Cutting Edge Unity 2000i FM Broadcast Processor - Radio Technique

Cutting Edge
Unity 2000i FM Broadcast Processor
Cutting Edge Technologies
2101 Superior Avenue
Cleveland, OH 44114 USA
(216) 241-3343 Fax (216) 241-4103
Manual Version 4.0
March 1995

A LETTER FROM FRANK FOTI,
Dear Cutting Edge Customer,
Personally, I would like to thank you for selecting the Unity 2000i! What you have in your possession right now is,
not only years of research and development, but years of my passion for broadcast audio processing. Add to that, a
multitude of ideas, thoughts, and opinions of the many associates, friends, and yes, even foes that I have
encountered along the way! Who knows maybe even you yourself have at sometime helped with a suggestion or
idea! Again my heartfelt thanks!
You and I share a good common bond, radio! Before beginning Cutting Edge in 1988, I too was on your side of the
fence, in radio. As a broadcast engineer, I can totally relate to the day to day life in a radio station. I have been
there in the trenches just like you are right now! That’s why I am so excited about the Unity 2000i, because
someone designed it in the trenches, for radio, in radio!
Early concepts and ideas for this project actually began in the early 1980’s while I was enjoying the life of great
Album Rock at WMMS-FM, the Home of the Buzzard, right here in Cleveland! A brief stint in San Francisco at
Country music KSAN-FM and KNEW-AM gave me the opportunity to hone my processing skills on something
other than Rock-N-Roll! But the true test of ability, and far and away the most pleasure and success, was achieved
at that tiny Flame-thrower atop the Empire State Building, WHTZ-FM, better known as Z-100!
As a designer, engineer, and user, I know only too well how subjective audio processing is. There is no right way,
or wrong way to do it. As the sneaker manufacture Nike would say, “Just Do it”. (I love the “Can Do” attitude!)
We all know when it does not sound right, but to just “get it right” can take quite an effort. So as you proceed with
the installation of our product, I can only hope that you will approach this endeavor with an open mind, patience,
and time. Why Because sometimes what you desire, and what you initially receive may be two different things
altogether!
For the majority of our customers, the Unity 2000i has made a big difference right off the bat. But I’d be lying if I
told you that, just by installing the Unity 2000i, your station would immediately be far and above all the rest. It
may take some time, but fear not, our goal is to get you to that point!
Well, enough of carrying on about myself. Here is where I would like to acknowledge the “known” many who
helped in delivering to you the Unity 2000i: Mozie, my Family, Pete Townshend, Steve Church, Neil Glassman,
Raymond Douglas Davies, Matthew Connor, David Reaves, M.D.D., David “Zeke” Booth,”Don” Corleone, Doug
Howland, Cate Cowan, John Granchi, F.Joseph Foti, Margot Daly, Kevin Nose, Dan Mettler, Marc Augis, Phillipe
Legros, Bob Martin, Mark Hoageson, Mike Maczuzak, Bruce Vanek, Don Coulter, Danielle Cline, Todd
Linderman, Tom Petty, Madonna, John Alan, Judy Chamberlain, Carlos Baerga, Dwayne Burlison, Paula Abdul,
Emmylou Harris, Dean Thacker, Christine McVie, the Cleveland Orchestra, The Who, Don Williams, the Bellamy
Bros, Hiroshima, Frank Sinatra, Amy Grant, Janet Jackson, The Kinks, Geary Morrill, Barry Thomas, Bonnie

Riatt, James & Mary Anne Duffy, Quincy Jones, Bernie Kosar, Dorothy Fuldhiem, Billy Joel, Roxette, Chief
Wahoo, Dire Straits, Jack Barnes, Steve Pepe, Wickliffe Sr. High, and the many, many individuals who helped
make this project a reality!
Kindest Regards,
Frank Foti
July 1993

About this manual
You have just opened the carton of a one of the most sophisticated pieces of broadcast audio equipment. And we
know how you feel. You don’t want to sit around a read a manual. You want to plug it in and hear what it can do.
You want to start pushing all the buttons and exploring the full range of processing possibilities the Unity 2000i
presents. We know how you feel, because when we get a new, expensive toy, we feel the same way.
As much as we understand your excitement, we ask you to please try to demonstrate some self-control.
This manual is designed to first introduce you to the capabilities of the Unity 2000i and then clearly instruct you on
its installation and operation. (Unlike most other manuals, large sections don’t even require you to be sitting in
front of the product.) We hope you will take the time to read the manual. We trust you will enjoy it and that it will
provide you with new and useful information on audio processing.
Not yet convinced to wait a few hours OK, here is where we have to warn you that we are not responsible for
anything that may happen to the Unity 2000i or the equipment to which you connect it or to your station’s on-air
sound or to your job if you do not read the manual.
A special note
Some of you may be using the older Unity 2000 without the jog wheel control and have obtained this manual along
with a free software upgrade. Please be assured that the two units are capable of the same outstanding sound. The
older units will continue to be eligible for free software upgrades as they become available. You will continue to
benefit from our ongoing research and development.
The primary differences between the two units are hardware based. Each time this manual refers to the jog wheel on
the Unity 2000i, use the UP and DOWN buttons on the older Unity 2000. Please retain your schematics, as there are
some differences in circuit board layout.

Table of Contents
Introduction 1
A little history
Just what the world needs, another audio processor
A word about loudness
The bottom line
Unity 2000i Overview 11
Unified Processing
User interface
Processing functions
Special features
Processing Concepts 16
Why our processor sounds better
Processing designed for the ears
Feedforward control
Quality versus loudness
Keep and open mind
Installation 21
Clarify your objectives
Available time
Installation considerations
Installation checklist
Mounting and connections
Setting pre-emphasis
Rear panel connections
Operation 31
The obvious
The LCD display
The jog wheel and buttons
Security
The real time clock
Orientation to the Main Menus
Setting the Unity 2000i input levels
Setting the Unity 2000i composite output levels

The Processing Display 41
Input level meters
Wide Band AGC display
Level indicators
Limiter indicators
Processing Presets 44
Loading factory presets
Before you make adjustments to the presets
Modifying and adding presets
Loading user added presets
Updating user added presets
Deleting user added presets
Renaming user added presets
Main Menu Reference 50
Leveler Menu
Limiter Menu
Clipper Menu
Stereo Generator Menu
Composite Clipper Menu
Other Menu
Technical Descriptions 65
Trouble Shooting Guide 76
Appendix 57
Worksheets
Remote Operation
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Introduction
A little history
Like most of us with a passion for radio, Frank Foti started young. He was six years old when he first dismantled
and successfully reassembled his AM/FM radio. (His father is a little vague about how many radios he took apart
before he figured out how to put them back together.) By the time he was a teenager, Frank was building Heathkits
in his basement and, as a high school senior, designed and built his own stereo system. After his high school
graduation, Frank received a full scholarship to a Cleveland, Ohio broadcasting school and earned his FCC First
Class Radio Operator’s license in 1974.
His first job was with WELW, a small AM station located in Willoughby, Ohio. He was not only the engineer, but
also wore the hats of production director, morning disc jockey, play-by-play announcer, and music director. When
the grass needed cutting, he did that too!
In 1978, after answering a blind ad in Broadcasting, Frank was hired as Assistant Engineer at Malrite
Communications’ WHK/WMMS in Cleveland. This was more than just a better position at a bigger station. For a
rock & roll junkie like Frank, working at legendary album rock station WMMS was a dream come true. When his
boss was fired, Frank was promoted to Chief Engineer of the combo.
Frank did more than hone his engineering skills during the three years he spent at WHK/WMMS. He began to
explore processing, the art and science of enhancing audio and tailoring sound to fit programming needs. It was here
in Cleveland that Frank first tinkered with various processing theories and “hot rodding” existing audio components.
In 1981, Malrite shipped Frank west to be Chief Engineer at country formatted KNEW/KSAN in San Francisco. But
the “city by the bay” was not his only assignment. Frank was flown to several stations in the group to work on their
processing chains. He gained experience in a wide variety of formats and every station he visited experienced a
ratings increase due in part to Frank’s processing.
In July of 1983, Frank was assigned to New York to be Chief at Malrite’s just purchased WHTZ-FM (Z-100).
Frank, along with a team that included programming wizard Scott Shannon, had the responsibility of pulling the
lowest rated station in the market out of the basement.
When Z-100 went on the air one month later, it skyrocketed from worst to first in just 74 days! Z-100’s rise to the
top was due to three factors: the format, the promotion, and the sound. Frank combined several off-the-shelf
processing products with some of his own inventions to create a larger than life sound. (Frank borrows the word of
Roger Daltry of The Who to describe the sound as “getting punched in the nose and having somebody say I love
you.”)
In 1985, Frank started to sell his first product to other engineers. The Vigilante multi-band limiter was initially sold
by word of mouth. Stations that used the Vigilante kept this “secret weapon” behind security covers so that the
competition would not know what they were using. Frank discovered that radio stations with the most successful
audio chains (and the improved ratings) were the ones that had all the separate components working in concert.
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Every part of the system had to be tuned for maximum benefit; the sum of all the parts.
Frank returned to Cleveland in 1987 to become Malrite’s corporate Director of Engineering and supervise the
technical aspects of its seven radio properties. A “hands-on” manager, Frank traveled the country to work with his
engineers. Processing remained his primary interest and he was frequently solicited to consult with other stations.
His reputation as radio’s number one expert in broadcast processing was now well established.
At home, Frank kept tinkering. And the tinkering soon became serious research. What he learned from scores of
engineers and programmers and from listening to stations all over the country was that radio could sound better. And
that better sounding radio meant more listeners.
Frank left Malrite in June of 1988 to create his own company and called it Cutting Edge Technologies. More
traveling, more consulting, and more research in the basement. Frank knew what kind of processor radio demanded.
And in 1991, he delivered it. The Unity-2000i.
Just what the world needs, another audio processor
Next to the fates and fortunes of local sports teams, nothing causes more arguments at radio stations than processing.
In one corner there is the group who wants to burn a hole in the dial. In this day of high octane, “Tastes Great - Less
Filling,” extremely competitive, kill for the last dollar radio, the tendency in many cases, has been towards creating
a behemoth over-the-air. Utilizing as much of the latest, greatest, tweaked, modified, and super-charged products
available, we crank them up until we achieve a sound that is “louder than anyone can ever be, but is totally clean.”
Who are we kidding Hopefully, by now, we all know that all this does is create the potential for fatigue, tune-out,
and decreased time spent listening. The bottom line is that the listeners go somewhere else.
On the other side of the debate are the sonic purists who want to transparently reproduce the source material, just as
it was recorded. Too little processing can be as bad as too much processing. Listeners are more sophisticated and in
the age of CDs (and now MDs) they know what sounds good. The transmission chain and the receiving radios
significantly effect audio dynamics and quality. It takes careful, adequate processing to keep music sounding, well,
musical.
The main reason this debate exists is that the processors you have been using don’t let you get the sound you want
and need for your station. Yes, they sound all right in most circumstances and each processor does have a sweet spot
that performs satisfactorily in many circumstances. But they also have built-in limits on what you can creatively
accomplish. This, however, is the real world of competitive radio - you can’t afford to sound “all right.” You have to
stand out on the dial. With traditional processors, whether you crank the processing up or down, you lose musicality.
Until Frank Foti (with the help of a couple of hundred radio engineers, programmers, and managers) designed the
Unity 2000i, you had only two options. Live with what you had or add another processor to the chain. Or perhaps
two more processors. Or perhaps- well, you get the idea. Adding on to the processing chain was the way Cutting
Edge got started. But it is not where we ended.
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Frank determined that, when the optimum sound was not able to be achieved in a multiple box processing system,
the weakness was often the inability of the audio chain, as a system, to work in an integrated manner. The strengths
of one box did not always compensate for the deficiencies of the others.
The bottom line was that the world did need another audio processor. A device that has an open, accurate sound over
the full range of processing. It took Frank a long time to get the Unity 2000i right. The proof that he got it right is
the way the Unity 2000i sounds.
A word about loudness
Making this confession is a little like telling your parents you dented the car. But here it goes.
It is OK for your station to be loud. Very loud.
In the past, loudness was a problem due to the limitations of the processors you had available to you. If you
processed more heavily, then you either had to adjust your single box outside of its “safe” range or use multiple
boxes and risk their conflicting with each other.
Frank Foti and the Unity 2000i have changed all of that. Frank knows how to get a station sounding loud without the
artifacts or grunge created by your current processor when you try to make it loud. And he knows how to make loud
an option for all formats.
One more confession. It is also OK for your station to not sound loud. Because the Unity 2000i has given you the
choice. Our intention is to provide you with a system that will maximize the audio quality of your signal, yet at the
same time maintain your competitive requirements.
The bottom line
The Unity 2000i is unique in its approach to FM audio processing. It sounds better and is easier to use than any other
processor available.
And how has the market reacted As we look back over the past few years, the reaction has not been unlike that to
other “edge of technology” products like the original Apple computer.
• First, the Unity 2000i was ignored.
• Then it was accused (by other processing manufacturers) of being ineffective.
• Gradually, it was accepted by users with tolerance for risk and novelty.
• And now the Unity 2000i, is being accepted by large numbers of users.
You won’t find the Unity 2000i on-the-air at every station. But at the stations where it is installed, you will find
engineers, programmers, and managers happier than ever with their on-air sound.
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Today, Cutting Edge is more than just Frank Foti. While Frank is glad to have someone else build the boxes and
keep the books, he’s still a busy guy. And we don’t mean spends the summers watching Cleveland Indian games.
No, he is still working on new ways to improve the sounds of broadcast audio. And he is still spending a few hours
each day talking with other broadcasters.
If your processing has you baffled, or you think you have a system that sounds better than Frank’s, give him at call.
The number is (216) 241-3343. His fax number is (216) 241-4103 if you are located outside of the United States or a
shy person. He’s a good talker and a great listener.
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Unity 2000i Overview
Unified Processing
We reassembled the pieces of the processing puzzle to get more out of the system as a whole; sort of rearranging the
furniture to get better use of the room. We call it Unified Processing. This arrangement allows us to “unify” all
functions of a broadcast audio chain into one package. In one seven-inch tall chassis is the processing flexibility and
power of at least three, and as many as six, different pieces of equipment.
To help you get begin to adjust a processor that sounds great at all settings, Frank has provided presets for a number
of formats and programming requirements. These are used as a starting point for your processing adjustments. Once
you have found a setting you like, there are fifty user memory locations provided for safe keeping. Comparing two
setups is as easy as pushing a button.
User interface
Total operation of this system is accomplished through microprocessor control. With the Unity 2000i, we have
strayed from the conventional methods of operation. Gone are mechanical switches and pots. In their place are a
button pad, jog wheel, and LCD screen. Through user menus, you can achieve better flexibility as well as rapidly
store and retrieve settings.
In designing our user menus, we have avoided creating too many “layers” that would require excessive navigation.
Most processes and functions are accessed in three steps and the menus are arranged in a logical manner that can be
learned in minutes.
The Unity 2000i presents extensive set-up metering in the Processing Display. At all times, you can see the activity
of all processing functions so that you can determine the overall effect of any changes you make. Our display is
uniquely designed to provide a significant amount of easy to interpret information.
Processing functions
The Unity 2000i provides nine processing functions, all are operated by a single control interface. When you create
a processing setting, you have the advantage of doing so for every part of your processing chain. For example, most
stations use composite clipping and do so with a separate clipper device. When you select to use the clipper in the
Unity 2000i, its settings are stored along with all of the other settings of every other processing stage.
The block diagram that follows shows how the Unity 2000i’s nine processing functions work together. These
functions are:
1. Selectable Wide Band AGC that reacts as if it was a “slow hand” on the output of the audio console so that the
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levels coming into the Unity 2000i are always within a consistent window.
This slow acting gain control circuit provides ±10dB of leveling. Imagine, if you will, someone that would
continually insure that the output of the audio console was always within a specific level. The “platform
leveling” control circuit for the AGC is intelligent enough to know that if the incoming audio level is correct it
will shut down its operation and wait until gain correction is needed. The AGC is therefor only operating when
needed, eliminating the constant seeking of unneeded level changes.
2. Selectable Phase Rotator circuits that, when utilized, can assist in eliminating vocal distortion during periods
of heavier processing needs.
These specialized delay circuits create a “flywheel” effect on a certain range of frequencies. In this case, audio
within the main vocal range of 300Hz to 2kHz will change in phase as frequency increases through the stated
passband.
The reason we incorporate phase rotators is a problem created by the human voice. Most human voices are
asymmetrical in nature, meaning one side of the waveform is larger than the other. The delay circuits of the
phase rotators synthesize the symmetry of the waveform for vocal audio through the passband. By doing this,
the upper and lower crests of the vocal waveform are processed more evenly.
For heavier processing situations, use of the phase rotators helps cut down on clipper induced distortion on
voices. For lighter processing requirements, the phase rotators can be defeated.
3. Selectable and adjustable low frequency Bass Enhancer circuit that provides a deep, full, and rich texture to the
bass line.
This is not just another low frequency equalizer. This section provides up to a 12dB boost to the bass
frequencies as well as the harmonic rich sub-bass region. The enhancement scheme used here generates that
deep, rich, and full low end that is sought after by so many contemporary programmers. Unlike the use of
conventional equalizers, there is no exaggeration of the upper low frequency range causing the bass to sound
unnatural and “tubby.”
4. Phase linear 4-way Adjustable Crossover Networks that allow all processing to be tailored to any format
requirement.
This network provides perfect linearity as well as ±.5dB of flat response when summed back together.
Frequency response along with harmonic integrity are totally maintained with this network. Since the crossover
frequencies are adjustable, all crossover points can be tuned for the appropriate programming format.
5. Four band Processor/Leveler that “intelligently” levels each audio band in an effort to generate a high
modulation average, while at the same time creating spectral consistency.
Our unique leveler circuit actually “learns” what it needs to know about the incoming audio signal, makes some
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decisions on what to do, feeds the information forward to a dynamically adjustable gain block, and then makes
whatever any necessary changes. All functions are performed in the digital domain.
This feed forward approach (explained in more detail in section x.x) allows the signal processor to operate at a
constant ratio. The benefit is consistent leveling for whatever amount of processing employed. This is the key
reason why the leveler is almost always in its “sweet-spot” of operation. Also because each section works off a
platform, the control circuitry has the ability to produce ±7.5dB of RMS leveling. Since all operation is RMS,
only the average level is analyzed and corrected. This yields a better modulation average for each audio band.
The processing display on the front panel of the Unity 2000i shows the state of all leveler bands. Each leveler
band also has the intelligence to wait or cease operation if the incoming audio level is correct for that moment.
The output of the four leveler bands can be independently adjusted to create a custom spectral mix that will feed
their respective limiter bands.
6. Four band multiple time constant Limiter that is dedicated to each Processor/Leveler band to provide consistent
peak control and low dynamic distortion.
Each limiter band operates in a fashion similar to the leveling scheme described above. The exception is that the
limiter bands deal predominately with peak level information and work at higher, yet consistent, ratios.
Each band is fed directly from the preceding leveler band. Adjustment is available for attack, release, and
threshold levels for each limiter band. An output mix function allows contouring of the spectral levels that are
sent to the subsequent clipper section.
The utilization of multiple time constant networks allows each limiter to reduce dynamic distortion through
delayed release times. When a quick transient peak comes along, the limiter will react and dynamically adjust
the peak level. Once the peak has passed, the initial release time is contoured somewhat fast, and then much
slower. If during this slower period another transient comes along, the limiter is still at some level of gain
reduction and has already accomplished some of its work. It does not have to begin limiting again from the
initial processing point.
Multiple time constants offer a significant advantage over single time constant limiters. In the scenario
described above, a single time constant limiter will only apply a fast release time to a quick transient peak.
When another peak comes along, the limiter, which has totally recovered, will be forced to limit again from the
initial starting point. The sonic benefit of multiple time constants are significant. Listeners will not hear the fast
dynamic level changes so typical of peak limiting schemes. .
7. Integrated Clipper/Low Pass Filter system that self-controls distortion to achieve clean, competitive audio
while providing exceptional bandwidth control.
This static circuit plays a large role in mediating the quality versus loudness debate. With ±5dB of drive, a wide
window is provided to suit all programming needs. From virtually no clipping to a “wall of sound,” just about
any sonic texture can be realized. Using proprietary circuitry, the clipper will “self-control” clipping induced
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distortion products, allowing the audio to sound cleaner at higher clipping levels.
The phase linear non-overshooting 15.2kHz low pass filter provides an exceptionally clean spectrum to the
stereo generator. The 19kHz pilot region is protected to at least -80dB by ninth order topology. Pilot protection
to this degree may improve stereo coverage in “fringe” signal areas.
8. High quality, digital Stereo Generator (also called a stereo encoder) that yields separation greater than the
performance of most radios. Two separate individually adjustable low impedance output levels allow the
generator to feed composite signals of different levels to STL or exciters.
Our stereo encoding process is devoid of all analog drift. Exceptionally low in harmonic content, this stage
generates a clean composite baseband that yields high stereo separation and low distortion. Utilizing a very tight
tolerance clock oscillator, this stereo generator provides no pilot frequency or phase drift, no separation drift,
and maintains 38kHz suppression to very negligible levels.
9. Selectable and adjustable Composite Clipper for the user who would like to further “turbocharge” the audio.
The clipper circuit operates before the pilot signal is inserted, so that clipper “aliasing” of the pilot is eliminated
and a cleaner baseband is generated.
10. Capable of providing up to 6dB of clipping drive, this stage operates within the pre-pilot signal region, before
the pilot signal is inserted. This design guarantees that the clipper action is clipping just the dynamic composite
signal and never the pilot signal. This further eliminates any aliasing of the pilot region that can occur with
other forms of composite processing. Since the clipping action is performed on the signal while it is still in the
digital domain, undesirable upper composite artifacts are eliminated in the re-construction filter of the stereo
generator.
Figure - block diagram
There are also two selectable Interface Ports that will allow ancillary audio equipment, if needed, to be inserted. You
may want to insert reverb, stereo enhancement, or whatever else you require. One port is located just after the Wide
Band AGC and the other is between the Processor/Leveler and Limiter.
Special Features
All of the Unity 2000i’s features can be accessed by an IBM compatible computer through the Serial
Communications port. With a modem connected to the computer, you can control the Unity 2000i from virtually
anywhere. Compare processing settings in your home or even your car to get know how your station will sound in
the real world.
Another benefit of the Unity 2000i is Day-part Processing. This function allows the system to automatically change
its processing setup at specific days and times according to a schedule that you create. For example, processing can
be programmed to a preset best suited for the “morning drive” and automatically change to a different preset that
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etter complements the “mid-day” programming. Up to fifty events can be scheduled in two formats. The Weekly
Calendar Format is used for regularly scheduled day-to day programming. For special event programs, such as
remote broadcasts and concerts, a Specific Date Format is also available.
The Unity 2000i features a multi-level password protection scheme. This station personnel to have access to only
those programming areas appropriate to their job.
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Processing Concepts
Why our processing sounds better
The Unity 2000i utilizes advanced digital processing techniques that expand the performance ability of the system.
A single bit, digital gain block is employed to provide all dynamic-processing functions.
Processing functions are a true representation of any gain changes that are implemented. This allows the gain block
to create dynamic level changes that are determined by the control circuitry only. This is unlike typical analog
processors where unwanted sonic artifacts are attributable to the limitations of the gain stage.
The crossover networks, filtering, and stereo generator are all of a true phase linear design. Sonic integrity is
maintained in both frequency response and group delay/harmonic response.
A key important feature to the sound of the Unity 2000i is the unique Linear Response Algorithm (LRA). This
function provides intelligent high frequency control before the insertion of pre-emphasis. Competing systems
provide high frequency control after pre-emphasis, which compromises sonic clarity and can sound dull, harsh, or
lacking in natural content. LRA, on the other hand, yields improved transparency in the presence and high frequency
bands. As the ear is more sensitive to fatigue and distortion in these ranges, thanks to LRA the Unity 2000i sounds
more musical.
Processing designed for the ears
We won’t pretend that we have the answers to all of the audio processing questions that exist in our industry. But we
do think that the experiences and research of Frank Foti and our other engineers have provided us with an
understanding of many processing issues. What follows are some concepts that should help guide you through the
operation and adjustment of the Unity 2000i. These issues are important because no matter how much we tell you in
the manual, not matter how much time we spend speaking with you on the telephone, and even if we visit you, you
are ultimately responsible for making the Unity 2000i sound best for your stations format and requirements.
What device is used to recognize the perception of audio loudness If you answered the ear, you are correct! The ear
perceives loudness by sensing how much average (RMS) level is present in the ear canal. The higher the average,
the louder the perception. On the other hand, peak level by definition is very low in average level and therefore less
noticeable to the sense of hearing.
To translate the same concept to broadcasting, perceived loudness is directly related to the RMS level of the
modulated signal. This is commonly know as the peak to average ratio. the greater the level of average modulation
maintained, the louder it will sound to the listener. The secret then, is to discover what method to use to achieve high
average modulation, while maintaining excellent sonic quality as well. The key word is RMS. If we can utilize
processing to build a good RMS base, then we can accomplish the goal of high average modulation while sustaining
quality.
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RMS Control Peak Control Clipping
In a broadcast processing system, we can accomplish this with three stages of operation. In the Unity 2000i, we
begin with a gently operating, RMS controlling device, the Processor/Leveler. This first section is able to generate a
semi-controlled output that is high in both average and peak level. Because it is “gentle” in control, quality is
maintained. Since RMS adjustment ignores the peak content of the signal the Limiter, which operates more
aggressively follows and yields a better-controlled output. Now our signal is high in average level, but with peak
level reduced. The final stage is the Clipper, set to remove the remaining peak excursions. This results in a signal
that is very high in average, with little or no peak energy.
LIMIT
LEVELERS LIMITERS FINAL
Figure X - This diagrams a simplified system that produces an
RMS signal that will yield a high peak to average ratio.
The above-illustrated system can produce both quality and quantity (dBs) of audio. The perceived processing
artifacts are minimized by the gentle, qualitative, operation of the RMS stage, which the ear recognizes. Since the
ear is less perceptive to peak levels, harder limiting and clipping on peak information can therefore be performed in
an inaudible manner. Competitive loudness is generated from the combined efforts of all three stages.
Many present processing systems, which operate without an RMS stage, rely on large amounts of limiting and
clipping to achieve high average modulation. Although accomplished, a noticeable loss in quality occurs due to the
aggressive action of the limiting and clipping functions.
Figure X, below, expands our concept of maintaining a high peak to average ratio to help you further understand a
basic philosophy behind the Unity 2000i.
Consider, if you will, the audio signal as it exists at the output of your audio console. Generally it is of wide
dynamic range. We know that, for it to be transmitted in a qualitative, yet competitive manner, the dynamic range
must be reduced. The wide dynamic range needs to be funneled down to the smaller range. In other words, we are
using the processor system as an audio funnel to accomplish the desired goal.
If we were to break down the funnel into sections, we could assign a different function to each area. In making use
of each function, we could funnel down the dynamic range of the audio signal as it passes from one area to another.
Figure X illustrates this concept:
Multiband
Multiband
Leveling
Clipping
Limiting
Dynamic Controlled Input Signal Output Signal
Figure X - Audio Processing Funnel Concept
The less aggressive RMS functions, (AGC and Leveling) are assigned to the wider dynamic range areas. This
permits the funnel effect to begin without causing the perception of being affected. As the dynamic range is reduced,
more aggressive peak functions (Limiting and Clipping) can be added to complete the process, again without the
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AudioIn
Gai nElement
•
AudioOu
Control Information
CONTROL CIRCUITS
perception of affecting the audio.
From this brief discussion, you may be able to see why the aggressive functions, such as limiting and clipping, can
sound overly aggressive, or even offensive, if used within the wrong stages of a processing system. Later, we will
put this concept to use with respect to making adjusts of the parameters on the processing system.
Feedforward Control
Vital to the great sound of the Unity 2000i is our use of feedforward control circuitry in all the dynamic processing
functions, i.e., the Wide Band AGC, Multiband Levelers, and Multiband Limiters. This enables the processing ratio
to remain constant across all levels of processing. By using feedforward control, the Unity 2000i will always operate
at the same processing ratio, providing a wider range of operation. This yields improved sonic consistency,
regardless of the amount of processing employed. Feedback systems, found in most other processors, have “sweet
spot” windows that narrow with the changing of ratios as the amount of processing varies. This is why most, if not
all, feedback processors develop a thick, dense, mushy, and unnatural quality to their sound as they are driven
deeper and deeper into gain reduction.
Figure X - Feedforward control circuitry
In feedforward dynamics control, the input audio signal to the gain control circuits is monitored, and adjusted if
necessary, before the gain element. The resulting control information is then “fed forward” to the element. This
produces dB linear gain control at a consistent ratio that remains constant regardless of the amount of processing is
employed.
For example, if the low band leveler is operating with a compression ratio of 4:1, any amount of control, whether it
is 3dB or 23dB, will operate the 4:1 ratio. Because the developed control information is derived from the input side
of the gain element, all corresponding control reaches the gain element as it happens in real time. As the incoming
input audio changes, the gain element is able to make the same corresponding level adjustment change at the same
time.
The gain element in a feedforward control scheme is a “dumb” device. It only does what it is told to do by the
control information and nothing more. If the control circuits are able to develop the correct information, then the
gain element is capable of providing a very natural and smooth effect to the audio that is available over a wide
operating range. If the control circuits develop the wrong information, i.e. incorrect time or ratios, the gain element
will produce an unnatural audio effect. The Unity 2000i utilizes feed forward control, which aids in creating its
natural unprocessed sound.
As you can see from the figure below, when using a feedback gain processing technique the control circuits develop
the control information after the audio has passed through the gain element. The information is then “fed back” to
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Audio
Gain
• In
Element
Audio Out
Control
CONTROL CIRCUITS
Information
the element to accomplish gain control. Gain control operates in a dB log/linear fashion. This changes and increases
the processing ratio and continues to do so as more processing is employed. For example, when 3dB of audio
crosses the processing threshold the ratio may be 3:1, but at 23dB the ratio may have increased to 20:1.
Figure X - Feedback control circuit
Notice that the gain element is operating within the closed loop of the control circuits. By the time the control
information reaches the gain element, the level that required adjustment has already passed the point of control. This
is especially problematic when transient peak information occurs. The gain element never really adjusts the leading
edge of the peak, leaving the peak to be processed by a subsequent stage. If a dynamic limiter follows, the limiter
should take care of the peak, although the resultant sound may be perceived as “dense” due to high limiting ratios. If
a feedback limiter follows, that limiter will not be able to control the leading edge of the waveform resulting in
added, and sometimes excessive, clipping of the waveform.
If the audio levels to be adjusted and the control information generated to process that audio vary over a wide range,
the gain element will generate increased intermodulation distortion. This is a key reason why feedback gain control
circuitry yields a “denser” and more fatiguing sound the harder it is driven with audio level. This explains why these
systems always will have a narrow “sweet spot” of operation that is usually ranges only a few dB.
This discussion may lead you to ask why feedforward control is not more prevalent. The reason is, in part, to the
difficulty in designing the needed control circuits within the true analog domain. In order for this style of circuit to
operate, true dB linear adjustment is necessary and, for this to take place in analog, log circuits are needed to create
the dB linear control. In the past, such analog circuitry usually was very unstable, cumbersome, and costly and could
cause inconsistency within the processing circuits. Since this dB linear function is performed digitally in the Unity
2000i, simple, consistent, and reliable operation is achieved.
Quality versus loudness
The tradeoff between quality and loudness is primarily affected by the use of the limiting and clipping sections.
While either function will generate more “dial presence,” they both offer differing artifacts and side-effects. With
additional use of limiting, intermodulation distortion is increased. The added dynamic activity of the limiters causes
the audio to sound as if it is “overly controlled.” This can be perceived to the ear as “pumping,” “breathing,”
“dense,” or “mushy.” When the clipping is raised, harmonic distortion is increased. The audio level is in effect
“running into the brick wall.” This may causes to sound “broken-up,” “torn,” “rough,” or “edgy.” As you might
imagine, the harder limiters and clippers are driven, the louder the perception-and the more likely you have
increased intermodulation and harmonic distortion.
Through the careful use of the multiband Leveler sections, high RMS levels can be created. This will allow
consistently controlled amounts of limiting and clipping to be used without the cost of added distortion. If increased
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loudness is the goal, two possible methods should be experimented with. The first makes use of the multiband
Levelers and Limiters. By increasing the output of the multiband Leveler sections, you are raising the controlled
RMS levels to the Limiters. This will build increased loudness by, in effect, driving the Limiting harder. The second
possibility will be to increase the amount of Clipping. With either of these two options, it is suggested that when
making changes, work with small 5% increments.
Keep an open mind
The Unity 2000i, is a different kind of processing system. We realize that many of your views on audio processing
are based upon your experiences with products with which you have previously worked. You may find that the
techniques and procedures that you have utilized up until the present, may not create, perform, or have the same
affect with the Unity 2000i. Because of this, we ask that you proceed with the installation, setup, and operation with
an open mind.
While the Unity 2000i operates around concepts that are not being utilized in other processing systems, this is not a
reason for you to be concerned. In fact, we have created a whole new realm of possibilities. Here is a chance for you
to master new processing techniques. And whatever your processing requirements, needs, or desires are, the Unity
2000i can achieve them.
It would have been easy for us to “repackage” old technologies and stick the word “digital” on the front panel.
Instead, with the Unity 2000i, we have created something completely new. Once you have has a chance to use the
Unity 2000i, we know you will appreciate our efforts.
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Installation
Clarifying Your Objectives
Your success in installing and getting the most our of a processing product is, or lack of, will be directly related to
how well you have developed your objectives for the product. With a clear set of objectives, your tasks will be more
clearly defined. Whether you are seeking better overall quality or specific spectral improvements, try to articulate
and write down your goals. Do you want a little more loudness or “presence” on the dial Are there certain
characteristics of the sound of other stations in your market that you want to emulate Are there any you want to
avoid If you are installing the Unity 2000i on evaluation, it is equally important to have a list of specific factors you
are going to use to make your comparison.
Engineering, programming, and management should all participate in the development of these objectives. After all,
processing can have a direct effect on the bottom line of your station. A little bit of agreement before installation can
save you a whole lot of disagreement afterwards.
Available time
Let’s get one thing straight: It takes time, a good deal of serious time, to process your station. We realize in our
business today, time is a precious commodity. Our Unity 2000i, and its competitors, are expensive and multifaceted.
We hate to sound like we are nagging, but don’t try to install the Unity 2000i in between other major projects or the
week your boss or your assistant is on vacation. Make certain in advance that the staff members who helped you set
your objectives will be available to consult with you when you adjust the Unity 2000i.
How much is enough time Good question! We feel that working with a system for at least a week is a good starting
point. (Look at the clock and see how long it has taken you to read the manual to this point. And we have not even
told you how the turn on the Unity 2000i!) We don’t suggest that you drop everything for a solid week. What we do
recommend that you install the Unity 2000i during a week when you can spend a few hours day on the project.
Installation considerations
Installing the Unity 2000i requires a bit more than mounting it in the rack, connecting some cables, and then putting
it on the air. (We modestly believe, however, that our processor is the easiest to install in its class.) Among the
factors you should consider are:
1. Monitor Location You should have a good location in which the system, once on the air, can be monitored. We
suggest a good tuner, with good reception, feeding a set of studio monitor speakers to be sufficient. While car
radio and other “typical listener situation” settings are important, they should not be the main reference points.
2. Good, Clean Source Material A well respected processing colleague once said, “Garbage in, produces more
garbage out!” He was not kidding. If you are using poor source material, or poor performing playback
equipment, you will not get maximum sonic benefit from your demo. Anomalies that you perceive to be
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processing problems, may be source problems that the processing is exaggerating! Make sure that you start out
with a good first step - good source material!
3. Mic Processing This may appear trivial, but the perceived sound of “live” voices over the air can change
dramatically with different processing systems. Whatever the effect your on-air microphones will probably
change when you change your processing. If you utilize mic processing, you may have to adjust it to suit the
operation of the new processing system. Most announcers develop a “comfort zone” with respect to the sound
of their voice over the air. When that “comfort zone” is changed or modified, the common response is that
something is wrong. Mic processing can be a very important part of your overall station sound.
4. Operating Levels This is another simple area where trouble can develop. Make sure the input and output levels
of the Unity 2000i are at the operating at the proper level within your system. (Did you know that operating a
processor with insufficient level into an STL system will cause loss of modulation and loudness I only mention
it, because we’ve seen it happen more than a few times!) If you are comparing the Unity 2000i with another
processor, be sure they are both operating at the same levels. Your modulation monitor is an important tool in
any processing comparison.
Installation checklist
The following checklist will further assist with installation:
1) Finish reading this manual. (Sorry, we could not resist slipping this in one more time.)
2) Quickly revisit your goals and objectives, and decide upon whom is to assist with the evaluation.
3) Mail or fax the initial warranty registration to Cutting Edge. This way we will know who you are if you call for
assistance.
4) Perform the physical installation and initial set up. Start with one of the factory presets.
5) Once on the air, proceed from a processing level similar to that currently used by your station and then if
desired, become more aggressive. This is less likely to draw hasty, and negative, opinions.
6) Listen for awhile, then adjust. Try to avoid the temptation to “fiddle” with adjustments, moments after getting
the system on the air. Remember you should evaluate the operation over time, not moment to moment! When it
is time to adjust, the provided worksheets that can assist in establishing improved settings of operation.
7) In making changes to the system, do not make hasty or radical changes. Also, do not make too many
different adjustments all at once. If too many parameters are changed at one time, it is hard to determine
which change made the difference. That can be frustrating whether the change made you station sound better or
worse!
8) A procedure we have found successful is the “sleep on it” method. Spend time adjusting and then listening, and
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when the system gets to a point where it sounds good, stop for the day. In making changes, there does come a
time when the ears become less and less sensitive to adjustments performed. The ears sort of “burn out.” That is
why spreading the adjustment period over a number of days is recommended. If it still sounds good after you
have “slept on it,” quit adjusting. If it does not, continue with this method until you’re satisfied. If the procedure
is working, you will find that each day the discrepancies are smaller and you’re making fewer adjustments.
9) When you get it where you like it, STOP! Nothing more said!
10) Send in the second registration card. Now we know who you are an how you are using the Unity 2000i.
A Word About Relative Phase
If the relative phase relationship of this system is different to your existing system, or the system you are comparing
it too, it could cause your announcers to sound “weird” in their headphones. If this happens, then the relative phase
of the UNITY 2000i is 180 degrees different than what your announcers are used to. To remedy this, just reverse the
polarity to both of the inputs on the Unity
2000i.
Mounting and connections
Before rack mounting the Unity 2000i, review all items in this section. Some require that you change jumpers on the
cards located inside the unit and we know you will say nasty things about us if we didn’t warn you.
We recommend installing the Unity 2000i with at least one rack height of space open above the unit. This will
enhance ventilation and prolong component life.
Setting Pre-Emphasis
For FM broadcasting worldwide, some form of pre-emphasis boost is employed. Generally it is 50µs or 75µs. For
North and South America, 75µs is used, and in Europe, Australia, and New Zealand 50µs is employed.
The factory default pre-emphasis setting in the Unity 2000i is 75µs for North and South America, and 50 µs for
Europe,. The pre-emphasis can be changed will relative ease.
Before going on to the next step, be aware sophisticated microprocessor controlled products like the Unity
2000i do not like to be zapped by static electricity. Please take all required precautions to create a static free
environment before opening the Unity 2000i.
To change the pre-emphasis, locate and remove card #8, the eighth card from to the right of the power supply, and
set the “berg” jumpers according to the diagrams that follow:
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x
x
x
x
x
x
NOPRE-EMPHASSIS
50 usPRE-EMPHASIS
75 usPRE-EMPHASIS
x
x
Rear Panel Connections
Figure
AC connection
AC power is applied to the EIC style connector. The Unity 2000i will operate from 100 to 240VAC. Voltage
selection is made using the jumper located in the fuse compartment of the AC connector assembly. The default
voltage shipped by the factory is 120VAC. We may have changed the operating power setting at your request before
shipping the unit.
Always turn the Unity 2000i off and disconnect the power cord before attempting to replace the fuse or change
the operating voltage. Always replace the fuse compartment before applying power to the unit.
To access the fuse compartment, insert a small screwdriver into the tab just below the power connector and pull the
fuse compartment gently towards you. Grab the compartment on both sides to remove it. Slide out the small circuit
card with the jumper on it. Locate, on the top of the board, the voltage to which you want to set the Unity 2000i.
Orient the jumper so that it points in the direction opposite that label. Insert the board with the side indicating the
proper voltage first so that the jumper sticks out towards you. Replace the fuse compartment and check that the
jumper is displaying the operating voltage you need. To change the operating voltage, locate the white jumper at the
bottom of the compartment.
When changing the operating voltage to 220 or 240VAC, change the fuse value to .200 amps.
A THOUGHT ABOUT AC POWER CONNECTIONS (pretty important!)
Care and consideration should be given to the AC environment that the UNITY 2000i is placed into. Since the main
basis of this system is a micro-computer, you should afford the same clean AC environment that you would provide
any computer system. While the UNITY is provided with AC input transient suppression, it is recommended that
good power conditioning be provided. This can be in the form of transient suppressers/voltage regulation, or an
Uninteruptable Power Supply (UPS). This would include any instance where heavy AC transient demand might
occur. Any transmitter location would be a fair example. Heavy transient demands on power lines due to switching
or lightning strikes, has been known to cause havoc with data in computer systems. This is another reason we ask
that you give your AC environment good consideration.
Audio input
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Before connecting audio to the Unity 2000i, you need to choose either -10dB or +4dB as your input operating level.
The factory default setting is +4dB. If you want the input sensitivity to be configured for an input level of -10dB,
you will need to change some “berg” jumpers on the input board.
Before going on to the next step, be aware sophisticated microprocessor controlled products like the Unity
2000i do not like to be zapped by static electricity. Please take all required precautions to create a static free
environment before opening the Unity 2000i.
To change the operating levels, remove the cover. Lift out Card 2, the second board from the left hand side. With the
board facing you and the connectors facing down, you will notice two “berg” jumpers to the left side. They are
located near U101 and are labeled J101 and J102. The “berg” jumpers are mark for either +4dB or -10dB input
level. To change the input level sensitivity, move the jumper from the +4dB to -10dB position.
Figure - Card two with the “berg jumpers located.
Connect the input audio to the female XLR jacks on the back. The input circuitry is active balanced, pin #2 high, pin
#3 low, and pin #1 ground. Make sure to connect accordingly. If unbalanced, make sure to use pin #2 as high, and
tie pin #3 to the system ground. Ground loop “hum” can develop if this is not done.
Composite outputs
Output connections are made to the BNC connectors on the back panel. These are a low impedance outputs capable
of driving cable lengths of up to 50 feet. There are two outputs available on the Unity 2000i. These are individually
adjustable, so the unit can operate as a “composite DA” if needed to drive a range of equipment. Details on adjusting
the output levels are in section X.X.
Discrete Left/Right Audio Outputs and De-emphasis Selection
Individual Left and Right channel outputs are available on the male XLR jacks. This signal is the output of the final
processing function of the system, the Clipper/Low Pass Filter. Under normal circumstances, such as when feeding
an outboard stereo generator or microwave studio-transmitter link, this signal is pre-emphasized, but through
jumpers, located on the motherboard, the output signal can be de-emphasized for installations that require a “flat”
response as would be the case when feeding land lines.
It should be noted that through the system jumpers, two different “flat” response audio conditions could be created.
The first, is when no pre-emphasis or de-emphasis is used. Passing the audio signal through the system without any
specified boost and complimentary cut to the high frequencies. The second, is when a specific amount of preemphasis
is utilized to boost the high frequencies, and then the corresponding de-emphasis is used to reduce to the
high frequencies to an “overall” flat response.
If there are two options, what are the differences, and why use them Good question! In the first instance, there is
never any boost to the high frequencies. Because of this, any subsequent pre-emphasis boost employed AFTER the
UNITY 2000i will cause unwanted overshoots in the signal. This occurs because there is not any final limiting
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CONECTOR
JUMPERS
X
X AD 713
control that follows the pre-emphasis curve that is used AFTER the processing of the UNITY. These overshoots
cause “lost” modulation because their amplitude must be accounted for in the total modulation of the system.
The second option, where pre-emphasis and de-emphasis is used, makes use of the final limiting system within the
UNITY’s processing structure. Since this follows whatever pre-emphasis has been selected, tight control of the high
frequencies is accomplished. Even though the signal is subsequently de-emphasized, any post pre-emphasis that will
then be employed will only boost the high frequencies to the already previously controlled level. This will allow the
system, as a whole, to modulate with relatively low, or no overshoots.
When, or where is either of these options applied The answer is determined by what type of system follows the
UNITY 2000i. If any portion of the following system does not employ ANY form of pre-emphasis, then the first
option can be used. Applications might be: final limiting before power amplifiers, final mixing, and final limiting for
mastering purposes.
The second option must be used in any application that will utilize sort form of emphasis. This would include:
broadcast applications where land lines or some form of STL must be connected to a second party stereo
coder/modulator that will provide pre-emphasis. Any satellite uplink or digital converter that uses an emphasis
technique for improved S/N ratio.
Setting De-emphasis
The jumpers for the de-emphasis options are located in the upper right-hand corner of the Motherboard. If you are
facing the unit, it would be the area to the right, in the rear. Position the jumpers as described in the following
diagrams for the desired de-emphasis. NOTE: All units are factory set flat as described in option two, and also
corresponding to the pre-emphasis/de-emphasis Technique that is utilized in your area.
JUMPERS
NODEMPHASIS
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JUMPERS
X X
JUMPERS
X X
AD 713
50us
X
DEEMPHASSIS
CONECTOR
JUMPERS
X
X AD 713
INTERNATIONAL DEFAULT SETTING
NORTH AMERICAN DEFAULT SETTING
JUMPERS
75usDEEMPHASIS
Interface Port
There are two selectable patch points accessed through the Interface Port connector that will allow ancillary audio
equipment, if desired, to be inserted. You may want to insert reverb, stereo enhancement, or whatever else you
require. One port is located just after the Wide Band AGC and the other is between the Processor/Leveler and
Limiter.
Should you choose to install ancillary equipment through the interface ports, we recommend that you first
complete total installation of the Unity 2000i without the external device(s). This will allow you to set audio and
processing levels that you can then maintain after adding your extra component.
The DB-25 connector labeled Interface Port provides you with a stereo balanced output from the Wide Band AGC
section and balanced input to the Processor/Leveler and a stereo balanced output from the Leveler section and
balanced input to the Limiter. The connector pins are as follows:
Patch Point #1
#2
Patch Point
Pin - 1: WB AGC Left Out (+) Pin - 10: Leveler Left Out (+)
Pin - 2: WB AGC Left Out (-) Pin - 11: Leveler Left Out (-)
Pin - 3: WB AGC Right Out (+) Pin - 12: Leveler Right Out (+)
Pin - 4: WB AGC Right Out (-) Pin - 13: Leveler Right Out (-)
Pin - 5: Leveler Right In (+) Pin - 22: Limiter Right In (+)
Pin - 6: Leveler Right In (-) Pin - 23: Limiter Right In (-)
Pin - 7: Leveler Left In (+) Pin - 24: Limiter Left In (+)
Pin - 8: Leveler Left In (-) Pin - 25: Limiter Left In (-)
Pin - 18: Ground
Pin - 19: Ground
Pin - 20: Ground
Use this connector to wire to and from the Unity 2000i. The outputs are approximately +4dBm and the inputs will
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accept a +4dBm level as well. The outputs of the Interface ports are fixed so level adjustments will have to be made
from your ancillary device. The return input level of the first patch point is fixed. The input level of the second patch
point may be adjusted and the procedures for setting them is found in section X.X.
First patch point
To connect your ancillary equipment between the Wide Band AGC and the Processor/Leveler, you should first make
note of the processing levels of the Levelers. This is important as you will need this information to restore the
processing levels after installation of your ancillary equipment.
Next, you will need to create a cable. Use the pins for the Wide Band AGC outputs and Leveler inputs to connect to
your devices inputs and outputs directly. (Don’t forget the ground connection.) If your external device has an
unbalanced input or output, be certain to tie the low (-) pin to ground.
The patch point is activated by moving two jumpers located on the motherboard. With the top removed, locate the
two berg jumpers between circuit boards #2 and #3. Both jumpers are capable of only two positions. Move both
jumpers to the alternative position. Patch point #1 is now activated.
When you do your processing set up, be sure to review the instructions for setting the return level from you external
device to the Processor/Leveler inputs. Set the output level of the ancillary device to provide unity gain. This will
insure that the same amount of audio drive is provided to the multiband processors. If the output gain of the ancillary
device is too high, the multiband processors can be overdriven. This could result in the audio sounding too
processed.
Second patch point
Under normal operating conditions, each Leveler band feeds its own limiter band directly and the Unity 2000i
operates with only one crossover network. When the second patch point on the Interface Port is used, the wide band
audio that is returned to the Unity 2000i must be band split again. We have accommodated this by providing an
additional crossover network on the limiter circuit board. The crossover points will exactly mirror those that you
will chose in the Leveler section a few chapters from now when we finally let you play with the processing
parameters. To activate this second crossover network, which you must do when you use the second patch point on
the Interface Port, you must change some jumpers on the limiter board.
Before going on to the next step, be aware sophisticated microprocessor controlled products like the Unity
2000i do not like to be zapped by static electricity. Please take all required precautions to create a static free
environment before opening the Unity 2000i.
To access the jumpers, start by removing the Unity 2000i from service and removing the cover. Lift out Card 6, the
sixth circuit board from the left. You will notice eight “berg” jumpers located to the left of the board. Just change the
position of each jumper and replace the board. You have now added the additional crossover network.
Figure x - Card six showing the “berg” jumpers
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If you are worrying about the addition of this network, just think for a moment how many different band splitting
networks you were using in your old processing chain before the Unity 2000i! You may find that, even with two
networks in the Unity 2000i, you have fewer than you had before!
Put the cover back on the Unity 2000i and place it back into service. When you do you processing set up, be sure to
follow the instructions in section X.X for setting the return level from you external device to the Limiter inputs.
For units that have serial numbers less than GCB 030099, there is only one Interface Port. That port is located
between the Multi-band Levelers and Multi-band Limiters. The port has a DB-9 connector that uses the following
pin out:
Pin - 1: Leveler left output(+)
Pin - 2: Leveler left output(-)
Pin - 3: ground
Pin - 4: Leveler right output(+)
Pin - 5: Leveler right output(-)
Pin - 6: Limiter left input(+)
Pin - 7: Limiter left input(-)
Pin - 8: Limiter right input(+)
Pin - 9: Limiter right input(-)
19kHz Data Output
A TTL level 19kHz square wave output is provided on the BNC connector labeled 19kHz CLOCK OUT. This signal
can be used as the reference signal for any SCA generator that operates at 57kHz or any multiple of the 19kHz pilot
frequency. By utilizing the 19kHz clock from the Unity 2000i’s Stereo Generator, it is much easier to phase lock the
SCA signal to the pilot frequency. This is extremely helpful in eliminating any intermodulation components that
might exist between the pilot and SCA signal.
For RBDS users, this feature is very useful!
SCA Input
Any SCA signal above 53kHz can be added to the Composite Outputs of the Unity 2000i. This is accomplished by
routing the SCA signal through the SCA INPUT BNC connector on the back panel. This input section will mix the
SCA signal directly to the two individual Composite Outputs. An input high-pass filter provides additional crosstalk
protection from the SCA to the main channel composite signal.
Serial Communication Port
RS-232, RS-422, and RS-485 serial communication is available at the Serial Port. Using a wiring configuration that
will allow compatibility of the three communications protocols, the Unity 2000i can be remote accessed by either a
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null modem, single line modem, or even a network modem. Further information relating to serial communications is
located in section X.X.
The wiring for the DB-9 Serial Port is as follows:
Pin - 2: RS-232/RS-485 RCV (-)
Pin - 3: RS-232 TX (-)
Pin - 4: DTR
Pin - 5: Ground
Pin - 7: RS-485 RCV (+)
Pin - 8: RS-485 TX (+)
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CURENTPRESET MENU LEVEL
STATUS
INDICATOR
SECTION
DAY DATETIME ACES LEVE
MENUS&PARAMETERS
LAYOUTOF LCD SCREN
Operation
The obvious
When all connections are made and your Unity 2000i is sitting in the rack, you are ready for good stuff. (We assume
you have turned the unit on from the switch at the top of the AC input.)
Figure
On power up, the Unity 2000i will read Cutting Edge Unity 2000 on the LCD screen. We will refer to this as the
Home Screen. You will notice some activity on the Leveler meters that fades after about 10 seconds. This is normal.
The LCD display
On all screens, other than the Home Screen, the LCD display is divided into the Status Section and the Menus and
Parameters Section. These two areas are divided by a solid line located about one-quarter of the way down from
the top of the screen.
Figure-Layout of LCD Screen
The Status Section provides current status of certain system functions:
CURRENT PRESET indicates the processing preset currently active
MENU LEVEL indicates where you are in a particular menu hierarchy
DAY OF WEEK, DATE, TIME
ACCESS LEVEL indicates the security level currently active
MODIFIED PARAMETER INDICATOR will appear when a processing parameters have been modified and but
have not yet been stored as a preset
All of this information is found within the top two lines of the screen. The Status Section displays the same
information regardless of where you are in the menu system. If the day of week, date, and time are not on the
display, it is because the internal clock of your Unity 2000i has not yet been set. We will do this in section X.X.
In the Menus and Parameters Section, information is displayed that show you where you are in the menu system
and, when you are at the appropriate level, the status of particular functions and features.
The jog wheel and buttons
The jog wheel and buttons combine to make the Unity 2000i intuitive and easy to operate.
The six Main Menu buttons on the far right of the unit bring you to the primary Unity 2000i menus. This makes it
easy to you to go quickly to the processing section or features upon which you want to operate. These buttons are
also used for password entry.
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The jog wheel is used for several purposes. When in a menu or sub-menu is displayed, turn the jog wheel counterclockwise
to go down the menu and clockwise to go up the menu. When a variable function is displayed, the jog
wheel is used to adjust that function.
The Select buttons are used to navigate lists of processing functions or features, which represent the lowest level in
the menu system. Use the top Select Up button to move either up a list or to the right along a list and the lower
Select Down button to move either down a list or to the left along a list.
The Enter button is used to store your settings. The Escape button moves you up the menu system one step at a
time until you reach the Home Screen. The Escape button can be of great help when you are not certain to where in
the menu system you have navigated. Just a few presses on the button and you are back to the Home Screen.
Security
Password Security Levels
A this point you may be getting a little impatient. You’ve been reading this manual for a long time and you have yet
to run audio through the Unity 2000i. Hang in there, because we will get to the good stuff in just a few more
sections.
Before you can get started, you must establish a Password Security Level that grants you access to programming the
Unity 2000i. Upon initial power up, the Unity 2000i is set to the factory default, Password Security Level 0. This is
indicated in the Status Section of the LCD display by a L:0. This security level does not allow access to any of the
functions except the Passwords sub-menu displayed when the Other Menu is selected by pushing the Other button.
So please, do not panic if you are pushing other buttons with no results.
The Unity 2000i provides four levels of security, ranging from absolutely no access to any of the processing
adjustments and parameters to full access to all functions. These four levels are indicated in the Status Section of the
LCD screen by L:0 , L:1, L:2, and L:3.
Level 0 is the total “lockout” level. Level 0 provides no access to all processing functions. (That is why we gave it
the number zero.) The only menu that can be accessed is the Passwords sub-menu of the Other Menu. This level also
has no password code to access it.
Level 1 permits all processing parameters to be viewed but not adjusted. In addition, the Serial Communications
port and the LCD screen functions can be adjusted. When changing to this level, the factory default code is: 1 2 3.
Level 2 provides the same access as Level 1, but with additional access to the Preset List and the Day-part List in
the Other Menu. This level is designed for a Program Director, because it allows him or her to make processing
changes based on preset parameters and to make scheduling changes. When changing to this level, the factory
default is: 2 3 4.
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Level 3 grants full access. All functions and parameters can be monitored and adjusted from this level. Once this
level is selected, be careful because you can make a good mess of things. When changing to this level, the factory
default is: 3 4 5.
To permit you to change Password Security Levels rapidly, you enter password numbers using the Main Menu
buttons. For the purpose of entering passwords, use the top button for “1,” the next button for “2,” and so on down
the row.
Changing Password Security Levels
The first time you power-up your Unity 2000i, the Password Security Level will be set to 0. To access the Change
Password Sub-menu, press the Enter button. Next to the text, NEW LEVEL, the number 0 will appear, reverse
highlighted, in a box on the screen.
figure of change level screen with level at 0
The number will match the current Password Security Level indicated in the Status Section of the LCD display. Use
the jog wheel to change to the desired level. If you are performing initial setup, scroll to Level 3. Push the Enter
button.
figure of the change level screen prompting for the password, new level set to 3
The words Enter Password appear with a blinking cursor. Use the Main Menu buttons to enter default password 3 4
5 by pressing the third, fourth, and fifth (Clipping, Stereo Generator, and Composite Clipper) Main Menu buttons
one at a time in the indicated order. Press the Enter button. The level indicated in the Status Section of the LCD
display should now be 3 and you will see a message that reads PASSWORD CORRECT. LEVEL CHANGED. You
will have full access. Press the Enter button to return to the Home Screen.
figure of change level screen with Password Correct Message and stars after the enter password field
The procedure detailed above can used to quickly change Password Security Levels from the Home Screen.
The above method applies only to those units with software version 3.0 or higher software. For units with lower
software versions, refer to the next procedure for accessing and setting Security Levels. You should contact Cutting
Edge at your earliest convenience for your free upgrade to a more current software version.
You may alternately use the menu system to change the Password Security Levels. Start by pressing the Other
button to show the Other Menu in the Menus and Parameters Section of the LCD display.(If you are not at the Home
Screen, press the Escape button until you are.) A list of sub-menus will appear. Turn the jog wheel until the Systems
Options Sub-menu is highlighted. When it is, press the Enter button and you will now see the sub-menu.
figure X - Other Main Menu, Systems Options highlighted
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figure X - Systems Options Sub-menu, Passwords highlighted
From the Systems Options Sub-menu, locate the Passwords Sub-menu and turn the jog wheel until it is highlighted.
Press the Enter button and you will see the Passwords Sub-menu
figure X - Passwords Sub-menu, Change Levels highlighted
From the Passwords Sub-menu, locate the CHANGE LEVEL function and turn the jog wheel until it is highlighted.
Press the Enter button.
Now, next to the text, NEW LEVEL, the number of the current Password Security Level will appear, reverse
highlighted, in a box on the screen. The number will match the current Password Security Level indicated in the
Status Section of the LCD display. Use the jog wheel to change to the desired level. Push the Enter button. The
Password Security Level can be changed to a more secure setting without a password. (For example, when going
from level 3 to level 1.) If you are going to a more secure level, the words LEVEL CHANGED will appear. Press
the Enter button to return to the Home Screen.
When changing to a higher, less secure setting, a password is required. The words Enter Password appear with a
blinking cursor. Use the Main Menu buttons to enter default password 3 4 5 by pressing the third, fourth, and fifth
(Clipping, Stereo Generator, and Composite Clipper) Main Menu buttons one at a time in the indicated order. Press
the Enter button. The level indicated in the Status Section of the LCD display should now be 3 and you will see a
message that reads PASSWORD CORRECT. LEVEL CHANGED. You will have full access. Press the Enter button
to return to the Home Screen.
Changing passwords
The passwords to levels 1, 2, and 3 can be changed to any custom password that you desire. Passwords may be up to
five digits and use the numbers 1, 2, 3, 4, 5, and 6 corresponding to the Main Menu buttons.
If you are not in the Passwords Sub-menu, navigate to that sub-menu. From the Home Screen, start by pressing the
Other button to show the Other Menu in the Menus and Parameters Section of the LCD display.(If you are not at the
Home Screen, press the Escape button until you are.) A list of sub-menus will appear. Turn the jog wheel until the
Systems Options Sub-menu is highlighted. When it is, press the Enter button and you will now see the sub-menu.
figure X - Other Main Menu, Systems Options highlighted
figure X - Systems Options Sub-menu, Passwords highlighted
From the Systems Options Sub-menu, locate the Passwords Sub-menu and turn the jog wheel until it is highlighted.
Press the Enter button and you will see the Passwords Sub-menu. Locate the CHANGE PASSWORD function and
turn the jog wheel until it is highlighted. Press the Enter button.
figure X - Passwords Sub-menu, Change Levels highlighted
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Now a number should appear, reverse highlighted, in a box on the screen. The number will match the current
Password Security Level indicated in the Status Section. Use the jog wheel to choose the level whose password you
want to change. Push the Enter button.
figure X -
As a security measure, you will be asked to enter your old password, which can be accomplished by using the Main
Menu buttons. You will then be prompted to enter your new password, which again is accomplished with the Main
Menu buttons. You will be prompted again, this time to confirm your new password by entering it again. This helps
prevent your entering a wrong password accidentally. The screen will now display PASSWORD HAS BEEN
CHANGED.
figure X -
When you are finished, press the Escape button twice to return to the Home Screen.
Notes on passwords
Passwords only provide security if you use them. Distribute passwords only to station personnel only when they
must have access to Unity 2000i functions. Instruct everyone with a password to return the Unity 2000i to Level 0
after they have finished working with it so that it is again in its most secure state.
If you change your passwords and forget them, you have a significant, but not impossible problem. You can restore
the Unity 2000i to factory defaults using a Hardware Initialization function. In doing so, you will erase all of your
custom programming and processing settings. And we mean all of your custom programming! Hours and hours
of processing decisions could be lost forever if you do not have a backup copy of your settings. Remember, this is a
consequence of losing your password.
Hardware Initialization should only be used as a last resort.
Before going on to the next step, be aware sophisticated microprocessor controlled products like the Unity
2000i do not like to be zapped by static electricity. Please take all required precautions to create a static free
environment before opening the Unity 2000i.
To accomplish Hardware Initialization, you will have to take the Unity 2000i out of service, turn off the power, and
remove the top cover of the unit. Locate Card 1, the Micro-Controller, which is the first board to right of the Power
Supply or the left-most board in the chassis. Located about mid-board and to the rear of the is a jumper. Change the
jumper to the other position and replace the card. Turn the Unity 2000i on, wait 15 seconds, and turn it off again.
The Unity 2000i has re-initialized itself with all the factory defaults in place. Again remove Card 1, and restore the
jumper to its original position. If you fail to take this last step, the unit will initialize every time it powers up!
The Unity 2000i may now be reinstalled.
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The Real Time Clock
For the Unity 2000i to be able to schedule processing events, the Real Time Clock must be set. The format of the
clock, which is displayed in the Status Section of the LCD display is the day of the week, date, and time of day. The
day of the week is represented by a two letter designation: SU for Sunday, MO for Monday, TU for Tuesday, WE
for Wednesday, TH for Thursday, and SA for Saturday. The date is represented in a month/day/year format common
in the United States. We hope that users in other countries who use a different date format will forgive us for this
preference.
figure X - Home Screen
Time of day is represented with a 24 hour notation from 0:00:00 to 23:58:59. For those used to using the AM and
PM connotations, note that the hours from midnight to just before high noon are indicated as 0:00:00 to 11:59:59
and the hours from high noon to midnight are indicated as 12:00:00 by 23:59:59. As an example, 9:15 AM would be
indicated as 9:15:00, whereas 9:15 PM would be indicated as: 21:15:00.
Setting the Clock
To set the Real Time Clock, start at the Home Screen, press the Other button to show the Other Menu in the Menus
and Parameters Section of the LCD display. (If you are not at the Home Screen, press the Escape button until you
are.) A list of sub-menus will appear. Turn the jog wheel until the Systems Options Sub-menu is highlighted. When
it is, press the Enter button and you will now see the sub-menu.
figure x System Options Sub-menu with Clock Highlighted
From the Systems Options Sub-menu, locate the Clock Sub-menu and turn the jog wheel until it is highlighted. Press
the Enter button and you will see the Clock Sub-menu
figure x Clock Sub-menu with Set Clock highlighted
From the Clock Sub-menu, locate the Set Clock function and turn the jog wheel until it is highlighted. Press the
Enter button.
figure x Set Clock screen
The current Real Time Clock setting will appear in the format will appear in showing the date, and time of day. (For
example, it may read as follows: 4/21/93 14:34:43. Notice that the number designating the month is reverse
highlighted showing that you may now use it. Turn the jog wheel until the month is correct and press the Select Up
button. Now the day portion is reverse highlighted. Turn the jog wheel until the day is correct and press the Select
Up button. Now the year portion is reverse highlighted. Turn the jog wheel until the year is correct and press the
Select Up button.
Continue using the same procedure to correctly set the hour, minutes and seconds. At any time, you can go back to
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correct a previous setting by pushing the Select Up (to move right) or Select Down(to move left) buttons. When you
have finished setting the seconds, press the Enter button. The Real Time Clock has now been entered into the system
and will appear in the upper right-hand corner of the Status Section of the LCD display. Any changes that need to be
made to the Real Time Clock are performed using the procedure detailed above. Press the Escape button three times
to return to the Home Screen if you like.
Daylight Savings Time (Summer Time)
The Real Time Clock of the Unity 2000i has the ability to recognize and automatically adjust to Daylight Savings
Time. (Daylight Savings Time is called Summer Time in some countries.) This is an optional function as not
everyone uses Daylight Savings Time. This function will set the Real Time Clock ahead one hour at the time and
date you select as the start of Daylight Savings Time and will set the Real Time Clock back one hour at the time and
date you select as the end of Daylight Savings Time. If Daylight Savings or Summer Time is not required, you may
skip this section as the factory default for this feature is off.
We will use Daylight Savings Time start and ending dates for the United States as an example. In the US, Daylight
Savings time begins on the first Sunday of April, and ends on the last Sunday of October. (If Daylight Savings or
Summer Time is different in your country, use the same procedure substituting the times and dates appropriate to
your country.)
For the purpose programming Daylight Savings Time, think of Sunday as the first day of the week. Using our US
example, we will program the Unity 2000i to turn on Daylight Savings Time on the first day (Sunday) in the first
week during April and restore standard time on the first day (Sunday) in the fifth week during October. Our
programming format should set Daylight Savings Time correctly every year without your having to take any action.
(We cannot guarantee that in a certain year, however, the rules for the start and end dates or Daylight Savings Time
will not change in your locality.). In the event that the daylight savings format be changed, or different, we have also
provided access to the programming function so that it can be modified.
To turn on and set the Daylight Savings Time feature, you should be in the Clock Sub-menu. If you are not in the
Clock Sub-menu, start at the Home Screen, press the Other button to show the Other Menu in the Menus and
Parameters Section of the LCD display.(If you are not at the Home Screen, press the Escape button until you are.) A
list of sub-menus will appear. Turn the jog wheel until the Systems Options Sub-menu is highlighted. When it is,
press the Enter button and you will now see the sub-menu.
From the Systems Options Sub-menu, locate the Clock Sub-menu and turn the jog wheel until it is highlighted. Press
the Enter button and you will see the Clock Sub-menu. From the Clock Sub-menu, locate the Daylight Savings
function and turn the jog wheel until it is highlighted. Press the Enter button to toggle the function On and Off until
it is set the way you want it.
Figure x - Clock Sub-menu with Daylight Savings Highlighted and the other functions as follows:
Start Date/Time 1, 1, 4 2:00:00
End Date/Time 5, 1, 10 2:00:00
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To set the start and end of Daylight Savings Time, use the jog wheel to scroll to Start Date/Time,
and press the Enter button. The first number, designating the week of the month is highlighted. In the figure, a 1 is
displayed, indicating that the first week of the month will be programmed. To change week of the month, turn the
jog wheel until the week of the month you want is displayed. Now press the Select Up button. The day of the week
indicator is now highlighted. In the figure above, a 1 is displayed, indicating that the first day of the week (Sunday)
will be programmed. To change day of the week, turn the jog wheel until the day of the week you want is displayed.
Now press the Select Up button.
The month indicator is now highlighted. In the figure, a 4 is displayed, indicating that the fourth month (April) will
be programmed. To change month, turn the jog wheel until the month you want is displayed. Now press the Select
Up button.
Continue using the same procedure to correctly set the hour, minutes and seconds you want Daylight Savings Time
to start. At any time, you can go back to correct a previous setting by pushing the Select Up (to move right) or Select
Down(to move left) buttons. When you have finished setting the seconds, press the Enter button. This sets or
modifies the Start Date/Time. To set the End Date/Time, use the jog wheel to scroll to End Date/Time and use the
same procedure to set this function.
Orientation to the Main Menus
Imagine each of the Main Menu buttons as the key to opening the door or each processing function. Press the
Leveler button. You should now see a number of menu choices on the screen. These are all the functions of the
Leveler that are available to you. We will get into these in more detail in just a few moments. You can switch from a
Main Menu to another by just pushing a Main Menu button. You may also move from a sub-menu to a Main Menu
by pressing a Main Menu button a few times until the desired Main Menu appears.
figure Leveler Main Menu
Let’s move from the Leveler Main Menu. The Unity 2000i saves you steps by allowing you to navigate directly
between any two Main Menus. Press the Stereo Generator button. We are now looking at the Main Menu choices for
the Stereo Generator. Notice that we did not have to step back to the Home Screen to move between Main Menus.
However, you can use the Escape button to return to the Home Screen any time you like. Try it now.
figure Stereo Generator Main Menu
figure Home Screen Menu
The Escape button will always “raise” your operation one level of menu choices. You will find the Escape button to
be very handy and utilized often.
Setting the Unity 2000i input levels
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To further our tour of operation, let’s select and operate a function. All Unity 2000i units are shipped with the input
levels set at 50%. We can start by adjusting the input audio levels.
figure Leveler Main Menu
Select the Leveler Main Menu by pressing the Leveler button. The top sub-menu is the Input Levels Sub-menu. If
the Input Levels Sub-menu is not highlighted, turn the jog wheel until it is. Press the Enter button.
figure Input Levels Sub-menu
Notice two choices, Left Input and Right Input, each with a numeric bar graph next to it. The numbers next to the
menu choices represent the percent of the input range you have used from 0% to 100%. (All Unity 2000i menu
choices with range adjustments use percentages, except in the Crossover Sub-menu where frequency values are
used.)
figure Input Levels Sub-menu with Left Input Highlighted and levels at 50%
The Left Input should be highlighted. If it is not, press one of the Select buttons until it is highlighted. This indicates
that the left channel input level can now be adjusted. By rotating the jog wheel under the LCD screen, the input level
can be adjusted. To adjust the Right Input press one of the Select buttons to highlight the Right Input Adjustment of
the right channel audio level can now be accomplished. After adjusting, the input levels, press the Enter button to
store the adjustments within the system. If you do not press the Enter button, the settings will default back to
the previous settings. Please make note of this requirement, as it affects any menu choice that requires setting
an operating range.
figure Input Levels Sub-menu with Right Input Highlighted
To set your input levels correctly, we will use the Input Level located on the far left of the Processing Display.
figure Input Level Meters
Run a typical audio source into your Unity 2000i. As you adjust the input levels up and down using the jog wheel,
you will observe the Input Level Meters are multicolored. At higher inputs, the level meters will show red at the top
of the scale. Proper input levels for the Unity 2000i should have the first and second red meter indicators light on
peaks approximately 50% of the time. With a +4dBm input, this should occur when the input ranges on the Menu
and Parameter Section of the LCD screen are at 50%. (If you have the Unity 2000i set for -10dB operation, the 50%
settings apply when a Ð10dB input is provided.)
Remember that the Wide Band AGC will accommodate input levels that may be a little too high or a little too low.
For best Unity 2000i performance, with lowest noise and processing artifacts, you will want to set the input levels
properly. When you are finished adjusting the input levels, press the Escape button twice to return the LCD display
to the Home Screen.
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Setting the Unity 2000i output levels
If the indicators on your exciter or other device indicate that the output levels are too high or too low, use the
following procedure to adjust the composite output level. Be certain of which output(s) you have connected to which
device(s) before you begin. Individual controls are provided for the two composite outputs. This will allow
equipment requiring different output levels to be adjusted appropriately.
Figure of Output Levels Sub-menu
Starting from the Home Screen, press the Stereo Generator button to access the Stereo Generator menu. Use the jog
wheel to select the Output Levels Sub-menu and press the Enter button. Use the Select buttons to highlight the
Output Level you wish to modify. Use the jog wheel to adjust the bar graph to the desired level. If you wish, again
use the Select buttons to highlight other Output Level you wish to modify. When done, press the Enter button to
store your new settings and you will be returned to the Stereo Generator Menu.
See how easy it is
In the small exercise just completed, you have utilized many of the Unity 2000i’s menu functions. We promised you
it would be easy. This allows you to work on the sound of the processor quickly and efficiently. At this time, take
some time to Select the other Main Menus of the Unity 2000i. We recommend that you do this to get a feel for the
operation of the Unity 2000i. Try to avoid changing too many of the setting just yet, but do not worry if you do.
After the next section, which describes the Processing Display, we will use the factory processing presets to listen to
audio through your Unity 2000i.
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The Processing Display
The Processing Display has six sections. The first, the Input Level Meters, we have just used. The next section
shows the activity of the Wide Band AGC. The next four sections each show the processing activity of one
frequency band. We call our four bands Low, Mid, Presence, and High. Each display section shows the activity of
the Leveler and Limiter for that frequency band.
Input Level Meters
These meters show the input audio level of the Unity 2000i. We have learned in Section x.x that this level can be
adjusted from the Leveler Menu.
Wide Band AGC Display
The display for this processing section has three vertical parts. In the center, is a meter showing the activity of the
20dB of RMS platform leveling by indicating how much the processor is increasing or decreasing the audio above
or below unity gain. The green bar at the center of the meter illuminates to show the unity gain reference point of the
processor. The green dots above the bar indicate that the Wide Band AGC is increasing gain above unity and the red
dots below the bar indicate that the Wide Band AGC is decreasing gain below unity gain.
To the left of the meter is a red Gate indicator. This Gate indicator will light when the input level has dropped below
the processing threshold. This correlates to the meter returning to mid-scale indication and unity gain of the Wide
Band AGC.
The activity of the gate correlates to both a silence and noise gate function. Any momentary, or short term, pauses in
the audio will activate the silence gate function. This function basically “freezes” the gain until the audio level
exceeds the gate level again. Then the processing action of the Wide Band AGC picks up processing where it left
off. Any prolonged pauses in the audio will activate the noise gate function. This happens only when the short term
“time out” function of the silence gate passes, and the audio signal has not exceeded the gate threshold. The noise
gate function will return the processor section to the unity gain level. By doing this, we have eliminated the boosting
of noise when the audio is low in level, or not present.
This dual gate feature is present not only in the Wide Band AGC but the multi-band Leveler functions as well.
To the right of the meter are three indicators. The green INC indicator lights when the processor decides to INCrease
or INCrement gain. The amber WAIT indicator is displayed when the processor decides that the incoming audio
level is within acceptable limits. When this happens, a wait condition exists, and the processor ceases operation.
This correlates to suspended movement by the meter. The red DEC indicator lights when the processor decides to
DECrease or DECrement gain.
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Leveler Indicators
Each of the four sets of Leveler indicators are identical and display information on a particular frequency band.
These band are determined by the Unity 2000i’s crossovers which are user adjustable.
Each Leveler indicator has three sections. In the center, is a vertical meter showing the activity of the 15dB of RMS
platform leveling by indicating how much the processor is increasing or decreasing the audio above or below unity
gain in the particular frequency band. The green bar at the center of the meter illuminates to show the unity gain
reference point of the processor. The green dots above the bar indicate that the Leveler is increasing gain above
unity and the red dots below the bar indicate that the Leveler is decreasing gain below unity gain.
To the left of the meter are two red Gate indicators. These Gate indicators, one each for the left and right channel,
will light when the input level has dropped below the processing threshold. This correlates to the meter returning to
mid-scale indication and unity gain of the Leveler.
The Gate function operates exactly in the same manner as the procedure described above for the Wide Band AGC
section.
Limiter Indicators
On the right of each Leveler indicator, is a Limiter indicator that shows a 15dB indication of dynamic peak limiting
in that audio band. This meter starts at the center line of the Leveler display and the meter illuminates downward to
illustrate greater limiting activity.
Interpreting Processing Displays
Through observation of the processing bargraghs, significant information can be acquired and analyzed about the
audio signal. Almost as if we were to take a moment by moment snapshot of what is happening.
Since the Unity 2000i is capable of performing many different processing functions at different times, the display
bargraghs may indicate various levels of operation. This is based upon dynamic range differences in the program
material. For program material that is already processed, or lacking dynamic range, this will cause the bargraghs to
indicate differently than material that possesses a high degree of dynamic range. What is meant by this Consider
the following . Audio signals that lack dynamic range, naturally or by previous processing, will possess a high level
of RMS energy, and a low level of PEAK energy. Whereas audio signals with dynamic range possess lower levels
of RMS energy compared to higher levels of PEAK energy.
In relation to the processing displays on the Unity 2000i, program material that has low dynamic range, high RMS
and low PEAK levels, will create more action on the LEVELER sections and less activity on the LIMITER
sections. This is because the LEVELER section responds to RMS energy, and the LIMITER section reacts to PEAK
energy. When these situations occur, it is normal for the unit to indicate more LEVELER action compared to
LIMITER action. Sometimes the LIMITER section may not indicate any action! Examples might be: heavily
processed commercials or music. Music with passages of sustained level. A good test example is the AEROSMITH
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CD “PUMP”. This record has very little dynamic range. Try any up tempo selection from this disk and you will see
the LEVELER sections make initial adjustments along small amounts of limiting. Once adjusted, the LEVELER
sections will basically not move and limiting action will almost be non-existent.
When the signal is has high dynamic range, low RMS and high PEAK levels, the opposite will occur. The LIMITER
section will become very active, while the LEVELER section will respond much less. During these situations it is
possible that the LIMITER sections could approach full scale while the LEVELER sections may only indicate half
scale. Examples are: vocal passages or live voice, classical music, or passages with transient levels. Good test
examples: almost anything classical, almost anything Steely Dan!
Also keep in mind, that the LEVELER sections will operate much slower that the LIMITER sections. This is in part
due to the nature of each function. Remember the LEVELER sections operate on the RMS energy. RMS level is
calculated, over time, by the signal processor, this is known as the integration time. It is during the integration time
that the “average” level is established, and then processing adjustment, if needed, is applied. This is why the
LEVELER sections will move slower, since they are making changes, as needed, over time.
With the LIMITER sections, the story is a bit different. Here the intention is to control the PEAK activity. This is
accomplished by controlling, or limiting, the highest crest, or peak, of the signal waveform. For signal processing
there is not much time allowed to get this job done. When the LIMITER section operates, it must quickly grab the
signal, reduce the level within the proper operating range, and then return the level to normal as long as another
PEAK signal, that needs limiting, does not occur. PEAK energy must be detected and adjusted in a fast and accurate
manner, while at the same time not interfere with the sonic integrity of the audio signal. For this reason, the
LIMITER sections operate very quickly on a “as needed” basis.
Since these displays are capable of providing a wide range of information, we do not recommend setting up this
system to any specified amount of processing based upon meter indications. Instead, we recommend setting up the
processing by using the ears to judge the sound, and we provide the meters to analyze the signals, and aid you on
adjusting the specific parameters needed to achieve the final result.
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Processing Presets
A primary operational benefit that the Unity 2000i provides is the ability to set a processing structure that is
perfectly compatible to your radio station’s format. This is done through the Preset lists. Upon selection, the
processing parameters of that preset are designed to complement that particular format. A total of ten presets are
provided by Cutting Edge:
A/C & OLDIES ¥
AOR/CLASSIC ROCK ¥
BYPASS ¥
CHR (FRIENDLY) ¥
CHR (HOSTILE) ¥
CLASSICAL ¥
COUNTRY ¥
JAZZ/NEW AGE ¥
TALK ¥
URBAN ¥
These processing presets have been developed by Frank Foti and others at Cutting Edge based on years of
processing experience. We feel that for most stations the Unity 2000i, right out of the carton, is able to improve your
station’s sound through the use of these presets. Of course, we leave our arsenal of processing tools totally at your
disposal for you to create and store up to 50 custom settings of your own. (We call these custom settings added
presets.) As good as our presets sound, we suspect that 100% of the Unity 2000i users will create added presets of
their own.
Our presets range in operation from Classical, which is probably the most "tame," most relaxed setting, to CHR
(Hostile) which is set for the most aggressive processing. On initial power-up, the unit defaults to the A/C & Oldies
preset. This is indicated by the preset being named in the upper left-hand corner of the Status Section of the LCD
screen. When making parameter changes to a preset, or creating a custom setting, an “X” will appear on the right
side of the Status Section. This indicates that a setting or settings have been changed from the preset originally
selected and have not yet been stored as a new or modified setting. Again selecting and entering that setting will
restore the previous settings as stored in the preset.
The ten presets are provided are “hard coded” within the system. These means that particular setting can not be
“written over” when saving processing changes/adjustments or creating additional custom settings. These presets are
indicated by a “¥” after their names. This will help you discerning the factory presets from your custom settings.
Your added presets will not have the “¥” indicator.
Note that all presets are set with the Composite Clipper turned off. Each preset is provided with a
recommended drive level for the Composite Clipper for that format. If want to compare format presets with the
composite clipping, select a format, turn the Composite Clipper on, and then store that setting in as one of the added
presets. These procedures are described in sections x.x and x.x.
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Loading factory presets
At this point you should have your audio input levels operating correctly. Now we will install one of our factory
presets This will initially put all parameters at a starting point for whatever format you select.
Select the Other Menu by pressing the Other button. On the Other Menu, rotate the jog wheel until the Preset List
Sub-menu is selected. Press the Enter button.
Figure Other Menu with Preset List Sub-menu Highlighted
Figure Preset List Sub-menu with Arrows both up and down
Using the jog wheel again, select the preset you would like to use. (Note that arrows to the right of the preset list will
indicate that the list “scrolls off “ the screen. Turning the jog wheel brings the “hidden” presets into view.) Press the
Enter button. At this point you will see the word LOAD on the right side of the screen. This indicates that the preset
is ready to be loaded, but has not yet been loaded. A Ã will appear next to the preset about to be loaded. To load the
preset, press the Enter button again. All processing parameters are now set according to that format’s factory preset.
Notice that once you have selected a preset, the preset’s name will appear in the Status Section of the LCD screen.(If
you change your mind and do not wish to load the preset, hit the Escape key.)
figure of Preset Sub-menu with Load and checkmark
The Unity 2000i is now processing for the format you have selected. You will need to set your output modulation in
the Stereo Generator Main Menu, but at this point you should be able to go on the air! (See section x.x.) If you want
to work with the Unity 2000i off the air, you may make initial adjustments using the audio output (which precedes
the Stereo Generator) as it will indicate the effects of all of the Unity 2000i’s processing except for the Composite
Clipper.
Before you make adjustments to the presets
At this point you may be ready to customize your station’s sound using a factory preset as a starting point. In
making adjustments, decide upon what areas you feel changes are necessary.
At this point, if you are going to start customizing, we recommend that you jump ahead to Section X of this
manual. It is the Menu Reference Section and it provides detailed information on what you will find on every Main
Menu and Sub-menu.
The following points are presented as a quick review to assist with the adjustment process:
1) Quickly revisit your goals and objectives, and decide upon what direction to take in achieving them.
2) Once on the air, start out tame and work your way up to more aggressive processing. This is less likely to draw
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hasty, and negative, opinions.
3) Listen for awhile, then adjust. Try to avoid the temptation to “fiddle” with adjustments, moments after getting
the system on the air. Remember you should evaluate the operation over time, not moment to moment! When it
is time to adjust, the provided worksheets that can assist in establishing improved settings of operation.
In making changes to the system, do not make hasty or radical changes. Also, do not make too many
different adjustments all at once. If too many parameters are changed at one time, it is hard to determine
which change made the difference. That can be frustrating whether the change made you station sound better or
worse!
4) Use the “sleep on it method”!
5) When you get it where you like it, STOP! Nothing more said!
Take your time with the Unity 2000i. You have a great deal of processing power at your finger tips. In order for you
to become “sonically” comfortable, you should learn the limits of each function. Try making changes in different
operating levels. We suggest making changes in increments of no more that 5%. Try turning different functions on
and off. Working this way, you will be able to get a better feel for what the Unity 2000i is capable of performing.
Modifying and adding presets
Once you have established a setting that you would like to save, they can be added to one of the fifty available preset
locations. Storing “work in progress” is essential to our “sleep on it” processing method.
Select the Other Menu by pressing the Other button. On the Other Menu, rotate the jog wheel until the Preset List
Sub-menu is selected. Press the Enter button.
Figure Preset List Sub-menu with Add Preset selected
Turn the jog wheel until you have highlight the ÐADD PRESETÐ choice. Press the Enter button and the ÐADD
PRESETÐ item will change to a highlighted, bracket blank field. The brackets indicate the maximum amount of
space the name can be, which is twenty characters. The first character space in the field will be highlighted. This is
where we will name the preset.
Figure of Added preset with blank field showing also some other figures showing the process using the name
“Custom Preset”
Use the jog wheel to scroll through the character set to name your preset. After selecting a letter or number, press the
Enter button. For naming purposes, letters, numbers, and general “ASCII” characters are provided by the system.
The highlighted character has moved one space to the right. Continue the naming process using the jog wheel and
Enter button. When you have completed naming your preset, you must inform the Unity 2000i that you have
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eached the last character. To do so, turn the jog wheel until the carriage return symbol (¿) appears after the last
character of your preset name. This tells the Unity 2000i that you have completed the naming process. (The carriage
return symbol is one character before the bank space near the end of the character list. The fastest way to get to it is
to turn the jog wheel in a counter-clockwise manner.) Press the Enter button. The newly named preset is now be
added to the Preset List.
If you change your mind about the name of your preset or make an error before pressing the Enter button to store the
preset, press the Escape button and begin again.
Note that the preset is added in alphabetical order to the rest of the list. It also appears in the upper left-hand corner
of the Status Screen of the LCD display indicating that the new preset is currently operational. Your newly added
preset does not have an “¥” after it. This is a quick visual indication that the preset is user added, and thus can be
renamed or deleted.
Non-volatile RAM prevents the Unity 2000i from loosing any settings during power up, power down, or power
outage conditions. When a power interruption does occur, the Unity 2000i will restore previous settings within 2
seconds of power being restored.
Loading added presets
The procedure for loading your custom settings is similar to loading factory presets.
Select the Other Menu by pressing the Other button. On the Other Menu, rotate the jog wheel until the Preset List
Sub-menu is selected. Press the Enter button.
Figure Preset List Sub-menu with” Custom Preset” selected
Using the jog wheel again, select the preset you would like to use. Press the Enter button. At this point you will see
the words LOAD, SAVE, DELETE, and RENAME appear on the right side of the screen. A Ã will appear next to
the preset about to be modified. This indicates that the preset is ready to be loaded, but has not yet been loaded.
figure of Custom preset with choice list on the right and Load highlighted
To load the preset, turn the jog wheel until LOAD is highlighted and press the Enter button again. All processing
parameters are now set according to the preset you have loaded. Notice that once you have selected a preset, the
preset’s name will appear in the Status Section of the LCD screen.
Comparing presets is easy. Simply repeat the loading procedure, toggling between two presets.
Updating added presets
With any user added preset, adjustments can be made to the system and then saved to that particular preset. (This
can only be performed on added presets, and not factory presets.) With fifty user presets available, be certain you
have no use for a preset before you overwrite its settings. You may prefer to rename the old preset and save it for a
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few weeks until you are absolutely certain it is disposable.
Select the Other Menu by pressing the Other button. On the Other Menu, rotate the jog wheel until the Preset List
Sub-menu is selected. Press the Enter button. Using the jog wheel, select the preset you would like to modify. Press
the Enter button. At this point you will see the words LOAD, SAVE, DELETE, and RENAME appear on the right
side of the screen. A Ã will appear next to the preset about to be modified.
figure of Custom preset with choice list on the right and Save highlighted
To save your modified the preset, turn the jog wheel until SAVE is highlighted and press the Enter button again.
To load the preset, make certain the preset is highlighted, and press the Enter button. At this point you will see the
words LOAD, SAVE, DELETE, and RENAME appear on the right side of the screen. Turn the jog wheel until
LOAD is highlighted and press the Enter button. All processing parameters are now set according to the preset you
have modified. Notice that once you have selected a preset, the preset’s name will appear in the Status Section of the
LCD screen.
Deleting user added presets
Any user preset can be deleted With fifty user presets available, be certain you have no use for a preset before you
overwrite its settings. You may prefer to rename the old preset and save it for a few weeks until you are absolutely
certain it is disposable. Factory presets may not be deleted
Select the Other Menu by pressing the Other button. On the Other Menu, rotate the jog wheel until the Preset List
Sub-menu is selected. Press the Enter button. Using the jog wheel, select the preset you would like to modify. Press
the Enter button. At this point you will see the words LOAD, SAVE, DELETE, and RENAME appear on the right
side of the screen. A Ã will appear next to the preset about to be delete.
figure of Custom preset with choice list on the right and Delete highlighted
To delete your preset, turn the jog wheel until DELETE is highlighted and press the Enter button again. The preset
has now been deleted.
Renaming user added presets
Any user preset can be deleted. Factory presets may not be deleted
Select the Other Menu by pressing the Other button. On the Other Menu, rotate the jog wheel until the Preset List
Sub-menu is selected. Press the Enter button. Using the jog wheel, select the preset you would like to modify. Press
the Enter button. At this point you will see the words LOAD, SAVE, DELETE, and RENAME appear on the right
side of the screen. A Ã will appear next to the preset about to be renamed.
figure of Custom preset with choice list on the right and Rename highlighted
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To rename your preset, turn the jog wheel until RENAME is highlighted and press the Enter button again.
The preset will change to a highlighted, bracket blank field, as it was when it was first entered. The brackets indicate
the maximum amount of space the name can be, which is twenty characters. The first character space in the field
will be highlighted. This is where we will name the preset.
Figure of Added preset with blank field showing also some other figures showing the process using the name
“Pete’s Preset”
Use the jog wheel to scroll through the character set to name your preset. After selecting a letter or number, press the
Enter button. For naming purposes, letters, numbers, and general “ASCII” characters are provided by the system.
The highlighted character has moved one space to the right. Continue the naming process using the jog wheel and
Enter button. When you have completed naming your preset, you must inform the Unity 2000i that you have
reached the last character. To do so, turn the jog wheel until the carriage return symbol (¿) appears after the last
character of your preset name. This tells the Unity 2000i that you have completed the naming process. (The carriage
return symbol is one character before the bank space near the end of the character list. The fastest way to get to it is
to turn the jog wheel in a counter-clockwise manner.) Press the Enter button. The renamed preset is now be added to
the Preset List.
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Main Menu Reference
The system architecture of the Unity 2000i has a great number of audio processing functions and features. This
section details all of the adjustments you can make from the various menus. As you have already been navigating
through the menu system, you should be comfortable with the Unity 2000i’s controls and ready to tackle the
processors’ more sophisticated adjustments.
Along with the instructions that follow are some conceptual discussions on the different processing parameters. We
will avoid repeating the processing basics covered in section x.x of the manual. An understanding of those concepts,
along with the ideas that follow, can assist you in customizing the sound of your station and help you avoid driving
your ears over the cliff of distortion.
Leveler Menu
This menu provides access and adjustment to parameters that deal with the input audio, wide band leveling, and
multi-band leveling. To access the Leveler Menu, press the Leveler button, the first Main Menu button located to the
right of the LCD display.
INPUT LEVEL
PHASE ROTATOR
WIDE-BAND AGC
BASS ENHANCE
CROSS-OVER POINTS
MIX LEVELS
GATE LEVEL
ON/OFF
ON/OFF
To select a particular menu item, use the jog wheel to highlight your selection. Push the Enter button to turn on/off
functions or to gain access items that represent sub-menus.
Input Level Sub-menu
The right and left input gain of the Unity 2000i are individually adjusted from this sub-menu. All Unity 2000i units
are shipped with the input levels set at 50% and may be adjusted. Changing the input levels using the Input Levels
Sub-menu is discussed in detail in section x.x.
Figure - Input Levels Sub-menu
Phase Rotator
The Phase Rotator circuits, when utilized, can assist in eliminating vocal distortion during periods of heavier
processing needs. These specialized delay circuits create a “flywheel” effect on a certain range of frequencies. In
this case, audio within the main vocal range of 300Hz to 2kHz will change in phase as frequency increases through
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the stated passband.
The reason we incorporate phase rotators is to address a problem created by the human voice. Most human voices
are asymmetrical in nature, meaning one side of the waveform is larger than the other. The delay circuits of the
phase rotators synthesize the symmetry of the waveform for vocal audio through the passband. By doing this, the
upper and lower crests of the vocal waveform are processed more evenly.
Figures . Voice waveform before and after phase rotators
When to use the Phase Rotators:
For heavier processing situations, use of the Phase Rotators helps cut down on clipper induced distortion on
voices. For lighter processing requirements, the phase rotators can be defeated.
The Phase Rotators can be turned on and off by using the jog wheel to select the Phase Rotators function in the
Leveler Menu and pressing the Enter button until the desired status is highlighted. When you are finished, turn the
jog wheel to operate another function or press the Escape button to return to the Home Screen.
Wide Band AGC
The Wide Band AGC that reacts as if it was a “slow hand” on the output of the audio console so that the levels
coming into the Unity 2000i are always within a consistent window. This slow acting gain control circuit provides
±10dB of leveling. Imagine, if you will, someone that would continually insure that the output of the audio console
was always within a specific level. The “platform leveling” control circuit for the AGC is intelligent enough to know
that if the incoming audio level is correct it will shut down its operation and wait until gain correction is needed. The
AGC is therefor only operating when needed, eliminating the constant seeking of unneeded level changes.
When to use the Wide Band AGC:
Generally the Wide Band AGC should be left on. Only when you are certain that the levels you are sending to the
Unity 2000i are extremely consistent should you turn the Wide Band AGC off. . Since the Wide Band AGC actually
turns itself off, automatically, when not required, there is no benefit to taking it out of service. Another reason to
keep the Wide Band AGC engaged is that it prevents the multi-band Levelers from “working too hard.”
The Wide Band AGC can be turned on and off by using the jog wheel to select the Wide Band AGC function in the
Leveler Menu and pressing the Enter button until the desired status is highlighted. When you are finished, turn the
jog wheel to operate another function or press the Escape button to return to the Home Screen.
Bass Enhance
The selectable and adjustable low frequency Bass Enhancer circuit provides a deep, full, and rich texture to the bass
line. This is not just another low frequency equalizer. This section provides up to a 12dB boost to the bass
frequencies as well as the harmonic rich sub-bass region. The enhancement scheme used here generates that deep,
rich, and solar-plexis full low end that is sought after by so many contemporary programmers. Unlike the use of
conventional equalizers, there is no exaggeration of the upper low frequency range causing the bass to sound
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unnatural, muddy, and/or “tubby.”
This design was developed for enhancing the low frequency energy of modern contemporary music and program
material. We understand that there are some that may need a different type of enhancement. We kept you in mind
when designing the UNITY 2000i. The frequency dependent components that determine the equalizer are mounted
on a “dip” socket, so that the contour of the enhancement can be altered if desired. We can implement just about any
EQ configuration for the Bass Enhance. Contact Cutting Edge for details. For those of you interested, the topology
of this circuit is a shelving equalizer that is DC coupled, and breaks about 100Hz. A third order slope allows more
use of the enhancement without exaggerating annoying upper bass frequencies around 120 to 150Hz.
Figure - Base enhance sub-menu
On the Bass Enhance Sub-Menu, 100% on the LCD bar graph is full enhancement and 0% defeats the effect. To
adjust the Base Enhancer, use the jog wheel to select the Base Enhance Sub-menu in the Leveler Menu. Press the
Enter button. Use the jog wheel to adjust the bar graph to the desired level and press the Enter button to store your
new setting. When you are finished, turn the jog wheel to operate another function or press the Escape button to
return to the Home Screen.
Crossover Points
The phase linear, 4-way adjustable Crossover Networks allow all processing to be tailored to any format
requirement. The crossover follows a 6dB/octave slope. This network provides perfect linearity as well as ±.5dB of
flat response when summed back together. Frequency response along with harmonic integrity are totally maintained
with this network. Since the crossover frequencies are adjustable, all crossover points can be tuned for the
appropriate programming format, adjustable for all four bands.
Figure of Crossover Points Sub-menu
To adjust the Crossover Points, use the jog wheel to select the Crossover Points Sub-menu in the Leveler Menu.
Press the Enter button. Use the Select buttons to highlight the first Crossover Point you wish to modify. Use the jog
wheel to adjust the bar graph to the desired frequency. Again use the Select buttons to highlight other Crossover
Points you wish to modify. When done, press the Enter button to store your new settings and you will be returned to
the Leveler Menu.
Mix Levels
The RMS controlled output for each band can be adjusted, or “mixed” in relation to the other three. Another way to
look at this parameter is four individuals drive for the following limiter stage. Turning the output level of particular
band up, will increase the drive to its corresponding limiter.
Figure of Mix Levels Sub-menu
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To adjust the Mix Levels, use the jog wheel to select the Mix Levels Sub-menu in the Leveler Menu. Press the Enter
button. Use the Select buttons to highlight the first Mix Level you wish to modify. Use the jog wheel to adjust the
bar graph to the desired level. Again use the Select buttons to highlight other Mix Levels you wish to modify. When
done, press the Enter button to store your new settings and you will be returned to the Leveler Menu.
It is recommended that any desired changes to the EQ of your sound be made with use of the mix levels.
Gate Level
This sets the threshold point of processing for all four of the Leveler sections. On the bar graph, a lower the setting
correlates to a lower gate level.
Figure of Gate Level Sub-menu
To adjust the Gate Level, use the jog wheel to select the Gate Level Sub-menu in the Leveler Menu. Press the Enter
button. Use the jog wheel to adjust the bar graph to the desired level. When done, press the Enter button to store
your new settings and you will be returned to the Leveler Menu.
Limiter
A multiple time constant Limiter is dedicated to each Processor/Leveler band to provide consistent peak control and
low dynamic distortion. Each band is fed directly from the preceding Leveler band. Adjustment is available for
attack, release, and threshold levels for each Limiter band. An output mix function allows contouring of the spectral
levels that are sent to the subsequent Clipper section. On pressing the Limiter button, the following sub-menus will
appear:
ATTACK
RELEASE
THRESHOLD LEVELS
LIMITER MIX LEVELS
PATCH POINT INPUT
Attack
This sets the attack time for the limiter stage and is adjustable for all four bands. Faster attack times correspond to
higher numeric readings on the bar graph.
To adjust the Attack Levels, use the jog wheel to select the Attack Levels Sub-menu in the Limiter Menu. Press the
Enter button. Use the Select buttons to highlight the first Attack Level you wish to modify. Use the jog wheel to
adjust the bar graph to the desired level. Again use the Select buttons to highlight other Attack Levels you wish to
modify. When done, press the Enter button to store your new settings and you will be returned to the Limiter Menu.
Limiter attack times are:
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LOW: 10ms & greater
MID: 10ms & greater
PRESENCE: 5ms & greater
HIGH: 1ms & greater
Release
This sets the release time for the limiter stage and is adjustable for all four bands. Faster release times correspond to
higher numeric readings on the bar graph.
Figure of Release Sub-menu
To adjust the Release Levels, use the jog wheel to select the Release Levels Sub-menu in the Limiter Menu. Press
the Enter button. Use the Select buttons to highlight the first Release Level you wish to modify. Use the jog wheel to
adjust the bar graph to the desired level. Again use the Select buttons to highlight other Release Levels you wish to
modify. When done, press the Enter button to store your new settings and you will be returned to the Limiter Menu.
Limiter release times are:
LOW: Approximately up to 1 second
MID: Approximately up to 1 second
PRESENCE: Approximately up to 750ms
HIGH: Approximately up to 500ms
Threshold
This sets the level at which the limiter will begin operation and is adjustable for all four bands. This is not a drive
control. A high threshold level will yield less dynamic limiting (little or no meter activity) and allows more peak
energy to pass to the Clipper stage that follows. A low threshold level produces more dynamic limiting (heavier
meter activity) and reduces energy to the Clipper. This can cause the audio to sound more “processed” and can
possibly lose loudness.
Figure of Threshold Sub-menu
To adjust the Threshold Levels, use the jog wheel to select the Threshold Levels Sub-menu in the Limiter Menu.
Press the Enter button. Use the Select buttons to highlight the first Threshold Level you wish to modify. Use the jog
wheel to adjust the bar graph to the desired level. Again use the Select buttons to highlight other Threshold you wish
to modify. When done, press the Enter button to store your new settings and you will be returned to the Limiter
Menu.
Remember, higher threshold levels correlate to lower bar graph readings. This can be confusing, so be careful
with when adjusting this parameter!
Limiter Mix Levels
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The peak limited output for each band can be adjusted or mixed in relation to the other three. You can also look at
this as an individual drive for the Clipper stage that follows. Turning the output level of particular band up will
increase the drive for that frequency range to the clipper.
Figure of Limiter Mix Sub-menu
To adjust the Limiter Mix Levels, use the jog wheel to select the Limiter Mix Levels Sub-menu in the Limiter
Menu. Press the Enter button. Use the Select buttons to highlight the first Limiter Mix Level you wish to modify.
Use the jog wheel to adjust the bar graph to the desired level. Again use the Select buttons to highlight other Limiter
Mix Levels you wish to modify. When done, press the Enter button to store your new settings and you will be
returned to the Limiter Menu.
It is suggested to use the limiter mix levels as a minor EQ adjustment. Major mix level changes in this area can
cause excessive clipping in one or more of the processing bands. As an example, if the LF MIX level is set at 75%
and the rest of the bands are set at 50%, the LF level will be driven into more clipping than the rest of the bands. Be
careful with this adjustment!
Patch Point
When using the second patch point of the Interface Port, this controls the return audio level to the multi-band
Limiter.
Figure of Patch Point Input Sub-menu
To adjust the Patch Point Input levels, use the jog wheel to select the Patch Point Input Sub-menu in the Limiter
Menu. Press the Enter button. Use the Select buttons to highlight the left Patch Point Input level and use the jog
wheel to adjust the bar graph to the desired level. Again use the Select buttons to highlight the right Patch Point
Input level and use the jog wheel to adjust the bar graph to the desired level. When done, press the Enter button to
store your new settings and you will be returned to the Limiter Menu.
Clipper
CLIPPER DRIVE
DISCRETE OUTPUT
The integrated Clipper/Low Pass Filter system, with ±5dB of drive, provides a wide window to suit all programming
needs. From virtually no clipping to a “wall of sound,” just about any sonic texture can be realized. Using
proprietary circuitry, the clipper will “self-control” clipping induced distortion products, allowing the audio to sound
cleaner at higher clipping levels. The Low Pass filter at 15.2kHz is phase linear 9th order elliptical and overshoot
controlled.
In this menu, there is a sub-menu to adjust the amount of audio drive to the Clipping/Low Pass Filter section. Higher
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drive levels correspond to higher meter indications. This control will directly govern the quality vs. loudness
tradeoff. Again be very careful. Here is where you can greatly improve or damage your on-air sound.
The Clipper Menu also has a sub-menu to adjust the Discrete Output levels.
Figure Clipper Drive Sub-menu
To adjust the Clipper Drive, use the jog wheel to select the Clipper Drive Sub-menu in the Clipper Menu. Press the
Enter button. Use the jog wheel to adjust the bar graph to the desired level. When done, press the Enter button to
store your new settings and you will be returned to the Clipper Menu.
Figure of Discrete Output Sub-menu
To adjust the Discrete Output levels, use the jog wheel to select the Discrete Output Sub-menu in the Limiter Menu.
Press the Enter button. Use the Select buttons to highlight the left Discrete Output level and use the jog wheel to
adjust the bar graph to the desired level. Again use the Select buttons to highlight the right Discrete Output level and
use the jog wheel to adjust the bar graph to the desired level. When done, press the Enter button to store your new
settings and you will be returned to the Clipper Menu.
Stereo Generator
STEREO
PILOT
PILOT LEVEL
OUTPUT LEVELS
ON/OFF
ON/OFF
The digital Stereo Generator (also called the Stereo Encoder) produces the FM Stereo multiplex for broadcasting. It
yields separation greater than the performance of most radios. Our digital (16 bit, 608kHz sampling rate) stereo
encoding process is devoid of all analog drift. Exceptionally low in harmonic content, this stage generates a clean
composite baseband that yields high stereo separation and low distortion. Utilizing a very tight tolerance clock
oscillator, this stereo generator provides no pilot frequency or phase drift, no separation drift, and maintains 38kHz
suppression to very negligible levels. Two separate individually adjustable low impedance output levels allow the
generator to feed composite signals of different levels to STL or exciters.
Stereo
An on or off function. When off, the 38kHz sub-channel is removed and mono is transmitted.
The Stereo function can be turned on and off by using the jog wheel to select the Stereo function in the Stereo
Generator Menu and pressing the Enter button until the desired status is highlighted. When you are finished, turn
the jog wheel to operate another function or press the Escape button to return to the Home Screen.
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Pilot
An on or off function. When off, the 19kHz pilot tone is removed and mono is transmitted.
The Pilot tone can be turned on and off by using the jog wheel to select the Pilot tone in the Stereo Generator Menu
and pressing the Enter button until the desired status is highlighted. When you are finished, turn the jog wheel to
operate another function or press the Escape button to return to the Home Screen.
Pilot Tone
This sub-menu is used for adjusting pilot modulation.
Figure of Pilot Tone Level Sub-menu
With initial setup and operation, the pilot level should be within the 8 - 10% modulation level, when referenced to
100% total modulation. To adjust the Pilot Tone Level, use the jog wheel to select the Pilot Tone Level Sub-menu in
the Stereo Generator Menu. Press the Enter button. Use the jog wheel to adjust the bar graph to the desired level.
When done, press the Enter button to store your new settings and you will be returned to the Stereo Generator Menu.
The default setting of the pilot is 70% on the bargragh. This does not mean that your pilot modulation is 70%. The
bargragh indicator only refers to the relative range available to adjust the pilot level parameter.
Output Levels
Individual controls are provided for the two composite outputs. This will allow equipment requiring different output
levels to be adjusted appropriately.
Figure of Output Levels Sub-menu
To adjust the Output Levels, use the jog wheel to select the Output Levels Sub-menu in the Stereo Generator Menu.
Press the Enter button. Use the Select buttons to highlight the Output Level you wish to modify. Use the jog wheel
to adjust the bar graph to the desired level. If you wish, again use the Select buttons to highlight other Output Level
you wish to modify. When done, press the Enter button to store your new settings and you will be returned to the
Stereo Generator Menu.
Composite Clipper
STATUS
DRIVE
ON/OFF
The selectable and adjustable Composite Clipper for the user who would like to further “turbo charge” the audio.
The clipper circuit operates before the pilot signal is inserted, so that clipper “aliasing” of the pilot is eliminated and
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a cleaner baseband is generated.
Capable of providing up to 6dB of clipping drive, this stage operates within the pre-pilot signal region and is
performed on the L+R and L- R signals before the pilot signal is inserted. This design guarantees that the clipper
action is clipping just the dynamic composite signal and never the pilot signal. This further eliminates any aliasing
of the pilot region that can occur with other forms of composite processing. Since the clipping action is performed
on the signal while it is still in the digital domain, undesirable upper composite artifacts are eliminated in the reconstruction
filter of the stereo generator, known to some as controversial and to others as an added edge. Two submenus
provide selection and adjustment.
Status
An on/off function. When off, the Composite Clipper circuit is totally bypassed and removed from the system.
The Composite Clipper function can be turned on and off by using the jog wheel to select the Status function in the
Composite Clipper Menu and pressing the Enter button until the desired status is highlighted. When you are
finished, turn the jog wheel to operate another function or press the Escape button to return to the Home Screen.
Drive
The Composite Clipper will provide up to 6dB of clipping when the bar graph indicates 100%. Use it carefully. If a
little Composite Clipping sounds good, it does not mean a lot of Composite Clipping will sound better.
Figure of Drive Sub-menu
To adjust the Composite Clipping Drive Level, use the jog wheel to select the Drive Sub-menu in the Composite
Clipper Menu. Press the Enter button. Use the jog wheel to adjust the bar graph to the desired level. When done,
press the Enter button to store your new settings and you will be returned to the Composite Clipper Menu.
Other
PRESET LIST
DAY-PART LIST
SYSTEMS OPTIONS
Preset List
Presets are discussed in detail in section x.x.
Day-part List
Another featured benefit of the Unity 2000i is the ability to Day-part Process. It allows the system to select different
audio processing presets at specific dates and times that are scheduled by the user. Through Day-part Processing, the
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audio processing can be set to a preset best suited for the “morning drive,” and then automatically changing to a
different preset that better complements the “mid-day” programming. The Day-part function of the Unity 2000i will
allow the user to schedule up to fifty events.
The Day-part function is presented in two formats. A Sunday through Saturday Format is used when scheduling
events of repetition, such as regularly scheduled day to day programming. The other format is a Specific Date
Format that allows events to be scheduled at a specified date and time. This is used for special event programs like
remote broadcasts, concerts, and events out of the ordinary.
When entering a Day-part event, you will generally need to enter two events. Your first event is to start the
preset change and the second will be to resume you previous format. This may sound very obvious, but is a step that
can easily be forgotten!
Adding Events
Figure Day-part Sub-menu with -Add Event- highlighted
The Day-part scheduling system is not active unit an event is added to the system. This is accomplished through the
Day-part List Sub-Menu in the Other Menu. Use the jog wheel to highlight the Day-part List Sub-menu in the Other
Menu. When adding an event for the first time, the phrase - ÐADD EVENTÐ will appear highlighted. Press the
Enter button.
Figure Day-part Sub-menu with SMTWTFS highlighted
When scheduling an event, you must first decide whether you want to use the Sunday through Saturday Format or
Specific Date Format. Upon entering the ÐADD EVENTÐ Sub-menu, the Sunday through Saturday Format is
presented as your first option and SMTWTFS is presented on the screen. Notice the question mark in front of the
line. This indicates that you will need to make a decision on which format to use. If you rotate the jog wheel,
XX/XX/XX will be displayed showing today’s date. This presents the Specific Date Format as an option.
Decide which of the formats you would like to use and press the Enter button. For our first example, let us schedule
a Sunday through Saturday Format event. Press the enter key when your turn of the jog wheel displays
SMTWTFS.
figure of Day-part List Sub-menu with SMTWTFS etc. shown.
The LCD now displays SMTWTFS 00:00:00 FORMAT, with the current date and format in use. In the default
mode, every day is selected. To select the day(s) of the week you would like to event to occur, specific days can be
turned on and off by using the jog wheel. Let’s suppose you want to have this event to occur every Monday,
Tuesday, Wednesday, Thursday, and Friday. To begin, use the Select buttons to highlight the first S for Sunday.
Turn the jog wheel. Notice that the S goes blank and returns with each click of the wheel. By making the S go blank,
the event will not occur on Sunday. Leave the Sunday S in the blank state and use the Select keys to highlight the
second S for Saturday. Use the jog wheel to turn the S blank. Now MTWTF is displayed acknowledging that those
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are the days of the week your event will run.
figure
Once the days of the week have been established, the event’s starting time is programmed. Press the Select Up
button until the hour’s position of the time segment is highlighted. Use the jog wheel to set the hour position.
Continue setting the start time utilizing the Select Up button and the jog wheel. After setting the seconds with the
jog wheel, press the Select Up button again. A scrolling list of all presents now appears.
figure
Use the jog wheel to highlight the desired subset and press the Enter button. A complete command line will appear
that indicates the day(s) of the week, time of day, and Preset of the event. Just below the line ÐADD EVENTÐ
appears. To add more events, select this with the jog wheel and repeat the above procedure.
figure
To create a Day-part event using the Specific Date Format (rather than the Sunday through Saturday Format detailed
above) the procedure varies slightly. When you first press the Enter button after selecting ÐADD EVENTÐ you will
see -SMTWTFS displayed. Notice the question mark in front of the line. This indicates that you have not yet
chosen which format to use. If you rotate the jog wheel, -XX/XX/XX will be displayed showing today’s date in a
month, day, year format.
figure
Press the Enter button and the LCD now displays XX/XX/XX 00:00:00 FORMAT, with the current date, time, and
format in use. Notice the * to the left of the line. This is the Auto-Delete indicator. When this indicator is left visible,
the scheduled event in the Specific Date Format will be automatically deleted from the Day-part List after it has
occurred. This feature is useful when scheduling events that will happen only once. To turn off the Auto Delete
feature, use the Select Up Button to highlight the * and turn the jog wheel one click to turn it off and then press the
Select Up button to move to the month field. Using the jog wheel and Select Up button, program the date, time, and
format of your event just as you did above. After selecting a format preset, press the Enter button, and your event is
stored.
figure
Editing Day-part Events
Once a Day-part Event has been created, it can be modified or deleted. This is accomplished through the Day-part
List Sub-menu found in the Other Menu. From the Other Menu, use the jog wheel to highlight the Day-part List
Sub-menu and press the Enter button. Use the jog wheel to scroll to the Day-part Event to be modified. When the
event you want to change is reverse highlighted, press the Enter button.
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DB -9
PIN#2
CONNECTOR
UNITYD-9
CONNECTOR
B
PIN#3
PIN
COMPUTER
PIN
#2
/MODEM
#3
PIN#5
RS-232 SERIAL
PIN #5
CABLE CONFIGURATION DB-9 TO DB-9
DB -9
PIN#2
CONNECTOR
UNITYD-25
CONNECTOR
B
PIN#3
PIN
COMPUTER
PIN
#2
/MODEM
#3
PIN#5
RS-232 SERIAL
PIN #7
CABLE CONFIGURATION DB-9 TO DB-25
figure
The Day-part Event you have highlighted will have a checkmark to its left and on the right side of the screen you
will see a list with the choices EDIT and DELETE. If you want to edit the event, use the jog wheel to select and
press the Enter button. You may now edit your event using the same procedure, described in section x.x, as when
you originally entered it.
To delete a Day-part Event, select and press the Enter button. The Day-part event is now deleted.
System Options
The System Options Sub-Menu found in the Other Menu is used to control a number of features.
figure
Passwords
The Passwords Sub-Menu is described in detail in section x.X.
Serial Comm
Remote operation can be achieved through the use of the Serial Communications port located on the back panel. By
using a remote computer, all front panel adjustments can be achieved. This is accomplished with use of software
designed to access the serial communications port. Installation and usage of the remote software for the Unity 2000i
is covered in a later section, but very soon!
The Unity 2000i supports RS-232, RS-422, and RS-485 interfacing. The pinout description at the front of this
manual provides interconnect information. Standard RS-232 connection protocol is supported, but if you are
intending to connect to RS-422, or RS-485, you will need to refer to the description. For RS-232, any standard nine
pin serial cable will work for direct null modem connections.
IMPORTANT NOTE FOR MODEM USE: When connecting to a modem, some interconnection cables may not
work! This is due to the RS-422/RS-485 serial comm pinout on the Unity. Pins #1 and #4 of the serial comm DB-9
connector provide the inverting signals for the RS-422/RS-485 protocol. Any serial cable that “connects through”
pins #1 and #4, from end to end, probably will not work with a modem. Any connection to a modem must use
ONLY pins #2, #3, and #5 of the serial comm DB-9 connector! Refer to the following diagram for proper connector
pinout configuration.
The Serial Communications Sub-menu is used to establish the operating parameters of the Unity 2000i’s Serial Port.
From the Other Menu, highlight the System Options Sub-Menu and press the Enter button. Use the jog wheel to
select the Serial Communications Sub-menu and press the Enter button.
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figure
This sub-menu has four items. STATUS allows you to turn the Serial Port on and off. Use the jog wheel to select
STATUS. Press the Enter button until the desired status appears. Use the jog wheel to adjust another item in the submenu
or press Escape to move back up the menu hierarchy. Whenever the Serial Port is set to ON, local operation of
the Unity is still in effect. It may appear to respond a bit slower, but that is acceptable.
CONNECTION allows you to choose whether the Serial Port will be directly connected to your computer’s Serial
Port or will communicate with a remote computer via modem. Use the jog wheel to select CONNECTION. Press the
Enter button until the desired status appears. Your choices are DIRECT and MODEM. Use the jog wheel to adjust
another item in the sub-menu or press Escape to move back up the menu hierarchy. When changing the
CONNECTION to modem, it is best to make the change with the STATUS set to OFF. Once the CONNECTION is
changed, set the STATUS to ON if remote operation is desired. By doing this, the UNITY will automatically
initialize the modem.
SPEED allows you to choose the data rate (sometimes called baud rate) of the Serial port. Use the jog wheel to
select SPEED and press the Enter button. A scrolling list appears with data communication rates in bits per second.
Use the jog wheel to select the desired rate and press the Enter button to store your setting.
NOTE: When setting the baud rate with a modem connection, always set the speed within the range of the modem.
Example, when using a 2400 baud modem, the speed setting on the Unity can only be at the 1200 or 2400 baud rate.
If the baud rate of the Unity is set at a rate greater than the maximum of the modem, the communication with the
modem will not work!
Clock
The Clock Sub-Menu is described in detail in section x.X.
LCD
This sub-menu controls your view of the LCD display.
figure LCD Submenu
CONTRAST adjusts the contrast of the display to make it easier to read in your particular lighting conditions. From
the Other Menu, use the jog wheel to select the System Options Sub-menu and press the Enter button. Use the jog
wheel to select the LCD Sub-menu and press the Enter button. Use the jog wheel to select CONTRAST and press
the Enter button. A bar graph will appear. Use the jog wheel to select the desired contrast and press the Enter button
store your setting.
The BACKLIGHT menu provides options to turn the backlight on, off, or allow it to follow the time-out of the
screen saver. From the LCD sub-menu, select the BACKLIGHT option and press ENTER. A small pop-up menu
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will appear to the right of the display with three options: OFF, AUTO, and ON. Use the jog wheel to select the
option desired and press ENTER.
CAUTION: When setting the backlight in the OFF mode it can be very difficult to read the LCD screen. It is
recommended that the backlight be operated in the AUTO or ON settings.
The SCREEN SAVER DELAY can be useful in prolonging the life of the backlight and LCD screen. This feature
works like most screen saver options found on computer systems. When there is no activity with the user interface
beyond the selected time, the screen will go dark. Pressing any key will restore the operation of the LCD and
backlight. The SCREEN SAVER DELAY can be set in one minute increments up to thirty minutes. When the
setting is set to zero, the SCREEN SAVER is defeated.
To adjust, select SCREEN SAVER DELAY from the LCD sub-menu and press ENTER. The number to the right of
SCREEN SAVER DELAY will be highlighted. Use the jogwheel to adjust the number of minutes required and press
ENTER.
Erase Day-parts
There may come a time when the list of Day-part Events will become full of unwanted events. The Erase Day-Parts
function allows you to wipe the slate clean and begin anew.
Be careful, this option will remove all previously stored Day-part Events. Make sure you are not removing an
item of importance.
From the Other Menu, use the jog wheel to select the System Options Sub-menu and press the Enter button. Use the
jog wheel to select the Erase Day-parts function and press the Enter button.
figure
You are presented with a statement that all Day-part events are about to be erased. To help prevent accidental
erasure, NO is initially selected. If you want to continue and erase all Day-part Events, use a Select button to
highlight YES and press the Enter button. All Day-part Events are now erased.
Re-Init System
This re-initializes (or resets or reboots) the Unity 2000i operating system. This restores all settings to the factory
defaults. In doing so, you will erase all of your custom programming and processing settings. And we mean all
of your custom programming! Hours and hours of processing decisions could be lost forever if you do not have a
backup copy of your settings.
Re-Init System should only be used as a last resort.
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From the Other Menu, use the jog wheel to select the System Options Sub-menu and press the Enter button. Use the
jog wheel to select the Re-Init System function and press the Enter button.
figure
You are presented with a statement that the system is about to be re-initialized. To help prevent accidental erasure,
NO is initially selected. If you want to continue and re-initialize the system, use a Select button to highlight YES
and press the Enter button. The system has now be re-initialized and the factory default values are restored.
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TECHNICAL DESCRIPTIONS
The Technical Descriptions are divided up into the five following categories : micro
controller, digital algorithm, signal path, signal processors, and the stereo generator. Due to
the diversity of each section, it will be much easier to understand the technical operation of
the complete system, buy examining it as a sum of the individual sections.
MICRO CONTROLER
The heart and soul of operations for the system is the micro controller. All control, status,
and interfacing centers around this function. This creates the central nervous system of
sorts! The key components to the micro-controller are the micro control board, circuit board
#1, and the front panel circuit board. Refer to the schematics as the circuit level descriptions
are explained.
The center of the architecture is U701, an 80188 microprocessor. This along with EPROM
U704 and SRAM U703 provide all the software and memory needed for the system to operate.
U702, U714-715 decodes all the address and data bussing for the structure. U705 provides a
“Watchdog” monitoring function for the microprocessor. In the event the power supply
should fall below 5% toleration of 5 volts, or the software loses control, the “Watchdog” will
reset the system in hopes of returning the operation to a normal level.
U708 is an UART, which is used to establish serial communications with the microprocessor.
Jumper JP-1 sets the “HARDWARE RE-INITIALIZATION” mode. When the jumper is set in
the normal position, the /CTS pin on the UART, U708, is tied low. When the jumper is the in
INIT position, the /CTS pin is tied high, and the system will re-initialize upon power-up.
U710 and U711 provide the serial interfacing to the outside world. Notice that they are setup
to accept either RS-232, RS-422, or RS-485 as interface connections.
U706 and U707 are Peripheral Interface Adapters, PIA’s, for interconnecting the digital
attenuators, the ON/OFF functions and the MUXED A/D Converter. All of the digital
attenuators operate on a three bit serial interfacing scheme. Each attenuator makes use of a
common clock input, CLK, a common data input, DQ, but each has it’s own chip select,
/RST. So while common data will be present at all times to all the digital attenuators on two
of the bits, each attenuator will only respond to data when it’s specific chip select is enabled.
U709 is a nineteen channel multiplexed A/D converter. Here is where all processing samples
are read into the system for display on the front panel. U709 communicates with the system
also through a three bit serial address that interfaces with PIA U706.
With regard to the Front Panel, all display information for the LCD and LED bargraghs,
along with the operation of the keypad is facilitated via the system data buss and first four
address lines. The LCD display is a self-contained display module that directly connects to
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the microprocessor. The Inverter Module located on the Front Panel circuit board creates the
High Voltage for the Backlight of the LCD module.
NOTE: This module is converting 10 VAC at 50/60 Hz to @ 1000 VAC at @32 kHz. Be
Careful!
The LED displays operate in a scanned matrix manner. This means that only one LED is on
at a time. Since it happens so fast, it appears that all LEDS are lit all at once. On the Front
Panel circuit board, U1 - U5, and U8 - U12 provide the decoding and current driving for the
LED modules. U8 - U12 perform the decoding, and U1 - U5 accomplish the current driving.
The keypad also operates using the scanned matrix data that also controls the LED displays.
Notice the first four bits of U11. These are routed by the way of each pushbutton of the
keypad. With any closure of the keypad, that specific address line is read back into the
system. Depending which address is read, will decode as to which button was pushed.
DIGITAL ALGORITHM
The technique by which all dynamic processing is accomplished, is known as Digital Sampled Analog.
This approach was chosen for two specific reasons. First it is capable of exceptional audio performance. Second it
provides absolutely no time delay to the signal passed through it. For those of you who wish to claim that this is an
analog function, you are incorrect. This procedure actually samples the analog signal digitally and performs
immediate digital adjustments to it.
Using a single bit digital gain cell, and a sampling frequency of 152 kHz, accurate level changes with precise
resolution, are faithfully performed on the audio signal. Because of the high sampling frequency, very gentle
reconstruction filters are used to remove any residual sampling energy. This is especially important since it provides
excellent group delay through the system. As the signal path is explained, you will be able to see how this
technology is applied.
SIGNAL PATH
The audio signal path is contained on circuit boards #2, WB-AGC, #3 & #6, Signal
Processors, and on #8, low pass filter. Each board will be explained separately. Unless
otherwise noted, the Left Channel signal flow will be explained. Operation of the Right
Channel is a mirror image of the Left.
Input Section/¿ Rotator/WB-AGC/Bass Enhance
Printed Circuit Board #2
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Input Level
Input audio appears at J1 pins 1 & 2 for the Left Channel and pins 3 &4 for the Right
Channel. U101 is setup as a balanced differential amplifier with an input impedance of 20
k½ or greater. JP-1 establishes the resistive pad for either -10dBm or +4dBm operation.
Input level for each channel is adjusted through U102. This is a digital potentiometer that
operates as a 256 position stepped attenuator as addressed by the Micro controller. As level
is adjusted on the front panel, serial data is routed to U102 to set the system input levels.
U103 provides a buffered output to the input displays and the first section of conditioning,
the ¿ Rotator.
Rotator
Phase Rotation is created by the all-pass filter associated with U110. An all-pass network is
a filter whose amplitude level remains constant with respect to frequency, but whose time
delay, or phase, characteristics vary with frequency. This feature is provided in an effort to
create symmetrical waveforms associated with the human voice. Most human voices are
naturally asymmetrical. This means that either the positive or negative half of the waveform
is larger in amplitude than the other half.
The all-pass network is designed to create a non-linear time delay through the 300 - 2000 Hz
frequency range. This is the normal range for voice. As this delay occurs, it creates a
“reversal” of phase at specific frequencies within the vocal range. This is like a “flywheel”
effect. The resulting signal will then possess a waveform that is considerably more
symmetrical than before. The problem, that can arise, is when harder or aggressive
processing is employed, asymmetrical waveforms may become clipped on the larger half of
the waveform. This translates to an audio signal that is rich in third harmonic distortion,
which can be unpleasant to listen to.
The ¿ Rotator is a selectable function. Bilateral switch U111 controls the IN/OUT status. In
listening to music through this network, it is virtually transparent to the phase delay that is
being applied. A good subjective test is to listen to music through the system, and then
switch the ¿ Rotator in and out. There should not be any difference to the quality of the
material.
WB-AGC
The next section is the Wide Band AGC (WB-AGC). The audio portion of the WB-AGC
consists of U112, U113 and associated components. U112 is a bilateral switch that is
operating as a digital gain control. Since this gain control is inserted in front of opamp
U113, dynamic level adjustment is easily accomplished. Bilateral switch U114 selects the
IN/OUT operation of the WB-AGC.
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The control for the WB-AGC is developed using a feed-forward approach. U104 and U105
provide rectification and integration for the incoming signal. C111 and R139 provide
integration timing for the GATE function. D101 and D102 serve as an absolute value
summing network for the left and right channels. This “averaged” signal is compared to the
GATE reference level at comparator U106. When the “averaged” level fells below the GATE
reference, U106 changes to a high state, and the following two occurrence result. First,
bilateral switch U109B will switch on to begin resetting the gain at U112 to unity. Second,
any other processing adjusting that was happening, is defeated as NOR gates U107A and
U107B are put in a low state. When the “averaged” level form U105B exceeds the reference
level, U106C goes to a low condition. This “opens” U109B, and enables NOR gates U107A
and U107B for dynamic adjustment.
The integration time of C111 and R139 is set fairly fast. This will allow the WB-AGC to
“freeze” during short term pauses in the audio signal. This creates the silence gate. A longer
time constant is developed around R147 and C112 to form the noise gate configuration when
the WB-AGC is in the GATE mode.
C110 and R137 provide integration timing for the RMS control associated with the dynamic
leveling action. D103 and D104 serve as an absolute value summing network, along with
U105A, for the left and right channels. The buffered output of U105A, which is the
“averaged” signal, is compared to the present control signal by window comparator U106A
and U106B. A window comparator is also known as a “dead band” comparator. This means
that the system is capable of indicating three limits. Lower , upper, or in-between limits. In
this case, it is desired to set the limits where increasing the gain, decreasing the gain, or not
changing the gain occurs. Since the present gain of the WB-AGC is always being compared to
the constantly updated “averaged” level, a good histogram is developed.
If the incoming signal to the window comparator exceeds the present control level, a
Decrease level or Decrement state is initiated. What transpires is that the output of U106B
will go low. As long as the system in not in the GATE mode, the output of U106C should
also be low. Both of these low states will cause the output of NOR gate U107B to go high.
This activates bilateral switch U109D that will then begin decreasing the gain of the WB-
AGC until it falls within the dead band area of the window comparator. The output of U107B
also drives a front panel buffer that will illuminate the DEC led to indicate that the audio
gain is being decreased.
Increasing or Incrementing gain is accomplished in the same manner. As the incoming signal
drops below the lower limit of comparator U106A, the Increase state is initialized. Again the
low output of U106A along with the low output of U106C will cause U107A to go high. This
activates U109C which in turn boosts the audio level of the WB-AGC until it reaches the
dead band area of the window comparator. The output of U107A also drives a front panel
buffer that will illuminate the INC led to indicate that the audio gain is being increased.
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When the input signal is within sufficient operating limits to the WB-AGC, a WAIT
condition is initiated. This basically shuts down all dynamic leveling, and “waits” until there
has been a sufficient enough level change in incoming level to warrant any needed
processing. Whenever the present control signal and the incoming “averaged” signal are
equal or close to equal, their level will fall into the dead band area of the comparator. When
this occurs, the outputs of comparators U106A, B, C are all low. Since each state is low,
there is not any activity among the bilateral switches and no dynamic leveling is taking
place. This is the WAIT function of the WB-AGC. This causes the output of triple NOR gate
U108A to go high. This drives an LED buffer on the front panel to indicate that the WAIT
function has occurred.
The actual control signal is present at the output of U105D. This signal feeds both the upper
limit of the window comparator and is also feed on to the log comparator for dB conversion.
Comparator U118A compares the control signal to a 152 kHz clocked non-linear ramp signal.
The “slope” of this ramp signal falls off in a logarithmic manner. The output of U118A will
be anything from DC to various widths of the 152 kHz signal. This signal is then summed at
AND gate U118C. This creates the single bit digital signal to feed digital gain cell U112.
U114 provides the IN/OUT function of the WB-AGC.
Bass Enhance
Bass Boost equalization is developed around U115A and U117B. For each channel, two 14
dip sockets house header modules that determine the Bass Enhance characteristics. Module
#1 comprises a high pass filter. This is basically the main audio signal. Module #2 is a low
pass filter with gain. The outputs of these filters are summed at U115B. When the gain, of
module #2, is set to equal that of module #1, the overall response of the system is flat. But as
gain is increased at module #2, the boosted low frequencies will occur, in the response of a
shelving equalizer, along the slope of the low pass filter. If the modules are configured as
third order, then the shelving EQ will follow a third order response. Likewise if the modules
are configured as second order filters. The stock configuration provides a third order bass
enhance that begins around 105 Hz.
CROSS-OVER and DIGITAL PROCESSORS
Circuit Boards #3 & #6
Circuit boards #3 and #6 are essentially the same board. Board #3 handles the initial cross-over network and
provides the multiband leveling audio path. While #6 performs the limiting function and provides a second crossover,
necessary only when the second path-point is utilized. Since the technical description is similar, only the #3
board will be discussed. However, any small differences between the two, will be referenced.
Wideband input audio appears, unbalanced, at pins 9 and 10 of J-1. Inputs for each individual band will be described
later. U202 and U205 form a phase linear bi-quad cross-over network. U203, U204, and U206 are used to adjust the
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cross-over frequencies. The output of each band appears at the three pin jumpers for each band. These jumpers
select the input mode for each processor. In the first position, the output of the cross-over is selected to feed the
processor. This is the normal operation mode for board #3. The second position selects the direct input to the
processor. This configuration allows direct input from a preceding processor section. This is the normal mode for
board #6 where direct audio is arriving to each limiter band directly from the preceding leveler band.
Whenever the second patch-point is used, the jumpers on board #6 would be set to the first position to accept audio
from the cross-over network on board #6. It should be noted that whenever the second cross-over is utilized, the
cross-over frequencies automatically match the cross-over points of the first cross-over located on board #3. This is
set in software so that discrepancies between the cross-over sections can not occur. Since these cross-over designs
are phase linear, using one or more of them has little or no effect on the overall group delay to the audio signal.
Thus, maintaining good sonic integrity to the system.
FEEDBACK PROCESSING OPTION
On circuit boards #3 and #6, the lower two bands can be set to operate as feed-back processors instead of the stock
feed-forward setup. Some processing applications call for an added density to the quality of the signal. This is
usually at the expense of some quality or clarity. This option is easily accomplished by the changing of jumpers
located on the #3 and #6 circuit boards. Setting of these jumpers should be done on a subjective basis. Generally
changing the limiter options will provide more dramatic effect to the audio signal. Once changed, it may require readjustment
of the system to achieve the desired sound.
The output of the jumpers feed the processor sections. U209 and U210 comprise the digital dynamic level adjusting
section. Single bit digital data appears at U209 to affect any level changes needed. U215, U216, and associated
components (R220-R222, C204-C206) form gentle third order filters to perform critical reconstruction of the audio
signal.
U211 - U214 are used as mixing controls to mix the relative audio bands with each other. For board #3, these act as
both EQ and individual band drivers for the following limiter sections. For board #6, these act as the final spectral
mix for the following clipper/filter section.
Both the #3 and #6 boards provide two forms of output for the audio signal. U217A/B provides both a summing and
balancing function so that wideband balanced audio can be provided. This is used for the balanced output on patchpoint
#2 to feed any ancillary processing equipment. On board #6, the summed unbalanced output of U217B
provides the output signal to the following clipper/filter. The individual buffered outputs are used on board #3 to
drive the individual following limiters of board #6 when the system is used in the normal stock configuration.
Clipper/Low Pass Filter
Circuit Board #8
Input audio appears at pins 7 and 5 respectively for the left and right channels. U601 is used as an adjustable voltage
divider to provide drive/attenuation for the clipper section. It is setup to provide +/- 5dB of clipping. U602, R530,
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R531, C519, and C520 form the pre-emphasis options for the system. Depending upon the usage of jumpers J1 and
J2, 0, 25, 50, or 75 µs of pre-emphasis can be selected.
The output of the pre-emphasis section feeds the “MR GIBBS MODULE”. Here is where the magic takes place!
Within this module, loudness clipping and distortion control are performed. Without writing a detailed technical
thesis on overshoots and specific physical phenomenon, just understand and accept that here is where the system is
trying to fool the ear into accepting more distortion than it would normally notice.
The output of this module is a very precise controlled amplitude signal. U603 and U604, along with associated
components form a phase linear 7th order low pass filter. With a cut-off frequency of 15.2 kHz and an elliptical
response, protection for the 19 kHz pilot region is achieved. Due to the phase linearity of the filter, and prior
overshoot control of the GIBBS MODULE, overshoot of the final filter is kept to a minimum. Safety clippers D501
and D502 eliminate an residual overshoot from the system. The output of U605A/B will be a pre-emphasized,
amplitude and frequency limited signal that will now be used to feed the stereo generator/encoder directly, or the
discrete left/right output sections located on the motherboard.
MULTIBAND LEVELER AND LIMITER ALGORITHMS
The processing algorithms for leveling and limiting are performed on circuit boards #4 ,#5, and #7. Boards #4 and
#5 handle the multiband levelers, #4 for left, #5 for right. Board #7 takes care of the multiband limiting. For both
leveling and limiting only one band of one channel will be detailed. Since this system is a four band stereo
processor, there are a total of eight levelers and eight limiters overall.
MULTIBAND LEVELERS
Circuit Boards #4 & #5
Control for the MULTIBAND LEVELERS is developed using a feed-forward approach. The
input audio signal appears at pins 1 - 4 of J1. This is band limited audio as set by the crossover
network. Pin 1 is for the low band, pin 2 the mid band, pin 3 the presence band, and pin
4 is the high band signal. U301B, D302, D303, R312, and R313 form the full-wave rectifier
for the following integrators. U301A, U302A/B are configured as integrators that will
develop control voltages for various aspects of the signal waveform.
U302A forms the integrator that provides control signal for the GATE detector. As was
previously discussed in the WB-AGC section, the operation of the GATE detection is exactly
the same. When the “averaged” level fells below the GATE reference, U303B changes to a
high state, and the following two occurrence result. First, bilateral switch U307D will switch
on to begin resetting the gain to unity. Second, any other processing adjusting that was
happening, is defeated as NOR gates U305 and U306 are put in a low state. When the
“averaged” level form U302A exceeds the reference level, U303B goes to a low condition.
This “opens” U307D, and enables NOR gates U305 and U306 for dynamic adjustment.
The integration time of C301 and R304 is set fairly fast. This will allow the processor to
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“freeze” during short term pauses in the audio signal. This creates the silence gate. A longer
time constant is developed around R309 and C306 to form the noise gate configuration when
the processor is in the GATE mode.
C302 and R317 provide integration timing for the RMS control associated with the “normal”
dynamic leveling action. The output of U301A, which is the “averaged” signal, is compared
to the present control signal by window comparator U304A and U304B. A window
comparator is also known as a “dead band” comparator. This means that the system is capable
of indicating three limits. Lower , upper, or in-between limits. In this case, it is desired to
set the limits where increasing the gain, decreasing the gain, or not changing the gain occurs.
Since the present gain of the processor is always being compared to the constantly updated
“averaged” level, a good histogram is developed.
If the incoming signal to the window comparator exceeds the present control level, a
Decrease level or Decrement state is initiated. What transpires is that the output of U304B
will go low. As long as the system in not in the GATE mode, the output of U303B should
also be low. Both of these low states will cause the output of NOR gate U306 to go high.
This activates bilateral switch U308D that will then begin decreasing the gain of the
processor until it falls within the dead band area of the window comparator.
Increasing or Incrementing gain is accomplished in the same manner. As the incoming signal
drops below the lower limit of comparator U304A, the Increase state is initialized. Again the
low output of U304A along with the low output of U303B will cause U304A to go high. This
activates U308C which in turn boosts the audio level of the processor until it reaches the
dead band area of the window comparator.
When the input signal is within sufficient operating limits to the processor, a WAIT
condition is initiated. This basically shuts down all dynamic leveling, and “waits” until there
has been a sufficient enough level change in incoming level to warrant any needed
processing. Whenever the present control signal and the incoming “averaged” signal are
equal or close to equal, their level will fall into the dead band area of the comparator. When
this occurs, the outputs of comparators U303B, and U304A/ B are all low. Since each state is
low, there is not any activity among the bilateral switches and no dynamic leveling is taking
place. This is the WAIT function of the processor.
Integration amplifier U302B creates a faster control signal as compared to the signal
generated by U301A. This signal is damped in gain so that it only exceeds the level of
U301A only during fast, large changes in the program signal. When this occurs, the signal of
U302B will activate comparator U303A, which is referenced to the present control signal.
When U303A goes high, it disables the decision making NOR gates, U305 and U306, and
activates U307C which provides faster leveling until the abrupt change in program material
in brought under control. This would be analogous to using an automatic transmission in a
car to switch gears.
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The actual control signal is present at the output of U309B. U309A forms an Antilles
amplifier. Using the differential inputs, processing ratio of the levelers can be set. This
signal feeds both the upper limit of the window comparator and is also feed on to the log
comparator for dB conversion. Comparator U319D compares the control signal to a 152 kHz
clocked non-linear ramp signal. The “slope” of this ramp signal falls off in a logarithmic
manner. The output of U319D will be anything from DC to various widths of the 152 kHz
signal. This signal is then summed at AND gate U320. This creates the single bit digital
signal to feed digital gain cell on board #3.
MULTIBAND LIMITERS
Circuit Board #7
The MULTIBAND LIMITERS operate much in the same manner as the LEVELERS, except
instead of controlling the RMS level, they will be operating on the PEAK level. Feed-forward
in design, the limiters are the last stage of dynamic processing before reaching the hard
limiting or clipping stage.
The input signal first passes through U401. This operates as a digital attenuator that is used
for setting the threshold point of the limiter. Output from the attenuator feeds the full-wave
peak rectifier. This is comprised of U402A/B and associated components. Output from the
rectifier is passed through U 403, which sets the ATTACK time of the limiter. U403 along
with U404 and C401, C402, R408, and R409 create the multi-time constant for limiter
activity. Quick responding peak energy is controlled by U403, C401, and R408. Slower or
longer responding peak energy is controlled by the action of R408, R409, C402, and U404.
Release time is adjusted through U404. The ensuing control signal is buffered by U405B.
The actual control signal is present at the output of U405A. This signal feeds log comparator
U423C for dB conversion. Comparator U423C compares the control signal to a 152 kHz
clocked non-linear ramp signal. The “slope” of this ramp signal falls off in a logarithmic
manner. The output of U423C will be anything from DC to various widths of the 152 kHz
signal. This signal is then summed at AND gate U424. This creates the single bit digital
signal to feed digital gain cell on board #6.
STEREO GENERATOR/ COMPOSITE CLIPPER
Circuit Board #9
The stereo generator operates off a master clock frequency of 1.216mHz. This frequency is a multiple of the 19kHz
pilot tone used for FM stereophonic broadcasting. Crystal X601 and U607 generate the clock signal. U606A/B
divides the signal down to 608kHz and 304kHz to be used respectively for the main, sub, and pilot portions of the
composite signal.
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U603 and U604 operate as flip-flop gates that set and reset left/right shift registers U601 and U602.
R611 and C602 provide a “jump start pulse” whenever the system is first powered up. These shift registers trigger
the ladder network of U608, U609,U610, U611, and U612 at a rate of 608 kHz. A complete pass through the ladder
network, in a left to right and back again fashion, produces sixteen steps. With sixteen steps operating at a sampling
frequency of 608 kHz, the ladder network will produce a 38kHz output of any L-R or subchannel information. This
is calculated by dividing the 608kHz signal by the 16 taps on the ladder network. Whenever any L-R or stereophonic
information is present at the audio inputs to the stereo generator, it will be amplitude modulated at 38kHz with a
suppressed carrier. Any L+R or monaural information passes straight through the ladder network regardless of the
sampling of the ladder network.
Discrete left and right audio appears at pins 3 and 4 of J1. Both audio channels are “sampled” by ladder network of
U608, U609,U610, U611, and U612. The output of this ladder network feeds a buffer amplifier, which will contain
the L+R (main) and L-R(sub) components of the composite signal. This completes the first half generation of the
composite signal.
The second part is the generation of the 19kHz pilot frequency. The procedure is the same except for the following.
First the sampling frequency is one half, 304kHz instead of 608kHz. Second, The ladder network is not sampling
audio, but the +/- rails of the 5 volt power supply. The output of this ladder network provides a 19kHz signal at
buffer amplifier U614C. Since the 304kHz sampling frequency is a derivative of the larger sampling frequency, the
final 19kHz and 38kHz frequencies will always be phase locked to one another.
Q606 and R672 provide the TTL logic levels for a 19kHz square wave output. This is very
useful as a master clock system for ancillary SCA services like RBDS and the like.
U604A divides the 304kHz clock down to 152kHz. This is the master clock for the signal
processor sections. This clock signal feeds both the LOG PROCESSOR module and the AC
couple pulse generator. These are the respective signals used with the control signals on
boards #2, #4, #5, and #7 to generate all dynamic processing functions.
At this point, the composite signal exists in two parts. The L+R and L-R 38kHz signal, and
the 19kHz pilot. The L+R, L-R signal is routed to both digital attenuator U615B and bilateral
switch U616. U615B is used to set drive to the composite clipper. U616 operates as the
IN/OUT select function of the composite clipper. The output of U615B feeds D602 and D603,
these are biased diodes that set the clip threshold of the composite clipper. Buffer U614A
isolates the clipper from the IN/OUT function. NOTE: Since the signal present at the clipper
is only L+R and L-R, clipping action can only affect those signals. Since the 19kHz pilot has
not yet been added, this clipping function can not damage the pilot frequency.
The output of the switch selector U616A/B feeds summing amplifier U614D. Here the 19kHz
pilot frequency is mixed in. U615A provides attenuation to the pilot signal to allow pilot
modulation to be adjusted. The output of the summing amp U614D is the complete composite
signal.
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U622A/B/C form a gentle reconstruction filter to remove any residual digital components
from the composite signal. The output of this filter feeds two digital attenuators U623A/B.
These operate independently to set final output modulation of the system. The output of each
attenuator feeds the output sections of U624A/B respectively. These are configured using
power transistors as current drivers. This allows the output to source longer coaxial cable, if
necessary.
Both U624A/B utilize summing inputs to allow ancillary SCA signals to be mixed into the
main composite output. C620 nad C621 act as respective high pass filters to assist with
filtering out any unwanted low frequency components from the SCA signal. This helps with
minimizing cross-talk from the SCA signal into the main composite channel.
In Case of Difficulty
Should you encounter problems with the Unity 2000i, do not fret! Most problems can be diagnosed with the
following Troubleshooting Guide. If you are experiencing problems right out of the box, make sure that the unit
was delivered in good condition. Sometimes checking “under the hood” to see if all is OK inside will do the trick.
If that still does not provide you with satisfaction, then we recommend that you contact the Cutting Edge Customer
Service Department. From there a suitable plan of action can be assembled!
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UNITY TROUBLESHOOTING GUIDE
UNIT DOES NOT “BOOT” (screen is blank)
+ problem with micro-controller PCB #1
- bad PCB connection
- bad EPROM
- bad RAM
- bad CPU (80C188)
- bad UART (82050)
+ problem with Display PCB
- bad interconnect to motherboard
- bad connection
- bad LCD screen module
+ power supply +5V is out of 10% supply tolerance
- causing DS-1232 “watchdog” to reset
UNIT LOSES MEMORY
- check UART on PCB #1
- check RAM on PCB #1
- check DS-1232 on PCB #1
- verify PS +5V is within 5% of supply voltage
FRONT PANEL BUTTONS DO NOT OPERATE
- loss of any, or all of U9, U11, U12
FRONT PANEL BARGRAGHS DO NOT WORK
- loss of LED +25V supply
+ loss of A/D on PCB #1 (ADC0819)
- sometimes this chip “loses” memory and just needs to be
resented by removing and re-inserting
+ loss of any or all of the following matrix decoding chips
+ U1, U2, U3, U4, U5, U8, U9, U10, U11, U12
- this may coincide with loss of front panel button operation
FRONT PANEL BARGRAGHS ARE ALL AT FULL SCALE
+ problem with A/D on PCB #1 (ADC0819)
- sometimes this chip “loses” memory and just needs to be reseated by removing and re-inserting
NO OUTPUT SIGNAL (DISCRETE OUTPUTS)
- discrete output amplifier failure on Motherboard
+ clipper/filter failure PCB #8
- this can be confirmed if signal is present at input to PCB #8
+ loss of ramp generator signal on PCB #9
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- this would cause all AGC sections to shut off
+ loss of signal through the audio path of system
- check signal from input through each board - #2, #3, #6, #8
NO OUTPUT SIGNAL (COMPOSITE OUTPUT)
+ stereo generator failure PCB #9
+ check “ladder network” and summing amps
- R601 - R609
- possible loss of: U601, U602, U603, U604, U605, U613
NO PILOT OUTPUT
- loss of XTAL or associated components: U606, U607
- loss of: U613, U617, U618, U619, U620, U621
- not receiving PILOT ON command at U612 from PCB #1 (J1-18)
DISTORTED OUTPUT
+ check processor settings
- if “clip” drive levels are too high, distortion will be created
- if limiter mix levels are too high, dist will be created
- if “Threshold” levels are too low on limiter, dist can happen
+ failure of distortion control module
- check waveforms on PCB #8
ALL ADJUSTABLE FUNCTIONS ARE ERRATIC
- verify DQ & CLK trace connections on Motherboard
- check PIA’s on PCB #1
- verify that “DQ” & “CLK” are present through the system
- possible shorted DS-1267 that causes failure of DQ or CLK
SPECIFIC ADJUSTABLE FUNCTIONS ARE ERRATIC
- verify DQ & CLK trace connections to specific DS-1267
- check DS-1267 relative to that function
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APPENDIX
The following Appendix provides worksheets for the processing Prest Lists, Parts Lists, and
Schematics.
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UNITY 2000i REMOTE OPERATION
Remote operation of the Unity 2000i is achieved by using the Serial Communication port, on the Unity, and the
software provided with this manual. When connected to a computer, almost all front panel operation of the Unity
2000i is made available.
Remote operation can be configured in two ways. “DIRECT” mode, where the computer is connected locally via
null modem to the Unity at a separate location that is on the same premises. As would be the case when the unit is
installed in a master control room, and operation is located in another office. “MODEM” mode, where the computer
is remotely at another location, and the Unity and computer communicate to each other via modem.
Installation, setup, and operation of the Unity is fairly quick and easy. Just follow the ensuing instructions. Before
getting started though, it is wise to verify that the computer to be used, will support the enclosed software. The Unity
2000i remote software will operate on any DOS supported computer that provides VGA graphics. Systems
operating with less than VGA capabilities, will not be able to support the software.
Installation
The software is supplied in both 3 1/2” and 5 1/4” disk formats. For faster operation, it is recommended that the
program be installed on a hard disk, although the program will run directly off the floppy disk as well. If installing
on a hard disk, create a directory where the program will reside. May we suggest a directory named UNITY If so,
use the DOS Make Directory command to create the directory.
Starting at the computer’s root directory, type MD UNITY, then hit the return key. Now type CD UNITY to change
to the new directory. The computer screen should display the following:
C:\UNITY
Place the floppy disk in drive A. Select drive A by typing A: then hit return. The screen should now display the
drive A: prompt. Use the DOS WILDCARD COPY command to copy the four program files to drive C. To do this,
type COPY *.* C: then hit the return key. The computer should copy the program files and put them into the
C:\UNITY directory. To verify this, Select the hard drive by typing C: and then return. The screen should return to
C:\UNITY on the display. Use the DOS DIR *.* to check the directory. Four files should be listed. This completes
the installation of the software.
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Software
Start
Local Version:
New Connection
F1 1.01 Dial F2 Change Port Unity 2000 F3 Change Remote Baud F4 Change Number Level:
Comm
Baud Rate
Port
:
:
9600
Comm1
Setup
Starting the remote software is easy. For hard disk users, make sure you are in the UNITY sub-directory and type
UNITY, then press the return key. If starting from a floppy disk, insert the remote software into the desired drive
and type UNITY, then press return.
The program will begin by displaying a setup screen. The screen should look like this:
Phone Number :
UNITY 2000
Across the top will be a menu bar of setup options that allow the program to be configured. The following describes
each option:
Local
This enables communication with the UNITY 2000i by direct connection between a computer and the processor by
way of a serial cable operating as a null modem. From the setup screen, connection can be established by pressing
the ENTER key on the computer.
F1 Dial
When connecting via modem, pressing the F1 key will activate the modem and dial the telephone number assigned.
When using the modem, the program will update the screen on initializing, dialing, and connection status.
F2 Change Port
By pressing the F2 key, the desired communications port of the computer can be selected. The program provides
options to select from Comm 1 to Comm 4. Pressing F2 will automatically toggle among the choices.
F3 Change Baud
The baud rate is selected by pressing the F3 key. This will toggle the available rate between 1200, 2400, 4800, and
9600 baud. Remember that when setting the baud rate for a modem, to never exceed the maximum rate of the
modem.
F4 Change Number
When dialing with a modem, the desired number to call is set here. Press F4 , a message will appear on the screen
that will instruct you to “ENTER TELEPHONE NUMBER” . Enter the number that is to be dialed. Type in the
complete number. Do not insert hyphens or dashes. Example, when dialing a listed number such as 241-3343, it
should be entered as 2413343. If dialing out from a PBX system where a local line must be selected, enter the access
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UNITY
Leveler
2000
Input
Phase
50%
50%
Left
Right
Levels: Mix 70%
70%
Levels: Low
Wide Bass
ON
ON Enhance Band
Rotator
Gate AGC
55% 45% Mid Presence High
Crossover
20%
200 Low
Level:
Points: Mid
15% Level:
1500 5999 Presence- Mid
Hz
- Hz Presence High
(50 (600
(1200
- - 3000Hz)
-
3300Hz)
7000Hz)
F1 Leveler F2 Limiter F3 Other F4 Preset F5 Daypart F7 Refresh Quit
number followed by a comma, then the number to be dialed. Example, if you must dial 9 to get an outside line, you
would enter 9,2413343. The comma inserts a pause in the modem string and allows the outside line to be connected
before the actual number is dialed. Once the desired number to dialed is entered, press the return key. The phone
number will now be displayed in the Phone Number field on the setup screen.
Starting a Connection
Before accessing the Unity, a few items must be set. First the Unity 2000i must be set for Serial Communication. If
this has not been done, do it now. Remember to set the Unity Serial Comm port to ON as well as setting the
DIRECT/MODEM and BAUD RATE options. These are explained in the Unity 2000i manual. Next set the
options just described for the remote software. Make sure that the baud rate is set to the same rate as the Unity. If
operating in the LOCAL/DIRECT mode, it is recommended to set the baud rate to 9600. This will allow faster
response between the Unity and the computer.
If accessing by a LOCAL/DIRECT connection, you should be able to connect by pressing the ENTER key on the
computer. The computer will ask you for a password. You must enter the appropriate password for whichever level
you wish to access. If you are using the default password for level three, which is 3 4 5, then, you must enter 3 4 5
in order to gain remote access. Upon connection, the computer will display the Leveler screen. The screen should
appear just like the following diagram. If the connection is not made, a beep will be heard from the computer. If
unable to connect, check all software settings, and hardware connections/options and try again.
If using a modem, press the F1 key. Again the computer will ask for a password. The setup screen will prompt you
with initialization, dialing, and connection of the modem. Once connection has been made, the Unity will take a
moment to update the computer of all remote information and then display the Leveler screen.
Operation
Basic operation is achieved by using the following keys.
Allows movement from one field to another within the screen.
Confirms options selected.
Escapes from selected options, and is also used to terminate the remote connection.
and Used to change parameter values, or select parameter options.
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Used to select different menu screens.
Notice at the bottom of the Leveler screen, is another menu bar. Listed are the , and keys. They
list the additional menu options available. Pressing any of the F1 - F5 keys will display the additional menu screens.
Pressing the key will terminate the connection and end the Unity remote program. The menu bar will be
present at the bottom of all menu screens.
At this time try making some adjustments. From the initial connection the Leveler menu screen should be
displayed, the Left Input Level should be highlighted. To adjust this parameter, use the UP/DOWN arrow keys. The
screen should respond to adjustments made. Use the key to move to another field on the screen. When
adjusting an ON/OFF function, the UP/DOWN arrow keys will toggle between on and off. Try changing to another
menu screen, press the F2 key. The screen should display all of the Limiter parameters. Adjustments are made the
same as in the Leveler menu.
The F4 and F5 keys present the Preset and Daypart menus respectively. Selecting and setting these options is done
in the same manner as if setting the Unity locally. For these menus, the , , and
keys will be used. For most changes, the screen will prompt you on which keys to use. This prompt will
appear just above the menu bar.
F4 Presets
Pressing F4 will display the preset menu screen. Use the keys to select the desired preset and press
. The selected preset will be displayed just below the menu bar in the field marked UNITY PRESET. If
adding a preset, select ADD PRESET and press . A small sub-menu will appear just above to menu bar
in the lower right hand side of the screen. Type in the name that you want to name the added preset and press
. The new name will be added to the list, as well as be displayed in the UNITY PRESET field.
F5 Dayparts
Dayparts are added, or changed with the F5 key. When adding a daypart, press after selecting ADD
DAYPART. If no dayparts are listed, just press . Follow the prompt of instructions at the top of the
menu bar to facilitate the daypart function.
F7 Refresh
Pressing the F7 key will update the remote settings of the computer and reset the screen.
This completes the installation, setup, and operation instructions for the Unity 2000i remote software. It is
recommended that before full usage in the field, the the system be setup and operated in the LOCAL/DIRECT
mode. This will give the user the opportunity to experiment and get a feel for the system when both the Unity and
computer are located next to each other. This may save embarrassment from making unwanted changes live “on-
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Bass
A/CGeneral
Enhance 20%
LowMid Presence High
Crossover Leveler
Gate Limiter 15% Level
200
Mix
Attack
10025999 70%55%45% Frequencies Levels
Limiter Threshold
30%
Release
15%10%60%
50%50%40%
Time
Limiter Mix
35%35%75%
50%45%45%
Levels
Levels
Time
Clipper
Composite
35% Drive
Bass Crossover
AORGeneral
Enhance
25%
25%
LowMid
180 10025999 Frequencies
Presence Clipper(off) High
Leveler Gate
Limiter
15% Level
Mix
Attack
70%55%50% Levels
Threshold Limiter
30%
55% Release
15%10%60%
60%60%40% 35%35%75% Levels
Time
Clipper 35%
Drive
Mix 50%45%45% Levels Time
Composite
BYPASS
30%
General LowMid Presence
Clipper(off)
Bass Crossover Leveler Enhance 0% 180
Mix 10025999 50%50%50% Frequencies Levels
High
Gate Limiter
15% Level
Threshold Limiter 0%0%0%0%
0%0%0%0%
Release
Mix
Attack
50%50%50% Levels Levels
Time
Clipper
Composite
0%
0%
Drive
Clipper(off)
Bass
CHR
Enhance
General
45%
FRIENDLY LowMid Presence High
Crossover Leveler
Gate 15% Level
180
Mix 10025999 80%65%45% Frequencies Levels
Limiter
Threshold Limiter
35% 70%
55%
Release
Mix
Attack 15%10%60% 75%75%40%
35%35%75% 50%45%45% Levels Levels
Time
Clipper
Composite
40% Drive
Bass
CHR
Enhance
30% General
65%
HOSTILE LowMid Presence Clipper(off) High
Crossover Leveler
Gate 15% Level
180
Mix 10025999 90%75%50% Frequencies Levels
Limiter
Threshold Limiter
40% 75%
65%
Release
Mix
Attack 20%10%65% 90%90%50%
40%45%75% 55%45%40% Levels Levels
Time
Clipper
Composite
45%
25%
Drive
Clipper(off)
Bass
CLASSICAL
Enhance
General
0%
LowMid Presence High
Crossover Leveler
Gate Level 15%
20010026499 65%65%45%30%
Mix Frequencies Levels
Limiter
Threshold Limiter
30%5%5%60%
20%20%20%20%
60%35%35%75%
50%50%45%45%
Release
Mix
Attack
Levels Levels
Time
Clipper
Composite
30%
25%
Drive
Clipper(off)
Bass
COUNTRY
Enhance
General
25%
LowMid Presence High
Crossover Leveler
Gate Limiter Level 15%
25017016499 75%75%50%45%
Mix
Attack
Frequencies Levels
Limiter Threshold
30%15%10%60%
50%40%40%50%
Release
Time
Limiter
60%35%35%75%
50%50%45%45%
Mix
Levels
Levels
Time
Clipper
Composite
35% Drive
Bass Crossover
JAZZ/NEW
Enhance
General 30%
25%
LowMid
20017016499 Frequencies
AGE Clipper(off)
Presence High
Leveler Gate
Limiter
Level 15% 65%65%50%35%
Mix
Attack
Levels
Threshold Limiter
30%5%5%65%
30%40%40%40%
60%35%35%75%
Release Levels
Time
Clipper 30%
50%50%45%45%
Drive
Mix Levels Time
Composite
TALKGeneral
25%
LowMid
Clipper(off)
Bass Crossover Leveler Enhance 0% 20017026499 65%65%50%35%
Mix Frequencies
Presence
Levels
High
Gate Limiter
Level 15%
Threshold Limiter
30%25%25%25%
30%40%40%40%
60%40%40%75%
50%50%45%40%
Release
Mix
Attack
Levels Levels
Time
Clipper
Composite
25%
20%
Drive
Clipper(off)
Bass
URBAN
Enhance
General
65%
LowMid Presence High
Crossover Leveler
Gate Level 15%
15010026499 80%70%50%40%
Mix Frequencies Levels
Limiter
Threshold Limiter
30%10%10%60%
50%60%60%50%
60%35%35%75%
50%50%45%45%
Release
Mix
Attack
Levels Levels
Time
Clipper
Composite
35%
30%
Drive
Clipper(off)
Crossover
Bass
Leveler
Enhance
Gate Level
Mix Frequencies Levels
Limiter Threshold
Limiter
Release
Mix
Attack Levels
Levels
Time
Clipper
Composite
Drive
Bass
ITEMGeneral
Enhance
LowMid Presence Clipper High
Crossover Leveler
Gate Level
Mix Frequencies Levels
Limiter Threshold
Limiter
Release
Mix
Attack Levels
Levels
Time
Clipper
Composite
Drive
Bass
ITEMGeneral
Enhance
LowMid Presence Clipper High
Crossover Leveler
Gate Level
Mix Frequencies Levels
Limiter Threshold
Limiter
Release
Mix
Attack Levels
Levels
Time
Clipper
Composite
Drive
Clipper
VALUE 47žR3
RESISTORSCAPS
10.0K
REFERENCE
R701 R721-
QUANITY - 8
R10
- R726
VALUE 10PFC701
20PFC7021 1000PF R702
REFERENCE
C703-C706
QUANITY
100K R712, 6 R714 .47UF C707-C708
4
200K
R715,
R719, R711, 4
R717
R720 R713
.33UF C709-C713
DIODES
25
R716, R718 1N914
1N4001
D1-D4
D5-D10
4
80C188
ICS
CONNECTORS
6
74HC373 74HC245
U701
U702 U7141 EURO-CONN MALE 32 2X 2
& MISC
AT27C010 DS1386-32K
DS1232 82C55 U706-U707
U7031 U7041
U7051 2
3
CRYSTAL
PIN MALE
18.432MHZ
1
HEADER
SN
82050 ADC0819
DS 75179B
U7081 U7091
U7101 U711 3695 68
SOCKETS
LF347N 74HC04 U7121 U7131 814 20 PLCC1 PIN
28 32 PIN 3
DIP
40
PIN
PIN 2
DIP
DIP
VALUEQUANITY
RESISTORSCAPS
300ž 680ž 2
VALUEQUANITY
1.0K 2.0K
1 3
2200PF4 .01UF
.022UF4 .1UF
2
2.49K 3.01K 4 .15UF
8
4.99K 5.91K 1.0UF 25
8.06K 10.0K
12.4K 12.7K 37
6 1N9148
DIODES
15.0K 20.0K
22.1K 29.4K
4 AD713
ICS
30.1K 56.2K
1 LF347
LM3392 CD40251
62
71.5K 75.0K
88.7K 100K
4 2
CD40161 CD40663
200K 1.0M
13DS
4
74C02
MISC
1267-10
5.6M 7.5M
20M
114 HEADER
BERG IC STANDOFF JUMPER
24
- 3
VALUEQUANITY
RESISTORSCAPS
300ž 1.0K VALUEQUANITY
2.0K 2.10K 8
330PF 2000PF2
2200PF24 5600PF8
8
3.92K 10.0K
15.0K
248200PF2 48.068PF2
ICS
18
AD713 10HEADER
MISC
DS1267-10
CD40162
7
BERG JUMPER
12- 3
VALUEQUANITY
RESISTORSCAPS
1.0K 1.5K 17.1UF
VALUEQUANITY
2.49K 3.01K
5
6
.22UF
.47UF 3.32K 5.11K .68UF
1.0UF
23
10.0K 15.0K
4
40 2
2.2UF 91
20.0K 24.9K
29.4K 30.1K 6
LF347
ICS
49.9K 51.1K
4
83 LM3396
CD40254 CD40664
100K 150K
200K 499K 620K
16 4
6
1N91424
DIODES
1.0M 2.7M
4.7M 10M 2
17
VALUEQUANITY
RESISTORSCAPS
1.0K 3.01K 321.0UF
VALUEQUANITY
10.0K 20.0K
8
784.7UF
2.2UF 6
24.9K 29.4K
146.8UF 10UF 2
30.1K 47.5K 8 ICS
4
LF347
LM3394 DS1267-10
DS1267-100
8
4
VALUEQUANITY
RESISTORSCAPS
499ž 2.49K VALUEQUANITY
3.92K 4.32K 39PF 82PF
100PF 4.99K 10.0K 120PF
150PF
4
11.5K 12.7K
20180PF 220PF 13.3K 17.8K 560PF
680PF
4
21.5K 23.2K 820PF
1200PF6 2500PF2
2
27.4K 29.4K
44.2K 45.3K
6 5000PF2
49.9K 54.9K 68.1K DIODES
133K 200K ICS
4
309K 2 AD713 DS1267-10 41
VALUEQUANITY
RESISTORSCAPS
10ž 115ž VALUEQUANITY
324ž 487ž 5-50PF 6.8PF
8.2PF 10PF VAR
576ž 1.0K
2.0K 3.01K 4 27PF 33PF
68PF 1
5.11K 7.50K
5 100PF
300PF
2
10.0K 14.3K
1
142.2UF
.1UF 13
15.0K 15.8K
2
DIODES
6
17.8K 20.0K
27.4K 30.1K 3 1N91410
TRANSISTORS
2
43.2K 47.5K
56.2K 59.1K
2
2N39042
75.0K 100K 4
MJE
ICS
340 350
2
274K 1.0M
3.3M 1
AD712
AD713 CD40135
1
CD40666 74HC041
2
74HC082 74HC321 74HC194
DS1267-10
CRYSTAL
2
1.216 MHZ 1
VALUE
1.0K
RESISTORSCAPS
REFERENCE
R1
QUANITY
- 121UF R12
VALUE REFERENCE
C11 TANT
QUANITY
4.99K 68.1K
39.2K 3.01K
R13-R15 R161
R171 R181
3 20UF .22UF C3-C4 C21 TANT 2
4.7žR19-R29 11
KSLSW1-SW10
SWITCHS
ULN-2003ASDB161PH20F-1-2-36-36PC
IC'S
U1-U2
ENCODER SW11 10
ULN-2074B
74AHCT374 74AHCT238
CD
U10-U11
U3-U5 U6-U7
U8-U9
4050 3
2 LCDOPTREX
LCD SCREEN
74AHCT138 U121 INVERTER DMF5010-NF-FW
CXA-L10L
TRANSISTORS TDK
1N914
INVERTER
ENDICOT
E1242 1& RESEARCH
DIODES
2N4401
D1-D2
Q1
2
1
CONNECTORS & GROUP MISC
air”!
PRESET LIST DEFAULT SETTINGS
PROCESSING NOTES:
BLANK PROCESSING WORKSHEET
PARTS LIST
Unity 2000i
Manual Page
83

VALUE
75žR53-R54
RESISTORSCAPS
REFERENCE QUANITY
2
VALUE
100PF
REFERENCE
C11-C12
QUANITY
100ž R7, R15, R11,R12 13150PF C5-C6
R27-R30
R18 2000PF
5600PF
C2,C4
C1,C3
499ž 1.0KR6
R39-R42.33UF
R43, 21
R48
C7-C10
C13-C14
26
10.0K R4, R13,R14,R16
R17,
R9,R10 27
R19-26 DS
IC'S
U1,U5,U6 1267-10 3
& SOCKETS
13.3K
24.9K 30.1K
R49-R52LF347N
R3,
R5
R8 R32, AD
AD R33
U2 U3,
U4
713
712
2
U7
33.2K
45.3K
R37,R38 R2
R1 1
14 PIN 16
DIP
POWER SUPPLY
RESISTORS
CAPS
VALUE REFERENCE QUANITY VALUE REFERENCE QUANITY
301ž R2, R4 2 1UF C6, C7,C9,C10 4
1.0K R1 1 100UF C8 1
1.5K R3 1 4700UF C5 1
6800UF C1-C4 4
3.3F C11 1
RECTIFIERS
D1-D3 SAME AS BEFORE CONNECTORS & MISC
8 PIN MOLEX MALE 1
REGULATORS 9 PIN MOLEX MALE 1
LM7805 X3 1 CHOKE L1 1
LM7905 X4 1 SAME AS BEFORE
LM7815 X1 1
LM7915 X2 1
LM317 X5, X6 2
Unity 2000i
Manual Page
84