KME DAP 26 User manual

User Manual
DAP 26
Digital Audio Processor
KME-Control
Remote Software Mainframe

DAP 26 HW Version 1.2 r0026
DAP 26 MC Version 1.1 r0052
KME-Control Version 1.00 Build 0073
DAP 26 Plug Version 1.00 Build 0149
Manual Rev. Version 1.00 EN
Stand: 12.04.2005 [email protected]

Functional units
The DAP 26 offers a lot of functional units for general audio processing using a
powerful DSP mainframe such as 9 filter banks with each 5 configurable filters of 9
different types, 6 crossover units with two combinable filters out of 3 types, 3 master
delays (up to 2000 ms / 685 meters), 6 channel delays (up to 500 ms / 170 meters)
and 6 dynamic processors (compressor / limiter / noise gate).
All this functional units can be programmed either directly on the hardware unit or by
using the real-time control software ‚KMEControl’..
Switches and Knobs
Front side
IN A IN B
LIMIT LIMIT LIMIT
0
+
dB
-60
CLIP
0
+
dB
-60
0
+
dB
-60
0
+
dB
-60
MU TE
dB-6 +6
MUT E
dB-6 +6
MU TE
dB-6 +6
MUTE MU TE MUTE
dB-6 +6 dB-6 +6 dB-6 +6
K.M.E. DAP26 V0.1
Preset Configur ation
Choose an option!
Input level meters
Two 10-digit digital level meters help to set the correct input level on the analog audio
inputs or to monitor the digital audio input level.
The graphic below shows different peak input levels on your unit:
abcd
a) too less input level
b) input level OK
c) maximum input level
d) too much input level – clipping may occur
The analog input circuit contains a limiter unit for preventing the A/D- converters from
clipping. Nevertheless the analog input level must not exceed the red LED of the
input level meter to prevent reproduction of a distorted signal. Set the source level
that only the yellow LEDs light up in peaks.

Display
K.M.E. DAP26 V0.1
Preset Configuration
Choose an option!
A 4x20 back-lighted LCD display shows the navigation menu. You can set all
software parameters on the unit itself. Arrows in the lower right corner show the
directions to navigate to submenus. (see appendix ‘navigation structure’). Use the
navigation pad to move between the menus. Press the ‘OK’ button to select a
parameter if you are asked by the unit.
Navigation Pad
The navigation pad is to be used for accessing and changing parameters on the
display of the hardware unit. Press the OK button if you are asked by the software.
See also the appendix ‘menu structure’!
Level meter 1-6
Level correction 1-6
Mute switch 1-6
LIMIT
0
+
dB
-60
MUTE
dB-6 +6
MUTE
dB-6 +6
The level correction pot adjusts the output level of the corresponding channel by +/- 6
dB. This is done on digital signal level and independent from the gain correction in
the software plug-in.
Pressing the mute switch mutes the corresponding output channel. The level meter
still displays the output level to avoid unintentional triggering of the switches.

There is a 10-digit LED bar-graph for each output channel which displays the
following information:
abc
a) there is an output signal on channel X (if the mute switch is not activated)
b) the signal on output X exceeds the maximum output level (if the mute switch is
not activated)
c) there is an output signal on channel X, the dynamic processor (Compressor/
Limiter) is activated and works
Mains switch
Use this switch for powering up the hardware unit. We included a power-up delay
which prevents clicks or plops in the speakers efficiently, nevertheless we
recommend switching on your power amplifiers after the DAP.
The backlighting of the display shows that the DAP is switched on and the mains
power is within the useable range. If the display does not light check your mains
voltage and / or the mains fuse which is located in the mains connector.

Connectors
Rear side
DIGITAL OUTPUT INPUT
INPUT 6 4 2 B
INPUT
+6dB
531 AOUTPU T
DAP 26
KLINGENTHALER
MUSIKELEKTRONIK
GmbH
MA DE IN G ERMA NY
FUSE
1 AT
85- 264V~AC ;
50-60Hz
CAN 1 / RS 232
CAN 2
CAUTION!
PULL
PLUG
BEFORE
OPENING!
There are all connectors located on the rear side of the unit.
Analog inputs / level select switch
INPUT
B
INPUT
+6dB
A
The audio inputs of the DAP 26 are electronically balanced. Unless it is necessary we
do not recommend unbalanced audio connections. The inputs have to be operated
with an nominal audio level of either 775 mV (0 dB) or 1.55V (+6 dB) which you can
select using the switch beside the connector “b” corresponding to the signal level
your source units work with.
1
2
3
12
3
XLR-to- XLR balanced audio connection
12
3
Jack-to-XLR balanced audio connection
Use one of this cables for connecting the analog audio inputs of the DAP 26 to your
mixer / stagebox or to another signal source.

Switching inputs to ‚analog’ (factory preset)
K.M.E. DAP26
Presetinfo
Choose an option!‹ ›
ˆ
K.M.E. DAP26
Devicesettin
g
Choose an o
p
tion!‹ ›
ˆ
Devicesettin
g
s
In-select: Di
g
ital
OK: Chan
g
e Value ˆ>
K.M.E. DAP26
Preset Configuration
Choose an option! >
ˆ
Devicesettin
g
s
In-select: Analo
g
OK: Chan
g
e Value ˆ>
Devicesettin
g
s
In-select: Analo
g
OK: Chan
g
e Value ˆ>
ˆˆˆ
Follow this navigation scheme to activate the analog audio inputs (factory preset)
?after using the digital audio input sometimes?. This is one of the few settings that
can only be done on the hardware unit itself.
Analog outputs 1-6
OUTPUT
642531
The analog audio outputs 1-6 are electronically balanced, male XLR sockets. We do
not recommend connecting unbalanced destination devices to the DAP 26. The
nominal output level is reached if the yellow LED in the level meter lights up.
1
2
3
12
3
XLR-to- XLR balanced audio connection

Computer connection,
selector RS 232 – CAN
CAN 1 / RS 232
CAN 2
• programming the unit (on PC using RS 232)
DIGITAL OUTPUT INPUT
INPUT 6 4 2 B
INPUT
+6dB
531 AOUTPUT
DAP26
KLINGENTHALER
MUSIKELEKTRONIK
GmbH
MADE IN G ERMAN Y
FUSE
1 AT
85-264V ~AC ;
50-60Hz
CAN 1 / RS 2 32
CAN 2
CAUTION!
PULL
PLUG
BEFORE
OPEN ING!
RS 232
COM 1
X
Connect the DAP 26 to a free COM port of your PC using the supplied RS232 cable.
You must only use the upper connector labelled ‘RS232/CAN’. Make sure that the
yellow LED beside the connector GLOWS BEFORE connecting the unit to your PC! If
the LED does NOT glow, operate the switch which is located just below this LED
using a suitable tool.
You can now run the ‘KME-Control’ software and activate the communication (see
software).
15324
7896
15324
7896
9-pole D-sub cable 1:1 as supplied with the DAP 26. The pins shown in this drawing
have to be connected, the other pins may be connected but do not affect the
communication at all.
The maximum length of such a cable MUST NOT EXCEED 5 meters or the
communication may be interfered!

• Remote use (PC with USB- port and K.M.E. CAN- Interface)
DIGITAL OUTPUT INPUT
INPUT 6 4 2 B
INPUT
+6dB
531 AOUTPUT
DAP26
KLINGENTHALER
MUSIKELEKTRONIK
GmbH
MADE IN G ERMAN Y
FUSE
1 AT
85-264V ~AC ;
50-60Hz
CAN 1 / RS 2 32
CAN 2
CAUTION!
PULL
PLUG
BEFORE
OPEN ING!
USB CAN Port
CAN Bus
1...>250 m
AFTER the installation of the KMEControl mainframe software you can connect the
USB port on your computer with the K.M.E. CANport interface using the supplied
USB cable. All necessary device drivers will be loaded automatically when
connecting the interface for the first time. Make sure that the yellow LED does not
light before connecting the CANport interface to your DAP 26 using the supplied or a
modified cable. Connect the supplied CAN terminator plug to the lower socket of your
DAP 26. If there are more DAPs daisy-chained, connect the CAN terminator plug to
the free connector of the last device in your CAN chain!
You can now run KMEControl software and activate the communication (see
software).
15324
7896
15324
7896
CAN Bus Link cable
This cable can be used connecting the DAP 26 to the CAN port interface box. Use
such cable also for linking the CAN bus from unit to unit. Do not forget connecting the
CAN terminator plug to the free connection port of the last unit, otherwise the CAN
transmission could be disturbed.
Note: By using a self-made cable make sure to connect the pins needed for CAN
transmission. They are different than in RS232 mode unless using 9 wire cable!

This cable can be used connecting the DAP 26 to the CAN port interface box, using
your multicore system (i.e. XLR). Use such cable also for linking the CAN bus from
unit to unit. Do not forget connecting the CAN terminator plug to the free connection
port of the last unit, otherwise the CAN transmission could be disturbed.
1
2
3
15324
7896
15324
7896
12
3
Digital Audio Input
Digital Audio Output
DIGITAL
INPUTOUTPUT
The digital input accepts digital audio signals according to AES/EBU with a bit rate of
16 to 24 and a sampling frequency of 32 to 96 kHz using an internal format-/sample
rate converter chip. The digital audio output loops the selected input (analog/digital)
as a 24-bit/96 kHz AES/EBU signal for cascading additional units or recording the
signal to a studio digital recorder. All digital connections are transformer- balanced for
maximum protection against ground loops.
1
2
3
12
3
Digital Audio Connection Cable (AES/ EBU) w. 110 Ohms
We do not recommend using “normal microphone cable” for AES/EBU connections
also when it ‘seems’ to work. Only specified 110 Ohms digital audio cable will give a
proper connection without data loss and digital drop-outs.

Switching the inputs to ‚digital’:
K.M.E. DAP26
Presetinfo
Choose an option!‹ ›
ˆ
K.M.E. DAP26
Devicesettin
g
Choose an o
p
tion!‹ ›
ˆ
Devicesettin
g
s
In-select: Analo
g
OK: Chan
g
e Value ˆ>
K.M.E. DAP26
Preset Configuration
Choose an option! >
ˆ
Devicesettin
g
s
In-select: Di
g
ital
OK: Chan
g
e Value ˆ>
Devicesettin
g
s
In-select: Di
g
ital
OK: Chan
g
e Value ˆ>
ˆˆˆ
Follow this navigation scheme for selecting the digital audio input of the DAP 26. This
is one of the few actions that can only be used on the hardware unit itself!
Mains power connector / fuse
DAP 26
KLINGENTHALER
MUSIKELEKTRONIK
GmbH
MADE IN GERMANY
FUSE
1 AT
85-264V~AC;
50-60Hz
CAUTION!
PULL
PLUG
BEFORE
OPENING!
Connect the supplied mains power cable to this socket. If the supplied cable is not
conform to your local mains allocation, use another cable which fits to the necessary
specification or ask a technician to change the mains plug. The DAP 26 works with all
types of mains power between 100 and 250 volts without pre-selection.
If the fuse breaks, replace it by using an 1 amp slow-blow fuse of the 5x20 shape. Do
NOT use fuses different to that type and do NOT try things like ‘patching’ the broken
fuse with aluminium foil etc. because this may lead to risk of fire or electric shock!
If the new fuse burns out again then there might be a damage inside the unit! There
are no user-serviceable parts inside the DAP 26! Contact the K.M.E. support in this
case!

Handling
Functional units (digital)
All of this functional units are to be set directly in the hardware unit or using the
K.M.E. Control software. The names refer to the MENU PROMPT.
Input Channels
DSP- functions in the input channels
Delay
Channel [1 … 3]
Value [0 – 2.000 ms]
Time-delay in the input and all output channels routed to this input channel
(Master – Delay).
Mute
Channel [1 … 3]
Value [Mute Off … Mute On]
Mute in the input and all output channels routed to this input channel (Master –
Mute).
Gain
Channel [1 … 3]
Value [-60 dB ... +10 dB]
Gain in the input and all output channels routed to this input channel (Master –
Gain). The output level pots are to be used independently!
Filters
Channel [1 … 3]
Filter [1 ... 5]
Type [Filter type – see chapter ‚Filters’]
Frequency [20 Hz ... 44 kHz]
Q (bandwidth) [0,1 … 20]
Gain (boost/cut) [-20 dB … +12 dB]
Equalizer of the Input and all output channels routed to this input (Master –
EQ). This EQ can be used as ‘main’ equalizer for the PA system . More
information to the filters is given in the chapter ‚Filters’!
Output Channels
DSP- functions in the output channels
Delay
Channel [1 … 6]
Value [0 - 500 ms]
Time-delay in the output
Mute
Channel [1 … 6]
Value [Mute Off … Mute On]

Mute of the output
Gain
Channel [1 … 6]
Value [-60 dB ... +10 dB]
Gain level of the output
Phase
Channel [1 … 6]
Phase [0° (In Phase) … 180° (Out of Phase)]
Polarity of the output
Filter
Channel [1 … 6]
Filter [1 ... 5]
Type [Filter type – see chapter ‚Filters’]
Frequency [20 Hz ... 44 kHz]
Q (bandwidth) [0,1 … 20]
Gain (boost/cut) [-20 dB … +12 dB]
Equalizer of the Output which can be used for correction of different speaker
output ways. More information to the filters is given in the chapter ‚Filters’!
Xover
Channel [1 … 6]
LP-Type [Bypass; Butterworth; Linkwitz- Riley; Bessel]
LP-Freq [20 Hz ... 44 kHz]
LP-Order [1 ... 8] (filter-depending)
HP-Type [Bypass; Butterworth; Linkwitz- Riley; Bessel]
HP-Freq [20 Hz ... 44 kHz]
HP-Order [1 ... 8] (filter-depending)
Frequency crossover networks for the different output channels. Using a single
filter (low-pass or high-pass) or a valid combination of both filter banks (band-
pass) a powerful tool for controlling PA systems is given to the user.
The user can select a filter of the types Butterworth / Bessel and Linkwitz /
Riley. For users without profound knowledge of filter theory we recommend
using the Linkwitz- Riley filter algorithm for most applications.
Dynamic
Channel [1 … 6]
Type [Bypass; Limiter; Compressor]
Gain [-10 dB … +10 dB]
Threshold [-40 dB … +10 dB]
Knee [0 dB …10 dB]
Ratio [1:1 … 10:1] (nur Compressor)
Attack [0,1 ms … , 1000 ms]
Release [1 ms … 10000 ms]
Dynamic processor of the output.

Depending to the setting of the parameters a dynamic processing of the input
material will occur when the audio signal level exceeds the adjusted threshold
value. The gain reduction works corresponding to the selected algorithm
(compressor or limiter). The limiter works with a ratio of infinite:1 what means
that the input level may be theoretically be increased by any value without a
change in the output level which can be specified using the threshold and gain
slider.
The knee value describes the shape of the regulation curve. A knee value of 0
means a hard compression / limiting (the processing starts immediately after
exceeding the threshold level), a higher knee value describes a curve which is
more soft and sounds normally better depending on the program material.
The attack/release time draw the speed of the gain regulation mechanism. A
longer attack time will let some signal peaks pass which may sound more
powerful, a short attack time will give more protection to the speakers.
A longer release time is advantageous for maximum protection of speaker
components, on the other hand a short release time increases the average
sound level (using the compressor algorithm).
Noisegate
Channel [1 … 6]
Type [Bypass; Gate On]
Threshold [-85 dB … -35 dB]
Close [1 ms … 1000 ms]
Hold [1ms … 10000 ms]
Noise gate of the output. Due to the setting of threshold level the noise gate
can be used for gating disturbing background noise or even audio sources of
low level. Just set the threshold to the level you want to gate – set a hold time
(the processor “waits” this time before fading out the audio signal) and a close
time (length of the fade-out itself). When the audio level is above the threshold
again, it is faded in quickly and automatically!

Filter features
The DSP of the DAP 26 comes with many different filter types which are combinable
as desired. In the following you can find some short information about the filters and
their usage.
Context between bandwidth and the „Q“ factor
Bandwidth Q comment Q Bandwidth comment
(octaves) factor factor (octaves)
0,5 2,9 Narrow 0,4 3,0 wide
1,0 1,4 ... 1,4 1,0 ...
1,5 0,9 ... 2,4 0,6 ...
2,0 0,7 wide 4,4 0,3 narrow
Parametric filters
The so called ‚parametric’ filters are widely used in professional audio equipment, for
example in mixing desks or speaker processors. The curve of this filter is described
with certain parameters, mainly the centre frequency, the bandwidth and the gain
(boost/cut) of the filter. Combinations of these parameters can control the frequency
response of an acoustical system.

PEQ I
Parametric Equalizer Type I
Full-parametric equalizer with different bandwidth for boost (normal) and cut (more
narrow) to create more subtle changes in the audio material. We recommend using
this filter for ‘standard’ audio requirements.
Centre frequency 20 Hz - 44 kHz
Boost/cut + 12 dB - - 20 dB
bandwidth „Q“ 0,1 - 20
It is recommended to set the value for „Q“ between 0.4 (wide) – 1.4 (normal) – 4.0
(narrow). Higher / lower “Q” values are not recommended unless the user has
enough knowledge using this special filters.
PEQ II
Parametric Equalizer Type II
Full-parametric equalizer like the types known from mixing desks.
Centre frequency 20 Hz - 44 kHz
Boost/cut + 12 dB - - 20 dB
bandwidth „Q“ 0,1 - 20
It is recommended to set the value for „Q“ between 0.4 (wide) – 1.4 (normal) – 4.0
(narrow). Higher / lower “Q” values are not recommended unless the user has
enough knowledge using this special filters.

Shelv- filter
A shelv filter can be found in nearly every mixing desk, normally for low and high
frequency adjustment. They can boost or cut a wide frequency range above (high
shelv) or below (low shelf) the mid- frequency. Furthermore we added shelv filters
with adjustable bandwidth (LSQ and HSQ) which are, corresponding to the value of
the „Q“ facto (we recommend values between 0,4 and 4,0), either more “flat” than
“normal” shelvs (Q=0.7) or with a higher “Q” (1.0 to 4.0) they create an useful “peak”
around the mid frequency.
Setting the bandwidth outside of Q <0,4 und Q >4,0 is not recommended.
LS 6dB
Lo- Shelv- Filter 6 dB
mid frequency 20 Hz - 44 kHz
Boost/cut + 12 dB - - 20 dB
LSQ 12dB
Lo- Shelv- Filter 12 dB with adjustable “Q” factor
mid frequency 20 Hz - 44 kHz
Boost/cut + 12 dB - - 20 dB
bandwidth „Q“ 0,1 - 20
At Q= 0,7 you have a „normal“12dB- Shelv- Filter.
Setting the bandwidth outside of Q <0,4 und Q >4,0 is not recommended.
HS 6dB
Hi- Shelv- Filter 6 dB
mid frequency 20 Hz - 44 kHz
Boost/cut + 12 dB - - 20 dB
HSQ 12dB
Hi- Shelv- Filter 12 dB with adjustable “Q” factor
mid frequency 20 Hz - 44 kHz
Boost/cut + 12 dB - - 20 dB
bandwidth „Q“ 0,1 - 20
At Q= 0,7 you have a „normal“12dB- Shelv- Filter.
Setting the bandwidth outside of Q <0,4 und Q >4,0 is not recommended.

High-pass and Low-pass
To restrict the frequency response of an acoustic system in the low or the high end,
the high pass (which actually means “low-cut”) and the low pass filter is implemented.
LP
Lowpass Filter 12 dB with adjustable “Q” factor
mid frequency 20 Hz - 44 kHz
bandwidth „Q“ 0,1 - 20
At Q= 0,7 you have a „normal“ low pass filter like you find it in some professional
mixing consoles (High-Cut).
Setting the bandwidth outside of Q <0,4 und Q >2,0 is not recommended.
HP
High Pass Filter 12 dB with adjustable “Q” factor
mid frequency 20 Hz - 44 kHz
bandwidth „Q“ 0,1 - 20
At Q= 0,7 you have a „normal“ low pass filter like you find it in some professional
mixing consoles (Lo-Cut).
Setting the bandwidth outside of Q <0,4 und Q >2,0 is not recommended.
BP
Bandpass- Filter with adjustable “Q” factor
The band-pass filter is rarely used in professional audio technology. The band-pass
filter lets, in opposite to the notch filter, pass a audio band defined by the mid
frequency and bandwidth.

mid frequency 20 Hz - 44 kHz
bandwidth „Q“ 0,1 - 20
BS
Notch Filter
The notch filter filters out a frequency range defined by the mid frequency and the
bandwidth. With a “Q” factor above 5 this filter is very narrow, allowing the user to
filter out unwanted frequencies (i.e. mains hum at 50 Hz and certain harmonics)
completely. With a “Q” factor below 5 the filter response is quite wide but this set-up
is seldom used in professional audio systems.
mid frequency 20 Hz - 44 kHz
bandwidth „Q“ 0,1 - 20

All-pass filters do not change the frequency response of an acoustoelectric system at
all but the phase response. They can be used to influence the phase response. This
is a complex field in filter theory and so all-pass filters should only be used by
engineers who have ‘enough’ theoretical background. Incorrect all-pass filtering may
not damage the sound system but affect the sound in a negative way.
The mode of action is presented here:
AP I
All-pass filter Type I
This filter creates a quite flat, smooth phase shift over the whole frequency range with
a characteristic 90° pole at the centre frequency.
mid frequency 20 Hz - 44 kHz
AP II
All-pass filter Type II
This filter creates a steep phase shift at the centre frequency. The course of the
phase curve may be affected by the „Q“ factor.
mid frequency 20 Hz - 44 kHz
bandwidth „Q“ 0,1 - 20