XTA 5 Series User Manual

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5 Series Operator’s Manual

5 Series 5 Series

5 Series

5 Series Quick Reference

5 Series5 Series

Editing channels : press channel’s GAIN key. First press accesses that channel’s gain. To scroll through channel’s parameters, use the BACK and NEXT keys. Second press accesses last viewed parameter. Third press will drop back to the default screen.

Accessing menus: press the MENU key. Use the BACK and NEXT keys to select the sub-menu required, and enter the sub-menu using the ENTER key. This applies to all levels of menu. ENTER always confirms selections.

The Menus and their Contents

GLOBAL MEMORY

GLOBAL MEMORY Sub-menu: Recall/Store/Erase input, graphic

GLOBAL MEMORY GLOBAL MEMORY

EQ, dynamic EQ, and crossover settings, or combinations of these.

INPUT SECTION

INPUT SECTION Sub-menu: Set up input ganging, and GEQ ‘Q’

INPUT SECTIONINPUT SECTION

setting.

CROSSOVER

CROSSOVER Sub-menu: Set up or adjust crossover design, including

CROSSOVERCROSSOVER

routing and auto limiter setting. Also set up output ganging.

INTERFACE

INTERFACE Sub-menu: Comms interface setup (RS232 and RS485),

INTERFACEINTERFACE

G.P.I. interface configuration, and wireless interface.

SYSTEM

SYSTEM Sub-menu: Used to view unit’s status, and select various

SYSTEMSYSTEM

global options such as PEQ ‘Q’ or bandwidth units, delay units, and output metering point (pre/post mute).

SECURITY

SECURITY Sub-menu: Used for locking various operations of the

SECURITYSECURITY

unit, using a 4 digit code.

AES/EBU

AES/EBU Sub-menu: Switch outputs from analogue to digital and

AES/EBUAES/EBU

monitor AES input status info. (AES inputs are switched via rear panel.)

DYNAMIC

DYNAMIC Sub-menu: Change how gain reduction meters behave.

DYNAMICDYNAMIC

Notes

The output meters show level, in dB from the limiter threshold, and the input meters show level from clipping the A-D converters, pre-gain and all EQ.

When editing DEQ or compressors, meters read downwards and show gain reduction for each DEQ section or compressor respectively.

The high and low pass crossover filters are defined independently on each output channel.

To access the limiter attack and release parameters, select “AutoLimiter TimeCst: No” when designing a crossover.

To swap parametric filter units between bandwidth (‘BandW’) and ‘Q’, enter System

System Sub-menu, select ‘Filter Q / Bandwidth’, and select

SystemSystem

required readout units.

To swap delay time units, enter System Time / Distance’, and select required readout units.

Pressing an EDIT key flashes corresponding channels routed to / from that channel.

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5 Series Operator’s Manual Page 3

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System Sub-menu, select ‘Delay

SystemSystem

Contents

Declaration Of Conformity 6 Important Safety Instructions 7 Instructions De Securite Importantes 8 Thanks 9 Unpacking the unit 9 Introduction 10

Features 10

Front Panel Familiarisation 11 Rear Panel Connections 12

Operating the 5 Series

Note about operation with AudioCore software. 13 Start-up procedure 13 Preliminary Set-up as a Crossover (DP548 & DP544) 13 Preliminary Set-up as Insert Channel Processing (DP544) 13

Input Channel Makeup 14 Output Channel Makeup 14

Preset Routing Configurations: DP548 14 Preset Routing Configurations: DP544 17 Free Assign Routing 18 Full Matrix Mixing 18

Editing Audio Parameters – Input Channels 19

Input Gain 19 Base Delay 19 Input Graphic EQ 19 Input Parametric EQ 19

Editing Audio Parameters – Output Channels 21

Output Gain 21 Output Polarity 21 Output Delay 21 Output High Pass Filter 22 Output Low Pass Filter 22 Output Parametric EQ 22 Output Compressor 23 Output Limiter 24 Output “D-Max” (Clip) Limiter 24 Input Ganging and Output Ganging 25

Menus in Detail 27 Memory Structure 29 Remote Control Interface Operation 31

RS232 Interface 31

RS232 Connection (Single Unit) 31 Loading New Software via a PC 32 RS232 Connection (Multiple Units) 32 Shadow ID Numbers 33 RS485 Connection 34

5 Series 13

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AES Inputs and Outputs 36

AES Input 36 AES Output 36

AES Diagnostics and Status Information 37

Security and Locking 38

Entering the Password to Complete the Locking Operation 38 Unlocking the Unit 39 Forgotten the Password? 39

PCMCIA Card and Compact Flash Card Usage 40

Preset Library Updates via the card 40 Unit Software Updates via the card 40 Unit Cloning 41 Copying Unit Software and Preset Files 41

Copying Data from Source Unit 41 Loading Data into Destination Unit 41 Cold Start Reboot Procedure 41

Advanced Audio Features 42

Graphic Equaliser Behaviour 42

The “GQ600” behaviour 42 The “Special” behaviour 43

What is Dynamic EQ? 44

Quadrant/Mode I: “Boost Above” 44 Uses of “Boost Above” mode. 44 Uses of “Cut Above” mode. 45 Uses of “Cut Below” mode. 46 Uses of “Boost Below” mode. 47

Dynamic EQ operating modes 48

Parallel Mode 48 Sequential Mode 48

DEQ Filter Types and Use of Full Bandwidth Mode 49 Setting the Attack and Release times 50 The Compressor ‘Knee’ Control 51 Program Limiter and “D-Max” Limiter 52

Program Limiter 52 “D-Max” Clip Limiter 53

Setting Accurate Limiter Thresholds 55 Crossover Filter Slopes 56 Time Alignment 56 Parametric Filter Types and Their Uses 57

Standard Parametric EQ 57 Shelving EQ (High Shelf shown) 58 Creating a Flat-topped EQ Response 58 Notch Filter 59 All Pass Filter 60 Phase Filter 60 Low/High Pass Variable ‘Q’ Filter (Low Pass shown) 61 Elliptical filters 62

Specifications 63 Warranty 64 Options and Accessories 64 Index 65

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Operator’s Manual Page 5

Declaration Of Conformity

We, the manufacturer:

XTA Electronics Ltd., The Design House, Vale Business Park, Worcester Road, Stourport on Severn, Worcestershire, England DY13 9BZ

acknowledge our responsibility that the following products:

Kind of equipment: Audio processor Commodity Code: 8518408990 Type Designation: DP548, DP544

are manufactured:

in accordance with EMC Directive 2004/108/EC, in compliance with the following norm(s) or document(s): Technical Regulations: EN55103-1:1996, EN55103-2:1996

and

in accordance with the Low Voltage Directive 2006/95/EC, in compliance with the following norm(s) or document(s): Technical Regulations: EN/IEC60065:2002 7th Edition

Signed: …………………………………………………………………

Name: Alex Cooper Position: Research and Development Manager Date: January 2012

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5 Series 5 Series

Important Safety Instructions

CAUTION: RISK OF ELECTRIC SHOCK.

DO NOT OPEN

The lightning flash with arrowhead symbol within an equilateral triangle is intended to alert the user to the presence if uninsulated “dangerous voltage” within the product’s enclosure that may be of sufficient magnitude to constitute a risk of

electric shock to per

sons.

WARNING: Apparatus with CLASS I construction shall be connected to a MAINS socket outlet with a protective earthing connection.

WARNING: To prevent injury, this apparatus must be securely attached to the rack in accordance with the installation instructions.

1. Read these instructions.

2. Keep these instructions.

3. Heed all warnings.

4. Follow all instructions.

5. Do not use this apparatus near water.

6. Clean only with a dry cloth.

7. Do not block any ventilation openings, install in accordance with the manufacturer’s instructions.

8. Do not install near any heat sources, such as radiators, heat registers, stoves or other apparatus (including amplifiers) that produce heat.

9. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding-type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. If the provided plug does not fi t into your outlet, consult an electrician for replacement of the obsolete outlet.

10. Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles and the point where they exit from the apparatus.

11. Only use attachments/accessories specified by the manufacturer.

12. Use only with the cart, tripod, bracket or

table specified by the manufacturer, or sold with the apparatus. When a cart is used, use caution when moving the cart/apparatus combination to avoid injury from a tip over.

13. Unplug this apparatus during lightning storms or when unused for a long period of time.

14. Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as if the power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped.

15. Do not expose this equipment to dripping or splashing and ensure that no objects filled with liquids, such as vases, are placed on the equipment.

16. To completely disconnect this equipment from the AC mains, disconnect the power cord from the mains circuit breaker.

17. This unit is fitted with a 3-wire power cord. For safety reasons, THE EARTH LEAD SHOULD NOT BE DISCONNECTED IN ANY CIRCUMSTANCE.

The exclamation point within an equilateral triangle is intended to alert the user of important operating and maintenance (servicing) instructions in the literature accompanying the appliance.

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Operator’s Manual Page 7

Instructions De Securite Importantes

ATTENTION: RISQUE DE CHOC ELECTRIQUE.

NE PAS OUVRIR

Le symbole représentant un éclair fléché dans un triangle équilatéral a pour but d’alerter l’utilisateur de la présence d’une “tension dangeruese” non isolée à l’intérieur du boitier, pouvant être d’une force suffisante pour constituer un risqué d’électrocution.

ATTENTION: Appareils de construction de CLASSE I doit être raccordé au réseau électrique via une prise de courant reliée à la terre.

ATTENTION: Pour éviter toute blessure, cet appareil doit être solidement fixé à la torture, conformément aux instructions d'installation.

1. Lisez ces consignes.

2. Conservez ces consignes.

3. Respectez tous les avertissements.

4. Respectez toutes les consignes d’utilisation.

5. N’utilisez jamais l’appareil à proximité d’un liquide.

6. Nettoyez l’appareil avec un chiff on sec.

7. Veillez à ne pas empêcher la bonne ventilation de l’appareil via ses ouïes de ventilation. Respectez les consignes du fabricant concernant l’installation de l’appareil.

8. Ne placez pas l’appareil à proximité d’une source de chaleur telle qu’un chauff age, une cuisinière ou tout appareil dégageant de la chaleur (y compris un ampli de puissance).

9. Ne supprimez jamais la sécurité des prises bipolaires ou des prises terre. Les prises bipolaires possèdent deux contacts de largeur diff érente. Le plus large est le contact de sécurité. Les prises terre possèdent deux contacts plus une mise à la terre servant de sécurité. Si la prise du bloc d’alimentation ou du cordon d’ali-mentation fourni ne correspond pas à celles de votre installation électrique, faites appel à un électricien pour eff ectuer le changement de prise.

10. Installez le cordon d’alimentation de telle façon que personne ne puisse marcher dessus et qu’il soit protégé d’arêtes coupantes. Assurez-vous que le cordon d’alimentation est suffisamment protégé, notamment au niveau de sa prise électrique et de l’endroit où il est relié à l’appareil; cela est également valable pour une éventuelle rallonge électrique.

11. Utilisez exclusivement des accessoires et des appareils supplémentaires recommandés par le fabricant.

12. Utilisez exclusivement des chariots, des diables, des présentoirs, des pieds et des surfaces de travail recommandés par le fabricant ou livrés avec le produit. Déplacez précautionneusement tout chariot ou diable chargé pour éviter d’éventuelles blessures en cas de chute.

13. Débranchez l’appareil de la tension secteur en cas d’orage ou si l’appareil reste inutilisé pendant une longue période de temps.

14. Les travaux d’entretien de l’appareil doivent être eff ectués uniquement par du personnel qualifié. Aucun entretien n’est nécessaire sauf si l’appareil est endommagé de quelque façon que ce soit (dommages sur le cordon d’alimentation ou la prise par exemple), si un liquide ou un objet a pénétré à l’intérieur du châssis, si l’appareil a été exposé à la pluie ou à l’humidité, s’il ne fonctionne pas correctement ou à la suite d’une chute.

15. N'exposez pas cet équipement au fait de tomber goutte à goutte ou au fait d'éclabousser et garantissez qu'aucun objet rempli des liquides, comme les vases, n'est placé sur l'équipement.

16. Pour complètement débrancher cet équipement de la conduite principale de courant alternatif, débranchez la corde de pouvoir du disjoncteur de conduite principale.

17. Cette unité est correspondue avec une corde de pouvoir de 3 fils. Pour les raisons de sécurité, L'AVANCE DE TERRE NE DEVRAIT ÊTRE DÉBRANCHÉE DANS AUCUNE CIRCONSTANCE.

Le point d’exclamation dans un triangle équilatéral a pour but d’alerter l’untilisateur de la présence d’instructions importantes concernant le fonctionnement et la maintenance, dans la documentation qui accompagne l’appariel.

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Thanks

Thank you for choosing an XTA 5 Series for your application. Please spend a little time reading through this manual, so that you obtain the best possible performance from the unit. All XTA products are carefully designed and engineered for cutting-edge performance and world-class reliability. If you would like further information about this or any other XTA product, please contact us. We look forward to hearing from you in the near future.

Unpacking the unit

After unpacking the unit, please check it carefully for any damage. If any is found, immediately notify the carrier concerned - you, the consignee, must instigate any claim. Please retain all packaging in case of future re-shipment.

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Please think of our environment and don’t bin any materials, including this manual. When the product has reached the end of its useful life, please dispose of it responsibly through a recycling centre.

Operator’s Manual Page 9

Introduction

The 5 Series are powerful DSP based audio processors, combining the functions of a multitude of conventional products in a compact 1U unit with extensive remote control capabilities. To achieve this, the unit has four inputs and eight (four) outputs which can be configured in a selection of standard crossover modes (2 x 4 way for example on a DP548, or 2 x 2 way on a DP544 although they are not limited to these configurations). They also offer a “free assign” mode, which allows completely flexible routing of any output from any combination of inputs and a “matrix” mode which allows mixing of any input to output (as opposed to switching with fixed gain).

Each input has a gain control, variable delay, a 28 band graphic equaliser and a further eight bands of fully parametric equalisation. The parametric filter bands have a large selection of different filter types available, including shelving, notch, band-pass, phase and elliptical behaviours. Three bands of dynamic EQ are also included on each input, which adapts its behaviour depending of the proximity of the level to a user-defined threshold.

Each output has a gain control, variable delay, high and low pass crossover filters, nine bands of fully parametric equalisation, polarity switching, a fully featured compressor with variable knee, a flexible limiter, and a final clip limiter. The crossover filters offer slopes of up to 48dB/Octave, with a variety of responses available.

Remote control1 is catered for in the form of RS232 and RS485 ports, and multiple user memories are provided for the storage and recall of settings. A GPI interface may also be fitted to allow remote memory recalls using simple switch closure apparatus.

Security lock-out is available for all controls.

The 5 Series are also equipped with AES/EBU digital inputs and outputs, and include sample rate conversion, capable of accepting digital audio from 32kHz up to 192kHz.

Units may be controlled externally by XTA’s proprietary Windows future ‘AudioCore’ products.

Features

Superb audio quality – carefully optimised double precision signal processing coupled with 24 bit conversion ensure a dynamic range in excess of 117dB. The high sampling rate of 96kHz means minimal filtering providing exceptional sonic purity with a bandwidth in excess of 32kHz.

A flexible input/output multi-mode format caters for any configuration, regardless of scale. Both routing of inputs to outputs, and ganging (for editing) are completely flexible.

A completely new SHARC not only multiple bands of standard parametric equalisation on every input and output, but also a full spectrum graphic equaliser on each of the four inputs. Three bands of dynamic EQ are available on each input, along with a fully featured soft-knee compressor, program limiter and look-ahead clip limiter on each output.

Delay of up to 650mS may be independently set for each output, with an exceptionally fine minimum increment of 300nS, which corresponds to a distance change of 0.1mm!

The comprehensive standard specification also includes up to 255 memories, and remote control via RS232 or RS485 ports, with security lockout.

XTA’s new proprietary Complex Unified Nyquist Truncation algorithm ensures that no matter how much equalisation is applied to a channel, there will always be sufficient headroom available to cater for it.

based DSP platform supplies phenomenal computational power, allowing the unit to provide

software, along with existing and

Note that only the RS232 and RS485 interfaces offer full remote control of this product – the GPI interface may only be

used for memory recall (program change) purposes.

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Front Panel Familiarisation

LCD Screen: Shows, by default, the name of the

last recalled memory on the bottom line of the screen, and the current routing on the top line. Also used to show all parameters as they are edited, and all menu selections.

Control Keys: Selection and adjustment of parameters. NEXT key moves forward through list of parameters. BACK key moves backwards through list of parameters. MENU key activates the main menu – a second press selects the last menu edited – a third press selects the last menu item. In this way, three presses on MENU from the default screen will jump back to the last parameter adjusted. Selection of different menus is accomplished using the BACK and NEXT keys, or with the FREQ encoder. ENTER key enters the chosen menu, confirms selections, and changes filter types when editing

parametric sections. BYPASS will flatten the currently selected parametric sections, or input graphic equalisers and dynamics modules. For safety reasons, it is not possible to bypass the high and low pass filter sections. QUIT exits menus back to the default screen.

Rotary Encoders: Three velocity sensitive encoders adjust the relevant parameters as displayed on the screen. Memory Card Slot: Will accept type I or type II PCMCIA SRAM cards and, using an adapter, Compact Flash cards. This allows the unit to be cloned, memory sets saved, presets loaded, and firmware updates installed. Status LEDs: The four status LEDs show, from left to right, AES inputs selected (flashing if not locked); AES outputs selected; Comms activity (only illuminates on messages addressed to this particular unit); and a general-purpose spare indicator.

Input Sections: Control and monitor input signal paths. Red MUTE buttons illuminate when pressed and mute audio for that channel. EDIT buttons illuminate yellow when pressed, and access gain on first press, then last viewed parameter on second press, then exit on third press. Input meters show dB from clipping point of the analogue to digital converters. Yellow (0dB) LED illuminates 3dB from clipping. Red CLIP LED may illuminate independently from the rest of the meter to show digital overflow. All four CLIP LEDs illuminating indicates internal clipping after the ADC.

Meters also read downwards from the yellow LED to show gain adjustment (reduction or expansion) when editing DEQ modules – meter shows gain adjustment for current band of DEQ only.

Output Sections: Control and monitor output signal paths. Red MUTE buttons illuminate when pressed and mute audio for that channel. EDIT buttons illuminate yellow when pressed, and access gain on first press, then last viewed parameter on second press, then exit on third press. Output meters show dB from limiting. The yellow LED illuminates at the onset of limiting. The red LED illuminates at 4dB into limiting (i.e. 4dB of gain reduction). Meters also read downwards from the yellow LED to show gain reduction when editing compressors. These may be left permanently enabled by changing this option in the

DYNAMICS

DYNAMICS sub-menu.

DYNAMICSDYNAMICS

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Operator’s Manual Page 11

Rear Panel Connections

Power Switch: turns the unit’s mains supply off and on. Mains Fuse: located in a finger-proof holder adjacent to the mains inlet. A spare fuse

is also located in this holder.

Mains Inlet: connected via a standard IEC socket.

RS232: RS232 standard via a 9 pin D-type connector, for connection to a PC. Data is

converted to RS485 standard and relayed to slave units via the RS485 sockets. RS485 In-Out: XLR sockets. Used for transmission of remote control data over long distance or multiple unit applications. See page 33 for more information.

For more details on interfaces see our Remote Interface Guide, available on-line.

Audio Outputs: 3 pin XLR sockets are provided for each channel. All are fully balanced, pin 2 hot, 3 cold, 1 screen. Note the legending on the panel to designate which outputs are used for AES streams when the digital outputs are enabled. Please see page 36 for more information.

Always replace the fuse with the correct type and rating as shown on the rear panel legend.

AES Input Switch: Recessed switch to select AES digital inputs. Red LED will illuminate in the hole when AES inputs are selected, along with the corresponding front panel indicator. Audio Inputs: 3 pin XLR sockets are provided for each channel. All are fully balanced, pin 2 hot, 3 cold, 1 screen.

Note the legending on the panel to designate which inputs are used for AES when the digital inputs are enabled. Please see page 36 for more information.

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Operating the 5 Series

5 Series

5 Series5 Series

Note about operation with AudioCore software.

The following operating information covers setup and control of a 5 Series via the front panel controls only. Please consult the manual supplied with this software for information regarding full computer control.

Start-up procedure

Switching on the unit will display a brief message detailing the unit type and software version running

== AudioCore DP548 ==

== AudioCore DP548 ==== AudioCore DP548 ==

==Software V 1.00 ==

==Software V 1.00 ====Software V 1.00 ==

and all LEDs will briefly illuminate. The unit will then begin its countdown to the wake-up procedure2, during which time the audio will fade up to the level last set. Metering will begin to operate when the fade-up starts.

Preliminary Set-up as a Crossover (DP548 & DP544)

The procedure below should be followed when first installing a 5 Series

5 Series unit as a crossover.

5 Series 5 Series

 Design your crossover! To do this, press MENU, and use the BACK or NEXT key to select ‘Crossover

sub

sub----menu

menu’ and then press ENTER. Use the BACK or NEXT key to select ‘Design a crossove

subsub

menumenu

Design a crossoverrrr’

Design a crossoveDesign a crossove

Crossover

Crossover Crossover

and then press ENTER. Finally, use the BACK or NEXT key to select the desired routing3and follow the set-up wizard to finalise your design.

 Note that when in a menu, ENTER is always used to confirm selections. The current selection is marked with an

asterisk ‘*’.

 Use the EDIT keys on each output channel with the BACK and NEXT keys to select the high pass filters, low

pass filters, parametrics etc. Note that when designing a new crossover, the high and low pass filters will be set to default values.

 Use the EDIT keys on each input channel with the BACK and NEXT keys to select the gain, delay and

parametrics available on each input.

Preliminary Set-up as Insert Channel Processing (DP544)

Follow the steps above, but choose 4 x 1 way as the desired routing – this will feed input A to output 1, input B to output 2 etc. so offering four independent channels of processing.

Note that if no action is taken in menu mode, the unit will return to normal ‘default’ mode after about twenty (20) seconds. Repeat the above directions to return to menu mode.

The wake-up time countdown may be adjusted in the SYSTEM menu – see page 24 for details.

For details about adjusting the routing if one of the standard configurations does not suit, see page 15.

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Operator’s Manual Page 13

Routing Options and Processing Blocks

Due to the completely new DSP platform, the routing possibilities within the 5 Series have been made completely flexible, with a matrix available allowing any combination of inputs to be routed to any output. The additional DSP power has permitted the inclusion of more processing blocks, even considering the extra inputs and outputs, and the doubling of sample rate.

To reduce set-up time and aid usability, several standard configurations are available as described in a later section.

This section will outline the processing blocks available in relation to the signal path, and explain the various options for routing, including the “Free Assign” mode, which opens up completely flexible channel routing, and “Matrix” mode which also adds gain controls for mixing capabilities.

Input Channel Makeup

The diagram below shows the processing available on each of the four input channels, before routing to the matrix.

Output Channel Makeup

The diagram below shows the processing available on each of the eight output channels, after routing from the matrix/mixer.

Preset Routing Configurations: DP548

In addition to the ability to assign any combination of inputs to any output, a number of preset configurations are provided, for use when designing a crossover from scratch. These have the advantage of suggested settings for the high and low pass filters to useful basic starting points, to filter the different outputs as appropriate for the chosen configuration. These may, of course, be freely modified afterwards should they not suit the requirements exactly.

The diagrams on the following pages show the connections made between inputs and outputs, and the suggested values chosen for the high and low pass filters.

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4 x 2 way crossover: As shown, each input feeds a pair of outputs, odd numbers being the low frequency split, and even numbers being the high part of the spectrum. Default suggested crossover frequencies are shown by each output.

2 x 3 way crossover: Inputs A and B feed three outputs each, with output 7 being fed from input C, and output 8 from input D. Note the ‘Aux’ outputs are set to full range. Default suggested crossover frequencies are shown by each output.

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Operator’s Manual Page 15

2 x 4 way crossover: Inputs A and B feed four outputs each, with inputs C & D being unused. Default suggested crossover frequencies are shown by each output.

1 x 8 way crossover: Inputs A is fed to all eight outputs, with initial settings being all full bandwidth. The crossover points can be adjusted as desired.

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Preset Routing Configurations: DP544

1 x 4 way crossover: Input A is routed to all four output, with default crossover points shown. Inputs B – D are muted.

2 x 2 way crossover: Input A is routed to outputs 1 & 2, input B to 3 & 4. Inputs C & D are muted.

4 x 1 way crossover: Each input is routed to a corresponding output A to 1, B to 2 etc. Crossovers filters are bypassed.

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Operator’s Manual Page 17

Free Assign Routing

If none of the preset configurations are appropriate to the required system setup, it is possible to manually select the routing of the crossover. This is achieved through the Crossover Menu

Pressing ENTER will start the crossover design wizard, with the first option being to choose the routing.

The display will show

Design A

Design A Crossover

Design ADesign A

Routing = 2 X 4 WAY *

Routing = 2 X 4 WAY *Routing = 2 X 4 WAY *

or whatever the current configuration is set to. Press BACK until the display shows

Design A Crossover

Design A Crossover ---->>>>

Design A Crossover Design A Crossover

Routing = Free Assign

Routing = Free AssignRouting = Free Assign

And then press ENTER. The EDIT key will illuminate for output 1, as will any relevant input EDIT keys, showing which inputs are feeding output 1. The display will also detail the current combination of inputs feeding this output. To change the routing for any output, press its EDIT key, and then choose the required input channel combination by just pressing the input EDIT keys as appropriate. The input combinations can also be stepped through in turn by pressing NEXT, or BACK.

To complete the procedure, press ENTER. The wizard will continue, and if the routing has been changed, all outputs will be muted on exit.

Crossover Menu ----> Design A Crossover

Crossover Menu Crossover Menu

Crossover ---->>>>

Crossover Crossover

> Design A Crossover.

> Design A Crossover> Design A Crossover

Full Matrix Mixing

If the free assign mode still isn’t flexible enough (!), it is possible to manually select the routing of the crossover with full level mixing from any input to output. This is achieved through the

Crossover Menu

ossover Menu ----> Design A Crossover

CrCr

Pressing ENTER will start the crossover design wizard, with the first option being to choose the current routing.

The display will show

or whatever the current configuration is set to. Press BACK until the display shows

To complete the procedure, press ENTER. The wizard will continue, and if the routing has been changed, all outputs will be muted on exit. Matrix routing levels are stored in crossover memories (as with routing settings).

ossover Menu ossover Menu

Design A Crossover

Design A Crossover ---->>>>

Design A Crossover Design A Crossover

Routing = 2 X 4 WAY *

Routing = 2 X 4 WAY *Routing = 2 X 4 WAY *

Design A Crossover

Design A Crossover ---->>>>

Design A Crossover Design A Crossover

Routing = Full Matrix

Routing = Full MatrixRouting = Full Matrix

> Design A Crossover

> Design A Crossover> Design A Crossover

Page 18 5 Series

5 Series Operator’s Manual

5 Series 5 Series

Editing Audio Parameters – Input Channels

Input Gain

The range of the control over the input gain is –40dB to +6dB in 0.1dB steps.

InA I

InA Input A Gain

InA IInA I

Input Gain = +6.0dB

Input Gain = +6.0dBInput Gain = +6.0dB

nput A Gain

nput A Gainnput A Gain

Gain

Base Delay

The maximum available delay between any input and output is 650.00mS. For example, if the input delay on channel A is set to 500mS, the maximum available output delay for any output fed from input A will be 150mS. The readout units can be changed between time in milliseconds, distance in feet or distance in metres. Please see page 27 for more details.

IIIInA Input A Delay

nA Input A Delay

nA Input A DelaynA Input A Delay

Base Delay = 0.00mS

Base Delay = 0.00mSBase Delay = 0.00mS

x 1mS x 10uS

343mm 4mm

Note that Base Delay (Input Delay) is not available when in “Full Matrix” mode.

Input Graphic EQ

The graphic equaliser has 28 third octave bands from 31Hz to 16kHz, and a gain range of +12dB. The G6 line of the screen denotes the ‘Q’ behaviour of the graphic – this setting behaves like a GQ600 with variable ‘Q’ that is

‘gentler’ at low cut/boost values and sharpens at high cut/boost values. The alternate setting, Sp behaviour where no change in bandwidth occurs with differing cut/boost. Pressing BYPASS

BYPASS will bypass the entire

BYPASSBYPASS

Sp, is a constant ‘Q’

SpSp

Graphic EQ on this channel. For details of how to select the behaviour, please see page 27.

InA Input A Graph<>

InA Input A Graph<>InA Input A Graph<>

40Hz +

40Hz +-----

40Hz +40Hz +

-----

G6 0.0dB

----------

G6 0.0dB

G6 0.0dBG6 0.0dB

G6 on the second

G6G6

Frequency Gain

Input Parametric EQ

There are eight bands of parameter equalisation available on every input. The behaviour of each individual band can be changed to a variety of different filter shapes, including high and low shelves, notch, and bandpass. Changing the filter type is achieved by pressing ENTER available, please see page 55.

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Operator’s Manual Page 19

ENTER during editing any particular band. For more details about the various types of filter

ENTER ENTER

InA Input A PEQ:1<>

InA Input A PEQ:1<>InA Input A PEQ:1<>

1k00Hz Q=3.0 0.0dB

1k00Hz Q=3.0 0.0dB1k00Hz Q=3.0 0.0dB

Frequency ‘Q’ Gain

Input Dynamic EQ

There are 3 bands of dynamic EQ available on each input. Each band has three screens associated with it. For more information on how the dynamic EQ works, please see page 44. The first edit screen shows the threshold for the band, and the ratio for the dynamic action, along with the mode. The gain reduction meter to the left on the bottom line of the display shows gain reduction (or expansion) in 0.5dB steps. The band can by bypassed by pressing the BYPASS whereupon the meter will be replaced by BYPASS

BYPASS.

BYPASSBYPASS

InA Input A DEQ1+^X

InA Input A DEQ1+^XInA Input A DEQ1+^X

|||||||||| Th=

|||||||||| Th=----32.0 Rat=2.00

|||||||||| Th=|||||||||| Th=

Threshold Ratio

Threshold RatioThreshold Ratio

32.0 Rat=2.00

32.0 Rat=2.0032.0 Rat=2.00

BYPASS key

BYPASSBYPASS

Mode is indicated at the right hand side of the top line like this “DEQ1+↑X”. In this case it represents “Boost Above” mode, with the X showing the filter type – parametric, high or low shelf or full bandwidth. The plus or minus shows boost or cut and the arrow shows above or below the threshold (↓). Filter type is changed by setting the ratio to 1:1 (or pressing BYPASS shelving filters and the full bandwidth mode (compressor or expander), please see page 49.

Pressing NEXT the ratio to 1:1 and then turning the left encoder. Note that release time cannot be set to faster than the attack time and will be forced to track it if you increase the attack to a greater value than the release. This is to prevent introducing distortion that can be caused due to the detector tracking individual cycles of the waveform, rather than its envelope. There is more information about this in the section on page 50.

BYPASS) and then pressing ENTER

BYPASSBYPASS

NEXT shows the attack and release times, alongside the operating mode. The mode can be changed by setting

NEXTNEXT

ENTER to scroll through the types. For more information about the use of the

ENTERENTER

InA Input A DEQ1+^X

InA Input A DEQ1+^XInA Input A DEQ1+^X

BstAbv At=0.07mS Rl=11mS

BstAbv At=0.07mS Rl=11mSBstAbv At=0.07mS Rl=11mS

Mode Attack Release

Mode Attack ReleaseMode Attack Release

Pressing NEXT allowable amount of gain change that may be applied – so even if the signal is far over the threshold with a high ratio, the gain of the band won’t change by more than this value.

Page 20 5 Series

NEXT shows the filter parameters for the band. Note that gain value shown is the maximum (or minimum)

NEXTNEXT

InA Input A DEQ1+^X

InA Input A DEQ1+^XInA Input A DEQ1+^X

99.2Hz 1.0 12dB

99.2Hz 1.0 12dB99.2Hz 1.0 12dB

Frequency ‘Q’ Max. Gain

Frequency ‘Q’ Max. GainFrequency ‘Q’ Max. Gain

5 Series Operator’s Manual

5 Series 5 Series

Editing Audio Parameters – Output Channels

Output Gain

The range of the control over the input gain is –40dB to +15dB in 0.1dB steps.

OP1 Output 1 Gain

OP1 Output 1 GainOP1 Output 1 Gain

Output Gain = +6.0dB

Output Gain = +6.0dBOutput Gain = +6.0dB

Gain

Output Polarity

The polarity (or phase) of each output may be switched individually as below.

OP1 Output 1 Polar.

OP1 Output 1 Polar.OP1 Output 1 Polar.

Polarity = [+]

Polarity = [+]Polarity = [+]

- or +

Output Delay

OP1 Output 1 Delay

OP1 Output 1 DelayOP1 Output 1 Delay

Delay = 0.0000mS

Delay = 0.0000mSDelay = 0.0000mS

x 1mS x 10uS x0.3uS

343mm 4mm 0.1mm

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Operator’s Manual Page 21

Output High Pass Filter

The high pass crossover filter on each output has a frequency range of <10Hz up to 32kHz in 1/36th Octave steps. If you try to set the high pass filter to a higher frequency than the low pass (which would be pointless and result in no output), the message High/Low Freq. Overlap! parametric bands 6 & 7 need to be bypassed, or set to 0dB. If they are not, the message Bypass PEQ’s 6

7 To Access 48dB Slopes

7 To Access 48dB Slopes will be displayed.

7 To Access 48dB Slopes 7 To Access 48dB Slopes

High/Low Freq. Overlap! will be displayed. Note that to access the 48dB/Octave filters,

High/Low Freq. Overlap!High/Low Freq. Overlap!

Bypass PEQ’s 6 &

Bypass PEQ’s 6 Bypass PEQ’s 6

OP1 Output 1 HPF /~~

OP1 Output 1 HPF /~~OP1 Output 1 HPF /~~

<10Hz Linkw

<10Hz Linkw----Riley 48dB

<10Hz Linkw<10Hz Linkw

Riley 48dB

Riley 48dBRiley 48dB

& &

Frequency Slope

Output Low Pass Filter

The low pass crossover filter on each output has a frequency range of 35.1Hz up to >32kHz in 1/36th Octave steps. If you try to set the low pass filter to a lower frequency than the high pass (which would be pointless and result in no output), the message High/Low Freq. Overlap! parametric bands 8 & 9 need to be bypassed, or set to 0dB. If they are not, the message Bypass PEQ’s 8 &

9 To Access 48dB Slopes

9 To Access 48dB Slopes will be displayed.

9 To Access 48dB Slopes9 To Access 48dB Slopes

High/Low Freq. Overlap! will be displayed. Note that to access the 48dB/Octave filters,

High/Low Freq. Overlap!High/Low Freq. Overlap!

Bypass PEQ’s 8 &

Bypass PEQ’s 8 & Bypass PEQ’s 8 &

OP1 Output 1 LPF ~~

OP1 Output 1 LPF ~~\\\\

OP1 Output 1 LPF ~~OP1 Output 1 LPF ~~

>32kHz Linkw

>32kHz Linkw----Riley 48dB

>32kHz Linkw>32kHz Linkw

Riley 48dB

Riley 48dBRiley 48dB

Frequency Slope

Output Parametric EQ

There are nine bands of parametric equalisation available on every output4. The behaviour of each individual band can be changed to a variety of different filter shapes, including high and low shelves, notch, and bandpass. Changing the filter type is achieved by pressing BYPASS more details about the various types of filter available, please see page 55.

BYPASS to bypass the filter and then pressing ENTER

BYPASSBYPASS

OP1 Output 1 PEQ:1<>

OP1 Output 1 PEQ:1<>OP1 Output 1 PEQ:1<>

1k00Hz Q=3.0 0.0dB

1k00Hz Q=3.0 0.0dB1k00Hz Q=3.0 0.0dB

ENTER during editing any particular band. For

ENTER ENTER

Frequency ‘Q’ Gain

Note that 2 bands each will be lost when using 48dB slope crossover filters, resulting in a maximum of 5 bands of EQ

when both high and low pass are set to 48dB/Octave.

Page 22 5 Series

5 Series Operator’s Manual

5 Series 5 Series

Output Compressor

The compressor on each output has adjustable attack and threshold, with a variable knee control that can be set to hard (0) so the onset of compression happens exactly at the threshold, or “softened” (up to 12) where compression starts below the threshold and gradually reaches full effect above the threshold. More information about the knee control is given on page 51.

The gain reduction meter to the left on the bottom line of the display shows gain reduction (or expansion) in 0.5dB steps. The band can by bypassed by pressing the BYPASS

BYPASS key whereupon the meter will be replaced by BYPASS

BYPASSBYPASS

OP1 Output 1 Compress

OP1 Output 1 CompressOP1 Output 1 Compress

|||||||||

||||||||| ----22dB R=1.03 K=12

||||||||| |||||||||

22dB R=1.03 K=12

22dB R=1.03 K=1222dB R=1.03 K=12

BYPASS.

BYPASSBYPASS

Threshold Ratio Knee

Pressing NEXT and will be forced to track it if you increase the attack to a greater value than the release. This is to prevent introducing distortion that can be caused due to the detector tracking individual cycles of the waveform, rather than its envelope. For more information about this, see the section about the compressors on page 48.

NEXT shows the attack and release times. Note that release time cannot be set to faster than the attack time

NEXTNEXT

The attack and release times can be automatically linked to the high pass filter frequency, so that they are set to correct values for the output’s frequency range. If this feature is enabled, the display will show Automatic T/C the attack and release times. Selection of automatic time constants is through the Design a Crossover in the Crossover Sub

Crossover Sub----Menu

Crossover SubCrossover Sub

Menu.

MenuMenu

Automatic T/C in place of

Automatic T/CAutomatic T/C

Design a Crossover wizard,

Design a CrossoverDesign a Crossover

OP1 Output 1 Compress

OP1 Output 1 CompressOP1 Output 1 Compress

|||||||||||| At=00.07mS Rl=45mS

|||||||| At=00.07mS Rl=45mS

|||||||| At=00.07mS Rl=45mS|||||||| At=00.07mS Rl=45mS

Attack Release

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Operator’s Manual Page 23

Output Limiter

The limiter on each output has adjustable attack and threshold, with a release time that is selectable to be a multiplier of the attack time. For example, as shown below, the attack time is 2mS and release is “x16” so 32mS. The attack and release times can be automatically linked to the high pass filter frequency, so that they are set to correct values for the output’s frequency range. If this feature is enabled, the display will show Automatic T/C in and release times. Selection of automatic time constants is through the Design a Crossover

Crossover Sub

Crossover Sub----Menu

Crossover SubCrossover Sub

Menu.

MenuMenu

OP1 Out

OP1 Output 1 Limiter

OP1 OutOP1 Out

Atk=2.0mS Rel=x16 +22dB

Atk=2.0mS Rel=x16 +22dBAtk=2.0mS Rel=x16 +22dB

put 1 Limiter

put 1 Limiterput 1 Limiter

Automatic T/C in place of the attack

Automatic T/C inAutomatic T/C in

Design a Crossover wizard, in the

Design a CrossoverDesign a Crossover

Attack Release Threshold

Output “D-Max” (Clip) Limiter

The clip limiter on each output is designed to sit at a threshold just above the standard limiter and has a look ahead attack so that its threshold can never be exceeded. The release time can be automatically linked to the high pass filter frequency, so that it is set to a value appropriate for the output’s frequency range. If this feature is enabled, the display will show

Rel. = Auto

Rel. = Auto in place of the release time. Selection of automatic time constants is through the

Rel. = AutoRel. = Auto

Design a Crossover

Design a Crossover wizard, in the Crossover Sub

Design a CrossoverDesign a Crossover

More information about the limiters and their use is given in the section on page 44.

OP1 Output 1 ClipLim

OP1 Output 1 ClipLimOP1 Output 1 ClipLim

Release Threshold

Output Matrix Mixing

If “full matrix” mode has been enabled (selection of this is through the Design a Crossover

Crossover Sub

Crossover Sub----Menu

Crossover SubCrossover Sub

Menu) this screen will be shown after the limiters when editing outputs.

MenuMenu

Crossover Sub----Menu

Crossover SubCrossover Sub

Rel.=Medium 2dB Above

Rel.=Medium 2dB AboveRel.=Medium 2dB Above

OP1 Matrix Gain A

OP1 Matrix Gain AOP1 Matrix Gain A

[+14.5] Off Off

[+14.5] Off Off ----32.8

[+14.5] Off Off [+14.5] Off Off

Menu.

MenuMenu

Design a Crossover wizard, in the

Design a CrossoverDesign a Crossover

32.8

32.832.8

Gain

Selection of the “send” to this output (cycling between inputs A-D) is achieved by pressing ENTER change to show the relevant send channel for adjustment (Gain A bracketed on the bottom line. The gain control will adjust the level to be mixed into this output. One click below minimum gain (----40dB

Note that ganging is temporarily disabled when the matrix sends screen is shown.

Page 24 5 Series

40dB) will mute the send and the gain will be replaced by Off

40dB40dB

Gain A----DDDD) and the mix level to adjust will become

Gain AGain A

ENTER – the top line will

ENTERENTER

Off as shown above.

Off Off

5 Series Operator’s Manual

5 Series 5 Series

Input Ganging and Output Ganging

The method of linking inputs or outputs together during editing is achieved in the same way, so only crossover (output) ganging will be explained here. Having selected Crossover Ganging

Sub

Sub----Menu

Menu, the current ganging set-up will be displayed. This will either be a preset selection as would be useful in a

SubSub

MenuMenu

standard crossover configuration – for example

…would be a logical ganging arrangement if the crossover was set up as a 4 x 2 way – linking the control and adjustment of all “Low” outputs together, and that of all “High” outputs together.

However, if the crossover has not been set up with a preset routing configuration, then it may be required to set up the ganging to compliment this configuration. This is achieved using the Free Assign

preset ganging choices, which are:

Selecting Free Assign

Free Assign and then pressing ENTER will begin the process of ganging outputs together using the

Free Assign Free Assign

following simple rules:

 All outputs are ganged to the lowest number – so to gang 3 & 5, 5 must be selected and then ganged to 3.  Outputs cannot share more than one ganging set – so for example output 3 cannot be ganged to 2 and 4 unless

they are ganged together as well. (Effectively 3 and 4 are ganged to 2 in this case)

Crossover Ganging from the menu under the Cros

Crossover GangingCrossover Ganging

<<<<----Crossover Ganging

Crossover Ganging

Crossover GangingCrossover Ganging

Ganging=1+3+5+7 2+4+6+8

Ganging=1+3+5+7 2+4+6+8Ganging=1+3+5+7 2+4+6+8

Crossover

CrosCros

Free Assign mode. This is selected from the

Free AssignFree Assign

Ganging=None

Ganging=None [all outputs independent]

Ganging=NoneGanging=None

Ganging=Free Assign

Ganging=Free Assign [choose ganging]

Ganging=Free AssignGanging=Free Assign

Gangin

Ganging=1+2+3+4+5+6+7+8

GanginGangin

Ganging=1+5 2+6 3+7 4+8

Ganging=1+5 2+6 3+7 4+8 [4 x 2 way]

Ganging=1+5 2+6 3+7 4+8Ganging=1+5 2+6 3+7 4+8

Ganging=1+3+5+7 2+4+6+8

Ganging=1+3+5+7 2+4+6+8 [2 x 4 way]

Ganging=1+3+5+7 2+4+6+8Ganging=1+3+5+7 2+4+6+8

g=1+2+3+4+5+6+7+8 [1 x 8 way]

g=1+2+3+4+5+6+7+8g=1+2+3+4+5+6+7+8

sover

sover sover

With these rules in mind, selecting and setting up gangs is quite straightforward.

Press a MUTE key to choose the output to gang – its LED will begin to flash, and an EDIT key will illuminate to show which output it is currently ganged with. To change this selection, just press another EDIT key, remembering that gangs work from the highest to lowest number. So, to gang outputs 1 and 5, press MUTE 5 then EDIT 1 – the display will show

<<<<----Crossover Ganging

Crossover Ganging

Crossover GangingCrossover Ganging

Gang Output 5 with 1

Ganging is cleared by selecting Ganging=None

Ganging=None from the initial choices given above. The Input Ganging

Ganging=NoneGanging=None

procedure is identical to the crossover ganging, selectable under the Input Sub

Gang Output 5 with 1Gang Output 5 with 1

Input Sub----Menu

Input SubInput Sub

Menu.

MenuMenu

Input Ganging

Input Ganging Input Ganging

Please note that ganging options shown above refer to the DP548 – the DP544 will obviously not have options for ganging outputs 5 to 8!

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Operator’s Manual Page 25

Menu System Shortcuts

A lot of functions have been assigned menu shortcuts – these are accessible directly from the default screen by pressing

MENU followed by the appropriate MUTE

MENUMENU

given below.

Store Graphic Memory

Store Graphic MemoryStore Graphic Memory

Store Input Memory

Store Input MemoryStore Input Memory

Store Crossover Memory

Store Crossover MemoryStore Crossover Memory

Store Last Memory Type

Store Last Memory TypeStore Last Memory Type

Recall Graphic Memory

Recall Graphic MemoryRecall Graphic Memory

Recall Input

Recall Input Memory

Recall Input Recall Input

Recall Crossover Memory

Recall Crossover MemoryRecall Crossover Memory

Recall Last Memory Type

Recall Last Memory TypeRecall Last Memory Type

System Status

System StatusSystem Status

External Interface Set

External Interface Set----up

External Interface SetExternal Interface Set

Change Graphic Q/Bandwidth

Change Graphic Q/BandwidthChange Graphic Q/Bandwidth

MUTE or EDIT

MUTEMUTE

EDIT button as shown. The entire list of features accessible in this way is

EDITEDIT

Memory

MemoryMemory

upup

Filter Q/Bandwidth Display Readout

Filter Q/Bandwidth Display ReadoutFilter Q/Bandwidth Display Readout

Delay Units Time/Distance Readout

Delay Units Time/Distance ReadoutDelay Units Time/Distance Readout

AES Input Status

AES Input StatusAES Input Status

Dynamic EQ Neters

Dynamic EQ NetersDynamic EQ Neters

Compres

Compressor Meters

Some of these shortcuts are not available on the DP544 due to the output buttons for channel 5-8 being absent!

CompresCompres

Design a Crossover

Design a CrossoverDesign a Crossover

Input Ganging

Input GangingInput Ganging

Crossover (Output) Ganging

Crossover (Output) GangingCrossover (Output) Ganging

Input Reset

Input ResetInput Reset

Unit Locking

Unit LockingUnit Locking

AES Output Mode

AES Output ModeAES Output Mode

-----

----------

-----

sor Meters

sor Meterssor Meters

Page 26 5 Series

5 Series Operator’s Manual

5 Series 5 Series

Menus in Detail

Recall Graphic, Input and Crossover Memories or combinations of.

Store Graphic, Input and Crossover Memories or combinations of.

Erase Graphic, Input and Crossover Memories or combinations of.

Gang (link) inputs together so their parameters track.

Start wizard to reset sections of input parameters, including graphics.

Select between ‘GQ600’ and other graphic behaviours.

Set up a new crossover from scratch. This selection starts a wizard to guide through the

Gang (link) outputs together so their para

meters track.

Starts a wizard to configure the baud rate, ID and port selection of the remote interface.

Configures wireless interface (if connected).

Configure the GPI inputs used for

closed contact memory recall (hardware option).

Displays a series of information screens including software version, temperature,

Adjust the viewing angle of the screen.

Adjust the brightness of all the meters and button LEDs.

Set the threshold for the unit to flash a warning temperature message

on the screen.

Select this option to install new operating software

– see page

40 for more information.

Adjust the time before the audio fades in on start

up –

can also be set to keep mutes

Select the monitoring point for the meters

– either pre or post mute (so meters can be

Select the readout units for the ‘Q’ setting of parametric filters

– ‘Q’ is 1/Bandwidth (in

Select the readout units for all delay values

– either time, or distance in feet or metres.

Copy a unit’s complete setup, including mem

ories and all menu options using a PCMCIA

Load a new preset file from a PCMCIA card

Select the time that the input CLIP LEDs stay illuminat

ed for after an overload has

Adjust the real time clock settings.

Protect the unit against unauthorised access with a password

- please see page

38 for

GLOBA

GLOBAL MEM.

GLOBAGLOBA

Recall a Memory

Recall a MemoryRecall a Memory

Store a Memory

Store a MemoryStore a Memory

Erase a Memory

Erase a MemoryErase a Memory

Design a Crosso ver

Design a Crosso verDesign a Crosso ver

Crossover Gangin g

Crossover Gangin gCrossover Gangin g

External Interfa ce

External Interfa ceE xternal Interface

Wiser 2400 Setu p

Wiser 2400 Setu pWiser 2400 Setu p

Temperature Alar m

Temperature Alar mTemperature Alar m

Filter Q/Bandwid th

Filter Q/Bandwid thF ilter Q/Bandwidth

Set Date & Time

Set Date & TimeSet Date & Time

L MEM.

L MEM.L MEM.

INPUT

INPUT INPUT

SECTION

SECTIONSECTION

Input Ganging

Input GangingInput Ganging

Input Reset

Input ResetInput Reset

Change Graphic

Change Graphic Change Graphic

Q/BW

Q/BWQ/BW

CROSS

CROSSOVER

CROSSCROSS

INTERFACE

INTERFACEINTERFACE

GPI Interface

GPI InterfaceGPI Interface

SYSTEM

SYSTEMSYSTEM

System Status

System StatusSystem Status

LCD Contrast

LCD ContrastLCD Contrast

LED Brightness

LED BrightnessLED Brightness

Program Update

Program UpdateProgram Update

Wake

Wake----up Time

WakeWake

OVER

OVEROVER

up Time

up Timeup Time

process. Also select this to alter the set-up of the current crossover.

hardware and firmware versions, date and time. Press NEXT

when powered up.

Output Meters

Output Meters Output Meters

Opt’n

Opt’nOpt’n

Delay

Delay Delay

Time/Dist’nce

Time/Dist’nceTime/Dist’nce

Unit Cloning

Unit CloningUnit Cloning

set to work even when outputs muted)

octaves) – small ‘Q’ values mean wide response variations.

card. See page 38 for more information on card types.

Preset Update

Preset UpdatePreset Update

Clip LED Hold

Clip LED Hold Clip LED Hold

Time

TimeTime

SECURITY

SECURITYSECURITY

Unit Locking

Unit LockingUnit Locking

passed.

more details.

NEXT to jump through info.

NEXTNEXT

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Operator’s Manual Page 27

Switch the outputs of the unit to digital. (Inputs are selected via rear panel switch)

Information screen showing details of the incoming AES streams (sample rate/lock).

oose whether LED meters on inputs show gain reduction when editing the DEQ

Choose how LED meters on outputs behave when editing compressors

– only when

AES/E

AES/EBU

AES/EAES/E

Output Selection

Output SelectionOutput Selection

AES Status Info .

AES Status Info .AES Status Info .

BUBU

DYNAMIC

DYNAMICDYNAMIC

Dynamic EQ LED

Dynamic EQ LED Dynamic EQ LED

Meters

MetersMet ers

Compressor LED

Compressor LED Compressor LED

Meters

MetersMet ers

modules.

editing/always on/all except limiter editing/off.

Page 28 5 Series

5 Series Operator’s Manual

5 Series 5 Series

Memory Structure

As with the DP226 and DP224, the 5 Series crossover settings (i.e. all parameters associated with outputs), and input settings. Additionally, the graphic equaliser settings and dynamic equaliser settings are stored in independent locations.

There are, therefore, four types of memory available –INPUT These, and all combinations of memory types, appear in the GLO

warrants a little more explanation.

Selecting to Store

Store or Recall

StoreStore

Recall using the Global

RecallRecall

combinations of the available memory types, and these are selected using the BBBBACK

To explain how this all works, please consider the following example.

There are 10 memories stored in the unit with various combinations of input, graphic, DEQ and crossover memories.

5 Series have their memories split into sections, allowing independent recall of

5 Series 5 Series

INPUT, CROSSOVER, DYNAMIC

INPUTINPUT

Global Memory

GlobalGlobal

Memory option offers the possibility of storing various

MemoryMemory

CROSSOVER, DYNAMIC and GRAPHIC

CROSSOVER, DYNAMIC CROSSOVER, DYNAMIC

GLOBAL

BAL MEMORY

GLOGLO

MEMORY Sub

BALBAL

MEMORYMEMORY

Sub Menu

Menu, and its operation

SubSub

MenuMenu

ACK and NEXT

ACKACK

NEXT keys.

NEXTNEXT

GRAPHIC.

GRAPHICGRAPHIC

As can be seen, different memory locations contain different combinations of the three memory types available. If it is required to recall a location that contains everything (Input, Graphic, DEQ, and Crossover settings), this will limit the selection as shown overleaf…

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Operator’s Manual Page 29

There will be three memories to choose from in this case, as location 6 is an Input & Crossover memory, whilst 8 and 10 will appear as they contain Input and Crossover information as well.

Selection of Crossover memories only will additionally include locations 1, 5 and 7 in the list of memories available for recall, as shown below.

In this way it is possible to recall part of a memory, as long as it contains the memory type required.

As only memory 8 has all 4 types stored, this will be the only location available during a recall.

However, consider the example where the type of recall is set to Input & Crossover. In this instance, not only will the memory locations that have just Input and Crossover types stored be available, but locations 6 and 10 will also be shown in the list.

Note that storage and erasure of memories does not follow quite the same rules, being simpler in its operation.

Selecting Input and Crossover during a Store will skip any memories that have other combinations in them.

Selecting Erase for any combination will show only locations that have EXACTLY that combination – it is not possible to erase just one part of a combination memory.

The unit has 256 memory locations, but these are dynamic in nature – obviously a memory containing Input, Graphic, DEQ and Crossover settings takes up more space than one containing just Input settings.

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Remote Control Interface Operation

XTA has a range of tried and tested interfaces, all of which are listed in the XTA Interface Guide, available from our website. We can supply all the interfaces described in this guide directly – please get in touch.

RS232 Interface

This interface is fitted as standard to all units and is accessed via the 9-pin D-type connector on the rear of the unit. Note that to connect to a computer’s COM (serial) port correctly, a one-to-one cable must be used, and NOT a ‘null modem’ cable. A ‘null modem’ cable has the ‘transmit’ and ‘receive’ wires swapped over and will not work.

The RS232 connection is suitable for distances of about a maximum of 25 feet between the PC and the unit. If you experience problems with the connections, consider

• selecting a slower baud rate

• selecting the ‘Use Acknowledge Cmd’ option in AudioCore (see the Remote Menu > RS232 Configuration

window)

• running the unit via the RS485 interface

Note that only one unit at a time may be connected to the computer via this interface. Additional units may be ‘daisychained’ via the RS485 connections from the back of the first one (it acting as a converter for them), but their RS232 ports are not used.

RS232 Connection (Single Unit)

A typical interface set-up might involve running an RS232 link from laptop or a desktop computer to a 5 Series up as a master unit. The diagram below shows this method of connection, the required menu options are also given. Note that the RS232 cable must be a 1-1 connection type, NOT a null modem cable (which has connections crossed internally).

5 Series unit set

5 Series5 Series

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Operator’s Manual Page 31

Loading New Software via a PC

The unit’s internal software may be updated via the RS232 port ONLY, one unit at a time. We recommend disconnecting all other devices when updating the software.

The unit’s interface must be set as RS232 Master on ID1 for the PC loader program to recognise it and allow the update to be sent.

Download the latest version of the loader program and the unit software from www.xta.co.uk, and follow the instructions included with this zip file. An RSS feed is available on the website to ensure immediate notification of software releases.

RS232 Connection (Multiple Units)

If control over multiple units is required, typically the slaves will be set up to run from the RS485 ports on the master unit.

Note the incremental ‘ID NUMBER’ option in the unit’s interface setup.

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Shadow ID Numbers

Shadow ID numbers allow extra units to share the same ID and follow the settings of the ‘main’ ID. This is useful for larger systems (for example anything above a 4-way stereo system) where it is only necessary to set up one side of the system, and allow the other unit to track it identically.

Using the shadow IDs in this way also reduces the apparent system complexity within AudioCore. This is due to the

fact that shadow ID’s NEVER send back any settings to AudioCore and because of this will NOT appear in the list of connected units.

They can be thought of as listening to and acting upon all information addressed to them, but not replying. Up to 128 shadow units may be connected and assigned the same ID as the ‘main’ unit, but remember that the maximum total units on any one RS485 network is 128.

Shadow ID numbers are accessible when the unit’s interface is configured, and will appear after ID number 128, starting from 1 again, but designated shadow IDs with an ‘s’ after the number – 1s. Any ID can have multiple corresponding shadows.

RS485 Interface

This interface is fitted as standard to all units and is accessed via the 3-pin XLR sockets on the rear of the unit. Cables to connect units together or to an RS232-485 converter will need to be wired one-to-one. We recommend the use of standard shielded microphone cables, or a balanced feed from a multicore.

RS485 is a fully balanced system, capable of sending data over distances of up to one kilometre. Note, however, that this is the total length of connection. The RS485 output of each unit is purely hardwired from the input and so no electrical regeneration of the signal is provided. What this means is that the distance from the first RS485 output to the last RS485 input must not exceed 1km in total.

As this diagram illustrates – The combined length of cables 01 + 02 + …NN < 1000 metres.

Note that this includes any units set up as shadow IDs.

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Operator’s Manual Page 33

RS485 Connection

To use RS485 communication directly from a computer, a master unit must be configured to receive RS485. You must have a suitable RS485 port on your computer, or a converter connected to the serial port in use. This configuration is shown below, along with the required unit setup.

Both the converter and the required adapter cables are available from XTA. The adapter is available in a kit, which includes an RJ-45 adapter, the XLR to 9-pin adapter, and the converter itself. This complete kit is part number INT-485.

If you need to make up one of the XLR to 9-pin adapters, the pin-out is:

XLR D-type 1 1 2 3 3 8

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If your laptop or PC does not have a spare serial port (or any serial ports for that matter!), the RS485 converter must be connected through a USB – Serial converter. The RS485 converter that XTA recommend is available in two types – the standard K2, and the more advanced K2-ADE version. Only K2-ADE version will work with USB-Serial converters, as these converters do not support the extra handshake lines used with the standard converter. Both the converters and the required adapter cables are available from XTA.

The adapter is available in a kit, which includes a USB-Serial converter, the XLR to 9-pin adapter, and the K2-ADE converter itself. This complete kit is part number USB-485. XTA has a range of tried and tested interfaces, including USB and wireless solutions, all of which are listed in the XTA Interface Guide, available from our website. We can supply all the interfaces described in this guide directly – please get in touch.

If a DP224/6 receives a MIDI Start or Stop command (used to mute / unmute all outputs) it will relay this message on the RS485 port to any connected units. The 5 Series units will respond to this message even though it cannot directly receive MIDI commands, due to not having a MIDI interface ;)

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Operator’s Manual Page 35

AES Inputs and Outputs

The 5 Series units have a full AES implementation built in as standard. This allows the unit to both receive digital audio directly, and to transmit digital audio on to other devices. The switching of input and output can be performed independently, and the inclusion of sample rate converters on the inputs allows the unit to accept sample rates from 32kHz up to 192kHz.

AES Input

Input selection is via a recessed switch on the rear panel of the unit, between input D and output 1. A red LED inside this aperture illuminates to show that the AES digital inputs have been selected.

Please power the unit down before switching into AES input mode to avoid any sudden changes in output level.

Whilst you can switch to AES mode with the power on, we advise only A complimentary LED on the front panel below the PCMCIA card also illuminates. The switch controls the rear panel LED directly, whilst the front panel one is via the processor, allowing it to relay a little more information. If it is flashing, this means that AES inputs have been selected but have not

locked. Once a stable AES signal is being received, it will be permanently illuminated.

The AES inputs are marked on the rear panel –

for channels A & B use input A,

AES Output

and for channels C & D use input C.

AES outputs are selected through the AES menu:

AES/EBU Sub Menu

S/EBU Sub Menu

AEAE

S/EBU Sub MenuS/EBU Sub Menu

Output Selection

Pressing ENTER

Analogue

Analogue or Digital

AnalogueAnalogue

ENTER and then using BACK

ENTERENTER

Digital. Press ENTER

DigitalDigital

Output SelectionOutput Selection

BACK and NEXT

BACKBACK

ENTER again to confirm selection.

ENTERENTER

NEXT chooses either

NEXTNEXT

The AES outputs are marked on the rear panel –

Channels 1 & 2 use Output 1 Channels 3 & 4 use Output 3

Channels 5 & 6 use Output 5 (DP548 only)

Channels 7 & 8 use Output 7 (DP548 only).

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AES Diagnostics and Status Information

Also under the AES/EBU Sub Menu is the AES Status Information option, which can be used to check the incoming sample rate(s) and confirm that the data is being received correctly.

Pressing ENTER

This display shows the correct operation of the three AES transmitters V1, V2 and V3. The letter after each is the silicon version (and is of no importance to the user).

Pressing ENTER

This display shows the status of the two AES receivers, input A on the left, and Input C on the right. The sample rate the unit has been able to lock to is shown, or UNLOCKED

from 32kHz up to and including 192kHz.

The unit’s own processing sample rate is 96kHz, and AES output data is always at 96kHz. Internal sample rate converters will translate all incoming rates to 96kHz – one converter for each AES input. This allows the two input streams to be at different rates if necessary.

ENTER will first show

ENTER ENTER

ENTER again will show

ENTER ENTER

AES Device Status

V1: E V2: E V3: A

V1: E V2: E V3: AV1: E V2: E V3: A

AES Device StatusAES Device Status

AES Device Status

AES Device StatusAES Device Status

V : 96k0 V : 96k0

V : 96k0 V : 96k0V : 96k0 V : 96k0

UNLOCKED will be displayed in its place. The unit will lock to sample rates

UNLOCKED UNLOCKED

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Operator’s Manual Page 37

Security and Locking

After selecting the Security Sub Menu appropriate one for your application. As ever, ENTER

User Specific

User SpecificUser Specific

Upon pressing ENTER above) using the FREQ requests a password. The description of this operation is given at the end of this section. This option allows the user to specify, for each type of parameter, whether it is to be completely accessible (‘No Lock’), viewable but not adjustable (‘Control’), or effectively unavailable (‘Display’). The ability to operate mutes, store or recall memories, or even access the menus may also be locked.

Xover Only

Xover OnlyXover Only

All input parameters are available, but only the gain trim (+ 6dB) is available on the outputs, effectively locking all the crossover settings. All mutes remain active.

Xover + Trim

Xover + TrimXover + Trim

All input parameters available, but no output parameters – the crossover sections are completely locked. All mutes remain active.

Xover + Trim + Mute

Xover + Trim + MuteXover + Trim + Mute

As for ‘Xover + Trim’ but additionally, output mutes are locked. Input mutes remain active.

Changes Only

Changes OnlyChanges Only

All parameters may be viewed, but none may be adjusted. This applies to both inputs and outputs. All mutes remain active.

Changes + Views

Changes + ViewsChanges + Views

No parameters are accessible – in effect the EDIT

Changes + Mutes

Changes + MutesChanges + Mutes

All parameters may be viewed, but none may be adjusted. This applies to both inputs and outputs. All mutes are also locked.

EVERYTHING

EVERYTHINGEVERYTHING

No parameters are accessible – in effect the EDIT

Entering the Password to Complete the Locking Operation

After selection of the lock type from the list above, a four-digit security code will be asked for. This can be entered by using the FREQ

Alternatively, the EDIT represents its channel labelling, so any combination of AAAA, BBBB, CCCC, DDDD, 1111, 2222, 3333, 4444, ((((5555, 6666, 7777 and 8888)* shown below. Press ENTER

FREQ control to select a character, and the BACK

FREQFREQ

Security Sub Menu and pressing ENTER

Security Sub MenuSecurity Sub Menu

ENTER will confirm your selection.

ENTERENTER

ENTER to select this type of lock, each parameter group is presented in turn. Choose the type of lock (as

ENTERENTER

FREQ encoder, and press ENTER

FREQFREQ

EDIT keys can be used to enter a code by pressing any combination of the eight buttons. Each EDIT

EDITEDIT

ENTER to accept code and then re-enter it to confirm.

ENTERENTER

ENTER to confirm each parameter. After the last parameter, the unit

ENTERENTER

EDIT keys do nothing. All mutes remain active.

EDITEDIT

EDIT and MUTE

EDITEDIT

BACK and NEXT

BACKBACK

ENTER, select one of the lock types, choosing the most

ENTERENTER

MUTE keys do nothing.

MUTEMUTE

NEXT keys to move to the next character.

NEXTNEXT

)* can be used as a code, as

)*)*

EDIT key

EDITEDIT

To prevent external computer control being used to adjust locked settings, be sure to set the external interface to OFF before locking out the unit.

*DP548 only

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Unlocking the Unit

To unlock the unit press ENTER character, and the BACK enter a code by pressing any combination of the eight buttons. Each EDIT in the locking section.

ENTER and then type the code in. This can be entered by using the FREQ

ENTERENTER

BACK and NEXT

BACKBACK

NEXT keys to move to the next character. Alternatively, the EDIT

NEXTNEXT

EDIT key represents its channel labelling, as described

EDITEDIT

FREQ control to select a

FREQFREQ

EDIT keys can be used to

EDITEDIT

Forgotten the Password?

Don’t panic! Your unit can still be unlocked. In an attempt to improve the security system on the 5 Series a standard master password from becoming common knowledge, the units now have a random password key generator.

The procedure for unlocking a unit using the password override is explained below:

Switch the unit on with the MENU Use the EDIT

EDIT keys in the same manner as for entering lock codes (see page 38 for details) and enter 2121.

EDITEDIT

MENU key held in momentarily. After a few seconds, the unit will ask for a security code.

MENUMENU

The display will show:

Enter XTA Supplied Code:

Enter XTA Supplied Code:Enter XTA Supplied Code:

Break Code = 12345 [NNNN]

Break Code = 12345 [NNNN]Break Code = 12345 [NNNN]

The Break Code (in the example 12345) should be noted and supplied to XTA. We have software to generate the corresponding Pass Code which should be typed in, followed by ENTER

ENTER. This will unlock the unit and wipe the previous

ENTERENTER

password.

Note the following about this procedure:

Once the Break Code has been noted, do NOT press MENU

MENU again during the operation of the unit (except to get back to

MENUMENU

this point on power up), or a different code will be generated. The unit may be used as normal, but every press of MENU will change the Break Code, so the Pass Code XTA supply will not work!

The unit may be switched on and off as necessary – just be sure NOT to press MENU

MENU, or the entire Break Code

MENUMENU

procedure will have to be repeated.

5 Series, and prevent

5 Series5 Series

MENUMENU

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Operator’s Manual Page 39

PCMCIA Card and Compact Flash Card Usage

PC cards, or PCMCIA cards to give them their full title, may be used to store several types of data for use with the 5 Series

Preset Library Updates Unit Clone Data (Backup) Software Updates

The type of card that the units use is a PCMCIA Type I or Type II Card, 512Kb or greater; SRAM. XTA can supply you with these cards – the part number is OPT-PC1.

Cards bigger than 512Kb in size may be used, but the units will only use the first 512K (i.e. the first 50% in the case of a 1Mb card.) In many cases, it is actually cheaper to buy the larger cards, rather than the smaller sizes.

It’s worth noting that a card can’t store more than one type of data at a time, with the exception of memory sets and clone data. Four complete memory sets and one set of clone data may be stored on a single card. Typically, three sets of presets can be stored on a 512K card. Higher capacity cards will obviously store more. Software updates/preset files/memory sets may not exist on the same card.

The memory on the card is kept alive by a lithium cell built into the card itself. This has an average life of approximately five years. The unit will warn you if you insert a card with a battery that is low or flat. The battery should be carefully removed and replaced as soon as possible. It’s good practice to note on the card the date of the battery replacement. Most cards only allow for ten minutes or so of unassisted backup, so be sure to have the new battery to hand when removing the old one.

The slot is wider than that of previous units as it allows the use of PC card adapters. This permits the use of Compact

Flash cards (with a PCMCIA Adapter) to be used to store information. However, please note that Compact Flash cards cannot be used for cold start software updates, as they require formatting and cannot be used as a boot loader, as is required for a cold start update.

PLEASE NOTE THAT THE DATA FORMAT USED ON MEMORY CARDS IS NOT COMPATIBLE WITH THE WINDOWS STANDARD AND CANNOT BE READ IN A PC CARD READER.

Preset Library Updates via the card

The preset crossover library may be updated by simply inserting the card containing the new library file into the unit, and pressing MENU

After the file has been loaded, the unit will re-boot. It is then safe to take out the card.

MENU. The unit will recognise immediately if there is a valid preset file on the card, and display

MENUMENU

Preset Update

Preset UpdatePreset Update

Press [ENTER]

Press [ENTER]Press [ENTER]

Unit Software Updates via the card

Insert the card containing the new software into the unit and press MENU on the card, and display a message of the form

Program Update

Program UpdateProgram Update

Press [ENTER]

Press [ENTER]Press [ENTER]

MENU. It will recognise if a newer version is available

MENUMENU

5 Series. These are:

5 Series5 Series

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Unit Cloning

The unit cloning feature allows the entire “personality” of the unit to be copied onto a PC card for backup purposes, or so another unit can be instantly reconfigured to operate identically. This will include all user memories, and all user selectable menu options. Note that OEM presets will not be copied – use the procedure below to copy preset files.

Select Unit Cloning

Unit Cloning from the SYSTEM Sub

Unit CloningUnit Cloning

SYSTEM Sub----Menu

SYSTEM SubSYSTEM Sub

Menu and then choose to Store

MenuMenu

Store or Recall

StoreStore

Recall the cloning

RecallRecall

information as appropriate. The unit will reboot after the recall procedure.

Copying Unit Software and Preset Files

It is possible to copy the operating software or preset file (or both) onto a PCMCIA card to allow this data to be used in another unit. This procedure is not part of the standard menu system, and must be initiated on power-on with a special key sequence.

Copying Data from Source Unit

Switch the unit on with the MENU Use the EDIT

EDIT keys in the same manner as for entering lock codes (see page 38 for details) and enter the following code:

EDITEDIT

1AB4 to copy the software only; 3AB4 to copy the presets only; 2BB2 to copy the software and the presets.

Be sure to set the Write Protect switch on the card ON before removal, as data corruption can occur as the card is pulled out of the slot.

MENU key held in momentarily. After a few seconds, the unit will ask for a security code.

MENUMENU

Loading Data into Destination Unit

If the unit is already running, copy the software /presets as explained previously on page 38.

Cold Start Reboot Procedure

Please only undertake this procedure if you are confident with internal workings of electronic devices – dangerous voltages exist internally and XTA cannot be held responsible for any damage

caused to the unit, or user. If you are in any doubt about what to do, please call us and we can talk you through the process, or return the unit to your local distributor.

This procedure explains how to reboot a unit and load new software when there has been a problem during a remote download (for instance the PC has crashed or the unit was switched off during the update).

Take the top cover off the destination unit, taking care NOT to touch the power supply or mains inlet. Move the link marked PC REG to the location marked SWAP. Insert the PC card containing the software and switch the unit on.

It should boot up and display Erasing Fla the new software. When the process is complete it will prompt for the link to be put back to PC REG. Remove the card and switch the unit off and on again. If successful, it will boot up normally and display

New

New Software

Software.

NewNew

SoftwareSoftware

Make sure the link is put back on PC REG or the card slot will not function. Replace the cover.

Erasing Flash

Erasing FlaErasing Fla

sh then begin loading

shsh

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Operator’s Manual Page 41

Advanced Audio Features

Graphic Equaliser Behaviour

Each input of the 5 Series response in a manner immediately familiar and accessible to all users. The behaviour of the equaliser may be adjusted to produce an effect similar to either the GQ600, or a “Special” type of response. Both types will be explained in this section, and what primarily makes them sound as they do. XTA’s AudioCore software has been used in the following screenshots.

The “GQ600” behaviour

The GQ600 behaviour is designed to offer the “best of both worlds” in terms of corrective control and creative control. This is achieved by manipulation of the bandwidth of the filters, depending on the amount of cut or boost being applied. At low levels of cut/boost (where it would be safe to assume the changes to the EQ are mainly for creative use) the bandwidth is wider, so the changes to the overall response are gentler.

Looking at the response when the band is boosted to +8dB reveals a narrowing of the affected range of frequencies.

The narrowing of the bandwidth allows more precise control when trying to pinpoint and correct anomalies in the response.

5 Series units has a 28 band graphic equaliser, allowing “traditional” manipulation of the frequency

5 Series5 Series

As can be seen by this example, the 500Hz band has been boosted by 2dB, and the bandwidth that has been affected is quite wide (there is still appreciable activity an octave on either side of 500Hz – 250Hz and 1kHz).

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When the band is boosted to its maximum value, it can be seen that the response has become quite narrow. This is useful when cutting bands (for example to remove troublesome feedback resonances) as it has less effect on the surrounding areas.

The “Special” behaviour

The “Special” behaviour is designed to offer a more constant ‘Q’ type response, which means there is less variation of the filter bandwidth at different cut/boost levels. This leads to a more “rippled” response at low values of cut/boost, but is also less “peaky” when high levels of boost are applied ensuring the flattest response when adjacent faders are adjusted.

Consider the group of faders gently boosted as shown below, with the “GQ600” behaviour selected. As can be seen, the filters’ responses have combined to give a smooth lift in response across the entire region. The overall level is considerably higher than the individual amount of boost applied to any single band.

The same bands have been boosted in the example below this, but the behaviour has been set to “Special”. The ripple in between bands is now obvious, due to the bandwidth not having widened at low level boosts. However, the overall level is much closer to the highest maximum filter’s boost.

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Operator’s Manual Page 43

What is Dynamic EQ?

Dynamic EQ is essentially a compressor or expander that can be set to respond and act upon only a certain range of frequencies. Its behaviour is dependant on the operating mode chosen – two of these are relatively traditional, whilst two modes offer the possibility to turn the normal action of compressors and expanders on their head to allow innovative adaptive control of the program material. The four operating modes are explained in detail below.

Quadrant/Mode I: “Boost Above”

This is the other less than traditional mode of operation, offering upward expansion, where the signal is boosted once it reaches the threshold. The example below shows that 1kHz filter again, this time with the threshold at +10dB. As can be seen, as the signal rises above the threshold it is progressively boosted around the 1kHz region.

Uses of “Boost Above” mode.

This mode is more useful that it might first appear – the ability to add EQ only at higher signal levels allows some very effective emphasis of certain parts of the spectrum to be added, without the side effect of a permanent audible peak.

Adding some ‘top end sparkle’ – try picking out high-hats and cymbals with a filter at 12kHz , ‘Q’ of 1 Octave, and fast attack and release, typically 5mS and 25mS. This gives a significant boost to the top end, without bringing up noise in the absence of any high frequency content.

Similarly, ‘punch’ can be re-introduced to a lacklustre bass drum by setting the filter to about 80Hz and slowing the attack to 49mS and the release to 100mS. As the bass drum causes the EQ only to be applied on peaks, there is no additional muddiness added to the bottom end of the spectrum.

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Quadrant/Mode II: “Cut Above”

This is one of the more traditional modes of operation. Having selected the frequency band to work with, the dynamic eq will listen to this band and act upon it by cutting(compressing) any frequencies present in it that go above the predetermined threshold. Consider the example below where the threshold is set to –20dB, and the selected frequency band is centred around 1kHz, with a ‘Q’ of 1.0.

Signals below the threshold will pass unaltered, but as increasing signal is applied, those frequencies centred around 1kHz will be cut or compressed. The ratio in the above example is set at 2:1 so, as with any compressor, the amount of gain reduction applied depends on how much the signal exceeds the threshold. The red line represents a signal at 0dB, which is 20dB above the threshold. At 1kHz, therefore, the signal has been compressed to –10dB or 2:1.

Uses of “Cut Above” mode.

Traditional use of ‘frequency conscious’ compression is to control or ‘tame’ a certain band of frequencies within the program material. Insertion of EQ into the sidechain will make the compressor respond to the required band, but it will cause broadband compression of the signal, so any peaks will cause the entire signal to be compressed. This produces the familiar problem of dulling the material if it is bass-heavy, or causing unnecessary dips and changes in ambience when attempting to remove sibilance.

The difference with dynamic EQ is that only the band selected is compressed. This means that it becomes possible to compress the low frequency content of material without affecting the high frequencies at all. The result is increased volume and perceived level without sacrificing clarity. Any instance where the desired result is to control a band of frequencies, such as de-essing, or de-popping, without affecting the surrounding frequency ranges is an ideal use for this mode.

Try de-essing with the filter centred at 8-9kHz, and a relatively narrow ‘Q’ of

3.2, and a maximum gain of 12dB, attack 1mS, release 100mS.

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Operator’s Manual Page 45

Quadrant/Mode III: “Cut Below”

Having selected the frequency band to work with, the dynamic eq will listen to this band and act upon it by cutting any frequencies present in it that drop below the predetermined threshold. Consider the example below where the threshold is set to +10dB, and the selected frequency band is centred around 1kHz, with a ‘Q’ of 1.0.

Signals above the threshold will pass flat, but as the level decreases, those frequencies centred around 1kHz will be cut or expanded. The amount of gain reduction applied depends on how much the signal drops the threshold and the ratio set – a 2:1 ratio would mean that for every drop of 1dB below the threshold, the band centred around 1kHz would drop by 2dB.

Uses of “Cut Below” mode.

Reducing the level of high frequency noise can be effectively implemented in this mode. Particularly effective on percussive material, unwanted tape noise and interference can be usefully removed without affecting the signal at normal levels.

Try the filter set to a wide band at 8kHz, and a maximum gain of 12dB, attack 25mS, release 100mS. The threshold setting is more crucial in this mode than usual, with the trade-off being effective removal of noise against possible intrusive dulling of the program material.

Page 46 5 Series

5 Series Operator’s Manual

5 Series 5 Series

Quadrant/Mode IV: “Boost Below”

This mode operates in a slightly unconventional manner insofar as behaving as an ‘upwards expander’, as opposed to the more traditional ‘downwards expander’. What this means is that as the signal drops below the threshold, the selected band of frequencies will be progressively boosted in relation to the rest of the spectrum, offering a perceived ‘lift’ in the band. Consider the example below where the threshold is set to +10dB, and the selected frequency band is centred around 1kHz, with a ‘Q’ of 1.0.

Signals above the threshold pass unaltered but, as the signal drops below the threshold, frequencies around the 1kHz region will be progressively boosted (or expanded). How much boost is applied will depend on the ratio set and how far below the threshold the signal actually is.

Uses of “Boost Below” mode.

One of the best uses of this mode is in the area of voice levelling and clarification. Placing the filter at about 700Hz (lower to nearer 600Hz for men, up to 800Hz for women/children) with a wide ‘Q’ – typically 0.7, a ratio of 2:1, a maximum gain of 12dB, attack 10mS and release 100mS. This will ensure that quiet talkers will have their vocal range boosted, without bringing up system noise or microphone handling noise/room rumble.

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Operator’s Manual Page 47

Dynamic EQ operating modes

The dynamic EQ bands on each input channel can operate in two distinct modes, parallel and series. These modes can greatly affect the operation and interaction of the bands. The rule of thumb we suggest is that if you’ve not used dynamic EQ before then work in parallel mode, but if you’re familiar with the xta D2, our 3 band DEQ unit, then use series mode as this is how it operates.

Operating mode is changed though the DYNAMIC

DYNAMIC Sub

DYNAMICDYNAMIC

Sub----Menu

SubSub

Menu and Dynamic EQ Op Modes

Menu Menu

Dynamic EQ Op Modes.

Dynamic EQ Op ModesDynamic EQ Op Modes

Parallel Mode

Parallel mode feeds all three bands with the same signal so all three detectors work independently.

The outputs of the bands are then summed again before being passed on to the main (base) delay module. The bands do not interact with each other and so overlapping frequency bands cannot cause unexpected overall effects.

Sequential Mode

Sequential mode feeds band 1 with the output of the graphic EQ module, and then this band’s output feeds into bands 2 and so on.

The output of band 3 is then fed to the main delay module. Band 2 is therefore affected by what band 1 is doing at any time, and so with band 3 and 2 – any overlap in frequency ranges may therefore cause a degree of interaction, but many people prefer this as it allows for more creative use as opposed to purely corrective purposes.

Please note – we advise changing this mode in AudioCore as opposed to via the front panel for this firmware release, as current firmware has operating modes labelled 0-3 which is obviously harder to remember than Parallel or Sequential! The linking of sidechains can also be enabled or disabled via AudioCore.

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5 Series 5 Series

DEQ Filter Types and Use of Full Bandwidth Mode

In addition to a standard parametric “bell” response, each DEQ band can be set to either a high shelving or low shelving response, and also a “full bandwidth” mode. The shelving responses operate in the similar manner to the “bell” response, insofar as there are parametric adjustments for frequency, ‘Q’ and maximum allowable gain.

The AudioCore screenshot above shows a DEQ screen with band 1 set to operate as a low shelving filter in “Boost Below” mode – this will progressively introduce the low shelving response to the incoming audio as it drops below the set threshold. Using this and another band set to a high self will allow a classic loudness curve to be realised, but with the added advantage of being related to the audio signal, not just determined by the gain control of the channel.

Additionally, using a band set to high shelf and “Cut Below” can be used as a frequency selective gate, only gating high frequencies in the absence of signal, to reduce noise – this is the basis of single ended noise reduction systems.

The screenshot also shows band 3 set to “Full Bandwidth” mode, which effectively turns this band into a gain cell like a standard compressor or expander. If the mode is set to “Cut Above” then this is exactly what the band becomes – a compressor.

Setting the mode to “Cut Below” turns this band into a downward expander – as signals drop below the threshold they will be progressively reduced in level as determined by the “Ratio” up to a maximum gain reduction as set by the “Max Effect” parameter.

Both “Boost” quadrants are still available in “Full Bandwidth” mode, but we recommend you exercise caution when experimenting with these, as settings may cause large sudden gain changes!

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Operator’s Manual Page 49

Setting the Attack and Release times

As with all dynamic processing (DEQ, compression, limiting), using too fast attack and release times on low frequency program (such as a bass guitar) will cause the compressor to respond to individual cycles of the signal, rather than the overall envelope. This will result in obvious distortion, which might be described as sounding like clicking superimposed on the original signal.

The compressor and DEQ release time has been deliberately restricted to a minimum of 45mS to prevent excessive distortion on low frequency signals, even with fast attack times and high ratios. None the less, it is still possible to introduce some distortion if care is not taken with the settings. The best way to ensure that the signal is not being excessively distorted is to make good use of the ‘BYPASS’ button, constantly comparing the original signal with the effected version.

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5 Series 5 Series

The Compressor ‘Knee’ Control

One of the most misunderstood parts of a compressor is the parameter usually labelled the ‘Knee’. This may be a fully variable control, or a switchable parameter, normally with ‘Hard’ and ‘Soft’ settings. The knee control permits a softening of the compressor action, which can prove to be especially useful at high compression ratios.

Without the inclusion of a knee control, at the threshold of gain reduction, a sudden transition occurs between unity gain and the ratio by which the compressor attenuates. When using high compression ratios, the use of a hard knee can result in a very unnatural sound.

Consider a compressor with a relatively high ratio of 8:1. A typical in-out transfer function would be as below5. The very sharp introduction of gain reduction is obvious at the threshold point (0dB).

The ‘Knee ‘ parameter is set to 0dB in this example – this corresponds to a ‘hard’ setting.

Increasing the ‘Knee’ to its maximum of 12dB, spreads the onset of the compression over a wider area, (6dB above and 6dB below the threshold), reducing the severity of the compressor. This shows on the graph as a curving around the threshold, rather than a sharp bend.

Software screenshots are from AudioCore control software, available free from www.xta.co.uk

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Operator’s Manual Page 51

Program Limiter and “D-Max” Limiter

High Pass Filter

Auto Attack Time

Release Time

<10Hz

– 31Hz

45mS

x16 (720mS)

31Hz

– 63Hz

16mS

x16 (256mS)

63Hz

– 125Hz

8mS x16 (128mS)

125Hz

– 250Hz

4mS x16 (64mS)

250Hz

– 500Hz

2mS x16 (32mS)

500Hz

- 1kHz

1mS x16 (16mS)

1kHz

– 2kHz

0.5mS

x16 (8mS)

2kHz

– 32kHz

0.3mS

x16 (4mS)

The 5 Series

5 Series have two levels of dynamic protection on its outputs – a traditional program limiter, and a newly

5 Series5 Series

introduced “D-Max” limiter.

Program Limiter

High performance digital limiters are provided for each output with control over attack time, release time and threshold parameters - see page 44 for details. This level of control allows the user to balance the required subjective quality of the limiter against the driver protection requirements. It does also mean that an incorrectly set limiter may sound awful! In particular, as with all limiters, using too fast an attack or release time will result in excessive low frequency distortion. In

the Design a Crossover

Design a Crossover sub-menu there is an option for automatic limiter time constants. Use this option if you

Design a CrossoverDesign a Crossover

are unsure how to set the time constants manually. XTA recommend the use of the automatic setting.

In this mode the time constants will be automatically set from the High-Pass filter frequency according to the table below.

The time constants are set by the high pass filter frequency for that channel.

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5 Series 5 Series

“D-Max” Clip Limiter

The main limitation with traditional dynamics control is the inability of the processing to react truly instantaneously to the signal. One of the most significant advantages of digital signal processing over analogue is the ability to delay the audio signal precisely and without extensive complex hardware. The entire domain of digital signal processing is based around the combination of delaying, multiplying, and accumulating numbers (representing samples of audio) to implement all the filters and dynamics processing we have come to expect today.

In the case of dynamics processing, being able to delay a signal allows the processor module to delay the main signal in relation to the sidechain (the signal being monitored relative to the threshold), so that it can compensate for peaks prior to the arrival of the main signal.

Consider the situation of a monitor engineer listening to a band perform. Having no access to dynamics processors, he has had to resort to manually ‘riding the faders’ in an attempt to keep control of the levels. Should the level of one of the channels on his desk reach an unacceptably high level, he will turn it down appropriately.

There is a hidden sidechain in operation even in this case. The main signal path is fed through the monitor desk and the gain controlled by adjusting the fader. The sidechain is formed by the feedback path between the engineer’s ears checking the level and his brain instructing his hand to turn the fader down if the volume goes over the threshold he has chosen.

In this case, the delay between the signal actually going over the threshold, the engineer registering the situation, and then turning the signal down will be in the order of several hundred milliseconds at best. This will only be true if he is not distracted – in reality, it may be several seconds before any gain reduction is imposed on the signal to bring it under control.

For an analogue dynamics processor, the situation is much better. Controlling the gain electronically, and not relying on a human sidechain feedback mechanism, it can react much more quickly.

The red waveform represents the input to the dynamics module, with the dotted line showing the threshold for gain control to occur. There are several peaks towards the start of this signal that are above the threshold, and so the dynamics processing should react to these as appropriate. (In this case reduce the gain).

The blue waveform shows the output of the dynamics module. The circled peak demonstrates that the processor has missed the first peak above the threshold (as it is very fast and short), but has ‘caught up’ shortly afterwards, keeping all other peaks under control. As it is unable to predict what is coming, this will always be a failing with analogue dynamics processing.

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Operator’s Manual Page 53

The 5 Series

5 Series “D-Max” limiter pre-delays the sidechain signal, resulting in a “zero overshoot” limiter, which is able to

5 Series5 Series

catch all peaks and provide a reliable absolute maximum setting for the output of any channel.

The pre-delayed sidechain is shown in green, with the main signal in red. As the main signal arrives slightly after the sidechain, the output from the unit does not suffer from the overshoot problem.

Remember that this delay is only in the order of tens of microseconds,and is a pre-delay – the sidechain is moved back in time in relation to the main signal. Inserting a delay into the main signal path of an analogue dynamics processor will achieve similar results, but with the penalty of delaying the main signal by the amount of look ahead delay introduced.

The “D-Max” limiter which appears in output lists just following the traditional limiter, has only two parameters to adjust:

OP1 Output 1 ClipLim

OP1 Output 1 ClipLimOP1 Output 1 ClipLim

Rel.= Medium 1

Rel.= Medium 10dB Above

Rel.= Medium 1Rel.= Medium 1

0dB Above

0dB Above0dB Above

The release time (either Fast of 2dB above the threshold of the program limiter – setting the threshold to 10dB

that no more than 10dB of overshoot above the threshold of the program limiter will ever be allowed.

The release time may also be set to follow the High Pass filter of the output – this is achieved through the

Design a Crossover

Design a Crossover sub-menu, and will result in the display changing to show

Design a CrossoverDesign a Crossover

Fast, Medium

FastFast

Medium, or Slow

MediumMedium

OP1 Output 1 ClipLim

OP1 Output 1 ClipLimOP1 Output 1 ClipLim

Slow) and the threshold. Note that the threshold is set to be a minimum

SlowSlow

10dB Above

Above, as in the example, means

10dB10dB

AboveAbove

Rel.= Auto 10dB Above

Rel.= Auto 10dB AboveRel.= Auto 10dB Above

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5 Series 5 Series

Setting Accurate Limiter Thresholds

dB Ratio

Vrms

45 177.83

137.74

2371.71

4743.42

9486.83

44 158.49

122.77

1883.91

3767.83

7535.66

43 141.25

109.41

1496.45

2992.89

5985.79

42 125.89

97.52

1188.67

2377.34

4754.68

41 112.20

86.91

944.19

1888.39

3776.78

40 100.00

77.46

750.00

1500.0

0 3000.00

39 89.13

69.04

595.75

1191.49

2382.98

38 79.43

61.53

473.22

946.44

1892.87

37 70.79

54.84

375.89

751.78

1503.56

36 63.10

48.87

298.58

597.16

1194.32

35 56.23

43.56

237.17

474.34

948.68

34 50.12

38.82

188.39

376.78

753.57

33 44.67

34.60

149

.64 299.29

598.58

32 39.81

30.84

118.87

237.73

475.47

31 35.48

27.48

94.42

188.84

377.68

30 31.62

24.49

75.00

150.00

300.00

The limiters built into the 5 Series protection. All modern professional power amplifiers designed for live sound use have their own limiters, which are tailored to protecting the amplifier from clipping.

The following section describes how to set up the units’ limiters to provide exceptional protection against driver overheating, and cone over-excursion. Most speaker systems are given a power rating in Watts RMS. This is the maximum continuous power that the system will handle and often appears very conservative. In reality, as music program is far from continuous in nature, the peak power of the system is much higher – up to ten times the continuous figure. Any limiter, which is to protect the driver from damage, must be able to fulfil the following tasks.

• Have an attack time which is calculated to allow transients through but keep the RMS level below the speaker

manufacturers specification;

• Have a release time which is sufficiently long to avoid the limiter itself modulating the program;

• Be intelligent enough to adjust the envelope of the limiter according to the frequency content of the program

material.

The program limiters are capable of performing all these tasks. The only parameter that the user must set manually is the threshold, and it is crucial that this is done correctly. Consider the table below.

5 Series are intended to be used for loudspeaker driver protection, as opposed to amplifier

5 Series5 Series

Pwr 8 Ω Pwr 4 Ω Pwr 2 Ω

Using this table it is a straightforward procedure to work out the required setting of the limiter thresholds for the system.

 First, check the RMS power rating of the speaker system, and its impedance.  Look up this value in the table above, using the closest value below the rated power of the speaker system. Note

the corresponding ‘dB’ value.

 Check the gain of your amplifier, which needs to be in ‘dB’.  Subtract this gain figure FROM that obtained from the table to find the required absolute setting for the limiter

thresholds.

Note that, for safety, always set the limiter threshold 1 or 2 dB below the maximum allowable worked out using the above method.

ALWAYS REFER TO YOUR SPEAKER MANUFACTURER FOR LIMITER SETTINGS.

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Operator’s Manual Page 55

Crossover Filter Slopes

Filter Type

High pass factors

Low pass factors

Bessel 12dB/Oct.

1.45 0.69

Butterworth 12dB/Oct.

1.31 0.76

Bessel 18dB/Oct.

1.37 0.73

Butterworth 18dB/Oct.

1.19 0.84

Bessel 24dB/Oct.

1.35 0.74

Butterworth 24dB/Oct.

1.15 0.87

Bessel 48dB/Oct.

1.39 0.72

Butterworth 48dB/Oct.

1.08 0.93

It should also be noted that the turnover frequency displayed on the screen is the -3dB point for all types except LinkwitzRiley where the -6dB point is shown. If the -6dB point is to be used for the Bessel or Butterworth filter, take the required crossover frequency, multiply this by the appropriate factor from the following table and then select the closest available frequency on the display.

Please note that unlike conventional analogue crossovers, crossover points and slopes are set with absolute accuracy since component tolerance problems do not occur.

Please see page 22 for details of how to adjust the high and low pass crossover filter settings.

Time Alignment

A further advantage of the 5 Series section for each output. This allows the true arrival time from multiple drivers to precisely aligned rather than relying on the compromise 'phase adjust' approach. Delay time is adjustable in 0.3µS steps (0.1mm). Please see page 21 for details of how to adjust the delay times.

To convert from units of time (i.e. milliseconds) to units of distance use the following formula: 1 millisecond = 343mm (1.126ft) @ 20°C (68°F)

To calculate time delay for a known distance, use:

Time delay = Distance in meters

20.06 x √273+°C

where °C is the temperature in °C.

To simplify this equation at 20°C. Delay time in milliseconds = (Distance in meters x 2.192) or (Distance in feet x 0.955)

Note: Centigrade = (Fahrenheit –32) x 0.5555.

5 Series over conventional products is the provision of an independently adjustable delay

5 Series 5 Series

Remember that input delays are not available when in “Full Matrix” mode.

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5 Series 5 Series

Parametric Filter Types and Their Uses

A wide selection of filter types has been made available under the PEQ section when editing input or output filters. Scrolling through the various filter types is achieved by repeated presses of the ENTER

ENTER key. Note that this will only

ENTERENTER

change filter types if the filter is BYPASSED or the GAIN set to 0dB. Bypassing the filter, then changing types using the

ENTER

ENTER key will automatically set the gain back to 0dB.

ENTERENTER

Each filter type will be explained in turn in the following section.

Standard Parametric EQ

InA Input A PEQ:1<>

InA Input A PEQ:1<>InA Input A PEQ:1<>

1k00Hz Q=3.0 0.0dB

1k00Hz Q=3.0 0.0dB1k00Hz Q=3.0 0.0dB

The standard parametric band has adjustable frequency, ‘Q’ (or Bandwidth) and Gain controls. These affect a range of frequencies symmetrically about the centre freqency as shown in the graph.

Various levels of cut and boost are shown to the left, along with various ‘Q’ settings (gain boosts only are shown below). Remember that ‘Q’ is 1/Bandwidth, so the higher the ‘Q’, the lower the Bandwidth, and the smaller the range of frequencies affected.

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Operator’s Manual Page 57

Shelving EQ (High Shelf shown)

Remember – to change filter types, press BYPASS the filter, and then use ENTER

The shelving EQ has adjustable frequency, ‘Q’ (or Bandwidth) and Gain controls. These affect a range of frequencies from the turnover freqency as shown in the graph. For a high shelf, frequencies above the turnover frequency will be affected. For a low shelf, frequencies below the turnover frequency will be affected.

Various levels of cut and boost are shown to the left, along with various ‘Q’ settings (gain boosts only are show below).

Remember that ‘Q’ is 1/Bandwidth, so the higher the ‘Q’, the lower the Bandwidth, and the smaller the range of frequencies affected.

Note that ‘Q’ settings above 0.75 will result in slight overshoot in the filter response (as seen at the highest setting to the right). This is normal behaviour and does not indicate instability.

Creating a Flat-topped EQ Response

To create a flat-topped EQ filter response such as that shown to the left, use two EQ bands, BOTH configured as low shelves. For an overall BOOST, set the Lower frequency filter to BOOST the desired amount, and the Upper frequency filter to CUT by the same amount.

This example shows one filter at 100Hz and the other at 2kHz, with the 100Hz filter at –10dB, and the 2kHz filter at +10dB. Varying the ‘Q’ affects the slope of the response – values above 0.75 will cause overshoot as shown.

Assymetrical responses may be achieved by adjusting the ‘Q’ of each filter independantly.

InA Input A HSF:1

InA Input A HSF:1----<<<<::

InA Input A HSF:1InA Input A HSF:1

1k00Hz Q=3.0 0.0dB

1k00Hz Q=3.0 0.0dB1k00Hz Q=3.0 0.0dB

BYPASS to bypass

BYPASSBYPASS

ENTER to select the filter type.

ENTERENTER

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5 Series 5 Series

Bandpass Filter

InA In

InA Input A BPS:1/

InA InInA In

1k00Hz Q=3.0 Bandpass

1k00Hz Q=3.0 Bandpass1k00Hz Q=3.0 Bandpass

put A BPS:1/\\\\

put A BPS:1/put A BPS:1/

Remember – to change filter types, press BYPASS the filter, and then use ENTER

ENTER to select the filter type.

ENTERENTER

BYPASS to bypass

BYPASSBYPASS

The bandpass filter has adjustable frequency and‘Q’ (or Bandwidth) controls. These affect a range of frequencies symmetrically about the centre freqency as shown in the graph, gradually cutting the level, but providing no gain.

Remember that ‘Q’ is 1/Bandwidth, so the higher the ‘Q’, the lower the Bandwidth, and the smaller the range of frequencies affected.

Note that the response is fundamentally NOT a flat-topped response (so it is not constructed from a high pass and low pass). See previous page for details of how to construct a flattopped filter response.

Notch Filter

InA I

InA Input A NOT:1

InA IInA I

1k00Hz Q=0.75 Notch

1k00Hz Q=0.75 Notch1k00Hz Q=0.75 Notch

Remember – to change filter types, press BYPASS the filter, and then use ENTER

The notch filter has adjustable frequency and ‘Q’ (or Bandwidth) controls. These affect a range of frequencies symmetrically about the centre freqency as shown in the graph.

Remember that ‘Q’ is 1/Bandwidth, so the higher the ‘Q’, the lower the Bandwidth, and the smaller the range of frequencies affected. The notch filter depth varies with bandwidth – the wider the filter, the lower the depth will be.

nput A NOT:1\\\\////

nput A NOT:1nput A NOT:1

BYPASS to bypass

BYPASSBYPASS

ENTER to select the filter type.

ENTERENTER

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Operator’s Manual Page 59

All Pass Filter

Phase Filter

InA Input A APF:1

InA Input A APF:1InA Input A APF:1

1k00Hz Q=3.0 Allpass

1k00Hz Q=3.0 Allpass1k00Hz Q=3.0 Allpass

Remember – to change filter types, press BYPASS the filter, and then use ENTER

The allpass filter has adjustable frequency and ‘Q’ (or Bandwidth) controls. These affect the frequency at which the phase effectively flips 180°, and the ‘speed’ at which this transition occurs.

The graph shows an allpass filter centred at 1kHz, with various ‘Q’ settings – the higher the ‘Q’ the faster the transition.

ENTER to select the filter type.

ENTERENTER

BYPASS to bypass

BYPASSBYPASS

0000

InA Input A PHS:1

InA Input A PHS:1InA Input A PHS:1

1k00Hz 150

1k00Hz 150°°°°

1k00Hz 1501k00Hz 150

Remember – to change filter types, press BYPASS the filter, and then use ENTER

The phase filter has adjustable frequency, and phase shift controls. This introduces a phase shift that gradually changes from 180° above the centre frequency to the specificed value at the centre frequency, and tending towards 0° below the centre frequency.

This graph shows the phase shift relative to the input (ignoring processing delays), in 10° steps – the filter will actually provide higher resolution than this, operating in 2° steps.The filter is centred at 1kHz in this example.

ENTER to select the filter type.

ENTERENTER

Phase

PhasePhase

BYPASS to bypass

BYPASSBYPASS

0000

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5 Series Operator’s Manual

5 Series 5 Series

Low/High Pass Variable ‘Q’ Filter (Low Pass shown)

InA Input A LPF:1~~

InA Input A LPF:1~~\\\\

InA Input A LPF:1~~InA Input A LPF:1~~

1k00Hz Q=3.0 LPF VarQ

1k00Hz Q=3.0 LPF VarQ1k00Hz Q=3.0 LPF VarQ

Remember – to change filter types, press BYPASS the filter, and then use ENTER

ENTER to select the filter type.

ENTERENTER

The low and high pass variable ‘Q’ filters have adjustable frequency and ‘Q’ (or Bandwidth) controls. The ‘Q’ control adjust the damping of the filter, so that low ‘Q’ settings show less overshoot at the turnover frequency, but also slower rolloff.

Remember that ‘Q’ is 1/Bandwidth, so the higher the ‘Q’, the lower the Bandwidth, and the smaller the range of frequencies affected. The filter is primarily 12dB/Octave, but in achieving this sort of roll-off with a high ‘Q’ value will result in quite a

large overshoot in level at the turnover frequency. This type of filter is often also called a resonant filter.

BYPASS to bypass

BYPASSBYPASS

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Operator’s Manual Page 61

Elliptical filters

InA Input A HPF:1/~~

InA Input A HPF:1/~~InA Input A HPF:1/~~

1k00Hz HP Ellip

1k00Hz HP Ellip1k00Hz HP Ellip

Remember – to change filter types, press BYPASS the filter, and then use ENTER

The elliptical filter has adjustable frequency only. This sets the 3dB point of the filter which features a steep roll-off (of approx 36dB/Octave down to one Octave above (or below in the case of a HPF) the turnover frequency.

However, the gain does increase again above this frequency to settle at 12dB down from 0dBr. This filter can be used in conjunction with the standard crossover filters to produce sharper roll-offs than would be otherwise achievable.

The use of this filter is explained in the following example.

The graph shows three different low pass filter shapes. Number 1 is a standard 24dB/Octave Linkwith-Riley curve. Number 2 is a 48dB/Octave Linkwitz-Riley.

As can be seen, number 2 is significantly steeper in roll-off than number 1, as would be expected.

However, number 3 is a 12dB/Octave Butterworth filter with an Elliptical Low Pass filter following it. This produces a combined roll-off very close to that of the 48dB/Octave (with the side effect of the response rising again after the initial drop from the pass band).

To produce a crossover filter of this shape it is simply a case of setting the low (or high) pass filter for that output to the desired crossover frequency, and selecting a 12dB Butterworth response:

OP1 Output 1 HPF /~~

OP1 Output 1 HPF /~~OP1 Output 1 HPF /~~

250Hz Butterworth 12dB

250Hz Butterworth 12dB250Hz Butterworth 12dB

Then select a parametric section on the same output, and modify its behaviour (using the ENTER corresponding HPF Elliptical filter is selected. Set the turnover frequency of this filter to be the same as that of the crossover filter. Make sure you chose a high pass elliptical to work with a high pass crossover, and low pass elliptical to work with a low pass crossover.

InA Input A HPF:1/~~

InA Input A HPF:1/~~InA Input A HPF:1/~~

250Hz HP Ellip

250Hz HP Ellip250Hz HP Ellip

ENTER to select the filter type.

ENTERENTER

ENTER key) until the

ENTERENTER

BYPASS to bypass

BYPASSBYPASS

Page 62 5 Series

5 Series Operator’s Manual

5 Series 5 Series

Specifications

Inputs: 4 electronically balanced

Impedance: > 10k ohms. CMRR : >65dB 50Hz - 10kHz.

Outputs: 4/8 electronically balanced Source Imp: < 60ohms Min. Load: 600ohm Max. Level: +20dBm into 600 ohm

Frequency Resp.:+½dB 20Hz-20kHz

-3dB @ 32kHz

Dyn. Range:>116dB 20Hz-20k unwtd Distortion:< .02%@1kHz,+18dBm

Maximum Delay: 650 mS Min Step Size: 0.3 µS

Input Gain: +6dB to -40dB in 0.1dB steps Output Gain: +15dB to -40dB in 0.1dB steps and mute

Parametric Equalisation

8 per Input / 9 Sections per Output Filter Gain: +15dB to -30dB in 0.1dB steps. Freq. Range: 19.7Hz - 32kHz, 1/36 octave steps. Filter Q / BW: 0.4 to 128 / 2.5 to 0.008 (Sections switched to shelving response) Low frequency: 19.2Hz - 1kHz High frequency: 1kHz - 32kHz Shelf gains: ±15dB in 0.1dB steps.

Dyanamic Equalisation

3 bands per Input Filter Gain: 6dB to 18dB max ceiling/floor. Freq. Range: 19.7Hz - 32kHz, 1/36 octave steps. Filter Q / BW: 0.4 to 128 / 2.5 to 0.008 Attack time: 0.07mS to 2.0S Release time: 11mS to 3.4S Threshold: -32dB to +22dB in 0.5dB steps Max ratio: 4:1 (cut above) 2:1(all other modes)

High and Lowpass Filters Filters: 1 of each per output. Freq. Range HPF: 10Hz - 16kHz 1/36 octave steps. Freq. Range LPF: 35Hz - 22kHz 1/36 octave steps. Responses: 1st Order 6dB/Oct. Bessel/Butterworth/Linkwitz-Riley 12-24-48dB/Oct. Bessel/Butterworth 18dB/Oct.

Compressors Threshold: +22dBu to -10dBu Attack time: 0.07 to 512mS Release time: 45mS to 3.4S Knee control 0(hard) to 12(soft) in 13 steps Max ratio: 16:1

Limiters Program Limiter: Threshold: +22dBu to -10dBu Attack time: 0.3 to 90 milliseconds Release time: 2/4/8/16/32 x Attack time

“D-Max” Limiter: Attack Time: -60uS Release Time: Slow/Medium/Fast

Matrix Mixer Input sent to output: -40db - +15dB and mute

Display: 2 x 24 Character LCD

Input meter: 2 x 6 point, -24dB to digital clip. Output meter: 8 x 6 point, -24dB to +4dB into limit.

Connectors Inputs: 3 pin female XLR Outputs: 3 pin male XLR. External: 9 pin DEE connector (RS232) RS485:3 pin male XLR (out) 3 pin male XLR (in) Power: 3 pin IEC

Power: 60 to 250V ±15% @ 50/60Hz. Consumption: < 30 watts. Weight: 3.3kg. Net (4.7kg. Shipping) Size: 1.75"(1U) x 19" x 11.8"

(44 x 482 x 300mm) excluding connectors

 Transformer options available

Due to continuing product improvement the above specifications are subject to change.

Latency: 1.5mS (analogue in – analogue out @ 96kHz)

     

                

Operator’s Manual Page 63

Warranty

Part Number

Part Description

ITX-428 Transformer balanced inputs (factory fitted only)

OPT

PC1

‘Type I’ 512k SRAM PCMCIA card

USB

232 USB to Serial Converter

USB

485 USB

Serial

RS485 Converter kit

This product is warranted against defects in components and workmanship only, for a period of five years from the date of shipment to the end user. During the warranty period, XTA will, at its discretion, either repair or replace products that prove to be defective, provided that the product is returned, shipping prepaid, to an authorised XTA service facility. Defects caused by unauthorised modifications, misuse, negligence, act of God or accident, or any use of this product that is not in accordance with the instructions provided by XTA, are not covered by this warranty. This warranty is exclusive and no other warranty is expressed or implied. XTA is not liable for consequential damages.

Options and Accessories

XTA has a range of tried and tested interfaces, including USB and wireless solutions, all of which are listed in the XTA Interface Guide, available from our website. We can supply all the interfaces described in this guide directly – please get in touch.

Page 64 5 Series

5 Series Operator’s Manual

5 Series 5 Series

Index

Accessories · 64 Adding HF Sparkle · 45 AES Diagnostics · 37 AES Interface · 35 AES Menu · 25 All Pass · 60 Attack Times · 52

Bandpass · 59 Base Delay · 16

Clip Limiter · 22, 53 Cloning · 42 Cold Reboot · 42 Compact Flash · 40 Compressor

Knee · 51

Crossover Menu · 25

Editing

Base Delay · 16 Graphic EQ · 16 High Pass Filter · 20 Input Gain · 16 Limiters · 22 Low Pass Filter · 20 Output Delay · 19 Output Gain · 19 Parametric EQ · 16, 20 Polarity · 19

Elliptical Filter · 62

Features · 8 Flat Topped EQ · 58 Free Assign · 15 Frequency Conscious · 46 Front Panel · 9

De-essing · 46 Delay · 16

Look Ahead · 53 De-popping · 46 Digital In & Out · 35 D-Max · 53 Dynamic EQ

Boost Above Mode · 45

Boost Below Mode · 48

Boostt Above Mode · 45

Cut Above Mode · 46

Cut Below Mode · 47 Dynamic Noise Reduction · 47

     

                

Operator’s Manual Page 65

Ganging Inputs · 23 Ganging Outputs · 23 Global Memory Menu · 25 GQ600 · 43 Graphic EQ · 16, 43 Graphic Menu · 25

High Pass Filter · 20

Input Gain · 16 Input Section Menu · 25 Interface

RS232 · 29 RS485 · 33 USB · 29

Interface Menu · 25

Levelling · 48 Limiter

Overshoot Prevention · 54 Limiter Threshold · 55 Limiters · 52 Load New Software · 30 Lockouts · 38 Look Ahead · 53 Look Ahead Delay · 53 Low Pass Filter · 20

Master Password · 39 Memory Cards · 40 Memory Structure · 27 Menus

Details · 25

Shortcuts · 24 Midi Start/Stop · 34

Notch · 59 NTH Response · 62

Rear Panel · 10 Release Times · 52 Resonant Filter · 61 Routing · 15

Basic · 12 Free Assign · 15

Presets · 12 RS232 Interface · 29 RS485 Interface · 33

Security · 38 Security Menu · 25 Shadow IDs · 32 Shelving EQ · 58 Shipping · 7 Sidechain

Delay · 53 Software Updates · 40 Special · 44 Specifications · 63 Standard Parametric · 57 Start-up · 11 System Menu · 25

Options · 64 Output Delay · 19 Output Gain · 19

Parametric EQ · 16, 20 Password Override · 39 Passwords · 38 PCMCIA Card · 40 Phase · 60 Polarity · 19, 60 Preset Updates · 40 Program Limiter · 22 Punch Gate · 45

Quick Setup · 11

Unit Cloning · 42 Unlocking · 39 Unpacking · 7 Updating Software · 30 Upgrading · 30 USB Interface · 29

Vari-Q · 61 Voice Clarification · 48

Warranty · 64

Page 66 5 Series

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5 Series 5 Series

XTA 5 Series User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual