Aphex-2020-545250 Aphex Compellor 2020

Web Version
Aphex Model 2020

FM Pro
Operating & Service Manual
Manufactured By
Aphex Systems Ltd.
11068 Randall St.
Sun Valley, California 91352
U. S. A.
The Model 2020 is protected under one or more of the following U. S. Patents:
5,930,374 5,612,612 5,424,488 5,115,471

5,898,395 5,485,077 5,422,602 4,939,471
5,896,458 5,483,600 5,359,665 4,843,626
5,848,167 5,463,695 5,334,947 4,633,501
5,737,432 5,450,034 5,155,769 4,578,648
Copyright 1995-2000 Aphex Systems Ltd. All rights reserved.
All Aphex product names are trademarks or registered trademarks of Aphex Systems Ltd. Other brand and
product names mentioned within the manual are trademarks of their respective owners.
Updates to this manual and other important information about the Model 2020 may be found at:
http://www.aphex.com
Model 2020 FM Pro Audio Processor Page C-1

Web Version FM Pro Quick Setup Guide
Notice
Following this guide will get you up and running but without much understanding of what
you are doing. We highly recommend at least a minimal study of the manual. It is written
for fast and easy reading.
Once the unit is installed, here’s the proce- All menus branch from the Main menu. Each
dure to get your FM Pro operating properly menu may have one or more sub menus. The
using a factory preset. You can later create menu tree is so logical and easy to discover
your own presets if you wish. that within a few minutes you will be very
comfortable with it.
Step 1, Understanding The Menus. The
escape key backs you out of menus and Step, Setting Up Globals. Go to the process-
commitments. It continuously takes you back- ing menu, and, by navigating through the
wards towards the Main menu. The enter key submenus, set up the "Global Parameters" to
selects menu items and makes commitments match your system’s operating requirements.
such as save and recall. The up and down The menus will state that a feature is unavail-
cursers generally move the menu pointer while able if the associated option is not installed
the left and right cursors generally flip through in the FM Pro.
multiple menu pages. The Spin dial acts
as an adjustment control to set menu values. Important: Once the Globals are set, save to
the Global preset, U01, by going to the “Save
Preset” menu.
The Global Parameters Step 3, Select A Preset. There are

A. Processing Menu, Input/Output Menu pages 1,2,3 8 factory presets designed for various
Input reference level programming formats. Chose one that
Peak output level approximately matches your station’s
Unit bypass on/off format. If you are not sure, chose “Big
20Hz High Pass Filter on/off Country” as a moderately aggressive
16.5kHz Low Pass Filter on/off starter. If you want to really risk it,
Spectral Phase Refractor (SPR) on/off
chose “CHR” and get a very loud and
Stereo Insert on/off
Input Source: A or D
intense air sound.
Output: A, D, or A&D
B. Processing Menu, Pre-emphasis Limiter Menu Step 4, Adjust The Output Level.
Pre-emphasis filter, 50 or 75 microsecond While sending program audio to the
De-emphasis on/off FM Pro, adjust the analog line output
C. Processing Menu, Stereo Generator Menu pages 1,2 (Input/Output menu) for the required
Pilot Mix percentage peak output level. If you are using
Pilot on/off the PPDM multiplex option, adjust the
Input mode: Stereo, Mono (L, R or L+R) multiplex output level (back panel trim)
Mono Mode 90% or 100%
for 100% peak modulation of your
D. Processing Menu, AES Status
Transmit rate: Slave, 32, 44.1, or 48kHz
transmitter.
That’s It!
Model 2020 FM Pro Audio Processor Page C-2

Web Version 1.0 Table of Contents
2.0 Product Description
2.1 The FM Pro Story
2.2 Description
2.3 Applications
2.4 Table of Options
2.5 Feature List
3.0 The User Interface

3.1 Metering and Status
3.1.1 Input Meter
3.1.2 Leveling Meter
3.1.3 Multiband Compressor
3.1.4 Limiter
3.1.5 Status Indicators
3.1.5.1 16.5 KHz Lowpass Filter
3.1.5.2 20Hz Highpass Filter
3.1.5.3 75 uSec Indicator
3.1.5.4 SPR
3.1.5.5- HF Limiter
3.1.5.6 Analog In
3.1.5.7 Digital In (Optional)
3.1.5.8 Data Present
3.1.5.9 DVG
3.1.5.10 Sil. Gate (Silence Gate)
3.1.5.11 Lvl. Stic. (Sticky Leveler)
3.1.6 Multiband Coupling
3.1.6.1 L><R Hard
3.1.6.2 L><R Elast. (L><R Elastic)
3.1.6.3 1><2
3.1.6.4 2><3
3.1.6.5 3><4
3.1.7 Output Status LEDs
3.1.7.1 Analog
3.1.7.2 Digital
3.1.7.3 Bypass
3.1.8 LCD Display
3.2 Front Panel Controls
3.2.1 Spin Dial
3.2.2 Navigation (Cursor) Buttons
3.2.3 Esc (No), Enter (Yes)
3.2.4 Input, Output Monitor
4.0 Navigating The Menus

4.1 Introduction To The Menu Display
4.2 Menu Display Features
4.2.1 Header
4.2.2 Menu Selections
4.2.3 Footer
4.3 Display Sleeping Mode
Model 2020 FM Pro Audio Processor Page 1-1

Web Version 1.0 Table Of Contents
4.4 Password Security Page
4.5 Main Menu Page 1 of 2
4.5.1 Password Menu
4.5.1.1 Edit Password
4.5.1.2 View Password
4.5.1.3 Log in
4.5.1.4 Log out
4.5.2 Presets
4.5.2.1 Recall Preset
4.5.2.2 Save Preset
4.5.2.3 View list
4.5.2.4 Day Parting
4.5.2.4.1 Edit Day Parting
4.5.2.4.2 View parting
4.5.3 Processing
4.5.3.1 Processing Menu Page One
4.5.3.1.1 Input/Output Menu
4.5.3.1.2 Leveler/Gate Menu
4.5.3.1.3 Multiband Compressor Menu
4.5.3.1.4 Limiter/Bass Menu
4.5.3.2 Processing Menu Page Two
4.5.3.2.1 Preemp-Limiter Menu
4.5.3.2.2 Stereo Generator Menu
4.5.3.2.3 AES Status Menu
4.5.3.2.4 More or Less! Menu
4.5.4 Remote Link
4.6.1 Set Unit Time Menu
4.6.2 Display Mode Menu
4.6.3 Options Page
4.6.4 Unit Info Page
5.0 Detailed Audio Processing Description

5.1 Processing Overview
5.2 Generalized Processing Structure
5.3.1 Input Selection
5.3.2 Filters
5.3.2.1 20Hz Highpass Filter
5.3.2.2 16.5KHz Lowpass Filter
5.2.2.3 Spectral Phase Refractor (SPR)
5.3.2.4 Pre-emphasis Assist Equalizer
5.4 Frequency Discriminate Leveler (FDL)
5.4.1 Silence Gate
5.4.2 Dynamic Verification Gate DVG
5.4.3 Sticky Leveling
5.4.4 Jump Ahead
5.4.5 Attenuation Lock
5.4.6 Gain Lock
5.4.7 Leveling Rate Control
5.4.8 Frequency Discrimination
5.5 Insert Loop

5.6 The Multiband Compressor
5.6.1 Post Crossover Method
5.6.2 Wave Dependent Compression (WDC)
5.6.3 Peak Accelerated Compression (PAC)
5.6.4 Adjustable Crossovers (Band Filters)
5.6.5 Output Mixing
5.6.6 Adjustable Release Timing
5.6.7 Band Coupling
5.6.8 Stereo Coupling
5.6.9 The VCA Technology
5.7 Split Band Bass Processor/Limiter
5.7.1 Warm Bass Equalizer
5.7.2 Sub Bass Equalizer
5.7.3 Phase Coherent Crossover
5.7.4 Split Band Clipper (SBC)
5.8 Brightness Processor
5.9 Pre-emphasis Limiter
5.10 PPDM Stereo Generator
5.11 Digital I/O Module
6.0 Setting Up Processing

6.1 Steps In Setting Up
6.2 Targeting Processing Goals
6.3 Create the Global Preset
6.4 Select A Factory Preset
6.5 Adjusting the Processing
6.6 Leveling
6.6.1 Control Locks
6.6.2 DVG
6.6.3 Sticky Leveler
6.6.4 Silence Gate
6.6.5 Leveling Rate
6.7 Multiband Compression
6.7.1 Crossovers
6.7.2 Multiband Drive
6.7.3 Band Release
6.7.4 Band Mix
6.7.5 Band Coupling
6.8 Peak Limiting
6.9 Bass Enhancement
6.10 Brightness Enhancement
6.11 Pre-emphasis Limiting
6.12 Save Your Preset
6.13 Tutorial: A “HOW TO” Experience
7.0 All About Presets

7.1 What Are Presets?

7.2 What You Can Do With Presets
7.2.1 Recalling Presets
7.2.2 Saving Presets
7.2.3 Viewing Presets
7.2.4 Day-Part Scheduling
7.3 The Auto Save Feature
7.4 Do I Really Need To Create Presets?
7.5 Classes Of Presets
7.5.1 Factory Presets
7.5.2 User Presets
7.5.3 Global Preset
7.6 Tutorial--Building And Using Presets
7.6.1 Menu Navigation
7.6.2 Recalling A Preset
7.6.3 Saving A Preset (and making the global preset)
7.6.4 Day Parting (F4)
7.7 Summary
8.0 Password Security System

8.1 Why A Security System?
8.2 Log-in Access
8.3 Logging Out
8.3.1 Manual Log Out
8.3.2 Auto Lock Out
8.4 Auto Save
8.5 Password Enabling
8.5.1 Software Password Enabling
8.5.2 Hardware Password Enabling
8.6 Access With Lost Password
8.6.1 Clearing The Password Memory
8.7 Setting The Password
8.8 Clearing The Password
9.0 Using Digital Audio

9.1 Connecting AES/EBU Lines
9.1.1 Cable Pinout
9.2 AES/EBU Synchronization
9.3 Digital-To-Analog Conversion
9.4 Auto Source
9.5 Digital Output
9.6 Facts About Digital Audio, Bit Rate Reduction and Dynamics Processing
10.0 Using Multiplex

10.1 Stereo Generator Option
10.2 The Stereo Generator Menus

10.3 Presets Memory
10.4 Mode Settings
10.4.1 Mono Modes
10.4.2 Stereo Mode
10.5 Pilot Function
10.6 Multiplex Output
10.7 Multiplex Cable Connections
10.8 Modulation Overshoot Problems
10.8.1 STL Problems
10.8.2 FM Exciter Problems
10.8.3 Composite Clippers
10.9 Using RDS Encoders
11. Remote Operation

11.1 Hardware Requirements
11.2 Software Installation
11.3 Cable Wiring
11.3.1 Direct Connection
11.3.2 Modem Connections
11.3.2.1 Modem To FM Pro
11.3.2.2 PC To Modem
11.4 Operation By Modem
11.4.1 Usable Modem Types
11.4.2 Modem In The Windows Operating System
11.4.3 Modem Installation Procedure
11.4.4 Troubleshooting The Modem
11.4.5 Compatibility Issues
11.5 The PC Remote Control Main Form
11.5.1 Link Status
11.5.2 Transmit Speed
11.5.3 Receive Speed
11.6 Port Direct Linking
11.6.1 A Note On Day Parting
11.7 Modem Linking
11.8 Using The Remote Control Panel
11.9 Dealing With Presets
11.9.1 Recall Preset
11.9.2 Save Preset
11.10 The View Menu
12. Product Specifications

12.1 Getting Meaningful Numbers
12.2 FM Pro Setup
12.3 Test Equipment Connections
12.4 The Specifications
12.4.1 General Analog
12.4.2 Analog Input

12.4.3 Analog Line Outputs
12.4.4 Digital Inlut
12.4.5 Digital Output
12.4.6 Composite Baseband Output
12.4.7 Remote Control Interface
12.4.9 Physical
12.4.10 Environmental
13. Test & Calibration
14. Installation Instructions

14.1 Unpacking
14.2 Damage & Claims
14.3 Mains Voltage and Fuses
14.4 Power Cord
14.6 Mounting In A Rack
14.6 Proper Ventillation
14.7 Safety Considerations
14.8 Analog Balanced I/O
14.8.1 Standard Wiring
14.8.2 Main Input Wiring
14.8.3 Main Output Wiring
14.8.4 Insert Loop I/O Connections
14.9 Digital Audio I/O
14.11 RS-232 Connector
14.12 Summary
15. Schematics
16. Parts List
17. Service & Warranty Information

17.1 Obtaining Service For The FM Pro
17.2 Warranty Claims
17.3 What Is Covered
18. Web Broadcasting Applications

18.1 Why Process the Audio?
18.2 Basics of Processing
18.2.1 Leveling
18.2.2 Peak Limiting
18.2.3 Designing the Sound
18.3 Getting the Best Processing

18.4 Digital Versus Analog Processing
18.5 How to Use the Model 2020
18.5.1 Set the Input Level
18.5.2 Set the Output Level
18.5.3 Set Up the Processing
18.6 Bit Rate Effects

Web Version 2.0 Product Description
2.1 The FM Pro Story
Aphex entered the world of broadcast audio pro- designer’s palette allowing you to paint a truly
cessing with the Type II Aural Exciter in 1981. unique and competitive on-air sound. Don’t be
Since then Aphex has continued developing lead- misled, however, the FM Pro can just as well be set
ing broadcast audio products. The Compellor up to sound as neutral and transparent as desired.
became and remains the world standard automatic
level controller. The Dominator became the world Modular design makes the FM Pro space-saving
standard multiband peak limiter. The Digicoder, and cost efficient compared to other processors.
the only patented stereo generator technology, took Plug-in options are easily field installed and can
its place as the world’s best stereo generator. be shipped to specification. Sixteen recallable user
Together the Compellor, Dominator, Aural Exciter, presets are provided for manual selection or day-
and Digicoder comprise the Aphex Audiophile Air part automation. For convenience, eight factory
Chain which has gained worldwide recognition presets covering a variety of formats are built-in
as the premiere FM audio processing system for to get you up and running quickly. Day-part
transparent, lifelike transmission of sound. World- automation is completely self-contained and driven
wide, many leading broadcast institutions have by an accurate internal clock/calendar timer. Front
adopted these Aphex products as their technical panel operation is made easy and intuitive through
standard and continue to employ them exclusively the logical menu tree. An RS232 port permits
in high grade radio and television network sys- remote control and monitoring of the FM Pro from
tems. almost any location through the use of a standard
personal computer and a serial cable or modem.
As proud as we are of the Audiophile Air Chain A simple but effective supervised password system
and what it achieves in its sonic purity, we realize can be engaged to maintain security over the FM
many broadcast applications demand something Pro’s operation. Fail-safe operation is assured
else. For example, a need exists to literally design by a power-off internal relay bypass of both the
the sound of a radio station, i.e., to generate a analog and digital audio I/O circuits. Power-up fast
unique and competitive air sound intentionally recovery gets the FM Pro back on line with all
modified in certain ways. Also, the processor programmable parameters set correctly and operat-
may be required to operate directly within a ing in just a few tenths of a second. The front panel
digital audio path. Furthermore, there is a demand displays are more than token indicators. They
for programmability, remote control, and day-part indicate the actual operation of all major process
automation. We developed the FM Pro to fulfill functions in real time.
all these needs and more. Naturally, we borrowed
upon many of the proven and exclusive Aphex 2.3 Applications
patented circuits to achieve a technically excellent The flexibility of the Aphex FM Pro makes it
design, but while we were at it we invented at least suitable for nearly every FM broadcasting entity
six additional new and innovative audio process- from government owned to purely commercial.
ing concepts giving the FM Pro truly advanced Whether your audio system contains analog, digital
capabilities and performance. or both formats, the FM Pro can be configured to fit
in perfectly. Fully adjustable parameters allow you
2.2 Description to optimize the FM Pro for any program format:
The FM Pro is not just a boxed-up combination classical music, talk, even heavy metal. Automated
of prior Aphex products. It is a totally new transformation of processing parameters by the day,
and advanced audio processing system tailored hour, and minute allow radio stations with varying
especially to the demands of FM broadcasting. formats to tailor the FM Pro exactly as required for
Competition ready, the FM Pro is completely each day-part. Although the FM Pro is intended
adjustable from detailed and neutral to heavy and mainly for FM broadcasting, it will find many
loud. Thanks to the numerous design innovations, interesting applications in other fields where abso-
even at extreme settings exceptional audio quality lute audio control and flexible sound tailoring are
is maintained. Unlike the competing digital or desired. Digital and analog mastering, recording,
analog audio processors which afford relatively satellite uplinks, and amplified sound are just a
little flexibility, the FM Pro is a virtually sound few examples.

Web Version 2.0 Product Description
2.4 FM Pro OPTIONS
Analog Analog PPDM

AES/EBU Pre-Emp
Stereo Stereo MPX
I/O Limiter
Input Output Output
Basic X X
Option 1 X X X
Option 2 X X X
Option 3 X X X X
2.5 FUNCTIONS AND FEATURES
1. Analog and Digital Stereo Inputs 9. Optional Digicoder stereo generator module
2. Input processing functions a. Digicoder type PPDM stereo generator
a. 20Hz Highpass Filter b. Analog multiplex output
b. 16.5KHz lowpass filter c. stereo/mono mode switching
c. SPR process d. Pilot on/off
d. Selectable external processing loop patch e. trimmable multiplex output level
3. Frequency Discriminate Leveler 10. Digital remote control
a. Improved parametric controls a. RS232 digital interface
b. New “sticky” leveling feature b. Windows 3.1 or 95 virtual control panel software
c. Selectable patented “DVG” c. Complete operating capabilities
d. Selectable silence gate d. Complete visual real time meter displays
e. Adjustable silence gate threshold e. Password security options
f. Adjustable AGC upper and lower control limits 11. Front panel user interface
4. Multiband compressor a. LCD graphics panel display
a. 4-bands b. Password security features
b. adjustable crossover frequencies c. Rotary encoder knob
c. Easyrider compression d. Up/Down, L/R cursor buttons
d. “Peak Accelerated Compression” (PAC) algorithm e. Menu selection system
e. Band-by-band stereo elastic coupling f. Real time LED bargraph meters for:
f. Band-to-band forward elastic coupling 1. Leveling
g. Adjustable compression drive 2. 4-band compression
h. Separate adjustable release time per band 3. Limiting
i. Selectable stereo hard coupling 4. Stereo input VU
j. Compression drive control g. Real time LED indicators for:
k. Output band mixing facility 1. 16.5KHz Lowpass
l. New “post crossover” multiband technique 2. 20Hz Highpass
m. High or Low selectable ratio 3. 50/75uS Pre-emphasis
5. Bass Processor 4. SPR
a. Distortion canceled bass clipper 5. Analog In selected
b. “Warm bass” equalizer 6. Digital in selected
c. “Sub Bass” equalizer 7. Digital data presence
d. Total “Bass Mix” control 8. DVG
6. Peak Limiter 9. Sticky on/off
a. Bass interactive to reduce intermod distortion 10. Silence gate
b. Instant processing, i.e., no pumping 11. L><R hard couple
c. Zero overshoot 12. L><R elastic couple
d. Master drive control configures loudness factors 13. 1><2 couple
7. Optional pre-emphasis processor 14. 2><3 couple
a. Special 50 or 75 microsecond pre-emphasis filter 15. 3><4 couple
b. Digicoder type pre-emphasis limiter 16. Analog output presence
c. Digicoder type non-overshoot final lowpass filters 17. Digital output presence
d. Output ready for any stereo generator 18. Bypass on/off
8. Optional digital I/O module h. Headphone monitor selector
a. AES/EBU format up to 20 bits 1. Monitor input signal & volume
b. Selectable output sample rate: 32K, 44.1K, 48K 2. Monitor output signal & volume
c. Auto “lock on” for input rates of 32K, 44.1K or 48K
d. Input and output sample rates separately selectable

Web Version 3.0 The User Interface
Figure 3-1 illustrates the front panel features of the 3.1.3 Multiband Compressor
FM Pro. You may refer to that diagram for a quick Four green 10-segment bargraph meters labeled
summary of all available controls and indicators. “Low”, ”Mid 1”, “Mid 2”, and “High” indicate
The following description, taken in conjunction the amount of gain reduction taking place in each
with the diagram, will give you a very good of the four compression frequency bands up to a
understanding of all the features and controls, their maximum of 15dB. Since the multiband compres-
purpose and use. sor is a two-channel process, 8 meters would ordi-
narily be required to display all bands. For con-
3.1 Metering and Status venience, however, the front panel meters merge
While other processors provide only drab, jittery, the dual channel indications into one set of four
and inaccurate LCD meter displays and tell the displays. Each band meter displays the greater
status of structural functions only on buried menu amount of gain reduction of the left and right
pages, the FM Pro provides the user with colorful channel at all times.
front panel metering that is true and easy to read.
The major dynamic processes are metered by real- Note: All multiband compression parameters are
time LED bar graph displays while the on/off controlled in the control menu under Processing,
status of static functions are indicated by single Multiband.
LED’s. The state of all major functions of the FM
Pro can therefore be observed at any time with one 3.1.4 Limiter
one glance at the front panel. The Limiting meter is a red dot-mode 10-segment
display that indicates the amount of peak limiting
Following is a more detailed description of all the occurring in the limiter/bass processor circuit after
panel indicators. the multiband compression. This is separate from
and does not display any pre-emphasis limiting that
3.1.1 Input Meter takes place when the pre-emphasis limiter option
Two yellow 10-segment bargraph meters are pro- is used. The scale is from 1 dB of limiting to 10
vided to indicate the stereo audio input level rela- dB of limiting in 1 dB steps.
tive to the current input reference setting. The scale
indicates from -18dB to +9dB in 3dB steps. Note: Limiter parameters are controlled in the
users menu under Processing, Limiter/bass.
Note: The input reference level is adjusted in the
Processing I/O menu. Left and Right inputs are 3.1.5 Status Indicators
adjusted in tandem with one control in software. Individual LED’s indicate the status of principal
For analog inputs, set the input reference level processing functions other than functions indicated
to cause a program reference tone to read by the 8 bar graph meters. A more detailed descrip-
zero VU. The digital audio input automatically tion of these functions follows.
sets the 0VU reference to 10dB below digital
maximum peak reference. 3.1.5.1 16.5 KHz Lowpass Filter
3.1.2 Leveling Meter This is a member of the input pre-processing group

of filters. You can invoke this filter to clean up
This red dot-mode 10-segment meter indicates the unwanted high frequency noise which may have
amount of automatic gain correction that is created resulted from interference in the STL path, or other
by the leveler. The leveler gain control is applied source. It is not related to the 15KHz lowpass
equally to both audio channels. The scale indicates filters associated with the stereo generator. This
up to 15 dB of gain addition, and 7.5 dB of gain filter works on both the analog and digital audio
reduction. The amount of activity that is seen in inputs.
this meter will vary widely depending on program
material and the settings of the leveler/gate param- Note: Control of the 16.5KHz Lowpass Filter is
eters. located in Processing, Input/Output menu.
Note: Control for the Leveling function is locat- 3.1.5.2 20Hz Highpass Filter
ed in the Processing, Leveler/Gate section of the
control menu. This is another member of the input pre-processing

group of filters. You can invoke this filter to clean 3.1.5 Digital In (Optional)
up unwanted rumble or subsonic noise which may Indicates if the audio input is set to digital (versus
be encountered. It is not related to the 15KHz analog). Digital input is part of the digital audio
lowpass filters associated with the stereo generator. option and is available only when the option
This filter works on both the analog and digital is installed. If the digital audio option is not
audio inputs. installed, this light stays dark and the Analog In
light remains lit.
Note: Control of the 20Hz Highpass Filter is
located in the Processing, Input/output menu. Note: Selection of the analog or digital input is
located in the Processing, Input/Output menu.
3.1.5.3 75 uSec Indicator
This light tells if the pre-emphasis option is set Part of the digital audio option is the “Auto
to 75 microseconds. It remains dark if the pre- Source” feature that will automatically switch from
emphasis is set to 50 microseconds or if the pre- the digital input to the analog input if excessive
emphasis limiter option is not installed. errors are detected at the digital audio input. In
such a case, the Analog In and Digital In lights
Note: This light responds to the pre-emphasis will indicate which input has been automatically
selection chosen in the Processing, Pre-emp selected.
Limiter menu.
Note: Enable/disable of the Auto Source feature
3.1.5.4 SPR is located in the Processing, AES Status menu.
Spectral Phase Refractor(SPR) is another member
of the input pre-processing group of filters. The 3.1.5.8 Data Present
SPR filter contains a flat frequency response but When the digital audio option is installed, this
introduces a frequency dependent phase rotation LED shows if there is AES/EBU data arriving at
into the audio path for the purpose of increasing the digital audio input to the FM Pro. If there
the subjective clarity of the audio. A further effect are errors present in the AES/EBU datastream,
of SPR is to improve voice waveform symmetry as the Data Present light will flash, and as stated
an aid to the limiter. This filter works on both the above, when the Auto Source feature is selected,
analog and digital audio inputs. the unit will automatically switch to the analog
audio inputs. As the datastream error condition
Note: Control of the SPR filter is located in the rectifies itself, the FM Pro will automatically
Processing, Input/Output menu. switch back to the Digital input.
3.1.5.5- HF Limiter 3.1.5.9 DVG

This is another name for the Pre-emphasis Limiter, If the Dynamic Verification Gate (DVG) is turned
which is an optional processing module. The light on, this LED flashes in response to the DVG
is continuously dark if the option is not installed. action. If the DVG is switched off, the LED
If the option is installed, then the LED indicates remains dark. Dynamic Verification Gate is an
whether the Pre-emphasis Limiter is switched on Aphex patented invention that allows the leveler’s
or off. gain correction to move only during the brief
periods when present peaks are above the historical
Note: Control of the HF Limiter is located in the average peak level. Based on the pattern of the
Processing, Pre-emp Limiter menu. audio waveform, the DVG will freeze the move-
ment of gain during intervals when the ear is
3.1.5.6 Analog In most cognizant of the gain movement, thus making
the leveler more transparent sounding. The DVG
This LED lights if the audio input is set to analog also serves to freeze the leveler gain during brief
(versus digital). program pauses of about 1.5 seconds or less dura-
tion, preventing immediate noise swelling. After
Note: Selection of analog or digital input is about 1.5 seconds, the DVG releases control. The
located in the Processing, Input/Output menu. DVG works only with the leveler function of
the FM Pro, and does not affect the compression

system in any way. coupling of the Multiband Compressor bands. The
band><band features refer to coupling between
Note: Enable/disable of the DVG feature is adjacent bands of the same channel. When turned
located in the Processing, Leveler menu. on, the band><band coupling is enacted in both
channels at once. The band><band coupling does
3.1.5.10 Sil. Gate (Silence Gate) not produce any stereo coupling effect. Both
The Silence Gate LED lights up whenever the band><band and L><R coupling may be enacted
Silence Gate activates. The Silence Gate is a simultaneously.
delayed level detector which acts to freeze the
leveler gain during extended pauses in program. Note: Multiband coupling features are con-
Since the DVG serves this purpose for brief pro- trolled in the Processing, Multiband menu.
gram pauses, the Silence Gate is delayed about
1 second to take over from the DVG for more
lengthy periods. The delayed response prevents the 3.1.6.1 L><R Hard
Silence Gate from constantly interfering with the
action of the Leveler, deferring gain gate control to Couples the compression gain of left and right
the DVG between periods of silence. compressors directly, i.e., whichever channel pro-
duces greater gain reduction controls the gain
Note: Enable/disable and Threshold of the of both channels equally and at the same attack/
Silence Gate feature is located in the Processing, release rates.
Leveler menu.
3.1.6.2 L><R Elast. (L><R Elastic)
3.1.5.11 Lvl. Stic. (Sticky Leveler) Couples the compression gain of left and right
The Lvl. Stic. LED lights up when the user select- compressors elastically, i.e., whichever channel
able Sticky Leveler is turned on. The Sticky produces greater gain reduction influences the
leveller is a new Aphex invention that keeps the gain of the opposite channel through a slow
the leveler’s gain frozen until the input signal averaging effect.
amplitude changes by more than a certain amount.
By holding constant gain until the audio level 3.1.6.3 1><2
exceeds a user selectable window, the Sticky
Couples the gain control of band 1 to the gain
Leveler further improves the transparency of the
control of band 2 in such a way that whichever
leveler’s action, especially at the faster rate set-
band produces the greater amount of gain reduction
tings.
influences the the gain of the other band through a
slow averaging effect.
Note: Controls for the Sticky leveler are located
in the processing Leveler/Gate menu.
3.1.6.4 2><3
3.1.5.12 Insert Couples the gain control of band 2 to the gain
The Insert LED lights up when the processing
band produces the greater amount of gain reduction
“insert loop” is turned on. This control allows
influences the the gain of the other band through a
the user to insert any type of stereo audio pro-
cessor between the Leveler and the Multiband
Compressor. The insert inputs and outputs are
3.1.6.5 3><4
supplied by rear panel unbalanced (pin 2 hot, 1&3
grounded) XLR connectors. Couples the gain control of band 3 to the gain
Note: On/Off control for the Insert Loop is band produces the greater amount of gain reduction
located in the Processing, Input/Output menu. influences the the gain of the other band through a
3.1.6 Multiband Coupling
3.1.7 Output Status LEDs
Five LED’s are provided to show the current status
of the Multiband Compressor coupling features. Three LED’s are provided to show the processor
The L><R coupling features refer to the stereo output status, analog, digital, or bypass.

cursors move the pointer up and down through
Note: The output controls are located in the selections on a menu page, while the left and
Processing, Input/Output menu. right cursors switch between multiple pages of a
multipage menu.
3.1.7.1 Analog
Indicates if the analog output is turned on. The 3.2.3 Esc (No), Enter (Yes)
analog output is permanently selected unless the These two lighted red buttons allow the user to
digital audio option is installed in which case the commit to or escape from menu choices. Repeated
user can select analog out, digital out, or both at escapes will back out of menus until the Main menu
once. is reached. Enter (yes) is used to select a menu
choice or verify a menu commitment.
3.1.7.2 Digital
When the digital audio option is installed, this light 3.2.4 Input, Output Monitor
indicates if the digital output is turned on. The lighted red buttons above the headphone jack
select their respective audio signals for monitoring.
3.1.7.3 Bypass The selected signal appears at the stereo headphone
In bypass mode, the analog input jacks are relay jack only. The proper de-emphasis (if appropriate)
connected directly to the analog output jacks, and is automatically inserted in the output monitor. The
the AES/EBU input jacks are relay connected input monitor taps the unaltered input signal.
directly to the AES/EBU output jacks. The bypass
mode can be user selected and automatically occurs Note: The volume of the input and output signals
when the power is off. can be set independently in the Processing,
input/Output menu.
3.1.8 LCD Display
All operating menus and messages will appear on
this LCD display. Refer to section 4, “Navigating
The Menus” for detailed information on using the end
menu system.
3.2 Front Panel Controls

The Fm Pro utilizes a sophisticated yet intuitive
method of user interface. The right side of the
front panel comprises the user controls. By means
of LCD menus, the navigation/control keys, and
the “Spin” dial, all processor controls are easily
accessed. The right half of the panel also contains
a high quality headphone monitor that provides
a means for listening to the raw input signal in
comparison to the fully processed output signal.
3.2.1 Spin Dial

The Spin dial is used to adjust the variable menu
parameters which have been chosen by use of the
navigation keys. Depending upon the situation, the
Spin dial will act like a potentiometer or selector
switch.
3.2.2 Navigation (Cursor) Buttons

The four lighted red buttons that are labeled with
white arrows pointing up, down, right, and left are
used to navigate the various pages and menus seen
on the LCD display. Generally, the up and down

Web Version 4.0 Navigating The Menus
The flow chart of Figure 4-1 illustrates the entire you are in a functional control menu such as the
menu tree of the FM Pro. You may find referring “PROCESSING” menu, then you will see up to
to the chart helpful while reading this section of four function options labeled F1, F2, F3, F4 per
the manual. page. Each page of a multiple page menu will
continue from the previous page such as F5, F6,
4.1 Introduction To The Menu Display F7, F8 etc.
The Liquid Crystal Display (LCD) menu system If you are in other menus such as the PRESETS,
of the FM Pro is designed to be logical and easy and DAY PARTING menus, the logic of selection
to understand. Without any instruction at all you labeling is similar, except the selections may be
would probably be able to find your way around labeled as U01, U02..., or S1, S2..., etc. The
and control the unit through your own exploration. selections flow from page to page as necessary to
accommodate all available selections in a given
Note: The various menus all branch from the menu.
Main Menu. You gain access to the Main Menu
by first passing through the password security 4.2.3 Footer
check, if it is activated. Refer to section 8, The bottom line reads out a short phrase indicating
“Password Security System” for information what is expected as input. It may be “Enter key”,
about enabling and disabling the password “Enter value”, “Enter function”, etc. The bottom
requirement. right corner contains an alternating display that
toggles between the time of day and the memory
The LCD display has a number of features that preset number (U01, P01, etc.) that is currently
give the user an indication of the present location on-air.
within the menu, the time of day, the current
on-air preset, and any parameter being adjusted. 4.3 Display Sleeping Mode
Following is a detailed description of the various
menu features. The menu system sleeps when not in use by a
logged in user. During this time, the “Welcome
4.2 Menu Display Features to Aphex” logo screen is displayed. This screen
displays the current time and software version.
How To Make Selections
1. To MOVE BETWEEN PAGES of multiple page menus, use the left and right arrow keys.
2. To MOVE THE POINTER, use the up and down arrow keys.
3. To SELECT THE FUNCTION, press the Enter (YES) button.
4. To ESCAPE FROM A SELECTION, press the Esc. (NO) key.
4.2.1 Header Pressing any key wakes up the menu system and
The top line left side of the display shows the cur- clears the logo screen, bringing up the Password
rent menu name while the current page is indicated Security page.
on the right. For example, the top line may read:
[MAIN MENU P:1.2]. This indicates you 4.4 Password Security Page
are in the Main Menu, page 1 of 2 pages. Once This page is the pathway to the Main Menu if a
past the Main Menu, the menu name always refers password is required. Pressing any key when the
to the functional area you are controlling. For logo screen is displayed brings you to this page.
example, the Leveler menus are named, simply, If no password is currently active in the security
“LEVELER”. system, this page will be omitted and the screen
will go to the LOG IN VERIFY page, telling you
4.2.2 Menu Selections a password is not required. You can then press the
Displayed below the header are the messages or enter key and pass directly to the Main Menu.
selection options as provided by various menus. If

Note: For more information on the password When you press Enter at the “Save” position, you
and security system see section 8 of this manu- will be passed to the View Password page and
al. asked to verify that you want this new password
to be entered into memory. Press Enter to take the
4.5 Main Menu Page 1 of 2 new password or Esc. to revert back to the Edit
The Main Menu consists of two pages containing Password page. Pressing Esc. again will revert you
8 selections, F1 through F8, that lead you to all back to the Password Menu, and pressing Esc.
other menus. Selecting F1 through F8 opens once again will revert you all the way back to
the associated menu by pressing enter. The first the Main Menu.
page contains these selections which are described
below: 4.5.1.2 View Password
To observe (without the option of editing) the
[MAIN MENU P:1.2] current password, select F2 “View Password” from
F1- Password the Password Menu. Press Esc. to return to the
F2- Presets Password Menu.
F3- Processing
F4- Remote Link 4.5.1.3 Log in
In the software version provided at the time of this
writing, this is a rather unnecessary menu option
4.5.1 Password Menu since you can’t get to this option unless you are
This section contains all password security ele- already logged in. It is being reserved for a future
ments including logging in and out as a user, as software version which may include and expanded
well as password maintenance. The four menu password security system.
selections available are as follows.
Selecting this option brings you to a page similar
[PASSWORD MENU] to the Edit Password page. In this case, you enter
F1 - Edit password the required password and upon selecting “Save”
F2 - View password you get a validation screen which tells you if your
F3 - Log In password matches or is in error.
F4 - Log Out
4.5.1.4 Log out
4.5.1.1 Edit Password From the Password Menu, select F4-Log Out and
This page allows you to overwrite the password press Enter. The “Welcome to Aphex” logo screen
with a new one or to delete the password all will pop up. If a password is in effect, the FM pro
together. Do so by moving the cursor and selecting is now in a secure mode safe from tampering by
a character from the character table. Use the spin unauthorized personnel.
dial to select characters from the table, and press
Enter to place the character at the cursor position. 4.5.2 Presets
The cursor will automatically advance one more From the Main Menu, select F2-Presets and press
space. Repeat the process until your new password Enter to go to the Presets Menu. From here you can
is all entered. You can use the space in the char- recall processing presets, save current processing
acter table to put a blank space in the password. parameters to user presets, view the list of presets,
For example, you could have a password like or manage day parting functions. The selections
“kitty cat”. To delete the password, simply enter available are:
all blank spaces over the old password. When the
password is ready to save, use the cursor key to [PRESETS MENU]
highlight the word “Save” and press Enter. F1 - Recall Preset
F2 - Save Preset
Note: Do not use the Enter key to advance F3 - View list
to the word “Save”. You will inadvertently F4 - Day Parting
press Enter over “Clr” and erase your new
password. Use only the left and right arrow
keys to advance the cursor to “Save”.

4.5.2.1 Recall Preset to see the name and date of origin of any of the
Six pages of presets will be displayed. From here presets in the Fm Pro. All six pages of presets are
you can instantly put any available preset on the air. available to view, and can be accessed by pressing
To do so, move to the page containing the desired the left and right arrow buttons. Once a preset is
preset and move the pointer to the preset you want. selected, the VIEW PRESET DETAIL page will
Press Enter and the preset will be transferred to appear showing the preset name and date saved.
the FM Pro’s processing parameters. The transfer
occurs softly so you won’t hear any “pops” as the 4.5.2.4 Day Parting
parameters change. There are two pages of factory In the Parting Menu you can view and edit day
presets labeled P01 through P08, and four pages parting schedules, and you can turn parting on or
of user presets labeled U01 through U16. Refer off. To turn day parting on or off, position the
to section 7 of this manual for information about pointer to the “Parting status” line and turn the
building and using presets. Spin dial to select on and off. Viewing and editing
functions are performed as follows.
4.5.2.2 Save Preset
From this menu you can save the processor settings 4.5.2.4.1 Edit Day Parting
currently running in the FM Pro to any user preset The Edit Parting menu allows you to select “Daily
memory. All six pages of presets are made avail- Edit” or “Weekly Edit”. If you chose “Daily Edit”
able just as in the Recall Preset menu. You will you will be taken to the “Parting Sets” menu where
be informed that you can’t save to a factory preset you will be able to chose among 8 day-part sets
location if you attempt to do so. To save to a to edit. If you chose “Weekly Edit”, you will be
user preset, move to the page containing the preset taken to the weekday scheduler page. Please refer
memory you want, and move the pointer to the to section 7 of this manual for detailed information
correct location on the page. Press Enter to send about setting up a day parting schedule.
the current processing parameters to that preset.
You will be asked to overwrite the old preset, 4.5.2.4.2 View parting
even if it was not yet used. You press (YES) and The View Parting menu allows you to select “Daily
the ENTER NAME page will appear. This page Events” or “Weekly Events”. If you chose “Daily
operates exactly as the Edit Password page. Select Events” you will be taken to the “Parting Sets”
a character from the character table using the menu from which you may select among 8 day-
spin dial and press Enter to place the character at part sets to view. If you select “Weekly Events”
the cursor position. The cursor will automatically you will be taken to the “View Weekly Set” menu
advance one more space. Repeat the process until to view the weekday schedule.
your complete preset name is entered. You can use
the space in the character table to put a blank 4.5.3 Processing
space in the name. For example, you could have a
preset name like “hot beat”, or “test 1”. When the The “Processing” selection on page 1 of the Main
preset name is ready to save, use the cursor key to Menu launches you to the two-page “Processing
highlight the word “Save” and press Enter. Menu” from which you can access all the audio
processing controls. In all, submenus for 8 major
Note: Do not use the Enter key to advance to processing functions, F1 through F8, are available
the word “Save”. You will inadvertently press from this menu. These submenus cover the entire
Enter over “Clr” and erase your new preset processing structure of the FM Pro.
name. Use only the left and right arrow keys to
advance the cursor to “Save”. 4.5.3.1 Processing Menu Page One
You will be shown the NEW PRESET page and The first 4 of the 8 function submenus are accessed
asked to verify the new name. Press (YES) and from page one. They are:
the new preset is stored. Press (NO) and you will
be jetted back to the SAVE PRESET screen from [PROCESSING P:1.2]
which you came. F1 - Input/Output
F2 - Leveler/Gate
4.5.2.3 View list F3 - Multiband Compressor
The View list function is provided to allow the user F4 - Limiter/Bass

Note: Refer to the appropriate sections of this 4.5.3.1.4 Limiter/Bass Menu
manual for a detailed description of the process- This menu has two pages. Page one gives control
ing parameters and how to set them up. over the master limiter drive, the bass drive, and
the brightness enhancer. Page two gives control
4.5.3.1.1 Input/Output Menu over the warm bass and sub bass equalizers. To
This menu contains 3 pages. Page one gives control adjust drive or equalization, set the pointer to the
over the input and output levels, and the hardwire desired function and use the Spin dial to set the
I/O bypass. Page two gives control over the three value.
input processing filters and the stereo insert loop.
Page three gives control over the input and 4.5.3.2 Processing Menu Page Two
output source selection and the headphone monitor The second 4 of the 8 function submenus are
volume. Use the up and down arrow keys to select a accessed from page two. They are:
function and use the Spin dial to set the value.
[PROCESSING P:2.2]
4.5.3.1.2 Leveler/Gate Menu F5 - Preemp.-Limiter
This menu has three pages. Page one gives control F6 - Stereo Gen.
over the leveling rate, the maximum gain and F7 - AES status
maximum attenuation settings. Page two gives F8 - More or Less!
control over the DVG and the Sticky Leveler func-
tion. Page three gives control over the Silence Note: Refer to the appropriate sections of this
Gate function. Use the up and down arrow keys manual for a detailed description of the process-
to select a function and use the Spin dial to set ing parameters and how to set them up.
the value.
4.5.3.2.1 Preemp-Limiter Menu
4.5.3.1.3 Multiband Compressor Menu If the Pre-emphasis Limiter option is not installed
The Multiband Compressor menu has a total of five in the FM Pro, then this menu will not be available.
pages; the first of which allows the user to set If the option is installed, a single page gives control
the crossover frequencies for the 4 band compres- over the limiter on/off, the limiter hardness, and the
sor. To adjust crossovers, set the pointer to the pre-emphasis/de-emphasis options. To adjust these
desired crossover and use the Spin dial to set the parameters, place the pointer adjacent to the item
frequency. then use the Spin dial to set the value.
Page two lets you set the multiband compression 4.5.3.2.2 Stereo Generator Menu
drive. Simply use the Spin dial to set the value. If the PPDM Stereo Generator option is not installed
in the FM Pro, then this menu will not be available.
Page three gives control over the release times of If the option is installed, two pages give control
each of the four bands of the compressor. To adjust over the stereo generator functions. Page one gives
release times, place the pointer adjacent to the band control over the pilot signal on/off and injection.
you want to adjust, then use the Spin dial to set Page two gives control over the mono/stereo modes
the value. and the mono modulation reference of 90% or
100%. To adjust these parameters, place the pointer
Page four allows you to adjust the output mix of adjacent to the item then use the Spin dial to set
the multiband compressor. At this point you can the value.
make equalization adjustments to the audio based
upon the band crossover frequencies. To make an 4.5.3.2.3 AES Status Menu
adjustment, place the pointer next to the band you
want to adjust, then use the Spin dial to set the Digital input and outputs are available as an option
value. in the FM Pro. If this option is not installed, the
AES Status menu will not be available. If the option
The final page gives control over stereo coupling is installed, then a single page gives control over
and band-to-band linking. As with the other pages, the output sample rate and the auto switch feature.
place the pointer next to the selection and use the The input data rate and error condition are also
Spin dial to set the value. reported on this screen. To adjust parameters, place

the pointer adjacent to the item then use the Spin this menu.
dial to set the value.
4.6.4 Unit Info Page
4.5.3.2.4 More or Less! Menu
This page displays the version and date of the
For a quick adjustment of the on-air loudness, enter software installed in the FM Pro. The telephone
the More or Less! menu and use the Spin dial number for Aphex Systems customer support is
to increase or decrease the FM Pro’s processing also displayed. Nice touch, right?
density. This control simultaneously adjusts a
number of parameters in the processor, and, when
any processing limit is reached, the More or Less
control stops any further adjustments.
4.5.4 Remote Link

The FM Pro has remote control capabilities via
factory provided software. From the Remote Link
menu, the user has the ability to turn the remote
link on or off, specify the type of connection: either
modem or RS-232 direct, and observe the status
of the remote link.

As previously stated, the Main Menu consists of
two pages containing 8 selections, F1 through F8,
that lead you to all other menus. Selecting F1
through F8 opens the associated menu by pressing
enter. The second page of the Main Menu contains
these selections which are described below:
[MAIN MENU P:2.2]

F5 - Set time
F6 - Display mode
F7 - Unit options
F8 - Unit Info
4.6.1 Set Unit Time Menu

Upon entering this menu, the FM Pro’s internal
clock and calendar will be displayed. You can set
both the clock and calendar from this page. To
change settings, use all four arrow keys to place
the pointer next to the item and use the Spin dial
to set the value.
4.6.2 Display Mode Menu

This menu controls the Lock Out time and the
Auto Save feature. To set these items, place the
pointer next to the item and use the Spin dial to
set the value.
end
4.6.3 Options Page
This page displays if the Stereo Generator, HF
Limiter, and AES/EBU options are currently
installed in the FM pro. There are no controls in

Blank Page

Web Version 5.0 Detailed Audio Processing Description
5.1 Processing Overview absolutely peak limit the audio signal while allow-
The Aphex FM Pro is a complete audio processor ing significant bass improvements to be obtained.
for FM broadcasting. Contained in an FM Pro are The interactivity greatly reduces the occurrence
input conditioning circuits, an advanced automatic of intermodulation distortion. The pre-emphasis
level controller, a unique and fully adjustable mul- processor adds pre-emphasis to the peak limited
Figure 5-1 Simplified Block Diagram
tiband compressor, a new technology multiband signal and constantly limits the pre-emphasized
limiter integrated with a bass support subsystem, signal to fit within the 100% modulation limits.
an FM pre-emphasis processor, a PPDM multiplex The PPDM stereo generator converts the fully
stereo generator, and a digital audio I/O subsys- processed audio signal into a stable and precise
tem. All parameters are programmable through FM multiplex output.
built-in digital control and memory presets. While
no additional audio processing is required for The pre-emphasis processor and PPDM stereo
outstanding performance, provisions are made to generator are both optional features. In the case
insert outboard processing equipment, such as an these are not installed, then the final output of the
Aphex Aural Exciter (tm), if desired. Figure 2-1 FM Pro would come directly from the multiband
illustrates a simplified block diagram of the FM limiter.
Pro. See figure 5-2 for a complete block diagram.
The “insert loop”, which is not a structural element
5.2 Generalized Processing Structure per se, adds yet another dimension to the FM Pro’s
It can be seen from figure 5-1 that 6 main elements processing architecture. You can insert an external
comprise the FM Pro. A 7th element, the digital device, such as an equalizer or Aural Exciter (tm),
audio interface, is not shown but will later be at the optimal location: between the leveler and
described. Even more detailed information about multiband compressor.
the digital audio interface is given in section 9,
“Using Digital Audio”. The following detailed descriptions will refer to
the complete block diagram of figure 5-2.
The input conditioner selects the analog or digital
source and prepares it for further processing by 5.3 Input Control And Conditioning
inserting user selected filters. The leveler auto- Several basic functions comprise the input condi-
matically and artistically rides gain over the pro- tioning structure of the FM pro. As shown in
gram level. The multiband compressor provides figure 5-2, these are:
fully adjustable program compression to improve
the program consistency, compensate for low qual- 1. Input Gain
ity program material, and allow you to tailor 2. 20Hz Highpass Filter
the sound of your radio station. The multiband lim- 3. 16.5KHz Lowpass Filter
iter and bass processor are interactively linked to 4. Pre-emphasis Assist Filter

5. Spectral Phase Refractor 5.3.2.4 Pre-emphasis Assist Equalizer *
6. Analog/Digital Input Select This equalizer is a portion of the distributed
pre-emphasis method used in the FM Pro. It is
5.3.1 Input Selection switched on for 75 microseconds and off for 50
The analog input signal is passed through a digi- microseconds. By placing this filter in front
tally controlled gain stage serving as an input of the multiband processor, it helps relieve the
reference normalizer. The output of this stage final pre-emphasis limiter from the burden of a
is nominally at 0dBu for a refence input level. 75 microsecond equalization curve, allowing that
A digitally controlled selector gathers either the limiter to remain active upon 50 microseconds at
normalized analog input signal or the output of the all times.
20-bit D/A converter.
5.4 Frequency Discriminate Leveler (FDL) *
5.3.2 Filters The FDL is an intelligent leveler circuit designed to
The analog/digital input selector feeds four filters remain as unnoticed as possible while effectively
which are each bypassable through the digital riding gain over the program level. The amount
controls. These filters are described as follows. of automatic gain correction is user adjustable
between 15dB of gain and 15dB of loss. There are
5.3.2.1 20Hz Highpass Filter 8 support systems which help the leveler operate
This filter has a second order butterworth response. with minimum effects upon the sound. They are:
Its purpose is to cut off low frequency rumble or
other noise which may be encountered in some 1. Silence Gate
systems. 2. Dynamic Verification Gate (DVG)
3. Sticky Leveling
5.3.2.2 16.5KHz Lowpass Filter 4. Jump Ahead
5. Attenuation Lock
This has a fifth order butterworth response for the 6. Gain Lock
purpose of cleaning up ultrasonic noise which is 7. Leveling Rate Control
sometimes encountered in an STL or other audio 8. Frequency Discrimination
system. It does not perform the lowpass filtering
for the stereo generator, and is a totally separate 5.4.1 Silence Gate *
filter. This pre-processing filter is not overshoot
compensated, but that is not of consequence since This is a gate which affects only the gain control
all processing including peak limiting occurs after system. The audio is not being gated. When the
this filter. input signal falls below the user setable threshold,
the leveler gain will be locked at its present value
5.2.2.3 Spectral Phase Refractor (SPR) until sound returns at a level above threshold. The
background noise will therefore be prevented from
The SPR filter is a fourth order allpass filter swelling up during pauses and silence. The silence
designed to enhance the clarity and detail of sound gate threshold can be set from 10dB above to
psychoacoustically. It spreads apart the phase 38dB below the input reference level. A 1 second
of frequencies, particularly in the 100 to 400Hz delay is applied to the action of the silence gate
frequency range in such a manner that it seems to prevent it from interfering with the action of
to advance the phase of certain bass frequencies. the DVG. The silence gate can be defeated when
The ear responds by detecting more detail and not needed.
apparently more bass energy. The ear also hears
a less masked high end since the transient edges 5.4.2 Dynamic Verification Gate DVG *
are slid somewhat apart in time and are thus more
detectable as individual events. Like the silence gate, this affects only the gain
control system, and audio is not being gated.
A second advantage of the SPR filter is that it During program material, the DVG inspects the
“scrambles” the phase of voice frequencies to instantaneous peaks and compares their amplitude
make the voice waveforms more symmetrical on with the recent historical average peak value. Only
the average. This can help tame certain voices that during the brief times when the instantaneous
tend to distort through processing. peak exceeds the peak average is the leveler gain
allowed to move. In this manner, the slewing
of leveling gain is converted to a series of small limit to something less than 15dB. Perhaps you
adjustments which take place at times in the audio don’t want the leveler to correct for low level
envelope when the corrective gain changes will signals below -10dB, for example. This user
be less noticeable to the ear. The DVG naturally controlled feature establishes limit of gain correc-
serves as a short term silence gate because brief tion between 0 and +15dB.
pauses in program cause it to gate the leveling.
However, after about 1 1/2 seconds of silence, the 5.4.7 Leveling Rate Control
DVG releases control over gating. By that time The rate at which the leveler is allowed to make
the silence gate will have detected silence and the gain corrections is user adjustable by this control.
leveler gain will be locked by the silence gate. The The leveling rate is defined as the length of time
DVG can be switched on and off as desired. it takes for the leveler to raise the gain by 10dB.
Normally this control will be set between 7 and
5.4.3 Sticky Leveling * 2 seconds. The correct adjustment depends on
Imagine a leveler that just decides to stick at a the program format and the density of sound you
fixed gain until the input level changes more than want. A faster rate increases the density but
a certain amount and that’s the FM Pro’s sticky can sometimes reduce the punch of bass and
leveler. A sticky window in dB is set by the user percussion. An optimum balance can be found
and the leveler will not make corrections until the between the leveling rate and multiband compres-
input level changes by more than that amount. The sion adjustments.
window size can be set from zero to 6dB. Usually
it will be operated around 1 to 2dB. Small changes 5.4.8 Frequency Discrimination *
in signal level will no longer be tracked by the The leveler, being a wideband process, does not
leveler. This has several benefits. First, the audio change the timbre or tonal balance of the program
distortion caused by the leveler’s control ripple will signal. This is a great advantage, especially
be eliminated for fairly steady signals. Second, The because it is supported by so many technical
dynamics of the sound will be better preserved, innovations to mitigate and eliminate sonic interac-
especially with a fast leveling rate. A more open tions and side effects of leveling. The frequency
and punchy sound will result. discrimination of the leveler adds a very signifi-
cant improvement to the transparency of the lev-
5.4.4 Jump Ahead eler. Under frequency discrimination, the leveler
The attack and release of the leveler are intention- attacks more slowly for very low frequencies than
ally quite slow. If the leveler tracked a fade and the for the rest of the frequency range. Beginning at
gain became relatively high, for example +15dB, approximately 200Hz, the attack time gradually
then a sudden loud signal might hit clipping while slows down as the frequency drops until it reaches
the leveler takes its time to correct the gain. A half attack speed at 20Hz. The release time of the
jump-ahead circuit detects if the leveler’s output leveler remains normal at all frequencies. The
has jumped out of bounds and rapidly attacks the effect of this discrimination is to alleviate the
leveler gain down to avoid any overload. When the feeling that bass note attacks are being “pulled
jump-ahead correction brings the gain within 3 to 6 back” by the leveler. The full punch and power of
dB of the corrected level, the jump-ahead detector dynamic bass in music is preserved.
drops away and the leveler continues correcting
normally. The jump-ahead feature is not user 5.5 Insert Loop
controllable and is always present. A relay controlled insert is supplied for external
processing. The I/O interface is unbalanced and
5.4.5 Attenuation Lock is intended for a short distance connection to other
There may be times when you want to stop the equipment. Connections are by XLR connectors,
leveler from reducing the gain more than a certain wired with pin 2 hot and pins 1&3 grounded.
amount The attenuation limiter, a user controllable The output level at this point is nominally 0dBu.
feature, can be set to stop the leveler’s attenuation External equipment should be adjusted to return an
anywhere between -3dB and -15dB. approximate 0dBu signal level.
5.4.6 Gain Lock 5.6 The Multiband Compressor

Often it will be desired to set the leveler’s gain Numerous innovations have been incorporated in
the FM Pro’s multiband compressor section. It will which will never “pump” and can easily reduce
be observed from figure 5-2 that the compressor peaks while fattening up the average level. These
bands are created after the VCA’s rather than attributes are just as desirable for multiband as for
the conventional method of generating crossovers a single band compressors. The WDC feature is not
ahead of the VCA’s. The compression sidechains user selectable, and is permanently active.
are comprised of circuits incorporating wave depen-
dent technology. Cross linking of bands and chan- 5.6.3 Peak Accelerated Compression (PAC)*
nels, output mixing, release times, and other param- When a compressor is operated at a relatively low
eters are adjustable. The main support features and compression ratio there will be times when a very
innovations attached to the multiband compressor large and fast transient will pass through without
are: sufficient amplitude reduction by the compressor.
The PAC feature allows the compression ratio to
1. Post crossover method increase for fast and transient signals which need
2. Wave dependent compression more gain reduction above threshold for proper
3. Peak-accelerated compression control. This feature marries very successfully with
4. Tunable crossovers the WDC to help reduce the amount of peak clip-
5. Band mixing ping that will be required for adequate peak control
6. Adjustable release timing after the multiband compressor. The PAC feature is
7. Band-to band coupling not user selectable, and is permanently active.
8. Hard and elastic stereo linking
9. Proprietary VCA’s 5.6.4 Adjustable Crossovers (Band Filters)
5.6.1 Post Crossover Method * All crossovers are first order filters with 6dB/octave
slopes, and are user adjustable. Tuning the filters
Conventional multiband compressors generate the is accomplished by the use of multiplying DAC’s
frequency bands ahead of the VCA’s and compres- and the digital DAC codes are sent by the micro-
sion detectors. In the FM Pro, the band filters have controller unit. The filters are derived from state
been placed after the VCA’s (hence the term “post variable sections using the DAC’s as true attenua-
crossover”). Although some technical obstacles tors in variable integrator circuits. Thus, the DAC’s
needed to be overcome, certain advantages were are not used as variable resistors and remain abso-
gained by this technique. First, the total noise lutely consistent providing extremely low distortion
gained by adding together the sum of four VCA’s and noise.
would normally cause the output noise to rise by
6dB. With the post crossover method there is no 5.6.5 Output Mixing
noise increase because only the noise of each
VCA that can pass through its own band filter is The band outputs are each sent through a multiply-
added to the sum. Second, since the lower three ing DAC for level adjustment, then the DAC
bands comprise lowpass or bandpass post VCA outputs are summed equally. At normal mix, all
responses, much of the harmonic distortion in the DAC’s are attenuated 50% which represents 0dB
VCA caused by control ripple will be filtered out. on the multiband mix control. This allows up to
6dB relative boost of any band or up to infinite
5.6.2 Wave Dependent Compression (WDC)* attenuation. The DAC’s are used in linear feedback
mode providing extremely low distortion and noise.
Aphex perfected it’s “Easy Rider” (the commercial No digital potentiometers or digital resistors are
name we gave to the wave dependent compressor) used for audio since these are all known to suffer
compression algorithm and first applied it to studio from sonic degradation.
compressors with great success. We found it
also made a perfect multiband compressor in con- 5.6.6 Adjustable Release Timing
junction with the post crossover method. The
WDC comprises a convoluting detector arrange- The band compressors contain individual release
ment which acts as a peak responding fast compres- timing adjustments controlled by the microcon-
sor, a slow averaging compressor, and both at once. troller unit. Only the slow averaging time constant
The action of the detector transfers control energy of the convoluting WDC is adjustable. The peak
between the two modes seamlessly depending upon responding portion remains unaltered at all times.
the audio waveform. The result is a compressor

5.6.7 Band Coupling elegantly and effectively.
The “longitudinal” (band-to-band, same channel)
coupling links together the slow averaging part of 5.7.1 Warm Bass Equalizer
the WDC detectors. This allows you to reduce the The audio signal form the multiband compressor
long therm equalization effects of the multiband passes through the Master Drive MDAC, under
compressor while retaining the frequency discrimi- control of the microcontroller, serving as a limiter
nation for peak control and transient compression. drive control. The Warm Bass equalizer is wrapped
Any pair of adjacent bands can be linked in in a feedback loop involving the master drive
any combination, i.e., 1><2, 2><3, 3><4, or any signal. Up to 18dB of bass boost is available at
combination of these are selectable. this point having a boost curve as shown in figure
5-3 below.
5.6.8 Stereo Coupling
The left and right stereo channels can be compres- Figure 5-3
sion linked in two modes, hard and elastic. In Warm Bass Equalizer Curves
the hard mode the rule of “one controls both” is
followed. This means that the channel of greater
gain reduction controls both channels at any instant.
Both channels will track each other quite perfectly
at all times. In the elastic mode, the channel with
the greater gain reduction at any instant drags upon
the other channel, pulling it toward the greater
amount of gain reduction. This tends to cause
their average gain reductions to equalize while the
fast changing compression of each channel remains
independent.
5.6.9 The VCA Technology

One of the hallmarks of Aphex products is
our extremely high quality proprietary VCA, the
VCA1001. Having gone through exhaustive devel-
opment it is somewhat costly, but it is simply
the best audio VCA in the world. In terms of
sound it is vastly superior to any other method of The Warm Bass Eq curve gives a musical and
dynamically controlling the gain or level. Naturally “warm” lift to the low end of audio spectrum
we incorporated the VCA1001 into the FM Pro at without fully isolating the bass from the midrange.
every point where dynamic gain control is used, Excessive warm bass boost may cause the sound
including the multiband compressor. This accounts to get muddy. Just the right amount in combination
in large measure for the very high quality of sound with the proper multiband adjustments and sub bass
you can achieved with the FM Pro. eq will provide unusually satisfying bass response.
5.7 Split Band Bass Processor/Limiter * 5.7.2 Sub Bass Equalizer

FM broadcasting, when faced with difficult com- Prior to the split band clipper, but after the Warm
petition, demands rather extreme audio density Bass equalizer, the Sub Bass equalizer is inserted.
to attain competitive on-air loudness within the This equalizer boosts the low bass frequencies
100% peak modulation constraint. This requires according to a second order shelving response as
an aggressive peak limiter which can strip off peaks shown in figure 5-4.
of the audio envelope without generating objection-
able distortion. In addition, there is a great demand Principally bass frequencies alone are affected.
to create strong bass energy in music programs. Voices will not be thickened or muddled by its
The heavy compression and limiting needed to use. At high amounts of boost it can be seen
gather loudness tends to restrict the bass rather that there is an actual cut occurring in the high
than expand it. The interactive bass processor and bass frequency range. This depression in the net
limiter of the FM Pro solve this problem both response is intentional and helps to emphasize

and low band of the phase coherent crossover are
Figure 5-4 processed in a unique and unusual fashion as will
Sub Bass Equalizer Curves now be described.
The low band frequencies, which are for all intents

and purposes the bass frequencies, are passed
through a dynamic threshold distortion cancelled
clipper controlled by an intermodulation detection
circuit. The high band frequencies are passed to a
summing amplifier and summed with the variably
clipped bass frequencies. Following the variable
bass clipper is a post-clip lowpass filter to clean
up much of the clipping distortion caused by the
extreme clipping which can be generated here.
The total signal is finally passed through a fixed
threshold clipper to exact a perfect peak limit on
the output signal.
Figure 5-5
Phase Coherent Crossover
the lower bass frequencies. With 15dB of boost

available at 20Hz, the Sub Bass equalizer should
be used carefully. Typically no more than 6dB of
boost will be necessary to produce heavy pounding
bass, especially when used in conjunction with the
Warm Bass boost.
5.7.3 Phase Coherent Crossover *

Once the bass equalization is added to the audio
signal, it is split into two bands at approximately
180Hz as shown in figure 5-5 below.
The crossover slope is 48dB/octave which creates

a very sharp separation of bands. Phase coherency
in a crossover is a new concept introduced by The variable bass clipper threshold is controlled
Aphex Systems. In such a crossover, all output by an intermodulation detector circuit of novel
frequencies remain in phase between the low and design which can either anticipate or directly detect
high bands. The time delay of the filters still middle and high frequency clipping that is caused
exists, but the time delay of the high and low by the presence of large bass waves. The bass clip-
bands is always equal for any frequency. This is per threshold is automaticaly rolled back (reduced)
quite unlike any other “time corrected” or “phase to accommodate the presence of other frequencies
compensated” crossover previously constructed. under the final clipper limit thus eliminating “pinch
With a phase coherent crossover, new possibilities off” of smaller sound waves at the crests of bass
exist for audio processing. In the FM pro, we waveforms. Bass waveforms are allowed nearly
adapted this crossover to a very effective split band full amplitude in the final clipper output whenever
clipper inherently comprising distortion cancelling possible, however. The assertion of bass in the
features as will be described. total mix is thereby maximized while eliminating
one of the grossest forms of distortion in broadcast
5.7.4 Split Band Clipper (SBC) * processors, that of bass-caused intermodulation
distortion.
The basis of the FM Pro’s peak limiting is the
split band clipper. Through the SBC, the high band If the Pre-emphasis limiter option is not installed

in the FM Pro, the SBC output will be sent directly 5.9 Pre-emphasis Limiter
to the audio output control system. Otherwise, it The Pre-emphasis Limiter is an optional stereo
will be sent to the Pre-emphasis limiter for further module which generates and manages a dynamic
audio processing. 50 microsecond pre-emphasis curve, and provides
the brickwall bandlimiting required for the stereo
5.8 Brightness Processor multiplex generator. For 75 microsecond opera-
In FM processing, the ultimate need to dynami- tion, the pre-emphasis assist equalizer of the input
cally limit the pre-emphasis boost takes its toll control and conditioning section is activated as
previously described.
Figure 5-6
Brightness Processor Curves Left and right channels are separate and discrete but
identical in every way. Each channel of processing
comprises a VCA controlled dynamic pre-emphasis
generator, and a non-overshooting 15KHz lowpass
filter/clipper. The dynamic pre-emphasis generator
limits the pre-emphasis induced peak overshoot
by sliding the pre-emphasis curve to the right
on the frequency axis. Figure 5-7 illustrates the
range of pre-emphasis values which are produced
dynamically.
The Hardness control sets a range limit on the pre-

emphasis slippage for the purpose of preserving
more high frequency energy at the potential cost
Figure 5-7
Typical Range of Dynamic Pre-emphasis
on the audio brightness. The 75 uSec pre-empha-
sis standard is considerably more troublesome
than 50uSec, but both present a serious problem.
Multiband compression helps greatly in retaining
a bright FM signal, but adjusting the multiband
crossovers and mix to achieve satisfactory bright-
ness does not necessarily place the crossovers at
optimum locations for compression. The bright-
ness processor permits more optimal tuning of
the multiband compressor by adding another layer
of control over the presence and brightness of
the sound in a manner that is easy to adjust
and dynamically adaptive to the program source
material.
The brightness processor gives a first order shelv- of increased clipping distortion. Final peak control
ing boost beginning at about 2100Hz as depicted after pre-emphasis is by means of clippers embed-
in figure 5-6. You have control over the boost ded in the non-overshoot lowpass filters. The out-
from 0 to +6dB. The boost is dynamic by virtue put of the non-overshoot lowpass filter constitutes
of the brightness processor which measures the FM Pro’s the final processed output signal.
magnitude of the frequencies within the boosted
shelf, and makes continual adjustments to subtly 5.10 PPDM Stereo Generator
lift the brightness of dull and deficient material This is another optional module for the FM Pro.
while inhibiting the excessive brightness boost of When installed, it receives the final processed
already bright material. audio signal from the Pre-emphasis Limiter and
generates a stable and precise multiplex output.

The stereo and mono modes are selectable as
is the pilot mix adjustment. Refer to section 9,
“Using Multiplex” for detailed information about
this option. Additionally, you might like to look
at the appendicies for detailed information on
multiplex generators and the Aphex proprietary
PPDM technology.
5.11 Digital I/O Module

The AES/EBU interface module is another option
available foir the FM Pro. Refer to section 8,
“Using Digital Audio” for more information about
the the FM Pro’s digital audio capabilities and
features.
* Items marked with an asterisk are protected by patents or patents pending.

Disclosure in this manual in no way grants permission for use. All rights are reserved.

Web Version 6.0 Setting Up Processing
The two major functions of FM audio processing In your quest to create the perfect on-air sound, you
are to absolutely control and limit the transmitter’s will be faced with the question of how “loudness”
modulation, and to generate a desired sonic char- factors in. How loudly your station jumps from the
acter as perceived by the radio station’s audience. dial compared to other stations in your area can
The FM Pro integrates these functions in a manner easily become a paranoia. We urge you to remain
that gives you unusual latitude in how you can rational. It has been demonstrated in many mar-
make your radio station sound. In order to get the kets that sounding better, rather than louder, wins
great on-air sound you are seeking, you should first the audience. The perception of loudness is also
become aware of all the features and capabilities variable. Many programmers and engineers get
the FM Pro has to offer. The actual controls and trapped into gathering fatness and grunge for loud-
user interface details are discussed fully in sections ness when actually a station will be perceived
3, 4, and 5 of this manual. While many users as louder and “bigger” by the audience when it
will be satisfied with one of the factory supplied sounds more open and dynamic.
presets, many others will want to create their
own sound design. This section focuses upon the 6.3 Create the Global Preset
“how to” part of designing your station’s signature Refer to section 7 of this manual and create a
sound. Global preset if you have not already done so. This
will match the FM Pro to your system and allow
6.1 Steps In Setting Up the factory presets to function correctly.
Taking a logical approach is helpful in getting the
sound you like. The following steps should be 6.4 Select A Factory Preset
taken as you design your sound. One of the eight factory presets (P01 through
P08) will probably come close to your processing
1. Target the processing goals goal. We evaluated eight widely used radio formats
2. Create a Global preset and gathered information about how they typically
3. Select a factory preset to start from process their sound. We then built our presets to
4. Adjust processing be competitive against other audio processors for
5. Save your preset those formats. There are certainly many more than
eight identifiable radio formats in existence, and
6.2 Targeting Processing Goals new ones continue to appear. If your FM format
You should begin with an idea of what you need is not among those provided for, simply pick one
the FM Pro to provide. Do you want an open that seems most relevant. You can listen to all
sound, or a wall of sound? Do you want a stressed, of them, if necessary, and then pick the one that
intense effect, or a laid back effect? Do you want comes closest to your needs.
it as transparent as possible? Are you willing to
accept distortion in order to squeeze out an ounce 6.5 Adjusting the Processing
more loudness? You may change your mind as you This is where the FM Pro gets fun. So as not to
tune up your processing and listen to the competing fill these pages with redundant material, it shall be
stations. You may find that what you thought you assumed that you have previously read sections 2
wanted is not what you like now. That’s all right. through 5 of this manual. You also need to skip
You just need a place to start. ahead to section 7 and learn how to create your
Global preset if not already saved. You should
One good way to pick a processing goal is to target now understand the menus and processing charac-
a successful radio station and make yours sound teristics of the FM Pro and be ready to get started
better. A fact often overlooked when considering designing your air sound.
competitive FM processing is that how you sound
compared to other stations in your market is far
more important than how you sound absolutely. The initial sequence of processing adjustments
For example, if your radio market is filled with follows a logical order: the order of signal flow
trashy sounding stations but they are all pushing through the processor. It is always ok to jump
the envelope on loudness, you don’t have to be ahead or back and readjust a processing function,
perfectly clean, just cleaner and equally loud, to however, and you will do that after you become
beat the competition.

Web Version 6.0 Setting Up processing
more expert. For now, we will step through things pumping. When on, the DVG reduces the pumping
sequentially. The steps of adjustments are as effect and makes the audibility of leveling much
follows. less perceptible.
1. Leveling 6.6.3 Sticky Leveler

2. Multiband Compression
3. Limiting Generally the Sticky Leveler should be turned on
4. Bass Enhancement at all times, especially for a leveling rate faster
5. Brightness Enhancement than 10 seconds. The sticky window is usually best
6. Pre-emphasis Limiting around 1 to 2dB. You may not always hear the
effect of the sticky leveler, but it becomes quite
6.6 Leveling evident with certain program material. You can turn
off the sticky to get the fattest, most compressed
The leveler provides automatic gain control over audio quality. The sticky can dramatically improve
your program level. In pondering how to set the very fast leveling (2-3 seconds), especially with
various adjustments, consider what you want the voice material and open, punchy music such as
leveler to do. It can virtually “jock-proof” your found on Jazz and AOR formats.
radio station by compensating for widely varying
levels or it can merely smooth out variations in an 6.6.4 Silence Gate
otherwise well produced program stream.
You’ll almost always want the silence gate turned
6.6.1 Control Locks on to eliminate background noise swelling during
program pauses. The silence gate on/off control
Set the “Max gain” lock according to the amount is mainly for testing. You should set the silence
of correction you need for low program levels. If gate threshold below the lowest expected program
you want really tenacious control, set it to +15dB. signal and above the highest expected background
This makes the leveler bring everything down to noise. This will usually be between -17 and -38dB.
15dB below reference level up to full level. A In practice this threshold is not critical since the
consequence of this tenacity is that it will kill silence gate is delayed and will not modify the
program fades. On the other hand, if you want leveler’s action other than to lock the gain during
program fades to be allowed, you should set the silence. You cannot adjust the silence gate to
Max gain to +6dB. This will make the leveler hold “flicker” and modulate the leveler’s release rate
up a falling level only until the signal falls below as on some other FM processors. Typically, a
-6dB. From that point signal will be allowed to threshold of -38dB (the lowest setting) is appropri-
continue fading naturally. ate. Test the threshold by stopping the program
source and finding whether the silence gate comes
The “Max atten” lock can usually be left at on after about 1 second. Don’t do this test by
-15dB. This allows excessive levels to be fully unplugging the audio lines from the FM Pro. You
compensated by the leveler before the multiband need to see the natural noise floor of the program
compressor gets the signal. In a few rare cases you feed.
may want excessive levels above a certain point
to go uncompensated by the leveler and ram 6.6.5 Leveling rate
the multiband compressor to create a dramatic
effect. An example of this might be a classical The attack of the leveler is approximately two
music station wanting to emphasize the orchestral times faster than the indicated rate. In other words,
crescendos. if the leveler rate is set to 10, it will take about 5
seconds to attack and reduce the gain by 10dB and
6.6.2 DVG it will take 10 seconds to release back and increase
the gain by 10dB. In the context of leveling, a
Generally, the DVG should be turned on at all rate of 2 seconds (the fastest rate of the FM Pro)
times except when you are striving for the fattest should be considered quite fast. If your program
and loudest, most stressed sound. When on, the tends to change levels very quickly, as typically
DVG allows the leveler to control level in a less occurs between the microphones of live interview
obvious manner. If the DVG is off, the leveler can shows, you may want to use the fastest leveling
press harder upon the signal envelope and create rate of 2 seconds. In such a case you can turn on
slightly more loudness at the expense of potential the Sticky leveler with a 1 to 2dB window to help

reduce the perception of gain riding. If you are it is completely acceptable to tune the crossovers
processing mixed programming and want to leave in any way that works for you. This means that
a sense of texture in the mix, then you should use a it is not important to keep the bands properly
moderate rate in the range of 7 to 14 seconds. shaped using the 4X rule if the resulting sound is
what you like. Do not be afraid to experiment
Note: The leveling rates associated with the in this area.
factory presets are pretty close to ideal for their
formats. We suggest you use the presets as a 6.7.2 Multiband Drive
basis to your own leveler adjustments. This sets the depth of compression, i.e., increased
drive pushes more compression. The texture and
6.7 Multiband Compression density of the sound can be controlled by the depth
This is where you will do the most to design your of drive and other settings. More compression
sound. To be sure, this element of the FM Pro is makes the audio louder and more homogeneous.
the most difficult to teach because the optimum Light compression makes the sound more punchy
parameters tend to be interdependent. You will and open. Compression depth is indicated on the
have to experiment with the adjustments to get multiband gain reduction meters. Running more
your best settings. Because the adjustments are than 12dB gain reduction on peaks would be
grouped and arranged logically, you will quickly considered heavy compression. Light compression
develop a friendly relationship with this multiband is under 6dB of gain reduction.
compressor, however. We offer you the following
advice to get you started. The FM Pro allocates sufficient dynamic range to
the Multiband Compressor to allow 20dB of gain
6.7.1 Crossovers reduction (well off the scale) before any distortion
Set the crossover frequencies to enhance the sound creeps in. Do not be afraid to push the drive if
as you make other adjustments such as release you want very heavy processing. On the other
time, and the mix ratio. The crossovers associated hand, the Multiband Compressor has a low enough
with the factory presets are good choices in most noise floor to allow light compression without an
cases. appreciable noise penalty. With Aphex you have
it all.
To keep all 4 bands fully formed, crossover tuning
should follow the 4X rule, i.e., a crossover fre- 6.7.3 Band Release
quency should be at least 4 times higher than Faster release results in more density and loudness
the next lower crossover. For example, if F1 is over all, or in a given band.
120Hz, then F2 should be at least 480Hz. Typical
ranges for crossovers are as follows. The ranges One strategy for setting the band releases is to tune
are typical, not the law. all four bands at once, starting them at the slowest
end of the range and gradually speeding up the
F1 - 80 to 280Hz time until you reach a “sweet spot”. When all
F2 - 330 to 1700Hz bands are at the same time setting you get a more
F3 - 3000 to 6000Hz cohesive sound. All the bands will tend to recover
at the same rate which reduces the effect of obvious
If crossovers are tuned too close together then dynamic equalization.
one or more of the bands may become tuned out
of existence leaving you with a 1, 2, or 3 band Another strategy for setting the band releases
compressor. This may be done intentionally by is to set all the bands to a slow or moderate
some users who want the characteristics of less time and speed up the bands you want boosted
than 4 bands. For example, you can tune F1 to or emphasized. For example, you may want to
10Hz, essentially taking away band 1. You can also brighten up the mix, so speed up B3 and B4,
tune F2 to 25Hz, essentially leaving only bands 3 making B4 the fastest. You may want to peak up
and 4. It is impossible to visualize all the effects of the midrange, so speed up B3 only, etc. Varying
irrational crossover tuning unless you are using the the band releases in conjunction with varying the
remote control Windows software which graphs the band mix will bring you to an optimal compromise
actual shape of the bands for you. Nevertheless, between a desired overall tonal rebalance and the

desired dynamic program enhancement.
6.8 Peak Limiting
6.7.4 Band Mix The limiter’s master drive control may be consid-
This is where you can set the overall tonal balance ered to be a master gain control operating after
of the program. You should start with all bands the multiband compressor’s 4 band output mix
at 0dB and then boost or cut bands as desired. controls. It sets the amount of mixed multiband
It is not correct to assume that 0dB in all bands compressor signal which will be pushed into the
contribute to a flat frequency response. With a mul- FM Pro’s split band clipper. The clip threshold is
tiband compressor, the above-threshold frequency set to match your transmitter’s 100 percent modula-
response is always changing depending on the gain tion level. The multiband compression threshold is
reduction of each band. In addition, the bands may coupled to the split band clipper in such a manner
have different band-center gain if the crossovers as to cause the compression threshold to vary as
are not tuned sufficiently apart in frequency. It a function of clipping. This allows you to get the
is therefore incumbent upon you to set the band most limiting possible within minimum distortion
mixes according to the ear, and not by estimation constraints. As you increase the master drive level,
or assumption. you cause a greater depth of multiband compres-
sion because the split band clipper is progressively
When tuning the band mix, you may end up with instructing the compression threshold to decrease,
none of the bands remaining at 0dB. It would then thus avoiding excess clipping, causing more gain
be a good idea to normalize your mix by going reduction. The greater you increase the master
to “update all” and raising or lowering all the mix drive, the louder your signal will become. At
levels simultaneously until one of the middle two some point, as you advance the master drive, you
bands lands on 0dB. This will keep your relative must begin to accept more noticeable distortion to
mix intact while adjusting the overall mix to a permit the loudness you demand. This point occurs
normal level. at approximately +4.8dB.
6.7.5 Band Coupling A good method for setting the Master Drive is
Hard stereo coupling should be chosen when you to start at about 0dB and try to increase it if
want the absolute stereo imaging preserved. This the loudness is insufficient. There is an optimum
option is excellent for Classical music, or a highly balance between limiter drive and compression
definitive Jazz station. Elastic coupling is an FM for gathering loudness. It is sometimes better to
Pro unique coupling method that allows global highly compress and moderately limit. This brings
coupling, i.e., the baseline compression will tend the most density and that “wall of sound” effect.
to track between channels while the faster “peak” However, for a more open effect that is still loud,
compression will remain independent. Elastic cou- you should try lighter or slower compression and
pling is excellent for nearly every format since more limiting.
it maintains the perceptual stereo balance and
imaging while preventing a transient event in one 6.9 Bass Enhancement
channel from poking a gain hole into the other Consistent, strong bass is an essential part of a
channel. competitive air sound. A good method for using
the FM Pro’s bass processing is to start with the
Band-to-band coupling can be used to reduce the Master Bass at 0dB and the Warm Bass and Sub
dynamic equalization that occurs with multiband Bass boosts at 0%. Mix the multiband compression
compression. Usually we want the dynamic equal- output as you like, but do not use the B1 mix to
ization to remain since it constitutes enhancement get the full bass boost, rather use it moderately like
of the sound and helps get the unique on-air sound up to about 2.5dB only. Go to the Warm Bass and
we are after. However, there are times when we increase it slowly until the overall bass takes on
may want to keep a flatter frequency response, a slightly boosted feel. Next, go to the Sub Bass
at least between two of the bands. Band-to-band and increase it until you hear the lower bass come
coupling is elastic like the elastic stereo coupling. up noticeably. This will probably occur at around
This allows coupled bands to remain independent 30% boost. Next, go to the Master Bass and drop
for compression of transients and thus preserves it slightly, like about 1 to 2 dB. Finally, go back
many of the benefits of multiband compression. to the Warm and Sub Bass and adjust them for

the overall bass punch and resonance you are after. cause sibilance distortion.
Dropping the Master Bass has the effect of shelving
down all frequencies below 200Hz, and reducing There is an optimum balance to be found between
the drive into the bass portion of the split band the Hardness setting and the Multiband Compressor
clipper. This is beneficial because it allows you to mix. You may have attempted too high a boost
equalize the Warm and Sub bass for a very good in the B4 mix if you have to drop the Hardness
spectral balance while reducing the overall bass much below 50%.
energy drive to the bass interactive clipper. By
optimally driving the bass interactive clipper, you 6.12 Save Your Preset
can optimize the loudness-presence-bass equation. After you have reiterated your adjustments and are
at a point you want to save what you have created,
6.10 Brightness Enhancement follow the steps outlined section 7 of this manual to
This process allows you pick up the presence, save your user preset. By saving several variations
brightness, and loudness of your air sound without to presets, and recalling them, you can compare
overtaxing the multiband compressor. You will your processing ideas and make appropriate further
usually find that about 2dB of brightness boost adjustments. Gaining on a competitor may be
will be sufficient. We recommend adjusting the as easy as a first time shot, or might require
multiband mix with only moderate boost not over incremental adjustments.
+3dB in bands 3 and/or 4 then using the brightness
enhancement to obtain the additional brightness 6.13 Tutorial: A “HOW TO” Experience
you desire. In some cases, running a brightness
The following is a slightly different slant on setting
boost above +3dB may cause you to observe an
up processing, being somewhat anecdotal, and it
increased noise floor. This is due to picking up
may shed further insights for many readers.
the high frequencies of the program material. In
most cases, the increased noise is greatly offset
The first question to consider is format. The
by the benefits of the bright and sparkling sound
type of music will dictate the overall processing
quality.
amount, equalization, and “personality”. An FM
processing system is designed to control modula-
6.11 Pre-emphasis Limiting
tion primarily, but as competition in the market-
There are only two parameters to adjust here. One place has increased, so has the need to aggressively
parameter was set up when you created your Global process the audio signal to increase apparent loud-
preset, the pre-emphasis/de-emphasis characteristic. ness. It goes without saying that a radio station
What is left is to set the “Hardness” setting. In the that can sound different and even better than the
FM Pro, the pre-emphasis is created dynamically competition can be at some sort of an advantage in
and automatically readjusted to prevent high fre- the ratings/revenue game.
quency overmodulation caused by the pre-emphasis
boost. An embedded distributed clipper is associ-
At Aphex, we believe that high quality and the
ated with the final non-overshooting 15KHz low-
ability to be competitive in audio processing can
pass filter of each channel. This clipper catches
go hand in hand.
all peak overshoot remaining after the dynamic
pre-emphasis limiting. Setting the Hardness to 0%
Once the format type is determined, choose a
leaves little for the clipper, the work being done
similar factory preset that will give you a starting
dynamically, but the sound tends to become duller
place in getting the sound desired. Copy the factory
due to the sweeping pre-emphasis curve. At 100%
preset to a User preset location and name it. Then
Hardness, the dynamics are locked and the clipper
recall that preset and begin the fun of making
does all peak control. This provides a brighter
adjustments.
sound but causes sibilance distortion. Somewhere
between 0 and 100% Hardness you will find a
Concentrate immediately on the mechanics. Is the
good setting with no appreciable distortion and
Input level correct? Is the modulation level appro-
good brightness. Generally that will be at 50%,
priate? Is the pilot level correct? Make the neces-
but it depends on your Multiband Compressor mix,
sary adjustments to bring the above parameters to
limiter Master Drive, and other factors. You should
the desired levels, then save those settings to the
go for the highest Hardness setting that does not
Globals preset. Now go back and insure that you

are currently using the preset that was selected No matter the system, this processing tradeoff is
and named above. The processor is now able to be always present. The FM Pro has a great many tools
customized to fit the stations needs. that allow the user to increase loudness and density,
yet retain brightness in the high frequencies and
Provided modulation level and density are close dimension in the low end. Unlike other processors,
to expectations, the equalization of the compressor the processing systems in the FM Pro are very
and the bass enhancements sections are the next interactive. The input signal from one section is
areas to deal with. Examine the crossover frequency very dependent upon the output from the preceding
settings , and the gain reduction readings on the section. One of the keys to running the processor
multiband compressor. If the compressor seems aggressively with success lies in understanding
to be working harder on one band more than the what the various sections of the device are doing
others, and the program material is wideband, then and how they are interacting with each other as the
consider moving the crossover frequencies to better audio is passed through.
suit your needs. Remember that the Multiband
equalizer will be affected by the crossover changes, Like any Fm Processing chain, time, patience and
so be careful with any extreme equalization boosts awareness will net a great deal of information and
or cuts while changing crossover frequencies. As direction. Be sure to take the time to be consistent
tuning continues, and the high frequency informa- with the tuning of the Fm Pro. Attempt one change
tion is meeting expectations, move to the Limiter/ at a time, log your changes, and update presets
Bass menu. Examine the amount of master drive frequently. Listen in many different environments,
that the limiter is currently set at, and how much and develop a language that will allow effective
limiting is being indicated by the meter. Provided expression of what your ears are experiencing.
there are not any strange gain settings, the limiter
should be indicating anywhere from 3-6 dB of
limiting during normal program material. If the
low frequency content is not meeting expectations,
either adjust the Bass drive, or move to the next
page and make adjustments to the bass enhance-
ment circuits. Additional adjustments may be made
to the mix and release times in the Multiband
compressor in order to continue to bring the overall
tonal balance to a place that works.
Loudness in FM broadcasting is a factor of modula-

tion density. This is generally referred to as peak
to average ratio. The Fm Pro is capable of creating
a very dense audio signal with very acceptable
levels of degradation. Remember, the louder or
more dense the signal becomes, the more potential
for distortion. If loudness is desired, there are two
ways to get it: limit and clip, or compress hard.
Combining the two in this processor allows the user end
the ability to keep the audio as clean as possible,
yet increase density. To further avoid artifacts that
will be most noticeable on simple voice material
when processing aggressively, place the multiband
crossover points at frequencies that allow the voices
to fall in to one band of the compressor almost
exclusively. These suggestions will allow the user
to increase loudness by driving the compressor and
limiter harder with fewer apparent artifacts.
The less distortion and apparent loudness, the more

open and clean a station will appear to sound.

Web Version 7.0 All About Presets
7.1 What Are Presets? new default preset. The Recall Menu pointer
Presets are data arrays kept in memory to mass will be moved to the newly saved preset loca-
program the FM Pro on demand. Each preset tion.
contains all data needed to digitally control every
programmable element of the processor. 7.2.3 Viewing Presets
The view menu allows you to inspect the list of
A total of 24 preset memories are provided. These presets. You can see the preset name, user name,
comprise 8 “factory” presets and 16 “user” presets. and time the preset was saved, but you cannot
The factory presets were designed to serve a variety modify anything.
of programming formats and are stored in read-
only memory locations designated P01 through 7.2.4 Day-Part Scheduling
P08. The user presets are stored in flash memory The day-part menu takes you into the world of
locations designated U01 through U16 and can be automated preset recalls. The day-parting system
repeatedly overwritten as desired. is composed of 8 day-sets and a rotating 7-day
scheduler. The scheduler assigns any one of
7.2 What You Can Do With Presets the 8 day-sets to each day of the week. Each
You can save, recall, and view presets as well as day-set allows you to elect up to 4 events (process-
set up day-parting to make the FM Pro change ing changes) in a 24 hour period. Each event
processing characteristics according to a day and comprises a designated preset and take-over time
time schedule. You can also upload or download defined by the hour and minute. In this manner,
your presets as data files through the remote control you can have completely different day-parting for
software. This feature facilitates the distribution of every day of the week, if desired. You can just as
presets in radio groups or between other interested easily part every day by the same day-set or part
parties. one or more selected days. Any combination of
day-sets and weekdays is possible.
7.2.1 Recalling Presets
The recall menu allows you to page through all Both the scheduler and the day-sets are linked to
24 memory locations and selectively recall any an accurate self-contained clock/calendar module
preset. When a preset is recalled, the FM Pro which can be set through the front panel menu. The
immediately transforms all processing functions high accuracy of the internal clock should make
to the new operating parameters. The transforma- the necessity of correcting it very infrequent, how-
tion is smoothed out by ramping each individual ever the clock/calendar can be accessed through
control node to its new value rather than suddenly the remote control interface permitting machine
jumping. This greatly reduces the transition arti- control using custom software.
facts which could otherwise be generated by switch-
ing between widely different presets. Note: Day-parting rotates on a 7-day repeat-
ing schedule. Weekly, monthly, and annual
Note: Recalling any preset establishes that pre- scheduling are not supported.
set as the new default for current on-air process-
ing, power-up rebooting and other purposes. 7.3 The Auto Save Feature
If you are working in the Processing menus, and
7.2.2 Saving Presets you walk away from the unit without saving your
The save menu allows you to save the operating work, the Auto Save feature will save your new
parameters currently running on the FM Pro to settings to user location U16, naming it “Auto
any user memory U01 through U16. The logged- Save”. This will occur at the time when the FM
in user name and current time are automatically Pro reaches the time-out and automatically logs
stored with the selected preset. For protection, you out. If you log out manually without saving,
you cannot save to any factory preset location. the Auto Save will also occur. In this way, you
You can create a new name for the preset you’re will not lose your work even if you neglect to
saving or use the existing name when overwriting manually save it.
an older preset.
The Auto Save feature can be turned on and off
Note: Saving a preset automatically makes it the through the “Display Mode” Menu (F6 in the Main

Menu). We highly recommend you always keep There are 16 user presets comprising the memory
it “on” unless you absolutely need the 16th preset locations U01 through U16. These presets are
memory for a running preset, in which case you re-writable by users having read-write log in privi-
wouldn’t want Auto Save to overwrite it. If Auto leges. Unlike the factory presets P01 through
Save is turned “off” then you will lose all your P08, user presets are independent of the global
work if you don’t manually save it before you’re parameters of U01, i.e., presets U02 through U16
logged out. inherit nothing at all from preset U01. This allows
you to re-globalize your user presets if you wish.
Note: Unlike manual save, when the Auto Save For example, you would need to create a user
updates U16, it does not make U16 the new preset with different global settings if you wanted
default preset. It’s simply there to save your to switch inputs (analog or digital) as a day-parting
butt. function.
7.4 Do I Really Need To Create Presets? Note: You may conveniently use preset U01 as
The answer is yes, at least one. You will need to a completely normal user preset even though it
set up the global parameters and save to user preset serves double duty parenting globals to the 8
U01. This procedure is described in later sections factory presets P01 through P08.
of this chapter.
Note: Out of the box, all user memories U01
Note: One of the joys in life is building and through U16 come loaded with the same param-
using FM Pro presets. Likely as not you’ll get eters as factory preset P01 with an arbitrary
into creating your own sound designs right from set of globals.
the start.
7.5.3 Global Preset
7.5 Classes Of Presets User memory U01 is an otherwise normal user
There are three classes of presets in the FM Pro: preset doing the double duty of parenting certain
factory presets, user presets, and the global preset. global parameters (“globals”) to the factory presets
Every preset has a memory designation and a name. P01 through P08. The globals are routine param-
Memories are designated by P01 through P08 for eters (listed below) kept individually in all the user
factory presets and U01 through U16 for user presets but purposely not implanted in the factory
presets. The global preset occupies U01 and is a presets. This is done simply to allow adaptation
special case user preset as will later be explained. of the factory presets to every user’s operating
environment.
7.5.1 Factory Presets
Although preset U01 is initially named “Globals”,
There are 8 factory presets comprising the memory it can be renamed by a user just as any other user
locations P01 through P08. These are designed memory without changing it’s global function.
to complement a variety of generalized program
formats, and are named accordingly. Perhaps not Note: When initially starting the FM Pro, you
everyone will love the factory presets, but they were should set up the unit’s parameters to match
developed in consultation with experienced broad- your requirements then save to U01. This will
casters to assure reasonable suitability. Whether subsequently allow full and free use of the fac-
you like them or not, you will find them an excel- tory presets.
lent starting place to build your own presets.
The following table summarizes the “global” param-
Certain key parameters are not implanted in the eters that are linked to the factory presets from
factory presets and must be inherited from the U01:
global preset U01. This method allows the factory
presets to generate their intended effects while
adapting readily to the constants of your specific
system. The global parameters are discussed more
fully in section 7.4.3. of this chapter.
7.5.2 User Presets

The Global Parameters
A. Processing Menu, Input/Output Menu pages 1,2,3

Input reference level
Peak output level
Unit bypass on/off
20Hz High Pass Filter on/off
16.5kHz Low Pass Filter on/off
Spectral Phase Refractor (SPR) on/off
Stereo Insert on/off
Input Source: A or D
Output: A, D, or A&D
B. Processing Menu, Pre-emphasis Limiter Menu
Pre-emphasis filter, 50 or 75 microsecond
De-emphasis on/off
C. Processing Menu, Stereo Generator Menu pages 1,2
Pilot Mix percentage
Pilot on/off
Input mode: Stereo, Mono (L, R or L+R)
Mono Mode 90% or 100%
D. Processing Menu, AES Status
Transmit rate: Slave, 32, 44.1, or 48kHz
7.6 Tutorial--Building And Using may select Recall Preset (F1), Save Preset (F2),
Presets View List (F3), or Day Part (F4). Selecting these
items will open other menu pages providing further
Perhaps the best way to teach is by example. This choices. To avoid confusion, the individual presets
tutorial walks you through the steps of recalling are always referenced the same way and contain the
a preset, building the global preset U01, and then same data wherever they are listed in the various
setting up a day-part schedule. menus.
7.6.1 Menu Navigation 7.6.2 Recalling A Preset

Figure 7-1 shows the menu tree as it will be Action: Select (F1) from the Presets Menu
referenced in this tutorial. Three branches are When F1 is selected the screen will show the page
shown leading to: recalling presets, saving presets, containing the last recalled preset and the cursor
and making a day-part schedule. You can get an will point to that particular preset. (Note: There
easy grasp of the logical menu paths simply by are six pages in Recall Presets tree. The page you
glimpsing at this diagram. are on is indicated at the upper right hand of the
screen.) To scroll to another preset on the page use
Once you are through the log in procedure, the the up/down cursor keys. To turn to another page
screen will show the Main Menu. If you somehow use the left/right cursor keys.
advanced past the main menu, simply repeat press-
ing the ESC key until the Main Menu appears. To recall a preset, set the cursor on the desired
Among the Main Menu selections is F2, the selec- preset and press the Enter key. The chosen preset
tion for Presets. Select F2 and press enter. will appear in the lower right corner of every
screen. To return to the main menu press the
You are now in the Preset Menu. From here you Escape key.

Figure 7-1 Presets Menu Tree
Note: When the unit wakes up for the first time, Action: Recall a starting preset
Factory Preset #1 (P01) is loaded into all the Once you set up the global parameters you are
user presets U01 through U16. ready to start building your own presets. Choose
any factory preset which you think may be close to
7.6.3 Saving A Preset (and making the global the sound you want to achieve. Modify that preset
preset) through the Processing Menu if you wish, although
In order to kill two birds with one stone, we’ll right now that is not necessary.
show how to make and save the global preset. This
will help you get your FM Pro initialized while at Action: Set up the global parameters
the same time teaching you the procedures used to Go through the Processing Menus and reset all
save any other preset. parameters listed in 7.4.3 above. Some of the
parameters may be blocked out of the menu depend-
ing on which options are installed in your FM

Pro. You needn’t be concerned about any blocked you’ve entered and will update the date to the
out parameters since the unit deals with them current date. It will also show the name of the user
automatically. You may have already become who is currently logged in. It will ask you to verify
familiar with setting up the processing, but If you Yes of No. You still have a chance to back out
don’t know what to do with a feature (for example, and recover the old preset you are attempting to
“insert loop”, or “SPR”), just turn the feature off. overwrite. If no, press ‘Escape’ and you will be
Make sure that at least your audio I/O levels are set brought back to the Save Preset Menu. If yes, press
approximately correctly and you have the correct the ‘Enter’ key and your preset will be saved along
input selected (analog or digital). Also be sure with the new name. If you do not change the name,
the ‘Insert Loop” is turned off unless you have an only the date on which you have made changes
external device connected to the insert loop. will be updated.
Action: Save preset 7.6.4 Day Parting (F4)

When you want to save the work you have done From the Parting Menu you can choose ‘Edit
go to the Preset Menu and select Save Preset (F2). Parting’ or ‘View Parting’ as well as ‘Parting Status’
The first screen will come up with the particular on/off. In order to build ‘Weekly’ parting, ‘Daily’
page containing the last recalled preset. On the parting must be built first.
bottom, the screen will ask you to ‘Enter Location’.
Scroll through the pages, and, this time, choose Note: At this time you might as well check and
U01, “Globals”. At other times you may choose set the system clock/calendar. This is done from
other memory locations. Be careful not to chose a the Main Menu, F5, “Real Time Clock”. You’ll
location containing a preset you don’t want to lose, avoid a lot of confusion by having the correct
since it will be overwritten by your new preset. time and date in the system.
Note: You simply cannot save to a factory Action: From the Parting menu, turn parting
preset. off.
For the present, until your day parting schedule
Once the user preset is selected, press Enter. The is ready, turn off the day parting. Cursor to the
next screen is labeled “Overwrite”. If you didn’t “Parting Status” position and use the Spin Dial to
want to save the changes, you could choose ‘No’ turn the parting off.
by pressing the Escape key and you will be brought
back to Save Preset Menu. Since you do want to Action: Choose “Daily Edit”
save the changes, press the Enter key. After choosing ‘Daily edit’ the next screen will be
‘Parting Sets’. There are eight separate parting sets
Once you have chosen to save the changes, the (S1 through S8) listed in two pages.
next screen is ‘Enter Name’. If you want to keep
the name already on the preset, use the curser keys Action: Choose a parting set to edit
to move the cursor past the existing name over to Select one of the sets, i.e., S1, and press ‘Enter’.
‘Save’ and press the ‘Enter’ key. That will take you to the next screen which is
labeled ‘Daily Events’ for the set you have chosen.
If you want to create a new name for the preset,
pick the desired characters by scrolling through the Action: Edit the parting set
alphanumerics using the Spin Dial. Press Enter to Each set contains up to four changes (events) for
select each character as you build the name. After a 24 hour period. Select an event (E1 thru E4) by
‘Enter’ is pressed the cursor will automatically using the up/down cursor keys. Move the cursor
move ahead one space. You can also move the using the left/right keys to time and adjust the time
cursor manually using the left/right cursor keys. using the Spin Dial. Move the cursor to AM/PM
For a blank space use the position after the number and select by using the Spin Dial.
9 and press ‘Enter’. After you have created the
name, scroll to ‘Save’ and press the ‘Enter’ key. Note: It is not necessary to program the events
in order of time, although it would be easier
Once you have entered ‘save’ in the ‘Enter Name’ for you to review the schedule if they are in
menu, the “New Preset” screen appears to ask for chronological order.
verification. It will show the name for the preset

Note: If you set the same time on two or more
events, the lowest numbered event is enacted,
while the others are ignored by the scheduler.
Move the cursor to the right hand side of the screen

and using the Spin Dial choose a preset (P01 thru
P08 or U01 thru U16). If you spin past U16 the
screen will show ‘Off’. This means that event is
cancelled.
Note: You should set all unused events to ‘Off’.
Note: Whenever you change anything on a Daily

Event (Set) Menu, the changes are taken to
memory automatically. You do not have to save
the settings.
Action: Chose “Edit Weekly”

This opens up the “Edit Weekly Sets” menu which
controls the rotating weekly scheduler.
Action: Schedule the weekdays

Select days using left/right cursor. Select parting
sets to associate with each day using the Spin Dial.
If you want to use the same set for all days move
the cursor to ‘Set all’ and, using the Spin Dial, end
select the desired set which will be attached to all
weekdays at once.
Note: Whenever you change anything on the

“Edit Weekly Sets” menu, the changes are
automatically taken to memory. You do not
have to save the settings.
Action: Turn day parting back on.

From the Parting Menu curser down to “Parting
Status” and use the Spin Dial to turn it on.
Action: You’re done already!

The day parting is now set and operating, the
globals are set, and you know how to wander
through the menus and recall or save presets.
7.7 Summary
You have now learned the flexible yet simple
preset system of the FM Pro and no doubt you
are feeling all warm and fuzzy about that. We
hope you will now take advantage of the many
possibilities offered by the FM Pro, live long, and
prosper.

Web Version 8.0 Password Security System
Figure 8-1. Password System
Figure 8-1. Password System
8.1 Why A Security System?

In most modern broadcast installations, it is impor- 8.2 Log-in Access
tant to prevent any unauthorized viewing or chang- To pass from the logo screen to the main menu
ing of the processing. This protection is achieved in you must log in. Pressing the enter or escape key
the Model 2020 when the password security system at the logo screen will either prompt you to enter
is enabled. In applications which do not require this the password or tell you no password is required
password security feature, the password require- depending upon whether any password has been
ment can be disabled. set up.
Note: If no password is required, then you will

be notified by the screen and allowed to enter Pro will revert back to the preset which was in
the main menu by again pressing the enter key. effect at the time you logged in, or the last preset
If a password has been set, then the password you saved while working. This saves you from
entry screen will be displayed and you will need losing your work should you forget to save it
to successfully enter the password in order to to your own user preset. You can later come
gain entry to the main menu. back and retrieve your work from the Auto Save
memory.
8.3 Logging Out
8.3.1 Manual Log Out 8.5 Password Enabling
After you finish adjusting the FM Pro, you should There are two password enable methods in the FM
log out to protect the FM Pro from tampering. This Pro, hardware and software. The hardware enable
is a simple procedure accessed through the main consists of a movable jumper located inside the FM
menu “Password” function. Select “Log Out” and Pro’s chassis. This jumper is only accessible by
press enter. The logo screen will appear indicating removing the top chassis cover. As shipped from
you’re now logged out. the factory, this jumper is set to enable. When
the jumper is set to enable, the software enable is
8.3.2 Auto Lock Out active. When the jumper is moved to disable, the
software enable is defeated at all times.
The FM Pro will automatically log you out after
a period of inactivity. The period will be either 8.5.1 Software Password Enabling
1 or 5 hours, depending on how it is set in the
Main Menu “Display Mode” page. Any front panel Assuming the hardware is enabled, (hardware jump-
operation resets the timer back to zero, so the lock er set to enable) the software enable exists implic-
out will not occur unless you remain logged in but itly by setting up a password or deleting the
leave the unit alone for a long enough period. This password. If the password is null, i.e., the word
is a very handy way of making sure the unit will is blank, then the password system is software
return to a tamper proof mode should you walk disabled. If a password is set up, i.e., at least one
away and forget to manually log out. character is entered and saved as a password, the
password security system is software enabled and
Note: We suggest using the 1 hour Auto Lock you will thereafter have to enter the password to
Out if you are likely to receive frequent work gain log in access.
interruptions. During extended uninterrupted
sessions, use the 5 hour setting. 8.5.2 Hardware Password Enabling
The hardware password jumper serves two func-
8.4 Auto Save tions. First, it permanently enables or disables
As a convenience to you, the auto lock out feature the password capability depending on whether it is
will also save your current operating parameters to moved to the enable or disable position. Second,
the Auto Save memory U16 when “Auto Save” is it can be used to reset the password in software to
enabled. This feature is activated through the same null (blank) by first booting up the unit with
Main Menu “Display Mode” page where you find the jumper in the disable position and then reboot-
the Auto Lock Out time. ing with the jumper in the enable position. This
jumper is located inside the unit on the front panel
Note: If the Auto Save feature is set OFF, then computer board assembly.
the at the instant the Auto Lock Out function
logs you out, the FM Pro will revert back to the Note: As shipped from the factory, the hardware
preset which was in effect at the time you logged password jumper is set to enable, and the pass-
in, or the last preset you saved while working. word in software is blank.
You will lose any unsaved work you did while
you were logged in. 8.6 Access With Lost Password
If, for any reason, you lose the password and are
If the Auto Save feature is set ON, then at the locked out of your FM Pro, you can reset it to null
instant the Auto Lock Out function logs you out, and start over with a new password. Doing this
your new settings will be saved to memory U16, requires somewhat drastic measures, discouraging
automatically named “Auto Save”, and the FM unauthorized persons from gaining access to your

audio processing. The only way to overcome
an unknown password is to clear the password
memory using the hardware password jumper as
follows.
8.6.1 Clearing The Password Memory

To reset the password to null: remove ac power,
take out the the 14 cover screws, and remove the
cover. Locate the password jumper on the front
panel computer board and move it to the disable
position. Apply power and boot up the unit. You
should now be able to access the Main Menu
without a password. Power down and move the
jumper back to the enable position. Replace the
cover and restore the unit to operation. You can
now enter a new password or operate without a
password.
end
Figure 8-2. Hardware Password Jumper
8.7 Setting The Password

Once logged in, you can create a password or change
the existing password. Enter the “Password” page
from the Main Menu and select “Edit Password”.
The password edit screen will appear. If a pass-
word exists it will appear in the edit screen. Simply
overwrite it and save. If there was no previous
password, the edit screen will be blank. Simply
enter a new password and save. From now on the
new password will be required to log in.
8.8 Clearing The Password

Should you want to clear the password and run
without password security, follow the above pro-
cedure but overwrite the existing password with
blank spaces. Once the blank password is saved,
the password system becomes “software disabled”
and you will not be asked for a password for
subsequent log-ins.

Blank Page

Web Version 9.0 Using Digital Audio
9.1 Connecting AES/EBU Lines ready for all such improvements. Furthermore, use
of a 20-bit a/d converter assures there will be
The FM Pro digital audio interface operates with
no appreciable noise or distortion generated by
professional AES/EBU standard specifications. If
the converter itself, leaving the question of audio
your digital audio cables are somewhat lengthy,
quality entirely up to the digital audio source.
your cabling should use only 110 ohm twisted-pair
shielded wire designed specifically for digital
9.4 Auto Source
audio use. For very short runs of a few feet,
standard twisted pair cable is usually acceptable. If Auto Source is turned on, the FM pro will
Keep cables as short and neat as possible to avoid automatically switch over from the digital to the
noise pickup. Remember, digital audio signals are analog input when digital audio data errors are
equivalent to radio frequency transmission and can detected. Error levels detected, in order of severity,
suffer similar propagation anomalies. To avoid are are as follows :
generating or receiving interference, pay attention
to proper assembly of the XLR cable connectors. Validity bit high
Confidence flag
9.1.1 Cable Pinout Slipped sample
CRC error
The following is the correct wiring pinout for
Parity error
AES/EBU cables: Pin 1 shield; Pin 2 positive
Bi-phase coding error
signal; Pin 3 negative signal
No lock
9.2 AES/EBU Synchronization
You can set which error level is the lowest level
The AES/EBU receiver will lock up to incoming that will trigger the Auto Source. The Auto Source
sample rates between 25 and 55 kilosamples per will trigger after 10 error hits are detected within a
second (KS/s). Once lockup occurs, the FM Pro’s 1 second interval. The Auto Source will therefore
AES/EBU status screen will display the standard not switch over for the minor data errors which
incoming rates of 32K, 44.1K, and 48KS/s. The are normal in many digital STL’s. After an Auto
received digital audio bitstream is subsequently fed Source trigger, if no more errors are detected for
to the analog-to-digital converter. an additional 4 seconds, the Auto Source switches
back to accept the digital input.
If you are using the Auto Source mode, then you

need to have a suitable analog input available to
continue the broadcast program. Many users will
maintain an analog STL or land line feed to the FM
Pro as a backup to their digital audio link. If no
analog input is supplied to the FM Pro, then when
Auto Source switches to the analog input, your FM
modulation will go silent.
Figure 9-1
Note: To select the lowest error level you want to
Processing, AES Status Menu
trigger the Auto Source, move the curser pointer
to Auto Source in the AES/EBU menu and turn
the Spin dial to scan through the error list,
9.3 Digital-To-Analog Conversion
stopping at the desired indication. To turn the
The FM pro utilizes a no compromise 20-bit digi- Auto Source off, turn the Spin dial until “OFF”
tal-to-analog converter to receive the AES/EBU is indicated in the data error list.
digital input signal and generate high quality
analog for audio processing. We realize that, at the 9.5 Digital Output
present time, there is virtually no chance that full
The FM Pro’s digital audio output is generated by
20-bit digital audio will be available to the FM
a no compromise, drift stabilized, 20-bit analog-
Pro. However, developments presently in progress
to-digital converter. You can select asynchronous
will soon open the door to vast improvements
output sample rates of 32, 44.1, and 48KS/s, or
in broadcast digital audio. The FM pro will be

you may slave synchronize the digital output to low sample rate, i.e., 32KS/s, results in a higher
the digital input. noise floor, a more spurious noise characteristic,
and a narrower audio bandwidth. Higher sample
Many users will see the benefit of asynchronous rates improve not only those factors, but also
digital output. For example, if your digital STL permits better signal processing within the digital
runs at 32KS/s, 16-bits, you can come into the domain. It is desirable to have the highest sample
FM Pro at that rather inferior rate and resolution, rate possible and the largest number of bits pos-
process the sound in analog thereby elegantly sible.
reconstructing the audio waveform, and resample
out at 48KS/s, 20-bits. Your digital FM exciter The transmission and storage of digital audio
will happily accept the higher sample rate and requires a data bandwidth directly proportional to
resolution making your FM transmission all the sample rate and geometrically proportional to the
better with much lower distortion and spurious data size (number of bits). System economies
content. forbid extravagant quantizing and sampling of
digital audio, and compromises must be reached.
Note: Thanks to an Aphex patent pending Unfortunately, the compromises needed to make
design, the digital output of the FM Pro is free digital audio practical for most purposes are severe.
of all dc drift and bounce. All thermal offset For this reason, not only is the digital audio found
drift of the a/d converter has been eliminated. in broadcasting usually of low sample rate and
Furthermore, the dc offsets of the analog audio quantizing (32KS/s, 16-bits), but there may also be
stages are fully regulated by dc servo control. lossy data compression applied.
There will be no long or short term frequency
drift or bounce of the FM exciter caused by Lossy data compression, for example Musicam
the FM Pro. or Apt-X, will bring down the required data band-
width, but causes further degradation of the sound.
9.6 Facts About Digital Audio, Bit Rate Whether the degradation is audible depends on
Reduction and Dynamics Processing the listener’s criticality, of course, and upon many
Digital audio is a sampled and quantized approxi- other factors. Multiple compression passes may be
mation of the original analog sound. The higher the encountered in a complex distribution path and each
number of bits used to digitize an audio signal, the compression stage may build upon the last causing
more closely it’s reconstructed analog signal will severe damage to the sound. For this reason it is
resemble the original. The number of quantization advisable to always avoid using compressed data
levels available in the digital domain is a measure pathways.
of the digital resolution of the audio signal. Too
few quantization levels results in harsh distortion As stated before, the sound quality of digital audio
known as “grunge” or “splatter”. There can never improves as resolution is increased. It is therefore
be too many quantization levels. good practice to maximize the analog signal input
amplitude to the analog-to-digital converter in order
16-bit quantization has become a standard resolu- to obtain the maximum available digital resolution.
tion in most of today’s digital audio systems. However, the potential danger of driving too close
Although this moderate digital precision has been to maximum input level is digital overload, a most
found generally satisfactory for mass consumption, unpleasant sound. To create sufficient headroom,
many people find that the presently available 18 standard practice is to establish the 0VU reference
and 20-bit digital audio is vastly superior in terms level of digital audio at 18 dB below peak clip.
of realism and the reduction of noticeable digital With each bit comprising 6dB of the available
audio anomalies. The reason is that, even if large dynamic range below clipping, 0VU signals thereby
amplitude waves can be quantized adequately in receive only 13dB quantization. Small but impor-
the 16-bit domain, small signals reflecting signifi- tant signals 20-30dB down from reference become
cant sonic details may be grossly underquantized only 8-bit audio. It is not hard to see why
or even lost. much digital audio can sound harsh and gritty.
Furthermore, once a signal is poorly digitized there
The sample rate of digital audio directly affects the is no way to increase its resolution.
precision of the reconstructed sound as well. A
The quality of digital audio can be noticeably

improved by raising the 0VU reference level closer ics processing will be used. In broadcasting this
to clipping, and by using a high quality analog brick can be a problem.
wall peak limiter such as the Aphex Dominator to
prevent audio peaks from ever exceeding the a/d Dynamics processing, by definition, will change the
clip level. Of course, the Dominator could also be level relationships between high level and low level
used to raise the density of the sound, getting a signals. Since the most common form of broadcast
very loud and highly resolved digital conversion, audio processing is dynamic range compression,
if desired. When 18 or 20-bit digital audio is the high level signals will be reduced in level in
converted to 16 bits, the lowest bits are either comparison to the low level signals. Multiband
truncated or dithered to noise. With either method, audio processing will continuously change the
it would be best to maintain as much of the masking relationships of the sound. This explains
audio in the higher bits as possible to maximize why data-compressed digital audio subjected to
resolution. Therefore, an 18 or 20 bit analog-to- broadcast audio processing will often become excep-
digital conversion system also benefits from the tionally dirty and grungy because the masking
Dominator. algorithm presumed for data compression becomes
greatly violated.
Linear digital audio requires wide spectrum for
transmission and large space for storage. For It would seem that if one must use a data com-
example, one channel of 16 bit sampled at 44.1kHz pressed digital audio link, it would be better to
translates to more than 700,000 bits per second. place the link after the FM Pro, rather than before.
The requirement for ever larger drives and wider In that way the FM pro could receive uncompressed
transmission systems has been answered in part digital audio, process it, then send the processed
by various methods of bit rate reduction. Although audio out to the digital link whereby the digital
sometimes called “data compression” they are all data compression would not be subjected to further
‘lossy’ systems, which means that resolution is audio processing. The problem with this proposal
reduced, thus the noise floor and distortion are is that the highly processed audio from the FM Pro
increased while subtle (sometimes not so subtle) is too dense to fit the supposed masking parameters
details of the audio are lost. for inaudible digital data reduction. The data reduc-
tion processor has to make the data fit the avail-
One of the prime methods of all the systems to able bandwidth one way or another, so, having
reduce data is the use of the psychoacoustic no reasonable masking opportunities, it makes
principle of masking. Essentially, the theory states whatever severe and disastrous alterations to the
that a higher level signal will mask lower level digital audio that are necessary. It is, in fact, better
signals within a certain frequency range surround- to place the data compressed digital audio link
ing the higher level signal frequency, depending ahead of the FM Pro. This arrangement, although
on the relative levels of the signals. The higher the still undesirable, usually yields better sound than
high level signal is in comparison to the low level data compressing the FM Pro’s output.
signals, the wider the masking frequency range.
The frequency range of the masking effect is If a data compressed digital audio link absolutely
called the “critical band”. The bit rate reduction must be used ahead of the FM Pro, then maximizing
system discards the supposedly masked signals in the quantization level by use of the Dominator to
the critical band and retains mainly the masking control audio peaks and a Compellor to ride average
signals. gain in the analog domain ahead of a/d conversion
can mitigate some of the audio degradation of the
While there are differing opinions regarding the data reduction system, and give the FM Pro a better
audibility of the artifacts of the various bit rate quality digital audio input.
reduction schemes, the controlled listening tests
upon which the proponents have obtained accept- One final note about using data compressed digital
able results have employed reproduction systems audio. The digital algorithms of data reduction
which were as flat as possible. There were no used in digital STL’s will sufficiently modify the
dynamics processors such as audio compression audio input waveform to cause considerable peak
and equalization placed in the reproducing system. overshoot. This will not be a problem when the
This means that data compression techniques are digital link is placed ahead of the FM Pro since the
not designed with the anticipation that any dynam- FM Pro will re-limit the peaks prior to transmission.

However, if the STL is placed after the FM Pro, the
STL digital audio output will not be suitable for
direct connection to a digital FM Exciter. For these
reasons and reasons already given, we recommend
placing the FM Pro at the transmitter site in all
cases involving a data reduced digital STL.
Note: If a linear (uncompressed) digital STL is

used, then it theoretically would be possible to
maintain the FM pro at the studio and send
the AES/EBU output up the STL directly to a
digital FM exciter. At the time of this writing
such an STL is available only on a T-1 wideband
link. However, some T-1 equipment does rate
conversion or other signal processing. You need
to test your link for digital overshoot prior
to making a commitment to this operating
method.
end

Web Version 10.0 Using Multiplex
10.1 Stereo Generator Option properly in your system. Refer to section 7.
Although the stereo generator is a field installable
option, we recommend ordering it factory installed. 10.4.1 Mono Modes
This allows us to perform a thorough calibration Great flexibility is afforded the user by providing
of the unit for you. However, should you insist three mono modes: Mono-L, Mono-R, and Mono-
on doing it yourself, you can rest assured it will L+R. You can also decide if the mono mode should
perform well as long as you correctly follow remain at 90% peak modulation as for the stereo
the installation procedure. Field installed stereo mode, or be expanded to use the full 100% peak
generator options are shipped with installation modulation limits. Normally you will want the
instructions which you should later insert in this Mono-100% mode, and indeed most other stereo
manual, preferably at the end of the present sec- generators provide only this mono mode.
tion.
Occasionally we encounter broadcasters who switch
The FM Pro stereo generator is similar to the from stereo to mono simply for the purpose of
PPDM circuit used in the world renown Aphex inserting an additional subcarrier signal for a certain
Digicoder. PPDM (parallel path digital modulation) period during the day. In this case it is necessary
technology is an Aphex exclusive patented method to limit the mono modulation to 90%. In effect,
of generating a perfect stereo multiplex signal. You the 9% pilot injection is being replaced by the
may refer to Appendix 1, “Stereo Generator Theory additional subcarrier. For those broadcasters who
With PPDM Explained” for detailed information need it, we provide the Mono-90% mode of opera-
on PPDM and general stereo generator information. Just another thoughtful service of Aphex
tion. technology and design.
10.2 The Stereo Generator Menus 10.4.2 Stereo Mode

From the Main menu, go to the Processing menu. In the stereo mode, the peak modulation of left
On page 2 of the Processing menu select F6, and right channels hits 90% modulation while the
“Stereo Gen.”. There are two stereo generator pilot is customarily adjusted by the user to equal
menu pages. Page 1 gives you the pilot settings 9% modulation. This condition will be restored
and page 2 gives you the mode options. These two whenever stereo mode is selected regardless of
pages are shown below. which mono mode may have been in use.
Figure 10-1
Stereo Generator Menus
10.3 Presets Memory

The mode and pilot injection level is saved in the 10.5 Pilot Function
user preset memory whenever a preset is saved. The pilot signal is automatically switched off when
any mono mode is selected, and on when the stereo
10.4 Mode Settings mode is selected. Once you are in the stereo or
Stereo generator modes are saved in the user mono mode you can switch the pilot on and off
presets. You can therefore save presets for stereo for testing or other purposes. For example, you
and mono operation, and run them as day parting can switch on the pilot while in a mono mode,
events if you wish. When starting the FM Pro and switch off the pilot while in the stereo mode.
for the first time, you should set the stereo genera- Regardless of the state of the pilot in any mode,
tor and save to the global preset U01 so the it will automatically be returned to the normal
factory presets may inherit the mode and thus work state when another mode is selected. The user may
adjust the pilot injection from approximately 7%
to approximately 11% modulation. The typical One way you can test your STL is with a square-
setting is 9% modulation. Though probably not wave generator and oscilloscope. Feed the tone
good practice, you can create different pilot injec- into the STL transmitter at around 20% modulation
tion levels in different user presets if you wish. and observe the receiver’s output on the scope.
Of course, this can most easily be done with the
10.6 Multiplex Output transmitter and receiver on the same workbench,
The stereo multiplex output level is adjusted by a but you can also check an installation by having
rear panel multiturn precision trimmer. The level workers at each end of the link. First use a square-
is adjustable from zero to approximately 7 volts wave frequency of 50Hz. The output wave should
peak (14Vp-p) at 100% modulation. The output be nearly rectangular with less than 3% trapezoidal
impedance of the BNC jack is approximately 10 tilt. This test reveals the typical limitation of most
ohms sourced by a high current video output driver STL’s which is an inadequate phase lock loop filter
circuit to maintain extremely fast slew rate and a in the FM modulator. Next, sweep the squarewave
strong drive capability. This will reliably drive up frequency upwards through 20KHz. There should
to 100 feet of low capacitance coaxial cable, either be no tilting or ringing visible on the output.
terminated or unterminated. Unfortunately, there is little you can do if your STL
does not pass muster except to purchase a better set
10.7 Multiplex Cable Connections of STL equipment.
Many stereo generators suffer from the effects of 10.8.2 FM Exciter Problems
output cable capacitance, and their manufacturers
tell you to keep the output cable under 6 feet long. Older FM exciters (and many newer types, espe-
The FM pro can drive much longer cables without cially units used in Europe and the far east) produce
a problem either of distortion or stereo separation. modulation overshoot as a result of inadequate
You can use either 50 or 75 ohm coax line without low frequency response. Highly processed audio
any noticeable difference in performance. We have containing heavy bass frequencies will cause the
found no reason to terminate the line in practice exciter to overmodulate.
since the bandwidth of the multiplex signal does
not reach a high enough frequency to excite the You can investigate your FM exciter using the
transmission line characteristics of a typical cable. squarewave technique. For this you need an FM
You may, however, use a line terminator if you demodulator with d.c. response. Typical FM moni-
wish. It is best to use low capacitance coaxial tors are not adequate in that regard. Our experience
cable, especially for runs over 20 feet long. has shown you cannot trust even the very expensive
European FM modulation analyzers for this test.
10.8 Modulation Overshoot Problems One fairly reliable method is to use a common old
fashioned FM receiver with the AFC defeated. You
Once you have adjusted the multiplex output level can look at the FM detector’s output with a d.c.
to satisfy proper total peak modulation limits of coupled scope probe (prior to the stereo decoder)
your transmitter, the pilot injection indicated on to see a good demodulated replica of the FM.
your modulation monitor may be significantly An FM exciter should be capable of modulating
lower than the indication on the Stereo Generator a 50Hz squarewave with less than 3% trapezoidal
menu. If this occurs, then you are experiencing tilt. Unfortunately there is little you can do besides
a transmission problem between the FM Pro and purchase a better FM exciter should your exciter
your FM exciter, or with the FM exciter itself. not pass the test.
10.8.1 STL Problems 10.8.3 Composite Clippers

Any filters or amplifiers in the path from the FM If your system has overshoot caused by the STL,
Pro’s stereo multiplex output to the FM Exciter but not the FM exciter, then you may be able
input will probably introduce modulation over- to mitigate the problem by using a composite
shoot. A composite STL typically introduces clipper on the STL composite output. We highly
such overshoot, although newer types are available recommend avoiding composite clippers whenever
which almost eliminate the problem. It cannot be possible, but to compensate for a bad STL we
over-emphasized how important the STL can be to would relent. The use of composite clipping will
your on-air sound and loudness. introduce additional distortion to the sound and

generate spurious frequencies which will fall into
the subcarrier frequency band. The result can be to
create a synthetic multipath distortion effect which
will reduce your effective broadcast coverage area.
Please do not use a composite clipper beyond the
minimum clipping needed to compensate for STL
overshoot. The FM Pro is designed to create high
on-air loudness without composite clipping.
10.9 Using RDS Encoders

The FM Pro does not directly support an RDS
encoder interface. If you intend to use an RDS
encoder, you can insert it as an inline device or you
can let it lock up to the multiplex pilot and inject
its RDS subcarrier into one of your FM exciter
auxiliary inputs.
end

Web Version 11.0 Remote Operation
The FM Pro can be remotely operated by a suitable directory named C:\FMPRO to contain the program
personal computer running Microsoft Windows files. You will be instructed to insert additional
3.1x or Windows 95. Remote control software diskettes as needed.
is normally shipped with the FM Pro but is also
available from any Aphex dealer and it can be 11.3 Communications Cable Hook-Ups
downloaded from the Internet web site at http:// You can connect your computer to the FM Pro
www.aphexsys.com. The computer may be con- through a direct RS232 cable or a pair of modems.
nected to the FM Pro directly by an RS232 cable The serial cable will differ depending upon the type
or by a telephone modem. of connection
11.1 Hardware Requirements

1. 386-33 or higher class personal computer.
2. Windows 3.1, 3.11, 9x, 2000 operating system
3. Minimum 4MB RAM
4. 2.5MB Hard Disk Space for program files
5. 3.5”-1.44MB Floppy Drive

Figure 11-1 9-Pin To 9-Pin Null Modem Cable
6. One available serial port (com1, 2, 3, or 4)
7. 800x600 or better Color or Monochrome 11.3.1 Direct Connection

Display The direct connection uses a “null modem” serial
communications cable to connect your PC to the
8. Pointing device (mouse, trackball, etc.) FM pro. Commercially available null modem cables
come with various configurations of male and
9. Two modems-- one for the P.C. and one for female connectors. The FM Pro wants a 9-pin
the FM Pro (no modems needed for port-direct female cable end while your PC wants either a
connection). 9-pin or 25-pin female cable end. Simply obtain or
construct the proper cable and use gender changers,
11.2 Software Installation if necessary. If you make your own cable, then
We constantly strive to improve our software. follow the pinouts of figure 11-1 or 11-2.
Please take into account any changes that may be
implemented in newer software versions and alter
your interpretation of these instructions accord-
ingly. Check the 2020 web site at www.aphex.com
for new release information.
The FM Pro comes ready for remote operation, so

you will not be required to install software into
the unit itself. You need only to install the remote
control software onto your own computer.
To begin installation, insert Install diskette 1 Figure 11-2 9-Pin To 25-Pin Null Modem Cable
and, from the run menu, enter a:\setup then
click OK. If your floppy drive letter is other
than a:\ then simply substitute the correct drive 11.3.2 Modem Connections
letter, i.e., b:\setup. 11.3.2.1 Modem To FM Pro
For remote control through telephone lines, an
The setup program will automatically install all external modem must be connected to the serial
required components into your system and create a port of the FM Pro. Most external modems contain

a 25-pin female serial port connector. Therefore 25-pin male and a 25-pin female connector. For a
you will need to obtain a standard modem cable, 9-pin serial port the proper cable contains a 25-pin
not a “null modem” cable as described above, with male and a 9-pin female connector. If off-the-shelf
the proper connectors attached. If off-the-shelf cables are not available, you can make the cable
cables are unavailable, you may may construct the according to figure 11-4.
cable according to the wiring diagram of figure
11-3. 11.4 Operation By Modem
11.4.1 Usable Modem Types
Generally, any Hayes-compatible modem capable
of 9600 baud or greater should work. Newer
V32.bis modems will connect at the highest speed
the line quality supports, usually 14,400 to 33,600
baud, while older fixed rate modems will just lock
up at their specified baud. The serial communica-
tions of the FM Pro and the PC are set to 9600
and need only to see support for 9600 baud from
the modems. The newer, faster modems usually
offer better performance because of improved error
Figure 11-3 Modem to FM Pro Serial Cable
handling.
11.3.2.2 PC To Modem 11.4.2 Modem In The Windows Operating

You may use either an internal or an external System
modem with your PC. If using an external modem, Even though the Aphex remote software runs under
you’ll need a standard serial cable from the PC Windows 3.1x or Windows 95, you do not have
serial port to the modem. You must not use a null to configure the modem for the Windows environ-
modem cable. Your PC can have either a 25-pin ment. We take care of all modem control through
or 9-pin serial port, therefore you need to get the the software. If your PC modem is already config-
appropriate cable and possibly an adapter. For ured with windows drivers that is not a problem.
a 25-pin serial port the proper cable contains a You only need to check which com port it is
attached to. If the modem is internal, usually it
will be configured to Com4 but you should double
check your modem configuration so you will select
the correct port in the remote program.
11.4.3 Modem Installation Procedure

When setting up the FM Pro for a modem connec-
tion, please follow these steps to properly initialize
and activate the modem.
1. Power down the FM Pro.

2. Connect the FM Pro to the modem by a standard
(not a ‘null modem’) cable.
3. Power up the FM Pro and the modem.
4. In the remote link menu, set the remote link
“OFF” then set the link type to “modem”. You
can only set the link type when the remote link is
off. Lastly, set the remote link to “ON”. The link
status should first show “wait” and then “M-OK”
indicating that the modem is initialized. The FM
Figure 11-4 Modem to PC Cables pro will force the correct modem settings regardless
of how the dip switches may be set on the modem.

Note: Do Not set the “Remote Link” ON if the
modem is not connected! This will cause the
FM pro to lock up it’s front panel for about
20 seconds.
The FM pro will continuously check if the modem

is still connected. In case of power interruptions,
the FM Pro will automatically recover itself and
re-initialize the modem.
11.4.4 Troubleshooting The Modem Figure 11-5 Main Form

If you have problems connecting to the modem,
here is an easy way to check if the units are 11.5.1 Link Status
communicating properly. This indicator shows you if your link status is
working, and whether by direct line or modem.
1. Power-off the modem. The operating condition is indicated in green.
2. Turn off the modem’s auto answer feature using
the modem’s dip switches or jumpers. If using a Note: The FM Pro must have the Remote
US Robotics modem, flip switch #5 “DOWN” to Interface feature turned on and set to the correct
set auto answer off. mode (modem or direct) or you cannot establish
3. Set remote link “OFF” and link type to a remote link.
“modem”.
4. Power-on the modem. The AA (auto answer) 11.5.2 Transmit Speed
light must be off. This shows how efficiently the data is being carried
5. Set remote link “ON” and watch the modem’s from your PC to the FM Pro. Data is not always
AA light. When you turn the remote link on, the being transmitted, so this indicator may be blank or
AA light must come on. If the light comes on, that at a low value until you begin moving settings.
proves the FM Pro is commanding the modem and
the unit should work properly. If the modem’s AA 11.5.3 Receive Speed
light does not come on, then either the modem or
Your PC normally receives a continuing stream of
the cable is defective.
meter data. This indicator allows you to see how
efficiently the receive data is streaming through the
11.4.5 Compatibility Issues
link. If your modem is operating on a bad phone
We have experienced problems supporting some line, you may see this value fall low and the meters
manufacturer’s modems. Our lab has verified that on the panels may become erratic.
the 33.6K baud modems by US Robotics, Best
Data, and Supra will work with the FM Pro. If 1. Select Com Port
you have another brand of modem and you find it
2. Select
works well with the FM Pro, we would like Connection
you tell us so we may add it our list of known Type
modems. As time goes by, we will post additional
modem information on the Internet at our web site
www.aphex.com.
11.5 PC Remote Control Main Form

When you first start the program you will see the
Main Form of figure 11-5. This form links you
to all the program functions such as the control
panels, presets, and communications. The various
indicators on this form show you how well the
data is being passed between the FM Pro and
your PC. Figure 11-6 Establishing a Connection

11.6 Port Direct Linking
To begin direct communications, open the “Com” 11.8 Using The Remote Control Panel
menu and select the com port you will be using. From the Tools menu, select Controls. This opens
Next, select “Port Direct” out of the “Connect” up the tabbed control of figure 11-8, giving you
choices. If the FM pro is properly connected to access to all the FM Pro programmable functions.
your PC, then you will immediately receive a Each major processing group can be reached by
series of messages indicating the success of the clicking the appropriate choice tab. To adjust any
connection. variable control, simply put the pointer on the
handle, hold down the left mouse button, and drag
Note: You must set the remote link status on the the mouse pointer.
FM Pro to “DIRECT” (not “modem”) to allow
direct linking.
If there is a password in the FM Pro, you will

be shown a dialog box requiring the password to
be entered. Once the password is correctly entered
you’ll be able to continue.
11.6.1 A Note On Day Parting

If day parting by the FM Pro is currently in effect
at the time you are logging into the remote link,
you will get the dialog box of figure 11-7. This box
allows you to decide if you want to turn off the
day parting, leave it on while you work, or put it
at rest. When at rest, the day parting is temporarily
shut off while you are connected, but automatically Figure 11-8 Remote Control Panel
turns back on when you disconnect the remote
link.
11.9 Dealing With Presets
There are several ways you can deal with presets
in the remote link. You can import and export
presets to and from data files and you can recall
or save presets in the FM Pro memory. Recalling
and saving are similar to what you can do on the
Figure 11-7 Day Parting Dialog Box FM Pro front panel itself. Import and export are
additional capabilities given to you by the remote
11.7 Modem Linking software program. You can upload one or more
Follow the same procedures as 11.6 above, but presets to a file on your PC or floppy disk for
select “Modem” instead of “Port Direct”. A dialog transport to other FM Pro units, and you can
box will open up indicating the modem is being download presets from such a file. Export files
initialized. When the modem initializes, you will contain the extension *.fmd.
be then be given an input box to enter the telephone
number which must be dialed. While the number 11.9.1 Recall Preset
is being dialed, you can abort by pressing “cancel” From the Tools menu, select Recall Preset. This
on the dialing message box. If a password is opens the recall form which proceeds to download
in effect, you will be asked to enter the log-in all the presets currently in the FM Pro’s memory
password. including the factory and user presets. Simply select
the preset you want from the list and click recall.
Note: You must set the remote link status on
the FM Pro to “MODEM” (not “direct”) to 11.9.2 Save Preset
allow modem linking. To avoid trouble, please
read the information about modem hook-ups From the Tools menu, select Save Preset. A panel
included later in this section. will open showing you all the user presets currently
in the FM Pro and allowing you to chose one
location for your new preset. Once you chose
the location, click Save. The preset editor opens
and allows you to name the preset, and add other
information. When you again click Save the
information will be uploaded to the FM Pro’s
presets memory.
11.10 The View Menu

This menu gives you several useful choices such
as the current on-air preset, day parting status, and
unit info from the FM Pro. You can readily find
out what software version is running on the FM
Pro through this menu.
end

Web Version 12.0 Product Specifications
12.1 Getting Meaningful Numbers
Once an audio processor exceeds the simplest single-band structure, traditional performance specifications
tend to become irrelevant. The usual test tone measurements will almost never reflect the performance
of the processor under normal operating conditions. Specifications for dynamic conditions, if possible to
measure, would require specially built measuring instruments unavailable to the user. Therefore, the user
would be incapable of verifying the specifications.
The above facts notwithstanding, there is a demand from various entities for a set of standard specifications.
The following list constitutes a rational set of specifications based upon typical or normal operation of
the unit. The user should be able to verify these specifications by direct measurement using measuring
instruments equivalent to the following types:
1. Audio Precision System One

2. Belar Laboratories FMSA-1 Digital FM Stereo Monitor
3. General purpose 100MHz oscilloscope
12.2 FM Pro Setup

The specifications will be given under conditions of the following FM Pro setup. The setup parameters,
as given, establish the net gain and operating level approximately equal to normal operating conditions.
The leveler is locked to zero dB gain while the multiband compressor is fully released. Any operating
parameter not shown may be considered inconsequential to the specifications.
Unless otherwise specified, the analog measurements are taken from the FM Pro stereo multiplex output
jack and decoded through the Belar FMSA-1 stereo monitor. Measurements are taken from the FMSA-1
left and right test outputs and analyzed by the System One, or measured directly by the FMSA-1 as
indicated in the specifications list.
The FM Pro Setup for Specifications
Input/Output Menu Limiter
Input Reference: +4dBu Master Drive: +3dB

Output Level: +12dBp Bass Drive: 0dB
Input : Analog Warm Bass: 0%
Pre-process Filters: All Off Sub Bass: 0%
Leveler Pre-emphasis Limiter

Rate: 2 Sec
Gain limit: 0dB Limiter: On
Atten Limit: 3dB Pre-emphasis: 75uS & de-emphasis
DVG: Off Hardness: 50%
Sticky: Off
Silence Gate: Off
Multiband Compressor Stereo Generator

Xovers: 200, 2000, 10000
Drive: -20dB Mode: Stereo
Release: All bands = 2 Sec Pilot: On
Mix: Adj. for flattest response Pilot Level: 9%
(typical +.8,0,-1.2,+1
Coupling: All Off

12.3 Test Equipment Connections
Figure 12-1 shows how equipment was arranged for development of the specifications. It is not the
intention here to instruct you specifically how to measure the specifications, however. Please refer to the
section on test and calibration for detailed measurement instructions.
Figure 12-1 Test setup for the specifications relating to analog I/O.
L&R IN MPX OUT
L&R TEST MPX IN
BELAR FMSA-1
GENERATOR ANALYZER
A-P SYSTEM ONE
12.4 The Specifications

12.4.1 General Analog
Internal Frequency Response
1Hz to 70KHz +/- 0.1dB
Basic Pre-emphasis Accuracy

+/- 0.1dB 20Hz to 15KHz disregarding any audio processing alterations
Basic THD (for all signals below clip threshold)

Demodulated MPX output, 0dB 1KHz tone input, THD <0.05%
Active Process Distortion (typical worst case)

Demodulated MPX output, 0dB 1KHz tone input, CHR factory preset, THD <0.5%
Note: This typifies peaks only, and not signals below clip threshold.
Stereo Output Noise (left or right channel)

CHR Factory preset, 20Hz-20KHz measurement bandwidth re 100% modulation = -70dB
Mono Output Noise

CHR Factory preset, 20Hz-20KHz measurement bandwidth re 100% modulation = -71dB
Processing Peak Overshoot

Less than 1.5% above 100% modulation
System Stereo Separation

Greater than 65dB 20Hz to 15KHz

.
12.4.2 Analog Input
Configuration
Left and right
Input Impedance
10K Ohms
Common Mode Rejection

>70dB 50Hz - 20KHz
Sensitivity
-24dBu to +10dBu for nominal input level
Maximum Input Level

+27dBu
Connector Type
XLR 3-Pin Female EMI Suppressed. Pin 1 chassis ground, Pins 2 & 3 electronically balanced, floating and
symmetrical. Pin 2 in in phase with multiplex and digital output
12.4.3 Analog Line Outputs

Configuration
Left and right. Flat or pre-emphasized
Source Impedance
62 Ohms electronically servo balanced
Load Impedance
600 Ohms or greater balanced or unbalanced. Termination not required.
Maximum Output Level

+24dBu onto 600 ohms balanced, +27dBu unloaded
Connector
XLR 3-Pin male, EMI Suppressed. Pin 1 chassis ground, Pins 2 & 3 electronically balanced, floating and
symmetrical. Pin 2 in in phase with multiplex and digital output.
12.4.4 Digital Input

Configuration
Two-channel AES/EBU standard. Pre-emphasized or non pre-emphasized.
Sampling Rate
32, 44.1, and 48KHz auto detect and lock
Connector
XLR 3-Pin male EMI Suppressed. Pin 1 chassis ground, Pins 2 & 3 transformer balanced and floating
Input Data Size

20-bits
Input Frequency Response

1 to 20KHz +/- 0.1dB

12.4.5 Digital Output

Configuration
Two-channel AES/EBU standard
Sampling Rate
Input clock-slaved or independently selected at 32, 44.1, or 48KHz.
Connector
XLR 3-Pin Female EMI Suppressed. Pin 1 chassis ground, Pins 2 & 3 transformer balanced and floating
Output Data Size

20-bits
Output Frequency Response

1Hz to 20KHz +/- 0.1dB
12.4.6 Composite Baseband Output

Configuration
Single output with output level control
Source Impedance
10 ohms suitable to drive long or short coaxial cable
Load Impedance
50 ohms or greater
Output Level
Adjustable from 0 to 13V peak-to-peak with multiturn output control
Connector
BNC, EMI Suppressed.
Maximum recommended cable length

100ft RG58A/U or equivalent. Use low capacitance coax for best results.
Pilot Level
Adjustable 7% to 11% mix
Frequency Stability
Pilot and subcarrier +/- 10ppm -50 to +80 deg C ambient
Stereo Generator Technology

Aphex patented Parallel Path Digital Modulation (PPDM)
Pilot Phase Error

0 degrees guaranteed by PPDM design
Spurious Output
better than -72dB above 55KHz, typical <-85dB
Subcarrier Rejection
better than -60dB

Harmonic Distortion
Better than 0.003% within stereo generator
Intermodulation Distortion
Better than 0.003% within stereo generator
Frequency Response
1Hz to 15KHz +/1 0.1dB, -3dB at 0.159Hz and 15.5KHz
12.4.7 Remote Control Interface

Configuration
RS232 standard serial port
Connector
DB-9 male
Control capability
All FM Pro functions and parameters
Connectability
Null modem cable to P.C. or modem cable to modem
Modem Compatibility: U.S. Robotics Sportster. For others check with factory.
12.4.8 Power
Line Voltage Input
77 to 266VAC 50-1000Hz automatic (no selection required)
Power Requirements
50 Watts
Safety Standards
CE, UL, CSA, VDE
.
12.4.9 Physical
Front Panel Size
Standard 2-RU (3.5” vertical) 19-inch panel
Chassis Depth
13.125 in. not including rear connectors
Weight
14 pounds net, 22 pounds shipping
12.4.10 Environmental
Operating Temperature Range
32-122 deg. F (0-50 deg C)
Humidity
0 to 95% RH, non-condensing
end

Web Version 13.0 Test & Calibration
13.1 Introduction 3. The panel meters should now indicate as fol-
A reasonable confidence check can be made using lows:
conventional test equipment by following the pro- VU Meter = -9dB
cedure given below. This will determine if the Leveling = 0dB
audio processing systems are operating in a nomi-
Multiband GR: all = -9dB (can jump a step plus
nal fashion but will not permit a full and detailed
or minus)
analysis.
Limiting: Flickering between 3 and 5dB
Presently, we regret that we are unable to supply a
comprehensive test and calibration procedure that
could be performed in the field. A full and proper That’s it. If you cannot accurately set your pink
procedure requires numerous specially constructed noise generator to +6dBu, then simply adjust its
test fixtures and other precision laboratory equip- output level to get 0dB on the leveling meter and
ment. We are forced to advise you that, should you the other meters should all line up correctly. You
run into any doubt about the proper performance can also adjust the model 2020’s input ref level
of your Model 2020, you must return the unit to to move the leveling meter to 0dB if the output
the factory or one of our overseas factory autho- adjustment of your generator is insufficient. Switch
rized service centers. input channels of the 2020 to verify both channels.
We continuously put new technical information on

the worldwide web at www.aphex.com/2020. Be
sure to check it occasionally to discover if any
pertinent information is available concerning the
problems you may be experiencing.
13.2 Quick Confidence Check

13.2.1 Purpose
Some customers may wish to test their FM Pro
to see if everything is working correctly. This is
a fast and easy test to verify nominal operation
of nearly all parameters. Each unit undergoes this
confidence test at the factory just prior to ship-
ping. end
13.2.2 Test Procedure
You will need a pink noise generator equivalent
to what is supplied in the Audio Precision System
One analyzer. You do not need an analyzer, only
the signal generator.
1. Set the pink noise output to +6dBu and feed

only one channel of the model 2020.
2. Set up the 2020 as follows (unspecified param-
eters are not important):
Input: No filters, Input ref = +4dBu
Leveler: 2Sec, +15, -15, all other options OFF
Multiband: 300, 1200, 3400; Drive = 0dB; All
releases at 10; All mixes at 0dB; all coupling OFF
Limiter: Master Drive = +6; everything else at 0
Pre-emp Limiter: 75uSec/Pre-De

Web Version 14.0 Installation Instructions
14.1 Unpacking The FM Pro occupies two standard 19 in. x 1 3/4 in.
Your FM Pro was packed carefully at the factory rack spaces (2RU). Chassis depth is 13.25 inches
in a container designed to protect the unit during not including connectors. Allow at least 3.5 inches
shipment. Nevertheless, Aphex recommends mak- additional space in back for wiring and connectors.
ing a careful inspection of the shipping carton and The chassis is designed to be fully supported by
the contents for any signs of physical damage. front panel mounting alone. To avoid cosmetic
damage to the panel, use the cushioned rack screws
If damage is evident, do not discard the container or packing material. Contact your
carrier immediately to file a claim for damages. Customarily, the carrier requires you,
the consignee, to make all damage claims. It will be helpful to retain the shipping
documents and the waybill number.
provided in the shipping kit or other cushioned

14.2 Damage & Claims rack screws.
14.3 Mains Voltage And Fuses
14.6 Proper Ventilation
The FM Pro is built with a custom designed
universal off-line switch mode power supply. There The FM pro uses one cooling fan located on the
are no fuse changes or voltage taps to change right-hand side of the chassis. Unit ventilation
for the primary input voltage. The power supply passes through the chassis side walls, so no cooling
accepts any primary input voltage between 85 and space is required above or below the chassis. Please
265VAC at 50 to 1000 Hertz. Fuses inside the be sure there is adequate clearance at both sides of
chassis will normally fail only from a catastrophic the chassis. This is normally not a problem since
failure of the power supply. Therefore, need the Model 2020 was designed to be mounted in
for fuse replacement suggests a malfunctioning a typical rack which usually allows 2 inches or
power supply requiring component level repairs. more of clearance on each side of the chassis.
Should fuses fail, please proceed cautiously while The fan has an attached filter cover which should
be checked periodically for blockage. The filter
Power Cord Color Codes
USA Color Code IEC/Continental Color Code

Black = Hot (live) Brown = Hot (live)
White = Neutral Blue = Neutral
Green = Ground Yellow/Green = Ground
investigating the failure. Extremely hazardous element is a cellular elastomer which can simply
voltages appear on the pc board including the heat be washed out in water and towel dried. The filter
sinks. Observe all the printed cautions and refer can be removed and replaced while the unit is
servicing only to qualified personnel. operating but be careful not to poke objects into
the fan blade.
14.4 Power Cord
The Fm pro uses a standard IEC power cord set. 14.7 Safety Considerations
The appropriate mains plug for each country is To minimize the risk of shock or fire, do not expose
normally shipped with each unit. However, if you the unit to moisture. Allow adequate ventilation
must install or replace the plug, use the correct for cooling. Do not open the chassis cover: there
wiring code as follows: are no user serviceable parts inside.
Installation should be performed only by qualified

14.5 Mounting In A Rack individuals. It is the installer’s responsibility to
insure his personal safety and the safety of others

in the work area. It is never a good idea to work phasing problems.
alone in the vicinity of high power electrical and
radio frequency equipment. 14.8.3 Main Output Wiring
The balanced output impedance of 65 ohms is
14.8 Analog Balanced I/O optimized for driving long cables and consequently
14.8.1 Standard Wiring an FM Pro can drive just about any kind of line, bal-
The analog inputs and outputs are RFI protected anced or unbalanced, of any length. Unique servo
and utilize industry standard 3-pin female XLR balanced output circuitry automatically maintains
jacks. Connections are by the industry standard the proper gain and level into a balanced or unbal-
pinout as follows: anced output line.
For best ground loop rejection and RFI suppression
using balanced lines, do not connect the shield to
14.8.2 Main Input Wiring the output ground, rather connect it only to the
For maximum RFI suppression, pin-1 is connected ground (pin-1) of the receiving end. For unbalanced
directly to chassis ground. To eliminate input ground use, tie pin-3 to pin 1 for the ground and connect
loop hum, the balanced input stage ground refer- pin-2 as “hot”. Connect the shield to ground at both
ences are coupled to pin 1 of the input jacks. For ends of the cable.
Main Analog I/O Connections
Female (Input) Male (Output)

Pin-1 = GND Pin-1 = GND
Pin-2 = Positive Pin-2 = Positive
Pin-3 = Negative Pin-3 = Negative
maximum RFI suppression and hum loop rejection Just as with the input wiring, unbalanced outputs
using balanced lines, you should connect the shield can sometimes be improved using a pseudo-bal-
only at the input connector of the FM Pro and let anced connection. For a complete tutorial on bal-
it float at the sending end of the line. Refer to anced and unbalanced interfacing to other equip-
Appendix A for detailed information. ment, please refer to Appendix A of this manual.
For unbalanced use, tie pin-3 to pin 1 for the ground 14.8.4 Insert Loop I/O Connections
and connect pin-2 as “hot”. Connect the shield to The insert loop utilizes 3-pin XLR jacks. It is
ground at both ends of the cable. Interfacing with expected that equipment connected to this loop
Insert Loop I/O Connectors

Pin-2 = Hot Pin-2 = Hot
unbalanced sources can sometimes be improved will be located within a very short distance of
with a pseudo-balanced connection. For a complete the FM Pro, probably mounted only a few rack
tutorial on balanced and unbalanced interfacing to spaces away, so the insert loop I/O operates in the
other equipment, please refer to Appendix A of unbalanced mode.
this manual.
Whether using balanced or unbalanced wiring, be 14.9 Digital Audio I/O

sure to follow the same pin connection scheme for The digital audio I/O utilizes standard 3-pin XLR
both channels of the input wiring to avoid audio

connectors as specified by the professional AES/
EBU standards. Complete details about connecting
and using the digital audio interface are available in
section 9, “Using Digital Audio”, of this manual.
AES/EBU Connector Wiring

Pin-2 = Positive Pin-2 = Positive
Pin-3 = Negative Pin-3 = Negative

The BNC output connector is chassis isolated to
reduce the possibility of ground loop output hum.
The output ground does have a d.c. ground path to
the chassis, but it flows by way of the multiplex
output amplifier’s ground reference point to elimi-
nate any hum loops that may intercede from the
chassis or rack frame. The BNC connector is
directly RF-coupled to the chassis to facilitate
effective RFI suppression of RF signals which may
enter the FM Pro through the BNC jack and
cable. For best results, use only top quality BNC
cables and connectors. Loose or intermittent con-
nectors may cause noise and instability of your
FM Exciter.
14.11 RS-232 Connector

This DB9 connector is for use with remote control
as described in section 11 on Remote Operation.
The pins of the connector are RFI filtered, but it is
best to use shielded cables to reduce the possibility
of interference entering the FM Pro if operating in
a strong RF field.
14.9 Summary
You should have no trouble installing the FM Pro.
If any difficulties are experienced, other informa-
tion contained in this manual will probably supply
adequate assistance. Please study this manual
before contacting the factory for assistance.
end.

Web Version 15.0 Schematics
15.1 Advisory
The diagrams included in this manual are intended principally as a resource for competent maintenance
personnel. Many of the circuits are patented and are therefore protected under patent laws. Aphex Systems
reserves all patent rights. It shall not be construed that publishing of schematics in this manual grants or
implies permission for use in any way.
All schematic diagrams included in this manual are believed to be essentially accurate, although they may not
reflect the running upgrades and modifications that have occurred since they were drawn. The Model 2020
unit shipped with this manual may contain updates not shown by schematics of the manual. It is our belief
that any such variances will be obvious to trained maintenance personnel upon examination, and that such
variances will cause little difficulty in the successful repair of the unit.
It is not our intention to provide assistance to entrepreneurs who may want to experiment with or modify
the product in any way. The schematics are not warranted for any such use. All 1ability rests with the
entrepreneur in such as case.
15.2 The Schematics






























Web Version 16.0 Parts List
16.1 Purpose
The parts list of this manual is supplied for the
purpose of repair and maintenance of the FM
Pro by qualified technicians only. Parts may be
ordered for replacement purposes by the Aphex
part number and part description. Always replace
damaged parts with original parts supplied by
Aphex if the exact replacement is not available
from local resources. Certain parts are made exclu-
sively by or for Aphex and must be ordered directly
from us or through our distributors.
16.2 Disclaimer
Publishing this parts list does not imply that Aphex
grants license to modify the product in any way
or that Aphex shall supply parts for any purpose
other than servicing a defective unit. While the
present partlist has been compiled from actual
manufacturing bills of materials and is believed to
be substantially accurate, publishing discrepancies
may occur due to running production changes,
design changes, typographical errors, or other
reasons. When ordering repair parts, be sure to
acertain the part number and revision level of the
faulty assembly, the unit manufacturing date or
date purchased.
16.3 The Parts List

Mother Board
Assembly: 050-3240
Item Quan Reference Designators Description Value Tol. Aphex P/N
1 2 C1,C3 Cap, Elect., NP, Music 22mF +/-20% 225-0020
2 2 C2,C4 100ufNP 100mF +/-20% 225-0040
3 2 C5,C6 10uf TANT 10mF +/-10% 220-0280
4 2 C7, C8 Cap, Monolithic Ceramic, Z5U .1mF +/-20% 235-0020
5 2 C9, C10 Cap, polypropylene .01mF +/-2.5% 190-1380
6 3 D1, D2, D3 Diode, 1N4003 470-0120
7 19 H1,H2,H4,H6,H7,H9,H10, Female 8500 290-0480
H15,H16,H17,H18,H19,H20,
H21,H22,H23,H25,H26,H27
8 8 H3,H5,H8,H11,H12,H13,H14, 10-Pin Female 8500 290-0500
H24
9 1 H28 20-Pin Male 2500 Box 290-0580
10 1 H29 16-Pin Male 2500 Box 290-0940
11 2 H30,H36 10-Pin Male 2500 Box 290-0560
12 1 H31 50-Pin Male 2500 Box 290-0960
13 1 H32 Ribbon-Cable Assy (26 Pin) 030-4140
14 1 H33 5-Pin Molex header: .100” cen. 310-1080
17 3 K1, K2, K3 Relay, Aromat TQ2E12V* 630-0100
18 2 L1,L2 Inductor 47mH +/-10% 360-0100
19 6 Q1,Q2,Q3,Q4,Q5,Q6 Transistor, NPN SI, 2N3904 500-0260
20 2 R1,R7 Resistor, Zero Ohms (Jumper) 840-1160
21 4 R2,R8,R21,R24 Resistor, Tin-Oxide Film 100K +/-1% 120-1006
22 2 R4, R10 Resistor, Tin-Oxide Film 3K01 +/-1% 120-3014
23 2 R3,R9 Resistor, Tin-Oxide Film 301R +/-1% 120-3013
24 2 R5,R11 Resistor, Tin-Oxide Film 49R9 +/-1% 120-4992

Web Version 16.0 Parts Lists
26 1 R18 Resistor, Tin-Oxide Film 113R +/-1% 120-1133

27 6 R13,R14,R16,R1,R25,R27 Resistor, Tin-Oxide Film 10K0 +/-1% 120-1005
29 3 R15, R26, R28 Resistor, Tin-Oxide Film 249R +/-1% 120-2493
31 1 RN1 Resistor Network 10KC4 +/-2% 140-1400
32 1 U5 IC, 74HCT374 480-1040
33 1 U1 IC, Pwr Amp, NSC LM1876TF 480-1900
34 3 U2, U3, U4 IC, CMOS, 74HCT138* 480-0980
35 1 None PC Board, 100% Tested 770-4100
36 3 None IC Socket, 16-pin 310-0060
37 1 None Heat sink (for U1) 700-0100
I/O Board
Assembly: 050-2940
1 6 C1,C2,C3,C4,C7,C8 Cap, Elect., NP, Music 22mF +/-20% 225-0020
2 6 C5,C6,C21,C22,C27,C28 Cap, Polyester, .2” LS .47mF +/-5% 190-1360
3 4 C11,C12,C29,C30 Cap, MICA 10pF +/-5% 160-0020
4 4 C13,C14,C15,C16 Cap, Elect., NP, Music 100mF +/-20% 225-0040
5 8 C17,C18,C19,C20,C23,C24, Cap, MICA 20pF +/-5% 160-0060
C25,C26
6 7 C31,C32,C33,C34,C35,C36, Cap, Monolithic Ceramic, Z5U .1mF +/-20% 235-0020
C37
7 1 D1 Diode, Silicon Signal, 1N914B 470-0040
8 2 H1,H2 Connector, male 2520RA* 290-0600
9 1 K1 Relay, DPDT, 12V, TQ2E-12V 630-0100
10 4 L1,L2,L3,L4 Inductor 47mH 360-0100
11 2 Q1,Q2 Transistor, NPN SI, 2N3904 500-0260
12 2 R2,R7 Resistor, Tin-Oxide Film 1M00 +/-1% 120-1007
13 2 R11,R12 Resistor, Tin-Oxide Film 10K0 +/-1% 120-1005
14 4 R3,R4,R8,R9 Resistor, Tin-Oxide Film 2K87 +/-1% 120-2874
15 6 R5,R10,R17,R18,R28,R29 Resistor, Tin-Oxide Film 10M +/-5% 070-1008
17 4 R19,R20,R30,R31 Resistor, Tin-Oxide Film 1M00 +/-1% 120-1007
18 4 R21,R22,R32,R33 Resistor, Tin-Oxide Film 56R2 +/-1% 120-5622
20 7 R14,R24,R25,R35,R36,R39, Resistor, Tin-Oxide Film 20K0 +/-1% 120-2005
R40
21 4 R26,R27,R37,R38 Resistor, Tin-Oxide Film 150R +/-1% 120-1503
22 2 RN1,RN2 Resistor Network, 8-Pin, Isolated 8K2 +/-2% 140-0300
23 3 RN3,RN8,RN9 Resistor Network, 8-Pin, Isolated 10K +/-2% 140-0120
24 8 RN4A,RN4D,RN5A,RN5D, Resistor, Tin-Oxide Film 10K0 +/-1% 120-1005
RN6A,RN6D,RN7A,RN7D
25 8 RN4B,RN4C,RN5B,RN5C, Resistor, Tin-Oxide Film 35K7 +/-1% 120-3575
RN6B,RN6C,RN7B,RN7C
26 1 RN10 R Network, 100KC6 100K +/-2% 140-1460
27 6 U1,U3,U5,U6,U8,U10 IC, Op Amp, NE5532 490-0300
28 4 U2,U4,U7,U9 IC, Op Amp, LF353 490-0140
29 2 U11,U12 IC, Analog Switch, CD4016 460-0060
30 2 VR1,VR2 Trimpot, PT10H 50K 420-0100
31 2 VR3,VR4 Trimpot, PT10H 10K 420-0240
32 1 - PC Board, 100% Tested 770-4120
33 10 - IC Socket, 8 Pin 310-0020
34 2 - IC Socket, 14 Pin 310-0040
35 2 TP1, TP2 Test Point 840-0720
Crossover Board
Assembly: 050-2960
1 4 C1,C2,C7,C8 Cap, Polypropylene, 63V .022mF +/-2.5% 190-1570
4 7 C13,C14,C15,C16,C17,C18, Cap, Monolithic Ceramic, Z5U 0.1mF +/-20% 235-0020
C19

9 12 RN1,RN2,RN3,RN4,RN5,RN6, Resistor Network, 8 Pin Isolated 10K +/-2% 140-0120
RN7,RN8,RN9,RN10,RN11,
RN12
10 6 U1,U2,U3,U4,U5,U6 IC, Op Amp, Quad, JFET, LF347 490-0460
11 6 U7,U9,U11,U13,U15,U17 IC, Dac, Mult, Dual, MP7528JN 490-0500
12 6 U8,U10,U12,U14,U16,U18 IC, Op Amp, Dual, JFET, LF353 490-0140
14 6 None IC Socket, 20 Pin 310-0220
17 8 C20, C21, C22, C23, C24, C25, Cap, Elec., NP 22mF +/-20% 225-0020
C26, C27
Octal Sidechain Board

Assembly: 050-2980
1 16 C1,C3,C4,C6,C7,C9,C10,C12, Cap, Tant 1.0mF +/-20% 220-0020
C13,C15,C16,C18,C19,C21,
C22,C24
2 8 C2,C5,C8,C11,C14,C17,C20, Cap, Tant 4.7mF +/-20% 220-0220
C23
3 5 C25,C26,C27,C28,C29 Cap, Monolithic Ceramic, Z5U 0.1mF +/-20% 235-0020
4 48 D1,D2,D3,D4,D5,D6,D7,D8, Diode, Silicon Signal, 1N914B 470-0040
D9,D10,D11,D12
D13,D14,D15,D16,D17,D18,
D19,D20,D21,D22,D23,D24
D25,D26,D27,D28,D29,D30,
D31,D32,D33,D34,D35,D36
D37,D38,D39,D40,D41,D42,
D43,D44,D45,D46,D47,D48
6 7 ISO1,ISO2,ISO3,ISO4,ISO5, Optocoupler, Dual, Quality Tech 490-0550
ISO6,ISO7 P/N MCT9001
7 8 Q1,Q2,Q3,Q4,Q5,Q6,Q7,Q8 Transistor, SI PNP, 2N3906 500-0180
8 8 R1,R9,R17,R25,R33,R41,R49, Resistor, Tin-Oxide Film 499K +/-1% 120-4996
R57
R50,R58
R51,R59
R52,R60
R37,R38,R45,R46,R53,R54,
R61,R62,R65,R66,R67,R68
R69,R70,R71,R72
R55,R63
15 8 R8,R16,R24,R32,R40,R48, Resistor, Tin-Oxide Film 365K +/-1% 120-3656
R56,R64
16 8 RN1,RN5,RN2,RN6,RN3,RN7, Resistor Network, 8-Pin Isolated 10K +/-2% 140-0120
RN4,RN8
17 2 RN9, RN11 Resistor Network 470RC6 +/-2% 140-1420
18 1 RN10 Resistor Network 10KC6 +/-2% 140-0600
19 8 U1,U5,U2,U6,U3,U7,U4,U8 IC, Quad Op Amp, JFET, LF347 490-0460
20 4 U9,U10,U11,U12 IC,CMOS,Quad Ana. Sw,CD4016 460-0060
22 7 None IC Socket, 8-Pin 310-0020

Octal VCA Board
Assembly: 050-3000
1 16 C1,C2,C3,C4,C7,C8,C9,C10 Cap, Mica 20pF +/-5% 160-0060
C13,C14,C15,C16,C19,C20,
C21,C22
2 8 C5,C6,C11,C12 Cap, Polyester .33mF +/-10% 190-0760
C17,C18,C23,C24
3 2 C25,C26 Cap, Mica 10pF +/-5% 160-0020
4 6 C27,C28,C29,C30,C31,C32 Cap, Monolithic Ceramic, Z5U .1mF +/-20% 235-0020
5 1 H1 Connector, male 2520RA* 290-0600
6 1 H2 Connector, male 2510RA* 290-0620
7 16 R1,R2,R9,R10,R23,R24,R31, Resistor, Tin-Oxide Film 1K00 +/-1% 120-1004
R32,R45,R46,R53,R54,R67,
R68,R75,R76
R33,R38,R47,R52,R55,R60,
R69,R74,R77,R82
9 24 R4,R5,R6,R12,R13,R14, Resistor, Tin-Oxide Film 21R5 +/-1% 120-2152
R26,R27,R28,R34,R35,R36
R48,R49,R50,R56,R57,R58,
R70,R71,R72,R78,R79,R80
10 8 R7,R15,R29,R37 Resistor, Tin-Oxide Film 200K +/-1% 120-2006
R51,R59,R73,R81
11 8 R17,R18,R39,R40 Resistor, Carbon Film 5M6 +/-5% 070-5607
R61,R62,R83,R84
R43,R44,R63,R64,R65,R66,
R85,R86,R87,R88
14 1 RN1 Resistor Network, 8-Pin Isolated 10K +/-2% 140-0120
15 2 RN2,RN3 Resistor Network, 8-Pin Isolated 100R +/-2% 140-1440
16 8 U1,U2,U5,U6,U9,U10,U13,U14 IC, VC Attenuator, VCA1001 480-0900
17 4 U4,U8,U12,U16 IC, Op Amp, Dual, JFET, LF353 490-0140
18 1 U17 IC, Op Amp, Dual, Bipolar, AD826 490-0760
19 4 U3,U7,U11,U15 IC, Op Amp, Dual, Bipolar, 5532 490-0300
20 8 VR1,VR3,VR5,VR7 Trimpot, PT10H 100/1T 420-0160
VR9,VR11,VR13,VR15
21 8 VR2,VR4,VR6,VR8 Trimpot, PT10H 1K/1T 420-0200
VR10,VR12,VR14,VR16
25 8 None Heat Spreader 040-0040
26 16 None TP1, TP2, TP3, TP4, TP5, 840-0720
TP6, TP7, TP8, TP9, TP10,
TP11, TP12
Input Conditioner Board

Assembly: 050-3020
1 4 C1,C2,C5,C6 Cap, Polyester 0.047mF +/-5% 190-0340
2 8 C3,C4,C7,C8,C22,C26,C24, Cap, Mica 20pF +/-5% 160-0060
C28
3 10 C9,C10,C15,C16,C17, Cap, Polypropylene .001mF +/-2.5% 190-1540
C18,C19,C20,C21,C23
4 4 C11,C12,C13,C14 Cap, Polyester 0.1mF +/-5% 190-0840
5 9 C37,C38,C39,C40,C41,C42 Cap, Monolithic Ceramic, Z5U 0.1mF +/-20% 235-0020
C43,C44,C45
6 2 C25,C27 Cap, Polypropylene .01mF +/-2.5% 190-1380
7 8 C29,C30,C31,C32,C33,C34, Cap, Elect., NP, Music 22mF +/-20% 225-0020
C35,C36
8 4 D1,D2,D3,D4 Diode, Silicon Signal, 1N914B 470-0040
9 1 H1 3M P/N 2510-5002-UG* 290-0620
10 1 H2 3M P/N 2520-5002-UG* 290-0600
11 4 K1,K2,K3,K4 Relay, DPDT, 5V, TQ2E-5V 630-0140

12 4 Q1,Q2,Q3,Q4 Transistor, NPN SI, 2N3904 500-0260
15 2 R6,R8 Resistor, Tin-Oxide Film 115K +/-1% 120-1156
R42,R43,R46,R47
29 8 R49,R50,R51,R52,R53,R54, Resistor, Tin-Oxide Film 100K +/-1% 120-1006
R55,R56
30 4 RN1,RN2,RN3,RN4 Resistor Network, 8-Pin Isolated 10K +/-2% 140-0120
31 8 U1,U2,U3,U4,U5,U6, IC, Op Amp, Bipolar, Dual, 5532 490-0300
U7,U8,U9,U10,U11,U12
Silence Gate/Leveler Board

Assembly: 050-3040
1 8 C1,C2,C4,C5,C6,C7,C9,C10 Cap, Mica 10pF +/-5% 160-0020
2 1 C3 Cap, Tant 1mF +/-20% 220-0020
3 3 C8,C11,C15 Cap, Polyester 0.33mF +/-10% 190-0760
4 2 C12,C16 Cap, Polyester 0.47mF +/-5% 190-1360
5 2 C13,C17 Cap, Tant 2.2mF +/-10% 220-0140
6 1 C14 Cap, Polyester 0.15mF +/-5% 190-0380
7 2 C18,C21 Cap, Polyester 0.10mF +/-5% 190-0840
9 1 C20 Cap, Polyester .022mF +/-5% 190-0260
C28,C30,C31
11 1 C29 Cap, Tant 10mF +/-20% 220-0280
12 29 D1,D2,D3,D4,D5,D6 Diode, Silicon Signal, 1N914B 470-0040
D7,D8,D9,D10,D11,D12,
D13,D14,D15,D16,D17,D18,
D19,D21,D22,D23,D24,D25
D26,D27,D28,D29,D30
13 1 DR1 IC, Digital Resistor, DS1807 490-0650
14 1 H1 3M P/N 2510-5002-UG* 290-0620
15 1 H2 3M P/N 2520-5002-UG* 290-0600
16 3 LD1,LD2,LD3 LED, Green LTL 530-0260
17 1 Q1 Transistor, NPN SI, 2N3904 500-0260
18 3 Q2,Q4,Q5 Transistor, PNP SI, 2N3906 500-0180
19 1 Q3 Transistor Array, NPN SI, CA3046 480-0660
20 1 R1 Resistor, Carbon Film 2M2 +/-5% 070-2207
21 5 R2, R3, R33, R35, R57 Resistor, Tin-Oxide Film 10K0 +/-1% 120-1005
22 4 R4, R12, R23, R39 Resistor, Tin-Oxide Film 1K00 +/-1% 120-1004
R56
24 6 R7,R8,R9,R18,R19,R20 Resistor, Tin-Oxide Film 56R2 +/-1% 120-5622
25 4 R11,R22,R45,R65 Resistor, Tin Oxide 2K49 +/-1% 120-2494
26 3 R15,R26,R31 Resistor, Carbon Film 5M6 +/-5% 070-5607
27 4 R13, R14, R24, R25 Resistor, Tin-Oxide Film 68K1 +/-1% 120-6815
28 5 R29,R47, R55, R58, R60 Resistor, Tin-Oxide Film 100K +/-1% 120-1006
29 1 R30 Resistor, Tin-Oxide Film 42K2 +/-1% 120-4225
30 1 R32 Resistor, Tin Oxide Film 40K2 +/-1% 120-4025

35 1 R40 Resistor, Tin-Oxide Film 1M00 +/-1% 120-1007
43 1 R51 Resistor, Tin-Oxide Film 10M +/-5% 070-1008
48 1 R61 Resistor, Carbon Film 680R +/-5% 070-6803
49 1 R62 Resistor, Tin Oxide Film 100R +/-1% 120-1003
50 1 R63 Resistor, Tin Oxide Film 332K +/-1% 120-3326
52 5 RN1,RN2,RN3,RN4,RN5 Resistor Network, 8-Pin Isolated 10K +/-2% 140-0120
53 2 RN6,RN7 Resistor Network, 6-Pin Isolated 10KI6 +/-2% 140-1350
54 3 U1,U8,U15 IC, Op Amp, Dual, JFET, LF353 490-0140
55 1 U2 LM311 480-0040
56 3 U3,U4,U7 IC, Op Amp, Dual, Bipolar, 5532 490-0300
57 2 U5,U6 IC, VC Attenuator, VCA1001 480-0900
58 3 U9,U10,U12 IC, Op Amp, Quad, JFET, LF347 490-0460
59 1 U11 IC, Comparator, Dual, LM393 480-0240
60 1 U13 DAC, Multiplying, Triple, MAX512 490-0600
61 1 U14 IC, NOR, Quad, CMOS, CD4001 460-0100
62 1 U16 CD4016 460-0060
63 1 U17 IC, Voltage Reference, TL431CLP 480-1620
64 2 VR1,VR3 Trimpot, PT10H 1K/1T 420-0200
65 2 VR2,VR4 Trimpot, PT10H 100/1T 420-0160
70 2 None Heat Spreader 040-0040
71 3 None Test Point 840-0720
Limiter/Bass Proc Board

Assembly: 050-2900
1 1 C1 Cap, Mica 10pf +/-5% 160-0020
2 7 C2,C5,C6,C7,C8,C10,C11 Cap, Polypropylene .01uf +/-2.5% 190-1380
3 2 C3,C4 Cap, Polyester .047uf +/-5% 190-0340
4 1 C9 Cap, Elec, Non-Polar, Music 22uf +/-20% 225-0020
5 1 C12 Cap, Polyester .33uf +/-10% 190-0760
6 2 C13,C31 Cap, Polyester .1uf +/-5% 190-0840
7 2 C14,C25 Cap, Polyester .0022uf +/-2.5% 190-1560
8 1 C15 Cap, Polyester .47uf +/-5% 190-1360
9 10 C16,C17,C18,C19,C20,C21, Cap, Monolithic Ceramic, Z5U .1uf +/-20% 235-0020
C22,C23,C27,C28
10 1 C24 Cap, Electrolytic 22uf +/-20% 200-0040
11 1 C26 Cap, Tant 1uf 220-0020
12 2 C29,C30 Cap, Polyester, 0.2” L.S. .022uf 190-1720
13 11 D1,D2,D3,D4,D5,D6,D7, Diode, SI Signal, 1N914B 470-0040
D8,D9,D10,D11
14 2 H1,H2 3M P/N 2510-5002-UG 290-0620
15 1 H3 Header, 2-Pin R/A on 0.1” Centers 310-0920
16 1 H4 Header, 3-Pin R/A on 0.1” Centers 310-0800
17 2 LD1,LD2 LED, Green LTL 530-0260
18 1 Q1 JFET, N-Channel, J113 500-0160
19 1 Q2 Transistor, PNP SI, 2N3906 500-0180
20 4 R1,R3,R64,R74 49K9 +/-1% 120-4995
21 8 R2,R14,R15,R16,R17,R23, 100K +/-1% 120-1006

R24,R33
22 6 R4,R36,R38,R55,R58,R68 15K0 +/-1% 120-1505
R31,R34,R35,R40,R41,R43,
R47,R48,R49,R50,R51,R52,
R60,R61
28 4 R13,R18,R19,R25 Resistor, Tin-Oxide Film 402R +/-1% 120-4023
31 3 R26,R27,R28 Resistor, Tin-Oxide Film 2K49 +/-1% 120-2494
35 1 R44 Resistor, Tin-Oxide Film 150K +/-1% 120-1506
41 3 R65,R66,R75 Resistor, Tin-Oxide Film 10M0 +/-1% 120-1008
22 1 R73 56R2 +/-1% 120-5622
23 1 R76 30K1 +/-1% 120-3015
24 4 RN1,RN2,RN3,RN4 Resistor network, 16-pin Iso DIP 10KI16 +/-1/4% 140-1500
25 2 RN5,RN6 Resistor Network, 8-Pin Isolated 10K +/-2% 140-0120
26 7 U1,U3,U4,U5,U6,U7,U12 IC, Op Amp, JFET, Quad, LF347 490-0460
27 2 U2,U8 IC, Op Amp, JFET, Dual, LF353 490-0140
28 1 U9 IC, Comparator, Quad, LM339 480-0080
29 1 U10 IC, Comparator, Dual, LM393 LM393 480-0240
30 1 U11 IC, VC Attenuator, VCA1001 480-0900
31 1 VR1 Trimpot, PT10H 20K/1T 420-0960
32 1 VR2 Trimpot, PT10H 1K/1T 420-0200
33 1 None PC Board, 100% Tested, Rev B 770-4220
34 1 None Heat Spreader for VCA 040-0040
37 4 None IC Socket, 16-Pin DIP 310-0060
38 1 None IC Socket, 18-Pin DIP 310-0080
Meter Board
Assembly: 050-3060
1 4 C1,C3,C5,C6 Cap, Elect., NP, Music 22mF +/-20% 225-0020
2 3 C2,C4,C7 Cap, Polyester, .3” LS 0.1mF +/-5% 190-0840
3 6 C8,C9,C10,C11,C12,C13 Cap, Monolithic Ceramic, Z5U 0.1mF +/-20% 235-0020
4 53 D1,D2,D3,D4,D5,D6,D7,D8, Diode, SI Signal, 1N914B 470-0040
D9,D10,D11,D12,D13,D14,
D15,D16,D17,D18,D19,D20,
D21,D22,D23,D24,D25,D26,
D27,D28,D29,D30,D31,D32,
D33,D34,D35,D36,D37,D38,
D39,D40,D41,D42,D43,D44,
D45,D46,D47,D48,D49,D50,
D51,D52,D53
5 2 H1,H2 3M P/N 2520-5002-UG* 290-0600
6 2 Q1, Q2 Transistor, NPN SI, 2N3904 500-0260
7 1 Q3 Transistor, SI PNP, 2N3906 500-0180
8 5 R1,R5,R9,R11, R19 Resistor, Tin-Oxide Film 4K99 +/-1% 120-4994

R28,R30,R32,R34,R26,R38,
R40,R42
17 1 R23 Resistor, Carbon Film 2M2 +/-5% 070-2207
19 8 R27, R29, R31, R33, R35, Resistor, Tin-Oxide Film 6K19 +/-1% 120-6194
R37, R39, R41
21 4 RN1,RN2,RN3,RN4 Resistor Network, 6-Pin Isolated 10KI6 +/-2% 140-1350
22 6 U1,U2,U3,U4,U5,U6 IC, Op Amp, JFET, Quad, LF347 490-0460
23 1 VR1 Trimpot, PT10H 10K 420-0240
DAC Board
Assembly: 050-3080
1 4 C1,C3,C5,C7 Cap, Mica 10pF +/-5% 160-0020
2 4 C2,C4,C6,C8 Cap, Polyester, .1” L.S. MKS02 .1mF +/-10% 190-1820
3 28 C9,C10,C11,C12,C13,C14, Cap, Mono Ceramic, NP0 10pF +/-5% 235-0120
C15,C16,C17,C18,C19,C20, LS=0.1”
C21,C22,C23,C24,C25,C26,
C27,C28,C29,C30,C31,C32,
C33,C34,C35,C36
C45,C46
5 2 C37,C38 Cap, Mica 20pF +/-5% 160-0060
6 1 C47 Cap, Tant 1mF +/-20% 220-0020
7 5 H1,H2,H3,H4,H5 3M P/N 2520-5002-UG 290-0600
8 8 R1,R2,R3,R4,R5,R6,R7,R8 Resistor, Tin-oxide film 1M00 +/-1% 120-1007
9 2 RN1,RN2 Resistor Network, 6-Pin Common 10K +/-2% 140-0600
10 16 U1,U3,U5,U7,U9,U11,U13, IC, Dac, Mult, Dual, MP7528JN 490-0500
U15,U17,U19,U21,U23,U25,
U27,U29,U31
11 1 U2 IC, Op Amp, Bipolar, Dual, 5532 490-0300
12 15 U4,U8,U10,U12,U14,U16, IC, Op Amp, JFET, Dual, LF353 490-0140
U18,U20,U22,U24,U26,U28,
U30,U32,U34
13 1 U6 IC, Op Amp, Bipolar, Dual, AD826AN 490-0760
14 1 U35 IC, Volt Reg, -5V, LM79L05 465-0220
15 4 VR1,VR2,VR3,VR4 Trimpot, 10K25T,R/A Adj. 420-0980
16 1 None PC Board, 100% Tested (Rev. “A”) 770-4260
Digital Audio Board

Assembly 050-3300
1 1 C1 Cap, Polyester, 0.2 L.S. .047mF +/-5% 190-1640
2 2 C2,C3 Cap, Polyester, 0.2 L.S. .01mF +/-5% 190-1700
3 4 C4,C5,C10,C11 Cap, Mica 750pF +/-5% 160-0550
4 4 C6,C7,C12,C13 Cap, Mica 100pF +/-5% 160-0160
5 2 C8,C14 Cap, Mica 20pF +/-5% 160-0060
6 2 C9,C15 Cap, Polyester, 0.2” L.S. .47mF +/-5% 190-1360
7 4 C16,C20,C21,C25 Cap, Electrolytic, non-polar 22mF +/-5% 225-0020
8 1 C26 Cap, Electrolytic 22mF N/P 200-0040
9 4 C17,C18,C22,C23 Cap, Mica 47pF +/-5% 160-0100
10 3 C27,C28,C29 Cap, Monolithic Ceramic, NP0 47pF +/-5% 235-0160
11 2 C19,C24 Cap, Polypropylene .0068mF +/-2.5% 190-1500
12 1 C30 Cap, Tant 10mF 230-0280
C37,C38,C39,C40,C45,C46,
C47,C48,C49,C51,C53,C54,

C55,C56,C58,C60,C62,C64,
C65,C66
14 2 C41,C42 Cap, Polyester, 0.2” L.S. .1mF +/-5% 190-1680
15 6 C43,C44,C57,C59,C61,C63 Cap, Tant 1mF 230-0020
16 1 C50 Cap, Electrolytic, 35V 100mF +/-20% 200-0240
17 1 C52 Cap, Electrolytic, 25V 100mF +/-20% 200-1300
18 9 D1,D2,D3,D4,D5,D6,D7,D8, Diode, Philips BAT85 470-0780
D9
19 2 H1,H2 3M P/N 2520-5002-UG* 290-0600
20 3 L1,L2,L3 Inductor 220mH 360-0080
21 1 Q1 Transistor, MJE180 (Motorola) 500-0560
22 3 Q2,Q7,Q8 2N3906 500-0180
23 1 Q3 MJE170 (Motorola) 500-0580
24 3 Q4,Q5,Q6 2N3904 500-0260
28 10 R4,R7,R9,R14,R17,R19,R27, Resistor, Tin-Oxide Film 4K99 +/-1% 120-4994
R28,R33,R34
29 2 R8,R18 Resistor, Carbon Film 6M8 +/-5% 070-6807
32 1 R22 Resistor, Tin-Oxide Film 2R7 +/-5% 070-2701
43 2 R49,R50 Resistor, carbon film, 1/2 W 51R +/-5% 100-5102
43 3 R52,R64,R65 Resistor, Tin-Oxide Film 7K50 120-7504
44 2 R53,R56 Resistor, Tin-Oxide Film 100R 120-1003
45 1 R57 Resistor, Tin-Oxide Film 49R9 120-4992
46 6 R58,R59,R60,R61,R62,R63 Resistor, Tin-Oxide Film 200R 120-2003
47 2 R67,R68 Resistor, Carbon Film 4R7 070-4701
48 2 RN1,RN2 Resistor Network, 8-Pin Isolated 200R 140-0840
49 1 U1 IC, AES/EBU receiver, CS8412-CP* 490-0740
50 1 U2 IC, D/A converter, dual, CS4329-KP* 490-0780
51 5 U3,U5,U6,U7,U11 IC, op amp, bipolar, dual, NE5532 490-0300
52 2 U4,U8 IC, op amp, bi-fet, dual, LF353 490-0140
53 1 U9 IC, A/D converter, dual, CS5390-KP* 490-0800
54 1 U10 IC, AES/EBU transmit, CS8402-ACP 490-0720
55 1 U12 IC, CMOS, inverter, hex, 74HCU04 480-2000
56 1 U13 IC, CMOS, MUX, dual, 74HC153 480-1960
57 1 U14 IC, CMOS, flip-flop, dual, 74HC74 480-1980
58 1 U15 IC, PAL, AMD PALCE16V8H-15** 480-2020
59 3 VC1,VC2,VC3 Variable Capacitor, trimmer 7-35pF 170-0040
60 4 VR1,VR2,VR3,VR4 Trimpot, PT10H 10K 420-0240
61 1 Y1 Crystal, 12.288 MHz, +/-20 ppm 0~+ 440-0140
62 1 Y2 Crystal, 11.2896 MHz, +/-20 ppm 0~ 440-0160
63 1 Y3 Crystal, 8.192 MHz, +/-20 ppm 0~+7 440-0180
64 1 None PC Board (4-Layer) 770-4300
65 1 None IC Socket, 24-Pin X 0.3” * 310-3220
66 7 None Socket, IC, 8-pin 310-0020
69 2 None Socket, IC, 20-pin, 0.3” wide 310-0220
Pre-emphasis Limiter
Assembly 050-3180
1 12 C1,C2,C3,C6,C8,C9,C11, 20pf MICA 20pF +/-5% 160-0060

C12,C13,C14,C17,C19
2 2 C4,C15 750pf MICA 750pF +/-5% 160-0550
3 4 C5,C16,C34,C35 Cap, Polypropylene .01mF +/-2.5% 190-1380
4 2 C7,C18 Cap, Polyester, box, .2” LS .47mF +/-10% 190-1360
5 2 C10,C20 Cap, Polyester .10mF +/-5% 190-0840
C27,C28
7 2 C29,C30 Cap, Electrolytic 100mF +/-20% 200-1300
8 1 C31 Capacitor 1mF +/-20% 220-0020
9 8 D1,D2,D3,D4,D5,D6,D7,D8 Diode, Silicon Signal, 1N914B 470-0040
10 2 FILTER1,FILTER2 15KHz Lowpass Filter Assy 050-3280
11 1 H1 3M P/N 2510-5002-UG* 290-0620
12 1 H2 3M P/N 2520-5002-UG* 290-0600
13 2 K1,K2 Relay, DPDT, 5V, TQ2E-5V 630-0140
14 2 L1,L2 Inductor 1mH 360-0060
15 2 Q1,Q2 Transistor, JFET, N-Chan., J113 500-0160
16 1 Q3 Transistor, SI, PNP, 2N3906 500-0180
17 2 Q4,Q5 Transistor, SI, NPN, 2N3904 500-0260
R26,R27,R35,R36,R43,R44,
R51,R52,R53,R54,R57,R58
22 6 R6,R7,R8,R30,R31,R32 Resistor, Tin-Oxide Film 56R2 +/-1% 120-2522
38 7 U1,U3,U5,U7,U9,U11,U15 IC, Op Amp, Bipolar, Dual, 5532 490-0300
39 2 U2,U8 Voltage-Controlled Atten.,VCA1001 480-0900
40 4 U4,U10,U13,U14 IC, Op Amp, JFET, Dual, LF353 490-0140
41 2 U6,U12 Comparator, Bipolar, Dual, LM393 480-0240
43 2 VR2,VR5 Trimpot, PT10H 100R/1T 420-0160
45 1 VR7 Trimpot, PT10H 10K/1T 420-0240
47 2 None Heat Spreader for U4 & U8 040-0040
50 4 TP1, TP2, TP3, TP4 Test Point 840-0720
I/O Filter Board

Assembly 050-3100
1 12 C1,C3,C5,C7,C9,C10,C11, Cap, Ceramic Disk, NP0 100pF +/-5% 230-0320
C12,C13,C15,C17,C18
2 22 C2,C4,C6,C8,C14,C16,C19, Cap, Monolithic Ceramic, NP0 470pF +/-5% 235-0140
C20,C21,C22,C23,C24,C25,
C26,C27,C28,C29,C30,C31,
C32,C33,C34
3 4 C35,C36,C37,C38 Cap, Ceramic Disk, NP0 47pF +/-5% 230-0040
4 1 C39 Cap, Ceramic Disk, Z5U 0.10mF +/-20% 230-0140
5 1 D1 Diode, 1N4003 470-0120

6 6 FL1,FL2,FL3,FL6,FL7,FL8 RFI Filter, TDK ZY51R5-2P 360-0120
7 4 FL4,FL5,FL9,FL10 RFI Filter, TDK ZJSR 5101-271TA 360-0150
8 1 H1 Male 2500 (3M P/N 2526-6002-UG) 290-0800
9 5 J1,J2,J5,J6,J9 Conn., XLR, Neutrik NC3FK-V 310-2920
10 5 J3,J4,J7,J8,J10 Conn., XLR, Neutrik NC3MK-V 310-2900
11 4 K1,K2,K3,K4 Relay, DPDT, 12V, TQ2E-12V 630-0100
12 6 L1,L3,L5,L7,L13,L15 Inductor 220mH +/-10% 360-0080
13 6 L2,L4,L6,L8,L14,L16 Inductor 1.0mH +/-10% 360-0060
14 6 L9,L10,L11,L12,L17,L18 Inductor 47mH +/-10% 360-0100
16 6 R5,R6,R7,R8,R11,R12 Resistor, Tin-Oxide Film 150R +/-1% 120-1503
18 2 T1,T2 Xfmr., Pulse Eng. P/N PE65612 380-0750
15KHz Lowpass Filter

Assembly 050-3280
1 3 C1, C12, C14 Capacitor Poly 1000pF +/-2.5% 190-1540
2 5 C2, C5, C10, C13, C20 Capacitor Poly 330pF +/-2.5% 190-1440
3 4 C3, C4, C15, C19 Capacitor Poly .01uF +/-2.5% 190-1380
4 3 C6, C7, C22 Capacitor Poly 3300pF +/-2.5% 190-1460
5 1 C8 Capacitor Poly 100pF +/-2.5% 190-1480
6 2 C9, C17 Capacitor Poly 6800pF +/-2.5% 190-1500
8 2 C16, C21 Capacitor Poly 1500pF +/-2.5% 190-1420
10 6 C23, C24, C25, C26, C27, C28 Capacitor Mono 0.1uF +/-20% 235-0020
11 6 L1, L2, L3, L4, L5, L6 Inductor, CLNS-T033Z, 10PA Type 18mH 360-0200
12 1 R1 ResistorTin-Oxide Film 232K +/-1% 120-2326
13 6 R2, R4, R6, R7, R8, R10, R11 ResistorTin-Oxide Film 10K0 +/-1% 120-1005
14 1 R3 ResistorTin-Oxide Film 42K2 +/-1% 120-4725
17 6 LD1, LD2, LD3, LD4, LD5, LD6 LED, LTL1234N GRN 530-0260
18 3 VR1, VR2, VR5 Potentiometer, PT6KV, 1T, Piher 2K5 420-0540
19 1 VR3 Potentiometer, PT6KV, 1T, Piher 1K0 420-0520
20 3 VR4, VR6, VR7 Potentiometer, PT6KV, 1T, Piher 5K0 420-0420
21 1 PCB, 15 kHZ Low Pass Filter, 100% 770-1980
22 5 U1, U2, U3, U4, U5 IC, Op Amp, 5532 490-0300
23 5 Socket, 8 Pin DIP, LTO-308-TA 310-0020
24 3 Test Point, TP-101-20 840-0720
25 7 JU1, JU2,JU3,JU4,JU5,JU6,JU7 Shunt, Test, TT-02 840-1080
26 14 Header, 36P, M740-240-400 310-0360
27 1 Schematic, FM PROC 15K Filter 060-0002
Front Panel Display Board

Assembly 050-3200
1 3 C1,C2,C3 Cap, Monolithic Ceramic, Z5U 0.1mF +/-20% 235-0020
2 8 C4,C5,C6,C7,C8,C9, Cap, Ceramic Disk 0.1mF +/-20% 230-0140
C10,C11
3 2 DS1,DS2 LED Bar, 10-segment isol. Yel 530-0550
4 2 DS3,DS8 LED Bar, 10-segment isol. Red 530-0600
5 4 DS4,DS5,DS6,DS7 LED Bar, 10-segment isol. Grn 530-0500
6 1 H1 Header 12 (Make from CA-F36-23B-5 310-3140
7 3 H2,H3,H4 Header 10 (Make from CA-F36-23B-5 310-3140
8 21 LD1,LD2,LD3,LD4,LD5,LD6, LED, Red 530-0280
LD7,LD8,LD9,LD10,LD11,
LD12,LD13,LD14,LD15,LD16,
LD17,LD18,LD19,LD20,LD21
9 1 Q1 Transistor, NPN SI, 25D600 500-0360
10 2 Q2, Q3 Transistor, NPN SI, 2N3904 500-0260
11 3 R1, R12, R13 Resistor, Tin-Oxide Film 10K0 120-1005
12 1 R2 Resistor, Tin-Oxide Film 100R 120-1003
13 1 R3 Resistor, Tin-Oxide Film 330R 120-3303
14 2 R4, R5 Resistor, Tin-Oxide Film 2K49 120-2494

15 4 R6, R7, R8, R9 Resistor, Tin-Oxide Film 1K82 120-1824
16 2 R10, R11 Resistor, Tin-Oxide Film 1K0 120-1004
17 2 RN1,RN3 Resistor Network, SIP 10KC6 140-0600
18 4 RN5,RN6,RN7,RN8 Resistor Network, SIP 330C6 140-0140
19 4 RN9 Resistor Network, SIP 10KC10 140-0260
20 8 SW1,SW2,SW3,SW4,SW5, ITW 250-0520
SW6,SW7,SW8
21 2 U1,U5 LM3915 480-0600
22 6 U2,U3,U4,U6,U7,U8 LM3914 480-0360
23 4 U9,U10,U11,U12 74HCT04 480-0940
25 8 None Socket, 20-pin X 0.3” 310-3200
26 8 None Socket, 18-pin 310-0080
27 4 None Socket, 14-pin 310-0040
Computer Board
Assembly 050-3160
1 2 C1,C2 Cap, Mono. Ceramic, NP0, .1” LS 22pF +/-5% 230-0540
3 1 C4 100uf 100mF +/-20% 200-0260
4 13 C5,C6,C7,C8,C9,C10,C11, Cap, Monolithic Ceramic, Z5U 0.1mF +/-20% 235-0020
C12,C13,C14,C15,C16,C17
5 1 ENCODER HP P/N HRPG-AD32 #14R 250-0700
6 1 H1 Socket 12 (Make from 310-0400) 310-3100
7 3 H2,H3,H4 Socket 10 (Make from 310-0400) 310-3100
9 1 H6 “RIBBON 50” Assembly*** 030-4200
10 1 H7 “RIBBON 16” Assembly*** 030-4180
11 1 H8 “RIBBON10” Assembly 030-4100
12 1 H9 “RIBBON20” Assembly 030-4120
13 1 H10 MOLEX9M 310-0680
15 2 Q1,Q2 Transistor, PNP Silicon, 2N3906 500-0180
21 1 RN1 Resistor network 470RI6 +/-2% 140-1480
22 1 U1 IC, Watchdog, Dallas DS1232 480-1760
23 1 U2 IC, mP, Philips P80C31EBPN 480-1820
24 1 U3 IC, CMOS, 74HCT373 480-1020
25 1 U4 IC, EPROM, 27C256 480-1840
26 1 U5 IC, EPROM, FLASH, 29C256 480-1860
27 1 U6 (Note speed = 150 nS) IC, CMOS, SRAM, 6264 480-0440
28 1 U7 IC, RTC, Dallas Semi DS12887 480-1780
29 2 U8,U9 IC, CMOS, 74HCT138 480-0980
30 1 U10 IC, CMOS, 74HCT02 480-0920
31 1 U11 IC, CMOS, 74HCT08 480-0950
32 1 U12 IC, CMOS, 74HCT32 480-1080
33 1 U13 IC, CMOS, 74HCT393 480-1050
34 1 U14 IC, Bipolar, SP232CP (Sipex) 480-1800
35 5 U15,U16,U17,U18,U19 IC, CMOS, 74HCT374 480-1040
36 3 U20,U21, U22 IC, CMOS, 74HCT244 480-1070
37 1 U24 IC, A/D, National ADC0817CCN 480-1880
38 1 U23 IC, Bipolar, Timer, LM555 480-0200
39 1 VR1 Trimpot, PT1H 10K/1T 420-0240
40 1 Y1 Crystal, HC49S, 11.0592MHz ** 440-0120
46 1 None IC Socket, 28-pin X .3” spacing 310-3060
47 2 None IC Socket, 28-pin X .6” spacing 310-1480

49 1 H12 Header, 3-pin RA*** 310-0440
50 1 None Jumper, shorting 840-1080
BNC Filter
Assembly 050-3220
1 2 C1,C2 Capacitor, Ceramic Disk, NP0 47pF +/-5% 230-0040
2 1 FL1 Filter, TDK P/N ZJY51R5-2P 360-0120
3 1 J1 BNC Jack 310-1000
5 1 VR1 Trim 70Y (See Note 1) 1K, 18T 420-0930
PPDM Stereo Generator Board

Assembly 050-3340
1 1 C1 75pF 75pF +/-5% 160-0200
2 1 C10 47pF 47pF +/-5% 160-0100
3 1 C2 Cap, Tant, 35V 1uF 220-0020
4 1 C3 Cap, Polyester, 0.3” L.S. 0.1uf 190-0840
5 1 C4 Cap, Polyester, 0.3” L.S. 1500pF +/-5% 190-0080
6 4 C5,C6,C7,C8 Cap, Mica 50pF +/-5% 160-0420
7 3 C9,C20,C23 Cap, Mica 5pF 160-0320
8 2 C19,C22 Cap, Mica 10pF +/-5% 160-0020
9 2 C21,C24 Cap, Electrolytic, Non-polar, 35V 22uF 225-0020
10 22 C25,C26,C27,C28,C29,C30, Cap, Ceramic, Z5U, Monolithic 0.1uF +/-20% 235-0020
C37,C38,C39,C40,C41,C42,
C43,C44,C45,C47,C48,C49
11 15 D1,D2,D3,D4,D5,D6,D7,D8, Diode, 1N914B 470-0040
D9,D10,D12,D13,D14,D15,
D18
12 1 H1 Cable Assembly, 4” 030-4100
13 1 H2 Header, 4-pin, .1” spacing 310-1040
14 3 H3,H4,H5 Header, 2-pin, 0.1” spacing 310-0760
15 1 K1 Relay, Aromat TQ2E-12V 630-0100
16 1 Q1 Transistor, SI NPN, 2N3904 500-0260
18 6 R2,R11,R37,R38,R39,R40 Resistor, Tin-Oxide Film 100K +/-1% 120-1006
23 4 RN5C,RN5D,RN6C,RN6D Resistor, Tin-Oxide Film 10K0 +/-1% 120-1005
(Stand up on RNET pattern)
R47
32 2 RN1,RN8 Resistor network, 4-pin common 10K +/-2% 140-1400
33 1 RN3 Resistor network, 8-pin isolated 3K3 +/-2% 140-1040
34 1 RN4 Resistor network, 6-pin common 10K +/-2% 140-0600
35 4 RN5A,RN5B,RN6A,RN6B Resistor, Tin-Oxide Film 47K5 +/-1% 120-4755
(Stand up on RNET pattern)
36 1 U1 IC, CMOS, Quad And, 74HCT00 480-1120
37 1 U2 IC, CMOS, Ripple Counter, 74HC404 480-1160
38 1 U3 2764 EPROM w/ pilot software 480-0160B
39 1 U4 2764 EPROM w/ PPDM software 480-0160A
40 3 U5,U6,U7 74HCT374 480-1040
41 5 U8,U9,U10,U11,U12 IC, Maxim AD7524JN 480-0520
42 2 U13,U14 IC, op amp, bipolar, dual, AD812AN 560-0090
43 1 U15 IC, op amp, bipolar, dual, NE5532 490-0300
44 1 U16 IC, op amp, bipolar, AD829JN 490-0080

45 1 U17 IC, Analog Buffer, LM6321N 480-1260
46 4 U18,U25,U28,U30 IC, op amp, bi-fet, dual, LF353 490-0140
47 1 U22 IC, inverter, hex, CMOS, 4069 460-0120
48 4 U23,U24,U26,U27 IC, analog switch, quad, 4016 460-0060
49 1 VC1 Variable Capacitor, trimmer 7-35pF 170-0040
50 1 VR1 Trimpot, R/A Adj. 10K 420-0980
51 1 VR2 Trimpot, PT10V 10K/1T 420-0020
52 4 VR3,VR4,VR5,VR6 Trimpot, Multi-Turn, Top Adj. 10K/10T 420-0040
53 1 X1 Crystal, quartz 4.864 MHz 440-0080
54 1 None PC Board, 100% tested 770-4420
Master Assembly
Assembly 020-3000
Item Quan Ref. Des. Description Aphex P/N
1 1 None Front Panel Assembly 060-0020
2 1 None Bracket Assembly, Card Guide 060-0080
3 1 None Chassis Assembly 060-0060
4 1 None Fan 600-0020
5 4 None Screw, #6-32 X 5/8” Ph F/H, Black 795-1660
6 4 None Nut, #6-32 KEPS 780-0120
7 1 None Rear Panel Assembly 060-0040
8 1 None BNC Filter Assembly 060-0100
9 2 None Screw, #4-40 X 3/8” Ph Pan 795-1600
10 1 None Cover, Metal, anodize and chem-film 675-1850
11 1 None Processing: paint, Cover 040-3800
12 1 None Foam Rubber UL94V-1 card retainer strip
13 1 None Adhesive
14 2 None Screw, #4-40 X 1/4” F/H, S/S, 100 Deg. 795-1340
15 6 None Screw, #6-32 X 1/4” Ph Pan, Black 795-1040
16 3 None Screw, #6-32 X 3/8” Ph Oval 1 795-0600
17 10 None Screw, #4-40 X 1/4” Ph Pan (050-3360 mtg.) 795-0260
18 5 None Standoff, #4-40 X 7/16” X 1/4” Hex (050-3360 mtg.) 790-1400
19 2 None Handle 840-2350
20 4 None Screw, #6-32 X 1/2” Ph Pan 795-0920
21 4 None Washer, split ring, #6 800-0600
21 6 None Screw, #6-32 X 3/8” Ph Oval 1 795-0600
22 1 None Screw, #8-32 X 3/4” Ph Pan 2 795-1380
23 1 None Nut, #8-32 KEPS 2 780-0260
24 1 None Nut, #8-32 hex 2 780-0060
25 2 None Washer, #8 star, external tooth 2 800-0220
26 2 None Washer, flat, #8 2 800-0460
27 5 None Screw, #4-40 X 1/2” Ph Pan, zinc 3 795-0060
28 14 None Screw, #4-40 X 1/4” Ph Pan, black 4 795-0260
29 4 None Screw, #6-32 X 1/4” Ph F/H, 100 deg. 5 795-1320
30 6 None Standoff, #4-40 X 7/16” X 1/4” Hex 6 790-1400
31 12 None Screw, #4-40 X 1/4” Ph Pan, black 6 795-0260
end

Web Version 17.0 Warranty & Service
17.1 Obtaining Service For The FM Pro fraudulent means such as units known or suspected
Aphex Systems supports its customers with spare to be stolen goods will not be honored under
parts and technical assistance. You may contact us warranty claims.
by phone, fax, and the Internet. Out-of-warranty
repair work should be performed only by qualified Factory supplied field upgrade kits installed by
service personnel. We highly recommend using the customer will be honored under warranty if
the factory or other authorized service agencies to all installation procedures were properly followed
obtain all repair work. using adequate care and workmanship. Damage
caused by careless or unskilled workmanship or
Units may not be shipped to Aphex for service accident is the full responsibility of the owner
without first obtaining an RMA (returned material and may void the warranty which is solely at the
authorization). Equipment received without an discretion of Aphex Systems.
RMA may be refused for delivery and returned to
the sender. Contact Aphex customer support for 17.3 What Is Covered
an RMA. The RMA number must be placed on Refer to the warranty certificate for further details.
the outside of the shipping carton to identify the
unit. Please also include within the container a
brief letter describing the defect or the problem’s
symptoms, your name and return shipping address,
and contact telephone number for you or someone
else who is familiar with the equipment problem.
You may contact Aphex customer support through:
Telephone 1-818-767-2929
Fax: 1-818-767-2641
Internet: [email protected]
Outside the USA, contact your local authorized

Aphex distributor or dealer for service. You can
find the appropriate world-wide service agencies
by contacting Aphex Systems by phone, fax, or
on the Internet.
17.2 Warranty Claims

All warranty claims must be presented to the
Aphex factory customer support department or to
an authorized dealer, distribtor, or agency for pro-
cessing. Aphex does not honor unauthorized repairs
under warranty claims. Unauthorized repairs and
modifications to the unit may void the warranty at
the sole discretion of Aphex Systems.
Warranty claims will be validated by the unit serial

number and the purchase date. Generally, an
owner registration form mailed to Aphex shortly
after the date of purchase satisfies the requirements
for warranty validation. In any case of doubt or
the absence of a valid owner registration on file
at Aphex, you may be required to furnish proof
of the purchase date or proof of ownership to
obtain warranty service. Units obtained through

17.0 Warranty & Service
Web Version
Aphex Systems Ltd.

Limited Warranty
PERIOD
One year from date of purchase
SCOPE
All defects in workmanship and materials. The following are not covered:
a. Voltage conversions
b. Units on which the serial number has been defaced, modified,or removed
c. Damage or deterioration:
1. Resulting from installation and/or removal of the unit.
2. Resulting from accident, misuse, abuse, neglect, unauthorized product modifi-
cation or failure to follow instructions contained in the User’s Manual.
3. Resulting from repair or attempted repair by anyone not authorized by Aphex
Systems.
4. Occurring from shipping (claims must be presented to shipper).
WHO IS PROTECTED
This warranty will be enforceable by the original purchaser and by any subsequent
owner(s) during the warranty period, so long as a copy of the original Bill of Sale is
submitted whenever warranty service is required.
WHAT WE WILL PAY FOR

We will pay for all labor and material expenses for covered items. We will pay return
shipping charges if the repairs are covered by the warranty.
LIMITATION OF WARRANTY
No warranty is made, either expressed or implied, as to the merchantability and fitness
for any particular purpose. Any and all warranties are limited to the duration of the
warranty stated above.
EXCLUSION OF CERTAIN DAMAGES

Aphex Systems’ liability for any defective unit is limited to the repair or replacement of said
unit, at our option, and shall not include damages of any other kind, whether incidental,
consequential, or otherwise.
Some States do not allow limitations on how long an implied warranty lasts and/or do
not allow the exclusion or limitation of incidental or consequential damages, so the above
limitations and exclusions may not apply to you.
This warranty gives you specific legal rights, and you may also have other rights which
vary from State to State.

Web Version 18.0 Web Broadcasting Applications
18.1 Why process the Audio? 18.2.2 Peak Limiting
The peaks of a program don’t necessarily relate
Listenability directly to the sound level as our ears detect it. If
the leveling was done to satisfy the ear, then there
· Consistent Level remains a great deal of peak variability in the audio
· Consistent Tonal Balance stream. This can cause problems in trying to get a
· Less Distortion full level of performance from the streaming audio
encoder. It is therefore desirable, in addition to
· Improved Intelligibility
leveling the program, to cause the peak audio levels
· Less Listener Fatigue to be limited to a maximum value, and preferably at
· Longer Listener Retention relatively lower values than they originally occur.
This is because the analog to digital conversion and
the subsequent digital data compression algorithms
Designed Sound all relate to the peak level of the audio stream.
· Adjustable Peak and Average Program Density If the audio peaks are processed to be consistent
· Adjustable Dynamic Equalization and predictable in level, then the streaming audio
encoder can be driven to full scale encoding without
· Adaptive Audio Processing ever having an overload occur. There will be no
· Distinctive Dial Presence need to allow excessive headroom for occasional
· Professional Quality Finish high peak levels. This results in better sound
encoding at all bit rates.
· Competitive Impressiveness
· Faster Audience Capture
18.2.3 Designing the Sound
· Higher Audience Loyalty
Beyond the technical reasons for using audio pro-
cessing, there is the notion of aesthetics. Some may
The Competitive Edge relate this to “competitiveness”. The worldwide
· Faster Audience Capture web has an ever-growing abundance of streaming
audio sources to choose from. With such a great
· Longer Listener Retention
amount of competition between webcasters, it can
· Higher Audience Loyalty be important to “stand out on the dial”. You may
· Higher Hit Ratings want to design your sound to be something different
· Stronger Market Position from all the others, and hopefully sound impressive
to listeners. Unfortunately, CD’s and talk played
· Greater Sales Volume unprocessed and raw may sound great at the time
· Longer Client Retention they are recorded, but usually sound low in level
· Greater Profitability and unprofessional when broadcast over the internet
media. With good audio processing you can obtain
and…
a professional finish that listeners will appreciate,
· A Greater Assurance of “Mission Accomplished” leading to greater audience loyalty.
18.2 Basics of Processing 18.3 Getting the Best Processing

18.2.1 Leveling You could piece together a combination of various
Audio programs contain a wide range of levels compressors, limiters and equalizers in an effort
over time. It is usually desirable to pull all the to build a complete audio processing system. This
program elements, voices, music, commercials, is seldom satisfactory, since the equipment that
etc., together toward a consistent sound level. is designed for general studio applications is not
This makes listening to the program much more specialized for broadcast processing. You will not
enjoyable without the need to constantly readjust be able to keep peaks under control without creat-
the volume control. Bringing together the sound ing a great deal of sonic artifacts such as pumping
levels of a program is called “Leveling”. and hole punching. The Model 2020 melds many
specially designed audio processing techniques,
including at least 11 that are patented exclusively

18.0 Web Broadcasting Applications
Web Version
by Aphex, into one unit. The entire complex pro- 18.5.2 Set the Output Level
cessing chain works interactively and harmoni- If you are using the digital output, then you
ously, specifically avoiding all the sonic aberrations don’t need to worry about this. The Model 2020
caused by conventional audio processors. automatically normalizes the output peaks to 1dB
under digital full scale. If you are using the analog
18.4 Digital Versus Analog Processing outputs, then you need to set the output level to
properly drive your encoder’s input. You operate
The output media of web broadcasting is of a the output gain also through the Processing Input/
digital nature. Because of that, some people think Output menu page. Your encoder may have an input
it makes the most sense to process the sound only meter to indicate the proper drive level, but if not,
in the digital domain. Why, then, did we build set the output to the highest level that still gives
the Model 2020 in the analog domain? The fact undistorted sound when listening to the stream
is that digital audio processing is very limited through your reference media player.
in it’s capabilities, especially sound quality. This
is because digital audio is time sampled and quan-
tized. Digital audio processors have to contend 18.5.3 Set Up the Processing
with many, many approximations within their math- Now is the time to go to the chapters on setting
ematical algorithms and inevitably generate digital up processing. First you will set up all the Globals
distortions from truncation, rounding, and aliasing. and save them. Then, you will experiment with
That is why digitally processed sound is edgy the presets. Finally, you will fine tune your own
and dry. It may have an impressive zippy or sound. This process may take anywhere from 10
splashy quality at first listen, but that effect quickly minutes to a couple of hours depending upon your
becomes irritating. Analog processing, especially dedication and level of satisfaction.
with the advanced circuits of the Model 2020, is
inherently free of these aberrations. To provide the
means to interface with a digital audio system, we 18.6 Bit Rate Effects
included an optional 20-Bit AES/EBU input/output Web audio media varies through a wide range of bit
module. The digital input is converted to analog, rates and consequential audio quality. Very low bit
processed, then converted back to digital. Any rate encoders often benefit from limiting the audio
small quality loss that may be experienced through bandwidth of the input signal. In many cases, you
the converters is overshadowed by the greatly cannot anticipate what bit rate will be served for
improved sound quality of the analog processing. any given stream. Nevertheless, you have only one
audio processor and it needs to sound great on
18.5 How to Use the Model 2020 the highest bit rate or why bother. Therefore, it
is not possible to specifically optimize the audio
Generally, you will interface the Model 2020 processing for low bit rate and high bit rate at
between the audio source and the streaming media the same time. We have found, however, that the
encoder. When the encoder is an external hardware Model 2020, if adjusted to sound great on a high
box, that becomes relatively easy because you can rate stream such as 22KB, it also sounds quite good
gain direct access to the encoder’s analog or digital at low rates like 3KB. If you have separate high
audio input. However, if the encoder is in software, and low rate converter banks, then you can aid the
then you will need to interface with the computer’s low rate converter by adding a lowpass filter such
audio board input cabling. The idea is to get as as a parametric equalizer shelved off at 5-6KHz,
close as possible to the encoder’s input point. to the converter’s audio input. This may improve
any splatter distortion you may be experiencing.
18.5.1 Set the Input Level It should be emphasized that splatter is not a
problem caused by the Model 2020, rather it is a
Once the audio source is fed into the Model 2020, characteristic generally inherent in all low bit rate
you need to normalize the input gain. Set the Input converters.
Gain so the input level meters are peaking at 0 for a
nominal program level. You operate the input gain
through the Processing Input/Output menu page. end

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Web Version

Aphex Model 2020

5,930,374 5,612,612 5,424,488 5,115,471

Copyright 1995-2000 Aphex Systems Ltd. All rights reserved.

Model 2020 FM Pro Audio Processor Page C-1

The Global Parameters Step 3, Select A Preset. There are

Model 2020 FM Pro Audio Processor Page C-2

3.0 The User Interface

4.0 Navigating The Menus

Model 2020 FM Pro Audio Processor Page 1-1

5.0 Detailed Audio Processing Description

Model 2020 FM Pro Audio Processor Page 1-2

6.0 Setting Up Processing

7.0 All About Presets

Model 2020 FM Pro Audio Processor Page 1-3

8.0 Password Security System

9.0 Using Digital Audio

10.0 Using Multiplex

Model 2020 FM Pro Audio Processor Page 1-4

11. Remote Operation

12. Product Specifications

Model 2020 FM Pro Audio Processor Page 1-5

13. Test & Calibration

14. Installation Instructions

16. Parts List

17. Service & Warranty Information

18. Web Broadcasting Applications

Model 2020 FM Pro Audio Processor Page 1-6

Model 2020 FM Pro Audio Processor Page 1-7

Model 2020 FM Pro Audio Processor Page 2-1

2.4 FM Pro OPTIONS

Analog Analog PPDM

2.5 FUNCTIONS AND FEATURES

Model 2020 FM Pro Audio Processor Page 2-2

3.1.2 Leveling Meter This is a member of the input pre-processing group

Model 2020 FM Pro Audio Processor Page 3-1

3.1.5.5- HF Limiter 3.1.5.9 DVG

Model 2020 FM Pro Audio Processor Page 3-2

Model 2020 FM Pro Audio Processor Page 3-3

3.2 Front Panel Controls

3.2.1 Spin Dial

3.2.2 Navigation (Cursor) Buttons

Model 2020 FM Pro Audio Processor Page 3-4

How To Make Selections

Model 2020 FM Pro Audio Processor Page 4-1

Model 2020 FM Pro Audio Processor Page 4-2

Model 2020 FM Pro Audio Processor Page 4-3

Model 2020 FM Pro Audio Processor Page 4-4

4.5.4 Remote Link

4.6 Main Menu Page 2 of 2

[MAIN MENU P:2.2]

4.6.1 Set Unit Time Menu

4.6.2 Display Mode Menu

Model 2020 FM Pro Audio Processor Page 4-5

Model 2020 FM Pro Audio Processor Page 4-6

Figure 5-1 Simplified Block Diagram

Model 2020 FM Pro Audio Processor Page 5-1

5.4.6 Gain Lock 5.6 The Multiband Compressor