Page 1 Software: Rev 2.03 Part number: 530204 Subject to change at our whim, and without notice. Copyright (c) 1992-1994, Symetrix Inc. All rights reserved. Batteries not included. Ground isn’t ground! Available at finer studios everywhere. No part of this manual may be reproduced or transmitted in any form or by any...
Page 2 Production Information This document was written using Microsoft Word for Windows V2.0 and 6.0. The drawings and graphs in this manual were prepared using Corel Draw V2.0, Autocad V12, and Autoscript V5, then imported into Word for Windows via encapsulated PostScript files. All page makeup occurred within Word for Windows. Body text is set in Bookman 10pt and Section Heads are set in various sizes of Helvetica Bold.
Page 3: Table Of Contents
1.2 Operator Safety Summary ................1-2 1.2.1 Equipment Markings ..................1-3 1.2.2 Terms......................1-3 1.3 Other Safety Information..................1-4 2. Basics......................2-1 2.1 What Does the 601 Do?...................2-1 2.2 Digital and Analog Differences .................2-1 2.3 Gain Setting .....................2-1 2.4 Equalization .....................2-2 2.4.1 Power and Fullness..................2-2 2.4.2 Rhythm and Musical Foundation..............2-2...
Page 4 7.3 Block Diagrams....................7-4 7.3.1 Overall Block Diagram ..................7-4 7.3.2 Sequence of Processing ................7-4 7.3.3 Dynamics Block ....................7-4 7.3.4 De-Ess and Noise Reduction Block...............7-5 7.3.5 Delay Block ....................7-5 7.4 System Interface ....................7-6 7.4.1 Using the 601 as a Channel Insert Device ............7-6...
Page 5 7.4.2 Using the 601 in a Send-Receive Loop ............7-6 7.4.3 Using the 601 as an A-D Converter ..............7-6 7.4.4 External Sample-Rate Clock .................7-6 7.4.5 Input/Output/Clock Summary ................7-7 7.4.6 MIDI Programming..................7-7 7.4.7 Accessing Parameters via MIDI ..............7-8 7.4.8 Realtime MIDI ....................7-8 7.4.9 Program Storage...................7-8...
Page 6 C.1.4 Sysex Echo ....................C-3 C.1.5 Recognized MIDI Commands...............C-4 C.1.6 Data Structure Per Program .................C-8 C.1.7 MIDI Parameter Tables ................C-14 C.2 Hexadecimal Conversion Tables ..............C-22 D. Glossary and Bibliography ..............D-1 D.1 Glossary ......................D-1 D.2 Bibliography.....................D-11 E. Architect’s and Engineer’s Specification ..........E-1 F.
Page 7 List of Tables 1. E ...................... C-4 ABLE UFFER EQUEST 2. E ....................C-4 ABLE UFFER ESPONSE 3. E ....................... C-4 ABLE UFFER 4. P ....................C-5 ABLE ROGRAM ETUP EQUEST 5. D ......................... C-5 ABLE ESPONSE 6. P ....................C-6 ABLE ROGRAM ETUP...
Page 8: Table 23. Realtime Midi Block 1
Alphabetical List of Tables AGC P TABLE 19. C-10 ARAMETERS AGC R TABLE 34. C-16 ATIO ABLE ARM S TABLE 20. C-11 ENSE ARAMETERS ARM T TABLE 35. C-17 HRESHOLD 100 TABLE( TABLE 28. C-14 18 TABLE( TABLE 26. C-14 82 TABLE( TABLE 27.
Page 9: Introduction
AGC (automatic gain control). Get the picture? One aspect of many digital processors is the difficulty of use. The 601 was designed to be easy to use, yet powerful. There are no menus to scroll through. Each parameter is visible via the front panel push-switches.
Page 10: Manual Sections
Chapter 1. Introduction introduces the 601 and this manual. Describes important safety information Chapter 2. Basics lets you know what the 601 does, and how it does it and some basic usage information.. Chapter 3. Technical Tutorial a basic and not-so-basic discussion of signal levels, input and output impedances, and connection polarity.
Page 11: Terms
Convention Description Caution Identifies information that, if not heeded, may cause damage to the 601 or other equipment in your system. Note Identifies information that needs extra emphasis. A Note generally supplies extra information to help you use the 601 better.
Page 12: Other Safety Information
Do not operate the product without the covers and panels properly installed. User-serviceable parts There are no user serviceable parts inside the 601. In case of failure, refer all servicing to the factory. The complexity of the DSP circuitry as well as the special assembly tools required make the feasibility of field service doubtful.
Page 13: Basics
601 can accept (or output) signals in either the analog or digital domains. One way to think about the particular combination of processors in the 601 is in terms of a modern mixing console. Today, most mixing consoles have microphone and line inputs, some sort of equalization, effects sends and returns, and (occasionally) on-board dynamics processing.
Page 14: Equalization
Thus, the 601 has a digital gain control that allows you to raise or lower the level sent to the digital processors. Finally, there is an overall digital output gain control allowing you to restore the signal level to "normal."...
Page 15: Telephone Quality
eight bass viols may be used. A total of 1000 bass viols in this case would only give an additional 21 dB of level, which is not an inordinate amount given a glance at Mr. Fletcher's equal loudness curves. Pay attention to this range because the overall musical balance of your program can be controlled by equalizing or attenuating the 100 Hz range.
Page 16: Conclusions
In speech, the 9th and 10th octaves impart intimacy although too much emphasis can make secondary speech sounds (lip smacking, etc.) objectionable (a good case for a downward expander). Some microphones having a rise at the higher frequencies (especially omni microphones) benefit from some attenuation in this region.
Page 17 RE38N/D or ND series) or a ribbon microphone such as the RCA 77DX. The built-in bass boost caused by close talking a single-D microphone (proximity effect) can be tailored or tamed with careful equalization, which also reduces room rumble at the same time. Last, since the proximity effect increases with decreasing source-microphone distance, a skilled user can substantially change their sound simply by moving in or out from the microphone.
Page 18 Rev 2.2, 10/31/94...
Page 19: Peaking Or Shelving
Converting the descriptive adjectives that people use to describe the character of a voice into numbers that make equalizers happy is a common problem. Figure 2-2 lists some commonly used adjectives and their corresponding frequency ranges. Range Description (men) Range Description (women) 75-200 Hz Balls, rumble, heaviness...
Page 20: Noise Reduction
(or vice-versa if you must). Both devices reduce their output when their input signal falls below threshold. The difference is the rate (not speed) at which they do it. The 601’s downward expander output falls at an adjustable rate for every 1 dB below threshold of the input signal.
Page 21: Compression
(analog compressors have the same problem, but they usually limit the minimum attack time so you never have the problem). You can use the 601's compressor look- ahead parameter to "buy some time" so that the initial overshoot of the signal is controlled by the compressor.
Page 22: Delay
If the delay times are long enough, you'll hear the echoes bouncing back and forth between the speakers. Note: the dual-delay used in the 601 is not sufficient to create any sort of realistic reverb. Good sounding reverberation requires a multi-tapped delay line.
Page 23: Modulated Delay
Appendix C. What does this mean for the 601? At a very basic level, it means that you could have several setups stored in the 601 and change between them remotely. If you're a broadcaster, you could...
Page 24: Technical Tutorial
3. Technical Tutorial This section discusses a multitude of things, all related to getting signals in and out of the 601. 3.1 Matching Levels vs Matching Impedances In any audio equipment application, the question of "matching" inevitably comes up. Without digging a hole any deeper than absolutely necessary, we offer the following discussion to (hopefully) clarify your understanding of the subject.
Page 25: Signal Levels
3.2 Signal Levels The 601 is designed around studio/professional line levels: +4 dBu or 1.23 volts. The unit is quiet enough to operate at lower signal levels such as those found in semi-pro or musical-instrument (MI) equipment (-10 dBu or 300 millivolts).
Page 26: Polarity Convention
In an emergency (the show must go on), you can ground pin 3, but if you have the choice...leave it open. If you must ground pin 3, it is must be grounded at the 601, rather than at the other end of the cable. The price, regardless of whether or not pin 3 is grounded is 6 dB less output level.
Page 27 TERMINAL STRIP (+) = HIGH (-) = NOT USED = GROUND FROM NON-TRANSFORMER (ELECTRONIC) BALANCED OUTPUT (TYPICAL OF SYMETRIX PRODUCTS) TO UNBALANCED IN MALE TS PLUG FEMALE XLR TIP = HIGH PIN 1 = GROUND + LOW SLEEVE = GROUND +...
Page 28: Digital I/O Considerations
3.6 Digital I/O Considerations The 601 has two similar, but different, digital input/output formats: AES/EBU and S/PDIF. The AES/EBU format uses XLR connectors, is balanced, and operates at 110 ohms line impedance. The S/PDIF (Sony-Phillips Digital InterFace) format uses RCA connectors, is unbalanced, and operates at 75 ohms line impedance.
Page 29: Front Panel Overview
LINE 4.1 User Interface Summary The user interface of the 601 has been designed to be powerful yet intuitive. Most switches have only one function and where a switch has several functions, the display prompts for the parameter in question. There are no hierarchical menus.
Page 30: Comparing Programs
(and the outputs) to CUrr. 4.2 Rate of Change Parameter In addition to the parameters visible on the front panel, many of the 601's parameters have a rate-of-change parameter (rt) associated with them. The rate parameter affects how quickly the parameter changes from its current value to its new value, either under direction of the front panel or MIDI.
Page 31: Parametric Eq Block
LED indicates the presence of IGITAL IGITAL digital signals at either the AES/EBU or S/PDIF digital inputs. This LED also flashes to indicate error conditions (including no signal present) occurring with either of the digital inputs. This LED indicates selection of the analog microphone input.
Page 32: Eq Parameter Group
THRESH(dB) Unlike analog processors that you may be familiar with, each of the threshold settings in the 601 reference to digital clipping (full-scale) rather than to some nominal signal level (like 0 dBu). This means that you may not be able to directly translate threshold settings that you are familiar with from the analog world to the digital world.
Page 33: De-Esser Block
Switch Toggles the NR between active and out. When active, the switches are active. HRESH When editing, the switch LED flashes, otherwise it reflects the state of the NR (in or out). Whenever NR is currently being edited, the output headroom LED display changes to indicate gain-reduction.
Page 34: Downward Expander Block
Switch Sets the time required for the de-esser to engage. TTACK This means that the input signal must remain above the old setting for a time that is HRESH longer than the attack time. The time TTACK ranges from 0.1ms (100 microseconds) to 10,000 ms (the display reads 9999, but the time is really 10,000 milliseconds or 10 seconds).
Page 35: Compressor Parameter Block
The compressor block and the AGC block are mutually exclusive; you can only use one of them at a time. There is no output gain control; the 601 computes the correct amount of makeup gain based on the threshold and ratio settings (although the auto-makeup gain feature can be defeated and the amount of makeup gain can be set manually).
Page 36 LED flashes, otherwise it reflects the state of the AGC (in or out). There is no output gain control; the 601 computes the correct amount of makeup gain based on the ratio setting. Whenever the AGC is currently being edited, the output headroom LED display changes to read gain-reduction.
Page 37: Dynamics Section Control Summary
The following tables show the parameters used by each different section of the Dynamics Section. The first line of each table shows the function, the second line shows the front panel designation on the 601, the third shows the parameter name, and the fourth shows the parameter's range.
Page 38: Sidechain Filter
These parameters are: Name Purpose EditBuffer Offset Dynamics sidechain filter mode Changes the sidechain filter from highpass shelving to lowpass. Expander knee control Sets number of dB required to reach ultimate expansion ratio. Compressor knee control Sets number of dB required to reach ultimate ratio.
Page 39: Expander Knee Control
Lowering the filter frequency, in lowpass mode) makes the dynamics section less responsive to high-frequency sounds. This may be useful for preventing sibilance or high-frequency noise (hiss, clicks, etc.) from triggering the dynamics section. 4.5.7.2 Expander knee control The point in the downward expander’s gain curve immediately below threshold is known as the knee.
Page 40: De-Ess Absolute Threshold
element; in essence giving the compressor “time to think”. Edit buffer 67 controls the lookahead delay time. 4.5.7.11 De-ess absolute threshold The relative de-esser threshold can be accessed via the front panel. This threshold setting must be relative in order that it not be sensitive to the overall signal level at any given instant in time.
Page 41 switch (cont’d) A long press on the switch (rt) accesses the ELAY ELAY delay line rate of change, with 0.1 being basically instantaneous, and 9999 being very slow. This adjustment, along with the ODULATION EPTH are used for chorus type effects or flanging.
Page 42: Output Group
GAIN/PAN GAIN/PAN Switch switch sets the output gain and left-right panning of the 601. A long press on the GAIN/PAN switch sets the rate-of-change of the level functions; the display indicates rt. The setting is saved on a per-program basis.
Page 43: Midi Switch
4.8.2 MIDI Switch The MIDI switch sets various MIDI parameters in the 601. In addition, it accesses the realtime block editor allowing modification of either of the two realtime blocks or setting any parameter within the edit buffer. A short press on the MIDI switch accesses the following parameters: CH.nn...
Page 44: Presets Group
Switch switch toggles the 601's settings OMPARE OMPARE between those stored in the edit buffer and those stored in program memory. This allows making quick a/b comparisons between the original program and the current settings. The display...
Page 45: Setting Scenarios
(program number shows in display). 4.10 Setting Scenarios The following scenarios may help clarify setting up the 601 for various analog and/or digital input signals. Situation 1: Internal ADC (mic or line), internal sample clock, DACs fed from DSP.
Page 46 This page is blank (believe it or not). Rev 2.2, 10/31/94 4-18...
Page 47: Restoring Factory Presets
Maximum Disables everything. Nothing on the front panel works. To activate (or deactivate) any of the security features, turn the 601 off, press and hold one of the following buttons, and turn the 601 on. Enables no security. Everything is accessible.
Page 48 Notes Rev 2.2, 10/31/94 4-20...
Page 49: Rear Panel Overview
AC Power Input IEC-power connector. Connect only to appropriate AC power source. Refer to actual rear-panel marking for correct AC source value. switch Push-push switch turns the 601 on and off. POWER connectors 5-pin DIN connectors used for MIDI output and input.
Page 50 Notes Rev 2.2, 10/31/94...
Page 51: Fast First Time Setup
The analog and digital inputs and outputs may be used in any combination (i.e. analog in - analog out, analog in - digital out, digital in - digital out, digital in - analog out.) The 601 operates at either 44.1 kHz or 48.0 kHz sample rates (input and output are always the same rate).
Page 52: Settings For Analog Sources
For an analog source, Figure 6-2 and Figure 6-3 show the wiring required. Set the controls and switches on the front panel as follows: 1. After all rear-panel input and output connections have been made, apply power to the 601 and depress the switch.
Page 53 THIS UNIT CONTAINS NO S/PDIF S/PDIF USER SERVICEABLE PARTS. BYPASS AES/EBU AES/EBU S/PDIF S/PDIF +48V 12.5W MAXIMUM POWER ANALOG SOURCE ANALOG TAPEDECK DESTINATION Rev-B Figure 6-3. Using the 601 with an analog line-level source and an analog destination. Rev 2.2, 10/31/94...
Page 54: Settings For Digital Sources
For a digital source, Figure 6-4 shows the connections required. Set the controls and switches on the front panel as follows: 1. After all rear-panel input and output connections have been made, apply power to the 601 and depress the switch.
Page 55: Using The 601
The control signal processing is still shared between the two channels. Digital signals at either 44.1 kHz or 48 kHz sample rates may be fed directly into the 601 for processing. The processed signals are available at the outputs as AES/EBU or S/PDIF, and stereo analog balanced line level.
Page 56: Stand-Alone Operation
601 responds to a step-change in the value of the parameter. This parameter ranges from 100 microseconds to 10 seconds. A 10 second rate-of- change setting makes the 601 change from the old value to the new value over a period of 10 seconds.
Page 57 DATA BATTERY FRONT PANEL SWITCHES INPUT AES/EBU MIDI MIDI AES/EBU BACKUP AND DISPLAYS INPUT INPUT OUTPUT ENCODER OUTPUT SELECT SELECT PROGRAM/ PROGRAM P S S PARAMETER SUPERVISORY AES/EBU AES/EBU CONTROLLER INPUT OUTPUT AES/EBU MICROPROCESSOR AES/EBU INPUT OUTPUT SELECT SELECT CIRCUITRY CLOCK CIRCUITRY SELECT...
Page 58: Block Diagrams
7.3 Block Diagrams On the preceding and following pages, you can find the block diagrams for the de-esser, dynamic noise reduction, dynamics processors, delay processor, and the entire 601. Please take a moment and take note of the following: 7.3.1 Overall Block Diagram Refer to Figure 7-2.
Page 59: De-Ess And Noise Reduction Block
Attack (Ed-Buf 52/57) Threshold Release (Ed-Buf 51/56) (Ed-Buf 53/58) MIDI Ratio Knee (Ed-Buf 54/59) MIDI (Ed-Buf 55/60) (Ed-Buf 65) MIDI MIDI Compressor/ (Ed-Buf 66) Level (Ed-Buf 0) Level Determined Input 1 Determined Selector/ Filter Selector/ Shelf Switcher Switcher Time Signal with Converter Constant Signal with...
Page 60: Delay Block
7.4 System Interface The 601 can be used in a variety of ways, some of which may be obvious, some of which may not be so obvious. The next portion of this chapter describes some of the different ways to use the 601.
Page 61: Using The 601 As An A-D Converter
7.4.3 Using the 601 as an A-D Converter You can use the 601 as an analog-to-digital converter simply by using the analog input(s) and the AES/EBU or S/PDIF output. There are, however, several caveats: The clock accuracy specification stated in the AES/EBU standard is quite stringent In...
Page 62: Midi Programming
7.4.6 MIDI Programming The 601 is MIDI programmable. At one level, you can simply send MIDI program change messages to load pre-stored programs (yours or the factory presets). At another level, you can manipulate program parameters via MIDI, and at yet another level, you can modify program parameters in realtime, during operation.
Page 63: Editing Parameters Not Accessible From The Front Panel
7.4.10 Editing Parameters not Accessible from the Front Panel The front panel realtime update editing function can also be used to set the edit buffer value for parameters that are normally inaccessible from the front panel. These parameters are: Processor Offset (dec) Parameter name Reference...
Page 64: Tips And Techniques For Using The 601
The new program has loaded when the display reads donE. The 601 always loads a copy of the program into the edit buffer (regardless of whether you want to edit the program or not). The program in the edit buffer is also the program that the...
Page 65: Gain Setting
7.5.3 Gain Setting There are three places to adjust the gain of the 601: at the analog inputs, before the DSP section, and after the DSP section. An understanding of this topic is essential to getting the most from your 601. A more basic discussion can be found under the heading, "Gain Setting,"...
Page 66: Metering And The Dynamics Block
between to find the magic setting. Toggling the band-switch between in EVEL ANDWIDTH and out can help too. It is much easier to hear changes in amplitude (level) than it is to hear bandwidth changes. It is also easier to hear the abundance of something rather than the absence of the same thing. Even if you intend to apply cut (negative level) to a particular frequency, it is still easier to find that frequency by boosting first, tuning second, and resetting the boost/cut last according to taste or need.
Page 67: Compression
Note that the goal is to reduce the overall variation in signal level, not to remove all variation completely. You set the AGC much like you set the 601's compressor. The big difference is the HRESH setting, which becomes the auto-release threshold.
Page 68: Delay
7.5.11 Delay The delay section of the 601 uses two delay lines having separate inputs and separate outputs. The outputs drive a lowpass filter that feeds the output mix and the feedback controls. Each feedback signal mixes with the input signal at the delay line input of the opposite channel (the feedback is cross-coupled).
Page 69: Chorus Effects
Be sure to experiment with the different modulation sources. 7.5.11.3 Chorus effects Chorusing is a variation on flanging. The effect gives the impression of multiple sources. On the 601, start with the time at about 10 milliseconds, at 50%,...
Page 70 Notes 7-16 Rev 2.2, 10/31/94...
Page 71: Applications
Here are a few applications that the 601 lends itself to. Do you have an unusual application for the 601? Send it to us and we'll consider sending you a can of slug chowder or some chocolate covered espresso beans from Starbucks for your trouble (novelness of idea limited to our opinion, decision of judges is final, offer void where taxed or prohibited).
Page 72 Notes Rev 2.2, 10/31/94...
Page 73: Troubleshooting Chart
EADROOM but not including the led. Check gain settings on downstream equipment. The system gain structure should be such that the 601 operates at or near unity gain. Is the input signal already noisy? No LED display Is the unit plugged in, and turned on?
Page 74 Notes Rev 2.2, 10/31/94...
Page 75: Digital Voice Processor Limited Warranty
In no event will Symetrix be liable for any incidental or consequential damages including but not limited to damage for loss of...
Page 76 costs and expenses incurred in connection with labor, overhead, transportation, installation or removal of products or substitute facilities or supply houses. 10-2 Rev 2.2, 10/31/94...
Page 77: Repair Information
11.1 Return Authorization Symetrix will service any of its products for a period of five years from the date of manufacture. However, no goods will be accepted without a Return Authorization number. Before sending anything to Symetrix, call us for an RA number. just ask, we'll gladly give you one! call (206) 787-3222, weekdays, 8am to 4:30 pm pacific time.
Page 78 Notes 11-2 Rev 2.2, 10/31/94...
Page 79: Specifications
12. Specifications Input/Output Analog Inputs XLR-female, 12.5-kilohms line-level balanced bridging. XLR-female, balanced microphone input (48V phantom power) Digital Inputs Two, XLR-female and RCA Female, AES/EBU or S/PDIF Analog Outputs Two, 300-ohm source impedance, balanced. XLR-male Digital Outputs Two, XLR-male and RCA Female, AES/EBU or S/PDIF Maximum input level +22 dBu...
Page 80 117V AC nominal, 105-125V ac 50-60 Hz, 20 watts 230V AC nominal, 205-253V ac 50 Hz, 20 watts. In the interest of continuous product improvement, Symetrix Inc. reserves the right to alter, change, or modify these specifications without prior notice. 12-2 Rev 2.2, 10/31/94...
Page 81: Editing Realtime Midi Settings
Editing Realtime Midi Settings The 601 has the capability to modify its parameter settings in realtime, either as a function of one of the MIDI continuous controllers or from an internal control source. To access the realtime MIDI settings from the front panel, press the button until the display reads rEAL.
Page 82: Realtime Midi Example
6 as the modulation source using the Wheel. Press the button twice. The display should now read oFt. While listening to the 601's output, adjust the offset value until you hear the equalizer filter begin to work. You can then use the SCAL parameter to alter the range of the effect.
Page 83: Using The Lexicon Mrc To Edit Realtime Midi Settings
601 by following these steps. Although this chapter is devoted to the MRC and its use with the 601, there are other MIDI controllers available that can perform comparably. This procedure was developed on an MRC having software revision 3.01.
Page 84 STEP MRC Key MRC Displays Data to Set/Enter Comments MACH MACH #... set to machine 15 ENTER SETUP GMIDI SETUP# set to setup 10 via slider 1 or keypad ENTER EDIT SOURCE DEST now edit the setup Make slider 1 control the event type (see Real time MIDI Block 1) SOURCE slr1 source to slider 1...
Page 85 STEP MRC Key MRC Displays Data to Set/Enter Comments 2 N D P use sliders 1-4 to set label to "2 N D P" Make slider 3 control the offset applied to slider 1's source page SOURCE DEST setup for slider 3 OUT# SOURCE slr3...
Page 86 STEP MRC Key MRC Displays Data to Set/Enter Comments M P L Y use sliders 1-4 to set label to "M P L Y" Slider 5 determines the parameter affected by the event selected by slider 1. page SOURCE DEST setup slider 5 OUT# SOURCE...
Page 87 STEP MRC Key MRC Displays Data to Set/Enter Comments mfrID2 device type unit/channel edit buffer data set page DEFINE SYSEX BYTES 8-9 edit buffer 34 BYTE send slider setting page LABEL FOR slr1 D L Y 1 use sliders 1-4 to set label to "D L Y 1"...
Page 88 STEP MRC Key MRC Displays Data to Set/Enter Comments device type unit/channel edit buffer data set page DEFINE SYSEX BYTES 8-9 edit buffer 37 BYTE send slider setting page LABEL FOR slr3 use sliders 1-4 to set label to "F B "...
Page 89 STEP MRC Key MRC Displays Data to Set/Enter Comments device type unit/channel edit buffer data set page DEFINE SYSEX BYTES 8-9 edit buffer 36 BYTE send slider setting page LABEL FOR slr5 R O C use sliders 1-4 to set label to "R O C"...
Page 90 STEP MRC Key MRC Displays Data to Set/Enter Comments mfrID2 device type unit/channel edit buffer data set page DEFINE SYSEX BYTES 8-9 edit buffer 42 228 = sine page LABEL FOR swt2 S I N E use sliders 1-4 to set label to "S I N E"...
Page 91 STEP MRC Key MRC Displays Data to Set/Enter Comments page DEFINE SYSEX BYTES 4-7 mfrID2 device type unit/channel edit buffer data set page DEFINE SYSEX BYTES 8-9 edit buffer 42 0 = random page LABEL FOR swt4 R A N D use sliders 1-4 to set label to "R A N D"...
Page 92 MIDI Block 1. When the MRC sends the MIDI command represented by steps 10 through 20, the value sent at step 19 tells the 601 that the next data byte received gets stuffed into the edit buffer at offset 71, which is the Real time MIDI Event Type.
Page 93: Midi Implementation Notes
C. MIDI Implementation Notes This appendix describes the MIDI implementation of the 601. If you are a newcomer to MIDI, you would do well to familiarize yourself with MIDI and its usage by reading one of the many introductory-level books available at booksellers.
Page 94: Sysex Implementation (F0
All sysex messages use the universal system exclusive code format. The MIDI sysex message uses the following format (hex): Send: <sysex><mfrID><unitID><unit#><command><data ...><EOX> <F0><00><00><5E><01><#><command><data ...><F7> Send a Edit Buffer Data Set message to the 601, and set the level for Filter 1 of the parametric equalizer block to +12 dB: <sysex><mfrID><unitID><unit#><command><offset><value><EOX> <F0><00><00><5E><01><#><1C><06><70><F7> where: F0 is the midi sysex command 00 00 5E is Symetrix’...
Page 95: Sysex Echo
REQUEST is a data request to the 601 RESPONSE is data from the 601. C.1.4 Sysex Echo There are several conditions under which sysex messages are echoed through the 601 to the connector: The message's manufacturer's ID or product identifier is for a different product.
Page 96: Recognized Midi Commands
C.1.5 Recognized MIDI Commands The 601 recognizes the following MIDI Table 2. Edit Buffer Data Response sysex messages: DATA FROM 601 Cmd# Command Description Type Returns (hex) Short One parameter in Edit Buffer Edit buffer data request Value Range (hex)
Page 97: Table 4. Program/Setup Data Request
Table 4. Program/Setup Data Table 5. Data Response Request RESPONSE FROM 601 Type Requests REQUEST TO 601 Long Block of parameters by Offset (dec) Type Requests Data ordering Long Block of parameters by address Edit Buffer | 128 User Programs | 128 ROM...
Page 98: Table 6. Program/Setup Data Write
<number, bottom 7 bits> <EOX> data bytes data data <EOX> Table 7. Identify Request REQUEST TO 601 Purpose Request the identity of a 601. Value Range (hex) (dec) <sysex> <mfrID 0> <mfrID 1> <mfrID 2> <device type> <unit/channel> 0-7E, 7F (all) <command>...
Page 99: Table 9. Parameter Map
The parameter map shows the location of various entities within the memory space of the 601. You can access these by using the program/setup data write command (1Dh). Table 9. Parameter Map Offset (dec) Description 0-99 Edit Buffer 100-199 RAM Program 1...
Page 100: Data Structure Per Program
C.1.6 Data Structure Per Program All programs use the following data structure. Each program parameter has a specified offset within the Edit Buffer. By reading or writing these parameters, you can query or set particular program parameters. By dumping the entire range (0-99d), you can look at the status of the entire edit buffer.
Page 101: Table 14. D E - Ess Processor
Table 14. De-ess Processor Offset Description Range Reference Mode 0: off 127: on Absolute Threshold See Attn100 Table Relative Threshold See Attn100 Table Attack Time See Tc Table Release Time See Tc Table Table 15. Noise Reduction Processor Offset Description Range Reference Mode...
Page 102: Table 17. Expansion Parameters
Table 17. Expansion Parameters Offset Description Range Reference Mode 0: off 127: on Threshold See Attn100 Table Attack Time See Tc Table Release Time See Tc Table Expansion Ratio See Expansion Ratio Table Knee Control 0: 6dB 43: 12 dB 85: 18 dB 127: 24 dB Table 18.
Page 103: Table 22. Output
Table 20. ARM Sense Parameters Offset Description Range Reference Auto Release Threshold See Attn100 Table ARM Peak Release Tc See Tc Table ARM Integration Tc See Tc Table ARM Threshold See ARM Threshold Table Table 21. LOG Converter Parameters Offset Description Range Reference...
Page 104 Table 23. Realtime MIDI Block 1 Offset Description Range Reference Control Type 0: None/Off/parameter edit 1: Control Change 2: Aftertouch 3: Pitch bend (msb 7 bit) 4: Delay section modulation oscillator 1 5: Delay section modulation oscillator 2 6: Log signal level, dynamics section 7: NR center freq 8: Instantaneous gain-...
Page 105: Table 25. Miscellaneous
(0-70) The Program Name (offset 84-99) is not accessible from the front panel; it is only accessible via MIDI. You can use this with an external MIDI editor to give your 601 programs meaningful (to you) names. Table 25. Miscellaneous...
Page 106: Midi Parameter Tables
Many of the parameters used in the 601 are extracted from tables. When controlling the 601 via MIDI, all values sent to the 601 via its MIDI port must be mapped from their real-world values into a table based on 128-steps. The following tables list various system parameters and their conversion values.
Page 107: Table 29. Parametric Bandwidth Table ( In Octaves
Table 29. Parametric Bandwidth Table (in octaves) 0.050 0.050 0.050 0.050 0.055 0.055 0.055 0.060 0.060 0.060 0.065 0.065 0.065 0.070 0.070 0.070 0.075 0.075 0.075 0.075 0.080 0.080 0.080 0.085 0.085 0.085 0.090 0.090 0.090 0.095 0.095 0.095 0.10 0.10 0.10 0.10...
Page 108: Table 32. Expander Ratio Table
Table 32. Expander Ratio Table 100: 110: 120: Table 33. Compressor Ratio Table 100: 110: 10.0 10.0 10.0 10.0 10.0 10.0 10.0 10.0 120: Table 34. AGC Ratio Table 100: 110: 120: C-16 Rev 2.2, 10/31/94...
Page 109: Table 36. Time Constant Table
Table 35. ARM Threshold (dB) -0.1 -0.1 -0.1 -0.1 -0.2 -0.2 -0.2 -0.2 -0.4 -0.4 -0.4 -0.4 -0.6 -0.6 -0.6 -0.6 -0.8 -0.8 -0.8 -0.8 -1.0 -1.0 -1.0 -1.0 -1.2 -1.2 -1.2 -1.2 -1.5 -1.5 -1.5 -1.5 -1.8 -1.8 -1.8 -1.8 -2.0 -2.0...
Page 110: Table 38. Makeup Gain Table (Attn 24
Table 38. Makeup Gain Table (Attn24) +0.0 +0.0 +0.0 +0.5 +0.5 +0.5 +1.0 +1.0 +1.5 +1.5 +1.5 +2.0 +2.0 +2.0 +2.5 +2.5 +3.0 +3.0 +3.0 +3.5 +3.5 +4.0 +4.0 +4.0 +4.5 +4.5 +4.5 +5.0 +5.0 +5.5 +5.5 +5.5 +6.0 +6.0 +6.5 +6.5 +6.5...
Page 111: Table 41. Delay Feedback Table: Negative Then Positive Feedback (Db)
Table 41. Delay Feedback Table: Negative then Positive feedback (dB) -0.1 -0.2 -0.3 -0.4 -0.5 -1.0 -1.5 -1.5 -2.0 -2.5 -3.0 -3.5 -4.0 -4.5 -5.0 -5.5 -5.5 -6.0 -6.5 -7.0 -7.5 -8.0 -8.5 -9.0 -9.0 -9.5 -10.0 -11.0 -12.0 -13.0 -14.0 -15.0 -16.0...
Page 112: Table 44. Default Pan Table
Table 44. Default Pan Table Offset Channel Channel Offset Channel Channel into Pan 1 Atten 2 Atten into Pan 1 Atten 2 Atten Table (dB) (dB) Table (dB) (dB) -0.0 -3.0 -3.0 -0.0 -32.0 -3.5 -3.0 -0.0 -26.0 -3.5 -2.5 -0.0 -22.0 -4.0...
Page 113: Table 45. Normalized Midi Pan Input Table
Table 45. Normalized MIDI Pan Input Table MIDI Offset Chan. Chan. MIDI Offset Chan. Chan. MIDI Offset Chan. Chan. Input Into Input into input Into Value Atten. Atten. Value Atten. Atten Value Atten. Atten. Buffer (dB) (dB) Buffer (dB) (dB). Buffer (dB) (dB)
Page 114: Hexadecimal Conversion Tables
C.2 Hexadecimal Conversion Tables Table 46. Hex to Decimal Table 47. Decimal to Hex 100: 110: 120: C-22 Rev 2.2, 10/31/94...
Page 115: Glossary And Bibliography
D. Glossary and Bibliography Some terms used in this manual may not be familiar to you. Their definitions are presented in the following glossary. At the end of this chapter, you will find a short bibliography which is a good starting point for further research. Many of the glossary items and their definitions are taken (with permission) from The Audio Dictionary, by Glenn White.
Page 116 In order to affect the audible signal as little as possible, an anti-aliasing filter is designed to be very steep, having an extremely rapid fall-off above the upper frequency limit. (TAD, abridged) See also: brickwall filter, analog to digital converter, digital to analog converter. In a digital audio system, in order to recover the signal from the digital words, a Anti-Imaging Filter D/A converter is used.
Page 117 combined because they have opposite polarity. If the signals are of equal strength, the cancellation is perfect and the notches are infinitely deep.(TAD) See also: flanging, phasing. Compressor An audio device which reduces the dynamic range of a signal. The compressor is the first part of a compander (the combination of a compressor and expander).
Page 118 two quantities, when discussing absolute signal levels, it is important to know what reference quantity was used: De-Esser A de-esser is a special type of compressor that operates only at high frequencies, usually above 3 or 4 kHz. It is used, especially in the broadcast industry, to reduce the effect of vocal sibilant sounds, which are normally too strong when singers and announcers use very close-up microphones.
Page 119 A dynamic microphone consists of a diaphragm with a coil of wire attached to it Dynamic Microphone such that sound pressure moving the diaphragm causes the coil to move in a magnetic field supplied by a permanent magnet. Motion of the coil causes an electric current to be induced in it, and this is the signal output of the microphone.
Page 120 Digital filters operate on signals which have been digitized. They are purely mathematical, performing a series of arithmetic operations on the digital words. In a sense, digital filters are synthesized filters; digital techniques being used to emulate or simulate analog filters. Digital filters have the advantage of being drift-free.
Page 121 Limiter A special type of compressor which prevents the signal from exceeding a certain preset level (threshold), no matter what the input signal level may be. Limiters are sometimes used for special effects in popular recordings, especially vocals. A vocal with limiting will be essentially at the same level regardless of the effort put out by the singer, from a soft voice to a shout.
Page 122 bulky and expensive arrangement. To eliminate the multiconductor cable, frequently a scheme called phantom powering is used, whereby the preamp power is carried by the same two wires that carry the signal. The key to its operation is the fact that the signal is alternating current and the power is direct current, and they can be separated by the action of a transformer.
Page 123 The release time of a dynamics processor is the time required for the processor's gain to Release Time return to its nominal value, after the controlled signal exceeds (or doesn't exceed) a preset threshold. See also: attack time, compressor, expander. The remainder of sound that exists in a room after the source of sound is stopped is Reverberation called reverberation, sometimes mistakenly called "echo."...
Page 124 A variable-D microphone is a directional microphone having a multiplicity of Variable-D Microphone entrances for off-axis sounds. Variable-D microphones exhibit proximity effect, although not to the degree that single-D microphones do. The term Variable-D is a trademark of Electro-Voice. D-10 Rev 2.2, 10/31/94...
Page 125: Bibliography
D.2 Bibliography For further research the following books may be useful. The Audio Dictionary, Second edition. Glenn D. White, Copyright 1991, University of Washington Press, Seattle Washington. This revised edition contains extended definitions of many of the terms used in this manual. In addition, the appendices should provide many hours of enjoyable reading.
Page 126 Notes D-12 Rev 2.2, 10/31/94...
Page 127: Architect's And Engineer's Specification
E. Architect’s and Engineer’s Specification The integrated signal processor (ISP) shall be a single input, dual output model capable of simultaneously accepting a microphone-level or line-level signal , applying frequency response equalization, delay-based effects, and signal dynamics processing to that signal, and delivering the processed input signal to two outputs.
Page 128 The ISP shall be capable of operating by means of its own built-in power supply connected to 117V nominal ac (105-130V) 50/60 Hz, 20 watts (230V nominal, 207-253V ac, 50 Hz where applicable). The unit shall be a Symetrix Incorporated model 601 Digital Voice Processor Rev 2.2, 10/31/94...
Page 129: Disassembly Instructions
AC power. F.1 Top Cover Removal Ensure that the 601 is disconnected from the AC power source. Remove three 6-32 x 1/2 inch screws from each side of the chassis. Remove two 6-32 x X 1/4 inch flag-head screws from the top cover Remove four 6-32 x 1/2 button-head screws (you'll need a 5/64 inch allen wrench).
Page 130: Digital Board Removal
F.2.2 Digital Board Removal Caution The circuitry within the 601 is static sensitive. Use appropriate techniques to eliminate static electricity from your body and from the surrounding area. If these techniques are not familiar to you, you should refer servicing of your 601 to the factory.
Page 131: Presets And Other Stuff
Presets and Other Stuff This appendix contains material that defies categorization or inclusion elsewhere. You'll find things like the Preset Programs list, a Programmer's Worksheet, and the MIDI implementation table. Rev 2.2, 10/31/94...
Page 132 Table revised 12/01/93 Programmer: Comments: Program Number Program Name: Mic Gain Trim: Line Gain Trim: FILTER Freq Level Bandwidth Freq/BW ROC Level ROC Filter Block 1 Oct. Pk Shlf Oct. Filter Block 2 Peak only Filter Block 3 Oct. Pk Shlf DE-ESS Attk.
Page 133 Doc: Rev 2.2, 10/31/94 Model: Symetrix 601 MIDI Implementation Chart Device Type: 01 Midi Manufacturer ID: 00, 00, 5E Functio= n Transmitted Recognized Remarks Basic Default 1-16 1-16 Memorized Channel Channel 1-16 1-16 Default Memorized Mode Messages OMNI ON/OFF Altered...
Page 134: Presets And Building Blocks
G.3 Presets and Building Blocks The following table lists every factory-supplied program in the 601. Note that those programs listed in the RAM column may be modified or overwritten by another (possibly totally different) program and those programs listed in the ROM programs may be modified, but not saved, except in unprotected RAM memory.
Page 135 Instruments - Mic and Line Inputs Name Description Flute W/Chorus EQ set for flute with light chorus effect Pound Guitar signals above the threshold of the Dynamics section will modulate the chorus effect Snare Fat, bright sound for metal snare Kick Deep, round sound for kick drum Electric Piano...
Page 136 Name Description Small Semi-live Room Simulated room ambience Presentation Room Medium size room Gym P.A. System Large size room Backstage Interview Medium size room with signal toward the front Soft&Dry, Loud&Wet Loud signals cause longer echoes/Delay Mix attached to Dynamics section threshold Acoustic Chorus Light Chorus effect Public Address...
Page 137 Soft Knee Compressor/Soft Knee Expander Initialization Program Used to "zero" any user program (1-127) in the 601 for creating new programs or for starting over. Note: Program 256 works by overwriting the selected RAM location (1-127) with a set of rational settings.
Page 138 Notes Rev 2.2, 10/31/94...
Page 139 Index A-B powering, 3-5 tutorial, 2-6 abandon edit, 4-17 default pan table, C-20 delay, 7-14 controls, 4-8 chorus, 7-15 parameters,Table 19, C-10 delay filter table, C-19 settings, 7-13 delay time table, Table 40, C-18 tutorial, 2-8 feedback table, C-19 applications, 8-1 flanging, 7-14 a-d converter, 7-6 making echoes, 7-14...
Page 140 log converter paramters, Table 21, C-11 InP, 4-14 miscellaneous parameters, Table 25, C- input ac, 5-1 noise reduction, Table 15, C-9 analog, 5-1 output parameters, Table 22, C-11 digital, 5-1 realtime block 1, Table 23, C-12 selector, 4-14 realtime block 2, Table 24, C-13 installation requirements, 7-1 editing leave edit, 4-17...
Page 141 Operational Details, 7-1 MIDI channel, 4-15 output MIDI unit number, 4-15 analog, 5-1 noise reduction, 7-12 digital, 5-1 scenarios, 4-17 mic level, 7-2 store and recall, 7-10 minimum load, 3-2 setup data request, parameters, Table 22, C-11 signal levels, 3-2 P---/PAd, 4-14 specifications, 12-1 P-90, 4-13...
Page 142 Table 37, C-17 unbalanced loads, driving, 3-3 compressor paramters, Table 18, C-10 user interface summary, 4-1 compressor ratio, Table 33, C-16 Using the 601, 7-1 data response, Table 5, C-5 warranty, 10-1 de-esser, Table 14, C-9 wheel, parameter adjustment, 4-1...

Symetrix 601 Owner's Manual

1 Introduction

2 Basics

3 Technical Tutorial

4 Front Panel Overview

5 Rear Panel Overview

6 Fast First Time Setup

7 Using the 601

8 Applications

9 Troubleshooting Chart

10 Digital Voice Processor Limited Warranty

11 Repair Information

12 Specifications

Editing Realtime MIDI Settings

Using the Lexicon MRC to Edit Realtime MIDI Settings

MIDI Implementation Notes

Glossary and Bibliography

Architect's and Engineer's Specification

Disassembly Instructions

Presets and Other Stuff

Quick Links

Need help?

Questions and answers

Summary of Contents for Symetrix 601

Table of Contents