Orban 9400AM Manual

Operating Manual
OPTIMOD-AM
9400
Digital Audio Processor
Version 1.0 Software

IMPORTANT NOTE: Refer to the unit’s rear panel for your Model Number.
Model Number: Description:
9400 OPTIMOD 9400, Digital I/O, Five-band stereo proc-

essing, digital radio / HD AM / netcast processing,
115V (for 90-130V operation) or 230V (for 200-250V
operation)
9400J As above, but for 90-117V operation.
MANUAL:
Part Number: Description:
96129.100.01 9400 Operating Manual
CAUTION: TO REDUCE THE RISK OF ELECTRICAL SHOCK, DO NOT REMOVE COVER (OR BACK).
NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRICAL SHOCK,

DO NOT EXPOSE THIS APPLIANCE TO RAIN OR MOISTURE.
This symbol, wherever it appears, alerts you to

This symbol, wherever it appears, alerts you to important
the presence of uninsulated dangerous voltage
operating and maintenance instructions in the accompa-
inside the enclosure ⎯ voltage that may be
nying literature. Read the manual.
sufficient to constitute a risk of shock.
In accordance to the WEEE (waste electrical and electronic equipment) direc-

tive of the European Parliament, this product must not be discarded into the
municipal waste stream in any of the Member States. This product may be
sent back to your Orban dealer at end of life where it will be reused or recycled
at no cost to you.
If this product is discarded into an approved municipal WEEE collection site or

turned over to an approved WEEE recycler at end of life, your Orban dealer
must be notified and supplied with model, serial number and the name and
location of site/facility.
Please contact your Orban dealer for further assistance.
www.orban.com
IMPORTANT SAFETY INSTRUCTIONS
All the safety and operating instructions should be read before the appliance is operated.
Retain Instructions: The safety and operation instructions should be retained for future reference.
Heed Warnings: All warnings on the appliance and in the operating instructions should be adhered to.
Follow Instructions: All operation and user instructions should be followed.
Water and Moisture: The appliance should not be used near water (e.g., near a bathtub, washbowl, kitchen sink, laundry tub, in a wet base-
ment, or near a swimming pool, etc.).
Ventilation: The appliance should be situated so that its location or position does not interfere with its proper ventilation. For example, the appli-
ance should not be situated on a bed, sofa, rug, or similar surface that may block the ventilation openings; or, placed in a built-in installation, such as a
bookcase or cabinet that may impede the flow of air through the ventilation openings.
Heat: The appliance should be situated away from heat sources such as radiators, heat registers, stoves, or other appliances (including amplifiers)
that produce heat.
Power Sources: The appliance should be connected to a power supply only of the type described in the operating instructions or as marked on
the appliance.
Grounding or Polarization: Precautions should be taken so that the grounding or polarization means of an appliance is not defeated.
Power-Cord Protection: Power-supply cords should be routed so that they are not likely to be walked on or pinched by items placed upon or
against them, paying particular attention to cords at plugs, convenience receptacles, and the point where they exit from the appliance.
Cleaning: The appliance should be cleaned only as recommended by the manufacturer.
Non-Use Periods: The power cord of the appliance should be unplugged from the outlet when left unused for a long period of time.
Object and Liquid Entry: Care should be taken so that objects do not fall and liquids are not spilled into the enclosure through openings.
Damage Requiring Service: The appliance should be serviced by qualified service personnel when: The power supply cord or the plug has
been damaged; or Objects have fallen, or liquid has been spilled into the appliance; or The appliance has been exposed to rain; or The appliance does
not appear to operate normally or exhibits a marked change in performance; or The appliance has been dropped, or the enclosure damaged.
Servicing: The user should not attempt to service the appliance beyond that described in the operating instructions. All other servicing should be
referred to qualified service personnel.
The Appliance should be used only with a cart or stand that is recommended by the manufacturer.
Safety Instructions (European)
Notice For U.K. Customers If Your Unit Is Equipped With A Power Cord.
WARNING: THIS APPLIANCE MUST BE EARTHED.
The cores in the mains lead are coloured in accordance with the following code:
GREEN and YELLOW - Earth BLUE - Neutral BROWN - Live
As colours of the cores in the mains lead of this appliance may not correspond with the coloured markings identifying the terminals in your plug, pro-
ceed as follows:
The core which is coloured green and yellow must be connected to the terminal in the plug marked with the letter E, or with the earth symbol, or col-
oured green, or green and yellow.
The core which is coloured blue must be connected to the terminal marked N or coloured black.
The core which is coloured brown must be connected to the terminal marked L or coloured red.
The power cord is terminated in a CEE7 / 7 plug (Continental Europe). The green / yellow wire is connected directly to the unit's chassis. If you need to
change the plug and if you are qualified to do so, refer to the table below.
WARNING: If the ground is defeated, certain fault conditions in the unit or in the system to which it is connected can result in full line voltage between
chassis and earth ground. Severe injury or death can then result if the chassis and earth ground are touched simultaneously.
Conductor WIRE COLOR

Normal Alt
L LIVE BROWN BLACK
N NEUTRAL BLUE WHITE
E EARTH GND GREEN-YELLOW GREEN
AC Power Cord Color Coding
Safety Instructions (German)
Gerät nur an der am Leistungsschild vermerkten Spannung und Stromart betreiben.
Sicherungen nur durch solche, gleicher Stromstärke und gleichen AbschalAMerhaltens ersetzen. Sicherungen nie überbrücken.
Jedwede Beschädigung des Netzkabels vermeiden. Netzkabel nicht knicken oder quetschen. Beim Abziehen des Netzkabels den
Stecker und nicht das Kabel enfassen. Beschädigte Netzkabel sofort auswechseln.
Gerät und Netzkabel keinen übertriebenen mechanischen Beaspruchungen aussetzen.
Um Berührung gefährlicher elektrischer Spannungen zu vermeiden, darf das Gerät nicht geöffnet werden. Im Fall von Betriebsstörun-
gen darf das Gerät nur Von befugten Servicestellen instandgesetzt werden. Im Gerät befinden sich keine, durch den Benutzer
reparierbare Teile.
Zur Vermeidung von elektrischen Schlägen und Feuer ist das Gerät vor Nässe zu schützen. Eindringen von Feuchtigkeit und
Flüssigkeiten in das Gerät vermeiden.
Bei Betriebsstörungen bzw. nach Eindringen von Flüssigkeiten oder anderen Gegenständen, das Gerät sofort vom Netz trennen und
eine qualifizierte Servicestelle kontaktieren.
Safety Instructions (French)

On s'assurera toujours que la tension et la nature du courant utilisé correspondent bien à ceux indiqués sur la plaque de l'appareil.
N'utiliser que des fusibles de même intensité et du même principe de mise hors circuit que les fusibles d'origine. Ne jamais
shunter les fusibles.
Eviter tout ce qui risque d'endommager le câble seceur. On ne devra ni le plier, ni l'aplatir. Lorsqu'on débranche l'appareil,
tirer la fiche et non le câble. Si un câble est endommagé, le remplacer immédiatement.
Ne jamais exposer l'appareil ou le câble ä une contrainte mécanique excessive.
Pour éviter tout contact averc une tension électrique dangereuse, on n'oouvrira jamais l'appareil. En cas de dysfonctionnement,
l'appareil ne peut être réparé que dans un atelier autorisé. Aucun élément de cet appareil ne peut être réparé par l'utilisateur.
Pour éviter les risques de décharge électrique et d'incendie, protéger l'appareil de l'humidité. Eviter toute pénétration
d'humidité ou fr liquide dans l'appareil.
En cas de dysfonctionnement ou si un liquide ou tout autre objet a pénétré dans l'appareil couper aussitôt l'appareil
de son alimentation et s'adresser à un point de service aprésvente autorisé.
Safety Instructions (Spanish)

Hacer funcionar el aparato sólo con la tensión y clase de corriente señaladas en la placa indicadora de características.
Reemplazar los fusibles sólo por otros de la misma intensidad de corriente y sistema de desconexión. No poner nunca los fusibles en
puente.
Proteger el cable de alimentación contra toda clase de daños. No doblar o apretar el cable. Al desenchufar, asir el enchufe y no el
cable. Sustituir inmediatamente cables dañados.
No someter el aparato y el cable de alimentación a esfuerzo mecánico excesivo.
Para evitar el contacto con tensiones eléctricas peligrosas, el aparato no debe abrirse. En caso de producirse fallos de funcionamiento,
debe ser reparado sólo por talleres de servicio autorizados. En el aparato no se encuentra ninguna pieza que pudiera ser reparada por
el usuario.
Para evitar descargas eléctricas e incendios, el aparato debe protegerse contra la humedad, impidiendo que penetren ésta o líquidos
en el mismo.
En caso de producirse fallas de funcionamiento como consecuencia de la penetración de líquidos u otros objetos en el aparato,
hay que desconectarlo inmediatamente de la red y ponerse en contacto con un taller de servicio autorizado.
Safety Instructions (Italian)

Far funzionare l'apparecchio solo con la tensione e il tipo di corrente indicati sulla targa riportante i dati sulle prestazioni.
Sostituire i dispositivi di protezione (valvole, fusibili ecc.) solo con dispositivi aventi lo stesso amperaggio e lo stesso comportamento
di interruzione. Non cavallottare mai i dispositivi di protezione.
Evitare qualsiasi danno al cavo di collegamento alla rete. Non piegare o schiacciare il cavo. Per staccare il cavo, tirare la presa e mai
il cavo. Sostituire subito i cavi danneggiati.
Non esporre l'apparecchio e il cavo ad esagerate sollecitazioni meccaniche.
Per evitare il contatto con le tensioni elettriche pericolose, l'apparecchio non deve venir aperto. In caso di anomalie di funzionamento
l'apparecchio deve venir riparato solo da centri di servizio autorizzati. Nell'apparecchio non si trovano parti che possano essere riparate
dall'utente.
Per evitare scosse elettriche o incendi, l'apparecchio va protetto dall'umidità. Evitare che umidità o liquidi entrino nell'apparecchio.
In caso di anomalie di funzionamento rispettivamente dopo la penetrazione di liquidi o oggetti nell'apparecchio, staccare immediatamente
l'apparecchio dalla rete e contattare un centro di servizio qualificato.
PLEASE READ BEFORE PROCEEDING!
Manual
The Operating Manual contains instructions to verify the proper operation of this unit and initialization of certain options.
You will find these operations are most conveniently performed on the bench before you install the unit in the rack.
Please review the Manual, especially the installation section, before unpacking the unit.
Trial Period Precautions

If your unit has been provided on a trial basis:
You should observe the following precautions to avoid reconditioning charges in case you later wish to return the unit to
your dealer.
(1) Note the packing technique and save all packing materials. It is not wise to ship in other than the factory carton. (Re-
placements cost $35.00).
(2) Avoid scratching the paint or plating. Set the unit on soft, clean surfaces.
(3) Do not cut the grounding pin from the line cord.
(4) Use care and proper tools in removing and tightening screws to avoid burring the heads.
(5) Use the nylon-washered rack screws supplied, if possible, to avoid damaging the panel. Support the unit when tighten-
ing the screws so that the threads do not scrape the paint inside the slotted holes.
Packing
When you pack the unit for shipping:
(1) Tighten all screws on any barrier strip(s) so the screws do not fall out from vibration.
(2) Wrap the unit in its original plastic bag to avoid abrading the paint.
(3) Seal the inner and outer cartons with tape.
If you are returning the unit permanently (for credit), be sure to enclose:
• The Manual(s)
• The Registration / Warranty Card
• The Line Cord
• All Miscellaneous Hardware (including the Rack Screws and Keys)
• The Extender Card (if applicable)
• The Monitor Rolloff Filter(s) (OPTIMOD-AM only)
• The COAX Connecting Cable (OPTIMOD-AM and OPTIMOD-AM only)
Your dealer may charge you for any missing items.

If you are returning a unit for repair, do not enclose any of the above items.
Further advice on proper packing and shipping is included in the Manual (see Table of Contents).
Trouble
If you have problems with installation or operation:
(1) Check everything you have done so far against the instructions in the Manual. The information contained therein is
based on our years of experience with OPTIMOD and broadcast stations.
(2) Check the other sections of the Manual (consult the Table of Contents and Index) to see if there might be some sug-
gestions regarding your problem.
(3) After reading the section on Factory Assistance, you may call Orban Customer Service for advice during normal Cali-
fornia business hours. The number is (1) 510 / 351-3500.
WARNING
This equipment generates, uses, and can radiate radio-frequency energy. If it is not installed
and used as directed by this manual, it may cause interference to radio communication. This
equipment complies with the limits for a Class A computing device, as specified by FCC
Rules, Part 15, subject J, which are designed to provide reasonable protection against such
interference when this type of equipment is operated in a commercial environment. Operation
of this equipment in a residential area is likely to cause interference. If it does, the user will be
required to eliminate the interference at the user’s expense.
WARNING
This digital apparatus does not exceed the Class A limits for radio noise emissions from digi-
tal apparatus set out in the radio Interference Regulations of the Canadian Department of
Communications. (Le present appareil numerique n’emet pas de bruits radioelectriques
depassant les limites applicables aux appareils numeriques [de las class A] prescrites dans le
Reglement sur le brouillage radioelectrique edicte par le ministere des Communications du
Canada.)
IMPORTANT
Perform the installation under static control conditions. Simply walking across a rug can gen-
erate a static charge of 20,000 volts. This is the spark or shock you may have felt when
touching a doorknob or some other conductive surface. A much smaller static discharge is
likely to destroy one or more of the CMOS semiconductors employed in OPTIMOD-AM. Static
damage will not be covered under warranty.
There are many common sources of static. Most involve some type of friction between two
dissimilar materials. Some examples are combing your hair, sliding across a seat cover or
rolling a cart across the floor. Since the threshold of human perception for a static discharge
is 3000 volts, you will not even notice many damaging discharges.
Basic damage prevention consists of minimizing generation, discharging any accumulated
static charge on your body or workstation, and preventing that discharge from being sent to or
through an electronic component. You should use a static grounding strap (grounded through
a protective resistor) and a static safe workbench with a conductive surface. This will prevent
any buildup of damaging static.
U.S. patents 4,208,548, 4,460,871, 5,737,434, 6,337,999, 6,434,241 6,618,486, and 6.937,912
protect OPTIMOD 9400. Other patents pending.
Orban and Optimod are registered trademarks.

All trademarks are property of their respective companies.
This manual is part number 96129.100.01
The manual published October 2005

© Copyright Orban
1525 Alvarado Street, San Leandro, CA 94577 USA

Phone: (1) 510 / 351-3500; Fax: (1) 510 / 351-0500; E-Mail: custserv@orban.com; Site: www.orban.com
P / N: 96129.100.01
Operating Manual
OPTIMOD-AM
9400
Digital Audio Processor
Version 1.0 Software

Table of Contents
Index.........................................................................................................................0-9
Section 1 Introduction
.........................................................................................................................................1-1
ABOUT THIS MANUAL.......................................................................................................1-1

THE OPTIMOD-AM 9400 DIGITAL AUDIO PROCESSOR ......................................................1-1
Making the Most of the AM Channel....................................................................1-2
Controllable and Adjustable...................................................................................1-3
Versatile Installation................................................................................................1-4
PRESETS IN OPTIMOD-AM..............................................................................................1-5
Factory Presets .........................................................................................................1-5
User Presets ..............................................................................................................1-6
INPUT/OUTPUT CONFIGURATION ........................................................................................1-7
Digital AES3 Left/Right Input/Outputs...................................................................1-7
Analog Left/Right Input/Outputs ...........................................................................1-7
Remote Control Interface .......................................................................................1-8
Computer Interface .................................................................................................1-8
RS-232 Serial Port ............................................................................................................. 1-8
RJ45 Ethernet Connector ................................................................................................. 1-8
LOCATION OF OPTIMOD-AM ..........................................................................................1-8
Optimal Control of Peak Modulation Levels .........................................................1-8
Best Location for OPTIMOD-AM ..........................................................................1-10
If the transmitter is not accessible:................................................................................ 1-10
If the transmitter is accessible: ...................................................................................... 1-10
STUDIO-TRANSMITTER LINK .............................................................................................1-11
Transmission from Studio to Transmitter.............................................................1-11
Digital Links .................................................................................................................... 1-11
Dual Microwave STLs...................................................................................................... 1-12
Analog Landline (PTT / Post Office Line)....................................................................... 1-13
AM Transmitters and Antennas............................................................................1-13
Bypassing the Transmitter's Internal Filters and Clippers...................................1-14
Power Supplies ......................................................................................................1-15
Pre-1965 Transmitters............................................................................................1-16
Asymmetry .............................................................................................................1-16
Transmission Presets and Transmitter Equalization ............................................1-17
Antenna System.....................................................................................................1-18
USING LOSSY DATA REDUCTION IN THE STUDIO..................................................................1-19
ABOUT TRANSMISSION LEVELS AND METERING ..................................................................1-20
Meters ....................................................................................................................1-20
Figure 1-1: Absolute Peak Level, VU and PPM Reading ............................................... 1-20
Studio Line-up Levels and Headroom ..................................................................1-20
Transmission Levels................................................................................................1-21
LINE-UP FACILITIES .........................................................................................................1-22
Metering of Levels.................................................................................................1-22
Built-in Calibrated Line-up Tones.................................................................................. 1-22
Built-in Calibrated Bypass Test Mode............................................................................ 1-22
MONITORING.................................................................................................................1-22
Modulation Monitors and Their RF Amplifiers ...................................................1-22
Monitoring on Loudspeakers and Headphones..................................................1-23
Monitor Rolloff Filter ..................................................................................................... 1-23
Headphones .................................................................................................................... 1-24
EAS TEST ......................................................................................................................1-24
PC CONTROL AND SECURITY PASSCODE.............................................................................1-25
WHY THE NORTH AMERICAN NRSC STANDARD?...............................................................1-25
Figure 1-2: NRSC Modified 75 µs De-emphasis.............................................................. 1-26
AM Stereo Introduces a Pre-emphasis Dilemma ........................................................... 1-26
Figure 1-3: NRSC Lowpass Filter ..................................................................................... 1-27
NRSC Standard Pre-emphasis and Low-pass Filtering ................................................... 1-27
WARRANTY, USER FEEDBACK...........................................................................................1-28
User Feedback........................................................................................................1-28
LIMITED WARRANTY .............................................................................................1-28
INTERNATIONAL WARRANTY ...............................................................................1-28
EXTENDED WARRANTY ........................................................................................1-29
Section 2 Installation
.........................................................................................................................................2-1
INSTALLING THE 9400.......................................................................................................2-1

Figure 2-1: AC Line Cord Wire Standard.......................................................................... 2-2
Figure 2-2: Wiring the 25-pin Remote Interface Connector ........................................... 2-4
Figure 2-3: 9400 Serial Port Pin Identification................................................................. 2-4
Figure 2-4: Jumper Positions, Monitor Roll-Off Filter ..................................................... 2-5
Figure 2-5: Frequency Response Curves as Function of ROLLOFF Control, Monitor Rolloff
Filter Strapped for 18 dB/Octave...................................................................................... 2-6
Figure 2-6: Monitor Rolloff Filter Schematic Diagram.................................................... 2-7
9400 REAR PANEL ...........................................................................................................2-7
INPUT AND OUTPUT CONNECTIONS .....................................................................................2-8
Cable.........................................................................................................................2-8
Connectors ...............................................................................................................2-8
Analog Audio Input.................................................................................................2-9
Analog Audio Outputs ............................................................................................2-9
AES3 Digital Input and Output.............................................................................2-10
Grounding..............................................................................................................2-11
Power Ground........................................................................................................2-11
Circuit Ground .......................................................................................................2-11
9400 FRONT PANEL .......................................................................................................2-12
STUDIO LEVEL CONTROLLER INSTALLATION (OPTIONAL) .......................................................2-13
If you are using Orban 8200ST external AGC ......................................................2-13
Figure 2-7: 8200ST Jumper Settings (*Factory Configuration) ..................................... 2-15
QUICK SETUP .................................................................................................................2-16
ANALOG AND DIGITAL I/O SETUP .....................................................................................2-23
Overview of Transmitter Equalization........................................................................... 2-31
Description of the TX EQ Controls ................................................................................. 2-31
Procedure for LF Equalization........................................................................................ 2-31
Figure 2-8: Unequalized RF envelope (showing tilt)..................................................... 2-32
Figure 2-9: RF envelope requiring no tilt equalization................................................. 2-32
Figure 2-10: Unequalized RF envelope (showing ringing) ........................................... 2-34
Figure 2-11: RF envelope showing successful HF equalization..................................... 2-34
AUTOMATION USING THE 9400’S INTERNAL CLOCK ............................................................2-38
SECURITY AND PASSCODE PROGRAMMING .........................................................................2-41
To Create a Passcode: ............................................................................................2-42
To Edit a Passcode:.................................................................................................2-42
To Delete a Passcode: ............................................................................................2-43
To Lock the Front Panel Immediately: .................................................................2-43
To Program local lockout: .....................................................................................2-43
To Unlock the Front Panel: ...................................................................................2-43
Dial-up Networking and the Passcode.................................................................2-44
If You Have Forgotten Your Passcode..................................................................2-44
REMOTE CONTROL INTERFACE PROGRAMMING ..................................................................2-44
NETWORKING AND REMOTE CONTROL ..............................................................................2-46
RECALLING PRESETS VIA ETHERNET USING TERMINAL EMULATOR SOFTWARE .....................2-49
To set a different port number: .................................................................................... 2-49
To recall a preset: ........................................................................................................... 2-50
INSTALLING 9400 PC REMOTE CONTROL SOFTWARE ..........................................................2-50
Installing the Necessary Windows Services..........................................................2-51
Check Hardware Requirements............................................................................2-51
Running the Orban Installer Program .................................................................2-52
Setting Up Ethernet, LAN, and VPN Connections ...............................................2-53
Conclusion..............................................................................................................2-53
SYNCHRONIZING OPTIMOD TO A NETWORK TIME SERVER....................................................2-54
Table 2-1: NIST-referenced timeservers......................................................................... 2-55
APPENDIX: SETTING UP SERIAL COMMUNICATIONS .............................................................2-59
Preparing for Communication through Null Modem Cable ..............................2-59
Connecting Using Windows 2000 Direct Serial Connection:..............................2-59
Connecting Using Windows XP Direct Serial Connection ..................................2-64
Preparing for Communication through Modems ...............................................2-69
Connecting Using Windows 2000 Modem Connection ......................................2-69
Connecting using Windows XP Modem Connection ..........................................2-75
UPDATING YOUR 9400’S SOFTWARE.................................................................................2-81
Section 3 Operation
.........................................................................................................................................3-1
9400 FRONT PANEL .........................................................................................................3-1

SOME AUDIO PROCESSING CONCEPTS...................................................................................3-3
Loudness and density ....................................................................................................... 3-4
OPTIMOD-AM PROCESSING............................................................................................3-5
AM Processing: The Art of Compromise ................................................................3-6
Shortwave/HF Processing ................................................................................................. 3-7
Working Together............................................................................................................ 3-8
Processing for Low Bitrate Codecs and HD Radio.................................................3-8
Fundamental Requirements: High-Quality Source Material and Accurate
Monitoring.............................................................................................................3-10
Low-Delay Monitoring for Headphones ....................................................................... 3-10
Monitor Rolloff Filter for the Analog AM Channel...................................................... 3-11
Reference Radios for Adjusting the Analog AM Processing ........................................ 3-11
Modulation Monitors..................................................................................................... 3-12
More About Audio Processing .............................................................................3-12
Judging Loudness........................................................................................................... 3-13
Reverberation ................................................................................................................. 3-13
CUSTOMIZING THE 9400’S SOUND ...................................................................................3-14
Basic Modify...........................................................................................................3-14
Full Modify .............................................................................................................3-16
Advanced Modify ..................................................................................................3-16
Gain Reduction Metering .....................................................................................3-17
To Create or Save a User Preset ............................................................................3-17
FACTORY PROGRAMMING PRESETS ...................................................................................3-18
To import an HD preset from the 9400’s front panel: .................................................. 3-20
To import an HD preset from PC Remote:..................................................................... 3-20
Description of the Analog AM Factory Presets ............................................................. 3-21
Table 3-1: Analog AM Factory Programming Presets ................................................... 3-22
Description of the Digital Radio (HD) Factory Presets .................................................. 3-24
Table 3-2: Digital Radio Factory Programming Presets................................................. 3-24
EQUALIZER CONTROLS ....................................................................................................3-28
Table 3-3: Equalization Controls .................................................................................... 3-29
Figure 3-1: HF Receiver Equalizer Curves....................................................................... 3-33
STEREO ENHANCER CONTROLS .........................................................................................3-35
Table 3-4: Stereo Enhancer Controls.............................................................................. 3-36
Table 3-5: AGC Controls.................................................................................................. 3-37
AGC CONTROLS ............................................................................................................3-37
Advanced AGC Controls........................................................................................3-39
CLIPPER CONTROLS .........................................................................................................3-41
Table 3-6: Clipper Controls ............................................................................................. 3-42
MULTIBAND DYNAMICS PROCESSING ................................................................................3-45
Table 3-7: Multiband and Distortion Controls .............................................................. 3-45
Table 3-8: MB Attack / Release Controls ........................................................................ 3-46
Table 3-9: MB Band Mix Controls................................................................................... 3-48
Advanced Multiband Controls..............................................................................3-52
TEST MODES .................................................................................................................3-54
Table 3-10: Test Modes ................................................................................................... 3-54
ABOUT THE 9400’S DIGITAL RADIO PROCESSING................................................................3-55
Delay Difference between Digital-Channel and AM Outputs ...........................3-56
Table 3-11: Digital Radio I/O Setup Controls ................................................................. 3-56
Digital Radio I/O Setup Controls...........................................................................3-56
Monitoring ...................................................................................................................... 3-56
Analog Outputs .............................................................................................................. 3-56
Digital Outputs ............................................................................................................... 3-57
Stereo/Mono Mode......................................................................................................... 3-58
Table 3-12: Digital Radio Multiband Controls............................................................... 3-58
Digital Radio Operating Controls.........................................................................3-58
Table 3-13: Digital Radio Band Mix Controls................................................................. 3-59
USING THE 9400 PC REMOTE CONTROL SOFTWARE ...........................................................3-61
To set up a new connection: .................................................................................3-61
To initiate communication: ...................................................................................3-62
To modify a control setting:..................................................................................3-63
To recall a preset:...................................................................................................3-63
To import an HD preset:........................................................................................3-63
To save a user preset you have created: ..............................................................3-64
To back up User Presets, system files, and automation files onto your computer’s
hard drive:..............................................................................................................3-64
To restore archived presets, system files, and automation files:........................3-65
To modify INPUT/OUTPUT and SYSTEM SETUP: ...........................................................3-66
To modify AUTOMATION: .........................................................................................3-66
To group multiple 9400s: ......................................................................................3-66
Navigation Using the Keyboard ...........................................................................3-66
To Quit the Program..............................................................................................3-67
About Aliases created by Optimod 9400 PC Remote Software .........................3-67
Multiple Installations of Optimod 9400 PC Remote ...........................................3-67
To share an archived User Preset between 9400s:........................................................ 3-69
Section 4 Maintenance
.........................................................................................................................................4-1
ROUTINE MAINTENANCE ...................................................................................................4-1

SUBASSEMBLY REMOVAL AND REPLACEMENT .......................................................................4-2
FIELD AUDIT OF PERFORMANCE..........................................................................................4-6
Table 4-1: Decoder Chart for Power Supervisor ............................................................. 4-8
Table 4-2: Layout Diagram of J7, with expected voltages on each pin......................... 4-9
Table 4-3: Typical Power Supply Voltages and AC Ripple .............................................. 4-9
Section 5 Troubleshooting
.........................................................................................................................................5-1
PROBLEMS AND POTENTIAL SOLUTIONS ...............................................................................5-1

RFI, Hum, Clicks, or Buzzes............................................................................................... 5-1
Poor Peak Modulation Control........................................................................................ 5-1
Audible Distortion On-Air................................................................................................ 5-2
Audible Noise on Air ........................................................................................................ 5-3
Shrill, Harsh Sound ........................................................................................................... 5-4
Dull Sound ........................................................................................................................ 5-4
Excessive Occupied Bandwidth........................................................................................ 5-4
System Will Not Pass Line-Up Tones at 100% Modulation ............................................ 5-4
System Will Not Pass Emergency Alert System (“EAS” USA Standard) Tones at the
Legally Required Modulation Level ................................................................................ 5-5
System Receiving 9400’s Digital Output Will Not Lock .................................................. 5-5
L–R (Stereo Difference Channel) Will Not Null with Monophonic Input ...................... 5-5
AM Analog and Digital Channels Have Unequal Loudness ........................................... 5-5
Loudness Decreases Momentarily When the Radio Crossfades between Analog and
Digital Channels ............................................................................................................... 5-5
Excessive Sibilance (“ess” sounds) in the Digital Radio Channel ................................... 5-5
“Swishing,” “Phasing,” or “Underwater” Artifacts in the Digital Radio Channel ....... 5-6
General Dissatisfaction with Subjective Sound Quality.................................................. 5-6
Security Passcode Lost (When Unit is Locked Out) ......................................................... 5-7
Connection Issues between the 9400 and a PC, Modem, or Network ................5-7
Troubleshooting Connections.................................................................................5-7
You Cannot Access the Internet After Making a Direct or Modem Connection to
the 9400: ..................................................................................................................5-8
OS-SPECIFIC TROUBLESHOOTING ADVICE ............................................................................5-9
Troubleshooting Windows 2000 Direct Connect:..................................................5-9
Troubleshooting Windows 2000 Modem Connect:.............................................5-10
Troubleshooting Windows XP Direct Connect: ...................................................5-11
Troubleshooting Windows XP Modem Connect: ................................................5-12
TROUBLESHOOTING IC OPAMPS .......................................................................................5-13
TECHNICAL SUPPORT.......................................................................................................5-14
FACTORY SERVICE...........................................................................................................5-14
SHIPPING INSTRUCTIONS ..................................................................................................5-14
Section 6 Technical Data
.........................................................................................................................................6-1
SPECIFICATIONS ................................................................................................................6-1
Performance.............................................................................................................6-1
Installation ...............................................................................................................6-2
CIRCUIT DESCRIPTION........................................................................................................6-4
Overview ..................................................................................................................6-5
Control Circuits ........................................................................................................6-5
User Control Interface and LCD Display Circuits ...................................................6-6
Input Circuits............................................................................................................6-7
Output Circuits.........................................................................................................6-9
DSP Circuit..............................................................................................................6-10
Power Supply .........................................................................................................6-11
ABBREVIATIONS .............................................................................................................6-11
PARTS LIST.....................................................................................................................6-13
Obtaining Spare Parts ...........................................................................................6-13
Base Board .............................................................................................................6-13
CPU Module ...........................................................................................................6-15
RS-232 Board..........................................................................................................6-16
Power Supply .........................................................................................................6-17
Input/Output (I/O) Board: Main Board.................................................................6-18
Input/Output (I/O) Board: Daughter Board .........................................................6-22
DSP Board...............................................................................................................6-22
Display Board .........................................................................................................6-23
SCHEMATICS AND PARTS LOCATOR DRAWINGS ...................................................................6-24
Function Description Drawing Page

Chassis Circuit Board Locator and Basic In- Top view 6-27
terconnections (not to scale)
Base Board Glue logic; supports CPU module Parts Locator 6-28
and RS-232 daughterboard. Drawing
Contains:
System Connections Schematic 1 of 4 6-29
CPU module interface Schematic 2 of 4 6-30
Power Supply Monitor Schematic 3 of 4 6-31
CPLD, General Purpose Interface, Schematic 4 of 4 6-32
and Remotes
CPU Module Control microprocessor. Services Parts Locator 6-33
front panel, serial port, Ethernet, Drawing
DSP board, and control board. Re-
sides on base board.
Contains:
Ethernet Schematic 1 of 5 6-34
General Purpose Bus Schematic 2 of 5 6-35
Memory Schematic 3 of 5 6-36
Miscellaneous Functions Schematic 4 of 5 6-37
Power and Ground Distribution Schematic 5 of 5 6-38
RS-232 Board Supports Serial Port Parts Locator 6-39
Drawing
Schematic 1 of 1 6-40
Power Supply ±15V analog supply; ±5V analog Parts Locator 6-41
supply; +5V digital supply Drawing
I/O Board Analog Input/Output Parts Locator 6-43
AES3 Input/Output Drawing
Composite Output
SCA Input.
Contains:
L and R Analog Inputs Schematic 1 of 5 6-44
L and R Analog Outputs Schematic 2 of 5 6-45
Control and Digital I/O Schematic 4 of 5 6-46
Interface and Power Distribution Schematic 5 of 5 6-47
I/O Daughter Parts Locator 6-48
Digital Outputs 1 and 2
Board Drawing
DSP Board DSP Chips; Local +3.3V regulator. Parts Locator 6-50
Contains: Drawing
DSP Extended Serial Audio Inter- Schematic 1 of 7 6-51
face (ESAI)
DSP Host Interface Schematic 2 of 7 6-52
DSP Serial Peripheral Interface, Schematic 3 of 7 6-53
Power, and Ground
ISA Bus 8-bit I/O Schematic 4 of 7 6-54
Serial Audio Interface and Clock Schematic 5 of 7 6-55
Generation
Power Distribution Schematic 6 of 7 6-56
No-Connects Schematic 7 of 7 6-57
Display Board Front-Panel LCD, LEDs, Buttons, Parts Locator 6-58
and Rotary Encoder Drawing
DSP Block Shows signal processing 6-60
Diagram
Monitor Accessory packaged with 9400 Schematic 1 of 1 2-7
Rolloff Filter
Index
analog output
circuit description 6- · 9
8 analog output 2- · 9
antenna system 1- · 19
8200ST 2- · 13 anti-aliased 3- · 44
archiving presets 3- · 64
9 artifacts
minimizing codec 3- · 9
9400 HD 2- · 55 asymmetry 1- · 16, 18

9400 OPTIMOD-AM 1- · 1 attack 3- · 41
attack time controls 3- · 52
audio
A connections 2- · 8
output 2- · 10
A/D converter output, connecting 2- · 9
circuit description 5- · 8 Audio Precision 4- · 6
specification 6- · 2 auditing performance 4- · 6
Abbreviations 6- · 11 automation
AC Line Cord Standard 2- · 2 add event 2- · 39
Advanced Modify 3- · 16 delete event 2- · 41
AES/EBU I/O 2- · 10 edit event 2- · 41
AGC automation 2- · 38
bass attack control 3- · 41 automation 3- · 66
bass coupling control 3- · 39
bass delta threshold control 3- · 41
bass release control 3- · 41 B
bass threshold control 3- · 40
control list 3- · 37 backing up presets 3- · 64
defeating 3- · 37 balance adjust 2- · 25
drive control 3- · 37 balanced
dual band 3- · 39 inputs 2- · 9
external AGC setup 2- · 13 output, simulates transformer 2- · 10
gate threshold control 3- · 38 band coupling 3- · 50
idle gain control 3- · 41 base board
master attack control 3- · 41 removing 4- · 3
master delta threshold control 3- · 41 replacing 4- · 5
master release control 3- · 38 Basic Modify 3- · 14
matrix 3- · 40 Bass CLip Mode 3- · 42
Maximum Delta Gain Reduction control 3- ·
bass clip threshold 3- · 42
39
bass punch
meter 2- · 12, 2
and the bass clipper 3- · 42
ratio control 3- · 40
bass threshold 3- · 40
window release control 3- · 40
battery
window size control 3- · 40
replacing 6- · 6
analog I/O 1- · 7
Beatles 3- · 41
analog input
bit depth of internal processing 6- · 1
ref level, I/O setup 2- · 23 block diagram 6- · 60
analog landline 1- · 13 bounce 1- · 15
buttons and bass clipper mode 3- · 43
escape 2- · 12, 1 computer
modify 2- · 12, 1 connecting to 2- · 4
next 2- · 12, 1 interface, specifications 6- · 3
previous 2- · 12, 1 troubleshooting connections 5- · 7
RECALL 2- · 12, 1 Windows 2000 5- · 9
setup 2- · 12, 1 Windows XP 5- · 11
soft buttons 2- · 12, 1 computer interface
buzz 5- · 1 RS-232 2- · 8
bypass serial 2- · 8
local 1- · 24 computer interface 1- · 8
PC remote 1- · 25 connecting
remote interface 1- · 25 through Win XP direct serial 2- · 64
test mode 1- · 22 connection to PC
via GPI 2- · 45 troubleshooting 5- · 7
connectors
audio 2- · 8
C input and output 2- · 8
contrast 2- · 12, 1
cable control knob 2- · 12, 1
shielding 2- · 11
controls
type recommended for analog I/O 2- · 8
contrast 2- · 12, 1
chassis description 3- · 1
getting inside 4 · 2
corrosion 4- · 1
ground 2- · 11
CPU board
circuit board locator drawing 6- · 27
replacing 4- · 5
circuit description
CPU module
control 6- · 5
removing 4- · 3
LCD display 6- · 6
crossfade
user control interface 6- · 6
balancing loudness during 2- · 38
Crossover frequency 3- · 53
Classical music 3- · 25
cleaning front panel 4- · 1
clipper D
bass clip threshold control 3- · 42
clipper shape control 3- · 44 D/A converter
control list 3- · 41 circuit description 6- · 9
final clip drive control 3- · 44 specification 6- · 3
Clipping De-ess 3- · 51
Defined 3- · 3 De-esser 3- · 53
clock delay
battery 6- · 6 low-delay monitoring 3- · 24, 10
setting 2- · 38 delay 1- · 24
codec
delta release control 3- · 53
processing for low bit rate 3- · 9
digital I/O 1- · 7
common-mode rejection 2- · 11
digital input
components
obtaining 6- · 13
digital links 1- · 11
Compression
digital output
Defined 3- · 3
compressor gate 3- · 38
display assembly
Compressor look-ahead
removing 4 · 2
display board five-band
parts list 6- · 23 attack time controls 3- · 52
replacing 4 · 5 band coupling controls 3- · 50
distortion band on/off switch 3- · 52
excessive 5- · 6 band threshold control 3- · 48
specification 6- · 1 delta release control 3- · 53
testing 4- · 10 downward expander thresold control 3- · 50
troubleshooting 5- · 2 HF clipper threshold 3- · 44
dither 2- · 28 high frequency limiter control 3- · 52
DJ Bass control 3- · 34 limiter attack control 3- · 52
downward expander 3- · 50 multiband drive control 3- · 46
multiband gate threshold control 3- · 48
DSP
multiband limit threshold control 3- · 49
block diagram 6- · 60
multiband limiter drive control 3- · 49
mutiband release control 3- · 47
DSP board
output mix controls 3- · 51
removing 3- · 4
five-band 3- · 45
replacing 4- · 5
five-band structure
dual microwave STLs 1- · 12
setup controls 3- · 58
dull sound
frequency response
troubleshooting 5- · 4
specification 6- · 1
testing 4- · 9
E front panel 3- · 1
front panel description 2- · 12
EAS Full Modify 3- · 16
modulation low 5- · 5 fuse 2- · 7
test tones 1- · 24
easy setup 2- · 16
equalizer G
bass shelf 3- · 28
control list 3- · 28 gain reduction
parametric 3- · 30 meters 2- · 13, 2
transmitter 1- · 17 Gain Reduction
escape button 2- · 12, 1 Maximum Delta 3- · 53
Ethernet 2- · 46, 53, 62 gate
exit test threshold control 3- · 48
via GPI 2- · 45 gate 3- · 38

gate LED 2- · 13, 2
Gateway 2- · 53, 62
F gateway address 2- · 47
getting inside the unit 4 · 2
factory presets GPI
selecting 2- · 22 programming 2- · 45
tv 3- · 22 specifications 6- · 3
Factory presets GPI interface
Table of 3- · 24 testing 4- · 11
factory presets 1- · 5 ground
factory service 5- · 14 chassis 2- · 11
final clip drive 3- · 44 ground lift switch 2- · 3, 7
Firewall 2- · 53, 62 grounding
Firmware circuit 2- · 11
updating 9400 2- · 81 loss of 4- · 1
power 2- · 11 IP address 2- · 47
grounding 2- · 11 IP port 2- · 47
grouping 9400s 3- · 66
J
H
J.17
HD preset and 9400 digital I/O 1- · 7
importing 3- · 20 and NICAM 1- · 12
HDC codec deemphasis applied to digital audio input 6-
processing for 3- · 9 ·3
headphones defined 1- · 7
low delay monitoring 1- · 10 preemphasis applied to digital audio output
headphones 1- · 24 6- · 3
High Frequency Enhancer 3- · 35 Jazz format 3- · 26
high frequency limiter
threshold 3- · 44
high frequency limiter 3- · 52
L
highpass filter 1- · 18
LEDs
hum 5- · 1
gate 2- · 13, 2
level
I metering 1- · 21
setup 2- · 20
I/O transmission 1- · 21
AES/EBU 2- · 10
limiter
connections 2- · 3 attack 3- · 52
I/O board Limiting
replacing 4- · 5 Defined 3- · 3
IC opamps line voltage 2- · 2
troubleshooting 5- · 13 line-up tones
idle gain 3- · 41 system will not pass at 100% modulation 5- ·
importing HD preset 3- · 20 4
line-up tones 1- · 22
input
analog, specifications 6- · 2
LLHard mode 3- · 43
digital, specifications 6- · 3 location 1- · 8
meters 2- · 12, 2 location of 9400
input level optimum · 10
line-up 1- · 21 lock
maximum 2- · 9 driven equipment cannot lock to 9400 output
input meters 1- · 22 5- · 5
input select lockout
via GPI 2- · 45 immediate 2- · 43
input selector programming local 2- · 43
I/O setup 2- · 23 unlocking front panel 2- · 44
input/output board Lookahead
removing 4- · 3 Multiband Control 3- · 53
inspection of package contents 2- · 1 Look-ahead limiting
installation procedure 2- · 1 Defined 3- · 3
lossy data reduction
Instrumental format 3- · 26
in studio 1- · 20
Internet
NICAM 1- · 12
cannot access 5- · 8
used in STLs · 11
loudness
N
balancing AM and HD channel 2- · 38
NAB Broadcast and Audio System Test CD
insufficient 5- · 6
4- · 6
insufficient due to poor peak control 5- · 1
loudness/distortion tradeoff 3- · 44 network
timeserver 2- · 54
lowpass filter 1- · 18
networking 2- · 46
L–R will not null 5- · 5
News format 3- · 27
NEXT button 2- · 12, 1
M NICAM 1- · 12
noise
MAC address 5- · 7 troubleshooting 5- · 3
main board NRSC standard 1- · 25
reattaching 4 · 5 null modem cable
master delta threshold 3- · 41 communicating through 2- · 59
matrix, AGC 3- · 40 null modem cable 2- · 51
measuring performance 4- · 6
meter
O
gain reduction 3- · 17
meters output
AGC 2- · 12, 2 analog output level trim adjustment 4- · 9
circuit description 6- · 6 analog, connecting 2- · 9
gain reduction 2- · 13, 2 analog, specifications 6- · 2
input 2- · 12, 2 digital, setting dither 2- · 28
studio 1- · 20 digital, setting sample rate 2- · 28

digital, setting sync 2- · 28
Microsoft
digital, setting word length · 28
WMA codec 3- · 10
digital, specifications 6- · 3
modem
output level
preparing for connection 2- · 69
I/O setup 2- · 27, 29
recommended baud rate 2- · 70
quick setup 2- · 21
setting up 2- · 48
output mix controls 3- · 51
specification for 2- · 51
Windows 2000 configuration 2- · 69 overshoot
Windows XP configuration 2- · 75 in transmitter 1- · 14
modify button 2- · 12, 1 overshoot
modulation control excessive 5- · 1
troubleshooting poor 5- · 1 Overshoot Compensation Drive 3- · 44
modulation monitor
accuracy of 3- · 12
P
monitor
low-delay 3- · 24, 10
parts
monitor mute
obtaining 6- · 13
via GPI 2- · 46
parts list
monitor rolloff filter · 11
base board 6- · 13
Monitor Rolloff Filter 1- · 23
CPU module 6- · 15
monitor rolloff filter 2- · 5 display board 6- · 23
multiband drive 3- · 46 DSP board 6- · 22
multiband limit threshold 3- · 49 I/O board 6- · 18, 22
multiband llimiter drive 3- · 49 power supply 6- · 17
RS-232 board 6- · 16
parts list 6- · 13 sharing between 9400s 3- · 66, 69
passcode user presets 1- · 6
and dial-up networking 2- · 44 Presets
creating 2- · 42 Gregg 3- · 25
deleting 2- · 43 Impact 3- · 26
editing 2- · 42 Instrumental 3- · 26
programming 2- · 41 Jazz 3- · 26
recovering from lost 2- · 44 Loud 3- · 26
PC News-Talk 3- · 27
Orban installer program 2- · 52 Rock 3- · 27
Sports 3- · 27
PC board locator diagram 6- · 27
Table of factory 3- · 24
PC control
Urban 3- · 28
security 1- · 25
PREVIOUS button 2- · 12, 1
PC hardware requirements 2- · 51
processing
PC Remote
block diagram 6- · 60
aliases 3- · 67
Proof of Performance 1- · 3
moving alias folders 3- · 68
multiple coexisting versions 3- · 67
Proof of Performance 3- · 22, 54
upgrading versions 3- · 67 PuTTY 2- · 49
PC Remote Software 3- · 61
peak control criteria 1- · 8
Q
performance
measuring 4- · 6
phase-linear
system group delay spec · 9
Port R
Terminal 2- · 49
port, IP 2- · 47 rack-mounting unit 2- · 3
Ports 2- · 53, 62 radio
positive peak threshold 1- · 18 reference for processor adjustment 3- · 11
positive peaks 1- · 16 ratio
power AGC 3- · 40
cord 2- · 2, 8 rear panel 2- · 7
power 2- · 2 RECALL button 2- · 12, 1
power supply registration card 2- · 1
circuit description 6- · 11 release
parts list 6- · 17 fast 3- · 48
testing 4- · 8 medium-fast 3- · 47
transmitter 1- · 15 medium-slow 3- · 47
power supply board slow 3- · 47
reattaching 4 · 4 remote
removing 4 · 4 PC Remote software 3- · 61
pre-emphasis remote control
quick setup 2- · 17, 25 bypass 1- · 25
preset connecting 2- · 3
restoring archived 3- · 65 GPI, specifications 6- · 3
presets wiring 2- · 4
backup 3- · 64 remote control 2- · 8
customizing 3- · 14 remote interface
factory 1- · 5 functions controllable by 2- · 45
factory programming 3- · 18 GPI 1- · 8
saving user 3- · 6, 17
programming GPI 2- · 45 shrill sound
testing 4- · 11 troubleshooting 5- · 4
wiring 2- · 4 signal flow diagram 6- · 60
remote interface connector 2- · 8 soft buttons 2- · 12, 1
resolution Software
specification 6- · 1 updating 9400 2- · 81
RFI 5- · 1 software updates 1- · 4
right channel balance Sound Technology 4- · 6
I/O setup 2- · 25
spare parts
RJ45 jack 2- · 47 obtaining 6- · 13
Rock format 3- · 27 specifications 6- · 1
routine maintenance 4- · 1 spectrum analyzer 4- · 6
RS232 Speech/music detector 3- · 43, 53
testing 4- · 11
sports 3- · 48
RS232 board
Sports format 3- · 27
replacing 4- · 5
Stanford Research Systems 4- · 6
RS-232 connector 2- · 8
station ID
RS-232 interface
setting 2- · 22
Stereo Enhancer
removing board 4- · 2
Amount 3- · 36
Depth 3- · 36
Diffusion 3- · 36
S
In/Out 3- · 36
Ratio Limit 3- · 36
sample rate
Style 3- · 36
at digital output 6- · 3
stereo enhancer 3- · 35
internal, specification 6- · 1
stereo.mono switch
setting output 2- · 20
via GPI 2- · 45
sample rate converter
STL
testing 4- · 10
compatibility with 32 kHz sample rate 2- · 10
saving user presets 3- · 6, 17
overshoot in uncomressed digital 2- · 10
screen display 2- · 12, 1
systems 1- · 11
screens
studio chassis mode 2- · 19
System Setup 2- · 16
studio-transmitter link 1- · 11
Security
subassembly removal and replacement 4- ·
lock immediately 2- · 43
2
security 1- · 25
subnet mask 2- · 47
security 2- · 41
switches
Serial Communications
ground lift 2- · 3, 7
setting up 2- · 59
voltage select 2- · 2, 7
serial connection
system setup
setting up direct 2- · 48
serial connector 2- · 8
System Setup screen 2- · 16
service 5- · 14
Set clock
via GPI 2- · 46 T
setup
I/O 2- · 23 talk 3- · 48
quick 2- · 16
Talk format 3- · 27
setup button 2- · 12, 1
TCP/IP
shipping instructions 5- · 14 setting parameters 2- · 46
technical support 5- · 28, 14 volume
telephone support 5- · 28, 14 balancing AM and HD channel 2- · 38
Terminal Port 2- · 49 VPN, setting up 2- · 53, 62
test modes 3- · 22, 54
threshold control 3- · 48
tilt 1- · 15
W
time & date 2- · 17
warranty 1- · 28
timeserver 2- · 54
Warranty 1- · 28
tone
warranty 6- · 4
activate via GPI 2- · 45
window
top cover
release control 3- · 40
reattaching 4 · 5
window size control 3- · 40
removing 4 · 2
Windows
transmission preset
installing services 2- · 51
recall via GPI 2- · 46
Windows 2000
transmitter
adding direct serial connection 2- · 60, 64,
pre-1965 1- · 16
70, 77
transmitter equalizer 1- · 17
Direct Connect 5- · 9
transmitter overshoot 1- · 14
direct serial connection 2- · 59
troubleshooting modem connect 5- · 10
installation 5- · 1 modem connection 2- · 69
tv presets 3- · 22 Windows XP
direct connect 5- · 11
modem configuration 2- · 75
U modem connect 5- · 12
WMA codec 3- · 10
unlock front panel 2- · 44
word length
unpacking 2- · 1
at output, specification 6- · 3
Updating software 2- · 81 setting output 2- · 28
Urban format 3- · 28
user presets
archiving 3- · 18 X
creating 3- · 6, 15, 17
user presets 1- · 6 XLR connector
wiring standard 2- · 10
V
voltage select switch 2- · 2, 7
OPTIMOD-AM DIGITAL INTRODUCTION 1-1
Section 1
Introduction
About this Manual
The Adobe pdf form of this manual contains numerous hyperlinks and bookmarks. A
reference to a numbered step or a page number (except in the Index) is a live hyper-
link; click on it to go immediately to that reference.
If the bookmarks are not visible, click the “Bookmarks” tab on the left
side of the Acrobat Reader window.
This manual has a table of contents and index. To search for a specific word or
phrase, you can also use the Adobe Acrobat Reader’s text search function.
The OPTIMOD-AM 9400 Digital Audio Processor

Orban's all-digital 9400 OPTIMOD-AM Audio Processor can help you achieve the
highest possible quality in AM shortwave, medium wave and long wave broadcast
sound. OPTIMOD-AM delivers louder, cleaner, brighter, FM-like audio with an open,
fatigue-free quality that attracts listeners and holds them. Because all processing is
performed by high-speed mathematical calculations within Motorola DSP56362 digi-
tal signal processing chips, the processing has cleanliness, quality, and stability over
time and temperature that is unmatched by analog processors.
The 9400 supports iBiquity’s HD AM® in-band on-channel digital radio system. The
digital radio processing can also be used for simulcast netcasts or DRM digital broad-
casts. In this manual, the processing for these applications will be referred to as “HD
AM” processing, even though HD AM is only one application.
OPTIMOD-AM 9400 is descended from the industry-standard 9100 and 9200

OPTIMOD-AM audio processors. Thousands of these processors are on the air all
over the world. They have proven that the “OPTIMOD sound” attracts and keeps an
audience even in the most competitive commercial environment.
Because OPTIMOD-AM incorporates several audio processing innovations

exclusive to Orban products, you should not assume that it can be operated
in the same way as less sophisticated processors. If you do, you may get
disappointing results.
1-2 INTRODUCTION ORBAN MODEL 9400
Take a little time now to familiarize yourself with OPTIMOD-AM. A small investment
of your time now will yield large dividends in audio quality.
OPTIMOD-AM was designed to deliver a high-quality FM-like sound to the listener's

ear by pre-processing for the limitations of the average car or table radio (while
avoiding audible side effects and compromises in loudness or coverage). Because
such processing can make audible many defects ordinarily lost in the usual sea of
AM mud, it is very important that the source audio be as clean as possible. Orban's
publication Maintaining Audio Quality in the Broadcast Facility (available in .pdf
form from ftp.orban.com) contains valuable information and specific suggestions for
improving the quality of your audio.
The rest of Section 1 explains how OPTIMOD-AM fits into the AM broadcast facility.
Section 2 explains how to install it and set it up. Section 3 tells how to operate
OPTIMOD-AM. Sections 4 through 6 provide reference information.
For best results, feed OPTIMOD-AM unprocessed audio. No other audio processing is
necessary or desirable.
If you wish to place level protection prior to your studio / transmitter link (STL), use
an Orban studio level control system expressly designed for this purpose. (At the
time of this writing, this is the Orban 8200ST OPTIMOD-Studio Compressor/limiter /
HF Limiter / Clipper.) The 8200ST can be adjusted so that it substitutes for the broad-
band AGC circuitry in OPTIMOD-AM, which is then defeated.
Making the Most of the AM Channel

• The 9400 is suitable for long wave, medium wave, and shortwave (HF)
broadcasts.
• OPTIMOD-AM rides gain over an adjustable range of up to 25dB, compressing

dynamic range and compensating for operator gain-riding errors and for gain in-
consistencies in automated systems.
• OPTIMOD-AM increases the density and loudness of the program mate-

rial by multiband limiting and multiband distortion-canceling clipping, improv-
ing the consistency of the station's sound and increasing loudness and definition
without producing audible side effects.
• OPTIMOD-AM precisely controls peak levels to prevent overmodulation.

Asymmetry in the analog processing channel is adjustable from 100% to 150%
positive peak modulation.
• OPTIMOD-AM compensates for the high- and low-frequency rolloffs of

typical AM receivers with a fully adjustable program equalizer providing up to
20dB of high-frequency boost (at 5 kHz) without producing the side effects en-
countered in conventional processors. This equalizer can thus produce extreme
pre-emphasis that is appropriate for very narrow-band radios. OPTIMOD-AM's
fully parametric low- and mid-frequency equalizers allow you to tailor your air
sound to your precise requirements and desires. OPTIMOD-AM also fully supports
the NRSC standard pre-emphasis curve.
• OPTIMOD-AM is a stereo processor that fully protects CQUAM® transmissions,

conservatively complying with Motorola’s processing requirements that negative
peak modulation on the left and right channels be limited to –75% modulation.
• OPTIMOD-AM supports the iBiquity HD Radio® system. Except for common

stereo enhancement and AGC, the HD AM processor is an independent process-
ing chain with its own set of user-adjustable parameters, maintaining 15 kHz au-
dio bandwidth (per iBiquity’s specifications) regardless of the bandwidth setting
of the processing intended for the analog channel. To ensure source-to-source
consistency, the digital radio processing includes full five-band compres-
sion/limiting that is independent of the five-band compression/limiting in the
analog processing chain. This output can also be used for netcasts.
• Orban’s PreCode™ technology manipulates several aspects of the audio to

minimize artifacts caused by low bitrate codecs, ensuring consistent loudness and
texture from one source to the next. There are several HD factory presets tuned
specifically for low bitrate codecs. These presets have “LBR” in their names.
Controllable and Adjustable

• The 9400 comes with a wide variety of factory presets to accommodate al-
most any user requirement. The user can readily modify these presets. Modified
presets can be stored and recalled on command. Advanced Control (accessible
from the PC Remote application) facilitates detailed sound design using the
same controls that were available to the factory programmers.
• An LCD and full-time LED meters make setup, adjustment and programming
of OPTIMOD-AM easy — you can always see the metering while you’re adjusting
the processor. Navigation is by dedicated buttons, soft buttons (whose functions
are context-sensitive), and a large rotary knob. The LEDs show all metering func-
tions.
• OPTIMOD-AM contains a versatile real-time clock, which allows automation of

various events (including recalling presets) at pre-programmed times.
• A Bypass Test Mode can be invoked locally, by remote control (from either the
9400’s GPI port or the 9400 PC Remote application), or by automation to permit
broadcast system test and alignment or “proof of performance” tests.
• OPTIMOD-AM contains a built-in line-up tone generator, facilitating quick

and accurate level setting in any system.
• OPTIMOD-AM's software can be upgraded by running Orban-supplied

downloadable upgrade software on a PC. The upgrade can occur remotely
through the 9400’s Ethernet port or serial port (connected to an external mo-
dem), or locally (by connecting a Windows® computer to the 9400’s serial port
through the supplied null modem cable).
• The 9400 can be remote-controlled by 5-12V pulses applied to eight pro-

grammable, optically isolated “general-purpose interface” (GPI) ports.
• 9400 PC Remote software runs under Windows 2000 and XP. It communicates
with a given 9400 via TCP/IP over modem, direct serial, and Ethernet con-
nections. You can configure PC Remote to switch between many 9400s via a con-
venient organizer that supports giving any 9400 an alias and grouping multiple
9400s into folders. Clicking a 9400’s icon causes PC Remote to connect to that
9400 through an Ethernet network, or initiates a Windows Dial-Up or Direct Ca-
ble Connection if appropriate. The PC Remote software allows the user to access
all 9400 features (including advanced controls not available from the 9400’s
front panel), and allows the user to archive and restore presets, automation lists,
and system setups (containing I/O levels, digital word lengths, GPI functional as-
signments, etc.).
Versatile Installation
• The 9400 controls the transmitted bandwidth of the analog channel to
meet government regulations, regardless of program material or equaliza-
tion. The high-frequency bandwidth of the analog processing channel can be
switched instantly in 500Hz increments between 4.5 kHz and 9.5 kHz (NRSC). The
lower cutoff frequencies meet the output power spectral density requirements
of ITU-R 328-5 without further low-pass filtering at the transmitter, while the 9.5
kHz filter meets the requirements of the NRSC-1 standard (North America). The
5.0 kHz filter makes the analog AM bandwidth compatible with HD AM trans-
mission. The lowpass filters have parametric cutoff shapes, allowing you to trade
off filter ringing against frequency response flatness.
• OPTIMOD-AM compensates for inaccuracies in the pulse response (tilt,

overshoot, ringing) of transmitters and antenna systems with a powerful
four-parameter transmitter equalizer. A built-in square-wave generator makes
adjustment easy. Four sets of equalizer parameters can be stored and recalled, al-
lowing you to program day and night variations for two transmitters. You can set
equalization independently in the stereo sum and difference channels, facilitat-
ing adjustment in CQUAM AM stereo facilities.
• The 9400 includes analog and AES3 digital inputs.
• The analog inputs are transformerless, balanced 10kΩ instrumentation-

amplifier circuits. The analog outputs are transformerless balanced, and float-
ing (with 50Ω impedance) to ensure highest transparency and accurate pulse re-
sponse.
• Two sets of analog stereo outputs and two AES3 outputs accommodate as
many as four transmitters. Outputs can be switched independently to emit the
analog-channel signal, the digital-channel signal, or a low-delay monitor
signal suitable for talent headphones.
• Both the digital input and the two digital outputs are equipped with sample-
rate converters and can operate at 32 kHz, 44.1 kHz, 48, 88.2, and 96 kHz sam-
ple rates. The output levels are separately adjustable for the analog and digi-
tal outputs.
• OPTIMOD-AM is usually installed at the transmitter, replacing all processing

normally employed at the transmitter site, including compressor, protection peak
limiters, clippers, and high- and low-pass filters normally included within the
transmitter. It can also be installed at the studio if an uncompressed digital
STL is available.
• OPTIMOD-AM comes with a passive Monitor Rolloff Filter to accurately simu-

late the frequency response of an average receiver, for use in studio monitoring.
• All input, output, and power connections are rigorously RFI-suppressed to

Orban’s traditional exacting standards, ensuring trouble-free installation.
• The 9400 is designed and certified to meet all applicable international

safety and emissions standards.
Presets in OPTIMOD-AM
There are two distinct kinds of presets in OPTIMOD-AM: factory presets and user
presets.
Factory Presets
The Factory Presets are our “factory recommended settings” for various program
formats or types. The description indicates the processing structure and the type of
processing. Internally, each Factory Preset that appears on the Preset list is a library
of more than 20 separate sub-presets, one of which is the default when you recall
the Factory Preset via the RECALL button or from PC Remote. To access the remain-
ing sub-presets in a given Factory Preset, navigate to MODIFY PROCESSING > LESS-
MORE and use the AM or HD LESS-MORE control to adjust OPTIMOD-AM for less or
more AM or HD processing. The Factory Presets are listed and described starting on
page 3-18.
Factory Presets are stored in OPTIMOD-AM’s non-volatile memory and cannot be

erased. You can change the settings of a Factory Preset, but you must then store
those settings as a User Preset, which you are free to name as you wish. The Factory
Preset remains unchanged.
There are two sets of presets: one for the analog AM processing and one for the
digital radio processing (HD). The preset for the analog AM processing is the master
preset. In addition to parameters specific to the AM analog processing, it contains
the AGC and stereo enhancer parameters, which are common to both the AM ana-
log and digital radio processing chains. Additionally, it points to an associated HD
preset, which contains only the parameters exclusive to the digital radio processing
chain.
User Presets
User Presets permit you to change a Factory Preset to suit your requirements and
then store those changes.
You can store more than 100 User Presets, limited only by available memory in your
9400 (which will vary depending on the version of your 9400’s software). You can
give your preset a name up to 18 characters long.
User Presets cannot be created from scratch. You must always start by recalling a
Factory Preset. Make the changes, and then store your modified preset as a User
Preset. You can also recall a previously created user preset, modify it, and save it
again, either overwriting the old version or saving under a new name. In all cases,
the original Factory Preset remains for you to return to if you wish.
Unlike Factory Presets, User Presets contain parameters for both the AM analog and
digital radio (“HD”) processing. A preset, whether Factory or User, can be edited in
two ways to create a new User Preset. First, you can adjust any individual parameter
in both the AM analog or HD sections of the preset. Second, you can bulk-import all
of the HD parameters contained in any User Preset or Factory HD Preset.
When you edit a preset by bulk-importing HD parameters like this, they will over-
write the existing HD parameters in your edited preset, including any that you have
might have adjusted before you imported. HD parameters only include controls in
the HD processing chain after it splits from the AM processing chain, so bulk-
importing HD parameters will not change the AGC and Stereo Enhancer settings.
After importing the HD parameters, you are still free to adjust any individual AM or
HD parameter. When you are satisfied with your work, you can then save this com-
bination of AM and HD parameters as a new User Preset. Of course, you can then
use your new User Preset as a source for HD parameters to be imported into any
other User Presets you may wish to create or edit. For example, you could have six
User Presets with identical HD processing parameters but with different AM analog
processing parameters. The HD bulk import feature makes it easy to implement this
scenario.
User Presets are stored in non-volatile memory that does not require battery
backup. To Create or Save a User Preset on page 3-17 has more about User Presets.
Instructions for importing an HD preset are on page 3-20.
Input/Output Configuration
OPTIMOD-AM simultaneously accommodates:
• Digital AES3 left/right inputs and outputs.
• Analog left/right inputs and outputs.
Digital AES3 Left/Right Input/Outputs

The digital inputs and outputs conform to the professional AES3 standard. They
both have sample rate converters to allow operation at 32, 44.1, 48, 88.2, and 96
kHz sample frequency.
The left/right digital input is on one XLR-type female connector on the rear panel;
the left/right digital outputs are on two XLR-type male connectors on the rear panel.
OPTIMOD-AM provides digital and analog inputs and outputs. You select whether
OPTIMOD-AM uses the digital or analog input either locally or by remote interface.
If OPTIMOD-AM is set to accept a digital input and the feed fails, OPTIMOD-AM will
automatically switch back to the analog input.
If you are operating in mono, the 9400 can receive the signal from the left, right, or
sum of the left and right channels of either the analog or digital inputs. The 9400
can simultaneously process for HD AM in stereo while processing for the analog
channel in mono.
Level control of the AES3 input is accomplished via software control through System
Setup (see step 6 on page 2-25) or through PC Remote.
Both analog and digital outputs are active continuously.
The 9400’s output sample rate can be locked either to the 9400’s internal crystal
clock or to the sample rate present at its AES3 input.
The 9400 can apply J.17 de-emphasis to signals applied to its digital input and J.17
pre-emphasis to the processed signal emitted from its digital output. J.17 is a 6
dB/octave shelving pre-emphasis / de-emphasis standard with break points at 400 Hz
and 4 kHz. It is mainly used in older studio / transmitter links that use NICAM tech-
nology. The 9400’s provisions for J.17 make it fully compatible with systems using
this standard.
Analog Left/Right Input/Outputs

The left and right analog inputs are on XLR-type female connectors on the rear
panel. Input impedance is greater than 10kΩ; balanced and floating. Inputs can ac-
commodate up to +27dBu (0dBu = 0.775Vrms).
The two left and right analog output pairs are on XLR-type male connectors on the
rear panel. Output impedance is 50Ω; balanced and floating. The outputs can drive
600Ω or higher impedances, balanced or unbalanced. The peak output level is ad-
justable from –6dBu to +20dBu.
Level control of the analog inputs and outputs is accomplished via software control
through System Setup (see step 4 on page 2-23 and step 10 on page 2-29) or
through PC Remote.
Remote Control Interface

The Remote Control Interface is a set of eight optically isolated GPI inputs on a DB-
25 connector, which can be activated by 5-12V DC. They can control various func-
tions of the 9400. See page 2-44 for a list of functions and information on pro-
gramming the remote control interface.
Computer Interface
On the rear panel of the 9400 are an RS-232 serial port and an Ethernet port for in-
terfacing to IBM-compatible PCs. These computer interfaces support remote control
and metering, and allow downloading software upgrades.
Each 9400 package ships with 9400 PC Remote software, an application for any IBM-
compatible PC running Microsoft Windows 2000 (Service Pack 3) or XP. 9400 PC Re-
mote permits you to adjust any 9400 preset by remote control or to do virtually any-
thing else that you can do from the 9400’s front panel controls. The program dis-
plays all of the 9400’s LCD meters on the computer screen to aid remote adjustment.
RS-232 Serial Port

9400 PC Remote can communicate at up to 115 kbps via modem or direct connection
between the computer and the 9400 through their RS-232 serial ports.
RJ45 Ethernet Connector

The 9400 can be connected to any Ethernet network that supports the TCP/IP proto-
col.
See Networking and Remote Control on page 2-46 for more information.
Location of OPTIMOD-AM
Optimal Control of Peak Modulation Levels

The analog AM audio processing circuitry in OPTIMOD-AM produces a waveform
that is precisely peak-controlled to prevent overmodulation, and is lowpass filtered
to protect adjacent channels and to conform to government regulations. Severe
changes in the shape of the waveform can be caused by passing it through a circuit
with non-constant group delay and/or non-flat frequency response in the 30-9500Hz
range. Deviation from flatness and phase-linearity will cause spurious modulation
peaks because the shape of the peak-limited waveform is changed. Such peaks add
nothing to average modulation. Thus, the average modulation must be lowered to
accommodate those peaks so that they do not overmodulate. Transformers can
cause such problems.
Landline equalizers, transformers, and low-pass filters in transmitters typically intro-

duce frequency response errors and non-constant group delay. There are three crite-
ria for preservation of peak levels through the audio system:
1) The system group delay must be essentially constant throughout the frequency
range containing significant energy (30-9,500Hz). If low-pass filters are present,
this may require the use of delay equalization. The deviation from linear-phase
must not exceed ±10° from 30-9,500Hz.
2) The low-frequency −3 dB point of the system must be placed at 0.15Hz or lower

(this is not a misprint!). This is necessary to ensure less than 1% overshoot in a
50Hz square wave and essentially constant group delay to 30Hz.
3) Any pre-emphasis used in the audio transmission system prior to the transmitter
(such as in an STL) must be canceled by a precisely complementary de-emphasis:
Every pole and zero in the pre-emphasis filter must be complemented by a zero
and pole of identical complex frequency in the de-emphasis network. An all-pole
de-emphasis network (like the classic series resistor feeding a grounded capaci-
tor) is not appropriate.
In this example, the network could be fixed by adding a second resistor between
ground and the capacitor, which would introduce a zero.
Low-pass filters (including anti-aliasing filters in digital links), high-pass filters, trans-
formers, distribution amplifiers, and long transmission lines can all cause the above
criteria to be violated, and must be tested and qualified. It is clear that the above
criteria for optimal control of peak modulation levels are met most easily when the
audio processor directly feeds the transmitter. While OPTIMOD-AM’s transmitter
equalizer can mitigate the effects of group delay and frequency response errors in
the signal path, an accurate path will still achieve the best results.
The output of the digital radio-processing path is also precisely peak-controlled at

the 9400’s output. However, the HDC codec used in the HD AM system and the
aacPlus codec used in the DRM system, like all low bitrate lossy codecs, introduce
considerable overshoots as a side effect of throwing away data. When you adjust
the drive level into the codec, it is wise to monitor the output of a radio or modula-
tion monitor and to reduce the drive level to the codec until you no longer see clip-
ping.
Best Location for OPTIMOD-AM

The best location for OPTIMOD-AM is as close as possible to the transmitter so that
its output can be connected to the transmitter through a circuit path that introduces
the least possible change in the shape of OPTIMOD-AM’s carefully peak-limited
waveform. This connection could be short lengths of shielded cable (for transmitters
with analog inputs) or a direct AES3 connection (if the transmitter has a digital input
available). If this is impossible, the next best arrangement is to feed the 9400’s AES3
digital output through an all-digital, uncompressed path to the transmitter's exciter.
If the programming agency’s jurisdiction ends at the link connecting the audio facil-
ity to the transmitter, a variety of problems can occur downstream. (The link might
be telephone / post lines, analog microwave radio, or various types of digital paths.)
The link, the transmitter peak limiters, or the transmitter itself can all introduce arti-
facts that a studio-located audio processor cannot control.
If the transmitter is not accessible:

All audio processing must be done at the studio and you must tolerate any damage
that occurs later. If an uncompressed AES3 digital link is available to the transmitter,
this is an excellent, accurate means of transmission. However, if the digital link em-
ploys lossy compression, it will disturb peak levels by up to 4 dB. Lossy compression is
also inappropriate for another reason: it cannot accommodate pre-emphasized au-
dio (like OPTIMOD-AM‘s output) without introducing serious artifacts.
Unlike FM, where the transmitter usually can be set up to provide pre-
emphasis, AM transmitters are universally “flat.” Therefore, unlike FM,
there is no option when using lossy compression to de-emphasize at the
output of OPTIMOD-AM and then to restore the pre-emphasis at the
transmitter. The best one can do is to use NRSC pre-emphasis, apply NRSC
de-emphasis before the lossy link’s input, and then re-apply NRSC pre-
emphasis at the link’s output.
If only an audio link is available, use the 9400’s left and right audio outputs and feed
the audio directly into the link. If possible, request that any transmitter protection
limiters be adjusted for minimum possible action — OPTIMOD-AM does most of that
work. Transmitter protection limiters should respond only to signals caused by faults
or by spurious peaks introduced by imperfections in the link. To ensure maximum
quality, all equipment in the signal path after the studio should be carefully aligned
and qualified to meet the appropriate standards for bandwidth, distortion, group
delay and gain stability, and such equipment should be re-qualified at reasonable
intervals. (See Optimal Control of Peak Modulation Levels on page 1-8).
If the transmitter is accessible:

You can achieve the most accurate control of modulation peaks by locating
OPTIMOD-AM at the transmitter site or by connecting it to the transmitter through
an uncompressed digital STL.
Because OPTIMOD-AM controls peaks, it is irrelevant whether the audio link feeding
OPTIMOD-AM’s input terminals is phase-linear. However, the link should have low
noise, the flattest possible frequency response from 30-9,500, and low nonlinear dis-
tortion.
Studio-Transmitter Link
Transmission from Studio to Transmitter

There are several types of studio-transmitter links (STLs) in common use in broadcast
service: uncompressed digital, digital with lossy compression (like MPEG, Dolby®, or
APT-x®), microwave, analog landline (telephone / post line), and audio subcarrier on
a video microwave STL.
STLs in AM service are used in two fundamentally different ways. They can either:
• pass unprocessed audio for application to the 9400’s input, or
• pass the 9400’s peak-controlled analog or digital left and right audio outputs for
application to the transmitter.
These applications have different performance requirements. In general, a link that

passes unprocessed audio should have very low noise and low nonlinear distortion,
but its transient response is not important. A link that passes processed audio does
not need as low a noise floor as a link passing unprocessed audio. However, its tran-
sient response is critical. At the current state of the art, an uncompressed digital link
using digital inputs and outputs to pass audio in left/right format achieves best re-
sults. We will elaborate below.
Digital Links
Digital links may pass audio as straightforward PCM encoding or they may apply
lossy data reduction processing to the signal to reduce the number of bits per sec-
ond required for transmission through the digital link. Such processing will almost
invariably distort peak levels; such links must therefore be carefully qualified before
you use them to carry the peak-controlled output of the 9400 to the transmitter. For
any lossy compression system the higher the data rate, the less the peak levels will
be corrupted by added noise, so use the highest data rate practical in your system.
As stated above, links using lossy data reduction cannot pass an OPTIMOD-AM–
processed signal. However, it is practical (though not ideal) to use lossy data reduc-
tion to pass unprocessed audio to the 9400’s input. The data rate should be at least
of “contribution quality” — the higher, the better. If any part of the studio chain is
analog, we recommend using at least 20-bit A/D conversion before encoding. Be-
cause the 9400 uses multiband limiting, it can dynamically change the frequency re-
sponse of the channel. This can violate the psychoacoustic masking assumptions
made in designing the lossy data reduction algorithm. Therefore, you need to leave
“headroom” in the algorithm so that the 9400’s multiband processing will not un-
mask quantization noise. This is also true of any lossy data reduction applied in the
studio (such as hard disk digital delivery systems).
For MPEG Layer 2 encoding, we recommend 384 kB/second or higher.

Some links may use straightforward PCM (pulse-code modulation) without lossy
data reduction. If you connect to these through an AES3 digital interface, these can
be very transparent if they do not truncate the digital words produced by the de-
vices driving their inputs. Because the 9400’s AM analog-processed output is tightly
band-limited to 9.5 kHz or below and its digital radio output is tightly band-limited
to 15 kHz, any link with 32 kHz or higher sample frequency can pass either output
without additional overshoot.
Currently available sample rate converters use phase-linear filters (which have con-
stant group delay at all frequencies). Sample rate conversion, whether upward or
downward, will not add overshoot to the signal if it does not remove spectral en-
ergy from the original signal.
If the link does not have an AES3 input, you must drive its analog input from the
9400’s analog output. This is less desirable because the link’s analog input circuitry
may not meet all requirements for passing processed audio without overshoot.
NICAM is a sort of hybrid between PCM and lossy data reduction systems. It uses a
block-companded floating-point representation of the signal with J.17 pre-
emphasis.
Older technology converters (including some older NICAM encoders) may exhibit
quantization distortion unless they have been correctly dithered. Additionally, they
can exhibit rapid changes in group delay around cutoff because their analog filters
are ordinarily not group-delay equalized. The installing engineer should be aware of
all of these potential problems when designing a transmission system.
Any problems can be minimized by always driving a digital STL with an AES3 digital
output, which will provide the most accurate interface to the STL. The 9400’s digital
input and output accommodate sample rates of 32 kHz, 44.1 kHz, 48 kHz, 88.2 kHz,
and 96 kHz.
Dual Microwave STLs

Dual microwaves STLs use two separate transmitters and receivers to pass the left
and right channels in discrete form. Dual microwave STLs offer greater noise immu-
nity than composite microwave STLs. However, problems include gain- and phase-
matching of the left and right channels, overloads induced by pre-emphasis, and re-
quirements that the audio applied to the microwave transmitters be processed to
prevent overmodulation of the microwave system.
Lack of transparency in the path will cause overshoot. Unless carefully designed,
dual microwave STLs can introduce non-constant group delay in the audio spectrum,
distorting peak levels when used to pass processed audio. Nevertheless, in a system
using a microwave STL, the 9400 is sometimes located at the studio and any over-
shoots induced by the link are tolerated or removed by the transmitter’s protection
limiter (if any).
The 9400 can only be located at the transmitter if the signal-to-noise ratio of the STL
is good enough to pass unprocessed audio. The signal-to-noise ratio of the STL can
be used optimally if an Orban Studio AGC or an Orban Transmission Limiter protects
the link from overload.
If the 9400 is located at the transmitter and fed unprocessed audio from a micro-
wave STL, it may be useful to use a companding-type noise reduction system (like
dbx Type 2 or Dolby SR) around the link. This will minimize any audible noise
buildup caused by compression within the 9400.
Some microwave links can be modified such that the deviation from linear phase is
less than +10° from 20 Hz to 9.5 kHz and frequency response is less than 3 dB down
at 0.15Hz and less than 0.1 dB down at 20 kHz. This specification results in less than
1% overshoot with processed audio. Many such links have been designed to be eas-
ily configured at the factory for composite operation, where an entire FM stereo
baseband is passed. The requirements for maintaining stereo separation in compos-
ite operation are similar to the requirements for high waveform fidelity with low
overshoot. Therefore, most links have the potential for excellent waveform fidelity
if they are configured for composite operation.
Nevertheless, in a dual-microwave system, the 9400 is usually located at the main

AM transmitter and is driven by the microwave receivers. One of Orban’s studio level
control systems, such as the 8200ST, protects the microwave transmitters at the stu-
dio from overload. These units also perform the gain riding function ordinarily exe-
cuted by the AGC section of the 9400’s processing and they optimize the signal-to-
noise ratio obtainable from the dual-microwave link.
If the STL microwave uses pre-emphasis, its input pre-emphasis filter will probably
introduce overshoots that will increase peak modulation without any increases in
average modulation. If the studio level control system is capable of producing a pre-
emphasized output, we strongly recommend that the microwave STL’s pre-emphasis
be defeated and pre-emphasis performed in the studio level control system. This
frees the system from potential overshoot. (The Orban 8200ST can be readily con-
figured to produce a pre-emphasized output.)
Further, it is common for a microwave STL to bounce because of a large infrasonic

peak in its frequency response caused by an under-damped automatic frequency
control (AFC) phase-locked loop. This bounce can increase the STL’s peak carrier de-
viation by as much as 2dB, reducing average modulation. Many commercial STLs
have this problem.
Analog Landline (PTT / Post Office Line)

Analog landline quality is extremely variable, ranging from excellent to poor.
Whether landlines should be used or not depends upon the quality of the lines lo-
cally available and upon the availability of other alternatives. Due to line equalizer
characteristics and phase shifts, even the best landlines tend to veil audio quality
slightly. Moreover, slight frequency response irregularities and non-constant group
delay characteristics will alter the peak-to-average ratio, and will thus reduce the ef-
fectiveness of any peak limiting performed prior to their inputs.
AM Transmitters and Antennas

The behavior of an FM station is more or less determined by the behavior of the ex-
citer. Alas, this is not true in AM broadcast! The performance of an AM broadcast
station is highly dependent upon the high-power sections of the transmitter, and
upon the behavior of the antenna system.
The extremely high average power and the pre-emphasized high-frequency compo-
nent of audio processed by OPTIMOD-AM put great demands upon the performance
of the transmitter and antenna system. While improved results can be expected
from most plants, outstanding results can only be achieved by plants having trans-
mitters that can accurately reproduce OPTIMOD-AM's output without changing the
shape of the waveform, and having wideband, symmetrical antenna arrays.
Any AGCs, compressors, limiters, and clippers that follow OPTIMOD-AM in the circuit
should be bypassed. OPTIMOD-AM provides all of these functions itself.
Bypassing the Transmitter's Internal Filters and Clippers

Some AM transmitters, especially those supplied to stations outside of North or
South America, contain built-in filters and clippers after their audio inputs. The fil-
ters may have various purposes: A low-pass filter is often included to ensure that the
transmitter's output spectrum adheres to the occupied bandwidth specifications of
the governing authority. A high-pass filter may be present to protect the transmitter
from damage. Safety clippers are often present to prevent the modulator from be-
ing over-driven.
As discussed in earlier sections, accurate reproduction of OPTIMOD-AM's output re-

quires that the deviation from linear phase must be less than 10 degrees, 30-9500Hz.
Frequency response must be less than 3dB down at 0.15Hz, and less than 0.1dB
down at 9.5 kHz.
The highly processed output of OPTIMOD-AM is carefully band-limited and peak-

controlled. This output will often contain waveforms with flattops like square
waves. If the transmitter has constant group delay above 30Hz, these difficult wave-
forms will be transmitted intact and peak modulation will be accurately controlled.
However, if low-frequency response is more than 3dB down at 0.15Hz, as would be

true if a high-pass filter is present, the group delay above 30Hz will not be constant.
For example, a typical 50Hz high-pass filter introduces significant non-constant
group delay to 500Hz — ten times the cutoff frequency. This non-constant group de-
lay will tilt the flattops produced by OPTIMOD-AM. The tilt increases the peak level
of the audio waveform, but not the average level. This will force you to decrease
the average modulation to prevent the spurious peaks from overmodulating.
Similarly, a typical EBU 4.5 kHz filter will introduce significant non-constant group
delay down to 1 kHz about one-fourth the cutoff frequency. This will cause over-
shoot in the highly processed waveforms produced by OPTIMOD-AM. The overshoot
increases the peak level of the audio waveform, but not the average level. This will
force you to decrease average modulation even more.
Alternatively, if you do not decrease the average modulation to accommodate the

spurious peaks introduced by the filters, the transmitter’s safety clipper will clip the
peaks. This will introduce out-of-band energy that will almost certainly violate the
limits on occupied bandwidth specified by the governing authority and will greatly
degrade the spectral control provided by OPTIMOD-AM.
To achieve the full performance capability built into OPTIMOD-AM, any filters in the
transmitter must be bypassed. This is essential! OPTIMOD-AM contains low-pass and
high-pass filters that are fully capable of protecting the transmitter and controlling
occupied bandwidth. Because of their location within OPTIMOD-AM, the internal
filters do not introduce spurious modulation peaks.
Any built-in peak clippers in the transmitter should be defeated. OPTIMOD-AM con-
tains a clipping system that is fully capable of controlling transmitter modulation
without introducing out-of-band energy. If the drive level to the transmitter is even
slightly excessive, the transmitter clipper will be driven hard enough to create exces-
sive spurious spectrum. Defeating any clippers in the transmitter prevents this possi-
bility.
This problem will be even worse if OPTIMOD-AM's transmitter equalizer is in use.

OPTIMOD-AM's output level will frequently exceed 100% modulation because it is
pre-distorted to complement the transmitter's pulse response. The transmitter's
built-in safety clipper will surely clip this pre-distorted waveform.
Power Supplies
An AM transmitter is required to provide 150% of equivalent unmodulated carrier
power when it is modulating 100%. High-voltage power supplies are subject to two
major problems: sag and resonance.
Sag is a result of inadequate steady-state regulation. It causes the conventional car-

rier shift that is seen on a modulation monitor. Good transmitter engineering prac-
tice usually limits this shift to -5% (which corresponds to about 0.5dB not a highly
significant loudness loss).
A more serious problem is dynamic carrier shift, or bounce. This has been known to
cause up to 3dB loudness loss. Resonances in the power supply's LC filter network
usually cause it. Any LC network has a resonant frequency. In order to achieve rea-
sonable efficiency, the power supply filter network must be under-damped. There-
fore, high modulation excites this resonance, which can cause overmodulation on
the low-voltage peaks of the resonance.
Curing bounce is not at all straightforward because of the requirement that the
power supply filter smooth the DC sufficiently to achieve low hum. One approach
that has been employed is use of a 12-phase power supply. Upon rectification, the
ripple component of the DC is down about -40dB without filtering. A single-
capacitor filter can thus be used, eliminating the filter inductor as a potential source
of resonance with the capacitor.
Other sources of resonance include the modulation reactor and modulation trans-
former in conventional plate-modulated transmitters. Such transmitters will not
greatly benefit from a 12-phase power supply.
The newer generations of transmitters employ switching modulation techniques to

control bounce far better than do older plate-modulated designs. The latest trans-
mitters using digital modulation techniques have even better performance and most
are essentially transparent.
Pre-1965 Transmitters
Some older transmitters were under-designed by today's standards because modern
audio processing techniques to increase average modulation had not yet been de-
veloped and because the designers of those transmitters assumed that average
power demands on the modulator would be relatively small. If you have a transmit-
ter designed before 1965, you should monitor it carefully to make sure that
OPTIMOD-AM processing is not overheating the modulation transformer, the modu-
lation reactor, or the power supply. The high-frequency boost performed by
OPTIMOD-AM can cause unusually high voltages in the final amplifier, which could
cause arcing and/or component breakdown (although the latter is very rare).
There are no simple cures for such problems. Pre-1965 transmitters usually require
substantial modification, including the addition of heavier-duty components and
perhaps a completely new power supply for the modulator alone. Because of dra-
matic improvements in transmitter design since these transmitters were built, we
recommend that such transmitters be replaced. The latest solid-state transmitters
sound audibly better on-air and their higher efficiency reduces operating power
costs substantially.
Asymmetry
While the physics of carrier pinch-off limit any AM modulation system to an absolute
negative modulation limit of 100%, it is possible to modulate positive peaks as high
as desired. In the United States, the FCC permits positive peaks of up to 125% modu-
lation. Other countries have similar restrictions.
However, many transmitters cannot achieve such modulation without substantial

distortion, if they can achieve it at all. The transmitter's power supply can sometimes
be strengthened to correct this. Sometimes, RF drive capability to the final power
amplifier must be increased.
Voice, by its nature, is substantially asymmetrical. Therefore, asymmetrical modula-

tion was popular at one time in an attempt to increase the loudness of voice. Tradi-
tionally, this was achieved by preserving the natural asymmetry of the voice signal.
An asymmetry detector reversed the polarity of the signal to maintain greater posi-
tive modulation. The peaks were then clipped to a level of -100%, +125%.
OPTIMOD-AM takes a different approach: OPTIMOD-AM's input conditioning filter

contains a time dispersion circuit (phase scrambler) that makes asymmetrical input
material, like voice, substantially symmetrical.
OPTIMOD-AM permits symmetrical or asymmetrical operation of both the safety

clipper and multiband distortion-canceling clipper. Asymmetrical clipping slightly in-
creases loudness and brightness, and will produce dense positive peaks up to 125%
if this is desired. However, such asymmetrical processing by its very nature produces
both odd and even-order harmonic and IM distortion. While even-order harmonic
distortion may sound pleasingly bright, IM distortion of any order sounds nasty.
There is really nothing lost by not modulating asymmetrically: Listening tests easily
demonstrate that modulating symmetrically, if time dispersion has been applied to
the audio, produces a considerably louder and cleaner sound than does asymmetri-
cal modulation that retains the natural asymmetry of its program material.
Some of the newer transmitters of the pulse-width modulation type have circuitry
for holding the carrier shift constant with modulation. Since artificial asymmetry can
introduce short-term DC components (corresponding to dynamic upward carrier
shift), such carrier shift cancellation circuitry can become confused, resulting in fur-
ther distortion.
Transmission Presets and Transmitter Equalization

OPTIMOD-AM's transmitter equalizer can cure linear problems caused by the trans-
mitter or antenna system. However, the transmitter equalizer cannot cure nonlinear
problems, particularly those caused by inadequate power supplies, modulation
transformers, or reactors. If any of these components saturate or otherwise fail to
perform under heavy power demands, no amount of small-signal equalization will
solve their problems.
OPTIMOD-AM was designed with the assumption that one audio processor would
be devoted to no more than two transmitters, usually called main and standby (or
alternate). Each transmitter might be called upon to change power at night or to
drive a different antenna array. Only one transmitter is assumed to be on the air at a
given time.
To drive two transmitters, OPTIMOD-AM provides two analog outputs (called

ANALOG OUTPUT 1 and ANALOG OUTPUT 2) and two corresponding AES3 digital
outputs (DIGITAL OUTPUT 1 and DIGITAL OUTPUT 2).
OPTIMOD-AM provides four transmission presets for its transmitter equalizer con-
trols and certain other controls. Only one preset can be active at a given time; all
four outputs receive the same transmitter equalization. This is consistent with the
principle that only one transmitter will be on the air at any time.
You can access these presets in SETUP > TX PRESET. These presets can be modified in
SETUP > MODIFY > TX PRESET. Unlike settings in the factory processing presets, trans-
mission preset control settings automatically save and update when you change
them.
Transmitter equalizer controls in a given transmission preset include:
• LF Gain for the LF tilt equalizer for L+R (mono) [L+R LF GN]
• LF Breakpoint Frequency for the LF tilt equalizer for L+R [L+R LF FR]
• HF Shelf Breakpoint Frequency for L+R [L+R HF FR]

• HF Shelf Breakpoint Frequency for L–R [L–R HF FR]
• HF Delay equalization for L+R [L+R HF Φ]
• HF Delay equalization for L–R [L–R HF Φ]
Transmission Presets also contain the following controls:
• System Lowpass Filter Cutoff Frequency [LOW PASS]
• System Lowpass Filter Cutoff Shape [LPF SHAPE]
• System Highpass Filter Cutoff Frequency [HIGH PASS]
• Positive Peak Threshold (Asymmetry) [POS PEAK]
The transmitter equalizer operates in sum-and-difference mode, recognizing the

fact that, in CQUAM stereo, the envelope modulation is equal to the sum signal.
Hence, the sum (L+R) equalizer has all four controls available, while the difference
(L–R) equalizer offers only the HF shelf and HF delay adjustments. We assumed that
the L–R path (through the AM stereo exciter) would have no appreciable tilt, while
the L+R path (through the transmitter’s modulator) could suffer from tilt.
During mono operation, the L–R signal is zero and the L–R transmitter equalizer
controls have no effect.
For convenience, and to describe their most common application, the four transmit-
ter equalizer presets are labeled TX1/DAY, TX1/NIGHT, TX2/DAY, and TX2/NIGHT, al-
though they can be applied in a completely general way to the requirements of
your transmission facility.
For example, in countries observing NRSC standards you might want to transmit the
full 9.5 kHz bandwidth during the day, and, in cooperation with other stations on
first-adjacent channels, reduce audio bandwidth to 5 kHz at night. This will elimi-
nate any skywave-induced monkey-chatter interference between first-adjacent
channels. Alternatively, your nighttime directional antenna array might have poor
VSWR performance at high modulating frequencies, so you might find that your
transmitter works better and produces less distortion if you limit the audio band-
width to those frequencies where the antenna is well behaved. Further, if you oper-
ate a talk format during certain parts of the day, you will probably find that you can
operate the processing for a louder on-air sound if you restrict the transmitted
bandwidth below the maximum permitted by government regulation. (Bear in mind
that most AM radios have an audio bandwidth of 2.5-3 kHz and changing transmis-
sion bandwidth from 5 kHz to 9.5 kHz will produce virtually no audible difference
on these radios.)
Antenna System
AM antenna systems, whether directional or non-directional, frequently exhibit in-
adequate bandwidth or asymmetrical impedance. Often, a system will exhibit both
problems simultaneously.
An antenna with inadequate bandwidth couples RF energy into space with progres-
sively less efficiency at higher sideband frequencies (corresponding to higher modu-
lation frequencies). It reflects these higher-frequency sideband components back
into the transmitter or dissipates them in the tuning networks. This not only causes
dull sound on the air (and defeats OPTIMOD-AM's principal advantage: its ability to
create a highly pre-emphasized signal without undesirable side effects), but it also
wastes energy, can cause distortion, and can shorten the life of transmitter compo-
nents.
Asymmetrical impedance is the common point impedance's not being symmetrical

on either side of the carrier frequency when plotted on a Smith Chart. This problem
can cause transmitter misbehavior and sideband asymmetry, resulting in on-air dis-
tortion in receivers with envelope detectors.
Both of these limitations can cause severe problems in AM stereo and even worse
ones in HD AM installations.
Neither problem is easily solved. Unless the radio station engineer is a knowledge-
able antenna specialist, a reputable outside antenna consultant should be employed
to design correction networks for the system.
Note that many antenna systems are perfectly adequate, particularly for ordinary
mono analog transmission. However, if the transmitter sounds significantly brighter
and/or cleaner into a dummy load than it does into your antenna, the antenna sys-
tem should be evaluated and corrected if necessary.
As noted above, if your circumstances or budget preclude correcting your antenna's

bandwidth and/or symmetry, you will often get lower on-air distortion if you set
OPTIMOD-AM's low-pass filter to a lower frequency than the maximum permitted
by the government. Because OPTIMOD-AM's output bandwidth is easily adjustable
in real time, it is very easy to experiment to see which bandwidth gives the best au-
dio quality on an average AM radio, given the quality of your transmitter and an-
tenna.
Using Lossy Data Reduction in the Studio

Many stations are now using lossy data reduction algorithms like MPEG-1 Layer 2 to
increase the storage time of digital playback media. In addition, source material is
often supplied through a lossy data reduction algorithm, whether from satellite or
over landlines. Sometimes, several encode / decode cycles will be cascaded before
the material is finally presented to OPTIMOD-AM’s input.
All such algorithms operate by increasing the quantization noise in discrete fre-
quency bands. If not psychoacoustically masked by the program material, this noise
may be perceived as distortion, “gurgling,” or other interference. Psychoacoustic
calculations are used to ensure that the added noise is masked by the desired pro-
gram material and not heard. Cascading several stages of such processing can raise
the added quantization noise above the threshold of masking into audibility. In ad-
dition, at least one other mechanism can cause the noise to become audible at the
radio. OPTIMOD-AM’s multiband limiter performs an “automatic equalization”
function that can radically change the frequency balance of the program. This can
cause noise that would otherwise have been masked to become unmasked because
the psychoacoustic masking conditions under which the masking thresholds were
originally computed have changed.
Accordingly, if you use lossy data reduction in the studio, you should use the highest
data rate possible. This maximizes the headroom between the added noise and the
threshold where it will be heard. Also, you should minimize the number of encode
and decode cycles, because each cycle moves the added noise closer to the threshold
where the added noise is heard.
About Transmission Levels and Metering
Meters
Studio engineers and transmission engineers consider audio levels and their meas-
urements differently, so they typically use different methods of metering to monitor
these levels. The VU meter is an average-responding meter (measuring the approxi-
mate RMS level) with a 300ms rise time and decay time; the VU indication usually
under-indicates the true peak level by 8 to 14dB. The Peak Program Meter (PPM) in-
dicates a level between RMS and the actual peak. The PPM has an attack time of
10ms, slow enough to cause the meter to ignore narrow peaks and under-indicate
the true peak level by 5 dB or more. The absolute peak-sensing meter or LED indica-
tor shows the true peak level. It has an instantaneous attack time, and a release
time slow enough to allow the engineer to read the peak level easily. Figure 1-1
shows the relative difference between the absolute peak level, and the indications
of a VU meter and a PPM for a few seconds of music program.
Studio Line-up Levels and Headroom

The studio engineer is primarily concerned with calibrating the equipment to pro-
vide the required input level for proper operation of each device, and so that all de-
ABSOLUTE PEAK
PPM
VU
Figure 1-1: Absolute Peak Level, VU and PPM Reading

vices operate with the same input and output levels. This facilitates patching devices
in and out without recalibration.
For line-up, the studio engineer uses a calibration tone at a studio standard level,
commonly called line-up level, reference level, or operating level. Metering at the
studio is by a VU meter or PPM (Peak Program Meter). As discussed above, the VU or
PPM indication under-indicates the true peak level. Most modern studio audio de-
vices have a clipping level of no less than +21dBu, and often +24dBu or more. So the
studio standardizes on a maximum program indication on the meter that is lower
than the clipping level, so those peaks that the meter does not indicate will not be
clipped. Line-up level is usually at this same maximum meter indication. In facilities
that use VU meters, this level is usually at 0VU, which corresponds to the studio
standard level, typically +4 or +8dBu.
For facilities using +4dBu standard level, instantaneous peaks can reach +18dBu or
higher (particularly if the operator overdrives the console or desk). Older facilities
with +8dBu standard level and equipment that clips at +18 or +21dBu will experi-
ence noticeable clipping on some program material.
In facilities that use the BBC-standard PPM, maximum program level is usually PPM4
for music, PPM6 for speech. Line-up level is usually PPM4, which corresponds to
+4dBu. Instantaneous peaks will reach +17dBu or more on voice.
In facilities that use PPMs that indicate level directly in dBu, maximum program and
line-up level is often +6dBu. Instantaneous peaks will reach +11dBu or more.
Transmission Levels
The transmission engineer is primarily concerned with the peak level of a program
to prevent overloading or overmodulation of the transmission system. This peak
overload level is defined differently, system to system.
In FM modulation, it is the maximum-permitted RF carrier frequency deviation. In

AM modulation, it is negative carrier pinch-off. In analog telephone / post / PTT
transmission, it is the level above which serious crosstalk into other channels occurs,
or the level at which the amplifiers in the channel overload. In digital, it is the larg-
est possible digital word.
For metering, the transmission engineer uses an oscilloscope, absolute peak-sensing

meter, calibrated peak-sensing LED indicator, or a modulation meter. A modulation
meter usually has two components — a semi-peak reading meter (like a PPM), and a
peak-indicating light, which is calibrated to turn on whenever the instantaneous
peak modulation exceeds the overmodulation threshold.
Line-Up Facilities
Metering of Levels
The meters on the 9400 show left/right input levels and output modulation.
The output meters can be switched to read the left/right digital process-
ing chain output signal, the gain reductions of the left and right look-
ahead limiters in the digital processing chain, or the analog processing
chain output signal. In the latter case, the left-hand meter reads negative
peaks of the higher of the two stereo channels and the right-hand meter
reads the higher of the positive peaks.
Left and right input level is shown on a VU-type scale (0 to –40dB), while the meter-
ing indicates absolute instantaneous peak (much faster than a standard PPM or VU
meter). The input meter is scaled so that 0 dB corresponds to the absolute maximum
peak level that the 9400 can accept. If you are using the AES3 digital input, the
maximum digital word at the input corresponds to the 0 dB point on the 9400’s in-
put meter.
Built-in Calibrated Line-up Tones

To facilitate matching the output level of the 9400 to the transmission system that it
is driving, the 9400 contains an adjustable test tone oscillator that produces sine,
square, or triangle waves at 9400’s (analog or digital) left and right outputs. The
frequency and modulation level of the line-up tones can be adjusted from the front
panel (as described in Test Modes on page 3-54).
You can adjust the frequency and modulation level of the built-in line-up tone. You
can use the front panel, the PC Control software, or the opto-isolated remote con-
trol interface ports to activate the Test Tone.
Built-in Calibrated Bypass Test Mode

A BYPASS Test Mode is available to transparently pass line-up tones generated ear-
lier in the system. It will also pass program material, providing no gain reduction or
protection against overmodulation. It can transparently pass any line-up tone ap-
plied to its input up to about 130% output modulation, at which point clipping may
occur.
Monitoring
Modulation Monitors and Their RF Amplifiers

Many AM modulation monitors (particularly older ones) indicate dynamic modula-
tion inaccurately even though they may accurately measure sine-wave modulation.
This occurs producing overshoot and ringing. An incorrectly designed modulation
monitor may indicate that modulation is as much as 3dB higher than it actually is.
When modulation monitors are used at locations distant from the transmitter, they
are driven from highly selective RF amplifiers. These sometimes suffer from similar
problems. They can overshoot and ring if the passband filters are too sharp, causing
the monitor to falsely indicate high modulation.
If your modulation monitor does not agree with an oscilloscope monitoring the RF
envelope at the common point, do not assume that the monitor is indicating fast
peaks that your eye cannot see. A probable cause of the disparity is overshoot in the
modulation monitor or its RF amplifier. If you observe this problem, we recommend
that you assume that what you see on the oscilloscope is correct; oscilloscopes are
designed to display pulse waveforms accurately. (Make sure the oscilloscope is
switched to DC coupling.)
Note also that modulation percentages will vary depending on where in the trans-
mission system the RF sample is taken. Depending on the location observed, actual
modulation can be either lower or higher than modulation observed at the common
point. What is crucial is whether the carrier is actually pinched off at the final ampli-
fier because this carrier pinch-off is what causes splatter. On the other hand, if the
carrier appears is suppressed because of a particular choice of monitoring point
within the system, negative peaks will fold around zero instead of cutting off. This
causes no problem with out-of-band radiation, and far-field radiation is likely to
show normal AM modulation envelopes. We therefore recommend that you use an
RF sample from the final amplifier.
Monitoring on Loudspeakers and Headphones

Monitor Rolloff Filter
The output of a loudspeaker fed from the modulation monitor typically sounds shrill
and strident because, unlike virtually all real AM radios, the modulation monitor
and loudspeaker have a flat response. Rolloff filtering can be used to supply moni-
tors with audio that more closely resembles that heard over a typical receiver.
A passive Monitor Rolloff Filter is provided with the OPTIMOD-AM processor. The
filter is a small, independent unit designed to be installed between the modulation
monitor and the monitor amplifier. (See step 8 on page 2-5 for installation instruc-
tions). It provides complementary de-emphasis and a 10 kHz notch for off-air moni-
toring of NRSC standard audio the output of the rolloff filter accurately simulates
the sound of a standard NRSC receiver. Alternately, for use in non-NRSC countries,
an adjustable 18dB/octave rolloff that complements the 9400's HF GAIN control can
be selected with jumpers (see Figure 2-4 on page 2-5). Figure 2-5 on page 2-6 shows
the frequency response of the Monitor Rolloff Filter for various settings of its
ROLLOFF control.
If a different tonal balance is desired for off-the-air monitoring, install a simple pro-
gram equalizer after the Monitor Rolloff Filter and boost the 5 kHz region to taste.
If you are transmitting in stereo, you may wish to purchase a second monitor rolloff
filter from Orban. We only provide one filter with the 9400 because a vast majority
of 9400 users broadcast their analog AM signal in mono.
Do not use a monitor rolloff filter to monitor the digital channel of a decoded HD
AM signal.
Headphones
In live operations, the throughput delay introduced by advanced DSP-based process-
ing like that used on the 9400 can cause a problem with the DJ or presenter's head-
phones. See Low-Delay Monitoring for Headphones on page 3-10 for a discussion of
the 9400 low-delay monitoring feature.
EAS Test
For stations participating in the Emergency Alert System (EAS) in the United States,
broadcast of EAS tones and data can be accomplished in three different ways:
1. Run EAS tones and data through the 9400 in its normal operating mode.
Note that 9400 processing may not allow the full modulation level as required by
EAS standards. It may therefore be necessary to temporarily defeat the 9400’s proc-
essing during the broadcast of EAS tones and data. Placing the 9400 in its BYPASS
Test Mode can defeat the processing. The BYPASS GAIN control allows a fixed gain
trim through the 9400. See “Test Modes,” on page 3-54 for more information. Steps
2 and 3 below describe how to use BYPASS.
2. Place the 9400 in Bypass mode locally.
A) Navigate to SETUP > TEST > MODE and set MODE to BYPASS.
You can set the bypass gain with the BYPASS GAIN control located to the
right of the MODE control.
B) Begin EAS broadcast.
After the EAS broadcast, resume normal processing:
C) Set the MODE to OPERATE.
This will restore the processing preset in use prior to the Test Mode.
3. Program any two Remote Interface inputs for “Bypass” and “Exit Test,”
respectively. Then place the 9400 in Bypass mode by remote control.
A) Connect two outputs from your station remote control system to the
REMOTE INTERFACE connector on the rear panel of the 9400, according to
the wiring diagram in Figure 2-2 on page 2-4.
B) Program two GPI ports for BYPASS and EXIT TEST according to the instructions
in Remote Control Interface Programming starting on page 2-44.
C) Place the 9400 in bypass mode by remote control.
a) Switch the 9400 into BYPASS mode by a momentary command from your
station’s remote control to the GPI port programmed as BYPASS.
b) Begin EAS broadcast.
c) When the EAS broadcast is finished, switch the 9400 from BYPASS mode by
a momentary command from your station’s remote control to the GPI port
programmed as EXIT TEST.
You may also choose to insert EAS broadcast tones and data directly into the
transmitter, thus bypassing the 9400 for the duration of the EAS tones and data
broadcast.
PC Control and Security Passcode

PC software control provides access to OPTIMOD-AM via network, modem or direct
(null modem cable) connection, with IBM PC-compatible computers running Win-
dows. PC access is permitted only with a valid user-defined passcode.
PC remote control can be ended from the front panel; this feature effectively pre-
vents simultaneous remote and local control.
See Security and Passcode Programming (starting on page 2-42) for more detail.
Why the North American NRSC Standard?

Over the years, as the North American air waves have become more crowded, inter-
ference from first and second adjacent stations has become more and more of a
problem. Receiver manufacturers responded by producing receivers with decreased
audio bandwidth so that an adjacent station's modulation extremes would not be
audible as interference. This cutting of the bandwidth had the effect of reducing
the receiver's high-frequency response, but it was felt that lower fidelity would be
less obnoxious than interference. As long ago as 1978, Orban proposed and imple-
mented pre-emphasis and low-pass filtering for AM broadcast to provide brighter
sound at the receiver while minimizing interference. This approach has become
widely accepted. The NRSC-formalized standard is acceptable to all industry seg-
ments, and when implemented, can result in a vast improvement in AM radio.
AM Stereo Introduces a Pre-emphasis Dilemma

Certain AM receivers manufactured since 1984 for sale in North America, particularly
those designed for domestic AM stereo reception, have a frequency response that is
substantially wider than that of the typical mono AM receiver. The frequency re-
sponse was widened largely to enhance the sales potential of AM stereo by present-
ing a dramatic, audible improvement in fidelity in the showroom. As these new re-
ceivers became more prevalent, broadcasters had to choose whether the station's
pre-emphasis would be optimized for the new AM stereo receivers or for the exist-
ing conventional receivers that form the vast majority of the market. If the choice
was for conventional receivers (which implies a relatively extreme pre-emphasis), the
newer receivers might sound strident or exceptionally bright. If the choice favored
the newer receivers (less pre-emphasis and probably less processing), the majority of
receivers would be deprived of much high-end energy and would sound both qui-
eter and duller.
In response to this dilemma, the National Radio Systems Committee (NRSC) under-
took the difficult task of defining a voluntary recommended pre-emphasis curve for
AM radio that would be acceptable to broadcasters (who want the highest quality
sound on the majority of their listeners' radios) and to receiver manufacturers (who
are primarily concerned with interference from first- and second-adjacent stations).
After a year of deliberation, a modified 75-microsecond pre-emphasis/de-emphasis

standard was approved (See Figure 1-2). This provides a moderate amount of im-
provement for existing narrowband radios, while optimizing the sound of wideband
radios. Most importantly, it generates substantially less first-adjacent interference
than do steeper pre-emphasis curves. The second part of the NRSC standard calls for
a sharp upper limit of 10 kHz (at –15dB) for the audio presented to the transmitter.
(See Figure 1-3.)
Figure 1-2: NRSC Modified 75 µs De-emphasis

NRSC Standard Pre-emphasis and Low-pass Filtering
OPTIMOD-AM's NRSC low-pass setting is essentially flat to 9.5 kHz and substantially
exceeds the NRSC standards above that frequency. This essentially eliminates inter-
ference to second and higher adjacencies. While some have protested that this is in-
adequate and that 15 kHz audio should be permitted, the unfortunate fact is that
interference-free 15 kHz audio could only be achieved by a complete re-allocation
of the AM band.
On April 27, 1989, The FCC (U.S.A.) released a Report and Order that amended sec-
tion 73.44 of the FCC Rules by requiring all U.S. AM stations to comply with the oc-
cupied bandwidth specifications of the NRSC-2 standard by June 30, 1990. The NRSC-
2 standard is an RF mask that was derived from the NRSC-1 audio standard. The
purpose of the NRSC-2 RF mask is to provide a transmitted RF occupied bandwidth
standard that any station with a properly operating transmitter will meet if NRSC-1
audio processing is used prior to the transmitter and if the station is not overmodu-
lating.
OPTIMOD-AM complies fully with the NRSC-1 standard when the 9.5 kHz NRSC low-
pass filter is in use, the HF SHAPE control is set to NRSC, and the HF GAIN control is
set to +10.
Unfortunately, at this writing, the trend towards wider band receivers has reversed
and most receivers are no wider than they were in the 1970s. For this reason, many
engineers feel that using a third-order equalizer with 10 dB of ultimate boost pro-
vides a more intelligible sound on the average radio than does the NRSC curve. The
9400’s HF shelving equalizer can provide such a boost.
When a station is transmitting with 5 kHz audio bandwidth, the 9400’s 5 kHz low-
pass filter can produce audible ringing that some find objectionable. Using the
9400’s bell-shaped HF parametric EQ tuned to 3 kHz can reduce the effects of this
ringing by reducing the boost at 5 kHz by comparison to the 9400’s HF shelving EQ,
0 100%
-10 31.6%
Relative Amplitude (dB)
Modulation
-20 10%
Stopband Area
-30 3.2%
-40 1%
-50 0.32%
10 10.5 11 12 13 14 15
Audio Frequency (kHz)
Figure 1-3: NRSC Lowpass Filter

which maintains full boost all the way to 5 kHz.
Warranty, User Feedback
User Feedback
We are very interested in your comments about this product. We will carefully re-
view your suggestions for improvements to either the product or the manual. Please
email us at custserv@orban.com.
LIMITED WARRANTY
[Valid only for products purchased and used in the United States]
Orban warrants Orban products against defects in material or workmanship for a

period of two years from the date of original purchase for use, and agrees to repair
or, at our option, replace any defective item without charge for either parts or labor.
IMPORTANT: This warranty does not cover damage resulting from accident, misuse
or abuse, lack of reasonable care, the affixing of any attachment not provided with
the product, loss of parts, or connecting the product to any but the specified recep-
tacles. This warranty is void unless service or repairs are performed by an authorized
service center. No responsibility is assumed for any special, incidental, or consequen-
tial damages. However, the limitation of any right or remedy shall not be effective
where such is prohibited or restricted by law.
Simply take or ship your Orban products prepaid to our service department. Be sure
to include a copy of your sales slip as proof of purchase date. We will not repair
transit damage under the no-charge terms of this warranty. Orban will pay return
shipping. (See Technical Support on page 5-14.)
No other warranty, written or oral, is authorized for Orban Products.
This warranty gives you specific legal rights and you may have other rights that vary
from state to state. Some states do not allow the exclusion of limitations of inciden-
tal or consequential damages or limitations on how long an implied warranty lasts,
so the above exclusions and limitations may not apply to you.
INTERNATIONAL WARRANTY
Orban warrants Orban products against evident defects in material and workman-
ship for a period of two years from the date of original purchase for use. This war-
ranty does not cover damage resulting from misuse or abuse, or lack of reasonable
care, or inadequate repairs performed by unauthorized service centers. Performance
of repairs or replacements under this warranty is subject to submission of this War-
ranty/Registration Card, completed and signed by the dealer on the day of purchase,
and the sales slip. Shipment of the defective item is for repair under this warranty
will be at the customer’s own risk and expense. This warranty is valid for the original
purchaser only.
EXTENDED WARRANTY
Any time during the initial two-year Warranty period (but not thereafter), you may
purchase a three-year extension to the Warranty (yielding a total Warranty period
of five years) by remitting to Orban ten percent of the gross purchase price of your
Orban product. This offer applies only to new Orban products purchased from an
authorized Orban Dealer. To accept the extended five-year warranty, please sign and
date below and fax this copy to Gareth Paredes at (510) 351-0500.
I ACCEPT THE EXTENDED FIVE-YEAR WARRANTY
__________________________________________________________________________
DATE______________________________________________________________________
MODEL NUMBER: 9400
SERIAL NUMBER____________________________________________________________
OPTIMOD-AM DIGITAL INSTALLATION 2-1
Section 2
Installation
Installing the 9400
Allow about 2 hours for installation.
Installation consists of: (1) unpacking and inspecting the 9400, (2) checking the line
voltage setting, fuse, and power cord, (3) setting the Ground Lift switch, (4) mount-
ing the 9400 in a rack, (5) connecting inputs, outputs and power, (6) optional con-
necting of remote control leads and (7) optional connecting of computer interface
control leads.
When you have finished installing the 9400, proceed to “Quick Setup,” on page 2-
16.
DO NOT connect power to the unit yet!
1. Unpack and inspect.
If you note obvious physical damage, contact the carrier immediately to make a
damage claim. Packed with the 9400 are:
1ea. Operating Manual

2ea. Line Cords (domestic, European)
2ea. Fuses ( ½-A-250V Slow-Blow for 115V; 500mA-250V for 230V)
2ea. Fuse holders (gray for 115V fuses and black for 230V fuses)
4ea. Rack-mounting screws, 10-32 x ½ — with washers, #10
1ea. Null modem cable (for software upgrades and PC Remote con-
nection)
1ea. PC Remote Software CD
Save all packing materials! If you should ever have to ship the 9400 (e.g., for ser-
vicing), it is best to ship it in the original carton with its packing materials be-
cause both the carton and packing material have been carefully designed to pro-
tect the unit.
Complete the Registration Card and return it to Orban. (please)
The Registration Card enables us to inform you of new applications, per-
formance improvements, software updates, and service aids that may be
developed, and it helps us respond promptly to claims under warranty
2-2 INSTALLATION ORBAN MODEL 9400
without our having to request a copy of your bill of sale or other proof
of purchase. Please fill in the Registration Card and send it to us today.
(The Registration Card is located after the cover page).
Customer names and information are confidential and are not sold to
anyone.
2. Check the line voltage, fuse and power cord.
DO NOT connect power to the unit yet!

A) Check the VOLTAGE SELECT switch. This is on the rear panel.
The 9400 is shipped from the factory with the VOLTAGE SELECT switch set
to the 230V position. Check and set the VOLTAGE SELECT switch to your
local voltage requirements. To change the operating voltage, set the
VOLTAGE SELECT to 115V (for 90-130V) or 230V (for 200-250V) as appro-
priate.
B) Install the proper fuse and fuse holder, per your country’s standards.
The 9400 is shipped from the factory with the fuse, and fuse holder re-
moved. Select the appropriate fuse holder and fuse from the supplied
parts in the accessory kit. Use the gray fuse holder for domestic / 115V
operation, or the black fuse holder for European / 230V operation. For
safety, use ½-A-250V Slow-Blow for 115V, or 500mA-250V for 230V.
TYPE 18/3 SVT COR, TYP

(3 x .82 mm 2 )
CONDUCTOR WIRE COLOR

NORMAL ALT
L LINE BROWN BLACK

N NEUTRAL BLUE WHITE
E EARTH GND GREEN-YELLOW GREEN
PLUG FOR
115 VAC
(USA)
TYPE H05VV - F - 0.75
CONDUCTOR WIRE COLOR
L LINE BROWN
N NEUTRAL BLUE
E EARTH GND GREEN-YELLOW
PLUG FOR
230 VAC
(EUROPEAN)
Figure 2-1: AC Line Cord Wire Standard

C) Check the power cord.
AC power passes through an IEC-standard mains connector and an RF fil-
ter designed to meet the standards of all international safety authorities.
The power cord is terminated in a “U-ground” plug (USA standard), or
CEE7 / 7 plug (Continental Europe), as appropriate to your 9400’s Model
Number. The green / yellow wire is connected directly to the 9400 chassis.
If you need to change the plug to meet your country’s standard and you
are qualified to do so, see Figure 2-1. Otherwise, purchase a new mains
cord with the correct line plug attached.
3. Set Ground Lift switch.
The GROUND LIFT switch is located on the rear panel.

The GROUND LIFT switch is shipped from the factory in the GROUND position, (to
connect the 9400’s circuit ground to its chassis ground). This is almost always op-
timum.
4. Mount the 9400 in a rack.
The 9400 requires two standard rack units (3 ½ inches / 12.7 cm).
There should be a good ground connection between the rack and the 9400 chas-
sis — check this with an ohmmeter to verify that the resistance is less than 0.5Ω.
Mounting the unit over large heat-producing devices (such as a vacuum-tube
power amplifier) may shorten component life and is not recommended. Ambient
temperature should not exceed 45°C (113°F) when equipment is powered.
Equipment life will be extended if the unit is mounted away from sources of vi-
bration, such as large blowers and is operated as cool as possible.
5. Connect inputs and outputs.
See the hookup and grounding information on the following pages.
TOPIC PAGE
Audio Input and Audio Output Connections.............................................2-8

AES3 Digital Input and Output .................................................................2-10
Grounding ..................................................................................................2-11
6. Connect remote control interface. (optional)
For a full listing of 9400’s extensive remote control provisions, refer to Remote
Control Interface Programming on page 2-44.
Optically isolated remote control connections are terminated in a type DB-25
male connector located on the rear panel. It is wired according to Figure 2-2. To
select the desired function, apply a 5-12V AC or DC pulse between the appropri-
ate REMOTE INTERFACE terminals. The (−) terminals can be connected together
and then connected to ground at pin 17 to create a Remote Common. A current-
limited +12VDC source is available on pin 25. If you use 48V, connect a 2kΩ
±10%, 2-watt carbon composition resistor in series with the Remote Common or
the (+) terminal to provide current limiting.
In a high-RF environment, these wires should be short and should be run

through foil-shielded cable, with the shield connected to CHASSIS GROUND at
both ends.
PIN ASSIGNMENT
1. COMMON
2. REMOTE 1+
3. REMOTE 2+
4. REMOTE 3+
5. REMOTE 4+
6. REMOTE 5+
7. REMOTE 6+ REMOTE INTERFACE
8. REMOTE 7+
9. REMOTE 8+
10. TALLY 1
11. TALLY 2
12. N/C
13. POWER COMMON
14. REMOTE 1-
15. REMOTE 2-
16. REMOTE 3-
17. REMOTE 4-
18. REMOTE 5-
19. REMOTE 6-
20. REMOTE 7-
21. REMOTE 8-
22-24. N/C
25. +12 VOLTS DC
Figure 2-2: Wiring the 25-pin Remote Interface Connector
7. Connect to a computer
You can connect to a computer via the 9400’s serial connector or via an Ethernet
network.
You must have the 9400 PC Remote application installed on your com-
puter before you upgrade your 9400’s firmware because 9400 PC Remote
manages the upgrade.
See Networking and Remote Control on page 2-46, Appendix: Setting Up Serial
Figure 2-3: 9400 Serial Port Pin Identification

Communications on page 2-59, Installing 9400 PC Remote Control Software on
page 2-50, and Using the 9400 PC Remote Control Software on page 3-61 for
more detail.
8. Install Monitor Rolloff Filter.
This filter alters the flat response typical of a modulation monitor's audio output
to one that more closely resembles that of an actual AM receiver. It is a passive
filter, requiring no power supply. Its metal flange is drilled such that it can be
mounted to one rail of a standard rack. (See page 1-23 for more about studio
monitoring.)
One Monitor Rolloff Filter is supplied with your OPTIMOD-AM. Additional Moni-
tor Rolloff Filters may be ordered from your authorized Orban Broadcast Dealer.
A) Select rolloff response.
The Monitor Rolloff Filter is supplied jumpered for NRSC WITH 10 KHZ
NOTCH, unless otherwise noted.
• NRSC with 10 kHz NOTCH
Accurately simulates the sound of a standard NRSC receiver. Also useful
for remote off-air monitoring because it filters out the 10 kHz whistles
caused by interfering first-adjacent stations (in countries with 10 kHz
channel spacing). Intended to complement the HF CURVE NRSC setting
in OPTIMOD-AM.
Note that very few real radios have a frequency response resembling the
NRSC standard. Therefore, the NRSC rolloff will result in substantially
brighter sound than most radios provide, and the 18dB/OCTAVE setting
provides a more realistic simulation of a typical radio.
• NRSC: NRSC rolloff without 10 kHz notch.
Figure 2-4: Jumper Positions, Monitor Roll-Off Filter

• 18dB/OCTAVE
Simulates the sound of an average narrowband AM/MW receiver except
that it shelves off above 6 kHz instead of continuing to rolloff as a real
radio would. This rolloff complements an HF CURVE setting of 0 in
OPTIMOD-AM. The amount of rolloff is adjustable with the filter's high
frequency ROLLOFF control to complement the setting of the HF GAIN
control on OPTIMOD-AM.
B) Change the jumpers to the desired rolloff. See Figure 2-4 on page 2-5.
C) Connect the output of your modulation monitor to the Input terminals of the
Monitor Rolloff Filter.
• If the output impedance of the source is between 0 and 35 ohms (such as
the output of an opamp), connect the source between the 0 OHM
SOURCE and COM terminals on the rolloff filter chassis.
• If the output impedance of the source is 600 ohms, connect the source
between the 600-OHM SOURCE and COM terminals.
• If the output impedance is some value in between, connect a resistor be-
tween the source's output and the Monitor Rolloff Filter's 600-OHM
SOURCE terminal so that the total source impedance seen by the Moni-
tor Rolloff Filter is 600Ω (external resistor + output impedance of source
= 600Ω).
• If your console monitor or monitor amplifier input is bridging (like virtu-
ally all modern amplifiers), set the TERMINATION switches on the Rolloff
Filter to ON.
Figure 2-5: Frequency Response Curves as Function of ROLLOFF Control,

Monitor Rolloff Filter Strapped for 18 dB/Octave
• If the console monitor or monitor amplifier input impedance is a true
600Ω, set the TERMINATION switch on the Rolloff Filter to OFF.
D) Connect the input of your console monitor or monitor amplifier to the
OUTPUT terminals on the Monitor Rolloff Filter.
E) Connect the earth ground terminals on the Rolloff Filter to earth ground for
shielding.
To avoid potential ground loops, the earth ground is not connected to
the COM terminals.
F) Set the ROLLOFF control of the Rolloff Filter to taste. See Figure 2-5 on page 2-
6.
Figure 2-6: Monitor Rolloff Filter Schematic Diagram
9400 Rear Panel

The Ground Lift Switch can be set to connect the 9400’s circuit ground to its chas-
sis ground (in the GROUND position). In the LIFT position, it breaks that connection.
(See Set Ground Lift switch on page 2-3.)
The Voltage Select switch can be set to 115V (for 90-130V operation) or 230V (for
180-260V operation).
Fuse values can be changed to support 115V or 230V operation. For safety, use ½-A-
250V Slow-Blow for 115V, or 500mA-250V for 230V.
The Power Cord is detachable and is terminated in a “U-ground” plug (USA stan-
dard), or CEE7/7 plug (Continental Europe), as appropriate to your 9400’s Model
Number.
An RS-232 (PC Remote) Computer Interface, labeled SERIAL PORT, is provided to

connect the 9400 to IBM PC-compatible computers, directly or via modem, for re-
mote control, metering and software downloads.
A Remote Interface Connector allows you to connect the 9400 to your existing
transmitter remote control or other simple contact-closure control devices. The 9400
remote control supports user-programmable selection of up to eight optically iso-
lated inputs for any one of the following parameters: recalling any factory- or user
presets, tone or bypass modes, selecting stereo modes for AM and HD processing
(stereo, mono-left, mono-right, mono-sum), selecting analog, digital or digital+J.17
input, and clock synchronization. (See Remote Control Interface Programming on
page 2-44.) The 9400 remote control accepts a DB-25 connector.
A valid signal is a momentary transition from no-current to current flowing through

the particular remote signal pins. Current must flow for at least 50ms for the signal
to be interpreted as valid. It is acceptable to apply current continuously to an input,
DC or AC. Do not exceed 12 volts unless you use an external current-limiting resistor
that limits current to 10mA. Voltage is available at this connector to facilitate use of
contact closures.
The Ethernet Port accepts a 10Mb/second or 100Mb/second Ethernet connection

terminated with an RJ45 connector.
Digital AES3 Input and Outputs are provided to support two-channel AES3-
standard digital audio signals through XLR-type connectors.
Analog Inputs and Outputs are provided to support left and right audio signals
through XLR-type connectors.
Input and Output Connections
Cable
We recommend using two-conductor foil-shielded cable (such as Belden 8451 or
equivalent) for the audio input and output connections because signal current flows
through the two conductors only. The shield does not carry signal and is used only
for shielding.
Connectors
• Input and output connectors are XLR-type connectors.
In the XLR-type connectors, pin 1 is CHASSIS GROUND, while pin 2 and

pin 3 are a balanced, floating pair. This wiring scheme is compatible with
any studio-wiring standard: If pin 2 or 3 is considered LOW, the other pin
is automatically HIGH.
Analog Audio Input

IMPORTANT: Because the 9400’s music/speech detector uses information
about the stereo sound field to make its detection more accurate, it is
important to feed the 9400 with stereo source material even if it is only
being used to drive a monophonic AM analog transmitter.
• Nominal input level between –14dBu and +8dBu will result in normal operation
of the 9400.
(0dBu = 0.775Vrms. For this application, the dBm @600Ω scale on voltme-
ters can be read as if it were calibrated in dBu.)
• The peak input level that causes overload is +27.0dBu.
• The electronically balanced input uses an ultra low noise and distortion differen-
tial amplifier for best common mode rejection, and is compatible with most pro-
fessional and semi-professional audio equipment, balanced or unbalanced, hav-
ing a source impedance of 600Ω or less. The input is EMI suppressed.
• Input connections are the same whether the driving source is balanced or unbal-
anced.
• Connect the red (or white) wire to the pin on the XLR-type connector (#2 or #3)
that is considered HIGH by the standards of your organization. Connect the black
wire to the pin on the XLR-type connector (#3 or #2) that is considered LOW by
the standards of your organization.
• In low RF fields (like a studio site), connect the cable shield at 9400 input only —
it should not be connected at the source end. In high RF fields (like a transmitter
site), also connect the shield to pin 1 of the male XLR-type connector at the 9400
input.
• If the output of the driving unit is unbalanced and does not have separate
CHASSIS GROUND and (–) (or LOW) output terminals, connect both the shield and
the black wire to the common (–) or ground terminal of the driving unit.
Analog Audio Outputs

• There are two left/right output pairs (for two transmitters).
• To drive a mono transmitter, use either the L or R output and run the analog-
chain processing in the MONO mode of your choice (MONO FROM L, FROM R, or
MONO FROM L+R).
• Electronically balanced and floating outputs simulate a true transformer output.

The source impedance is 50Ω. The output is capable of driving loads of 600Ω or
higher; the 100% modulation level is adjustable with the AO 100% control over
a –6dBu to +24dBu range. The outputs are EMI suppressed.
• If an unbalanced output is required (to drive unbalanced inputs of other equip-

ment), it should be taken between pin 2 and pin 3 of the XLR-type connector.
Connect the LOW pin of the XLR-type connector (#3 or #2, depending on your
organization’s standards) to circuit ground; take the HIGH output from the re-
maining pin. No special precautions are required even though one side of the
output is grounded.
• Use two-conductor foil-shielded cable (Belden 8451, or equivalent).
• At the 9400’s output (and at the output of other equipment in the system), do
not connect the cable’s shield to the CHASSIS GROUND terminal (pin 1) on the
XLR-type connector. Instead, connect the shield to the input destination. Con-
nect the red (or white) wire to the pin on the XLR-type connector (#2 or #3) that
is considered HIGH by the standards of your organization. Connect the black wire
to the pin on the XLR-type connector (#3 or #2) that is considered LOW by the
standards of your organization.
AES3 Digital Input and Output

There is one AES3 input and two AES3 outputs (for two transmitters; any output can
alternatively be configured for digital radio / netcasts). The program input and out-
put are both equipped with sample rate converters and can operate at 32, 44.1, 48,
88.2, and 96 kHz.
Per the AES3 standard, each digital input or output line carries both the
left and right stereo channels. The connection is 110Ω balanced. The
AES3 standard specifies a maximum cable length of 100 meters. While
almost any balanced, shielded cable will work for relatively short runs (5
meters or less), longer runs require used of 110Ω balanced cable like
Belden 1800B, 1801B (plenum rated), multi-pair 180xF, 185xF, or 78xxA.
Single-pair category 5, 5e, and 6 Ethernet cable will also work well if you
do not require shielding. (In most cases, the tight balance of Category
5/5e/6 cable makes shielding unnecessary.)
The AES3id standard is best for very long cable runs (up to 1000 meters).
This specifies 75Ω unbalanced coaxial cable, terminated in BNC connec-
tors. A 110Ω/75Ω balun transformer is required to interface an AES3id
connection to your Optimod’s digital input or output.
The digital input clip level is fixed at 0 dB relative to the maximum digital
word. The maximum digital input will make the 9400 input meters dis-
play 0dB. The reference level is adjustable using the DI REF control.
The 9400 is a “multirate” system; its internal sample rate is 32 kHz and
multiples thereof (up to 512 kHz). The output is strictly band-limited to
16 kHz. Therefore, the output can pass through a 32 kHz uncompressed
link with bit-for-bit transparency. Because sample rate conversion is a
phase-linear process that does not add bandwidth, the 9400’s output sig-
nal will continue to be compatible with 32 kHz links even if it undergoes
intermediate sample rate conversions (for example, 32 kHz to 48 kHz to
32 kHz).
Grounding
Very often, grounding is approached in a “hit or miss” manner. But with care it is
possible to wire an audio studio so that it provides maximum protection from power
faults and is free from ground loops (which induce hum and can cause oscillation).
In an ideal system:
• All units in the system should have balanced inputs. In a modern system with
low output impedances and high input impedances, a balanced input will pro-
vide common-mode rejection and prevent ground loops regardless of whether it
is driven from a balanced or unbalanced source.
The 9400 has balanced inputs.
• All equipment circuit grounds must be connected to each other; all equipment
chassis grounds must be connected together.
• In a low RF field, cable shields should be connected at one end only — prefera-
bly the source (output) end.
• In a high RF field, audio cable shields should be connected to a solid earth

ground at both ends to achieve best shielding against RFI.
Power Ground
• Ground the 9400 chassis through the third wire in the power cord. Proper
grounding techniques never leave equipment chassis unconnected to power /
earth ground. A proper power ground is essential for safe operation. Lifting a
chassis from power ground creates a potential safety hazard.
Circuit Ground
To maintain the same potential in all equipment, the circuit (audio) grounds must be
connected together:
• Circuit and chassis ground should always be connected by setting the 9400’s
GROUND LIFT switch to its GROUND connect position.
• In high RF fields, the system is usually grounded through the equipment rack in
which the 9400 is mounted. The rack should be connected to a solid earth
ground by a wide copper strap — wire is ineffective at RF frequencies because of

the wire’s self-inductance.
9400 Front Panel

• Screen Display labels the four soft buttons and provides control-setting infor-
mation.
• Screen Contrast button adjusts the optimum viewing angle of the screen dis-
play.
• Four Soft buttons provide access to all 9400 functions and controls. The func-
tions of the soft buttons change with each screen, according to the labels at the
bottom of each screen.
• Next and Prev (← and →) buttons scroll the screen horizontally to accommo-
date menus that cannot fit in the available space. They also allow you to move
from one character to the next when you enter data into your 9400.
These flash when such a menu is in use. Otherwise, they are inactive.
• Control Knob is used to change the setting that is selected by the soft buttons.
To change a value, you ordinarily have to hold down a soft button while you are
turning the control knob.
• Recall button allows you recall a Factory or User Preset.
Selecting the Recall button does not immediately recall a preset. See step
15 on page 2-22 for instructions on recalling a preset.
• Modify button brings you to list of controls that you can use to edit a Factory or
User Preset. If you edit a Factory Preset, you must save it as a new User Preset to
retain your edit.
• Setup button accesses the technical parameters necessary to match the 9400 to
your transmission system.
• Escape button provides an escape from current screen and returns user to the
next higher-level screen. Repeatedly pressing Escape will always return you to
the Idle screen, which is at the top level of the screen hierarchy.
• Input meters show the peak input level applied to the 9400’s analog or digital
inputs with reference to 0 = digital full-scale. If the input meter’s red segment
lights up, you are overdriving the 9400’s analog to digital converter, which is a
very common cause of audible distortion.
• AGC meter shows the gain reduction of the slow two-band AGC processing that
precedes the separate analog and digital processing chains. Full-scale is 25 dB
gain reduction. You can switch the meter so that it either reads the gain reduc-
tion of the Master (above-200 Hz) band, or the difference between the gain re-
duction in the Master and Bass bands.
The latter reading is useful for assessing the dynamic bass equalization
that the AGC produces, and it helps you set the AGC BASS COUPLING
control.
• Gate LED indicates gate activity, lighting when the input audio falls below the
threshold set by the AGC gate threshold control (via the Full Modify screen’s
AGC GATE control). When this happens, the AGC’s recovery time is slowed to
prevent noise rush-up during low-level passages.
There is also an independent gate for the five-band compressor. You can
only see its action from the Optimod PC Remote software.
• Gain Reduction meters show the gain reduction in the multiband compressors.
Full-scale is 25 dB gain reduction.
The gain reduction meters can be switched to indicate either the analog
AM processing or the digital radio processing.
• Multimeters (The rightmost pair of meters) show the instantaneous peak out-
put of the processed audio in units of percentage modulation or the gain reduc-
tion of the look-ahead limiter in the digital channel, in units of dB.
These meters can be switched to read the left/right digital processing

chain output signal, the gain reductions of the left and right look-ahead
limiters in the digital processing chain, or the analog processing chain
output signal. In the latter case, the left-hand meter reads negative peaks
of the higher of the two stereo channels and the right-hand meter reads
the higher of the positive peaks.
Studio Level Controller Installation (optional)

[Skip this section if you are not using a studio level controller ahead of the 9400.
Continue with “Quick Setup” on page 2-16.]
If you are using Orban 8200ST external AGC

If the STL uses pre-emphasis, its input pre-emphasis network will probably introduce
overshoots that will increase peak modulation without any increase in average
modulation. We therefore strongly recommend that the STL transmitter’s pre-
emphasis be defeated (freeing the STL from such potential overshoot), and that the
8200ST be used to provide the necessary pre-emphasis.
If the STL transmitter’s pre-emphasis cannot be defeated, then configure the 8200ST
for flat output. In this case, average modulation levels of the STL may have to be re-
duced to accommodate the overshoots.
1. Configure the 8200ST’s internal jumpers.
A) Remove all screws holding the 8200ST’s cover in place; then lift it off.
Refer to Figure 2-7 on page 2-15.
B) Place jumper JA in the CLIPPER ON position.
C) If you have defeated the STL transmitter’s pre-emphasis, place jumpers JE and
JF in the PRE-EMPHASIZED position.
D) If you cannot defeat the STL transmitter’s pre-emphasis, place jumpers JE and
JF in the FLAT position.
E) Replace the top cover, and then replace all screws snugly. (Be careful not to
strip the threads by fastening the screws too tightly.)
2. Install the 8200ST in the rack. Connect the 8200ST’s audio input and out-
put.
Refer to the 8200ST Operating Manual if you require information about installa-
tion, audio input, and audio output connections to the 8200ST.
3. Set 8200ST Output Level with tone.
A) Press the TONE button on the 8200ST.

The TONE lamp should light and the modulation meters should indicate
“0.” If they do not, re-strap jumpers JB and JC to “peak.” (Refer to Figure
2-7 on page 2-15.)
The 8200ST is now producing a 400Hz sine wave at each output. The
peak level of this tone corresponds to 100% modulation.
B) Adjust the 8200ST’s L OUT and R OUT controls so that the STL transmitter is be-
ing driven to 100% modulation.
The L OUT and R OUT controls are now correctly calibrated to the transmit-
ter. If no significant overshoot occurs in the transmitter, the MODULATION
meter will now give an accurate indication of peak modulation of the
STL.
C) Turn off the tone by pressing the TONE button.
If the STL transmitter suffers from bounce or overshoot, you may have to
reduce the L OUT and R OUT control settings to avoid peak overmodulation
caused by overshoots on certain audio signals.
JE JF
TOP OF MAIN BOARD
JB JA JC
Clipper Jumpers Output Pre-Emphasis Jumpers

*FLAT PRE-EMPHASIZED
*CLIPPER ON CLIPPER OFF
LEFT RIGHT LEFT RIGHT
OUTPUT OUTPUT OUTPUT OUTPUT
JA JA JE JF JE JF
Line-up Level Jumpers
*PEAK AVG
LEFT RIGHT LEFT RIGHT

OUTPUT OUTPUT OUTPUT OUTPUT
JB JC JB JC
Figure 2-7: 8200ST Jumper Settings (*Factory Configuration)

4. Set controls for normal operation with program material.
The following assumes that a VU meter is used to determine 8200ST line drive
levels with program material.
A) Set the controls as follows:
HF LIMITER... Set to match the pre-emphasis of the transmission system
L&R Out ................................................................................do not change
GATE .................................................................................................... 12:00
RELEASE ............................................................................................... 12:00
VOICE ......................................................................................................OFF
AGC ..........................................................................................................ON
COUPLE ....................................................................................................ON
B) Feed the 8200ST either with tone at your system reference level (0VU), or with
typical program material at normal levels.
C) Adjust the GAIN REDUCTION control for the desired amount of gain reduction.
We recommend 8-15 dB gain reduction for most formats.
If the STL uses pre-emphasis, its input pre-emphasis network will proba-
bly introduce overshoots that will increase peak modulation without any
increase in average modulation. We therefore strongly recommend that
the STL transmitter’s pre-emphasis be defeated (freeing the STL from
such potential overshoot), and that the 464A be used to provide the nec-
essary pre-emphasis.
If the STL transmitter’s pre-emphasis cannot be defeated, configure the
8200ST for flat output. In this case, average modulation levels of the STL
may have to be reduced to accommodate the overshoots.
Quick Setup
Quick Setup guides you through 9400 setup for your primary analog AM transmitter.
It is appropriate for users with modern transmitter plants and without special re-
quirements such as setting up HD Radio processing or CQUAM AM stereo process-
ing. Following this section, you can find more detailed information regarding setup
beyond the Quick Setup screens. In most cases, you will not need this extra informa-
tion.
Quick Setup assumes that your transmission plant does not need to use the 9400’s
Transmitter Equalizer. This should be true if you are using a modern solid-state
transmitter and have a reasonably wideband antenna system. If your plant needs to
use this to correct tilt, overshoot, or ringing in the RF envelope, then you will have
to adjust it after Quick Setup is completed.
For the following adjustments, use the appropriately labeled soft button to choose
the parameter you wish to adjust. To change a parameter (like an output level), you
must usually hold down the soft button while turning the knob. However, if there is
only one parameter on a screen, you can change this with the knob alone. (You do
not have to hold down a button.) Let the text on the screen guide you through the
process.
1. Make sure that the transmitter is turned off.
This prevents transmitter damage caused by excessive modulation. You will set
the modulation level later in Quick Setup.
2. Press the front-panel Setup button.
3. Press the Quick Setup soft button when its label appears on the display.
Quick Setup presents a guided sequence of screens into which you must insert in-
formation about your particular requirements. In general, the screens are self-
explanatory.
Use the NEXT and PREV buttons to navigate between screens. These buttons will
flash to indicate that they are active.
4. Set the time, date, and Daylight Savings Time.
[Skip this step if you will be using an Internet timeserver to set time, date, and
Daylight Savings Time. See Synchronizing Optimod to a Network Time Server on
page 2-54. To skip this step, press the NEXT button four times.]
A) Press the NEXT button.
The set time screen appears.
B) Hold down the appropriate soft button while turning the knob to enter the
hour, minute, and seconds. Enter seconds slightly ahead of the correct time.
C) Wait until the entered time agrees with the correct time. Then press the
ENTER TIME button to set the clock.
D) Press the NEXT button.
E) Hold down the appropriate soft button while turning the knob to enter the
day, month, and year.
F) Press the NEXT or ENTER DATE button.
G) Turn the knob to specify the date at which Daylight Savings Time begins in
your area.
H) Press the NEXT button.
I) Turn the knob to specify the date at which Daylight Savings Time ends in your
area.
5. Set output bandwidth.
This step sets the lowpass filter bandwidth in the default transmission preset
(TX1/DAY).
B) Select the lowpass filter cutoff frequency you need by turning the knob.
The setting of the lowpass filter controls your RF occupied bandwidth. It

is very important to set it to meet the government standards in your
country.
OPTIMOD-AM can be readily programmed from its front panel or by re-
mote control for any lowpass filter cutoff frequency from 4.5 kHz to 9.5
kHz (NRSC) in 0.5 kHz steps. Default is NRSC.
Quick Setup programs the filter so that it is down 0.1 dB at the assigned
cutoff frequency. However, you can later edit any transmission preset to
shape the transition region of the input section of the filter to trade off
ringing against bright sound. This may be particularly useful when using
a low cutoff frequency like 5.0 kHz. (See step 7.C) on page 2-27.)
The LPF SHAPE control in the transmission preset does this by allowing
you to set the cutoff frequency so that it is –0.1 dB, –3 dB, or –6 dB. By
making the transition between the passband and stopband progressively
more rounded and gentle, each step trades off duller sound against less
ringing.
6. Set highpass filter cutoff frequency.
This step sets the highpass filter bandwidth in the default transmission preset
(TX1/DAY).
B) Select the highpass filter cutoff frequency you need by turning the knob.
OPTIMOD-AM can be programmed for any highpass filter cutoff fre-
quency from 50 to 100Hz in 10Hz steps. Default is 50 Hz.
The appropriate setting of the highpass filter is not determined by gov-
ernment regulations, but instead depends on both your programming
format and transmitter. Modern transmitters can accommodate frequen-
cies below 50Hz without loss of performance due to bounce or tilt. How-
ever, virtually no AM radio can satisfactorily reproduce frequencies be-
low 50Hz. Many produce distortion when attempting to reproduce such
frequencies because their RF AGC circuits are poorly designed and they
mistake low-frequency modulation for changes in carrier level. Simulta-
neously, 50Hz is a low enough cutoff frequency to retain significant bass
punch and slam with music. We therefore recommend that you set the
highpass filter to 50Hz unless you have a good reason for setting it dif-
ferently. One reason to set it higher would be if you have an older-
technology transmitter that cannot reproduce low frequencies without
bounce or tilt. (You should experiment by setting the highpass filter to
various frequencies higher than 50Hz to determine if you can get more
average modulation from your transmitter by doing so.) Another reason
would be if your format is predominantly talk, because talk does not re-
quire frequencies below approximately 80Hz.
All highpass filters have greater than 30dB/octave rolloff and have a
notch at 25Hz to remove any signaling tones and to protect transmitters
that might be adversely affected by modulating frequencies in this area.
Technically, what you have just done is to set the highpass filter cutoff
frequency in the TX1/DAY transmission preset. This transmission preset is
the default.
7. Set external AGC mode.
Most of the processing structures in the 9400 control level with a preliminary
AGC (Automatic Gain Control). If you are using a suitable automatic gain control
at the studio (such as an Orban 8200ST OPTIMOD-Studio or 464A Co-Operator),
the AGC in the 9400 should be defeated. This is so that the two AGCs do not
“fight” each other and so they do not simultaneously increase gain, resulting in
increased noise.
B) Set external AGC mode by turning the knob.
• Set the field to YES if you have a external AGC (such as an Orban 8200ST
OPTIMOD-Studio, Orban 464A Co-Operator, or similar AGC) installed at
your studio feeding the studio-to-transmitter link. This setting appropri-
ately defeats the 9400’s AGC for all presets.
• Set the field to NO If you do not have an external AGC installed; this setting
enables the 9400 AGC status to be determined by the selected preset.
If you are using an Orban 4000 Transmission Limiter, set field to NO (so
that the AGC function in the 9400 continues to work). The Orban 4000 is
a transmission system overload protection device and is normally oper-
ated below threshold. It is not designed to perform an AGC or gain-
riding function, and it cannot substitute for the AGC function in the
9400.
8. Select your primary input (analog or digital).

B) If your main input source is digital, turn the knob to select DIGITAL or
DIGITAL+J17. Otherwise, select ANALOG.
The only digital encoding that typically uses J.17 pre-emphasis (of which
we are aware) is NICAM. DIGITAL, not DIGITAL+J17, is appropriate for al-
most anyone using the digital input.
9. Select the stereo/mono mode.

B) Choose the operating mode of the analog AM processing chain.
• If you intend to operate in CQUAM® AM stereo, choose STEREO.
Note that Quick Setup does not contain full instructions for setting up a
CQUAM system. Please refer to the detailed instructions following Quick
Setup.
• If you are operating your analog transmitter in mono, choose either

MONO L (mono sourced from the left input channel), MONO R (mono
sourced from the right input channel), or MONO L+R (mono sourced from
the sum of the left and right input channels.
If you are sourcing the 9400 with stereo audio and are operating your
transmitter in mono, choose MONO L+R.
The left and right outputs of the analog chain are always active. In any
mono mode, they both emit the same signal.
The stereo enhancer and AGC always operate in stereo and are shared by
the HD and analog processing chains. The stereo/mono mode switching
occurs after the output of the AGC, where the analog and digital radio
processing chains split. The stereo/mono mode settings for the analog
and digital radio processing chains are independent of each other. Like
the analog processing chain, the digital radio processing chain can be
operated in STEREO, MONO-L+R, MONO-L, or MONO-R modes.
10. Set input operating levels.
In this step, you set the operating levels of the 9400 to match the input levels it is
receiving so the 9400’s AGC can operate in the range for which it was designed.
There are separate settings for the analog and digital inputs. If you provide both
analog and digital inputs to the 9400, optimum adjustment is achieved when the
AGC gain reduction meters show the same amount of processing when you
switch between both analog and digital inputs.
This will allow you to switch between analog and digital inputs without
sudden level changes.

B) Feed normal program material to the 9400.
C) Play program material from your studio, peaking at normal program levels
(typically 0VU if your console uses VU meters).
D) [Skip this step if you are not using the analog input.]
Hold down the ANALOG soft button and adjust the knob so that the AGC
meter indicates an average of 10 dB gain reduction.
E) [Skip this step if you are not using the digital input.]
Hold down the DIGITAL soft button and adjust the knob so that the AGC
meter indicates an average of 10 dB gain reduction.
11. Set the digital output sample rate.

B) [Skip this step if you will not be using the digital output(s).]
Turn the knob to set the Digital OUTPUT SAMPLE RATE to 32, 44.1, 48, 88.2,
or 96 kHz.
This control sets the sample rate of Digital Output #1, which is the output
most likely to be used to drive your transmitter.
The internal sample rate converter sets the rate at the 9400’s digital out-
puts. This adjustment allows you to set the output sample rate to ensure
compatibility with equipment requiring a fixed sample rate. In all cases,
the 9400’s sample rate is 32 kHz and multiples thereof up to 256 kHz.
12. Prepare to set output levels.

The positive peak threshold for all outputs is now set to 100%.
You can set asymmetry as desired after you have completed Quick Setup.
The POSPEAKTHR control in the active transmission preset determines
asymmetry. (For Quick Setup, the active transmission preset is TX1/DAY.)
You can use either program material or tone to set the output level (and
thus, the on-air modulation).
• To use tone, press the YES button.
• To use program material, press the NO button.

We recommend using program material because it automatically takes
into account any bounce, overshoot, and ringing in the transmission
plant. A tone setup can cause overmodulation with program material
unless the modulation control in your facility is “textbook perfect.”
13. Set the digital output level.

B) [Skip this step if you are not using the digital output.]
This Quick Setup procedure causes you to adjust Digital Output #1 and
automatically sets its source to AM PROC. If you are also using Digital
Output #2 (to drive a second transmitter, for example), you can adjust it
after you complete Quick Setup.
Turn the knob to set the desired digital output level corresponding to
100% modulation, in units of dB below full-scale.
The most accurate way to set this control is by observing a modulation
monitor or oscilloscope connected to your transmitter’s common point.
An oscilloscope is the most reliable method because it will unambigu-
ously show negative carrier pinch-off, whereas some monitors have over-
shoot that can cause them to under-indicate peak modulation.
14. Set the analog output level.

B) [Skip this step if you are not using the analog output.]
This Quick Setup procedure adjusts Analog Output #1. If you are also us-
ing Analog Output #2 (to drive a second transmitter, for example), you
can adjust it after you complete Quick Setup.
Turn the knob to set the desired analog output level corresponding to
100% modulation, in units of dBu (0 dBu = 0.776 Vrms).
monitor or oscilloscope connected to your transmitter.
C) Press the NEXT button.

If you activated the modulation setup tone in step (12.A) on page 2-21,
the tone will turn off automatically.
D) Press the NEXT button.
15. Choose a processing preset.
A) Turn the knob until your desired preset is visible in the lower line of the dis-
play.
B) Press the RECALL NEXT button to put your desired preset on-air.
This step selects the processing to complement various program formats.
After this step, you can always select a different processing preset, pro-
gram the 9400 to automatically change presets on a time / date schedule,
use a GPI input to trigger preset changes, modify presets to customize
your sound, and store these presets as User Presets.
Preset names are just suggestions. Feel free to audition different presets
and to choose those whose sound you prefer. Your preferred preset
might not be named for your format.
You can easily modify a preset later with the 9400’s one-knob LESS-MORE
feature. Refer to Section 3.
Note that factory processing presets (but not user presets) change their
sonic characteristics depending on the setting of the system lowpass fil-
ter. The switch occurs between 7.0 and 7.5 kHz. The presets for band-
widths of 7.5 kHz and above are oriented toward radios with higher au-
dio bandwidth than are the presets for 7.0 kHz and below. In most cases,
the difference is the amount of HF equalization applied and the curve
shape of the equalizer.
Congratulations! You are now on the air with your initial sound. Feel free to
read the material in Section 3 of this manual, which describes the various presets
and how you can customize them to achieve your desired signature sound.
If your transmitter plant is not “textbook-perfect,” you can use the instructions
in the detailed setup procedure (following Quick Setup) to achieve highest aver-
age modulation by equalizing your transmitter and/or antenna system with the
9400’s Transmitter Equalizer.
16. Complete Station ID (optional).
The Station ID is an optional setting that you can provide to associate the 9400
with the station providing the program material (e.g., “KABC”). The name can
be up to eight characters long. It is used to identify your 9400 to Orban’s 9400 PC
Remote application and appears on the Main Screen when the 9400 is being con-
trolled by the PC Remote application.
A) Navigate to SETUP > NEXT > TIME DATE AND ID > STATION ID.
B) Use the knob to set the each character in the ID. Use the NEXT and PREV but-
tons to control the cursor position.
C) When finished entering your name, press the SAVE button. If you escape to
the main screen from Setup, you can now see the station name toggle on the
main screen.
The following material provides detailed instructions on how to set up the 9400. If
QUICK SETUP does not fully address your setup needs or if you wish to customize
your system beyond those provided with QUICK SETUP, then you may need the addi-
tional information in the sections below. However, for most users, this material is
only for reference because QUICK SETUP has enabled them to set up the 9400 cor-
rectly.
Analog and Digital I/O Setup

For the following adjustments, use the appropriately labeled soft button to choose
the parameter to be adjusted. To change a parameter (like an output level), it is
usually necessary to hold down the soft button while turning the knob.
1. Make sure that the transmitter is turned off.
This avoids potential damage caused by overdriving it. You will set the modula-
tion level later in this setup procedure.
2. Temporarily set the external AGC mode to “No.”
A) Navigate to SETUP > NEXT > NEXT > EXT AGC and set EXT AGC to NO.
If you are using a external AGC like the Orban 8200ST, you should restore
this setting to YES after the setup procedure is complete.
3. Adjust Input selector.
A) Navigate to SETUP > IO CALIB > ANLG IN/DIG IN.

B) Set the INPUT to Analog.
The 9400 will automatically switch to its analog input if signal lock is un-
available at its AES3 input.
4. Adjust Analog Input Reference Level.
[−9dBu to +13dBu (VU), or –2 to +20dBu (PPM)] in 0.5 dB steps

[Skip this step if you will not be using the analog input.]
The reference level VU and PPM (Peak) settings track each other with an offset
of 8dB. This compensates for the typical indications with program material of a
VU meter versus the higher indications on a PPM.
This step sets the center of the 9400’s gain reduction range to the level to which
your studio operators peak their program material on the studio meters. This as-
sures that the 9400’s processing presets will operate in their preferred range.
You may adjust this level with a standard reference / line-up level tone from your
studio or with program material.
Note that in this step, you are calibrating to the normal indication of the studio
meters; this is quite different from the actual peak level.
If you know the reference VU or PPM level that will be presented to the 9400, set
the reference level to this level, but please verify it with the steps shown directly
below.
A) Press the RECALL button.
B) Turn the knob until GEN MED appears in the lower line of the display.
C) Press the RECALL NEXT button.
D) Navigate to SETUP > IO CALIB > INPUT > ANLG IN CALIB > AI REF (VU or PPM, de-
pending on which metering system you use).
E) Calibrate using Tone.
[Skip to step (F) if you are using Program material to calibrate the 9400 to
your standard studio level.]
a) Verify EXT AGC is set to NO.
Refer to step 1 on page 2-23.
b) Feed a tone at your reference level to the 9400
If you are not using a studio level controller, feed a tone through your
console at normal program levels (typically 0VU if your console uses VU
meters).
If you are using a studio level controller that performs an AGC function,
such as an Orban 8200ST OPTIMOD-Studio, adjust it for normal opera-
tion.
c) Adjust the AI REF (VU or PPM) control to make the 9400’s AGC meter
indicate 10 dB gain reduction.
d) Skip to step (G).
F) Calibrate using Program.
[Skip this step if you are using Tone to calibrate the 9400 to your stan-
dard studio level — see step (E) above.]
a) Verify EXT AGC is set to NO.
b) Feed normal program material to the 9400
Play program material from your studio, peaking at the level to which
you normally peak program material (typically 0VU if your console uses
VU meters).
c) Adjust the AI REF (VU or PPM) control to make the 9400’s AGC meters
indicate an average of 10 dB gain reduction when the console’s VU meter
or PPM is peaking at its normal level.
If the AGC gain reduction meter averages less than 10 dB gain reduction
(higher on the meter), re-adjust the AI REF (VU or PPM) to a lower level.
If the AGC gain reduction meter averages more gain reduction (lower on
the meter), re-adjust the AI REF (VU or PPM) to a higher level.
G) When finished, reset EXT AGC to YES if required (e.g., if that was its setting
prior to setting AI REF (VU or PPM) level).
5. Adjust Right Channel Balance.
[Skip this step if the channels are already satisfactorily balanced.]

[−3 dB to +3dB] on right channel only, 0.1 dB steps
Adjust the R CH BAL control to achieve correct left/right channel balance.
This is not a balance control like those found in consumer audio prod-
ucts. This control changes gain of the right channel only. Use this control
if the right analog input to the 9400 is not at exactly the same level as
the left input. Be certain that the imbalance is not caused by one pro-
gram source, but is instead introduced through distribution between the
console output and 9400 input. This adjustment is best accomplished by
playing program material that is known to be monophonic or by setting
the mixing console into mono mode (if available).
It is always better to correct the problem in the transmission chain caus-
ing the imbalance instead of using the R CH BAL control, which is really a
“band aid” for misalignment elsewhere in the system.
This control affects the balance of both the analog and digital processing
chains. If a given chain is in a MONO mode, you will not be able to see the
effect of this control on that chain. However, if you are in MONO L+R
mode, the control will still adjust the right channel’s contribution to the
L+R sum.
6. Adjust the Digital Input Reference Level and Right Balance controls.
[Skip this step if you will not be using the digital input.]
A) Navigate to SETUP > IO CALIB > INPUT > DIG IN and set the input source to Digi-
tal.
B) Repeat steps 3 through 5 (starting on page 2-23), but use the DI REF (VU OR
PPM) and R CH BAL controls for the digital section.
7. Set output bandwidth and highpass filter cutoff frequency.
A) Navigate to SETUP > MODIFY TR PRESET > TX1/DAY .

To describe their most common application, the four transmission presets
are labeled TX1/DAY, TX1/NIGHT, TX2/DAY, and TX2/NIGHT, although
they can be applied in a completely general way to the requirements of

your transmission facility. Transmission Presets can be recalled by remote
control (GPI or PC Remote) and/or at preset times by the 9400’s clock-
based automation. TX1/DAY is the default transmission preset and many
stations will always use it once they have set it up.
The controls within a given transmission preset include lowpass filter
cutoff frequency, lowpass filter shape, highpass filter cutoff frequency,
positive peak threshold (asymmetry), and six transmitter equalizer con-
trols.
Only one transmission preset can be active at a given time; that preset
determines the parameters applied to all analog AM processed outputs.
Transmission Presets do not affect any output emitting the HD-processed
signal.
Once you have selected a transmission preset, that preset will be active
until you explicitly select another via the front panel, remote control, or
clock-based automation. This is true even if AC power is interrupted.
However, if clock-based automation was scheduled to recall a different
preset during the period when the 9400 was powered down, upon
power-up the 9400 will automatically recall the preset that would have
been on-air at that time if power had stayed on.
B) Hold down the soft key under LOWPASS and Select the desired lowpass filter
cutoff frequency by turning the knob.
Lowpass filter cutoff frequencies range from 4.5 kHz to 9.5 kHz (NRSC) in
0.5 kHz steps. The setting of the lowpass filter controls your RF occupied
bandwidth, so it is very important to set it to meet the government stan-
dards in your country.
Note that the user processing presets can only lower the low-pass cutoff
frequency below its setting in active transmission preset. If, in the EQ sec-
tion of the processing preset, you exceed the lowpass cutoff frequency of
the TX preset, the TX preset setting will always determine the actual cut-
off frequency of the processor. For example, if you have set the low-pass
cutoff frequency in the active transmission preset to 6.5 kHz, this can be
lowered to 6.0 kHz or below in a processing preset, but not raised above
6.5 kHz. This is to prevent accidentally creating presets that violate the
occupied bandwidth standards of your governing authority.
In Region-2 countries, we recommend configuring the 9400 for 9.5 kHz
NRSC-1 lowpass filtering (via the active transmission preset) and the
18dB/octave HF equalizer active with a GAIN of 10dB and a CURVE of 10
(via the active processing preset). This is similar in spirit to the NRSC pre-
emphasis, which also has a maximum gain of 10dB. However, it provides
more midrange boost than the NRSC pre-emphasis, which helps the vast
majority of radios in the field. These are narrowband radios with 2 to 3
kHz audio bandwidth (3dB down). They do not meet the EIA's AMAX
standard (or even come close to it). Of course, if you wish to broadcast
with strict NRSC pre-emphasis, you can easily adjust the 9400's HF Equal-
izer to do this by setting the HF curve to NRSC.
Some broadcasters have now chosen to reduce their output bandwidth
below the NRSC limit voluntarily. Setting the output bandwidth to 7.0
kHz or below in a transmission preset will automatically invoke the nar-
rowband versions of the factory presets. However, it will not change a
user processing preset.
For countries where narrowband lowpass filtering is required, we rec-
ommend setting OPTIMOD-AM’s lowpass filter to 6.0 kHz. This will meet
the requirements of ITU-R 328-5 without further lowpass filtering in the
transmitter. Any such lowpass filters already in the transmitter should be
removed to prevent overmodulation caused by the filter's overshoot and
ringing.
C) Hold down the soft key under LPF SHAPE and turn the knob to determine
whether the input lowpass filter is down 0.1 dB, 3 dB, or 6 dB at the lowpass
filter cutoff frequency. By making the transition between the passband and
stopband progressively more rounded and gentle, each step trades off duller
sound against less ringing.
D) Hold down the soft key under HIGHPASS AND Select the highpass filter cutoff
frequency you need by turning the knob.
OPTIMOD-AM can be programmed for any highpass filter cutoff fre-
quency from 50 to 100Hz in 10Hz steps. Default is 50 Hz. See the text in
step (6.B) on page 2-18 for guidance on where to set the frequency. Re-
fer to the text in step (B) on page 2-26 regarding global system settings
vs. setting in presets.
E) Set the lowpass and highpass filter cutoff frequencies for any other Transmis-
sion Presets you will be using. Note that each preset has an independent set-
ting for lowpass cutoff, lowpass shape, highpass cutoff, and asymmetry.
a) Press ESC.
b) Press the soft key labeled with the transmission preset you wish to adjust.
c) Adjust the filter frequencies as you did in the steps above.
8. Configure analog output(s).
[Skip this step if you will not be using the analog output(s).]
A) Navigate to SETUP > IO CALIB > OUTPUT > ANALOG1.
If necessary, use the NEXT button to scroll horizontally.
B) Set the SOURCE to AM PROC, HD PROC, or MONITOR.
AM PROC feeds the selected output with the output of the processing
chain for analog AM transmitters. HD PROC feeds the selected output
with the output of the processing chain for HD Radio or other digital
transmission channels like netcasts.
If you are using Analog Output #2, navigate to Navigate to SETUP > IO
CALIB > OUTPUT > ANALOG2 and repeat this step.
9. Configure digital output(s).
[Skip this step if you will not be using the digital output(s).]
A) Navigate to SETUP > IO CALIB > OUTPUT > DIGITAL1.
If necessary, use the NEXT button to scroll horizontally.
B) Set the SOURCE to AM PROC, HD PROC, or MONITOR.
AM PROC feeds the selected digital output with the output of the proc-
essing chain for analog AM transmitters. HD PROC feeds the selected digi-
tal output with the output of the processing chain for HD Radio or other
digital transmission channels like netcasts.
C) Then set the PRE-EMPH control to J.17 or FLAT.
Almost all systems will require FLAT output. J.17 is only used if you are
driving an STL employing J.17 pre-emphasis (like certain NICAM STLs) and
you have bypassed the J.17 emphasis filter in the STL.)
D) Press NEXT. Then set the DO1 RATE to 32, 44.1, 48, 88.2, or 96 kHz.
The 9400’s fundamental sample rate is always 32 kHz. However, the in-
ternal sample rate converter sets the rate at the 9400’s digital output.
This adjustment allows you to set the output sample rate to ensure com-
patibility with equipment requiring a fixed sample rate.
E) Set FORMAT to AES3 or SPDIF.
Professional equipment usually requires AES3.
F) Set the desired output WORD LGTH (word length).

[14], [16], [18], [20], or [24], in bits
The largest valid word length in the 9400 is 24 bits. The 9400 can also
truncate its output word length to 20, 18, 16 or 14 bits. The 9400 can add
dither for input material that is insufficiently dithered for these lower
word lengths (see the next step).
G) Adjust DITHER to IN or OUT, as desired.

[In] or [Out]
When set to In, the 9400 adds “high-pass” dither before any truncation
of the output word. The amount of dither automatically tracks the set-
ting of the WORD LEN control. This is first-order noise shaped dither that
considerably reduces added noise in the midrange by comparison to
white PDF dither. However, unlike extreme noise shaping, it adds a
maximum of 3 dB of excess total noise power when compared to white
PDF dither. Thus, it is a good compromise between white PDF dither and
extreme noise shaping.
If the source material has already been correctly dithered (as is true for
virtually all commercially recorded material), you may set this control to
OUT. However, particularly if you use the Noise Reduction feature, the
processing can sometimes attenuate input dither so that it is insufficient
to dither the output correctly. In this case, you should add dither within
the 9400.
H) Press NEXT. Then set the DO SYNC.

You can choose INTERNAL (the output sample rate is synchronized to the
9400’s internal crystal-controlled clock) or EXTERNAL (the output sample
rate is synchronized to the sample rate appearing at the 9400’s AES3 in-
put).
I) If you are using Digital Output #2, navigate to Navigate to SETUP > IO CALIB >
OUTPUT > DIGITAL2 and repeat steps (B) through (H).
10. Set output and configuration level.
This is a preliminary level adjustment. Later in this installation procedure, you

will set 9400 for the highest modulation level that your facility can produce. If
your transmission facility proved to have overshoot, tilt, or ringing when you
tested it in step 11 on page 2-30, you will have to go through the Transmitter
Equalizer adjustment procedure, which starts with step 12 on page 2-30.
A) Make sure that the transmitter is turned off.
B) Turn on the 400Hz calibration tone. To do this:
a) Navigate to SETUP > TEST.
b) Set the MODE to SINE.
c) Set SINE FREQ to 400 HZ.
d) Set TONE MOD to 50%.
e) Press the NEXT key.
f) Set TONE CHAN to L+R.
C) Set modulation.
a) Set to its minimum level the AOX 100% or DOX 100% control associated
with the output you are using to drive the transmitter under adjustment.
For example, the AO1 control is found in I/O CALIB > ANALOG1 > AO1 and
the DO1 control is found in I/O CALIB > DIGITAL1 > DO1 100%.
b) Turn the transmitter on.
c) Set the control you adjusted in step (a) to produce 40% modulation.
This leaves 2 dB of headroom to accommodate overshoot in the transmis-
sion plant. This should suffice for most plants.
analyzer or oscilloscope connected to your transmitter.
D) In SETUP > TEST, set the MODE to OPERATE.
E) Drive the 9400 with program material and observe the negative modulation
level. Trim the AOX 100% or DO X100% control associated with the output you
are using to drive the transmitter under adjustment so that you observe 99%
modulation on negative peaks.
Spend time observing the modulation with different program material. If
you see the peak modulation level vary significantly depending on pro-
gram material, the 9400’s transmitter equalizer can usually improve this
situation considerably.
Note that if you set the processing up for asymmetrical modulation
(which is done by editing the active Transmission Preset) and you observe
negative peaks that are higher than positive peaks, you can correct this
by changing the setting of the POLARITY control, located next to the AOX
100% or DOX 100% control.
11. Test the equipment downstream from OPTIMOD-AM.
Test the RF envelope at the transmitter’s output to determine if it exhibits tilt,

overshoot, or ringing. If you observe these problems, you can often adequately
equalize it them with the 9400’s transmitter equalizer, whose settings are de-
termined by the on-air Transmission Preset.
Dealing with tilt and overshoot may seem fussy, but every dB of tilt or overshoot
is a dB of loudness lost!
Use the 9400's built-in square wave generator to make this test:
A) Navigate to SETUP > TEST.
B) Set the TONE MOD to 0%.
C) Set the MODE to SQUARE.
D) You may now turn the final amplifier on. Observe the RF envelope at the
common point with a DC-coupled oscilloscope and advance the TONE MOD
control until you can easily see the shape of the square wave.
Sweep the TONE FREQ control from 125 to 1000 Hz and observe the shape
of the square wave as you do so. If you are driving more than one trans-
mitter and/or your antenna load changes between day and night, test all
combinations that you will be using.
If the square wave is free from tilt and ringing at all frequencies in the
sweep, you do not need to set up the transmitter equalizer in steps 12
through (13.H)a) below. Otherwise, you must do so to achieve the high-
est loudness and coverage that your facility can produce.
If you observe problems with some combinations of transmitter and load
but not others, record which combinations cause problems. You will only
need to set up set up the Transmitter Equalizer for these combinations.
You will dedicate one Transmission Preset for each problematic combina-
tion so that each combination can be equalized independently.
Figure 2-8 on page 2-32 shows tilt and Figure 2-10 on page 2-34 shows
ringing.
Caution: To avoid damaging the transmitter, do not exceed 50% modulation
with square waves.
Important: Do not place additional clipping devices after OPTIMOD-AM! The

additional distortion introduced by these devices will totally nullify the advan-
tages of OPTIMOD-AM's distortion-canceling clipper and will cause the out-of-
band energy induced by clipping to violate FCC or ITU-R standards.
12. Equalize the transmitter’s low frequency square wave response.
[Skip the Transmitter Equalizer adjustment steps [(steps 12 though (13.H)a)] if

the RF envelope square wave test you preformed in step 11 above showed no
sign of tilt, overshoot, or ringing.]
Overview of Transmitter Equalization
The Transmitter Equalizer has a low frequency section to equalize tilt and a high
frequency section to equalize overshoot and ringing. If you are adjusting a
CQUAM AM stereo plant, you must also adjust a second set of high frequency
controls (for the L–R channel). These L–R controls do nothing in a mono facility.
The Transmitter Equalizer does not affect the 9400’s HD processed output.
The Transmitter Equalizer setup parameters are stored independently in the four
Transmission Presets (See page 1-17). If you are driving two transmitters, you will
usually dedicate either one or two Transmission Presets to each transmitter. Us-
ing two transmission presets per transmitter allows you to equalize that trans-
mitter and its antenna load independently for day and night operation. This may
be desirable if the transmission parameters (power or antenna pattern) change
between day and night.
In addition to the Transmitter Equalizer controls, you must set the LOWPASS,
HIGHPASS, and POS PEAK controls in each preset you use.
If you are only driving one transmitter and the plant’s parameters do not change
between day and night, then you only need to use and adjust the default TX1 /
DAY Transmission Preset.
Description of the TX EQ Controls
LF FR: Determines the frequency at which the response of the Tilt Equal-
izer section of the Transmitter Equalizer is up approximately +3dB. This
control is only available for the L+R (envelope modulation) channel.
LF GN: Determines the maximum amount of low frequency correction
provided by the Tilt Equalizer section of the Transmitter Equalizer. The
control is only available for the L+R channel.
HF Φ: Determines the frequency at which the delay equalizer section of
the Transmitter Equalizer begins to add phase shift to correct for non-
constant delay in the transmitter and antenna system. This control is
available for both the L–R and L+R channels.
The L–R channel is only of interest if you are equalizing a CQUAM AM
stereo installation. In mono installations, the L–R Transmitter Equalizer
controls have no effect.
HF FR: Determines the frequency at which the High Frequency Shelving
Equalizer section of the Transmitter Equalizer begins to roll off the high
frequency response, compensating for overshoot in the transmitter and
antenna system. This control is available for both the L–R and L+R chan-
nels.
Procedure for LF Equalization
You will set up one 9400 Transmission Preset at a time.
A) Connect the vertical input of the oscilloscope to the transmitter’s sampling
loop (or other convenient source of RF).
B) Connect the sync (or external trigger) input of the oscilloscope to an available
9400 analog output.
There are four analog outputs and you will be using two at most while
adjusting any given Transmission Preset. You may have to move the sync
connection between outputs if you need to set up Transmission Presets
for two transmitters.
C) Turn on the 9400's built-in square wave generator:
b) Set the TONE MOD to 0%.
c) Set the MODE to SQUARE.
d) Set SQR FREQ to 125 HZ.
D) Turn on the carrier.
E) Observe the RF envelope at the common point with a DC-coupled oscilloscope
and advance the TONE LVL control to produce 30% modulation.
F) Navigate to SETUP > MODIFY TX PRESET > TX1/DAY.
G) If necessary, press NEXT until you see the screen containing the four L+R
transmitter equalizer controls.
H) Review the RF envelope display.
Many transmitters (particularly older designs) will produce an RF enve-
lope resembling Figure 2-8. If the oscilloscope display looks like this, con-
tinue to step (I).
If the oscilloscope display looks like Figure 2-9, no low frequency equali-
zation is necessary. Skip to step 13 on page 2-33.
I) Set the L+R LF GN to 10.0 dB.
Setting the L+R LF GN control to maximum low-frequency boost ensures
response that is closest to true DC-coupling, optimizing square wave re-
sponse.
Depending on the transmitter, this large amount of boost at sub-audible
Figure 2-8: Unequalized RF envelope Figure 2-9: RF envelope requiring

(showing tilt) no tilt equalization
frequencies might cause bounce and/or distortion on heavy bass tran-
sients in music. In step 15 on page 2-36, you will be instructed to turn the
L+R LF GN control down until these problems are no longer observed.
This will make the measured square wave response poorer. However, en-
gineering realities force a compromise between best small signal (i.e.,
square wave) response and best large signal (i.e., bounce and distortion)
performance. This compromise is best made by careful experimentation
with program material to find the setting of the L+R LF GN control that
gives the highest average modulation without audible distortion.
J) Adjust the L+R LF FR to make the square wave as flat as possible.

Work quickly to avoid overheating the transmitter. Figure 2-9 shows the
result of a successful adjustment. If a display like that in Figure 2-9 could
not be produced by adjusting the LF FR control, transmitter low-
frequency response is inadequate and there is too much low-frequency
rolloff.
A transmitter that cannot be fully equalized can cost up to 4dB average
modulation even though audible frequency response does not suffer be-
cause equalization occurs below the audible frequency range. This prob-
lem cannot be corrected without modifying the transmitter. In many
cases, such modification is easy: it merely requires bypassing the highpass
filter(s) in the input stage of the transmitter. It also may require replacing
coupling capacitors with capacitors of a larger value. In other cases, fun-
damental inadequacies in the input, inter-stage transformers (if used),
and/or modulation transformers (if used) are the cause. See the discussion
on page 1-15.
Unless the transmitter is of a relatively modern solid-state design, being
unable to equalize it fully is a good reason to replace it with an up-to-
date solid-state design using a switching or digital modulator. In most
cases, this purchase will pay for itself in reduced power bills and the new
transmitter will sound far better on the air.
K) Turn off the transmitter and allow it to cool down for several minutes.
13. Equalize transmitter high-frequency response.
A) Set the 9400's square wave controls to produce a 1 kHz square wave at 30%
modulation:
b) If necessary, set the MODE to SQUARE.
c) Set SQR FREQ to 1000 HZ.
Note: Because the 9400 is digital, its square wave generator cannot pro-
duce any harmonics higher than 16 kHz (one-half of its 32 kHz sampling
frequency). To prevent visible ringing of the square wave due to this
sharp cutoff of its higher harmonics, we have applied an internal digital
filter to the output of the 9400's square wave generator. This filter
rounds off the edges and prevents significant ringing. You may want to
look directly with the scope at the unequalized output of the 9400 to get
a feel for what this waveform looks like before it is applied to your
transmitter.
B) Make sure that the oscilloscope is synchronized to the square wave.

C) Turn on the carrier. Observe the RF envelope at the common point with a DC-
coupled oscilloscope and trim the TONE LVL control (if necessary) to produce
30% modulation.
D) Navigate to SETUP > MODIFY TX PRESET > TX1/DAY.
E) If necessary, press NEXT until you see the screen containing the four L+R
transmitter equalizer controls.
To avoid overheating the transmitter, perform steps (C) through (G) quickly.
Adjustment of the high frequency transmitter equalizer controls cannot be done
into a dummy load because the transmitter will overshoot and ring differently
when loaded by the reactance of your antenna system.
F) Set the L+R HF Φ and L+R HF FR controls to OFF.
If no overshoot is observed, skip to step (H).
G) Adjust the L+R HF Φ and L+R HF Φ controls to minimize ringing and over-
shoot.
The L+R HF Φ and L+R HF FR controls interact. First, adjust the L+R HF FR
control until any ringing is reduced to the same level as the flat part of
the square wave (you will still have ringing, but no overshoot). Then ad-
just the L+R HF Φ control (which will further reduce the amplitude of the
ringing on the leading edge of the square wave while introducing a new
ring on the trailing edge) until the amplitude of the ringing at the lead-
ing and trailing edges is equal. The peaks of the ringing at both edges
should approach the flattop modulation level as closely as possible with-
out exceeding it. Note that the L+R HF FR control does most of the work.
Note also that the L+R HF Φ control will produce little or no visible effect
until you set it beyond 40.
Adjusting the L+R HF Φ control like this usually reduces the level of the
ringing to below the flattop modulation level. Reducing the setting of
the L+R HF FR control until the ringing is again at the flattop modulation
Figure 2-10: Unequalized RF envelope Figure 2-11: RF envelope showing

(showing ringing) successful HF equalization
level will unbalance the ringing at the leading and trailing edge of the
square wave, and necessitate further adjustment of the L+R HF Φ control.
Alternate between these two interactive controls until the peaks of ring-
ing at both the leading and trailing edges of the square wave are at the
flattop modulation level. Figure 2-10 illustrates a typical waveform be-
fore adjustment and Figure 2-11 shows the result of a successful adjust-
ment. (The waveform produced by your system may look quite different.)
H) Turn off the square wave generator and turn off the carrier to allow the
transmitter to cool down for several minutes:
b) Set the MODE to OPERATE.
14. Set the L–R Transmitter Equalizer controls.
[Skip this step unless you are setting a CQUAM AM stereo facility. The controls
under adjustment in this step do not affect a mono facility if the 9400’s analog
processing chain is set to a mono mode.]
After you have set up the CQUAM exciter for best separation without any audio
processing by following its manufacturer’s instructions, you should trim the
9400’s L–R HF FR and L–R HF Φ controls to maximize stereo separation through
the entire transmission chain, including the 9400. In most cases, you will maxi-
mize separation if you set these controls to the same settings as their L+R coun-
terparts. However, it may be worthwhile to sweep the system and trim the L–R
controls to maximize separation. To do so:
A) Navigate to SETUP > I/O CALIB.
B) Set the AM PROC control to STEREO.
C) Navigate to SETUP > TEST.
D) Set the MODE to BYPASS.
E) Connect the output of a sweep generator to one input channel of the 9400
(either left or right). Ground the other channel to minimize crosstalk.
Alternatively, you can use a sweep generator with a digital output and
use the 9400’s digital input.
F) Set the sweep generator’s output level to produce about 50% modulation.
G) Observe the output of your CQUAM stereo modulation monitor correspond-
ing to the undriven channel.
H) Navigate to SETUP > MODIFY TX PRESET > TX1/DAY.
I) Press NEXT until you see the L–R HF FR and L–R HF Φ controls.
J) Set these controls the same as their L+R counterparts.
K) Interactively tweak these controls to maximize separation (by minimizing the
maximum amount of crosstalk into the undriven channel). It may turn out
that no improvement is possible.
L) Navigate to SETUP > TEST.

M) Set the MODE to OPERATE.
15. Test the polarity and LF transmitter equalization settings under pro-
gram conditions.
A) Apply program material to OPTIMOD-AM's input at normal operating levels.

B) Recall the GEN MED preset:
a) Press the Recall button.
b) Turn the control knob until you see next: GEN MED.
c) Press the RECALL NEXT soft key button to select the GEN MED preset.
C) Turn on the carrier.
D) Navigate to SETUP > MODIFY SYS PST > TX1/DAY.
E) Set the POS PEAK control to 125%:
F) Check modulation asymmetry with the oscilloscope or with your modulation
monitor.
If negative peaks are modulating higher than positive peaks:
a) Navigate to SETUP > I/O CALIB .
b) Press the button corresponding to the active output
c) Change the setting of the POLARITY control.
d) Navigate to SETUP > MODIFY TX PRESET > TX1/DAY.
G) Set the POS PEAK control to 100%.
The 100% setting yields the cleanest sound. (See page 1-16 for an expla-
nation.)
However, if absolute maximum loudness is desired at the expense of
cleanest possible sound, the POS PEAK control may be set as high as
your government regulations and transmitter performance will allow. In
the U.S., FCC Rules limit this to 125%.
Note too that the distortion of older transmitters and most receivers
tends to increase radically when negative modulation of more than 85%
is attempted. In the case of receivers, the major cause of this distortion is
cheaply designed envelope detectors with incorrectly biased diodes. Con-
sider reducing clipping in the processing so that the last 15% or so of
modulation consists of low duty-cycle spikes that can be soft-clipped by
the receiver’s detector. This trades off about 1.5dB loudness loss for sub-
stantially cleaner sound.
If you choose to modulate asymmetrically with a transmitter that com-
presses peaks in the positive direction, do not attempt to modulate be-
yond the performance limitations of your transmitter. Doing so would
only cause distortion beyond the distortion intrinsic to asymmetrical op-
eration.
H) Navigate to SETUP > I/O CALIB /
I) Press the button corresponding to the active output.
J) Observe the oscilloscope. Adjust the output level control (AO1 100%, AO2
100%, DO1 100%, or DO2 100%) to achieve as high negative peak modula-
tion as possible without carrier pinch-off.
If all is well, the negative peaks of the envelope modulation will usually
hang close to 100% at all times except during pauses. If the correct ad-
justment of the output level control seems dependent on the nature of
the program material, the transmitter probably suffers from power sup-
ply bounce. See the next step.
To achieve highest possible modulation without carrier pinch-off (and
therefore most efficient utilization of available transmitter power), the
output level control must be adjusted with program material (not test
tones), because the transmitter will almost always behave somewhat dif-
ferently with program material than with tone. For example, tone cannot
excite power supply bounce.
K) Adjust the L+R LF GN control. (optional)
Some transmitters cannot be corrected fully because the bass boost pro-
duced by the equalizer exaggerates power supply bounce problems
and/or causes actual saturation or clipping of modulator stages, trans-
formers, reactors, etc. (see page 1-15). In some cases, a compromise be-
tween full tilt correction and these other problems may have to be
achieved by careful experimentation with program material. The 9400's
L+R LF GN control is designed to permit such a compromise.
The preceding transmitter equalization adjustment (using square waves)
was done using the maximum low-frequency boost to ensure response
that is closest to true DC coupling, which optimizes square wave re-
sponse. If this large amount of boost at sub-audible frequencies causes
bounce and/or distortion on heavy bass transients in music, turn the L+R
LF GN control down until these problems are no longer observed. This
will make the measured square wave response poorer. However, engi-
neering realities force a compromise between best small signal (i.e.,
square wave) response and best large signal (i.e., bounce and distortion)
performance. This compromise is best made by careful experimentation
with program material to find the setting of the L+R LF GN control that
gives the highest average modulation without audible distortion.
If the tilt correction trips overload relays when program material is
broadcast, it is often possible to readjust the trip point of these relays to
avoid this problem but do this with the greatest care, because the trans-
mitter will be endangered by an improperly adjusted overload relay.
Orban accepts no responsibility for transmitter failures introduced by
such re-adjustments, or by the high average power, bass and treble pre-
emphasis, or by any other characteristics of OPTIMOD-AM audio process-
ing.
The care and feeding of your transmitter requires the application of
sound engineering judgment: inadequate transmitters (typically of old
vacuum-tube plate-modulated design) may fail, may have their tube life
shortened, etc. Such transmitters are simply incapable of supplying the
average power demands of OPTIMOD-AM processing regardless of
transmitter equalization. If the station is to achieve the full benefits of

OPTIMOD-AM processing, these transmitters must be either repaired,
modified, or replaced.
16. If you will be using other Transmission Presets, repeat steps 11 through
15 to set them.
Substitute the name of the Transmission Preset under adjustment for “TX1/DAY”
in these steps.
Do not forget the set the LOWPASS, HIGHPASS, and POS PEAK controls for each
Transmission Preset that you use.
17. Set Digital Radio output level.
A) Navigate to SETUP > IO CALIB > OUTPUT > DIGITAL[X] (where “x” is the output
you are using to drive the digital radio transmitter.
B) Set the output level to match the clipping level of the digital radio input. Re-
fer to the transmitter manufacturer’s instructions to obtain the correct level.
IMPORTRANT: Do not use the output level control to turn down the
loudness of the digital channel if it is louder than the analog channel on
an HD AM receiver. Instead, turn down the HD LIMITER DRIVE control in
the on-air preset and save the resulting edited preset as a User Preset. Us-
ing the HD LIMITER DRIVE control minimizes the amount of peak limiting
that the 9400 does and minimizes stress on the codec.
18. End I/O setup.
If you are using a external AGC and you temporarily set the EXT AGC to NO in
step 1 on page 2-23, set the EXT AGC to YES.
19. Select a processing preset.
See step 15 on page 2-22.
Automation Using the 9400’s Internal Clock
1. If you have not already done so, set the system clock.
[You can also set the clock automatically via PC Remote or the Internet. See
Synchronizing Optimod to a Network Time Server starting on page 2-54.]
A) Navigate to SETUP > NEXT > TIME DATE AND ID > SET TIME.
a) Set hours and minutes.
b) Enter seconds slightly ahead of the correct time.
c) Wait until the entered time agrees with the correct time. Then press the
ENTER TIME button to set the clock.
B) Press the SET DATE button.
a) Set today’s date, using the days, month, and year buttons.
b) Press the ENTER DATE button.
C) Press the DAYLIGHT TIME button.
a) Set the week when Daylight Savings Time (Summer Time) begins, or OFF.
b) Press the SET DT BEGINS button.
c) Set the week when Daylight Savings Time (Summer Time) ends.
d) Press The SET DT ENDS button.
D) (Optional) Press the STATION ID button to specify your station’s identifier (call
sign or call letters).
a) Use the knob to select characters. Use the PREV and NEXT buttons to move
the cursor.
b) When you are finished, press SAVE.
2. Navigate to Setup > Next > Automation.
If the AUTOMATION button reads DISABLED, hold it down and turn the knob to en-
able automation.
This button allows you to easily enable or disable all automation events without
having to edit individual automation events.
3. To add an automation event:
A) Push the ADD EVENT button.

B) Choose whether you wish to program an event that occurs only once or an
event that follows a daily or weekly schedule.
C) For events that occur only once:
a) Use the PREV and NEXT buttons to move the cursor over the word “DAILY:”
and turn the knob so that is reads “DATE:” instead.
b) Use the PREV and NEXT buttons to move the cursor to the day, month, and
year when the automation event will occur. Set the desired values with the
knob.
c) Use the PREV and NEXT buttons to move the cursor set the hour, minute,
and second (in 24-hour format) when the automation event is to occur. Set
the desired values with the knob.
D) For events that occur on a daily or weekly schedule:
a) Use the PREV and NEXT buttons to move the cursor the each day of the
week in turn, and use the rotary encoder to turn the day on or off.
You can program the event to occur on as many days of the week as you
wish.
b) Use the PREV and NEXT buttons to move the cursor set the hour, minute,
and second (in 24-hour format — e.g., 18:00:00 for 6:00 PM) when the
automation event is to occur. Set the desired values with the knob.
Automation events have a “start” time but no “stop” time. The 9400 will
indefinitely remain in the state specified by an existing automation event
until its state is changed by another automation event or by another ac-
tion (such as a user’s interacting with the front panel or PC Remote soft-
ware).
E) For all events:
a) Press the SELECT EVENT button.
b) Turn the knob to set the desired event. The available events are:
• Recall factory preset
• Recall user preset
• Recall transmission preset
• Analog processing chain stereo mode
• Analog processing chain mono-from left-channel (MONO-L) mode

This mode takes the left channel input, splits it to the left and right in-
puts of the processing, and applies identical processing to both chan-
nels.
• Analog processing chain mono-from right-channel (MONO-R) mode
• Analog processing chain mono-from-sum-of-channels (MONO-SUM)
• Digital processing chain stereo mode
• Digital processing chain mono-from left-channel (MONO-L) mode
• Digital processing chain mono-from right-channel (MONO-R) mode
• Digital processing chain mono-from-sum-of-channels (MONO-SUM)
• bypass mode (Bypasses the analog and digital processing chains, ap-
plying the signal at the 9400’s active input to all outputs with a gain
set by the SETUP > TEST > BYPASS GAIN control.)
• exit test (restores the operating preset that was on-air before a test
mode was invoked)
• No function
F) When you have programmed an event to your satisfaction, press the SAVE
EVENT button.
You will return to the automation menu.
4. To edit an existing event:
A) Press the VIEW > EDIT EVENT button.

You can search by date or event (e.g., recalling a given preset). Use the
NEXT button to navigate between DATE and EVENT.
B) Turn the knob until you see the event you wish to edit.
C) Press the EDIT EVENT button.
D) Edit the event as desired. Use the same technique as adding an event.
E) Press the SAVE EVENT button to store your edits.
5. To delete an event:
A) Press the DELETE EVENT button.

B) Choose the event to delete with the knob.
C) When you have located the event you want to remove, press the DELETE
EVENT button.
This action will immediately delete the event. There is no “are you sure”
warning message. To abort the deletion, press the ESC button, not the
DELETE EVENT button.
Security and Passcode Programming

[Skip this step if you do not plan to use PC Remote software or do not plan to lock
out the front panel locally.]
The 9400 has five levels of security to prevent unauthorized people from changing
its programming or operating state. Security controls access to the front panel and
to anyone connecting to the 9400 through a direct serial connection, dial-up net-
working (through modems), or its Ethernet port.
The security levels are:
1. All Access (i.e., administrator level)

2. All Access except Security
3. All Screens except Modify and Security
4. Recall, Modify, and Automation
5. Recall Presets and Program Automation
6. Recall Presets
There is no default passcode. The Optimod’s front panel cannot be locked out unless
the Optimod has been assigned at least one All Access passcode.
Your Optimod secures User Presets by encrypting them (using the Advanced Encryp-
tion Standard algorithm with the session passcode as its key) when PC Remote
fetches them. Hence, a packet sniffer cannot intercept User Presets in plaintext form.
PC Remote then writes the fetched User Presets in encrypted form on your hard
drive, where they remain for the duration of your PC Remote session.
If PC Remote exits normally, it will erase these temporary User Preset files
from your computer’s hard disk. If it does not exit normally, these files
will remain in encrypted form. However, the next time that PC Remote
starts up, it will automatically clean up any orphaned files.
To Create a Passcode:
A) Navigate to SETUP > SECURITY > ADD PASSCODES.
If the front panel is already password protected, you can only access this
screen by entering a passcode with All Access privileges.
B) Use the four soft buttons, labeled“1,” “2,” “3,” and “4,” to create a passcode.
Passcodes can be up to eight characters long but can only contain the
characters “1,” “2,” “3,” and “4.” This limitation makes it easy to enter a
passcode using the four available soft buttons.
C) When you have finished entering your new passcode, write it down so you do
not forget it. Then press the NEXT button.
If you wish to discard the passcode you just entered, press the ESC button
instead. Then return to step (B).
D) The PERMISSIONS screen appears. Turn the knob to choose the permission level
for the passcode you just created.
If you wish to discard the passcode you just entered, press the PREV but-
ton to return to the Enter Passcode screen or ESC to return to the Secu-
rity screen.
E) Press the NEXT button to save your new passcode.
To Edit a Passcode:
A) Navigate to SETUP > SECURITY > VIEW-EDIT PASSCODES.
screen by entering a passcode with ALL ACCESS privileges.
B) Turn the knob until you see the passcode you want to edit.
C) Press the NEXT button. The Permissions screen appears.
D) Turn the knob to set the desired permission level for the passcode you are ed-
iting.
E) Press the NEXT button to confirm your choice.
Your new permission level is stored and the Security menu appears.
To Delete a Passcode:
A) Navigate to SETUP > SECURITY > DELETE PASSCODES.
screen by entering a passcode with All Access privileges.
B) Turn the knob until you see the passcode you want to delete.
C) Press the NEXT button. The Confirm Delete screen appears.
D) Press the YES soft button to delete the passcode. Press the NO or ESCAPE
buttons to abort deleting the passcode.
To Lock the Front Panel Immediately:

After you have adjusted the processor, to maximize security you will often want
to lock it immediately without waiting for the timeout. To do so:
A) Press the SETUP button.
B) If the LOCK NOW soft button is not visible, press the NEXT button until you see
it.
C) Press the LOCK NOW soft button.
To Program local lockout:

A) Navigate to SETUP > SECURITY.
screen by entering a passcode with ALL ACCESS privileges.
B) Hold down the AUTOLOCK soft button and turn the knob to set the desired
lockout time (if any).
You can program the lockout delay time (in hours:minutes) from 1 min-
ute to 8 hours, or OFF. This is the time delay between the last access to a
local front panel control and when the front panel automatically locks it-
self out, requiring entering a passcode to obtain front panel control of
the 9400.
Autolock can only be turned on if at least one passcode exists with ALL
ACCESS privileges because an ALL ACCESS passcode is required to fully
unlock the panel or to turn off the Autolock function.
C) Press the ESCAPE button to leave the Security menu.
To Unlock the Front Panel:

A) On the 9400 front panel, operate any button or the knob.
The PASSCODE screen will appear.
B) Enter a passcode using the four soft buttons.
The 9400 functionality that you can access depends on the security level
of the passcode that you entered.
After you have finished working, the panel will automatically re-lock af-
ter the time delay you set in SETUP > SECURITY > AUTOLOCK. (You can set a
new delay at any time if you have an ALL ACCESS passcode.)
Dial-up Networking and the Passcode

When you make a Windows Dial-up Networking connection, Windows will ask you
for your passcode. To allow the connection to occur, enter any passcode that you set
at the 9400’s front panel. Once your PC is connected to the 9400, you will be able to
access the 9400 functionality corresponding to the security level of your passcode.
If you have not set a passcode, leave the Windows dialog box blank.
If You Have Forgotten Your Passcode

You can reset factory defaults and wipe out security passcodes (in case you forgot
your ALL ACCESS passcode).
A) Remove power from the 9400.

B) While pressing both the ESCAPE and SETUP buttons, restore power.
The Restore Defaults screen appears.
C) To gain access to the 9400, press the ERASE ALL PASSCODES soft button.
D) Reprogram passcodes as necessary; see To Create a Passcode on page 2-42.
The RESTORE DEFAULTS button (in the Restore Defaults screen) restores
all System Setup and Input/Output parameters to their factory default
settings. It also erases all passcodes. You should never need to use this
button in an existing installation, although it is a convenient way to
make the 9400 “factory fresh” if it is being installed in a different facility.
The RESTORE DEFAULTS button takes you to a screen that allows you to
keep or erase any user presets that exist in your unit.
Remote Control Interface Programming

[Skip this step if you do not wish to program the GPI (contact closure) remote con-
trol interface.]
1. Navigate to SETUP > NEXT > NETWORK & REMOTE > REMOTE INTERFACE.
2. Program one or more remote control interfaces.
A) Navigate to the desired Remote Interface button (1 through 8) by repeatedly

pressing the NEXT button.
B) Hold down the button while turning the knob to select the desired function
for the interface.
Use either button below the appropriate graphics; both work the same.
A momentary pulse of voltage will switch most functions, except as
noted.
• Preset Name: switches the named preset on the air. The control interface
can recall any factory or user preset.
• Input: Analog: selects the analog inputs.
• Input: Digital: selects the digital input and but does not apply de-
emphasis to it.
• Input: Digital+J.17: selects the digital input and applies J.17 de-emphasis
to it.
• Bypass: switches the Bypass Test Mode on the air.
• Tone: switches the Tone Test Mode preset on the air.
• Exit Test: If a test preset is presently on the air, EXIT TEST reverts to the
previous processing preset.
• Analog Chain Stereo: connects the left and right outputs of the stereo
enhancer and AGC (which always operate in stereo) to the left and right
inputs of the analog chain processing. The analog chain processing starts
with its equalizer section.
• Analog Chain Mono from Left, Mono from Right, or Mono from
Sum: Takes the Left, Right, or Sum (L+R) from the outputs of the stereo
enhancer and AGC and applies it to the left and right inputs of 9400’s
analog processing chain. In any of these modes, the left and right outputs
of the analog processing chain carry identical signals and either can be
used to drive a mono transmitter.
• Digital Chain Stereo: connects the left and right outputs of the stereo
enhancer and AGC (which always operate in stereo) to the left and right
inputs of the digital (HD) chain processing. The digital chain processing
starts with its equalizer section.
• Digital Chain Mono from Left, Mono from Right, or Mono from
Sum: Takes the Left, Right, or Sum (L+R) from the outputs of the stereo
enhancer and AGC and applies it to the left and right inputs of 9400’s
digital processing chain. In any of these modes, the left and right outputs
of the digital processing chain carry identical signals. While the digital
chain will ordinarily operate in stereo, these mono modes can be useful to
recover from a situation where one channel of a stereo STL fails.
• Transmission Preset: Puts any of the four transmission presets

(TX1/DAY, TX1,NIGHT, TX2/DAY, or TX2/NIGHT) on air.
• Monitor Mute: mutes any output that is set for “monitor” (not “trans-
mitter”). By connecting this output to a loss-of-carrier alarm, you can
simulate an “off-the-air” condition that mutes the control room monitor,
thereby immediately alerting the talent or operator.
• Reset Clock To Hour: resets the internal clock to the nearest hour. For
example, 3:03:10 would be reset to 3:00:00, while 3:53:40 would be reset
to 4:00:00. Use this function to periodically re-sync the 9400’s internal
clock to your station’s master clock.
• Reset Clock to Midnight: Resets the clock to 0:00:00. You can use this
function to periodically re-sync the 9400’s internal clock to your station’s
master clock.
• No Function: remote input is disabled.
3. End remote control interface programming.
When you are finished programming the remote control interface, press the Es-
cape button to return to higher menu levels.
Networking and Remote Control

[Skip this step if you do not wish to connect to your 9400 remotely, either for
downloading software upgrades or for PC Remote Control.]
The 9400 has a built-in Ethernet connector that can be used with 10 Mbps or 100
Mbps networks using the TCP/IP protocol. You can also connect a PC to the 9400
through the 9400’s RS-232 serial port, either by modem or directly through a null
modem cable.
1. Prepare the 9400 for an Ethernet network connection:
[Skip this step if you will not be using an Ethernet connection.]
• See your network administrator to get the data required in the following
procedure.
• Note that if you wish to do this from the 9400 PC Remote software, you
must first be able to connect to the 9400. Therefore, you will usually perform
this procedure from the 9400’s front panel to prepare it for connection.
A) Navigate to SETUP > NETWORK & REMOTE > NEXT.

B) Press the SET IP ADDRESS soft button.
The IP Address Screen appears.
a) Use the NEXT and PREV keys to move the cursor in turn to each digit in the
IP address. Use the knob to set the digit to the desired value. Repeat until
you have selected all the numbers in the IP address assigned by your
network administrator
b) Press the SAVE soft button to confirm your setting.
C) Set the Subnet Mask assigned by your network administrator if necessary:
a) Press the SET SUBNET MASK soft button.
b) Use the NEXT and PREV keys to move the cursor in turn to each digit in the
subnet mask. Use the knob to set the digit to the desired value. Repeat
until you have selected all the numbers in the subnet mask assigned by
your network administrator
c) Press the SAVE soft button to confirm your setting.
D) Set the Gateway Address assigned by your network administrator if necessary:
a) Press the GATEWAY ADDRESS soft button.
gateway address. Use the knob to set the digit to the desired value. Repeat
until you have selected all the numbers in the gateway address assigned by
your network administrator
E) Set the IP Port assigned by your network administrator if necessary:
a) Press the IP PORT soft button.
IP port. Use the knob to set the digit to the desired value. Repeat until you
have selected all the numbers in the IP port assigned by your network
administrator
F) Connect your Ethernet network to the RJ45 jack on the rear panel of your
9400.
• If you are connecting to a hub or router, use a standard Ethernet cable.
• If you are connecting directly to the Ethernet jack on a computer, use a

“crossover” or “reverse” Ethernet cable.
G) Press the NEXT button.
2. Prepare the 9400 for modem connection through the serial port:
[Skip this step if you will not be using a modem connection.]

A) Navigate to SETUP > NETWORK & REMOTE.
B) Hold down the PC CONNECT soft button and turn the knob until you see
MODEM on the display.
C) Press the MODEM INIT soft button.
D) If the string that appears in the display is S0=4, this is correct. Press the
ESCAPE button and skip steps (E) and (F) below.
S0=4 is the 9400 default setting. This activates auto-answer functionality
in the modem.
E) Set the InIT STRING to S0=4. Use the NEXT and PREV KEYs to move the cursor in
turn to each character in the modem initialization string. Use the knob to set
the character to the desired value. Repeat until you have set all the characters
in the initialization string.
F) Press the SAVE soft button to confirm your setting.
3. Modem setup:
You will need two modems and two available phone lines, one for your PC and
one for your 9400. Orban Customer Service supports only the 3Com / U.S. Robot-
ics® 56kbps fax modem EXT on the 9400 side of your connection, although other
56kbps modems will usually work OK.
You can use either an internal or an external modem with your PC.
A) Connect the telephone line from the wall phone jack to the wall connection
icon on the back of the modem (modem in).
B) Connect the modem to the 9400’s serial port with a standard (not null) mo-
dem cable.
The cable provided with your 9400 is a null modem cable and will not
work.
C) Set the modem to AUTO ANSWER and turn it on.

For 3Com / U.S. Robotics® 56kbps fax modem EXT, set dipswitches 3, 5,
and 8 in the down position to activate the AUTO ANSWER setting. All other
dipswitches should be set to the up position.
4. Prepare the 9400 for direct serial connection through the serial port:
[Skip this step if you will not be using a modem connection.]

A) Navigate to SETUP > NETWORK & REMOTE.
DIRECT on the display.
You are now ready to connect your computer to your 9400 through a null
modem cable connected to your computer’s serial port. Refer to Installing
9400 PC Remote Control Software on page 2-50.
Recalling Presets via Ethernet
using Terminal Emulator Software
You can connect a terminal emulation application to the 9400’s Ethernet port via
TCP/IP, port 23 (which is the standard Telnet port and the 9400 factory default).
When connected like this, you can recall presets.
The version of HyperTerminal that ships with Windows does not support TCP/IP con-
nections, although the full (paid, upgraded) version does. However, you can use the
freeware terminal emulation application PuTTY instead. The following description is
based on PuTTY Release 0.55:
http://www.chiark.greenend.org.uk/~sgtatham/putty/
A) Start PuTTY.
The SESSION window appears.
B) Click the TELNET button, which is hard-wired for Port 23.
C) In the TERMINAL category, check “Implicit CR in every LF.”
You should not have to change any other PuTTY Terminal, Window, or
Connection defaults
D) Type the 9400’s IP address into the “Host Name (or IP address)” field.
The IP address for this connection is the same as the IP address set in step
(1.B) on page 2-46 and is visible in the SETUP > NETWORK & REMOTE > SET
IP ADDRESS screen.
E) Name and save the Session if you wish.
F) Click OPEN.
G) Activate the CAPS LOCK on your computer to ensure that you type in upper-
case.
To set a different port number:

A) Navigate to SETUP > NETWORK & REMOTE > TERMINAL PORT. If TERMINAL PORT is
not visible, press the NEXT button as necessary to scroll it into view.
B) Press the TERMINAL PORT soft button.
C) Use the NEXT and PREV keys to move the cursor in turn to each digit in the IP
port. Use the knob to set the digit to the desired value. Repeat until you have
selected all the numbers in the IP port assigned by your network administra-
tor
D) Press the SAVE soft button to confirm your setting.
To recall a preset:
Command Response
RPXXXXXXX[PASSCODE]« (valid passcode and preset name)
ON AIR: XXXXXXX
(invalid passcode)
ERROR: [PASSCODE] DOES NOT EXIST
(invalid preset name)
ERROR: XXXXXXX DOES NOT EXIST
In the above table: XXXXXXX is the preset name;

PASSCODE is any valid passcode.
• If a non-existent preset name and/or an invalid passcode is entered, the 9400 will
ignore the command.
• You can apply this command anytime after the 9400 boots up. The 30-minute
timeout does not apply.
• This command is useful in interfacing automation systems to the 9400.
• Valid commands are in either upper or lower case, not a combination.
• Valid commands cannot contain spaces. If a preset name contains spaces, remove
them (e.g., GEN MED should be programmed as GENMED).
• Only one valid command is permitted per line.
• The 9400 will not respond to unrecognized commands.
• The character code supported is ASCII.
Installing 9400 PC Remote Control Software

This section briefly summarizes the procedure for installing 9400 PC Remote soft-
ware on existing 9400s. If required, you will find more detailed instructions in the
.pdf file automatically installed on your computer by Orban’s installer program,
Setup9400_x.x.x.x.exe, where “x.x.x.x” represents the software version you are
installing. (For example, for version 1.0 software, this would be 1.0.0.0.)
The PC Remote software is supplied on a CD shipped with your 9400. You can also
download it from ftp.orban.com/9400.
Instructions for using the PC Remote software are found in Section 3 of this manual.
Installing the Necessary Windows Services
The 9400 PC Remote application uses Windows’ built-in communications and net-
working services to deal with the low-level details necessary to communicate with
the 9400’s serial port. (These services are also used to upgrade your 9400’s firmware
when updates are available from Orban.) The exact process will vary, depending on
how you wish to set up the communications. That is:
• If you want to communicate through a local PC, you will need to establish a con-
nection between a serial (COM) port of the PC and the COM port of your 9400
through a null modem cable (supplied with your 9400). You will then use Win-
dows Direct Serial Connect to make the basic connection.
• If you want to communicate through a pair of modems, you will use the Win-
dows Dial-Up networking service to make the connection.
You must install the appropriate communications services in Windows (if they
are not already installed) before you can run 9400 Remote software. You may
therefore need to have access to the Windows install disk(s) — or have their im-
age copied onto your computer’s hard drive — before you attempt to use the
9400 PC Remote application.
In all cases, regardless of whether your PC communicates to the 9400
through its serial port or Ethernet connector, it uses the ppp and the
TCP/IP protocols to communicate with the 9400.
Check Hardware Requirements

To connect your PC to your 9400, regardless of the method you choose, you will
need the following:
• Orban 9400 OPTIMOD-AM.
• If connecting by serial cable: a null modem cable (also called a “reverse” cable),
supplied by Orban with your 9400 when it was shipped. This cable has DB9 fe-
male connectors at both ends for connecting the 9400 to the serial port on your
computer. If your computer has a DB25 connector, you will need to obtain an
adapter.
• If connecting by modem: a 3Com / U.S. Robotics® 56kbps fax modem EXT and
normal (not null) modem cable for the 9400 side of the connection. Note that
Orban Customer Service does not support any other type of modem for connect-
ing to the 9400.
• If connecting by network: a standard Ethernet cable (with RJ45 connectors) to

connect to a network hub or router, or a crossover Ethernet cable to connect di-
rectly to your PC’s Ethernet jack.
• PC running Windows 2000 (SP3 or higher) or XP.

9400 PC Remote will not run on older Windows versions.
Recommended Components
Computer.................................................................... Pentium II or higher
Available Disk Space .......................................................................... 25MB
RAM .................................................................................................. 256MB
Display................................................................................. SVGA or higher
Microsoft Windows................. 2000 SP3 (or higher) or XP (Home or Pro)
COM Port .......................................................16550 (or compatible) UART
WARNING!
When connecting your 9400, use shielded cable to protect the pins in the RS-232
connector from electrostatic discharge.
The following subsections provide steps for connecting to your 9400 OPTIMOD-AM
software using the Windows 2000 / XP Direct Cable Connect or via modem connec-
tion.
Running the Orban Installer Program

Insert the installer CD into your computer’s CD drive.
The installer should start up and ask you if you wish to install the PC Remote appli-
cation on your computer. If it fails to do so, navigate to Start \ Run on your com-
puter, and type X:setup (where “X” is the drive letter of your CD drive).
Follow the prompts on your screen to install the PC Remote software automatically
on your computer.
• You might have obtained the automatic installer application from some other
source than Orban’s CD, like Orban’s ftp site or another computer on your net-
work. If so, just run the application and follow the on-screen instructions.
• This program installs the necessary files and adds an Orban / Optimod 9400
folder to your computer’s Start Menu. This folder contains shortcuts to the PC
Remote application and to the documentation. If you accepted the option dur-
ing installation, there is also a shortcut to the PC Remote application on your
desktop.
You have now installed all files necessary to use the PC Remote software. If you are
using a direct serial or a modem connection, the next step is to install and configure
the Windows communications services that allow your computer to communicate
with your 9400. Appendix: Setting Up Serial Communications on page 2-59 provides
details.
Setting Up Ethernet, LAN, and VPN Connections
If you are using an Ethernet connection and your computer can successfully connect
to the Internet through its Ethernet port, it already has the correct (TCP/IP) network-
ing set up to communicate with the 9400. In most cases, all you need is your 9400’s
IP address, Port, and Gateway number, as set in step 1 on page 2-46. You will enter
these when you create a “connection” to your 9400 from the 9400 PC Remote appli-
cation — see step (E) on page 3-62. If your computer does not have a working
Ethernet port, you will need to add one and then following the instructions pro-
vided by Microsoft to set it up to enable TCP/IP networking.
If you wish to connect to your 9400 through your LAN or VPN (through a WAN or
the Internet), consult your network administrator. Note that to cross subnets, you
must specify a gateway. If the PC and 9400 are on the same subnet, then it is unnec-
essary to specify a gateway.
If you are behind a firewall, you must open the port you specified in step (1.E) on
page 2-47. If the gateway, port, and firewall (if used) are configured correctly, it is
possible to connect 9400 PC Remote to a 9400 via a VPN.
Conclusion
By carefully following the instructions in the Appendix, you should have successfully
installed the necessary Windows services and connected to your 9400. However, if
you experience any problems with this process, or have any other 9400 questions,
please contact Orban Customer Service:
phone: +1 510 351-3500
email: custserv@orban.com
For details on your new 9400 software, from new features to operational sugges-
tions, refer to our FTP site (ftp.orban.com/9400).
Synchronizing Optimod to a Network Time

Server
[Skip this section if you do not wish to automatically synchronize your Optimod’s in-
ternal clock to a network timeserver, which may be part of your local network or lo-
cated on the Internet.]
1. Navigate to SETUP > NEXT > TIME DATE AND ID > NEXT > TIME SYNC.
A) Use the PROTOCOL control to choose either TIME PRO or SNTP.
• Select TIME PRO if the Optimod is behind a firewall that does not pass UPD
packets. TIME PRO selects the Time Protocol as described in the standard
RFC868. This method uses TCP on port 37.
• Select SNTP if your network timeserver supports the Simple Network Time
Protocol as described in standard RFC1769. This method uses UDP on port
123.
Ask your network administrator which protocols are available. SNTP is

slightly more accurate.
B) Using SYNC PERIOD, choose how often your Optimod will automatically update
its internal clock to the timeserver you selected.
The choices are OFF, 8 HOURS, and 24 HOURS.
If the connection to the timeserver fails (due to network overload or
other problems), your Optimod will try once per hour to synchronize un-
til it is successful.
C) Set the OFFSET to the difference (in hours) between your time zone and Uni-
versal Time (UTC).
UTC is also known as GMT, or Greenwich Mean Time.
• The value can range between –12 and +12 hours. If this value is set to 0,
your Optimod’s time will be the same as UTC.
• You can empirically adjust this value until the correct time for your location
is displayed after you synchronize your Optimod to a timeserver.
2. Choose a timeserver.
http://www.boulder.nist.gov/timefreq/service/time-servers.html provides a cur-

rent list of timeservers available on the Internet. You network may also have a
local timeserver; ask your network administrator.
As of April 2004, NIST’s list was as follows:
Name IP Address Location
time-a.nist.gov 129.6.15.28 NIST, Gaithersburg, Maryland
time-b.nist.gov 129.6.15.29 NIST, Gaithersburg, Maryland
time-a.timefreq.bldrdoc.gov 132.163.4.101 NIST, Boulder, Colorado
time-b.timefreq.bldrdoc.gov 132.163.4.102 NIST, Boulder, Colorado
time-c.timefreq.bldrdoc.gov 132.163.4.103 NIST, Boulder, Colorado
utcnist.colorado.edu 128.138.140.44 University of Colorado, Boulder
time.nist.gov 192.43.244.18 NCAR, Boulder, Colorado
time-nw.nist.gov 131.107.1.10 Microsoft, Redmond, Washington
nist1.datum.com 66.243.43.21 Datum, San Jose, California
nist1-dc.glassey.com 216.200.93.8 Abovenet, Virginia
nist1-ny.glassey.com 208.184.49.9 Abovenet, New York City
nist1-sj.glassey.com 207.126.98.204 Abovenet, San Jose, California
nist1.aol-ca.truetime.com 207.200.81.113 TrueTime, AOL facility, Sunnyvale, Cali-
fornia
nist1.aol-va.truetime.com 205.188.185.33 TrueTime, AOL facility, Virginia
Table 2-1: NIST-referenced timeservers
3. Press the NEXT button to set up timeserver parameters.
The TIME SERVER button is located on the second page of the TIME SYNC func-
tions. (You can access this function from anywhere in the Optimod menu tree by
navigating to SETUP > NEXT > TIME DATE AND ID > NEXT > TIME SYNC > NEXT.)
You can specify the timeserver either from your Optimod’s front panel or from
its PC Remote software. From the front panel, you can only enter the time-
server’s IP address (for example, 192.43.244.18). If you specify the timeserver
from PC Remote, you can specify either its named address (for example,
time.nist.gov) or its IP address.
4. Specify the time sync parameters from your Optimod’s front panel:
[Skip this step if you wish to specify the timeserver and time sync parameters
from your Windows XP computer.]
A) Press the TIME SERVER button.
The timeserver IP Address Screen appears.
a) Use the NEXT and PREV keys to move the cursor in turn to each digit in the
IP address. Use the knob to set the digit to the desired value. Repeat until
you have selected all the numbers in the desired IP address.
b) Press the SAVE soft button to confirm your setting.
B) Press the SYNC NOW soft button to test your settings. Your Optimod’s display
should indicate that it is connecting to the IP address that you specified. When
the connection is successful, the Optimod’s clock will automatically synchro-
nize to the timeserver.
• If the connection is not successful within five seconds, the display will indi-
cate that the connection failed. This means either that the timeserver is too
busy or that your setup cannot connect to the timeserver. Double-check the
IP address. If you are behind a firewall, make sure that port 123 is open.
• If your connection failed, the gateway address might not be set correctly
on your Optimod. The gateway address for the timeserver connection is the
same gateway address that you set in step (1.D) on page 2-47. If you do not
know the correct gateway address, you can often discover it by connecting
a Windows computer to the same Ethernet cable that is ordinarily plugged
into your Optimod. Ascertain that the computer can connect to the Inter-
net. At the command prompt, type ipconfig. The computer will return
the “Default Gateway.”
5. Specify the time sync from the Optimod PC Remote software:
[Skip this step if you wish to specify the timeserver and time sync parameters
from your Optimod’s front panel.]
Optimod PC Remote software can automatically set your Optimod’s local time,
OFFSET, and TIME SERVER to reflect the Windows settings in the machine running
PC Remote software.
If you are running Windows 2000, you cannot specify the timeserver from
your computer. However, you can still set your Optimod’s clock and off-
set.
A) In Windows, navigate to the CONTROL PANEL > DATE AND TIME > TIME ZONE tab.
B) Set time zone to correspond to your local time zone.
C) In Windows, navigate to the CONTROL PANEL > DATE AND TIME > INTERNET TIME
tab.
D) If you are running Windows XP:
a) Check “Automatically synchronize with an Internet time server” to set your
Optimod’s SYNC PERIOD to “24.”
Depending on how your network is configured, this option may not be
available in Windows XP, so “Automatically synchronize with an Internet
time server” will not appear. In this case, you must use your Optimod’s
front panel to set the timeserver (step 4 on page 2-55 ).
b) Set “Server” to the desired timeserver.
c) Click the “Update Now” button to synchronize your computer’s clock to
the selected timeserver. If this is successful, this means that you can connect
to the selected timeserver over your network.
• The INTERNET TIME tab is not available in Windows 2000. If you are running
Optimod PC Remote on Windows 2000, you must enter the timeserver from
your Optimod’s front panel as an IP address (step 4 on page 2-55).
• If the timeserver you selected in Windows is a named address not an IP ad-

dress the 9400 will resolve it correctly, but the IP address that appears in
your Optimod’s display will be 0.0.0.0.
• To use PC Remote to turn off your Optimod’s automatic synchronization,

uncheck “Automatically synchronize with an Internet time server” on your
PC. Then click the “Update Now” button on PC Remote.
E) Navigate to Optimod PC Remote’s SETUP/ UTILITY tab and click the SET 9400
CLOCK button.
• If you are running Windows XP, PC Remote will download your computer’s
currently specified timeserver into your Optimod.
• PC Remote will adjust your Optimod’s OFFSET setting to correspond to your

computer’s time zone setting.
• PC Remote will synchronize your Optimod’s clock with your computer’s

clock.
F) It is wise to disconnect from PC Remote and then to press the SYNC NOW but-
ton on your Optimod [step (4.B) on page 2-55]. This is to test the ability of
your Optimod to synchronize to the selected timeserver and to ensure that
your Optimod’s clock is set accurately.
NOTE: Manually setting your Optimod’s clock via Set Time, Set Date, Daylight
Time, and the remote contact closure Reset to Hour and Reset to Midnight will
not work when the automatic synchronization function is active. To inactivate
this function (thereby permitting manual setting to work), set the SYNC PERIOD to
OFF.
[This page purposely left blank.]

Appendix: Setting Up Serial Communications
This appendix provides instructions for setting up both direct serial and modem
connections from your 9400 to your PC. You must do this when you define a new
connection from the 9400 PC Remote application. The appendix provides procedures
for both the Windows 2000 and Windows XP operating systems. (Note that the
screen shots were prepared for Orban’s Optimod-FM 8300 and refer to that product.
They are directly applicable to the 9400 too.)
Preparing for Communication through Null Modem Cable
1. Configure your 9400.
A) On your 9400’s front panel, navigate to SETUP > NETWORK & REMOTE.
DIRECT on the display.
2. Connect the cable.
A) Connect one end of the null modem cable that we supplied with your 9400 to
the DB9 serial connector on the 9400’s rear panel.
Be sure to use a null modem cable. A normal serial cable will not work.
B) Connect the other end of the cable to your computer’s COM port.
Connecting Using Windows 2000 Direct Serial Connection:

Ordinarily, a direct serial connection through a null modem cable is used only when
you are controlling one 9400 per available COM port on your computer. If you wish
to control multiple local 9400s, it is better to use an Ethernet network connection.
However, in principle you could control multiple 9400s serially from one COM port,
using a hardware serial switch to select the 9400 you wish to control. In this case,
you should set up a separate 9400 “connection” for each 9400 to be controlled, fol-
lowing the instructions below. All connections should reference the same COM port.
This connection is used both for upgrading your 9400 and for connecting the 9400
PC Remote application to your 9400.
Important: The Direct Serial Connection must have exclusive access to the PC COM
port that connects to your 9400. Make sure that any software that monitors this
COM port (such as HotSync manager, etc) is disabled before running Direct Serial
Connection.
If you have already configured your direct serial cable connection, skip to step 2 on
page 2-64.
If you cannot access the Internet after making a Direct or Modem connection, you
will have to reconfigure certain networking parameters in Windows. Please see You
Cannot Access the Internet After Making a Direct or Modem Connection of the 9400
on page 5-8.
1. Add and configure a Direct Connection for Windows 2000:
A) Create a New Windows

2000 Direct Connection:
a) Launch 9400 PC
Remote.
b) Choose “Connect / New
9400”
c) Give your 9400 a name

(e.g., “KABC”) by en-
tering this name in the
“9400 Alias” field.
d) If you wish to have
9400 PC Remote
remember the
password for this
Optimod, enter the
pass-word in the
“Password“ field.
e) Select “Serial Connec-
tion.”
f) Click “Add.”
g) Select “Connect Directly

to another computer.”
h) Click “Next.”
i) In the drop-down box, select the serial
port you will be using to make the
connection.
j) Click “Next.”
k) Select either “For all users” or “Only

for myself.”
The correct setting depends on
how your network and security
are configured.
Your wizard may not display this
field if your computer is set up
for a single user only.
l) Click “Next.”
m)Enter a name for your Connection such

as: “Connection to 9400.”
n) Click “Finish.”
o) Click “Yes.”
B) Edit your new Direct

Connection properties:
a) Click “Settings.”
b) Click the “General”

tab.
c) Select the device you
set up in step (i) on
page 2-61. This will
usually be
“Communications
cable between two
computers (COM1).”
d) Click “Configure.”
e) Set “Maximum speed (bps)” to
“115200.”
f) Check “Enable hardware flow con-
trol.”
g) Make sure that all other boxes are
not checked.
h) Click “OK.”
i) Select the Networking tab.

j) Make sure that “PPP: Windows 95 /
98 / NT 4 / 2000, Internet” appears in
the “Type of dial-up server I am
calling” field.
k) Make sure that “Internet Protocol
(TCP/IP) is checked.
You may leave “File and Printer
Sharing for Microsoft Networks”
and “Client for Microsoft Net-
works” checked if you like.
l) Click “OK.”
m) When the “Connection properties” window appears, click “OK.”

2. Launch an existing Windows 2000 Direct connection.
Once you have set up a “connection” specifying Direct Connect in the 9400 PC
Remote application (see To set up a new connection on page 3-61), choosing this
connection from 9400 PC Remote automatically opens a Windows Direct Connec-
tion to your 9400.
You can connect by selecting

the desired connection from
the drop-down list in the
CONNECT menu.
You can also connect by dou-
ble-clicking the connection in
the “Connection List” window.
A dialog bubble will appear
on the bottom right hand cor-
ner of the screen verifying
your connection if the connec-
tion is successful.
If you have trouble making a connection, refer to OS Specific Troubleshooting

Advice: Troubleshooting Windows 2000 Direct Connect on page 5-9. If you have
trouble the first time after creating a connection according to the instructions
above, try restarting your computer to clear its serial port.
3. To change the properties of an existing connection:
Right-click the connection in the “connection List” window and choose “Proper-
ties.” The “Connection properties” window opens (see page 2-60).
Connecting Using Windows XP Direct Serial Connection

If you have already configured your direct serial cable connection, skip to step 2 on
page 2-68.
If you cannot access the Internet after making a Direct or Modem con-
nection, you will have to reconfigure certain networking parameters in
Windows. Please see You Cannot Access the Internet After Making a Di-
rect or Modem Connection of the 9400 on page 5-8.
1. Add and configure a Direct Connection for Windows XP:
A) Create a New Windows XP Direct Con-

nection:
a) Launch 9400 PC Remote.
b) Choose “Connect / New 9400”
c) Give your 9400 a name (e.g., “KABC”)
by entering this name in the “9400
Alias” field.
d) If you wish to have 9400 PC Remote
remember the password for this
Optimod, enter the password in the
e) Select “Serial Connection.”
f) Click the “Add” button.
g) Choose “Connect directly to another

computer.”
i) In the drop-down box, select the serial

port you will be using to make the
connection.
j) Click “Next.”
k) Type in a name for your

Connection such as:
“Connection to 9400.”
l) Click “Finish.”
m)Click “Yes.”
B) Edit your new Direct

Connection properties:
b) Click the “General” tab.
c) Select the device you set up in step (i)
on page 2-65. This will usually be
“Communications cable between two
computers (COM1).”
e) Set the “Maximum Speed (bps)” to

115200.
f) Check “Enable hardware flow con-
trol.”
g) Make sure all other hardware features
are unchecked.
h) Click “OK.”
i) Select the Networking tab.

j) Make sure that “PPP:
Windows 95 / 98 / NT 4 /
2000, Internet” appears in
the “Type of dial-up server I
am calling” field.
k) Make sure that “Internet
Protocol (TCP/IP) is checked.
You may leave “File and
Printer Sharing for Mi-
crosoft Networks” and
“Client for Microsoft
Networks” checked if
you like
l) Click “OK.”
m)When the “Connection
properties” window
appears, click “OK.”
2. Launch an existing Windows XP Direct connection.
Once you have set up a “connection” specifying Direct Connect in the 9400 PC
Remote application (see To set up a new connection on page 3-61), choosing this
connection from 9400 PC Remote automatically opens a Windows Direct Connec-
tion to your 9400.
You can connect by selecting the

desired connection from the drop-
down list in the CONNECT menu.
You can also connect by double-
clicking the connection in the
“Connection List” window.
A dialog bubble will appear on the
bottom right hand corner of the
screen verifying your connection if
the connection is successful.
If you have trouble making a connection, refer to Troubleshooting Windows XP

Direct Connect on page 5-11. If you have trouble the first time after creating a
connection according to the instructions above, try restarting your computer to
clear its serial port.
Preparing for Communication through Modems
1. Prepare your 9400 for a modem connection through the serial port.
2. If you have not already done so, create a 9400 passcode.
See To Create a Passcode on page 2-42.
3. Modem setup:
You will need two modems and two available phone lines, one of each for your PC
and your 9400.
Reminder: Orban supports only the 3Com / U.S. Robotics® 56kbps fax
modem EXT on the 9400 side (although other 56kbps modems will often
work.
Connect the modem to the 9400’s serial port with a standard (not null) modem ca-
ble. The cable provided with your 9400 is a null modem cable and will not work.
You can use either an internal or an external modem with your PC.
A) Connect the telephone line from the wall phone jack to the wall connection
icon on the back of the modem (modem in).
B) Connect the modem cable from the modem to the serial port of the 9400.
C) Set the modem to AUTO ANSWER and turn it on.
For 3Com / U.S. Robotics® 56kbps fax modem EXT, set dipswitches 3, 5,
and 8 in the down position to activate the AUTO ANSWER setting. All
other dipswitches should be set to the up position.
Connecting Using Windows 2000 Modem Connection

This connection is used both for upgrading your 9400 and for connecting the 9400
PC Remote application to your 9400.
1. Add and configure modem for Windows 2000:
If your modem is already installed, skip to Launch a Windows 2000 Modem connec-
tion on page 2-75.
A) Install Windows 2000 modem:

Use either an internal modem or external modem with your computer.

a) If you are using an external modem, connect the modem to a serial port on
your PC and make sure the modem is connected to a working phone line.
b) On your PC, click “Start / Settings / Control Panel / Phone and Modem
Options.”
c) Click the “Modems” tab.
d) Verify that your modem appears in the list available under “The following
Modems are installed.”
e) Verify that your modem is “Attached to” the correct port.
If your modem is unavailable or not attached to the correct port, you will
need to Add it. See your Windows documentation.
f) If your modem is available in the list available under “The following
Modems are installed” and it is attached to the correct port, then click
“Properties” for that modem.
g) Make sure the port speed is set at 115200.
h) Click “OK.”
B) Create a New Windows 2000 Dial-Up Connection:
a) Click “Start / Settings / Network and Dial-up Connections / Make New
Connection.”
b) Once the New Connection Wizard has opened, Click “Next.”
C) Create a New Windows 2000 Direct

Connection:
b) Choose “Connect / New 9400”
c) Give your 9400 a name (e.g., “KABC”)
by entering this name in the “9400
Alias” field.
e) Select “Serial Connection.”
f) Click the “Add” button.
g) Select “Dial-up to private network.”

i) Enter the phone number of the mo-

dem connected to the 9400 that you
are setting up.
j) Click the “Next” button.
k) Select either “For all

users” or “Only for
myself.”
The correct setting
depends on how your
network and security
are configured.
This screen may not
appear in computers
set up for single users.
l) Click the “Next” button.

m)Type in a name for your
Connection such as: “Con-
nection to 9400–Modem.”
n) Click the “Finish” button.
o) Click “Yes.”
D) Edit your new Direct Connection prop-
erties:

c) In the “Connect using” field, select
the modem you will be using to make
the connection on the PC side.
e) Set “Maximum speed

(bps)” to “115200.”
f) Check “Enable hard-
ware flow control.”
g) Check “Enable mo-
dem error control.”
h) Check “Enable mc-
dem compression.”
i) Make sure that all
other boxes are not
checked.
j) Click “OK.”
k) Select the Networking

tab.
l) Make sure that “PPP:
Windows 95 / 98 / NT
4 / 2000, Internet”
appears in the “Type
of dial-up server I am
calling” field.
m)Make sure that
“Internet Protocol
(TCP/IP) is checked.
You may leave
“Client for Mi-
crosoft Neworks”
checked if you
like.
n) Click “OK.”
o) When the “Connec-
tion properties” win-
dow appears, click
“OK.”
2. Launch a Windows 2000 Modem connection.
Once you have set up a “connection” specifying a modem connection in the 9400
PC Remote application (see To set up a new connection on page 3-61), choosing
this connection from 9400 PC Remote automatically opens a Windows modem
connection to your 9400.
You can connect by selecting the desired connection from

the drop-down list in the CONNECT menu.
You can also connect by double-clicking the connection in
If the connection is successful, a dialog bubble will appear
on the bottom right hand corner of the screen verifying
your connection.
If you have trouble making a connection, refer to OS Specific Troubleshooting

Advice: Troubleshooting Windows 2000 Modem Connect on page 5-10. If you
have trouble the first time after creating a connection according to the instruc-
tions above, try restarting your computer to clear its serial port.
Connecting using Windows XP Modem Connection
1. Add and configure modem for Windows XP:
Skip this step if your modem is already configured and working.

A) Configure the Windows XP PC ports:
Use either an internal modem or external modem with your computer.
a) If you are using an external modem, connect the modem to a serial port on
your PC.
b) Make sure the modem is connected to a working phone line.
c) Click “Start / Control Panel / Systems.”
d) Go to the “Hardware” tab and click “Device Manager.”
e) In the Device Manager dialog box click the “+” next to the “Ports (COM
and LPT)” icon.
A list will branch off, showing your available ports.
f) Double-click “Communications Port (COM1) or (COM2),” depending on
how you set up your system.
The “Communications Port (Comx) Properties” dialog box opens.
Not all PCs have a COM2.

IMPORTANT: The COM port you choose at this point must match the
COM port to which you connected your modem.
g) From the tabs at the top, choose “Port Settings” and configure the settings
to match your PC modem.
If you are using a U.S. Robotics® external modem, the settings will be:
Bits per second= 115200, Data bits = 8, Parity = None, Stop bits = 1, Flow
Control = None.
h) When you are finished, click the OK button to close the “Communications
Port (Comx) Properties” dialog box.
i) Click the OK button in the “Systems Properties” dialog window.
j) Close the “Control Panel” window.
If your modem is already installed, skip to Launch an existing Windows XP modem
connection on page 2-80.
B) Install the Windows XP modem:

a) Use either an internal modem or external modem with your computer.
If you are using an external modem, connect the modem to a serial port
on your PC and make sure the modem is connected to a working phone
line.
b) On your PC, click “Start / Settings / Control Panel / Phone and Modem
Options.”
c) Click the “Modems” tab.
d) Verify that your modem appears in the list available under “The following
Modems are installed.”
e) Verify that your modem is “Attached to” the correct port.
If your modem is unavailable or not attached to the correct port, you will
need to Add it. See your Windows documentation.
f) If your modem is available in the list available under “The following
Modems are installed” and it is attached to the correct port, then click
“Properties” for that modem.
g) Make sure the port speed is set at 115200.
h) Click “OK.”
C) Create a new Windows XP modem connec-
tion:
b) Choose “Connect / New 9400.”
The Connection Properties win-
dow opens.
c) Give your 9400 a name (e.g., “KABC”) by

entering this name in the “9400 Alias”
field.
You must enter a valid password
to connect. This means that at
least one 9400 passcode must have
been assigned via the 9400’s front
panel. (See To Create a Passcode
on page 2-42.)
e) Click “Add.”
The Windows New Connection
Wizard starts up.
f) Select “Serial Connection.”
g) Click the “Add” button.
h) Select “Dial-up to private network.”
i) Click “Next.”
j) Enter the phone

number of the modem
connected to the 9400
you are setting up.
k) Click “Next.”
l) Type in a name for

your Connection such
as: “Connection to
9400 – Modem”
m)Click the “Finish”
button.
n) Click “Yes.”
D) Edit your new Direct Connection proper-
ties:

c) Select the modem you will be using to
make the connection on the PC side.
e) Set “Maximum speed

(bps)” to “115200.”
f) Check “Enable hardware
flow control.”
g) Check “Enable modem
error control.”
h) Check “Enable mcdem
compression.”
i) Make sure that no other
box is checked.
j) Click “OK.”
k) Select the Networking

tab.
l) Make sure that “PPP:
Windows 95 / 98 / NT4 /
2000, Internet” ap–
pears in the “Type of
dial-up server I am
calling” field.
m)Make sure that “Inter-
net Protocol (TCP/IP) is
checked.
You may leave “Cli-
ent for Microsoft
Networks” checked
if you like.
n) Click “OK.”
o) When the “Connection
properties” window ap-
pears, click “OK.”
2. Launch an existing Windows XP modem connection.
Once you have set up a “connection” specifying a modem connection in the 9400
PC Remote application (see To set up a new connection on page 3-61), choosing
this connection from 9400 PC Remote automatically opens a Windows modem
connection to your 9400.
You can connect by selecting the desired connection from
the drop-down list in the CONNECT menu.
You can also connect by double-clicking the connection in
If the connection is successful, a dialog bubble will appear
on the bottom right hand corner of the screen verifying
your connection.
If you have trouble making a connection, refer to Troubleshooting Windows XP

Modem Connect on page 5-12. If you have trouble the first time after creating a
connection according to the instructions above, try restarting your computer to
clear its serial port.
Updating your 9400’s Software

The software version number of PC Remote must be the same as the version number
of the software running within your 9400. If the software version of PC Remote is
higher than the version running in your 9400, PC Remote will automatically detect
this and will offer to update your 9400’s software automatically.
1. If you have not already done so, prepare your computer and the 9400
for a direct serial, modem, or Ethernet connection.
See Networking and Remote Control starting on page 2-46.
2. Install the latest version of 9400 PC Remote software on your computer.
This is available from

ftp://orban.com/9400
See Installing 9400 PC Remote Control Software on page 2-50.
See the readme9400_x.x.x.x.htm file (where x.x.x.x is the version number) for de-
tails about the upgrade not given in this manual. The PC Remote installer will in-
stall this file on your computer’s hard drive.
3. If you have not previously done so, start 9400 PC Remote and set up a
“connection” to the 9400 you will be updating.
See To set up a new connection on page 3-61.

4. Update your 9400.
A) Attempt to initiate communication to your 9400 via your connection.

See To initiate communication on page 3-62.
9400 PC Remote will automatically detect that the 9400 software version
on your 9400 is not the same as the version of 9400 PC Remote. PC Re-
mote will then offer to update your 9400 automatically.
This procedure will only work for a connection using an “all-screens”
(administrator) passcode.
B) Choose YES and wait for the update to complete. Note that this will cause an
interruption in the audio of approximately 3 seconds when your 9400 auto-
matically reboots after the update is complete. If you cannot tolerate such an
interruption, choose NO or CANCEL to abort the update.
Please be patient; this will take several minutes. (The exact time will de-
pend on whether the 9400 has to do any “housekeeping” to its flash
memory as part of the update.)
Completion will be indicated by the updater’s command-line window’s
closing automatically and your 9400’s rebooting.
Your 9400 will continue to pass audio normally while the update is occur-
ring. However, the audio will be interrupted for approximately 3 seconds
when your 9400 reboots.
Do not interrupt power to your 9400 or your computer, close PC Remote
or the update application’s command-line window, or reboot your com-
puter during this time. While doing any of these things is unlikely to
damage your 9400 (because of extensive backup and error-checking pro-
visions in your 9400), they will certainly cause the update to fail.
C) When the 9400 screen display returns after its automatic reboot, the 9400 will
be running with the updated software.
If the update fails for some reason, try repeating the procedure in steps
(A) through (C) again.
D) If the 9400 screen remains blank for more than one minute after the update
has completed, manually reboot the 9400 by removing AC power from the
9400 for at least ten seconds and then powering the 9400 back up.
E) The 9400 software update is now complete. You should now be able to con-
nect to your 9400 via PC Remote.
NOTE: If you cannot make a connection after a software upgrade, manu-
ally reboot the 9400 with a normal “power-off/power-on” sequence.
OPTIMOD-AM DIGITAL OPERATION 3-1
Section 3
Operation
9400 Front Panel
• Screen Display labels the four soft buttons and provides control-setting infor-
mation.
• Screen Contrast button adjusts the optimum viewing angle of the screen dis-
play.
• Four Soft buttons provide access to all 9400 functions and controls. The func-
tions of the soft buttons change with each screen, according to the labels at the
bottom of each screen.
• Next and Prev (← and →) buttons scroll the screen horizontally to accommo-
date menus that cannot fit in the available space. They also allow you to move
from one character to the next when you enter data into your 9400.
These flash when such a menu is in use. Otherwise, they are inactive.
• Control Knob is used to change the setting that is selected by the soft buttons.
To change a value, you ordinarily have to hold down a soft button while you are
turning the control knob.
• Recall button allows you recall a Factory or User Preset.
Selecting the Recall button does not immediately recall a preset. See step
15 on page 2-22 for instructions on recalling a preset.
• Modify button brings you to list of controls that you can use to edit a Factory or
User Preset. If you edit a Factory Preset, you must save it as a new User Preset to
retain your edit.
• Setup button accesses the technical parameters necessary to match the 9400 to
your transmission system.
• Escape button provides an escape from current screen and returns user to the
next higher-level screen. Repeatedly pressing Escape will always return you to
the Idle screen, which is at the top level of the screen hierarchy.
3-2 OPERATION ORBAN MODEL 9400
• Input meters show the peak input level applied to the 9400’s analog or digital
inputs with reference to 0 = digital full-scale. If the input meter’s red segment
lights up, you are overdriving the 9400’s analog to digital converter, which is a
very common cause of audible distortion.
• AGC meter shows the gain reduction of the slow two-band AGC processing that
precedes the multiband compressor. Full-scale is 25 dB gain reduction. You can
switch the meter so that it either reads the gain reduction of the Master (above-
200 Hz) band, or the difference between the gain reduction in the Master and
Bass bands.
The latter reading is useful for assessing the dynamic bass equalization
that the AGC produces, and it helps you set the AGC BASS COUPLING
control.
• Gate LED indicates gate activity, lighting when the input audio falls below the
threshold set by the AGC gate threshold control (via the Full Modify screen’s
AGC GATE control). When this happens, the AGC’s recovery time is slowed to
prevent noise rush-up during low-level passages.
• Gain Reduction meters show the gain reduction in the multiband compressor.
Full-scale is 25 dB gain reduction.
The gain reduction meters can be switched to indicate either the analog
AM processing or the digital radio processing.
• Multimeters (The rightmost pair of meters) show the instantaneous peak out-
put of the processed audio in units of percentage modulation or the gain reduc-
tion of the look-ahead limiter in the digital channel, in units of dB.
These meters can be switched to read the left/right digital processing

chain output signal, the gain reductions of the left and right look-ahead
limiters in the digital processing chain, or the analog processing chain
output signal. In the latter case, the left-hand meter reads negative peaks
of the higher of the two stereo channels and the right-hand meter reads
the higher of the positive peaks.
Some audio processing concepts
Loudness and coverage are increased by reducing the peak-to-average ratio of the
audio. If peaks are reduced, the average level can be increased within the permitted
modulation limits. The effectiveness with which this can be accomplished without
introducing objectionable side effects (like clipping distortion) is the single best
measure of audio processing effectiveness.
Density is the extent to which the short-term RMS amplitude of audio envelope peaks
is made uniform (at the expense of dynamic range). Programs with large amounts of
short-term dynamic range have low density; highly compressed programs have high
density.
Reducing the peak-to-average ratio of the audio increases loudness. If peaks are re-
duced, the average level can be increased within the permitted modulation limits.
The effectiveness with which this can be accomplished without introducing objec-
tionable side effects (such as pumping or intermodulation distortion) is the single
best measure of audio processing effectiveness.
Compression reduces the difference in level between the soft and loud sounds to
make more efficient use of permitted peak level limits, resulting in a subjective in-
crease in the loudness of soft sounds. It cannot make loud sounds seem louder.
Compression reduces dynamic range relatively slowly in a manner similar to riding
the gain: Limiting and clipping, on the other hand, reduce the short-term peak-to-
average ratio of the audio.
Limiting increases audio density. Increasing density can make loud sounds seem
louder, but can also result in an unattractive busier, flatter, or denser sound. It is im-
portant to be aware of the many negative subjective side effects of excessive density
when setting controls that affect the density of the processed sound.
Clipping sharp peaks does not produce any audible side effects when done moder-
ately. Excessive clipping will be perceived as audible distortion.
Look-ahead limiting is limiting that prevents overshoots by examining a few milli-

seconds of the unprocessed sound before it is limited. This way the limiter can an-
ticipate peaks that are coming up.
The 9400 uses look-ahead techniques in several parts of the analog processing chain
to minimize overshoot for a given level of processing artifacts, among other things.
It is important to minimize audible peak-limiter-induced distortion when

one is driving a low bitrate codec because one does not want to waste
precious bits encoding the distortion. Look-ahead limiting can achieve
this goal; hard clipping cannot.
One can model any peak limiter as a multiplier that multiplies its input
signal by a gain control signal. This is a form of amplitude modulation.
Amplitude modulation produces sidebands around the “carrier” signal.
In a peak limiter, each Fourier component of the input signal is a sepa-
rate “carrier” and the peak limiting process produces modulation side-
bands around each Fourier component.
Considered from this perspective, a hard clipper has a wideband gain
control signal and thus introduces sidebands that are far removed in fre-
quency from their associated Fourier “carriers.” Hence, the “carriers”
have little ability to mask the resulting sidebands psychoacoustically.
Conversely, a look-ahead limiter’s gain control signal has a much lower
bandwidth and produces modulation sidebands that are less likely to be
audible.
Simple wideband look-ahead limiting can still produce audible inter-
modulation distortion between heavy bass and midrange material. The
look-ahead limiter in your Optimod uses sophisticated techniques to re-
duce such IM distortion without compromising loudness capability.
Loudness and density
The amount of gain reduction determines how much the loudness of soft passages
will be increased (and, therefore, how consistent overall loudness will be). The
automatic gain control (AGC) and the multiband limiter both provide gain reduction,
although their effects are quite different.
In a competently-designed processor, audibly objectionable distortion occurs only

when the processor is clipping peaks to prevent the audio from exceeding the peak
modulation limits of the transmission channel. The less clipping that occurs, the less
likely that the listener will hear distortion. However, to reduce clipping, you must
decrease the drive level to the clipper, which causes the average level (and thus, the
loudness) to decrease proportionally.
Receiver high frequency rolloff introduces further complications. A typical

receiver’s severe HF rolloff reduces the headroom available at high frequencies and
makes it difficult to achieve a bright sound. This is because bright sound requires
considerable high frequency power to appear at the output of the receiver, thus
requiring a very large amount of high frequency power to be transmitted so that a
sufficient amount will survive the receiver’s rolloff.
To increase brightness and intelligibility at the receiver, the 9400’s NRSC pre-emphasis
boosts the treble at 6dB/octave starting at 2.1 kHz. HF CURVE settings from 0 to 10
produce more severe pre-emphasis, boosting at 18dB/octave with 2 kHz up about 3
dB. Without very artful processing, this pre-emphasis will radically increase the level of
the peaks and force you to decrease the average level proportionally. Orban's high
frequency limiting and distortion-canceling clipping systems greatly ease this trade-off,
but cannot eliminate it. Therefore, you can only increase brightness by reducing
average modulation (loudness) C unless you accept the increased distortion caused by
driving the final clippers harder.
In processing, there is a direct trade-off between loudness, brightness, and distortion.

You can improve one only at the expense of one or both of the other two. Thanks to
Orban's psychoacoustically-optimized designs, this is less true of Orban processors than
of any others. Nevertheless, all intelligent processor designers must acknowledge and
work within the laws of physics and psychoacoustics as they apply to these trade-offs.
OPTIMOD-AM Processing
OPTIMOD-AM processing occurs in seven main stages for the analog processing and
five main stages for the digital radio processing. (Refer to the block diagram on
page 6-60.)
• The first is a stereo enhancer that widens the perceived stereo image in CQUAM
or HD AM stereo reception. It operates only on the stereo difference signal and
therefore does not compromise mono transmission.
Use stereo enhancement with care if you are driving a low bitrate codec.
At low bit rates, these codecs use various parametric techniques for en-
coding the spatial attributes of the sound field. Stereo enhancement can
unnecessarily stress this encoding process
• The second is a gentle AGC that is ordinarily used to slowly ride gain, keeping
long-term average drive levels into the following multiband compressor stage
constant.
After the AGC, the signal splits into separate chains to process the analog AM
and HD AM independently.
• The third stage is a program equalizer. The program equalizers for the analog
and digital processing chains are different. Each contains a three stage paramet-
ric equalizer that allows you to adjust bass, midrange, and high-frequency
equalization. There are three fully parametric sections, each with
non-interacting control over the amount of EQ (in dB), the bandwidth, and the
center frequency. They are used to color the audio to achieve a “signature
sound” for the station.
The analog chain’s equalizer also contains a high frequency shelving section.
While the parametric equalizers are designed to produce program coloration as
desired, the HF shelving section of the program equalizer is ordinarily used to
pre-emphasize the signal to help overcome the high-frequency rolloff of typical
AM radios. The shelving section can be operated as a fixed, first-order shelf to
provide NRSC standard pre-emphasis or as a third-order semi-parametric shelf
with adjustable gain and curve shape. In general, if you use a great deal of HF
boost, you will have to turn down the LESS-MORE control to avoid audible dis-
tortion.
The digital processing omits the HF shelving section but adds a shelving bass
equalizer that can produce very punchy, FM-like bass.
• The fourth stage in the analog processing chain is a five-band compressor with
Orban's exclusive multiband distortion-canceling clipper. This system embeds the
clipper within the multiband crossover to permit the crossover to filter out clip-
ping distortion products that would otherwise be audible. A feedforward
sidechain provides further, highly selective cancellation of difference-frequency
intermodulation distortion. The five-band compressor also incorporates a sin-
gle-ended dynamic noise reduction system, which can be activated or defeated

as desired.
The HD AM chain also uses a five-band compressor. However, it has different

crossover frequencies and no embedded clipper.
• The fifth stage in the analog processing chain is a clipper with an “intelligent”
distortion controller that reduces the drive to the clipper if this is necessary to
prevent objectionable clipping distortion.
• The sixth stage in the analog AM chain is a safety clipper and overshoot com-
pensator. These elements precisely control peak modulation without adding
out-of-band frequencies, as a simple clipper would.
• The seventh stage in the analog processing chain is an overshoot compensator

that drives separate transmitter equalizers (TX EQ) for each output. The TX EQ
allows you to pre-distort OPTIMOD-AM's output waveform to compensate for
low-frequency tilt, high-frequency ringing, and high-frequency group delay dis-
tortion in the transmitter and antenna system.
• The digital processing chain is simpler. Its fifth (and final) stage is an advanced,
low-IM-distortion look-ahead limiter.
AM Processing: The Art of Compromise

Noise, interference, and narrow bandwidth inherently restrict AM audio quality. Be-
cause of this, purist goals (“the output should sound just like the input”) are not
relevant because receiver design makes them impossible to achieve. Instead, the
goal of processing should be to deliver the highest subjective quality through this
limited transmission channel to the listener's ear. This always requires substantial
compression and limiting to ensure that the received signal will override the noise
and interference over the maximum possible geographical area. It also requires high
frequency boost to compensate for the high-frequency rolloff in all AM radios.
The 9400’s GEN MED factory preset at a LESS-MORE setting of 7 meets these re-
quirements and provides a sound that is subjectively undistorted even on
high-quality automobile radios. This is the default preset upon initial power-up of
the 9400. You may continue using this preset or choose another preset as you deem
appropriate.
You must also choose a setting of the system bandwidth control (in System Setup).
Depending on whether the bandwidth is 4.5 - 7 kHz or 7.5 - 9.5 kHz (NRSC), the
characteristics of any factory preset will change to complement the chosen band-
width. The wideband and narrowband variations of the factory presets were gener-
ated using a stock formula; they were fine-tuned via exhaustive listening tests with
a wide variety of program material.
To see what the factory programmers have done, use 9400 PC Remote software to
compare the Advanced Control settings while changing the system bandwidth con-
trol. You can also use a text editor with a “file compare” function to compare iden-
tically named .orb94fwb and .orb94wnb files that 9400 PC Remote installed on your
computer. These files contain the preset values in plaintext form. Their default
folder is c:\Program Files\9400\Presets.
If the amount of transmitter power available is limited and you wish to cover the
widest possible area, you may choose to process harder (by advancing the LESS-
MORE control at the cost of slight audible distortion and increased compression). You
may also wish to reduce the amount of high frequency receiver equalization and/or
decrease the audio bandwidth of the processing (by adjusting the system low-pass
filter) because you will discover that you can achieve a louder sound with the same
amount of distortion if you do this.
You will find out that in any setup there is a direct trade-off between loudness,
brightness, and distortion. You can improve any single parameter, but only at the
expense of one or both of the other two. This is true of any processor, not just
OPTIMOD-AM. Perhaps the most difficult part of adjusting a processor is determin-
ing the best trade-off for a given situation. If most of your listeners are located
where your signal is strong, it is wiser to give up ultimate loudness to achieve
brightness and low distortion. A listener can compensate for loudness by simply ad-
justing the volume control. But there is nothing the listener can do to make a dirty
signal sound clean again, or to undo the effects of excessive high-frequency limiting.
If processing for high quality is done carefully, the sound will also be excellent on
small radios. Although such a signal might fall slightly short of ultimate loudness, it
will tend to compensate with an openness, depth, and punch (even on small radios)
that cannot be obtained when the signal is excessively squashed. On the other hand,
if many listeners receive a weak signal or one that is frequently contaminated by in-
terference, then processing harder to achieve maximum loudness, uniformity, and
average modulation will let the station be heard more easily. You may therefore
wish to process quite differently during the day than at night, when skywave inter-
ference is often a problem. OPTIMOD-AM's programmable presets make this easy.
If women form a significant portion of the station's audience, bear in mind that
women are more sensitive to distortion and listening fatigue than men are. In any
format requiring long-term listening to achieve market share, great care should be
taken not to alienate women by excessive stridency, harshness, or distortion.
AM radio has been losing its market share to FM in many countries because the pub-
lic believes that AM has lower sound quality. While this is inevitably true (except in
the automobile, where multipath often degrades FM reception below “entertain-
ment quality”), the damage can be minimized by processing the audio to make the
best of the limitations of the AM channel and to avoid processing artifacts.
OPTIMOD-AM is uniquely effective in optimizing these trade-offs, and the discussion
below tells you in more detail how to do this.
Shortwave/HF Processing
The goals for HF broadcasters are likely to be quite different than they would be in
MW, LW, or FM broadcast. Listeners to HF broadcasts are often highly motivated and
will continue to listen even when the signal is severely degraded by poor propaga-
tion conditions or by interference that would almost certainly cause the average LW,
MW, or FM listener to tune to another station.
In LW and MW, the audio processor set-up controls are usually used to match the
processor’s ”sound” to a certain type of music or talk programming. HF is different.
In HF, the audio processor is usually adjusted to provide a sound at the receiver that
is as esthetically satisfying as possible, given the probable signal quality at the re-
ceiver. The broadcasting organization usually does not have the luxury of making
fine adjustments to match different types of program material because such fine ad-
justments will almost certainly be masked by the variability of the propagation and
interference experienced by the listener. This fact considerably simplifies the adjust-
ment procedure.
We have tuned the 9400’s “HF” presets with these compromises in mind. There is a
general-purpose preset and a preset tuned to optimize voice intelligibility. We be-
lieve that further subtleties are inappropriate for the medium.
Working Together
Best results will be achieved if Engineering, Programming, and Management go out
of their way to communicate and cooperate with each other. It is important that
Engineering understands well the sound that Programming desires, and that Man-
agement fully understands the trade-offs involved in optimizing certain parameters
(such as loudness and coverage) at the cost of others (such as brightness or distor-
tion).
Processing for Low Bitrate Codecs and HD Radio

The most common bit rate in the iBiquity HD Radio AM system is 36 kbps, while the
bit rate in the Digital Radio Mondiale (DRM) system varies according to transmission
mode but is also low. HD AM uses the HDC codec, while DRM uses the aacPlus
(MPEG HE-AAC) codec. Both codecs employ Coding Technology’s Spectral Band Rep-
lication technology. Codecs with SBR transmit only lower frequencies (for example,
below 8 kHz) via the codec. The decoder at the receiver creates higher frequencies
from the lower frequencies by a process similar to that used by “psychoacoustic ex-
citers.”
36 kbps is a very low bit rate to achieve entertainment-quality stereo audio, even
with an advanced codec like HDC. To maximize audio quality, the 9400 uses look-
ahead limiting for the final peak limiting of the digital processing chain. Unlike clip-
ping, look-ahead limiting does not add significant spectral contamination to the au-
dio. It is therefore much more appropriate than clipping for protecting chains that
include lossy codecs because clipping would otherwise force the codec to waste bits
by trying to encode clipping products.
The appropriate equalization and multiband compression for analog AM are very
different from those appropriate for HD AM or similar channels using lossy codecs.
The equalizer in the analog AM processing chain is usually set to pre-process for the
limitations of conventional AM radios, while the five-band compressor is generally
operated with medium or faster release times to increase program density, maximiz-
ing loudness and coverage. By contrast, the HD AM channel uses no pre-emphasis,
has no limitations on low frequency response, and has high frequency response to
15 kHz. However, the codec does not respond well to very dense material.
The equalizer in the digital radio processing chain can be used freely to color the
audio as necessary to create a signature sound for the station. Meanwhile, the five-
band compressor should be operated with a slow release time so that it smoothes
out spectral inconsistencies between sources while not significantly affecting pro-
gram density — added density would unnecessarily stress the very low bit rate codec
used in the HD AM system.
Although the HD AM receivers crossfade between analog and digital when the digi-
tal drops out, it is impossible to make this crossfade subtle because the audio band-
width typically changes from 15 kHz to 3 kHz and the soundfield collapses to mono.
The best that one can do is to approximately match the loudness of the HD and ana-
log chains. Fortunately, the receiver applies 5 dB more gain to the digital signal than
to the analog signal, so even highly processed analog signals can achieve approxi-
mate loudness parity with lightly processed digital signals.
The 9400’s presets have been adjusted to achieve reasonable loudness parity when
the audio bandwidth of the analog decoding section of the radio is approximately
2.5 kHz. If the bandwidth is wider, then analog loudness will increase. There is no
perfect solution to this problem; the best compromise tunes the processing for an
average (2.5 kHz audio bandwidth) radio.
In the HD processing channel, Orban’s PreCode™ technology minimizes codec arti-

facts. To exploit this technology fully, do not set up the 9400’s HD processing chan-
nel for very bright sound (with large amounts of high frequency energy) because
this is likely to exacerbate artifacts. Some appropriate presets include JAZZ, SMOOTH
JAZZ, GOLD, ROCK SOFT, and the CLASSICAL presets. Avoid presets like CRISP and EDGE;
these are very bright-sounding presets and are more appropriate for uncompressed
channels or compressed channels with relatively high bitrates (64 kbps or higher for
the aacPlus V2 codec used in Orban’s OPTICODEC-PC, for example).
The 9400’s HD processing channel has several controls whose settings determine
brightness. To minimize brightness:
• Use little or no high frequency boost in the HD equalization section.
• Set the HD BAND 4>5 COUPLING to 100%.
• Set the HD B5 THRESH to match the codec. Adjust the threshold until you find
a good compromise between presence and high frequency codec artifacts. We
find the range from –6.0 to +6.0 dB to be useful. For the HDC codec at 36
kbps, try –6.0 to 0.0 dB, depending on format.
• Use a moderate Band 5 attack time. 25 ms works well.
• If necessary, lower the HD B4 THRESH.
In addition, it is unwise to use stereo enhancement with low bitrate codecs. At low
bitrates, codecs use various parametric techniques for encoding the spatial attrib-
utes of the sound field. Stereo enhancement can unnecessarily stress this encoding
process.
Starting with one of our suggested presets will help keep you out of trouble when
you edit them to create user presets.
We have supplied several presets tuned for the Microsoft WMA (V9) at 32 kbps. This
codec has severe artifacts at this bitrate and no preprocessing can mask them com-
pletely. The 1100’s WMA presets strictly limit the amount of high frequency energy
applied to the codec. To prevent the processing from adding L–R energy, these pre-
sets operate with full stereo coupling and without stereo enhancement.
OPTIMOD-PC’s ability to maintain source-to-source spectral consistency is also an im-

portant advantage. Once you have set up the processing to minimize codec artifacts
caused by a given piece of program material, OPTIMOD-PC’s will automatically
minimize codec artifacts with any program material.
Fundamental Requirements:
High-Quality Source Material and Accurate Monitoring
Very clean audio can be processed harder without producing objectionable distor-
tion. If the source material is even slightly distorted, OPTIMOD-AM can greatly ex-
aggerate this distortion, particularly if a large amount of gain reduction is used. Po-
tential causes for distortion are poor-quality source material, including the effects of
the station's playback machines, electronics, and studio-transmitter link, as well as
excessive clipping settings in the OPTIMOD-AM processing. See Maintaining Audio
Quality in the Broadcast Facility (an Orban publication downloadable from
ftp.orban.com) for a discussion of how to improve source quality.
A high-quality monitor system is essential. To modify your air sound effectively, you
must be able to hear the results of your adjustments. Maintaining Audio Quality in
the Broadcast Facility also contains a detailed discussion of how to efficiently create
an accurate monitoring environment.
Low-Delay Monitoring for Headphones

In live operations, highly processed audio often causes a problem with the DJ or pre-
senter’s headphones. Some talent moving from an analog processing chain will re-
quire a learning period to become accustomed to the voice coloration caused by
“bone-conduction” comb filtering. This is caused by the delayed headphone sound’s
mixing with the live voice sound and introducing notches in the spectrum that the
talent hears as a “hollow” sound when he or she talks. All digital processors induce
this coloration to a greater or lesser extent. Fortunately, it does not cause confusion
or hesitation in the talent’s performance unless the delay is above the psychoacous-
tic “echo fusion” (Haas) threshold of approximately 20 ms and the talent starts to
hear slap echo in addition to frequency response colorations.
The normal delay through the 9400’s analog channel processing is about 22 ms and
the delay through the digital channel processing is about 15 ms. A 15 ms delay is
comfortable for most talent because they do not hear echoes of their own voices in
their headphones. However, a better solution to the monitoring conundrum is this:
Any of the 9400’s outputs can be switched to provide a low-delay monitoring feed,
which is the same as the HD-processed output except that no peak limiting is ap-
plied. The monitor feed’s 5 ms delay is likely to be more comfortable to talent than
the 15 ms delay of the digital radio processing chain because of less acoustic comb
filtering. (See step 8 on page 2-27 and step 9 on page 2-27.)
If the talent relies principally on headphones to determine whether the station is on

the air, simple loss-of-carrier and loss-of-audio alarms should be added to the system
when the 9400’s monitor output is used. The 9400 can be interfaced to such alarms
through any of its eight GPI remote control inputs, cutting off the low-delay audio
to the talent’s phones when an audio or carrier failure occurs. (See Monitor Mute on
page 2-46.)
Monitor Rolloff Filter for the Analog AM Channel

The response curve of the monitor system is as important as its quality. Because the
studio monitor typically has a flat response, and because OPTIMOD-AM's AM-
channel output is ordinarily significantly pre-emphasized, the sound that emerges
from the monitor will be shrill and unpleasant if the supplied Monitor Rolloff Filter
is not installed before the monitor amplifier.
The response of this filter can be jumpered to emulate an “ideal” NRSC radio or to
complement the frequency response of the HF equalizer with its HF CURVE set to 0.
Because there are so few radios with anything approaching NRSC response (even in
NRSC countries), we believe that it is wiser to jumper the Monitor Rolloff Filter for
non-NRSC operation in almost all situations. If this 18dB/octave rolloff is used, the
response of this filter is approximately complementary to the frequency response of
the HF Equalizer with HF CURVE set to 0. (See Figure 3-1 on page 3-33 and Figure 2-5
on page 2-6.). Because the filter shelves off at high frequencies (to match the re-
ceiver equalization) instead of continuing to roll off like a real radio, the monitor
will sound somewhat brighter than a real radio and cannot be used to make final
subjective adjustments of OPTIMOD-AM setup controls. Nevertheless, it is suitable as
a reference for assessing quality, as it will clearly reveal distortion and other prob-
lems that may arise in the plant. Indeed, it will be somewhat more revealing than a
real radio.
Reference Radios for Adjusting the Analog AM Processing

However, do not rely on your monitor alone for subjectively evaluating your air
sound. It is a good idea to develop a set of “reference radios” with which you are
familiar and which are similar to those used by a majority of your audience. Too of-
ten, just one radio (typically the Program Director or General Manager's car radio) is
used to evaluate air sound. Unless all of your listeners happen to have the same ra-
dio, this approach will not give an accurate indication of what your audience is hear-
ing.
Based on their high-frequency response, AM radios can be divided into three groups:
• Group 1: Wideband AM stereo radios, typically with response that approxi-

mately follows the recommended NRSC “modified 75µs” de-emphasis to 5 kHz
or above. These are radios that conform to the NRSC/EIA's “AMAX” specifica-
tions and can bear the AMAX® logo.
• Group 2: Radios with a response down 3dB at approximately 2 kHz, with a gen-
tle rolloff above that frequency. Because the rolloff is gentle, pre-emphasis can
be used to brighten the sound.
• Group 3: Radios with a response down 3dB at approximately 2 kHz, with a very
steep rolloff above that frequency. The steepness of the rolloff eliminates the
possibility of improving the audio through pre-emphasis. In our opinion, these
radios must be written off as producing hopelessly bad sound. Very few people
would enjoy listening to music on these radios C although they could be used
for listening to talk programs, or for repelling pigeons and muggers.
The vast majority of present-day radios are in the second and third categories. In all
three types of radio, bass performance is unpredictable from model to model. The
best-sounding “Group 1” AM receiver we know of is the Sony SRF-A100 AM stereo
radio (now discontinued), which can be switched between wideband and narrowband
operation. Use headphones, or drive an external amplifier and speaker with the Sony's
headphone output (its own tiny speakers cannot be used for reference purposes). A
representative good-sounding wideband mono radio is the General Electric Superadio.
As of the current writing, the number of AMAX radios available is very limited, with
the widest distribution being certain premium Delco radios that have been provided
with General Motors automobiles. In “Group 2,” we are fond of the Radio Shack MTA-
series of small table radios.
Be aware that many radios produce excessive distortion all by themselves, especially if
they are located near the transmitter. If the station monitor (driven through
OPTIMOD-AM's monitor rolloff filter) sounds clean but your radio audio is distorted,
don't trust the radio! If the General Manager's auto radio sounds distorted, he or she
should not jump to the conclusion that there is something wrong with the station or
with the engineer's ears.
Modulation Monitors
Many modulation monitors and RF amplifiers indicate higher modulation than the
transmitter is actually producing. This forces the engineer to reduce transmitter
modulation unnecessarily, which can cost you up to 3dB of loudness! It is very
important to be sure that your modulation monitor is accurately calibrated and that it
does not exhibit overshoot on program material. Several newer monitors are designed
for accurate pulse response without overshoot. Any of these monitors will enable you
to obtain the highest loudness achievable from your transmitter and antenna system.
If the monitor is used remotely, be sure that the RF amp doesn't overshoot. Overshoots
in RF amps have been observed to be as high as 3dB.
Monitor readings should be compared with an oscilloscope observing the modulated

RF envelope. If the monitor indicates 100% negative peaks when the oscilloscope
reveals no carrier pinch-off, suspect inaccuracy in the monitor.
More About Audio Processing

Psychoacoustic factors were carefully considered during the design and construction of
OPTIMOD-AM. The result is an audio processor that is easy to use (the LESS-MORE
control greatly simplifies setup) and that produces a sound that is remarkably free
from unwanted processing artifacts.
Although the controls on OPTIMOD-AM provide the flexibility you need to customize
your station's sound, proper adjustment of these controls consists of balancing the
trade-offs between loudness, density, brightness, and audible distortion. In
programming the LESS-MORE curves, we have made it easy for you to make this
trade-off. As you advance the LESS-MORE control for a given factory preset, the sound
gets louder but distortion increases. However, for each setting of the LESS-MORE
control, other processing parameters are automatically adjusted to give you the lowest
possible distortion for the amount of loudness you are getting.
There are separate LESS-MORE controls for the analog AM and digital radio
processing, making it easy to optimize each channel separately.
If you want to go beyond LESS-MORE and into the FULL MODIFY and EXPERT MODIFY
adjustments, you should carefully read and understand the following section. It
provides the information you need to adjust OPTIMOD-AM controls to suit your
format, taste, and competitive situation.
Judging Loudness
Apparent loudness in the analog AM channel will vary with the frequency response of
the radio and with the accuracy with which the radio is tuned. Narrowband radios will
usually get very much louder if tuned off center while a highly equalized signal is
being received. This means that if your auto radio is not electronically-tuned, you must
manually fine-tune its push-button settings before you can make meaningful loudness
comparisons. Loudness is a very complex psychoacoustic phenomenon. One station
cannot be judged louder than another can unless it is consistently louder on many
different receivers with many different types of program material. Because a
wideband radio reproduces more of the frequency range in which the
highly-equalized signal concentrates its energy (and to which the ear is most sensitive),
a highly equalized signal may sound quieter than an unequalized signal on a
narrowband radio, while the reverse is true on a wideband radio.
For the digital radio channel, it is much easier to compare loudness between stations
because the audio has frequency response to 15 kHz and the radios are essentially flat.
It is not wise to start a digital channel “loudness war” because setting the processor up
to cause large loudness disparities between the analog and digital channels will simply
irritate listeners and is likely to cause tune-outs as listeners are forced to constantly
grab their volume controls. Moreover, processing the digital channel for loudness is
likely to increase codec artifacts significantly.
Reverberation
In the distant past, the addition of artificial reverberation was touted as an easy
method of achieving greater loudness in AM broadcasting. Given the limitations of the
audio processing equipment of that time, this was true: reverberation increased the
signal density and average modulation without the pumping or other side effects that
heavy limiting would cause if equivalent density were to be achieved by compression
or limiting alone. However, because reverberation “smeared” the sound, it exacted a
price of decreased definition and intelligibility in many instances.
Because OPTIMOD-AM is capable of so much density augmentation without producing

audible artifacts, reverberation is neither necessary nor desirable for achieving high
loudness and density. Moreover, OPTIMOD-AM actually increases definition and

intelligibility.
If you still wish to use reverb to achieve a nostalgic sound in an oldies format, we
recommend using it in extreme moderation and applying it to the signal before it
reaches OPTIMOD-AM. OPTIMOD-AM will effectively increase the amount of reverb by
increasing the level of the reverb decay and keeping the reverb before OPTIMOD-AM
will allow OPTIMOD-AM to control peak modulation accurately.
Customizing the 9400’s Sound

The subjective setup controls on the 9400 give you the flexibility to customize your
station’s sound. Nevertheless, as with any audio processing system, proper adjust-
ment of these controls consists of balancing the trade-offs between loudness, den-
sity, and audible distortion. The following pages provide the information you need
to adjust the 9400 controls to suit your format, taste, and competitive situation.
When you start with one of our Factory Presets, there are two levels of subjective
adjustment available to you to let you customize the Factory Preset to your re-
quirements: Basic Modify and Full Modify. A third level, Advanced Modify, is accessi-
ble only from the 9400’s PC Remote software.
The 9400 is essentially two processors in one. The two processors share the stereo
enhancer and AGC but split independently after the AGC. Other than the stereo en-
hancer and AGC controls, all HD AM controls are independent of the analog AM
processing controls. The digital channel processing and analog AM processing have
separate and independent LESS-MORE controls. This control independence allows
you to adjust the analog channel to be highly processed (to overcome noise and in-
terference), while delivering a more conservatively processed, high-fidelity texture
on the HD AM channel.
Spend some time listening critically to your on-air sound. Listen to a wide range of
program material typical of your format. Listen on several types of car, table, and
portable radios, not just your studio monitors.
Then, if you wish to customize your sound, read the rest of Section 3 C it is impor-
tant to understand the functions and interactions of the audio processing controls
before experimenting with them.
See page 6-60 for a block diagram of the processing.
Basic Modify
There are four sections in Basic Modify:
• Stereo Enhancer
• AGC
• Analog AM EQ or Digital Radio EQ
• LESS-MORE (x2)
Basic Modify allows you to control four important elements of 9400 processing: the
stereo enhancer, the equalizer, the AGC, and the dynamics section (multiband com-
pression, limiting, and clipping). The stereo enhancer and AGC are common to both
the analog AM and digital radio processing channels, while each of the channels has
an independent equalizer section and multiband dynamics processing.
At this level, there is only one control for each of the multiband dynamics processing
sections: LESS-MORE, which changes several different subjective setup control set-
tings simultaneously according to a table that we have created in the 9400’s perma-
nent ROM (Read-Only Memory). In this table are sets of subjective setup control set-
tings that provide, in our opinion, the most favorable trade-off between loudness,
density, and audible distortion for a given amount of dynamics processing in the
analog AM and digital processing channels.
We believe that most 9400 users will never need to go beyond the Basic level of con-
trol. Orban’s audio processing experts have optimized the combinations of subjec-
tive setup control settings produced by this control by drawing on years of experi-
ence designing audio processing and hundred of hours of listening tests.
As you increase the setting of given LESS-MORE control, the air sound in that chan-
nel will become louder, but (as with any processor) processing artifacts will increase.
Please note that the highest LESS-MORE setting is purposely designed to cause un-
pleasant distortion and processing artifacts! This helps assure you that you have cho-
sen the optimum setting of the LESS-MORE control, because turning the control up
to this point will cause the sound quality to become obviously unacceptable.
You need not (in fact, cannot) create a sound entirely from scratch. All User Presets
are created by modifying Factory Presets or by further modifying Factory Presets
that have been previously modified with a LESS-MORE adjustment. It is wise to set
the LESS-MORE control to achieve a sound as close as possible to your desired sound
before you make further modifications at the Advanced Modify level. This is because
the LESS-MORE control gets you close to an optimum trade-off between loudness
and artifacts, so any changes you make are likely to be smaller and to require reset-
ting fewer controls.
In the 9400, LESS-MORE affects only the multiband processing (compression, limiting,
and clipping). You can change EQ, stereo enhancement, and AGC without losing the
ability to use LESS-MORE. When you create a user preset, the 9400 will automatically
save your EQ, stereo enhancement, and AGC settings along with your LESS-MORE
setting. When you recall the user preset, you will still be able to edit your LESS-MORE
setting if you wish.
There are two sets of LESS-MORE tables for each factory preset C one optimized for
Wideband (7.5 kHz and above) operation, the other for Narrowband (7.0 kHz and
below) operation. Orban’s factory programmers created these tables by ear while
listening through radios to a wide variety of speech and music programming at

NRSC and 5.0 kHz bandwidths. There are significant differences between the wide-
band and narrowband tables in both the equalization and dynamics processing.
The low-pass filter frequency in the active Transmission Preset determines which set
of parameters are active in any on-air Factory Preset. Recalling a Transmission preset
that switches the HF bandwidth between ranges will also update the parameters of
any active Factory Preset automatically. However, changing the HF bandwidth will
not change the parameters of an active User Preset or modified Factory Preset be-
cause these kinds of presets have only one set of parameters: the parameters visible
in Advanced Modify (see below).
Full Modify
Full Modify is the most detailed control level available from the 9400’s front panel. It
allows you to adjust the dynamics section at approximately the level of “full con-
trol” available in Orban’s 9200 processor. These controls are somewhat risky (al-
though not as much as the controls in Advanced Modify). Most people will never
have any reason to go beyond Full Modify, even if they want to create a “signature
sound” for their station.
Note: Full Modify does not provide LESS-MORE control. Furthermore,

once you have edited a preset’s multiband dynamics parameters in Full
Modify or Advanced Modify, LESS-MORE control is no longer available in
Basic Modify and will be grayed-out if you access its screen. As noted
above, we recommend using the Basic Modify LESS-MORE control to
achieve a sound as close as possible to your desired sound before you
make further modifications at the Full or Advanced levels.
Editing the Full or Advanced Modify controls in one processing channel
(analog AM or digital) only defeats the LESS-MORE control for that chan-
nel because the LESS-MORE controls in the analog and digital processing
channels are independent. You can still use LESS-MORE in the remaining
channel if you have not edited that channel’s Full or Advanced controls.
Advanced Modify
If you want to create a signature sound for your station that is far out of the ordi-
nary or if your taste differs from the people who programmed the LESS-MORE ta-
bles, Advanced Modify is available to you from the 9400 PC Remote software only
(not from the 9400’s front panel). At this level, you can customize or modify any sub-
jective setup control setting to create a sound exactly to your taste. You can then
save the settings in a User Preset and recall it whenever you wish.
Maladjustment of these controls can cause the 9400 to produce unexpected distor-
tion or artifacts only on certain program material, even though it might sound good
on most other material. Placement of a control in the Advanced Modify group em-
phasizes the risk of adjusting this control casually.
Compressor attack times and thresholds are available. These controls can be exceed-
ingly dangerous in inexperienced hands, leading you to create presets that sound
great on some program material and fall apart embarrassingly on other material.
We therefore recommend that you create custom presets at the Advanced Modify
level only if you are experienced with on-air sound design, and if you are willing to
take the time to double-check your work on many different types of program mate-
rial.
The PC Remote software organizes its controls in tabbed screens. The AGC, AM
EQUALIZATION, HD EQUALIZATION, STEREO ENHANCER, and LESS-MORE tabs access the Ba-
sic Modify controls. The remaining tabs combine the Full Modify and Advanced
Modify controls, logically organized by functionality.
See the note on page 3-16 regarding the unavailability of LESS-MORE after you have
edited a control in Full Modify or Advanced Modify.
Gain Reduction Metering

Unlike the metering on some processors, when any OPTIMOD-AM gain reduction
meter indicates full-scale (at its bottom), it means that its associated compressor has
run out of gain reduction range, that the circuitry is being overloaded, and that
various nastinesses are likely to commence.
Because the various compressors have 25 dB of gain reduction range, the meter
should never come close to 25 dB gain reduction if OPTIMOD-AM has been set up
for a sane amount of gain reduction under ordinary program conditions.
To accommodate the boosts introduced by the HF EQ control, Band 5 of

the Five-Band Structure is capable of 30 dB of gain reduction.
Further, be aware of the different peak factors on voice and music — if voice and
music are peaked identically on a VU meter, voice may cause up to 10 dB more peak
gain reduction than does music! (A PPM will indicate relative peak levels much more
accurately.)
To Create or Save a User Preset

Once you have edited a preset, you can save it as a user preset. The 9400 can
store an indefinite number of user presets, limited only by available memory.
The 9400 will offer to save any edited, unsaved preset when the main screen is
visible. To save a preset:
A) Press the ESC button repeatedly until you see the main screen, which shows
the current time and the preset presently on air.
If there is an unsaved preset on air, the rightmost button will be labeled
SAVE PRESET.
B) Press the SAVE PRESET button.
The Save Preset screen appears.
C) Choose a name for your preset.

Some non-alphanumeric characters (such as < and >) are reserved and
cannot be used in preset names.
D) Use the knob to set the each character in the preset name. Use the NEXT and
PREV buttons to control the cursor position.
E) Press the SAVE CHANGES button.
• If the name that you have selected duplicates the name of a factory pre-
set, the 9400 will suggest that you use an alternate name.
You cannot give a user preset the same name as a factory preset.
• If the name you have selected duplicates the name of an existing user pre-
set, the 9400 warns you that you are about to overwrite that preset. An-
swer YES if you wish to overwrite the preset and NO otherwise. If you an-
swer NO, the 9400 will give you an opportunity to choose a new name for
the preset you are saving.
You can save user presets from the 9400 PC Remote application. (See
Using the 9400 PC Remote Control Software on page 3-61.) Please note
that when you save presets from the PC Remote application, you save
them in the 9400’s memory (as if you had saved them from the 9400’s
front panel). The PC Remote application also allows you to archive pre-
sets to your computer’s hard drive (or other storage device) and to re-
store them. However, archiving a preset is not the same as saving it. Ar-
chived presets reside on a storage medium supported by your computer,
while saved presets reside in the 9400’s local non-volatile memory. You
cannot archive a preset until you have saved it. (See To back up user pre-
sets, system files, and automation files onto your computer’s hard drive
on page 3-64.)
Note that if, for some reason, you wish to save an unmodified preset (ei-
ther Factory or user) under a new name, you must temporarily make an
arbitrary edit to that preset in order to make the SAVE PRESET button ap-
pear. After you have saved the preset, reverse the edit and save the pre-
set again.
Factory Programming Presets

Factory Programming Presets are our “factory recommended settings” for various
program formats or types. The Factory Programming Presets are starting points to
help you get on the air quickly without having to understand anything about ad-
justing the 9400’s sound. You can edit any of these presets with the LESS-MORE con-
trol to optimize the trade-off between loudness and distortion according to the
needs of your format. Because it is so easy to fine-tune the sound at the LESS-MORE
level, we believe that many users will quickly want to customize their chosen preset
to complement their market and competitive position after they had time to famil-
iarize themselves with the 9400’s programming facilities.
It is OK to use unmodified factory presets on the air. These represent the best efforts
of some very experienced on-air sound designers. We are sometimes asked about
unpublished “programming secrets” for Optimods. In fact, there are no “secrets”
that we withhold from users. Our “secrets” are revealed in this manual and the pre-
sets embody all of our craft as processing experts. The presets are editable because
other sound designers may have different preferences from ours, not because the
presets are somehow mediocre or improvable by those with special, arcane knowl-
edge that we withhold from most of our customers.
Start with one of these presets. Spend some time listening critically to your on-air
sound. Listen to a wide range of program material typical of your format and listen
on several types of AM radios (not just on your studio monitors). Then, if you wish,
customize your sound using the information that follows.
Do not be afraid to choose a preset other than the one named for the type of pro-
gramming on-air if you believe this other preset has a more appropriate sound. Also,
if you want to fine-tune the frequency balance of the programming, feel free to use
Basic Modify and make small changes to the Bass, Mid EQ, and HF EQ controls.
Unlike some earlier Orban’s processors, the 9400 lets you make changes in EQ, AGC,
and stereo enhancement without losing the ability to use LESS-MORE settings.
Of course, LESS-MORE is still available for the unedited preset if you

want to go back to it. There is no way you can erase or otherwise dam-
age the Factory Presets. So, feel free to experiment.
The 9400’s main presets are the so-called “analog AM presets,” which can be either
Factory Presets or User Presets that you have created. In addition to the analog AM
factory presets, the 9400 contains a number of digital radio presets, based on pre-
sets from Orban’s Optimod-FM 8500.
Each analog AM Factory Preset is linked to a digital radio (HD) preset. The digital
radio preset contains the parameters for the digital radio equalization, five-band
compressor/limiter, and look-ahead limiter sections in the 9400’s digital radio proc-
essing chain. The analog AM preset determines the stereo enhancer and AGC pa-
rameters because the stereo enhancer and AGC are common to both the AM analog
and digital radio processing chains.
Unlike Factory Presets, User Presets contain parameters for both the AM analog and
HD processing. A preset, whether Factory or User, can be edited in three ways to
create a new User Preset:
• If you have not previously edited individual parameters in the preset’s dynam-
ics processing, you can adjust LESS-MORE in both the AM analog and HD sec-
tions of the preset
• You can adjust any individual parameter in both the AM analog and HD sec-
tions of the preset.
• You can bulk-import all of the HD parameters contained in any User Preset or
Factory HD Preset.
When you edit a preset by bulk-importing HD parameters like this, they will over-
write the existing HD parameters in your edited preset, including any that you have
might have adjusted before you imported. HD parameters only include controls in
the HD processing chain after it splits from the AM processing chain, so bulk-
importing HD parameters will not change the AGC and Stereo Enhancer settings.
To import an HD preset from the 9400’s front panel:

A) Navigate to MODIFY > HD FULL CONTROLS > MULTIBAND > IMPORT PRESET.
You may have to scroll the display using PREV button until IMPORT PRESET
appears.
B) Turn the wheel until the desired preset name appears.
C) Press the IMPORT NEXT button.
To import an HD preset from PC Remote:

A) Choose IMPORT HD CONTROLS from the FILE menu to bring up the IMPORT HD
CONTROLS dialog box.
B) With the mouse, highlight the desired HD preset.
C) Click IMPORT.
After importing the HD parameters, you are still free to adjust any individual AM or
HD parameter. When you are satisfied with your work, you can then save this com-
bination of AM and HD parameters as a new User Preset. Of course, you can then
use your new User Preset as a source for HD parameters to be imported into any
other User Presets you may wish to create or edit. For example, you could have six
User Presets with identical HD processing parameters but with different AM analog
processing parameters. The HD bulk import feature makes this easy.
If you have not edited any parameters in a given HD Factory Preset’s dynamics proc-
essing, LESS-MORE will continue to be available even if that HD preset has been im-
ported into a User Preset and you are editing that User Preset. Moreover, you can
freely create multiple generations of User Presets that retain HD LESS-MORE func-
tionality. The only thing that counts is that the HD parameters in a given User Preset
are unchanged compared the original source HD Factory Preset.
In most of the analog AM factory presets, the associated processing for the digital
radio chain is much more conservative than the processing for the analog chain, al-
though the processing for the digital radio chain is still designed to be consistent
with the format named in the preset. This is to minimize codec artifacts in low bit
rate codecs like the HD AM HDC codec, which operates at 36 kbps. If you are using
the digital radio processing chain to drive a high bit rate codec (like 128 kbps MP3),
you usually can use a less conservative digital radio preset without introducing ob-
jectionable codec artifacts.
Each Orban factory preset has full LESS-MORE capability. There are separate LESS-
MORE controls for the analog AM and digital radio presets. Table 3-1 shows the AM
analog presets, including the source presets from which they were taken and the
nominal LESS-MORE setting of each preset.
Important! If you are dissatisfied with the sound available from the fac-
tory presets, please understand that each named preset is actually 19 pre-
sets that can be accessed via the LESS-MORE control. Try using this control
to trade off loudness against processing artifacts and side effects. Once
you have used LESS-MORE, save your edited preset as a User Preset.
It is important to understand that each AM analog Factory Preset is actually a pair of
presets (each with LESS-MORE capability), one optimized for narrowband operation
and one for wideband operation. The “wideband” parameters were tuned for NRSC
bandwidth and the “narrowband” presets were tuned for 5.0 kHz bandwidth. If you
have a Factory Preset on-air, the 9400 automatically switches to that preset’s “nar-
rowband” parameters if active Transmission Preset’s LOWPASS parameter is 7.0 kHz
or below. 7.5 kHz and above calls up “wideband.”
This automatic switching does not work with User Presets and Factory Presets that
have been modified but not yet saved as User Presets. If you routinely use User Pre-
sets on-air and switch bandwidths, and if you want the User Preset to change when
you change bandwidth, you must create two User Presets and recall the appropriate
preset at the same time that you change bandwidth.
If you want to create a User Preset by editing the AM analog processing with LESS-
MORE, be sure that the active Transmission Preset has the desired bandwidth before
you start. This will ensure that LESS-MORE calls up the correct parameters for your
desired bandwidth.
The one exception to the “wideband/narrowband” switching is the HF (shortwave)

presets. All HF presets are “narrowband.” The lowpass filter cutoff frequency is set
to 4.5 kHz in the preset itself and this will override the LOWPASS setting in the ac-
tive Transmission Preset.
HD Factory Presets are the same regardless of bandwidth because it is unnecessary

to change the tuning of a preset if the audio bandwidth is between 10 and 20 kHz,
which is the range typically found in digital radio channels.
Description of the Analog AM Factory Presets

Presets with “HF” in their names are narrowband presets intended for international
shortwave transmission where 4.5 kHz audio bandwidth and difficult propagation
conditions are the norm. All other presets are intended for MW or LW transmission.
All factory presets contain parameters for both the analog AM and digital radio
processing chains.
GEN MED is the default factory preset. It is based on the Medium-Fast multiband
release time and is adjusted to sound equally good on voice and music. It is most
appropriate for listeners in strong signal areas because it does not bring up low-level
material as much as presets based on the Fast multiband release time.
GEN HEAVY is based on the Fast multiband release time, and is designed to sound
good on voice and music. Because it processes harder than the GENERAL PURPOSE
MEDIUM preset, it can be louder, but it does not sound as punchy or dynamic. It is a
good choice when many listeners are subject to noise and interference and you want
the highest possible loudness.
NEWS uses a fast multiband release time. Because of this, the unit adapts quickly to
different program material, providing excellent source-to-source consistency. This
“automatic equalization” action of the multiband compressor has been adjusted to
produce less bass than in the GEN(ERAL) presets, and the gating threshold is set
considerably higher. This maximizes voice intelligibility, including low-quality sources
like telephone. The high gating threshold resists noise pumping even with noisy
material.
NEWS + NR is identical to the News preset except that the Dynamic Noise Reduction
function is also activated, producing even more noise reduction on moderately noisy
program material. However, the Dynamic Noise Reduction function can produce
audible side effects that include noise pumping on very noisy material and a subtle loss
of crispness on high-quality voice. So you should listen carefully to decide if it is
preferable to News for your situation.
TALK is similar to the News preset but is tailored for live microphone and telephone
sources with less consideration given to the handling of actualities.
SPORTS is based on the Fast multiband release time. It is intended for play-by-play
sports programming, where crowd noise is part of the mix. Compared to NEWS, the
AGC is operated with a slower release time to avoid pumping up crowd noise as much
as the News preset would. Yet the Fast multiband release time still provides excellent
consistency, intelligibility, and loudness. This preset uses the Dynamic Noise Reduction
function to reduce noise pump-up.
FINE ARTS is based on the Slow multiband release time. It is designed for classical and
jazz programming where an open, unprocessed sound is more desirable than the last
bit of loudness. Unlike the other factory presets, the FINE ARTS LESS-MORE curves are
designed to produce more compression as they are advanced, but to create only a
modest increase in clipping distortion. So setting LESS-MORE higher will mostly
increase the level of quiet passages instead of increasing the loudness of loud passages
in the source material.
MUSIC MEDIUM is based on the Medium-Slow multiband release time. It is designed
FACTORY PROGRAMMING PRESETS

Preset Names Source Preset Normal LESS-MORE
GEN MED GEN MED 7.0
GEN HEAVY GEN HEAVY 7.0
NEWS NEWS 7.0
NEWS+NR NEWS+NR 7.0
TALK TALK 7.0
SPORTS SPORTS 7.0
FINE ARTS FINE ARTS 7.0
MUSIC MEDIUM MUSIC MEDIUM 7.0
MUSIC HEAVY MUSIC HEAVY 7.0
GREGG GREGG 7.0
PRESENCE PRESENCE 9.0
HF GENERAL HF GENERAL 7.0
Table 3-1: Analog AM Factory Programming Presets

for various adult-oriented music formats where an easy, relaxed sound is considered
more important than the highest possible loudness.
MUSIC HEAVY is based on the Fast multiband release time. However, its tuning is very
different from GEN HEAVY. It is tuned so that the AGC operates with a fast release
time, doing most of the work in compressing the program. This gives more of a
“wideband compression” sound than the other factory presets. Meanwhile, the
multiband compressor is operated lightly with relatively little gain reduction so it acts
more like a limiter than a compressor. Music Heavy is therefore an alternative to GEN
HEAVY, providing a different “flavor” of processing. Either preset could be used to
achieve a highly-processed sound with music programming.
The GREGG preset is designed for general-purpose voice/music programming,

particularly on music-oriented formats. Although not the loudest 9400 preset, it has a
smooth, well-balanced quality that keeps audiences listening. We tuned it to sound
very similar to the legendary Gregg Laboratories 2540 AM processor (designed by
Orban’s Vice President of New Product Development, Greg Ogonowski, in the 1980s),
using a direct A/B comparison with the Gregg processor to ensure accuracy. This preset
uses a 200 Hz B1/B2 CROSSOVER setting.
The PRESENCE preset, as its name suggests, emphasizes the spectrum around 3 kHz.
It is a very loud preset that emphasizes speech intelligibility. It uses HARD bass clip-
ping to maintain bass punch at the expense of some bass distortion. MW stations
seeking to increase their coverage and to cut through co-channel interference are
appropriate candidates for this preset.
This preset is tuned for the typical narrowband MW radio and will sound shrill and
unpleasant on wideband radios (of which there are very few in the market). If you feel
that the preset has too much distortion, feel free to turn it down it with LESS-MORE to
taste. The factory LESS-MORE setting is 9.0, so there is plenty of room to turn the
preset down without seriously compromising loudness and coverage.
You can also reduce the midrange boost if you feel this is excessive. Part of the boost is
implemented in the Equalization section and part is implemented by the compression
threshold controls, which are found in Advanced Modify.
HF GENERAL is a 4.5 kHz-bandwidth preset for international shortwave trans-

mission. In recognition of the severe noise and interference problems often
encountered in HF propagation, the HF GENERAL preset has been ``tuned" to
emphasize loudness and intelligibility. By comparison to the medium-wave-oriented
presets, HF GENERAL has a more ``forward" midrange balance and less bass. This is
because bass costs modulation without contributing proportional intelligibility (it
also can make intermodulation distortion worse during selective fading), and
because a boosted midrange can most effectively cut through noise to provide
intelligibility.
The 4.5 kHz bandwidth is coded into the preset, so the lowpass filter setting in the
active Transmission Preset will be ignored.
HF VOICE is a 4.5 kHz-bandwidth preset for international shortwave transmission.

Compared to HF GENERAL, it emphasizes voice-range frequencies and has less bass.
It maximizes speech intelligibility in the presence of noise, interference, and

jamming. It can be turned up via LESS-MORE as needed for difficult propagation
conditions.
Description of the Digital Radio (HD) Factory Presets
DIGITAL RADIO FACTORY PROGRAMMING PRESETS

Preset Names Source Preset Normal Less-More
CLASSICAL-5B CLASSICAL-5 B 7.0
CLASSICAL-5B+AGC CLASSICAL-5 B+AGC 7.0
COUNTRY-MEDIUM ROCK-SMOOTH 7.0
COUNTRY-LIGHT ROCK-LIGHT 7.0
CRISP CRISP 9.5
DANCE ENERGY DANCE ENERGY 9.0
EDGE EDGE 10.0
FOLK-TRADITIONAL ROCK-SOFT 7.0
GOLD GOLD 9.5
GREGG GREGG 9.5
GREGG OPEN GREGG OPEN 9.5
GREGG LBR GREGG LBR 9.5
IMPACT IMPACT 9.5
INSTRUMENTAL JAZZ 7.0
JAZZ JAZZ 7.0
LOUD-BIG LOUD-BIG 9.0
LOUD-FAT LOUD-FAT 7.0
LOUD-HOT LOUD-HOT 8.5
LOUD-HOT+BASS LOUD-HOT+BASS 9.5
LOUD-PUNCHY LOUD-PUNCHY 9.0
LOUD+SLAM LOUD+SLAM 9.0
NEWS-TALK NEWS-TALK 7.0
ROCK-DENSE ROCK-DENSE 7.0
ROCK-LIGHT ROCK-LIGHT 7.0
ROCK-MEDIUM ROCK-MEDIUM 7.0
ROCK-MEDIUM+MID-BASS ROCK-MEDIUM+MID-BASS 7.0
ROCK-MEDIUM+LOW BASS ROCK-MEDIUM+LOW BASS 7.0
ROCK-OPEN ROCK-OPEN 7.0
ROCK-SOFT ROCK-SOFT 8.5
SMOOTH JAZZ SMOOTH JAZZ 9.0
SPORTS SPORTS 7.0
WMA MUSIC WMA MUSIC 9.5
WMA NEWS-TALK WMA NEWS-TALK 7.0
URBAN-LIGHT URBAN-LIGHT 7.0
URBAN-HEAVY URBAN-HEAVY 7.0
Table 3-2: Digital Radio Factory Programming Presets

Presets with “LBR” in their names are tuned to minimize artifacts with low bitrate
codecs by using the Band 5 compressor to control excessive high frequency energy.
CLASSICAL 5B: As its name implies, the CLASSICAL-5B preset is optimized for clas-
sical music, gracefully handling recordings with very wide dynamic range and sud-
den shifts in dynamics. It uses heavy inter-band coupling to prevent large amounts
of automatic re-equalization, which could otherwise cause unnatural stridency and
brightness in strings and horns and which could pump up very low frequency rumble
in live recording venues.
COUNTRY: The COUNTRY-MEDIUM preset uses the ROCK-SMOOTH source preset. It

has a gentle bass lift and a mellow, easy-to-listen-to high end, along with enough
presence energy to help vocals to stand out. The COUNTRY-LIGHT preset uses the
ROCK-LIGHT source preset. Modern country stations might also find ROCK-MEDIUM
or ROCK-OPEN useful if they want a brighter, more up-front sound.
CRISP: CRISP provides a bright upper midrange sound by emphasizing frequencies

around 6 kHz. It is a loud preset that is appropriate for mass-appeal music formats. It
has the same bass texture as the IMPACT presets.
DANCE ENERGY: This preset is designed to preserve the punch and slam in dance
music percussion (such as the beater click in kick drums). It is loud and has a bright
high frequency texture. As LESS-MORE is turned down, this preset get quieter, yet
punchier.
EDGE: This preset is designed for hit music stations that prefer extremely punchy
bass to fastidious distortion control. It is loud and has a bright high frequency tex-
ture.
FOLK / TRADITIONAL: FOLK / TRADITIONAL is an alias for the ROCK-SOFT preset.

It assumes that the recordings are of relatively recent vintage and require relatively
subtle processing.
If the recordings you play are inconsistent in texture and equalization, you may pre-
fer the ROCK-SMOOTH or ROCK-LIGHT presets.
GOLD: GOLD is loud and “hi-fi”-sounding while still respecting the limitations and
basic flavor of the recordings from the era of the 1950s through 1970s.
For example, we do not attempt to exaggerate high frequency energy in

the GOLD preset. The highs in recordings of this era are often noisy, dis-
torted, or have other technical problems that make them unpleasant
sounding when the processor over-equalizes them in an attempt to emu-
late the high frequency balance of recently recorded material.
GREGG: GREGG, GREGG OPEN, and GREGG LBR all use a 200 Hz band1/band2
crossover frequency to achieve a bass sound similar to the classic five-band Gregg
Labs FM processors designed by Orban’s Vice President of New Product Develop-
ment, Greg Ogonowski. Dynamically, these presets produce a slight increase in bass
energy below 100 Hz and a decrease of bass energy centered at 160 Hz. This bass
sound works particularly well with radios having good bass response, such as many
auto radios today.
In terms of loudness, midrange texture, and HF texture, these presets are similar to
the LOUD-HOT+BASS presets.
IMPACT: IMPACT is intended for CHR and similar formats where attracting a large
audience (maximizing cume) is more important than ensuring long time-spent-
listening. This is a loud, bright, “major-market” preset that has a great deal of pres-
ence energy to cut through on lower-quality radios.
Its sound changes substantially as the Less-More control is turned down—loudness

decreases, while bass punch and transparency improve. Therefore, exploring various
Less-More settings is very worthwhile with IMPACT, because, for many markets, this
preset will be “over the top” if it is not turned down with LESS-MORE. It is not a
good choice for low bit rate codecs because of its brightness.
INSTRUMENTAL: An alias for the JAZZ preset.
JAZZ: JAZZ is tailored toward stations that play mostly instrumental music, particu-
larly classic jazz (Armstrong, Coltrane, Mingus, Monk, etc.). It is a quiet preset with a
very clean, mellow high end to prevent stridency on saxes and other horns. It pre-
serves much of the qualities of the original recordings, doing light re-equalization.
The preset produces very low listening fatigue, so it is a good choice for stations that
want listeners to stay all day. Note that stations programming “smooth jazz” should
investigate the SMOOTH JAZZ preset, which is louder and more “commercial”-
sounding.
Because of its mellow high end and lack of density build-up, the JAZZ preset works
well with low bit-rate codecs.
LOUD: There are several LOUD presets.
LOUD-HOT is very bright and present, with up-front vocals. Release time is medium.
LOUD-HOT+BASS is based on LOUD-HOT. It is tuned for the maximum amount of

bass we could add without creating obvious distortion on some program material.
This amount of bass may be excessive with certain consumer radios (particularly
“boom-boxes”) that already have substantial bass boost. Use it with care.
LOUD+SLAM is very similar to LOUD-HOT+BASS. Because of the 18 dB/octave BASS

SLOPE, its advantages will be appreciated most through radios with good low bass
response.
LOUD-PUNCHY is the quietest of the “loud” preset family. It is designed for a

bright, sizzling top end and very punchy lows. It is a good choice for stations that
feel that the LOUD-HOT presets are too aggressive, but that think that the ROCK
presets are insufficiently loud for their market position. It is not a good choice for
low bit rate codecs.
LOUD-BIG compromises between LOUD-HOT and LOUD-HOT+BASS. It uses a 12

dB/octave bass equalizer slope to achieve punchy bass that still has enough mid-bass
boost to help smaller radios.
LOUD-FAT has dramatic punch on percussive material and a very fat-sounding low
end, plus outstandingly effective distortion control. It avoids overt bass distortion
despite the full bass sound. It is slightly quieter than the loudest of the “loud” pre-
set family.
NEWS-TALK: This preset is quite different from the others above. It is based on the
fast multiband release time setting, so it can quickly perform automatic equalization
of substandard program material, including telephone. It is very useful for creating a
uniform, intelligible sound from widely varying source material, particularly source
material that is “hot from the field” with uncontrolled quality.
SPORTS: Similar to NEWS-TALK except the AGC Release (AGC Release Time) is
slower and the Gate Thresh (Gate Threshold) is higher. This recognizes that most
play-by-play sports programming has very low signal-to-noise ratio due to crowd
noise and other on-field sounds, so the preset does not pump this up as the NEWS-
TALK preset would tend to do.
ROCK: ROCK-DENSE, ROCK-MEDIUM, and ROCK-OPEN provide a bright high end

and punchy low end (although not as exaggerated as the URBAN presets). These
presets are appropriate for general rock and contemporary programming. A mid-
range boost provides enough presence energy to ensure that vocals stand out. A
modest amount of high frequency coupling (determined by the BAND COUPLING 3>4
setting) allows reasonable amounts of automatic HF equalization (to correct dull
program material), while still preventing exaggerated frequency balances and exces-
sive HF density. Dense, medium, and open refer to the compression density, which is
determined by the release time settings in the AGC and multiband limiter sections.
ROCK-LIGHT has an open sound with little audible compression and less brightness
than the first three presets. It is a compromise between ROCK-OPEN and ROCK-
SOFT.
ROCK-SOFT has a mellow, easy-to-listen-to high frequency quality that is designed

for female-skewing formats. It is also a candidate for “Quiet Storm” and “Love
Songs” light rock or light urban formats.
ROCK-SMOOTH has the same mellow, easy-to-listen-to high frequency quality as

ROCK-SOFT, but with more density. Again, it is a good choice for female-skewing
formats, but where you need more compression and density than you get with
ROCK-SOFT.
For Contemporary Hit Radio (CHR) we recommend the ROCK-DENSE or ROCK-

MEDIUM versions. In competitive markets, you may need to use LOUD-HOT (you can
use LESS-MORE to get it even louder) or even LOUD-HOT+BASS or IMPACT. How-
ever, the “rock” presets are not as bright and are more likely to complement low bit
rate codecs.
For Album-Oriented Rock (AOR) we recommend the ROCK-MEDIUM or ROCK-OPEN

versions, although you might prefer the more conservative ROCK-LIGHT or ROCK-
SMOOTH versions.
ROCK-MEDIUM+LOWBASS is an open-sounding preset with a lot of bass punch. Its

Multiband Release control is set to Slow2 so that the sound is relaxed and not at all
busy. At the same time, the preset is competitively loud. It is an excellent choice for
“adult contemporary” and “soft rock” formats where long time-spent-listening is
desired.
SMOOTH JAZZ: This preset is designed for commercial stations playing smooth jazz
(Kenny G., etc.). It is a loud preset that is designed to prevent stridency with saxes
and other horns.
WMA MUSIC: This preset is based on GREGG SLOW but has been edited to mini-
mize artifacts in the Windows Media Audio V9 codec when operated at bitrates be-
low 64 kbps. See Processing for Low Bitrate Codecs and HD Radio on page 3-8.
WMA NEWS-TALK: This preset is based on NEWS-TALK but has been edited to mini-
mize artifacts in the Windows Media Audio V9 codec when operated at bitrates be-
low 64 kbps.
URBAN: There are two URBAN (Rap) presets: HEAVY and LIGHT. These are similar
to ROCK-MEDIUM and ROCK-OPEN but with a different bass sound. They use the 3-
pole (18 dB/octave) shape on the bass equalizer. URBAN-HEAVY is appropriate for
Urban, Rap, Hip-Hop, Black, R&B, Dance and other similar formats. URBAN-LIGHT is
appropriate for light R&B formats. Highly competitive Urban stations might also use
LOUD-HOT+BASS or LOUD+SLAM, modified versions of LOUD-HOT that maximize
bass punch.
Equalizer Controls
The table summarizes the equalization controls available for the 9400. Note that
there are two separate equalization sections, one for AM analog-channel processing
and one for HD AM processing. Differences between these equalization sections are
noted in Table 3-3 on page 3-29.
“Advanced” controls are accessible only from 9400 PC Remote software.

Any equalization that you set will be automatically stored in any User Preset that
you create and save. For example, you can use a User Preset to combine an unmodi-
fied Factory Programming Preset with your custom equalization. Of course, you can
also modify the Factory Preset (with Basic Modify, Full Modify, or Advanced Modify)
before you create your User Preset.
In general, you should be conservative when equalizing modern, well-recorded pro-

gram material. This is particularly true with general-purpose AM programming.
Bass Shelving Equalizer:, The 9400 processing’s low bass shelving equalizer is de-
signed to add punch and slam to rock and urban music. This equalizer is only pro-
vided for the digital radio processing because many analog AM radios do not handle
extreme bass boost gracefully, particularly at very low frequencies. Instead, we pro-
vide the low frequency parametric equalizer (which provides a bell-shaped boost in-
stead of a shelving boost) to boost bass in the analog AM channel.
The shelving equalizer provides control over gain, hinge frequency, and slope (in
dB/octave).
BASS FREQ sets the frequency where shelving starts to take effect.
This would by the +3 dB frequency for infinite BASS GAIN. For lower bass
gains, the gain is progressively less than +3 dB at this frequency.
BASS GAIN sets the amount of bass boost (dB) at the top of the shelf.
BASS SLOPE sets the slope (dB/octave) of the transition between the top
and bottom of the shelf.
Depending on the preset and adjustment of the band 5 compressor/limiter in the
digital processing channel, the 9400’s processing may increase the brightness of pro-
gram material in the digital processing channel. Hence, bass boost is sometimes de-
sirable to keep the sound well balanced spectrally. Adjustment of bass equalization
must be determined by individual taste and by the requirements of your format. Be
sure to listen on a wide variety of receivers — it is possible to create severe distor-
tion on poor quality speakers by over-equalizing the bass. Be careful!
The moderate-slope (12 dB/octave) shelving boost achieves a bass boost that is more
audible on smaller receivers, but which can sound boomier on high-quality receivers.
Equalizer Controls
Group Basic / Full Advanced Name Range
Modify Name
Bass Shelf BASS FREQ Bass Frequency 80, 85, 90, 95, 100, 105, 110, 115,
(HD AM only) 120, 125, 130, 135, 140, 145, 150,
160, 170, 180, 190, 200, 210, 220,
230, 240, 250, 270, 290, 310, 330,
350, 380, 410, 440, 470, 500Hz
BASS GAIN Bass Gain 0 … 12 dB
BASS SLOPE Bass Slope 6,12,18 dB / Oct
Low LF FREQ Low Frequency 20 ... 500 Hz
LF GAIN Low Gain –10.0 … +10.0 dB
LF WIDT Low Width 0.8 ... 4 octaves
Mid MID FREQ Mid Frequency 250 ... 6000 Hz
MID GAIN Mid Gain –10.0 … +10.0 dB
MID WIDTH Mid Width 0.8 ... 4 octaves
High HIGH FREQ High Frequency 1.0 … 15.0 kHz
HIGH GAIN High Gain –10.0 … +10.0 dB
HIGH WIDTH High Width 0.8 ... 4 octaves
HF Enhancer HF ENH High Frequency 0 … 15
Enhancer
HF Gain HF Gain High Frequency 0 … 22 dB
(analog only) Shelf Gain
HF Curve (ana- HF Curve High Frequency 0 … 10, NRSC
log only) Shelf Curve
Brilliance (HD BRILLIANCE Brilliance 0.0 … +6.0 dB
only)
DJ Bass DJ BASS DJ Bass Boost Off, 0 … +10 dB
Table 3-3: Equalization Controls

The steep-slope (18 dB/octave) shelving boost creates a solid, punchy bass from the
better consumer receivers and home theater systems with decent bass response. The
6 dB/octave shelving boost is like a conventional tone control and creates the most
mid-bass boost, yielding a “warmer” sound. Because it affects the mid-bass fre-
quency range, where the ear is more sensitive than it is to very low bass, the 6
dB/octave slope can create more apparent bass level at the cost of bass “punch.”
There are no easy choices here; you must choose the characteristic you want by
identifying your target audience and the receivers they are most likely to be using.
In many cases, you will not want to use any boost at all for general-purpose AM
programming, because this can exaggerate rumble and other low frequency noise.
Additionally, large amounts of boost will increase the gain reduction in the lowest
band of the multiband compressor, which may have the effect of reducing some fre-
quencies below 100 or 200 Hz (depending on the setting of the B1/B2 XOVER con-
trol). So be aware the large fixed bass boosts may have a different effect than you
expect because of the way that they interact with the multiband compressor.
Low Frequency Parametric Equalizer is a specially designed parametric equalizer

whose boost and cut curves closely emulate those of a classic Orban analog para-
metric equalizer with conventional bell-shaped curves (within ±0.15 dB worst-case).
This provides warm, smooth, “analog-sounding” equalization.
LF FREQ determines the center frequency of the equalization, in Hertz.

Range is 20-500Hz.
LF GAIN determines the amount of peak boost or cut (in dB) over a ±10
dB range.
LF WIDTH determines the bandwidth of the equalization, in octaves. The
range is 0.8-4.0 octaves. If you are unfamiliar with using a parametric
equalizer, 1.5 octaves is a good starting point. These curves are relatively
broad because they are designed to provide overall tonal coloration,
rather than to notch out small areas of the spectrum.
Although a certain amount of low-frequency boost must be used along with the
high frequency boost in order to obtain a balanced sound on analog AM radios for
MW, do so conservatively! Use the auto radios with most bass (all of which usually
have a peaky mid-bass when you listen through the standard dashboard speaker) as
a “worst case” reference. Do not boost the bass so much that your reference radio
becomes muddy or boomy. With correct bass boost, your table radio will have only
moderate bass, and your pocket radio will sound thin and tinny.
For example, a 6dB boost corresponds to a 400% increase in power! More than 6dB
of bass boost will strain many transmitters, unnecessarily increasing power supply
bounce and IM distortion problems. (The bass boost is further limited dynamically in
the multiband clipper C see immediately below.) Excessive bass boost will also cause
many dashboard speakers to sound unacceptably muddy.
Use of a narrow bandwidth, a low boost frequency (like 65 Hz), and a relatively
large boost can produce a very punchy sound in a car, or on a radio with significant
bass response. It can also cost you loudness (bass frequencies take lots of modulation
without giving you proportionate perceived loudness), and can result in a thin
sound on radios with only moderate bass response. A smaller amount of boost, a
produce a better compromise.
In HF broadcast, perhaps the most difficult of all processing tradeoffs is choosing

bass equalization. This is why the 9400’s a bass equalizer can cut as well as boost.
When propagation conditions are good and the signal strength is high, a certain
amount of bass boost (perhaps +3dB) provides the most pleasing sound. However,
robust bass can easily induce intermodulation distortion in the clippers, so the
amount of clipping must be reduced to provide acceptable distortion performance.
In turn, this may compromise loudness by up to 3dB — the equivalent of cutting
transmitter power in half!
Bass boost has a tendency to reduce the life of power tubes in most high-powered
transmitters. It will also tend to induce intermodulation distortion in envelope de-
tectors under selective fading, when detection becomes markedly nonlinear because
of sideband asymmetry. In short, the arguments for bass cut are usually more per-
suasive than those for bass boost. Yet if an HF broadcasting organization seeks the
highest possible subjective quality regardless of transmitter operating cost and feels
that it usually delivers a strong RF signal, free from selective fading, to its listeners,
then such an organization may still wish to boost bass slightly.
It is important to understand that the effect of the bass equalizer is relatively subtle,
because bass balances are also affected by the action of the 150Hz and 420Hz bands
of the multiband limiter and multiband distortion-canceling clipper. These bands will
tend to make bass balances more uniform (partially ``fighting'' bass-balance changes
made with the bass equalizer) by increasing bass in program material that is thin-
sounding, and by limiting heavy bass to a user-settable threshold below 100%
modulation to prevent disturbing intermodulation between bass and higher-
frequency program material. Compared to the 9400’s presets for MW broadcasting,
in the HF presets the threshold of limiting of the 150Hz band has been lowered so
that more gain reduction (and thus, less bass) is produced.
The multiband distortion-canceling clipper prevents hard-clipped bass square waves

from appearing at OPTIMOD-AM's output. Older transmitters will respond better to
this well-controlled, benign waveform than to the hard-clipped bass square waves
produced by less sophisticated processing.
The equalizer, like the classic Orban analog parametrics such as the 622B,
has constant “Q” curves. This means that the cut curves are narrower
than the boost curves. The width (in octaves) is calibrated with reference
to 10 dB boost. As you decrease the amount of EQ gain (or start to cut),
the width in octaves will decrease. However, the “Q” will stay constant.
“Q” is a mathematical parameter that relates to how fast ringing damps
out. (Technically, we are referring to the “Q” of the poles of the equal-
izer transfer function, which does not change as you adjust the amount
of boost or cut.)
The curves in the 9400’s equalizer were created by a so-called “minimax”
(“minimize the maximum error,” or “equal-ripple”) IIR digital approxi-
mation to the curves provided by the Orban 622B analog parametric
equalizer. Therefore, unlike less sophisticated digital equalizers that use
the “bilinear transformation” to generate EQ curves, the shapes of the

9400’s curves are not distorted at high frequencies.
Midrange Parametric Equalizer is a parametric equalizer whose boost and cut
curves closely emulate those of an analog parametric equalizer with conventional
bell-shaped curves.
MID FREQ determines the center frequency of the equalization, in Hertz.

Range is 250-6000Hz.
MID GAIN determines the amount of peak boost or cut (in dB) over a
±10 dB range.
MID WIDTH determines the bandwidth of the equalization, in octaves.
The range is 0.8-4.0 octaves. If you are unfamiliar with using a parametric
equalizer, 1 octave is a good starting point.
The audible effect of the midrange equalizer is closely associated with the amount
of gain reduction in the midrange bands. With small amounts of gain reduction, it
boosts power in the presence region. This can increase the loudness of such material
substantially. As you increase the gain reduction in the midrange bands (by turning
the MULTIBAND DRIVE (Multiband Drive) control up), the MID GAIN control will have
progressively less audible effect. The compressor for the midrange bands will tend to
reduce the effect of the MID frequency boost (in an attempt to keep the gain con-
stant) to prevent excessive stridency in program material that already has a great
deal of presence power. Therefore, with large amounts of gain reduction, the den-
sity of presence region energy will be increased more than will the level of energy in
that region.
Use the mid frequency equalizer with caution. Excessive presence boost tends to be
audibly strident and fatiguing. Moreover, the sound quality, although loud, can be
very irritating. We suggest a maximum of 3 dB boost, although 10 dB is achievable.
In some of our factory music presets, we use 3 dB boost at 2.6 kHz to bring vocals
more up-front.
High Frequency Parametric Equalizer is a parametric equalizer whose boost and

cut curves closely emulate those of an analog parametric equalizer with conven-
tional bell-shaped curves.
HIGH FREQ determines the center frequency of the equalization, in

Hertz. The range is 1-15 kHz.
HIGH GAIN determines the amount of peak boost or cut over a ±10 dB
range.
HIGH WIDTH determines the bandwidth of the equalization, in octaves.
The range is 0.8-4.0 octaves. If you are unfamiliar with using a parametric
equalizer, one octave is a good starting point.
Excessive high frequency boost can exaggerate hiss and distortion in program mate-
rial that is less than perfectly clean. We suggest no more than 4 dB boost as a practi-
cal maximum, unless source material is primarily from compact discs of recently re-
corded material. In several of our presets, we use this equalizer to boost the pres-
ence band (3 kHz) slightly, leaving broadband HF boost to the receiver equalizer.
Receiver Equalizer
HF Gain (“High Frequency Shelf Gain”) determines the amount of high

frequency boost provided by the 9400’s receiver equalizer.
HF Curve (“High Frequency Shelf Curve”) determines the shape of the
curve produced by the 9400’s receiver equalizer.
The high-frequency receiver equalizer is designed to compensate for the high fre-
quency rolloff in average AM radios. The typical AM radio is down 3dB at 2kHz and
rolls off at least 18dB/octave after that. The HF equalizer provides an 18dB/octave
shelving pre-emphasis that can substantially improve the brightness and intelligibil-
ity of sound through such narrowband radios. The HF equalizer has two controls: a
gain control that determines the height of the shelving curve (dB), and a curve con-
trol, calibrated with an arbitrary number that determines how abruptly the shelving
equalizer increases its gain as frequency increases. 0 provides the most abrupt curve;
10 provides the gentlest. The HF CURVE control is used to trade-off harshness on
wider-band radios against brightness in narrow-band radios.
An HF CURVE of 0 provides the same equalization that was originally supplied as

standard on early OPTIMOD-AM 9100 units and was later provided by the 9100’s
green module. Compared to higher settings of the HF Curve control, it provides
much more boost in the 5 kHz region, and tends to sound strident on AMAX and
other wideband radios. However, it can be very effective where narrowband radios
Figure 3-1: HF Receiver Equalizer Curves

remain the norm.
With an HF CURVE setting of 0, an HF GAIN control setting of 22 dB will create a per-

ceived bandwidth of 6 kHz on “Group 2” AM radios (see page 3-11); a 15 dB setting
yields a 5 kHz perceived bandwidth, 10 dB yields 4 kHz, and 5 dB yields 3 kHz. Ad-
vancing the HF GAIN control will result in a brighter, higher fidelity sound, but it will
also require that the listener tune the radio more carefully.
If most of your listeners have wider-band radios (as may be the case in North Amer-
ica), use the NRSC curve, which can be chosen with the HF CURVE control. For a
somewhat brighter sound that can benefit narrowband radios more, yet is still com-
patible with wideband NRSC radios, use HF CURVE = 10 and HF GAIN = 10dB. HF
CURVE = 10 corresponds to the RED pre-emphasis module in Orban's analog
9100-series OPTIMOD-AM processors.
Note that the added brightness caused by using an HF CURVE of 10 (as opposed to
using NRSC) may tend to increase the first-adjacent interference being generated by
your station, contrary to the purpose and intentions of the NRSC.
HF CURVE settings between 0 and 10 smoothly interpolate between the two ex-
tremes, and provide more flexibility for user adjustment. An HF CURVE setting of 5
provides the curve family associated with the YELLOW pre-emphasis module in
Orban's analog 9100-series OPTIMOD-AM processors.
With the HF CURVE control at any setting other than NRSC, extreme amounts of
high-frequency boost may result in a slight `lisping' quality on certain voices. This is
because the high-frequency boost will increase the high-frequency content of sibi-
lant voices, which can only be boosted to 100% modulation. Since the spectral bal-
ance of the voice is altered, this may be perceived as a lisping sound.
The receiver equalizer is of limited benefit to narrowband radios with abrupt rol-
loffs. We believe that these radios benefit more from a boost at 3 kHz, combined
with very little HF shelving EQ. These radios have almost no response at 5 kHz and
above, so boosting frequencies above 5 kHz wastes modulation. Using a bell-shaped
boost at 3 kHz causes the boost to decline naturally at frequencies that the radio
cannot reproduce. You can use either the midrange or HF parametric equalizer to
create such a boost.
Figure 3-1 on page 3-33 shows the curve families for the HF equalizer.
DJ BASS (“DJ Bass Boost“) control determines the amount of bass boost produced
on some male voices. In its default OFF position, it causes the gain reduction of the
lowest frequency band to move quickly to the same gain reduction as its nearest
neighbor when gated. This fights any tendency of the lowest frequency band to de-
velop significantly more gain than its neighbor when processing voice because voice
will activate the gate frequently. Each time it does so, it resets the gain of the lowest
frequency band so that the gains of the two bottom bands are equal and the re-
sponse in this frequency range is flat. The result is natural-sounding bass on male
voice.
If you like a larger-than-life, “chesty” sound on male voice, set this control away
from OFF. Then, gating causes the gain reduction of the lowest frequency band to
move to the same gain reduction (minus a gain offset equal to the numerical setting
of the control) as its nearest neighbor when gated. You can therefore set the maxi-
mum gain difference between the two low frequency bands, producing consider-
able dynamic bass boost on voice.
The difference will never exceed the difference that would have otherwise occurred
if the lowest frequency band were independently gated. If you are familiar with
older Orban processors, this is the maximum amount of boost that would have oc-
curred if you had set their DJ BASS BOOST controls to ON.
The amount of bass boost will be highly dependent on the fundamental frequency
of a given voice. If the fundamental frequency is far above 100Hz, there will be little
voice energy in the bottom band and little or no audio bass boost can occur even if
the gain of the bottom band is higher than the gain of its neighbor. As the funda-
mental frequency moves lower, more of this energy leaks into the bottom band,
producing more bass boost. If the fundamental frequency is very low (a rarity), there
will be enough energy in the bottom band to force significant gain reduction, and
you will hear less bass boost than if the fundamental frequency were a bit higher.
If the MB GATE THRESH (Gate Threshold) control is turned OFF, the DJ BASS boost set-
ting is disabled.
BRILLIANCE sets the drive level into the Band 5 compressor in the digital radio
channel only. Because band 4 gain reduction determines band 5 gain reduction, this
control has the same effect as the BAND 5 OUTPUT MIX control. It is included only for
compatibility with Orban’s 8400 and 8500 HD processors so that you can duplicate
the sound of these processors’ presets by copying their control settings to the 9400.
HF ENH (“High Frequency Enhancer”) is a program-adaptive 6 dB/octave shelving

equalizer with a 4 kHz turnover frequency. It constantly monitors the ratio between
high frequency and broadband energy and adjusts the amount of equalization in an
attempt to make this ratio constant as the program material changes. It can there-
fore create a bright, present sound without over-equalizing material that is already
bright.
Stereo Enhancer Controls

The 9400 provides two different stereo enhancement algorithms. The first is based
on Orban’s patented analog 222 Stereo Enhancer, which increases the energy in the
stereo difference signal (L–R) whenever a transient is detected in the stereo sum sig-
nal (L+R). By operating only on transients, the 222 increases width, brightness, and
punch without unnaturally increasing reverb (which is usually predominantly in the
L–R channel).
The second stereo enhancement algorithm is based on the well-known “Max” tech-
nique. This passes the L–R signal through a delay line and adds this decorrelated sig-
nal to the unenhanced L–R signal. Gating circuitry similar to that used in the “222-
style” algorithm prevents over-enhancement and undesired enhancement on

slightly unbalanced mono material.
It is unwise to use stereo enhancement with low bitrate codecs. At low bit rates,
these codecs use various parametric techniques for encoding the spatial attributes of
the sound field. Stereo enhancement can unnecessarily stress this encoding process.
Both modes have gating that operates under two conditions.
• The two stereo channels are close to identical in magnitude and phase.
In this case, the enhancer assumes that the program material is actually
mono and thus suppresses enhancement to prevent the enhancement
from exaggerating the undesired channel imbalance.
• The ratio of L–R / L+R of the enhanced signal tries to exceed the threshold set by
the L-R / L+R RATIO LIMIT control.
In this case, the enhancer prevents further enhancement in order to pre-

vent excess L–R energy, which might increase distortion in AM stereo
transmission.
The stereo enhancer has the following controls:
Amount sets the maximum spatial enhancement.
Enhancer In / Out bypasses the stereo enhancer. OUT is equivalent to setting the
AMOUNT to 0.
L-R / L+R Ratio Limit sets the maximum amount of enhancement to prevent multi-
path distortion. However, if the original program material exceeds this limit with no
enhancement, the enhancer will not reduce it.
Diffusion applies only to the DELAY enhancer. This control determines the amount
of delayed L–R added to the original signal.
Style sets one of two stereo enhancer types: 222 or DELAY.
Depth sets the delay in the delay line. It applies only to the DELAY enhancer.
Stereo Enhancer Controls

Basic / Intermediate Name Advanced Name Range
Amount Amount 0.0 ... 10.0
Enhancer In / Out Out / In
Ratio Limit Ratio Lim 70 … 100%
Diffusion Diffusion Off, 0.3 ... 10.0
Style Style 222 / Delay
Depth Depth 0 … 10
Table 3-4: Stereo Enhancer Controls

AGC Controls
The AGC is common to the analog AM and digital radio processing chains.
Five of the AGC controls are common to the Full Modify and Advanced Modify
screens, with additional AGC controls available in the Advance Modify screen, as
noted in the following table. (Note that “advanced” controls are accessible only
from 9400 PC Remote software.) These controls are explained in detail below.
AGC (“AGC Off / On”) control activates or defeats the AGC.
It is usually used to defeat the AGC when you want to create a preset with minimal
processing. The AGC is also ordinarily defeated if you are using a studio level con-
troller (like Orban’s 8200ST). However, in this case it is better to defeat the AGC
globally in System Setup.
AGC DRIVE control adjusts signal level going into the slow dual-band AGC, deter-
mining the amount of gain reduction in the AGC. This also adjusts the “idle gain” —
the amount of gain reduction in the AGC section when the structure is gated. (It
gates whenever the input level to the structure is below the threshold of gating.)
The total amount of gain reduction in a given 9400 processing chain is the sum of
the gain reduction in the AGC and the gain reduction in the multiband compressor
in that chain (AM analog or HD). The total system gain reduction determines how
much the loudness of quiet passages will be increased (and, therefore, how consis-
tent overall loudness will be). It is determined by the setting of the AGC DRIVE con-
trol, by the level at which the console VU meter or PPM is peaked, and by the setting
of the MULTIBAND DRIVE (compressor) control for each chain.
AGC Controls
Full Modify Name Advanced Name Range
AGC AGC Off / On Off / On
AGC DRIVE AGC Drive –10 ... 25 dB
AGC REL AGC Master Release 0.5, 1.0, 1.5, 2 … 20 dB / S
AGC GATE AGC Gate Threshold Off, –44 ... –15 dB
AGC B CPL AGC Bass Coupling 0-100 %
--- AGC Maximum Delta Gain 0 … 24 dB, Off
Reduction
--- AGC Window Size –25 … 0 dB
--- AGC Window Release 0.5 … 20 dB
--- AGC Matrix L/R, sum/difference
--- AGC Ratio ∞1, 4:1, 3:1, 2:1
--- AGC Bass Threshold –12.0 … 2.5 dB
--- AGC Idle Gain –10 … +10 dB
--- AGC Bass Attack 1 … 10
--- AGC Master Attack 0.2 … 6
--- AGC Bass Release 1 … 10 dB/sec
--- AGC Master Delta Threshold –6 … +6 dB
--- AGC Bass Delta Threshold –6 … +6 dB
Table 3-5: AGC Controls

AGC REL (“AGC Master Release”) control provides an adjustable range from 0.5
dB/second (slow) to 20 dB/second (fast). The increase in density caused by setting the
AGC RELEASE control to fast settings sounds different from the increase in density
caused by setting the a given chain’s MULTIBAND RELEASE control to FAST, and you can
trade the two off to produce different effects.
Unless it is purposely speeded-up (with the AGC RELEASE control), the automatic
gain control (AGC) that occurs in the AGC prior to the multiband compressor makes
audio levels more consistent without significantly altering texture. Then the multi-
band compression audibly changes the density of the sound and dynamically re-
equalizes it as necessary (booming bass is tightened; weak, thin bass is brought up;
highs are always present and consistent in level).
The various combinations of AGC and compression offer great flexibility:
• Light AGC + light compression yields a wide sense of dynamics, with a small
amount of automatic re-equalization.
• Moderate AGC + light compression produces an open, natural quality with

automatic re-equalization and increased consistency of frequency balance.
• Moderate AGC + moderate compression gives a more dense sound, particularly

as the release time of the multiband compressor is sped up.
• Moderate AGC + heavy compression (particularly with a FAST multiband release

time) results in a “wall of sound” effect, which may cause listener fatigue.
• Adjust the AGC (with the AGC DRIVE control) to produce the desired amount of
AGC action, and then fine-tune the compression and clipping with the 9400
processing’s controls.
AGC GATE (“AGC Gate Threshold”) control determines the lowest input level that
will be recognized as program by the AGC; lower levels are considered to be noise or
background sounds and cause the AGC to gate, effectively freezing gain to prevent
noise breathing.
There are three independent gating circuits in the 9400. The first affects the AGC,
while the others affect the multiband compressors in the analog AM and HD chains.
Each has its own threshold control.
The multiband compressor gate causes the gain reduction in bands 2 and 3 of a
given multiband compressor to move quickly to the average gain reduction occur-
ring in those bands when the gate first turns on. This prevents obvious midrange
coloration under gated conditions, because bands 2 and 3 have the same gain.
The gate also independently freezes the gain of the two highest frequency bands
(forcing the gain of the highest frequency band to be identical to its lower
neighbor), and independently sets the gain of the lowest frequency band according
to the setting of the DJ BASS boost control (in the Equalization screen). Thus, with-
out introducing obvious coloration, the gating smoothly preserves the average
overall frequency response “tilt” of the multiband compressor, broadly maintaining
the “automatic equalization” curve it generates for a given piece of program mate-
rial.
If the MB GATE THR (Gate Threshold) control is turned OFF, the DJ BASS
control is disabled.
AGC B CPL (“AGC Bass Coupling”) control sets the balance provided in the AGC be-
tween bass and the rest of the frequency spectrum.
The AGC processes audio in a master band for all audio above approximately 200Hz,
and a bass band for audio below approximately 200Hz. The AGC B CPL control de-
termines how closely the on-air balance of material below 200Hz matches that of
the program material above 200Hz.
Settings toward 100% (wideband) make the output sound most like the input. Be-
cause setting the AGC B CPL control at 100% will sometimes cause bass loss, the
most accurate frequency balance will often be obtained with this control between
70% and 90%. The optimal setting depends on the amount of gain reduction ap-
plied and on the AGC release time. Usually, you will adjust the AGC B CPL control
until the Master AGC and Bass AGC Gain Reduction meters track as closely as possi-
ble unless you want the AGC to provide some gentle automatic re-equalization of
the input material.
AGC METR (“AGC Meter Display”) determines what the AGC meter shows the
gain reduction of the slow two-band AGC processing that precedes the multiband
compressor. Full-scale is 25 dB gain reduction. MASTER displays the gain reduction of
the Master (above-200 Hz) band. DELTA displays the difference between the gain re-
duction in the Master and Bass bands.
Although it is located in the Multiband Full Modify screen (to make it easy for a pre-
set developer to switch meter modes), this control is not part of the active preset
and its setting is not saved in User Presets, unlike the other controls in the Full Mod-
ify screens. The meter mode always reverts to MASTER when the user leaves Full
Modify.
Because it only affects the front panel display, this control is not available
in PC Remote.
Advanced AGC Controls

The following AGC controls are available only in the 9400 PC Remote software.
AGC Maximum Delta Gain Reduction determines the maximum gain difference
permitted between the two channels of the AGC. Set it to “0” for perfect stereo
coupling.
This control works the same regardless of whether the AGC operates in left/right or
sum/difference MATRIX modes. In both cases, it controls the maximum gain difference
between the “channels.” Depending on the MATRIX mode setting, the “channels”
will handle left and right signals or will handle sum and difference signals. When
the AGC operates in sum/difference MATRIX mode, this control determines the maxi-
mum amount of width change in the stereo soundfield.
AGC Window Size determines the size of the “target zone” window in the AGC. If
the input level falls within this target zone, the AGC release time is set to the num-
ber specified by the AGC WINDOW RELEASE control. This is usually much slower than
the normal AGC release, and essentially freezes the AGC gain. This prevents the AGC
from building up density in material whose level is already well controlled. If the
level goes outside the window, then the AGC switches to the release rate specified
by AGC MASTER RELEASE, so the AGC can still correct large gain variations quickly.
The normal setting for the AGC WINDOW SIZE is 3dB.
AGC Window Release (see AGC WINDOW SIZE above.)
AGC Matrix allows you to operate the AGC in left/right mode or in sum/difference
mode. Because the envelope modulation in CQUAM AM stereo is the sum signal,
operating the AGC in sum/difference mode can help maximize loudness on mono
radios.
Additionally, sum/difference mode can give a type of stereo enhancement that is

different from the enhancement modes offered in the 9400’s built-in stereo enhan-
cer. This will only work if you allow the two channels of the AGC to have different
gains. To do this, set the AGC MAXIMUM DELTA GAIN REDUCTION control greater than
zero.
AGC Ratio determines the compression ratio of the AGC. The compression ratio is
the ratio between the change in input level and the resulting change in output
level, both measured in units of dB.
Previous Orban AM processor AGCs had compression ratios very close to ∞:1, which
produces the most consistent and uniform sound. However, the 9400 compressor can
reduce this ratio to as low as 2:1. This can add a sense of dynamic range and is
mostly useful for subtle fine arts formats like classical and jazz.
This control reduces the available range of AGC gain reduction because it acts by at-
tenuating the gain control signal produced by the AGC sidechain. The range is 25 dB
at ∞:1 and 12 dB at 2:1. However, the range of input levels that the AGC can handle
is unaffected, remaining at 25dB.
AGC Bass Threshold determines the compression threshold of the bass band in the
AGC. It can be used to set the target spectral balance of the AGC.
As the AGC B CPL control is moved towards “100%,” the AGC BASS THRESHOLD con-
trol affects the sound less and less.
The interaction between the AGC BASS THRESHOLD control and the AGC B CPL con-
trol is a bit complex, so we recommend leaving the AGC BASS THRESHOLD control at
its factory setting unless you have a good reason for readjusting it.
AGC Idle Gain. The “idle gain” is the target gain of the AGC when the silence gate
is active. Whenever the silence gate turns on, the gain of the AGC slowly moves to-
wards the idle gain.
The idle gain is primarily determined by the AGC DRIVE setting — a setting of 10 dB
will ordinarily produce an idle gain of –10 dB (i.e., 10 dB of gain reduction). How-
ever, sometimes you may not want the idle gain to be the same as the AGC DRIVE
setting. The AGC IDLE GAIN control allows you to add or subtract gain from the idle
gain setting determined by the AGC DRIVE setting.
You might want to do this if you make a custom preset that otherwise causes the
gain to increase or decrease unnaturally when the AGC is gated.
For example, to make the idle gain track the setting of the AGC DRIVE control, set
the AGC IDLE GAIN control to zero. To make the idle gain 2 dB lower than the setting
of the AGC DRIVE control, set the AGC IDLE GAIN control to –2.
AGC Bass Attack sets the attack time of the AGC bass compressor (below 200Hz).
AGC Master Attack sets the attack time of the AGC master compressor (above
200Hz).
AGC Bass Release sets the release time of the AGC bass compressor.
AGC Master Delta Threshold allows you to set the difference between the com-
pression thresholds of the sum and difference channels. (This control is only useful
when you set the AGC MATRIX to SUM/DIFFERENCE.) If you set the threshold of the dif-
ference channel lower than the sum channel, the AGC will automatically produce
more gain reduction in the difference channel. This will reduce the separation of
material with an excessively wide stereo image (like old Beatles records). To make
this work, you must set the AGC MAXIMUM DELTA GAIN REDUCTION control away from
zero. For example, to limit an excessively wide image while preventing more than 3
dB difference in gain between the sum and difference channels, set the AGC
MAXIMUM DELTA GAIN REDUCTION control to 3.0 and the AGC MASTER DELTA THRESHOLD
control to some positive number, depending on how much automatic width control
you want the 9400 to perform.
AGC Bass Delta Threshold works the same as AGC MASTER DELTA THRESHOLD, but
applies to the bass band. You will usually set it the same as AGC MASTER DELTA
THRESHOLD.
Clipper Controls
The clipper controls apply only to the analog AM processing chain.
The HD AM chain uses a look-ahead limiter employing a different tech-

nology than the distortion-cancelled clipper used in the AM analog
chain.
Bass Clip (“Bass Clip Threshold”) sets the threshold of Orban’s patented embedded
bass clipper with reference to the final clipper. The bass clipper is embedded in the
multiband crossover (after bands 1 and 2 are summed) so that any distortion created
by clipping is rolled off by part of the crossover filters. The threshold of this clipper is
usually set between 2 dB and 5 dB below the threshold of the final limiter in the
processing chain, depending on the setting of the LESS-MORE control in the parent
preset on which you are basing your Modify adjustments. This provides headroom
for contributions from the other three bands so that bass transients don’t smash
against the back-end clipping system, causing overt intermodulation distortion be-
tween the bass and higher frequency program material.
Some 9400 users feel that the bass clipper unnecessarily reduces bass punch at its
factory settings. Therefore, we made the threshold of the bass clipper user-
adjustable. The range (with reference to the final clipper threshold) is 0 to –6dB. As
you raise the threshold of the clipper, you will get more bass but also more distor-
tion and pumping. Be careful when setting this control; do not adjust it casually. Lis-
ten to program material with heavy bass combined with spectrally sparse midrange
material (like a singer accompanied by a bass guitar) and listen for IM distortion in-
duced by the bass’ pushing the midrange into the clipping system. In general, unless
you have a very good reason to set the control elsewhere, we recommend leaving it
at the factory settings, which were determined following extensive listening tests
with many types of critical program material.
Bass Clip Mode sets the operation of the bass clipper to HARD, LL HARD, MEDIUM, or
SOFT.
• HARD operates the clipper like the clipper in Orban’s Optimod-AM 9200. It pro-
duces the most harmonic distortion.
This can be useful if you want maximum bass punch because this setting
allows bass transients (like kick drums) to make square waves. The peak
level of the fundamental component of a square wave is 2.1 dB higher
than the peak level of the flat top in the square wave. Therefore, this al-
lows you to get low bass that is actually higher than 100% modulation—
the harmonics produced by the clipping work to hold down the peak
level.
The square waves produced by this clipper are filtered through a
6 dB/octave lowpass filter that is down 3 dB at 400 Hz. This greatly re-
Clipper Controls
Full Modify Name Advanced Name Range
--- Overshoot Compensator Drive –2.0 … +2.0
BASS CLI Bass Clip Threshold –6.0 … 0.00 dB
B-CL SHAP Bass Clip Shape 0 … 10
BASS MODE Bass Clip Mode Soft, Med, Hard, LLHard
--- Speech Bass Clip –6.0 … 0.00 dB
FINAL CLIP Final Clip Drive –3.0 … +5.0 dB
HF-CL HF Clip Threshold –16…0.00, Off
--- Speech Bass Clip Threshold
--- Overshoot Comp Drive –2.0 … +2.0
Table 3-6: Clipper Controls

duces the audibility of the higher clipper-generated harmonics. Never-
theless, the downside is that material with sustained bass (including
speech) will sound substantially less clean than it will with the MEDIUM or
SOFT settings. The upside is that these harmonics can extend the per-
ceived bass response of small radios.
Note that the HARD CLIP SHAPE control determines how squared-off the
clipped bass waveforms become. (See Clip Shape on page 3-44.)
• LLHARD differs in two ways from the normal HARD mode of the bass clipper:
• LLHARD automatically defeats the compressor lookahead. This action

is functionally equivalent to setting the LOOKAHEAD control to OUT,
except that it reduces input/output delay by 5 ms).
• LLHARD prevents the bass clipper from switching to MEDIUM mode

whenever speech is detected. By constraining the system in these
ways, it ensures that the delay is always 17 ms.
To minimize speech distortion, the speech/music detector automatically
switches the bass clipper to MEDIUM when speech is detected if the Five-
Band structure is active and the BASS CLIP MODE is set to HARD. (See “Loo-
kahead” on page 3-53 for more about the speech/music detector.) If the
bass clipper is set to LLHARD, the speech/music detector will reset the
clipper threshold to the setting specified by the SPEECHBCTHR control.
The default setting is “0 dB,” which results in very little bass clipper ac-
tion during speech. This prevents audible speech distortion that this clip-
per might otherwise introduce.
Switching the BASSCLIPMODE to LLHARD (from any other mode) removes
five milliseconds of delay from the signal path. Switching can cause audi-
ble clicks, pops, or thumps (due to waveform discontinuity) if it occurs
during program material. If you have some presets with LLHARD bass
clipper mode and some without, switching between these presets is likely
to cause clicks unless you do it during silence. However, these clicks will
never cause modulation to exceed 100%.
One of the essential differences between the HARD and LLHARD bass clip-
per modes is that switching between HARD and MED does not change de-
lay and is therefore less likely to cause audible clicks.
The HARD CLIP SHAPE control (in Advanced Control) offers further control
over the sound of the HARD and LLHARD modes. See page 3-44.
• MEDIUM uses more sophisticated signal processing than HARD to reduce distortion
substantially.
• SOFT uses the most sophisticated look-ahead signal processing to reduce distor-
tion further. Using SOFT adds an additional 18 ms of delay to the processing.
MEDIUM and SOFT are not available in Low Latency mode. The bass clip-
ping is always HARD, but the HARD CLIP SHAPE control is still available to
“soften” the clipping.
Speech Bass Clip set the threshold of the bass clipper when the 9400 detects the
presence of speech. It is usually set to “0” to prevent the bass clipper from adding
distortion on speech.
Clip Shape (“Bass Clip Shape”) allows you to change shape of the knee of the In-
put/Output gain curve of the bass clipper. The “knee” is the transition between no
clipping and flat topping. A setting of “0” provides the hardest knee. “10” is the
softest knee, where the transition starts 6 dB below BASS CLIP THRESHOLD setting and
occurs gradually. The factory default setting is “7.6.”
HF CLIP (“High Frequency Clipper Threshold”; AM chain only) sets the threshold of
the multiband clipper in band 5 with reference to the final clipper threshold, in dB.
This clipper helps prevent distortion in the final clipper when the input program ma-
terial contains excessive energy above 3 kHz.
The Band 5 multiband clipper operates at 256 kHz and is fully anti-aliased.
Final Clip (“Final Clip Drive”) adjusts the level of the audio driving the back-end
clipping system that OPTIMOD-AM uses to control fast peaks. This control primarily
determines the loudness / distortion trade-off.
Turning up the FINAL CLIP control drives the final clipper and overshoot compensator
harder, reducing the peak-to-average ratio, and increasing the loudness on the air.
When the amount of clipping is increased, the audible distortion caused by clipping
also increases. Although lower settings of the FINAL CLIP control reduce loudness,
they make the sound cleaner.
If the RELEASE control is set to its faster settings, the distortion produced by the
back-end clipping system will increase as the MULTIBAND DRIVE control is advanced.
The FINAL CLIP DRIVE and/or the MULTIBAND LIMIT THRESHOLD controls may have to be
turned down to compensate. To best understand how to make loudness / distortion
trade-offs, perhaps the wisest thing to do is to recall a factory preset and then to ad-
just the LESS-MORE control to several settings throughout its range. At each setting
of the LESS-MORE control, examine the settings of the MULTIBAND DRIVE and
MULTIBAND LIMIT THRESHOLD controls. This way, you can see how the factory pro-
grammers made the trade-offs between the settings of the various distortion-
determining controls at various levels of processing.
The 9400’s multiband clipping and distortion control system works to

help prevent audible distortion in the final clipper. As factory program-
mers, we prefer to adjust the FINAL CLIP control through a narrow range
(typically –0.5 dB to –2.0dB) and to determine almost all of the loudness /
distortion trade-off by the setting of the MULTIBAND LIMIT DRIVE and
MULTIBAND LIMIT THRESHOLD controls.
The final clipper operates at 256 kHz sample rate and is fully anti-aliased.
Overshoot Comp Drive sets the drive into the overshoot compensator with refer-
ence to the final clip threshold, in units of dB. The normal setting is “0 dB.”
The overshoot compensator can produce audible distortion on material

with strong high frequency content (like bell trees) and this control lets
you trade off this distortion against loudness. (Such material can cause
strong overshoots, forcing the overshoot compensator to work hard to
eliminate them.) We do not recommend operating this control above “0”
because this would reduce the effectiveness of the distortion cancellation
used in earlier processing. However, you can reduce it below “0” if you
value the last bit of high frequency cleanliness over loudness.
The overshoot compensator works at 256 kHz sample rate and is fully
anti-aliased.
Multiband Dynamics Processing

The AGC, and Stereo Enhancer controls are common to both the analog AM and
digital radio processing chains. Beyond the AGC, the processing chain splits into two
separate chains, each of which has its own equalizer section, five-band compressor,
and peak limiter.
Each chain can be adjusted separately. The equalization and five-band compressor
settings are likely to be quite different in the two chains. Except as noted, each con-
trol described in this section is duplicated so there is one control for the analog sec-
tion and one control for the HD AM section.
The crossover frequencies for the bands in the AM analog and HD AM chains are dif-
ferent. In the AM analog chain, the bottom four bands cover 50 – 3000 Hz, while
Band 5 covers 3 kHz to the top of the range set by the 9400’s lowpass filter. In the
HD AM chain, the bottom four bands cover 20 – 6,000 Hz and Band 5 covers 6 – 15
kHz. The analog AM chain therefore concentrates its “automatic re-equalization”
power in the 50 – 3,000 Hz audio bandpass of the typical analog AM radio, while
the HD AM chain covers the much wider bandwidth provided by HD AM.
The HD AM and Advanced Modify controls are accessible only from 9400
PC Remote software.
The tables below summarize the Multiband and Band Mix controls in the dynamics
sections for both analog AM and HD AM.
Multiband Controls and Distortion Controls

Full Name Advanced Name Range
MB DRIVE Multiband Drive 0 ... 25
MB REL Multiband Release Slow, Slow2, Med, Med2,
MFast, MFast2, Fast
MB GATE Multiband Gate Threshold Off, –44 ... –15 dB
MB LIM DR Multiband Limiter Drive –4.0 ... +5.0 dB
DWNEXP THR Downward Expander Off, –6.0 … 12.0 dB
--- B1/B2 XOVER 100 Hz, 200 Hz
MB LIM THR Multiband Limit Threshold –3.0 +6.0, Off
--- Maximum Distortion Control 0 … 18 dB
--- High Frequency Limiter Off, –23.8 ... 0.0 dB
LESS-MORE LESS-MORE Index [read-only]; 1.0 … 10.0
PARENT PRESET Parent Preset [read-only]
--- B1/B2 XOVER 100 Hz, 200 Hz
AGC METR --- Master, Delta
Table 3-7: Multiband and Distortion Controls

MB DRIVE (“Multiband Drive”) control adjusts the signal level going into the multi-
band compressor, and therefore determines the average amount of gain reduction
in the multiband compressor. Range is 25dB.
Adjust the MULTIBAND DRIVE control to your taste and format requirements. Used
lightly with slower multiband release times, the multiband compressor produces an
open, re-equalized sound. The multiband compressor can increase audio density
when operated at faster release times because it acts increasingly like a fast limiter
(not a compressor) as the release time is shortened. With faster release times, den-
sity also increases when you increase the drive level into the multiband compressor
because these faster release times produce more limiting. Increasing density can
make sounds seem louder, but can also result in an unattractive busier, flatter, or
denser sound. It is very important to be aware of the many negative subjective side
effects of excessive density when setting controls that affect the density of the proc-
essed sound.
The MULTIBAND DRIVE interacts with the MULTIBAND RELEASE setting. With slower re-
lease time settings, increasing the MULTIBAND DRIVE control scarcely affects density.
Instead, the primary danger is that excessive drive will cause noise to increase exces-
sively when the program material becomes quiet.
You can minimize this effect by carefully setting the MULTIBAND GATE THRESHOLD con-
MB Attack / Release / Threshold

B1 THR B1 Compression Threshold –16.0 … 0.0, Off
B5 THR B5 Compression Threshold –16.0 … +10.0, Off
--- B1 Attack 4.0 … 50.0 ms, Off
--- B2 Attack 4.0 … 50.0 ms, Off
--- B3 Attack 4.0 … 50.0 ms, Off
--- B4 Attack 4.0 … 50.0 ms, Off
--- B5 Attack 4.0 … 50.0 ms, Off
--- B1 Limiter Attack 0 … 100%
--- B1 Delta Release –6 … 6 [steps with respect to current
--- B2 Delta Release –6 … 6 MB Release setting]
--- B3 Delta Release –6 … 6
— B1MaxDeltGR 0 … 24 dB, Off
Lookahead Off, On, Auto
Table 3-8: MB Attack / Release Controls

trol to “freeze” the gain when the input gets quiet and/or by activating the single-
ended noise reduction.
When the release time of the multiband compressor is set to its faster settings, the
setting of the MULTIBAND DRIVE control becomes much more critical to sound quality
because density increases as the control is turned up. Listen carefully as you adjust it.
With these fast release times, there is a point beyond which increasing multiband
compressor drive will no longer yield more loudness, and will simply degrade the
punch and definition of the sound.
We recommend no more than 10 dB gain reduction as shown on the me-

ters for band 3. More than 10dB, particularly with the FAST release time,
will often create a “wall of sound” effect that many find fatiguing.
MB REL (“Multiband Release”) control can be switched to any one of seven settings.
Note that the subjective effect of these settings are different in analog AM and HD
listening. To minimize codec artifacts (by avoiding density build-up), it is wise to use
slower MB REL settings in the HD chain. Meanwhile, faster settings in the AM analog
chain will increase program density, helping overcome interference.
The Slow (SLOW and SLOW2) settings produce a very punchy, clean,
open sound that is ideal for Adult Contemporary, Soft Rock, Soft Urban,
New Age, and other adult-oriented formats whose success depends on
attracting and holding audiences for very long periods of time. The
SLOW and SLOW2 settings produce an unprocessed sound with a nice
sense of dynamic range. With these settings, the 9400 processing pro-
vides gentle automatic equalization to keep the frequency balance con-
sistent from record to record (especially those recorded in different eras).
And for background music formats, these settings ensure that your sound
doesn’t lose its highs and lows.
The Medium Slow settings (MED and MED2) are appropriate for more
adult-oriented formats that need a glossy show-business sound, yet
whose ratings depend on maintaining a longer time spent listening than
do conventional Contemporary Hit Radio (CHR) formats. With the single-
ended noise reduction activated, it is also appropriate for Talk and News
formats. This is the sound texture for the station that values a clean, easy-
to-listen-to sound with a tasteful amount of punch, presence, and
brightness added when appropriate. This is an unprocessed sound that
sounds just right on music and voice when listened to on small table ra-
dios, car radios, portables, or home hi-fi systems.
The Medium Fast settings (MFAST and MFAST2) are ideal for a highly
competitive Contemporary Hit Radio (CHR) format whose ratings depend
on attracting a large number of listeners (high “cume”) but which does
not assume that a listener will listen to the station for hours at a time.
This is the major market competitive sound, emphasizing loudness as well
as clean audio. The sound from cut to cut and announcer to announcer is
remarkably consistent as the texture of music is noticeably altered to a
standard. Bass has an ever-present punch, there is always a sense of pres-
ence, and highs are in perfect balance to the mids, no matter what was
on the original recording.
The Fast setting is used for the TALK and SPORTS factory programming
formats. Processing for this sound keeps the levels of announcers and
guests consistent, pulls low-grade telephone calls out of the mud, and
keeps a proper balance between voice and commercials. Voice is the most
difficult audio to process, but these settings result in a favorable trade-
off between consistency, presence, and distortion.
It is possible to experiment with this sound for music-oriented program-
ming as well. However, even with these settings, your sound is getting
farther away from the balance and texture of the input. We think that
this is as far as processing can go without causing unacceptable listener
fatigue. However, this sound may be quite useful for stations that are or-
dinarily heard very softly in the background because it improves intelligi-
bility under these quiet listening conditions. Stations that are ordinarily
played louder will probably prefer one of the slower release times, where
the multiband compressor takes more gain reduction and where the AGC
is operated slowly for gentle gain riding only. These slower sounds are
less consistent than those produced by the FAST setting. Using SLOW
preserves more of the source’s frequency balance, making the sound less
dense and fatiguing when the radio is played loudly.
Bx THR (“Band x Compression Threshold”) controls set the compression threshold in

each band, in units of dB below the final clipper threshold. For the analog AM chain,
we recommend making only small changes around the factory settings to avoid
changing the range over which the MB CLIPPING control operates. These controls
will affect the spectral balance of the processing above threshold, but are also risky
because they can strongly affect the amount of distortion produced by the back-end
clipping system.
MB GATE (“Multiband Gate Threshold”) control determines the lowest input level
that OPTIMOD-AM will recognize as program material. It interprets lower levels as
noise or background sounds and causes the multiband compressor to gate, effec-
Band Mix
B2>B1 CPL B2>B1 Coupling 0 ... 100 %
B3>B2 CPL B3>B2 Coupling 0 … 100 %
B1 OUT B1 Output Mix –6.0 … +6.0
--- B1 On / Off Band On, Band Off
Table 3-9: MB Band Mix Controls

tively freezing gain to prevent noise breathing.
There are three independent gating circuits in the 9400. The first affects the AGC
and the second affects the analog AM multiband compressor, and the third affects
the HD AM multiband compressor. Each has its own threshold control.
The multiband compressor gate causes the gain reduction in bands 2 and 3 of the
applicable multiband compressor to move quickly to the average gain reduction oc-
curring in those bands when the gate first turns on. This prevents obvious midrange
coloration under gated conditions, because bands 2 and 3 have the same gain.
The gate also independently freezes the gain of the two highest frequency bands
(forcing the gain of the highest frequency band to be identical to its lower
neighbor), and independently sets the gain of the lowest frequency band according
to the setting of the DJ BASS boost control (in the Equalization screen). Thus, with-
out introducing obvious coloration, the gating smoothly preserves the average
overall frequency response “tilt” of the multiband compressor, broadly maintaining
the “automatic equalization” curve it generates for a given piece of program mate-
rial.
Note: If the MB GATE THRESH (Gate Threshold) control is turned OFF, the
DJ BASS control (in the Equalization screen) is disabled.
MB LIM DR (“Multiband Limiter Drive”; analog AM chain only) sets the drive level
to the multiband distortion controlling processing that precedes the final clipping
section. The distortion-controlling section uses a combination of distortion-cancelled
clipping and look-ahead processing to anticipate and prevent excessive clipping dis-
tortion in the final clipper.
Like any other dynamics processing, the distortion-controlling section can produce
artifacts of its own when overdriven. These artifacts can include loss of definition,
smeared high frequencies, a sound similar to excessive compression, and, when op-
erated at extreme settings, audible intermodulation distortion. You can adjust the
MB LIM DR control to prevent such artifacts or to use them for coloration in “highly
processed” formats.
MB LIM THR (“Multiband Limit Threshold”; analog AM chain only) sets the thresh-
old of the clipping distortion controller (in dB) with reference to the threshold of
the final clipper.
A good compromise setting for this control is “0dB.” However, the loud-
est and most intense-sounding presets rely on considerable clipping to
achieve their loudness. For these presets, we found it necessary to set the
MB LIM THR control higher than “0” to permit more clipping depth. In
some cases, this results in substantially objectionable distortion artifacts
with isolated program material. However, this is the price to be paid for
this extreme level of on-air loudness.
Settings below “0 dB” will decrease audible clipping distortion. Such set-
tings may be appropriate when the multiband compressor is producing
high density via a fast release time and considerable gain reduction.
DwnExp Thr (“Downward Expander Threshold”) determines the level below which
the single-ended noise reduction system’s downward expander begins to decrease
system gain, and below which the high frequencies begin to become low-pass fil-
tered to reduce perceived noise. Activate the single-ended dynamic noise reduction
by setting the DWNEXP THR control to a setting other than OFF.
The single-ended noise reduction system combines a broadband down-

ward expander with a program-dependent low-pass filter. These func-
tions are achieved by introducing extra gain reduction in the multiband
compressor. You can see the effect of this extra gain reduction on the
gain reduction meters.
Ordinarily, the gating on the AGC and multiband limiter will prevent ob-
jectionable build-up of noise and you will want to use the single-ended
noise reduction only on unusually noisy program material. Modern com-
mercial recordings will almost never need it. Its main use is in talk-
oriented programming, including sports.
Please note that it is impossible to design such a system to handle all
program material without audible side effects. You will get best results if
you set the DWNEXP THR control of the noise reduction system to com-
plement the program material you are processing. The DWNEXP THR
should be set higher when the input is noisy and lower when the input is
relatively quiet. The best way to adjust the DWNEXP THR control is to start
with the control set very high. Reduce the control setting while watching
the gain reduction meters. Eventually, you will see the gain increase in
sync with the program. Go further until you begin to hear noise modula-
tion — a puffing or breathing sound (the input noise) in sync with the
input program material. Set the DWNEXP THR control higher until you can
no longer hear the noise modulation. This is the best setting.
Obviously, the correct setting will be different for a sporting event than
for classical music. It may be wise to define several presets with different
settings of the DWNEXP THR control, and to recall the preset that com-
plements the program material of the moment.
Note also that it is virtually impossible to achieve undetectable dynamic
noise reduction of program material that is extremely noisy to begin
with, because the program never masks the noise. It is probably wiser to
defeat the dynamic noise reduction with this sort of material (traffic re-
ports from helicopters and the like) to avoid objectionable side effects.
You must let your ears guide you.
B3>B4 CPL (“Band 3>4 Coupling”) control determines the extent to which the gains
of bands 4 (centered at 3.7 kHz) and 5 (above 3.0 kHz) are determined by and fol-
lows the gain of band 3 (centered at 1 kHz). Set towards 100% (fully coupled) this
control reduces the amount of dynamic upper midrange boost, preventing unnatu-
ral upper midrange boost in light pop and instrumental formats. The gain of band 5
is further affected by the B4>B5 CPL control.
B4>B5 CPL (“Band 4>5 Coupling”) controls the extent to which the gain of band 5 is
determined by and follows the gain of band 4.
The B4>B5 CPL CONTROL determines the gain reduction in band 5. The
B4>B5 CPL control receives the independent left and right band 4 gain
control signals; this feed is unaffected by the band 4 MAX DELTA G / R con-
trol. Range is 0 to 100% coupling.
In the AM analog chain, the B5 compressor is useful mainly as a de-esser.
Used with substantial amounts of B4>B5 coupling and a fast release time,
it can quickly add additional gain reduction as necessary to prevent clip-
ping distortion on “esses.” In the HD chain, the B5 compressor is useful
both as a de-esser and as a means to prevent excessive high frequency
energy from being applied to a low bit rate codec, minimizing HF codec
artifacts.
B3>B2 CPL and B2>B3 CPL controls determine the extent to which the gains of
bands 2 and 3 track each other.
When combined with the other coupling controls, these controls can adjust the mul-
tiband processing to be anything from fully independent operation to quasi-
wideband processing.
B2>B1 CPL control determines the extent to which the gain of band 1 (below 100Hz
or 200Hz, depending on crossover setting) is determined by and follows the gain of
band 2 (centered at 400Hz). Set towards 100% (fully coupled) it reduces the amount
of dynamic bass boost, preventing unnatural bass boost in light pop and talk for-
mats. Set towards 0% (independent), it permits frequencies below 100Hz (the
“slam” region) to have maximum impact in modern rock, urban, dance, rap, and
other music where bass punch is crucial.
Bx Out (“Band x Output Mix”) controls determine the relative balance of the bands
in the multiband compressor. Because these controls mix after the band compres-
sors, they do not affect the compressors’ gain reductions and can be used as a
graphic equalizer to fine-tune the spectral balance of the program material.
Their range has been purposely limited because the only gain control element after
these controls is the back-end clipping system (including the multiband clipper / dis-
tortion controller), which can produce considerable audible distortion if overdriven.
The thresholds of the individual compressors have been carefully tuned to prevent
audible distortion with almost any program material. Large changes in the fre-
quency balance of the compressor outputs will change this tuning, leaving the 9400
more vulnerable to unexpected audible distortion with certain program material.
Therefore, you should make large changes in EQ with the bass and parametric
equalizers and the HF enhancer, because these are located before the compressors.
The compressors will therefore protect the system from unusual overloads caused by
the chosen equalization. Use the multiband mix controls only for fine-tuning.
You can also get a similar effect by adjusting the compression threshold of the indi-
vidual bands. This is comparably risky with reference to clipper overload, but unlike
the MB BAND MIX controls, does not affect the frequency response when a given band
is below threshold and is thus producing no gain reduction.
Advanced Multiband Controls

The following Advanced Multiband controls are available only from 9400 PC Remote
software.
Bx On / Off switches allow you to listen to any band (or any combination of bands)
independently. This is a feature designed for intermediate or advanced users and
developers when they are creating new 9400 presets.
Please note that a single band will interact with the back-end clipping system quite
differently than will that band when combined with all of the other bands. There-
fore, do not assume that you can tune each band independently and have it sound
the same when the clipping system is processing all bands simultaneously.
B1-B5 Attack (Time) controls set the speed with which the gain reduction in each
band responds to level changes at the input to a given band’s compressor. These
controls, which have never previously been available in an Orban processor, are risky
and difficult to adjust appropriately. They affect the sound of the processor in many
subtle ways. The main trade-off is “punch” (achieved with slower attack times) ver-
sus distortion and/or pumping produced in the clipping system (because slower at-
tack times increase overshoots that must be eliminated in the clipping system). The
results are strongly program-dependent, and must be verified with listening tests to
a wide variety of program material.
The ATTACK time controls are calibrated in arbitrary units. Higher numbers corre-
spond to slower attacks.
In the analog AM channel, the look-ahead delay times in bands 3, 4, and 5 auto-
matically track the setting of the ATTACK time controls to minimize overshoot for any
attack time setting.
High Frequency Limiter (AM chain only) sets the amount of additional gain reduc-
tion occurring in band 5 when high frequency energy would otherwise cause exces-
sive distortion in the final clipper. It uses an analysis of the activity in the final clipper
to make this determination, and works in close cooperation with the band-5 multi-
band clipper. Functionally, this control is a mix control that adds a HF limiter gain re-
duction signal to the band 4 gain reduction signal to determine the total gain re-
duction in band 5. Higher settings produce more HF limiting. A setting of “–18” pro-
vides a good trade-off between brightness and distortion at high frequencies.
Limiter Attack controls allow you to set the limiter attack anywhere from 0 to
100% of normal in the Five-Band compressor / limiters. Because the limiter and com-
pressor characteristics interact, you will usually get best audible results when you set
these controls in the range of 70% to 100%. Below 70%, you will usually hear
pumping because the compressor function is trying to generate some of the gain
reduction that the faster limiting function would have otherwise produced. If you
hear pumping in a band and you still wish to adjust the limiter attack to a low set-
ting, you can sometimes ameliorate or eliminate the pumping by slowing down the
compressor attack time in that band.
Delta Release controls are differential controls. They allow you to vary the release
time in any band of the Five-Band compressor/limiter by setting an offset between
the MULTIBAND RELEASE setting and the actual release time you achieve in a given
band. For example, if you set the MULTIBAND RELEASE control to medium-fast and the
BAND 3 DELTA GR control to –2, then the band 3 release time will be the same as if
you had set the MULTIBAND RELEASE control to medium and set the BAND 3 DELTA GR
control to 0. Thus, your settings automatically track any changes you make in the
MULTIBAND RELEASE control. In our example, the release time in band 3 will always be
two “click stops” slower than the setting of the MULTIBAND RELEASE control.
If your setting of a given DELTA RELEASE control would otherwise create a release
slower than “slow” or faster than “fast” (the two end-stops of the MULTIBAND
RELEASE control), the band in question will instead set its release time at the appro-
priate end-stop.
This control is particularly useful in B5, allowing B5 to function as a fast de-esser

while the other bands use slower release times.
Band 1-5 MaxDeltGR See page 3-59.
B1/B2 Xover (Band 1 to Band 2 Crossover Frequency) sets the crossover frequency
between bands 1 and 2 to either 100 Hz or 200 Hz. It affects the bass texture signifi-
cantly, and the best way to understand the differences between the two crossover
frequencies is to listen.
Lookahead activates or defeats the look-ahead functionality in the AM multiband

compressor/limiter. Defeating look-ahead improves transient impact at the expense
of distortion, particularly on speech. To mitigate this tradeoff, a selectable “auto”
mode turns look-ahead on for speech material and off for music, using an automatic
speech/music detector. Switching is seamless and click-free because we change the
delay in the compressor control sidechains; this is not a way to reduce the 9400’s
throughput delay.
Choices are LOOKAHEAD IN, OUT, and AUTO.
Speech is detected if (1) the input is mono, and (2) there are syllabic
pauses at least once every 1.5 seconds. Speech with a stereo music back-
ground will usually be detected as “music,” or the detector may switch
back and forth randomly if the stereo content is right at the stereo /
mono detector’s threshold. Mono music with a “speech-like” envelope
may be incorrectly detected as “speech.” Music incorrectly detected as
“speech” will exhibit a slight loss of loudness and punch, but misdetec-
tion will never cause objectionable distortion on music.
Speech that is not located in the center of the stereo sound field will al-
ways be detected as “music” because the detector always identifies ste-
reo material as “music.” This can increase clipping distortion on such
speech.
Because the speech detector uses information about the stereo sound
field to help make its detection more accurate, it is important to feed the
9400 with stereo source material even if it is only being used to drive a
monophonic AM analog transmitter.
If the BASS CLIP MODE is set to HARD, the speech/music detector will auto-
matically set it to MEDIUM when speech is detected and HARD otherwise
(unless LATENCY is LOW, in which case MEDIUM bass clipping is unavailable
and bass clipping will stay HARD).
Speech always sounds cleaner with MEDIUM bass clipping and the in-
creased bass “punch” supplied by HARD is irrelevant to speech.
This control does not affect the digital radio processing chain.
Test Modes
Setup: Test
Parameter Units Default Range (CCW to CW) Step
Labels
MODE --- Operate Operate, Bypass, Sine, Square, ---
Triangle
BYPASS GAIN dB 0.0 −18 … +25 1
SINE FREQ Hz 400 16, 20, 25, 31.5, 40, 50, LOG
63, 80, 100, 125, 160,
200, 250, 315, 400, 500,
630, 800, 1000, 1250, 1600, 2000,
2500, 3150, 4000, 5000,
6300, 8000, 9500, 10000, 12500,
13586.76, 15000
SQUARE FREQ Hz 400 16, 20, 25, 31.5, 40, 50, LOG
63, 80, 100, 125, 160,
200, 250, 315, 400, 500,
630, 800, 1000
TRI FREQ Hz 100 Fixed at 100 Hz
SINE/TRINGL MOD % 100 0 … 121 1
SQUARE MOD % 30 0 … 50 1
TONE CHAN --- L+R L+R, L−R, LEFT; RIGHT ---
Table 3-10: Test Modes

The Test Modes screen allows you to switch between OPERATE, BYPASS, and SINE,
SQUARE, or TRIANGLE. When you switch to BYPASS or any tone mode (sine wave,
square wave, or triangle wave), the preset you have on air is saved and will be re-
stored when you switch back to OPERATE.
The upper frequency of the sine and square waves is limited to 1 kHz to ensure that
their waveforms look correct while respecting the system’s intrinsic band limiting
caused by its digital, sample-data nature. The square wave’s maximum modulation
level is limited to 50% to protect transmitters.
Table 3-10: Test Modes (above) shows the facilities available, which should be self-
explanatory.
About the 9400’s Digital Radio Processing
The 9400 digital radio (HD AM) processing is designed to feed streaming, netcasting,
and digital radio channels. It is suitable for both the iBiquity® AM HD Radio system
(formerly known as “IBOC” — “In-Band On-Channel”) approved for use in the
United States and the Digital Radio Mondiale system, used in much of the rest of the
world.
The digital radio firmware implements a high-quality signal processing chain that
includes stereo equalization, five-band compression, and look-ahead limiting. Audio
bandwidth is 15 kHz, as per the iBiquity® HD AM system specification.
The digital radio processing shares the stereo enhancer and AGC with the
processing for the analog AM transmission.
The five-band limiter in the digital radio processing chain has its own set of user-
adjustable parameters that are independent of the parameters of the five-band lim-
iter in the AM analog transmission chain. This allows you to optimize the digital ra-
dio processing for the higher fidelity sound provided by the digital channel while
giving you the flexibility to process the analog channel as aggressively as you want.
The five-band limiter in the digital radio processing chain has its own set of output
mix controls, which provides further setup versatility — there is no need to compro-
mise the processing on the digital radio processing chain to accommodate the needs
of the analog channel.
An advanced-design look-ahead limiter that operates controls the peak level of the
digital radio output. This look-ahead limiter is optimized to make the most of the
limited bit-rate codec (HDC at 36 kbps) used in the AM High Definition Radio sys-
tem’s digital channel. By eschewing any clipping, the digital-channel output pre-
vents the codec from wasting precious bits encoding clipping distortion products,
instead allowing the codec to use its entire bit budget to encode the desired pro-
gram material.
The digital radio output is designed to feed digital channels having no pre-
emphasis, which include almost all such channels. The only high-quality digital
channels using pre-emphasis of which we are aware are NICAM channels (which use
J.17 pre-emphasis) and some older CDs (which use EIAJ — 50µs/15µs shelving pre-
emphasis). If you use the digital radio output to feed a digital channel with pre-
emphasis, you must allow extra headroom to compensate for the unpredictable
peak level changes that the pre-emphasis induces.
If the digital radio output is driving a channel without pre-emphasis, it will control
peak levels with an uncertainty of less than 1 dB. However, you may want to allow
headroom to compensate for data reduction-induced peak overshoots at the re-
ceiver, which might otherwise cause clipping. In our experience, 2 dB of headroom is
typically adequate.
All of the 9400’s digital and analog outputs can be switched independently to emit
either the digital radio processed signal or the analog-processed signal.
Delay Difference between Digital-Channel and AM Outputs

In order to make the receiver analog/digital cross-fade without comb filtering, the
time delays in the HD Radio’s analog and digital channels must have a fixed and
predictable offset, correctly implementing the HD Radio receiver’s “time diversity”
processing. The 9400’s digital radio output’s delay is automatically adjusted so that it
always exactly 5.778 ms longer than the AM output’s delay, regardless of the AM
output’s delay (which can vary depending on processing settings). Therefore, the HD
Radio exciter should be set to compensate for this 5.778 ms offset between the AM
output and digital radio output. Once you have done this, the time diversity delay
will always be correct even if you choose a different 9400 preset.
Digital Radio I/O Setup Controls

Monitoring
Meter Sel determines whether the multimeters (the rightmost pair of meters) show
the instantaneous peak output of the processed audio in units of percentage modu-
lation or the gain reduction of the look-ahead limiter in the digital channel, in units
of dB.
These meters can be switched to read the left/right digital processing chain output
signal, the gain reductions of the left and right look-ahead limiters in the digital
processing chain, or the analog processing chain output signal. In the latter case, the
right-hand meter reads negative peaks of the higher of the two stereo channels and
the left-hand meter reads the higher of the positive peaks.
This switch applies only to the 9400’s front panel meters. 9400 PC Remote
displays all meters simultaneously.
The digital radio look-ahead limiter is not stereo-coupled. This prevents
limiting on one channel from causing audible modulation effects on the
other channel.
Analog Outputs
Out Source determines if its associated analog stereo output pair (Analog Output 1
or 2) receives the analog-AM-processed signal, the signal before the digital-channel
look-ahead limiter, or the final post-limiter digital-channel signal. The pre-limiter
Section Label Control Name Values

Monitoring Meter Sel AMOutLevel/HDOutLevel/HD GR
Analog Outputs Out Source AM /HD/Monitor
Out Level –6… +20 dBu
Digital Outputs Out Level 0… –20 dBFS; 0.1 dB steps
Samp Rate 32kHz/44.1kHz/48/88.2/96 kHz
Word Leng 14/16/18/20/24 bits
Dither In/Out
Sync Internal/Sync In
Format AES/SPDIF
Stereo/Mono Mode St./Mono Stereo/MonoL/MonoR/MonoL+R
Table 3-11: Digital Radio I/O Setup Controls

signal has low delay and is suitable for driving talent headphones.
Out Level determines the peak output level (in dBu) of its associated analog out-
put.
Digital Outputs
Out Source determines if its associated AES3 digital output (Digital Output 1 or 2)
receives the analog-AM-processed signal, the signal before the digital-channel look-
ahead limiter, or the final post-limiter digital-channel signal. The pre-limiter signal
has low delay and is suitable for driving talent headphones.
Out Level sets the level of its associated digital-channel output with respect to digi-
tal full scale.
Samp Rate sets the output sample rate of a given AES3 output.
The 9400’s fundamental sample rate is always 32 kHz, but the internal sample rate
converter sets the rate at the 9400’s AES3 outputs. This adjustment allows you to en-
sure compatibility with downstream equipment requiring a fixed sample rate.
Word Leng sets the word length (in bits) emitted from a given AES3 output.
The largest valid word length in the 9400 is 24 bits. The 9400 can also truncate its
output word length to 20, 18, 16, or 14 bits. Moreover, the 9400 can add dither. You
should set it to do so if the input material is insufficiently dithered for these lower
word lengths.
Dither turns on or off addition of “high-pass” dither before any truncation of the
output word before a given AES3 output. It is usually appropriate to add dither be-
cause doing so will minimize distortion at low signal levels.
The amount of dither automatically tracks the setting of the WORD LENG
control. This first-order noise shaped dither considerably reduces added
noise in the midrange by comparison to white PDF dither. However,
unlike extreme noise shaping, it adds a maximum of 3 dB of excess total
noise power when compared to white PDF dither. Thus, it is a good com-
promise between white PDF dither and extreme noise shaping.
Sync determines if the sample rate appearing at a given AES3 output is synced to
the 9400’s internal clock or to a signal appearing at its digital input.
If there is no sync signal detected at the digital input, the AES3 output will always
sync to the 9400’s internal clock.
Format determines if a given AES3 output format follows the professional AES3 or
consumer SPDIF standard.
We expect that AES will be appropriate for almost all users, but some consumer
sound cards may require SPDIF.
Stereo/Mono Mode
St./Mono (“HD Output Stereo/Mono Mode”) determines if the digital-channel
processing will be fed by the normal stereo output of the Stereo Enhancer / AGC
front end or by a mono feed taken from the front end’s left channel, right channel,
or sum of left and right channels. In all mono modes, an identical signal appears on
both the left and right channels of any output configured to emit the digital radio
processed signal.
The 9400 does not set the AES3 stereo/mono status bits to reflect the setting of this
control. The AES3 status bits appearing at the digital radio output are always set
“stereo” even when the two audio channels carry identical mono signals.
Digital Radio Operating Controls

The tables below summarize the controls exclusive to the digital radio processing
chain. Note that many of these controls share the same names as controls in the
analog AM processing chain. The digital radio controls are located on the HD AM
tabs in the 9400 PC Remote application.
The AGC and Stereo Enhancer controls are common to both the analog AM and
digital radio processing chains and are discussed in their own sections above.
Multiband Drive (See page 3-46.)
Multiband Release (See page 3-47.)
Multiband Gate Thresh (Threshold) (See page 3-48.)
Multiband Controls
Intermed. Name Advanced Name Range
--- HD Multiband Drive 0 ... 25
--- (see MB Attack/Rel screen) Slow, Slow2, Med, Med2, MFast,
MFast2, Fast
--- HD Gate Thres Off, –44 ... –15 dB
--- HD Down Expand Off, –6.0 … 12.0 dB
--- (see Band Mix screen) 0 ... 100 %
--- (see Band Mix screen) 0 … 100 %
--- HD B1 Compression Threshold –16.00 … 0.00, Off
--- HD B5 Compression Threshold –16.00 … +10.00, Off
--- HD B1/B2 Xover 100. 200 Hz
Table 3-12: Digital Radio Multiband Controls

Multiband Downward Expander Threshold (See page 3-50.)
Band Coupling Controls (See page 3-50.)
Multiband Band Mix (See page 3-51.) Note that the digital radio band mix controls
are independent of the analog AM band mix controls and can be used to create an
entirely different sound coloration.
Bx On / Off (see page 3-52).
Bx THR (“Band x Compression Threshold”) controls set the compression threshold in

each band, in units of dB below the final clipper threshold. We recommend making
small changes around the factory settings to avoid changing the range over which
the HD LOOK-AHEAD LIMITER DRIVE control operates. These controls will affect the
spectral balance of the processing above threshold, but are also risky because they
can affect the amount of distortion produced by the look-ahead limiter.
B1-B5 Attack (Time) (See page 3-52).
B1/B2 Xover (Band 1 to Band 2 Crossover Frequency; see page 3-53).
Band 1-5 MaxDeltGR controls set the maximum permitted gain difference be-
tween the left and right channels for each band in the multiband limiter. The 9400
digital radio processing chain uses a full dual-mono architecture, so the channels can
be operated anywhere from fully coupled to independent. We recommend operat-
ing band 1-4 fully coupled (BAND 1-4 MAXDELTGR = 0) for best stereo image stability.
However, audio-processing experts may want to experiment with lesser amounts of
Band Mix
Intermediate Name Advanced Name Range
--- HD B1 Out Mix –6.0 … +6.0
--- HD B2 Out Mix –6.0 … +6.0
--- HD B3 Out Mix –6.0 … +6.0
--- HD B4 Out Mix –6.0 … +6.0
--- HD B5 Out Mix –6.0 … +6.0
--- HD Band 1 On/Off On, Off
--- HD B1MaxDeltGR 0 … 24 dB, Off
--- HD B2>B1 Couple 0 ... 100 %
--- HD B2>B3 Couple 0 ... 100 %
--- HD B3>B2 Couple 0 …100 %
--- HD B3>B4 Couple 0 ... 100 %
Table 3-13: Digital Radio Band Mix Controls

coupling to achieve a wider, “fatter” stereo image at the cost of some image insta-
bility.
The Band 5 compressor/limiter is mainly useful as a de-esser and to prevent high fre-
quency artifacts when driving low bit rate codecs like the 36 kbps HDC codec used in
the HD AM system. To use the Band 5 compressor/limiter as a de-esser, set the B5
MAXDELTGR to OFF (to allow the channels to be de-essed independently), set the B5
DELTA RELEASE control to +6 (to achieve the fastest possible release), and set the
B4>B5 COUPLING control to 100% (to prevent high frequency energy from building
up excessively).
B5 MAXDELTGR is set OFF most factory presets. This permits band 5 to be used as a
fast-operating de-esser or high frequency limiter that works independently on the
left and right channels. This prevents gain reduction in one channel from causing
audible spectral modulation on the other channel. However, the additional stereo
difference channel energy created by independent operation can adversely affect
certain low bitrate codecs (like WMA). It is wise to do careful listening tests through
the codec to determine if it sounds better with B5 MAXDELTGR = 0 dB or B5
MAXDELTGR = OFF.
Limiter Attack (See page 3-52).
Delta Release (See page 3-52.
HD Limiter Dr sets the drive level to the digital radio look-ahead limiter, determin-
ing the amount of gain reduction that the limiter produces.
The factory default is +4.
There is no need to over-process the digital channel. HD “loudness wars” will not
only reduce quality but will also cause unbalanced, obtrusive crossfades between
the analog and digital channels in the radio. To brand your station’s sound, you can
choose the precise coloration you want on the digital channel. You can still take ad-
vantage of all of the artistic choices implicit in equalization and multiband compres-
sion/limiting settings. Yet you do not need to use excessive peak limiting, which can
only reduce quality, particularly with the very low bit rate codecs used in the HD AM
and DRM channels.
Using the 9400 PC Remote Control Software
9400 PC Remote control software allows you to access any front-panel 9400 control.
In addition, you can access all of the Advanced Modify controls that are unavailable
from the 9400’s front panel. The software also gives you the ability to backup user
presets, system files, and automation files on your computer’s storage devices (hard
drives, floppy drives, etc.) and to restore them later to your 9400.
The 9400 PC Remote software can connect to your 9400 via modem, direct serial ca-
ble connection, or Ethernet network. It communicates with your 9400 via the TCP/IP
protocol, regardless of how it is connected to your 9400.
PC Remote works best on displays of 1024x768 pixels or higher. Scroll

bars will appear when using lower resolutions.
Before running 9400 PC Remote, you must have installed the appropriate Windows
communications services on your computer. By default, the installer installs a short-
cut to 9400_PC.exe on your desktop and in your Start Menu under Orban\Optimod
9400.
9400 PC Remote can control only one 9400 at a time, but it can readily switch be-
tween several 9400s. 9400 PC Remote has a built-in “address book” that allows it to
select and connect to:
• any 9400 on the same network as the PC,
• a 9400 that can be accessed through a modem connected to the PC via dial-up
networking, and,
• a 9400 that is connected directly to the PC’s serial port.
Before your PC can communicate with a given 9400, you must first set up a “connec-
tion,” which is information that allows PC Remote to locate and communicate with
the 9400.
To set up a new connection:

A) Launch 9400_PC.exe.
B) Create a new 9400 connection by choosing NEW 9400 from the CONNECT file
menu or by right-clicking on the ALL CONNECTIONS icon in the Connections List
and selecting NEW 9400.
The Connection Properties dialog box opens.
C) Enter an Alias name for your 9400 (like “KABC”).
D) Leave the password field blank to prompt the user to enter a password when
initiating a connection.
Refer to Security And Passcode Programming on page 2-42.
Otherwise, enter a password to allow PC Remote to connect to your 9400

without requiring a password when the connection is initiated.
To initiate a successful connection, a password must have already been
entered into your 9400 unit.
E) If you are communicating with your 9400 through a network, select the
Ethernet radio button and enter the appropriate IP address, subnet mask,
port, and gateway data. Note that these values must agree with the values
that you set in your 9400 (see step 1 on page 2-46). See also Setting Up
Ethernet, LAN, and VPN Connections on page 2-53.
If you are communicating via a direct serial cable connection or a modem
connection, follow the appropriate procedure described in Appendix:
Setting up Serial Communications, starting on page 2-59.
F) Click OK after entering all required information.
To initiate communication:
Initiate communication by double-
clicking on the desired 9400 alias in the
Connections List, or by selecting the de-
sired 9400 alias from the CONNECT drop
down menu.
If the connection is successful, a dialog
bubble will appear on the bottom right
hand corner of the screen verifying your
connection.
• If a warning message appears stating: “No password is set at the 9400…”

go to your 9400 unit and enter a passcode.
• If an Enter Passcode dialog box appears, enter a valid passcode and the
9400 PC Remote software will initiate a connection to the 9400 unit.
A window will appear saying, “Connecting to the 9400, please wait.” A few mo-
ments later, a new message will appear: “Updating local files.”
When run, the Orban PC Remote software installer makes copies of all 9400 fac-
tory preset files on your local hard drive. The PC Remote software reads these
files to speed up its initialization. If any of these files have been deleted or dam-
aged, the PC Remote software will refresh them by downloading them from the
9400. If the PC Remote software needs to do this, it can substantially increase the
time required for the software to initialize, particularly through a slow modem
connection.
When this download is finished, the main meters will appear.
A wheel mouse is the quickest and easiest interface to use — you will rarely (if
ever) have to use the keyboard.
The help box at the bottom of the screen always presents a short help message
for the function you have selected.
To modify a control setting:

A) Choose PROCESSING PARAMETERS from the EDIT menu.
B) Select menu tabs for LESS-MORE, Stereo Enhancer, and EQ to access Basic
Modify controls. All other menu tabs contain Full or Advanced Modify con-
trols.
You can reset any Basic Modify Control without losing LESS-MORE func-
tionality; Full and Advanced modify control adjustments will cause LESS-
MORE to be grayed-out.
To set a control, click it (it will become highlighted) and then adjust it by
dragging it with the mouse or moving the wheel on the mouse.
You can also use the + and – keys on the numeric keypad to adjust any
control.
To recall a preset:
A) Choose RECALL PRESET from the FILE menu to bring up the OPEN PRESET FILE
dialog box.
B) Click the desired preset within the dialog box to select it.
C) Double-click the desired preset or select it and click the RECALL PRESET button
to put it on-air.
Continually clicking the RECALL PRESET button will toggle between the
current and previous on-air presets.
D) Click DONE to dismiss the OPEN PRESET FILE dialog box.

The folder on your hard drive containing the preset files (both Factory
and User) is automatically synchronized to the contents of its associated
9400’s memory each time 9400 PC Remote connects to that 9400. The
9400’s memory is the “master.” This means that if you delete a user pre-
set from the 9400’s memory (whether locally via its front panel or via
9400 PC Remote), 9400 PC Remote will automatically erase this preset
from this folder on your computer. To archive a preset permanently, you
must use the Backup function (see page 3- 64).
To import an HD preset:
A) Choose IMPORT HD CONTROLS from the FILE menu to bring up the IMPORT HD
CONTROLS dialog box.
B) With the mouse, highlight the desired HD preset.
C) Click IMPORT.
To save a user preset you have created:

A) Select SAVE PRESET AS from the FILE menu to bring up the SAVE AS Dialog Box.
The current preset name will appear in the File Name field.
B) Click in the field, and edit it.
C) Click SAVE to save the preset to the 9400 as a User Preset.
If you have made edits to a previously existing user preset, you can select
SAVE PRESET from the FILE menu to overwrite the pre-existing user preset
automatically.
To back up User Presets, system files, and automation files onto

your computer’s hard drive:
A) Select BACKUP TO PC from the FILE Menu.
B) Click OK.
PC Remote will offer three options:
• Save User Presets, system files, and automation in plain text.
This allows the presets and files to be read with any text editor program
and to be readily exchanged between Optimod users.
• Save User Presets, system files, and automation files using the session pass-
code to encrypt them.
• Save User Presets, system files, and automation files using the password of
your choice to encrypt them.
The encryption options prevent archived presets, system files, and auto-
mation files from being restored if the user does not have the password
used for the encryption. There is no “back door” — Orban cannot help
you to decrypt a preset whose password is unknown.
All User Preset, system, and automation files are copied from your Opti-
mod’s internal memory to a folder called “backup” on your PC. This
folder is a subfolder of the folder named the same as the alias of the Op-
timod that you are backing up.
This folder name (“backup”) and location are hard-coded into the soft-
ware. If you wish to move the backup files somewhere else later, use a
file manager (like Explorer) on your computer.
To make more than one backup archive, rename the current backup
folder (for example, to “Backup1”). 9400 PC Remote will create a new
backup folder the next time you do a backup, leaving your renamed
backup folder untouched. Later, you will be able to restore from any
folder — the Restore dialog box allows you to choose the folder contain-
ing the files to be restored
If you attempt to back up a preset with the same name as a preset exist-
ing in the Backup folder, but with a different date, 9400 PC Remote will
warn you and will allow you to overwrite the preset in the Backup folder
or to cancel the operation. If you wish to keep the existing archived pre-
set, you can first use a file manager to move the existing user preset in
the Backup folder to another folder and then repeat the backup opera-
tion.
To restore archived presets, system files, and automation files:

In addition to restoring an archived preset to its original Optimod, you can also
copy archived presets from one Optimod to another. The Optimod whose con-
nection is active will receive the preset.
If the preset, system file, or automation file was encrypted when it was originally
saved, PC Remote will request the password under which it was encrypted.
All User Presets are compatible with all 9400 software versions. If Orban
adds new controls to a software version, the new software will assign a
reasonable default value to any control missing in an old User Preset. If
you archive such a User Preset after restoring it, the newly written ar-
chive file will now include the new controls (with the default values,
unless you edit any of these values before you re-archive the preset).
A) Select RESTORE FROM PC from the FILE menu.

A standard Windows dialog box will open.
B) Select the type of files you want to restore using the FILES OF TYPE field at
the bottom of the dialog box.
You can select to restore all 9400 user presets (*.orb94user), system files
(*.orb94setup), and automation files (*.orb94autom).
If you want to restore files from a different directory (i.e., that might
have been created on a different 9400), navigate to that directory from
within the dialog box.
C) To restore a single user preset:
a) Set the FILES OF TYPE field to a user preset file type (*.orb94user, *.orbu).
b) Select the desired preset in the dialog box.
c) Click the RESTORE button.
D) To restore all the user presets from a specific location:
a) Set the FILES OF TYPE field to a user preset file type (*.orb94user, *.orbu)
b) Highlight all the user presets in the dialog window
E) To restore a system file:
a) Set the FILES OF TYPE field to the System Setup file type (*.orb94setup).
b) Select the desired system file in the dialog box.
F) To restore an automation file:
a) Set the FILES OF TYPE field to the Automation file type (*.orb94autom)
b) Select the desired automation file in the dialog box
G) Click DONE to dismiss the RESTORE dialog box.
To share an archived User Preset between 9400s:
A) Navigate to the directory containing the desired User Preset from within the
RESTORE FROM PC dialog box
B) Click the RESTORE button.
This User Preset will be downloaded to the 9400 to which 9400 PC Re-
mote is currently connected.
If the User Preset is encrypted, PC Remote will request its password.
To modify INPUT/OUTPUT and SYSTEM SETUP:

Choose SETUP from the TOOLS menu.
To set a control, click it (it will become highlighted) and then use the wheel on
the mouse to adjust it. You can also use the + and – keys on the numeric keypad
to adjust any control.
To modify AUTOMATION:
C) Choose AUTOMATION from the TOOLS menu.
An Automation Dialog box will open.
D) Click the NEW EVENT to create a new event.
Controls to set the event type and time are available on the right hand
side of the dialog box.
E) Check the ENABLE AUTOMATION check box at the top of the dialog box to en-
able automation.
To group multiple 9400s:

Right-click ALL CONNECTIONS in the Connections List and select NEW GROUP.
You can add multiple 9400s to a single group to help organize a network
of 9400s. However, only one 9400 from within a group can be connected
to 9400 PC Remote at any one time.
Navigation Using the Keyboard

In general, PC Remote uses standard Windows conventions for navigation.
Navigate around the screens using the TAB key. Use CTRL-TAB to move to the next
tabbed screen in PC Remote.
Use the Ç,È,Å, and Æ keys on the numeric keypad to adjust control settings.
To Quit the Program

Use standard Windows conventions: Press ALT-F4 on the keyboard, or click the X on
the upper right corner with the mouse.
About Aliases created by Optimod 9400 PC Remote Software

When you ADD A NEW 9400 using Optimod 9400 PC Remote, your 9400 is automati-
cally given a 9400 Alias name to differentiate it from other 9400s. You can change
the name anytime in the 9400 Properties window inside 9400 PC Remote.
When you add a new 9400 or change the name of an existing 9400 Alias, an Alias
folder is created in the same location as the executable for Optimod 9400 PC Re-
mote (usually \Program Files\Orban\Optimod 9400). The folder has the same name as
the Alias name. Once you establish the initial connection to the 9400, all presets for
that 9400 are automatically copied to the Alias folder; thus, the folder contains all
the preset files for that 9400, both Factory and User. If you have backed up the 9400
using 9400 PC Remote, there will also be a “backup” subfolder located within the
Alias folder.
Archived user preset files are text files and can be opened in a text editor
(like Notepad) if you want to examine their contents.
Alias folders and their associated backup subfolders are registered in your PC’s Reg-
istry. This prevents folders from being accidentally deleted or moved. If you move or
delete Alias folders from the PC, the Alias folders recreate themselves in the previ-
ous location and restore their contents by copying it from their associated 9400s
when 9400 PC Remote connects to such a 9400.
Multiple Installations of Optimod 9400 PC Remote

Rarely, you may want to have more than one installation of 9400 PC Remote on your
computer. There are a few extra things to know if you have multiple installations.
If you install a new version of the Optimod 9400 PC Remote software on your PC,
any Alias folders and backup subfolders created in an earlier software version still
remain in their original location on your PC (and in its registry).
The version of 9400 PC Remote must match the version of the software in the 9400
controlled by it. Therefore, you will only need multiple installations of PC Remote
(having separate version numbers) if:
• you are controlling multiple 9400s, and

• not all of your 9400s are running the same version of 9400 software, and
• you do not want to upgrade at least one controlled 9400 to the latest version of
9400 PC Remote software.
Each version of 9400 PC Remote has its own top-level folder, normally under
\Program Files\Orban. (The default folder is \Program Files\Orban\Optimod 9400.)
When you install a new version of 9400 PC Remote, the default behavior is to over-
write the old version, which is usually the desired behavior. To prevent the installer
from overwriting the old version, you must specify a different installation folder
when you install the new version (for example, \Program Files\Orban\Optimod
9400v2).
Each version of 9400 PC Remote will display all 9400 Aliases, even those pointing to
9400s with incompatible version numbers. If you attempt to connect to an older ver-
sion of 9400 from a newer version of 9400 PC Remote, 9400 PC Remote will offer to
upgrade the software in the target 9400 so that it corresponds to the version of
9400 PC Remote that is active. If you attempt to connect to newer version of 9400
from an older version of 9400 PC Remote, it will refuse to connect and will emit an
error message regarding incompatible versions.
If you decide to install the new software to a different location on your PC, new Ali-
ases created using the new software will not be located in the same place as the old
Aliases.
To Move Alias Folders:
Even though each version of 9400 PC Remote can see all aliases, you may wish to
move the corresponding folders so they are under the folder corresponding to the
highest version of 9400 PC Remote that is currently installed on your computer (al-
though this is not required). If your Alias folders reside in different locations, you
can move all the Alias folders to the same location by using the PC Remote software.
Do not use an external file manager to do this. The old Alias folders need to be re-
created under the Optimod 9400 PC Remote software you wish to use (so that the
registry entries can be correctly updated). You can do this two different ways.
• Rename the Alias (preferred): Start the Optimod 9400 PC Remote executable
you wish to use and rename your old Aliases with a slightly different name. A
new Alias folder with the new name will be created in the same location as the
Optimod 9400 PC Remote executable.
• Delete and Recreate the Alias: Start the Optimod 9400 PC Remote executable
you wish to use. Delete the old 9400 Aliases and create new ones to replace
them. New Alias folders will be created in the same location as the Optimod
9400 PC Remote executable.
Important: The deletion process will automatically erase its associated

folder, including the Backup directory. If you have anything in the
Backup directory that you wish to keep, you should therefore move that
directory elsewhere (or transfer the desired files to another, active
backup directory).
Ordinarily, the erasure process will move the Backup directory to your
computer’s Recycle Bin, so you can recover a Backup directory that you
have accidentally deleted in this way.
To share an archived User Preset between 9400s:
A) Navigate to the directory containing the desired User Preset from within the
RESTORE FROM PC dialog box
B) Click the RESTORE button.
This User Preset will be downloaded to the 9400 to which 9400 PC Re-
mote is currently connected.
OPTIMOD-AM DIGITAL MAINTENANCE 4-1
Section 4
Maintenance
Routine Maintenance
The 9400 OPTIMOD-AM Audio Processor uses highly stable analog and digital cir-
cuitry throughout. Recommended routine maintenance is minimal.
1. Periodically check audio level and gain reduction meter readings.
Become familiar with normal audio level meter readings, and with the normal
performance of the G / R metering. If any meter reading is abnormal, see Section
5 for troubleshooting information.
2. Listen to the 9400's output.
A good ear will pick up many faults. Familiarize yourself with the “sound” of the
9400 as you have set it up, and be sensitive to changes or deterioration. How-
ever, if problems arise, please do not jump to the conclusion that the 9400 is at
fault. The troubleshooting information in Section 5 will help you determine if
the problem is with OPTIMOD-AM or is somewhere else in the station's equip-
ment.
3. Periodically check for corrosion.
Particularly in humid or salt-spray environments, check for corrosion at the input

and output connectors and at those places where the 9400 chassis contacts the
rack.
4. Periodically check for loss of grounding.
Check for loss of grounding due to corrosion or loosening of rack mounting

screws.
5. Clean the front panel when it is soiled.
Wash the front panel with a mild household detergent and a damp cloth. Do not
use stronger solvents; they may damage plastic parts, paint, or the silk-screened
lettering. Do not use paper-based cleaning towels, or use cleaning agents con-
taining ammonia, or alcohol. An acceptable cleaning product is “Glass Plus.” For
best results when cleaning the lens, use a clean, lint-free cloth.
4-2 MAINTENANCE ORBAN MODEL 9400
Subassembly Removal and Replacement

See page 6-27 for the Circuit Board Locator and Basic Interconnections diagram.
1. Removing the Top Cover:
To access any internal board (including the display assembly), you must remove
the top cover.
A) Disconnect the 9400 and remove it from the rack.
Be sure power is disconnected before removing the cover.
Warning: Hazardous voltage is exposed with the unit open and the
power ON.
B) Set the unit upright on a padded surface with the front panel facing you.
C) Remove all eighteen screws holding the top cover in place, and lift the top
cover off.
Use a #1 Phillips screwdriver.
2. Removing the Front Panel Assembly:
A) Detach the five cables that connect the display board assembly to the base
board. Gently lift each cable up from where it connects to its jumper so that
the jumper pins unseat without bending or breaking.
B) Detach the front panel from the unit.
a) Disconnect the three-wire cable at the back of the encoder.
b) Detach the ground lug that connects the panel's ground wire to the chassis.
Use a ¼-inch nut driver or needle-nose pliers.
c) Remove the front panel.
The front panel is held in place by four ball studs at each corner. The
panel should snap away from the chassis if you apply a little force.
C) Using a screwdriver, remove the ten gold-colored screws and washers that
connect the display board to the front of the chassis.
D) Remove the display board assembly by removing the tape from the top front
edge of the chassis so that the white ribbon cables are no longer attached to
the chassis and the display panel is free.
Do not remove the tape from the white ribbon cables.
3. Removing the RS-232 Connector Board:
A) If you have not done so yet, remove the top cover (step 1, above).
B) Using a 3/16-inch hex nut driver, remove the two hex nuts holding the RS-232
connector to the chassis.
C) Unplug the RS-232 interface assembly from the base board.
4. Removing the CPU Module:
A) Remove the four screws holding the CPU module to the standoffs that sup-
port it on the base board.
B) Applying gentle upward pressure, unplug the CPU module from the base
board.
5. Removing the Base Board:
B) If you have not done so yet, remove the CPU module (step 4, above).
C) Using a 3/16-inch hex nut driver, remove the two hex nuts holding the DB-25
connector to the rear panel of the chassis.
D) If you have not done so yet, remove the RS-232 connector board (step 3,
above).
E) If you have not done so yet, remove the five cables that connect the display
assembly to the base board (step 2.A) on page 4-2).
F) If you have not yet done so, remove the RS-232 interface assembly from the
base board.
G) Disconnect the ribbon cable connecting the base board to the I/O board.
H) Disconnect the ribbon cable connecting the base board to the DSP board.
I) Disconnect the ribbon cable connecting the power supply to the base board.
J) Using a #1 Philips screwdriver, remove the four corner screws holding the base
board to the chassis standoffs.
K) Using a 3/16-inch hex nut driver, remove the four hex standoffs on which the
CPU module was mounted
L) The base board is now free and can be removed from the chassis.
6. Removing the I/O (Input/Output) Board:
B) Unlock all XLR connectors, using a jeweler's screwdriver: engage the locking
mechanism (in the center of the triangle formed by the three contact pins)
and turn counterclockwise until the XLR connector is no longer attached.
C) Remove the ribbon cable that connects the I/O board to the base board.
D) Remove the ribbon cable that connects the I/O board to the DSP board.
E) Disconnect the ribbon cable connecting the power supply to the base board.
F) Remove the three #1 Phillips screws (and their washers) that connect the I/O
board to the chassis.
G) Carefully pull the I/O board forward to clear the XLRs from their housings.
Then lift the board out of the chassis.
7. Removing the DSP Board:
B) Remove the ribbon cable that connects the I/O board to the DSP board.
C) Remove the ribbon cable that connects the base board to the DSP board.
D) Remove the plug connecting the power supply wiring harness to the DSP
board.
E) Remove the five #1 Phillips screws (and their washers) that connect the DSP
board to the chassis.
F) Lift the DSP board out of the chassis.
8. Removing the Power Supply Board:
B) Remove the two plugs that connect the power supply board to the power
transformer.
If present, remove the white fasteners that tie the two cables to the
power supply board.
C) Remove the ribbon cables connecting the power supply to the base board,
DSP board, and I/O board.
D) Remove the nine #1 Phillips screws (and their washers) fastening the heat sink
to the side of the chassis.
E) Remove the nut and star washer from the ground wire with a ¼-inch nut
driver.
F) Remove the two Phillips screws (and matching washers) that hold the IEC (line
cord) connector to the chassis.
G) Remove the three Phillips screws holding the power supply board to the main
chassis.
Note that one screw is located under the safety cover close to the line
voltage selector switch. Lift the cover up to expose the screw.
H) Carefully lift the power supply board up.
9. Reattaching the Power Supply Board:
A) Set power supply board into main chassis so that it aligns with its mounting
holes.
B) Replace the two Phillips screws that hold the IEC connector.
C) Replace the nine #1 Phillips screws that hold the heat sink to the side of the
chassis. If necessary, add additional heat sink compound to ensure a reliable
thermal connection between the heat sink and the chassis.
D) Replace the ground wire nut.
E) Replace the three Phillips screws that hold the power supply board to the
main chassis.
F) Reattach the two plugs that connect the power supply board to the trans-
former.
G) Reattach the two plugs for the power distribution wiring harnesses.
10. Replacing the Base Board, I/O Board, and DSP board:
Referring to steps 5 – 7, follow the instructions in reverse.

Note that you cannot replace the RS-232 board and the CPU board until you
have replaced the base board.
11. Replacing the CPU Module:
Referring to step 4, follow the instructions in reverse.
12. Replacing the RS-232 Board:
Referring to step 3, follow the instructions in reverse.
13. Replacing the Front Panel Assembly:
A) Set the display assembly in place so that it aligns with its mounting holes.
B) Replace the ten gold-colored screws that connect the display board to the
front of the chassis.
C) Reattach the five cables that connect the display board to the base board.
Each cable has a different type or size of connector, so it is obvious which ca-
ble mates with which jack on the base board.
D) Attach the front panel assembly to the unit.
a) Line up the plastic front panel and snap it back on, making sure each key
pad button feeds through its respective hole properly.
b) Reattach the ground lug that connects the panel's ground wire to the
chassis.
Use a ¼-inch nut driver or needle-nose pliers.
c) Reconnect the three-wire cable at the back of the encoder.
14. Replacing the Top Cover:
A) Place top on unit and reattach the eighteen Phillips screws. (Be careful not to
pinch any cables.)
Field Audit of Performance

Required Equipment:
• Ultra-low distortion sine-wave oscillator / THD analyzer / audio voltmeter
(With verified residual distortion below 0.01%. Audio Precision System

One, or similar high-performance system.)
(The NAB Broadcast and Audio System Test CD is an excellent source of
test signals when used with a high-quality CD player.)
• Spectrum analyzer with tracking generator
(Stanford Research Systems SR760 or equivalent. Alternatively, a sweep

generator with 50-9,500 Hz logarithmic sweep can be used with an oscil-
loscope in X / Y mode, or you can use a computer-controlled test set like
the Audio Precision System One. )
• Digital voltmeter
Accurate to ±0.1%.
• Oscilloscope
DC-coupled, triggered sweep, with 5M Hz or greater vertical bandwidth.

• Two 620Ω ±5% resistors.
• Optional: Audio Precision System 1 (without digital option) or System 2 (for digi-
tal tests).
It is assumed that the technician is thoroughly familiar with the operation of this
equipment.
This procedure is useful for detecting and diagnosing problems with the 9400's per-
formance. It includes checks of frequency response, noise and distortion perform-
ance, and output level capability.
This performance audit assesses the performance of the analog-to-digital and digi-
tal-to-analog converters and verifies that the digital signal processing section (DSP)
is passing signal correctly. Ordinarily, there is a high probability that the DSP is per-
forming the dynamic signal processing correctly. There is therefore no need to
measure such things as attack and release times — these are defined by software
and will automatically be correct if the DSP is otherwise operating normally.
It is often more convenient to make measurements on the bench away from high RF
fields which could affect results. For example, in a high RF field it is very difficult to
accurately measure the very low THD produced by a properly operating 9400 at
most frequencies. However, in an emergency it is usually possible to detect many of
the more severe faults that could develop in the 9400 circuitry even in high-RF envi-
ronments.
See the assembly drawings in Section 6 for component locations. Be sure to turn the
power off before removing or installing circuit boards.
Follow these instructions in order without skipping steps.
Note: To obtain an unbalanced output, jumper pin 1 (ground) to pin 3, and measure
between pin 1 (ground) and pin 2 (hot).
Note: All analog output measurements are taken with a 620Ω ±5% resistor tied be-
tween pin 2 and 3 of the XLR connector.
1. Prepare the unit.
A) Set the GND LIFT switch to the earth ground symbol setting (left position) to
connect chassis ground to circuit ground.
B) Use the front panel controls to set the 9400's software controls to their de-
fault settings, as follows:
a) Navigate to SETUP > IO CALIB > ANLG IN CALIB. After writing down the old
settings (so you can restore them later), set controls as follows:
Input ............................................................................................. analog
AI Ref VU ................................................................................... +4.0 dBu
R CH BAL.........................................................................................0.0 dB
b) Navigate to SETUP > IO CALIB > DIG IN CALIB. Set controls as in the table
below:
DI Ref VU ................................................................................ –15.0 dBFS
R CH BAL.........................................................................................0.0 dB
c) Navigate to SETUP > IO CALIB > ANLG OUT CALIB. Set controls as follows:
AO #1 100% ............................................................................ +10.0 dBu
AO #1 OUTPUT......................................................................Analog AM
AO #2 100% ............................................................................ +10.0 dBu
AO #2 OUTPUT......................................................................Analog AM
d) Navigate to SETUP > IO CALIB > DIG OUT CALIB. Set controls as follows, using
the NEXT button to access controls as necessary.:
DO #1 100% ............................................................................. –2.8 dBFS
DO #1 RATE ...................................................................................32 kHz
DO #1 SYNC.................................................................................internal
DO #1 Word Len .................................................................................. 20
DO #1 Dither ......................................................................................Out
DO #1 FORMAT................................................................................AES3
DO #2 100% ............................................................................. –2.8 dBFS
DO #2 RATE ...................................................................................32 kHz
DO #2 SYNC.................................................................................internal
DO #2 Word Len .................................................................................. 20
DO #2 Dither ......................................................................................Out
DO #2 FORMAT................................................................................AES3
e) Navigate to SETUP > IO CALIB > AM PROC. Set the AM PROC mode to STEREO.
f) Navigate to SETUP > IO CALIB > HD PROC. Set the HD PROC mode to STEREO.
g) Navigate to SETUP > TEST. Set controls as follows:
MODE ........................................................................................... Bypass
NOTE: Bypass defeats all compression, limiting, and program equaliza-
tion, providing a “flat” bypass channel.
BYPASS GAIN ....................................................................................0 dB
TONE FREQ....................................................................................400 Hz
TONE LVL........................................................................................ 100%
h) Press the NEXT button.

i) Set controls as follows:
TONE CHAN........................................................................................ L+R
2. Test the power supply
A) If the power supply is entirely dead and the fuse is not blown, verify that the
primary winding of the power transformer is intact by measuring the resis-
tance of the power supply at the IEC AC line connector.
For 115-volt operation, the resistance should be approximately 7.6Ω.
For 230-volt operation, the resistance should be approximately 27Ω.
Number of Red Flashes Problem With
1 + unregulated supply
2 +15V or –15V
3 +5V or –5V
4 +5V Digital
5 Analog Digital ground connection broken
6 DSP A +3.3V supply
7 DSP B +3.3V supply
8 CPU +3.3V supply
9 CPU +2.5V supply
Table 4-1: Decoder Chart for Power Supervisor
B) The green LED power indicator on the lower left of the front panel monitors
the DC power supply outputs. If one or more power supply voltages are out of
tolerance, red flashes will report them according to Table 4-1. If there are
multiple values out of tolerance, they are reported one after another in a
continuous loop, with one green flash indicating the beginning of each count.
You can monitor power supply voltages at connector J7 on the power
supply board (see Section 6 for schematic and parts locator drawing).
When one faces the connector, the voltages can be found on the pins in
the following pattern:
(1) + unreg. (3) digital gnd (5) +15V (7) +5 V digital (9) –5V analog
(2) - unreg (4) chassis gnd (6) -15V (8) +5V analog (10) NC
Table 4-2: Layout Diagram of J7, with expected voltages on each pin
The +3.3V and +2.5V supplies are locally regulated on the DSP and base
boards (see Section 6).
C) Measure the regulated voltages at J7 with the DVM and observe the ripple
with an oscilloscope, AC-coupled. The following results are typical:
Power Supply Rail DC Voltage (volts) AC Ripple (mV p-p)
+15VDC +15 ± 0.5 <20
–15VDC –15 ± 0.5 <20
+5VDC +5 ± 0.25 <20
–5VDC –5 ± 0.25 <20
Digital +5VDC +5 ± 0.25 [Obscured by noise]
Table 4-3: Typical Power Supply Voltages and AC Ripple
3. Adjust Analog Output Level Trim.
A) Verify 9400 software controls are set to their default settings. [Refer to step
(1.B) on page 4-7.]
B) Feed the 9400 output with the built-in 400 Hz test tone:
b) Set the MODE to TONE.
C) Connect the audio voltmeter to the Left Analog Output.
D) Adjust output trim VR200 to make the meter read +10.6 dBu. (0 dBu = 0.775V
rms.) Verify a frequency reading of 400 Hz.
E) Verify THD+N reading of <0.05% (0.02% typical) using a 22 kHz low pass filter
in the distortion analyzer.
F) Set the MODE to BYPASS.
BYPASS defeats all compression, limiting, and program equalization but
retains pre-emphasis.
G) Verify a reading (noise) of <–80 dBu at the output of the unit.
H) Using VR201, repeat steps (C) through (G) for the Right Analog Output.
4. Check frequency response of Analog I/O.
A) Verify 9400 software controls are set to their default settings. [Refer to step
(1.B) on page 4-7.]
B) Be sure you are still in BYPASS mode [see step (3.F)].
C) Connect the oscillator to the Left Analog Input XLR connector.
D) Inject the Analog Input XLR connector with a level of +10 dBu with the oscilla-
tor set to 100 Hz.
E) Connect the audio analyzer to the 9400's Left Analog Output XLR connector.
F) Verify a level of +10 dBu ±1 dB. Use this level as the reference level.
G) Verify that frequency response at 50 Hz, 100 Hz, 400 Hz, 5 kHz, and 15 kHz is
within ±0.1 dB of the reference level.
This procedure tests the analog input circuitry, the A/D converter, the
DSP, the DAC, and the analog output circuitry.
H) Repeat steps (C) through (G) for the right channel.
5. Check distortion performance of Analog I/O.
A) Verify 9400 software controls are set to their default settings. (Refer to page
4-7.)
C) Connect a THD analyzer to the Left Analog Output #1 XLR connector. Set the
THD analyzer's bandwidth to 22 kHz.
D) Connect the oscillator to the Left Analog Input XLR connector.
E) For each frequency used to measure THD, adjust the output level of the oscil-
lator to make the COMP meter on the 9400 read 100.
F) Measure the THD+N at the frequency levels listed below.
Frequency THD+N Typical THD+N Maximum
50 Hz 0.015% 0.03%
100 Hz 0.015% 0.03%
400 Hz 0.015% 0.03%
1 kHz 0.015% 0.03%
2.5 kHz 0.015% 0.03%
5 kHz 0.015% 0.03%
7.5 kHz 0.015% 0.03%
15 kHz 0.015% 0.03%
G) Repeat the above measurements for the right channel. Connect the oscillator
to the right analog input and the distortion analyzer to the right analog out-
put.
H) Repeat these measurements for the left and right channels of Analog Output
#2.
I) Disconnect the oscillator and THD analyzer from the 9400.
6. Test Digital Sample Rate Converter (Receiver).
A) Verify 9400 software controls are set to their default settings. (Refer to page
4-7.)
C) Navigate to SETUP > DIG IN CALIB and Set the INPUT to DIGITAL.
D) Connect the digital source generator to the AES3 Digital Input XLR connector
of the 9400.
E) Set the frequency of the digital source generator to 400 Hz and its output
level to 6 dB below full scale.
F) Inject the Digital Input with a sample rate of 32 kHz, 44.1 kHz, 48 kHz, 88.2
kHz, and 96 kHz. Use 24-bit words.
G) Listen to the analog outputs of the 9400 and verify that the output sounds
clean and glitch-free regardless of the input sample rate.
H) Leave the digital source generator connected to the 9400.
7. Test Digital Sample Rate Converter (Transmitter).
A) Connect an AES3 analyzer (like the Audio Precision System 2) to the 9400’s
AES3 Digital Output #1.
B) Set the sample rate of the digital source generator to 48 kHz.
C) Navigate to SETUP > DIG OUT CALIB.
D) Change the DO RATE to 32 kHz, 44.1 kHz, 48 kHz, 88.2 kHz, and 96 kHz, and
verify that the frequencies measured at the 9400’s AES3 output follow the
values in the chart below within given tolerances:
Sample Rate Tolerance (PPM) Tolerance ( Hz)
32.0 kHz 100 PPM ±1.60 Hz
44.1 kHz 100 PPM ±4.41 Hz
48.0 kHz 100 PPM ±2.40 Hz
88.2 kHz 100 PPM ±8.82 Hz
96.0 kHz 100 PPM ±4.80 Hz
E) Repeat steps (A) through (D) for Digital Output #2.
F) Disconnect the digital source generator from the 9400.
8. Optional tests.
A) You can test each GPI (Remote Interface) input for functionality in the obvi-
ous way, by programming a function for it and then verifying that the func-
tion executes when you activate the input. To program a GPI input, see
Remote Control Interface Programming on page 2-44.
B) You can test the RS-232 Port 1 for functionality by verifying that you can con-
nect to a PC through a null modem cable. See Networking and Remote Con-
trol starting on page 2-46 (in particular, step 4 on page 2-48).
C) You have made all of the previous tests with the 9400 is BYPASS mode. In most
cases, these tests are sufficient to determine that the 9400 is working cor-
rectly. However, the BYPASS mode does not use all of the DSP chips, so the
previous tests may fail to detect faults in certain DSP chips. To verify that all of
the DSP chips are working correctly:
a) Connect the oscillator to both 9400’s analog inputs.
b) Navigate to SETUP > TEST and set the 9400’s operating mode to OPERATE.
c) Recall the GEN MED preset.
d) Set the oscillator’s frequency to 400 Hz and its output level to create 10 dB
of gain reduction as indicated on the AGC MASTER gain reduction meter.
e) Connect the N&D test set to the 9400’s left Analog Output #1.
f) Navigate to SETUP > IO CALIB > OUTPUT > ANALOG1 > SOURCE and set the
9400’s left Analog Output #1 to emit the analog AM signal.
g) Verify that combined noise and distortion are below 0.1%.
h) Repeat steps (f) and (g) for the right Analog Output #1.
i) Navigate to SETUP > IO CALIB > OUTPUT > ANALOG1 > SOURCE and set the
9400’s left Analog Output #1 to emit the digital radio AM signal.
j) Verify that combined noise and distortion are below 0.1%.
k) Repeat steps (i) and (j) for the right Analog Output #2.
9. Return OPTIMOD-AM to service.
A) Remove the 600Ω resistors connected across the outputs.

B) Restore your normal operating parameters, using the notes you made in step
(1.B) on page 4-7.
C) Navigate to SETUP > TEST > MODE and choose OPERATE.
D) Recall your normal operating preset.
OPTIMOD-AM DIGITAL TROUBLESHOOTING 5-1
Section 5
Troubleshooting
Problems and Potential Solutions
Always verify that the problem is not the source material being fed to the 9400, or
in other parts of the system.
RFI, Hum, Clicks, or Buzzes

A grounding problem is likely. Review the information on grounding on page 2-11.
The 9400 has been designed with very substantial RFI suppression on its analog and
digital input and output ports, and on the AC line input. It will usually operate adja-
cent to high-powered transmitters without difficulty. In the most unusual circum-
stances, it may be necessary to reposition the unit to reduce RF interference, and/or
to reposition its input and output cables to reduce RF pickup on their shields.
The AES3 inputs and output are transformer-coupled and have very good resistance
to RFI. If you have RFI problems and are using analog connections on either the in-
put or output, using digital connections will almost certainly eliminate the RFI.
Poor Peak Modulation Control

The 9400 ordinarily controls peak modulation to an accuracy of ±2%. This accuracy
will be destroyed if the signal path (including the STL and transmitter) following the
9400 has poor transient response. Almost any link can cause problems. The transmit-
ter itself is particularly likely to cause problems, especially if it is plate-modulated.
Section 1 of this manual contains a complete discussion of the various things that
can go wrong.
Digital STLs using lossy compression algorithms (including MPEG1 Layer 2, MPEG1
Layer 3, Dolby AC2, and APT-X) will overshoot severely (up to 3 dB) on some pro-
gram material. The amount of overshoot will depend on data rate — the higher the
rate, the lower the overshoot.
Even if the transmission system is operating properly, the AM modulation monitor or

reference receiver can falsely indicate peak program modulation higher than that
actually being transmitted if the monitor overshoots at high and low frequencies.
Many commercial monitors have this problem, but most of these problem units can
be modified to indicate peak levels accurately.
Orban uses the Belar “Wizard” series of DSP-based monitors internally for testing,
because these units do not have this difficulty.
5-2 TROUBLESHOOTING ORBAN MODEL 9400
Be sure that the polarity of the 9400’s output correctly matches the transmitter so
that adjusting the 9400’s POS PEAK THRESH control (in the active Transmission Preset)
causes the AM positive peak modulation to change. If it causes the negative peak
modulation to change, reverse the polarity of the 9400 output driving the analog
AM channel of the transmitter. Each 9400 output has a POLARITY control to make this
easy.
The output of the 9400’s digital radio-processing path is accurately peak-controlled.

However, the HDC codec (used in the HD AM system) and the aacPlus codec (used in
the DRM system), like all low bitrate lossy codecs, introduce considerable overshoots
as a side effect of throwing away data. When you adjust the drive level into the co-
dec, it is wise to monitor the output of a radio or modulation monitor. If you see
clipping, reduce the drive level to the codec as necessary.
Audible Distortion On-Air

Make sure that the problem can be observed on more than one receiver and at sev-
eral locations. Multipath distortion at the monitoring site can be mistaken for real
distortion (and will also cause falsely high modulation readings).
Verify that the source material at the 9400's audio inputs is clean. Heavy processing
can exaggerate even slightly distorted material, pushing it over the edge into unac-
ceptability.
The subjective adjustments available to the user have enough range to cause audi-
ble distortion at their extreme settings. Many controls can cause distortion, includ-
ing MULTIBAND CLIPPING and FINAL CLIP DRIVE. Setting the LESS-MORE control beyond
“9” will cause audible distortion of some program material with all but the FINE
ARTS presets. Other presets can sometimes cause audible distortion with certain
program material; this is the price to be paid for maximizing coverage in AM broad-
cast.
If you are using analog inputs, the peak input level must not exceed +27 dBu or the
9400's A/D converter will clip and distort.
Unlike earlier digital Optimods, there is no input peak level adjustment

for the A/D converter. Instead, we have provided adequate headroom for
virtually any facility. This is possible because the A/D converter in the
9400 has higher dynamic range than older designs. Therefore, without
compromising the 9400’s noise level, we could eliminate a control that
was frequently misadjusted.
If you are using an external processor ahead of the 9400, be sure it is not clipping or
otherwise causing problems.
The 9400's highly processed output puts great demands on transmitter performance
Some transmitters cannot handle the very high average power in the 9400's output
Section 1 discusses this in detail
The distortion of tube-type transmitters will increase substantially as the tubes go

flat with use The first thing to go is asymmetrical positive peak capability, so, if it is
impractical to replace the modulator tubes at this time, reduce the setting of the
9400 POSITIVE PEAK control until the transmitter no longer compresses the peaks. In-
deed, some transmitters cannot handle asymmetrical positive peaks without com-
pression even with good tubes, Never try to run these transmitters with asymmetry.
The codecs used in the HD AM and DRM systems operate a very low bit rates. They
tend to produce more artifacts as program material becomes denser. To prevent the
9400’s processing from increasing density excessively, we recommend setting the MB
RELEASE control in the digital radio processing close to SLOW and to use minimal
amounts of look-ahead limiting.
Unfortunately, some CDs are now mastered with so much compression, limiting, and
clipping that they cause codecs to misbehave without further processing in the
broadcast chain. Until the broadcast industry successfully pressures the record indus-
try to supply broadcasters with lightly processed broadcast-mastered music, this
problem will continue.
Audible Noise on Air

(See also “RFI, Hums, Clicks, or Buzzes” on page 5-1.)
Excessive compression will always exaggerate noise in the source material. The 9400
has two systems that fight this problem.
1. The compressor gate freezes the gain of the AGC and compressor systems when-
ever the input noise drops below a level set by the threshold control for the process-
ing section in question, preventing noise below this level from being further in-
creased. There are three independent compressor gate circuits in the 9400. The first
affects the AGC, while the second and third affect the Multiband Compressors in the
AM analog and digital radio chains respectively. Each has its own independent
threshold control. (See MB GATE on page 3-48.)
2. The dynamic single-ended noise reduction (see DWNEXP THR on page 3-50) can be
used to reduce the level of the noise below the level at which it appears at the in-
put.
If you are using the 9400's analog input, the overall noise performance of the sys-
tem is usually limited by the overload-to-noise ratio of the analog-to-digital con-
verter used by the 9400 to digitize the input. (This ratio is better than 108 dB.) It is
important to drive the 9400 with professional levels (more than 0 dBu reference
level) to achieve adequately low noise. (Clipping occurs at +27 dBu.)
The 9400's AES3 input is capable of receiving words of up to 24 bits. A 24-bit word
has a dynamic range of approximately 144 dB. The 9400's digital input will thus
never limit the unit's noise performance even with very high amounts of compres-
sion.
If an analog studio-to-transmitter link (STL) is used to pass unprocessed audio to the

9400, the STL's noise level can severely limit the overall noise performance of the
system because compression in the 9400 can exaggerate the STL noise. For example,
the overload-to-noise ratio of a typical analog microwave STL may only be 70-75 dB.
In this case, it is wise to use the Orban 8200ST Studio AGC to perform the AGC func-
tion prior to the STL transmitter and to control the STL's peak modulation. This will
optimize the signal-to-noise ratio of the entire transmission system. An uncom-
pressed digital STL will perform much better than any analog STL. (See Studio-
Transmitter Link, starting on page 1-11.)
Shrill, Harsh Sound

This problem can be caused by excessively high settings of the HF EQ control It can
also be caused (or at least exaggerated) by a transmitter with substantial distortion,
particularly at higher modulating frequencies
Dull Sound
A narrowband antenna that truncates higher modulating frequencies is the most
likely cause. Inappropriately low settings of the HF EQ control can also cause it.
In addition, bear in mind that most analog AM receivers have less than 3 kHz audio
bandwidth so they will inevitably sound dull compared to full-bandwidth media.
Excessive Occupied Bandwidth

The active transmission preset determines the maximum audio bandwidth at the
9400’s output. (This can be reduced within a User Preset, but not increased higher
than the setting in the active transmission preset.)
The 9400 has very tight spectral control that significantly exceeds the requirements
of all international regulatory authorities, including the FCC and ITU-R. Because its
processing is entirely determined by DSP software, there is very little that can go
wrong with the 9400 that will increase its output bandwidth without causing an all-
out failure of the unit.
If a spectrum analyzer determines that the 9400 is creating excessive bandwidth by

itself, the likely culprits are the output D/A converter and the output line amplifier.
However, a far more likely cause is a misbehaving transmitter Any problem in the
transmitter that causes audio distortion will also increase occupied bandwidth Flat
tubes are particularly suspect.
Some older designs (like out-phasing modulation schemes) are notorious for causing
out-of-band radiation when processing audio with substantial pre-emphasis, like
that supplied by the 9400. After the out-phasing transmitter's exciter has been care-
fully realigned, the only cure for any remaining excessive out-of-band radiation is to
reduce the setting of the 9400's lowpass filter until the transmission is within specifi-
cation. These transmitters are prime candidates for replacement with a modern
solid-state transmitter, which will reduce AC power costs and also sound much bet-
ter on-air.
Negative overmodulation that causes carrier pinch-off will also cause the bandwidth
to increase rapidly. Older transmitters may respond better to negative modulation
slightly below 100%, as their distortion can rise rapidly as they approach 100%
modulation.
System Will Not Pass Line-Up Tones at 100% Modulation

This is normal. Sine waves have a very low peak-to-average ratio by comparison to
program material. The processing thus automatically reduces their peak level to
bring their average level closer to program material, promoting a more consistent
and well-balanced sound quality.
The 9400 can generate test tones itself. The 9400 can also be put into Bypass mode
(locally or by remote control) to enable it to pass externally generated tones at any
desired level. (See Test Modes on page 3-54.)
System Will Not Pass Emergency Alert System (“EAS” USA Standard) Tones
at the Legally Required Modulation Level
See System Will Not Pass Line-Up Tones at 100% Modulation (directly above) for an
explanation. These tones should be injected into the transmitter after the 9400, or
the 9400 should be temporarily switched to BYPASS to pass the tones.
System Receiving 9400’s Digital Output Will Not Lock

Be sure that the 9400’s output sample rate is set match the sample rate that the
driven system expects. Be sure that the 9400’s output mode (AES3 or SPDIF) is set to
match the standard expected by the driven system.
L–R (Stereo Difference Channel) Will Not Null with Monophonic Input
This problem is often caused by relative phase shifts between the left and right
channels prior to the 9400’s input. This stresses codecs, which can misinterpret these
phase shifts as intentional stereo imaging effects and try to encode them, wasting
bits. It is wise to minimize any left/right phase shifts in your audio facility prior to
the 9400.
To minimize L–R energy in the signal, it may be wise to turn off the 9400’s stereo
enhancer and to operate the digital radio chain’s five-band compressor with 100%
coupling, which prevents the processing from adding L–R energy to the signal. The
only possible exception to this rule is when Band 5 is used as a de-esser. See Excessive
Sibilance (“ess” sounds) in the Digital Radio Channel immediately below.
AM Analog and Digital Channels Have Unequal Loudness

Adjust the HD LIMITER DRIVE control in the on-air HD preset to match the loudness of
the two channels. Do not reduce the loudness of the digital channel by turning
down its associated output level control. Using the HD LIMITER DRIVE control to re-
duce loudness reduces peak limiting simultaneously, minimizing potential codec arti-
facts. Only turn down the output level control to correct codec clipping.
Loudness Decreases Momentarily When the Radio Crossfades between Ana-

log and Digital Channels
The analog and digital channels may be in reverse polarity (“out of phase”) from
each other. Try both settings of the POLARITY control associated with the output driv-
ing the digital channel to determine which polarity causes a smoother crossfade. Do
not adjust the POLARITY control of the analog channel output because this will swap
positive and negative peak modulation.
Excessive Sibilance (“ess” sounds) in the Digital Radio Channel

The Band 5 compressor/limiter is mainly useful as a de-esser and to prevent high fre-
quency artifacts when driving low bit rate codecs like the 36 kbps HDC codec used in
the HD AM system. To use the Band 5 compressor/limiter as a de-esser, set the B5

MAXDELTGR to OFF (to allow the channels to be de-essed independently), set the B5
DELTA RELEASE control to +6 (to achieve the fastest possible release), and set the
B4>B5 COUPLING control to 100% (to prevent high frequency energy from building
up excessively).
“Swishing,” “Phasing,” or “Underwater” Artifacts in the Digital Radio

Channel
Excessive high frequency energy can cause this and can also cause gritty high fre-
quency distortion in digital channels that use a codec employing “spectral band rep-
lication” technology, such as the HDC (used in HD AM) and aacPlus (used in DRM)
codecs. To use the B5 compressor in the 9400’s digital radio processing channel to
control these artifacts, set the B5 MAXDELTGR to 0 (to minimize the amount of L–R
energy that the processing adds at high frequencies), set the B5 DELTA RELEASE con-
trol to 0 (to achieve a smooth integration with the Band 4 compressor), and set the
B4>B5 COUPLING control to 100% (to minimize high frequency energy build-up).
Then adjust the B5 THRESHOLD control to set the maximum amount of high fre-
quency energy that the processing can produce with bright program material. It is
wise to experiment with this control while listening to the output of the codec you
are using so you can hear the effect that the Band 5 compression has on codec arti-
facts.
General Dissatisfaction with Subjective Sound Quality

The 9400 is a complex processor that can be adjusted for many different tastes. For
most users, the factory presets, as augmented by the gamut offered by the LESS-
MORE control for each preset, are sufficient to find a satisfactory “sound.” However,
some users will not be satisfied until they have accessed other Modify Processing
controls and have adjusted the subjective setup controls in detail to their satisfac-
tion. Such users must fully understand the material in Section 3 of this manual to
achieve the best results from this exercise.
Compared to competitive processors, the 9400 offers a uniquely favorable set of

trade-offs between loudness, brightness, distortion, and buildup of program density.
If your radio station does not seem to be competitive with others in your market,
the cause is usually problems with the source material, overshoot in the transmission
link (particularly the transmitter/antenna system) following the 9400, or an inaccu-
rate modulation monitor that is causing you to undermodulate the carrier. A station
may suffer from any combination of these problems, and they can have a remark-
able effect upon the overall competitiveness of a station's sound.
Section 1 of this manual provides a thorough discussion of system engineering con-

siderations, particularly with regard to minimizing overshoot and noise. Orban's
publication Maintaining Audio Quality in the Broadcast Facility (available for
download from www.orban.com) provides many suggestions for maximizing source
quality
Bear in mind that the average AM receiver has an audio bandwidth of 2-3 kHz and
relatively high amounts of nonlinear distortion. 9400 processing is specifically de-
signed to make the best of this class of receiver Nevertheless, even at their best, such
radios can never yield truly high quality sound.
Further, almost all AM transmitters have a sound of their own. The very latest
transmitters (using digital modulation schemes) will create an on-air sound that is
audibly superior to transmitters of older design because the new transmitters have
dramatically lower nonlinear distortion. This improvement is not subtle and is read-
ily audible even on average consumer radios.
Security Passcode Lost (When Unit is Locked Out)

Please see If You Have Forgotten Your Passcode on page 2-44.
Connection Issues between the 9400 and a PC, Modem, or Net-

work
• Presets: The more user presets you make, the more slowly the 9400 will respond
to front-panel commands. Delete any user presets you do not need.
• Quick Setup: On the Station ID screen (Quick Setup 9): Use Escape in place of
Cancel. The Cancel button will not work.
• Software Updates: Close any running Windows programs before attempting

to update.
• Interrupted Software Updates: If you canceled an update before it com-

pleted, wait at least one minute before attempting your next update.
• Software Updates via Modem: If you are updating via the modem, do not
change the “connection type” parameter on the 9400 while the modem is con-
nected or attempting to connect.
• Security Passcode: An ALL SCREENS (administrator) security passcode is re-

quired for upgrading, regardless of whether you are using a Direct, Modem, or
Ethernet connection.
• Passcode Format: The passcode is case-sensitive. When entering it into Win-

dows’ Dial-up Connection dialog box, it must be typed exactly as it was origi-
nally entered into the Security screen.
• MAC Address: To see the MAC address of your Optimod’s Ethernet hardware,
hold down the SETUP button until the address appears.
Troubleshooting Connections
• If you get an error message such as “the specified port is not connected” or
“There is no answer”…
You may have the wrong interface type set on your 9400. Navigate to SETUP >
NETWORK & REMOTE > PC CONNEC and check the interface setting.
If you are connecting via Direct Serial Connection or modem, review the Proper-
ties you have set on that connection. Double-check to ensure that you have set
Windows parameters as described in Appendix: Setting Up Serial Communica-
tions on page 2- 59.
• If your Direct Connect does not work:
A) Check to make sure that the cables are connected properly.

B) Check that you are using a null modem cable.
C) Ensure that the null modem cable is connected to the 9400’s serial connector.
• If your Modem Connect does not work:
A) Ensure that the modem cables and phone lines are connected properly.
B) Check that you have entered the correct phone number for connection.
C) Check that you have entered the passcode correctly on the 9400, and the
passcode has also been entered correctly on your PC.
D) Ensure that you enabled the correct PC modem port settings.
E) Ensure that the external modem attached to your 9400 is set to AUTO ANSWER.
F) Make sure that the only “Allowed Network Protocol” is TCP/IP. “NetBUI” and
“IPX / SPX Compatible” must not be checked.
You Cannot Access the Internet After

Making a Direct or Modem Connection to the 9400:
If you are connected to the 9400 via modem or direct connect, you cannot access
any other TCP/IP connection. The PPP connection becomes the default protocol
and the default gateway defaults to the 9400 unit’s IP address. This means that
all existing network connections point to the 9400 unit. To correct this:
A) In Start / Settings / Network and Dialup Connections, open the direct or mo-
dem connection you are using to connect to 9400.
B) Select “Properties.”
C) Click the tab that reads “Networking.”
D) Highlight “Internet protocol (TCP/IP).”
E) Select “Properties.”
F) Select “Advanced.”
G) Uncheck the “Use default gateway on remote network” box.
H) Select “OK.”
If this “Use default gateway on remote network” box is not selected, the
gateway will not point to the 9400 unit when you establish a direct or
modem connection.
OS-Specific Troubleshooting Advice
Troubleshooting Windows 2000 Direct Connect:

If you are having trouble establishing a connection, check your New Connection’s
properties to make sure they are set up correctly:
A) Click “Start / Programs / Accessories / Communications / Network and Dialup

Connections” to bring up the Network Connections screen.
B) In the “Network Connections” window, right-click “Optimod 9400 - Direct”
and choose “Properties.”
C) The “Properties” window opens for “Optimod 9400 - Direct
D) Click the “Networking” tab.
E) Set “Type of dial-up server I am calling” to “PPP: Windows 95 / 98 / NT4 / 2000,
Internet.”
F) Select the “Settings” button and make sure all PPP settings are unchecked.
Then click “OK.”
G) In “Components checked are used by this connection,” uncheck all except for
“Internet Protocol (TCP/IP).”
H) Select “Internet Protocol (TCP/IP)” and then click the “Properties” button. The
“Internet Protocol (TCP/IP) Properties” window opens.
I) Choose “Obtain an IP address automatically” and “Obtain DNS server address
automatically”
J) Click the “Advanced…” button on the “Internet Protocol (TCP/IP)” Window.
K) In the “Advanced TCP/IP Settings” select the “General” Tab; make sure that
no check boxes are checked.
L) In the “Advanced TCP/IP Settings” select the “DNS” Tab.
M) In the “Advanced TCP/IP Settings” select the “WINS” Tab.
N) Click “OK” to dismiss the “Advanced TCP/IP Settings” window.
O) Click “OK” to dismiss the “Internet Protocol (TCP/IP) Properties” window.
P) Click “OK” to dismiss the window whose name is your new connection.
Q) Click “Cancel” to dismiss the “Connect [nnnn]” dialog box
R) Restart your computer. (This resets the serial port and reduces the likelihood
that you will encounter problems connecting to the 9400.)
S) If you see: “Error 777: The connection failed because the modem (or other
connecting device) on the remote computer is out of order”:
The “remote computer” is actually the 9400 and it is not out of order;
you just need to set the Maximum Speed (Bits per second) to 115200. If
you already set this speed when you configured your PC ports, you
shouldn’t have this problem.
The 9400 communicates at 115200 bps. COM ports on some older PCs are
incapable of communications at this rate and may not work reliably.
Most newer PCs use 16550-compatible UARTS, which support the 115200
bps rate.
If you do see this warning message, you can reset the Maximum BPS
Speed by accessing PROPERTIES for the connection:
a) Click START / PROGRAMS / ACCESSORIES / COMMUNICATIONS / NETWORK AND DIAL-
UP CONNECTIONS.
b) Right click the name of your connection and access “PROPERTIES.”

c) Go to the “GENERALS” TAB and select the “CONFIGURE” button.
d) Set the MAXIMUM SPEED (BPS) to 115200.
e) Select OK and try your connection again.
T) If you see: “Error 619: The specified port is not connected.”
Make sure the INTERFACE TYPE on the 9400 is correct:
a) On the 9400, go to SETUP > NETWORK & REMOTE > PC CONNEC.
b) Set PC CONNECT to DIRECT.
c) Try your connection again.
Troubleshooting Windows 2000 Modem Connect:

A) Click “Start / Programs / Accessories / Communications / Network and Dialup

Connections” to bring up the Network Connections screen.
B) In the “Network Connections” window, right-click “Optimod 9400 - Modem”
C) The “Properties” window opens for “Optimod 9400 – Modem”.
D) Click the “Properties” button.
E) Select the “General” tab and make sure that “Connect Using” displays the
correct modem and port.
F) Click the “Configure…” button.
G) Set the “Maximum Speed (bps) to 115200.
H) Check the “Enable hardware flow control,” make sure all other hardware fea-
tures are unchecked. Then click “OK.”
I) Click the “Networking” tab on the “Properties” window.
J) Set “Type of dial-up server I am calling” to “PPP: Windows 95 / 98 / NT4 / 2000,
Internet.”
K) Select the “Settings” button and make sure all PPP settings are unchecked.
Then click “OK.”
L) In “Components checked are used by this connection,” uncheck all except for
“Internet Protocol (TCP/IP).”
M) Select “Internet Protocol (TCP/IP)” and then click the “Properties” button. The
“Internet Protocol (TCP/IP) Properties” window opens.
N) Choose “Obtain an IP address automatically” and “Obtain DNS server address
automatically”
O) Click the “Advanced…” button on the “Internet Protocol (TCP/IP)” Window.
P) In the “Advanced TCP/IP Settings” select the “General” Tab; make sure that
Q) Click “OK” to dismiss the “Advanced TCP/IP Settings” window.
R) Click “OK” to dismiss the “Internet Protocol (TCP/IP) Properties” window.
S) Click “OK” to dismiss the window whose name is your new connection.
T) Click “Cancel” to dismiss the “Connect [nnnn]” dialog box
U) Restart your computer.
Although not strictly necessary, this resets the serial port and reduces the
likelihood that you will encounter problems connecting to the 9400.
Troubleshooting Windows XP Direct Connect:

A) Click “Start / Programs / Accessories / Communications / Network Connections”

to bring up the Network Connections screen.
B) In the “Network Connections” window, right-click “Optimod 9400 - Direct”
C) The “Properties” window opens for “Optimod 9400 - Direct.”
D) Click the “Networking” tab.
E) Set “Type of dial-up server I am calling” to “PPP: Windows 95 / 98 / NT4 / 2000,
Internet”
F) Select the “Settings” button and make sure all PPP settings are unchecked,
then click “OK.”
G) In “This connection uses the following items,” uncheck all except for “Internet
Protocol (TCP/IP).” You can also leave “QoS Packet Scheduler” checked if you
like.
H) In “This connection uses the following items,” select “Internet Protocol

(TCP/IP)” and then click the “Properties” button. The “Internet Protocol
(TCP/IP) Properties” window opens.
I) Choose “Obtain an IP address automatically” and “Obtain DNS server address
automatically”
J) Click the “Advanced…” button on the “Internet Protocol (TCP/IP)” Window.
K) In the “Advanced TCP/IP Settings” select the “General” Tab; make sure that
L) Click “OK” to dismiss the “Advanced TCP/IP Settings” window.
M) On the “Properties” window for “Optimod 9400 – Modem” click the “Ad-
vanced” tab.
N) Click “OK” to dismiss the window whose name is your new connection.
O) Click “Cancel” to dismiss the “Connect [nnnn]” dialog box
P) Restart your computer.
This resets the serial port and reduces the likelihood that you will en-
counter problems connecting to the 9400.
Troubleshooting Windows XP Modem Connect:

If you are having trouble establishing a connection, check your New Con-
nection’s properties to make sure they are set up correctly.
A) Click “Start / Programs / Accessories / Communications / Network Connections”
to bring up the Network Connections screen.
B) In the “Network Connections” window, right-click “Optimod 9400 - Modem”
The “Properties” window opens for “Optimod 9400 - Modem.”
C) Click the “Networking” tab.
D) Set “Type of dial-up server I am calling” to “PPP: Windows 95 / 98 / NT4 / 2000,
Internet”
E) Select the “Settings” button. Make sure all PPP settings are unchecked, and
then click “OK.”
F) In “This connection uses the following items,” uncheck all except for “Internet
Protocol (TCP/IP).” You can also leave “QoS Packet Scheduler” checked if you
like.
G) In “This connection uses the following items,” select “Internet Protocol
(TCP/IP)” and then click the “Properties” button.
The “Internet Protocol (TCP/IP) Properties” window opens.
H) Choose “Obtain an IP address automatically” and “Obtain DNS server address
automatically.”
I) Click the “Advanced…” button on the “Internet Protocol (TCP/IP)” Window.
J) In the “Advanced TCP/IP Settings,” select the “General” Tab; make sure that
K) Click “OK” to dismiss the “Advanced TCP/IP Settings” window.
L) Click “OK” to dismiss the window whose name is your new connection.
M) Restart your computer. (This resets the serial port and reduces the likelihood
that you will encounter problems connecting to the 9400.)
Troubleshooting IC Opamps
IC opamps are operated such that the characteristics of their associated circuits are
essentially independent of IC characteristics and dependent only on external feed-
back components. The feedback forces the voltage at the (–) input terminal to be
extremely close to the voltage at the (+) input terminal. Therefore, if you measure
more than a few millivolts difference between these two terminals, the IC is proba-
bly bad.
Exceptions are opamps used without feedback (as comparators) and opamps with
outputs that have been saturated due to excessive input voltage because of a defect
in an earlier stage. However, if an opamp's (+) input is more positive than its (–) in-
put, yet the output of the IC is sitting at –14 volts, the IC is almost certainly bad.
The same holds true if the above polarities are reversed. Because the characteristics
of the 9400's circuitry are essentially independent of IC opamp characteristics, an
opamp can usually be replaced without recalibration.
A defective opamp may appear to work, yet have extreme temperature sensitivity. If
parameters appear to drift excessively, freeze-spray may aid in diagnosing the prob-
lem. Freeze-spray is also invaluable in tracking down intermittent problems. But use
it sparingly, because it can cause resistive short circuits due to moisture condensation
on cold surfaces.
Technical Support
If you require technical support, contact Orban customer service. Be prepared to de-
scribe the problem accurately. Know the serial number of your 9400 ⎯ this is printed
on the rear panel of the unit.
Telephone: (1) 510 / 351-3500

Customer Service
Orban
Write:
1525 Alvarado Street
San Leandro, CA 94577 USA
Fax: (1) 510 / 351-0500
E-Mail custserv@orban.com
Please check Orban’s website, www.orban.com, for Frequently Asked Questions and
other technical tips about 9400 that we may post from time to time. Manuals (in
.pdf form) and 9400 software upgrades will be posted there too — click
“Downloads” from the home page.
Factory Service
Before you return a product to the factory for service, we recommend that you refer
to this manual. Make sure you have correctly followed installation steps and opera-
tion procedures. If you are still unable to solve a problem, contact our Customer Ser-
vice for consultation. Often, a problem is relatively simple and can be quickly fixed
after telephone consultation.
If you must return a product for factory service, please notify Customer Service by
telephone, before you ship the product; this helps us to be prepared to service your
unit upon arrival. When you return a product to the factory for service, we recom-
mend that you include a letter describing the problem.
Please refer to the terms of your Limited Standard Warranty (see page 1-28), which
extends to the first end user. After expiration of the warranty, a reasonable charge
will be made for parts, labor, and packing if you choose to use the factory service fa-
cility. Returned units will be returned C.O.D. if the unit is not under warranty. Orban
will pay return shipping if the unit is still under warranty. In all cases, the customer
pays transportation charges to the factory (which are usually quite nominal).
Shipping Instructions
Use the original packing material if it is available. If it is not, use a sturdy, double-
walled carton no smaller than 7″ (H) x 15.5″ (D) x 22″ (W) ⎯ 18 cm (H) x 40 cm (D) x
56 cm (W), with a minimum bursting test rating of 200 pounds (91 kg). Place the
chassis in a plastic bag (or wrap it in plastic) to protect the finish, then pack it in the
carton with at least 1.5 inches (4 cm) of cushioning on all sides of the unit. “Bubble”
packing sheets, thick fiber blankets, and the like are acceptable cushioning materi-
als; foam “popcorn” and crumpled newspaper are not. Wrap cushioning materials
tightly around the unit and tape them in place to prevent the unit from shifting out
of its packing.
Close the carton without sealing it and shake it vigorously. If you can hear or feel
the unit move, use more packing. Seal the carton with 3-inch (8 cm) reinforced fi-
berglass or polyester sealing tape, top and bottom in an “H” pattern. Narrower or
parcel-post type tapes will not withstand the stresses applied to commercial ship-
ments.
Mark the package with the name of the shipper, and with these words in red:
DELICATE INSTRUMENT, FRAGILE!
Insure the package properly. Ship prepaid, not collect. Do not ship parcel post. Your
Return Authorization Number must be shown on the label or the package will
not be accepted.
OPTIMOD-AM DIGITAL TECHNICAL DATA 6-1
Section 6
Technical Data
Specifications
It is impossible to characterize the listening quality of even the simplest limiter or
compressor based on specifications, because such specifications cannot adequately
describe the crucial dynamic processes that occur under program conditions. There-
fore, the only way to evaluate the sound of an audio processor meaningfully is by
subjective listening tests.
Certain specifications are presented here to assure the engineer that they are rea-
sonable, to help plan the installation, and make certain comparisons with other
processing equipment.
Performance
Except as noted, specifications apply for measurements from the analog left/right input to
the analog left/right output.
Frequency Response (Bypass Mode; Analog Processing Chain): ±0.2 dB, 50 Hz–9.5
kHz, or as determined by user-settable high-pass and low-pass filters.
Frequency Response (Bypass Mode; Digital Processing Chain): ±0.2 dB, 5 Hz – 15
kHz, or as determined by user-settable low-pass filter.
Noise: Output noise floor will depend upon how much gain the processor is set for (Limit
Drive, AGC Drive, Two-Band Drive, and/or Multiband Drive), gating level, equalization,
noise reduction, etc. The dynamic range of the A/D Converter, which has a specified
overload-to–noise ratio of 110 dB, primarily governs it. The dynamic range of the digital
signal processing is 144 dB.
Total System Distortion (de-emphasized, 100% modulation): <0.01% THD, 20 Hz–1 kHz,
rising to <0.05% at 9.5 kHz. <0.02% SMPTE IM Distortion.
Total System L/R Channel Separation: >50 dB, 20 Hz – 9.5 kHz; 60 dB typical.
Polarity: Both processing chains employ phase rotation so the input/output polarity is fre-
quency-dependent. All outputs have a user-settable software polarity switch, allowing
the AM channel’s asymmetrical processing to produce the correct modulation polarity at
the transmitter.
Processing Sample Rate: The 9400 is a “multirate” system, using internal rates from 32
kHz to 256 kHz as appropriate for the processing being performed. Audio clippers oper-
ate at 256 kHz.
Processing Resolution: Internal processing has 24 bit (fixed point) or higher resolution;
uses Motorola DSP56362 DSP chips.
6-2 TECHNICAL DATA ORBAN MODEL 9400
Low-Pass Filter (processing for analog modulation): 4.5, 5.0, 5.5, 6.0, 6.5, 7.0, 7.5, 8.0,
8.5, 9.0, or 9.5 (NRSC) kHz as set by user. Unit can be set up to comply easily with ITU-
R and NRSC spectrum masks. Filter can be set to be –0.1 dB, –3.0, or –6.0 dB down at
the edge of the passband, trading off ringing against brightness.
Low-Pass Filter (processing for digital modulation): 15 kHz.
High-Pass Filter (processing for analog modulation): Constrained by user settable fifth-
order “quasi-elliptical” highpass filter to 50, 60, 70, 80, 90, or 100 Hz. All filters have
equal-ripple (Chebychev-like) passbands, and 25 and 35 Hz notches for transmitter pro-
tection.
High-Pass Filter (processing for digital modulation): 1 Hz, not user-adjustable.
Processing Topology: The stereo enhancer and two-band AGC are common to the analog
and digital processing chains. The processing path splits after the AGC. The analog path
receives equalization, five-band compression, distortion-controlled and -canceled clip-
ping, overshoot compensation, and transmitter equalization. The digital path receives
equalization, five-band compression, and look-ahead limiting. The parameters of the
equalizers, five-band compressors, and peak limiters in the two paths are separately and
independently adjustable.
Processing Delay (processing for analog modulation): approximately 17 ms.
Processing Delay (processing for digital modulation): approximately 24 ms. Any output
can be switched to emit a monitor signal with 5 ms. delay. This signal contains the out-
put of the five-band digital-channel compressor/limiter.
Delay Difference between Analog AM and Digital Processing Chains: Fixed at 5.778
ms, regardless of processor control settings.
Installation
Analog Audio Input

Configuration: Stereo.
Impedance: >10kΩ load impedance, electronically balanced1.
Nominal Input Level: Software adjustable from –4.0 to +13.0 dBu (VU).
Maximum Input Level: +27 dBu.
Connectors: Two XLR-type, female, EMI-suppressed. Pin 1 chassis ground, Pins 2 (+) and
3 electronically balanced, floating and symmetrical.
A/D Conversion: 24 bit 128x oversampled delta sigma converter with linear-phase anti-
aliasing filter. Converter outputs 64 kHz sample rate, which the 9400 then decimates to
32 kHz in DSP using an ultra-high-quality image-free synchronous sample rate con-
verter.
Filtering: RFI filtered, with high-pass filter at 0.15 Hz (–3 dB).
Analog Audio Output

Configuration: Two stereo pairs, capable to driving two transmitters.
Source Impedance: 50Ω, electronically balanced and floating.
1 No jumper selection available for 600Ω. Through-hole pads are available on I/O module for user-
installed 600Ω termination.
Load Impedance: 600Ω or greater, balanced or unbalanced. Termination not required or
recommended.
Output Level (100% peak modulation): Adjustable from –6 dBu to +20 dBu peak, into 600Ω
or greater load, software-adjustable.
Signal-to-Noise: >= 90 dB unweighted (Bypass mode, de-emphasized, 20 Hz–9.5 kHz
bandwidth, referenced to 100% modulation).
L/R Crosstalk: <= –70 dB, 20 Hz–9.5 kHz.
Distortion: <= 0.01% THD (Bypass mode, de-emphasized) 20 Hz–9.5 kHz bandwidth.
Connectors: Four XLR-type, male, EMI-suppressed. Pin 1 chassis ground, Pins 2 (+) and 3
electronically balanced, floating and symmetrical.
D/A Conversion: 24 bit 128x oversampled.
Filtering: RFI filtered.
Digital Audio Input

Configuration: Stereo per AES3 standard, 24 bit resolution, software selection of stereo,
mono from left, mono from right or mono from sum.
Sampling Rate: 32, 44.1, 48, 88.2, or 96 kHz, automatically selected.
Connector: XLR-type, female, EMI-suppressed. Pin 1 chassis ground, pins 2 and 3 trans-
former balanced and floating, 110Ω impedance.
Input Reference Level: Variable within the range of –30 dBFS to –10 dBFS.
J.17 De-emphasis: Software-selectable.
Digital Audio Outputs

Configuration: Stereo per AES3 standard.
Sample Rate: Internal free running at 32, 44.1, 48, 88.2 or 96 kHz, selected in software.
Can also be synced to the AES3 digital input at 32, 44.1, 48, 88.2 or 96 kHz, as config-
ured in software.
Word Length: Software selected for 24, 20, 18, 16 or 14-bit resolution. First-order highpass
noise-shaped dither can be optionally added. Dither level automatically adjusted appro-
priately for the word length.
Configuration: Both outputs can be switched independently to emit either the signal proc-
essed for analog modulation, the signal processed for digital modulation, or the low-
delay monitor signal.
Connector: Two XLR-type, male, EMI-suppressed. Pin 1 chassis ground, pins 2 and 3
transformer balanced and floating, 110Ω impedance.
Output Level (100% peak modulation): –20.0 to 0.0 dBFS software controlled.
Remote Computer Interface

Configuration: TCP/IP protocol via direct cable connect, modem, or Ethernet interface.
Suitable null modem cable for direct connect is supplied. Modem is not supplied.
Serial Port: 115 kbps RS–232 port dB–9 male, EMI-suppressed.
Ethernet Port: 10 or 100 Mbit/sec on RJ45 female connector.
Remote Control (GPI) Interface

Configuration: Eight (8) inputs, opto-isolated and floating.
Voltage: 6–15V AC or DC, momentary or continuous. 9VDC provided to facilitate use with
contact closure.
Connector: DB–25 male, EMI-suppressed.
Control: User-programmable for any eight of user presets, factory presets, bypass, test
tone, stereo or mono modes, analog input, digital input.
Power
Voltage: 100–132 VAC or 200–264 VAC, switch-selected on the rear panel, 50–60 Hz, 40
VA.
Connector: IEC, EMI-suppressed. Detachable 3-wire power cord supplied.
Grounding: Circuit ground is independent of chassis ground, and can be isolated or con-
nected with a rear panel switch.
Safety Standards: ETL listed to UL standards, CE marked.
Environmental
Operating Temperature: 32° to 122° F / 0° to 50° C for all operating voltage ranges.
Humidity: 0–95% RH, non-condensing.
Dimensions (W x H x D): 19” x 3.5” x 14.25” / 48.3 cm x 8.9 cm x 36.2 cm. Two rack units
high.
Humidity: 0–95% RH, non-condensing.
RFI / EMI: Tested according to Cenelec procedures. FCC Part 15 Class A device.
Shipping Weight: 19 lbs / 8.7 kg
Warranty
Two Years, Parts and Service: Subject to the limitations set forth in Orban's Standard
Warranty Agreement.
Because engineering improvements are ongoing, specifications are subject to change with-
out notice.
Circuit Description
This section provides a detailed description of user-serviceable circuits used in the
9400. We do not provide detailed descriptions of the digital circuitry because most
of this is built with surface-mount components that cannot be removed or replaced
with tools typically available in the field. Field repair ordinarily consists of swapping
entire PC boards.
The section starts with an overview of the 9400 system, identifying circuit sections
and describing their purpose. Then each user-repairable section is treated in detail
by first giving an overview of the circuits followed by a component-by-component
description.
The drawing on page 6-27 shows circuit board locations.

Overview
The Control Circuits control the DSP, display, and Input/Output sections of the 9400
system.
The Input Circuits include the connectors and RF filtering for the analog and digital
audio inputs, the digital sync input, and the circuitry to interface these inputs to the
digital processing.
The Output Circuits include the connectors and RF filtering for the analog and digi-
tal audio outputs, and the circuitry to interface the digital processing to these out-
puts.
The DSP Circuits implement the bypass, test tone, and audio processing using digital
signal processing.
The Power Supply provides power for all 9400 circuit sections.
A block diagram of the DSP signal processing appears on page 6-60.
Control Circuits
The control circuit is based on an AMD Elan SC520 microprocessor, which is a 586-
class processor running an Orban executable program over a third-party real-time
operating system. A flash memory emulates a hard drive. The memory is non-volatile
and does not rely on a battery to retain information when mains power is off.
The flash memory holds the operating system, the Orban executable program, and
all preset files, both factory and user. It also contains a write-protected “boot seg-
ment” that functions as a boot ROM.
The control circuits process and execute user-initiated requests to the system. The
source of these requests is the front panel buttons and rotary encoder, the rear
panel RS-232 port, Ethernet port, and the remote contact closures. These changes
affect hardware function and/or DSP processing. The control circuits also send in-
formation to the LCD display.
The control circuit communicates with the DSP and display circuitry through the
SC520’s ISA bus.
The SC520 periodically refreshes a watchdog timer. If the timer times out without
being refreshed, it assumes that the control program has crashed and automatically
reboots the SC520. The DSP chips will continue to process audio until the time comes
to reload DSP program code into them. At this point, the audio will mute for about
30 seconds until the DSP code download has finished. If you hear a 30-second audio
mute on air, you can assume that the 9400 has rebooted for some reason. Be pre-
pared to convey this fact to Orban customer service if you call for technical assis-
tance.
The control board is divided into two assemblies: a “base board,” which has inter-
face circuitry, and a “CPU controller module,” which plugs into the base board and
which contains the CPU, the Ethernet interface chip, the flash memory, the DRAM,
and the real-time clock, which keeps time for the 9400’s automation functions. The
real-time clock is backed up by a DL2032 battery so that it keeps accurate time even
when the 9400 is powered down. The battery is socketed and can be readily ac-
cessed by removing the 9400’s top cover; the battery is located on the foil (top) side
of the CPU controller module.
User Control Interface and LCD Display Circuits

The user control interface enables the user to control the 9400’s functionality. A rear
panel GPI connector allows optically isolated remote control of certain functions,
such as recalling presets, via contact closure. An RS-232 serial port and an Ethernet
port allow you to connect a modem or computer to the 9400. Front panel pushbut-
ton switches select between various operational modes and functions. A rotary en-
coder allows the user to adjust parameters and enter data.
1. Remote Interface and RS-232 Interfaces

Located on base board
A remote interface connector and circuitry implements remote control of certain

operating modes; OPTIMOD-AM 9400 has eight remote contact closure inputs.
A valid remote signal is a momentary pulse of current flowing through remote
signal pins. Current must flow consistently for 50 msec for the signal to be inter-
preted as valid. Generally, the 9400 will respond to the most recent control op-
eration, regardless of whether it came from the front panel, remote interface, or
RS-232.
Component-Level Description:
After being current limited by resistors, the GPI control signals are applied to
two quad optoisolators, U10, 12, and then to the control circuitry.
Octal driver U1 buffers the RS-232 port, which is located on a small daughter
board.
U10, 12 and U1 are socketed for easy field replacement in the event of over-
load, lightning damage, etc. All other circuitry is surface-mount and is not
field-repairable.
2. Switch Matrix and LED Indicators

Located on display board
Eleven front panel pushbutton switches are arranged in a matrix, configured as

three columns and four rows. These switches are the primary element of the
physical user interface to the 9400 control software. The host microprocessor
controls the system setup and function of the DSP according to the switch / ro-
tary encoder entered commands, the AES status bits from the digital input signal,
the RS-232, and the remote control interface status. The microprocessor updates
the LED control status indicators accordingly.
S1-S11 are the front panel pushbutton switches. CR11-CR15 are the front panel
LED control status indicators. The control microprocessor communicates with
these components through the ISA bus, which is buffered via IC3.
3. LED Meter Circuits

Located on display board
The meter LEDs are arranged in an 8x16 matrix, in rows and columns.
Each row of LEDs in the matrix has a 1/8 duty cycle ON time. The rows are multi-
plexed at a fast rate so that the meters appear continuously illuminated. Via the
ISA bus, the DSP sends meter data values to the control microprocessor, which
sends the appropriate LED control words (eight bits at a time) to the data latches
that drive the LEDs directly.
The meter LED matrix consists of ten 10-segment LED bar graph assemblies
(CR1-CR9, CR16) and one discrete LED (CR10). Row selector latches IC4, IC5,
IC6, and IC9 are controlled by the host microprocessor and alternately sink cur-
rent through the LEDs selected by column selector latches IC1 and IC2, which
are also controlled by the SC520. IC1 and IC2 drive the selected row of LEDs
through current limiting resistor packs RP1 and RP2.
Input Circuits
This circuitry interfaces the analog and digital inputs to the DSP. The analog input
stages scale and buffer the input audio level to match it to the analog-to-digital
(A/D) converter. The A/D converts the analog input audio to digital audio. The digi-
tal input receiver accepts AES3-format digital audio signals from the digital input
connector and sample rate-converts them as necessary. The digital audio from the
A/D and SRC is transmitted to the DSP.
1. Analog Input Stages

Located on Input/Output board
The RF-filtered left and right analog input signals are each applied to a floating,
balanced amplifier that has an adjustable (digitally controlled) gain. Analog
switches set the gain. The outputs of a latch set the state of the switches. By writ-
ing data to the latch, the control circuits set the gain to correspond to what the
user specifies via the front panel controls. The gain amplifier’s output feeds a cir-
cuit that scales, balances, and DC-biases the signal. This circuit feeds an RC low-
pass filter that applies the balanced signal to the analog-to-digital (A/D) con-
verter.
Note that the small RFI “tee” filter assemblies connected to the input and output
connectors are socketed and user-replaceable.
The left channel balanced audio input signal is applied to the filter / load net-
work made up of L100-103 and associated resistors and capacitors. (There are
solder pads available in the PC board to accept an optional 600Ω termination
load [R106] on the input signal if the user wishes to install one.) A conven-
tional three-opamp instrumentation amplifier (IC100 and associated circuitry)
receives the input signal. R110-114 and quad analog switch IC101 make up the
circuit that sets the gain of IC100. The switches in IC101 set the gain of the in-
strumentation amplifier by switching resistors in parallel with R104. (Smaller
total resistances produce larger gains.)
IC100 feeds IC104 and associated components. This stage balances, DC-biases,
and scales the signal to the proper level for the analog-to-digital (A/D) con-
verter IC107. IC105A and associated components comprise a servo amp to cor-
rectly DC-bias the signal feeding the A/D converter. R137-139, C109, C110
make an attenuator / RC filter necessary to filter high frequency energy that
would otherwise cause aliasing distortion in the A/D converter.
The corresponding right channel circuitry is functionally identical to that just

described.
IC100, 101, 102, 103 are socketed for easy field replacement. All other circuitry
is surface-mounted and is not field-replaceable.
2. Stereo Analog-to-Digital (A/D) Converter

The A/D converter, IC107, is a stereo 24-bit sigma-delta converter. (This is a sur-
face-mount part and is not field-replaceable,)
The A/D oversamples the audio, applies noise shaping, and filters and decimates
to 64 kHz sample rate. (An Orban-designed synchronous sample rate converter in
the 9400’s DSP performs the final decimation to 32 kHz. This ensures the flattest
frequency response to 15 kHz without aliasing.)
3. Digital Input Receiver and Sample Rate Converter (SRC)

The integrated receiver and input sample rate converter, IC500, accepts digital
audio signals using the AES3 interface format (AES3-1992). The built-in sample
rate converter (SRC) accepts and sample-rate converts any of the “standard” 32
kHz, 44.1 kHz, 48 kHz, 88.2 kHz, and 96 kHz rates in addition to any digital audio
sample rate within the range of 32 kHz and 96 kHz. The SRC converts the input
sample rate to 64 kHz. The final, high-quality decimation to the 9400 system
sample rate is done in the system DSP, as was done for the analog input.
This chip is surface-mounted and not field-replaceable.
Output Circuits
The 9400 has two stereo pairs of analog outputs and two AES3 digital outputs. We
will describe Output #1; Output #2 is identical except for its component reference
designators.
This circuitry interfaces the DSP to the analog and digital audio outputs. The digital
audio from the DSP is transmitted to the digital-to-analog converter (D/A) or output
sample rate converter (SRC) associated with a given output. The digital-to-analog
(D/A) converter converts the digital audio words generated by the DSP to analog
audio. The analog output stages scale and buffer the D/A output signal to drive the
analog output XLR connectors with a low impedance balanced output. The digital
output transmitter accepts the digital audio words from the output sample rate
converter (SRC) and transmits them to the digital output connector via an AES3 out-
put formatter and driver chip.
1. Stereo Digital-to-Analog (D/A) Converter

Located on input/output board
The D/A, IC211, is a stereo, 24-bit delta-sigma converter. It receives the serial left
and right audio data samples from the DSP at 64 kHz sample rate, and converts
them into audio signals requiring further, relatively undemanding analog filter-
ing. IC211 is surface-mounted and is not field-replaceable.
2. Analog Output Stages

The left and right analog signals emerging from IC211 are each filtered, ampli-
fied, and applied to a floating-balanced integrated line driver, which has a 50Ω
output impedance. The line driver outputs are applied to the RF-filtered left and
right analog output connectors. These analog signals can represent either the
transmitter or monitor output of audio processing.
IC201 and associated components filter the left channel signal emerging from
IC211. The purpose of these stages is to reduce the out-of-band noise energy
resulting from the delta-sigma D/A’s noise shaping filter and to translate the
differential output of the D/A converter into single-ended form. These com-
rd
ponents apply a 3 order low-pass filter to the differential signal from the D/A.
This filter does not induce significant overshoot of the processed audio, which
would otherwise waste modulation.
IC212B and associated components form a low-frequency servo amplifier to

remove residual DC from the signal. The 0.15Hz −3 dB frequency prevents tilt-
induced overshoot in the processed audio.
The buffered output of IC2201 is applied to IC213, a balanced output line

driver. This driver emulates a floating transformer; its differential output level
is independent of whether one side of its output is floating or grounded.
IC213 and its right channel counterpart IC214 are socketed for easy field re-
placement. All other circuitry is surface-mounted.
The corresponding right channel circuitry and the circuitry in Analog Output
#2 is functionally identical to that just described.
3. Digital Sample Rate Converters (SRC) and Output Transmitters

Located on Input/Output Daughterboard
For each of the two digital outputs, an integrated output sample rate converter
(SRC) converts the 64 kHz 9400 system output sample rate to any of the standard
32 kHz, 44.1 kHz, 48 kHz, 88.2 kHz, and 96 kHz rates. The SRC chip drives a digital
audio interface transmitter to encode digital audio signals using the AES3 inter-
face format (AES3-1992). These chips are surface-mounted and are not field re-
placeable.
DSP Circuit
The DSP circuit consists of eight Motorola DSP56362 24-bit fixed-point DSP chips that
execute DSP software code to implement digital signal processing algorithms.
The algorithms filter, compress, and limit the audio signal. The eight DSP chips, each
operating at approximately 100 million instructions per second (MIPS), for a total of
800MIPS, provide the necessary signal processing. A sampling rate of 32 kHz and
power-of-two multiples thereof, up to 512 kHz, is used.
System initialization normally occurs when power is first applied to the 9400 and can
occur abnormally if the 9400’s watchdog timer forces the SC520 to reboot. Upon ini-
tialization, the SC520 CPU downloads the DSP executable code stored in the flash
memory. This typically takes about 7 seconds. Once a DSP chip begins executing its
program, execution is continuous. The SC520 provides the DSP program with pa-
rameter data (representing information like the settings of various processing con-
trols), and extracts the front panel metering data from the DSP chips.
During system initialization, the SC520 queries the DSP hardware about its opera-
tional status and will display an error message on-screen if the DSP fails to initialize
normally. Please note any such messages and be ready to report them to Orban Cus-
tomer Service.
The DSP chips are located on the DSP board — see the drawings starting on page 6-
50. U701 and U702 are local voltage regulators on the DSP board that derive the
+3.3V supply for the DSP chips from the system digital 5V bus.
Power Supply
Warning! Hazardous voltages are present in the power supply when it is connected
to the AC line.
The power supply converts an AC line voltage input to various power sources used
by the 9400. To ensure lowest possible noise, four linear regulators provide ±15VDC
and ±5VDC for the analog circuits. A switching regulator provides high current
+5VDC for the digital circuits. An unregulated voltage powers the fan and feeds lo-
cal regulators.
The power supply circuits are straightforward and no explanation is required be-
yond the schematic itself. Be aware that C1, C4, C5, and C12 in the switching regula-
tor are premium-quality low-ESR capacitors and must be replaced with equivalent
types to ensure proper operation of the switching supply.
The output of the power supply is monitored by the power-indicator LED circuit,
which causes the power LED to flash according to a preset code to diagnose prob-
lems with the various power supplies in the 9400. See step (2.B) on page
4-8.
Abbreviations
Some of the abbreviations used in this manual may not be familiar to all readers:
A/D (or A to D) analog-to-digital converter

AES Audio Engineering Society
AGC automatic gain control
A-I analog input
A-O analog output
BAL balanced (refers to an audio connection with two active conductors and one shield sur-
rounding them).
BBC British Broadcasting Corporation
BNC a type of RF connector
CALIB calibrate
CIT composite isolation transformer
CMOS complementary metal-oxide semiconductor
COFDM Coded Orthogonal Frequency Division Multiplex — a robust type of digital modulation using
many narrow-bandwidth, low data rate, mutually non-interfering carriers to achieve an ag-
gregate high data rate with excellent multipath rejection.
COM serial data communications port
D/A (or D to A) digital-to-analog converter
dBm decibel power measurement. 0 dBm = 1mW applied to a specified load. In audio, the load
is usually 600Ω. In this case only, 0 dBm = 0.775V rms.
dBu decibel voltage measurement. 0 dBu = 0.775V RMS. For this application, the dBm-into-
600Ω scale on voltmeters can be read as if it were calibrated in dBu.
DI digital input
DJ disk jockey, an announcer who plays records in a club or on the air
DO digital output
DOS Microsoft disk operating system for IBM-compatible PC
DSP digital signal processor (or processing). May also refer to a special type of microprocessor
optimized for efficiently executing arithmetic.
EBU European Broadcasting Union
EBS Emergency Broadcasting System (U.S.A.)
EMI electromagnetic interference
ESC escape
FCC Federal Communications Commission (USA regulatory agency)
FDNR frequency-dependent negative resistor⎯an element used in RC-active filters
FET field effect transistor
FFT fast Fourier transform
FIFO first-in, first-out
G/R gain reduction
HD Radio See IBOC
HF high-frequency
HP high-pass
IBOC “In-Band On-Channel” — a form of digital radio commercialized by iBiquity Corporation
where the digital carriers use a form of COFDM modulation and share the frequency alloca-
tion of the analog carriers. Also known by its trademarked name of “HD Radio.”
IC integrated circuit
IM intermodulation (or “intermodulation distortion”)
I/O Input/Output
ITU International Telecommunications Union (formerly CCIR). ITU-R is the arm of the ITU dedi-
cated to radio.
JFET junction field effect transistor
LC inductor / capacitor
LCD liquid crystal display
LED light-emitting diode
LF low-frequency
LP low-pass
LVL level
MHF midrange / high-frequency
MLF midrange / low-frequency
MOD modulation
N&D noise and distortion
N/C no connection
OSHOOT overshoot
PC IBM-compatible personal computer
PCM pulse code modulation
PPM peak program meter
RAM random-access memory
RC resistor / capacitor
RDS / RBDS Radio (Broadcasting) Data Service — a narrowband digital subcarrier centered at 57 kHz in
the AM baseband that usually provides program or network-related data to the consumer in
the form of text that is displayed on the radio. Occupied bandwidth is ±2500 Hz.
REF reference
RF radio frequency
RFI radio-frequency interference
RMS root-mean-square
ROM read-only memory
SC subcarrier
SCA subsidiary communications authorization ⎯ a non program-related subcarrier in the AM
baseband above 23 kHz (monophonic) or 57 kHz (stereophonic)
S / PDIF Sony / Philips digital interface
TRS tip-ring-sleeve (2-circuit phone jack)
THD total harmonic distortion
TX transmitter
µs Microseconds. For AM pre-emphasis, the +3 dB frequency is 1 / (2 π τ), where τ is the pre-
emphasis time constant, measured in seconds.
VCA voltage-controlled amplifier
VU volume unit (meter)
XLR a common style of 3-conductor audio connector
XTAL crystal
Parts List
Many parts used in the 9400 are surface-mount devices (“SMT”) and are not in-
tended for field replacement because specialized equipment and skills are necessary
to remove and replace them. The list below includes substantially all of the parts
used in the 9400 (including surface-mount devices), and inclusion of a part in this list
does not imply that the part is field-replaceable.
See the following assembly drawings for locations of components.
Obtaining Spare Parts

Special or subtle characteristics of certain components are exploited to produce an
elegant design at a reasonable cost. It is therefore unwise to make substitutions for
listed parts. Consult the factory if the listing of a part includes the note “selected” or
“realignment required.”
Orban normally maintains an inventory of tested, exact replacement parts that can
be supplied quickly at nominal cost. Standardized spare parts kits are also available.
When ordering parts from the factory, please have available the following informa-
tion about the parts you want:
Orban part number

Reference designator (e.g., C3, R78, IC14)
Brief description of part
Model, serial, and “M” (if any) number of unit ⎯ see rear-panel label
To facilitate future maintenance, parts for this unit have been chosen from the cata-
logs of well-known manufacturers whenever possible. Most of these manufacturers
have extensive worldwide distribution and may be contacted through their web
sites.
Base Board
PART # DESCRIPTION COMPONENT IDENTIFIER
SUBASSEMBLY: FLAT CABLE-40P-
42008.020 J7
2"
16013.000.01 HEATSINK, CLIP-ON, TO 220 H1
20040.604.01 RESISTOR, METAL-FILM, 1/8W, 1%, R28, R30, R33, R35, R37, R39, R44,

604 OHM R46, R48, R49, R50, R51, R52, R53,
R54, R55
RESISTOR, METAL-FILM, ½W, 1%,
20080.301.01 R47
301 OHM
RESISTOR, RF, 1/8W, 1%, 10 OHM,
20121.100.01 R43, 45
1206
20121.750.01 RESISTOR, TF, 1/8W, 1%, 75 OHM R82, 83, 84
20128.002.01 RESISTOR, 2.0 OHM 1% 0805 R22, R23, R24, R25
20129.301.01 RESISTOR, 301 OHM, 0805 R59, R77
20130.100.01 RESISTOR, 1.00K 1% 0805 R79
20130.162.01 RESISTOR, 1/8W, 1%, 1.62K, 0805 R41, 42
20130.200.01 RESISTOR, 2.00K, 0805 R4, R56, R62
20130.332.01 RESISTOR, 1% 3.32K 0805 R76
20130.562.01 RESISTOR, 1/8W, 1%, 5.62K, 0805 R57
R26, R60, R61, R63, R65, R67, R68,
20131.100.01 RESISTOR, 10K, 0805 R69, R70, R71, R73, R74, R75, R80,
R81, R102, R103, R104
20131.140.01 RESISTOR, 14.0K, 0805 R58, 64
20131.301.01 RESISTOR, 30.1K, 0805 R72
R1, R2, R3, R7, R8, R9, R10, R11,
R12, R13, R14, R20, R27, R29, R31,
20132.100.01 RESISTOR, 100K, 0805 R32, R34, R36, R38, R40, R66, R85,
R86, R87, R88, R89, R90, R91, R92,
R93
20132.332.01 RESISTOR, 332K, 0805 R78
C3, C6, C7, C8, C9, C10, C11, C12,
21139.000.01 CAPACITOR, X7R, 0.1uF, 10%, 0805 C13, C18, C21, C24, C30, C32, C33,
C34, C35, C38, C39, C43
21147.022.01 CAPACITOR, 22pF, 0805, 1% C40, C41
CAPACITOR, 10uF, TANTALUM, C1, C4, C14, C15, C17, C19, C22,
21319.610.01
SURFACE-MOUNT C36, C37, C42
CAPACITOR, 4.7uF, TANTALUM,
21322.547.01 C2, C5, C20, C23
6032B
22016.000.01 DIODE, MMSZ5231B, SOD-123 D12
DIODE, VOLTAGE SUPPRESSOR, 15
22083.015.01 D11
VOLT
22101.001.01 DIODE, 1N4148WT / R D1, D3, D4, D5, D6, D9, D10
22209.000.01 DIODE, SHOTTKY 1A, 60V, SMD [REF NOT, STUFFED], D7, D8
23214.000.01 TRANSISTOR, NPN MMBT3904 Q1, Q3, Q4
23606.201.01 TRANSISTOR, POWER, NPN Q2
24857.000.01 IC, 74HC374 DLATCH SOL20 U4
IC, HEX INVERTER, SURFACE-
24900.000.01 U11, U13
MOUNT
24967.000.01 IC, 74ACT245DW U3, 5
24978.000.01 IC, 74ACT244SC U14, 15
24979.000.01 IC, BAT54C-7 D13, D14, D15, D16, D17
24982.000.01 IC, 74HC4051M U19
24983.000.01 IC, MAX7064STC100-10 U1
24984.000.01 IC, LP2987IM-5.0 U20
25008.000.01 IC, PS2506-4 U10, 12
27017.025.01 CONNECTOR, RIGHT ANGLE, PC J10
MOUNT, 25-PIN
27147.016.01 IC, SOCKET, DIP, 16-PIN, DUAL SU10, SU12
27147.018.01 IC, SOCKET, DIP, 18-PIN, DUAL SU18
CONNECTOR, HEADER, PC104
27371.040.01 HDR2
STACK 40-PIN
CONNECTOR, HEADER, PC104
27371.064.01 HDR1, HDR3
STACK 64-PIN
CONNECTOR, SOCKET, STRIP, 4-
27406.004.01 J5
PIN
CONNECTOR, SOCKET, STRIP, 14-
27406.014.01 J2, J8
PIN
CONNECTOR, HEADER, DOUBLE
27421.004.01 J6
ROW , 4-PIN, 2 X 2
27421.006.01 J3
ROW , 6-PIN, 2 X 3
27421.010.01 J12
ROW , 23", 2 X 5
CONNECTOR, HEADER, STR, 0.23",
27421.016.01 J13
2X8
CONNECTOR, HEADER, 3-PIN,
27426.003.01 J11
SINGLE ROW
CONNECTOR, STR, DOUBLE ROW,
27451.005.01 J4
26-PIN
HEADER, STR, DOUBLE ROW,
27451.024.01 J1
PCMOUNT
28086.000.01 CRYSTAL, 4.0 MHz, HC49US X1
29521.000.01 INDUCTOR, 3.9uH, JM391K L1, L2, L3
44093.100.01 FIRMWARE, PIC 8382 U18 U18
CPU Module
PART # DESCRIPTION COMPONENT, IDENTIFIER
20128.010.01 RESISTOR, 10 OHM,0805 R31, R34
20128.022.01 RESISTOR, 22 OHM 1% 0805 R5, R6
20128.332.01 RESISTOR, 33.2 OHM,0805 R10, R11, R14
RESISTOR, 49.9 OHM 1%
20128.499.01 R19, R20, R21, R22, R23
0805
20129.160.01 RESISTOR, 160 OHM 1% 0805 R24, R25
20129.330.01 RESISTOR, 330 OHM 1% 0805 R12, R16
20129.470.01 RESISTOR, 470 OHM 1% 0805 R13, R15
20130.100.01 RESISTOR, 1.00K 1% 0805 R17, R35
R3, R4, R7, R8, R26, R27, R28, R29, R30,
20130.475.01 RESISTOR, 4.75K,0805
R32
20130.931.01 RESISTOR, 9.31K, 1%, 0805 R33
20131.100.01 RESISTOR, 10K,0805 R1, R2, R9
RESISTOR,
20131.147.01 R18
1/8W,1%,14.7K,0805
RESISTOR NETWORK 1K
20233.102.01 RN1
CTS745C 8R BUSSED
RESISTOR NETWORK 4.7K
20233.472.01 RN2, RN3, RN4
CTS745C 8R BUSS
20237.472.01 RESISTOR NETWORK 8R, RN5
PART # DESCRIPTION COMPONENT, IDENTIFIER

ISO, 5%
CAPACITOR,
21139.000.01 C8, C9, C20, C21, C177, C179, C182
X7R,0.1uF,10%,0805
CAPACITOR,
21141.000.01 C10
NPO,1000pF,1%,0805
CAPACITOR,
21142.000.01 C2
NPO,100pF,1%,0805
C11, 126, 127, 133, 134, 150, 152, 154,
21146.310.01 CAPACITOR, .01uF,0805,10%
156, 158,160, 162, 180
CAPACITOR, 4.7pF 50V X7R
21167.047.01 C1
0805
CAPACITOR, 18pF 1% 50V
21170.018.01 C3, C4, C5, C6, C7
COG 0805
C14, 17, 125, 132, 151, 153, 155, 157, 159,
21171.105.01 CAPACITOR, 1uF X7R 0805
161, 175, 176, 178, 181, 183
CAPACITOR,
21322.547.01 C12
4.7uF,TANT,6032B
CAPACITOR, 10uF 10% TANT
21325.610.01 C13, C15, C16, C18
6032-B
22101.001.01 DIODE,1N4148WT / R D1, D2, D3
IC VOLTAGE REGULATOR
24331.025.01 U14
LT1963-2.5 SOT223
IC VOLTAGE REGULATOR
24331.033.01 U15
LT1963-3.3 SOT223
IC SDRAM MT48LC16
24541.000.01 U2, U3
TSOP54P
IC FLASH MEMORY E28F128
24542.000.01 U4
TSOP56
24543.000.01 IC CY2305 0DLYBuF 8P U11
IC NM93C46 SEEPROM
24544.000.01 U12
TSSOP
24653.000.01 IC PWRST MIC8114 SOT143 U5
24670.000.01 IC 10 / 100BT NIC NATIONAL U10
24965.000.01 IC,74ALVC164245DGG U7, U8, U9
IC MICROPROCESSOR
24972.520.01 U1
ELANSC520 BGA388
27306.000.01 CONN RJ45 PCMT W / MAGS J1
27370.040.01 CONN SCKT PC104 40PIN P2
27370.064.01 CONN SCKT PC104 64PIN P1, P3
28031.000.01 HOLDER,BATTERY,LITH CELL BT1HLDR
28041.000.01 CELL,COIN,BATTERY,LITH,3V BT1
28089.000.01 OSC 33MHZ SG636 4P SMD X1
28090.000.01 IC TCXO DS32 KHZ 36P BGA U13
CRYSTAL 25MHZ RXD MP35L
28091.000.01 Y1
SMD
CONTROL MODULE
32200.000.02
ASSEMBLY DRAWING
32201.000.02 PCB CONTROL MODULE 8382
44094.100.01 FIRMWARE 8382 U6 20LV8D
SCHEMATIC, CONTROL
62200.000.02
MODULE 8382
RS-232 Board
CAPACITOR, X7R, 0.1uF, 10%,
21139.000.01 C1, C2, C3, C4, C5, C6
0805
DIODE, SHOTTKY 1A, 60V,
22209.000.01 D1, D2, (NO STUFF)
SMD
24968.000.01 IC, MAX208ECNG U1
CONNECTOR, RIGHT ANGLE,
27017.009.01 J2
PC MOUNT, 9-PIN
IC, SOCKET, DIP, 24-PIN,
27147.124.01 SU1
DUAL
CONNECTOR, SOCKET 2X8
27489.016.01 J1
STACKER
29521.000.01 INDUCTOR, 3.9UH, JM391K L1
Power Supply
10012.404.01 SCREW MS SEM P / P 4-40 X ¼
TRANSISTOR, MOUNTING KIT, TO
15025.000.01 HW1, HW2, HW3, HW4, HW5
220
LED MOUNT, 1 POSITION, 0.240"
15061.005.01 H1, H2, H3, H4
HIGH
20020.025.01 RESISTOR, ¼W, 0 OHM, (JUMPER) R1
CAPACITOR, AXIAL LEADS, 0.1uF, C6, C10, C11, C12, C15, C19, C20,
21129.410.01
50V, 20% C21
CAPACITOR, RADIAL LEADS 100uF
21227.710.01 C1
16V HFS
21227.747.01 C4, C5
16V HFS
21230.710.01 C22
50V HFS
CAPACITOR, SNAP-IN, 6800uF, 16V,
21255.000.01 C13, C14
20%
CAPACITOR, RADIAL LEADS,
21256.000.01 C17, C18
1000uF, 35V, 20%
CAPACITOR, RADIAL LEADS, 100uF,
21263.710.01 C2, C3, C8, C9
25V, 10%
CAPACITOR, RADIAL LEADS, 2.2uF,
21307.522.01 C7, C16
35V, 10%
22004.056.01 ZENER-DIODE-1W-5%-5.6V-1N CR19, CR20
22015.000.01 DIODE-SHOTTKY RECTIFIER-SBL CR21, CR22, CR23
22083.022.01 CR2, CR13, CR14
VOLT
22083.033.01 CR9, CR10
VOLT
DIODE, VOLTAGE SUPPRESSOR,
22083.068.01 CR4, CR17, CR18
6.8 VOLT
CR5, CR6, CR7, CR8, CR11, CR12,
22201.400.01 DIODE, RECTIFIER IN4004 PRV400V
CR15, CR16
22208.040.01 DIODE, SHOTTKY-31DQ04-3.3 CR3
22500.271.01 ZENER, TRANSORB, VARISTOR V1, V2
24303.901.01 IC, LINEAR, DC REGULATOR, 15V U2

NEG
24304.901.01 IC, REGULATOR U1
IC, LINEAR, DC REGULATOR, 5V
24307.901.01 U3
POS
IC, LINEAR, DC REGULATOR, 5V
24308.901.01 U4
NEG
24323.000.01 IC, SIMPLE SWITCH, 0 TO 220 U5
26143.000.01 SWITCH, SLIDE, VOLT, 115 / 230 SW1
SWITCH, SLIDE, SPDT, VERTICAL
26146.000.01 SW2
MOUNT
27060.000.01 CONNECTOR, VERTICAL HEADER J1
27421.010.01 J7
ROW , 23", 2 X 5
CONNECTOR, HEADER, 3-PIN,
27426.003.01 J6 (OPTIONAL FAN CONNECTOR)
SINGLE ROW
27451.003.01 J3
PCMOUNT
27451.004.01 J4
PCMOUNT
27451.024.01 J5
PCMOUNT
CONNECTOR, VERTICAL, HEADER,
27493.000.01 J2
6 POS.
TERM, CRIMP, RING, INSULATED,
27711.206.01 LUG
6R
28004.150.01 FUSE, 3AG, SLOBLO, ½ AMP F1
28112.003.01 KNOB-FUSE-DOM-GRY-FOR 281 H7
28112.005.01 BODY-FUSEHOLDER-PC MNT H6
29262.000.01 LINE FILTER, PC MOUNT, 1A A1
29519.000.01 INDUCTOR-TORODIAL- 7.7UH L2
29526.000.01 INDUCTOR, PE92108K L1
50286.000.02 HEATBAR POWER SPLY 8382 HS1
Input/Output (I/O) Board: Main Board

C111, C118, C119, C120, C121,
C123, C124, C125, C126, C127,
C128, C202, C203, C233, C245,
C247, C249, C500, C501, C502,
C519, C600, C601, C602, C604,
CAPACITOR, CERAMIC, 50V, 0.1UF, C605, C606, C607, C609, C617,
21139.000.01
SMT C618, C620, C621, C622, C623,
C625, C632, C633, C634, C635,
C638, C639, C641, C642, C643,
C644, C648, C651, C657, C658,
C661, C663, C666, C667, C671,
C673
CAPACITOR, CERAMIC, 10%, X7R,
21154.433.01 C503
0.33UF, SMT
CAPACITOR, CERAMIC, 25V, 10%, C113, C117, C234, C235, C256,
21137.447.01
0.47UF, SMT C257
RESISTOR, METAL FILM, 1/8W, 1%,
20123.100.01 R521, R600, R601, R602, R603
1.00K
RESISTOR, METAL FILM, 1/8W, 1%, R142, R152, R247, R248, R292,
20126.100.01
1.00M, SMT R295
C200, C201, C232, C244, C246,
21318.510.01 CAPACITOR, P, 35V, 10%, 1UF
C248, C515, C516, C521
22101.001.01 DIODE, 1N4148W, SMT CR101, CR102, CR106, CR107
L204, L205, L206, L207, L208, L210,
29522.000.01 INDUCTOR, 1.2mH, 5%, IM-10-22
L212, L214
20123.150.01
1.50K, SMT R146
20041.154.01 R159, R160, R161, R162
1.54K
20130.162.01 R132, R153, R156, R157, R502
1.62K, SMT
20130.210.01 R112, R127
2.10K, SMT
R204, R210, R217, R220, R245,
20130.348.01 R246, R279, R280, R281, R282,
3.48K, SMT
R288, R290
R130, R133, R135, R136, R143,
20151.365.01 RESISTOR, 3.65K, 0.1%, SMT
R145, R147, R148
20123.499.01
4.99K, SMT R118, R121, R124
20130.562.01 R113, R128
5.62K, SMT
R201, R202, R205, R207, R208,
20130.845.01
8.45K, SMT R267, R268, R270, R271, R273,
R274, R276, R277, R283, R285
R237
10K, SMT
20124.100.01 10.0K, SMT, RESISTOR, METAL R125, R251, R252, R265, R293,
FILM, 1/8W, 1%, 10K, SMT R296, R519, R527, R531
20124.100.01 RESISTOR, METAL FILM, 1/8W, 1%,
R532, R533
(1206) 10.0K, SMT
20511.310.01 POT, TRIM, 10K VR200, VR201, VR202, VR203
20121.100.01 R154, R200, R266
10OHM, SMT
21319.610.01
CAPACITOR, P, 20V, 10%, 10UF C520
(6032)
C112, C122, C129, C130, C131,
21319.610.01 CAPACITOR, P, 20V, 10%, 10UF
C645, C646, C647
20131.113.01
11.3K, SMT R286, R287, R289
20131.147.01 R114, R129
14.7K, SMT

CAPACITOR, CERAMIC, 100V, 47PF, C101, C103, C105, C107, C108,
21144.000.01
5%, SMT C114, C136, C231
20131.499.01 R501, R520, R524
49.9K, SMT
20039.499.01
49.9OHM R298, R303, R304
IC, SINGLE 2-INPUT, 74AHC1G32,
24938.000.01 IC508
SMT
IC, OCTAL BUFFER/LINE DRIVER,
24992.000.01 IC601, IC605
74AHCT244
24900.000.01 IC, HEX INVERTER, 74HC14A, SMT IC603
24858.000.01 IC, DUAL, FLIP-FLOP, 74HC74, SMT IC604

24951.000.01 IC, 74HC151, SMT IC507, IC511
IC, OCTAL, D-TYPE, F-F, 74HC374,
24857.000.01 IC108, IC510
SMT
20121.750.01 R158, R530, R604, R605, R606
75.0OHM
20131.825.01
82.5K, SMT R216, R269, R272, R275, R278
R257, R258, R259, R260, R299,
20040.100.01 RESISTOR, 1/8W, 1%, 100 OHM,
R302, R305, R308
20122.110.01
110OHM, SMT R500
20129.150.01 R138, R151
150OHM, SMT
20129.249.01 R137, R139, R149, R150, R155
249OHM, SMT
CAPACITOR, CERAMIC, NPO, 0805, C217, C218, C219, C220, C250,
21140.000.01
1%, 50V, 470PF, SMT C251, C253, C255
20040.475.01
475OHM R301, R306, R307
20040.604.01 R100, R107, R115, R120
604OHM,
20040.715.01 R106, R119
715OHM
20129.768.01 R111, R126
768OHM, SMT
CAPACITOR, CERAMIC, NPO, 0805,
21141.000.01 C517, C652, C653, C654, C655
1%, 50V, 1000PF, SMT
C236, C237, C238, C239, C258,
21127.210.01 CAPACITOR, AXL, 5%, 100V, 1000PF
C259, C262, C263
CAPACITOR, CERAMIC, NPO, 0805,
21143.000.01 C221, C222, C252, C254
1%, 50V, 1500PF, SMT
CAPACITOR, CERAMIC, DISC, 10%, C240, C241, C242, C243, C260,
21112.215.01
1KV, 1500PF C261, C264, C265
CAPACITOR, CERAMIC, DISC, 10%,
21112.230.01 C100, C102, C104, C106
1KV, 3000PF
CAPACITOR, CERAMIC, 50V, C109, C110, C115, C116, C518,
21138.247.01
4700PF, NPO, SMT C522
22102.001.01 DIODE, HOT CARRIER, 5082-2800 CR500
CAPACITOR, CERAMIC DISC, 10%,

21112.282.01 C132, C133, C134, C135
1KV, 8200PF
29534.000.01 IND, 8200uH, 10%, 8250-822K L101, L103, L105, L107
IC, SAMPLE RATE CONVERTER, 192
24753.000.01 IC512
KHZ, AD1895AYRS, RS-28, SMT
IC, QUAD SPST SWITCH, ADG222,
24728.302.01 IC101, IC103
DIP16
24997.000.01 IC, DAC, AK4393VF, SMT IC211, IC215
24963.000.01 IC, AK5383, A-D CONVERTER, SMT IC107
IC, DIGITAL AUDIO INTERFACE
24673.000.011 IC500
RECEIVER, SMT
24958.000.01
IC, DRV134PA, 8-PIN DIP IC213, IC214, IC219, IC220
(PA)
27054.003.01 CONNECTOR, RT, PC, FEMALE, XLR J100, J103, J500
29506.001.01 FERRITE BEAD ON WIRE L500, L501
L100, L102, L104, L106, L200, L201,

29508.210.01 FILTER, EMI, 50V, 1000PF
L202, L203, L209, L211, L213, L215
27406.014.01 JP600
27451.004.01 HEADER, 10X2, SHOUDED J601
27451.005.01 IDC HEADER, 2X13, SHROUDED J505, J600
24335.000.01 IC, VREG, LT1761ES5-3.3, SMT IC514
27053.003.01 CONNECTOR, RT, PC, MALE, XLR J201, J202, J203, J204
24024.000.01
IC, OPAMP, DUAL, AUDIO, OPA2134 IC100, IC102
(PA)
24960.000.01
IC, OPAMP, DUAL, AUDIO, OPA2134 IC212, IC218
(UA)
24960.000.01 IC104, IC105, IC106, IC201, IC202,
IC, OPAMP, DUAL, AUDIO, OPA2134
(UA) IC216, IC217
24970.000.01 IC, PIC16C67-20/L, SMT, JLCCC44 IC503
29015.000.01 XFMR, SC937-02, SMT T500

27630.001.01 JUMPER, TEST POINT TP600, TP607
CR100, CR103, CR104, CR105,
TRANSZORB, SMCJ26C, DO-214AB,
22106.000.01 CR202, CR203, CR204, CR205,
SMT
CR206, CR207, CR208, CR209
27174.044.01 SOCKET-44P IC503
L100, L102, L104, L106, L200, L201,

27408.003.01 CONNECTOR, 3P, SOCKET, STRIP
L202, L203, L209, L211, L213, L215
IC100, IC102, IC213, IC214, IC219,

27147.008.01 DIP-8P, SOCKET
IC220
27147.016.01 DIP-16P, SOCKET IC101, IC103
32261.000.01 CIRCUIT BOARD
Input/Output (I/O) Board: Daughter Board

21139.000.01 CAPACITOR, CERAMIC, 50V, 0.1UF, C2, C5, C6, C7, C8, C9, C10, C11,
(0805) SMT C12
21318.510.01
CAPACITOR, P, 35V, 10%, 1UF C4
(1206)
CAPACITOR, P, TANTALUM, 25V,
21319.610.01 C3
10UF, SMT
20131.499.01 R3, R4, R5, R6
49.9K, SMT
24634.000.01 IC, OCTAL, 74HC241A, SMT IC4
20129.110.01 R1, R2
110OHM, SMT
CAPACITOR, CERAMIC, 50V,
21138.247.01 C1
4700PF, NPO, SMT
IC, SAMPLE RATE CONVERTER, 192
24753.000.01 IC5, IC6
KHZ, AD1895AYRS, RS-28, SMT
CABLE, FLAT, SUBASSEMBLY, 26P,
42007.040 JP1
4"
IC, DIGITAL AUDIO INTERFACE
24672.000.011 IC2, IC3
TRANSMITTER, SMT
29506.001.01 FERRITE BEAD ON WIRE L1, L2, L3, L4
IC, LOW NOISE REGULATOR,
24335.000.01 IC1
100mA, 3.3V, SMT
29015.000.01 XFMR, SC937-02, SMT T1, T2
27053.003.01 CONNECTOR, RT, PC, MALE, XLR J1, J2
DSP Board
42007.030 SUBASSEMBLY, FLAT CBL-26P- 3 J601
HEATSINK, VERTICAL MOUNT,
16021.000.01 HS700
BLACK ANODIZED
R505, R506, R508, R604, R605, R606,
R607, R608, R609, R610, R611, R612,
20128.075.01 RESISTOR, 75OHM, 1%, 0805
R705, R806, R807, R808, R809, R810,
R811
R301, R302, R303, R304, R305, R306,
20131.100.01 RESISTOR, 10K, 0805 R307, R308, R507, R510, R801, R802,
R803, R804, R805
R101, R102, R103, R104, R502, R503,
20132.100.01 RESISTOR, 100K, 0805
R504, R509, R601, R602, R603
RESISTOR NETWORK, SIP, 2%,
20221.101.01 RN501
100K, 10PIN
CAPACITOR, 8200pF, ±15%, 1206, C101, C103, C105, C107, C109, C111,
21137.282.01
50V C113, C115
C102, C104, C106, C108, C110, C112,
21137.447.01 CAPACITOR, 0.47uF 25V 10% 1206
C114, C116
C701, C702, C703, C704, C705, C706,
C707, C708, C709, C710, C711, C712,
C713, C714, C715, C716, C718, C719,
C720, C723, C724, C725, C726, C727,
C728, C729, C732, C733, C734, C739,
21139.000.01 CAPACITOR, X7R, 0.1uF, 10%, 0805
C740, C741, C742, C743, C744, C749,
C751, C752, C753, C754, C755, C756,
C757, C758, C759, C760, C761, C762,
C764, C765, C768, C769, C802, C803,
C805, C806, C808, C809
21141.000.01 CAPACITOR, NPO, 1000pF, 1%, 0805 C771, C772, C773, C774
CAPACITOR, 22uF , TANTALUM,
21309.622.01 C736
SURFACE-MOUNT
CAPACITOR, 10uF, TANTALUM, C763, C766, C767, C770, C801, C804,
21319.610.01
SURFACE-MOUNT C807
DIODE, VOLTAGE SUPPRESSOR,
22083.068.01 CR700, CR701
6.8 VOLT
24326.000.01 IC, REG, 1086, 3.3V IC701, IC702
24857.000.01 IC 74HC374 DLATCH SOL20 IC504
IC, EPM 7064AETC44-10, SURFACE-
24944.000.01 IC503
MOUNT
24945.000.01 IC 74AHC541 OCTAL BUFFER SOL20 IC501
24946.000.01 IC-8 BIT-DUAL TRANSCEIVER W / 3 IC502
IC 74LVC2244 OCTAL BUFFER,
24948.000.01 IC601, IC602
SOL20
IC, SURFACE-MOUNT, PLL1700,
24955.000.01 IC801, IC802
SSOP / 20
IC101, IC102, IC103, IC104, IC105,
24991.000.01 IC, DSP 56362PV100
IC106, IC107, IC108
24993.000.01 IC, EPM7256AETC100-10 IC603
24994.000.01 IC, 74ACT04, SOIC 14P IC807
27421.002.01 J500
ROW , 2P, 2 X 1
27421.004.01 J101
ROW , 4P, 2 X 2
27421.010.01 J603
ROW , 23", 2 X 5
27451.003.01 HEADER, STR, DRLROW, PCMOUNT J701
CONNECTOR, DOUBLE ROW , PC
27451.007.01 J504
MNT, 40-PIN
27630.001.01 JUMPER, PC-MOUNT, TEST POINT TP702, TP703
OSC, CRYSTAL CLOCK, 27MHz, 3
28083.000.01 U804
VOLT
Display Board
SUBASSEMBLY, FLAT CABLE-
42007.080
26P- 8"
15062.390.01 LED SPACER, 390 HIGH
20122.110.01 RESISTOR, TF, 1/8W, 1%, 110 R17-R24

OHM
RESISTOR, TF, 1/8W, 1%,
20124.100.01 R29, R30
SURFACE-MOUNT 10K
20125.100.01 RESISTOR, TF, 1/8W, 1%, 100K R25, R26, R27, R28
RESISTOR, NETWORK, DIL,
20226.000.01
2%, 100 OHM
CAPACITOR, SURFACE
21131.410.01 C2-C10
MOUNT, 1206, 0.1uF, 50V, 20%
CAPACITOR, TANTALUM,
21313.568.01 C1
6.8uF, 25V, 10%
24851.000.01 IC, SOL20, SURFACE-MOUNT IC8
24857.000.01 IC 74HC374 DLATCH, SOL20 IC3
IC, HEX INVERTER, SURFACE-
24900.000.01 IC7
MOUNT
24905.000.01 IC, CMOS OCTAL D REG. 3 ST IC4, IC5, IC6, IC9
24908.000.01 IC, OCTAL, D TYP, FLIP / FLOP IC1, IC2
LED, YELLOW, T-1, HIGH-
25106.001.01 CR11, CR12, CR13, CR14, CR15
EFFICIENCY LAMP
25119.003.01 LED, T-3 FLAT TP FLNGL, RED
LED, ARRAY, 10 -POSITION, 1
25167.000.01 CR7, CR16
RED, 1 YEL, 8 GRN
LED, ARRAY, 10 -POSITION, 9
25168.000.01 CR1, CR2, CR3, CR4, CR5, CR6, CR8, CR9
YEL, 1 RED
27216.012.01 CBL FLEXSTRIP 4P 12"
CONNECTOR, HEADER,
27421.004.01 J1
DOUBLE ROW , 4P, 2 X 2
Schematics and Parts Locator Drawings

These drawings reflect the actual construction of your unit as accurately as possible.
Any differences between the drawings and your unit are probably due to product
improvements or production changes since the publication of this manual.
If you intend to replace parts, please read page 6-13. Please note that because sur-
face-mount parts are used extensively in the 8382, few parts are field-replaceable.
Servicing ordinarily occurs by swapping circuit board assemblies. However, many
vulnerable parts connected to the outside world are socketed and can be readily re-
placed in the field.

Chassis Circuit Board Locator and Basic In- Top view 6-27
terconnections (not to scale)
Base Board Glue logic; supports CPU module Parts Locator 6-28
and RS-232 daughterboard. Drawing
Contains:
System Connections Schematic 1 of 4 6-29
CPU module interface Schematic 2 of 4 6-30
Power Supply Monitor Schematic 3 of 4 6-31
CPLD, General Purpose Interface, Schematic 4 of 4 6-32
and Remotes
CPU Module Control microprocessor. Services Parts Locator 6-33
front panel, serial port, Ethernet, Drawing
DSP board, and control board. Re-
sides on base board.
Contains:
Ethernet Schematic 1 of 5 6-34
General Purpose Bus Schematic 2 of 5 6-35
Memory Schematic 3 of 5 6-36
Miscellaneous Functions Schematic 4 of 5 6-37
Power and Ground Distribution Schematic 5 of 5 6-38
RS-232 Board Supports Serial Port Parts Locator 6-39
Drawing
Power Supply ±15V analog supply; ±5V analog Parts Locator 6-41
supply; +5V digital supply Drawing
I/O Board Analog Input/Output Parts Locator 6-43
AES3 Input/Output Drawing
Composite Output
SCA Input.
Contains:
L and R Analog Inputs Schematic 1 of 5 6-44
L and R Analog Outputs Schematic 2 of 5 6-45
Control and Digital I/O Schematic 4 of 5 6-46
Interface and Power Distribution Schematic 5 of 5 6-47
I/O Daughter Parts Locator 6-48
Digital Outputs 1 and 2
Board Drawing
DSP Board DSP Chips; Local +3.3V regulator. Parts Locator 6-50
Contains: Drawing
DSP Extended Serial Audio Inter- Schematic 1 of 7 6-51
face (ESAI)
DSP Host Interface Schematic 2 of 7 6-52
DSP Serial Peripheral Interface, Schematic 3 of 7 6-53
Power, and Ground
ISA Bus 8-bit I/O Schematic 4 of 7 6-54
Serial Audio Interface and Clock Schematic 5 of 7 6-55
Generation
Power Distribution Schematic 6 of 7 6-56
No-Connects Schematic 7 of 7 6-57
Display Board Front-Panel LCD, LEDs, Buttons, Parts Locator 6-58
and Rotary Encoder Drawing
DSP Block Shows signal processing 6-60

Diagram
Monitor Accessory packaged with 9400 Schematic 1 of 1 2-7
Rolloff Filter
Base Board Parts Locator Drawing

(for schematic 62165.000.06)
+5VD +RAW
SD(0..15)
2-1A, 1-5A FROM POWER SUPPLY TV9 TV8 TV11 TV12 TV13 TV14
U5
JP8 +5VD
2-1A, 1-5D /GPIOWR 74ACT245DW J1
14 SIN2 /GPIORD 1 DIR 20
2-1A, 1-5D Vcc 1 +5vD
13
SOUT2 2-1B /FP_BUSEN 19
/OE
2
12 3
11
/RTS2 4
FPLED1 SD0 9 A8 FP_D0
4-2B B8 11 5
10 /CTS2 FPLED2 6
SD1 8
B7 12 FP_D1 +RAW
9
4-2B A7 7
2-1D DISPLAY SD2 7 A6 13 FP_D2 8
B6
8 AUX_COMM 2-1B, 1-4B CONTRAST 9
2-1A SD3 6 A5 B5
14 FP_D3 10
7 DIRTY_GND
SD4 5 A4 15 FP_D4 11
6
B4
12 +5vA —5vA -15V +15V
18.432MHz SD5 4
A3 B3
16 FP_D5 13 DGND
5 1-4B, 2-1B TV6 TV7 TV5 TV4
SD6 3
A2 B2
17 FP_D6 14
4 TV15 15
SD7 2 A1 B1
18 FP_D7
16
3
36.864MHz Gnd 1 17
2 1-4B 10 18
0.1uF
C43
19 AGND
1 2 20
21 Plus5VA (Monitor)
24.576MHz 22
4-8C
1-4B, 2-1B Minus5VA (Monitor)
23 4-8C
TO I/O BOARD U13e
+5VD
24 Minus15V (Monitor)
4-8D
Plus15V (Monitor)
/_IO_RESET 10 11 RSTDRV 4-8D
100K R86 100K
SD0 R14 FP_D0
74HC14D 100K
RSTDRV R13 100K R87
2-1B, 1-5D SD1 FP_D1
/SPI_CS 100K
2-1B R12 100K R88
SSI_DI SD2 FP_D2
1-2C
SSI_CLK 100K R89 100K
1-4C SD3 R11 FP_D3 BACKLIGHT
SSI_DO
1-2C 100K 100K
SD4 R10 R90 FP_D4
/DACK1 16013.000.01 2
1-5D 100K 100K
DRQ1 SD5 R9 R91 FP_D5 Q2
1-5D
TIP120 1
100K R92 100K
SD6 R8 FP_D6
JP7 3
SD7 100K 3
1 R7 100K R93 Heatsink R26
SD7 FP_D7
2.00K
1N4148
2 SD6 1 K
R4
D1
3
SD4 10.0 K
4 Q1 A
SD5 FP_D(0..7) 2
5 +RAW
6 SD(0..15) C42 MMBT3904
7
SD3
8 SD2 1 2 1
BACKLIGHT
2Ω
2Ω
2Ω
2Ω
0.1uF
R24
R25
9
R22
R23
SD1
C9
10
10uF 2
11 SD0
12 DIRTY_GND DIRTY_GND
13 GPAEN
14
2-1A, 1-5D Note: C42 is not populated
15 /SMEMWR in standard build.
16
1-5D
17 /SMEMRD
1-5D /GPIOWR
18
19
20 /GPIORD LED_PULSE
21
2-1D
22 FP_D0 FP_D7
23 /LED
FP_D1 FP_D6 2-1D
24 FPLED1
25 DSP3.3VA FP_D2 FP_D5 /ENCODER 2-1D
26 4-8B FPLED2
FP_D3 FP_D4
27 SA9 DSP3.3VB Reserved
28 4-8B DISPLAY FP_D4 FP_D3 N/C
29 SA8
30 SA6 CONTRAST FP_D5 FP_D2
31 FP_D6 FP_D1 R20 100K FP_ROW-COL
+5vD 2-1D
32 SA7 /GPIOWR FP_D7 FP_D0
33 SA4 ENC1
2-8D
34 SA5 /FPCOL_A
35 SA3 SA0 ENC2
/FPCOL_B 2-8D
36
37 SA1 /FPROW_A
38 SA2 /FPROW_B
39 SA0 Note: J6 is not populated
40 /FPROW_C in standard build.
SA(0..25) DIRTY_GND
2-1A, 1-5A /FPROW_D Key
+5VD +5VD 2 4
ENCODER
TO DSP BOARD +5vD
J6
(optional)
1 3
10uF
4.7uF
1 1 1
0.1uF
C21
C20
C19
DGND
1 1 1
10uF
2 2 2
4.7uF
0.1uF
+5VD +RAW
C22
C23
C24
+RAW
Key Key 2 2 2 Key Key
1 2 3 4 5 6 7 8 9 1011121314151617181920212223242526
Q5 2 4 2 4 2 4 6
MMBT3904 3
R5 1 2 3 4 5 6 7 8 9 10 11 12 13 14
1 +RAW 1 3 1 3 1 3 5
J3B J4 J5
10.0K J14 Key J3A J2
R17 2 1
TO SUPPLY LCD DATA DISPLAY LOGIC POWER
10.0K TO 8300 SERIES
TO FRONT PANEL ASSEMBLY
TV25 2 MONITOR LED
DIRTY_GND LCD BACKLIGHT
R6 3 TO 8500 SERIES
BKLITE_ON 4 LCD BACKLIGHT
2-5A 10.0K R16 5 DRIVER
2-5A MISC_OUT4 TV26
2-5A MISC_OUT5
R15 10.0K
Base Board Schematic:
10.0K
System Connections
(version 62165.000.06)
Sheet 1 of 4
/MEMCS16
2-1B
/MEMWR
2-1B
/MEMRD
2-1B
/SMEMWR
3-7C
/SMEMRD
3-7C
/SBHE
TV66
/GPIOCS
2-1B
/GPIOCS16
2-1B
/GPIOWR
3-6D, 2-1A
/GPIORD
3-6D, 2-1A
+5VD
RSTDRV
3-7C, 2-1B
GPRDY TV67
GPAEN JTAG_TRIG TV85
2-1A, 3-7C
GPTC
TV68 A1b JTAG_STOP/TX TV86
A1a GPALE TV69 JTAG_CMD/ACK
/DACK1 TV87
PC-104 Pinouts A B 3-7C E F
DRQ1 J13
/CHCHK A1 3-7C
Ground B1 JTAG_/TRST
E1 F1 1
SD7 A2 SD7
2
RESDRV B2 JTAG_TRIG JTAG_TDI
E2 F2 3
SD6 A3 SD6
4
B3
+5v. JTAG_BR/TC E3 F3 JTAG_TDO JTAG_TDO 5
SD5 A4 SD5
6
B4
IRQ9 JTAG_TMS E4 F4 JTAG_/TRST JTAG_TMS 7
A5 SD4
GPIRQ10 SD4
B5
8
-5v. JTAG_TDI E5 F5 JTAG_TCK 9
A6 SD3
GPIRQ11 SD3 10
DRQ2 B6 N/C JTAG_TCK E6 F6 11
GPIRQ12 SD2 A7 SD2 TV88 12
-12v. B7 /DTR2
E7 F7 (Reserved) N/C 13
A8 SD1 TV74
GPIRQ15 D C
SD1
B8
14
/ENDXFR N/C /RING2 E8 F8 /RTS2 JTAG_BR/TC 15
GPIRQ14 SD0 A9 SD0 TV75 16
D0 B9 /DCD2
Ground +12v. E9 F9 SIN2
C0 Ground CHRDY A10 TV76
D1 /DSR2
/MCS16 (Key) E10 F10 SOUT2
C1 /SBHE AEN A11 TV77
D2 B11
/IO16 /SMWTC /CTS2 E11 F11 /DTR1
SA23 C2 A12 SA19
D3 IRQ10
LA23 SA19
/SMRDC B12
/RI1 E12 F12 /RTS1 CPU Module JTAG Port
SA22 C3 LA22 SA18 A13 SA18
D4 B13
IRQ11 /IOWC /DCD1 E13 F13 SIN1
SA21 C4 LA21 SA17 A14 SA17
D5 B14
IRQ12 /IORC /DSR1 E14 F14 SOUT1
SA20 C5 LA20 SA16 A15 SA16
D6 B15 N/C TV2
IRQ15 /DACK3 /CTS1 E15 F15
SA19 C6 LA19 SA15 A16 SA15
D7 IRQ14 DRQ3 B16 N/C
CPU_+3.3V SSI_DI
E16 F16
SA18 C7 LA18 SA14 A17 SA14 4-8B 3-7C
/DACK0 D8 /DACK0 /DACK1 B17
SSI_CLK SSI_DO
E17 F17
SA17 C8 LA17 SA13 A18 SA13 3-7C 3-7C
DRQ0 D9 DRQ0 DRQ1 B18 CPU_+2.5V E18 F18
C9 /MEMRD SA12 A19 SA12 4-8B
/DACK5 D10 /DACK5 /REFRESH B19 Rsvd_1
TV3 E19 F19 TV71
C10 /MEMWR SA11 A20 SA11
DRQ5 D11 DRQ5 CLK B20 N/C Rsvd_2 Rsvd_0
TV72 E20 F20 TV70
SD8 C11 SD8 SA10 A21 SA10
/DACK6 D12 /DACK6 IRQ7 B21
E21 F21
SD9 C12 SD9 SA9 A22 SA9 ============= "Accomodation Provisions" ===========
DRQ6 D13 DRQ6 IRQ6 B22
3-7D, 2-1B
18.432MHz E22 F22 Default
+5VD
SD10 C13 SD10 SA8 A23 SA8 Default
/DACK7 D14 B23 36.864MHz /GPCS1
/DACK7 IRQ5
3-7D E23 F23 TV30 GPIRQ15 TV41 TV60
DRQ7 D15 B24 24.576MHz /GPCS2
SD12
DRQ7 IRQ4
3-7D, 2-1B E24 F24 TV31 GPIRQ14 TV42 TV61
C15 SD12 SA6 A25 SA6
D16 B25 Rsvd_3 /GPCS3
+5V. IRQ3
TV73 E25 F25 TV32 GPIRQ12 TV43 TV62
D17 B26 N/C
CLK_TIME/TEST /GPCS4 /DACK0
/MASTER16 /DACK2
TV82 E26 F26 TV33 GPIRQ11 TV44 Patch 4 TV52
D18 B27
Rsvd_6 /GPCS5 DRQ0
SD15
Ground TC
TV80 E27 F27 TV34 GPIRQ10 TV45 Patch 3 TV53
C18 SD15 SA3 A28 SA3
D19 B28
Rsvd_7 /GPCS6 /DACK5
Ground BALE
TV81 E28 F28 TV35 GPIRQ9 TV46 TV54
(Key) SA2 A29 SA2
B29 IDE_DREQ /GPCS7
+5v. E29 F29 GPIRQ7 DRQ5
SA1 A30 SA1 TV83 TV36 TV47 TV55
B30 IDE_/DACK /DACK6
OSC
TV84 E30 F30 PATCH1 TV37 GPIRQ4 GPIRQ6 TV48 TV56
SA0 A31 SA0
B31 DRQ6
Ground E31 F31 PATCH2 TV38 GPIRQ3 GPIRQ5 TV49 TV57
Ground A32
B32 /DACK7
Ground E32 F32 PATCH3 TV39 GPIRQ10 GPIRQ4 TV50 Patch 1 TV58
GPIRQ9 PATCH4 GPIRQ3 DRQ7
TV40 GPIRQ11 TV51 Patch 2 TV59
GPIRQ7
AUX_COMM TV63
10uF
0.1uF
4.7uF
1 1 1
2-1B, 3-7D
GPIRQ6
C3
C2
C1
2 2 2
TV64
AUX_PATCH
GPIRQ5
2-1B TV65
GPIRQ4
GPIRQ3
GPIRQ(3..15) +5VD
10uF
0.1uF
4.7uF
1 1 1
C6
C5
C4
SA(0..25) 2-1A, 3-7B 2 2 2
SD(0..15)
3-6D, 2-1A

CPU Module Interface
(version 62165.000.06)
Sheet 2 of 4
+15V +RAW
R62
U20 LP2987IM-5.0
2.00K 1 R82 R83 D12 D9
5 N.C. 4 A K K A Plus15V
OUTPUT INPUT
R60 R78 6 8
75.0 Ω 75.0 Ω 1N4148
Plus15V SENSE /SHUTDOWN
7 2
/ERROR DELAY
GND R84 D10
10.0K Vcc_PSM 332K 3 K A +RAW
0.1uF
1
R67
10.0K
75.0 Ω 1N4148
10uF
10uF
10uF
C39
2 1 1 1
1 1 K
10uF
0.1uF
R64 R61
10%
C38
C36
D15
D11
Minus15V
2 2 2
2 2
1 A
C37
C14
C15
14.0K 10.0K 3
2
D13 DGND
1 BAT54C
3
U19 74HC4051M
2 16
VDD
13 11 PMA0
X0 A
BAT54C PMA1
R63 R70 14 10
Plus5VA X1 B
15 9 PMA2
X2 C
10.0K 10.0K D14 12
X3
R69
TV29
10.0K
1 1
3 X4
TV1 5
2 X5
Minus5VA R72 R71 TV28 2 3 U18 PIC16C711/P
X6 X C40
TV27
BAT54C 4
2 1 16
X7
30.1K 10.0K OSC1
VSS
VEE
INH
1
10.0K
10.0K
22pF
4.000 MHz
R102
R68
8 7 6 6 PMA0
X1
RB0/INT
2 7 PMA1
(A SMALL PATCH OF GROUND) C41 RB1
2 1 15 8 PMA2
OSC2/OUT RB2 PWRFAIL
22pF 9
RB3 2-8D
+RAW +5VD DGND
17 10
RA0/AN0 RB4 ERROR
18 11 2-8D
RA1 RB5
1 12
+5vD R65 RA2/AN2/VREF RB6
2.49K
2 13
R76
RA3/AN3 RB7
10.0K
TV24 MCLR 4 3
100K
R66
100K
R85
MCLR RA4/T0CK1
R75 J11
+RAW SOCKET
VDD VSS Vcc_PSM
14 5 1
10.0K 18-PIN
DIP DEBUG 2
R79 C35 3LCD DEBUG/TEST

R73 DGND DGND 1 2 SU18
DSP3.3VA
1.00K 0.1uF
10.0K 1
D16 10%
Vcc_PSM Vcc_PSM
3
2
R74 BAT54C
DSP3.3VB
10.0K
R77
R80 301 Ω
CPU_+3.3V
10.0K D17
1
3
2 FPLED1 3-6D
R81 BAT54C
CPU_+2.5V
FPLED2 3-6D
10.0K

Power Supply Monitor
(version 62165.000.06)
Sheet 3 of 4
FP_ROW-COL
3-1B
DISPLAY
3-6D
ENC1
+5VD /LED
3-1B 3-1B
ENC2 /ENCODER
3-1B 3-1B
PWRFAIL U3 LED_PULSE
4-2C +5VD 3-1B
R104 74ACT245DW
4-2C ERROR +5VD R103
10.0K /GPIORD
10.0K 1
DIR 20
Vcc
/AUX_BUSEN 19 /OE
+5VD To Peripheral Board
U13c
14 U11g 14U13g J9
ENC1 5 6 SD0 9 11 AUX_D0
1 1
TV78 TV79 A8 B8 1
C33 C34 U13f SD1 8 12 AUX_D1 2
74HC14D 74HC14D A7 B7
3
U13d 74HC14D SD2 7 A6 13 AUX_D2
0.1uF 2 0.1uF 2 13 12 B6 4
7 7 SD3 6 A5
B5
14 AUX_D3 /CTS2 5
ENC2 9 8 /RTS2 6
74HC14D SD4 5 15 AUX_D4 SIN2
A4 B4 J12 7
SD5 4 16 AUX_D5 R3 SOUT2 8
74HC14D (Spare) A3 B3 TCK 1 2
/RI1 9
SD6 3 17 AUX_D6 TDO /DCD1
A2 B2 3 4 10
PWRFAIL 100K
SU10 SU12 SD7 2 18 AUX_D7 TMS /DSR1 11
A1 B1 5 6
1 NC /CTS1 12
SOCKET SOCKET ERROR Gnd R2 7 8 /DTR1 13
10
0.1uF
NC NC
/RTS1
C8
TDI 14
16-PIN 16-PIN 2 9 10
100K SIN1 15
DIP DIP SOUT1 16
NOTE:
+5VD R1 JTAG Port 17
U15
RSTDRV 18
D7 and D8 are not populated in R46 U11a +5VD 19
604 Ω U10 a 2 18 SD0 18.432MHz
standard build. 1 16 1 2 1A1 1Y1 100K 20
4 16 SD1 21
1A2 1Y2 AUX_D7 22
+5VD 6 14 SD2 1 1 1 1 AUX_D6
74HC14D TV16 1A3 1Y3 23
0.1uF
0.1uF
0.1uF
0.1uF
2 15
C10
C11
C12
C13
8 12 SD3 AUX_D5 24
D7 D8 R27 1A4 1Y4 AUX_D4 25
R48 604 Ω PS2506-4 11 9 SD4 2 2 2 2
2A1 2Y1 AUX_D3 26
100K TV17 13 7 SD5 AUX_D2 27
2A2 2Y2 11 26 38 43 59 74 86 88 89 90 95 39 91 82 66 51 34 18 3 62 73 15 4 U1 AUX_D1 28
1 A. U11b 15 5 SD6 AUX_D0
1 A. R28 604 Ω U10 b 2A3 2Y3 29
3 14 3 4
17 3 SD7 G G G G G G G G G G G V V V V V V V V # # # # 30
2A4 2Y4 31
TV18 n n n n n n n n n n n c c c c c c c c T T T T
d d d d d d d d d d d c c c c c c c c PATCH1 32
74HC14D 1 20 C D M D PATCH2 33
4 13 1G VCC I I I I I I I I K O S I PATCH3 34
R29 19 10 1 1
N/C N N / / / / / /
0.1uF
PATCH4 35
C32
R49 604 Ω PS2506-4 TV10 GND
T T O O O O O O
2G 2
N/C DISPLAY 57 DISPLAY 36
2 /AUX_0
100K SA0 /LED /AUX_1 37
DGND 74ACT244DW 16
(RESERVED) #LED 58
38
604 Ω U11c SA1 /ENCODER /AUX_2
R30 U10 c
94
SA1 #ENCODER 48
/AUX_3 39
Chas TV19 40
5 12 5 6 SA2 96
SA2 LED_PULSE 84 LED_PULSE
L1 41
/MISC_IN SA3 12
SA3 #FPCOL_A 46 /FPCOL_A 42
J10 74HC14D SA2 43
3.9uH 6 11 SA4 10
SA4 #FPCOL_B 54 /FPCOL_B
R31 SA1 44
PS2506-4 SA5 9
SA5 #FPROW_A 45 /FPROW_A SA0 45
1 R50 604 Ω
100K U14 +5VD SA6 8 47 /FPROW_B 46
14 SA6 #FPROW_B /USB_CS 47
2 U11d 2 18 SD0
SA7 6
SA7 P/N: 24983.000.01 #FPROW_C 52 /FPROW_C
/GPIOWR
48
1A1 1Y1 49
R44 604 Ω U10 d SA8 13
SA8 #FPROW_D 56 /FPROW_D
15
7 10 9 8
4
1A2 1Y2
16 SD1
SA9
Altera EPM 7064 STC 100-10 /FP_BUSEN /GPIORD
50
14 79
3 6 14 SD2 SA9 #FP_BUSEN
1A3 1Y3 SA10 17 (RESERVED) #AUX_BUSEN 76 /AUX_BUSEN
16
8 9 74HC14D 8 12 SD3
1A4 1Y4 SA11
4 R32 11 9 SD4 19 (RESERVED) (RESERVED) 80 C18
604 Ω PS2506-4 2A1 2Y1 SA12 /AUX_0
17
R51 13 7 SD5
20 (RESERVED) #AUX0 65
2 1
100K 2A2 2Y2 SA13 21 /AUX_1
71
5 15 5 SD6 (RESERVED) #AUX1
U11e
2A3 2Y3 SA14 23 64 /AUX_2 0.1uF
18
R33 604 Ω U12 a 17 3 SD7 (RESERVED) #AUX2
2A4 2Y4 SA15 25 42 /AUX_3
6 1 16 11 10 (RESERVED) #AUX3 C17
SA16 29 41 /SPI_CS
19 1 20 (RESERVED) #SPI_CS 2 1
74HC14D
1G VCC SA17 30 40 /USB_CS
7 2 15 19 10 1 (RESERVED) #USB_CS
R34 GND SA18 10uF
0.1uF
31
(RESERVED)
C30
2G
20
R52 604 Ω PS2506-4
2 SA19 32 (RESERVED) (RESERVED) 63 RSTDRV
8 100K 74ACT244DW
SA20 33 67 /GPIOCS
21 (RESERVED) (RESERVED)
U11f TV20 SA21 35 68 /MEMCS AUX_COMM
9 R35
604 Ω U12 b
(RESERVED) (RESERVED) 1-4B, 3-7D
SA22 36 69 /GPIOCS16
22 3 14 13 12 (RESERVED) (RESERVED) AUX_PATCH
/REMOTE_IN SA23 37 75 /MEMCS16 1-4B
10 (RESERVED) (RESERVED)
74HC14D SA24 93
(RESERVED) (RESERVED) 81 /MEMRD
23 4 13
R36 B # /MEMWR RSTDRV
SA25 92 R # 83 3-7C, 1-5D
11
R53 604 Ω PS2506-4 (RESERVED) K (RESERVED) /FP_BUSEN
R56 5 # # L # E M 85 24.576MHz 3-6D
24 100K CONT1 2.00K CONTRAST N/C M M I (RESERVED)
G G I I S
12
7
N/C G P P M T O /SPI_CS
U13a R57 P I I H E S T C 3-7C
25 R37 604 Ω U12 c CONT2 5.62K C E
301 Ω
z
N N N N A
R59
13
5 12 1 2 O O N N O N N N N N N
R58 / / / / E R W 1 O / / I I U / / / / / / /GPIOCS
1-5D
74HC14D CONT3 14.0K C C C C N D R 8 N C C N N T C C C C C C /MEMCS
6 11
R38 /GPIOCS16
PS2506-4 22 24 27 28 99 98 100 87 97 49 50 61 44 60 53 55 70 72 77 78 1-5D
L3 L2 R54 604 Ω /MEMCS16
Chas 1-5D
3.9uH 3.9uH 100K +5VD TV21
U4 /MEMRD
1-5D
U13b 1 /MEMWR
R39 604 Ω U12 d 20 OE /MISC_OUT 1-5D
Vcc 24.576MHz
7 10 3 4 CP 11 3-7D, 1-4B
2 3 SD0 18.432MHz
QO D0 3-7D, 1-4B
74HC14D 5 4 SD1
301 Ω
Q1 D1 /GPIOWR
R47
8 9
R40 6 7 SD2 3-6D, 1-5D
Q2 D2 /GPIORD
604 Ω PS2506-4 9
Q3 D3 8 SD3 3-6D, 1-5D
+RAW R55 12 13 SD4
100K Q4 D4 GPAEN 3-7C, 1-5D
15
Q5 D5 14 SD5
D3 SD6 CONTRAST
R45 10.0 Ω 16
Q6 D6 17
3-6D
A K 19
Q7 D7 18 SD7
3 Q3 SA(0..25)
1N4148 C7 1 10
Gnd 1-5A, 3-7B
R41
1N4148
K TALLY1 SD(0..15)
1
D5
0.1uF 2 3-6D, 1-5A

D4 74HCT374
R43 10.0 Ω A 1.62K
A K
Q4
2 MMBT3904
3 MMBT3904
1N4148
K
1N4148
1
D6
DGND
A MISC_OUT5
2 3-8A
R42 TALLY2 MISC_OUT4 3-8A
1.62K BKLITE_ON
DGND
3-8A CPLD, GPI & Remote
(version 62165.000.06)
Sheet 4 of 4
CPU Module
+3.3 VDC
R24 R25
150 ohm, 5%, 0805 150 ohm, 5%, 0805
10
5
C
RN4
4.7 k, 5%, CTS 745?083472J
PCI_AD[0..31]
1
9
8
7
6
4
3
2
PCI_AD31 PCI_AD31 D
AD31 A2 66 AD31
Req4-n U3 A1 PCI_AD30 PCI_AD30 67 +3.3 VDC
Req3-n Req4-n AD30 PCI_AD29 PCI_AD29 AD30
R3 Req3-n AD29 B1 68 AD29
Req2-n P4 B2 PCI_AD28 PCI_AD28 70
Req1-n Req2-n AD28 PCI_AD27 PCI_AD27 AD28
N3 Req1-n AD27 D2 71 AD27
D1 PCI_AD26 PCI_AD26 72
AD26 PCI_AD25 +3.3 VDC PCI_AD25 AD26 R21
AD25 E1 73 AD25
U4 E2 PCI_AD24 PCI_AD24 74 0 ohm, 1%, 0805
Gnt4-n AD24 PCI_AD23 PCI_AD23 AD24
T3 Gnt3-n AD23 F1 78 AD23
P3 G1 PCI_AD22 PCI_AD22 79
Gnt2-n AD22 PCI_AD21 PCI_AD21 AD22 TxData+
N4 Gnt1-n AD21 G2 81 AD21 TPTDP 54
H2 PCI_AD20 PCI_AD20 82
AD20 PCI_AD19 PCI_AD19 AD20
AD19 H1 83 AD19
IntD-n H4 J1 PCI_AD18 PCI_AD18 86 R19
IntC-n IntD-n AD18 PCI_AD17 PCI_AD17 AD18 49.9 ohm, 1%, 0805
H3 IntC-n AD17 J2 87 AD17
IntB-n J3 K2 PCI_AD16 PCI_AD16 88
IntB-n AD16 AD16
8
7
6
5
4
3
2
1
R2 PCI_AD15 PCI_AD15 101 C5
PCI_IntA-n AD15 PCI_AD14 RN5 PCI_AD14 AD15 10 pf, 1206
AD14 T2 102 AD14 1 Tx+
T1 PCI_AD13 PCI_AD13 104 C6
AD13 PCI_AD12 R-PACK PCI_AD12 AD13 0.1 uf
AD12 U1 105 AD12
U2 PCI_AD11 PCI_AD11 106 R20
AD11 PCI_AD10 PCI_AD10 AD11 49.9 ohm, 1%, 0805 TxCT
AD10 V2 108 AD10 2 CT1
10
11
12
13
14
15
16
V1 PCI_AD9 PCI_AD9 109
9
AD8 W1 110 AD08
Y2 PCI_AD7 PCI_AD7 112 53 TxData- 3
AD7 PCI_AD6 PCI_AD6 AD7 TPTDM Tx-
AD6 Y1 113 AD6
AA1 PCI_AD5 PCI_AD5 115
AD4 AA2 116 AD4
AB2 PCI_AD3 PCI_AD3 118 46 RxData+ 4
AD3 PCI_AD2 PCI_AD2 AD3 TPRDP Rx+
AD2 AB1 119 AD2
AC1 PCI_AD1 PCI_AD1 120
AD1 PCI_AD0 PCI_AD0 AD1 R22
AD0 AC2 121 AD0 49.9 ohm, 1%, 0805 C8
F2 PCI_CBE3-n 75 0.1 uf
CBE3-n PCI_CBE2-n CBEN3-n
CBE2-n K1 89 CBEN2-n
R1 PCI_CBE1-n 100 RxCT 5
CBE1-n PCI_CBE0-n CBEN1-n C7 CT2
CBE0-n W2 111 CBEN0-n 0.1 uf
A5 PCI_Reset-n 62 R23
Reset-n PCI_DevSel-n Reset-n 49.9 ohm, 1%, 0805
DevSel-n M1 95 DevSel-n
N1 PCI_Stop-n 96
Stop-n PCI_IRdy-n Stop-n
IRdy-n L2 92 IRdy-n
M2 PCI_TRdy-n 93 45 RxData- 6
TRdy-n PCI_Frame-n TRdy-n TPRDM Rx-
Frame-n L1 91 Frame-n
N2 PCI_PErr-n 97
PErr-n PCI_SErr-n PErr-n
SErr-n P2 98 SErr-n 7 NC
P1 PCI_Parity 99
Parity Par YelLEDA 9 YelLEDA
L3 PCI_Req0-n 64 17 X1 10
Req0-n PCI_Gnt0-n Req-n X1 YelLEDC
Gnt0-n M3 63 Gnt-n
K3 PCI_IntA-n 61 GrnLEDA 11
IntA-n IntA-n Y1 GrnLEDA
12 GrnLEDC
Ecliptek ECSMA-25.000M
8 Gnd
PCI_AD24 76 18 X2 13
IDSel X2 Gnd
14 Gnd
+3.3 VDC 122 3VAux

123 RJ-45 MAGJack LED
PwrGood C3 C4 J1
59 PME-n/ClkRun-n 18 pf 18 pf
+3.3 VDC +3.3 VDC
R12 +3.3 VDC

330 ohm, 5%, 0805 R16
R10 330 ohm, 5%, 0805
33.2 ohm, 5%, 0805 6
PCI_ClkOut PCI_ClkReference Vcc
ClkPCIOut A6 1 ClkRef
3 PCI_Clk1Out PCI_Clk1 60
Clk1 PCIClk
Clk2 2
R13 5 R14
470 ohm, 5%, 0805 Clk3 33.2 ohm, 5%, 0805
Clk4 7
4 Vss 28 ColDetect
8 R15 29 5
ClkOut 470 ohm, 5%, 0805 CarSense MgmtDataClk MDIO
6 RxClk MgmtDataIO 4
CY2305SI-1H 15 13
C2 U11 RxDataVal/MA11 RxOE
14 RxErr/MA10 TxEn 30
100 pf 12 25
R11 RxData3/MA9 TxData3/MA15 R18
11 RxData2/MA8 TxData2/MA14 24
33.2 ohm, 5%, 0805 10 23 14.7 k, 5%, 0805
PCI_ClkIn PCI_ClkReturn RxData1/MA7 TxData1/MA13
ClkPCIIn G3 7 RxData0/MA6 TxData0/MA12 22
31 TxClk
AMD ElanSC520-100AC
U1C
141 MD7 MWRN 131
140 MD6 MRDN 130
139 MD5 MCSN 129
138 MD4/EEDO EESel 128
135 MD3 MA5 3
134 MD2 MA4/EECLK 2
CnfgDisn 133 1
MD1/CNFGDISN MA3/EEDI LED100Link
132 MD0 MA2/LED100Link
MA1/LED10Link
144
143
LEDActivity
CPU MODULE: ETHERNET
MA0/LEDAcitvity 142
R17 National DP83815/83816

1 k, 5%, 0805 U10A
GP_SMemRd-n = GPA20 + GPA21 + GPA22 + GPA23 + GPA24 + GP_MemRd-n +5 VDC +5 VDC +5 VDC
GPA23 3 18 GP_SMemWr-n GP_SMemWr-n = GPA20 + GPA21 + GPA22 + GPA23 + GPA24 + GP_MemWr-n

R1 I0 Out0 GP_SMemRd-n
4 I1 Out1 19
MasterReset-n +3.3 VDC 5 I2 Out2 20
GPA24 ResetDrv-n = GP_Reset
6 I3 Out3 21
2
10 k, 5%, 0805 GPA21 7 23
GPA20 I4 Out4 JP1 JP2 JP3
9 I5 Out5 24 ResetDrv-n PrgReset = !MasterReset-n
GPA22 10 25 BuffRd-n
I6 Out6
11 I7 Out7 26 BuffRd-n = GP_MemRd-n & GP_IORd-n
12
1
I8
13 I9
17 I10 BHE
27 I11 +5 VDC
+3.3 VDC 2 IClk
16 OutEn P1B
3 MstrReset Vcc 4 B1 Gnd
GAL 20LV8D-7LJ ISA_Reset B2
U6A Reset
B3 Vcc
1 2 PwrGood C20 AE8 IRQ9 B4
Gnd Reset-n PwrGood PIO14/GPIRQ9 -5 VDC IRQ9
B5 -5 VDC
MIC8114TU DReq2 B6
U5 GP_Reset -12 VDC DReq2
GPReset AC22 B7 -12 VDC
D20 PrgReset B8
PrgReset +12 VDC OWS-n
B9 + 12 VDC
B10 Gnd
R2 ISA_SMemWr-n B11
10 k, 5%, 0805 ISA_SMemRd-n SMemWr-n
B12 SMemRd-n
ISA_IOWr-n B13
ISA_IORd-n IOWr-n
B14 IORd-n
DAck3-n B15
DReq3 DAck3-n
B16 DReq3
AC9 DAck1-n B17
PIO11/GPDAck1-n DReq1 DAck1-n
PIO7/GPDReq1 AF10 B18 DReq1
B19 Refresh-n
B20 SysClk
AF7 IRQ7 B21
PIO16/GPIRQ7 IRQ6 IRQ7
PIO17/GPIRQ6 AE7 B22 IRQ6
AD7 IRQ5 B23
PIO18/GPIRQ5 IRQ4 IRQ5
PIO19/GPIRQ4 AD6 B24 IRQ4
AE6 IRQ3 B25
PIO20/GPIRQ3 DAck2-n IRQ3
B26 DAck2-n
AD11 TC B27
PIO4/GPTC ALE TC
PIO0/GPALE AE12 B28 ALE
GPCS1-n B24 ROMCS1-n/GPCS1-n B29 Vcc
GPCS2-n C23 ROMCS2-n/GPCS2-n B30 OSC
GPCS3-n AC21 PITGate2/GPCS3-n B31 Gnd
GPCS4-n AA24 TimerIn1/GPCS4-n B32 Gnd
GPCS5-n AC20 TimerIn0/GPCS5-n PC104-P1
FlashStatus AE10 PIO6/GPDReq2 PIO2/GPRdy AF11
AD9 AE11 P1A
PIO10 PIO10/GPDAck2-n PIO3/GPAEN NMI
PIO27/GPCS0-n AE4 A1 IOChk-n
AC23 ISA_D7 A2
GPCS6-n TimerOut1/GPCS6-n ISA_D6 D7
GPCS7-n AD23 TimerOut0/GPCS7-n A3 D6
AD10 ISA_D5 A4
IDE_DReq PIO5/GPDReq3 ISA_D4 D5
IDE_DAck-n AE9 PIO9/GPDAck3-n A5 D4
ISA_D[0..15] ISA_D3 A6
ISA_D2 D3
A7 D2
D17 GPD15 GPD7 47 2 ISA_D7 ISA_D1 A8
GPD15 GPD14 GPD6 1A1 1B1 ISA_D6 ISA_D0 D1
GPD14 C17 46 1A2 1B2 3 A9 D0
C15 GPD13 GPD5 44 5 ISA_D5 IOChRdy A10
GPD13 GPD12 GPD4 1A3 1B3 ISA_D4 ISA_AEN IOChRdy
GPD12 D14 43 1A4 1B4 6 A11 AEN
D13 GPD11 GPD3 41 8 ISA_D3 ISA_A19 A12
GPD11 GPD10 GPD2 1A5 1B5 ISA_D2 ISA_A18 A19
GPD10 C13 40 1A6 1B6 9 A13 A18
C12 GPD9 GPD1 38 11 ISA_D1 ISA_A17 A14
GPD9 GPD8 GPD0 1A7 1B7 ISA_D0 ISA_A16 A17
GPD8 C11 37 1A8 1B8 12 A15 A16
C10 GPD7 GPD15 36 13 ISA_D15 GPA15 47 2 ISA_A15 ISA_A15 A16
GPD7 GPD6 GPD14 2A1 2B1 ISA_D14 GPA14 1A1 1B1 ISA_A14 ISA_A14 A15
GPD6 D10 35 2A2 2B2 14 46 1A2 1B2 3 A17 A14
D9 GPD5 GPD13 33 16 ISA_D13 GPA13 44 5 ISA_A13 ISA_A13 A18
GPD4 C9 32 2A4 2B4 17 43 1A4 1B4 6 A19 A12
C8 GPD3 GPD11 30 19 ISA_D11 GPA11 41 8 ISA_A11 ISA_A11 A20
GPD2 C7 29 2A6 2B6 20 40 1A6 1B6 9 A21 A10
B5 GPD1 GPD9 27 22 ISA_D9 GPA9 38 11 ISA_A9 ISA_A9 A22
GPD0 C4 26 2A8 2B8 23 37 1A8 1B8 12 A23 A8
GPA7 36 13 ISA_A7 ISA_A7 A24
GPA6 2A1 2B1 ISA_A6 ISA_A6 A7
1 1DIR 1OE 48 35 2A2 2B2 14 A25 A6
24 25 GPA5 33 16 ISA_A5 ISA_A5 A26
GPA25 2DIR 2OE GPA4 2A3 2B3 ISA_A4 ISA_A4 A5
GPA25 C3 32 2A4 2B4 17 A27 A4
D4 GPA24 74ACLV162450/SO GPA3 30 19 ISA_A3 ISA_A3 A28
GPA24 GPA23 U7A GPA2 2A5 2B5 ISA_A2 ISA_A2 A3
GPA23 D3 29 2A6 2B6 20 A29 A2
F3 GPA22 GPA24 GPA1 27 22 ISA_A1 ISA_A1 A30
GPA22 GPA21 GPA23 GPA0 2A7 2B7 ISA_A0 ISA_A0 A1
GPA21 C19 26 2A8 2B8 23 A31 A0
C14 GPA20 4.75 k, 5%, 0805 A32
GPA20 GPA19 4.75 k, 5%, 0805 R4 Gnd
GPA19 C21 1 1DIR 1OE 48
B22 GPA18 R3 24 25 PC104-P1
GPA18 GPA17 +3.3 VDC +3.3 VDC 2DIR 2OE
GPA17 E24
D24 GPA16 4.75 k, 5%, 0805 74ACLV162450/SO ISA_A[0..23]
GPA16 R36 U9A
GPA[0..24] P2A
AF12 BHE-n C1
PIO1/GPBHE-n Gnd
C2 SBHe
C24 GPA15 ISA_A23 C3
GPA15 GPA14 ISA_A22 LA23
GPA14 R24 C4 LA22
P24 GPA13 ISA_A21 C5
GPA13 GPA12 GPA23 ISA_A23 ISA_A20 LA21
GPA12 N24 47 1A1 1B1 2 C6 LA20
N23 GPA11 GPA22 46 3 ISA_A22 ISA_A19 C7
GPA11 GPA10 GPA21 1A2 1B2 ISA_A21 ISA_A18 LA19
GPA10 M23 44 1A3 1B3 5 C8 LA18
C2 GPA9 GPA20 43 6 ISA_A20 ISA_A17 C9
GPA9 GPA8 GP_SMemWr-n 1A4 1B4 ISA_SMemWr-n ISA_MemRd-n LA17
GPA8 M24 41 1A5 1B5 8 C10 MemRd-n
F23 GPA7 GP_SMemRd-n 40 9 ISA_SMemRd-n ISA_MemWr-n C11
GPA7 GPA6 1A6 1B6 ISA_IOWr-n ISA_D8 MemWr-n
GPA6 C1 38 1A7 1B7 11 C12 SD8
H24 GPA5 37 12 ISA_IORd-n ISA_D9 C13
GPA5 GPA4 GPA19 1A8 1B8 ISA_A19 ISA_D10 SD9
GPA4 L24 36 2A1 2B1 13 C14 SD10
J23 GPA3 GPA18 35 14 ISA_A18 ISA_D11 C15
GPA3 GPA2 GP_Reset 2A2 2B2 ISA_Reset ISA_D12 SD11
GPA2 K24 33 2A3 2B3 16 C16 SD12
G4 GPA1 GP_AEN 32 17 ISA_AEN ISA_D13 C17
GPA1 GPA0 GPA17 2A4 2B4 ISA_A17 ISA_D14 SD13
GPA0 J24 30 2A5 2B5 19 C18 SD14
GPA16 29 20 ISA_A16 ISA_D15 C19
GP_MemRd-n GP_MemRd-n 2A6 2B6 ISA_MemRd-n SD15
GPMemRd-n F24 27 2A7 2B7 22 C20 Key
C18 GP_MemWr-n GP_MemWr-n 26 23 ISA_MemWr-n
GPMemWr-n 2A8 2B8 PC104-P2
C16 GP_IOWr-n 1 48 ISA_OE-n
GPIOWr-n GP_IORd-n 1DIR 1OE
GPIORd-n G24 +3.3 VDC 24 2DIR 2OE 25
AD5 GPDBufOE-n 74ACLV162450/SO

PIO24/GPDBUFOE-n U8A
GPD[0..15]
GPD[0..15]
GPA[0..24]
P2B
D1 Gnd
AD4 MemCS16-n D2 +3.3 VDC
PIO26/GPMemCS16-n IOCS16-n MemCS16-n
PIO25/GPIOCS16-n AC4 D3 IOCS16-n
AD8 IRQ10 D4
PIO13/GPIRQ10 IRQ11 IRQ10 DReq2 DAck3-n
PIO23/GPIRQ0 AE5 D5 IRQ11 2 5 2 5
AF5 IRQ12 D6 DReq3 3 DAck5-n 3
PIO22/GPIRQ1 IRQ15 IRQ12 DReq1 DAck1-n
PIO21/GPIRQ2 AF6 D7 IRQ15 4 4
AF8 IRQ14 D8 DReq0 6 DAck0-n 6
PIO15/GPIRQ8 DAck0-n IRQ14 DReq5
PIO12/GPDAck0-n AC8 D9 DAck0-n 7 7
AF9 DReq0 D10 8 DAck6-n 8
PIO8/GPDReq0 DAck5-n DReq0 DReq6 DAck7-n
D11 DAck5-n 9 9
DReq5 D12 DReq7 1 10 DAck2-n 1 10
AMD ElanSC520-100AC DAck6-n DReq5
D13 C C
U1B DReq6
DAck7-n
D14
D15
DAck6-n
DReq6
DAck7-n
4.7 k, 5%, CTS 745?083472J
RN2
4.7 k, 5%, CTS 745?083472J
RN3
CPU Module:
DReq7 D16
+5 VDC D17
D18
DReq7
+5 VDC
Master-n
General Purpose
D19 Gnd
D20 Gnd
PC104-P2
Bus
DRAM Circuitry
MD[0..31]
MA[0..12]
V26 MA12 MA12 36 53 MD15 MA12 36 53 MD31

MA12 MA11 MA11 A12 DQ15 MD14 MA11 A12 DQ15 MD30
MA11 U26 35 A11 DQ14 51 35 A11 DQ14 51
MD31 A24 T26 MA10 MA10 22 50 MD13 MA10 22 50 MD29
MD30 MD31 MA10 MA9 MA9 A10/AP DQ13 MD12 MA9 A10/AP DQ13 MD28
A23 MD30 MA9 R26 34 A9 DQ12 48 34 A9 DQ12 48
MD29 B21 R25 MA8 +3.3 VDC MA8 33 47 MD11 +3.3 VDC MA8 33 47 MD27
MD28 MD29 MA8 MA7 MA7 A8 DQ11 MD10 MA7 A8 DQ11 MD26
A20 MD28 MA7 P25 32 A7 DQ10 45 32 A7 DQ10 45
MD27 A19 P26 MA6 MA6 31 44 MD9 MA6 31 44 MD25
B18 MD26 MA5 N26 30 A5 DQ8 42 30 A5 DQ8 42
MD25 A17 N25 MA4 MA4 29 13 MD7 MA4 29 13 MD23
MD24 MD25 MA4 MA3 R7 MA3 A4 DQ7 MD6 R8 MA3 A4 DQ7 MD22
B16 MD24 MA3 M25 26 A3 DQ6 11 26 A3 DQ6 11
MD23 A15 M26 MA2 4.75k, 5%, 0805 MA2 25 10 MD5 4.75k, 5%, 0805 MA2 25 10 MD21
B14 MD22 MA1 L26 24 A1 DQ4 8 24 A1 DQ4 8
MD21 A13 L25 MA0 MA0 23 7 MD3 MA0 23 7 MD19
MD20 MD21 MA0 A0 DQ3 MD2 A0 DQ3 MD18
B12 MD20 DQ2 5 DQ2 5
MD19 A11 U25 BA1 21 4 MD1 21 4 MD17
MD18 MD19 BA1 BA0 BA1 DQ1 MD0 BA1 DQ1 MD16
B10 MD18 BA0 T25 20 BA0 DQ0 2 20 BA0 DQ0 2
MD17 A9
MD16 MD17 CKELow SDQM1 CKEHigh SDQM3
B8 MD16 37 CKE UDQM 39 37 CKE UDQM 39
MD15 B23 15 SDQM0 15 SDQM2
MD14 MD15 RAMWE-n LDQM LDQM
A22 MD14 SWEA-n E26 16 WE-n 16 WE-n
MD13 A21 F25 RAMCAS-n 17 17
MD12 MD13 SCASA-n RAMRAS-n CAS-n CAS-n
B20 MD12 SRASA-n K25 18 RAS-n 18 RAS-n
MD11 A18 V25 RAMCS-n 19 19
MD10 MD11 SCS0-n CS-n CS-n
B17 MD10
MD9 A16 H25 SDQM3 38 38
MD8 MD9 SDQM3 SDQM2 CLK CLK
B15 MD8 SDQM2 G26
MD7 A14 H26 SDQM1
MD6 MD7 SDQM1 SDQM0 32 Mbit x 16 SDRAM 32 Mbit x 16 SDRAM
B13 MD6 SDQM0 G25
MD5 A12 SDQM[0..3] U2A U3A
MD4 MD5
B11 MD4 SRASB-n K26
MD3 A10 F26
MD2 MD3 SCASB-n
B9 MD2 SWEB-n E25
MD1 A8
MD0 MD1
B7 MD0 SCS1-n W25
J25 R5
MECC6 SCS2-n 22 ohm, 5%, 0805
Y26 MECC6 SCS3-n J26
MECC5 D25 DRAMClk
MECC4 MECC5
C26 MECC4 ClkMemOut B19 ClkMemOut
MECC3 Y25
MECC2 MECC3
W26 MECC2
MECC1 D26 22 ohm, 5%, 0805
MECC0 MECC1 R6
C25 MECC0
5 2 MECC4 A4 ClkMemIn
+3.3 VDC ClkMemIn
3 Route the ClkMemIn trace back and forth so that it is the
4 MECC6 same length as the SDRAMClk trace to either chip.
6 MECC3 AMD ElanSC520-100AC
7 MECC2 U1A C1
4.7 pf Route the SDRAMCLK "T" style so that the trace length
8 MECC5
MECC1 to each SDRAM chip is the same length.
9
10 1 MECC0
C Place the two (2), 22 ohm series terminating resistors as
CTS 745?083102J close as possible to the ElanSC520.
RN1
Place the 4.7 fp capacitor as close as possible to the
Elan SC520. Adjust the value to equalize loading on
SDRAMCLK and ClkMemIn nets.
Flash Circuitry
GPA[0..24]
GPA24 56
GPA23 A24
30 A23
GPA22 1
GPA21 A22 GPD[0..15]
3 A21 GPD[0..15]
GPA20 4 52 GPD15
GPA19 A20 D15 GPD14
5 A19 D14 50
GPA18 6 47 GPD13
GPA17 A18 D13 GPD12
7 A17 D12 45
GPA16 8 41 GPD11
GPA15 A16 D11 GPD10
10 A15 D10 39
GPA14 11 36 GPD9
GPA13 A14 D9 GPD8
12 A13 D8 34
GPA12 13 51 GPD7
GPA11 A12 D7 GPD6
17 A11 D6 49
GPA10 18 46 GPD5
GPA9 A10 D5 GPD4
19 A9 D4 44
GPA8 20 40 GPD3
GPA7 A8 D3 GPD2 +3.3 VDC
22 A7 D2 38
GPA6 23 35 GPD1
GPA5 A6 D1 GPD0
24 A5 D0 33
GPA4 25
GPA3 A4
26 A3 Vpen 15 +3.3 VDC
GPA2 27 R9
+3.3 VDC GPA1 A2 10k, 5%, 0805
28 A1
GPA0 32 A0
31 Byte-n
STS 53 FlashStatus
ROMRd-n 54 OE-n
FlashWR-n 55 WE-n
BootCS-n 14 CE0-n
2 CE1-n
29 CE2-n
ResetDrv-n 16 RP-n
E28F128J3A-150
U4A CPU Module: Memory
+3.3 VDC
R26
4.75 k, 5%, 0805
P3A
A1 A1
AF25 AC13 Trig/Trace A2
NC0 Trig/Trace BR/TC A2
AF23 NC1 BR/TC AD24 A3 A3
AF1 AE21 JTAG_TMS A4
NC2 JTAG_TMS JTAG_TDI A4
AE25 NC3 JTAG_TDI AF21 A5 A5
AE24 AD21 JTAG_TCK A6
NC4 JTAG_TCK A6
AE1 NC5 A7 A7
AD26 AD3 Ring2-n A8
NC6 PIO31/Ring2-n DCD2-n A8
AD25 NC7 PIO30/DCD2-n AE3 A9 A9
AD2 AF3 DSR2-n A10
NC8 PIO29/DSR2-n CTS2-n A10
AD1 NC9 PIO28/CTS2-n AF4 A11 A11
AC25 AA3 Ring1-n A12 +2.5 VDC
NC10 Ring1-n DCD1-n A12
AC3 NC11 DCD1-n V4 A13 A13
AA26 Y3 DSR1-n A14
NC12 DSR1-n CTS1-n A14
AB4 NC13 CTS1-n V3 A15 A15
AB3 NC14 A16 A16
E23 AD19 SSI_Clk A17
NC15 SSI_Clk A17
D23 NC16 A18 A18
C22 A19 C10 C11
NC17 CFG2 A19
E3 W24 A20 0.001 uf 0.01 uf
NC18 CF_DRAM-n/CFG2 A20
C6 NC19 A21 A21
C5 +3.3 VDC +2.5 VDC A22
NC20 A22
B6 NC21 A23 A23
B4 NC22 A24 A24
B3 Y24 PITOut2/CFG3 A25 4.75 k, 5%, 0805
NC23 PITOut2/CGF3 ClkTimer/ClkTest A25
A3 A7 A26 R32
NC24 ClkTimer/CltTest A26
A27 +3.3 VDC C12
A27
A28 0.01 uf
A28
AE17 PData15 IDE_DReq A29 A29
AD17 R28 A30
PData14 IDE_DAck-n A30
AC17 PData13 +3.3 VDC A31 A31
AC16 A32 R31
PData12 R27 4.75 k, 5%, 0805 A32
AD16 10 ohm, 5%, 0805
PData11 R29 32X2Conn
AE16 +3.3 VDC
PData10
AF16 PData09 +3.3 VDC
AF15 4.75 k, 5%, 0805
PData08 4.75 k, 5%, 0805 Vcc_Osc LF_PLL
AE15 PData07 4 1 AF24
P3B VccOsc VccCPU LF_PLL
AD15 PData06
AD14 AF17 Stop/TX B1
PData05 Stop/TX CmdAck B1
AE14 U24 B2 C9 2 3 AC26
PData04 CmdAck JTAG_TDO B2 Gnd ClkOut 33MXtal2
AF14 AF22 B3 0.1 uf
PData03 JTAG_TDO JTAG_TRst-n B3
AF13 PData02 JTAG_TRst-n AE22 B4 B4
AE13 B5 Epson SG-636PCE-33MC2 AB26
PData01 B5 33MXtal1
AD13 B6 X1
PData0 DTR2-n B6
DTR2-n AE23 B7 B7
AD18 AD22 RST2-n B8 A4 C4 RTC_Clock AE26
PAddr2 RTS2-n SIn2 B8 Vbat 32.768 khz 32kXtal2
AE18 V24 B9 VBat A5 C5
PAddr1 SIn2 SOut2 B9 Vbat 32.768 khz
AF18 PAddr0 SOut2 U23 B10 B10
W3 DTR1-n B11 B4 D4 AF26
DTR1-n RTS1-n B11 Vbat 32.768 khz 32kXtal1
AC12 ICE_Dis RTS1-n W4 B12 B12 B5 D5
SIn1 Vbat 32.768 khz
T24 PBReq SIn1 AE2 B13 B13
T23 AF2 SOut1 B14 A7 C7
TV SOut1 B14 T T
AF20 PBGnt B15 B15 A8 C8
SSI_DI T T
AE20 PRW SSI_DI AE19 B16 B16
AD12 AF19 SSI_DO B17 B7 D7 AMD ElanSC520-100AC
TClk SSI_DO B17 T T
B18 B8 D8 U1E
DataStrb/CFG1 B18 T T
DataStrb/CFG1 AC24 B19 B19
AD20 CS_ROM_GPCS-n/CFG0 B20
CS_ROM_GPCS-n/CFG0 B20
B21 DS32khz
B21 U13A
B22 B22
+3.3 VDC B23
GPCS1-n B23
GPCS2-n B24 B24
GPCS3-n B25 B25
GPCS4-n B26 B26
GPCS5-n B27 B27
4.75 k, 5%, 0805 B28
GPCS6-n B28
R30 B29
GPCS7-n B29
B30 B30
B31 B31
B32 B32
32X2Conn
ROMRd-n AB23 ROMRd-n

FlashWr-n AB24 FlashWr-n
BootCS-n AB25 BootCS-n
ROMBufOE-n AA25
AMD ElanSC520-100AC
U1D
CPU Module: Miscellaneous Connections

5 4 3 2 1
+3.3 VDC
+2.5 VDC +3.3 VDC +3.3 VDC +3.3 VDC

+5 VDC C201 34 127
See Table NC1 Res3
42 NC2 Res2 50
43 NC3 Res1 41 28 Vss Vdd 1 28 Vss Vdd 1 Vcc 37
1 Vin Vout 3 48 NC4 41 Vss Vdd 14 41 Vss Vdd 14 Vcc 9
54 Vss Vdd 27 54 Vss Vdd 27
C14 C15 +3.3 VDC 43
1 uf 10 uf, low ESR Vccq
6 Vssq Vddq 3 6 Vssq Vddq 3 21 Gnd
C13 + 2 4 35 36 12 9 12 9 42
10 uf, low ESR Gnd Gnd FSGnd FSVdd Vssq Vddq Vssq Vddq Gnd
46 Vssq Vddq 43 46 Vssq Vddq 43 48 Gnd
20 PHYGnd1 PHYVdd1 33 52 Vssq Vddq 49 52 Vssq Vddq 49
LT1963EST_2.5 32 21
U14 PHYGnd2 PHYVdd2 R200 E28F128J3A-150
8 137 See Table, 5%, 0805 32 Mbit x 16 SDRAM 32 Mbit x 16 SDRAM U4B
IOGnd1 IOVdd1 U2B U3B
16 IOGnd2 IOVdd2 85
+3.3 VDC 26 27
+5 VDC IOGnd3 IOVdd3
D
84 IOGnd4 IOVdd4 19 D
136 IOGnd5 IOVdd5 9 +3.3 VDC +3.3 VDC
C200 C202
1 3 65 117 See Table See Table C125 C126 C127 C132 C133 C134
Vin Vout PCIGnd1 PCIVdd1 1 uf 0.1 uf 0.01 uf 1 uf 0.1 uf 0.01 uf
77 PCIGnd2 PCIVdd2 107
C17 C18 90 94
1 uf 10 uf, low ESR PCIGnd3 PCIVdd3
103 PCIGnd4 PCIVdd4 80
C16 + 2 4 114 69
10 uf, low ESR Gnd Gnd PCIGnd5 PCIVdd5
57 MACGnd1 MACVdd1 125
LT1963EST_3.3 124 58
U15 MACGnd2 MACVdd2
51 TxDigGnd TxDigVdd 56
52 TxIOGnd1
55 TxIOGnd2
38 RxAnalGnd1 RxAnalVdd1 47 +3.3 VDC
44 RxAnalGnd2 RxAnalVdd2 39
37 SubGnd1
49 40 Vref
SubGnd2 Vref
126 SubGnd3 +3.3 VDC +3.3 VDC +3.3 VDC
National DP83815/8316 +3.3 VDC
U10B R33 4 4 4
See Table, 5%, 0805 Gnd Gnd Gnd
10 Gnd Vcc 42 10 Gnd Vcc 42 10 Gnd Vcc 42
1 NC Vcc 28 15 Gnd Vcc 31 15 Gnd Vcc 31 15 Gnd Vcc 31
+3.3 VDC +3.3 VDC 8 NC 21 Gnd 21 Gnd 21 Gnd
15 +5 VDC +5 VDC +5 VDC
C178 C179 C180 C181 C182 C183 NC
22 NC 28 Gnd 28 Gnd 28 Gnd
1 uf 0.1 uf 0.01 uf 1 uf 0.1 uf 1 uf 34 18 34 18 34 18
Gnd Vcc Gnd Vcc Gnd Vcc
14 Gnd 39 Gnd Vcc 7 39 Gnd Vcc 7 39 Gnd Vcc 7
45 Gnd 45 Gnd 45 Gnd
Component Value Table for 83815/83816 shared components GAL 20LV8D-7LJ
U6B 74ACLV162450/SO 74ACLV162450/SO 74ACLV162450/SO
U7B U8B U9B
C Component 83815 Value 83815 Value C
+3.3 VDC +3.3 VDC +5 VDC
+5 VDC +5 VDC
C175 C176 C177
+3.3 VDC
1 uf 1 uf 0.1 uf R33 9.31 k ohm, 5%, 0805 10.0 k ohm, 5%, 0805
C150 C151 C155 C156 C159 C160
R200 0 ohm, 5%, 0805 No Stuff 0.01 uf 1 uf 1 uf 0.01 uf 1 uf 0.01 uf
C200 0.01 uf, 0805 0.1 uf, 0805
C201 No Stuff 1.0 uf, 0805
C202 No Stuff 1.0 uf, 0805

+3.3 VDC +3.3 VDC +3.3 VDC
C153 C157 C158 C161 C162
1 uf 1 uf 0.01 uf 1 uf 0.01 uf
A1 Gnd
A2 Gnd
A3 Gnd
+3.3 VDC VBat +2.5 VDC A6
D1 Gnd
A9 Gnd Vcc C2
1N4148 B1 C3
Gnd Vcc
A26 VccRTC VccCore AC15 B2 Gnd
VccCore AC14 B3 Gnd
10 ohm, 5%, 0805 AC7 B6
R34 C20 VccCore Gnd
B VccCore AC6 B9 Gnd B
0.1 uf AC5 C1 D2
VccCore Gnd Vcc
B25 BBatSense VccCore R23 C6 Gnd Vcc D3
VccCore P23 C9 Gnd
T16 Gnd VccCore T4 D1 Gnd
D3 D2 T15 R4 D6
1N4148 1N4148 Gnd VccCore Gnd
T14 Gnd VccCore H23 D9 Gnd
T13 Gnd VccCore G23
T12 Gnd VccCore F4
T11 Gnd VccCore E4
BBatSense R16 D19 DS32khz
Gnd VccCore U13B
R15 Gnd VccCore D18
1 k, 5%, 0805 R14 D12
Gnd VccCore
1
R35 C21 R13 D11 +3.3 VDC

BT1 0.1 uf Gnd VccCore
R12 Gnd
BATTERY R11 Gnd
P16 Gnd VccIO AC19
P15 AC18
2
Gnd VccIO
P14 Gnd VccIO AC11
P13 Gnd VccIO AC10
P12 Gnd VccIO AA4
P11 Gnd VccIO Y4
N16 Gnd VccIO AA23
N15 Gnd VccIO Y23
N14 Gnd VccIO W23
N13 Gnd VccIO V23
N12 Gnd VccIO L23
N11 Gnd VccIO K23
M16 Gnd VccIO M4
M15 Gnd VccIO L4
M14 Gnd VccIO K4
M13 Gnd VccIO J4
M12 Gnd VccIO D22
M11 Gnd VccIO D21
L16 Gnd VccIO D16
L15 Gnd VccIO D15
L14 Gnd VccIO D8
L13 Gnd VccIO D7
A L12 Gnd VccIO D6 A
L11 Gnd VccIO D5
+2.5 VDC
A25 GndAnalog VccAnalog B26
AMD ElanSC520-100AC
U1F
CPU Module: Power and Ground Distribution
5 4 3 2 1
RS232 BOARD PARTS LOCATOR

+5VD
SU1
C5 SOCKET
0.1uF
24 PIN DIP
C4
U1 0.1uF
9
MAX208ECNG
C3
VCC
10 11
C1+ V+
0.1uF 12
C1-
C2 C6
13 15
C2+ V-
14
C2- 0.1uF
0.1uF
5 2
T1 IN T1 OUT
18 1
T2 IN T2 OUT
19 24
T3 IN T3 OUT
21 20
T4 IN T4 OUT
6 7
R1 OUT R1 IN
4 3
R2 OUT R2 IN
22 23
R3 OUT R3 IN
+5VD 17 16
GND
R4 OUT R4 IN
C1
8
J1 J2
0.1uF L1 5
2 1
3.9uH 9
4 3
RESERVED RESERVED 4
6 5
RESERVED RESERVED 8
8 7
/DCD1 RESERVED 3
10 9 D1 D2
/CTS1 /DSR1 7
12 11
/RTS1 /DTR1 2
14 13
SOUT1 SIN1 6
16 15 DIODE SCHOTTKY 1
HEADER 8X2
DIODE SCHOTTKY DB9M
RS232 DAUGHTER BOARD

8300 POWER SUPPLY PARTS LOCATOR

Plus15V
Gnd Lift
SW2 CR11 CR15
1 2 1 2
Mounting Mounting
3
Kit 1N4004 1N4004 Kit
N/C
U3 +5v Reg Plus15V

R1 C21 +15v Reg 15025.000.01
15025.000.01 U1
1 2 1 2 MC78M15CT MC78M05CT
0.1 F, 50v PlusRAW 1 3 1 3 Plus5VA
20%
0.1 F, 50v
0.1 F, 50v
AGND
20%
0.1 F, 50v
0.1 F, 50v
1
20%
C19
CR9 33V Transorb
1
20%
C20
C10
100 F, 25v
C9 100 F, 25v 10%
6.8V Transorb
C11
5.6v Zener
1000 F, 35v 20%
20%
1N4734A
CR13 22V Transorb
2
2
(Monitor) Plus15V
1N4004
1
2
10%
CR19
CR17
1N4004
C3
Chassis Ground Pigtail, 3" long
(Monitor) Minus15V
2
(Lug w/Green AWG 18) J5
2
C18
1
1
(Monitor) Minus5VA
2
24
CR5
2
2
AGND AGND
CR8
(Monitor) Plus5VA 23
Power Transformer 22
A1 Lug YELLOW/WHITE 21
Toroid Assy 20
AGND
Line Filter Assembly
(off board) AGND 19
18
100 F, 25v10%
17
CR10 33V Transorb

YELLOW
1000 F, 35v 20%

1N4004
16
22V Transorb
15
1N4004
WHITE ORANGE/WHITE
14
100 F, 25v
6.8V Transorb
1
1
4 CR12 DGND
5.6v Zener
1
1
CR16 13
1N4734A
C17
To: Base Board
1
10%
CR20
2 1 2 1 12
CR18
C2
2
2
DirtyGnd
2
2
11
CR6
BLUE ORANGE
CR7
2
C_Gnd 1N4004 1N4004 10
2
9
C8
8
CR14
BROWN RED/WHITE
U2 -15v Reg U4 -5v Reg +RAW 7
MC79M15CT MC79M05CT 6
1/2 A, Slow Blow Blow
Cap
MinusRAW 5
H7
2 3 2 3 Minus5VA
BLACK RED 4
0.1 F, 50v
3
0.1 F, 50v 20%

4 2 3 1 1 4 2 5 3 6
2.2 F, 35v
2.2 F, 35v
1
1
2
1
Minus15V
C6
2
2
Fuse
+5VD
20%
C16
C15
1
Fuse Holder
Mounting
C7
F1
20%
20%
Kit
2
1
1
H6
15025.000.01
J1 J2
AGND AGND
J4
4
2
3
1
1
4
2
5
3
6
Minus15V
1
Mounting 20
2
Kit 19
2
115v/230v
18
1
17
V1
1
V2 15025.000.01 16
4
SW1 15
AGND
14
+5VD 13
12
AGND
DGND 11
10 To: I/O Board
AGND 9
8
Plus15V 7
6
J7 Minus15V 5
PlusRAW MinusRAW 4
1 2
Minus5VA 3
DGND 3 4 C_Gnd 2
Plus15V Minus15V Plus5VA 1
5 6
+5VD 7 8 Plus5VA
CR22 Minus5VA 9 10
1 +RAW
2
Testing Access
3
J3
Dual Schotkey CR23 +RAW 16
Mounting 15
1 Kit 14
2 +RAW DGND
13
3 U5 DGND 12
Ref: PCB
5
15025.000.01 11
/ON 10
FAB 32181.000.02 Dual Schotkey
CR21 4
9
FDBK +5VD To: DSP Board
6800 F, 16v 20%
6800 F, 16v 20%
8
L1 L2
1 1 LM2576T 7
22V Transorb
VIN
2 6
100 F, 50v, Low ESR

OUT 2 1 2 1 2
1
3 5
CR2
C14
C13
0.1 F, 50v 20%

4
100uH, 3A 7.7uH, 4A
470 F, 16v, HFS
470 F, 16v, HFS
100 F, 16v, HFS

GND
2
1
2
6.8V Transorb
Dual Schotkey
C22
2
1
3
Schottky
+5VD
40v, 3A
2
1
1
2
C12
CR4
CR3
C5
C4
C1
1
DGND +RAW
2
1 J6
2
2
2
(optional fan)
DGND DGND 3
Heatsink Bar, 8300 DGND

50286.000.01 * DirtyGnd DirtyGnd
(Isolated return path for LCD backlight current.)
POWER SUPPLY
Input / Output Board Parts Locator Drawing

(for schematic 62260.000.01)
LEFT A
N ALOG INP
UT
+15V
J100 R130 R131
FEMALE L100 IC100A 3.65K 1.50K 1%
8
FILTER 0.1%
1 2 1 3 R100 L101 R101 3 O PA2134PA
E201 C108
4 604OH M 8200uH 4.99K 1
SHELL C101 2
2
1% 10% 1%
1000PF C100 47PF 47PF
3
3000PF 5% ,100V 5V 5% ,100V
4
C132 R132
1KV 15V+15V 6 IC104B
CR 100 8200PF R159 R102 R137
1.62K 7
TRAN SZO RB 1KV 1.54K 10.0K AGN D 1 R103 CR102 CR101
1% 5 249OHM
1% 1% 1N4148W 1N 4148W
4.99K O PA2134UA 1%
R110 R135
1% R156 R134 3.65K
10.0K R111 0.1%
12
13
1% IC101 1.62K 1.50K 1% +5VA
4
ADG 222 R136 R138 C109 C110
768 OHM 1% R154
R104 R133 150OHM 4700PF 4700PF
Vss
Vdd
AGN D 1 1% 3.6
5K
WR
82.5K AGN D 1 3 AGN D 1 3.65K AGN D 1 1% 5%,50V 5% ,50V 10OH M
S1 R112 0.1%
1% 2 0.1% 15V + C129 C127 1% C128 + C130
D1 10UF 10U F
15 14 2.10K +15V 0.1U F 0.1U F
4
D2 S2 20V 20V
10 1% 50V 50V
R106 D3 IC 104A
7 11 2
8
715O H M D4 S3 R113 IC105A R139
23
1 IC107
7
1% DO NOT ST
U FF R105 5 6 5.62K 3 3 249OHM AK5383 VS
GND S4
4.99K 1% 1 1%
VA
VD
2 O PA2134UA + C131 C118 C119
1%
8
R114
IN1
IN2
IN3
IN4
+15V +5VA 10UF 0.1U F 0.1U F 1 6
AG N D 1 5V 20V VREFL ZCAL
IC100B 14.7K OP A2134U A 50V 50V
4
L102 6 1% 10 /RSTAD
16
1
8
R140 RST (SHT 4)
FILTER 7 C113 C120 C121 2
R107 L103 R108 R142 1.50K GNDL
1 3 5 0.1U F 0.1U F 9
1% CAL NC
AGN D 2 50V 50V
DD0
DD1
DD2
DD3
604OH M 8200uH 4.99K C103 1.00M
O PA2134PA 0.47U F 3 18
2
1% 10% 1% 1% VCO M L DFS

1000PF C102 DD [0..3] 25V
3000PF R160 R109 47PF 12
CR103 1.54K 10.0K 5% ,100V SMODE 1
C133 1KV 4
TRANSZORB 1% 1% AINL+
8200PF E202 11
SMODE 2
1KV AGN D 1 + C112
C111 10U F R141 5 19
20V 1.50K AINL HPFE
0.1U F
RIGHT AN ALO G NPUT
I 1%
AGN D 1 50V
+15V 17 8.192MHZA
J103 R143 R144 MCLK (SHT 5)
FEMALE L104 25
3.65K 1.50K 1%
8
IC102A AINR + IN_BCLK
FILTER 0.1% 14
R115 L105 R116 SCLK (SHT 5)
1 2 1 3 3 OPA 2134PA E203 C114 AGN D 3
4 1 24 C136
604OH M 8200uH 4.99K AINR
SHELL C105 2 16 47PF
2
1% 10% 1% FSYNC
1000PF C104 47PF 47PF C123 C124 5% ,100V
3
3000PF 5% ,100V 5V 5% ,100V 0.1U F 0.1U F 26
4
R153 VCO M R
C134 1KV 15V+15V 6 IC106B AGN D 2 50V 50V 13 IN_FCLK
CR 104 R117 R150 LRCK (SHT 5)
8200PF R161 1.62K 7
TRAN SZO R B 10.0K R118 CR107 CR106
1KV 1.54K AGN D 2 1% 5 249OHM 28
1N4148W 1N 4148W VREFR R158 AIN_DATA
1% O PA2134UA + C122 C125 C126 15
1% 4.99K R125 1% SDATA
R147 10UF 0.1U F 0.1U F
1% R157 R146 75O H M (SHT 5)
3.65K 20V 50V 50V 27 20
10.0K R126 GNDR TEST 1%
0.1%
12
13
1% IC103 1.62K 1.50K 1%
4
R148 E205
DG N D
BGN D
AGN D
AGN D 2 ADG 222 R151 C115 C116 R155
768OHM 1%
R123 R145 150OHM 4700PF 4700PF 249
Vss
1% 3.65K 0.1%
Vdd
WR
82.5K AGN D 2 3 AGN D 2 3.65K AGN D 2 1% 5%,50V 5% ,50V AGND 2 OHM
1% S1 R127 0.1% 1%
2 15V
21
22
8
D1
15 14 2.10K
4
D2 S2
10 1%
R119 D3 IC106A
7 11 2
715OH M D4 S3 R128 R149
DO NOT ST
U FF IC1
05B 1
1% R124 5 6 5 3
GND S4 5.62K 249OHM
4.99K 1% 7 OPA2134U A 1% AGN D 2
1% 6 +15V
8
R129
IN1
IN2
IN3
IN4
AGN D 2
IC102B 14.7K OPA 2134U A
L106 6 1%
16
1
8
FILTER A/D GN D
7 C117
1 3 R120 L107 R121 5 R152
DD4
DD5
DD6
DD7
604OH M 8200uH 4.99K 1.00M
C107 OPA 2134PA 0.47U F AGN D 2
2
1% 10% 1% 1%
1000PF C106 R122 DD [4..7] 25V
3000PF 10.0K 47PF
R162 5% ,100V
CR105 C135 1KV 1%
1.54K
TRAN SZORB 8200PF 1%
1KV AGND 2
E204
AGN D 2 +5VD
20
IC108
D0 3 2 DD0
D0 Q0
VC C
D1 4 5 DD1
D2 7
D1
D2
Q1
Q2
6 DD2 Input / Output Board Schematic
D3 8 9 DD3
D4 13
D3
D4
Q3
Q4
12 DD4 Left & Right Analog Inputs
D5 14 15 DD5
D6 17
D5
D6
Q5
Q6
16 DD6 Sheet 1 of 4
D7 18 19 DD7
D7 Q7
62260.000.01
GN D
CLK
DD[0..7]
D[0..7]
OE
(SHT 4)
74HC374
10
11
1
/ING AINC S
(SHT 4)
+5VA LEFT ANALOG
MC LK OUT PUT 1
(SH T5)
C201
1.0U F J201
R238 35V
C232 L200 MAL E
110OH M
+
1.0U F FILTER
1% 35V R253 L204 R257 1 3 2 1
+
3 pole Servo 49.9OHM 1.2m H 100O HM 4
C203 Butterw orth f3dB = 0.10Hz
TRAN SZO RB
SH ELL
2
C231 0.1U F 50V 1% 1% 1000PF
R200 C233 f3dB =40KH z R261
3
47PF 0.1U F 50V C236 C240
CR20 2
5% ,100V 10OH M +15V 1000PF 1500PF 475O H M
1% 5% 10% 1%
C221
6
R201 R202 R203 LEFT
IC213
7
OU TPUT 1
18
24
8
IC20
1B 4 DRV134PA
TRAN SZO RB
8.45K 8.45K 82.5K 1%
2
IC211 1500PF O PA2134UA TRIM R262
CR203
1% 1% 5 L201
5V 1% ,50V R249 C237 C241 475OH M
7 3 FILTER
1000PF 1500PF
DV D D
AV D D
R254
VCO M
1%
1
6
2
110OH M
2
R247 49.9O
HM 5% 10%
3 IC201A 1% L205 R258
5
MC LK 2 R210 1.00M 1 3
/RSTDA 4 17 C217 R204 R205
CW
(SHT 4) PD VR EFH 1 1% VR200 1% 1.2m H 100OHM
AOU T_BC LK 5 470PF 3.48K C234
(SHT 5) BICK 3 AGN D 3 1000PF
OPA2134UA
AO U T1_DAT A 6 25 1%,50V 3.48K 8.45K R206 15V 1% RIGHT ANALO G
(SHT 5) SDATA P/S NC 1%
AOU T_FC LK 7 +15V R245 1% 1% 11.3K 10K OUT PUT 1
(SHT 5) LRCK E301 3.48K C219 1% 0.47UF R251
8
8 R233
R237 SM U TE 1% 470PF 25V 10.0K J202
9 22 11.3K
DFS AOU TL R207 R208 R209 1% ,50V 1% MAL E
10.0K 1% E302 1% L202
10 23 8.45K 1% 8.45K1% 82.5K 1% IC212B 6 FILTER
DE M 0 AOU TL+ AGN D 3 R255 L206 R259
11 AGN D 3 7 1 3 2 1
DE M 1 R211 R212 R213 AGN D 3
20 AGND 3 C222 5 49.9OHM 1.2m H 100OHM 4
AOU TR
TRAN SZO RB
12 E303 IC20
2B O PA2134UA AGN D 3 SHELL
2
DIF0 8.45K 1% 8.45K1% 82.5K 1% +15V 1% 1% 1000PF
13 21 5 O PA2134UA C238 C242 R263
CR20 4
3
DIF1 AOU TR+ 5V 1500PF 475OH M
14 7 AGN D 3 1000PF 1500PF
DIF2 E304 1% ,50V R250 RIGH T 1%
6
6 5% 10%
OU TPUT 1 IC214
7
26 IC202A 110OH M
8
CK S0 2 R220 TRIM 4 DRV134PA
27 16 C218 R217 R218 C235
TRAN SZO RB
R248 1%
CR 205
CK S1 VREFL 1 L203
+ C200 R264
AVSS
BVSS
28 470PF C239
DVSS
CW
CK S2 3 3.48K 1.00M VR 201 3 FILTER
O PA2134UA
1.0U F C202 1%,50V 3.48K 8.45K R219 1000PF C243 475OH M
1% 1%
2
R246 1% 1% 11.3K 0.47UF 25V 1%
2
35V 0.1U F +15V 5% 1500PF
3.48K 1% R256 L207 R260
5
50V R234 C220 5V 10K 10% 1 3
19
15
1
AK4393VF 1% R252
11.3K 470PF 49.9OHM 1.2m H 100OHM
4
R214 R215 R216 1% ,50V 10.0K 1000PF
1% 15V 1% 1%
8.4
5K 1% 8.45K1% IC212A 2 1%
82.5K 1%
AGN D 4 AGN D 4 1
AGND 4 3 AGND 4
O PA2134UA AGN D 4
AGN D 4
8
+5VA LEFT ANALOG
+15V AGN D 4
OUT PUT 2
C248
1.0U F J203
C246 35V L209 MAL E
+
1.0U F FILTER
35V R297 L208 R299 1 3 2 1
+
3 pole Servo 49.9O

HM 1.2m H 100O HM 4
C249 Butterw orth f3dB = 0.10Hz SHELL
TRAN SZO RB
0.1U F 50V 1% 1% 1000PF
R266 C247 f3dB =40KH z R300
3
0.1U F 50V C258 C260
CR206
10OHM +15V 1000PF 1500PF 475OH M
1% 5% 10% 1%
C252
6
R267 R268 R269 LEFT
IC219
7
OU TPUT 2
18
24
8
IC216B 4 DRV134PA
TRAN SZO RB
8.45K 8.45K 82.5K 1%
2
IC215 1500PF O PA2134UA TRIM R301

1% 1% 5 L211
CR207
5V 1% ,50V R291 C259 C261 475OH M
7 3 FILTER
1000PF 1500PF
DV D D
AV D D
R298
VCO M
1%
4
1
6
2
110OH M
2
R292 49.9O
HM 5% 10%
3 IC216A 1% L210 R302
5
MC LK 2 R288 1.00M 1 3
/RSTDA 4 17 C250 R279 R283
CW
(SHT 4) PD VR EFH 1 1% VR202 1% 1.2m H 100OHM
AOU T_BC LK 5 470PF 3.48K C256
(SHT 5) BIC K 3 AGN D 5 1000PF
OPA2134UA
AO U T2_DAT A 6 25 1%,50V 3.48K 8.45K R287 15V 1% RIGHT AN ALO G

(SHT 5) SD ATA P/S NC 1%
AOU T_FC LK 7 +15V R280 1% 1% 11.3K 10K OUT PUT 2
(SHT 5) LRCK E305 3.48K C253 1% 0.47UF R293
8
8 R284
R265 SM U TE 1% 470PF 25V 10.0K J204
9 22 11.3K
DFS AOU TL R270 R271 R272 1% ,50V 1% MAL E
10.0K 1% E306 1% L213
10 23 8.4
5K 1% 8.45K1% 82.5K 1% IC218B 6 FILTER
DE M 0 AOU TL+ AGN D 5 R303 L212 R305
11 AGN D 5 7 1 3 2 1
DE M 1 R273 R274 R275 AG N D 5
20 AGND 5 C254 5 49.9OHM TH 1.2m H 100O HM 4
TR AN SZO R B
AO U TR
12 E307 IC217B O PA2134UA AG N D 5 SH ELL
2
DIF0 8.4
5K 1% 8.45K1% 82.5K 1% +15V 1% 1% 1000PF
13 21 5 O PA2134UA C262 C264 R306
CR20 8
3
DIF1 AOU TR+ 5V 1500PF 475O H M TH
14 7 AGN D 5 1000PF 1500PF
DIF2 E308 1% ,50V R294 RIGH T 1%
4
6
6 5% 10%
OU TPUT 2 IC220
7
26 IC217A 110O H M
8
CK S0 2 R290 TRIM 4 DRV1 34PA
TR AN SZO R B
27 16 C251 R281 R285 C257 R295 1%
CK S1 VR EFL 1 L215
CR209
+ C244 R307
AVSS
BVSS
28 470PF C263
DVSS
CW
CK S2 3 3.48K 1.00M VR 203 3 FILTER
OPA2134UA
1.0U F C245 1%,50V 3.48K 8.45K R289 1000PF C265 475O H M

1% 1%
2
R282 1% 1% 11.3K 0.47UF 25V 1%
2
35V 0.1U F +15V 5% 1500PF
3.48K 1% R304 L214 R308
8
5
50V R286 C255 5V 10K 10% 1 3
19
15
1
AK4393VF 1% R296
11.3K 470PF 49.9OHM TH 1.2m H 100O HM TH
4
R276 R277 R278 1% ,50V 10.0K 1000PF

1% 15V 1% 1%
8.4
5K 1% 8.45K1% IC218A 2 1%
82.5K 1%
AGN D 6 AGN D 6 1
AGND 6 3 AGN D 6
O PA2134UA AGN D 6
+15V AGN D 6
Input / Output Board Schematic
8
AGN D 6
Analog Outputs
Sheet 2 of 4
62260.000.01
E550
PICS DI
DIGITAL OUT PUT
AES/EBU /AESIN C S DAU G H TER
DIG ITAL BO AR D
N
IP UT R501 CON NECTOR
49.9K AESINS C LK +5VD
J500 1% J505
L500
FEMALE AESINLR C K AESINS C LK
1 2
C500 PIC SC K AESIN LR C K PICS DI
3 4
1 2 T500 R500 IC500 IC512 PICS DO PICS CK
PIC SD O 5 6
4 FER RITE SC 93702 1% 1 28 /AESOUT C S1
0.1U F SD A/C D O U T SC L/C C LK 7 8
SHELL 5 1 110OHM 1 28 /AES OU TCS2
2 27 NC MMOD E_2 9 10
AD 0/C S AD1 /C D IN DO U T1_FC LK DOUT2_FCLK
3
(SHT 5) 11 12 (SHT 5)
L501 3 DO U T1_BC LK DOUT2_B CLK
8 4 EM PH 26 MC LK 2 27 (SHT 5) 13 14 (SHT 5)
RXP 6 (SH T5) MC LK_IN MMOD E_1 D O UT 1_DA TA DOUT2_DA TA
(SHT 5) 15 16 (SHT 5)
4 25 MC LK
2
RX P0 RXP 5 17 18 (SHT 5)
+5VD 3 26 MC KO U T1
+5VD 5 MC LK_O U T MMOD E_0 19 20
FERRIT
E RX N 0 24 MCKOU T2
H/S 21 22
/AES11 EN 1 AES11 EN2
6 23 4 25 IN_BC LK 23 24
C517 VA + VL+ C502 SD ATA_I SC LK_O (SH T 5) /SRCRST
C501 25 26
1000PF 7 22 0.1U F
0.1U F AGN D DG N D
1% ,50v 5 24 IN_FCLK IDC H EAD ER 2X13
8 SC LK_I LRCL K_O (SH T 5)
FILT 21 MC LK
OMCK (SHT5)
C503 C518 9 20 6 23 R530 DIN_DAT A
RS T U E501 R524 LRCL K_I SD ATA_O (SHT 5)
0.33UF 4700PF 75OH M 1%
10 19 INTA 49.9K 1% +5VD +3.3V
10% 5%,NPO RM C K INT
7 22
R502 11 VD D _IO VD D _CORE
RE R R 18
1.62K SD O U T
+5VD 12 17 8 21
1% AE SIN R MC K RX P1 OL RCK DGN D DGN D +5VD
13 16
RX P2 OS C LK IC514
SRC BYP 9 20
14 15 BY PASS TD M_ IN 1 5
/SRCRST RX P3 RXP 4 IN OUT
+ C520
+ C516 10 19 C521 + C522 C519 10UF
SM O D E_IN _0 SMODE _OU T_0 4700PF 0.1UF
1.0U F 1.0UF 3 4
35v
CS8415A-CZZ SH D N BYP
35v 5% ,NPO
GND
11 18
SM O D E_IN _1 SMODE _OU T_1
+5VD
E522
12 17
2
SM O D E_IN _2 WL NG TH_O U T_0
LT1761ES5-3.3
16
/SRCRST 13 16
RESET WL NG TH_O U T_1
IC507
RB 1_SEL 11
14 15 A
VC C
MU TE_IN MU TE_O U T RB 2_SEL 10
+5VD B
RB 3_SEL 9
C
+5VD
IC503
AD1895AYRS /M CKOUT EN2 7 5 MC KOU T2
PIC 16C6720/L S Y
20
12.288M H ZA 4
12
35
IC510 (SHT 5) D0
16.9344M H Z 3
(SHT 5) D1
D0 3 2 /M CKOUT EN1 AE SIN R M C K 2
D0 Q0 D2
VC C
D1 4 5 /M CKOUT EN2 18.432M H ZA 1 6
VD D
VD D
D1 Q1 E551 (SHT 5) D3 W
D2 7 6 /AES11EN 1 15
D2 Q2 D4
D3 8 9 AES11EN2 33.8688M H Z 14
D3 Q3 D0 21 16 /AES IN C S R527 E513 (SHT 5) D5
D4 13 12 SRC BYP RD 0/PSP0 RC0/T1O SO /T1CK I 13
GND
D4 Q4 D1 22 18 /AES OU TC S1 10.0K D6
D5 14 15 /RSTAD RD 1/PSP1 RC1 /T1OS I/CCP2 36.864M H ZA 12
D5 Q5 (SHT2) D2 23 19 /AES OU TC S2 1% R531 (SHT 5) D7
D6 17 16 /RSTD A RD 2/PSP2 R C 2/CCP1
D6 Q6 (SHT3) D3 24 20 PICS CK 10.0K
D7 18 19 /SRCRS T RD 3/PSP3 RC3/SC K/SC L 74HC151
8
D7 Q7 D4 30 25 PICS DI 1%
RD 4/PSP4 RC4/SD I/SD A
CLK
GND
D5 31 26 PICS DO
OE
RD 5/PSP5 RC5/SD O R520

D6 32 27 SIN
RD 6/PSP6 RC6/TX/CK (SH T5) 49.9K
D7 33 29 SOU T
74HC374 RD 7/PSP7 RC7/RX /DT (SH T5) 1%
10
11
1
9 /CTS
RE 0/RD (SH T5)
10 /RTS
D[0..7] RE 1/WR (SH T5) +5VD IC508 +5VD
(SH T2) 11
RE 2/CS E515 74AH C1G 32
3
5
RA 0
RA 1_SEL 4 36
16
RA 1 RB 0/I
NT 1
+5VD RA 2_SEL 5 37 R B1_SEL
R532 RA 2 RB 1 4 IC511
RA 3_SEL 6 38 R B2_SEL
RA 3 RB 2 2 RA 1_SEL 11
7 39 R B3_SEL A
VC C
10.0K 1% E512 RA 4/T0CKI RB 3 RA 2_SEL 10
/INGAIN C S 8 41 INTA B
3
(SHT2) RA 5/SS RB 4 RA 3_SEL 9
42 INTB E554 C
RB 5
12.288M
HZA 14 43
(SH T5) OSC 1/CLK IN RB 6 E552 /M CKOUT EN1 7 5 MC KOU T1
44 S Y
RB 7 E553 R533
15
OSC 2 /C LK OUT 4
2 10.0K D0
R519 MC LR /Vpp 3
1% D1
10.0K 2
D2
VS S
VS S
1% 1 6
NC
NC
NC
NC
D3 W
15
D4
+5VD 14
D5
13
34
17
28
40
1
13
GND
D6
12
R521 D7
1.00K 74HC151
8
1%
CR500
/I
O_ RESET
(SHT 5)
5082 2800 Input / Output Board Schematic
+ C515
1.0U F Control & Digital Input/Output
35V
Sheet 3 of 4
62260.000.01
DSP BOAR D
CONN ECTOR +5VD
E607 IC603B
J600 C652 IC603D
18.432M H ZA 4 3 1000PF
BASE BOARD (SHT 4) 1 2 9 8 12.288M HZA
18.432M H Z 1% ,50V (SH T4)
CONNE CTOR 3 4
36.864M H Z
20
74HC14A 5 6
JP600 R601 24.576M H Z IC60
1 74HC14A
7 8 IC 603E
33.8688M H Z
14 1.00K 9 10
VCC
SIN 2 11 10 8.192MH ZA
13 (SHT 4) 1% 11 12 A1 (SHT 2)
SOU T 4 18 AO U T1_DATA
12 (SHT 4) 13 14 A2 Y1 (SHT 3)
/RTS 6 16
11 (SHT 4) 15 16 A3 Y2 +5VD 74HC14A E609
/CTS 8 14 COM P_B CLK
10 (SHT 4) 17 18 A4 Y3
11 12 AOU T_F CLK
9 R604 E612 IC 603C 19 20 A5 Y4 (SHT 3)
13 9
4
18.432M H ZA MC LK IC604A
8 21 22 A6 Y5 (SHT 3,4)
6 5 AIN_DAT A 15 7 IN_BCLK
7 75O H M (SH T4) (SH T2) 23 24 A7 Y6 (SHT 2,4)
17 5
PR
DIN _D ATA IN_FCLK
6 1% (SH T4) 25 26 A8 Y7 (SHT 2,4) 2 5
3 AOU T _BC LK D Q
5 74HC14A R602 Y8 (SHT 3)
1
4 R605 1.00K ID C H EADER 2X13 G
36.864M H ZA 19
GND
3 G 3 6
1% CLK Q
2 75O H M +5VD
CLR
1 1%
14
10
H EADER 14 IC603F 74AH CT244
E605 E606
74HC74
1
R606 24.576M H ZA 12 13 +5VD
C653
75O H M 1000PF
1% 74HC14A 1%,50V
7 R603 +5VD
/I
O_ RESET 1.00K
(SH T4) 1%
+5VD
IC604B +5VD
10
14
IC603A E611
C654
PR
VCC
12 9 1 2 16.93
44M H Z 1000PF
D Q (SH T4)
1% ,50V
20
R600 74HC14A
33.8688M
HZ 11 8 IC605
CLK Q
GND
CLR
1.0
0K 1%
VCC
E610 2
A1
4 18 DOUT 2_FCLK
A2 Y1 (SHT 4)
6 16 DOUT 2_BC LK
A3 Y2 (SHT 4)
13
7
+5VD 74HC74 8 14 DOUT 2_DA TA
A4 Y3 (SHT 4)
11 12 AO U T2_DAT A
POWER SUPPLY (SHT 4) A5 Y4 (SHT 3)
13 9 DOUT 1_DA TA
CONNECTOR A6 Y5 (SHT 4)
+5VA +5VA 15 7 DOUT 1_BC LK
A7 Y6 (SHT 4)
-5VA J601 -5VA 17 5 DOUT 1_FCLK
A8 Y7 (SHT 4)
-15V -15V 3
1 2 Y8
+15V +15V 1
3 4 G
19
GND
5 6 G
7 8
9 10
11 12
10
74AH CT244
13 14 E613 E614
15 16 +5VD
C655
17 18
1000PF
19 20
1% ,50V
+5VD
IDC HEADE R 2X10
+15V
M1 M3 M5
M2 M4 M21 M33 M3 4 M3 5
+ C646
10UF C666 C667 C657 C658 C618 C621 C617 C620 C623 C622 C625
TP600 20V 0.1U F 0.1U F 0.1U F 0.1U F 0.1U F 0.1U F 0.1U F 0.1U F 0.1U F 0.1U F 0.1U F
TEST_PO IN T
+ C647 AGN D 6 AGND 5 AGND 4 AGN D 3 AGN D 2 AGN D 1

10UF C671 C673 C661 C663 C632 C634 C633 C635 C639 C638 C641
20V 0.1U F 0.1U F 0.1U F 0.1U F 0.1U F 0.1U F 0.1U F 0.1U F 0.1U F 0.1U F 0.1U F
-15V
Input / Output Board Schematic

+5VD
Interface & Power Distribution
Sheet 4 of 4
+ C645
10UF C600 C601 C602 C604 C605 C606 C607 C609 C642 C643 C644 C648 C651 62260.000.01
20V 0.1U F 0.1U F 0.1U F 0.1U F 0.1U F 0.1UF 0.1U F 0.1U F 0.1U F 0.1U F 0.1U F 0.1U F 0.1U F
TP607
TEST_PO IN T
Input / Output Daughterboard

Parts Locator Drawing
for schematic 62280.000.01
IC5 IC2 AES/EBU
DIGITAL
1 28 PICSDI 1 28 PICSCK OUTPUT 1
NC MMODE_ 2 SD A/CDOUT SCL/C CLK
MC LK 2 27 /AES OU T CS1 2 27 PICSDO L1

MC LK _IN MMODE_ 1 AD0 /CS AD 1/C D IN J1
3 26 3 26 R1 1 T1 5 2 1
MC LK _O U T MMODE_ 0 AD2 TXP
FERRITE 4
110OHM 1%
SHELL
DOU T1_DA TA 4 25 4 25 4 8
SDATA_ I SC LK_O RX P TXN
3
2
SC 937 2 L2
DOU T1_BC LK 5 24 5 24
SCLK_I LRC LK_O DGND H/S XLR _M ALE
+5VD +5VD
DOU T1_FC LK 6 23 6 23
LRCL K_I SDATA _O VD VL
+5VD +3.3V FERRITE
7 22 7 22
VD D _IO VD D _CORE TEST DGND
8 21 8 21 MC KOU T1
DGND DGND TEST OMCK
E1
9 20 /SRCRST 9 20 R3
BYPASS TDM _IN RST U
E2 49.9K 1%
10 19 10 19
SMOD E_ N
I _0 SMOD E_OU T_0 TEST INT
11 18 11 18
SMOD E_ N
I _1 SMOD E_OU T_1 TEST TEST
12 17 12 17
SMOD E_ N
I _2 WLN GTH _O U T_0 ILRCK TEST
/SRCRST 13 16 13 16
RESET WLN GTH _O U T_1 ISCLK TEST
E3
I/
O +5VD R4
14 15 14 15
BOA R D MU TE_IN MU TE_OU T SDIN TCBL +5VD +3.3V
CO NNECTOR 49.9K 1%
IC4
20
+5VD IC1
74HC241A
AD1 895AYRS C S8406CZZ 1 5
IN OUT
JP1 AESIN LRCK 2 18
A1 YA1
VC C
AESIN SCLK AESIN SCLK 4 16 C1
1 2 A2 YA2 4700PF
AESIN LR C K PICS DI 6 14 3 4
3 4 A3 YA3 + C4 SHD N BYP + C3
PICSDO PICS CK 8 12 5% ,NPO C2
1.0U F 10U F
GND
5 6 A4 YA4 0.1UF
/AES O U T CS1
7 8 35V
/AES OU TC S2 11 9
9 10 B1 YB1
DOUT1_FCLK DO U T2_FCLK 13 7
2
11 12 B2 YB2 LT1761ES5 3
DOUT1_B CLK DO U T2_BC LK 15 5
13 14 B3 YB3
DOUT1_DATA D O UT 2_DA TA 17 3
15 16 B4 YB4
MC LK
GN D
AE N
BE N
17 18
MC K O U T1
19 20
MC KOUT2
21 22
/AES11EN1 AES11 EN 2 IC6 IC3 AES/EBU
19
10
1
23 24
/SRCRST DIGITAL
25 26
1 28 /AES11EN 1 PICS DI 1 28 PICSCK OUTPUT 2
NC MMODE_ 2 SD A/CDOUT SCL/C CLK
CABLE_26P
AES11EN2
MC LK 2 27 /AESOU T CS2 2 27 PICSDO L3
MC LK_IN MMODE_ 1 AD0 /CS AD 1/CD IN J2
3 26 3 26 R2 1 T2 5 2 1
MC LK_ O U T MMODE_ 0 AD2 TXP
FERRITE 4
110OH M 1%
SHELL
DOU T2_DA TA 4 25 4 25 4 8
SDATA_I SC LK_O RX P TXN
3
2
SC 937 2 L4
DOU T2_BC LK 5 24 5 24
SCLK_I LRC LK_O DGND H/S XLR _M ALE
+5VD +5VD
DOU T2_FC LK 6 23 6 23
LRCLK_I SD ATA _O VD VL
+5VD +3.3V FERRITE
7 22 7 22
VDD _IO VD D _CORE TEST DGND
8 21 8 21 MC KOU T2
+3.3V DGND DGND TEST OMCK
E4
9 20 /SRCRST 9 20 R5
BYPASS TD M _IN RST U
E5 49.9K 1%
C5 C6 10 19 10 19
SMOD E_IN _0 SMOD E_OU T_0 TEST INT
0.1U F 0.1U F
11 18 11 18
SMOD E_ IN _1 SMOD E_OU T_1 TEST TEST
12 17 12 17
SMOD E _IN _2 WL N G TH _O U T_0 ILRCK TEST
/SRCRST 13 16 13 16
RESET WL N G TH _O U T_1 ISCLK TEST
E6
+5VD R6
14 15 14 15
MU TE_IN MU TE_OU T SDIN TCBL
49.9K 1%
AD1 895AYRS C S8406 CZ Z Input / Output Daughterboard Schematic

C7 C8 C9 C10 C11 C12
0.1U F 0.1U F 0.1U F 0.1U F 0.1U F 0.1U F Sheet 1 of 1
Drawing 62280.000.01
8300 DSP BOARD PARTS LOCATOR

FSYNCB FSYNCA
(SHT7) (SHT7)
BCLKB BCLKA
(SHT7) (SHT7)
EXTALB EXTALA
(SHT7) (SHT7)
IBCLK
(SHT7)
IFSYNC
(SHT7)
IDATA1
(SHT7)
IDATA0
(SHT7)
IC101A IC102A IC103A IC104A
DSP56362 E28 E29 DSP56362 E30 E31 DSP56362 E32 E33 DSP56362 E34 E35
11 4 11 4 11 4 11 4
SD10 SDO0 SD10 SDO0 SD10 SDO0 SD10 SDO0
10 5 10 5 10 5 10 5
SD11 SDO1 SD11 SDO1 SD11 SDO1 SD11 SDO1
13 12 13 12 13 12 13 12
FSR FST N/C FSR FST N/C FSR FST N/C FSR FST
15 14 15 14 15 14 15 14
SCKR SCKT N/C SCKR SCKT N/C SCKR SCKT N/C SCKR SCKT
17 16 N/C 17 16 (SHT7) 17 16 (SHT7) 17 16
N/C HCKR HCKT (SHT7) N/C HCKR HCKT N/C N/C HCKR HCKT N/C N/C HCKR HCKT N/C
+3.3V 55 6 SD_00 +3.3V 55 6 SD10 +3.3VB 55 6 SD20 +3.3VB 55 6 SD30
EXTAL SDO2/SD13 EXTAL SDO2/SD13 EXTAL SDO2/SD13 EXTAL SDO2/SD13 (SHT7)
59 7 SD_01 59 7 SD11 59 7 SD21 59 7 SD31
N/C CLKOUT SDO3/SD12 N/C CLKOUT SDO3/SD12 N/C CLKOUT SDO3/SD12 N/C CLKOUT SDO3/SD12 (SHT7)
61 137 (SHT7) 61 137 (SHT7) 61 137 (SHT7) 61 137
PINIT/NMI MODA/IRQA PINIT/NMI MODA/IRQA PINIT/NMI MODA/IRQA PINIT/NMI MODA/IRQA
45 136 +3.3V 45 136 +3.3V 45 136 +3.3VB 45 136 +3.3VB
VCCP MODB/IRQB VCCP MODB/IRQB VCCP MODB/IRQB VCCP MODB/IRQB
C101 46 135 C103 46 135 C105 46 135 C107 46 135
PCAP MODC/IRQC PCAP MODC/IRQC PCAP MODC/IRQC PCAP MODC/IRQC
47 134 47 134 47 134 47 134
GNDP MODD/IRQD GNDP MODD/IRQD GNDP MODD/IRQD GNDP MODD/IRQD
8200PF 8200PF 8200PF 8200PF
C102 C104 C106 C108
J101
0.47UF 0.47UF HDR 2X2 0.47UF
0.47UF IRQB2 IRQB1
(SHT7) (SHT7)
1 2
3 4
UNSHRD
FSYNCA FSYNCB
(SHT7) (SHT7)
BCLKB
(SHT7)
EXTALA EXTALB
(SHT7) (SHT7)
+3.3V +3.3V
BCLKA R101 R102
(SHT7)
100K 1% 100K 1%
SD62
(SHT7)
SD63
(SHT7)
+3.3V +3.3V
R103 R104
IC105A IC106A IC107A IC108A 100K 1% 100K 1%
DSP56362 E36 E37 DSP56362 E38 E39 DSP56362 E40 E41 DSP56362
11 4 11 4 11 4 11 4 ODATA2
SD10 SDO0 SD10 SDO0 SD10 SDO0 SD10 SDO0 (SHT7)
10 5 10 5 10 5 10 5 ODATA3
SD11 SDO1 SD11 SDO1 SD11 SDO1 SD11 SDO1 (SHT7)
13 12 13 12 13 12 13 12 OFSYNC
N/C FSR FST N/C FSR FST N/C FSR FST FSR FST (SHT7)
15 14 15 14 15 14 15 14 OBCLK
N/C SCKR SCKT N/C SCKR SCKT N/C SCKR SCKT SCKR SCKT (SHT7)
17 16 (SHT7) 17 16 (SHT7) 17 16 (SHT7) 17 16
N/C HCKR HCKT N/C N/C HCKR HCKT N/C N/C HCKR HCKT N/C N/C HCKR HCKT N/C
+3.3VB 55 6 SD40 +3.3VB 55 6 SD50 +3.3V 55 6 SD60 +3.3V 55 6 SD70
EXTAL SDO2/SD13 EXTAL SDO2/SD13 EXTAL SDO2/SD13 EXTAL SDO2/SD13 (SHT7)
59 7 SD41 59 7 SD51 59 7 SD61 59 7 SD71
N/C CLKOUT SDO3/SD12 N/C CLKOUT SDO3/SD12 N/C CLKOUT SDO3/SD12 N/C CLKOUT SDO3/SD12 (SHT7)
61 137 (SHT7) 61 137 (SHT7) 61 137 (SHT7) 61 137
PINIT/NMI MODA/IRQA PINIT/NMI MODA/IRQA PINIT/NMI MODA/IRQA PINIT/NMI MODA/IRQA
45 136 +3.3VB 45 136 +3.3VB 45 136 +3.3V 45 136 +3.3V
VCCP MODB/IRQB VCCP MODB/IRQB VCCP MODB/IRQB VCCP MODB/IRQB
C109 46 135 C111 46 135 C113 46 135 C115 46 135
PCAP MODC/IRQC PCAP MODC/IRQC PCAP MODC/IRQC PCAP MODC/IRQC
47 134 47 134 47 134 47 134
GNDP MODD/IRQD GNDP MODD/IRQD GNDP MODD/IRQD GNDP MODD/IRQD
8200PF 8200PF 8200PF 8200PF
C110 C112 C114 C116
0.47UF 0.47UF 0.47UF 0.47UF

IRQB1 IRQB2
(SHT7) (SHT7)
DSP SERIAL AUDIO INTERFACE

A[0..2]
(SHT6)
D[0..7]
(SHT6,7)
IC101B IC102B IC103B IC104B

DSP56362 DSP56362 DSP56362 DSP56362
D7 34 31 A2 D7 34 31 A2 D7 34 31 A2 D7 34 31 A2
H7 HA2 H7 HA2 H7 HA2 H7 HA2
D6 35 32 A1 D6 35 32 A1 D6 35 32 A1 D6 35 32 A1
D5 36 33 A0 D5 36 33 A0 D5 36 33 A0 D5 36 33 A0
D4 37 22 HRD D4 37 22 HRD D4 37 22 HRD D4 37 22 HRD
H4 HRD (SHT6) H4 HRD (SHT6) H4 HRD (SHT6) H4 HRD (SHT6)
D3 40 30 DSPEN0 D3 40 30 DSPEN1 D3 40 30 DSPEN2 D3 40 30 DSPEN3
H3 HCS (SHT6) H3 HCS (SHT6) H3 HCS (SHT6) H3 HCS (SHT6)
D2 41 24 D2 41 24 D2 41 24 D2 41 24
H2 HOREQ N/C H2 HOREQ N/C H2 HOREQ N/C H2 HOREQ N/C
D1 42 23 HACK D1 42 23 HACK D1 42 23 HACK D1 42 23 HACK
H1 HACK (SHT6) H1 HACK (SHT6) H1 HACK (SHT6) H1 HACK (SHT6)
D0 43 21 HWR D0 43 21 HWR D0 43 21 HWR D0 43 21 HWR
H0 HWR (SHT6) H0 HWR (SHT6) H0 HWR (SHT6) H0 HWR (SHT6)
44 DSPRST 44 DSPRST 44 DSPRST 44 DSPRST
RESET (SHT6) RESET (SHT6) RESET (SHT6) RESET (SHT6)
IC105B IC106B IC107B IC108B

DSP56362 DSP56362 DSP56362 DSP56362
D7 34 31 A2 D7 34 31 A2 D7 34 31 A2 D7 34 31 A2
D6 35 32 A1 D6 35 32 A1 D6 35 32 A1 D6 35 32 A1
D5 36 33 A0 D5 36 33 A0 D5 36 33 A0 D5 36 33 A0
D4 37 22 HRD D4 37 22 HRD D4 37 22 HRD D4 37 22 HRD
H4 HRD (SHT6) H4 HRD (SHT6) H4 HRD (SHT6) H4 HRD (SHT6)
D3 40 30 DSPEN4 D3 40 30 DSPEN5 D3 40 30 DSPEN6 D3 40 30 DSPEN7
H3 HCS (SHT6) H3 HCS (SHT6) H3 HCS (SHT6) H3 HCS (SHT6)
D2 41 24 D2 41 24 D2 41 24 D2 41 24
H2 HOREQ N/C H2 HOREQ N/C H2 HOREQ N/C H2 HOREQ N/C
D1 42 23 HACK D1 42 23 HACK D1 42 23 HACK D1 42 23 HACK
H1 HACK (SHT6) H1 HACK (SHT6) H1 HACK (SHT6) H1 HACK (SHT6)
D0 43 21 HWR D0 43 21 HWR D0 43 21 HWR D0 43 21 HWR
H0 HWR (SHT6) H0 HWR (SHT6) H0 HWR (SHT6) H0 HWR (SHT6)
44 DSPRST 44 DSPRST 44 DSPRST 44 DSPRST
RESET (SHT6) RESET (SHT6) RESET (SHT6) RESET (SHT6)
DSP HOST INTERFACE

+3.3V IC101D +3.3V IC102D +3.3VB IC103D +3.3VB IC104D
DSP56362-100 DSP56362-100 DSP56362-100 DSP56362-100
57
65
38
25
57
65
38
25
57
65
38
25
57
65
38
25
8
8
+3.3V +3.3V +3.3VB +3.3VB
VCCS
VCCS
VCCS
VCCS
VCCC
VCCC
VCCH
VCCC
VCCC
VCCH
VCCC
VCCC
VCCH
VCCC
VCCC
VCCH
129 1 SCK 129 1 SCK 129 1 SCK 129 1 SCK
SCK (SHT6) SCK (SHT6) SCK (SHT6) SCK (SHT6)
119 144 SDO 119 144 SDO 119 144 SDO 119 144 SDO
MISO (SHT6) MISO (SHT6) MISO (SHT6) MISO (SHT6)
111 143 SDI 111 143 SDI 111 143 SDI 111 143 SDI
VCCD MOS1 (SHT6) VCCD MOS1 (SHT6) VCCD MOS1 (SHT6) VCCD MOS1 (SHT6)
103 2 SS1 103 2 SS2 103 2 SS3 103 2 SS4
VCCD SS (SHT6) VCCD SS (SHT6) VCCD SS (SHT6) VCCD SS (SHT6)
86 3 86 3 86 3 86 3
VCCA HREQ N/C VCCA HREQ N/C VCCA HREQ N/C VCCA HREQ N/C
80 80 80 80
VCCA VCCA VCCA VCCA
74 28 74 28 74 28 74 28
VCCA ACI N/C VCCA ACI N/C VCCA ACI N/C VCCA ACI N/C
95 95 95 95
VCCQH VCCQH VCCQH VCCQH
49 27 49 27 49 27 49 27
VCCQH ADO N/C VCCQH ADO N/C VCCQH ADO N/C VCCQH ADO N/C
20 20 20 20
126 29 126 29 126 29 126 29
VCCQL TIO0 N/C VCCQL TIO0 N/C VCCQL TIO0 N/C VCCQL TIO0 N/C
91 91 91 91
VCCQL VCCQL VCCQL VCCQL
56 141 56 141 56 141 56 141
VCCQL TCK N/C VCCQL TCK N/C VCCQL TCK N/C VCCQL TCK N/C
18 18 18 18
48 140 48 140 48 140 48 140
GNDP1 TDI N/C GNDP1 TDI N/C GNDP1 TDI N/C GNDP1 TDI N/C
19 19 19 19
GNDQ GNDQ GNDQ GNDQ
54 139 54 139 54 139 54 139
GNDQ TDO N/C GNDQ TDO N/C GNDQ TDO N/C GNDQ TDO N/C
90 90 90 90
GNDQ GNDQ GNDQ GNDQ
127 142 127 142 127 142 127 142
GNDQ TMS N/C GNDQ TMS N/C GNDQ TMS N/C GNDQ TMS N/C
75 75 75 75
GNDA GNDA GNDA GNDA
81 138 81 138 81 138 81 138
GNDA TRST N/C GNDA TRST N/C GNDA TRST N/C GNDA TRST N/C
87 87 87 87
GNDA GNDA GNDA GNDA
96 53 96 53 96 53 96 53
GNDA DE N/C GNDA DE N/C GNDA DE N/C GNDA DE N/C
104 104 104 104
GNDD GNDD GNDD GNDD
112 60 112 60 112 60 112 60
GNDD N/C N/C GNDD N/C N/C GNDD N/C N/C GNDD N/C N/C
120 120 120 120
GNDC
GNDC
GNDH
GNDC
GNDC
GNDH
GNDC
GNDC
GNDH
GNDC
GNDC
GNDH
GNDS
GNDS
GNDS
GNDS
GNDS
GNDS
GNDS
GNDS
130 130 130 130
9
9
58
66
39
26
58
66
39
26
58
66
39
26
58
66
39
26
IC105D IC106D IC107D IC108D
+3.3VB DSP56362-100 +3.3VB DSP56362-100 +3.3V DSP56362-100 +3.3V DSP56362-100
57
65
38
25
57
65
38
25
57
65
38
25
57
65
38
25
8
8
+3.3VB +3.3VB +3.3V +3.3V
VCCS
VCCS
VCCS
VCCS
VCCC
VCCC
VCCH
VCCC
VCCC
VCCH
VCCC
VCCC
VCCH
VCCC
VCCC
VCCH
129 1 SCK 129 1 SCK 129 1 SCK 129 1 SCK
SCK (SHT6) SCK (SHT6) SCK (SHT6) SCK (SHT6)
119 144 SDO 119 144 SDO 119 144 SDO 119 144 SDO
MISO (SHT6) MISO (SHT6) MISO (SHT6) MISO (SHT6)
111 143 SDI 111 143 SDI 111 143 SDI 111 143 SDI
VCCD MOS1 (SHT6) VCCD MOS1 (SHT6) VCCD MOS1 (SHT6) VCCD MOS1 (SHT6)
103 2 SS5 103 2 SS6 103 2 SS7 103 2 SS8
VCCD SS (SHT6) VCCD SS (SHT6) VCCD SS (SHT6) VCCD SS (SHT6)
86 3 86 3 86 3 86 3
VCCA HREQ N/C VCCA HREQ N/C VCCA HREQ N/C VCCA HREQ N/C
80 80 80 80
VCCA VCCA VCCA VCCA
74 28 74 28 74 28 74 28 IOLINK
VCCA ACI N/C VCCA ACI N/C VCCA ACI N/C VCCA ACI (SHT7)
95 95 95 95
49 27 49 27 49 27 49 27
VCCQH ADO N/C VCCQH ADO N/C VCCQH ADO N/C VCCQH ADO N/C
20 20 20 20
126 29 126 29 126 29 126 29
VCCQL TIO0 N/C VCCQL TIO0 N/C VCCQL TIO0 N/C VCCQL TIO0 N/C
91 91 91 91
56 141 56 141 56 141 56 141
VCCQL TCK N/C VCCQL TCK N/C VCCQL TCK N/C VCCQL TCK N/C
18 18 18 18
48 140 48 140 48 140 48 140
GNDP1 TDI N/C GNDP1 TDI N/C GNDP1 TDI N/C GNDP1 TDI N/C
19 19 19 19
GNDQ GNDQ GNDQ GNDQ
54 139 54 139 54 139 54 139
GNDQ TDO N/C GNDQ TDO N/C GNDQ TDO N/C GNDQ TDO N/C
90 90 90 90
GNDQ GNDQ GNDQ GNDQ
127 142 127 142 127 142 127 142
GNDQ TMS N/C GNDQ TMS N/C GNDQ TMS N/C GNDQ TMS N/C
75 75 75 75
GNDA GNDA GNDA GNDA
81 138 81 138 81 138 81 138
GNDA TRST N/C GNDA TRST N/C GNDA TRST N/C GNDA TRST N/C
87 87 87 87
GNDA GNDA GNDA GNDA
96 53 96 53 96 53 96 53
GNDA DE N/C GNDA DE N/C GNDA DE N/C GNDA DE N/C
104 104 104 104
GNDD GNDD GNDD GNDD
112 60 112 60 112 60 112 60
GNDD N/C N/C GNDD N/C N/C GNDD N/C N/C GNDD N/C N/C
120 120 120 120
GNDC
GNDC
GNDH
GNDC
GNDC
GNDH
GNDC
GNDC
GNDH
GNDC
GNDC
GNDH
GNDS
GNDS
GNDS
GNDS
GNDS
GNDS
GNDS
GNDS
130 130 130 130
9
9
58
66
39
26
58
66
39
26
58
66
39
26
58
66
39
26
DSP SERIAL PERIPHERAL
INTERFACE, POWER & GROUND
IC503
IC502
EPM7064AETC44-10
74LVX4245 J503 I/O ADDRESS SPACE
+3.3V
+3.3V
NONE 3XX
+3.3V P1TDI
+5VB (SHT7)
+3.3V +3.3V
1-2 2XX
R506
75.0 OHM
17
29
3 - 4 (R506) 1XX
9
24
SA[3..9] R502 R503
1
IC504 100K 100K
20
BD[0..7] 74HC374
TDI
VCCINT
VCCINT
1% 1% J503 *
VccA
VccB
(SHT7)
PTMS 7 41 HDR 2X2
TMS VCCINT
VCC
D[0..7] 40 2
R/W 2 23 (SHT3,7) OE2 1 2
B to A NC D0 3 2 SS1 44
BD0 3 22 BUSEN D0 Q0 (SHT5) 3 4
A0 OE D1 4 5 SS2 SA9 3 43
BD1 4 21 D0 D1 Q1 (SHT5)
A1 B0 D2 7 6 SS3 SA8 5 42 UNSHRD
BD2 5 20 D1 D2 Q2 (SHT5)
A2 B1 D3 8 9 SS4 SA7 20 35 DSPEN7
BD3 6 19 D2 D3 Q3 (SHT5) (SHT3)
A3 B2 D4 13 12 SS5 SA6 6 34 DSPEN6
BD4 7 18 D3 D4 Q4 (SHT5) (SHT3)
A4 B3 D5 14 15 SS6 SA5 8 33 DSPEN5
BD5 8 17 D4 D5 Q5 (SHT5) (SHT3)
A5 B4 D6 17 16 SS7 SA4 10 31 DSPEN4
BD6 9 16 D5 D6 Q6 (SHT5) (SHT3)
A6 B5 D7 18 19 SS8 SA3 11 30 DSPEN3
BD7 10 15 D6 D7 Q7 (SHT5) (SHT3)
A7 B6 AEN 12 28 DSPEN2
11 14 D7 (SHT3)
GND B7 SMEMR 13 39 DSPEN1
GND
GCLRn (SHT3)
CLK
GND
GND
14 27
OE
SMEMW DSPEN0
(SHT3)
D[0..7] BIOR 15 25 DSPRST
(SHT3,7)
(SHT3,7) BIOW 18 23 BUSEN
1
10
11
RESET 19 22 PLDEN
12
13
TCK (SHT7)
PTCK 26 21 R/W
+3.3V (SHT7)
N/C
P2TDI 32 38 START
(SHT7) TDO OE1 (SHT7)
4 37
GND GCLK1
GND
GND
GND
10
1
2
3
4
5
6
7
8
9
16
24
36
R501
100K-RESNET
IC501
74AHC541
+3.3V
J504 +5VB
20
RESET BIOR 2 18 HRD
1 2 D1 Q1 (SHT3)
VCC
/SPI_CS BD7 +3.3V +3.3VB BIOW 3 17 HWR
3 4 D2 Q2 (SHT3)
BD6 SA0 4 16 A0
5 6 D3 Q3 (SHT3)
BD4 BD5 SA1 5 15 A1
7 8 D4 Q4 (SHT3)
BD3 BD2 SA2 6 14 A2
9 10 R505 R508 D5 Q5 (SHT3)
BD1 DACK1 7 13 HACK
11 12 75.0 OHM 75.0 OHM D6 Q6 (SHT3)
BD0 AEN /SPI_CS 8 12
13 14 1% 1% R504 D7 Q7
SMEMW 9 11
15 16 100K D8 Q8
SMEMR BIOW J500
17 18 1%
BIOR 1 DRQ1
GND
19 20 E1 1
SDO 19
(SHT5) 21 22 E2 2
SCK DACK1
(SHT5) 23 24
R510 DRQ1 HDR 2X1
25 26
10
10.0K SA9 SDI UNSHRD
27 28 (SHT5) R509
1% SA8 SA6
29 30 100K
SA7
31 32 1%
SA4 SA5
33 34
SA3 R507
35 36
SA1 SA2 10.0K
37 38
SA0 1%
39 40
HDR 20X2
SHRD
BASE BOARD
CONNECTOR
ISA BUS 8
+5V
IC603A
EPM7256ATC100-10 +5V +3.3V
+3.3V
14
IC807G
39
91
3
16
+3.3V +3.3V R803 R804 74ACT04D
8
I/O BOARD 10.0K 10.0K IC802
EXTALA C809
(SHT2)
18 51 EXTALB PLL1700E 0.1UF
Vddp
Vddb
CONNECTOR
Vdd
(SHT2)
34 66 FSYNCA
(SHT2) 18 10
(SHT6) START 69 82 FSYNCB RST MCKO E44
(SHT2) 11
7
D[0..7] 68 BCLKA J601 MCKO E45
(SHT3,6) (SHT2) 2
67 BCLKB PILOTWCLK MODE
(SHT2) 1 2 1
65 IFSYNC 18.432MHzA PILOTBCLK R805 ML/SR01
(SHT2) 3 4 20 9
D0 6 64 R604 75.0 OHM 36.864MHzB PILOTDATA MC/FS1 RSV N/C
IBCLK 5 6 10.0K 19
D1 8 63 (SHT2) 24.576MHzB MD/FS0
7 8
D2 9 61 R605 75.0 OHM 33.8688MHz
IMCLK 9 10
D3 10 60
11 12 12
D4 12 58 R606 75.0 OHM SCK01 E46
OBCLK 13 14 6 14
D5 13 57 (SHT2) XT1 SCK02 E47
15 16 17 24.576MHz
D6 14 56 R607 75.0 OHM SCK03
OFSYNC 17 18 13
D7 16 54 (SHT2) SCK04 E48
19 20 5
DSPRST 17 52 IRQB1 XT2
(SHT6) (SHT2) 21 22
Gndp
Gndb
HWR 19 48 IRQB2
Gnd
(SHT6) (SHT2) 23 24
PLDEN 20 47 SD_00 IC807A
(SHT6) (SHT2) 25 26
24.576MHZ 87 46 SD_01
GCLK1 (SHT2) C807 R806
89 45 SD10 RIBBON CABLE_26P 1 2 24.576MHzB
15
GCLRn (SHT2)
88 44 SD11 75.0 OHM
OE1 (SHT2)
36.864MHZ 90 42 SD20 IC601
+
OE2/GCLK2 (SHT2) 74ACT04D
11 41 SD21 74LVC2244 10UF 20V
(SHT2)
26 40 SD30 +3.3V C808 0.1UF
(SHT2)
38 37 SD31
(SHT2)
43 36 SD40 C806 0.1UF
(SHT2)
59 35 SD41
20
(SHT2)
74 33 SD50
(SHT2)
86 32 SD51 +5V +3.3V
(SHT2)
VCC
95 31 SD60 IFSYNC 2
(SHT2) R608 A1
P2TDI 4 30 SD61 PILOTDATA IBCLK 4 18
(SHT6) TDI (SHT2) A2 Y1
PTMS 15 29 SD70 75.0 OHM IMCLK 6 16
TMS (SHT2) A3 Y2
PTCK 62 25 SD71 8 14
TCK (SHT2) R609 A4 Y3
PTDO 73 23 PILOTWCLK 11 12 IDATA0
TDO (SHT5) IOLINK A5 Y4 (SHT2) IC807B
IDATA2 71 21 75.0 OHM 13 9 IDATA1
A6 Y5 (SHT2)
16
SD62 75 81 DACFSYNC 15 7 R801
8
IDATA2 R807
(SHT2) R610 A7 Y6 10.0K IC801 3 4 33.8688MHz
SD63 76 80 PILOTBCLK DACBCLK 17 5
(SHT2) A8 Y7 1% 75.0 OHM
DOUTFSYNC 83 79 3 PLL1700E
Vddp
Vddb
Vdd
75.0 OHM Y8
DOUTBCLK 77 78 DACFSYNC 1 74ACT04D
OE1 18 10
72 R611 19 RST MCKO E42
GND
ODATA0 OE2 11 IC807E
MCKO E43
75.0 OHM 2
1 100 MODE R808
N/C N/C 1 11 10 12.288MHz
2 99 R612 ML/SR01 N/C
N/C N/C ODATA1 20 9 75.0 OHM
10
5 98 MC/FS1 RSV N/C
N/C N/C 75.0 OHM 19
7 97 R802 MD/FS0 74ACT04D
N/C N/C DACBCLK
22 96 10.0K IC807F
N/C N/C
24 94
N/C N/C 12 R809
27 93 SCK01 13 12 18.432MHzA
N/C N/C 6 14
28 92 XT1 SCK02 75.0 OHM
N/C N/C 17
49 85 C801 SCK03
N/C N/C 13 74ACT04D
50 84 SCK04
N/C N/C 10UF 20V 5
+
53 XT2 IC807C
N/C IC602
Gndp
Gndb
55
Gnd
N/C 74LVC2244 R810
70 5 6 18.432MHzB
N/C +3.3V N/C
C802 75.0 OHM
0.1UF C804
15
74ACT04D
20
+
IC807D
C803 10UF 20V
0.1UF 9 8 R811 36.864MHzB
C805
VCC
OFSYNC 2 0.1UF
A1 75.0 OHM
OBCLK 4 18
+3.3V A2 Y1
ODATA0 6 16 74ACT04D
A3 Y2
ODATA1 8 14 +3.3V
+3.3V A4 Y3
R601 ODATA2 11 12
+3.3V (SHT2) A5 Y4 36.864MHz
100K ODATA3 13 9
(SHT2) A6 Y5
R602 DOUTFSYNC 15 7
1% J603 A7 Y6 N/C
100K DOUTBCLK 17 5
PTCK A8 Y7
4
(SHT6) 1 2 3 IC804
1% PTDO Y8
3 4 1
PTMS OE1
GND +3
(SHT6) 5 6 N/C 19 1 3
GND
OE2 OE OSC
N/C 7 8 N/C
+3.3V
9 10
HDR 5X2 CMX-309FBC-27.000000M
10
R603 UNSHRD
2
100K
P1TDI
1% JTAG PORT
(SHT6) SERIAL AUDIO INTERFACE & CLOCK GENERATION
+3.3V
C709 C711 C712 C713 C714 C715 C716 C718 C719 C720 C723 C724 C725 C726 C727 C732 C733 C734 C739 C740 C741 C742 C744 C751 C754 C756 C758 C759 C761 C762 C771 C772 C773 C774
0.1UF 0.1UF 0.1UF 0.1UF 0.1UF 0.1UF 0.1UF 0.1UF 0.1UF 0.1UF 0.1UF 0.1UF 0.1UF 0.1UF 0.1UF 0.1UF 0.1UF 0.1UF 0.1UF 0.1UF 0.1UF 0.1UF 0.1UF 0.1UF 0.1UF 0.1UF 0.1UF 0.1UF 0.1UF 0.1UF 1000PF 1000PF 1000PF 1000PF
+3.3VB
POWER SUPPLY
CONNECTOR
C701 C702 C703 C704 C705 C706 C707 C708 C710 C728 C729 C743 C752 C753 C755 C757 C760
0.1UF 0.1UF 0.1UF 0.1UF 0.1UF 0.1UF 0.1UF 0.1UF 0.1UF 0.1UF 0.1UF 0.1UF 0.1UF 0.1UF 0.1UF 0.1UF 0.1UF
+5V
J701
1 2
3 4
5 6
+3.3V
7 8
+RAW
R703 9 10
+5V IC701 11 12
LT1086CM-3.3 0.02OHM 1% 13 14
3 2 * 15 16
Vin Vout
GND
HDR 2X8
+RAW
+ C763 + C766 SHROUDED
10UF 20V C764 C765 10UF 20V CR700
0.1UF 0.1UF R705 6.8V
1
75.0 OHM
1%
* DO NOT STUFF THESE COMPONENTS.

HS700
HEAT_SINK
+3.3VB
+RAW
R704 IC703
5
+5V IC702
LT1086CM-3.3 0.02OHM 1%
* 4
3 2 FDBK
/ON
Vin Vout
TP704
GND
1 +3.3V
VIN
+ C767 + C770
GND
10UF 20V 10UF 20V CR701 L700
C768 C769 TP 2
6.8V OUT
0.1UF 0.1UF CR702 + C776
PE
1
100UF C775
* 33V 150UH
50V 0.1UF LM2576T
* DO NOT STUFF + C777 + C778
3
CR703
31DQ04 470UF 470UF
16V 16V
TP703
+5VB TP-DUAL
TP702
TP-DUAL
+ C736 C749
22UF 0.1UF
DSP REGULATOR AND POWER DISTRIBUTION

IC101C IC102C IC103C IC104C
DSP56362-100 DSP56362-100 DSP56362-100 DSP56362-100
99 133 99 133 99 133 99 133

N/C A17 D23 N/C N/C A17 D23 N/C N/C A17 D23 N/C N/C A17 D23 N/C
98 132 98 132 98 132 98 132
97 131 97 131 97 131 97 131
94 128 94 128 94 128 94 128
93 125 93 125 93 125 93 125
92 124 92 124 92 124 92 124
89 123 89 123 89 123 89 123
88 122 88 122 88 122 88 122
85 121 85 121 85 121 85 121
84 118 84 118 84 118 84 118
83 117 83 117 83 117 83 117
82 116 82 116 82 116 82 116
79 115 79 115 79 115 79 115
78 114 78 114 78 114 78 114
77 113 77 113 77 113 77 113
76 110 76 110 76 110 76 110
73 109 73 109 73 109 73 109
72 108 72 108 72 108 72 108
107 107 107 107
D5 N/C D5 N/C D5 N/C D5 N/C
70 106 70 106 70 106 70 106
N/C AA0/RAS0 D4 N/C N/C AA0/RAS0 D4 N/C N/C AA0/RAS0 D4 N/C N/C AA0/RAS0 D4 N/C
69 105 69 105 69 105 69 105
51 102 51 102 51 102 51 102
50 101 50 101 50 101 50 101
52 100 52 100 52 100 52 100
N/C CAS D0 N/C N/C CAS D0 N/C N/C CAS D0 N/C N/C CAS D0 N/C
68 68 68 68
N/C RD N/C RD N/C RD N/C RD
67 67 67 67
N/C WR N/C WR N/C WR N/C WR
62 62 62 62
TA TA TA TA
+3.3V 63 +3.3V 63 +3.3VB 63 63
N/C BR N/C BR N/C BR N/C BR
71 71 71 71
R301 BG R302 BG R303 BG BG
64 64 64 64
BB BB BB BB
10.0K 10.0K 10.0K +3.3VB
1% 1% 1%
R304
10.0K
1%
IC106C
IC105C IC107C
DSP56362-100 IC108C
DSP56362-100 DSP56362-100
DSP56362-100
99 133 99 133 99 133

99 133 N/C A17 D23 N/C N/C A17 D23 N/C N/C A17 D23 N/C
N/C A17 D23 N/C 98 132 98 132 98 132
N/C A16 D22 N/C 97 131 97 131 97 131
N/C A15 D21 N/C 94 128 94 128 94 128
N/C A14 D20 N/C 93 125 93 125 93 125
N/C A13 D19 N/C 92 124 92 124 92 124
N/C A12 D18 N/C 89 123 89 123 89 123
N/C A11 D17 N/C 88 122 88 122 88 122
N/C A10 D16 N/C 85 121 85 121 85 121
N/C A9 D15 N/C 84 118 84 118 84 118
N/C A8 D14 N/C 83 117 83 117 83 117
N/C A7 D13 N/C 82 116 82 116 82 116
N/C A6 D12 N/C 79 115 79 115 79 115
N/C A5 D11 N/C 78 114 78 114 78 114
N/C A4 D10 N/C 77 113 77 113 77 113
N/C A3 D9 N/C 76 110 76 110 76 110
N/C A2 D8 N/C 73 109 73 109 73 109
N/C A1 D7 N/C 72 108 72 108 72 108
N/C A0 D6 N/C 107 107 107
107 D5 N/C D5 N/C D5 N/C
D5 N/C 70 106 70 106 70 106
70 106 N/C AA0/RAS0 D4 N/C N/C AA0/RAS0 D4 N/C N/C AA0/RAS0 D4 N/C
N/C AA0/RAS0 D4 N/C 69 105 69 105 69 105
N/C AA0/RAS1 D3 N/C 51 102 51 102 51 102
N/C AA0/RAS2 D2 N/C 50 101 50 101 50 101
N/C AA0/RAS3 D1 N/C 52 100 52 100 52 100
52 100 N/C CAS D0 N/C N/C CAS D0 N/C N/C CAS D0 N/C
N/C CAS D0 N/C 68 68 68
68 N/C RD N/C RD N/C RD
N/C RD 67 67 67
67 N/C WR N/C WR N/C WR
N/C WR 62 62 62
62 TA TA TA
TA 63 63 63
63 N/C BR N/C BR N/C BR
N/C BR 71 71 71
71 BG BG BG
BG 64 64 64
64 BB +3.3V BB BB
BB +3.3VB +3.3V
+3.3VB R306 R308
R307
R305
10.0K 10.0K
10.0K
10.0K 1% 1%
1%
1%
DSP NO-CONNECTIONS
DISPLAY BOARD PARTS LOCATOR

DISPLAY BOARD
HF LIMITER FEEDBACK LINE
ALL CONTROLS TO THE RIGHT OF THIS LINE

ARE INDEPENDENT BETWEEN THE HD
AND ANALOG PROCESSING CHAINS
CLIPPING DISTORTION
CONTROLLER
FEEDBACK LINE CLIPPER AND OVERSHOOT COMP
IMPLEMENT OUTPUT LOWPASS FILTERING
TRACKS OUTPUT LPF
TWO-BAND STEREO EQUALIZER CLIPPING DISTORTION-

LOW HIGH- MONO L 5-BAND 5-BAND OVERSHOOT TRANSMITTER
STEREO STEREO HF ENHANCER DISTORTION CANCELLED
PASS PASS MONO R COMPRESSOR LIMITER COMPENSATOR EQUALIZER
INPUT ENHANCER MONO SUM CONTROLLER CLIPPER
FILTER FILTER RECEIVER EQ
AGC
ANALOG TX
MONITOR
ANALOG OUTPUT #1
COMPRESSOR/LIMITER
CONTROL COUPLING HD TX
ANALOG TX
MONITOR
ANALOG OUTPUT #2
HD TX
ANALOG TX
MONITOR
AES3 OUTPUT #1
HD TX
ANALOG TX
MONITOR
AES3 OUTPUT #2
HD TX
STEREO
EQUALIZER 5-BAND 5-BAND LOOK-AHEAD
MONO L
MONO R COMPRESSOR LIMITER LIMITER
MONO SUM HF ENHANCER
COMPRESSOR/LIMITER
CONTROL COUPLING
OPTIMOD-AM 9400 FUNCTIONAL BLOCK DIAGRAM


Orban 9400AM Manual

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Operating Manual

Version 1.0 Software

Model Number: Description:

9400 OPTIMOD 9400, Digital I/O, Five-band stereo proc-

9400J As above, but for 90-117V operation.

Part Number: Description:

96129.100.01 9400 Operating Manual

WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRICAL SHOCK,

This symbol, wherever it appears, alerts you to

In accordance to the WEEE (waste electrical and electronic equipment) direc-

If this product is discarded into an approved municipal WEEE collection site or

Please contact your Orban dealer for further assistance.

Safety Instructions (European)

WARNING: THIS APPLIANCE MUST BE EARTHED.

Conductor WIRE COLOR

Safety Instructions (French)

Safety Instructions (Spanish)

Safety Instructions (Italian)

Trial Period Precautions

Your dealer may charge you for any missing items.

Orban and Optimod are registered trademarks.

The manual published October 2005

1525 Alvarado Street, San Leandro, CA 94577 USA

Version 1.0 Software

ABOUT THIS MANUAL.......................................................................................................1-1

INSTALLING THE 9400.......................................................................................................2-1

9400 FRONT PANEL .........................................................................................................3-1

ROUTINE MAINTENANCE ...................................................................................................4-1

PROBLEMS AND POTENTIAL SOLUTIONS ...............................................................................5-1

Function Description Drawing Page

9400 HD 2- · 55 asymmetry 1- · 16, 18

via GPI 2- · 45 gate 3- · 38

circuit description 6- · 6 analog, connecting 2- · 9

gain reduction 2- · 13, 2 analog, specifications 6- · 2

input 2- · 12, 2 digital, setting dither 2- · 28

studio 1- · 20 digital, setting sample rate 2- · 28

The OPTIMOD-AM 9400 Digital Audio Processor

OPTIMOD-AM 9400 is descended from the industry-standard 9100 and 9200

Because OPTIMOD-AM incorporates several audio processing innovations

OPTIMOD-AM was designed to deliver a high-quality FM-like sound to the listener's

Making the Most of the AM Channel

• OPTIMOD-AM rides gain over an adjustable range of up to 25dB, compressing

• OPTIMOD-AM increases the density and loudness of the program mate-

• OPTIMOD-AM precisely controls peak levels to prevent overmodulation.

• OPTIMOD-AM compensates for the high- and low-frequency rolloffs of

• OPTIMOD-AM is a stereo processor that fully protects CQUAM® transmissions,

• OPTIMOD-AM supports the iBiquity HD Radio® system. Except for common

• Orban’s PreCode™ technology manipulates several aspects of the audio to

Controllable and Adjustable

• OPTIMOD-AM contains a versatile real-time clock, which allows automation of

• OPTIMOD-AM contains a built-in line-up tone generator, facilitating quick

• OPTIMOD-AM's software can be upgraded by running Orban-supplied

• The 9400 can be remote-controlled by 5-12V pulses applied to eight pro-

• OPTIMOD-AM compensates for inaccuracies in the pulse response (tilt,

• The 9400 includes analog and AES3 digital inputs.

• The analog inputs are transformerless, balanced 10kΩ instrumentation-

• OPTIMOD-AM is usually installed at the transmitter, replacing all processing

• OPTIMOD-AM comes with a passive Monitor Rolloff Filter to accurately simu-

• All input, output, and power connections are rigorously RFI-suppressed to

• The 9400 is designed and certified to meet all applicable international