Solidyne 462dsp User manual

4-bands digital audio processor
User’s manual
3 de F ebr er o 32 54 (142 9)
B ue n os A ir e s - A r g en t i n a
Phone: + 54 11 4702 009 0
e-mail: i nf o@ s ol id yn ep r o.c o m
fax: + 5 4 11 470 2 237 5
web: w ww . S ol i d yn eP R O . c om
Last revision: Marzo, 2013
462dsp/FM

Página 2 procesador para radiodifusión - SOLIDYNE 462dsp

SOLIDYNE 462dsp – broadcast digital processor Page 3
Table of Contents
Contents........................................................................ 3
About this manual ....................................................... 4
What’s in the box? ................................................................... 4
ADVICES ................................................................................ 4
Chapter 1 - Quick installation guide ......................... 5
1.1 Basic connection and settings............................................. 5
1.2 Diagra of general connections.......................................... 6
1.3 Understanding the ain screen .......................................... 6
Chapter 2 - Advanced installation............................. 9
2.1.1 POWER SUPPLY.................................................................. 9
2.1.2 MONTING............................................................................. 9
2.2 Analogical audio connections ............................................. 9
2.3 Digital audio connections.................................................. 10
2.4 Console MICstart ............................................................. 10
2.5 MPX output...................................................................... 10
2.6 RDS CODER (OPTIONAL)............................................... 11
2.6.1 RDS – PC connection............................................................. 11
2.6.2 Connecting to the trans itter.................................................. 11
Chapter 3 - tarting up and operation.................... 13
3.1 Basic actions.................................................................... 13
3.1.1 Using the JOG wheel........................................................... 13
3.1.2 Progra s ............................................................................ 13
3.1.3 Control odes..................................................................... 13
3.1.4 Access password................................................................. 13
3.2 INSTALLATION SETTINGS ......................................... 13
3.2.1 INPUT SETUP....................................................................... 14
INPUT SELECTION........................................................................ 14
INPUT LEVEL ................................................................................ 14
3.2.2 OUTPUT SETUP ................................................................... 15
3.2.2.1 Adjusting the 100% of odulación in FM trans itters ........... 15
3.2.3 PROCESSOR SETUP............................................................ 15
3.2.4 Notes about FM................................................................... 15
Chapter 4 - Processing adjustments...................... 17
4.1 PROGRAM SELECTION.............................................. 17
4.2 DEFAULT PROGRAMS ............................................... 17
4.3 USER PROGRAMS ..................................................... 19
4.3.1 COPY PROGRAM ................................................................. 19
4.3.2 EDIT PROGRAMS................................................................. 19
4.4 PROGRAM ADJUSTMENTS............................................ 19
4.4.1 PROGRAM NAME ................................................................... 20
4.4.2 EXPANDER / AGC................................................................. 20
4.4.2.1 AGC OUT GAIN .................................................................. 20
4.4.2.2 AGC attack ti e.................................................................. 20
4.4.2.3 AGC recovery ti e.............................................................. 20
4.4.2.4 Hold.................................................................................... 21
4.4.3 MULTIBAND COMPRESSOR ................................................ 21
4.4.3.1 Atack ti es ......................................................................... 22
4.4.3.2 Recovery ti es ................................................................... 22
4.4.4 DENSITY EQUALIZER........................................................ 22
Chapter 5 - Remote Control......................................23
5.2 Connectig to the PC......................................................23
Chapter 6 - audio prosessing for
broadcasting...............................................................25
2.1 A briefly history.................................................................25
2.2 Solidyne 462dsp psycho acoustic digital processor........27
2.2.1 Blocks diagra ....................................................................27
2.2. 24 BITS @ 192 KHZ A/D CONVERTER....................................27
Digital Input / Resa pler .................................................................27
2.2.3 PEAK SIMETRIZER.............................................................27
2.2.3 SUBSONIC PHILTER ..........................................................28
2.2.4 LINEAR EXPANDER ...........................................................28
2.2.5 GATED AGC .......................................................................29
2.2.7 MULTIBAND COMPRESSOR ..............................................29
2.2.6 DENSITY ECUALIZER.........................................................30
2.2.7 IM CANCELLED CLIPPER.......................................................30
2.2.8 LOW PASS 15 KHz DIGITAL FILTER...................................31
2.2.9 DIGITAL STEREO CODER..................................................31
2.2.10 MPX PROCESSING ............................................................31
Chapter 7 - Measurrements......................................33
7.1 MEASURREMENT PROTOCOL...................................33
7.1.1 Checking the INPUT LEVELS...............................................33
7.1.2 Checking the OUTPUT LEVELS...........................................33
7.1.3 FREQUENCY RESPONSE ..................................................33
7.1.4 S/N ........................................................................................33
7.1.5 STEREO CROSTALK ..........................................................34
7.1.6 DISTORTION ......................................................................34
7.3 SC100 STEREO CODER Fine calibration protocol ........35
7.2.1 TEST POINTS DIAGRAM ....................................................35
7.2.2 ADJUST PILOT LEVEL........................................................35
7.2.3 PILOT PHASE ADJUSTMENT .............................................35
7.2.4 CHANNEL SEPARATION ....................................................36
7.2.5 MEASUREMENT OF RESIDUAL NOISE..............................36
7.2.6 AUDIO DISTORTION MEASUREMENTS.............................36
Chapter 8 - Technical specifications ......................37

Page 4 broadcast digital processor - SOLIDYNE 462dsp
About this manual
User’s manual May 8, 2007
462dsp firmware 2.1
All rights reserved. No part of this manual can be
reproduced, be copied or be transmitted in any
form or by no electronic or mechanical procedure:
or in its totality or partly.
What’s in the box?
You must find the following components into the
box.
1 Solidyne 462dsp processor
1 user’s manual
1 AC Interlock
1 CD-ROM with VirtualRack 5 software.
1 Guaranty certificate
 4 self-adhesive rubbers tops
Please check when receive to verify that all
components are okay.
About the montage
462dsp processors are designed for rack montage
in standard racks of 19”, requiring 2 rack height
units. If you prefers, the processor can be placed
on a table. Four self-adhesive rubber tops are
given for this purpose.
When mounting, start fitting the bottom screws,
and soon the superior ones. Use flat screws with
flexible o-rings (rubber, PVC, etc.). The frontal
panel is made of aluminum, so you must take
special care of don’t to apply excessive force on
the screws since it can cause deformation or even
break the angles of the panel.
ADVICE
AC
Voltage
The unit cans wok with 110 or 220 VAC.
A voltage switch on the rear panel selects
the correspondent voltage.
ALWAYS CHECK THIS SELECTOR
BEFORE PLUG IN.
In order to reduce the risk of electrical shock, do not retire the
covers of the cabinet. The internal pieces do not require
maintenance of the user. Refer the technical maintenance to
qualified personnel.
The power cord provided with the unit gives
Earth return to the processor. Do not replace it
nor uses adapters.
MAKE SURE THAT HAVE WITH A GOOD
GROUND TAKING.
The exclamation icon within a triangle that
appears in this manual is for alerting to the user
about the presence of important instructions on
the operation and maintenance of the
equipment.
Letter “i” within a circle that appears in this
manual is for alerting to the user about the
information; advices and tips of extreme
importance.

SOLIDYNE 462dsp – broadcast digital processor Page 5
Chapter 1 Quick installation guide
1.1 Basic connection and settings
CONECTIONS
Power supply
Before plug in; check the position of the
AC VOLTAGE selector, on the rear panel
(200-240 V, 50/60Hz; or 100-130 V, accords
to correspond).
Inputs
Analogical audio inputs are balanced, using
XLR (fe ale) connectors. Connect the
PROGRAM OUTPUTS of your console to
these inputs. Take care of not invert the
phase of the channels.
Optionally; the 462dsp has digital AES-3
(AES/EBU) input, for digital consoles or links.
This input supports 16/24 bits and sa ple
rates fro 30 up to 96 KH. When the digital
input is used, we reco end connecting the
analogical inputs too. 462dsp will switch
auto atically to these inputs in case of failure
on the AES-3 signal.
Outputs
Connects the 462’s MPX output (BNC) to
your trans itter exciter.
Power on
The unit has an ON/OFF switch on the rear
panel. The ain screen Hill show a welco e
splash on start up; and then will load the last
used progra .
SETTINGS
Controls
All settings values are entered using a
JOG Wheel. Turn the JOG to select
options and to change values. Pressing
briefly the JOG, confir s an option.
Pressing and holding the JOG (around one
second), go to the ain enu. Each
screen graphically indicates the actions
available with the JOG (see figure).
Input
The default input level is +4 dBu. If your
console anages a different level, you
ust adjust the processor input level.
Press briefly the JOG to enter to the ain
enu. Choose the option “Setup Input”
and adjust the level according to the
no inal specified on your console.
Programs
Your radio already is on the air with the
sound of the Solidyne 462dsp. At this
point, you ust be anxious to listen what
462dsp is able to do with the sound of your
radio on the air… to begin we will explain
briefly how to select the factory presets.
Tunes your radio in a good audio
equip ent and do the following:
Turn the JOG. Note on the screen how
the different presets progra s na es
changes. Pressing briefly the wheel load
the program, changing the processing
and the sound on the air.
The 15 PRESET PROGRAMS can not be
changed. You have 15 USER MEMORIES
to create your own adjust ents. You can
start copying a preset progra to a user
e ory, and soon odifying it.

Page 6 broadcast digital processor - SOLIDYNE 462dsp
1.2 Brief diagram for general connections
1. If your computer does not have
serial port; you can use a RS232 to
USB adapter to connect the 462dsp
on a USB port.
In units with option RDS, you need to
connect a computer to the processor
for RDS programming. This
connection can be not permanent (in
case that a fixed text is transmitted; it
is stored into RDS memory).
2. When the processor connects to
the console using the digital inputs,
it’s convenient to make the analogical
connection too. In case of fault in the
digital signal, 462dsp changes to the
analogical inputs automatically.
3. In this example a RF connection
was used to transport the MPX signal
from the processor to the transmitter,
which assumes installed in a build far
from the studies.
In other configurations, the processor
locates in the transmitting plant and a
digital link is used to send the audio
(multiple sends can be used for
backup).
In this case, the remote control of
462dsp can be implemented through
a data channel of the link that allows
sending RS-232 data.
1.3 Understanding the main screen
Next you will see an overview on the 462dsp main
screen. Later each processing stages and its
settings screens are fully analyzed.
When the unit starts up; a boot screen appears
showing the current version of the operating
system. Once started, the unit presents the main
screen, which is described briefly at next as
introduction to the 462dsp graphical environment.
The progressive bars show the action of several
processor stages. The name of the current
program and state of inputs and outputs also
appears on this screen. From left to right you find:
The input VU meters (L & R). Below the vu-
meters an overload “OVL” warning can appear,
which turns on 8dB before the “digital clipping”
level (@ +18dBm). This warning turns off last 5
seconds if the “clipping” condition disappears.
The following bar shows the action of AGC
(Automatic Gain Control) that fits the input gain so
that the signal arrives at the processing stages
with constant level. In others words; if the signal
from the console arrives with low level (or very
high), the processor automatically compensate its
input gain so that the output level is uniform. This
is a gated AGC. If the input signal falls abruptly,

SOLIDYNE 462dsp – broadcast digital processor Page 7
the AGC holds its current value; to avoid an
undesirable effect known as “breathing”, that
appears when the signal is very low and the AGC
compensates their gain excessively increasing the
background noise in the voice intervals. In normal
operation this indicator will have to work at middle
scale (15 dB).
The following indicators show the action of the
multiband compressor. There are four
compression bands called loudness bands (LF,
M1, M2, HF). These indicators (like the AGC)
show the containment of each band, that is to say,
the compression (gain reduction) applied to the
signal, for that reason they “grow downwards”.
Band LF corresponds to bass notes of the audio,
below 160 Hertz, M1 and M2 to mid tones and HF
to the highs.
The LOUDNESS concept associates to the
sensation of sonorous power perceived by the
human ear. With no need to exceed the maximum
percentage of modulation fixed by the laws, the
processor can obtain that the radio “sounds”
stronger. The radio with better processing will be
the one that better sounds in the dial.
As will be explained later, another objective of the
processing is to increase the energy in the entire
audio spectrum, to produce the maximum possible
modulation in the RF carrier, which is translated in
greater radiated energy, improving the
transmission reach. For this, the processor applies
a complex procedure of compression on each
audio band, producing greater sensation of
loudness to the ear.
The size of each luminous bar indicates the
compression degree at every moment. Its effects,
obviously, changes according to the different
types of music and voice; but in general can say
that when a band indicator begins to light (values
up to 10 dB) the action is smooth and is totally
accepted by the human ear. With values of 20 dB
or greater will notice a greater “sonorous force”,
being a level of extreme processing.
Another important value to consider is the
recovery time. This is the time that takes a band
in recovering its previous gain. This is appraised
at first observing the indicators. The slower it is
the recovery, the processing sound soft and the
music sounds natural. However, when they are
fast, an increase of the loudness takes place, but
the sound can becomes more “rough”.
“AES In” indicates if the unit is using the digital
input. It activates just at the moment at which the
digital data enter.
= digital input
= analog input
“MPX Out” indicates that the processor is using
the internal FM stereo coder.
Finally; the screen shows the name and number
of the current program. You can explore the
programs list turning the JOG; but a program is
not active until you load it pressing briefly the
wheel.
A program is a set of adjustments stored in an
internal memory.
You access to the MAIN MENU by pressing and
holding the JOG wheel. From here you can
access to all functions and features of the
processor.

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SOLIDYNE 462dsp – broadcast digital processor Page 9
Chapter 2
Advanced installation
2.1 Power supply
•The AC voltage variation must stay smaller to
10%. Otherwise, uses an UPS.
Always CHECK the correct position of the
VOLTAGE ELECTOR (200/240 V o 100/130
V, according to the country)
AC wires do not have to be mixed with audio
wires, especially with analogical ones.
Remember that all audio installation must
have a trustworthy grounding. We
recommend accomplishing with the
effective norms - Article 810 of the National
Electricity Code (NEC); ANSI/NFPA Nº 70-1984 in
USA; IRAM 2379 and 2281-3 in Argentina. This
norm provides information and guidelines for a
consistent grounding.
2.2 On mounting
•462dsp can be mounted in a standard rack of
19”; or can be used on a table. Rubber tops are
provided with the unit. Do not place the unit on
unstable surface or shelf; the apparatus could fall,
causing damages to someone and to be damaged
the unit.
•The ambient temperature must stay between
5ºC and 40ºC. Avoid direct solar ray incidence on
the processor or proximity of heat sources.
•The openings and grooves allow the circulation
of air inside the unit. These openings do not have
to be blocked nor covered, not to obstruct the
refrigeration of the internal components.
•462dsp has internal protection against RF
fields, which allows locate it next to transmitters
(AM or FM). Avoid strong electromagnetic fields
(power transformers, big motors, etc).
2.3 Analogical audio connections
Inputs and outputs are electronically balanced.
The inputs are “bridging” type, with impedance
greater than 10 KOhms. The connectors used, as
is standard, are female XLR-3 for the inputs and
male for the outputs.
Take specially care with the phase.
•Use one pair shielded audio cables of GOOD
QUALITY, preferably with double shielding. The
maximum length recommended is 30 meters,
although in special cases it is possible to achieve
100 meters accepting a little loss at high
frequencies.
•The connection of this cables are made as is
standard. See the following table:
Balanced input/output connections:
1 = GND
2 = balanced positive phase (+)
3 = balanced negative phase (-)
Unbalanced connection:
Inputs: Signal = 2;
Ground = joint 1 and 3
Outputs: Signal to pin 2; leave pin-3 unconnected.
Ground = pin 1

Page 10 broadcast digital processor - SOLIDYNE 462dsp
2.4 Digita l audio connections
Optionally, the processor has digital AES-3
inputs/outputs (models 462dsp/AES).
The digital input supports:
Resolution: 16 - 24 bits
Sample rate: 30 KHz a96 KHz.
Internally 462dsp works at 24 bits/192 KHz, the
digital signal is converted internally by a stage
called “Resampler”.
When the digital input is used, is convenient to
connect the analogical input too. In case of losing
the digital connection, the processor switches
automatically to the analogical inputs. The input
mode is selected from the main menu choosing
the option “Setup Input”, as is explained later.
S/PDIF:
You can connect an S/PDIF output to
the AES3 input of 462dsp using an
S/PDIF to AES-3 adapter. The figure
shows a compact adapter XLR BNC.
AES-3 output has a resolution of 24 bits with a
samplerate selectable between 48/96 KHz (see
“3.2.2 – Output Setup”). The connector is male
XLR.
AES3 input and output cables connect as
following:
XLR Signal
1 GND
2 AES3 (1)
3 AES 3 (2)
AES-3 standard connection
2.5 Console MICstart
With the 462dsp the current processing program
can changes when the study microphones
activates. In this way you can use a processing
specially done for voices. The default adjustment
for voices is the program “09: Voice Impact“.
Obviously; you can copy and customize this
program.
The commutation takes place when grounding the
MICstart input. When this happens the processor
exchanges the program and the access from the
JOG wheel is blocked. When the MICStart input is
opened, 462dsp returns to the previous program.
“Console MICstart” uses a connector RCA type.
With consoles Solidyne 2300 series, MICstart is
connected directly to the Digisolid output of a
microphone channel (please refers to the manual
of the console). In other consoles, the control can
be solved using the tally signal to activate a relay.
Connect the relay contact directly to the RCA “MIC
Start”; and the coil in parallel to the tally light.
The relay coil voltage depends on the
voltage gives by the console.
When the relay receives tension, the contact is
closed activating the Mic Start function in the
processor. The voice’s program remains active
while the contact is closed.
This feature comes disabled from factory. In
order to use it, you must enable the option “MIC
PROCESSING” in the processor setup (see “3.2.3
- Processor Setup”).
2.6 MPX output
The MPX cable will be a RG-59 (coaxial 75 ohms),
like the used for CATV. The output connector is
BNC type. The maximum length recommended for
this cable is 25 m. Take care with the grounding;
although this rarely is cause of problems because
all Solidyne processors have MPX differential
outputs, that is to say, with the Earth isolated of
the cabinet, to avoid ground loops.
If some residual humming appears when the
system is on the air; power off the processor. If the
humming disappears, check the input connections
at the processor. If, however, the humming
continues (and only disappears unplugging the
MPX cable), this indicates some problem with the
grounding.
When enters to the transmitter through the MPX
input, make sure that the internal preemphasis
network IS DISCONNECTED (that is to say, flat
response from 20 to 100 KHz). Contrary, when
use an external stereo coder, make sure that the
generator INCLUDES the preemphasis curve.
This is thus since the 462dsp audio output DOES
NOT INCLUDE preemphasis (only the MPX output
has preemphasis).

SOLIDYNE 462dsp – broadcast digital processor Page 11
2.7 RD CODER (OPTION AL)
Models 462dsp/RDS have
internal RDS coder.
RDS (Radio Data System) is a system developed
by the European Broadcasters Union (EBU). It
allows adding to a conventional FM transmission,
additional information by means of the inclusion of
sub-carrier that contains data.
Their main applications are:
1. The automatic tuning of the receiver to a radio
network selected by the user, which, allows to listen
to a program, for example Classic Radio, during a
long trip by the route, with no need to tune manually
the receiver to another station of the same radio
network, when the reception happens to be deficient
when leaving the zone on watch of a determined
station.
2. Show on the receiver screen the radio network
name that is tuned, for example Radio 1, and the
kind of program: the general news, talk-show,
sports, music, varieties, monk, etc.
3. The automatic reception of information related to the
traffic. When this feature is selected the news has
priority on the traffic, so that the receiver will
exchange, automatically, within a same network, to
the transmitter that emits information on the traffic,
and once finished this information it will return to be
in tune, automatically, the transmitter that previously
was selected.
2.7.1 RDS – PC connection
For setup and control of RDS stage; the 462’s
“RDS Data” port must be connected to a
computer, using a standard COM (RS-232).
RDS Data PC
2 (RxD) 3 (TxD)
3 (TxD) 2 (RxD)
4 (DTR) 6 (DSR)
5 (GND) 5 (GND)
6 (DSR) 4 (DTR)
7 (RTS 8 (CTS)
8 (CTS) 7 (RTS)
Use a standard crossed serial cable (as known as
“null-modem”). Two female DB-9 connectors are
required. The following table shows the diagram of
connection, although only the connections
emphasized in bold are needed.
The computer is used to transmit data to RDS
coder. These data can change in real time, like
when the names of the songs are transmitted, or
can be a fixed text that it is stored in the internal
memory of the RDS coder.
In order to command the RDS coder; the software
Solidyne-Magic RDS is required. This application
is included in the 462dsp CD-ROM, provided with
the unit. Using this tool you will be able to start to
send RDS data. Please refer to the RDS help file
for detailed information on the software.
2.7.2 Connecting to the transmitter
The models 462dsp/RDS do not require a special
connection. MPX signal contains the RDS
information that is injected directly to the
transmitter when connecting the MPX output
The digital signal that it contains information RDS,
is transmitted with a speed of 1187,5 bit/s and
modulates a subcarrier of 57 KHz, using the
method of Amplitude Modulation with suppressed
carrier, that is added to the multiplexed
stereophonic signal; that it is sent to the
transmitter input. See the blocks diagram shown in
“Chapter 1”.

Page 12 broadcast digital processor - SOLIDYNE 462dsp

SOLIDYNE 462dsp - broadcast digital processor Page 13
Chapter 3 Starting up and operation
3.1 Basic actions
3.1.1 Using the JOG wheel
All the installation settings and each parameter of
audio processing are managed with the JOG
wheel into a friendly graphic interface.
The frontal panel presents a big blue screen of dot
matrix, and a rotating control (JOG) with push
button. Their use is very simple:
•Turn the JOG control to select an option or to
change values (i.e.: changing levels; select
Yes/No; etc.)
•To confirm an option/value press the JOG
briefly. It’s like make “click” with the mouse.
•Push and hold the JOG by a second to enter
to the Main Menu or to cancel a screen. It’s the
equivalent to double-click with a mouse.
3.1.2 Processing programs
462dsp has 15 presets programs and 15 user
memories. Programs from 00 to 14 are programs
made by the engineers of Solidyne, ready to be
on the air. There are different adjustments for
different music’s styles. Each program has a name
that identifies it (Jazz, Rock, Pop, Melodic, etc.)
but the names are only indicatives; all music
styles sounds well with any preset. Processing
programs are described with detail later.
You can customize the programs copying it to the
user banks (15 to 29) and edit them. By default,
user memories are “empty” (strictly speaking with
“flat” processing adjustments). You can create a
new adjustment changing the values of each
parameter on the user memory; or copying a
preset to the user memory (recommended). See
“4.3.1 – Copy programs”
3.1.3 Modes of control
The processor can be controlled of many ways:
a) Can be manually controlled from the frontal
panel.
b) The programs can be chosen automatically
from the OnAir PC. In this way you can use a
specific processing for each song or musical
style.
c) The programs can be created and edited using
the 462dsp VirtualRack software. This
software allows saving the 462’s programs in
the Hard Disk (files .462) that you can send by
mail, so that other radios of your chain share
the customized adjustments. In addition; this
software allows creating a scheduling
programming, to change the processing
program at certain hours from the day. Virtual
Rack runs in background using very few
resources. In fact this software can run on the
On-Air computer.
d) Connecting the PC to Internet, you can
controls the software via “Shared desktop”
Windows feature.
3.1.4 Access password
You can define a password of 3 characters
(letters, numbers and signs) to avoid that non
authorized people make changes on the
programming adjustments.
Each time that you try to access to the main menu
the processor will ask you for the password.
Note that you don’t need the password to
change the current preset on-air. Please see
“3.2.3 - Processor Setup”.
3.2 IN TALLATION ETTING
a) On start up, the 462dsp shows by a few
seconds the boot screen indicating the firmware
version. Once started; the processor present the
main screen; described in the item 3 of the
Chapter 1.
The unit always starts loading the last used
progra .
b) Pressing and holding the JOG you accede to
the Main Menu.

Page 14 SOLIDYNE 462dsp - broadcast digital processor
Once into main menu; turn the JOG until select
the desired option. The selected option is marked
by a little arrow that appears below the icons.
Touch briefly the JOG to confirm the selection.
WARNING
Remember that being in the main screen, turning the
JOG or touching it briefly, you accede to the mode
‘program selection’. In this mode; turning the JOG you
explore the 462’s programs. In order to leave the
‘programs selection’ mode, press and hold the JOG. In
order to accede to the main menu press and hold
again.
If being in the main menu or any settings screen
changes not occur during 10 minutes, the unit returns
to the main screen, discarding the changes.
3.2.1 INPUT SETUP
a) Here you define the audio level and type of
input. The operation on this screen follows the
concept of the previous ones: to select an option
(“Input selection” or “Input level”) turn the JOG and
touch briefly to confirm. Now turn the JOG again
to change the value of the chosen option. Touch
briefly to confirm.
Selecting this option the following screen will
appear:
INPUT SELECTION


Analog: Select this option when the processor
is connected ONLY through the analogical input.


Digital only: Choose this option when the unit
is connected ONLY through AES/3. Also the
analogical inputs can be connected, as back up,
but they will be used only in case that the carrier
of signal AES/3 interrupts. In this case, the
equipment exchanges automatically to the
analogical inputs, being in that mode until the
digital signal is reestablished.


Auto Search: (default) It uses the AES/3 digital
inputs in case of finding a source of digital signal.
Otherwise, uses the analogical inputs. In case of
finding only silence or a total lost of digital AES/3,
the unit switches to the analogical inputs. This
type of faults in signal AES/3 is characteristic
when “a digital data link falls”. As signal AES/3 is
regenerated in the receiver, the digital streaming
follows present, but without content of audio
(channels muted).
Reestablishing the signal in Auto Search
mode: After losing AES/3, or in absence AES
signal, or absence of audio in this digital signal,
the equipment switches automatically to the
analogical mode. The reestablishment to the
digital mode happens in immediately in case
signal AES/3 is had completely lost. Since when
recognizing a valued digital carrier, the processor
quickly returns to use the digital audio like source
of incoming signal. In case the digital signal exists,
but the same one contains silence, the processor
operates as follows: At intervals of 5 minutes the
processor interrupts briefly (1 sec) the audio on
the left channel, connecting in its place the digital
signal of the left channel; verifying soon if the
digital signal were reestablished. If it continues in
absolute silence, then it reestablishes the
analogical signal. This process is repeated time
and time again until as returns signal AES/3.
When the digital audio reappears, the processor
returns to digital mode.
While the digital signal remains absent, the audio
on the left channel is briefly muted at intervals of 5
minutes, to alarm to the engineers of the radio
(and to the operators) that the processor is
working with the analogical backup inputs. This
has been intentionally designing in this way, since
otherwise; an accurate confirmation does not exist
on problems in the signal AES/3.
A. INPUT LEVEL
Define the nominal level of the analogical input
signal. So that the AGC (automatic gain control)
operates correctly, is very important to fit this level
correctly.
This value must agree with the nominal output
level of your console (in the case of Solidyne
consoles this level is + 4 dBm).
NOTE: If you unknown the output level of your console, put the
console’s level at 0 VU peak and reads the level in the
462dsp’s input VU-meters.
With the adequate input level, the AGC works
around 10 to 15 dB of gain reduction. This can be

SOLIDYNE 462dsp - broadcast digital processor Page 15
seen in AGC indicator who will have to indicate 15
dB with strong program signal, lowering to 8 dB or
less when the signal reduces. If the program
signal level abruptly falls, the indication “HOLD”
appears.
Overload warning (OVL): appears in the main
screen when the input signal reaches +10 dBm;
that is to say, +8 dB before the ‘digital clipping'
threshold (placed at +18 dBm). The indication
disappears last 5 sec if the clipping disappears.
The digital input fulfills recommendation AES-K12,
applied to broadcasting, which takes as reference
for 0 VU a digital input level of - 12 dBFS.
This implies 12 dB of headroom. The user cannot
modify the input level when digital input is used.
3.2.2 OUTPUT SETUP
OUT LEVEL: It refers to the analogical output. Level is
fixed at +4dBm.
DIG. OUT: Define the sample rate of the AES-3 output.
It can be 96 KHz or 48 KHz.
MPX Level: Define the MPX output level. It can
change from 2V to 5V peak to peak.
You must set the value according to the value that
the transmitter needs to reach the 100% of
modulation (75 KHz deviation).
PRE-EMPHASIS: Allows to adjust the pre-emphasis
curve according to the regulations of your country
(I.E.: Europe = 50uS; USA, ASIA, Latin-American
=75uS)
3.2.2.1 Adjusting 100% of modulation in FM
For this adjustment use a program material of high
density; with voice and music (i.e.: commercial
spots). Select the program “08:MaxLoudness” (it
produce high output level). Next change the MPX
output level until obtaining 75 KHz of deviation,
measured with a Monitor of Modulation (like the
Solidyne VA16) or with the modulator meter of the
transmitter. For fine adjustment of the 100% you
can use the input gain control of the transmitter’s
exciter.
In the daily use of the processor, probably the
indicators of modulation of needle type overpass
the 100%. This can be due to over-impulses of the
ballistics or to that it responds to values average
of sine wave and the indication is erroneous with
the high processed audio. Please see the
following notes.
3.2.2.2 Notes about FM
Remember that many countries follow the
recommendations on modulation of the FCC
(USA). Recommendation 73268 indicates that the
FM must stay all the high that is possible, but
without exceeding 100% in peaks of frequent
recurrence (“In no case is it to exceed 100 % on
peaks of frequent recurrence”). This indicates that
in transitory peaks (and no frequent) 100% of
modulation can be surpassed staying within the
legal frame.
The 462dsp processor is designed to fulfill this
FCC Norm, being allowed to surpass 100% in no
recurrent peaks slightly. When fitting the
modulation, verifies the norms of its country.
When making the programs; take in count if there
is an UNIQUE program for the whole day. In that
case commitment solutions will be use to accept
all types of voices and music that the Radio emits.
Using the remote control from PC, diverse
programs can be created. This eliminates the
commitments, so each program will be the optimal
for that type of music or voice. In addition, this
automation eliminates the listener’s ear fatigue
associate with the radio stations that use rigid
processors.
3.2.3 PROCESSOR SETUP
MIC PROCESSING PGM: MICstart input allows to
change the processing program when the operator
activates the microphones at the console, applying
a specific processing to obtain high impact voices.
This is a very useful feature, since it’s not possible
to obtain an adjustment that sounds optimal for
music and voice simultaneously; for being two
audio signals morphologically different. The attack
and recovery times of the AGC differ sensibly for
both cases; and must be carefully fit to avoid that
its action is audible.

Page 16 SOLIDYNE 462dsp - broadcast digital processor
This option is disabled from factory (program
30:Mic processing off). In order to enable it, select
“Mic processing PGM” and choose a program
created for voices (for example 09:VOICE
IMPACT).
The commutation controls from a connector in the
rear panel, detailed in the installation chapter (see
“2,5 Console MIC Start”).
TIPS
The programs for “music” and “voice” do not have to be
radically different. The gains of the density EQ and the
AGC output must stay without greater variations. The
differences will be fundamentally in the attack and recovery
times of the AGC and the multiband compressor.
It agrees to create the adjustment for voices starting from
the adjustment chosen for music. The attack and recovery
times used for music usually are slower than those required
for the voices, mainly in the AGC. Observe and compare the
factory presets.
PASSWORD: You can define a password to avoid
the access of unauthorized personnel to the main
menu to change the settings. Once defined,
462dsp will ask for the password whenever you try
to accede to the main menu, but you don’t need
the password to explore the program list and
change the program on-air.
The password must have 3 characters. Any
combination of letters, numbers and symbols can
be used.
•To enter a password, go to field “Password” turning
the JOG and touch it briefly to confirm.
•A flashing cursor appears to enter the first character.
Turn the JOG until reach the wanted symbol and
confirm with brief touch. The cursor will jump to the
next character.
•Proceed in the same way to choose the others
characters.
•After confirm the last character, the option “OK” is
on focus. PRESS AND HOLD to confirm the
password. A brief touch in this point will make jump
the cursor to the first character again.
•Press and hold the JOG cancels the process in
any instance. (equivalent to escape), except when
“OK” is selected, in such case confirm the
password!
•To delete the password, edit it entering 3 space
characters.
Write down the password in a secure place, in
order to do not loose it. If you forgot the
password, please contact with Solidyne; and y
you will receive instructions to restore it.
PROCESSOR MODE: Shows the processor type.
The unit can be prepared for FM or AM stations.
This is defined in factory, because requires some
internal changes in the circuit board; as well as a
different programming of the flash memory with
the corresponding constants for the AM band.

SOLIDYNE 462dsp – broadcast digital processor Page 17
Chapter 4 Audio processing settings
4.1 PROGRAM ELECTION
The unit has 15 default programs (00 to 14) and
15 user memories.
The programs selects from the main screen. Turn
the JOG to explore the list and touch briefly to put
a preset on the air.
•Note that, while you explore the programs, over the program
name appears the navigation instructions.
•While these instructions are on screen, you are in the mode
“exploring programs”.
•Selecting a program this legend disappears.
•Touch and hold the JOG to cancel the exploration. The name
of the current on-air program returns on screen.
THE CHANGE WILL TAKE EFFECT ON THE AIR
JUST WHEN YOU LOAD IT BRIEF TOUCHING
THE JOG.
4.2 DEFAULT PROGRAM
462dsp has 15 programs created by the Solidyne
engineers. Next each preset is explained. These
adjustments are the base for the creation of new
programs.
00: JAZZ – CLASSIC (orchestral)
This is a “soft” program. The objective was respect the original
equalization and balance of the orchestra; maintaining its
dynamic expression; by all means: within the limits of the FM
transmission. For this the AGC uses slow attack and recovery
times, and its output level is around 4 dB, for not to produce
excessive compression. Remember that an excessive
compression will cause a spectral imbalance unacceptable for
Jazz music and orchestras.
The times for the bands M1 and M2 require special attention,
since there is much participation of soloist’s instruments in this
music. The recovery times must be similarities, otherwise
timbre modulations will take place, mainly in wind joints.
This adjustment reinforces the lows subtly. The dynamics of
the bass stays using fast recovery times for the low band (LF).
The high frequencies are not emphasized. The objective was
to prioritize the fidelity; “clearness” and definition of the
instruments over the “brightness effect”. By such reason the
recovery time of the high band (HI) is relatively slow. Consider
that the listener always can emphasize the trebles in his tuner
by equalization.
This program also is very appropriate for TANGO orchestras,
although generally the tango tolerates a little more processing
(AGC OUT = 7 dB) and can require adjustments in the times of
the bands of M1 and M2, by the stylistic differences in the use
of the vocal intervention respect to the Jazz.
01: JAZZ IMPACT
It’s similar to the previous one; but a little more “strong” (slower
attack times and faster recovery times). JAZZ IMPACT apply a
little increasing to the BASS CLIP threshold to reinforce the
bass “punch”. This processing works very well with Jazz-POP,
country and blues, folklore and tango.
02: MELODIC
Here was prioritized the human voice over the musical support.
To respect the “color” and shades of the soloists was the
central objective when creating this program. As reference was
used material of diverse soloists of ballads, boleros and
melodic music. Although this adjustment is centered in the
voice, is not equivalent to adjustment “VOICE IMPACT”, since
the characteristics of the sung voice differs remarkably from
the spoken voice.
The multiband processing is moderate. The AGC output is
about 4.3 dB. Greater values will cause very audible changes
of timbre in some soloists, due to the imbalance that take place
between the bands with excessive compression. The attack
and recovery times stay relatively slow, not to lose the dynamic
profiles completely.
The mid bands M1 and M2, where the vocal energy is
concentrated, apply a considerable compression to the voice,
since their attack times are fast (17 mS) and their recovery
times are slow (540 mS and 181 mS respectively).
The adjustments of the density EQ compensate the balance
between bands to obtain a flat response, comparing the
processed material with the original one. For that reason band
M1, that is the one that receives greater compression in
average, is emphasized not to lose presence the mid-low.
03: MELODIC HI BOOST
This adjustment is similar to the previous one, but can be said
that a little “hardest”. The high presence was increased,
releasing the attack (18 mS) and lowering the recovery time
(60 mS). The mid-low band (M1) has a faster recovery time
(400 mS) and the low band is slightly more compressing. The
output level of the AGC was increased to 5 dB. A bass punch
is added setting the “Bass Clipper” control at -4 dB.
04: MELODIC IMPACT
This adjustment is similar to the previous one, but with al little
hard processing.
05: ROCK
This adjustment prints a remarkable processing to music. The
gain of the AGC is around 9 dB, which that considers a “strong
processing”. The “force” of this preset is sustained not only by
the AGC output level, but also by the fact that all the bands
have slow attack times and fast recovery times. By such
reason, the fifth band of highs post-processing will have
noticeable incidence on the processing.
When all bands have fast recovery times; the action of the
attack times prints “force” to the sound, given “punch” to the
music. This is because being fast the recovery, the next
impulse finds “released” the compressor, and this will take time
again in containing the signal; which lasts the attack time. This
effect is more notable in LF, and as it is explained in the POP

Page 18 SOLIDYNE 462dsp - broadcast digital processor
adjustment, one of the keys to obtain forceful “pumping” bass
drums (or beats for techno music).
The density EQ reinforces the lows slightly. The marked
attenuation in highs looks for to control the ear fatigue
produced by the electrical guitars, which can present high
distortion (intentionally applied, of course) whose density in
bands M2 and HF usually is critical. Remember that the
previous compression stages are of “hard” processing. Very
low frequencies get a “punch” with the “Bass Clipper” control at
-4.3 dB
06: ROCK LATINO
This adjustment was thought for Rock and Pop music with
strong presence of Indo-afro-Latin-American percussion
instruments. By such reason, the attack of the mid band “M2”
was freed and, in smaller proportion, the high band
(approximately 16 mS and 12 mS respectively). This increases
the presence of that bands, in which great part of the spectral
components is concentrated that contribute to “definition” and
“brightness” to the instruments before mentioned. The effect
reinforces with a fastest recovery in the high band (28 mS).
The attack for the low band is also something slow (65 mS)
whereas its recovery is of the order of 1/2 second. The
objective is to obtain basses with great “height” but without
losing the attack, of vital importance in these rhythms, since
many times the bass is who takes the cadence of the song.
This adjustment can be considered a “moderate” processing,
since the AGC output AGC is fit around 8 dB.
This adjustment is very appropriate also for Son, Salsa and its
derivates. For these styles the processing can be increased
increasing the output level of the AGC until around 12 dB.
07: ROCK IMPACT
It’s the ROCK program but with a little more processing.
08: POP
This is another “moderate” preset. Designed for POP music,
which include very many styles, this adjustment looks for
obtaining very good loudness and a “flat curve of EQ”, with
good dynamics.
The AGC level is around 7 dB. The density EQ reaches its
maximum value in the band M1, with -7.8 dB. As was already
said, the equalization curve compensates the response to
obtain a cuasi-flat curve.
Respect to the compressors, the low band is freed to obtain
great impact in the beats. This is obtained with a slow attack
time (49 mS) and a fast recovery (340 mS). In this way, as the
recovery of the compressor is fast, each beat of big drum is
affected by the attack time, that lets pass the initial impulse of
the wave. This impulse that “escapes” is contained soon by
other stages of the processor (limiters). But the result is a
sensation of greater dynamic range. If the recovery time for the
band LF is slow, the attacks of the successive beats would be
“squashed” by the compressor (the attack acts only on the first
beat and never more, which is equivalent to have an attack
time equal to zero).
The high bands also are something released, to obtain
“brightness” and presence in trebles, something of extreme
importance in POP music (usually strident, cheers and “up”).
The “Bass Clipper” threshold is increased up to -3,5 dB.
09: POP IMPACT
This is an adjustment for generic music. The gain of the AGC is
6 dB and the BASS CLIP threshold is -4 dB to reinforcement
the lows.
10: CHILL-OUT
This can be considered a “moderate” processing. “Chill-out”
makes reference to a calm music, generally of electronic
instrumentation.
By the nature of this music, the commitment with the spectral
balance is not capital, that is to say, there is more freedom to
make the adjustments. In this case was chosen to emphasize a
little the lows and the highs presence. This last one is obtained
making fast (60 mS) the recovery of the high band, whereas
the attack of this band adjusts a little slow (20 mS). This
causes that enters in action the fifth band of high frequency
post-processing (HF). The “weight” in the basses obtained with
a fast attack and a slow recovery in the low band and
increasing the gain of this band in the density EQ.
Respect to the AGC, the output level is located about 9 dB,
with slow attack and recovery times.
This adjustment also is useful for “new age music”. Although
these styles are stylistically different, share the use of synthetic
atmospheres and moderate to slow tempo.
11: REGGAE
Is a variation of “Chill-Out” preset with higher “Bass Clipper”
threshold (- 4 dB).
12: BOSSA NOVA
This is a moderate preset. Attack times are fast and recovery
times are moderate.
13: MAX LOUDNESS
This it is the more radical adjustment. As the name of the
program suggests, the primary target was to obtain a great
loudness on the air (and improved reach of the FM), leaving in
background the “clarity” of the sound and the spectral balance.
The output level of the AGC is located in 15 dB, whereas the
density EQ reaches -6.5 dB in the band M1 the highest
adjustment between the 15 default programs.
Since the gains of the AGC and density EQ are high; the
applied compression is something soft, that is to say, fast
attack times and slow recovery times. In this way the signal is
more compressed. It is denominated “soft” because when a
compressor acts, for example M1 on a guitar, the compressor
reacts immediately, to have a fast attack, and maintains with its
gain reduction (slow recovery), containing the successive
attacks of the guitar, that are not affected by the attack
because the compressor still did not recover.
Obviously, the dynamic range perceived in this type of
adjustment is lost almost completely, basically due to the
compression.
The combination of a hard compression with high gains will
cause a heavy processed sound, which will sound rough on the
air with certain type of music.

SOLIDYNE 462dsp - broadcast digital processor Page 19
14: VOICE IMPACT
This adjustment specially is designed for locution. When
462dsp is connected to the console using MICstart; opening
the microphones 462dsp changes its program to process the
voices with a special adjustment.
The AGC must recover fast to compensate, for example, a
telephone communication that arrives with low level. The hold
threshold must be relatively low, around 17 dB, to avoid that
the AGC “is hooked” and, in this way, to obtain that it reacts
quickly before any difference of level between different voices.
Remember that the objective is that the voices always sound
on the air with the same level. The attack of the AGC also must
be fast, to make level abrupt changes of level that can take
place by shouts (discussions) or outbursts of laughter.
The speed of attack of the compressors must be fast, to
contain great impulses that take place in the beginnings of
phrases, when the compressors begin to work. If the attack
times are long, can take place excessive processing and trim
of the signal in certain entrances of the speaker; in other
words, the speaker will sound “saturated” or “dirty” during a
brief moment when he begins to speak.
On the recovery times there is more freedom, reason why they
will be fit according to the type of voices of the radio. Like
general rule, remembers that long recovery times produce “a
smooth” processing, whereas with short times the loudness is
increased but the processing becomes more “heavy” (greater
compression).
Respect to the gains, the voices do not tolerate high
multiband compression, so if for music a strong” adjustment
is used “, for the voice the AGC output level will have to be
located around 9 dB. An excessive processing will sound
disagreeable to the ear.
TAKE IN MIND
•When creates your own adjustment for the voices,
considers that the equalizing does not have to be radically
different to the used for music. That is to say, the voice
impact program MUST BE CUSTOMIZED maintaining the
equalization used for the music.
4.3 U ER PROGRAM
Default programs cannot be modified. To make
your customized adjustment, look for that preset
that more approaches to the sound that you are
looking for your radio; and copy it to a free user
memory. Soon modify the preset values in the
user memory. To copy a program proceeds as
following:
4.3.1 COPY PROGRAM
At the main menu enter to the option COPY PGM.
A screen will appear to define:
a) Source program (From): Number (name) of the program
that you want to copy. To select this option turns the JOG
(observes the arrow) and touch it briefly to confirm. Soon
turns the JOG again to explore the programs, and touch
briefly to confirm.
b) Destiny program (To): Number (name) of destiny
program. To change it proceed like in the previous step.
In order to confirm the action, turn the JOG to
select “Copy” and touch it briefly. The processor
remains in the present program. In order to load
the copied program you needs select it from the
main screen.
Once a user program is overwritten, is not
possible to recover it. Default presets cannot
be changed by any error of use.
4.3.2 EDIT PROGRAMS
From this option you accede to the heart of the
processor. You can edit the processing values for
anyone user program. Selecting this option you
enter to the program edition screen, described
next.
TIPS
•To people who do not have time to fit and to hear carefully
the Radio, throughout several days, we recommend to use
some of the 15 default presets. Only sound technicians
with great patience will have to try to make their own
adjustments. Its patience will be compensated surely by a
customized sound different from the sound of other radio
stations.
•Please read carefully the description of each adjustments
made by Solidyne. Take it the time to listen to each
program and how each control affects to the sound on the
air. Once you knows clearly “so that” of each adjustment,
comes to make your customized adjustment. This way will
be easy for you to obtain that sound that you have in mind.
•Of no way is recommendable to change values
“completely without information”, without knowing how will
affect each change to the sound of the radio.
•Finally, an encouraging commentary; these adjustments
are zero risk, because you always will be able to return
from the default program, that never change.

Page 20 SOLIDYNE 462dsp - broadcast digital processor
4.4 PROGRAM ADJU TMENT
The screen “Edit Program” shows the blocks
diagram of the processor, showing the main
stages involved in the audio processing. The
operation is the same one that in other screens.
Turn the JOG to select a stage and touch briefly to
enter.
LISTENING ON THE EDITION
•Next we will see the different forms to create or to modify
the sound of a program. Each change that we make will
listen on the air. Therefore we will have to listen carefully
with a good receiver (better still tuning Walkman or and
an audio amplifier of high quality, with good
loudspeakers). Not to listen the signal directly from the
audio output of 462dsp, but the air signal of the
trasmisor
4.4.1 PROGRAM NAME
Allows change the program name. Press briefly on
this option to enter to the edit mode.
•The characters are changed turning the JOG. To
confirm press briefly the JOG.
•To confirm the changes, press and hold on OK.
•To cancel and leave this screen, press and hold on
any character.
4.4.2 EXPANDER / AGC
4.4.2.1 AGC OUT GAIN
The output level of the AGC is a CRITICAL
ADJUSTMENT, since it determines the level with
the signal reaches the multiband compressors,
and therefore the compression degree that will be
applied.
So the action of the multiband compressors fits
using the output level control of the AGC.
LOUDNESS BANDS indicators show the
compression degree applied by the multiband
system. Each band has its own indicator.
Usual values for the AGC output are between +6
to +12 dB.
TAKE IN MIND
•How much greater the compression degree is, more
loudness has the program on the air. But high
compression levels (greater than 18 dB) can produce a
“confused” sound in certain type of music (hyper-
processed, of high density) and excessive alteration of the
timbre (with soloists’ voices or instruments). For this
reason it's a critical adjustment and you must pay special
attention to this control.
4.4.2.2 AGC attack time
The attack time is the time that the AGC takes to
reduce its gain when the input signal increases.
Like general rule, it can say that for voices short
times of attack must be used (500 ms); whereas
for music longer times are preferred (3 to 4
seconds).
Note that when the input signal increases quickly,
during the AGC attack time the signal is contained
by the multiband compressor that will act strongly
until the AGC compensates their level. Depending
on the adjustments of the following stages, a too
slow attack of the AGC can cause an excessive
compression of the signal (mainly with voices)
4.4.2.3 AGC recovery time
When the input signal decreases, the AGC begins
to increase their gain to compensate the fall of
level at the input. Remember that the objective of
the AGC is to assure that the signal reach the
processing stages with a very stable level;
independent from the console's level. The time
that takes the AGC in compensating the gain
reduction is called recovery time.