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

wiper of the pot is connected to the Remote Level channel terminal. As the wiper gets closer to
ground, the volume level increases. As the wiper gets closer to RMT+, the volume level decreases.
The RMT voltage cannot be used to power any other type of external device, except LEDs.
When a limited volume range has been programmed for a channel, the number of steps in that range is
divided into the number of degrees of rotation in the potentiometer. Thus, a limited range will be
expanded around the full rotation of the potentiometer.
Potentiometer style remotes cannot be paralleled together to provide remote control for one channel
from several different locations. Software volume control is disabled when a potentiometer style
remote is connected and activated by the programming.
Once a 1026 has been programmed for a remote potentiometer, the unit will "look" for a pot connected
to the remote level terminal. If it does not detect the pot, it will adjust the level as dictated by the soft-
ware settings. When a pot is connected, the unit detects the connection and sets the level as dictated by
the pot. The unit will automatically switch between the software setting and the remote pot setting. If
the pot is disconnected, the 1026 will automatically switch back to the software setting.
In some applications, this automatic switching is very advantageous. Day-to-day operations could pro-
ceed with the software volume settings. For special events, a plug-in remote control could be used
which would override the normal settings. At the conclusion of the event, unplugging the remote
would restore the software volume settings.
Ivie manufactures portable remote control panels that are compatible with the 1026. The RMA-10L
Remote Control can control 10 channels, and comes with 10 feet of cable and a connector. It is sup-
plied with a matching wall plate and connector assembly. If only 6 channels are needed, an Ivie
RMA-6L may be used, which also comes with a matching wall plate and connector assembly.
Using Up/Down Push Button Remotes
Please note: Before any remote control can become active, the 1026 must be programmed to accept
input from that remote control.
Ivie manufactures two types of push button remote level controls that can be used with the 1026. The
first set of push button remotes consists of the RM-1 and RM-2 microprocessor based remote controls.
The RM-1 controls a single channel, while the RM-2 has two sets of push buttons to control two chan-
nels. The push button remotes “look like” pots to the 1026 and are therefore connected the same way
that potentiometer remotes would be connected. In order for an RM-1 or RM-2 to function, the 1026
must have its software “Remote Pot” control enabled. The RM-1 and RM-2 have on-board micro-
processors, so they must be fed power from the 1026 as well as be connected to the remote control
ports. They have up/down buttons and an LED bar graph to provide visual indication of level. They
are themselves programmable for maximum level, minimum level, and “wake up,” or turn on level.
Once programmed for maximum and minimum levels, the LED bar graph will automatically be spread
over that range, that is, minimum level will light one LED on the bar graph and maximum level will
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light all the LEDs on the bar graph. These controls can be factory programmed to track one another
automatically in room combining applications.
The second type push button remote is the Ivie RB-1. It is a simple, less expensive, up/down push but-
ton. It consists of a single-gang, black anodized, wall plate containing "Up" and "Down" push buttons,
three resistors and a terminal block for wiring connections. Each push of a button increments or decre-
ments the volume level by one step. Several can be paralleled together for remote level control capabil-
ity from more than one location. In order for the RB-1 to function, the 1026 must have its software
“Remote Button” control enabled. The 1026 provides the necessary logic for RB-1’s to track each
other in room combining applications.
Making Custom Up/Down Buttons
As illustrated in Figure 10, below, two push buttons and three 3.3k Ω, 1/4 watt resistors, are needed for
a push button remote. The resistors are connected across RMT voltage and ground, forming a voltage
divider. All power required by the remotes is supplied by the 1026. The RMT 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 LEDs.
Connection of Push Button Remote Volume Controls
Figure 10
Hardware Activation of Presets
Presets can be activated remotely on the 1026 via a switch connected to the appropriate terminals on
the rear panel. Presets can also be activated via the 1026 software. There are sixteen presets associated
with the mixer section of the 1026 which are not mutually exclusive. In other words, more than one of
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Rmt+ Rmt Level Preset Inputs Function Out
1 2 3 4 5 6 7 8
5 6 7 8 1 2 3 4 5 6 7 8
Channel 5
Location “B”
Channel 5
Location “A”
LOUD LOUD
SOFT SOFT
3.3k Ω
3.3k Ω
3.3k Ω
UP/DOWN Pushbutton
(Shown in parallel with a second remote control)

these presets can be active at a time. There are also sixteen presets associated with the digital signal
processing section of the 1026 which are mutually exclusive, that is, only one of these presets can be
active at once.
While there are sixteen presets for the mixer section and sixteen presets for the DSP section of the
1026 (all of which can all be activated or deactivated via the 1026 software), there are only eight hard-
ware connections on the rear panel of the 1026 for activating presets. This means that there are only
eight preset combinations which can be activated by an external contact closure.
One contact closure between a Preset Input and ground (using a switch or relay) actually performs
three simultaneous functions. A contact closure between Preset Input 1 and ground will
activate Preset 1 in the mixer section, Preset 1 in the DSP section, and additionally, will activate
Function Out 1. Figure 11, following, details the connections for activating presets.
Figure 11
Activating Presets on Two Units at the Same Time
Presets on two different 1026’s may be activated at the same time. Diodes must be used to isolate one
1026 from the other. A standard 1N914 diode can be used, as shown in Figure 12, following:
Figure 12
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5 6 7 8 1 2 3 4 5 6 7 8
Rmt Lvl Preset Inputs
1 2 3 4 5 6 7 8
Preset Inputs
1 2 3 4 5 6 7 8
Preset Inputs
1 2 3 4 5 6 7 8
Function Out
Note: Connecting a Preset Input to
ground activates that preset and activates
a corresponding Function Output.
Latching the switch shown above,
between Preset Input #1 and ground, for
example, activates Preset #1 and
Function Output #1. Activating Preset #2
activates Function Output #2, etc.
1026 #1
1026 #2
IN914
IN914
Diodes should be used for isolation when
connecting the presets of two different
1026 ’s in parallel.
Close switch to activate Preset
#1 on both
1026 mixers

Function Output
Each Function Output on the 1026 can be used for controlling external devices, typically LED's. A
Function Output is not an audio output. It is a low voltage, DC, solid-state switch. This switch is acti-
vated as part of a preset group as explained previously under the heading Hardware Activation of
Presets found on pages 11 and 12. It can be used to light an LED, or with an external (installer pro-
vided) power supply, could be used to control an external relay.
On the 1026, Function Output number 1 is activated when Preset 1 is activated, Function Output 2 is
activated when Preset 2 is activated, and so on.
The Function Output is the open collector type. The collector is normally open until the Function
Output is activated at which time the collector is brought to ground potential. Please understand that
NO voltage is supplied by this switch. It is ONLY a switch to ground. Since this is a transistor, polar-
ity, maximum voltage and current limits must be observed when connecting external devices.
Maximum current through the switch should not exceed 200 mA. Voltage across the switch should not
exceed 30 VDC. Figure 13, below, shows an LED connected to the Function Output. The Remote+
terminal on the rear of the 1026 has a built-in power supply voltage for use with LEDs and remote
controls. It must not be used for any other purpose than LEDs and remote controls. Figure 13, fol-
lowing, shows the proper connection of an LED used to provide visual indication of Function Out
status:
Figure 13
Ground Link Connections
The four position terminal block located on the rear of the 1026 has two terminals to assist in properly
grounding the units. The two terminals are labeled "Audio Gnd" and "Chassis Gnd."
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Rmt+ Rmt Level Preset Inputs Function Out
1 2 3 4 5 6 7 8
1 2 3 4 5 6 7 8
5 6 7 8
LED’s
220 Ω, 1/4 Watt
Resistors
Two LED’s are connected between the
Function Output and Remote+ terminals.
They are illuminated when Preset #1 is acti-
vated, providing positive status indication.
Note: The LED’s can be placed
at different locations.

There is a jumper connected between the "Audio Gnd" and "Chassis Gnd" terminals. This jumper
should remain in place unless more than one unit is being connected together. If more than one unit is
being used, they should be wired together in a "star ground" configuration. Figure 14 below shows this
method of grounding. “Star grounding” greatly reduces noise problems due to ground loops between
units.
Figure 14
Please note that the unit in this “star ground” scheme has its jumper installed between the audio and
chassis ground terminals. All other units have their jumpers removed. A large gauge wire, 16AWG or
greater, is connected between each successive unit’s Audio Gnd terminal and the Ground terminals on
the first unit. This separate wire runs all the way from each unit back to the first 1026, which is very
important. Do not daisy chain from one Audio Gnd terminal to another and then to the first 1026.
When connecting to the first unit, the Chassis Gnd terminal can be used if the Audio Gnd terminal gets
too congested.
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Recommended
Grounding Procedure for
Multiple Mixers
This grounding procedure will help
minimize noise due to ground loops
between mixers.
1. Make certain that the first mixer
in the system has a jumper between
the Audio and Chassis ground termi-
nals on the rear of the mixer.
2. Remove the Audio to Chassis
ground jumper on all other mixers.
3. Use 16 AWG wire or greater and
connect the Audio Ground of each
successive mixer to the Audio
Ground of the first mixer. There
should be a “home run” wire from
each mixer to the first mixer. Do not
“daisy chain” them together.
Ground link
CONNECTED
between Audio
and Chassis
ground.
Ground link
REMOVED
between Audio
and Chassis
ground.
Ground
Link
See Manual
Master
Mute
Ground
Link
See Manual
Master
Mute
Ground
Link
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Mixer #1
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Section II: 1026 Software and Programming
Getting Started
Software Installation
1026 software is shipped with the 1026. An install utility is provided with the software to help install it
properly. Additionally, the latest version of the software is always available for downloading from Ivie’s
web site at www.ivie.com. The standard 1026 software is for Windows® (98 or above) operating sys-
tems. To install the software, insert the 1026 software CD into the computer’s CD drive, navigate to the
CD and click on the “setup.exe” file.
Alternatively, download the software from the Ivie website to your desktop, then navigate to the down-
loaded file and double click on it. Ivie recommends that you download the software from our website as
you will be assured of having the latest version.
Standard installation of the 1026 software will install an icon on your desktop screen, which can be
used to start the software. The 1026 software can be run off-line, with no 1026 connected. This can
be very useful to the installer or consultant who wishes to do some setup prior to arriving at the job
site. Configurations can be changed, presets programmed, levels set, and so on, with the off-line soft-
ware. This programming may then be saved to a file and uploaded to the hardware at a later time.
EtherNet®Connections Between a Computer and a 1026
Wireless EtherNet® Connection to a 1026
An interesting possibility available with the EtherNet® controlled 1026 is to connect it to the computer
using a wireless link. This can be done using a relatively inexpensive wireless EtherNet®hub and can
allow the installer or consultant to make level and signal processing adjustments from a laptop or other
computer from any location within range of the wireless link. Connection is intuitive and not difficult.
Standard EtherNet cables would be used (not crossover cables) and standard wiring for EtherNet® hub
usage applies.
Standard EtherNet® Connection to a 1026 (Crossover Cable Required)
On the rear panel of the 1026 is a standard RJ45 connector. Since the 1026 is a standard EtherNet®
device, connection from a computer to the RJ45 EtherNet® port on the back of the 1026 is done in the
same way one would connect any EtherNet®device to a computer. Adirect, CAT 5 cable connection
from the EtherNet® port of a computer to the RJ45 EtherNet® connector on the back of the 1026 is
possible. A “crossover” cable is required for this type of connection. If connection is made using a hub
or switch between the computer and the 1026 (such as in the wireless connection described above),a
crossover cable is not required. Figure 15, on the following page, shows the proper wiring for a
crossover cable:
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Figure 15
Additional Software: 485MON32
The CD included with the 1026 contains another highly useful program in addition to the Ivie 1026
software (which can also be downloaded from the Ivie website). It is called 485MON32. This is a moni-
toring program that is used while plugged into the EtherNet® connection of the 1026. 485MON32 can be
a tremendous help in programming external control devices such as touch screens.
An “EtherNet Programming Manual” is available from Ivie; either by request to the factory, or by down-
loading from Ivie's web site at www.ivie.com. This manual is intended for those programming external
controls (such as AMX®or Crestron® touch panels) and provides both the HEX and ASCII code for
controlling all functions of the EtherNet® products. Use of the 485MON32 program when programming
is very beneficial and highly recommended.
Starting the 1026 Software with a Unit Connected to the Network
Successful connection of a 1026 to the network is indicated by the green LED on the front panel of the
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1026. When a computer is also successfully connected to the network as well, starting the 1026 software
will bring up the first software screen, the Network Information Screen. The window on the right will
show any 1026 units that are found on the network. The window on the left will show any 1026 units on
the network that are "IP compatible" with your computer's network setup. If a mixer is identified in the
right-hand window, but not in the left-hand window, it is not currently network-address compatible, and
therefore, cannot be controlled with your computer's network settings. Because the 1026 is an IP address-
able device, it comes with a default IP address and subnet mask programmed into it. The default IP
address in the 1026 may not (probably will not) be compatible with the IP setup in your computer.
To make a compatible connection between your computer's network port and the 1026, something will
have to change. You COULD change the networking setup of your computer to that of the 1026, but
that is inconvenient, at best. The Ivie 1026 software provides a means of changing the IP setup of the
1026 to match that of your computer. With a single software button push, you can change the 1026
networking setup to be compatible with your computer.
Simply click on the “Match Subnet” button in the Network Info screen. The previously incompatible
1026 will be adjusted to operate on your computer's networking settings, and is now identified in the left-
hand "Units Controllable From This Computer" window. If, in the future, a different computer needs to
be used to adjust the 1026, this IP adjustment procedure can be done again as the software is started up to
change the 1026 to the new computer's network settings.
Programming the 1026
Presets
A1026 has sixteen, nonexclusive presets available on the mixer side, and sixteen exclusive presets on the
DSP section. On the DSP side, configuration and setup information can be saved to one preset only, or to
all sixteen presets. Thus, universal programming can be saved to all presets, while specific information
can be saved to one preset only. Additionally, the binary logic preset port configuration feature allows a
combination of mixer and DSP presets to be activated simultaneously by a software command, or a con-
tact closure. There are eight contacts on the rear panel to provide the binary logic closures which results
in 256 possible preset activation combinations.
Programming Preparation
Wiring a 1026 into a system, as described in detail in Section I of this manual, is simple and straight for-
ward. Standard audio wiring and grounding techniques should be employed. Inputs and outputs are
clearly labeled on the rear chassis and the detachable Euroblock connectors are labeled as well. Front
panel LEDs clearly indicate signal passing through the unit. Once the 1026 has been wired into the sys-
tem and the 1026 software has been loaded, programming can begin.
When the 1026 software is activated, it first polls the network to locate any units on the network. After
polling is complete, the default screen for the 1026 software comes up. This control screen, as shown in
Figure 16 on the following page, depicts the architecture of the 1026 in graphic form. The ten inputs are
shown on the left, the Routing Matrix at the top and the six outputs on the right. The various signal pro-
cessing modules that can be activated or deactivated for the inputs and outputs are depicted by the blocks
labeled "DSP" on the two input buses and the six outputs.
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Figure 16
Important Note: Left clicking on the "DSP" block brings up the PEQ Filter Control Pop Up Window.
Right clicking on the "DSP" block activates a menu allowing selection of pop up control windows for
Delay, or Compressor as well as for Equalization
1026 Main Control Screen
The first step in programming the 1026 is to configure the unit for the signal processing requirements
of the application. To configure the unit, the DSP Configure pop-up window (located under the “Edit”
pull-down menu of the main control screen) is used as described below. Configuring a 1026 using the
DSP Configure pop-up window is one of the first steps in programming the unit.
DSP Configure (Edit Pull-down Menu)
Accessed from the “Edit” pull down menu, the DSP Configure pop-up window allows the creation of one
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or more configurations to more nearly match the specific needs of an application. While the architecture
of two in by six out is fixed, the signal control modules (PEQ, delay compression/limiting, crossovers
etc.) can be activated or deactivated for each input and output, allowing many possible configurations.
The DSP Configure pop-up window is shown in Figure 17 below:
Figure 17
The number of PEQ filters, amount of delay, etc. can also be distributed to inputs and/or outputs as
desired. Aconfiguration can be saved to one preset or to all presets. Thus, a desired common configura-
tion can be created and saved to all presets with just one click of the mouse, or a complete reconfiguration
of the 1026 with each preset is possible.
Mix Bus Input Path
One of the individual functions in the configuration screen, crossovers, can be turned “on” or “off,”
depending on whether that function is needed for the intended application. A gray color indicates a dis-
abled crossover and yellow indicates an enabled crossover. Placing the cursor on a crossover and clicking
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