AirTools 6200 User manual

6200 Digital Voice Processor
User’s Guide

6408 216th Street SW |Mountlake Terrace, WA 98043 USA
T+1.425.778.7728 F+1.425.778.7727 |www.SymetrixAudio.com 2
User’s Guide
Safety

3
6200 Digital Broadcast Delay Safety
GThe lightning flash with arrowhead
symbol within an equilateral triangle is
intended to alert the user of the presence
of uninsulated “dangerous voltage”
within the product’s enclosure that may
be of sufficient magnitude to constitute
a risk of electric shock to persons. The
exclamation point within an equilateral
triangle is intended to alert the user of
the presence of important operating and
maintenance (servicing) instructions in the
literature accompanying the product (i.e.
this Quick Start Guide).
GCAUTION: To prevent electric shock,
do not use the polarized plug supplied
with the unit with any extension cord,
receptacle, or other outlet unless the
prongs can be fully inserted.
GPower Source: This Symetrix hardware
uses a switching power supply that
automatically adjusts to the applied
voltage. Ensure that your AC mains
voltage is somewhere between 100-240
VAC, 50-60 Hz. Use only the power
cord and connector specified for the
product and your operating locale. A
protective ground connection, by way of
the grounding conductor in the power
cord, is essential for safe operation. The
appliance inlet and coupler shall remain
readily operable once the apparatus has
been installed.
GUser Serviceable Parts: There are no
user serviceable parts inside this Symetrix
product. In case of failure, customers
inside the U.S. should refer all servicing to
the Symetrix factory. Customers outside
the U.S. should refer all servicing to an
authorized Symetrix distributor. Distributor
contact information is available online at:
http://www.SymetrixAudio.com.
AVIS:
NE PAS OUVRIR
Il ne se trouve a l’interieur aucune piece pourvant entre reparée l’usager.
SEE OWNERS MANUAL. VOIR CAHIER D’INSTRUCTIONS.
S’adresser a un reparateur compétent.
RISQUE DE CHOC ELECTRIQUE
No user serviceable parts inside. Refer servicing to qualified service personnel.
CAUTION
WARNING:
TO REDUCE THE RISK OF FIRE OR
ELECTRIC SHOCK DO NOT EXPOSE
THIS EQUIPMENT TO RAIN OR MOISTURE
DO NOT OPEN
RISK OF ELECTRIC SHOCK
Important Safety
Instructions
!Read these instructions.
@Keep these instructions.
#Heed all warnings.
$Follow all instructions.
%Do not use this apparatus near water.
This apparatus shall not be exposed to
dripping or splashing and no objects
filled with liquids, such as vases, shall be
placed on the apparatus.
^Clean only with dry cloth.
&Do not block any ventilation openings.
Install only in accordance with the
manufacturer’s instructions.
*Do not install near any heat sources such
as radiators, heat registers, stoves, or
other apparatus (including amplifiers) that
produce heat.
(This apparatus shall be connected to
a mains socket outlet with a protective
earthing connection. Do not defeat
the safety purpose of the polarized or
grounding-type plug. A polarized plug has
two blades with one wider than the other.
A grounding type plug has two blades
and a third grounding prong. The wide
blade or the third prong are provided for
your safety. If the provided plug does not
fit into your outlet, consult an electrician
for replacement of the obsolete outlet.
BL Protect the power cord from being
walked on or pinched particularly at
plugs, convenience receptacles, and the
point where they exit from the apparatus.
BM Only use attachments/accessories
specified by the manufacturer.
BN Use only with the cart, stand,
tripod, bracket, or table
specified by the manufacturer,
or sold with the apparatus.
When a cart is used, use
caution when moving the cart/apparatus
combination to avoid injury from tip-over.
BO Unplug this apparatus during lightning
storms or when unused for long periods
of time.
BP Refer all servicing to qualified service
personnel. Servicing is required when
the apparatus has been damaged in any
way, such as power-supply cord or plug
cord is damaged, liquid has been spilled
or objects have fallen into the apparatus,
the apparatus has been exposed to rain
or moisture, does not operate normally, or
has been dropped.
What Ships in the Box
• A6200hardwaredevice.
• A6200DesignerCD-ROM(Windows).
• Adetachablepowercord.
• ThisUser’sGuide.
What You Need to Provide
(for optional PC GUI control only)
• AWindowsPCwith300MHzorhigher
Pentium and:
• WIN98SE,ME,2000orXP.
• 10-15MBfreestoragespace.
• 1024x768graphicscapability.
• 16-bitorhighercolors.
• CD-ROMdriveorInternetconnection.
• 64MBRAM(WIN98SE/ME),128MB
RAM(WIN2000/XP).
• Oneofthefollowingcommunications
interfaces:
• Anavailableserialportwithastraight-
throughRS-232cabletoconnectthe
serial port of your PC to the 6200’s rear
RS-232port.The6200’sRS-232inputis
afemaleDB9connector.
• AnavailableUSB1.1portwith
appropriate cable to mate to your
computer’s or hub’s USB port. The 6200
uses a female “B” type USB connector
on its front panel.
• A10/100BaseTEthernetportwithany
necessary CAT-5 cabling and networking
hardware.
Getting Help
6200 Designer, the Windows GUI
application interface for the 6200 hardware,
includes a help module which acts as a
complete user’s guide for the software.
If you have questions beyond the scope
of this User’s Guide or the help module,
contact our Customer Support Group in
the following ways:
Tel: [phone]
8:00 am to 4:30 pm
Monday through Friday,
Pacific Time
Web: http://www.SymetrixAudio.com
This device complies with part 15 of the
FCC Rules. Operation is subject to the
following two conditions: (1) This device
may not cause harmful interference, and (2)
this device must accept any interference
received, including interference that may
cause undesired operation.
This Class B Digital apparatus meets all
requirements of the Canadian Interference-
Causing Equipment Regulations.
Cet appariel numerique de la classe B respecte
toutes les Exigences du Reglement sur le materiel
brouilleur du Canada.

6408 216th Street SW |Mountlake Terrace, WA 98043 USA
T+1.425.778.7728 F+1.425.778.7727 |www.SymetrixAudio.com 4
User’s Guide
Introduction
Introduction
The AirTools 6200 Digital Voice Processor is designed to meet the increas-
ingly sophisticated needs of broadcasters operating in both analog and
digital realms featuring an optimum mix of signal processing modules
and control features. The modules include: highpass, lowpass, and
shelving filters, de-esser, downward expander, comp-limiter/AGC-leveler,
4-band parametric EQ and voice symmetry. The 6200 is a dual-channel
unit with two discrete audio pathways capable of processing microphone
or line-level sources, independently or as a stereo pair with a 24-bit/48
kHz digital signal path. Creation of voice programs and signal process-
ing parameters may be done from the 6200 front panel or from 6200
Designer, a Windows®application
(provided). From a PC, the 6200 may be controlled via RS-232, USB or
Ethernet. In lieu of computer control, real time changes of program and
DSP parameters may be actuated via user supplied ESE time code, pots,
encoders, switches, or MIDI devices.
Mechanical Data
ITEM DESCRIPTION DETAILS
Space Required 1U(WDH:48.26cmx26.6cmx4.369
cm/19inx10.475inx1.72in).Depth
does not include connector allowance.
Allow at least 1 inch additional clearance for rear panel connections. Additional depth may
be required depending upon your specific wiring and connections.
Electrical 100-240 VAC, 50-60 Hz, 25 Watts maximum. No line voltage switching required.
Ventilation Maximumrecommendedambientoper-
atingtemperatureis30C/86F.
Ventilation should not be impeded by covering the unit with items such as newspapers,
tablecloths, curtains, etc.
Weight 4.45 kg / 9.82 lbs.
Performance Data
Item DESCRIPTION DETAILS
INPUTS:
Nominal Input Level Analog:+4dBuor-10dBVlinelevel,-36dBuor-56dBumiclevel(software
selectable) with 20 dB of headroom
Digital: -20 dBFS: 100-240 VAC, 50-60 Hz, 25 Watts maximum.
NOTE:Forunbalancedanaloginput,eitherreference
the minus input terminal to the signal source ground
(preferred) or ground the minus input to the adjacent
ground terminal (tie low to ground). Using the second
method deprives you of the common mode rejection
inherent in a balanced input, even when coming from
an unbalanced source.
Maximum Input Level Analog: +24 dBu
Digital: 0 dBFS
Input Impedance Analog: 20k Ohms, Digital: 110 Ohms, +/- 10
CMRR > 50 dB (0 dBu, 20 Hz to 20 kHz)
Analog to Digital Conversion 24-bit delta/sigma
OUTPUTS:
Nominal Output Level Analog: +4 dBu line level with 20 dB of headroom, Digital: -20 dBFS NOTE:Forunbalancedanalogoutput,float(donot
connect) the minus output terminal. Unbalanced usage
results in 6 dB lower output level.
Maximum Output Level Analog: +24 dBu, Digital: 0 dBFS
Output Impedance Analog: 200 Ohms balanced, 100 Ohms unbalanced, Digital: 110 Ohms,
+/- 10%
Digital to Analog Conversion 24-bit delta/sigma
SYSTEM
Nominal Sample Rate 48kHz
Sample Sync Range 48kHz+/-100ppm
Dynamic Range Analog: > 114 dB (20 Hz to 20 kHz, A-weighted), Digital: 144 dB typical,
unweighted
Frequency Response Analog: 20 Hz - 20 kHz, Digital: 20 Hz - 24 kHz
THD + Noise AnalogIn-to-Out:0.0035%(20Hzto20kHz,unweightedwith+24dBu
output)DigitalIn-to-Out:>117dB@1kHz

5
6200 Digital Broadcast Delay Front and Rear Panel
FRONT PANEL
ITEM DESCRIPTION DETAILS
BYPASS Momentarybutton Toggles DSP bypass state on top level menus. Toggles DSP module bypass state on indi-
vidual DSP module menus.
PREV / EXIT Momentarybutton Movestothepreviousmenuitemorexitstothetopofthemenutree.
NEXT / ENTER Momentarybutton Movestothenextmenuitemorentersamenutree.
HOME Momentarybutton Returnstothe“HOME”top-levelmenu.
ADJUST Continuous rotary encoder Selects the menu to enter or adjusts the currently selected parameter or menu item.
DISPLAY Monochrome Displays status, menu or configuration information.
LOAD 1 / SAVE 1 Momentarybutton Loads or saves a program for channel 1.
LOAD 2 / SAVE 2 Momentarybutton Loads or saves a program for channel 2.
USB Female “B” USB 1.1 port Optional connection to a Windows™ PC for 6200 Designer GUI control.
REAR PANEL
ITEM DESCRIPTION DETAILS
POWER INPUT IEC3prongjack Accepts power from detachable IEC power cable (100-240 VAC, 50-60 Hz, 60 Watts max).
Connect only to a grounded power outlet.
TC89/TC90 TIME CODE IN FemaleBNC Accepts(ESE)TC89orTC90timecodetodrivethereal-timeclockandEventManager.
Format and presence is automatically detected.
PROGRAM CONTROL MaleDB9 Simple program recall interface.
RS-232 FemaleDB9 Optional serial communications interface for 6200 Designer on the host PC.
ETHERNET (10 Base T) RJ-45 Optional Ethernet communications interface for 6200 Designer on the host PC.
RS-485 Euroblock Optional long distance serial communications interface for 6200 Designer on the host PC.
Thirdparty232/422/485converterproductsmayberequiredtoutilizethisport.
REMOTE BYPASS Euroblock Allows remote software (DSP) bypass or output muting (output disconnect via relays) with
simple contact closures.
ANALOG CONTROL Euroblocks Allowsreal-timecontrolofuptotwoparametersperportusingstandard10kOhmINPUT1
and 2 linear potentiometers.
MIDI/RC-1 IN 7pinDIN AcceptsMIDIprogramchangemessagestorecallprogramsforchannels1and2.Canalso
be used with the AirTools RC-1 remote directly. The RC-1 can also be powered from this port.
HOMERLINK RJ-45 Transmits4AES-3monochannelsandreceives2AES-3monochannelsoverstandardCAT-
5. Used for AES digital input, to sync to an external AES clock source or to integrate with the
AirToolsStudioMatrixsystem.
AES OUT 1 and 2 MaleXLR AES-3digitaloutput-softwareselectabletocarryChannel1/2,1/1,2/1or2/2information.
ANALOG OUT MaleXLR 2 x analog line level audio outputs with software adjustable output level.
ANALOG IN FemaleXLR-1/4”combo 2 x analog mic/line level audio inputs with individually software selectable coarse gain and fine
trim.

6408 216th Street SW |Mountlake Terrace, WA 98043 USA
T+1.425.778.7728 F+1.425.778.7727 |www.SymetrixAudio.com 6
User’s Guide
Wiring Reference
XLR Male Plug [balanced]
Pin 2
Pin 3
Pin 1
Pin 2 = (+) Plus
Pin 3 = (–) Minus
Pin 1 = Ground
XLR Female Plug [balanced]
Pin 2 = (+) Plus
Pin 3 = (–) Minus
Pin 1 = Ground
Pin 2
Pin 3
Pin 1
Terminal Strip [balanced] TRS 1/4" Plug [balanced]
Tip = (+) Plus
Ring = (–) Minus
Sleeve = Ground
Euroblock [balanced]
NOTE: Detachable Euroblock
and Terminal Strip connectors
are designed for use with bare
wire. Do not tin stranded wires
before inserting them into the
connectors.
Special Case: Female XLR
connectors will
ALWAYS be used coming
from the OUTPUT of a
device.
Male connecters plug into
the INPUT of a device.
Balanced Connections
Any of these connectors can appear on either side of
a balanced connection.
NOTE:InthecaseofanXLRconnector,theFemaleattaches
toanoutput,whiletheMaleattachestoaninput.
Unbalanced Connections
The RCA connector and the 1/4” TS connector are unbalanced connectors, wired with a single strand shielded wire and can
be placed on either end of an unbalanced connection
TS 1/4" Plug [unbalanced]
Tip = (+) Plus
Sleeve = (-) minus and Ground
RCA Plug [unbalanced]
Sleeve = (-) minus and Ground
Tip = (+) Plus
1
!
IMPORTANT NOTICE 1
!
The wiring diagrams on these pages are included for
information purposes only.
Symetrix can not anticipate every connector type on
non-Symetrix products. It is the user’s responsibility
to determine what connection is needed.
In addition, Symetrix accepts no responsibility for
injury or damage caused by user created wiring.

7
6200 Digital Broadcast Delay Wiring Reference
Unbalanced Connections:
Unbalanced out to balanced in
The RCA connector and the 1/4” TS connector are
unbalanced connectors. However, the wiring differs
depending on if they are sending to, or receiving from a
balanced connector.
In this example, the unbalanced connector is sending signal
to a balanced connector. When wiring this connection,
use a shielded twisted pair cable. The balanced side wires
the same as a standard, balanced connection. On the
unbalanced side, you wire the white (minus) wire together
with the ground. This provides some common mode rejection
at the balanced input.
Unbalanced Connections:
Balanced out to unbalanced in
When your output requires a balanced connector, but you
are sending signal to an unbalanced input, the rules change.
Use a single strand shielded wire. Wire only to the plus and
ground terminals of what would the typically be the balanced
connector.
XLR Male Plug [balanced]
TS 1/4" Plug [unbalanced out to balanced in]
TRS 1/4" Plug [balanced]
Euroblock [balanced]
Tip = (+) Plus
Sleeve = (-) minus and Ground
RCA Plug [unbalanced out to balanced in]
Sleeve = (-) minus and Ground
Tip = (+) Plus
Terminal Strip [balanced]
TS 1/4" Plug [balanced out to unbalanced in]
Tip = (+) Plus
Sleeve = Ground
RCA Plug [balanced out to unbalanced in]
Sleeve = Ground
Tip = (+) Plus
Euroblock [unbalanced] Terminal Strip [unbalanced]
XLR Female Plug [unbalanced]
Pin 2 = (+) Plus
Pin 3 = Unused
Pin 1 = Ground
Pin 2
Pin 3
Pin 1
TRS 1/4" Plug [balanced] Tip = (+) Plus
Ring = unused
Sleeve = Ground

6408 216th Street SW |Mountlake Terrace, WA 98043 USA
T+1.425.778.7728 F+1.425.778.7727 |www.SymetrixAudio.com 8
User’s Guide
Basic Setup
POWER: Connect the
IEC connector side of the
supplied AC cord to the
receptacle on the rear of the
6200. Connect the other
side of the AC cable to an
AC power source that is
of the correct voltage and
frequency (100-240 VAC,
50-60 Hz). Use only the
power cord and connector
specified for the product and
your operating locale.
ANALOG IN: Using a standard microphone cable terminated with one
maleXLRconnectorandonefemaleXLRconnector,connectthemale
endintotheCHAN1-ANALOGINofthe6200andthefemaleendinto
your microphone.
Caution 1: When Phantom Power is engaged, do not use
unbalanced microphones or mic cables.
Caution 2: When Phantom Power is engaged, do not use
switchedmicswhichshortpin2and/orpin3toground.
Caution 3: When Phantom Power is engaged, always turn
down monitors/headphones before connecting or disconnecting
microphones.
ANALOG OUT: Using a standard mic/line cable terminated with one
maleXLRconnectorandonefemaleXLRconnector,connectthe
femaleendintotheCHAN1-ANALOGOUTofthe6200andthemale
end into your destination device. These outputs are +4 dBu balanced
line level outputs. If you need an unbalanced output, see the analog
audio wiring diagrams on the previous page.
NOTE: Wiring the outputs to an unbalanced cable will typically result in
an output level that is 6 dB lower than the output level achieved using a
balanced cable.
PHANTOM POWER (if required - skip this section if using a
dynamic mic which does not require phantom power): All condenser
microphones require some kind of electrical power. This power may
be supplied by internal batteries, an external power supply that is
connected to the microphone by a special multiwire cable, or through a
standard microphone cable by “phantom” or “T system” powering.
Phantom powering and T system powering are incompatible systems.
Phantom power derives its name from its invisibility to audio signals,
even though the microphone cable carries both phantom power (as
direct current) and audio signals (as alternating current). Specifically,
the term phantom power means a positive DC voltage sent to the
microphone on both audio leads, through current-limiting resistors
which also serve to isolate the audio leads from one another. Enabling
phantompowerappliesphantompowerviapins2and3ofthemic
inputXLRconnectors.
The phantom power technique uses the two signal conductors in a
standard balanced mic cable to deliver the power required by the
microphone, eliminating the need for internal batteries or an external
power supply. Because the voltage is applied equally to both sides of
a floating balanced circuit, no current flows through the microphone’s
transformer, or through the microphone element itself.
It is often said that the sound of some dynamic microphones is affected
by phantom power and that ribbon mics cannot be plugged into an
input that is phantom powered. For the most part, these are myths that
grew out of difficulties created by other problems in the mic circuit:
1.WhenXLRconnectorsarematedthereisnoguaranteethatboth
pins2and3willmakecontactatexactlythesametime.Itispossible
that a damaging current could flow through the mic for a brief moment
under these conditions. However, this is a connector problem, not a
problem with the mic itself or phantom power in general.
2. In the past, it was a common practice to ground the center tap of
the mic’s output transformer. However, this practice should be avoided
in phantom powered systems. The solution: Locate the center tap and
cuttheconnectionbetweenitandpin1oftheXLRconnector.
3.Ifthemic’soutputtransformerhasdevelopedleakage,the
microphone may become noisy when phantom power is turned on.
Crackling, sputtering or even humming noises may occur. The leakage,
not the power, is the problem. The solutions are:
A. Turn off the phantom power.
B. Put a 1:1 low-impedance transformer between the mic and the input.
C. Get the mic repaired.
Basic Setup
The 6200 Input Connector
ANALOG IN
CHANNEL 1
This multi-purpose connector is both a
Female XLR connector and a TRS Jack.
Pin 2 = (+) Plus
Pin 3 = (–) Minus
Pin 1 = Ground
Originating Device Output Destination Device Input
Pin 2
Pin 3
Pin 1
Pin 2
Pin 3
Pin 1
Pin 2 = (+) Plus
Pin 3 = (–) Minus
Pin 1 = Ground

9
6200 Digital Broadcast Delay Basic Setup
The dominant remote powering system in use today is the phantom
power system, which is compatible with both condenser and non-
condenser microphones (dynamics, ribbons, etc.). If your microphone’s
specifications sheet claims that it requires phantom power, the
6200 can power it. The technical requirements for operation and/or
compatibility are:
1. The microphone must have a balanced, low-impedance output.
2. The balanced output must be floating with respect to ground. If
there is a center tap, it must not be grounded.
In a nutshell, here are the do’s and don’ts of phantom powering:
DO: Verify that your microphone can be phantom powered (if it is a
condenser mic).
Ensure that your microphone’s output is low impedance,
balanced and floating. This is especially important for
ribbon mics.
Turn the phantom power off when connecting vintage ribbon
microphones.
 Muteyourmonitorspeakersorheadphoneswhenturningthe
phantom power on or off. If you don’t, there will be a loud,
nasty pop.
 Muteyourmonitorspeakersorheadphoneswheneveryouplug
in or unplug a phantom powered microphone. If you don’t,
there will be a loud, nasty pop.
DON’T: Plug in an A-B powered microphone without a
suitable adapter.
Worry about your dynamic or ribbon microphones, as long as
they are wired so that the output is balanced and floating.
Enable phantom power when connecting line-level sources,
especially those that are transformerless.
Use the microphone input with unbalanced sources.
Use a direct box to feed an unbalanced source into the
microphone input.
Worry about your tube condenser mics. They are compatible
(although they cannot be phantom powered).
ENABLING PHANTOM POWER: If you have determined that the
microphoneconnectedtoANALOGIN-CHAN1requiresphantom
power, you now need to enable it for that input:
1. Press the HOME button to ensure that we are starting from the top.
2. Press the NEXT button once.
3. TurntheADJUST knob clockwise until the display reads “Section to
Edit,-SetupMenu-”.
4. Press the NEXT button once.
5. Turn the ADJUST knob clockwise until the display reads
“-SetupMenu-,--Channel1Input--”.
6. Press the NEXT button three times and the display should read
“Channel 1 Phantom, Disabled”.
7. TurntheADJUST knob clockwise until the display reads “Channel 1
Phantom, Enabled.”
8. PresstheHOME button when finished.
9. RepeatforChannel2ifnecessary.
MIC PREAMP GAIN: Coarse preamp gain for each channel is set
in each channel’s setup menu. Fine gain is set within each channel’s
program menu. Separating the gain settings like this allows for coarse
gain (2 x line level settings and 2 x mic level settings) to be set as a
global parameter corresponding to the physical device(s) connected to
the 6200’s input(s). The coarse gain setting is not stored in the preset
programs. The fine gain setting is associated with its individual channel
and is stored in the preset programs. This allows one to set up the fine
gains which match specific users.
The6200offers91.5dBofoverallgain(60dBcoarsegainplus31.5
dB fine gain). Any mic output level is easy to accommodate with the
6200,regardlessifitisthe-60dBVto-80dBVlevelscommonwith
ribbon mics or the near line level (-10 dBV to +4 dBu) often delivered by
transformerless condenser mics. Input signals as high as +24 dBu can
by handled by the 6200.
Both source level and preamp gain are directly related to the noise
floor, as well as to headroom at the output. The key to using the 6200
at its optimum performance level is to:
1. Use the maximum allowable source level.
2. Use only as much gain as necessary.
The combination of the highest possible input levels with the lowest
possible gain always results in minimum noise and maximum
headroom. Remember, the best operating position for a gain control is
theminimumgainthatdeliverstherequiredoutputlevel.SETTINGMIC
PREAMPGAIN:
To set the coarse preamp gain:
1. Press the HOME button to ensure that we are starting
from the top.
2. Press the NEXT button once.
3. TurntheADJUST knob clockwise until the display reads
“SectiontoEdit,-SetupMenu-”.
4. Press the NEXT button once.
5. Turn the ADJUST knob clockwise until the display reads
“-SetupMenu-,--Channel1Input--”.
6. Press the NEXT button once and the display should read “Channel
1Gain,HotMic-36dBu”,ifitdoesnotturntheADJUST knob
clockwise or counter-clockwise until it does. This provides 40 dB of
gainwhichassumesanominalinputlevelof-36dBu.Thissetting
should be sufficient for most microphones however, certain dynamic
microphones may require more.
7. PresstheHOME button when finished.
Provided that your monitoring path is turned on and set up properly,
you should now be able to speak into the microphone and get a basic
signal through the 6200. Talk into the microphone as loudly as you
think you will ever talk into it. If the audio distorts, you may need to turn
the gain down (try the -10 dBV setting). If the audio level is too weak,
turn the gain up (try the -56 dBu setting). If you adjust the gain, repeat
the process of speaking loudly into the mic and checking for distortion
or weak level. We’re looking for a ballpark level adjustment here. When
you find the most suitable coarse gain adjustment, move on to the fine
gain adjustment.

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User’s Guide
To set the fine preamp gain (for Channel 1):
1. Press the HOME button to ensure that we are starting
from the top.
2. Press the NEXT button once, the display should read
“SectiontoEdit,-Channel1Menu-“.
3. PresstheNEXT button once, the display should read
“-Channel1Menu-,--Input--“.
4. Press the NEXT button once, the display should read
“Input Gain Trim, 0.0 dB“.
You can now use the ADJUST knob to dial in your fine gain setting.
Talk into the microphone as loudly as you think you will ever talk into it
whileturningtheADJUSTknobclockwise(increasinggain).Notewhen
the audio distorts and then turn the gain back down somewhat (maybe
6 dB or so). You should now be able to talk in a normal voice with
adequate level while still having enough headroom for loud passages. If
you find that the audio never distorts when turning the gain up, and you
reachthemaximumgainof31.5dBprovidedhere,youshouldreturn
this gain setting to 0.0 dB and then go back to reset the coarse gain to
a higher setting.
INPUT METERING:
You can monitor the input meters by viewing the “In LVL” menu
accessedbypressingtheHOMEbuttononcethenturningtheADJUST
knob clockwise once. A meter for channel 1 is displayed on the top
line, channel 2 on the bottom line. Unity gain is represented as an
“open square” symbol and corresponds to an input level of -20 dBFS =
+4 dBu = 0 VU.
Now that we have a basic signal through the unit, we can move on
to exploring the specific signal processing functions of the 6200 (EQ,
Dynamics, etc.).
DSP Modules
The following are the available DSP modules available in the 6200.
Each of these modules may be individually enabled or disabled. The
order of the modules is fully configurable. The modules are listed in
their default order.
SYMMETRY:
For broadcast applications, a switchable voice symmetry circuit helps
make speech waveforms more symmetrical, which makes better use of
the transmitter’s output power.
Human speech, particularly male human speech, contains a great deal
ofasymmetry.Inbroadcast(especiallyAMbroadcast),thiswastes
transmitter power because asymmetrical waveforms do not utilize the
full power of the modulator.
Controls:
Bypassed/Enabled - When bypassed, the input is sent unmodified to
the output. When enabled, the module processes the signal.
HIGH PASS FILTER:
High pass filters allow selectively modifying a signal by attenuating
all signals below a specified cut-off frequency. They can be useful to
remove noise or other unwanted frequencies. A high pass filter in a
voice processor is typically used to reduce rumble picked up by the
microphone. It can reduce boominess in a voice, noise from handling
the mic, fingers tapping on a desk, etc. The 6200 offers 6 dB/octave,
12dB/octave,18dB/octaveand24dB/octavefilters.Additionally,
“peak” versions of each filter are provided for further flexibility and
tuning. The filters with the steeper response filter more sharply.
Controls:
Bypass/Enabled - When bypassed, the input is sent unmodified to the
output. When enabled, the module processes the signal.
High Pass Frequency - Determines the cut-off frequency of the filter.
All frequencies below this will be progressively attenuated. Technically,
thisfrequencyisthe“3dBdownpoint”,i.e.thepointwherethefilter
responseis3dBlowerthanitisforunaffectedsignals.
HP Filter Slope - Determines the type of filter (slope) to use in order to
select how steep or aggressive the filter is.
Technical note: This module implements Butterworth filters which are
generally preferred for audio because of their flat frequency response in
the pass band.
DE-ESSER:
A de-esser is a frequency-selective compressor. It is used to remove
sibilance by detecting the presence of excessive “S” frequencies and
then reducing those frequencies in amplitude.
Controls:
Bypass/Enabled - When bypassed, the input is sent unmodified to the
output. When enabled, the module processes the signal.
De-esser (Response) - Determines the aggressiveness of the de-essing
(Gentle,NormalorAggressive).Thede-esserisadualbanddesign.
It compares the relative energy above the 2.5 kHz rollover point to
the energy below and limits the upper band when the high frequency
energyisgreaterthanathresholdamount.TheGentle,Normal,and
Aggressive settings determine how much relative high frequency energy
is required to start the high frequency gain reduction.
GainReduction(Meter)-Againreductionmeterisprovidedsothatthe
effect of the de-esser can be observed.
PARAMETRIC (1 through 4) EQ:
With parametric equalizers you can adjust center-frequency, gain, and
bandwidth of a filter band. Parametric EQ can be used to tailor an
overall sound quality or to more accurately boost/cut specific frequency
ranges. The 6200 provides a four-band parametric EQ. Each of the four
bands can be individually adjusted.
Controls:
Bypass/Enabled - You can selectively enable or disable a given
parametric band. If a band is disabled, it has no effect on the signal,
regardless of the other settings for this band.
Parametric (n) Freq - The center frequency of the equalizer band.
Parametric (n) BW - The bandwidth of the peak or dip applied to
the signal, expressed as the Q factor. Q is a dimensionless (unitless)
quantity used to describe bandwidth.
Parametric (n) Gain - The amount of gain or attenuation (boost or cut)
applied at the center frequency.
Note: Only one set of controls is outlined. Bands 1 through 4
are identical.
SHELVING FILTER:
High Shelf and Low Shelf filters are simple filters that can be used to
modify the treble or bass content of a signal. They are designed to
emulate traditional analog tone or treble/bass controls. If you need to
give a non-technical end user control over treble and bass, a shelf filter
is the way to go. The low shelf filter can be used to boost or cut the
bass from a signal. The high shelf filter can be used to boost or cut the
treble from a signal. The 6200 provides one shelving filter which can be
set as a low or high shelf. For a basic treble control, use a high shelf
filter and set the frequency between 2 kHz and 5 kHz. For a basic bass
control, use a low shelf filter and set the frequency between 200 and
500 Hz.
Controls:
Bypass/Enabled - When bypassed, the input is sent unmodified to the
output. When enabled, the module processes the signal.
Basic Setup

11
6200 Digital Broadcast Delay
Shelving Frequency - Determines where the boost or cut takes place.
For low shelf filters, all frequencies below this will be affected. For
high shelf filters, all frequencies above this will be affected. Technically,
the indicated frequency is the point where the filter has reached half
of its specified dB gain. For example, for +6 dB boost with a 1 kHz
frequency,thesignalisboostedby+3dBat1kHz.
Shelving Gain - Determines the amount of boost or cut applied.
Shelving Type - Defines the type of shelving filter in use (Low Shelf or
HighShelf)andtheaggressivenessoftheshelframp(Gentle,Normal
or Aggressive).
EXPANDER:
An expander reduces the gain of lower level signals thereby increasing
the total dynamic range. Above a user defined threshold setting, signal
levels remain unchanged. Below threshold, signals are reduced by
some degree. An expander reduces the level gradually for decreasing
input level. An expander can be used to reduce room noise during
pauses in speech or reduce noise floor during pauses in program.
Controls:
Bypass/Enabled - When bypassed, the input is sent unmodified to the
output. When enabled, the module processes the signal.
Expander Threshold - The level that the signal must exceed to open the
expander (let it pass signal).
Expander Ratio - The slope of the gain curve below the threshold point.
A high ratio setting begins to approximate the action of a gate.
GainReduction(Meter)-Againreductionmeterisprovidedsothat
the effect of the expander can be observed (present on Threshold and
Ratio menus).
Expander Attack - The duration of the input signal, over threshold,
required to open the expander. Faster attack times let shorter transients
open the expander.
Expander Release - The amount of time required for the gain to return
to the below-threshold value after the input signal falls below threshold.
COMPRESSOR:
A compressor reduces the dynamic range of signals above a user
determined threshold. Signal levels below the threshold remain
unchanged. A compressor can be used to tame transient spikes in
audio sources as well as reducing dynamic range to control wildly
varying levels while increasing intelligibility.
Controls:
Bypass/Enabled - When bypassed, the input is sent unmodified to the
output. When enabled, the module processes the signal.
Compressor Sidechain - Determines the mode of the compressor
module (Compressor or AGC). Certain controls are only applicable
within specific modes.
Compressor Threshold - The signal level above which the compressor
begins reducing the gain. Visually, the point at the knee (bend) in the
input/output curve. For peak stopping, set the threshold just below the
peak level that you want to stop. For dynamic range reduction, pick a
threshold setting that results in a few dB of gain reduction indication
with the signal levels that you are interested in.
Compressor Ratio - The ratio determines the degree of output
change for an above threshold change in the input. Generally ratios
under 10:1 are considered compression while those above 10:1 are
considered limiting.
GainReduction(Meter)-Againreductionmeterisprovidedsothat
the effect of the compressor can be observed (present on Threshold
and Ratio menus). It indicates the amount of gain reduction that
the compressor is currently applying. This meter is pre-output gain,
meaning changes to compressor output gain do not effect this meter.
Compressor Attack - The speed with which the compressor begins
the gain reduction process. Although your intuition tells you that you
want the fastest possible attack time, your ears will tell you otherwise.
Too fast attack times strip transients of their edges, dulling the
sound. Remember that momentary (brief) clipping is inaudible. Faster
attack times allow shorter transients to initiate gain reduction. On the
other hand, too long attack times can allow short transients to pass
unchanged, which may defeat the purpose that the compressor was
intended for.
Compressor Release - The release time determines the moment-
to-moment gain change in the compressor. Fast release times raise
the subjective level, while slow release times are more useful for
keeping levels under control. Very fast release times can cause audible
distortion, especially with low-frequency content.
Compressor Knee - The knee setting determines the compression
ratio during the transition from linear (below threshold) to compressor
operation. A soft knee makes this change gradually, while a hard knee
makes an abrupt transition. A soft knee curve may require several dB of
gain reduction before the actual compression ratio has reached the set
value. For general compression, use the soft setting. For limiting, use
the hard setting.
CompressorMakeup-Themakeupgaincontrolstheoutputgainofthe
module. If the compressor is reducing the signal level significantly, a
boost in the output gain may be required to maintain perceived volume.
SidechainHighPass-A150,300or600Hzsidechainhighpass
filter can be invoked in order to deter low frequency energy from
triggering expander/compressor action and the resultant unwanted gain
reduction.
Lookahead Delay - A lookahead delay can be enabled which allows the
module to better predict changes to incoming levels and thus provide
better dynamics processing. Enabling this delay results in an extra 2 ms
processing delay.
AGC:
AGC or Automatic Gain Control is a special case of a compressor with
its threshold set at a very low level, moderate to slow attack times,
long release times, and low ratios. It is intended to take signals of
indeterminate levels up to a target level while maintaining program
dynamics.MostAGCsincorporatesomesortofsilencedetection
to prevent the loss of gain reduction during silent periods. This is
the single feature that separates an AGC from a common, ordinary
compressor/limiter.
Use an AGC to remove some of the variation in level from a person who
isn’t trained on microphone control or to take some of the guesswork
out of setting up dynamics control of unfamiliar input sources. When
setting up the AGC, keep the attack and release times conservative
(perhaps 50ms/500ms for voice and 500ms/500ms for music).
When engaging the AGC mode of the Compressor, some controls are
repurposed, removed or replaced:
AGC Detector Thresh - The AGC Detector Threshold, or more
accuratelytheAARM(AutomatedAttackandReleaseMonitor)Detector
Threshold,isafixedthresholdbelowwhichtheAARMcircuitstops
calculating changes in gain. When the input signal level is below the
threshold, the AGC gain/attenuation will be locked, and therefore will
not be changing. Set this threshold to a level 10-20dB above the noise
floor of your input signal. It can be dangerous if the threshold is too
close to the noise floor, as this could cause the noise floor to be raised
in some cases. (Effective in AGC mode only).
Basic Setup

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User’s Guide
AGC Goal - The desired output signal level to maintain. (Effective in
AGC mode only).
Compressor Threshold - This parameter is disabled in AGC mode.
Compressor Ratio - This parameter is disabled in AGC mode.
CompressorMakeup-ThisparameterisdisabledinAGCmode.
LOW PASS FILTER:
Low pass filters allow selectively modifying a signal by attenuating
all signals above a specified cut-off frequency. They can be useful to
remove noise or other unwanted frequencies. A low pass filter in a
voice processor is typically used to limit the high frequency content
sent to downstream processing or the transmitter. The 6200 offers
6dB/octave,12dB/octave,18dB/octaveand24dB/octavefilters.
Additionally, “peak” versions of each filter are provided for further
flexibility and tuning. The filters with the steeper response filter
more sharply.
Controls (Low Pass Filter):
Bypass/Enabled - When bypassed, the input is sent unmodified to the
output. When enabled, the module processes the signal.
Low Pass Frequency - Determines the cut-off frequency of the filter.
All frequencies above this will be progressively attenuated. Technically,
thisfrequencyisthe“3dBdownpoint”,i.e.thepointwherethefilter
responseis3dBlowerthanitisforunaffectedsignals.
LP Filter Slope - Determines the type of filter (slope) to use in order to
select how steep or aggressive the filter is.
Technical note: The module implements Butterworth filters which are
generally preferred for audio because of their flat frequency response in
the pass band.
OUTPUT:
Thefinal“DSPModule”istheoutputlevel.Theoutputisloosely
labeledaDSPModuleastheleveladjustmentdoeshappeninthe
digital domain within the DSP and its parameters are stored within the
programs, however, it can not be reordered or bypassed/enabled as
the other modules can. The output level provides the final gain stage
beforethephysicaloutput(s)oftheunitandhasarangeof-72.0dB
to +24.0 dB. Typically, this control would remain as close to 0.0 dB
as possible using it only for level matching to downstream equipment
or to compensate for gain added or subtracted by the upstream DSP
modules.
If it is necessary to connect the output of the 6200 to a microphone
level input, see Appendix A for information on converting the 6200’s line
level output(s) to mic level.
OUTPUT METERING:
You can monitor the output meters by viewing the “Out LVL” menu
accessedbypressingtheHOMEbuttononcethenturningtheADJUST
knob clockwise twice. A meter for channel 1 is displayed on the top
line, channel 2 on the bottom line. Unity gain is represented as an
“open square” symbol and corresponds to an output level of -20 dBFS
= +4 dBu = 0 VU.
DSP MODULE WRAP-UP:
That covers the available DSP modules and their controls. For a
graphic view of the menu structure, see Appendix B.
Programs
The 6200 features 256 memory locations in which mono or stereo
programs may be stored. If a program is mono, it can be loaded onto
or saved from either Channel 1 or Channel 2 independently. A stereo
program stores information for both channels simultaneously.
Be advised:
1. When loading a stereo program onto a unit configured for dual
mono operation, both channels will be overwritten with the stereo
program’s information.
2. When changing the unit to stereo operation from dual mono,
channel 1’s settings will be applied to channel 2, thus overwriting
channel 2’s settings.
3. Loadingamonoprogramontoeitherchannelwhentheunitis
configured for stereo operation will result in the automatic configuration
of the unit to dual mono mode.
Each program can be named with up to 20 characters. A program
loads/saves of all settings under the Channel 1/2 menu trees (see
Appendix B), including module order. Each program may be loaded
manually by any of the means mentioned in the rest of this User’s
Guide,orautomaticallybytime/dateusingthebuilt-inEventManager
covered in the 6200 Designer’s online help module.
Saving a Program
Use this process to save a program you have created or modified.
1. Press and hold the LOAD 1/SAVE 1 button for approximately one
second. The screen will read “Save to Program 1?” and the name of
the program currently stored in this location will readout on the line
below.
2. Turn the ADJUST knob to locate the program location (1-256) you
wish to save to.
3. PressandholdtheLOAD 1/SAVE 1 button again for approximately
onesecondandthescreenshouldread“SaveMonoorStereo?”.
4. Turn the ADJUSTknobtotogglebetweenMonoandStereoformats.
5. Once you have chosen your format for the program, press and hold
the LOAD 1/SAVE 1 button again for approximately one second.
6. The screen should briefly display “Saving...” and then return to the
home screen.
NOTE: The above steps assume you are working with Channel 1. To
perform a save using the parameters on Channel 2, perform the above
steps using the LOAD 2/SAVE 2 button instead.
Basic Setup

13
6200 Digital Broadcast Delay
Loading a Program
Use this process to load a program you have previously saved.
1. Press briefly the LOAD 1/SAVE 1 button once. The screen will read
“LoadMonoPgm1?”andthenameoftheprogramcurrentlystoredin
this location will readout on the line below. NOTE: If the program in the
selected memory location is a stereo program, the text will read “Load
Stereo Pgm 1?” instead.
2. Turn the ADJUST knob to locate the program location (1-256) you
wish to load.
3. NowbrieypresstheLOAD 1/SAVE 1 button again.
4. The screen should briefly display “Loading...” and then return to the
home screen.
NOTE: The above steps assume you are working with Channel 1. To
load a program onto Channel 2, perform the above steps using the
LOAD 2/SAVE 2 button instead.
Copying Programs
To copy a program from one location to another, perform the steps
listed above for loading a program, followed immediately by the steps
for saving a program.
Naming a Program
Program names are modified in the Channel 1/2 menus under the
“ProgramName”submenu.SeeAppendixBforitslocation.Ifyou
rename the currently loaded program, don’t forget to resave it to retain
your new name.
External Program Recall
ProgramsmayberecalledexternallyusinganAirToolsRC-1MIDI
controllerorauser-built9-pininterfaceonthePROGRAMCONTROL
port.Additionally,anygenericMIDIcontrollerwhichcansendMIDI
Program Change messages will work.
PROGRAM CONTROL:
ThePROGRAMCONTROLportisastandard9-pinD-subconnector
which allows program loading on each channel using standard contact
closures.InterfacingwiththePROGRAMCONTROLportallowsthe
user to integrate the 6200 into a purpose-built work surface.
PROGRAM CONTROL Pinout:
Function Pin #
Channel 1 Program Scroll Up 1
Channel 1 Program Scroll Down 2
 ProgramLoad 3
Channel 2 Program Scroll Up 4
Channel 2 Program Scroll Down 5
 Channel1Mute 6
 Channel2Mute 7
 Reserved 8
 Ground 9
MIDI/RC-1 IN:
The6200respondstoMIDIProgramChangemessagesfromthe
AirToolsRC-1RemoteorfromanyMIDIdevicecapableofsending
MIDIProgramChangemessages.TheRC-1allowsdirectrecallofupto
11 programs as well as the ability to enable/disable the DSP BYPASS
function.
Basic Setup

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User’s Guide
Bypass and Analog Control Inputs
Bypass
The 6200 has two bypass modes - software (DSP) and hardware (relay).
The DSP (SW) bypass can be invoked a number of ways. The hardware
(HW) bypass is only accessible via contact closure wired to a rear panel
euroblock connector.
DSP (SW) BYPASS:
DSP (SW) Bypass mode can be invoked by several means:
1. Pressing the BYPASS button on the front of the 6200 while in one of the top-
level menus (Home, In LVL or Out LVL).
2. Pressing the BYPASS (PROGRAM 0) button on an attached RC-1 remote.
3. Pressing the DSP Bypass button in an attached (and currently “online”) 6200
Designer GUI.
4. Activating a contact closure attached to the SW and Ground terminals of the
rear panel REMOTE BYPASS connector.
DSP (SW) Bypass
switch wiring:
The figure right shows the
connection of a contact
closure to the SW Bypass
function of the REMOTE
BYPASS connector.
NOTE: A latching switch
should be used in order to
hold the bypass state.
NOTE 2: The switch on the
REMOTE BYPASS connector
will both override and inter-
rupt the bypass state set by methods 1 through 3 listed above.
HARDWARE MUTE (HM):
Hardware Mute (HM) isn’t
a true “bypass” or “mute”
but actually a relay-activated
output disconnect. It is only
accessible by activating a
contact closure attached to
the HM and Ground terminals
of the rear panel REMOTE
BYPASS connector.
Hardware Mute (HM) switch
wiring:
The figure right shows the
connection of a contact
closure to the Hardware Mute
function of the REMOTE BYPASS connector.
NOTE: A latching switch should be used in order to hold the bypass state.
NOTE 2: Activating the Hardware Mute function invokes relays which
completely disconnect all active circuitry from their associated
output connections.
NOTE 3: Hardware Mute is automatically engaged upon loss of power.
Analog Control Inputs
The 6200 features two analog control inputs which provide real-time
control of up to two parameters per port using standard 10k Ohm linear
potentiometers. The figure right shows the connections.
Calibrating an Analog Control Input
Once you have wired up your pot to an analog control input, it should be
calibrated to ensure the full travel of the pot is read correctly by the 6200.
1. Press the HOME button to ensure we are starting from the top.
2. Press the NEXT button once.
3. The display should read “Section to Edit, - Channel 1 Menu -”.
4. Turn the ADJUST knob clockwise until the menu reads “Section to Edit, -
Setup Menu -”.
5. Press the NEXT button once.
6. Turn the ADJUST knob clockwise until the menu reads “- Setup Menu -,
-- External Controls --”.
7. Press the NEXT button once and the menu should read “Lowest Cntrlr Level,
ADC1: xxx Min: 000”. This menu is showing you the current pot position
“ADC: xxx” and the current minimum calibration setting “Min: xxx”.
8. Turn your pot fully counter-clockwise and then turn the ADJUST knob so that
the “Min: xxx” value is equal to the displayed “ADC: xxx” value.
9. Press the NEXT button once and the menu should read “Highest Cntrlr Level,
ADC1: xxx Max: 255”. This menu is showing you the current pot position
“ADC: xxx” and the current maximum calibration setting “Max: xxx”.
10. Turn your pot fully clockwise and then turn the ADJUST konb so that the
“Max: xxx” value is equal to the displayed “ADC: xxx” value.
NOTE: The above steps assume you are calibrating ADC1 (Analog Control
Input 1). Follow the same steps to calibrate ADC2 (Analog Control Input 2)
substituting ADC2’s menus where appropriate.
Assigning a Parameter to an Analog Control Input
Assignment of parameters to an Analog Control Input is done within 6200
Designer. Refer to the online help module within 6200 Designer for more
information.
RS-485
AB
REMOTE
BYPASS
HMSW
ANALOG
CONTROL
INPUT 2
ANALOG
CONTROL
INPUT 1
POTENTIOMETER
3.3V
OUT
3.3V
OUT
Potentiometer
Symetrix
RC-3
=
= + 3.3V (Clockwise)
= (Counter Clockwise)
Legend:
ANALOG
CONTROL
INPUT 2
RS-485
ANALOG
CONTROL
INPUT 1
POTENTIOMETER
AB
3.3V
OUT
3.3V
OUT
REMOTE
BYPASS
HMSW
External switch or relay contact
ANALOG
CONTROL
INPUT 2
RS-485
ANALOG
CONTROL
INPUT 1
POTENTIOMETER
AB
3.3V
OUT
3.3V
OUT
REMOTE
BYPASS
HMSW
External switch or relay contact

15
6200 Digital Broadcast Delay Digital AES Out
Digital (AES) Out
The 6200 features two AES format digital outputs each of which can trans-
mit a combination of channel 1 or channel 2’s content or each channel’s
content exclusively. Additionally, a HomerLink jack is provided as a rear
panel real estate sensitive means of providing AES/EBU input as well as
outputs on a single CAT-5 connection. HomerLink is a Symetrix developed
format for transferring 4 channels of AES/EBU bidirectionally over a single
CAT-5 cable.
AES OUT CONNECTION
Connect the AES OUT jack of your choice to your downstream equipment’s
AES IN jack using a standard 110 Ohm AES cable terminated with the ap-
propriate XLR jacks.
AES OUT MODE
Typically, an AES jack will carry two audio signals, most often a stereo
Left/Right pair. However, in the case of the 6200, this could also be a
1/2 dual mono pair. Some broadcast consoles in particular would rather
receive the exact same signal on one AES jack, this essentially being a
1/1 pair. The 6200’s AES outputs can be configured to accommodate all
scenarios. The following steps walk you through configuring AES OUT 1’s
output format.
1. Press the HOME button to ensure that we are starting from the top.
2. Press the NEXT button once.
3. The display should read “Section to Edit, - Channel 1 Menu -”.
4. Turn the ADJUST knob clockwise until the menu reads “Section to Edit, -
Setup Menu -”.
5. Press the NEXT button once.
6. Turn the ADJUST knob clockwise until the menu reads “- Setup Menu, -- AES
Assignment --”.
7. Press the NEXT button once.
8. The menu should read “AES Out 1 Mode, Channel 1/Channel 2”. This selec-
tion sends channel one out of AES-1 “L” and channel 2 out of AES-1 “R”. As
mentioned previously, some consoles prefer to see the exact same signal
on the AES outputs “L” and “R” channels. To make this adjustment, turn the
ADJUST knob to the desired setting.
9. If you turn the ADJUST knob twice clockwise, the menu should read “AES Out
1 Mode, Channel 1/Channel 1”. This is the option we want to send channel
1’s audio on both the AES “L” and “R” channels. Other options available are
“Channel 2/Channel 1” and Channel 2/Channel 2”.
NOTE: The above steps assume you are configuring AES OUT 1. AES OUT 2
can be configured in the same manner.

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User’s Guide
AES Input
HomerLink is a data bus format designed by Symetrix which allows
4monobidirectionalAES-3digitalaudiochannelstobetransmitted
between devices up to 100 meters apart over standard CAT-5 cable.
HomerLink outputs (Pins 1, 2, 4 and 5) are exact copies of the AES
OUTXLRjacksontherearofthe6200.Thecontentofthesepins
followsthecontentoftheXLRjacksasconfiguredintheprevious
sectionunderAESOUTMODE.
AES audio or clock input.
The HomerLink sync cable is the only manner in which the 6200 can
receive an AES digital input or sync to an external AES digital clock.
The pinout provided below can be used to design a custom breakout
boxwithstandardXLRconnectors.
Enabling AES Input
These steps walk you through setting channel 1’s input source to AES.
1. Press the HOME button to ensure that we are starting from the top.
2. Press the NEXT button once.
3. Thedisplayshouldread“SectiontoEdit,-Channel1Menu-”.
4. Press the NEXT button three times and the display should read “Input
Signal Source, ANALOG”.
6. Turn the ADJUST knob clockwise until the menu reads “Input Signal
Source, DIGITAL”.
NOTE: The above steps assume you are setting Channel 1’s input
source. The steps are similar for Channel 2.
NOTE 2:IncomingAESaudioorclockmustbe48kHz+/-100ppm.
See the Performace Data section for more information.
Enabling AES Clock Sync
The6200willautomaticallyclocktoavalidAESinputsource(48
kHz+/-100ppm,AES-3or-11)whenoneispresentateitherofthe
HomerLink inputs. Symetrix has available for purchase a HomerLink
synccable,partnumber810HLSYwhichprovidesaneasywaytoget
AES digital input signal or clock source into the 6200.
NOTE:Whenthe6200islockedtoadigitalinputsignalorclock
source, a “D” character will appear in the lower right side of the “In
LVL”and“OutLVL”menusaccessedbypressingtheHOMEbutton
once then turning the ADJUST knob clockwise once (for “In LVL”) or
twice (for “Out LVL”).
TC89/TC90 Time Code In
(ESE)TC89orTC90timecodecanbefedtothe6200inordertodrive
thereal-timeclockandEventManager.Theformatandpresenceis
automaticallydetected.SimplyconnecttheoutputofyourTC89or
TC90masterclockintothe6200’sTC89/TC90TIMECODEINport.
Refer to the help content within the 6200 Designer application for more
informationontheEventManager.
NOTE:WhenavalidTC89orTC90sourceisconnectedtothe6200,
a “Tc” character will appear in the upper right side of the “In LVL” and
“OutLVL”menusaccessedbypressingtheHOMEbuttononcethen
turning the ADJUST knob clockwise once (for “In LVL”) or twice (for
“Out LVL”).
Moreinformation,compatibleproductsandsupportfortheTC89and
TC90timecodeformatscanbefoundat:
www.ese-web.com.
TIME/UDP (Time Protocol)
The6200implementstheTimeProtocol(RFC-868)viaUDP.Thisis
nottobeconfusedwiththe“NetworkTimeProtocol”(RFC-1305),
alsocalled“NTP”.Tosynchronizethe6200,youwillneedtoconnect
the 6200 to a network using the Ethernet port and correctly enter
theIPAddress,SubnetMaskandGatewayIPAddress.Seethe
Ethernet Connection section for more details. You will also need the
IP address of a server that supports the Time Protocol via UDP and
theabilitytoconnecttoitviaUDPport37overtheinternetortoa
local server providing the Time Protocol service. This may have to be
allowed through a firewall when using an external server. If you have
any questions regarding the integration of the 6200 into your network,
consult your friendly IT/IS personnel or your network hardware’s
documentation.
MoreinformationandalistofpublicserversintheUScanbefoundat:
http://www.boulder.nist.gov/timefreq/service/time-servers.html
orbysearchingforthe“NISTInternetTimeService”.
AESInputandTC89andTC90TimecodeIn
6200 HomerLink Pinout
Pin# EIA/TIA 568B
Color Scheme
DETAILS
1White-Orange AES-1 (1L) Out
2Orange AES-2 (1R) Out
3White-Green AES-1 (1L) In
4Blue AES-1 (1L) Out
5White-Blue AES-2 (1R) Out
6Green AES-2 (1R) In
7White-Brown Terminated (100 Ohm)
8Brown Terminated (100 Ohm)

17
6200 Digital Broadcast Delay EnablingNetworkTimePolling
Entering the Time Server IP Address and
Enabling Network Time Polling
1. Press the HOME button to ensure that we are starting from the top.
2. Press the NEXT button once.
3. Turn the ADJUST knob clockwise until the display reads “Section to Edit, -
Setup Menu -”.
4. Press the NEXT button once.
5. Turn the ADJUST knob clockwise until the display reads “- Setup Menu -,
-- Date and Time --”.
6. Press the NEXT button nine times and the display should read “Time Server
IP, 000.000.000.000”.
8. Turn the ADJUST knob clockwise until the display reads until the first three
digits of the IP address match the first three digits of the IP address for your
chosen time server.
9. Press the NEXT button once and repeat step 8 to enter the next three digits of
the address.
10. Repeat steps 8 and 9 two more times to complete the address.
11. Press the NEXT button once and the display should read “Network Time Poll-
ing, Disabled”.
12. Turn the ADJUST knob clockwise once to enable Network Time Polling.
13. Press the HOME button when finished.
NOTE: When “NETWORK TIME POLLING” is enabled on the 6200 and
a successful synchronization with a time server has occurred, an “N”
character will appear in the upper right side of the “In LVL” and “Out
LVL” menus accessed by pressing the HOME button once then turning the
ADJUST knob clockwise once (for “In LVL”) or twice (for “Out LVL”).
Don’t forget to configure the unit’s IP settings under
Ethernet Connection in the following section!

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User’s Guide
6200 Designer Installation
The 6200 Designer software provides real-time control and a simple drag
‘n drop, point ‘n click configuration interface to the 6200 from a Windows
98/2000/XP PC environment.
Use one of the following procedures to install the 6200 Designer on your
computer.
From the 6200 Designer CD-ROM:
1. ThesoftwareshouldautorunafterinsertingtheCD-ROMintoyour
computer’sCD-ROMdrive.
2. If the software does not auto run, then Click on the Start button,
choose Run and type “D:\SETUP”
(IfyourCD-ROMdriveisn’tD:,thensubstituteitsdriveletter)
From the symetrix web site
(www.SymetrixAudio.com):
1. Download the 6200 Designer program file.
2. From the Start button, Run the file/program that you just downloaded
to start the Setup program.
The software always starts up in offline mode. Regardless, you can
explore the software, experiment to your heart’s content, and perhaps
even get useful work done. You can save any Sites (complete with up
to 256 programs) that you create to a file that can be downloaded later
into an operating 6200.
If there is a 6200 hardware unit connected, you can go download to,
and upload from the 6200. Once you have a unit connected, you can
also work online in real time, which allows you to hear adjustments and
settings as you make them. Follow the steps in the following sections
to get your hardware connected to your PC.
Using 6200 Designer
Once the installation process is complete, you should have an icon on
your desktop, and a program item in the Start menu. Click on the 6200
Designer icon and you’re ready to begin.
6200 Designer is mostly self explanatory. The main screen represents
the processing chain for each channel of the 6200 hardware. The
input sections are on the left, DSP modules in the middle and output
sections on the right. DSP modules can be reordered by drag ‘n drop
and their parameters viewed by clicking on each DSP module’s icon.
Hardware parameters can be setup in the Unit menu, programs can be
saved and recalled from the Channel menus.
When you want to test things out or synchronize what you see on
the screen with the 6200 hardware, you can “Go Online” and adjust
parameters in real time provided that your communications method and
settings match between the PC and 6200 hardware.
NOTE: There are a lot of useful functions available in the mouse right-
click. Explore! That’s the ultra-condensed version. You’ll find more
complete information in 6200 Designer’s online help. Just choose “Help
Contents (F1)” from the Help menu.
USB Connection and Driver Installation
When you install the 6200 Designer software, a USB driver
for the 6200 is also installed into the 6200 Designer program
directory. If you wish to control the 6200 using USB, follow
the instructions below to install the USB driver.
1. Install the 6200 Designer software (using one of the methods outlined
previously).
2. Plug your computer into 6200 using an appropriate USB cable. The
6200’s front panel USB port is a Female “B” type USB 1.1 port.
3. YourcomputershouldautomaticallydetectthatanewUSBdeviceis
present.
4. TheWindows“NewHardwareWizard”shouldpopup.
5. When asked “Can Windows connect to Windows Update to search for
software?”choosethe“No,notatthistime”optionandclicktheNext
button.
6. When prompted “What do you want the wizard to do?” choose the
option “Install from a list or specific location (Advanced)” and click the
Nextbutton.
6200 Designer Installation

19
6200 Digital Broadcast Delay
7. Inthenextdialog,choosetheoption“Searchforthebestdriverin
these locations” and check the sub-option “Include this location in the
search:”.
Then click the Browse button and navigate to the 6200 Designer USB
Driver directory (typically “C:\Program Files\Symetrix\6200 Designer\
USB Driver\”).
Select that directory and click the OK button.
Now,clicktheNext button.
8.Windowswillinstallandcongurethedriver.
Once the USB driver has been installed, you can open up the 6200
Designer application, select your unit and go online with it. Refer to the
help content within the 6200 Designer application for more information.
6200 Designer Installation

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User’s Guide
Alternate Communications Connections
Alternate Communications Connections
In addition to USB, the 6200 Designer application can communicate
withthe6200hardwareviaRS-232orEthernet.
RS-232
The6200supportsbaudratesof9600through115,200.Thebaud
rate is set in the hardware and the 6200 Designer’s Communication
Settings. The baud rates selected in both areas must match. The
RS-232portiswiredasastandardstraight-throughwithonlypins
2,3and5absolutelynecessary.ConnectastandardRS-232cable
terminatedwiththeproperDB-9connectorsbetweenyourPC’sCOMM
portandtherearRS-232portofthe6200.The6200’sRS-232port
isafemaleDB-9connector.Refertothehelpcontentwithinthe6200
Designer application for more information.
Setting the RS-232 baud rate:
1. Press the HOME button to ensure that we are starting from the top.
2. Press the NEXT button once.
3. TurntheADJUST knob clockwise until the display reads
“SectiontoEdit,-SetupMenu-”.
4. Press the NEXT button once.
5. Turn the ADJUST knob clockwise until the display reads
“-SetupMenu-,--Communication--”.
6. Press the NEXT button three times and the display should read
“RS232BaudRate,115.2K”.Thisisthedefaultbaudrateandis
recommended unless your computer does not support this rate.
If another baud rate is required, turn the ADJUST knob counter-
clockwise to select a lower rate.
7. PresstheHOME button when finished.
RS-485
RS-485servesasalongdistanceversionoftheUSBandRS-232
serial connections. It may be desirable when serial control over a long
distanceisrequired.VariouscompaniesmakeRS-232toRS-485
converterswhichwouldallowyoutoconnectyourPC’sRS-232portto
theRS-485portofthe6200.NOTE:Symetrixdoesnotmake,sellor
recommendanRS-232/485converterproduct.
RS-485isamulti-dropserialbuswiredinaparallelfashion(AtoA,B
to B and Ground to Ground).
Note:NotallRS-485chipsetsarewiredorlabeledthesame.Some
manufacturers label A, B and Ground while some label Positive (+),
Negative(-)andGround.Further,notalldevicesareconfiguredfor
A=Positive, so some experimentation may be necessary depending
upontheRS-485interfaceused.Ifyouareunabletoestablish
communications with a particular interface, try swapping A (+)
with B (-).
Setting the RS-485 baud rate:
1. Press the HOME button to ensure that we are starting from the top.
2. Press the NEXT button once.
3. TurntheADJUST knob clockwise until the display reads
“SectiontoEdit,-SetupMenu-”.
4. Press the NEXT button once.
5. Turn the ADJUST knob clockwise until the display reads “- Setup
Menu-,--Communication--”.
6. Press the NEXTbuttononceandthedisplayshouldread“RS485
BaudRate,38.4K”.Thisisthedefaultbaudrateandisrecommended
unlessyourRS-485interfacedoesnotsupportthisrate.Ifanother
baud rate is required, turn the ADJUST knob to select a another rate.
7. PresstheHOME button when finished.
Setting the Unit Number:
SinceRS-485isamulti-dropbus,eachunitonthebusmusthave
someuniqueID.The6200“UnitNumber”isthisuniqueID.Youmay
need to specify a certain ID for the 6200 in order for it to work with
yourRS-485interfacebutsincetheRS-485interfaceonthe6200is
essentially a long distance point-to-point connection, the 6200 should
remainasunit1in99.9%ofthecases.However,ifyourRS-485
interface requires a different ID, the following steps detail how to adjust
the unit number:
1. Press the HOME button to ensure that we are starting from the top.
2. Press the NEXT button once.
3. TurntheADJUST knob clockwise until the display reads
“SectiontoEdit,-SetupMenu-”.
4. Press the NEXT button once.
5. Turn the ADJUST knob clockwise until the display reads
“-SetupMenu-,--Communication--”.
6. Press the NEXT button twenty times and the display should read “Unit
Number,UnitID:1”.Thisisthedefaultandisrecommendedunless
you must change it for your own specific purposes. An ID of 1 through
254 may be selected.
7. PresstheHOME button when finished.
Ethernet
The 6200 has the ability to be controlled by a host computer via
Ethernet. This requires the host computer to be connected to the
6200 either by an Ethernet switch or a crossover cable. It also requires
that the 6200 as well as the host computer have the proper network
configuration.
Note:Alwayschooseaswitchinlieuofastandardhub.Thisis
especially important when mixing 10 Base-T and 100 Base-T devices in
a data-intensive environment.
Network configuration of the 6200:
Connectingtothe6200fromahostcomputeronthesameLAN,both
the6200andthehostcomputerrequirethefollowing3items:
1. IP Address - The unique address of a node on a network.
2. SubnetMask-CongurationthatdeneswhichIPAddressesare
included in a particular subnet.
3. Gateway-Theinterfaceofadevicethatroutestrafcfromonesubnet
to another. (Only needed when communicating to/from a device on a
different subnet).
If you are putting the 6200 on an existing network, a network
administrator should be able to provide the above information. For
security reasons, it is not recommended to put the 6200 directly on
the internet. If you do, a network administrator or your Internet Service
Provider can provide the above information. If you are building your
own separate network, you may consider using an IP Address from one
ofthe“Private-Use”networksnotedinRFC-1918:
1. 172.16.0.0/12=IPAddresses172.16.0.1through172.31.254.254
andaSubnetMaskof255.240.0.0
2. 192.168.0.0/16=IPAddresses192.168.0.1through
192.168.254.254andaSubnetMaskof255.255.0.0
3. 10.0.0.0/8=IPAddresses10.0.0.1through10.254.254.254anda
SubnetMaskof255.0.0.0