Copyright 1997 by SMART Devices, Inc.
5945 Peachtree Corners East
Norcross, GA 30071-1337
TABLE OF CONTENTS
SECTION 1 INTRODUCTION ..................................................... 2
SECTION 2 FEATURES ..................................................... 3
SECTION 3 INST ALLATION ..................................................... 4
- SYSTEM CONFIGURA TION .....................................................
- WIRING HOOKUP INSTRUCTIONS
..................................................... 4
4
SECTION 4 CALIBRA TION ..................................................... 10
- A CHAIN CALIBRA TION
- B CHAIN CALIBRA TION
..................................................... 11
..................................................... 12
SECTION 5 OPERA TION INSTRUCTIONS ..................................................... 15
SECTION 6 SCHEMA TICS ..................................................... 15
SMART products are designed to deliver unsurpassed quality in workmanship and performance.
The following information gives detailed instructions on the installation and operation of the
SMART MOD VI stereo processor . We strongly encourage new owners of the MOD VI to thoroughly read this entire manual before placing their new SMART products into service. This will
ensure that the MOD VI will be operated properly to give the superior performance that it was
designed to deliver.
For service or installation assistance, please call our T echnical Support Department between the
hours of 8 a.m.-5 p.m. E.S.T ., Monday - Friday
1-800-45-SMART
LIMITED WARRANTY: SMART products and accessories are warranted against malfunction or failure due to defects in workmanship or
materials for a period of one year from the date of shipment. If a problem occurs during the warranty period, the unit will be repaired, or
replaced at our option, without charge for materials or labor. If air frieght is requested by the dealer, the difference between air and
surface charges will be billed to the dealer. This limited warranty does not cover products that have been abused, altered, modified, or
operated in other than specified conditions. Prior factory approval is required on all returns. Returned equipment or defective parts must
be shipped freight prepaid to us by the dealer or customer.
Our limited warranty doesn not cover damages resulting from accident, misuse or abuse, lack of responsible care, or failures not attributable to manufacturing defects, except as provided herein. SMART Devices, Inc. makes no warranties, express or implied, including
warranties of merchantability or fitness for a particular purpose.
RETURN POLICY: Factory autorization MUST be obtained before returning any product. A 15% restocking charge will be issued on unused
equipment (in original box) that is returned for credit. Credit is issued to the dealer’s account. The credit may be used against future
pruchases and no cash transactions are offered. All returns must be shipped freight prepaid by the dealer. Equipment returned without a
factory RA (Return Authorization) will be refused.
SRS is a registered trademark of SRS Labs, Santa Ana, CA.
Circle Surround is a registered trademark of Rocktron Corp., Rochester Hills, MI.
MOD VI STEREO PROCESSOR
SECTION 1
INTRODUCTION
The MOD VI Cinema Stereo Processor is the first and only processor to incorporate the patented Circle Surroundä technology, the latest innovation in optical stereo soundtrack reproduction. Circle Surround produces 6 channels of audio from a
standard optical stereo soundtrack by sensing the slight phase bias on the surround channel when digital masters are mixed
down to 4-channel optical tracks. This means you can have split surround optical sound presentations in auditoriums that are
equipped for split surround operation.
In addition, the MOD VI utilizes the SRS 3-D sound enhancement system, which brings out sounds that may have been
previously hidden by other processors. The MOD VI is the first processor to have both optical and digital tracks benefit from
the SRS circuitry to produce fuller, wider and more transparent sound and eliminate the auditorium “sweet spot.” This ensures
that the audience will have a full stereo perspective in every seat in the auditorium.
Digital soundtracks may be processed in six channel mode which includes split surrounds and subwoofer.
T o achieve optimum results from your new MOD VI Cinema Stereo Processor, the theatre engineer installing the system
should be totally familiar with all features and adjustments. Careful attention to detail and familiarity with the installation
instructions will allow you to offer a system that has a sound quality second to none.
Using This Manual
For quick reference, this manual has included several icons to alert the reader to special content.
W ARNING! Indicates procedures that may warrant extra attention to avoid component fatality .
DOUBLE CHECK! Indicates tips on avoiding common errors in installation or operation.
SHAMELESS PLUG! Indicates a mention of another quality SMAR T product.
This Text Style indicates the most important primary setup, calibration and
operation instructions.
This T ext Style indicates additional notes and information.
2
SECTION 2
FEATURES
INSTALLATION & OPERATION
Circle Surround DSP Matrix. The patented Circle Surround
produces 6 channels of audio from a standard optical stereo
soundtrack. It does this by sensing the slight phase bias on
the surround channel when digital masters are mixed down to
4-channel optical tracks. This means you can have split
surround optical sound presentations in auditoriums that are
equipped for split surround operation. SMART is the first
manufacturer to introduce this technology into professional
cinema applications. The DSP matrix in the MOD VI produces highly accurate decoding of the optical stereo or SR
soundtrack.
SRS 3-D Sound Enhancement. The patented SRS enhancement is a standard feature of the new MOD VI. No longer an
expensive option, this process can be turned on or off from a
front panel operator switch or by automation. The MOD VI is
the first processor to be able to use SRS on optical stereo
tracks and digital soundtracks. This process is not active in
theaters using Front Surround Mode.
Fader Control/Remote Equalization Settings. The MOD VI
has one master F ADER that controls the overall playback
level for all six channels. This master fader is used as the
volume control for all formats. The individual left and right
master music level controls are located to the front right of
the main circuit board (MR and ML). The octave equalization
settings (7 bands plus bass and treble) are set with potentiometers on the front PCB panel, so re-equalizing the MOD VI
will not be necessary in the event of a main circuit board
replacement.
Format Switching. The formats available on the MOD VI are
Mono, Stereo A, Stereo SR, SRS On/Off, Digital and Music.
All formats may be manually controlled by the gray
pushbuttons on the front panel. Red Light Emitting Diodes
mounted in the front pushbuttons indicate the selected
format. The indicator LED’s are visible from a distance so it is
not necessary to be near the processor to verify the status.
Format switching is also possible by connecting an automation or remote switch contacts to the AUTOMATION
terminals on the back of the MOD VI.
Solar Cell/Reverse Scan Inputs. The MOD VI has stereo
solar cell inputs with electronic changeover for two projectors. Each pair of stereo cell inputs is an electronically
balanced circuit that helps to reduce any interference pickup
on the solar cell leads. Separate “neutral” leads for right and
left channels allow for Reverse Scan wiring.
Digital Inputs. The MOD VI is fully compatible with popular
digital formats (i.e. DTS, Dolby Digital, etc.). The MOD VI
will easily handle the stage, split surround, and subwoofer
channels from an external digital decoder.
Music Inputs. The MOD VI is designed to process both
stereo and mono music sources from tape, CD or cartridge
players. The music is processed through the Circle Surround
matrix to produce 6 channels of sound from a stereo music
source. In addition, these inputs may be used as an A/V
input for use with VCR’s or laserdisc players. The music
inputs are run through the Circle Surround matrix.
Surround Channel Time Delay . The MOD VI has a digital
time delay circuit for the surround channel while playing
optical stereo prints. Time delay of the surround channel in
optical stereo mode is necessary for two reasons: 1) to mask
any front to surround crosstalk and, 2) to synchronize the
stage and surround channels to eliminate echo caused by
different sound path lengths from the stage and surround
speakers.
Main Outputs. The MOD VI has six output channels: LEFT,
CENTER, RIGHT , LEFT SURROUND, RIGHT SURROUND
and SUB(woofer). The SUB outputs are balanced with SUB+
and SUB- terminals available. This allows a standard dual
channel amplifier to be used in mono bridged mode to feed a
subwoofer speaker.
Main Power Supply. A fully-regulated switching power
supply is furnished with the MOD VI processor. This supply
is heavily filtered and supplies ample current for both the
positive and negative 15 VDC supplies, as well as the logic
level 5 VDC supply . This external power supply minimizes the
chances of hum pickup when high gain electronic circuits are
placed in the same chassis as a power supply.
Emergency Sound Backup Power Supply. A 120V backup
power supply is included with the MOD VI to power the
backup preamp built into the MOD VI. This will ensure that
you will never lose a show when using the MOD VI processor. The 120V backup supply delivers about 12 VDC at
100mA. For installations where 120V is not available, the user
should supply their own power supply. The output should
be 12VDC @ 100mA and be relatively ripple free. The bypass
capability is a standard feature on the MOD VI and is not an
extra cost option as it is on other systems. MONO BYP ASS
supplies sound to the Center Channel only.
Digital Smart Port. The Digital Smart Port allows for future
upgrades in the MOD VI, including digital 1/3 octave
equalization and Afterburner effects, as well as an alternative
port for monitor signals.
3
MOD VI STEREO PROCESSOR
INSTALLATION INSTRUCTIONS
SYSTEM CONFIGURATION
T o configure the system type, open the MOD VI
front panel and remove the PCB stops (The
white vertical card guides on either side). Slide
out the main PCB and remove it from the
cabinet. (All rear plugs must be removed).
Six Channel Circle Surround. Jumper across
H2, pins 1 and 2. (factory preset)
SECTION 3
Front Surround Mode. Place a jumper on H2,
pins 2 and 3. Note: SRS mode is not active in Front Surround
mode, since SRS only affects Left and Right channels.
H2 is located towards the back of the MOD VI main board,
Figure 1. Enlargement of the H2 area of the Main circuit
board. (Matrix board not shown).
near the rear left corner of the Circle Surround matrix board.
(see Figure 1.)
PROCESSOR PLACEMENT IN THE RACK
Mounting. Before mounting the MOD VI processor in the
equipment rack or projector console, be sure to select a well
ventilated area that allows cool air to circulate around the
individual components. In SMART prewired rack systems,
the Power Supply (PS-2) is mounted on the floor of the rack,
and the rack-mounted processor is placed at eye level for
easy visibility of the system operation status.
4
Figure 2. MOD VI rear panel (left).
WIRING HOOKUP INSTRUCTIONS
1. Connect Power Supply (PS-2) to the MOD
VI rear panel.
The PS-2 is a cool-running, universal switching power
supply that operates on 100-250 VAC (50-60Hz), needing only
a change in plug to operate in any country . It delivers clean
+15, -15 and +5 DC voltages to the MOD VI and has enough
extra power to run companion products. When installing,
make sure that the processor is not immediately adjacent to
hum producing components. Run the factory supplied
power supply wiring harness along the left side of the
equipment cabinet (when viewed from the rear) to the MOD
VI processor. Dress the wires for appearance and craftsmanship. The wiring harness has a 6 position Phoenix connector
that plugs into the leftmost socket on the rear of the MOD
VI, labeled POWER (see Figure 2).
W ARNING: Do NOT plug a “live” power supply
into the back of the MOD VI processor! Make
sure that the power supply is DISCONNECTED
from the power mains before connecting to the
MOD VI. Failure to heed this warning can cause fatal
damage to internal components and void the manufacturer’s
warranty .
The wire codes for the main Power Supply are as follows
(from left to right on the back of the MOD VI):
Red : +15 VDC
Black : GROUND
White : -15 VDC
Brown : +5 VDC
Backup Power Supply. The emergency power supply is a 12
VDC, 100mA supply that is furnished only on 120VAC
models. It comes from the factory connected to the 6
INSTALLATION & OPERATION
position Phoenix connector when shipped to North American
customers. Other customers in other countries will need to
provide their own 12 VDC, 100mA backup supply .
The wire codes for the Backup Power Supply are as follows
(from left to right on the back of the MOD VI):
Black w/ white stripe : +BACKUP
Black : GROUND
Remember to check all connections before applying
power to the system. A wire that is reversed could
be very destructive to the system.
2. Connect Solar Cell or Reverse Scan
soundhead to SOUNDHEAD port.
Solar Cell. Using three-conductor shielded cable, connect
the wire from the left solar cell (red) to the corresponding
+LEFT1 input terminal of the MOD VI SOUNDHEAD
connector. Connect the wire from the right solar cell (green)
to the +RIGHT1 input terminal. The common solar cell lead
(black) should be connected to both –LEFT1 and –RIGHT1,
and the shield of the cables should be connected to a
GROUND terminal. Be sure to cut off the shield at the
projector end so that a ground loop is not created. Only the
shields on the MOD VI end of the cable should be grounded.
It is good practice to tape or shrink wrap the end of the
shielded cable at the sound head to prevent any stray shield
wires from grounding out to the sound head case.
Reverse Scan. If you are using a Reverse Scan system, use a
two-conductor shielded cable to connect the -LEFT1 and
+LEFT1 terminals on the MOD VI to the corresponding
terminals on the Reverse Scan terminal block. Connect
another two-conductor cable likewise from the -RIGHT1 and
+RIGHT1 terminals to the corresponding terminals on the
Reverse Scan terminal block. The “neutral” wires (-LEFT1
and -RIGHT1) should not be tied together.
If you have a second projector, repeat the above steps except
hook your solar cell wires to the -RIGHT2, +RIGHT2, -LEFT2
and +LEFT2 inputs.
DOUBLE CHECK your work to see that the solar
cell leads arrive at the proper terminals. A reversal
of leads will cause very strange results. You may
hear the center channel information through the surround
speakers, the surround through the stage, and the left
channel out of phase with the right. This is a common error,
so verify correct wiring before proceeding.
Figure 3. Connecting the MOD VI to a Reverse
Scan soundhead.
Figure 4. MOD VI Rear Panel (right).
3. FOR TWO PROJECTOR SYSTEMS: Connect
XOVER and ground terminals on MOD VI
AUTOMATION port to the automation
changeover relay terminals.
Projector changeover is accomplished by using only a single
pair of wires and either a manual switch or relay contacts in
the automation system. A relay closure in the automation
equipment will execute a changeover by grounding the
XOVER terminal. Run a two-conductor shielded cable to the
“dry” contacts of the automation projector changeover relay.
On the other end, connect one wire to the XOVER terminal on
the MOD VI. Ground the other
wire to the nearest ground
terminal on the MOD VI.
Connect the shield of the wire,
on the MOD VI end, to a ground
terminal. Cut off the shield on
the automation end. When the
automation relay closes,
Projector T wo of the MOD VI
will be “enabled,” and the first
pair of stereo preamplifiers
(Projector One) will be “disabled.” Releasing the relay will
cause the reverse action to
5
MOD VI STEREO PROCESSOR
occur. In other words, Projector One is always ON until the
XOVER terminal is grounded. The XOVER terminal must be
tied to ground to activate Projector T wo. It is not a pulsetoggled input.
FOR TWO PROJECTOR SYSTEMS WITHOUT AN AUTOMATION: Rig a single pole, single throw switch between the
XOVER terminal and a GROUND terminal. When the switch
is open, Projector 1 will be active, when it is closed, Projector
2 will be active.
NOTE : Changeover between projectors is done electronically
in the MOD VI. This necessitates that BOTH exciter lamps be
lit at the same time. No exciter light changeover is provided
in the unit. An exciter light changeover has at least 3 dB
more circuit noise than an electronic changeover and is NOT
recommended in high quality systems.
4. Connect the MUSIC LEFT and MUSIC
RIGHT inputs on the MOD VI to the stereo
music source.
The non-sync music inputs for the MOD VI are run through
the Circle Surround DSP matrix to generate 6 channels of
auditorium music. Connect your stereo music source (CD
player, tape, etc.) to the MUSIC LEFT and MUSIC RIGHT
inputs on the back of the MOD VI.
Occasionally, a theater may use a monaural sound player
such as a background music cartridge player or satellite
music service that does not have stereo capabilities. In this
event, connecting a mono signal into both LEFT and RIGHT
MUSIC inputs will generate music in the center channel only .
SMART recommends using a stereo distribution
amplifier such as the SMART DA226 to feed signals
from one music source to multiple sound processors.
5. FOR SYSTEMS USING AN AUTOMATION:
Connect the format pins on the AUTOMA-
TION port of the MOD VI to the systems
corresponding automation relay termi-
nals.
A momentary ground contact on one of the FORMAT
SELECT inputs on the rear of the MOD VI will switch the
processor to any desired format, including music. The SRS
format select terminal will toggle between SRS ON and SRS
OFF when pulsed to ground.
Note: The MOD VI powers up in Intermission Music mode.
MUTING FUNCTION:
A convenient MUTE terminal in the AUTOMATION section
of the back panel allows all output channels of the MOD VI
to be silenced whenever this terminal is grounded.
6. FOR DIGITAL SYSTEMS: Connect the Digital
DB25 connector to the DIGITAL INTER-
FACE port and the Digital systems inter-
face port.
The MOD VI system has six inputs (Left, Center, Right, Left
Surround, Right Surround and Sub) via a DB25 interface
connector marked DIGIT AL INTERF ACE that can be used to
process the outputs from an external digital decoder (i.e. DTS,
Dolby Digital). The DIGIT AL INTERF ACE inputs accept any
high level multi-channel source. The audio signals are
processed through the SRS 3-D Enhancement circuitry (if
SRS is turned on), individual equalizers, and Master Voltage
Controlled Amplifier circuit before they appear at the main
OUTPUTS. These signals do not pass through the Circle
Surround matrix.
The computer-type DB25 connector marked DIGIT AL
INTERF ACE on the back of the processor is for an external
digital decoder. SMART provides the proper cables for the
different digital decoders available on the market.
The DIGIT AL INTERF ACE DB25 pinouts:
Pin 1 Left
Pin 3 Center
Pin 5 Right
Pin 6 Left Surround
Pin 7 Right Surround
Pin 8 SubWoofer
Pin 9 Mono
Pin 10 Music
Pin 11 Stereo A
Pin 12 Digital
Pin 13 Stereo SR
Pin 14-25 Ground
Another application of the DIGIT AL INTERF ACE terminals is
for external sync sources. Sound-Interlock from a 35-mm
reproducer or a single 16-mm projector may be fed into the
DIGIT AL INTERF ACE and selected with the front panel
DIGIT AL format switch.
DEF AUL T OPTICAL SELECTION:
External digital decoders available on the market have a
function that instructs the processor to switch to an optical
format in the event that the digital decoder fails or loses time
code. When this happens, the digital decoder will pulse the
appropriate terminal (MONO, STEREO A, STEREO SR, or
MUSIC) to ground to alert the processor to switch to the
optical format. The information pertaining to which format to
default to is encoded in the digital soundtracks on DTS
prints. On Dolby Digital, the default is SR.
6
INSTALLATION & OPERATION
Figure 5a. MOD VI DSP Matrix circuit board diagram (left).
7. Connect the OUTPUT terminals of the MOD
VI to the inputs of the system amplifiers.
The main OUTPUTS are labeled LEFT, CENTER, RIGHT ,
LEFT SURROUND, RIGHT SURROUND, SUB+ and SUB-.
Shielded cable should be run between these terminals and the
next piece of equipment in the sound system (equalizer,
amplifer, etc.). Convenient GROUND terminals are provided
near the outputs. A balanced subwoofer output is available
on the MOD VI to provide an easy means to mono bridge the
sub amplifier. The subwoofer output may also be operated in
an unbalanced configuration by connecting to the SUB+
terminal and GROUND.
DIGIT AL SMART POR T:
The Digital Smart Port has been added to allow for an
optional 1/3 octave equalizer replacement for the built-in
octave equalization,in addition to other features. Six internal
jumpers (H14, H17, H18, H19, H20, and H21) must be changed
to bypass the octave equalizer and activate the Digital Smart
Port. The Digital Smart Port pinouts are listed on the following page:
7
MOD VI STEREO PROCESSOR
Figure 5b. MOD VI main circuit board diagram (left).
Pin 1 Subwoofer In
Pin 3 Right Surround In
Pin 5 Left Surround In
Pin 7 Right In
Pin 9 Center In
Pin 11 Left In
Pin 12 +15 VDC
Pin 13 -15 VDC
Pin 14 +5 VD C
8
Digital Smart Port Pinouts
Pin 15 Subwoofer Out
Pin 17 Right Surround Out
Pin 19 Left Surround Out
Pin 21 Right Out
Pin 23 Center Out
Pin 25 Left Out
Pins 2, 4, 6, 8,
10, 16, 18, 20,
22, & 24 Ground
INSTALLATION & OPERATION
Figure 5c. MOD VI main circuit board diagram (right).
9
MOD VI STEREO PROCESSOR
CALIBRATION
SECTION 4
Required Equipment
· sound pressure level meter
· real time analyzer (RTA) with a calibrated
microphone
· dual trace oscilloscope
· multimeter
· a tuning wand
· S.M.P.T.E. Buzz Track Loop
· C.A.T. #97 Stereo Cell Alignment Film
· C.A.T. #69 Test Film
Before Calibrating
1. Turn on sound systems for 1 hour.
2. Turn off the SRS feature.
3. Close all doors.
4. If the MOD VI is mounted in a rack, make sure
exhaust fan is running.
For more detailed information about setting up
SMART processors, see the Theatre Sound for
SMAR T Systems guide.
A CHAIN CALIBRATION
TP7 and TP8 are located on the bottom side of the front
center of the MOD VI main board between the J1 and J2
connectors. TPG (GROUND) is located to the left of J1, also
on the bottom side.
5. Turn Gain controls fully clockwise.
6. Turn Slit Loss controls fully counterclock-
wise.
The Preamp Gain controls are R1 and L1 for projector 1, and
R2 and L2 for projector 2. The Slit Loss controls are LHF1
and RHF1 for projector 1, and LHF2 and RHF2 for projector 2.
Both sets of trimpots are located on the left hand side of the
front of the main circuit board.
7. Turn the master FADER all the way down
to avoid excessive noises in the audito-
rium for the next steps.
The A chain is usually considered to be the signal path
originating from the solar cell and continuing to the
processor’s master fader. This signal path includes the
preamp, noise reduction and matrix stages.
PRELIMINARY
1. Clean soundhead optics, exciter lamp,
optical lens and solar cell before attempt-
ing a soundhead alignment.
2. Set exciter lamp voltage for at least 80%
of rated voltage.
BMX 9 volt 4 amp – 7.2 volts
BXN 10 volt 5 amp – 8 volts
Most foreign 6.3 volt 4 amp – 5 volts
3. Make sure film/cell spacing is approxi-
mately 1 mm with the slit image striking
the top one-third of the solar cell.
4. Open the MOD VI front panel and connect
Oscilloscope and real time analyzer to
the TP7 (left preamp) and TP8 (right
preamp) test points.
Figure 6. Low crosstalk between channels
SOUNDHEAD ALIGNMENT
1. Play a S.M.P.T.E. Buzz Track loop.
2. Adjust the lateral film guide assembly,
laser lens assembly or exciter lamp
assembly while monitoring the preamp
signals with the oscilloscope.
3. Adjust for minimum signal on the left and
right channels.
Refer to specific instructions in the projector soundhead
manual. Minor variations in alignment procedure depend on
the individual mechanical design of the soundhead.
10
4. Play C.A.T. # 97 Stereo Cell Alignment
Film.
5. Move laser lens or solar cell laterally and
vertically until you have achieved mini-
mum crosstalk between channels (see
figure 6).
6. Repeat steps 1-5 until no further im-
provement can be obtained.
7. Play Pink Noise side of C.A.T. #69 Test
Film.
8. Switch oscilloscope to X/Y Mode.
9. Adjust sound head optical lens azimuth
for narrowest diagonal trace (see figure
7).
10.Observe the real time analyzer and focus
the lens for maximum high frequency
output while maintaining the best azi-
muth.
INSTALLATION & OPERATION
With a narrow slit optical lens, the response should
be flat within ± 3 dB to about 12 kHz with NO slit
loss correction. If not, this MUST be corrected
before proceeding with the next steps. It is not permissible
to use slit loss correction to correct poor high frequency
response caused by misalignment of the optical soundhead.
An EXCITER LAMP out of alignment, the barrel of the
optical lens crooked, or oil in the optical lens will all affect
output and balance.
SLIT LOSS CORRECTION
1. Run the Pink Noise side of C.A.T. #69 Test
Film.
2. Observe the frequency response on your
RTA which should be still connected to the
preamp testpoints.
2. Adjust the left and right slit loss correc-
tion trimpots on the PREAMP for optimum
flat high frequency response.
Do not over adjust the slit loss correction in an
effort to obtain extended response. This will result
in an undesirable frequency response peak. While
adjusting the slit loss correction, aim for as flat a high
frequency response as possible. If one of the preamp
channels is slightly worse that the other , then adjust the
better responding preamp to match the lesser. This will
ensure that the matrix steering in the MOD VI will be as
accurate as possible.
Figure 7. Pink noise in X/Y mode on the oscilloscope.
This is not easy, but it is one of the most critical adjustments
affecting the overall system performance and is often not
done as well as it should be.
5. Adjust the vertical and lateral alignment
of the EXCITER LAMP for maximum output
on both channels. This is especially
critical with a narrow slit optical lens
because there is a much smaller win-
dow for the light to pass through.
6. Check the high frequency output on both
channels and make sure the response is
the same on both channels.
OPTICAL PREAMP CALIBRATION
1. Run a Dolby C.A.T. #69 Test Film, Dolby
tone side.
2. Locate the preamp calibration switch
(SW1) and LEDs (LED1 and LED2) on the
left hand side of the front of the main
circuit board.
3. Push SW1 to the left. This causes the
LEDs to indicate the status of the Left
Figure 8. Left side potentiometers (Preamp, slit loss,
hearing impaired, and mono levels) and preamp selection
switch (SW1).
11
MOD VI STEREO PROCESSOR
channel preamp level.
Make sure you are changed over to the correct projector by
observing the XOVER pin on the back of the MOD VI. If the
pin is open, the system is in projector 1 mode, if it is
grounded, the system is in projector 2 mode.
3. Adjust Projector 1 left channel gain con-
trol (L1) until both LEDs are lit.
This is a very critical adjustment. Y ou may not be
able to get both LED’s on simultaneously. Try to
get as close as possible.
Figure 9. Right side potentiometers (Music, Digital, and
main output levels) and Emergency Bypass switch (SW2).
4. Repeat steps 1-3 for the right channel
gain control (R1), and for projector 2 left
and right channel gain control (L2 and
R2).
Y ou can verify that the LED meters are indicating correctly by
connecting an AC voltmeter to the LEFT PRE (TP7) and
RIGHT PRE (TP8) test points located on the bottom side of
the front of the main circuit board between connectors J1 and
J2. Ground (TPG1) is located to the left of J1. Y ou should
read between 300 to 325mVAC at these test points.
MONO BYPASS
MONO Bypass mode utilizes an auxiliary power supply to
power the Preamp circuitry, generating mono sound in the
Center channel.
1. Run a film soundtrack.
2. Listen to the CENTER channel on the booth
monitor.
3. Switch from Normal to Backup.
The red Backup Switch (SW2) is mounted on the front right
of the main board, behind the front panel. Pushing the switch
to the right is MONO BYP ASS mode, to the left is NORMAL
mode.
4. Adjust the MONO bypass level pot (left
front on the main board) to achieve equal
levels while switching from Normal mode
to Bypass mode.
Need a low cost Booth Monitor designed with the
MOD VI in mind? Try the SMAR T Devices Cinema
STEREOCHECK!
B CHAIN CALIBRATION
The B Chain Calibration is generally considered to be the
signal path from the processor’s master fader to the speakers.
12
This signal path includes the equalizers and output stage.
Before continuing with the B Chain Calibration, check the
wiring of all auditorium speakers to make sure the phase is
correct.
The “SMART EZ Phase Checker” is a perfect unit
for verifying proper phase of speakers!
PRELIMINARY
Special Note: If you will be installing an external
digital decoder, do so AFTER setting house levels.
See the DIGIT AL LEVEL SETTINGS at the end of
the B CHAIN CALIBRA TION section for more information.
1. Select STEREO A by pushing the appropri-
ate button on the front panel.
2. Set the FADER to the one o clock position.
EQUALIZATION AND HOUSE LEVELS
The equalizers are normally shipped with the individual
trimpots set for a flat frequency response. The octave
equalizers used for the stage channels are capable of cutting
and boosting each frequency ±10 dB. The individual
trimpots are single turn types, with the mid position of each
pot being flat (unity gain).
The MOD VI has a built in Pink Noise Generator on the Circle
Surround DSP Matrix Board. The TIME DELA Y rotary switch
located on the front of this board has six Pink Noise settings
for generating Pink Noise in any one of the six audio channels:
Pink Noise Settings on TIME DELA Y rotary switch
A LEFT
B RIGHT
C CENTER
D LEFT SURROUND
E RIGHT SURROUND
F SUBWOOFER
Figure 10. ISO Cinema Playback Standard states
that octave bands should be tuned for flat re-
sponse to 2 kHz, with a 3 dB/octave rolloff above 2
Figure 11. MOD VI front panel with equalizer poten-
tiometers along the front.
INSTALLATION & OPERATION
Bass control affects frequencies below 100Hz, and treble
affects frequencies above 10kHz.
3. Adjust the output trimpot on the right
front of the main circuit board (labeled L,
C, R, LS, and RS) so that 79 dBC spl is
measured in the auditorium.
4. Repeat steps 1-3 for the five main chan-
nels (Left, Center, Right, Left Surround
and Right Surround).
Notes On Gain And Equalization: Sound contrac-
tors learned, a long time ago, that boosting fre-
quency bands adjacent to bands that are cut
introduce a phase shift that the ear is very sensitive to.
Although the test instruments show a nice curve, the sound
has a coloration that is not natural. For this reason, we
encourage you to apply the minimum amount of boost and
cut whenever needed. Never over-equalize the system. All
frequencies may be cut and boosted by as much as 7 dB in
each of the octave bands without creating the above
problems. Before attempting to equalize, be sure the stage
speaker connections are properly polarized, the polarity of
the components in each speaker system is correct, and the
speaker devices are mechanically aligned according to the
manufacturer’s recommendations. Remember that equalizers
are used to tune the room, NOT to correct poor speaker
installation and alignment.
SUBWOOFER LEVELS
Figure 12. TIME DELAY rotary switch on the Matrix
board.
1. Set the TIME DELAY switch (SW1) on the
Circle Surround DSP Matrix Card to the
correct setting for channel you wish to
equalize.
2. Perform the channel equalization (see
Figure 10) using the trimpots located
inside the front panel (figure 11).
1. With the SubWoofer Pink Noise channel on,
adjust the sub level trimpot (SUB) to the
right on the front of the main circuit board
for 79 dBC spl from the subwoofer.
The installer may wish to adjust for another level, depending
on the amount of subwoofer desired.
MUSIC (NON-SYNC) INPUTS
1. Select Music mode and turn on the music
source that is feeding the MOD VI.
2. Turn the left and right music level trimpots
(LM and RM) on the right front of the main
board to obtain a normal house level.
These trimpots are factory set and may not need adjustment.
Adjust the trimpots so that right and left music are set to the
same level. A way to accomplish this is to play a stereo
music selection with a good vocal track and adjust either the
left or right music trimpots for minimum vocals in the surround channel.
The music is played through the DSP matrix the same as a
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MOD VI STEREO PROCESSOR
soundtrack and provides 6 channel decoding from a conventional 2-channel stereo source. This exclusive feature in the
MOD VI presents a high impact playback in the auditorium
for pre-show entertainment. Although all 2 channel commercial stereo recordings contain hidden “extra channel”
information due to multiple microphone recording or multitrack mixdown, you will really appreciate the effect if you
purchase CD’s that have been encoded in “Circle Surround”
with 6-channel source. There are many new recordings
available with the “Circle Surround” logo on the CD case.
TIME DELAY
The encoder switch for the Pink Noise is also the control for
the overall time delay . The time delay settings for the TIME
DELA Y encoder switch (located on the Circle Surround DSP
Matrix board) are as follows:
Switch pos. Delay Switch Pos. Delay
0 35 ms 5 60ms
1 40 ms 6 65ms
2 45 ms 7 70ms
3 50 ms 8 75ms
4 55 ms 9 80ms
1. Measure the distance in feet from the
ideal seat (which is usually 2/3 of the
way back from the stage speakers, cen-
tered side to side) to the stage speakers.
2. Measure the distance from the ideal seat
to the nearest surround speaker.
3. Subtract the two measurements.
4. Add 20 to this number to get the delay (in
milliseconds) required in the auditorium.
5. Set the rotary switch on the Circle Sur-
round Matrix Card (SW1) to the nearest
setting in milliseconds.
2. Use the DIG trimpot (located on the front
right side of the main circuit board) to
fine-tune the digital level relative to the
Stereo-Optical level.
CINEMA STEREOCHECK BOOTH MONITOR. Our
companion MN600 monitor cosmetically matches
the MOD VI and has a quick connect DB25 connector to carry signals and power from the MODVI to the
monitor inputs. This economy monitor uses the same power
supply as teh MOD VI and is easy to connect. Please see the
installation manual for the MN600 for more details.
Figure 13. DSP Circle Surround Matrix board.
DIGITAL LEVEL SETTINGS
The MOD VI offers a digital level modifier trimpot (DIG) that
provides cut from the main F ADER level when in digital
mode. In addition to externally trimming the DIGIT AL INPUT
signals, the installer may use this trimpot to fine tune the
DIGIT AL to Stereo-Optical sound level matching.
Make sure that all other B-chain calibration adjustments have
been made prior to adjusting the digital levels (see special
note in the PRELIMINARY section of the B CHAIN CALIBRA TION).
1. Make adjustments at the output of the
external digital decoder or interlock audio
tape machine (see manufacturers
manual).
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Figure 14. Model PS-2 switching power supply.
SECTION 5
OPERATING INSTRUCTIONS
The MOD VI system is one of the easiest systems to operate.
The Managaer/Operator of the sound booth should review
the operation instructions to assure that emergency functions are also understood in the unlikely event of an equipment failure.
TURNING ON THE SYSTEM:
The sound engineer who installed the sound system has
provided a way to apply power to the system through a
master power switch or circuit breaker. Also, several of the
individal components in the equipment rack have their own
power switches. Become familiar with all switches or breakers
that control power to the sound equipment.
INSTALLATION & OPERATION
front of the main circuit board. The front panel is mounted on
hinges and latched by magnets, so a light tug on the top of
the panel should open it for access.
MONO BYP ASS SWITCH:
The MOD VI contains an emergency bypass system that will
keep the sound on the screen in the event of a failure of the
processor. This special circuitry is activated by the MONO
BYP ASS switch, which is located behind the front panel on
the front right of the main circuit board. The switch is bright
red, and switching it to the right puts the system in MONO
BYP ASS, to the left is NORMAL mode. During MONO
BYPASS, sound is produced only through the Center
channel.
The MOD VI is equipped with a power up muting circuit that
allows time for the low level circuits to stabilize before
enabling the processor outputs. This circuit prevents a
“turn-on thump” from being passed to the auditorium
speakers. However, since most amplifiers are not equipped
with a comparable muting circut for the power down sequence, it is recommended that the amplifiers be turned off
before the processor to avoid a “turn-off thump” in the
auditorium.
MUSIC SELECTION:
It is likely that the sound system will be turned on before the
arrival of the first audience of the day. The MOD VI powers
up in Music mode. If the music player (CD player or tape
machine) is running, music will be heard in the auditorium and
on the booth monitor. Music may also be selected by
pressing the front panel MUSIC button.
PROGRAM SELECTION:
The automation should be set to select the proper formats
when needed. However, any format may be overriden by
simply pushing one of the Format buttons located on the
front of the MOD VI.
LEVEL:
This control is used to set the system level for any format.
The system was calibrated with the F ADER at the one o’clock
position, which is where most prints will play at a normal
level.
MONO BYP ASS uses the same preamp circuitry as
normal operation. The power is supplied simulta-
neously by the main supply and a small backup
power pack. In the unlikely event of preamp circuitry failure,
the backup system may not function. If this happens, please
contact your service technician or call the SMART factory.
SRS 3-D SOUND ENHANCEMENT:
The SRS function (activated by the button on the front panel)
applies special processing to the Left and Right sound
channels to provide fuller and wider sound. This process is
therefore not available in the Front Surround Mode, as the
Left, Center and Right signals are mixed in this mode.
MUSIC LEVEL CONTROL:
The music level should have been preset by the installer of
the sound system. However, if any change in music level is
desired then the LM (Left) and RM (Right) music level
controls can be turned to change the overall volume level.
These trimpots are located behind the front panel on the right
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