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Philips IS 5022 PROFESSIONAL Mark II Instruction Manual

Sound enhancer
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Summary of Contents for Philips IS 5022 PROFESSIONAL Mark II

  • Page 1 ‐-. SOUND ENHANCER 5022 __1S PROFESSIONAL ENHANCER U N D 5022 w a r t p r o r e s s i o n a t O s a s s Oscaaren S 0 0 0 g 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 L A A N Onoi s e ‐...
  • Page 2 WARNING NOTICES EXPOSE THIS EQUIPMENT TO CAUTION: REDUCE THE RISK ELECTRIC SHOCK, N OT REMOVE COVER BACK). NOUSER-SERVICEABLE P ARTS RAIN MOISTURE. INSIDE. SERVICING TO QUALIFIED SERVICE PERSONNEL. REFER ELECTRIC This “bolt of lightning” indicates uninsulated material CAUTION: TO PREVENT SHOCK, MATCH WIDE within...
  • Page 3 - or other industrial or n o t convey patent intellectual rights. property N.V. 1995 © COPYRIGHT PHILIPS ELECTRONICS All rights are reserved. Reproduction in whole or in is prohibited part without prior written of the copyrights owner. consent Printed in the Netherlands;...
  • Page 4 For U.S.A. This device complies with part 15 of the FCC (U.S.A.) rules. Operation is subject to the following t w o conditions: 1. This device m a y n o t cause harmful interference, and 2. This device interference received, including interfer‑ must accept any that may cause undesired operation.

  • Page 5: Table Of Contents

    CONTENTS GENERAL DESCRIPTION INTRODUCTION AVAILABLE FUNCTIONS AND EFFECTS ABOUT THIS MANUAL 2 UNPACKING PROCEDURE QUICK FUNCTIONAL CHECK 3 CONTROLS, INDICATORS & CONNECTORS FRONT PANEL REAR PANEL 4 INSTALLATION INTRODUCTION SounD ENHANCER AS SAMPLE RATE CONVERTER SYNCHRONIZATION (SLAVE MODE) CALIBRATION 4.1 STANDARD CALIBRATION 4.2 PREPARATION FOR CALIBRATION...

  • Page 7: General Description

    1 GENERAL DESCRIPTION 1 INTRODUCTION The Sound Enhancer Mark II is a unique combination of: us Digital Sound Processor for de-clicking performing a wide range of audio effects Converter (20-bit) = Sample Rate Converter (any valid digital signal between 15 and 50 kHz to either 44.1 kHz or 48 kHz) DAC circuit: dither added...

  • Page 8: Available Functions And Effects

    2 AVAILABLE FUNCTIONS AND EFFECTS The Sound Enhancer provides the following audio functions: m= scratch suppression (de-clicking) m noise reduction, offering a low-pass filter with an adjustable cut-off between 16 kHz and 5.5 kHz. stereo enhancement, allowing a effect to be created from a stereo mono signal = compression/expansion...

  • Page 9: Unpacking

    2 UNPACKING is supplied in various different The Sound Enhancer |IS5022 series ver‑ sions. Different mains adapters are supplied in order to accommodate the various mains requirements around the world. However, all models have essentially the same operational characteristics. 1 PROCEDURE 1.
  • Page 10 3. Connect the mains cable of the power adapter to a mains socket of the correct voltage sticker on mains adapter). (see 4. Set the on the front panel the Sound switch Enhancer to POWER (F1) At first anumber of on and then off.

  • Page 11: Controls, Indicators & Connectors

    3 CONTROLS, INDICATORS & CONNECTORS This chapter describes the controls and connectors located indicators, the front and back panels of the Sound Enhancer. = @ ) ‐ @ )o u u e y g a u b y y 1 FRONT PANEL j e u u e y g S Y O L O A N N O D O 0 D 0 0 D 0 0 0 0 N 0 0 0 0 0 0...
  • Page 12 front panel is shown in 3.1. It is divided four main func‑ figure into tional blocks. They from left: are, m the power switch a the effect and input LEDs; bars; m twoLeED a the controls. These are described in the following sections. For references in brackets, e.g.
  • Page 13 display the audio input signal During normal operation, the LED bars level. The upper r o w is the left channel, the lower row the right channel. While adjustments are being made to the effects, the LED bars indicate of effect being applied, as set by the a m o u n t ( o r level) ADJUST buttons.
  • Page 14 sample 44.1 sets output rate to 44.1 kHz instead of the default (F11) 48 kHz. When the in the push button is off, the sample rate is 48 kHz. Pressing the switch a second time the output sample reverts back to 48 kHz. In order to minimize noise during switching, the rate implemented via an automatic “...

  • Page 15: Rear Panel

    Rear panel N O G Al d d N S H a M O d A L L + A L l ‑ \ \ A G 9 + A G ‘ 9 + S N I V I A Y A L d V a V Ul g t u l w )
  • Page 16 The rear panel contains the input and connectors. For references o u t p u t in brackets, e.g. refer to figure 3.2. (B1), which is a connector to an external word clock WORD CLOCK (B1) signal can be connected for use instead of the Enhancer’s inter‑...

  • Page 17: Installation

    4 INSTALLATION 1 INTRODUCTION The Sound Enhancer can be used in different roles and there many many ways to connect the unit. This chapter lists some, of the (NOT ALL) frequently used applications and related installations. Some experi‑ m o s t mentation m a y be necessary.

  • Page 18: Sound Enhancer As Sample Rate Converter

    SOUND ENHANCER SAMPLE RATE CONVERTER The default setting of the of the Sound Enhancer is output sampling rate 48 kHz. Push button kHz. If 44.1 kHz is F11 switches the Sound Enhancer to 44.1 selected the LED indicator in the push button will light up. The Sound Enhancer will accept: INPUT OUTPUT...

  • Page 19: Synchronization (Slave Mode)

    MODE) SYNCHRONIZATION (SLAVE The Sound Enhancer can act as a slave. In this mode an external clock replaces the internal clock. Two sources of external signal can be han‑ dled: m® a signal at the word clock connector avalid AES/EBU digital signal either the XLR SPDIF connector.

  • Page 20: Calibration

    4 CALIBRATION STANDARD CALIBRATION The Sound Enhancer is factory calibrated for an analog input and output signal This means that when digital input signal of 15 (unloaded). of 0 dB full scale is applied, the balanced analog will be 15 dBu. outputs Furthermore if an analog input signal of 15 dBu is applied, the digital out‑...

  • Page 21: Calibration Of The Input

    CALIBRATION OF INPUT m Make sure the calibrated correctly analog outputs are Locate the trimpotmeters 3247 and 3248 a Select analog input then apply an analog source of the required level 0 dBFs digital) to the balanced inputs (always between 9 and 15 ( f o r dBu, 1 kHz)

  • Page 23: Operation

    OPERATION SETTING TO WORK It is important to adhere to the following sequence: and output(s) . 1. Connect the input(s) See Chapter 4. B3/B5 2. Make sure that the slider switches on the rear panel are in the required position. 3.

  • Page 24: Combinations Of Effects

    The following is a general description of how an effect is activated and adjusted. (Specific descriptions for each effect are given in the following sections of this chapter.) 1. Press the button until the LED of the required effect flashes. SELECT The current setting for the effect is indicated on the LED bar.
  • Page 25 2. Press the buttons to obtain the required setting. This is best ADJUST determined by experiment, i.e. adjust the setting, listen, re-adjusting the setting, and so When the buttons are touched for ADJUST n o t six seconds the will stop flashing and remain on. The scratch suppression level should be set as low as possible for an result.
  • Page 26 2.2.3 Bass and treble The bass and treble effects can be used individually or in combina‑ tion. They are activated as follows: 1. Repeatedly press either of the SELECT buttons until the LED of the required effect flashes. (bass treble) 2.
  • Page 27 2.2.6 Gain During normal operation the LED bar shows the audio levels (L and The input levels can be individually adjusted via the t w o pot. GAIN The moment either of these meters. p o t meters is adjusted, the LED bar will indicate the setting of the potmeters.

  • Page 28: Overload Conditions

    OVERLOAD CONDITIONS 3.1 Gain CONTROL The range of the gain control is -20 dB to +5 dB and in addition to this a “unity gain” setting is provided. The operator should be aware separate that the useful amplification of +5 dB has certain implications which very explained below.

  • Page 29: Quantization Noise Imaging

    4QUANTIZATION NOISE IMAGING Noise Imaging can be used independently of the Quantization (Q.N.I.) other effects. improves the audio quality of digital audio source material by mov‑ Q.N.I. ing the quantization noise present in the digital signal to outside the The main advantage is that the audio perfor‑ audible frequency range.
  • Page 31 Weight: Sound Enhancer: 4.3 kg Mains Adapter: Dimensions: mm wrtiociod seit Enhancer: x 290 x Sound (19”) (1E) Mains Adapter: 60 FxT195 xe7e Power: The Sound Enhancer is by d.c. It is supplied with specific powered mains. adapters for the local Type: 5021/01 Europe,...

  • Page 32: Performance

    2 PERFORMANCE DIGITAL 20 bits audio-performance Balanced: connectors Unbalanced: Cinch connectors kHz/15-50.4 Input frequency: 17-54 kHz/44.1 Output frequency: Word clock kQ/BNC Input impedance: connector min. 2.6 Vpp, max 6 Vpp Input level: Frequency: 44.1 kHz +50 ppm) (tolerance: ANALOG Balanced (XLR) Adjustable: +9 dBu to +15 Input sensitivity:...
  • Page 33 Analog In Unbalance: max. 1 dB (adjusted) Amplitude linearity: max. +0.1 dB - 20 kHz) S/N ratio: dB (A weighted) 9 7 d B ( B a n d w i d t h 2 0 kHz) Dynamic Range: 97 dB (1 kHz) + Noise: 91 dB (1 kHz) Channel separation:...

  • Page 34: Key Components

    COMPONENTS 44.1/48 kHz BALANCED ANALOG/ X-TAL ANALOG” | BALANCED SELECT . BALANCED BALANCED. OVERLOAD DETECTION -‐ ’ ANALOG O U T ANALOG| AD cy INPUT VOLUME TDA 1947 ELECT LINE SELEC CONTROL CONVERTER DIGITAL O U T OUTPUT SPOIF AES/EBU DIGITAL IN SPDIF AES/EBU...

  • Page 35: Functional Data

    UNCTIONAL DATA = Defeat mode If no effects are applied the Sound Enhancer will cause a (defeat mode), minor time lag of between 1 and 3 m s . a Sample conversion rate The Sound Enhancer is equipped with a TDA 1373 Sample Rate Converter, which...
  • Page 36 a Noise filter Noise reduction is performed by a digital second order low pass filter with an adjustable cut off between 5.5 and 16 kHz. At 44.1-kHz:5.5; 6,-6.5; 7 8 , 9 ; 10,-11712;.13,14;.15 kHz At 48 kHz: 6, 7, 8, 9, 10, 11, 12, 13, 14, 16 kHz 6.5, This filter...
  • Page 37 \\\Y Figure 6.4 Compression curves. Figure 6.5 Expansion curves.
  • Page 38 the input level. Figure 6.6 Expansion/compression as percentage of of the digital implementation, incorporating delay lines, the account compression/expansion function works unobtrusively compared with analog solutions. The compression/expansion function does cause a delay of about 60 ms typical. = Bass/Treble; to figure (Refer 6.7)
  • Page 39 1.0k 10.0 k 20.0k 20.0 100.0 Bass/Treble Figure 6.7 Filter curves.

  • Page 40: Sub Code Handling

    CODE HANDLING In m o s t studio installations, and where the Sound Enhancer is used to interface a digital between source and digital recorder, subcode han‑ dling becomes relevant. Most digital audio equipment does not solely provide also processes additional digital information (digital) audio, but needed such things as: track number, playing time, remaining time...
  • Page 41 5.2.2 Professional Use Digital i n p u t (AES/EBU) All bits are copied from the input output, except: a b i t 0 : Professional use always fixed to “ 1 ” a b i t 5 : Source sampling frequency: “ 1 ” if synchronisation is not successful.
  • Page 42 3104 125 2167.1 Printed in The Netherlands...

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