Symetrix airTools 6200 User manual

1/26
User’s Guide
6200 Digital
Voice Processor To download the latest version of 6200 Designer, a Windows GUI
application interface for the 6200, go to: www.airtoolsaudio.com
TM
Symetrix
Engineered by
What Ships in the Box
 A 6200 hardware device.
 A 6200 Designer CD-ROM (Windows).
 A detachable power cord.
 This User’s Guide.
 An RJ-45 Incompatibility Warning
sheet.
What You Need to Provide
(for optional PC GUI control only)
 A Windows PC with 300MHz or higher
Pentium and:
• WIN 98SE, ME, 2000 or XP.
• 10-15 MB free storage space.
• 1024x768 graphics capability.
• 16-bit or higher colors.
• CD-ROM drive or Internet connection.
• 64MB RAM (WIN 98SE/ME), 128MB
RAM (WIN 2000/XP).
 One of the following communications
interfaces:
• An available serial port with a straight-
through RS-232 cable to connect the
serial port of your PC to the 6200’s
rear RS-232 port. The 6200’s RS-232
input is a female DB9 connector.
• An available USB 1.1 port with appro-
priate cable to mate to your comput-
er’s or hub’s USB port. The 6200 uses
a female “B” type USB connector on
its front panel.
• A 10/100 Base T Ethernet port with
any necessary CAT-5 cabling and
networking hardware.
Getting Help
6200 Designer, the Windows GUI appli-
cation interface for the 6200 hardware,
includes a help module which acts as a
complete user’s guide for the software.
If you have questions beyond the scope
of this User’s Guide or the help module,
contact our Customer Support Group in
the following ways:
Tel [phone]
8:00 am to 4:30 pm
Monday through Friday,
Pacific Time
Email [e-mail]
Web www.airtoolsaudio.com
This device complies with part 15 of the FCC
Rules. Operation is subject to the following
two conditions: (1) This device may not cause
harmful interference, and (2) this device must
accept any interference received, including
interference that may cause undesired
operation.
This Class A Digital apparatus meets all
requirements of the Canadian Interference-
Causing Equipment Regulations
Cet appariel numerique de la classe A respecte
toutes les Exigences du Reglement sur le
materiel brouilleur du Canada.
Important Safety
Instructions.
1. Read these instructions.
2. Keep these instructions.
3. Heed all warnings.
4. Follow all instructions.
5. Do not use this apparatus near water.
6. Clean only with dry cloth.
7. Do not block any ventilation open-
ings. Install only in accordance with
the manufacturer’s instructions.
8. Do not install near any heat sources
such as radiators, heat registers,
stoves, or other apparatus (including
amplifiers) that produce heat.
9. Do not defeat the safety purpose of
the polarized or grounding-type plug.
A polarized plug has two blades with
one wider than the other. A grounding
type plug has two blades and a third
grounding prong. The wide blade or
the third prong are provided for your
safety. If the provided plug does not
fit into your outlet, consult an electri-
cian for replacement of the obsolete
outlet.
10. Protect the power cord from being
walked on or pinched particularly at
plugs, convenience receptacles, and
the point where they exit from the
apparatus.
11. Only use attachments/accessories
specified by the manufacturer.
12. Use only with the cart,
stand, tripod, bracket,
or table specified by
the manufacturer, or
sold with the apparatus.
When a cart is used, use caution
when moving the cart/apparatus com-
bination to avoid injury from tip-over.
13. Unplug this apparatus during light-
ning storms or when unused for long
periods of time.
14. Refer all servicing to qualified service
personnel. Servicing is required when
the apparatus has been damaged in
any way, such as power-supply cord
or plug cord is damaged, liquid has
been spilled or objects have fallen
into the apparatus, the apparatus has
been exposed to rain or moisture,
does not operate normally, or has
been dropped.
AVIS:
NE PAS OUVRIR
Il ne se trouve a l’interieur aucune piece pourvant entre reparée l’usager.
SEE OWNERS MANUAL. VOIR CAHIER D’INSTRUCTIONS.
S’adresser a un reparateur compétent.
RISQUE DE CHOC ELECTRIQUE
No user serviceable parts inside. Refer servicing to qualified service personnel.
CAUTION
WARNING:
TO REDUCE THE RISK OF FIRE OR
ELECTRIC SHOCK DO NOT EXPOSE
THIS EQUIPMENT TO RAIN OR MOISTURE
DO NOT OPEN
RISK OF ELECTRIC SHOCK
The lightning flash with arrowhead
symbol within an equilateral triangle is
intended to alert the user of the pres-
ence of uninsulated “dangerous voltage”
within the product’s enclosure that may
be of sufficient magnitude to constitute
a risk of electric shock to persons. The
exclamation point within an equilateral
triangle is intended to alert the user of
the presence of important operating and
maintenance (servicing) instructions in
the literature accompanying the product
(i.e. this User’s Guide).
CAUTION To prevent electric shock,
do not use the polarized plug supplied
with the unit with any extension cord,
receptacle, or other outlet unless the
prongs can be fully inserted.
Power Source. AirTools 6200
hardware uses a switching power supply
that automatically adjusts to the applied
voltage. Ensure that your AC mains
voltage is somewhere between 100-240
VAC, 50-60 Hz. Use only the power cord
and connector specified for the product
and your operating locale. A protec-
tive ground connection, by way of the
grounding conductor in the power cord,
is essential for safe operation. The power
connector shall remain readily accessible
and operable once the unit is installed.
User Serviceable Parts. There
are no user serviceable parts inside the
AirTools 6200. In case of failure, custom-
ers inside the U.S. should refer all servic-
ing to the Symetrix factory. Customers
outside the U.S. should refer all servicing
to an authorized AirTools distributor. Dis-
tributor contact information is available
online at www.airtoolsaudio.com.
Before You Begin

2/26
User’s Guide
6200 Digital
Voice Processor To download the latest version of 6200 Designer, a Windows GUI
application interface for the 6200, go to: www.airtoolsaudio.com
TM
Symetrix
Engineered by
Introduction
The AirTools 6200 Digital Voice Processor is designed to meet the increasingly sophisticated needs of broadcasters operating
in both analog and digital realms featuring an optimum mix of signal processing modules and control features. The modules
include: highpass, lowpass, and shelving filters, de-esser, downward expander, comp-limiter/AGC-leveler, 4-band parametric
EQ and voice symmetry. The 6200 is a dual-channel unit with two discrete audio pathways capable of processing microphone
or line-level sources, independently or as a stereo pair with a 24-bit/48kHz digital signal path. Creation of voice programs
and signal processing parameters may be done from the 6200 front panel or from 6200 Designer, a Windows™ application
(provided). From a PC, the 6200 may be controlled via RS-232, USB or Ethernet. In lieu of computer control, real time changes
of program and DSP parameters may be actuated via user supplied ESE time code, pots, encoders, switches, or MIDI devices.
The 6200 is also compatible with the AirTools Studio Matrix system which can mix, process, and route audio throughout an
entire broadcast facility. The 6200 can be connected to and from the Studio Matrix system via HomerLink, a low cost Symetrix
technology that transports AES digital audio over CAT-5 cable for distances up to 100 meters. CAT-5 can also be used to
connect a 6200 to a distant HomerLink Breakout box converting to standard AES-3 XLR connectors.
Mechanical Data
Item Discussion Remarks
Space Required 1U (WDH: 48.26 cm x 26.6 cm x 4.369 cm /
19 in x 10.475 in x 1.72 in). Depth does not
include connector allowance.
Allow at least 1 inch additional clearance for rear panel con-
nections. Additional depth may be required depending upon
your specific wiring and connections.
Electrical 100-240 VAC, 50-60 Hz, 25 Watts maximum. No line voltage switching required.
Ventilation Maximum recommended ambient operating
temperature is 30 C / 86 F.
Ventilation should not be impeded by covering the unit with
items such as newspapers, tablecloths, curtains, etc.
Weight 4.45 kg / 9.82 lbs.
Performance Data
Inputs
Nominal Input Level Analog: +4 dBu or -10 dBV line level, -36 dBu or -56 dBu
mic level (software selectable) with 20 dB of headroom
Digital: -20 dBFS
NOTE: For unbalanced analog
input, either reference the minus
input terminal to the signal source
ground (preferred) or ground the
minus input to the adjacent ground
terminal (tie low to ground). Using
the second method deprives you of
the common mode rejection inher-
ent in a balanced input, even when
coming from an unbalanced source.
Maximum Input Level Analog: +24 dBu
Digital: 0 dBFS
Input Impedance Analog: 20k Ohms
Digital: 110 Ohms, +/- 10%
CMRR Analog: > 50 dB (0 dBu, 20 Hz to 20 kHz)
Analog to Digital Conversion 24-bit delta/sigma
Outputs
Nominal Output Level Analog: +4 dBu line level with 20 dB of headroom
Digital: -20 dBFS
NOTE: For unbalanced analog
output, float (do not connect)
the minus output terminal.
Unbalanced usage results in 6
dB lower output level.
Maximum Output Level Analog: +24 dBu
Digital: 0 dBFS
Output Impedance Analog: 200 Ohms balanced, 100 Ohms unbalanced
Digital: 110 Ohms, +/- 10%
Digital to Analog Conversion 24-bit delta/sigma
System
Nominal Sample Rate 48 kHz
Sample Sync Range 48 kHz +/- 100 ppm (AES-3 or AES-11 via HomerLink)
Dynamic Range Analog: > 114 dB (20 Hz to 20 kHz, A-weighted)
Digital: 144 dB typical, unweighted
Frequency Response Analog: 20 Hz - 20 kHz
Digital: 20 Hz - 24 kHz
THD + Noise Analog In-to-Out: 0.0035% (20 Hz to 20 kHz, unweighted with +24 dBu output)
Digital In-to-Out: > 117 dB @ 1 kHz
Introduction, Mechanical Data, Performance Data

3/26
User’s Guide
6200 Digital
Voice Processor To download the latest version of 6200 Designer, a Windows GUI
application interface for the 6200, go to: www.airtoolsaudio.com
TM
Symetrix
Engineered by
Front Panel
Item Description What It Does
BYPASS Momentary button Toggles DSP bypass state on top level menus. Toggles DSP module bypass state
on individual DSP module menus.
PREV / EXIT Momentary button Moves to the previous menu item or exits to the top of the menu tree.
NEXT / ENTER Momentary button Moves to the next menu item or enters a menu tree.
HOME Momentary button Returns to the “HOME” top-level menu.
ADJUST Continuous rotary encoder Selects the menu to enter or adjusts the currently selected parameter or menu item.
DISPLAY Monochrome Displays status, menu or configuration information.
LOAD 1 / SAVE 1 Momentary button Loads or saves a program for channel 1.
LOAD 2 / SAVE 2 Momentary button Loads or saves a program for channel 2.
USB Female “B” USB 1.1 port Optional connection to a Windows™ PC for 6200 Designer GUI control.
Rear Panel
Item Description What It Does
POWER INPUT IEC 3 prong jack Accepts power from detachable IEC power cable (100-240 VAC, 50-60 Hz, 60
Watts max). Connect only to a grounded power outlet.
TC89/TC90 TIME CODE IN Female BNC Accepts (ESE) TC89 or TC90 time code to drive the real-time clock and Event
Manager. Format and presence is automatically detected.
PROGRAM CONTROL Male DB9 Simple program recall interface.
RS-232 Female DB9 Optional serial communications interface for 6200 Designer on the host PC.
ETHERNET (10 Base T) RJ-45 Optional Ethernet communications interface for 6200 Designer on the host PC.
RS-485 Euroblock Optional long distance serial communications interface for 6200 Designer on the host
PC. Third party 232/422/485 converter products may be required to utilize this port.
REMOTE BYPASS Euroblock Allows remote software (DSP) bypass or output muting (output disconnect via
relays) with simple contact closures.
ANALOG CONTROL Euroblocks Allows real-time control of up to two parameters per port using standard 10k Ohm
INPUT 1 and 2 linear potentiometers.
MIDI/RC-1 IN 7 pin DIN Accepts MIDI program change messages to recall programs for channels 1 and 2.
Can also be used with the AirTools RC-1 remote directly. The RC-1 can also be
powered from this port.
HOMERLINK RJ-45 Transmits 4 AES-3 mono channels and receives 2 AES-3 mono channels over
standard CAT-5. Used for AES digital input, to sync to an external AES clock
source or to integrate with the AirTools Studio Matrix system.
AES OUT 1 and 2 Male XLR AES-3 digital output - software selectable to carry Channel 1/2, 1/1, 2/1 or 2/2
information.
ANALOG OUT Male XLR 2 x analog line level audio outputs with software adjustable output level.
ANALOG IN Female XLR-1/4” combo 2 x analog mic/line level audio inputs with individually software selectable coarse
gain and fine trim.
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Front Panel, Rear Panel

4/26
User’s Guide
6200 Digital
Voice Processor To download the latest version of 6200 Designer, a Windows GUI
application interface for the 6200, go to: www.airtoolsaudio.com
TM
Symetrix
Engineered by
Basic Setup
POWER: Connect the IEC connector side of the supplied AC cord to the receptacle on the rear of the
6200. Connect the other side of the AC cable to an AC power source that is of the correct voltage and
frequency (100-240 VAC, 50-60 Hz). Use only the power cord and connector specified for the product and
your operating locale.
ANALOG IN: Using a standard microphone cable terminated
with one male XLR connector and one female XLR connector,
connect the male end into the CHAN 1 - ANALOG IN of the
6200 and the female end into your microphone.
Caution 1: When Phantom Power is engaged, do not use unbalanced microphones or mic cables.
Caution 2: When Phantom Power is engaged, do not use switched mics which short pin 2 and/or pin 3 to ground.
Caution 3: When Phantom Power is engaged, always turn down monitors/headphones before connecting or
disconnecting microphones.
ANALOG OUT: Using a standard mic/line cable terminated
with one male XLR connector and one female XLR connector,
connect the female end into the CHAN 1 - ANALOG OUT of
the 6200 and the male end into your destination device. These
outputs are +4 dBu balanced line level outputs. If you need an
unbalanced output, see the analog audio wiring diagrams in
Appendix C.
NOTE: Wiring the outputs to an unbalanced cable will typically result in an output level that is 6 dB lower than the output level
achieved using a balanced cable.
PHANTOM POWER (if required - skip this section if using a dynamic mic which does not require phantom power): All
condenser microphones require some kind of electrical power. This power may be supplied by internal batteries, an external
power supply that is connected to the microphone by a special multiwire cable, or through a standard microphone cable by
“phantom” or “T system” powering.
Phantom powering and T system powering are incompatible systems. Phantom power derives its name from its invisibility
to audio signals, even though the microphone cable carries both phantom power (as direct current) and audio signals (as
alternating current). Specifically, the term phantom power means a positive DC voltage sent to the microphone on both audio
leads, through current-limiting resistors which also serve to isolate the audio leads from one another. Enabling phantom power
applies phantom power via pins 2 and 3 of the mic input XLR connectors.
The phantom power technique uses the two signal conductors in a standard balanced mic cable to deliver the power required by
the microphone, eliminating the need for internal batteries or an external power supply. Because the voltage is applied equally
to both sides of a floating balanced circuit, no current flows through the microphone’s transformer, or through the microphone
element itself.
It is often said that the sound of some dynamic microphones is affected by phantom power and that ribbon mics cannot be
plugged into an input that is phantom powered. For the most part, these are myths that grew out of difficulties created by other
problems in the mic circuit:
1. When XLR connectors are mated there is no guarantee that both pins 2 and 3 will make contact at exactly the same time. It
is possible that a damaging current could flow through the mic for a brief moment under these conditions. However, this is a
connector problem, not a problem with the mic itself or phantom power in general.
2. In the past, it was a common practice to ground the center tap of the mic’s output transformer. However, this practice should
be avoided in phantom powered systems. The solution: Locate the center tap and cut the connection between it and pin 1 of
the XLR connector.
3. If the mic’s output transformer has developed leakage, the microphone may become noisy when phantom power is turned
on. Crackling, sputtering or even humming noises may occur. The leakage, not the power, is the problem. The solutions are:
A. Turn off the phantom power.
B. Put a 1:1 low-impedance transformer between the mic and the input.
C. Get the mic repaired.
Basic Setup
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Male XLR
Pin 1 = Ground
Pin 2 = High (+)
Pin 3 = Low (−)
Female XLR
Pin 1 = Ground
Pin 2 = High (+)
Pin 3 = Low (−)

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Male XLR
Pin 1 = Ground
Pin 2 = High (+)
Pin 3 = Low (−)
Female XLR
Pin 1 = Ground
Pin 2 = High (+)
Pin 3 = Low (−)

 
Mixing, recording or
transmitting device
input

5/26
User’s Guide
6200 Digital
Voice Processor To download the latest version of 6200 Designer, a Windows GUI
application interface for the 6200, go to: www.airtoolsaudio.com
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The dominant remote powering system in use today is the phantom power system, which is compatible with both condenser and
non-condenser microphones (dynamics, ribbons, etc.). If your microphone’s specifications sheet claims that it requires phantom
power, the 6200 can power it. The technical requirements for operation and/or compatibility are:
1. The microphone must have a balanced, low-impedance output.
2. The balanced output must be floating with respect to ground. If there is a center tap, it must not be grounded.
In a nutshell, here are the do’s and don’ts of phantom powering:
DO: Verify that your microphone can be phantom powered (if it is a condenser mic).
Ensure that your microphone’s output is low impedance, balanced and floating. This is especially important for ribbon
mics.
Turn the phantom power off when connecting vintage ribbon microphones.
Mute your monitor speakers or headphones when turning the phantom power on or off. If you don’t, there will be a loud,
nasty pop.
Mute your monitor speakers or headphones whenever you plug in or unplug a phantom powered microphone. If you
don’t, there will be a loud, nasty pop.
DON’T: Plug in an A-B powered microphone without a suitable adapter.
Worry about your dynamic or ribbon microphones, as long as they are wired so that the output is balanced and floating.
Enable phantom power when connecting line-level sources, especially those that are transformerless.
Use the microphone input with unbalanced sources. Use a direct box to feed an unbalanced source into the microphone
input.
Worry about your tube condenser mics. They are compatible (although they cannot be phantom powered).
ENABLING PHANTOM POWER: If you have determined that the microphone connected to ANALOG IN - CHAN 1 requires
phantom power, you now need to enable it for that input:
1. Press the HOME button to ensure that we are starting from the top.
2. Press the NEXT button once.
3. Turn the ADJUST knob clockwise until the display reads “Section to Edit, - Setup Menu -”.
4. Press the NEXT button once.
5. Turn the ADJUST knob clockwise until the display reads “- Setup Menu -, -- Channel 1 Input --”.
6. Press the NEXT button three times and the display should read “Channel 1 Phantom, Disabled”.
7. Turn the ADJUST knob clockwise until the display reads “Channel 1 Phantom, Enabled.”
8. Press the HOME button when finished.
9. Repeat for Channel 2 if necessary.
MIC PREAMP GAIN: Coarse preamp gain for each channel is set in each channel’s setup menu. Fine gain is set within each
channel’s program menu. Separating the gain settings like this allows for coarse gain (2 x line level settings and 2 x mic level
settings) to be set as a global parameter corresponding to the physical device(s) connected to the 6200’s input(s). The coarse
gain setting is not stored in the preset programs. The fine gain setting is associated with its individual channel and is stored in
the preset programs. This allows one to set up the fine gains which match specific users.
The 6200 offers 91.5 dB of overall gain (60 dB coarse gain plus 31.5 dB fine gain). Any mic output level is easy to accommodate
with the 6200, regardless if it is the -60 dBV to -80 dBV levels common with ribbon mics or the near line level (-10 dBV to +4
dBu) often delivered by transformerless condenser mics. Input signals as high as +24 dBu can by handled by the 6200.
Both source level and preamp gain are directly related to the noise floor, as well as to headroom at the output. The key to using
the 6200 at its optimum performance level is to:
1. Use the maximum allowable source level.
2. Use only as much gain as necessary.
The combination of the highest possible input levels with the lowest possible gain always results in minimum noise and
maximum headroom. Remember, the best operating position for a gain control is the minimum gain that delivers the required
output level.
Basic Setup... continued

6/26
User’s Guide
6200 Digital
Voice Processor To download the latest version of 6200 Designer, a Windows GUI
application interface for the 6200, go to: www.airtoolsaudio.com
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Engineered by
SETTING MIC PREAMP GAIN:
To set the coarse preamp gain:
1. Press the HOME button to ensure that we are starting from the top.
2. Press the NEXT button once.
3. Turn the ADJUST knob clockwise until the display reads “Section to Edit, - Setup Menu -”.
4. Press the NEXT button once.
5. Turn the ADJUST knob clockwise until the display reads “- Setup Menu -, -- Channel 1 Input --”.
6. Press the NEXT button once and the display should read “Channel 1 Gain, Hot Mic -36 dBu”, if it does not turn the ADJUST
knob clockwise or counter-clockwise until it does. This provides 40 dB of gain which assumes a nominal input level of -36
dBu. This setting should be sufficient for most microphones however, certain dynamic microphones may require more.
7. Press the HOME button when finished.
Provided that your monitoring path is turned on and set up properly, you should now be able to speak into the microphone and
get a basic signal through the 6200. Talk into the microphone as loudly as you think you will ever talk into it. If the audio distorts,
you may need to turn the gain down (try the -10 dBV setting). If the audio level is too weak, turn the gain up (try the -56 dBu
setting). If you adjust the gain, repeat the process of speaking loudly into the mic and checking for distortion or weak level.
We’re looking for a ballpark level adjustment here. When you find the most suitable coarse gain adjustment, move on to the fine
gain adjustment.
To set the fine preamp gain (for Channel 1):
1. Press the HOME button to ensure that we are starting from the top.
2. Press the NEXT button once, the display should read “Section to Edit, - Channel 1 Menu -“.
3. Press the NEXT button once, the display should read “- Channel 1 Menu -, -- Input --“.
4. Press the NEXT button once, the display should read “Input Gain Trim, 0.0 dB“.
You can now use the ADJUST knob to dial in your fine gain setting. Talk into the microphone as loudly as you think you will ever
talk into it while turning the ADJUST knob clockwise (increasing gain). Note when the audio distorts and then turn the gain back
down somewhat (maybe 6 dB or so). You should now be able to talk in a normal voice with adequate level while still having
enough headroom for loud passages. If you find that the audio never distorts when turning the gain up, and you reach the
maximum gain of 31.5 dB provided here, you should return this gain setting to 0.0 dB and then go back to reset the coarse gain
to a higher setting.
INPUT METERING:
You can monitor the input meters by viewing the “In LVL” menu accessed by pressing the HOME button once then turning the
ADJUST knob clockwise once. A meter for channel 1 is displayed on the top line, channel 2 on the bottom line. Unity gain is
represented as an “open square” symbol and corresponds to an input level of -20 dBFS = +4 dBu = 0 VU.
MOVING ON:
Now that we have a basic signal through the unit, we can move on to exploring the specific signal processing functions of the
6200 (EQ, Dynamics, etc.).
DSP Modules
The following are the available DSP modules available in the 6200. Each of these modules may be individually enabled or
disabled. The order of the modules is fully configurable. The modules are listed in their default order.
SYMMETRY:
For broadcast applications, a switchable voice symmetry circuit helps make speech waveforms more symmetrical, which makes
better use of the transmitter’s output power.
Human speech, particularly male human speech, contains a great deal of asymmetry. In broadcast (especially AM broadcast),
this wastes transmitter power because asymmetrical waveforms do not utilize the full power of the modulator.
Controls:
Bypassed/Enabled - When bypassed, the input is sent unmodified to the output. When enabled, the module processes the signal.
Basic Setup... continued, DSP Modules

7/26
User’s Guide
6200 Digital
Voice Processor To download the latest version of 6200 Designer, a Windows GUI
application interface for the 6200, go to: www.airtoolsaudio.com
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HIGH PASS FILTER:
High pass filters allow selectively modifying a signal by attenuating all signals below a specified cut-off frequency. They can be
useful to remove noise or other unwanted frequencies. A high pass filter in a voice processor is typically used to reduce rumble
picked up by the microphone. It can reduce boominess in a voice, noise from handling the mic, fingers tapping on a desk, etc.
The 6200 offers 6 dB/octave, 12 dB/octave, 18 dB/octave and 24 dB/octave filters. Additionally, “peak” versions of each filter are
provided for further flexibility and tuning. The filters with the steeper response filter more sharply.
Controls:
Bypass/Enabled - When bypassed, the input is sent unmodified to the output. When enabled, the module processes the signal.
High Pass Frequency - Determines the cut-off frequency of the filter. All frequencies below this will be progressively attenuated.
Technically, this frequency is the “3 dB down point”, i.e. the point where the filter response is 3 dB lower than it is for unaffected
signals.
HP Filter Slope - Determines the type of filter (slope) to use in order to select how steep or aggressive the filter is.
Technical note: This module implements Butterworth filters which are generally preferred for audio because of their flat
frequency response in the pass band.
DE-ESSER:
A de-esser is a frequency-selective compressor. It is used to remove sibilance by detecting the presence of excessive “S”
frequencies and then reducing those frequencies in amplitude.
Controls:
Bypass/Enabled - When bypassed, the input is sent unmodified to the output. When enabled, the module processes the signal.
De-esser (Response) - Determines the aggressiveness of the de-essing (Gentle, Normal or Aggressive). The de-esser is a dual
band design. It compares the relative energy above the 2.5 kHz rollover point to the energy below and limits the upper band
when the high frequency energy is greater than a threshold amount. The Gentle, Normal, and Aggressive settings determine
how much relative high frequency energy is required to start the high frequency gain reduction.
Gain Reduction (Meter) - A gain reduction meter is provided so that the effect of the de-esser can be observed.
PARAMETRIC (1 through 4) EQ:
With parametric equalizers you can adjust center-frequency, gain, and bandwidth of a filter band. Parametric EQ can be used
to tailor an overall sound quality or to more accurately boost/cut specific frequency ranges. The 6200 provides a four-band
parametric EQ. Each of the four bands can be individually adjusted.
Controls:
Bypass/Enabled - You can selectively enable or disable a given parametric band. If a band is disabled, it has no effect on the
signal, regardless of the other settings for this band.
Parametric (n) Freq - The center frequency of the equalizer band.
Parametric (n) BW - The bandwidth of the peak or dip applied to the signal, expressed as the Q factor. Q is a dimensionless
(unitless) quantity used to describe bandwidth.
Parametric (n) Gain - The amount of gain or attenuation (boost or cut) applied at the center frequency.
Note: Only one set of controls is outlined. Bands 1 through 4 are identical.
SHELVING FILTER:
High Shelf and Low Shelf filters are simple filters that can be used to modify the treble or bass content of a signal. They are
designed to emulate traditional analog tone or treble/bass controls. If you need to give a non-technical end user control over
treble and bass, a shelf filter is the way to go. The low shelf filter can be used to boost or cut the bass from a signal. The high
shelf filter can be used to boost or cut the treble from a signal. The 6200 provides one shelving filter which can be set as a low
or high shelf. For a basic treble control, use a high shelf filter and set the frequency between 2 kHz and 5 kHz. For a basic bass
control, use a low shelf filter and set the frequency between 200 and 500 Hz.
Controls:
Bypass/Enabled - When bypassed, the input is sent unmodified to the output. When enabled, the module processes the signal.
Shelving Frequency - Determines where the boost or cut takes place. For low shelf filters, all frequencies below this will be
affected. For high shelf filters, all frequencies above this will be affected. Technically, the indicated frequency is the point where
the filter has reached half of its specified dB gain. For example, for +6 dB boost with a 1 kHz frequency, the signal is boosted by
+3 dB at 1 kHz.
Shelving Gain - Determines the amount of boost or cut applied.
Shelving Type - Defines the type of shelving filter in use (Low Shelf or High Shelf) and the aggressiveness of the shelf ramp
(Gentle, Normal or Aggressive).
DSP Modules... continued

8/26
User’s Guide
6200 Digital
Voice Processor To download the latest version of 6200 Designer, a Windows GUI
application interface for the 6200, go to: www.airtoolsaudio.com
TM
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Engineered by
EXPANDER:
An expander reduces the gain of lower level signals thereby increasing the total dynamic range. Above a user defined
threshold setting, signal levels remain unchanged. Below threshold, signals are reduced by some degree. An expander
reduces the level gradually for decreasing input level. An expander can be used to reduce room noise during pauses in speech
or reduce noise floor during pauses in program.
Controls:
Bypass/Enabled - When bypassed, the input is sent unmodified to the output. When enabled, the module processes the signal.
Expander Threshold - The level that the signal must exceed to open the expander (let it pass signal).
Expander Ratio - The slope of the gain curve below the threshold point. A high ratio setting begins to approximate the action of
a gate.
Gain Reduction (Meter) - A gain reduction meter is provided so that the effect of the expander can be observed (present on
Threshold and Ratio menus).
Expander Attack - The duration of the input signal, over threshold, required to open the expander. Faster attack times let
shorter transients open the expander.
Expander Release - The amount of time required for the gain to return to the below-threshold value after the input signal falls
below threshold.
COMPRESSOR:
A compressor reduces the dynamic range of signals above a user determined threshold. Signal levels below the threshold
remain unchanged. A compressor can be used to tame transient spikes in audio sources as well as reducing dynamic range to
control wildly varying levels while increasing intelligibility.
Controls:
Bypass/Enabled - When bypassed, the input is sent unmodified to the output. When enabled, the module processes the signal.
Compressor Sidechain - Determines the mode of the compressor module (Compressor or AGC). Certain controls are only
applicable within specific modes.
Compressor Threshold - The signal level above which the compressor begins reducing the gain. Visually, the point at the
knee (bend) in the input/output curve. For peak stopping, set the threshold just below the peak level that you want to stop. For
dynamic range reduction, pick a threshold setting that results in a few dB of gain reduction indication with the signal levels that
you are interested in.
Compressor Ratio - The ratio determines the degree of output change for an above threshold change in the input. Generally
ratios under 10:1 are considered compression while those above 10:1 are considered limiting.
Gain Reduction (Meter) - A gain reduction meter is provided so that the effect of the compressor can be observed (present on
Threshold and Ratio menus). It indicates the amount of gain reduction that the compressor is currently applying. This meter is
pre-output gain, meaning changes to compressor output gain do not effect this meter.
Compressor Attack - The speed with which the compressor begins the gain reduction process. Although your intuition tells you
that you want the fastest possible attack time, your ears will tell you otherwise. Too fast attack times strip transients of their
edges, dulling the sound. Remember that momentary (brief) clipping is inaudible. Faster attack times allow shorter transients
to initiate gain reduction. On the other hand, too long attack times can allow short transients to pass unchanged, which may
defeat the purpose that the compressor was intended for.
Compressor Release - The release time determines the moment-to-moment gain change in the compressor. Fast release
times raise the subjective level, while slow release times are more useful for keeping levels under control. Very fast release
times can cause audible distortion, especially with low-frequency content.
Compressor Knee - The knee setting determines the compression ratio during the transition from linear (below threshold) to
compressor operation. A soft knee makes this change gradually, while a hard knee makes an abrupt transition. A soft knee
curve may require several dB of gain reduction before the actual compression ratio has reached the set value. For general
compression, use the soft setting. For limiting, use the hard setting.
Compressor Makeup - The makeup gain controls the output gain of the module. If the compressor is reducing the signal level
significantly, a boost in the output gain may be required to maintain perceived volume.
Sidechain High Pass - A 150, 300 or 600 Hz side chain high pass filter can be invoked in order to deter low frequency energy
from triggering expander/compressor action and the resultant unwanted gain reduction.
Lookahead Delay - A lookahead delay can be enabled which allows the module to better predict changes to incoming levels
and thus provide better dynamics processing. Enabling this delay results in an extra 2 ms processing delay.
DSP Modules... continued

9/26
User’s Guide
6200 Digital
Voice Processor To download the latest version of 6200 Designer, a Windows GUI
application interface for the 6200, go to: www.airtoolsaudio.com
TM
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Engineered by
AGC:
AGC or Automatic Gain Control is a special case of a compressor with its threshold set at a very low level, moderate to slow
attack times, long release times, and low ratios. It is intended to take signals of indeterminate levels up to a target level while
maintaining program dynamics. Most AGCs incorporate some sort of silence detection to prevent the loss of gain reduction
during silent periods. This is the single feature that separates an AGC from a common, ordinary compressor/limiter.
Use an AGC to remove some of the variation in level from a person who isn’t trained on microphone control or to take some of
the guesswork out of setting up dynamics control of unfamiliar input sources. When setting up the AGC, keep the attack and
release times conservative (perhaps 50ms/500ms for voice and 500ms/500ms for music).
When engaging the AGC mode of the Compressor, some controls are repurposed, removed or replaced:
AGC Detector Thresh - The AGC Detector Threshold, or more accurately the AARM (Automated Attack and Release
Monitor) Detector Threshold, is a fixed threshold below which the AARM circuit stops calculating changes in gain. When
the input signal level is below the threshold, the AGC gain/attenuation will be locked, and therefore will not be changing.
Set this threshold to a level 10-20dB above the noise floor of your input signal. It can be dangerous if the threshold
is too close to the noise floor, as this could cause the noise floor to be raised in some cases. (Effective in AGC mode
only).
AGC Goal - The desired output signal level to maintain. (Effective in AGC mode only).
Compressor Threshold - This parameter is disabled in AGC mode.
Compressor Ratio - This parameter is disabled in AGC mode.
Compressor Makeup - This parameter is disabled in AGC mode.
LOW PASS FILTER:
Low pass filters allow selectively modifying a signal by attenuating all signals above a specified cut-off frequency. They can be
useful to remove noise or other unwanted frequencies. A low pass filter in a voice processor is typically used to limit the high
frequency content sent to downstream processing or the transmitter. The 6200 offers 6 dB/octave, 12 dB/octave, 18 dB/octave
and 24 dB/octave filters. Additionally, “peak” versions of each filter are provided for further flexibility and tuning. The filters with
the steeper response filter more sharply.
Controls:
Bypass/Enabled - When bypassed, the input is sent unmodified to the output. When enabled, the module processes the signal.
Low Pass Frequency - Determines the cut-off frequency of the filter. All frequencies above this will be progressively attenuated.
Technically, this frequency is the “3 dB down point”, i.e. the point where the filter response is 3 dB lower than it is for unaffected
signals.
LP Filter Slope - Determines the type of filter (slope) to use in order to select how steep or aggressive the filter is.
Technical note: The module implements Butterworth filters which are generally preferred for audio because of their flat
frequency response in the pass band.
OUTPUT:
The final “DSP Module” is the output level. The output is loosely labeled a DSP Module as the level adjustment does happen
in the digital domain within the DSP and its parameters are stored within the programs, however, it can not be reordered or
bypassed/enabled as the other modules can. The output level provides the final gain stage before the physical output(s) of the
unit and has a range of -72.0 dB to +24.0 dB. Typically, this control would remain as close to 0.0 dB as possible using it only
for level matching to downstream equipment or to compensate for gain added or subtracted by the upstream DSP modules. If
it is necessary to connect the output of the 6200 to a microphone level input, see Appendix A for information on converting the
6200’s line level output(s) to mic level.
OUTPUT METERING:
You can monitor the output meters by viewing the “Out LVL” menu accessed by pressing the HOME button once then turning
the ADJUST knob clockwise twice. A meter for channel 1 is displayed on the top line, channel 2 on the bottom line. Unity gain
is represented as an “open square” symbol and corresponds to an output level of -20 dBFS = +4 dBu = 0 VU.
DSP MODULE WRAP-UP:
That covers the available DSP modules and their controls. For a graphic view of the menu structure, see Appendix B.
DSP Modules... continued

10/26
User’s Guide
6200 Digital
Voice Processor To download the latest version of 6200 Designer, a Windows GUI
application interface for the 6200, go to: www.airtoolsaudio.com
TM
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Engineered by
Programs
The 6200 features 256 memory locations in which mono or stereo programs may be stored. If a program is mono, it can be
loaded onto or saved from either Channel 1 or Channel 2 independently. A stereo program stores information for both channels
simultaneously.
Be advised:
1. When loading a stereo program onto a unit configured for dual mono operation, both channels will be overwritten with the
stereo program’s information.
2. When changing the unit to stereo operation from dual mono, channel 1’s settings will be applied to channel 2, thus
overwriting channel 2’s settings.
3. Loading a mono program onto either channel when the unit is configured for stereo operation will result in the automatic
configuration of the unit to dual mono mode.
Each program can be named with up to 20 characters. A program loads/saves of all settings under the Channel 1/2 menu
trees (see Appendix B), including module order. Each program may be loaded manually by any of the means mentioned in the
rest of this User’s Guide, or automatically by time/date using the built-in Event Manager covered in the 6200 Designer’s online
help module.
Saving a Program
Use this process to save a program you have created or modified.
1. Press and hold the LOAD 1/SAVE 1 button for approximately one second. The screen should read “Save to Program 1?”
and the name of the program currently stored in this location will readout on the line below.
2. Turn the ADJUST knob to locate the program location (1-256) you wish to save to.
3. Now press and hold the LOAD 1/SAVE 1 button again for approximately one second and the screen should read “Save
Mono or Stereo?”.
4. Turn the ADJUST knob to toggle between Mono and Stereo formats.
5. Once you have chosen your format for the program, press and hold the LOAD 1/SAVE 1 button again for approximately
one second.
6. The screen should briefly display “Saving...” and then return to the home screen.
NOTE: The above steps assume you are working with Channel 1. To perform a save using the parameters on Channel 2,
perform the above steps using the LOAD 2/SAVE 2 button instead.
Loading a Program
Use this process to load a program you have previously saved.
1. Press briefly the LOAD 1/SAVE 1 button once. The screen should read “Load Mono Pgm 1?” and the name of the program
currently stored in this location will readout on the line below. NOTE: If the program in the selected memory location is a
stereo program, the text will read “Load Stereo Pgm 1?” instead.
2. Turn the ADJUST knob to locate the program location (1-256) you wish to load.
3. Now briefly press the LOAD 1/SAVE 1 button again.
4. The screen should briefly display “Loading...” and then return to the home screen.
NOTE: The above steps assume you are working with Channel 1. To load a program onto Channel 2, perform the above steps
using the LOAD 2/SAVE 2 button instead.
Copying Programs
To copy a program from one location to another, perform the steps listed above for loading a program, followed immediately by
the steps for saving a program.
Naming a Program
Program names are modified in the Channel 1/2 menus under the “Program Name” submenu. See Appendix B for where to
find it. If you rename the currently loaded program, don’t forget to resave it in order to retain your new name.
Programs

11/26
User’s Guide
6200 Digital
Voice Processor To download the latest version of 6200 Designer, a Windows GUI
application interface for the 6200, go to: www.airtoolsaudio.com
TM
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External Program Recall
Programs may be recalled externally using a user-built 9-pin interface on the PROGRAM CONTROL port or by using an
AirTools RC-1 MIDI controller. Additionally, any generic MIDI controller which can send MIDI Program Change messages will
work.
PROGRAM CONTROL:
The PROGRAM CONTROL port is a standard 9-pin D-sub connector which allows program loading on
each channel using standard contact closures. Interfacing with the PROGRAM CONTROL port allows
the user to integrate the 6200 into a purpose-built work surface.
PROGRAM CONTROL Pinout:
Function Pin #
Channel 1 Program Scroll Up 1
Channel 1 Program Scroll Down 2
Program Load 3
Channel 2 Program Scroll Up 4
Channel 2 Program Scroll Down 5
Channel 1 Mute 6
Channel 2 Mute 7
Future Support for Remote LCD 8*
Ground 9
*Until support for a remote LCD is fully implemented, program scrolling/loading is a blind process. There is no
front panel indication of any actions on the PROGRAM CONTROL port.
MIDI/RC-1 IN:
The 6200 responds to MIDI Program Change messages from the AirTools RC-1 Remote or from any MIDI device capable of
sending MIDI Program Change messages. The RC-1 allows direct recall of up to 11 programs as well as the ability to enable/
disable the DSP BYPASS function.
The RC-1
The RC-1 does not provide selection or change of any individual processing parameters within the 6200’s programs. It
merely selects and loads up to 11 sequential programs (plus DSP Bypass).
Changes to the 6200’s processing parameters must be made at the
unit’s front panel or by using the optional 6200 Designer software. There
is no button lockout or other security feature provided on the RC-1. If
you accidentally hit one of the buttons, you will accidentally change the
processing program on the 6200.
The RC-1 connects to the 6200 with the included 25-foot, 7-pin DIN cable.
The 6200 and RC-1 exchange MIDI information on pins #2 and #3. The
6200 provides power for the RC-1 on pins #1 and #7. Pin
#7 is +V; pin #1 is ground. To preserve compatibility with
other MIDI devices, the remaining pins on the connector are not used. If you connect the 6200 to a MIDI
controller other than the RC-1, make sure you use a cable which does not have Pin #7 connected.
Caution: The RC-1 includes a jack for an optional 9 VDC power supply providing at least 30 mA (not
supplied). If you use the RC-1 with the 6200 and the supplied 7-pin DIN cable, the RC-1 takes its power
from the 6200. No external power supply is required when using the RC-1 with the 6200 and the
provided cable. The optional 9 VDC connection allows you to use the RC-1 with other MIDI controlled
devices which to not supply power. NOTE: Symetrix does not make, sell or recommend a power supply.
You will notice that none of the LEDs on the RC-1 are lighted when it is first plugged in. This is normal; the LEDs serve as tally
lights indicating which button was pushed last. The LEDs do not provide positive confirmation from the 6200 that the program
selected was loaded by the 6200. The RC-1 will not reflect a change in program selection made at the front panel of the 6200.
The LEDs on the RC-1 serve as reminders of which button on the RC-1 the user pressed last. (MIDI communication is one-
way, from RC-1 to 6200.)
External Program Recall, The RC-1
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12/26
User’s Guide
6200 Digital
Voice Processor To download the latest version of 6200 Designer, a Windows GUI
application interface for the 6200, go to: www.airtoolsaudio.com
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CHANGING THE MIDI CHANNEL, SELECTING THE PROGRAMS:
The RC-1 comes from the factory configured for MIDI channel #1. You may change the MIDI channel identification of the RC-1
by the use of four solder jumpers on the bottom of the RC-1 circuit board. See the documentation included with the RC-1 for
how to reconfigure its MIDI channel.
Assuming your RC-1 will remain on MIDI channel 1, we need to configure one of the 6200’s channels to respond to an RC-1
on MIDI channel 1.
1. Press the HOME button to ensure that we are starting from the top.
2. Press the NEXT button once.
3. Turn the ADJUST knob clockwise until the display reads “Section to Edit, - Setup Menu -”.
4. Press the NEXT button once.
5. Turn the ADJUST knob clockwise until the display reads “- Setup Menu -, -- External Controls --”.
6. Press the NEXT button five times and the display should read “RC-1 Remote Control, CH 1 MIDI Channel: 1”.
8. This setting is correct for an RC-1 set to MIDI channel 1 destined to recall programs on the 6200’s channel 1. If your RC-1
is set to a different MIDI channel, turn the ADJUST knob to select the appropriate MIDI channel.
9. Press the NEXT button once.
10. The display should read “RC-1 Remote Control, CH 1 First Pgm: 1”. This means that button one on the RC-1 will recall
program 1 on the 6200. This gives you access to programs 1-11 from the RC-1. You can offset that access range by turning
the ADJUST knob to change the “CH 1 First Pgm” setting. For example, if you set the first program to be 101, then the RC-
1 will have access to program 101 through 111.
11. Press the HOME button when finished.
OPERATION:
Push the button in the upper left corner of the RC-1. This is labeled PROGRAM 1. The LED next to the push-button will light.
Verify that the 6200 has loaded program 1 on channel 1. The HOME screen on the front of the 6200 will display “CH1:Program
1”. Push several other buttons on the RC-1 and verify that the 6200 loads the corresponding program. Please press only one
button at a time.
You may write, in pencil please, your own identification for programs 1 through 11 on the spaces provided on the RC-1
Remote Control. If you will faithfully use pencil, the names are easily erased when changes become necessary. Ball-point pen
markings can usually be removed with denatured alcohol. Beware: unlike radio station staff, names entered with permanent
markers usually remain forever. A wise alternate label might be some sort of stick-ons produced by a label making machine.
Note: BYPASS (PROGRAM 0), in the lower right corner of the RC-1, invokes the DSP Bypass function of the 6200. This can
be used as a quick way to A/B before and after processing (EQ, compression, etc.) or to simply bypass the DSP functions.
This bypass still utilizes the A/D and D/A stages of the 6200. For a true hardware relay bypass, see the following section.
NEED A LONGER CABLE?:
The RC-1 uses a shielded cable of seven #22 gauge wires. You may build a longer cable, or an extension cable, with 7-pin
DIN connectors and shielded 7-conductor cable. If you build your own remote cable of a length longer, or shorter, than the one
supplied, both connectors will be male. If you choose to build an extension cable for the RC-1, please use one male and one
female 7-pin DIN connector. Pin #1 connects to pin #1 on the opposite end. Pin #2 connects to pin #2, etc. Symetrix does not
offer extension cables, or cables of different lengths.
AN RC-1 FOR EACH 6200 CHANNEL:
As you know by now, the 6200 is a two channel device and each of those channels can operate independently providing two
discreet processors in one box. Unfortunately, there is only one MIDI/RC-1 jack. So, if you would like to have multiple RC-
1’s (or MIDI devices) connected to the 6200, a third device will be required. The prime example is where one RC-1 controls
channel 1 of the 6200 and another RC-1 controls channel 2. The third device required is known as a MIDI merge box. They
are essentially mixers for MIDI data streams with multiple MIDI inputs and one output. Using a MIDI merge box will require you
to power the RC-1’s locally via their 9 VDC inputs as described on the previous page. Most MIDI devices do not have the 7-pin
jack that the RC-1 does, so power from the 6200 will not be possible.
NOTE: Symetrix does not make, sell, recommend or test MIDI merge boxes. Please refer to your friendly dealer for any such
products currently available.
The RC-1... continued

13/26
User’s Guide
6200 Digital
Voice Processor To download the latest version of 6200 Designer, a Windows GUI
application interface for the 6200, go to: www.airtoolsaudio.com
TM
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Engineered by
Bypass
The 6200 has two bypass modes - software (DSP) and hardware (relay). The DSP (SW) bypass can be invoked a number of
ways. The hardware (HW) bypass is only accessible via contact closure wired to a rear panel euroblock connector.
DSP (SW) BYPASS:
DSP (SW) Bypass mode can be invoked by several means:
1. Pressing the BYPASS button on the front of the 6200 while in one of the top-level menus (Home, In LVL or Out LVL).
2. Pressing the BYPASS (PROGRAM 0) button on an attached RC-1 remote.
3. Pressing the DSP Bypass button in an attached (and currently “online”) 6200 Designer GUI.
4. Activating a contact closure attached to the SW and Ground terminals of the rear panel REMOTE BYPASS connector.
DSP (SW) Bypass switch wiring:
The figure right shows the connection of a contact closure to the SW Bypass function of
the REMOTE BYPASS connector.
NOTE: A latching switch should be used in order to hold the bypass state.
NOTE 2: The switch on the REMOTE BYPASS connector will both override and interrupt
the bypass state set by methods 1 through 3 listed above.
HARDWARE MUTE (HM):
Hardware Mute (HM) isn’t a true “bypass” or “mute” but actually a relay-activated output
disconnect. It is only accessible by activating a contact closure attached to the HM and
Ground terminals of the rear panel REMOTE BYPASS connector.
Hardware Mute (HM) switch wiring:
The figure right shows the connection of a contact closure to the Hardware Mute function
of the REMOTE BYPASS connector.
NOTE: A latching switch should be used in order to hold the bypass state.
NOTE 2: Activating the Hardware Mute function invokes relays which completely
disconnect all active circuitry from their associated output connections.
NOTE 3: Hardware Mute is automatically engaged upon loss of power.
Analog Control Inputs
The 6200 features two analog control inputs which provide real-time control of up to two parameters per port using standard
10k Ohm linear potentiometers. The figure right shows the connections.
Calibrating an Analog Control Input
Once you have wired up your pot to an analog control input, it should be
calibrated to ensure the full travel of the pot is read correctly by the 6200.
1. Press the HOME button to ensure we are starting from the top.
2. Press the NEXT button once.
3. The display should read “Section to Edit, - Channel 1 Menu -”.
4. Turn the ADJUST knob clockwise until the menu reads “Section to Edit,
- Setup Menu -”.
5. Press the NEXT button once.
6. Turn the ADJUST knob clockwise until the menu reads “- Setup Menu -,
-- External Controls --”.
Bypass, Analog Control Inputs
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External switch
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External switch
or relay contact
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Potentiometer
CCW
CW +3.3V
Symetrix RC-3

14/26
User’s Guide
6200 Digital
Voice Processor To download the latest version of 6200 Designer, a Windows GUI
application interface for the 6200, go to: www.airtoolsaudio.com
TM
Symetrix
Engineered by
7. Press the NEXT button once and the menu should read “Lowest Cntrlr Level, ADC1: xxx Min: 000”. This menu is showing
you the current pot position “ADC: xxx” and the current minimum calibration setting “Min: xxx”.
8. Turn your pot fully counter-clockwise and then turn the ADJUST knob so that the “Min: xxx” value is equal to the displayed
“ADC: xxx” value.
9. Press the NEXT button once and the menu should read “Highest Cntrlr Level, ADC1: xxx Max: 255”. This menu is showing
you the current pot position “ADC: xxx” and the current maximum calibration setting “Max: xxx”.
10. Turn your pot fully clockwise and then turn the ADJUST konb so that the “Max: xxx” value is equal to the displayed “ADC:
xxx” value.
NOTE: The above steps assume you are calibrating ADC1 (Analog Control Input 1). Follow the same steps to calibrate ADC2
(Analog Control Input 2) substituting ADC2’s menus where appropriate.
Assigning a Parameter to an Analog Control Input
Assignment of parameters to an Analog Control Input is done within 6200 Designer. Refer to the online help module within
6200 Designer for more information.
Digital (AES) Out
The 6200 features two AES format digital outputs each of which can transmit a combination of channel 1 or channel 2’s
content or each channel’s content exclusively. Additionally, a HomerLink jack is provided as a rear panel real estate sensitive
means of providing AES/EBU input as well as outputs on a single CAT-5 connection. HomerLink is a Symetrix developed
format for transferring 4 channels of AES/EBU bidirectionally over a single CAT-5 cable. HomerLink allows the 6200 to
integrate with the AirTools Studio Matrix system.
AES OUT CONNECTION
Connect the AES OUT jack of your choice to your downstream equipment’s AES IN jack using a standard 110 Ohm AES cable
terminated with the appropriate XLR jacks.
AES OUT MODE
Typically, an AES jack will carry two audio signals, most often a stereo Left/Right pair. However, in the case of the 6200, this
could also be a 1/2 dual mono pair. Some broadcast consoles in particular would rather receive the exact same signal on one
AES jack, this essentially being a 1/1 pair. The 6200’s AES outputs can be configured to accommodate all scenarios. The
following steps walk you through configuring AES OUT 1’s output format.
1. Press the HOME button to ensure that we are starting from the top.
2. Press the NEXT button once.
3. The display should read “Section to Edit, - Channel 1 Menu -”.
4. Turn the ADJUST knob clockwise until the menu reads “Section to Edit, - Setup Menu -”.
5. Press the NEXT button once.
6. Turn the ADJUST knob clockwise until the menu reads “- Setup Menu, -- AES Assignment --”.
7. Press the NEXT button once.
8. The menu should read “AES Out 1 Mode, Channel 1/Channel 2”. This selection sends channel one out of AES-1 “L” and
channel 2 out of AES-1 “R”. As mentioned previously, some consoles prefer to see the exact same signal on the AES
outputs “L” and “R” channels. To make this adjustment, turn the ADJUST knob to the desired setting.
9. If you turn the ADJUST knob twice clockwise, the menu should read “AES Out 1 Mode, Channel 1/Channel 1”. This is the
option we want to send channel 1’s audio on both the AES “L” and “R” channels. Other options available are “Channel 2/
Channel 1” and Channel 2/Channel 2”.
NOTE: The above steps assume you are configuring AES OUT 1. AES OUT 2 can be configured in the same manner.
Analog Control Inputs... continued, Digital (AES) Out

15/26
User’s Guide
6200 Digital
Voice Processor To download the latest version of 6200 Designer, a Windows GUI
application interface for the 6200, go to: www.airtoolsaudio.com
TM
Symetrix
Engineered by
HomerLink
HomerLink is a data bus format designed by Symetrix which allows 4 mono bidirectional AES-3 digital audio channels to be
transmitted between devices up to 100 meters apart over standard CAT-5 cable. HomerLink outputs (Pins 1, 2, 4 and 5) are
exact copies of the AES OUT XLR jacks on the rear of the 6200. The content of these pins follows the content of the XLR
jacks as configured in the previous section under AES OUT MODE. AES HomerLink on the 6200 can be used for a number of
purposes:
1. Direct connection to Studio Matrix Iliad 7100 16x16 HomerLink Router.
This method allows the transfer of channels 1 and 2 directly into the Studio Matrix system where they can be further
processed and/or routed as appropriate. It also allows two channels to be sent from Studio Matrix to the 6200. Using a
standard straight-through CAT-5 cable, connect the 6200 HOMERLINK port to an Iliad HOMERLINK MAIN port. Refer
the Studio Matrix documentation for further information.
2. AES audio or clock input.
This is the only manner in which the 6200 can receive an AES digital input or sync to an external AES digital clock. The
pinout provided below can be used to design a breakout box with standard XLR connectors.
Enabling AES Input
These steps walk you through setting channel 1’s input source to AES.
1. Press the HOME button to ensure that we are starting from the top.
2. Press the NEXT button once.
3. The display should read “Section to Edit, - Channel 1 Menu -”.
4. Press the NEXT button three times and the display should read “Input Signal Source, ANALOG”.
6. Turn the ADJUST knob clockwise until the menu reads “Input Signal Source, DIGITAL”.
NOTE: The above steps assume you are setting Channel 1’s input source. The steps are similar for Channel 2.
NOTE 2: Incoming AES audio or clock must be 48 kHz +/- 100 ppm. See the Performace Data section for more
information.
Enabling AES Clock Sync
The 6200 will automatically clock to a valid AES input source (48 kHz +/- 100 ppm, AES-3 or -11) when one is present
at either of the HomerLink inputs. Symetrix has available for purchase a HomerLink-to-Female AES XLR adapter cable,
part number 810HLSY which provides an easy way to get AES digital input signal or clock source into the 6200.
NOTE: When the 6200 is locked to a digital input signal or clock source, a “D” character will appear in the lower right
side of the “In LVL” and “Out LVL” menus accessed by pressing the HOME button once then turning the ADJUST knob
clockwise once (for “In LVL”) or twice (for “Out LVL”).
6200 HOMERLINK PINOUT
Pin EIA/TIA 568B Color Scheme Purpose
1 White-Orange AES-1 (1L) Out
2 Orange AES-2 (1R) Out
3 White-Green AES-1 (1L) In
4 Blue AES-1 (1L) Out
5 White-Blue AES-2 (1R) Out
6 Green AES-2 (1R) In
7 White-Brown Terminated (100 Ohm)
8 Brown Terminated (100 Ohm)
HomerLink

16/26
User’s Guide
6200 Digital
Voice Processor To download the latest version of 6200 Designer, a Windows GUI
application interface for the 6200, go to: www.airtoolsaudio.com
TM
Symetrix
Engineered by
TC89/TC90 Time Code In
(ESE) TC89 or TC90 time code can be fed to the 6200 in order to drive the real-time clock and Event Manager. The format
and presence is automatically detected. Simply connect the output of your TC89 or TC90 master clock into the 6200’s TC89/
TC90 TIME CODE IN port. Refer to the help content within the 6200 Designer application for more information on the Event
Manager.
NOTE: When a valid TC89 or TC90 source is connected to the 6200, a “Tc” character will appear in the upper right side of the
“In LVL” and “Out LVL” menus accessed by pressing the HOME button once then turning the ADJUST knob clockwise once
(for “In LVL”) or twice (for “Out LVL”).
More information, compatible products and support for the TC89 and TC90 time code formats can be found at:
http://www.ese-web.com.
TIME/UDP (Time Protocol)
The 6200 implements the Time Protocol (RFC-868) via UDP. This is not to be confused with the “Network Time Protocol”
(RFC-1305), also called “NTP”. In order to synchronize the 6200, you will need to connect the 6200 to a network using the
Ethernet port and correctly enter the IP Address, Subnet Mask and Gateway IP Address. See the Ethernet Connection section
for more details. You will also need the IP address of a server that supports the Time Protocol via UDP and the ability to
connect to it via UDP port 37 over the internet or to a local server providing the Time Protocol service. This may have to be
allowed through a firewall when using an external server. If you have any questions regarding the integration of the 6200 into
your network, consult your friendly IT/IS personnel or your network hardware’s documentation.
More information and a list of public servers in the US can be found at:
http://www.boulder.nist.gov/timefreq/service/time-servers.html
or by searching for the “NIST Internet Time Service”.
Entering the Time Server IP Address and Enabling Network Time Polling
1. Press the HOME button to ensure that we are starting from the top.
2. Press the NEXT button once.
3. Turn the ADJUST knob clockwise until the display reads “Section to Edit, - Setup Menu -”.
4. Press the NEXT button once.
5. Turn the ADJUST knob clockwise until the display reads “- Setup Menu -, -- Date and Time --”.
6. Press the NEXT button nine times and the display should read “Time Server IP, 000.000.000.000”.
8. Turn the ADJUST knob clockwise until the display reads until the first three digits of the IP address match the first three
digits of the IP address for your chosen time server.
9. Press the NEXT button once and repeat step 8 to enter the next three digits of the address.
10. Repeat steps 8 and 9 two more times to complete the address.
11. Press the NEXT button once and the display should read “Network Time Polling, Disabled”.
12. Turn the ADJUST knob clockwise once to enable Network Time Polling.
13. Press the HOME button when finished.
NOTE: When “NETWORK TIME POLLING” is enabled on the 6200 and a successful synchronization with a time server has
occurred, an “N” character will appear in the upper right side of the “In LVL” and “Out LVL” menus accessed by pressing the
HOME button once then turning the ADJUST knob clockwise once (for “In LVL”) or twice (for “Out LVL”).
Don’t forget to configure the unit’s IP settings under Ethernet Connection in the following section!
TC89/TC90 Time Code In, TIME/UDP (Time Protocol)

17/26
User’s Guide
6200 Digital
Voice Processor To download the latest version of 6200 Designer, a Windows GUI
application interface for the 6200, go to: www.airtoolsaudio.com
TM
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6200 Designer Installation
The 6200 Designer software provides real-time control and a simple drag ‘n drop, point ‘n click configuration interface to the
6200 from a Windows 98/2000/XP PC environment.
Use one of the following procedures to install the 6200 Designer on your computer.
From the 6200 Designer CD-ROM:
1. The software should auto run after inserting the CD-ROM into your computer’s CD-ROM drive.
2. If the software does not auto run, then Click on the Start button, choose Run and type “D:\SETUP”
(If your CD-ROM drive isn’t D:, then substitute its drive letter)
From the AirTools web site (http://www.airtoolsaudio.com):
1. Download the 6200 Designer program file.
2. From the Start button, Run the file/program that you just downloaded to start the Setup program.
The software always starts up in offline mode. Regardless, you can explore the software, experiment to your heart’s content,
and perhaps even get useful work done. You can save any Sites (complete with up to 256 programs) that you create to a file
that can be downloaded later into an operating 6200.
If there is a 6200 hardware unit connected, you can go download to, and upload from the 6200. Once you have a unit
connected, you can also work online in real time, which allows you to hear adjustments and settings as you make them. Follow
the steps in the following sections to get your hardware connected to your PC.
USB Connection and Driver Installation
When you install the 6200 Designer software, a USB driver for the 6200 is also installed into the 6200 Designer program
directory. If you wish to control the 6200 using USB, follow the instructions below to install the USB driver.
1. Install the 6200 Designer software (using one of the methods outlined previously).
2. Plug your computer into 6200 using an appropriate USB cable. The 6200’s front panel USB port is a Female “B” type USB
1.1 port.
3. Your computer should automatically detect that a new USB device is present.
4. The Windows “New Hardware Wizard” should pop up.
5. When asked “Can Windows connect to Windows Update to search for software?” choose the “No, not at this time” option
and click the Next button.
6200 Designer Installation, USB Connection and Driver Installation

18/26
User’s Guide
6200 Digital
Voice Processor To download the latest version of 6200 Designer, a Windows GUI
application interface for the 6200, go to: www.airtoolsaudio.com
TM
Symetrix
Engineered by
6. When prompted “What do you want the wizard to do?” choose the option “Install from a list or specific location (Advanced)”
and click the Next button.
7. In the next dialog, choose the option “Search for the best driver in these locations” and check the sub-option “Include this
location in the search:”.
Then click the Browse button and navigate to the 6200 Designer USB Driver directory (typically “C:\Program Files\
Symetrix\6200 Designer\USB Driver\”).
Select that directory and click the OK button.
USB Driver Installation... continued

19/26
User’s Guide
6200 Digital
Voice Processor To download the latest version of 6200 Designer, a Windows GUI
application interface for the 6200, go to: www.airtoolsaudio.com
TM
Symetrix
Engineered by
Now, click the Next button.
8. Windows will install and configure the driver.
Once the USB driver has been installed, you can open up the 6200 Designer application, select your unit and go online with it.
Refer to the help content within the 6200 Designer application for more information.
Alternate Communications Connections
In addition to USB, the 6200 Designer application can communicate with the 6200 hardware via RS-232 or Ethernet.
RS-232
The 6200 supports baud rates of 9600 through 115,200. The baud rate is set in the hardware and the 6200 Designer’s
Communication Settings. The baud rates selected in both areas must match. The RS-232 port is wired as a standard straight-
through with only pins 2, 3 and 5 absolutely necessary. Connect a standard RS-232 cable terminated with the proper DB-9
connectors between your PC’s COMM port and the rear RS-232 port of the 6200. The 6200’s RS-232 port is a female DB-9
connector. Refer to the help content within the 6200 Designer application for more information.
Setting the RS-232 baud rate:
1. Press the HOME button to ensure that we are starting from the top.
2. Press the NEXT button once.
3. Turn the ADJUST knob clockwise until the display reads “Section to Edit, - Setup Menu -”.
4. Press the NEXT button once.
5. Turn the ADJUST knob clockwise until the display reads “- Setup Menu -, -- Communication --”.
6. Press the NEXT button three times and the display should read “RS232 Baud Rate, 115.2K”. This is the default baud rate
and is recommended unless your computer does not support this rate. If another baud rate is required, turn the ADJUST
knob counter-clockwise to select a lower rate.
7. Press the HOME button when finished.
USB Driver Installation... continued, Alternate Comm. Connections

20/26
User’s Guide
6200 Digital
Voice Processor To download the latest version of 6200 Designer, a Windows GUI
application interface for the 6200, go to: www.airtoolsaudio.com
TM
Symetrix
Engineered by
RS-485
RS-485 serves as a long distance version of the USB and RS-232 serial connections. It may be desirable when serial control
over a long distance is required. Various companies make RS-232 to RS-485 converters which would allow you to connect
your PC’s RS-232 port to the RS-485 port of the 6200. NOTE: Symetrix does not make, sell or recommend an RS-232/485
converter product.
RS-485 is a multi-drop serial bus wired in a parallel fashion (A to A, B to B and Ground to Ground).
Note: Not all RS-485 chipsets are wired or labeled the same. Some manufacturers label A, B and Ground while some label
Positive (+), Negative (-) and Ground. Further, not all devices are configured for A=Positive, so some experimentation may
be necessary depending upon the RS-485 interface used. If you are unable to establish communications with a particular
interface, try swapping A (+) with B (-).
Setting the RS-485 baud rate:
1. Press the HOME button to ensure that we are starting from the top.
2. Press the NEXT button once.
3. Turn the ADJUST knob clockwise until the display reads “Section to Edit, - Setup Menu -”.
4. Press the NEXT button once.
5. Turn the ADJUST knob clockwise until the display reads “- Setup Menu -, -- Communication --”.
6. Press the NEXT button once and the display should read “RS485 Baud Rate, 38.4K”. This is the default baud rate and is
recommended unless your RS-485 interface does not support this rate. If another baud rate is required, turn the ADJUST
knob to select a another rate.
7. Press the HOME button when finished.
Setting the Unit Number:
Since RS-485 is a multi-drop bus, each unit on the bus must have some unique ID. The 6200 “Unit Number” is this unique
ID. You may need to specify a certain ID for the 6200 in order for it to work with your RS-485 interface but since the RS-485
interface on the 6200 is essentially a long distance point-to-point connection, the 6200 should remain as unit 1 in 99.9% of the
cases. However, if your RS-485 interface requires a different ID, the following steps detail how to adjust the unit number:
1. Press the HOME button to ensure that we are starting from the top.
2. Press the NEXT button once.
3. Turn the ADJUST knob clockwise until the display reads “Section to Edit, - Setup Menu -”.
4. Press the NEXT button once.
5. Turn the ADJUST knob clockwise until the display reads “- Setup Menu -, -- Communication --”.
6. Press the NEXT button twenty times and the display should read “Unit Number, Unit ID: 1”. This is the default and is
recommended unless you must change it for your own specific purposes. An ID of 1 through 254 may be selected.
7. Press the HOME button when finished.
Alternate Communications Connections... continued