Linear Acoustic UPMAX2251 User manual

UPMAX 2251
5.1-Channel Surround-Field Synthesizer
User Guide

UPMAX 2251
5.1-Channel Surround-Field Synthesizer
User Guide
Release Date: January, 2004
Software Version: 0.805 and Later
Linear Acoustic Inc.
Phone: [phone]
FAX: [phone]
email: www.LinearAcoustic.com

Warranty Information
DISCLAIMER OF WARRANTIES: Products manufactured by Linear Acoustic Inc. are warranted
against defects in material and workmanship for a period of two (2) years from the date of purchase.
THERE ARE NO OTHER IMPLIED OR EXPRESS WARRANTIES AND NO WAR-
RANTY FOR MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE.
During the warranty period Linear Acoustic Inc. will repair, or at our discretion replace, components
which prove to be defective, provided the unit is returned, shipped pre-paid to us directly with a return
authorization (RA) number clearly marked on the packaging. Please note, this RA number must be
present or package will be refused and returned to sender.
All requests for repairs MUST include the unit serial number to ensure quick and accurate service.
DEFECTS CAUSED BY UNAUTHORIZED MODIFICATIONS, MISUSE OR ACCI-
DENTS, UNAUTHORIZED CUSTOMER REPAIRS, OR ANY FURTHER DAMAGE
CAUSED BY INADEQUATE PACKAGING FOR SERVICE RETURN ARE NOT COV-
ERED BY THIS WARRANTY.
PLEASE SAVE THE SHIPPING CARTON AND ALL PACKING MATERIALS. FAILURE
TO RETURN UNIT IN ORIGINAL SHIPPING CARTON AND PACKING MATERIALS
WILL RESULT IN A CHARGE FOR NEW SHIPPING MATERIALS.
LIMITATION OF PERIOD OF ACTION ON CONTRACT: No action, regardless of form,
arising out of the transactions under this agreement may be brought by buyer, its successors, agents
and/or assigns, more than three years from date of purchase.
LIMITATION OF LIABILITY: It is understood and agreed that Linear Acoustic’s liability whether
in contract, in tort, under any warranty, in negligence or otherwise shall not exceed the cost of repair
or replacement of the defective components and under no circumstances shall Linear Acoustic be liable
for incidental, special, direct, indirect or consequential damages, or loss of use, revenue or profit even
if Linear Acoustic or its agents have been advised, orally or in writing, of the possibility of such damages.

Linear Acoustic upMAX 2251 User Guide
v
Table of Contents
List of Figures...........................................................................................................................................vi
Chapter 1: Introduction...................................................................................................................5
1.1 Principles of Operation..........................................................................................5
1.2 Signals and Levels...................................................................................................7
1.3 Downmix Compatibility ........................................................................................8
Chapter 2: Connections and Setup.......................................................................................9
2.1 Unpacking and Inspection ....................................................................................9
2.2 Installation ...............................................................................................................9
2.3 Rear Panel ..............................................................................................................10
2.3.1 Connection Ports .................................................................................10
Chapter 3: Applications................................................................................................................13
3.1 Typical Scenarios ..................................................................................................13
3.1.1 Two-Channel Commercials ................................................................14
3.1.2 Sporting Events ....................................................................................15
3.1.3 Music Awards-Type Events................................................................16
3.2 Factory Presets ......................................................................................................17
Chapter 4: Menus..............................................................................................................................19
4.1 Main Menu.............................................................................................................19
4.1.1 Modify Processing Menu ....................................................................19
4.1.2 Setup Menu ...........................................................................................21
4.1.3 System Info ...........................................................................................23
4.1.4 System Options.....................................................................................23
4.1.5 Lock Front Panel..................................................................................24
Chapter 5: Specifications............................................................................................................25

Linear Acoustic upMAX 2251 User Guide
vi
List of Figures
1-1 Audio Block Diagram .........................................................................................................................6
2-1 Rear Panel ...........................................................................................................................................10
3-1 UPMAX 2251 in a commercial upmixing application .................................................................14
3-2 UPMAX 2251 with Dolby DP572 Dolby E Decoder .................................................................15
3-3 UPMAX 2251 in a live sports application .....................................................................................16
3-4 UPMAX 2251 in a music awards-type program ...........................................................................17
4-1 Main Screen showing level meters to the left and menus to the right. .....................................19
4-2 Modify Processing menu; scroll down to access Ext L/R Mix (as shown on right menu) ...20
4-3 Setup menu .........................................................................................................................................21
4-4 Save Preset menu before (left) and after (right) saving ................................................................23

Linear Acoustic upMAX 2251 User Guide
5
Chapter 1: Introduction
The Linear Acoustic UPMAX 2251 produces a 5.1 channel audio signal that is perfect for
eventual transmission via Dolby Digital (also known as AC-3) to all consumers. The unit
accepts a 2-channel input and “upmixes” it to fill as many of the 5.1 output channels as the
user selects. Any input signal from mono to LtRt (Left Total/Right Total) surround en-
coded audio can be applied to the Main Input and an output will be produced that main-
tains consistency with other 5.1 channel programming.
Further, external discrete sources of audio such as announcer or stereo crowd can be ap-
plied to the unit via its Mix Inputs and can be selectively mixed with the audio produced
by the upmixing process. A subwoofer, or LFE channel can also be selectively created
from the Main Input audio or via the discrete LFE Mix Input.
The UPMAX 2251 provides the following features:
• Advanced upmixing algorithm for stable, convincing surround experience.
• Fully compatible with all surround formats including Dolby Digital
• Upmixed surround field is infinitely adjustable in width and depth.
• External inputs allow mixing of discrete and upmixed audio signals.
• Relay bypassed digital inputs for “mission critical” broadcast applications.
• Simple front panel user interface and display.
• Optional HDSDI (SMPTE 292M) input module (available Q1, 2004)
1.1 Principles of Operation
The UPMAX 2251contains two paths for audio signals. The first path contains an upmixer,
a bass extension filter to create the LFE (Low Frequency Effects) or subwoofer channel,
and a simple but powerful set of mix controls to vary each element of the surroundfield.
The second path provides discrete inputs for the Center, LFE, Ls (Left Surround), Rs
(Right Surround), Lf (Left Front) and Rf (Right Front) channels. The upmixed and discrete
outputs are selectively combined to allow for the addition of specific audio elements to the
upmix-derived elements.
Please refer to Figure 1-1. It should be noted that this diagram is a general representation
of signal flow. Please consult the appropriate section of this manual for an accurate de-
scription of actual functionality.

Linear Acoustic upMAX 2251 User Guide Introduction
6
Main In
Lt/Rt
Left
Center
Right
UPMIXER
Surround
+
+
+
+
Mix In
Center
Ext Center
Level
Center
Width
Ext LFE
Level
80 Hz
+
Mix In
LFE
Surround
Width
+
+
Ext Ls
Level
Ext Rs
Level
Mix In
Ls
Mix In
Rs
Surround
Depth
Ext Lf
Level
Ext Rf
Level
Mix In
Lf
Mix In
Rf
Main
Out Rs
Main
Out Ls
Main
Out LFE
Main
Out C
Main
Out Rf
Main
Out Lf
Figure 1-1 Audio Block Diagram

Linear Acoustic upMAX 2251 User Guide Introduction
7
Two-channel audio is applied via the Lt/Rt Main Input. The audio is upmixed to produce
Left, Right, Center, and Surround signals. The Left and Right outputs of the upmixer are
passed unmodified to the Left and Right Main Output.
The Center channel output of the upmixer is passed through the Center Width control
which varies the amount of center channel audio present at the Center Main Output versus
how much is summed back into the Left and Right Main Output. A setting of 100% indi-
cates that all of the upmixed Center audio is being fed to the Center Main Output, while
0% indicates that all of the upmixed Center audio is being fed back into the Left and Right
Main Output. The 0% setting is the same as “Phantom Center” mode common on some
decoders.
The Left, Right, and Center outputs of the upmixer are combined then 80Hz low pass fil-
tered and when selected via the LCR Sum To LFE switch are passed via the LCR Sum
Level control to the LFE Main Output.
The Surround output of the upmixer is passed through the Surround Depth control
which varies the amount of surround information present at the Ls/Rs Main Output ver-
sus how much is summed back into the Left and Right Main Output. A setting of 100%
indicates that all of the upmixed Surround audio is being fed to the Ls/Rs Main Output,
while 0% indicates that all of the upmixed Surround audio is being mixed back into the
Left and Right Main Output.
All outputs of the upmixer can also be selectively combined with signals applies to the Mix
Inputs. The Mix Inputs are available for all channels and have Mix Level controls that vary
from off to +6dB. Note that the +6dB range is provided for convenience, but a full-scale
signal applied to these inputs can be increased to clipping, so settings above 0dB should
be used carefully and sparingly.
1.2 Signals and Levels
The Linear Acoustic UPMAX 2251 is calibrated for -20dBFS environments, but will work
fine with other reference levels with the minor caveat that the analog LtRt utility output
(on the LtRt/Aux DB-25 connector) is fixed at -20dBFS=+4dBu.
The sample rate of the UPMAX 2251 is nominally 48kHz, but the unit will run at other sam-
ple rates as determined by the signal applied to the AES REF input. Please note that cur-
rently this causes the test tones to change slightly in frequency, but has no effect on the
program audio.
Below is a list of the inputs and outputs of the UPMAX 2251:
• Lt/Rt Main Input - Main input to upmixer
• Mix Inputs (C/LFE, Ls/Rs, Lf/Rf) - Direct mix inputs to the main output channels

Linear Acoustic upMAX 2251 User Guide Introduction
8
• Main Outputs (Lf/Rf, C/LFE, Ls/Rs) - Main audio outputs in SMPTE 320M format
• LtRt Main Output - A utility two-channel downmix of the 5.1 channel program (this
output is also available as an analog signal on the LtRt/Aux connector)
1.3 Downmix Compatibility
Downmixing is the process where the individual channels of a Dolby Digital signal are
combined in order to be reproduced from a given number of channels. For example, a 5.1
channel program must be downmixed to be reproduced from a stereo speaker system and
so the left and right channels are combined with the left and right surround signals and an
attenuated version of the center channel before being output as a stereo signal. This type
of signal is called LoRo (for Left only/Right only).
Downmixing may also produce an LtRt compatible signal by performing a pseudo-sur-
round encode. A 90-degree phase shift is applied to the surround signals in the Dolby Dig-
ital encoder prior to the actual encoding stage so that after downmixing from 5.1 to 2-
channels in the consumer decoder the signal can be heard in surround by the many con-
sumers that only have a matrix surround decoder.
An extremely important design goal of the Linear Acoustic UPMAX 2251 was that the out-
put be downmix compatible. Not only stereo and surround, but also mono- and it had to
sound good in 5.1! A tall order that has been satisfied.
One important thing to remember is that to ensure widest compatibility, the Dolby Digital
encoder must be set to apply a 90-degree phase shift. Luckily, this is the default position
for most of the presets, however please consult the encoders user manual to find the menu
location where this setting can be checked.

Linear Acoustic upMAX 2251 User Guide
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Chapter 2: Connections and Setup
This chapter covers all required connections for the Linear Acoustic UPMAX 2251.
2.1 Unpacking and Inspection
Before unpacking the unit, inspect the outer carton for shipping damage. If the carton
shows damage, inspect the unit in those areas. Please save the carefully designed shipping
carton and packing materials. In the unlikely event that the unit needs to be returned to the
factory, alternate cartons or packing materials may not be adequate and can cause damage
not covered by warranty.
The following essential items are provided with the unit:
• Warranty information: Fill out and return the postage-paid warranty card (please) to
Linear Acoustic to ensure your software and documentation are kept up to date.
• One power cord (US style).
• Bag containing rack-mount screws and washers, a male DB-25 connector and shell for
either the GPI/O or LtRt/Aux Outputs, and this manual.
2.2 Installation
UPMAX 225 installation requires:
• three standard rack space units with ADEQUATE VENTILATION;
• standard 75 BNC cables for digital signal connections;
To connect to digital equipment with 110  XLR connectors, use impedance-match-
ing transformers (available from Canare, Neutrik and other manufacturers).
• an AES reference supplied to the AES REF input PRIOR to powering the unit on.
• a suitable monitoring system.
We recommend a multichannel listening environment with at least six speakers to
properly monitor a 5.1-channel program. An inexpensive system (less than $400) avail-
able from Klipsch easily satisfies this requirement.

Linear Acoustic upMAX 2251 User Guide Connections and Setup
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2.3 Rear Panel
The rear panel of the UPMAX 2251 contains its electrical I/O.
WARNING: Before applying power, check the Voltage Selector switch.
2.3.1 Connection Ports
All of the UPMAX 2251’s connections are on the rear panel and are described in detail be-
low. See Chapter 5: Specifications for specific pinouts.
Figure 2-1 Rear Panel
•Main Audio Input: Connect the PCM signal which will be upmixed to create a 5.1
channel signals to this input.
•Mix Inputs: PCM signals connected to these inputs can be selectively mixed with the
output of the upmixing algorithm. These are useful for adding announcer via the C
(center) input, or stereo “natural,” “crowd,” or “ambience” audio via the Ls/Rs (Left
surround/Right surround) inputs. Lf/Rf (Left front/Right front) inputs are useful for
placing audio in the left and right main outputs with no additional processing.
•Main Audio Outputs: Main processed digital audio outputs with the SMPTE 320M
standard channel configuration: Left/Right, Center/LFE, Left Surround/Right
Surround. An Lt/Rt compatible downmix of the 5.1 channel output is always available
on the Lt/Rt output connector and is useful for monitoring or feeding systems such
as NTSC which support only two audio channels.
NOTE: The main audio inputs are hard-bypassed to the Main Audio Outputs during
boot and bypass (power off) conditions to support mission-critical applica-
tions. Under these circumstances, each input connector bypasses to the
output connector directly below it passively maintaining audio continuity.

Linear Acoustic upMAX 2251 User Guide Connections and Setup
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•AES REF: Connect an AES plant reference signal to this connector (not a video or word
clock reference). The signal may be an AES Black or AES signal containing audio.
NOTE: A valid AES signal is required on the AES REF connector for the system to
operate (not video or word clock).
•Lt/Rt/Aux Output: This is a combination balanced analog and AES compatible dig-
ital output of the LtRt version of the main program audio.
•GPI/O: Connect to the GPI/O outputs of your automation system or routing or mas-
ter control switcher to control special processor functions and recall presets. Note that
GPI A and B require a held contact closure to ground for the duration of the function.
However, GPI 1-6 require only a momentary contact closure to ground; if held, other
numerical GPIs cannot be selected.
•ETHERNET: Automatically senses 10 or 100BASE-T Ethernet connectivity. The
UPMAX 2251 will appear on the network as: upMAX followed by the units serial num-
ber (i.e. upMAX-04301). The units workgroup is defaulted to WORKGROUP with no
password. This connection is primarily used to support a software remote control run-
ning on a standard PC clone via a standard network connection.
•Metadata In: Connect to the Professional Audio Metadata output of a VANC de-em-
bedder or Dolby E decoder to input external metadata (not currently supported, await-
ing approval from Dolby Laboratories).
• Metadata Out: Connect to the metadata input of a Dolby E or Dolby Digital encoder
(not currently supported, awaiting approval from Dolby Laboratories).

Linear Acoustic upMAX 2251 User Guide Connections and Setup
12

Linear Acoustic upMAX 2251 User Guide
13
Chapter 3: Applications
The UPMAX 2251 is intended to be used either in the production or distribution stages of
5.1 channel programming, and also selectively in transmission environments. Cable and
satellite facilities may find it useful as the distribution and transmission sections are usually
very close together. For terrestrial emission (transmission) applications such as at DTV sta-
tions, the Linear Acoustic OCTiMAX 5.1 may be a more appropriate choice as it contains
requisite dynamic range processing and additional useful features such as voice-over.
The Linear Acoustic UPMAX 2251 is not a substitute for a good, discrete multichan-
nel mix (if one is available), rather it is a useful tool to create one!.
That being said, the UPMAX 2251 is an excellent tool useful in either creating a 5.1 channel
version of a program when few or no other elements exist, and also for creating a solid
foundation for a true discrete multichannel mix.
This chapter discusses several applications of the UPMAX 2251:
• Integrating 2-channel commercials into a 5.1 channel program
• Creating a 5.1 channel sports program from stereo plus natural sources
• Use for music programming
• Discussion of presets stored in the unit
3.1 Typical Scenarios
Below are some application examples to give users some guidance in real-world situations.
However, before continuing, it is absolutely imperative that a proper multichannel moni-
toring environment be set up and calibrated before every mix. If the mix cannot be heard
properly, then it cannot be created properly. Users are advised to obtain copies of the Dolby
Surround Mixing Manual and the Dolby Digital Professional Encoding Manual, both available
form the Dolby Laboratories web site (www.dolby.com) for detailed, accurate information on
both the monitoring and mixing processes.
The Linear Acoustic UPMAX 2251 is useful almost anywhere a multichannel mix must be
created. From hands-on adjust-as-you-go environments like a music awards program to
set-and-forget applications like helping two-channel commercials fit into 5.1-channel pro-
gramming, the UPMAX 2251 is the answer.

Linear Acoustic upMAX 2251 User Guide Applications
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Linear Acoustic
UP MAX 2251
Main Input
Lt/Rt
Mix Input
C/LFE
Mix Input
Ls/Rs
Mix Input
Lf/Rf
X
X
X
Main Out
Lf/Rf
Main Out
C/LFE
Main Out
Ls/Rs
Aux Out
Lt/Rt
AES REF
IN
5.1 Channel
Main Output
Two-Channel
Utility Output
Two-Channel
Local Plant
3.1.1 Two-Channel Commercials and Interstitial Programming
One of the largest complaints viewers of digital and high definition television program-
ming is the annoying fact that stereo commercials don’t seem to “fit” into the 5.1-channel
program. This is because in many cases, the commercials are simply transmitted on the
Left and Right channels of a 5.1-channel program. The net result is that during the pro-
gram, dialogue comes from the center speaker, but at commercial or station breaks, all of
the dialogue comes from the left and right speakers. It can be a jarring experience.
The first application is one where the UPMAX 2251 processes the stereo material allowing
it to fit nicely within a 5.1 channel program. Figure 3-1 shows this scenario.
Figure 3-1 UPMAX 2251 in a commercial upmixing application
Note that the two channel material is simply input to the UPMAX 2251 and a 5.1 channel
signal is available at the output. Either of the Commercial or Music presets can be cho-
sen, and are explained in detail at the end of this chapter.
A similar situation can arrise when the Dolby E system is in use, and can actually help to
automate the process of turning the upmixing process on and off with no user interven-
tion. The Status Port of a DP572 Dolby E Decoder provides a control signal that is logic

Linear Acoustic upMAX 2251 User Guide Applications
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high (1) when the DP572 is decoding Dolby E material, and is logic low (0) when two
channel PCM audio is being passed through. By connecting the DP572 Status Port to the
upMAX 2251 GPI input (A or B), the upmixing process will automatically be turned on
and off, and audio will be silently crossfaded between the two modes. Figure 3-2 shows
how this can be easily accomplished.
Figure 3-2 UPMAX 2251 with Dolby DP572 Dolby E Decoder
The result is a clean, consistent 5.1 channel program that is discrete when Dolby E is
present and is upmixed when PCM is present, but with no audible change apparent to lis-
teners or viewers. Note that while the upMAX 2251 AES Reference input is driven from
the PCM Delay Output of the DP572 for the sake of clarity in Figure 3-2, this is a perfectly
acceptable approach to use in practice.
Linear Acoustic
UP MAX 2251
Main Input
Lt/Rt
Mix Input
C/LFE
Mix Input
Ls/Rs
Mix Input
Lf/Rf
X
Main Out
Lf/Rf
Main Out
C/LFE
Main Out
Ls/Rs
Aux Out
Lt/Rt
AES REF
IN
5.1 Channel
Main Output
Two-Channel
Utility Output
DP572
Dolby E Decoder
1/2
3/4
5/6
7/8
Delay
Out
Status
(Pin 1,9)
GPI A
(Pin 2, 15)
Dolby E
or
PCM
Main
Input
Vref

Linear Acoustic upMAX 2251 User Guide Applications
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3.1.2 Sporting Events
Figure 3-3 shows how a sporting event with a stereo mix, a stereo “natural” or ambience
mix, and an optional dry announcer mix can be easily combined into a very convincing 5.1-
channel program.
Figure 3-3 UPMAX 2251 in a live sports application
Note that if the announcer is already present in the main stereo mix (applied to the LtRt
Main Input), then no additional announcer input is required as it will automatically be up-
mixed into the Center channel output.
3.1.3 Music Awards-Type Events
Figure 3-4 shows how a music awards-type program can be greatly simplified by the use of
an UPMAX 2251. The main stereo or surround mix of the program is applied to the LtRt
Main Inputs, while crowd noise, reverb, ambience, and selective music cues are selectively
applied to the Ls/Rs and Lf/Rf Mix inputs. All announce microphones can be either part
of the main mix or applied as a separate feed to the Center Mix Input.
Linear Acoustic
UP MAX 2251
Main Input
Lt/Rt
Mix Input
C/LFE
Mix Input
Ls/Rs
Mix Input
Lf/Rf
Main Out
Lf/Rf
Main Out
C/LFE
Main Out
Ls/Rs
Aux Out
Lt/Rt
AES REF
IN
5.1 Channel
Main Output
Two-Channel
Utility Output
A-to-D
Converter
(Optional)
A-to-D
Converter
C
LFE
X
Ls
Rs
Announcer
Stereo
"Natural" Sound
(Optional)
AES Ref
Two-Channel Mix
(LtRt or Stereo)

Linear Acoustic upMAX 2251 User Guide Applications
17
Figure 3-4 UPMAX 2251 in a music awards-type program
3.2 Factory Presets
To get users up and running as quickly as possible, a few basic presets have been created
for different situations. The name of the game with this unit is “play”. There is no possible
way that presets appropriate for every situation could be generated, so we have included a
few to get you started. By all means, make adjustments, listen, store your new preset with
a name of your choice when you get it just right (we even have some Swedish characters
in there).
Linear Acoustic
UP MAX 2251
Main Input
Lt/Rt
Mix Input
C/LFE
Mix Input
Ls/Rs
Mix Input
Lf/Rf
Main Out
Lf/Rf
Main Out
C/LFE
Main Out
Ls/Rs
Aux Out
Lt/Rt
AES REF
IN
5.1 Channel
Main Output
Two-Channel
Utility Output
A-to-D
Converter
A-to-D
Converter
C
LFE
X
Ls
Rs
Announcer
Crowd, Reverb,
Select Music
(Optional)
AES Ref
Standard
Two-Channel Mix
(LtRt or Stereo)
A-to-D
Converter
Ls
Rs
Select Music or
Background Vox

Linear Acoustic upMAX 2251 User Guide Applications
18
The UPMAX 2251 ships with the following factory presets:
•Reference Settings - Stock settings, a good place to start from scratch as all settings
are in a reasonable “detent” position. Start here if you are unsure.
•Music Cntr Spread - Straight two-channel to 5.1 channel upmixing, with the center
channel spread across the Left, Center, and Right outputs. This is very useful for pro-
gramming that either contains dialogue with music or is just mono dialogue as it nicely
fills the front three channels, and feeds the surrounds when appropriate.
•MUSIC FULLCENTER - Again, straight two-channel to 5.1 channel upmixing, but
with the Center channel kept discrete. Useful for film mixes and certain music mixes.
Two-channel mono programs will be reproduced from the Center channel only.
•LIVE 4-CH to 5.1CH - Couples a straight two-channel to 5.1 channel upmix with ex-
ternal surround information applied to the Ls/Rs Mix Inputs. Useful for a sports mix
where a two-channel main program and a 2-channel natural or ambience mix are avail-
able.
•LIVE 4-CH and ANNOUNCE - Again, couples a straight two-channel to 5.1 chan-
nel upmix with external surround information applied to the Ls/Rs Mix Inputs, but
also allows an announcer to be mixed into the Center channel via the Center Mix In-
put.
•COMMERCIAL SHALLOW - Straight two-channel to 5.1 channel upmix with the
Surround audio positioned closer to the front channels. The Center channel is spread
by the standard 33%.
•COMMERCIAL DEEP - Straight two-channel to 5.1 channel upmix with the Sur-
round audio positioned all the way to the back and the Center channel spread by the
standard 33%