Related Manuals for Linear Acoustic LA-5300
Summary of Contents for Linear Acoustic LA-5300
- Page 1 Linear Acoustic ® LA-5300 Broadcast Audio Processor Installation & User’s Guide V1.0.30 July 2020 2001-00547-000 TelosAlliance.com...
- Page 2 User Warnings and Cautions The installation and service instructions in this manual are for use by qualified personnel only. This equipment is not suitable for use in locations where children are likely to be present. To avoid electric shock, do not perform any servicing other than that contained in the operating instructions unless you are qualified to do so.
- Page 3 USA CLASS A COMPUTING DEVICE INFORMATION TO USER. WARNING: This equipment generates, uses, and can radiate radio-frequency energy. If it is not installed and used as directed by this manual, it may cause interference to radio communication. This equipment complies with the limits for a Class A computing device, as specified by FCC rules, part 15, subpart j, which are designed to provide reasonable protection against such interference when this type of equipment is operated in a commercial environment.
-
Page 4: We Support You
Updates LA-5300 features and operations are determined largely by software. The Telos Alliance strives to provide the most stable and feature-rich software available. We encourage you to check for software updates from time to time by visiting our website or by contacting us directly. -
Page 5: Warranty
Warranty For the latest Telos Alliance warranty, visit: telosalliance.com/warranty Register your product Register your product today to get the full benefits of our warranty, support, and product updates. telosalliance.com/product-registration/ Telos Alliance 1241 Superior Ave. Cleveland, OH 44114 USA +1 (216) 241-7225 For Telos Support: +1 (216) 622-0247 24/7 telephone:... -
Page 6: Table Of Contents
LA-5300 Front Panel ......2 LA-5300 Rear Panel ......3 Installation and Initial Setup Using the Front Panel Interface Physical Installation . - Page 7 System and Network Configuration System Menu Overview ......26 System Screen ......26 IP Configuration .
- Page 8 UPMAX® Upmixing Basic UPMAX Menu ......44 Preset and Format Controls ......45 LFE Channel Controls.
- Page 9 Adaptive Input Percentage ......61 Foreground Sounds Coefficient ..... . 61 Null Area Coefficient .
- Page 11 We’re grateful that you have chosen audio tools from Telos® Systems, Omnia® Audio, Axia® Audio, Linear Acoustic®, 25-Seven Systems®, and Minnetonka Audio®. We’re here to help you make your work truly shine. We hope that you enjoy your Telos Alliance product for many years to come and won’t hesitate to let us know if we can help in any way.
-
Page 12: Introduction
About This User Guide A printed copy of the LA-5300 Quick Start Guide was included with your LA-5300 and will walk you through the rear panel connections, setting up and configuring network control, and basic I/O and program routing. A PDF of the QSG is available for download from our website at https://www.telosalliance.com/Linear/LA-5300. -
Page 13: Front And Rear Panel Overview
Basic configuration and status monitoring can be performed using the front panel controls as outlined in Chapter 3. Connecting to LA-5300 via the web-based user interface (more on that in Chapter 4) provides easier navigation and full control of the unit. -
Page 14: La-5300 Rear Panel
Front and Rear Panel Overview LA-5300 Rear Panel Figure 2-2 – LA-5300 rear panel The rear panel of the LA-5300 contains the following connections: Two RJ-45 Gigabit Ethernet connections, one for network remote control (2-2A) and one for AES67 I/O ♦... -
Page 15: Installation And Initial Setup Using The Front Panel Interface
LA-5300 is fan cooled with air intakes and exhausts located on the side of the unit just behind the front panel, but whenever possible it is recommended to leave 1RU of empty space above and below the unit. -
Page 16: The Home Screen
Pressing the Right button navigates to the Information screen. The name of this particular LA-5300 and its location are displayed at the top of the screen. These values can be customized using the remote interface as detailed in Chapter 6. -
Page 17: Ip Configuration Screen
0.0.0.1, and a Gateway of 0.0.0.0. By default, the LA-5300 will automatically obtain an IP address from a DHCP server which will suffice to provide initial remote access to the unit for configuration purposes. A fixed IP address will be preferred in most cases and can be set as follows: 1. -
Page 18: Locate Mode
Locate Mode Our sincere hope is that you like your LA-5300 so much that you’ll eventually end up with dozens of them pop- ulating your racks, but since one LA-5300 looks pretty much like another, we’ve come up with a way to help you identify an individual unit. -
Page 19: Hardware Relay Bypass
Installation and Initial Setup Using the Front Panel Interface Hardware Relay Bypass LA-5300 includes a hard relay bypass that removes all internal circuits and processes from the signal path and connects each SDI and AES-3 input directly to its corresponding output. -
Page 21: Remote User Interface
Connecting to LA-5300 As outlined in Chapter 3, certain settings and configurations can be accessed and performed using the front panel buttons and screen, but the LA-5300 is designed to be connected to a network and operated through its web-based interface. -
Page 22: Logging In
Figure 4-1 – Home screen when not logged in Logging In Making modifications to the LA-5300’s configuration, signal routing, or transcoding parameters via the remote user interface requires logging into the unit. At this time, only one level of access with is supported. -
Page 23: La-5300 Home Screen When Logged In
This section is primarily an overview of the user interface to provide an explanation of the various menus and screens. It is not intended to provide step-by-step instructions for setting up or operating the LA-5300. Where applicable, references to specific chapters will be made where you can find more detailed instructions for specific controls. -
Page 24: Program 1 And Program 2 Menus
Chapter 4 | 13 Remote User Interface Program 1 and Program 2 Menus Clicking on the Program 1 menu (4-3A) brings up the main menu for all signal processing and monitoring functions related to Program 1. The name of the program can be customized by clicking on the program text field (4-3B). - Page 25 Chapter 4 | 14 Remote User Interface Figure 4-3 – Program menu Clicking on the Program 2 menu (4-3F) reveals identical controls for the second program which includes Dolby Digital Plus encoding for creating an E-AC-3 or AC-3-encoded bitstream for legacy ATSC 1.0 support.
-
Page 27: I/O, Clocking, And Reference
Connect your SDI, AES-3, and/or AES67 sources to the rear panel of the LA-5300 as required for your installation. The LA-5300 can access any of the eight audio pairs carried in the incoming HD- or SD-SDI streams applied to SDI Input 1. -
Page 28: Creating An Input Group
Chapter 5 | 17 I/O, Clocking, and Reference Routing a signal into the LA-5300 is a two-step process. The first step is creating an input group from the available physical hardware inputs (5-2A). The second step is routing the audio from these inputs into the processor input (5-2B). -
Page 29: Routing Audio To The Program Input
After saving the input group, it is necessary to first set the priority of the input source by dragging the input audio lines (5-4A) and then clicking when the desired priority level (5-4B) is highlighted. The LA-5300 will look for audio first on inputs connected to Priority 1. - Page 30 Chapter 5 | 19 I/O, Clocking, and Reference Next, choose the input signal type (PCM, DD+, EAS PCM or AC-4) from the Type dropdown menu (5-5A). Note: Whenever EAS PCM is used, it should be set as Priority 1 to ensure EAS alerts always have priority over any other program.
-
Page 31: Creating An Output Group
Latency and Delays Latency through the LA-5300 varies depending on which inputs and outputs are used and whether or not SRCs are enabled. In any case, it will be necessary to compensate for any latency incurring in the encoding process. Please see the Specifications section of this manual for latency measurements for the current software version. -
Page 32: Sample Rate Converters
Chapter 5 | 21 I/O, Clocking, and Reference Sample Rate Converters Sample rate converters (SRCs) are provided on each SDI input pair, each SDI output pair of the first SDI output, and each AES-3 input pair. The AES-3 output is always synced to the active reference clock. There are no SRCs in the AES67 path. -
Page 33: Clock Reference
SDI input must be used. When using AES-3 I/O, the LA-5300 can be referenced to either the AES-3 clock (using the SRCs in the SDI path) or to the SDI clock (using the SRCs in the AES-3 path. -
Page 34: Setting Clock Reference
Chapter 5 | 23 I/O, Clocking, and Reference Setting Clock Reference Click on the Clock menu (5-9A). Use the dropdown menus to choose a Primary Reference Clock and a Sec- ondary Reference Clock (5-9C) and, if needed, a VRef clock source (5-9E). The status of the selected Primary and Secondary Reference Clocks is shown to the right of the dropdown menu (5-9D). -
Page 35: Gpi/O
Chapter 5 | 24 I/O, Clocking, and Reference GPI/O The LA-5300 offers five GPI and five GPO functions through its rear panel DB-15 connector, activated by a momentary contact closure. GPI/O Functions GPI functions (5-10A) include: None Processing/Encoding Preset ♦... - Page 36 Chapter 5 | 25 I/O, Clocking, and Reference Figure 5-10: GPI/O menu The State Indicator (5-10B) for each function will light for the duration of the closure on GPIs. For GPOs, it will light for the duration of the active event. At this time, there are no user-defined Parameters (5-10C) associated with any GPI or GPO.
-
Page 37: System And Network Configuration
AES-3 and SDI input directly to its corresponding output. This button will turn red when the LA-5300 is in bypass mode. Note that this same hard relay bypass automatical- ly engages when the unit is powered down. - Page 38 System and Network Configuration The LA-5300 has two software banks (6-1H). Both can be populated with different software versions, but only one version can be active at any given time. The active bank is indicated in red. Instructions for uploading and selecting different software versions is provided along with the software when you either download it from the customer portal or website or it is provided by our customer support team.
-
Page 39: Ip Configuration
Figure 6-2 – IP configuration menu By default, LA-5300 is set up with DHCP enabled and will automatically receive an IP address when its Control Ethernet port is connected to a network with a DHCP server. To use a fixed IP address, first click the Edit button (6-2D) for the appropriate port which unlocks the settings. - Page 40 System and Network Configuration To sync the LA-5300 to an NTP server, enable the NTP control (6-2E). By default, both the Server 1 and Server 2 fields are populated with ntp.org addresses. However, we recommend entering the IP addresses of local in-net-...
-
Page 41: Dolby® Encoding And Monitoring
Dolby® Encoding and Monitoring Dolby® Encoding and Monitoring The LA-5300 provides standard Dolby AC-4 encoding in support of ATSC 3.0 for its primary program (Program 1). Optionally, it can encode a second program (Program 2) to Dolby Digital Plus (E-AC-3) and Dolby Digital (AC-3) to provide support for ATSC 1.0 services. -
Page 42: Channel Mode
Chapter 7 | 31 Dolby® Encoding and Monitoring Channel Mode The Channel Mode control (7-1A) sets the configuration of the audio output channels embedded in the AC-4 bitstream. Choices include 2-channel (stereo), 5.1-channel, or 5.1.4-channel outputs (5.1-channel “base layer” with ear-level channels + 4 overhead channels). Frame Rate The Dolby AC-4-encoded audio frames be aligned with video frames to prevent losing audio frames or introducing A/V sync errors during source switching, much like Dolby E or ED2. -
Page 43: Loudness Practice
Chapter 7 | 32 Dolby® Encoding and Monitoring Loudness Practice The AC-4 codec includes integrated loudness management via the Dolby Real Time Loudness Leveler. RTLL normalizes the incoming audio signal prior to encoding. Presets provided in the Loudness Practice control (7-1F) for the following regulations: EBU R 128: Used primarily in Europe, audio is normalized to a target of -23dB LUFS as calculated over the ♦... -
Page 44: Advanced Ac-4 Encoder Menu
Chapter 7 | 33 Dolby® Encoding and Monitoring Advanced AC-4 Encoder Menu The advanced parameters menu contains controls that determine whether certain settings and metadata values are set automatically or manually, and, if set manually, the values of individual settings. Please note the advanced menu scrolls within the web page and not all controls are visible at once. -
Page 45: Preprocessing Mode
Chapter 7 | 34 Dolby® Encoding and Monitoring Figure 7-2 – Top portion of Advanced Dolby AC-4 encoder menu Preprocessing Mode Setting the Preprocessing Mode control (7-3A) to “Auto” grays out the associated controls in the “Previous Parameters” (7-3B) section and uses upstream metadata to determine individual control settings. Placing it in “Manual”... -
Page 46: Lfe Monitor Level
Chapter 7 | 35 Dolby® Encoding and Monitoring Previous LFE Filter “Applied” indicates LFE filtering has already been applied upstream and will not be added here. “Not Applied” indicates the filtering has not been applied upstream and will be added by the encoder. “Unknown” should be selected in situations where it is not known whether or not filtering has been applied. -
Page 47: Loudness Control Amount
Chapter 7 | 36 Dolby® Encoding and Monitoring Loudness Control Amount When using one of the included Loudness Practice profiles, the amount of loudness control provided by the Dolby Real Time Loudness Leveler is automatically set to deliver a compliant output and the Loudness Control Amount control (7-2C) will be grayed out. -
Page 48: Confidence Monitoring
Dolby® Encoding and Monitoring Confidence Monitoring The LA-5300 includes a Dolby AC-4 decoder for confidence monitoring. Monitor audio is routed to the channels immediately following those used for the bitstream output. For example, if the AC-4 bitstream occupies output channels 1 and 2 and the confidence decoder’s channel mode is 5.1, the monitor audio would be present on output channels 3 through 8. -
Page 49: Basic Dolby Digital Plus Encoder Menu
Chapter 7 | 38 Dolby® Encoding and Monitoring Figure 7-4 – Monitor menu for AC-4 decoder Basic Dolby Digital Plus Encoder Menu Clicking on the Dolby Digital Plus Encoder dropdown menu from the Program 2 screen reveals the basic encoder controls. -
Page 50: Encode Mode
Chapter 7 | 39 Dolby® Encoding and Monitoring Figure 7-5 – Basic Dolby Digital Plus encoder menu Encode Mode Use the Encode Mode control (7-5A) to choose between Dolby Digital Plus (E-AC-3) or Dolby Digital (AC-3). For ATSC 1.0 applications, Dolby Digital is the proper choice. Channel Mode The Channel Mode control (7-5B) determines the channel output mode of the encoder, either 2.0 (L,R) for 2-channel content, or 5.1 (L,R,C,LFE,Ls,Rs) for 5.1-channel content. -
Page 51: Loudness Method
The Loudness Method control (7-5E) determines which processing algorithm is used to achieve an ATSC A/85-compliant output. Linear Acoustic APTO is the same algorithm used in the Linear Acoustic ARC television processor which provides dynamic range processing and loudness leveling to transparently deliver audio that is both appropriately dynamic (to maintain the creative intent of the program producers) and well-controlled (to ensure CALM-com- pliance). -
Page 52: Rf Mode
Chapter 7 | 41 Dolby® Encoding and Monitoring RF Mode The RF Mode control (7-6C) sets the DRC profile for the RF input on a television, usually through the antenna output of a set top box. It typically uses a profile that employs a greater degree of compression and limiting compared to Line Mode, as the RF Mode profile is often used for the “midnight mode”... - Page 53 Chapter 7 | 42 Dolby® Encoding and Monitoring Figure 7-6 – Advanced Dolby Digital Plus encoder menu...
-
Page 55: Upmax® Upmixing
UPMAX® Upmixing UPMAX® Upmixing The LA-5300 uses the same new upmixing algorithm found in the Linear Acoustic UPMAX® ISC. If the channel count and format of the incoming content matches the desired output format, the LA-5300 will pass it through as-is. -
Page 56: Preset And Format Controls
♦ Dialog, and 5.1-channel input sources but with upmixing that is sonically closer to the previous UPMAX algorithm used in the Linear Acoustic UPMAX v4 upmixer and the algorithm employed in the various Linear Acoustic AERO®-series processors 7.1: Provides a constant 7.1-channel output from Stereo, Stereo + Dialog, 5.1-channel, and 7.1-channel input ♦... -
Page 57: Lfe Channel Controls
Chapter 8 | 46 UPMAX® Upmixing Figure 8-2 – UPMAX preset and format controls LFE Channel Controls The LFE Channel controls are used to tune the crossover frequencies, gain, and signal routing of the low frequency effects audio. LFE Crossover The LFE Crossover control (8-3B) defines the crossover frequency at which to extract the low frequency signal routed to the LFE Channel and is typically set between 60 and 100Hz. - Page 58 Chapter 8 | 47 UPMAX® Upmixing Mid-Bass Crossover When a mid-component signal is created for the Center Channel, it is split into two bands, LF and HF. The Mid- Bass Crossover control (8-3A) defines the crossover frequency of the split. Splitting the mid-component into two bands allows the user to freely control the two signal widths and inde- pendently distribute them across the Center, Left and Right Channels.
- Page 59 Chapter 8 | 48 UPMAX® Upmixing Figure 8-3 – UPMAX LFE Channel controls...
-
Page 60: Center Width Controls
Chapter 8 | 49 UPMAX® Upmixing Center Width Controls These controls define the routing of the LF and HF bands across the Left, Center and Right Channels. Used in combination with the Mid-Bass Crossover frequency control, the provide the ability to craft the image of the Front Channels in a way that maintains a direct sonic-visual association of dialog while providing a pleasant and wide image of the phase-correlated elements. -
Page 61: Auto-Detect Controls
UPMAX® Upmixing Auto-Detect Controls When the Input Format is set to Auto-Detect, the LA-5300 continuously monitors the input signal to determine its format and will automatically switch to Stereo, Stereo + Dialog, or 5.1-channel processing modes. The level at which the detector circuit determines that the incoming signal is program audio (and not noise or silence) is set by the Auto-Detect Threshold control (8-5B). -
Page 62: Advanced Upmax Menu
Chapter 8 | 51 UPMAX® Upmixing Advanced UPMAX Menu The Advanced parameters are included for audio experts who wish to dig deep and tweak settings for very specific applications or demanding tastes. They are not required for most users and are accordingly not displayed by default. -
Page 63: Side-To-Rear Gain Lf
Chapter 8 | 52 UPMAX® Upmixing Side-to-Rear Gain LF The Side-to-Rear Gain LF control (8-6I) adjusts the gain of the low frequency content in the Surround and Rear channels when upmixing to 7.1. Side-to-Rear Gain HF The Side-to-Rear Gain HF control (8-6J) adjusts the gain of the high frequency content in the Surround and Rear channels when upmixing to 7.1. - Page 64 Chapter 8 | 53 UPMAX® Upmixing Figure 8-6 – UPMAX Advanced menu controls...
-
Page 65: Nielsen® And Verance® Watermarking
Chapter 9 | 54 Nielsen® and Verance® Watermarking Nielsen® and Verance® Watermarking The LA-5300 includes optional support for audience measurement watermarking from both Nielsen and Verance. In both applications, proprietary and customer-specific information is required and provided by the vendor. Nielsen Watermark Encoding Set the Nielsen Watermark Enable control (9-1B) to “On”... -
Page 66: Verance Watermark Encoding
Chapter 9 | 55 Nielsen® and Verance® Watermarking Verance Watermark Encoding Set the Verance Watermark Enable control (9-2B) to “On” to enable the encoder. Check the Status window (9-2C) to verify that the encoder is running. The Calibrate control (9-2A) is used in conjunction with a special audio test file to measure delay when the Verance watermark is inserted. -
Page 67: Apto™ Processing
Chapter 10 | 56 APTO™ Processing APTO™ Processing LA-5300 units equipped with the Dolby Digital Plus Encoder for a second program source offer a choice of loudness control options including Dolby’s own Real Time Loudness Leveler (RTLL) and Linear Acoustic® APTO processing. -
Page 68: Bypass
Chapter 10 | 57 APTO™ Processing Ideally, you want enough Adaptation to achieve compliance and keep levels within the viewer’s comfort zone and at a stable average level, but not so much that the audio sounds unnatural or over-processed. APTO is based on a psychoacoustic model that takes into account human hearing and perceived loudness and remains very natural-sounding even when extensive processing is applied, but it is generally advisable to keep the amount of Adaptation under 50% when possible. -
Page 69: Dialog Normalization
Chapter 10 | 58 APTO™ Processing Dialog Normalization The Dialog Normalization control (10-1H) enables dialog detection and measurement. When enabled, APTO’s Compliance processing stage uses long-term speech-only measurements rather than the overall input program loudness to ensure the output target level is achieved. The use of dialog-based measurement is normally determined by regional regulations. -
Page 70: Advanced Apto Controls
Chapter 10 | 59 APTO™ Processing Advanced APTO Controls As we’ve mentioned before, most users and applications will be well served by simply selecting the appropriate factory profile according either to compliance regulations. At most, some adjustments to the Basic controls may be necessary. -
Page 71: Audio High Pass Filter Cutoff Frequency
Chapter 10 | 60 APTO™ Processing Audio High Pass Filter Cutoff Frequency The High Pass Filter control (10-2A) sets the cutoff frequency for the high pass filter applied to the input signal. No audio below this frequency will make it through to the APTO processing engine. In most cases, this control should be set to “Off”, but in some instances, it may be beneficial to filter out any sub-audible frequencies (below 20Hz). -
Page 72: Adaptive Input Percentage
Chapter 10 | 61 APTO™ Processing Adaptive Input Percentage When the Adaptive Input Detection control (located in the Basic section) is enabled, the Dynamic Range processing section of APTO dynamically adapts the amount of processing depending upon the actual measured average level at the input. -
Page 73: Average Maximum Gain
Chapter 10 | 62 APTO™ Processing Higher values (from 2 – 6 LU per second) allow compliance to be achieved more quickly but may introduce audible gain changes to the average program level in the process. These faster settings are best suited for situations when input levels are expected to be very inconsistent. -
Page 74: Average Input Level
Chapter 10 | 63 APTO™ Processing Many factors can influence whether or not content at the output is compliant. These include the level consistency of the incoming audio, program duration, the difference between the average input level and the Target level, the amount of Adaptation employed, and the settings of many of the controls listed in this chapter. -
Page 75: Specifications
Processing Loudness Control Program 1 (Dolby AC-4 encoding) – Dolby Real Time Loudness Leveler (RTLL) ♦ Program 2 (Dolby Digital Plus encoding) – Dolby Real Time Loudness Leveler (RTLL) or Linear Acoustic ♦ APTO™ Upmixing Linear Acoustic UPMAX® ISC upmixing ♦... -
Page 76: I/O
Chapter 11 | 65 Specifications SDI I/O 3Gb/s HD/SD-SDI input (SMPTE ST 425-1, 292M, and 259M), up to 1080p/60/59.94/50Hz ♦ Optional Quad-Link 3Gb/s SDI for 4K workflows (mutually exclusive with MADI option) ♦ AES-3 I/O Five stereo pairs via 75 Ohm BNC unbalanced female connectors, internally terminated; signal levels per ♦... -
Page 77: Reference
Chapter 11 | 66 Specifications Reference 48kHz reference via SDI, PTP, AES-3, internal clock (standalone use only), or MADI (when MADI option is ♦ installed) Vref ♦ Sample Rate/Resolution/Frequency Response 48kHz, 24-bit, 20Hz – 20kHz ♦ Ethernet Two Gigabit RJ-45 connections – one for AES67, one for networked remote control ♦... -
Page 78: Intended Location
(RoHS), as amended by Commission Decisions 2005/618/EC, 2005/717/EC, 2005/747/EC (RoHS directive), and WEEE Licensing The Linear Acoustic LA-5300 is manufactured under license from Dolby Laboratories; Dolby, Dolby Audio, ♦ and the double-D symbol are trademarks of Dolby Laboratories. - Page 79 Telos Alliance Warranty Telos Alliance Limited Warranty For the latest Telos Alliance warranty, visit: telosalliance.com/warranty.
- Page 82 1241 Superior Ave. • Cleveland, Ohio, 44114, USA • +1.216.241.7225 • TelosAlliance.com © 2020 TLS Corp., All Rights Reserved. L20/18195 • P/N: 1490-00236-001 • USER MANUAL: LA- 5300...