DSPXmini-AM

Broadcast Audio Processor

Operational Manual
Version 1.01

www.bwbroadcast.com
Table Of Contents

Warranty 3
Safety 4
Forward 6
Introduction to the DSPX mini-AM 7
DSPXmini-AM connections 8
DSPXmini-AM metering and status LEDs 9
Quickstart 10
An introduction to audio processing 11
Source material quality and HF Boost 12
Low pass filtering 13
The DSPXmini-AM and its processing structure 14
Processing block diagram 15
The DSPXmini-AM menu system 16
The menu structure 17
Processing Parameters 18
Setting up the processing on the DSPXmini-AM 22
Getting the sound that you want 27
Managing Presets 29
Factory presets 30
Remote control of the DSPXmini-AM 31
Remote trigger port 37
Security code lock 38
Clock based control 39
Specifications 40

Preset sheet Appendix A

Table Of Contents

Warranty
BW Broadcast warrants the mechanical and electronic components of this product to be free of defects in mate-
rial and workmanship for a period of one (1) year from the original date of purchase, in accordance with the war-
ranty regulations described below. If the product shows any defects within the specified warranty period that are
not due to normal wear and tear and/or improper handling by the user, BW Broadcast shall, at its sole discretion,
either repair or replace the product.
If the warranty claim proves to be justified, the product will be returned to the user freight prepaid.
Warranty claims other than those indicated above are expressly excluded.

Return authorisation number

To obtain warranty service, the buyer (or his authorized dealer) must call BW Broadcast during normal business
hours BEFORE returning the product. All inquiries must be accompanied by a description of the problem. BW
Broadcast will then issue a return authorization number.
Subsequently, the product must be returned in its original shipping carton, together with the return authorization
number to the address indicated by BW Broadcast. Shipments without freight prepaid will not be accepted.

Warranty regulations
Warranty services will be furnished only if the product is accompanied by a copy of the original retail dealer’s
invoice. Any product deemed eligible for repair or replacement by BW Broadcast under the terms of this war-
ranty will be repaired or replaced within 30 days of receipt of the product at BW Broadcast.

If the product needs to be modified or adapted in order to comply with applicable technical or safety standards
on a national or local level, in any country which is not the country for which the product was originally devel-
oped and manufactured, this modification/adaptation shall not be considered a defect in materials or workman-
ship. The warranty does not cover any such modification/adaptation, irrespective of whether it was carried out
properly or not. Under the terms of this warranty, BW Broadcast shall not be held responsible for any cost result-
ing from such a modification/adaptation.

Free inspections and maintenance/repair work are expressly excluded from this warranty, in particular, if caused
by improper handling of the product by the user. This also applies to defects caused by normal wear and tear, in
particular, of faders, potentiometers, keys/buttons and similar parts.

Damages/defects caused by the following conditions are not covered by this warranty:
Misuse, neglect or failure to operate the unit in compliance with the instructions given in BW Broadcast user or
service manuals.
Connection or operation of the unit in any way that does not comply with the technical or safety regulations
applicable in the country where the product is used.
Damages/defects caused by force majeure or any other condition that is beyond the control of BW Broadcast.

Any repair or opening of the unit carried out by unauthorized personnel (user included) will void the warranty.

If an inspection of the product by BW Broadcast shows that the defect in question is not covered by the war-
ranty, the inspection costs are payable by the customer.

Products which do not meet the terms of this warranty will be repaired exclusively at the buyer’s expense. BW
Broadcast will inform the buyer of any such circumstance. If the buyer fails to submit a written repair order within
6 weeks after notification, BW Broadcast will return the unit C.O.D. with a separate invoice for freight and pack-
ing. Such costs will also be invoiced separately when the buyer has sent in a written repair order.

Warranty transferability
This warranty is extended exclusively to the original buyer (customer of retail dealer) and is not transferable to
anyone who may subsequently purchase this product. No other person (retail dealer, etc.) shall be entitled to
give any warranty promise on behalf of BW Broadcast.

Claims for damages

Failure of BW Broadcast to provide proper warranty service shall not entitle the buyer to claim (consequential)
damages. In no event shall the liability of BW Broadcast exceed the invoiced value of the product.

Other warranty rights and national law

This warranty does not exclude or limit the buyer’s statutory rights provided by national law, in particular, any
such rights against the seller that arise from a legally effective purchase contract. The warranty regulations men-
tioned herein are applicable unless they constitute an infringement of national warranty law.

Warranty

Safety Instructions

CAUTION: To reduce the risk of electrical shock, do not

remove the cover. No user serviceable parts inside. refer
servicing to qualified personnel.

WARNING: To reduce the risk of fire or electrical shock, do

not expose this appliance to rain or moisture.

This symbol, wherever it appears, This symbol, wherever it appears, alerts

alerts you to the presence of you to important operating and mainte-
uninsulated dangerous voltage inside nance instructions in the accompanying
the enclosure—voltage that may be literature. Read the manual.
sufficient to constitute a risk of shock.

DETAILED SAFETY INSTRUCTIONS:
All the safety and operation instructions should be read before the appliance is operated.

Retain Instructions:
The safety and operating instructions should be retained for future reference.

Heed Warnings:
All warnings on the appliance and in the operating instructions should be adhered to.

Follow instructions:
All operation and user instructions should be followed.

Water and Moisture:

The appliance should not be used near water (e.g. near a bathtub, washbowl, kitchen sink, laundry tub, in a
wet basement, or near a swimming pool etc.).
The appliance should not be exposed to dripping or splashing and objects filled with liquids should not be
placed on the appliance.

Ventilation:
The appliance should be situated so that its location or position does not interfere with its proper ventilation.
For example, the appliance should not be situated on a bed, sofa rug, or similar surface that may block the
ventilation openings, or placed in a built-in installation, such as a bookcase or cabinet that may impede the
flow of air through the ventilation openings.

Heat:
The appliance should be situated away from heat sources such as radiators, heat registers, stoves, or other
appliance (including amplifiers) that produce heat.

Power Source:
The appliance should be connected to a power supply only of the type described in the operating instructions
or as marked on the appliance.

Grounding or Polarization:
Precautions should be taken so that the grounding or polarization means of an appliance is not defeated.

Power-Cord Protection:
Power supply cords should be routed so that they are not likely to be walked on or pinched by items placed
upon or against them, paying particular attention to cords and plugs, convenience receptacles and the point
where they exit from the appliance.

Cleaning:
The appliance should be cleaned only as recommended by the manufacturer.

Non-use Periods:
The power cord of the appliance should be unplugged from the outlet when left unused for a long period of
time.

Safety Instructions

Object and Liquid Entry:
Care should be taken so that objects do not fall and liquids are not spilled into the enclosure through open-
ings.

Damage Requiring Service:

The appliance should be serviced by qualified service personnel when:
- The power supply cord or the plug has been damaged; or
- Objects have fallen, or liquid has been spilled into the appliance; or
- The appliance has been exposed to rain; or
- The appliance does not appear to operate normally or exhibits a marked change in performance; or
- The appliance has been dropped, or the enclosure damaged.

Servicing:
The user should not attempt to service the appliance beyond that is described in the Operating Instructions.
All other servicing should be referred to qualified service personnel.

CE CONFORMANCE: This device complies with the requirements of the EEC Council
Directives: 93/68/EEC (CE Marking); 73/23/EEC (Safety – low voltage directive);
2004/108/EC (electromagnetic compatibility). Conformity is declared to those standards:
EN50081-1, EN50082-1.

WARNING: This equipment generates, uses, and can radiate radio frequency energy.
If not installed and used in accordance with the instructions in this manual it may cause
interference to radio communications. It has been tested and found to comply with the
limits for a Class A computing device (pursuant to subpart J of Part 15 FCC Rules),
designed to provide reasonable protection against such interference when operated in
a commercial environment. Operation of this equipment in a residential area is likely to
cause interference, at which case, the user, at his own expense, will be required to take
whatever measures may be required to correct the interference.

CANADA WARNING: This digital apparatus does not exceed the Class A limits for radio noise emis-
sions set out in the Radio Interference Regulations of the Canadian Department of Communications.
Le present appareil numerique n'emet pas de bruits radioelectriques depassant les limits applicables
aux brouillage radioelectrique edicte par le ministere des Communications de Canada.

Safety Instructions

Forward
Thank you for your purchase of the DSPXmini-AM digital audio broadcast processor.

Over the last decade the staff at BW have observed broadcast processors from afar with fascination and intrigue
and shared a keen interest in digital audio processing. In January 2002 we decided on a whim that it was time
to have a go at designing our own digital audio processor. We knew that if we were going to design an audio
processor we had to do it the BW way and make the processor the most cost effective fully featured all-in-one
broadcast processor on the planet. We knew we didn't have the decades of processing experience that the other
manufacturers had but what we did have was a desire to research the project for as long as necessary to get the
job done. We also knew that by combining the research with BW's embedded systems skills and ability to manu-
facture low-cost cutting edge products we would ensure that the DSPX would be a winner. The one aim, to make
an audio processor that offered all of the features found in the other more costly processors but at a fraction of
the price.

Why DSPX? Like most products the concept is conceived, nameless. The name DSPX came about for several
reasons. Firstly the BW team couldn't decide on a name we liked so the concept became DSP processor X. As
the project developed it soon became clear that the processor was to be a processor for all broadcast seasons
and so in true algebraic fashion X represents many things. DSPX was born.

Once again, thank you for your purchase; we hope you enjoy the DSPXmini-AM!

BW Broadcast Team

Forward

Introduction To The DSPXmini-AM
The BW Broadcast DSPXmini-AM is a new generation of digital audio signal processor that can be used to proc-
ess audio for AM broadcasting. Using the latest multi-band DSP technology the DSPXmini-AM offers a versatile
and powerful tool in creating a loud and intelligible on-air presence.

What's Under the Lid?

The DSPXmini-AM is driven by a fast 8 bit micro-controller which controls an array of specialised analogue and
digital circuits. These include 24-bit A/D and D/A converters, analogue level control circuitry, 6 x 24 bit DSP's,
an ethernet port, a trigger port, an RS232 port, an LCD screen and memory devices to hold the software and
firmware.

The Processing Architecture

After input selection the 24-bit digital audio signal is passed through conditioning circuitry before being split to
four bands by a phase matched crossover. Each band is processed by multiband RMS leveller which corrects for
input level variations and also improves consistency. Each band is further processed by intelligent audio limiter.
The following distortion cancelling clipping ensures your signal is kept to a strict maximum while maintaining
clear sound.

The easy to use front panel control system with LCD afford the user with ease of use and setup.

Comprehensive control of every processing parameter is available to the user both from the front panel control
system and by remote (computer) control.

At a fraction of the size, weight and price of its rivals, the DSPXmini-AM is small but serious AM processor.

Dynamic, fresh & innovative...

... The DSPXmini-AM

Introduction

 LOAD PRESET UP ENTER PASSCODE INS DSPXmini UP
U1=BASS FACE (A)
DEL
INPUT LOAD
U2=ROUND FACE PROCESS
U3=CLASSICAL 3 LOAD
DONE OUTPUT SAVE

SAVE PRESET UP ENTER NEW PASSCODE INS

U1=BASS FACE (A)
U2=ROUND FACE DEL
GO
3779
U3=CLASSICAL 3 DONE

NAME PRESET U2 INS

DEL
MY PRESET 3
DONE

REMOTE
DSPXmini UP

AES/EBU
INPUT LOAD
PROCESS
EDIT OUTPUT SAVE
DSPXmini-AM

STATUS CONTROL  SOFT

LEDS KNOB  KEYS


Connections
Analogue Analogue GND AES / EBU SYNC AES / EBU RS232 LAN MAINS POWER INPUT
inputs OUTPUTS LIFT OUTPUT INPUT INPUT & PORT
TRIGGER PORT

DSPXmini-AM FRONT AND REAR PANELS
 DSPXmini-AM Metering
The DSPXmini-AM metering is accesable at any time by pressing the middle soft key on the front panel. It
shows instant IO meters as well as all processing metering.

I/O metering
The input meters show the level of the input audio. The meters are ‘hooked in’ to the DSP code after the input
level selection and mode options.

The output meters represent the level in dB below full scale output. This output level is the peak output level of
the processing and has nothing to do with the actual output level set by the analogue and digital output level
options.
AD PRESET UP ENTER
The output meters show a smaller dynamic range compared to the input PASSCODE
ones. INS
This reflects the smaller dynamic DS
S FACE range of (A)
the audio once processed by the DSPXmini-AM. If we were to have used the same scale as the input
metering we would not see a lot of activity on the bars.
ND FACE DEL
SSICAL 3 LOAD an approximation of the PPM level of the audio waveform. Please notice that if you are
The IO meters follows
DONE
using asymmetrical clipping, the output meters won't reflect the asymmetry. They always show levels up to
100% modulation.
VE PRESET UP
Multi-band AGC ENTER NEW PASSCODE INS
S FACE The first (A)
four gain reduction meters show the gain reduction of the multi-band AGC. The range shown is -21dB
to +21dB in 3dB steps.
ND FACE 3779 DEL
SSICAL 3 There is only one GO
meter per stereo channel and the value shown is the largest gain reduction of the left and right
DONE
channels. Under normal operation (with a stereo audio feed) this is fine but you may observe strange metering if
the channels are not very balanced in level.
E PRESET U2 Multi-band limiterINS
The second four gain reduction meters show the gain reduction of the multi-band limiter. The range shown is
RESET 3 0dB to -22.5dB inDEL
1.5dB steps.

There is only one meter per stereo channel and the value shown is the largest gain reduction of the left and right
DONE
channels. Under normal operation (with a stereo audio feed) this is fine but you may observe strange metering if
the channels are not very balanced in level.

Status LEDS
The DSPXmini-AM front panel contains three status LEDS.

REMOTE: Indicates that the DSPXmini-AM is currently talking to a remote computer. This will flash during
an update of the firmware or remote control with the remote control application.
REMOTE
DSP
AES/EBU: Indicates the presence of a valid AES/EBU signal connected to the digital audio input of the
IN
P
AES/EBU
DSPXmini-AM.

EDIT: Indicates that you are currently editing a parameter EDIT O

Meters And Status LEDs


Quick start

1. Install the DSPXmini-AM into the rack.

2. Connect AC power to the unit, and turn on the power.

3. Connect the analogue or digital audio input.

4. Select the analogue or digital input as the source of the processing with the 'INPUT SELECTION' parameter
which can be found in the 'INPUT' menu. Apply audio and observe the input meters. For analogue inputs, adjust
the 'INPUT’ menus 'INPUT LEVEL CONTROL' so that the input meters do not clip. We recommend setting the
mixing board or audio source to full level output (even clipping) prior to adjusting this control. This ensures that
the processor's A/D converter will not clip under any conditions. Optionally, select mono options (L, R, L+R).

5. Connect the audio outputs as required and set the output level settings for the analogue and digital outputs to
match any external links or transmitters that require left and right audio inputs or an AES/EBU input.

You can use the built-in tone generator to set the output levels. Navigate to Oscillator in the Output menu, set it
to Sine, set the Amplitude to 60% and adjust Analog Out Level until your transmitter reads 50% modulation (the
10% difference is to account for possible overshoots in the transmission).

6. Select a factory preset (see Managing presets).

7. Navigate to 'OUTPUT' menu and adjust the low-pass filter setting as required. This sets the occupied band-
width of the AM transmission.

8. Navigate to 'INPUT' menu and adjust the high-pass filter setting.

9. You're on the air!

Further information on each parameter is contained in the 'menu structure' and 'setting up the processing' sec-
tions of this manual.

Quick Start
10
Introduction To Audio Processing
Most audio processors use a combination of compression, limiting and clipping to 'funnel' the dynamic range
down, reducing the peak to average ratio in each stage. A cascaded arrangement of compressor, limiter and
clipper produces the best results. The first stage of processing usually operates in a slow manner, the process-
ing getting progressively faster and more aggressive as the audio passes through the chain. The instantaneous
peak clipper or look-ahead limiter is the final stage of the chain and sets the final peak level.

The images below illustrate a section of audio as it passes through a typical audio processor.

The first image to the right is an unprocessed section of audio.

The images that follow represent compression of the input wave-

form, followed by limiting and then finally peak clipping.

Compression
Compression reduces the dynamic range of the audio waveform
slowly in a manner similar to a trained operator riding the gain.
Compression is usually performed on the RMS level of the audio
waveform and the ratio of compression is usually adjustable.
Compression is usually gated to prevent gain riding and suck-up
of noise during silence or quiet periods.

Limiting
Limiting is a faster form of compression that employs faster time
constants and higher ratios to produce a denser sound while
controlling peaks based upon the peak level of the audio wave-
form. Excessive limiting can create a busier packed wall of sound
effect.

Clipping
Clipping the audio waveform will not produce any audible side
effects if performed in moderation. Excessive clipping will pro-
duce a form of distortion that produces a tearing or ripping
sound. Clipping can also be used as an effective method of high
frequency peak control when used in conjunction with distortion
controlling filtering.

Look-ahead limiting
Often used instead of a clipper in systems that feed bit rate reducing audio codecs, look-ahead limiting exam-
ines the audio waveform and prepares a gain control signal in advance of the delayed audio waveform arriving.
This prevents overshoots while minimising distortion. A look-ahead limiter behaves in the same way as a soft
clipper. Competent look-ahead limiters will usually be of the multi-band variety.

Introduction To Audio Processing

11
Source Material Quality
The DSPXmini-AM has the ability to substantially improve the quality of your ON-AIR broadcast. However
the DSPXmini-AM can only work with what you provide it. The best performance will be obtained when the
DSPXmini-AM is fed with very clean source material. After dynamic range reduction is performed, poor quality
source material will sound poorer when processed with the DSPXmini-AM.

We strongly advise against the use of MP3's and other compressed audio formats for audio storage. If you must
use compressed audio we advise rates of 256 kbps and higher, but linear formats are always to be preferred.
Compressed audio formats employ frequency masking data reduction techniques to reduce the bit-rate. Through
re-equalisation the DSPXmini-AM can violate the frequency masking characteristics of the bit reduction process,
creating distortion that was inaudible prior to the DSPXmini-AM processing.

HF Boost (pre-emphasis)
Todays typical AM receivers have narrow bandwidth (typically 3 kHz) and it is usually beneficial to compensate
for the high-end roll-off by boosting the high frequencies in the processor. This can help restore some of the
high-end response and brightness. The DSPXmini-AM has an HF equalizer that can provide as much as 20 dB
of high end boost. The graph below illustrates pre-emphasis curves in 2 dB steps. The blue curves show the
response with the shape control set to 1, and the red ones show the response with the shape control set to 10.
Top= 25.00C Tref= 25.00C
Magnitude Response
dB dB
+20.00 +20.00

+18.00 +18.00

+16.00 +16.00

+14.00 +14.00

+12.00 +12.00

+10.00 +10.00

+8.00 +8.00

+6.00 +6.00

+4.00 +4.00

+2.00 +2.00

BW Broadcast
0.00 0.00
20.0 Hz 50.0 100 200 500 1.00K 2.00K 5.00K 10.0K

HF boost curves (varying HF Gain from 2 to 20 dB, blue HF Shape=1, red HF Shape=10)
Map

The HF curve can be shifted slightly lower or higher in frequency, with a shape control. Illustrated below are
curves at 10 dB and 20 dB gain, with the HF shape control varied from 1 to 9 in steps of 2. To provide NRSC-1
Notes

pre-emphasis, the HF Gain should be set to 10 dB and the HF Shape to 8.

Top= 25.00C Tref= 25.00C
Magnitude Response
dB Designer: Circuit: Custom Feb 5, 2009 dB
+20.00
Version 3.4.0.808 Mar.18.2004 Company: File: AM HF equalizer for manual 2.fsd Thr 4:29 pm +20.00

+18.00 +18.00

+16.00 +16.00

+14.00 +14.00

+12.00 +12.00

+10.00 +10.00

+8.00 +8.00

+6.00 +6.00

+4.00 +4.00

+2.00 +2.00

BW Broadcast
0.00 0.00
20.0 Hz 50.0 100 200 500 1.00K 2.00K 5.00K 10.0K

HF boost curves (varying HF Shape from 1 to 9; violet 20 dB gain, orange 10 dB gain)

Map

Source quality and HF boost (pre-emphasis)

Notes

12
Designer: Circuit: Custom Feb 5, 2009
Version 3.4.0.808 Mar.18.2004 Company: File: AM HF equalizer for manual 3.fsd Thr 5:25 pm
Low pass filtering
To accommodate various bandwidth limitation requirements in different countries, the DSPXmini-AM has an
adjustable low pass filter. The filter is adjustable from 4 kHz to 10 kHz in 500 Hz steps. To comply with the
NRSC-1 standards (10 kHz bandwidth for analog AM, 8 kHz bandwidth for Hybrid AM IBOC or 5 kHz bandwidth
for Hybrid AM IBOC transmission) set the filter to 10 kHz, 7.5 kHz and 4 kHz respectively. The graph below
shows all the low pass filter curves. You can use it to determine the correct setting for the required bandwidth (or
mask) in your country.

DSPXmini low pass filters

dB
0.00

-10.00

-20.00

-30.00

-40.00

-50.00

-60.00

-70.00

-80.00

-90.00
100.00 2000.00 4000.00 6000.00 8000.00 10000.00 11500.00 Hz

Low pass filter curves: 4.0, 4.5, 5.0, 5.5, 6.0, 6.5, 7.0, 7.5, 8.0, 8.5, 9.0, 9.5 and 10 kHz

Low pass filtering

13
The DSPXmini-AM And Its Processing Structure

The DSPXmini-AM broadcast audio processor is intended to be used for processing audio prior to broadcast on
AM. It employs distortion controlled clippers to limit the peaks of the signal. Distortion controlled clipping pro-
duces harmonic distortion which if used moderately can produce a very loud sound but can result in a ripping or
tearing sound if used excessively (overdriven).

The AM path is also low-pass filtered, to provide bandwidth limitation as required for AM broadcasting.

The Processing Path

Input selection and conditioning
The DSPXmini-AM offers the user input selection (analog or digital input), stereo or mono (L, R or L+R) oper-
ation and high pass filter selection.

Bass enhancement
The DSPXmini-AM offers a bass enhancement via peaking filter that can be set to provide up to 6dB of gain
on one of four frequencies with a choice of 4 Q's. This can be thought of as a simple bass parametric.

Xover
The DSPXmini-AM employs phase matched filters to split the audio spectrum into 4 bands while maintaining
sonic transparency.

Multi-band AGC
The DSPXmini-AM processes each band with RMS based levellers. Each bands gain control processing
function can be configured in different manners to provide different effects. Adjustable timing constants, drive
and gating afford the user with full control of this important re-equalisation stage of the processor.

Multi-band limiters
Each band has its own dynamic peak limiter. Complex algorithm is used to intelligently adapt to program
audio and control it in a natural way. Dual time constants are adjustable as well as input drives.

Mixer
The four bands are mixed together at this stage, allowing overall EQ adjustment.

Bass clipper
The DSPXmini-AM peak limits (clips) and filters the low frequencies before being fed to the final clipper
stages.

Distortion controlled clipper

The DSPXmini-AM main clipper uses sophisticated algorithms to produce tightly peak controlled output and
control the distortion.

Output processing
The DSPXmini-AM output has an adjustable low-pass filter to comply with NRSC, ITU-R and otherstandards,
tilt equalization to compensate for a non-DC path in the transmitter and a tone generator to facilitate set-up
and alignment.

Processing Structure
14
 INPUT MB AGC MB LIM OUTPUT

LOW LOW
LPF AGC LIM LPF
ANALOG A/D BASS CLIP ASYMM LP FREQ
MID1 MID1
BPF AGC LIM

MID2 MID2
HF BASS BPF AGC LIM LPF D/A ANALOG

15
DIGITAL SRC BOOST PEAK
CLIP
HIGH HIGH
HPF AGC LIM

Block Diagram
OSC
SRC DIGITAL

SYNC

DSPXmini-AM PROCESSING BLOCK DIAGRAM

Menu System Overview
This section presents an overview of the four main menus and thier submenus and any parameters that are con-
tained in them.

INPUT: Contains all the controls that affect input selection, level control and signal conditioning.

PROCESS: Contains all the controls that affect the processing.

OUTPUT: Contains all the controls that affect output selection, level control and signal conditioning.

SCHEDULE: Contains all the real time clock controls for switching presets (Dayparting).

SYSTEM: Contains all the system controls (non processing) such as remote control and security.

Menu System Overview

16
Menu Structure

DAYPARTS 5-8
DP(X) ON/OFF
DP(X) START TIME
menu: input DP(X) TIME ON (LENGTH)
INPUT SOURCE
analog level menu: SYSTEM
RIGHT TRIM LCD CONTRAST
MODe TRIGGER PORT
HP FILTER CODE LOCK
remote source
menu: PROCESS menu: lan config
menu: eQ ip
peaking bass GAIN dg (DEFAULT GATEWAY)
peaking bass FREQ sm (SUBNET)
peaking bass Q ma1 (MAC ADDRESS PART1)
HF SHAPE MA2 (MAC ADDRESS PART2)
HF GAIN port
menu: MULTI-BAND AGC menu: about
menuS: BANDS 1-4 vERSION
DRIVE CONCEPT
ATTACK HARDWARE
DECAY CONTROL SYSTEM
GATE PROCESSING
menu: MULTI-BAND LIMITERS REMOTE APPLICATION
MASTER LIMITER DRIVE BOOTLOAD
Band 1
DRIVE

LIMITER ATTACK


LIMItER DECAY
COMPRESSOR ATTACK
COMPRESSOR DECAY
Band 2
DRIVE
LIMITER ATTACK
LIMItER DECAY
COMPRESSOR ATTACK
COMPRESSOR DECAY
Band 3
DRIVE
LIMITER ATTACK
LIMItER DECAY
COMPRESSOR ATTACK
COMPRESSOR DECAY
Band 4
DRIVE
LIMITER ATTACK
LIMItER DECAY
B3>B4 COUPLING
HF CLIPPING
menu: MIXER
BAND 1 MIX level
BAND 2 MIX level
BAND 3 MIX level
BAND 4 MIX level
menu: CLIPPERS
BASS CLIP
MAIN CLIP DIST CTRL
FINESSE
HARDNESS
MAIN CLIP DRIVE

menu: OUTPUT
LP FILTER
TILT EQ
TILT FREQ
ASYMMETRY
POLARITY
ANALOG OUT LEVEL
MENU: TONE GENERATOR
OSCILLATOR
FREQUENCY
AMPLITUDE
ANALOG OUT LEVEL
MENU: DIGITAL
DIGITAL LEVEL
SAMPLING RATE

menu: SCHEDULE (X) REPRESENTS 0-7

TIME
DAYPARTING ON/OFF
TIME CALIBRATION
DAYPARTS 1-4
DP(X) ON/OFF
DP(X) START TIME
DP(X) TIME ON (LENGTH)

Menu Structure
17
Processing Parameters

The 'INPUT' menu contains options relating to the control and conditioning of the audio inputs.

'INPUT SOURCE' This parameter allows you to select the between the analog and digital inputs as the
source for the processing.

'ANALOGUE INPUT A/D CLIP LEVEL' This parameter allows you to set the analogue input level with refer-
ence to the DSPXmini-AM's A/D Converter. This would normally be set to +24dBu if driving the DSPXmini-
AM from professional audio equipment. When adjusting make sure that the input audio meters NEVER
show clipping under any conditions.

'RIGHT TRIM': This parameter allows you to adjust the right channels gain in small increments to BALANCE
out any small gain discrepancies between the left and right channels. The range is +/- 3dB.

'MODE': This parameter allows you to select different mono options as well as the default stereo option.
There is also the ability to swap the left/right channels.

'HIGH PASS FILTER' This parameter allows you to select from a variety of high pass filters. You can select
from 20 Hz, 30 Hz, 40 Hz, 50 Hz and 60 Hz. You also have the ability to bypass the high pass filter with the
'OFF option. The high pass filter can be used to reduce rumble or can be effective in removing low frequency
energy that most AM receivers can't reproduce. We suggest you set the high pass filter to 30 Hz.

The 'PROCESS' menu allows access to all of the processing blocks that make up the DSPXmini-AM.
There are only sub-menus inside the 'PROCESS' menu. The submenus are laid out in the same configu-
ration as the signal path through the DSPXmini-AM.

The 'EQ' menu contains the low frequency enhancement filters which are used to provide bass enhance-
ment and high freqeuncy equalizer to provide high-end boost (pre-emphasis).

‘PEAKING BASS EQUALIZER’ A pseudo parametric style bass equalizer control that allows you to
sweet tune the bass. Four frequencies, amplitudes and Q's are provided giving you 64 different bass
curves to select from. Frequencies selectable: 60 Hz, 76 Hz, 95 Hz and 120 Hz. Q's selectable: 0.4, 1, 2
and 4. Gains selectable: 0 dB, 1.5 dB, 3 dB, 4.5 dB, 6 dB.

'HF SHAPE' Shifts the HF boost curve lower (values towards 1) or upper (values towards 10) in fre-
quency. Lower numbers refer to lower frequencies and will boost more mid frequencies as well as the
high frequencies. Higher numbers refer to higher frequencies and will put more emphasis on the higher
frequencies than on the mid frequencies.

‘HF GAIN’ Adjusts the high frequency gain from 0 dB (no high-end boost) up to 20 dB. Some high-end
boost might be beneficial to compensate for the typical receiver high-end roll off. However, excessive
high-end boost will be counteracted by the B4 AGC levelling action.

The ‘MULTI-BAND AGC’ is designed to re-equalize the program material and create a consistent tonal bal-
ance while maintaining a consistent output level based on the RMS level of the program material.

‘B1-4’

‘DRIVE’ Controls the drive into the AGC. 0dB drive corresponds to a gain reduction of 0dB, the mid-
way point. The drive can be increased or decreased by up to 12dB. You may need to increase the
drive a little as you go up through the bands to compensate for the fact that music has less energy in
the higher frequency spectrum compared to low frequencies.

‘ATTACK’ Controls the attack rate of the AGC, The time the AGC takes to respond to an increase of
input level. The attack time can be varied between 1 and 10 which corresponds to 100mS to 10S on
a semi-exponential scale.

‘DECAY’ Controls the release/decay rate of the AGC, the time the AGC takes to respond to a
decrease of input level. The DECAY time can be varied between 1 and 10 which corresponds to
100mS to 30S on a semi-exponential scale.

‘GATE THRESHOLD’ The gate function prevents ‘suck-up’ of noise during periods of silence or low

Processing Parameters
18
 level audio. The level can be adjusted to turn on when the input drops to a level from -20dB to -40dB.
The gate can also be switched off or forced on. The gate when turned on will cause the gain reduc-
tion to move towards the resting 0dB level

The 'MULTI-BAND LIMITERS' peak limit each of the bands to prevent distortion in the processors clipping
peak control system.

‘MASTER LIMITER DRIVE’ Sets the drive into the multi-band limiter. This control allows a - 6dB to
+12dB adjustment.

'B1-3'

'DRIVE' Controls the drive into the limiter. The drive can be increased or decreased by up to 6dB.

'PEAK ATTACK' Controls the attack rate of the limiter, the time the limiter takes to respond to an
increase of input level. The attack time can be varied between 1 (fast) and 10 (slow).

'PEAK DECAY' Controls the peak release/decay rate of the limiter, the time the limiter takes to
respond to a decrease of input level. The DECAY time can be varied between 1 (fast) and 10 (slow).

'AVG ATTACK' Controls the average attack rate of the limiter. The attack time can be varied between
1 (fast) and 10 (slow). The AVG attack control determines the dynamics of the dual time constant sys-
tem and how audio control is shared between the peak and average circuits.

'AVG DECAY' Controls the average release/decay rate of the limiter, the time the limiter takes to
respond to a decrease of input level. The DECAY time can be varied between 1 (fast) and 10 (slow).

B4 limiter instead of AVG ATTACK and AVG DECAY parameters uses the following parameters:

'B3>B4 COUPLING' Ties the band 4 average gain reduction to the band's 3 average platform level.
When this control is set to 100% the average gain reduction of the band 4 will be exactly the same as
the gain reduction of the band 3 (the fast peak limiting time constant is still operating independently).
When this control is set to 0% there is no average gain reduction control and the fast peak time con-
stant is the only one controlling the level in the band 4.

'HF CLIPPING' Negotiates the control of the high frequencies between limiting and clipping. When
the control is set towards 0, high end is predominately controlled by band 3 and 4 limiting. When the
control is set towards 17, high end is mostly controlled by clipping. The latter might give more bril-
liance, but will also generate more high-end distortion.

'MIXER' menu. Each band can be adjusted over a small range to provide small EQ changes. These controls
are limited in range to prevent excessive drive into the peak clipping stages and excess distortion being
introduced.

BAND1MIX: -3dB to +3dB of level adjustment is available.

BAND2MIX: -3dB to +3dB of level adjustment is available.

BAND3MIX: -3dB to +3dB of level adjustment is available.

BAND4MIX: -3dB to +3dB of level adjustment is available.

The 'CLIPPER' menu contains the clipping controls that form the final peak limiting stages of the DSPXmini-
AM.

'BASSCLIP' Controls the clip level of the mix of Bands 1 and 2. The clip level range is -6dB to 0dB refer
enced to the main clippers output level.

MAIN CLIPPER DISTORTION CONTROL' Controls the distortion reduction effect of the distortion con-
troller in the DSPXmini-AM's back-end clipping system. The range of multi-band clipping control is 1 to
10. Setting this control to 1 virtually defeats the mechanism, while higher numbers will progressively
make the mechanism work on reducing the distortion and keeping the cleanliness of your on-air sound.

'MAIN CLIPPER FINESSE' Another distortion controlling mechanism that helps to reduce IMD in the final
clipper. The range is 1-10 with 10 producing the most distortion control. A setting of 1 effectively bypass-

Processing Parameters
19
 es this control. This control is very subtle and may not appear to do a lot on some program material while
a lot on others. The best way to set this control is to overdrive the main clipper to hear the effect of this
control and then back the drive back down after the finesse control is set to your taste.

'MAIN CLIP DRIVE' Controls the drive into the main output clipper that defines the systems peak clipping
ceiling. Adjustable over a -6dB to +6dB range.

The 'OUTPUT' menu contains all of the options and parameters relating to the control and conditioning
of the audio outputs.

'LP FILTER' Controls the AM output low pass filter frequency. Frequency can be adjusted from 4 kHz to 10
kHz in 0.5 kHz steps. This parameter sets the bandwidth of your AM transmission. To comply with the NRSC
10 kHz bandwidth for analog AM, NRSC 8 kHz bandwidth Hybrid AM IBOC or NRSC 5 kHz bandwidth
Hybrid AM IBOC, set the frequency to 10 kHz, 7.5 kHz and 4 kHz respectively.

'TILT EQ' This is the subsonic equalizer that allows you to compensate for the non-DC path in the transmit-
ter and reduce overshoots. The control sets the gain of the filter. The range is 0 to 10 dB in 0.1 dB steps.

'TILT FREQ' This parameter sets the frequency of the tilt equalizer. Frequencies available are from 5 to 50
Hz in 5 Hz steps.

'ASYMMETRY' Sets the asymmetry of the DSPX's clipping systems. Allows the positive peaks to be clipped
at the higher threshold than the negative peaks. The range is 100% (symmetrical clipping) up to 150% posi-
tive in 1% steps. Negative peaks are always clipped at 100%.

'POLARITY' Flips the polarity of the AM output signal. If there is a signal/phase inversion in the wiring, STL,
etc. resulting in the transmitter being modulated with more negative peaks than positive when Asymmetry
control is set away from 100%, this control can be used to easily fix the problem.

'ANALOG OUTPUT LEVEL' Controls the output level of the analogue output. Range is -22 dBu to +14 dBu.

The 'TONE GENERATOR' menu contains all the controls relevant to the tone generator/oscillator.

'OSCILLATOR' Turns the oscillator ON or OFF and selects tone type. When turned on, overrides outputs
with the oscillator signal. The oscillator signal can be selected between sine wave and square wave.

'FREQUENCY' This parameter sets the frequency of the sine/square wave. The values are 50, 100, 200,
400 and 1000 Hz.

'AMPLITUDE' Sets the oscillator output amplitude, relative to 100% modulation. When this parameter is
set to 100%, the oscillator output level equals to 100% modulation level. The range available is from 10%
to 120% in 10% steps.

'ANALOG OUTPUT LEVEL' Controls the output level of the analogue output. Range is -22 dBu to +14
dBu. This is the same control (they are tied) as in the main OUTPUT section, it is just provided here to
ease setting up the correct output level.

The 'DIGITAL' menu contains the controls relevant to the AES/EBU digital outputs.

'DIGITAL OUTPUT LEVEL' Controls the peak output level of the digital output. Range is -12dBfs to
0dBfs.

'SAMPLE RATE' This parameter sets the output sampling rate for the AES/EBU digital output. The avail-
able rates are 32, 44.1, 48 kHz, follow digital input rate and follow external sync rate.

The 'SCHEDULE' menu contains all the controls for the dayparting (REAL TIME CLOCK) preset switch-
ing.

'TIME' Sets the time and day of the DSPXmini-AM’s Real Time Clock.

'DAYPARTING ON/OFF: Enables or disables the scheduling.

'DP(X) ON/OFF' Enables or disables an individual daypart schedule.

'DP(X)' Sets the preset to switch to when this daypart is triggered.

Processing Parameters
20
 'DP(X) START' Sets the start time day and time of the daypart. There is also an ‘ALL days’ option.

'DP(X) LENGTH' Sets the length in minutes that the daypart will run for.

The 'SYSTEM' menu contains all the system controls (non processing) such as remote control and secu-
rity

'LCD CONTRAST' Sets the contrast of the front panel LCD screen. The range is 0 to 25

'TRIGGER PORT' This enables or disables the rear panel trigger (remote) port. The options are enabled and
disabled. More information is available in the trigger port section of this manual.

'CODE LOCK' This enables or disables the security code lock. The options are enabled and disabled. More
information is available in the code lock section of this manual.

'OUTPUT LOCK' This enables or disables the output code lock. The options are enabled and disabled. More
information is available in the code lock section of this manual.

'REMOTE SOURCE' This selects the serial or the NET/LAN port as the remote control method. The default
option is Off.

The 'LAN CONFIG' menu contains the controls relevant to the LAN/NET port.

'IP' Sets the IP address of the LAN port

'DG' Sets the default gateway of the LAN port

'SM Sets the subnet mask of the LAN port

'MA1' Sets the first half of the MAC address of the LAN port

'MA2' Sets the second half of the MAC address of the LAN port

'PORT' Sets the port number of the LAN port

'ABOUT' DSPXmini-AM version number and design credits.

'BOOTLOAD' This option is used to FLASH update the software and firmware inside the DSPXmini-AM.
Further information on using this option is described in the documentation supplied with the upgrade.

Processing Parameters
21
Setting up the Processing on the DSPXmini-AM
This section has more detailed information on setting up the DSPXmini-AM’s processing.

High pass filter

The high-pass filter has five selectable cut off frequencies and a bypass option. Modern AM transmitters can
accommodate low frequencies, however older AM transmitters may suffer from AFC bounce and overshoot
when driven with high levels of very low frequency bass. If your transmitter suffers from this phenomenon
you may need to turn your modulation down to accommodate these overshoots. The high-pass filter in the
DSPX can cure this problem by removing the very low frequency content from the program material.

Additionally, a lot of AM receivers can't handle low frequencies (<30 Hz) properly and may produce distortion.
Another reason is that this very low frequency bass can dominate the band 1 AGC and limiter, especially after
bass enhancement has been carried out. The low frequency shelving filters used in processors have much high-
er gains at 20 Hz than say 50 Hz where most people can here and speakers reproduce bass. The processing
stages will respond to this amplified 20 Hz content even though most people won’t ever hear it when listening to
your radio station.

Taking everything into account we recommend setting the filter to 30 Hz (or higher if necessary).

Bass enhancement
The frequency contouring effect of multi-band audio processors often leaves the bass lacking a little. The sum-
mation of the bands tends to give a boost to the presence frequencies and leaves the bass sounding a little thin.
This effect can be compensated somewhat by enhancing the bass prior to multi-band processing.

The DSPXmini-AM has a pseudo parametric style bass equalizer control that allows you to sweet tune the
bass. Four frequencies, amplitudes and Q's are provided giving you 64 different bass curves to select from.
Frequencies selectable: 60Hz, 76Hz, 95Hz and 120Hz. Q's selectable: 0.4, 1, 2 and 4. Gains selectable: 0,
1.5dB, 3dB, 4.5dB, 6dB. A starting setting of 95Hz, Q of 1 and gain of 4.5dB warms the bass up quite nicely but
you are free to experiment to get the bass sound you're after.

Multi-band AGC
The multi-band AGC in the DSPXmini-AM employs an RMS based level detector for superior performance. This
enables the DSPXmini-AM to control input level variations based on the true loudness of the input waveform
unlike other simpler average responding peak detectors used in other digital audio processors. When you couple
the advanced detector with the user adjustable and hidden intelligent controls you really do have a powerful lev-
elling tool.

The Multi-band AGC stage of the DSPX has two main functions.
1. To re-equalise the program material to provide a consistent tonal balance and sonic signature.
2. To prevent excessive limiting by the following peak limiter stages.

Because of the RMS based level detectors the multi-band AGC can re-equalise the sound in a more natural
manner than the peak limiter stages which use peak detectors. As the human ear works on average loudness
rather than peak level the re-equalised audio will sound more natural when dynamic range reduction is per-
formed by RMS based level detectors.

Because the peak to average ratio of the program material can be quite wide it is still necessary to control the
peaks of the audio with the multi-band limiters but unlike most other audio processors the bulk of the work has
been performed by the multi-band AGC and the limiters can be fed with a more controlled level allowing them to
operate in their sweet spot.

Over the course of the next few pages we have included several scope shots clearly illustrating the input and
output of the single band AGC together with the AGC control signal. The effect of the control signal is clearly evi-
dent on the output audio waveform. These scope shots help to visually illustrate the concepts under discussion.
The multi-band AGC stage is designed so that a 0VU input level to the processor will drive the multi-band AGC
to the midway resting level of 0dB.

Individual drive controls are provided as a way of equalizing the audio before processing. This can be used to
add a touch of more presence or bass. Keep in mind that the mutli-band AGC by it's very nature will tend to
compensate any cut or boost you make here.

The attack and decay times of the AGC have a range of 1-10 and this corresponds to time constants of 100mS
to 30S. We suggest an attack somewhere in the region of 3-4 and a decay setting of 1 or 2 positions higher than

Setting Up The Processing

22
that.
The effects of time constant speeds

AGC attacking and decaying with faster time AGC attacking and decaying with slower time
constants constants

Like most competent audio processors the AGC stages in the DSPXmini-AM are gated. This slows down the
release time of the multi-band AGC when the program material drops below a certain level. This prevents noise
suck up and gain hunting from occurring during quiet periods or lulls in the audio. The DSPXmini-AM allows
adjusting the gate level over a range of -20dB to -40dB. This is the level at which the program material must
fall below for the gate to become active. The gate level control has two more options, OFF and ON. OFF is self
explanatory and prevents the gate from having any effect. ON is often referred to in this manual as ‘forced gat-
ing’ as it has the effect of switching the gate on at all times with any level of program material. This option is
used to bypass the AGC.
The effects of gating

AGC attacking and decaying with gating disa- AGC attacking and decaying but with gating
bled enabled

Under gated conditions, the gain reduction will slowly move to average gain the AGC had in the recent past.
This preserves the frequency balance of program material when multi-band AGC is gated.

Multi-band limiters
The multi-band limiter drive can be adjusted over a +/- 12dB range. Increasing the drive will increase the level of
limiting and with it on air loudness. Above a certain level of drive no more loudness will be obtained and all that
will happen is you will generate higher levels of IM distortion and the sound will take on a busy packed texture.
You may also observe higher levels of high frequency noise when the band 3 and 4 drives are increased. We
don't usually find much use for drives above +6dB but more may be required if other settings are adjusted to
compensate. In any case, observe the peak limiter meters for a good indication of how much drive to use. We
don't recommend more than 9dB of gain reduction especially on bands 2, 3 and 4. Gain reductions of 2-6dB are
a good compromise between loudness and quality.

The multi-band limiters in the DSPXmini-AM are of the dual time constant variety. There is an attack and decay
to handle the peaks and an attack and decay to handle the average level of limiting. Understanding how the two
time constants interact is imperative if you want to make major changes to how each bands limiter reacts. We
have included some scope screen captures to illustrate things a little clearer. The peak and average function can
clearly be seen in the images.

Traditionally audio limiters have two time constants, an attack, the time is takes the limiter to respond to a signal
above the threshold and a decay or release which is the time is takes to respond to a drop in level. In a tradi-
tional audio limiter the attack time is usually set to somewhere in the region of a few milliseconds and the decay
time considerably longer at somewhere in the hundreds of milliseconds. This is not the most optimum solution
because transients that last only a few milliseconds will reduce the level of the waveform for hundreds of mil-

Setting Up The Processing

23
liseconds, reducing loudness and creating audible pumping effects.

The solution is multiple time constants where one set of time constants can be set to handle the fast peaks and
another to handle the average level of limiting. Fast transients will release in a faster less noticeable way and
won't punch holes in the sound in a way that single time constant limiters can. The secondary slower time con-
stant circuit will not have much effect on the audio waveform when hit with a transient because the higher attack
time, generally in the hundreds of milliseconds will not allow a build up of energy. In the case of a sustained
envelope of audio above the threshold the multiple time constant will attack as normal with the peak time con-
stant but the sustained energy will also charge the secondary slower circuit. When the audio energy falls away
and the circuit goes into release the peak decay will dominate until it reaches a point where it hands over to the
slower secondary time constant for a slower rate of decay. The illustrations show this to good effect, where tran-
sients have a fast release but multiple or sustained transients build up energy in the secondary circuit which acts
as a platform for the peak to release to. The secondary circuit's platform can be thought of as the average level
of limiting. Having this fast peak responding circuit ride on top of the average circuit creates many advantages,
limiter transparency, less chance of pumping and greater loudness. By setting the time constants appropriately
we can have the multiple time constant based detectors work as peak handling, average handling or the opti-
mum setting of a balance of the two.

Limiter control signals response to tone bursts

Peak time constants dominating control due to Peak time constants dominating to a lesser Peak time constants dominating to a much
a very high setting of average attack degree due to high setting of average attack lesser degree due to a lower setting of average
attack

Limiter control signals response to program material

Peak time constants dominating control due to Peak time constants dominating to a lesser Peak time constants dominating to a much
a very high setting of average attack degree due to a high setting of average attack lesser degree due to a lower setting of average
attack

The peak attack time should be set to the desired attack time required from that limiter. The range is 1-10 which
corresponds to 1 to 200mS on an exponential scale. The peak decay time should be set to the desired peak
decay time required for transients. The range is 1-10 which corresponds to a decay time of 10 to 1000mS.

The average attack time is perhaps the most important control in the dual time constant detector as it sets the
balance between peak and average energy in the detector. With smaller numbers more energy is transferred
into the average circuit and a higher platform level is created so more time will be spent releasing at the slower
average rate. Higher numbers offer slower attack times for the averaging part of the detector and this has the
effect of lowering the average platform level and allowing the peak part of the circuit to dominate with its faster
release times.

The average decay time can usually be viewed as the nominal release time of the detector, similar to a standard
single time constant limiters release time.

To recap, the peak attack time and average decay time play the same sort of role as that of a standard con-
ventional single time constant based limiter. The peak decay time sets the decay time for fast usually inaudible

Setting Up The Processing

24
transients and the average attack time sets the ratio of peak to average control and defines the position of the
platform that the peak circuit releases to.

The mixer
The post limiters mixer in the DSPXmini-AM is not strictly a mixer but a band output level control where small
EQ changes can be made.

Be careful when making large EQ changes at this stage because there is no peak control prior to the clipping
system. It is easy to overload the clipping stages by setting these controls all to large positive values.
The control range for each band of +/- 3dB is purposely restricted for the above reasons.

Bass clipping
Most competent processors have a bass-clipper prior to the final clipper. The purpose of the bass-clipper is to
keep low frequency energy to a pre-determined level to allow for the summation of the other bands. Without the
bass-clipper the bass signal can push the mid and HF audio waveforms into the final clipper creating audible IM
distortion, the worst type of distortion. By restricting the bass to a certain level the mid and HF energy has its
own reserved space in the summated waveform and we reduce the likelihood of bass generated IM distortion.

The downside to bass clipping is you are restricting the bass to a lesser level than what it would be without it.
The upside is that moderate levels of bass clipping won't cause a large loss of bass loudness and should have
minimal audible artefacts.

When bass-clipper is being driven more aggressively you will start to notice generated distortion. This distortion
can be used to actually give the illusion of more bass, especially on smaller radios that are incapable of produc-
ing the lower frequency fundamental bass waveform. This can be viewed as an upside of bass clipping. You
need to decide what level of bass clipping is acceptable to your format, both in creating room for summation
from the other bands and making the punch/distortion trade-off.

The final clipper

The final clipper, used in the AM processing path is a sophisticated highly over-sampled peak limiter that
incorporates distortion controlling techniques and has an embedded adjustable low-pass filter. This section of
processing is the last line of defence in the processing and is also the most critical part as regarding the loud-
ness/quality trade-off. While each of the proceeding processing stages play a part in reducing the peak to aver-
age ratio of the audio waveform none has the same effect on the peak to average ratio as the final clipper.

Great care is needed in setting the final clipper drive control. This control needs to be adjusted carefully and
only you can make the decision on the balance between loudness and quality. As you increase the drive you will
obviously obtain more loudness but at the expense of distortion. There is a fine line between artistic distortion
and distortion that your listeners will find uncomfortable to listen to especially for extended periods of time. We
also suggest that you make final clipper drive adjustments in tandem with the multi-band clipper drive as what is
taken from or added from one can usually be made up for with the other.

The final clipper now has an additional control to help reduce IMD distortion. This clipper finesse control is an
additional program dependent mechansim that helps to reduce distortion by analysing the amount the level
of IMD distortion and attempting to lower it by controlling how much the low frequencies can push the higher
frequencies into the clipper. The control is very subtle and its range has been limited to restrict the amount of
control preventing pumping and loss of loudness which would undo what we want to use the clipper for, gaining
loudness.

You may not notice the effect of this control on all program material. When adjusting the clipper finesse control
we recommend that you turn the final clipper drive up past the point that you have it set at. This will make the
effect of the finesse control much more obvious and allow you to find the setting that sounds best for your for-
mat. once the clipper finesse control is set you can back down the final clipper drive to the point that sounds
best knowing that the clipper finesse control has been set correctly to help keep the distortion down on difficult
program material.

Low pass filter

To comply with the bandwidth requirements of the AM transmission, the DSPXmini-AM has an adjustable low-
pass filter. This low pass filter is tightly integrated in the processing stages and provides full protection with all
international standards (masks). The frequency of the filter is user adjustable over a wide range - from 4 kHz to
10 kHz in 0.5 kHz steps. If you need to comply with the NRSC 10 kHz bandwidth for analog AM transmission
mask, set the filter to 10 kHz. To comply with the NRSC 8 kHz bandwidth for analog portion of Hybrid AM IBOC
transmission, you need to set the filter to 7.5 kHz. To comply with the NRSC 5 kHz bandwidth for analog portion
of Hybrid AM IBOC transmission, you need to set the filter to 4 kHz.

Setting Up The Processing

25
If other bandwidth requirements are in force in your country, please refer to the "Low pass filtering" section of the
manual to see which low pass curve would fit within your required bandwidth/mask.

Tilt equalisation
AM transmitters (especially older ones) might have DC blocking capacitors in the input circuits to remove DC
offset. However, when presented with the processed signal resembling square wave, this high-pass filters causes
the signal to tilt, producing overshoots and robbing you of modulation.

There are two things you can do to prevent this and optimise your modulation usage. The best solution is to
remove (or at least increase) the capacitors in the input circuits in your transmitter. The DSPXmini-AM has no
DC offset and therefore these capacitors are not necessary when DSPXmini-AM is connected directly to the
transmitter.

If you for some reason, can't remove these capacitors then you can try to compensate for the tilt by using the
DSPXmini-AM's built-in tilt equaliser. To do this, you need to connect the DSPXmini-AM to the transmitter, navi-
gate to the Oscillator menu and turn the oscillator on. Set the type to square, frequency to 50 or 100 Hz and
amplitude to no more than 50%. Connect the DC-coupled oscilloscope to the transmitter's RF envelope monitor-
ing output and while observing the waveform on the scope, adjust the Tilt EQ and Tilt Gain controls to obtain a
flat top waveform.
Tilt correction:

Square wave tilted - not enough tilt equali- Flat top square wave - correct, no further tilt Square wave tilted - too much tilt equalisation.
sation. Increase Tilt Gain and/or adjust Tilt equalisation neeeded. Decrease Tilt Gain and/or adjust Tilt frequency
frequency until top is flat. until top is flat.

Asymmetry
In some countries (USA, for example) stations are allowed to modulate asymmetrically (modulate positive peaks
higher than negative peaks) to increase loudness. The DSPXmini-AM has the ability to change the symmetry
of it's clippers and clip positive peaks up to 150% while keeping the negative peaks at 100%. In order to keep
the negative peaks at 100% when changing the asymmetry, a DC path in the input circuit of the transmitter is
required. Otherwise the DC coupling will re-symmetrise (offset) the asymmetrically clipped signal.

If the balanced connection to the transmitter is not wired correctly or for some other reason is inverted, instead of
increasing the positive peaks, negative peaks in the transmitter will be increased. To correct this you can use the
polarity switch in the Output menu.

Keep in mind that while operating the clippers asymmetrically might increase the loudness, it will also increase
odd harmonics (and therefore overall distortion) as well as the inter-modulation distortion. Operating clippers
symmetrically will always produce cleaner and less fatiguing sound.

Tone generator
The DSPXmini-AM has a built-in oscillator. When turned on, the oscillator will override the outputs. The oscillator
can produce sine or square waves at various frequencies while amplitude is referenced to 100% modulation. You
can use this oscillator to line-up output levels as well as adjust the tilt equalisation.

Setting Up The Processing

26
Getting The Sound You Want
While the DSPXmini-AM can help you obtain the sound that you want we must always take into account the limi-
tations presented by the transmission channel. The biggest problem we have is the maximum peak level that can
be handled by that transmission channel.

The trade off in any audio processor is loudness vs. quality. The mark of how good a processor is how loud the
processor can go while maintaining sufficient quality. It is up to you where this loudness / quality trade off point is
set.

In the effort to squeeze as much bass and high frequency energy into the peak limited channel we must make
compromises. If your aim is a cleaner sound and a slight loss of loudness is not important then it is easier to get
the tonal characteristic you're after without distortion. Lower clipper drives will provide you with cleaner and less
fatiguing sound. The choice is yours.

More LOUDNESS
Loudness can be increased in several ways.

Multi-band AGC:
Increase the drives to the bands.
Speed up the release times, making them faster.

While it is possible to create a strange response in the multi-band AGC, it is hard to produce distortion
because whatever gets through the AGC is dealt with by the following peak limiters.

Multi-band Limiters:
Slow down the peak attack times, letting more through to the clippers.
Speed up the release times of the average release time constants.
Slow down the average attack time so that the peak time constants dominate the control signal providing
faster control.
Increase the master limiter drive.
Increase the individual limiter drives.

Extra loudness can be obtained by working on only a single or a couple of the above suggestions. You are
likely to run into trouble if you 'CRANK UP' all of the above settings. You are likely to generate excessive dis-
tortion in the final clippers and generate a fatiguing sound if you're not careful. Less can be more. Make small
changes and compare against the settings of the factory presets if you find you have lost your way some
where.

Final clippers:
Increase the final clipper drive and increase its hardness control to a higher number.

WE SUGGEST ONLY SMALL MODIFICATIONS FROM FACTORY PRESET SETTINGS IF YOU ARE
MODIFYING LOTS OF THE PARAMETERS. IF YOU ARE ADJUSTING ONLY A COUPLE FROM THE
ABOVE SUGGESTIONS THEN YOU PROBABLY HAVE A BIT MORE LEE-WAY. IT IS VERY EASY TO
LOSE YOUR WAY ONCE YOU START 'CRANKING' LOTS OF DIFFERENT SETTINGS.

More CLARITY
We can obtain extra clarity and quality in several ways.

Multi-band AGC:
Slow down the release times, making them slower.

Multi-band Limiters:
Speed up the peak attack times, letting less through to the clippers.
Slow down the release times of the average release time constants.
Speed up the average attack time so that the average time constants dominate the control signal providing
slower control.
Decrease the master limiter drive.
Decrease the individual limiter drives.

Final clippers:
Decrease the final clipper drive.

Getting The Sound You Want

27
 Decrease the clipper hardness control.

WE SUGGEST ONLY SMALL MODIFICATIONS FROM FACTORY PRESET SETTINGS IF YOU ARE
MODIFYING LOTS OF THE PARAMETERS. IF YOU ARE ADJUSTING ONLY A COUPLE FROM THE
ABOVE SUGGESTIONS THEN YOU PROBABLY HAVE A BIT MORE LEE-WAY. IT IS VERY EASY TO
LOSE YOUR WAY ONCE YOU START 'TWEAKING' LOTS OF DIFFERENT SETTINGS.

More BASS
We can obtain more bass in several ways.

Bass Enhancement:
Increase the peaking filter gain.
Increase the peaking filter Q factor.

Multi-band AGC:
Increase the drive to the AGC band 1.
Speed up the AGC band 1 release.
Lower the AGC band 1 gate threshold, allowing more gain to be applied to low level bass waveforms.
Consider 'force gating' the AGC band 1 so the multi-band AGC for band 1 is bypassed.

Multi-band Limiters:
Increase the band 1 and band 2 limiter drive.
Slow down the peak attack time for band 1, letting more through to the clippers.
Speed up the release time of the average release time constant of those bands
Slow down the band 1 and band 2 average attack time so that the peak time constant dominates the control
signal providing faster control.

Bass clipper:
Increase the bass clip level.

WE SUGGEST ONLY SMALL MODIFICATIONS FROM FACTORY PRESET SETTINGS IF YOU ARE
MODIFYING LOTS OF THE PARAMETERS. IF YOU ARE ADJUSTING ONLY A COUPLE FROM THE
ABOVE SUGGESTIONS THEN YOU PROBABLY HAVE A BIT MORE LEE-WAY. IT IS VERY EASY TO
LOSE YOUR WAY ONCE YOU START 'TWEAKING' LOTS OF DIFFERENT SETTINGS.

More TREBLE (HF)

We can obtain more high frequency energy in several ways. The first is the use of a HF Boost equalizer. It can
provide as much as 20 dB of high frequency boost. The ‘HF CLIPPING’ and band 4 ‘PEAK ATTACK’ are also
controls that govern the amount of high frequency control distortion controlled clipping that is performed.

EQ:
Increase the HF Boost gain. Listen carefully when adjusting because you can cause pumping in the band 4
limiter by excessive high frequency boost, as well as increase distortion. Try adjusting the HF Shape control
while listening on varied program material.

Multi-band AGC:
Increase the drive to the AGC band 4.
Speed up the AGC band 4 release time, making it faster.
Lower the band 4 gate threshold, allowing more gain to be applied to low level HF waveforms.
Consider 'force gating' the AGC band 1 so the multi-band AGC for band 1 is bypassed.

Multi-band Limiters:
Increase the band 4 limiter drive.
Slow down the peak attack time for band 4 and speed up the peak release time.
Reduce band 3 to band 4 coupling.
Set the HF clipping control to higher numbers which shifts control from the limiters to the HF clipper.

WE SUGGEST ONLY SMALL MODIFICATIONS FROM FACTORY PRESET SETTINGS IF YOU ARE
MODIFYING LOTS OF THE PARAMETERS. IF YOU ARE ADJUSTING ONLY A COUPLE FROM THE
ABOVE SUGGESTIONS THEN YOU PROBABLY HAVE A BIT MORE LEE-WAY. IT IS VERY EASY TO
LOSE YOUR WAY ONCE YOU START 'TWEAKING' LOTS OF DIFFERENT SETTINGS.

Getting The Sound You Want

28
Managing Presets (front panel control)
Your processor has an assortment of factory presets and provision for 8 user ones. While the factory presets
may not suit your tastes you will generally find one that serves as a good starting point in creating your own cus-
tom preset. The preset facilities are accessed from the three intuitive soft keys.

Selecting a preset.
LOAD PRESET
First press the 'LOAD' button and then select
U1=BASSthe
FACEpreset you want with the control knob.
ENTER PASSCODE
(A)
UP
INS DSPX
INPUT
UP

Factory presets are prefixed with Fx where x is a number. User presets are prefixed with
U2=ROUND FACE DEL LOAD
PROCESS
U3=CLASSICAL 3 LOAD
DONE OUTPUT SAVE

Ux where x is a number between 1 and 8. Once you have selected the preset you want to
SAVE PRESET UP
ENTER NEW PASSCODE LOAD PRESET
load you simply press the 'LOAD' buttonU1=BASS
again.FACE
You can audition various presets by simply
(A)
INS
U1=BASS FACE (A)
UP ENTER
U2=ROUND FACE 3779 DEL

scrolling through the preset list and hitting 'LOAD' over each one you wish to listen to.
U3=CLASSICAL 3 GO
DONE
U2=ROUND FACE
U3=CLASSICAL 3 LOAD

NAME PRESET U2 INS SAVE PRESET UP ENTER NEW

Comparing a preset MY PRESET 3 DEL U1=BASS FACE (A)
U2=ROUND FACE 3779
When making processing adjustments it is often desirable to compare against the preset you U3=CLASSICAL
DONE
are adjusting.3 For GO

example you may wish to modify a factory preset and save it as a user preset. You select a factory NAME preset
PRESET U2and INS

load it, making it active. You like the factory preset but want to increase the bass slightly and possibly
INPUT
CLIP GATE
AGC
MY PRESET
HOLD
reduce
3
LIMITERS
CLIP
OUTPUT
CLIP
DEL

the drive into the main clipper to reduce distortion. You could modify both processing parameters and then press
0 -2 -2 0 110 DONE
-3
-6
-4
-6
-4
-6
DSPX -3
-6
100
90
REMOTE
UP
INPUT
the 'LOAD' button. The middle button of the softkeys will change to B. Pressing this button will reload the saved
-9 -8 -8 -9 80

RS232
-12 -10 -10 -12 70
DSP X AES/EBU LOAD
-18
-24
-30
-12
-14
-16
-12
-14
-16
PROCESS -18
-24
60
50

OUTPUT
-30 40

preset allowing you to compare before and after your changes. The previously marked 'B' button will have now
-36 -18 -18 -36 30
EDIT
SAVE
-42 -20 -20 -42 20 INPUT AGC LIMITERS OUTPUT
-48 -22 -22 -48 10
CLIP GATE HOLD CLIP CLIP
-56 -24 -24 -56 PILOT

changed to a 'A’ button which if pressed will return you to the adjusted preset. The other option you have if you
dB dB dB dB %
L R WB LOW MIDL MIDH HIGH LOW MIDL MIDH HIGH L R MPX 0 -2 -2 0 110
-3 -4 -4 -3 100
-6 -6 -6 -6 90
-9 -8 -8 -9 80

don't press 'UP' is the 'LOAD' button, reloading the saved preset and discarding your changes. By using the but-
-12 -10 -10 -12 70
DSP X -18 -12 -12 -18 60
-24 -14 -14 -24 50
-30 -16 -16 -30 40

ton you can easily make processing adjustments quickly and hear instantly if the change is to your liking. It is
-36 -18 -18 -36 30
-42 -20 -20 -42 20
-48 -22 -22 -48 10
-56 -24 -24 -56 PILOT

very easy to forget where you are sonically so the comparison feature is very useful. You can also use the facility
dB dB dB dB %
L R WB LOW MIDL MIDH HIGH LOW MIDL MIDH HIGH L R MPX

to make one processing parameter change at a time, adjusting it, discarding it or saving it to the preset. You can
then repeat the comparison process until you are happy with all of your processing changes.

Saving a preset
To save the current active settings to a user preset you simply press the 'SAVE'
LOAD PRESET
button.
UP
ENTER PASSCODE DSPXLOAD PRESET

FUSE
INS UP ENTER
U1=BASS FACE (A)
INPUT FACE
U1=BASS (A)
You can then select the user preset withU2=ROUND
the control
FACE knob and press the 'GO' button. A new
U3=CLASSICAL 3 LOAD
DEL
PROCESSFACE
U2=ROUND
LOAD

DONE OUTPUT
U3=CLASSICAL 3 SAVE
LOAD
screen is presented to you allowing the name of the preset to be changed. 'INSERT' and
SAVE PRESET
'DELETE' hot keys are provided to speed things up. Once you are happy with the name
UP
ENTER NEW PASSCODE INS
SAVE PRESET UP
U1=BASS FACE (A) ENTER NEW
U1=BASS FACE (A)
U2=ROUND FACE 3779 DEL
you press the 'DONE soft key to save the preset to3 the processor's memory.
U3=CLASSICAL For speed,
GO
DONE
U2=ROUND FACE
U3=CLASSICAL 3 GO
3779
saving the current settings to the same active preset
NAME PRESET U2 is as simple as pushing the same INS NAME PRESET U2 INS
button three times as 'SAVE' selects theMYpresets,
PRESET 'GO'
3 confirms the preset to save and DEL
MY PRESET 3 DEL

'DONE' confirms the name entry stage. DONE

DONE

Exporting a preset to a PC INPUT

CLIP GATE
AGC
HOLD
LIMITERS
CLIP
OUTPUT
CLIP
INPUT AGC LIMITERS OUTPUT

This is handled by the remote control application.

CLIP GATE HOLD CLIP CLIP
0 -2 -2 0 110
-3
-6
-4
-6
-4
-6
-3
-6
100
90
REMOTE
DSPX 0
-3
-2
-4
-2
UP
-4
0
-3
110
100
-9 -8 -8 -9 80
INPUT-6 -6 -6 -6 90
RS232

-12 -10 -10 -12 70 -9 -8 -8 -9 80

DSP X AES/EBU LOAD
DSP X PROCESS
-18 -12 -12 -18 60 -12 -10 -10 -12 70
-24 -14 -14 -24 50 -18 -12 -12 -18 60

Importing a preset from a PC

-30 -16 -16 -24 -14 -14 -24 50
OUTPUT
-30 40
-36 -18 -18 -36 30
EDIT
-30 -16 SAVE
-16 -30 40
-42 -20 -20 -42 20 -36 -18 -18 -36 30
-48 -22 -22 -48 10 -42 -20 -20 -42 20
-56 -24 -24 -56 PILOT -48 -22 -22 -48 10

This is handled by the remote control application.

dB dB dB dB % -56 -24 -24 -56 PILOT
L R WB LOW MIDL MIDH HIGH LOW MIDL MIDH HIGH L R MPX dB dB dB dB %
L R WB LOW MIDL MIDH HIGH LOW MIDL MIDH HIGH L R MPX

FUSE

Managing presets
29
Factory Presets

The factory presets in the DSPXmini-AM are not supposed to be de-facto standards by any means but are start-
ing points for you to create your own user presets. It is impossible to create presets that will suit every format
and market. What is right for one market is not usually right for another. The staff at BW will be able to help you
refine your sound further if none of the factory presets meet your requirement.

Version 1.01 contains the following factory presets.

F1 BYPASS
This preset force gates the AGC’s setting them to unity gain. The limiter and clipper thresholds are raised and
drives are appropriately set so that the peak input to the DSPXmini-AM matches its peak output.

F2 GENERAL
This preset is a one-size-fits-all preset and a good starting point for any format. Fair not excessive amount of
processing

F3 GENERAL HEAVY
A louder and more aggressive version of the General format. Aimed for more competitive sound.

F4 TALK
Optimised for talk radio and intelligibility. Works good for all talk based format.

F5 TALK HEAVY
A more louder and aggressive version of the Talk preset.

F6 NEWS
A preset optimised for news talk. Substantial amount of processing to maintain consistency and clarity.

F7 SPORTS
Designed for sports commentary. Gating configured to prevent crowd noise suck up and maintain intelligibility.

F8 MUSIC
A preset designed for clean and smooth music processing.

F9 MUSIC OPEN
A general music preset with medium amounts of compression and overall processing.

F10 MUSIC BRIGHT

A more brighter and slightly louder preset for music based formats.

F11 LOUD
The name says it all. This one is pushing the envelope while trying to mask and control distortion.

F12 CLASSICAL-JAZZ
A very light and conservative processing for fine art formats.

Factory Presets
30
Remote Control Of The DSPXmini-AM
In addition to the front panel LCD control system the DSPXmini-AM has a serial port and an ethernet/LAN port.
These allow remote control of the DSPXmini-AM through a remote application program running on a windows
based PC. The remote control program is available for download from www.bwbroadcast.com

The DSPXmini-AM can only to talk to the serial system (RS232) or the ethernet/LAN system at any point in time
so you will need to select which one of the two remote control methods you wish to use by selecting the appro-
priate option from the remote source parameter which is contained in the system menu accessible from the
DSPXmini-AM’s front panel.

If connecting via an ethernet connection you will need to set the IP address or Hostname that the DSPXmini-AM
is connected at and also include the PORT number that the DSPXmini-AM has been set to use. The default port
that BW use is 1203. You can leave it as is unless you have a reason to change it. Your network administrator
can help you with this.

Remote application

Serial port system

The serial port system consists of two serial ports, one on the front and the other on the rear panel. Only one of
the ports can be used at any one time and the active port can be selected from the front panel LCD control sys-
tem. The serial port selection parameter is located in the ‘SYSTEM’ menu.

Firmware (new versions of DSPXmini-AM code) will also need to be uploaded into the DSPXmini-AM via the
serial port system. The BW Broadcast development team have built the serial communications XMODEM pro-
tocol. Any standard terminal program will allow you to send an update file into the DSPXmini-AM via XMODEM
protocol.

CONTROL OF THE DSPXmini-AM BY RS232 (SERIAL)

If you wish to use the RS232 port to control the DSPXmini-AM follow the steps below
1. Connect the supplied serial cable to the rear RS232 port
2. Navigate to the ‘REMOTE SOURCE’ parameter (also in system) and select the serial option
3. Run the DSPXmini-AM remote application and you will be presented with a connection screen (see image).
Select the COM port on your computer that you have plugged the serial cable into
4. A password needs to be entered, regardless of password settings on the DSPXmini-AM itself. A password still
needs to be entered even if the passwords on the DSPXmini-AM have been disabled.
5. Click connect on the application and you should receive a ‘please wait’ box while the information is retrieved
from the DSPXmini-AM. Once connected you are then free to control the DSPXmini-AM with the remote appli-
cation. Further information on the remote application is contained on the following pages. If the DSPXmini-AM
remote application does not connect or disconnects after a few seconds then it could be that the password is
incorrect. The default password for the DSPXmini-AM is 3779. You are free to change these on the DSPXmini-
AM itself (see information on password control elsewhere in this manual)

Remote Control Application

31
 Remote application connection screen

NET/LAN PORT
The DSPXmini-AM is equipped with a NET/LAN port for ease of remote control, setup and monitoring.

CONTROL OF THE DSPXmini-AM BY THE NET/LAN PORT

If you wish to use the NET/LAN port to control the DSPXmini-AM follow the steps below
1. Connect a cat 5 cable to the RJ45 port on the DSPXmini-AM and plug this into your network hub/switch. A
Xover cable can be used to connect directly to a PC if you don’t have a switch or hub.
2. . Navigate to the ‘REMOTE SOURCE’ parameter contained in the system menu on the DSPXmini-AM and
select the Network option.
3. Run the DSPXmini-AM remote application and you will be presented with a connection screen (see below) .
Select the Ethernet option.
4. A password needs to be entered, regardless of password settings on the DSPXmini-AM itself. A password still
needs to be entered even if the passwords on the DSPXmini-AM have been disabled.
5. Click connect on the application and you should receive a ‘please wait’ box while the information is retrieved
from the DSPXmini-AM. Once connected you are then free to control the DSPXmini-AM with the remote appli-
cation. Further information on the remote application is contained on the following pages. If the DSPXmini-AM
remote application does not connect or disconnects after a few seconds then it could be that the password is
incorrect. The default password for the DSPXmini-AM is 3779. You are free to change these on the DSPXmini-
AM itself (see information on password control elsewhere in this manual)

PASSWORD ACCESS
The DSPXmini-AM contains two levels of password control, a high level password which blocks access to all
areas of the DSPXmini-AM and an ‘Output’ level password that allows access to all areas of the DSPXmini-AM
except the output menus that contain the output mode and level settings. The ‘Output’ level password could be
given to programme controllers to adjust the processing knowing that the transmission will remain compliant as
there is no way for the user to adjust the peak output level of the DSPXmini-AM.

These passwords can only be set from the DSPXmini-AM front panel and are located in the system menu.
The password box is located on the connection screen to the right of host and port input boxes.

The default (factory shipped) passwords for the two locks are ‘3779’. The remote application will always default
to this when it is run, unless you change it. Some users may find the output lock set to ‘0000’ Try this is 3779
does not let you access the output menus.

Remote Control Application

32
 Remote application connected

When the DSPXmini-AM is connected the LED’s will show activity and the main controls window should show
processing controls, depending on what option is selected on the menu tree located to the left of the screen.
The DSPXmini-AM remote control application has three windows. The left hand contains the navigation/preset
window. The top shows the LED metering while the bottom right contains the main controls window that is popu-
lated with the appropriate controls for the part of the processing that is selected in the menu tree.

At the top left of the application you have the menu/preset toggle buttons. These change the contents of the left
hand window from the DSPXmini-AM menu tree to the preset list.
The top right of the application contains the minimise and close icons, the connect / disconnect button and the
A/B buttons which will be covered shortly.

NAVIGATING THE PROCESSING STRUCTURE AND MAKING PROCESSING ADJUSTMENTS

Navigating through the processing structures of the DSPXmini-AM is very simple. When connected click the
menu button (top left) if not already depressed. You should then see the menu tree in the left hand window (see
above image).

You can now navigate through the menu tree and see the controls that are contained in that menu appear in the
main controls windows. The example above shows the controls that are contained in the input menu.
Changing the processing is as simple as adjusting the sliders and buttons.

WORKING WITH PRESETS
The DSPXmini-AM remote application makes it easy to load, save and change presets. Click the preset button
(top left) if not already depressed. You should then see the preset list in the left hand window (see image).

Understanding the preset list

The preset list contains all of the presets contained in the DSPXmini-AM. The user presets are prefixed U1 to
U8 and the factory presets from F1 onwards. You may need to use the scroll arrows to view all of them as they
won't all fit in the window at one time.

It is important that you understand the following terminology and how the various presets are displayed in the
window if you want to use the preset window correctly and efficiently.

The currently 'on air' preset is always marked in green.

The preset marked in green will also have a label appended to the preset name. This can be (DEF), (TR) and
(DP) and these stand for the default preset, daypart and triggered presets.

Remote Control Application

33
 Preset window shown

If you are not using dayparting or the external trigger port the default preset will always be the 'on air' preset and
it will be marked in the preset list with a (DEF) which appends to the preset name. If the scheduler (dayparting)
or the remote trigger interface has changed the preset the (DEF) marked preset may not be the one that is on
the air. There are two additional identifiers to mark these occurrences. (DP) for Daypart and (TR) for remote trig-
ger. If a daypart of trigger occurs the (TR) or (DP) will appear next to the name and the preset name will change
to green to indicate that it is 'on air' and has overridden the (DEF) default preset. When the daypart or trigger
finishes control will always return to the default (DEF) preset.

It is possible to have A (DEF)(TR)(DP) situation where a remote trigger forces 'on air' a user preset which has
also been triggered by a daypart and that preset happened to be the default preset. Unlikely but possible.

Various preset operations are possible including changing the default preset, saving a preset to a user preset
location, changing the name as well as PC file operations to backup or share presets with other DSPXmini-AM
users. To perform an operation you will need to select a preset by clicking on to the name in the list. This will
highlight the preset with a blue bar. This does not change the preset or affect anything on the air. All this blue
selection bar indicates if that this is the preset that we want to perform an operation on. We have two methods
of performing the operation on the preset. The first method is to click one of the icons at the bottom of the win-
dow. These are from left to right, Load preset, Save preset, Rename preset, Load from PC, Save to PC. The
other method is to right click over the preset where you will be presented with a drop down menu containing the
same options.

Load preset
Load preset will change the default preset to the one selected. This usually means that this preset will become
'on air'. The exception to this is when the default preset is being overridden by a daypart or remote trigger. In
this case the DSPXmini-AM will 'on air' the selected preset when the daypart or trigger hands back control to the
default preset.

Save preset
Save preset will save the current on-air preset to the highlighted user preset position. You can not write over a
factory preset.

Rename preset
Rename preset allows the user preset name to be edited. You are restricted to 15 characters.

Saving presets to PC
This option will pop up the standard windows save dialog box. You can select a file name and location for the
preset to be saved under. The preset that is saved is the currently highlighted (in blue) preset, not the one that is
currently 'on-air'.

Remote Control Application

34
Loading presets from a PC
This option will pop up the standard windows load dialog box. You can browse to and select a preset file to be
loaded into the DSPXmini-AM. The preset location that is loaded is the currently highlighted (in blue) preset, not
the one that is currently 'on-air' You can only load into a user preset.

Preset icons

SCHEDULING WITH THE REMOTE APPLICATION
Using the menu tree to change the processing is quite simple and really doesn't need a lot of explanation. The
scheduling screens that controls the dayparting may appear daunting so we are going to give you a quick guide
to using it.

There are three menu locations for controlling scheduling. The first location is shown in the screen shot below
and it contains the ON/OFF and time setting control. The two menu locations below it access two banks of four
dayparts which make up the 8 dayparts contained in the DSPXmini-AM.

Scheduling

On the daypart windows you have four dayparts. Each has three parameters. The left hand box contains the
name of the preset that you want this daypart to switch to. This box also has the ability to turn the daypart OFF

Remote Control Application

35
by clicking down on the arrows until you reach the off option. If off is currently selected you can click up to rotate
through the user and factory presets. The middle box contains the time and day that the daypart will start at. To
select day, hour or minute click on the appropriate part of the box before using the up and down arrows. The day
part of the time also has an ALL option. This means that the daypart will occur on every day. The right most box
contains the length of the daypart in hours and minutes. Like the start time of the daypart you will need to click
into the appropriate part of the box before clicking the up/down arrows.

Scheduling

The dayparts can be layered so that one can override another. Let's say the default preset was U1:MAIN
PRESET and this was on the air all of the time. We want to change the preset from 7AM to 10AM every day of
the week to F2:CHR and then from 10AM to 12PM we want U4:NEW PRESET and then back to F2:CHR until
5PM.

Rather than setup the dayparts as

DPO: F2:CHR - ALL 07:00 - 03:00 (factory preset 2 to run from 7am everyday for 3 hours)
DP1: U4:NEW PRESET - ALL 10:00 - 02:00 (user preset 4 to run from 10am everyday for 2 hours)
DP2: F2:CHR - ALL 12:00 - 05:00 (factory preset 2 to run from 12pm everyday for 5 hours)

We could instead setup the dayparts as

DPO: F2:CHR - ALL 07:00 - 10:00 (factory preset 2 to run from 7am everyday for 10 hours)
DP1: U4:NEW PRESET - ALL 10:00 - 02:00 (user preset 4 to run from 10am everyday for 2 hours)
which saves a daypart position.

By carefully selecting the default preset and overlaying dayparts we are able switch presets significantly more
than you first think you will be able to.

A/B COMPARISON FEATURE

The Remote application has two buttons labelled A and B that are located just below the connection button.
These buttons allow you to compare changes you have made to the processing against the saved preset. When
you load a preset the buttons should be greyed out but as soon as you make any processing changes these but-
tons will become active. By selecting the B button you can temporarily revert back to the saved preset. During
this time all the processing controls will grey out to indicate you are in a compare mode. To return to the settings
that you have been adjusting click the A button and the processing controls will ‘un-grey’ If at any time you want
to revert to the saved preset and lose your adjustement just reload the preset from the preset selection window.

The A/B feature makes it easy to build up your own presets by being able to easily compare before and after
processing adjustements. We hope you find it useful.

Remote Control Application

36
MITERS OUTPUT
HO LD

DSPXtra
0
-2 -1 REMOTE
-4 -2 UP
-6 -3
-8
-10
-4
-5 INPUT LOAD
PROCESS
-12 dB -6 AES/EBU
-14 -7
-16 -8
-18
-20
-22
-9
-10
-11 EDIT OUTPUT SAVE
-24 -12
4 5 6 -15

Remote Trigger Port

-18
L R

The system menu contains the remote trigger port option from where it can be enabled or disabled.

If enabled the remote trigger port on the processor allows you to select any of the first 8 user presets by pulling
one of 8 pins on the trigger port socket low. The rear panel trigger port socket is a 9 pin male D-type whose con-
nections are shown below.

Remote trigger port pin-out

5 4 3 2 1 PIN 1 user PRESET 4

PIN 2 user PRESET 3
PIN 3 user PRESET 2
PIN 4 user PRESET 1
9 8 7 6 pin 5 EARTH RETURN
PIN 6 user PRESET 8
PIN 7 user PRESET 7
PIN 8 user PRESET 6
PIN 9 user PRESET 5

The trigger port socket contains an earth return connection pin for the 8 opto-isolated trigger pins. When the
trigger pins are connected to the earth return pin they will change the currently active preset to the user preset
triggered by that pin. If more than one pin is pulled low at the same time the pin with the lowest number will take
priority. E.G. if all pins are pulled low trigger 1 will take priority. Once the trigger pin disconnects from the earth
return connection the processor will return processing to the normally active preset.

Relays, contact closures, open collector and other hard wiring arrangements can be used to perform the appro-
priate connection between the trigger port pin and the earth return pin.

If you wish to trigger a factory preset you will need to copy that factory preset to a user preset first.

Remote Trigger Port

37
Security Code Locks
The system menu contains the security code lock options from where they can be enabled or disabled.

The DSPXmini-AM has two code locks, the main full lock and the output lock. When enabled the full code lock
prevents editing of the DSPXmini-AM parameters. When enabled the output lock restricts access to the output
menu section of the DSPXmini-AM. This is useful when you want to stop someone from being able to adjust
peak output levels which could cause your broadcast to be non-compliant with your regulatory bodies transmis-
sion specs. For example you may not want a programme director to be able to adjust the multiplex level into a
transmitter but you do want them to be able to adjust the processing.

The security code locks if enabled will engage after 4 minutes of no activity on the front panel control system.
This time has been chosen as a compromise between having the system lock you out when adjusting process-
ing parameters and a short enough period of time to lock the unit after you walk away from the DSPXmini-AM.

The DSPXmini-AM is factory shipped with the factory default lock codes of 3779. Some users may find that the
output lock is set to a default of ‘0000’ so try this if you cant access the output menus with 3779.

Enabling the security code lock feature: Navigate to the system menu and set the code lock option to ena-
bled. Confirm the current password. The lock will engage after four minutes of no front panel control system
activity.

Disabling the security code lock feature: Navigate to the system menu and set the code lock option to ‘disa-
bled’. Confirm the current password.

Changing the lock codes: Once locked the DSPXmini-AM will not allow processing adjustments (or access
to the output menu). The lock code can be entered with the use of the rotary encoder and the GO soft key can
be pressedLOAD PRESETentry and proceed.
to confirm UP If unsuccessful you will be required to try again. If successful the DSPXmini
ENTER PASSCODE INS
DSPXmini-AM
U1=BASS FACEwill allow you to (A)
re-confirm the code or change it. This is where you may want to change the fac-
tory U2=ROUND
default code FACE
if you have not already done so. The soft keys will allow you to confirm the change DELor accept
INPUT
PROCESS
the previous code and
U3=CLASSICAL 3 the DSPXmini-AM
LOAD should then be unlocked.
DONE OUTPUT
SAVE PRESET
ENTER PASSCODE UP
INS DSPXmini ENTER NEW PASSCODEUP INS
U1=BASS FACE (A)
INPUT
U2=ROUND FACE PROCESS 3779
DEL LOAD DEL
U3=CLASSICAL 3 GO
DONE OUTPUT SAVE DONE

NAME PRESET
Entering U2 code
the pass INS Confirming or changing the pass code
ENTER NEW PASSCODE INS

MY PRESET 3
3779
DEL
DEL
Forgotten DSPXmini-AM lock code: DONE
Contact DSPXmini-AM support and request DONE the procedure to reset the DSPXmini-AM lock code back to factory
default. In resetting the DSPXmini-AM code lock you will also wipe clean your user presets. We recommend that
you export (back-up) your user presets to be on the safe side.

The easiest thing is not to forget the unlock code or to leave it at factory default. The factory default code is easy
to remember, just punch in the first four letters of your favourite audio processor on a telephone keypad.
REMOTE
DSPXmini
INPUT
PROCESS
AES/EBU

EDIT OUTPUT
REMOTE
DSPXmini UP
INPUT LOAD
PROCESS
AES/EBU

EDIT OUTPUT SAVE

Security Code Locks

38
Clock Based Control (Dayparting)
Your processor contains a battery backed up real time clock that can maintain the current time and date even
when the power has been removed. This allows users to switch between presets at specific times of the day or
week. This is very useful on a multi-format radio station where one processing preset may not suit all of the for-
mats of music that are broadcast.

The easiest way to control the dayparting is with the remote control application which is described elsewhere in
this manual but the use through the front panel menu system is described here.

The schedule menu contains the following options:

The TIME
Daypart ON/OFF control
Dayparts 1-4
Dayparts 5-8

Setting the time (the processor's system clock)

Setting the time is quite simple. Select the Day, Hour, Minute or Seconds and rotate the Knob until you get to
the desired setting. The Seconds can not be adjusted, only reset to 0 seconds as the knob is rotated.

There is also a clock calibration parameter, which allows a +/- 3 second correction factor to be applied at mid-
night each day to account for real time clock inaccuracies.

Daypart ON/OFF enables or disables the dayparting.

The dayparts 1-4 and 5-8 options drop you down into two further menus. Each containing four dayparts.
For each daypart you can enable or disable it and with the same control set the preset to switch to when the
daypart triggers (when the daypart start time matches the system clock).

You can also set the start time (trigger) of each daypart and set the length that the daypart shall be (the time the
trigger shall remain in force). The start time has a day option and this can be set to ALL which would mean that
the daypart would trigger every day at the specified time. If the length is set so that the trigger will carry across
midnight then the trigger will stop at midnight. TRIGGERS DO NOT CARRY ACROSS DAYS.

The dayparts can be layered so that one can override another. Let's say the default preset was U1:MAIN
PRESET and this was on the air all of the time. We want to change the preset from 7AM to 10AM every day of
the week to F2:CHR and then from 10AM to 12PM we want U4:NEW PRESET and then back to F2:CHR until
5PM.

Rather than setup the dayparts as

DPO: F2:CHR - ALL 07:00 - 03:00 (factory preset 2 to run from 7AM everyday for 3 hours)
DP1: U4:NEW PRESET - ALL 10:00 - 02:00 (user preset 4 to run from 10am everyday for 2 hours)
DP2: F2:CHR - ALL 12:00 - 05:00 (factory preset 2 to run from 12pm everyday for 5 hours)

We could instead setup the dayparts as

DPO: F2:CHR - ALL 07:00 - 10:00 (factory preset 2 to run from 7AM everyday for 10 hours)
DP1: U4:NEW PRESET - ALL 10:00 - 02:00 (user preset 4 to run from 10am everyday for 2 hours)
which saves a daypart position.

By carefully selecting the default preset and overlaying dayparts we are able switch presets significantly more
than you first think you will be able to.

Clock Based Control (Dayparting)

39
Specifications

Specifications apply for measurements from analog left/right input to the analog left/right output. Measurements
apply to AM mode of operation.

Frequency Response (Bypass Mode): ±0.10 dB, 2.0 Hz–10 kHz or as set with an adjustable low-pass filter.

Noise: Output noise floor will depend upon on the processor settings. The maximum dynamic range is deter-
mined by the dynamic range of the A/D Converter, which is 107 dB. The dynamic range of the digital signal
processing is 144 dB.

Processing Sample Rate: 48 kHz - 768 kHz depending on the processing stage.

Processing Resolution: Internal processing has 24 bit (fixed point) or higher resolution.

Low pass filter: 4.0, 4.5, 5.0, 5.5, 6.0, 6.5, 7.0, 7.5, 8.0, 8.5, 9.0, 9.5 or 10.0 kHz, user adjustable. The proces-
sor can be set up to comply with all ITU-R and NRSC spectrum masks.

High pass filter: 2nd order Butterworth, adjustable to 20, 30, 40, 50 or 60 Hz.

Analog Audio Input

Configuration: Stereo or mono from left, mono from right or mono from sum.
Impedance: >10k, load impedance, electronically balanced.
Nominal Input Level: Software adjustable from 0 dBu to +24 dBu peak.
Maximum Input Level: +24 dBu
Connectors: XLR female. Pin 1 chassis ground, pins 2 (+) and 3 (-) electronically balanced, floating and
symmetrical.
A/D Conversion: 48 kHz 24 bit 128x oversampled delta sigma converter with linear-phase anti-aliasing filter.
Filtering: RFI filtered.

Analog Audio Output

Configuration: Stereo
Source Impedance: 10 Ohm, electronically balanced and floating.
Load Impedance: 600 Ohm or greater, balanced or unbalanced.
Output Level (100% peak modulation): Adjustable from –22 dBu to +14 dBu peak, into 600 Ohms or great-
er load.
Signal-to-Noise: >= 90 dB unweighted (bypass mode, 20 Hz–10 kHz bandwidth, referenced to 100% modu-
lation).
L / R Crosstalk: <= –70 dB, 20 Hz–10 kHz.
Distortion: <= 0.01% THD (bypass mode, 20 Hz–10 kHz bandwidth)
Connectors: XLR male. Pin 1 chassis ground, pins 2 (+) and 3 (-) electronically balanced, floating and sym-
metrical.
D/A Conversion: 48 kHz 24 bit 128x oversampled
Filtering: RFI filtered.

Digital Audio Input

Configuration: AES/EBU Stereo, 24 bit resolution, software selection of stereo or mono from left, mono from
right or mono from sum.
Sampling Rate: 32, 44.1, 48, 88.2, or 96 kHz, automatically selected.
Connector: XLR female. Pin 1 chassis ground, pins 2 and 3 transformer balanced and floating, 110 ohm
impedance.
Filtering: RFI filtered.

Digital Audio Output

Configuration: Stereo per AES/EBU standard

Sample Rate: Internal free running at 32, 44.1 or 48 KHz selected in software. Can also be synced to the
AES/EBU digital input at 32, 44.1 or 48 kHz.
Connector: XLR-type. Pin 1 chassis ground, pins 2 and 3 transformer balanced and floating, 110 ohm
impedance.

Specifications
40
 Output Level (100% peak modulation): –12.0 to 0.0 dBfs software controlled.
Filtering: RFI filtered.

Remote Control

Configuration: Serial communication over TCP/IP network or direct serial connection. Serial cable sup-
plied with the unit.
USB Port: B type connector (front panel)
Serial Port: DB9 (rear panel) 19200 kbps, RFI supressed
Ethernet Port: 10 Mbit/sec on RJ45 female connector, RFI supressed
Remote Control (trigger port): DB9 opto-isolated and floating. Eight pull low inputs.

Other

Voltage: 100–240 VAC, 50–60 Hz, 25 VA.

Connector: IEC, detachable 3-wire power cord supplied, RFI supressed.
Grounding: Circuit ground is independent of chassis ground, and can be isolated or connected with a
rear panel switch.
Dimensions (W x H x D): 44mm x 482mm x 200mm / 1.7 in x 19 in x 7,9 in (1U rack height)
Shipping weight: 4.5 kg / 9 lbs

Specifications
41
 DSPXmini-AM v101 preset sheet

Preset 1 Preset 2 Preset 3 Preset 4

INPUT
SOURCE
ANALOG LEVEL dBu dBu dBu dBu
RIGHT TRIM dB dB dB dB
INPUT MODE
HPF Hz Hz Hz Hz

PROCESS

EQ
BASS PEAK GAIN dB dB dB dB
BASS PEAK FREQ Hz Hz Hz Hz
BASS PEAK Q
HF SHAPE
HF GAIN dB dB dB dB

BAND 1
DRIVE dB dB dB dB
ATTACK
DECAY
GATE dB dB dB dB

BAND 
DRIVE dB dB dB dB
ATTACK
DECAY
GATE dB dB dB dB

BAND 
DRIVE dB dB dB dB
ATTACK
DECAY
GATE dB dB dB dB

BAND 
DRIVE dB dB dB dB
ATTACK
DECAY
GATE dB dB dB dB

MB LIMITER
MASTER DRIVE dB dB dB dB

BAND 1
DRIVE dB dB dB dB
PEAK ATTACK
PEAK DECAY
AVERAGE ATTACK
AVERAGE DECAY

BAND 
DRIVE dB dB dB dB
PEAK ATTACK
PEAK DECAY
AVERAGE ATTACK
AVERAGE DECAY

BAND 
DRIVE dB dB dB dB
PEAK ATTACK
PEAK DECAY
AVERAGE ATTACK
AVERAGE DECAY

BAND 
DRIVE dB dB dB dB
PEAK ATTACK
PEAK DECAY
COUPLING B>B
HF CLIPPING

MIXER
B1 MIX LEVEL dB dB dB dB
B MIX LEVEL dB dB dB dB
B MIX LEVEL dB dB dB dB

Preset Sheet
42
 B MIX LEVEL dB dB dB dB

CLIPPER
BASS CLIP LEVEL dB dB dB dB
MAIN CLIP DIST CTRL
FINESSE
HARDNESS
MAIN CLIP DRIVE dB dB dB dB

OUTPUT

LOW PASS FILTER kHz kHz kHz kHz

TILT EQ dB dB dB dB
TILT FREQ Hz Hz Hz Hz
ASYMMETRY % % % %
POLARITY

Preset Sheet
43
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