass waveforms.
Consider 'force gating' the AGC band 1 so the multi-band AGC for band 1 is bypassed.

Multi-band Limiters:

Increase the band 1 and band 2 limiter drive.
Slow down the peak attack time for band 1, letting more through to the clippers.
Speed up the release time of the average release time constant of those bands
Slow down the band 1 and band 2 average attack times so that the peak time constant dominates the control
signal providing faster control.

Bass clipper:

Increase the bass clip level.

WE SUGGEST ONLY SMALL MODIFICATIONS FROM FACTORY PRESET SETTINGS IF YOU ARE
MODIFYING LOTS OF THE PARAMETERS. IF YOU ARE ADJUSTING ONLY A COUPLE FROM THE ABOVE
SUGGESTIONS THEN YOU PROBABLY HAVE A BIT MORE LEE-WAY. IT IS VERY EASY TO BECOME
UNSTUCK AND LOSE YOUR WAY ONCE YOU START 'TWEAKING' LOTS OF DIFFERENT SETTINGS.

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More TREBLE (HF)

We can obtain more high frequency energy in several ways. When processing for FM we need to use distortion
controlled clipping to preserve as much of the high frequency content as possible, which will be removed by the de­emphasis curve in the listeners radios. The ‘HF CLIPPING’, band 4 'DRIVE' and ‘PEAK ATTACK’ controls governs
the amount of high frequency distortion controlled clipping that is performed.

Multi-band AGC:

Increase the drive to the AGC band 4.
Speed up the AGC band 4 release time, making it faster.
Lower the band 4 gate threshold, allowing more gain to be applied to low level HF waveforms.
Consider 'force gating' the AGC band 1 so the multi-band AGC for band 1 is bypassed.

Multi-band Limiters:

Increase the band 4 limiter drive.
Slow down the peak attack time for band 4, letting more through to the clippers.
Speed up the release time of the average release time constant of those bands
Slow down the band 4 average attack time so that the peak time constant dominates the control signal providing
faster control.

HF clipper:

Set the HF clipping control to higher numbers which shifts control from the limiters to the distortion controlled HF
clipper.

WE SUGGEST ONLY SMALL MODIFICATIONS FROM FACTORY PRESET SETTINGS IF YOU ARE
MODIFYING LOTS OF THE PARAMETERS. IF YOU ARE ADJUSTING ONLY A COUPLE FROM THE ABOVE
SUGGESTIONS THEN YOU PROBABLY HAVE A BIT MORE LEE-WAY. IT IS VERY EASY TO BECOME
UNSTUCK AND LOSE YOUR WAY ONCE YOU START 'TWEAKING' LOTS OF DIFFERENT SETTINGS.

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Managing Presets (front panel control)

The SILVER Audio Processor 4Bmini has an assortment of factory presets and provision for 8 user ones. While the
factory presets may not suit your tastes you will generally find one that serves as a good starting point in creating
your own custom preset. The preset facilities of the SILVER Audio Processor 4Bmini are accessed from the three
intuitive soft keys.

Selecting a preset.

First press the 'LOAD' button and then select the preset you want with the control knob.
Factory presets are prefixed with Fx where x is a number. User presets are prefixed with
Ux where x is a number between 1 and 8. Once you have selected the preset you want
to load you simply press the 'LOAD' button again. You can audition various presets by
simply scrolling through the preset list and hitting 'LOAD' over each one you wish to listen to.

Comparing a preset

When making processing adjustments it is often desirable to compare against the preset you are adjusting. For
example you may wish to modify a factory preset and save it as a user preset. You select a factory preset and load it,
making it active. You like the factory preset but want to increase the bass slightly and possibly reduce the drive into
the main clipper to reduce distortion. You could modify both processing parameters and then press the 'LOAD'
button. The middle button of the softkeys will change to B. Pressing this button will reload the saved preset allowing
you to compare before and after your changes. The previously marked 'B' button will have now changed to a 'A’
button which if pressed will return you to the adjusted preset. The other option you have if you don't press 'UP' is the
'LOAD' button, reloading the saved preset and discarding your changes. By using the button you can easily make
processing adjustments quickly and hear instantly if the change is to your liking. It is very easy to forget where you
are sonically so the comparison feature is very useful. You can also use the facility to make one processing
parameter change at a time, adjusting it, discarding it or saving it to the preset. You can then repeat the comparison
process until you are happy with all of your processing changes.

Saving a preset

To save the current active settings to a user preset you simply press the 'SAVE' button. You
can then select the user preset with the control knob and press the 'GO' button. A new screen
is presented to you allowing the name of the preset to be changed. 'INSERT' and 'DELETE' hot
keys are provided to speed things up. Once you are happy with the name you press the 'DONE
soft key to save the preset to the SILVER Audio Processor 4Bmini's memory. For speed, saving the current settings
to the same active preset is as simple as pushing the same button three times as 'SAVE' selects
the presets, 'GO' confirms the preset to save and 'DONE' confirms the name entry stage.

Exporting a preset to a pc

This is handled by the remote control application.

Importing a preset from a pc

This is handled by the remote control application.

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Factory Presets

The factory presets in the SILVER Audio Processor 4Bmini are not supposed to be de facto standards by any means
but are starting points for you to create your own user presets. It is impossible to create presets that will suit every
format and market. What is right for one market is not usually right for another. The staff at AUDEMAT-AZTEC will be
able to help you refine your sound further if none of the factory presets meet your requirement.

V1.2 contains the following factory presets:

F1 BYPASS

This preset force gates the AGC’s setting them to unity gain and disables the limiter. The clipper thresholds are
raised and drives are appropriately set so that audio passes through the unit unprocessed.

F2 AC

A nice balance for lighter formats where loudness is not everything.

F3 CHR1

This preset provides a good starting point for pop music formats in competitive markets. Nice, open sound.

F4 CHR2

More aggressive preset for pop and Top40 formats. Can sound distorted with certain program material, but
produces very consistent sound on various program material.

F5 LOUD BASS

A preset for competitive stations who want loudness and more of a signature sound with lots of bass. This presets
packs a maximum amount of bass while still remaining loud.

F6 HOT!

Very loud presets that pushes it to the limit. Can sound fatiguing and distorted, but for those who like presence
and loudness ,this one is the choice.

F7 ROCK

For various rock programming. It's competitively loud as well. High-end is open and airy which complements the
genre well, while bass is solid and punchy.

F8 SMOOTH

Controlled bass and highs with this preset will make your sound roll.

F9 EASY LISNIN

Another nicely flowing preset for easy listening music. Soft and a bit closed-in. Your female audience will
appreciate this one.

F10 CLASSICAL

Name speaks for itself. Very transparent and preserves the tonal balance of the source material.

F11 TALK

Fast releases and tight transient control keeps the voices intelligible and where they should be - in the mix.

F12 URBAN

Has the most amount of bass of all presets as it appropriate for urban, hip-hop, dance and other formats looking
for huge amounts of bass. With other music this preset can sound a bit muddy, so be careful. It's not as loud as
some other factory presets.

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Remote Control Of The SILVER Audio Processor 4Bmini

In addition to the front panel LCD control system the SILVER Audio Processor 4Bmini has a serial port and an
Ethernet/LAN port. These allow remote control of the SILVER Audio Processor 4Bmini through a remote application
program running on a window based PC. The remote control program is available for download from www.audemat­aztec.com.

The SILVER Audio Processor 4Bmini can only to talk to the serial system (RS232) or the Ethernet/LAN system at any
point in time so you will need to select which one of the two remote control methods you wish to use by selecting the
appropriate option from the remote source parameter which is contained in the system menu accessible from the
SILVER Audio Processor 4Bmini’s front panel.

If connecting via an Ethernet connection you will need to set the IP address or Hostname that the SILVER Audio
Processor 4Bmini is connected at and also include the PORT number that the SILVER Audio Processor 4Bmini has
been set to use. The default port that AUDEMAT-AZTEC uses is 1203. You can leave it as is unless you have a
reason to change it. Your network administrator can help you with this.

Silver Audio Processor 4Bmini remote application connection

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CONTROL OF THE SILVER Audio Processor 4Bmini BY RS232

If you wish to use the RS232 to control the SILVER Audio Processor 4Bmini follow the steps below

1. Connect the supplied serial cable to the rear RS232 port

2. Navigate to the ‘REMOTE SOURCE’ parameter (also in system) and select the serial option

3. Run the SILVER Audio Processor 4Bmini remote application and you will be presented with a connection screen
(see image). Select the COM port on your computer that you have plugged the serial cable into

4. A password needs to be entered, regardless of password settings on the SILVER Audio Processor 4Bmini itself. A
password still needs to be entered even if the passwords on the SILVER Audio Processor 4Bmini have been
disabled.

5. Click connect on the application and you should receive a ‘please wait’ box while the information is retrieved from
the SILVER Audio Processor 4Bmini. Once connected you are then free to control the SILVER Audio Processor
4Bmini with the remote application. Further information on the remote application is contained on the following pages.
If the SILVER Audio Processor 4Bmini remote application does not connect or disconnects after a few seconds then
it could be that the password is incorrect. The default password for the SILVER Audio Processor 4Bmini is 3779. You
are free to change these on the SILVER Audio Processor 4Bmini itself (see information on password control
elsewhere in this manual)

NET/LAN PORT

The SILVER Audio Processor 4Bmini is equipped with a NET/LAN port for ease of remote control, setup and
monitoring.

CONTROL OF THE SILVER Audio Processor 4Bmini BY THE NET/LAN PORT

If you wish to use the NET/LAN port to control the SILVER Audio Processor 4Bmini follow the steps below

1. Connect the Ethernet cross cable (B) to the RJ45 port on the Silver Audio Processor 4Bmini and plug this into your
PC. You can also use a straight cable for a switched connection.

2. Navigate to the ‘SYSTEM / REMOTE SOURCE’ menu on the Silver Audio Processor 4Bmini and select the
“NETWORK” option.

3. Run the Silver Audio Processor 4Bmini remote application and you will be presented with a connection screen (see
below). Select the Ethernet option.

4. Enter the password in the “password field”. By default the password is

3779.

5. Click connect on the application and you should receive a ‘please wait’ box while the information is retrieved from
the SILVER Audio Processor 4Bmini. Once connected you are then free to control the SILVER Audio Processor
4Bmini with the remote application. Further information on the remote application is contained on the following pages.
If the SILVER Audio Processor 4Bmini remote application does not connect or disconnects after a few seconds then
it could be that the password is incorrect. The default password for the SILVER Audio Processor 4Bmini is 3779. You
are free to change these on the SILVER Audio Processor 4Bmini itself (see information on password control
elsewhere in this manual)

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PASSWORD ACCESS

The SILVER Audio Processor 4Bmini contains two levels of password control, a high level password which blocks
access to all areas of the SILVER Audio Processor 4Bmini and an ‘Output’ level password that allows access to all
areas of the SILVER Audio Processor 4Bmini except the output menus that contain the output mode and level
settings.
The ‘Output’ level password could be given to programme controllers to adjust the processing knowing that the
transmission will remain compliant as there is no way for the user to adjust the peak output level of the SILVER Audio
Processor 4Bmini.
These passwords can only be set from the SILVER Audio Processor 4Bmini front panel and are located in the system

menu.
The password box is located on the connection screen to the right of host and port input boxes.

The default (factory shipped) passwords for the two locks are ‘3779’. The remote application will always default to this
when it is run, unless you change it. Some users may find the output lock set to ‘0000’ Try this is 3779 does not let
you access the output menus.

When the SILVER Audio Processor 4Bmini is connected the LED’s will show activity and the main controls window
should show processing controls, depending on what option is selected on the menu tree located to the left of the
screen. The SILVER Audio Processor 4Bmini remote control application has three windows. The left hand contains
the navigation/preset window. The top shows the LED metering while the bottom right contains the main controls
window that is populated with the appropriate controls for the part of the processing that is selected in the menu tree.

At the top left of the application you have the menu/preset toggle buttons. These change the contents of the left hand
window from the SILVER Audio Processor 4Bmini menu tree to the preset list.
The top right of the application contains the minimise and close icons, the connect / disconnect button and the A/B
buttons which will be covered shortly.

NAVIGATING THE PROCESSING STRUCTURE AND MAKING PROCESSING ADJUSTMENTS

Navigating through the processing structures of the SILVER Audio Processor 4Bmini is very simple. When connected
click the menu button (top left) if not already depressed. You should then see the menu tree in the left hand window
(see above image).

You can now navigate through the menu tree and see the controls that are contained in that menu appear in the main
controls windows. The example above shows the controls that are contained in the input menu.
Changing the processing is as simple as adjusting the sliders and buttons.

WORKING WITH PRESETS

The SILVER Audio Processor 4Bmini remote application makes it easy to load, save and change presets. Click the
preset button (top left) if not already depressed. You should then see the preset list in the left hand window (see
image).

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Preset window shown

Understanding the preset list

The preset list contains all of the presets contained in the SILVER Audio Processor 4Bmini. The user presets are
prefixed U1 to U8 and the factory presets from F1 onwards. You may need to use the scroll arrows to view all of them
as they won't all fit in the window at one time.

It is important that you understand the following terminology and how the various presets are displayed in the window
if you want to use the preset window correctly and efficiently.
The currently 'on air' preset is always marked in green.
The preset marked in green will also have a label appended to the preset name. This can be (DEF), (TR) and (DP)
and these stand for the default preset, daypart and triggered presets.

If you are not using dayparting or the external trigger port the default preset will always be the 'on air' preset and it will
be marked in the preset list with a (DEF) which appends to the preset name. If the scheduler (dayparting) or the
remote trigger interface has changed the preset the (DEF) marked preset may not be the one that is on the air. There
are two additional identifiers to mark these occurrences. (DP) for Daypart and (TR) for remote trigger. If a daypart of
trigger occurs the (TR) or (DP) will appear next to the name and the preset name will change to green to indicate that
it is 'on air' and has overridden the (DEF) default preset. When the daypart or trigger finishes control will always
return to the default (DEF) preset.
It is possible to have A (DEF)(TR)(DP) situation where a remote trigger forces 'on air' a user preset which has also
been triggered by a daypart and that preset happened to be the default preset. Unlikely but possible.

Various preset operations are possible including changing the default preset, saving a preset to a user preset
location, changing the name as well as PC file operations to backup or share presets with other SILVER Audio
Processor 4Bmini users. To perform an operation you will need to select a preset by clicking on to the name in the
list. This will highlight the preset with a blue bar. This does not change the preset or affect anything on the air. All this
blue selection bar indicates if that this is the preset that we want to perform an operation on. We have two methods of
performing the operation on the preset. The first method is to click one of the icons at the bottom of the window.
These are from left to right, Load preset, Save preset, Rename preset, Load from PC, Save to PC. The other method
is to right click over the preset where you will be presented with a drop down menu containing the same options.

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Preset icons

Load preset

Load preset will change the default preset to the one selected. This usually means that this preset will become 'on
air'. The exception to this is when the default preset is being overridden by a daypart or remote trigger. In this case
the SILVER Audio Processor 4Bmini will 'on air' the selected preset when the daypart or trigger hands back control to
the default preset.

Save preset

Save preset will save the current on-air preset to the highlighted user preset position. You can not write over a factory
preset.

Rename preset

Rename preset allows the user preset name to be edited. You are restricted to 15 characters.

Saving presets to PC

This option will pop up the standard windows save dialog box. You can select a file name and location for the preset
to be saved under. The preset that is saved is the currently highlighted (in blue) preset, not the one that is currently
'on-air'

Loading presets from a PC

This option will pop up the standard windows load dialog box. You can browse to and select a preset file to be loaded
into the SILVER Audio Processor 4Bmini. The preset location that is loaded is the currently highlighted (in blue)
preset, not the one that is currently 'on-air' You can only load into a user preset

SCHEDULING WITH THE REMOTE APPLICATION

Using the menu tree to change the processing is quite simple and really doesn't need a lot of explanation. The
scheduling screen that controls the dayparting may appear daunting so we are going to give you a quick guide to
using it.

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Scheduling

There are three menu locations for controlling scheduling. The first location is shown in the screen shot above and it
contains the ON/OFF and time setting control. The two menu locations below it access two banks of four dayparts
which make up the 8 dayparts contained in the SILVER Audio Processor 4Bmini..

On the daypart windows you have four dayparts. Each has three parameters. The left hand box contains the name of
the preset that you want this daypart to switch to. This box also has the ability to turn the daypart OFF by clicking
down on the arrows until you reach the off option. If off is currently selected you can click up to rotate through the
user and factory presets. The middle box contains the time and day that the daypart will start at. To select day, hour
or minute click on the appropriate part of the box before using the up and down arrows. The day part of the time also
has an ALL option. This means that the daypart will occur on every day. The right most box contains the length of the
daypart in hours and minutes. Like the start time of the daypart you will need to click into the appropriate part of the
box before clicking the up/down arrows.

The dayparts can be layered so that one can override another. Let's say the default preset was U1:MAIN PRESET
and this was on the air all of the time. We want to change the preset from 7AM to 10AM every day of the week to
F2:CHR and then from 10AM to 12PM we want U4:NEW PRESET and then back to F2:CHR until 5PM.

Rather than setup the dayparts as

DPO: F2:CHR - ALL 07:00 - 03:00

(factory preset 2 to run from 7AM everyday for 3 hours)

DP1: U4:NEW PRESET - ALL 10:00 - 02:00

(user preset 4 to run from 10am everyday for 2 hours)

DP2: F2:CHR - ALL 12:00 - 05:00

(factory preset 2 to run from 12pm everyday for 5 hours)

Scheduling

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We could instead setup the dayparts as

DPO: F2:CHR - ALL 07:00 - 10:00

(factory preset 2 to run from 7AM everyday for 10 hours)

DP1: U4:NEW PRESET - ALL 10:00 - 02:00

(user preset 4 to run from 10am everyday for 2 hours)

which saves a daypart position.

By carefully selecting the default preset and overlaying dayparts we are able switch presets significantly more than
you first think you will be able to.

A/B COMPARISON FEATURE

The Remote application has two buttons labelled A and B that are located just below the connection button. These
buttons allow you to compare changes you have made to the processing against the saved preset. When you load a
preset the buttons should be greyed out but as soon as you make any processing changes these buttons will become
active. By selecting the B button you can temporarily revert back to the saved preset. During this time all the
processing controls will grey out to indicate you are in a compare mode. To return to the settings that you have been
adjusting click the A button and the processing controls will ‘un-grey’ If at any time you want to revert to the saved
preset and lose your adjustment just reload the preset from the preset selection window.

The A/B feature makes it easy to build up your own presets by being able to easily compare before and after
processing adjustments. We hope you find it useful.

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Remote Trigger Port

The system menu contains the remote trigger port option from where it can be enabled or disabled.

If enabled the remote trigger port on the SILVER Audio Processor 4Bmini allows you to select any of the 8 user
presets by pulling one of 8 pins on the trigger port socket low. The rear panel trigger port socket is a 9 pin male D­type whose connections are shown below.

The trigger port socket contains an earth return connection pin for the 8 opto-isolated trigger pins. When the trigger
pins are connected to the earth return pin they will change the currently active preset to the user preset triggered by
that pin. If more than one pin is pulled low at the same time the pin with the lowest number will take priority. E.G. if all
pins are pulled low trigger 1 will take priority. Once the trigger pin disconnects from the earth return connection the
SILVER Audio Processor 4Bmini will return processing to the normally active preset.

Relays, contact closures, open collector and other hard wiring arrangements can be used to perform the appropriate
connection between the trigger port pin and the earth return pin.

If you wish to trigger a factory preset you will need to copy that factory preset to a user preset first.

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Security Code Locks

The system menu contains the security code lock options from where they can be enabled or disabled.

The SILVER Audio Processor 4Bmini has two code locks, the main full lock and the output lock. When enabled the
full code lock prevents editing of the SILVER Audio Processor 4Bmini parameters. When enabled the output lock
restricts access to the output menu section of the SILVER Audio Processor 4Bmini. This is useful when you want to
stop someone from being able to adjust peak output levels which could cause your broadcast to be non-compliant
with your regulatory bodies transmission specs. For example you may not want a programme director to be able to
adjust the multiplex level into a transmitter but you do want them to be able to adjust the processing.

The security code locks if enabled will engage after 4 minutes of no activity on the front panel control system. This
time has been chosen as a compromise between having the system lock you out when adjusting processing
parameters and a short enough period of time to lock the unit after you walk away from the SILVER Audio Processor
4Bmini.

The SILVER Audio Processor 4Bmini comes from the factory shipped with the factory default lock codes of 3779.
Some users may find that the output lock is set to a default of ‘0000’ so try this if you cant access the output menus
with 3779.

Enabling the security code lock feature:

Navigate to the system menu and set the code lock option to enabled.

Confirm the current password. The lock will engage after four minutes of no front panel control system activity.

Disabling the security code lock feature:

Navigate to the system menu and set the code lock option to ‘disabled’.

Confirm the current password.

Changing the lock codes:

Once locked the SILVER Audio Processor 4Bmini will not allow processing adjustments
(or access to the output menu). The lock code can be entered with the use of the rotary encoder and the GO soft key
can be pressed to confirm entry and proceed. If unsuccessful you will be required to try again. If successful the
SILVER Audio Processor 4Bmini will allow you to re-confirm the code or change it. This is where you may want to
change the factory default code if you have not already done so. The soft keys will allow you to confirm the change or
accept the previous code and the SILVER Audio Processor 4Bmini should then be unlocked.

Forgotten SILVER Audio Processor 4Bmini lock code:

Contact SILVER Audio Processor 4Bmini support and request the procedure to reset the SILVER Audio Processor
4Bmini lock code back to factory default. In resetting the SILVER Audio Processor 4Bmini code lock you will also
wipe clean your user presets. We recommend that you export (back-up) your user presets to be on the safe side.

The easiest thing is not to forget the unlock code or to leave it at factory default. The factory default code is easy to
remember, just punch in the first four letters of your favourite audio processor on a telephone keypad.

Entering the pass code

Confirming or changing the
pass code

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Clock Based Control (Dayparting)

The SILVER Audio Processor 4Bmini contains a battery backed up real time clock that can maintain the current time
and date even when the SILVER Audio Processor 4Bmini has its power removed. This allows users to switch
between presets at specific times of the day or week. This is very useful on a multi-format radio station where one
processing preset may not suit all of the formats of music that are broadcast.

The easiest way to control the dayparting is with the remote control application which is described elsewhere in this
manual but the use through the front panel menu system is described here.

The schedule menu contains the following options
The TIME
Daypart ON/OFF control
Dayparts 1-4
Dayparts 5-8

Setting the time (the SILVER Audio Processor 4Bmini system clock)

Setting the time is quite simple. Select the Day, Hour, Minute or Seconds and rotate the Knob until you get to the
desired setting. The Seconds can not be adjusted, only reset to 0 seconds as the knob is rotated.

Daypart ON/OFF

enables or disables the dayparting

The

dayparts 1-4 and 5-8

options drop you down into two further menus. Each containing four dayparts.
For each daypart you can enable or disable it and with the same control set the preset to switch to when the daypart
triggers (when the daypart start time matches the system clock).

You can also set the start time (trigger) of each daypart and set the length that the daypart shall be (the time the
trigger shall remain in force). The start time has a day option and this can be set to ALL which would mean that the
daypart would trigger every day at the specified time. If the length is set so that the trigger will carry across midnight
then the trigger will stop at midnight. TRIGGERS DO NOT CARRY ACROSS DAYS.

The dayparts can be layered so that one can override another. Let's say the default preset was U1:MAIN PRESET
and this was on the air all of the time. We want to change the preset from 7AM to 10AM every day of the week to
F2:CHR and then from 10AM to 12PM we want U4:NEW PRESET and then back to F2:CHR until 5PM.

Rather than setup the dayparts as

DPO: F2:CHR - ALL 07:00 - 03:00

(factory preset 2 to run from 7AM everyday for 3 hours)

DP1: U4:NEW PRESET - ALL 10:00 - 02:00

(user preset 4 to run from 10am everyday for 2 hours)

DP2: F2:CHR - ALL 12:00 - 05:00

(factory preset 2 to run from 12pm everyday for 5 hours)

We could instead setup the dayparts as

DPO: F2:CHR - ALL 07:00 - 10:00

(factory preset 2 to run from 7AM everyday for 10 hours)

DP1: U4:NEW PRESET - ALL 10:00 - 02:00

(user preset 4 to run from 10am everyday for 2 hours)

which saves a daypart position.

By carefully selecting the default preset and overlaying dayparts we are able switch presets significantly more than
you first think you will be able to.

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Specifications

Specifications apply for measurements from analog left/right input to stereo composite output.

Frequency Response (Bypass Mode):

Follows standard 50µs or 75µs pre-emphasis curve ±0.10 dB, 2.0Hz–15kHz.

Noise:

Output noise floor will depend upon on the processor settings but is governed by the dynamic range of the

A/D Converter. The dynamic range of the digital signal processing is 144 dB.

The unit can interface with 600 Ω devices and is therefore compliant with 600 Ω input requirements.

Processing Sample Rate:

48kHz - 768kHz depending on processing stage.

Processing Resolution:

Internal processing has 24 bit (fixed point) or higher resolution.

Analog Audio Input

Configuration:

Stereo

Impedance:

>10kΩ. load impedance, electronically balanced

Nominal Input Level:

Software adjustable from –4.0 to +8.0 dBu (VU).

Maximum Input Level:

+24 dBu or +12 dBu, depending on the internal jumper settings

Connectors:

XLR female Pin 1 chassis ground, Pins 2 (+) and 3 electronically balanced, floating and

symmetrical.

A/D Conversion:

48 KHz 24 bit 128x oversampled delta sigma converter with linear-phase anti-aliasing filter.

Filtering:

RFI filtered.

Digital Audio Input

Configuration:

AES/EBU Stereo, 24 bit resolution, software selection of stereo, mono from left, mono from right

or mono from sum.

Sampling Rate:

32, 44.1, 48, 88.2, or 96 kHz, automatically selected.

Connector:

XLR female. Pin 1 chassis ground, pins 2 and 3 transformer balanced and floating, 110 ohm

impedance.

Filtering:

RFI filtered.

MPX output

Source Impedance:

10 Ohm Single-ended, floating over chassis ground.

Load Impedance:

600 Ohm or greater.

Maximum Output Level:

+12.0 dBu (peak) software-controlled output level control

Minimum Output Level:

0dBu (peak)Software-controlled output level control

Pilot Level:

Adjustable from 6.0% to 12.0% and OFF, software controlled.

Pilot Stability:

19 kHz, ±1 Hz (10 degrees to 40 degrees C).

D/A Conversion:

24-bit

Signal-to-Noise Ratio:

<= –85 dB (Bypass mode, de-emphasised, 20 Hz – 15 kHz bandwidth.

Distortion:

<= 0.02% THD (Bypass mode, de-emphasised, 20 Hz – 15 kHz bandwidth.

Stereo Separation:

Typ. > 70 dB 30 Hz - 15 kHz.

Crosstalk-Linear:

<= –80 dB, main channel to sub-channel or sub-channel to main channel.

Crosstalk-Non-Linear:

<= –80 dB, main channel to sub-channel or sub-channel to main channel.

38 kHz Suppression:

>= 70 dB.

76 kHz & Sideband Suppression:

>= 80 dB.

Connectors:

BNC, floating over chassis ground

Filtering:

RFI filtered.

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Subcarrier (SCA) Inputs

Configuration:

Subcarrier input sums into composite baseband output.

Impedance:

>10K

SCA input level Sensitivity:

Sums into MPX output at 10% injection.

Connector:

BNC, unbalanced and floating over chassis ground.

Pilot Output

19 kHz Pilot Reference:

BNC, 5V sine unbalanced and floating over chassis ground. Software selectable

Remote Control

Serial Port:

DB9 (rear panel) 19200 kbps

Ethernet Port:

10 Mbit/sec on RJ45 female connector.

Remote Control (trigger port):

DB9 opto-isolated and floating. Eight pull low inputs

Other

Voltage:

100–240 VAC, 50–60 Hz, 35 VA.

Connector:

IEC. Detachable 3-wire power cord supplied.

Grounding:

Circuit ground is independent of chassis ground, and can be isolated or connected with a rear panel

switch.

Dimensions (W x H x D):

44mm x 482mm x 200mm

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FOR FURTHER INFORMATION

Audemat-Aztec

20, avenue Neil Armstrong - Parc d'Activites J.F. Kennedy
33700 BORDEAUX - MERIGNAC
FRANCE

Tel: [phone] | Fax: [phone]

Hotline: [e-mail]

USA :

Audemat-Aztec Inc.

Audemat-Aztec Inc
1021 Ives Dairy Road - Suite 216
Miami FL 33179

USA

Tel: [phone] | Fax: [phone]

Hotline: [e-mail]