IVIE 1026 User manual

1026 Manual
I vie Technologies, Inc. __________________________________________________________
Installation & Operation Manual
for the
Ivie
11002266
DSP Automixer
Updated: November 2007
Copyright 2007
by Ivie Technologies Inc.
Printed in U.S.A.

Introduction
The 1026 Integrated Automixer/Digital Signal Processor is an EtherNet® controlled, ten input by two
output automixer in combination with a two input by six output DSP signal processor. The automixer
is rich in functions, with automatic level control on each input, remote level control capability and six-
teen programmable presets. The DSP inputs and outputs are user configurable with combinations of
parametric EQ, delay, comp/limiting, and crossover functions being assignable to inputs and/or outputs.
Inputs may be assigned to any or all outputs as a pre-EQ input, post-EQ input or as a post-EQ, mixed
input. These assignment options can be very useful when employing a dual channel analyzer to com-
pare pre and post-EQ signals. A total of 50 parametric filters are available to assign in any combina-
tion to DSP inputs and/or outputs.
The 1026 Integrated Automixer is an EtherNet® based product and cannot be controlled by the same
ANSW+ software that controls Ivie matrix mixers, 1/3 octave equalizers etc. The 1026 has its own
control software which is discussed in detail in Section II of this manual titled "1026 Software and
Programming."
System and Software Requirements
The 1026 Integrated Automixer comes with its own software which is not compatible with other Ivie
Audio Net® products. The 1026 software is a Windows® application requiring a Windows® based
computer with an EtherNet® port - the faster the computer, the better. The software control screen for
the 1026 will operate in a “off-line” mode without a 1026 actually being attached (this is not true of
other AudioNet+ products such as the 884+). If a 1026 is attached, the software will query the unit and
display its actual settings. Unlike most other AudioNet+ products that need to be attached for pro-
gramming to occur, the 1026 allows completely off-line programming for later upload into a unit. A
hard disk drive is required for overall operation of the system. A mouse is required to use this program.
This Manual
This manual is divided into two sections. Section I: Hardware Overview, describes the mixer and
DSP signal processor hardware: input/output connections, physical connector assignments, etc. All
information necessary to physically install a unit is contained in this section - everything from bolting
it into a rack to the hardware activation of presets, connection of inputs and outputs, remote controls
and other physical functions.
Section II: 1026 Software and Programming, describes the programming of the mixers using the
Ivie's Windows® based 1026 software. Computer system requirements are presented in detail, the
software is explained, and programming examples are clearly presented.
Both the hardware connections and software functions of the 1026 are intuitive and user friendly.
Everything necessary for a successful installation is provided within the two sections of this manual.
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Section I: Hardware Overview
Power Supply
The 1026 uses the HUP45-32 universal power supply. It is UL, CSA and CE approved, and will oper-
ate at line voltages from 100 VAC to 240 VAC, 47 Hz to 63 Hz. It comes with a United States stan-
dard, three pin power cable. Since the power cable plugs into the power supply, it can be replaced with
a power cable having a connector other than the U.S. standard connector.
Power Failure
A reasonable question is, "What happens to the programming on the 1026 if power fails?" The answer
is that the memory is nonvolatile, so it "remembers" where it was when power went off, and will return
to that same state when power is restored.
Getting Started
Default Settings: The standard 1026 is preset at the factory so that all ten inputs are assigned to all out-
puts via both buses. All inputs are software set for microphone input levels. The Phantom Power is
turned off. The preamp gain is set to 50 dB which means that total gain through the mixer is approxi-
mately 50 dB. This is about 70% of the mixer's available gain.
Important Note: Avoid surprises (and loud noises)!! Before activating the mixer in an audio chain,
be sure that the software settings for input level, DSP functions, phantom power, etc., are set to your
preferences and needs.
1026 units are shipped with a 78C-6, six inch, audio bus interconnect cable. This cable must be
plugged into the rear panel of the mixer. It should connect the "Mix Bus Output" to the "DSP Input."
A white line is drawn between these two panel jacks, indicating the standard 78C-6 connection. There
will be no audio output if this cable is either missing or improperly installed. See Figure 1, below.
Figure 1
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OUTPUTOUTPUT INPUT INPUT
Rear Panel View of 1026
78C-6 Bus jumper cable supplied with 1026.
Note: This cable must be installed as
shown for normal operation.

Successful Power Up
The HUP45-32 universal power supply is used with the 1026 and provides a broad mains voltage oper-
ating range: 100 to 240 VAC, 47 - 63 Hz. Successful powering of the 1026 can be verified by the
lighting of the power indicator LED. When first powered on, the 1026 initiates a self test which
checks a number of their operating parameters to verify proper performance.
Channel Inputs
All 1026 channel inputs are electronically balanced. The preamplifier design provides a very low noise
input with very high common mode rejection. The input is designed to work with a source impedance
of from 50 to 600 Ωand provides excellent RF protection. The actual input impedance is 2100 Ω.
All channel inputs can accommodate either microphone or line level inputs. Switching from mic to
line level input is a software function. The input preamp gain trim has a range of from -20 dB to +50
dB. With the input gain trim turned up to + 50 dB, (dynamic mic position), the input terminals are
connected directly to the preamp. Hotter microphones will require preamp gain trim settings of less
than +50 dB. A line level input will require a channel input gain trim setting of approximately 0 to
+10 dB (40 to 50 dB less gain than a mic level input), since line levels are typically hotter than mic
levels by about 35 to 40 dB. The preamp gain stage of the 1026 provides a very high common mode
rejection ratio. The greater the common mode rejection, the greater the degree of immunity to com-
mon mode noise induced in long cable runs between the 1026 and the input connector.
Connecting a Dynamic (Moving Coil) Microphone
A standard dynamic microphone connects to the 1026 via the Euro connectors located on the rear
panel. Pin one of the microphone is connected to the ground terminal on the connector. Pins two (+)
and three (-) are connected to their respective terminals. Phantom Power should be OFF. Atypical
connection is shown in Figure 2, below:
Figure 2
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INPUT SETTINGS
Phantom Pwr: OFF
Preamp gain trim set to -50dB
Dynamic (Moving
Coil) Microphone
Input 1

Connecting a Condenser Microphone
Condenser microphones connect to the 1026 via the Euro connectors located on the rear panel. Pin one
of the microphone is connected to the ground terminal on the connector. Pins two (+) and three (-) are
connected to the plus and minus terminals. Phantom Power should be ON. Since condenser mics are
usually "hotter" than dynamic mics, the preamp gain setting should be less than for dynamic mics by
some 10 dB to 20 dB. A typical connection is shown in Figure 3, following:
Figure 3
Connecting a Balanced Line Level to a Channel Input
Line level inputs are connected to the 1026 via the Euro connectors located on the rear of the units. If
the shield is to be connected to the input of the unit, it must be connected to the ground terminal. If the
shield is connected at the piece of equipment sending the signal, it should not be connected at the 1026.
By connecting the shield at only one end of the cable, potential ground loop problems can be reduced.
The two wires carrying the signal are connected to the plus and minus terminals of the channel input.
The input preamp gain trim should be set at about 0 to +10 dB, depending on how "hot" the line level
input is. The Phantom Power should be turned OFF. Figure 4, below, details these connections:
Figure 4
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Condenser
Microphone
INPUT SETTINGS
Phantom Pwr: ON
Preamp gain trim set
from +30dB to +40dB
Input 1
Input 1
Note: Phantom power is available for
each input and can be turned on or off on
each individual channel via the software.
The phantom power supplied is +15 volts
dc for powering condenser microphones.
INPUT SETTINGS
Phantom Pwr: OFF
Preamp gain trim set
from -0dB to +10dB
Balanced, Line
Level Output
Signal Flow
Note: Good grounding practices dictate
that on balanced lines, the shield should be
connected at only one end of the cable.

Connecting an Unbalanced Line Level to an Input
A typical unbalanced line has only two conductors. The signal flows in both conductors. The outer
conductor also acts as a shield. Both of these two conductors must be connected to the Euro connector.
The center conductor is connected to the plus terminal. The shielded conductor is connected to the
minus terminal. Depending upon the installation, connection of the shielded conductor to the ground
terminal may be needed in addition to connecting it to the minus terminal. If this additional connec-
tion reduces hum on the input, leave it in place. If the additional connection increases or causes hum
on the input, remove it.
The input gain trim should be set somewhere between 0 and +10 dB. Phantom Power Switch should
be set to the OFF position, as shown in Figure 5, following:
Figure 5
Master Outputs
The 1026 has six master outputs. They are referred to as master outputs 1 through 6. Each master
output is electronically balanced. The master outputs are capable of driving a 600 Ωload to a maxi-
mum of +18 dBu.
Connecting a Master Output to a Balanced Line Level Input
The output of the 1026 should be connected to the next piece of equipment in the audio signal chain
via a two-conductor, shielded cable. Care should be taken to make sure the shield is connected at only
one end of the cable. This will help minimize ground loop problems. This connection is demonstrated
in Figure 6 on the following page:
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Input 1 INPUT SETTINGS
Phantom Pwr: OFF
Preamp gain trim set
from -0dB to +10dB
Unbalanced, Line
Level Output
Signal Flow

Figure 6
Connecting a Master Output to an Unbalanced Line Level Input
The output of the 1026 should be connected to the next piece of equipment in the signal chain with a
two-conductor, shielded cable. Care should be taken to make sure that the shield is connected only at
the mixer end of the cable. This will help minimize ground loop problems. Figure 7, following, shows
this connection in detail:
Figure 7
Channel Direct Outputs
Each 1026 channel has an unbalanced, Direct Output which accesses analog audio for that individual
channel input only (the Direct Output is + and the ground of the associated input is -). If an input
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Note: Good grounding practices dictate
that on balanced lines, the shield should be
connected at only one end of the cable.
Signal Flow
Signal Flow
Connect to
ground terminal.
Connect to
ground terminal.
Do not connect shield to
ground terminal.
Do not connect shield to
ground terminal.
Output from 1026
Output from 1026
Out 1
Out 1
Out 2
Out 2
BALANCED
INPUT
UNBALANCED
INPUT
Input to next piece
of equipment.
Input to next piece
of equipment.

channel is not assigned to one of the two signal buses, the only output from that channel would be
found at the Direct Output for that input channel. The Direct Outputs provide a very useful feature.
Any input channel, for example, could be used as a microphone-to-line preamplifier. The (unbalanced)
line level output would appear at the channel's Direct Output. The outputs can be taken as separate
outputs for any number of purposes. The Direct Output is connected through a 604 Ωresistor to the
Euro terminal block on the rear panel. Direct Outputs can be connected in parallel with other Direct
Outputs when a mix of Direct Outputs is required. There will, of course, be a 6 dB drop in gain when-
ever the number of outputs being connected together is doubled.
Level Controls
There are sixteen level controls on the 1026, ten for the channel inputs and six for the master outputs.
All level controls function alike. There are three level functions associated with each control: Level,
Range, and Trim (Gain Trim).
Level
“Level” is the actual, operating, channel level and should be thought of as a common volume control
that would be located on the front panel of any standard mixer. The channel Level can be adjusted
using a remote control, or via the "slider pots" of the 1026 software.
The Level control works as an in-line attenuator and can attenuate signal from 0 dB to -99 dB. It is
very helpful to think of "turning down" the volume as opposed to "turning up" the gain. The gain for
the channel is set at input preamplifier stage. The Level control acts as an attenuator to the audio sig-
nal through that channel.
Range Control
As previously noted, the Level control has an adjustment range of 100 dB. The Range control
(accessed via a pop-up window in the 1026 software) allows the limiting, or restricting of the actual
operating range of the Level control. The ability to limit the volume control range is very helpful in
certain applications. Any type of meeting room with a volume control located in the room can benefit
from range limitation. If, for example, the volume control range were limited to 20 dB, the sound sys-
tem could never be turned all the way off. There would always be some sound from the system when
somebody talked into or tapped on a microphone. If there were always some sound, operators would
not mistakenly believe a system turned down below the audible level had died, or was not functioning.
They would, instead, begin to look for a volume control to turn the system up.
The Range control limits the range of the volume control. Instead of the full 100 dB range, a much
smaller range can be selected. The range is referenced from full on, or zero dB of attenuation, to a set
number of dB below full on. The range is set by entering the Range menu and setting the control range
in dB.
The Range control has a special feature. It is called "Range Plus Off." A limited control range can be
set with the final step in that range being full off, or full attenuation. This gives the volume control a
limited range, but still allows for a full "Off" selection.
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Trim (Preamp Gain Trim)
Trim is a very powerful, software based feature of the 1026. It allows the setting of the maximum
level, or gain, in a particular channel. The maximum gain through the channel can be limited, so as to
prevent feedback from occurring when a channel Level control is turned all the way up. The Trim is
also used to allow for microphone versus line level input signals, as previously discussed. Keep in
mind that the majority of gain in the channel is set in the input preamplifier stage. The Trim adjust-
ment has a range of from -20 dB to +60 dB, which allows not only for microphone or line level input
configurations, but also can be used to permanently limit the maximum gain available to a channel.
Figure 8, following, shows the relationship in the Level, Range and Gain Trim adjustments:
Figure 8
Note: The normal full range of the VCA is 100 dB (0 to -99). If less than the full range is desired
(perhaps only 20dB of range may be wanted), the Range control can be used to limit that range. If
less than the full available gain is desired, the Gain Trim control can be used to limit the maximum
gain available. If the maximum gain available is limited by the Gain Trim control, the full 0 to -99 dB
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Trim (Gain Trim) Level Range Range and Trim
Restricted
Volume
Control Range
Restricted Volume
Control Range and
Restricted Max Gain
Available Volume
Control Range
Properly adjusted
Trim can help limit
feedback potential. In this example, the range
of the Level Control is
restricted to 20dB and the
Trim control has been used
to trim maximum gain to
10dB below “full on.”
Loudest
Softest
Softest
Softest
LoudestLoudest
Note: The taper of the Level and
Range controls is shown in this
illustration. Both decrement in
1dB steps to -40dB. Then the
taper changes as shown.
+60
+59
+58
+57
+56
+55
+54
+53
+52
+51
+50
+49
+48
+47
0
-1
-2
-3
-4
-5
-6
-7
-8
0
-1
-2
-3
-4
-5
-6
-7
-8
-9
-10
-39
-40
-41
-42
-43
-47
-52
-61
-70
-80
-99
0
-1
-2
-3
-4
-5
-6
-7
-8
-9
-10
-17
-18
-19
-20 -27
-28
-29
-30
+50
+49
+48
+47
-17
-18
-19
-20

of attenuation is still available below the maximum level that has been set by the Gain Trim control,
unless, of course, that range of attenuation has been limited by using the Range control.
Remote Volume Controls
Please note: Before any remote control can become active, the 1026 must be programmed to accept
input from a remote control.
The ten input channel volume controls of the 1026 and the six master output volume controls may all
be controlled remotely. Two different types of remote controls can be used: a rotary style using a
potentiometer, and an up/down push button style. (The RM-1 and RM-2 up/down push button controls
look like pots, not up/down buttons, to the 1026.) All power required by the remotes is supplied by the
1026. The RMT (remote) voltage supplied by the 1026 is current limited and must be used only for the
remotes. The RMT voltage cannot be used to power any other type of external device, except LED's.
The control range of all remotes follows the programming of the 1026 for channel and master volume
controls. The programming can be used to limit the range of the remote control (Range Function) and
the maximum level (Trim Function) of the remote volume controls. A limited range plus "OFF" can
also be programmed.
Using a Potentiometer Remote
Please note: Before any remote control can become active, the 1026 must be programmed to accept
input from the remote - the software RP Button for that channel must be pressed.
The Ivie RP-1 (Remote Pot-1) remote volume control is designed for use with the 1026 and other Ivie
matrix mixers. It is a potentiometer mounted on single-gang, black anodized, wall plate. The Ivie
RP-1S has a DPDT switch mounted on the plate in addition to the potentiometer. The switch is
typically used for background music on/off.
A standard 10k Ω, linear taper, potentiometer is connected as illustrated in Figure 9, following.
Figure 9
Note: In Figure 9, notice that the potentiometer is connected across the RMT voltage and ground. The
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Potentiometer
Front View
Rmt +
Rmt +
Rmt+ Rmt Level Preset Inputs Function Out
Channel 5
Rmt Level
SOFT
LOUD
Soft Loud
10k Linear
Taper Pot
5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8