TC electronic DB8 User Manual

Download

ALGORITHMS - CONTENTS

Introduction

Table of Contents . . . . . . . . . . . . . . . . . . . . . . . .1

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2

Algorithms

ATX/DTX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3

Multiband 5.1 . . . . . . . . . . . . . . . . . . . . . . . . . . .9

MDX 5.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15

Downconvert 5.1 . . . . . . . . . . . . . . . . . . . . . . . .25

Upconvert 5.1 . . . . . . . . . . . . . . . . . . . . . . . . . .29

Upcon & Upcon+ . . . . . . . . . . . . . . . . . . . . . . .33

EQ/Delay 8 . . . . . . . . . . . . . . . . . . . . . . . . . . . .41

Preset List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .a

TC Electronic, Sindalsvej 34, DK-8240 Risskov tcdk@tcelectronic.com

Algorithms DB8/DB4 Rev 1.60 English version

INTRODUCTION

Introduction

This chapter contains lists of available factory presets (defaults) for both Scene and Engine set-ups. Also comprehensive information about the specific processing configurations (algorithms) in DB8 and DB4 are available. If you are looking for detailed descriptions for the individual parameters in the processors, this chapter is the place to look.

Compatibility: Presets are fully compatible between DB4 and DB8 units. Scene, Routing and Engine presets may be shared between the units using Floppy Disc, PCMCIA Card or Banks via Network. However, Engine 3 and Engine 4 settings are disregarded by a DB4.

Channel Distribution In Surround Algorithms

To best comply with the channel allocation used by most digital AES-format equipment the Input/Output channels on surround algorithms are allocated as follows:

1 Left 2 Right 3 Center 4 LFE 5 Left Surround 6 Right Surround

These channel allocations comply with the following standards:

• ITU-Recommendation ITU-R BR.1384, Parameters for International Exchange of Multichannel Sound Recordings, 1998

• SMPTE 320M-1999, for Television - Channel Assignments and Levels on Multichannel Audio Media

• Surround Sound Forum Recommended Practice SSF- 02/1-E-2 (3-5-99), Multichannel Recording Format, Parameters for Programme Interchange and Archiving, Alignment of Reproduction Equipment

Grouping the Inputs/Outputs this way ensures optimal flexibility for further external processing and archiving, when working on setups following the above mentioned standards. It is, however, worth noticing that total routing-flexibility

of physical Inputs/Outputs to Engine Inputs/Outputs is available on DB8/DB4 via the Routing page.

Metering In the Engine Edit Pages

For logical channel metering in the various surround algorithms, the meters on the Engine Edit pages are displayed in the following order.

Left - Center - Right - Left Surr. - Right Surr. - LFE

We believe that by displaying the meters on the Engine Edit pages in the same order as your speakers are physically placed, the most intuitive metering of channellevels is achieved.

ATX/DTX

Introduction

This processor is a comprehensive, high quality Loudness control, Level optimizer and Peak Limiter. It can be configured as Stereo, Wide Stereo or Dual Mono. The processor uses 48 bit processing for extremely low distortion and wide dynamic range, and oversampled peak limiting on the Output.

The ATX/DTX algorithms can be operated in three distinctively different modes:

- Stereo. In this mode the Loudness, EQ and Multiband

sections operate in tandem: Whatever gain change is applied to one channel, is applied to the other. Also, many parameters have mutual left and right controls.

- Dual Mono. In this mode the Loudness, EQ and

Multiband sections treat the two Input signals completely independently.

- Stereo Wide. In this mode the apparent width and image

of stereo signal can be altered simultaneously with controlling loudness and peak level. The left and right signal is internally de-composed into an M(Mono) and S(Stereo) component, and reverted to left and right signals before peak limiting on the Output.

DTX/ATX

The algorithm previously known as Multiband-2 is now split into DTX for digital broadcast and ATX for analog broadcast. The ATX is high res, low latency loudness control algorithm with adaptive emphasis limiting for feeding analog transmission. The variations between ATX and DTX is found only on the Limiter page. All other pages are therefore described as the same in the manual section.

Reference Level

Reference Level defines the standard operating level, and scales the Threshold and Target Level parameters of the Loudness control and Multiband section. The Threshold of the Limiter is not influenced by this setting, but is always relative to 0dBFS. Typical Reference Level settings would be -20 dBFS in the America and some parts of Asia, and -18 dBFS in Europe, Japan and some parts of Asia. If you wish to relate all levels to 0 dBFS, leave the Reference Level setting at 0 dBFS.

Analog vs. Digital level

If you use analog interfacing, remember always to set the relationship between absolute analog and digital level before adjusting parameters in the Engines.

DB8/DB4 has analog scaling before the A to D converter and analog scaling after the D to A converter. These settings can be changed and stored from the user interface on the Slot A-C screens. Typical analog I/O level scaling would be +24dBu in the Americas and some parts of Asia, and +18dBu in Europe, Japan and some parts of Asia. The figure denotes the analog level required or produced for a 0dBFS signal.

Note 1:

Be careful when changing between configurations. Moving from Dual Mono to Stereo will result from parameter settings of the left (or “A”) channel being copied into the right (or “B”) channel. Going from Dual Mono to Stereo and back to Dual Mono will therefore overwrite original right (or “B”) channel settings.

Note 2:

In all configuration modes, linking of the Brickwall Limiter is set separately on the Limiter page. Some broadcasters like the sound of operating left and right limiting without stereo coupling because they feel that it maximizes loudness and widens the stereo image. On dual mono sources, of course you should always choose un-linked Limiter operation.

Main page

In Gain

Range: 0dB to Off Separate level controls for Left and Right Input (A and B).

Phase Inv

Range: Normal/Inverted Press to phase invert channels A, B or both.

Delay

Range: 0-1000ms Delay alignment of the Input channels. Depending on

Algorithm Inputs/Outputs are distributed as follows:

E1 - E4

L R

INPUT

OUTPUT

•

ATX/DTX

selected Configuration type, either one common Delay setting or individual delay settings are available.

Delay Unit

Range: ms, 24fps, 25fps, 30fps With this parameter it is possible to select which unit the Delay parameter should be shown in. Changing this parameter does not affect the actual delay value.

Lo Cut

Range: Off to 200Hz Second order LoCut filter on both Inputs.

Hi Cut

Range: Off to 3 kHz 8th order HiCut filter on both Inputs.

Look ahead Dly

Range: 0-15ms If the 5 band Compression sections is set to use a very short Attack times (up to approx 10-15ms) overshoots may occur. The Look Ahead function allows the DB8/DB4 to evaluate the material just before processing and artifacts can thereby be prevented. Be aware that the Look Ahead delay function actually Delays the Output signal.

Loudness page

Target Level

Range: +10dB to -10dB This is the level the Loudness controller will aim at on its Output. Target Level is relative to Reference Level on the Main Page.

Max Reduction

Range: -20dB to 0dB This is the maximum attenuation the Loudness Control is allowed to perform. If set to 0.0dB, the Loudness Control cannot attenuate the signal at all. The level diagram on this page is shown with Max Reduction set at 0.0dB.

Max Gain

Range: 0 to +20dB This is the maximum gain the Loudness Control is allowed to perform. If set to 0.0 dB, the Loudness Control cannot add gain to the signal at all.

Freeze Level

Range: -10dB to-40dB Sets the minimum level required before the Loudness Control will start adding more gain. It would typically be set to avoid boosting signals considered noise. The Freeze Level parameter is relative to the Reference Level setting on the Main page.

Freeze Hold

Range: 0 to 5 seconds When the Input signal drops below the Lo Level, the Gain Correction of the Loudness Section is frozen for the duration of the Hold time. When the Hold period expires, the Gain Correction falls back to 0dB gain.

Level Trim

Range: -18dB to + 18dB When using the Multinband algorithm, DB8/DB4 operates with 48 bit precision on all audio internally and it is possible to correct loudness manually without the risk of overloads. The Level Trim can be used for permanent off-sets or live loudness adjustments.

Ratio

Range: 1:1.25 to 1:6 Ratio is the steering factor used when the Loudness Control applies boost or attenuation to reach the Target Level. The higher ratio, the more rigid steering towards the Target Level.

Average Rate (Avg Rate)

Time constants in the Loudness Control are changed dynamically with the Input signal based on computations by multi-level detectors. When the Output level is close to the Target Level, gain changes are relatively slow.

The Average Rate offsets all time constants to be faster or slower. Values below 1dB/Sec produces a gain change gating effect when the Output level is already in the target zone, while values above 4dB/Sec will add density to sound.

ATX/DTX

Slow Window

Range: 0 to 20 dB The slow window is the area around the set Target Level. Within the slow window the Loudness is only gently controlled. When the signal exceeds the limits of the Slow Window the Loudness is treated more radically. Depending on the set Average Rate and Ratio. Please see illustration on the next page!

EQ page

Introduction

This digital EQ features a four-band parametric EQ with high- and low-pass filters switchable between Notch,

Parametric, Shelving and Cut filters. The needle sharp notch filter has a range down to 0.01 octave and the shelving filters has a variable slope, ranging from gentle 3 dB/oct over 6 and 9 to 12dB/oct. Cut filters are switchable between 12dB/oct maximum flat amplitude (Butterworth) or flat group delay (Bessel) types. The parametric equalizer features a natural and well defined bandwidth behavior at all gain and width settings:

Basic operation

• Press keys Lo, Mid and Hi to activate/deactivate the EQ

bands.

• Select Freq, Gain, Type or Lo/Hi to access all four

parameters on individual bands.

• Press Bypass EQ to bypass all four bands.

ype Selector

• Press Type and use faders 1-3 to select filter types.

For Lo and Hi filters select between filter types: Parametric, Notch, Shelve and Cut.

Multiband parameter illustration

ATX/DTX

For the Mid filter select between filter types: Parametric and Notch.

Parametric Filter - Broad type

Shelving Filter

Notch Filter - Narrow Type

Cut Filter - Bessel type

Cut Filter - Butterworth type

Freq

Press Freq and use Faders 1 to 3 to adjust frequence for each of the four bands.

Range - Lo band : 20Hz to 20kHz Range - Mid band : 20Hz to 20kHz Range - Hi band : 20Hz to 40kHz

Gain

Press Gain and use Faders 1 - 3 to adjust gain for each of the four EQ bands.

Range for the Parametric, Shelve and Cut type: Lo Gain : -12dB to +12dB Mid Gain : -12dB to +12dB Hi Gain : -12dB to +12dB

Range for the Notch filter: Lo Gain : -100dB to 0dB Mid Gain : -100dB to 0dB Hi Gain : -100dB to 0dB

Type

Press and use Faders 1-3 to set BW value for each of the 4 EQ bands.

Range for the Notch filter: Lo BW : 0.02oct to 1oct Mid BW : 0.02oct to 1oct Hi BW : 0.02oct to 1oct

Range for the Parametric filter: Lo BW : 0.1oct to 4oct Mid BW : 0.1oct to 4oct Hi BW : 0.1oct to 4oct

Range for the Shelve filter: Lo BW : 3dB/oct to 12dB/oct Hi BW : 3dB/oct to 12dB/oct

Range for the Cut filter: Lo BW : Bessel or Butterworth Hi BW : Bessel or Butterworth

Bandwid

th/Q - Key-Values:

BW Q

0.5 - 2.87

0.7 - 2.04

1.0 - 1.41

ATX/DTX

5 Band Page

Xovers

Press this button to access the four cross-over points between the five-bands. The parameters are Automatically assigned to faders 1-4. Parameter range: Xover 1: Off to 1,6kHz Xover 2: Off to 4kHz Xover 3: 100Hz to Of, Xover 4: 250Hz to Off

Defeat Thresh

Range: -3 to -30dB This is a unique control which holds the gain from the multiband compressor below a certain threshold. No matter the spectral shaping applied from multiband system, below the Defeat Threshold, the frequency response is flat and gain is unity. Defeat Threshold is relative to Compressor Threshold, which is relative to Reference Level.

Defeat Ratio

Range: Off to Infinity Controls how close to the Defeat Threshold the make-up gain of the compressor is counteracted. At high ratios, the signal only has to be slightly below the Defeat Threshold before the compressor gain is fully defeated.

Thresholds A & B

Parameter range: -25 to 20dB Thresholds and the overall All Threshold. Press this button to access the five individual band Threshold is relative to Reference Level set at the Main page.

Gain

Parameter range: 0 to 18dB Press this button to access the five individual band Gains and the overall All Gain.

DXP Mode - introduction

The 5-band section is either in normal compression mode, or DXP mode. Instead of attenuating signals above a

certain threshold, DXP mode (Detail Expansion) lifts up signals below the Threshold; thereby bringing out details rather than squashing the loud parts. DXP mode therefore is capable of adding intelligibility and air to speech, lifting harmonics, or emphasizing ambience without increasing overall peak level.

As shown on the illustration, gain is positive below threshold, unity at Threshold, and the effect decreases above Threshold. In DXP mode, Ratio becomes Steer. Steer can be regarded as an adaptive Ratio that gradually approaches 1:1 above the threshold.

Multiband DXP DXP mode can be used with any number of bands up to 5. When used multiband it is particularly effective in bringing out air and clarity. The processor can act as an automatic Eq that removes a boost when it's not needed: At very low levels, where noise is dominant, and at loud levels where sibilance would become a problem. Besides from being effective on speech, DXP mode can be used in mastering to bring up low levels, e.g. when preparing film or concerts for domestic or noisy environment listening.

Try setting the Steer and/or Threshold parameters differently in the bands to hear the effect. High Steer values add more detail gain than low values, but remember that Threshold has to be negative to add detail gain at all. DXP Threshold relates to the Reference Level set on the Main page.

To disable DXP detail gain at very low levels, use the Defeat Threshold and Defeat Ratio controls. Defeat threshold relates to the DXP threshold, and allows for

a certain level-window, inside which detail gain is applied. Defeat Ratio determines the slope at which DXP detail gain is defeated.

ATX/DTX

Ratio - DXP mode OFF

Parameter range: Off to Infinity:1 Press this button to access the five individual band Ratios and the overall All Ratio. The parameters are Automatically assigned to fader 1-6.

Attack

Parameter range: 0.3 to 250ms Press this button to access the five individual band Attacks and the overall All Attack. The parameters are Automatically assigned to fader 1-6.

Release

Parameter range: 20ms to 7s Press this button to access the five individual band Release and the overall All Release. The parameters are Automatically assigned to fader 1-6.

DTX Limit page

Link Limiter

Range: -3, -2, -1, Normal +1, +2, +3 When Link is active, the same amount of peak limiting is always applied to both channels.

Some broadcasters like the sound of operating left and right limiting without stereo coupling because they feel that it maximizes loudness and widens the stereo image. On dual mono sources, of course you should always choose un-linked Limiter operation.

The Configuration control on the Main page does not affect the Link Limiter setting. This link is running individually from the selected configuration.

Softclip A/L and B/R

Parameter range: - 3dB to Off When active, Soft Clip applies a saturation effect on signals close to maximum Output level. The threshold is relative to the Threshold of the Brickwall Limiter. This controlled distortion of transients works well for adding loudness, but is not a desirable effect with some data compression codecs. While the Brickwall Limiter is extremely low distortion, Soft Clip is not. Use your own judgement if you want it or not.

Threshold A & Threshold B

Parameter range: -12 to 0.0dBFS Sets the Threshold of the Brickwall Limiter. The Threshold is relative to 0 dBFS, not to the Reference Level set on the Main page.

The Brickwall Limiter uses 48 bit processing with distortion figures surpassing the quality demands of DVD-Audio mastering. Oversampling is used to prevent intersample peaks from reaching the Output, and time-constants adapt to the Input signal.

Fader A & Fader B

Parameter range: Off to 0dB Fader function on the Output. When Dual Mono configuration is selected, individual Output faders are available.

ATX Limit page

Parameters that are not described under DTX Limit page:

Emphasis

Range: Off, 50µs, 75µs, J17 To pre-condition signal better for analog transmission, the limiter in ATX can take downstream emphasis into account. Note that the output signal of DB4 or DB8 does not contain pre-emphasis, but is linear, so STL data reduction isn't compromised. When the Emphasis parameter is set to Off, linear limiting (like in DTX) is available.

HF Offset

Range: -12dB to 0dB When set to 0 dB, emphasis limiting precisely follows the selected pre-emphasis curve. However, lack of peak conservation in the downstream signalpath (DA converters, sample rate converters, filters, data reduction etc.) may necessitate a more conservative HF Offset, targeting, for instance, 1 or 2 dB below the theoretical roll-off. When the Emphasis parameter is set to Off, HF Offset has no effect.

Output

Off, -100dB to 0dB Output level control

MULTIBAND-5.1

Introduction

The Multiband-5.1 algorithm is a multi-channel, multi-band optimizer, with Limiters and extensive possibilities to assign channels to multiple Sidechains. Four-band dynamics are available for 5.1-processing. With the Multiband-5.1 it is possible to integrate dynamics processing for 5.1 applications offering features, which are not possible if using multiple stereo dynamic processors.

Multiband-5.1 processor contains:

• 5 channels of three band expansion and compression

• Full-range brickwall limiter on all Outputs

• 1 channel of full range expansion, compression and limiting for the LFE (Sub) channel

• 3 Sidechains for the five main channels, that can be assigned in flexible ways

• 1 extra Input channel that can be used for external Side Chain Input.

Main

At the Main page you have access to the general set-up parameters for the Expander and Compressor sections. Meters are shown for all seven Inputs and six Outputs at the right of the display.

Band Xover Frequencies

Lo Xover

Range: Off to16kHz Sets the Cross-over frequency between the Lo- and the Mid- Expander and Compressor bands for the five main channels (LFr, RFr, Cnt, LSr, RSr).

The two Cross-over points are not allowed to cross each other. Therefore the parameter range can be less than 16kHz if the Hi Xover parameter is set below 16kHz.

Hi Xover

Range: Off to16kHz Sets the Cross-over frequency between the Mid- and the Hi- Expander and Compressor bands for the five main channels (LFr, RFr, Cnt, LSr, RSr).

The two cross-over points are not allowed to cross each other. Therefore the parameter range can be less than going down to Off, if the Lo Xover parameter is set above the Off position.

Performance Settings

Crest

Range: Peak, 6dB, 10dB, 12dB, 14dB, 16dB, 20dB, 24dB, RMS Select compression method between RMS and PEAK. The dB steps between RMS and Peak are the dBs needed for a peak-value to override RMS measurement.

Nominal Delay

Range: 0 to 15ms (<2ms in 0.1ms steps. >2ms in 0.5ms steps) Sets the nominal Delay of the signal compared to the Sidechain signal. This is also known as "Look ahead Delay", enabling the Compressor section to become more responsive to the incoming signal.

Automatic Make Up Gain

Range: Off/On Switches the Automatic Make-up gain On or Off. As using compression is a reduction of dynamic range in the signal a compensation for this loss of gain on the Output side is possible. Use the Auto Make Up gain to achieve this.

Reference Level

Range: -24dBFS to 0dBFS in 0.5dB steps This parameter sets the reference level in the algorithm. The reference level is the level at which the Threshold parameters will start operating when set to 0dB. E.g. if the Reference Level is set to -18dBFS (often referred to as 0dBu), a Threshold setting at -4dB, will cause the Compressor to start operating at -22dBFS.

Algorithm Inputs/Outputs are distributed as follows:

E1 - E4

L R C LFE SL SR Xt

L R C

LFE

INPUT

OUTPUT

•

MULTIBAND-5.1

Side Chain - Control page

The Sidechain assignment possibilities in the Multiband-5.1 are very comprehensive. Carefully selecting which channels should be controlled by which Sidechains, is just as essential as dialing in the correct Threshold and Ratio values.

It is possible to freely select any or none of three Sidechains to control each of the main-channels. This also gives you the option of grouping the channels. In addition to this, the LFE channel has its own Sidechain control. This enables e.g. setting up two Multiband-5.1 algorithms in serial setup, while having six individual Sidechains available, enabling fully individual Sidechain controls of all channels.

At the Feed page it is possible to make additional Sidechain link Inputs, for e.g. having the Center-channel contributing to the Sidechain Inputs of the two Front channels, to create a more coherent sound from the front-channels.

The illustration above reflects the Processing parameter set to Multiband-5.1 in Normal mode.

Basic operation

At the Setup/Control page it is possible to decide which Sidechains should control which channels. Select any of three Sidechains to be assigned to any of the five Mainchannels. You can also chose to pass the channels unprocessed through the algorithm. The LFE channel can be assigned to its own separate Sidechain, or left unprocessed.

Setting a channel to unprocessed will preserve the processing delay through the algorithm, keeping the channel time-aligned to the other (processed) channels.

Side Chain - Feed page

The Setup/SC Feed page holds parameters specifying which Input channels should feed the three Sidechains.

Normal

Range: Off, On When this parameter is set to “On” the Input channels selected to be controlled by the respective sidechain will also Input to the sidechain.

Add 1, Add 2 and Add 3

Range: Off, LFr Max, RFr Max, Cnt Max, LSr Max, RSr Max, Xt Max, LFr Sum, RFr Sum, Cnt Sum, LSr Sum, RSr Sum, Xt Sum. These parameters enable extra channels to be assigned to the respective Sidechain Input. The extra Sidechain Input channels will not be processed by the sidechain. The Sum settings will add the Input to the sidechain, whereas the Max settings only will contribute to the sidechain if the level exceeds the other Input channel levels.

Side Chain Control

Range - for the five main channels:

• Unprocessed

• Side Chain 1

• Side Chain 2

• Side Chain 3

Range - for the LFE channel:

• Unprocessed

• LFE

MULTIBAND-5.1

Expander

Exp. page

Pressing Threshold, Range, Ratio, Attack and Release keys will immediately assign Lo, Mid, Hi, All and LFE values for these parameters to Faders 1-4. Be aware that the range of the All parameter is relative to the settings of the same parameters in the Compressor section.

Threshold

Range: -50dB to 0dB (in 0.5dB steps) When the signal drops below the set Threshold point the Expander starts to generate downward expansion.

Range

Range: -40dB to 0dB in 0.5dB steps Sets the maximum range of the expansion.

Ratio

Range: Off to Infinity Sets the Expansion Ratio below the Threshold point.

Release

Range: 20ms to 7sec. Sets the time it takes for the Expander to release its attenuation of the signal when the signal exceeds the Threshold again.

Attack

Range: 0.3 to 100ms Sets the time it takes for the Expander to reach the attenuation specified by the Ratio parameter when the signal drops below the Threshold point.

Meter Zoom

Press Zoom to decrease meter range and have a more accurate metering.

Bypass Exp.

Press to bypass the Expander section of the MD 5.1 algorithm.

All LFE page

Pressing any parameter will assign this to Fader 6.

All - parameters

These parameters are equivalent to the “All” - Threshold, Range, Ratio, Attack and Release parameters.

LFE - parameters

These parameters are equivalent to the “LFE” - Threshold, Range, Ratio, Attack and Release parameters.

All L M H page

Pressing any parameter will assign this to Fader 6.

This page holds all Expander Threshold, Range, Ratio, Attack and Release parameters for the Lo, Mid and Hi bands.

MULTIBAND-5.1

Compressor

Comp. page

Threshold

Range: -25dB to 20dB (in 0.5dB steps) Sets the Threshold level at which the Compressor starts to operate. The Threshold parameter relates to the Reference Level setting. Example:

If the Reference Level is set to -18dBFS, a Threshold setting of -4dB, will cause the compressor to start operating at -22dBFS.

Gain

Range: Off, -18dB to 12dB in 0.5dB steps. Adjusts the gain after the Compressor.

If the Auto Make-up gain parameter is set to On in the Main page, these gains will already have been adjusted according to the Threshold and Ratio parameters.

Ratio

Range: Off to Infinity Sets the Compression Ratio that must be performed above the Threshold point.

Attack parameters

Range: 0.3 to 100ms Sets the time the Compressor takes to reach the attenuation specified by the Ratio parameter when the level exceeds the Threshold point.

Release parameters

Range: 20ms to 7sec. Sets the time the Compressor takes to release the attenuation of the signal when the signal level drops below the Threshold point.

Meter Zoom

Press Meter Zoom to decrease meter range and have a more accurate metering.

All LFE

Pressing any parameter will assign this to Fader 6.

All - parameters

These parameters are equivalent to the “All” - Threshold, Range, Ratio, Attack and Release parameters.

LFE - parameters

These parameters are equivalent to the “LFE” - Threshold, Range, Ratio, Attack and Release parameters.

All L M H page

Pressing any parameter will assign this to Fader 6.

This page holds all Compressor Threshold, Range, Ratio, Attack and Release parameters for the Lo, Mid and Hi bands.

MULTIBAND-5.1

Limiter

The Limiter page is divided into three Sub-pages. One covering the Softclip section, one for the Full Range Limiter and one for the LFE Limiter.

Generic p

arameters in this algorithm:

Meter Zoom

Press Meter Zoom to decrease meter range and have a more accurate metering.

Bypass Limiter

Press to Bypass the Limiter section of the 5.1 algorithm.

Soft Clip page

Softclip

Full Range Softclip

Range: -6dB to Off Softclipper Threshold setting after the Compressor for the five multiband channels. Threshold is always relative to 0dBFS (Not the Reference Level.

LFE Softclip

Range: -6dB to Off Softclipper Threshold setting for the LFE channel only.

Full Limit. p

age

Threshold

Range: -12dB to Off

-6 to OdB in 0.1dB increments

-12 to -6 in 0.5dB increments Brickwall limiter for the five multiband channels. Threshold is always relative to 0dBFS. LED on each Output meter indicates when Limiter is active.

Release

Range: 0.01 to 1.00 seconds Release time for the Limiter.

Ceiling

Range: -0.10dB to 0dB Fine-tuning parameter setting the Ceiling for the Limiter.

The Ceiling parameter prevents the Output signal from exceeding the adjusted Limiter Threshold. It can be used to "hide" overloads to downstream equipment, but it does not remove the distortion associated with an over.

LFE Limiter page

LFE Limiter

Threshold

Range: -12 to +3dB

-6 to + 3 in 0.1dB increments

-12 to -6 in 0.5dB increments Brickwall limiter for the LFE channel. Threshold is always relative to 0dBFS. LED on each Output meter indicates when limiter is active.

Release

Range: 0.01 to 1.00 seconds Release time for the Limiter.

Ceiling

Range: 0 to -0.10dB in 0.01dB steps. Fine-tuning parameter setting the Ceiling for the Limiter.

MULTIBAND-5.1

Output

Trim Levels

Output trims

Range: 0dB to -12dB in 0.1dB steps Level trim of the Output channels. Only the fader is placed after these trims. These parameters can be used to trim the levels of the monitoring system, but please note that it also affects the recorded material.

Mute

Allows muting of each Output-channel.

Output Fader

Range: Off to 0dB (<-40dB: in 3dB steps, >-40 in 0.5dB steps) Output fader for all 6 Outputs. Can be controlled with the optional TC Master Fader connected to the GPI Input.

Compare

Easy switchable On/Off compare function for the entire MD

5.1 algorithm. This is not a bypass function as you are able to set a Compare Level (see below).

Compare Level

Range: -20 to 0dB This function allows you to set a Compare level of the processed signal to match the unprocessed signal for better A/B listening.

MDX 5.1

Fig 1. DRT map for consumers under different listening situations.

Dynamic Range of Broadcast Material

Today, program material for TV broadcast is generally aimed at a listener in the Living Room or Kitchen region, see Fig 1. This kind of material should be thought of as having a normal broadcast dynamic range signature. Commercials, promos and consumer CDs typically have a more restricted dynamic range, and therefore appear loud on TV, where normalization is based only on peak content. This kind of material should be thought of as having a hot dynamic range signature. On the opposite side we have film production, aimed at a completely different listening scenario, where much softer and much louder level than the average can be reproduced and heard. Production for wide dynamic range listening can also include classical or acoustic music. All material of such nature should be thought of as having a soft dynamic range signature. Music and entertainment radio is typically aimed at Car listening, so the dynamic range signature is generally hot. The only type of radio with a wider dynamic range typically carries classical music, drama and low key, talk based programming. To summarize, broadcast material is produced in a way that fits the listening conditions of a wide majority of consumers in the best possible way. The most dramatic difference between program material and consumer requirements concerns feature film. To have a feature film align with domestic listening conditions without loosing too much detail, or distorting the loud parts, low level may need to be brought up by 12-20 dB, and the headroom restricted by 12-16 dB.

Introduction

MDX5.1 is a high resolution dynamic range processor for multichannel signals. It may also be used to process for mono or stereo, thereby making changes or adjustments unnecessary. Its combination of low level lift, multi-band structure, output limiting and extensive controls offers the most sophisticated dynamic range translation capabilities in the professional audio industry today. Not surprisingly, MDX5.1 has become the standard for dynamic range control in film and music mastering.

Dynamic Range Tolerance, DRT, at the consumer

The Dynamic Range Tolerance map, Fig 1, illustrates the dynamic range targets for various listening environments. It is therefore a practical tool for optimizing listener pleasure in digital broadcast. According to recent studies, listeners typically object against too wide dynamic range much more than when the range is too restricted. Lack of speech intelligibility is the second worst offender, and often the cause for requesting more dynamic range limitation. Against the hopes of audio aficionados, as more people are listening through headphones (iPods and other personal entertainment systems), the DRT trend is therefore currently moving towards more dynamic range restriction in broadcast.

MDX 5.1

Processing for Digital Broadcast

Digital broadcast has the potential to carry more formats at a wider dynamic range than analog. For example, feature films can be presented more like they were mixed and edited, with fewer compromises on the picture as well as on the audio side. However, even for HDTV, audio still needs optimization for a presentation environment different than a cinema, like the picture still needs color space, rate and resolution corrections. The jumping level problem from analog TV will become bigger if stations transmit feature films with a less suitable dynamic range than today, because film fall way outside the Dynamic Range Tolerance of the average consumer under her domestic listening conditions. Consequently, dynamic range restriction must take place either at the station, or inside the consumer's receiving device. Dynamic range translation should deal with both overly soft and overly loud parts. Ideally, the perfect re-mapping should happen at the receiving end to accommodate a wide range of listening conditions. Metadata in conjunction with, for instance, Dolby AC3, provides some of these capabilities. However, even if the consumer knows how to adjust the dynamic range of a film to her current listening conditions, the optimum dynamics treatment unfortunately far exceeds the capabilities of an AC3 decoder. The dynamic range control in the codec is acceptable for cut and boost ranges of 4-6 dB, but preparing a feature film for broadcast needs considerably more than this. If such a large correction is left only to the AC3 decoder, the wide-band gain changes can be quite audible. Film and music dynamic range correction requires a multiband structure so listeners don't sacrifice speech intelligibility, or get subjected to the spectral intermodulation of a crude, wideband range controller.

MDX5.1

The MDX5.1 processor available in DB4 and DB8 is capable of bringing up low level detail, rather than boosting everything, and then having to limit the transients afterwards, see Fig 2. Low level lift can even be applied to specific channels selectively in one, two or three frequency bands.

Fig 2. DXP processing vs. traditional Compression and Limiting. Note how already loud signals are unnecessarily affected when relying on limiting and clipping.

MDX 5.1

Applications

MDX5.1 is well suited for dynamic range control of any kind of broadcast material. Film, sports, music or game shows. It may be applied during ingest, transmission - or both places. With suitable parameter settings, high resolution audio can pass through more than one hundred MDX5.1 processors without perceivable degradation of quality The ingenious topology of DB4 and DB8 allows for the processing to be performed instantly (the latency is below 0.5 ms, equivalent to moving a microphone approximately 16 cm or 6 inches), making re-alignment of audio and picture a non-issue.

Processing strategies

The major part of dynamic range translation should be done at the station, leaving only smaller corrections to be performed at the consumer. This ensures competitive audio with regards to consistency, quality and speech intelligibility, and prevents asking more from the AC3 decoder than it can deliver in a civilized manner.

Fig 3. Example of dynamic range re-mapping: From Home Theatre/DVD to Living Room listening conditions (Fig 1). Fig 3 and Fig 4 show rational transfer characteristics complying with the DRT of the consumer, without affecting levels when they are already on target.

Fig 4. Example of dynamic range re-mapping: From Home Theatre/DVD to Living Room listening conditions (Fig 1).

MDX 5.1

Basic Operation

On the Main page, MDX5.1 offer Input Gain controls for the Main Channels and for the LFE Channel. This enables positive and negative gain normalization to be performed in the 48 bit domain prior to low level processing and output limiting. These gain controls therefore operate in a safe location, well protected from generating output overloads.

Tip: Use the Input Gains as overload protected level trims in a critical realtime system, such as broadcast, OB or live music.

On the Link pages, the 5 Main channels (L, C, R, SL and SR) can be linked in numerous ways. The concept is to assign a channel to a Sidechain. If all channels are assigned to the same Sidechain, processing is identical on all of them. If a channel is assigned to a different Sidechain, processing on that channel may be different from processing on the other channels.

The DXP pages reveal separate controls for Sidechain 1-3 plus LFE. This enables, for instance, different settings for the Center or Surround channels, where speech intelligibility or low level ambience tend to get lost. Like when a feature film is re-purposed for broadcast or DVD under domestic listening conditions. If it is required to process more audio channels than 5.1, Engines can be run in parallel to cater for 6.1, 7.1, 10.2, 12.2 or even higher number formats. Parallel Engines attain perfect phase conservation and resolution, and do not compromise audio in any way.

MDX5.1 features 48 bit fixed point processing throughout. Split and reconstruction filters are phase linear when the algorithm is used in multiband modes.

Fig 5. MDX5.1 Level Diagram for different Steer and Threshold settings.. Defeat Threshold relates to DXP Threshold which relates to Ref Level. Limit Threshold only relates to Digital Full Scale output level.

MDX 5.1

The Ref Level parameter on the Main page sets the unity gain point for all channels (unless gain offsets are applied), see Fig 5. The Thresholds on the DXP pages are relative to Ref Level, so in this particular drawing, Ref Level is set at -12

dBFS, while most DXP Thresholds are set at -16 dB. If you invoke the Defeat Threshold, gain reverts to unity for "below radar" input levels. Defeat Threshold is relative to DXP Threshold. In the drawing, the Defeat Threshold is set at -20 dB. Note, that the lower the DXP Threshold, or the higher a Steer setting, the more low level boost is applied. The low level boost can be different in different channels, and even in different frequency bands. Also observe that the Limiter threshold setting is not relative to Ref Level, but always referenced to output full scale.

Reading the Gain Meters

Gain meters in indicate absolute gain. The upper segments of a meter gives an indication of the boost and frequency response applied to low level signals, while the lower segments of a meter gives an indication of the current (dynamic) gain and frequency response, see Fig 6. In this example, low level signals are subject to a 5 dB boost in the Low and Hi band. The Low frequency band is currently attenuated by 2 dB, while the Mid and Hi bands are at 0 dB gain.

Fig 6. Example of MDX5.1

Gain Meter.The meter shows max low level gain and spectral response, plus current gain and spectral response.In the example, the Low band is currently attenuated by 2 dB, while Mid and Hi bands are at unity gain (0 dB).

Adjustment Tips

The easiest way to specify the yellow area of Fig 1 is to set an appropriate difference between the Ref Level parameter and the Limit Threshold.

Wide dynamic range material for a high resolution delivery might be broadcast with a substantial difference between the two, for instance 15 dB or more. If the audio bandwidth is low, and the listener environment presumably noisy, the difference between Reference and Limit Thresholds should smaller. For heavily data reduced multi-channel broadcast, best results are typically obtained with a 610 dB difference.

When significant data reduction is to be used, also be careful not to allow peaks going all the way to 0 dBFS. Consider bringing down the Limit Threshold between 1 and 4 dB. Judge the quality of loud, spacious material passing through MDX5.1 plus data reduction plus decoding, while listening to the output of the data reduction decoder. Pay special attention to transient distortion, and if the sound image collapses at high levels.

In general, and especially for feature film re-mapping in ingest, start by processing all channels by the same amount. This can be achieved by assigning all channels to Sidechain 1, or by using different sidechains with identical settings. Then conclude if speech in the center channel, ambience in the surrounds or activity in the LFE channel etc. needs special attention and processing.

When it is indicated to bring up dialog level and speech intelligibility, you may end up with something like the level diagram presented in Fig 5. This particular transfer curve has been used successfully at stations with special attention to speech intelligibility.

Compare against the DRT chart, fig 1, and note how the Center channel is given an extra low level advantage compared to the four lateral channels, without the basic mix balance being generally changed. This curve ensures that dialog can still be heard when the words could otherwise be lost to listening room noise. The lateral channels are linked two and two, or all in one group. Presets of this nature is located in Engine Factory Bank F2 ("Loudness, Multichannel"), decade 3, preset 0-3 ("Film Curve C3 - C12").

MDX 5.1

Fig 7. Example of multiband dynamic range re-mapping of a 5.1 feature film to domestic listening conditions. Preset names: "Film Curve C3-C12". Black curve: Center channel. Orange curve: L, R, Ls, Rs.

Tip: To produce multiple ingest versions from the same source material, start doing the one for the highest resolution. Lower resolution versions can be achieved by adjusting the Limit Threshold to comply with the alternative delivery format, then adjusting the Ref Level to optimize results under the new, restricted dynamic range conditions. In many cases, no further tweaking will be needed.

Please be advised that some reproduction systems distort when downmixing hot multichannel signals to stereo. Therefore, don't abuse multichannel formats by bringing all channels close to 0 dBFS at the same time, except for short duration, loud incidents.

Tip: When making the final transmission adjustments, try changing the Ref Level parameter up and down a few dB. This is an efficient way of trimming hundreds of parameters in MDX5.1 at the same time. Listen to the result, while deciding what is the optimum setting for that particular broadcast platform.

MDX5.1 Factory Preset Nomenclature

Engine presets based on the MDX5.1 algorithm is located in Factory Bank F2 ("Loudness, Multichannel"), decade 2 and 3. Presets are labelled Film Curve A-D plus a number.

Film Curve A presets add the same amount of boost to all 5.1 channels. At Reference Level, the gain is unity (0 dB). At low level (- 35 dBFS and below), the number after the "A" in the preset title indicates the amount of low level boost. For example, the preset "Film Curve A6" adds 6 dB of low level gain to all 5.1 channels.

Film Curve C presets add the same amount of boost to all 5.1 channels, but the max gain is achieved earlier for the Center channel than for the rest (like in Fig 5). At Reference Level, the gain is unity (0 dB). At low level (- 35 dBFS and below), the number after the "C" in the preset title indicates the amount of low level boost. For example, the preset "Film Curve C6" adds 6 dB of low level gain to all 5.1 channels.

Film Curve D presets add 3 dB more gain to the Center channel than to the other channels. Max gain is also achieved earlier for the Center channel than for the rest (like in Fig 5). At Reference Level, the gain is +3 dB for the Center channel, but unity (0 dB) for the others. At low level (- 35 dBFS and below), the number after the "D" in the preset title indicates the amount of low level boost. For example, the preset "Film Curve D6" adds 9 dB of low level gain to the Center channel, but 6 dB of low level gain to the rest of the channels.

MDX 5.1 PAGES

Main page

Input Gain Normalizer for Main and LFE channels

Range: -18dB to +18dB As we process in a 48 bit domain both positive and negative gain normalization can be performed prior to low level processing and output limiting. These gain controls therefore operate in a safe location, well protected from generating output overloads.

Reference Level

Crest

DXP Defeat Level

Range: Off, -30dB to -3dB MDX5.1 may remove low level gain below the threshold set with this parameter to avoid having irrelevant sources (e.g. background noise) become audible. Low level gain is not revoked if the DXP Defeat Level parameter is set to Off.

The Defeat threshold is relative to DXP Band Thresholds, which are relative to Reference Level.

Example: If Reference Level is set at -20 dBFS, Band Thresholds at -15 dB, and DXP Defeat at -22 dB, low level boost starts rolling off at -47 dBFS. See example at page 18.

Nominal Delay

Range: 0 to 15ms (<2ms in 0.1ms steps. >2ms in 0.5ms steps) Adds a delay to the passing audio in order to have regula-

Link Control page

The Sidechain assignment possibilities in the MDX5.1 are very comprehensive. Carefully selecting which channels should be controlled by which Sidechains, is just as essential as dialing in the correct Threshold and Ratio values.

tion start "ahead of time". Using this control can reduce the need for peak limiting, and prevent dynamic distortion from being added to sensitive material. Note that look-ahead is scaled with Attack per band.

Example: If a 5 ms Nominal Delay has been set, and Attack is 10 ms on the low band and 1 ms on the high band, audio is delayed 5 ms on all bands (phase linear topology). However, to prevent pre-transient holes from being generated, Attack regulation starts 5 ms "ahead of time" on the low band, but only a little more than 1 ms "ahead of time" on the high band.

Hi/Lo Crossovers

MDX5.1 uses a phase linear, 48 bit split and recombination filter structure in order to enable different low level detail boost at different frequencies. This counteracts spectral inter-modulation, and is useful in order to preserve speech intelligibility. Two-band or wide-band DXP processing can be accomplished by setting one or both crossover points to Off.

MDX 5.1 PAGES

The illustration above reflects the Processing parameter set to MDX5.1 in Normal mode.

Basic operation

Setting a channel to unprocessed will preserve the processing delay through the algorithm, keeping the channel time-aligned to the other (processed) channels.

Sidechain Control

Range - for the five main channels:

• Unprocessed

• Side Chain 1

• Side Chain 2

• Side Chain 3

Range - for the LFE channel:

• Unprocessed

• LFE

Link Feed page

The Setup/SC Feed page holds parameters specifying which Input channels should feed the three Sidechains.

Normal

Range: Off, On When this parameter is set to “On” the Input channels selected to be controlled by the respective sidechain will also input to the sidechain.

DXP page

Sidechain Fader Groups

The DXP pages reveal separate controls for Sidechain 1-3 plus LFE. This allows for different settings for the Center or Surround channels, where speech intelligibility or low level ambience tend to get lost, like when a feature film is repurposed for broadcast or DVD under domestic listening conditions. If it is required to process more audio channels than 5.1, Engines can be run in parallel to cater for 6.1, 7.1, 10.2,

12.2 or even higher number formats. Parallel Engines attain perfect phase conservation and resolution, and do not compromise audio in any way.

Add 1, Add 2 and Add 3

Range: Off, LFr Max, RFr Max, Cnt Max, LSr Max, RSr Max, Xt Max, LFr Sum, RFr Sum, Cnt Sum, LSr Sum, RSr Sum, Xt Sum. These parameters enable extra channels to be assigned to the respective Sidechain Input. The extra sidechain Input channels will not be processed by the sidechain. The Sum settings will add the Input to the sidechain, whereas the Max settings only will contribute to the sidechain if the level exceeds the other Input channel levels.

MDX 5.1 PAGES

Limit page - Soft Clip

The Limiter page is divided into three Sub-pages. One covering the Softclip section, one Main Limiter and one for the LFE Limiter.

Generic p

arameters in this algorithm:

Meter Zoom

Press Meter Zoom to decrease meter range and have a more accurate metering.

Bypass Limiter

Press to Bypass the Limiter section.

Softclip

Full Range Softclip

Range: -6dB to Off Softclipper Threshold setting after the Compressor for the five multiband channels. Threshold is always relative to 0dBFS (Not the Reference Level.

LFE Softclip

Range: -6dB to Off Softclipper Threshold setting for the LFE channel only.

Limit page - Main

Threshold

Range: -12dB to Off

-6 to OdB in 0.1dB increments

-12 to -6 in 0.5dB increments Brickwall limiter for the five channels. Threshold is always relative to 0dBFS. LED on each Output meter indicates when Limiter is active.

Release

Range: 0.01 to 1.00 seconds Release time for the Limiter.

Ceiling

Range: -0.10dB to 0dB Fine-tuning parameter setting the Ceiling for the Limiter.

LFE Limiter

Threshold

Range: -12 to +3dB

-6 to + 3 in 0.1dB increments

-12 to -6 in 0.5dB increments Brickwall limiter for the LFE channel. Threshold is always relative to 0dBFS. LED on each Output meter indicates when the Limiter is active.

Release

Range: 0.01 to 1.00 seconds Release time for the Limiter.

Ceiling

Range: 0 to -0.10dB in 0.01dB steps. Fine-tuning parameter setting the Ceiling for the Limiter.

MDX 5.1 PAGES

Output page

Trim Levels

Output trims

Mute

Allows muting of each Output-channel.

Output Fader

Range: Off to 0dB (<-40dB: in 3dB steps, >-40 in 0.5dB steps) Output fader for all 6 Outputs. Can be controlled with the optional TC Master Fader connected to the GPI Input.

Compare

Easy switchable On/Off compare function for the entire MD

5.1 algorithm. This is not a bypass function as you are able to set a Compare Level (see below).

Compare Level

Range: -20 to 0dB This function allows you to set a Compare level of the processed signal to match the unprocessed signal for better A/B listening.

DOWNCONVERT 5.1

Main page

Fader 5.1

Parameter range: Off, -120 to 0dB For the 5.1 I/O channels (L, C, R, SL, SR and LFE), this fader performs Output level control.

Delay 5.1

Parameter range: 0 to 1200ms For the 5.1 I/O channels (L, C, R, SL, SR and LFE), this parameter Delays all channels simultaneously. The Delay can be changed seamlessly on the fly.

The individual Sample Delay parameters at the Trim page are additional delay to the setting of this parameter.

Mute 5.1

Parameter range: On/Off Toggle this switch to Mute all 5.1 output channels.

Fader ch. 7-8

Parameter range: Off, -120 to 0dB For the I/O channels 7 and 8, this fader performs Output level control.

Delay ch. 7-8

Parameter range: 0 to 1200ms For I/O channels 7 and 8, this parameter Delays the channels simultaneously. The Delay can be changed seamlessly on the fly.

The individual Sample Delay parameters at the Trim page are additional delay to the setting of this parameter.

Mute ch. 7-8

Toggle this switch to Mute the Output of channels 7 and 8. Parameter range: On/Off

Format page

The format conversion block enables you to down-mix 5.1 signals to LCRS, Stereo or Mono mix's including Limiter function.

Level Trim Delay Solo/Mute Phase Inv.

Bass Management

Calibration noise-tone

Level Trim Solo/Mute

Format Conversion Limiting

Input Output

Introduction

DownConvert-5.1 is an algorithm offering mix-down functionality of different multi-channel formats to LCRS, Stereo or Mono mixes. LFE(Sub) channels can also be Extracted or Distributed to and from the 5.1 main Input channels (Bassmanagement). Also 5.1 calibration tools with different noise and sine outputs are available. On top of the 5.1 capabilities, DownConvert-5.1 contains two thru channels at I/O 7 and 8, with adjustable level and delay.

Algorithm Inputs/Outputs are distributed as follows:

E1 - E4

L R C LFE SL SR 7 8

L R C

LFE

INPUT

OUTPUT

•

DOWNCONVERT 5.1

Output Format

The Output Format section is basically used to convert Multi-channel signals to other formats. E.g. when going from a 5.0 mix to a Stereo or mono signal. Note that the Bass management is placed before this format conversion in the signal chain. Use the distribute part of the Bass-Management to convert from 5.1 to 5.0 mix.

Output Format

Range: 5.1 (=Off or Thru), LCRS, Stereo or Mono Selects the Output format in which your five main channels Input material will be mixed down to.

90º Mono

90 degrees mono Insert. This option is placed just before the two Limiters, meaning at LFr + RFr when Output format is set to Mono, and LSr + RSr channels when LCRS is selected as Output format.

Mono Output

Range: Center, LFr+RFr Selects the Output channel when Mono is selected as Output format.

Mix Levels

From L/R

Range: -100dB to 0dB Sets the Input level from the Left and Right front channels.

This parameter is only available when Output is set to Mono or Stereo.

From Center

Range: -100dB to 0dB Sets the Input level from the Center channel.

This parameter is only available when Output is set to Mono or Stereo.

From SL/SR

Range: -100dB to 0dB Sets the Input level from the Left and Right surround channels.

Limiter

Two channels of broadband Output brickwall limiter, that are placed differently according to the selected Output format.

Output format: 5.1 Thru

The Limiter is inactive.

Output format: LCRS

The Limiter operates on the LS and SR channels.

Output format: Stereo

The Limiter operates as a Stereo Limiter on Left and Right front channels.

Output format: Mono

The Limiter operates on the Mono sum Output.

Threshold

Range: -12 to 0dB Limiter Threshold level for the two limiters available. The Limiters will be placed at LFr + RFr Outputs when Stereo or Mono mode is selected as Output formats, and at LSr + RSr when LCRS is selected as Output format.

Release

Range: 10 to 1000 ms Sets the Release time for the selected Limiter.

Bass management page

Bass Management

Range: Extract, Distribute, Inactive When the LFE Mode parameter is set to Distribute, the Bass Management enables you to add LFE information to the six Output channels in the system. This can normally be compared to a 5.1 -> 5.0 process, but it can also be a

5.1 -> 5.1 process, leaving the LFE channel unprocessed, while adding LFE information to the five Main-channels. The Bass Management is placed just before the Output Format conversion.

Main Channels

Lo Cut

Range: 10 - 200Hz Sets the frequency for the Lo Cut filter, on the five main Output channels (LFr, RFr, Cen, LSr, RSr)

Order

Range: Off, 2nd, 4th order Sets the slope of the Main channels Lo Cut filter.

LFE Channel

Hi Cut

Range: 10 - 200Hz Sets the frequency for the Hi Cut filter on the LFE channel.

DOWNCONVERT 5.1

Order

Range: Off, 2nd, 4th order Sets the slope of the LFE Hi Cut filter.

Main Channels To LFE/ LFE To Main Channels

Depending on the selected Bass Management Mode, Distribute or Extract, the Last section on the Bass page will appear as: “Main Channels to LFE” or “LFE to Main Channels”.

Via the parameters: L Front, Center, R Front, L Surround, LFE and R Surround, - it is possible to either:

• feed the main channels with signal from the LFE channel.

• feed the LFE channel with signal from the Main Channels.

L Front, Center, R Front,L Surround, LFE, R Surround

Range: -100 - 0dBFS

-100 -> -40dB in 3dB steps,

-40 -> 0dB in 0.5dB steps

Main Channels

To LFE - Extract mode In this mode the Level controls are used to extract signal from the Main Channels and feed them to the LFE channel. Use this mode when converting a 5.0 format to 5.1.

LFE To Main Channels - Distribute mode In this mode the Level controls are used to distribute the LFE signal to the five Main Channels. Use this mode when converting a 5.1 format to 5.0.

Solo page

Solo buttons

This page contains individual Solo buttons for all Inputs and Outputs. Several channels can be soloed simultaneously.

Trim page

General operation

The tabs in the top of the page (Front, Center, Surr, LFE, Ch.7/8) is used to select parameters for the respective I/O channels. Following parameters are available for each I/O channel:

Input Level

For each of the eight Inputs, separate Input level controls are available. Parameter range: Off, -120 to 0dB

Output Level

For each of the eight Outputs, separate Output level controls are available. Parameter range: Off, -120 to 0dB

Phase Invert

For each of the eight Inputs, the ability to phase-invert the signal 180-degrees is available Parameter range: On, Off

Delay in samples

For each of the eight channels, fine-adjustable Delay measured in samples can be added. The Sample Delay is additional to the delay parameter in milliseconds.

The corresponding value in milliseconds depends whether the DB8/DB4 is running at 44.1 or 48kHz sample rate. E.g. 48 samples is equal to 1ms at 48kHz and 1.088ms at 44.1kHz.

DOWNCONVERT 5.1

Calibration page

Test signal generator (Oscillator)

Downconvert-5.1 integrates a comprehensive test-signal generator meant for aligning the monitor system.

When a Test signal is selected, the Input source will not be present on the Outputs. The Calibration tone is delivered on the very Input of the Downconvert.

Generator

Type

Range: Sine, PinkNoise

WhiteNoise LPF Pink Noise (Low Pass Filtered Pink noise),

HPF Pink Noise (Hi Pass filtered pink noise) This parameter selects the Signal generator type. Default: Sine

Sine Frequency

Range: 20Hz to 20kHz Selects the frequency when Osc. Type is set to Sine. Default: 1kHz

Output Level

Output Level (RMS)

Range: -60 - 0dBFS

-60 -> -6dB in 1dB steps

-6 -> 0dB in 0.1dB steps Sets the level of the selected generator to all six Output channels. Default: -20dBFS

LFE Trim

Range: -12 - 0dB, in 0.1dB steps Attenuates the LFE Output channel relative to the main test-generator level.

Thru - Thru channels are “hardwired” without any adjustment options.

UPCONVERT-5.1 (UNWRAP)

Introduction

Upconvert-5.1 in use

Upconvert-5.1 measures phase, delay and spectral differences between a pair of stereo channels to create a

5.1 result. For different program material there will be different optimum settings that best represent the qualities put into the original mix.

Please familiarise yourself with the controls and parameterranges on known material before you attempt upconvert-5.1ping new stuff.

Setting up

We suggest that you try Upconvert-5.1 with the Output being monitored through the Downconvert 5.1 (e.g. by loading preset "5.1 Monitor Matrix"). This way you can collapse the 5.1 signal to stereo or mono, and make sure the result is still list enable.

Try loading some of the Upconvert-5.1 presets. You can A/B the process by pressing Bypass on the Upconvert-5.1 Engine, or collapse the signal to stereo again by selecting Stereo format on the Downconvert Engine, if it is inserted downstream as suggested above.

Time alignment

When all Delays are set at "0", all Outputs from Upconvert-

5.1 are aligned with sample precision. The basic Delay through the algorithm in this case is 3.6 ms at 44.1 and 48kHz. Try offsetting the Delays in samples and ms, and note the shift in image.

Delays may be used...

- on the Surround channels to ensure that sounds appear

to originate from the front speakers.

- on the Center channel to compensate for its position.

- on the LFE channel to compensate for speaker position

or to advance/delay it for artistic reasons.

When the front channels are not assigned the same Delay, please note that a subsequent stereo down-mix may not work so well.

Bit Transparency

When 0% L/R Processing is selected, Input Trims and Output Levels are at 0dB, the Inputs are bit transparently cloned to the L Front and R Front Outputs.

Main Page

Input trims are provided to carefully match the L/R balance. If working from analog tape, adjust balance with a 1kHz calibration tone. If working from a digital master with stereo levels at full scale, it may be necessary to adjust down Input levels a little bit to avoid Upconvert-5.1 overloads. The L/R Processing parameter determines how much the L and R front channels are processed. At 0% Upconvert-5.1 only adds sound to the 4 other channels preserving the original L and R as they were. Somewhere between 60 and 70% the width of the original mix is typically preserved even though a Center channel is added. Tip: A/B the width soloing the three front channels and toggle by-pass.

Upconvert-5.1 may derive an LFE signal from the Input. It is recommended to lowpass it between 40 and 120Hz using a 2nd or 4th order filter.

Center Page

To better separate and optimize the Center Output, EQ and contour controls are provided.

First set the Ref. Level control at the approximate reference level of the Input signal. For a typical level, set Ref. Level at -10 to -18dB. With a full scale digital Input, Ref. Level would be set high, typically 0 to -12dB. With a quiet or highly dynamic Input, set it between -15 and -25dB.

Then choose between the Contour Styles, and finally apply EQ to the center channel if desired.

Upconvert-5.1's 48 bit EQ can work wonders on most signals and be used to selectively suppress spectral ranges where the L/R width could otherwise get compromised, or to boost selected frequencies to strengthen the center anchor function.

Surround Page

To control the surround channels, decorrelation, EQ and contour controls are provided.

The different decorrelation styles should always be tried. They are highly subjective and best evaluated with the Focus control set at "0". When a style is found, try changing the Focus control to check if further optimization is possible. It may prove convenient to solo the surround channels while doing so. Now adjust the Decorrelation Tone and EQ parameters. Tuning of the surround parameters is an iterative process and should include the Delay settings as well.

Algorithm Inputs/Outputs are distributed as follows:

E1 - E4

L R

L R C

LFE

INPUT

OUTPUT

•

UPCONVERT-5.1 (UNWRAP)

Main

Left/Right Input trim

Range: -100 to 0dB Input level trim parameters. You may use these parameters to attenuate a too hot input signal.

L/R processing

Range: 0 to 100% This parameter controls the amount of left/right content of the signal. E.g. if the Center channel level has been increased the perceived stereo image may seam considerably reduced collapsed. Increase the L/R processing to compensate. To find the best suitable setting you may bypass the entire algorithm and compare while focusing on the stereo image.

LFE Processing

LFE Hi Cut Frequency

Range: 10 to 200Hz Sets the Hi Cut frequency for the Output from the LFE channel.

LFE Hi Cut Slope

Range: Off, 2nd, 4th Sets how steep the LFE hi cut filter should operate.

Center

Center Contour Style

Select between different styles as processing for the Center channel Output. Parameter range: Off and a selection of styles.

Center Contour Threshold

Sets the Threshold point for the Contour Style to be operating. Parameter range: -25 to 0dB

The EQ for the Center channel features four-band parametric EQ with high- and low-pass filters switchable between Notch, Parametric, Shelving and Cut filters.

Basic operation

• Select Freq, Gain or Type to access the same parameter for the four EQ bands.

• Select Lo or Hi to access the three parameters for the individual EQ band.

• Press Bypass EQ to bypass the entire EQ.

Bypass does not affect the selected Contour Style.

Type Selector

o Press Type and use faders 1-4 to select filter types. For Lo and Hi filters select between filter types: Parametric, Notch, Shelve and Cut. For Mid 1 and Mid 2 filters select between filter types: Parametric and Notch.

Freq

Press Freq and use Faders 1 to 4 to adjust frequency for each of the four bands. Range - Lo band : 20Hz to 5kHz Range - Mid1 band : 20Hz to 20kHz Range - Mid2 band : 20Hz to 20kHz Range - Hi band : 500Hz to 20kHz

Gain

Press Gain and use Faders 1 - 4 to adjust gain for each of the four EQ bands.

Range for the Parametric, Shelve and Cut type: Lo Gain : -12dB to +12dB Mid1 Gain : -12dB to +12dB Mid2 Gain : -12dB to +12dB Hi Gain : -12dB to +12dB

Range for the Notch filter: Lo Gain : -100dB to 0dB Mid1 Gain : -100dB to 0dB Mid2 Gain : -100dB to 0dB Hi Gain : -100dB to 0dB

UPCONVERT-5.1 (UNWRAP)

Type

Press and use Faders 1-4 to set BW value for each of the 4 EQ bands. Range for the Notch filter: Lo BW : 0.02oct to 1oct Mid1 BW : 0.02oct to 1oct Mid2 BW : 0.02oct to 1oct Hi BW : 0.02oct to 1oct

Range for the Parametric filter: Lo BW : 0.1oct to 4oct Mid1 BW : 0.1oct to 4oct Mid2 BW : 0.1oct to 4oct Hi BW : 0.1oct to 4oct

Range for the Shelve filter: Lo BW : 3dB/oct to 12dB/oct Hi BW : 3dB/oct to 12dB/oct

Range for the Cut filter: Lo BW : Bessel or Butterworth Hi BW : Bessel or Butterworth

Surround

Contour Style

Select between different styles as processing for the surround channels Output. Parameter range: Off and a selection of styles.

Contour Threshold

Range: -25 to 0dB Sets the Threshold point for the Contour Style to be operating.

Decorrelate Style

Range: A selection of styles Select between different styles of decorrelating the sound in the two surround Output channels.

Decorrelate Amount

Range: 0 - 100% Set how much you want to decorrelate the sound in the surround Outputs.

Decorrelate Tone

Range: +/- 40 steps. Adjust the tone (color) of the decorrelated part of the sound on the surround Outputs.

The EQ for the Center channel features four-band parametric EQ with high- and low-pass filters switchable between Notch, Parametric, Shelving and Cut filters.

Basic operation

• Select Freq, Gain or Type to access the same parameter for the four EQ bands.

• Select Lo or Hi to access the three parameters for the individual EQ band.

• Press Bypass EQ to bypass the entire EQ.

Bypass does not affect the selected Contour Style.

Type Selector

Freq

Gain

Press Gain and use Faders 1 - 4 to adjust gain for each of the four EQ bands.

Range for the Parametric, Shelve and Cut type: Lo Gain : -12dB to +12dB Mid1 Gain : -12dB to +12dB Mid2 Gain : -12dB to +12dB Hi Gain : -12dB to +12dB

Range for the Notch filter: Lo Gain : -100dB to 0dB Mid1 Gain : -100dB to 0dB Mid2 Gain : -100dB to 0dB Hi Gain : -100dB to 0dB Type Press and use Faders 1-4 to set BW value for each of the 4 EQ bands.

Range for the Notch filter: Lo BW : 0.02oct to 1oct Mid1 BW : 0.02oct to 1oct Mid2 BW : 0.02oct to 1oct Hi BW : 0.02oct to 1oct

UPCONVERT-5.1 (UNWRAP)

Range for the Parametric filter: Lo BW : 0.1oct to 4oct Mid1 BW : 0.1oct to 4oct Mid2 BW : 0.1oct to 4oct Hi BW : 0.1oct to 4oct

Range for the Shelve filter: Lo BW : 3dB/oct to 12dB/oct Hi BW : 3dB/oct to 12dB/oct

Range for the Cut filter: Lo BW : Bessel or Butterworth Hi BW : Bessel or Butterworth

Delay

Output Delay

Range: 0 - 200ms For each of the six Outputs it's possible to adjust the Delay time in Milliseconds.

Fine Adjust Output Delay

Range: 0 - 100 samples In addition to the Output Delay in milliseconds, it's possible to adjust each of the six Output Delays in samples resolution.

The total Delay on an Output channel is the normal ms Delay setting, PLUS the Sample Delay setting.

The actual time a Delay set in Samples varies depending on running Sample Rrate. E.g. if you are running 48kHz, a 48 samples delay equals 1ms, and at 96kHz it equals 0.5ms.

Output

Outputs

Mute

Range: Muted/Unmuted Sets the Mute-status on the Output for each of the 6 channels.

Solo

When a Solo button is selected, the Outputs of all the five remaining channels will be set to Off, but they can be selected as additional solo channels.

Output Levels

Range: -120 to +12dB Individual Output levels for the six Output channels.

Fader

Range: -120 to 0dB Fades all six Outputs simultaneously. Preserves the individual Output levels until either the max. or min. value is reached.

UPCON & UPCON PLUS

Main page

Left/Right Input trim

Range: -100 to 0dB Input level trim parameters. You may use these parameters to attenuate a too hot input signal.

L/R processing

Range: 0 to 100% This parameter controls the amount of left/right content of the signal. E.g. if the Center channel level has been increased the perceived stereo image may seam considerably reduced or collapsed. Increase the L/R processing to compensate. To find the best suitable setting you may bypass the entire algorithm and compare while focusing on the stereo image.

LFE Hi Cut freq and Hi Cut Slope

Correct settings of these parameters depend on the quality if the satellite speakers on your system. Best result from the LFE channel is achieved if the HiCut Freq is set relatively low (e.g. around 80Hz) with a 4th order filter.

However, these settings require that the satellite speakers perform well to as low as 100-120Hz. Good results with smaller satellite speakers however, can be achieved with a higher set LFE frequency and a 2’nd order filter. - The main object is to cover the entire frequency range yet having the LFE HiCut set as low as possible.

Center page

Contour Style

Two contour styles that may emphasize on different parts of your source material. Whether it is styles 1 or 2 that enhance dialog or surround information is difficult say and highly dependable on the source material. It is a “try and listen” parameter.

Ref Level

Range: -25dB to 0dB Set reference level according to your system settings.

Upcon parameters

Introduction

UpCon is an automatic, realtime 5.1 up-conversion audio processor for DB8 and DB4. It continuously monitors the format of the incoming audio, and if the signal falls back from a true 5.1 to stereo, UpCon seamlessly cross-fades into a convincing 5.1 surround up-conversion without adding any interruptions or artifacts. Detection does not require metadata or GPIs to function correctly, and the processing delay is only 2.8 ms (less than 1/10th frame). Therefore, no extra delays are required to maintain A/V sync.

UpCon is used in Transmission or Ingest to ensure the availability of an uninterrupted 5.1 signal, or to extend the production capabilities of an audio studio from stereo to 5.1 using the UpCon+ functionality described.

The first part of this manual section is a description of all parameters. Be sure also to read the following section giving indepth information and operational tips. Also refer to the Upconvert 5.1 (Unwrap) introduction.

UPCON & UPCON PLUS

The EQ for the Center channel features a four-band parametric EQ with high- and low-pass filters switchable between Notch, Parametric, Shelving and Cut filters.

Basic operation

• Select Freq, Gain or Type to access the same parameter for the four EQ bands.

• Select Lo or Hi to access the three parameters for the individual EQ band.

• Press Bypass EQ to bypass the entire EQ.

Bypass does not affect the selected Contour Style.

Type Selector

Freq

Gain

Press Gain and use Faders 1 - 4 to adjust gain for each of the four EQ bands.

Range for the Parametric, Shelve and Cut type: Lo Gain : -12dB to +12dB Mid1 Gain : -12dB to +12dB Mid2 Gain : -12dB to +12dB Hi Gain : -12dB to +12dB

Range for the Notch filter: Lo BW : 0.02oct to 1oct Mid1 BW : 0.02oct to 1oct Mid2 BW : 0.02oct to 1oct Hi BW : 0.02oct to 1oct

Range for the Parametric filter: Lo BW : 0.1oct to 4oct Mid1 BW : 0.1oct to 4oct Mid2 BW : 0.1oct to 4oct Hi BW : 0.1oct to 4oct

Range for the Shelve filter: Lo BW : 3dB/oct to 12dB/oct Hi BW : 3dB/oct to 12dB/oct

Range for the Cut filter: Lo BW : Bessel or Butterworth Hi BW : Bessel or Butterworth

Surround page

The parameters on the Surround page are difficult to describe precisely as they have slightly different impact depending on the source material. Experiment !

Contour Style

Range: 1 or 2 The Contour Style parameter allows you to alternate between emphasizing on different parts of the signal. Depending on the source material the 2 styles may emphasize either on the signals speach or surround information.

Ref. Level

Range: -100 to 0dB Ref. level should be set at the approximate reference level of the Input signal. For a typical level, set Ref. Level at -10 to -18dB. With a full scale digital Input, Ref. Level would be set high, typically 0 to -12dB. With a quiet or highly dynamic Input, set it between -15 and -25dB.

Decorrelate

Options: Dry, Close, Dorsal, Lateral, Diffuse or Wet Select between different styles of decorrelation in the surround output channels. These styles in combination with the Focus and Tone parameters positions the source material.

Focus

Where the Decorrelate parameter positions the source material, the Focus parameter will enhance or attenuate the perceived position.

continued.......

UPCON & UPCON PLUS

Tone

Once Decorrelation type and Focus is set the Tone may further enhance or smoothen the surrond information.

Delay page

Output Delay

0 to 100ms output delay for each of the six channels. The Delay may be used to alighn or compensate according to the listening position.

Output page

Outputs

Mute and Solo functions for all channels.

Output Levels

Individual output levels or all channels. The “Fader” level allows for simultaneous attenuation of all channels using a single fader.

UPCON APPLICATIONS

Input Routing

UpCon can be used with two distinctively different input routing configurations. Choose the configuration that fits your station infrastructure and switching the best. Routing is set via the “Frame” page.

Const

ant Inputs

In this configuration, audio is always fed to the 5.1 inputs of UpCon, regardless if the incoming format is Stereo, LtRt or

5.1. A Stereo or LtRt signal only uses two of the six input channels (green inputs on Fig 1), while a 5.1 signal makes use of

all six. When the input falls back to Stereo or LtRt, UpCon cross-fades into up-conversion mode. If the input becomes 5.1, UpCon cross-fades seamlessly into bypass without muting.

Alternating Inputs

This configuration requires audio to be fed to different inputs depending on its format. Stereo or LtRt signals are fed to the Aux inputs (blue colored inputs on Fig 1), while 5.1 signals are fed to the 5.1 input. If the Aux inputs are active, UpCon cross-fades into up-conversion without muting.

Fig 1. UpCon Input Routing.

Green* inputs are used for Stereo and LtRt with Constant Input routing. Blue* inputs are used for Stereo and LtRt signals with Alternating Input routing. In both modes, 5.1 input signals are fed to the 5.1 inputs.

* To see colors - download PDF from our website at www.tcelectronic.com

Station Routing

DTV stations handle Loudness and Format control differently. How much processing is done at the station, and how much is left to the consumer, varies from station to station, as does the generation and reliance on metadata. UpCon does not need metadata to function correctly, but it can easily be integrated even where stations take metadata usage to the extreme (see example 2 in Fig 2). More typical scenarios are shown in example 1 and 3, where the station doesn’t spend time and money on more metadata handling equipment than necessary. The advanced detection circuitry in Upcon ensures consistent operation without the need for metadata.

UPCON APPLICATIONS

Fig 2. Loudness and Format Control at the station.

Recommended UpCon locations shown as blue Gates. UpCon can also be used to extend stereo production studios to handle 5.1. For more information, see the UpCon+ section.

* To see colors - download PDF DB8/DB4 alogorithm manual section from our website at www.tcelectronic.com

* * * * *

UPCON APPLICATIONS

Automation Parameters

UpCon automatically switches between 5.1 bypass mode and Up-conversion based on the settings in the Auto page (Fig 3).

Processing

Selects between up-conversion permanently active (“On”), Auto Main and Auto Aux configuration. If an Auto mode is selected, UpCon can either be up-converting, or in 5.1 bypass. When UpCon is up-converting, the green UpCon indicator next to the output meters is lit.

The Bypass key in the left part of the screen can always be activated, and overrides up-conversion set by the automation system. Bypass feeds what’s on the 5.1 inputs directly to the 5.1 outputs.

Fig 3. The Auto page parameters.

Note green UpCon indicator to show up-conversion currently active.

Detection Modes

To avoid the need for metadata to control the switching between formats, Upcon’s detector makes use of advanced sensing with appropriate hysteresis and timing computations. The Detect parameter sets the conditions for engaging or disengaging up-conversion. The 24 bit, 20 bit and 16 bit settings enable detection based on the presence of dither. The 60, -50, -40, -30, and -20 dB settings enable detection based on audio level.

When the Auto Main mode is selected, the automation system measures the Center, L and R Surround inputs. For instance, if Detect is set at “16 bit”, UpCon reads dither on the C, LSr and RSr inputs. If dither is available on any of them, UpCon assumes that a 5.1 signal is available, and cross-fades into 5.1 bypass.

UPCON APPLICATIONS

Note that this automation mode gives priority to a 5.1 signal, and that outputs are never muted. When no 5.1 signal is present, up-conversion is engaged.

When the Auto Aux mode is selected, the automation system measures the L and R Aux inputs. For instance, if Detect is set at “-60 dB”, UpCon reads the audio signal on the Aux inputs. If audio is available on any of them, UpCon assumes that a 5.1 signal is not available, and cross-fades into up-conversion based on the Aux inputs. Note that this automation mode gives priority to the Aux input, though the 5.1 inputs can be used simultaneously with the Aux inputs to add to the up-conversion (“UpCon+” functions). When no signal is present on the Aux inputs, up-conversion is bypassed.

Dissolve

Sets the cross-fade time between 5.1 and up-conversion. The green UpCon indicator reads out the up-conversion status before the Dissolve time is applied. Note: The outputs of UpCon are never muted. Dissolve only sets the duration of the cross-fade.

Active Recall

Sets the basic state of UpCon when the preset is recalled. If Active Recall is active, the preset will recall with upconversion engaged. This function enables recall of different up-conversion presets without disengaging up-conversion even shortly. (The difference between Active Recall or not may be noticeable when long Dissolve times are used). Note: Presets that should recall engaged have to be saved with Active Recall enabled. UpCon preset examples are found in Factory Preset Bank F4-5.

UpCon+ Applications

UpCon offers the ability to transform a stereo broadcast studio into a 5.1 production environment. Besides from normal stereo production tools, only a DB4 or DB8 plus extra speakers are needed. UpCon Plus preset examples are found in Factory Preset Bank F4-7. In these presets, note that the PLUS controls (Center and Surround) are instantly accessible on fader 3 and 4.

Fig 4. UpCon Plus application example.

UpCon together with a Monitor Matrix Engine provides a 5.1 simulcast upgrade solution for a stereo studio or OB truck including monitor format control and confidence check.

Though the Monitor Matrix preset loaded to another engine inside DB4 or DB8 is not strictly needed to achieve stereo and

5.1 simulcast, it is recommended for compatibility check in the production suite. The Monitor Matrix provides easy acces to

both the stereo signal, the 5.1 up-mix, as well as a subsequent down-mix of the 5.1.

UPCON APPLICATIONS

PLUS parameters

These parameters need not be used, but offer additional features when a stereo signal is input to the Aux channels (Auto Aux configuration). Several broadcasters have asked for the ability to add true extra audio features to a 5.1 signal, even though the basic production is done in mono or stereo.

Example 1

A Sports or Music concert transmission gets its basic 5.1 audio from up-converted stereo, but an audience/ambience signal is additionally fed to the L and R Surrounds. The basic production sound is fed to UpCon’s Aux inputs, while the add on material is fed to the L and R Surround 5.1 inputs. Adjust the L/R Surround parameter to get the desired amount of additional ambience sound in the rear channels.

Example 2

A News transmission gets its basic 5.1 audio from up-converted stereo, but additional studio reader audio is required in the Center channel. The basic production sound is fed to UpCon’s Aux inputs, while the add on mono reader is fed to the Center 5.1 input. Adjust the Center parameter to get the desired amount of additional studio sound to the Center channel.

EQ-DELAY 8

EQ/Delay-8 is a multi-channel EQ and Delay algorithm, with build in flexibility to cover several different applications and I/O-format setups.

Main page

Link Mode

Select between two basically different channel setups:

1) Four times stereo/dual-mono

2) 5.1 plus one stereo/dual-mono

When switching between the two modes, I/O-labels and linking functionality changes to fit the different applications in the best possible way. The number of available EQ-filters and Delay-time is unchanged when switching between the two modes.

Link butons

When "4 Stereo" is selected, four individual link buttons is available for linking in stereo-pairs or leave the channels for individual operation (dual-mono).

When "5.1 & ch.7/8" is selected, the choice of linking all five main-channels or just the front and surround set of channels are available. On top of this, channels 7 and 8 can be linked or left unlinked for individual operation.

When linking a stereo pair the lowest channel number settings will be copied into the higher number. When linking all Main-channels, the Center settings will be copied to the four remaining channels.

Bypass buttons

Depending on the selected channel setup and activated links, corresponding Bypass buttons are avialable.

Trim page

Press Front/Center/Surr. or LFE (side fane) to access parameters for each of the channel groups.

Following parameters are available for each I/O channel:

Input Level

Parameter range: Off, -120 to 0dB For each of the 8 Inputs, separate Input level controls are available.

Output Level

Parameter range: Off, -120 to 0dB For each of the eight Outputs, separate Output level controls are available.

Delay in milliseconds

Parameter range: 0 to 1000ms. For each of the eight channels, a Delay measured in milliseconds can be added for aligning purposes. The Delay can be changed seamlessly on the fly.

Delay in samples

For each of the eight channels, fine-adjustable Delay measured in samples can be added. The Sample Delay is additional to the delay parameter in milliseconds.

E1 - E4

1 2 3 4 5 6 7 8

INPUT

OUTPUT

•

Algorithm Inputs/Outputs are distributed as follows:

EQ-DELAY 8

The corresponding value in milliseconds depends whether the DB8/DB4 is running at 44,1 or 48kHz sample rate. E.g. 48 samples is equal to 1ms at 48kHz and 1,088ms at 44,1kHz.

EQ page

Basic operation

The available buttons will be labeled depending on the selected Link Mode at the Main page.

Introduction

This digital EQ features a four-band parametric EQ with high- and low-pass filters switchable between Notch, Parametric, Shelving and Cut filters. The needle sharp notch filter has a range down to 0.01 octave and the shelving filters has a variable slope, ranging from gentle 3 dB/oct over 6 and 9 to 12dB/oct. Cut filters are switchable between 12dB/oct maximum flat amplitude (Butterworth) or flat group delay (Bessel) types. The parametric equalizer features a natural and well defined bandwidth behavior at all gain and width settings:

Basic operation

• Press keys Lo, Mid1, Mid2 and Hi to activate/deactivate the EQ bands.

• Select Freq, Gain, Type or Lo/Hi to access all four parameters on individual bands.

• Press Bypass EQ to bypass all four bands.

Type Selector

• Press Type and use faders 1-4 to select filter types.

For Lo and Hi filters select between filter types: Parametric, Notch, Shelve and Cut.

For Mid 1 and Mid 2 filters select between filter types: Parametric and Notch.

Parametric Filter - Broad type

Shelving Filter

Notch Filter - Narrow Type

Cut Filter - Bessel type

EQ-DELAY 8

Cut Filter - Butterworth type

Freq

Press Freq and use Faders 1 to 4 to adjust frequence for each of the four bands.

Range - Lo band : 20Hz to 20kHz Range - Mid1 band : 20Hz to 20kHz Range - Mid2 band : 20Hz to 20kHz Range - Hi band : 20Hz to 40kHz

Gain

Press Gain and use Faders 1 - 4 to adjust gain for each of the four EQ bands.

Range for the Parametric, Shelve and Cut type: Lo Gain : -12dB to +12dB Mid1 Gain : -12dB to +12dB Mid2 Gain : -12dB to +12dB Hi Gain : -12dB to +12dB

Range for the Notch filter: Lo Gain : -100dB to 0dB Mid1 Gain : -100dB to 0dB Mid2 Gain : -100dB to 0dB Hi Gain : -100dB to 0dB

Type

Press and use Faders 1-4 to set BW value for each of the 4 EQ bands.

Range for the Notch filter: Lo BW : 0.02oct to 1oct Mid1 BW : 0.02oct to 1oct Mid2 BW : 0.02oct to 1oct Hi BW : 0.02oct to 1oct

Range for the Parametric filter: Lo BW : 0.1oct to 4oct Mid1 BW : 0.1oct to 4oct Mid2 BW : 0.1oct to 4oct Hi BW : 0.1oct to 4oct

Range for the Shelve filter: Lo BW : 3dB/oct to 12dB/oct Hi BW : 3dB/oct to 12dB/oct

Range for the Cut filter: Lo BW : Bessel or Butterworth Hi BW : Bessel or Butterworth

Bandwid

th/Q - Key-Values:

BW Q

0.5 - 2.87

0.7 - 2.04

1.0 - 1.41

DB4 & DB8 Scene Preset List v. 1.60

Scene Bank F1-0: Digital I/O Processors

The Scene Bank contains presets for controlling multiple mono, stereo and 5.1 signals.

Warning: A Scene resets Routing and Parameters for all Four Engines.

Note: If DB8 analog inputs or outputs are used, routing must be assigned accordingly, and converters should

be scaled on Frame/System/IO/Slot pages to match surrounding environment.

No Name Applic. Notes

0 Empty Scene Clears all Engines and Routing

1 Limiters, 8 Mono DTV TX Eight Mono -6dBFS Limiters and Delay aligns across

I/O 1 thru 8

2 Limiters, 4 Stereo DTV TX Four Stereo -6dBFS Limiters and Delay aligns across

I/O 1 thru 8

3 Optimizers, 8 Mono DTV TX Eight Mono -3dBFS Level Optimizers and Delay

aligns across I/O 1 thru 8

4 Optimizers, 4 Stereo DTV TX Four Stereo -3dBFS Level Optimizers and Delay

aligns across I/O 1 thru 8

5 5.1 In > Stereo&5.1 Convert Limit 5.1 plus Conversion of 5.1 to stereo

6 Stereo In > Stereo&5.1 Convert Limit stereo plus Conversion of stereo to 5.1

7 LtRt In > LtRt&5.1 Convert Limit LtRt plus Conversion of LtRt to 5.1

8 Monitor Matrix Master

Control

9 Line-up All Outputs Master

Control

Monitor control for multiple input formats

Output calibration tones to all analog and digital outputs

DB4 & DB8 Engine Preset List v. 1.60

Engine Bank F1: Loudness, Stereo

F1 Banks contain presets for Loudness Control, Limiting and Multiband Level Optimization in Digital TV Transmission, Analog TV Transmission, Linking and Ingest.

F1-0: Loudness Control for DTV Transmission

This Decade holds Automatic Loudness Control and Limiting presets for Stereo and LtRt DTV Transmission.

Loudness correction is based on the TC Grid algorithm offering low latency operation (1.6 ms) with low static and dynamic distortion for all types of input signals. The presets also include instant peak protection at the electrical level indicated, and provide additional 4 sec Delay capability (100 frames at 25 fps, 120 frame at 30 fps) adjustable live on Fader #1. Presets may be changed to Dual Mono using the Configuration parameter. The Gain column indicates if a preset can apply negative and/or positive gain.

Operational Hint: In these presets, use fader #2, “Target Level”, to adjust long term loudness, and fader #56, “Lim. Threshold” to adjust short term peak level. Fader #3 defines how much positive gain a certain preset is allowed to add.

Note: If DB8 analog inputs or outputs are used, converters should be scaled on Frame/System/IO/Slot pages to match surrounding environment.

No Name Gain Notes

-- Empty Engine Clears selected Engine

1 US Loudness Limit Negative Loudness Limiter for speech and music broadcast using

RP155 operating levels. The electrical Limit threshold is preset to -10dBFS.

2 US Loudness Correct Negative

Positive

3 US Commercial Limit Negative Loudness Limiter for hot broadcast material (e.g.

4 EBU Commercial

Limit

5 EBU Loudness Limit Negative Loudness Limiter for speech and music broadcast using

6 EBU Loudness

Correct

7 JP-N Loudness Limit Negative Loudness Limit, Japan National transmission. Turn up

8 France Loudness

Limit

Negative Loudness Limiter for hot broadcast material (e.g.

Negative Positive

Negative Loudness Limit, Tele France specifications. Turn up fader

Loudness Correction for speech and music broadcast using RP155 operating levels. The electrical Limit threshold is preset to –10dBFS.

commercials) using RP155 operating levels. The electrical Limit threshold is preset to –10dBFS.

commercials) using EBU R68 operating levels. The electrical Limit threshold is preset to –9.0dBFS.

EBU R68 operating levels. The electrical Limit threshold is preset to –9.0dBFS.

Loudness Correction for speech and music broadcast using EBU R68 operating levels. The electrical Limit threshold is preset to –9.0dBFS.

fader #3 to allow positive gain. The electrical Limit threshold is preset to –8.0dBFS.

#3 to allow positive gain. The electrical Limit threshold is preset to –9.0dBFS.

9 BBC Loudness Limit Negative Loudness Limit, BBC specifications. Turn up fader #3 to

allow positive gain. The electrical Limit threshold is preset to –8.0dBFS.

F1-2: Analog Transmission using 75 us Emphasis

DB8 may feed stereo or mono analog transmitters simultaneously with serving and optimizing digital links. This bank holds presets to be used with 75 micro second downstream emphasis, and are all low latency (40 samples or 0.8 ms).

The output of these presets do not carry emphasis, so they are suitable for linear, data-reduced or analog STL’s. Depending on equalization and peak conservation through the downstream signal-chain, it may be indicated to adjust the Limiter Threshold and HF Offset found on the Limit page. If Limit Thresholds are adjusted several dB, an easy way to obtain the same relation between loudness control, compression and limiting is to adjust the Reference Level on the Main page by the same amount.

Note: If DB8 analog inputs or outputs are used, converters should be scaled on Frame/System/IO/Slot pages to match surrounding environment. The settings indicate the analog level in dBu required for a full scale input, or produced for a full scale output. Level scaling is performed in the analog domain before AD and after DA conversion.

Presets can be made dual mono by changing Configuration on the Engine Main page. All presets provide on-line delay with live adjustable offset up to 4 seconds (100 frames at 25 fps, 120 frame at 30 fps).

No Name Gain Notes

0 Limit ATV 75us Negative Emphasis compensated stereo limiter. Limiters may be

linked on Limit page.

0 dB gain for –20 dBFS input. Limit at –6 dBFS.

1 Level Pilot 75us Negative

Positive

2 Level Pilot StEnh

75us

3 Auto Pilot 75us Negative

4 Music TV 75us Negative

5 Limit Dual Mono 75us Negative Two independent emphasis compensated limiters for use

6 Level Pilot Dual Mno

75us

Negative Positive

Positive

Negative Positive

Emphasis compensated wide range realtime loudness correction for stereo signals.

+4 dB gain for –20 dBFS input. Limit at –3 dBFS.

Emphasis compensated wide range realtime loudness correction and stereo enhancer.

+4 dB gain for –20 dBFS input. Limit at –3 dBFS.

Emphasis compensated very wide range realtime loudness correction and stereo enhancer.

+4 dB gain for –20 dBFS input. Limit at –3 dBFS.

Emphasis compensated realtime loudness correction with moderate low level boost.

+1 dB gain for –20 dBFS input. Limit at –3 dBFS.

with mono signals.

0 dB gain for –20 dBFS input. Limit at –6 dBFS.

Two independent emphasis compensated, realtime loudness correctors for use with mono signals.

+4 dB gain for –20 dBFS input. Limit at –3 dBFS.

F1-3: Analog Transmission using 50 us Emphasis

DB8 may feed stereo or mono analog transmitters simultaneously with serving and optimizing digital links. This bank holds presets to be used with 50 micro second downstream emphasis, and are all low latency (40 samples or 0.8 ms).

No Name Gain Notes

0 Limit ATV 50us Negative Emphasis compensated stereo limiter. Limiters may be

linked on Limit page.

0 dB gain for –20 dBFS input. Limit at –6 dBFS.

1 Level Pilot 50us Negative

Positive

2 Level Pilot StEnh

50us

3 Auto Pilot 50us Negative

4 Music TV 50us Negative

5 Limit Dual Mono 50us Negative Two independent emphasis compensated limiters for use

6 Level Pilot Dual Mno

50us

Negative Positive

Positive

Negative Positive

Emphasis compensated wide range realtime loudness correction for stereo signals.

+4 dB gain for –20 dBFS input. Limit at –3 dBFS.

Emphasis compensated wide range realtime loudness correction and stereo enhancer.

+4 dB gain for –20 dBFS input. Limit at –3 dBFS.

Emphasis compensated very wide range realtime loudness correction and stereo enhancer.

+4 dB gain for –20 dBFS input. Limit at –3 dBFS.

Emphasis compensated realtime loudness correction with moderate low level boost.

+1 dB gain for –20 dBFS input. Limit at –3 dBFS.

with mono signals.

0 dB gain for –20 dBFS input. Limit at –6 dBFS.

Two independent emphasis compensated, realtime loudness correctors for use with mono signals.

+4 dB gain for –20 dBFS input. Limit at –3 dBFS.

Bank F1-6: Linking

Presets for general purpose Link and codec optimization. If analog links are employed, consider using emphasis compensated presets found in Bank F1-2 and F1-3.

All presets provide on-line delay with live adjustable offset up to 4 seconds (100 frames at 25 fps, 120 frame at 30 fps).

Note: If DB8 analog inputs or outputs are used, converters should be scaled on Frame/System/IO/Slot pages to match surrounding environment.

No Name Gain Notes

0 Link LoLevel Correct Negative

Positive

1 Link LoLevel Cor.

Dual

2 Link Optimize Negative

3 Link Optimize Dual Negative

Negative Positive

Positive

For linking and OB. Correction of low level, reference level unaffected, limit to -3dBFS

For linking and OB. Correction of low level, reference level unaffected, limit to -3dBFS. Dual mono

Auto max level for linking. Limit to -1dBFS

Auto max level for linking. Limit to -1dBFS. Dual mono

Engine Bank F2: Loudness, Multichannel

F2 banks contain presets for Multichannel Level Control in Digital TV Transmission and codec optimization.

Bank F2-0: Limiters for 5.1 Transmission

This Decade holds Limiting presets for 5.1 SDTV and HDTV broadcasts. Presets may also be used for Dual Mono and Stereo signals. The Gain column indicates if a preset can apply negative and/or positive gain.

Note: If DB8 analog inputs or outputs are used, converters should be scaled on Frame/System/IO/Slot pages to match surrounding environment.

No Name Gain Notes

0 5.1 NAB Limit Negative Multiband Limiter for use in NAB 5.1 linking and

transmission

1 5.1 NAB Optmz Negative

Positive

2 5.1 EBU Limit Negative Multiband Limiter for use in EBU 5.1 linking and

3 5.1 EBU Optmz Negative

Positive

Multiband level Optimizer for use in NAB 5.1 linking and transmission

transmission

Multiband level Optimizer for use in EBU 5.1 linking and transmission

Bank F2-2: Dynamic Range Conversion for 5.1 Ingest and/or Transmission

This Decade holds Dynamic Range Conversion plus Limiting presets for 5.1 broadcast. The same preset may be used for mono, stereo, LtRt and 5.1. Processing is based on the MDX5.1 algorithm, famed for its outstanding transparency and low level lift features in film and music mastering. In broadcast, range conversion typically takes places during ingest and/or transmission.

These presets remap the dynamic range suitable for feature films, or other wide dynamic range material, to domestic listening conditions. The range conversion and sound quality is far superior to what can be achieved relying only on metadata in an AC3 transmission, but DB4/DB8 range conversion at the station works well in combination an AC3, DTS or AAC codec. Unless aggressive levels are needed, it is suggested to let DB4/DB8 take care of most of the range translation, while leaving the last 3-6 dB to the AC3 codec. This will ensure that wide dynamic range hungry audience also is accommodated to some extent.

Operational Hint: To avoid spectral intermodulation, processing is performed in three frequency bands plus LFE. Change the cross-over points and number of frequency bands on the Main page. To avoid interchannel modulation, L and R are processed in one group, Ls and Rs in another group, C and LFE alone. This can be changed on the Link pages. Transfer characteristic examples can be found on page xx.

Presets use this default Fader layout:

Fader #1: Main Channels. Input level offset for all five Main channels. Fader #2: LFE Channel. Input level offset for the LFE channel. Fader #3: Reference Level. Sets the absolute unity gain point. Fader #4: FullRng Thresh. Limiting point for all five Main channels. Fader #5: LFE Limit Thresh. Limiting point for the LFE channel.

Note: If DB8 analog inputs or outputs are used, converters should be scaled on Frame/System/IO/Slot pages to match surrounding environment.

No Name Gain Notes

0 Film Curve A3 Negative

Positive

1 Film Curve A6 Negative

Positive

2 Film Curve A9 Negative

Positive

3 Film Curve A12 Negative

Positive

The A3 preset adds 3 dB of gain to low level components of a 5.1 signal, while normal broadcast level is passed without processing. The transfer curve used is the same for all 5.1 channels.

The A6 preset adds 6 dB of gain to low level components of a 5.1 signal, while normal broadcast level is passed without processing. The transfer curve used is the same for all 5.1 channels.

The A9 preset adds 9 dB of gain to low level components of a 5.1 signal, while normal broadcast level is passed without processing. The transfer curve used is the same for all 5.1 channels.

The A12 preset adds 12 dB of gain to low level components of a 5.1 signal, while normal broadcast level is passed without processing. The transfer curve used is the same for all 5.1 channels.

Bank F2-2 and F2-3: Transfer curve examples

Examples of transfer curves available using presets in Bank F2-2 and F2-3.

Fig 1. MDX5.1 Dynamic Range Conversion Example.

Purple curve: Bypass Blue curve curve: Preset F2-2-1, Film Curve A6 Red curve: Preset F2-2-2, Film Curve A9 plus Defeat Threshold at -20 dB.

Fig 2. MDX5.1 Dynamic Range Conversion Example.

Purple curve: Bypass Blue curve: Preset F2-3-2, Film Curve C9, Center channel Red curve: Preset F2-3-2, Film Curve C9, all other channels

Fig 3. MDX5.1 Dynamic Range Conversion Example.

Purple curve: Bypass Blue curve: Preset F2-3-6, Film Curve D9, Center channel Red curve: Preset F2-3-6, Film Curve D9, all other channels

Bank F2-3: Dynamic Range Conversion for 5.1 Ingest and/or Transmission

See further descriptions in conjunction with the F2-2 Engine preset bank. While A curve presets use the same processing across all channels, C and D curves offer extra speech intelligibility, see transfer characteristic examples on page xx.

No Name Gain Notes

0 Film Curve C3 Negative

Positive

1 Film Curve C6 Negative

Positive

2 Film Curve C9 Negative

Positive

3 Film Curve C12 Negative

Positive

4 Film Curve D3 Negative

Positive

5 Film Curve D6 Negative

Positive

The C3 preset adds 3 dB of gain to low level components of a 5.1 signal, while normal broadcast level is passed without processing. To help speech intelligibility, the Center channel achieves max gain before the others.

The C6 preset adds 6 dB of gain to low level components of a 5.1 signal, while normal broadcast level is passed without processing. To help speech intelligibility, the Center channel achieves max gain before the others.

The C9 preset adds 9 dB of gain to low level components of a 5.1 signal, while normal broadcast level is passed without processing. To help speech intelligibility, the Center channel achieves max gain before the others.

The C12 preset adds 12 dB of gain to low level components of a 5.1 signal, while normal broadcast level is passed without processing. To help speech intelligibility, the Center channel achieves max gain before the others.

The D3 preset adds 3 dB of gain to low level components of a 5.1 signal. However, to help speech intelligibility, the Center channel is boosted 6 dB at low level.

The D6 preset adds 6 dB of gain to low level components of a 5.1 signal. However, to help speech intelligibility, the Center channel is boosted 8 dB at low level.

6 Film Curve D9 Negative

Positive

7 Film Curve D12 Negative

Positive

The D9 preset adds 8 dB of gain to low level components of a 5.1 signal. However, to help speech intelligibility, the Center channel is boosted 11 dB at low level.

The D12 preset adds 11 dB of gain to low level components of a 5.1 signal. However, to help speech intelligibility, the Center channel is boosted 14 dB at low level.

Engine Bank F4: Format Conversion

F4 banks contain presets for low latency conversion between formats.

F4-0: Down-Conversion

Presets for transcoding 5.1 signals to mono, stereo or LCRS. Presets for transcoding 5.1 to 5.0 and vice versa. Presets for converting LtRt and Stereo signals to mono.

Note: If DB8 analog inputs or outputs are used, converters should be scaled on Frame/System/IO/Slot pages to match surrounding environment.

No Name Applic. Notes

0 5.1 to LCRS DTV and

ATV TX

1 5.1 to Stereo DTV and

ATV TX

2 5.1 to Stereo (Sr Lo) DTV and

ATV TX

3 5.1 to Stereo (C Hi) DTV and

ATV TX

4 5.1 to Mono DTV and

ATV TX

5 5.1 to Mono (90* shift) DTV and

ATV TX

6 Stereo to Mono DTV and

ATV TX

7 LtRt to Mono DTV and

ATV TX

8 5.0 to 5.1 DTV TX Generate LFE output from 5 main channels

9 5.1 to 5.0 DTV TX Distribute LFE input to 5 main channels

5.1 to LCRS transcoder. Optional 90 degree shift for summing

5.1 to stereo transcoder to ATSC A/52. Cnt at -6dB, Sur at -3dB

5.1 to stereo transcoder to ATSC A/52. Cnt at -6dB, Sur at -6dB

5.1 to stereo transcoder with focus on Center signal

5.1 to mono transcoder

5.1 to mono transcoder with 90 degree shift for summing

Stereo to mono transcoder

LtRt (and stereo) to mono transcoder

F4-2: Up-Conversion (Manual)

Presets for transcoding stereo and LtRt signals (matrixed surround) to 5.1. The typical applications are production and ingest. Analysis of audio is performed in realtime, but note that this processor introduces a delay of 2.8 ms (less than 1/10 frame).

OBS: These presets do not feature automatic stereo/LtRt/5.1 sensing and switching. For automatic upconversion presets suitable for transmission, please go to F4-4 and F4-6 instead.

Note: If DB8 analog inputs or outputs are used, converters should be scaled on Frame/System/IO/Slot pages to match surrounding environment.

No Name Applic. Notes

0 Stereo to 5.1 Prod. &

Ingest

1 UpConvert Dry Prod. &

Ingest

2 UpConvert Intimate Prod. &

Ingest

3 UpConvert Lateral Prod. &

Ingest

4 UpConvert Soft Sur Prod. &

Ingest

5 UpConvert Wide Prod. &

Ingest

6 UpConvert Style II Prod. &

Ingest

7 UpConvert LtRt Prod. &

Ingest

8 UpConvert LtRt Music Prod. &

Ingest

General purpose stereo to 5.1 transcoder with extra spacious feeling

General purpose stereo to 5.1 transcoder without spatial addition

Stereo to 5.1 transcoder with intimate room character

Stereo to 5.1 transcoder with lateralizing room character

Stereo to 5.1 transcoder with dorsal fill-in

Stereo to 5.1 transcoder with extra width

Stereo to 5.1 transcoder with different spectral signature

LtRt to 5.1 general purpose transcoder for high quality conversion without steering artifacts.

LtRt to 5.1 transcoder for high quality conversion without steering artifacts and optimized for music.

F4-5: Automatic 5.1 Up-Conversion (Joined Inputs)

This bank holds presets for automatic, realtime conversion of stereo and LtRt signals (matrixed surround) to

5.1. If the input format is already 5.1, these presets invisibly and without interruptions cross-fade into bypass.

Presets in this bank make use of the same inputs no matter if the input format is stereo, LtRt or discrete 5.1. Stereo or LtRt signals are therefore fed to the inputs used for L and R when a 5.1 signal is present. Note that this routing scheme is different from the presets in Bank F4-6.

UpCon doesn’t require metadata or preset change commands to operate correctly, and the dissolve time between engaged and disengaged upconversion can be adjusted on fader #1.

UpCon analyzes audio in realtime, but the process introduces a fixed delay of 2.8 ms (less than 1/10 frame). In order to engage and disengage seamlessly, note that the 2.8 ms delay is also in effect when UpCon is switched to bypass (unlike other DB4 and DB8 processing where processing latency is removed during bypass).

Note: If DB8 analog inputs or outputs are used, converters should be scaled on Frame/System/IO/Slot pages to match surrounding environment.

No Name Applic. Notes

0 UpCon General DTV TX General purpose, automatic Stereo and LtRt to 5.1 up-

converter.

1 UpCon Talk DTV TX Automatic Stereo and LtRt to 5.1 up-converter tuned for

mostly speech based programming.

2 UpCon Music DTV TX Automatic Stereo and LtRt to 5.1 up-converter tuned for

mostly music based programming.

3 UpCon Sports DTV TX Automatic Stereo and LtRt to 5.1 up-converter tuned for

mostly sports and live based programming.

F4-7: Automatic 5.1 Up-Conversion & UpCon Plus

This bank holds presets for automatic, realtime conversion of stereo and LtRt signals (matrixed surround) to

5.1. Presets are suitable to extend a stereo studio to 5.1, for instance to enable a stereo OB truck to simulcast in both stereo and 5.1.

Presets in this bank require a stereo or LtRt signal to be fed to the Aux inputs of the processor, while a discrete multichannel signal is fed to the separate 5.1 input of the processor. Note that this routing scheme is different from the presets in Bank F4-4.

Besides from allowing a broadcast station to use various audio routing topologies, the main advantage of having separate inputs is to enable the UpCon Plus functionality of UpCon. Additional material may be added live to the Center and Surround channels of the up-converted signal, thereby creating a tailor-made multichannel signal using normal stereo production tools. When UpCon Plus is selected, the plus inputs are time-aligned before being added to the up-converted main signal. See the operating manual for further details.

UpCon doesn’t require metadata or preset change commands to operate correctly, and the dissolve time between engaged and disengaged upconversion can be adjusted on fader #1.

Note: If DB8 analog inputs or outputs are used, converters should be scaled on Frame/System/IO/Slot pages to match surrounding environment.

No Name Applic. Notes

0 UpCon General Plus DTV TX General purpose, automatic Stereo and LtRt to 5.1 up-

converter with UpCon Plus functionality.

1 UpCon Talk Plus DTV TX Automatic Stereo and LtRt to 5.1 up-converter tuned for

mostly speech based programming, and with UpCon Plus functionality.

2 UpCon Music Plus DTV TX Automatic Stereo and LtRt to 5.1 up-converter tuned for

mostly music based programming, and with UpCon Plus functionality.

3 UpCon Sports Plus DTV TX Automatic Stereo and LtRt to 5.1 up-converter tuned for

mostly sports and live based programming, and with UpCon Plus functionality.

Engine Bank F6: Delay and EQ

F6-0: Parametric EQ, Filter and Delays

The F6 bank contains presets for delay and equalization of multiple mono, stereo and/or 5.1 signals.

Note: If DB8 analog inputs or outputs are used, converters should be scaled on Frame/System/IO/Slot pages to match surrounding environment.

No Name Applic. Notes

0 Mono EQ & Delays Link &

1 Stereo EQ & Delays Link &

2 5.1&Mono EQ &

Delays

3 5.1&Stereo EQ &

Delays

Link & TX

General purpose Equalizer and Delay for 8 mono signals

General purpose Equalizer and Delay for 4 stereo signals

General purpose Equalizer and Delay for 5.1 plus mono signals

General purpose Equalizer and Delay for 5.1 plus stereo

Engine Bank F8: Monitor & Line-up

The F8 banks contains presets for monitoring and line-up purposes.

F8-0: Monitoring

Presets for confidence check of audio using different reproduction formats.

Note: If DB8 analog inputs or outputs are used, converters should be scaled on Frame/System/IO/Slot pages to match surrounding environment.

No Name Applic. Notes

0 Monitor Matrix Master

Control

1 5.1 to Stereo check Master

Control

2 5.1 to Mono check Master

Control

3 LtRt to Mono check Master

Control

4 Stereo to Mono check Master

Control

Monitor controller for confidence check of multiple formats

Monitor controller for confidence check of 5.1 downmixed to Stereo

Monitor controller for confidence check of 5.1 downmixed to Mono

Monitor controller for confidence check of LtRt to Mono using 90 degree summing

Monitor controller for confidence check of Stereo to Mono using straight summing

F8-2: Line-up

Signal generators for Calibration and Line-up purposes.

Note: If DB8 analog inputs or outputs are used, converters should be scaled on Frame/System/IO/Slot pages to match surrounding environment.

Typical converter scaling in EU/EBU environments: +18 dBu. Typical converter scaling in US/SMPTE environments: +24 dBu.

No Name Applic. Notes

0 Calibrate 1kHz Test Line-up calibration tone at -20dBFS to 5.1 channels

1 Calibrate 100Hz Test Line-up calibration tone at -20dBFS to 5.1 channels

2 Calibrate 10kHz Test Line-up calibration tone at -20dBFS to 5.1 channels

3 Calibrate Pink Noise Test Line-up calibration noise at -20dBFS RMS to 5.1

channels

TC electronic DB8 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual