AirTools 6200 Manuel utilisateur

6200 Digital Voice Processor

User’s Guide

6408 216th Street SW |Mountlake Terrace, WA 98043 USA

T+1.425.778.7728 F+1.425.778.7727 |www.SymetrixAudio.com 2

User’s Guide

Safety

6200 Digital Broadcast Delay Safety

GThe lightning ﬂash with arrowhead

symbol within an equilateral triangle is

intended to alert the user of the presence

of uninsulated “dangerous voltage”

within the product’s enclosure that may

be of sufﬁcient magnitude to constitute

a risk of electric shock to persons. The

exclamation point within an equilateral

triangle is intended to alert the user of

the presence of important operating and

maintenance (servicing) instructions in the

literature accompanying the product (i.e.

this Quick Start Guide).

GCAUTION: To prevent electric shock,

do not use the polarized plug supplied

with the unit with any extension cord,

receptacle, or other outlet unless the

prongs can be fully inserted.

GPower Source: This Symetrix hardware

uses a switching power supply that

automatically adjusts to the applied

voltage. Ensure that your AC mains

voltage is somewhere between 100-240

VAC, 50-60 Hz. Use only the power

cord and connector speciﬁed for the

product and your operating locale. A

protective ground connection, by way of

the grounding conductor in the power

cord, is essential for safe operation. The

appliance inlet and coupler shall remain

readily operable once the apparatus has

been installed.

GUser Serviceable Parts: There are no

user serviceable parts inside this Symetrix

product. In case of failure, customers

inside the U.S. should refer all servicing to

the Symetrix factory. Customers outside

the U.S. should refer all servicing to an

authorized Symetrix distributor. Distributor

contact information is available online at:

http://www.SymetrixAudio.com.

AVIS:

NE PAS OUVRIR

Il ne se trouve a l’interieur aucune piece pourvant entre reparée l’usager.

SEE OWNERS MANUAL. VOIR CAHIER D’INSTRUCTIONS.

S’adresser a un reparateur compétent.

RISQUE DE CHOC ELECTRIQUE

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

CAUTION

WARNING:

TO REDUCE THE RISK OF FIRE OR

ELECTRIC SHOCK DO NOT EXPOSE

THIS EQUIPMENT TO RAIN OR MOISTURE

DO NOT OPEN

RISK OF ELECTRIC SHOCK

Important Safety

Instructions

!Read these instructions.

@Keep these instructions.

#Heed all warnings.

$Follow all instructions.

%Do not use this apparatus near water.

This apparatus shall not be exposed to

dripping or splashing and no objects

ﬁlled with liquids, such as vases, shall be

placed on the apparatus.

^Clean only with dry cloth.

&Do not block any ventilation openings.

Install only in accordance with the

manufacturer’s instructions.

*Do not install near any heat sources such

as radiators, heat registers, stoves, or

other apparatus (including ampliﬁers) that

produce heat.

(This apparatus shall be connected to

a mains socket outlet with a protective

earthing connection. 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

ﬁt into your outlet, consult an electrician

for replacement of the obsolete outlet.

BL Protect the power cord from being

walked on or pinched particularly at

plugs, convenience receptacles, and the

point where they exit from the apparatus.

BM Only use attachments/accessories

speciﬁed by the manufacturer.

BN Use only with the cart, stand,

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 tip-over.

BO Unplug this apparatus during lightning

storms or when unused for long periods

of time.

BP Refer all servicing to qualiﬁed service

personnel. Servicing is required when

the apparatus has been damaged in any

way, such as power-supply cord or plug

cord 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.

What Ships in the Box

• A6200hardwaredevice.

• A6200DesignerCD-ROM(Windows).

• Adetachablepowercord.

• ThisUser’sGuide.

What You Need to Provide

(for optional PC GUI control only)

• AWindowsPCwith300MHzorhigher

Pentium and:

• WIN98SE,ME,2000orXP.

• 10-15MBfreestoragespace.

• 1024x768graphicscapability.

• 16-bitorhighercolors.

• CD-ROMdriveorInternetconnection.

• 64MBRAM(WIN98SE/ME),128MB

RAM(WIN2000/XP).

• Oneofthefollowingcommunications

interfaces:

• Anavailableserialportwithastraight-

throughRS-232cabletoconnectthe

serial port of your PC to the 6200’s rear

RS-232port.The6200’sRS-232inputis

afemaleDB9connector.

• AnavailableUSB1.1portwith

appropriate cable to mate to your

computer’s or hub’s USB port. The 6200

uses a female “B” type USB connector

on its front panel.

• A10/100BaseTEthernetportwithany

necessary CAT-5 cabling and networking

hardware.

Getting Help

6200 Designer, the Windows GUI

application interface for the 6200 hardware,

includes a help module which acts as a

complete user’s guide for the software.

If you have questions beyond the scope

of this User’s Guide or the help module,

contact our Customer Support Group in

the following ways:

Tel: +1.425.778.7728

8:00 am to 4:30 pm

Monday through Friday,

Pacific Time

Web: http://www.SymetrixAudio.com

This device complies with part 15 of the

FCC Rules. Operation is subject to the

following two conditions: (1) This device

may not cause harmful interference, and (2)

this device must accept any interference

received, including interference that may

cause undesired operation.

This Class B Digital apparatus meets all

requirements of the Canadian Interference-

Causing Equipment Regulations.

Cet appariel numerique de la classe B respecte

toutes les Exigences du Reglement sur le materiel

brouilleur du Canada.

6408 216th Street SW |Mountlake Terrace, WA 98043 USA

T+1.425.778.7728 F+1.425.778.7727 |www.SymetrixAudio.com 4

User’s Guide

Introduction

The AirTools 6200 Digital Voice Processor is designed to meet the increas-

ingly sophisticated needs of broadcasters operating in both analog and

digital realms featuring an optimum mix of signal processing modules

and control features. The modules include: highpass, lowpass, and

shelving filters, de-esser, downward expander, comp-limiter/AGC-leveler,

4-band parametric EQ and voice symmetry. The 6200 is a dual-channel

unit with two discrete audio pathways capable of processing microphone

or line-level sources, independently or as a stereo pair with a 24-bit/48

kHz digital signal path. Creation of voice programs and signal process-

ing parameters may be done from the 6200 front panel or from 6200

Designer, a Windows®application

(provided). From a PC, the 6200 may be controlled via RS-232, USB or

Ethernet. In lieu of computer control, real time changes of program and

DSP parameters may be actuated via user supplied ESE time code, pots,

encoders, switches, or MIDI devices.

Mechanical Data

ITEM DESCRIPTION DETAILS

Space Required 1U(WDH:48.26cmx26.6cmx4.369

cm/19inx10.475inx1.72in).Depth

does not include connector allowance.

Allow at least 1 inch additional clearance for rear panel connections. Additional depth may

be required depending upon your specific wiring and connections.

Electrical 100-240 VAC, 50-60 Hz, 25 Watts maximum. No line voltage switching required.

Ventilation Maximumrecommendedambientoper-

atingtemperatureis30C/86F.

Ventilation should not be impeded by covering the unit with items such as newspapers,

tablecloths, curtains, etc.

Weight 4.45 kg / 9.82 lbs.

Performance Data

Item DESCRIPTION DETAILS

INPUTS:

Nominal Input Level Analog:+4dBuor-10dBVlinelevel,-36dBuor-56dBumiclevel(software

selectable) with 20 dB of headroom

Digital: -20 dBFS: 100-240 VAC, 50-60 Hz, 25 Watts maximum.

NOTE:Forunbalancedanaloginput,eitherreference

the minus input terminal to the signal source ground

(preferred) or ground the minus input to the adjacent

ground terminal (tie low to ground). Using the second

method deprives you of the common mode rejection

inherent in a balanced input, even when coming from

an unbalanced source.

Maximum Input Level Analog: +24 dBu

Digital: 0 dBFS

Input Impedance Analog: 20k Ohms, Digital: 110 Ohms, +/- 10

CMRR > 50 dB (0 dBu, 20 Hz to 20 kHz)

Analog to Digital Conversion 24-bit delta/sigma

OUTPUTS:

Nominal Output Level Analog: +4 dBu line level with 20 dB of headroom, Digital: -20 dBFS NOTE:Forunbalancedanalogoutput,float(donot

connect) the minus output terminal. Unbalanced usage

results in 6 dB lower output level.

Maximum Output Level Analog: +24 dBu, Digital: 0 dBFS

Output Impedance Analog: 200 Ohms balanced, 100 Ohms unbalanced, Digital: 110 Ohms,

+/- 10%

Digital to Analog Conversion 24-bit delta/sigma

SYSTEM

Nominal Sample Rate 48kHz

Sample Sync Range 48kHz+/-100ppm

Dynamic Range Analog: > 114 dB (20 Hz to 20 kHz, A-weighted), Digital: 144 dB typical,

unweighted

Frequency Response Analog: 20 Hz - 20 kHz, Digital: 20 Hz - 24 kHz

THD + Noise AnalogIn-to-Out:0.0035%(20Hzto20kHz,unweightedwith+24dBu

output)DigitalIn-to-Out:>117dB@1kHz

6200 Digital Broadcast Delay Front and Rear Panel

FRONT PANEL

ITEM DESCRIPTION DETAILS

BYPASS Momentarybutton Toggles DSP bypass state on top level menus. Toggles DSP module bypass state on indi-

vidual DSP module menus.

PREV / EXIT Momentarybutton Movestothepreviousmenuitemorexitstothetopofthemenutree.

NEXT / ENTER Momentarybutton Movestothenextmenuitemorentersamenutree.

HOME Momentarybutton Returnstothe“HOME”top-levelmenu.

ADJUST Continuous rotary encoder Selects the menu to enter or adjusts the currently selected parameter or menu item.

DISPLAY Monochrome Displays status, menu or configuration information.

LOAD 1 / SAVE 1 Momentarybutton Loads or saves a program for channel 1.

LOAD 2 / SAVE 2 Momentarybutton Loads or saves a program for channel 2.

USB Female “B” USB 1.1 port Optional connection to a Windows™ PC for 6200 Designer GUI control.

REAR PANEL

ITEM DESCRIPTION DETAILS

POWER INPUT IEC3prongjack Accepts power from detachable IEC power cable (100-240 VAC, 50-60 Hz, 60 Watts max).

Connect only to a grounded power outlet.

TC89/TC90 TIME CODE IN FemaleBNC Accepts(ESE)TC89orTC90timecodetodrivethereal-timeclockandEventManager.

Format and presence is automatically detected.

PROGRAM CONTROL MaleDB9 Simple program recall interface.

RS-232 FemaleDB9 Optional serial communications interface for 6200 Designer on the host PC.

ETHERNET (10 Base T) RJ-45 Optional Ethernet communications interface for 6200 Designer on the host PC.

RS-485 Euroblock Optional long distance serial communications interface for 6200 Designer on the host PC.

Thirdparty232/422/485converterproductsmayberequiredtoutilizethisport.

REMOTE BYPASS Euroblock Allows remote software (DSP) bypass or output muting (output disconnect via relays) with

simple contact closures.

ANALOG CONTROL Euroblocks Allowsreal-timecontrolofuptotwoparametersperportusingstandard10kOhmINPUT1

and 2 linear potentiometers.

MIDI/RC-1 IN 7pinDIN AcceptsMIDIprogramchangemessagestorecallprogramsforchannels1and2.Canalso

be used with the AirTools RC-1 remote directly. The RC-1 can also be powered from this port.

HOMERLINK RJ-45 Transmits4AES-3monochannelsandreceives2AES-3monochannelsoverstandardCAT-

5. Used for AES digital input, to sync to an external AES clock source or to integrate with the

AirToolsStudioMatrixsystem.

AES OUT 1 and 2 MaleXLR AES-3digitaloutput-softwareselectabletocarryChannel1/2,1/1,2/1or2/2information.

ANALOG OUT MaleXLR 2 x analog line level audio outputs with software adjustable output level.

ANALOG IN FemaleXLR-1/4”combo 2 x analog mic/line level audio inputs with individually software selectable coarse gain and fine

trim.

6408 216th Street SW |Mountlake Terrace, WA 98043 USA

T+1.425.778.7728 F+1.425.778.7727 |www.SymetrixAudio.com 6

User’s Guide

Wiring Reference

XLR Male Plug [balanced]

Pin 2

Pin 3

Pin 1

Pin 2 = (+) Plus

Pin 3 = (–) Minus

Pin 1 = Ground

XLR Female Plug [balanced]

Pin 2 = (+) Plus

Pin 3 = (–) Minus

Pin 1 = Ground

Pin 2

Pin 3

Pin 1

Terminal Strip [balanced] TRS 1/4" Plug [balanced]

Tip = (+) Plus

Ring = (–) Minus

Sleeve = Ground

Euroblock [balanced]

NOTE: Detachable Euroblock

and Terminal Strip connectors

are designed for use with bare

wire. Do not tin stranded wires

before inserting them into the

connectors.

Special Case: Female XLR

connectors will

ALWAYS be used coming

from the OUTPUT of a

device.

Male connecters plug into

the INPUT of a device.

Balanced Connections

Any of these connectors can appear on either side of

a balanced connection.

NOTE:InthecaseofanXLRconnector,theFemaleattaches

toanoutput,whiletheMaleattachestoaninput.

Unbalanced Connections

The RCA connector and the 1/4” TS connector are unbalanced connectors, wired with a single strand shielded wire and can

be placed on either end of an unbalanced connection

TS 1/4" Plug [unbalanced]

Tip = (+) Plus

Sleeve = (-) minus and Ground

RCA Plug [unbalanced]

Sleeve = (-) minus and Ground

Tip = (+) Plus

IMPORTANT NOTICE 1

The wiring diagrams on these pages are included for

information purposes only.

Symetrix can not anticipate every connector type on

non-Symetrix products. It is the user’s responsibility

to determine what connection is needed.

In addition, Symetrix accepts no responsibility for

injury or damage caused by user created wiring.

6200 Digital Broadcast Delay Wiring Reference

Unbalanced Connections:

Unbalanced out to balanced in

The RCA connector and the 1/4” TS connector are

unbalanced connectors. However, the wiring differs

depending on if they are sending to, or receiving from a

balanced connector.

In this example, the unbalanced connector is sending signal

to a balanced connector. When wiring this connection,

use a shielded twisted pair cable. The balanced side wires

the same as a standard, balanced connection. On the

unbalanced side, you wire the white (minus) wire together

with the ground. This provides some common mode rejection

at the balanced input.

Unbalanced Connections:

Balanced out to unbalanced in

When your output requires a balanced connector, but you

are sending signal to an unbalanced input, the rules change.

Use a single strand shielded wire. Wire only to the plus and

ground terminals of what would the typically be the balanced

connector.

XLR Male Plug [balanced]

TS 1/4" Plug [unbalanced out to balanced in]

TRS 1/4" Plug [balanced]

Euroblock [balanced]

Tip = (+) Plus

Sleeve = (-) minus and Ground

RCA Plug [unbalanced out to balanced in]

Sleeve = (-) minus and Ground

Tip = (+) Plus

Terminal Strip [balanced]

TS 1/4" Plug [balanced out to unbalanced in]

Tip = (+) Plus

Sleeve = Ground

RCA Plug [balanced out to unbalanced in]

Sleeve = Ground

Tip = (+) Plus

Euroblock [unbalanced] Terminal Strip [unbalanced]

XLR Female Plug [unbalanced]

Pin 2 = (+) Plus

Pin 3 = Unused

Pin 1 = Ground

Pin 2

Pin 3

Pin 1

TRS 1/4" Plug [balanced] Tip = (+) Plus

Ring = unused

Sleeve = Ground

6408 216th Street SW |Mountlake Terrace, WA 98043 USA

T+1.425.778.7728 F+1.425.778.7727 |www.SymetrixAudio.com 8

User’s Guide

Basic Setup

POWER: Connect the

IEC connector side of the

supplied AC cord to the

receptacle on the rear of the

6200. Connect the other

side of the AC cable to an

AC power source that is

of the correct voltage and

frequency (100-240 VAC,

50-60 Hz). Use only the

power cord and connector

specified for the product and

your operating locale.

ANALOG IN: Using a standard microphone cable terminated with one

maleXLRconnectorandonefemaleXLRconnector,connectthemale

endintotheCHAN1-ANALOGINofthe6200andthefemaleendinto

your microphone.

Caution 1: When Phantom Power is engaged, do not use

unbalanced microphones or mic cables.

Caution 2: When Phantom Power is engaged, do not use

switchedmicswhichshortpin2and/orpin3toground.

Caution 3: When Phantom Power is engaged, always turn

down monitors/headphones before connecting or disconnecting

microphones.

ANALOG OUT: Using a standard mic/line cable terminated with one

maleXLRconnectorandonefemaleXLRconnector,connectthe

femaleendintotheCHAN1-ANALOGOUTofthe6200andthemale

end into your destination device. These outputs are +4 dBu balanced

line level outputs. If you need an unbalanced output, see the analog

audio wiring diagrams on the previous page.

NOTE: Wiring the outputs to an unbalanced cable will typically result in

an output level that is 6 dB lower than the output level achieved using a

balanced cable.

PHANTOM POWER (if required - skip this section if using a

dynamic mic which does not require phantom power): All condenser

microphones require some kind of electrical power. This power may

be supplied by internal batteries, an external power supply that is

connected to the microphone by a special multiwire cable, or through a

standard microphone cable by “phantom” or “T system” powering.

Phantom powering and T system powering are incompatible systems.

Phantom power derives its name from its invisibility to audio signals,

even though the microphone cable carries both phantom power (as

direct current) and audio signals (as alternating current). Specifically,

the term phantom power means a positive DC voltage sent to the

microphone on both audio leads, through current-limiting resistors

which also serve to isolate the audio leads from one another. Enabling

phantompowerappliesphantompowerviapins2and3ofthemic

inputXLRconnectors.

The phantom power technique uses the two signal conductors in a

standard balanced mic cable to deliver the power required by the

microphone, eliminating the need for internal batteries or an external

power supply. Because the voltage is applied equally to both sides of

a floating balanced circuit, no current flows through the microphone’s

transformer, or through the microphone element itself.

It is often said that the sound of some dynamic microphones is affected

by phantom power and that ribbon mics cannot be plugged into an

input that is phantom powered. For the most part, these are myths that

grew out of difficulties created by other problems in the mic circuit:

1.WhenXLRconnectorsarematedthereisnoguaranteethatboth

pins2and3willmakecontactatexactlythesametime.Itispossible

that a damaging current could flow through the mic for a brief moment

under these conditions. However, this is a connector problem, not a

problem with the mic itself or phantom power in general.

2. In the past, it was a common practice to ground the center tap of

the mic’s output transformer. However, this practice should be avoided

in phantom powered systems. The solution: Locate the center tap and

cuttheconnectionbetweenitandpin1oftheXLRconnector.

3.Ifthemic’soutputtransformerhasdevelopedleakage,the

microphone may become noisy when phantom power is turned on.

Crackling, sputtering or even humming noises may occur. The leakage,

not the power, is the problem. The solutions are:

A. Turn off the phantom power.

B. Put a 1:1 low-impedance transformer between the mic and the input.

C. Get the mic repaired.

Basic Setup

The 6200 Input Connector

ANALOG IN

CHANNEL 1

This multi-purpose connector is both a

Female XLR connector and a TRS Jack.

Pin 2 = (+) Plus

Pin 3 = (–) Minus

Pin 1 = Ground

Originating Device Output Destination Device Input

Pin 2

Pin 3

Pin 1

Pin 2

Pin 3

Pin 1

Pin 2 = (+) Plus

Pin 3 = (–) Minus

Pin 1 = Ground

6200 Digital Broadcast Delay Basic Setup

The dominant remote powering system in use today is the phantom

power system, which is compatible with both condenser and non-

condenser microphones (dynamics, ribbons, etc.). If your microphone’s

specifications sheet claims that it requires phantom power, the

6200 can power it. The technical requirements for operation and/or

compatibility are:

1. The microphone must have a balanced, low-impedance output.

2. The balanced output must be floating with respect to ground. If

there is a center tap, it must not be grounded.

In a nutshell, here are the do’s and don’ts of phantom powering:

DO: Verify that your microphone can be phantom powered (if it is a

condenser mic).

Ensure that your microphone’s output is low impedance,

balanced and floating. This is especially important for

ribbon mics.

Turn the phantom power off when connecting vintage ribbon

microphones.

 Muteyourmonitorspeakersorheadphoneswhenturningthe

phantom power on or off. If you don’t, there will be a loud,

nasty pop.

 Muteyourmonitorspeakersorheadphoneswheneveryouplug

in or unplug a phantom powered microphone. If you don’t,

there will be a loud, nasty pop.

DON’T: Plug in an A-B powered microphone without a

suitable adapter.

Worry about your dynamic or ribbon microphones, as long as

they are wired so that the output is balanced and floating.

Enable phantom power when connecting line-level sources,

especially those that are transformerless.

Use the microphone input with unbalanced sources.

Use a direct box to feed an unbalanced source into the

microphone input.

Worry about your tube condenser mics. They are compatible

(although they cannot be phantom powered).

ENABLING PHANTOM POWER: If you have determined that the

microphoneconnectedtoANALOGIN-CHAN1requiresphantom

power, you now need to enable it for that input:

1. Press the HOME button to ensure that we are starting from the top.

2. Press the NEXT button once.

3. TurntheADJUST knob clockwise until the display reads “Section to

Edit,-SetupMenu-”.

4. Press the NEXT button once.

5. Turn the ADJUST knob clockwise until the display reads

“-SetupMenu-,--Channel1Input--”.

6. Press the NEXT button three times and the display should read

“Channel 1 Phantom, Disabled”.

7. TurntheADJUST knob clockwise until the display reads “Channel 1

Phantom, Enabled.”

8. PresstheHOME button when ﬁnished.

9. RepeatforChannel2ifnecessary.

MIC PREAMP GAIN: Coarse preamp gain for each channel is set

in each channel’s setup menu. Fine gain is set within each channel’s

program menu. Separating the gain settings like this allows for coarse

gain (2 x line level settings and 2 x mic level settings) to be set as a

global parameter corresponding to the physical device(s) connected to

the 6200’s input(s). The coarse gain setting is not stored in the preset

programs. The fine gain setting is associated with its individual channel

and is stored in the preset programs. This allows one to set up the fine

gains which match specific users.

The6200offers91.5dBofoverallgain(60dBcoarsegainplus31.5

dB fine gain). Any mic output level is easy to accommodate with the

6200,regardlessifitisthe-60dBVto-80dBVlevelscommonwith

ribbon mics or the near line level (-10 dBV to +4 dBu) often delivered by

transformerless condenser mics. Input signals as high as +24 dBu can

by handled by the 6200.

Both source level and preamp gain are directly related to the noise

floor, as well as to headroom at the output. The key to using the 6200

at its optimum performance level is to:

1. Use the maximum allowable source level.

2. Use only as much gain as necessary.

The combination of the highest possible input levels with the lowest

possible gain always results in minimum noise and maximum

headroom. Remember, the best operating position for a gain control is

theminimumgainthatdeliverstherequiredoutputlevel.SETTINGMIC

PREAMPGAIN:

To set the coarse preamp gain:

1. Press the HOME button to ensure that we are starting

from the top.

2. Press the NEXT button once.

3. TurntheADJUST knob clockwise until the display reads

“SectiontoEdit,-SetupMenu-”.

4. Press the NEXT button once.

5. Turn the ADJUST knob clockwise until the display reads

“-SetupMenu-,--Channel1Input--”.

6. Press the NEXT button once and the display should read “Channel

1Gain,HotMic-36dBu”,ifitdoesnotturntheADJUST knob

clockwise or counter-clockwise until it does. This provides 40 dB of

gainwhichassumesanominalinputlevelof-36dBu.Thissetting

should be sufﬁcient for most microphones however, certain dynamic

microphones may require more.

7. PresstheHOME button when ﬁnished.

Provided that your monitoring path is turned on and set up properly,

you should now be able to speak into the microphone and get a basic

signal through the 6200. Talk into the microphone as loudly as you

think you will ever talk into it. If the audio distorts, you may need to turn

the gain down (try the -10 dBV setting). If the audio level is too weak,

turn the gain up (try the -56 dBu setting). If you adjust the gain, repeat

the process of speaking loudly into the mic and checking for distortion

or weak level. We’re looking for a ballpark level adjustment here. When

you find the most suitable coarse gain adjustment, move on to the fine

gain adjustment.

6408 216th Street SW |Mountlake Terrace, WA 98043 USA

T+1.425.778.7728 F+1.425.778.7727 |www.SymetrixAudio.com 10

User’s Guide

To set the fine preamp gain (for Channel 1):

1. Press the HOME button to ensure that we are starting

from the top.

2. Press the NEXT button once, the display should read

“SectiontoEdit,-Channel1Menu-“.

3. PresstheNEXT button once, the display should read

“-Channel1Menu-,--Input--“.

4. Press the NEXT button once, the display should read

“Input Gain Trim, 0.0 dB“.

You can now use the ADJUST knob to dial in your fine gain setting.

Talk into the microphone as loudly as you think you will ever talk into it

whileturningtheADJUSTknobclockwise(increasinggain).Notewhen

the audio distorts and then turn the gain back down somewhat (maybe

6 dB or so). You should now be able to talk in a normal voice with

adequate level while still having enough headroom for loud passages. If

you find that the audio never distorts when turning the gain up, and you

reachthemaximumgainof31.5dBprovidedhere,youshouldreturn

this gain setting to 0.0 dB and then go back to reset the coarse gain to

a higher setting.

INPUT METERING:

You can monitor the input meters by viewing the “In LVL” menu

accessedbypressingtheHOMEbuttononcethenturningtheADJUST

knob clockwise once. A meter for channel 1 is displayed on the top

line, channel 2 on the bottom line. Unity gain is represented as an

“open square” symbol and corresponds to an input level of -20 dBFS =

+4 dBu = 0 VU.

Now that we have a basic signal through the unit, we can move on

to exploring the specific signal processing functions of the 6200 (EQ,

Dynamics, etc.).

DSP Modules

The following are the available DSP modules available in the 6200.

Each of these modules may be individually enabled or disabled. The

order of the modules is fully configurable. The modules are listed in

their default order.

SYMMETRY:

For broadcast applications, a switchable voice symmetry circuit helps

make speech waveforms more symmetrical, which makes better use of

the transmitter’s output power.

Human speech, particularly male human speech, contains a great deal

ofasymmetry.Inbroadcast(especiallyAMbroadcast),thiswastes

transmitter power because asymmetrical waveforms do not utilize the

full power of the modulator.

Controls:

Bypassed/Enabled - When bypassed, the input is sent unmodified to

the output. When enabled, the module processes the signal.

HIGH PASS FILTER:

High pass filters allow selectively modifying a signal by attenuating

all signals below a specified cut-off frequency. They can be useful to

remove noise or other unwanted frequencies. A high pass filter in a

voice processor is typically used to reduce rumble picked up by the

microphone. It can reduce boominess in a voice, noise from handling

the mic, fingers tapping on a desk, etc. The 6200 offers 6 dB/octave,

12dB/octave,18dB/octaveand24dB/octavefilters.Additionally,

“peak” versions of each filter are provided for further flexibility and

tuning. The filters with the steeper response filter more sharply.

Controls:

Bypass/Enabled - When bypassed, the input is sent unmodified to the

output. When enabled, the module processes the signal.

High Pass Frequency - Determines the cut-off frequency of the filter.

All frequencies below this will be progressively attenuated. Technically,

thisfrequencyisthe“3dBdownpoint”,i.e.thepointwherethefilter

responseis3dBlowerthanitisforunaffectedsignals.

HP Filter Slope - Determines the type of filter (slope) to use in order to

select how steep or aggressive the filter is.

Technical note: This module implements Butterworth filters which are

generally preferred for audio because of their flat frequency response in

the pass band.

DE-ESSER:

A de-esser is a frequency-selective compressor. It is used to remove

sibilance by detecting the presence of excessive “S” frequencies and

then reducing those frequencies in amplitude.

Controls:

Bypass/Enabled - When bypassed, the input is sent unmodified to the

output. When enabled, the module processes the signal.

De-esser (Response) - Determines the aggressiveness of the de-essing

(Gentle,NormalorAggressive).Thede-esserisadualbanddesign.

It compares the relative energy above the 2.5 kHz rollover point to

the energy below and limits the upper band when the high frequency

energyisgreaterthanathresholdamount.TheGentle,Normal,and

Aggressive settings determine how much relative high frequency energy

is required to start the high frequency gain reduction.

GainReduction(Meter)-Againreductionmeterisprovidedsothatthe

effect of the de-esser can be observed.

PARAMETRIC (1 through 4) EQ:

With parametric equalizers you can adjust center-frequency, gain, and

bandwidth of a filter band. Parametric EQ can be used to tailor an

overall sound quality or to more accurately boost/cut specific frequency

ranges. The 6200 provides a four-band parametric EQ. Each of the four

bands can be individually adjusted.

Controls:

Bypass/Enabled - You can selectively enable or disable a given

parametric band. If a band is disabled, it has no effect on the signal,

regardless of the other settings for this band.

Parametric (n) Freq - The center frequency of the equalizer band.

Parametric (n) BW - The bandwidth of the peak or dip applied to

the signal, expressed as the Q factor. Q is a dimensionless (unitless)

quantity used to describe bandwidth.

Parametric (n) Gain - The amount of gain or attenuation (boost or cut)

applied at the center frequency.

Note: Only one set of controls is outlined. Bands 1 through 4

are identical.

SHELVING FILTER:

High Shelf and Low Shelf filters are simple filters that can be used to

modify the treble or bass content of a signal. They are designed to

emulate traditional analog tone or treble/bass controls. If you need to

give a non-technical end user control over treble and bass, a shelf filter

is the way to go. The low shelf filter can be used to boost or cut the

bass from a signal. The high shelf filter can be used to boost or cut the

treble from a signal. The 6200 provides one shelving filter which can be

set as a low or high shelf. For a basic treble control, use a high shelf

filter and set the frequency between 2 kHz and 5 kHz. For a basic bass

control, use a low shelf filter and set the frequency between 200 and

500 Hz.

Controls:

Bypass/Enabled - When bypassed, the input is sent unmodified to the

output. When enabled, the module processes the signal.

Basic Setup

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