Operating Manual

OPTIMOD
8685
Surround Loudness Controller

Version 2.1 Software

IMPORTANT NOTE: Refer to the unit’s rear panel for your Model Number.

Model Number: Description:

8685 OPTIMOD 8685 audio processor for digital surround transmission channels.
7.1-channel surround processing and four independent 2.0 processors, all
with loudness meters and CBS Loudness Controllers.
Option 1 Dolby-E Decoder
Option 2 Dolby-E Encoder
Option 3 Dolby-E Decoder and Encoder
Option 4 Dolby Digital (AC3) Encoder
Option 5 Dolby-E Decoder and Dolby Digital Encoder
MANUAL:

Part Number: Description:

CAUTION: TO REDUCE THE RISK OF ELECTRICAL SHOCK, DO NOT REMOVE COVER (OR BACK).
NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.

WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRICAL SHOCK,

DO NOT EXPOSE THIS APPLIANCE TO RAIN OR MOISTURE.

This symbol, wherever it appears, alerts you to

This symbol, wherever it appears, alerts you to important
the presence of uninsulated dangerous voltage
operating and maintenance instructions in the accompa-
inside the enclosure ⎯ voltage that may be
nying literature. Read the manual.
sufficient to constitute a risk of shock.

In accordance to the WEEE (waste electrical and electronic equipment) direc-

tive of the European Parliament, this product must not be discarded into the
municipal waste stream in any of the Member States. This product may be
sent back to your Orban dealer at end of life where it will be reused or recycled
at no cost to you.

If this product is discarded into an approved municipal WEEE collection site or

turned over to an approved WEEE recycler at end of life, your Orban dealer
must be notified and supplied with model, serial number and the name and
location of site/facility.

Please contact your Orban dealer for further assistance.

www.orban.com
 IMPORTANT SAFETY INSTRUCTIONS
All the safety and operating instructions should be read before the appliance is operated.
Retain Instructions: The safety and operation instructions should be retained for future reference.
Heed Warnings: All warnings on the appliance and in the operating instructions should be adhered to.
Follow Instructions: All operation and user instructions should be followed.
Water and Moisture: The appliance should not be used near water (e.g., near a bathtub, washbowl, kitchen sink, laundry tub, in a wet base-
ment, or near a swimming pool, etc.).
Ventilation: The appliance should be situated so that its location or position does not interfere with its proper ventilation. For example, the appli-
ance should not be situated on a bed, sofa, rug, or similar surface that may block the ventilation openings; or, placed in a built-in installation, such as a
bookcase or cabinet that may impede the flow of air through the ventilation openings.
Heat: The appliance should be situated away from heat sources such as radiators, heat registers, stoves, or other appliances (including amplifiers)
that produce heat.
Power Sources: The appliance should be connected to a power supply only of the type described in the operating instructions or as marked on
the appliance.
Grounding or Polarization: Precautions should be taken so that the grounding or polarization means of an appliance is not defeated.
Power-Cord Protection: Power-supply cords should be routed so that they are not likely to be walked on or pinched by items placed upon or
against them, paying particular attention to cords at plugs, convenience receptacles, and the point where they exit from the appliance.
Cleaning: The appliance should be cleaned only as recommended by the manufacturer.
Non-Use Periods: The power cord of the appliance should be unplugged from the outlet when left unused for a long period of time.
Object and Liquid Entry: Care should be taken so that objects do not fall and liquids are not spilled into the enclosure through openings.
Damage Requiring Service: The appliance should be serviced by qualified service personnel when: The power supply cord or the plug has
been damaged; or Objects have fallen, or liquid has been spilled into the appliance; or The appliance has been exposed to rain; or The appliance
does not appear to operate normally or exhibits a marked change in performance; or The appliance has been dropped, or the enclosure damaged.
Servicing: The user should not attempt to service the appliance beyond that described in the operating instructions. All other servicing should be
referred to qualified service personnel.
The Appliance should be used only with a cart or stand that is recommended by the manufacturer.

Safety Instructions (European)

Notice For U.K. Customers If Your Unit Is Equipped With A Power Cord.

WARNING: THIS APPLIANCE MUST BE EARTHED.

The cores in the mains lead are coloured in accordance with the following code:
GREEN and YELLOW - Earth BLUE - Neutral BROWN - Live
As colours of the cores in the mains lead of this appliance may not correspond with the coloured markings identifying the terminals in your plug, pro-
ceed as follows:
The core which is coloured green and yellow must be connected to the terminal in the plug marked with the letter E, or with the earth symbol, or col-
oured green, or green and yellow.
The core which is coloured blue must be connected to the terminal marked N or coloured black.
The core which is coloured brown must be connected to the terminal marked L or coloured red.
The power cord is terminated in a CEE7/7 plug (Continental Europe). The green/yellow wire is connected directly to the unit's chassis. If you need to
change the plug and if you are qualified to do so, refer to the table below.
WARNING: If the ground is defeated, certain fault conditions in the unit or in the system to which it is connected can result in full line voltage between
chassis and earth ground. Severe injury or death can then result if the chassis and earth ground are touched simultaneously.

Conductor WIRE COLOR

Normal Alt
L LIVE BROWN BLACK
N NEUTRAL BLUE WHITE
E EARTH GND GREEN-YELLOW GREEN
AC Power Cord Color Coding
Safety Instructions (German)
Gerät nur an der am Leistungsschild vermerkten Spannung und Stromart betreiben.
Sicherungen nur durch solche, gleicher Stromstärke und gleichen Abschaltverhaltens ersetzen. Sicherungen nie überbrücken.
Jedwede Beschädigung des Netzkabels vermeiden. Netzkabel nicht knicken oder quetschen. Beim Abziehen des Netzkabels den
Stecker und nicht das Kabel enfassen. Beschädigte Netzkabel sofort auswechseln.
Gerät und Netzkabel keinen übertriebenen mechanischen Beaspruchungen aussetzen.
Um Berührung gefährlicher elektrischer Spannungen zu vermeiden, darf das Gerät nicht geöffnet werden. Im Fall von Betriebsstörun-
gen darf das Gerät nur Von befugten Servicestellen instandgesetzt werden. Im Gerät befinden sich keine, durch den Benutzer
reparierbare Teile.
Zur Vermeidung von elektrischen Schlägen und Feuer ist das Gerät vor Nässe zu schützen. Eindringen von Feuchtigkeit und
Flüssigkeiten in das Gerät vermeiden.
Bei Betriebsstörungen bzw. nach Eindringen von Flüssigkeiten oder anderen Gegenständen, das Gerät sofort vom Netz trennen und
eine qualifizierte Servicestelle kontaktieren.

Safety Instructions (French)

On s'assurera toujours que la tension et la nature du courant utilisé correspondent bien à ceux indiqués sur la plaque de l'appareil.
N'utiliser que des fusibles de même intensité et du même principe de mise hors circuit que les fusibles d'origine. Ne jamais
shunter les fusibles.
Eviter tout ce qui risque d'endommager le câble seceur. On ne devra ni le plier, ni l'aplatir. Lorsqu'on débranche l'appareil,
tirer la fiche et non le câble. Si un câble est endommagé, le remplacer immédiatement.
Ne jamais exposer l'appareil ou le câble ä une contrainte mécanique excessive.
Pour éviter tout contact averc une tension électrique dangereuse, on n'oouvrira jamais l'appareil. En cas de dysfonctionnement,
l'appareil ne peut être réparé que dans un atelier autorisé. Aucun élément de cet appareil ne peut être réparé par l'utilisateur.
Pour éviter les risques de décharge électrique et d'incendie, protéger l'appareil de l'humidité. Eviter toute pénétration
d'humidité ou fr liquide dans l'appareil.
En cas de dysfonctionnement ou si un liquide ou tout autre objet a pénétré dans l'appareil couper aussitôt l'appareil
de son alimentation et s'adresser à un point de service aprésvente autorisé.

Safety Instructions (Spanish)

Hacer funcionar el aparato sólo con la tensión y clase de corriente señaladas en la placa indicadora de características.
Reemplazar los fusibles sólo por otros de la misma intensidad de corriente y sistema de desconexión. No poner nunca los fusibles en
puente.
Proteger el cable de alimentación contra toda clase de daños. No doblar o apretar el cable. Al desenchufar, asir el enchufe y no el
cable. Sustituir inmediatamente cables dañados.
No someter el aparato y el cable de alimentación a esfuerzo mecánico excesivo.
Para evitar el contacto con tensiones eléctricas peligrosas, el aparato no debe abrirse. En caso de producirse fallos de funcionamiento,
debe ser reparado sólo por talleres de servicio autorizados. En el aparato no se encuentra ninguna pieza que pudiera ser reparada por
el usuario.
Para evitar descargas eléctricas e incendios, el aparato debe protegerse contra la humedad, impidiendo que penetren ésta o líquidos
en el mismo.
En caso de producirse fallas de funcionamiento como consecuencia de la penetración de líquidos u otros objetos en el aparato,
hay que desconectarlo inmediatamente de la red y ponerse en contacto con un taller de servicio autorizado.

Safety Instructions (Italian)

Far funzionare l'apparecchio solo con la tensione e il tipo di corrente indicati sulla targa riportante i dati sulle prestazioni.
Sostituire i dispositivi di protezione (valvole, fusibili ecc.) solo con dispositivi aventi lo stesso amperaggio e lo stesso comportamento
di interruzione. Non cavallottare mai i dispositivi di protezione.
Evitare qualsiasi danno al cavo di collegamento alla rete. Non piegare o schiacciare il cavo. Per staccare il cavo, tirare la presa e mai
il cavo. Sostituire subito i cavi danneggiati.
Non esporre l'apparecchio e il cavo ad esagerate sollecitazioni meccaniche.
Per evitare il contatto con le tensioni elettriche pericolose, l'apparecchio non deve venir aperto. In caso di anomalie di funzionamento
l'apparecchio deve venir riparato solo da centri di servizio autorizzati. Nell'apparecchio non si trovano parti che possano essere riparate
dall'utente.
Per evitare scosse elettriche o incendi, l'apparecchio va protetto dall'umidità. Evitare che umidità o liquidi entrino nell'apparecchio.
In caso di anomalie di funzionamento rispettivamente dopo la penetrazione di liquidi o oggetti nell'apparecchio, staccare immediatamente
l'apparecchio dalla rete e contattare un centro di servizio qualificato.
 PLEASE READ BEFORE PROCEEDING!
Manual
The Operating Manual contains instructions to verify the proper operation of this unit and initialization of certain options.
You will find these operations are most conveniently performed on the bench before you install the unit in the rack.

Please review the Manual, especially the installation section, before unpacking the unit.

Trial Period Precautions

If your unit has been provided on a trial basis:

You should observe the following precautions to avoid reconditioning charges in case you later wish to return the unit to
your dealer.
(1) Note the packing technique and save all packing materials. It is not wise to ship in other than the factory carton. (Re-
placements cost $35.00).

(2) Avoid scratching the paint or plating. Set the unit on soft, clean surfaces.
(3) Do not cut the grounding pin from the line cord.
(4) Use care and proper tools in removing and tightening screws to avoid burring the heads.

(5) Use the nylon-washered rack screws supplied, if possible, to avoid damaging the panel. Support the unit when tighten-
ing the screws so that the threads do not scrape the paint inside the slotted holes.

Packing
When you pack the unit for shipping:
(1) Tighten all screws on any barrier strip(s) so the screws do not fall out from vibration.
(2) Wrap the unit in its original plastic bag to avoid abrading the paint.
(3) Seal the inner and outer cartons with tape.
If you are returning the unit permanently (for credit), be sure to enclose:

The Manual(s)
The Registration/Warranty Card
The Line Cord
All Miscellaneous Hardware (including the Rack Screws and Keys)
The Extender Card (if applicable)
The Monitor Rolloff Filter(s) (OPTIMOD-AM only)
The COAX Connecting Cable (OPTIMOD 8685 and OPTIMOD 8685 only)

Your dealer may charge you for any missing items.

If you are returning a unit for repair, do not enclose any of the above items.

Further advice on proper packing and shipping is included in the Manual (see Table of Contents).

Trouble
If you have problems with installation or operation:

(1) Check everything you have done so far against the instructions in the Manual. The information contained therein is
based on our years of experience with OPTIMOD and broadcast stations.
(2) Check the other sections of the Manual (consult the Table of Contents and Index) to see if there might be some sug-
gestions regarding your problem.

(3) After reading the section on Factory Assistance, you may call Orban Customer Service for advice during normal Cali-
fornia business hours. The number is +1 856.719 9900.
 WARNING
This equipment generates, uses, and can radiate radio-frequency energy. If it is not installed
and used as directed by this manual, it may cause interference to radio communication. This
equipment complies with the limits for a Class A computing device, as specified by FCC
Rules, Part 15, subject J, which are designed to provide reasonable protection against such
interference when this type of equipment is operated in a commercial environment. Operation
of this equipment in a residential area is likely to cause interference. If it does, the user will be
required to eliminate the interference at the user’s expense.

WARNING
This digital apparatus does not exceed the Class A limits for radio noise emissions from digi-
tal apparatus set out in the radio Interference Regulations of the Canadian Department of
Communications. (Le present appareil numerique n’emet pas de bruits radioelectriques de-
passant les limites applicables aux appareils numeriques [de las class A] prescrites dans le
Reglement sur le brouillage radioelectrique edicte par le ministere des Communications du
Canada.)

IMPORTANT
Perform the installation under static control conditions. Simply walking across a rug can gen-
erate a static charge of 20,000 volts. This is the spark or shock you may have felt when
touching a doorknob or some other conductive surface. A much smaller static discharge is
likely to destroy one or more of the CMOS semiconductors employed in OPTIMOD 8685.
Static damage will not be covered under warranty.
There are many common sources of static. Most involve some type of friction between two
dissimilar materials. Some examples are combing your hair, sliding across a seat cover or
rolling a cart across the floor. Since the threshold of human perception for a static discharge
is 3000 volts, you will not even notice many damaging discharges.
Basic damage prevention consists of minimizing generation, discharging any accumulated
static charge on your body or workstation, and preventing that discharge from being sent to or
through an electronic component. You should use a static grounding strap (grounded through
a protective resistor) and a static safe workbench with a conductive surface. This will prevent
any buildup or damaging static.

All software and firmware © Orban.

Orban and Optimod are registered trademarks.
All trademarks are property of their respective companies.
Published August 2016.

© Copyright Orban

Orban Labs Inc., 7209 Browning Road, Pennsauken NJ 08110 USA

Phone: +1 856.719.9900; E-Mail: custserv@orban.com; Site: www.orban.com
Operating Manual

OPTIMOD
8685
Surround Loudness Controller

Version 2.1 Software

Table of Contents

Index.........................................................................................................................0-9
Section 1 Introduction
.........................................................................................................................................1-1

CRUCIAL INFORMATION—PLEASE READ!.............................................................................1-1

Figure 1-1: Simplified Block Diagram of Dialnorm Control ........................................... 1-2
USING THIS MANUAL .......................................................................................................1-3
THE OPTIMOD 8685 DIGITAL AUDIO PROCESSOR ..............................................................1-3
Absolute Control of Loudness and Peak Modulation...........................................1-4
Flexible Configuration ............................................................................................1-5
Adaptability through Multiple Audio Processing Structures ...............................1-7
User-Friendly Interface............................................................................................1-8
Controllable .............................................................................................................1-8
PRESETS IN OPTIMOD 8685 ............................................................................................1-9
Factory Processing Presets.......................................................................................1-9
User Processing Presets .........................................................................................1-10
INPUT/OUTPUT CONFIGURATION ......................................................................................1-11
Digital AES3id Inputs/Outputs ..............................................................................1-11
Analog Outputs .....................................................................................................1-12
Remote Control Interface .....................................................................................1-12
Computer Interface ...............................................................................................1-12
RS-485 Serial Ports .......................................................................................................... 1-13
RS-232 Serial Port ........................................................................................................... 1-13
RJ45 Ethernet Connector ............................................................................................... 1-13
HD-SDI Input/Output.............................................................................................1-13
ROUTING AUDIO TO AND FROM THE 8685 ........................................................................1-14
Using Lossy Data Reduction before the 8685’s Input ................................................... 1-14
Links from the 8685’s Output to a Transmission Encoder or Transmitter ................... 1-14
Sample Frequency Synchronization .............................................................................. 1-16
Using the 8685 to Control Studio Output Levels.......................................................... 1-16
AV-Sync Delay................................................................................................................. 1-17
USING OPTIMOD 8685 AS A STUDIO LEVEL CONTROLLER .................................................1-17
ABOUT TRANSMISSION LEVELS AND METERING ..................................................................1-17
Meters ....................................................................................................................1-17
Figure 1-2: Absolute Peak Level, VU and PPM Reading ............................................... 1-18
Studio Line-up Levels and Headroom ..................................................................1-18
Transmission Levels................................................................................................1-19
LINE-UP FACILITIES .........................................................................................................1-19
Metering of Levels and Subjective Loudness ......................................................1-19
Test Modes .............................................................................................................1-22
Calibrated Bypass Test Mode......................................................................................... 1-22
Calibrated Line-up Tones ............................................................................................... 1-22
SETTING OUTPUT/MODULATION LEVELS ............................................................................1-23
STREAMING AND NETCASTING APPLICATIONS .....................................................................1-23
Using OPTIMOD 8685 in Streaming Applications......................................................... 1-23
Loudness ......................................................................................................................... 1-24
Choosing your Encoder .................................................................................................. 1-24
EAS TRANSMISSION .......................................................................................................1-25
PC CONTROL AND SECURITY PASSCODE ............................................................................1-25
WARRANTY, USER FEEDBACK ..........................................................................................1-25
 User Feedback........................................................................................................1-25
LIMITED WARRANTY .............................................................................................1-26
INTERNATIONAL WARRANTY ...............................................................................1-26
Section 2 Installation
.........................................................................................................................................2-1

INSTALLING THE 8685.......................................................................................................2-1

Figure 2-1: AC Line Cord Wire Standard)......................................................................... 2-2
Figure 2-2: Wiring the 25-pin Remote Interface Connector ........................................... 2-4
8685 REAR PANEL ...........................................................................................................2-5
Table 2-1: Serial Port Pin Identification ........................................................................... 2-5
INPUT AND OUTPUT CONNECTIONS .....................................................................................2-6
AES3id Digital Inputs and Outputs.........................................................................2-6
HD-SDI Input and Output .......................................................................................2-7
Wordclock/AES11id Sync Input ...............................................................................2-7
Video Sync Input......................................................................................................2-7
Dolby E Encoder Synchronization .................................................................................... 2-8
Analog Audio Output .............................................................................................2-8
Power Ground..........................................................................................................2-9
QUICK SETUP ...................................................................................................................2-9
I/O SETUP .....................................................................................................................2-21
Table 2-2: Routing Switcher Sources and Destinations................................................. 2-26
Table 2-3: Optimod Downmix Controls to AC3 Metadata Mapping ........................... 2-39
Table 2-4: Default AC3 Metadata Values ...................................................................... 2-41
USING CLOCK-BASED AUTOMATION .................................................................................2-43
SECURITY AND PASSCODE PROGRAMMING .........................................................................2-45
To Unlock the Front Panel ....................................................................................2-48
8685 User Interface Behavior during Lockout............................................................... 2-48
Default ADMIN Passcode................................................................................................ 2-48
Security and Orban’s PC Remote Application......................................................2-49
Passcodes and Software Updates .........................................................................2-49
If you have forgotten your “All Access” passcode… ..........................................2-49
ADMINISTERING THE 8685 THROUGH ITS RS-232 SERIAL PORT OR ETHERNET ........................2-50
Connecting via the RS-232 Port Using a Terminal Program on a PC..................2-51
Administrative Operations....................................................................................2-52
Connecting to the 8685’s Ethernet Port or RS-232 Port Using TCP/IP................2-58
Using the API: Example .........................................................................................2-60
Recalling a Processing Preset.......................................................................................... 2-60
REMOTE CONTROL INTERFACE PROGRAMMING ..................................................................2-61
NETWORKING AND REMOTE CONTROL ..............................................................................2-62
SYNCHRONIZING OPTIMOD TO A NETWORK TIMESERVER .....................................................2-65
INSTALLING 8685 PC REMOTE CONTROL SOFTWARE ..........................................................2-68
Installing the Necessary Windows Services..........................................................2-69
Check Hardware Requirements ............................................................................2-69
Running the Orban Installer Program..................................................................2-70
Setting Up Ethernet, LAN, and VPN Connections ...............................................2-71
Conclusion..............................................................................................................2-71
LOGGING BS.1770 LOUDNESS ON A COMPUTER ................................................................2-72
Log File Information ....................................................................................................... 2-77
Troubleshooting your logging setup:............................................................................ 2-78
List of Possible Logging Email Messages ....................................................................... 2-78
Typical Bodies:................................................................................................................. 2-79
 APPENDIX: SETTING UP SERIAL COMMUNICATIONS .............................................................2-81
Preparing for Communication through Null Modem Cable ..............................2-81
Connecting Using Windows 2000 Direct Serial Connection:..............................2-81
Connecting Using Windows XP Direct Serial Connection ..................................2-87
Connecting Using Windows 7 Direct Serial Connection:....................................2-91
Preparing for Communication through Modems .............................................2-101
Connecting Using Windows 2000 Modem Connection ....................................2-101
Connecting using Windows XP Modem Connection ........................................2-107
UPDATING YOUR 8685’S SOFTWARE...............................................................................2-112
SNMP SUPPORT ..........................................................................................................2-114
SNMP Network Setup....................................................................................................2-114
SNMP Mib file................................................................................................................2-114
SNMP Default Settings ..................................................................................................2-114
SNMP Features...............................................................................................................2-115

Section 3 Operation
.........................................................................................................................................3-1

8685 FRONT PANEL .........................................................................................................3-1

INTRODUCTION TO PROCESSING..........................................................................................3-4
Some Audio Processing Concepts.................................................................................... 3-4
Distortion in Processing ................................................................................................... 3-4
Loudness and Distortion .................................................................................................. 3-5
Processing for Low Bit Rate Codecs................................................................................. 3-5
Speech/Music Detector..................................................................................................... 3-6
Sound-for-Picture Applications: Controlling Dynamic Range ..............................3-7
Optimod 8685 in Audio-Only Applications: From Bach to Rock ..........................3-8
ABOUT THE 8685’S SIGNAL PROCESSING FEATURES ..............................................................3-8
Simultaneous Stereo (2.0) and Surround (5.1 or 7.1) Processing .........................3-8
Signal Flow...............................................................................................................3-9
Input Conditioning........................................................................................................... 3-9
Optimix™ Automatic StereoÆSurround Upmixer ....................................................... 3-10
Two-Band Gated AGC .................................................................................................... 3-10
Equalization.................................................................................................................... 3-11
Multiband Compressor/Limiter...................................................................................... 3-11
LFE Processing................................................................................................................. 3-13
Low-IM Look-Ahead Limiter .......................................................................................... 3-14
Loudness Control............................................................................................................ 3-14
BS.1770 Safety Limiter.................................................................................................... 3-17
Input/output Delay......................................................................................................... 3-17
CUSTOMIZING THE 8685’S SOUND ...................................................................................3-18
Basic Modify...........................................................................................................3-18
Intermediate Modify .............................................................................................3-19
Advanced Modify ..................................................................................................3-19
Setting Preset Loudness Correctly for Dolby Digital Transmission ....................3-20
Gain Reduction Metering .....................................................................................3-22
To Create or Save a Preset ....................................................................................3-22
ABOUT THE PROCESSING STRUCTURES ...............................................................................3-23
FACTORY PROGRAMMING PRESETS ...................................................................................3-26
To import a 2.0 preset from the 8685’s front panel: .................................................... 3-27
To import a 2.0 preset from PC Remote:....................................................................... 3-28
Sound-for-Picture Presets......................................................................................3-28
 Table 3-1: Factory Programming Presets (Sound-for-picture) ...................................... 3-29
Protection and Studio AGC Presets ......................................................................3-32
Table 3-2: Pass-Through, Protection and AGC Presets .................................................. 3-32
Radio-Style Presets ................................................................................................3-33
Table 3-3: Radio-Style Presets......................................................................................... 3-34
OPTIMIX® UPMIXER CONTROLS .......................................................................................3-37
Table 3-4: Optimix Upmixer Adjustments...................................................................... 3-37
EQUALIZER CONTROLS ....................................................................................................3-38
Table 3-5: Five-Band Equalizer Controls ........................................................................ 3-40
AGC CONTROLS ............................................................................................................3-44
Table 3-6: AGC Controls.................................................................................................. 3-44
Advanced AGC Controls........................................................................................3-46
AGC Controls Exclusive to 2.0 Processing: ..................................................................... 3-48
Table 3-7: Distortion Control Adjustments.................................................................... 3-49
DISTORTION CONTROL ....................................................................................................3-49
THE TWO-BAND STRUCTURE ...........................................................................................3-51
Customizing the Settings ......................................................................................3-52
The Two-Band Structure’s Full and Advanced Setup Controls ...........................3-52
Table 3-8: Two-Band Controls ........................................................................................ 3-53
Advanced Two-Band Controls ..............................................................................3-55
Figure 3-2: Output level in dB (y) for a given input level in dB (x) at various settings of
the KNEE and RATIO control ............................................................................................ 3-56
THE FIVE-BAND STRUCTURE ............................................................................................3-58
Using the Five-Band Structure ..............................................................................3-58
Customizing the Settings ......................................................................................3-59
The Five-Band Structure’s Full and Advanced Setup Controls............................3-59
Table 3-9: Multiband Controls ....................................................................................... 3-59
Table 3-10: MB Attack/Release Controls ........................................................................ 3-60
Table 3-11: MB Band Mix Controls................................................................................. 3-63
Advanced Five-Band Controls...............................................................................3-65
Table 3-12: Test Modes ................................................................................................... 3-67
TEST MODES .................................................................................................................3-67
USING THE 8685 PC REMOTE CONTROL SOFTWARE ...........................................................3-68
To set up a new connection: .................................................................................3-68
To initiate communication: ...................................................................................3-69
To modify a control setting:..................................................................................3-69
To recall a preset:...................................................................................................3-70
To import a preset into the 2.0 processing: .........................................................3-70
To save a Processing Preset or Setup you have created:.....................................3-71
To back up User Presets, Setups, and automation files onto your computer’s hard
drive:.......................................................................................................................3-71
Note to Users Familiar with Older Version of PC Remote ............................................ 3-72
To restore archived presets, Setups, and automation files:................................3-72
To modify the active SETUP: ...................................................................................3-73
To modify AUTOMATION: .........................................................................................3-74
To group multiple 8685s: ......................................................................................3-74
Navigation Using the Keyboard ...........................................................................3-74
To Quit the Program..............................................................................................3-74
About Aliases created by Optimod 8685 PC Remote Software .........................3-74
Multiple Installations of Optimod 8685 PC Remote ...........................................3-75
To share an archived User Preset between 8685s: ..............................................3-75
USING THE 8685 FOR PRODUCTION AND MASTERING .........................................................3-76
 APPENDIX A: USING THE ITU BS.1770 AND CBS LOUDNESS METERS TO MEASURE LOUDNESS
CONTROLLER PERFORMANCE ...........................................................................................3-81
ITU-R BS.1770.................................................................................................................. 3-81
CBS Loudness Meter ....................................................................................................... 3-81
Comparing the Meters ................................................................................................... 3-82
Figure 3-3: Unprocessed Input— Peak Output of the BS.1770 and CBS Loudness
Meters in each 10-second Interval as a Function of Time ............................................ 3-83
Figure 3-4: Unprocessed Input— Histograms sorting loudness measurements into 0.25
dB bins. ........................................................................................................................... 3-83
Figure 3-5: Loudness-Controlled Audio— Peak Output of the CBS and BS.1770
Loudness Meters in each 10-second Interval vs. Time .................................................. 3-84
Figure 3-6: Loudness-Controlled Audio— Histograms sorting loudness measurements
into 0.25 dB bins............................................................................................................. 3-84
Test Setup ....................................................................................................................... 3-85
Results ............................................................................................................................. 3-86
Problems with Low Peak-to-RMS Ratio Material.......................................................... 3-87
Studies indicating that BS.1770 is inaccurate at very low frequencies........................ 3-88
Discussion and Conclusions............................................................................................ 3-90

Section 4 Maintenance
.........................................................................................................................................4-1

ROUTINE MAINTENANCE ...................................................................................................4-1

SUBASSEMBLY REMOVAL AND REPLACEMENT .......................................................................4-2
FIELD AUDIT OF PERFORMANCE..........................................................................................4-7
Table 4-1: Decoder Chart for Power Supervisor ............................................................. 4-9
Table 4-2: Frequency Tolerance for Various Sample Rates .......................................... 4-11
Table 4-3: Sample screenshot showing a successful test .............................................. 4-12
Table 4-4: SDI Timing & Jitter Specifications................................................................. 4-13

Section 5 Troubleshooting
.........................................................................................................................................5-1

PROBLEMS AND POTENTIAL SOLUTIONS ...............................................................................5-1

Power light is blinking red............................................................................................... 5-1
A/V Sync Incorrect ............................................................................................................ 5-1
Loudness incorrect compared to other Dolby Digital Transmissions............................. 5-1
A BS.1770 loudness meter indicates higher loudness than expected with some program
material............................................................................................................................. 5-2
CBS Loudness Controller reduces transient punch of programming............................. 5-3
Transient loudness events (like esses in speech) sound obtrusively loud ...................... 5-3
Commercials too loud in sound-for-picture applications............................................... 5-3
Commercials too quiet ..................................................................................................... 5-3
LFE channel is unbalanced with respect to the rest of the audio spectrum ................. 5-4
Dialog is buried by music and/or effects ......................................................................... 5-4
Dialog is muffled .............................................................................................................. 5-4
Shrill, harsh sound............................................................................................................ 5-4
Dull sound......................................................................................................................... 5-4
Too much bass when the loudness controller is producing large amounts of GR........ 5-4
RFI, hum, clicks, or buzzes................................................................................................ 5-5
Unexpected gain pumping when processing 5.1 material............................................. 5-5
 Poor peak modulation control......................................................................................... 5-5
Audible distortion............................................................................................................. 5-5
Audible noise .................................................................................................................... 5-6
System will not pass line-up tones at 100% modulation................................................ 5-7
System will not pass Emergency Alert System (“EAS” USA Standard) tones at the legally
required modulation level................................................................................................ 5-7
System Receiving 8685’s digital output will not lock...................................................... 5-7
System will not lock to video sync at 88.2 or 96 kHz ...................................................... 5-7
AES Channel Status Bits will not set the 8685’s 2.0 processing to Stereo or Dual-Mono
mode.................................................................................................................................. 5-7
Dolby-E encoder causes audio glitches and/or CRC errors in downstream equipment 5-7
Equipment that receives the 8685’s 2.0 processing output changes operation mode
unexpectedly..................................................................................................................... 5-8
General dissatisfaction with subjective sound quality.................................................... 5-8
Loudness logging stops unexpectedly. ............................................................................ 5-8
Security passcode lost (when unit is locked out)............................................................. 5-8
Connection Issues between the 8685 and a PC, Modem, or Network ................5-8
Troubleshooting Connections.................................................................................5-9
You Cannot Access the Internet After Making a Direct or Modem Connection to
the 8685: ..................................................................................................................5-9
OS-SPECIFIC TROUBLESHOOTING ADVICE ..........................................................................5-10
Troubleshooting Windows XP Direct Connect: ...................................................5-10
Troubleshooting Windows XP Modem Connect: ................................................5-11
TECHNICAL SUPPORT .......................................................................................................5-12
FACTORY SERVICE ...........................................................................................................5-12
SHIPPING INSTRUCTIONS ..................................................................................................5-12
Section 6 Technical Data
.........................................................................................................................................6-1

SPECIFICATIONS ................................................................................................................6-1
Performance.............................................................................................................6-1
Optimix™ Upmixer..................................................................................................6-3
Installation ...............................................................................................................6-3
CIRCUIT DESCRIPTION........................................................................................................6-8
Overview ..................................................................................................................6-8
Control Circuits ........................................................................................................6-8
User Control Interface and LCD Display Circuits ...................................................6-9
Input Circuits..........................................................................................................6-10
Output Circuits.......................................................................................................6-11
DSP Circuit..............................................................................................................6-12
Power Supply .........................................................................................................6-13
HD-SDI Module ......................................................................................................6-14
ABBREVIATIONS .............................................................................................................6-14
PARTS LIST.....................................................................................................................6-16
Obtaining Spare Parts ...........................................................................................6-16
Base Board .............................................................................................................6-17
CPU Module ...........................................................................................................6-18
Serial I/O Board ......................................................................................................6-20
DSP Board...............................................................................................................6-21
Interface Board ......................................................................................................6-23
Headphone Board .................................................................................................6-24
Encoder Board .......................................................................................................6-25
 LCD Carrier Board..................................................................................................6-25
Power Supply Distribution Board.........................................................................6-25
HD-SDI I/O Board ...................................................................................................6-27
Serial RS-232 / RS-485 Board .................................................................................6-33
SCHEMATICS AND PARTS LOCATOR DRAWINGS ...................................................................6-33

Function Description Drawing Page

Chassis Circuit Board Locator and basic Top view 6-37
interconnections (not to scale)
Base Board Glue logic; supports CPU module Parts Locator 6-38
and RS-232 daughterboard. Drawing
Contains:
System Connections Schematic 1 of 4 6-39
CPU module interface Schematic 2 of 4 6-40
Power Supply Monitor Schematic 3 of 4 6-41
CPLD, General Purpose Interface, Schematic 4 of 4 6-42
and Remotes
CPU Module Control microprocessor. Services Parts Locator 6-43
front panel, serial port, Ethernet, Drawing
DSP board, and control board. Re-
sides on base board.
Contains:
Ethernet Schematic 1 of 5 6-44
General Purpose Bus Schematic 2 of 5 6-45
Memory Schematic 3 of 5 6-46
Miscellaneous Functions Schematic 4 of 5 6-47
Power and Ground Distribution Schematic 5 of 5 6-48
RS-232 Board Supports Serial Port Parts Locator 6-49
(base model) Drawing
Schematic 1 of 1 6-50
Dual Power Power supply supervisor automati- Parts Locator 6-51
Supply cally chooses good power supply if Drawing
Distribution one of the dual supplies fails.
Power Supply Input Control Schematic 1 of 2 6-52
Power Supply Failure Detector Schematic 2 of 2 6-53
DSP Board DSP Chips; Local +3.3V regulator. Parts Locator 6-54
Contains: Drawing
DSP Interconnects Schematic 1 of 9 6-55
DSP Extended Serial Audio Inter- Schematic 2 of 9 6-56
face (ESAI)
DSP Control Interface Schematic 3 of 9 6-57
DSP External Memory Control In- Schematic 4 of 9 6-58
terface
DSP Power and Ground Schematic 5 of 9 6-59
DSP 86xx 8-bit Control Interface Schematic 6 of 9 6-60
Clock Generation and CPLD Schematic 7 of 9 6-61
86xx Power Distribution Schematic 8 of 9 6-62
External Memory Interface Con- Schematic 9 of 9 6-63
troller
 Function Description Drawing Page
Front-Panel LCD Carrier Parts Locator 6-64
Boards Drawing
LCD Carrier Schematic 1 of 3 6-65
Headphone and Encoder Board Parts Locator 6-66
Drawings
Headphone Board Schematic 2 of 3 6-67
Encoder Board Schematic 3 of 3 6-68
Front-Panel Front Panel Interface Board Parts Locator 6-69
Interface Drawing
Board Schematic 1 of 2 6-70
Schematic 2 of 2 6-71
I/O Board I/O Board Parts Locator 6-72
Drawing 1
Contains: Parts Locator 6-73
Drawing 2
System Interconnect Schematic 1 of 17 6-74
Analog Output Schematic 2 of 17 6-75
Video I/O Schematic 3 of 17 6-76
AES I/O Schematic 4 of 17 6-77
SDI I/O Schematic 5 of 17 6-78
PIC Controller Schematic 6 of 17 6-79
Power Supplies & Interface Schematic 7 of 17 6-80
FPGA Schematic 8 of 17 6-81
DDR SDRAM Schematic 9 of 17 6-82
Clock Oscillators Schematic 10 of 17 6-83
AES and Wordclock Sync Schematic 11 of 17 6-84
GTP Power & Filter Distribution Schematic 12 of 17 6-85
Dolby-E Decoder-Encoder Schematic 13 of 17 6-86
Clock Cleaner Schematic 14 of 17 6-87
Genlock Schematic 15 of 17 6-88
SRC Miscellaneous Signals Schematic 16 of 17 6-79
SRC Power Distribution Schematic 17 of 17 6-90
Serial Board RS232/RS485 serial interface board Parts Locator 6-91
Contains: Drawing
UART Schematic 1 of 2 6-92
Serial Ports Schematic 2 of 2 6-93
DSP Block Shows signal processing 6-94
Diagram

Index

importing 3- · 27
2.0 processing · 13
2 2B Bass Attack control 3- · 56
2B Master Attack control 3- · 56
2.0 preset
2B Release Shape 3- · 54 Gate Threshold control 3- · 45
idle gain control 3- · 47
master attack control 3- · 47
A master release control 3- · 45
meter 3- · 2
AAC codec 1- · 25 ratio control 3- · 46
Abbreviations setting external mode 2- · 22
Table of 6- · 14 window release control 3- · 46
AC Line Cord Standard 2- · 2 window size control 3- · 46

AC3 AGC 1- · 7
coding delay 2- · 19 AGC 3- · 10
enabling 2- · 58 AGC controls table 3- · 44
input routing 2- · 24 AGC Matrix 3- · 48
AC3 encoder AGC mode 2- · 11
metadata setup 2- · 38 AGC+LC presets 3- · 31
AC3 encoder allpass crossover 3- · 47
dialnorm in 2- · 39 analog I/O 1- · 12
AC3 encoder analog output
Compression profile 2- · 40 Circuit description 6- · 11
AC3 encoder analog output 2- · 6, 8
metadata default values 2- · 40 analog television
AC3 metadata processing for 2- · 32
interface 6- · 4 anchor element 3- · 82, 87
ac3_compre 6- · 6 API
ac3_dialnorm · 6 example 2- · 60
ac3_dynrnge 6- · 6 via Telnet/SSH 1- · 9
Administering 8585 Through Terminal archiving presets 3- · 71
Program 2- · 50 artifacts
Administrative Operations minimizing codec 3- · 5
via terminal program 2- · 52 ASCII commands
Adobe pdf 1- · 3 and RS232 port 2- · 50
Advanced Modify 3- · 19 asynchronous resampling 1- · 23
AES channel status bits 5- · 7 ATSC A/85
AES status bits and streaming 1- · 24
trouble caused by 5- · 8 ATSC A/85 3- · 81
AES/EBU I/O 2- · 6 Attack
AES11id 1- · 7 Multiband 3- · 65
AES11id 6- · 4 attack 3- · 47
AES3 status bits 2- · 20 audio
AES3id 2 · 5 connections 2- · 6
AES3id I/O 1- · 11 output 2- · 6
output, connecting 2- · 8
AGC
audio I/O 2- · 5
bass attack control 3- · 47
Bass Coupling control 3- · 46 audio routing 1- · 14
bass release control 3- · 47 auditing performance 4- · 7
bass threshold control 3- · 47 automation
control list 3- · 44 capabilities 2- · 44
crossover control 3- · 47 Automation
defeating 3- · 44 Clock-based 2- · 43
defeating 3- · 34 modifying from PC 3- · 74
drive control 3- · 44 automation 1- · 9
automation 3- · 74 Escape 3- · 1
automation event buzz 5- · 5
adding 2- · 44 bypass
editing 2- · 45 PC remote 1- · 25
automation lockout 2- · 46 relay 1- · 13
AV-sync 1- · 17 test mode 1- · 22, 85
bypass 1- · 7
Bypass mode 3- · 67
B
B1<>B2 Crossover 3- · 66 C
B1>LFE Coupling control 3- · 13
backing up presets 3- · 71 CALM Act 1- · 3
balanced CALM Act 3- · 81
output, simulates transformer 2- · 8 CBS Loudness Level meter 1- · 20
band coupling 3- · 63 CBS loudness meter
Band Mix long-term loudness 3- · 85
Multiband 3- · 63 CBS loudness meter 3- · 81
bandwidth 2- · 11, 22 center channel processing 3- · 12
Base board Center Width control 3- · 37
removing 4- · 5 channel mode
Replacing 4- · 6 setting 2- · 36
Basic Modify 3- · 18 chassis
bass getting inside 4 · 2
excessive 5- · 4 ground 2- · 9
Bass Clip control 3- · 49 circuit board locator drawing 6- · 37
bass clipper Circuit description
I/O transfer curves 3- · 50 Control 6- · 8
Bass Frequency control 3- · 39 LCD display 6- · 9
user Control interface 6- · 9
Bass Gain control 3- · 39
circuit description 6- · 8
Bass Slope control 3- · 39
Classical music 3- · 34
bass threshold 3- · 47
cleaning front panel 4- · 1
Bass>LFE Couple control 3- · 55
clipper, bass 3- · 12
Battery
Replacing 6- · 9
clipping 3- · 4
bit depth of internal processing 6- · 2 clock
reset to hour 2- · 62
Block diagram 6- · 94
setting via timeserver 2- · 65
bookmarks 1- · 3
Clock
breakpoint 3- · 57
Battery 6- · 9
Breakpoint controls 3- · 66
Setting 2- · 43
Brilliance control 3- · 42
clock 1- · 9
BS.1770
Clock-based automation 2- · 43
LF accuracy · 88
codec
safety limiter 3- · 17
overshoots in 3- · 80
threshold control 3- · 17
processing for low bit rate 3- · 5
BS.1770 1- · 8, 18
comfort range 3- · 90
BS.1770 3- · 81
commercial loudness 5- · 3
BS.1770 meter
commercials
indicates too high 5- · 2
too loud 5- · 3
Buttons
too quiet 5- · 3
Enter 3- · 1
Components Bass Clip 3- · 49
Obtaining 6- · 16 Bass Clip Shape 3- · 50
compression 3- · 4 Bass Threshold 3- · 55
Bass>LFE Couple 3- · 55
compression ratio 3- · 56
breakpoint 3- · 57
Compression Ratio controls 3- · 66
Breakpoint 3- · 66
compressor gate 3- · 45
Brilliance 3- · 42
computer
Bx Limiter Attack 3- · 65
connecting to 2- · 4
Bx<>Bx Coupling 3- · 63
interface, specifications 6- · 5
compression ratio 3- · 56
Troubleshooting connections 5- · 9
Compression Ratio 3- · 66
Windows XP 5- · 10
Delta Release 3- · 65
computer interface Delta Threshold 3- · 49
RS-232 2- · 5 description 3- · 1
serial 2- · 5 DJ Bass 3- · 42
computer interface 1- · 12 HF Enhance 3- · 43
configuration knee 3- · 57
input/output 1- · 11 Knee 3- · 66
Connecting LFE Threshold 3- · 55
through Win XP direct serial 2- · 87 LO PASS 3- · 43
connection to PC Loudness Threshold 3- · 55
troubleshooting 5- · 8 Main>Center Max Delta GR 3- · 66
connectors Master Threshold 3- · 55
audio 2- · 6 MAX LPF 2- · 11
control Maximum Lowpass Filter 2- · 21
Loudness Attack 3- · 15 MB Downward Expander 3- · 62
Loudness Threshold 3- · 15 MB Limit Drive 3- · 51
Control knob 3- · 2 MB Release 3- · 61
Metadata Source 2- · 36, 39
control table
Multiband Attack 3- · 65
distortion control 3- · 37, 49
Mute 3- · 63
controls
Pass Gain 3- · 24
2B Bass Attack 3- · 56
Pass Switch 3- · 25
2B Bass Coupling 3- · 54
Phase Rotator 3- · 43
2B Drive 3- · 52
preemphasis 2- · 29
2B Gate 3- · 54
Surround Optimization 3- · 11
2B Master Attack 3- · 56
SYNC DELAY 2- · 19
2B Release 3- · 52
Transient Enhance 3- · 51
2B Release Shape 3- · 54
copying presets 3- · 72
AGC Bass Attack 3- · 47
corrosion 4- · 1
AGC Bass Coupling 3- · 46
AGC Crossover 3- · 47 coupling controls 3- · 64
AGC Drive 3- · 44 cover
AGC Gate Threshold 3- · 44 Removing 4- · 2
AGC Idle Gain 3- · 47 CPU board
AGC Limit Drive 3- · 51 Replacing 4- · 6
AGC Master Attack 3- · 47 CPU module
AGC Matrix 3- · 48 removing 4- · 4
AGC Max Delta GR 3- · 48 crossover
AGC Release 3- · 45 allpass 3- · 47
AGC Window Release 3- · 46 modes 3- · 47
AGC Window Size 3- · 46 crossover frequency
B1<>B2 Crossover 3- · 66 five-band 3- · 25
band mix 3- · 63
D dither 2- · 29
DJ Bass control 3- · 42
D/A converter Dolby AC3
Circuit description 6- · 11 enabling 2- · 58
specification 6- · 5 input routing 2- · 24
passcode · 48 Dolby AC3 encoding
default passcode 2- · 48 coding delay 2- · 19

Defaults Dolby Digital 1- · 15

Resetting to 2- · 49 Dolby Digital 2- · 14
delay Dolby E
AV-sync 1- · 17 synchronizing encoder 2- · 8
setting 2.0 2- · 30 Dolby Laboratories 3- · 82
setting processing 2- · 19 Dolby metadata
delay 3- · 17 reauthoring 6- · 5
delay 6- · 2 Dolby Surround
Delay Correction and Optimix 3- · 38
in Optimix upmixer 3- · 37 Dolby-E 1- · 6
delta release control 3- · 65 downmix
diagnostic info setting gains 2- · 37
fetching via API 2- · 57 downmix 1- · 6
dialnorm downward expander 3- · 62
setting value of 2- · 15 DSP
Dialnorm Block diagram 6- · 94
and Loudness Controller 3- · 15 Circuit description 6- · 12
and MB limiter drive 3- · 14 DSP board
and streaming 1- · 24 Removing 4- · 2
conveying via RS-485 · 16 Replacing 4- · 6
in AC3 encoder 2- · 40 dual-mono 1- · 6
re Loudness Level meter 1- · 20 dual-mono 2- · 20
setting 2- · 14 dual-mono 6- · 2
Dialnorm 1- · 1 dual-mono mode 2- · 36
Dialnorm 3- · 3, 19, 21 dull sound
dialog troubleshooting 5- · 4
buried non-speech elements 5- · 4
muffled-sounding 5- · 4
dialog intelligibility 3- · 12 E
digital I/O 1- · 11
Digital input EAS
Circuit description 6- · 10 modulation low 5- · 7
Digital output test tones 1- · 25
Circuit description 6- · 12 easy setup 2- · 9
Display EBU R 128
Removing 4- · 4 and streaming 1- · 24
Display Interface EBU R 128 1 · 20
Removing 4- · 4 EBU R 128 3- · 81
Replacing 4- · 6 email
distortion logging messages 2- · 78
excessive 5- · 8 loudness alert 2- · 74
troubleshooting 5- · 5 Enter button 3- · 1
vs. loudness 3- · 5 equalizer
distortion control 3- · 49 bass shelf 3- · 39
 control list 3- · 38 Frequency control (EQ) 3- · 40
parametric 3- · 39 frequency response
equalizer 3- · 11 specification 6- · 1
Error indications Front panel
power light flashes 4- · 9 removing 4- · 3
Escape button 3- · 1 Replacing 4- · 7
Ethernet Unlocking 2- · 48
connecting via TCP/IP 2- · 58 Front Panel
Ethernet 1- · 13 Cannot access 2- · 49
Ethernet 2- · 5, 71 front panel 3- · 1
Exponential Shape 3- · 54 front panel display 3- · 2
exporting presets 3- · 71 Front/Rear Balance control 3- · 37
external sync fuse 6- · 13
setting source 2- · 28

G
F
Gain control (EQ) 3- · 40
Factory defaults gain pumping 5- · 5
Resetting to 2- · 49 gain reduction meter
Restoring via Terminal Program 2- · 53 limiter 3- · 3
factory preset multiband 3- · 3
radio 3- · 33 gain reduction meter 3- · 22
selecting 2- · 17 gate
factory presets 1- · 9 threshold control 3- · 61
factory programming presets 3- · 26 gate 3- · 45
factory service 5- · 12 Gate control 3- · 54
fallback Gate indicators 3- · 3
and silence sense 2- · 41 Gateway
feedback Setting via terminal program 2- · 55
user 1- · 25 Gateway 2- · 63, 71
Final Limit control 3- · 51 GPI
Firewall 2- · 63, 71 programming 2- · 61
Firmware specifications 6- · 6
updating 8685 2- · 112 GPI 1- · 8
five-band GPI interface
attack time controls 3- · 65 testing 4- · 14
band coupling controls 3- · 63 grounding
delta release control 3- · 65 loss of 4- · 1
downward expander thresold control 3- · 62 power 2- · 9
full modify control list 3- · 59
grouping 8585s 3- · 74
limiter attack control 3- · 65
multiband drive control 3- · 59
multiband gate threshold control 3- · 61 H
mutiband release control 3- · 61
output mix controls 3- · 64 Hard Clip Shape 3- · 50
five-band 3- · 58 hard-wire bypass 1- · 13
Five-Band Structure hardwire bypass 2- · 43, 53, 62
adjusting 3- · 59
HD-SDI
passcode · 49
3G 6- · 13
Forgotten passcode 2- · 49 HD-SDI 1- · 13, 7
frame boundary alignment 2- · 21
HD-SDI VANC 6- · 16, 7 installation procedure 2- · 1
HE-AAC 1- · 25 intelligibility
Headphone dialog 3- · 12
Jack 3- · 1 Interface type
Level control 3- · 1 Changing via terminal program 2- · 56
Headphone amplifier Intermediate Modify 3- · 19
Reassembling 4- · 7 Internet
Removing 4- · 3 Cannot access 5- · 9
headphone jack 1- · 6 Internet timeservers
headphones syncing to 2- · 65
low-delay monitoring 2- · 29 IP address
headroom changing via Terminal Program 2- · 54
in codecs 1- · 23 Entering into 8585 2- · 62
relationship to EQ 1- · 23 terminal connection via Ethernet 2- · 59
HF Enhance meters 3- · 3 terminal connection via RS-232 · 59
HF enhancer 3- · 11
hiding meters 2 - · 46
High Frequency Enhancer 3- · 43
J
high frequency limiter 3- · 64
J.17
high-pass filter
and 8585 digital I/O 1- · 12
30 Hz 3- · 9
defined 1- · 12
Highpass Filter 3- · 43
preemphasis applied to digital audio output
hum 5- · 5 6- · 4
hyperlinks 1- · 3 Jazz format 3- · 35
Hyperterminal 2- · 50 Jones & Torick 1- · 20
Joystick 3- · 1
I
K
I/O
AES/EBU 2- · 6 Knee control 3- · 57, 66
connections 2- · 3
knee.ratio curves 3- · 56
I/O board
Replacing 4- · 6
I/O routing L
default 2- · 9
idle gain 3- · 47 latency 3- · 17
importing 2.0 preset 3- · 27 LCD display
importing presets 3- · 72 Reassembling 4- · 7
In meters 3- · 2 LCD display 6- · 10
input Less-More control 3- · 26
digital, specifications 6- · 4 level
Input line-up 2- · 26
routing 2- · 26 metering 1- · 19
input level setting 2.0 reference 2- · 28
line-up 1- · 18 setting surround 2- · 35
input meter 1- · 19 setup 2- · 11
input routing transmission 1- · 19
default 2- · 9 level controller 1- · 17
inputs 2- · 5 LFE channel
inspection of package contents 2- · 1 spectrally unbalanced 5- · 4
LFE processing 3- · 13 increase expected 1- · 24
LFE Threshold control 3- · 55 Loudness Attack control 3- · 15
limiter loudness control 1- · 7
attack 3- · 65 Loudness Controller
limiter gain reduction meters 3- · 3 adjusting 3- · 15
limiting and presets 2- · 18
look-ahead 3- · 4, 14 impact vs. control tradeoff 3- · 16
threshold control 3- · 55
limiting 3- · 4
Loudness Controller 3- · 14
Line voltage 2- · 2
Loudness Controller 5- · 3
Linear Shape 3- · 54
Loudness GR meter 3- · 4
line-up level 2- · 26
Loudness Level meter 1- · 20
line-up tone 1- · 9
Loudness Level meter 2- · 15
line-up tones
system will not pass at 100% modulation 5- ·
Loudness Level meter 3- · 3, 21
7 loudness logging interval 2- · 75
line-up tones 1- · 22 Loudness meter
link to TX 1- · 14 comparing CBS and BS.1770 3- · 82

Lo Pass control 3- · 43 Loudness Range 3- · 86

locate joystick 3- · 1 Loudness Threshold control
setting 3- · 21
location 1- · 14
Loudness Threshold control 3- · 15, 55
lock
driven equipment cannot lock to 8585 output
loudness warning period 2- · 75
5- · 7 loudness warning threshold 2- · 76, 116
Locked out 2- · 49
lockout
M
Front panel 2- · 48
UI behavior during 2- · 48
Main board
log file
Reattaching 4 · 6
information 2- · 77
Main>Center Max Delta GR 3- · 13, 58, 66
log folder 2- · 76
manual
logging
using 1- · 1
email messages 2- · 78
mastering
email setup 2- · 74
presets for 3- · 33
loudness 2- · 72
setting output level 3- · 80
troubleshooting 2- · 78
Mastering
look-ahead limiter 3- · 14
using 8685 in 3- · 76
look-ahead limiting 3- · 4
mastering applications 3- · 76
lossy data reduction
mastering presets 3- · 76
in studio 1- · 14
Matrix
loudness
AGC 3- · 48
adjusting presets for correct 3- · 21
Max Delta GR
and presets 2- · 18
AGC 3- · 48
incorrect 5- · 1
insufficient 5- · 8 MB Attack/Release table 3- · 60
insufficient due to poor peak control 5- · 5 MB Limit Drive control
log file information 2- · 77 etting 3- · 21
logging 2- · 72 measuring performance 4- · 7
profile properties 2- · 76 metadata
setting 1- · 1 AC3 encoder default values · 40
vs. distortion 3- · 5 conveying via RS-485 · 16
Loudness I/O 2- · 5
 reauthoring 6- · 5
serial I/O 1- · 13
N
metadata 1- · 6
netcasting applications
metadata 2- · 14
encoder 1- · 24
Metadata Bypass control 2- · 39
netcasting applications 1- · 23
Metadata Source control 2- · 36, 39
networking 2- · 62
meter
noise
AGC GR 3- · 2
specification 6- · 1
circuit description 6- · 10
troubleshooting 5- · 6
gain reduction 3- · 3, 22
null modem cable
HF Enhance 3- · 3
communicating through 2- · 81
input 1- · 19
null modem cable 2- · 69
input 3- · 2
limiter GR 3- · 3
loudness 1- · 20
loudness 2- · 15
O
loudness GR 3- · 4
Optimix
Loudness Level 3- · 3
delay 2- · 19
output 1- · 19
output 3- · 3 Optimix 1- · 7
studio 1- · 17 Optimix 3- · 10, 37
true peak 1- · 18 Optimix 6- · 3
Mode>Out 2- · 21 Optimod
modem downmix compatibility 3- · 38
specification for 2- · 69 OPTIMOD-8585 1- · 3
Modem Out meters 3- · 3
Preparing for connection 2- · 101 output
Recommended baud rate 2- · 102 2.0 source 2- · 29
Setting up 2- · 64 analog output level trim adjustment 4- · 10
Windows 2000 configuration 2- · 101 analog, connecting 2- · 8
Windows XP Configuration 2- · 107 analog, specifications 6- · 4
Modem init string digital, setting dither 2- · 29
changing from front panel 2- · 64 digital, setting sample rate 2- · 28
Changing via terminal program 2- · 56 digital, setting word length · 29
modulation digital, specifications 6- · 4
switching 1- · 23 headphone monitoring, setup 2- · 29
modulation control setting 2.0 delay 2- · 30
troubleshooting poor 5- · 5 setting 2.0 level 2- · 31, 32
mono setting surround config. 2- · 35
setting surround level 2- · 35
2.0 processing mode 1- · 6
MP3 1- · 24 Output
routing 2- · 26
Multiband
output configuration
gain reduction meters 3- · 3
I/O setup 2- · 28
Multiband Band Mix 3- · 63
output format 2- · 29
Multiband Control table 3- · 59
output level
Multiband Drive 3- · 59
quick setup 2- · 13
music/speech detector 3- · 6
setting 2- · 15
Mute controls 3- · 63
output meter 1- · 19
mutliband compressor
output mix controls 3- · 64
surround 3- · 12
output routing
default 2- · 9
output routing 2- · 12 phase-linear 1- · 7
outputs phase-linear crossover 3- · 51
analog 2- · 6 Plink 2- · 59
outputs 2 - · 5 Plink 2 - · 60
overshoot Pop-up menu 3- · 2
excessive 5- · 5 port
set for TCP/IP 2- · 63
Port
P Terminal 2- · 58
Port #
parametric equalizer 3- · 11
Setting via terminal program 2- · 55
Parts Ports 2- · 71
Obtaining 6- · 16
power
Parts list
cord 2- · 5
Base board 6- · 17
power light
CPU module 6- · 18
flashing 4- · 9
DSP board 6- · 21
power supply
Encoder board 6- · 25
dual 1- · 6
Headphone board 6- · 24
failure indication 5- · 1
Interface board 6- · 23
Orban part # 6- · 13
LCD carrier board 6- · 25
Power supply
Power supply 6- · 25
Circuit description 6- · 13
RS-232 board 6- · 20
Parts list 6- · 25
Parts list 6- · 16
Removing 4- · 5
Pass Gain control 3- · 24
Power supply board
Pass Switch control 3- · 25
reattaching 4 · 6
passcode
PPP
and software updates 2- · 49
and RS232 port 2- · 50
create new 2- · 46
PreCode 1- · 8
delete 2- · 47
Precode 3- · 5
edit 2- · 47
programming 2- · 45
preemphasis
Pass-Through 3- · 24 J.17 2- · 26
preemphasis control 2- · 29
Pass-Through preset 3- · 32, 33
preemphasis processing 2- · 32
PC
Orban installer program 2- · 70
preset
PC board locator diagram 6- · 37 AGC 3- · 32
AGC+Flat Limiter · 32
PC control
backup 3- · 71
security 1- · 25
converting to pass-through 3- · 25
PC hardware requirements 2- · 69
copying between 8585s 3- · 72
PC Remote
customizing 3- · 25, 18
aliases 3- · 74
Edge 3- · 35
multiple coexisting versions 3- · 75
exporting 3- · 71
upgrading versions 3- · 75
factory 1- · 9
PC Remote software factory programming 3- · 26
installing 2- · 68 five-band 3- · 25
PC Remote software 1- · 8 Gold 3- · 35
PC Remote Software 3- · 68 Gregg 3- · 35
pdf 1- · 1 Impact 3- · 35
performance importing from PC 3- · 72
measuring 4- · 7 importing to 2.0 processing 3- · 70
phase rotator 3- · 9, 43 Jazz 3- · 35
 Look-Ahead Limiter 3- · 32 simultaneous stereo & surround 3- · 8
loudness of 2- · 18 structures 1- · 7
oldies 3- · 35 structures 3- · 23
Pass-Through 3- · 33 video oriented 3- · 7
processing 1- · 9 Processing
Protect 3- · 33 block diagram 6- · 94
protection 3- · 32 Processing Mode control 1- · 11
radio 3- · 33 processing structures
radio News-Talk 3- · 36 two-band 3- · 28
radio-style 3- · 34 processing structures 2- · 7
recalling from front panel 1- · 9
Production
recalling from PC 3- · 70
using 8685 in 3- · 76
recalling via GPI 2- · 61
Proof of Performance 1- · 9
Recalling via terminal program 2- · 52
Proof of Performance 3- · 67
restoring archived 3- · 72
Rock 3- · 36
protection presets 3- · 32
saving user 3- · 22 pumping 5- · 5
Smooth Jazz 3- · 37 PuTTY 2- · 59
Soft-Knee 3- · 33 PuTTY 2 - · 60
sound-for-picture 3- · 28, 29
Sports (Radio) 3- · 36
TV 2B Drama 3- · 30 Q
TV 2B Gen Purp NO LC 3- · 29
TV 2B Gen Purpose 3- · 28 quick setup 2- · 9
TV 5B Drama 3- · 30
TV 5B Drama Coupled 3- · 31
TV 5B GEN PUR W/NR 3- · 29 R
TV 5B Gen Purp NO LC 3- · 30
TV 5B Gen Purpose 3- · 30 rack-mounting unit 2- · 2
TV 5B News 3- · 31 radio · 36
TV 5B Optical Film 3- · 31 radio news format 3- · 36
TV 5B Sports 3- · 31 radio sports format 3- · 36
two-band 3- · 25 radio-style presets 3- · 34
user presets 1- · 10 ratio
WMA Music 3- · 37 AGC 3- · 46
WMA News-Talk 3- · 37 compression 3- · 56
preset info control 3- · 10
fetching via API 2- · 57 RDD 06-2008 2- · 16
presets rear panel 2- · 5
wideband control only 3- · 31
reboot
processing via terminal 2- · 57
2.0 1- · 11
Recalling preset
2.0 3- · 13
via terminal program 2- · 52
AGC 3- · 10
recalling presets
center channel 3- · 12
via scripting 2- · 60
distortion in 3- · 4
Recalling setup
equalization 3- · 11
via terminal program 2- · 53
introduction to 3- · 4
reference input
LFE 3- · 13
audio 6- · 4
multiband compression 3- · 11
video 6- · 5
music/speech 3- · 6
radio-style 3 · 8 reference level 2- · 28
signal flow 3- · 8 registration card 2- · 1
relay bypass 2- · 43, 53, 62
remote control S
connecting 2- · 3
GPI, specifications 6- · 6
safety limiter
PC Remote software 3- · 68
BS.1770 3- · 17
programming GPI 2- · 61
sample frequency
via GPI 1- · 8
processing 1- · 15
wiring 2- · 4
sample rate
remote control 2- · 5
8585 internal 3- · 9
remote interface
at digital output 6- · 4
GPI 1- · 12
internal, specification 6- · 2
testing 4- · 14
setting output 2- · 13
wiring 2- · 4
Sample rate
remote interface connector 2- · 5
synchronization 1- · 16
Remote software
sample rate conversion
installing 2- · 68
overshoot in 1- · 4
Resetting 8585 2- · 49
sample rate converter
resolution
testing 4- · 10, 11
specification 6- · 2
sample rate converter 1- · 15
RFI 5- · 5
SAP
Rock format 3- · 36
auto-switching 2- · 42
Rotary encoder saving Setups 3- · 22
Removing 4- · 3
saving user presets 3- · 22
Rotary Encoder
Schematics
Reassembling 4- · 7
Table of contents 6- · 33
routine maintenance 4- · 1
Screen display 3- · 2
routing
screens
default 2- · 9
System Setup 2- · 9
input 2- · 23
scripting 2- · 60
output 2- · 23
SDI 6- · 13
routing audio 1- · 14
searching 1- · 3
Routing switcher
security
sources & destinations 2- · 26
locked out 5- · 8
routing switcher 2- · 9
PC Remote 2- · 49
RS232
view meters 2- · 46
testing 4- · 14
security 1- · 25
RS232 board
security 2- · 45
Replacing 4- · 7
Serial Communications
RS-232 connector 2- · 5
setting up 2- · 81
RS-232 interface
Serial connection
Circuit description 6- · 10
Setting up direct 2- · 64
removing board 4- · 4
serial connector 2- · 5
RS232 port
serial port
configuring 2- · 51
configuring RS232 2- · 51
RS-232 port
connecting via TCP/IP 2- · 58
connecting via TCP/IP 2- · 58
loading correct driver 2- · 50
RS232 Serial Port 2- · 50
pin identification 2- · 5
RS-485
serial port 1- · 13
functionality 2- · 16
serial ports
RS-485 ports 2- · 5
RS-485 2- · 5
Rumble Filter 3- · 43
service 5- · 12
setting clock
 via timeserver 2- · 65 status bits
setup AES3 2- · 20
I/O 2- · 21 setting AES3id 2- · 41
modifying from PC 3- · 73 trouble caused by 5- · 8
quick 2- · 9 stereo
recalling via GPI 2- · 61 control by status bits 2- · 20
Recalling via terminal program 2- · 53 stereo mode 2- · 36
setup info STL
fetching via API 2- · 57 compatibility with 32 kHz sample rate 2- · 6
setup wizard 2- · 9 overshoot in uncomressed digital 2- · 6
Setups STL systems 1- · 16
saving 3- · 22 Streaming
setups 1- · 9 using Dialnorm in 1- · 24
shelving equalizer streaming media 1- · 23
bass, slope of 3- · 11 structure
shipping instructions 5- · 12 five-band 3- · 25
shrill sound two-band 3- · 25
troubleshooting 5- · 4 structures
signal flow 3- · 9 switching between 3- · 24
Signal flow diagram 6- · 94 switching between 3- · 24
silence alarm 1- · 9 studio AGC 1- · 17
Silence sense 2- · 41 subassembly removal & replacement 4- · 2
silence threshold 2- · 42 subframe delay 1- · 17
Sinewave generator 3- · 67 Subnet
Smooth Jazz 3- · 37 Crossing 2- · 63
SMPTE 2020 6- · 16, 7 Mask 2- · 63
SMPTE 2020-2-2008 6- · 36, 4 Subnet Mask
SMPTE 259M 1- · 13 Setting via Terminal Program 2- · 55
SMPTE 259M 6- · 3 surround
SMPTE 274M 1- · 16 auto-fallback 2- · 42
SMPTE 274M 6- · 6, 7, 8, 28, 13, 7, 5 surround input
SMPTE 292M 6- · 13 ref level, I/O setup 2- · 26
Surround Input Mix control 2- · 37
SMPTE 296M 6- · 5
Surround Optimization control 3- · 11, 12
SMPTE 424M 6- · 13
sync
SMPTE RDD 06-2008 6- · 4, 5, 7
SDI 2- · 28
SNMP 2- · 114
setting source 2- · 28
soft-knee presets 3- · 33
video 1- · 6, 16
Software
video 2- · 28
updating 8685 2- · 112
video 6- · 5
software updates sync delay 2- · 19
and passcodes 2- · 49
sync input
software updates 1- · 9
audio 1- · 6
Solo 3- · 63 Sync input
sound-for-picture audio 6- · 5
processing 3- · 7 sync input 1- · 16
spare parts Sync Source
obtaining 6- · 16
SDI preferred 1 - · 13
specifications 6- · 1 System clock
speech/music detector 3- · 6 Setting 2- · 43
station ID system setup
setting 2- · 20
 quick setup 2- · 9 master attack control 3- · 56
System Setup screen 2- · 9 master compression threshold 3- · 55
release control 3- · 52
Two-Band Controls table 3- · 53
T two-band structure 3- · 28, 51

tally outputs
programming 2- · 42 U
Silence sense threshold 2- · 41
tally outputs 1- · 9 Unbalanced output
tally outputs 2- · 3 wiring for 2- · 8
Tally Outputs 6- · 6 Unlocking 8585
TCP/IP via Terminal Program 2- · 54
connecting to serial or Ethernet 2- · 58 Unlocking 8585 2- · 48, 49
technical support 5- · 12 unpacking 2- · 1
telephone support 5- · 12 updating software
Telnet 2- · 60 and passcodes 2- · 49
Telnet/SSH 1- · 9 updating software 2- · 112
Terminal Port 2- · 58 upmixer 1- · 7
terminal port # Upmixer 3- · 37
Changing via terminal program 2- · 56 Upmixer 6- · 3
setting 2- · 59 user feedback 1- · 25
terminal program user presets
connecting to RS232 2- · 51 archiving 3- · 23
test modes 3- · 67 creating 3- · 18, 22
Test Modes table 3- · 67 saving from PC Remote 3- · 71
test tone user presets 1- · 10
frequencies 2- · 29
frequencies vs sample rate 2- · 29
mapping 2- · 33
V
Threshold
Bass Delta 3- · 49
VANC 1- · 6
Master Delta 3- · 49 VANC 6- · 16, 7
Time & date 2- · 10 video delay
timeservers calculating external 2- · 19
syncing to 2- · 65 video delay 1- · 17
Tone generator 3- · 67 video delay 6- · 3
Transient Enhance 3- · 51 Video Descriptor 2- · 42
transient punch video reference input 6- · 36, 4
loudness controller reduces 5- · 3 video sync
troubleshooting no lock @ 88.2 or 96 kHz 5- · 7
installation 5- · 1 video sync 1- · 16
true peak control 1- · 4 video sync 2- · 28
true peak meter 1- · 18 video sync 6- · 5
TVA presets 2- · 32 video sync input 2- · 7
two-band Video Time Offset control 2- · 21
bass attack control 3- · 56 view meters 2- · 46
bass coupling control 3- · 54 VPN 2- · 63
bass threshold control 3- · 55 VPN, setting up 2- · 71
drive control 3- · 52
full modify controls 3- · 52
gate control 3- · 54
W Windows XP
direct connect 5- · 10
Modem configuration 2- · 107
waning period
modem connect 5- · 11
loudness 2- · 75
wizard
warranty 1- · 26
quick setup 2- · 9
warranty 6- · 7
women
wideband control 3- · 31
processing for 3- · 5
Width control (EQ) 3- · 40
word length
window
at output, specification 6- · 4
release control 3- · 46
setting output 2- · 29
window size control 3- · 46
wordclock 1- · 6, 7
Windows
wordclock 2- · 7, 28
installing services 2- · 69
wordclock 6- · 4
Windows 2000
adding direct serial connection 2- · 87, 102
Adding direct serial connection 2- · 82, 108 X
direct serial connection 2- · 81
Modem connection 2- · 101
XLR connector
Windows Media codec 3- · 37
wiring standard 2- · 8
OPTIMOD LOUDNESS CONTROLLER INTRODUCTION 1-1

Section 1
Introduction
Crucial Information—Please Read!
To make automatic loudness control as straightforward and dependable as possible,
the 8685 operates somewhat differently from other Optimods.

• Dialnorm: The 8685 works very easily with Dolby Digital® transmission systems
if you do one crucial thing: You must tell the 8685 what value of Dolby Digital
Dialnorm metadata you are transmitting to your audience. This will prevent your
transmission from being too loud or quiet compared to other correctly set up
Dolby Digital transmissions.

• The 8685’s Quick Setup wizard (page 2- 9) leads you through the process of set-
ting Dialnorm on the 8685. Step 10 on page 2-14 explains how the 8685 uses its
knowledge of transmitted Dialnorm to control loudness.

• Your Dolby Digital transmission’s loudness will automatically be correct if:

• you use a “TV” factory preset (Table 3-1 on page 3-29),

• you have adjusted the 8685’s input reference level so that the processing op-
erates with normal amounts of gain reduction (step 7 on page 2-11 or step 6
on page 2-26), and

• you have adjusted the 8685’s Dialnorm to match the Dialnorm you are
transmitting (step 10 on page 2-14 or step 12 on page 2-35).
The 8685’s DIALNORM value can be set in two places: There is a global set-
ting in the active Setup, which can be overridden by a setting in the ac-
tive processing preset. Except for the 2.0 parameters in the analog TV
presets, all factory processing presets are configured to use the global
Dialnorm setting specified in the active Setup.
You can use the 8685’s RS-485 serial ports (serial ports #2 and #3 on the
back panel) to convey DIALNORM to the Dolby-Encoder automatically. See
Conveying Metadata on page 2-16.

• Setting Output Loudness: To set the 8685’s output loudness, adjust its
DIALNORM value or adjust the MB LIMITER DRIVE control in the active processing
preset. Both methods cause 8685’s OUTPUT LEVEL meter indication to change.
1-2 INTRODUCTION ORBAN MODEL 8685

• Adjusting DIALNORM changes output loudness without changing the indica-

tion on the 8685’s CBS Loudness Level meter or the amount of gain reduction
in the loudness controller. The peak limiter’s gain reduction will change. This
is the preferred method if the 8685’s loudness controller is active because it
has the smallest effect on the sonic texture of the 8685’s audio processing.

• Adjusting MB LIMITER DRIVE changes the Loudness Level meter’s indication

and the amount of gain reduction in the loudness controller and peak lim-
iter.
The 8685’s output level controls (called SURROUND OUTPUT 100% and 2.0
OUTPUT 100% for the surround and 2.0 processing chains respectively) do
not change output loudness. Their only purpose is to set the 8685’s
maximum peak output level with respect to 0 dBFS, which allows you to
compensate for transmission channels that introduce peak overshoots.
For example, if you lower an OUTPUT 100% control from 0 dBFS to –2
dBFS, the 8685 automatically reduces the gain following its peak limiter
by
2 dB and simultaneously increases the drive into the peak limiter by 2 dB.
Hence, the average output level does not change but the maximum peak
output level is constrained to –2 dBFS. This unconventional arrangement
results from the 8685’s handling of Dialnorm—if you have set DIALNORM
correctly on the 8685, you can change the 8685’s output level control
freely without causing your on-air loudness to be incorrect with respect
to other transmissions.
If you are processing for a Dolby Digital distribution channel and wish to
customize a factory preset, see Setting Preset Loudness Correctly for
Dolby Digital Transmission on page 3-20.
• BS.1770 Safety Limiter: Starting with version 1.1 software, the 8685 includes a
BS.1770 safety limiter function that will prevent a BS.1770-2 loudness meter with

Figure 1-1: Simplified Block Diagram of Dialnorm Control

OPTIMOD LOUDNESS CONTROLLER INTRODUCTION 1-3
a 10-second integration time from indicating higher loudness than the setting of
the BS.1770 THRESHOLD control. This limiter is active in all “TV” factory presets.
See BS.1770 Safety Limiter on page 3-17 for a discussion of why we included this
limiter and why we don’t think you should use it.

• A/V Sync: Your Optimod’s internal Optimix® stereoÆsurround upmixer (in-

cluded with version 2.0 and higher) adds 146 ms of delay to the audio path. If
not compensated by a matching video delay, this causes unacceptable lip-sync
errors. If you are using an SDI signal path, you can set the SDI VIDEO DELAY con-
trol (in I/O SETUP>UTILITIES) and the SURROUND AUDIO DELAY so that your Optimod
to maintain A/V sync (including metadata, if present). See step 12 on page 2-19.

Using This Manual

The Adobe pdf eBook form of this manual contains numerous hyperlinks and book-
marks. A reference to a numbered step or a page number (except in the Index) is a
live hyperlink; click on it to go immediately to that reference.

If the bookmarks are not visible, click the “Bookmarks” tab on the left
side of the Acrobat Reader window.
This manual has a table of contents and index. To search for a specific word or
phrase, you can also use the Adobe Acrobat Reader’s text search function.

The OPTIMOD 8685 Digital Audio Processor

Orban’s all-digital Optimod-Surround 8685 Audio Processor can help you achieve the
highest possible quality digital audio broadcast, digital television, and netcast audio
processing using up to 7.1 audio channels. Thanks to versatile compression ratio con-
trols and a mastering-quality look-ahead peak limiter, the 8685 is also ideal for mas-
tering chores.

The 8685 is Orban’s second-generation surround/2.0 processor. In addition to the ef-

fective automatic loudness control and automatic mix correction of its predecessor
(the 8585), the 8685 offers new input/output capabilities that include support for
SDI and HD-SDI and for Dolby-E. Dual redundant power supplies help ensure maxi-
mum uptime. In addition to surround processing, the 8685 can simultaneously pro-
vide up to four channels of 2.0 processing, allowing it to provide all the audio proc-
essing necessary for a typical ATSC broadcast with multiple subchannels. Like the
8585, the 8685 is dialnorm-aware. Loudness control is excellent when measured by
the ITU BS.1770 standard (as specified in ATSC A/85:2009) or by the 8685’s built-in
CBS Loudness Meters. When properly installed and set up, the 8685 will automati-
cally make a station compliant with the CALM Act.

OPTIMOD 8685 is descended from the industry-standard OPTIMOD audio processors

for radio and television. Thousands of these broadcast-specific processors are at-
tracting and holding audiences all over the world. They have proven that the
1-4 INTRODUCTION ORBAN MODEL 8685

“OPTIMOD sound” can attract and keep an audience even in the most competitive
commercial environment.

Take a little time now to familiarize yourself with OPTIMOD 8685. A small invest-
ment of your time now will yield large dividends in audio quality.

The rest of Chapter 1 explains how OPTIMOD 8685 fits into the DAB and DTV broad-
cast facilities and how to use it for netcasting. Chapter 2 explains how to install it.
Chapter 3 explains how to operate OPTIMOD 8685. Chapters 4 through 6 provide
reference information.

OPTIMOD 8685 was designed to deliver a high quality sound while simultaneously
increasing the average modulation of the channel substantially beyond that achiev-
able by “recording studio”-style compressors and limiters. Because such processing
can exaggerate flaws in the source material, it is very important that the source
audio be as clean as possible.

For best results, feed OPTIMOD 8685 unprocessed audio. No other audio proc-
essing is necessary or desirable.

Absolute Control of Loudness and Peak Modulation

• The 8685 includes third-generation CBS Loudness Controllers™ for DTV appli-
cations. Separate loudness controllers are available in the multichannel and 2.0
processing chains and work with the both Two-Band and Five-Band structures.
The third-generation improvements reduce annoyance more than simple loud-
ness control alone, doing so without audible gain pumping. Attack time is fast
enough to prevent audible loudness overshoots, so the control is smooth and
unobtrusive. Loudness control is excellent when measured by the 8685’s built-in
ITU BS.1770 and second-generation (Jones & Torick) CBS Loudness Meters, allow-
ing stations to comply automatically with the requirements of the CALM act.
(See Using the ITU BS.1770 and CBS Loudness Meters to Measure Loudness Con-
troller Performance starting on page 3-81.)

• Starting with V1.2 software, the 8685 implements “true peak” control by
oversampling the peak limiter’s sidechain at 192 kHz. This allows the 8685 to
prevent clipping in a playback device’s analog signal path by predicting
and controlling the analog peak level following the playback device’s recon-
struction filter to an accuracy of better than 0.5 dB. For typical program mate-
rial, accuracy is 0.2 dB

Without true peak control, analog clipping can occur even if all peak values of
the digital samples are below 0 dBFS. This phenomenon has also been termed
“0 dBFS+.”

Thanks to true peak control, sample rate conversion, unless it removes high
frequency program energy or introduces group delay distortion, cannot cause
sample peaks to increase more than 0.5 dB. For example, sample rate con-
OPTIMOD LOUDNESS CONTROLLER INTRODUCTION 1-5
version from 48 kHz to 44.1 kHz is highly unlikely to cause sample peak clipping
in the 44.1 kHz audio data.

• While primarily oriented toward “flat” media, the 8685’s four 2.0 channel
processors can also provide pre-emphasis limiting for the two standard pre-
emphasis curves of 50μs and 75μs. This allows it to protect pre-emphasized ana-
log microwave links, satellite uplinks and similar channels where protection lim-
iting or light processing is required. It also allows using a 2.0 processor to process
for analog television transmissions, which use either 50μs and 75μs pre-
emphasis depending on country.

Note that the 8685’s 2.0 channel processing cannot provide simultaneous,
independent audio processing for flat and pre-emphasized channels.
Even though one output may be pre-emphasized while other is flat, the
only difference between the outputs is that the “flat” output has de-
emphasis applied to it after the processing while the pre-emphasized
output does not.

Flexible Configuration
• Five processors in one: A gain-coupled multichannel processor for up to 7.1
channels, plus four additional, independent 2.0 channel processors (each of
whose performance is equivalent to an OPTIMOD 6300) that can be used for
many tasks such as processing the audio for a second language or for processing
up to four ATSC subchannels. Because its output can be mixed into the LF and RF
outputs of the multichannel processing, the first 2.0 channel processor can also
be used to process an independent feed (like the output of a sports truck,
news truck, or newsroom) before it is mixed with the station’s main multichan-
nel audio path.

• The multichannel and 2.0 processors can operate with separate audio proc-
essing parameters like release times. For example, the 2.0 processors could be
set up for relatively heavy processing to make a newsroom feed more consistent,
while the main processing was set up more conservatively to correct network
material and commercials unobtrusively.

• The input/output module includes 3G HD-SDI I/O, three AES3id inputs, and
three AES3id outputs, which can be used as a loop-through to provide I/O for
up to three channels of 2.0 processing. The SDI I/O option provides up to 11
frames of video delay to match the delay of the 8685’s loudness processing
(typically 20 ms), Orban’s Optimix® 2.0->surround upmixer, and optional
Dolby-E encode and decode. A relay provides hard-wire safety bypass from
the SDI input to the SDI output in case of hardware failure. (See HD-SDI In-
put/Output on page 6-3 for details.)

• OPTIMOD 8685’s inputs and outputs are highly configurable via remote-
controllable internal routing switchers. Additionally, the outputs of the
multichannel and 2.0 processing chains can be independently configured to emit
1-6 INTRODUCTION ORBAN MODEL 8685

the output of the AGC or the output of the multiband compressor/limiter,

all configurable to use or bypass look-ahead limiting.

• Via the internal output routing switcher, a given output signal can be applied to
more than one hardware output. This allows using the 8685 as an AES splitter.

• A stereo analog monitor output appears on XLR connectors on the rear panel.
It can be configured to emit any 8685 output signal, including a downmix of the
multichannel audio. The analog outputs are transformerless, balanced, and
floating (with 50Ω impedance) to ensure highest transparency and accurate
pulse response. They can be used to drive a transmitter, although their normal
function is monitoring.

• A stereo headphone jack is available on the front panel. It can be configured

to emit any 8685 output signal and is independent of the stereo analog monitor
output.

• Two RS485 serial ports allow the 8685 to accept and emit Dolby Digital
metadata. Metadata can also be de-embedded and re-embedded in the HD-SDI
VANC area and, if the Dolby-E modules are installed, de-embedded from and
re-embedded into Dolby-E data that is conveyed either through from the HD-SDI
connection or the AES3id connections.

• The 8685’s 2.0 processing offers a dual-mono mode that allows two entirely
separate mono programs to be processed, facilitating multiple-language opera-
tion.

In this mode, both processing channels operate using the same process-
ing parameters (like release time); you cannot adjust the two channels to
provide different processing textures.

• An audio sync input is configurable to accept AES11id or wordclock sync.

You can synchronize the output sample rate of all AES3id outputs to this input.
You can also synchronize the outputs to the AES3 digital input #1 or to
the 8685’s internal clock. The sync source of each AES3 output is independ-
ently selectable.

• A BNC connector can accept video sync per SMPTE 274M and SMPTE 296M,
which can be used as a reference for the output audio sample rate and to
correctly align Dolby-E frames with video per Dolby's requirements. The signal
applied to the SDI input can also be used as a sync reference.

• Dual power supplies with independent AC line inputs provide redundant op-
eration.

• All input, output, and power connections are rigorously RFI-suppressed to

Orban’s traditional exacting standards, ensuring trouble-free installation.
OPTIMOD LOUDNESS CONTROLLER INTRODUCTION 1-7
• The 8685 is designed and certified to meet all applicable international
safety and emissions standards.

Adaptability through Multiple Audio Processing Structures

• A processing structure is a program that operates as a complete audio proc-
essing system. Only one processing structure can be on-air at a time. OPTIMOD
8685 realizes its processing structures as a series of high-speed mathematical
computations made by Digital Signal Processing (DSP) chips.

• The 8685 features two processing structures: Five-Band for a spectrally con-
sistent sound and Two-Band for a more transparent sound that preserves the
frequency balance of the original program material.

• A special Two-Band preset creates a no-compromise “Protect” function that is

functionally similar to the “Protect” structures in earlier Orban digital proces-
sors.

• The Five-Band and the Two-Band structures can be switched via a mute-free
crossfade.

• Audio processing can be smoothly activated and defeated on-air, allowing

programs that can benefit from full dynamic range to pass through the 8685
without dynamics compression. This pass-through can be activated and defeated
via clock-based automation, from the 8685’s front panel, from 8685’s PC Remote
software, from 8685’s programmable GPI inputs, or from 8685’s Ethernet or
RS232 serial API.

• The 8685’s AGC rides gain over an adjustable range of up to 25dB, compressing
dynamic range and compensating for both operator gain-riding errors and gain
inconsistencies in automated systems. The AGC output is available to drive STLs,
so the 8685 can be used as a studio AGC.

• The 8685’s processing structures are all phase-linear to maximize audible trans-
parency.

• Optimix™ stereo Æ 5.0 surround upmixer provides uncolored automatic

upmixing, plus phase correction that ensures that the center channel is al-
ways crisp and intelligible. 5.1-compatible.

• The 8685’s equalizers and crossovers use 48-bit arithmetic to ensure mastering-
quality noise and distortion performance.

• The 8685 includes third-generation CBS Loudness Controllers™ for DTV appli-
cations. Separate loudness controllers are available in the multichannel
and 2.0 processing chains and work with the both Two-Band and Five-Band
structures. The third-generation improvements reduce annoyance more than
1-8 INTRODUCTION ORBAN MODEL 8685

simple loudness control alone, doing so without audible gain pumping. At-
tack time is fast enough to prevent audible loudness overshoots, so the control is
smooth and unobtrusive. Material processed by the CBS Loudness Controller has
been shown to be well controlled when measured with a long-term loudness
meter using the BS.1770 standard. (See Using the ITU BS.1770 and CBS Loudness
Meters to Measure Loudness Controller Performance starting on page 3-81.)

• Orban’s PreCode™ technology manipulates several aspects of the audio to

minimize artifacts caused by low bitrate codecs, ensuring consistent loudness
and texture from one source to the next. It is particularly useful when processing
for netcasts or mastering for any low bit rate channel.

PreCode includes special audio band detection algorithms that are energy and
spectrum aware. This can improve codec performance on some codecs by reduc-
ing audio processing induced codec artifacts, even with program material that
has been preprocessed or mastered by other processing than Optimod. There are
several factory presets tuned specifically for low bit-rate codecs.

User-Friendly Interface
• A large (quarter-VGA) color liquid crystal display (LCD) makes setup, adjust-
ment and programming of the 8685 easy. Navigation is by a miniature joystick,
two dedicated buttons, and a large rotary knob. The LCD shows all metering
functions of the processing structure in use.

• Use the Locate joystick to navigate through a menu that lets you recall a pre-
set, modify processing (at three levels of expertise), or to access the system’s
setup controls.

Controllable
• The 8685 can be remote-controlled by 5-12V pulses applied to eight pro-
grammable, optically isolated “general-purpose interface” (GPI) ports.

• 8685 PC Remote software is a smooth, responsive graphical application that

runs under Windows XP and Vista. It communicates with a given 8685 via TCP/IP
over modem, direct serial, and Ethernet connections. You can configure PC
Remote to switch between many 8685s via a convenient organizer that supports
giving any 8685 an alias and supports grouping multiple 8685s into folders.
Clicking an 8685’s icon causes PC Remote to connect to that 8685 through an
Ethernet network or initiates a Windows Dial-Up or Direct Cable Connection if
appropriate. The PC Remote software allows the user to access all 8685 features
and allows the user to archive and restore presets, automation lists, and system
setups (containing I/O levels, digital word lengths, GPI functional assignments,
etc.).
OPTIMOD LOUDNESS CONTROLLER INTRODUCTION 1-9
• An API provides remote administration over TCP/IP via the RS232 serial or
Ethernet ports. The 8685 hosts a TCP/IP terminal server to allow external con-
trol of the 8685 from either a Telnet/SSH client or a custom third party applica-
tion. All commands are simple text strings. You can recall presets, operate the
input and output routing switchers and more. Password security is provided.

• The 8685 contains a versatile real-time clock, which allows automation of vari-
ous events (including recalling presets) at pre-programmed times. To ensure ac-
curacy, the clock can be synchronized to an Internet timeserver.

• Silence alarm and digital audio fault tally outputs are available.

• A Bypass Test Mode can be invoked locally, by remote control (from either the
8685’s GPI port or the 8685 PC Remote application), or by automation to permit
broadcast system test and alignment or “proof of performance” tests.

• The 8685 contains a built-in line-up tone generator, facilitating quick and ac-
curate level setting in any system.

• The 8685’s software can be upgraded by running Orban-supplied download-

able upgrade software on a PC. The upgrade can occur remotely through the
8685’s Ethernet port or serial port (connected to an external modem), or locally
(by connecting a Windows® computer to the 8685’s serial port through the sup-
plied null modem cable).

Presets in OPTIMOD 8685

There are two distinct kinds of presets in OPTIMOD 8685: processing presets,
which contain the settings of the 8685’s audio processing controls (like compression
thresholds), and setups, which contain technical setup settings (like input reference
settings). You can control channel routing from either processing presets or setups
(see step 3 on page 2-22). You can modify presets and setups and save them as “user
presets” and “user setups.” You can recall these by several means, including the
8685’s GPI inputs, serial and Ethernet API, PC Remote, clock-based automation, and
front panel.

To recall a preset from the front panel, start from the main screen that shows me-
ters. If the screen is not displaying meters, press the ESCAPE button until you see the
meters. Then press the ESCAPE button and LOCATE to RECALL/IMPORT. Press the ENTER
button to see the preset list. LOCATE to the desired preset and hit ENTER to activate
it.

Factory Processing Presets

The Factory Presets are our “factory recommended settings” for various program
formats or types. There are multiple Factory Presets for both radio-oriented and
1-10 INTRODUCTION ORBAN MODEL 8685

video oriented programming. Each Factory Preset on the Preset list is really a library
of more than 20 separate presets, selected by navigating to MODIFY PROCESSING >
LESS-MORE and using the LESS-MORE control to adjust OPTIMOD 8685 for less or
more processing. The factory presets are listed and described starting on page 3-25.
The description indicates the processing structure and the type of processing.

If you rely on the 8685 to control the loudness of commercials, be aware

that turning down LESS-MORE in a given factory preset may reduce loud-
ness below the level desired on quieter program material, which may
then cause a commercial to sound too loud compared to its surrounding
program material. For maximum consistency, be sure that the LOUDNESS
G/R meter is indicating some gain reduction on normal dialog.
Factory Presets are stored in OPTIMOD 8685’s non-volatile memory and cannot be
erased. You can change the settings of a Factory Preset, but you must then store
those settings as a User Preset, which you are free to name as you wish. The Factory
Preset remains unchanged.

The surround and 2.0 processors do not have to use the same Factory Preset. To use
different presets, start by recalling your preferred Factory Preset for the surround
processing. Then “import” a different factory preset for the 2.0 processors and save
the result as a User Preset. This procedure is described in more detail below.

User Processing Presets

User Presets permit you to change a Factory Preset to suit your requirements and
then store those changes.

You can store more than 40 User Presets, limited only by available memory in your
8685 (which will vary depending on the version of your 8685’s software). You can
give your preset a name up to 18 characters long.

User Presets cannot be created from scratch. You must always start by recalling a
Factory Preset. Make the changes and then store your modified preset as a User Pre-
set. You can also recall a previously created user preset, modify it, and save it again,
either overwriting the old version or saving under a new name. In all cases, the
original Factory Preset remains for you to return to if you wish.

User Presets inherit the structure of their parent Factory Presets (Five-Band or Two-
Band). The only way you can choose the structure of a factory preset is to edit it
from a Factory preset having that structure (or to edit it from an older User Preset
having the desired structure). You cannot change an existing User Preset’s structure.

Presets contain parameters for both the surround and 2.0 processors. A preset,
whether Factory or User, can be edited in several ways to create a new User Preset.
You can adjust any individual parameter in the surround and 2.0 sections of the pre-
set. You can also bulk-import all of the 2.0 parameters contained in any User Preset
or Factory Preset.
OPTIMOD LOUDNESS CONTROLLER INTRODUCTION 1-11
User Presets are stored in non-volatile memory that does not require battery
backup. To Create or Save a Preset on page 3-22 has more about User Presets. In-
structions for importing and editing a 2.0 preset are on page 3-27.

Input/Output Configuration
In its base configuration, OPTIMOD 8685 simultaneously accommodates:

• Digital AES3id inputs (5) and outputs (6).

• Two analog monitor outputs.

• A headphone output.

The 2.0 processors in OPTIMOD 8685 can be operated in either stereo or dual-mono
mode via the 2.0 PROC MODE control. In dual-mono mode, the channels operate in-
dependently (and have separate Loudness Controllers and Loudness Level Meters),
but the processing parameters that determine the “sound” of the processor are the
same on both channels.

Dual-mono or stereo mode is a global system parameter. You can change modes
manually, via the 8685’s GPI inputs, via 8685 PC Remote software, or via the 8685’s
built-in time-of-day automation. Further, the 8685 can be programmed to recognize
the “stereo” and “dual-mono” flags in the AES input bitstream and to switch modes
accordingly. It will also set these flags appropriately in its output AES bitstream.

Digital AES3id Inputs/Outputs

The digital input and outputs conform to the professional AES3id standard, which
calls for 75Ω coaxial cable terminated with BNC connectors.

The 8685’s AES3id connections are all internally terminated with trans-
formers that expect to see 75Ω. To interface AES3id to AES3 (110Ω bal-
anced) connections, we recommend using 75Ω/110Ω matching trans-
formers when cable runs are long. For short runs (10 feet or less), trans-
formers are usually unnecessary.
There are three inputs and three outputs. All inputs and outputs have sample rate
converters that allow operation at 32, 44.1, 48, 88.2, and 96 kHz sample frequency.

To ensure best control of peak modulation, operate the output at 48 kHz

or higher.
Level control of the AES3id inputs are accomplished via software control through
System Setup (see step 7 on page 2-28) or through PC Remote. Level control is one
of the many parameters contained in a Setup.

The output sample rate of each AES3id output can be locked independently to the
8685’s internal crystal clock, the sample rate present at its AES3id input, the sample
rate present at the 8685’s AES11id sync input, or 1x word clock.
1-12 INTRODUCTION ORBAN MODEL 8685

The 8685 can apply J.17 de-emphasis to signals applied to the digital inputs assigned
to the 2.0 processors. J.17 is a 6 dB/octave shelving pre-emphasis/de-emphasis stan-
dard with break points at 400 Hz and 4 kHz. It is used mainly in older stu-
dio/transmitter links that use NICAM technology.

Analog Outputs
The two analog outputs appear on XLR-type male connectors on the rear panel.
These are intended primarily for monitoring and test. However, their frequency re-
sponse is wide enough to limit overshoot to 1% or less, allowing these outputs to be
used feed processed audio to a transmitter or STL.

These outputs can emit many different signals as determined by the 8685’s output
routing switcher. Output impedance is 50Ω; balanced and floating. The outputs can
drive 600Ω or higher impedances, balanced or unbalanced. The peak output level is
adjustable from –6dBu to +24dBu.

Level control of the analog outputs is accomplished via software control through
System Setup (see step 4 on page 2-23 and step 9 on page 2-31) or through PC Re-
mote.

Remote Control Interface

The Remote Control Interface is a set of eight optically isolated GPI inputs on a DB-
25 connector, which can be activated by 5-12V DC. They can control various func-
tions of the 8685:

• Recall any processing Preset, Setup, Test Mode state (Bypass or Tone), or exit
from a Test Mode to the previous processing preset.

• Reset the 8685’s internal clock to the nearest hour or to midnight.

You can reconfigure the functions of the GPI inputs via System Setup. For
example, if you are not switching between stereo and mono, the inputs
ordinarily dedicated to controlling the stereo/mono status can instead be
re-configured to call additional presets.
See Remote Control Interface Programming on page 2-61 for information on pro-
gramming the GPI and step 5 on page 2-3 for wiring information.

Computer Interface
On the rear panel of the 8685 are an RS-232 serial port and an Ethernet port for in-
terfacing to IBM-compatible PCs either locally or through a TCP/IP network. The
Ethernet port supports remote control and metering, and allows downloading soft-
ware upgrades. The RS-232 port supports ASCII commands through a terminal con-
nection.
OPTIMOD LOUDNESS CONTROLLER INTRODUCTION 1-13
Each 8685 package ships with 8685 PC Remote software, an application for any PC
running Microsoft Windows XP (SP2 or higher) or Vista. 8685 PC Remote permits you
to adjust any 8685 preset by remote control or to do virtually anything else that you
can do from the 8685’s front panel controls. The program displays all of the 8685’s
meters on the computer screen to aid remote adjustment. Because of the large
numbers of meters and controls in the 8685, we expect that most users will prefer to
operate it via PC Remote.

RS-485 Serial Ports

There are two RS-485 serial ports on the rear panel (serial ports #2 and #3). These
can operate up 115 kbps. These can accept and emit Dolby® AC3 metadata.

RS-232 Serial Port

8685 PC Remote can communicate at up to 115 kbps direct connection between the
computer and the 8685 through their RS-232 serial ports.

RJ45 Ethernet Connector

The 8685 can be connected to any Ethernet network that supports the TCP/IP proto-
col.

See page 2-50 for instructions on how to control the 8685 via the RS-232 and
Ethernet ports via a terminal emulator and page 2-68 for instructions on how to
connect to the 8685 via its PC Remote application for Windows.

HD-SDI Input/Output
The HD-SDI I/O module supports SD-SDI (per SMPTE 259M); 1.5 Gbit/s HD-SDI (per
SMPTE 292M; up to 720p and 1080i) and 3.0 Gbit/s single-wire HD-SDI (per SMPTE
424M; 1080p).

The SDI I/O can de-embed up to 16 channels of audio 1, send them to the 8685’s DSP
for audio processing, and then re-embed them with video that has been delayed to
maintain AV-sync. There are three variants (see HD-SDI Input/Output on page 6-3 for
details).

The HD-SDI module can accommodate Dolby-E® decoding and encoding via op-
tional plug-in modules.

A relay provides hard-wire safety bypass from the SDI input to the SDI output in case
of hardware failure.

If available, we recommend using the HD-SDI input as the sync source, as selected by
the SYNC SOURCE control.

1Early production units require an FPGA firmware upgrade to support channels 9-

16. Contact Orban technical support.
1-14 INTRODUCTION ORBAN MODEL 8685

Routing Audio to and from the 8685

Audio links are used in different ways. Performance requirements differ depending
on the application:

• A link that passes unprocessed audio to drive the OPTIMOD 8685 should have
very low noise and low non-linear distortion, but its transient response is not
important.

• A link that passes OPTIMOD 8685’s peak-controlled output does not need as low
a noise floor as a link passing unprocessed audio. However, if the application
calls for high average modulation, the link’s transient response is critical.

• A link that passes OPTIMOD 8685’s peak-controlled output after it has been
coded by the transmission codec requires bit-accurate transmission of the trans-
mission codec’s output. In DTV applications, the 8685 will typically drive a Dolby
Digital encoder at the studio. The link will pass the Dolby Digital encoder’s out-
put to the transmitter, either directly or multiplexed onto a transport stream.
Using Lossy Data Reduction before the 8685’s Input
Many broadcasters are now using lossy data reduction algorithms like MPEG-1 Layer
2, Layer 3, or AAC to increase the storage time of digital playback media and to
transmit audio. Sometimes, several encode/decode cycles will be cascaded before the
material is finally delivered to OPTIMOD 8685’s input.

All such algorithms operate by increasing the quantization noise in discrete fre-
quency bands. If not psychoacoustically masked by the program material, this noise
may be perceived as distortion, “gurgling,” swishing, or other interference. Psycho-
acoustic calculations are used to ensure that the added noise is masked by the de-
sired program material and not heard. Cascading several stages of such processing
can raise the added quantization noise above the threshold of masking, making it
audible.

In addition, at least one other mechanism can cause the noise to become audible at
the radio. OPTIMOD 8685’s multiband limiter performs an “automatic re-
equalization” function that can significantly change the frequency balance of the
program (sometimes by more than 10 dB). This can cause noise that would otherwise
have been masked to become unmasked because the psychoacoustic masking condi-
tions under which the masking thresholds were originally computed have changed.
Accordingly, if you use lossy data reduction before the 8685, you should use the
highest data rate possible. This maximizes the headroom between the added noise
and the threshold where it will be heard. In addition, you should minimize the
number of encode and decode cycles because each cycle moves the added noise
closer to the threshold where the added noise is heard.

For MPEG Layer 2 encoding, we recommend 384kb/second or higher.

Links from the 8685’s Output to a Transmission Encoder or Transmitter
When used as a transmission processor, the 8685’s output should be connected to
the encoder or transmitter (like Dolby’s DP569 Dolby Digital encoder) so that the
OPTIMOD LOUDNESS CONTROLLER INTRODUCTION 1-15
link introduces no change in OPTIMOD 8685’s output bitstream. A simple AES3id or
SDI connection is ideal. Alternatively, an uncompressed digital link will pass the
8685’s output with little or no degradation if the link does not truncate word length
(from 20 to 16 bits, for example) and does not require downward sample rate con-
version.

The 8685’s look-ahead limiters tightly control peak levels at the 8685’s outputs. Lossy
compression following the 8685’s output can decrease system performance because
the compression adds peak level overshoots. Such links must therefore be carefully
qualified before you use them to carry the peak-controlled output of OPTIMOD
8685 to the transmitter. For example, the MPEG Layer 2 algorithm can increase peak
levels up to 4dB at 160kb/sec by adding large amounts of quantization noise to the
signal. While the desired program material may psychoacoustically mask this noise, it
is nevertheless large enough to affect peak levels severely. For any lossy compression
system, overshoot decreases as bit rate increases, so use the highest bit rate practical
in your system. In addition, there will be an unavoidable amount of overshoot
caused by asynchronous re-sampling (see page 1-15).

When using lossy digital compression, it is particularly important to minimize the

amount of peak limiting in the 8685. Heavy peak limiting may introduce audible ar-
tifacts as a side effect of precisely controlling peak levels. It is pointless to introduce
such artifacts if the lossy compression compromises the benefits of the limiting by
adding overshoots. Instead, allow a generous amount of headroom when setting
the drive level into the STL. Most lossy digital STLs have a noise floor that is low
enough to make this practical. Using a reference level (Dialnorm setting) recom-
mended in ATSC A/85 (–24 LKFS) or EBU R 128 (–23 LUFS) ensures that little, if any,
peak limiting will occur.

The Dolby Digital transmission encoder is lossy and introduces overshoot. Hence, it is
usually unwise to use substantial amounts of peak limiting when the 8685 is used as
a final transmission processor to drive a Dolby Digital encoder. If a reasonable value
of Dialnorm is used (–23 dB or lower), little or no peak limiting should be required in
the 8685 because the Dolby Digital signal path will have a generous amount of
headroom.

Peak control in OPTIMOD 8685 is 4x oversampled, occurring at 192 kHz sample fre-
quency. This is sufficient to prevent any samples from exceeding the threshold of
limiting. However, after reconstruction, the analog output may overshoot the nomi-
nal 100% level because these overshoots “fall between the samples,” so the process-
ing cannot be aware of them. (This is sometimes known as the “0 dBFS+” phenome-
non and is discussed in the ITU-R BS.1770-2 standard in the context of oversampled
peak metering.) If you pass the 8685’s output through a digital>analog>digital con-
version, the new samples will not be synchronous with the samples inside OPTIMOD
8685. Therefore, they may well fall on the overshoots, causing loss of peak modula-
tion control. Because the peak limiter is oversampled at 192 kHz, this introduces less
than 0.5 dB of overshoot worst-case (usually much less), so allowing 0.5 dB of head-
room in the transmission chain should be adequate to prevent audible problems.

The 8685’s outputs are equipped with sample rate converters that can output at 32
kHz, 44.1 kHz, 48, 88.2, or 96 kHz. Setting the output sample rate below 48 kHz can
cause overshoot due to spectral truncation. Spectral truncation can cause overshoots
1-16 INTRODUCTION ORBAN MODEL 8685

substantially larger than 1 dB. To prevent this, set the 8685’s bandwidth control (in
the active Setup) to so it is lower than the bandwidth of the downstream link. For
example, a 32 kHz sample rate link requires setting the 8685’s bandwidth to 15 kHz
or lower.

Sample Frequency Synchronization

Virtually all digital broadcasting systems require audio to be synchronized to a mas-
ter clock. The 8685 can synchronize the audio sample rate appearing at its AES3id
outputs and SDI output to one of several sources. Although the these outputs can
emit different sample rates, they must all be synchronized to the same source.

If a given output is set to a different sample rate than the sync source, the output
sample rate will equal the sync source’s sample rate multiplied by the ratio of two
integers. For example, if the sync source is 48 kHz and the output sample rate is 32
kHz, the output sample rate will be exactly 2/3 of the sync sample rate.

The 8685 provides a BNC connector that accepts “house sync” in AES11id (75Ω un-
balanced) or 1 x word clock (squarewave at the sample frequency) format. The 8685
automatically detects which of these signals is present, if any. A setup menu selec-
tion determine whether the 8685’s outputs are synchronized to the 8685’s sync in-
put, its internal clock, the signal applied to its AES3 audio input, video sync, or a sig-
nal applied to the SDI input (see below).

Because the 8685’s digital input receivers have sample rate converters, these inputs
can accept any sample frequency from 32 to 96 kHz. These inputs do not need to be
synchronized to house sync.

A BNC connector can accept video sync per SMPTE 274M and SMPTE 296M. This can
be used as a reference for the sample rate at the AES3id outputs and to correctly
align Dolby-E frames with video per Dolby's requirements (SMPTE RDD 6-2008 and
Dolby Labs published specifications) in cases where HD-SDI is not in use.

When an HD-SDI or SDI signal is present at the SDI input, this signal supplies Dolby-E
frame sync and a reference for the sample rate appearing at the 8685’s AES3id out-
puts. These outputs can also be synchronized to the AES11/wordclock input, the sig-
nal appearing on AES3id input 1/2, or the 8685’s internal timebase.

The AES3id inputs and SDI input audio channels 1-8 are equipped with sample rate
converters, so they can receive signals that are not locked to house sync. SDI audio
input channels 9-16 do not have sample rate converters, so audio inputs on channels
9-16 must be synchronous to the sync reference that the 8685 is configured to use,
and they must use a 48 kHz sample rate.

Using the 8685 to Control Studio Output Levels

The 8685 can be used to process a live production like a sports remote or news stu-
dio for consistency. In this case, the 8685 is usually not the final peak control device
in the audio chain before the station’s on-air encoder or transmitter. In these appli-
cations, it is wise to minimize the amount of peak limiting by turning down the
FINAL LIMIT DRIVE control in the 8685’s active preset until the 8685’s limiting meters
show little or no gain reduction.
OPTIMOD LOUDNESS CONTROLLER INTRODUCTION 1-17
If the 8685 is outside the studio, it is common for the audio to be linked to the stu-
dio via a lossy digital STL. See the comments about minimizing peak limiting in the
section Using Lossy Data Reduction before the 8685’s Input on page 1-14 .

AV-Sync Delay
The 8685’s audio processing provides an adjustable audio time delay of up to 60 mil-
liseconds. This allows the installer to force the total delay through the processing to
be exactly one or two frames. (Two frames are required for 59.94/60 fps progres-
sively scanned video.) The definition of “frame” depends on the system in which
OPTIMOD 8685 is installed.

The selections are MINIMUM (approximately 24 ms delay), 30 fps (NTSC

monochrome video), 29.97 fps (NTSC color video), 25 fps (most PAL
video), and 24 fps (film). You can also adjust the delay in one-millisecond
increments from 25 to 60 ms.
The 8685 can provide up to 11 frames of video delay through its HD-SDI in-
put/output. This is more than enough to maintain AV-sync to match the delays of
the built-in automatic loudness controller, the built-in Optimix upmixer, the optional
Dolby-E decoder and the optional Dolby-E encoder.

Using OPTIMOD 8685 as a Studio Level Controller

See page 6-94 for a block diagram of the 8685’s signal processing and routing.

One or more of the 8685’s processors can be used as a studio AGC, digital ra-
dio/netcast processor, or low-delay talent headphone processor. The surround and
2.0 outputs can be configured independently to emit one of the following signals:

• Stereo enhancement, equalization, and AGC without look-ahead peak limiting

• Stereo enhancement, equalization, and AGC with peak limiting

• Stereo enhancement, equalization, and multiband processing (two-band or 5-

band, including AGC) without peak limiting

• Stereo enhancement, equalization, and multiband processing (two-band or 5-

band, including AGC) with peak limiting

About Transmission Levels and Metering

Meters
Studio engineers and transmission engineers consider audio levels and their meas-
urements differently, so they typically use different methods of metering to monitor
these levels. The VU meter is an average-responding meter (measuring the approxi-
mate RMS level) with a 300ms rise time and decay time; the VU indication usually
under-indicates the true peak level by 8 to 14dB. The Peak Program Meter (PPM) in-
1-18 INTRODUCTION ORBAN MODEL 8685

dicates a level between RMS and the actual peak. The PPM has an attack time of 5
or 10ms, slow enough to cause the meter to ignore narrow peaks and under-
indicate the true peak level by 5 dB or more. The absolute peak-sensing meter or
LED indicator shows the true peak level. It has an instantaneous attack time, and a
release time slow enough to allow the engineer to read the peak level easily. Figure
1-2 shows the relative difference between the absolute peak level, and the indica-
tions of a VU meter and a PPM for a few seconds of music program.

Studio Line-up Levels and Headroom

The studio engineer is primarily concerned with calibrating the equipment to pro-
vide the required input level for proper operation of each device, and so that all de-
vices operate with the same input and output levels. This facilitates patching devices
in and out without recalibration.

For line-up, the studio engineer uses a calibration tone at a studio standard level,
commonly called line-up level, reference level, or operating level. Metering at the
studio is by a VU meter or PPM (Peak Program Meter). As discussed above, the VU or
PPM indication under-indicates the true peak level. Most modern studio audio de-
vices have an analog clipping level of no less than +21dBu, and often +24dBu or
more. So the studio standardizes on a maximum program indication on the meter
that is lower than the clipping level, so those peaks that the meter does not indicate
will not be clipped. Line-up level is usually at this same maximum meter indication.
In facilities that use VU meters, this level is usually at 0VU, which corresponds to the
studio standard level, typically +4 or +8dBu. If the link is PCM digital, there are two
common standards for line-up level: –18 dBFS (EBU) and –20 dBFS (SMPTE).

Facilities complying with the ATSC A/85 or EBU R 128 loudness standards will align
their facilities by using an ITU-R BS.1770-2 compliant loudness meter, using the rec-
ommendations in these standards. For digital audio, BS.1770 also recommends using
a true peak level meter that oversamples the audio by at least 4x before it is applied
to the meter.

ABSOLUTE PEAK

PPM

VU

Figure 1-2: Absolute Peak Level, VU and PPM Reading

OPTIMOD LOUDNESS CONTROLLER INTRODUCTION 1-19
For facilities using +4dBu standard level, instantaneous peaks can reach +18dBu or
higher (particularly if the operator overdrives the console or desk). Older facilities
with +8dBu standard level and equipment that clips at +18 or +21dBu will experi-
ence noticeable clipping on some program material.

In facilities that use the BBC-standard PPM, maximum program level is usually PPM4
for music, PPM6 for speech. Line-up level is usually PPM4, which corresponds to
+4dBu. Instantaneous peaks will reach +17dBu or more on voice.

In facilities that use PPMs that indicate level directly in dBu, maximum program and
line-up level is often +6dBu. Instantaneous peaks will reach +11dBu or more.

Transmission Levels
The transmission engineer is primarily concerned with the peak level of a program
to prevent overloading or over-modulation of the transmission system. This peak
overload level is defined differently, system to system.

In FM modulation (FM/VHF radio and television broadcast, microwave or analog sat-

ellite links), it is the maximum-permitted RF carrier frequency deviation. In AM
modulation, it is negative carrier pinch-off. In analog telephone/post/PTT transmis-
sion, it is the level above which serious crosstalk into other channels occurs, or the
level at which the amplifiers in the channel overload. In digital channels, it is the
largest possible digital word.

For metering, the transmission engineer uses an oscilloscope, absolute peak-sensing

meter, calibrated peak-sensing LED indicator, or a modulation meter. A modulation
meter usually has two components—a semi-peak reading meter (like a PPM), and a
peak-indicating light, which is calibrated to turn on whenever the instantaneous
peak modulation exceeds the overmodulation threshold.

Line-Up Facilities

Metering of Levels and Subjective Loudness

The meters on the 8685 show peak input levels, the peak output modulation, and
subjective loudness.

• Input levels are displayed using a VU-type scale (0 to –40dB), but the metering
indicates absolute instantaneous peak (much faster than a standard PPM or VU
meter). The maximum digital word at the input corresponds to the 0 dB point on
the 8685’s input meter.

• The output meter indicates the values of the digital samples at the output of the
8685’s audio processing, not at its digital outputs. 0 dB on the output meter cor-
responds to the setting of the digital output level control in the active Setup
(SURROUND OUT 100% for the surround processing and 2.0 OUT 100% for the 2.0
1-20 INTRODUCTION ORBAN MODEL 8685

processors). For example, if this control is set to –3 dBFS and the meter indicates
0 dB, the peak level at the 8685’s digital output is –3 dBFS.

• 0 dB on the meter also corresponds to the threshold of limiting of the 8685’s

look-ahead peak limiters, which prevent the processed audio’s level from in-
creasing beyond 0 dB.
Your Optimod’s peak limiters are oversampled to 192 kHz. If the output’s
sample rate is set to a rate other than 48 kHz and or passed through a
D/A converter, the peak level of the output may increase up to 0.5 dB be-
cause of asynchronous resampling. (See page 1-15).

• The subjective loudness meter, labeled LOUDNESS LEVEL in the 8685’s GUI displays
either loudness measured by the ITU-R BS.1770-2 2 standard or loudness meas-
ured using the CBS Technology Center algorithm developed by Jones and
Torick 3. Both meters are displayed simultaneously in 8685 PC Remote software.

The meter is scaled so that the loudness level at the consumer’s receiver is cor-
rect when the 8685’s processing is adjusted to make the dominant program ma-
terial indicate “0 dB” on the 8685’s Loudness Level meter and the Dialnorm
value (which you must enter manually) in the active 8685 Setup is the same as
the Dialnorm value being transmitted to the consumer’s receiver. Because loud-
ness perception combines the contributions of all acoustic sources, there is only
one Loudness Level meter indication regardless of the number of audio chan-
nels.
The CBS meter is a “short-term” loudness level meter that displays the
details of moment-to-moment loudness with dynamics slightly faster
than a VU meter. It can indicate the loudness of short-term sounds (like
pistol shots) that may be annoying to TV viewers but that the BS.1770-2
meter, because of its longer integration time, may not take fully into ac-
count. Created using Orban-developed modeling software, the DSP im-
plementation typically matches the original CBS analog meter within 0.5
dB on sinewaves, tone bursts and noise.
The Jones & Torick algorithm improves upon the original loudness meas-
urement algorithm developed by CBS researchers in 1967. Its foundation
is psychoacoustic studies done at CBS Laboratories over a two year period
by Torick and the late Benjamin Bauer, who built on S. S. Stevens’ ‘50s-
era work at Harvard University.
After surveying existing equal-loudness contour curves (like the famous
Fletcher-Munson set) and finding them inapplicable to measuring the
loudness of broadcasts, Bauer and Torick organized listening tests that

2 Recommendation ITU-R BS.1770-2 (03/2011): “Algorithms to measure audio pro-

gramme loudness and true-peak audio level”

3Bronwyn L. Jones and Emil L. Torick, “A New Loudness Indicator for Use in Broad-
casting,” J. SMPTE September 1981, pp. 772-777.
OPTIMOD LOUDNESS CONTROLLER INTRODUCTION 1-21
resulted in a new set of equal-loudness curves based on octave-wide
noise reproduced by calibrated loudspeakers in a semireverberant 16 x 14
x 8 room, which is representative of a room in which broadcasts are nor-
mally heard. They published this work 4 along with results from other
tests whose goal was to model the loudness integration time constants of
human hearing. These studies concentrated on the moderate sound lev-
els typically preferred by people listening to broadcasts (60 to 80 phons 5)
and did not attempt to characterize loudness perception at very low and
high levels.
According to this research and its predecessors, the four most important
factors that correlate to the subjective loudness of broadcasts are these:
1. The power of the sound.
2. The spectral distribution of the power. The ear’s sensitivity depends
strongly on frequency. It is most sensitive to frequencies between 2 and 8
kHz. Sensitivity falls off fastest below 200 Hz.
3. Whether the power is concentrated in a wide or narrow bandwidth.
For a given total sound power, the sound becomes louder as the power is
spread over a larger number of critical bands (about 1/3 octave). This is
called loudness summation.
4. Temporal integration: As its duration increases, a sound at a given
level appears progressively louder until its duration exceeds about 200
milliseconds, at which point no further loudness increase occurs.
Bauer and Torick used the results of this research to create a loudness
level meter with eight octave-wide filters, each of which covers three
critical bands. (B & T did not use one filter per critical band because this
would have made the meter, which was realized using analog circuitry,
prohibitively expensive.) Each filter feeds a full-wave rectifier and each
rectifier feeds a nonlinear lowpass filter that has a 10 ms attack time and
a 200 ms release time, somewhat like the sidechain filter in an AGC. This
models the “instantaneous loudness” perception mechanism in the ear.
Instantaneous loudness is not perceived directly but is an essential part of
the total loudness model.
To map the instantaneous loudness to perceived short-term loudness, the
outputs of each of the nonlinear lowpass filters are arithmetically
summed with gains chosen to follow the 70 phon equal-loudness curves
of the ear as determined by Bauer and Torick’s research. The sum is ap-
plied to a second, slower nonlinear lowpass filter. This has an attack time
of 120 ms and a release time of 730 ms. Along with the eight nonlinear
lowpass filters following the individual filters, this filter models temporal
integration and maps it to the visual display. Meanwhile, the arithmetic
addition models loudness summation.

4Benjamin B. Bauer and Emil L. Torick, “Researches in Loudness Measurement,” IEEE

Transactions on Audio and Electroacoustics, Volume AU-14, Number 3, September
1966, pp. 141-151

5The phon is a unit of perceived loudness, equal in number to the intensity in deci-
bels of a 1 kHz tone judged to be as loud as the sound being measured.
1-22 INTRODUCTION ORBAN MODEL 8685

The internationally accepted unit of subjective loudness is the sone. With

a sinewave, 40 phons = 1 sone. A doubling of sones corresponds to a
doubling of loudness. However, because broadcasters were accustomed
to working in decibel units, Jones and Torick chose to map loudness on a
LED ladder display encompassing –20 to +5 dB in 0.5 dB increments, with
the understanding that the perceived loudness doubles every 10 dB at
loudness levels typically heard by broadcast audiences.
The J & T meter is monophonic. Psychoacoustic studies indicate that
when multiple acoustic sources are present in a room, loudness is most
accurately expressed by summing the power in the sources. For example,
driving two loudspeakers with identical program produces 3 dB higher
loudness than a single speaker produces. Therefore, to extend the J & T
algorithm to surround reproduction, we implement one eight-filter fil-
terbank for each channel and compute RMS sums of the outputs of cor-
responding filters in each channel before these sums are applied to the
eight nonlinear lowpass filters. As in the monophonic J & T algorithm,
the sum of these lowpass filters drives a second nonlinear filter, which
drives the display.

Test Modes
Calibrated Bypass Test Mode
A BYPASS Test Mode is available to transparently pass line-up tones generated ear-
lier in the system. It will also pass program material, with no gain reduction or pro-
tection against overmodulation. It can transparently pass any line-up tone applied
to its input up to about 130% output modulation, at which point clipping may oc-
cur.

BYPASS is not appropriate for normal on-air use because switching to and from it
will usually cause clicks or other program disruptions and because it does not protect
against inadvertent output clipping. To defeat the dynamics processing on-air
(which might be desired when switching from a local to a network program, for ex-
ample), use the PASS-THROUGH factory preset or a user preset derived from the PASS-
THROUGH factory preset.

Calibrated Line-up Tones

To facilitate matching the output level of the 8685 to the transmission system that it
is driving, the 8685 contains a test tone oscillator that produces sine waves at 8685’s
outputs. You can adjust the frequency and modulation level of the built-in line-up
tone via the front panel or PC Remote software, and you can specify which outputs
emit the tone. Outputs that do not emit the tone are automatically set to BYPASS,
which facilitates using the tone oscillator as a sinewave source to test the 8685—use
a cable to connect an output that is emitting the tone to an input that is in BYPASS
mode. (See step 5 on page 4-10 for an example.) You can use the front panel, the
PC Remote software, or the opto-isolated remote control interface ports to activate
the Test Tone.
OPTIMOD LOUDNESS CONTROLLER INTRODUCTION 1-23
Setting Output/Modulation Levels
In a perfect world, one could set the peak level at OPTIMOD 8685’s output to 0
dBFS. However, there are several potential problems that may make it desirable to
set the modulation level slightly lower.

• First is asynchronous re-sampling, which we have discussed earlier in this chapter.

(See page 1-15.) If any digital processing that causes its output samples to be
asynchronous to its input samples is used after OPTIMOD 8685’s output, this can
cause the peak levels of individual samples to increase above the nominal
threshold of limiting. This increase is typically less than 0.5dB.

• Second is additional processing, like equalization. Equalization that applies

boosts at certain frequencies is very likely to add peak level and thus cause clip-
ping. However, equalization that attenuates certain frequencies can also cause
overshoots because of added phase shifts. So be wary of any equalization and
allow headroom to accommodate it.

• Third is headroom in lossy data compression systems. A well-designed perceptual

encoder will accept samples up to 0dBFS and will have enough internal head-
room to avoid clipping. However, there is no guarantee that receiver manufac-
turers or decoder providers will implement perceptual decoders with sufficient
headroom to avoid clipping overshoots. Such overshoots are the inevitable side
effect of increasing the quantization noise in the channel, and can be as large as
3-4dB. Most perceptual encoder algorithms are designed to have unity gain
from input to output. So if peak levels at the input frequently come up to 0dBFS,
peak levels at the output will frequently exceed 0dBFS (and will be clipped)
unless the decoder algorithm is adjusted to have less than unity gain.

Canny engineers familiarize themselves with the performance of real-world receiv-

ers and reduce the peak modulation of the transmissions if it turns out that most re-
ceivers are clipping due to perceptual encoding overshoots. Our experience to date
suggests that allowing 3dB headroom will prevent audible overshoot-induced clip-
ping in low bite-rate systems (e.g., 32 kbps streams), while 1.5 dB is adequate for
128kbps and above. While some clipping may still occur, it will have a very low duty
cycle and will almost certainly be inaudible.

Streaming and Netcasting Applications

This section was written in mid 2008. As the state of the art in netcasting is changing
with ferocious rapidity, we expect it to become outdated quickly. Please check
Orban’s web site, www.orban.com, for newer information.

Using OPTIMOD 8685 in Streaming Applications

You need an audio source connection (AES3id digital, SPDIF digital, or HD-SDI audio
channels). The 8685 AES3id inputs and audio channels 1-8 in the HD-SDI can accept
any sample rate from 20 to 96 kHz. HD-SDI channels 9-16 must have a 48 kHz sample
1-24 INTRODUCTION ORBAN MODEL 8685

rate that is synchronize to house sync. You can also use any stream available within a
computer’s internal WAVE audio system, like a digital playout system. If you use the
computer’s WAVE audio system, you will need a sound card with full duplex capabil-
ity along with digital inputs and outputs. Connect the digital output of the sound
card to the 8685’s AES3id digital input(s) and connect the 8685’s AES3id digital out-
put(s) to the input(s) of the sound card.

You will ordinarily connect the signal that the sound card receives to the input of an
encoder application, like Orban’s Opticodec-PC. You then apply the encoded output
of the encoder to a netcast server application, which may operate on the same ma-
chine as the encoder, or on a different machine on your network. In the latter case,
you will route the encoded audio to the netcast server application through your
network.

See Processing for Low Bit Rate Codecs on page 3-5.

Loudness
You can expect a significant increase in loudness from OPTIMOD 8685 processing by
comparison to most unprocessed audio.

An exception is recently mastered CDs, which may have already been ag-
gressively processed for loudness when they were mastered.
In radio broadcasting, it is generally believed that loudness relative to other stations
attracts an audience that perceives the station as being more powerful than its
competition. We expect that the same subliminal psychology will also hold true in
netcasting.

For sound-with-picture applications, you can use Dialnorm and one of the 8685’s
“TV” presets to standardize loudness so that it is consistent with other transmissions.
We recommend setting Dialnorm to –24 dB, which is consistent with the ATSC A/85
2009 recommendation and acceptably close to the EBU R 128 recommendation,
which specifies –23 dB.

Choosing your Encoder

The state of the art in encoder technology is rapidly changing. At this writing, the
most efficient audio encoder technology available is MPEG4 HE-AACv2, which also
has the advantage of being standards-based. Orban is the first provider of this tech-
nology for streaming audio applications with Opticodec-PC 1010.

Be aware that different encoders are optimized for different bit rates, so you should
match your encoder to your potential audience. An encoder appropriate for a dial-
up rate of 20kb/sec may not be optimum for ISDN, DSL, or E-1/T-1 rates. This makes it
necessary to use more than one algorithm to optimally serve audiences with these
disparate connection speeds.

MPEG-1 Layer 3 has become a de-facto standard for distribution of non-streaming,

high fidelity audio on the Internet, although HE-AACv2, as used in Opticodec-PC, is
far more efficient. Thanks to the Apple iPod®, AAC/MP4/M4A is rapidly becoming
the de-facto standard for downloadable music.
OPTIMOD LOUDNESS CONTROLLER INTRODUCTION 1-25
OPTIMOD 8685 is well matched to AAC, HE-AAC, and MP3. It can effectively pre-
process audio intended for playback from either format. If you decide to use MP3,
choose your MP3 encoder wisely, as not all MP3 encoders are created equal — they
provide different levels of quality for a given bitrate.

EAS Transmission
In normal operation, 8685 audio processing may not provide the minimum modula-
tion level required by EAS Emergency Alert System (EAS) standards. It may therefore
be necessary to defeat the 8685’s dynamics processing during the broadcast of EAS
tones and data.

The LOOK-AHEAD LIMITER preset provides an easy way to do this. (You could also use
the PASS-THROUGH preset.) If you set the level of your EAS message generator ap-
propriately, simply recall the LOOK-AHEAD LIMITER preset, run the test, and then recall
the previous processing preset. (Presets can be recalled via the front panel, PC Re-
mote, the 8685’s Ethernet terminal server, clock-based automation, and GPI.)

If it is impractical to set the level of the EAS message generator to work correctly
with the fixed throughput gain provided in factory LOOK-AHEAD LIMITER preset, you
can instead edit the LOOK-AHEAD LIMITER preset’s throughput gain to set the correct
modulation level. To set the gain, adjust the preset’s GAIN control, which is available
in Intermediate Modify and Advanced Modify. When you are satisfied, save the re-
sult as a User Preset. See Customizing the 8685’s Sound on page 3-18

PC Control and Security Passcode

PC software control provides access to OPTIMOD 8685 via network, modem or direct
(null modem cable) connection, with computers running Windows 2000, XP, or Vista.
PC access is permitted only with a valid user-defined passcode.

PC remote control can be ended from the 8685’s front panel; this feature effectively
prevents simultaneous remote and local control.

See Security and Passcode Programming (starting on page 2-45) for more detail.

Warranty, User Feedback

User Feedback
We are very interested in your comments about this product. We will carefully re-
view your suggestions for improvements to either the product or the manual. Please
e-mail us at custserv@orban.com.
1-26 INTRODUCTION ORBAN MODEL 8685

LIMITED WARRANTY
[Valid only for products purchased and used in the United States]

Orban warrants Orban products against defects in material or workmanship for a

period of five years from the date of original purchase for use, and agrees to repair
or, at our option, replace any defective item without charge for either parts or labor.

IMPORTANT: This warranty does not cover damage resulting from accident, misuse
or abuse, lack of reasonable care, the affixing of any attachment not provided with
the product, loss of parts, or connecting the product to any but the specified recep-
tacles. This warranty is void unless service or repairs are performed by an authorized
service center. No responsibility is assumed for any special, incidental, or consequen-
tial damages. However, the limitation of any right or remedy shall not be effective
where such is prohibited or restricted by law.

Simply take or ship your Orban products prepaid to our service department. Be sure
to include a copy of your sales slip as proof of purchase date. We will not repair
transit damage under the no-charge terms of this warranty. Orban will pay return
shipping. (See Technical Support on page 5-12.)

No other warranty, written or oral, is authorized for Orban Products.

This warranty gives you specific legal rights and you may have other rights that vary
from state to state. Some states do not allow the exclusion of limitations of inciden-
tal or consequential damages or limitations on how long an implied warranty lasts,
so the above exclusions and limitations may not apply to you.

INTERNATIONAL WARRANTY
Orban warrants Orban products against evident defects in material and workman-
ship for a period of five years from the date of original purchase for use. This war-
ranty does not cover damage resulting from misuse or abuse, or lack of reasonable
care, or inadequate repairs performed by unauthorized service centers. Performance
of repairs or replacements under this warranty is subject to submission of this War-
ranty/Registration Card, completed and signed by the dealer on the day of purchase,
and the sales slip. Shipment of the defective item is for repair under this warranty
will be at the customer’s own risk and expense. This warranty is valid for the original
purchaser only.
OPTIMOD SURROUND LOUDNESS CONTROLLER INSTALLATION 2-1

Section 2
Installation
Installing the 8685
Allow about 2 hours for installation.

Installation consists of: (1) unpacking and inspecting the 8685, (2) checking the line
voltage setting, fuse, and power cord, (3) mounting the 8685 in a rack, (4) connect-
ing inputs, outputs and power, (5) optional connecting of remote control leads and
(6) optional connecting of computer interface control leads.

When you have finished installing the 8685, proceed to “Quick Setup,” on page 2-9.

1. Unpack and inspect.

A) If you note obvious physical damage, contact the carrier immediately to make
a damage claim. Packed with the 8685 are:
Quantity Item
1 Operating Manual
2 Line Cords (domestic, European)
4 Rack-mounting screws, 10-32 x ¾—with washers, #10
1 Ethernet crossover cable
1 PC Remote Software CD

B) Save all packing materials! If you should ever have to ship the 8685 (e.g., for
servicing), it is best to ship it in the original carton with its packing materials
because both the carton and packing material have been carefully designed
to protect the unit.
C) Complete the Registration Card and return it to Orban. (please)
The Registration Card enables us to inform you of new applications, per-
formance improvements, software updates, and service aids that may be
developed, and it helps us respond promptly to claims under warranty
without our having to request a copy of your bill of sale or other proof
of purchase. Please fill in the Registration Card and send it to us today.
(The Registration Card is located after the cover page).
Customer names and information are confidential and are not sold to
anyone.
2-2 INSTALLATION ORBAN MODEL 6585

2. Check the power cords.

TYPE 18/3 SVT COR, TYP

(3 x .82 mm 2 )

CONDUCTOR WIRE COLOR

NORMAL ALT

L LINE BROWN BLACK

N NEUTRAL BLUE WHITE
E EARTH GND GREEN-YELLOW GREEN

PLUG FOR
115 VAC
(USA)

TYPE H05VV - F - 0.75

CONDUCTOR WIRE COLOR

L LINE BROWN
N NEUTRAL BLUE
E EARTH GND GREEN-YELLOW

PLUG FOR
230 VAC
(EUROPEAN)

Figure 2-1: AC Line Cord Wire Standard)

The 8685 has two IEC-standard mains connectors (one for each of the redundant,
auto-switching power supplies) The supplies will work on line voltages from 100–
264 VAC, automatically selected, 50–60 Hz, 75 VA. They are designed to meet all
international safety and emissions standards.
The power cords are terminated in a “U-ground” plug (USA standard), or CEE7/7
plug (Continental Europe). The green/yellow wire is connected directly to the
8685 chassis. Many users connect the two mains connectors to two separate
mains circuits so that failure of one mains circuit will not cause the processor to
shut down.
If you need to change the plug to meet your country’s standard and you are
qualified to do so, see Figure 2-1. Otherwise, purchase a new mains cord with the
correct line plug attached.
When both supplies are connected to the AC line and are operating normally,
the front-panel LED will glow green. If one supply is not connected to the line
and/or has failed, the light will flash red. See Power light is blinking red on page
5-1. We strongly recommend that you connect both supplies to the line, as this
provides redundancy in case one supply fails and allows the front-panel power
light to indicate failure of one supply.

3. Mount the 8685 in a rack.

The 8685 requires three standard rack units (5 inches/12.7 cm).

There should be a good ground connection between the rack and the 8685 chas-
sis—check this with an ohmmeter to verify that the resistance is less than 0.5Ω.
OPTIMOD SURROUND LOUDNESS CONTROLLER INSTALLATION 2-3
It is wise to allow one rack unit of free space for ventilation above and below the
unit. Mounting the unit over large heat-producing devices (like a vacuum-tube
power amplifier) may shorten component life and is not recommended. Ambient
temperature should not exceed 45°C (113°F) when equipment is powered.
Equipment life will be extended if the unit is mounted away from sources of vi-
bration, like large blowers and is operated as cool as possible.

4. Connect inputs and outputs.

See the hookup and grounding information on the following pages. If you are
encoding Dolby E, pay careful attention to the Dolby E Encoder Synchronization
section (page 2-8).
TOPIC PAGE

AES3id Digital Inputs and Output ..............................................................2-6

HD-SDI Input and Output ............................................................................2-7
Wordclock/AES11id Sync Input ...................................................................2-7
Video Sync Input ..........................................................................................2-7
Analog Audio Output..................................................................................2-8
Power Ground ..............................................................................................2-9

5. Connect remote control interface. (optional)

For a full listing of 8685’s extensive GPI remote control provisions, refer to
Remote Control Interface Programming on page 2-61.
Optically isolated remote control connections are terminated in a type DB-25
male connector located on the rear panel. It is wired according to Figure 2-2. To
select the desired function, apply a 5-12V AC or DC pulse between the appropri-
ate REMOTE INTERFACE terminals. The (−) terminals can be connected together
and then connected to ground at pin 1 to create a Remote Common. A current-
limited +12VDC source is available on pin 25. If you use 48V, connect a 2kΩ
±10%, 2-watt carbon composition resistor in series with the Remote Common or
the (+) terminal to provide current limiting.
In a high-RF environment, these wires should be short and should be run
through foil-shielded cable, with the shield connected to CHASSIS GROUND at
both ends.

6. Connect tally outputs (optional)

See the schematic on page 6-42.

The 8685 supports two hardware tally outputs, which are NPN open-collector
and operate with respect to pin 1 (common). Therefore, the voltage applied to
the load (like a relay or optoisolator) must be positive. You can use the 12 VDC
source on pin 25 to drive the high side of the load, taking into account the fact
that the voltage on pin 25 is current limited by a 310 Ω resistor.
2-4 INSTALLATION ORBAN MODEL 6585

PIN ASSIGNMENT

1. COMMON
2. REMOTE 1+
3. REMOTE 2+
4. REMOTE 3+
5. REMOTE 4+
6. REMOTE 5+
7. REMOTE 6+ REMOTE INTERFACE
8. REMOTE 7+
9. REMOTE 8+
10. TALLY 1
11. TALLY 2
12. N/C
13. POWER COMMON
14. REMOTE 1-
15. REMOTE 2-
16. REMOTE 3-
17. REMOTE 4-
18. REMOTE 5-
19. REMOTE 6-
20. REMOTE 7-
21. REMOTE 8-
22-24. N/C
25. +12 VOLTS DC

Figure 2-2: Wiring the 25-pin Remote Interface Connector

The tally outputs are protected against reverse polarity.

To avoid damaging the 8685, limit the current into a tally output to
30 mA. DO NOT connect a tally output directly to a low-impedance volt-
age source! The tally outputs are not protected against this abuse and the
output transistors are likely to burn out. When driving a relay or other in-
ductive load, connect a diode in reverse polarity across the relay coil to
protect the driver transistors from reverse voltage caused by inductive
kickback.
Note that the tally outputs have no special RFI protection. Therefore, it is wise to
use shielded cable to make connections to them.
See step 22 on page 2-42 for instructions on programming the tally outputs.

7. Connect to a computer

You can connect to a computer via the 8685’s serial connector or via an Ethernet
network. See Networking and Remote Control on page 2-62 and Installing 8685
PC Remote Control Software on page 2-68 for more details.
OPTIMOD SURROUND LOUDNESS CONTROLLER INSTALLATION 2-5
8685 Rear Panel
[Note: The 8685’s front panel is described starting on page 3-1.]

The two Power Cords (one for each redundant power supply)are detachable and is
terminated in a “U-ground” plug (USA standard), or CEE7/7 plug (Continental
Europe), as appropriate to your 8685’s Model Number.

An RS-232 (Terminal) Computer Interface, labeled SERIAL PORT, is provided to

connect the 8685 to IBM PC-compatible computers to support ASCII terminal com-
mands, Orban’s PC Remote software, or ppp connections. This port is labeled SERIAL
1.

Two RS-485 Serial Ports can accept and emit Dolby AC3 metadata that follows the
SMPTE RDD 06-2008 standard.

These ports are labeled SERIAL 2 AND SERIAL 3. You can use these ports to
convey DIALNORM to a Dolby Digital encoder (like Dolby’s DP-569) auto-
matically. See Conveying Metadata on page 2-16.
A Remote Interface Connector (GPI connector) allows you to connect the 8685 to
your existing transmitter remote control or other simple contact-closure control de-
vices. The 8685 remote control supports user-programmable selection of up to eight
optically isolated inputs for any one of the following parameters: recalling any fac-
tory- or user presets, selecting tone or bypass modes, recalling Setups, and clock syn-
chronization. (See Remote Control Interface Programming on page 2-61.) The 8685
remote control accepts a DB-25 connector.

The Ethernet Port accepts a 10 Mb/second or 100 Mb/second Ethernet connection

terminated with an RJ45 connector. Because of its speed compared to the RS-232
port, Ethernet is the preferred method of connecting the 8685 to PC Remote.

Digital AES3id Inputs (internally terminated with 75Ω) and AES3id Outputs
(with 75Ω output impedance) support digital audio signals through BNC connectors.

CHASSIS LABEL SERIAL 1 SERIAL 2 SERIAL 3

DB-9 GENDER Male Female Female

FORMAT RS-232 RS-485 RS-485

PINOUT
1Æ DCD Shield Shield
2Æ S IN TX A data out - TX A data out -
3Æ S OUT RX B data in + RX B data in +
4Æ DTR Ground Ground
5Æ Ground NC NC
6Æ DSR Ground Ground
7Æ RTS TX B data out + TX B data out +
8Æ CTS RX A data in - RX A data in -
9Æ NC Shield Shield

Table 2-1: Serial Port Pin Identification

2-6 INSTALLATION ORBAN MODEL 6585

Hardware inputs and outputs each carry two audio channels.

Analog Outputs are provided mainly for monitoring various audio signals through
XLR-type connectors. However, because of low tilt and overshoot they can also drive
transmitters while maintaining tight peak control. They may be useful when driving
an analog TV transmitter when you have set up one of the 2.0 processors to produce
a pre-emphasis-limited stereo downmix

Word clock/AES11id Sync Input (internally terminated with 75Ω) is provided on a

female BNC connector.

HD-SDI Input and Output supporting SD-SDI (per SMPTE 259M); 1.5 Gbit/s HD-SDI
(per SMPTE 292M; up to 720p and 1080i) and 3.0 Gbit/s single-wire HD-SDI (per
SMPTE 424M; 1080p) are provided on two female BNC connectors. See HD-SDI In-
put/Output on page 6-3.

Video Sync Input (internally terminated with 75Ω) supporting SMPTE 274M and
SMPTE 296M is provided on a female BNC connector.

Input and Output Connections

AES3id Digital Inputs and Outputs

The 8685 provides up to four AES3id inputs 1 and three AES3id outputs. The inputs
and outputs are all equipped with sample rate converters and can operate at 32,
44.1, 48, 88.2, and 96 kHz. You can force the output sample rate to be genlocked to
signal appearing at either the word clock/AES11id sync input or the audio input. The
output can also synchronize to the 8685’s internal clock.

Inputs and outputs follow the AES3id standard. This specifies 75Ω unbal-
anced coaxial cable, terminated in male BNC connectors. It is suitable for
very long cable runs (up to 1000 meters). All inputs are internally termi-
nated with 75Ω.
If you wish to connect these inputs and outputs to an AES3 balanced
connection, it is wise to insert a 110Ω/75Ω balun transformer between
the AES3 and AES3id sides of the connection to ensure best signal integ-
rity.
The digital input clip level is fixed at 0 dB relative to the maximum digital
word. The maximum digital input will make the 8685 input meters dis-
play 0dB. The reference level is adjustable using the DI REF control.
The sample rate of your Optimod’s peak limiters is 192 kHz. Because of
“asynchronous resampling,” any output sample rate other than 48 kHz or

1 The Wordclock/AES Sync input can be used as a fourth AES3id input.

OPTIMOD SURROUND LOUDNESS CONTROLLER INSTALLATION 2-7
96 kHz/internal sync can introduce slight overshoots never exceeding 0.5
dB and typically far less.
If you need to use an STL with 32 kHz sample rate (because that is all that
is available), you will achieve lowest overshoot by setting the 8685’s in-
ternal bandwidth to 15 kHz. That way, the 8685’s peak limiter operates
on a signal with 15 kHz bandwidth and subsequent sample rate conver-
sion will not add overshoot caused by spectral truncation.
For a discussion of sync issues, see Sample Frequency Synchronization on
page 1-16.

HD-SDI Input and Output

The HD-SDI input/output supports SD-SDI (per SMPTE 259M); 1.5 Gbit/s HD-SDI (per
SMPTE 292M; up to 720p and 1080i) and 3.0 Gbit/s single-wire HD-SDI (per SMPTE
424M; 1080p). Audio channels 1 through 16 2 are supported; these can be routed to
and from several destinations (see Table 2-2: Routing Switcher Sources and Destina-
tions on page 2-26). See HD-SDI Input/Output on page 6-3 for a detailed specifica-
tion.

The HD-SDI input/output has a hard-wire relay bypass that connects the input BNC
connector directly to the output BNC connector automatically when no power is
connected to the 8685 and if several classes of faults occur in the 8685’s circuitry.

Unless the bypass relay is directly connecting the HD-SDI input to the HD-SDI output
(which is true when no AC power is applied to the 8685), the HD-SDI input is inter-
nally terminated with 75Ω.

Wordclock/AES11id Sync Input

The sync input accepts a standard 5Vp-p squarewave 1x word clock signal (a
squarewave at the sampling frequency) or an AES11id signal, automatically de-
tected. A menu item allows you to synchronize the output sample frequency to the
frequency present at the sync. The connector is a female BNC with the shell
grounded to chassis. It is internally terminated with 75Ω. You can also set the input
routing switcher to use this input as a fourth AES3id audio input.

Video Sync Input

This input is internally terminated with 75Ω and supports SMPTE 274M and SMPTE
296M-complaint input signals is provided on a female BNC connector.

2 HD-SDI channels 9-16 must operate at 48 kHz sample rate and must be synchro-
nized to the same signal that is synchronizing the Optimod. HD-SDI channels 1-8 are
equipped with sample rate converters, so these can be asynchronous.
2-8 INSTALLATION ORBAN MODEL 6585

Dolby E Encoder Synchronization

If you are embedding Dolby E into an SD-SDI (SMPTE 259M) stream (which is only
possible if your 8685 is fitted with OPTION #2 or OPTION #3), you must apply a
SMPTE 274M or SMPTE 296M-complaint sync signal to the 8685’s video sync input in
order to synchronize the Dolby E encoder to the video frame boundaries.

If the 8685 is receiving an HD-SDI input signal (per SMPTE 292M or SMPTE 424M),
you may alternatively use it to synchronize the Dolby E encoder, but only if it this
signal is strictly complaint with SMPTE 299M-2004 5.2.1 (CLK [audio clock phase
data]). Note that some older equipment may not comply (see SMPTE 299M-2004
Annex B). In this case, you must use the 8685’s video sync input instead. If your SDI
source complies, we recommend using it instead of the video sync input.

Analog Audio Output

• We recommend using two-conductor foil-shielded cable (like Belden 8451 or
equivalent) for the analog output connections because signal current flows
through the two conductors only. The shield does not carry signal and is used
only for shielding.

• Analog output connectors are XLR-type connectors. There are two connectors.
These are intended for monitoring and troubleshooting. You can specify which
signals (LF, RF, C, LS, RS, LFE, LB, RB, STEREO L, STEREO R, DOWNMIX L,
DOWNMIX R, LF/RF, C, LS/RS, LB/RB, STEREO, or DOWNMIX) drive these outputs.

In the XLR-type connectors, pin 1 is CHASSIS GROUND, while pin 2 and

pin 3 are a balanced, floating pair. This wiring scheme is compatible with
any studio-wiring standard: If pin 2 or 3 is considered LOW, the other pin
is automatically HIGH.

• Electronically balanced and floating outputs simulate a true transformer output.

The source impedance is 50Ω. The output is capable of driving loads of 600Ω or
higher; the 100% modulation level is adjustable with the AO 100% control over
a –6dBu to +24dBu range. The outputs are EMI suppressed.

• If an unbalanced output is required (to drive unbalanced inputs of other equip-

ment), it should be taken between pin 2 and pin 3 of the XLR-type connector.
Connect the LOW pin of the XLR-type connector (#3 or #2, depending on your
organization’s standards) to ground; take the HIGH output from the remaining
pin. No special precautions are required even though one side of the output is
grounded.

• At the 8685’s output (and at the output of other equipment in the system), do
not connect the cable’s shield to the CHASSIS GROUND terminal (pin 1) on the
XLR-type connector. Instead, connect the shield to the chassis ground at the in-
put destination. Connect the red (or white) wire to the pin on the XLR-type con-
nector (#2 or #3) that is considered HIGH by the standards of your organization.
OPTIMOD SURROUND LOUDNESS CONTROLLER INSTALLATION 2-9
Connect the black wire to the pin on the XLR-type connector (#3 or #2) that is
considered LOW by the standards of your organization.

Power Ground
• Ground the 8685 chassis through the third wire in the power cords. Proper
grounding techniques never leave equipment chassis unconnected to
power/earth ground. A proper power ground is essential for safe operation. Lift-
ing a chassis from power ground creates a potential safety hazard.

Quick Setup
The 8685’s Quick Setup feature provides a guided, systematic procedure for setting
up the 8685. It should be adequate for most users without special or esoteric re-
quirements. Following this section, you can find more detailed information regard-
ing setup outside the Quick Setup screens. Mostly, you will not need this extra in-
formation.

For the following adjustments, use LOCATE (the green joystick, between ESCAPE and
ENTER) to select parameters. After you have highlighted the desired parameter on
the screen, use the front panel control knob to adjust the parameter settings as de-
sired.

• The 8685 has input and output routing switchers that connect the 8685’s physical
inputs and output to the logical inputs and outputs of the 8685’s 7.1 surround
and four 2.0 audio processors, all of which are active simultaneously. (If you are
processing 5.1 surround, do not feed program material to the Lb and Rb inputs
of the surround processor.)

Quick Setup allows you to retain a custom routing setup or to use the factory
default. In the base unit AES3id input #1=Lf/Rf, #2=C/LFE, #3= Ls/Rs, #4=Lb/Rb
(applies to 7.1 processing only), and #5=Stereo (2.0 processor #1). This arrange-
ment is consistent with the Dolby DP-569 Dolby Digital Encoder’s default I/O
routing setting and with ATSC A/54A.

The default routing for the HD-SDI’s audio channels is #1=Lf, #2=Rf, #3=C,
#4=LFE, #5=Ls, #6=Rs, #7=Lst (2.0 processor #1), #8=Rst (2.0 processor #1). The in-
puts and outputs of the remaining three 2.0 processors (#2, #3, and #4) are con-
nected to AES3id inputs and outputs 1/2, 3/4, and 5/6 respectively. The surround
processor’s Lb and Rb inputs and outputs are not connected. This arrangement
accommodates 5.1 surround processing for the audio stream carrying the pri-
mary language and 2.0 processing for an audio stream carrying a secondary lan-
guage. You can change this routing in the 8685’s routing switcher as needed.
2-10 INSTALLATION ORBAN MODEL 6585

In addition, a C/LF MAPPING control, located in the INPUT/OUTPUT 4 screen, allows

you to swap the C and LFE assignments. (See step 3 on page 2-22.)

With the 8685’s factory default Setup, the first 2.0 processor operates in STEREO
mode and its output is not mixed into the surround processor’s output. We rec-
ommend using the default routing for Quick Setup and customizing it after you
run Quick Setup.

1. From the pop-up Menu display, Locate to System Setup, then press the
Enter button.

If the pop-up Menu isn’t onscreen, press the control knob in.

2. From the System Setup screen, Locate to the Quick Setup icon, then
press the Enter button.

Quick Setup presents a guided sequence of screens into which you must insert in-
formation about your particular requirements.
Each Quick Setup page is titled in the top right corner (e.g., page 1 is QUICK
SETUP 1).

3. Set time and date.

A) LOCATE to the Time & Date screen (SYSTEM SETUP > QUICK SETUP 2).
B) Choose Time Format as desired (either 24-hour time or 12-hour AM / PM-style
time).
C) Set hours, minutes, and seconds, in that order, using a 24-hour format for en-
tering hours even if you have set the time format to 12-hour.
Seconds will stop advancing when you set hours and minutes. So set sec-
onds last.
D) Choose the desired date format.
E) Set today’s date.
F) If you want the clock to reset itself automatically to conform to Daylight Sav-
ing Time (Summer Time), use the DAYLIGHT SAVING > MONTH/WEEK and
STANDARD TIME MONTH/WEEK. to match the daylight saving and standard times
in your area. If you do not wish to use this feature, leave the DAYLIGHT SAVINGS
and STANDARD TIME fields set to OFF.
Note that the clock will set itself automatically if you have set the 8685 to
synchronize to an Internet timeserver. See Synchronizing Optimod to a
Network Timeserver in page 2-65.

4. Decide whether you will keep the current Input/Output routing configu-
ration.

LOCATE to the Time & Date screen (SYSTEM SETUP > QUICK SETUP 3).
OPTIMOD SURROUND LOUDNESS CONTROLLER INSTALLATION 2-11
To accommodate users who are re-running Quick Setup after they have made
customized routing assignments, it is possible to keep the current Input/Output
routing configuration or to use the factory default configuration.

5. Set the surround and 2.0 maximum low pass filter frequency as appro-
priate to your application.

The audio bandwidth of the 8685’s surround and 2.0 processors (10.0 to 20.0 kHz
in 1.0 kHz steps) can be set in three places: (1) in the active Setup, (2) in the EQ
page of the Modify screen, and (3) by remote control. The 8685’s bandwidth is
always the lowest of these three settings. The frequency in Setup is a technical
parameter that determines the highest bandwidth available. The installing engi-
neer should set it to complement the sample rate of the digital system being
driven by the 8685. For example, if the 8685 is driving a system with a 32kHz
sample rate, set the 2.0 MAX LOW PASS FILTER to 15.0 KHZ. That way, a setting of
20 kHz elsewhere will not cause excessive bandwidth and aliasing because the
8685 will automatically override it with the MAX LPF setting.
For ATSC digital television transmission (which uses 48 kHz sample rate), set the
2.0 MAX LOW PASS FILTER to 20 KHZ.
The 2.0 MAX LOW PASS FILTER for the surround and 2.0 channel processing
are independent.
A) LOCATE to the Lowpass Filter screen (SYSTEM SETUP > QUICK SETUP 4).
B) Set the 2.0 MAX LOW PASS FILTER control as required.

6. Set surround and 2.0 external AGC mode.

Most of the processing structures in the 8685 control level with a preliminary
AGC (Automatic Gain Control). In typical 8685 installations, there is no AGC up-
stream from the 8685. However, if you are using a suitable Automatic Gain Con-
trol ahead of the 8685 (to protect an STL, for instance), the AGC in the 8685
should be defeated. This is so that the two AGCs do not “fight” each other and
so they do not simultaneously increase gain, resulting in increased noise.
A) LOCATE to Studio Configuration screen (SYSTEM SETUP > QUICK SETUP 5).
B) Set the Surround External AGC mode.

• Set the field to YES if you have an external AGC installed at your studio
feeding the studio-to-transmitter link. This setting appropriately defeats
the 8685’s AGC for all presets.

• If you do not have an external AGC installed, set the field to NO; this set-
ting allows the selected preset to determine the 8685 AGC status.

C) Set the 2.0 External AGC mode (see above for choices).

7. Set surround and 2.0 reference levels.

The Reference Level screen allows you to match the 8685’s processing to the
normal operating level expected at the 8685’s input so the 8685’s AGC can oper-
2-12 INSTALLATION ORBAN MODEL 6585

ate in the range for which it was designed. If you know the reference VU or PPM
level (sometimes known as “lineup level”) that will be presented to the 8685, set
the SURROUND REFERENCE LEVEL to this level.
It is wise to verify your setting with the steps below, which also allow you to set
the reference level controls when you do not know the reference VU or PPM
level that will be presented to the 8685.
A) Feed normal program material to the 8685.
Play program material from your studio, peaking at normal program lev-
els (typically 0VU if your console uses VU meters).

B) LOCATE to the Reference Levels screen (SYSTEM SETUP > QUICK SETUP 6).
C) Adjust the SURROUND REFERENCE LEVEL so that the surround AGC meter reads
an average of 10 dB gain reduction.
[−40 to –10 dBFS (VU), or –33 to –3 dBFS (PPM)] in 0.5 dB steps.]
The DIGITAL REFERENCE LEVEL VU and PPM settings track each other with
an offset of 8 dB. This compensates for the typical indications with pro-
gram material of a VU meter versus the higher indications on a PPM.

D) If you will be using the 2.0 processors, adjust the 2.0 REFERENCE LEVEL so that
the 2.0 AGC meter reads an average of 10 dB gain reduction.

8. Set the surround and 2.0 output feeds and sample rates.

A) LOCATE to the Output Configuration screen (SYSTEM SETUP > QUICK SETUP 7).
B) Choose one of the following to feed the hardware outputs assigned to the
surround audio processing:

• MB+LIMIT (stereo enhancement, equalization, AGC, two-band or 5-Band

compression, loudness control, and look-ahead peak limiting). This setting
is correct for most applications, including driving a digital television trans-
mitter. It fully supports Dialnorm.

The three settings below do not support Dialnorm automatically:

• MULTIBAND (stereo enhancement, equalization, AGC, and two-band or 5-
Band compression, and loudness control without peak limiting).

• AGC+LIMIT (stereo enhancement, equalization, AGC, and look-ahead peak

limiting)

• AGC (stereo enhancement, equalization, and AGC without peak limiting)

If you set EXT AGC to YES in System Setup, this defeats the AGC. In this
case, choosing:
• MB+LIMIT results in stereo enhancement, equalization, two-band or 5-Band
compression, and loudness control with look-ahead limiting but without
AGC.
OPTIMOD SURROUND LOUDNESS CONTROLLER INSTALLATION 2-13
• MULTIBAND results in stereo enhancement, equalization, two-band or 5-
Band compression, and loudness control without AGC.

• AGC+LIM results in stereo enhancement, equalization, and look-ahead lim-

iting.

• AGC causes the input signal to be passed to the analog output with no dy-
namics processing (just stereo enhancement and equalization).
The only reason to use an output without peak limiting is if low delay is
needed, as the 8685’s sophisticated, low-IM peak limiter adds about 12
milliseconds of delay. Note that this is only true if a given output’s DELAY
parameter in System Setup is set to MINIMUM. If DELAY is set to any other
value, the 8685 will automatically add delay to ensure that the in-
put/output delay corresponds to your DELAY control setting. In digital
television applications, DELAY will usually be set to exactly one frame to
make it easy to retain AV- sync.
In digital radio and netcast applications, you might want to use a low-
delay output to drive your studio monitor speakers as well as talent
headphones.
CAUTION: If an output is configured for no peak limiting, it can clip and
distort. If this happens, correct it by turning down the 8685’s MB LIMITER
DRIVE control (if you are using MULTIBAND mode) or AGC LIMITER DRIVE
control (if you are using AGC mode). Then save the result as a user pre-
set. Note that these control settings apply only to the active processing
preset. If you use more than one processing preset, you must adjust the
appropriate LIMITER DRIVE control for each and save each as a user preset.
C) Choose the source to feed the hardware outputs assigned to the 2.0 channel
audio processing (see above for the choices). All four 2.0 processors will be set
identically.
D) Set the surround output sample rate to 32, 44.1, 48, 88.2, or 96 kHz. 48 kHz is
correct for digital television transmission.
The internal sample rate converter sets the rate at the 8685’s digital out-
put. This adjustment allows you to set the output sample rate to ensure
compatibility with equipment requiring a fixed sample rate. In all cases,
the 8685’s internal processing sample rate is 48 kHz.
E) Set the 2.0 output sample rate to 32, 44.1, 48, 88.2, or 96 kHz.

9. Set surround and 2.0 output levels.

A) LOCATE to the Set Output Levels screen (SYSTEM SETUP > QUICK SETUP 8).
B) Set the SURROUND OUTPUT LEVEL control to the desired peak level in units of
dB with reference to digital full-scale. (Note: This control is labeled SURROUND
OUTPUT 100% in PC Remote.)

–2.0 dBFS is an appropriate value. It provides some headroom for any over-
shoots introduced by equipment (like codecs) following the 8685.
2-14 INSTALLATION ORBAN MODEL 6585

Note that if a given output is fed with a non-limited signal (AGC or LIMIT), the
peak level will not be controlled tightly.

• IMPORTANT: In MB LIMIT mode, the 8685’s SURROUND OUTPUT LEVEL and

SURROUND OUTPUT LEVEL controls do not adjust loudness; they only set the
maximum peak level at the 8685’s output. This is to reduce the likelihood
of setup errors when the 8685 is driving a Dolby Digital channel. The active
DIALNORM value and the MB LIMITER DRIVE controls set output loudness.

• Regardless of the output mode, do not try to adjust loudness at the re-
ceiver by using the 8685’s OUTPUT LEVEL controls. Use these controls only to
set output headroom. In MB+LIMIT mode, use the DIALNORM control to set
loudness. In MB mode, use the MB LIMITER DRIVE control in the active preset.
In AGC and AGC+LIMIT modes, use the AGC LIMITER DRIVE control in the ac-
tive preset.

• If you have readjusted any LIMITER DRIVE control (located in the MULTIBAND
MODIFY screens for the surround and 2.0 processing), you must save the re-
sult as a user preset in order to avoid the possibility of losing your settings,
which will otherwise happen if you recall a different preset.
This will allow you to use the full amount of headroom available in the
transmission channel following the 8685 and, in digital television service,
will minimize or eliminate the need to apply peak limiting to the signal.
This is because the Dolby Digital system allows you to use the DIALNORM
metadata parameter to ensure that there is enough peak headroom
through the transmission system. For most digital television transmis-
sions, setting DIALNORM to –24 dB or below (i.e., closer to –31 dB) will en-
sure that no peak limiting ever occurs, assuming that you set loudness
with the 8685’s LIMITER DRIVE control to make the 8685’s Loudness Level
meter peak at 0 dB with typical dialog and set the 8685’s OUTPUT control
to –2.0 dBFS, which allows 2 dB of peak headroom for overshoots in the
AC3 codec.

C) Set the 2.0 OUTPUT control to the desired peak level in units of dB with refer-
ence to digital full-scale.
D) Set the ANALOG OUTPUT control to the desired peak level in units of dBu,
where 0 dBu = 0.775 v RMS.
The 8685’s two analog output channels are most commonly used for
monitoring. Nevertheless, they produce low overshoot and can be used
to drive a transmission system with an analog input.

10. Set surround and 2.0 global Dialnorm values. (Do not skip this step!)

If you skip this step, your audio may be objectionably louder or quieter than
other stations’ audio.
The 8685 is designed to work smoothly with Dolby Digital. In essence, the Dolby
Digital Dialnorm metadata sets an invisible volume control that is cascaded with
the volume control in the consumer’s receiver. To produce the same loudness as
other properly set up transmission channels, the 8685 needs to be aware of the
OPTIMOD SURROUND LOUDNESS CONTROLLER INSTALLATION 2-15
Dialnorm value you are transmitting to the consumer. The 8685 uses this value in
two ways:

• It adjusts the sensitivity of the 8685’s Loudness Level meters so that when the
Loudness Level meters are peaking at 0 dB on speech material, loudness is
correct at the receiver. This means that you can use the 8685’s Loudness Level
meter as a reference if you are modifying a factory preset and want to en-
sure correct loudness at the consumer’s receiver.

• It scales the output level of the 8685’s presets so that the level will be correct
for the Dialnorm value you are transmitting to the consumer. To do this, it
sets the gain of a hidden level control cascaded with the 8685’s LIMITER DRIVE
control. This gain adjustment is before the 8685’s look-ahead limiters and
OUTPUT 100% controls. This arrangement allows you to use the full headroom
of the Dolby Digital transmission channel regardless of the Dialnorm setting.
In addition, changing Dialnorm adds a hidden offset to the LOUDNESS
THRESHOLD and BS.1770 THRESH controls’ displayed settings, which ensures
that the CBS loudness controller’s and BS.1770 safety limiter’s gain reductions
do not change when DIALNORM is changed.
These scale factors adjust themselves automatically so that the loudness
of the consumer’s receiver is the same regardless of the settings of the
8685’s SURROUND OUTPUT 100% and 2.0 OUTPUT 100% controls, whose only
purpose is to set the 8685’s maximum peak output level with respect to
0 dBFS. This allows you to compensate for transmission channels that in-
troduce peak overshoots.

For example, if you change the SURROUND OUTPUT 100% control from
0 dBFS to –6 dBFS, the drive level into the look-ahead limiters automati-
cally increases by 6 dB. Meanwhile, the threshold of the loudness control-
ler and the sensitivity of the 8685’s Loudness Level meter decrease by
6 dB. Hence, the RMS drive level into the Dolby Digital encoder stays the
same, the loudness controller produces the same amount of gain reduc-
tion, and the Loudness Level meter continues to peak at 0 dB.
To change the 8685’s output loudness, adjust its DIALNORM value or adjust
the MB LIMITER DRIVE control in the active processing preset. Adjusting
DIALNORM changes loudness without changing the indication on the
8685’s Loudness Level meter and without changing the amount of gain
reduction in the loudness controller. Adjusting MB LIMITER DRIVE changes
both the Loudness Level meter’s indication and the amount of gain re-
duction in the loudness controller.
Each processing preset has a Dialnorm value that can override the global Dial-
norm values that you set in this step. To use the global Dialnorm value, be sure
that the active processing preset’s Dialnorm value is set to USE GLOBAL, which is
true of all Factory Presets except for the analog TV presets. In all cases, you must
ensure that the 8685’s active Dialnorm value matches the Dialnorm value you are
sending to consumers.
Setting the 8685’s active Dialnorm value:
A) LOCATE to the Set Dialnorm screen (SYSTEM SETUP > QUICK SETUP 9).
2-16 INSTALLATION ORBAN MODEL 6585

B) Set the SURROUND DIALNORM value so that it is the same as the Dialnorm value
you are transmitting to the consumer’s receiver.
Most broadcasting organizations have standardized on –23 or –24 dB.
Paragraph H.7 of ATSC Recommended Practice A/85:2011 recommends
–24 LKFS. EBU R128 recommends –23 LUFS. (LKFS and LUFS are the same.
Both are a unit of measure for loudness when the ITU-R BS.1770-2 meter
is used for loudness measurement.)
If you are not driving a Dolby Digital system (in a netcasting application,
for example), follow the recommendations in ATSC A/85 2011a Annex K,
or EBU – TECH 3344.
As you set Dialnorm closer to –11 dB, loudness increases. Eventually, you
will start to see significant limiter gain reduction as the 8685’s mastering-
quality look-ahead limiters work harder and harder prevent peak over-
load. Above a certain Dialnorm value, the limiters will start to create au-
dible side effects as they create more and more gain reduction. Allowing
up to 6 dB of limiter gain reduction is usually safe, but the best sounding
limiter gain reduction is no gain reduction at all, so we advise taking ad-
vantage of any available headroom in your transmission channel to
minimize the amount of look-ahead limiter gain reduction.
C) [Optional] Set the 2.0 DIALNORM value so that it is the same as the Dialnorm
value you are transmitting on your 2.0 channel stream, if any. This setting is
applied to all four 2.0 processors.
Conveying Metadata: All models of the 8685 can, via an SMPTE RDD 06-2008-
compliant RS-485 serial connection, automatically convey their active surround
metadata value to a downstream Dolby Digital encoder like the Dolby DP-569,
which must be set up according to its operating instructions to receive and act
upon this input. This greatly reduces the possibility that operator error will cause
the wrong value of surround metadata to be transmitted to consumers.
Units can also receive and send metadata via the HD-SDI VANC data per SMPTE
2020-2-2008 (Method-A) or SMPTE 2020-3-2008 (Method-B) and, if equipped
with the optional Dolby-E modules, via a Dolby-E encoded bitstream (which is
typically conveyed on SDI audio channels 1 and 2).
In the base unit, to emit an RDD 06-2008-compliant signal the 8685 must be re-
ceiving a valid input RS-485 serial stream that is compliant with RDD 06-2008—
this is necessary to synchronize the output metadata to video frame boundaries
per the Dolby specification. In units equipped with the HD-SDI module, frame
sync can also use the SMPTE 274M/296M video reference input or the signal ap-
pearing at the HD-SDI input. We recommend using the HD-SDI input.
When a valid input stream is present, the 8685 passes this stream unchanged to
its output except for the following modifications:
• The ac3_dialnorm word in the output metadata stream is reauthored so it
is the same as the 8685's active DIALNORM value.

• The ac3_dynrnge word in the output stream is set to 0, indicating that the
downstream AC3 encoder must reauthor the line-mode DRC metadata, fol-
lowing the level compression profile found in the ac3_dynrng1 word in the
input metadata.
OPTIMOD SURROUND LOUDNESS CONTROLLER INSTALLATION 2-17
• The ac3_compre word in the output stream is set to 0, indicating that the
downstream AC3 encoder must reauthor the RF-mode DRC metadata, follow-
ing the level compression profile found in the ac3_compr1 word in the input
metadata.
Future software upgrades will add more functionality to the 8685’s han-
dling of metadata, including the ability to specify a different level com-
pression profile than that found in the input metadata, and the ability to
handle 2.0 metadata in addition to surround metadata.
If you are using a downstream Dolby AC3 encoder (like Dolby’s DP569) and you
wish to set it up manually, be sure to set it up to implement the three bullet
points above. Because your Optimod controls dynamic range, further dynamic
range reduction is usually not needed at the consumer’s receiver, so setting the
Dolby encoder’s DRC Profile to NONE is usually appropriate unless your Optimod
is doing very light processing.
If you are required to pass pre-controlled material at certain times of the day (for
example, network prime time programming that has already been quality-
controlled to ensure correct loudness), it is wise to allow your Optimod to handle
the metadata and to control the downstream AC3 encoder. This will allow the
AC3 encoder to respond appropriately to both Optimod-processed material and
material passed through without processing. Your Optimod’s PASS-THROUGH pre-
set is transparent to audio, video, and metadata and automatically delays the
video and metadata to match the audio throughput delay. To maintain sync
when using metadata, it is important to set the 8685’s audio delay to one frame
of the video associated with the metadata. See step 12 on page 2-19.

11. Choose a processing preset.

A) LOCATE to the Set Preset screen (SYSTEM SETUP > QUICK SETUP 10).
B) Turn the knob until your desired preset is highlighted at the top of the screen.
C) Press the ENTER button to put your desired preset on-air.
This step selects the processing to complement various program formats.
There are presets for radio-style and television-style applications. The lat-
ter begin with “TV.” For general-purpose programming, we suggest
starting with TV 5B GEN PURPOSE. To achieve lighter processing, we
recommend TV 5B DRAMA. The latter preset will preserve more of the
program’s original dynamic range at the expense of loudness that is less
consistent that that produced by TV 5B GEN PURPOSE. For descriptions
of the various presets, see Sound-for-Picture Presets starting on page 3-
28.
The “TV xxxx” presets are tuned for strictly for digital television, while
the 2.0 parameters in the “TVA xxxx” presets are tuned to allow the 2.0
processing to be used for analog television transmissions that employ FM
aural carriers having 50μs or 75μs pre-emphasis. For instructions on how
to set up the 8685’s 2.0 processing for analog television, see step 10 on
page 2-32.
After this step, you can always select a different processing preset, pro-
gram the 8685 to automatically change presets on a time/date schedule,
2-18 INSTALLATION ORBAN MODEL 6585

use a GPI input to trigger preset changes, modify presets to customize

your sound, and store these presets as User Presets.
Preset names are just suggestions. Feel free to audition different presets
and to choose those whose sound you prefer.
You can easily modify a preset later with the 8685’s one-knob LESS-MORE
feature. Refer to Section 3.
If you want the 8685’s surround and 2.0 processors to operate with dif-
ferent presets, import a 2.0 preset into the active preset and save the
combination as a User Preset. Instructions for importing and editing a 2.0
preset are on page 3-27. Note that while the 2.0 and surround processors
can use different presets, all 2.0 processors must use the same preset.
Congratulations! You are now transmitting with your initial sound. Feel free to
read the material in Section 3 of this manual, which describes the various presets
and how you can customize them to achieve your desired signature sound.
Presets and Loudness: All 8685 TVxxxx presets are designed to produce
very similar loudness with speech and to do so regardless of the setting
of their LESS-MORE controls. Our goal was to allow these presets to be
used on-air without need for loudness adjustment, assuming that you
have told the 8685 what DIALNORM value you are transmitting to the con-
sumer. We set loudness partly by making appropriate compression
threshold and limiter drive adjustments, and partly by using the 8685’s
Loudness Controller.
Note that TVxxxx presets are designed for digital television. Do not con-
fuse these with the TVAxxxx presets, which should be used only when the
8685’s 2.0 processing is driving an analog television transmitter. (See step
10 on page 2-32 for instructions on how to configure your 8685 for ana-
log TV.)
We tuned the “Radio” presets to produce loudness that is approximately
the same as the TVxxxx presets. Unlike other Optimods, LESS-MORE ad-
justments have minimal effect on loudness and mainly set the amount of
compression. Because the 8685’s loudness controller is defeated in the
“Radio” presets, loudness will not be as consistent from source to source
as it is with the TVxxxx presets.
You can use the 8685’s loudness controller to improve the loudness con-
sistency of a “Radio” preset. First, adjust the preset with LESS-MORE to
achieve the desired processing texture. Then activate the loudness con-
troller by setting the preset’s LOUDNESS THRESHOLD control to –10 dB,
which matches the loudness controller’s threshold to the active DIALNORM
value. For the best tradeoff between consistent loudness and potential
artifacts, adjust the MB LIMITER DRIVE control so that the loudness control-
ler’s gain reduction meter typically indicates 3 dB. You should see the
Loudness Level meter peaking around at 0 dB. When you have finished
your adjustments, save the result as a User Preset.
See also Setting Preset Loudness Correctly for Dolby Digital Transmission
on page 3-20.
This concludes the guided Quick Setup procedure. However, you may wish to set up
some other 8685 features. These are described in the following optional steps.
OPTIMOD SURROUND LOUDNESS CONTROLLER INSTALLATION 2-19
12. Set the Processing Delay for a given signal path.

Audio: [various frame rates]

SDI Video: [1 to 11 frames]
A) Calculate the required video delay as follows:
a) The basic audio delay through your Optimod’s loudness processing is 0.033
seconds.
b) Add 0.146 seconds if you have activated Optimix in SYSTEM
SETUP>UTILITIES2.
c) Multiply this by your video frame rate and round up to the next exact
integer, which is the number of frames by which your Optimod and
Optimix will delay the audio.
d) If Dolby-E encoding is in use, add one frame.
The delay through Dolby-E is always one frame, so the absolute delay
through Dolby-E (in units of seconds) will vary according to the frame
rate in use.
e) If Dolby-E decoding is in use, add an additional frame.
f) If internal Dolby AC3 encoding is in use, add 0.187 seconds.
For example, 0.033 + 0.146 = 0.179. If your frame rate is 30 fps, calculate
0.179 x 30 = 5.37 frames. Round this up to 6 frames, which is the audio
delay through the Optimod when the SURROUND AUDIO DELAY is set to 30 fps.
Set both the external video delay and the Optimod’s SDI VIDEO DELAY con-
trol to 6 frames.
If Dolby-E encoding and decoding are in use, set both the external video
delay and the Optimod’s SDI VIDEO DELAY control to 8 frames instead.
g) LOCATE to INPUT/OUTPUT>SURROUND OUTPUT and set the SURROUND AUDIO
DELAY to match the framerate of your video.
These settings cause your Optimod to delay the audio and the serial
metadata (if used) to match the external video delay, and aligns the
boundaries of the metadata and video frames per Dolby’s requirements.
The SURROUND AUDIO DELAY control does not affect the delay to a given
output if that output is in AGC or Multiband mode.
B) If You Are Not Using HD-SDI I/O and Cannot Add Video Delay Externally:
Sometimes, it is impractical to delay the video externally. To accommo-
date those cases, the OPTIMIX Setup control (in I/O SETUP>UTILITIES2) can
specify ACTIVE and DEFEAT modes. In DEFEAT mode, Optimix processing is
“hard-wire bypassed” regardless of the “Optimix” settings in the active
processing preset, and the audio delay through your Optimod is then de-
termined by the setting of the Delay control associated with the output
you are using. This delay can be as short as one frame of 30 fps video.
If you set the audio delay to the frame rate you are using, the delay
through the Optimod will be exactly one frame unless Dolby-E is in use.
2-20 INSTALLATION ORBAN MODEL 6585

As usual, Dolby-E decoding will add one frame of delay and Dolby-E en-
coding will add an additional frame of delay.
The OPTIMIX setup control is part of the active Setup, not the processing
preset, so it affects all processing presets equally.
When Optimix is bypassed in the active Setup, a warning will appear on
the OPTIMIX tab of ADVANCED CONTROL on the Optimod’s front panel,
and “Optimix: Defeated” will appear in the informational “Optimix”
field just below the meters in PC Remote.

13. Complete Station ID (optional).

The Station ID is an optional setting that you can provide to name a given 8685.
The name can be up to eight characters long. It is used to identify your 8685 to
Orban’s 8685 PC Remote application and appears on the Main Screen when PC
Remote is controlling the 8685. It is also displayed on the Meters screen of the
8685 unit.
A) LOCATE to SETUP > PLACE/DATE/TIME > STATION IDENTIFIER (PLACE/DATE/TIME 3).
B) Use LOCATE to select each character in the ID and ENTER to confirm the selec-
tion.
C) When finished entering your name, LOCATE to SAVE. Then press ENTER.
D) When you select SAVE, you will return to the Setup main menu. If you press
ESCAPE, you can see the station name on the main screen.

14. Set up the 2.0 processors’ response to and transmission of AES3id status
bits (optional).

The default behavior of the 8685 is to ignore AES status bits because many pieces
of external equipment handle these incorrectly. However, the 8685 allows the
AES3 “channel mode” determine its 2.0 channel processing operating mode (ste-
reo or dual-mono). The AES3 channel mode specification provides for “two-
channel mode” (corresponding to 8685 dual-mono mode) with bits 1-4 in byte 1
in the pattern “0001,” and “stereophonic mode” (corresponding to 8685 stereo
mode) with these bits in the pattern “0100.”
The 8685 can also emit these status bits at its digital output to control down-
stream equipment.
A) LOCATE to INPUT/OUTPUT > 2.0 OUT (INPUT/OUTPUT 3) and set the 2.0 OUTPUT
FORMAT to AES.
SPDIF cannot be used to handle status bit because the specification does
not allow it.

B) To enable the 8685 to change its operating mode in response to AES status
bits received at its AES input:
a) LOCATE to SYSTEM SETUP > NETWORK/REMOTE > AES STAT BITS
(NETWORK/REMOTE 4).
b) Set IN>MODE to ON.
OPTIMOD SURROUND LOUDNESS CONTROLLER INSTALLATION 2-21
Unless you are sure that upstream equipment will correctly format these
bits, set IN>MODE to OFF.
c) Make sure that the equipment driving the 8685 is formatting its output as
AES3. SPDIF will not work.
C) To send “two-channel mode” and “stereophonic mode” bits indicating the
8685's current operating mode, set MODE>OUT to ON.
If this parameter is set to OFF, then the 8685 will output “0000” (“mode
not indicated’). This is the safest setting if you are uncertain whether
downstream equipment can respond appropriately to these bits.

15. Set the Video Time Offset (optional)

When video is passed through your Optimod via HD-SDI, the video frame bound-
ary at the output is time-coincident with the frame boundary at the SDI input or
video sync input, as selected by the SYNC SOURCE control. To compensate for
things like cable delay, the VIDEO TIME OFFSET control allow you to adjust the
frame boundaries of the output by up to +20/–53 pixels with respect to the sync
source.

I/O Setup
The following material provides detailed instructions on how to set up the 8685. If
QUICK SETUP does not fully address your setup needs or if you wish to customize
your system beyond those provided with QUICK SETUP, then you may need the addi-
tional information in the sections below. However, for most users, this material is
only for reference because QUICK SETUP has enabled them to set up the 8685 cor-
rectly.

For the following adjustments, use the LOCATE button to choose the parameter to be
adjusted and the knob to change its value.

Follow steps in order. Some later settings depend on earlier settings being correct.

1. Set the 2.0 maximum lowpass filter frequency as appropriate to your

application.

[10.0 kHz] to [20.0 kHz]; 1 kHz steps

The 2.0 processors’ lowpass filters are located before any dynamics processing
and affects all outputs equally. They are phase-linear FIR filters.
There is only one global bandwidth setting available for the 2.0 processors’
bandwidths; it is not possible to set the bandwidths of the individual 2.0 proces-
sors independently.
The surround processing does not offer a lowpass filter because it is
unlikely to be used in applications that need bandwidth limiting below
20 kHz.
2-22 INSTALLATION ORBAN MODEL 6585

The 2.0 processors’ audio bandwidths can be set in the active Setup and in the
EQ pages of the Basic, Intermediate, and Advanced Modify screens. The latter al-
lows the active preset to determine the bandwidth so you can change the band-
width by recalling a User Preset.
The 2.0 processors’ bandwidth is always the lowest of these settings. The fre-
quency in I/O SETUP is a technical parameter that determines the highest band-
width available. The installing engineer should set it to be congruent with the
sample rate of the digital system that the 8685 is driving. For example, if the
8685 is driving a system with a 32 kHz sample rate, set the MAX LPF to 15.0 KHZ.
That way, a setting of 20 kHz elsewhere will not cause excessive bandwidth and
aliasing because the 8685 will automatically override it with the MAX LPF setting.
A) LOCATE to INPUT/OUTPUT > UTILITIES.
B) Using the 2.0 MAX LOW PASS FILTER control, set the maximum bandwidth for
the 2.0 processing.
C) (optional) Using the SAVE/SAVE AS > SETUP screen, save the resulting Setup.
This will allow you to recall it later. Even if you do not save the setup ex-
plicitly, the 8685 will retain your settings (even after the unit is powered
off) until another Setup is recalled. However, it is wise to save Setups
formally so they cannot be overwritten accidentally.

2. Temporarily set the external AGC mode to “No.”

A) LOCATE to INPUT/OUTPUT > UTILITIES.

If you performed the previous step, you should be there already.

B) Set the SURROUND EXTERNAL AGC control to NO.

If you are using an external AGC before the 8685’s surround processing,
you should restore this setting to YES after the setup procedure is com-
plete.
C) Set the 2.0 EXTERNAL AGC control to NO.
If you are using an external AGC before the 8685’s 2.0 processing, you
should restore this setting to YES after the setup procedure is complete.

3. Set the routing between hardware inputs and processing inputs.

Starting with version 2.1 software, you can control the input and output routing
switchers from either a Processing Preset or a Setup. The default is Setup control.
Controlling the routing from the Processing preset allows you to recall both a
processing preset and routing with a single command, and this responds more
quickly than changing routing by recalling a Setup. However, if your routing
never changes, it is more convenient to control routing via the active Setup be-
cause the routing will stay the same when you recall Processing Presets.
A) To determine routing from a Processing Preset:
a) Recall or edit a Processing Preset so that it has the audio processing
parameters you wish to use on-air for a given routing.
OPTIMOD SURROUND LOUDNESS CONTROLLER INSTALLATION 2-23
b) LOCATE to I/O ROUTING > USE SYSTEM ROUTING and set this control to NO.
c) In the I/O ROUTING screen(s), set the routing switcher sources and
destinations as desired. Note that the routing controls all appear on one
screen in PC Remote, whereas they are distributed across several adjacent
screens on your Optimod’s front panel display.
d) Save your work as a User Preset.
B) To determine routing from a Setup, LOCATE to INPUT/OUTPUT > INP. ROUTING.
This screen allows you to choose which hardware inputs feed which process-
ing inputs. Note that if the active Processing Preset has its USE SYSTEM
ROUTING control set to NO, it will override the settings you made in the Setup.
Because each AES3id hardware input receives two audio channels, you
can only route pairs of audio channels. The only exception is C/LFE. The
C/LFE MAPPING control, located in the INPUT/OUTPUT 4 screen, lets you
swap these two channels.
It is OK to use one hardware input to drive more than one processing in-
put. For example, hardware input 1/2 can drive both the 2.0 processing
and the Lf/Rf inputs to the surround processing.
If your 8685 is equipped with Option 1 (HD-SDI I/O), then the routing
switcher will include both the SDI and AES3id sources and destinations.
Refer to step 4 below.
For an explanation of the FALLBACK input, see step 21 on page 2-41.

4. Set the routing between processing outputs and hardware outputs.

See the discussion of routing by using Processing Presets in step 3 above. This ap-
plies to both input and output routing.
A) To determine routing from a Setup, LOCATE to INPUT/OUTPUT > OUT ROUTING
and assign processing outputs to the hardware outputs as desired. Refer to
Table 2-2: Routing Switcher Sources and Destinations on page 2-26. The
sources feeding the outputs are:

• Lf/Rf (left front/right front)

• C/LFE (center/low frequency effects)

The 8685’s audio processing treats C and LFE differently, so it is not pos-
sible to pass the center input through the LFE processing channel and
vice-versa without seriously degrading the sound of the processing. The
input routing switcher allows you to swap the C and LFE channels. This is
appropriate if these are not assigned in the customary way on the AES or
SDI input, which is that “left” carries C and “right” carries LFE. You can
easily detect an accidental swap between dialog and LFE by observing
the 8685’s input level meters.

• Ls/Rs (left surround/right surround —the surround channels in 5.1 and 7.1)

• Lb/Rb (left back/right back —the rear channels in 7.1)

The 8685’s audio processing handles Ls and Lb the same, so it is possible
to swap these without compromising the sound of the processing. How-
2-24 INSTALLATION ORBAN MODEL 6585

ever, the Ls/Rs and Lb/Rb processing channels are not functionally inter-
changeable with the Lf and Rf channels.

• Lst/Rst (left stereo/right stereo — the outputs of the 2.0 processing chains)

• Ldm/Rdm (left downmix/right downmix — the outputs of the surround

processing, downmixed to stereo according to the settings in the
INPUT/OUTPUT > CHANNEL MODE page). See step 14 on page 2-37.

• Various monophonic variations of the above, which are convenient for do-
ing things like assigning the left and right outputs of the 2.0 processing to
separate hardware outputs when the 2.0 processing is in dual-mono
(1/0/1.0) mode and carrying independent monophonic programs on the
two channels.

You can assign a given processor output signal to more than one hard-
ware output. This allows using the 8685 as an AES splitter.
If you wish to use the 8685’s automatic fallback functionality in the base
configuration (no HD-SDI), you must use the 8685’s default input routing:
1/2>Lf/Rf, 3/4>C/LFE, and 5/6>Ls/Rs. See step 21 on page 2-41.
B) If the optional Dolby AC3 (Dolby Digital) encoder module is installed, LOCATE
to INPUT/OUTPUT > DOLBY ROUT and assign the desired sources to the input of
the AC3 encoder. The default is the output of the surround processing.

INPUT ROUTING MATRIX

Lf/Rf Source
Ls/Rs Source
C/LFE Source
Lb/Rb Source
2.0 Processor x Source
for each of four 2.0 processors
Dolby-E Metadata Source
OUTPUT ROUTING MATRIX
AES Channel 1/2 Output Routing
AES Channel 3/4 Output Routing
AES Channel 5/6 Output Routing
SDI Channel 1/2 Output Routing
AES_1/2, AES_3/4, AES_5/6, AES_7/8, SDI_1/2, SDI_3/4, SDI_5/6,
SDI_7/8, none; [Dolby-E option] DE_1/2, DE_3/4_, DE_5/6, DE_7/8
AES_1/2, AES_3/4, AES_5/6, AES_7/8, SDI_1/2, SDI_3/4, SDI_5/6,
SDI_7/8, none; [Dolby-E option] DE_1/2, DE_3/4_, DE_5/6, DE_7/8
AES_1/2, AES_3/4, AES_5/6, AES_7/8, SDI_1/2, SDI_3/4, SDI_5/6,
SDI_7/8, none; [Dolby-E option] DE_1/2, DE_3/4_, DE_5/6, DE_7/8
AES_1/2, AES_3/4, AES_5/6, SDI_1/2, SDI_3/4, SDI_5/6, SDI_7/8, none;
[Dolby-E option] DE_1/2, DE_3/4_, DE_5/6, DE_7/8
AES_1/2, AES_3/4, AES_5/6, SDI_1/2, SDI_3/4, SDI_5/6, SDI_7/8, none;
[Dolby-E option] DE_1/2, DE_3/4_, DE_5/6, DE_7/8
Serial, SDI VANC, Dolby-E decoder (if installed)
Lf/Rf, C/LFE, Ls/ Rs, Lb/ Rb, Lst1/Rst1, Lst2/Rst2,Lst3/Rst3, Lst4/Rst4,
Ldm/Rdm, Lst1>MONO, Rst1>MONO, Lst2>MONO, Rst2>MONO,
Lst3>MONO, Rst3>MONO, Lst4>MONO, Rst4>MONO, SDI_1/2, SDI_3/4,
SDI_5/6, SDI_7/8; [Dolby-E option] DE; [Dolby AC3 option] AC3
Lf/Rf, C/LFE, Ls/ Rs, Lb/ Rb, Lst1/Rst1, Lst2/Rst2,Lst3/Rst3, Lst4/Rst4,
Ldm/Rdm, Lst1>MONO, Rst1>MONO, Lst2>MONO, Rst2>MONO,
Lst3>MONO, Rst3>MONO, Lst4>MONO, Rst4>MONO, SDI_1/2, SDI_3/4,
SDI_5/6, SDI_7/8; [Dolby-E option] DE; [Dolby AC3 option] AC3
Lf/Rf, C/LFE, Ls/ Rs, Lb/ Rb, Lst1/Rst1, Lst2/Rst2,Lst3/Rst3, Lst4/Rst4,
Ldm/Rdm, Lst1>MONO, Rst1>MONO, Lst2>MONO, Rst2>MONO,
Lst3>MONO, Rst3>MONO, Lst4>MONO, Rst4>MONO, SDI_1/2, SDI_3/4,
SDI_5/6, SDI_7/8; [Dolby-E option] DE; [Dolby AC3 option] AC3
Lf/Rf, C/LFE, Ls/ Rs, Lb/ Rb, Lst1/Rst1, Lst2/Rst2,Lst3/Rst3, Lst4/Rst4,
Ldm/Rdm, Lst1>MONO, Rst1>MONO, Lst2>MONO, Rst2>MONO,
Lst3>MONO, Rst3>MONO, Lst4>MONO, Rst4>MONO, SDI_1/2; [Dolby-E
option] DE; [Dolby AC3 option] AC3
OPTIMOD SURROUND LOUDNESS CONTROLLER
SDI Channel 3/4 Output Routing
SDI Channel 5/6 Output Routing
SDI Channel 7/8 Output Routing
SDI Chan 9/10 Output Routing*
SDI Chan 11/12 Output Routing*
SDI Chan 13/14 Output Routing*
SDI Chan 15/16 Output Routing*
Analog Output Routing
Analog Headphone Routing
Dolby-E Channel 1/2
Output Routing
Dolby-E Channel 3/4
Output Routing
Dolby-E Channel 5/6
Output Routing
Dolby-E Channel 7/8
Output Routing
Dolby AC3 (Dolby Digital)
Channel 1/2 Output Routing
Dolby AC3 (Dolby Digital)
Channel 3/4 Output Routing
Dolby AC3 (Dolby Digital)
Channel 5/6 Output Routing
INSTALLATION 2-25
Lf/Rf, C/LFE, Ls/ Rs, Lb/ Rb, Lst1/Rst1, Lst2/Rst2,Lst3/Rst3, Lst4/Rst4,
Ldm/Rdm, Lst1>MONO, Rst1>MONO, Lst2>MONO, Rst2>MONO,
Lst3>MONO, Rst3>MONO, Lst4>MONO, Rst4>MONO, SDI_3/4; [Dolby-E
option] DE; [Dolby AC3 option] AC3
Lf/Rf, C/LFE, Ls/ Rs, Lb/ Rb, Lst1/Rst1, Lst2/Rst2,Lst3/Rst3, Lst4/Rst4,
Ldm/Rdm, Lst1>MONO, Rst1>MONO, Lst2>MONO, Rst2>MONO,
Lst3>MONO, Rst3>MONO, Lst4>MONO, Rst4>MONO, SDI_5/6; [Dolby-E
option] DE; [Dolby AC3 option] AC3
Lf/Rf, C/LFE, Ls/ Rs, Lb/ Rb, Lst1/Rst1, Lst2/Rst2,Lst3/Rst3, Lst4/Rst4,
Ldm/Rdm, Lst1>MONO, Rst1>MONO, Lst2>MONO, Rst2>MONO,
Lst3>MONO, Rst3>MONO, Lst4>MONO, Rst4>MONO, SDI_7/8; [Dolby-E
option] DE; [Dolby AC3 option] AC3
Lf/Rf, C/LFE, Ls/ Rs, Lb/ Rb, Lst1/Rst1, Lst2/Rst2,Lst3/Rst3, Lst4/Rst4,
Ldm/Rdm, Lst1>MONO, Rst1>MONO, Lst2>MONO, Rst2>MONO,
Lst3>MONO, Rst3>MONO, Lst4>MONO, Rst4>MONO, SDI_1/2; [Dolby-E
option] DE, AES_1/2, AES_3/4, AES_5/6
Lf/Rf, C/LFE, Ls/ Rs, Lb/ Rb, Lst1/Rst1, Lst2/Rst2,Lst3/Rst3, Lst4/Rst4,
Ldm/Rdm, Lst1>MONO, Rst1>MONO, Lst2>MONO, Rst2>MONO,
Lst3>MONO, Rst3>MONO, Lst4>MONO, Rst4>MONO, SDI_3/4; [Dolby-E
option] DE, AES_1/2, AES_3/4, AES_5/6
Lf/Rf, C/LFE, Ls/ Rs, Lb/ Rb, Lst1/Rst1, Lst2/Rst2,Lst3/Rst3, Lst4/Rst4,
Ldm/Rdm, Lst1>MONO, Rst1>MONO, Lst2>MONO, Rst2>MONO,
Lst3>MONO, Rst3>MONO, Lst4>MONO, Rst4>MONO, SDI_5/6; [Dolby-E
option] DE, AES_1/2, AES_3/4, AES_5/6
Lf/Rf, C/LFE, Ls/ Rs, Lb/ Rb, Lst1/Rst1, Lst2/Rst2,Lst3/Rst3, Lst4/Rst4,
Ldm/Rdm, Lst1>MONO, Rst1>MONO, Lst2>MONO, Rst2>MONO,
Lst3>MONO, Rst3>MONO, Lst4>MONO, Rst4>MONO, SDI_7/8; [Dolby-E
option] DE, AES_1/2, AES_3/4, AES_5/6
Lf/Rf, Lst1/Rst1, Lst2/Rst2, Lst3/Rst3, Lst4/Rst4, Ldm/Rdm, Lf, Rf, C, LFE,
Ls, Rs, Lb, Rb, Lst, Rst, Ldm, Rdm, Lst1, Rst1, Lst2, Rst2, Lst3, Rst3, Lst4,
Rst4, AES_1/2, AES_3/4, AES_5/6, SDI_1/2, SDI_3/4, SDI_5/6, SDI_7/8
Lf/Rf, Lst1/Rst1, Lst2/Rst2, Lst3/Rst3, Lst4/Rst4, Ldm/Rdm, Lf, Rf, C, LFE,
Ls, Rs, Lb, Rb, Lst, Rst, Ldm, Rdm, Lst1, Rst1, Lst2, Rst2, Lst3, Rst3, Lst4,
Rst4, AES_1/2, AES_3/4, AES_5/6, SDI_1/2, SDI_3/4, SDI_5/6, SDI_7/8
Lf/Rf, C/LFE, Ls/ Rs, Lb/ Rb, Lst1/Rst1, Lst2/Rst2,Lst3/Rst3, Lst4/Rst4,
Ldm/Rdm, Ldm/Rdm, Lst>MONO, Lst1>MONO, Rst1>MONO,
Lst2>MONO, Rst2>MONO, Lst3>MONO, Rst3>MONO, Lst4>MONO,
Rst4>MONO
Lf/Rf, C/LFE, Ls/ Rs, Lb/ Rb, Lst1/Rst1, Lst2/Rst2,Lst3/Rst3, Lst4/Rst4,
Ldm/Rdm, Ldm/Rdm, Lst>MONO, Lst1>MONO, Rst1>MONO,
Lst2>MONO, Rst2>MONO, Lst3>MONO, Rst3>MONO, Lst4>MONO,
Rst4>MONO
Lf/Rf, C/LFE, Ls/ Rs, Lb/ Rb, Lst1/Rst1, Lst2/Rst2,Lst3/Rst3, Lst4/Rst4,
Ldm/Rdm, Ldm/Rdm, Lst>MONO, Lst1>MONO, Rst1>MONO,
Lst2>MONO, Rst2>MONO, Lst3>MONO, Rst3>MONO, Lst4>MONO,
Rst4>MONO
Lf/Rf, C/LFE, Ls/ Rs, Lb/ Rb, Lst1/Rst1, Lst2/Rst2,Lst3/Rst3, Lst4/Rst4,
Ldm/Rdm, Ldm/Rdm, Lst>MONO, Lst1>MONO, Rst1>MONO,
Lst2>MONO, Rst2>MONO, Lst3>MONO, Rst3>MONO, Lst4>MONO,
Rst4>MONO
Lf/Rf, C/LFE, Ls/ Rs, Lb/ Rb, Lst1/Rst1, Lst2/Rst2,Lst3/Rst3, Lst4/Rst4,
Ldm/Rdm, Ldm/Rdm, Lst>MONO, Lst1>MONO, Rst1>MONO,
Lst2>MONO, Rst2>MONO, Lst3>MONO, Rst3>MONO, Lst4>MONO,
Rst4>MONO
Lf/Rf, C/LFE, Ls/ Rs, Lb/ Rb, Lst1/Rst1, Lst2/Rst2,Lst3/Rst3, Lst4/Rst4,
Ldm/Rdm, Ldm/Rdm, Lst>MONO, Lst1>MONO, Rst1>MONO,
Lst2>MONO, Rst2>MONO, Lst3>MONO, Rst3>MONO, Lst4>MONO,
Rst4>MONO, SDI_1/2, SDI_3/4, SDI_5/6, SDI_7/8; [Dolby-E option]
DE_3/4
Lf/Rf, C/LFE, Ls/ Rs, Lb/ Rb, Lst1/Rst1, Lst2/Rst2,Lst3/Rst3, Lst4/Rst4,
Ldm/Rdm, Ldm/Rdm, Lst>MONO, Lst1>MONO, Rst1>MONO,
Lst2>MONO, Rst2>MONO, Lst3>MONO, Rst3>MONO, Lst4>MONO,
Rst4>MONO
2-26 INSTALLATION ORBAN MODEL 6585

Lf/Rf, C/LFE, Ls/ Rs, Lb/ Rb, Lst1/Rst1, Lst2/Rst2,Lst3/Rst3, Lst4/Rst4,

Dolby AC3 (Dolby Digital)
Channel 7/8 Output Routing
NOTES and ABBREVIATIONS:
Ldm/Rdm, Ldm/Rdm, Lst>MONO, Lst1>MONO, Rst1>MONO,
Lst2>MONO, Rst2>MONO, Lst3>MONO, Rst3>MONO, Lst4>MONO,
Rst4>MONO
DE = Dolby-E; dm = downmix; Lstx = left channel of 2.0 processor x (x =
1…4); Rstx = right channel of 2.0 processor x; MONO = identical signals
appear on channels 1 and 2 of given destination
* SDI channels 9-16 routing is not yet implemented.

Table 2-2: Routing Switcher Sources and Destinations

5. Set the 2.0 input de-emphasis.

[Flat, J.17]
You can configure the 8685 to apply J.17 de-emphasis to input signals assigned
to the 2.0 processing. J.17 is first-order shelving pre-emphasis/de-emphasis with
breakpoints at 400 Hz and 4 kHz. It is rarely used now; in broadcasting, it was
mostly used in NICAM links.
A) LOCATE to INPUT/OUTPUT > INPUT.
B) Set the 2.0 INPUT PRE-EMPHASIS control to FLAT or J.17. If in doubt, choose FLAT,
which is correct for almost all installations.
C) Set the 2.0 INPUT PRE-EMPHASIS control to FLAT or J.17

6. Adjust the surround input reference Level.

[−40 dBFS to –10 dBFS (VU), or [−33 dBFS to –3 dBFS (PPM)] in 0.5 dB steps
This step matches the 8685’s average AGC gain reduction to the level to which
program material is normally peaked on the studio meters. It makes the 8685’s
processing presets operate in their preferred range. Correctly setting the input
reference level ensures that processing presets will produce their intended
sound, controlling loudness effectively and subtly.

• If your organization uses a standardized line-up level, you can simply set the
8685’s SURROUND INPUT REFERENCE VU control to this level and skip to step
(H). However, we strongly suggest checking the result of your setting by us-
ing the procedure starting with step (A) and choosing to calibrate using pro-
gram (step (G)).
There are two commonly used line-up levels: SMPTE (–20 dBFS) and EBU
(–18 dBFS).

• Note that you are calibrating to the average indication of the studio meters;
this is quite different from the actual peak level.

• The reference level VU (average) and PPM (quasi-peak) settings are not inde-
pendent—they track each other with an offset of 7 dB. This compensates for
the typical indications with program material on a VU meter versus the
higher indications on a PPM.

A) LOCATE to RECALL/IMPORT.
B) Turn the knob until ROCK MEDIUM appears in the lower line of the display.
OPTIMOD SURROUND LOUDNESS CONTROLLER INSTALLATION 2-27
C) Press the ENTER button to recall the preset.
D) Verify that the 8685’s SURROUND EXTERNAL AGC control is set to NO.
Refer to step 2 on page 2-22.

E) LOCATE to INPUT/OUTPUT > INPUT > SURROUND INPUT REFERENCE (VU or PPM, de-
pending on which metering system you use).
F) Calibrate using tone.
If your facility does not use a formal reference level and/or if the link to
the 8685’s input uses J.17 pre-emphasis (which is only available for the 2.0
input; see step 5 on page 2-26):
• To calibrate using tone, perform steps (a) and (b) below.

• To calibrate using program material, skip to step (G) on page 2-27.

a) If you are not using a studio level controller, feed a 400 Hz tone into the Lf
and Rf channels of the 8685 through your console at your normal program
line-up level (typically 0 VU if your console uses VU meters). Do not drive
any other channels.
b) If you are using a studio level controller that performs an AGC function,
feed a 400 Hz tone at your normal program level into its Lf and Rf channels
and adjust the studio level controller for normal operation.
c) Adjust the 8685’s SURROUND INPUT REFERENCE (VU or PPM) control to make
the 8685’s AGC meter indicate 10 dB gain reduction.
d) Skip to step (H).
G) Calibrate using program.
[Skip this step if you are using Tone to calibrate the 8685 to your stan-
dard studio level—see step (F) above.]
a) Feed normal program material to the 8685
Play program material from your studio, peaking at the level to which
you normally peak program material (typically 0VU if your console uses
VU meters).

b) Adjust the SURROUND INPUT REFERENCE (VU or PPM) control to make the
8685’s AGC meters indicate an average of 10 dB gain reduction when the
console’s VU meter or PPM is peaking at its normal level.
If the AGC gain reduction meter averages less than 10 dB gain reduction
(higher on the meter), re-adjust the SURROUND INPUT REFERENCE (VU or
PPM) to a lower level.

If the AGC gain reduction meter averages more gain reduction (lower on
the meter), re-adjust the SURROUND INPUT REFERENCE (VU or PPM) to a
higher level.

H) When finished, reset the 8685’s SURROUND EXTERNAL AGC control to YES, if re-
quired (e.g., if that was its setting prior to your setting the SURROUND INPUT
REFERENCE (VU or PPM) level).
2-28 INSTALLATION ORBAN MODEL 6585

Refer to step 2 on page 2-22.

7. Adjust the 2.0 input reference Level.

[Skip this step if you will not be using the 2.0 processing.]
Repeat step 6 on page 2-26, but use the 2.0 INPUT REFERENCE (VU OR PPM) con-
trol. If you choose to calibrate using tone or program material, drive the 2.0
processing’s inputs. All four 2.0 processors share the same reference level.

8. Set the 2.0 output configuration.

[Skip this step if you will not be using the 2.0 processing.]
All four 2.0 processors share the same configuration and cannot be configured
independently.
Refer to step 12 on page 2-19 for a discussion of A/V sync issues.
A) LOCATE to INPUT/OUTPUT > 2.0 OUTPUT (INPUT/OUTPUT 3).
B) Set the 2.0 OUTPUT SYNC to INTERNAL, IN 1-2, SYNC IN, VIDEO SYNC, SDI or any of
the 8685’s AES3id inputs.

• If you are using the SDI input, we recommend setting the 2.0 OUTPUT SYNC
to SDI. This will ensure most stable operation.

• INTERNAL synchronizes output sample rate of the 2.0-connected hardware

output that carries the 2.0 processing to the 8685 internal crystal time base.
If there is no valid signal present on the chosen reference input, the 8685
uses internal sync until a valid signal appears.

• SYNC IN synchronizes the output sample rate to AES3id, AES11id, or word

clock applied to the 8685’s SYNC INPUT. It will overwrite the setting of the
8685’s 2.0 OUTPUT RATE control.

• IN 1-2 synchronizes the output sample rate to a signal appearing on AES3id

input 1-2.

• VIDEO SYNC synchronizes the sample rate to a SMPTE 274M or SMPTE 296M-
compliant source applied to the 8685’s VIDEO SYNC INPUT. It will overwrite
the setting of the 8685’s 2.0 OUTPUT RATE control.
If you have OPTION #2 or OPTION #3 installed and are using the Dolby E
encoder, you must use the VIDEO SYNC setting unless your 8685 is receiv-
ing an HD-SDI signal that is strictly complaint with SMPTE 299M-2004
5.2.1. If the signal complies with SMPTE 299M-2004 5.2.1, we recommend
using the SDI setting (see below). See Dolby E Encoder Synchronization
on page 2-8.

• SDI synchronizes the sample rate to a SMPTE 259M, 292M, or 424M-

compiant signal applied to the 8685’s HD-SDI input.

C) Set the 2.0 OUTPUT RATE to 32, 44.1, 48, 88.2, or 96 kHz.
OPTIMOD SURROUND LOUDNESS CONTROLLER INSTALLATION 2-29
• If you are using INTERNAL sync [step (B) above], 48 kHz is preferred because
its samples are synchronous with the peak-controlled samples in the proc-
essing. If you are using external sync, this special relationship no longer
holds.

• Selecting a 32 kHz output sample rate will automatically set the highest
available audio bandwidth to 15 kHz.

• 2.0 OUTPUT RATE affects the usable range of test tone frequencies. When
2.0 OUTPUT RATE is set to 32 kHz, the highest usable tone frequency is
15 kHz. When 2.0 OUTPUT RATE is set to 44.1 or above, all tone frequencies
are usable.

D) Set the 2.0 OUTPUT WORD LENGTH.

[14], [16], [18], [20], or [24], in bits
The largest valid word length in the 8685 is 24 bits
The 8685 can truncate its output word length to 20, 18, 16 or 14 bits and
can add appropriate dither before the truncation to linearize it (see the
next step).
E) Set the 2.0 OUTPUT DITHER to IN or OUT, as desired.
[In] or [Out]
When this control is set to IN, the 8685 adds “high-pass” dither before
any truncation of the output word. The amount of dither automatically
tracks the setting of the WORD LEN control. This first-order noise-shaped
dither considerably reduces added noise in the midrange by comparison
to white PDF dither. However, unlike extreme noise shaping, it adds a
maximum of 3 dB of excess total noise power when compared to white
PDF dither. Thus, it is a good compromise between white PDF dither and
extreme noise shaping.
To ensure maximum system linearity, it is wise to set this control to IN.

F) Set 2.0 OUTPUT FORMAT to AES or SPDIF

G) Set 2.0 OUTPUT SOURCE control. The choices are:

• AGC (stereo enhancement, equalization, and AGC without peak limiting)

• AGC+LIMIT (stereo enhancement, equalization, AGC, and look-ahead peak

limiting)

• MULTIBAND (stereo enhancement, equalization, AGC, and two-band or 5-

Band compression without peak limiting)

• MB+LIMIT (stereo enhancement, equalization, AGC, two-band or 5-Band

compression, and look-ahead peak limiting).

See step 8 on page 2-12 for more about these choices.

H) Set the 2.0 OUTPUT PRE-EMPHASIS control. The choices are FLAT, 50μs or 75μs.
2-30 INSTALLATION ORBAN MODEL 6585

• Use FLAT if you are driving a channel that does not use pre-emphasis. (Very
few digital channels use pre-emphasis.) Set the control FLAT for DAB, DRM,
HD Radio, digital television, netcasts, and any other channel that uses a
lossy codec. When in doubt, set this control FLAT.

• Use 50μs if you are driving a channel that is pre-emphasized at 50μs, such as
an analog TV aural transmitter in European countries.

• Use 75μs if you are driving a channel that is pre-emphasized at 75μs, such as
an analog aural transmitter in the Americas (Region 2).

When the control is set to 50μs or 75μs, the signal feeding the 2.0 look-
ahead limiter has this pre-emphasis applied to it before it feeds the lim-
iter and complementary de-emphasis is applied after the limiter. The fre-
quency response through the limiter therefore remains flat below the
threshold of limiting but high frequencies cause the limiter to produce
more wideband gain reduction than do low frequencies. Because de-
emphasis is applied after the limiter, the transmitter that follows the
8685’s output must apply the final transmission pre-emphasis.
With 5-Band presets, the OUTPUT PRE-EMPHASIS control determines if the
5-band compressor’s sidechain is pre-emphasized at 50μs or 75μs. This
makes the 5-band compressor “pre-emphasis-aware,” allowing bands 4
and 5 to be used as a high-frequency limiter to prevent the look-ahead
limiter (which creates wideband gain reduction) from creating audible
“pumping” or “gulping” artifacts on program material that is rich in high
frequencies, like “esses” in speech.
The 2.0 processing in the “TVA” presets is tuned to complement 50μs and
75μs pre-emphasis. See Table 3-1 on page 3-29.
I) Set the 2.0 OUTPUT DELAY control.
This sets the time delay between the 8685’s input and output in units of
milliseconds or frames. All common frame rates are supported without
the need to convert them into milliseconds.
MINIMUM delays the signal as little as possible. When MINIMUM is chosen,
the delay will depend on which output feed is in use (step (G) above) and
the setting of the active preset’s AGC CROSSOVER control. However, if the
delay is not set to MINIMUM, the delay through the 8685 will be the same
as the setting of the 2.0 OUTPUT DELAY control regardless of the settings
of other controls.
In most cases, it is appropriate to set the delay so that is equal to one or
two frames of the television standard that you are using. (Two frames are
required for 59.94/60 fps progressively scanned video.) This allows you to
apply video delay to maintain AV sync accurately.
If you are using an HD-SDI connection, the 8685 can apply the appropri-
ate video delay.

If it is impossible to delay the video, set the OUTPUT DELAY control to

MINIMUM. This will produce approximately 20 ms of delay, which is low
enough not to cause detectable AV sync problems.
OPTIMOD SURROUND LOUDNESS CONTROLLER INSTALLATION 2-31
9. Set the 2.0 processing’s output level if OUTPUT PRE-EMPHASIS control is set
Flat.

[Skip this step if the OUTPUT PRE-EMPHASIS control is set to 50μs or 75μs.]
LOCATE to INPUT/OUTPUT > 2.0 OUT > 2.0 OUTPUT LEVEL (100%) and set the 2.0
OUTPUT LEVEL (100%) control to desired peak level in units of dBFS (dB with re-
spect to digital full scale). The setting of the 2.0 OUTPUT 100% control is the
maximum peak level that the 8685 can produce at its output. This level corre-
sponds to a reading of 0 dB on the 8685’S 2.0 OUTPUT METER.
Typical settings are –0.5 dBFS to –3.0 dBFS, depending on whether sam-
ple rate conversion and/or lossy encoding is occurring downstream from
the 8685. Refer to Setting Output/Modulation Levels on page 1-23.

• If the 2.0 OUTPUT SOURCE is AGC+LIMIT or MB+LIMIT (step (8.G) on page 2-29),
the 8685’s look-ahead limiter will automatically constrain the peak output
level to the setting of the 2.0 OUTPUT 100% control without clipping.

• If and only if the 2.0 OUTPUT SOURCE is MB+LIMIT, the average level and loud-
ness do not change when you adjust the 2.0 OUTPUT Level (100%) control. The
control only sets the maximum peak level at the 8685’s output. For every dB
that the 2.0 OUTPUT SOURCE is turned down, the 8685 automatically increases
the limiter drive by 1 dB to compensate. This is to ensure that the output
loudness is always consistent with the 8685’s active DIALNORM setting.

• If the 2.0 OUTPUT SOURCE is AGC or MB, the 8685’s output level is not peak
limited. However, its average value is usually well controlled by the 8685’s
multiband compressor and loudness controller. The 8685’s peak output level
will depend on the peak-to-average ratio of the program material, so clip-
ping is possible if the 2.0 LIMITER DRIVE control in the active preset is set too
high.
It is normal for the 2.0 OUTPUT LEVEL meter to indicate 0 dB on peaks
when the 2.0 OUTPUT SOURCE is AGC+LIMIT or MB+LIMIT. This does not in-
dicate clipping; the look-ahead limiter is constraining peaks to this level.
The only reason to choose the AGC or MB output sources is to minimize
input/output delay, which is important if you are driving talent head-
phones from the 8685’s output. Otherwise, AGC+LIMIT and MB+LIMIT are
preferred because the 8685’s look-ahead limiter prevents clipping in
normal operation.
To prevent objectionable clipping distortion when the 2.0 OUTPUT SOURCE
is AGC or MB, set the 2.0 LIMITER DRIVE control as follows:
a) Make sure that the program material is loud enough to produce normal
amounts of gain reduction in the AGC (if activated), the multiband
compressor/limiter, and the loudness controller (if activated).
b) If the 8685’s 2.0 OUTPUT LEVEL meter is frequently hitting the top of its scale
(0 dB) and the 8685’s look-ahead limiter is defeated (as it is when the 2.0
OUTPUT SOURCE is AGC or MB), then excessive clipping is occurring. Turn
2-32 INSTALLATION ORBAN MODEL 6585

down 2.0 LIMITER DRIVE control until you no longer see clipping on the
meter.
Occasional light clipping is usually inaudible. It is sometimes preferable to
allow occasional clipping in order to use the headroom available in the
downstream channel most efficiently. This depends on the headroom
available—for example, in a 24-bit channel, there is no excuse for clip-
ping at any time.
If the 2.0 OUTPUT LEVEL meter is indicating very low levels, you may wish
to turn up the 2.0 LIMITER DRIVE control to better use the downstream
headroom.
c) Once you have determined a good setting for this control, save the preset
as User preset.

10. Set the 2.0 processing’s output level if OUTPUT PRE-EMPHASIS control is set
to 50μs or 75μs.

[Skip this step if the OUTPUT PRE-EMPHASIS control is set FLAT.]

We recommend using 5-Band “TVA” presets (or User Presets derived from them)
when the 2.0 OUTPUT PRE-EMPHASIS control [step (8.H) on page 2-29] is set to 50μs
or 75μs. The 2.0 processing in the “TVA” presets is designed to feed an analog TV
aural channel using 50us or 75us pre-emphasis. The surround processing in these
presets is identical to the surround processing in the corresponding “TV” presets,
whose 2.0 processing is optimized to drive channels with no pre-emphasis. The
main purpose of the “TVA” presets is to allow the 8685 to process analog and
digital transmission channels simultaneously, which is useful for stations in coun-
tries that have not completed the transition to all-digital broadcasting.
To simplify setup, the “TVA” presets have local values of 2.0 DIALNORM (–17 dB),
2.0 LOWPASS FILTER CUTOFF (15 kHz), and 2.0 HIGHPASS FILTER CUTOFF (20 Hz).
These values override the corresponding global values in the active Transmission
Preset.
The filter settings complement analog aural carriers, while the value of DIALNORM
matches the loudness of the 8685’s 2.0 processing to the loudness of an Opti-
mod-TV designed for analog television (like Optimod-TV 8282 and 8382) when
the peak output levels of the two processors are the same and when the 2.0
OUTPUT 100% control is set to 0.0 dBFS.
A) Set the 2.0 Output Source to MB+LIMIT (step (8.G) on page 2-29).
The 8685’s look-ahead limiter will automatically control the peak modu-
lation of a transmitter that applies 50μs or 75μs to its input. Moreover,
the average level and loudness do not change when you adjust the 2.0
OUTPUT LEVEL (100%) control. The control only sets the maximum peak
level at the 8685’s output. For every dB that the 2.0 Output Source is
turned down, the 8685 automatically increases the limiter drive by 1 dB
to compensate. This is to ensure that the output loudness is always con-
sistent with the 8685’s active Dialnorm setting.
B) Make sure that pre-emphasis is set according to the standard used in your
country. See step (8.H) on page 2-29.
OPTIMOD SURROUND LOUDNESS CONTROLLER INSTALLATION 2-33
C) Make sure that your transmitter is configured to apply pre-emphasis to the
audio it receives from the 8685.
D) LOCATE to INPUT/OUTPUT > 2.0 OUT > 2.0 OUTPUT LEVEL (100%) and set the 2.0
OUTPUT LEVEL (100%) control to 0.0 dBFS.
E) Set your transmitter’s modulation with tone.
a) LOCATE to SYSTEM SETUP > TEST MODES.
b) Choose TONE. Set FREQUENCY to 100 HZ and LEVEL to 100%.
c) Click the TONE button.
d) LOCATE to the MAPPING page (to the right of the TEST MODES page) and set
the L 2.0 TONE PROC X AND R 2.0 TONE PROC X fields to TONE, where “x” is a
number from 1 to 4 that identifies which of the four available 2.0
processors you are using to drive the transmitter.
e) If you are driving your transmitter with the 8685’s analog outputs: LOCATE
to INPUT/OUTPUT > UTILITIES and adjust the ANALOG OUTPUT LEVEL control to
produce 100% modulation of your transmitter as measured by the peak
modulation instrument specified by your country’s regulatory authority.
This assumes you have routed the 2.0 processing’s left and right outputs
to the analog outputs. The routing matrix is located in the OUTPUT
ROUTING tab in I/O SETUP.
f) If you are driving your transmitter with an 8685 digital output: Use a gain
control following the 8685 output (typically, your analog transmitter’s
sensitivity control) to produce 100% modulation of your transmitter.
Achieving correct on-air loudness and proper operation of the 8685’s
loudness meter requires you to align the transmission system following
the 8685 so that 0.0 dBFS at the 8685’s output corresponds to 100% peak
modulation of the transmitter. Using the 8685’s 2.0 OUTPUT LEVEL control
to set the gain between the 8685 and the transmitter will not produce
correct loudness meter calibration and on-air loudness because this con-
trol only sets the maximum peak level while attempting to maintain the
average modulation constant when adjusted. It does this by driving the
look-ahead limiter 1 dB harder for every 1 dB that the 2.0 OUTPUT LEVEL is
turned down.
F) Test modulation with program material to determine the overshoot in your
transmission system.
a) LOCATE to SYSTEM SETUP > TEST MODES and choose OPERATE.
b) Recall the TVA 5B GEN PURPOSE preset.
c) Apply typical program material to the 8685’s input. Verify that the 2.0
LIMITER GR meters are indicating gain reduction on peaks, which ensures
that the 8685 is producing 100% peak modulation on program material.
d) Measure your transmitter’s peak modulation. If this exceeds 100%, turn
down the 8685’s 2.0 OUTPUT LEVEL control until the modulation of peaks of
frequent recurrence is constrained to 100% deviation.
2-34 INSTALLATION ORBAN MODEL 6585

Turning down the 2.0 OUTPUT 100% control reduces the peak modula-
tion without significantly affecting the average modulation. Hence, using
this technique keeps the 8685’s LOUDNESS LEVEL meter correctly calibrated
and provides correct on-air loudness.
G) Check loudness with respect to other stations in your market and correct your
average modulation if necessary.
The instructions above provide a good balance with existing analog tele-
vision transmissions that are processed with one of Orban’s processors de-
signed for analog television (818, 8182, 8282, 8382), but may not be con-
sistent with new recommended practices. In Europe, refer to EBU Tech
3344 (Practical guidelines for distribution systems in accordance with EBU
R 128), Section 5.
The U.S. counterpart (ATSC A/85) does not have recommendations for
loudness alignment of analog television transmissions because such
transmissions have mostly ceased in the U.S. (except for LPTV as of this
writing).
Because standards do not exist or not yet widely implemented, the loud-
ness of your analog transmission might be different from other stations
in your market. If this is so, match the 8685’s loudness to the other sta-
tions by adjusting the 2.0 DIALNORM control in the on-air preset. In PC
Remote, this control is located in the 2.0 LESS-MORE TAB; on the 8685’s
front panel, the control is located in ADVANCED MODIFY > DISTORTION. For
example, changing DIALNORM from –17 dB to
–15 dB makes the transmission 2 dB louder. Adjusting DIALNORM is the
only correct way to adjust on-air loudness after the system has been cali-
brated according to steps (E) and (F) above; this technique will retain cor-
rect calibration of the 8685’s loudness level meter and loudness control-
ler.
Note that increasing the loudness in this way will increase the likelihood
that the 8685’s look-ahead limiter will create audible “pumping” or
“gulping” artifacts on program material that is rich in high frequencies
because the look-ahead limiter is operating on a pre-emphasized signal
and because turning up DIALNORM drives the look-ahead limiter harder. If
you hear such artifacts, we recommend that you use a 5-Band TVA preset
if you are not doing so already. This allows you to use the Band 5 com-
pressor/limiter as a high-frequency limiter. If you hear audible pumping
on material rich in high frequencies, turn down the B5 THRESHOLD control
until you find the most subjectively pleasing trade-off between high fre-
quency loss and look-ahead limiter pumping. You can also try speeding
up the B5 ATTACK control by setting it to a lower number, or adjusting
the both controls to taste.
When you use a 2-Band “TVA” preset, some material rich in high fre-
quencies may cause subtle pumping even with DIALNORM set to its nomi-
nal –17 dB value. This is because the 2-band compressor cannot produce
high frequency limiting, so pre-emphasis control must be performed by
the loudness controller and look-ahead limiter. We have tuned the 5-
Band factory “TVA” presets to produce appropriate amounts of high-
frequency limiting. We therefore recommend that if you need to use a
“TVA” preset, use a 5-Band preset unless you have a very good reason
not to do so.
OPTIMOD SURROUND LOUDNESS CONTROLLER INSTALLATION 2-35
11. Set the surround output configuration and level.

Refer to step 12 on page 2-19 for a discussion of A/V sync issues

A) LOCATE to INPUT/OUTPUT > SURROUND OUTPUT.
B) Follow the procedure in step 8 on page 2-28, replacing “2.0” by “surround.”
Note that the SURROUND OUTPUT SYNC and 2.0 OUTPUT SYNC controls track each
other automatically; you cannot have separate sources for surround and 2.0
output sync.
C) Follow the procedure in step 9 on page 2-31, replacing “2.0” by “surround.”

12. Set surround and 2.0 global Dialnorm values. (Very important!)

This step applies only to digital TV transmissions. If you are driving an analog TV
transmitter, refer to step 10 on page 2-32.
See step 10 on page 2-14.
Set the global Dialnorm controls for surround and 2.0 to the same value of Dial-
norm that you are transmitting to your audience. The global Dialnorm settings
are in INPUT/OUTPUT > UTILITIES.
If your Optimod is receiving Dolby E metadata, note the following points:

• The 8685 can, via an SMPTE RDD 06-2008-compliant RS-485 serial connection,
via an HD-SDI connection, or via embedded Dolby-E metadata (when the op-
tional Dolby-E modules are installed), automatically convey its active sur-
round metadata value to a downstream Dolby Digital encoder like the Dolby
DP-569, which must be set up according to its operating instructions to re-
ceive and act upon this input. This greatly reduces the possibility that opera-
tor error will cause the wrong value of surround metadata to be transmitted
to consumers.
To emit an RDD 06-2008-compliant signal, the 8685 must be receiving a valid
input stream that is compliant with RDD 06-2008-this is necessary to synchro-
nize the output metadata to video frame boundaries per the Dolby specifica-
tion. When a valid input stream in present, the 8685 passes this stream un-
changed to its output except for the following modifications:

o The ac3_dialnorm word in the output metadata stream is reau-

thored so it is the same as the 8685's active Dialnorm value.

o The ac3_dynrnge word in the output stream is set to 0, indicating

that the downstream AC3 encoder must reauthor the line-mode DRC
metadata, following the level compression profile found in the
ac3_dynrng1 word in the input metadata.

o The ac3_compre word in the output stream is set to 0, indicating

that the down-stream AC3 encoder must reauthor the RF-mode DRC
metadata, following the level compression profile found in the
ac3_compr1 word in the input metadata. You can use the 8685’s RS-
2-36 INSTALLATION ORBAN MODEL 6585

485 serial output to convey surround DIALNORM to the Dolby DP569

Encoder automatically.

• All outputs (RS-485 serial, Dolby E, and SDI) emit the same metadata.

• The metadata in an HD-SDI stream must be embedded as VANC data per

SMPTE 2020-2-2008 (Method-A) or SMPTE 2020-3-2008 (Method-B). Select
the metadata source with the METADATA SOURCE control, which is located in
INPUT/OUTPUT>INPUT ROUTING (INPUT/OUTPUT 4). The choices are SERIAL, SDI,
and (optionally) DOLBY E.

• If you have chosen the METADATA SOURCE as SDI, your Optimod will automati-
cally detect whether the input metadata is in METHOD A or METHOD B format
and will automatically use the same format for the SDI output, overriding the
setting of the METADATA METHOD DEFAULT control.

• If the METADATA SOURCE is SERIAL or DOLBY E, you must specify whether

metadata will be inserted into the SDI output using Method-A or Method-B.
Navigate to SETUP > I/O CALIB > UTILITY and set the METADATA METHOD DEFAULT
control in (INPUT/OUTPUT 7A) to METHOD A or METHOD B.

See Conveying Metadata on page 2-16 and Conveying and Re-authoring Dolby
Metadata on page 6-5.

13. Set the processing’s channel mode controls.

Note: Unlike Orban’s earlier 8585 processor, all processors (one 7.1 processor and
four 2.0 processors) in the 8685 are active simultaneously. There is no control to
turn them on or off because none is needed. The only thing the installer must do
is to make sure that no signal is accidentally feeding the Lb and Rb channels of
the surround processing if it is processing a 5.1-channel source (step 14 on page
2-37).
A) LOCATE to INPUT/OUTPUT > CHANNEL MODE.
B) For each 2.0 processor, set the 2.0 PROC MODE to STEREO or DUAL MONO.
DUAL MONO mode allows the 2.0 processing to handle two independent
mono (1.0) signals. It removes all stereo coupling and activates a sepa-
rate, independent loudness controller and loudness level meter for each
channel. However, you cannot set the processing parameters independ-
ently for each mono channel. Moreover, the active 2.0 DIALNORM value is
applied to both mono channels equally.
STEREO mode allows you to couple or uncouple the channels in the AGC
and multiband compressor/limiter to any extent you wish via the MAX
DELTA GR controls in Advanced Control. However, in STEREO mode there
is only one loudness controller and Loudness Level meter. These work on
the RMS sum of the two channels.
You can also set the 2.0 processing mode by first saving a Setup with the
2.0 PROC MODE control set as desired. Then recall the Setup from a GPI in-
put, the 8685’s clock-based automation, the 8685’s front panel, or PC
OPTIMOD SURROUND LOUDNESS CONTROLLER INSTALLATION 2-37
Remote. You can also change the 2.0 processing mode by reading chan-
nel status data in the AES3id input feeding the 2.0 processing (see step
(B) on page 2-20.) A command from any of these sources overwrites the
current stereo/mono status.
C) You can mix the audio applied to 2.0 processor #1 into the Lf and Rf channels
of the surround processing. (Only 2.0 processor #1 has this feature.) This can
be useful if you want to process some program material (such as a newsroom
or outside broadcast feed) more heavily than the remaining program ele-
ments in a surround mix.
Set the 2.0_1 TO SURROUND INPUT MIX control to LF/RF IN, LF/RF LIM or NO
MIX.
• LF/RF IN mixes the unprocessed 2.0 left and right inputs (as set in the Input
Routing Matrix) into Lf and Rf channels feeding the surround processor.

• LF/RF LIM mixes the processed "Multiband" signal from the 2.0 processor
into the surround channel’s Lf and Rf channels. This mixing occurs just be-
fore the surround loudness controller and look-ahead limiter so that these
elements can control the loudness and peak level of the mix.
The setting of 2.0 DIALNORM does not affect this 2.0 feed. The SURROUND
DIALNORM setting determines the loudness of the surround processing, in-
cluding the 2.0 material that has been mixed in.
This mode can be used to process a 2.0 source (for example, a newsroom
feed) before it is mixed with the main surround audio (for example, a
network feed or commercials).

• NO MIX makes 2.0 processor #1 completely independent of the surround

processing.

• The 2.0 TO SURROUND INPUT LEVEL control sets the amount of 2.0 material
mixed into the surround processing.

14. Configure the input routing switcher for 5.1 or 7.1 surround processing.

A) LOCATE to INPUT/OUTPUT > INPUT ROUTING (INPUT/OUTPUT 4).

B) If you wish to use the surround processor for 5.1 material, set the LB/RB
SOURCE control to NONE. For 7.1 material, set the LB/RB SOURCE control to
match the input audio channel carrying the Lb/Rb audio.
Failure to carry out this step can cause spurious gain reduction in the sur-
round processor if material unrelated to the 5.1 source accidentally feeds
the Lb and Rb channels.

15. Set the surround-to-2.0 downmix values (optional).

The 8685 creates two separate 2.0 downmixes from the surround channels:
(1) A downmix of the inputs to the surround processing. This downmix is only
used as one possible source to drive the input of any of the 2.0 processors. It is
selected in the Input Routing Switcher as “Ldm/Rdm.”
2-38 INSTALLATION ORBAN MODEL 6585

(2) A downmix of the surround processing’s output channels. This downmix ap-
pears as an available source (“Ldm/Rdm”) in the Output Routing Matrix and is
never applied to a processor's input.
Note that even if the surround output is configured as AGC+LIMIT or
MB+LIMIT, the output downmix is not consistently peak limited because
peak limiting is applied to the individual channels before the downmix.
Hence, the output downmix’s maximum permitted peak level becomes
higher when more channels are active. For example, when a given signal
appears in one channel (like Center), the downmix’s maximum peak level
will be 6 dB lower than it is when the same signal is appears equally in
two channels (such as Lf and Rf).
Moreover, the output downmix will not have fully controlled loudness
because the 8685’s loudness controller and Loudness Level meter use an
RMS summation of the channels, whereas the output downmix is an
arithmetic sum. If you need a downmix whose loudness is perfectly con-
trolled and whose maximum peak level is fixed, use the 2.0 processing
chain #1 to control loudness and peak levels by assigning its input to the
input downmix. In this case, the loudness at the 2.0 processing chain’s
output will correctly track the 8685’s active 2.0 DIALNORM value.
A) LOCATE to INPUT/OUTPUT > CHANNEL MODE. You will see controls that determine
the contribution of the various surround channels to the two downmixes,
normalized so that the left front and right front are mixed at 0 dB.

• The default is –3dB for all inputs except left front and right front.

• The center is mixed equally into the left and right 2.0 downmix channels.
All other channels are assigned only to left or right.

• The mixer settings apply identically to downmixes (1) and (2).

• To make different sets of mix parameters available, save each mix in a

Setup and recall the Setup when required.

16. Specify how the Dolby AC3 encoder handles metadata.

[Skip this step if your Optimod does not have an AC3 encoder installed. The
“AC3 Settings” screen will not appear.]
A) LOCATE to INPUT/OUTPUT > AC3 SETTINGS.
This screen will only be available if the optional Dolby AC3 encoder is in-
stalled.
Refer to the explanations below for guidance on how to set the following con-
trols.
B) Set the AC3 CHANNEL MODE to the value you want consumer receivers to use.
The choices are 3/2L (5.1 surround), 2/0 STEREO, and 2/0 SURROUND ENCODED.
The default is 3/2L, which is always appropriate for the Optimod’s sur-
round processing channel if Optimix is used in its AUTO mode. Many
home receivers do not respond gracefully to a midstream switch between
Dolby Digital (5.1 surround decoding) and Dolby Pro logic II, sometimes
momentarily muting or glitching. Setting the AC3 CHANNEL MODE TO 3/2L
OPTIMOD SURROUND LOUDNESS CONTROLLER INSTALLATION 2-39
prevents the receiver from doing midstream mode switching, instead let-
ting Optimix create an excellent quality upmix at the transmission end.
2/0 STEREO is normally used if you are feeding the AC3 encoder from one
of Optimod’s 2.0 processors.
2/0 SURROUND ENCODED tells the home receiver that the left and right
channels have been matrix-encoded with Dolby Surround and that the
receiver should decode these using its Dolby Pro Logic decoder, if avail-
able. You should only use this setting if the 2.0 input source is known to
have been matrix-encoded using Dolby Surround.

C) Set the METADATA BYPASS control to NORMAL or BYPASS.

• IN BYPASS mode and if valid metadata is available from an upstream source,

the metadata emitted by the AC3 encoder will be a copy of the metadata
source you specified using the METADATA SOURCE control, which is located in
INPUT/OUTPUT>INPUT ROUTING (INPUT/OUTPUT 4) (step 12 on page 2-35). Meta-
data will not be re-authored based on Optimod control parameters.

• In BYPASS mode, if valid metadata is not available from an upstream

source, the metadata emitted by the AC3 encoder will use the Optimod de-
faults (Table 2-4 on page 41) except for parameters that it can reasonably
determine from Optimod control settings:

o The DOWNMIX LEVEL controls in INPUT/OUTPUT > CHANNEL MODE (step 15

on page 2-37) determine the corresponding metadata in the AC3
output. They are mapped according to Table 2-3:

AC3 Metadata Parameter Default Value Optimod Control

Center Downmix Level (ac3_cmixlev): –3.0db DOWNMIX C
Surround Downmix Level (ac3_surmixlev): – 3.0db DOWNMIX Ls
Lt/Rt Center Mix Level (ltrtcmixlev): – 3.0db DOWNMIX C
Lt/Rt Surround Mix Level (ltrtsurmixlev): –1.5db DOWNMIX Ls

Table 2-3: Optimod Downmix Controls to AC3 Metadata Mapping

o The value of DIALNORM in the AC3 metadata is modified to match the
active DIALNORM setting in the Optimod (step 12 on page 2-35).

o The RF MODE COMPRESSION PROFILE and LINE MODE COMPRESSION

PROFILE metadata values are set to the values specified in the Opti-
mod’s RF MODE COMPRESSION PROFILE and LINE MODE COMPRESSION
PROFILE fields.

NORMAL mode re-authors some of the metadata and passes through the
metadata that it does not re-author.
• In NORMAL MODE When a PASSTHROUGH preset is active, metadata is handled
the same as it is when the METADATA BYPASS is set to BYPASS.

• In NORMAL MODE When the Optimod is processing normally (i.e. not in

PASSTHROUGH mode):
2-40 INSTALLATION ORBAN MODEL 6585

o The Optimod’s Channel-Mode DOWNMIX LEVEL controls (step 15 on

page 2-37) determine the corresponding metadata in the AC3 out-
put.

o The value of DIALNORM in the AC3 metadata is modified to match the

active DIALNORM setting in the Optimod (step 12 on page 2-35).

o The RF MODE COMPRESSION PROFILE and LINE MODE COMPRESSION

PROFILE metadata values are set to NONE.
When you use an Optimod preset like TV 5B GEN PURPOSE that does sign-
ficiant dynamic range compression, the Optimod sets the COMPRESSION
PROFILE controls to NONE so that the receiver does not apply additional
dynamic range compression when set to its Night mode. Dolby AC3 Dy-
namic Range Control was designed long before the ITU-R BS.1770 stan-
dard, so it cannot be guaranteed to maintain BS.1770-complaint loudness
control when it operates at the receiver, although the results will proba-
bly be OK because the Dolby DRC profiles have a unity-gain segment in
their input/output level curves centered on the active Dialnorm setting.

D) Set the RF MODE COMPRESSION PROFILE and LINE MODE COMPRESSION PROFILE
fields as needed. The available values, as defined by Dolby, are (FILM,
STANDARD), (FILM, LIGHT), (MUSIC, STANDARD), (MUSIC, LIGHT), (SPEECH), AND
(NONE).
These settings are only applied if the Optimod is running a PASSTHROUGH
preset or if the METADATA BYPASS control is set to BYPASS. As stated above,
when the Optimod is in its normal processing mode the profiles are set to
NONE to prevent the receiver from doing too much dynamic range com-
pression.

• When no valid upstream metadata is available to be passed through, the

Optimod uses the following default values for metadata not already dis-
cussed above.

Name Value
program_id [pgm] 1
ac3_datarate [pgm] 14
ac3_bsmod [pgm] 000
ac3_dsurmod [pgm] 00
ac3_lfeon [pgm] 1
ac3_langcode [pgm] 0
ac3_langcod [pgm]. 0
ac3_audprodie [pgm] 0
ac3_mixlevel [pgm] 0
ac3_roomtyp [pgm]. 0
ac3_copyrightb [pgm]. 0
ac3_origbs [pgm] 0
ac3_xbsi1e [pgm] 1
ac3_dmixmod [pgm]. 00
ac3_lorocmixlev [pgm]. 100
ac3_lorosurmixlev [pgm] 110
OPTIMOD SURROUND LOUDNESS CONTROLLER INSTALLATION 2-41
ac3_xbsi2e [pgm] 0
ac3_dsurexmod [pgm] 00
ac3_dheadphonmod [pgm] 01
ac3_adconvtyp [pgm]. 0
ac3_hpfon [pgm]. 1
ac3_bwlpfon [pgm]. 1
ac3_lfelpfon [pgm] 1
ac3_sur90on [pgm]. 0
ac3_suratton [pgm]. 0
ac3_rfpremphon [pgm]. 0
ac3_dynrnge [pgm] 0
ac3_dynrng1 [pgm]. 0
ac3_dynrng2 [pgm]. 0
ac3_dynrng3 [pgm]. 0
ac3_dynrng4 [pgm]. 0

Table 2-4: Default AC3 Metadata Values

17. Set the 2.0_1 processing’s response to AES3 status bits.

See step (B) on page 2-20.

18. Choose whether the 8685 2.0 #1 output will emit status bits depending
on whether the 8685’s 2.0 processing is in stereo or dual mono mode.

See step (C) on page 2-21.

19. End Analog and Digital I/O setup.

If you are using a external AGC and you temporarily set the EXT AGC to NO in
step 2 on page 2-22, set the EXT AGC to YES.

20. Select a processing preset.

See step (10.C)) on page 2-16.

21. Program Silence Sense (optional)

You can program each processing chain (surround and 2.0) in the 8685 to switch
automatically from its primary digital input to a backup input if the signal at the
primary digital input falls silent.
There are silence detectors for each physical input channel. The silence
sense parameters apply to all silence detectors. All detectors are available
to drive the 8685’s tally outputs. (See step (22.B) on page 2-42.)
In given processing chain (surround or 2.0), silence sense will be triggered
only if all hardware channels assigned to the surround processing fall si-
lent.
In the 2.0 Processor #1 chain, by putting a downmix of the surround au-
dio on a SAP channel whenever the primary source (typically Second Lan-
2-42 INSTALLATION ORBAN MODEL 6585

guage or Video Descriptor) is unavailable in a given program, this behav-

ior facilitates ensuring that the SAP channel never falls silent even if the
primary source is mono and appears on only one audio channel.

A) LOCATE to INPUT/OUTPUT > SILENCE.

B) Set the SILENCE THRESHOLD to the level below which the 8685 will interpret
the input as being silent.
C) Set the SILENCE DELAY to the amount of time that the input must be below
the SILENCE THRESHOLD before the 8685 automatically switches to the backup
input.
D) Set MULTICHANNEL INPUT FALLBACK to YES if you wish the 8685 to automatically
switch the surround processing’s Lf/ Rf input from its assigned hardware input
to a fallback input when silence on all surround channels is detected or an
AES receiver unlock error on the input assigned to Lf/Rf is detected. (Channels
LFE, Lb, Rb, Ls, and Rs will be muted.) Set the control to NO to defeat auto-
matic switching.
If audio is restored at the input assigned to Lf/Rf, the 8685 will automati-
cally reconnect the Lf and Rf channels to this input and will unmute the
remaining channels.

E) Set MULTICHANNEL FB SOURCE to the hardware input that will drive the Lf and
Rf channels if silence or an AES receiver unlock error on the normal Rf/Lf input
is detected and SURROUND INPUT FALLBACK = YES.
F) Set the 2.0 FALLBACK to YES if you wish the 8685 to automatically switch the
2.0 Processor #1 from the hardware input normally assigned to the 2.0 Proces-
sor #1 to a fallback input when silence on either channel or an AES receiver
unlock error is detected on the normal input channel. Set the control to NO to
defeat automatic switching.
G) Set 2.0 FB SOURCE to the hardware input that will drive the 2.0 processing if
silence or an AES receiver unlock error is detected and 2.0 FALLBACK = YES.

22. Program Tally Outputs.

[Skip this step if you do not wish to use the tally outputs.]
See step 6 on page 2-3 for wiring instructions.
You can program the two tally outputs independently to indicate a number of
different operational and fault conditions.
A) LOCATE to SETUP > NETWORK REMOTE > TALLY OUTPUT > TALLY 1.
B) Program tally output #1.
To program a given tally output, LOCATE to TALLY 1 or TALLY 2. As you
turn the control knob, the functions listed below will appear in the high-
lighted field.
• Channel xx Silent: Indicates that the level of the specified hardware input
channel has been below the SILENCE THRESHOLD for longer than the SILENCE
DELAY. See step (21.B) on page 2-42.
OPTIMOD SURROUND LOUDNESS CONTROLLER INSTALLATION 2-43
This function can detect if the center channel is silent.

• Surround Silent: Indicates that the levels of all hardware input channels
assigned to surround processing have been below the SILENCE THRESHOLD
for longer than the SILENCE DELAY.

• 2.0 (x) Silent: Indicates that the level of both logical input channels as-
signed to a given 2.0 processor (of which there are four available) has been
below the SILENCE THRESHOLD for longer than the SILENCE DELAY.

• AES xx In Error: Indicates that the AES input receiver chip on hardware
input xx has detected an unlock error, which can occur if there is no input
carrier or if the carrier is corrupted.

• SDI Error: Indicates that the signal applied to the HD-SDI input is unavail-
able or corrupted.

• Input Normal: Indicates that the silence sense function has not automati-
cally switched an input to its assigned fallback input.

• Input Fallback: Indicates that the silence sense function has automatically
switched an input to its assigned backup because it detected silence. See
step 21 on page 2-41.

• I/O Bypassed: There is a hard-wire (relay) connection between correspond-

ing SDI and AES3id I inputs and outputs.
The relay bypass can be activated and defeated by programming a GPIO
connection (see page 2-62) and by using the terminal API (see step 3 on
page 2-53).

• I/O Not Bypassed: The SDI and AES3id I/O hard-wire bypass is not active;
implies normal Optimod operation.

• No Function: Tally output is disabled.

C) Program tally output #2 if you wish, following the procedure in step (B) above
with the TALLY 2 field.

Using Clock-Based Automation

1. If you have not already done so, set the system clock.

If you can connect your 8685 to the Internet through the 8685’s Ethernet port,
you can specify an Internet timeserver to set your 8685’s clock automatically. In
addition, Optimod PC Remote software can automatically set your Optimod’s lo-
cal time, OFFSET, and TIME SERVER to reflect the Windows settings in the machine
running PC Remote software. See Synchronizing Optimod to a Network Time-
server on page 2-65. If you are planning to set your Optimod’s time via PC Re-
mote and/or the Internet, skip to step (C).
A) LOCATE to SYSTEM SETUP > PLACE > DATE > TIME.
2-44 INSTALLATION ORBAN MODEL 6585

B) LOCATE to the TIME AND DATE screen.

a) Choose TIME FORMAT as desired (either 24-hour time or AM/PM-style time).
b) Set hours, minutes, and seconds, in that order.
Seconds will stop advancing when you set hours and minutes. So set sec-
onds last.
c) Choose the desired date format.
d) Set today’s date.
e) If you want the clock to automatically reset itself to conform to Daylight
Saving Time (Summer Time), use the DAYLIGHT SAVING MONTH/WEEK and the
STANDARD TIME MONTH/WEEK fields to specify when Daylight Saving Time
begins and ends in your area. If you do not wish to use this feature, leave
these controls set OFF.
C) (Optional) > LOCATE to the STATION IDENTIFIER screen to specify your station’s
identifier (call sign or call letters).

2. Locate to System Setup > Automation.

3. If the far left button reads “Disabled,” choose it and press Enter to en-
able automation.
This button lets you enable or disable all automation events easily with-
out having to edit individual automation events.

4. To add an automation event:

A) Select ADD.
B) You can program an event that occurs only once or an event that occurs in a
weekly preset pattern. Highlight either SET BY WEEK or SET BY DATE and press
the ENTER button.
C) For SET BY WEEK:
a) LOCATE to the each day of the week in turn; then use the knob to turn the
day on or off.
You can program the event to occur on as many days as you wish.

b) LOCATE to the Event Time field and set the hour, minute, and second when
the automation event is to occur.
Automation events have a “start” time but no “stop” time. The 8685 will
stay in the state specified by an existing automation event indefinitely,
until its state is changed by another automation event or by another ac-
tion (like a user’s interacting with the front panel or with the PC Remote
application).

c) LOCATE to the Event Type field and set the desired event. You can recall any
factory processing preset, user processing preset, and Setup. You can
activate BYPASS mode (for scheduled transmission network testing), TONE,
OPTIMOD SURROUND LOUDNESS CONTROLLER INSTALLATION 2-45
and EXIT TEST, which returns you to the processing preset that was active
before you invoked TONE or BYPASS.
Although two Setups might only differ by one parameter (for example,
different values of SURROUND DIALNORM), recalling Setups also provides an
easy way to automate complicated changes involving many parameters
like input/output routing.
D) For SET BY DATE, set the desired date and time for the event and specify the
Event Type.
E) Choose DONE and press ENTER.
You will return to the automation event list. You may have to scroll the
list (using the knob) to see the event that you just added.
Note for PC Remote users: Automation events are backed up in the Automation
file and the AUTOMATION ENABLE/DISABLE state is backed up in the User Setup files.
Hence, different Setup files can cause Automation to be enabled or disabled.

5. To edit an existing event:

A) Using the knob, highlight the event you wish to edit.

B) Select the EDIT button and press ENTER. The edit screen appears.
C) Edit the event as desired.
D) When you have finished making edits, choose DONE and press ENTER.

6. To delete an event:

A) Highlight the event to delete with the knob.

B) Choose DELETE and press ENTER.

7. Choose DONE and press Enter to leave the Automation screen.

Security and Passcode Programming

You can use multi-level passcodes to control access to the 8685 via the front panel
and via PC Remote. You can configure a given passcode to allow one of the follow-
ing levels of access:

1. All Access (i.e., administrator level)

2. All Access except Security
3. All screens except Modify and Security
4. Recall, Modify, and Automation
5. Recall Presets and program Automation
6. Recall Presets
2-46 INSTALLATION ORBAN MODEL 6585

Only passcodes with ALL ACCESS let you do software updates and set passcode per-
missions.

Each Passcode is unique; the software will not let you create duplicate Passcodes.
Further, to prevent accidental lockout, the software requires you to have at least
one passcode with ALL ACCESS (administrator) privileges.

Your Optimod secures User Presets by encrypting them (using the Advanced Encryp-
tion Standard algorithm with the session passcode as its key) when PC Remote
fetches them. Hence, a packet sniffer cannot intercept User Presets in plaintext form.
PC Remote then writes the fetched User Presets in encrypted form on your hard
drive, where they remain for the duration of your PC Remote session.

If PC Remote exits normally, it will erase these temporary User Preset files
from your computer’s hard disk. If it does not exit normally, these files
will remain in encrypted form. However, the next time that PC Remote
starts up, it will automatically clean up any orphaned files.

1. From the main menu, locate to SYSTEM SETUP and then to SECURITY.

The Security screen lets you set front-panel lockout time, choose if you want the
meters to be viewable when the 8685 is in lockout mode, create new passcodes,
review and/or assign authorization levels for existing passcodes, and delete pass-
codes.
If the 8685 is already under security control, you must enter an ALL ACCESS-level
passcode to enter the Security screen.

2. Set the Security Screen “Lockout” parameter.

The choices are 1, 5, 15, or 30 minutes, 1, 2, 4, or 8 hours, or OFF.

Front Panel lockout only occurs when the lockout value is not OFF.
The Lockout field sets the time delay between the last user interaction with the
front panel and automatic front-panel lockout. Once the front panel is locked
out, you can only regain access by entering a valid passcode.
The Lockout field does not affect PC Remote connections. Once connected, the
PC Remote application does not time out automatically; it remains connected un-
til explicitly disconnected by its user.
The lockout timer begins at the top of the next minute. For example, if you set
Lockout to be 1 minute at 9:10:33 AM and do not touch the front panel again,
the front panel will lock out at 9:12:00 AM.

3. Set the Security Screen “View Meters” parameter.

Select YES to display meters and NO to hide meters when lockout is active.

4. Create a new passcode (optional).

A) Select the “New” button from the Security screen.

OPTIMOD SURROUND LOUDNESS CONTROLLER INSTALLATION 2-47
The “Create New Passcode Screen” appears.
B) Use the “virtual keyboard” to create a passcode.
Use the LOCATE button to locate to each character. Then press ENTER to
accept that character.
The letters on the virtual keyboard are all uppercase. When you use the
passcode later, you must enter it using capital letters because the pass-
code is case sensitive. For example, if you set up your passcode as
OOPS25, you must enter it as OOPS25, not as oops25 or Oops25.
C) When you have finished creating your passcode, write it down so you do not
forget it.
D) Choose SAVE. The Security screen reappears.
E) Initially, your new passcode has ALL ACCESS (administrator) privileges. To
change its privileges, LOCATE to the PASSCODE AUTHORIZES ACCESS TO field.
Then turn the knob to choose the desired privilege level.
F) Choose DONE or press ESCAPE when you are finished. The System Setup screen
appears.

5. Edit or delete an existing pass-

code (optional).

A) LOCATE to SYSTEM SETUP and then

to SECURITY
If the 8685 is already under secu-
rity control, you must enter an ALL
ACCESS-level passcode to enter the
Security screen.
B) LOCATE to the CURRENT PASSCODE
field. Use the blue knob to scroll
through the passcodes until you see the one you wish to edit or delete.
C) To delete the passcode, choose the DELETE button.
At least one passcode must have “All Access” privileges. If you try to de-
lete the last “All Access” passcode, the following dialog box will appear:
You cannot delete this Passcode because you must have at least one
Passcode with All Access privileges. Press OK to continue.

D) To edit the passcode, LOCATE to the PASSCODE AUTHORIZES ACCESS TO field.

Then turn the knob to choose the desired privilege level.
E) Choose DONE when you are finished. The System Setup screen appears.
You may edit or delete more than one passcode before choosing DONE.
2-48 INSTALLATION ORBAN MODEL 6585

Choosing DONE on the Security Screen automatically saves all of your Pass-
code settings.

To Unlock the Front Panel

A) On the 8685 front panel, operate any button or the knob.
The ENTER PASSCODE screen appears.
B) Enter your passcode using the virtual keyboard.
If you enter a Passcode that does not exist, you are returned to the ENTER
PASSCODE screen.

C) Press ENTER to unlock.

You will be able to access 8685 functions allowed by the privilege level of
your passcode.
After you have finished working, the panel will automatically re-lock af-
ter the time delay set in step 2 on page 2-46. If you have ALL ACCESS privi-
leges, you can set the delay as desired by following the instructions in
that step.
8685 User Interface Behavior during Lockout
If security is set so that the meters are hidden during lockout, a Lockout screen re-
places the Meters screen. It displays Input Status, Time, Date, Studio Name, and Help
Text.

If you set security to hide meters when the 8685 is locked out, the On-Air Preset and
Meters do not appear. This prevents your competitors from seeing them if your 8685
is installed in a shared facility.

The diagnostic screens are unavailable during lockout unless you enter a passcode of
any privilege level.

Default ADMIN Passcode

When you first open to the Security screen
on the 8685, there is one default pass-
code: ADMIN (all capitals), which has ALL
SCREENS privileges. This passcode permits
an initial connection to the 8685 via PC
remote; you must enter ADMIN when PC
Remote asks you for a passcode.

The front panel lockout feature’s default

setting is OFF, so your 8685 will not have
the lockout feature functioning until a lockout time is set.

Any passcode you have programmed into the 8685 (via step 3 on page 2-46) allows
PC Remote connections with the same privileges. For example, if you connect to the
PC Remote and use a Passcode with the ALL ACCESS property, this Passcode will allow
full access to the 8685 from that PC. Conversely, if you connect to the 8685 with a
OPTIMOD SURROUND LOUDNESS CONTROLLER INSTALLATION 2-49
Passcode that only allows access to the “Presets” on the 8685, you will only be able
to recall presets from the PC Remote.

To ensure good security, you should first create a new ALL ACCESS passcode
and then delete the ADMIN passcode (in that order) to prevent others from
accessing your 8685 with the ADMIN passcode. The longer a passcode is, the
more secure it is. Moreover, the most secure passcodes use a random combination of
letters and numbers.

Security and Orban’s PC Remote Application

Any passcodes set on the 8685 will allow the PC Remote application to connect via
direct, modem and Ethernet connections at the level authorized by the passcode.

• If no Passcodes are assigned to 8685 except the ADMIN default passcode;

When you attempt a connection to the 8685 via Direct, Modem, and Ethernet
connections, the “Enter Passcode Screen” will prompt you to enter a Passcode.
Type in ADMIN from your keyboard. This will allow you full access to the 8685 via
the PC Remote.
To ensure that your 8685 is fully protected, create a new passcode that has ALL
SCREENS access. Then delete the ADMIN passcode.
See step 3 on page 2-46 for instructions on how to create a new passcode and
step (5.C) on page 2-47 for instructions on how to delete a passcode.

• Using passcodes to end PC Remote connections from the 8685 front panel:

If you try to access an 8685 from its front panel while a remote connection exists,
a message will appear asking you whether you want to disconnect the remote
connection. If you choose to disconnect the connection, the “Enter Passcode
Screen” will appear if the unit is locked out.

Passcodes and Software Updates

PC Remote allows a software update to occur only if the passcode level of the 8685
 PC Remote connection is ALL ACCESS. However, PC Remote will only offer to per-
form a software update if the version of PC Remote higher than the version of the
software installed in your 8685. Hence, this does not create a significant security is-
sue; the 8685 is silent for only a few seconds when it reboots following a software
update because the DSP continues to process audio while the update is occurring.

If you have forgotten your “All Access” passcode…

You can access the 8685 even if you have forgotten your ALL SCREENS passcode.

A) Press the ENTER button within two seconds after the 8685 displays its “Please
wait while Optimod initializes” screen upon boot-up.
2-50 INSTALLATION ORBAN MODEL 6585

B) Choose whether you want the 8685 to delete all passcodes while retaining
other customizations (like I/O levels and user presets) or if you want the 8685
to reset itself to its factory defaults. In either case, all existing passcodes will
be erased.

• If you choose to reset the unit to factory defaults, the 8685 will subse-
quently ask whether it should erase all user presets or retain them.

• If you choose to only delete passcodes, the front panel will not unlock
automatically. After you have deleted the passcodes, there will be only one
passcode, ADMIN, which has All Access privileges. Use this passcode to
unlock the front panel normally.

• If you reset the unit to its factory defaults, the panel will unlock automati-
cally. Please note that resetting the unit to its factory defaults:

• Resets all global parameters to factory default settings

• Deletes all Automation Events
• Restores Remote Interface inputs 1-8 to “no function”.

Administering the 8685 through its RS-232 Serial

Port or Ethernet
You can connect a PC to the 8685’s RS-232 serial port or to its Ethernet port by using
a terminal program like HyperTerminal to administer security and to recall presets
using simple ASCII commands.

You must configure the 8685 so that it loads the correct serial port driver when
booting up. You do this by setting the serial interface type in the NETWORK screen
and then rebooting the 8685. There are two available drivers: One driver supports
simple ASCII commands; the other driver supports communication via TCP/IP and PPP.

Using the RS-232 port to connect to 8685 PC Remote software via a direct
cable connection or modem requires configuring the port as PPP. How-
ever, in most cases you will use Ethernet to connect to PC Remote.
The 8685’s two RS-485 ports (Serial Ports 2 and 3) are dedicated to send-
ing and receiving Dolby Digital metadata; they cannot be used to control
the 8685.

• Valid commands are in either upper or lower case, not a combination.

• Only one valid command is permitted per line.

• The 8685 will not respond to unrecognized commands.

• The character code supported is ASCII.

OPTIMOD SURROUND LOUDNESS CONTROLLER INSTALLATION 2-51
Connecting via the RS-232 Port Using a Terminal Program on a
PC
• The RS-232 port must be configured as “ASCII.”

• The 8685’s RS-232 port can be used with any computer or terminal that is com-
patible with the RS-232 standard interface.

• Automation systems capable of sending ASCII via an RS-232 port can control the
8685.

• Users will connect their computer or terminal to the 8685 with a null modem ca-
ble. Only direct connections are supported; there is no provision for communica-
tions via modem.

• Communications configuration is 9600, N, 8, 1, no handshaking

(flow control = none).

• To facilitate maintaining security at sites shared with others, the 8685 monitors
the RS-232 port for 30 minutes after power-up or after the last valid command is
received, after which all commands are ignored except for recalling a Preset or
Setup.

To allow the 8685 to be controlled through its RS-232 terminal via a PC running a
terminal program like HyperTerminal:

A) From the main menu, LOCATE to SYSTEM SETUP > NETWORK REMOTE > NETWORK.
The current setting of the RS-232 Serial Port will appear. If it is not already set
to ASCII, set it there.
B) If you have changed the configuration of the RS-232 port to ASCII from
DIRECT or MODEM, you must power-cycle the 8685. It will reboot and load the
new serial driver.
C) Connect an available RS-232 serial port (COM port) on your computer to the
RS-232 port on the 8685 via a null modem cable.
You do not need to remove power from either your computer or the
8685 when you do this.
D) Start HyperTerminal. (You can usually access it from Start > Programs > Acces-
sories > Communication.)
The NEW CONNECTION dialog box appears.
E) Give your new connection a name and choose OK.
The CONNECT TO dialog box appears.
F) Set the CONNECT USING field to “Direct to COMx,” where “x” is the COM port
you are using on your PC.
G) Choose OK.
The PORT SETTINGS dialog box appears.
2-52 INSTALLATION ORBAN MODEL 6585

H) Set the port properties as follows:

Bits per second ..........9600
Data Bits.....................8
Parity .........................none
Stop bits .....................1
Flow control ..............none
I) Choose OK.
J) LOCATE to File > Properties > Settings > ASCII Setup. Set the ASCII Setup prop-
erties as follows:
Check: • Send line ends with line feeds
• Echo typed characters locally
• Wrap lines that exceed terminal width
Uncheck: • Append line feeds to incoming line ends
• Force incoming data to 7 bit ASCII

Leave “Line delay” and “Character delay” at their default values.

K) Activate the CAPS LOCK on your computer to ensure that you type in upper-
case.
You can now type in commands described in the specification in
Administrative Operations below.

Administrative Operations
In the following tables of commands and responses:

• Text that the user enters appears in MONOSPACED BOLD.

• Responses that the 8685 transmits appear in monospaced normal.

• The symbol “«” means CR (for received commands) and CR+LF (for transmit-
ted responses from 8685).

1. To recall a preset:

Command Response
RP XXXXXXX[PASSCODE]« (valid passcode and preset name)
ON AIR: XXXXXXX
(invalid passcode)
[no error message is issued]

In the above table: XXXXXXX = the preset name;

PASSCODE = any valid passcode.

• If a non-existent preset name, control value, and/or an invalid passcode is en-

OPTIMOD SURROUND LOUDNESS CONTROLLER INSTALLATION 2-53
tered, the 8685 will ignore the command.

• You can apply this command anytime after the 8685 boots up. The 30-minute
timeout does not apply.

• This command is useful in interfacing automation systems to the 8685.

2. To recall a Setup:

Command Response
RS XXXXXXX[PASSCODE]« (valid passcode and Setup name)
ON AIR: XXXXXXX
(invalid passcode)
[no error message is issued]

In the above table: XXXXXXX = the Setup name;

PASSCODE = any valid passcode.

• If a non-existent Setup name, control value, and/or an invalid passcode is en-

tered, the 8685 will ignore the command.

• You can apply this command anytime after the 8685 boots up. The 30-minute
timeout does not apply.

• This command is useful in interfacing automation systems to the 8685.

3. To force hardwire relay bypass of the AES3 and SDI input/output:

Command Response
RY ON|OFF[PASSCODE]« (valid passcode and Setup name)
I/O BYPASS: BYPASSED|NOT BYPASSED
(invalid passcode)
[no error message is issued]

• This command is intended as a “fail-safe” to allow the Optimod to be bypassed

manually if a failure occurs in the signal processing and this is not detected and
corrected automatically by the Optimod’s watchdogs forcing a reset. Of course if
a failure occurs in the control hardware or software, the Optimod may be un-
able to repond to this command.

• You can apply this command anytime after the 8685 boots up. The 30-minute
timeout does not apply.

4. To restore factory defaults:

Command Response
RESTORE FACTORY DEFAULTS« Are you sure (yes/no)?«
2-54 INSTALLATION ORBAN MODEL 6585

YES« (factory defaults restored)

Restored«
NO« (abort)
(or any response other than Defaults not restored«
YES«”)
To protect against accidental loss of settings, you must enter the entire com-
mand string and a “YES” response in uppercase.
Restoring factory defaults does the following:

• Deletes all User Presets

• Resets all global parameters to factory default settings
• Deletes all Automation Events
• Restores Remote Interface inputs 1-8 to “no function”

5. To unlock an 8685:

The following command assigns an ALL ACCESS passcode. This passcode is then
available from the front panel or when you connect normally via the 8685PC ap-
plication (through the 8685’s Serial Port #1 or Ethernet connections).

Command Response
PW ########« (valid passcode entry) Accepted«
(invalid passcode entry) Denied«

Valid arguments follow the same rules for passcode entries made from the front
panel and via 8685PC:

• Passcode length must be 1 to 8 characters.

• Only alphanumeric characters are allowed (0…9 and A…Z). No punctuation

or extended characters are allowed.

• Lower case letters included in the argument will automatically be converted

to upper case.

6. To change the IP Address:

Command Response
IP XXX.XXX.XXX.XXX« (valid IP address)
IP: xxx.xxx.xxx.xxx entered«
(invalid IP address)
ERROR. Using IP: yyy.yyy.yyy.yyy«
IP?« Using IP: yyy.yyy.yyy.yyy«

In the above table: XXX.XXX.XXX.XXX = the specified IP address;

yyy.yyy.yyy.yyy = the present (or default) IP address in
use.
OPTIMOD SURROUND LOUDNESS CONTROLLER INSTALLATION 2-55
192.168.254.254 is the factory default.

Any out-of-range or invalid characters render invalid the whole IP ad-

dress that you entered.

7. To change the Subnet Mask:

Command Response
SN XXX.XXX.XXX.XXX« (valid subnet)
SN: xxx.xxx.xxx.xxx entered«
(invalid subnet)
ERROR. Using SN: yyy.yyy.yyy.yyy«
SN?« Using SN: yyy.yyy.yyy.yyy«

In the above table: XXX.XXX.XXX.XXX = the specified subnet mask;

yyy.yyy.yyy.yyy = the present subnet mask in use.

255.255.255.0 is the factory default.

Valid subnet masks are defined according to existing standards. Any out-of-
range or invalid characters render the whole argument invalid.

8. To change the Gateway:

Command Response
GW XXX.XXX.XXX.XXX« (valid gateway)
GW: xxx.xxx.xxx.xxx entered«
(invalid gateway)
ERROR. Using gw: yyy.yyy.yyy.yyy«
GW?« Using GW: yyy.yyy.yyy.yyy«

In the above table: XXX.XXX.XXX.XXX = the specified gateway;

yyy.yyy.yyy.yyy = the present gateway in use.

Valid gateways are defined according to existing standards. Any out-of-range or

invalid characters render the whole argument invalid.

9. To change the Port:

Command Response
PO XXXXX « (valid port)
PO: xxxxx entered«
(invalid port)
ERROR. Using PO: yyyyy«
PO?« Using PO: yyyyy«
2-56 INSTALLATION ORBAN MODEL 6585

In the above table: XXXXX = the specified port;

yyyyy= the present port in use.

Port 6201 is the factory default.

Valid ports are defined according to existing standards. Any out-of-range or in-
valid characters render the whole argument invalid.

10. To change the Terminal Port:

Command Response
TP XXXXX « (valid terminal port)
TP: xxxxx entered«
(invalid terminal port)
ERROR. Using TP: yyyyy«
TP?« Using TP: yyyyy«

In the above table: XXXXX = the specified terminal port;

yyyyy = the present terminal port in use.

Port 23 is the factory default.

Valid ports are defined according to existing standards. Any out-of-range or in-
valid characters render the whole argument invalid.

11. To change the Modem Init string:

Applies only for modem connections (via 8685’s Serial 1 port)

Command Response
MO ATF0S0=4« MO[ATF0S0=4] entered«
MO? Using MO[ATF0S0=4]«
The 8685 appends CR+LF to the modem init string as transmitted to a modem
(physically connected to Serial 1). The 8685 will not perform any case conversion
to the argument (i.e., lower case arguments will be transmitted to the modem as
lower case).

12. To change the RS-232 serial port Interface Type:

Command Response
TY M|D|A« (valid argument)
Ty: Modem|Direct|ASCII entered«
(invalid argument)
ERROR. Using Ty: M|D|A«
TY?« Using Ty: Modem|Direct|ASCII«
OPTIMOD SURROUND LOUDNESS CONTROLLER INSTALLATION 2-57
13. To fetch real-time operational status information from the Optimod:

This provides a real-time status report indicating the Optimod’s operational state:

Command Response
RT [PASSCODE]« 8685 Status:
[list]

14. To fetch information about the active processing preset:

Command Response
AP [PASSCODE]?« Returns active processing preset name
AP [PASSCODE]??« Returns active processing preset control
settings
LP [PASSCODE] « Returns a list of all available processing
presets

15. To fetch information about the active setup:

Command Response
RS [PASSCODE]?« Returns active setup name
AS [PASSCODE]??« Returns active setup control settings
LS [PASSCODE] « Returns a list of all available setups

16. To fetch diagnostic information from the Optimod:

This provides a status report showing diagnostic information:

Command Response
ST [PASSCODE]« 8685 Status:
[list]

17. To reboot the Optimod:

This command causes the Optimod’s control microprocessor and DSP to be rebooted,
and can be used if abnormal behavior is observed, provided that the control micro-
processor is in a state that enables it to decode this command. During reboot, the
input/output bypass relays will cause the SDI input to be connected to the SDI out-
put and the three AES3id outputs to be connected to their corresponding inputs.

Command Response
RESET [PASSCODE]«
2-58 INSTALLATION ORBAN MODEL 6585

18. To enable or disable the Dolby AC3 encoder card:

The Optimod hardware does not auto-detect the presence of a Dolby AC3 encoder
card, so if you install or remove the encoder card, you must inform the Optimod via
a terminal command:

Command Response
dolbyac3 add [PASSCODE]« (note use of lowercase)
dolbyac3 remove [PASSCODE]« (note use of lowercase)

Connecting to the 8685’s Ethernet Port or RS-232 Port Using

TCP/IP
You can connect a terminal emulation application that supports the TCP/IP protocol
to the 8685 via its RS-232 or Ethernet ports. This is mainly useful when interfacing
the 8685 to third-party automation systems that support TCP/IP. If such an automa-
tion system only supports ASCII serial commands, you must configure the 8685’s se-
rial port as described in Connecting via the RS-232 Port Using a Terminal Program on
a PC on page2-51.

• If you wish to use the RS-232 port for this application or for connecting to 8685
PC Remote software running on a PC, the port must be configured as DIRECT or
MODEM, either of which will load the port’s PPP driver following a reboot.
If you will be using Ethernet, the RS-232 configuration does not matter.

A) From the main menu, LOCATE to SYSTEM SETUP > NETWORK REMOTE > NETWORK.
The current setting of the RS-232 Serial Port will appear. Set it to DIRECT.
(MODEM will also work.)
If you plan to connect the 8685 PC Remote Application to the 8685’s RS-
232 serial port, you must choose DIRECT or MODEM as appropriate for the
kind of connection you are planning to make — DIRECT for a null modem
cable connection to a PC’s RS-232 serial port and MODEM for a modem
connection. Either choice will cause the 8685’s PPP serial port driver to be
loaded the next time the 8685 is booted up.

B) If you have changed the configuration of the RS-232 from ASCII, you must
power-cycle the 8685. It will reboot and load the new serial driver.

• You can connect a terminal emulation application to the 8685’s Ethernet or RS-
232 Serial ports via TCP/IP, port 23 (which is the standard Telnet port and the
8685 factory default). When connected like this, you can:

• recall Presets (which contain the settings that determine the “sound” of the
processing); see step 1 on page 2-52

• show the active preset; see step 14 on page 2-57

• list the control settings in the active preset; see step 14 on page 2-57

• list all available presets; see step 14 on page 2-57

OPTIMOD SURROUND LOUDNESS CONTROLLER INSTALLATION 2-59
• recall Setups (which contain technical settings for input levels, output levels,
routing, etc.); see step 2 on page 2-53

• show the active setup; see step 15 on page 2-57

• list the control settings in the active setup; see step 15 on page 2-57

• list all available setups; see step 15 on page 2-57

• fetch the Status; see step 13 on page 2-57

• restore system defaults; see step 3 on page 2-53

However, you cannot perform other administrative functions. These require op-
erating the 8685 from its front panel (which is the most straightforward way), us-
ing 8685 PC Remote software, or connecting a terminal program to the RS-232
port in ASCII mode. (See Installing 8685 PC Remote Control Software on page 2-
68.)

• To set a different port number:

A) From the main menu, LOCATE to SYSTEM SETUP > NETWORK REMOTE > NETWORK.
The current setting of the Terminal Port will appear.
B) If you wish to change the Terminal Port, LOCATE to TERMINAL PORT. Press the
ENTER button to access the SET TERMINAL PORT screen.
C) LOCATE to CLEAR, then press the ENTER button.
This will allow you to enter the Terminal Port number.

D) LOCATE to the first number and press the ENTER button; repeat until you have
selected all the numbers in the Terminal Port. When the Terminal Port entry is
complete, LOCATE to SAVE and press the ENTER button.

• The IP address for this Ethernet connection is the same as the IP address set in
step (1.A) on page 2-62 and is visible in the SYSTEM SETUP > NETWORK REMOTE >
NETWORK screen.

• A serial connection uses a fixed IP address: 192.168.168.101.

To control the 8685 externally via TCP/IP, establish a Telnet/SSH connection and issue
commands and parameters, either by typing them directly into a Telnet/SSH client or
by placing them within batch files. Then process them with a scriptable Telnet/SSH
client that supports this operation, such as PuTTY, along with its companion com-
mand-line interpreter, Plink. Both of these applications are available for free
download. Search “PuTTY” with Google to find a download site.

Note that Windows 7 does not install a Telnet Client by default, so you
must do this manually if you wish to initiate a Telnet connection be-
tween a Windows 7 machine and your Optimod. Refer to:
http://technet.microsoft.com/en-us/library/cc771275(WS.10).aspx
The following description is based on PuTTY Release 0.55:

A) Start PuTTY.
2-60 INSTALLATION ORBAN MODEL 6585

The SESSION window appears.

B) Click the TELNET button, which is hard-wired for Port 23.
C) In the TERMINAL category, check “Implicit CR in every LF.”
You should not have to change any other PuTTY Terminal, Window, or
Connection defaults
D) Specify the host name or IP address:

• If you are connecting through the 8685’s RS-232 port, type 192.168.168.101
into the “Host Name (or IP address)” field.

• If you are connecting through the 8685’s Ethernet interface, type the
8685’s IP address into the “Host Name (or IP address)” field.
The IP address for this connection is the same as the IP address set in step
(1.A) on page 2-62 and is visible in the SYSTEM SETUP > NETWORK REMOTE >
NETWORK screen.
E) Name and save the Session if you wish.
F) Click OPEN.
G) Activate the CAPS LOCK on your computer to ensure that you type in upper-
case.
You can now recall presets and Setups. Refer to step 1 on page 2-52 and
step 2 on page 2-53.

Using the API: Example

These examples show how PuTTY and Plink can be used to control the Optimod us-
ing scripting and batch files on a computer connected to the same Ethernet subnet
as the Optimod being controlled. Plink and all associated scripting text, PuTTY, and
batch files should be located together in the same user-defined directory unless the
path is specified in the .bat files.

In the example, replace “192.168.1.1” with the addressed Optimod’s IP address and
“23” with the Optimod’s port number. 23 is the default; see step (B) on page 2-59.
Replace “passcode” with a passcode having any access level (because all levels allow
you to recall presets). See Security and Passcode Programming on page 2-45.

Each control session requires two ASCII files:

• a .bat file that calls Plink to establish a Telnet connection to the Optimod

• a reference.txt file that contains the actual control script.

Recalling a Processing Preset

This function will recall the TV 5B DRAMA factory preset and put it on-air. (See
step 1 on page 2-52.)
OPTIMOD SURROUND LOUDNESS CONTROLLER INSTALLATION 2-61
The file “recall_tv_5b_drama.bat” contains:

plink -telnet -P 23 192.168.1.1 < recall_tv_5b_drama.txt

The file “recall_tv_5b_drama.txt” contains:

RP TV 5B DRAMA[password]
disconnect

Remote Control Interface Programming

This section describes how to program the opto-isolated GPI remote control inter-
face. See step 5 on page 2-3 for wiring instructions.

Note to PC Remote Users: The GPI settings are backed up in the User Setup files.

1. Locate to the System Setup > Network Remote > Remote Interface
screen.

2. Program one or more remote control interfaces.

To program a given remote input, use LOCATE to highlight the input. As you turn
the control knob, the functions listed below will appear in the highlighted field.
A momentary pulse of current will switch most functions, except as noted.

• Preset Name: activates that processing preset.

Any factory or user preset can be recalled via the control interface.
Presets programmed into the Remote Interface can be recalled more
quickly than they can via the 8685’s front panel or PC Remote. If you
need to recall a preset within one video frame, we advise using the Re-
mote Interface to do so. This advice also applies to the PASS-THROUGH
preset and user presets based on it.
Application example: By saving your active preset as two User Presets,
identical except that one has the 8685’s Loudness Controller turned on
and one has it turned off, you can use the GPI inputs to smoothly activate
and defeat the Loudness Controller by recalling the appropriate User Pre-
set.

• Setup Name: activates that Setup.

You can save multiple setups that do things like changing the global
DIALNORM value and reassigning inputs and outputs in the routing
switcher.

• Bypass: switches the Bypass Test Mode on the air.

Note that this is a test mode; to smoothly defeat the audio processing ex-
cept for peak limiting (to accommodate network program pass-through,
for example), recall the factory PASS-THROUGH preset or, if you need a dif-
2-62 INSTALLATION ORBAN MODEL 6585

ferent bypass gain than the factory PASS-THROUGH preset provides, a user
preset you have edited and saved based on the PASS-THROUGH preset.
To create a hard-wire (relay) bypass between corresponding inputs and
output, see the I/O BYPASS ON command immediately below.

• I/O Bypass ON: Forces a hard-wire (relay) connection between the SDI input
and output, and between the AES3id inputs and corresponding outputs.

• I/O Bypass OFF: If I/O Bypass is ON, this command restores normal operation.
If I/O Bypass is not on, this command does nothing.

• Tone: switches a Tone Test on the air.

• Exit Test: If a test mode (Tone or Bypass) is switched on the air, EXIT TEST re-
verts to the normal operating mode using the previous processing preset.

• Reset Clock To Hour

Note that it is usually more convenient to synchronize your 8685 to a
network timeserver than to use this function. See Synchronizing Optimod
to a Network Timeserver on page 2-65.

• Reset to Midnight (See the note immediately above.)

• No Function: remote input is disabled.

3. End remote control interface programming.

When you are finished programming the remote control interface, press the
ESCAPE button once to return to the System Setup screen.

Networking and Remote Control

This section describes how to connect a PC to your 8685 remotely for downloading
software upgrades and for PC Remote Control.

The 8685 has a built-in Ethernet connector that can be used with 10 Mbps or 100
Mbps networks using the TCP/IP protocol. You can also connect a PC to the 8685
through the 8685’s RS-232 serial port, either by modem or directly through a null
modem cable.

1. Prepare the 8685 for a network connection.

[Skip this step if you will not be using an Ethernet connection.]

A) Set the IP address:
a) From the main menu, LOCATE to SYSTEM SETUP > NETWORK REMOTE >
NETWORK.
OPTIMOD SURROUND LOUDNESS CONTROLLER INSTALLATION 2-63
b) If you wish to change the IP Address, LOCATE to SET ADDRESS. Press the
ENTER button to access the SET IP ADDRESS screen.
192.168.254.254 is the 8685 default setting.

c) LOCATE to CLEAR, then press the ENTER button.

This will allow you to enter your IP address.

d) LOCATE to the first number and press the ENTER button; repeat until you
have selected all the numbers in the IP address assigned by your network
administrator. When the IP address entry is complete, LOCATE to SAVE and
press the ENTER button.
B) If necessary, set the Subnet Mask assigned by your network administrator:
a) LOCATE to SET SUBNET.
Unless previously set away from the factory default, the Subnet Mask
should indicate 255.255.255.0.
b) Press the ENTER button to access the SET SUBNET MASK screen.
c) LOCATE to the first number and press the ENTER button; repeat until you
have selected all the numbers in the Subnet Mask. When the Subnet Mask
entry is complete, toggle to SAVE and press the ENTER button.
The 8685 will not accept an invalid Subnet Mask (like 255.255.255.300).
C) If necessary, set the Gateway assigned by your network administrator.
To cross subnets, you must specify a gateway. If the PC and 8685 are on
the same subnet, then it is unnecessary to specify a gateway.
If the gateway, port, and firewall (if used) are configured correctly, it is
possible to connect 8685 PC Remote to an 8685 via a VPN.
a) LOCATE to SET GATEWAY.
Unless previously set away from the factory default, the Gateway should
indicate 0.0.0.0.
b) Press the ENTER button to access the Set Gateway Address screen.
c) LOCATE to the first number and press the ENTER button; repeat until you
have selected all the numbers in the Gateway. When the Gateway entry is
complete, toggle to SAVE and press the ENTER button.
D) If necessary, set the Port assigned by your network administrator.
If you are behind a firewall, this port needs to be opened in your firewall
in order to communicate with the 8685 PC Remote application.
a) LOCATE to SET PORT.
The default port is 6201.

b) Press the ENTER button to access the SET PORT ADDRESS screen.
c) LOCATE to the first number and press the ENTER button; repeat until you
have selected all the numbers in the Port. When the Port entry is complete,
toggle to SAVE and press the ENTER button.
2-64 INSTALLATION ORBAN MODEL 6585

E) Connect your network’s Ethernet cable to the card.

This completes setup of network parameters.

2. Prepare the 8685 for direct serial connection through its RS-232 serial
port:

[Skip this step if you will not be using a direct serial connection.]
A) Configuring the 8685 network screen settings:
a) From the main menu, LOCATE to SYSTEM SETUP > NETWORK REMOTE >
NETWORK.
b) LOCATE to INTERFACE TYPE.
c) Turn the blue knob until DIRECT appears in the INTERFACE TYPE field.
B) Set 8685 passcodes as desired. See Security and Passcode Programming on
page 2-45.
C) Connect the cable:
a) Connect one end of a null modem cable to the RS-232 connector on the
8685’s rear panel.
b) Connect the other end to your computer’s COM port.
D) If you have changed the INTERFACE TYPE from ASCII, reboot the 8685 to load
the RS-232 port’s PPP driver.
You are now ready to connect your computer to your 8685 through a null modem
cable connected to your computer’s serial port. Refer to Installing 8685 PC Remote
Control Software (page 2-68).

3. Prepare the 8685 for modem connection through its RS-232 serial port:

[Skip this step if you will not be using a modem connection.]

A) Configure the network screen settings on your 8685:
a) From the main menu, LOCATE to SYSTEM SETUP > NETWORK REMOTE >
NETWORK.
b) LOCATE to INTERFACE TYPE.
c) Turn the blue knob until MODEM appears in the INTERFACE TYPE field.
B) Set the modem initialization string:
a) LOCATE to INIT STRING and the SET STRING button.
b) If the INIT STRING is S0=4, this is correct. Skip to step (C) below.
S0=4 is the 8685 default setting. This activates auto-answer functionality
in the modem.
c) If the INIT STRING reads UNDEFINED, press the ENTER button to access the
MODEM INIT STRING screen.
OPTIMOD SURROUND LOUDNESS CONTROLLER INSTALLATION 2-65
d) Using the LOCATE button, toggle to CLEAR. Then press the ENTER button.
This will clear the INIT STRING field of UNDEFINED so that you can enter
your Init String.

e) Set the INIT STRING to S0=4.

LOCATE to the first number and press the ENTER button; repeat until you
have selected all the numbers in the Init String.
C) Set 8685 passcodes as desired. See Security and Passcode Programming on
page 2-45.
D) Modem setup:
a) You will need two modems and two available phone lines, one of each for
your PC and your 8685.
Reminder: Orban Customer Service supports only the 3Com/U.S. Robot-
ics® 56kbps fax modem EXT on the 8685 side (although other 56kbps
modems will often work OK).
b) Connect the modem to the 8685’s RS-232 port with a standard (not null)
modem cable.
You can use either an internal or an external modem with your PC.
c) Connect the telephone line from the wall phone jack to the wall
connection icon on the back of the modem (modem in).
d) Connect the modem cable from the modem to the RS-232 port of the 8685.
e) Set the modem to AUTO ANSWER and turn it on.
For 3Com/U.S. Robotics® 56kbps fax modem EXT, set dip switches 3, 5,
and 8 in the down position to activate the AUTO ANSWER setting. All
other dip switches should be set to the up position.

E) If you have changed the INTERFACE TYPE from ASCII, reboot the 8685 to load
the RS-232 port’s PPP driver.

Synchronizing Optimod to a Network Timeserver

1. From the main menu, Locate to System Setup > Place/Date/Time > Time
Sync.

A) Use the SYNC PROTOCOL control to choose either TIME PROTOCOL or SNTP.

• Select TIME PROTOCOL if the Optimod is behind a firewall that does not pass
UDP packets. TIME PROTOCOL selects the time protocol as described in the
standard RFC868. This method uses TCP on port 37.

• Select SNTP if your network timeserver supports the Simple Network Time
Protocol as described in standard RFC1769. This method uses UDP on port
123.
2-66 INSTALLATION ORBAN MODEL 6585

Ask your network administrator which protocols are available. SNTP is

slightly more accurate.
B) LOCATE to SYNC PERIOD. Using the knob, choose how often your Optimod will
automatically update its internal clock to the timeserver you selected.
The choices are OFF, 8 HOURS, and 24 HOURS.
If the connection to the timeserver fails (due to network overload or other prob-
lems), your Optimod will try once per hour to synchronize until it is successful.
C) LOCATE to OFFSET. Using the knob, set it to the difference (in hours) between
your time zone and Universal Time (UTC).
UTC is also known as GMT, or Greenwich Mean Time.
• The value can range between –12 and +12 hours. If this value is set to 0,
your Optimod’s time will be the same as UTC.

• You can empirically adjust this value until the correct time for your location
is displayed after you synchronize your Optimod to a timeserver.

2. Choose a timeserver.

http://tf.nist.gov/tf-cgi/servers.cgi provides a current list of timeservers available

on the Internet. You network may also have a local timeserver; ask your network
administrator.

3. Set up timeserver parameters.

You can specify the timeserver either from your Optimod’s front panel or from
its PC Remote software. From the front panel, you can only enter the time-
server’s IP address (for example, 192.43.244.18). If you specify the timeserver
from PC Remote, you can specify either its named address (for example,
time.nist.gov) or its IP address.

4. Specify the time sync parameters from your Optimod’s front panel:

[Skip this step if you wish to specify the timeserver and time sync parameters
from your Windows XP computer.]
A) LOCATE to the SET SERVER button and press ENTER.
a) LOCATE to CLEAR. Then press the ENTER button.
This will allow you to enter the IP address of the desired timeserver.

b) Use the LOCATE button, toggle to the first number and then press the
ENTER button; repeat until you have selected all the numbers in the IP
address. When the IP address entry is complete, toggle to SAVE and press
the ENTER button.
B) LOCATE to the SYNC NOW field and press ENTER to test your settings. Your Op-
timod’s display should indicate that it is connecting to the IP address that you
specified. When the connection is successful, the Optimod’s clock will auto-
matically synchronize to the timeserver.
OPTIMOD SURROUND LOUDNESS CONTROLLER INSTALLATION 2-67
• If the connection is not successful within five seconds, the display will indi-
cate that the connection failed. This means either that the timeserver is too
busy or that your setup cannot connect to the timeserver. Double-check the
IP address. If you are behind a firewall, make sure that port 123 is open.

• If your connection failed, the gateway address might not be set correctly
on your Optimod. The gateway address for the timeserver connection is the
same gateway address that you set in step (1.C) on page 2-63. If you do not
know the correct gateway address, you can often discover it by connecting
a Windows computer to the same Ethernet cable that is ordinarily plugged
into your Optimod. Ascertain that the computer can connect to the Inter-
net. At the command prompt, type ipconfig. The computer will return
the “Default Gateway.”

5. Specify the time sync from the Optimod PC Remote software:

[Skip this step if you wish to specify the timeserver and time sync parameters
from your Optimod’s front panel.]
Optimod PC Remote software can automatically set your Optimod’s local time,
OFFSET, and TIME SERVER to reflect the Windows settings in the computer run-
ning PC Remote software.
See Installing 8685 PC Remote Control Software starting on page 2-68
and Using the 8685 PC Remote Control Software starting on page 3-68.
If you are running Windows 2000, you cannot specify the timeserver from
your computer. However, you can still set your Optimod’s clock and off-
set.
A) In Windows, navigate to the CONTROL PANEL > DATE AND TIME > TIME ZONE tab.
B) Set time zone to correspond to your local time zone.
C) In Windows, navigate to the CONTROL PANEL > DATE AND TIME > INTERNET TIME
tab.
D) If you are running Windows XP:
a) Check “Automatically synchronize with an Internet time server” to set your
Optimod’s SYNC PERIOD to “24.”
b) Set “Server” to the desired timeserver.
c) Click the “Update Now” button to synchronize your computer’s clock to
the selected timeserver. If this is successful, this means that you can connect
to the selected timeserver over your network.

• The Internet Time tab is not available in Windows 2000. If you are running
Optimod PC Remote on Windows 2000, you must enter the timeserver from
your Optimod’s front panel as an IP address (step 4 on page 2-66).

• If the timeserver you selected in Windows is a named address (not an IP

address), the 8685 will resolve it correctly but the IP address that appears in
your Optimod’s display will be 0.0.0.0.
2-68 INSTALLATION ORBAN MODEL 6585

• To use PC Remote to turn off your Optimod’s automatic synchronization,

uncheck “Automatically synchronize with an Internet time server” on your
PC. Then click the “Update Now” button on PC Remote.

E) Locate to Optimod PC Remote’s SETUP/UTILITY tab and click the SET 8685
CLOCK button.

• If you are running Windows XP, PC Remote will download your computer’s
currently specified timeserver into your Optimod.

• PC Remote will adjust your Optimod’s Offset setting to correspond to your

computer’s time zone setting.

• PC Remote will synchronize your Optimod’s clock with your computer’s

clock.

F) It is wise to disconnect from PC Remote and then to LOCATE to the SYNC NOW
field on your Optimod and press ENTER [step (4.B) on page 2-66]. This is to test
your Optimod’s ability to synchronize to the selected timeserver and to ensure
that your Optimod’s clock is set accurately. If the test fails, see the comments
under step (4.B) on page 2-66, particularly those regarding setting the gate-
way.
NOTE: Manually setting your Optimod’s clock via Set Time, Set Date, Daylight
Time, and the remote contact closure Reset to Hour and Reset to Midnight will
not work when the automatic synchronization function is active. To inactivate
this function (thereby permitting manual setting to work), set the SYNC PERIOD to
OFF.

Installing 8685 PC Remote Control Software

This section briefly summarizes the procedure for installing 8685 PC Remote soft-
ware on existing 8685s. If required, you will find more detailed instructions in the
.pdf file automatically installed on your computer by Orban’s installer program,
Setup8685_x.x.x.x.exe, where “x.x.x.x” represents the software version you are
installing. (For example, for version 1.0 software, this would be 1.0.0.0.)

The PC Remote software is supplied on a CD shipped with your 8685. You can also
download it from ftp.orban.com/8685.

Instructions for using the PC Remote software are found starting on page 3-68.

Note that V1.1.4 software and higher does not support installations where multiple
versions of 8685 PC Remote are installed on one computer. You may still control as
many 8685s as you like from PC Remote, but all 8685s must be running the same
software version. We recommend always upgrading your 8685 to the latest available
software release.
OPTIMOD SURROUND LOUDNESS CONTROLLER INSTALLATION 2-69
Installing the Necessary Windows Services
The 8685 PC Remote application uses Windows’ built-in communications and net-
working services to deal with the low-level details necessary to communicate with
the 8685’s serial port. (These services are also used to upgrade your 8685’s firmware
when updates are available from Orban.) The exact process will vary, depending on
how you wish to set up the communications. That is:

If you want to communicate through a local, un-networked PC, you have two
choices:

• Use a crossover Ethernet cable to communicate to your PC through its

Ethernet port.

• Establish a connection between a serial (COM) port of the PC and the RS-
232 port of your 8685 through a null modem cable and use Windows Direct
Serial Connect to make the basic connection.

If you want to communicate through a pair of modems, you will use the Windows
Dial-Up networking service to make the connection. You must install the appro-
priate communications services in Windows (if they are not already installed) be-
fore you can run 8685 Remote software. You may therefore need to have access
to the Windows install disk(s)—or have their image copied onto your computer’s
hard drive—before you attempt to use the 8685 PC Remote application.
In all cases, regardless of whether your PC communicates to the 8685
through its serial port or Ethernet connector, it uses the ppp and the
TCP/IP protocols to communicate with the 8685.

Check Hardware Requirements

To connect your PC to your 8685 you will need the following:

If connecting by Ethernet: a standard Ethernet cable (with RJ45 connectors) to con-

nect to a network hub or router, or a crossover Ethernet cable to connect directly
to your PC’s Ethernet jack.

If connecting by serial cable: a null modem cable (also called a “reverse” cable). This
cable has DB9 female connectors at both ends for connecting the 8685 to the se-
rial port on your computer. If your computer has a DB25 connector, you must ob-
tain an adapter.

If connecting by modem: a 3Com/U.S. Robotics® 56kbps fax modem EXT and normal
(not null) modem cable for the 8685 side of the connection. Note that Orban
Customer Service does not support any other type of modem for connecting to
the 8685.
2-70 INSTALLATION ORBAN MODEL 6585

PC running Windows 2000 (SP3 or higher) XP (SP2 or higher), Vista (SP1 or higher),
or 7.
8685 PC Remote will not run on older Windows versions.
Recommended Hardware Components
Computer................................................................... Pentium III or higher
Available Disk Space ......................................................................... 25 MB
RAM ................................................................................................. 512 MB
Display.......................................................................... 1024x768 or higher
COM Port .......................................................16550 (or compatible) UART

WARNING!
When connecting your 8685, use shielded cable to protect the pins in
the RS-232 connector from electrostatic discharge.

The following subsections provide steps for connecting to your Optimod 8685 soft-
ware using the Windows 2000/XP Direct Cable Connect or via modem connection.

Running the Orban Installer Program

Insert the installer CD into your computer’s CD drive. The installer should start up
and ask you if you wish to install the PC Remote application on your computer. If it
fails to do so, navigate to Start \ Run on your computer, and type X:setup (where
“X” is the drive letter of your CD drive).

Follow the prompts on your screen to install the PC Remote software automatically
on your computer.

• You might have obtained the automatic installer application from some other
source than Orban’s CD, like Orban’s ftp site or another computer on your net-
work. If so, just run the application and follow the on-screen instructions.

• This program installs the necessary files and adds an Orban/Optimod 8685 folder
to your computer’s Start Menu. This folder contains shortcuts to the PC Remote
application and to the documentation. If you accepted the option during instal-
lation, there is also a shortcut to the PC Remote application on your desktop.

• Before a newer version of PC Remote allows you to connect to an 8685 with

older firmware, PC Remote will offer to upgrade your 8685’s firmware auto-
matically. You must permit it to do so. Moreover, most foolproof operation re-
quires installing 8685 PC Remote Software to the default location suggested by
the installer.

You have now installed all files necessary to use the PC Remote software. If you are
using a direct serial or a modem connection, the next step is to install and configure
the Windows communications services that allow your computer to communicate
with your 8685. Appendix: Setting Up Serial Communications on page 2-81 provides
details.
OPTIMOD SURROUND LOUDNESS CONTROLLER INSTALLATION 2-71

Setting Up Ethernet, LAN, and VPN Connections

• If you are using an Ethernet connection and your computer can successfully con-
nect to the Internet through its Ethernet port, it already has the correct (TCP/IP)
networking set up to communicate with the 8685. In most cases, all you need is
your 8685’s IP address, Port, and Gateway, as set in step 1 on page 2-62. You will
enter these when you create a “connection” to your 8685 from the 8685 PC Re-
mote application—see step (E) on page 3-69. If your computer does not have a
working Ethernet port, you must add one and then following the instructions
provided by Microsoft to set it up to enable TCP/IP networking.

• If you are using a crossover Ethernet cable to connect your Optimod directly to
your computer, you must set your Windows networking to provide a static IP
address for your computer because your Optimod does not contain a DHCP
server.

• If you wish to connect to your 8685 through your LAN or VPN (through a WAN or
the Internet), consult your network administrator. Note that to cross subnets,
you must specify a gateway. If the PC and 8685 are on the same subnet, then it is
unnecessary to specify a gateway (although you will still need to specify one if
you want your Optimod to synchronize to an Internet timeserver — see
Synchronizing Optimod to a Network Timeserver on page 2-65).

• If you are behind a firewall, you must open the port you specified in step (1.D)
on page 2-63. If the gateway and firewall (if used) are configured correctly, it is
possible to connect 8685 PC Remote to an 8685 via a VPN.

Conclusion
By carefully following the instructions in the Appendix, you should have successfully
installed the necessary Windows services and connected to your 8685. However, if
you experience any problems with this process, or have any other 8685 questions,
please contact Orban Customer Service:

phone: +1 856.719.9900; e-mail: custserv@orban.com

For details on your new 8685 software, from new features to operational sugges-
tions, refer to our FTP site (ftp.orban.com/8685).
2-72 INSTALLATION ORBAN MODEL 6585

Logging BS.1770 Loudness on a Computer

Your 8685 can automatically log the reading of its BS.1770 long-term loudness me-
ters to files on a computer. These files can be useful as proof of compliance if the
regulatory authority in your country notifies you of a potential loudness violation.

The logging application can automatically generate notification and warning e-

mails. See step (2.A) on page 2-74.

Perform the steps below in the order they are presented.

1. Run the PC Remote installer.

A) The installer for PC Remote, Setup8685vX.X.X.exe, includes a SELECT

COMPONENTS screen that allows you to install the 8685 Loudness Output log-
ging features. The first time you run the installer, it defaults to installing the
8685 PC Remote application without installing the Loudness Logging features.
To install with the Loudness Logging features select “Orban PC Remote Appli-
cation and Service for logging” from the dropdown menu in the SELECT
COMPONENTS screen of the installer,
OPTIMOD SURROUND LOUDNESS CONTROLLER INSTALLATION 2-73

During installation, the RegSvr32 dialog box will appear; select “OK.”
This will set up the mail service to be used for your logging alerts.

B) Once you have finished running the installer, you may be asked to reboot
your machine after the installation. You must reboot before setting up the
email and logging functions.
C) Verify that the version number of the firmware on your Optimod matches the
version number of PC remote software. PC Remote will check this automati-
cally when you first try to connect to your Optimod. (See Installing 8685 PC
Remote Control Software starting on page 2-68.)

If the 8685 unit version does not match the PC remote software you are run-
ning, PC Remote will offer to update it automatically. (See Updating your
8685’s Software starting on page 2-112.)
2-74 INSTALLATION ORBAN MODEL 6585

D) Once you have verified that you are running the same software on your unit
and PC, open 8685 PC Remote to continue setting up your logging.

2. Set up the Logging E-mail Agent

You can set up the computer hosting the 8685 loudness logger to send warning
and notification e-mails automatically.
A) From 8685 PC Remote, navigate to Tools>Setup Email. The 8685 Logging
Email Setup window opens.
B) Fill in the fields in the LOGGING EMAIL SETUP window.
C) If you wish to allow e-mails to be sent, check the ENABLE NOTIFICATION box.
D) Click the “Send Test E-Mail” button to verify your e-mail settings work cor-
rectly.

The logging agent will send you an e-mail when the logging has started, if there is
an error in your logging setup, if the logging has stopped, or if you have exceeded
the Loudness Threshold (see step 5 on page 2-77) on any output channel.
OPTIMOD SURROUND LOUDNESS CONTROLLER INSTALLATION 2-75
3. Set up Logging and Loudness Threshold Alert settings.

A) Before performing the steps below, double-check to verify that:

• email has been set up per step 2 on page 2-74). (This will allow you to ver-
ify that logging is set up correctly.)

• the version number of the firmware running on your Optimod unit matches
the version number of the 8685 PC remote software. See step (1.C) on page
2-73.

B) Go to I/O SETUP>REMOTE INTERFACE in PC Remote or SYSTEM SETUP/NETWORK

REMOTE (SCREEN 4) on the 8685 front panel.
The following options appear in this screen:
• The LOUDNESS LOGGING INTERVAL determines how often loudness will be
logged. Range is 2 to 30 seconds.

• To prevent filling up the specified warning e-mail inbox with a blizzard of

e-mails, you can set a lockout period during which no more e-mails are
sent. New warnings will only be issued after the LOUDNESS WARNING PERIOD
has expired. The LOUDNESS ALERT PERIOD can be set to OFF, 1HR, 4HRS, 8HRS,
and 24HRS.
2-76 INSTALLATION ORBAN MODEL 6585

• The LOUDNESS ALERT THRESHOLD level is the level that, if exceeded, will pro-
duce a Loudness Alert message.

The range of this control is 0.0 to +2.0 LK/LU. This is the relative long-term
BS.1770 loudness with respect to the active DIALNORM value of a given proc-
essing chain (surround and 4 x 2.0). The integration times of the meters are
fixed at 10 seconds.

4. Set up Logging and Loudness Threshold Alerts.

A) From the connection list, right click on the 8685 that you want to log. This will
open the PROFILE PROPERTIES for that 8685.
B) In the Loudness Meter Logging section of the PROFILE PROPERTIES:

• Enter a logging passcode that allows access to the 8685 unit.

Passcodes of all security levels will work. To create a passcode, see
Security and Passcode Programming starting on page 2-45).

• In LOG FOLDER, specify the directory where your logs will be kept. If you are
logging to a network location only, select the UNC path name, not a
mapped drive letter.

Address Example: \\Server\\computer123\OrbanLog

• If you are logging to a networked location that requires a user name and
password to access, check the “Enter User Name and Password to access
network location” checkbox and enter your user name and password. You
may need the machine name or domain to identify where the user name is
from such as LoggingPC\user name or OrbanNet\user name.

• Check ENABLE LOGGING to activate logging.

Logging will begin when you select OK on your PROFILE PROPERTIES.

C) You can verify that your Optimod is connected to the logging service by navi-
gating to the SYSTEM > DIAGNOSTICS screen on your Optimod’s front panel. It
displays the IP address to which the 8685 logging server is connected.
D) If logging email is set up, verify that you have received an email at the ad-
dress you set up in step 2 on page 2-74. The email should state that logging
has started. You can also go to the folder where you are logging and verify
the log file there.
To adjust your logging intervals, see step 5 on page 2-77.
OPTIMOD SURROUND LOUDNESS CONTROLLER INSTALLATION 2-77

5. Defeat the “Sleep” function in Windows.

When using Windows Vista or higher, set the “Put the computer to sleep set-
ting” to “Never.” You can access this in your computer’s Control Panel in “Power
Options.”

Log File Information

• The log file title indicates the profile, IP, Date, Time:

Example: Log 8685 192.168.155.112 20 Nov 201211.25.30

• Each log event contains the following information:

Date, Time, Surround, 2.0 chan.1 L, 2.0 chan.1 R, 2.0 chan.2 L, 2.0 chan.2 R, 2.0
chan.3 L, 2.0 chan.3 R, 2.0 chan.4 L, 2.0 chan.4 R, Surround Dialnorm, 2.0 Dial-
norm
Example: 27-Dec-2012, 13:00:28, 1.85, 1.18, 1.18, 1.18, 1.18,
1.18, 1.18, 1.18, 1.18, d:-20, d:-24,
2-78 INSTALLATION ORBAN MODEL 6585

The “Level” is the relative 10-second BS.1770 Integrated loudness level in units of
LK/LU with respect to the active DIALNORM value for the surround or four 2.0
processing chains.

• The log files record the loudness threshold settings the time and loudness for
each 8685 output.

• The log file will store up to 10Mbytes and then it will create a new file. A new
log file will also be created:

• When you restart your computer or Optimod.

• Each time you change a parameter in an 8685 profile and select OK.

• If the 8685 is not connected to the logging application, the 8685 will store up to
10,000 log events in its internal memory. When you reconnect your computer to
your Optimod, the log events stored in the Optimod will be used to update your
log file and will then be deleted from the 8685’s memory.

Troubleshooting your logging setup:

• After you edit the logging parameters in the PROFILE PROPERTIES, it can take up
to two minutes for logging to begin. If the logging server has not connected or
created a log after 2 minutes, connect to the 8685 unit via PC Remote and verify
in the diagnostics that the logging server is connected.

• If you edit your logging parameters in the Profile Properties and you are having
problems connecting or disconnecting from the logging server, go into the Pro-
file Properties again, check your settings and select OK. This will update your
settings and restart your connection.

List of Possible Logging Email Messages

• Subject: 8685 1 at 192.168.155.112 has stopped logging at 21-Nov-
2012, 13:06:49:

Body:

The 8685 has detected a change in logging status.

• Subject: 8685 1 at 192.168.155.112 has started logging at 13-Nov-

2012, 11:15:18:

Body:

The 8685 has detected a change in logging status.

• Subject: 8685 1 at 192.168.155.113 has triggered an alarm at 24-

Oct-2012, 09:12:13
OPTIMOD SURROUND LOUDNESS CONTROLLER INSTALLATION 2-79
Typical Bodies:

24-Oct-2012, 09:11:24, BS1770 2.0 Channel 1 Left Level Meter

has exceeded the threshold of 0.0 dB(*)

24-Oct-2012, 09:11:24, BS1770 2.0 Channel 1 Right Level Meter

has exceeded the threshold of 0.0 dB(*)

24-Oct-2012, 09:11:24, BS1770 2.0 Channel 2 Left Level Meter

has exceeded the threshold of 0.0 dB(*)

24-Oct-2012, 09:11:24, BS1770 2.0 Channel 2 Right Level Meter

has exceeded the threshold of 0.0 dB(*)

24-Oct-2012, 09:11:24, BS1770 2.0 Channel 3 Left Level Meter

has exceeded the threshold of 0.0 dB(*)

24-Oct-2012, 09:11:24, BS1770 2.0 Channel 3 Right Level Meter

has exceeded the threshold of 0.0 dB(*)

24-Oct-2012, 09:11:24, BS1770 2.0 Channel 4 Right Level Meter

has exceeded the threshold of 0.0 dB(*)

24-Oct-2012, 09:11:26, BS1770 Surround Level Meter has exceeded

the threshold of 0.0 dB(*)

You will be notified via e mail when your 8685 logging server is attempting to
connect to your 8685:

• Subject: 8685 1 at 127.0.0.1 is waiting to connect to the Optimod

on 27-Dec-2012 at 12:07:47.

Body: The Orban Logging Service has detected a change in log-

ging status.

You will also be notified via e mail if there was an error in setting up your log-
ging such as an invalid password.

• Subject: 8685 1 at 127.0.0.1 create directory has failed with er-

ror code 67 on 27-Dec-2012 at 13:20:25. Check logging file
system or network username and password.

Body: The Orban Logging Service has detected an error condi-

tion.
2-80 INSTALLATION ORBAN MODEL 6585
OPTIMOD SURROUND LOUDNESS CONTROLLER INSTALLATION 2-81
Appendix: Setting Up Serial Communications
This appendix provides instructions for setting up both direct serial and modem
connections from your 8685 to your PC. You must do this when you define a new
connection from the 8685 PC Remote application. The appendix provides Direct Se-
rial Connect and Modem Connect procedures for the Windows 2000 and Windows
XP operating systems and the Direct Serial Connect procedure for Windows 7. To set
up modem communications with Windows 7, use the instructions that Microsoft
provides for this operating system.

Note that the screen shots were prepared for Orban’s Optimod-FM 8300 and refer to
that product. They are directly applicable to the 8685 as well.

Preparing for Communication through Null Modem Cable

1. Configure your 8685.

A) On your 8685’s front panel, navigate to System SETUP / NETWORK & REMOTE.
B) Set the SERIAL INTERFACE TYPE to DIRECT.

2. Connect the cable.

A) Connect one end of a null modem cable to the DB9 serial connector on the
8685’s rear panel.
Be sure to use a null modem cable. A normal serial cable will not work.
B) Connect the other end of the cable to your computer’s COM port.

Connecting Using Windows 2000 Direct Serial Connection:

Ordinarily, a direct serial connection through a null modem cable is used only when
you are controlling one 8685 per available COM port on your computer. If you wish
to control multiple local 8685s, it is better to use an Ethernet network connection.
However, in principle you could control multiple 8685s serially from one COM port,
using a hardware serial switch to select the 8685 you wish to control. In this case,
you should set up a separate 8685 “connection” for each 8685 to be controlled, fol-
lowing the instructions below. All connections should reference the same COM port.

This connection is used both for upgrading your 8685 and for connecting the 8685
PC Remote application to your 8685.

Important: The Direct Serial Connection must have exclusive access to the PC COM
port that connects to your 8685. Make sure than any software that monitors this
COM port (like HotSync manager, etc) is disabled before running Direct Serial Con-
nection.
2-82 INSTALLATION ORBAN MODEL 6585

If you have already configured your direct serial cable connection, skip to step 2 on
page 2-86.

If you cannot access the Internet after making a Direct or Modem connection, you
will have to reconfigure certain networking parameters in Windows. Please see You
Cannot Access the Internet After Making a Direct or Modem Connection of the 8685
on page 5-9.

1. Add and configure a Direct Connection for Windows 2000:

A) Create a New Windows

2000 Direct Connection:
a) Launch 8685 PC Remote.
b) Choose “Connect / New
8685”

c) Give your 8685 a name

(e.g., “KABC”) by en-
tering this name in the
“8685 Alias” field.
d) If you wish to have 8685
PC Remote remember
the password for this
Optimod, enter the pass-
word in the “Password“
field.
e) Select “Serial Connec-
tion.”
f) Click “Add.”
OPTIMOD SURROUND LOUDNESS CONTROLLER INSTALLATION 2-83
g) Select “Connect Directly to another
computer.”
h) Click “Next.”

i) In the drop-down box, select the serial

port you will be using to make the
connection.
j) Click “Next.”

k) Select either “For all users” or “Only

for myself.”
The correct setting depends on
how your network and security
are configured.
Your wizard may not display this
field if your computer is set up
for a single user only.
l) Click “Next.”
2-84 INSTALLATION ORBAN MODEL 6585

m)Enter a name for your

Connection such as:
“Connection to 8685.”
n) Click “Finish.”

o) Click “Yes.”

B) Edit your new Direct

Connection properties:
a) Click “Settings.”
OPTIMOD SURROUND LOUDNESS CONTROLLER INSTALLATION 2-85
b) Click the “General” tab.
c) Select the device you set up in step (i)
on page 2-83. This will usually be
“Communications cable between two
computers (COM1).”
d) Click “Configure.”

e) Set “Maximum speed (bps)” to

“115200.”
f) Check “Enable hardware flow con-
trol.”
g) Make sure that all other boxes are
not checked.
h) Click “OK.”
2-86 INSTALLATION ORBAN MODEL 6585

i) Select the Networking

tab.
j) Make sure that “PPP:
Windows 95 / 98 / NT
4 / 2000, Internet”
appears in the “Type
of dial-up server I am
calling” field.
k) Make sure that “Inter-
net Protocol (TCP/IP) is
checked.

You may leave “File

and Printer Sharing
for Microsoft Net-
works” and “Client
for Microsoft Net-
works” checked if you
like.
l) Click “OK.”

When the “Connection properties” window appears, click “OK.”

2. Launch an existing Windows 2000 Direct connection.

Once you have set up a “connection” specifying Direct Connect in the 8685 PC
Remote application (see To set up a new connection on page 3-68), choosing this
connection from 8685 PC Remote automatically opens a Windows Direct Connec-
tion to your 8685.

You can connect by selecting

the desired connection from
the drop-down list in the
CONNECT menu.
You can also connect by dou-
ble-clicking the connection in
the “Connection List” window.
A dialog bubble will appear
on the bottom right hand cor-
ner of the screen verifying
your connection if the connec-
tion is successful.

If you have trouble making a connection, refer to OS Specific Troubleshooting

Advice: Troubleshooting Windows 2000 Direct Connect on page 5-10. If you have
OPTIMOD SURROUND LOUDNESS CONTROLLER INSTALLATION 2-87
trouble the first time after creating a connection according to the instructions
above, try restarting your computer to clear its serial port.

3. To change the properties of an existing connection:

Right-click the connection in the “connection List” window and choose “Proper-
ties.” The “Connection properties” window opens (see page 2-82).

Connecting Using Windows XP Direct Serial Connection

If you have already configured your direct serial cable connection, skip to step 2 on
page 2-90.

To enforce security, Windows XP does not permit a Direct Serial Connec-

tion and a LAN connection to coexist. If you wish to have access to your
LAN connection at the same time as you are connected to your 8685 by a
direct serial cable, you must connect to your 8685 via the RAS null mo-
dem, not Windows Direct Connect. We do not support or provide instal-
lation instructions for the RAS null modem with Windows 2000 and XP,
but it can be installed just like any other modem in these operating sys-
tems. However, for security reasons, we do not recommend doing this.

1. Add and configure a Direct Connection for Windows XP:

A) Create a New Windows XP Direct Connec-

tion:
a) Launch 8685 PC Remote.
b) Choose “Connect / New 8685”

c) Give your 8685 a name (e.g., “KABC”)

by entering this name in the “8685
Alias” field.
d) If you wish to have 8685 PC Remote
remember the password for this
Optimod, enter the password in the
“Password“ field.
e) Select “Serial Connection.”
f) Click the “Add” button.
2-88 INSTALLATION ORBAN MODEL 6585

g) Choose “Connect directly

to another computer.”
h) Click “Next.”

i) In the drop-down box,

select the serial port you
will be using to make
the connection.
j) Click “Next.”

k) Type in a name for your

Connection such as:
“Connection to 8685.”
l) Click “Finish.”
OPTIMOD SURROUND LOUDNESS CONTROLLER INSTALLATION 2-89
m)Click “Yes.”

B) Edit your new Direct Connection proper-

ties:
a) Click “Settings.”

b) Click the “General” tab.

c) Select the device you set up in step (i)
on page 2-88. This will usually be
“Communications cable between two
computers (COM1).”
d) Click “Configure.”
2-90 INSTALLATION ORBAN MODEL 6585

e) Set the “Maximum

Speed (bps)” to 115200.
f) Check “Enable hard-
ware flow control.”
g) Make sure all other
hardware features are
unchecked.
h) Click “OK.”

i) Select the Networking

tab.
j) Make sure that “PPP:
Windows 95 / 98 / NT 4 /
2000, Internet” appears
in the “Type of dial-up
server I am calling”
field.
k) Make sure that “Inter-
net Protocol (TCP/IP) is
checked.

You may leave “File and

Printer Sharing for
Microsoft Networks”
and “Client for Micro-
soft Networks” checked
if you like
l) Click “OK.”
m)When the “Connection
properties” window
appears, click “OK.”

2. Launch an existing Windows XP Direct connection.

Once you have set up a “connection” specifying Direct Connect in the 8685 PC
Remote application (see To set up a new connection on page 3-68), choosing this
OPTIMOD SURROUND LOUDNESS CONTROLLER INSTALLATION 2-91
connection from 8685 PC Remote automatically opens a Windows Direct Connec-
tion to your 8685.

You can connect by selecting the desired connection from

the drop-down list in the CONNECT menu.
You can also connect by double-clicking the connection in
the “Connection List” window.
A dialog bubble will appear on the bottom right hand cor-
ner of the screen verifying your connection if the connec-
tion is successful.

If you have trouble making a connection, refer to Troubleshooting Windows XP

Direct Connect on page 5-10. If you have trouble the first time after creating a
connection according to the instructions above, try restarting your computer to
clear its serial port.

3. To change the properties of an existing connection:

Right-click the connection in the “connection List” window and choose “Proper-
ties.” The “Connection properties” window opens (see page 2-82).

Connecting Using Windows 7 Direct Serial Connection:

You must install the Windows 7 direct serial connection as a modem device using the
Modem setup procedures as shown in the steps below.

1. Add and configure a Direct Connection for Windows 7.

A) Go to the Control Panel. Find the Mo-

dem applet. This is normally under the
Phone and Modem section.

Click on it to start the Phone and Mo-

dem applet.
2-92 INSTALLATION ORBAN MODEL 6585

B) In the Phone and Modem

applet, click on the Mo-
dems tab and click “Add.”
You need ad-
ministrator's
rights to do this.
If UAC comes
up, provide the
relevant creden-
tials and pro-
ceed.

C) The Add Hardware Wizard

will appear.
a) Tick “Don’t detect my
modem; I will select it
from a list.”
b) Proceed to next step by
clicking on the NEXT
button.
OPTIMOD SURROUND LOUDNESS CONTROLLER INSTALLATION 2-93
D) The Install New Modem window
will appear.
a) Select Communications cable
between two computers.
b) Proceed to next step by
clicking on the NEXT button.

E) Select the Serial com port to

which the NULL cable is con-
nected.

Proceed to next step by clicking

on the NEXT button.
2-94 INSTALLATION ORBAN MODEL 6585

F) At the Modem installation

is finished window, click
FINISH to complete the in-
stallation.

G) Once you are back at the

Phone and Modem win-
dow, you will see your
newly installed communi-
cation cable attached to
the serial com port that
you specified earlier.

This completes the installation of the device driver for the device “Communications
cable between two computers.” This configuration is also commonly known as “Di-
rect Cable Communications.”

2. Set up the Network for the Direct Cable Connection.

You must next bind the Direct Cable Connection driver to a particular Network.
This is where Microsoft will make this connection using the PPP protocol.
It will do this for you automatically. Previous Windows version requires
you to install the PPP protocol separately.
OPTIMOD SURROUND LOUDNESS CONTROLLER INSTALLATION 2-95
A) Go to the Network and Sharing
Center and click on Set up a new
connection or network link.

B) In the Choose a connection op-

tion window, select Set up a
dial-up connection.
2-96 INSTALLATION ORBAN MODEL 6585

C) If you are asked Which mo-

dem do you want to use?, se-
lect Communications cable
between two com-
puters/modem.
This only query will
open appear if you
have configured
more than one
modem device.

D) When prompted to “Type

the information from your
Internet Service Provider,”
enter a dummy number to
the phone number field;
Windows will not use it.
E) Choose a name for your
connection and enter it into
the Connection name: box.
Choose a name that will re-
mind you that this is a PPP
connection, such as “Direct
Serial PPP.”
F) Proceed to next step by click-
ing on the CONNECT button.
G) Click the SKIP button.
OPTIMOD SURROUND LOUDNESS CONTROLLER INSTALLATION 2-97
Windows will emit a message stating
The connection is ready for use. How-
ever, you must to configure some of
the PPP settings before you can make
a connection to your Optimod
Although you did not
specifically install any-
thing that states “PPP,”
the PPP protocol has nev-
ertheless been installed.

3. Configure the Direct Cable Connection adapter.

In this step, you will customize the PPP settings on Windows 7 so that it can talk
to your Optimod.
A) Go to the Windows 7 Network and
Sharing Center and click the change
adapter settings link. This is on the
left side of the window.
2-98 INSTALLATION ORBAN MODEL 6585

B) In the Network adapter

window, right-click the
Direct Serial PPP icon and
click on the properties.
You need ad-
ministrator
rights to pro-
ceed from
here. If UAC
comes up, pro-
vide the rele-
vant creden-
tials and con-
tinue.

C) In the Direct Serial PPP

Properties window, select
the General tab.
D) Click the Configure but-
ton and select 115200
bps.
E) Click OK to close the
window.
F) Make sure your bps set-
tings saves correctly:
a) Dismiss the Direct
Serial PPP Properties
window by selecting
OK.

b) Reopen the Properties window and select the General tab again. If your
bps setting is correct, the value has saved and you may skip to step (G)
below.
OPTIMOD SURROUND LOUDNESS CONTROLLER INSTALLATION 2-99
c) If it is not correct, reset it to 115200 bps.
d) Click OK to close the window.
e) Click OK to dismiss the Properties window.
f) Restart your computer.
Restarting should ensure that the bps setting is saved.

G) Select the Networking tab.

a) Unselect the Internet Protocol
Version 6.
b) Click on the Internet Protocol
Version 4.
c) Click the Properties button.
2-100 INSTALLATION ORBAN MODEL 6585

H) In the Advance TCP/IP Set-

tings window, click on the
Advance button.

a) Unselect Use default

gateway on remote
network.
b) Click OK to close this
window.
This prevents Win-
dows 7 from rout-
ing all networking
requests to your
Optimod.
c) Click OK to close the
Internet Protocol version 4
Properties window.
d) Click OK at the Direct
Serial PPP Properties
window to save the Direct
Serial PPP settings.

4. Launch an existing Windows 7 Direct connection.

Once you have set up a “connection” specifying Direct Connect in the 8685 PC
Remote application (see To set up a new connection on page 3-68), choosing this
connection from 8685 PC Remote automatically opens a Windows Direct Connec-
tion to your 8685.

You can connect by selecting the desired con-

nection from the drop-down list in the CONNECT
menu.
You can also connect by double-clicking the
connection in the “Connection List” window.
A dialog bubble will appear on the bottom right
hand corner of the screen verifying your con-
nection if the connection is successful.

If you have trouble making a connection, double-check step (3.F) on page 2-98. If
you have trouble the first time after creating a connection according to the in-
structions above, try restarting your computer to clear its serial port.

5. To change the properties of an existing connection:

Right-click the connection in the “connection List” window and choose “Proper-
ties.” The “Connection properties” window opens (see page 2-82).
OPTIMOD SURROUND LOUDNESS CONTROLLER INSTALLATION 2-101
Preparing for Communication through Modems

1. Prepare your 8685 for a modem connection through the serial port.

See step 3 on page 2-64.

2. If you have not already done so, create an 8685 passcode.

See Security and Passcode Programming on page 2-45.

3. Modem setup:

You will need two modems and two available phone lines, one of each for your PC
and your 8685.

Reminder: Orban supports only the 3Com / U.S. Robotics® 56kbps fax
modem EXT on the 8685 side (although other 56kbps modems will often
work OK).
Connect the modem to the 8685’s serial port with a standard (not null) modem ca-
ble. The cable provided with your 8685 is a null modem cable and will not work.

You can use either an internal or an external modem with your PC.

A) Connect the telephone line from the wall phone jack to the wall connection
icon on the back of the modem (modem in).
B) Connect the modem cable from the modem to the serial port of the 8685.
C) Set the modem to AUTO ANSWER and turn it on.
For 3Com / U.S. Robotics® 56kbps fax modem EXT, set dipswitches 3, 5,
and 8 in the down position to activate the AUTO ANSWER setting. All
other dipswitches should be set to the up position.

Connecting Using Windows 2000 Modem Connection

This connection is used both for upgrading your 8685 and for connecting the 8685
PC Remote application to your 8685.

1. Add and configure modem for Windows 2000:

If your modem is already installed, skip to Launch a Windows 2000 Modem connec-
tion on page 2-106.

A) Install Windows 2000 modem:

Use either an internal modem or external modem with your computer.
a) If you are using an external modem, connect the modem to a serial port on
your PC and make sure the modem is connected to a working phone line.
2-102 INSTALLATION ORBAN MODEL 6585

b) On your PC, click “Start / Settings / Control Panel / Phone and Modem
Options.”
c) Click the “Modems” tab.
d) Verify that your modem appears in the list available under “The following
Modems are installed.”
e) Verify that your modem is “Attached to” the correct port.
If your modem is unavailable or not attached to the correct port, you will
need to Add it. See your Windows documentation.
f) If your modem is available in the list available under “The following
Modems are installed” and it is attached to the correct port, then click
“Properties” for that modem.
g) Make sure the port speed is set at 115200.
h) Click “OK.”
B) Create a New Windows 2000 Dial-Up Connection:
a) Click “Start / Settings / Network and Dial-up Connections / Make New
Connection.”
b) Once the New Connection Wizard has opened, Click “Next.”

C) Create a New Windows 2000 Direct

Connection:
a) Launch 8685 PC Remote.
b) Choose “Connect / New 8685”

c) Give your 8685 a name (e.g.,

“KABC”) by entering this name
in the “8685 Alias” field.
d) If you wish to have 8685 PC
Remote remember the password
for this Optimod, enter the
password in the “Password“
field.
e) Select “Serial Connection.”
f) Click the “Add” button.
OPTIMOD SURROUND LOUDNESS CONTROLLER INSTALLATION 2-103
g) Select “Dial-up to private network.”
h) Click “Next.”

i) Enter the phone number of the modem

connected to the 8685 that you are
setting up.
j) Click the “Next” button.

k) Select either “For all users” or “Only for

myself.”

The correct setting depends on how

your network and security are
configured.
l) This screen may not appear in
computers set up for single users.
2-104 INSTALLATION ORBAN MODEL 6585

m)Click the “Next” but–

ton.
n) Type in a name for
your Connection such
as: “Connection to
8685 – Modem.”
o) Click the “Finish” but–
ton.

p) Click “Yes.”

D) Edit your new Direct

Connection properties:
a) Click “Settings.”
OPTIMOD SURROUND LOUDNESS CONTROLLER INSTALLATION 2-105
b) Click the “General” tab.
c) In the “Connect using” field, select
the modem you will be using to make
the connection on the PC side.
d) Click “Configure.”

e) Set “Maximum speed (bps)” to

“115200.”
f) Check “Enable hard-ware flow
control.”
g) Check “Enable modem error control.”
h) Check “Enable modem compression.”
i) Make sure that all other boxes are
not checked.
j) Click “OK.”
2-106 INSTALLATION ORBAN MODEL 6585

k) Select the Networking

tab.
l) Make sure that “PPP:
Windows 95 / 98 / NT
4 / 2000, Internet”
appears in the “Type
of dial-up server I am
calling” field.
m)Make sure that “Inter-
net Protocol (TCP/IP) is
checked.

You may leave “Client

for Microsoft
Networks” checked if
you like.
n) Click “OK.”
o) When the
“Connection
properties” window
appears, click “OK.”

2. Launch a Windows 2000 Modem connection.

Once you have set up a “connection” specifying a modem connection in the 8685
PC Remote application (see To set up a new connection on page 3-68), choosing
this connection from 8685 PC Remote automatically opens a Windows modem
connection to your 8685.

You can connect by selecting the desired con-

nection from the drop-down list in the CONNECT
menu.
You can also connect by double-clicking the
connection in the “Connection List” window.
If the connection is successful, a dialog bubble
will appear on the bottom right hand corner of
the screen verifying your connection.

If you have trouble making a connection, refer to OS Specific Troubleshooting

Advice: Troubleshooting Windows 2000 Modem Connect on page 5-10. If you
have trouble the first time after creating a connection according to the instruc-
tions above, try restarting your computer to clear its serial port.
OPTIMOD SURROUND LOUDNESS CONTROLLER INSTALLATION 2-107
3. To change the properties of an existing connection:

Right-click the connection in the “connection List” window and choose “Proper-
ties.” The “Connection properties” window opens (see page 2-102).

Connecting using Windows XP Modem Connection

1. Add and configure modem for Windows XP:

Skip this step if your modem is already configured and working.

A) Configure the Windows XP PC ports:
Use either an internal modem or external modem with your computer.
a) If you are using an external modem, connect the modem to a serial port on
your PC.
b) Make sure the modem is connected to a working phone line.
c) Click “Start / Control Panel / Systems.”
d) Go to the “Hardware” tab and click “Device Manager.”
e) In the Device Manager dialog box click the “+” next to the “Ports (COM
and LPT)” icon.
A list will branch off, showing your available ports.
f) Double-click “Communications Port (COM1) or (COM2),” depending on
how you set up your system.
The “Communications Port (Comx) Properties” dialog box opens.
Not all PCs have a COM2.
IMPORTANT: The COM port you choose at this point must match the
COM port to which you connected your modem.
g) From the tabs at the top, choose “Port Settings” and configure the settings
to match your PC modem.
If you are using a U.S. Robotics® external modem, the settings will be:
Bits per second= 115200, Data bits = 8, Parity = None, Stop bits = 1, Flow
Control = None.

h) When you are finished, click the OK button to close the “Communications
Port (Comx) Properties” dialog box.
i) Click the OK button in the “Systems Properties” dialog window.
j) Close the “Control Panel” window.
If your modem is already installed, skip to Launch an existing Windows XP modem
connection on page 2-111.

B) Install the Windows XP modem:

a) Use either an internal modem or external modem with your computer.
2-108 INSTALLATION ORBAN MODEL 6585

If you are using an external modem, connect the modem to a serial port
on your PC and make sure the modem is connected to a working phone
line.
b) On your PC, click “Start / Settings / Control Panel / Phone and Modem
Options.”
c) Click the “Modems” tab.
d) Verify that your modem appears in the list available under “The following
Modems are installed.”
e) Verify that your modem is “Attached to” the correct port.
If your modem is unavailable or not attached to the correct port, you will
need to Add it. See your Windows documentation.
f) If your modem is available in the list available under “The following
Modems are installed” and it is attached to the correct port, then click
“Properties” for that modem.
g) Make sure the port speed is set at 115200.
h) Click “OK.”

C) Create a new Windows XP modem

connection:
a) Launch 8685 PC Remote.
b) Choose “Connect / New 8685.”
The Connection Proper-
ties window opens.

c) Give your 8685 a name (e.g.,

“KABC”) by entering this name
in the “8685 Alias” field.
d) If you wish to have 8685 PC
Remote remember the password
for this Optimod, enter the pass-
word in the “Password“ field.
You must enter a valid
password to connect. This
means that at least one
8685 passcode must have
been assigned via the
8685’s front panel. (See
Security and Passcode
Programming on page 2-
45.)
OPTIMOD SURROUND LOUDNESS CONTROLLER INSTALLATION 2-109
e) Click “Add.”
The Windows New Connection
Wizard starts up.
f) Select “Serial Connection.”
g) Click the “Add” button.
h) Select “Dial-up to private network.”
i) Click “Next.”

j) Enter the phone number of the

modem connected to the 8685 you are
setting up.
k) Click “Next.”

l) Type in a name for your Connection

such as: “Connection to 8685 –
Modem”
m)Click the “Finish” button.
2-110 INSTALLATION ORBAN MODEL 6585

n) Click “Yes.”

D) Edit your new Direct Con-

nection properties:
a) Click “Settings.”

b) Click the “General” tab.

c) Select the modem you
will be using to make
the connection on the
PC side.
d) Click “Configure.”
OPTIMOD SURROUND LOUDNESS CONTROLLER INSTALLATION 2-111
e) Set “Maximum speed (bps)” to
“115200.”
f) Check “Enable hardware flow
control.”
g) Check “Enable modem error control.”
h) Check “Enable modem compression.”
i) Make sure that no other box is
checked.
j) Click “OK.”

k) Select the Networking tab.

l) Make sure that “PPP: Windows 95 /
98 / NT4 / 2000, Internet” appears in
the “Type of dial-up server I am
calling” field.
m)Make sure that “Internet Protocol
(TCP/IP) is checked.

You may leave “Client for Microsoft

Networks” checked if you like.
n) Click “OK.”
o) When the “Connection properties”
window appears, click “OK.”

2. Launch an existing Windows XP modem connection.

Once you have set up a “connection” specifying a modem connection in the 8685
PC Remote application (see To set up a new connection on page 3-68), choosing
this connection from 8685 PC Remote automatically opens a Windows modem
connection to your 8685.
2-112 INSTALLATION ORBAN MODEL 6585

You can connect by selecting the desired con-

nection from the drop-down list in the CONNECT
menu.
You can also connect by double-clicking the
connection in the “Connection List” window.
If the connection is successful, a dialog bubble
will appear on the bottom right hand corner of
the screen verifying your connection.

If you have trouble making a connection, refer to Troubleshooting Windows XP

Modem Connect on page 5-11. If you have trouble the first time after creating a
connection according to the instructions above, try restarting your computer to
clear its serial port.

3. To change the properties of an existing connection:

Right-click the connection in the “connection List” window and choose “Proper-
ties.” The “Connection properties” window opens (see page 2-102).

Updating your 8685’s Software

The software version number of PC Remote must be the same as the version number
of the software running within your 8685. If the software version of PC Remote is
higher than the version running in your 8685, PC Remote will automatically detect
this and will offer to update your 8685’s software automatically.

1. If you have not already done so, prepare your computer and the 8685
for a direct serial, modem, or Ethernet connection.

See Networking and Remote Control starting on page 2-62.

2. Install the latest version of 8685 PC Remote software on your computer.

This is available from

ftp://orban.com/8685
See Installing 8685 PC Remote Control Software on page 2-68.
See the readme8685_x.x.x.x.htm file (where x.x.x.x is the version number) for de-
tails about the upgrade not given in this manual. The PC Remote installer will in-
stall this file on your computer’s hard drive.

3. If you have not previously done so, start 8685 PC Remote and set up a
“connection” to the 8685 you will be updating.

See To set up a new connection on page 3-68.

OPTIMOD SURROUND LOUDNESS CONTROLLER INSTALLATION 2-113
4. Update your 8685.

We strongly recommend that your computer and 8685 be powered from

a UPS when updating.
A) Attempt to initiate communication to your 8685 via your connection.
See To initiate communication on page 3-69.
8685 PC Remote will automatically detect that the 8685 software version
on your 8685 is lower as the version of 8685 PC Remote. PC Remote will
then offer to update your 8685 automatically.
This procedure will only work for a connection using an “all-screens”
(administrator) passcode.
B) Choose YES and wait for the update to complete. Note that the audio will be
interrupted for approximately three seconds when your 8685 reboots auto-
matically after the update is complete. If you cannot tolerate such an inter-
ruption, choose NO or CANCEL to abort the update.
Please be patient; this will take several minutes. (The exact time will de-
pend on whether the 8685 has to do any “housekeeping” to its flash
memory as part of the update.)
Completion will be indicated by the updater’s command-line window’s
closing automatically and your 8685’s rebooting.
Your 8685 will continue to pass audio normally while the update is occur-
ring. However, the audio will be interrupted for approximately three sec-
onds when your 8685 reboots.
Do not interrupt power to your 8685 or your computer, close PC Remote
or the update application’s command-line window, or reboot your com-
puter during this time. Doing any of these things will certainly cause the
update to fail and might render your 8685 unbootable.
C) When the 8685 screen display returns after its automatic reboot, the 8685 will
be running with the updated software.
If the update fails for some reason, try repeating the procedure in steps
(0 through (C) again.
D) If the 8685 screen remains blank for more than one minute after the update
has completed, manually reboot the 8685 by removing AC power from the
8685 for at least ten seconds and then powering the 8685 back up.
E) The 8685 software update is now complete. You should now be able to con-
nect to your 8685 via PC Remote.
NOTE: If you cannot make a connection after a software upgrade, manu-
ally reboot the 8685 with a normal “power-off/power-on” sequence.
2-114 INSTALLATION ORBAN MODEL 6585

SNMP Support
The SNMP (Simple Network Management Protocol) features allow you to monitor
your Optimod’s status and to send Alarm notifications via your Optimod’s Ethernet
connection to your network. It is beyond the scope of this manual to provide a gen-
eral explanation of how SNMP works. The text below provides sufficient information
to use your Optimod in your specific SNMP setup if you are already familiar with the
general principles of setting up SNMP.

SNMP Network Setup

These controls are only available from Optimod PC Remote.

In the I/O menu, select the NETWORK tab to access the SNMP configuration controls.

• SNMP (Enable/Disable): enables or disables the SNMP feature. Select “enable”

and disconnect from the PC remote to update the unit and allow SNMP access.
If you wish to disable SNMP access after it has been enabled, select “dis-
able” and then reboot your Optimod.

• Primary Manager Address: (255.255.255.255) sets the address of the Primary

SNMP Manager.

• Primary Manager Port: (162) sets the port of the Primary SNMP Manager.

• Secondary Manger Address: (255.255.255.255) sets the address of a Secondary

SNMP Manager.

• Secondary Manger Port: (162) sets the address of a Secondary SNMP Port.

SNMP Mib file

The 8685.mib file is in the location where you installed your PC Remote application.

The default 8685 install location is:

Program Files\Orban\Optimod 8685 PC Remote

or
Program Files(x86)\Orban\Optimod 8685 PC Remote

SNMP Default Settings

• SNMP Agent: Disabled

• Primary Manager(Alarm) Address: 255.255.255.255

• Primary Manager (Alarm) Port: 162

• Secondary Manger (Alarm) Address: 255.255.255.255

OPTIMOD SURROUND LOUDNESS CONTROLLER INSTALLATION 2-115
• Secondary Manger (Alarm) Port: 162

SNMP Features
The Get/Query functions return information when you request it from an SNMP cli-
ent. When triggered, the Traps/Alert functions push information to the SNMP mail-
box automatically.

Get/Query:

• Station Name
• Optimod Software Version
• Primary and Secondary Manager IP
• Primary and Secondary Manager Port
• Surround Input Fallback: Indicates that the silence sense function has auto-
matically switched the surround input input to its assigned backup because it
detected silence. See step 21 on page 2-41.

• St. Input Fallback: (see above)

• Surround Input Silent: Indicates that the levels at all hardware input channels
assigned to surround processing have been below the SILENCE THRESHOLD for
longer than the SILENCE DELAY.

• Lf Input Silent: Indicates that the level of the specified hardware input channel
has been below the SILENCE THRESHOLD for longer than the SILENCE DELAY. See
step (21.B) on page 2-42.

• Rf Input Silent: (see above)

• Center Input Silent: (see above)
• Lfe Input Silent: (see above)
• Ls Input Silent: (see above)
• Rs Input Silent: (see above)
• Lb Input Silent: (see above)
• Rb Input Silent: (see above)
• St Input Silent: Indicates that the level at any logical input channel assigned to
a 2.0 processor (of which there are four available) has been below the SILENCE
THRESHOLD for longer than the SILENCE DELAY.
• St1 Input Silent: Indicates that the level at either logical input channel assigned
to a given 2.0 processor (of which there are four available) has been below the
SILENCE THRESHOLD for longer than the SILENCE DELAY.
• St 2 Input Silent: (see above)
• St 3 Input Silent: (see above)
• St 4 Input Silent: (see above)
2-116 INSTALLATION ORBAN MODEL 6585

• SDI Input Error: Indicates that the signal applied to the HD-SDI input is unavail-
able or corrupted.

• AES3id Input Error1/2: Indicates that the AES input receiver chip on hardware
input xx has detected an unlock error, which can occur if there is no input carrier
or if the carrier is corrupted.

• AES3id Input Error3/4: (see above)

• AES3id Input Error5/6: (see above)
• AES3id Input Error7/8: (see above)
• Optimix Status: Indicates if the upmixer is upmixing or passing its input
through to its output.Threshold BS1770 surround

• Threshold BS1770 surround: Indicates that the BS.1770 loudness in the sur-
round processing has exceeded the value of the LOUDNESS ALERT THRESHOLD
level. The LOUDNESS ALERT THRESHOLD level is the level in the surround processing
that, if exceeded, will produce a Loudness Alert message. See step 3 on page 2-
75.

• Threshold BS1770 ST 1: Indicates that the BS.1770 loudness in stereo processor

#1 has exceeded the value of the LOUDNESS ALERT THRESHOLD level.

• Threshold BS1770 ST 2: (see above)

• Threshold BS1770 ST 3: (see above)
• Threshold BS1770 ST 4: (see above)
• Power Supply 1 is Inactive: Indicates that Power Supply 1 in the dual-redundant
power supply is not operating, either because it has failed or because it is not con-
nected to the AC line.

• Power Supply 2 is Inactive: (see above)

Set/Control:

• Primary and Secondary Manager IP

• Primary and Secondary Manager Port

• Station Name

Traps/Alert:

Refer to the explanation of the corresponding messages in Get/Query above.

• Surround Input Fallback

• St. Input Fallback

• Surround Input Silent

OPTIMOD SURROUND LOUDNESS CONTROLLER INSTALLATION 2-117
• Lf Input Silent

• Rf Input Silent

• Center Input Silent

• Lfe Input Silent

• Ls Input Silent

• Rs Input Silent

• Lb Input Silent

• Rb Input Silent

• St Input Silent

• St1 Input Silent

• St 2 Input Silent

• St 3 Input Silent

• St 4 Input Silent

• SDI Input Error

• aes3id Input Error1/2

• aes3id Input Error3/4

• aes3id Input Error5/6

• aes3id Input Error7/8

• Optimix Status

• Threshold BS1770 surround

• Threshold BS1770 ST 1

• Threshold BS1770 ST 2

• Threshold BS1770 ST 3

• Threshold BS1770 ST 4

• Power Supply 1 is Inactive

• Power Supply 2 is Inactive

2-118 INSTALLATION ORBAN MODEL 6585

SNMP Community String:

The “SNMP Community string” is like a user id or password that allows access to a
router's or other device's statistics. It is set at Optimod PC Remote to implement
SNMP security. PRTG sends the community string along with all SNMP requests. If the
community string is correct, the device responds with the requested information. If
the community string is incorrect, the device simply discards the request and does
not respond.

• Read String allows users to set a password for SNMP to retrieve information
from the Optimod. Default is PUBLIC.

• Write String allows users to set a password for SNMP to write (set) information
from the Optimod. Default is PRIVATE.
OPTIMOD LOUDNESS CONTROLLER OPERATION 3-1

Section 3
Operation
8685 Front Panel
• Headphone Jack allows you to monitor various outputs of the processing
through headphones. Headphone impedance should be 75Ω or higher.

• You can switch the headphone feed to emit the following processor output sig-
nals: LF, RF, C, LS, RS, LFE, LB, RB, STEREO L, STEREO R, L DOWNMIX, R
DOWNMIX, LF/RF, C, LS/RS, LB/RB, STEREO, DOWNMIX. The first 12 signals are
monophonic and are sent to both earpieces. The remaining signals are stereo.

This control is located on the INPUT/OUTPUT > OUTPUT 5 screen.

• Headphone Level Control (the small blue control knob to the right of the jack)
adjusts headphone output level.

• The red Enter button allows you to choose pop-up menu items, icons and but-
tons. If you are in the Preset screen, it allows you to put a Factory or User Preset
on-air once you have selected it.
If you edit a Factory Preset, you must save it as a new User Preset to re-
tain your edit permanently. Even if not saved, your edited preset will be
retained automatically even if the 8685 is powered down and will be re-
stored on-air upon power-up. If not saved, your edited preset will appear
in the RECALL list of available presets as the name of its parent present
prefixed by the abbreviation “modif” (for “modified”).
However, if you edit another preset, your old edited preset will be lost—
the 8685 automatically retains only one “modified” preset. Therefore, it
is wise to rename and save any edited preset you wish to keep, using the
8685’s SAVE main menu item. This ensures that your edited preset will
not be overwritten accidentally.

• The green joystick, labeled Locate, is a pointing device that allows you to locate
to settings and controls on each screen. Some main menu items require multiple
screens to show all controls. When multiple screens for a given main menu item
are available, pressing and holding the knob left or right moves you between
screens.

• A yellow Escape button allows you to navigate quickly to underlying screens,

higher-level screens or the Meters screen and displays the pop-up menu.
3-2 OPERATION ORBAN MODEL 8685

When a pop-up item, like Menu, is onscreen, ESCAPE always returns you
to the underlying screen.
Pressing ESCAPE from a secondary screen page, like System Setup > Place
> Date > Time 1 takes you back to the top level; in this case, the System
Setup screen.
ESCAPE from top-level screens (like the System Setup screen), brings you
back to the Meters screen. (If you are already in the Meters screen,
ESCAPE displays the pop-up Menu.)
• The Control Knob is the large blue knob on the front panel. Turning the knob
scrolls through displayed lists (like the Preset screen list) or changes a setting
that is highlighted onscreen (e.g., the setting last selected by the Locate joy-
stick). Pushing the knob in towards the front panel displays the pop-up Menu
over the previous screen.

• Screen Display supplies control setting information and screen help and dis-
plays the gain reduction and level meters (described directly below). In general,
separate meters are shown for the multiband and 2.0 (if active) processing.

The 8685’s screen displays the following information, meters and indica-
tors:
• Whether an SDI signal is present (green) or absent (red) at the Optimod’s
SDI input. More information about SDI status is available in the SYSTEM >
DIAGNOSTICS screen.

• Which hardware inputs (1/2, 3/4, 5/6, and 7/8) have valid AES3id signals ap-
plied to them (indicated by their being displayed in yellow) and which do
not (indicated by their being displayed in red).
AES Input 7/8 is the same as the Wordclock/AES11 input. When an AES
signal is applied for sync purposes, audio on this signal can be routed like
the other AES inputs.

• The current date and time according to the 8685’s internal clock.

• The active processing Preset.

• The active Setup.

• The multiband processor’s active input (main or backup).

If you have programmed silence sense to switch the input of the

surround processing between two inputs automatically, this indi-
cates if the backup input was activated.
• IN meters show the peak input level applied to the inputs of each of the
8685’s processing channels (up to 7.1) as determined by input routing
switcher settings in I/O SETUP. 0 dB = digital full-scale.

• AGC meters show the gain reduction of the slow AGC processing that pre-
cedes the multiband compressor (two-band or five-band). Full-scale is 25 dB
gain reduction.
OPTIMOD LOUDNESS CONTROLLER OPERATION 3-3
Because the AGC is a two-band unit with Orban’s patented bass coupling
system, the two meters indicate the gain reduction of the AGC Master
and Bass bands.
The AGC gains of the surround processing are always stereo-coupled us-
ing power (RMS) summation. Therefore, only one gain reduction meter is
required for each band. However, the AGC in the 2.0 processing can be
adjusted to be fully stereo-coupled, independent, or anywhere in be-
tween. Hence, the 2.0 processing’s AGC meters are split so that the left
and right gain reduction (or channel 1/channel 2 gain reduction in dual-
mono mode) are both displayed.

• GATE indicators show silence gate activity. They light up when the input
audio falls below the threshold set by the gate threshold controls. For a
given processor (surround or 2.0), there are two gates—one for the AGC
and one for the multiband limiter—each with its own GATE THRESHOLD con-
trol. When gating occurs, the AGC and compressor’s recovery times are
slowed drastically to prevent noise rush-up during low-level passages.

• MULTIBAND GAIN REDUCTION meters show the gain reduction in the multi-
band compressors. Full-scale is 25 dB gain reduction. These meters are split,
showing main gain reduction (the GR applied all channels but the center)
to the left and center channel gain reduction to the right. See Multiband
starting on page 3-11 for an explanation of how the main and center com-
pressors are coupled.

• LIMITER GAIN REDUCTION meters show how much gain reduction the 8685’s
look-ahead limiters are producing.

• OUT meters indicate the instantaneous peak output level at the output of
the 8685’s audio processing before the SURROUND OUTPUT 100% or 2.0
OUTPUT 100% controls.

• HF ENHANCER METERS show how much dynamic high frequency boost the
8685’s HF Enhancer is providing.

• LOUDNESS LEVEL meter shows the subjective loudness of the output, meas-
ured by the 1981 Jones & Torick CBS Technology Center algorithm and by
the ITU. BS.1770 algorithm. (See page 1-20 for a discussion of the J&T algo-
rithm and Using the ITU BS.1770 and CBS Loudness Meters to Measure
Loudness Controller Performance on page 3-81.)
For each of the two loudness-metering algorithms, there is only one me-
ter for the surround processing and one meter for each 2.0 processor (in
stereo mode) because regardless of the number of channels and loud-
speakers in the listening room, a given listener has only one perception
of loudness. When a given 2.0 processor is operated in dual-mono mode,
there is one LOUDNESS LEVEL meter for each mono channel.
The meter for a given processing chain is calibrated with reference to the
Dolby Digital® Dialnorm value that you specify in the 8685’s active Setup
for that processing chain. (See step 10 on page 2-14.) If you adjust the
processing so that the Loudness Level meter peaks at 0 dB on dialog and
you set up your Dolby Digital encoder so that that you are transmitting
3-4 OPERATION ORBAN MODEL 8685

this same Dialnorm value to consumer receivers, your transmission will

have the correct loudness compared to other correctly set up transmission
channels.

• LOUDNESS GAIN REDUCTION shows the amount of gain reduction that the
8685’s CBS Loudness Controller and BS.1770 safety limiter are producing.
The CBS controller gain reduction appears in blue, while the BS.1770 safety
limiter gain reduction appears in cyan. The two indications are stacked, so
the edge of the meter shows the total gain reduction produced by both al-
gorithms.

Introduction to Processing
Some Audio Processing Concepts
Reducing the peak-to-average ratio of the audio increases loudness. If peaks are re-
duced, the average level can be increased within the permitted modulation limits.
The effectiveness with which this can be accomplished without introducing objec-
tionable side effects (like pumping or intermodulation distortion) is the single best
measure of audio processing effectiveness.

Compression reduces the difference in level between the soft and loud sounds to
make more efficient use of permitted peak level limits, resulting in a subjective in-
crease in the loudness of soft sounds. It cannot make loud sounds seem louder.
Compression reduces dynamic range relatively slowly in a manner similar to riding
the gain. Limiting and clipping, on the other hand, reduce the short-term peak-to-
average ratio of the audio.

Limiting increases audio density. Increasing density can make loud sounds seem
louder, but can also result in an unattractive busier, flatter, or denser sound. It is im-
portant to be aware of the many negative subjective side effects of excessive density
when setting controls that affect the density of the processed sound.

Clipping sharp peaks does not produce any audible side effects when done moder-
ately. Excessive clipping will be perceived as audible distortion.

Look-ahead limiting is limiting that prevents overshoots by examining a few milli-

seconds of the unprocessed sound before it is limited. This way the limiter can an-
ticipate and control peaks that are coming up.

In Dolby Digital transmission channels, appropriate setting of the

DIALNORM metadata parameter will allow enough headroom to keep peak
levels below the threshold of the 8685’s look-ahead peak limiters. The
best sounding limiting is no limiting at all.
Distortion in Processing
In a competently designed processor, distortion occurs only when the processor is
controlling peaks to prevent the audio from exceeding the peak modulation limits
of the transmission channel. The less peak control that occurs, the less likely that the
listener will hear distortion. However, to reduce the amount of peak control, you
OPTIMOD LOUDNESS CONTROLLER OPERATION 3-5
must decrease the drive level to the peak limiter, which causes the average level
(and thus, the loudness) to decrease proportionally.

Loudness and Distortion

In processing, there is a direct trade-off between loudness and distortion. You can
improve one only at the expense of one or both of the other two. Thanks to Orban’s
psychoacoustically optimized designs, this is less true of Orban processors than of
any others. Nevertheless, all intelligent processor designers must acknowledge and
work within the laws of physics as they apply to this trade-off.

In AM and FM processing, we have long said that there is a direct trade-

off between loudness, brightness, and distortion, However, because DTV,
DAB and netcasting systems don’t use pre-emphasis, there is no problem
getting the audio to sound bright and the trade-off is only between
loudness and distortion.
Perhaps the most difficult part of adjusting a processor is determining the best
trade-off for a given situation. We feel that it is usually wiser to give up ultimate
loudness to achieve low distortion. A listener can compensate for loudness by simply
adjusting the volume control. However, a listener cannot make an excessively com-
pressed or peak-limited signal sound clean again.

If processing for high quality is done carefully, the sound will also be excellent on
small receivers. Although such a signal might fall slightly short of ultimate loudness,
it will tend to compensate with an openness, depth, and punch (even on small
speakers) that cannot be obtained when the signal is excessively squashed.

If women form a significant portion of the station’s audience, bear in mind that
women are more sensitive to distortion and listening fatigue than men are. In any
format requiring long-term listening to achieve market share, great care should be
taken not to alienate women by excessive stridency, harshness, or distortion.

Processing for Low Bit Rate Codecs

8685’s Five-Band processing includes PreCode™ technology to minimize codec arti-
facts. To exploit PreCode technology fully ( minimizing “phasey” and “underwater”
artifacts in low bit rate codecs), do not set up OPTIMOD 8685 for very bright sound
(with large amounts of high frequency energy) because this is likely to exacerbate
artifacts. Some appropriate presets include JAZZ, SMOOTH JAZZ, GOLD, ROCK SOFT, and
the CLASSICAL presets. Avoid presets like CRISP and EDGE; these are very bright-
sounding presets and are more appropriate for uncompressed channels or com-
pressed channels with relatively high bit rates (64 kbps or higher for the aacPlus V2
codec used in Opticodec-PC, for example).

The 8685’s sound-for-picture (TVXXXX) presets are all conservative and will not stress
well designed codecs like Dolby AC3 and MPEG4 AAC.

The 8685 has several controls whose settings determine brightness. To minimize
brightness when using the Five-band structure:

• Use little or no high frequency boost in the equalization section.

• Set Band 4>5 coupling to 100%.

3-6 OPERATION ORBAN MODEL 8685

• Set the band 5 compression threshold to match the codec. Adjust the threshold
until you find a good compromise between presence and high frequency codec
artifacts. We find the range from –6.0 to +6.0 dB to be useful.

• Use a moderate Band 5 attack time. 25 ms works well.

• If necessary, lower the Band 4 compression threshold.

Starting with one of our suggested presets will help keep you out of trouble when
you edit them to create user presets.

We have supplied several presets tuned for the Microsoft WMA (V9) at 32 kbps in
stereo. This codec has severe artifacts at this bitrate and no preprocessing can mask
them completely. The 8685’s WMA presets strictly limit the amount of high fre-
quency energy applied to the codec. To prevent the processing from adding L–R en-
ergy, these presets operate with full stereo coupling and without stereo enhance-
ment.

The 8685’s ability to maintain source-to-source spectral consistency is also an impor-

tant advantage. Once you have set up the processing to minimize codec artifacts
caused by a given piece of program material, the 8685 will automatically minimize
codec artifacts with any program material.

Speech/Music Detector
The Speech/Music Detector allows the 8685 2.0 processing to change its processing
parameters depending on whether the input program material is speech or other
material (usually music).

The algorithm is straightforward: Speech is detected if (1) the input is mono and (2)
there are syllabic pauses at least once every 1.5 seconds. In the 2.0 channel processor,
speech with a stereo music background will usually be detected as “music,” or the
detector may switch back and forth randomly if the stereo content is very close to
the stereo/mono detector’s threshold. Mono music with a “speech-like” envelope
may be incorrectly detected as “speech.” Music incorrectly detected as “speech” may
exhibit a slight loss of loudness and punch, but misdetection will never cause objec-
tionable distortion on music.

Speech that is not located in the center of the stereo sound field will always be de-
tected as “music” because the detector always identifies stereo material as “music.”

The 8685’s surround processing handles speech differently. It does not use an auto-
matic speech/music detector, instead assuming that speech is mainly located in the
center channel. The center channel compressor in each frequency band can be tuned
differently than the compressors for the remaining channels, which are coupled to
preserve imaging. Main-to-center channel coupling controls allow you to set the
maximum permitted gain difference between the center channel and the remaining
channels. This allows the processing to automatically maintain an appropriate bal-
ance between dialog and non-dialog parts of the audio.
OPTIMOD LOUDNESS CONTROLLER OPERATION 3-7
Sound-for-Picture Applications: Controlling Dynamic Range
The most crucial commandment in sound-for-picture is this: dialog must always be
intelligible (although contemporary mixes seem to break this commandment surpris-
ingly frequently). Sound-for-picture is usually heard under less-than-ideal conditions
and its dynamic range must be controlled accordingly. Apartment-dwellers must set
their volume controls to avoid disturbing neighbors or even other members of the
family. At the quiet side, intelligibility of dialog is often impacted by environmental
noise like children playing or a dishwasher going in the kitchen.

When one considers that the hearing acuity of a significant portion of the audience
is somewhat impaired compared to that of a healthy 20-year-old, one concludes that
the dynamic range of dialog must not exceed 15dB if it is to be intelligible to 99% of
viewers under common domestic viewing conditions. Moreover, research has re-
vealed a “comfort zone” (within which viewers will not adjust the volume controls
of their receivers) that is even smaller: +2 to –5 dB as measured on a subjective
Loudness Level meter like the 8685’s CBS Loudness Level meter or ITU BS.1770. Fea-
ture-film dynamic range is inappropriate for home viewing (except in dedicated
home theaters) and the dynamic range of a significant portion of video source ma-
terial must be compressed to best serve the audience. The challenge (which Optimod
8685 effectively meets) is to control dynamic range unobtrusively.

OPTIMOD 8685 can be adjusted so that the output sounds as close as possible to the
input at all times (using the Two-Band Protection Limiter preset), or so that it sounds
open but more uniform in frequency balance than the input (using the Two-Band
structure or running the Five-Band Structure with slow release time), or so that it
sounds dense, quite squashed, and very loud (using the Five-Band Structure with
faster release times).

In television audio, inconsistent loudness between channels or program elements is

annoying, so the dense, loud setup is never appropriate. The 8685 offers two-band
and five-band presets (whose names begin with “TV”) that exploit the AGC’s and
multiband compressor’s compression ratio controls to subtly control dynamic range
in sound for picture applications. These presets effectively and unobtrusively main-
tain dialog intelligibility while retaining a sense of dynamic range, allowing low-
level elements to be heard easily. Meanwhile, the CBS Loudness Controller prevents
subjective loudness from exceeding a preset ceiling.

The “TVxxxx” presets are designed for digital television transmission

(which uses no pre-emphasis) and the “TVAxxxx” presets are designed for
analog television transmission that uses 50μs or 75μs pre-emphasis.
The preset tuning controls on the 8685 give you the flexibility to adapt the process-
ing to individual program segments. In most cases, your goal should be to choose
the type of processing that best optimizes dynamic range while controlling the
loudness of the loudest sounds so that they are not irritating and are consistent with
the loudness of other stations or sources. When the 8685 is otherwise set up cor-
rectly (so that it is cognizant of the DIALNORM metadata you are transmitting to
viewers), its TVxxxx presets achieve this goal most precisely by exploiting the loud-
ness controller. The “radio-style” presets are crafted to match the target loudness as
well as can be achieved without use of the loudness controller.
3-8 OPERATION ORBAN MODEL 8685

If you want more consistent loudness from a “radio-style” preset, set its
LOUDNESS CONTROLLER THRESH control to –10 dB, turn up its MB LIMITER
DRIVE control until the loudness controller gain reduction meter indicates
about 3 dB of gain reduction with typical program material, and save the
result as a user preset.

Optimod 8685 in Audio-Only Applications: From Bach to Rock

The 8685 can be adjusted so that the output sounds:

• as close as possible to the input at all times (using the Two-Band Protection Lim-
iter preset)

• open but more uniform in frequency balance (and often more dramatic) than
the input (using the Two-Band structure or running the Five-Band Structure with
slow release time)

• dense, quite squashed, and very loud (using the Five-Band Structure with faster
release times)

The dense, loud setup will make the audio seem to jump out of car and table audio
systems but may be fatiguing and invite tune-outs on higher quality home receivers.
The loudness/distortion trade-off explained above applies to any of these setups.

In professional broadcasting environments, you will achieve best results if Engineer-

ing, Programming, and Management go out of their way to communicate and co-
operate with each other. It is important that Engineering understand the sound that
Programming desires, and that Management fully understands the trade-offs in-
volved in optimizing one parameter (like loudness) at the expense of others (like
distortion or excessive density).

Never lose sight of the fact that, while listeners can easily control loudness, they
cannot make a distorted signal clean again. If such excessive processing is permitted
to audibly degrade the sound of the original program material, the signal is irrevo-
cably contaminated and the original quality can never be recovered.

About the 8685’s Signal Processing Features

Simultaneous Stereo (2.0) and Surround (5.1 or 7.1) Processing

The 8685 can process stereo and surround programming. There are four stereo
processors and one surround processor available for use simultaneously.

You can set the processing parameters for the stereo and surround processors inde-
pendently. The output of each stereo processor can be applied to its own look-
ahead limiters and the output of these can be routed to the hardware output speci-
fied in the 8685’s output routing switcher. Alternatively, the output of stereo proces-
sor #1’s multiband compressor and Loudness Controller can be mixed with the LF
OPTIMOD LOUDNESS CONTROLLER OPERATION 3-9
and RF surround signals immediately before the surround processing’s LF and RF
look-ahead limiters. The first scenario allows you to use the 8685 as five independ-
ent processors.

The 2.0 processing is similar to Orban’s Optimod 6300 except that the 6300’s stereo
enhancer is omitted in the 8685. (For example, you might use 2.0 processing to drive
a low bitrate netcast or ATSC subchannel(s).) The second scenario allows separate
processing of locally originated 2.0 material before it is mixed with (for example) a
surround feed from your affiliated network.

Signal Flow
The signal flows through the following main blocks in each of the 8685’s processing
sections (multiband and 2.0). (See page 6-94.)

• Input Conditioning, including sample rate conversion, defeatable highpass (2.0

processing only) and lowpass filters, and defeatable phase rotation

• Optimix™ automatic stereoÆsurround upmixer

• Two-Band Gated AGC, with target-zone window gating and silence gating

• Equalization, including high-frequency enhancement

• Multiband Compression in either two or five bands, depending on the proc-

essing structure

• Automatic Loudness Control using Orban’s third-generation CBS Loudness

Controller™ algorithm plus BS.1770 Safety Limiter

• Look-Ahead Limiting
Input Conditioning
A sample rate converter converts the sample rate at the digital input to the 8685’s
internal 48 kHz rate. This 48 kHz rate accommodates a 20 kHz audio bandwidth with
a comfortably wide 4 kHz transition band for the anti-aliasing filter.

We are aware of no bias-controlled double-blind studies that have ever

demonstrated that sample rates higher than 48 kHz are audibly superior
to 48 kHz (or even that there is any audible difference at all). Moreover,
the noise and distortion produced by a given digital filter at 48 kHz is
about 6 dB lower than the N&D produced by a filter having the same
frequency response but operating at 96 kHz. The 8685 uses many digital
filters, both in its equalizer section and for the crossovers in the multi-
band compressor. Hence, we believe that 48 kHz is the ideal rate for the
8685’s audio processing.
A sharp phase-linear lowpass filter, a sweepable 18 dB/octave highpass filter, and a
defeatable phase rotator complete the input-conditioning block. The lowpass filter
can present overshoot due to spectral truncation when the 8685 is driving a link that
cannot pass full 20 kHz audio bandwidth (like a 32 kHz sample rate link). The high-
pass filter is useful for production applications where it is necessary to remove low
3-10 OPERATION ORBAN MODEL 8685

frequency rumble from a recording. The phase rotator makes speech more symmet-
rical, reducing its peak-to-average ratio by as much as 6 dB without adding nonlin-
ear distortion. Hence, phase rotation can be very useful for loudness processing of
speech.

Optimix™ Automatic StereoÆSurround Upmixer

The built-in Optimix StereoÆSurround Upmixer automatically determines whether
the input material is two-channel stereo or surround. It does this by detecting en-
ergy in the center, left surround, and right surround input channels. In automatic
switching mode, if it detects energy in any of these channels, Optimix will immedi-
ately bypass the upmixer. If there is no energy in any of these channels, Optimix will
create a realistic-sounding surround mix from stereo input.

The upmixer includes a sophisticated delay/phase correction algorithm that prevents

phase cancellations between the left and right channels from affecting the crispness
and high frequency response of the upmixed center channel. This is particularly im-
portant with older program material that may have been archived on analog tape,
which is frequently subject to phase skew between the left and right channels.

See Optimix® Upmixer Controls on page 3-37.

Two-Band Gated AGC

The AGC is a two-band device, using Orban’s patented “master/bass” band coupling.
It has an additional important feature: target-zone gating. If the input program ma-
terial’s level falls within a user-settable window (typically 3dB), then the release time
slows to a user-determined level. It can be slow enough (0.5 dB/second) to effec-
tively freeze the operation of the AGC. This prevents the AGC from applying addi-
tional, audible gain control to material that is already well controlled. It also lets you
run the AGC with fast release times without adding excessive density to material
that is already dense.

The AGC contains a compression ratio control that allows you to vary the ratio be-
tween 2:1 and essentially ∞:1. Lower ratios can make gain riding subtler on critical
formats like classical and jazz.

The AGC has its own silence-gating detector whose threshold can be set independ-
ently of the silence gating applied to the multiband compressor.

The 2.0 AGC can be operated in left/right or sum-and-difference mode. You can set
the coupling of the 2.0 AGC’s two sidechains (left/right or sum-and-difference) any-
where from 100% stereo coupled to fully independent.

The surround AGC is always 100% stereo coupled. Its sidechain responds to the
power sum (RMS sum) of all inputs except for LFE channel.

The LFE channel is excluded to prevent the LFE energy from audibly
modulating the loudness of energy at higher frequencies. However, the
gain of the LFE channel follows the gain of the AGC Bass band to keep it
in balance with the rest of the spectrum.
OPTIMOD LOUDNESS CONTROLLER OPERATION 3-11
The SURROUND OPTIMIZATION control for the active preset determines how the rear
channels are weighted:

• SURROUND weights the rear channels 1.5 dB higher than the front channels to
compensate for the ear’s greater sensitivity to the loudness of these channels
when reproduced in surround.

• STEREO weights the rear channels 3.0 dB lower than the front channels to reflect
the fact that the default surround > stereo downmix contains each rear channel
mixed at –3 dB.

• COMPROMISE weights the rear channels half way between SURROUND and STEREO.
Equalization
The 8685 has a steep-slope bass shelving equalizer and three bands of fully paramet-
ric bell-shaped EQ.

You can set the slope of the bass shelving EQ to 6, 12, or 18 dB/octave and adjust the
shelving frequency.

The 8685’s bass, midrange, and high frequency parametric equalizers have curves
that were modeled on the curves of Orban’s classic analog parametrics (like the
622B), using a sophisticated and proprietary optimization program. The curves are
matched to better than 0.15dB. This means that their sound is very close to the
sound of an Orban analog parametric. They also use very high quality filter algo-
rithms to ensure low noise and distortion.

The 8685 HF Enhancer is a program-controlled HF shelving equalizer that intelli-

gently and continuously analyzes the ratio between broadband and HF energy in
the input program material. It can equalize excessively dull material without over-
enhancing bright material. It interacts synergistically with the five-band compressor
to produce sound that is bright and present without being excessively shrill. It can
help improve dialog intelligibility. It is gated so that it does not amplify the program
material’s noise floor.

The equalizer section is mostly useful for “radio-style” processing and applications.
For television applications, it is usually left flat.

Multiband Compressor/Limiter
The multiband compressor/limiter can be operated in five-band or two-band mode.
In five-band mode, each band compressor has a KNEE and RATIO control. A soft knee
and gentle ratio are particularly useful in production and mastering applications, al-
lowing subtle compression that retains as much of the dynamics of the input pro-
gram material as the operator desires. These features are also exploited in the TV 2B
DRAMA and TV 5B DRAMA presets.

Several band-coupling controls allow the gain reduction of a given band’s compres-
sor to be affected by the gain reduction in its neighboring band’s compressor. These
coupling controls allow anything from quasi-wideband compression to fully inde-
pendent multiband compression.
3-12 OPERATION ORBAN MODEL 8685

A clipper, embedded in the crossover, protects bands 1 and 2 from transient over-
shoot. This clipper has a shape control, allowing you to vary the “knee” of its in-
put/output transfer curve from hard (0) to soft (10).

Each band in the 2.0 multiband compressor has two sidechains—one for the left and
one for the right channel. You can separately set the left/right coupling of each
band anywhere from 100% stereo coupled to fully independent.

The surround multiband compressor is always stereo coupled and has two main
sidechains.

• The first surround sidechain responds to the power (RMS) sum of all channels.
However, to prevent sibilance in the center channel from ducking high frequen-
cies in the remaining channels, the center channel does not affect the gain re-
duction in bands 4 and 5.

As in the AGC, the SURROUND OPTIMIZATION control for the active preset deter-
mines how the rear channels are weighted in the RMS sum.
This sidechain applies the slow “compression” component of the gain reduction
identically in all channels except for the center. However, each channel also has
an individual “limiting” function that is not stereo coupled. This prevents fast
transients in one channel from audibly modulating the gains of the other chan-
nels. Because this “limiting” function operates quickly, it does not affect stereo
imaging.
Do not confuse this “limiting” function with the 8685’s look-ahead lim-
iter, which is located after the Loudness Controller in a given processing
chain and which has much faster attack and release times.

• The second surround sidechain responds to the center channel alone. It provides
both a “compression” and “limiting” function.

The dual-sidechain architecture’s main application is to improve dialog intelligi-

bility by preventing strong energy in the non-center channels from drowning out
dialog in the center channel even when the original mix was miscalculated. To
achieve this, the center channel’s gain sometimes needs to be increased with re-
spect to the other channels and the dialog needs to be re-equalized automati-
cally by multiband compression. Moreover, this dual-sidechain architecture per-
mits the multiband compressor to de-ess center channel dialog as necessary
without affecting the other channels.
Completely independent compression of the dialog channel can cause unnatural-
sounding level imbalances between the dialog and the remaining program ele-
ments. To address this, there are two coupling controls for each frequency band
in the multiband compressor. These coupling controls work by constraining the
difference (in dB) between the center channel’s gain reduction and the main
channel’s gain reduction. To do this, they clamp the center channel’s gain reduc-
tion with respect to the main channel but do not affect the gain reduction in the
main channel. In other words, the center channel’s gain reduction is either the
output of the center channel’s compression sidechain or a fixed offset from the
main channel’s gain reduction. There are separate controls to set the maximum
OPTIMOD LOUDNESS CONTROLLER OPERATION 3-13
positive and negative offsets. The constraints are applied to the entire center
gain reduction signal (compression plus limiting).
To preserve intelligibility, it is important to prevent the center channel’s gain re-
duction from becoming too large with respect to the other channels. The BX
MAIN>CENTER MAX +DELTA GR control sets the maximum positive gain reduction
difference in each band. When the five-band structure is used, it is common to
set this control to 0 dB in Bands 1-3. To facilitate de-essing (and because Bands 4
and 5 in the center channel do not contribute to the gain reduction in the main
sidechain), we recommend setting the B4 and B5 MAIN>CENTER MAX +DELTA GR
controls to allow some extra gain reduction to occur in center channel Bands 4
and 5. It is OK to set this control to OFF in Band 5, which allows unconstrained
de-essing above 6 kHz. The TVxxxx factory presets provide examples.
Meanwhile, a BX MAIN>CENTER MAX –DELTA GR sets the maximum negative gain
reduction difference in each band, which constrains the amount of dynamic dia-
log boost. It also constrains the degree to which the center channel compressor
can pull up noise. If there are program elements other than dialog panned into
the center channel, the control constrains the amount by which the front stereo
image can be narrowed. 3 dB is a typical setting.

• The 2.0 processing architecture is intrinsically dual-mono but allows stereo cou-
pling of the AGC and multiband gain reductions as well as the AGC and com-
pressor gates. If 2.0 PROC MODE control in the CHANNEL page of the active Setup
sets is set to DUAL MONO, all stereo coupling is turned off and two LOUDNESS
LEVEL meters, AGC GATE indicators, and MB GATE indicators appear.

In STEREO mode, there is one LOUDNESS LEVEL meter, AGC GATE indicator, and MB
GATE indicator. However, you can still uncouple each band in both the AGC and
multiband compressors to a variable extent—anywhere from perfect stereo cou-
pling to completely uncoupled operation. The coupling control determines the
maximum amount of gain difference permitted between the left and right
channels in a given band and therefore the amount of stereo image shift permit-
ted in each frequency band.
Although the processing architecture is dual-mono, you cannot adjust setup con-
trols independently on the left and right channels. For most sound-for-picture
applications, this is not a significant constraint.

LFE Processing
The LFE channel has its own dedicated compressor with ATTACK TIME and THRESHOLD
controls. Its other settings (such as RATIO and BREAKPOINT) track the settings of the B1
(5-band mode) or Bass Band (two-band mode) compressor. To constrain build-up of
LFE energy, the B1>LFE COUPLING control clamps the maximum gain of the LFE
channel with respect to the band 1 compressor in five-band mode and the Bass band
in two-band mode. For example, when this control is set to 3 dB (the factory default)
and the B1 compressor exhibits 12 dB of gain reduction, the LFE channel can never
have less than 9 dB of gain reduction even if the LFE compressor would have pro-
duced less than 9 dB of gain reduction if uncoupled.
3-14 OPERATION ORBAN MODEL 8685

Low-IM Look-Ahead Limiter

The 8685’s peak limiter prevents overshoots by examining a few milliseconds of the
unprocessed sound before it is limited. This way the limiter can anticipate peaks that
are coming up. The peak limiter is oversampled to 192 kHz, which limits any over-
shoots caused by asynchronous resampling to less than 0.5 dB (typically much less).

Dialnorm and Limiting: Unlike some familiar compressors and limiters (whose
gain reduction is adjusted via threshold controls), the 8685 limiter’s threshold is fixed
with respect to the input of the 8685’s digital output level control so the limiter’s
drive level solely determines the gain reduction. Two cascaded gain controls set this
drive level. One is MB LIMIT DRIVE; the second is a “hidden” control whose gain is set
by the 8685’s active DIALNORM value. In the transmitted Dolby Digital bitstream, set-
ting DIALNORM to a less negative value automatically turns down the home receiver’s
volume control, so the 8685’s output level must be turned up by the same amount to
maintain a constant loudness at the receiver. Because it is placed before the 8685’s
look-ahead limiter, the 8685’s hidden DIALNORM gain control achieves this while al-
lowing the 8685’s look-ahead limiter to prevent digital clipping in the downstream
transmission chain regardless of the 8685’s DIALNORM setting. This arrangement al-
lows the user to set the correct loudness at the 8685’s output solely by adjusting the
8685’s active DIALNORM value—it is unnecessary to adjust any other controls within a
preset, so all presets (including User Presets) automatically adapt to the 8685’s cur-
rent DIALNORM value.

Look-Ahead Limiting and Low Bitrate Codecs: It is important to minimize audi-

ble peak-limiter-induced distortion when one is driving a low bitrate codec because
one does not want to waste precious bits encoding the distortion. Look-ahead limit-
ing can achieve this goal; hard clipping cannot.

One can model any peak limiter as a multiplier that multiplies its input
signal by a gain control signal. This is a form of amplitude modulation.
Amplitude modulation produces sidebands around the “carrier” signal.
In a peak limiter, each Fourier component of the input signal is a sepa-
rate “carrier” and the peak limiting process produces modulation side-
bands around each Fourier component.
Considered this way, a hard clipper has a wideband gain control signal
and thus introduces sidebands that are far removed in frequency from
their associated Fourier “carriers.” Hence, the “carriers” have little ability
to mask the resulting sidebands psychoacoustically. Conversely, a look-
ahead limiter’s gain control signal has a much lower bandwidth and pro-
duces modulation sidebands that are less likely to be audible.
Simple wideband look-ahead limiting can still produce audible inter-
modulation distortion between heavy bass and midrange material. The
look-ahead limiter in your Optimod uses sophisticated techniques to re-
duce such IM distortion without compromising loudness capability.
Loudness Control
The 8685’s third-generation CBS Loudness Controller and BS.1770 Safety Limiter co-
operatively and automatically control subjective loudness.

The CBS Loudness Controller follows the multiband compressor in the 8685’s signal
flow diagram. However, it takes into account the effect of the following look-ahead
OPTIMOD LOUDNESS CONTROLLER OPERATION 3-15
limiter so that it effectively monitors the loudness at the limiter’s output, not the
loudness at the multiband compressor’s output. It does so by scaling its sidechain
drive by two gain factors: (1) the MB LIMIT DRIVE control and (2) the 8658’s active
DIALNORM value, which is determined either globally or by the active preset depend-
ing on the active preset’s DIALNORM setting. (See Low-IM Look-Ahead Limiter on
page 3-14.)

The loudness controller constrains the loudness of most commercials well enough to
eliminate viewer annoyance. It works by constantly monitoring the subjective loud-
ness of the 8685's output. The subjective loudness is a single value that represents
the listener’s impression of the loudness in the listening room. It takes into account
the contribution of all stereo and surround channels.

When subjective loudness would otherwise exceed the threshold set by the
LOUDNESS THRESHOLD control, the loudness controller reduces the gain of material
above 200 Hz, preventing loudness from exceeding the threshold. To prevent the
loudness controller from causing too much dynamic bass boost, you can use the
LOUDNESS CONTROLLER BASS COUPLE control to limit the maximum difference be-
tween the gain of the band below 200 Hz and the band above 200Hz. For example,
when this control is set to 3 DB and the loudness controller’s gain reduction is 10 dB,
the gain reduction below 200 Hz will be 7 dB. However, if the loudness controller’s
gain reduction is 2 dB, the gain reduction below 200 Hz will be 0 dB because the dif-
ference is now less than 3 dB.

The loudness controller is triggered mainly by program material that has a lot of en-
ergy between 1 and 7 kHz, which is the ear’s most sensitive range. If you are using
the two-band structure and you find that the loudness controller is producing audi-
ble artifacts because the program forces it to do a great deal of gain reduction, we
suggest that you use the five-band structure instead. This will automatically re-
equalize such program material and will de-ess extremely sibilant program material
before the loudness controller receives it.

The loudness controller’s attack and release times are tuned to match the loudness
integration times of the ear and are program-adaptive. Only the attack time is user-
adjustable.

If you feel that the loudness controller is not controlling the loudness of commer-
cials or other subjectively loud program material sufficiently well, you may wish to
set the threshold lower, forcing the loudness controller to do more work. You may
also wish to activate the BS.1770 Safety Limiter. Conversely, if the loudness controller
is doing more gain reduction that you would like, you can set the LOUDNESS
THRESHOLD control higher.

In the LOUDNESS GAIN REDUCTION meter, the gain reduction of the BS.1770 safety lim-
iter (in dB units) is stacked with gain reduction of the CBS loudness controller. The
CBS controller gain reduction appears in blue, while the BS.1770 safety limiter gain
reduction appears in cyan. The CBS Loudness Controller produces both fast and slow
loudness control; the fast control rides on top of the slow control. You can easily see
this dual-speed operation on the LOUDNESS GR meter. The LOUDNESS ATTACK control
determines how much fast control the loudness controller produces. As the control is
3-16 OPERATION ORBAN MODEL 8685

turned down toward 0%, it allows longer and longer loudness peaks to pass
through.

The 8685’s CBS Loudness meter is only visible from PC Remote software,
which displays the BS.1770-2 meter beside the CBS meter. Because of the
system topology, the 8685’s CBS loudness level meter always reads as it
would if the LOUDNESS ATTACK control were set to 100% and does not in-
dicate the effect of lower settings. As long as the control is set to 50% or
higher, this limitation should not have any significant effect on the CBS
loudness level meter’s accuracy.
The loudness controller may reduce the dramatic effect of certain sounds in enter-
tainment programming, like gunshots, explosions, or screeching tires. Operators may
therefore want to turn the loudness controller on during commercial breaks and off
during normal programming. Most sound-for-picture presets have the Loudness
Controller on. (Those that do not have “no LC” in their names.)The easiest way to
handle this situation is to start with your preferred preset, turn the loudness control-
ler off, and then save the result as a User Preset. Using one of the 8685’s remote
control mechanisms (like its GPI inputs), recall the “with loudness controller” and
“without loudness controller” presets as desired.

Slowing the LOUDNESS ATTACK control provides another way to maintain the dramatic
impact of loudness transients in dramatic programming; it can let gunshots and the
like through while still constraining long-term loudness to a fixed threshold. While
this is an easy solution that does not require your automation system to tell the
8685 when to recall presets, it is not ideal because there are some short-term loud-
ness events, like sibilance, applause, and whistles, that can be annoying to audi-
ences.

In surround mixes with dialog mainly in the center channel, you can ef-
fectively control sibilance with the center channel Band 4 and Band 5
compressors. In the 2.0 processor, you can use the Speech-Mode B4 and
B5 compressor threshold controls to accomplish the same goal.
Another loudness control strategy is this: Instead of using two presets with and
without loudness control (as described above), you can create presets with different
settings of the LOUDNESS ATTACK control (and possibly different settings of the
LOUDNESS THRESHOLD control as well). Try a slow attack (50% or below) for dramatic
programming and a faster attack (70%) for commercial breaks. This will maintain
some automatic loudness control for dramatic programming while controlling the
loudness of commercial breaks more rigorously.

Note that the loudness controller operates with reference to an absolute subjective
loudness threshold that does not adapt to program context. This means that if there
is a transition between very quiet program material (like footfalls through rustling
leaves) and a commercial, the commercial may still seem offensively loud even
though the loudness controller is controlling its loudness correctly with reference to
other sounds that reach full-scale loudness. Philosophically, this is inevitable; the
loudness controller cannot reduce the level of the commercial to the level of rustling
leaves without destroying the effectiveness of the commercial and angering the
sponsor!
OPTIMOD LOUDNESS CONTROLLER OPERATION 3-17
BS.1770 Safety Limiter
Following the CBS Loudness Controller is a BS.1770 Safety Limiter (first implemented
in v1.1 software) that will prevent a BS.1770-2 loudness meter with 10-second inte-
gration time from indicating higher than the setting of the BS.1770 THRESHOLD con-
trol, which is found in the MULTIBAND page in ADVANCED CONTROL. The BS.1770
THRESHOLD control is part of the on-air processing preset, so if you change the set-
ting of this control from its default value (which we recommend doing), you should
save your work as a User Preset.

Because some organizations will disqualify an automatic loudness controller if it

causes a BS.1770 meter to read higher than a specified threshold, all of the “TV”
factory presets have this controller active with the BS.1770 THRESHOLD control set to
0 LK. If your organization does not have a strict policy about processing for the
BS.1770 meter, we recommend that you edit your preferred preset by setting this
control anywhere from +2 to OFF and then saving the result as a User Preset.

The BS.1770 safety limiter receives the output of the CBS Loudness Con-
troller and drives the final peak limiters. The total amount of loudness
control-induced gain reduction is the sum of the gain reduction pro-
duced by the CBS Loudness Controller and the gain reduction produced
by the BS.1770 safety limiter. The gain reduction produced by the
BS.1770 safety limiter changes slowly, seldom exceeds 2 dB, and is indi-
cated by the cyan section of the LOUDNESS GR meter. The gain reduc-
tion produced by the CBS Loudness Controller may change slowly or
quickly (depending on the nature of the program material), appears in
blue, and rides on top of the BS.1770 gain reduction. The peak reading
of the meter thus shows the total gain reduction that both controllers
produce.
We included this safety limiter for customers whose policies require the
BS.1770 loudness meter reading to be constrained below specified
threshold regardless of how loud human listeners perceive the program
to be. Our experience suggests that the BS.1770-2 meter will often over-
read material with unusually low peak-to-average ratios, like highly pro-
duced commercials and promos. Strict reliance on the BS.1770 meter can
therefore make such material sound unnaturally quiet compared to sur-
rounding material, so we prefer the sound when the CBS Loudness Con-
troller is used exclusively for loudness control.
The CBS Loudness Meter and BS.1770 Loudness Meter both receive the
signal after it has been processed by both the CBS Loudness Controller
and the BS.1770 safety limiter. Therefore, if the BS.1770 safety limiter is
producing gain reduction, the CBS Loudness Meter is likely to read lower
than 0 dB.
For a more detailed discussion of these issues, refer to Using the ITU
BS.1770 and CBS Loudness Meters to Measure Loudness Controller Per-
formance, starting on page 3-81.
Input/output Delay
The 8685’s input/output time delay is typically 25 ms—about three-quarters of an
NTSC frame. To make intelligent decisions about how to process, the 8685 needs to
look ahead at the next part of the program waveform. As digital transmission proc-
essing advances further and further from its analog roots, this is the inevitable price
of progress.
3-18 OPERATION ORBAN MODEL 8685

A 25ms audio delay does not cause annoying AV-sync problems by itself. However,
to facilitate maintaining AV-sync in systems, the 8685 allows you to pad the delay to
exactly one or frames of 24, 25, 29.97, 30, 50, 59.94, or 60 fps video, which makes
matching audio and video delays convenient. (Two frames are required for 59.94/60
fps progressively scanned video.) See step 12 on page 3-19.

Customizing the 8685’s Sound

The subjective setup controls on the 8685 give you the flexibility to customize your
station’s sound. Nevertheless, as with any audio processing system, proper adjust-
ment of these controls consists of balancing the trade-offs between loudness, den-
sity, and audible distortion. The following pages provide the information you need
to adjust the 8685 controls to suit your format, taste, and competitive situation.

When you start with one of our Factory Presets, there are three levels of subjective
adjustment available to you to let you customize the Factory Preset to your re-
quirements: Basic Modify, Intermediate Modify, and Advanced Modify.

See page 6-94 for a block diagram of the processing.

Basic Modify
BASIC MODIFY allows you to control two important elements of 8685 processing:
the equalizer and the dynamics section (multiband compression, limiting, and clip-
ping). At this level, there is only one control for the dynamics section: LESS-MORE,
which changes several different subjective setup control settings simultaneously ac-
cording to a table that we have created in the 8685’s permanent ROM (Read-Only
Memory). In this table are sets of subjective setup control settings that provide, in
our opinion, the most favorable trade-off between loudness, density, and audible
distortion for a given amount of processing. We believe that most 8685 users will
never need to go beyond the LESS-MORE level of control because the combinations
of subjective setup control settings produced by this control have been optimized by
Orban’s audio processing experts on the basis of years of experience designing audio
processing and upon hundred of hours of listening tests.

Unlike other the LESS-More controls in most other Optimods, the 8685’s LESS-MORE
control is designed to always maintain the target loudness that the active Dialnorm
value specifies. In general, the LESS-MORE control sets the average amount of dy-
namic range control provided by the processing, although the spectral balance also
changes in some of the “radio-style” presets. As you go from less to more, the loud-
ness of loud sounds will stay about the same but the loudness of quieter sounds will
increase. Because of the 8685’s sophisticated gating circuits, very quiet material like
background sounds, quiet underscoring, hiss, and hum will not be pumped up.

You need not (in fact, cannot) create a sound entirely from scratch. All User Presets
are created by modifying Factory Presets or by further modifying Factory Presets
that have been previously modified with a LESS-MORE adjustment. It is wise to set
the LESS-MORE control to achieve a sound as close as possible to your desired sound
OPTIMOD LOUDNESS CONTROLLER OPERATION 3-19
before you make further modifications at the Advanced Modify level. If you do so,
any changes you make at this level are likely to be smaller and to require resetting
fewer controls.

In the 8685, LESS-MORE affects only the dynamics processing (compression, limiting,
and clipping). Unlike some of Orban’s older digital processors, the 8685’s equaliza-
tion and stereo enhancement are decoupled from LESS-MORE. You can therefore
change EQ or stereo enhancement and not lose the ability to use LESS-MORE. When
you create a user preset, the 8685 will automatically save your EQ and stereo en-
hancement settings along with your LESS-MORE setting. When you recall the user
preset, you will still be able to edit your LESS-MORE setting if you wish.

Please note that when a given Factory or user processing preset’s DIALNORM setting is
GLOBAL, the 8685’s global DIALNORM setting automatically scales its loudness at the
8685’s output. If you want a given preset to produce a predictable loudness level in
a non-Dolby transmission environment (particularly when the preset is exported to
other 8685 units), you should set the processing preset’s DIALNORM value to some-
thing other than GLOBAL. This will always override the active Setup’s global DIALNORM
setting. (See Low-IM Look-Ahead Limiter on page3-14 for a discussion of the series
connection of the DIALNORM and LIMITER DRIVE controls.)

Intermediate Modify
Intermediate Modify is a compromise between Basic Modify and Advanced Modify.
Most people will never have any reason to go beyond Intermediate Modify.

Intermediate Modify does not provide LESS-MORE control. Furthermore,

once you have edited a preset’s dynamics parameters in Intermediate
Modify, LESS-MORE control is no longer available in Basic Modify and will
be grayed-out if you access its screen. As noted above, we recommend
using the Basic Modify LESS-MORE control to achieve a sound as close as
possible to your desired sound before you make further modifications at
the Intermediate Modify level.

Advanced Modify
If you want to create a signature sound that is far out of the ordinary, if your taste
differs from the people who programmed the LESS-MORE tables, or if you are using
the 8685 in mastering or production applications, you will find Advanced Modify
useful. At this level, you can customize or modify any subjective setup control set-
ting to create a sound exactly to your taste. You can then save the settings in a User
Preset and recall it whenever you wish. This sort of customization is usually unneces-
sary for sound for picture but can be very useful for radio and production applica-
tions.

Compressor attack time, knee, ratio, and threshold controls are available. These con-
trols can be dangerous in inexperienced hands, leading you to create presets that
sound great on some program material but overdrive the look-ahead peak limiter
on other material, causing objectionable pumping or distortion. We therefore rec-
ommend that you create custom presets at the Advanced Modify level only if you
3-20 OPERATION ORBAN MODEL 8685

are experienced with on-air sound design and if you are willing to take the time to
double-check your work on many different types of program material.

This constraint is less applicable to Dolby Digital transmissions that use

conservative values of Dialnorm like –25 dB. In this case, the 8685’s look-
ahead limiters will rarely produce gain reduction, so you can adjust the
compression parameters more freely without worrying that the limiters
will be overdriven.
In production and mastering applications, you will usually be working
with one piece of program material at a time. Here, you can use all of
Advanced Modify’s power to get the sound you want without being con-
cerned about how your settings will sound with other material.
The PC Remote software organizes its controls in tabbed screens. One set of tabs is
for surround processing and the other is for 2.0 processing. The EQUALIZATION and
LESS-MORE tabs in each set access the Basic Modify controls. The remaining tabs in
each set combine the Intermediate Modify and Advanced Modify controls, logically
organized by functionality.

Important Note: Once you have edited a preset’s dynamics parameters

in Intermediate or Advanced Modify, LESS-MORE control is no longer
available in Basic Modify. As noted above, we strongly recommend using
the LESS-MORE control to achieve a sound as close as possible to your de-
sired sound before you make further modifications at the Full or Ad-
vanced Modify levels.

Setting Preset Loudness Correctly for Dolby Digital Transmission

There are two major philosophies of loudness control, one presented in ATSC Rec-
ommendation A/85 and the other in EBU Recommendation R 128.

ATSC A/85: If you wish to ensure that dialog levels are consistent from one program
segment to the next, use the 1101’s CBS loudness meter as a reference for adjusting
a user preset’s loudness. In this case, we prefer relying on the CBS Loudness Control-
ler to do final loudness control and turning the BS.1770 Safety Limiter off. Consis-
tent loudness of the “anchor element” (usually dialog) is the goal suggested in ATSC
Recommendation A/85, which is the basis for CALM Act compliance, and we prefer
this goal to strictly relying on the BS.1770-2 loudness meter.

EBU R 128: If you wish to ensure that integrated loudness as measured on a

BS.1770-2 meter is consistent from one piece of program material to the next, use
your Optimod’s BS.1770-2 loudness meter as a reference. In this case, you may wish
to active your Optimod’s BS.1770 Safety Limiter, which will constrain BS.1770-2
loudness with a 10-second integration time from exceeding the setting of the
BS.1770 THRESHOLD control. However, note that R128 encourages mixing to achieve
a wide dynamic range, where some material may considerably exceed the target
loudness when measured on a “short-term” (three-second integration time; un-
gated) BS.1770-2 meter. Moreover, R 128 requires online loudness control to be de-
feated if upstream material is known to be pre-processed such that the integrated
loudness of each program segment (per BS.1770-2) is identical to the active dialnorm
OPTIMOD LOUDNESS CONTROLLER OPERATION 3-21
value with a ±1 LU window. Use your Optimod’s PASS-THROUGH preset to defeat
loudness processing.

In sound-for-picture applications that use a Dolby Digital transmission channel to

the consumer’s receiver, you can use the 8685’s LOUDNESS LEVEL meters (CBS and
Bs.1770-2) as a reference for adjusting a user preset’s loudness. (See Using the ITU
BS.1770 and CBS Loudness Meters to Measure Loudness Controller Performance
starting on page 3-81.) These meters’ calibrations track the 8685’s active DIALNORM
value, which is either the DIALNORM value in the active Setup (which applies to any
preset whose DIALNORM value is set to GLOBAL) or the DIALNORM value in the active
processing preset if this value is not set to GLOBAL.

The controls to which the following procedure refers are described later in Section 3.

A) Make sure that the input reference level in the active preset is correctly ad-
justed (step 7 on page 2-11).
B) Make sure that the 8685’s active DIALNORM value is the same as the Dialnorm
value you are transmitting to consumers’ receivers (step 10 on page 2-14).
C) LOCATE to ADVANCED CONTROL, which is where you can access the controls re-
quired to complete the steps below.
D) If the AGC is turned on in the preset, adjust the AGC DRIVE control so that the
AGC is producing the desired amount of compression. We recommend 10 dB
or less with normal levels.
E) If the AGC’s idle gain (i.e. the gain reduction produced by the AGC when its si-
lence gate is on) is inappropriate, adjust it with the AGC IDLE GAIN control.
If you are using a factory processing preset and you have adjusted the
input reference level correctly, there is no need to adjust the AGC DRIVE
or AGC IDLE GAIN controls.

F) Adjust the MULTIBAND DRIVE or 2-BAND DRIVE control (depending on whether

the five-band or two-band structure is active) to produce the desired amount
of multiband gain reduction. We recommend about 5 dB for dialog at normal
levels.
G) If you wish to use the CBS Loudness Controller: Set the LOUDNESS THRESHOLD
control to 0 dB, which matches the CBS Loudness Controller’s threshold to the
8685’s active DIALNORM value. Then set the MB LIMIT DRIVE control so that the
CBS segment of the LOUDNESS GR meter indicates 3 dB of gain reduction with
dialog at normal levels. (The CBS Loudness Controller’s gain reduction appears
in blue on the LOUDNESS GR meter.)
You should see the LOUDNESS LEVEL meter peaking around 0 dB when the
LOUDNESS GR meter shows that gain reduction is occurring
H) If you wish to use the BS.1770 Safety Limiter: Set the BS.1770 THRESHOLD con-
trol to your preferred level. 0 LK provides the tightest control as indicated on
a BS.1770 meter, but this is likely to cause program material with an usually
low peak to RMS ratio to sound too quiet. Most natural sound is produced
when the BS.1770 THRESHOLD control is set to +2 LK or higher.
3-22 OPERATION ORBAN MODEL 8685

I) If you do not wish to use the Loudness Controller: Set the LOUDNESS
THRESHOLD and BS.1770 LIMIT THRESHOLD controls to OFF. Then adjust the MB
LIMITER DRIVE control to produce 0 dB peak indications on the CBS loudness
meter with dialog at normal levels.
Presets with the loudness controller off will produce wider source-to-
source loudness variation (as indicated on the CBS loudness meter) than
presets with the loudness controller on. When the loudness controller is
off, the five-band structure will control loudness better than the two-
band structure. When the loudness controller is on, both structures have
comparable loudness control.
If you chose an appropriate DIALNORM value for your transmission, the
8685’s limiting meters should rarely indicate any gain reduction.

Gain Reduction Metering

Unlike the metering on some processors, when any 8685 gain reduction meter indi-
cates full-scale (at its bottom), it means that its associated compressor has run out of
gain reduction range, that the circuitry is being overloaded, and that various nasti-
nesses are likely to commence. Because the various compressors have 25 dB of gain
reduction range, the meter should never come close to 25 dB gain reduction if
OPTIMOD 8685 has been set up for a sane amount of gain reduction under ordinary
program conditions.

To Create or Save a Preset

There are two kinds of user presets in the 8685: Processing Presets and Setups. Once
you have edited a preset, you can save it as a user preset. The 8685 can store an in-
definite number of user presets (typically more than 30), limited only by available
memory.

The 8685 preserves any edited, unsaved preset until you recall another preset. This is
true even if the 8685 is powered down or reboots. However, to ensure that you do
not accidentally lose your work, it is wise to save as a User Preset any edited preset
you want to keep. To save a preset:

A) Press the ESCAPE button repeatedly until you see the main menu.
B) LOCATE to SAVE/SAVE AS and press ENTER.
The SAVE PRESET screen appears.
• To save a Processing Preset, use the SAVE PRESET screen.

• To save a Setup, LOCATE to the SAVE SETUP screen, which is to the right of
the SAVE PRESET screen.

C) Choose a name for your preset.

Some non-alphanumeric characters (like < and > ) are reserved and can-
not be used in preset names.
D) Use the “virtual keyboard” to create a preset name.
OPTIMOD LOUDNESS CONTROLLER OPERATION 3-23
Use the LOCATE button to navigate to each character. Then press ENTER to
accept that character.
The SHIFT key on the virtual keyboard changes it between upper and
lower case.

E) LOCATE to the SAVE button and press ENTER.

• You cannot give a user preset the same name as a factory preset. If the
name that you have selected duplicates the name of a factory preset, a
warning box will appear saying:

Factory presets cannot be overwritten.

• If the name you have selected duplicates the name of an existing user pre-
set, the 8685 warns you that you are about to overwrite that preset. An-
swer YES if you wish to overwrite the preset and NO otherwise. If you an-
swer NO, the 8685 will give you an opportunity to choose a new name for
the preset you are saving.

You can save user presets from the 8685 PC Remote application. (See
Using the 8685 PC Remote Control Software on page 3-68.) The PC Re-
mote application also allows you to back up presets to your computer’s
hard drive (or other storage device) and to restore them. However, back-
ing up a preset is not the same as saving it. Backed-up presets reside on a
storage medium supported by your computer, while saved presets reside
in the 8685’s local non-volatile memory. You cannot back up a preset un-
til you have saved it. (See To back up user presets, system files, and
automation files onto your computer’s hard drive on page 3-71.)
Note that if, for some reason, you wish to save an unmodified preset (ei-
ther Factory or user) under a new name, you must temporarily make an
arbitrary edit to that preset in order to make the SAVE PRESET button ap-
pear. After you have saved the preset, reverse the edit and save the pre-
set again.

About the Processing Structures

If you want to create your own User Presets, the following detailed discussion of the
processing structures is important to understand. If you only use Factory Presets or if
you only modify them with LESS-MORE, you may still find the material interesting
but you do not need to understand it to get excellent sound from the 8685. We
have carefully designed the 8685’s factory presets and most users will not need to go
beyond these.

In the 8685, a processing structure is a DSP configuration that operates as a com-

plete audio processing system. There are three basic structures: Two-Band, Five-
Band, and Pass-Through. To make transitions from one structure to the next as
smooth as possible, the DSP computes all processing structures simultaneously but
only one can be active in the foreground.
3-24 OPERATION ORBAN MODEL 8685

The surround and 2.0 processors are essentially independent and can use different
structures. For example, the surround processor could be running the five-band
structure while the 2.0 processor is running the two-band structure.

To select a structure for the Surround processing, recall a factory preset or user hav-
ing the desired structure. If the 2.0 section of that preset has the wrong structure,
change it by importing a factory or user preset whose 2.0 section has desired struc-
ture (see page 3-27). For example, if the TV 5B-GEN PURPOSE factory preset is ac-
tive, importing the TV 2B-GEN PURPOSE preset will cause the 2.0 processing to
change from five-band mode to two-band mode. Once you have the combination of
structures you want, save the result as a User Preset, which you can leave unchanged
or edit as you wish.

You cannot change the structures of the Surround or 2.0 sections of a given preset
by editing them; the only way to choose a structure is to recall (Surround processing)
or import (2.0 processing) a preset having that structure.

Switching Between Structures: The AGC, equalizer, and look-ahead limiter are
common to both Two-Band and Five-Band processing and therefore stay the same
when the 8685 switches between two-band and five-band operation. However, dif-
ferent controls, as appropriate for Two-Band or Five-Band multiband compression,
appear in the screens containing dynamics processing controls. The meters also
change functionality to display the Two-Band or Five-Band gain reduction.

The Two-Band and Five-Band multiband compressor sidechains are independent and
always operate in the background. In the audio path, these structures both use the
five-band crossover. Two-Band processing uses bands 2 through 5 as the Master
band (above 200 Hz) by forcing their gains to be identical and controlling them with
the two-band sidechain. Meanwhile, the Two-Band sidechain creates the Two-Band
Bass band (below 200 Hz) by controlling band 1. Hence, switching between Two-
Band and Five-Band can be made seamless because the audio chain’s structure does
not change; the only thing that changes is the gain control sidechain.

To ensure seamless switching between a given two-band and five-band preset, it is

important to ensure that both presets are set up for approximately the same loud-
ness or to switch them during silence.

Pass-Through: PASS-THROUGH is a “soft bypass” function and is useful for any pro-
gram material that has been pre-processed for consistent loudness, like a network
feed. PASS-THROUGH defeats the AGC and multiband compressor gain reduction but
retains the look-ahead limiter (to prevent digital clipping), the equalizer, and the
loudness controller. PASS-THROUGH does not change the audio path like the 8685’s
BYPASS function. Instead, PASS-THROUGH gain-ramps the AGC and compressor
sidechains to produce the desired bypass gain. This ramping occurs within one video
frame (approximately 30 ms). This gain ramping and the invariant audio path mini-
mize the likelihood that invoking PASS-THROUGH will causes clicks in the audio when
PASS-THROUGH is invoked during program material.

PASS-THROUGH’S most important parameter is the PASS GAIN control. In the factory
PASS-THROUGH preset, the equalizer is available but is set “flat” while the Loudness
Controller is available, but is set OFF.
OPTIMOD LOUDNESS CONTROLLER OPERATION 3-25
You can set the equalizer non-flat and save the result as a User Preset.
Duplicating the equalizer settings of the active preset to or from which
you switch may reduce the likelihood that switching to PASS-THROUGH
will cause an audio click. However, clicks can only occur if you switch dur-
ing active audio; you can prevent clicks by switching during silence like
the boundary between two program elements. The downside of using
non-flat equalization in PASS-THROUGH is that the equalization will color
the program material intended for “pass-through,” so it is usually not a
good idea—switching during silence is far preferable.
You can use the Loudness Controller to monitor and cap the maximum
subjective loudness of program material that would ordinarily be passed
through uncontrolled—a pathologically loud network commercial, for
example.
Note: LESS-MORE is not available in the PASS-THROUGH preset.

In addition to editing the factory PASS-THROUGH preset to create a pass-through user

preset, you can convert a two-band or five-band preset to pass-through mode. This
will retain the preset’s equalizer and loudness controller settings but will disable
other settings. To do this, LOCATE to ADVANCED MODIFY>AGC and set the PASS SWITCH
control to IN. To restore the preset’s full functionality, you can later set the PASS
SWITCH control to OUT.

Five-Band: The Five-Band structure is very flexible, enabling you to fine-tune your
on-air sound. All filters are phase-linear. Band 1 is lowpass, band 2 is highpass, and
the remaining bands are bandpass. The Band 1↔2 crossover frequency is switchable
between 100 and 200 Hz. The remaining crossover frequencies are fixed at 520 Hz,
1.8 kHz, and 6 kHz.

There are several Factory Presets for the Five-Band structure. You can edit these with
the LESS-MORE control. This control affects the sound-for-picture-oriented presets
differently than it does the music presets. When a sound-for-picture-oriented preset
is on the air, the LESS-MORE control adjusts the average amount of gain reduction by
adjusting the drive level to the Five-Band structure's input and adjusting the idle
gain—the amount of gain reduction in the AGC when it is gated. (It gates whenever
the input level to the AGC is below the setting of the AGC GATE THRESH control.)
However, LESS-More does not change the loudness controller threshold; it just
changes the amount of compression in the AGC and multiband compressor. Dialog
at normal levels will still be consistent with the setting of the 8685’s DIALNORM pa-
rameter. Hence, LESS-MORE determines how much the 8685 will amplify the loudness
of quiet parts of the input while ensuring that the program material does not be-
come unpleasantly loud.

When a music preset is on the air, the LESS-MORE control sets the amount of overall
processing, making optimum tradeoffs between loudness, brightness, and distor-
tion. In sound for picture, there are no loudness wars; for music presets, there is
probably never a need to advance the LESS-MORE control beyond 5.

Two-Band: The Two-Band structure is the same as the Five-Band structure except
that the Two-Band compressor sidechain controls the gains of the five bands. The
upper four bands are 100% coupled and are controlled by the Master output of the
sidechain, while the Bass output of the sidechain controls Band 1.
3-26 OPERATION ORBAN MODEL 8685

The Two-Band structure has an open, easy-to-listen-to sound. It has a “reverse expo-
nential” release characteristic available, which can be very useful in sound-for-
picture applications by correcting large gain difference quickly while not adding
significant density to material that is already well controlled.

The Two-Band structure preserves the frequency balance between midrange and
high frequency elements in the programming while permitting gentle automatic re-
equalization of the balance between these elements (in the “master” band, which is
above 200 Hz) and elements in the “bass” band (below 200 Hz). However, if the
spectral balance between the bass and high frequency energy of the program mate-
rial is incorrect, the Two-Band structure (when its BASS COUPLING control is not set to
0 dB) can gently correct it without introducing obvious coloration. When the BASS
COUPLING control is set to 0 dB, the Two-Band structure preserves the spectral bal-
ance of all but the most bass-heavy soundtracks in sound-for-picture applications.
This can benefit well-produced material. For material with poor to mediocre audio
quality, the Five-Band structure usually does a better job because it can correct spec-
tral balances and implement de-essing.

In radio-oriented applications, the Two-Band structure is mainly useful for classical

or “fine arts” programming that demands high fidelity to the original program
source.

Factory Programming Presets

Factory Programming Presets are our “factory recommended settings” for various
program formats or types. The Factory Programming Presets are starting points to
help you get on the air quickly without having to understand anything about ad-
justing the 8685’s sound.

You can easily edit any of these presets with the LESS-MORE control to optimize the
trade-off between loudness and distortion according to the needs of your format,
although this is often unnecessary. It is OK to use unmodified factory presets on the
air. These represent the best efforts of experienced transmission processing sound
designers who have been designing industry-standard TV processing since the early
1980s. We are sometimes asked about unpublished “programming secrets” for Op-
timods. In fact, there are no “secrets” that we withhold from users. This manual re-
veals our “secrets” and the presets embody all of our craft as processing experts. The
presets are editable because other sound designers may have different preferences
from ours, not because the presets are somehow mediocre or improvable by those
with special, arcane knowledge that we withhold from most of our customers.

Start with one of these presets. Spend some time listening critically to your sound.
Listen to a wide range of program material typical of your format and listen on sev-
eral types of audio systems (not just on your studio monitors). Then, if you wish, cus-
tomize your sound using the information in the Protection Limiter, Two-Band and
Five-Band sections that follow.

Each factory preset has full LESS-MORE capability. The table shows the presets, in-
cluding the source presets from which they were taken and the nominal LESS-MORE
OPTIMOD LOUDNESS CONTROLLER OPERATION 3-27
setting of each preset. Some of the Five-Band presets appear several times under
different names because we felt that these presets were appropriate for more than
one format; these can be identified by a shared source preset name.

Important! If you are dissatisfied with the sound available from the fac-
tory presets, please understand that each named preset is actually 19 pre-
sets that can be accessed via the LESS-MORE control. The LESS-MORE con-
trol has very little effect on loudness. Instead, it determines the amount
of dynamic range reduction. Once you have used LESS-MORE, save your
edited preset as a User Preset.
Do not be afraid to choose a preset other than the one named for your program-
ming if you believe this other preset has a more appropriate sound. Also, if you
want to fine-tune the frequency balance of the programming, feel free to use Basic
Modify and make small changes to the Bass, Mid EQ, and HF EQ controls. The 8685
lets you make changes in EQ (and stereo enhancement) without losing the ability to
use Less-More settings.

Of course, LESS-MORE is still available for the unedited preset if you want
to go back to it. There is no way you can erase or otherwise damage the
Factory Presets. So, feel free to experiment.
If a preset has “2B” or “2BAND” in its name, it will activate the Two-Band structure.
(The Protection presets are two-band as well.) Other presets use the Five-Band struc-
ture.

Each Factory Preset contains parameters for the surround and 2.0 processing. These
parameters are identical. If you wish to use separate parameters for the surround
and 2.0 processing, you must create a User Preset (see page 3-22). A preset, whether
Factory or User, can be edited in three ways to create a new User Preset:

• If you have not previously edited individual parameters in the preset’s dynam-
ics processing, you can adjust LESS-MORE in both the Surround and 2.0 sec-
tions of the preset

• You can adjust any individual parameter in both the Surround and 2.0 sec-
tions of the preset.

• You can bulk-import all of the 2.0 parameters contained in any User Preset or
Factory Preset.

When you edit a preset by bulk-importing 2.0 parameters like this, they will over-
write the existing 2.0 parameters in your edited preset, including any that you have
might have adjusted before you imported.

To import a 2.0 preset from the 8685’s front panel:

A) LOCATE to RECALL/IMPORT > IMPORT 2.0 PRESET.
You may have to scroll the display using PREV button until IMPORT PRESET
appears.
B) Turn the wheel until the desired preset name appears.
C) Press ENTER to recall the preset.
3-28 OPERATION ORBAN MODEL 8685

To import a 2.0 preset from PC Remote:

A) Choose IMPORT 2.0 CONTROLS from the FILE menu to bring up the IMPORT 2.0
CONTROLS dialog box.
B) With the mouse, highlight the desired 2.0 source preset, either Factory or
User.
C) Click IMPORT.
After importing the 2.0 parameters, you are still free to adjust any individual Sur-
round or 2.0 parameter. When you are satisfied with your work, you can then save
this combination of Surround and 2.0 parameters as a new User Preset. You can then
use your new User Preset as a source for 2.0 parameters to be imported into any
other User Presets you may wish to create or edit. For example, you could have six
User Presets with identical 2.0 processing parameters but with different Surround
processing parameters. The 2.0 bulk import feature makes this easy.

If you have not edited any parameters in a given 2.0 Factory Preset’s dynamics proc-
essing, LESS-MORE will continue to be available even if that 2.0 preset has been im-
ported into a User Preset and you are editing that User Preset. Moreover, you can
freely create multiple generations of User Presets that retain 2.0 LESS-MORE func-
tionality. The only thing that counts is that the 2.0 parameters in a given User Preset
are unchanged compared the original source Factory Preset.

Sound-for-Picture Presets
Sound-for-picture preset names all begin with “TV” or “TVA.” Most of these presets
have the CBS Loudness Controller’s threshold set to 0 dB and the BS.1770 safety lim-
iter’s threshold set to 0 LK. These settings constrain loudness to a level consistent
with the active DIALNORM value (see Loudness Control on page 3-14). As discussed in
Loudness Control, a BS1770 THRESHOLD of 0 LK can make some material too quiet
because of limitations in the BS.1770 algorithm. We recommend setting BS1770
THRESHOLD to +2 LK or higher. This requires editing the factory preset and saving it
as a User Preset.

If you wish to use a given preset with the loudness controller turned off, set its
LOUDNESS THRESH and BS1770 THRESHOLD to OFF and save the result as a User Preset.

Presets beginning with “TVA” are tuned with the assumption that the 2.0 processing
is operating with 50μs or 75μs pre-emphasis and is driving an analog TV transmitter.
See step 10 on page 2-32. A given “TVA” preset’s surround processing is identical to
the surround processing in the corresponding “TV” preset, which is turned with the
assumption that the 2.0 processing will operate with no pre-emphasis (FLAT); see
step 9 on page 2-31.

TV 2B–GEN PURPOSE (TV Two-Band General Purpose): This preset accommodates

most dramatic programming (particularly older material), providing gentle gain con-
trol that limits dynamic range to a level that provides the general audience with
consistently intelligible dialog. It sounds very similar to Orban’s analog OPTIMOD-TV
(Model 8182A) when that unit is adjusted for “General” programming according to
the instructions in its operating manual. This preset retains the spectral balance of
OPTIMOD LOUDNESS CONTROLLER OPERATION 3-29
its input as much as possible. TV 2B-GEN PURPOSE is not the best choice for live news,
sports, or films with optical soundtracks. The Five-Band presets (see below) can
automatically equalize such program material when its spectral balance is inappro-
priate and can also apply single-ended dynamic noise reduction.

These presets defeat the AGC and do all gain riding with the two-band compressor,
which is set for reverse exponential release. This release characteristic does not sig-
nificantly increase the density of material whose level is well controlled while still
performing fast correction of levels that are too low. The Loudness Controller is ac-
tive, so this preset controls loudness tightly.

For modern dramatic programming mixed in surround, you may prefer the TV 2B-
DRAMA or TV 5B-DRAMA COUPLD presets, which preserve more of the mixes’ origi-
nal dynamic range.

TV 2B GEN PURP NO LC (TV Two-Band General Purpose without Loudness Control-

ler): This preset is the same as TV 2B-GEN PURPOSE except the Loudness Controller
is turned off and the MB DRIVE control is backed off by 3 dB to achieve approxi-
mately the same loudness as TV 2B-GEN PURPOSE. Because the Loudness Controller
is inactive, this preset has more dynamic punch than TV 2B-GEN PURPOSE, but the
loudness of highly processed material (like commercials with a lot of midrange
boost) may be objectionably loud. This preset cannot guarantee compliance with the
CALM Act.

TV 5B-GEN PUR W/NR (TV Five-Band General Purpose with Noise Reduction): pro-

Preset Names Normal Less-More

TV 2B-GEN PURP NO LC 5.0
TV 2B-GEN PURPOSE 5.0
TV 5B-GEN PUR W NR 5.0
TV 5B-GEN PURPOSE 5.0
TV 5B-GEN PURP NO LC 5.0
TV 2B-DRAMA 5.0
TV 5B-DRAMA 5.0
TV 5B-DRAMA COUPLD 5.0
TV 5B-NEWS 5.0
TV 5B-OPTICAL FILM 5.0
TV 5B-SPORTS 5.0
TV AGC+LC 5.0
TV AGC+LC+DS 5.0
TVA 2B-GEN PURP NO LC 5.0
TVA 2B-GEN PURPOSE 5.0
TVA 5B-GEN PUR W NR 5.0
TVA 5B-GEN PURPOSE 5.0
TVA 5B-GEN PURP NO LC 5.0
TVA 2B-DRAMA 5.0
TVA 5B-DRAMA 5.0
TVA 5B-DRAMA COUPLD 5.0
TVA 5B-NEWS 5.0
TVA 5B-OPTICAL FILM 5.0

Table 3-1: Factory Programming Presets (Sound-for-picture)

3-30 OPERATION ORBAN MODEL 8685

vides effective dynamic range control and “automatic re-equalization” of most dra-
matic material. It uses the Loudness Controller to control loudness tightly. It applies
single-ended noise reduction to the material, which will reduce unwanted noise like
hiss, hum, or stage rumble. However, it will also reduce ambience. If the program
material is carefully produced (as are most contemporary feature-film soundtracks),
you may wish to use TV 5B-GEN PURPOSE (which does not apply noise reduction), or,
if the material is so well produced that it would not benefit from “automatic re-
equalization,” use TV 2B-GEN PURPOSE.

TV 5B-GEN PURPOSE (TV Five-Band General Purpose without Noise Reduction): is

identical to TV 5B-GEN PUR W/NR except that the single-ended dynamic noise reduc-
tion system is off.

TV 5B GEN PURP NO LC (TV Five-Band General Purpose without Loudness Control-

ler): This preset is the same as TV 5B-GEN PURPOSE except the Loudness Controller
is turned off and the MB DRIVE control is backed off by 3 dB to achieve approxi-
mately the same loudness as TV 5B-GEN PURPOSE. Because the Loudness Controller
is inactive, this preset has more dynamic punch than TV 5B-GEN PURPOSE. The five-
band processing makes the audio spectrum more consistent than does TV 2B-GEN
PURP NO LC, so TV 5B-GEN PURP NO LC controls loudness better than TV 2B-GEN
PURP NO LC even though the Loudness Controller is inactive. However, this preset
cannot guarantee compliance with the CALM Act.

TV 2B-DRAMA (TV Two-Band Drama): uses the 8685’s soft knee compression and
AGC RATIO control to regulate loudness while still preserving some of the dynamic
range of the original mix. This preset sounds very smooth and natural with modern
surround sound mixes for scripted dramas. The 8685’s Loudness Controller is ex-
ploited to limit loudness to a maximum level. Typically, the Loudness Controller will
produce 1 to 3 dB of gain reduction with dialog at normal levels and may produce as
much as 12 dB of gain reduction with very loud sound effects or commercials.

Because it preserves some dynamic range, it is important that the input level to the
8685 not be too far awry. Usually, network feeds will meet this requirement but lo-
cal playout of older material that has not been checked for loudness by a long-term
Loudness Level meter like ITU-R BS.1770-2 may not work well. Use one of the gen-
eral-purpose presets for this kind of material.

TV 5B-DRAMA (TV Five-Band Drama): like its 2B counterpart, uses the 8685’s soft
knee compression and AGC RATIO control to regulate loudness while still preserving
some of the dynamic range of the original mix. In addition, the five-band compres-
sor automatically re-equalizes material that may otherwise sound spectrally unbal-
anced. The center channel compressor effectively de-esses dialog without punching
holes in the remaining channels. Coupling between the center channel and remain-
ing channels allows the center channel’s level to be boosted automatically by as
much as 3 dB with respect to the other channels if this is needed to help intelligibil-
ity.

We prefer this preset to TV 2B-DRAMA because of its effective, unobtrusive de-essing

and because it is more resistant to spectral gain intermodulation, which is program
material in one frequency range’s audibly pumping material in a different range.
OPTIMOD LOUDNESS CONTROLLER OPERATION 3-31
Like its two-band counterpart, this preset is sensitive to input levels because its com-
pression ratio is finite. It also fully exploits the Loudness Controller, which usually
shows slight gain reduction with dialog at normal levels.

TV 5B-DRAMA COUPLD (TV Five-Band Drama Coupled): is similar to TV 5B DRAMA

but uses more interband band coupling in the five-band compressor and a slower
multiband compressor release time so it performs less automatic re-equalization of
the program material. Hence, it splits the difference between a Two-Band preset
and a mostly uncoupled Five-Band preset. In particular, it is an alternative to TV 2B
DRAMA that de-esses more effectively.

TV 5B-NEWS (TV Five-Band News): rides gain more quickly than the general-
purpose presets. Its AGC release time is faster, so it will bring up low-level material
more quickly. It is designed for live news programs where input levels may be quite
unpredictable. It also automatically re-equalizes substandard audio (which is quite
common in live news broadcasts). The dynamic single-ended noise reduction is
turned on.

TV 5B-SPORTS (TV Five-Band Sports): is similar to TV 5B-NEWS, except the AGC re-
lease time is slower to resist pumping up crowd noise.

TV 5B-OPTICAL FILM (TV Five-Band Optical Film): is designed to make the best of
the low-quality audio provided with optical film sound tracks (particularly 16mm).
The gate threshold is quite high to avoid pumping up hiss, thumps, and other opti-
cal artifacts. The threshold of the single-ended dynamic noise reduction system is
also high so that this system can reduce artifacts as far as possible. Release times are
slow, because we assumed that material encoded on optical film has already been
carefully level-controlled to accommodate the very limited dynamic range of the
medium, so little gain riding is therefore required from the 8685.

TV AGC+LC and TV AGC+LC+DS are intended for stations that are prohibited by
network or other edict from using multiband processing. The AGC performs gain rid-
ing and the loudness controller regulates loudness without aid from the multiband
compressor. Both are configured to produce only wideband gain reduction.

• TV AGC+LC uses the five-band structure with all compressors of the multiband
compressors except for LFE turned off. Except for independent control of the LFE
level, which is important to prevent power in the LFE channel from causing au-
dible midrange pumping in the loudness controller, all gain reduction is strictly
wideband.

• TV AGC+LC+DS uses the five-band structure with all multiband compressors ex-
cept for LFE and B5 turned off. B5 is configured as a de-esser, which, depending
on the strictness of a given “wideband-only” edit, may be an acceptable use of
frequency-selective gain reduction. (In our experience, there is a significant
amount of television material that has not been adequately de-essed in produc-
tion and thus requires additional de-essing from the on-air processing.)

This preset sounds better than TV AGC+LC because the loudness controller does
3-32 OPERATION ORBAN MODEL 8685

not have to de-ess, which it does by using wideband gain reduction. Hence, it is
less likely to audibly duck material having heavy “esses.”

Protection and Studio AGC Presets

AGC+ FLAT LIMITER: This preset allows the 8685 to serve as a studio AGC, substitut-
ing for the AGC in an Optimod at a radio or television transmitter and providing
protection limiting for the STL that links the output of the 8685 to the input of the
Optimod at the transmitter. It uses the look-ahead limiter to prevent overloading
the STL on peaks.

This preset is tuned so that it does not normally trigger gain reduction in the 8685’s
five-band compressor — the Optimod at the transmitter should be the processor
that performs this multiband compression.

LOOK-AHEAD LIMITER: The LOOK-AHEAD LIMITER preset is a Two-Band preset that

turns off the stereo enhancer, AGC, equalizer, and two-band compressor so that you
can use the processing as a fast look-ahead protection limiter.

This preset’s LESS-MORE control is set to 1.0. For most program material, LESS-MORE
= 1.0 will produce no look-ahead limiter gain reduction.

• In the surround processing channel, when LESS-MORE = 1.0 and the Lf and Rf
channels are both driven, the threshold of the look-ahead limiter is 16 dB above
reference level.

• In the 2.0 processing channel, when LESS-MORE = 1.0 and the Lst and Rst chan-
nels are both driven, the threshold of the look-ahead limiter is 18 dB above ref-
erence level.
This assumes that the 8685’s SURROUND REF LEVEL and 2.0 REF LEVEL con-
trols have been adjusted to produce 10 dB of AGC Master band gain re-
duction in the surround and 2.0 AGCs respectively when the ROCK-
GENERAL preset is active and the 8685’s Lf, Rf, Lst, and Rst inputs are
driven by a 400 Hz tone at your facility’s reference level. This level is typi-
cally either –18 dBFS or –20 dBFS, depending on which standard you have
adopted.

To produce look-ahead limiter gain reduction, turn up the LESS-MORE control. Each
step of the LESS-MORE control increases the drive level to the look-ahead limiter by

Preset Names Normal Less-More

AGC+FLAT LIMITER 5.0
LOOK-AHEAD LIMITER 1.0
PASS-THROUGH 5.0
PROTECT 1.0
SOFT KNEE 2B 5.0

Table 3-2: Pass-Through, Protection and AGC Presets

OPTIMOD LOUDNESS CONTROLLER OPERATION 3-33
1 dB and increases the input/output gain by 1 dB for signals below the limiter
threshold. At LESS-MORE = 10, the processor’s gain below threshold has increased to
9 dB.

Instead of adjusting LESS-MORE, you can adjust the FINAL LIMIT DRIVE control (which
what LESS-MORE actually does). Do not set the FINAL LIMIT DRIVE control below “0”
with this preset; doing so will compromise system headroom.

Adjusting the LESS-MORE or FINAL LIMIT DRIVE controls is equivalent to si-

multaneously decreasing the threshold and increasing the make-up gain
in a protection limiter having threshold and output make-up gain con-
trols.
PASS-THROUGH: This is the only factory preset that invokes the Pass-Through struc-
ture (see Pass-Through on page 3-24). It usually edited to set the desired pass-
through gain and the result is then saved as a User Preset.

PROTECT: This is a two-band preset designed to produce no gain reduction unless it

encounters unusually high input levels caused by operator error. It uses the 2B com-
pressor to control excessive levels, so it is more forgiving than the LOOK-AHEAD and
PASS-THROUGH presets, which offer only peak limiting.

SOFT KNEE 5B; SOFT KNEE 2B: These presets are “zeroed-out” starting points for
mastering applications, particularly where soft knee compression is desired. These
presets need to be manually tweaked to complement the program material being
processed. See Using the 8685 for Production and Mastering starting on page 3-76.

These presets are phase-linear. They set all equalization flat and turn off the AGC.
The multiband compressor (two-band or 5-band) is set to supply a very soft-knee
compression characteristic with approximately 5-10 dB of gain reduction. The ratio
for a given compressor starts out at 1:1 and ends up at ∞:1 when the input level is 20
dB above threshold.

Mastering engineers will certainly want to adjust the compression thresholds and
band coupling to complement the program material. The ratio and knee controls
are adjustable separately for each band’s compressor. For example, one might want
to use a low ratio and soft knee in bands 1-4 while using a higher ratio and/or
harder knee in band 5 (for de-essing).

The 8685’s powerful equalization section is, of course, also available. Additionally,
these presets set the look-ahead limiter drive control conservatively, which ensures
highest quality. However, the 8685’s look-ahead limiter can be driven quite hard
without objectionable side effects, so the 8685 can create competitively loud mas-
ters.

Radio-Style Presets
The radio-style presets (Table 3-3 on page 3-34) have been named similarly to their
radio counterparts in Orban’s OPTIMOD 8500 and 6300. Their basic audio texture is
very similar to the presets in these products. The loudness controller is turned off.
3-34 OPERATION ORBAN MODEL 8685

CLASSICAL: As their names imply, the CLASSICAL 5-BAND and CLASSICAL TWO-
BAND presets are optimized for classical music, gracefully handling recordings with
very wide dynamic range and sudden shifts in dynamics. The Five-Band version uses
heavy inter-band coupling to prevent large amounts of automatic re-equalization,
which could otherwise cause unnatural stridency and brightness in strings and horns
and which could pump up very low frequency rumble in live recording venues.

The Five-Band preset defeats the AGC, using only the five-band compressor for gain
reduction. It also defeats phase rotation to ensure the most transparent Five-Band
sound available.

CLASSICAL-5B+AGC uses the AGC set for 2:1 compression ratio. Because of the
AGC, it affects more of the total dynamic range of the recording than does the
CLASSICAL-5 BAND preset. However, the AGC provides extremely smooth and un-
obtrusive compression because of the gentle ratio and window gating. This preset
uses the Five-Band compressor very lightly with a fast release time as a peak limiter.
The AGC does almost all of the compression.

There is also a corresponding two-band preset called CLASSICAL-2B+AGC. Even

more transparent, “purist” classical processing is available from this preset, which is
phase-linear and which preserves the spectral balance of the original material as
much as possible. However, if you need a bit more automatic re-equalization than

Preset Names Normal Less-More

CLASSICAL-2 BAND 5.0
CLASSICAL-2B SFTKN 5.0
CLASSICAL-2B+AGC 5.0
CLASSICAL-5 BAND 7.0
CLASSICAL-5B+AGC 5.0
EDGE 10.0
GOLD 9.5
GREGG 9.5
GREGG OPEN 9.5
IMPACT 9.5
JAZZ 7.0
LOUD-HOT 8.5
NEWS-TALK 7.0
ROCK-DENSE 7.0
ROCK-LIGHT 7.0
ROCK-MEDIUM 7.0
ROCK-OPEN 7.0
ROCK-SOFT 8.5
SMOOTH JAZZ 9.0
SPORTS 7.0
WMA MUSIC 9.5
WMA NEWS-TALK 7.0

Table 3-3: Radio-Style Presets

OPTIMOD LOUDNESS CONTROLLER OPERATION 3-35
the CLASSICAL TWO-BAND preset provides, use the CLASSICAL 5-BAND preset.

CLASSICAL-2B SFTKN (Classical using two-band Soft-Knee Compression) defeats

the AGC and exploits the 8685’s soft-knee two-band compression. Quiet material is
gently compressed with a very low compression ratio. The compression ratio in-
creases as the source material gets louder (see Figure 3-2 on page 3-56). Very quiet
material is typically amplified by 10 dB. This level-dependent compression ratio pro-
vides very smooth, subtle compression.

Because the CLASSICAL presets preserve a significant amount of the dynamic range
present in the source material (including speech), it is wise to use a separate micro-
phone processor to ensure appropriate voice/music balance.

EDGE: This preset is designed for hit music formats, where extremely punchy bass is
preferred over fastidious distortion control. It is loud and has a bright high fre-
quency texture.

GOLD: GOLD is loud and “hi-fi”-sounding while still respecting the limitations and
basic flavor of the recordings from the era of the 1950s through 1970s.

For example, we do not attempt to exaggerate high frequency energy in

the GOLD preset. The highs in recordings of this era are often noisy, dis-
torted, or have other technical problems that make them unpleasant
sounding when the processor over-equalizes them in an attempt to emu-
late the high frequency balance of recently recorded material.

GREGG: GREGG and GREGG OPEN all use a 200 Hz band1/band2 crossover fre-
quency to achieve a bass sound similar to the classic five-band Gregg Labs FM proc-
essors designed by Orban’s Vice President of New Product Development, Greg
Ogonowski. Dynamically, these presets produce a slight increase in bass energy be-
low 100 Hz and a decrease of bass energy centered at 160 Hz. This bass sound works
particularly well with speakers having good bass response.

In terms of loudness, midrange texture, and HF texture, these presets are similar to
the LOUD-HOT+BASS presets.

IMPACT: IMPACT is intended for CHR and similar formats where attracting a large
audience (maximizing cume) is more important than ensuring long time-spent-
listening. This is a bright, “major-market” preset that has a great deal of presence
energy to cut through on lower-quality speakers.

Its sound changes substantially as the LESS-MORE control is turned down—fast peak
limiting decreases while bass punch and transparency improve. Therefore, exploring
various Less-More settings is worthwhile with IMPACT, because, for many circum-
stances, this preset will be “over the top” if it is not turned down with LESS-MORE.

JAZZ: JAZZ is specifically tailored toward broadcasters that play mostly instrumental
music, particularly classic jazz (Coltrane, Mingus, Monk, etc.). It is a quiet preset with
a very clean, mellow high end to prevent stridency on saxophones and other horns.
It preserves much of the qualities of the original recordings, doing light re-
equalization. The preset produces very low listening fatigue, so it is a good choice
for broadcasters that want listeners to stay all day. Note that broadcasters pro-
3-36 OPERATION ORBAN MODEL 8685

gramming “smooth jazz” should investigate the SMOOTH JAZZ preset, which is
much louder and more “commercial”-sounding.

LOUD-HOT: A very bright and present with up-front vocals. Release time is medium.

NEWS-TALK: This preset is quite different from the others. It is based on the fast
multiband release time setting so it can quickly perform automatic equalization of
substandard program material, including telephone. It is useful for creating a uni-
form, intelligible sound from widely varying source material, particularly source ma-
terial that is “hot from the field” with uncontrolled quality.

SPORTS: Similar to NEWS-TALK except the AGC Release (AGC Release Time) is
slower and the Gate Thresh (Gate Threshold) is higher. This recognizes that most
sports programming has very low signal-to-noise ratio due to crowd noise and other
on-field sounds, so the preset does not pump this up as the NEWS-TALK preset
would tend to do.

ROCK: ROCK-DENSE, ROCK-MEDIUM, and ROCK-OPEN are appropriate for gen-

eral rock and contemporary programming. They provide a bright high end and
punchy low end (although not as exaggerated as the URBAN presets). A midrange
boost provides enough presence energy to ensure that vocals stand out. A modest
amount of high frequency coupling (determined by the Band Clipping 3>4 setting)
allows reasonable amounts of automatic HF equalization to correct dull program
material, while still preventing exaggerated frequency balances and excessive HF
density. Dense, medium, and open refer to the compression density, which is deter-
mined by the release time settings in the AGC and multiband compressor sections.

ROCK-LIGHT has an open sound with little audible compression and less brightness
than the first three presets. It is a compromise between ROCK-OPEN and ROCK-
SOFT.

ROCK-SOFT has a mellow, easy-to-listen-to high frequency quality that is designed

for female-skewing formats. It is also a candidate for “Quiet Storm” and “Love
Songs” light rock or light urban formats.

ROCK-SMOOTH has the same mellow, easy-to-listen-to high frequency quality as

ROCK-SOFT, but with more density. Again, it is a good choice for female-skewing
formats, but where you need more compression and density than you get with
ROCK-SOFT.

For Contemporary Hit Radio (CHR) we recommend the ROCK-DENSE or ROCK-

MEDIUM versions. In competitive situations, you may need to use LOUD-HOT (you
can use LESS-MORE to get it even louder) or even LOUD-HOT+BASS or IMPACT.
However, the “rock” presets are somewhat cleaner and are therefore more likely to
encourage longer times spent listening than are the “loud” presets.

For Album-Oriented Rock (AOR) we recommend the ROCK-MEDIUM or ROCK-OPEN

versions, although you might prefer the more conservative ROCK-LIGHT or ROCK-
SMOOTH versions.
OPTIMOD LOUDNESS CONTROLLER OPERATION 3-37

Optimix Adjustments
Name Range
Mode Bypass; Auto-Detect; Upmix ON
Center Width 0 to 1 in 0.1 steps
Front/Rear Balance 0 to 1 in 0.1 steps
Center Delay Correction ON, OFF

Table 3-4: Optimix Upmixer Adjustments

SMOOTH JAZZ: This preset is designed for commercial broadcasters playing smooth
jazz (Kenny G., etc.). It is designed to prevent stridency with saxes and other horns.
This preset is based on a custom Optimod-FM 8400 preset that has been used suc-
cessfully by a major-market smooth jazz station with very good ratings. However, if
the loudness/density tradeoff is not to your taste, use LESS-MORE to turn it down,
producing lower loudness with less density.

WMA MUSIC: This preset is based on GREGG SLOW but has been edited to mini-
mize artifacts in the Windows Media Audio V9 codec when operated at bitrates be-
low 64 kbps. See Processing for Low Bit Rate Codecs on page 3-5.

WMA NEWS-TALK: This preset is based on NEWS-TALK but has been edited to
minimize artifacts in the Windows Media Audio V9 codec when operated at bitrates
below 64 kbps.

Optimix® Upmixer Controls

Optimix automatically upmixes stereo program material above 80 Hz to 5.0 sur-
round that is fully compatible with 5.1 systems. Because of the wide variability in
subwoofer setups, Optimix instead routes energy below 80 Hz from the original ste-
reo mix to the Lf and Rf outputs of the upmixer. If properly set up, a home theater
receiver will route this information to a subwoofer if one is in place and the Lf and
RF loudspeakers are “small.”

Delay Correction (ON, OFF) automatically corrects time skew or phase shift be-
tween the left and right input channels. It prevents comb filtering in the derived
center channel. This maximizes mono compatibility and maintains the best possible
crispness and intelligibility in the center channel, which usually contains dialog.

Optimix has two controls that affect the shape of the upmixed surround soundstage.

Center Width (0 to 1 in 0.1 steps) determines whether extracted center-channel in-

formation will be routed solely to the center output or if some amount of the center
energy is blended into the Left Front and Right Front outputs. While setting this
control to “0” maximizes the “discreteness” of the upmix, some operators prefer to
mix a certain amount of center energy into Lf and Rf to ensure that dialog is not lost
completely if the center channel is not correctly set up at the consumer’s receiver.

Front/Rear Balance (0 to 1 in 0.1 steps) is the ratio between the Lf/Rf and Ls/Rs lev-
els above 80 Hz, in absolute (not dB) units. The control “pans” the derived left/right
3-38 OPERATION ORBAN MODEL 8685

channels (where the center information has been removed) between the Lf/Ls and
Rf/Rs output pairs respectively. Technically, it is used to determine the amount of en-
velopment in the upmix. Setting this control to 1.0, which mixes the derived L/R
channels equally front and rear, works well for television-oriented audio. Setting the
control to 0 turns off the surround channels.

About Downmix Compatibility: Optimix reads downmix parameters

(Center and Surround downmix coefficients) from the Optimod and
automatically chooses gains for the five upmixed channels. If DELAY
CORRECTION is OFF, the downmix is identical to Optimix's stereo input, as-
suming a Dolby Lo/Ro downmix. Optimix takes into account the settings
of its FRONT/REAR BALANCE and CENTER WIDTH controls. When DELAY
CORRECTION is ON, the downmix includes the effect of the center channel
delay corrector and can make the stereo downmix crisper and more intel-
ligible than the Optimix’s stereo inputs. If the receiver is stereo-only, the
bass balance in the downmix will be identical to that of the stereo mate-
rial applied to Optimix’s input.
It is the user's responsibility to make sure that the Optimod's downmix
level controls agree with the Center Downmix Level and Surround
Downmix Level in the AC3 metadata that is being transmitted to con-
sumers. (Dolby specifies the center default value as –3 dB and the sur-
round default value as –1.5 dB.)
Delay Correction and Dolby Surround: Although delay correction is
very effective for most program material, it is incompatible with two-
channel input material that was previously Dolby Surround-encoded such
that the encoder, before encoding, created the phase-shifted surround
channels necessary to create an Lt/Rt output, which can be decoded by
the consumer using Dolby Pro Logic to L, C, R, and S.
When DELAY CORRECTION is ON, Dolby Surround material intended for the
surrounds will be reproduced in both the surrounds and center. When
DELAY CORRECTION is OFF, material encoded for the surrounds will only ap-
pear in the surrounds.

Equalizer Controls
The table summarizes the equalization controls available for the Five-Band struc-
ture. (Note that “advanced” controls are accessible only from 8685 PC Remote soft-
ware.)

Except for BRILLIANCE and DJ BASS, these equalization controls are common to both
the Two-Band and Five-Band structures. The equalizer is located between the AGC
and multiband compressor sections of both structures.

In general, you should be conservative when equalizing modern, well-recorded pro-

gram material. This is particularly true with general-purpose video programming.
The discussion below applies mainly to radio-style applications

Any equalization that you set will be automatically stored in any User Preset that
you create and save. For example, you can use a User Preset to combine an unmodi-
fied Factory Programming Preset with your custom equalization. Of course, you can
OPTIMOD LOUDNESS CONTROLLER OPERATION 3-39
also modify the Factory Preset (with Basic Modify, Intermediate Modify, or Advanced
Modify) before you create your User Preset.

Bass Shelf Hing e Frequency Except for BASS GAIN, most of the
factory presets use less than 3 dB of
+6 dB equalization.
Bass Gain +3 dB
0 dB Bass Shelf Controls, the Five-Band
Hz 55 110 220 440
structure’s low bass equalization
controls, are designed to add punch
18dB/oct and slam to rock and urban music. They provide
Bas s Slope 1 2dB/oct
a parametric shelving equalizer with control over gain,
6 dB/oct
hinge frequency, and slope (in dB/octave).

Bass Hinge Frequency sets the frequency where shelving starts to take effect.

Bass Gain sets the amount of bass boost (dB) at the top of the shelf.

Bass Slope sets the slope (dB/octave) of the transition between the top and bottom
of the shelf.

The moderate-slope (12 dB/octave) shelving boost achieves a bass boost that is more
audible on smaller receivers, but which can sound boomier on high-quality receivers
and home theater systems. The steep-slope (18 dB/octave) shelving boost creates a
solid, punchy bass from the better consumer receivers and home theater systems
with decent bass response. The 6 dB/octave shelving boost is like a conventional
tone control and creates the most mid-bass boost, yielding a “warmer” sound. Be-
cause it affects the mid-bass frequency range, where the ear is more sensitive than it
is to very low bass, the 6 dB/octave slope can create more apparent bass level at the
cost of bass “punch.”

There are no easy choices here; you must choose the characteristic you want by
identifying your target audience and the receivers they are most likely to be using.
Often, you will not want to use any boost at all for general-purpose sound-for-
picture programming because this can exaggerate rumble and other low frequency
noise. Additionally, large amounts of boost will increase the gain reduction in the
lowest band of the multiband compressor, which may have the effect of reducing
some frequencies below 100 or 200 Hz (depending on the setting of the B1/B2
XOVER control). So be aware the large fixed bass boosts may have a different effect
than you expect because of the way that they interact with the multiband compres-
sor.

On the other hand, stations specializing in pop music programming will usually want
to employ some bass boost to maintain the punch of this programming, particularly
if urban or rap music is a significant part of the music mix.

Low Frequency Parametric Equalizer is a specially designed equalizer whose

boost and cut curves closely emulate those of a classic Orban analog parametric
equalizer with conventional bell-shaped curves (within ±0.15 dB worst-case). This
provides warm, smooth, “analog-sounding” equalization.
3-40 OPERATION ORBAN MODEL 8685

LF Frequency determines the center frequency of the equalization, in

Hertz. Range is 20-500Hz.
LF Gain determines the amount of peak boost or cut (in dB) over a ±10
dB range.
LF Width determines the bandwidth of the equalization, in octaves. The
range is 0.8-4.0 octaves. If you are unfamiliar with using a parametric
equalizer, 1.5 octaves is a good starting point. These curves are relatively
broad because they are designed to provide overall tonal coloration, in-
stead of notching out small areas of the spectrum.
The LF parametric can be used in the mid-bass region (100-300Hz) to add “warmth”
and “mellowness” to the sound when boosting. When cutting, it can remove a
“woody” or “boxy” sound.

The equalizer, such as the classic Orban analog parametrics like the 622B, has con-
stant “Q” curves. This means that the cut curves are narrower than the boost curves.
The width (in octaves) is calibrated with reference to 10 dB boost. As you decrease
the amount of EQ gain (or start to cut), the width in octaves will decrease. However,

Equalizer Controls
Group Basic/ Advanced Name Range
Intermediate
Modify Name
Bass Shelf Bass Fre- Bass Frequency 80, 85, 90, 95, 100, 105, 110, 115,
quency 120, 125, 130, 135, 140, 145, 150,
160, 170, 180, 190, 200, 210, 220,
230, 240, 250, 270, 290, 310, 330,
350, 380, 410, 440, 470, 500Hz
Bass Gain Bass Gain 0 … 12 dB
Bass Slope Bass Slope 6,12,18 dB/Oct
Low LF Frequency Low Frequency 20 ... 500 Hz
LF Gain Low Gain –10.0 … +10.0 dB
LF Width Low Width 0.8 ... 4 octaves
Mid Mid Frequency Mid Frequency 250 ... 6000 Hz
Mid Gain Mid Gain –10.0 … +10.0 dB
Mid Width Mid Width 0.8 ... 4 octaves
High High Fre- High Frequency 1.0 … 15.0 kHz
quency
High Gain High Gain –10.0 … +10.0 dB
High Width High Width 0.8 ... 4 octaves
Brilliance Brilliance BRILLIANCE 0.0 … +6.0 dB
HF Enhancer HF Enh High Frequency 0 … 15
Enhancer
DJ Bass DJ Bass DJ Bass Boost Off, 1… +10 dB
Highpass Filter Highpass Highpass Filter Off, 20, 30, 40, 50, 60, 70, 80, 90,
(2.0 processing 100, 110, 120, 130, 140, 150, 170,
only) 200 Hz
Lowpass Filter Lowpass Lowpass Filter 10 … 20 kHz; 1 kHz steps
Phase Rotate Phase Rotator Phase Rotator In, Out (2.0 processing only)

Table 3-5: Five-Band Equalizer Controls

OPTIMOD LOUDNESS CONTROLLER OPERATION 3-41
the “Q” will stay constant.

“Q” is a mathematical parameter that relates to how fast ringing damps out. (Tech-
nically, we are referring to the “Q” of the poles of the equalizer transfer function,
which does not change as you adjust the amount of boost or cut.)

The curves in the 8685’s equalizer were created by a so-called “minimax” (“minimize
the maximum error” or “equal-ripple”) IIR digital approximation to the curves pro-
vided by the Orban 622B analog parametric equalizer. Therefore, unlike less sophis-
ticated digital equalizers that use the “bilinear transformation” to generate EQ
curves, the shapes of the 8685’s curves are not distorted at high frequencies.

Midrange Parametric Equalizer is a parametric equalizer whose boost and cut

curves closely emulate those of an analog parametric equalizer with conventional
bell-shaped curves.

MID Frequency determines the center frequency of the equalization, in

Hertz. Range is 250-6000Hz.
MID Gain determines the amount of peak boost or cut (in dB) over a ±10
dB range.
MID Width determines the bandwidth of the equalization, in octaves.
The range is 0.8-4.0 octaves. If you are unfamiliar with using a parametric
equalizer, 1 octave is a good starting point.
With Five-Band presets, the audible effect of the midrange equalizer is closely asso-
ciated with the amount of gain reduction in the midrange bands. With small
amounts of gain reduction, it boosts power in the presence region. This can increase
the loudness of such material substantially. As you increase the gain reduction in the
midrange bands (by turning the MULTIBAND DRIVE (Multiband Drive) control up), the
MID GAIN control will have progressively less audible effect. The compressor for the
midrange bands will tend to reduce the effect of the MID frequency boost (in an at-
tempt to keep the gain constant) to prevent excessive stridency in program material
that already has a great deal of presence power. Therefore, with large amounts of
gain reduction, the density of presence region energy will be increased more than
will the level of energy in that region. Because the 3.7 kHz band compressor is par-
tially coupled to the gain reduction in the 6.2 kHz band in most presets, tuning MID
FREQUENCY to 2-4 kHz and turning up the MID GAIN control will decrease energy in
the 6.2 kHz band—you will be increasing the gain reduction in both the 3.7 kHz and
6.2 kHz bands. You may wish to compensate for this effect by turning up the
BRILLIANCE control.

With Two-Band presets, the midrange equalizer will behave much more as you
might expect because the two-band structure cannot automatically re-equalize mid-
range energy. Instead, increasing midrange energy will moderately increase the
Master band’s gain reduction.

Use the mid frequency equalizer with caution. Excessive presence boost tends to be
audibly strident and fatiguing. Moreover, the sound quality, although loud, can be
very irritating. We suggest a maximum of 3 dB boost, although 10 dB is achievable.
3-42 OPERATION ORBAN MODEL 8685

In some of our factory music presets, we use a 3 dB boost at 2.6 kHz to bring vocals
more up-front.

High Frequency Parametric Equalizer is an equalizer whose boost and cut curves
closely emulate those of an analog parametric equalizer with conventional bell-
shaped curves.

High Frequency determines the center frequency of the equalization, in

Hertz. The range is 1-15 kHz
High Gain determines the amount of peak boost or cut over a ±10 dB
range.
High Width determines the bandwidth of the equalization, in octaves.
The range is 0.8-4.0 octaves. If you are unfamiliar with using a parametric
equalizer, one octave is a good starting point.
Excessive high frequency boost can exaggerate hiss and distortion in program mate-
rial that is less than perfectly clean. We suggest no more than 4 dB boost as a practi-
cal maximum, unless source material is primarily from high-quality digital sources. In
several of our presets, we use this equalizer to boost the upper presence band (4.4
kHz) slightly, leaving broadband HF boost to the BRILLIANCE and/or HF ENHANCE con-
trols.

Brilliance controls the drive to Band 5 in the 5-Band structure only. (This control is
nonfunctional in the two-band structure.) The Band 5 compressor/limiter dynami-
cally controls this boost, protecting the final limiter from excessive HF drive. We rec-
ommend a maximum of 4 dB of BRILLIANCE boost and most people will prefer sub-
stantially less.

DJ Bass (“DJ Bass Boost“) control determines the amount of bass boost produced
on some male voices. In its default OFF position, it causes the gain reduction of the
lowest frequency band to move quickly to the same gain reduction as its nearest
neighbor when gated. This fights any tendency of the lowest frequency band to de-
velop significantly more gain than its neighbor when processing voice because voice
will activate the gate frequently. Each time it does so, it will reset the gain of the
lowest frequency band so that the gains of the two bottom bands are equal and the
response in this frequency range is flat. The result is natural-sounding bass on male
voice. This is particularly desirable for most sound-for-picture programming.

If you like a larger-than-life, “chesty” sound on male voice, set this control away
from OFF. When so set, gating causes the gain reduction of the lowest frequency
band to move to the same gain reduction (minus a gain offset equal to the numeri-
cal setting of the control) as its nearest neighbor when gated. You can therefore set
the maximum gain difference between the two low frequency bands, producing
considerable dynamic bass boost on voice. This setting might be appropriate for
news and sports.

The difference will never exceed the difference that would have other-
wise occurred if the lowest frequency band were gated independently. If
you are familiar with older Orban processors like the 8282, this is the
maximum amount of boost that would have occurred if you had set their
DJ BASS BOOST controls to ON.
OPTIMOD LOUDNESS CONTROLLER OPERATION 3-43
The amount of bass boost will be highly dependent on the fundamental
frequency of a given voice. If the fundamental frequency is far above
100Hz, there will be little voice energy in the bottom band and little or
no audio bass boost can occur even if the gain of the bottom band is
higher than the gain of its neighbor. As the fundamental frequency
moves lower, more of this energy leaks into the bottom band, and you
hear more bass boost. If the fundamental frequency is very low (a rarity),
there will be enough energy in the bottom band to force significant gain
reduction, and you will hear less bass boost than if the fundamental fre-
quency were a bit higher.
This control is only available in the Five-Band structure.
If the GATE THRESH (Gate Threshold) control is turned OFF, the DJ BASS
boost setting is disabled.
HF Enhance (“High Frequency Enhancer”) is a program-adaptive 6 dB/octave shelv-
ing equalizer with a 4 kHz turnover frequency. It constantly monitors the ratio be-
tween high frequency and broadband energy and adjusts the amount of equaliza-
tion in an attempt to make this ratio constant as the program material changes. It
can therefore create a bright, present sound without over-equalizing material that is
already bright. Used gently, it is useful for improving dialog intelligibility, particu-
larly with the two-band structure because, unlike the five-band structure, the two-
band structure cannot automatically re-equalize high frequencies.

Highpass Filter determines if a sweepable 18 dB/octave highpass filter will be

placed in-circuit before other processing. This filter is useful for reducing low fre-
quency noise, particularly when the 8685 is being used for production or mastering.
This filter is available only in the 2.0 processing chain.

Lowpass Filter control sets the bandwidth (and therefore the amount of high fre-
quency signal the 8685 passes) from 10 kHz to 20 kHz. The lowpass filter can replace
any anti-aliasing filters in downstream equipment. Set the filter to 20 kHz (full
bandwidth) for downstream equipment with sample rates of 44.1 or 48 kHz. Set the
filter to 15 kHz for 32 kHz sample rate. For other sample rates, set the filter so that
it is as close as possible to 45% of the sample rate without exceeding 45%.

This setting is unique to the preset in which it resides. Regardless of its

setting, the 8685 will not permit the system bandwidth to exceed the
bandwidth set by the MAX LOWPASS FILTER parameter located I/O Setup.
Phase Rotator determines if the phase rotator will be in-circuit. The purpose of the
phase rotator is to make voice waveforms more symmetrical. Because it can slightly
reduce the clarity and definition of program material, we recommend leaving it OUT
unless program material is mainly speech, where it may result in cleaner sound be-
cause it can substantially reduce the amount of gain reduction that the 8685’s look-
ahead limiter produces on speech waveforms.
3-44 OPERATION ORBAN MODEL 8685

AGC Controls
The AGC is common to the Two-Band and Five-Band structures.

Five of the AGC controls are common to the Intermediate Modify and Advanced
Modify screens, with additional AGC controls available in the Advance Modify
screen, as noted in the following table. Some of the AGC controls are available only
in the 2.0 processing chain because the channels in the surround AGC are always
fully coupled.

AGC Off/On control activates or defeats the AGC.

It is usually used to defeat the AGC when you want to create a preset with minimal
processing (like a CLASSICAL preset). The AGC is also ordinarily defeated if you are
using a studio level controller. However, in this case it is better to defeat the AGC
globally in System Setup.

AGC Drive control adjusts signal level going into the slow dual-band AGC, there-
fore determining the amount of gain reduction in the AGC. This control also adjusts
the “idle gain”—the amount of gain reduction in the AGC section when the struc-
ture is gated. (It gates whenever the input level to the structure is below the thresh-
old of gating.)

The total amount of gain reduction in the Five-Band structure is the sum of the gain
reduction in the AGC and the gain reduction in the multiband compressor. The total
system gain reduction determines how much the loudness of quiet passages will be
increased (and, therefore, how consistent overall loudness will be). It is determined
by the setting of the AGC DRIVE control, by the level at which the console VU meter

AGC Controls
Intermediate Names Advanced Name Range
AGC On/Off AGC Off/On Off/On
Bass Coupling AGC Bass Coupling Off, 12…0 dB
Drive AGC Drive –10 ... 25 dB
Gate Thresh AGC Gate Threshold Off, –44 ... –5 dB
AGC Release AGC Master Release 0.5, 1.0, 1.5, 2 … 20 dB/S
--- AGC Crossover Allpass, LinearNoDelay, Linear
--- AGC Master Attack 0.2 … 6
--- AGC Bass Attack 1 … 10, Off
--- AGC Bass Release 1 … 10 dB/sec
--- AGC Bass Threshold –12.0 … 12.0 dB
--- AGC Idle Gain –10 … +10 dB
--- AGC Ratio ∞:1, 4:1, 3:1, 2:1
--- AGC Window Release 0.5 … 20 dB
--- AGC Window Size –25 … 0 dB
--- AGC Matrix (2.0 only) L/R, sum/diff
--- Master Delta Threshold (2.0 only) –6.0 … +6.0 dB
--- Bass Delta Threshold (2.0 only) –6/0 … +6.0 dB
--- Maximum Delta GR (2.0 only) 0.0 … 24.0, Off dB

Table 3-6: AGC Controls

OPTIMOD LOUDNESS CONTROLLER OPERATION 3-45
or PPM is peaked, and by the setting of the MULTIBAND DRIVE (compressor) control.

AGC Release control provides an adjustable range from 0.5 dB/second (slow) to 20
dB/second (fast). The increase in density caused by setting the AGC RELEASE control
to fast settings sounds different from the increase in density caused by setting the
five-band’s MULTIBAND RELEASE control to FAST. You can trade the two off to produce
different effects.

Unless it is purposely speeded-up (with the AGC RELEASE control), the automatic
gain control that occurs in the AGC prior to the multiband compressor makes audio
levels more consistent without significantly altering texture. Then the multiband
compression and associated multiband clipper audibly change the density of the
sound and dynamically re-equalize it as necessary (booming bass is tightened; weak,
thin bass is brought up; highs are always present and consistent in level).

The various combinations of AGC and compression offer great flexibility:

• Light AGC + light compression yields a wide sense of dynamics, with a small
amount of automatic re-equalization.

• Moderate AGC + light compression produces an open, natural quality with

automatic re-equalization and increased consistency of frequency balance.

• Moderate AGC + moderate compression gives a more dense sound, particularly

as the release time of the multiband compressor is sped up.

• Moderate AGC + heavy compression (particularly with a FAST multiband release

time) results in a “wall of sound” effect, which may cause listener fatigue.

Adjust the AGC (with the AGC DRIVE control) to produce the desired amount of AGC
action, and then fine-tune the compression and look-ahead limiting, and loudness
control.

AGC Gate Threshold control determines the lowest input level that will be recog-
nized as program by the 8685; lower levels are considered to be noise or back-
ground sounds and cause the AGC or multiband compressor to gate, effectively
freezing gain to prevent noise breathing.

In sound for picture, the settings of the gate threshold controls are quite critical if
you want the processing to be undetectable to the audience. If these controls are
set too low, then the 8685 will pump up quiet sounds like ambience and underscor-
ing to unnaturally high levels.

There are two independent silence-gating circuits in each of the 8685’s processing
chains. The first affects the AGC and the second affects the multiband compressor.
Each has its own threshold control.

AGC Idle Gain on page 3-47 explains how the AGC gate’s no-signal gain is deter-
mined.
3-46 OPERATION ORBAN MODEL 8685

AGC Bass Coupling control sets the balance provided in the AGC between bass
and the rest of the frequency spectrum.

The AGC processes audio in a master band for all audio above approximately 200 Hz
and a bass band for audio below approximately 200 Hz. The gain reduction in the
BASS audio path is either the output of the Bass compressor sidechain or the output
of the Master band sidechain. The AGC BASS COUPLING control sets the switching
threshold. For example, if the AGC BASS COUPLING control is set to 4 dB and the mas-
ter gain reduction is 10 dB, the bass gain reduction cannot decrease below 6 dB even
if the gain reduction signal from the Bass compressor sidechain is lower. However,
the audio path bass gain reduction can be larger than the master gain reduction
without limit. In the previous example, the bass gain reduction could be 25 dB.

A typical setting of the AGC BASS COUPLING control is 0 dB, which allows the AGC
bass band to correct excessive bass as necessary but does not permit it to provide a
dynamic bass boost.

Advanced AGC Controls

The following AGC controls are found only in the Advanced Modify screen and in
8685 PC Remote.

AGC Window Size determines the size of the floating “slow zone” window in the
master band of the AGC. (The Bass band is not windowed.)

The window works by slowing down changes in the AGC gain reduction that are
smaller than the WINDOW SIZE. The window has 2:1 asymmetry around the current
AGC gain reduction. For example, if the WINDOW SIZE is set to 4 dB, the window ex-
tends 4 dB in the release direction and 2 dB in the attack direction.

If the AGC needs to respond to a large change in its input level by making a gain
change that is larger than the window, then the AGC’s attack and release controls
determine the AGC’s response time. However, if the change in input level is smaller
than the window size, the WINDOW RELEASE control determines the attack and re-
lease times. This is usually much slower than the normal AGC time constants. This
prevents the AGC from building up density in material whose level is already well
controlled.

The previous explanation was somewhat simplified. In fact, the window has “soft
edges.” Instead of switching abruptly between time constants, the attack and re-
lease times morph smoothly between the setting of the WINDOW RELEASE control and
the setting of the AGC master release and attack controls.

The most useful range of the AGC WINDOW SIZE is 3 to 6 dB.

AGC Window Release (see AGC WINDOW SIZE above.)

AGC Ratio determines the compression ratio of the AGC. The compression ratio is
the ratio between the change in input level and the resulting change in output
level, both measured in units of dB.
OPTIMOD LOUDNESS CONTROLLER OPERATION 3-47
The 8685 compressor can be operated at a compression ratio as low as 2:1. This can
add a sense of dynamic range and is mostly useful for subtle fine arts formats like
classical and jazz.

AGC Bass Threshold determines the compression threshold of the bass band in the
AGC. It can be used to set the target spectral balance of the AGC.

As the AGC BASS COUPLING control is moved towards 0 dB, the AGC BASS THRESHOLD
control affects the sound less and less.

The interaction between the AGC BASS THRESHOLD control and the AGC BASS
COUPLING control is a bit complex, so we recommend leaving the AGC BASS
THRESHOLD control at its factory setting unless you have a good reason for readjust-
ing it.

AGC Idle Gain. The “idle gain” is the target gain of the AGC when the silence gate
is active. Whenever the silence gate turns on, the gain of the AGC slowly moves to-
wards the idle gain.

The idle gain is primarily determined by the AGC DRIVE setting—a setting of 10 dB
will produce an idle gain of –10 dB (i.e., 10 dB of gain reduction) when the AGC IDLE
GAIN control = 0 dB. However, sometimes you may not want the idle gain to be the
same as the AGC DRIVE setting. The AGC IDLE GAIN control allows you to add or sub-
tract gain from the idle gain setting determined by the AGC DRIVE setting.

You might want to do this if you make a custom preset that otherwise causes the
gain to increase or decrease unnaturally when the AGC is gated. For example, to
make the idle gain track the setting of the AGC DRIVE control, set the AGC IDLE GAIN
control to zero. To make the idle gain 2 dB lower than the setting of the AGC DRIVE
control, set the AGC IDLE GAIN control to –2.

AGC Bass Attack sets the attack time of the AGC bass compressor (below 200Hz).
The calibration is approximate.

AGC Master Attack sets the attack time of the AGC master compressor (above
200Hz). The calibration is approximate.

AGC Bass Release sets the release time of the AGC bass compressor.

AGC Crossover allows you to choose ALLPASS, LINEAR or LINEARNODELAY modes.

ALLPASS is a phase-rotating crossover that introduces one pole of phase rotation at

200 Hz. The overall frequency response remains smooth as the two bands take dif-
ferent amounts of gain reduction—the response is a smooth shelf without extra
peaks or dips around the crossover frequency. The two bands are down 3 dB at the
crossover frequency. However, this mode adds group delay distortion and is there-
fore subtly less transparent-sounding than the LINEARNODELAY mode.

LINEARNODELAY (Linear-Phase; no delay) is a phase-linear crossover whose upper

band is derived by subtracting its lower band from the crossover’s input. When the
3-48 OPERATION ORBAN MODEL 8685

upper and lower bands have the same gain, their sum is perfectly flat with no phase
rotation. However, when the upper and lower bands have different gains, peaks and
dips appear in the frequency response close to the crossover frequency.

LINEARNODELAY is useful if you need a crossover with low delay and no

phase distortion when flat. Its downside is the possibility of coloration
when the gains of the two bands are widely disparate.
LINEAR is a phase-linear crossover whose upper band is derived by subtracting its
lower band from the crossover’s input, as passed through a delay equal to the group
delay of the lowpass crossover filter. The overall frequency response remains smooth
as the two bands take different degrees of gain reduction—the response is a smooth
shelf without extra peaks or dips around the crossover frequency. The two bands are
each down 6 dB at the crossover frequency. This crossover has constant delay even
when the two bands have unequal gains.

While LINEAR has the ideal combination of no phase distortion (even

when non-flat) and smooth shelving behavior, it adds about 4 ms to the
overall delay (compared to ALLPASS and LINODLY), so it is not a good
choice if you need to drive talent headphones.

AGC Controls Exclusive to 2.0 Processing:

AGC Matrix (2.0 processing only) allows you to operate the AGC in left/right mode
or in sum/difference mode. Usually you will operate in left/right mode. However,
sum/difference mode can give a type of stereo enhancement where the L–R signal is
allowed to have a higher gain than the L+R signal. This will only work if you allow
the two channels of the AGC to have different gains. To do this, set the AGC MAX
DELTA GR control greater than zero.

The AGC in the surround processing is always stereo coupled. Its gain re-
duction is proportional to the RMS sum of the channels.
AGC Max Delta GR (2.0 processing only) determines the maximum gain difference
permitted between the two channels of the AGC. Set it to “0” for perfect stereo
coupling.

This control works the same regardless of whether the AGC operates in
left/right or sum/difference MATRIX modes, in both cases controlling the
maximum gain difference between the “channels.” Depending on the
Matrix mode setting, the “channels” will handle left and right signals or
will handle sum and difference signals. When the AGC operates in
sum/difference MATRIX mode, this control determines the maximum
amount of width change in the stereo soundfield.
OPTIMOD LOUDNESS CONTROLLER OPERATION 3-49

Distortion Control Adjustments

Name Range
AGC Final Limit Drive –10.0 … +12.0 dB
Multiband Final Limit Drive –20.0 … +24.0 dB
Bass Clip Shape 0.0 … 10.0
Bass Clip Threshold –6.0 … +6.0 dB, OFF
Center Bass Clip Threshold (surround only) –6.0 … +6.0 dB, OFF
Speech Bass Clip Threshold (2.0 only) –6.0 … +6.0 dB, OFF
Transient Enhance 0…10 ms
Dialnorm –31…–11 dB, Global

Table 3-7: Distortion Control Adjustments

Master Delta Threshold (2.0 processing only) allows you to set the difference be-
tween the compression thresholds of the sum and difference channels. (This control
is only useful when you set the AGC MATRIX to SUM/DIF.) By setting the threshold of
the difference channel lower than the sum channel, you can have the AGC auto-
matically produce more gain reduction in the difference channel. This will reduce
the separation of material with an excessively wide stereo image (like old Beatles re-
cords). To make this work, you must set the MAX DELTA GR control away from zero.
For example, to limit an excessively wide image while preventing more than 3 dB
difference in gain between the sum and difference channels, set the MAX DELTA GR
control to 3.0 and the MASTER DELTA THRESHOLD control to some positive number,
depending on how much automatic width control you want the 8685 to perform

Bass Delta Threshold (2.0 processing only) works the same as MASTER DELTA
THRESHOLD, but applies to the bass band. You will usually set it the same as MASTER
DELTA THRESHOLD.

Distortion Control
The distortion control adjustments are common to the Two-Band and Five-Band
structures except as noted in the descriptions on the following pages.

Bass Clip Threshold controls Orban’s patented embedded bass clipper.

The bass clipper is embedded in the multiband crossover so that harmonics created
by clipping are rolled off by part of the crossover filters. The threshold of this clipper
is ordinarily set anywhere between 0 dB and 6 dB below the threshold of the look-
ahead limiter, depending on the setting of the LESS-MORE control in the parent pre-
set upon which you are basing your Advanced Control adjustments and depending
on how much look-ahead limiting the preset causes with typical program material.
This provides headroom for contributions from the other four bands so that bass
transients don’t smash against the look-ahead limiter, causing audible intermodula-
tion distortion between the bass and higher frequency program material.

The threshold of the bass clipper is user-adjustable to trade off bass punch against
look-ahead limiter distortion control. The range (with reference to the look-ahead
limiter threshold) is –6 dB to +6 dB (and OFF). As you raise the threshold of the clip-
3-50 OPERATION ORBAN MODEL 8685

per, you will get more bass but also more distortion and pumping. Be careful when
setting this control; do not adjust it casually. Listen to program material with heavy
bass combined with spectrally sparse midrange material (like a singer) and listen for
IM distortion induced by the bass’ pushing the midrange into the look-ahead limiter.
Although the low-IM technology in the 8685’s look-ahead limiter substantially re-
duces this distortion, overdriving the limiter hard enough can still cause problems.

Because the sound-for-picture presets typically produce little or no look-ahead limit-

ing with reasonable values of DIALNORM, the bass clipper is not needed and is turned
off to prevent its adding unnecessary distortion.

In the Five-Band structure, band 1 drives the clipper. In the Two-Band

structure, the Bass band drives the clipper.
For 2.0 processing, note that the SPEECH BASS CLIP THRESHOLD control overrides the
BASS CLIP THRESHOLD control when OPTIMOD-PC automatically detects speech (see
Speech/Music Detector on page 3-6). For surround processing, the center channel
(which usually carries dialog) has an independent CENTER BASS CLIP THRESHOLD con-
trol.

Bass Clip Shape allows you to change the knee of the input/output gain curve of
the bass clipper. It allows you to control the shape of the “knee”—the transition be-
tween no clipping and flat topping. “0” provides the hardest knee, where the tran-
sition between linear operation and flat topping occurs abruptly as the clipper’s in-
put level is changed. “10” is the softest knee, where the transition starts 6 dB below
BASSCLIPTHRESH setting and occurs gradually. The factory default setting is “7.6.”

Figure 3-1: Bass Clipper Input/Output Transfer Curves as Bass Clip Shape Control is
Varied from 0.0 (Hard) to 10.0 (Soft)
OPTIMOD LOUDNESS CONTROLLER OPERATION 3-51
(See Figure 3-1.)

Final Limit Drive controls (AGC and MB) adjust the level of the audio driving the
low-IM look-ahead limiters that the 8685 uses to control fast peaks, thereby adjust-
ing the peak-to-average ratio of the processed audio. The FINAL LIMIT DRIVE controls
primarily determine the loudness/distortion trade-off.

Only one of the two LIMIT DRIVE controls is active at a given time. Depending on the
setting of the SURROUND OUTPUT SOURCE and 2.0 OUTPUT SOURCE controls in the ac-
tive Setup, a given processing channel’s look-ahead limiter receives either the AGC’s
output or the multiband compressor/limiter’s output. This determines which LIMIT
DRIVE control is active.

Turning up the FINAL LIMIT DRIVE control drives the look-ahead limiter harder, reduc-
ing the peak-to-average ratio at the 8685’s output and increasing the loudness at
the consumer’s receiver. When the amount of limiting is increased, the audible in-
termodulation distortion caused by limiting increases, even though special algo-
rithms minimize the increase compared to less sophisticated designs. Lower settings
reduce loudness, of course, but result in a cleaner sound.

Note that the active FINAL LIMIT DRIVE control is cascaded with a hidden
gain control whose value is determined by the active DIALNORM setting.
See Low-IM Look-Ahead Limiter 3-14.
Transient Enhance is mainly useful in mastering. This control allows you to insert
an audio delay in the sidechain of the five-band compressor. By delaying the gain
control signal, this allows attack transients to pass through the multiband compres-
sor uncompressed, which can increase punch. There is a tradeoff between this con-
trol and the activity of the look-ahead limiter, which will have to eliminate attack
transients exceeding the look-ahead limiter’s threshold. For any material, there will
be an optimum setting for the TRANSIENT ENHANCE control that provides the most
punch without triggering look-ahead limiter artifacts.

The Two-Band Structure

The Two-Band structure consists of a slow two-band gated AGC for gain riding, an
equalization section, a gated two-band compressor, and a low-IM look-ahead lim-
iter. A CBS Loudness Controller, which is primarily useful for sound-for-picture appli-
cations, can be activated to control subjectively perceived loudness.

The 8685’s Two-Band Structure can be made phase-linear throughout to maximize

sonic transparency. However, you can also choose an allpass crossover structure (see
AGC CROSSOVER on page 3-47).

The Two-Band structure has an open, easy-to-listen-to sound that is similar to the
source material if the source material is of good quality. We recommend using it
when you want to preserve the spectral balance of the source material while not
significantly increasing program density. Hence, it is mainly useful for unobtrusive
gain riding in sound-for-picture applications and in fine arts programming.
3-52 OPERATION ORBAN MODEL 8685

If you need processing for loudness and/or processing that automatically

corrects spectral balance inconsistency in the source material, we recom-
mend using the Five-Band structure instead. We tend to prefer the Five-
Band structure in sound-for-picture applications because it can use the
AGC for gentle two-band gain riding while using the five-band compres-
sor/limiter to de-ess dialog without causing gain pumping.
There are several Two-Band presets for sound-for-picture and radio-style processing.
See Table 3-2 on page 3-32, Table 3-3 on page 3-34, and Table 3-1 on page 3-29.

Customizing the Settings

Each Two-Band Factory Preset has a LESS-MORE control (located in the Basic Modify
screen) that adjusts on-air loudness. LESS-MORE simultaneously adjusts all of the
processing controls to optimize the trade-offs between unwanted side effects as
processing levels are decreased or increased.

If you wish, you may adjust the Modify parameters to your own taste. Always start
with LESS-MORE to get as close to your desired sound as possible. Then edit the Mod-
ify parameters using the Basic, Intermediate or Advanced Modify screen, and save
those edits to a User Preset.

The Two-Band Structure’s Full and Advanced Setup Controls

The tables below show a summary of the Two-Band controls in the dynamics section.

AGC, Equalizer, and Clipper controls are common to both Two-Band and Five-Band
structures and are described in the pages above.

Some of the Two-Band controls are common to the Intermediate Modify and Ad-
vanced Modify screens, with additional Two-Band controls available in the Advanced
Modify screen. (Note that “advanced” controls are accessible only from 8685 PC Re-
mote software.)

2B Drive control adjusts signal level going into the two-band compressor, determin-
ing the amount of gain reduction in the two-band compressor.

Regardless of the release time setting, we feel that the optimal amount of gain re-
duction in the two-band compressor for sound-for-picture applications is 10-15dB.
For fine arts formats, operating with 0-10 dB of gain reduction (with the gain riding
AGC set to OFF) maintains a sense of dynamic range while still controlling levels ef-
fectively.

2B Release control determines how fast the two-band compressor releases (and
therefore how quickly loudness increases) when the level of the program material
decreases. This release time only applies when the silence gate does not gate the
Two-Band Compressor.

The control can be adjusted from 0.5 dB/second (slow) to 20 dB/second (fast). Set-
tings toward 20 dB/second result in a more consistently loud output, while settings
OPTIMOD LOUDNESS CONTROLLER OPERATION 3-53
toward 0.5 dB/second allow a wider variation of dynamic range. Both the setting of
the 2B RELEASE control and the dynamics and level of the program material deter-
mine the actual release time of the compressor.

With faster 2B RELEASE control settings (above 8 dB/second), the sound will change
substantially with the amount of gain reduction in the two-band compressor. This
means that you should activate the gain-riding AGC to ensure that the two-band
compressor is always driven at the level that produces the amount of gain reduction
desired. Decide based on listening tests how much gain reduction gives you the den-
sity that you want without creating a feeling of over-compression and fatigue. For
most applications, we recommend using slower release rates because applications
that could use faster Two-Band release rates are usually better suited to five-band
processing. Five-band processing minimizes the undesirable artifacts that fast release
rates can produce.

The release rate (in dB/second) in the two-band compressor automatically becomes
faster as more gain reduction occurs. This makes the program progressively denser,
creating a sense of increasing loudness although peaks are not actually increasing.

Two-Band
Intermediate Name Advanced Name Range
2B Bass Coupling 2B Bass Coupling 0 … 100 %
2B Drive 2B Drive –10 … 25 dB
2B Gate 2B Gate Threshold Off, –44 … –5 dB
2B Release 2B Release 0.5 … 20 dB/second
2B Rel Shape 2B Release Shape Linear, Exponential
Loudness Threshold Loudness Controller Threshold Off, +10.0 … -14.0 dB
Loudness Attack Loudness Controller Attack 0…100%
Loudness Bass Couple Loudness Controller Bass Couple 0…12 dB, Off
BS.1770 Limiter Threshold BS.1770 Limiter Threshold 0…6 LK, Off
--- 2B Master Knee 0 … 50 dB
--- 2B Bass Knee 0 … 50 dB
--- 2B Master Ratio 1:1 … infinity:1
--- 2B Bass Ratio 1:1 … infinity:1
--- 2B Master Break(point) 1 … 50 dB
--- 2B Bass Break(point) 1 … 50 dB
--- 2B Master Compression Threshold –15 … 0 dB, Off
--- 2B Bass Compression Threshold -10.0 … 5.0 dB, Off
--- 2B Master Attack 4 … 50, Off
--- 2B Bass Attack 4 … 50, Off
--- 2B Master Comp Ratio 1:1 … ∞:1
--- 2B Bass Comp Ratio 1:1 … ∞:1
--- 2B Master Knee 0 … 50 dB
--- 2B Bass Knee 0 … 50 dB
--- LFE Threshold –10…+5 dB, Off
--- LFE Attack 4…50 ms
--- Bass>LFE Couple 12…0 dB, Off
--- Master Main>Center Max +Delta GR 0…24 dB, Off
--- Master Main>Center Max -Delta GR 0…24 dB, Off
--- Bass Main>Center Max +Delta GR 0…24 dB, Off
--- Bass Main>Center Max -Delta GR 0…24 dB, Off

Table 3-8: Two-Band Controls

3-54 OPERATION ORBAN MODEL 8685

At the gain reduction values set by the 2B MASTER BREAKPOINT and 2B BASS
BREAKPOINT controls, the release rate for these bands becomes constant and density
does not increase with additional amounts of gain reduction.

2B Release Shape selects a LINear or EXPonential release shape.

Linear causes the Two-Band compressor to release at a constant number of dB per

second above the 2B BREAKPOINT setting and proportionally to the amount of gain
reduction otherwise.

Despite its name, EXPONENTIAL actually offers a reverse-exponential characteristic: It

causes the release to commence slowly and then speed up as it progresses. The
EXPONENTIAL shape allows you to create the open sound of a slow release time with
program material whose level is well controlled while permitting the processing to
quickly correct excessively low input levels. We recommend using Exponential for
general-purpose sound-for-picture programming. For program material dominated
by music, LINEAR may be a better choice because Exponential may create unnatural
side effects. (If the 2B Release control is set between about 0.5 and 2 dB/second, an
Exponential release shape should cause no problems even with music.)

Note: The BREAKPOINT controls do nothing when EXPONENTIAL release is chosen.

2B Gate (“2B Gate Threshold”) threshold control determines the lowest input level
that will be recognized as program material by OPTIMOD 8685; lower levels are con-
sidered to be noise or background sounds and will cause the AGC or two-band com-
pressor to gate, effectively freezing gain to prevent noise breathing.

There are two independent gating circuits in the 8685 Two-Band structure. The first
affects the AGC and the second affects the two-band compressor. Each has its own
threshold control.

The two-band gain reduction will eventually recover to 0 dB (when the RELEASE
SHAPE is set to LINEAR) or to the setting of the 2B DRIVE control (when the RELEASE
SHAPE is set to EXP). However, recovery is slow enough to be imperceptible. This
avoids OPTIMOD 8685’s getting stuck with a large amount of gain reduction on a
long, low-level musical passage immediately following a loud passage.

In EXP release mode, the two-band gate’s gated gain reduction is the
same as the setting of the 2B DRIVE CONTROL, which is similar to the be-
havior of the AGC gate. This is because EXP release is mainly useful in
sound-for-picture processing and is used in the TV 2B GEN PURPOSE and
TV 2B GEN PURP+LC presets. In these presets, the AGC is defeated so that
all gain riding can occur in the two-band compressor. See AGC Idle Gain
on page 3-47 for a more complete discussion.
It is common to set the 2B GATE control between approximately –35 dB and –25 dB.
Higher values are useful in sound-for-picture processing to prevent background
sounds and underscoring from being pumped up, while lower settings are more
common with musical programming.

2B Bass Coupling is used to set the balance between bass and the rest of the fre-
quency spectrum.
OPTIMOD LOUDNESS CONTROLLER OPERATION 3-55
The two-band compressor processes audio in a master band for all audio above ap-
proximately 200Hz, and a bass band for audio below approximately 200Hz. The
BASS CPL control determines how closely the on-air balance of material below 200Hz
matches that of the program material above 200Hz.

Bass coupling is set to 100% on all of the two-band presets because these presets
are designed to do gentle gain riding without increasing program density or signifi-
cantly modifying the spectral balance of the program. When bass coupling is set to
100%, the bass band will usually have the same amount of gain reduction as the
master band. Only with material having unusually heavy bass will you see additional
gain reduction in the bass band.

Bass Clip (“Bass Clip Threshold”): See page 3-49.

Loudness Threshold sets the maximum subjective loudness allowed by the process-
ing with reference to the input of the 8685’s MB look-ahead limiter. (See Loudness
Control on page 3-14.)

BS.1770 Limiter Threshold sets the threshold of the BS.1770 safety limiter (in units
of LK or LU) with respect to the active DIALNORM value. See BS.1770 Safety Limiter on
page 3-17.

Advanced Two-Band Controls

The following Two-Band controls are only accessible from the 8685 PC Remote soft-
ware:

2B Master Compression Threshold sets the level where gain reduction starts to
occur in the Master (above 200Hz) band of the Two-Band Compressor.

2B Bass Threshold determines the compression threshold of the bass band (below
200 Hz) in the Two-Band Compressor. It can be used to set the target spectral bal-
ance of the Two-Band Compressor.

LFE Threshold determines the compression threshold of the LFE channel in the
Two-Band Compressor.

Bass>LFE Couple control determines the extent to which the gain of the LFE chan-
nel is determined by and follows the gain of the Bass band. Set towards 0 dB (fully
coupled) this control reduces the amount of dynamic LFE boost, preventing unnatu-
ral exaggeration of material in the LFE channel.

The gain reduction in the LFE audio path is either the output of the Bass compressor
sidechain or the output of the LFE compressor’s band sidechain. The BASS>LFE
COUPLING control sets the switching threshold. For example, if the BASS>LFE
COUPLING control is set to 4 dB and the Bass gain reduction is 10 dB, the LFE gain re-
duction cannot decrease below 6 dB even if the gain reduction signal from the LFE
compressor sidechain is lower. However, the LFE gain reduction can be larger than
3-56 OPERATION ORBAN MODEL 8685

the bass gain reduction without limit. In the previous example, the LFE gain reduc-
tion could be 25 dB.

A typical setting of the Bass>LFE BASS COUPLING control is 3 dB, which caps the pos-
sible dynamic LFE boost at 3 dB. Some may prefer 0 dB, which precludes any dynamic
LFE boost.

2B Master Attack sets the attack time of the Two-Band Compressor master com-
pressor (above 200Hz).

2B Bass Attack sets the attack time of the Two-Band Compressor bass compressor
(below 200Hz).

2B Master Comp Ratio and 2B Bass Comp Ratio set the compression ratio of the
Master compressor and Bass compressor respectively at their thresholds of compres-
sion. Beyond threshold, the ratio increases with increased gain reduction until it be-

Figure 3-2: Output level in dB (y) for a given input level in dB (x) at various settings of the
KNEE and RATIO control
OPTIMOD LOUDNESS CONTROLLER OPERATION 3-57
comes ∞:1 at the amount of gain reduction (in dB) set by the 2B MASTER KNEE con-
trol. When you adjust these controls, the thresholds of the multiband compressors
change automatically so that the total amount of gain reduction stays approxi-
mately the same. (This automatic adjustment is internal to the 8685’s DSP; the MB
THRESH controls’ displayed settings do not show it.)

To achieve a classic soft knee characteristic, set the 2B MASTER COMP RATIO control to
1:1 and set the KNEE control to the gain reduction in dB at which you wish the com-
pression ratio to level off to ∞:1. The maximum setting produces the softest knee.
Setting the KNEE to 0 dB produces a classic hard knee curve with ∞:1 compression ra-
tio regardless of the setting of the 2B MASTER COMP RATIO control.

See Figure 3-2 on page 3-56 for the curves of output level vs. input level for various
settings of the KNEE and RATIO controls.

2B Knee (see 2B MASTER COMP RATIO above).

2B Breakpoint The release rate (measured in dB/second) in the 8685’s compressors

is constant when the gain reduction is higher than the control’s setting, and expo-
nential when the gain reduction is lower than the control’s setting.

When the release is exponential, the release rate is proportional to the amount of
gain reduction. Do not confuse this with the reverse exponential characteristic trig-
gered by setting the 2B RELEASE SHAPE control to EXPONENTIAL. In this case, release
commences slowly and then speeds up as it progresses.

The 2B BREAKPOINT control is only active when the 2B RELEASE SHAPE control is set to
LINEAR.

Compression-induced audio density remains constant when the gain reduction is

above the 2B BREAKPOINT setting. When the gain reduction is below the 2B
BREAKPOINT setting, density decreases proportionally to the amount of gain reduc-
tion.

For example, if the 2B BREAKPOINT is set to 10 DB, the release rate (in dB/second) will
be constant when the gain reduction is above 10 dB. Between 10 dB and 0 dB gain
reduction, the release rate will slow down more and more.

The calibration of the BREAKPOINT controls is only accurate when KNEE = 0 dB and/or
RATIO = infinity:1 — i.e., when the compression ratio is essentially infinite. When the
ratio is less than infinite, the effective breakpoint of the compressor will be lower
than 2B BREAKPOINT setting.

The main use of the 2B BREAKPOINT control is to prevent the compressor from objec-
tionably increasing audio density when using low compression ratios and a signifi-
cant amount of gain reduction—for example, 10 dB. The 2B BREAKPOINT control is
best adjusted by ear. If you find that density increases too much as gain reduction
increases, lower the 2B BREAKPOINT control’s setting. If you want more density at
high amounts of gain reduction, increase the 2B BREAKPOINT control’s setting. 10 dB
is a good starting point for setting this control.
3-58 OPERATION ORBAN MODEL 8685

Loudness Controller Attack: See Loudness Control on page 3- 14.

Loudness Controller Bass Couple: See Loudness Control on page 3- 14.

Master Main>Center Max +Delta GR: Along with the other XXX DELTA GR con-
trols, this control is explained in Multiband , starting on page 3-11.

The Five-Band Structure

The Five-Band structure consists of a stereo enhancer, a slow gain-riding two-band
AGC, an equalization section, a five-band compressor, a dynamic single-ended noise
reduction system, an output mixer (for the five bands), a loudness controller, and a
low-IM look-ahead limiter.

Unlike the Two-Band structure, whose two-band compressor has a continuously

variable release time, the release time of the Five-Band compressor is switchable to
seven increments between slow and fast. Each setting makes a significant difference
in the overall flavor and quality of the sound.

When the input is noisy, you can sometimes reduce the noise by activating the sin-
gle-ended noise reduction system. Functionally, the single-ended noise reduction
system combines a broadband downward expander with a program-dependent low-
pass filter. This noise reduction can be valuable in reducing audible hiss, rumble, or
ambient studio noise on-air. We use it for the news and sports factory presets.

Using the Five-Band Structure

The Five-Band structure is very flexible, enabling you to fine-tune your on-air sound
for your target audience and desired market position. There are several basic Fac-
tory Presets for the Five-Band structure. Each of these presets can be edited with the
LESS-MORE control. This control affects the sound-for-picture-oriented presets dif-
ferently than it does the music presets (presets with “music” in their names). When a
sound-for-picture-oriented preset is on the air, the LESS-MORE control adjusts the
average amount of gain reduction by adjusting the drive level to the Five-Band
structure's input. This also adjusts the idle gain—the amount of gain reduction in
the AGC section when the structure is gated. (It gates whenever the input level to
the structure is below the threshold of gating.)

When a music preset is on the air, the LESS-MORE control sets the amount of overall
processing, making optimum tradeoffs between loudness, brightness, and distor-
tion. In sound for picture, there are no loudness wars; for music presets, there is no
need to advance the LESS-MORE control beyond its setting in the Factory Presets.

The five-band compressor/limiter in the Surround structure is always stereo-coupled.

The five-band compressor/limiter in the 2.0 processing can be stereo-coupled to any
extent via the various Bx MAX DELTA GR controls.
OPTIMOD LOUDNESS CONTROLLER OPERATION 3-59
Note that the active DIALNORM setting greatly influences the loudness of a given pre-
set. See Low-IM Look-Ahead Limiter on page 3-14.

Customizing the Settings

The controls in the Five-Band structure give you the flexibility to customize your sta-
tion sound. However, as with any audio processing system, proper adjustment of
these controls requires proper balancing of the trade-offs explained above. The fol-
lowing provides the information you need to adjust the Five-Band structure controls
to suit your programming and taste.

The Five-Band Structure’s Full and Advanced Setup Controls

The tables below summarize the Multiband and Band Mix controls in the dynamics
section. The AGC, Equalizer, Stereo Enhancer, and Clipper controls are common to
both the Two-Band and Five-Band structures and are discussed in their own sections
in Section 3.

MB Drive (“Multiband Drive”) control adjusts the signal level going into the multi-
band compressor, and therefore determines the average amount of gain reduction
in the multiband compressor. Range is 25dB.

Adjust the MULTIBAND DRIVE control to your taste and programming requirements.
Used lightly with a slow or medium release time, the Five-Band compressor produces
an open, re-equalized sound that is appropriate for most sound-for-picture pro-
gramming. The Five-Band compressor can increase audio density when operated at a
fast or medium-fast release because it acts more and more like a fast limiter (not a

Multiband Controls
Full Name Advanced Name Range
MB Drive Multiband Drive 0 ... 25
MB Gate Threshold Multiband Gate Threshold Off, –44 ... –5 dB
Loudness Threshold Loudness Controller Threshold Off, +10.0…–14.0 dB
Loudness Attack Loudness Controller Attack 0…100%
Loudness Bass Couple Loudness Controller Bass Couple 0…12 dB, Off
BS.1770 Limiter Thresh BS.1770 Limiter Threshold 0…+6 LKFS, Off
MB Downward Expander Downward Expander Off, –18.0 … 12.0 dB
--- Downward Expander Stereo Couple On, Off [2.0 only]
--- B5 Down Expander Delta Threshold –18.0…+12.0 dB
--- B1/B2 XOVER 100 Hz, 200 Hz
--- B1 MaxDeltGr 0 … 24 dB, Off
--- B2 MaxDeltGr 0 … 24 dB, Off
--- B3 MaxDeltGr 0 … 24 dB, Off
--- B4 MaxDeltGr 0 … 24 dB, Off
--- B5 MaxDeltGr 0 … 24 dB, Off
--- LFE Threshold –16…0 dB, Off
--- LFE Attack 4…50 ms
--- B1>LFE Couple 12…0 dB, Off

Table 3-9: Multiband Controls

3-60 OPERATION ORBAN MODEL 8685

compressor) as the release time is shortened. With fast and medium-fast release
times, density also increases when you increase the drive level into the Five-Band
compressor because these faster release times produce more limiting action. Increas-
ing density can make loud sounds seem louder, but can also result in an unattractive
busier, flatter, or denser sound. It is very important to be aware of the many nega-
tive subjective side effects of excessive density when setting controls that affect the
density of the processed sound.

Because the 8685’s AGC algorithm uses sophisticated window gating, it is preferable
to make the AGC do most of the gain riding (instead of the multiband compressor),
because the AGC can ride gain quickly without adding excessive density to program
material that is already well controlled. Use the multiband compressor lightly, so it
can achieve automatic re-equalization of material that the AGC has already con-
trolled without adding excessive density to the audio or re-equalizing to an unnatu-
ral extent.

The MULTIBAND DRIVE interacts with the MULTIBAND RELEASE. With slower release time
settings, increasing the MULTIBAND DRIVE control scarcely affects density. Instead, the
primary danger is that the excessive drive will cause noise to be increased excessively
when the program material becomes quiet. You can minimize this effect by activat-
ing the single-ended noise reduction and/or by carefully setting the MULTIBAND GATE
THRESHOLD control to freeze the gain when the input gets quiet.

When the release time of the Five-Band compressor is set towards fast, the setting
of the MULTIBAND DRIVE control becomes much more critical to sound quality because
density increases as the control is turned up. Listen carefully as you adjust it. With
these fast release times, there is a point beyond which increasing the Five-Band
compressor drive will no longer yield more loudness and will simply degrade the

MB Attack/Release/Threshold
Full Name Advanced Name Range
MB Release Multiband Release Slow, Slow2, Med, Med2, MFast, MFast2,
Fast
--- Speech Multiband Release Slow, Slow2, Med, Med2, MFast, MFast2,
Fast [2.0 only]
--- Center Multiband Release Slow, Slow2, Med, Med2, MFast, MFast2,
Fast [surround only]
Bx THR Bx Compression Threshold –16.00 … 0.0, Off
--- Bx Speech Compression Thresh –16.00 … 0.0, Off [2.0 only]
--- Bx Center Compression Thresh –16.00 … 0.0, Off [surround only]
--- Bx Attack 4.0 … 50.0 ms, Off
--- Bx Speech Attack 4.0 … 50.0 ms, Off [2.0 only]
--- Bx Center Attack 4.0 … 50.0 ms, Off [surround only]
--- Bx Limiter Attack 0 … 100%
--- Bx Delta Release –6 … 6
--- Bx Compression Ratio 1:1 … ∞:1
--- Bx Knee 0 … 50 dB
--- Bx Break 1 … 50 dB
--- Bx Main>Center Max +Delta GR 0…24 dB, Off
--- Bx Main>Center Max –Delta GR 0…24 dB, Off
--- Transient Enhance 0 … 10 ms

Table 3-10: MB Attack/Release Controls

OPTIMOD LOUDNESS CONTROLLER OPERATION 3-61
punch and definition of the sound. Instead, let the AGC do most of the work.

Because excessive loudness is an irritant in sound for picture, there is almost never
any reason to push processing to the point where it degrades the audio. We recom-
mend no more than 10dB gain reduction as shown on the meters for Band 3. More
than 10dB, particularly with the fast release time, will often create a wall of sound
effect that many find fatiguing.

To avoid excessive density with fast Five-Band release time, we recommend using no
more than 5dB gain reduction in band 3, compensating for any lost loudness by
speeding up the AGC RELEASE instead.

MB Release control can be switched to any of seven settings. To understand how to

adjust this control for sound-for-picture programming, please see the discussion
above under MB DRIVE.

In the 2.0 processing, the SPEECH MB RELEASE control overrides the MB RELEASE con-
trol when speech is automatically detected (page 3-6). You may wish to set the
SPEECH MB RELEASE control faster for speech (to maximize smoothness and uniform-
ity) and slower on music (to prevent excessive build-up of density).

In the surround processing, the CENTER MB RELEASE control always sets the release
time of the center channel compressor. This allows you to optimize the center chan-
nel for speech processing.

Bx Compression Threshold sets the compression threshold for each band in units
of dB. We recommend making small changes around the factory settings to preserve
the internal headroom built into the processing chain. These controls will affect the
spectral balance of the processing above threshold.

You can use the Bx SPEECH COMPRESSION THRESHOLD control to set independent fre-
quency balances for music and speech in the 2.0 processing chain, (page 3-6). The Bx
CENTER COMPRESSION THRESHOLD control performs a similar function in the surround
processing. It is particularly useful when setting up the center channel to de-ess dia-
log. The SPEECH and CENTER controls appear only in Advanced Control.

MB Gate Threshold control determines the lowest input level that will be recog-
nized as program by OPTIMOD 8685; lower levels are considered to be noise or
background sounds and cause the AGC or multiband compressor to gate, effectively
freezing gain to prevent noise breathing.

The multiband gate only works appropriately when the KNEE and RATIO controls of
all bands are set identically, which is typically true in broadcast applications. We rec-
ommend turning off the multiband gate if the individual KNEE and RATIO settings
are unequal.

There are two independent gating circuits in the 8685. The first affects the AGC and
the second affects the multiband compressor. Each has its own threshold control.

The multiband silence gate causes the gain reduction in bands 2 and 3 of the multi-
band compressor to move quickly to the average gain reduction occurring in those
3-62 OPERATION ORBAN MODEL 8685

bands when the gate first turns on. This prevents obvious midrange coloration un-
der gated conditions, because bands 2 and 3 have the same gain.

The gate also independently freezes the gain of the two highest frequency bands
(forcing the gain of the highest frequency band to be identical to its lower
neighbor), and independently sets the gain of the lowest frequency band according
to the setting of the DJ BASS boost control (in the Equalization screen). Thus, with-
out introducing obvious coloration, the gating smoothly preserves the average
overall frequency response “tilt” of the multiband compressor, broadly maintaining
the “automatic equalization” curve it generates for a given piece of program mate-
rial.

If the MB GATE control is turned OFF, the DJ BASS control (in the Equaliza-
tion screen) is disabled.
MB Downward Expander determines the level below which the single-ended
noise reduction system’s downward expander begins to decrease system gain, and
below which the high frequencies begin to become low-pass filtered to reduce per-
ceived noise. Activate the single-ended dynamic noise reduction by setting the MB
DOWNWARD EXPANDER control to a setting other than OFF.

The single-ended noise reduction system combines a broadband downward ex-

pander with a program-dependent low-pass filter. These functions are achieved by
introducing extra gain reduction in the multiband compressor. You can see the ef-
fect of this extra gain reduction on the gain reduction meters.

Ordinarily, the gating on the AGC and multiband limiter will prevent objectionable
build-up of noise, and you will want to use the single-ended noise reduction only on
unusually noisy program material. In sound for picture, it is particularly useful in live
news and sports.

Please note that it is impossible to design such a system to handle all program mate-
rial without audible side effects. You will get best results if you set the MB
DOWNWARD EXPANDER control of the noise reduction system to complement the pro-
gram material you are processing. The MB DOWNWARD EXPANDER should be set higher
when the input is noisy and lower when the input is relatively quiet. The best way to
adjust the MB DOWNWARD EXPANDER control is to start with the control set very high.
Reduce the control setting while watching the gain reduction meters. Eventually,
you will see the gain increase in sync with the program. Go further until you begin
to hear noise modulation—a puffing or breathing sound (the input noise) in sync
with the input program material. Set the MB DOWNWARD EXPANDER control higher
until you can no longer hear the noise modulation. This is the best setting.

Obviously, the correct setting will be different for a sporting event than for classical
music. It may be wise to define several presets with different settings of the MB
DOWNWARD EXPANDER control, and to recall the preset that complements the pro-
gram material of the moment.

Note also that it is virtually impossible to achieve undetectable dynamic noise reduc-
tion of program material that is extremely noisy to begin with, because the program
never masks the noise. It is probably wiser to defeat the dynamic noise reduction
OPTIMOD LOUDNESS CONTROLLER OPERATION 3-63
with this sort of material (traffic reports from helicopters and the like) to avoid ob-
jectionable side effects. You must let your ears guide you.

MB Band Mix controls determine the relative balance of the bands in the multi-
band compressor. Because these controls mix after the band compressors, they do
not affect the compressors’ gain reductions and can be used as a graphic equalizer
to fine-tune the spectral balance of the program material over a ±6 dB range.

The range of the band mix controls has been purposely limited because
the only gain control element after these controls is the look-ahead lim-
iter, which can produce considerable audible distortion if overdriven.
You should make large changes in EQ with the bass and parametric
equalizers and the HF enhancer, because these are located before the
compressors. The compressors will therefore protect the system from
look-ahead limiter overloads caused the chosen equalization. Use the
multiband mix controls only for fine-tuning.
You can also get a similar effect by adjusting the compression threshold
of the individual bands. This is comparably risky with reference to look-
ahead limiter overload, but unlike the MB BAND MIX controls, does not af-
fect the frequency response when a given band is below threshold and is
thus producing no gain reduction.
On/Mute switches allow you to listen to any band (or any combination of bands) in-
dependently. This is a feature designed for intermediate or advanced users and de-
velopers when they are creating new 8685 presets. The mute control works by mut-
ing the input of compressor in that band. This prevents the muted compressor’s
sidechain from producing a gain reduction signal that could couple into unmuted
bands through the various band-coupling controls.

Please note that a single band will interact with the look-ahead limiter quite differ-
ently than will that band when combined with all of the other bands. Therefore, do
not assume that you can tune each band independently and have it sound the same
when the clipping system is processing all bands simultaneously.

B3>B4 Couple (“Band 3>4 Coupling”) control determines the extent to which the
gains of bands 4 (centered at 3.7 kHz) and 5 (above 6.2 kHz) are determined by and
follows the gain of band 3 (centered at 1 kHz). Set towards 100% (fully coupled) this

Band Mix
Full Name Advanced Name Range
B2>B1 CPL B2>B1 Coupling 0 ... 100 %
B2>B3 CPL B2>B3 Coupling 0 ... 100 %
B3>B2 CPL B3>B2 Coupling 0 … 100 %
B3>B4 CPL B3>B4 Coupling 0 ... 100 %
B4>B5 CPL B4>B5 Coupling 0 ... 100 %
B1 OUT B1 Output Mix –6.0 … +6.0 dB
B2 OUT B2 Output Mix –6.0 … +6.0 dB
B3 OUT B3 Output Mix –6.0 … +6.0 dB
B4 OUT B4 Output Mix –6.0 … +6.0 dB
B5 OUT B5 Output Mix –6.0 … +6.0 dB

Table 3-11: MB Band Mix Controls

3-64 OPERATION ORBAN MODEL 8685

control reduces the amount of dynamic upper midrange boost, preventing unnatu-
ral upper midrange boost. The gain of band 5 is further affected by the BAND 4>5
COUPLING control.

The COUPLING controls use an “OR” algorithm: the final gain reduction in a given
band is the higher of (1) the gain reduction that would have been produced in that
band with no coupling, OR (2) the gain reduction in the adjacent coupled band mul-
tiplied by the setting of the COUPLING control.

For example, assume that Band 4 would produce 10 dB of gain reduction with no
B3>B4 coupling. If the BAND 3>4 COUPLING control is set to 50%, Band 3 will not af-
fect Band 4’s gain reduction unless Band 4 is producing more than 20 dB of gain re-
duction. At this point, every 2 dB increase in Band 4’s gain reduction will cause a 1
dB increase in Band 3’s gain reduction.

B4>B5 Couple (“Band 4>5 Coupling”) controls the extent to which the gain of
band 5 (6.2 kHz and above) is determined by and follows the gain of band 4.

The sum of the high frequency limiter control signal and the output of the BAND 4>5
COUPLING control determines the gain reduction in band 5. The BAND 4>5 COUPLING
control receives the independent left and right band 4 gain control signal. Range is
0 to 100% coupling.

B3>B2 Couple and B2>B3 Couple controls determine the extent to which the
gains of bands 2 and 3 track each other.

When combined with the other coupling controls, these controls can adjust the mul-
tiband processing to be anything from fully independent operation to quasi-
wideband processing.

B2>B1 Couple control determines the extent to which the gain of band 1 (below
100Hz or 200Hz, depending on crossover setting) is determined by and follows the
gain of band 2 (centered at 400Hz). Set towards 100% (fully coupled), it reduces the
amount of dynamic bass boost, preventing unnatural bass boost. Set towards 0%
(independent), it permits frequencies below 100Hz (the “slam” region) to have
maximum impact in modern rock, urban, dance, rap, and other music where bass
punch is crucial. Accordingly, it can be useful in music video oriented formats.

Bx Out (“Band x Output Mix”) controls determine the relative balance of the bands
in the multiband compressor. Because these controls mix after the band compres-
sors, they do not affect the compressors’ gain reductions and can be used as a
graphic equalizer to fine-tune the spectral balance of the program material over a
±3 dB range.

Their range has been purposely limited because the only gain control element after
these controls is the back-end clipping system (including the multiband clip-
per/distortion controller), which can produce considerable audible distortion if over-
driven. The thresholds of the individual compressors have been tuned to prevent
audible distortion with almost any program material. Large changes in the fre-
quency balance of the compressor outputs will change this tuning, leaving the 8685
more vulnerable to unexpected audible distortion with certain program material.
OPTIMOD LOUDNESS CONTROLLER OPERATION 3-65
Therefore, you should make large changes in EQ with the bass and parametric
equalizers and the HF enhancer, because these are located before the compressors.
The compressors will thus protect the system from unusual overloads caused the
chosen equalization. Use the multiband mix controls only for fine-tuning.

You can also get a similar effect by adjusting the compression threshold of the indi-
vidual bands. This is comparably risky with reference to clipper overload, but unlike
the MB BAND MIX controls, the threshold adjustments do not affect the frequency re-
sponse when a given band is below threshold and is thus producing no gain reduc-
tion.

Advanced Five-Band Controls

B1-B5 Attack (Time); Speech B1-B5 Attack (2.0); Center B1-B5 Attack (sur-
round) controls set the speed with which the gain reduction in each band responds
to level changes at the input to a given band’s compressor. These controls affect the
sound of the processor in many subtle ways. The main trade-off is “punch”
(achieved with slower attack times) versus distortion and/or pumping produced in
the look-ahead limiter (because slower attack times increase overshoots that the
look-ahead limiter must eliminate). The results are strongly program-dependent and
must be verified with listening tests to a wide variety of program material.

The ATTACK time controls are calibrated in arbitrary units that very approximately
correspond to milliseconds. Higher numbers correspond to slower attacks.

In the 2.0 processing, there are separate controls for music and speech (page 3-6), so
you can set attack times faster for speech (to minimize look-ahead limiter artifacts)
and slower for music (to maximize punch and transient definition). In the surround
processing, there are separate controls for the center channel.

B1-B5 Limiter Attack controls allow you to set the limiter attack anywhere from 0
to 100% of normal in the Five-Band compressor/limiters. Because the limiter and
compressor characteristics interact, you will usually get best audible results when
you set these controls in the range of 70% to 100%. Below 70%, you will usually
hear pumping because the compressor function is trying to create some of the gain
reduction that the faster limiting function would have otherwise achieved. If you
hear pumping in a band and you still wish to adjust the limiter attack to a low set-
ting, you can sometimes ameliorate or eliminate the pumping by slowing down the
compressor attack time in that band.

Setting these controls to around 50% can increase punch when you are using low
compression ratios with small amounts of gain reduction.

B1-B5 Delta Release controls are differential controls. They allow you to vary the
release time in any band of the Five-Band compressor/limiter by setting an offset be-
tween the MULTIBAND RELEASE setting and the actual release time you achieve in a
given band. For example, if you set the MULTIBAND RELEASE control to medium-fast
and the BAND 3 DELTA GR control to –2, then the band 3 release time will be the
same as if you had set the MULTIBAND RELEASE control to medium and set the BAND 3
DELTA GR control to 0. Thus, your settings automatically track any changes you make
3-66 OPERATION ORBAN MODEL 8685

in the MULTIBAND RELEASE control. In our example, the release time in band 3 will al-
ways be two “click stops” slower than the setting of the MULTIBAND RELEASE control.

If your setting of a given DELTA RELEASE control would otherwise create a release
slower than “slow” or faster than “fast” (the two end-stops of the MULTIBAND
RELEASE control), the band in question will instead set its release time at the appro-
priate end-stop.

B1>LFE Couple See Bass>LFE Couple on page 3-55.

B1-B5 Compression Ratio: See page 3-56.

Note that the multiband gate only works appropriately when the KNEE and RATIO
controls of all bands are set identically, which is typically the case in broadcast appli-
cations. We recommend turning off the multiband gate if the individual KNEE and
RATIO settings are unequal.

B1-B5 Knee: See page 3-57.

B1-B5 Breakpoint: See page 3-57.

B1/B2 Crossover (Band 1 to Band 2 Crossover Frequency) sets the crossover fre-
quency between bands 1 and 2 to either 100 Hz or 200 Hz. It significantly affects the
bass texture, and the best way to understand the differences between the two
crossover frequencies is to listen.

B1-B5 Main>Center Max +Delta GR; B1-B5 Main>Center Max –Delta GR: See
Multiband starting on page 3-11 for an explanation of these controls.
OPTIMOD LOUDNESS CONTROLLER OPERATION 3-67
Test Modes
The Test Modes screen allows you to switch between OPERATE, BYPASS, and TONE.
When you switch to BYPASS or TONE, the 8685 saves the preset you had on-air and
will restore it when you switch back to OPERATE. Even if you had been editing a pre-
set and did not yet save these changes as a User preset, you will not lose the edits
you made.

Table 3-12: Test Modes on page 3-67 shows the facilities available, which should be
largely self-explanatory.

In TONE mode, any channel can be set to OFF (the tone is off). ON (the tone is on) or
BYPASS (equivalent to placing that channel in BYPASS mode). When bench testing
the 8685, you can cause one hardware output to emit a tone while leaving the re-
maining channels in BYPASS. Using a BNC/BNC patch cable, you can apply the tone to
any 8685 input for testing. This eliminates the need for an external test oscillator.

The tone oscillator tracks the WORD LENGTH and DITHER settings for that channel’s
output. Resolution as high as 24 bits is available. Activating dither will result in ideal
tones with no measurable harmonic distortion.

In the 2.0 processing, test modes function identically in 2.0 stereo and dual-mono
modes. For example, in dual mono mode, setting TONE CHAN to LEFT applies signal to
channel 1 but not to channel 2.

Setup: Test
Parameter Labels Units Default Range (CCW to CW) Step
Mode --- Operate Operate, Bypass, Tone ---
Bypass Gain dB 0.0 −18 … +25 1
Tone Frequency Hz 400 16, 20, 25, 31.5, 40, 50, LOG
63, 80, 100, 125, 160,
200, 250, 315, 400, 500,
630, 800, 1000, 1250, 1600,
2000, 2500, 3150, 4000, 5000,
6300, 8000, 9500, 10000, 12500,
13586.76, 15000, 20000* [*44.1
kHz and higher output SR only]
Tone Level % 100 0 … 121 1
Lf Tone --- Bypass Off, On, Bypass ---
Rf Tone --- Bypass Off, On, Bypass ---
Ls Tone --- Bypass Off, On, Bypass ---
Rs Tone --- Bypass Off, On, Bypass ---
C Tone --- Bypass Off, On, Bypass ---
LFE Tone --- Bypass Off, On, Bypass ---
Lb Tone --- Bypass Off, On, Bypass ---
Rb Tone --- Bypass Off, On, Bypass ---
L 2.0 Proc x Tone --- Bypass Off, On, Bypass ---
R 2.0 Proc x Tone --- Bypass Off, On, Bypass ---

Table 3-12: Test Modes

3-68 OPERATION ORBAN MODEL 8685

Using the 8685 PC Remote Control Software

8685 PC Remote control software allows you to access any front-panel 8685 control
remotely. The software also gives you the ability to backup user presets, system files,
and automation files to your computer’s storage devices (hard drives, etc.) and to re-
store them later to your 8685.

The 8685 PC Remote software can connect to your 8685 via modem, direct serial ca-
ble connection, or Ethernet network. It communicates with your 8685 via the TCP/IP
protocol, regardless of how it is connected to your 8685.

PC Remote works best on large, high-resolution displays. Scroll bars will

appear when using lower resolutions.
Before running 8685 PC Remote, you must have installed the appropriate Windows
communications services on your computer. By default, the installer installs a short-
cut to 8685PC.exe on your desktop and in your Start Menu under Orban\Optimod
8685.

8685 PC Remote can control only one 8685 at a time, but it can readily switch be-
tween several 8685s. 8685 PC Remote has a built-in “address book” that allows it to
select and connect to:

• any 8685 on the same network as the PC,

• any 8685 that can be accessed through a modem connected to the PC via dial-up
networking, and,

• any 8685 that is connected directly to one of the PC’s serial ports.

Before your PC can communicate with a given 8685, you must first set up a “connec-
tion,” which is information that allows PC Remote to locate and communicate with
the 8685.

To set up a new connection:

A) Launch 8685PC.exe.
B) Create a new 8685 connection by choosing NEW 8685 from the CONNECT file
menu or by right clicking on the ALL CONNECTIONS icon in the Connections List
and selecting NEW 8685.
The Connection Properties dialog box opens.
C) Enter an Alias name for your 8685 (like “KABC”).
D) Leave the password field blank to prompt the user to enter a password when
initiating a connection.
Refer to Security and Passcode Programming on page 2-45.
Otherwise, enter a password to allow PC Remote to connect to your 8685
without requiring a password when the connection is initiated.
OPTIMOD LOUDNESS CONTROLLER OPERATION 3-69
For successful connection, a password must have already been entered
into your 8685 unit.
E) If you are communicating with your 8685 through a network, select the
Ethernet radio button. See also Setting Up Ethernet, LAN, and VPN Connec-
tions on page 2-71.
F) If you are communicating via a direct serial cable connection or a modem
connection, follow the appropriate procedure described in Appendix: Setting
up Serial Communications, starting on page 2-81.
G) Click OK after entering all required information.

To initiate communication:
Initiate communication by double-clicking
on the desired 8685 alias in the
Connections List, or by selecting the
desired 8685 alias from the CONNECT drop
down menu.

• If a warning message appears

stating: “No password is set at the
8685…” go to your 8685 unit and
create a passcode.

• If an Enter Passcode dialog box appears, enter a valid passcode and the 8685
PC Remote software will initiate a connection to the 8685 unit.

When run, the Orban PC Remote software installer makes copies of all 8685 fac-
tory preset files on your local hard drive. The PC Remote software reads these
files to speed up its initialization. If any of these files have been deleted or dam-
aged, the PC Remote software will refresh them by downloading them from the
8685. If the PC Remote software needs to do this, it can substantially increase the
time required for the software to initialize, particularly through a slow modem
connection.
When this download is finished, the main meters will appear.

• A wheel mouse is the quickest and easiest interface to use—you will rarely (if
ever) have to use the keyboard.

• A bubble containing help about a given control will appear if you drag your
mouse over that control.

To modify a control setting:

A) Choose PROCESSING PARAMETERS from the EDIT menu or click the second-to-
the-left button on the button bar.
B) There are separate menu tabs for the surround and 2.0 processing channels.
Select appropriate menu tabs for LESS-MORE and EQ to access Basic Modify
3-70 OPERATION ORBAN MODEL 8685

controls. All other menu tabs contain Full or Advanced Modify controls for a
given processing channel.
You can reset any Basic Modify Control without losing LESS-MORE func-
tionality; Full and Advanced modify control adjustments will cause LESS-
MORE to be grayed-out.
To set a control, click it (it will become highlighted) and then adjust it by
dragging it with the mouse or moving the wheel on the mouse.
You can also use the + and – keys on the numeric keypad to adjust any
control.

To recall a preset:
Presets, whether Factory or User, contain settings for both the surround and 2.0
processing. Recalling a preset overwrites both the surround and 2.0 controls.
If you wish instead to recall only the 2.0 settings in a given preset while leaving
the surround processing unchanged, you must Import the 2.0 section of a Factory
or User preset into the currently active preset (see To import a preset into the 2.0
processing below).
A) Choose RECALL PRESET from the FILE menu to bring up the OPEN PRESET FILE
dialog box. You can also click the leftmost button on the button bar.
B) Click the desired preset within the dialog box to select it.
C) Double-click the desired preset or select it and click the RECALL PRESET button
to put it on-air.
Continually clicking the RECALL PRESET button will toggle between the
current and previous on-air presets.

D) Click DONE to dismiss the OPEN PRESET FILE dialog box.

The folder on your hard drive containing the preset files (both Factory
and User) is automatically synchronized to the contents of its associated
8685’s non-volatile memory each time 8685 PC Remote connects to that
8685. The 8685’s memory is the “master.” This means that if you delete a
user preset from the 8685’s memory (whether locally via its front panel or
via 8685 PC Remote), 8685 PC Remote will automatically erase this preset
from this folder on your computer. To archive a preset permanently, you
must use the Backup function (see page 3- 71).

To import a preset into the 2.0 processing:

This procedure allows you to recall only the preset settings that affect the 2.0
processing. The surround processing does not change.
A) Choose IMPORT 2.0 PRESET from the FILE menu to bring up the IMPORT 2.0
PRESET FILE dialog box.
B) Click the desired preset within the dialog box to select it.
C) Double-click the desired preset or select it and click the IMPORT button to acti-
vate it.
OPTIMOD LOUDNESS CONTROLLER OPERATION 3-71
D) Click DONE to dismiss the IMPORT PRESET FILE dialog box.

To save a Processing Preset or Setup you have created:

A) Select SAVE PRESET AS or SAVE SETUP AS from the FILE menu to bring up the
SAVE AS Dialog Box. The current preset name will appear in the File Name
field.
B) Click in the field, and edit it.
C) Click SAVE to save the preset to the 8685’s internal memory as a Processing
Preset or Setup.
If you have made edits to a previously existing user preset, you can select
SAVE PRESET from the FILE menu to overwrite the pre-existing user preset
automatically.
This operation saves both the surround and 2.0 portions of the preset.
You can “mix and match” surround and 2.0 settings by using the Import
function to bring the 2.0 settings of any preset into the current preset.
You can then save the result as a new User Preset.

To back up User Presets, Setups, and automation files onto your

computer’s hard drive:
A) Select BACKUP TO PC from the FILE Menu.
B) Click OK.
PC Remote will offer three options:
• Save Backup Files (User Presets, Setups [system files], and automation) in
plain text.
This allows the presets and files to be read with any text editor program
and to be readily exchanged between Optimod users.

• Save Backup Files using the session passcode to encrypt them.

• Save Backup Files using the password of your choice to encrypt them.
The encryption options prevent archived presets, system files, and auto-
mation files from being restored if the user does not have the password
used for the encryption. There is no “back door”— Orban cannot help
you to decrypt a preset whose password is unknown.
All User Preset, Setup, and automation files are copied from your Opti-
mod’s internal memory to a folder called “backup” on your PC. This
folder is a subfolder of the folder named the same as the alias of the Op-
timod that you are backing up.
Automation events are backed up in the Automation file and the Auto-
mation Enable/Disable state is backed up in the User Setup files. Hence,
different Setup files can cause Automation to be enabled or disabled.
3-72 OPERATION ORBAN MODEL 8685

This folder name (“backup”) and location are hard-coded into the soft-
ware. If you wish to move the backup files somewhere else later, use a
file manager (like Explorer) on your computer.
To make more than one backup archive, rename the current backup
folder (for example, to “Backup1”). 8685 PC Remote will create a new
backup folder the next time you do a backup, leaving your renamed
backup folder untouched. Later, you will be able to restore from any
folder—the Restore dialog box allows you to choose the folder contain-
ing the files to be restored
If you attempt to back up a preset with the same name as a preset exist-
ing in the Backup folder, but with a different date, 8685 PC Remote will
warn you and will allow you to overwrite the preset in the Backup folder
or to cancel the operation. If you wish to keep the existing archived pre-
set, you can first use a file manager to move the existing user preset in
the Backup folder to another folder and then repeat the backup opera-
tion.
Note to Users Familiar with Older Version of PC Remote
To make the user presets easily accessible to all users (including those
without Administrator privileges in Windows), we have moved the de-
fault location of the user preset folder from inside Windows Program
Files directory, where it was in previous software versions.
For Windows XP, the new location is:
C:\Documents and Settings\
All Users\Documents\Orban\
Optimod 8685 PC Remote\my 8685

For Windows Vista and 7, the new location is:

C:\Users\Public\Documents\Orban\
Optimod 8685 PC Remote\my 8685

To restore archived presets, Setups, and automation files:

In addition to restoring archived presets, Setups, and automation files to their
original Optimod, you can also copy these archived files from one Optimod to
another. The Optimod whose connection is active will receive the file.
If the preset, Setup, or automation file was encrypted when it was originally
saved, PC Remote will request the password under which it was encrypted.
All User Presets are compatible with all 8685 software versions. If Orban
adds new controls to a software version, the new software will assign a
reasonable default value to any control missing in an old User Preset. If
you archive such a User Preset after restoring it, the newly written ar-
chive file will now include the new controls (with the default values,
unless you edit any of these values before you re-archive the preset).
Automation events are backed up in the Automation file and the
AUTOMATION ENABLE/DISABLE state is backed up in the User Setup files.
Hence, different Setup files can cause Automation to be enabled or dis-
abled. Select RESTORE FROM PC from the FILE menu.
The GPI settings are backed up in the User Setup files.
OPTIMOD LOUDNESS CONTROLLER OPERATION 3-73
A standard Windows dialog box will open.
A) Select the type of files you want to restore using the FILES OF TYPE field at
the bottom of the dialog box.
You can select to restore all user presets (*.orb8685user), 8685 user pre-
sets (*.orb8685user), Setups (*.orb8685setup), and automation files
(*.orb8685autom).
If you want to restore files from a different directory (i.e., that might
have been created on a different 8685), navigate to that directory from
within the dialog box.
B) To restore a single user preset:
a) Set the FILES OF TYPE field to a user preset file type (*.orb8685user).
b) Select the desired preset in the dialog box.
c) Click the RESTORE button.
C) To restore all the user presets from a specific location:
a) Set the FILES OF TYPE field to a user preset file type (*.orb8685user)
b) Highlight all the user presets in the dialog window
c) Click the RESTORE button.
D) To restore a Setup file:
a) Set the FILES OF TYPE field to the System Setup file type (*.orb8685setup).
b) Select the desired system file in the dialog box.
c) Click the RESTORE button.
E) To restore an automation file:
a) Set the FILES OF TYPE field to the Automation file type (*.orb8685autom)
b) Select the desired automation file in the dialog box
c) Click the RESTORE button.
F) Click DONE to dismiss the RESTORE dialog box.

To modify the active SETUP:

Choose SETUP from the TOOLS menu or click the third-from-the-left button on
the button bar.
To set a control, click it (it will become highlighted) and then use the wheel on
the mouse to adjust it. You can also use the + and – keys on the numeric keypad
to adjust any control.
3-74 OPERATION ORBAN MODEL 8685

To modify AUTOMATION:
A) Choose AUTOMATION from the TOOLS menu.
An Automation Dialog box will open.
B) Click the NEW EVENT to create a new event
Controls to set the event type and time are available on the right hand
side of the dialog box.
C) Check the ENABLE AUTOMATION check box at the top of the dialog box to en-
able automation.

To group multiple 8685s:

Right-click ALL CONNECTIONS in the Connections List and select NEW GROUP.
You can add multiple 8685 to a single group to help organize a network of 8685.
However, only one 8685 from within a group can be connected to 8685 PC Re-
mote at any one time.

Navigation Using the Keyboard

In general, PC Remote uses standard Windows conventions for navigation.

Navigate around the screens using the TAB key. Use CTRL-TAB to move to the next
tabbed screen in PC Remote.

Use the + and – keys or the left and right arrow keys on the numeric keypad to ad-
just control settings.

To Quit the Program

Use standard Windows conventions: Press ALT-F4 on the keyboard, or click the X on
the upper right corner with the mouse.

About Aliases created by Optimod 8685 PC Remote Software

When you ADD A NEW 8685 using Optimod 8685 PC Remote, your 8685 automatically
receives an 8685 Alias name to differentiate it from other 8685s. You can change the
name anytime in the 8685 Properties window inside 8685 PC Remote.

When you add a new 8685 or change the name of an existing 8685 Alias, an Alias
folder is created in the same location as the executable for Optimod 8685 PC Re-
mote (usually \Program Files\Orban\Optimod 8685). The folder has the same name as
the Alias name. Once you establish the initial connection to the 8685, all presets for
that 8685 are automatically copied to the Alias folder—the folder contains all the
preset files for that 8685, both Factory and User. If you have backed up the 8685 us-
OPTIMOD LOUDNESS CONTROLLER OPERATION 3-75
ing 8685 PC Remote, these will appear in a “backup” subfolder located within the
Alias folder.

Archived user preset files are text files and can be opened in a text editor
(like Notepad) if you want to examine their contents. Of course, you will
only see a meaningful display if the files were archived in plaintext (i.e.,
not encrypted).
Alias folders and their associated backup subfolders are registered in your PC’s Reg-
istry. This prevents folders from being accidentally deleted or moved. If you move or
delete Alias folders from the PC, the Alias folders recreate themselves in the previ-
ous location and restore their contents by copying it from their associated 8685s
when 8685 PC Remote connects to such an 8685.

Multiple Installations of Optimod 8685 PC Remote

Unlike earlier versions, 8685 software V 1.1.4 and higher does not support installa-
tions where multiple versions of 8685 PC Remote are installed on one computer. You
may still control as many 8685s as you like from PC Remote, but all 8685s must be
running the same software version.

We recommend always upgrading your 8685 to the latest available software release.
When you install PC Remote software, allow the installer to overwrite any older ver-
sion.

Before a newer version of PC Remote allows you to connect to an 8685 with older
firmware, PC Remote will offer to upgrade your 8685’s firmware automatically. You
must permit it to do so. Moreover, most foolproof operation requires installing 8685
PC Remote Software to the default location suggested by the installer.

To share an archived User Preset between 8685s:

A) Navigate to the directory containing the desired User Preset from within the
RESTORE FROM PC dialog box
B) Click the RESTORE button.
This User Preset will be downloaded to the 8685 to which 8685 PC Re-
mote is currently connected.
If the User Preset is encrypted, PC Remote will request its password.
3-76 OPERATION ORBAN MODEL 8685

Using the 8685 for Production and Mastering

The 8685 can be a useful tool for mastering and production applications in the pro-
fessional audio industry, like preparation of equalized, level-controlled, peak limited
CD, DVD, or Blu-ray masters. We have frequently used the 8685 in this context,
achieving excellent results.

We strongly recommend using 8685 PC Remote software for controlling the 8685
when mastering. PC Remote shows all meters at once and allows easier access to op-
erating controls.

Because of their broadcast origins, most of the 8685’s presets provide more process-
ing than would ordinarily be required for mastering. In addition, we would expect
that the mastering engineer would want to tweak a preset carefully to complement
the program material being mastered. The 8685 provides important tools to allow a
mastering engineer to fine-tune the processing to complement the program mate-
rial:

• Three bands of parametric equalization with low-noise filter structures and

curves modeled after classic second-order analog bell-shaped EQ.

• A powerful, low-noise parametric bass shelving equalizer with sweepable fre-

quency and a choice of 6, 12, or 18 dB/octave slopes.

• Two-band and five-band compressor/limiters with phase-linear crossovers and

powerful controls, including attack time, release time, threshold, knee, and ratio
for each band. These compressor/limiters also offer user-adjustable interband
coupling, allowing the user to operate them anywhere from quasi-wideband to
fully independent.

• A look-ahead peak limiter with advanced, proprietary distortion reduction algo-

rithms.

You cannot create a user preset “from scratch”; you must create it by modifying an
existing preset, factory or user. Each preset has an “easy adjustment” facility called
LESS-MORE, which is a one-knob provision for turning the amount of processing up
or down.

Systematically, the following is a good method for creating mastering presets. It as-
sumes that you have already set the processor mixer controls to achieve normal drive
levels.

A) Connect to the 8685 via 8685 PC Remote software. Compared to using the
8685’s front panel, using PC Remote gives you more convenient access to the
8685’s many tuning controls.
Note that by drawing a marquee around several controls by clicking and
dragging with your computer’s mouse, you can temporarily couple them
so you can adjust several bands’ controls (for example, the LIMITER ATTACK
OPTIMOD LOUDNESS CONTROLLER OPERATION 3-77
controls) simultaneously. The coupling will remain active until you click
outside the area that the marquee encloses.
B) Decide whether you are going to use two-band or five-band processing.
Two-band processing retains any fixed equalization originally applied to
the program (except for a mild amount of dynamic adjustment to bass
below 200 Hz); five-band processing performs an “automatic re-
equalization” function. Both flavors of processing can be extremely
smooth and unobtrusive. Because the five-band compressor/limiter offers
user-adjustable interband coupling that determines the “discreteness” of
the multiband compression, it is usually the best choice.
If you are going to use two-band processing, recall the 2B SOFT KNEE pre-
set. If you are going to use five-band processing, recall the 5B SOFT KNEE
preset. If you want to do look-ahead peak limiting without any other dy-
namics processing, recall the LOOK-AHEAD LIMITER preset. See page 3-28 for
a description of these presets.
C) If you have started with one of the SOFT KNEE presets, the AGC will already be
OFF. If you need a very large amount of compression for an application like
processing material intended for in-flight entertainment systems, you can ei-
ther edit the preset to turn the AGC on or start with a preset other than SOFT
KNEE.
You can turn the AGC off globally for all presets, which is convenient if
you don’t expect to use it in the future. (See step 2 on page 2-22.)
D) Unless you will be using a large amount of compression for special applica-
tions, set the MB GATE THRESHOLD to OFF.
In the SOFT KNEE and LOOK-AHEAD LIMITER presets, this is already done.
The multiband gate only works appropriately when the KNEE and RATIO
controls of all bands are set identically, which is typically true in broad-
cast applications. We recommend turning off the multiband gate if the
individual KNEE and RATIO settings are unequal.
E) Adjust the 2B DRIVE control (two-band) or MB DRIVE control (five-band) to
achieve the desired amount of multiband gain reduction.
F) Adjust the release time control (2B RELEASE or MB RELEASE) to achieve the de-
sired compression density.
If you are using the Five-Band structure, you can use the DELTA RELEASE
controls to fine-tune the release time of each band independently.
The release characteristic is always “automatic” (i.e., with program-
dependent time constants) and the RELEASE control simply scales this
process. This, combined with multiband operation, makes the compres-
sion remarkably resistant to the usual compressor pumping and squash-
ing.
G) Adjust the ATTACK TIME controls on the individual compressors to trade off
overshoot control against transient punch.
H) Adjust the RATIO and KNEE controls in each band to taste.
3-78 OPERATION ORBAN MODEL 8685

The RATIO control sets the compression ratio at the threshold of compres-
sion. To achieve a classic soft knee characteristic, set the RATIO to 1:1 and
adjust the softness of the knee with the KNEE control.
The KNEE control’s setting is the gain reduction in dB at which the com-
pression ratio reaches ∞:1. (See page 3-56 for a description of the RATIO,
KNEE, and BREAKPOINT controls.)
I) After you adjust the RATIO and KNEE controls, adjust the THRESHOLD controls in
the individual bands to achieve the desired amount of gain reduction.
The KNEE control automatically and invisibly changes a given band’s in-
ternal compression threshold to keep the compressor’s output level con-
stant whenever the drive level is high enough to move the gain reduc-
tion into the ∞:1 range. This means that the internal threshold decreases
with softer knee settings (higher settings of the KNEE control). However,
the indicated threshold the 8685’s user interface does not change. This
behavior ensures that the THRESHOLD control alone determines the maxi-
mum output level of the compressor, regardless the KNEE control’s set-
ting.

J) Adjust the LIMITER ATTACK TIME controls to taste.

These controls allow you to set the limiter attack anywhere from 0% to
100% of normal in the Five-Band compressors, each of whose gain reduc-
tion has a fast-release (limiter) and slow-release (compressor) component.
Because the limiter and compressor characteristics interact, you will usu-
ally get best audible results when you set these controls in the range of
70% to 100%. Below 70%, you will usually hear pumping because the
compressor function is trying to create some of the gain reduction that
the faster limiting function would have otherwise achieved. If you hear
pumping in a band and you still wish to adjust the limiter attack to a low
setting, you can sometimes ameliorate or eliminate the pumping by slow-
ing down the compressor attack time in that band.
Of course, sometimes artistic pumping is desired for certain styles of mu-
sic and/or recording. The LIMITER ATTACK TIME controls can help achieve
this sound.
If you are using low compression ratios and small amounts of gain reduc-
tion, setting the LIMITER ATTACK TIME controls as low as 50% can often in-
crease punch.

K) Adjust the TRANSIENT ENHANCE control to taste.

This control allows you to insert an audio delay of up to 10 ms in the
sidechain of the five-band compressor. Delaying the gain control signal,
allows attack transients to pass through the multiband compressor un-
compressed, which can increase punch. There is a tradeoff between this
control and the amount of gain reduction in the look-ahead limiter,
which will have to eliminate attack transients exceeding the look-ahead
limiter’s threshold.
L) Adjust equalization as necessary.
As discussed above, there is a versatile program equalizer available be-
tween the AGC and multiband compressor. In five-band mode, there is
also a five-band mix control (functioning as a phase-linear graphic equal-
izer) after the five-band compressor. In five-band mode, any fixed equali-
OPTIMOD LOUDNESS CONTROLLER OPERATION 3-79
zation will be partially “undone” by the dynamic re-equalization effect
of the five-band compression, so two-band mode is most useful when
you are relying on the 8685’s fixed EQ or on external EQ earlier in the
signal path.
Note also that you can use the individual band compression threshold
controls, the BASS COUPLING control, and HF COUPLING control to affect
the amount of automatic re-equalization performed by the five-band
compression. As you set these controls closer to 100%, they permit pro-
gressively less dynamic LF and HF program-adaptive boost. If you feel
that the dynamic re-equalization is not producing enough brightness
when the program material lacks high frequencies, you should turn the
BAND 3>4 and BAND 4>5 COUPLING closer to 0%. Similarly, if weak bass is
not sufficiently boosted, turn the BAND 2>1 COUPLING closer to 0%.

M) Set the amount of peak limiting with the MB LIMIT DRIVE control.
In general, the less peak limiting you use, the better sounding the result
will be. However, if your client demands a “loud” result, the 8685’s look-
ahead peak limiter is a powerful tool for achieving this with minimum
distortion or other side effects. Nevertheless, be aware that this function
is not like some familiar “look-ahead” limiters. The release time is in the
order of a few milliseconds and is not user adjustable. The purpose of the
limiter is only to limit peaks that pass through the earlier compressors be-
cause of their finite attack times. Functionally it is used like a peak clip-
per, but it has vastly reduced modulation distortion by comparison to a
clipper, whether “soft knee” or “hard knee.”
The main potential side effects of the look-ahead limiter are gain breath-
ing and a “warbling” sound in the midrange when heavy bass is simulta-
neously present. Listen carefully for this intermodulation effect (particu-
larly on vocals) when you are adjusting the FINAL LIMIT control.
N) Adjust the Bass Clip Threshold and Bass Clip Shape controls to complement
the amount of final limiting.
For most mastering applications, you can set the BASS CLIP THRESHOLD to
OFF. However, if you hear pumping or “warbling” distortion in the look-
ahead limiter caused by heavy bass transients, you can reduce this effect
by setting the BASS CLIP to a lower level. (The BASS CLIP control is cali-
brated in “dB below the look-ahead limiter threshold.”) It is most effec-
tive when the B1/B2 CROSSOVER control is set to 100 Hz, as this setting
prevents intermodulation between vocals and instrumental bass in the
clipper.
O) If you wish to compare your processed sound to the unprocessed original, re-
call the LOOK AHEAD LIMITER preset and toggle between it and your processing
preset. If there is a gross loudness disparity, you may wish to edit the gain
within the LOOK AHEAD LIMITER preset and save this as a user preset.
P) Save your preset using File/Save Preset.
Once you have created one “mastering” preset, you can edit it to create
others and save them under different names.
Q) For a 44.1 or 88.2 kHz output sample rate, set the digital output level (step 8
on page 2-28) to approximately –0.5dBFS; this will prevent overshoots caused
3-80 OPERATION ORBAN MODEL 8685

by sample rate conversion. For a 48 or 96 kHz output sample rate, set the digi-
tal output level to –0.1dBFS.
At 44.1 kHz, the output samples are not exactly the same ones that the
look-ahead limiter controlled at its internal 192 kHz sample rate, so slight
overshoot can occur. At 48 or 96 kHz output sample rate, overshoot will
be less than 0.1dB.
If your mastered audio is intended for transmission via a lossy codec like
AAC, MP3 or WMA, be aware that the codec’s decoder may overshoot
and cause audible clipping distortion. See Setting Output/Modulation
Levels on page 1-23. If the 8685’s output is applied directly to a lossy co-
dec, decrease the setting of the 8685’s output level control to allow the
necessary headroom. If the 8685’s output is applied to a linear PCM stor-
age medium (like a CD), it is better to use the entire dynamic range of
the linear medium by setting the 8685’s output level close to 0 dBFS.
Then compensate for codec overshoots by reducing gain when you
transcode from the linear PCM recording to the codec.
OPTIMOD LOUDNESS CONTROLLER OPERATION 3-81
Appendix A: Using the ITU BS.1770 and CBS
Loudness Meters to Measure Loudness
Controller Performance

[Note: This Appendix is a reprint of a stand-alone white paper. For this reason, it
contains some explanatory material regarding the CBS and BS.1770 meters that is
also found elsewhere in this manual.]

ITU-R BS.1770
In 2009, the ATSC released a Recommended Practice: Techniques for Establishing and
Maintaining Audio Loudness for Digital Television (A/85:2009). This was later up-
dated as A/85:2011. A/85 specifies use of a long-term loudness meter based on the
ITU BS.1770 algorithm for measuring the loudness of DTV broadcasts.

In December 2011, the FCC adopted rules implementing the CALM Act 1, which, by
law, forbids commercials from being louder than non-commercial program material.
The new FCC rules incorporated ATSC A/85 (and, by implication, the BS.1770 meter)
as an objective means of verifying that the rule was being obeyed.

Because loudness measurement per BS.1770 uniformly integrates all program mate-
rial, quiet passages tend to lower the measured value. To prevent this, the ITU
added gating to the BS.1770 standard, which was revised as BS.1770-2 in March
2011. The gating causes the meter to ignore silence and to integrate only program
material whose loudness falls within a floating window extending from the loudest
sounds within the specified integration period to sounds that are 10 dB quieter than
the loudest sounds. This is because humans tend to assess loudness based on the
louder sounds in a given program. As of this writing, ATSC A/85 has not been up-
dated to incorporate the BS.1770-2 standard.

The ATSC A/85 2011, ITU-R BS.1770-2, and EBU R 128 documents are available as free
downloads and can easily be located with a search engine.

CBS Loudness Meter

For many years, Orban has used the Jones & Torick loudness controller and loudness
measuring technology 2 in its products for loudness control of sound for picture. De-

1 The CALM Act applies only to U.S. broadcasters and cable providers.

2 Jones, Bronwyn L.; Torick, Emil L., “A New Loudness Indicator for Use in Broadcast-
ing,” J. SMPTE September 1981, pp. 772-777.
3-82 OPERATION ORBAN MODEL 8685

veloped after 15 years of psychoacoustic research at CBS Laboratories, the CBS loud-
ness controller accurately estimates the amount of perceived loudness in a given
piece of program material. If the loudness exceeds a preset threshold, the controller
automatically reduces it to that threshold. The CBS algorithm has proven its effec-
tiveness by processing millions of hours of on-air programming and greatly reducing
viewer complaints caused by loud commercials.

Since first licensing the CBS algorithm and using it in its Optimod-TV 8182 in the
early 1980s, Orban has continually refined and developed this technology. In the last
30+ years, audio processors from Orban and CRL using the CBS loudness controller
have processed millions of hours of on-air television programming — an unsur-
passed track record that no other subjective loudness controller technology can
claim.

Comparing the Meters

Because the ATSC recommends the BS.1770 algorithm, many broadcast and cable
engineers facing the problem of controlling broadcast loudness have wondered how
the CBS and BS.1770 technologies compare. An earlier version of this Orban white
paper compared the CBS and BS.1770-1 (non-gated) meter. The paper you are now
reading was revised in March 2012 to incorporate results from tests using the
BS.1770-2 algorithm and EBU – TECH 3342 “Loudness Range” algorithm. The new
measurements were performed using Version 2 of the Orban Loudness Meter 3. This
revision compares the CBS and BS.1770-2 meters because we expect that the ATSC
will eventually update A/85 to specify BS.1770-2, which will more closely harmonize
A/85 with its European counterpart, EBU R 128.

A/85 and R 128 differ significantly in their philosophy and recommendations. Proba-
bly most important difference is that A/85 asserts that the loudness of a so-called
“anchor element” (which is typically dialog except in programs emphasizing music,
like live concert recordings) is most important, while R 128 asserts that the inte-
grated loudness of the entire program is most important 4 and therefore, program
loudness should be normalized based on an integrated BS.1770-2 measurement. The
philosophy behind A/85 is similar to that of Dolby Laboratories, which for many
years has asserted that dialog anchors most film and television programs and that
listeners set their volume controls to make dialog comfortably intelligible 5. (We
agree more with A/85 than with R 128).

3 This software is available for free download at http://orban.com/meter/.

4EBU – TECH 3343, “Practical guidelines for Production and Implementation in ac-
cordance with EBU R 128,” version 1 (February 2011), p. 29

5Riedmiller, J., Lyman, S., Robinson, C., “Intelligent program loudness measurement
and control: what satisfies listeners?” AES Convention Paper 5900, 115th Convention
(October 2003)
OPTIMOD LOUDNESS CONTROLLER OPERATION 3-83
BS.1770-2 Integrated Meter (Gated; Integration Time = 10 seconds) Histogram of BS.1770-2 Integrated Loudness in 10-second Integration Intervals
-10 30
ni
B
ss
en 25
du
-15 oL
ne
vi 20
G
S a
F in
LK -20
sn
oti 15
av
re
sb
O
fo
10

-25 erb
m
u 5
N

-30 0
0 400 800 1200 1600 -28 -27 -26 -25 -24 -23 -22 -21 -20

Time (sec) LKFS

CBS Maximum Indication in 10-second Intervals Histogram of CBS Maximum Peak in 10-second Periods
-10 30
inB
ss
en 25
du
-15 oL
ne
vi 20
G
a
B
d ni
sn
-20 iot 15
av
ers
b 10
O
ofr
-25 eb
m
u 5
N

-30 0
0 400 800 1200 1600 -30 -25 -20 -15 -10

Time (sec) dB

CBS Long-Term (Integration Time = 10 seconds) Histogram of CBS Long-Term in 10-second Integration Periods
-10 30
ni
B
ss
en 25
du
-15 oL
ne
vi 20
G
a
B
d in
sn
-20 oti 15
av
re
sb
fO
10

or
-25 eb
m
u 5
N

-30 0
0 400 800 1200 1600 -30 -25 -20 -15 -10

Time (sec) dB

Figure 3-3: Unprocessed Input— Figure 3-4: Unprocessed Input—

Peak Output of the BS.1770 and CBS Loudness Me- Histograms sorting loudness measurements into 0.25
ters in each 10-second Interval as a Function of Time dB bins.
3-84 OPERATION ORBAN MODEL 8685

BS.1770-2 Integrated Meter (Gated; Integration Time = 10 seconds) Histogram of BS.1770-2 Integrated Loudness in 10-second Integration Intervals
-20 30
ni
B
ss
-21 en 25
du
oL
-22 ne
vi 20
-23 G
a
FS in
K
L -24 sn
iot 15
av
re
-25 sb
fO
10

or
-26 eb
m
u 5
-27 N

-28 0
0 400 800 1200 1600 -28 -27 -26 -25 -24 -23 -22 -21 -20

Time (seconds) LKFS

CBS Maximum Indication in 10-second Intervals Histogram of CBS Maximum Peak in 10-second Periods
-20 30
inB
ss
-21 en 25
du
-22 Lo
ne
vi 20
-23 G
a
Bd ni
sn
-24 oti 15
av
re
-25 sb
O
fo
10

-26 re
b
m
u 5
-27 N

-28 0
0 400 800 1200 1600 -28 -27 -26 -25 -24 -23 -22 -21 -20

Time (seconds) dB

CBS Long-Term (Integration Time = 10 seconds) Histogram of CBS Long-Term in 10-second Periods
-20 30
inB
ss
-21 en 25
du
-22 oL
env
i 20
-23 G
a
B
d in
sn
-24 oti 15
av
re
-25 sb
O
fo
10

-26 erb
m
u 5
-27 N

-28 0
0 400 800 1200 1600 -28 -27 -26 -25 -24 -23 -22 -21 -20

Time (seconds) dB

Figure 3-5: Loudness-Controlled Audio— Figure 3-6: Loudness-Controlled Audio—

Peak Output of the CBS and BS.1770 Loudness Me- Histograms sorting loudness measurements into 0.25
ters in each 10-second Interval vs. Time dB bins
OPTIMOD LOUDNESS CONTROLLER OPERATION 3-85
Test Setup
A stereo recording of approximately 30 minutes of unprocessed audio from the out-
put of the master control of a San Francisco network station was applied to the 2.0
processing chain of an Optimod-Surround 8685 processor, set for normal operation
using its TV 5B GEN PURPOSE preset. The digital output of the processor was applied
to the digital input of an Orban 1101 soundcard, which was adjusted to pass the au-
dio without further processing and to apply it to an Orban software-based loudness
meter that simultaneously computes the BS.1770-2 Integrated loudness and CBS
loudness. The first 750-second segment of the program material was a daytime
drama with commercial and promotional breaks, while the remainder was local
news, also with commercial and promotional breaks.

The BS.1770-2 meter was adjusted to produce a 10-second integration window in

which, per the BS.1770 standard, all data are equally weighted. The CBS Loudness
Gain control was set to –3.12 dB. Data were logged every 10 seconds and included
the maximum meter indication produced by both the BS.1770 and CBS meters in
each 10-second interval. This produced 165 data points, which were imported into a
scientific plotting application 6.

Orban’s experimental long-term loudness measurement, based on the CBS meter

and first published in 2008, was also included in the measurements and is shown in
the bottommost charts. This algorithm attempts to mimic a skilled operator’s mental
integration of the peak swings of a meter with “VU-like” dynamics. The operator
will concentrate most on the highest indications but will tend to ignore a single high
peak that is atypical of the others. This algorithm can be seen to share certain char-
acteristics with the floating gate first introduced in EBU R 128 and later adopted in
BS.1770-2.

The Orban algorithm displays the average of the peak indications of the meter over
a user-determined period: 10 seconds for these measurements. The average is per-
formed before dB conversion. All peak indications within the period are weighted
equally with the following exceptions:

• If the maximum peak in the window is more than 3 dB higher than the sec-
ond highest peak, it is discarded.

• All peaks more than 6 dB below the maximum (or second-to-maximum, if

the maximum peak was discarded) are discarded.

Because the CBS long-term measurement discards a single peak if it is more than 3
dB higher than the second highest peak, the CBS long-term measurement tends to
be biased about 3 dB lower than a measurement that shows the maximum peak in-
dication of the CBS meter in a 10-second period. This depends on whether or not the
loudness applied to the meter’s input is well controlled. This bias can be seen in the
figures in the paper. Because the Orban meter allows control of the level applied to
the CBS algorithm via the “CBS Gain” control, setting it 3 dB higher could better

6 PSI Plot: http://www.polysoftware.com/plot.htm

3-86 OPERATION ORBAN MODEL 8685

match the CBS long-term measurement to the BS.1770-2 Integrated measurement at

the expense of moving the “maximum peak loudness” indication 3 dB higher.

Results
Unprocessed Audio Input: To provide a baseline for discussion of the loudness-
controlled results, we measured the unprocessed audio that was applied to the Op-
timod 8685’s input. Figure 3-3 and Figure 3-4 on page 3-83 show the loudness of the
unprocessed audio both as a function of time and as a histogram. The histogram
sorts the meter outputs into 0.25 dB or 0.25 LK 7-wide slices and shows the number
of measurements that fit into each of these slices. The histogram thus portrays loud-
ness consistency — when the histogram is clustered tightly within a few bins, the
loudness is more consistent than it is when the histogram is spread out into a larger
number of bins.

With all meters, the histogram of the unprocessed audio shows a wide spread. This is
consistent with the EBU Loudness Range measurement for the entire clip, which was
16.5 LK, while the LRA for the daytime drama alone was 19.2 LK (including commer-
cials). The BS.1770-2 Integrated loudness was –20 LKFS, integrated over the entire
measurement period, although the inconsistencies between the loudness of pro-
gram material and commercials are large enough to make this 30-minute measure-
ment essentially meaningless.

In general, the loudest parts of the unprocessed audio are commercials and promos,
both network and local. These are anywhere from 5 to 10 dB (or LK) louder than the
rest of the program material. This inconsistency was not a problem because the sta-
tion in question was using an Orban automatic loudness controller on-air, which
smoothed out loudness differences before its input.

While the general shapes of the CBS and BS.1770 loudness vs. time curves are similar,
there were some significant differences. For example at approximately 1250 seconds,
the CBS measurement shows a sharp loudness spike that was caused by a network
news report that was equalized to emphasize frequencies around 2 to 3 kHz, where
the ear is most sensitive. The BS.1770-2 measurement did not indicate this as being
louder than the surrounding program material although to our ears, it clearly was.

Loudness-Controlled Audio: Figure 3-5 and Figure 3-6 on page 3-84 show the results
after automatic loudness control. (To present the data with optimum graphic resolu-
tion, we made the loudness scales of Figure 3-5 and Figure 3-6 narrower than the
scales in Figure 3-3 and Figure 3-4.)

Both the loudness vs. time graphs and the histograms show the Orban 8685 controls
loudness well, although the details of the meters’ indications are different. Both the
BS.1770 and CBS measurements indicate that most of the data points are in a
±1 dB/LK window.

7 Unfortunately, two terms for the same loudness units have been used in different
standards documents. For convenience, we will use LK and LKFS (as used in ATSC
A/85); these units are the same as LU and LUFS (used in EBU R 128 and BS.1770) re-
spectively.
OPTIMOD LOUDNESS CONTROLLER OPERATION 3-87
The peak CBS readings fit within a ±2 dB window. The BS.1770 readings also fit
within a ±2 LK window except for four short intervals, which appear as low-
probability outliers in the left side of the histogram. These intervals correspond to
dialog without background music and in the author’s opinion illustrate a weakness
in BS.1770-2: based on our extensive listening tests, we have concluded that the me-
ter does not effectively lock onto the A/85 “anchor element” (almost entirely dialog
in the test material used to prepare this paper) and instead indicates that loudness
increases when dialog level is held constant while underscoring or effects are added
to the mix. 8

Problems with Low Peak-to-RMS Ratio Material

In the subjective testing to validate the BS.1770 meter, there were outliers as large
as 6 dB (i.e., the meter disagreed with human subjective perception by as much as 6
dB 9.) The subjective testing to validate the CBS meter found outliers up to 3 dB, al-
though fewer items were used in this testing. We hypothesize that the fact that the
worst-case error of the BS.1770 meter was substantially larger than that of the CBS
meter is caused by the BS.1770’s meter’s not modeling loudness summation or the
loudness integration time constants of human hearing.

BS.1770-2 states: “It should be noted that while this algorithm has been shown to be
effective for use on audio programmes that are typical of broadcast content, the al-
gorithm is not, in general, suitable for use to estimate the subjective loudness of
pure tones.” We have noted that the meter tends to over-indicate the loudness of
program material that had been subject to large amounts of “artistic” dynamic
compression, as is often done for commercials and promotional material — in other
words, the meter over-indicates the loudness of program material having an unusu-
ally low peak-to-average ratio, which, at the limit, approaches the peak-to-average
ratio of a pure tone. We have encountered heated complaints by mixers 10 and pro-
ducers who stated that such material, when “matched” to the loudness of the sur-
rounding program material via the BS.1770 meter, is considerably quieter in subjec-
tive terms. In turn, this has constrained the ability of producers to specify the type of
audio processing they had previously used to give this material excitement and
punch. We hypothesize that this problem is related to the fact that BS.1770 does not
accurately indicate the loudness of pure tones.

8In the first published version of the paper, we observed the similar dips in the
BS.1770-1 (ungated) loudness and hypothesized that they were caused by lack of
gating on silence and low-level material. For this reason, we were surprised that
BS.1770-2 gating made little difference in the measurements of this material.

9 Refer to the scatter plots in Figs. 11, 12, and 13 of the ITU-R BS.1770-2 standard.

10 For example: “I did a –24 [LKFS] piece for Fox that was wall to wall singing and

music for two minutes. Because of the overall loudness and continued full audio sig-
nal I had to bring it down and when it aired, it was 3 db too quiet even though it
matched the magic LKFS number. I have no problem using these meters or meeting
specs but they are faulty.”
—“wheresmyfroggy,” AVID board, 3-28-2011
3-88 OPERATION ORBAN MODEL 8685

Some studies have indicated that when people are asked to assess the loudness of a
given piece of material, they state that it sounds louder when underscoring or ef-
fects are added to constant-level dialog. The EBU has used these studies to justify
the position taken in R 128 that a listener’s impression of total loudness is more im-
portant than dialog level 11. In our opinion, this misses the point. A more relevant
question is whether viewers would want to turn down their volume controls to
make dialog quieter when underscoring and effects appear. (In other words,
whether effective TV commercial loudness control requires nothing more than ap-
plying gain control to commercials such that the BS.1770-2 “short-term” loudness 12
is always limited to 0 LK.) Regarding this, Orban and Dolby Labs hold similar views.
We believe that dialog is the most important element in most television audio and
that listeners do not want to turn down their volume controls every time that un-
derscoring or effects appear under the dialog. The popular Dolby LM100 Loudness
Meter 13 in its current revision uses the same Leq(RLB) algorithm as BS.1770 but adds
gating to eliminate non-speech material, including silence. The author has used the
Dolby LM100 to measure the output of the Orban 8685 with a wide variety of
speech material, and has observed that this material is almost always controlled
within a ±1 dB window as measured on the LM100. In the author’s opinion, this
demonstrates the benefits of a dialog-centric measurement. Moreover, the author
believes it is unwise to rely on a BS.1770 measurement to set the on-air loudness of
unadorned dialog because this can cause the dialog to be too loud with respect to
other material. The author has experimented with “inverse short-term BS.1770
loudness control” and believes that it sounds unnatural, pumping dialog loudness
up and down in a subtly inartistic way as underscoring and effects come and go. 14

Studies indicating that BS.1770 is inaccurate at very low frequencies

Another weakness of BS.1770 is that, unlike the CBS loudness controller and meter
as implemented in Orban products, the BS.1770 algorithm does not take into ac-

11Dash, Ian; Bassett, Mark; Cabrera, Densil, “Relative Importance of Speech and
Non-Speech Components in Program Loudness Assessment,” AES Convention Paper
8043, 128th AES Convention (May 2010).

12 EBU R 128 specifies short-term loudness as a BS-1770-1 (ungated) measurement

with a three-second integration time.

13
http://www.dolby.com/professional/products/broadcast/test-and-
measurement/lm100.html

14 See Begnert, Fabian; Ekman, Håkan; Berg, Jan, “Difference between the EBU R-
128 Meter Recommendation and Human Subjective Loudness Perception,” AES Con-
vention Paper 8489, 131st AES Convention, (October 2011). This paper states, “These
loudness-equalized signals gave rise to a perceived maximum loudness difference of
2.8 dB.” This is very close to the 3 dB number that has come up in other discussions
(such as the one quoted in footnote 10 on page 3-87). While the authors of this pa-
per consider 3 dB to be insignificant, others do not necessarily share this view, par-
ticularly advertisers who hear their expensive commercials aired 3 dB quieter than
surrounding program material!
OPTIMOD LOUDNESS CONTROLLER OPERATION 3-89
count the loudness contributed by the LFE channel, for good reason. Nacross and
Lavoie 15 tried to extend the BS.1770 algorithm to include the LFE channel by sum-
ming the K-weighted LFE channel’s power into the current BS.1770 algorithm,
where the gain is weighted for the fact that LFE channel receives a 10 dB gain boost
on playback, per Dolby’s standards. This modified BS.1770 algorithm failed to agree
with the judgments of a subjective listening panel unless a 10 dB attenuation
“fudge factor” was applied to the LFE channel prior to its power summation with
the other channels. Nacross and Lavoie concluded:

A problem exists however, should ITU-R BS.1770 be modified to simply

include an attenuated version of the LFE channel. Because the LFE chan-
nel receives a 10 dB boost on playback, the low-frequencies on this chan-
nel would contribute differently to a loudness measure if they were
moved to one of the other main channels, even though the perceived
loudness would not appreciably change. This suggests that while LFE con-
tent does contribute to the perceived loudness, Equation (2) 16 does not
sufficiently predict how that content should be included.
An Australian study may shed light on the failure of BS.1770 when program material
contains considerable energy at very low frequencies. 17 The authors used octave-
band noise in subjective listening tests with the goal of verifying the K-weighting
curve used in BS.1770. The authors state:

Comparison of the test results with an image of the filter curve currently
specified in ITU-R Recommendation BS.1770 (Figure 13) shows good
agreement at 250 Hz and above 500 Hz, reasonable agreement at 500 Hz,
but marked difference in the bottom two octaves.
The relatively good performance of the BS.1770 algorithm in ITU trials
suggests that, in partial loudness terms, there was probably not much
test content in the 125 Hz band or below. While the existing BS.1770 fil-
ter curve is probably a good choice in applications where the program is
dominated by speech, and it is certainly an improvement on the A and B
curves in that application, it is likely to give significant errors in measur-
ing the loudness of other programs with more partial loudness in the
lower frequencies, such as movie soundtracks and popular music. It is
therefore desirable to improve on this filter for more general measure-
ment of program loudness.

15Norcross, Scott G; Lavoie, Michel C., ”Investigations on the Inclusion of the LFE
Channel in the ITU-R BS.1770-1 Loudness Algorithm,” AES Convention Paper 7829,
127th AES Convention (October 2009)

⎡ ⎤
Leq( w) = ⎢ T1 GLFE ∫ x 2w dt + ∑ T1 ∫
0 x2 T x w2 ,i
2
x ref
dt ⎥, dB
16
⎣ T ref
i
0
⎦
i = L, R, C , Ls , Rs

17Cabrera, Densil; Dash, Ian; Miranda, Luis, “Multichannel Loudness Listening Test,”
AES Convention Paper 7451, 124th AES Convention (May 2008)
3-90 OPERATION ORBAN MODEL 8685

Discussion and Conclusions

Several studies have shown that the loudness “comfort range” for typical television
listening is +2, –5 dB 18. Beyond this range, a viewer is likely to become annoyed,
eventually reaching for the remote control to change volume (or worse from the
broadcaster’s point of view, to mute a commercial). Whether measured via the CBS
or BS.1770 algorithms, the CBS loudness controller algorithm in Orban’s current
products effectively controls subjective loudness to much better than this +2, –5 dB
window.

In the original version of this paper, we had assumed that results using BS.1770 me-
tering would be more consistent if that algorithm employed gating to prevent un-
adorned dialog from reading low compared to music and dialog with substantial
background music or effects. However, this did not prove to be true with the pro-
gram material we used for testing—the results from the BS.1770-1 (ungated) and
BS.1770-2 (gated) measurements were similar when measuring material that had
been processed by the CBS Loudness Controller. It is likely that the loudness-
controlled material seldom caused the gate to act. (The CBS algorithm does not
need silence gating because it is a “short-term” loudness measurement that incor-
porates cascaded models of the “instantaneous” and “short-term” loudness time
constants of human hearing 19, which the BS.1770 algorithm does not.)

Controlling loudness to a standard such as BS.1770 says nothing about the subjective
acceptability of the loudness controller’s action. We have found that a simple loud-
ness controller that uses the inverse of the BS.1770 short-term meter’s output to
control loudness by gain reduction can cause unnatural-sounding gain pumping of
dialog when underscoring and effects appear under the dialog. More complex
automatic loudness controllers can produce all of the well-known artifacts of dy-
namics processing, including noise breathing, spectral inconsistency, gain pumping,
and harshness. Improperly designed multiband compressors can reduce dialog intel-
ligibility 20. This is why it is important to carefully assess the audio quality and side
effects that an automatic loudness controller produces so that one can choose a de-
vice that controls loudness effectively without producing objectionable and unnatu-
ral artifacts that can fatigue audiences. Different loudness controllers do not provide
equally good subjective results even if they produce identical measurements on a
loudness meter.

18 ATSC A/85:2009 Annex E, “Loudness Ranges”

19 For example, see Glasberg, B.R. & Moore, B.C.J. (2002) "A Model of Loudness Ap-
plicable to Time-Varying Sounds,” J.AES, vol.50:5, pp.331-342, May 2002.

20 Stone, Michael A.; Moore, Brian C. J.; Füllgrabe, Christian; Hinton, Andrew C.,
”Multichannel Fast-Acting Dynamic Range Compression Hinders Performance by
Young, Normal-Hearing Listeners in a Two-Talker Separation Task,” J. AES Volume 57
Issue 7/8 pp. 532-546; July 2009
OPTIMOD LOUDNESS CONTROLLER OPERATION 3-91
Based on extensive experimentation with typical broadcast material, we believe that
the CBS loudness meter locks onto dialog more effectively than does BS.1770, par-
ticularly when the dialog is accompanied by underscoring and/or effects. Accord-
ingly, the CBS Loudness Controller in Orban products, which uses the CBS loudness
metering algorithm as its core loudness reference, produces consistent and naturally
balanced dialog levels regardless of the program material and mixing style. Unlike
the BS.1770 meter, the CBS technology does not unnaturally penalize material hav-
ing a low peak-to-RMS ratio, so it allows mixers and producers to freely use “artistic
compression” 21 and other well-established production techniques with the knowl-
edge that such material will be neither too loud nor too quiet when compared to
the surrounding program.

—Robert Orban, revised March 2012

21 It appears that the group that created R 128 may be biased against this style of
production: “Again, this does NOT mean that within a programme the loudness
level has to be constant, on the contrary! It also does NOT mean that individual
components of a programme (for example, pre-mixes or stem-mixes, a Music & Ef-
fects version or an isolated voice-over track) have all to be at the same loudness
level! Loudness variation is an artistic tool, and the concept of loudness normalisa-
tion according to R 128 actually encourages more dynamic mixing!” EBU TECH 3343,
op. cit., p. 17
OPTIMOD LOUDNESS CONTROLLER MAINTENANCE 4-1

Section 4
Maintenance
Routine Maintenance
The Optimod 8685 Audio Processor uses highly stable digital and analog circuitry
throughout. Recommended routine maintenance is minimal.

1. Periodically check audio level and gain reduction meter readings.

Become familiar with normal audio level meter readings, and with the normal
performance of the G/R metering. If any meter reading is abnormal, see Section 5
for troubleshooting information.

2. Listen to the 8685's output.

A good ear will pick up many faults. Familiarize yourself with the “sound” of the
8685 as you have set it up, and be sensitive to changes or deterioration. How-
ever, if problems arise, please do not jump to the conclusion that the 8685 is at
fault. The troubleshooting information in Section 5 will help you determine if
the problem is with OPTIMOD 8685 or is somewhere else.

3. Periodically check for corrosion.

Particularly in humid or salt-spray environments, check for corrosion at the input

and output connectors and at those places where the 8685 chassis contacts the
rack.

4. Periodically check for loss of grounding.

Check for loss of grounding due to corrosion or loosening of rack mounting

screws.

5. Clean the front panel when it is soiled.

Wash the front panel with a mild household detergent and a damp cloth. Do not
use stronger solvents; they may damage plastic parts, paint, or the silk-screened
lettering. Do not use paper-based cleaning towels or use cleaning agents con-
taining ammonia, or alcohol. An acceptable cleaning product is “Glass Plus.” For
best results when cleaning the lens, use a clean, lint-free cloth.
4-2 MAINTENANCE ORBAN MODEL 8685

Subassembly Removal and Replacement

See page 6-37 for the Circuit Board Locator and Basic Interconnections diagram.

1. Removing the Top Cover.

To access the main boards, power supply board or display assembly, you must
remove the top cover.
A) Disconnect the 8685 and remove it from the rack.
Be sure power is disconnected before removing the cover.
Hazardous voltage is exposed when the unit is open and the
power is ON.
B) Set the unit upright on a padded surface with the front panel facing you.
C) Remove seventeen thread-forming screws and five machine screws holding
the top cover in place and lift the top cover off.
Use a #1 Phillips screwdriver.

2. Removing the Input/Output Assembly.

A) Make sure that AC power is disconnected from the 8685.

B) Remove the 14-conductor ribbon cable from the base board at JP600.
C) Remove the two 40-conductor ribbon cables from the DSP board at J602 and
J603.
D) Remove the power cable at J601.
E) Remove the three Phillips screws holding the rear of the Input/Output assem-
bly to the floor of the chassis.
F) Remove the ten Phillips screws holding the input/output assembly to the rear
panel.
G) Remove the Input/Output assembly.

3. Removing the DSP Board.

A) Make sure that AC power is disconnected from the 8685.

B) If you have not done so yet, remove the top cover (step 1 on page 4-2).
C) Disconnect the ribbon cable from J901 on the DSP board.
D) Disconnect the ribbon cable from J601 on the DSP board.
E) At J602 and J603 on the Input/Output assembly, disconnect the two ribbon
cables soldered to J701 and J702 of the DSP board.
F) Disconnect the power cable assembly from J801 of the DSP board.
OPTIMOD LOUDNESS CONTROLLER MAINTENANCE 4-3
G) Remove the six Phillips screws holding the DSP board to the bottom of the
chassis.
H) Remove the DSP board.

4. Removing the Front Panel.

To service the headphone amplifier, the color LCD display, the pushbuttons, or
the rotary encoder, it is first necessary to remove the front panel assembly.
A) Make sure that AC power is disconnected from the 8685.
B) Release the catch on J200 on the display interface board and remove the rib-
bon cable from J200.
C) Remove the cable assembly that connects through the chassis bulkhead to the
headphone amplifier board.
D) Remove the six Phillips head screws that hold the front panel to the main
chassis.
These are located in two groups of three on the sides of the main chassis,
close to the front panel.
E) Pull the front panel toward you to remove it.
F) Do not stress the cables connecting the front panel to the main chassis.
To protect the assembly from cosmetic damage, set it down on a soft sur-
face like foam rubber, a quilt, or a blanket.

5. Removing the Headphone Amplifier Board.

Because they are socketed, you can remove and replace the headphone amplifier
driver chips without further disassembly.
If you need to remove the headphone amplifier circuit board (to access compo-
nents other than the headphone amplifier driver chip):
A) Make sure that AC power is disconnected from the 8685.
B) Pull the friction-fit knob off the headphone volume control.
C) Remove three Phillips screws.
This will free the board.

6. Preparing to Remove the Rotary Encoder Board.

The circuit board containing the pushbuttons, joystick, and rotary encoder is
mounted on a metal shield plate. To remove the plate, remove three screws and
lift the plate off at a 45-degree angle, following the axis of the rotary encoder.

7. Removing the Rotary Encoder Board.

Remove the four screws holding the board to the standoffs and lift the board
from the standoffs.
4-4 MAINTENANCE ORBAN MODEL 8685

All of the knobs and buttons are friction-fit and can be removed, if necessary, by
pulling them off their shafts. However, to avoid possibly damaging the rotary
encoder, we advise not removing its knob unless necessary. Instead, to access the
screw partially blocked by the rotary encoder’s knob, use a small screwdriver and
attack the screw head from a slight angle, avoiding the edge of the knob to pre-
vent cosmetic damage.
The pushbutton switches, joystick, and rotary encoder are all soldered to this
board and can be replaced by normal solder rework techniques.

8. Removing the Color LCD Display and carrier board.

A) Make sure that AC power is disconnected from the 8685.

B) Remove the cable assembly from J14 on the base board.
C) Remove the 33-conductor flat ribbon cable from the display interface board
at J103:
a) Carefully disconnect the cable by rotating the black “wing” at the rear of
the connector 90° from horizontal to vertical.
b) Slide the cable out of the connector.
You may find it easier to first remove the display interface board from
the control module stack.
D) Remove the four screws that hold the display carrier board to the standoffs
on which it is mounted. Then lift the assembly off the standoffs.

9. Removing the Serial Port Connector Board:

A) If you have not done so yet, remove the top cover (step 1, above).
B) Using a 3/16-inch hex nut driver, remove the six hex nuts holding the serial
port connectors to the chassis.
C) Unplug the serial port interface assembly from the base board.

10. Removing the CPU Module.

A) The Display Board and CPU Board are a “sandwich” assembly. The CPU board
is located on top of the Display Board and is plugged into it.
B) Make sure that AC power is disconnected from the 8685.
C) Remove the RJ45 network cable from the control module
D) Remove the four Phillips screws from the control module.
E) Carefully unplug the module by pulling it evenly away from the display inter-
face board.

11. Removing the Display interface Board.

You must first remove the CPU Module before removing the Display Interface
Board.
OPTIMOD LOUDNESS CONTROLLER MAINTENANCE 4-5
A) Unscrew the four standoffs that had supported the CPU board before it was
removed.
B) Carefully pull the Display Interface Board evenly away from the Base Board,
being careful not to stress any ribbon cables still connected to it.
C) Unplug any ribbon cables from the Display Interface Board, which now can be
removed completely. Refer to step (8.C)to disconnect the 33-conductor ribbon
cable to J103.

12. Removing the Base Board.

You must have completed steps 9, 10, and 11 first.

A) Make sure that AC power is disconnected from the 8685.
B) Remove the three power ribbon cables from the power supply and dress them
away from the Base Board.
C) Using a 3/16-inch nut driver, remove the two jackscrews and lock washers
holding the DB25 connector to the rear panel.
D) Remove the four Phillips screws and four standoffs holding the Base Board to
the bottom of the chassis.
E) Verify that all connectors have been removed.
F) Remove the Base Board.

13. Removing the Power Supply assembly.

To remove the power supply it is necessary to remove the 8685 from the rack and
to remove the top cover. It is most convenient to remove the Power Supply As-
sembly if the Base Board, RS-232 Board, CPU Module, and Display Interface Mod-
ule have been removed.
The power supply assembly consists of two redundant switching power supplies,
each connected to a dedicated AC line input. The outputs of the two supplies are
applied to the power supply monitor/auto-switcher board, which monitors the
health of both supplies. If any output of one supply fails, the power supply moni-
tor will automatically use the good supply. The power supply monitor board will
cause the front-panel power light to blink if it detects a problem with either
supply (including when only one supply is connected to the AC line).
The two power supplies and the power supply monitor are mounted to a metal
plate on the side of the chassis. To remove this assembly:
A) Be sure that the AC line cords are disconnected from the power supplies.
B) Open the top cover of the 8685.
C) Remove the six screws holding the power supply mounting plate to the main
chassis.
D) Unplug the three ribbon cables and two small cables from the power supply
monitor board, noting which cables go to which sockets so that you can re-
store these connections correctly when you reassemble the unit.
4-6 MAINTENANCE ORBAN MODEL 8685

E) Unplug the two AC line connections from the two power supplies.
F) Remove the power supply assembly.
G) Each supply is connected to the power supply monitor board by a plug-in wir-
ing harness. To replace a given supply, disconnect this harness from the supply
and remove the supply by unscrewing the four screws that attach the supply
to its associated stand-offs.

14. Replacing the Power Supply Assembly:

A) If you have replaced a power supply, reconnect the wiring harness connecting
it to the power supply board.
B) Reconnect the two harnesses that connected the two power supplies to their
associated AC line inputs.
C) Reconnect the three ribbon cables and two small cables to the power supply
monitor board.
A) Replace but do not fully tighten the four Phillips screws holding the four cor-
ners of the power supply mounting plate to the main chassis.
B) Replace and fully tighten the remaining two screws.
D) Fully tighten the four screws at the corners.

15. Replacing the I/O Board and DSP board:

Referring to steps 2 and 3, follow the instructions in reverse.

16. Replacing the Base Board.

Referring to step 12, follow the instructions in reverse.

Note that you cannot replace the Serial Port board, Display Interface Board, and
the CPU board until you have replaced the base board.

17. Replacing the Display Interface Board.

Referring to step 11, follow the instructions in reverse.

• To avoid bent pins or other damage, verify that all connector pins are
aligned before applying force.

• Verify that pin one of the ribbon cables (red stripe) is oriented correctly. Pin 1
is indicated by the number “1” or a square pad.

• Note that you cannot replace the CPU board until you have replaced the
Base Board and the display interface board.

18. Replacing the CPU Board:

To avoid bent pins or other damage verify that all connector pins are aligned be-
fore applying force.
OPTIMOD LOUDNESS CONTROLLER MAINTENANCE 4-7
Referring to step 10, follow the instructions in reverse.

19. Replacing the Serial Port Board:

Referring to step 9, follow the instructions in reverse.

20. Reassembling the Color LCD Display and carrier board.

Referring to step 8, follow the instructions in reverse.

Verify that pin one of the ribbon cables (red stripe) is oriented correctly.
Pin 1 is indicated by the number “1” or a square pad.

21. Replacing the Rotary Encoder Board.

Referring to steps 6 and 7, follow the instructions in reverse.

Verify that pin one of the ribbon cables (red stripe) is oriented correctly.
Pin 1 is indicated by the number “1” or a square pad.

22. Replacing the Headphone Amplifier Board.

Referring to step 5, follow the instructions in reverse.

23. Replacing the Front Panel.

Referring to step 4, follow the instructions in reverse.

24. Check your work.

A) Referring to the cable wiring diagram on page 6-37, verify that all cables have
been securely reattached.
B) Verify that all removed hardware has been replaced and is secure.

25. Replace the Top Cover.

Place top on the unit and reattach the seventeen thread-forming screws and five
machine screws.
The 8685 can now be returned to service.

Field Audit of Performance

Required Equipment:

• Bitstream analyzer that can accept AES3id inputs

Audio Precision System 2
4-8 MAINTENANCE ORBAN MODEL 8685

Stanford Research Systems SR1

NTI Digilyzer DL1 or equivalent

• Digital voltmeter (for testing power supply voltages)

Accurate to ±0.1%.

• Oscilloscope
DC-coupled, triggered sweep, with 5MHz or greater vertical bandwidth.

• Two short 75Ω jumper cables terminated by male BNC connectors

• Optional: Distortion analyzer with analog input (for checking the performance
of the analog outputs)
Audio Precision System 2 or equivalent

• Optional: Two 620Ω ±5% resistors (for terminating the analog outputs)

• Optional: HD-SDI test set

Phabrix SxA AES or equivalent
It is assumed that the technician is thoroughly familiar with the operation of this
equipment.

This procedure is useful for detecting and diagnosing problems with the 8685's per-
formance. It assesses the performance of the digital inputs, digital outputs, and digi-
tal-to-analog converters and verifies that the digital signal processing section (DSP)
is passing signal correctly. If it is doing so, there is a high probability that the DSP is
performing the dynamic signal processing correctly. There is therefore no need to
measure such things as attack and release times—these are defined by software and
will automatically be correct if the DSP is otherwise operating normally.

If you do not have a signal analyzer with a digital input (like the Audio Precision Sys-
tem 2), you may use the 8685’s two analog outputs to drive an analyzer with analog
inputs. However, this will limit the resolution of your measurements.

The procedure uses the 8685’s built-in high-resolution sinewave oscillator to gener-
ate test tones. An external tone generator is not required.

It is often more convenient to make measurements on the bench away from high RF
fields which could affect results. For example, in a high RF field it is very difficult to
accurately measure the very low THD produced by a properly operating 8685 at
most frequencies. However, in an emergency it is usually possible to detect many of
the more severe faults that could develop in the 8685 circuitry even in high-RF envi-
ronments.

See the assembly drawings in Section 6 for component locations. Be sure to turn the
power off before removing or installing circuit boards.

Follow these instructions in order without skipping steps.

OPTIMOD LOUDNESS CONTROLLER MAINTENANCE 4-9
Note: To unbalance the analog output, connect pin 1 (ground) to pin 3, and meas-
ure between pin 1 (ground) and pin 2 (hot).

Note: All analog output measurements are taken with a 620Ω ±5% resistor tied be-
tween pin 2 and 3 of the XLR connector.

1. Connect to your Optimod via PC Remote software (optional)

This procedure requires you to recall several AUDIT Setups. It is most convenient
to do this from PC Remote, so we recommend using a PC Remote connection for
the following steps. This will also test your Optimod’s Ethernet or RS232 serial
connection, depending on how you connect. For instructions on how to set up PC
Remote connectivity, see Networking and Remote Control starting on page 2-62.

2. Save your existing System Setup.

To facilitate testing the Optimod, we supply several Setups to be recalled as you

work through the testing procedure below. Recalling a Setup will cause you to
lose any unsaved adjustments you have made to the Optimod’s setup parame-
ters. Therefore, to allow you to restore your existing settings later, save them as
a System Setup before you start testing the Optimod. (See step 4 on page 2-23
and step 9 on page 2-31.)

3. Test the power supply

Number of Red Flashes Problem With

1 + unregulated supply
2 +15V or –15V
3 +5V or –5V
4 +5V Digital
Analog  Digital ground connection broken,
5 or one of the two supplies is not connected to
the AC line
6 DSP A +3.3V supply
7 DSP B +3.3V supply
8 CPU +3.3V supply
9 CPU +2.5V supply
Table 4-1: Decoder Chart for Power Supervisor
Your Optimod constantly monitors the dual-redundant power supplies with
automatic switching. If both supplies are good and connected to the AC line, the
front-panel power light will glow green. If either supply has been disconnected
from the AC line or has failed, the power light will be red and will flash on and
off.
To access system diagnostics, LOCATE to SYSTEM SETUP > DIAGNOSTIC and scroll
through the screens until you see POWER SUPPLY #1 X and POWER SUPPLY #2 = X,
where x is GOOD or BAD. Power supply #1 is physically on top.
4-10 MAINTENANCE ORBAN MODEL 8685

In PC Remote, system diagnostics are available from PC Remote in the Help

menu. They can also be fetched via the ST command in the API (see step 13 on
page 2-57).
The green LED power light on the upper right of the front panel display moni-
tors the DC power supply outputs. If one or more power supply voltages are out
of tolerance, red flashes will report them according to the table below. If there
are multiple values out of tolerance, they are reported one after another in a
continuous loop, with one green flash indicating the beginning of each count.
See Table 4-1 on page 4-9.

4. Adjust Analog Output Level Trim; Verify Analog Output THD and Noise.

The following tests use your Optimod’s internal tone generator as a test source
to test the analog outputs and all AES3id inputs and outputs.
A) From PC Remote software, open the AUDIT01_86 SETUP from the FILE > OPEN
SETUP menu item.

If you choose to perform the following steps from your Optimod’s front
panel, you must first have restored Setups AUDIT_01_86 through AUDIT24_86
from PC Remote (see To restore archived presets, Setups, and automation files
starting on page 2-72). You may LOCATE to RECALL/IMPORT>RECALL
SETUP>AUDIT01_86 and press the ENTER button. This will recall the AUDIT01_86
Setup.
B) Connect the distortion analyzer to the left analog output.
C) Using the distortion analyzer’s level meter, adjust output trim VR200 to make
the meter indicate +10.0 dBu. (0 dBu = 0.775V rms.) Verify a frequency read-
ing of 400 Hz.
D) Verify a THD+N reading of <0.03% using a 22 kHz low pass filter in the distor-
tion analyzer.
E) Optional: LOCATE to SYSTEM SETUP>TEST MODES>TONE FREQUENCY. Using the
distortion analyzer, measure the level and THD+N at 20 Hz, 50 Hz, 100 Hz, 400
Hz, 5 kHz, and 20 kHz. (Set the frequencies with the Optimod’s knob.) Verify
that frequency response is within ±0.1 dB of the level at 400 Hz and that
THD+N does not exceed 0.03% at any of these frequencies.
F) Using VR201, repeat steps (B) through (E) for the right analog output.
G) Recall the AUDIT02_86 Setup.
H) Verify a reading (noise) of <–80 dBu, 20Hz – 20 kHz, at the left and right ana-
log outputs.

5. Test Digital I/O and Sync for AES3id Input/Output 1/2 (Lf/Rf).

This step tests INPUT 1/2, OUTPUT 5/6, and the ability of your Optimod to synchro-
nize to the signal applied to INPUT 1/2. It routes the signal through the Lf/Rf
BYPASS signal path.
OPTIMOD LOUDNESS CONTROLLER MAINTENANCE 4-11
A) Recall the AUDIT03_86 Setup. This uses the 2.0 processing chain as a test tone
generator to test the surround channels.
B) Using a 75Ω BNC/BNC jumper cable, the Optimod’s OUTPUT 5/6 BNC connector
to its INPUT 1/2 BNC connector and verify that the 1/2 indicator on the Opti-
mod’s front panel turns yellow, indicating that the Optimod’s INPUT 1/2 AES3id
receiver has locked to the signal emitted from OUTPUT 11/12.
C) Connect the digital analyzer to the Optimod’s OUTPUT1/2 BNC connector and
verify that the THD+N is below –100 dBFS and that the sample rate is 48 kHz,
as locked to the input sample rate.
D) AUDIT3 emits its test signal at a 48 kHz sample rate. To test 32 kHz, 44.1 kHz,
88.2 kHz, and 96 kHz sample rates, recall AUDIT4, AUDIT5, AUDIT6, and AUDIT7 in
turn. Use the AES3id analyzer to do the following for each sample rate:
a) Measure the THD+N and verify that it is below –100 dBFS (0.001%).
b) Listen to the AES3id analyzer’s decoded analog output and verify that the
output sounds clean and glitch-free.
c) Verify that the frequencies measured at the Optimod’s OUTPUT 1/2 follow
the values in the chart below within given tolerances.
Sample Rate Tolerance (PPM) Tolerance ( Hz)
32.0 kHz 100 PPM ±3.20 Hz
44.1 kHz 100 PPM ±4.41 Hz
48.0 kHz 100 PPM ±4.80 Hz
88.2 kHz 100 PPM ±8.82 Hz
96.0 kHz 100 PPM ±9.60 Hz
Table 4-2: Frequency Tolerance for Various Sample Rates

6. Test Digital I/O AES3id Input/Output 3/4 (C/LFE).

This step tests INPUT 3/4 and OUTPUT 3/4. It uses INTERNAL sync. It routes the signal
through the C/Lfe BYPASS signal path.
Connect the Optimod’s OUTPUT 5/6 BNC connector to its INPUT 3/4 BNC connector,
connect the analyzer to OUTPUT 3/4, and follow the procedure in step 5 by anal-
ogy. Use Setups AUDIT08_86 through AUDIT12_86.

7. Test Digital I/O for AES3id Input/Output 5/6 (Ls/Rs).

This step tests INPUT 5/6 and OUTPUT 5/6. It uses INTERNAL sync. It routes the signal
through the Ls/Ls BYPASS signal path.
Connect the Optimod’s OUTPUT 1/2 BNC connector to its INPUT 5/6 BNC connector,
connect the analyzer to OUTPUT 5/6, and follow the procedure in step 5 by anal-
ogy. Use Setups AUDIT13_86 through AUDIT17_86.

8. Test Digital I/O and Sync for AES3id Input/Output 7/8 (Lb/Rb).

This step tests INPUT 7/8. It uses EXTERNAL SYNC from INPUT 7/8. It routes the signal
through the Lb/Lb BYPASS signal path.
4-12 MAINTENANCE ORBAN MODEL 8685

A) Connect the Optimod’s OUTPUT 1/2 BNC connector to its INPUT 7/8 BNC connec-
tor, connect the analyzer to OUTPUT 5/6, and follow the procedure in step 5 by
analogy. Use Setups AUDIT18 through AUDIT22.

9. Test RS-485 (metadata) serial ports.

This test uses the “loopback” technique to allow the Optimod to self-test its RS-
485 serial ports.

Optimod V 1.0.x.xx
Station Name: undefined
Access Level: 0: all access
Bootup: Sat Jan 01 02:26:37 2000
Ethernet Adapter's MAC Address: xx-xx-xx-xx-xx-xx
Memory Total: 16121856
Memory Available: 6598384
Available Space: 8504 Kbytes
Dialnorm value=00
485 loopback ok
Table 4-3: Sample screenshot showing a successful test
A) Disconnect AC power from the Optimod.
B) By using jumpers or constructing an appropriate cable, connect the input and
output RS-485 serial connectors as follows:
a) Connect pin 2 of connector J2 (RS-485 METADATA INPUT) to pin 2 of J1 (RS-
485 METADATA OUTPUT).
b) Connect pin 7 of J2 to pin 7 of J1.
C) Re-power the Optimod.
D) LOCATE to diagnostic screen 3 at the unit or, after connecting via PC Remote,
open the PC diagnostic dialog box. Verify that the last line reads “485 loop-
back ok.”

• If the loopback fails, no text will be displayed—there is no “error message.”

• The line above the loopback shows the current Dialnorm value received.
Valid values are 11-31. 00 indicates that no Dialnorm is being received.

10. Test SDI/HD-SDI I/O functionality.

Detailed instructions on testing HD-SDI I/O functionality are beyond the scope of
this edition of the manual but may be added in the future. An outline of the ap-
propriate tests is as follows:
A) Use a test set like the recommended Phabrix to verify that the Optimod can
pass a SMPTE-compliant SDI/HD-SDI signal from its input to output at 480i,
480p, 720p, 1080i, and 1080p at frames rates of 24, 25, and 30 frames/second
and 24*(1000/1001) and 30*(1000/1001) (pull-down) frames/second.
OPTIMOD LOUDNESS CONTROLLER MAINTENANCE 4-13
SMPTE Rise Time Fall Time (tf) Difference Jitter Jitter
standard (tr) (tr/tf) (Alignment) Timing)
259M-2008 400ps (min) 1500ps (max) 500ps (max) 0.2UI (max) 0.2UI (max)
292-2008 270ps (max) 270ps (max) 100ps (max) 0.2UI (max) 1UI(max)
424M-2006 135ps (max) 135ps (max) 50ps (max)) 0.3UI (max) 2UI (max)

Table 4-4: SDI Timing & Jitter Specifications

B) Verify that the rise time, fall time, and jitter appearing at the Optimod’s SDI
output meets the following SMPTE specifications, shown in Table 4-4. Be sure
to use cable with 75Ω coax and connectors; 50Ω cable/connectors will degrade
the performance.

11. Test video and SDI sync functionality (optional).

A) Connect the Optimod’s OUTPUT 1/2 BNC connector to its INPUT 7/8 BNC connec-
tor, connect the analyzer to OUTPUT 5/6. (This is the same connection as that
used in step 8 above.)
B) Apply a SMPTE 274M-compliant reference signal to the video reference input.
C) Open Setup AUDIT23_86 and verify that the 48 kHz sample rate at AES output
7/8 can be locked to the SMPTE 274M-compliant reference signal. Do the same
with a SMPTE 296M-compliant video reference input.
D) Apply an SDI or HD-SDI signal having audio at a 48 kHz sample rate to your
Optimod’s SDI IN connector.
E) At each combination of frame rates and resolutions, verify that the AES 5/6
output’s sample rate can be locked to the SDI input signal. Note that only 32,
44.1, and 48 kHz are supported for the pull-down frame rates, while 32, 44.1,
48, 88.2, and 96 kHz are supported for the integer frame rates. Use Setups
AUDIT24_86 through AUDIT28_86 to step through the various sample rates: 48,
32, 44.1, 88.2, and 96 kHz.

12. Test the SDI.

At each combination of frame rates and resolutions, verify that the Optimod can
delay the video signal without corruption with the maximum 11-frame delay
available in the setting of the Optimod’s VIDEO DELAY control.

13. Test Dolby E functionality (optional).

Skip this step if your Optimod is not equipped with the optional Dolby E decoder
and/or encoder.
[Note: As of this writing, we have not yet prepared Audit setups for
Dolby E testing.]
A) If the optional Dolby-E decoder module is fitted, verify that a valid Dolby-E
signal applied to the Optimod’s AES Input 1/2 can be decoded and routed to
the Optimod’s AES Output 1/2. Verify the same thing when the Dolby-E signal
is received from the SDI audio stream 1/2.
4-14 MAINTENANCE ORBAN MODEL 8685

B) If the optional Dolby-E encoder module is fitted, apply an appropriate video

sync source to the 8685. See Dolby E Encoder Synchronization on page 2-8.
Then verify that a multichannel signal applied to the Optimod’s AES3id inputs
1/2, 3/4, and 5/6 can be encoded and routed to AES3id output 1/2.

14. Optional tests.

A) GPI (Remote Interface) inputs: You can test each GPI input for functionality in
the obvious way, by programming a function for it and then verifying that
the function executes when you activate the input. To connect to the GPI in-
puts, see step 5 on page 2-3. To program a GPI input, see Remote Control In-
terface Programming on page 2-61.
B) Tally outputs:
a) Connect them according to step 6 on page 2-3.
b) Program them for each of the conditions listed in step (22.B) on page 2-42
and verify that they respond accordingly. AESxx input errors can be tested
most simply by disconnecting the AES3id signal from the input
programmed to trigger the tally.
This test also verifies the Optimod’s Silence Sense functionality (see step
21 on page 2-41).
C) RS-232 Port: You can test the RS-232 for functionality by verifying that you
can connect to a PC through a null modem cable. See Networking and Remote
Control on page 2-62 (in particular, step 2 on page 2-64).

15. Return your Optimod to service.

A) Remove the 620Ω resistors connected across the outputs.

B) Restore your normal operating parameters by recalling the Setup you saved in
step 1 on page 4-9: LOCATE to RECALL/IMPORT>RECALL SETUP. Highlight the
Setup using the knob or joymouse. Then press ENTER.
OPTIMOD LOUDNESS CONTROLLER TROUBLESHOOTING 5-1

Section 5
Troubleshooting
Problems and Potential Solutions
Always verify that the problem is not the source material being fed to the 8685, or
in other parts of the system.

Refer to Section 3 for discussions of the controls referred to below.

Power light is blinking red.

• One of the two redundant, automatically switching power supplies is discon-
nected from the AC line or has failed. The system diagnostics indicate which
supply is not working. To access system diagnostics, LOCATE to SYSTEM SETUP >
DIAGNOSTIC and scroll through the screens until you see POWER SUPPLY #1 X and
POWER SUPPLY #2 = X, where x is GOOD or BAD.

System diagnostics are also available from PC Remote in the Help menu, and
they can be fetched via the ST command in the API (see step 13 on page 2-57).
A/V Sync Incorrect
• If you are using HD-SDI I/O and the SDI VIDEO DELAY control is set to AUTO, A/V
sync will be correct at your Optimod’s output if it is correct at the input. Refer to
step 12 on page 2-19.
Loudness incorrect compared to other Dolby Digital Transmissions
• Review Setting Preset Loudness Correctly for Dolby Digital Transmission on page
3-20.

• Be sure that a full bandwidth signal has not been applied accidentally to the LFE
input of the processing. If this has occurred, the 8685’s Loudness Level meter and
Loudness Controller will not operate correctly.

• Be sure that the active DIALNORM setting in the 8685 is the same as the DIALNORM
setting you are transmitting to consumers. Use a device like the Dolby LM100
Loudness Meter to read out the Dialnorm you are transmitting to your audience
(or simply check the Dialnorm setting of your Dolby Digital encoder). See step 10
on page 2-14.
5-2 TROUBLESHOOTING ORBAN MODEL 8685

• Be sure that the 8685’s input reference level is set to produce normal amounts of
gain reduction. See step 7 on page 11.
Note that if you are using a “radio-style” preset, loudness control will be
looser than if you use a TVxxxx preset because the TVxxxx presets have
the 8685’s CBS Loudness Controller turned on, which ensures tightest
loudness control. Any radio-style preset can be edited to activate the
Loudness Controller.
The 8685’s LFE processing does not apply any band limiting and operates
under the assumption that (1) the input signal has been previously fil-
tered to 120 Hz or lower, and (2) the LFE channel will receive a 10 dB
gain boost when reproduced by the consumer’s receiver.

• If the loudness controller is on, be sure that the LOUDNESS THRESHOLD control is
set to –10 dB.
This matches the loudness controller’s threshold to the 8685’s active
DIALNORM value.
• Once DIALNORM is correct, be sure that your active preset is causing the 8685’s
LOUDNESS GAIN REDUCTION meter to indicate approximately 3 dB of gain reduc-
tion on normal dialog. Adjust its MB LIMIT DRIVE control if it does not. When the
loudness controller is operating normally, the 8685’s LOUDNESS LEVEL meter
should be peaking around 0 dB on dialog. If it is not and you are using a custom
preset, you might get better loudness control by slightly tweaking the LOUDNESS
THRESHOLD control to make the LOUDNESS LEVEL meter peak around 0, bearing in
mind that the correct setting is –10 dB for typical sound-for-picture processing. A
maximum variation of ±1 dB will typically suffice.
If the 8685’s active DIALNORM setting is not the same as the DIALNORM set-
ting you are transmitting to your audience, the 8685’s Loudness Level
meter will be calibrated incorrectly, so even if the meter is peaking at 0
dB, loudness at the consumer’s receiver will not be correct.
Note that because the 8685’s Loudness Level meter shares the loudness
controller’s filterbank, the meter does not show the effect of the
LOUDNESS ATTACK control, which shapes the loudness controller’s gain re-
duction signal outside the loudness controller’s feedback loop. Therefore,
if you are using values of LOUDNESS ATTACK below about 50%, the loud-
ness of transient events may be significantly higher than the Loudness
Level meter indicates.
A BS.1770 loudness meter indicates higher loudness than expected with some pro-
gram material
• Set the BS.1770 LIMIT THRESHOLD control closer to 0 LK. This control is in the ac-
tive processing preset. Using the BS.1770 safety limiter will prevent the meter
from reading above the preset threshold but may cause subtle loudness pump-
ing because of limitations in the BS.1770 algorithm. See BS.1770 Safety Limiter
on page 3-17 for a more detailed discussion.

Your Optimod has a built-in BS.1770-2 long-term (gated) meter with a 10-second
integration time. This should agree with an external BS.1770-2 meter that is set
OPTIMOD LOUDNESS CONTROLLER TROUBLESHOOTING 5-3
up with a 10-second gated integration time, a “Relative” scale (i.e. LK or LU),
and a reference level equal to your Optimod’s active DIALNORM value.
CBS Loudness Controller reduces transient punch of programming
• Reduce the amount of fast gain reduction in the loudness controller by setting
the LOUDNESS ATTACK control closer to 0 %. This will allow more short loudness
peaks to pass through without attenuation by the loudness controller. We be-
lieve that the range from 50% to 70% offers the most useful tradeoffs between
reducing punch and allowing irritating short-term loudness bursts to pass
through uncontrolled.
Transient loudness events (like esses in speech) sound obtrusively loud
• Set the LOUDNESS ATTACK control closer to 100%. This will allow the loudness
controller to do more de-essing but may decrease transient impact as a side ef-
fect.

• Set the TRANSIENT ENHANCE control to 0 ms.

• If “ess” sounds in speech (particularly with women’s voices) seem too pro-
nounced, one solution is to use the five-band structure and tune it for de-essing
(which we have done already in the TVxxx presets). Set the SPEECH B5
THRESHOLD control (for 2.0 processing) or CENTER B5 THRESHOLD control more
negative. For surround processing, make sure that the B5 MAIN>CENTER MAX
+DELTA GR is set to 10 dB or more. This will allow the center band 5 compressor
to produce as much extra gain reduction as needed to control “esses.”
Commercials too loud in sound-for-picture applications
• Make sure that the Loudness Controller is activated on the preset that you are
using—the LOUDNESS CONTROLLER THRESH control must not be set OFF (see page
3-55) and is normally set to –10 dB.

• If the Loudness Controller is active but, based on its gain reduction meter, you do
not believe it is working hard enough, set its threshold lower using the
LOUDNESS CONTROLLER THRESH control.
Note that the Loudness Controller controls subjective loudness to an ab-
solute threshold and does not understand the context of the program.
Therefore, if a commercial follows a piece of very quiet program mate-
rial, the commercial may still seem loud even though the Loudness Con-
troller is working properly.
See Loudness Control on page 3-14.
Commercials too quiet
• This can be a side effect of your Optimod’s BS.1770 safety limiter and is caused
by the tendency of the BS.1770 algorithm to over-indicate the loudness of mate-
rial with an unusually low peak-to-average ratio. In this case, the BS.1770 safety
limiter is making the BS.1770 meter read “correctly” even if the material sounds
quieter to your ear. To reduce this effect, set the BS.1770 LIMIT THRESHOLD con-
trol to +2 LK or above See BS.1770 Safety Limiter on page 3-17 for a more de-
tailed discussion.
5-4 TROUBLESHOOTING ORBAN MODEL 8685

LFE channel is unbalanced with respect to the rest of the audio spectrum
• Adjust the LFE COMPRESSION THRESHOLD control.

• Adjust the B1>LFE COUPLING control.

• Adjust the LC BASS COUPLING control.

Dialog is buried by music and/or effects
• In the surround processing, set the BX MAIN>CENTER MAX –DELTA GR controls to a
higher value. This will allow the center channel compressor to have more gain
with respect to the other channels. To get the full effect, you may need to turn
up the MB DRIVE control so that the center channel compressor is always produc-
ing gain reduction with typical program material.
Dialog is muffled
• Use the five-band structure and set the B3>B4 COUPLING and B4>B5 COUPLING
controls to a higher value. This will allow the processing to apply more dynamic
high frequency boost. In the surround processing, adjust these controls in the
center channel compressor.

• Set the B4 COMPRESSOR THRESHOLD control to a higher value (i.e., closer to 0 dB).
This will produce less gain reduction in the presence region.

• Try using the 8685’s HF Enhancer. To do so, LOCATE to the EQUALIZER screen and
set the HF ENHANCE control to taste. For most TV programming, very low settings
(like 0.25) are appropriate because they minimize the possibility of increasing
noise.
Shrill, harsh sound
• This problem can be caused by excessive HF boost in the HF Equalizer and HF En-
hancer. It could also be caused by an excessively high setting of the band 4 or
band 5 compression threshold control (if you are using the Five-Band Structure),
or by excessively high settings of the BAND 4 MIX and BAND 5 MIX controls (located
in Full and Advanced Modify).
Dull sound
• If you are using the Two-Band structure, dull-sounding source material will
sound dull on the air. The Five-Band Structure will automatically re-equalize
such dull-sounding program material to make its spectral balance more consis-
tent with other program material.

• Particularly if you are using the Two-Band structure, try using the 8685’s HF En-
hancer. See Dialog is muffled above.
Too much bass when the loudness controller is producing large amounts of GR
• The loudness controller is producing too little gain reduction in the below-200
Hz band. Set the LOUDNESS BASS COUPLE control closer to 0 dB. See Loudness
Control on page 3-14.
OPTIMOD LOUDNESS CONTROLLER TROUBLESHOOTING 5-5
RFI, hum, clicks, or buzzes
• For good RFI resistance, always use balanced analog outputs and be sure that the
cables connected to the digital inputs and outputs are well shielded.
The 8685 has been designed with very substantial RFI suppression on its
analog and digital input and output ports, and on the AC line input. It
will usually operate adjacent to high-powered transmitters without diffi-
culty. In the most unusual circumstances, it may be necessary to reposi-
tion the unit to reduce RF interference, and/or to reposition its input and
output cables to reduce RF pickup on their shields.
The AES3id inputs and output are transformer-coupled and have very
good resistance to RFI.
Unexpected gain pumping when processing 5.1 material
• Make sure that the Lb and Rb channels are not accidentally receiving a signal.
The feed to the Lb and Rb channels must be turned off. See step 14 on page 2-
37.

• The BS.1770 safety limiter can produce subtle gain pumping because of limita-
tions in the BS.1770 algorithm. BS.1770 safety limiter-induced gain reduction is
visible as the yellow section of the LOUDNESS GR meter. See BS.1770 Safety Lim-
iter on page 3-17 for a more detailed discussion.
Poor peak modulation control
• The 8685 typically controls peak modulation to an accuracy of ±2% when oper-
ated with 48 or 96 kHz output sample rate. As explained in Section 1, output
sample rate conversion will slightly compromise this control because the peak
control occurs with reference to individual sample values at 192 kHz. The con-
verted samples no longer have the same peak values as the 192 kHz samples;
some values can be slightly higher. However, the overshoot of the converted
signal never exceeds 0.5dB (it is typically far less) and is therefore not a signifi-
cant problem.

• Using the analog output will cause similar amounts of overshoot because the
peaks in the reconstructed analog waveform are not necessarily synchronous
with the peak-controlled samples in the 8685. Moreover, analog connections can
cause analog-domain overshoot if the connection is not phase-linear and does
not have a –3dB low-frequency cutoff below 0.15Hz.
Audible distortion
• Make sure that the problem can be observed on more than one monitoring sys-
tem.

• Verify that the source material at the 8685's audio inputs is clean. Heavy process-
ing can exaggerate even slightly distorted material, pushing it over the edge
into unacceptability.

• The subjective adjustments available to the user have the potential to cause dis-
tortion when too much fast gain reduction occurs in the multiband compressors
and/or look-ahead peak limiters. Watch the gain reduction meters and do not
5-6 TROUBLESHOOTING ORBAN MODEL 8685

let them go to full scale. You can turn down the gain reduction in the multiband
compressors via the MB DRIVE (five-band) and 2-BAND DRIVE (two-band) controls.

The normal gain reduction in the look-ahead limiters should not exceed 6 dB.
Advancing the MB LIMIT DRIVE control too far will cause distortion by creating
large amounts of gain reduction in the look-ahead limiters. Setting DIALNORM to
high levels will do the same thing. We do not recommend using DIALNORM values
higher (i.e., closer to 0) than –18 dBFS unless you are specifically trying to make
“loud” masters in mastering applications. (We strongly discourage that because
decades of broadcast experience has shown that over-processing audio cause
subliminal listening fatigue and audience tune-outs.) DIALNORM values of –23 dB
and below are preferred because these will cause very little gain reduction in
the look-ahead limiters.
–23 dB is the recommended value in EBU recommended practice R 128.
–24 dB is the recommended value in ATSC recommended practice A/85.

• If you are using an external processor ahead of the 8685, be sure it is not clipping
or otherwise causing problems.
Audible noise
(See also “RFI, Hums, Clicks, or Buzzes” on page 5-1.)

• Excessive compression will always exaggerate noise in the source material. The
8685 has two systems that fight this problem. The silence gates freeze the gain
of the AGC and compressor systems whenever the input noise drops below a
level set by the threshold control for the processing section in question, prevent-
ing noise below this level from being further increased.

• There are two independent silence gates in each processing channel of the 8685.
The first affects the AGC and the second affects the Multiband Compressor. Each
has its own threshold control. (See MB GATE on page 3-61.)

• In sound for picture, the setting of the GATE THRESHOLD control is quite critical if
you want the processing to be undetectable to the audience. If this control is set
too low, then the 8685 will pump up quiet sounds like ambiance and underscor-
ing to unnaturally high levels. Refer to Section 3 of this manual for a further dis-
cussion.

• In the Five-Band Structure, dynamic single-ended noise reduction (see DWNEXP

THR on page 3-62) can be used to reduce the level of the noise below the level at
which it appears at the input.
The 8685's AES3id inputs are capable of receiving words of up to 24 bits.
A 24-bit word has a dynamic range of approximately 144 dB. The 8685's
digital input will thus never limit the unit's noise performance even with
very high amounts of compression.

• See Routing Audio to and from the 8685 starting on page 1-14 for a discussion of
pitfalls that can compromise audio quality.
OPTIMOD LOUDNESS CONTROLLER TROUBLESHOOTING 5-7
System will not pass line-up tones at 100% modulation
• This is normal. Sine waves have a very low peak-to-average ratio by comparison
to program material. The processing thus automatically reduces their peak level
to bring their average level closer to program material, promoting a more con-
sistent and well-balanced sound quality.

• The 8685 can generate test tones itself. The 8685 can also be put into Bypass
mode (locally or by remote control) to enable it to pass externally generated
tones at any desired level. (See Test Modes on page 3-67.)
System will not pass Emergency Alert System (“EAS” USA Standard) tones at the
legally required modulation level
• See System Will Not Pass Line-Up Tones at 100% Modulation (directly above) for
an explanation. These tones should be injected into the transmitter after the
8685, or the 8685 should be temporarily switched to a PASS-THROUGH preset to
pass the tones.
System Receiving 8685’s digital output will not lock
• Be sure that the sample rate at the 8685’s output is set to match the sample rate
that the driven system expects. (Use the SURROUND OUTPUT RATE or 2.0 OUTPUT
RATE control as appropriate.)

• Be sure that the 8685’s output mode (AES3 or SPDIF) in the active Setup is set to
match the standard expected by the driven system.

• In synchronous systems like TV facilities, be sure that you have set up the 8685’s
digital outputs to lock to your desired reference, which can be an AES3id signal
applied 8685 digital input 1/2, a word clock reference applied to the 8685’s Sync
input, a SMPTE 274M and SMPTE 296M compliant signal applied to the video
reference input, or the SDI/HD-SDI signal applied to the HD-SDI input. See step
(8.B) on page 2-28 for 2.0 outputs and step (11.B) on page 2-35 for surround
outputs.
System will not lock to video sync at 88.2 or 96 kHz
• Synchronization of 88.2 or 96 kHz audio sample rates from the video reference
input only works for integer fame rates, not pull-down frame rates.
AES Channel Status Bits will not set the 8685’s 2.0 processing to Stereo or Dual-
Mono mode.
• Be sure that the equipment driving the 8685 is set in AES3 or AES/EBU mode.
(SPDIF will not work.) Similarly, you must set the 8685’s digital output mode (via
the SURROUND OUTPUT FORMAT or 2.O OUTPUT FORMAT control) to AES in order to
send AES channel status bits to downstream equipment. (See step 14 on page 2-
20.)
Dolby-E encoder causes audio glitches and/or CRC errors in downstream equipment
• The 8685’s Dolby E encoder must be properly synched to the video frame
boundaries. See Dolby E Encoder Synchronization on page 2-8.
5-8 TROUBLESHOOTING ORBAN MODEL 8685

Equipment that receives the 8685’s 2.0 processing output changes operation mode
unexpectedly.
• Some equipment will respond incorrectly to AES Channel status bits. Try turning
these off in the 8685. (See step 14 on page 2-20.)
General dissatisfaction with subjective sound quality
• The 8685 is a complex processor that can be adjusted for many different tastes.
For most users, the factory presets, as augmented by the gamut offered by the
LESS-MORE control for each preset, are sufficient to find a satisfactory “sound.”
However, some users will not be satisfied until they have accessed other Modify
Processing controls and have adjusted the subjective setup controls in detail to
their satisfaction. Such users must fully understand the material in Section 3 of
this manual to achieve the best results from this exercise.

• Section 1 of this manual provides a thorough discussion of system engineering

considerations, particularly with regard to minimizing overshoot and noise.
Loudness logging stops unexpectedly.
• When using Windows Vista or higher, logging will not occur when the computer
is in a hibernate or sleep mode. Set the “Put the computer to sleep setting” to
“Never.” You can access this in your computer’s Control Panel in “Power Op-
tions.”
Security passcode lost (when unit is locked out)
• Please see If you have forgotten your “All Access” passcode…on page 2-49.

Connection Issues between the 8685 and a PC, Modem, or Net-

work

• User Interface Slowdown: The more user presets you make, the more slowly
the 8685 will respond to front-panel commands. Delete any user presets you do
not need.

• Software Updates: Close any running Windows programs before attempting

to update.

• Interrupted Software Updates: If you canceled an update before it com-

pleted, wait at least one minute before attempting your next update.

• Software Updates via Modem: If you are updating via the modem, do not
change the “connection type” parameter on the 8685 while the modem is con-
nected or attempting to connect.

• Security Passcode: An ALL ACCESS (administrator) security passcode is required

for upgrading, regardless of whether you are using a Direct, Modem, or
Ethernet connection.
OPTIMOD LOUDNESS CONTROLLER TROUBLESHOOTING 5-9
• Passcode Format: The passcode is case-sensitive. When entering it into Win-
dows’ Dial-up Connection dialog box, it must be typed exactly as it was origi-
nally entered into the Security screen.

Troubleshooting Connections
• If you get an error message such as “the specified port is not connected” or
“There is no answer”…

A) You may have the wrong interface type set on your 8685. LOCATE to SETUP >
NETWORK & REMOTE > NETWORK > SERIAL INTERFACE TYPE and check the interface
setting. See Connecting to the 8685’s Ethernet Port or RS-232 Port Using
TCP/IP on page 2-58.
B) If you are connecting via Direct Serial Connection or modem, review the
Properties you have set on that connection. Double-check to ensure that you
have set Windows parameters as described in Appendix: Setting Up Serial
Communications on page 2- 81.

• If your Direct Connect does not work:

A) Check to make sure that the cables are connected properly.

B) Check that you are using a null modem cable.
C) Ensure that the null modem cable is connected to the 8685’s serial connector.

• If your Modem Connect does not work:

A) Ensure that the modem cables and phone lines are connected properly.
B) Check that you have entered the correct phone number for connection.
C) Check that you have entered the passcode correctly on the 8685 and the pass-
code has been entered correctly on your PC.
D) Ensure that you enabled the correct PC modem port settings.
E) Ensure that the external modem attached to your 8685 is set to AUTO ANSWER.
F) Make sure that the only “Allowed Network Protocol” is TCP/IP. “NetBUI” and
“IPX > SPX Compatible” must not be checked.

• If you cannot connect to your computer through a crossover Ethernet cable:

You must set your Windows networking to provide a static IP address for
your computer because your Optimod does not contain a DHCP server.

You Cannot Access the Internet After

Making a Direct or Modem Connection to the 8685:
If you are connected to the 8685 via modem or direct connect, you cannot access
any other TCP/IP connection. The PPP connection becomes the default protocol
5-10 TROUBLESHOOTING ORBAN MODEL 8685

and the default gateway defaults to the 8685 unit’s IP address. This means that
all existing network connections point to the 8685 unit. To correct this:

A) In Start > Settings > Network and Dialup Connections, open the direct or mo-
dem connection you are using to connect to 8685.
B) Select “Properties.”
C) Click the tab that reads “Networking.”
D) Highlight “Internet protocol (TCP/IP).”
E) Select “Properties.”
F) Select “Advanced.”
G) Uncheck the “Use default gateway on remote network” box.
H) Select “OK.”
If this “Use default gateway on remote network” box is not selected, the
gateway will not point to the 8685 unit when you establish a direct or
modem connection.

OS-Specific Troubleshooting Advice

Troubleshooting Windows XP Direct Connect:

If you are having trouble establishing a connection, check your New Connection’s
properties to make sure they are set up correctly:
A) Click “Start > Programs > Accessories > Communications > Network Connec-
tions” to bring up the Network Connections screen.
B) In the “Network Connections” window, right-click “Optimod 8685 - Direct”
and choose “Properties.”
C) The “Properties” window opens for “Optimod 8685 - Direct.”
D) Click the “Networking” tab.
E) Set “Type of dial-up server I am calling” to “PPP: Windows 95/98/NT4/2000,
Internet”
F) Select the “Settings” button and make sure all PPP settings are unchecked,
then click “OK.”
G) In “This connection uses the following items,” uncheck all except for “Internet
Protocol (TCP/IP).” You can also leave “QoS Packet Scheduler” checked if you
like.
H) In “This connection uses the following items,” select “Internet Protocol
(TCP/IP)” and then click the “Properties” button. The “Internet Protocol
(TCP/IP) Properties” window opens.
OPTIMOD LOUDNESS CONTROLLER TROUBLESHOOTING 5-11
I) Choose “Obtain an IP address automatically” and “Obtain DNS server address
automatically”
J) Click the “Advanced…” button on the “Internet Protocol (TCP/IP)” Window.
K) In the “Advanced TCP/IP Settings” select the “General” Tab; make sure that
no check boxes are checked.
L) Click “OK” to dismiss the “Advanced TCP/IP Settings” window.
M) On the “Properties” window for “Optimod 8685 – Modem” click the “Ad-
vanced” tab.
N) Click “OK” to dismiss the window whose name is your new connection.
O) Click “Cancel” to dismiss the “Connect [nnnn]” dialog box
P) Restart your computer.
This resets the serial port and reduces the likelihood that you will en-
counter problems connecting to the 8685.

Troubleshooting Windows XP Modem Connect:

If you are having trouble establishing a connection, check your New Connection’s
properties to make sure they are set up correctly.
A) Click “Start > Programs > Accessories > Communications > Network Connec-
tions” to bring up the Network Connections screen.
B) In the “Network Connections” window, right-click “Optimod 8685 - Modem”
and choose “Properties.”
The “Properties” window opens for “Optimod 8685 - Modem.”
C) Click the “Networking” tab.
D) Set “Type of dial-up server I am calling” to “PPP: Windows 95/98/NT4/2000,
Internet”
E) Select the “Settings” button. Make sure all PPP settings are unchecked and
then click “OK.”
F) In “This connection uses the following items,” uncheck all except for “Internet
Protocol (TCP/IP).” You can also leave “QoS Packet Scheduler” checked if you
like.
G) In “This connection uses the following items,” select “Internet Protocol
(TCP/IP)” and then click the “Properties” button.
The “Internet Protocol (TCP/IP) Properties” window opens.
H) Choose “Obtain an IP address automatically” and “Obtain DNS server address
automatically.”
I) Click the “Advanced…” button on the “Internet Protocol (TCP/IP)” Window.
J) In the “Advanced TCP/IP Settings,” select the “General” Tab; make sure that
no check boxes are checked.
5-12 TROUBLESHOOTING ORBAN MODEL 8685

K) Click “OK” to dismiss the “Advanced TCP/IP Settings” window.

L) Click “OK” to dismiss the window whose name is your new connection.
M) Restart your computer. (This resets the serial port and reduces the likelihood
that you will encounter problems connecting to the 8685.)

Technical Support
If you require technical support, contact Orban customer service. Be prepared to de-
scribe the problem accurately. Know the serial number of your 8685 ⎯ this is located
on the rear panel of the unit. Current contact information is found at
http://www.orban.com/contact/.

Please check Orban’s website, www.orban.com, for Frequently Asked Questions and
other technical tips about 8685 that we may post from time to time. Manuals (in
.pdf form) and 8685 software upgrades will be posted there too—click “Downloads”
from the home page.

Factory Service
Before you return a product to the factory for service, we recommend that you refer
to this manual. Make sure you have correctly followed installation steps and opera-
tion procedures. If you are still unable to solve a problem, contact our Customer Ser-
vice for consultation. Often, a problem is relatively simple and can be quickly fixed
after telephone consultation.

If you must return a product for factory service, please notify Customer Service by
telephone, before you ship the product; this helps us to be prepared to service your
unit upon arrival. Also, when you return a product to the factory for service, we rec-
ommend you include a letter describing the problem.

Please refer to the terms of your Limited One-Year Standard Warranty, which ex-
tends to the first end user. After expiration of the warranty, a reasonable charge will
be made for parts, labor, and packing if you choose to use the factory service facility.
Returned units will be returned C.O.D. if the unit is not under warranty. Orban will
pay return shipping if the unit is still under warranty. In all cases, the customer pays
transportation charges to the factory (which are usually quite nominal).

Shipping Instructions
Use the original packing material if it is available. If it is not, use a sturdy, double-
walled carton no smaller than 7″ (H) x 15.5″ (D) x 22″ (W) ⎯ 18 cm (H) x 40 cm (D) x
56 cm (W), with a minimum bursting test rating of 200 pounds (91 kg). Place the
chassis in a plastic bag (or wrap it in plastic) to protect the finish, then pack it in the
carton with at least 1.5 inches (4 cm) of cushioning on all sides of the unit. “Bubble”
packing sheets, thick fiber blankets, and the like are acceptable cushioning materi-
OPTIMOD LOUDNESS CONTROLLER TROUBLESHOOTING 5-13
als; foam “popcorn” and crumpled newspaper are not. Wrap cushioning materials
tightly around the unit and tape them in place to prevent the unit from shifting out
of its packing.

Close the carton without sealing it and shake it vigorously. If you can hear or feel
the unit move, use more packing. Seal the carton with 3-inch (8 cm) reinforced fi-
berglass or polyester sealing tape, top and bottom in an “H” pattern. Narrower or
parcel-post type tapes will not withstand the stresses applied to commercial ship-
ments.

Mark the package with the name of the shipper, and with these words in red:

DELICATE INSTRUMENT, FRAGILE!

Insure the package properly. Ship prepaid, not collect. Do not ship parcel post. Your
Return Authorization Number must be shown on the label, or the package will
not be accepted.
OPTIMOD LOUDNESS CONTROLLER TECHNICAL DATA 6-1

Section 6
Technical Data
Specifications
It is impossible to characterize the listening quality of even the simplest limiter or
compressor based on specifications, because such specifications cannot adequately
describe the crucial dynamic processes that occur under program conditions. There-
fore, the only way to evaluate the sound of an audio processor meaningfully is by
subjective listening tests.

Certain specifications are presented here to assure the engineer that they are rea-
sonable, to help plan the installation, and make certain comparisons with other
processing equipment.

Performance
Frequency Response (Bypass Mode): Surround Processing: ±0.10 dB, 20 Hz–20 kHz for
44.1 kHz or higher input/output sample rates. At 32 kHz input and/or output sample rate,
the passband is reduced to approximately 14.7 kHz.

2.0 Processing: Depending on settings, is flat or follows standard 50 µs or 75 µs pre-

emphasis curve ±0.10 dB, 20 Hz-20 kHz (except at 32 kHz; see above). Output can be
user-configured to be flat or pre-emphasized.

(Pre-emphasis limiting allows any of the 8685's 2.0 processors to drive an analog televi-
sion transmitter that uses an preemphasized FM aural carrier. This function is particu-
larly useful when used with 2.0 processor #4, which can emit a loudness-controlled and
peak-limited downmix of the surround audio. Preemphasis limiting is also useful for cer-
tain older analog studio/transmitter links.)
Noise: Output noise floor will depend upon how much gain the processor is set for (Limit
Drive, AGC Drive, Two-Band Drive, and/or Multiband Drive), gating level, equalization,
noise reduction, etc. The dynamic range of the A/D Converter, which has a specified
overload-to–noise ratio of 110 dB, primarily governs it. The dynamic range of the digital
signal processing is 144 dB.
Polarity (Bypass Mode; Operate Mode when processing chain is configured for linear
phase): Absolute polarity maintained. Positive-going signal on input will result in positive-
going signal on output.
6-2 TECHNICAL DATA ORBAN MODEL 8685

Internal Processing Sample Rate: 48 kHz. We believe this provides maximum audible
transparency by minimizing numerical “noise” in the equalizers and filters while still pre-
serving a pure, transparent sound. The double-precision equalizers and crossover filters
used throughout the 8685 produce at least 6 dB lower noise and nonlinear distortion
than they would at 96 kHz.
Processing Resolution: Internal processing has 24 bit (fixed point) or higher resolution;
uses nine Freescale (formerly Motorola) 250 MHz DSPB56724 dual-core 24-bit fixed-
point DSP chips.
Delay: The minimum available input/output delay is approximately 33 ms with look-ahead
limiting active and 6 ms with look-ahead limiting bypassed. This can be padded to ex-
actly one or two frames of 24, 25, 29.97, 30, 50, 59.94, or 60 frames/second video up to
a maximum delay of 60 ms. (Two frames are required for 59.94/60 fps progressively
scanned video.) The HD-SDI connection provides video delay of up to 11 frames to
compensate for the delay of the 8685’s loudness processing (approximately one frame),
Optimix® upmixer (approximately five frames) and optional Dolby-E® decoder and en-
coders (one frame apiece). Dolby AC3 encoding requires 187 ms of delay.

The output frame boundaries are time-aligned with the sync source and can be fine-
tuned by up to +10/–53 pixels compared to the sync reference via the Video Time Offset
setup control.
Surround Processing Stereo Coupling: All channels of the AGC and compressors are
coupled using RMS summation. Peak limiters in the multiband compressor limiter and
look-ahead limiters all operate uncoupled to prevent transients in a given channel from
causing audible loudness modulation in other channels. In additional, the compressors
acting on the center channel can be uncoupled from the remaining channels within a
user-selectable window, allowing the processing to correct the balance between dialog
and remaining program elements automatically.
2.0 Processing Stereo Coupling: Stereo or dual-mono. In dual-mono mode, both process-
ing channels have the same subjective adjustments (as determined by the active preset)
but are otherwise independent, making this mode appropriate for dual-language trans-
missions. In stereo mode, the user can set the maximum permitted gain difference be-
tween the channels in each band of the multiband compressor/limiter. 2.0 Stereo/Dual-
Mono operating mode can be set via GPI, Ethernet and serial connections, internal
clock-based automation, and AES3 Status Bits.
Loudness Level Meters (x5 or x9): One set of meters for the surround processor and one
set of meters for each of the 2.0 processors. In dual-mono mode, each mono channel
has one set of meters. Meters can be displayed on the 8685's front-panel screen and on
PC Remote software. A set of loudness meters includes a BS.1770-2 meter and a CBS
meter, which are displayed side-by-side. The ITU BS.1770 meter displays Short-term
and Integrated Loudness simultaneously on the same scale. The integrated loudness
measurement shows the loudness of the previous 10 seconds of program material with
equal time-weighting and gating per BS.1770-2. The CBS meter’s display time constants
are matched to the loudness integration time of the human ear, reaching steady-state
level in approximately 200 ms and having a decay time constant of approximately 300
ms. The short-term meter uses the Jones & Torick algorithm developed at CBS Tech-
nology Center. (B. L. Jones & E. L. Torick: "A New Loudness Indicator for Use in Broad-
casting," J. SMPTE, September 1981, pp 772-777.)
Peak Control: As recommended in ITU-R BS.1770-3, the peak limiter is oversampled at
192 kHz, yielding a worst-case overshoot of 0.5 dB at the analog output and for all out-
put sample rates. (To achieve this performance at 32 kHz output sample rate, it is nec-
essary to set the 8685’s lowpass filter cutoff frequency to 15 kHz.)
OPTIMOD LOUDNESS CONTROLLER TECHNICAL DATA 6-3
Optimix™ Upmixer
Location: Built into the Optimod.
Processing Delay: 146 ms
Upmix: 2.0 to 5.0; 5.1-compatible.
Auto-detection: Defeatable auto-detection can detect stereo and surround inputs automati-
cally and switch upmixing on when stereo material is detected.
Bass Management: Bass energy below 80 Hz is not upmixed. Any energy below 80 Hz in
the left/right inputs is routed to left front/right front outputs respectively so that home re-
ceivers can perform appropriate bass management for a given setup.
Downmix Compatibility: If Delay Correction is OFF, Optimix reads the Optimod’s downmix
parameters (Center and Surround downmix coefficients) from the Optimod and auto-
matically chooses gains for the five upmixed channels that make the downmixed signals
identical to Optimix's stereo inputs, assuming a Dolby Lo/Ro downmix. Optimix takes
into account the settings of its Front/Rear Balance and Center Width controls.

It is the user's responsibility to make sure that the Optimod's downmix level controls
agree with the Center Downmix Level and Surround Downmix Level in the AC3 meta-
data that is being transmitted to consumers. (Per Dolby, the default value of both is -3
dB.)

When Delay Correction is ON, the stereo downmix includes the effect of the center
channel delay corrector, which can make the stereo downmix crisper and more intelligi-
ble than Optimix’s stereo inputs.

User Controls: See Optimix® Upmixer Controls on page 3-37.

Installation

HD-SDI Input/Output
SD-SDI (per SMPTE 259M); 1.5 Gbit/s HD-SDI (per SMPTE 292M; up to 720p and 1080i)
:and 3.0 Gbit/s single-wire HD-SDI (per SMPTE 424M; 1080p). Input and output are on
BNC connectors. A bypass relay is provided.

Unless the bypass relay is directly connecting the HD-SDI input to the HD-SDI output
(which is true when no AC power is applied to the 8685), the HD-SDI input is internally
terminated with 75Ω.

If you are using the SDI input, we recommend using it as the Optimod’s sync reference.

Audio Channel Support: Supports only SDI audio channels 1 through 8.

Dolby® Support: Unit can be order with Dolby-E encoder/decoder modules or a Dolby AC3
encoder module. User can install an AC3 encoder card, but note that it requires inform-
ing the Optimod that the card has been installed. See item 18 on page 2-58.
Delay for A/V Sync: Includes up to 11 frames of video and metadata delay to preserve AV-
sync. Core 8685 loudness control processing requires one frame of delay; the built-in
Optimix® upmixer requires an additional five frame delay; Dolby-E requires one frame
for decoding and one frame for encoding. Dolby AC3 encoding requires 187 ms.
6-4 TECHNICAL DATA ORBAN MODEL 8685

Dolby E Metadata Support: Supports Dolby-E metadata received through HD-SDI and
RS485 interfaces per SMPTE RDD 06-2008. The metadata in the HD-SD stream must
be embedded the HD-SDI VANC data per SMPTE 2020-2-2008 (Method-A) or SMPTE
2020-3-2008 (Method-B).

Digital Audio Inputs (x4)

Configuration: Each of four hardware inputs accepts two audio channels per AES3id stan-
dard, 24 bit resolution. Internal programmable routing switcher allows any of the 10
physical input channels to be routed to the LF, RF, C, LB1, RB1, LFE, LB2, RB2,
STEREO L, or STEREO R inputs of the audio processing. For the 2.0 processing, unit
can detect Stereo or Two-Channel status bits appearing at Input #1 and switch the 2.0
processor between stereo and dual-mono modes. Input #4 can also be used as a sync
input, accepting wordclock or AES11id sync..
User Bits: Unit can pass AES3id User Bits from Input #1 to Output #1.
Sampling Rate: 32, 44.1, 48, 88.2, or 96 kHz, automatically selected.
Connector: BNC, female, shell bypassed to chassis via 1000 pF capacitor, EMI-
suppressed. 75Ω impedance, terminated.
Input Reference Level: Variable from –30 dBFS to –10 dBFS.
Filtering: RFI filtered.

Digital Audio Outputs (x3)

Configuration: AESid. Internal, remote-controllable routing switcher allows sending LF, RF,
C, LB1, RB1, LFE, LB2, RB2, STEREO L, STEREO R, DOWNMIX L, and DOWNMIX R
to any hardware output channel.
Sample Rate: Internal free running at 32, 44.1, 48, 88.1 or 96 kHz, selected in software.
Can also be synced to the AES3id Input #1,or to the sync input (which supports AES11id
and wordclock) at 32, 44.1, 48, 88.1 or 96 kHz, as configured in software. (Passband is
limited to approximately 14.7 kHz when using 32 kHz input and/or output sample rate.)
Word Length: Software selected for 24, 20, 18, or 16-bit resolution. First-order highpass
noise-shaped dither can be optionally added, Dither level is automatically adjusted to
complement the word length.
Connector: BNC, female, shell bypassed to chassis via 1000 pF capacitor, EMI-
suppressed. 75Ω impedance, terminated.
Output Level (100% peak modulation): –20.0 to 0.0 dBFS software controlled.
Filtering: RFI filtered.

Audio Reference Input

Configuration: Can accept wordclock or AES11id (75Ω) sync, automatically detected.
Connector: Female BNC.
Termination: Internally terminated with 75Ω.

Analog Audio Outputs

Configuration: One pair of outputs, which can be configured in software to emit LF, RF, C,
LB1, RB1, LFE, LB2, RB2, STEREO L, STEREO R, DOWNMIX L, DOWNMIX R, LF/RF,
C, LB1/RB1, LB2/RB2, STEREO L/R, and DOWNMIX L/R signals.
Source Impedance: 50Ω, electronically balanced and floating.
Load Impedance: 600Ω or greater, balanced or unbalanced. Termination not required or
recommended.
OPTIMOD LOUDNESS CONTROLLER TECHNICAL DATA 6-5
Output Level (100% peak modulation): Adjustable from –6 dBu to +24 dBu peak, into 600Ω
or greater load, software-adjustable.
Signal-to-Noise: ≥ 100 dB unweighted (Bypass mode, 20 Hz–20 kHz bandwidth, refer-
enced to 100% modulation).
Distortion: ≤ 0.01% THD (Bypass mode, de-emphasized) 20 Hz–20 kHz bandwidth.
Connectors: Two XLR-type, male, EMI-suppressed. Pin 1 chassis ground, Pins 2 (+) and 3
electronically balanced, floating and symmetrical.
D/A Conversion: 24 bit 128x oversampled.
Filtering: RFI filtered.

Audio Sync Input

Configuration: Can accept wordclock or AES11id (75Ω) sync, automatically selected.
Connector: Female BNC, shell grounded to chassis.
Termination: Internally terminated with 75Ω.

Video Sync Input

Video Sync input (per SMPTE 274M and SMPTE 296M) can be used as a reference for
the output audio sample rate and to correctly align Dolby-E frames with video per
Dolby's requirements (SMPTE RDD 6-2008 and Dolby Labs published specifications) in
cases where HD-SDI is not in use. When HD-SDI is in use, frame sync is obtained from
the HD-SDI input stream provided that the HD-SDI input complies strictly with SMPTE
299M 5.2.1 (CLK [audio clock phase data]).

The video reference input is on a female BNC connector and is internally terminated with
75Ω.

Remote Computer Interface

Configuration: TCP/IP protocol via direct cable connect, modem, or Ethernet interface.
Modem is not supplied.
Serial Port: 115 kbps RS–232 port DB–9 male, EMI-suppressed.
Ethernet Port: 100 Mbit/sec on RJ45 female connector.

RS-485 Serial Interface (x2)

Hardware: 115 kbps RS–485 port DB–9 male, EMI-suppressed.
Compatibility: Designed to be hardware-compatible with Dolby Digital® hardware that
sends and receives Dolby Digital metadata.

Conveying and Re-authoring Dolby Metadata

The 8685 can, via an SMPTE RDD 06-2008-compliant RS-485 serial connection, via an HD-
SDI connection, or via embedded Dolby-E metadata (when the optional Dolby-E modules
are installed in the HD-SDI module), automatically convey its active surround metadata
value to a downstream Dolby Digital encoder like the Dolby DP-569, which must be set up
according to its operating instructions to receive and act upon this input. This greatly re-
duces the possibility that operator error will cause the wrong value of surround metadata to
be transmitted to consumers.
To emit an RDD 06-2008-compliant signal, the 8685 must be receiving a valid input stream
that is compliant with RDD 06-2008—this is necessary to synchronize the output metadata
to video frame boundaries per the Dolby specification. When a valid input stream in present,
the 8685 passes this stream unchanged to its output except for the following modifications:
6-6 TECHNICAL DATA ORBAN MODEL 8685

• The ac3_dialnorm word in the output metadata stream is reauthored so it is the

same as the 8685's active Dialnorm value.
• The ac3_dynrnge word in the output stream is set to 0, indicating that the down-
stream AC3 encoder must reauthor the line-mode DRC metadata, following the
level compression profile found in the ac3_dynrng1 word in the input metadata.
• The ac3_compre word in the output stream is set to 0, indicating that the down-
stream AC3 encoder must reauthor the RF-mode DRC metadata, following the
level compression profile found in the ac3_compr1 word in the input metadata.
If the optional Dolby AC3 encoder module is installed, the Optimod can receive and pass
through to the AC3 encoder the AC3 core metadata contained in the Dolby-E metadata re-
ceived from any of the potential metadata sources listed above. In addition to the metadata
listed above, the Optimod can re-author ac3_cmixlev, ac3_surmixlev, ltrtcmixlev, and
ltrtsurmixlev to reflect the settings of the Optimod downmix controls.

Remote Control (GPI) Interface

Configuration: Eight (8) inputs, opto-isolated and floating.
Voltage: 6–15V AC or DC, momentary or continuous. 12 VDC provided to facilitate use with
contact closure.
Connector: DB–25 male, EMI-suppressed.
Control: User-programmable for any eight of user presets, factory presets, bypass, test
tone, stereo or mono modes, analog input, digital input.
Filtering: RFI filtered.

Tally Outputs
Circuit Configuration: Two NPN open-collector outputs.
Voltage: +15 volts maximum. Do not apply negative voltage. When driving a relay or other
inductive load, connect a diode in reverse polarity across the relay coil to protect the
driver transistors from reverse voltage caused by inductive kickback.
Current: 30 mA maximum
Indications: Tally outputs can be programmed to indicate a number of different operational
and fault conditions.

Power
Voltage: 100–264 VAC, automatically selected, 50–60 Hz, 75 VA.
Connector: IEC, EMI-suppressed. Detachable 3-wire power cord supplied.
Configuration: Two independent power supplies with independent IEC input connectors.
Power supply health is monitored and the good supply is automatically connected to the
load should one supply fail.
Safety Standards: ETL listed to UL standards, CE marked.

OPTION #1:
HD Dolby-E Decoder.
• Base configuration with the addition of a Dolby-E Decoder module.
• Can accept a Dolby-E bitstream from HD-SDI or AES3id inputs and decode it to
PCM for 8685 audio processing or for direct AES3id and HD-SDI outputs.
OPTIMOD LOUDNESS CONTROLLER TECHNICAL DATA 6-7
• Supports Dolby-E metadata received through HD-SDI and RS485 interfaces per
SMPTE RDD 06-2008. The metadata in the HD-SD stream can be embedded in
a Dolby-E encoded bitstream (typically using audio channels 1 and 2) or in the
HD-SDI VANC data per SMPTE 2020-2-2008 (Method-A) or SMPTE 2020-3-
2008 (Method-B).
OPTION #2:
HD Dolby-E Encoder.
• Base configuration with the addition of a Dolby-E Encoder module.
• Can encode PCM outputs from the 8685 audio processor or PCM received from
HD-SDI or AES3id inputs into the Dolby-E bitstream.
• Can emit Dolby-E metadata from an RS485 serial port and through HD-SDI.
• Can receive Dolby-E metadata through HD-SDI VANC or RS485.

OPTION #3:
Dolby-E Decoder and Encoder.
• Base configuration with the addition of Dolby-E Decoder and Encoder modules.
• Accepts and emits Dolby-E bitstreams from the HD-SDI and AES3id I/O.
• Supports Dolby-E metadata through HD-SDI and RS485 serial ports.

OPTION #4:
Dolby-AC3 (Dolby Digital) Encoder.
• Base configuration with the addition of a Dolby AC3 Encoder module.
• Can encode PCM outputs from the 8685 audio processor or PCM received from
HD-SDI or AES3id inputs into the Dolby-E bitstream.
• Can emit core AC3 metadata extracted from Dolby-E metadata received from an
RS485 serial port and through HD-SDI.

Environmental
Operating Temperature: 32° to 122° F / 0° to 50° C for all operating voltage ranges.
Humidity: 0–95% RH, non-condensing.
Dimensions (W x H x D): 19” x 5.25” x 15.5” / 48.3 cm x 8.9 cm x 39.4 cm. Depth shown
indicates rack penetration; overall front-to-back depth is 17.75” / 45.1 cm. Three rack
units high.
Humidity: 0–95% RH, non-condensing.
RFI / EMI: Tested according to Cenelec procedures. FCC Part 15 Class A device.
Shipping Weight: 40 lbs. / 18.1 kg

Warranty
Five years, Parts and Service: Subject to the limitations set forth in Orban's Standard War-
ranty Agreement.

Because engineering improvements are ongoing, specifications are subject to change with-
out notice.
6-8 TECHNICAL DATA ORBAN MODEL 8685

Circuit Description
This section provides a detailed description of user-serviceable circuits used in the
8685. We do not provide detailed descriptions of the digital circuitry because most
of this is built with surface-mount components that cannot be removed or replaced
with typical tools available in the field. Field repair ordinarily consists of swapping
entire PC boards.

The HD-SDI I/O module is built on a high-speed 10-layer board that is easily dam-
aged by incorrect rework techniques. Because of the high risk of damage, we do not
recommend servicing the HD-SDI module at the component level.

The section starts with an overview of the 8685 system, identifying circuit sections
and describing their purpose. Then each user-repairable section is treated in detail
by first giving an overview of the circuits followed by a component-by-component
description.

The drawing on page 6-37 shows circuit board locations.

Overview
The Control Circuits control the DSP, display, and input/output sections of the 8685
system.

The Input Circuits include the connectors and RF filtering for the analog and digital
audio inputs, as well as the circuitry to interface these inputs to the digital process-
ing.

The Output Circuits include the connectors and RF filtering for the analog and digi-
tal audio outputs and the circuitry to interface the digital processing to these out-
puts.

The DSP Circuits implement the bypass, test tone, and audio processing using digital
signal processing.

The Power Supply provides power for all 8685 circuit sections.

A block diagram of the DSP signal processing appears on page 6-94.

Control Circuits
The control circuit is based on an AMD Elan SC520 microprocessor, which is a 586-
class processor running an Orban executable program over a third-party real-time
operating system. A flash memory emulates a hard drive. The memory is non-volatile
and does not rely on a battery to retain information when mains power is off.
OPTIMOD LOUDNESS CONTROLLER TECHNICAL DATA 6-9
The flash memory holds the operating system, the Orban executable program, and
all preset files, both factory and user. It also contains a write-protected “boot seg-
ment” that functions as a boot ROM.

The control circuits process and execute user-initiated requests to the system. The
source of these requests is the front panel buttons, joymouse, and rotary encoder,
the rear panel RS-232 ports, Ethernet port, and the optically isolated General Pur-
pose Interface. These changes affect hardware function and/or DSP processing. The
control circuits also send information to the LCD display.

The control circuit communicates with the DSP and display circuitry through the
SC520’s general-purpose bus.

The SC520 periodically refreshes a watchdog timer. If the timer times out without
being refreshed, it assumes that the control program has crashed and automatically
reboots the SC520. The DSP chips will continue to process audio until the time comes
in the boot process to reload DSP program code into them. At this point, the audio
will mute for about two seconds until the DSP code download has finished. If you
hear a two-second audio mute on air, you can assume that the 8685 has rebooted
for some reason. Be prepared to convey this fact to Orban customer service if you
call for technical assistance.

The control board is divided into two assemblies: a “base board,” which has inter-
face circuitry, and a “CPU controller module,” which plugs into the base board and
which contains the CPU, the Ethernet interface chip, the flash memory, the DRAM,
the LCD graphics controller, and the real-time clock, which keeps time for the 8685’s
automation functions.

The real-time clock is backed up by a DL2032 battery so that it keeps accurate time
even when the 8685 is powered down. Expected battery life is about three months
when the 8685 is not powered up and many years when the 8685 is powered. The
battery is socketed and can be readily accessed by removing the 8685’s top cover;
the battery is located on the foil (top) side of the CPU controller module.

User Control Interface and LCD Display Circuits

The user control interface enables the user to control the 8685’s functionality. A rear
panel GPI connector allows optically isolated remote control of certain functions,
like recalling presets, via contact closure. An Ethernet port and an RS-232 serial con-
nector allow you to connect a modem or computer to the 8685. Two RS-485 serial
connectors (labeled SERIAL PORT 2 and SERIAL PORT 3) allow the 8685 to send and re-
ceive Dolby-E (SMPTE RDD 6-2008) metadata. Front panel pushbutton switches select
between various operational modes and functions. A rotary encoder allows the user
to adjust parameters and enter data.
6-10 TECHNICAL DATA ORBAN MODEL 8685

Remote Interface and RS-232 Interfaces

Located on base board

A remote interface connector and circuitry implements remote control of certain

operating modes; OPTIMOD-FM 8685 has eight remote contact closure inputs.
A valid remote signal is a momentary pulse of current flowing through remote
signal pins. Current must flow consistently for 50msec for the signal to be inter-
preted as valid. Generally, the 8685 will respond to the most recent control op-
eration, regardless of whether it came from the front panel, remote interface, or
RS-232.

Component-Level Description:
After being current-limited by resistors, the GPI control signals are applied to
two quad optoisolators, U10, 12, and then to the control circuitry.

Octal driver U1 buffers the RS-232 port, which is located on a small daughter
board.

U10, 12 and U1 are socketed for easy field replacement in the event of over-
load, lightning damage, etc. All other circuitry is surface-mount and is not
field-repairable.

Color LCD Display

The color LCD is an active-matrix quarter-VGA panel. The CPU addresses its control-
ler chip through the CPU’s ISA bus. The controller is on a board sandwiched between
the CPU module and the base board: The graphics controller plugs into the base
board and the CPU module plugs into the graphics controller.

The backlight on the display has a finite lifetime (normally a few years of continuous
operation). Therefore, the 8685 always implements a screen-saver timeout. This is
not user-adjustable.

Input Circuits
This circuitry interfaces the digital inputs to the DSP. The digital input receivers ac-
cepts AES3-format digital audio signals from the digital input connector and sample
rate-converts them as necessary. The digital audio from the A/D and SRC is transmit-
ted to the DSP.

Digital Input Receiver and Sample Rate Converter (SRC)

Located on Input/output board

The digital input receivers IC301A, 302A, 303A, 401A, 402A accept digital audio
signals using the AES3id interface format (AES3-1992). They apply their outputs
to sample rate converters IC304B, 305B, 306B. These accept and sample-rate con-
OPTIMOD LOUDNESS CONTROLLER TECHNICAL DATA 6-11
vert any of the “standard” 32 kHz, 44.1 kHz, 48 kHz, 88.2 kHz, and 96 kHz rates
in addition to any digital audio sample rate within the range of 32 kHz and 96
kHz. The SRC converts the input sample rate to 48 kHz for processing by the DSP.
Receiver IC403A accepts sync signals in AES3id or AES11id format from J403A.
The signal at J403A is also applied to word clock receiver/PLL receiver IC501. Ei-
ther IC403A or IC501 generates a reference sample rate for the 8685’s output
sample rate converters.
These chips are surface-mounted and not field-replaceable without surface-
mount rework equipment.
SDI Option:
The digital input receivers for the AES3id inputs are U300A, U302A, and U304A.
The associated sample rate converters are U301B, U303B, and U305B.
The sample rate converters for SDI audio input channels 1/2, 3/4, 5/6, and 7/8 are
U400A, U400B, U401A, and U401B respectively.

Output Circuits
This circuitry interfaces the DSP to the analog and digital audio outputs. The digital
audio from the DSP is transmitted to the digital-to-analog converter (D/A) and out-
put sample rate converters (SRC). The digital-to-analog (D/A) converter converts the
digital audio words generated by the DSP to analog audio. The analog output
stages scale and buffer the D/A output signal to drive the analog output XLR con-
nectors with a low impedance balanced output. The digital output transmitter ac-
cepts the digital audio words from the output sample rate converter (SRC) and
transmits them as AES3id-format digital audio signals on the digital output connec-
tor.

Stereo Digital-to-Analog (D/A) Converter

Located on Input/output board

The D/A, U100, is a stereo, 24-bit delta-sigma converter. It receives the serial left
and right audio data samples from the DSP at 48 kHz sample rate and converts
them into audio signals requiring further, relatively undemanding analog filter-
ing. U100 is surface-mounted and is not field-replaceable without surface-mount
rework equipment.

Analog Output Stages

Located on Input/output board

The left and right analog signals emerging from IC200 are each filtered, ampli-
fied, and applied to a floating-balanced integrated line driver, which has a 50Ω
output impedance. The line driver outputs are applied to the RF-filtered left and
right analog output connectors. These analog signals can represent either the
transmitter or monitor output of audio processing.
6-12 TECHNICAL DATA ORBAN MODEL 8685

Component-Level Description:
IC201 and associated components filter the left channel signal emerging from
IC200. The purpose of these stages is to reduce the out-of-band noise energy
resulting from IC200’s noise-shaping filter and to translate the differential
output of IC200 into single-ended form. The components associated with
rd
IC201 apply a 3 order low-pass filter to the differential signal from the D/A.
This filter does not induce significant overshoot of the processed audio, which
would otherwise waste modulation.

IC203B and associated components form a low-frequency servo amplifier to

remove residual DC from the signal. The 0.1Hz −3 dB frequency prevents tilt-
induced overshoot in the processed audio.

The buffered output of IC201 is applied to IC204, a balanced output line

driver. This driver emulates a floating transformer. One side of its output can
be grounded without affecting its differential output level. IC204 and its right
channel counterpart IC205 are socketed for easy field replacement. All other
circuitry is surface-mounted.

The corresponding right channel circuitry is functionally identical to that just

described.

Digital Sample Rate Converter (SRC) and Output Transmitter

Located on Input/output board

Output sample rate converter (SRC) chips IC304, 305, 306, 404, 405, 406 con-
vert the 8685’s 48 kHz system sample rate to any of the standard 32 kHz, 44.1
kHz, 48 kHz, 88.2 kHz, and 96 kHz rates for the 8685’s six AES3id outputs. The
sample rate converters drive digital audio interface transmitters IC301, 302,
3030, 401, 402, 403, which encode digital audio signals using the AES3id inter-
face format. These chips are surface-mounted and are not field-replaceable
without surface-mount rework equipment.

SDI Option:
The digital output transmitters for the AES3id outputs are U300AB U302B, and
U304B. The associated sample rate converters are U301A, U303A, and U305A.

The sample rate converters for channels 1/2, 3/4, 5/6, and 7/8 of the SDI output
are U402A, U402B, U403A, and U403B respectively.

DSP Circuit
The DSP circuit consists of nine Freescale (formerly Motorola) 250 MHz DSP56724
dual-core 24-bit fixed-point DSP chips that execute DSP software code to implement
digital signal processing algorithms. The none DSP chips, each operating at ap-
proximately 500 million instructions per second (MIPS), for a total of 4500 MIPS, pro-
vide the necessary signal processing. An internal sampling rate of 48 kHz is used.

System initialization normally occurs when power is first applied to the 8685 and can
occur abnormally if the 8685’s watchdog timer forces the SC520 to reboot. Upon ini-
OPTIMOD LOUDNESS CONTROLLER TECHNICAL DATA 6-13
tialization, the SC520 CPU downloads the DSP executable code stored in the flash
memory. The time between application of power and completion of DSP code
download is approximately 7 seconds. Once a DSP chip begins executing its program,
execution is continuous. The SC520 provides the DSP program with parameter data
(representing information like the settings of various processing controls), and ex-
tracts the front panel metering data from the DSP chips.

During system initialization, the SC520 queries the DSP hardware about its opera-
tional status and will display an error message on-screen if the DSP fails to initialize
normally. Please note any such messages and be ready to report them to Orban Cus-
tomer Service.

The DSP chips are located on the DSP board—see the drawings starting on page 6-
54. IC801 is a local switching-type voltage regulator on the DSP board that derives
the +3.3 V supply for the DSP chips from the +RAW unregulated system voltage,
while IC802 creates a +1.2 V regulated supply from +RAW.

Power Supply
Warning! Hazardous voltages are present in the power supplies when connected to
the AC line. Several parts, including the heat sink, are hot to the AC power line. Ex-
cept for servicing, do not remove the insulating shield from the power supply.

There are two redundant power supplies connected to a power supply supervi-
sor/distribution board. Power supply #1 is on top. Via power supply supervisory ICs
U1, U2, U3, and U7, the power supply supervisor monitors each supply’s output for
fault conditions, including undervoltage and overvoltage. If one supply fails, the
power supply supervisor will automatically choose the good supply to power the
8685’s circuitry. MOSFETs Q1-8 switch the supplies. These transistors have very low
“on” resistance to minimize heating and power loss.

Each of the two redundant power supplies is a modular switching supply to mini-
mize heat buildup and power consumption. They convert an AC line voltage input
to +15, –15, and +5 volts. All other supply voltages are derived from these three
voltages via local regulation. The supply accepts inputs from 95 to 264 VAC, 50 – 60
Hz.

The only fuses in your Optimod are 2.5A 20mm Quick Acting HBC fuses mounted on
the power supplies’ circuit boards. Because the supplies’ outputs are automatically
current-limited, the fuse will usually open only if the power supply fails. Be sure to
disconnect your Optimod from AC power before replacing the fuse!

Because of safety and EMI suppression requirements for the power supplies, there
are no user-serviceable parts in them and we do not provide documentation for
these supplies at the component level. In case of failure, replace the entire bad sup-
ply with an Orban-supplied replacement (Orban part number 29270.000.01.1), which
ensures that your Optimod will continue to meet all regulatory requirements for
safety and emissions.
6-14 TECHNICAL DATA ORBAN MODEL 8685

The output of the power supply is monitored by the power-indicator LED circuit,
which causes the power light to flash according to a preset code to diagnose prob-
lems with the various power supplies in the 8685. See step 3 on page 4-9.

HD-SDI Module
As stated above, we do not recommend attempting to service the HD-SDI circuit
board at the component level because it is a high-speed 10-layer board and easy to
damage. Nevertheless, for completeness, we provide a parts list, parts locator draw-
ings and schematics for the SDI module. The parts locator drawings and schematics
are located from page 6-72 to 6-93. In the schematics, many of the ICs are labeled to
describe their functionality.

The SDI receiver consists of a cable equalizer, U200, which extracts the SDI signal.
The cleaned-up signal is processed by an FPGA (see page 6-81), which extracts and
re-embeds the video signal, the audio signals, and the metadata within the VANC
area of the SDI. The metadata is further processed by a PIC microprocessor (U500),
which also provides the interface between metadata received and emitted from the
RS485 serial ports, the SDI VANC area, and Dolby-E (when the optional Dolby-E de-
coder and/or encoder modules are fitted; see page 6-86). In addition, the PIC delays
the metadata as necessary to match the delay applied to the video signal.

In addition to embedding and de-embedding the audio, the FPGA works in conjunc-
tion with the DSPs to implement the 8685’s routing switcher. For example, this al-
lows audio received from the SDI to be routed to the 8685’s audio processing or
AES3id outputs.

The FPGA also controls the video memory that permits the video signal to be de-
layed by up to 11 frames before being re-embedded into the SDI. The video memory
is shown on page 6-82.

Abbreviations
Some of the abbreviations used in this manual may not be familiar to all readers:

A/D (or A to D) analog-to-digital converter

AES Audio Engineering Society
AGC automatic gain control
A-I analog input
A-O analog output
BAL balanced (refers to an audio connection with two active conductors and one shield sur-
rounding them).
BBC British Broadcasting Corporation
BNC a type of RF connector
CALIB calibrate
CIT composite isolation transformer
CMOS complementary metal-oxide semiconductor
COFDM Coded Orthogonal Frequency Division Multiplex—a robust type of digital modulation using
many narrow-bandwidth, low data rate, mutually non-interfering carriers to achieve an ag-
OPTIMOD LOUDNESS CONTROLLER TECHNICAL DATA 6-15
gregate high data rate with excellent multipath rejection.
COM serial data communications port
D/A (or D to A) digital-to-analog converter
dBm decibel power measurement. 0 dBm = 1mW applied to a specified load. In audio, the load
is usually 600Ω. In this case only, 0 dBm = 0.775V rms.
dBu decibel voltage measurement. 0 dBu = 0.775V RMS. For this application, the dBm-into-
600Ω scale on voltmeters can be read as if it were calibrated in dBu.
DI digital input
DJ disk jockey, an announcer who plays records in a club or on the air
DO digital output
DOS Microsoft disk operating system for IBM-compatible PC
DSP digital signal processor (or processing). May also refer to a special type of microprocessor
optimized for efficiently executing arithmetic.
EBU European Broadcasting Union
EBS Emergency Broadcasting System (U.S.A.)
EMI electromagnetic interference
ESC escape
FCC Federal Communications Commission (USA regulatory agency)
FDNR frequency-dependent negative resistor⎯an element used in RC-active filters
FPGA Field-programmable gate array
FET field effect transistor
FFT fast Fourier transform
FIFO first-in, first-out
G/R gain reduction
HF high-frequency
HP high-pass
IC integrated circuit
IM intermodulation (or “intermodulation distortion”)
I/O input/output
ITU International Telecommunications Union (formerly CCIR). ITU-R is the arm of the ITU dedi-
cated to radio.
JFET junction field effect transistor
LC inductor/capacitor
LCD liquid crystal display
LED light-emitting diode
LF low-frequency
LP low-pass
LVL level
MHF midrange/high-frequency
MLF midrange/low-frequency
MOD modulation
N&D noise and distortion
N/C no connection
OSHOOT overshoot
PC IBM-compatible personal computer running a Microsoft Windows® operating system
PCM pulse code modulation
PIC A family of small microprocessors often used for embedded systems
PPM peak program meter
RAM random-access memory
RC resistor/capacitor
REF reference
RF radio frequency
RFI radio-frequency interference
6-16 TECHNICAL DATA ORBAN MODEL 8685

RMS root-mean-square
ROM read-only memory
SDI / HD-SDI serial data interface and high-definition serial data interface — a family of SMPTE stan-
dards allowing audio, video, and ancillary data to be multiplexed together and conveyed via
75 ohm coaxial cable or optical fiber at speeds up to 3 Gb/sec.
S/PDIF Sony/Philips digital interface (standardized as IEC958)
TRS tip-ring-sleeve (2-circuit phone jack)
THD total harmonic distortion
TX transmitter
μs Microseconds. For pre-emphasis, the +3 dB frequency is 1/(2 π τ), where τ is the pre-
emphasis time constant, measured in seconds.
VCA voltage-controlled amplifier
VU volume unit (meter)
XLR a common style of 3-conductor audio connector
XTAL crystal

Parts List
Many parts used in the 8685 are surface-mount devices (“SMT”) and are not nor-
mally field replaceable because specialized equipment and skills are necessary to
remove and replace them. The list below includes substantially all of the parts used
in the 8685 (including surface-mount devices) and inclusion of a part in this list does
not imply that the part is field-replaceable.

See the following assembly drawings for locations of components.

Obtaining Spare Parts

Special or subtle characteristics of certain components are exploited to produce an
elegant design at a reasonable cost. It is therefore unwise to make substitutions for
listed parts. Consult the factory if the listing of a part includes the note “selected” or
“realignment required.”

Orban normally maintains an inventory of tested, exact replacement parts that can
be supplied quickly at nominal cost. Standardized spare part kits are also available.
When ordering parts from the factory, please have available the following informa-
tion about the parts you want:

Orban part number

Reference designator (e.g., C3, R78, IC14)
Brief description of part
Model, serial, and “M” (if any) number of unit ⎯ see rear-panel label

To facilitate future maintenance, parts for this unit have been chosen from the cata-
logs of well-known manufacturers whenever possible. Most of these manufacturers
have extensive worldwide distribution and can be contacted through their web
sites.
OPTIMOD LOUDNESS CONTROLLER TECHNICAL DATA 6-17
Base Board
BASE BOARD
PART # DESCRIPTION COMPONENT IDENTIFIER
Subassembly Flat Cable-40P-
42008.020Q J7
2""
16013.000.01 Heatsink, Clip On TO 220 H1
Resistor, METALFILM, 1/8W, R28, 30, 33, 35, 37, 39, 44, 46, 48, 49, 50,
20040.604.01
1%, 604 Ω 51, 52, 53, 54, 55
Resistor, METALFILM, 1/2W,
20080.301.01 R47
1%, 301 Ω
Resistor, METALFILM, 1/8W,
20121.100.01 R43, 45
1%, 10Ω, 1206
Resistor, THIN FILM, 1/8W,
20121.750.01 R82, 83, 84
1%, 75 Ω
20128.002.01 Resistor 2.0 Ω 1% 0805 R22, R23, R24, R25
20129.301.01 Resistor, 301Ω, 0805 R59, R77
20130.100.01 Resistor, 1.00K 1% 0805 R79
Resistor, 1/8W, 1%, 1.62K,
20130.162.01 R41, 42
0805
20130.200.01 Resistor, 2.00K, 0805 R4, R56, R62
Resistor, 1/8W, 1%, 2.49K,
20130.249.01 R76
0805
Resistor, 1/8W, 1%, 5.62K,
20130.562.01 R57
0805
R5, 6, 15, 16, 17, 26, 60, 61, 63, 65, 67, 68,
20131.100.01 Resistor, 10K, 0805
69, 70, 71, 73, 74, 75, 80, 81, 102, 103, 104
20131.140.01 Resistor, 14.0K, 0805 R58, 64
20131.301.01 Resistor, 30.1K, 0805 R72
R1, 2, 3, 7, 8, 9, 10, 11, 12, 13, 14, 20, 27,
20132.100.01 Resistor, 100K, 0805 29, 31, 32, 34, 36, 38, 40, 66, 85, 86, 87, 88,
89, 90, 91, 92, 93
20132.332.01 Resistor, 332K, 0805 R78
Capacitor, X7R, 0.1uF, 10%, C3, 6, 7, 8, 9, 10, 11, 12, 13, 18, 21, 24, 30,
21139.000.01
0805 32, 33, 34, 35, 38, 39, 43
21147.022.01 Capacitor, 22pf, 0805, 1% C40, 41
21319.610.01 Capacitor, 10uf, Tantalum, SMT C1, 4, 14, 15, 17, 19, 22, 36, 37
Capacitor, 4.7uf, Tantalum,
21322.547.01 C2, 5, 20, 23
6032B
22016.000.01 Diode, MMSZ5231B, SOD-123 D12
Diode, VOLTAGE
22083.015.01 D11
SUPPRESSOR, 15 VOLT
22101.001.01 Diode, 1N4148WT/R D1, 3, 4, 5, 6, 9, 10
Diode, SCHOTTKY 1A, 60V,
22209.000.01 REF, , NO, STUFF, D7, D8
SMD
23214.000.01 Transistor NPN MMBT3904 Q1, Q3, Q4, Q5
23606.201.01 Transistor, PWR, NPN Q2
24635.000.01 IC 74HCT374 U4
24900.000.01 IC, HEX INVERTER, SMT U11, U13
24967.000.01 IC, 74ACT245DW U3, U5
24978.000.01 IC, 74ACT244SC U14, 15
24979.000.01 IC, BAT54C-7 D13, 14, 15, 16, 17
6-18 TECHNICAL DATA ORBAN MODEL 8685

BASE BOARD
PART # DESCRIPTION COMPONENT IDENTIFIER
24982.000.01 IC, 74HC4051M U19
24983.000.01 IC, 7064STC100-10 U1
24984.000.01 IC, LP2987IM-5.0 U20
25008.000.01 IC, PS2506-4 U10, 12
LED, Red/Green, Bi-
25112.001.01
Color/POLR
Connector, Right Angle, PC
27017.025.01 J10
Board Mount, 25P
27147.018.01 IC, Socket, DIP, 18 PIN, DUAL SU18
Cable, Flat, 2 Long, 14 Conduc-
27223.002.01 J8
tor
Connector Header PC104
27371.040.01 Header2
Stack 40P
Connector Header PC104
27371.064.01 Header1, Header3
Stack 64P
Connector, Socket, Strip, 14
27406.014.01 J2
PIN
Connector, Header, Double
27421.004.01 J3B, J6
ROW, 4P, 2 X 2
Connector, Header, Double
27421.006.01 J5
ROW, 6P, 2 X 3
Connector, Header, Double
27421.010.01 J12
ROW, 23", 2 X 5
Connector Header STR .23
27421.050.01 J9
2x25
Connector, Header, 3 Pin, Sin-
27426.003.01 J11
gle Row
Connector, STR, Double Row,
27451.005.01 J4
26 PIN
Header, STR, Double Row, PC
27451.024.01 J1
MOUNT
Connector MOL53047-0510
27500.000.01 J14
5PIN
28086.000.01 Crystal, 4.0 MHz, HC49US X1
29521.000.01 Inductor, 3.9uH, JM391K L1, L2, L3
32166.000.06 Circuit Board, Base Board
44093.100.01 Software PIC 8300 U18 U18
Subassembly RECPTL-
47010.016.01 J3A
W/SHRINK
Subassembly RECPTL-
47010.017.01 J3A
W/SHRINK

CPU Module
CPU MODULE
PART # DESCRIPTION COMPONENT, IDENTIFIER
20128.010.01 Resistor, 10Ω,0805 R31, R34
20128.022.01 Resistor, 22Ω 1% 0805 R5, R6
20128.332.01 Resistor, 33.2Ω,0805 R10, R11, R14
OPTIMOD LOUDNESS CONTROLLER TECHNICAL DATA 6-19
CPU MODULE
PART # DESCRIPTION COMPONENT, IDENTIFIER
20128.499.01 Resistor, 49.9Ω 1% 0805 R19, R20, R21, R22, R23
20129.160.01 Resistor, 160Ω 1% 0805 R24, R25
20129.330.01 Resistor, 330Ω 1% 0805 R12, R16
20129.470.01 Resistor, 470Ω 1% 0805 R13, R15
20130.100.01 Resistor, 1.00K 1% 0805 R17, R35
R3, R4, R7, R8, R26, R27, R28, R29, R30,
20130.475.01 Resistor, 4.75KΩ,0805
R32
20130.931.01 Resistor, 9.31KΩ, 1%, 0805 R33
20131.100.01 Resistor, 10KΩ,0805 R1, R2, R9
Resistor,
20131.147.01 R18
1/8W,1%,14.7KΩ,0805
Resistor Network 1K CTS745C
20233.102.01 RN1
8R BUSSED
Resistor Network 4.7K
20233.472.01 RN2, RN3, RN4
CTS745C 8R BUSS
20237.472.01 Resistor Network 8R, ISO, 5% RN5
Capacitor,
21139.000.01 C8, C9, C20, C21, C177, C179, C182
X7R,0.1uF,10%,0805
Capacitor,
21141.000.01 C10
NPO,1000pF,1%,0805
Capacitor,
21142.000.01 C2
NPO,100pF,1%,0805
C11, 126, 127, 133, 134, 150, 152, 154,
21146.310.01 Capacitor, .01uF,0805,10%
156, 158,160, 162, 180
21167.047.01 Capacitor, 4.7pF 50V X7R 0805 C1
Capacitor, 18pF 1% 50V COG
21170.018.01 C3, C4, C5, C6, C7
0805
C14, 17, 125, 132, 151, 153, 155, 157, 159,
21171.105.01 Capacitor, 1uF X7R 0805
161, 175, 176, 178, 181, 183
Capacitor,
21322.547.01 C12
4.7uF,Tantalum,6032B
Capacitor, 10uF 10% Tantalum
21325.610.01 C13, C15, C16, C18
6032-B
22101.001.01 Diode,1N4148WT/R D1, D2, D3
IC Voltage Regulator LT1963-
24331.025.01 U14
2.5 SOT223
IC Voltage Regulator LT1963-
24331.033.01 U15
3.3 SOT223
IC SDRAM MT48LC16
24541.000.01 U2, U3
TSOP54P
IC Flash Memory E28F128
24542.000.01 U4
TSOP56
24543.000.01 IC CY2305 0 Delay Buffer 8P U11
IC NM93C46 Static EEPROM
24544.000.01 U12
TSSOP
24653.000.01 IC PWRST MIC8114 SOT143 U5
24670.000.01 IC 10/100BT NIC NATIONAL U10
24965.000.01 IC,74ALVC164245DGG U7, U8, U9
6-20 TECHNICAL DATA ORBAN MODEL 8685

CPU MODULE
PART # DESCRIPTION COMPONENT, IDENTIFIER
IC Microprocessor ELANSC520
24972.520.01 U1
BGA388
Connector RJ45 PCMT
27306.000.01 J1
W/MAGS
27370.040.01 Connector Socket PC104 40pin P2
27370.064.01 Connector Socket PC104 64pin P1, P3
28031.000.01 Holder, Battery, Lithium Cell BT1HLDR
28041.000.01 Cell,Coin,Battery,Lithium,3V BT1
Oscillator 33MHZ SG636 4P
28089.000.01 X1
SMD
28090.000.01 IC TCXO DS32KHZ 36P BGA U13
Crystal 25MHZ RXD MP35L
28091.000.01 Y1
SMD
32201.000.02 PCB Control Module 8685
44094.100.01 Firmware 8685 U6 20LV8D

Serial I/O Board

SERIAL I/O BOARD
PART # DESCRIPTION COMPONENT IDENTIFIER
Header 1X6 .100 PC-Mount
27459.006.01.1 J6 (NO STUFF)
W/LK
20129.110.01.1 Resistor 0805 110 Ω 1% 1/8W R3 (NO STUFF)
20128.000.01.1 Resistor 0 Ω 0805 R4 R5 (NO STUFF)
44121.000.01.1 Firmware IC PIC MCU U5
Capacitor 10uF 10% Tantalum
21325.610.01.1 C13, C16, C20,
3528
C1, C2, C3, C4, C5, C6, C7, C8, C9, C10,
21139.000.01.1 Capacitor X7R 0.1uF 10% 0805 C11, C12, C15, C17, C18, C19, C21, C22,
C23, C24, C25
20130.100.01.1 Resistor 1.00K 1% 0805 R1, R2, R11, R14, R15, R16, R17
20165.110.01.1 Resistor 110 Ω 1% 1210 R6, R7, R8, R9
24792.128.01.1 IC PIC24FJ128GA106 MCU U5
24343.000.01.1 IC TPS76933DBVR LDO REG U6
Header 1X5 .100 PC-Mount with
27459.005.01.1 J5
Lock
24623.000.01.1 IC Octal Buffer/Line Driver 20 U7
25102.000.01.1 LED Yellow WATER CLR 1206 D3
20129.475.01.1 Resistor 475 Ω 1% 1/8W 0805 R18
23214.000.01.1 Transistor NPN MMBT3904 Q1, Q2
20237.472.01.1 Resistor Network 8R ISO 5% RN1
20131.100.01.1 Resistor 10K 0805 R10, R12, R13
32336.000.02.1 Circuit Board RS-232/485 Board
27147.014.01.1 IC Socket,DIP,14 Pin ,Dual SU2, SU3
27018.009.01.1 Connector, DB9, Female, Filter J2, J3
24966.000.01.1 IC, QUAD UART, ST16C554DC U4
27147.124.01.1 IC Socket DIP 24 pin Dual SU1
Connector Right-Angle PC-Mount
27017.009.01.1 J1
9P MAL
OPTIMOD LOUDNESS CONTROLLER TECHNICAL DATA 6-21
SERIAL I/O BOARD
PART # DESCRIPTION COMPONENT IDENTIFIER
24968.000.01.1 IC MAX208ECNG+ U1
24778.000.01.1 IC RS-485 Transceiver 14DIP U2, U3
29521.000.01.1 Inductor 3.9uH 10M391KLF L1, NO, STUFF
27421.050.01.1 Connector Header STR .23 2X25 J4
22209.000.01.1 Diode SCHOTTKY 1A 60V SMD D1, D2, NO, STUFF
21141.000.01.1 Capacitor NPO 1000PF 1% 0805 C14

DSP Board
DSP BOARD
PART # DESCRIPTION COMPONENT IDENTIFIER
44129.100.01 FIRMWARE FPGA J703 86xx DSP IN, CIRCUIT, PROG, -, IC703
27401.000.01 CONNECTOR JUMPER RECPT BLACK J705, (PIN, 1-2)
27468.006.01 CONNECTOR 6P MOLEX PCMNT J901
24943.000.01 IC 74VHC08 IC602
TP801, TP805, TP901, TP902,
27630.001.01 JUMPER PC-MOUNT TEST PT (NO, STUFF, TP802, TP803,
TP804)
20135.002.01 RESISTOR 5% 2Ω 0805 R803, R804
20129.110.01 RESISTOR 0805 110Ω 1% 1/8W R817, R818
RN401, RN402, RN907, RN908,
20237.472.01 RESISTOR NETWORK 8R ISO 5%
RN909
20131.825.01 RESISTOR 1/8W 1% 82.5K 0805 R909, R910, R911, R912
R901, R902, R903, R904, R905,
20130.845.01 RESISTOR 1/8W 1% 8.45K 0805
R906, R907, R908
20130.348.01 RESISTOR 1/8W 1% 3.48K 0805 R815, R819, R820
20130.162.01 RESISTOR 1/8W 1% 1.62K 0805 R812
20130.100.01 RESISTOR 1.00K 1% 0805 R711, R816
20129.150.01 RESISTOR 1/8W 1% 150Ω 0805 R712
29552.000.01 INDUCTOR POWER 1.5uH 9A SMD L801, L802
20130.499.01 RESISTOR R0805 4.99K 1% 1/8W R210, R705, R813, R814, R821
29537.102.01 INDUCTOR 0805 FERRITE 1000Ω L701, L703, L704
20132.100.01 RESISTOR 1/8W 1% 100K R0805 R706, R707, R708, R709, R710
R201, R202, R203, R204, R205,
R206, R207, R208, R209, R603,
20131.100.01 RESISTOR 10K 0805
R604, R805, R806, R807, R808,
R809, R810, R811
20128.075.01 RESISTOR 75Ω 1% 0805 R601, R602
20128.022.01 RESISTOR 22Ω 1% 0805 R701, R702, R703, R704
27451.002.01 HEADER STR DBL ROW PCMT J704
CONNECTOR HEADER 3PIN SINGLE
27426.003.01 J705
ROW
CONNECTOR DOUBLE ROW PC-
27451.007.01 J601
MOUNT 40 PIN
27451.003.01 HEADER STR ` PC-MOUNT J801
CONNECTOR HEADER DOUBLE ROW
27421.010.01 J700, J703, J802
23" 2 X 5
42008.020.03 FLAT CABLE ASSEMBLY 40P 2" J701, J702
29512.000.01 CHK SHIELD 1670-1 250uH L100
24333.000.01 IC ST23-LM4041 ADJ IC803
24997.000.01 IC DAC AK4393VSP VSOP IC903
24960.000.01 IC OPA2134UA IC902
24843.000.01 IC CD74HC4046AM 16-SOIC IC704
6-22 TECHNICAL DATA ORBAN MODEL 8685

DSP BOARD
PART # DESCRIPTION COMPONENT IDENTIFIER
24348.000.01 IC REG SYNC BUCK CLK 4A IC801, IC802
24795.000.01 IC XC95144XL-10TQG144C IC703
24948.000.01 IC 74LVC2244 DRVR20 SOIC IC706, IC707, IC708
28093.000.01 OSCILLATOR VCXO 3.3V 27MHz FVXO- IC701
24766.000.01 IC PLL1707DBQ IC702
24421.000.01 IC SN74ALVCH16373DGGR IC411, IC412, IC917, IC918, IC919
24622.000.01 IC 74AHCT04 INVERT SOIC IC601, IC705
24945.000.01 IC 74AHC541 OCTLBUF SOL20 IC604
IC201, IC202, IC203, IC204,
24794.000.01 IC DSP DSPB56724AG
IC205, IC206, IC207, IC208, IC209
24793.000.01 IC MT48LC2M32B2P-6 IC401, IC402, IC907, IC908, IC909
24649.000.01 IC SN74AC11D AND-GATE IC301, IC302, IC603
22104.000.01 DIODE SCHOT RECT 1N5818 CR802
22083.068.01 DIODE VLTG SUPRSR 6.8 VL CR801
22083.033.01 DIODE VLTG SUPRSR 33 VLT CR803
21319.610.01 CAPACITOR 10uf TANTALUM SMT C831, C832
21230.710.01 CAPACITOR RAD LDS 100UF 50V HFS C833
21227.747.01 CAPACITOR RAD LDS 470UF 16V HF C836
21140.000.01 CAPACITOR NPO 470PF 1% 0805 C911, C912
C821, C822, C823, C824, C825,
21139.101.01 CAPACITOR CER 100PF 10% 50V0805
C826
CAPACITOR 22UF 10% TANTALUM
21325.622.01 C801, C802, C803, C804
3528
21185.220.01 CAPACITOR 22uF 6.3V X5R 20% 080 C815, C816
CAPACITOR 10UF 10% TANTALUM
21325.610.01 C700, C805, C806, C807, C808
3528
21138.247.01 CAPACITOR SMD1206 4700PF 50V 5% C829, C830
C501, C502, C503, C504, C505,
C506, C507, C508, C509, C511,
C512, C513, C514, C515, C516,
C517, C518, C519, C521, C522,
C523, C524, C525, C526, C527,
C528, C529, C531, C532, C533,
C534, C535, C536, C537, C538,
C539, C541, C542, C543, C544,
C545, C546, C547, C548, C549,
C551, C552, C553, C554, C555,
21139.000.01 CAPACITOR X7R 0.1UF 10% 0805
C556, C557, C558, C559, C561,
C562, C563, C564, C565, C566,
C567, C568, C569, C571, C572,
C573, C574, C575, C576, C577,
C578, C579, C604, C703, C704,
C705, C706, C707, C708, C709,
C710, C711, C712, C713, C714,
C715, C817, C818, C819, C820,
C834, C835, C904, C905, C906,
C913, C914
C441, C442, C451, C452, C461,
C462, C471, C472, C581, C582,
C583, C584, C585, C586, C587,
C588, C589, C591, C592, C593,
21171.105.01 CAPACITOR 1uf X7R 0805 C594, C595, C596, C597, C598,
C599, C701, C702, C809, C810,
C811, C812, C813, C814, C901,
C902, C903, C947, C948, C949,
C957, C958, C959, C967, C968,
OPTIMOD LOUDNESS CONTROLLER TECHNICAL DATA 6-23
DSP BOARD
PART # DESCRIPTION COMPONENT IDENTIFIER
C696, C977, C978, C979
C101, C102, C103, C104, C105,
C106, C107, C108, C109, C111,
C112, C113, C114, C115, C116,
C117, C118, C119, C201, C202,
C203, C204, C205, C206, C207,
C208, C209, C211, C212, C213,
C214, C215, C216, C217, C218,
C219, C221, C222, C223, C224,
C225, C226, C227, C228, C229,
C231, C232, C233, C234, C235,
C236, C237, C238, C239, C241,
C242, C243, C244, C245, C246,
C247, C248, C249, C251, C252,
C253, C254, C255, C256, C257,
C258, C259, C261, C262, C263,
21146.310.01 CAPACITOR 0.01uf 0805 10% 0805
C264, C265, C266, C267, C268,
C269, C271, C272, C273, C274,
C275, C276, C277, C278, C279,
C281, C282, C283, C284, C285,
C286, C287, C288, C289, C291,
C292, C293, C294, C295, C296,
C297, C298, C299, C301, C302,
C401, C402, C411, C412, C421,
C422, C431, C432, C601, C602,
C603, C716, C717, C718, C719,
C720, C721, C722, C723, C724,
C725, C726, C827, C828, C907,
C908, C909, C917, C918, C919,
C927, C928, C929, C937, C938,
C939

Interface Board
INTERFACE BOARD
PART # DESCRIPTION COMPONENT IDENTIFIER
R102, R103, R104, R105, R116, R117, R 128,
20128.000.01 Resistor, 0Ω, 0805
R129, R130, R131, R138, R139, R140, R209
20128.010.01 Resistor, 10Ω, 0805 R121
20130.100.01 Resistor, 1.00K 1% 0805 R107, R126, R127, R165, R166, R167, R202
R133, R134, R135, R136, R137, R203, R204,
20131.100.01 Resistor, 10KΩ, 0805
R205, R206, R207
R118, R119, R120, R141, R142, R143, R144,
R145, R146, R147, R148, R149, R150, R151,
20132.100.01 Resistor, 100KΩ, 0805 R152, R153, R154, R155, R156, R157, R158,
R159, R160, R161, R162, R163, R164, R201,
R208
C100, C101, C102, C203, C204, C205, C206,
Capacitor, X7R, 0.1uF, 10%,
21139.000.01 C207, C208, C212, C213, C214, C215, C216,
0805
C217, C218
C219, C223, C224
21151.020.01 Capacitor, 20pf, 0805 C221, C222
6-24 TECHNICAL DATA ORBAN MODEL 8685

21171.105.01 Capacitor 1uf X7R 0805 C202

21319.610.01 Capacitor, 10uf, Tantalum, SMT C200, C201
23214.000.01 Transistor NPN MMBT3904 Q100
24747.000.01 IC, MAX6501, TEMP 65c IC201
24756.000.01 IC, GRAPHICS, S1D13706F00A IC104
24965.000.01 IC, 74ALVC164245DGG IC100, IC101, IC102
24994.000.01 IC, 74ACT04, SOIC 14P IC103
Connector Socket DIP 18-PIN
27183.018.01 IC202
SMT
Connector Socket PC104 Stack-
27373.040.01 J100
ing
Connector Socket PC104 Stack-
27373.064.01 J101, J102
ing
27414.016.01 Header PIN 2X8 Right-Angle J200
Connector, Housing, Right-Angle
27756.000.01 J105
SMT
27757.033.01 Connector, FPC, 33PIN Rot-Lock J103
Oscillator 33MHZ SG636PCE 4P
28089.000.01 Y100
SMD
28092.000.01 Crystal, 4.000MHZ, SMD Y200
44105.100.01 Firmware PIC DISP INT 8685 IC202

Headphone Board
HEADPHONE BOARD
PART # DESCRIPTION COMPONENT IDENTIFIER
20039.100.01 Resistor, MF, 1/8W, 1%, 10 Ω R2, R3, R8
20131.100.01 Resistor, 10K, 0805 R1, R6
20131.499.01 Resistor, 1/8W, 1%, 49.9K, 0805 R10, R13
20543.103.01 Trimpots, Audio, 10K, Taper A R12
Capacitor, X7R, 0.1uF, 10%,
21139.000.01 C5, C6, C7, C8, C9, C10, C11, C12
0805
Capacitor, NPO, 100PF, 1%,
21142.000.01 C2, C4
0805
Capacitor, Metalized Polyester,
21445.510.01 C1, C3
1.0uF, 50V, 5%
24025.000.01 IC, BUF634P, DIP8 U2, U3, U4
24960.000.01 IC, OPA2134UA U1
Jack, Socket, 1/4" Phone, Right
27090.000.01 J1
Angle
27147.008.01 IC, Socket, DIP, 8 PINS, DUAL SU2, SU3, SU4
27408.003.01 Connector, 3P Socket STRIP SL1, SL2, SL3
27758.006.01 Connector 6P Molex Right Angle J2
29508.210.01 Filter-EMI Suppression-50V- L1, L2, L3
32091.000.05 Circuit Board Headphone Board
57148.000.01 Bracket, Phone 8685 TYPE
OPTIMOD LOUDNESS CONTROLLER TECHNICAL DATA 6-25
Encoder Board
ENCODER BOARD
PART # DESCRIPTION COMPONENT IDENTIFIER
15061.003.01 LED MOUNT, T-1, 0.220 LEDMNT
Capacitor, AXL LDS, 0.1uF, 50V,
21129.410.01 C1
20%
25122.000.01 LED, T 1 3/4 RED/GRN LED 1
26088.000.01 Encoder, Rotary, Noble 8500 EN1
26128.000.01 Switch, Joymouse, Push, 8500 A1
26304.001.01 Switch, Push-Mom, SPST SW1, SW2
Connector, Header, STR, .23", 2
27421.016.01 JP1
X8
32101.000.03 Circuit Board Encoder DPL/DEL

LCD Carrier Board

LCD CARRIER BOARD
PART # DESCRIPTION COMPONENT IDENTIFIER
SCREW, THREAD-FORM
11568.000.01
3x6MM
Capacitor, Ceramic, 0.0082uF,
21112.282.01 C1
1KV, 10%
22106.000.01 Diode, SMCJ26C, TRANZORB D3
Diode, SCHOTTKY 1A, 60V,
22209.000.01 D1, D2
SMD
24758.000.01 LCD Backlight Driver/CCFT A1
25409.000.01 LCD Display 320 X 240 LCD1
27420.002.01 Connector 2 PIN Right Angle J1
27757.033.01 Connector, FPC, 33PIN Rot-Lock J2, J3

Power Supply Distribution Board

POWER SUPPLY DISTRIBUTION
PART # DESCRIPTION COMPONENT IDENTIFIER
R7, R8, R11, R28, R35, R39, R41,
20131.100.01.1 Resistor 10K 0805
R57
27468.004.01.1 Connector 4P MOLEX PC-Mount J10
24352.000.01.1 IC REF2925AIDBZT VREF2.5V U8
24216.100.01.1 IC TL074CD OP AMP U9, U10
20129.549.01.1 Resistor 1/8W 1% 54.9KΩ 805 R33
20129.513.01.1 Resistor 1/8W 1% 51.1KΩ 805 R38
20129.210.01.1 Resistor 0805 210Ω 1% 1/8W R26, R27, R29, R46, R47, R48
24789.000.01.1 IC Inverter 2-6V SINGLE CMOS SOT U11, U12
6-26 TECHNICAL DATA ORBAN MODEL 8685

POWER SUPPLY DISTRIBUTION

PART # DESCRIPTION COMPONENT IDENTIFIER
21137.447.01.1 Capacitor .47UF 25V 10% 1206 C41
Transistor PNP MMBT3906 40V
23217.000.01.1 Q12, Q15
SOT23
20131.200.01.1 Resistor 0805 20.0K 1% 1/8W R34, R36, R37, R52, R53, R54, R56
23214.000.01.1 Transistor NPN MMBT3904 Q10, Q11, Q13, Q14
20132.100.01.1 Resistor 1/8W 1% 100K R0805 R30, R31, R32, R49, R50, R51
Capacitor Aluminum 220UF 25V
21249.220.01.1 C8, C28
SMD-F
21248.470.01.1 Capacitor Aluminum 470UF 25V SMD C6,
27459.006.01.1 Header 1X6 .100 PC Mount with lock (J9, NO, STUFF)
R17, R20 (R16, R18, R19, R40, R55,
20128.000.01.1 Resistor 0Ω 0805
NO STUFF)
R2, R5, R15, R21, R23, R25, R43,
20130.100.01.1 Resistor 1.00K 1% 0805
R45
21313.568.01.1 Capacitor Tantalum 6.8UF 25V 10% C17
Connector Header Double Row 23" 2 X
27421.010.01.1 J6
5
27468.002.01.1 Connector 2P Molex PC-Mount J8
29556.000.01.1 Inductor Toroid 14.75UH 3.4A L2, L3
27382.008.01.1 Connector Header 8 PIN 3.96MM J1, J2
IC Temperature Fan Control
24108.000.01.1 U6
TC650ACV
24107.000.01.1 IC Ideal Diode LTC4355IMS U3
24106.000.01.1 IC Ideal Diode LTC4354IS8 U7
24105.000.01.1 IC Ideal Diode LTC4352 U1, U2
Transistor MOSFET N-Channel
23418.000.01.1 Q3, Q4, Q7, Q8
30V5.6A
Transistor MOSFET N-Channel
23417.000.01.1 Q1, Q2, Q5, Q6
FDD6770A
24351.000.01.1 IC Voltage Regulator NEG 5V D2PAK U5
24350.000.01.1 IC Voltage Regulator POS 5V D2PAK U4
29555.126.01.1 Inductor 12UH 12A Toroid Vertical L1
27451.024.01.1 Header STR Double Row PC-Mount J5
27451.003.01.1 Header STR Double Row PC-Mount J3
27451.004.01.1 Header STR Double Row PC-Mount J4
27479.004.01.1 Connector Header .156CTR 4 PIN (J7 NO STUFF)
20130.309.01.1 Resistor 3.09K 1% 0805 R3, R6
20130.316.01.1 Resistor 31.6K 1% 0805 R1, R4
22084.167.01.1 Diode TVS 16.7V BIDIR CR3, CR4, CR5, CR8
C5, C10, C11, C22, C23, C24, C27,
21331.106.01.1 Capacitor Tantalum 10UF 35V SMD
C33
22084.064.01.1 Diode TVS 6.4V BIDIR CR1, CR2
Transistor MOSFET N-CHANNEL 20V
23416.000.01.1 Q9
4.2
C1, C2, C3, C4, C7, C12, C13, C16,
21139.000.01.1 Capacitor X7R 0.1UF 10% 0805
C18, C19, C25, C26, C31, C34, C36,
OPTIMOD LOUDNESS CONTROLLER TECHNICAL DATA 6-27
POWER SUPPLY DISTRIBUTION
PART # DESCRIPTION COMPONENT IDENTIFIER
C37, C38, C39, C40
20128.010.01.1 Resistor 10Ω 0805 R9, R10
20130.200.01.1 Resistor 2.00K 0805 R12, R13, R22, R24, R42, R44
22101.001.01.1 Diode 1N4148WT/R CR6, CR7, CR9, CR10
Capacitor Tantalum 1.0uF 35V A-
21318.510.01.1 C20
CASE
21171.105.01.1 Capacitor 1uf X7R 0805 C21
21146.310.01.1 Capacitor 0.01uf 0805 10% 0805 C9, C14, C15, C29, C30, C32, C35
20130.162.01.1 Resistor 1/8W 1% 1.62K 0805 R14
16024.000.01.1 Heatsink D2-PAK SMD HS_U4, HS_U5

HD-SDI I/O Board

HD-SDI I/O BOARD
PART # DESCRIPTION COMPONENT IDENTIFIER
32360.000.1 PCA HD-SDI DOLBY E I/O
32361.000.04.1 PCB HD-SDI DOLBY E I/O
20131.301.01.1 Resistor 30.1K 0805 R501
20129.210.01.1 Resistor 0805 210Ω 1% 1/8W R300, R309, R318, R621, R622
24789.000.01.1 IC INV 2-6V SGLE CMOS SOT U602, U605, U606, (U1400 NO STUFF)
20131.499.01.1 Resistor 1/8W 1% 49.9K 0805 R500
20131.140.01.1 Resistor 1/8W 1% 14.0K 0805 R214
Connector Header Double Row
27421.002.01.1 (J701, J702, NO STUFF)
2P 2 X 1
16023.600.01.1 HEATSINK BGA 28X28X15MM HEATSINK U700
Inductor 3.3UH 9A Surface-
29557.033.01.1 L600, L601, L604, L605
Mount
20130.970.01.1 Resistor 976Ω 1% 1/8W 0805 R603
20130.400.01.1 Resistor 402Ω 1%1/8W 0805 R611
20130.303.01.1 Resistor 30.9K 1% 1/8W 0805 R617
28057.000.01.1 IC GO1555-IXTE3 U1302
24684.000.01.1 IC STM6822SWY6F U702
24683.000.01.1 IC GS4915-INE3 U1301
24682.000.01.1 IC GS4911BCNE3 U1401
Capacitor 33PF 50V 5% NPO
21199.330.01.1 C1405
0603
Capacitor 22PF 50V 5% NPO
21199.220.01.1 C1406
0603
C1305, C1306, C1312, C1313, C1315,
Capacitor 0.1UF 16V 5% NPO
21199.104.01.1 C1319, C1320, C1321, C1322, C1323,
0603
C1324, C1400, C1401, C1404
Capacitor 10000PF 50V 5% C1316, C1407, C1408, C1409, C1410,
21199.103.01.1
0603 C1413, C1414, C1415
6-28 TECHNICAL DATA ORBAN MODEL 8685

HD-SDI I/O BOARD

PART # DESCRIPTION COMPONENT IDENTIFIER
20171.619.01.1 Resistor 619Ω 1% 1/10W 0603 R1305, R1306, R1307, R1310
20171.105.01.1 Resistor 1.0M 1% 1/10W 0603 R1411
20171.103.01.1 Resistor 10K 1% 1/10W 0603 R1315
20171.102.01.1 Resistor 1.0K 1% 1/10W 0603 R1407
20171.101.01.1 Resistor 100Ω 1% 1/10W 060 R1311
R1410, R1412 (R1301, R1302, R1303,
R1304, R1401, R1402, R1403, R1404,
20171.000.01.1 Resistor 0Ω 0603
R1405, R1406, R1408, R1409, R1413,
R1414, R1416, R1417 NO STUFF)
20130.715.01.1 Resistor 7.15K 1% 1/8W 0805 R1308
20130.237.01.1 Resistor 2.37K 1% 1/8W 0805 R616
20130.154.01.1 Resistor 150K 1% 1/8W 0805 R1002, R1312, R1313
20130.010.01.1 Resistor 1Ω 1% 1/8W 0805 R1314
27426.005.01.1 Header UNSHRD J501
Transistor PNP MMBT3906 40V
23217.000.01.1 Q201
SOT23
20237.472.01.1 Resistor Network 8R ISO 5% RN1400
20128.000.01.1 Resistor 0Ω 0805 R213, R218, R304, R307, R314
Oscillator 18-25MHZ INPT 3.3V
28044.001.01.1 U900, U902, U903
HD
29554.000.01.1 Inductor 6.8NH 5% 0402 SMD L201
29553.000.01.1 Inductor 5.6NH 5% 0402 SMD L200, L202
28127.000.01.1 relay DPDT 5V 10GHZ 0.5W K200
28045.856.01.1 Crystal 18.5625MHZ 18PF SMD Y901
28045.270.01.1 Crystal 27.000MHZ 18PF SMD Y1400
28045.250.01.1 Crystal 25.000MHZ 18PF SMD Y902
28045.200.01.1 Crystal 20.000MHZ 18PF SMD Y900
27115.000.01.1 Connector BNC RA 6GHZ 75Ω J200, J201
IC FPGA VERTEX5 30K
24796.300.01.1 U700
665FPGA
C717, C718, C720, C721, C723, C724,
Capacitor Ceramic 2.2UF 6.3V
21198.225.01.1 C744, C745, C746, C747, C761, C762,
0805
C763, C764, C765, C766
Capacitor Ceramic 4.7UF 6.3V
21197.475.01.1 C204, C209, C210, C211, C213, C214
0402
C715, C716, C719, C722, C725, C726,
C727, C728, C729, C730, C731, C732,
C733, C734, C735, C736, C737, C738,
C739, C740, C741, C742, C743, C748,
Capacitor Ceramic 0.22UF 6.3V C749, C750, C751, C752, C753, C754,
21197.224.01.1
0402 C755, C756, C757, C758, C759, C760,
C767, C768, C769, C770, C771, C772,
C773, C774, C775, C776, C777, C778,
C779, C780, C781, C782, C783, C784,
C785, C786, C787, C788, C789
Capacitor Ceramic 1UF 6.3V
21197.105.01.1 C208, C212
0402
OPTIMOD LOUDNESS CONTROLLER TECHNICAL DATA 6-29
HD-SDI I/O BOARD
PART # DESCRIPTION COMPONENT IDENTIFIER
Capacitor Ceramic 0.01UF 25V
21194.103.01.1 C215, C216, C217
0402
20169.750.01.1 Resistor 750Ω 1/16W 1%0402 R211
20169.499.01.1 Resistor 49.9Ω 1/16W 0402 R208, R209
20169.374.01.1 Resistor 37.4Ω 1/16W 0402 R204
20169.153.01.1 Resistor 1.5KΩ 1/16W 0402 R210
20169.075.01.1 Resistor 75Ω 1/16W 1% 0402 R200, R201, R202, R203, R205, R206, R207
L1100, L1101, L1102, L1103, L1104, L1105,
Inductor Ferrite 220K 2000MA
29551.000.01.1 L1106, L1107, L1108, L1109, L1110, L1300,
0805
L1301, L1400
L303, L304, L305, L306, L307, L308, L309,
29540.000.01.1 BEAD Ferrite 100MHz 80ohm
L310, L312, L313, L314, L315, L1001, L1002
L109, L110, L300, L301, L302, L311, L316,
29539.000.01.1 Choke Common-Mode 1KΩ SM
L317, L1000
L100, L318, L319, L320, L321, L322, L323,
29537.102.01.1 Inductor 0805 Ferrite 1000-Ohm
L400, L401, L402, L403, L1003, L1004,
Connector Header 3PIN SNGL
27426.003.01.1 J301, J302, J304, J305, J307, J308, J1000
RW
AES3id Transformer, surface-
29015.000.01.1 T300, T301, T302, T303, T304, T305, T1000
mount
Capacitor Tantalum 330uF 2.5V C709, C810, C1108, C1109, C1110, C1111,
21330.000.01.1
20% L C1304
Capacitor Tantalum 47uF 6.3V C700, C701, C702, C703, C704, C705,
21329.000.01.1
20% Surface Mount C706, C707, C708
Capacitor Tantalum 33uF 6.3V
21328.000.01.1 C710, C1317
20% Surface Mount
C104, C108, C218, C220, C315, C316,
C321, C324, C329, C332, C337, C340,
C341, C342, C343, C344, C345, C400,
Capacitor 10UF 10% Tantalum C403, C406, C409, C503, C600, C606,
21325.610.01.1
3528 C806, C814, C900, C901, C902, C908,
C917, C918, C1009, C1012, C1017, C1200,
C1201, C1206, C1309, C1310, C1314,
C1402, C1411, C1412
IC 4-Channel Asynchronous U301, U303, U305, U400, U401, U402,
24769.000.01.1
Converter U403, U1002
24676.000.01.1 IC Transistor CS8427 28 PIN U1001
Capacitor Ceramic 3300pf 50V
21192.000.01.1 C631
5% C0G
Capacitor Ceramic 10uf 25V
21190.000.01.1 C809
LOW ESR
21186.000.01.1 Capacitor 22000pF COG 0805 C222, C1007
C1003, C1120, C1121, C1122, C1123,
21177.000.01.1 Capacitor 0805 0.22UF X7R C1124, C1125, C1126, C1127, C1128,
C1129, C1130, C1302, C1303
C100, C200, C612, C616, C619, C638,
21171.105.01.1 Capacitor 1uf X7R 0805
C811, C913, C914, C915, C916, C1311
Capacitor 0.01uf 0805 10%
21146.310.01.1 C207, C910, C912, C920, C1005
0805
21143.000.01.1 Capacitor NPO 1500PF 1% C118, C119, C1006
6-30 TECHNICAL DATA ORBAN MODEL 8685

HD-SDI I/O BOARD

PART # DESCRIPTION COMPONENT IDENTIFIER
0805
C101, C102, C103, C105, C106, C107,
C109, C110, C111, C114, C115, C205,
C219, C221, C223, C300, C301, C302,
C303, C304, C305, C306, C307, C308,
C309, C310, C311, C312, C313, C314,
C317, C318, C319, C320, C322, C323,
C325, C326, C327, C328, C330, C331,
C333, C334, C335, C336, C338, C339,
C401, C402, C404, C405, C407, C408,
C410, C411, C500, C501, C502, C504,
C505, C506, C507, C602, C603, C608,
C609, C610, C611, C613, C622, C623,
21139.000.01.1 Capacitor X7R 0.1UF 10% 0805 C624, C627, C628, C629, C630, C633,
C635, C640, C711, C712, C713, C714,
C790, C800, C801, C802, C803, C804,
C805, C807, C808, C812, C813, C815,
C903, C904, C905, C906, C907, C909,
C911, C919, C1000, C1001, C1002, C1004,
C1008, C1010, C1011, C1013, C1014,
C1015, C1016, C1104, C1105, C1106,
C1107, C1116, C1117, C1118, C1119,
C1202, C1203, C1204, C1205, C1207,
C1208, C1209, C1210, C1211, C1212,
C1213, C1214, C1301, C1308, C1318
(C1403, NO STUFF)
Resistor Network 47K 5% 4-
20242.000.01.1 RN1001
Resistor Surface-Mount
RN300, RN301, RN302, RN700, RN701,
Resistor Network 47ohm 5% 4-
20241.000.01.1 RN702, RN703, RN704, RN705, RN706,
Resistor Surface-Mount
RN707, RN806, RN808, RN1000
Resistor Network 47ohm 5% 8- RN200, RN800, RN801, RN802, RN803,
20239.000.01.1
Resistor Surface-Mount RN804, RN805, RN807
Capacitor SMD1206 4700PF
21138.247.01.1 C615
50V 5%
20166.051.01.1 Resistor 1/4W 5.1Ω 1% R900, R906, R909
Resistor 1/8W 1% 619 ohm
20132.619.01.1 R901, R905, R907, R908
0805
20130.475.01.1 Resistor 4.75K 0805 R614, R615, R619, R620, R717, R718, R802
20135.002.01.1 Resistor 5% 2Ω 0805 R324, R325, R326, R1013
20132.100.01.1 Resistor 1/8W 1% 100K R0805 R216, R1003
R100, R129, R130, R221, R502, R507,
R510, R511, R600, R604, R607, R618,
20131.100.01.1 Resistor 10K 0805
R701, R733, R1005, R1006, R1009 (R721,
R902, NO STUFF)
20130.249.01.1 Resistor 1/8W 1% 2.49K 0805 R512, R513, R602
20129.332.01.1 Resistor 332Ω 1% 0805 R716
R217, R719, R729, R800, R801, R1100,
20129.100.01.1 Resistor 100Ω 0805 R1101, R1102, R1103, R1300 (R219, NO
STUFF)
20129.301.01.1 Resistor 301Ω 0805 R903, R904, R910, R911
OPTIMOD LOUDNESS CONTROLLER TECHNICAL DATA 6-31
HD-SDI I/O BOARD
PART # DESCRIPTION COMPONENT IDENTIFIER
20129.110.01.1 Resistor 0805 110Ω 1% 1/8W R127, R 128, R303, R312, R322
20129.604.01.1 Resistor 0805 604Ω 1% 1/8W R1001
R220, R503, R504, R505, R506, R508,
20130.100.01.1 Resistor 1.00K 1% 0805
R509, R714, R715, R726, R727
R302, R305, R306, R308, R311, R315,
R316, R317, R319, R320, R321, R323,
R400, R401, R402, R403, R404, R405,
R406, R407, R623, R624, R700, R702,
R703, R704, R705, R706, R707, R708,
20128.499.01.1 Resistor 49.9Ω 1% 0805
R709, R710, R711, R712, R713, R720,
R723, R724, R728, R730, R731, R732,
R1004, R1007, R1008, R1010, R1011,
R1012, R1112, R1200, R1415 (R722, R725,
NO STUFF)
20128.075.01.1 Resistor 75Ω 1% 0805 R215, R301, R310, R313, R612, R1000
IC Regulator Synchronous Buck
24348.000.01.1 U600, U601, U603, U604
Clk 4a
Socket SIMM 72tin Left-
27186.000.01.1 J1200, J1201
Polarized
Connector Header Dual Row
27473.000.01.1 J700
2X7 2mm
24979.000.01.1 IC BAT54C-7 D200, D501, D502
23214.000.01.1 Transistor NPN MMBT3904 Q200, Q500, Q700, Q701
24792.128.01.1 IC PIC24FJ128GA106 MCU U500
Firmware IC
44126.000.01.1 U500
PIC24FJ128GA106
44125.000.01.1 Firmware IC FPGA VIRTEX-5 U700
24732.000.01.1 IC Video Sync Separator HDTV U203
Inductor Shielded PWR 680uH
29550.000.01.1 L602, L603
760mA
IC DDR SDRAM 512MB 66-
24798.000.01.1 U800, U802
TSO
IC GS2974ACNE Cable Equal-
24680.000.01.1 U200
izer
24679.000.01.1 IC GS2978-CNE3 U201
24349.000.01.1 IC Regulator LDO 1.5A 10-DFN U1100, U1101, U1102, U1103, U1300
24797.000.01.1 IC PROM 1.8V 16M 48TSOP U701
IC Octal Edge-Triggered Type D
24420.000.01.1 U1200, U1201, U1202, U1203
Flip-flop
24419.000.01.1 IC 3-8 Line Decoder/Demux U501, U502
28099.000.01.1 Crystal 32.768 KHZ 12.5pf SM Y200
Header 1X6 .100 PC Mount
27459.006.01.1 J500
W/LK
29544.000.01.1 EMI Filter 1000pF 50V 080 L105, L106, L107, L108
29541.000.01.1 Inductor 3.3UH Power SMD L101, L102, L103, L104
25102.000.01.1 LED Yellow CLR 1206 D500, D700, D701
Connector Double Row PC MNT
27451.007.01.1 J601, J602
40 PIN
6-32 TECHNICAL DATA ORBAN MODEL 8685

HD-SDI I/O BOARD

PART # DESCRIPTION COMPONENT IDENTIFIER
IC 2-Channel Asynchronous
24768.000.01.1 U300, U302, U304, U1000
Converter
Connector DUAL BNC PC
27057.000.01.1 J202, J300, J303, J306
Mount, Internal Capacitor
Header STR Double Row PC-
27451.004.01.1 J502, J600
Mount
27406.014.01.1 Connector Socket Strip 14 PIN J603
27147.008.01.1 IC Socket DIP 8 Pin Dual SU104, SU105
Connector Male Insert Right An-
27053.003.01.1 J100, J101
gle
24997.000.01.1 IC DAC AK4393VSP VSOP U100
24960.000.01.1 IC OPA2134UA U101, U102, U103
24958.000.01.1 IC DRV134PA U104, U105
IC Regulator Low-Dropout 3.3V
24347.000.01.1 U901
1.5A SOT2
IC Regulator 3A Sink/Source
24345.000.01.1 U801
DDR 10
Capacitor Ceramic 2200PF 50V
21191.000.01.1 C636
5% COG
Capacitor Ceramic 47uF 10V C604, C605, C625, C626, C1100, C1101,
21189.000.01.1
X5R 20% C1102, C1103, C1300
Capacitor Ceramic 100uF 6.3V
21188.000.01.1 C618, C620, C621, C639
X 5R 2
Capacitor 22uF 6.3V X5R 20%
21185.220.01.1 C1112, C1113, C1114, C1115, C1307
080
Capacitor 6800pF 10% X7R
21175.000.01.1 C614, C617, C632, C634, C637
0805
22106.000.01.1 Diode VSTT SMCJ26 DO214 CR100, CR101, CR102, CR103
21319.610.01.1 Capacitor 10uf Tantalum SMT C601, C607
C112, C113, C116, C117, C122, C123,
21140.000.01.1 Capacitor NPO 470PF 1% 0805
C124, C125, C224
20130.332.01.1 Resistor 1% 3.32K 0805 R610
Resistor Network 1.0K 5% 4-
20240.000.01.1 RN600, RN1300, RN1401
Resistor SMD
20166.001.01.1 Resistor 1/4W 1% 1 ohm 1206 R601, R605, R608, R609
20131.124.01.1 Resistor 1/8W 1% 12.4K 0805 R606
20131.021.01.1 Resistor 1/8W 1% 21K 0805 R212, R613
20130.402.01.1 Resistor 1/8W 1% 4.02K 0805 R1104, R1106, R1108
20130.301.01.1 Resistor 3.01K 1% 0805 R1110
21137.447.01.1 Capacitor .47UF 25V 10% 1206 C120, C121, C201, C202
20130.200.01.1 Resistor 2.00K 0805 R1105, R1107, R1109, R1111, R1309
20511.310.01.1 Trimpot 10K 10% 3/8TOP ADJ VR100, VR101
20133.100.01.1 Resistor 1/8W 1% 1.0M 0805 R125, R126
20131.825.01.1 Resistor 1/8W 1% 82.5K 0805 R109, R110, R111, R112
20131.113.01.1 Resistor 1/8W 1% 11.3K 0805 R117, R118, R121, R122
R101, R102, R103, R104, R105, R106,
20130.845.01.1 Resistor 1/8W 1% 8.45K 0805
R107, R108, R119, R120
OPTIMOD LOUDNESS CONTROLLER TECHNICAL DATA 6-33
HD-SDI I/O BOARD
PART # DESCRIPTION COMPONENT IDENTIFIER
20130.348.01.1 Resistor 1/8W 1% 3.48K 0805 R113, R114, R115, R116, R123, R124

Serial RS-232 / RS-485 Board

SERIAL BOARD for SDI OPTION
PART # DESCRIPTION COMPONENT IDENTIFIER
20165.110.01.1 Resistor 110Ω 1% 1210 R216, R217, R218, R219
24623.000.01.1 IC Octal Buffer / Line Driver 20 U200
27147.014.01.1 IC Socket DIP 14 Pin Dual SU201, SU202
27018.009.01.1 Connector DB9 Female Filter J201, J202
24966.000.01.1 IC Quad UART ST16C554DCJ U100
27147.124.01.1 IC Socket DIP 24 Pin Dual SU101
Connector Right-Angle PC-
27017.009.01.1 J101
Mount 9P MAL
24968.000.01.1 IC MAX208ECNG+ U101
Capacitor 10UF 10% Tantalum
21325.610.01.1 C100
3528
IC RS-485 TRANSCEIVER
24778.000.01.1 U201, U202
14DIP
Header STR Double Row PC-
27451.004.01.1 J200
Mount
C101, C103, C104, C105, C106, C107,
21139.000.01.1 Capacitor X7R 0.1UF 10% 0805
C108, C109, C110, C111, C200, C201, C202
20128.000.01.1 Resistor 0Ω 0805 R201, R205, R209, R211, R213, R215
Connector Header STR .23
27421.050.01.1 J100
2X25
Capacitor NPO 1000PF 1%
21141.000.01.1 C102
0805
20132.100.01.1 Resistor 1/8W 1% 100K R0805 R102
20130.100.01.1 Resistor 1.00K 1% 0805 R100, R101

Schematics and Parts Locator Drawings

These drawings reflect the actual construction of your unit as accurately as possible.
Any differences between the drawings and your unit are probably due to product
improvements or production changes since the publication of this manual.

If you intend to replace parts, please read page 6-16. Please note that because sur-
face-mount parts are used extensively in the 8685, few parts are field-replaceable.
Servicing ordinarily occurs by swapping circuit board assemblies. However, many
vulnerable parts connected to the outside world are socketed and can be readily re-
placed in the field.
6-34 TECHNICAL DATA ORBAN MODEL 8685

Because the drawings are based on vectors and not bitmaps, they can be magnified
as needed to make fine print legible.

Function Description Drawing Page

Chassis Circuit Board Locator and basic Top view 6-37
interconnections (not to scale)
Base Board Glue logic; supports CPU module Parts Locator 6-38
and RS-232 daughterboard. Drawing
Contains:
System Connections Schematic 1 of 4 6-39
CPU module interface Schematic 2 of 4 6-40
Power Supply Monitor Schematic 3 of 4 6-41
CPLD, General Purpose Interface, Schematic 4 of 4 6-42
and Remotes
CPU Module Control microprocessor. Services Parts Locator 6-43
front panel, serial port, Ethernet, Drawing
DSP board, and control board. Re-
sides on base board.
Contains:
Ethernet Schematic 1 of 5 6-44
General Purpose Bus Schematic 2 of 5 6-45
Memory Schematic 3 of 5 6-46
Miscellaneous Functions Schematic 4 of 5 6-47
Power and Ground Distribution Schematic 5 of 5 6-48
RS-232 Board Supports Serial Port Parts Locator 6-49
(base model) Drawing
Schematic 1 of 1 6-50
Dual Power Power supply supervisor automati- Parts Locator 6-51
Supply cally chooses good power supply if Drawing
Distribution one of the dual supplies fails.
Power Supply Input Control Schematic 1 of 2 6-52
Power Supply Failure Detector Schematic 2 of 2 6-53
DSP Board DSP Chips; Local +3.3V regulator. Parts Locator 6-54
Contains: Drawing
DSP Interconnects Schematic 1 of 9 6-55
DSP Extended Serial Audio Inter- Schematic 2 of 9 6-56
face (ESAI)
DSP Control Interface Schematic 3 of 9 6-57
DSP External Memory Control In- Schematic 4 of 9 6-58
terface
DSP Power and Ground Schematic 5 of 9 6-59
DSP 86xx 8-bit Control Interface Schematic 6 of 9 6-60
Clock Generation and CPLD Schematic 7 of 9 6-61
86xx Power Distribution Schematic 8 of 9 6-62
External Memory Interface Con- Schematic 9 of 9 6-63
troller
Front-Panel LCD Carrier Parts Locator 6-64
Boards Drawing
OPTIMOD LOUDNESS CONTROLLER TECHNICAL DATA 6-35
Function Description Drawing Page
LCD Carrier Schematic 1 of 3 6-65
Headphone and Encoder Board Parts Locator 6-66
Drawings
Headphone Board Schematic 2 of 3 6-67
Encoder Board Schematic 3 of 3 6-68
Front-Panel Front Panel Interface Board Parts Locator 6-69
Interface Drawing
Board Schematic 1 of 2 6-70
Schematic 2 of 2 6-71
I/O Board I/O Board Parts Locator 6-72
Drawing 1
Contains: Parts Locator 6-73
Drawing 2
System Interconnect Schematic 1 of 17 6-74
Analog Output Schematic 2 of 17 6-75
Video I/O Schematic 3 of 17 6-76
AES I/O Schematic 4 of 17 6-77
SDI I/O Schematic 5 of 17 6-78
PIC Controller Schematic 6 of 17 6-79
Power Supplies & Interface Schematic 7 of 17 6-80
FPGA Schematic 8 of 17 6-81
DDR SDRAM Schematic 9 of 17 6-82
Clock Oscillators Schematic 10 of 17 6-83
AES and Wordclock Sync Schematic 11 of 17 6-84
GTP Power & Filter Distribution Schematic 12 of 17 6-85
Dolby-E Decoder-Encoder Schematic 13 of 17 6-86
Clock Cleaner Schematic 14 of 17 6-87
Genlock Schematic 15 of 17 6-88
SRC Miscellaneous Signals Schematic 16 of 17 6-79
SRC Power Distribution Schematic 17 of 17 6-90
Serial Board RS232/RS485 serial interface board Parts Locator 6-91
Contains: Drawing
UART Schematic 1 of 2 6-92
Serial Ports Schematic 2 of 2 6-93
DSP Block Shows signal processing 6-94
Diagram
OPTIMOD LOUDNESS CONTROLLER TECHNICAL DATA 6-37
6-38 TECHNICAL DATA ORBAN MODEL 8685

Base Board Parts Locator Drawing

(for schematic 62165.000.06)
OPTIMOD LOUDNESS CONTROLLER TECHNICAL DATA 6-39
+5VD +RAW
SD(0..15)
2-1A, 1-5A FROM POWER SUPPLY TV9 TV8 TV11 TV12 TV13 TV14
U5
JP8 +5VD
2-1A, 1-5D /GPIOWR 74ACT245DW J1
14 SIN2 /GPIORD
2-1A, 1-5D 1 DIR 20 +5vD
Vcc 1
13
SOUT2 2-1B /FP_BUSEN 19 /OE
2
12 3
11
/RTS2 4
FPLED1 SD0 9 A8 FP_D0
B8 11
5
10 /CTS2 4-2B 6
FPLED2 SD1 8 A7 FP_D1
4-2B B7 12 7 +RAW
9
2-1D DISPLAY SD2 7 A6 B6 13
FP_D2 8
8 AUX_COMM 2-1B, 1-4B CONTRAST 9
2-1A SD3 6 A5 B5 14
FP_D3
10
7 DIRTY_GND
SD4 5 A4 B4 15
FP_D4 11
6 12 +5vA —5vA -15V +15V
18.432MHz SD5 4 A3 B3 16
FP_D5
13 DGND
5 1-4B, 2-1B TV6 TV7 TV5 TV4
SD6 3 A2 B2 17
FP_D6 14
4 TV15 15
SD7 2 A1 B1 18
FP_D7
16
3
36.864MHz Gnd 1 17
2 1-4B 10 18

0.1uF
C43
19 AGND
1 2 20
21 Plus5VA (Monitor)
24.576MHz 22
4-8C
1-4B, 2-1B Minus5VA (Monitor)
23 4-8C
TO I/O BOARD U13e
+5VD
24 Minus15V (Monitor)
4-8D
Plus15V (Monitor)
/_IO_RESET 10 11 RSTDRV 4-8D
100K R86 100K
SD0 R14 FP_D0
74HC14D 100K
RSTDRV R13 100K R87
2-1B, 1-5D SD1 FP_D1
/SPI_CS 100K
2-1B R12 100K R88
SSI_DI SD2 FP_D2
1-2C
SSI_CLK 100K R89 100K
1-4C SD3 R11 FP_D3 BACKLIGHT
SSI_DO
1-2C 100K 100K
SD4 R10 R90 FP_D4
/DACK1 16013.000.01 2
1-5D 100K 100K
DRQ1 SD5 R9 R91 FP_D5 Q2
1-5D
1
100K 100K TIP120
SD6 R8 R92 FP_D6
JP7 3
SD7 100K 3
1 R7 100K R93 Heatsink R26
SD7 FP_D7

2.00K
1N4148
2 SD6 1 K

R4
D1
3
SD4 10.0 K
4 Q1 A
SD5 FP_D(0..7) 2
5 +RAW
6 SD(0..15) C42 MMBT3904
7
SD3
8 SD2 1 2 1
BACKLIGHT

2Ω

2Ω

2Ω

2Ω

0.1uF
R24

R25
9

R22

R23
SD1

C9
10
10uF 2
11 SD0
12 DIRTY_GND DIRTY_GND
13 GPAEN
14
2-1A, 1-5D Note: C42 is not populated
15 /SMEMWR in standard build.
16
1-5D
17 /SMEMRD
1-5D /GPIOWR
18
19
20 /GPIORD LED_PULSE
21
2-1D
22 FP_D0 FP_D7
23 /LED
FP_D1 FP_D6 2-1D
24 FPLED1
25 DSP3.3VA FP_D2 FP_D5 /ENCODER 2-1D
26 4-8B FPLED2
FP_D3 FP_D4
27 SA9 DSP3.3VB Reserved
28 4-8B DISPLAY FP_D4 FP_D3 N/C
29 SA8
30 SA6 CONTRAST FP_D5 FP_D2
31 FP_D6 FP_D1 R20 100K FP_ROW-COL
SA7 +5vD 2-1D
32 /GPIOWR FP_D7 FP_D0
33 SA4 ENC1
2-8D
34 SA5 /FPCOL_A
35 SA3 SA0 ENC2
/FPCOL_B 2-8D
36
37 SA1 /FPROW_A
38 SA2 /FPROW_B
39 SA0 Note: J6 is not populated
40 /FPROW_C in standard build.
DIRTY_GND
SA(0..25) 2-1A, 1-5A /FPROW_D Key
+5VD +5VD 2 4

ENCODER
TO DSP BOARD +5vD
J6
(optional)
1 3
10uF
4.7uF

1 1 1
0.1uF
C21

C20

C19

DGND
1 1 1

10uF
2 2 2

4.7uF

0.1uF
+5VD +RAW

C22

C23

C24
+RAW
Key Key 2 2 2 Key Key
1 2 3 4 5 6 7 8 9 1011121314151617181920212223242526
Q5 2 4 2 4 2 4 6

MMBT3904 3
R5 1 2 3 4 5 6 7 8 9 10 11 12 13 14
1 +RAW 1 3 1 3 1 3 5
J3B J4 J5
10.0K J14 Key J3A J2
R17 2 1
TO SUPPLY LCD DATA DISPLAY LOGIC POWER
10.0K TO 8300 SERIES
TO FRONT PANEL ASSEMBLY
2
TV25 DIRTY_GND MONITOR LED
R6 3 TO 8500 SERIES LCD BACKLIGHT

2-5A BKLITE_ON 4 LCD BACKLIGHT

10.0K R16 DRIVER
5
2-5A MISC_OUT4 TV26

2-5A MISC_OUT5
R15 10.0K
Base Board Schematic:
10.0K
System Connections
(version 62165.000.06)
Sheet 1 of 4
 6-40 TECHNICAL DATA ORBAN MODEL 8685

/MEMCS16
2-1B
/MEMWR
2-1B
/MEMRD
2-1B
/SMEMWR
3-7C
/SMEMRD
3-7C
/SBHE TV66
/GPIOCS
2-1B
/GPIOCS16
2-1B
/GPIOWR
3-6D, 2-1A
/GPIORD
3-6D, 2-1A
+5VD
RSTDRV
3-7C, 2-1B
GPRDY TV67
GPAEN JTAG_TRIG
TV85
2-1A, 3-7C
GPTC
TV68 A1b JTAG_STOP/TX TV86
A1a GPALE TV69 JTAG_CMD/ACK
/DACK1 TV87
PC-104 Pinouts A B 3-7C E F
DRQ1 J13
/CHCHK A1 3-7C
Ground B1 JTAG_/TRST
E1 F1 1
SD7 A2 SD7
2
B2
RESDRV JTAG_TRIG E2 F2 JTAG_TDI 3
SD6 A3 SD6
4
B3
+5v. JTAG_BR/TC E3 F3 JTAG_TDO JTAG_TDO 5
SD5 A4 SD5
6
IRQ9 B4 JTAG_TMS JTAG_/TRST JTAG_TMS
E4 F4 7
GPIRQ10 SD4 A5 SD4
8
-5v. B5 JTAG_TDI JTAG_TCK
E5 F5 9
GPIRQ11 SD3 A6 SD3
10
DRQ2 B6 N/C JTAG_TCK E6 F6 11
GPIRQ12 SD2 A7 SD2 TV88 12
-12v. B7 /DTR2
E7 F7 TV74 (Reserved) N/C 13
GPIRQ15 SD1 A8 SD1
D C 14
B8 /RING2
/ENDXFR N/C E8 F8 /RTS2 JTAG_BR/TC 15
GPIRQ14 SD0 A9 SD0 TV75 16
D0 B9 /DCD2
Ground +12v. E9 F9 SIN2
C0 Ground CHRDY A10 TV76
D1 /DSR2
/MCS16 (Key) E10 F10 SOUT2
C1 /SBHE AEN A11 TV77
D2 B11
SA23
/IO16 /SMWTC
SA19 /CTS2 E11 F11 /DTR1
C2 A12
D3 IRQ10
LA23 SA19
/SMRDC B12
/RI1 E12 F12 /RTS1 CPU Module JTAG Port
SA22 C3 LA22 SA18 A13 SA18
D4 B13
SA21
IRQ11 /IOWC
SA17 /DCD1 E13 F13 SIN1
C4 LA21 SA17 A14
D5 B14
SA20
IRQ12 /IORC
SA16 /DSR1 E14 F14 SOUT1
C5 LA20 SA16 A15
D6 B15 N/C TV2
SA19
IRQ15 /DACK3
SA15 /CTS1 E15 F15
C6 LA19 SA15 A16
D7 IRQ14 DRQ3 B16 N/C CPU_+3.3V SSI_DI
E16 F16
SA18 C7 LA18 SA14 A17 SA14 4-8B 3-7C
/DACK0 D8 /DACK0 /DACK1 B17 SSI_CLK SSI_DO
E17 F17
SA17 C8 LA17 SA13 A18 SA13 3-7C 3-7C
DRQ0 D9 DRQ0 DRQ1 B18 CPU_+2.5V E18 F18
C9 /MEMRD SA12 A19 SA12 4-8B
/DACK5 D10 /DACK5 /REFRESH B19 Rsvd_1
TV3 E19 F19 TV71
C10 /MEMWR SA11 A20 SA11
DRQ5 D11 DRQ5 CLK B20 N/C Rsvd_2 Rsvd_0
TV72 E20 F20 TV70
SD8 C11 SD8 SA10 A21 SA10
/DACK6 D12 /DACK6 IRQ7 B21
E21 F21
SD9 C12 SD9 SA9 A22 SA9 ============= "Accomodation Provisions" ===========
DRQ6 D13 DRQ6 IRQ6 B22
3-7D, 2-1B
18.432MHz E22 F22 Default
+5VD
SD10 C13 SD10 SA8 A23 SA8 Default
/DACK7 D14 B23 36.864MHz /GPCS1
/DACK7 IRQ5
3-7D E23 F23 TV30 GPIRQ15 TV41 TV60
SD11 C14 SD11 SA7 A24 SA7
DRQ7 D15 B24 24.576MHz /GPCS2
DRQ7 IRQ4
3-7D, 2-1B E24 F24 TV31 GPIRQ14 TV42 TV61
SD12 C15 SD12 SA6 A25 SA6
D16 B25 Rsvd_3 /GPCS3
+5V. IRQ3
TV73 E25 F25 TV32 GPIRQ12 TV43 TV62
SD13 C16 SD13 SA5 A26 SA5
D17 B26 N/C CLK_TIME/TEST /GPCS4 /DACK0
/MASTER16 /DACK2
TV82 E26 F26 TV33 GPIRQ11 TV44 Patch 4 TV52
SD14 C17 SD14 SA4 A27 SA4
D18 B27 Rsvd_6 /GPCS5 DRQ0
Ground TC
TV80 E27 F27 TV34 GPIRQ10 TV45 Patch 3 TV53
SD15 C18 SD15 SA3 A28 SA3
D19 B28 Rsvd_7 /GPCS6 /DACK5
Ground BALE
TV81 E28 F28 TV35 GPIRQ9 TV46 TV54
(Key) SA2 A29 SA2
B29 IDE_DREQ /GPCS7 DRQ5
+5v.
TV83 E29 F29 TV36 GPIRQ7 TV47 TV55
SA1 A30 SA1
B30 IDE_/DACK /DACK6
OSC
TV84 E30 F30 PATCH1 TV37 GPIRQ4 GPIRQ6 TV48 TV56
SA0 A31 SA0
B31 DRQ6
Ground E31 F31 PATCH2 TV38 GPIRQ3 GPIRQ5 TV49 TV57
Ground A32
B32 /DACK7
Ground E32 F32 PATCH3 TV39 GPIRQ10 GPIRQ4 TV50 Patch 1 TV58
GPIRQ9 PATCH4 GPIRQ3 DRQ7
TV40 GPIRQ11 TV51 Patch 2 TV59
GPIRQ7
AUX_COMM TV63
10uF
0.1uF

4.7uF

1 1 1
2-1B, 3-7D
GPIRQ6
C3

C2

C1

2 2 2
TV64
AUX_PATCH
GPIRQ5
2-1B TV65
GPIRQ4

GPIRQ3

GPIRQ(3..15) +5VD

10uF
0.1uF

4.7uF
1 1 1

C6

C5

C4
SA(0..25) 2-1A, 3-7B 2 2 2

SD(0..15)
3-6D, 2-1A

Base Board Schematic:

CPU Module Interface
(version 62165.000.06)
Sheet 2 of 4
OPTIMOD LOUDNESS CONTROLLER TECHNICAL DATA 6-41
+15V +RAW

R62
U20 LP2987IM-5.0
2.00K 1 R82 R83 D12 D9
5 N.C. 4 A K K A Plus15V
OUTPUT INPUT
R78 6 8
75.0 Ω 75.0 Ω 1N4148
Plus15V R60 SENSE /SHUTDOWN
7 2
/ERROR DELAY
GND R84 D10
10.0K Vcc_PSM 332K 3 K A +RAW

0.1uF
1

R67

10.0K
75.0 Ω 1N4148

10uF

10uF

10uF
C39
2 1 1 1
1 1 K

10uF
0.1uF
R64 R61

10%
C38

C36
D15

D11
Minus15V
2 2 2
2 2
1 A

C37

C14

C15
14.0K 10.0K 3
2
D13 DGND
1 BAT54C
3
U19 16 74HC4051M
2

VDD
13 11 PMA0
X0 A
BAT54C PMA1
R63 R70 14 10
Plus5VA X1 B
15 9 PMA2
X2 C
10.0K 10.0K D14 12
X3
R69

TV29
10.0K

1 1
3 X4
TV1 5
2 X5
Minus5VA R72 R71 TV28 2 3 U18 PIC16C711/P
X6 X C40
TV27
BAT54C 4
2 1 16
X7
30.1K 10.0K OSC1

VSS
VEE
INH
1

10.0K

10.0K
22pF

4.000 MHz
R102
R68
8 7 6 6 PMA0

X1
RB0/INT
2 7 PMA1
(A SMALL PATCH OF GROUND) C41 RB1
2 1 15 8 PMA2
OSC2/OUT RB2 PWRFAIL
22pF 9
RB3 2-8D
+RAW +5VD DGND
17 10
RA0/AN0 RB4 ERROR
18 11 2-8D
RA1 RB5
1 12
+5vD R65 RA2/AN2/VREF RB6

2.49K
2 13

R76
RA3/AN3 RB7
10.0K
TV24 MCLR 4 3

100K
R66

100K
R85
MCLR RA4/T0CK1
R75 J11
+RAW SOCKET
VDD VSS Vcc_PSM
14 5 1
10.0K 18-PIN
DIP DEBUG 2

R79 C35 3LCD DEBUG/TEST

R73 1 2 SU18
DGND DGND
DSP3.3VA
1.00K 0.1uF
10.0K 1
D16 10%
Vcc_PSM Vcc_PSM
3
2
R74 BAT54C
DSP3.3VB

10.0K
R77

R80 301 Ω
CPU_+3.3V

10.0K D17
1
3
2 FPLED1 3-6D
R81 BAT54C
CPU_+2.5V
FPLED2 3-6D
10.0K

Base Board Schematic:

Power Supply Monitor
(version 62165.000.06)
Sheet 3 of 4
 6-42 TECHNICAL DATA ORBAN MODEL 8685

FP_ROW-COL
3-1B
DISPLAY
3-6D
ENC1
+5VD /LED
3-1B
3-1B /ENCODER
ENC2 3-1B
3-1B U3 LED_PULSE
4-2C PWRFAIL +5VD 3-1B
R104 74ACT245DW
4-2C ERROR +5VD R103
10.0K /GPIORD
10.0K 1
DIR
20
Vcc
/AUX_BUSEN 19 +5VD To Peripheral Board
/OE
U13c
14 U11g 14U13g J9
ENC1 5 6 SD0 9 11 AUX_D0
1 1
TV78 TV79 A8 B8 1
C33 C34 U13f SD1 8 12 AUX_D1 2
74HC14D 74HC14D A7 B7
74HC14D 3
0.1uF 2 0.1uF 2 U13d SD2 7 13 AUX_D2
13 12 A6 B6 4
7 7 SD3 6
A5 B5
14 AUX_D3 /CTS2 5
ENC2 9 8 /RTS2 6
74HC14D SD4 5 15 AUX_D4
A4 B4 J12 SIN2 7
SD5 4 16 AUX_D5 R3 SOUT2 8
74HC14D (Spare) A3 B3 TCK 1 2
SD6 /RI1 9
3 17 AUX_D6 TDO /DCD1
A2 B2
100K 3 4 10
PWRFAIL SD7 AUX_D7 /DSR1
SU10 SU12 2 18 TMS 11
A1 B1 5 6
1 NC /CTS1 12
SOCKET SOCKET ERROR Gnd R2 7 8 /DTR1 13
10

0.1uF
NC NC
/RTS1

C8
TDI 14
16-PIN 16-PIN 2 9 10
100K SIN1 15
DIP DIP SOUT1 16
NOTE:
U15
+5VD R1 JTAG Port 17
RSTDRV 18
D7 and D8 are not populated in R46 U11a +5VD 19
604 Ω U10 a 2 18 SD0 18.432MHz
standard build. 1 16 1 2 1A1 1Y1 100K 20
4 16 SD1 21
1A2 1Y2 AUX_D7 22
+5VD 6 14 SD2
74HC14D TV16 1A3 1Y3 1 1 1 1 AUX_D6 23

0.1uF

0.1uF

0.1uF

0.1uF
2 15

C10

C11

C12

C13
8 12 SD3 AUX_D5 24
D7 D8 R27 1A4 1Y4 AUX_D4 25
R48 604 Ω PS2506-4 11 9 SD4 2 2 2 2
2A1 2Y1 AUX_D3 26
100K TV17 13 7 SD5 AUX_D2 27
2A2 2Y2 11 26 38 43 59 74 86 88 89 90 95 39 91 82 66 51 34 18 3 62 73 15 4 U1 AUX_D1 28
1 A. U11b 15 5 SD6
1 A. R28 604 Ω 2A3 2Y3 AUX_D0 29
U10 b SD7
3 14 3 4
17
2A4 2Y4
3 G G G G G G G G G G G V V V V V V V V # # # # 30
TV18 n n n n n n n n n n n c c c c c c c c T T T T 31
d d d d d d d d d d d c c c c c c c c PATCH1 32
74HC14D 1 20 C D M D PATCH2 33
4 13 1G VCC I I I I I I I I K O S I PATCH3 34
R29 19 10 1 1 N/C N N / / / / / /

0.1uF
PATCH4 35

C32
R49 604 Ω PS2506-4 TV10 GND
T T O O O O O O
2G 2 N/C DISPLAY 57 DISPLAY 36
2 /AUX_0
100K SA0 /LED /AUX_1 37
DGND 74ACT244DW 16 (RESERVED) #LED 58
38
U11c /ENCODER /AUX_2
R30 604 Ω SA1 94 SA1 #ENCODER 48
/AUX_3 39
Chas U10 c TV19 40
5 12 5 6 SA2 96 SA2 LED_PULSE 84 LED_PULSE
L1 41
/MISC_IN SA3 12 SA3 #FPCOL_A 46 /FPCOL_A 42
J10 74HC14D SA2 43
3.9uH 6 11 SA4 10 SA4 #FPCOL_B 54 /FPCOL_B
R31 SA1 44
PS2506-4 SA5 9 SA5 #FPROW_A 45 /FPROW_A SA0 45
1 R50 604 Ω
100K U14 +5VD SA6 8 SA6 #FPROW_B 47 /FPROW_B /USB_CS
46
14 47
2 U11d 2 18 SD0
SA7 6 SA7 P/N: 24983.000.01 #FPROW_C 52 /FPROW_C
/GPIOWR
48
1A1 1Y1 49
R44 604 Ω U10 d SA8 13 SA8 #FPROW_D 56 /FPROW_D
15
7 10 9 8
4
1A2 1Y2
16 SD1
SA9
Altera EPM 7064 STC 100-10 /FP_BUSEN /GPIORD
50
14 SA9 79
3 6 14 SD2 #FP_BUSEN
1A3 1Y3 SA10 17 (RESERVED) 76 /AUX_BUSEN
16
8 9 74HC14D 8 12 SD3 #AUX_BUSEN
1A4 1Y4 SA11
4
R32 11 9 SD4 19 (RESERVED) (RESERVED) 80 C18
R51 604 Ω PS2506-4 2A1 2Y1 SA12 20 65 /AUX_0
17
100K 13 7 SD5 (RESERVED) #AUX0 2 1
2A2 2Y2 SA13 21 71 /AUX_1
5 15 5 SD6 (RESERVED) #AUX1
U11e
2A3 2Y3 SA14 23 64 /AUX_2 0.1uF
18
R33 604 Ω U12 a 17 3 SD7 (RESERVED) #AUX2
2A4 2Y4 SA15 25 42 /AUX_3
6 1 16 11 10 (RESERVED) #AUX3 C17
SA16 29 41 /SPI_CS
19 1 20 (RESERVED) #SPI_CS 2 1
74HC14D
1G VCC SA17 30 40 /USB_CS
7 2 15 19 10 1 (RESERVED) #USB_CS
R34 GND SA18 10uF

0.1uF
31 (RESERVED)

C30
2G
20
R52 604 Ω PS2506-4
2 SA19 32 63 RSTDRV
8 100K 74ACT244DW (RESERVED) (RESERVED)
SA20 33 67 /GPIOCS
21 (RESERVED) (RESERVED)
U11f TV20 SA21 35 68 /MEMCS AUX_COMM
9 R35
604 Ω U12 b
(RESERVED) (RESERVED) 1-4B, 3-7D
SA22 36 69 /GPIOCS16
22 3 14 13 12 (RESERVED) (RESERVED) AUX_PATCH
/REMOTE_IN SA23 37 75 /MEMCS16 1-4B
10 (RESERVED) (RESERVED)
74HC14D SA24 93 81 /MEMRD
23 4 13
R36
(RESERVED) # (RESERVED) RSTDRV
SA25 92 B R # 83 /MEMWR 3-7C, 1-5D
11
R53 604 Ω PS2506-4 (RESERVED) K (RESERVED) /FP_BUSEN
R56 5 # # L # E M 85 24.576MHz 3-6D
24 100K CONT1 2.00K CONTRAST N/C M M I (RESERVED)
7 G G I I O S
12 N/C G P P M T /SPI_CS
U13a R57 P I I H E S T C 3-7C
25 R37 604 Ω U12 c CONT2 5.62K C E

301 Ω
z
N N N N A O O

R59
13
5 12 1 2 N N O N N N N N N
/ / / / E R W 1 O / / I I U / / / / / / /GPIOCS
1-5D
R58
74HC14D CONT3 14.0K C C C C N D R 8 N C C N N T C C C C C C /MEMCS
6 11
R38 /GPIOCS16
604 Ω PS2506-4 22 24 27 28 99 98 100 87 97 49 50 61 44 60 53 55 70 72 77 78 1-5D
L3 L2 R54 /MEMCS16
Chas 1-5D
3.9uH 3.9uH 100K +5VD TV21
U4 /MEMRD
1-5D
U13b 1 /MEMWR
R39 604 Ω U12 d 20 Vcc OE /MISC_OUT 1-5D
7 10 3 4
CP 11 24.576MHz 3-7D, 1-4B
2 QO D0 3 SD0 18.432MHz
3-7D, 1-4B
74HC14D 5 4 SD1
301 Ω

Q1 D1 /GPIOWR
R47

8 9
R40 6 Q2 D2 7 SD2 3-6D, 1-5D
PS2506-4 9 8 SD3 /GPIORD
+RAW R55 604 Ω Q3 D3 3-6D, 1-5D
100K
12 Q4 D4 13 SD4 GPAEN
15 Q5 D5 14 SD5 3-7C, 1-5D
D3 SD6 CONTRAST
R45 10.0 Ω 16 Q6 D6 17
3-6D
A K 19 Q7 D7 18 SD7
3 Q3 SA(0..25)
1N4148 C7 1 10 Gnd 1-5A, 3-7B
R41
1N4148

K TALLY1 SD(0..15)
1
D5

0.1uF 2 3-6D, 1-5A

D4 74HCT374
R43 10.0 Ω A 1.62K
A K
Q4
2 MMBT3904
3 MMBT3904
1N4148
K
1N4148

1
D6

DGND
A MISC_OUT5
2
3-8A
R42 TALLY2 MISC_OUT4 3-8A
Base Board Schematic:
1.62K BKLITE_ON
DGND
3-8A CPLD, GPI & Remote
(version 62165.000.06)
Sheet 4 of 4
OPTIMOD LOUDNESS CONTROLLER TECHNICAL DATA 6-43

CPU MODULE
Drawing 32200.000.02
 6-44 TECHNICAL DATA ORBAN MODEL 8685

+3.3 VDC

+3.3 VDC

R24 R25
160 ohm, 5%, 0805 160 ohm, 5%, 0805
10

RN4
C

4.7 k, 5%, CTS 745?083472J

PCI_AD[0..31]
1
9
8
7
6
4
3
2

A2 PCI_AD31 PCI_AD31 66
Req4-n AD31 PCI_AD30 PCI_AD30 AD31 +3.3 VDC
U3 Req4-n AD30 A1 67 AD30
Req3-n R3 B1 PCI_AD29 PCI_AD29 68
Req2-n Req3-n AD29 PCI_AD28 PCI_AD28 AD29
P4 Req2-n AD28 B2 70 AD28
Req1-n N3 D2 PCI_AD27 PCI_AD27 71
Req1-n AD27 PCI_AD26 PCI_AD26 AD27
AD26 D1 72 AD26
E1 PCI_AD25 +3.3 VDC PCI_AD25 73 R21
AD25 PCI_AD24 PCI_AD24 AD25 49.9 ohm, 1%, 0805
U4 Gnt4-n AD24 E2 74 AD24
T3 F1 PCI_AD23 PCI_AD23 78
Gnt3-n AD23 PCI_AD22 PCI_AD22 AD23
P3 Gnt2-n AD22 G1 79 AD22
N4 G2 PCI_AD21 PCI_AD21 81 54 TxData+
Gnt1-n AD21 PCI_AD20 PCI_AD20 AD21 TPTDP
AD20 H2 82 AD20
H1 PCI_AD19 PCI_AD19 83
IntD-n AD19 PCI_AD18 PCI_AD18 AD19 R19
H4 IntD-n AD18 J1 86 AD18
IntC-n H3 J2 PCI_AD17 PCI_AD17 87 49.9 ohm, 1%, 0805
IntB-n IntC-n AD17 PCI_AD16 PCI_AD16 AD17
J3 IntB-n AD16 K2 88 AD16

8
7
6
5
4
3
2
1
R2 PCI_AD15 PCI_AD15 101 C5
AD15 PCI_AD14 RN5 PCI_AD14 AD15 18 pf
AD14 T2 102 AD14 1 Tx+
T1 PCI_AD13 PCI_AD13 104 C6
AD13 PCI_AD12 R-PACK PCI_AD12 AD13 18 pf
AD12 U1 105 AD12
U2 PCI_AD11 PCI_AD11 106 R20
AD11 PCI_AD10 PCI_AD10 AD11 49.9 ohm, 1%, 0805 TxCT
AD10 V2 108 AD10 2 CT1

10
11
12
13
14
15
16
V1 PCI_AD9 PCI_AD9 109

9
AD9 PCI_AD8 PCI_AD8 AD09
AD8 W1 110 AD08
Y2 PCI_AD7 PCI_AD7 112 53 TxData- 3
AD7 PCI_AD6 PCI_AD6 AD7 TPTDM Tx-
AD6 Y1 113 AD6
AA1 PCI_AD5 PCI_AD5 115
AD5 PCI_AD4 PCI_AD4 AD5
AD4 AA2 116 AD4
AB2 PCI_AD3 PCI_AD3 118 46 RxData+ 4
AD3 PCI_AD2 PCI_AD2 AD3 TPRDP Rx+
AD2 AB1 119 AD2
AC1 PCI_AD1 PCI_AD1 120
AD1 PCI_AD0 PCI_AD0 AD1 R22
AD0 AC2 121 AD0 49.9 ohm, 1%, 0805 C8
F2 PCI_CBE3-n 75 0.1 uf
CBE3-n PCI_CBE2-n CBEN3-n
CBE2-n K1 89 CBEN2-n
R1 PCI_CBE1-n 100 RxCT 5
CBE1-n PCI_CBE0-n CBEN1-n C7 CT2
CBE0-n W2 111 CBEN0-n 18 pf
A5 PCI_Reset-n 62 R23
Reset-n PCI_DevSel-n Reset-n 49.9 ohm, 1%, 0805
DevSel-n M1 95 DevSel-n
N1 PCI_Stop-n 96
Stop-n PCI_IRdy-n Stop-n
IRdy-n L2 92 IRdy-n
M2 PCI_TRdy-n 93 45 RxData- 6
TRdy-n PCI_Frame-n TRdy-n TPRDM Rx-
Frame-n L1 91 Frame-n
N2 PCI_PErr-n 97
PErr-n PCI_SErr-n PErr-n
SErr-n P2 98 SErr-n 7 NC
P1 PCI_Parity 99
Parity Par YelLEDA 9 YelLEDA
L3 PCI_Req0-n 64 17 X1 10
Req0-n PCI_Gnt0-n Req-n X1 YelLEDC
Gnt0-n M3 63 Gnt-n
K3 PCI_IntA-n 61 GrnLEDA 11
IntA-n IntA-n Y1 GrnLEDA
12 GrnLEDC
Ecliptek ECSMA-25.000M
8 Gnd
PCI_AD24 76 18 X2 13
IDSel X2 Gnd
14 Gnd

+3.3 VDC 122 3VAux

123 RJ-45 MAGJack LED
PwrGood C3 C4 J1
59 PME-n/ClkRun-n 18 pf 18 pf

+3.3 VDC +3.3 VDC

R12 +3.3 VDC

330 ohm, 5%, 0805 R16
R10 330 ohm, 5%, 0805
33.2 ohm, 5%, 0805 6
PCI_ClkOut PCI_ClkReference Vcc
ClkPCIOut A6 1 ClkRef
3 PCI_Clk1Out PCI_Clk1 60
Clk1 PCIClk
Clk2 2
R13 5 R14
470 ohm, 5%, 0805 Clk3 33.2 ohm, 5%, 0805
Clk4 7
4 Vss 28 ColDetect
8 R15 29 5
ClkOut 470 ohm, 5%, 0805 CarSense MgmtDataClk MDIO
6 RxClk MgmtDataIO 4
CY2305SI-1H 15 13
C2 U11 RxDataVal/MA11 RxOE
14 RxErr/MA10 TxEn 30
100 pf 12 25
R11 RxData3/MA9 TxData3/MA15 R18
11 RxData2/MA8 TxData2/MA14 24
33.2 ohm, 5%, 0805 10 23 14.7 k, 5%, 0805
PCI_ClkIn PCI_ClkReturn RxData1/MA7 TxData1/MA13
ClkPCIIn G3 7 RxData0/MA6 TxData0/MA12 22
31 TxClk
AMD ElanSC520-100AC
U1C
141 MD7 MWRN 131
140 130 +3.3 VDC
MD6 MRDN
139 MD5 MCSN 129
138 128 SerialROMCS
MD4/EEDO EESel
135 MD3 MA5 3 1 CS Vcc 8
134 2 SerialROMClk 2 7
CnfgDisn MD2 MA4/EECLK SerialROMDataIn SK NC
133 MD1/CNFGDISN MA3/EEDI 1 3 DI NC 6
132 144 LED100Link 4 5
MD0 MA2/LED100Link DO Gnd
MA1/LED10Link 143
142 LEDActivity
MA0/LEDAcitvity
NM93C46LEMT8
R17 National DP83815DVNG U12
1 k, 5%, 0805 U10A

SerialROMDataOut
CPU Module: Ethernet
OPTIMOD LOUDNESS CONTROLLER TECHNICAL DATA 6-45
GP_SMemRd-n = GPA20 + GPA21 + GPA22 + GPA23 + GPA24 + GP_MemRd-n +5 VDC +5 VDC +5 VDC

GPA23 3 18 GP_SMemWr-n GP_SMemWr-n = GPA20 + GPA21 + GPA22 + GPA23 + GPA24 + GP_MemWr-n

R1 I0 Out0 GP_SMemRd-n
4 I1 Out1 19
MasterReset-n +3.3 VDC 5 I2 Out2 20
GPA24 ResetDrv-n = GP_Reset
6 I3 Out3 21

2
10 k, 5%, 0805 GPA21 7 23
GPA20 I4 Out4 JP1 JP2 JP3
9 24 ResetDrv-n PrgReset = !MasterReset-n
GPA22 I5 Out5 BuffRd-n
10 I6 Out6 25
11 I7 Out7 26 BuffRd-n = GP_MemRd-n & GP_IORd-n
12

1
I8
13 I9
17 I10 BHE
27 I11 +5 VDC
+3.3 VDC 2 IClk
16 OutEn P1B
3 MstrReset Vcc 4 B1 Gnd
GAL 20LV8D-7LJ ISA_Reset B2
U6A Reset
B3 Vcc
1 2 PwrGood C20 AE8 IRQ9 B4
Gnd Reset-n PwrGood PIO14/GPIRQ9 -5 VDC IRQ9
B5 -5 VDC
MIC8114TU DReq2 B6
U5 GP_Reset -12 VDC DReq2
GPReset AC22 B7 -12 VDC
D20 PrgReset B8
PrgReset +12 VDC OWS-n
B9 + 12 VDC
B10 Gnd
R2 ISA_SMemWr-n B11
10 k, 5%, 0805 ISA_SMemRd-n SMemWr-n
B12 SMemRd-n
ISA_IOWr-n B13
ISA_IORd-n IOWr-n
B14 IORd-n
DAck3-n B15
DReq3 DAck3-n
B16 DReq3
AC9 DAck1-n B17
PIO11/GPDAck1-n DReq1 DAck1-n
PIO7/GPDReq1 AF10 B18 DReq1
B19 Refresh-n
B20 SysClk
AF7 IRQ7 B21
PIO16/GPIRQ7 IRQ6 IRQ7
PIO17/GPIRQ6 AE7 B22 IRQ6
AD7 IRQ5 B23
PIO18/GPIRQ5 IRQ4 IRQ5
PIO19/GPIRQ4 AD6 B24 IRQ4
AE6 IRQ3 B25
PIO20/GPIRQ3 DAck2-n IRQ3
B26 DAck2-n
AD11 TC B27
PIO4/GPTC ALE TC
PIO0/GPALE AE12 B28 ALE
GPCS1-n B24 ROMCS1-n/GPCS1-n B29 Vcc
GPCS2-n C23 ROMCS2-n/GPCS2-n B30 OSC
GPCS3-n AC21 PITGate2/GPCS3-n B31 Gnd
GPCS4-n AA24 TimerIn1/GPCS4-n B32 Gnd
GPCS5-n AC20 TimerIn0/GPCS5-n PC104-P1
FlashStatus AE10 PIO6/GPDReq2 PIO2/GPRdy AF11
AD9 AE11 P1A
PIO10 PIO10/GPDAck2-n PIO3/GPAEN NMI
PIO27/GPCS0-n AE4 A1 IOChk-n
AC23 ISA_D7 A2
GPCS6-n TimerOut1/GPCS6-n ISA_D6 D7
GPCS7-n AD23 TimerOut0/GPCS7-n A3 D6
AD10 ISA_D5 A4
IDE_DReq PIO5/GPDReq3 ISA_D4 D5
IDE_DAck-n AE9 PIO9/GPDAck3-n A5 D4
ISA_D[0..15] ISA_D3 A6
ISA_D2 D3
A7 D2
D17 GPD15 GPD7 47 2 ISA_D7 ISA_D1 A8
GPD15 GPD14 GPD6 1A1 1B1 ISA_D6 ISA_D0 D1
GPD14 C17 46 1A2 1B2 3 A9 D0
C15 GPD13 GPD5 44 5 ISA_D5 IOChRdy A10
GPD13 GPD12 GPD4 1A3 1B3 ISA_D4 ISA_AEN IOChRdy
GPD12 D14 43 1A4 1B4 6 A11 AEN
D13 GPD11 GPD3 41 8 ISA_D3 ISA_A19 A12
GPD11 GPD10 GPD2 1A5 1B5 ISA_D2 ISA_A18 A19
GPD10 C13 40 1A6 1B6 9 A13 A18
C12 GPD9 GPD1 38 11 ISA_D1 ISA_A17 A14
GPD9 GPD8 GPD0 1A7 1B7 ISA_D0 ISA_A16 A17
GPD8 C11 37 1A8 1B8 12 A15 A16
C10 GPD7 GPD15 36 13 ISA_D15 GPA15 47 2 ISA_A15 ISA_A15 A16
GPD7 GPD6 GPD14 2A1 2B1 ISA_D14 GPA14 1A1 1B1 ISA_A14 ISA_A14 A15
GPD6 D10 35 2A2 2B2 14 46 1A2 1B2 3 A17 A14
D9 GPD5 GPD13 33 16 ISA_D13 GPA13 44 5 ISA_A13 ISA_A13 A18
GPD5 GPD4 GPD12 2A3 2B3 ISA_D12 GPA12 1A3 1B3 ISA_A12 ISA_A12 A13
GPD4 C9 32 2A4 2B4 17 43 1A4 1B4 6 A19 A12
C8 GPD3 GPD11 30 19 ISA_D11 GPA11 41 8 ISA_A11 ISA_A11 A20
GPD3 GPD2 GPD10 2A5 2B5 ISA_D10 GPA10 1A5 1B5 ISA_A10 ISA_A10 A11
GPD2 C7 29 2A6 2B6 20 40 1A6 1B6 9 A21 A10
B5 GPD1 GPD9 27 22 ISA_D9 GPA9 38 11 ISA_A9 ISA_A9 A22
GPD1 GPD0 GPD8 2A7 2B7 ISA_D8 GPA8 1A7 1B7 ISA_A8 ISA_A8 A9
GPD0 C4 26 2A8 2B8 23 37 1A8 1B8 12 A23 A8
GPA7 36 13 ISA_A7 ISA_A7 A24
GPA6 2A1 2B1 ISA_A6 ISA_A6 A7
1 1DIR 1OE 48 35 2A2 2B2 14 A25 A6
24 25 GPA5 33 16 ISA_A5 ISA_A5 A26
2DIR 2OE GPA4 2A3 2B3 ISA_A4 ISA_A4 A5
GPA25 C3 32 2A4 2B4 17 A27 A4
D4 GPA24 GPA24 74ACLV162450/SO GPA3 30 19 ISA_A3 ISA_A3 A28
GPA24 GPA23 GPA23 U7A GPA2 2A5 2B5 ISA_A2 ISA_A2 A3
GPA23 D3 29 2A6 2B6 20 A29 A2
F3 GPA22 GPA1 27 22 ISA_A1 ISA_A1 A30
GPA22 GPA21 R3 R4 GPA0 2A7 2B7 ISA_A0 ISA_A0 A1
GPA21 C19 26 2A8 2B8 23 A31 A0
C14 GPA20 4.75 k, 5%, 0805 4.75 k, 5%, 0805 A32
GPA20 GPA19 Gnd
GPA19 C21 1 1DIR 1OE 48
B22 GPA18 24 25 PC104-P1
GPA18 GPA17 +3.3 VDC 2DIR 2OE
GPA17 E24
D24 GPA16 74ACLV162450/SO ISA_A[0..23]
GPA16 U9A
GPA[0..24] P2A
AF12 BHE-n C1
PIO1/GPBHE-n Gnd
C2 SBHe
C24 GPA15 ISA_A23 C3
GPA15 GPA14 ISA_A22 LA23
GPA14 R24 C4 LA22
P24 GPA13 ISA_A21 C5
GPA13 GPA12 GPA23 ISA_A23 ISA_A20 LA21
GPA12 N24 47 1A1 1B1 2 C6 LA20
N23 GPA11 GPA22 46 3 ISA_A22 ISA_A19 C7
GPA11 GPA10 GPA21 1A2 1B2 ISA_A21 ISA_A18 LA19
GPA10 M23 44 1A3 1B3 5 C8 LA18
C2 GPA9 GPA20 43 6 ISA_A20 ISA_A17 C9
GPA9 GPA8 GP_SMemWr-n 1A4 1B4 ISA_SMemWr-n ISA_MemRd-n LA17
GPA8 M24 41 1A5 1B5 8 C10 MemRd-n
F23 GPA7 GP_SMemRd-n 40 9 ISA_SMemRd-n ISA_MemWr-n C11
GPA7 GPA6 1A6 1B6 ISA_IOWr-n ISA_D8 MemWr-n
GPA6 C1 38 1A7 1B7 11 C12 SD8
H24 GPA5 37 12 ISA_IORd-n ISA_D9 C13
GPA5 GPA4 GPA19 1A8 1B8 ISA_A19 ISA_D10 SD9
GPA4 L24 36 2A1 2B1 13 C14 SD10
J23 GPA3 GPA18 35 14 ISA_A18 ISA_D11 C15
GPA3 GPA2 GP_Reset 2A2 2B2 ISA_Reset ISA_D12 SD11
GPA2 K24 33 2A3 2B3 16 C16 SD12
G4 GPA1 GP_AEN 32 17 ISA_AEN ISA_D13 C17
GPA1 GPA0 GPA17 2A4 2B4 ISA_A17 ISA_D14 SD13
GPA0 J24 30 2A5 2B5 19 C18 SD14
GPA16 29 20 ISA_A16 ISA_D15 C19
GP_MemRd-n GP_MemRd-n 2A6 2B6 ISA_MemRd-n SD15
GPMemRd-n F24 27 2A7 2B7 22 C20 Key
C18 GP_MemWr-n GP_MemWr-n 26 23 ISA_MemWr-n
GPMemWr-n 2A8 2B8 PC104-P2
C16 GP_IOWr-n 1 48 ISA_OE-n
GPIOWr-n GP_IORd-n 1DIR 1OE
GPIORd-n G24 +3.3 VDC 24 2DIR 2OE 25

AD5 GPDBufOE-n 74ACLV162450/SO

PIO24/GPDBUFOE-n U8A
GPD[0..15]
GPD[0..15]

GPA[0..24]
P2B
D1 Gnd
AD4 MemCS16-n D2 +3.3 VDC
PIO26/GPMemCS16-n IOCS16-n MemCS16-n
PIO25/GPIOCS16-n AC4 D3 IOCS16-n
AD8 IRQ10 D4
PIO13/GPIRQ10 IRQ11 IRQ10 DReq2 DAck3-n
PIO23/GPIRQ0 AE5 D5 IRQ11 2 5 2 5
AF5 IRQ12 D6 DReq3 3 DAck5-n 3
PIO22/GPIRQ1 IRQ15 IRQ12 DReq1 DAck1-n
PIO21/GPIRQ2 AF6 D7 IRQ15 4 4
AF8 IRQ14 D8 DReq0 6 DAck0-n 6
PIO15/GPIRQ8 DAck0-n IRQ14 DReq5
PIO12/GPDAck0-n AC8 D9 DAck0-n 7 7
AF9 DReq0 D10 8 DAck6-n 8
PIO8/GPDReq0 DAck5-n DReq0 DReq6 DAck7-n
D11 DAck5-n 9 9
DReq5 D12 DReq7 1 10 DAck2-n 1 10
AMD ElanSC520-100AC DAck6-n DReq5 C C
D13 DAck6-n
U1B DReq6 D14 4.7 k, 5%, CTS 745?083472J 4.7 k, 5%, CTS 745?083472J
DAck7-n DReq6 RN2 RN3
D15 DAck7-n
DReq7 D16 DReq7
+5 VDC D17 +5 VDC
D18
D19
Master-n
Gnd
CPU Module:
D20 Gnd Document Number
PC104-P2 62200.000.01 General Purpose Bus
 6-46 TECHNICAL DATA ORBAN MODEL 8685

MD[0..31]

MA[0..12]

V26 MA12 MA12 36 53 MD15 MA12 36 53 MD31

MA12 MA11 MA11 A12 DQ15 MD14 MA11 A12 DQ15 MD30
MA11 U26 35 A11 DQ14 51 35 A11 DQ14 51
MD31 A24 T26 MA10 MA10 22 50 MD13 MA10 22 50 MD29
MD30 MD31 MA10 MA9 MA9 A10/AP DQ13 MD12 MA9 A10/AP DQ13 MD28
A23 MD30 MA9 R26 34 A9 DQ12 48 34 A9 DQ12 48
MD29 B21 R25 MA8 +3.3 VDC MA8 33 47 MD11 +3.3 VDC MA8 33 47 MD27
MD28 MD29 MA8 MA7 MA7 A8 DQ11 MD10 MA7 A8 DQ11 MD26
A20 MD28 MA7 P25 32 A7 DQ10 45 32 A7 DQ10 45
MD27 A19 P26 MA6 MA6 31 44 MD9 MA6 31 44 MD25
MD26 MD27 MA6 MA5 MA5 A6 DQ9 MD8 MA5 A6 DQ9 MD24
B18 MD26 MA5 N26 30 A5 DQ8 42 30 A5 DQ8 42
MD25 A17 N25 MA4 MA4 29 13 MD7 MA4 29 13 MD23
MD24 MD25 MA4 MA3 R7 MA3 A4 DQ7 MD6 R8 MA3 A4 DQ7 MD22
B16 MD24 MA3 M25 26 A3 DQ6 11 26 A3 DQ6 11
MD23 A15 M26 MA2 4.75k, 5%, 0805 MA2 25 10 MD5 4.75k, 5%, 0805 MA2 25 10 MD21
MD22 MD23 MA2 MA1 MA1 A2 DQ5 MD4 MA1 A2 DQ5 MD20
B14 MD22 MA1 L26 24 A1 DQ4 8 24 A1 DQ4 8
MD21 A13 L25 MA0 MA0 23 7 MD3 MA0 23 7 MD19
MD20 MD21 MA0 A0 DQ3 MD2 A0 DQ3 MD18
B12 MD20 DQ2 5 DQ2 5
MD19 A11 U25 BA1 21 4 MD1 21 4 MD17
MD18 MD19 BA1 BA0 BA1 DQ1 MD0 BA1 DQ1 MD16
B10 MD18 BA0 T25 20 BA0 DQ0 2 20 BA0 DQ0 2
MD17 A9
MD16 MD17 CKELow SDQM1 CKEHigh SDQM3
B8 MD16 37 CKE UDQM 39 37 CKE UDQM 39
MD15 B23 15 SDQM0 15 SDQM2
MD14 MD15 RAMWE-n LDQM LDQM
A22 MD14 SWEA-n E26 16 WE-n 16 WE-n
MD13 A21 F25 RAMCAS-n 17 17
MD12 MD13 SCASA-n RAMRAS-n CAS-n CAS-n
B20 MD12 SRASA-n K25 18 RAS-n 18 RAS-n
MD11 A18 V25 RAMCS-n 19 19
MD10 MD11 SCS0-n CS-n CS-n
B17 MD10
MD9 A16 H25 SDQM3 38 38
MD8 MD9 SDQM3 SDQM2 CLK CLK
B15 MD8 SDQM2 G26
MD7 A14 H26 SDQM1
MD6 MD7 SDQM1 SDQM0 32 Mbit x 16 SDRAM 32 Mbit x 16 SDRAM
B13 MD6 SDQM0 G25
MD5 A12 SDQM[0..3] U2A U3A
MD4 MD5
B11 MD4 SRASB-n K26
MD3 A10 F26
MD2 MD3 SCASB-n
B9 MD2 SWEB-n E25
MD1 A8
MD0 MD1
B7 MD0 SCS1-n W25
J25 R5
MECC6 SCS2-n 22 ohm, 5%, 0805
Y26 MECC6 SCS3-n J26
MECC5 D25 DRAMClk
MECC5
MECC4 C26 MECC4 ClkMemOut B19 ClkMemOut
MECC3 Y25
MECC2 MECC3
W26 MECC2
MECC1 D26 22 ohm, 5%, 0805
MECC0 MECC1 R6
C25 MECC0
5 2 MECC4 A4 ClkMemIn
+3.3 VDC ClkMemIn Route the ClkMemIn trace back and forth so that it is the
3
4 MECC6 same length as the SDRAMClk trace to either chip.
6 MECC3 AMD ElanSC520-100AC
7 MECC2 U1A C1
4.7 pf Route the SDRAMCLK "T" style so that the trace length
8 MECC5
MECC1 to each SDRAM chip is the same length.
9
10 1 MECC0
C Place the two (2), 22 ohm series terminating resistors as
CTS 745?083102J close as possible to the ElanSC520.
RN1
Place the 4.7 fp capacitor as close as possible to the
Elan SC520. Adjust the value to equalize loading on
SDRAMCLK and ClkMemIn nets.

Flash Circuitry

GPA[0..24]
GPA24 56
GPA23 A24
30 A23
GPA22 1
GPA21 A22 GPD[0..15]
3 A21 GPD[0..15]
GPA20 4 52 GPD15
GPA19 A20 D15 GPD14
5 A19 D14 50
GPA18 6 47 GPD13
GPA17 A18 D13 GPD12
7 A17 D12 45
GPA16 8 41 GPD11
GPA15 A16 D11 GPD10
10 A15 D10 39
GPA14 11 36 GPD9
GPA13 A14 D9 GPD8
12 A13 D8 34
GPA12 13 51 GPD7
GPA11 A12 D7 GPD6
17 A11 D6 49
GPA10 18 46 GPD5
GPA9 A10 D5 GPD4
19 A9 D4 44
GPA8 20 40 GPD3
GPA7 A8 D3 GPD2 +3.3 VDC
22 A7 D2 38
GPA6 23 35 GPD1
GPA5 A6 D1 GPD0
24 A5 D0 33
GPA4 25
GPA3 A4
26 A3 Vpen 15 +3.3 VDC
GPA2 27 R9
+3.3 VDC GPA1 A2 10k, 5%, 0805
28 A1
GPA0 32 A0
31 Byte-n
STS 53 FlashStatus
ROMRd-n 54 OE-n
FlashWR-n 55 WE-n

BootCS-n 14 CE0-n
2 CE1-n
29 CE2-n
16
ResetDrv-n RP-n
E28F128J3A-150
Document Number
62200.000.01
CPU Module: Memory
U4A
OPTIMOD LOUDNESS CONTROLLER TECHNICAL DATA 6-47
+3.3 VDC

R26
4.75 k, 5%, 0805

P3A
A1 A1
AF25 AC13 Trig/Trace A2
NC0 Trig/Trace BR/TC A2
AF23 NC1 BR/TC AD24 A3 A3
AF1 AE21 JTAG_TMS A4
NC2 JTAG_TMS JTAG_TDI A4
AE25 NC3 JTAG_TDI AF21 A5 A5
AE24 AD21 JTAG_TCK A6
NC4 JTAG_TCK A6
AE1 NC5 A7 A7
AD26 AD3 Ring2-n A8
NC6 PIO31/Ring2-n DCD2-n A8
AD25 NC7 PIO30/DCD2-n AE3 A9 A9
AD2 AF3 DSR2-n A10
NC8 PIO29/DSR2-n CTS2-n A10
AD1 NC9 PIO28/CTS2-n AF4 A11 A11
AC25 AA3 Ring1-n A12
NC10 Ring1-n DCD1-n A12
AC3 NC11 DCD1-n V4 A13 A13
AA26 Y3 DSR1-n A14
NC12 DSR1-n CTS1-n A14
AB4 NC13 CTS1-n V3 A15 A15 +2.5 VDC
AB3 NC14 A16 A16
E23 AD19 SSI_Clk A17
NC15 SSI_Clk A17
D23 NC16 A18 A18
C22 NC17 A19 A19
E3 W24 CFG2 A20
NC18 CF_DRAM-n/CFG2 A20
C6 NC19 A21 A21
C5 +3.3 VDC +2.5 VDC A22
NC20 A22 C10 C11
B6 NC21 A23 A23 0.001 uf 0.01 uf
B4 NC22 A24 A24
B3 Y24 PITOut2/CFG3 A25
NC23 PITOut2/CGF3 ClkTimer/ClkTest A25
A3 NC24 ClkTimer/CltTest A7 A26 A26
A27 A27
A28 A28 4.75 k, 5%, 0805
AE17 PData15 IDE_DReq A29 A29
R28 R32
AD17 PData14 IDE_DAck-n A30 A30 +3.3 VDC C12
AC17 PData13 +3.3 VDC A31 A31 0.01 uf
AC16 PData12 A32 A32
AD16 R27 4.75 k, 5%, 0805
PData11 R29 32X2Conn
AE16 PData10
AF16 PData09 +3.3 VDC
4.75 k, 5%, 0805 R31
AF15 PData08 4.75 k, 5%, 0805 10 ohm, 5%, 0805
AE15 PData07 P3B +3.3 VDC
AD15 PData06
AD14 AF17 Stop/TX B1
PData05 Stop/TX CmdAck B1
AE14 PData04 CmdAck U24 B2 B2 Vcc_Osc LF_PLL
AF14 AF22 JTAG_TDO B3 4 VccOsc VccCPU 1 AF24 LF_PLL
PData03 JTAG_TDO JTAG_TRst-n B3
AF13 PData02 JTAG_TRst-n AE22 B4 B4
AE13 PData01 B5 B5 C9 2 3 AC26
AD13 PData0 B6 B6 Gnd ClkOut 33MXtal2
DTR2-n 0.1 uf
DTR2-n AE23 B7 B7
AD18 AD22 RST2-n B8
PAddr2 RTS2-n SIn2 B8 Epson SG-636PCE-33MC2 AB26
AE18 PAddr1 SIn2 V24 B9 B9 33MXtal1
SOut2 X1
AF18 PAddr0 SOut2 U23 B10 B10
W3 DTR1-n B11
DTR1-n RTS1-n B11 A4 C4 RTC_Clock AE26
AC12 ICE_Dis RTS1-n W4 B12 B12 Vbat 32.768 khz 32kXtal2
SIn1 VBat A5 C5
T24 PBReq SIn1 AE2 B13 B13 Vbat 32.768 khz
T23 AF2 SOut1 B14
TV SOut1 B14 B4 D4 AF26
AF20 PBGnt B15 B15 Vbat 32.768 khz 32kXtal1
AE20 AE19 SSI_DI B16 B5 Vbat 32.768 khz D5
PRW SSI_DI SSI_DO B16
AD12 TClk SSI_DO AF19 B17 B17
B18 A7 T T C7
DataStrb/CFG1 B18 A8 C8
DataStrb/CFG1 AC24 B19 B19 T T
AD20 CS_ROM_GPCS-n/CFG0 B20
CS_ROM_GPCS-n/CFG0 B20 B7 D7 AMD ElanSC520-100AC
B21 B21 T T
B8 D8 U1E
B22 B22 T T
+3.3 VDC B23
GPCS1-n B23
GPCS2-n B24 B24 DS32khz
GPCS3-n B25 B25 U13A
GPCS4-n B26 B26
GPCS5-n B27 B27
4.75 k, 5%, 0805 B28
GPCS6-n B28
R30 B29
GPCS7-n B29
B30 B30
B31 B31
B32 B32
32X2Conn
Document Number
62200.000.01

ROMRd-n AB23 ROMRd-n

AB24 FlashWr-n
FlashWr-n
BootCS-n AB25 BootCS-n
CPU Module: Miscellaneous
ROMBufOE-n AA25

AMD ElanSC520-100AC
U1D
 6-48 TECHNICAL DATA ORBAN MODEL 8685

5 4 3 2 1

+2.5 VDC +3.3 VDC +3.3 VDC +3.3 VDC

+5 VDC 34 127
NC1 Res3
42 NC2 Res2 50
43 NC3 Res1 41 28 Vss Vdd 1 28 Vss Vdd 1 Vcc 37
1 Vin Vout 3 48 NC4 41 Vss Vdd 14 41 Vss Vdd 14 Vcc 9
54 Vss Vdd 27 54 Vss Vdd 27
C14 C15 43
1 uf 10 uf, low ESR Vccq
6 Vssq Vddq 3 6 Vssq Vddq 3 21 Gnd
C13 + 2 4 35 36 12 9 12 9 42
10 uf, low ESR Gnd Gnd FSGnd FSVdd Vssq Vddq Vssq Vddq Gnd
46 Vssq Vddq 43 46 Vssq Vddq 43 48 Gnd
20 PHYGnd1 PHYVdd1 33 +3.3 VDC 52 Vssq Vddq 49 52 Vssq Vddq 49
LT1963EST_2.5 32 21
U14 PHYGnd2 PHYVdd2 E28F128J3A-150
8 137 32 Mbit x 16 SDRAM 32 Mbit x 16 SDRAM U4B
IOGnd1 IOVdd1 U2B U3B
16 IOGnd2 IOVdd2 85
+3.3 VDC 26 27
+5 VDC IOGnd3 IOVdd3
D
84 IOGnd4 IOVdd4 19 D
136 IOGnd5 IOVdd5 9 +3.3 VDC +3.3 VDC
1 3 65 117 C125 C126 C127 C132 C133 C134
Vin Vout PCIGnd1 PCIVdd1 1 uf 0.1 uf 0.01 uf 1 uf 0.1 uf 0.01 uf
77 PCIGnd2 PCIVdd2 107
C17 C18 90 94
1 uf 10 uf, low ESR PCIGnd3 PCIVdd3
103 PCIGnd4 PCIVdd4 80
C16 + 2 4 114 69
10 uf, low ESR Gnd Gnd PCIGnd5 PCIVdd5
57 MACGnd1 MACVdd1 125
LT1963EST_3.3 124 58
U15 MACGnd2 MACVdd2
51 TxDigGnd TxDigVdd 56

52 TxIOGnd1
55 TxIOGnd2
38 RxAnalGnd1 RxAnalVdd1 47 +3.3 VDC
44 RxAnalGnd2 RxAnalVdd2 39

37 SubGnd1
49 40 Vref
SubGnd2 Vref
126 SubGnd3 +3.3 VDC +3.3 VDC +3.3 VDC
National DP83815DVNG +3.3 VDC
U10B R33 4 4 4
Gnd Gnd Gnd
10 Gnd Vcc 42 10 Gnd Vcc 42 10 Gnd Vcc 42
9.31 kohm, 5%, 0805 1 28 15 31 15 31 15 31
NC Vcc Gnd Vcc Gnd Vcc Gnd Vcc
+3.3 VDC +3.3 VDC 8 NC 21 Gnd 21 Gnd 21 Gnd
15 +5 VDC +5 VDC +5 VDC
C178 C179 C180 C181 C182 C183 NC
22 NC 28 Gnd 28 Gnd 28 Gnd
1 uf 0.1 uf 0.01 uf 1 uf 0.1 uf 1 uf 34 18 34 18 34 18
Gnd Vcc Gnd Vcc Gnd Vcc
14 Gnd 39 Gnd Vcc 7 39 Gnd Vcc 7 39 Gnd Vcc 7
45 Gnd 45 Gnd 45 Gnd
GAL 20LV8D-7LJ
U6B 74ACLV162450/SO 74ACLV162450/SO 74ACLV162450/SO
U7B U8B U9B
C C
+3.3 VDC +3.3 VDC +5 VDC
+5 VDC +5 VDC
C175 C176 C177
+3.3 VDC
1 uf 1 uf 0.1 uf
C150 C151 C155 C156 C159 C160
0.01 uf 1 uf 1 uf 0.01 uf 1 uf 0.01 uf

+3.3 VDC +3.3 VDC +3.3 VDC

C153 C157 C158 C161 C162
1 uf 1 uf 0.01 uf 1 uf 0.01 uf

A1 Gnd
A2 Gnd
A3 Gnd
+3.3 VDC VBat +2.5 VDC A6
D1 Gnd
A9 Gnd Vcc C2
1N4148 B1 C3
Gnd Vcc
A26 VccRTC VccCore AC15 B2 Gnd
VccCore AC14 B3 Gnd
10 ohm, 5%, 0805 AC7 B6
R34 C20 VccCore Gnd
B VccCore AC6 B9 Gnd B
0.1 uf AC5 C1 D2
VccCore Gnd Vcc
B25 BBatSense VccCore R23 C6 Gnd Vcc D3
VccCore P23 C9 Gnd
T16 Gnd VccCore T4 D1 Gnd
D3 D2 T15 R4 D6
1N4148 1N4148 Gnd VccCore Gnd
T14 Gnd VccCore H23 D9 Gnd
T13 Gnd VccCore G23
T12 Gnd VccCore F4
T11 Gnd VccCore E4
BBatSense R16 D19 DS32khz
Gnd VccCore U13B
R15 Gnd VccCore D18
1 k, 5%, 0805 R14 D12
Gnd VccCore
1

R35 C21 R13 D11 +3.3 VDC

BT1 0.1 uf Gnd VccCore
R12 Gnd
BATTERY R11 Gnd
P16 Gnd VccIO AC19
P15 AC18
2

Gnd VccIO
P14 Gnd VccIO AC11
P13 Gnd VccIO AC10
P12 Gnd VccIO AA4
P11 Gnd VccIO Y4
N16 Gnd VccIO AA23
N15 Gnd VccIO Y23
N14 Gnd VccIO W23
N13 Gnd VccIO V23
N12 Gnd VccIO L23
N11 Gnd VccIO K23
M16 Gnd VccIO M4
M15 Gnd VccIO L4
M14 Gnd VccIO K4
M13 Gnd VccIO J4
M12 Gnd VccIO D22
M11 Gnd VccIO D21
L16 Gnd VccIO D16
L15 Gnd VccIO D15
L14 Gnd VccIO D8
L13 Gnd VccIO D7
A L12 Gnd VccIO D6 A
L11 D5 Document Number
Gnd VccIO
62200.000.01

+2.5 VDC

A25 GndAnalog VccAnalog B26

AMD ElanSC520-100AC CPU Module: Power and Ground

U1F

5 4 3 2 1
OPTIMOD LOUDNESS CONTROLLER TECHNICAL DATA 6-49

RS232 Board Parts Locator Drawing

(for schematic 62250.000.02)
 6-50 TECHNICAL DATA ORBAN MODEL 8685

+5VD
C13 L1
0.1uF
Revision History: 62250.000.02 U1
1 2 1 2
D1 & D2
Dual Footprints
9 3.9uH - No-stuff -
ECO# DATE REV DESCRIPTION DONE CHECKED +5VD D2
Vcc D1
3124 12/15/03 01 Created for 8500 project. WRS --- DGND DGND
1 A. 1 A.
3179 11/02/04 02 Changed sockets; bridged R11, 15, 19; C16 becomes R20. WRS
SOUT1 5 Tin A Tout A 2 SOUTP1
Chas
1 1 1 1

0.1uF

0.1uF

0.1uF

0.1uF
/RTS1 18 Tin B Tout B 1 RTSP1

C20

C19

C18

C17
2 2 2 2
/DTR1 19 Tin C Tout C 24 DTRP1 RIGnd 5
J1
9
21 Tin D Tout D 20 SU1 DTRP1 4

10.0K

10.0K
DGND SOCKET CTSP1 8
SERIAL PORT ONE
SOUTP1 3
(TTL) (RS232) 24-PIN (rear panel)
U4 DIP RTSP1 7
13 30 47 64 SINP1
SIN1 6 7 SINP1 2

R6
Rout A Rin A
VCC VCC VCC 17 SOUT1
DSRP1

R7
31 TXA 6
SEL16/68 14 /RTS1 /CTS1
65 /RTSA 4 Rout B Rin B 3 CTSP1 DCDP1 1
INTSEL 12 /DTR1
/DTRA
/AUX_0 16 /DSR1
/CSA 22 Rout C Rin C 23 DSRP1
/AUX_1 20 7 SIN1
/CSB RXA
/AUX_2 50 11 /CTS1 +5VD Chas
/CSC /CTSA /DCD1 17 Rout D Rin D 16 DCDP1
/AUX_3 54 10 /DSR1 C15
/CSD /DSRA C6
9 /DCD1 1 2 11 15 1 2
/CDA V+ V-
8 C12 C11
/RIA N/C 0.1uF 0.1uF
1 2 10 13 1 2
C1+ C2+ DGND
SA2 32 19 SOUT2
A2 TXB 0.1uF 0.1uF +5VD
SA1 33 22 /RTS2 12 14 C5
A1 /RTSB
SA0 34 24 /DTR2
C1-
Gnd
C2-
2 1 0.1uF CHASSIS
A0 /DTRB
8 U2
29 SIN2 MAX208ECNG 9
/GPIOWR 18 RXB Vcc
/IOW 25 /CTS2 DGND
/GPIORD 52 /CTSB
/IOR /DSR2
DGND
Chas
RSTDRV 26
37 /DSRB
RESET /DCD2
+5VD /CDB
27
SOUT2 5 Tin A Tout A 2 SOUTP2
28 N/C
/RIB
/RTS2 18 Tin B Tout B 1 RTSP2 RIGnd 5 J2
51 SOUT3
J4 TXC 9
48 /RTS3
/RTSC /DTR2 19 Tin C Tout C 24 DTRP2 DTRP2 4
1 1 C21 46 /DTR3 SERIAL PORT TWO
C22 /DTRC CTSP2 8
1 AUX_D0 66 SU2 SOUTP2
(rear panel)
2
0.1uF 2 2 10uF
D0 21 Tin D Tout D 20 3
AUX_D1 67 41 SIN3 SOCKET
3 D1 RXC RTSP2 7
4 AUX_D2 68 45 /CTS3 24-PIN SINP2
D2 /CTSC (TTL) (RS232) 2
5 /DSR3 DIP
N/C AUX_D3 1 44
DSRP2
6 N/C D3 /DSRC 6
7 AUX_D4 2 43 /DCD3
N/C D4 /CDC SIN2 6 Rout A Rin A 7 SINP2 DCDP2 1
8 N/C AUX_D5 3 42 N/C
9 +5VD
DGND
N/C D5 /RIC
10 N/C AUX_D6 4 /CTS2 4 3 CTSP2
D6 Rout B Rin B
11 N/C AUX_D7 5
12 N/C D7 53 N/C
13
TXD Chas
N/C RSTDRV 56 R4 R3 /DSR2 22 Rout C Rin C 23 DSRP2
14 /RTSD N/C
N/C 100K 100K
15 N/C 58 N/C +5VD
16 38
/DTRD
N/C N/C /RXRDY /DCD2 17 Rout D Rin D 16 DCDP2
17
18 18.432MHz N/C 39
/TXRDY 63 C10 C1
19
RXD 1 2 11 15 1 2
59 V+ V-
20 /CTSD
21
R19 15 60 0.1uF C4 C3 0.1uF
22 AUX_D7 INTA /DSRD 1 2 10 13 1 2
21 61
23 AUX_D6 (BRIDGED) INTB /CDD C1+ C2+ DGND
24 AUX_D5 R18 49 62 N/C +5VD 0.1uF 0.1uF
25 AUX_D4 INTC /RID 12 14
R17 55 C9
26 AUX_D3 N/C C1- C2-
INTD R2 R1 0.1uF Gnd
27 AUX_D2 2 1
28 AUX_D1 X1 X2 GND GND GND 100K 100K 8
29 AUX_D0 R16 U3 MAX208ECNG Chas
30 R15 35 36 6 23 40 57 9
31 PATCH1
Vcc
32 PATCH2 18.432MHz DGND
(BRIDGED) DGND
33 ST16C554DCJ68
PATCH3 R14 RIGnd
34 DGND
5 J3
35 PATCH4 R20 DGND SOUT3 5 Tin A Tout A 2 SOUTP3 9
36 R13
37
/AUX_0 249 Ω DTRP3 4
38 R12
/AUX_1 /RTS3 18 Tin B Tout B 1 RTSP3 CTSP3 8 SERIAL PORT THREE
39 R11
40 SOUTP3 3 (rear panel)
/AUX_2
41 RTSP3
/AUX_3 (BRIDGED) R5 /DTR3 19 Tin C Tout C 24 DTRP3 7
42
43 R10 110 Ω SINP3 2
44 SA2 SOCKET
R9 21 Tin D Tout D 20 SU3 DSRP3 6
45 SA1
46 SA0 R8 24-PIN DCDP3 1
47 DIP
(TTL) (RS232)
48 /GPIOWR DGND
49 12 @ 0 Ω
50 /GPIORD No-stuff SIN3 6 Rout A Rin A 7 SINP3
Chas

/CTS3 CTSP3
From Base Board 4 Rout B Rin B 3

/DSR3 22 Rout C Rin C 23 DSRP3

+5VD
/DCD3 17 Rout D Rin D 16 DCDP3
C14 C2
1 2 11 15 1 2
0.1uF V+ V-
C8 C7 0.1uF
1 2 10 13 1 2
C1+ C2+ DGND
0.1uF 0.1uF
12 14
C1- C2-
Gnd
8
MAX208ECNG

DGND
RS232 Board Schematic Drawing
OPTIMOD LOUDNESS CONTROLLER TECHNICAL DATA 6-51

DUAL SUPPLY POWER DISTRIBUTION

PARTS LOCATOR DRAWING
32380.000
(sheet 1 of 1)
 6-52 TECHNICAL DATA ORBAN MODEL 8685

Q1 Q5
FDD6770A FDD6770A
+5V_PS1
C21
4 3 3 4 R14

1.62K
CR1 R7 R9 1.0UF
SMAJ5.0CA U7 DGND

1
C1 10.0K

3
10OHM LT C4354IS8
0.1UF

Vcc
7
FAULT
E1
DGND

Vss

Vss
GA

GB
DA

DB
DGND

10

12

11
1

8
R1

5
Vin

CPO

GATE

OUT
SOURCE
31.6K 2
 Vcc

3 R13
UV R12
2.00K 2.00K
R2 4 5

3
1.00K OV STATUS E2
-15V_PS1 -15VD
C3 7 6
E3

GND
REV FAULT 1, 2, 5, 6 4
0.1UF CR5
R3 Q7 TP1

3
3.09K SMAJ15CA C27 C31 C32

9
U1 SI1472DH-T1-E3 -15VD
 -15V_PS2 + 10UF/35V
LT C4352IMS 0.01UF
DGND
1, 2, 5, 6 4 0.1UF

DGND
CR8
Q8
SMAJ15CA
DGND
SI1472DH-T1-E3 DGND DGND DGND
DGND -15VA
L3

Q2 Q6 14.75UF
C28 C33 C34 C35
FDD6770A FDD6770A DGND
TP2
+ +
+5V_PS2 +5VD 220UF/25V 10UF/35V -15VA
L1 0.1UF 0.01UF
4 3 3 4

12.0UH
+ C6 + C10 C12 C14
R8 R10 TP3
CR2 +5VD AGND AGND AGND AGND
1

1
C2 10.0K 10OHM 470UF/25V 10UF/35V 0.1UF 0.01UF
SMAJ5.0CA
CR6
0.1UF

DGND DGND DGND DGND 1N4148W

DGND U4
DGND L78M05CD2T
10

12

11
1

+15VD +5VA

NC/GND
R4
1 3
Vin

CPO

OUT
GATE
SOURCE

31.6K HS_U4

GND
2 IN OUT
 Vcc

3 TP4
UV C16 C19 + C24 C25 C29
CR9 +5VA

2
R5 4 5 1N4148W
OV STATUS E4 0.1UF 0.1UF 10UF/35V 0.1UF 0.01UF
1.00K
C4 7 6 573300
E5
GND

REV FAULT
HS_U5
0.1UF
R6
3.09K
9

U2
 C20 C23 R21
LT C4352IMS C17 AGND
DGND + + CR10 + C26 C30 1.00K
6.8UF
1N4148W

2
DGND 573300 1UF/35V 10UF/35V 0.1UF 0.01UF
-15VD -5VA

GND

NC/GND
DGND 4 3
IN OUT

Q3 TP5
SI1472DH-T1-E3 -5VA
+15V_PS1 +15VD
U5
4
1, 2, 5, 6
L79M05CD2T
Q4 CR7
SI1472DH-T1-E3 TP6
CR3 +15V_PS2 + C5 C7 C9 +15VD
3

SMAJ15CA 4 1N4148W
1, 2, 5, 6 10UF/35V 0.1UF 0.01UF

CR4
3

SMAJ15CA U3
LT C4355IMS DGND DGND DGND +15VA
L2
1

DGND

14.75UF
IN1

IN2

OUT
GATE1

GATE2

+ C8 + C11 C13 C15 TP10

DGND 16
+15VA
8 220UF/25V 10UF/35V 0.1UF 0.01UF
MON1 VDSFLT E6
14
FUSEFLT1 E7
10 13
SET FUSEFLT2 E8
PWRFLT1
15
E10 AGND AGND AGND AGND
DUAL SUPPLY POWER DISTRIBUTION
11 12
E12 SCHEMATIC: POWER SUPPLY INPUT CONTROL
GND

MON2 PWRFLT2
NC

NC

62380.000
3

DGND (sheet 1 of 2)

DGND
OPTIMOD LOUDNESS CONTROLLER TECHNICAL DATA 6-53
From: Power Supply 1 +5V_PS1 From: Power Supply 2 +5V_PS2 Testing Access To: Future Expansion To: AUX I/O Power
+5VD To: Baseboard
J1 J2 J9 +5VD J5
+15VD J6 -15VD E13
+15VD +5VD J7 J10
1 1 1 1
1 2 PS1_OK_N
2 2 +15VA -15VA 1 2 1 (TV16) 2
3 4 PS2_OK_N
3 3 +5VD +5VA 2 3 2 (TV17) 3
+15V_PS1 -15V_PS1 +15V_PS2 -15V_PS2 5 6 PS1_2_OK_N
4 4 -5VA 3 4 3 (TV1) 4
7 8
5 5 4 5 4 5
9 10 KEY - CUTPIN +15VD
6 6 6 6
NO STUFF 70545MLX4
7 7 HDR 5X2 DGND 7
NO STUFF
8 8 DGND 8
DGND DGND 9
HDR 8 HDR 8 DGND
10
11
12 To: Base Board
DGND DGND 13
+5VD
R55 NO STUFF 14
+5VD
R40 NO STUFF 15
16
R28 17
+5VD
R35 10.0K 18
+5VD
10.0K 19
+15VD U12 +5VA
20

5
U11 +5V_PS2 74HC1G14 -5VA
PS2_OK_N 21

5
+5V_PS1 Sense: +4.82V Nom 74HC1G14 Sense: +4.82V Nom 2 4 -15VA
22

4
2 4 PS1_OK_N U9D +15VA
23
U9C 13 TL074
R52 24

3
9 TL074 14 Q13
R34 R46

3
8 Q10 12 MMBT3904 HDR 12X2 SH PWR
R26 +REF_4.82V 20.0K
10 MMBT3904 210 OHM
+REF_4.82V 20.0K DGND
210 OHM

11
DGND AGND DGND LCD_GND
R30
+15V_PS1 +15V_PS2
-15VD DGND
100.0K DGND R49
+5VA J4
R24 R44 100.0K 1
Sense: +14.53V Nom -5VA
2.00K 2.00K 2
Sense: +14.53V Nom
3
U10A U10B -15VA
4
2 TL074 6 TL074
R36 R53 5
1 Q11 7 Q14 +15VA
R27 R47 6
3 MMBT3904 5 MMBT3904
+REF_4.82V 20.0K +REF_4.82V 20.0K 7
R25 210 OHM R45 210 OHM 8
1.00K R31 1.00K R50 9
-15V_PS1 -15V_PS2 To: I/O Board
10
100.0K 100.0K +5VD
DGND DGND 11
12
+15VD
R22 AGND R42 AGND 13
2.00K Sense: -14.53V Nom 2.00K Sense: -14.53V Nom 14
15

4
U10C U10D
16
9 TL074 13 TL074
R37 Q12 R54 Q15 17
8 14
R29 MMBT3906 R48 MMBT3906 18
10 12
-REF_4.82V 20.0K -REF_4.82V 20.0K 19
R23 210 OHM R43 210 OHM 20
1.00K R32 1.00K

11
HDR 10X2 SH PWR
100.0K DGND -15VD DGND
DGND AGND
AGND AGND R51
R41
+2.5V REF 100.0K
+5VD J3
U8 REF2925AIDBZT U9B 10.0K
1 2 5 TL074 U9A PS1_OK_N R56 20.0K 1
+5VA Vin Vout
7
R39
2 TL074 PS1_2_OK_N 2
GND

3
6 10.0K 1
-REF_4.82V
PS2_OK_N R57 10.0K
4
C41 3
5
0.47UF
6
3

7 To: DSP Board

AGND 8
R38 9
AGND AGND +REF_4.82V 10
51.1K 11
R33 12
+15VD +5VD R20
54.9K 13
0 OHM
14
+15VD
Bypass Caps 15
+5VD +15VD -15VD R17 16
R16
0 OHM R19
NO STUFF HDR 8X2 SH PWR
NO STUFF
AGND J8
C40 C36 C37 C38 C39 LCD GND ISOLATION ANALOG TO DIGITAL GROUND
+5VD C18 DGND
0.1UF 0.1UF 0.1UF 0.1UF 0.1UF 1 Brushless DC Fan
1

2
0.1UF 70545MLX2

3
U6 DGND
DGND AGND AGND DGND LCD_GND AGND DGND R15
R11 1 8 1 Q9 R18
10.0K VDD PWM IRLML2502 NO STUFF
1.00K
Test Points 2 7 C22
NC GND

2
+
+5V_PS1 +15V_PS1 -15V_PS1 +5V_PS2 +15V_PS2 -15V_PS2 3 6
TP14DGND TP15 AGND TP16 DGND SHDN TOVER
E9 10UF/35V DUAL SUPPLY POWER DISTRIBUTION
E11 4 5 DGND DGND
GND NC SCHEMATIC: POWER SUPPLY FAILURE DETECTION
TC650ACVUA
TP7
+5V_PS1
TP8
+15V_PS1
TP9
-15V_PS1
TP11
+5V_PS2
TP12
+15V_PS2
TP13
-15V_PS2
DGND 62380.000
DGND AGND DGND Mounting Holes
M1 M2 M3 M4 M5
DGND DGND (sheet 2 of 2)
Brushless DC Fan Controller with Temperature Sensor
6-54 TECHNICAL DATA ORBAN MODEL 8685

DSP BOARD PARTS LOCATOR DIAGRAM

FOR SCHEMATIC 62375.000.xx.1
OPTIMOD LOUDNESS CONTROLLER TECHNICAL DATA 6-55
DSP CONTROL INTERFACE CLOCK GENERATION & CPLD POWER DISTRIBUTION
62375.000.01.1_Sheet03.SchDoc 62375.000.01.1_Sheet07.SchDoc 62375.000.01.1_Sheet08.SchDoc

EXTAL PW R_SY NC
EXTAL EXTAL PW R_SY NC PW R_SY NC
IRQB-N
IRQB-N IRQB-N
DSP_RST-N
DSP_RST-N DSP_RST-N
IC201_0_CS-N
IC201_0_CS-N IC201_0_CS-N
IC201_1_CS-N
IC201_1_CS-N IC201_1_CS-N
IC202_0_CS-N DSP EXTERNAL MEMORY CONTROLLER INTERFACE 2
IC202_0_CS-N IC202_0_CS-N
IC202_1_CS-N 62375.000.01.1_Sheet09.SchDoc
IC202_1_CS-N IC202_1_CS-N
IC203_0_CS-N
IC203_0_CS-N IC203_0_CS-N
IC203_1_CS-N PHONE_M CLK
IC203_1_CS-N IC203_1_CS-N PHONE_M CLK PHONE_M CLK
IC204_0_CS-N PHONE_RST-N
IC204_0_CS-N IC204_0_CS-N PHONE_RST-N PHONE_RST-N
IC204_1_CS-N PHONE_BCLK
IC204_1_CS-N IC204_1_CS-N PHONE_BCLK PHONE_BCLK
IC205_0_CS-N PHONE_DATA
IC205_0_CS-N IC205_0_CS-N PHONE_DATA PHONE_DATA
IC205_1_CS-N PHONE_W CLK
IC205_1_CS-N IC205_1_CS-N PHONE_W CLK PHONE_W CLK
IC206_0_CS-N MUTE_IC901
IC206_0_CS-N IC206_0_CS-N MUTE_IC901 MUTE_IC901
IC206_1_CS-N PHONE_DFS
IC206_1_CS-N IC206_1_CS-N PHONE_DFS PHONE_DFS
IC207_0_CS-N
IC207_0_CS-N IC207_0_CS-N
IC207_1_CS-N
IC207_1_CS-N IC207_1_CS-N
IC208_0_CS-N
IC208_0_CS-N IC208_0_CS-N
IC208_1_CS-N
IC208_1_CS-N IC208_1_CS-N
IC209_0_CS-N DSP ENHANCED SERIAL AUDIO INTERFACE
IC209_0_CS-N IC209_0_CS-N
IC209_1_CS-N 62375.000.01.1_Sheet02.SchDoc
IC209_1_CS-N IC209_1_CS-N
FSY NC
FSY NC FSY NC
8-BIT CONTROL INTERFACE BCLK
BCLK BCLK
62375.000.01.1_Sheet06.SchDoc
IN_FCLK
IN_FCLK IN_FCLK
ISA_CM N IN_BCLK
ISA_CM N ISA_CM N IN_BCLK IN_BCLK
ISA_A5
ISA_A5 ISA_A5
SSI_DO ISA_A4 OUT_FCLK
SSI_DO SSI_DO ISA_A4 ISA_A4 OUT_FCLK OUT_FCLK
SSI_CLK ISA_A3 OUT_BCLK
SSI_CLK SSI_CLK ISA_A3 ISA_A3 OUT_BCLK OUT_BCLK
SSI_DI ISA_A2
SSI_DI SSI_DI ISA_A2 ISA_A2
ISA_A1 COM P_W CLK
ISA_A1 ISA_A1 COM P_W CLK COM P_W CLK
HREQ-N ISA_A0 COM P_BCLK
HREQ-N HREQ-N ISA_A0 ISA_A0 COM P_BCLK COM P_BCLK
AIN_DATA
AIN_DATA AIN_DATA
DIN_DATA1
DIN_DATA1 DIN_DATA1
IC209_SDI1_0
SSI_DO IC209_SDI1_0 IC209_SDI1_0
IC209_SDI2_0
SSI_CLK IC209_SDI2_0 IC209_SDI2_0
IC209_SDI3_0
SSI_DI IC209_SDI3_0 IC209_SDI3_0
IC208_SDI3_0
IC208_SDI3_0 IC208_SDI3_0
IC207_SDI3_0
IC207_SDI3_0 IC207_SDI3_0
DSP EXTERNAL MEMORY CONTROLLER INTERFACE 1 IC206_SDI3_0
IC206_SDI3_0 IC206_SDI3_0
62375.000.01.1_Sheet04.SchDoc IC205_SDI3_0
IC205_SDI3_0 IC205_SDI3_0
IC204_SDI3_0
IC204_SDI3_0 IC204_SDI3_0
IC203_SDI3_0
IC203_SDI3_0 IC203_SDI3_0
IC202_SDI3_0
IC202_SDI3_0 IC202_SDI3_0
IC201_SDI0_0
IC201_SDI0_0 IC201_SDI0_0
IC201_SDI1_0
IC201_SDI1_0 IC201_SDI1_0
IC201_SDI2_0
IC201_SDI2_0 IC201_SDI2_0
IC201_SDI3_0
IC201_SDI3_0 IC201_SDI3_0
IC201_SDI0_1
IC201_SDI0_1 IC201_SDI0_1
DSP POWER & GROUND IC201_SDI0_2
IC201_SDI0_2 IC201_SDI0_2
62375.000.01.1_Sheet05.SchDoc
IC209_SDO5_0
IC209_SDO5_0 IC209_SDO5_0
IC209_SDO5_1
IC209_SDO5_1 IC209_SDO5_1
IC209_SDO4_1
IC209_SDO4_1 IC209_SDO4_1
IC209_SDO3_1
IC209_SDO3_1 IC209_SDO3_1
IC209_SDO2_1
IC209_SDO2_1 IC209_SDO2_1
IC209_SDO5_3
IC209_SDO5_3 IC209_SDO5_3
IC209_SDO4_3
IC209_SDO4_3 IC209_SDO4_3
IC209_SDO3_3
IC209_SDO3_3 IC209_SDO3_3
IC209_SDO2_3
IC209_SDO2_3 IC209_SDO2_3
IC208_SDO5_3
IC208_SDO5_3 IC208_SDO5_3
IC208_SDO4_3
IC208_SDO4_3 IC208_SDO4_3
IC208_SDO3_3
IC208_SDO3_3 IC208_SDO3_3
IC208_SDO2_3
IC208_SDO2_3 IC208_SDO2_3
IC207_SDO2_3
IC207_SDO2_3 IC207_SDO2_3
IC206_SDO2_3
IC206_SDO2_3 IC206_SDO2_3
IC205_SDO2_3
IC205_SDO2_3 IC205_SDO2_3
IC204_SDO2_3
IC204_SDO2_3 IC204_SDO2_3
IC203_SDO2_3
IC203_SDO2_3 IC203_SDO2_3
IC202_SDO2_3
IC202_SDO2_3 IC202_SDO2_3
IC201_SDO2_3
IC201_SDO2_3 IC201_SDO2_3 DSP BOARD
IC201_SDIO_A SCHEMATIC 1 OF 9
IC201_SDIO_A IC201_SDIO_A
IC201_SDIO_B
IC201_SDIO_B IC201_SDIO_B
IC209_SDO3_2
IC209_SDO3_2
IC209_SDO3_2 INTERCONNECTS
IC209_SDO2_2
IC209_SDO2_2 IC209_SDO2_2 62375.000.xx.1
SY NC_FLAG
SY NC_FLAG SY NC_FLAG
 6-56 TECHNICAL DATA ORBAN MODEL 8685

IC201A IC202A IC203A

IN_FCLK 94 90 FSY NC 94 90 FSY NC 94 90 FSY NC
FSR_0/PC1_0 FST_0/PC4_0 FSR_0/PC1_0 FST_0/PC4_0 FSR_0/PC1_0 FST_0/PC4_0
IN_BCLK 93 91 BCLK 93 91 BCLK 93 91 BCLK
SCKR_0/PC0_0 SCKT_0/PC3_0 SCKR_0/PC0_0 SCKT_0/PC3_0 SCKR_0/PC0_0 SCKT_0/PC3_0
92 89 92 89 92 89
HCKR_0/PC2_0/SRCK HCKT_0/PC5_0/STCLK HCKR_0/PC2_0/SRCK HCKT_0/PC5_0/STCLK HCKR_0/PC2_0/SRCK HCKT_0/PC5_0/STCLK
85 IC201_SDI0_0 85 IC201_IC202_X 85 IC202_IC203_X
SDI0_0/SDO5_0/PC6_0 IC201_SDI0_0 (SHT7) SDI0_0/SDO5_0/PC6_0 SDI0_0/SDO5_0/PC6_0
86 IC201_SDI1_0 86 IC201_IC202_Y 86 IC202_IC203_Y
IN_FCLK SDI1_0/SDO4_0/PC7_0 IC201_SDI1_0 (SHT7) SDI1_0/SDO4_0/PC7_0 SDI1_0/SDO4_0/PC7_0
(SHT7) IN_FCLK 87 IC201_SDI2_0 87 IC201_IC202_Z 87 IC202_IC203_Z
IN_BCLK SDI2_0/SDO3_0/PC8_0 IC201_SDI2_0 (SHT7) SDI2_0/SDO3_0/PC8_0 SDI2_0/SDO3_0/PC8_0
(SHT7) IN_BCLK 88 IC201_SDI3_0 88 IC202_SDI3_0 88 IC203_SDI3_0
SDI3_0/SDO2_0/PC9_0 IC201_SDI3_0 (SHT7) SDI3_0/SDO2_0/PC9_0 IC202_SDI3_0 (SHT7) SDI3_0/SDO2_0/PC9_0 IC203_SDI3_0 (SHT7)
97 IC201_SDI0_1 97 97
OUT_FCLK SDI0_1/SDO5_1/PE6_0 IC201_SDI0_1 (SHT7) SDI0_1/SDO5_1/PE6_0 SDI0_1/SDO5_1/PE6_0
(SHT7) OUT_FCLK 98 AIN_DATA 98 98
OUT_BCLK SDI1_1/SDO4_1/PE7_0 AIN_DATA (SHT7) SDI1_1/SDO4_1/PE7_0 SDI1_1/SDO4_1/PE7_0
(SHT7) OUT_BCLK 99 DIN_DATA1 99 99
SDI2_1/SDO3_1/PE8_0 DIN_DATA1 (SHT7) SDI2_1/SDO3_1/PE8_0 SDI2_1/SDO3_1/PE8_0
100 100 100 IC202_I C203_W
SDI3_1/SDO2_1/PE9_0 SDI3_1/SDO2_1/PE9_0 SDI3_1/SDO2_1/PE9_0
COM P_W CLK
(SHT7) COM P_W CLK 122 IC201_SDI0_2 122 122
COM P_BCLK SDI0_2/SDO5_2/PC6_1 IC201_SDI0_2 (SHT7) SDI0_2/SDO5_2/PC6_1 SDI0_2/SDO5_2/PC6_1
(SHT7) COM P_BCLK 123 IC201_SDIO_A 123 123
SDI1_2/SDO4_2/PC7_1 IC201_SDIO_A (SHT7) SDI1_2/SDO4_2/PC7_1 SDI1_2/SDO4_2/PC7_1
124 IC201_SDIO_B 124 124
SDI2_2/SDO3_2/PC8_1 IC201_SDIO_B (SHT7) SDI2_2/SDO3_2/PC8_1 SDI2_2/SDO3_2/PC8_1
125 125 IC202_IC203_W 125 IC203_IC204_W
FSY NC SDI3_2/SDO2_2/PC9_1 SDI3_2/SDO2_2/PC9_1 SDI3_2/SDO2_2/PC9_1
(SHT7) FSY NC
BCLK
(SHT7) BCLK 118 IC201_IC202_X 118 IC202_IC203_X 118 IC203_IC204_X
SDI0_3/SDO5_3/PE6_1 SDI0_3/SDO5_3/PE6_1 SDI0_3/SDO5_3/PE6_1
119 IC201_IC202_Y 119 IC202_IC203_Y 119 IC203_IC204_Y
SDI1_3/SDO4_3/PE7_1 SDI1_3/SDO4_3/PE7_1 SDI1_3/SDO4_3/PE7_1
120 IC201_IC202_Z 120 IC202_IC203_Z 120 IC203_IC204_Z
SDI2_3/SDO3_3/PE8_1 SDI2_3/SDO3_3/PE8_1 SDI2_3/SDO3_3/PE8_1
121 IC201_SDO2_3 121 IC202_SDO2_3 121 IC203_SDO2_3
SDI3_3/SDO2_3/PE9_1 IC201_SDO2_3 (SHT7) SDI3_3/SDO2_3/PE9_1 IC202_SDO2_3 (SHT7) SDI3_3/SDO2_3/PE9_1 IC203_SDO2_3 (SHT7)
OUT_FCLK 139 135 FSY NC 139 135 FSY NC 139 135 FSY NC
FSR_3/PE1_1 FST_3_PE4_1 FSR_3/PE1_1 FST_3_PE4_1 FSR_3/PE1_1 FST_3_PE4_1
OUT_BCLK 138 136 BCLK 138 136 BCLK 138 136 BCLK
SCKR_3/PE0_1 SCKT_3/PE3_1 SCKR_3/PE0_1 SCKT_3/PE3_1 SCKR_3/PE0_1 SCKT_3/PE3_1
137 134 137 134 137 134
HCKR_3/PE2_1/SRCK HCKT_3/PE5_1/STCLK HCKR_3/PE2_1/SRCK HCKT_3/PE5_1/STCLK HCKR_3/PE2_1/SRCK HCKT_3/PE5_1/STCLK
83 83 83
E201 SPDIFIN1/PG9 E202 SPDIFIN1/PG9 E203 SPDIFIN1/PG9
84 84 84
E211 SPDIFOUT1/PG13 E212 SPDIFOUT1/PG13 E213 SPDIFOUT1/PG13
DSP B56724AG DSP B56724AG DSP B56724AG

IC204A IC205A IC206A

94 90 FSY NC 94 90 FSY NC 94 90 FSY NC
FSR_0/PC1_0 FST_0/PC4_0 FSR_0/PC1_0 FST_0/PC4_0 FSR_0/PC1_0 FST_0/PC4_0
93 91 BCLK 93 91 BCLK 93 91 BCLK
SCKR_0/PC0_0 SCKT_0/PC3_0 SCKR_0/PC0_0 SCKT_0/PC3_0 SCKR_0/PC0_0 SCKT_0/PC3_0
92 89 92 89 92 89
HCKR_0/PC2_0/SRCK HCKT_0/PC5_0/STCLK HCKR_0/PC2_0/SRCK HCKT_0/PC5_0/STCLK HCKR_0/PC2_0/SRCK HCKT_0/PC5_0/STCLK
85 IC203_IC204_X 85 IC204_IC205_X 85 IC205_IC206_X
SDI0_0/SDO5_0/PC6_0 SDI0_0/SDO5_0/PC6_0 SDI0_0/SDO5_0/PC6_0
86 IC203_IC204_Y 86 IC204_IC205_Y 86 IC205_IC206_Y
SDI1_0/SDO4_0/PC7_0 SDI1_0/SDO4_0/PC7_0 SDI1_0/SDO4_0/PC7_0
87 IC203_IC204_Z 87 IC204_IC205_Z 87 IC205_IC206_Z
SDI2_0/SDO3_0/PC8_0 SDI2_0/SDO3_0/PC8_0 SDI2_0/SDO3_0/PC8_0
88 IC204_SDI3_0 88 IC205_SDI3_0 88 IC206_SDI3_0
SDI3_0/SDO2_0/PC9_0 IC204_SDI3_0 (SHT7) SDI3_0/SDO2_0/PC9_0 IC205_SDI3_0 (SHT7) SDI3_0/SDO2_0/PC9_0 IC206_SDI3_0 (SHT7)
97 97 97
SDI0_1/SDO5_1/PE6_0 SDI0_1/SDO5_1/PE6_0 SDI0_1/SDO5_1/PE6_0
98 98 98
SDI1_1/SDO4_1/PE7_0 SDI1_1/SDO4_1/PE7_0 SDI1_1/SDO4_1/PE7_0
99 99 99
SDI2_1/SDO3_1/PE8_0 SDI2_1/SDO3_1/PE8_0 SDI2_1/SDO3_1/PE8_0
100 IC203_IC204_W 100 IC204_IC205_W 100 IC205_IC206_W
SDI3_1/SDO2_1/PE9_0 SDI3_1/SDO2_1/PE9_0 SDI3_1/SDO2_1/PE9_0
122 122 122
SDI0_2/SDO5_2/PC6_1 SDI0_2/SDO5_2/PC6_1 SDI0_2/SDO5_2/PC6_1
123 123 123
SDI1_2/SDO4_2/PC7_1 SDI1_2/SDO4_2/PC7_1 SDI1_2/SDO4_2/PC7_1
124 124 124
SDI2_2/SDO3_2/PC8_1 SDI2_2/SDO3_2/PC8_1 SDI2_2/SDO3_2/PC8_1
125 IC204_IC205_W 125 IC205_IC206_W 125 IC206_IC207_W
SDI3_2/SDO2_2/PC9_1 SDI3_2/SDO2_2/PC9_1 SDI3_2/SDO2_2/PC9_1
118 IC204_IC205_X 118 IC205_IC206_X 118 IC206_IC207_X
SDI0_3/SDO5_3/PE6_1 SDI0_3/SDO5_3/PE6_1 SDI0_3/SDO5_3/PE6_1
119 IC204_IC205_Y 119 IC205_IC206_Y 119 IC206_IC207_Y
SDI1_3/SDO4_3/PE7_1 SDI1_3/SDO4_3/PE7_1 SDI1_3/SDO4_3/PE7_1
120 IC204_IC205_Z 120 IC205_IC206_Z 120 IC206_IC207_Z
SDI2_3/SDO3_3/PE8_1 SDI2_3/SDO3_3/PE8_1 SDI2_3/SDO3_3/PE8_1
121 IC204_SDO2_3 121 IC205_SDO2_3 121 IC206_SDO2_3
SDI3_3/SDO2_3/PE9_1 IC204_SDO2_3 (SHT7) SDI3_3/SDO2_3/PE9_1 IC205_SDO2_3 (SHT7) SDI3_3/SDO2_3/PE9_1 IC206_SDO2_3 (SHT7)
139 135 FSY NC 139 135 FSY NC 139 135 FSY NC
FSR_3/PE1_1 FST_3_PE4_1 FSR_3/PE1_1 FST_3_PE4_1 FSR_3/PE1_1 FST_3_PE4_1
138 136 BCLK 138 136 BCLK 138 136 BCLK
SCKR_3/PE0_1 SCKT_3/PE3_1 SCKR_3/PE0_1 SCKT_3/PE3_1 SCKR_3/PE0_1 SCKT_3/PE3_1
137 134 137 134 137 134
HCKR_3/PE2_1/SRCK HCKT_3/PE5_1/STCLK HCKR_3/PE2_1/SRCK HCKT_3/PE5_1/STCLK HCKR_3/PE2_1/SRCK HCKT_3/PE5_1/STCLK
83 83 83
E204 SPDIFIN1/PG9 E205 SPDIFIN1/PG9 E206 SPDIFIN1/PG9
84 84 84
E214 SPDIFOUT1/PG13 E215 SPDIFOUT1/PG13 E216 SPDIFOUT1/PG13
DSP B56724AG DSP B56724AG DSP B56724AG

IC207A IC208A IC209A

94 90 FSY NC 94 90 FSY NC FSY NC 94 90 OUT_FCLK
FSR_0/PC1_0 FST_0/PC4_0 FSR_0/PC1_0 FST_0/PC4_0 FSR_0/PC1_0 FST_0/PC4_0
93 91 BCLK 93 91 BCLK BCLK 93 91 OUT_BCLK
SCKR_0/PC0_0 SCKT_0/PC3_0 SCKR_0/PC0_0 SCKT_0/PC3_0 SCKR_0/PC0_0 SCKT_0/PC3_0
92 89 92 89 92 89
HCKR_0/PC2_0/SRCK HCKT_0/PC5_0/STCLK HCKR_0/PC2_0/SRCK HCKT_0/PC5_0/STCLK HCKR_0/PC2_0/SRCK HCKT_0/PC5_0/STCLK
85 IC206_IC207_X 85 IC207_IC208_X 85 IC209_SDO5_0
SDI0_0/SDO5_0/PC6_0 SDI0_0/SDO5_0/PC6_0 SDI0_0/SDO5_0/PC6_0 IC209_SDO5_0 (SHT7)
86 IC206_IC207_Y 86 IC207_IC208_Y 86 IC209_SDI1_0
SDI1_0/SDO4_0/PC7_0 SDI1_0/SDO4_0/PC7_0 SDI1_0/SDO4_0/PC7_0 IC209_SDI1_0 (SHT7)
87 IC206_IC207_Z 87 IC207_IC208_Z 87 IC209_SDI2_0
SDI2_0/SDO3_0/PC8_0 SDI2_0/SDO3_0/PC8_0 SDI2_0/SDO3_0/PC8_0 IC209_SDI2_0 (SHT7)
88 IC207_SDI3_0 88 IC208_SDI3_0 88 IC209_SDI3_0
SDI3_0/SDO2_0/PC9_0 IC207_SDI3_0 (SHT7) SDI3_0/SDO2_0/PC9_0 IC208_SDI3_0 (SHT7) SDI3_0/SDO2_0/PC9_0 IC209_SDI3_0 (SHT7)
97 97 SYNC_F L AG 97 IC209_SDO5_1
SDI0_1/SDO5_1/PE6_0 SDI0_1/SDO5_1/PE6_0 SY NC_FLAG (SHT7) SDI0_1/SDO5_1/PE6_0 IC209_SDO5_1 (SHT7)
98 98 98 IC209_SDO4_1
SDI1_1/SDO4_1/PE7_0 SDI1_1/SDO4_1/PE7_0 SDI1_1/SDO4_1/PE7_0 IC209_SDO4_1 (SHT7)
99 99 99 IC209_SDO3_1
SDI2_1/SDO3_1/PE8_0 SDI2_1/SDO3_1/PE8_0 SDI2_1/SDO3_1/PE8_0 IC209_SDO3_1 (SHT7)
100 IC206_IC207_W 100 IC207_IC208_W 100 IC209_SDO2_1
SDI3_1/SDO2_1/PE9_0 SDI3_1/SDO2_1/PE9_0 SDI3_1/SDO2_1/PE9_0 IC209_SDO2_1 (SHT7)
122 122 122
SDI0_2/SDO5_2/PC6_1 SDI0_2/SDO5_2/PC6_1 SDI0_2/SDO5_2/PC6_1
123 123 123
SDI1_2/SDO4_2/PC7_1 SDI1_2/SDO4_2/PC7_1 SDI1_2/SDO4_2/PC7_1
124 124 124 IC209_SDO3_2
SDI2_2/SDO3_2/PC8_1 SDI2_2/SDO3_2/PC8_1 SDI2_2/SDO3_2/PC8_1 IC209_SDO3_2 (SHT7)
125 IC207_IC208_W 125 125 IC209_SDO2_2
SDI3_2/SDO2_2/PC9_1 SDI3_2/SDO2_2/PC9_1 SDI3_2/SDO2_2/PC9_1 IC209_SDO2_2 (SHT7)
118 IC207_IC208_X 118 IC208_SDO5_3 118 IC209_SDO5_3
SDI0_3/SDO5_3/PE6_1
119 IC207_IC208_Y
SDI0_3/SDO5_3/PE6_1
119 IC208_SDO4_3
IC208_SDO5_3 (SHT7) SDI0_3/SDO5_3/PE6_1
119 IC209_SDO4_3
IC209_SDO5_3 (SHT7) DSP BOARD
SDI1_3/SDO4_3/PE7_1 SDI1_3/SDO4_3/PE7_1 IC208_SDO4_3 (SHT7) SDI1_3/SDO4_3/PE7_1 IC209_SDO4_3 (SHT7)
120 IC207_IC208_Z 120 IC208_SDO3_3 120 IC209_SDO3_3
SDI2_3/SDO3_3/PE8_1
121 IC207_SDO2_3
SDI2_3/SDO3_3/PE8_1
121 IC208_SDO2_3
IC208_SDO3_3 (SHT7) SDI2_3/SDO3_3/PE8_1
121 IC209_SDO2_3
IC209_SDO3_3 (SHT7) SCHEMATIC 2 OF 9
SDI3_3/SDO2_3/PE9_1 IC207_SDO2_3 (SHT7) SDI3_3/SDO2_3/PE9_1 IC208_SDO2_3 (SHT7) SDI3_3/SDO2_3/PE9_1 IC209_SDO2_3 (SHT7)
139 135 FSY NC 139 135 FSY NC 139 135 COM P_W CLK
ENHANCED SERIAL INTERFACE
FSR_3/PE1_1 FST_3_PE4_1 FSR_3/PE1_1 FST_3_PE4_1 FSR_3/PE1_1 FST_3_PE4_1
138
137
SCKR_3/PE0_1 SCKT_3/PE3_1
136 BCLK
134
138
137
SCKR_3/PE0_1 SCKT_3/PE3_1
136 BCLK
134
138
137
SCKR_3/PE0_1 SCKT_3/PE3_1
136 COM P_BCLK
134
62375.000.xx.1
HCKR_3/PE2_1/SRCK HCKT_3/PE5_1/STCLK HCKR_3/PE2_1/SRCK HCKT_3/PE5_1/STCLK HCKR_3/PE2_1/SRCK HCKT_3/PE5_1/STCLK
83 83 83
E207 SPDIFIN1/PG9 E208 SPDIFIN1/PG9 E209 SPDIFIN1/PG9
84 84 84
E217 SPDIFOUT1/PG13 E218 SPDIFOUT1/PG13 E219 SPDIFOUT1/PG13
DSP B56724AG DSP B56724AG DSP B56724AG
OPTIMOD LOUDNESS CONTROLLER TECHNICAL DATA 6-57
IC201B IC202B IC203B
EXTAL EXTAL 80 79 EXTAL 80 79 EXTAL 80 79
(SHT7) EXTAL EXTAL XTAL EXTAL XTAL EXTAL XTAL
TM S 101 TM S 101 TM S 101
TM S TM S TM S
TCK 102 TCK 102 TCK 102
TCK TCK TCK
IC201_IC202 103 104 IC201_TDO IC202_IC203 103 104 IC201_IC202 IC203_IC204 103 104 IC202_IC203
TDI TDO TDI TDO TDI TDO
105 105 105
PINIT/NM I0 PINIT/NM I0 PINIT/NM I0
DSP_RST-N DSP_RST-N 111 106 DSP_RST-N 111 106 DSP_RST-N 111 106
(SHT7) DSP_RST-N RESET W DT RESET W DT RESET W DT
SSI_DI SSI_DI 113 SSI_DI 113 SSI_DI 113
(SHT6) SSI_DI MISO/SDA MISO/SDA MISO/SDA
SSI_DO SSI_DO 114 SSI_DO 114 SSI_DO 114
(SHT6) SSI_DO MOSI/HA0 MOSI/HA0 MOSI/HA0
SSI_CLK SSI_CLK 115 SSI_CLK 115 SSI_CLK 115
(SHT6) SSI_CLK SCK/SCL SCK/SCL SCK/SCL
116 116 116
HREQ/PH4 HREQ/PH4 HREQ/PH4
IC201_0_CS-N 117 IC202_0_CS-N 117 IC203_0_CS-N 117
R210 (SHT7) IC201_0_CS-N SS_0/HA2_0 (SHT7) IC202_0_CS-N SS_0/HA2_0 (SHT7) IC203_0_CS-N SS_0/HA2_0
IC201_1_CS-N 112 IC202_1_CS-N 112 IC203_1_CS-N 112
4.99K (SHT7) IC201_1_CS-N SS_1/HA2_1 (SHT7) IC202_1_CS-N SS_1/HA2_1 (SHT7) IC203_1_CS-N SS_1/HA2_1
126 126 126
MODD1/PG2 MODD1/PG2 MODD1/PG2
127 127 127
MODC1/NM I1 MODC1/NM I1 MODC1/NM I1
128 128 128
MODB1/IRQD/PG8 MODB1/IRQD/PG8 MODB1/IRQD/PG8
129 129 129
MODA1/IRQC/PG7 MODA1/IRQC/PG7 MODA1/IRQC/PG7
140 140 140
MODD0/PG1 MODD0/PG1 MODD0/PG1
R201 141 R202 141 R203 141
MODC0/PLOCK/PG0 MODC0/PLOCK/PG0 MODC0/PLOCK/PG0
IRQB-N 10.0K IRQB-N 142 10.0K IRQB-N 142 10.0K IRQB-N 142
(SHT7) IRQB-N MODB0/IRQB/PG6 MODB0/IRQB/PG6 MODB0/IRQB/PG6
143 143 143
MODA0/IRQA/PG5 MODA0/IRQA/PG5 MODA0/IRQA/PG5
144 144 144
SCAN SCAN SCAN
+3.3V
IC302A IC301A DSP B56724AG DSP B56724AG DSP B56724AG
13 13
1C 1C
12 2 12 2
1Y 1B 1Y 1B
1 1
1A 1A
74AC11D 74AC11D IC204B IC205B IC206B
EXTAL 80 79 EXTAL 80 79 EXTAL 80 79
EXTAL XTAL EXTAL XTAL EXTAL XTAL
TM S 101 TM S 101 TM S 101
TM S TM S TM S
TCK 102 TCK 102 TCK 102
TCK TCK TCK
IC204_IC205 103 104 IC203_IC204 IC205_IC206 103 104 IC204_IC205 IC206_IC207 103 104 IC205_IC206
TDI TDO TDI TDO TDI TDO
105 105 105
PINIT/NM I0 PINIT/NM I0 PINIT/NM I0
DSP_RST-N 111 106 DSP_RST-N 111 106 DSP_RST-N 111 106
RESET W DT RESET W DT RESET W DT
SSI_DI 113 SSI_DI 113 SSI_DI 113
MISO/SDA MISO/SDA MISO/SDA
SSI_DO 114 SSI_DO 114 SSI_DO 114
MOSI/HA0 MOSI/HA0 MOSI/HA0
SSI_CLK 115 SSI_CLK 115 SSI_CLK 115
SCK/SCL SCK/SCL SCK/SCL
116 116 116
HREQ/PH4 HREQ/PH4 HREQ/PH4
IC204_0_CS-N 117 IC205_0_CS-N 117 IC206_0_CS-N 117
(SHT7) IC204_0_CS-N SS_0/HA2_0 (SHT7) IC205_0_CS-N SS_0/HA2_0 (SHT7) IC206_0_CS-N SS_0/HA2_0
IC204_1_CS-N 112 IC205_1_CS-N 112 IC206_1_CS-N 112
(SHT7) IC204_1_CS-N SS_1/HA2_1 (SHT7) IC205_1_CS-N SS_1/HA2_1 (SHT7) IC206_1_CS-N SS_1/HA2_1
126 126 126
MODD1/PG2 MODD1/PG2 MODD1/PG2
127 127 127
MODC1/NM I1 MODC1/NM I1 MODC1/NM I1
128 128 128
MODB1/IRQD/PG8 MODB1/IRQD/PG8 MODB1/IRQD/PG8
129 129 129
MODA1/IRQC/PG7 MODA1/IRQC/PG7 MODA1/IRQC/PG7
(SHT6) HREQ-N
140 140 140
MODD0/PG1 MODD0/PG1 MODD0/PG1
R204 141 R205 141 R206 141
MODC0/PLOCK/PG0 MODC0/PLOCK/PG0 MODC0/PLOCK/PG0
10.0K IRQB-N 142 10.0K IRQB-N 142 10.0K IRQB-N 142
MODB0/IRQB/PG6 MODB0/IRQB/PG6 MODB0/IRQB/PG6
HREQ-N 143 143 143
MODA0/IRQA/PG5 MODA0/IRQA/PG5 MODA0/IRQA/PG5
144 144 144
SCAN SCAN SCAN
IC302B IC301B DSP B56724AG DSP B56724AG DSP B56724AG
5 5
2C 2C
6 4 6 4
2Y 2B 2Y 2B
3 3
2A 2A
74AC11D 74AC11D IC207B IC208B IC209B
EXTAL 80 79 EXTAL 80 79 EXTAL 80 79
EXTAL XTAL EXTAL XTAL EXTAL XTAL
TM S 101 TM S 101 TM S 101
TM S TM S TM S
TCK 102 TCK 102 TCK 102
TCK TCK TCK
IC207_IC208 103 104 IC206_IC207 IC208_IC209 103 104 IC207_IC208 IC209_TDI 103 104 IC208_IC209
TDI TDO TDI TDO TDI TDO
105 105 105
PINIT/NM I0 PINIT/NM I0 PINIT/NM I0
DSP_RST-N 111 106 DSP_RST-N 111 106 DSP_RST-N 111 106
RESET W DT RESET W DT RESET W DT
SSI_DI 113 SSI_DI 113 SSI_DI 113
MISO/SDA MISO/SDA MISO/SDA
SSI_DO 114 SSI_DO 114 SSI_DO 114
MOSI/HA0 MOSI/HA0 MOSI/HA0
+3.3V SSI_CLK 115 SSI_CLK 115 SSI_CLK 115
IC302C IC301C SCK/SCL SCK/SCL SCK/SCL
116 116 116
9 9 HREQ/PH4 HREQ/PH4 HREQ/PH4
3C 3C IC207_0_CS-N 117 IC208_0_CS-N 117 IC209_0_CS-N 117
8 10 8 10 (SHT7) IC207_0_CS-N SS_0/HA2_0 (SHT7) IC208_0_CS-N SS_0/HA2_0 (SHT7) IC209_0_CS-N SS_0/HA2_0
3Y 3B 3Y 3B IC207_1_CS-N 112 IC208_1_CS-N 112 IC209_1_CS-N 112
11 11 (SHT7) IC207_1_CS-N SS_1/HA2_1 (SHT7) IC208_1_CS-N SS_1/HA2_1 (SHT7) IC209_1_CS-N SS_1/HA2_1
3A 3A
74AC11D 74AC11D 126
MODD1/PG2
126
MODD1/PG2
126
MODD1/PG2
127 127 127
MODC1/NM I1 MODC1/NM I1 MODC1/NM I1
+3.3V +3.3V 128 128 128
MODB1/IRQD/PG8 MODB1/IRQD/PG8 MODB1/IRQD/PG8
129
MODA1/IRQC/PG7
129
MODA1/IRQC/PG7
129
MODA1/IRQC/PG7
DSP BOARD
14

14

IC302D IC301D 140

MODD0/PG1
140
MODD0/PG1
140
MODD0/PG1
SCHEMATIC 3 OF 9
C302 C301 R207 141 R208 141 R209 141
MODC0/PLOCK/PG0 MODC0/PLOCK/PG0 MODC0/PLOCK/PG0 DSP CONTROL INTERFACE
VCC

VCC
G ND

G ND

10.0K IRQB-N 142 10.0K IRQB-N 142 10.0K IRQB-N 142

MODB0/IRQB/PG6 MODB0/IRQB/PG6 MODB0/IRQB/PG6
0.01UF 0.01UF 143 143 143
MODA0/IRQA/PG5 MODA0/IRQA/PG5 MODA0/IRQA/PG5 62375.000.xx.1
74AC11D 74AC11D
144 144 144
7

SCAN SCAN SCAN

DSP B56724AG DSP B56724AG DSP B56724AG
 6-58 TECHNICAL DATA ORBAN MODEL 8685

LA1D[0..2 3] LA2D[0..2 3]

IC411A IC4 01B +3.3V IC412A IC4 02B +3.3V IC203C IC204C
LA1D3 47 2 44 1 LA2D3 47 2 44 1 70 3 70 3
1D1 1Q1 VSS VDD 1D1 1Q1 VSS VDD LAD0/PA0 LALE LAD0/PA0 LALE
LA1D4 46 3 58 15 C401 C441 LA2D4 46 3 58 15 C402 C442 69 69
1D2 1Q2 VSS VDD 1D2 1Q2 VSS VDD LAD1/PA1 LAD1/PA1
LA1D5 44 5 72 29 LA2D5 44 5 72 29 68 4 68 4
1D3 1Q3 VSS VDD 1D3 1Q3 VSS VDD LAD2/PA2 LCS0 LAD2/PA2 LCS0
LA1D6 43 6 86 43 0.01UF 1.0UF LA2D6 43 6 86 43 0.01UF 1.0UF 67 5 67 5
1D4 1Q4 VSS VDD 1D4 1Q4 VSS VDD LAD3/PA3 LCS1 LAD3/PA3 LCS1
LA1D7 41 8 +3.3V LA2D7 41 8 +3.3V 66 6 66 6
1D5 1Q5 1D5 1Q5 LAD4/PA4 LCS2 LAD4/PA4 LCS2
LA1D8 40 9 6 3 LA2D8 40 9 6 3 65 7 65 7
1D6 1Q6 VSSQ VDDQ 1D6 1Q6 VSSQ VDDQ LAD5/PA5 LCS3 LAD5/PA5 LCS3
LA1D9 38 11 12 9 C421 C461 LA2D9 38 11 12 9 C422 C462 64 8 64 8
1D7 1Q7 VSSQ VDDQ 1D7 1Q7 VSSQ VDDQ LAD6/PA6 LCS4 LAD6/PA6 LCS4
LA1D11 37 12 32 35 LA2D11 37 12 32 35 63 9 63 9
1D8 1Q8 VSSQ VDDQ 1D8 1Q8 VSSQ VDDQ LAD7/PA7 LCS5 LAD7/PA7 LCS5
LA1D12 36 13 38 41 0.01UF 1.0UF LA2D12 36 13 38 41 0.01UF 1.0UF 62 10 62 10
2D1 2Q1 VSSQ VDDQ 2D1 2Q1 VSSQ VDDQ LAD8/PA8 LCS6 LAD8/PA8 LCS6
LA1D13 35 14 46 49 LA2D13 35 14 46 49 57 11 57 11
2D2 2Q2 VSSQ VDDQ 2D2 2Q2 VSSQ VDDQ LAD9/PA9 LCS7 LAD9/PA9 LCS7
33 16 52 55 33 16 52 55 56 56
2D3 2Q3 VSSQ VDDQ 2D3 2Q3 VSSQ VDDQ LAD10/PA10 LAD10/PA10
32 17 78 75 32 17 78 75 55 26 55 26
2D4 2Q4 VSSQ VDDQ 2D4 2Q4 VSSQ VDDQ LAD11/PA11 LA0/PA24 LAD11/PA11 LA0/PA24
30 19 84 81 30 19 84 81 54 27 54 27
2D5 2Q5 VSSQ VDDQ 2D5 2Q5 VSSQ VDDQ LAD12/PA12 LA1/PA25 LAD12/PA12 LA1/PA25
29 20 29 20 53 28 53 28
2D6 2Q6 2D6 2Q6 LAD13/PA13 LA2/PA26 LAD13/PA13 LA2/PA26
27 22 MT4 8LC2 M32B 2P -6 27 22 MT4 8LC2 M32B 2P -6 52 52
2D7 2Q7 2D7 2Q7 LAD14/PA14 LAD14/PA14
26 23 26 23 51 16 51 16
2D8 2Q8 2D8 2Q8 LAD15/PA15 LW E/LSDDQM LAD15/PA15 LW E/LSDDQM
50 19 50 19
LAD16/PA16 LSDA10/LGPL0 LAD16/PA16 LSDA10/LGPL0
1 48 1 48 45 23 45 23
1OE 1LE 1OE 1LE LAD17/PA17 LSDW E/LGPL1 LAD17/PA17 LSDW E/LGPL1
24 25 24 25 44 17 44 17
2OE 2LE 2OE 2LE LAD18/PA18 LOE/LSDRAS/LGPL2 LAD18/PA18 LOE/LSDRAS/LGPL2
43 24 43 24
LAD19/PA19 LSDCAS/LGPL3 LAD19/PA19 LSDCAS/LGPL3
74AL VCH16373 74AL VCH16373 42 25 42 25
LAD20/PA20 LGTA/LGPL4/UPW AIT LAD20/PA20 LGTA/LGPL4/UPW AIT
IC4 01A IC4 02A 41 18 41 18
LAD21/PA21 LGPL5 LAD21/PA21 LGPL5
40 22 40 22
LAD22/PA22 LBCTL LAD22/PA22 LBCTL
IC201C 20 IC202C 20 39 39
CS CS LAD23/PA23 LAD23/PA23
LA1D0 70 3 LA2D0 70 3 20 20
LAD0/PA0 LALE LAD0/PA0 LALE LCKE LCKE
LA1D1 69 25 LA2D1 69 25 21 21
LAD1/PA1 A0 LAD1/PA1 A0 LCLK LCLK
LA1D2 68 4 26 2 LA1D0 LA2D2 68 4 26 2 LA2D0
LAD2/PA2 LCS0 A1 DQ0 LAD2/PA2 LCS0 A1 DQ0
LA1D3 67 5 27 4 LA1D1 LA2D3 67 5 27 4 LA2D1 37 38 37 38
LAD3/PA3 LCS1 A2 DQ1 LAD3/PA3 LCS1 A2 DQ1 LSY NC_IN LSY NC_OUT LSY NC_IN LSY NC_OUT
LA1D4 66 6 60 5 LA1D2 LA2D4 66 6 60 5 LA2D2
LAD4/PA4 LCS2 A3 DQ2 LAD4/PA4 LCS2 A3 DQ2
LA1D5 65 7 61 7 LA1D3 LA2D5 65 7 61 7 LA2D3 DSP B56724AG DSP B56724AG
LAD5/PA5 LCS3 A4 DQ3 LAD5/PA5 LCS3 A4 DQ3
LA1D6 64 8 62 8 LA1D4 LA2D6 64 8 62 8 LA2D4
LAD6/PA6 LCS4 A5 DQ4 LAD6/PA6 LCS4 A5 DQ4
LA1D7 63 9 63 10 LA1D5 LA2D7 63 9 63 10 LA2D5
LAD7/PA7 LCS5 A6 DQ5 LAD7/PA7 LCS5 A6 DQ5
LA1D8 62 10 64 11 LA1D6 LA2D8 62 10 64 11 LA2D6
LAD8/PA8 LCS6 A7 DQ6 LAD8/PA8 LCS6 A7 DQ6
LA1D9 57 11 65 13 LA1D7 LA2D9 57 11 65 13 LA2D7
LAD9/PA9 LCS7 A8 DQ7 LAD9/PA9 LCS7 A8 DQ7
LA1D10 56 66 74 LA1D8 LA2D10 56 66 74 LA2D8
LAD10/PA10 A9 DQ8 LAD10/PA10 A9 DQ8
LA1D11 55 26 24 76 LA1D9 LA2D11 55 26 24 76 LA2D9 IC205C IC206C
LAD11/PA11 LA0/PA24 A10 DQ9 LAD11/PA11 LA0/PA24 A10 DQ9
LA1D12 54 27 77 LA1D10 LA2D12 54 27 77 LA2D10 70 3 70 3
LAD12/PA12 LA1/PA25 DQ10 LAD12/PA12 LA1/PA25 DQ10 LAD0/PA0 LALE LAD0/PA0 LALE
LA1D13 53 28 79 LA1D11 LA2D13 53 28 79 LA2D11 69 69
LAD13/PA13 LA2/PA26 DQ11 LAD13/PA13 LA2/PA26 DQ11 LAD1/PA1 LAD1/PA1
LA1D14 52 17 80 LA1D12 LA2D14 52 17 80 LA2D12 68 4 68 4
LAD14/PA14 WE DQ12 LAD14/PA14 WE DQ12 LAD2/PA2 LCS0 LAD2/PA2 LCS0
LA1D15 51 16 82 LA1D13 LA2D15 51 16 82 LA2D13 67 5 67 5
LAD15/PA15 LW E/LSDDQM DQ13 LAD15/PA15 LW E/LSDDQM DQ13 LAD3/PA3 LCS1 LAD3/PA3 LCS1
LA1D16 50 19 19 83 LA1D14 LA2D16 50 19 19 83 LA2D14 66 6 66 6
LAD16/PA16 LSDA10/LGPL0 RAS DQ14 LAD16/PA16 LSDA10/LGPL0 RAS DQ14 LAD4/PA4 LCS2 LAD4/PA4 LCS2
LA1D17 45 23 18 85 LA1D15 LA2D17 45 23 18 85 LA2D15 65 7 65 7
LAD17/PA17 LSDW E/LGPL1 CAS DQ15 LAD17/PA17 LSDW E/LGPL1 CAS DQ15 LAD5/PA5 LCS3 LAD5/PA5 LCS3
LA1D18 44 17 31 LA1D16 LA2D18 44 17 31 LA2D16 64 8 64 8
LAD18/PA18 LOE/LSDRAS/LGPL2 DQ16 LAD18/PA18 LOE/LSDRAS/LGPL2 DQ16 LAD6/PA6 LCS4 LAD6/PA6 LCS4
LA1D19 43 24 14 33 LA1D17 LA2D19 43 24 14 33 LA2D17 63 9 63 9
LAD19/PA19 LSDCAS/LGPL3 NC DQ17 LAD19/PA19 LSDCAS/LGPL3 NC DQ17 LAD7/PA7 LCS5 LAD7/PA7 LCS5
LA1D20 42 25 21 34 LA1D18 LA2D20 42 25 21 34 LA2D18 62 10 62 10
LAD20/PA20 LGTA/LGPL4/UPW AIT NC DQ18 LAD20/PA20 LGTA/LGPL4/UPW AIT NC DQ18 LAD8/PA8 LCS6 LAD8/PA8 LCS6
LA1D21 41 18 30 36 LA1D19 LA2D21 41 18 30 36 LA2D19 57 11 57 11
LAD21/PA21 LGPL5 NC DQ19 LAD21/PA21 LGPL5 NC DQ19 LAD9/PA9 LCS7 LAD9/PA9 LCS7
LA1D22 40 22 57 37 LA1D20 LA2D22 40 22 57 37 LA2D20 56 56
LAD22/PA22 LBCTL NC DQ20 LAD22/PA22 LBCTL NC DQ20 LAD10/PA10 LAD10/PA10
LA1D23 39 69 39 LA1D21 LA2D23 39 69 39 LA2D21 55 26 55 26
LAD23/PA23 NC DQ21 LAD23/PA23 NC DQ21 LAD11/PA11 LA0/PA24 LAD11/PA11 LA0/PA24
20 70 40 LA1D22 20 70 40 LA2D22 54 27 54 27
LCKE NC DQ22 LCKE NC DQ22 LAD12/PA12 LA1/PA25 LAD12/PA12 LA1/PA25
21 73 42 LA1D23 21 73 42 LA2D23 53 28 53 28
LCLK NC DQ23 LCLK NC DQ23 LAD13/PA13 LA2/PA26 LAD13/PA13 LA2/PA26
4516 1 4516 1 52 52
DQ24 DQ24 LAD14/PA14 LAD14/PA14
37 38 22 4715 2 37 38 22 4715 2 51 16 51 16
LSY NC_IN LSY NC_OUT BA0 DQ25 LSY NC_IN LSY NC_OUT BA0 DQ25 LAD15/PA15 LW E/LSDDQM LAD15/PA15 LW E/LSDDQM
23 4814 3 23 4814 3 50 19 50 19
BA1 DQ26 BA1 DQ26 LAD16/PA16 LSDA10/LGPL0 LAD16/PA16 LSDA10/LGPL0
DSP B56724AG 5013 4 DSP B56724AG 5013 4 45 23 45 23
DQ27 DQ27 LAD17/PA17 LSDW E/LGPL1 LAD17/PA17 LSDW E/LGPL1
67 5112 5 67 5112 5 44 17 44 17
CKE DQ28 CKE DQ28 LAD18/PA18 LOE/LSDRAS/LGPL2 LAD18/PA18 LOE/LSDRAS/LGPL2
IC411B 68 5311 6 IC412B 68 5311 6 43 24 43 24
CLK DQ29 CLK DQ29 LAD19/PA19 LSDCAS/LGPL3 LAD19/PA19 LSDCAS/LGPL3
5410 7 5410 7 42 25 42 25
DQ30 DQ30 LAD20/PA20 LGTA/LGPL4/UPW AIT LAD20/PA20 LGTA/LGPL4/UPW AIT
4 +3.3V 16 56 9 8 4 +3.3V 16 56 9 8 41 18 41 18
GND DQM 0 DQ31 GND DQM 0 DQ31 LAD21/PA21 LGPL5 LAD21/PA21 LGPL5
10 42 71 10 42 71 40 22 40 22
GND VCC DQM 1 4.7K RN401 GND VCC DQM 1 4.7K RN402 LAD22/PA22 LBCTL LAD22/PA22 LBCTL
15 31 C411 C451 28 15 31 C412 C452 28 39 39
GND VCC DQM 2 GND VCC DQM 2 LAD23/PA23 LAD23/PA23
21 59 21 59 20 20
GND DQM 3 GND DQM 3 LCKE LCKE
0.01UF 1.0UF 0.01UF 1.0UF 21 21
LCLK LCLK
28 +3.3V MT4 8LC2 M32B 2P -6 28 +3.3V MT4 8LC2 M32B 2P -6
GND GND
34 18 34 18 37 38 37 38
GND VCC GND VCC LSY NC_IN LSY NC_OUT LSY NC_IN LSY NC_OUT
39 7 C431 C471 39 7 C432 C472
GND VCC GND VCC
45 45 DSP B56724AG DSP B56724AG
GND GND
0.01UF 1.0UF 0.01UF 1.0UF

74AL VCH16373 74AL VCH16373

DSP BOARD
SCHEMATIC 4 OF 9
EXTERNAL MEMORY CONTROL INTERFACE 1
62375.000.xx.1
OPTIMOD LOUDNESS CONTROLLER TECHNICAL DATA 6-59
IC201D +3.3V IC202D +3.3V IC203D +3.3V
13 12 C211 13 12 C212 13 12 C213
IO_GND IO_VDD IO_GND IO_VDD IO_GND IO_VDD
30 29 0.01UF 30 29 0.01UF 30 29 0.01UF
IO_GND IO_VDD IO_GND IO_VDD IO_GND IO_VDD
49 48 C231 49 48 C232 49 48 C233
IO_GND IO_VDD IO_GND IO_VDD IO_GND IO_VDD
59 58 0.01UF 59 58 0.01UF 59 58 0.01UF
IO_GND IO_VDD IO_GND IO_VDD IO_GND IO_VDD
71 72 71 72 71 72
IO_GND IO_VDD IO_GND IO_VDD IO_GND IO_VDD
82 81 C251 82 81 C252 82 81 C253
IO_GND IO_VDD IO_GND IO_VDD IO_GND IO_VDD
108 107 0.01UF 108 107 0.01UF 108 107 0.01UF
IO_GND IO_VDD IO_GND IO_VDD IO_GND IO_VDD
133 132 C271 133 132 C272 133 132 C273
IO_GND IO_VDD IO_GND IO_VDD IO_GND IO_VDD
+1.2V 0.01UF +1.2V 0.01UF +1.2V 0.01UF
2 1 C201 2 1 C202 2 1 C203
CORE_GND CORE_VDD CORE_GND CORE_VDD CORE_GND CORE_VDD
15 14 0.01UF 15 14 0.01UF 15 14 0.01UF
CORE_GND CORE_VDD CORE_GND CORE_VDD CORE_GND CORE_VDD
47 46 C221 47 46 C222 47 46 C223
CORE_GND CORE_VDD CORE_GND CORE_VDD CORE_GND CORE_VDD
61 60 0.01UF C241 61 60 0.01UF C242 61 60 0.01UF C243
CORE_GND CORE_VDD CORE_GND CORE_VDD CORE_GND CORE_VDD
96 95 C261 0.01UF 96 95 C262 0.01UF 96 95 C263 0.01UF
CORE_GND CORE_VDD CORE_GND CORE_VDD CORE_GND CORE_VDD
110 109 0.01UF C281 110 109 0.01UF C282 110 109 0.01UF C283
CORE_GND CORE_VDD CORE_GND CORE_VDD CORE_GND CORE_VDD
131 130 C291 0.01UF 131 130 C292 0.01UF 131 130 C293 0.01UF
CORE_GND CORE_VDD CORE_GND CORE_VDD CORE_GND CORE_VDD
+3.3V 0.01UF +3.3V 0.01UF +3.3V 0.01UF
75 74 75 74 75 74
PLLA_GND PLLA_VDD PLLA_GND PLLA_VDD PLLA_GND PLLA_VDD
+1.2V +1.2V +1.2V +1.2V +1.2V +1.2V
77 76 77 76 77 76
PLLD_GND PLLD_VDD PLLD_GND PLLD_VDD PLLD_GND PLLD_VDD
+3.3V C101 C501 C521 C541 C561 C581 +3.3V C102 C502 C522 C542 C562 C582 +3.3V C103 C503 C523 C543 C563 C583
78 73 78 73 78 73
PLLP_GND PLLP_VDD PLLP_GND PLLP_VDD PLLP_GND PLLP_VDD
+3.3V 0.01UF 0.1UF 0.1UF 0.1UF 0.1UF 1.0UF +3.3V 0.01UF 0.1UF 0.1UF 0.1UF 0.1UF 1.0UF +3.3V 0.01UF 0.1UF 0.1UF 0.1UF 0.1UF 1.0UF
35 36 35 36 35 36
PLLA1_GND PLLA1_VDD PLLA1_GND PLLA1_VDD PLLA1_GND PLLA1_VDD
+1.2V +3.3V +1.2V +3.3V +1.2V +3.3V
33 34 33 34 33 34
PLLD1_GND PLLD1_VDD PLLD1_GND PLLD1_VDD PLLD1_GND PLLD1_VDD
+3.3V C111 C511 C531 C551 C571 C591 +3.3V C112 C512 C532 C552 C572 C592 +3.3V C113 C513 C533 C553 C573 C593
31 32 31 32 31 32
PLLP1_GND PLLP1_VDD PLLP1_GND PLLP1_VDD PLLP1_GND PLLP1_VDD
0.01UF 0.1UF 0.1UF 0.1UF 0.1UF 1.0UF 0.01UF 0.1UF 0.1UF 0.1UF 0.1UF 1.0UF 0.01UF 0.1UF 0.1UF 0.1UF 0.1UF 1.0UF
DSP B56724AG DSP B56724AG DSP B56724AG

IC204D +3.3V IC205D +3.3V IC206D +3.3V

13 12 C214 13 12 C215 13 12 C216
IO_GND IO_VDD IO_GND IO_VDD IO_GND IO_VDD
30 29 0.01UF 30 29 0.01UF 30 29 0.01UF
IO_GND IO_VDD IO_GND IO_VDD IO_GND IO_VDD
49 48 C234 49 48 C235 49 48 C236
IO_GND IO_VDD IO_GND IO_VDD IO_GND IO_VDD
59 58 0.01UF 59 58 0.01UF 59 58 0.01UF
IO_GND IO_VDD IO_GND IO_VDD IO_GND IO_VDD
71 72 71 72 71 72
IO_GND IO_VDD IO_GND IO_VDD IO_GND IO_VDD
82 81 C254 82 81 C255 82 81 C256
IO_GND IO_VDD IO_GND IO_VDD IO_GND IO_VDD
108 107 0.01UF 108 107 0.01UF 108 107 0.01UF
IO_GND IO_VDD IO_GND IO_VDD IO_GND IO_VDD
133 132 C274 133 132 C275 133 132 C276
IO_GND IO_VDD IO_GND IO_VDD IO_GND IO_VDD
+1.2V 0.01UF +1.2V 0.01UF +1.2V 0.01UF
2 1 C204 2 1 C205 2 1 C206
CORE_GND CORE_VDD CORE_GND CORE_VDD CORE_GND CORE_VDD
15 14 0.01UF 15 14 0.01UF 15 14 0.01UF
CORE_GND CORE_VDD CORE_GND CORE_VDD CORE_GND CORE_VDD
47 46 C224 47 46 C225 47 46 C226
CORE_GND CORE_VDD CORE_GND CORE_VDD CORE_GND CORE_VDD
61 60 0.01UF C244 61 60 0.01UF C245 61 60 0.01UF C246
CORE_GND CORE_VDD CORE_GND CORE_VDD CORE_GND CORE_VDD
96 95 C264 0.01UF 96 95 C265 0.01UF 96 95 C266 0.01UF
CORE_GND CORE_VDD CORE_GND CORE_VDD CORE_GND CORE_VDD
110 109 0.01UF C284 110 109 0.01UF C285 110 109 0.01UF C286
CORE_GND CORE_VDD CORE_GND CORE_VDD CORE_GND CORE_VDD
131 130 C294 0.01UF 131 130 C295 0.01UF 131 130 C296 0.01UF
CORE_GND CORE_VDD CORE_GND CORE_VDD CORE_GND CORE_VDD
+3.3V 0.01UF +3.3V 0.01UF +3.3V 0.01UF
75 74 75 74 75 74
PLLA_GND PLLA_VDD PLLA_GND PLLA_VDD PLLA_GND PLLA_VDD
+1.2V +1.2V +1.2V +1.2V +1.2V +1.2V
77 76 77 76 77 76
PLLD_GND PLLD_VDD PLLD_GND PLLD_VDD PLLD_GND PLLD_VDD
+3.3V C104 C504 C524 C544 C564 C584 +3.3V C105 C505 C525 C545 C565 C585 +3.3V C106 C506 C526 C546 C566 C586
78 73 78 73 78 73
PLLP_GND PLLP_VDD PLLP_GND PLLP_VDD PLLP_GND PLLP_VDD
+3.3V 0.01UF 0.1UF 0.1UF 0.1UF 0.1UF 1.0UF +3.3V 0.01UF 0.1UF 0.1UF 0.1UF 0.1UF 1.0UF +3.3V 0.01UF 0.1UF 0.1UF 0.1UF 0.1UF 1.0UF
35 36 35 36 35 36
PLLA1_GND PLLA1_VDD PLLA1_GND PLLA1_VDD PLLA1_GND PLLA1_VDD
+1.2V +3.3V +1.2V +3.3V +1.2V +3.3V
33 34 33 34 33 34
PLLD1_GND PLLD1_VDD PLLD1_GND PLLD1_VDD PLLD1_GND PLLD1_VDD
+3.3V C114 C514 C534 C554 C574 C594 +3.3V C115 C515 C535 C555 C575 C595 +3.3V C116 C516 C536 C556 C576 C596
31 32 31 32 31 32
PLLP1_GND PLLP1_VDD PLLP1_GND PLLP1_VDD PLLP1_GND PLLP1_VDD
0.01UF 0.1UF 0.1UF 0.1UF 0.1UF 1.0UF 0.01UF 0.1UF 0.1UF 0.1UF 0.1UF 1.0UF 0.01UF 0.1UF 0.1UF 0.1UF 0.1UF 1.0UF
DSP B56724AG DSP B56724AG DSP B56724AG

IC207D +3.3V IC208D +3.3V IC209D +3.3V

13 12 C217 13 12 C218 13 12 C219
IO_GND IO_VDD IO_GND IO_VDD IO_GND IO_VDD
30 29 0.01UF 30 29 0.01UF 30 29 0.01UF
IO_GND IO_VDD IO_GND IO_VDD IO_GND IO_VDD
49 48 C237 49 48 C238 49 48 C239
IO_GND IO_VDD IO_GND IO_VDD IO_GND IO_VDD
59 58 0.01UF 59 58 0.01UF 59 58 0.01UF
IO_GND IO_VDD IO_GND IO_VDD IO_GND IO_VDD
71 72 71 72 71 72
IO_GND IO_VDD IO_GND IO_VDD IO_GND IO_VDD
82 81 C257 82 81 C258 82 81 C259
IO_GND IO_VDD IO_GND IO_VDD IO_GND IO_VDD
108 107 0.01UF 108 107 0.01UF 108 107 0.01UF
IO_GND IO_VDD IO_GND IO_VDD IO_GND IO_VDD
133 132 C277 133 132 C278 133 132 C279
IO_GND IO_VDD IO_GND IO_VDD IO_GND IO_VDD
+1.2V 0.01UF +1.2V 0.01UF +1.2V 0.01UF
2 1 C207 2 1 C208 2 1 C209
CORE_GND CORE_VDD CORE_GND CORE_VDD CORE_GND CORE_VDD
15 14 0.01UF 15 14 0.01UF 15 14 0.01UF
CORE_GND CORE_VDD CORE_GND CORE_VDD CORE_GND CORE_VDD
47 46 C227 47 46 C228 47 46 C229
CORE_GND CORE_VDD CORE_GND CORE_VDD CORE_GND CORE_VDD
61 60 0.01UF C247 61 60 0.01UF C248 61 60 0.01UF C249
CORE_GND CORE_VDD CORE_GND CORE_VDD CORE_GND CORE_VDD
96 95 C267 0.01UF 96 95 C268 0.01UF 96 95 C269 0.01UF
CORE_GND CORE_VDD CORE_GND CORE_VDD CORE_GND CORE_VDD
110 109 0.01UF C287 110 109 0.01UF C288 110 109 0.01UF C289
CORE_GND CORE_VDD CORE_GND CORE_VDD CORE_GND CORE_VDD
131 130 C297 0.01UF 131 130 C298 0.01UF 131 130 C299 0.01UF
CORE_GND CORE_VDD CORE_GND CORE_VDD CORE_GND CORE_VDD
+3.3V 0.01UF +3.3V 0.01UF +3.3V 0.01UF
75 74 75 74 75 74
PLLA_GND PLLA_VDD PLLA_GND PLLA_VDD PLLA_GND PLLA_VDD
+1.2V +1.2V +1.2V +1.2V +1.2V +1.2V
77 76 77 76 77 76
PLLD_GND PLLD_VDD PLLD_GND PLLD_VDD PLLD_GND PLLD_VDD
+3.3V C107 C507 C527 C547 C567 C587 +3.3V C108 C508 C528 C548 C568 C588 +3.3V C109 C509 C529 C549 C569 C589
78 73 78 73 78 73
PLLP_GND PLLP_VDD PLLP_GND PLLP_VDD PLLP_GND PLLP_VDD
+3.3V 0.01UF 0.1UF 0.1UF 0.1UF 0.1UF 1.0UF +3.3V 0.01UF 0.1UF 0.1UF 0.1UF 0.1UF 1.0UF +3.3V 0.01UF 0.1UF 0.1UF 0.1UF 0.1UF 1.0UF DSP BOARD
35 36 35 36 35 36
PLLA1_GND PLLA1_VDD
+1.2V +3.3V
PLLA1_GND PLLA1_VDD
+1.2V +3.3V
PLLA1_GND PLLA1_VDD
+1.2V +3.3V SCHEMATIC 5 OF 9
33 34 33 34 33 34
PLLD1_GND PLLD1_VDD
+3.3V C117 C517 C537 C557 C577 C597
PLLD1_GND PLLD1_VDD
+3.3V C118 C518 C538 C558 C578 C598
PLLD1_GND PLLD1_VDD
+3.3V C119 C519 C539 C559 C579 C599 POWER AND GROUND
31 32 31 32 31 32
PLLP1_GND PLLP1_VDD
0.01UF 0.1UF 0.1UF 0.1UF 0.1UF 1.0UF
PLLP1_GND PLLP1_VDD
0.01UF 0.1UF 0.1UF 0.1UF 0.1UF 1.0UF
PLLP1_GND PLLP1_VDD
0.01UF 0.1UF 0.1UF 0.1UF 0.1UF 1.0UF 62375.000.xx.1
DSP B56724AG DSP B56724AG DSP B56724AG
 6-60 TECHNICAL DATA ORBAN MODEL 8685

IC601A
RESET 1 2
+5VB
C604
74AHCT04
IC602A
IC601B 1
0.1UF 3
+5VB AEN 3 4 2

20
IC604
2 18 ISA_D0 74VHC08
D1 Q1 74AHCT04

VCC
+5VB 3 17 ISA_D1
D2 Q2
4 16 ISA_D2
D3 Q3
5 15 ISA_D3 IC602B IC601C IC603A
D4 Q4
6 14 ISA_D4 BIOW -N 4 1
D5 Q5 1A
R604 7 13 ISA_D5 6 5 6 2 12 ISA_CM N
D6 Q6 1B 1Y ISA_CM N (SHT7)
10.0K 8 12 ISA_D6 BIOR-N 5 13
D7 Q7 1C
9 11 ISA_D7
D8 Q8 74VHC08 74AHCT04 74AC11D
IC601D
1

G ND
E1
19 ISA_A9 9 8
E2
IC602C
74AHC541 9
74AHCT04

10
8
ISA_A8 10
74VHC08
IC601E
ISA_A7 11 10
IC602D
ISA_D[0..7] 12
74AHCT04 11 +5VB
ISA_A6 13 C601
+5VB
J601 POWER MONI TOR SENSE 74VHC08
RESET 0.01UF
1 2
ISA_D7 +3.3V +3.3VB ISA_A5

14
3 4 ISA_A5 (SHT7) IC603B IC603C
ISA_D6 3 11 IC601F
5 6 2A 3A
ISA_D4 ISA_D5 4 6 10 8 13 12 DSP_SEL-N
7 8 2B 2Y 3B 3Y
ISA_D3 ISA_D2 5 9
9 10 R601 R602 2C 3C
ISA_D1 ISA_A4 74AHCT04
11 12 ISA_A4 (SHT7) 74AC11D 74AC11D

7
ISA_D0 AEN 75.0OHM 75.0OHM
13 14
15 16
BIOW -N
17 18
BIOR-N ISA_A3
19 20 ISA_A3 (SHT7)
SSI_DI
(SHT3,7) SSI_DI 21 22
SSI_CLK
(SHT3,7) SSI_CLK 23 24
HREQ-N
(SHT3) HREQ-N 25 26
ISA_A9 SSI_DO ISA_A2
27 28 SSI_DO (SHT3,7) ISA_A2 (SHT7)
ISA_A8 ISA_A6
29 30
ISA_A7
31 32 +5VB +5VB
R603 ISA_A4 ISA_A5
10.0K ISA_A3
33 34
ISA_A1 C602 C603
35 36 ISA_A1 (SHT7)
ISA_A1 ISA_A2
37 38
ISA_A0 0.01UF 0.01UF
39 40

14

14
IDC HEADER 20X2 ISA_A0 IC603D
ISA_A0 (SHT7)
IC602E

VCC

VCC
G ND

G ND
74VHC08
FROM BASE BOARD
74AC11D

7
ISA_A[0..9]

DSP BOARD
SCHEMATIC 6 OF 9
86xx 8-BIT CONTROL INTERFACE
62375.000.xx.1
OPTIMOD LOUDNESS CONTROLLER TECHNICAL DATA 6-61
IC7 03 +3.3V
+3.3V C700 IC201_0_CS-N 23 105 IC209_SDO2_1
(SHT3) IC201_0_CS-N I0 (429) I0 (3) IC209_SDO2_1 (SHT2)
IC201_1_CS-N 16 107 IC209_SDO2_3 C712
(SHT3) IC201_1_CS-N I0 (426) I0 (6) IC209_SDO2_3 (SHT2)
IC202_0_CS-N 17 104 IC208_SDO5_3 0.1UF

+
10UF
(SHT3) IC202_0_CS-N
IC202_1_CS-N 25
I0 (423) I0 (9)
102 IC208_SDO4_3
IC208_SDO5_3 (SHT2) TO I/O PCA

F unction B lock 1
F unction B lock 8
(SHT3) IC202_1_CS-N I0 (420) I0 (12) IC208_SDO4_3 (SHT2)
IC203_0_CS-N 19 103 IC208_SDO3_3 J701
(SHT3) IC203_0_CS-N I0 (417) I0 (15) IC208_SDO3_3 (SHT2)
L703 L704 IC203_1_CS-N 20 100 IC208_SDO2_3 +3.3V 18.432M HZB
(SHT3) IC203_1_CS-N I0 (414) I0 (18) IC208_SDO2_3 (SHT2) 2 1
HZ0805G102R-10 HZ0805G102R-10 IC204_0_CS-N 21 98 IC207_SDO2_3 C716 36.864M HZB

20
(SHT3) IC204_0_CS-N I0 (408) I0 (21) IC207_SDO2_3 (SHT2) 4 3
IC204_1_CS-N 22 101 IC203_SDO2_3 IC706 0.01UF 24.576M HZB
(SHT3) IC204_1_CS-N I0 (405) I0 (24) IC203_SDO2_3 (SHT2) 6 5
C703 C704 IC205_0_CS-N 31 96 IC202_SDO2_3 33.8688M HZB
(SHT3) IC205_0_CS-N IO (402) I0 (27) IC202_SDO2_3 (SHT2) 8 7

VCC
IC205_1_CS-N 24 94 IC201_SDIO_A 16.384M HZ 2 18
(SHT3) IC205_1_CS-N I0 (399) I0 (30) IC201_SDIO_A (SHT2) A1 Y1 10 9
IC206_0_CS-N 26 93 IC201_SDIO_B DOUT_DATA1 4 16

13
20
(SHT3) IC206_0_CS-N I0 (396) I0 (36) IC201_SDIO_B (SHT2) A2 Y2 12 11
8

1
0.1UF 0.1UF IC206_1_CS-N 27 92 DOUT_DATA2 6 14
(SHT3) IC206_1_CS-N I0 (390) I0 (39) E702 A3 Y3 14 13
IC207_0_CS-N 28 97 IC201_SDO2_3 DOUT_DATA3 8 12
(SHT3) IC207_0_CS-N I0 (387) I0 (42) IC201_SDO2_3 (SHT2) A4 Y4 16 15
V dd1
V dd2
V dd3
V cc

IC207_1_CS-N 35 95 FSY NC DOUT_DATA4 11 9

(SHT3) IC207_1_CS-N I0 (384) I0 (45) FSY NC (SHT2) A5 Y5 18 17
30 91 BCLK DOUT_BCLK 13 7
12 14 I0/GCK1 (381) I0 (48) BCLK (SHT2) A6 Y6 20 19
CSEL MCK01 DOUT_FCLK 15 5
15 A7 Y7 22 21
MCK02 SSI_DI 142 88 IC209_SDO5_0 COM P_BCLK 17 3
5 (SHT6) SSI_DI I0 (375) I0 (57) IC209_SDO5_0 (SHT2) A8 Y8 24 23
FS1 DSP_RST-N 143 83 IC209_SDI1_0 +3.3V
(SHT6) DSP_RST-N I0/GSR (372) I0 (60) IC209_SDI1_0 (SHT2) 26 25
+3.3V 6 SSI_DO 4 87 IC209_SDI2_0 1
FS2 18 33.8688M HZ (SHT6) SSI_DO I0 (366) I0 (63) IC209_SDI2_0 (SHT2) OE1 28 27
SCK00 2 86 IC209_SDI3_0 19

G ND
19 36.864M HZ E701 I0/GTS3 (363) I0 (66) IC209_SDI3_0 (SHT2) OE2 30 29
C719

F unction B lock 2
F unction B lock 7
7 SCK01 IRQB-N 3 81 IC208_SDI3_0
SR 2 16.384M HZ (SHT3) IRQB-N I0/GTS4 (360) I0 (69) IC208_SDI3_0 (SHT2) 32 31
SCK02 SS1 5 85 IC207_SDI3_0 0.01UF
10 3 24.576M HZ I0/GTS1 (354) I0 (72) IC207_SDI3_0 (SHT2) 34 33
XT1 SCK03 SS2 6 82 IC203_SDI3_0 74LVC2244
I0/GTS2 (351) I0 (75) IC203_SDI3_0 (SHT2) 36 35

10
11 SSI_CLK 7 79 IC209_SDO3_2 C713
XT2 (SHT6) SSI_CLK I0 (348) I0 (78) IC209_SDO3_2 (SHT2) 38 37
ISA_CM N 9 80 IC209_SDO2_2 0.1UF
(SHT6) ISA_CM N I0 (345) I0 (81) IC209_SDO2_2 (SHT2) 40 39
ISA_A5 10 78
(SHT6) ISA_A5 I0 (342) I0 (84) E703
ISA_A4 12 77 IC202_SDI3_0 +3.3V RIBBON CABLE_40P
DG ND1
DG ND2
DG ND3

(SHT6) ISA_A4 I0 (339) I0 (87) IC202_SDI3_0 (SHT2)

AG ND

ISA_A3 11 76 IC201_SDI0_0 C717

20
(SHT6) ISA_A3 I0 (336) I0 (90) IC201_SDI0_0 (SHT2)
IC702 ISA_A2 13 74 IC201_SDI1_0 IC707 0.01UF
(SHT6) ISA_A2 I0 (333) I0 (93) IC201_SDI1_0 (SHT2)
IC PL L 1707 ISA_A1 14 75 IC201_SDI2_0
(SHT6) ISA_A1 I0 (330) I0 (99) IC201_SDI2_0 (SHT2) TO I/O DAUGHTER PCA

VCC
ISA_A0 15 71 IC201_SDI3_0 2 18
(SHT6) ISA_A0 I0 (327) I0 (102) IC201_SDI3_0 (SHT2) A1 Y1
9

4
16
17

4 16 DIN_DATA2 J704
A2 Y2
39 125 PHONE_DFS 6 14 DIN_DATA3
I0 (321) I0 (111) PHONE_DFS (SHT9) A3 Y3 2 1
32 117 PHONE_RST-N 8 12
I0/GCK2 (318) I0 (114) PHONE_RST-N (SHT9) A4 Y4 4 3
IC208_0_CS-N 41 124 DOUT_FCLK IN_BCLK 11 9
(SHT3) IC208_0_CS-N I0 (315) I0 (117) A5 Y5 6 5
IC208_1_CS-N 44 121 DOUT_BCLK IN_FCLK 13 7 +3.3V
(SHT3) IC208_1_CS-N I0 (312) I0 (120) A6 Y6 8 7
IC209_0_CS-N 33 120 AOUT_FCLK COM P_W CLK 15 5 SS2 +5V

F unction B lock 3
F unction B lock 6
(SHT3) IC209_0_CS-N I0 (309) I0 (126) A7 Y7 10 9
IC705A IC209_1_CS-N 34 119 AOUT_BCLK AOUT_DATA 17 3 SS1
(SHT3) IC209_1_CS-N I0 (306) I0 (129) A8 Y8 12 11
18.432M HZ 46 115 COM P_W CLK +3.3V SY NC_REF
R701 I0 (303) I0 (132) 14 13
1 2 33.8688M HZB 38 116 COM P_BCLK 1
I0/GCK3 (300) I0 (135) OE1
22OHM PHONE_M CLK 40 113 OUT_FCLK 19 IDC HEADER 7X2

G ND
(SHT9) PHONE_M CLK I0 (297) I0 (138) OUT_FCLK (SHT2) OE2
IC705B +3.3V PHONE_BCLK 48 112 OUT_BCLK C720 AIN_DATA
74AHCT04 R705 (SHT9) PHONE_BCLK
PHONE_DATA 43
I0 (294) I0 (144)
110 IN_FCLK
OUT_BCLK (SHT2)
0.01UF DIN_DATA1
AIN_DATA (SHT2)
R702 (SHT9) PHONE_DATA I0 (291) I0 (147) DIN_DATA1 (SHT2)
3 4 36.864M HZB J705 4.99K PHONE_W CLK 45 111 IN_BCLK 74LVC2244
(SHT9) PHONE_W CLK I0 (288) I0 (150)

10
22OHM 49 106 EXTAL C714
3
SY NC_REF 50
I0 (282) I0 (156) EXTAL (SHT3)
0.1UF
TO I/O PCA
IC705C 74AHCT04 2 I0 (279)
PW R_SY NC 51 J702
R703 1 (SHT8) PW R_SY NC I0 (273)
5 6 24.576M HZB
2 1
22OHM HDR 3 IC209_SDO5_1 118 69 IC206_SDO2_3
(SHT2) IC209_SDO5_1 I0 (267) I0 (165) IC206_SDO2_3 (SHT2) 4 3
IC209_SDO4_1 126 64 IC205_SDO2_3
74AHCT04 (SHT2) IC209_SDO4_1 I0 (264) I0 (171) IC205_SDO2_3 (SHT2) 6 5
IC209_SDO3_1 133 61 IC204_SDO2_3
J705 = board configuration: (SHT2) IC209_SDO3_1 I0 (261) I0 (174) IC204_SDO2_3 (SHT2) IN_FCLK (SHT2) 8 7
IC705D IC209_SDO5_3 128 70 MUTE_IC901 +3.3V
FM = pins 1-2 (or none) (SHT2) IC209_SDO5_3 I0 (255) I0 (177) MUTE_IC901 (SHT9) IN_BCLK (SHT2) 10 9
IC209_SDO4_3 129 60 IC201_SDI0_1 C718

20
R704 multichannel = pins 2-3 (SHT2) IC209_SDO4_3 I0 (252) I0 (180) IC201_SDI0_1 (SHT2) COM P_W CLK (SHT2) 12 11
9 8 18.432M HZB IC209_SDO3_3 130 58 IC708 0.01UF

F unction B lock 4
F unction B lock 5
(SHT2) IC209_SDO3_3 I0 (246) I0 (183) COM P_BCLK (SHT2) 14 13
22OHM +5V AOUT_DATA 131 68
I0 (243) I0 (186) 16 15

VCC
IC705E DOUT_DATA1 135 57 SY NC_FLAG AOUT_BCLK 2 18
74AHCT04 I0 (240) I0 (189) SY NC_FLAG A1 Y1 18 17
DOUT_DATA2 132 56 IC201_SDI0_2 AOUT_FCLK 4 16
14

I0 (237) I0 (192) IC201_SDI0_2 (SHT2) A2 Y2 20 19

11 10 IC705G COM P_DATA 134 66 IC206_SDI3_0 PILOT_DATA 6 14
I0 (234) I0 (195) IC206_SDI3_0 (SHT2) A3 Y3 22 21
PILOT_DATA 137 54 IC205_SDI3_0 PILOT_BCLK 8 12
I0 (231) I0 (198) IC205_SDI3_0 (SHT2) A4 Y4 24 23
IC705F DOUT_DATA3 136 53 IC204_SDI3_0 COM P_W CLK 11 9
74AHCT04 I0 (228) I0 (201) IC204_SDI3_0 (SHT2) A5 Y5 26 25
C705 74AHCT04 DOUT_DATA4 138 59 PILOT_W CLK COM P_DATA 13 7
I0 (225) I0 (207) A6 Y6 28 27
7

13 12 0.1UF DIN_DATA2 139 52 PILOT_BCLK COM P_BCLK 15 5

I0 (222) I0 (210) A7 Y7 30 29
DIN_DATA3 140 PILOT_W CLK 17 3
I0 (219) +3.3V A8 Y8 32 31
+3.3V +3.3V +3.3V +3.3V
74AHCT04 18 1 34 33
GND Vccio2.5V/3.3V 1
29 37 OE1 36 35
GND Vccio2.5V/3.3V 19

G ND
R708 R709 R710 36 55 OE2 38 37
JTAG PORT GND Vccio2.5V/3.3V C721 +3.3V
100.0K 100.0K 100.0K 47 73 40 39
GND Vccio2.5V/3.3V 0.01UF +15V
62 109
PHASE COMPARATOR +3.3V GND Vccio2.5V/3.3V 74LVC2244 C715 -15V RIBBON CABLE_40P
72 127

10
J703 GND Vccio2.5V/3.3V C725 C724 C723 C722 0.1UF
89
+3.3V (TCK) GND 8
1 2 90 Vccint3.3V
(TDO) GND 42 0.01UF 0.01UF 0.01UF 0.01UF
3 4 99 Vccint3.3V
(TM S) GND 84
16

5 6 108 Vccint3.3V
IC704 GND 141
7 8 114 Vccint3.3V
3 2 (TDI) GND
COM P IN PC1 OUT 9 10 123
VCC

14 GND +3.3V +3.3V +3.3V +3.3V +3.3V

SIG IN 144
15 HDR 5X2 UNSHRD GND
PC3 OUT
6 67 122 C709 C708 C707 C706 C702
C1A TCK TDO
7 13 65
C1B PC2 OUT TM S
63 0.1UF 0.1UF 0.1UF 0.1UF 1.0UF
TDI
11 1 +3.3V
R1 PCP OUT
12 XC9 5144XL -10TQ G 144C
R2
4
VCO OUT
9
G ND

VCO IN
5 10
INH DEM OUT
+3.3V 74HC4046AM R706 R711 IC701 +3.3V
8

100.0K 1.00K 1 6
VC VDD
C726 C710 C701
2 5
DSP BOARD
EN N/C 0.01UF 0.1UF 1.0UF
C711 L701 SCHEMATIC 7 OF 9
0.1UF 3 4 HZ0805G102R-10
R707
GND OUT R712 CLOCK GENERATION AND CPLD
100.0K FVXO- HC73B- 27MHz 150.0 OHM 62375.000.xx.1
 6-62 TECHNICAL DATA ORBAN MODEL 8685

FROM POWER SUPPLY (NO-STUFF)

TP 805
+5V
+5V C8 27

IC8 01
J8 01 0.01UF 1 5
C8 09 C8 19 SS/TRCK NC
+5V
1 2 1.0UF 0.1UF L801
6 8 (NO-STUFF)
3 4 PVIN SW
+ C8 31 C8 35 1.5uH TP 803
5 6 10µF R8 03 2 OHM
C8 01 + 7 9 +3.3V +3.3V
7 8 25V PVIN SW
0.1UF
9 10
22UF C8 11 14 2
11 12 AVIN FB
1.0UF R8 13
13 14 TP 801
12 3 4.99K C8 17 C8 15 + C8 03 + C8 05 + C8 07 CR8 01
15 16 DGND EN PGOOD
C8 21
L100
HDR 8X2 +RAW 1 100PF 16 13 R8 12 0.1UF 22UF 22UF 10UF 10UF
250uH SY NC VCC DIODE_VOL 6.8
SHRD +RAW (NO-STUFF) C8 25 1.62K
TP 802 +5V 100PF 4 10
COM P PGND
+RAW

G ND
R8 05 R8 07 15 11 C8 13
AGND PGND
10.0K 10.0K 1.0UF +RAW

17
R8 17 C8 23 R8 15
110.0 OHM 100PF 3.48K LM 20134M H
+ + C8 32 C8 34
C8 33 10µF R8 09 C8 29
100/50V 25V 0.1UF 10.0K 4700PF (TAB=GND) R819
CR8 03 5%,50V +3.3VB 3.48K
DIODE_VOL 33 1%

R821
C8 28 4.99K
1%
IC8 02 +3.3V IC8 03
0.01UF 1 5
C8 10 C8 20 SS/TRCK NC
+5V
1.0UF 0.1UF L802 LM 4041
6 8 (NO-STUFF)
PVIN SW
1.5uH TP 804
R8 04 2 OHM
C8 02 + 7 9 +1.2V +1.2V CR802
PVIN SW
1N5818 R820
22UF C8 12 14 2 3.48K
AVIN FB
1.0UF R8 14 1%
12 3 4.99K C8 18 C8 16 + C8 04 + C8 06 + C8 08 + C8 36
EN PGOOD 470µF/16V
C8 22
100PF 16 13 R8 11 0.1UF 22UF 22UF 10UF 10UF
SY NC VCC
C8 26 10.0K
+3.3V 100PF 4 10
COM P PGND

G ND
R8 06 R8 08 15 11 C8 14
AGND PGND
10.0K 10.0K 1.0UF
(SHT7) PW R_SYNC

17
R8 18 C8 24 R8 16
110.0 OHM 100PF 1.00K LM 20134M H

R8 10 C8 30
10.0K 4700PF (TAB=GND)
5%,50V

TESTING ACCESS

+1.2V J8 02
M1 M2 M3
1 2 CGND_ NE T_ TIE 1 CGND_ NE T_ TIE 2 CGND_ NE T_ TIE 3
+15V
3 4
+5V
5 6
1

2
+3.3V
7 8
9 10 KEY
-15V
HDR 5X2 DSP BOARD
M6
2 10
M4
CGND_ NE T_ TIE 4
M5
CGND_ NE T_ TIE 5 CGND_ NE T_ TIE 6 SCHEMATIC 8 OF 9
P IN 10 TRIMME D FOR KE Y 86xx POWER DISTRIBUTION

2
1

2
62375.000.xx.1
1 9
OPTIMOD LOUDNESS CONTROLLER TECHNICAL DATA 6-63
LA7D[0..2 3] LA8D[0..2 3] LA9D[0..2 3]

IC917A IC9 07B +3.3V IC918A IC9 08B +3.3V IC919A IC9 09B +3.3V
LA7D3 47 2 44 1 LA8D3 47 2 44 1 LA9D3 47 2 44 1
1D1 1Q1 VSS VDD 1D1 1Q1 VSS VDD 1D1 1Q1 VSS VDD
LA7D4 46 3 58 15 C907 C947 LA8D4 46 3 58 15 C908 C948 LA9D4 46 3 58 15 C909 C949
1D2 1Q2 VSS VDD 1D2 1Q2 VSS VDD 1D2 1Q2 VSS VDD
LA7D5 44 5 72 29 LA8D5 44 5 72 29 LA9D5 44 5 72 29
1D3 1Q3 VSS VDD 1D3 1Q3 VSS VDD 1D3 1Q3 VSS VDD
LA7D6 43 6 86 43 0.01UF 1.0UF LA8D6 43 6 86 43 0.01UF 1.0UF LA9D6 43 6 86 43 0.01UF 1.0UF
1D4 1Q4 VSS VDD 1D4 1Q4 VSS VDD 1D4 1Q4 VSS VDD
LA7D7 41 8 +3.3V LA8D7 41 8 +3.3V LA9D7 41 8 +3.3V
1D5 1Q5 1D5 1Q5 1D5 1Q5
LA7D8 40 9 6 3 LA8D8 40 9 6 3 LA9D8 40 9 6 3
1D6 1Q6 VSSQ VDDQ 1D6 1Q6 VSSQ VDDQ 1D6 1Q6 VSSQ VDDQ
LA7D9 38 11 12 9 C927 C967 LA8D9 38 11 12 9 C928 C968 LA9D9 38 11 12 9 C929 C969
1D7 1Q7 VSSQ VDDQ 1D7 1Q7 VSSQ VDDQ 1D7 1Q7 VSSQ VDDQ
LA7D11 37 12 32 35 LA8D11 37 12 32 35 LA9D11 37 12 32 35
1D8 1Q8 VSSQ VDDQ 1D8 1Q8 VSSQ VDDQ 1D8 1Q8 VSSQ VDDQ
LA7D12 36 13 38 41 0.01UF 1.0UF LA8D12 36 13 38 41 0.01UF 1.0UF LA9D12 36 13 38 41 0.01UF 1.0UF
2D1 2Q1 VSSQ VDDQ 2D1 2Q1 VSSQ VDDQ 2D1 2Q1 VSSQ VDDQ
LA7D13 35 14 46 49 LA8D13 35 14 46 49 LA9D13 35 14 46 49
2D2 2Q2 VSSQ VDDQ 2D2 2Q2 VSSQ VDDQ 2D2 2Q2 VSSQ VDDQ
33 16 52 55 33 16 52 55 33 16 52 55
2D3 2Q3 VSSQ VDDQ 2D3 2Q3 VSSQ VDDQ 2D3 2Q3 VSSQ VDDQ
32 17 78 75 32 17 78 75 32 17 78 75
2D4 2Q4 VSSQ VDDQ 2D4 2Q4 VSSQ VDDQ 2D4 2Q4 VSSQ VDDQ
7LADxx or LA7Dxx 30 19 84 81 8LADxx or LA8Dxx 30 19 84 81 9LADxx or LA9Dxx 30 19 84 81
2D5 2Q5 VSSQ VDDQ 2D5 2Q5 VSSQ VDDQ 2D5 2Q5 VSSQ VDDQ
29 20 29 20 29 20
2D6 2Q6 2D6 2Q6 2D6 2Q6
27 22 MT4 8LC2 M32B 2P -6 27 22 MT4 8LC2 M32B 2P -6 27 22 MT4 8LC2 M32B 2P -6
2D7 2Q7 2D7 2Q7 2D7 2Q7
26 23 26 23 26 23
2D8 2Q8 2D8 2Q8 2D8 2Q8
1 48 1 48 1 48
1OE 1LE 1OE 1LE 1OE 1LE
24 25 24 25 24 25
2OE 2LE 2OE 2LE 2OE 2LE
7LADxx or LA7Dxx 74AL VCH16373 8LADxx or LA8Dxx 74AL VCH16373 9LADxx or LA9Dxx 74AL VCH16373
IC9 07A IC9 08A IC9 09A
7LADxx or LA7Dxx 8LADxx or LA8Dxx 9LADxx or LA9Dxx
IC207C 20 IC208C 20 IC209C 20
CS CS CS
LA7D0 70 3 LA8D0 70 3 LA9D0 70 3
LAD0/PA0 LALE LAD0/PA0 LALE LAD0/PA0 LALE
LA7D1 69 25 LA8D1 69 25 LA9D1 69 25
LAD1/PA1 A0 LAD1/PA1 A0 LAD1/PA1 A0
LA7D2 68 4 26 2 LA7D0 LA8D2 68 4 26 2 LA8D0 LA9D2 68 4 26 2 LA9D0
LAD2/PA2 LCS0 A1 DQ0 LAD2/PA2 LCS0 A1 DQ0 LAD2/PA2 LCS0 A1 DQ0
LA7D3 67 5 27 4 LA7D1 LA8D3 67 5 27 4 LA8D1 LA9D3 67 5 27 4 LA9D1
LAD3/PA3 LCS1 A2 DQ1 LAD3/PA3 LCS1 A2 DQ1 LAD3/PA3 LCS1 A2 DQ1
LA7D4 66 6 60 5 LA7D2 LA8D4 66 6 60 5 LA8D2 LA9D4 66 6 60 5 LA9D2
LAD4/PA4 LCS2 A3 DQ2 LAD4/PA4 LCS2 A3 DQ2 LAD4/PA4 LCS2 A3 DQ2
LA7D5 65 7 61 7 LA7D3 LA8D5 65 7 61 7 LA8D3 LA9D5 65 7 61 7 LA9D3
LAD5/PA5 LCS3 A4 DQ3 LAD5/PA5 LCS3 A4 DQ3 LAD5/PA5 LCS3 A4 DQ3
LA7D6 64 8 62 8 LA7D4 LA8D6 64 8 62 8 LA8D4 LA9D6 64 8 62 8 LA9D4
LAD6/PA6 LCS4 A5 DQ4 LAD6/PA6 LCS4 A5 DQ4 LAD6/PA6 LCS4 A5 DQ4
LA7D7 63 9 63 10 LA7D5 LA8D7 63 9 63 10 LA8D5 LA9D7 63 9 63 10 LA9D5
LAD7/PA7 LCS5 A6 DQ5 LAD7/PA7 LCS5 A6 DQ5 LAD7/PA7 LCS5 A6 DQ5
LA7D8 62 10 64 11 LA7D6 LA8D8 62 10 64 11 LA8D6 LA9D8 62 10 64 11 LA9D6
LAD8/PA8 LCS6 A7 DQ6 LAD8/PA8 LCS6 A7 DQ6 LAD8/PA8 LCS6 A7 DQ6
LA7D9 57 11 65 13 LA7D7 LA8D9 57 11 65 13 LA8D7 LA9D9 57 11 65 13 LA9D7
LAD9/PA9 LCS7 A8 DQ7 LAD9/PA9 LCS7 A8 DQ7 LAD9/PA9 LCS7 A8 DQ7
LA7D10 56 66 74 LA7D8 LA8D10 56 66 74 LA8D8 LA9D10 56 66 74 LA9D8
LAD10/PA10 A9 DQ8 LAD10/PA10 A9 DQ8 LAD10/PA10 A9 DQ8
LA7D11 55 26 24 76 LA7D9 LA8D11 55 26 24 76 LA8D9 LA9D11 55 26 24 76 LA9D9
LAD11/PA11 LA0/PA24 A10 DQ9 LAD11/PA11 LA0/PA24 A10 DQ9 LAD11/PA11 LA0/PA24 A10 DQ9
LA7D12 54 27 77 LA7D10 LA8D12 54 27 77 LA8D10 LA9D12 54 27 77 LA9D10
LAD12/PA12 LA1/PA25 DQ10 LAD12/PA12 LA1/PA25 DQ10 LAD12/PA12 LA1/PA25 DQ10
LA7D13 53 28 79 LA7D11 LA8D13 53 28 79 LA8D11 LA9D13 53 28 79 LA9D11
LAD13/PA13 LA2/PA26 DQ11 LAD13/PA13 LA2/PA26 DQ11 LAD13/PA13 LA2/PA26 DQ11
LA7D14 52 17 80 LA7D12 LA8D14 52 17 80 LA8D12 LA9D14 52 17 80 LA9D12
LAD14/PA14 WE DQ12 LAD14/PA14 WE DQ12 LAD14/PA14 WE DQ12
LA7D15 51 16 82 LA7D13 LA8D15 51 16 82 LA8D13 LA9D15 51 16 82 LA9D13
LAD15/PA15 LW E/LSDDQM DQ13 LAD15/PA15 LW E/LSDDQM DQ13 LAD15/PA15 LW E/LSDDQM DQ13
LA7D16 50 19 19 83 LA7D14 LA8D16 50 19 19 83 LA8D14 LA9D16 50 19 19 83 LA9D14
LAD16/PA16 LSDA10/LGPL0 RAS DQ14 LAD16/PA16 LSDA10/LGPL0 RAS DQ14 LAD16/PA16 LSDA10/LGPL0 RAS DQ14
LA7D17 45 23 18 85 LA7D15 LA8D17 45 23 18 85 LA8D15 LA9D17 45 23 18 85 LA9D15
LAD17/PA17 LSDW E/LGPL1 CAS DQ15 LAD17/PA17 LSDW E/LGPL1 CAS DQ15 LAD17/PA17 LSDW E/LGPL1 CAS DQ15
LA7D18 44 17 31 LA7D16 LA8D18 44 17 31 LA8D16 LA9D18 44 17 31 LA9D16
LAD18/PA18 LOE/LSDRAS/LGPL2 DQ16 LAD18/PA18 LOE/LSDRAS/LGPL2 DQ16 LAD18/PA18 LOE/LSDRAS/LGPL2 DQ16
LA7D19 43 24 14 33 LA7D17 LA8D19 43 24 14 33 LA8D17 LA9D19 43 24 14 33 LA9D17
LAD19/PA19 LSDCAS/LGPL3 NC DQ17 LAD19/PA19 LSDCAS/LGPL3 NC DQ17 LAD19/PA19 LSDCAS/LGPL3 NC DQ17
LA7D20 42 25 21 34 LA7D18 LA8D20 42 25 21 34 LA8D18 LA9D20 42 25 21 34 LA9D18
LAD20/PA20 LGTA/LGPL4/UPW AIT NC DQ18 LAD20/PA20 LGTA/LGPL4/UPW AIT NC DQ18 LAD20/PA20 LGTA/LGPL4/UPW AIT NC DQ18
LA7D21 41 18 30 36 LA7D19 LA8D21 41 18 30 36 LA8D19 LA9D21 41 18 30 36 LA9D19
LAD21/PA21 LGPL5 NC DQ19 LAD21/PA21 LGPL5 NC DQ19 LAD21/PA21 LGPL5 NC DQ19
LA7D22 40 22 57 37 LA7D20 LA8D22 40 22 57 37 LA8D20 LA9D22 40 22 57 37 LA9D20
LAD22/PA22 LBCTL NC DQ20 LAD22/PA22 LBCTL NC DQ20 LAD22/PA22 LBCTL NC DQ20
LA7D23 39 69 39 LA7D21 LA8D23 39 69 39 LA8D21 LA9D23 39 69 39 LA9D21
LAD23/PA23 NC DQ21 LAD23/PA23 NC DQ21 LAD23/PA23 NC DQ21
20 70 40 LA7D22 20 70 40 LA8D22 20 70 40 LA9D22
LCKE NC DQ22 LCKE NC DQ22 LCKE NC DQ22
21 73 42 LA7D23 21 73 42 LA8D23 21 73 42 LA9D23
LCLK NC DQ23 LCLK NC DQ23 LCLK NC DQ23
4516 1 4516 1 4516 1
DQ24 DQ24 DQ24
37 38 22 4715 2 37 38 22 4715 2 37 38 22 4715 2
LSY NC_IN LSY NC_OUT BA0 DQ25 LSY NC_IN LSY NC_OUT BA0 DQ25 LSY NC_IN LSY NC_OUT BA0 DQ25
23 4814 3 23 4814 3 23 4814 3
BA1 DQ26 BA1 DQ26 BA1 DQ26
DSP B56724AG 5013 4 DSP B56724AG 5013 4 DSP B56724AG 5013 4
DQ27 DQ27 DQ27
67 5112 5 67 5112 5 67 5112 5
CKE DQ28 CKE DQ28 CKE DQ28
IC917B 68 5311 6 IC918B 68 5311 6 IC919B 68 5311 6
CLK DQ29 CLK DQ29 CLK DQ29
5410 7 5410 7 5410 7
DQ30 DQ30 DQ30
4 +3.3V 16 56 9 8 4 +3.3V 16 56 9 8 4 +3.3V 16 56 9 8
GND DQM 0 DQ31 GND DQM 0 DQ31 GND DQM 0 DQ31
10 42 71 10 42 71 10 42 71
GND VCC DQM 1 4.7K RN907 GND VCC DQM 1 4.7K RN908 GND VCC DQM 1 4.7K RN909
15 31 C917 C957 28 15 31 C918 C958 28 15 31 C919 C959 28
GND VCC DQM 2 GND VCC DQM 2 GND VCC DQM 2
21 59 21 59 21 59
GND DQM 3 GND DQM 3 GND DQM 3
0.01UF 1.0UF 0.01UF 1.0UF 0.01UF 1.0UF
28 +3.3V MT4 8LC2 M32B 2P -6 28 +3.3V MT4 8LC2 M32B 2P -6 28 +3.3V MT4 8LC2 M32B 2P -6
GND GND GND
34 18 34 18 +5V 34 18
GND VCC GND VCC GND VCC
39 7 C937 C977 39 7 C938 C978 39 7 C939 C979
GND VCC GND VCC GND VCC
45 45 45
GND GND GND
0.01UF 1.0UF 0.01UF 1.0UF C903 0.01UF 1.0UF
1.0UF
74AL VCH16373 74AL VCH16373 C902 74AL VCH16373
+3.3V 1.0UF

C905 C906
0.1UF 0.1UF

18

24
2
(SHT7) IC903 +15V +15V
R901 R905 R909
/ \ AK 4393VF J901

VC OM
DV DD

AV DD
/ \ 8.45K 82.5K
8.45K TP901 1
PHONE_M CLK 3 C913

8
PHONE_M CLK
PHONE_RST-N 4
MCLK
17
2 TO 0.1UF
IC9 02A IC9 02 C
PHONE_RST-N
PHONE_BCLK 5
PD VREFH
2 OP A2134UA
3 HEADPHONE OP A2134UA
PHONE_BCLK
PHONE_DATA 6
BICK
25 1
4 PCA

4
PHONE_DATA SDATA P/S C911 5
PHONE_W CLK 7 3 C914
PHONE_W CLK LRCK 470PF 6
MUTE_IC901 8 0.1UF
MUTE_IC901 SM UTE E901 1%,50V
PHONE_DFS 9 22 MOLEX 6PIN -15V
PHONE_DFS DFS AOUTL-
-15V
E903 R903 R907 R911
10 23
DEM 0 AOUTL+
11
DEM 1 8.45K 8.45K 82.5K
20
AOUTR-
12
DIF0 E902 R902 R906 R910
13 21
DIF1 AOUTR+
14 8.45K 82.5K
DIF2 E904 8.45K TP902
26
CKS0
IC9 02B DSP BOARD
27 16 6 OP A2134UA
CKS1 VREFL SCHEMATIC 9 OF 9
DV S S

AV S S

BVS S

28 7
CKS2 C912 E ngineer:
5
470PF
1%,50V
BC EXTERNAL MEMORY INTERFACE CONTROLLER 2
C901 C904 Ch ecke d:
62375.000.xx.1
1

19

15

1.0UF 0.1UF BC
R904 R908 R912
Re lease d:
8.45K 8.45K 82.5K DC
File :
6-64 TECHNICAL DATA ORBAN MODEL 8685

LCD CARRIER PARTS LOCATOR

32270.000
OPTIMOD LOUDNESS CONTROLLER TECHNICAL DATA 6-65
J2 J3

1 33
2 32
3 31
LCD1
Revision History: 62270.000.02
4 30
5 29 ECO# DATE REV DESCRIPTION DONE CHECKED
6 28 3174 03/08/04 01 First Cut Released WRS
7 27 3200 08/27/04 02 LCD Rotation, add ZIFs, Move LED Connector WRS
8 26
9 25
10 24
11 23
12
13
14
15
16
22
21
20
19
18 Flex Jumper
OPTIMOD
8500 SERIES
17 17
18 16
19 15
20 14
21 13
22 12
23 11
24 10
25 9
26
27
8
7 orban
28 6
29 5
30 4
Sharp LCY-99073B-17
31 3
32 2
33 1

Four M-3 screws to LCD frame

(copper plane on front, under the LCD).

PS1

(Mounts From Backside)

ESD Suppression (TBD)
J1 LED1

2 1

D1 D2 C1 D3
1 1
LEDAC2 RED/GRN 2-PIN
2
2
1 A. Schottky 1 A. Schottky 0.0082 F, 1Kv 5V Transorb

Power Supply Monitor LED

Ref: PCB
FAB 32271.000.02
CHASSIS
Backlight Supply
SIPF-200A

(Backlight power supply module mounts to REAR

(Chassis plane on backside of board.) of Carrier Board with double-stick tape.)
Four #6-32 screws to chassis stand-offs (chassis ground).

* NOTE: All Components Except LED & LCD Mount

To Backside Of PCB. LCD CARRIER BOARD SCHEMATIC
1 of 1
 6-66 TECHNICAL DATA ORBAN MODEL 8685

HEADPHONE BOARD PARTS LOCATOR ENCODER BOARD PARTS LOCATOR

OPTIMOD LOUDNESS CONTROLLER TECHNICAL DATA 6-67

R13 +15vA
49.9k 1%

0.1uF,50v
20%
C7
100pF, 100v 5%
1
1 2 N/C
7 1
R1 C2
10.0K 1% U2
U1 b AGND V+ T-filter
6 R3 L1 J1
BW Left
7 3 6 1 3 1
G=1
5 1000pF,50v Right 2
C1 10.0
+15vA V- BUF634PA 1% 2 20% 3
1 2 OPA2134
Headphone Jack
J2 1uF, 50v 5% AGND
4
1 CHASSIS
2
3 SOCKET
From Interface Board 4
2 8-PIN

0.1uF,50v
5
DIP L2 T-filter

20%
C8
6
1 SU2 1 3
a3
-15vA

Cw
a2 1000pF,50v
2
20%
-15vA
Pin 4 is audio shield within cable. a1 AGND
Ties to chassis (bracket) by

10K 20%
Dual Pot
way of metal bushing on Pot R12. CHASSIS

R12
CHASSIS AGND
C3
Right-angle connector is used on
1 2 +15vA
8500 Series products, straight-up
version is used on the 8400. R10 T-filter
1uF, 50v b3 L3
R6 49.9K 1%
5%

Cw
1 3
b2

10.0K 2 1000pF,50v

0.1uF,50v
2
b1 20%

20%
C9
1%
100pF, 100v 5% 1
N/C
1 2
7 1 CHASSIS

AGND C4

U1 a AGND
V+ U3
2 R8
1 3
BW 6
G=1
3
10.0
V- 1%
OPA2134 BUF634PA
AGND
4

2 SOCKET

0.1uF,50v
C10

20%
+15vA 8-PIN
1 DIP
-15vA SU3

2 AGND
0.1uF,50v

8
20%
C5

U1c
U1c
1
OPA2134
+15vA
4

AGND
0.1uF,50v

1
20%
C6

0.1uF,50v
C11

20%
2
-15vA 1
N/C
7 1
AGND

AGND V+ U4
R2
BW
3 6
G=1
10.0
V- 1%
AGND BUF634PA
4

SOCKET
2 8-PIN
0.1uF,50v
C12

DIP
20%

1 SU4
-15vA

AGND Headphone Board Sheet 1 of 1 62090.000.07.1

 6-68 TECHNICAL DATA ORBAN MODEL 8685

+5vD

Joy_X

X3

X2

X1
A1

1 2
Y1 S2

D1
Joy_Y Y2
2 1 ESCAPE

J1
J2

From Interface Board MK Series Keyswitch

LED (Green) 1 Red Wire 1 FPLED1
Black Wire FPLED2 +5vD Y3 S1
2 2

JP1 C1
Power Indicator LED is on a break-away.
Wires soldered at both ends.
1 2
1 2
JOYSTICK ASSEMBLY
3 4
5 6 0.1µF, 50v XVL161-7.3FF-B1OK/B
7 8
9 10
11 12
13 14
15 16
16-pin Header
DGnd

Sw_ENC
Sw_Esc
Sw_Joy

CHASSIS Sw_Ent

(Pin 11 to be N/C on Interface Bd.)

Mounting Tabs of Joystick (A1) and Encoder EN1
(EN1) are tied to Chassis Ground by way of
SW1
all four PCB mounting holes (to Bracket).

DGnd 1 2

(PUSH)

1 Pa

ENTER 2
MK Series Keyswitch
C Pb
ENC_1

ENC_2

ENC_C ROTARY ENCODER

REB162(9x5)PVBS20FINA1-2-24PCE

Encoder Board 62100.000.05.1 Sheet 1 of 1

OPTIMOD LOUDNESS CONTROLLER TECHNICAL DATA 6-69

FRONT-PANEL INTERFACE BOARD PARTS LOCATOR DRAWING

 6-70 TECHNICAL DATA ORBAN MODEL 8685

+5VD +3.3V
R102 0 OHM
+5VD +3.3V
R103 0 OHM
+3.3V

18

31

42
7
IC101 R104 0 OHM

18

31

42
7
R121

VCCA

VCCA
VCCB

VCCB
SD15 2 47 BSD15 R105 0 OHM IC100
1B1 1A1 10OHM +3.3V

VCCA

VCCA
3 46

VCCB

VCCB
SD14 BSD14 Y100
1B2 1A2 2 47 TP100
1B1 1A1 4 1
SD13 5 44 BSD13 VccOsc VccCpu
1B3 1A3 3 46 TP101
1B2 1A2 C102 R119
SD12 6 43 BSD12 2 3 BUFCLK
1B4 1A4 5 44 TP102 0.1UF Gnd ClkOut
1B3 1A3 100K
SD11 8 41 BSD11
1B5 1A5 6 43 TP103 SG 636PCE 33MC2
1B4 1A4
SD10 9 40 BSD10
1B6 1A6 /GPCS1 8 41 /LCDCS R120
1B5 1A5
SD9 11 38 BSD9
1B7 1A7 9 40 /LCDRST 100K
1B6 1A6
SD8 12 37 BSD8
1B8 1A8 /MEMWR 11 38 /LCDWR
1B7 1A7
SD7 13 36 BSD7
2B1 2A1 /MEMRD 12 37 /LCDRD
1B8 1A8
SD6 14 74ALVC164245DGG 35 BSD6 +3.3V +3.3V
2B2 2A2 SA23 13 36 TP104
2B1 2A1 IC104
SD5 16 33 BSD5
2B3 2A3 SA22 14 74ALVC164245DGG 35 TP105
2B2 2A2
SD4 17 32 BSD4 1 37
2B4 2A4 SA21 16 33 TP106 COREVDD NIOVDD
2B3 2A3 51 49
SD3 19 30 BSD3 COREVDD NIOVDD
2B5 2A5 SA20 17 32 TP107 16 63
2B4 2A4 HIOVDD NIOVDD
SD2 20 29 BSD2 26 76
2B6 2A6 SA19 19 30 TP108 HIOVDD NIOVDD
2B5 2A5
SD1 22 27 BSD1 R116 0 OHM 15
2B7 2A7 SA18 20 29 TP109
2B6 2A6 CLKI
SD0 23 26 BSD0 R117 0 OHM 77
2B8 2A8 SA17 22 27 BSA17
2B7 2A7 CLKI2
BSD[0..15] TO SHARP LCD
SA16 23 26 BSA16 BSA[0..15]
SD[0..15] 48 1 2B8 2A8
1OE 1DIR BSA0 5 55
AB0 FPDAT0
25 24
+3.3V 2OE 2DIR 48 1 BSA1 4 56
1OE 1DIR AB1 FPDAT1 J103

GND
GND
GND
GND

GND
GND
GND
GND
25
2OE 2DIR
24 BSA2 3
AB2 FPDAT2
57 GND 1
BSA3 2 58 CK

GND
GND
GND
GND

GND
GND
GND
GND
R107 AB3 FPDAT3 2
1.00K BSA4 99 59 HSYNC
21
15
10

45
39
34
28
4
1%
AB4 FPDAT4 3
BSA5 98
AB5 FPDAT5
60 VSYNC 4
IC103E

21
15
10

45
39
34
28
4
11 10 R165 BSA6 97
AB6 FPDAT6
61 GND 5
/LCDCS /LCDRD
1.00K 1% BSA7 96
AB7 FPDAT7
64 R0 6
74ACT04D R166 +5VD +3.3V
BSA8 95
AB8 FPDAT8
65 R1 7
1.00K 1% BSA9 94
AB9 FPDAT9
66 R2 8
BSA10 93
AB10 FPDAT10
67 R3 9
R167 R4

18

31

42
BSA11 92 68

7
J100 1.00K AB11 FPDAT11 10
IC102
C0
GND GND
D0 1% BSA12 91
AB12 FPDAT12
69 R5 11

VCCA

VCCA
VCCB

VCCB
/SBHE C1
SBHE MEMCS16
D1
(rsvd) SA15 2
1B1 1A1
47 BSA15 BSA13 90
AB13 FPDAT13
70 GND 12
SA23 C2
LA23 IOCS116
D2
(rsvd) SA14 3
1B2 1A2
46 BSA14 BSA14 89
AB14 FPDAT14
71 G0 13
SA22 C3
LA22 IRQ10
D3
(rsvd) SA13 5
1B3 1A3
44 BSA13 BSA15 88
AB15 FPDAT15
72 G1 14
SA21 C4
LA21 IRQ11
D4
(rsvd) SA12 6
1B4 1A4
43 BSA12 BSA16 87
AB16 FPDAT16
73 G2 15
BSD[0..15]
SA20 C5
LA20 IRQ12
D5 SW_JOY SA11 8
1B5 1A5
41 BSA11
FPDAT17
74 G3 16
(SHT3)
C6 D6 /TOVER SA10 9 40 BSA10 R141 100K BSD0 BSD0 35 G4
(rsvd) LA19 IRQ15 (SHT3) 1B6 1A6 DB0 17
C7 D7 SA9 11 38 BSA9 R142 100K BSD1 BSD1 34 G5
(rsvd) LA18 IRQ14 (rsvd) 1B7 1A7 DB1 18
C8 D8 SA8 12 37 BSA8 R143 100K BSD2 BSD2 33 52 GND
(rsvd) LA17 DACK0 (rsvd) 1B8 1A8 DB2 FPFRAME 19
/MEMRD C9 D9 SA7 13 36 BSA7 R144 100K BSD3 BSD3 32 B0
+5VD
MEMR DRQ0 (rsvd) 2B1
74ALVC164245DGG
2A1 DB3
FPLINE
53 20
/MEMWR C10 D10 SA6 14 35 BSA6 R145 100K BSD4 BSD4 31 B1
MEMW DACK5 (rsvd) 2B2 2A2 DB4
54
21
R157 100K SD8 SD8 C11 D11 SA5 16 33 BSA5 R146 100K BSD5 BSD5 30 FPSHIFT B2
SD8 DRQ5 (rsvd) 2B3 2A3 DB5 22
R158 100K SD9 SD9 C12 D12 SA4 17 32 BSA4 R147 100K BSD6 BSD6 29 48 B3
SD9 DACK6 (rsvd) 2B4 2A4 DB6 DRDY 23
R159 100K SD10 SD10 C13 D13 SA3 19 30 BSA3 R148 100K BSD7 BSD7 28 B4
SD10 DRQ6 (rsvd) 2B5 2A5 DB7
GPO
47
TP121
24
R160 100K SD11 SD11 C14 D14 SA2 20 29 BSA2 R149 100K BSD8 BSD8 27 B5
SD11 DACK7 (rsvd) +5VD
2B6 2A6 DB8
38
25
R161 100K SD12 SD12 C15 D15 SA1 22 27 BSA1 R150 100K BSD9 BSD9 24 PWMOUT TP122 GND
SD12 DRQ7 (rsvd) 2B7 2A7 DB9 +3.3V 26
R162 100K SD13 SD13 C16 D16 SA0 23 26 BSA0 R151 100K BSD10 BSD10 23 46 ENAB
SD13 +5V 2B8 2A8 DB10 CVOUT TP123 27
R163 100K SD14 SD14 C17 D17 R152 100K BSD11 BSD11 22 VCC
SD14 MASTER (rsvd) 48 1
DB11 28
R164 100K SD15 SD15 C18 D18 1OE 1DIR R153 100K BSD12 BSD12 21 VCC
SD15 GND DB12 29
25 24 R154 100K BSD13
(rsvd) C19
(KEY) GND
D19 2OE 2DIR BSD13 20
DB13
R/L 30
SA[0..15] BSA[0..15] R155 100K BSD14

GND
GND
GND
GND

GND
GND
GND
GND
BSD14 19
DB14
U/D 31
PC104 40P R156 100K BSD15 BSD15 18
DB15
V/Q 32
SD[0..15]
GND

21
15
10

45
39
34
28
4
33
+3.3V R139
+5VD XF2H 3315
J101 0 OHM
TP110 A1 B1 IC103C
IOCHCHK GND 8
BS#
SD7 A2 B2 RSTDRV 5 6 J102
SD7 RESETDRV 12 45
A1 B1 RD/WR# GPIO0 TP124
SD6 A3
SD6 +5V
B3 (rsvd) BSA17 7 44
74ACT04D A2 B2 M/R# GPIO1 TP125
SD5 A4
SD5 IRQ9
B4
(rsvd) (rsvd) (rsvd) /LCDCS 6 43
A3 B3 +3.3V CS# GPIO2 NC
SD4 A5
SD4 -5V
B5 (rsvd) (rsvd) 42
A4 B4 GPIO3 NC
SD3 A6
SD3 DRQ2
B6
(rsvd) (rsvd) (rsvd) R126 /LCDWR 10 41
A5 B5 WE0# GPIO4 TP130 TO LCD
SD2 A7
SD2 -12V
B7 (rsvd) 1.00K
/SBHE 11 40 E100 BACKLIGHT
A6 B6 1% WE1# GPIO5 NC DRIVER
SD1 A8
SD1 ENDXFR
B8
(rsvd) (rsvd) /LCDRD 9 39
E102 E101
A7 B7 RD# GPIO6 NC
SD0 A9
SD0 +12V
B9 (rsvd) GPRDY
17
A8 B8 WAIT# R133
GPRDY A10 B10 (rsvd) (rsvd) /LCDRST R127 J105
IOCHRDY (KEY) (rsvd) 13 TP126
A9 B9 RESET# 10.0K 1%
(rsvd) A11
AEN SMEMW
B11
(rsvd) (rsvd) (rsvd) 1.00K +3.3V Q100 1
A10 B10 1% MMBT3904
SA19 A12
SA19 SMEMR
B12
(rsvd) (rsvd) (rsvd) 85 14
R134
2
A11 B11 CNF0 VSS
SA18 A13
SA18 IOW
B13
(rsvd) (rsvd) (rsvd) 84
CNF1 VSS
25 10.0K 1%
A12 B12 /RTS1 83 36 3
SA17 A14
SA17 IOR
B14
(rsvd) (rsvd) (SHT3)
82
CNF2 VSS
50
A13 B13 SIN1 CNF3 VSS R135 R136
SA16 A15
SA16 DACK3
B15
(rsvd) (rsvd) (SHT3) 81
CNF4 VSS
62 TP127 4
A14 B14 80 75 10.0K 10.0K
SA15 A16
SA15 DRQ3
B16
(rsvd) +3.3V (rsvd) (rsvd) 79
CNF5 VSS
100 1% 1% 5
A15 B15 CNF6 VSS
SA14 A17
SA14 DACK1
B17
(rsvd) (rsvd) 78
CNF7 MOLEX_53261 0590
SYSCLK CPU_+3.3V A16 B16
SA13 A18
SA13 DRQ1
B18
(rsvd) (rsvd) 86 R137
TP111 A17 B17 TESTEN TP128
SA12 A19
SA12 REFRESH
B19
(rsvd) IC103D (rsvd) 10.0K
A18 B18
SA11 A20
SA11 SYSCLK
B20 9 8 BUFCLK (rsvd) R128 R129 R130 R131 S1D13706F00A
1%
A19 B19
SA10 A21
SA10 IRQ7
B21
(rsvd) (rsvd) 0 OHM 0 OHM 0 OHM 0 OHM
74ACT04D A20 B20
SA9 A22
SA9 IRQ6
B22
(rsvd) (rsvd) (rsvd)
R118
A21 B21
SA8 A23 B23
SA8 IRQ5 (rsvd) 100K A22 B22
SA7 A24 B24 TP112
SA7 IRQ4 (rsvd) A23 B23 /GPCS1
SA6 A25 B25 TP113
SA6 IRQ3 (rsvd) A24 B24
SA5 A26 B26 TP114
SA5 DACK2 (rsvd) A25 B25
SA4 A27
SA4 TC
B27
(rsvd) +3.3V
(rsvd) TP115
+5VD TP129 A26 B26 Drawing Number Ver. Rev. Sheet
SA3 A28 B28 TP116
SA3 BALE (rsvd) A27 B27
SA2 A29 B29 TP117 62255 000 03 1 of 2
SA2 +5V
A28 B28
SA1 A30 B30 TP118
SA1 OSC (rsvd) A29 B29
SA0 A31
SA0 GND
B31 C100 (rsvd) TP119
0.1UF C101 A30 B30
SA[0..15]
A32
GND GND
B32
0.1UF
(rsvd)
A31 B31
TP120
PC104 64P A32 B32

HEADER32X2 FRONT-PANEL INTERFACE BOARD SCHEMATIC 1 of 2

OPTIMOD LOUDNESS CONTROLLER TECHNICAL DATA 6-71
+5VD +3.3V
TP200 TP201 TP208

+ C200 C208 C207 C206 C205 C204 C203 + C201 C202 C212 C213 C214 C215 C216 C217 C218 C219
10UF 0.1UF 0.1UF 0.1UF 0.1UF 0.1UF 0.1UF 10UF 1.0UF 0.1UF 0.1UF 0.1UF 0.1UF 0.1UF 0.1UF 0.1UF 0.1UF

TP204 TP205 TP212

+5VD +5VD
4

IC201 C221 *Use Mill TO ENCODER BOARD

R201 214 R203 R204 R205 R206 R207
VCC

100K IC202 10.0K 10.0K 10.0K 10.0K 10.0K +5VD +5VD

1
20PF PIC16C711 P 1% 1% 1% 1% 1%
5 /TOVER Y200 16
/TOVER (SHT 2) 4.000MHZ OSC1
6 ENC_1
RB0/INT R208
HYST

C222 7 ENC_2 J200

GND

GND

RB1

2
15 8 100K
OSC2/OUT RB2 1 2
9 JOY_X JOY_Y
RB3 3 4
MAX6501 20PF JOY_Y 17 10 SW_ENT (Left) SW_ESC
RA0/AN0 RB4 5 6
1

JOY_X 18 11 SW_ESC (Right) SW_JOY

RA1 RB5 7 8 (SHT2)
1 12 SW_ENC (Center) SW_ENC SW_ENT
RA2/AN2/VREF RB6 9 10
2 13
RA3/AN3 RB7 11 12
ENC_1 ENC_2
13 14
15 16
4 3
MCLR RA4/T0CK R209 HDR 8X2_RA
1

0 OHM

VDD

VSS
IC103A
74ACT04D R202
1.00K

5
14
+5VD 1%
2

C223

0.1UF
SIN1
(SHT2)
IC103B
/RTS1 3 4
(SHT2)
M1
74ACT04D MNTG TP216

SPARE
+5VD
14

IC103F Drawing Number Ver. Rev. Sheet

13 12 62255 000 03 2 of 2
C224
0.1UF
74ACT04D
7

FRONT PANEL INTERFACE BOARD SCHEMATIC 2 of 2

6-72 TECHNICAL DATA ORBAN MODEL 8685

HD-SDI I/O BOARD:

Parts Locator Drawing (top)
32360.000
(sheet 1 of 2)
OPTIMOD LOUDNESS CONTROLLER TECHNICAL DATA 6-73

HD-SDI I/O BOARD:

Parts Locator Drawing (bottom)
32360.000
(sheet 2 of 2)
 6-74 TECHNICAL DATA ORBAN MODEL 8685

U_Pg6 PIC
Pg6 PIC.SchDoc U_Pg10 Clocks_XO
HOST_TX_A HOST_RX_A Pg10 Clocks_XO.SchDoc
U_Pg2 Analog_Out HOST_TX_A HOST_RX_A
PMD[7..0] PMALL XO_1485_FSEL MGTCLK_1485_P
Pg2 Analog_Out.SchDoc PMD[7..0] PMALL XO_1485_FSEL MGTCLK_1485_P
SPI_SDI PMRD MGTCLK_1485_N U_Pg8 FPGA
DAC_MCLK SPI_SDI PMRD MGTCLK_1485_N
DAC_MCLK PIC_RESET PMWR XO_160_P Pg8 FPGA.SchDoc
RSTIO PIC_RESET PMWR XO_160_P
RSTIO PIC_FPGA_SPARE0 PMCS2 XO_160_N DDD[31..0] DDA[13..0]
DAC_BCLK PIC_FPGA_SPARE0 PMCS2 XO_160_N DDD[31..0] DDA[13..0]
DAC_BCLK PIC_FPGA_SPARE1 SPI_SDO XO_200_P DDQS[3..0] DDQM[3..0]
DAC_DATA PIC_FPGA_SPARE1 SPI_SDO XO_200_P DDQS[3..0] DDQM[3..0]
DAC_DATA PIC_INT SPI_SCK XO_200_N MGT_VID1_RX_P DDCLK1_P
DAC_FCLK PIC_INT SPI_SCK XO_200_N MGT_VID1_RX_P DDCLK1_P
DAC_FCLK PIC_IN_METADATA_SDI RSTIO MGT_VID1_RX_N DDCLK1_N
PIC_IN_METADATA_SDI RSTIO MGT_VID1_RX_N DDCLK1_N
PIC_IN_METADATA_SCK SPI_DEV_CS1 HD_CD1 DDCLK2_N
PIC_IN_METADATA_SCK SPI_DEV_CS1 HD_CD1 DDCLK2_N
PIC_VSYNC SPI_DEV_CS2 MGTCLK_1485_P DDCLK2_P
PIC_VSYNC SPI_DEV_CS2 MGTCLK_1485_P DDCLK2_P
PIC_IN_METADATA_SS SPI_DEV_CS3 MGTCLK_1485_N DDCLKE
PIC_IN_METADATA_SS SPI_DEV_CS3 MGTCLK_1485_N DDCLKE
PIC_24_576MHZ SPI_DEV_CS4 XO_160_P DDWE
PIC_24_576MHZ SPI_DEV_CS4 XO_160_P DDWE
SYNC_SDA SPI_DEV_CS5 XO_160_N DDCAS
SYNC_SDA SPI_DEV_CS5 XO_160_N DDCAS
SPI_DEV_CS6 SYNC_LOCK DDRAS
SPI_DEV_CS6 SYNC_LOCK DDRAS
SPI_DEV_CS7 SYNC_V_OUT DDCS
SPI_DEV_CS7 SYNC_V_OUT DDCS
SPI_DEV_CS8 SYNC_H_OUT DDBA[1..0]
SPI_DEV_CS8 SYNC_H_OUT DDBA[1..0]
SPI_DEV_CS9 SYNC_BACKPORCH MGT_VID1_TX_P
SPI_DEV_CS9 SYNC_BACKPORCH MGT_VID1_TX_P
SPI_DEV_CS10 SYNC_V_BLANK MGT_VID1_TX_N
SPI_DEV_CS10 SYNC_V_BLANK MGT_VID1_TX_N
SPI_DEV_CS11 SYNC_ODDEVEN HD_SD1
SPI_DEV_CS11 SYNC_ODDEVEN HD_SD1
SPI_DEV_CS12 SYNC_SYNC_OUT HD_MUTE1
SPI_DEV_CS12 SYNC_SYNC_OUT HD_MUTE1
SPI_DEV_CS13 U_Pg11 AES Sync RXCKO_1-2 DAC_MCLK
SPI_DEV_CS13 RXCKO_1-2 DAC_MCLK
SPI_DEV_CS14 Pg11 AES Sync.SchDoc RX_LRCK_1-2 DAC_BCLK
SPI_DEV_CS14 RX_LRCK_1-2 DAC_BCLK
SPI_DEV_CS15 AES_ILRCK_7-8 RXCKO_7-8 RX_BCK_1-2 DAC_DATA
SPI_DEV_CS15 AES_ILRCK_7-8 RXCKO_7-8 RX_BCK_1-2 DAC_DATA
U_Pg3 Video_IO PIC_OUT_METADATA_SDO AES_IBCK_7-8 RX_LRCK_7-8 RXCKO_3-4 DAC_FCLK
PIC_OUT_METADATA_SDO AES_IBCK_7-8 RX_LRCK_7-8 RXCKO_3-4 DAC_FCLK
Pg3 Video_IO.SchDoc PIC_OUT_METADATA_SCK AES_IREFCLK1_7-8 RX_BCK_7-8 RX_LRCK_3-4 AES_IREFCLK1_1-2
PIC_OUT_METADATA_SCK AES_IREFCLK1_7-8 RX_BCK_7-8 RX_LRCK_3-4 AES_IREFCLK1_1-2
HD_MUTE1 MGT_VID1_RX_P PIC_OUT_METADATA_SS AES_IREFCLK2_7-8 AES_IDATA_7-8 RX_BCK_3-4 TX_LRCK_1-2
HD_MUTE1 MGT_VID1_RX_P PIC_OUT_METADATA_SS AES_IREFCLK2_7-8 AES_IDATA_7-8 RX_BCK_3-4 TX_LRCK_1-2
MGT_VID1_TX_P MGT_VID1_RX_N SYNC_SDENB SPI_SDI SYNCIN_LRCK RXCKO_5-6 TX_BCK_1-2
MGT_VID1_TX_P MGT_VID1_RX_N SYNC_SDENB SPI_SDI SYNCIN_LRCK RXCKO_5-6 TX_BCK_1-2
MGT_VID1_TX_N HD_CD1 SYNC_SCL SPI_SDO SYNCIN_SCLK RX_LRCK_5-6 TX_LRCK_3-4
MGT_VID1_TX_N HD_CD1 SYNC_SCL SPI_SDO SYNCIN_SCLK RX_LRCK_5-6 TX_LRCK_3-4
HD_SD1 SYNC_LOCK SPI_SCK SYNCIN_RMCK RX_BCK_5-6 TX_BCK_3-4
HD_SD1 SYNC_LOCK SPI_SCK SYNCIN_RMCK RX_BCK_5-6 TX_BCK_3-4
SYNC_SDENB SYNC_V_OUT RSTIO RXCKO_7-8 TX_MCLK_1-2
SYNC_SDENB SYNC_V_OUT RSTIO RXCKO_7-8 TX_MCLK_1-2
SYNC_SCL SYNC_H_OUT SPI_DEV_CS12 RX_LRCK_7-8 TX_MCLK_3-4
SYNC_SCL SYNC_H_OUT SPI_DEV_CS12 RX_LRCK_7-8 TX_MCLK_3-4
SYNC_SDA SYNC_BACKPORCH SYNCIN_MCLK RX_BCK_7-8 AES_ILRCK_1-2
SYNC_SDA SYNC_BACKPORCH SYNCIN_MCLK RX_BCK_7-8 AES_ILRCK_1-2
SDI_BYPASS SYNC_SYNC_OUT AES_IDATA_1-2 AES_IBCK_1-2
SDI_BYPASS SYNC_SYNC_OUT AES_IDATA_1-2 AES_IBCK_1-2
SYNC_V_BLANK AES_IDATA_3-4 AES_ILRCK_3-4
SYNC_V_BLANK AES_IDATA_3-4 AES_ILRCK_3-4
SYNC_ODDEVEN AES_IDATA_5-6 AES_IBCK_3-4
SYNC_ODDEVEN AES_IDATA_5-6 AES_IBCK_3-4
AES_IDATA_7-8 AES_ILRCK_5-6
AES_IDATA_7-8 AES_ILRCK_5-6
SDI_IN_DATA_1-2 AES_IBCK_5-6
SDI_IN_DATA_1-2 AES_IBCK_5-6
SDI_OUT_DATA_1-2 AES_ILRCK_7-8
SDI_OUT_DATA_1-2 AES_ILRCK_7-8
SDI_OUT_DATA_5-6 AES_IBCK_7-8
SDI_OUT_DATA_5-6 AES_IBCK_7-8
SDI_OUT_DATA_7-8 SDI_IDATA_1-2
SDI_OUT_DATA_7-8 SDI_IDATA_1-2
SDI_OUT_DATA_3-4 SDI_IREF_CLK_1-2
SDI_OUT_DATA_3-4 SDI_IREF_CLK_1-2
PMRD SDI_IDATA_3-4
PMRD SDI_IDATA_3-4
PMWR SDI_IREF_CLK_3-4
PMWR SDI_IREF_CLK_3-4
PMALL SDI_IDATA_5-6
PMALL SDI_IDATA_5-6
DEC_METADATA SDI_IREF_CLK_5-6
DEC_METADATA SDI_IREF_CLK_5-6
DEC_METASUB_DATA SDI_IDATA_7-8
DEC_METASUB_DATA SDI_IDATA_7-8
U_Pg7 Power_Interface DEC_METASUB_BCK SDI_IREF_CLK_7-8
DEC_METASUB_BCK SDI_IREF_CLK_7-8
Pg7 Power_Interface.SchDoc DEC_METASUB_LRCK SDI_OLRCK_1-2
DEC_METASUB_LRCK SDI_OLRCK_1-2
DIN_DATA1 AOUT_DATA U_Pg13 Dolby E DOLBY_DEC_1-2 SDI_OBCK_1-2
DIN_DATA1 AOUT_DATA DOLBY_DEC_1-2 SDI_OBCK_1-2
DIN_DATA2 AOUT_BCLK Pg13 Dolby E.SchDoc DOLBY_DEC_3-4 SDI_ODATA_1-2
DIN_DATA2 AOUT_BCLK DOLBY_DEC_3-4 SDI_ODATA_1-2
DIN_DATA3 AOUT_FCLK ENCODED_AUDIO_DATA DEC_METADATA DOLBY_DEC_5-6 SDI_OREF_CLK_1-2
DIN_DATA3 AOUT_FCLK ENCODED_AUDIO_DATA DEC_METADATA DOLBY_DEC_5-6 SDI_OREF_CLK_1-2
HOST_RX_A IN_BCLK ENCODED_AUDIO_BCK DEC_METASUB_DATA DOLBY_DEC_7-8 SDI_OLRCK_3-4
HOST_RX_A IN_BCLK ENCODED_AUDIO_BCK DEC_METASUB_DATA DOLBY_DEC_7-8 SDI_OLRCK_3-4
GENLOC_PWR_GOOD IN_FCLK ENCODED_AUDIO_LRCK DEC_METASUB_BCK DOLBY_DEC_AUX SDI_OBCK_3-4
GENLOC_PWR_GOOD IN_FCLK ENCODED_AUDIO_LRCK DEC_METASUB_BCK DOLBY_DEC_AUX SDI_OBCK_3-4
PILOT_BCLK DECODER_VSYNC DEC_METASUB_LRCK ENCODER_OUT_AUDIO_DATA0 SDI_ODATA_3-4
PILOT_BCLK DECODER_VSYNC DEC_METASUB_LRCK ENCODER_OUT_AUDIO_DATA0 SDI_ODATA_3-4
PILOT_WCLK DOLBY_DEC_LRCK DOLBY_DEC_1-2 DOLBY_DEC_STAT[7..0] SDI_OREF_CLK_3-4
U_Pg4 AES_IO PILOT_WCLK DOLBY_DEC_LRCK DOLBY_DEC_1-2 DOLBY_DEC_STAT[7..0] SDI_OREF_CLK_3-4
DOUT_DATA1 DOLBY_DEC_BCK DOLBY_DEC_3-4 DOLBY_ENC_STAT[1..0] SDI_OLRCK_5-6
Pg4 AES_IO.SchDoc DOUT_DATA1 DOLBY_DEC_BCK DOLBY_DEC_3-4 DOLBY_ENC_STAT[1..0] SDI_OLRCK_5-6
18_432MHZ SPI_SCK DOLBY_DEC_5-6 DOUT_DATA1 SDI_OBCK_5-6
AES_ILRCK_1-2 RXCKO_1-2 18_432MHZ SPI_SCK DOLBY_DEC_5-6 DOUT_DATA1 SDI_OBCK_5-6
AES_ILRCK_1-2 RXCKO_1-2 36_864MHZ SPI_SDO DOLBY_DEC_7-8 DOUT_FCLK SDI_ODATA_5-6
AES_IBCK_1-2 RX_LRCK_1-2 36_864MHZ SPI_SDO DOLBY_DEC_7-8 DOUT_FCLK SDI_ODATA_5-6
AES_IBCK_1-2 RX_LRCK_1-2 FPGA_24_576MHZ ENCODER_IN_AUDIO_DATA0 DOLBY_DEC_AUX DOUT_DATA2 SDI_OREF_CLK_5-6
AES_IREFCLK1_1-2 RX_BCK_1-2 FPGA_24_576MHZ ENCODER_IN_AUDIO_DATA0 DOLBY_DEC_AUX DOUT_DATA2 SDI_OREF_CLK_5-6
AES_IREFCLK1_1-2 RX_BCK_1-2 PIC_24_576MHZ ENCODER_IN_AUDIO_BCK0 SPI_SDI DOUT_DATA3 SDI_OLRCK_7-8
TX_LRCK_1-2 AES_IDATA_1-2 PIC_24_576MHZ ENCODER_IN_AUDIO_BCK0 SPI_SDI DOUT_DATA3 SDI_OLRCK_7-8
TX_LRCK_1-2 AES_IDATA_1-2 33_8688MHZ ENCODER_IN_AUDIO_LRCK0 DOLBY_DEC_STAT[7..0] DOUT_BCLK SDI_OBCK_7-8
TX_BCK_1-2 RXCKO_3-4 33_8688MHZ ENCODER_IN_AUDIO_LRCK0 DOLBY_DEC_STAT[7..0] DOUT_BCLK SDI_OBCK_7-8
TX_BCK_1-2 RXCKO_3-4 16_384MHZ ENCODER_IN_AUDIO_DATA1 ENCODER_OUT_AUDIO_DATA0 18_432MHZ SDI_ODATA_7-8
AES_OLRCK_1-2 RX_LRCK_3-4 16_384MHZ ENCODER_IN_AUDIO_DATA1 ENCODER_OUT_AUDIO_DATA0 18_432MHZ SDI_ODATA_7-8
AES_OLRCK_1-2 RX_LRCK_3-4 DOUT_FCLK ENCODER_IN_AUDIO_BCK1 ENCODER_OUT_AUDIO_BCK0 36_864MHZ SDI_OREF_CLK_7-8
AES_OBCK_1-2 RX_BCK_3-4 DOUT_FCLK ENCODER_IN_AUDIO_BCK1 ENCODER_OUT_AUDIO_BCK0 36_864MHZ SDI_OREF_CLK_7-8
AES_OBCK_1-2 RX_BCK_3-4 DOUT_DATA2 ENCODER_IN_AUDIO_LRCK1 ENCODER_OUT_AUDIO_LRCK0 FPGA_24_576MHZ ENCODED_AUDIO_DATA
AES_ODATA_1-2 RXCKO_5-6 DOUT_DATA2 ENCODER_IN_AUDIO_LRCK1 ENCODER_OUT_AUDIO_LRCK0 FPGA_24_576MHZ ENCODED_AUDIO_DATA
AES_ODATA_1-2 RXCKO_5-6 DOUT_DATA3 ENCODER_IN_AUDIO_DATA2 DOLBY_ENC_STAT[1..0] 33_8688MHZ ENCODED_AUDIO_BCK
TX_LRCK_3-4 RX_LRCK_5-6 DOUT_DATA3 ENCODER_IN_AUDIO_DATA2 DOLBY_ENC_STAT[1..0] 33_8688MHZ ENCODED_AUDIO_BCK
TX_LRCK_3-4 RX_LRCK_5-6 DOUT_BCLK ENCODER_IN_AUDIO_BCK2 16_384MHZ ENCODED_AUDIO_LRCK
TX_BCK_3-4 RX_BCK_5-6 DOUT_BCLK ENCODER_IN_AUDIO_BCK2 16_384MHZ ENCODED_AUDIO_LRCK
TX_BCK_3-4 RX_BCK_5-6 HOST_TX_A ENCODER_IN_AUDIO_LRCK2 AOUT_DATA DECODER_VSYNC
AES_OLRCK_3-4 AES_IDATA_3-4 HOST_TX_A ENCODER_IN_AUDIO_LRCK2 AOUT_DATA DECODER_VSYNC
AES_OLRCK_3-4 AES_IDATA_3-4 PIC_RESET ENCODER_IN_AUDIO_DATA3 AOUT_BCLK DOLBY_DEC_LRCK
AES_OBCK_3-4 AES_IDATA_5-6 PIC_RESET ENCODER_IN_AUDIO_DATA3 AOUT_BCLK DOLBY_DEC_LRCK
AES_OBCK_3-4 AES_IDATA_5-6 PILOT_DATA ENCODER_IN_AUDIO_BCK3 AOUT_FCLK DOLBY_DEC_BCK
AES_ODATA_3-4 PILOT_DATA ENCODER_IN_AUDIO_BCK3 AOUT_FCLK DOLBY_DEC_BCK
AES_ODATA_3-4 COMP_DATA ENCODER_IN_AUDIO_LRCK3 IN_BCLK ENCODER_IN_AUDIO_DATA0
TX_MCLK_1-2 COMP_DATA ENCODER_IN_AUDIO_LRCK3 IN_BCLK ENCODER_IN_AUDIO_DATA0
TX_MCLK_1-2 COMP_BCLK IN_FCLK ENCODER_IN_AUDIO_BCK0
TX_MCLK_3-4 COMP_BCLK IN_FCLK ENCODER_IN_AUDIO_BCK0
TX_MCLK_3-4 COMP_WCLK PILOT_BCLK ENCODER_IN_AUDIO_LRCK0
AES_ILRCK_3-4 COMP_WCLK PILOT_BCLK ENCODER_IN_AUDIO_LRCK0
AES_ILRCK_3-4 PILOT_WCLK ENCODER_IN_AUDIO_DATA1
AES_IBCK_3-4 PILOT_WCLK ENCODER_IN_AUDIO_DATA1
AES_IBCK_3-4 ENCODER_METADATA_IN PILOT_DATA ENCODER_IN_AUDIO_BCK1
AES_ILRCK_5-6 ENCODER_METADATA_IN PILOT_DATA ENCODER_IN_AUDIO_BCK1
AES_ILRCK_5-6 ENC_VSYNC COMP_DATA ENCODER_IN_AUDIO_LRCK1
AES_IBCK_5-6 ENC_VSYNC COMP_DATA ENCODER_IN_AUDIO_LRCK1
AES_IBCK_5-6 COMP_BCLK ENCODER_IN_AUDIO_DATA2
AES_OREFCLK_1-2 COMP_BCLK ENCODER_IN_AUDIO_DATA2
AES_OREFCLK_1-2 DOLBY_ENC_CNTRL[19..0] COMP_WCLK ENCODER_IN_AUDIO_BCK2
AES_OREFCLK_3-4 DOLBY_ENC_CNTRL[19..0] COMP_WCLK ENCODER_IN_AUDIO_BCK2
AES_OREFCLK_3-4 PMD[7..0] PMCS2 ENCODER_IN_AUDIO_LRCK2
AES_IREFCLK1_3-4 PMD[7..0] PMCS2 ENCODER_IN_AUDIO_LRCK2
AES_IREFCLK1_3-4 DOLBY_DEC_CNTRL0 PIC_FPGA_SPARE0 ENCODER_IN_AUDIO_DATA3
AES_IREFCLK1_5-6 DOLBY_DEC_CNTRL0 PIC_FPGA_SPARE0 ENCODER_IN_AUDIO_DATA3
AES_IREFCLK1_5-6 DOLBY_DEC_CNTRL1 PIC_FPGA_SPARE1 ENCODER_IN_AUDIO_BCK3
AES_IREFCLK2_1-2 DOLBY_DEC_CNTRL1 PIC_FPGA_SPARE1 ENCODER_IN_AUDIO_BCK3
AES_IREFCLK2_1-2 DOLBY_DEC_CNTRL2 PMD[7..0] ENCODER_IN_AUDIO_LRCK3
AES_IREFCLK2_3-4 DOLBY_DEC_CNTRL2 PMD[7..0] ENCODER_IN_AUDIO_LRCK3
AES_IREFCLK2_3-4 DOLBY_DEC_CNTRL3 SYNCIN_LRCK ENCODER_METADATA_IN
AES_IREFCLK2_5-6 DOLBY_DEC_CNTRL3 SYNCIN_LRCK ENCODER_METADATA_IN
AES_IREFCLK2_5-6 SPI_DEV_CS13 SYNCIN_SCLK ENCODER_OUT_AUDIO_BCK0
TX_LRCK_5-6 SPI_DEV_CS13 SYNCIN_SCLK ENCODER_OUT_AUDIO_BCK0
TX_LRCK_5-6 SPI_DEV_CS14 SYNCIN_RMCK ENCODER_OUT_AUDIO_LRCK0
TX_BCK_5-6 SPI_DEV_CS14 SYNCIN_RMCK ENCODER_OUT_AUDIO_LRCK0
TX_BCK_5-6 ENC_RES[4..0] PIC_OUT_METADATA_SDO ENC_VSYNC
TX_MCLK_5-6 ENC_RES[4..0] PIC_OUT_METADATA_SDO ENC_VSYNC
TX_MCLK_5-6 PIC_OUT_METADATA_SCK DOLBY_ENC_CNTRL[19..0]
AES_OREFCLK_5-6 PIC_OUT_METADATA_SCK DOLBY_ENC_CNTRL[19..0]
AES_OREFCLK_5-6 PIC_OUT_METADATA_SS DIN_DATA1
AES_OLRCK_5-6 PIC_OUT_METADATA_SS DIN_DATA1
AES_OLRCK_5-6 XO_200_P DIN_DATA2
AES_OBCK_5-6 XO_200_P DIN_DATA2
AES_OBCK_5-6 XO_200_N DIN_DATA3
AES_ODATA_5-6 XO_200_N DIN_DATA3
AES_ODATA_5-6 U_Pg9 DDR SDRAM TX_REFCLK_P DOLBY_DEC_CNTRL0
AES_IDATA_7-8 TX_REFCLK_P DOLBY_DEC_CNTRL0
AES_IDATA_7-8 Pg9 DDR SDRAM.SchDoc TX_REFCLK_N DOLBY_DEC_CNTRL1
TX_REFCLK_N DOLBY_DEC_CNTRL1
DDQS[3..0] CLK_CLNR_LOCK DOLBY_DEC_CNTRL2
DDQS[3..0] CLK_CLNR_LOCK DOLBY_DEC_CNTRL2
DDQM[3..0] GENLOC_SPI_SDOUT DOLBY_DEC_CNTRL3
DDQM[3..0] GENLOC_SPI_SDOUT DOLBY_DEC_CNTRL3
DDCLK1_P AES_OLRCK_1-2
DDCLK1_P AES_OLRCK_1-2
DDCLK1_N AES_OBCK_1-2
DDCLK1_N AES_OBCK_1-2
DDWE AES_ODATA_1-2
DDWE AES_ODATA_1-2
DDCAS AES_OLRCK_3-4
DDCAS AES_OLRCK_3-4
DDRAS AES_OBCK_3-4
DDRAS AES_OBCK_3-4
DDCS AES_ODATA_3-4
DDCS AES_ODATA_3-4
DDA[13..0] SYNCIN_MCLK
DDA[13..0] SYNCIN_MCLK
DDD[31..0] PIC_IN_METADATA_SCK
DDD[31..0] PIC_IN_METADATA_SCK
DDCLKE PIC_IN_METADATA_SDI
DDCLKE PIC_IN_METADATA_SDI
DDBA[1..0] PIC_VSYNC
DDBA[1..0] PIC_VSYNC
DDCLK2_P AES_OREFCLK_1-2
DDCLK2_P AES_OREFCLK_1-2
DDCLK2_N AES_OREFCLK_3-4
DDCLK2_N AES_OREFCLK_3-4
PIC_IN_METADATA_SS
PIC_IN_METADATA_SS
AES_IREFCLK1_3-4
AES_IREFCLK1_3-4
AES_IREFCLK1_5-6
AES_IREFCLK1_5-6
AES_IREFCLK1_7-8
AES_IREFCLK1_7-8
AES_IREFCLK2_1-2
AES_IREFCLK2_1-2
U_Pg14 Clock Cleaner AES_IREFCLK2_3-4
AES_IREFCLK2_3-4
Pg14 Clock Cleaner.SchDoc AES_IREFCLK2_5-6
AES_IREFCLK2_5-6
PCLK1 TX_REFCLK_P AES_IREFCLK2_7-8
PCLK1 TX_REFCLK_P AES_IREFCLK2_7-8
RX_USRCLK_P TX_REFCLK_N ENC_RES[4..0]
RX_USRCLK_P TX_REFCLK_N ENC_RES[4..0]
RX_USRCLK_N CLK_CLNR_LOCK SDI_BYPASS
RX_USRCLK_N CLK_CLNR_LOCK SDI_BYPASS
U_Pg5 SDI_IO GENLOC_CLNR_RST GENLOC_PWR_GOOD SDI_IN_LRCK_3-4
GENLOC_CLNR_RST GENLOC_PWR_GOOD SDI_IN_LRCK_3-4
Pg5 SDI_IO.SchDoc CLNR_SKEW_EN SDI_IN_BCK_3-4
CLNR_SKEW_EN SDI_IN_BCK_3-4
SDI_ILRCK_1-2 SDI_IN_DATA_1-2 CLNR_DOUBLE SDI_IN_LRCK_1-2
SDI_ILRCK_1-2 SDI_IN_DATA_1-2 CLNR_DOUBLE SDI_IN_LRCK_1-2
SDI_IBCK_1-2 SDI_OUT_DATA_1-2 CLNR_IPSEL SDI_IN_BCK_1-2
SDI_IBCK_1-2 SDI_OUT_DATA_1-2 CLNR_IPSEL SDI_IN_BCK_1-2
SDI_IDATA_1-2 SDI_OUT_DATA_5-6 SDI_IN_LRCK_5-6
SDI_IDATA_1-2 SDI_OUT_DATA_5-6 SDI_IN_LRCK_5-6
SDI_IN_LRCK_3-4 SDI_OUT_DATA_7-8 SDI_IN_BCK_5-6
SDI_IN_LRCK_3-4 SDI_OUT_DATA_7-8 SDI_IN_BCK_5-6
SDI_IN_BCK_3-4 SDI_OUT_DATA_3-4 SDI_IN_LRCK_7-8
SDI_IN_BCK_3-4 SDI_OUT_DATA_3-4 SDI_IN_LRCK_7-8
SDI_IREF_CLK_1-2 SDI_IN_BCK_7-8
SDI_IREF_CLK_1-2 SDI_IN_BCK_7-8
SDI_IDATA_3-4 XO_1485_FSEL
SDI_IDATA_3-4 XO_1485_FSEL
SDI_IREF_CLK_3-4
SDI_IREF_CLK_3-4
SDI_ILRCK_5-6 SDI_ILRCK_1-2
SDI_ILRCK_5-6 SDI_ILRCK_1-2
SDI_IBCK_5-6 SDI_IBCK_1-2
SDI_IBCK_5-6 SDI_IBCK_1-2
SDI_IDATA_5-6 SDI_ILRCK_7-8
SDI_IDATA_5-6 SDI_ILRCK_7-8
SDI_IN_LRCK_5-6 SDI_IBCK_7-8
SDI_IN_LRCK_5-6 SDI_IBCK_7-8
SDI_IN_BCK_5-6 SDI_OUT_LRCK_1-2
SDI_IN_BCK_5-6 SDI_OUT_LRCK_1-2
SDI_IREF_CLK_5-6 U_Pg16 SRC_Misc Signals SDI_OUT_BCK_1-2
SDI_IREF_CLK_5-6 SDI_OUT_BCK_1-2
SDI_IDATA_7-8 Pg16 SRC_Misc Signals.SchDoc SDI_OUT_LRCK_3-4
SDI_IDATA_7-8 SDI_OUT_LRCK_3-4
SDI_IREF_CLK_7-8 SPI_SDI PIC_INT SDI_OUT_BCK_3-4
SDI_IREF_CLK_7-8 SPI_SDI PIC_INT SDI_OUT_BCK_3-4
SDI_OUT_LRCK_1-2 SPI_SDO SDI_OUT_LRCK_5-6
SDI_OUT_LRCK_1-2 SPI_SDO SDI_OUT_LRCK_5-6
SDI_OUT_BCK_1-2 SPI_SCK U_Pg15 Genlock SDI_OUT_BCK_5-6
SDI_OUT_BCK_1-2 SPI_SCK SDI_OUT_BCK_5-6
SDI_OUT_LRCK_5-6 RSTIO Pg15 Genlock.SchDoc SDI_OUT_LRCK_7-8
SDI_OUT_LRCK_5-6 RSTIO SDI_OUT_LRCK_7-8
SDI_OUT_BCK_5-6 SPI_DEV_CS1 GENLOC_CLNR_RST PCLK1 SDI_OUT_BCK_7-8
SDI_OUT_BCK_5-6 SPI_DEV_CS1 GENLOC_CLNR_RST PCLK1 SDI_OUT_BCK_7-8
SDI_OLRCK_1-2 SPI_DEV_CS2 GENLOC_SPI_CLK GENLOC_SPI_SDOUT SDI_ILRCK_3-4
SDI_OLRCK_1-2 SPI_DEV_CS2 GENLOC_SPI_CLK GENLOC_SPI_SDOUT SDI_ILRCK_3-4
SDI_OBCK_1-2 SPI_DEV_CS3 GENLOC_SPI_SDIN SDI_IBCK_3-4
SDI_OBCK_1-2 SPI_DEV_CS3 GENLOC_SPI_SDIN SDI_IBCK_3-4
SDI_ODATA_1-2 SPI_DEV_CS4 GENLOC_SPI_CS SDI_ILRCK_5-6
SDI_ODATA_1-2 SPI_DEV_CS4 GENLOC_SPI_CS SDI_ILRCK_5-6
SDI_OREF_CLK_1-2 SPI_DEV_CS5 GENLOC_HSYNC SDI_IBCK_5-6
SDI_OREF_CLK_1-2 SPI_DEV_CS5 GENLOC_HSYNC SDI_IBCK_5-6
SDI_ODATA_3-4 SPI_DEV_CS6 GENLOC_VSYNC TX_LRCK_5-6
SDI_ODATA_3-4 SPI_DEV_CS6 GENLOC_VSYNC TX_LRCK_5-6
SDI_OREF_CLK_3-4 SPI_DEV_CS7 GENLOC_FSYNC TX_BCK_5-6
SDI_OREF_CLK_3-4 SPI_DEV_CS7 GENLOC_FSYNC TX_BCK_5-6
SDI_OLRCK_5-6 SPI_DEV_CS8 TX_MCLK_5-6
SDI_OLRCK_5-6 SPI_DEV_CS8 TX_MCLK_5-6
SDI_OBCK_5-6 SPI_DEV_CS9 AES_OREFCLK_5-6
SDI_OBCK_5-6 SPI_DEV_CS9 AES_OREFCLK_5-6
SDI_ODATA_5-6 SPI_DEV_CS10 AES_OLRCK_5-6
SDI_ODATA_5-6 SPI_DEV_CS10 AES_OLRCK_5-6
SDI_OREF_CLK_5-6 SPI_DEV_CS11 AES_OBCK_5-6
SDI_OREF_CLK_5-6 SPI_DEV_CS11 AES_OBCK_5-6
SDI_ODATA_7-8 SPI_DEV_CS15 AES_ODATA_5-6
SDI_ODATA_7-8 SPI_DEV_CS15 AES_ODATA_5-6
SDI_OREF_CLK_7-8
SDI_OREF_CLK_7-8
SDI_OLRCK_3-4 RX_USRCLK_P
SDI_OLRCK_3-4 RX_USRCLK_P
SDI_OBCK_3-4 RX_USRCLK_N
SDI_OBCK_3-4 RX_USRCLK_N
SDI_OLRCK_7-8 GENLOC_CLNR_RST
SDI_OLRCK_7-8 GENLOC_CLNR_RST
SDI_OBCK_7-8 CLNR_DOUBLE
SDI_OBCK_7-8 CLNR_DOUBLE
SDI_ILRCK_3-4 CLNR_SKEW_EN
SDI_ILRCK_3-4 CLNR_SKEW_EN
SDI_IBCK_3-4 CLNR_IPSEL
SDI_IBCK_3-4 CLNR_IPSEL
SDI_ILRCK_7-8 GENLOC_SPI_CLK
SDI_ILRCK_7-8 GENLOC_SPI_CLK
SDI_IBCK_7-8 GENLOC_SPI_SDIN
SDI_IBCK_7-8 GENLOC_SPI_SDIN
SDI_IN_LRCK_1-2 GENLOC_SPI_CS
SDI_IN_LRCK_1-2 GENLOC_SPI_CS
SDI_IN_BCK_1-2 GENLOC_HSYNC
SDI_IN_BCK_1-2 GENLOC_HSYNC
SDI_IN_LRCK_7-8 GENLOC_VSYNC
SDI_IN_LRCK_7-8 GENLOC_VSYNC
SDI_IN_BCK_7-8 GENLOC_FSYNC
SDI_IN_BCK_7-8 GENLOC_FSYNC
SDI_OUT_LRCK_3-4
SDI_OUT_LRCK_3-4
SDI_OUT_BCK_3-4
SDI_OUT_BCK_3-4
SDI_OUT_LRCK_7-8 U_Pg12 GTP Power Filters U_Pg17 SRC_Power_Dist
SDI_OUT_LRCK_7-8
SDI_OUT_BCK_7-8 Pg12 GTP Power Filters.SchDoc Pg17 SRC_Power_Dist.SchDoc
SDI_OUT_BCK_7-8

HD-SDI I/O BOARD:

Schematic: System Interconnect
62360.000
(sheet 1 of 17)
OPTIMOD LOUDNESS CONTROLLER TECHNICAL DATA 6-75
L100
HZ0805G102R-10

+5VA

C104
C118 LEFT ANALOG OUT
10uF C122
1500pF J101
470PF L106

+
U101B AGND1 FILTER
R101 R108 R109 R115 R119 OPA2134UA L101
C105 C108 5 1 3 2 1
10uF R127 LEFT

+
8.45K 8.45K 82.5K 3.48K 8.45K 7 3.3uH 4

1
6 OUTPUT +15V CR103 ..

2
110.0 OHM L109
0.1uF -15V
WHT TRIM 1K MALE

3
C109 R125 TRANSZORB
TP100 U101A TP110

6
R123

CW
AGND C116 1.00M U104

2
OPA2134UA WHT

7
C112 470PF DRV134PA

8
+3.3V 2 3.48K 2 4
0.1uF 470PF 1 R117 R121 C121 VR100 CGND

AGND 3 11.3K 11.3K 10K 3

U100 R129 CR100

1
+15V
18

24 R113 SOCKET
2

2
AK4393VF 3.48K 0.47µF 10.0K DIP-8 L105

5
FILTER CGND
AVDD
DVDD

VCOM

TRANSZORB

2
R102 R105 R110 AGND1 AGND1 -15V
L102
DAC_MCLK 3 U103B 6 1 3
MCLK
4 17 8.45K 8.45K 82.5K 7 3.3uH
RSTIO PD VREFH AGND1 AGND1 AGND1
DAC_BCLK 5 5 C124
BICK
DAC_DATA 6 25 OPA2134UA 470PF
SDATA P/S AGND1
DAC_FCLK 7
LRCK
8
SMUTE AGND1
9 22
DFS AOUTL- WHT 3-pole
TP102
10
DEM0 AOUTL+
23 Butterworth Servo AGND1
11
DEM1
20 f-3db=40KHz f-3db=0.10Hz
AOUTR- RED
12
DIF0 TP103
13 21
DIF1 AOUTR+
14 C119
DIF2

26
CKS0 R104 R106 R111 R116
RIGHT ANALOG OUT
27 16 1500pF U102B
R100 CKS1 VREFL J100
C123
DVSS

28
AVSS

BVSS

10.0K CKS2 8.45K 8.45K 82.5K 3.48K R120 OPA2134UA

C100 C101 5 AGND2 470PF L107 MALE
R128 FILTER
-15V 7 L103
1.0uF 0.1uF
U102A
8.45K
6 110.0 OHM
RIGHT 1 3 2 1

4
1

19

15

OPA2134UA
C117 OUTPUT +15V 3.3uH 4
C113 2 470PF R126 CR101
.. L110

2
R124 TRIM

1
470PF 1 R118 1.00M
TP111 1K

3
SEE NOTE 3 TRANSZORB

CW
3 11.3K U105
3.48K RED

7
DGND AGND C120 DRV134PA CGND

8
+15V 2 4
R114 R122 VR101
RED
8

3.48K 11.3K 10K 3

TP101 AGND2 0.47µF R130

1
SOCKET

2
-15V 10.0K CR102
DIP-8 L108

5
SEE NOTE 1 SEE NOTE 2
R103 R107 R112 FILTER

4
AGND AGND1 CGND
U103A TRANSZORB

2
AGND2 2 -15V
8.45K 8.45K 82.5K L104
1

1 1 3
3 AGND2 AGND2 AGND2
OPA2134UA 3.3uH
AGND2 C125
DGND AGND AGND AGND1 470PF

8
SEE NOTE 2 +15V AGND2
AGND2
DAC_MCLK RED
TP104
1

DAC_MCLK AGND2
DAC_FCLK ORG
DAC_FCLK TP105
DAC_BCLK YEL
DAC_BCLK TP106
DAC_DATA WHT
AGND AGND2 DAC_DATA TP107

TP108 TP109
BLK BLK

+15V -15V +15V -15V

DGND AGND

C102 C103 C106 C107 C110 C111 C114 C115

0.1uF 0.1uF 0.1uF 0.1uF 0.1uF 0.1uF 0.1uF 0.1uF

HD-SDI I/O BOARD:
SCHEMATIC: AUDIO OUTPUT
AGND1 AGND1 AGND2 AGND2
62360.000
(sheet 2 of 17)
 6-76 TECHNICAL DATA ORBAN MODEL 8685

+3.3V

C200
1.0uF

C201 C202
MULTI-RATE SDI +3.3V

0.47µF 0.47µF CABLE EQUALIZER C205

VIDEO RX 0.1uF MGT_VID1_RX_P

3Gbps Max
C206
C-NP
DGND U200
GS2974A MGT_VID1_RX_N
MGT_VID1_RX_P
VIDEO TX
5 13
MGT_VID1_RX_N 3Gbps Max
AGC VCC_D DGND
J200 K200C 6 16 C203
L201 6.8nH AGC VCC_A C-NP
6 +3.3V K200B J201
1 8 C204 4
BNC7T R201 75 OHM
7 C208 1.0uF 2 11 SDO_P C209 4.7uF MULTI-RATE SDI 4.7uF 2 1
SDI SDO L200 5.6nH BNC7T
C207 3
GRF300-5 C212 1.0uF 3 10 SDO_N C213 4.7uF CABLE DRIVER 0.01uF
R200 75 OHM
5
4
3
2

SDI SDO
GRF300-5

2
3
4
5
15 U201
CD HD_CD1
R204 GS2978
R203 DGND
37.4 OHM 9 10 9
DGND 75 OHM VEE_D HD_SD1 SD/HD VCC
14 12
MUTE VEE_D
8 1 C210 4.7uF DDI_P 1 12 L202 5.6nH C211
MCLADJ VEE_A DDI SDO DGND
7 4 4.7uF
BYPASS VEE_A
17 C214 4.7uF DDI_N 2 11
CNTR PAD DDI SDO R202 75 OHM
DGND DGND 7 13
C215 R210 RSVD NC
5 14
0.01uF 1.50K NC NC
MGT_VID1_TX_P 8 15
DGND MGT_VID1_TX_P NC NC R205 R206 R207
16
HD_MUTE1 R208 R209 NC 75 OHM 75 OHM 75 OHM
MGT_VID1_TX_N 6
MGT_VID1_TX_N 49.9 49.9 DISABLE
4 3
RSET VEE
17
CNTR PAD +3.3V

+5VD DGND DGND +3.3V

R211 C217 DGND
C216
0.01uF 750 OHM 0.01uF
3

K200A DGND
1
D200 COIL
+
BAT54C C218 C219 DGND DGND
5 10uF 0.1uF +3.3V
GND
1

9
COIL
GRF300-5 DGND DGND DGND

+3.3V

R220 SDI BYPASS RELAY +3.3V

SDI_BYPASS Q200
1.0K MMBT3904 C220
C221 +
R221 10uF
0.1uF
10.0K U203
R214
EXTERNAL Y200 EL4511CUZ

18

14
15
DGND 14.0K
32.768KHZ
VIDEO SYNC 1 2 1
VCCD1 R212
C222

VCCA1
VCCA2
XTAL DGND DGND 0.022uF
DGND 21.0K
J202B SYNCLOCK Q201
BNC DUAL_with cap. 24 MMBT3906
XTALN R218
LOWER 0 OHM
C223 RN200 PWDN
COMPONENT VIDEO R213
4 10 3 1 16 SYNC_LOCK
SYNCIN SYNCLOCK SYNC_LOCK
9 12 2 15
0 OHM HIN LEVEL
0.1uF 11 22 3 14 SYNC_V_OUT
VERTIN VERTOUT SYNC_V_OUT R216 R219
21 4 13 SYNC_H_OUT
100.0K R-NP
3

HOUT SYNC_H_OUT
R215 C224 5 20 5 12 SYNC_BACKPORCH
SYNC_SDENB SDENB BACKPORCH SYNC_BACKPORCH
75 OHM C-NP 6 19 6 11 SYNC_SYNC_OUT
SYNC_SCL SCL SYNCOUT SYNC_SYNC_OUT
7 2 7 10 SYNC_V_BLANK
DGND SYNC_SDA SDA VBLANK SYNC_V_BLANK
23 8 9 SYNC_ODDEVEN
ODD/EVEN SYNC_ODDEVEN
PWDN 4
PWDN
47 OHM 5%
DGND DGND
GNDD1
GNDD2

GNDA1
GNDA2

DGND DGND
R217
100 OHM EL4511 EXTERNAL RESET: R218 INSTALLED AND R219 NOT INSTALLED
EL4511 INTERNAL RESET: R218 NOT INSTALLED AND R219 INSTALLED
8
17

13
16

WHT TP202
DGND DGND
SYNC_LOCK
SYNC_V_OUT ORG
TP204 BLK HD-SDI I/O BOARD:
TP205
YEL
SYNC_H_OUT
SYNC_BACKPORCH WHT
TP206 SCHEMATIC: VIDEO I-O
TP207
VIDEO SYNC SEPARATOR SYNC_SYNC_OUT
SYNC_V_BLANK
RED
ORG
TP203 62360.000
TP200
YEL
SYNC_ODDEVEN
TP201
DGND
(sheet 3 of 17)
OPTIMOD LOUDNESS CONTROLLER TECHNICAL DATA 6-77
AES3-id
INPUT 1-2 TP300
ORG
TP301
ORG
J300A
U300A
TP302
YEL
RED
RX_LRCK_1-2
RX_BCK_1-2 TP303
YEL
WHT
AES_ILRCK_1-2
AES_IBCK_1-2 TX_LRCK_1-2
ORG
YEL
TP304 R300 AES3-id
BNC DUAL with CAPACITOR L303 TP305 TP306 TP307 210.0 OHM
UPPER T300
C300 SC937-02 C301
SRC4382IPFB
TP308
WHT RXCKO_1-2 AES_IDATA_1-2 TX_BCK_1-2
WHT
TP309 OUTPUT 1-2
L300 TP347
2 1 5 1 U301B U301A
RX1+ RED
1K .. FERRITE
0.1uF
4 8
0.1uF 2
RX1-
AES_IREFCLK2_1-2
SRC4184IPAG SRC4184IPAG
U300B C302
L312
J300B
BNC DUAL with CAPACITOR
29 20 SRC4382IPFB 0.1uF DGND
LOWER
R301
1
RCKIB AES_OREFCLK_1-2 RCKIA
FERRITE 3 45 R302 49.9 C303

2
2
75 OHM RX2+ SDOUTB L316
54 51 ORG 59 62 40 32 4 8 4
LRCKIB LRCKOB TP310 LRCKIA LRCKOA SDOUTA TX+

L304
C304 4
RX2- SDINB
46
RN300
53
55
BCKIB
SDINB
BCKOB
SDOUTB
50
49
TP311
TP312
YEL
WHT
60
58
BCKIA
SDINA
BCKOA
SDOUTA
63
64 39
SDINA 31
R303
110.0 OHM
1 5
0.1uF
FERRITE
.. 1K
5 47 1 8 52 61 TX-
R306 49.9 R321 49.9 R304

3
RX3+ LRCKB TDMIB TDMIA
0.1uF 2 7 38 T301 FERRITE
LRCKA
6 48 3 6 41 32 8 17 SC937-02
RX3- BCKB BYPB RATIOB BYPA RATIOA 0 OHM
4 5 30 31 19 18 37 34
CGND DGND MUTEB RDYB AES_OLRCK_1-2 MUTEA RDYA BCKA AESOUT
7
RX4+ AES_OBCK_1-2
47 OHM 5% 36 L313
J301

1
2
3
DGND AES_ODATA_1-2 SYNC
8
RX4-
HDR 3 25 35
TP313 DGND MCLK BLS
RED R308 CGND DGND
13 12 49.9
AES_IREFCLK1_1-2 RXCKI RXCKO TX_MCLK_1-2
J302

1
2
3
11 AES_IDATA_3-4 TP314
LOCK
RED HDR 3
14 15
MUTE RDY
ORG
TP317 AES_ILRCK_3-4
YEL
TP319
AES3-id TP322
WHT AES_IDATA_3-4
AES_IBCK_3-4
AES_IDATA_3-4

INPUT 3-4 TP315

ORG
YEL RX_LRCK_3-4
J303A TP316
BNC DUAL with CAPACITOR L305
T302
U302A
SRC4382IPFB
TP318
RED
WHT
RX_BCK_3-4
RXCKO_3-4 TX_LRCK_3-4
ORG
YEL
TP320 AES3-id
UPPER TP321 TP323 R309
2
L301
C305 SC937-02
1 5
C306
1
TP348 U303B
TX_BCK_3-4
WHT
TP324 210.0 OHM OUTPUT 3-4
RX1+ RED
1K .. FERRITE
0.1uF
4 8
0.1uF 2
RX1-
AES_IREFCLK2_3-4
SRC4184IPAG U303A
SRC4184IPAG
J303B
R310 29 U302B C307
R311 L314 BNC DUAL with CAPACITOR
1

75 OHM RCKIB 0.1uF DGND

FERRITE 3 45 49.9 20 SRC4382IPFB LOWER
2

RX2+ SDOUTB AES_OREFCLK_3-4 RCKIA

54 51 C308

2
LRCKIB LRCKOB L317
C309 4 46 53 50 ORG 59 62 40 32 4 8 4
RX2- SDINB BCKIB BCKOB TP325 LRCKIA LRCKOA SDOUTA TX+
L306
5
RX3+ LRCKB
47 1
RN301
8
55
52
SDINB
TDMIB
SDOUTB
49
R315
TP326
TP327
YEL
WHT
60
58
BCKIA
SDINA
BCKOA
SDOUTA
63
64 39
SDINA 31
R312
110.0 OHM
1 5
0.1uF
FERRITE
.. 1K
0.1uF 2 7 61 TX-
49.9 R323 49.9 R314

3
TDMIA
6 48 3 6 41 32 38 T303 FERRITE
RX3- BCKB BYPB RATIOB LRCKA
4 5 30 31 8 17 0 OHM SC937-02
CGND DGND MUTEB RDYB BYPA RATIOA
7 19 18 37 34
RX4+ AES_OLRCK_3-4 MUTEA RDYA BCKA AESOUT
J304 47 OHM 5%
1
2
3

DGND AES_OBCK_3-4
8 36 L315
RX4- AES_ODATA_3-4 SYNC
HDR 3
TP328
25 35
RED R317 DGND MCLK BLS
13 12 49.9
AES_IREFCLK1_3-4 RXCKI RXCKO CGND DGND
TX_MCLK_3-4
11 AES_IDATA_5-6
J305

1
2
3
LOCK
TP329
14 15 RED HDR 3
MUTE RDY

AES3-id ORG
TP336
TX_LRCK_5-6
YEL
TP338 R318 AES3-id
INPUT 5-6 TX_BCK_5-6
WHT
TP340 210.0 OHM
J306A
U304A U305A
OUTPUT 5-6
BNC DUAL with CAPACITOR L307
UPPER T305 SRC4382IPFB ORG SRC4184IPAG
TP334 RX_LRCK_5-6 C310 J306B
C312 SC937-02 C313 YEL U304B
L302 TP335 RX_BCK_5-6 0.1uF DGND L309 BNC DUAL with CAPACITOR
2 1 5 1 RED 20 SRC4382IPFB LOWER
RX1+ TP337 RXCKO_5-6 AES_OREFCLK_5-6 RCKIA
.. FERRITE WHT C311

2
TP339 L311
1K 0.1uF 0.1uF 2 ORG 59 62 40 32 4 8 4
4 8 RX1- TP330 LRCKIA LRCKOA SDOUTA TX+
R313
R316 TP349 TP331
YEL 60 63 R322 FERRITE
..
1

75 OHM BCKIA BCKOA

FERRITE 3 45 49.9 WHT 58 64 39 110.0 OHM 0.1uF 1K
2

RX2+ SDOUTB RED TP332 SDINA SDOUTA SDINA 31 1 5

61 TX-
R305 49.9 R307

3
AES_IREFCLK2_5-6 TDMIA T304
C314 4 46 38 FERRITE
RX2- SDINB RN302 LRCKA SC937-02
8 17 0 OHM
L308 BYPA RATIOA
5 47 1 8 19 18 37 34
RX3+ LRCKB AES_OLRCK_5-6 MUTEA RDYA BCKA AESOUT
0.1uF 2 7 U305B
AES_OBCK_5-6
6 48 3 6 SRC4184IPAG 36 L310
RX3- BCKB AES_ODATA_5-6 SYNC
4 5
CGND DGND 7 29 25 35
RX4+ RCKIB DGND MCLK BLS
J308 47 OHM 5%
1
2
3

8 54 51 ORG CGND DGND

RX4- LRCKIB LRCKOB TP341 TX_MCLK_5-6
HDR 3 53 50 YEL
TP342 J307

1
2
3
TP345 BCKIB BCKOB
WHT
55 49 TP333
RED R319 SDINB SDOUTB TP343
13 12 49.9 52 RED HDR 3
AES_IREFCLK1_5-6 RXCKI RXCKO TDMIB R320 49.9
11 41 32
LOCK BYPB RATIOB
30 31
MUTEB RDYB
14 15
MUTE RDY AES_ILRCK_5-6
DGND AES_IDATA_5-6
AES_IBCK_5-6 HD-SDI I/O BOARD:
AES_IDATA_5-6
SCHEMATIC: AES3id I-O
62360.000
TP346
AES_IDATA_7-8
AES_IDATA_7-8 BLK (sheet 4 of 17)

DGND
 6-78 TECHNICAL DATA ORBAN MODEL 8685

ORG
TP416
YEL
TP417
U400A WHT U402A
TP415
SRC4184IPAG SRC4184IPAG
SDI AUDIO IN CH 1-2
20 20
SDI_IREF_CLK_1-2 RCKIA SDI_OREF_CLK_1-2 RCKIA SDI AUDIO OUT CH 1-2
59 62 59 62
SDI_ILRCK_1-2 LRCKIA LRCKOA SDI_IN_LRCK_1-2 SDI_OLRCK_1-2 LRCKIA LRCKOA SDI_OUT_LRCK_1-2
60 63 60 63
SDI_IBCK_1-2 BCKIA BCKOA SDI_IN_BCK_1-2 SDI_OBCK_1-2 BCKIA BCKOA SDI_OUT_BCK_1-2
58 64 R400 49.9 58 64 R401 49.9
SDI_IDATA_1-2 SDINA SDOUTA SDI_IN_DATA_1-2 SDI_ODATA_1-2 SDINA SDOUTA SDI_OUT_DATA_1-2
61 61
TDMIA TDMIA
RED 8 17 8 17
TP400 BYPA RATIOA BYPA RATIOA
ORG 19 18 RED 19 18
TP402 MUTEA RDYA TP421 MUTEA RDYA
YEL ORG WHT
TP403 TP422 TP439
WHT YEL YEL
TP401 TP423 TP441
WHT ORG
DGND
SLAVE/SLAVE TP424 SLAVE/SLAVE TP440

SDI_IN_DATA_3-4 WHT
TP412 DGND
ORG
TP449
YEL
TP450
U400B U402B
SRC4184IPAG SRC4184IPAG
SDI AUDIO IN CH 3-4
29 29
SDI_IREF_CLK_3-4 RCKIB SDI_OREF_CLK_3-4 RCKIB SDI AUDIO OUT CH 3-4
54 51 54 51
SDI_ILRCK_3-4 LRCKIB LRCKOB SDI_IN_LRCK_3-4 SDI_OLRCK_3-4 LRCKIB LRCKOB SDI_OUT_LRCK_3-4
53 50 53 50
SDI_IBCK_3-4 BCKIB BCKOB SDI_IN_BCK_3-4 SDI_OBCK_3-4 BCKIB BCKOB SDI_OUT_BCK_3-4
55 49 55 49 R402 49.9
SDI_IDATA_3-4 SDINB SDOUTB SDI_ODATA_3-4 SDINB SDOUTB SDI_OUT_DATA_3-4
52 52
TDMIB R405 49.9 TDMIB
RED 41 32 41 32
TP404 BYPB RATIOB BYPB RATIOB
ORG 30 31 RED 30 31
TP445 MUTEB RDYB TP425 MUTEB RDYB
YEL ORG YEL
TP446 TP426 TP437
WHT YEL ORG
TP405 TP427 TP453
WHT ORG
DGND
SLAVE/SLAVE TP428 SLAVE/SLAVE TP454

SDI_IN_DATA_5-6 WHT
TP413 DGND
ORG
TP418
WHT
TP419
U401A U403A
SRC4184IPAG SRC4184IPAG
SDI AUDIO IN CH 5-6
20 20
SDI_IREF_CLK_5-6 RCKIA SDI_OREF_CLK_5-6 RCKIA SDI AUDIO OUT CH 5-6
59 62 SDI_IN_LRCK_5-6 59 62
SDI_ILRCK_5-6 LRCKIA LRCKOA SDI_IN_LRCK_5-6 SDI_OLRCK_5-6 LRCKIA LRCKOA SDI_OUT_LRCK_5-6
60 63 SDI_IN_BCK_5-6 60 63
SDI_IBCK_5-6 BCKIA BCKOA SDI_IN_BCK_5-6 SDI_OBCK_5-6 BCKIA BCKOA SDI_OUT_BCK_5-6
58 64 58 64 R403 49.9
SDI_IDATA_5-6 SDINA SDOUTA SDI_ODATA_5-6 SDINA SDOUTA SDI_OUT_DATA_5-6
61 61
TDMIA R406 49.9 TDMIA
RED 8 17 8 17
TP406 BYPA RATIOA BYPA RATIOA
ORG 19 18 RED 19 18
TP408 MUTEA RDYA TP429 MUTEA RDYA
YEL ORG WHT
TP409 TP430 TP442
WHT YEL YEL
TP407 TP431 TP444
WHT WHT
DGND
SLAVE/SLAVE TP432 SLAVE/SLAVE TP443

SDI_IN_DATA_7-8 WHT
TP414 DGND
ORG
TP451
YEL
TP452
U401B U403B
SRC4184IPAG SRC4184IPAG
SDI AUDIO IN CH 7-8
29 29
SDI_IREF_CLK_7-8 RCKIB SDI_OREF_CLK_7-8 RCKIB SDI AUDIO OUT CH 7-8
54 51 54 51
SDI_ILRCK_7-8 LRCKIB LRCKOB SDI_IN_LRCK_7-8 SDI_OLRCK_7-8 LRCKIB LRCKOB SDI_OUT_LRCK_7-8
53 50 53 50
SDI_IBCK_7-8 BCKIB BCKOB SDI_IN_BCK_7-8 SDI_OBCK_7-8 BCKIB BCKOB SDI_OUT_BCK_7-8
55 49 55 49 R404 49.9
SDI_IDATA_7-8 SDINB SDOUTB SDI_ODATA_7-8 SDINB SDOUTB SDI_OUT_DATA_7-8
52 52
TDMIB R407 49.9 TDMIB
RED 41 32 41 32
TP410 BYPB RATIOB BYPB RATIOB
ORG 30 31 RED 30 31
TP447 MUTEB RDYB TP433 MUTEB RDYB
YEL ORG ORG
TP448 TP434 TP438
WHT TP420 YEL YEL
TP411 TP435 TP455
WHT ORG
DGND
SLAVE/SLAVE BLK TP436 SLAVE/SLAVE TP456

DGND

DGND HD-SDI I/O BOARD:

SCHEMATIC: SDI I-O
62360.000
(sheet 5 of 17)
OPTIMOD LOUDNESS CONTROLLER TECHNICAL DATA 6-79
PMCS2 RED
TP500
PMALL YEL
TP501
PMRD WHT
TP502
PMWR ORG +3.3V
TP503
C506
IN-CIRCUIT SERIAL SPI_SCK YEL
TP504
PROGRAMMING INTERFACE +PIC_PWR SPI_SDO ORG
TP505 U501 0.1uF
SPI_SDI WHT

16
TP506 SN74AHC138PWR DGND
PIC Parallel Port Configuration:
J501 PIC_VSYNC RED SPI_SEL_A0 1 15
TP507 Master Mode

VCC
A Y0
MCLR Read Timing = 8-Bit Data, Partially Multiplexed Address SPI_SEL_A1 2 14
MCLR* 1 B Y1 SPI_DEV_CS1
Write Timing = 8-Bit Data, Partially Multiplexed Address SPI_SEL_A2 3 13
3.3V 2 C Y2 SPI_DEV_CS2
12
GND 3 Y3 SPI_DEV_CS3
RB7 SPI_SEL_A3 4 11
RB7 4 G2A Y4 SPI_DEV_CS4
RB6 5 10
RB6 5 G2B Y5 SPI_DEV_CS5
6 9

GND
+3.3V G1 Y6 SPI_DEV_CS6
HDR 1X5 PMD[7..0] 7
C500 PMD[7..0] Y7 SPI_DEV_CS7
0.1uF

8
+PIC_PWR C503
10uF

+
DGND
DGND DGND
SPI
DGND +3.3V
U500
+5VD C507

19

10
26
38

57
56
PIC24FJ128GA106-I/PT

U502

VDD
VDD
VDD
AVDD

ENVREG
VCAP/VDDCORE
0.1uF

16
SN74AHC138PWR DGND
R502
PMD5 1 64 PMD4 SPI_SEL_A0 1 15
10.0K

VCC
PMD5/CN63/RE5 PMD4/CN62/RE4 A Y0 SPI_DEV_CS8
PMD6 2 63 PMD3 SPI_SEL_A1 2 14
PMD6/SCL3/CN64/RE6 PMD3/CN61/RE3 B Y1 SPI_DEV_CS9
PMD7 3 62 PMD2 SPI_SEL_A2 3 13
R503 PMD7/SDA3/CN65/RE7 PMD2/CN60/RE2 C Y2 SPI_DEV_CS10
PIC_RX_D 1.0K 4 61 PMD1 12
D502 PMA5/RP21/C1IND/CN8/RG6 PMD1/CN59/RE1 Y3 SPI_DEV_CS11
SPI_SDI 5 60 PMD0 4 11
R501 R504 RP26/PMA4/C1INC/CN9/RG7
RP26/PMA4
A /C1INC/CN9/RG7 PMD0/CN58/RE0 G2A Y4 SPI_DEV_CS12
1 PIC_TX_D 1.0K 6 59 SPI_SEL_A1 5 10
PIC_RESET 30.1K PMA3/RP19/C2IND/CN10/RG8 CN69/RF1 G2B Y5 SPI_DEV_CS13
3 MCLR 7 58 SPI_SEL_A0 SPI_SEL_A3 6 9

GND
MCLR CN68/RF0 G1 Y6 SPI_DEV_CS14
SPI_SDO 8 7
2 SPI_SDO RP27/PMA2/C2INC/CN11/RG9 Y7 SPI_DEV_CS15
SPI_SDI
55 NP
R500 W501

8
C3INA/
C3INA/CN16/RD7
A CN16/RD7
BAT54C SPI_SCK 11 54 NP
49.9K SPI_SCK PGEC3/RP18/C1INA/
PGEC3/RP18/C1INA/CN7/AN5/RB5
A CN7/A
/ N5/RB5 C3INB/CN15/RD6 W502
PULSE 12 53 PMRD
PGED3/RP28/C1INB/AN4/CN6/RB4
PGED3/RP28/C1INB/A/ N4/CN6/RB4 PMRD/RP20/CN14/RD5 PMRD
PIC_VSYNC 13 52 PMWR
PIC_VSYNC C2INA/AN3/CN5/RB3
C2INA/
A/AN3/CN5/RB3 PMWR/RP25/CN13/RD4
PMWR/
R RP25/CN13/RD4 PMWR DGND DGND
PIC_IN_METADATA_SDI 14 51
PIC_IN_METADATA_SDI RP13/C2INB/AN2/CN4/RB2
RP13/C2INB/A
/ N2/CN4/RB2 PMBE/RP22/CN52/RD3 PIC_FPGA_SPARE1
15 50
HOST_RX_A PGEC1/RP1/VREF-/AN1/CN3/RB1
PGEC1/RP1/V
/ REF-/A
/ N1/CN3/RB1 RP23/CN51/RD2 PIC_FPGA_SPARE0
16 49 PIC_OUT_METADATA_SS
DGND HOST_TX_A PGED1/RP0/PMA6/VREF+/AN0/CN2/RB0
PGED1/RP0/PMA6/V/ REF+/A
/ N0/CN2/RB0 RP24/CN50/RD1 PIC_OUT_METADATA_SS

RSTIO

RB6 17 48 SYNC_SDENB
PGEC2/A
PGEC2/AN6/RP6/CN24/RB6
/ N6/RP6/CN24/RB6 SOSCO/C3INC/RPI37/CN0/T1CK/RC14
SOSCO/
O C3INC/RPI37/CN0/T1CK/
K RC14 SYNC_SDENB
RB7 18 47 PIC_OUT_METADATA_SDO
PGED2/RP7/AN7/CN25/RB7
PGED2/RP7/A
/ N7/CN25/RB7 SOSCI/C3IND/CN1/RC13 PIC_OUT_METADATA_SDO
46
RP11/CN49/RD0
45 METADATA SERIAL IN PIC_RX_B
RP12/PMCS1/CN56/RD11
PIC_IN_METADATA_SS 21 44 PMCS2
PIC_IN_METADATA_SS RP8/A
RP8/AN8/CN26/RB8
/ N8/CN26/RB8 RP3/PMCS2/CN55/RD10 PMCS2
PIC_RTSB_DE 22 43 PIC_OUT_METADATA_SCK +3.3V
PMA7/RP9/AN9/CN27/RB9
PMA7/RP9/A
/ N9/CN27/RB9 RP4/CN54/RD9 PIC_OUT_METADATA_SCK
PIC_RTSB_RE 23 42 PIC_TX_B
TMS/PMA13/AN10/CVREF/CN28/RB10
TMS/PMA13/A/ N10/CVREF/CN28/RB10 RP2/RTCC/CN53/RD8
RP2/RTC
T C/
C CN53/RD8
+3.3V NP 24
W500 TDO/PMA12/AN11/CN29/RB11
TDO/
O PMA12/A/ N11/CN29/RB11
40 ORG
OSC2/CLKO/CN22/RC15
OSC2/CLKO/
O CN22/RC15 TP508
39 PIC_24_576MHZ
OSC1/CLKIN/CN23/RC12 PIC_24_576MHZ R507
PIC_RTSC_DE 27
TCK/
TCK/PMA11/AN12/CTED2/CN30/RB12
T K PMA11/A
/ N12/CTED2/CN30/RB12 10.0K
PIC_RTSC_RE 28 37 SYNC_SCL +5VD
TDI/PMA10/AN13/CTED1/CN31/RB13
TDI/PMA10/A
/ N13/CTED1/CN31/RB13 SCL1/CN83/RG2 SYNC_SCL
PIC_IN_METADATA_SCK 29 36 SYNC_SDA
R512 R513 PIC_IN_METADATA_SCK RP14/CTPLS/PMA1/AN14/CN32/RB14
RP14/CTPLS/PMA1/A/ N14/CN32/RB14 SDA1/CN84/RG3 SYNC_SDA
PMALL 30 35
2.49K 2.49K PMALL RP29/PMA0/AN15/REFO/CN12/RB15
RP29/PMA0/A
/ N15/REFO/
O CN12/RB15 RPI45/SCK1/INT0/CN72/RF6
RPI45/SCK1/INT0
T /CN72/RF6 PIC_INT
PROCESSED METADATA OUT 31 34 SPI_SEL_A2
PMA9/RP10/SDA2/CN17/RF4 RP30/CN70/RF2

PIC_TX_C
32
PMA8/RP17/SCL2/CN18/RF5 RP16/CN71/RF3
33 SPI_SEL_A3
R510 R511
RS485-SDI
SYNC_SCL YEL PIC_RX_C ORG INTERFACE

AVSS
TP523 TP519 10.0K 10.0K

VSS
VSS
VSS
SYNC_SDA ORG WHT
TP516 TP520
SYNC_SDENB WHT
TP517
J502

20

9
25
41
PIC_RX_B R508 1.0K
1 2
PIC_24_576MHZ RED PIC_TX_B
TP509 3 4
PIC_RTSB_DE
5 6
PIC_OUT_METADATA_SDO WHT PIC_RTSB_RE
TP510 7 8
PIC_OUT_METADATA_SCK YEL PIC_RX_C R509 1.0K
TP511 9 10
PIC_OUT_METADATA_SS ORG PIC_TX_C
PIC STATUS TP512 11 12
PIC_RTSC_DE
DGND 13 14
D500 PIC_IN_METADATA_SDI WHT PIC_RTSC_RE
R506 TP513 15 16
PIC_IN_METADATA_SCK YEL
+5VD TP514 17 18
PIC_IN_METADATA_SS ORG ORG
1.0K TP515 TP521 19 20
WHT
R505 YEL LED TP522
PULSE HDR 10X2 SH
Q500
1.0K MMBT3904

DGND

DGND

D501
BYPASS CAPACITORS
1 U500 PINS 10,19,26,&38 TP518
BLK HD-SDI I/O BOARD:
+3.3V
3
+PIC_PWR
2 SCHEMATIC: PIC CONTROLLER
C501 C502 C504 C505
BAT54C 0.1uF 0.1uF 0.1uF 0.1uF 62360.000
DGND
(sheet 6 of 17)
 6-80 TECHNICAL DATA ORBAN MODEL 8685

U601 U603
TP606 JMP_1.8V TP623 JMP_2.5V
LM20134MH LM20134MH
L601 RED L604 RED
6 8 6 8

2
+5VD PVIN SW +1.8V +5VD PVIN SW +2.5V
7 9 3.3uH 7 9 3.3uH
R614 W600 PVIN SW W604 PVIN SW
4.75K
12 2 12 2
R601 EN FB R606 R608 R619 EN FB R613
1.0 Ohm 12.4K 1.0 Ohm 4.75K 21.0K
14 3 14 3
AVIN PGOOD W602 C621 AVIN PGOOD W606 C618
C605 + + C623 C625 + + C622
47uF/10V C609 16 13 100uF/6.3V 0.1uF 47uF/10V C627 16 13 100uF/6.3V 0.1uF
SYNC VCC SYNC VCC
0.1uF 4 1 0.1uF 4 1
LOW COMP SS/TRK LOW LOW COMP SS/TRK LOW
ESR ESR ESR ESR
C613 5 R607 C629 5 R600
NC C619 NC C612
0.1uF R603 10 15 C617 10.0K 0.1uF R610 10 15 C634 10.0K
PGND AGND PGND AGND
976 OHM 11 17 6800pF 1.0uF 1.50K 11 17 6800pF 1.0uF
PGND EP PGND EP

DGND DGND DGND DGND DGND DGND

C615 DGND DGND DGND DGND DGND DGND DGND C631 DGND DGND DGND DGND DGND DGND DGND
4700pF +1.0V_PGOOD 3300pF

DGND U604 DGND U600

TP607 JMP_3.3V TP624 JMP_1.0V
LM20134MH LM20134MH
L605 RED L600 RED
6 8 6 8

2
+5VD PVIN SW +3.3V +5VD PVIN SW +1.0V
7 9 3.3uH 7 9 3.3uH
R615 W601 PVIN SW W605 PVIN SW
4.75K
12 2 R620 12 2
R605 EN FB R617 R609 EN FB R602
4.75K
1.0 Ohm 30.9K 1.0 Ohm 2.49K
14 3 14 3 +1.0V_PGOOD
AVIN PGOOD W603 C639 AVIN PGOOD C620
C604 + + C640 C626 + + C624
47uF/10V C608 16 13 100uF/6.3V 0.1uF 47uF/10V C628 16 13 100uF/6.3V 0.1uF
SYNC VCC SYNC VCC
0.1uF 4 1 0.1uF 4 1
LOW COMP SS/TRK LOW LOW COMP SS/TRK LOW
ESR ESR ESR ESR
C635 5 R618 C630 5 R604
NC C638 NC
0.1uF R616 10 15 C637 10.0K 0.1uF 10 15 C614 C616 10.0K
PGND AGND R611 PGND AGND
2.37K 11 17 6800pF 1.0uF 11 17 6800pF 1.0uF
PGND EP 402 OHM PGND EP

DGND DGND DGND DGND DGND DGND

C636 DGND DGND DGND DGND DGND DGND DGND C632 DGND DGND DGND DGND DGND DGND DGND
2200pF 6800pF
GENLOC_PWR_GOOD DSP INTERFACE
DGND
J602
DGND
BASEBOARD
1
3
2
4
DIN_DATA1
DIN_DATA2
DIN_DATA1
DIN_DATA2
INTERFACE
DIN_DATA3 +5VD J603
5 6 DIN_DATA3
POWER SUPPLY INTERFACE 7
9
8
10
C633
HOST_RX_A
SIN
14
13
IN_BCLK SOUT
11 12 IN_BCLK HOST_TX_A 12
+15V -15V +5VA +5VA -15V +15V +5VD IN_FCLK 0.1uF
13 14 IN_FCLK 11
J600 AOUT_DATA DGND U602

5
15 16 AOUT_DATA 10
AOUT_BCLK 74HC1G14
1 2 17 18 AOUT_BCLK R612 9
AOUT_FCLK 18_432MHZ 2 4
3 4 19 20 AOUT_FCLK 8
PILOT_DATA 75 OHM
5 6 21 22 PILOT_DATA 7
PILOT_BCLK

3
7 8 23 24 PILOT_BCLK 6
PILOT_WCLK
9 10 25 26 PILOT_WCLK 5
COMP_DATA
11 12 27 28 COMP_DATA 4
COMP_BCLK
13 14 29 30 COMP_BCLK DGND 3
COMP_WCLK
15 16 31 32 COMP_WCLK PIC_RESET 2
17 18 33 34 1
19 20 35 36
+15V +3.3V HDR 14
37 38 L602
HDR 10X2 SH
DGND 39 40
680uH AGND DGND C641
AGND DGND AGND HDR 20X2 SH DIN_DATA1 WHT
L603 TP609 DGND
0.1uF DIN_DATA2 WHT
TP610
5VA (J700 PINS 3,4) NOT 680uH DGND U605 DIN_DATA3 WHT
TP611

5
-15V 74HC1G14
USED ON THIS ASSEMBLY. R621 R623
2 4 IN_BCLK YEL
FPGA_24_576MHZ TP612
ORG RED
DSP INTERFACE 210.0 OHM 49.9 IN_FCLK
TP613 18_432MHZ
36_864MHZ RED
TP625
TP626

3
J601 AOUT_DATA WHT 24_576MHZ RED
TP614 TP627
+5VA +5VD RED 18_432MHZ AOUT_BCLK YEL 33_8688MHZ RED
+5VD TP600 1 2 18_432MHZ TP615 TP628
36_864MHZ AOUT_FCLK ORG 16_384MHZ RED
TP608 3 4 36_864MHZ DGND TP616 TP629
24_576MHZ
BLK TP601 BLK 5 6
33_8688MHZ PILOT_DATA WHT DOUT_DATA1 WHT
7 8 33_8688MHZ TP617 TP630
+ + 16_384MHZ +3.3V PILOT_BCLK YEL DOUT_DATA2 WHT
C602 C610 9 10 16_384MHZ TP618 TP631
C600 C606 DOUT_DATA1 PILOT_WCLK ORG DOUT_DATA3 WHT
0.1uF 0.1uF 11 12 DOUT_DATA1 TP619 TP632
10uF 10uF DOUT_DATA2 U606 DOUT_BCLK YEL
TP633

1
2
3
4

5
DGND DGND 13 14 DOUT_DATA2
DOUT_DATA3 74HC1G14 COMP_DATA WHT DOUT_FCLK ORG
15 16 DOUT_DATA3 R622 R624 TP620 TP634
RN600 2 4 COMP_BCLK YEL
AGND AGND DGND DGND 17 18 PIC_24_576MHZ TP621
1.0K OHM 5% COMP_WCLK ORG
19 20 210.0 OHM 49.9 TP622
DOUT_BCLK

3
21 22 DOUT_BCLK
ORG
TP602
8
7
6
5
+5VA 23 24
+15V -15V
25 26
WHT
+15V TP603 27 28 DGND
29 30 DGND
YEL DOUT_FCLK
-15V TP604 31 32 DOUT_FCLK
+ C607
C601 C603 C611 33 34
10uF
0.1uF
+
10uF 0.1uF BLK TP605 35 36 HD-SDI I/O BOARD:
37 38
39 40 M1 M2 M3 M4 M5 M6 M7 M8 M9 M10 M11 M12 SCHEMATIC: POWER SUPPLIES & INTERFACE
AGND AGND AGND AGND
AGND
HDR 20X2 SH
62360.000
DGND
(sheet 7 of 17)
CGND
OPTIMOD LOUDNESS CONTROLLER TECHNICAL DATA 6-81

RN702 47 OHM 5%
DDR SDRAM
8 1
AES_IREFCLK2_3-4
AES_IREFCLK2_5-6
7
6
2
3
DDD[31..0]
DDD[31..0]
+DDVREF
BANK 11: +2.5V
AES_IREFCLK2_7-8
5 4 +3.3V U700E
AES_ILRCK_1-2
BANK 1: +3.3V BANK 3: +3.3V DDA[13..0] DDD0 E26

BANK 11
DDA[13..0] IO_L0P_11
DDD1 E25
IO_L0N_11

RN703 47 OHM 5% G15

U700A
PMD[7..0]
PMD[7..0] BANK 2: +3.3V D15
U700C DDD2
DDD3
F25
G26
IO_L1P_11
+2.5V +3.3V +2.5V +1.0V

IO_L0P_A19_1 18_432MHZ IO_L0P_CC_GC_3 IO_L1N_11 FPGA POWER

BANK 1

BANK 3
8 1 G16 U700B E15 DDCLK1_P DDD4 H26
AES_IBCK_1-2 IO_L0N_A18_1 AES_OREFCLK_5-6 IO_L0N_CC_GC_3 DDCLK1_P IO_L2P_11
7 2 H13 PMD0 W11 D16 DDCLK1_N DDD5 G25
AES_ILRCK_3-4 IO_L1P_A17_1 IO_L0P_CC_RS1_2 FPGA_24_576MHZ IO_L1P_CC_GC_3 DDCLK1_N IO_L2N_11

BANK 2
6 3 G14 PMD1 Y10 E16 DDCLK2_P DDD6 F24 U700N
AES_IBCK_3-4
AES_ILRCK_5-6
5 4 G17
IO_L1N_A16_1
IO_L2P_A15_D31_1
PMD2 Y20
IO_L0N_CC_RS0_2
IO_L1P_CC_A25_2
AES_OBCK_5-6
R708 49.9 D14
IO_L1N_CC_GC_3
IO_L2P_GC_VRN_3
DDCLK2_P
DDCLK2_N
DDCLK2_N DDD7 G24
IO_L3P_11
IO_L3N_11
F11
VCCO_0 VCCAUX
U8 FPGA GND
F17 PMD3 AA19 R709 49.9 D13 DDD8 E23 J12 K9
IO_L2N_A14_D30_1 IO_L1N_CC_A24_2 IO_L2N_GC_VRP_3 IO_L4P_11 VCCO_0 VCCAUX
F15 PMD4 AA10 E17 E22 M9 U700O
IO_L3P_A13_D29_1 IO_L2P_A23_2 33_8688MHZ IO_L3P_GC_3 IO_L4N_VREF_11 VCCAUX
RN704 47 OHM 5% F14 PMD5 Y11 D18 DDQS[3..0] DDD9 F23 B13 P9 A2 K14
IO_L3N_A12_D28_1 IO_L2N_A22_2 AES_OLRCK_5-6 IO_L3N_GC_3 DDQS[3..0] IO_L5P_11 VCCO_1 VCCAUX GND GND
8 1 F18 PMD6 AA18 E13 DDD10 F22 E14 T9 D2 T14
AES_IBCK_5-6 IO_L4P_A11_D27_1 IO_L3P_A21_2 36_864MHZ IO_L4P_GC_3 IO_L5N_11 VCCO_1 VCCAUX GND GND
7 2 G19 PMD7 Y18 E12 DDD11 G22 W10 E2 V14
AES_IBCK_7-8 IO_L4N_VREF_A10_D26_1 IO_L3N_A20_2 AES_ODATA_5-6 IO_L4N_GC_VREF_3 IO_L6P_11 VCCAUX GND GND
6 3 F13 Y12 E18 DDD12 H22 AA16 M19 K2 Y14
AES_ILRCK_7-8 IO_L5P_A9_D25_1 PMRD IO_L4P_FCS_B_2 TX_MCLK_3-4 IO_L5P_GC_3 IO_L6N_11 VCCO_2 VCCAUX GND GND
5 4 G12 AA12 F19 R722 R-NP H23 AD17 P19 L2 C15
TX_MCLK_1-2 IO_L5N_A8_D24_1 PMWR IO_L4N_VREF_FOE_B_MOSI_2 TX_LRCK_3-4 IO_L5N_GC_3 +DDVTT IO_L7P_11 VCCO_2 VCCAUX GND GND
H18 AA17 F12 J23 T19 T2 J15
IO_L6P_A7_D23_1 PMALL IO_L5P_FWE_B_2 TX_BCK_3-4 IO_L6P_GC_3 IO_L7N_11 VCCAUX GND GND
H19 Y17 E11 DDQS0 DDQS0 J21 D17 V19 U2 L15
IO_L6N_A6_D22_1 PMCS2 IO_L5N_CSO_B_2 TX_MCLK_5-6 IO_L6N_GC_3 IO_L8P_CC_11 VCCO_3 VCCAUX GND GND
RN705 47 OHM 5% G11 AA13 E20 DDQM0 K21 G18 Y19 AB2 U15
IO_L7P_A5_D21_1 ENCODER_METADATA_IN IO_L6P_D7_2 TX_LRCK_5-6 IO_L7P_GC_3 IO_L8N_CC_11 VCCO_3 VCCAUX GND GND
8 1 H11 W706 NP AA14 E21 DDQS1 DDQS1 K22 N20 AC2 W15
TX_LRCK_1-2 IO_L7N_A4_D20_1 IO_L6N_D6_2 TX_BCK_5-6 IO_L7N_GC_3 IO_L9P_CC_11 VCCAUX GND GND
7 2 G20 W703 NP Y16 E10 DDQM1 K23 AB13 AF2 AC15
TX_BCK_1-2 IO_L8P_CC_A3_D19_1 IO_L7P_D5_2 16_384MHZ IO_L8P_GC_3 IO_L9N_CC_11 VCCO_4 GND GND
6 3 H21 ENC_RES0 W16 F10 DDQS2 DDQS2 L23 AE14 L10 C4 A16
IO_L8N_CC_A2_D18_1 IO_L7N_D4_2 DAC_FCLK IO_L8N_GC_3 IO_L10P_CC_SM15P_11 VCCO_4 VCCINT GND GND
5 4 G10 ENC_RES1 Y13 F20 DDQM2 L22 N10 F4 F16
IO_L9P_CC_A1_D17_1 IO_L8P_D3_2 DAC_BCLK IO_L9P_GC_3 IO_L10N_CC_SM15N_11 VCCINT GND GND
H9 ENC_RES2 W14 G21 DDCLK1_P M21 J22 R10 J4 H16
IO_L9N_CC_A0_D16_1 IO_L8N_D2_FS2_2 DAC_DATA IO_L9N_GC_3 IO_L11P_CC_SM14P_11 VCCO_11 VCCINT GND GND
ENC_RES3 Y15 DDCLK1_N N21 M23 U10 M4 K16
IO_L9P_D1_FS1_2 IO_L11N_CC_SM14N_11 VCCO_11 VCCINT GND GND
XC5VLX30T-1FFG665C ENC_RES4 AA15 XC5VLX30T-1FFG665C R723 49.9 H24 H25 M11 R4 M16
DOUT_DATA1 IO_L9N_D0_FS0_2 +2.5V IO_L12P_VRN_11 VCCO_11 VCCINT GND GND
R724 49.9 J24 P11 V4 P16
DOUT_DATA2 IO_L12N_VRP_11 VCCINT GND GND
XC5VLX30T-1FFG665C DDD13 J25 H5 T11 AA4 T16
DOUT_DATA3 DGND IO_L13P_11 VCCO_12 VCCINT GND GND
DDD14 J26 L6 L12 AE4 V16
SYNCIN_LRCK IO_L13N_11 VCCO_12 VCCINT GND GND
DDQM[3..0] DDD15 K26 P7 N12 C5 AF16
SYNCIN_SCLK DDQM[3..0] IO_L14P_11 VCCO_12 VCCINT GND GND
ENC_RES[4..0] L25 R12 N5 J17
SYNCIN_RMCK ENC_RES[4..0] IO_L14N_VREF_11 VCCINT GND GND
DOLBY_ENC_STAT[1..0] +3.3V DDD16 L24 W22 K13 V5 L17
DOLBY_ENC_STAT[1..0] IO_L15P_SM13P_11 VCCO_13 VCCINT GND GND
DDQM0 DDD17 K25 R24 M13 AC5 N17
IO_L15N_SM13N_11 VCCO_13 VCCINT GND GND
DOLBY_ENC_CNTRL[19..0] DDQM1 DDD18 N26 V25 P13 A6 R17
DOLBY_ENC_CNTRL[19..0] IO_L16P_SM12P_11 VCCO_13 VCCINT GND GND
+3.3V R710 DDQM2 DDD19 M26 T13 F6 U17
IO_L16N_SM12N_11 VCCINT GND GND
BANK 12: +3.3V 49.9 DDD20 M25
IO_L17P_SM11P_11
F21
VCCO_15 VCCINT
J14 T6
GND GND
W17

U700F
BANK 18: +3.3V DDD21
DDD22
M24
N24
IO_L17N_SM11N_11
B23
E24
VCCO_15 VCCINT
L14
U14
AF6
J7
GND GND
B18
K18
IO_L18P_SM10P_11 VCCO_15 VCCINT GND GND
Y6 U700K DDD23 N23 H15 W7 M18

BANK 12
ENCODER_OUT_AUDIO_DATA0 IO_L0P_12 IO_L18N_SM10N_11 VCCINT GND GND
NP Y5 DOLBY_ENC_CNTRL0 AF12 DDCLK2_P N22 D7 K15 B8 P18
W714

BANK 18
IO_L0N_12 IO_L0P_18 IO_L19P_SM9P_11 VCCO_16 VCCINT GND GND
G6 DOLBY_ENC_CNTRL1 AE12 DDCLK2_N M22 G8 T15 M8 T18
DIN_DATA3 IO_L1P_12 IO_L0N_18 IO_L19N_SM9N_11 VCCO_16 VCCINT GND GND
H6 DOLBY_ENC_CNTRL2 V8 C10 V15 AB8 V18
HD_CD1 IO_L1N_12 IO_L1P_18 VCCO_16 VCCINT GND GND
NP Y4 DOLBY_ENC_CNTRL3 V9 XC5VLX30T-1FFG665C J16 E9 AB18
W716 IO_L2P_12 IO_L1N_18 VCCINT GND GND
NP W4 DOLBY_ENC_CNTRL4 AE11 AC20 L16 L9 E19
W708 IO_L2N_12 IO_L2P_18 DGND VCCO_17 VCCINT GND GND
G5 DOLBY_ENC_CNTRL5 AD11 AB23 N16 N9 L19
DIN_DATA2 IO_L3P_12 IO_L2N_18 VCCO_17 VCCINT GND GND
F5 DOLBY_ENC_CNTRL6 W9 AE24 R16 R9 N19
HD_SD1 IO_L3N_12 IO_L3P_18 VCCO_17 VCCINT GND GND
+2.5V
ENCODER_IN_AUDIO_BCK0
W5
IO_L4P_12
DOLBY_ENC_CNTRL7 W8
IO_L3N_18 BANK 13: +2.5V VCCINT
U16 U9
GND GND
R19
BANK 4: +2.5V ENCODER_IN_AUDIO_LRCK0
W6
G4
IO_L4N_VREF_12
DOLBY_ENC_CNTRL8
DOLBY_ENC_CNTRL9
AD10
AE10
IO_L4P_18
U700G
AA6
AD7
VCCO_18 VCCINT
H17
K17
Y9
AE9
GND GND
U19
W19
DIN_DATA1 IO_L5P_12 IO_L4N_VREF_18 VCCO_18 VCCINT GND GND
U700D NP H4 DOLBY_ENC_CNTRL10 Y7 DDD24 P26 AC10 M17 H10 AE19
W700

BANK 13
IO_L5N_12 IO_L5P_18 IO_L0P_SM8P_13 VCCO_18 VCCINT GND GND
Y21 V6 DOLBY_ENC_CNTRL11 Y8 DDD25 R26 P17 K10 C20
XO_160_P IO_L0P_GC_D15_4 XO_1485_FSEL IO_L6P_12 IO_L5N_18 IO_L0N_SM8N_13 VCCINT GND GND
BANK 4

AA20 NP V7 DOLBY_ENC_CNTRL12 AF9 DDD26 P25 L3 T17 M10 H20

XO_160_N IO_L0N_GC_D14_4 W702 IO_L6N_12 IO_L6P_18 IO_L1P_SM7P_13 MGT_AVCC_112 MGTAVCC_112 VCCINT GND GND
AB10 J5 DOLBY_ENC_CNTRL13 AF10 DDD27 R25 L4 V17 P10 V20
XO_200_P IO_L1P_GC_D13_4 HD_MUTE1 IO_L7P_12 IO_L6N_18 IO_L1N_SM7N_13 MGTAVCC_112 VCCINT GND GND
AB11 J6 DOLBY_ENC_CNTRL14 AA7 DDD28 P24 J18 T10 A21
XO_200_N IO_L1N_GC_D12_4 SYNC_V_OUT IO_L7N_12 IO_L7P_18 IO_L2P_SM6P_13 VCCINT GND GND
AB21 U7 DOLBY_ENC_CNTRL15 AA8 DDD29 P23 U3 L18 V10 L21
GENLOC_CLNR_RST IO_L2P_GC_D11_4 ENCODER_OUT_AUDIO_BCK0 IO_L8P_CC_12 IO_L7N_18 IO_L2N_SM6N_13 MGT_AVCC_114 MGTAVCC_114 VCCINT GND GND
AB20 T8 DOLBY_ENC_CNTRL16 AF7 DDD30 R23 U4 N18 A11 T21
CLNR_IPSEL IO_L2N_GC_D10_4 ENCODER_OUT_AUDIO_LRCK0 IO_L8N_CC_12 IO_L8P_CC_18 IO_L3P_SM5P_13 MGTAVCC_114 VCCINT GND GND
AC11 K5 DOLBY_ENC_CNTRL17 AF8 DDD31 R22 R18 L11 AA21
RX_USRCLK_P IO_L3P_GC_D9_4 SYNC_SYNC_OUT IO_L9P_CC_12 IO_L8N_CC_18 IO_L3N_SM5N_13 VCCINT GND GND
AB12 NP L5 DOLBY_ENC_CNTRL18 AA5 DDA12 U26 E3 U18 N11 AF21
RX_USRCLK_N IO_L3N_GC_D8_4 W701 IO_L9N_CC_12 IO_L9P_CC_18 IO_L4P_13 MGTAVCC_116 VCCINT GND GND
AB19 K6 DOLBY_ENC_CNTRL19 AB5 V26 E4 W18 R11 D22
CLNR_DOUBLE IO_L4P_GC_4 SYNC_H_OUT IO_L10P_CC_12 IO_L9N_CC_18 IO_L4N_VREF_13 MGTAVCC_116 VCCINT GND GND
AC19 K7 DOLBY_ENC_STAT0 AB6 DDA11 U25 K19 U11 P22
CLNR_SKEW_EN IO_L4N_GC_VREF_4 SYNC_BACKPORCH IO_L10N_CC_12 IO_L10P_CC_18 IO_L5P_SM4P_13 VCCINT GND GND
AC12 U6 DOLBY_ENC_STAT1 AB7 DDA10 T25 AC3 AA11 AD22
CLK_CLNR_LOCK IO_L5P_GC_4 ENC_VSYNC IO_L11P_CC_12 IO_L10N_CC_18 IO_L5N_SM4N_13 MGTAVCC_118 GND GND
AC13 NP U5 AE8 DDA9 T24 AC4 J3 AF11 G23
49.9 W709
GENLOC_SPI_CLK IO_L5N_GC_4 IO_L11N_CC_12 ENCODER_IN_AUDIO_DATA1 IO_L11P_CC_18 IO_L6P_SM3P_13 MGTAVCC_118 MGTAVTTRX_112 MGT_AVTRX_112 GND GND
AC18 K8 AE7 DDA8 T23 D12 U23
GENLOC_SPI_SDIN IO_L6P_GC_4 R706 49.9
IO_L12P_VRN_12 ENCODER_IN_AUDIO_DATA0 IO_L11N_CC_18 IO_L6N_SM3N_13 GND GND
AB17 L7 AC6 R725 U24 M3 R3 K12 K24
GENLOC_SPI_CS
49.9
IO_L6N_GC_4 R707 IO_L12N_VRP_12 IO_L12P_VRN_18 +DDVTT IO_L7P_SM2P_13 MGTAVCCPLL_112 MGTAVTTRX_114 MGT_AVTRX_114 GND GND
R702 AB14 T5 AD5 DDQS3
R-NP
V24 M12 Y24
IO_L7P_GC_VRN_4 ENCODER_IN_AUDIO_DATA2 IO_L13P_12 IO_L12N_VRP_18 IO_L7N_SM2N_13 MGT_APLL_112 GND GND
49.9 AC14 NP R5 AE6 DDQM3 DDQS3 W26 V3 C3 P12 C25
R703 IO_L7N_GC_VRP_4 W710 IO_L13N_12 DAC_MCLK IO_L13P_18 IO_L8P_CC_SM1P_13 MGTAVCCPLL_114 MGTAVTTRX_116 GND GND
AC17 M7 AF5 DDQM3 W25 T12 N25
GENLOC_HSYNC IO_L8P_CC_GC_4 SYNC_ODDEVEN IO_L14P_12 IN_BCLK IO_L13N_18 IO_L8N_CC_SM1N_13 MGT_APLL_114 GND GND
AB16 L8 AE5 DDA7 W24 F3 AA3 W12 AC25
GENLOC_VSYNC IO_L8N_CC_GC_4 SYNC_V_BLANK IO_L14N_VREF_12 IN_FCLK IO_L14P_18 IO_L9P_CC_SM0P_13 MGTAVCCPLL_116 MGTAVTTRX_118 GND GND
AB15 R6 AD4 DDA6 V23 AD12 A26
GENLOC_FSYNC IO_L9P_CC_GC_4 ENCODER_IN_AUDIO_BCK2 IO_L15P_12 AOUT_DATA IO_L14N_VREF_18 IO_L9N_CC_SM0N_13 MGT_AVTTX0_112 GND GND
AC16 T7 AF4 DDA5 AA22 AD3 H3 G13 F26
GENLOC_SPI_SDOUT IO_L9N_CC_GC_4 ENCODER_IN_AUDIO_LRCK2 IO_L15N_12 AOUT_BCLK IO_L15P_18 IO_L10P_CC_13 MGTAVCCPLL_118 MGTAVTTTX_112 GND GND
NP P6 AF3 DDA4 Y22 N3 J13 L26
XC5VLX30T-1FFG665C W707 IO_L16P_12 AOUT_FCLK IO_L15N_18 IO_L10N_CC_13 MGTAVTTTX_112 MGT_AVTTX1_112 GND GND
N6 AD6 DDA3 Y23 P5 L13 T26
SDI_BYPASS IO_L16N_12 PILOT_DATA IO_L16P_18 IO_L11P_CC_13 MGT_AVTT_RXC MGTAVTTRXC GND GND
M6 AC7 DDA2 W23 P3 N13 AA26
SYNC_LOCK IO_L17P_12 PILOT_BCLK IO_L16N_18 IO_L11N_CC_13 MGTAVTTTX_114 MGT_AVTTX0_114 GND GND
N7 AC8 R712 49.9 Y26 W3 R13 AF26
DGND ENCODER_IN_AUDIO_BCK3 IO_L17N_12 PILOT_WCLK IO_L17P_18 +2.5V IO_L12P_VRN_13 MGTAVTTTX_114 GND GND
N8 AD8 DDBA[1..0] R713 49.9 Y25 U13 P20
ENCODER_IN_AUDIO_LRCK3 IO_L18P_12 COMP_DATA IO_L17N_18 DDBA[1..0] IO_L12N_VRP_13 MGT_AVTTX1_114 GND RSVD
P8 AD9 DDA1 AA25 B3 H14 R20
ENCODER_IN_AUDIO_DATA3 IO_L18N_12 COMP_BCLK IO_L18P_18 IO_L13P_13 DGND MGTAVTTTX_116 GND RSVD
R8 AC9 DDA0 AB26 G3
ENCODER_IN_AUDIO_BCK1 IO_L19P_12 COMP_WCLK IO_L18N_18 IO_L13N_13 MGTAVTTTX_116
R7 AB9 DDBA1 AB25 XC5VLX30T-1FFG665C
ENCODER_IN_AUDIO_LRCK1 IO_L19N_12 DOUT_BCLK IO_L19P_18 IO_L14P_13
AA9 AA24 Y3
DOUT_FCLK IO_L19N_18 IO_L14N_VREF_13 MGTAVTTTX_118
XC5VLX30T-1FFG665C DDBA0 AB24 J19 AE3
IO_L15P_13 VBATT_0 MGTAVTTTX_118
XC5VLX30T-1FFG665C AA23
DGND DDRAS IO_L15N_13 DGND DGND
RN700 P21 M15 M14
DDCAS IO_L16P_13 AVDD_0 AVSS_0
8 1 SDI_ILRCK_1-4 R711 R21
SDI_ILRCK_1-2 DDWE IO_L16N_13
+3.3V 7 2 49.9 T22 P15 N14
SDI_ILRCK_3-4 DDCS IO_L17P_13 VREFP_0 VREFN_0
6 3 SDI_ILRCK_5-8 +3.3V U22
SDI_ILRCK_5-6 W715 IO_L17N_13
5 4 U21 N15 P14
SDI_ILRCK_7-8 DDCLKE IO_L18P_13 VP_0 VN_0
R704 +3.3V FPGA_RST V22
49.9 IO_L18N_13
47 OHM 5% R700 V21 XC5VLX30T-1FFG665C
49.9 DGND W717 IO_L19P_13
RN701 DDA13 W21
IO_L19N_13
BANK 15: +3.3V SDI_IBCK_1-2
8
7
1
2
SDI_IBCK_1-4 BANK 16: +3.3V R731
49.9 XC5VLX30T-1FFG665C
DGND DGND
+2.5V
SDI_IBCK_3-4

C13
U700H
SDI_IBCK_5-6
6
5
3
4
SDI_IBCK_5-8
H7
U700I
DOLBY_DEC_STAT[7..0]
DOLBY_DEC_STAT[7..0] BANK 17: +3.3V DCI is used to terminate DQ
BANK 15

BANK 16
SDI_IREF_CLK_3-4 IO_L0P_15 SDI_IBCK_7-8 IO_L0P_16
C14 G7 U700J +2.5V +2.5V +1.8V
SDI_OREF_CLK_1-2 IO_L0N_15 IO_L0N_16 DGND R701
B14 47 OHM 5% F7 DOLBY_DEC_STAT0 AC26
10.0K

BANK 17
SDI_IREF_CLK_7-8 IO_L1P_15 IO_L1P_16 IO_L0P_17
SDI_IREF_CLK_1-2
A13
A14
IO_L1N_15
F8
F9
IO_L1N_16
DOLBY_DEC_STAT1
DOLBY_DEC_STAT2
AD26
AD25
IO_L0N_17
C711 0.1uF C713 0.1uF BANK 0: +2.5V
SDI_IREF_CLK_5-6 IO_L2P_15 SDI_OUT_LRCK_1-2 IO_L2P_16 IO_L1P_17
A15 G9 DOLBY_DEC_STAT3 AD24 C712 0.1uF C714 0.1uF U700L
SDI_OREF_CLK_3-4 IO_L2N_15 SDI_OUT_LRCK_3-4 IO_L2N_16 IO_L1N_17 R729 R720 49.9
B15 H8 DOLBY_DEC_STAT4 AE25 FLASH_PROM_CLK J11
SDI_OREF_CLK_5-6 IO_L3P_15 SDI_OUT_LRCK_5-6 IO_L3P_16 IO_L2P_17 STATUS1 INDICATOR 100 OHM CCLK_0
C16 J8 DOLBY_DEC_STAT5 AE26 DONE K11
SDI_OREF_CLK_7-8 IO_L3N_15 SDI_OUT_LRCK_7-8 IO_L3N_16 IO_L2N_17 DONE_0
B16 A9 DOLBY_DEC_STAT6 AF25 D700
SDI_ODATA_7-8 IO_L4P_15 SDI_OUT_BCK_1-2 IO_L4P_16 IO_L3P_17 R726 DGND DGND
C17 A8 DOLBY_DEC_STAT7 AF24 U701 PROG_B J20

24

30
38
45

15
34
8

4
AES_OLRCK_1-2 IO_L4N_VREF_15 SDI_OUT_BCK_3-4 IO_L4N_VREF_16 IO_L3N_17 +5VD PROGRAM_B_0
B17 E8 AF23 XCF16PVOG48C
AES_OBCK_1-2 IO_L5P_15 SDI_OUT_BCK_5-6 IO_L5P_16 DOLBY_DEC_CNTRL0 IO_L4P_17 1.0K
A17 E7 AE23 T20
R714 YEL LED

VCCJ

VCCO
VCCO
VCCO
VCCO

VCCINT
VCCINT
VCCINT
AES_ODATA_1-2 IO_L5N_15 SDI_OUT_BCK_7-8 IO_L5N_16 DOLBY_DEC_CNTRL1 IO_L4N_VREF_17 M0_0
A18 NP B9 AE22 STATUS1 W20
AES_OLRCK_3-4 IO_L6P_15 W705 IO_L6P_16 DOLBY_DEC_CNTRL2 IO_L5P_17 Q700 R728 R719 M1_0
A19 C8 AD23 +2.5V U20
AES_OBCK_3-4 IO_L6N_15 SYNCIN_MCLK IO_L6N_16 DOLBY_DEC_CNTRL3 IO_L5N_17 1.0K MMBT3904 49.9 100 OHM M2_0
B19 E6 AC24
AES_ODATA_3-4 IO_L7P_15 SDI_IDATA_1-2 IO_L7P_16 DOLBY_DEC_1-2 IO_L6P_17 R721 R-NP
C18 D6 AC23 1 35 K20
AES_OREFCLK_1-2 IO_L7N_15 SDI_IDATA_3-4 IO_L7N_16 DOLBY_DEC_3-4 IO_L6N_17 DNC DNC HSWAPEN_0
A20 C9 AC22 3 37
AES_OREFCLK_3-4 IO_L8P_CC_15 SDI_IDATA_5-6 IO_L8P_CC_16 DOLBY_DEC_5-6 IO_L7P_17 R716 DNC DNC
B20 D8 AB22 14 39 M20
RX_LRCK_1-2 IO_L8N_CC_15 SDI_IDATA_7-8 IO_L8N_CC_16 DOLBY_DEC_7-8 IO_L7N_17 DGND 332 DNC DNC W720 RDWR_B_0
C19 C7 AF22 16 40
RX_BCK_1-2 IO_L9P_CC_15 SDI_OLRCK_1-2 IO_L9P_CC_16 DOLBY_DEC_AUX IO_L8P_CC_17 DGND DNC DNC DGND
D19 C6 AE21 18 41 FLASH_PROM_TDO V13
RXCKO_1-2 IO_L9N_CC_15 SDI_OBCK_1-2 IO_L9N_CC_16 DEC_METASUB_BCK IO_L8N_CC_17 STATUS2 INDICATOR DNC DNC TDI_0
D21 A7 AF20 42 TDO V12
RX_LRCK_3-4 IO_L10P_CC_15 SDI_ODATA_1-2 IO_L10P_CC_16 DEC_METASUB_LRCK IO_L9P_CC_17 DNC TDO_0
D20 B7 AE20 D701 INIT_B 11 TCK V11
RX_BCK_3-4 IO_L10N_CC_15 SDI_OLRCK_3-4 IO_L10N_CC_16 DEC_METASUB_DATA IO_L9N_CC_17 R727 OE/RESET TCK_0
B21 D9 AD19 28 FLASH_PROM_D0 TMS W13
RXCKO_3-4 IO_L11P_CC_15 SDI_OBCK_3-4 IO_L11P_CC_16 DEC_METADATA IO_L10P_CC_17 +5VD D0 TMS_0
C21 D10 AD20 DONE 13 29
RX_LRCK_5-6 IO_L11N_CC_15 SDI_ODATA_3-4 IO_L11N_CC_16 PIC_OUT_METADATA_SDO IO_L10N_CC_17 1.0K CE D1
D23 B6 AC21 FLASH_PROM_CLK 12 32 R15
IO_L12P_VRN_15 IO_L12P_VRN_16 PIC_OUT_METADATA_SCK IO_L11P_CC_17 R715 YEL LED CLK D2 +2.5V W704 DXP_0
C22 A5 AD21 STATUS2 5 33 R14
IO_L12N_VRP_15 IO_L12N_VRP_16 PIC_OUT_METADATA_SS IO_L11N_CC_17 Q701 BUSY D3 W711 DXN_0
B22 B10 AF19 43
RX_BCK_5-6 IO_L13P_15 SDI_OLRCK_5-6 IO_L13P_16 IO_L12P_VRN_17 1.0K MMBT3904 50 OHM CONTROLLED D4
A22 A10 AF18 44 U12
RXCKO_5-6 IO_L13N_15 SDI_OBCK_5-6 IO_L13N_16 IO_L12N_VRP_17 IMPEDANCE D5 R717 R718 W712 D_OUT_BUSY_0
A23 A4 AE18 26 47 FLASH_PROM_D0 J10
RX_LRCK_7-8 IO_L14P_15 SDI_ODATA_5-6 IO_L14P_16 PIC_FPGA_SPARE0 IO_L13P_17 REV_SEL0 D6 4.75K 4.75K D_IN_0
A24 A3 AD18 27 48 L20
RX_BCK_7-8 IO_L14N_VREF_15 SDI_OLRCK_7-8 IO_L14N_VREF_16 PIC_FPGA_SPARE1 IO_L13N_17 REV_SEL1 D7 W713 CS_B_0
B24 B11 AE17 25 INIT_B H12
RXCKO_7-8 IO_L15P_15 SDI_OBCK_7-8 IO_L15P_16 ENCODED_AUDIO_BCK IO_L14P_17 DGND EN EXT SEL INIT_B_0
C23 A12 AF17 9 W718
AES_IDATA_1-2 IO_L15N_15 SDI_IN_DATA_1-2 IO_L15N_16 ENCODED_AUDIO_LRCK IO_L14N_VREF_17 CLKOUT
D24 B4 AE16 6 PROG_B N4
AES_IDATA_3-4 IO_L16P_15 SDI_OUT_DATA_1-2 IO_L16P_16 ENCODED_AUDIO_DATA IO_L15P_17 CF FLOAT
C24 B5 AD16 TDI 19 10
AES_IDATA_5-6 IO_L16N_15 SDI_OUT_DATA_3-4 IO_L16N_16 DOLBY_DEC_BCK IO_L15N_17 TDI CEO W719
AES_IDATA_7-8
B25
A25
IO_L17P_15 SDI_OUT_DATA_5-6
B12
C12
IO_L17P_16 DOLBY_DEC_LRCK
AD15
AE15
IO_L16P_17
MGT_RREF_112 GTP RX/TX TCK
TMS
20
21
TCK
22 FLASH_PROM_TDO
XC5VLX30T-1FFG665C
AES_IREFCLK1_1-2 IO_L17N_15 SDI_OUT_DATA_7-8 IO_L17N_16 DECODER_VSYNC IO_L16N_17 TMS TDO
B26 SDI_IN_LRCK_1-4 D5 AF15 U700M
AES_IREFCLK1_3-4 IO_L18P_15 IO_L18P_16 PIC_IN_METADATA_SDI IO_L17P_17
C26 SDI_IN_LRCK_5-8 E5 AF14 P4

GND
GND
GND
GND
GND
GND
GND
AES_IREFCLK1_5-6 IO_L18N_15 IO_L18N_16 PIC_IN_METADATA_SCK IO_L17N_17 MGTRREF_112
D26 SDI_IN_BCK_1-4 C11 AF13 K4 U700P
AES_IREFCLK1_7-8 IO_L19P_15 IO_L19P_16 PIC_IN_METADATA_SS IO_L18P_17 MGTCLK_1485_P MGTREFCLKP_112
D25 SDI_IN_BCK_5-8 D11 AE13 K3 XC5VLX30T-1FFG665C
AES_IREFCLK2_1-2 IO_L19N_15 IO_L19N_16 PIC_VSYNC IO_L18N_17 MGTCLK_1485_N MGTREFCLKN_112
RN706 STATUS1 AD13 M5

2
7
17
23
31
36
46
IO_L19P_17 NC
XC5VLX30T-1FFG665C
SDI_IN_LRCK_1-2
8
7
1
2
XC5VLX30T-1FFG665C STATUS2 AD14
IO_L19N_17
J1
K1
MGTRXP0_112 MGTTXP0_112
H2
J2
CONFIGURATION
R705 SDI_IN_LRCK_3-4
SDI_IN_LRCK_5-6
6 3 R730 XC5VLX30T-1FFG665C
MGT_VID1_RX_P
M1
MGTRXN0_112
MGTRXP1_112
MGTTXN0_112
MGTTXP1_112
N2 FLASH PROM
49.9 5 4 49.9 R732 L1 M2
SDI_IN_LRCK_7-8 MGT_VID1_RX_N MGTRXN1_112 MGTTXN1_112
49.9
47 OHM 5% T4 DGND
TX_REFCLK_P MGTREFCLKP_114

RN707
TX_REFCLK_N
T3
MGTREFCLKN_114 JTAG
DGND
SDI_IN_BCK_1-2
8 1 DGND R1
MGTRXP0_114 MGTTXP0_114
P2 INTERFACE +2.5V
7 2 DGND T1 R2 J700
SDI_IN_BCK_3-4 MGTRXN0_114 MGTTXN0_114
6 3 V1 W2
SDI_IN_BCK_5-6 MGTRXP1_114 MGTTXP1_114 MGT_VID1_TX_P 1 2
5 4 U1 V2 +2.5V TMS
SDI_IN_BCK_7-8 MGTRXN1_114 MGTTXN1_114 MGT_VID1_TX_N 3 4
TCK
5 6
47 OHM 5% D4 TDO
MGTREFCLKP_116 7 8
D3 +3.3V TDI
MGTREFCLKN_116 R733 9 10
10.0K 11 12
C1 B2 U702
MGTRXP0_116 MGTTXP0_116 13 14
D1 C2 STM6822SWY6F
MGTRXN0_116 MGTTXN0_116
+2.5V VCCAUX (+2.5V) BYPASS CAPS F1
MGTRXP1_116 MGTTXP1_116
G2 5
VCC RST
1 FPGA_RST HDR 2X7
+3.3V VCCO BYPASS CAPS E1
MGTRXN1_116 MGTTXN1_116
F2
VSS
2

AB4 4 3
+ C715 C717 C718 C720 C725 C727 C728 C730 C731 C732 C734 C735 C737 C738 C740 C773 C774 C775 AB3
MGTREFCLKP_118
MGTREFCLKN_118
C790
0.1uF
WDI MR FPGA RST DGND
C710 C776 C777 C778 C779 C780 C781 C782 C783 C784 C785 C786 C787 C788 C789 J701
33uF/6.3V 0.22uF 2.2uF 2.2uF 2.2uF 0.22uF 0.22uF 0.22uF 0.22uF 0.22uF 0.22uF 0.22uF 0.22uF 0.22uF 0.22uF 0.22uF 0.22uF 0.22uF 0.22uF AA1 Y2
MGTRXP0_118 MGTTXP0_118 1
0.22uF 0.22uF 0.22uF 0.22uF 0.22uF 0.22uF 0.22uF 0.22uF 0.22uF 0.22uF 0.22uF 0.22uF 0.22uF 0.22uF AB1
AD1
MGTRXN0_118 MGTTXN0_118
AA2
AD2
2
+5VD HEATSINK FAN
MGTRXP1_118 MGTTXN1_118 DGND DGND
AC1 AE2 J-NP J702
MGTRXN1_118 MGTTXP1_118
DGND 2
XC5VLX30T-1FFG665C
DGND 1
DGND J-NP
VCCO BYPASS CAPS
DGND

VCCO_0/VCCO_4 VCCO_11 VCCO_13 VCCO_3 VCCO_12 VCCO_18 VCCO_15 VCCO_16 VCCO_17 DGND
+2.5V +2.5V +2.5V +3.3V +3.3V +3.3V +3.3V +3.3V +3.3V

VCCINT (+1.0V) BYPASS CAPS

C700
+ C721 C716
C701
+ C723 C719
C702
+ C724 C722
C703
+ C761 C726
C704
+ C762 C729
C705
+ C763 C733
C706
+ C764 C736
C707
+ C765 C739
C708
+ C766 C742
+1.0V
HD-SDI I/O BOARD:
47uF/6.3V 2.2uF 0.22uF 47uF/6.3V 2.2uF 0.22uF 47uF/6.3V 2.2uF 0.22uF 47uF/6.3V 2.2uF 0.22uF 47uF/6.3V 2.2uF 0.22uF 47uF/6.3V 2.2uF 0.22uF 47uF/6.3V 2.2uF 0.22uF 47uF/6.3V 2.2uF 0.22uF 47uF/6.3V 2.2uF 0.22uF

C709
330uF/2.5V
+ C743

0.22uF
C744

2.2uF
C745

2.2uF
C746

2.2uF
C747

2.2uF
C750

0.22uF
C751

0.22uF
C752

0.22uF
C753

0.22uF
C754

0.22uF
C755

0.22uF
C756

0.22uF
C757

0.22uF
C758

0.22uF
C759

0.22uF
C760

0.22uF
C741

0.22uF
C748

0.22uF
C749

0.22uF
C767

0.22uF
C768

0.22uF
C769

0.22uF
C770

0.22uF
C771

0.22uF
C772

0.22uF
SCHEMATIC: FPGA
DGND DGND DGND DGND DGND DGND DGND DGND DGND
62360.000
(sheet 8 of 17)
 6-82 TECHNICAL DATA ORBAN MODEL 8685

DDD[31..0] DDD[31..0]
DDD[31..0]

DDA[13..0] DDA[13..0]
DDA[13..0]

DDBA[1..0]
DDBA[1..0]

+2.5V
+2.5V

+DDVTT +DDVTT U800

U802
MT46V32M16P-6T:F TR

18
33

15
55
61
MT46V32M16P-6T:F TR

3
9

18
33

15
55
61
1

3
9
RN800

VDD
VDD
VDD

VDDQ
VDDQ
VDDQ
VDDQ
VDDQ

VDD
VDD
VDD

VDDQ
VDDQ
VDDQ
VDDQ
VDDQ
9 8 DDD0 13 4 DDA0 RN805D
10 7 DDD1 14 3 DDA1 RN805C
11 6 DDD2 15 2 DDA2 RN805B DDA0 29 2 DDD0
A0 DQ0 DDA0 29 2 DDD16
12 5 DDD3 16 1 DDA3 RN805A DDA1 30 4 DDD1 A0 DQ0
A1 DQ1 DDA1 30 4 DDD17
13 4 DDD4 9 8 DDA4 RN804H DDA2 31 5 DDD2 A1 DQ1
A2 DQ2 DDA2 31 5 DDD18
14 3 DDD5 10 7 DDA5 RN804G DDA3 32 7 DDD3 A2 DQ2
A3 DQ3 DDA3 32 7 DDD19
15 2 DDD6 11 6 DDA6 RN804F DDA4 35 8 DDD4 A3 DQ3
A4 DQ4 DDA4 35 8 DDD20
16 1 DDD7 12 5 DDA7 RN804E DDA5 36 10 DDD5 A4 DQ4
A5 DQ5 DDA5 36 10 DDD21
DDA6 37 11 DDD6 A5 DQ5
A6 DQ6 DDA6 37 11 DDD22
47 OHM 5% DDA7 38 13 DDD7 A6 DQ6
A7 DQ7 DDA7 38 13 DDD23
DDA8 39 54 DDD8 A7 DQ7
RN801 A8 DQ8 DDA8 39 54 DDD24
47 OHM 5% DDA9 40 56 DDD9 A8 DQ8
A9 DQ9 DDA9 40 56 DDD25
16 1 DDD8 13 4 DDA8 RN804D DDA10 28 57 DDD10 A9 DQ9
A10 DQ10 DDA10 28 57 DDD26
15 2 DDD9 14 3 DDA9 RN804C DDA11 41 59 DDD11 A10 DQ10
A11 DQ11 DDA11 41 59 DDD27
14 3 DDD10 12 5 DDA10 RN805E DDA12 42 60 DDD12 A11 DQ11
A12 DQ12 DDA12 42 60 DDD28
13 4 DDD11 15 2 DDA11 RN804B DDA13 17 62 DDD13 A12 DQ12
NC DQ13 DDQS[3..0] DDA13 17 62 DDD29
12 5 DDD12 16 1 DDA12 RN804A 63 DDD14 NC DQ13
DQ14 63 DDD30
11 6 DDD13 10 7 DDA13 RN807G 65 DDD15 DQ14
DQ15 65 DDD31
10 7 DDD14 10 7 RN805G DDBA0 DDCS 24 DQ15
DDCS CS DDCS 24
9 8 DDD15 11 6 RN805F DDBA1 DDRAS 23 16 DDQS0 CS
DDRAS RAS LDQS DDRAS 23 16 DDQS2
DDCAS 22 51 DDQS1 DDBA[1..0] RAS LDQS
DDCAS CAS UDQS DDCAS 22 51 DDQS3
47 OHM 5% DDWE 21 CAS UDQS
DDWE WE DDWE 21
14 WE
RN802 NC 14
47 OHM 5% DDBA0 26 25 DDQM[3..0] NC
BA0 NC DDBA0 26 25
9 8 DDD16 12 5 RN807E DDQM0 DDBA1 27 43 BA0 NC
BA1 NC DDBA1 27 43
10 7 DDD17 1 8 RN808A DDQM1 53 BA1 NC
NC 53
11 6 DDD18 1 8 RN806A DDQM2 DDQM0 20 NC
LDM DDQM2 20
12 5 DDD19 2 7 RN806B DDQM3 DDQM1 47 19 LDM
UDM DNU DDQM3 47 19
13 4 DDD20 9 8 RN807H DDQS0 50 UDM DNU
DNU 50
14 3 DDD21 4 5 RN808D DDQS1 DDCLK1_P 45 DNU
DDCLK1_P CK DDCLK2_P 45
15 2 DDD22 3 6 RN806C DDQS2 DDCLK1_N 46 49 DDCLK2_P CK
DDCLK1_N CK VREF +DDVREF DDCLK2_N 46 49
16 1 DDD23 4 5 RN806D DDQS3 DDCLKE 44 DDCLK2_N CK VREF +DDVREF
DDCLKE CKE DDCLKE 44
CKE
47 OHM 5% C807
C813
0.1uF

VSSQ
VSSQ
VSSQ
VSSQ
VSSQ
0.1uF

VSSQ
VSSQ
VSSQ
VSSQ
VSSQ
VSS
VSS
VSS
RN803 47 OHM 5%

VSS
VSS
VSS
9 8 DDD24 14 3 RN807C DDCAS
10 7 DDD25 16 1 RN807A DDCLKE

34
48
66

6
12
52
58
64
RN805H

34
48
66

6
12
52
58
64
11 6 DDD26 9 8 DDCS
12 5 DDD27 15 2 RN807B DDRAS DGND
DGND
13 4 DDD28 13 4 RN807D DDWE
14 3 DDD29 11 6 RN807F
15 2 DDD30 +2.5V +5VD
16 1 DDD31 2 7 RN808B DGND
DGND
3 6 RN808C
C806 DDQS[3..0]
47 OHM 5% C811
10uF
1.0uF

+
DDQS[3..0]
DDQS[3..0]

DDQM[3..0]
DDQM[3..0]
RED
DGND DGND TP801
DDR SDRAM TERMINATING RESISTORS U801 ORG
TP802
TP800 R802
4.75K 1 10
BLK VDDQSNS VIN
2
VLDOIN
+1.25V, 10mA Ma x NOTES:
7 6
9
S3 VTTREF +DDVREF The following DDR SDRAM can be installed:
S5 +1.25V, 3A Ma x
DGND VTT
3
+DDVTT
MICRON MT46V32M16P-6T (32M X 16)
DDCLK1_P DDCLK2_P +2.5V 8 5
MICRON MT46V64M16P-6T (64M X 16)
GND VTTSNS
BYPASS CAPS 4
PGND
11 + +
THERMAL PAD
R800 R801 C812 C809 C810
100 OHM 100 OHM 0.1uF 10.0uF 330uF/2.5V HD-SDI I/O BOARD:
+ TPS51100DGQ
C814 C800 C801 C802 C803 C804 C805 C808 C815
10uF 0.1uF 0.1uF 0.1uF 0.1uF 0.1uF 0.1uF 0.1uF 0.1uF SCHEMATIC: DDR SDRAM
DDCLK1_N DDCLK2_N
62360.000
DGND DGND DGND DGND
(sheet 9 of 17)
DGND
OPTIMOD LOUDNESS CONTROLLER TECHNICAL DATA 6-83
297.0000MHZ XO FOR HD GTP (SELECTABLE TO 148.5000MHZ)
DDR REF 200.0000MHZ XO C902
R906 10uF

+
+3.3V_CLK
C918 5.1 OHM
R909 10uF

+
+3.3V_CLK
5.1 OHM C904
C919 0.1uF
0.1uF
C912
C920 0.01uF
0.01uF
297.0000 MHZ = LOGIC LOW
U903 U900
148.5000 MHZ = LOGIC HIGH
PL611-30-G93SC DGND1
PL611-30-G93SC DGND1
7 5 7 5
FSEL VDD XO_1485_FSEL FSEL VDD
R910 R907
1 3 XO_CLK_200_P 301 OHM XO_200_P 1 3 XO_CLK_1485_P 619 OHM C906 0.1uF MGTCLK_1485_P
XIN CLK0 XO_200_P XIN CLK0 MGTCLK_1485_P
R911 R908
8 4 XO_CLK_200_N 301 OHM XO_200_N 8 4 XO_CLK_1485_N 619 OHM C911 0.1uF MGTCLK_1485_N
Y902 XOUT CLK1 XO_200_N Y901 XOUT CLK1 MGTCLK_1485_N

1 2 6 2 1 2 6 2
DNC VSS DNC VSS
R901 R905
25.0000MHZ 18.5625MHZ
619 OHM 619 OHM

DGND1 DGND1

DGND1

DDR 160.0000MHZ XO
C908
R900 10uF

+
+3.3V_CLK
5.1 OHM
C909
LDO SUPPLY FOR CLOCKS 0.1uF
TP901
C910
ORG 0.01uF
U901
TPS78633DCQR
1500mA Max U902
2 4 PL611-30-G93SC
+5VD IN OUT +3.3V_CLK DGND1
1 5 7 5
EN NR/FB FSEL VDD
+ C907 + C900 C913 C914 C915 C916 + C917
C901 C903 R902 R903
GND

TAB

1 3 XO_CLK_160_P 301 OHM XO_160_P

10uF 0.1uF R-NP 0.1uF 1.0uF 1.0uF 1.0uF 1.0uF XIN CLK0 XO_160_P
10uF 10uF
R904 301 OHM XO_160_N
8 4 XO_CLK_160_N
Y900 XOUT CLK1 XO_160_N
3

1 2 6 2
DNC VSS

C905 20.0000MHZ
DGND1 DGND1 DGND1 0.1uF DGND1 DGND1 DGND1 DGND1 DGND1 DGND1 DGND1

DGND1

DGND1

TP900
DGND900
BLK HD-SDI I/O BOARD:
SCHEMATIC: CLOCK OSCILLATORS
1

62360.000
DGND DGND1 DGND1
(sheet 10 of 17)
 6-84 TECHNICAL DATA ORBAN MODEL 8685

WORD CLOCK
RECEIVER/PLL
SPI_SDI

SPI_DEV_CS12
U1001
CS8427-CSZ
+5VD 1 28
SDA/CDOUT SCL/CCLK SPI_SCK
2 27
AD0/CS AD1/CDIN SPI_SDO
R1005
3
C1004 C1006 EMPH 26
10.0K TXR +5VD
4 25
0.1uF 1500pF RXP TXN
DGND 5
RXN 24 C1008
H/S
C1003 C1007 6 23
VA+ VL+ 0.1uF
DGND 7 22
0.22uF 0.022uF AGND DGND
R1001
8 RED TP1007
FILT 21
604 OHM OMCK
9 20 DGND
RSTIO RST U
SYNCIN_RMCK 10 19
+5VD RMCK INT SYNCIN_MCLK
R1004 49.9 11 ORG TP1008
RERR 18
SDOUT SYNCIN_LRCK
R1010 49.9
12 17
R1002 ILRCK OLRCK
YEL TP1009
150K 13 16
ISCLK OSCLK SYNCIN_SCLK
TP1000 14 15 R1011 49.9
SDIN TCBL
RED
C1005
AES_SYNC_IN
R1006 R1009
0.01uF 10.0K 10.0K U1000B
SYNCIN_RMCK SRC4382IPFB
R1003 SYNCIN_RMCK
100.0K
40 32
SDOUTA TX+

39
DGND DGND SDINA 31
TX-
38
LRCKA
DGND 37 34
BCKA AESOUT

36
SYNC

AES_IREFCLK1_7-8 25 35
MCLK BLS

UNUSED TRANSMITTER
DGND
ORG
TP1002 RX_LRCK_7-8
YEL
TP1003 RX_BCK_7-8
J202A RED
TP1004 RXCKO_7-8
BNC DUAL_with cap. WHT
L1001 TP1005
UPPER T1000
AES_IREFCLK2_7-8
C1000 SC937-02 C1001
AES11-id 2
L1000
1 5 U1000A ORG
TP1011
SYNC INPUT 1K .. FERRITE
0.1uF
4 8
0.1uF
SRC4382IPFB YEL
WHT
TP1012
TP1013
R1000 1 U1002A
1

75 OHM RX1+
FERRITE SRC4184IPAG
2

TP1006
2
RX1- RED
C1002 20
R1007 RCKIA
3 45 49.9
L1002 RX2+ SDOUTB
59 62
LRCKIA LRCKOA AES_ILRCK_7-8
0.1uF 4 46 60 63
RX2- SDINB RN1000 BCKIA BCKOA AES_IBCK_7-8
58 64
CGND DGND SDINA SDOUTA AES_IDATA_7-8
5 47 1 8 61
RX3+ LRCKB TDMIA R1012 49.9
2 7
J1000
1
2
3

6 48 3 6 8 17
RX3- BCKB BYPA RATIOA
HDR 3 4 5 19 18
MUTEA RDYA
7
RX4+
47 OHM 5%
TP1001
8
RED RX4- DGND

R1008
AES_IREFCLK1_7-8 13 12 49.9
AES_IREFCLK1_7-8 RXCKI RXCKO

11
LOCK

14
MUTE RDY
15
TP1010 HD-SDI I/O BOARD:
BLK
SCHEMATIC: AES and WORDCLOCK SYNC
62360.000
(sheet 11 of 17)
DGND
OPTIMOD LOUDNESS CONTROLLER TECHNICAL DATA 6-85
+5VD

R1100
100 OHM
+2.5V U1100
TP1102
LTC3026EDD#PBF GTP POWER: +1.2V FOR AVRX (1500mA Max)
ORG
1 9
IN OUT +RIO_AVRX
2 10
IN OUT

+ C1100 6 8 R1104
47uF/10V SHDN ADJ C1108 C1112
4.02K + + C1116
5 7 330uF/2.5V 22uF 0.1uF
BST PG
4
SW
3 11 GTP TILE 112 POWER FILTERS
GND GND
C1104
DGND 0.1uF
R1105 DGND DGND DGND L1105
2.00K
+RIO_AVRX MGT_AVTT_RXC
DGND DGND DGND 220 OHM@100MHz GTP TILE 114 POWER FILTERS
C1125
0.22uF L1100
+5VD DGND
+RIO_AVRX MGT_AVTRX_114
220 OHM@100MHz
DGND C1120
R1101 0.22uF
L1106
100 OHM
+2.5V U1101
GTP POWER: +1.2V FOR AVTX (1500mA Max) TP1100 MGT_AVTRX_112
LTC3026EDD#PBF
ORG 220 OHM@100MHz
1 9
IN OUT +RIO_AVTX C1126 DGND
2 10 L1101
IN OUT 0.22uF
C1101 +RIO_AVTX MGT_AVTTX0_114
+ 6 8 R1106
47uF/10V SHDN ADJ C1109 C1113 220 OHM@100MHz
4.02K + + C1117
5 7 330uF/2.5V 22uF 0.1uF C1121
BST PG DGND 0.22uF
4 L1107
SW
3 11
GND GND +RIO_AVTX MGT_AVTTX0_112
C1105
DGND 220 OHM@100MHz
0.1uF
R1107 DGND DGND DGND C1127 L1102 DGND
2.00K 0.22uF
MGT_AVTTX1_114
DGND DGND DGND 220 OHM@100MHz
C1122
L1108 DGND 0.22uF
+5VD DGND
MGT_AVTTX1_112
220 OHM@100MHz
C1128 R1112 L1103 DGND
R1102 0.22uF MGT_RREF_112
100 OHM 49.9 +RIO_APLL MGT_APLL_114
+2.5V U1102
TP1101 220 OHM@100MHz
LTC3026EDD#PBF GTP POWER: +1.2V FOR APLL(1500mA Max)
ORG C1123
1 9
IN OUT +RIO_APLL DGND 0.22uF
2 10 L1109
IN OUT
C1102 +RIO_APLL MGT_APLL_112
+ 6 8 R1108
47uF/10V SHDN ADJ C1110 C1114 220 OHM@100MHz
4.02K + + C1118
5 7 330uF/2.5V 22uF 0.1uF C1129 L1104 DGND
BST PG 0.22uF
4
SW +RIO_AVCC MGT_AVCC_114
3 11
GND GND 220 OHM@100MHz
C1106
DGND 0.1uF C1124
R1109 DGND DGND DGND L111 0 DGND 0.22uF
2.00K
+RIO_AVCC MGT_AVCC_112
DGND DGND DGND 220 OHM @100MHz
C1130 DGND
0.22uF
+5VD DGND

DGND
R1103
100 OHM
+2.5V U1103
TP1103
LTC3026EDD#PBF GTP POWER: +1.0V FOR AVCC(1500mA Max)
ORG
1 9
IN OUT +RIO_AVCC
2 10
IN OUT

+ C1103 6 8 R1110
47uF/10V SHDN ADJ
3.01K C1111 C1115 C1119 TP1104
+ +
330uF/2.5V 22uF BLK
5 7 0.1uF
BST PG
4
SW
C1107
3
GND GND
11
HD-SDI I/O BOARD:
DGND 0.1uF DGND
R1111 DGND DGND DGND SCHEMATIC: GTP POWER & FILTER DISTRIBUTION
2.00K 62360.000
DGND DGND DGND
(sheet 12 of 17)
DGND
 6-86 TECHNICAL DATA ORBAN MODEL 8685

DOLBY_DEC_BCK YEL
TP1205
PMD[7..0] YEL DOLBY_DEC_LRCK ORG +5VD
PMD[7..0] ENCODED_AUDIO_BCK TP1201 TP1206
ORG
ENCODED_AUDIO_LRCK TP1202
WHT DOLBY_DEC_1-2 WHT DOLBY E 559E ENCODER MODULE
ENCODED_AUDIO_DATA TP1203 TP1207
DOLBY_DEC_3-4 WHT J1201
TP1208
+3.3V RED +5VD DOLBY_DEC_5-6 WHT ENCODER_OUT_AUDIO_BCK0 YEL
DECODER_VSYNC TP1204 TP1209 TP1230
DOLBY_DEC_7-8 WHT ENCODER_IN_AUDIO_BCK0 46 2 ENCODER_OUT_AUDIO_LRCK0 ORG
U1200 TP1210 ENCODER_IN_AUDIO_BCK0 ABCA +5V TP1231
DOLBY E 552 DECODER MODULE DOLBY_DEC_AUX WHT ENCODER_IN_AUDIO_LRCK0 45 26 ENCODER_OUT_AUDIO_DATA0 WHT

20
SN74AHC574PWR TP1211 ENCODER_IN_AUDIO_LRCK0 AFSA +5V TP1232
J1200 ENCODER_IN_AUDIO_DATA0 49 47
ENCODER_IN_AUDIO_DATA0 ADA +5V
PMD0 2 19 DOLBY_DEC_ENBL DEC_METASUB_BCK YEL 71
TP1212

VCC
1D 1Q +5V
PMD1 3 18 DOLBY_DEC_MOD0 51 2 DEC_METASUB_LRCK ORG ENCODER_IN_AUDIO_BCK1 51
2D 2Q EABC +5V TP1213 ENCODER_IN_AUDIO_BCK1 ABCB
PMD2 4 17 DOLBY_DEC_MOD1 50 26 DEC_METASUB_DATA WHT ENCODER_IN_AUDIO_LRCK1 50
3D 3Q EAFS +5V TP1214 ENCODER_IN_AUDIO_LRCK1 AFSB
PMD3 5 16 DOLBY_DEC_MAP0 49 47 DEC_METADATA WHT ENCODER_IN_AUDIO_DATA1 52 56
4D 4Q EAD +5V TP1215 ENCODER_IN_AUDIO_DATA1 ADB EABC ENCODER_OUT_AUDIO_BCK0
PMD4 6 15 DOLBY_DEC_MAP1 71 55
5D 5Q +5V EAFS ENCODER_OUT_AUDIO_LRCK0
PMD5 7 14 DOLBY_DEC_PCL 69 ENCODER_IN_AUDIO_BCK2 62 53 R1200
6D 6Q SYNC ENCODER_IN_AUDIO_BCK2 ABCC EADA ENCODER_OUT_AUDIO_DATA0
PMD6 8 13 DOLBY_DEC_PME 56 DOLBY_DEC_BCK ENCODER_IN_AUDIO_LRCK2 61
7D 7Q DABC DOLBY_DEC_BCK ENCODER_IN_AUDIO_LRCK2 AFSC 49.9
PMD7 9 12 NP DOLBY_DEC_ENBL 4 55 DOLBY_DEC_LRCK ENCODER_IN_AUDIO_DATA2 63
8D 8Q W1200 ENBL DAFS DOLBY_DEC_LRCK ENCODER_IN_AUDIO_DATA2 ADC
GND DOLBY_DEC_MOD0 5 60 ENCODER_METADATA_IN
MOD0 META ENCODER_METADATA_IN
11 1 DOLBY_DEC_MOD1 6 45 DOLBY_DEC_1-2 ENCODER_IN_AUDIO_BCK3 65
DOLBY_DEC_CNTRL0 CK OC MOD1 DADA DOLBY_DEC_1-2 ENCODER_IN_AUDIO_BCK3 ABCD
DOLBY_DEC_MAP0 7 46 DOLBY_DEC_3-4 ENCODER_IN_AUDIO_LRCK3 64 27 SPI_SDO
MAP0 DADB DOLBY_DEC_3-4 ENCODER_IN_AUDIO_LRCK3 AFSD DIN SPI_SDO
DOLBY_DEC_MAP1 8 53 DOLBY_DEC_5-6 ENCODER_IN_AUDIO_DATA3 66 28 SPI_SDI
10

MAP1 DADC DOLBY_DEC_5-6 ENCODER_IN_AUDIO_DATA3 ADD DOUT SPI_SDI

DOLBY_DEC_PCL 9 54 DOLBY_DEC_7-8 29 SPI_SCK
PCL DADD DOLBY_DEC_7-8 SCLK SPI_SCK
DOLBY_DEC_PME 10 52 DOLBY_DEC_AUX ENC_VSYNC 69 30
PME DADM DOLBY_DEC_AUX ENC_VSYNC SYNC SSEL SPI_DEV_CS14
DOLBY_DEC_PRG0 11
DGND DGND PRG0
DOLBY_DEC_PRG1 12 59 DEC_METASUB_BCK DOLBY_ENC_RST 3
PRG1 MSBC DEC_METASUB_BCK RST
DOLBY_DEC_PRG2 13 58 DEC_METASUB_LRCK DOLBY_ENC_CNTRL0 4 68 DOLBY_ENC_STAT0
PRG2 MSFS DEC_METASUB_LRCK ENBL VFS
+3.3V DOLBY_DEC_DCM0 14 57 DEC_METASUB_DATA DOLBY_ENC_CNTRL1 5 70 DOLBY_ENC_STAT1
DCM0 MSD DEC_METASUB_DATA MOD0 ERR
DOLBY_DEC_DCM1 15 60 DEC_METADATA DOLBY_ENC_CNTRL2 6
U1201 DCM1 META DEC_METADATA MOD1
DOLBY_DEC_DLM0 31 DOLBY_ENC_CNTRL3 7 17 ENC_RES0
20

SN74AHC574PWR DLM0 MOD2 PDN

DOLBY_DEC_DLM1 32 61 DOLBY_DEC_STAT0 DOLBY_ENC_CNTRL4 8 18 ENC_RES1 DOLBY_ENC_STAT[1..0]
DLM1 BSF0 MDS SPM DOLBY_ENC_STAT[1..0]
PMD0 2 19 DOLBY_DEC_PRG0 DOLBY_DEC_DLM2 33 62 DOLBY_DEC_STAT1 ENC_MRM0 9 31 ENC_RES2
VCC

1D 1Q DLM2 BSF1 MRM0 ICA0

PMD1 3 18 DOLBY_DEC_PRG1 DOLBY_DEC_PLE 34 63 DOLBY_DEC_STAT2 ENC_MRM1 10 32 ENC_RES3
2D 2Q PLE BSF2 MRM1 ICA1
PMD2 4 17 DOLBY_DEC_PRG2 DOLBY_DEC_PLS 35 64 DOLBY_DEC_STAT3 DOLBY_ENC_CNTRL5 11 33 ENC_RES4
3D 3Q PLS CFG0 DEFR0 ICA2
PMD3 5 16 DOLBY_DEC_DCM0 DOLBY_DEC_PGP 36 65 DOLBY_DEC_STAT4 DOLBY_ENC_CNTRL6 12 44
4D 4Q PGP CFG1 DEFR1 N/C
PMD4 6 15 DOLBY_DEC_DCM1 DOLBY_DEC_ACM 16 66 DOLBY_DEC_STAT5 DOLBY_ENC_CNTRL7 13 43
5D 5Q ACM CFG2 DEFR2 N/C
PMD5 7 14 DOLBY_DEC_DLM0 DOLBY_DEC_PDN 17 68 DOLBY_DEC_STAT6 DOLBY_ENC_CNTRL8 14 42
6D 6Q PDN VFS DEBD0/PESRC N/C
PMD6 8 13 DOLBY_DEC_DLM1 DOLBY_DEC_ACS 18 70 DOLBY_DEC_STAT7 DOLBY_ENC_CNTRL9 15 41
7D 7Q ACS ERR DEBD1 N/C
PMD7 9 12 DOLBY_DEC_DLM2 DOLBY_DEC_CPE 19 DOLBY_ENC_CNTRL10 16 40
8D 8Q CPE DEPT N/C
DOLBY_DEC_CPC 20 DOLBY_ENC_CNTRL11 19 39 ENC_RES[4..0]
GND

CPC CPE N/C ENC_RES[4..0]

11 1 DOLBY_DEC_DLC 21 27 SPI_SDO DOLBY_ENC_CNTRL12 20 38
DOLBY_DEC_CNTRL1 CK OC DLC DIN CPC N/C
DOLBY_DEC_AOC0 22 28 SPI_SDI DOLBY_ENC_CNTRL13 21 37
AOC0 DOUT DLC N/C
DOLBY_DEC_AOC1 23 29 SPI_SCK DOLBY_ENC_CNTRL14 22 54
10

AOC1 SCLK RCS0 RESERVED

DOLBY_DEC_FSA 24 30 DOLBY_ENC_CNTRL15 23 57
FSA SSEL SPI_DEV_CS13 RCS1 RESERVED
DOLBY_ENC_CNTRL16 24 58
FSA RESERVED
DOLBY_DEC_RST 3 44 DOLBY_ENC_CNTRL17 34 59
DGND DGND RST N/C PCCM0 RESERVED
43 DOLBY_ENC_CNTRL18 35 67
N/C PCCM1 RESERVED
1 42 DOLBY_ENC_CNTRL19 36 1
GND N/C PCCM2 GND
+3.3V 25 41 25
GND N/C GND
48 40 73 48
U1202 GND N/C MH1 GND
72 39 74 72
20

SN74AHC574PWR GND N/C MH2 GND

38
N/C
PMD0 2 19 DOLBY_DEC_PLE 73 37 SIMM-72
VCC

1D 1Q MH1 N/C
PMD1 3 18 DOLBY_DEC_PLS 74 67
2D 2Q MH2 RESERVED
PMD2 4 17 DOLBY_DEC_PGP
3D 3Q DGND DGND
PMD3 5 16 DOLBY_DEC_ACM
4D 4Q
PMD4 6 15 DOLBY_DEC_PDN SIMM-72
5D 5Q
PMD5 7 14 DOLBY_DEC_ACS
6D 6Q
PMD6 8 13 DOLBY_DEC_CPE DOLBY_DEC_STAT[7..0]
7D 7Q DOLBY_DEC_STAT[7..0]
PMD7 9 12 DOLBY_DEC_CPC
8D 8Q DGND
GND

11 1 DOLBY_ENC_CNTRL[19..0]
DOLBY_DEC_CNTRL2 CK OC DOLBY_ENC_CNTRL[19..0]

ENCODER_IN_AUDIO_BCK0 YEL
TP1217
10

ENCODER_IN_AUDIO_LRCK0 ORG
TP1218
ENCODER_IN_AUDIO_DATA0 WHT
TP1219
DGND DGND ENCODER_IN_AUDIO_BCK1 YEL
TP1220
ENCODER_IN_AUDIO_LRCK1 ORG
TP1221
+3.3V ENCODER_IN_AUDIO_DATA1 WHT
TP1222
U1203
ENCODER_IN_AUDIO_BCK2 YEL
20

SN74AHC574PWR TP1223
ENCODER_IN_AUDIO_LRCK2 ORG
TP1224
PMD0 2 19 DOLBY_DEC_DLC ENCODER_IN_AUDIO_DATA2 WHT
TP1225
VCC

1D 1Q
PMD1 3 18 DOLBY_DEC_AOC0
2D 2Q
PMD2 4 17 DOLBY_DEC_AOC1 +3.3V +5VD ENCODER_IN_AUDIO_BCK3 YEL
3D 3Q TP1226
PMD3 5 16 DOLBY_DEC_FSA ENCODER_IN_AUDIO_LRCK3 ORG
4D 4Q TP1227
PMD4 6 15 DOLBY_DEC_RST ENCODER_IN_AUDIO_DATA3 WHT
5D 5Q TP1228
PMD5 7 14 DOLBY_ENC_RST
6D 6Q
PMD6 8 13 ENC_MRM0 C1207 C1208 C1209 C1210 ENCODER_METADATA_IN WHT
7D 7Q C1200 TP1216
PMD7 9 12 ENC_MRM1 + C1211 C1212 C1213 C1214
8D 8Q
0.1uF 0.1uF 0.1uF 0.1uF 10uF ENC_VSYNC RED
TP1229
GND

11 1 0.1uF 0.1uF 0.1uF 0.1uF

DOLBY_DEC_CNTRL3 CK OC
10

TP1200 DGND
DGND DGND BLK DGND

+5VD
DGND
HD-SDI I/O BOARD:
C1201
+ C1202 C1203 C1204 C1205
C1206
+ SCHEMATIC: DOLBY E DECODER/ENCODER
10uF 10uF
0.1uF 0.1uF 0.1uF 0.1uF 62360.000
(sheet 13 of 17)

DGND
OPTIMOD LOUDNESS CONTROLLER TECHNICAL DATA 6-87
+5VD
+2.5V_VCO +2.5V_VCO
C1318
0.1uF
R1300
100 OHM
+2.5V U1300 R1312
TP1300
LTC3026EDD#PBF +1.8V FOR GENLOCK/CLOCKCLEANER 150K VCO_GND
ORG

7
1 9 U1302
IN OUT +1.8V_GENLOC_CLNR
2 10 GO1555-IXTE3

IN_VDD
IN OUT
5 1
C1300 VCTR O/P
+ 6 8 R1308
47uF/10V SHDN ADJ C1304 C1307
7.15K + + C1308 3
330uF/2.5V 22uF NC
5 7 0.1uF
BST PG R1313
4 R1314
150K

GND

GND

GND

GND
SW
3 11 1.0 OHM
GND GND
C1301
DGND_CLNR 0.1uF

8
R1309 DGND_CLNR DGND_CLNR DGND_CLNR +
C1317
2.00K
VCO_GND 33uF/6.3V
DGND_CLNR DGND_CLNR DGND_CLNR
LOOP FILTER
VCO_GND
DGND_CLNR VCO_GND
GENLOC_PWR_GOOD +1.8VA_CLKCLNR

C1319 C1320 C1321 C1324 C1314 +

L1300
0.1uF 0.1uF 0.1uF 0.1uF 10uF
+1.8V_GENLOC_CLNR +1.8VD_CLKCLNR
220 OHM@100MHz
C1302 +2.5V_VCO
0.22uF R1315 AGND_CLNR AGND_CLNR AGND_CLNR AGND_CLNR AGND_CLNR
C1311 C1316
10.0k
1.0uF 0.01uF

DGND_CLNR
L1301
VCO_GND VCO_GND
+1.8VA_CLKCLNR VCO_GND
220 OHM@100MHz
C1303 AGND_CLNR AGND_CLNR

40

39

38

37

36

35

34

33

32

31
0.22uF U1301
+3.3V
GS4915-INE3

LF

VCO

VCO
AGND

AGND
CP_RES
CP_VDD

DIV_VDD
VCO_VDD

VCO_GND
C1309 + C1312

DGND_CLNR 10uF 0.1uF

C1305 1 30
R1305 REG_VDD AGND
RX_USRCLK_P 619 OHM USRCLK_P 0.1uF
RX_USRCLK_P AGND_CLNR AGND_CLNR 2 29 CLKCNR_CLKOUT_P C1322 0.1uF TX_REFCLK_P
AGND CLKOUT TX_REFCLK_P
C1306
R1306
RX_USRCLK_N 619 OHM USRCLK_N 0.1uF 3 28 CLKCNR_CLKOUT_N C1323 0.1uF TX_REFCLK_N
RX_USRCLK_N R1311 +1.8VA_CLKCLNR PD_VDD CLKOUT TX_REFCLK_N
100 OHM
CLK_IN_P 4 27
CLKIN DIFF_OUT_VDD +1.8VA_CLKCLNR
R1307 R1310 CLK_IN_N 5 26
CLKIN AGND
619 OHM 619 OHM
6 25
AGND D_VDD

7 24
+1.8VA_CLKCLNR IN_VDD CLKOUT_SE
DGND_CLNR PCLK1 8 23
PCLK1 CLKIN_SE SE_VDD
TP1301
9 22
AGND GND

GENLOC_CLNR_RST 10 21
GENLOC_CLNR_RST RESET LOCK CLK_CLNR_LOCK

AUTOBYPASS

SKEW_EN
DOUBLE
CLNR_DOUBLE

BYPASS

FCTRL0

FCTRL1
D_VDD
CLNR_DOUBLE

IPSEL
CLNR_SKEW_EN 41

GND

GND
CLNR_SKEW_EN GND_PAD
CLNR_IPSEL
CLNR_IPSEL

11

12

13

14

15

16

17

18

19

20
AGND_CLNR
AGND_CLNR
R1301 R-NP BYPASS CLNR_IPSEL
+1.8VD_CLKCLNR
R1302 R-NP AUTOBYPASS
R1303 R-NP FCTRL0 DGND_CLNR
+1.8VD_CLKCLNR
R1304 R-NP FCTRL1
C1310
+ C1313 C1315
1
2
3
4

10uF 0.1uF 0.1uF

RN1300 JMP1300
BYPASS
1.0K OHM 5%
AUTOBYPASS
HD-SDI I/O BOARD:

2
FCTRL0
8
7
6
5

DGND_CLNR DGND_CLNR DGND_CLNR

CLOCK CLEANER CONFIGURATION
FCTRL1
CLNR_DOUBLE DGND AGND_CLNR SCHEMATIC: CLOCK CLEANER
CLNR_SKEW_EN
JMP1301 62360.000
DGND_CLNR
(sheet 14 of 17)

2
DGND DGND_CLNR
 6-88 TECHNICAL DATA ORBAN MODEL 8685

+1.8V_GENLOC_CLNR
R1413
R-NP

GENLOC_SPI_CLK
GENLOC_SPI_CLK +1.8V_GENLOC_CLNR
GENLOC_SPI_SDIN
GENLOC_SPI_SDIN R1415
GENLOCK_SPI_SDOUT 49.9OHM
PCLK1
GENLOC_SPI_CS
GENLOC_SPI_CS
GENLOC_CLNR_RST
GENLOC_CLNR_RST
R1412 W1404
+1.8V_GENLOC_CLNR
0 OHM
+2.5V
+3.3V +1.8V_GENLOC_CLNR

64

63

62

61

60

59

58

57

56

55

54

53

52

51

50

49
C1403
DGND_CLNR
DGND_CLNR

NC
TP1400

PCLK1

PCLK2
RESET

CS_TMS
IO_VDD

IO_VDD
GENLOCK

SDIN_TDI

SCLK_TCLK

PHS_VDD
PHS_GND
JTAG/HOST
SDOUT_TDO

PCLK1&2_VDD

PCLK1&2_GND
U1400 C-NP LOCK_LOST
74HC1G14 DGND

5
TP1401 U1401
4 2 REF_LOST
GENLOC_SPI_SDOUT GS4911BCNE3
1 48
3 LOCK_LOST LVDS/PCLK3_GND
C1405 2 47
REF_LOST PCLK3 W1405
33pF
3 46
DGND VID_PLL_VDD PCLK3 W1406

DO NOT INSTALL 4 45

1
VID_PLL_GND LVDS/PCLK3_VDD
Y1400
27.0000MHZ R1411 5 44
XTAL_VDD CORE_VDD
1.00M
C1406 6 43
R1409 W1407

2
X1 TIMING_OUT8
22pF
R-NP
7 42
X2 TIMING_OUT7 W1408
8 41
XTAL_GND TIMING_OUT6 W1409
9 40
DGND_CLNR CORE_GND TIMING_OUT5 W1410
10 39
ANALOG_VDD TIMING_OUT4 W1411
11 38
R1408 R1410 NC IO_VDD +1.8V_GENLOC_CLNR
R-NP 0 OHM
12 37
+1.8V_APLL_ANLG ANALOG_GND TIMING_OUT3 W1412
CONNECT PIN-14 TO ANALOG_GND 13 36
AUD_PLL_GND TIMING_OUT2 W1413
WHEN ASR_SEL[2..0]=000
14 35
AUD_PLL_VDD TIMING_OUT1 W1414
W1400
15 34
10FID ASR_SEL0

GENLOC_HSYNC 16 33
HSYNC ASR_SEL1 +1.8V_GENLOC_CLNR
R1407

CORE_VDD
1.00K

ASR_SEL2
VID_STD0

VID_STD1

VID_STD2

VID_STD3

VID_STD4

VID_STD5
R1416 R1417 R1414

IO_VDD

IO_VDD
VSYNC

FSYNC

ACLK1

ACLK2

ACLK3
65 R-NP R-NP R-NP
GND_PAD RN1401

NC
AGND_CLNR 4 5
3 6

17

18

19

20

21

22

23

24

25

26

27

28

29

30

31

32
DGND_CLNR DGND_CLNR 2 7
1 8

GENLOC_HSYNC 1.0K OHM 5%

GENLOC_HSYNC
GENLOC_VSYNC GENLOC_VSYNC
GENLOC_VSYNC
GENLOC_FSYNC GENLOC_FSYNC
GENLOC_FSYNC +1.8V_GENLOC_CLNR DGND_CLNR

+1.8V_GENLOC_CLNR

R1401 R-NP VID_STD_SEL0

+1.8V_GENLOC_CLNR
R1402 R-NP VID_STD_SEL1
R1403 R-NP

W1401

W1402

W1403
VID_STD_SEL2
R1404 R-NP VID_STD_SEL3
R1405 R-NP VID_STD_SEL4
R1406 R-NP VID_STD_SEL5
L1400
220 OHM @100MHz
8
7
6
5
4
3
2
1

+1.8V_GENLOC_CLNR +1.8V_APLL_ANLG

GENLOCK CONFIGURATION RN1400 C1402 + C1404

10.0k OHM 5%
10uF 0.1uF
9
10
11
12
13
14
15
16

@PIN 10

DGND_CLNR AGND_CLNR
+1.8V_GENLOC_CLNR +1.8V_GENLOC_CLNR +3.3V
CORE & I/O VDD PCLK1&2 VDD XTAL VDD +1.8V_GENLOC_CLNR

VPLL_PHS
C1415
C1400 C1401 C1407 C1408 C1409 C1410 C1412
+
C1413 C1411
+
C1414 HD-SDI I/O BOARD:
10uF 0.01uF 0.01uF
0.1uF 0.1uF 0.01uF 0.01uF 0.01uF 0.01uF
10uF
0.01uF
@PIN 3
SCHEMATIC: GENLOCK
@PIN 26 @PIN 44 @PIN 18 @PIN 31 @PIN 50 @PIN 62
@PIN 45
@PIN 5 62360.000
DGND_CLNR
(sheet 15 of 17)
DGND_CLNR DGND_CLNR DGND_CLNR
OPTIMOD LOUDNESS CONTROLLER TECHNICAL DATA 6-89
U301C U303C U305C U400C
SRC4184IPAG SRC4184IPAG SRC4184IPAG SRC4184IPAG

1 48 1 48 1 48 1 48
IFMTA0 IFMTB0 IFMTA0 IFMTB0 IFMTA0 IFMTB0 IFMTA0 IFMTB0
2 47 2 47 2 47 2 47
IFMTA1 IFMTB1 IFMTA1 IFMTB1 IFMTA1 IFMTB1 IFMTA1 IFMTB1
3 46 3 46 3 46 3 46
IFMTA2 IFMTB2 IFMTA2 IFMTB2 IFMTA2 IFMTB2 IFMTA2 IFMTB2
4 45 4 45 4 45 4 45
OFMTA0 OFMTB0 OFMTA0 OFMTB0 OFMTA0 OFMTB0 OFMTA0 OFMTB0
5 44 5 44 5 44 5 44
OFMTA1 OFMTB1 OFMTA1 OFMTB1 OFMTA1 OFMTB1 OFMTA1 OFMTB1
6 43 6 43 6 43 6 43
OWLA0 OWLB0 OWLA0 OWLB0 OWLA0 OWLB0 OWLA0 OWLB0
7 42 7 42 7 42 7 42
OWLA1 OWLB1 OWLA1 OWLB1 OWLA1 OWLB1 OWLA1 OWLB1
9 40 9 40 9 40 9 40
LGRPA0 LGRPB0 LGRPA0 LGRPB0 LGRPA0 LGRPB0 LGRPA0 LGRPB0
10 39 10 39 10 39 10 39
LGRPA1 LGRPB1 LGRPA1 LGRPB1 LGRPA1 LGRPB1 LGRPA1 LGRPB1
11 38 11 38 11 38 11 38
DDNA DDNB DDNA DDNB DDNA DDNB DDNA DDNB
12 37 12 37 12 37 12 37
DEMA0 DEMB0 DEMA0 DEMB0 DEMA0 DEMB0 DEMA0 DEMB0
13 36 SPI_SDI 13 36 SPI_SDI 13 36 SPI_SDI 13 36 SPI_SDI
DEMA1 DEMB1/CDOUT DEMA1 DEMB1/CDOUT DEMA1 DEMB1/CDOUT DEMA1 DEMB1/CDOUT
14 35 14 35 14 35 14 35
MODEA0 MODEB0/CS SPI_DEV_CS1 MODEA0 MODEB0/CS SPI_DEV_CS2 MODEA0 MODEB0/CS SPI_DEV_CS3 MODEA0 MODEB0/CS SPI_DEV_CS4
15 34 SPI_SCK 15 34 SPI_SCK 15 34 SPI_SCK 15 34 SPI_SCK
MODEA1 MODEB1/CCLK MODEA1 MODEB1/CCLK MODEA1 MODEB1/CCLK MODEA1 MODEB1/CCLK
16 33 SPI_SDO 16 33 SPI_SDO 16 33 SPI_SDO 16 33 SPI_SDO
MODEA2 MODEB2/CDIN MODEA2 MODEB2/CDIN MODEA2 MODEB2/CDIN MODEA2 MODEB2/CDIN

22 22 22 22
H/S H/S H/S H/S

RSTIO 21 RSTIO 21 RSTIO 21 RSTIO 21

RST RST RST RST

DGND DGND DGND DGND DGND DGND DGND DGND

U401C U402C U403C

SRC4184IPAG SRC4184IPAG SRC4184IPAG

1 48 1 48 1 48
IFMTA0 IFMTB0 IFMTA0 IFMTB0 IFMTA0 IFMTB0
2 47 2 47 2 47
IFMTA1 IFMTB1 IFMTA1 IFMTB1 IFMTA1 IFMTB1
3 46 3 46 3 46
IFMTA2 IFMTB2 IFMTA2 IFMTB2 IFMTA2 IFMTB2
4 45 4 45 4 45
OFMTA0 OFMTB0 OFMTA0 OFMTB0 OFMTA0 OFMTB0
5 44 5 44 5 44
OFMTA1 OFMTB1 OFMTA1 OFMTB1 OFMTA1 OFMTB1
6 43 6 43 6 43
OWLA0 OWLB0 OWLA0 OWLB0 OWLA0 OWLB0
SPI_SCK 7 42 7 42 7 42
SPI_SCK OWLA1 OWLB1 OWLA1 OWLB1 OWLA1 OWLB1
SPI_SDO 9 40 9 40 9 40
SPI_SDO LGRPA0 LGRPB0 LGRPA0 LGRPB0 LGRPA0 LGRPB0
SPI_SDI 10 39 10 39 10 39
SPI_SDI LGRPA1 LGRPB1 LGRPA1 LGRPB1 LGRPA1 LGRPB1
11 38 11 38 11 38
DDNA DDNB DDNA DDNB DDNA DDNB
RSTIO 12 37 12 37 12 37
RSTIO DEMA0 DEMB0 DEMA0 DEMB0 DEMA0 DEMB0
13 36 SPI_SDI 13 36 SPI_SDI 13 36 SPI_SDI
DEMA1 DEMB1/CDOUT DEMA1 DEMB1/CDOUT DEMA1 DEMB1/CDOUT
PIC_INT 14 35 14 35 14 35
PIC_INT MODEA0 MODEB0/CS SPI_DEV_CS5 MODEA0 MODEB0/CS SPI_DEV_CS6 MODEA0 MODEB0/CS SPI_DEV_CS7
15 34 SPI_SCK 15 34 SPI_SCK 15 34 SPI_SCK
MODEA1 MODEB1/CCLK MODEA1 MODEB1/CCLK MODEA1 MODEB1/CCLK
16 33 SPI_SDO 16 33 SPI_SDO 16 33 SPI_SDO
MODEA2 MODEB2/CDIN MODEA2 MODEB2/CDIN MODEA2 MODEB2/CDIN

22 22 22
H/S H/S H/S

RSTIO 21 RSTIO 21 RSTIO 21

RST RST RST

DGND DGND DGND DGND DGND DGND

U1002C
SRC4184IPAG
U1002B
1 48
U300C U304C SRC4184IPAG IFMTA0 IFMTB0
2 47
SRC4382IPFB SRC4382IPFB IFMTA1 IFMTB1
3 46
29 IFMTA2 IFMTB2
RCKIB 4 45
SPI_SCK 20 26 SPI_SCK 20 26 OFMTA0 OFMTB0
SCL/CCLK GPO1 SCL/CCLK GPO1 5 44
19 27 19 27 54 51 OFMTA1 OFMTB1
SPI_DEV_CS8 A0/CS GPO2 SPI_DEV_CS10 A0/CS GPO2 LRCKIB LRCKOB 6 43
SPI_SDO 21 28 SPI_SDO 21 28 53 50 OWLA0 OWLB0
A1/CDIN GPO3 A1/CDIN GPO3 BCKIB BCKOB 7 42
SPI_SDI 22 29 SPI_SDI 22 29 55 49 OWLA1 OWLB1
SDA/CDOUT GPO4 SDA/CDOUT GPO4 SDINB SDOUTB 9 40
52 LGRPA0 LGRPB0
TDMIB 10 39
RSTIO 24 23 PIC_INT RSTIO 24 23 PIC_INT LGRPA1 LGRPB1
RST INT RST INT 11 38
41 32 DDNA DDNB
BYPB RATIOB 12 37
18 18 30 31 DEMA0 DEMB0
CPM CPM MUTEB RDYB 13 36 SPI_SDI
DEMA1 DEMB1/CDOUT
14 35
MODEA0 MODEB0/CS SPI_DEV_CS15
15 34 SPI_SCK
MODEA1 MODEB1/CCLK
UNUSED SRC 16
MODEA2 MODEB2/CDIN
33 SPI_SDO
DGND DGND DGND
22
H/S

RSTIO 21
RST

1
2
3
4
U302C U1000C RN1001
SRC4382IPFB SRC4382IPFB 47K 5% DGND DGND

SPI_SCK 20 26 SPI_SCK 20 26

8
7
6
5
SCL/CCLK GPO1 SCL/CCLK GPO1
19 27 19 27
SPI_DEV_CS9 A0/CS GPO2 SPI_DEV_CS11 A0/CS GPO2
SPI_SDO 21 28 SPI_SDO 21 28
A1/CDIN GPO3 A1/CDIN GPO3
SPI_SDI 22 29 SPI_SDI 22 29
SDA/CDOUT GPO4 SDA/CDOUT GPO4

RSTIO 24 23 PIC_INT RSTIO 24 23 PIC_INT

RST INT RST INT DGND
18 18
CPM CPM
HD-SDI I/O BOARD:
SCHEMATIC: SAMPLE RATE CONVERTER MISC SIGNALS
DGND DGND
62360.000
(sheet 16 of 17)
 6-90 TECHNICAL DATA ORBAN MODEL 8685

+3.3V +3.3V +3.3V +3.3V

L318 C318 L320 C326 L322 C334 L1004 C1014

0.1uF 0.1uF 0.1uF 0.1uF

U300D U302D U304D U1000D

44

43

42

41

44

43

42

41

44

43

42

41

44

43

42

41
DGND SRC4382IPFB DGND SRC4382IPFB DGND SRC4382IPFB DGND SRC4382IPFB
R324 R325 R326 R1013
2.0 OHM 2.0 OHM 2.0 OHM 2.0 OHM

VIO

VIO

VIO

VIO
NC

NC

NC

NC
BGND

BGND

BGND

BGND
DGND3

DGND3

DGND3

DGND3
9 33 9 33 9 33 9 33
VCC VDD33 VCC VDD33 VCC VDD33 VCC VDD33
C317 C320 C325 C328 C333 C336 C1013 C1016

0.1uF 0.1uF C321 0.1uF 0.1uF C329 0.1uF 0.1uF C337 C1012 0.1uF 0.1uF C1017
+ 10 30 + + 10 30 + + 10 30 + + 10 30 +
C316 10uF C324 10uF C332

DGND1

DGND1

DGND1

DGND1
AGND DGND2 AGND DGND2 AGND DGND2 AGND DGND2

VDD18

VDD18

VDD18

VDD18
10uF 10uF
10uF 10uF 10uF
10uF

16

17

16

17

16

17

16

17
+1.8V +1.8V +1.8V +1.8V
C319 DGND C327 DGND C335 DGND C1015 DGND

0.1uF 0.1uF 0.1uF 0.1uF

DGND DGND DGND DGND DGND DGND DGND DGND
+

+
10uF 10uF 10uF 10uF
C342 C343 C344 C345

+3.3V +3.3V +3.3V +3.3V

L319 L321 L323 L400

U301D U303D U305D U400D
+ C315 SRC4184IPAG + C340 SRC4184IPAG + C341 SRC4184IPAG + C400 SRC4184IPAG
10uF 10uF 10uF 10uF
28 28 28 28
VDD18 VDD18 VDD18 VDD18
27 27 27 27
VDD18 VDD18 VDD18 VDD18

26 26 26 26
REGEN REGEN REGEN REGEN
DGND C322 DGND C330 DGND C338 DGND C401
25 56 25 56 25 56 25 56
VDD33 VIO VDD33 VIO VDD33 VIO VDD33 VIO
24 C323 24 C331 24 C339 24 C402
0.1uF VDD33 0.1uF VDD33 0.1uF VDD33 0.1uF VDD33

23 57 0.1uF 23 57 0.1uF 23 57 0.1uF 23 57 0.1uF

DGND DGND DGND DGND DGND DGND DGND DGND

DGND DGND DGND DGND

+3.3V +3.3V +3.3V +3.3V

L401 L402 L403 L1003

U401D U402D U403D U1002D
+ C403 SRC4184IPAG + C406 SRC4184IPAG + C409 SRC4184IPAG + C1009 SRC4184IPAG
10uF 10uF 10uF 10uF
28 28 28 28
VDD18 VDD18 VDD18 VDD18
27 27 27 27
VDD18 VDD18 VDD18 VDD18

26 26 26 26
REGEN REGEN REGEN REGEN
DGND C404 DGND C407 DGND C410 DGND C1010
25 56 25 56 25 56 25 56
VDD33 VIO VDD33 VIO VDD33 VIO VDD33 VIO
24 C405 24 C408 24 C411 24 C1011
0.1uF VDD33 0.1uF VDD33 0.1uF VDD33 0.1uF VDD33

23 57 0.1uF 23 57 0.1uF 23 57 0.1uF 23 57 0.1uF

DGND DGND DGND DGND DGND DGND DGND DGND

DGND DGND DGND DGND

HD-SDI I/O BOARD:

SCHEMATIC: SRC POWER DISTRIBUTION
62360.000
(sheet 17 of 17)
OPTIMOD LOUDNESS CONTROLLER TECHNICAL DATA 6-91

HD-SDI RS232/RS485 SDI BOARD:

PARTS LOCATOR DRAWING
32365.000
(sheet 1 of 1)
 6-92 TECHNICAL DATA ORBAN MODEL 8685

+5VD

C103 C104 C105 C106

0.1uF 0.1uF 0.1uF 0.1uF
R100 R101
1.0K 1.0K

DGND +5VD

C109

BASEBOARD INTERFACE U100 DIP-24 SOCKET

13

30

47

64
ST16C554DCJ68-F 0.1uF
U101
J101
MAX208ECNG+

VCC

VCC

VCC

VCC

9
+5VD DGND
11

VCC
31 17 SOUT1-N SOUT1-N 5 2 SOUTP1
SEL16/68 TXA TIN A TOUT A
C100 5
65 14 RTS1-N
10uF
+

INTSEL /RTSA RTS1-N 18 1 RTSP1

TIN B TOUT B 9
12 DTR1-N
/DTRA
C101 DTR1-N 19 24 DTRP1 DTRP1 4
AUX_0 16 TIN C TOUT C
0.1uF /CSA
J100
AUX_1 20
/CSB
RXA
7

11
SIN1-N

CTS1-N
21
TIN D TOUT D
20
CTSP1

SOUTP1
8

3
RS-232
1 AUX_2 50 /CTSA
/CSC SERIAL PORT 1
2 DGND 10 DSR1-N RTSP1 7
AUX_3 54 /DSRA
3 /CSD (rear panel)
9 DCD1-N SIN1-N 6 7 SINP1 SINP1 2
4 /CDA ROUT A RIN A
SA[2..0]
5 8 DSRP1 6
/RIA +5VD CTS1-N 4 3 CTSP1
6 ROUT B RIN B
DCDP1 1
7
DSR1-N 22 23 DSRP1
8 ROUT C RIN C
SA2 32 19
9 A2 TXB DB9_M
+5VD DCD1-N 17 16 DCDP1 10
10 SA1 33 22 ROUT D RIN D
A1 /RTSB C107 C111
11
SA0 34 24 11 15
12 A0 /DTRB V+ V-
C108 C110
13 +5VD 0.1uF 0.1uF DGND
10 13
14 C1+ C2+
GPIOWR 18 29
15 /IOW RXB 0.1uF 0.1uF DGND
12 14

GND
16 GPIORD 52 25 C1- C2-
RSTDRV /IOR /CTSB CHASSIS
17 CGND
18.432MHz RSTDRV 37 26
18 RESET /DSRB
AUX_D[7..0]

8
19 27
/CDB
20
AUX_D7 28
21 /RIB
AUX_D6
22 DGND
AUX_D5
23
AUX_D4 51
24 TXC
25 48
/RTSC
26
AUX_D3 46
27 /DTRC
AUX_D2 AUX_D0 66
28 D0
AUX_D1 +5VD
29 AUX_D1 67
AUX_D0 D1
30 41
INTA AUX_D2 68 RXC
31 D2
INTB 45
32 AUX_D3 1 /CTSC
INTC D3
33 44
AUX_D4 2 /DSRC
34 D4
43
35 AUX_D5 3 /CDC
D5
36 42
AUX_0 AUX_D6 4 /RIC
37 D6
AUX_1
38 AUX_D7 5
AUX_2 D7
39 SA[2..0] 53
AUX_3 TXD
40
56
41 /RTSD
42 58
SA2 38 /DTRD
43 /RXRDY +5VD
SA1
44 39
SA0 /TXRDY 63
45 RXD
46 59
/CTSD
47
INTA 15 60
48 INTA /DSRD
GPIOWR
49 INTB 21 61
GPIORD INTB /CDD
50
INTC 49 62
INTC /RID
HDR 25X2
55
INTD
GND

GND

GND

GND
X1

X2

DGND
35

36

23

40

57

C102
18.432MHz
RS232/RS485-SDI INTERFACE BOARD
1000pF SCHEMATIC: UART
R102 62365.000
100.0K DGND
(sheet 1 of 2)

DGND
OPTIMOD LOUDNESS CONTROLLER TECHNICAL DATA 6-93
+5VD
C201
+5VD +5VD
J201
R200 0.1uF R208
R-NP R-NP 11
U201 DGND

14
R201 0 OHM MAX13089EEPD+ R209 0 OHM
1
RS-485

VCC
6

DGND
PIC_B_HF 1
H/F RXP
13 PIC_B_RXP
DGND 2 METADATA
PIC_RX_B 2
RO A
12 7 INPUT
R216 110 OHM 3
BUF_PIC_RTSB_RE 3
RE
11 8 SERIAL PORT 2
B
4 (rear panel)
BUF_PIC_RTSB_DE 4 10 9
DE Z
R217 110 OHM 5

BUF_PIC_TX_B 5 9
DI Y DB9_F
10
RS485-SDI +5VD +5VD PIC_B_SRL 6 8 PIC_B_TXP +5VD

GND
SRL TXP
C200 R210
R202 R-NP R-NP
INTERFACE R203 DIP-14 SOCKET R211

7
U200 0.1uF R-NP 0 OHM
20
J200 SN74HCT541DW DGND
PIC_RX_B VCC
DGND
2 1
PIC_TX_B 2 18 BUF_PIC_TX_B
4 3 A1 Y1 DGND DGND
PIC_RTSB_DE 3 17 BUF_PIC_RTSB_DE
6 5 A2 Y2
PIC_RTSB_RE 4 16 BUF_PIC_RTSB_RE
8 7 A3 Y3
PIC_RX_C 5 15 BUF_PIC_TX_C
10 9 A4 Y4
PIC_TX_C 6 14 BUF_PIC_RTSC_DE +5VD
12 11 A5 Y5
PIC_RTSC_DE 7 13 BUF_PIC_RTSC_RE C202
14 13 A6 Y6
PIC_RTSC_RE 8 12 +5VD +5VD
16 15 A7 Y7
9 11 J202
18 17 A8 Y8 R204 0.1uF R212
R-NP R-NP 11
20 19 DGND
1 U202

14
HDR 10X2 SH OE1 R205 0 OHM MAX13089EEPD+ R213 0 OHM
19
GND

OE2 1
RS-485

VCC
6
PIC_C_HF 1 13 PIC_C_RXP METADATA
10

DGND DGND H/F RXP DGND 2

PIC_RX_C 2
RO A
12 7 OUTPUT
DGND DGND DGND R218 110 OHM 3
BUF_PIC_RTSC_RE 3
RE
11 8 SERIAL PORT 3
B
4 (rear panel)
BUF_PIC_RTSC_DE 4 10 9
DE Z
R219 110 OHM 5

BUF_PIC_TX_C 5 9
DI Y DB9_F
10
+5VD PIC_C_SRL 6 8 PIC_C_TXP +5VD

GND
SRL TXP
R206 R214
R-NP R-NP
R207 DIP-14 SOCKET R215 DGND

7
R-NP 0 OHM
CHASSIS
CGND
DGND

DGND DGND

U201 & U202 H/F*, SRL, TXP, & RXP SIGNAL LEVEL DESCRIPTIONS

H/F*: RXP:
R200/R204 R201/R205 H/F* LOGIC LEVEL TRANSMITTER PHASE/POLARITY R208/R212 R209/R213 RXP LOGIC LEVEL RECEIVER PHASE/POLARITY
No Install 0 ohm Installed Low Full Duplex No Install 0 ohm Installed Low Normal
0 ohm Installed No Install High Half Duplex 0 ohm Installed No Install High Invert
RS232/RS485-SDI INTERFACE BOARD
SRL: TXP: SCHEMATIC: RS485
R202/R206 R203/R207 SRL LOGIC LEVEL SLEW-RATE LIMIT R210/R214 R211/R215 TXP LOGIC LEVEL TRANSMITTER PHASE/POLARITY 62365.000
No Install No Install High-Z 250kbps No Install 0 ohm Installed Low Normal (sheet 2 of 2)
0 ohm Installed No Install High 500kbps 0 ohm Installed No Install High Invert
No Install 0 ohm Installed Low 16Mbps
6-94 TECHNICAL DATA ORBAN MODEL 8685