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Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 3725-33186-001 Revision: B.
Polycom Inc. 4750 Willow Road Pleasanton, CA 94588-2708 USA No part of this document may be reproduce d or transmitted in any form or by any means, el ectronic or mechanical, for any purpose, without the express written permission of Polycom, Inc. Under the law, reprod ucing includ es translating into another language or format.
1 1 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1–1 2 SoundStructure Product Family . . . . . . . . . . . . . . . . . . . . . . . . . . . 2–1 SoundStructure Architecture Overview . . . . . . . . .
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 2 Step 3 - Device Sele ction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4–7 Step 4 - Uploading Or Working Offline . . . . . . . . . . . . . .
3 Adjusting Crosspoints . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5–54 Matrix summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5–59 Telephony Channels .
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 4 Signal Meters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7–11 Room Gain . . . . . . . . . . . . . . . . . . . . . . . . .
5 Wiring Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9–26 Controlling The System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9–26 Two PSTN Line Positional “Recei ve” Audio Conferencing .
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 6 API Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10–9 RS-232 Troubleshooting . . . . . . . . . . . . . . . . . . . . . . .
7 Adjusting Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A–22 Command List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A–28 Command Example .
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 8.
1 - 1 1 Introduction The Polycom SoundStructure™ products are professional, rack-mountable audio processing devices that set a ne w standar d for audio performance and conferencing in any style of room.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 1 - 2 • Ethernet port for easy config uration and device management SoundStructure devices are configured with Polycom's Sound.
Introduction 1 - 3 • Chapter 9 provides example applicati ons with Soun dStructure produc ts including stereo audio conferencing applications, room combining, and more. • Chapter 10 provides details on the status LEDs on SoundStructure, and troubleshooting information and steps.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 1 - 4.
2 - 1 2 SoundStructure Product Family There are two product lines in the So undStructure product family - the SoundStructure C-series designed for audio conferencing applications (th e “C” stands for conferencing) and the SoundStructure SR-series designed for commercial sound applications (the “SR” stands for soun d reinforcement).
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 2 - 2 the following figure for a SoundS tructu re device that has N inputs and N outputs. The specific input and output processing will depend on the product family (C-se ries or SR-series ) and is descri bed later in this chapter .
SoundStructure Product Family 2 - 3 echo cancellation while the SR-series prod ucts do not include acoustic echo cancellation. The processing capabilities will be described in the following sections.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 2 - 4 • It is easier to work with the sys tem because all the input signals feed into the single matrix and all the outp uts are fe.
SoundStructure Product Family 2 - 5 SoundStr ucture C-series Products The SoundStructure C16, C12, a nd C8 devices are designed for audio conferencing applications where groups of people want to communicate to other individuals or groups such as in a typical room shown in the following figure.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 2 - 6 Each SoundStructure C-series device may be used with traditional analog microphones, with Polycom's HD X digital microphone arrays 1 . For detailed information on using the Polycom HDX digital microphone arrays, see Chapter 6.
SoundStructure Product Family 2 - 7 C-Series Input Processing The input processing on the SoundStruct u re C-series devices is designed to make it easy to create conferencing solutions eithe r with or without sound reinforcement. Each audio input on a So undStructure C-series device has the processing shown in the following table.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 2 - 8 analog input signal is digitized and avai lable for processing. The digital signal is processed by five different DSP algorithms: parametric equalization, acoustic echo cancellation, noise cancellation, feedback reduction, and echo suppression (non linear processing).
SoundStructure Product Family 2 - 9 These three different versions of the inpu t signal mean that, at the same time, an output signal to the loudspeakers can use the sound reinforcement processed vers.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 2 - 10 automatic gain control on the sound rein forcement pa th from increasing the microphone gain and consequently reducing the potentia l acoustic gain before the onset of feedback.
SoundStructure Product Family 2 - 11 processing on an input signal. This vers ion of the signal has no acoustic echo cancellation processing and will conseque ntly include any acoustic echo signal that may be present at the microphones.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 2 - 12 Recording/Ungated - Sound Reinforcement Finally, the sound reinforcement recording input includes the echo and noise cancellation and optional feedback elim ination processing as shown in the following figure .
SoundStructure Product Family 2 - 13 The following figure highl ights how to interpret the matrix crosspoints in the matrix. C-Series Output processing As shown in the following table and figure , eac.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 2 - 14 C-Series Submix Processing Submixes are outputs from the matrix that can be routed directly back to the input of the matrix as show n in the following figure.
SoundStructure Product Family 2 - 15 As shown in the following figure, each submix signal from the matrix can be processed with dynamics processing, para metric equalization, a fader, and up to 1000 milliseconds of delay. Each SoundStructure device has as many submixes as there are inp uts.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 2 - 16 In order for the local acoustic echo canceller to cancel the acoustic echo of the remote participants, it must have an echo cancelle r reference define d. The echo canceller reference includes all the signal s from the remote site that should be echo cancelled.
SoundStructure Product Family 2 - 17 reinforcement, and broadcasting. The fo llowing figure shows an example of using the SoundStructure SR12 to provid e additional line le vel input s and outputs to a SoundStructure C8 conferencing product.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 2 - 18 particular SoundStructure C-series devi ce, either t he next large st C-series device or additional C-series devices mu st be used to support the number of microphones required.
SoundStructure Product Family 2 - 19 SR-Series Input Processing The input processing on the SoundStr ucture SR-serie s devices is desi gned to make it easy to create commercial sound and sound reinforcement solutions. Each audio input on a SoundStructure SR-series device i ncludes the signal processing path shown in the following table.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 2 - 20 Each analog input signal has an analog gain stage that is used to adjust the gain of the input signal to the SoundStructure's nominal signal level of 0 dBu. The analog gain stage can provide from -20 to 64 dB of analog gain in 0.
SoundStructure Product Family 2 - 21 The automixer processing is only appl ied to the noise cancelled and sound reinforcement signal paths to ensure that there is an 'un'-automixed version o.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 2 - 22 microphone audio to paging zones that are not acoustically coupled to the microphone. This is the default processing for microphone inputs when the automixed version of the signal is select ed.
SoundStructure Product Family 2 - 23 For additional flexibility in audio a pplications, there are four different versions of the recording/ungated sign al that can be selected through the four-input router shown in the previous processing figures.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 2 - 24 Recording/Ungated - Noise Cancelled The noise cancelled recording input includes the noise cancellation as shown in the next figure.
SoundStructure Product Family 2 - 25 represented with diffe rent background colors at the matrix crosspoint. The So u n d S tr u c t ur e S t u di o s o f tw a r e a ll o w s th e u s e r to s e l ec t w h ic h v e r s io n o f th e input signal processing at the matrix crosspoint.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 2 - 26 SR-Series Submix Processing The submix processing for the SR-series of products is identical to the processing for the submix processing in the C-series and shown in the following ta ble and figure.
SoundStructure Product Family 2 - 27 T elephony Processing Both the C-series and SR-seri es SoundStructure devices support optional plug-in cards. Currently there are two telephony cards: TEL1, a single-PSTN line, and TEL2, a dual-PSTN line interface card in the form factor shown in the following figure .
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 2 - 28 The SoundStructure telephony cards ha ve been designed to meet various regional telephony requir ements through the selection of a country code from the user interface.
SoundStructure Product Family 2 - 29 progress detector that analyzes the te lephony input signal and reports if any call progress tones are present (for exam ple, if the tele phony line is busy, the phone is ringing, etc.). Typically, the t elephony cards will be used in the C-se ries devices for audio conferencing applications.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 2 - 30.
3 - 1 3 SoundStructure Design Concepts Before creating designs f or the SoundStructure devices, the concepts of physical channels, virtual channels, and virtual channe l groups will be introduced. These concepts form the foundation of SoundStructure audio designs.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 3 - 2 be used and take extra care to ensure that commands are referencing that exact input or output signal.
SoundStructure Design Concepts 3 - 3 The physical input channels and the physical output channels will be numbered from 1 to the maximum number of physical channels in a system. As described below, this approach is an enhancement of how traditional audio signals are labeled and how their signal s are uniqu ely referenced.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 3 - 4 The OBAM link is bidirectional - da ta flows in both an upstream and downstream direction meaning that the bu s does not need to be looped back to the first device.
SoundStructure Design Concepts 3 - 5 continue for additional devices. This connection strategy, shown in the following figures, simplifies the sequential physical channel numbering as described next.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 3 - 6 Following the connections in the previous figure, as an example of this linking order and how the physical channels are numbered, conside r the system of three SoundStr ucture C16 devices show n in the following figure.
SoundStructure Design Concepts 3 - 7 Device A's inputs and outputs become the first sixteen physical inputs and sixteen outputs on the system, devic e B's inputs and outputs become the next .
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 3 - 8 finally device B becomes the third device in the link. The result is that t he inputs and outputs on device C will be come inputs 17-32 and outputs 17-32 on the full system even though device B is physically installed on top of device C.
SoundStructure Design Concepts 3 - 9 The organization of the devices in this example would make it confusing to properly terminate i nputs and outputs to the desired physical inputs and outputs.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 3 - 10 Vir tual Channels A virtual channel can be thought of as a layer that is wr apped around one or more physical channels.
SoundStructure Design Concepts 3 - 11 example, mutes or changes volume) th e SoundStructure devices through the virtual channel names, not the underlyi ng physical input and output that a particular audio sign al is connected to.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 3 - 12 Using SoundStruct ure virtual channels is the only way to configure and control the underlying physical chan ne ls with third-party control systems. The physical input a nd output channel nu mbering described in se ction 3.
SoundStructure Design Concepts 3 - 13 group “Mics” has been created, it is possible to configure and control all the microphones at the same time by oper ating on the “Mics” virtual channel group. It is possible to have multiple virt ua l channel groups that include the same virtual channels.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 3 - 14 As an example of using physica l channels, virtual channels, and virtual channel groups, consider a SoundStruc ture C12 device where there are ten microphone inputs, a telephony interf ace, and a Polycom HDX system as shown in the following figure.
SoundStructure Design Concepts 3 - 15 Virtual channel definitions could be defi ned as shown in the following figure. The virtual channel definitions make it ea sy to work with the different signals since each virtual channel has a specific name and refers to a particular input or output.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 3 - 16 Vir tual Channel Group Summar y Virtual channel groups are an easy way to create groups of signals that ma y be controlled together by sending an API command to the virtual channel group name.
SoundStructure Design Concepts 3 - 17 Physical Logic Pins The physical logic pins and their labeling is shown in the follow ing figure. The logic inputs and logic outpu ts have physical inputs and outputs 1 - 11 on Remote Control 1 connector and 12 - 22 on Remote Control 2 connec tor on each SoundStructure device.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 3 - 18 When multiple devices are OBAM linked as shown in the next figure, the logic inputs and outputs on the first device will be numbered 1 - 22 and the logic inputs and outputs on the second de vice (device B) will be numbered 23 - 44, and so on.
SoundStructure Design Concepts 3 - 19 Logic Inputs All digital logic inputs (logic inputs 1 - 22) operate as contact closures and may either be connected to ground (closed) or not connected to ground (open). The logic input circuitry is shown in the following figure.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 3 - 20 Logic Outputs All logic outputs are configured as open-collector circuits and may be used with external voltage sources. The maxi mum voltage that should be used with the logic outputs is 60 V with a maximum current of 500 mA.
SoundStructure Design Concepts 3 - 21 Logic pins can be defined via the command line interface from SoundStructure Studio or a control terminal with the follo wing syntax to define a logic input on lo.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 3 - 22 The value of the digital control array is the binary sum of the individual logic pins.
SoundStructure Design Concepts 3 - 23 IR Receiver Vir tual Channel The IR receiver input on the SoundS tructure device will respond with acknowledgments when a valid IR signa l is received. The first step towards using the IR receiver is to define the IR receiver virtual channel.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 3 - 24.
4 - 1 4 Creating Designs with SoundStructure Studio SoundStruc ture Studio is the soft ware environment for creating, managing, and documenting SoundStructure designs. SoundStructure Studio communicates with SoundStructure devices over a communication link (RS-232 or Ethernet) using the SoundStructure API commands.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 4 - 2 • Follow the on-scr een steps to s pecify the output signals • Select the SoundSt ructur e devices to be used for the desig.
Creating Designs with SoundStructure Studio 4 - 3 SoundStr ucture Studio The first step to creating a SoundS tructure design is to launch the SoundStructure St udio application. If the SoundSt ructure Studio sof tware is not already installed on the loca l PC, it may be installed from the CD that w as included with the product.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 4 - 4 of input (Ceiling, Lectern, …) and the quantity of the input and then click “Add”. The label of the input signal wi ll become the vir tual channel name of that input signal.
Creating Designs with SoundStructure Studio 4 - 5 A typical system is shown in the next figure where a stere o program audio source, eight table microphones, a wireless microphone, a telephony input, and a Polycom HDX video codec have been selected.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 4 - 6 Step 2 - Output Signals In step 2 of the design process, the outp uts from the system are specified in the same manner that inputs were cre ated. A sample collection of outputs is shown in the following figure.
Creating Designs with SoundStructure Studio 4 - 7 Step 3 - Device Selection In Step 3, the devices that will be used with the design are selected as sho wn in the following figure.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 4 - 8 Step 4 - Uploading Or W orking Offline In step 4, the decision is made to either work offline or to work online. When working online, a set of devices can be sele cted to upload the sett ings to via the Ethernet o r RS-232 int erfaces.
Creating Designs with SoundStructure Studio 4 - 9 Once the finish button is clicked, the SoundStructure Studi o software wil l create the entire design file includ in g defining all the virtual channels and virtual channel groups such as those shown the following figure.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 4 - 10 Online vs. Of fline SoundStructure Studio has been designed to fully operate in e ither online or offline modes.
Creating Designs with SoundStructure Studio 4 - 11 In this example the virtual channel gr oup “Mics” was mute d and the console shows the command in blue and the acknowledgements generated in green.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 4 - 12.
5 - 1 5 Customizing SoundStructure Designs Once a SoundStructure project file has been created as de scribed in the previ- ous chapter, the SoundStructure Studio software can be used to adjust and customize the design.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 5 - 2 physical channel. If it is necessary to change the wiri ng from the default wiring, the virtual wiring may be changed by clicking an d dragging signals from their current input or output to a new input or output as shown in the following figure.
Customizing SoundStructure Designs 5 - 3 When a virtual channel is moved, SoundStructu re Studio redefines the virtual channel to use the new physical inputs or outputs that are specified.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 5 - 4 Edit Devices When working offline, the Wiring Page includes an “Edit Devices” control for changing the underlying SoundStructure equipment that was selected during the design process as shown in the following figure.
Customizing SoundStructure Designs 5 - 5 fit into the next smaller SoundStructure devi ce require s removing a udio chan - nels from the “Edit Channels” control. Channels Page The channels page is the primary area for customizing the signal gains and processing for the input, output, and submix signals.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 5 - 6 figures for examples of the different user controls. It is possible to cha nge which types of virtual channels are viewed by enabling or disabling groups, inputs, outputs, and submixes with the controls on the top of the Channels page as shown in the following figure.
Customizing SoundStructure Designs 5 - 7 button as shown in the following figure. Editing Vir tual Channels To add or delete additional virtual ch annels, click the “Edit Channels” button on the Channels page as highlighted in the following figure.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 5 - 8 Channels page and there will be defaul t ga in settings for the devices and default signa l routing wi ll be created f or the matrix ba sed on the type of signal added.
Customizing SoundStructure Designs 5 - 9 Collapse buttons respectively. To create additional virt ual channel groups, click the Edit Groups button on the Channels page to cause the Edit Groups screen to appear as shown in the following figure. All existi ng virtual channel groups will appear on the right of the screen.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 5 - 10 Once a virtual channel group has been de fined, virtual channels may be added to the virtual channel group by selecting the desired virtua l channels.
Customizing SoundStructure Designs 5 - 11 Any commands that are sent to config ure the virtual channel group “Zone 1 Mics” will in turn be sent to the members of the virtual channel group.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 5 - 12 there are no dashed lines around th e gain for the “Zone 1 Mics” group. If a parameter for all members of a vi rtual chan.
Customizing SoundStructure Designs 5 - 13 Input Signal Meters All these input channels have meters th at will show the si gnal activity. The meters may be enabled from the Tools menu or from the lower right hand corner of the screen. To enable the signal meters from the Tools menu, select the menu item Tools and then Options.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 5 - 14 to the SoundStructure device, however the meters will be most responsive over the Ethernet interface.
Customizing SoundStructure Designs 5 - 15 meter will show le ss signal acti vity. Since the level_pre meter position is before any processing has been applied to the signal, even if the signal is mute d within the SoundStructur e device, the level_pre input meter will show any signal activity on that input.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 5 - 16 adjustments. Line Input level_post Line input channels, such as program au dio or audio from video codecs that are connected via analog inputs and outp uts, will be me tered at the Record- ing/Ungated output shown in the follow ing figure.
Customizing SoundStructure Designs 5 - 17 any processing and the level_post is after the processing. Conference Link Channels The Conference Link channels for HDX Program Audio in and HDX Video Call In have a level_pre and level_post as shown on the following figure.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 5 - 18 Input Channel Controls This section discusses the input controls in the order that they appear on the channels page.
Customizing SoundStructure Designs 5 - 19 collapsed. Analog Signal Gain SoundStructure devices have a continuous analog input gain stage that oper- ates on the analog input signal and has a range of -20 dB to +64 dB with 0.5 dB gain increments. Values are rounded to the ne arest 0.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 5 - 20 Since there is only one lar ge input range on SoundStructure devices, it is easier to see how much gain is required for each microphone input. Ga in s et ti n gs ar e ad ju s te d b y mo v in g t h e sli der or typing the input value into the user control.
Customizing SoundStructure Designs 5 - 21 button which is labeled Phan. Ungated T ype The ungated type user control refers to which signal pa th to use f or the ungated (or un-automixed) processing path.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 5 - 22 input basis. As described in Chapter 2, there are four different types of ungated signal pro- cessing paths that may be selected fo r each input. The different signal processing paths for the four ungated signal ty pes are summarized in the fol- lowing table.
Customizing SoundStructure Designs 5 - 23 where a program audio source can be processed with parametric equalization, automatic gain control, dynamics processing, fa der, delay, and input mute.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 5 - 24 Delay T ype When the Sound Reinforcement ungated type is selected, th ere are two delay options that are available on the So und Reinforcement signal path - norm al and low delay .
Customizing SoundStructure Designs 5 - 25 following figure . The low delay type corresponds to a processing path that comple tely bypasses the processing of the AEC and noise ca ncellation. Because these processing blocks are not in the signal path, the signal has lower latency.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 5 - 26 sound reinforcement paths. Delay Compensation The delay compensation control adds a fixed delay to the line input and bypass signal processing paths to keep the different version of the input pro- cessing time aligned thro ugh the input processing.
Customizing SoundStructure Designs 5 - 27 Bypass ungated signal type is selected as shown in the following figure. Tr i m The trim command is used with stereo virtual channels to provide additional ga.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 5 - 28 gain of 64 dB wil l be added in the digital domain. Equalization The equalization processing that is available for each input consists of dedicated • Low Pass filter • High Pass filter • Low Shel f filter • High Sh elf filt er • 10 parametric equa lizers.
Customizing SoundStructure Designs 5 - 29 enabled. To enable a filter, click the button next to the filter, and then adjust the param- eters for the filter block as shown in the following figure.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 5 - 30 • Notch filter • Allpass filter Parametric filters emphasize or de-empha size the center frequency with a gain and bandwidth setting. The user ca n specify the bandwidth (in octaves), center frequency (in Hz), and gain (from 0 to 20 dB).
Customizing SoundStructure Designs 5 - 31 figure. There is a safe mode attenuation that defines the amount of attenuation that can be applied to the signal if the feed back eliminator filters are all engaged and there is still feedback. The safe mo de attenuation can be set from 0 to 20 dB of attenuation and has a default value is 3 dB.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 5 - 32 selecting the Sn d Reinforceme nt option of the gated/automixed as shown in the following figure. Selecting the Snd Reinforcement option will ensure that the proper input processing path is selected for routing mic rophones to loudspeakers.
Customizing SoundStructure Designs 5 - 33 group. References can be selected from any outp ut signal or from any submix signal. A reference can be either a mono virtual ch annel or a stereo virtual channel. If only a single mono virtual channel referenc e is specified, the system is operat- ing as a monaural echo canceller.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 5 - 34 dynamics processing, fader, delay, an d mute. The acoustic echo canc eller is also in this signal path but should not be enabled for non-microphone audio sources.
Customizing SoundStructure Designs 5 - 35 nals so that the averag e signal l evel is close to the SoundStructure nominal signal level of 0 dBu. The AGC processi ng can be used on any input signal.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 5 - 36 input signals. SoundStructure devices include the foll owing styles of look-ahead dynamics processing.
Customizing SoundStructure Designs 5 - 37 Compressors And Limiters The peak limi ter monitors the peak si gnal magnitude and compares it to a threshold. If the peak surpasses the threshold, the peak li miter immediately attenuates the signal with a very fast attack to bring the peak level below the threshold.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 5 - 38 Decreasing the attack ti me will allow the compressor/limiter t o work more aggressively but may also introduce aud io artifacts.
Customizing SoundStructure Designs 5 - 39 input signal level and the gate threshold. For example, if the gate ratio is 10:1 and the input signal level is 6 dB below the gate threshold, the ga te applies 60 dB of attenuation.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 5 - 40 ing the Remove Channels button. There are two styles of automixer groups – gating and gain-sharing.
Customizing SoundStructure Designs 5 - 41 Camera Activity Ti me Camera Activity Time specifies how l ong the mic rophone must be considered active before a camera indicator is set. The camera indicator is a status mes- sage that can be used with an extern al control system to indicate that a particular microphone is active.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 5 - 42 have to be eligible to be cons idered ac tive. Higher settings will make the chan- nel less sensitive - harder to turn the microphone on, while lower settings make it more sensitive - easier to turn the microphone on.
Customizing SoundStructure Designs 5 - 43 Gain Sharing Automixer Parameters Slope The Slope paramete r determines the selectivity of how the gain is adjusted on the gain-sharing automi xer by setting a multi plier on the gai n that is applie d to active microphones.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 5 - 44 in the digital domain. The fader control is shown in the follow ing figure. A maximum and minimum gain range can be specified f or the input faders to make it possible to limit user gain control by moving the triangl es associated the gain slider.
Customizing SoundStructure Designs 5 - 45 Signal Generator Each SoundStructure device can have a single signal generator defined can generate white noise, pink noise, a sine wave, and a sine sweep. By default, each project will have a signal generator with pink noise at a level of -30dB added to the project.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 5 - 46 Output Signals This section describes the user i nterfac e for configuring outp ut signals. Every output signal has the processing capa bilities described in the following section.
Customizing SoundStructure Designs 5 - 47 Dynamics The output dynamics processing availa ble on the outputs is the same as the input dynamics processing and is desc ribed previously in the Dynami cs Pro- cessing section of Input Signals in this chapter.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 5 - 48 Output EQ Type parameter as shown in the following figure. The center frequencies of a graphic equa lizer are specified in the ISO 266 stan- dard.
Customizing SoundStructure Designs 5 - 49 following ta ble. These band edges are exactly betwe en th e center frequencies. At the band edges, the gain of the equalizer band is half the gain (in dB) at the center fre- quency.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 5 - 50 Submix Signals This section describes the processing that is available for each submix channel.
Customizing SoundStructure Designs 5 - 51 • High Pass, • Low Shelf, • High Shelf, and • 10 parametric equa lizers as shown in the following figure. To enable a filter, click the check box next to the filter. This wi ll make the filter the active filter and allow the parameters to be changed as shown next.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 5 - 52 Allpass filters do not modify the gain of the signal, bu t change the phase. For a second order allpass filter, the phas e sh ift is 0 degrees at 0 Hz, 360 degrees at high frequencies, and 180 degrees at th e center frequency.
Customizing SoundStructure Designs 5 - 53 2. When a mono input signal is mapped to a stereo output signal with a gain of 0 dB, the mono input is mapped to both the left and the right physical output channels with an attenuation of 3 dB.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 5 - 54 The collapsed view simplifies the conf iguration and setup of the system as there are fewer crosspoints to manage. Adjusting Crosspoints Any matrix crosspoint may be adjusted over t he range of +20 dB to -100 dB in 0.
Customizing SoundStructure Designs 5 - 55 and mute status may be adjusted on the matrix page or on the channels page. To edit a crosspoint, double left click on the crosspoint to bring up the Edit Crosspoint control. Once the edit crosspoint control has been opened, the cros- spoint control will always go to its last posi tion.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 5 - 56 adjustment directly. Mute The matrix crosspoint may be muted by clicking the Mute button. Muted cros- spoints will be shown in the matr ix as grayed out values if the Hide Muted Matrix Crosspoints option is not enable d in the Options.
Customizing SoundStructure Designs 5 - 57 cessing should be selected. To select the conferencing version of the input processing, select the Gated and Conferencing as shown in the followin g figure.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 5 - 58 selected. To select the ungated/recording version of the crosspoint, select the None gated version of the input processing. Th e background of the crosspoint will turn white to indicate that the ungated/recording version of the i nput process- ing is selected.
Customizing SoundStructure Designs 5 - 59 shown in the following figure. Balance The balance control allows the desi gner to adjust how a stereo input signal is mapped to a stereo output signal. A value of 0 means that the left input chan- nel is sent to the left output channel an d the right input channel is sent to the right output channel.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 5 - 60 path on the SR-series), light blue indicates the sound reinforce ment path, and white indicates the ungated/recording path.
Customizing SoundStructure Designs 5 - 61 described in this section. Input Gain The telephone input gain has a range from -20 to +20 dB for adjusting the gain in the analog domain and has a default gain of 0 dB. The gain required will depend on the signal levels rece ived from the telephone line.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 5 - 62 analog input gain adjustment on the telephone input virtual channel. The input channel level_post meter corresponds to the meter next to the input fader control. The output channel level_post meter corresponds to the meter next to th e output g ain adjust .
Customizing SoundStructure Designs 5 - 63 meter and the text box next to the AGC meter. The range of the AGC can be adjuste d by expanding the AGC control and adjusting the maximum and minimum ga ins. By default the maximum and minimum gain are set to 6 and -6 respectively on microphone and te lephony signals.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 5 - 64 figured to have different equalization. To enable a filter, click the check box next to the filter. This wi ll make the filter the active filter and allow the parameters to be changed as shown next.
Customizing SoundStructure Designs 5 - 65 Fader The fader control enables the user to add gain or attenuate the telephone signal from +20 dB to -100 dB with a resolution of 0.1 dB. This gain is applied in the digital domain. A maximum and minimum gain range can be specified for t he faders to l imit the user gain control.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 5 - 66 The telephony channel controls are shown in the following figure. Phone Connect The telephone interface may be taken off hook by pressing the phone button on the controls page.
Customizing SoundStructure Designs 5 - 67 Ring T one Ring tone enabled will cause the SoundStr u c t u r e d e v i c e t o p l a y r i n g t o n e s i n t o the local room when the telephone line rings.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 5 - 68 Line V oltage and Loop Current The line voltage and loop current are active whenever the Poll Telephony Information is enabled at the top of the user control. The line voltage and loop current allow for diagnostics of the telephone line.
6 - 1 6 Connecting Over Conference Link2 This chapter describes how the Conference Link2 interface can be used to easily interface with other Polycom equi pment includ ing the Polycom HDX video conferencing system.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 6 - 2 The rear-panel of the SoundStructure product with the Conf erence Link2 con- nections highlighted is show n in the following figure.
Connecting Over Conference Link2 6 - 3 The Conference Link2 interconnect allows for the transmission and reception of multiple digital audio signal s between the two devices as shown in the fol- lowing figures. These signals w ill be described in the following sections .
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 6 - 4 Input Channels From The Polycom HDX Once the Polycom HDX video system is s elected, four SoundStructure input virtual channels are automatically added to the input channels as shown in the next figure.
Connecting Over Conference Link2 6 - 5 The input channels f rom the Polycom HDX are described in the following table. HDX Signal to SoundStructure Description HDX Program Audio In A stereo virtual chann el that contains a mix of all non-microphone i nputs to the Polyco m HDX.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 6 - 6 Processing On The Signals The Po lycom HDX Sends T o SoundStr ucture Each of the signals that the Polycom HDX video system sends to the Sound- Structure device have proces s i n g t h a t c a n b e a p p l i e d as shown in the following figure.
Connecting Over Conference Link2 6 - 7 Output Channels T o The Polycom HDX SoundStructure Studio creates several outpu t virtual channels that are sent to the Polycom HDX system as shown in the following figure. The output channels sent to the Polycom HDX are described in the following table.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 6 - 8 The output processing on SoundStructure that is available for these output channels is shown in the following figu re. All signals have the same process- ing that includes dynamics, parametric equalization, fader, delay, and mute.
Connecting Over Conference Link2 6 - 9 channel, the SoundStructure “Program Audio” signal is routed to the “HDX Line Mix Out” channel, and the SoundStruct ure “Mics” group is routed to the “HDX Stereo Mics Out” channel.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 6 - 10 or set mute “Mics” 0 depending on whether the HDX system is being muted or unmuted. No audio paths are muted inside the Polycom HDX when an HDX, that is connected to a SoundStructure device over CLink2 interface, receives a mute command.
Connecting Over Conference Link2 6 - 11 There is tremendous design flexibil ity by mapping the HDX Mute comm and to affect the “Mics” virt ual channel or virtual cha nnel group. If there is no “Mics” virtual channel or virtual cha nnel group defined, then no audio paths will be muted when the end user mu tes the Polycom HDX system directly.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 6 - 12 It is also possible to limit the mini mum and maximum user gain settings via SoundStructure Studio soft ware by using the min and max gai n limits on t he fader control.
Connecting Over Conference Link2 6 - 13 As shown in the following figure, the three microphone elements are labeled as A, B, and C within SoundStructure Studio software environment. The ceiling microphone arrays have an orie ntation dot on the band that indicates element A.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 6 - 14 The following table shows the number of analog inputs that are available based on the number of microphone arrays that are used in a system. As an example, a SoundStructure C16 supports 16 analog inputs.
Connecting Over Conference Link2 6 - 15 device. If the version of firmware on th e microphones is older than the version of firmware included with the SoundStr ucture firmware, the microphones will be automatically u pdated with the ve rsion firmware from SoundStructure.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 6 - 16 Because microphone arrays may be shippe d with a firmware version that may be earlier than version 24, the firmwar e should b.
Connecting Over Conference Link2 6 - 17 The first step of the design process is to select the input signals as shown in the following figure. Notice that for each HDX ceiling micr ophone array that is added, there are three mono microphone s with names that include A, B, and C that are added to the project.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 6 - 18 In the third step, the equipment is sele cted. In this case a C12 is required and will have three addi tional analog inputs availabl e that can be used once the system has been designe d.
Connecting Over Conference Link2 6 - 19 Assigning Digital Microphone Arra y Channels T o Physical Inputs When HDX digital microphone arrays are used within SoundStructure Studio, SoundStructu re Studio assigns the pr ocessing for each digital microphone input from a physical analog input.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 6 - 20 In this exampl e, up to six an alog inputs ca n be used (three a nalog inputs are presently in use) in addition to the two HDX ceiling microphones.
Connecting Over Conference Link2 6 - 21 Digital Microphone Array Numbering Examples of the microphone connections and their numbering within Sound- Structure are shown in the following figure.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 6 - 22 The orientation of the microphone does not affect the sequential number ing as shown in the following figure.
Connecting Over Conference Link2 6 - 23 Installation Options There are several installation options av ailable depending on whether tabletop or ceiling microphones are being used. The following figure shows typical wiring options using the Polycom SKUs highlighted with the dashed boxes for tabletop microphones and ceiling microp hone arrays.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 6 - 24 The digital tabletop microphone arrays are connecte d via Walta terminated cables and then the last cable is term inated into the SoundStructure via the Walta to RJ45 interface cable.
Connecting Over Conference Link2 6 - 25 PIN 2: TXD PIN 3: RXD PIN 5: GROUND PIN 7: CTS PIN 8: RTS LAN C-LINK2 OBAM IR RS-232 IN OUT 12V PIN 2: TXD PIN 3: RXD PIN 5: GROUND PIN 7: CTS PIN 8: RTS LAN C-.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 6 - 26 A summary of the cables is shown in th e following table. The pin outs for the RJ45 terminated cables 22457-24008- 001 and 24 57-24009-001 are shown in Chapter 11 - Specifications.
Connecting Over Conference Link2 6 - 27 The digital microphones should be connecte d to the right rear CLink2 port and the HDX video codec should be connected to the left CLink2 por t as shown in the following figure.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 6 - 28.
7 - 1 7 Installing SoundStructure Devices This chapter describes how to take the SoundStructure designs created in Chapters 4 and 5 and upload and confirm that the system is fully functional.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 7 - 2 Wiring The Devices One of the most important steps when working with SoundStructure devices is to ensure the physical cabling (for in st ance what’s plugged into input 3) of the system exactly matches how the virtual channels are defined.
Installing SoundStructure Devices 7 - 3 input 9 and the VSX8000 inpu t is connected to input 10. On the outputs, the amplifier output is connected to phys ical output 2 and the VSX8000 output channel is connected to physical output 1.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 7 - 4 There is a wiring report that can be cr eated by clicking the Save Report button on the wiring page as shown in the following figure. The wiring report for this system is shown next.
Installing SoundStructure Devices 7 - 5 Uploading A Configuration File Configuration files are uploaded to a SoundStructure devi ce or downloaded from a SoundStr ucture device by using the S oundStructure Studio software.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 7 - 6 dio. If the Serial control is checked, the system will al so search for devices over the RS-232 interface as shown in the follow ing figure.
Installing SoundStructure Devices 7 - 7 If the device is running a configuration file that had previously been uploaded, the output channels will be muted wh ile the new configuration is uploa ded. The audio will be unmuted after the uplo ad of the configur at ion file has bee n completed.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 7 - 8 Once connected to a device as describe d in the previous sections, click on the System name - SoundStructure System in this example - to navigate to the firmware update page shown in the following figure.
Installing SoundStructure Devices 7 - 9 Select the file by double clicking on th e desired file name. Once the file has been selected, the firmware update page will appear as in the following figure. Click on the update button to begin the firmware transfer to the device.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 7 - 10 Configuring The Signal Gains Once the SoundStructure device settin gs are synchronized with SoundStruc- ture Studio, either b.
Installing SoundStructure Devices 7 - 11 sense, the meter segment label represe n ts the minimum signal level required to light the meter segment. The clip in dicator at +20 will illuminate when the signal exceeds +20dB. Signal Meters The meters on the SoundStructure devices show a VU average signal level with a peak meter overlaid on the VU meter.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 7 - 12 For example, a common tabletop micr ophone has a sensitivity of -27.5 dBV/Pa.
Installing SoundStructure Devices 7 - 13 The following figure shows different room gain measurements that may be found in a typical room. Room gain is c onsidered good if it is negative, mean- ing that the echo picked up by the mi crophone is le ss than the level that is output to the amplifier.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 7 - 14 When two mono AEC references are used, or a stereo virtual channel is used as the reference as shown in the followin g figure, there are two room gain indi- cators, one for each reference.
Installing SoundStructure Devices 7 - 15 Phone In Channel Phone Out Channel Fader T one Generator Delay A/D Converter Analog Gain D/A Converter Analog Gain Input from PSTN Line Output to PSTN Line Fro.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 7 - 16 Output Signal Levels Output signals from the SoundStructure device are connected to various other devices including audio amplifier s, reco rders, and video codecs .
Installing SoundStructure Devices 7 - 17 Setting Amplifier Levels It is important to s et the proper level of the audio amplif ier in the room. This can be done with the following steps us ing the SoundStructure noise generator and an SPL meter.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 7 - 18 2. Set the analog output gain on the amplif ier output channel to be either +4, 0, or -10 depending on the nominal si gnal level required by the audio amplifier.
Installing SoundStructure Devices 7 - 19 5. Set the output fader from the SoundStr ucture device to 0 as shown in the next figure and unmute the signal generator to the loudspeaker output. Pink noise may be heard in the room depending on the amplifier volume settings.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 7 - 20 be performed by adjusting the level of the fader on the “Amplifier” c hannel within the Sou ndStructur e device. Chap ter 9 provides examples of using the “Amplifier” channel for volume control.
Installing SoundStructure Devices 7 - 21 Preset Operation SoundStructure devices store presets in non-volatile memory to ensure the preset settings are not lost upon power cycling.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 7 - 22 Preset Names When presets are stored, the preset name may be customized to any arbitrary string of up to 256 bytes in le ngth. When naming presets, keep in mind the preset name is used in the command synt ax to invoke the execution of the pre- set.
Installing SoundStructure Devices 7 - 23 The preset page shows the presets and also the preset contents to make it pos- sible to deter mine the sett ings that ar e in each preset. The column headings may be selected to sort the preset based on the values in the column.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 7 - 24 Saving a preset to the SoundSt ructure sy stem will cause the preset to be writ- ten into the non-volatile memory of th e SoundStructure device. When online, the settings will be transferred to the SoundStructure device and stored in the non-volatile memory.
Installing SoundStructure Devices 7 - 25 • Creating new blank partial presets Partial presets consist of a sequence of commands that will be executed in the order they appear in the partial preset. If an entry is removed from a full pre- set, the full preset becomes a par tial preset.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 7 - 26 New partial presets may be creat ed by selecting ‘New Part ial’ as shown in the following figure . The next step is to enter a name for the partial preset as shown in the following figure.
Installing SoundStructure Devices 7 - 27 Once the empty partial preset has been created, the next step is to add com- mands to the partial preset by clicking the ‘+’ control . This will add an empty line to the partial preset, and allow th e designer to select the parameter to adjust with this line as shown in the following figure.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 7 - 28 Once entries have been moved, select “Save Selected” to save the new e xecu- tion order. Running Presets Both full and partial presets may be executed when in SoundStructure Studio by left clicking the preset to execute and then clicking Run Preset .
Installing SoundStructure Devices 7 - 29 Removing Presets Presets may be removed from the system by left clicking on the preset and then clicking Remove Preset . If the power-on preset is removed and the system rebooted, the system will boot into the current settings if they ha ve been stored in th e configuration file .
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 7 - 30.
8 - 1 8 Network Management This chapter describes the network and control aspects of SoundStructure sys- tems including man aging the device over IP and configuring the RS-232 port. Connecting T o The Device SoundStructure devices have a LAN interface and RS-232 port that may be used to configure, control, and upda te the system software.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 8 - 2 Dynamic IP Addresses By default, the SoundStructure device accepts an IP address from a DHCP server. Once assigned, IP addresses ca n be determined with the SoundStruc- ture Studio software via the Soun dStr ucture device discovery method.
Network Management 8 - 3 By default the system name is set to “SoundStructure System” as shown in the next figure. The system name is used to easily iden tify units and can be set with the Sound- .
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 8 - 4 To configure the device to have a stat ic IP address, use the eth_settings com- mand as follows: set eth_settings 1 “type='static',addr='192.168 .1.101',gw='192.
Network Management 8 - 5 To set the address to a static IP address, follow this example: set eth_settings 1 “mode='st atic',addr='172.22.2.110',dns='1 72.22.1.1 172.22.1.2', gw='172.22.2.25 4',nm='255.255.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 8 - 6 The command responses are re ceived back and include the mute status for all virtual channels in the “Mics” virtual channel group.
Network Management 8 - 7 Depending on the network router configurations in the network, SoundStruc- ture device discovery may not wor k acro ss different subnets.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 8 - 8 The RS-232 port may be used for contro l sessions or for configuration with SoundStruc ture Studio. Configuring And Accessing The Logs The SoundStructure device logs includ e the following inf ormation and may be retrieved from the device using SoundStr ucture Studio.
Network Management 8 - 9 API commands correspond to the commands that were sent to the system and how they were transmitted, IP or RS -232. API command responses show the command acknowledgment and where the response was directed.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 8 - 10.
9 - 1 9 Advanced Applications This chapter describes several appli cat ions of the SoundStructure products and the steps required to create these applications.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 9 - 2 Before proceeding with the de sign, inst all SoundStructure St udio software from the CD-ROM supplied with your SoundStructure device or download the latest vers ion from the Pol ycom website.
Advanced Applications 9 - 3 Step 2 - Select Outputs For the second step, select a mono amplif ier as the output source. The VSX8000 output is automat ically defined when the VSX80 00 input is s elected. Step 3 - Select Equipment Select the equipment require d to create this des ign.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 9 - 4 Step 4 - W ork Offline Or Online In this step offline operation is selected to create a file for later upload into a SoundStructure C8.
Advanced Applications 9 - 5 ne l i s se t to 0d B , i n o t he r w o rd s , n o ga in i s a pp l ie d. I t i s a l so a ss um e d t h at th e Amplifier can accept t he nominal 0dBu level from the Sound Structure device, allowing the SoundStructure A mplifier output to ha ve 0dB output gain.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 9 - 6 Matrix Settings The matrix page shows how the input signals are mapped to the output sig- nals. In this example, the tabletop mi crophone is sent to the VSX8000 and the VSX8000 is sent to the local amplifier.
Advanced Applications 9 - 7 o u t p u t 2 . I f t h i s w i r i n g s c h e m e d o e s not match how the system has been wired, the channels may be move d around on the wiring page to their desired locations. Controlling The System A control system will typically be used to mute the microphone and adjust the volume settings in the local room.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 9 - 8 Vo l u m e C o n t r o l Volume control in the room can be ac complished by adjusting the fader con- trol on the “Amplifier.
Advanced Applications 9 - 9 4 digital Array Microphones And A SoundStation VTX1000 This example creates a typica l audio c onferencing system with four digital microphone arrays, mono program audi o, a SoundStation VTX1000, and a single audio amplifier zone.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 9 - 10 The block diagram of th is system is shown in the following figure. The From VTX1000 and To VTX10000 signals are wired t o the VTX1000 power module as shown in the following figure.
Advanced Applications 9 - 11 SoundStr ucture Studio Steps The steps to create this project are shown in the following figures. The names for the channels are the names that SoundStructure Studio defines. Step 1 - Select Inputs Select four HDX digital tabletop microphones and a mono pr ogram audio source.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 9 - 12 Step 2 - Select Outputs Select a mono amplifier as the output source. The VTX1000 output will be automatically defined when the VTX100 0 input is defined. Step 3 - Select Devices Select the equipment required to cr eate this design.
Advanced Applications 9 - 13 Step 4 - W ork Offline Or Online In this step offline operation is selected to create a file for later upload into a SoundStructure C16. Matrix Settings Once the system has been designed, click the Matrix label in the project window to view the matrix s hown in the following figure.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 9 - 14 The microphones “Table Mic 1 A” through “Table Mic 4 C” are routed to the “VTX1000 Out” channel using the conferencing signal path which includes echo and noise cancellation, and automi xer processing.
Advanced Applications 9 - 15 The matrix may be collapsed by clicking the up arrows next to the “Mics” group. Because all the microphones are us ed in the same way, the group cros- spoint represents how all the table mi crophone channels are being used.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 9 - 16 By default the AEC reference has been set to the mono virtual channel “Ampli- fier” because this audio in cludes all the remote audio that need to be echo cancelled.
Advanced Applications 9 - 17 On the VTX1000 ou t channel, change the gain from -5 to -10 as shown in the f o l l o w i n g f i g u r e . T h i s c h a n g e i s t o e n s u r e t h e S o u n d S t r uc t u r e ’ s o u t p u t s i g n al s at 0du do not overdrive the input of the VTX10 00 which is expecting a -10dB u nominal signal.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 9 - 18 After this output gain change, and any other changes that are made to the file, the next step is to save the settings to the power on preset as shown on the pre- sets page and in the following figure to ensure all changes are stored permanently inside the system.
Advanced Applications 9 - 19 tion. The digital microphone arrays requir e the processing of 12 analog inputs and are assigned to inputs 5 - 16 automa tically, leaving the first four analog inputs availab le to be us ed with analog signals.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 9 - 20 8 Microphones, Video, And T elephony Application This example creates a typical mono c onferencing system with eight table microphones, mono program audio, a m ono video codec, and a single audio amplifier zone.
Advanced Applications 9 - 21 SoundStr ucture Studio Steps The steps to create this project are shown in the following figures. The names for the channels are the names that SoundStructure Studio defines. Step 1 - Select Inputs Select eight table microphones, a m ono program audio source, a VSX8000 mono video codec, and a telephone interface.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 9 - 22 Step 3 - Select Devices Select the equipment required to cr eate this design.
Advanced Applications 9 - 23 The input virtual channels that include remote audio are the “Phone In”, “Pro- gram Audio”, and “VSX8000 In”. These ch annels are routed to the “Amplifier” channel so they can be heard in the local r oom.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 9 - 24 The matrix may be collapsed by clicking the up arrows next to the “Mics” group. Because all the microphones are us ed in the same way, the group cros- spoint represents how all the table mi crophone channels are being used.
Advanced Applications 9 - 25 By default the AEC reference has been set to the mono virtual channel “Ampli- fier” because this audio in cludes all the remote audio that need to be echo cancelled.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 9 - 26 Wiring Information The system should be wired according to the layout on the wiring page as shown in the following figure.
Advanced Applications 9 - 27 set mute “Mics” 1 will mute all the microphones in the system and set mute “Mics” 0 will unmute the microphones in the system.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 9 - 28 T wo PSTN Line Positional “Receive” Audio Conferencing This example creates a positional receiv e audio conferencing system using two telephony lines to represent two remote participants.
Advanced Applications 9 - 29 The block diagram of this system is shown in the next figure. The channe l names are labeled with the virtual cha nnel names that are created by default by the SoundSt ructure Studio software. To create this design, start the SoundStr ucture St udio software and follow the steps shown in the next section.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 9 - 30 Step 1 - Select Inputs Select 8 table microphones, a stereo program audio source, and two tele phone interfaces. Step 2 - Select Outputs Select two mono amplifiers as the output devices for this example.
Advanced Applications 9 - 31 Step 3 - Select Equipment Select the equipment required to cr eate this design. By default the SoundStruc- ture C12 with a dual-line te lephone card is selected.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 9 - 32 By default the two telephone lines ar e routed to both “Amplifier 1” and “Amplifier 2” and the stereo progra m audio “Program Audio” channel is routed as a mono signal to both Amplif ier 1 and Amplifier 2 as shown in the next figure.
Advanced Applications 9 - 33 amplifier outputs ca n be adjusted with the balance control as shown in the fol- lowing figure. The program au dio is balanced to the left to “Amplifier 1” and to the right to “Ampl ifier 2”.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 9 - 34 The matrix may be collapsed by clicki ng the arrows next to the “Mics” group resulting in the compact matri x repres entation shown in the following figure.
Advanced Applications 9 - 35 By default the two AEC references have been set to the two mono amplifiers “Amplifier 1” and “Amplifier 2” and is then shown to be in stereo mode.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 9 - 36 Wiring Information The system should be wired according to the information found in the wiring page and shown in the next figure.
Advanced Applications 9 - 37 will unmute the microphones in the system. Vo l u m e C o n t r o l Volume control in the room can be ac complished by adjusting the fader con- trol on the “Amplifier 1.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 9 - 38 No change to the AEC reference would be required as the AEC reference uses both “Amplifier 1” and “Amplifier 2” and will work whether there is one or two phone lines connected.
Advanced Applications 9 - 39 8 Microphones And Stereo Video Conferencing This example creates a stereo video c onferencing system with eight table microphones, stereo program audio, a VSX8000 stereo video codec, and a stereo audio amplifier.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 9 - 40 Once the design is completed, the matrix looks ver y similar to the mono con- ferencing case with the exception that the “P.
Advanced Applications 9 - 41 The remote participants at site 2 will see the site 1 talker at microphone 1 on the right side of their screen when the remote talkers are looking at the screen because the site 1 talker at microphon e 1 is on the “right” side of the came ra from the camera’s perspective.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 9 - 42 The relative position for microphone 1 can be set at the matrix crosspoint to 0.4 as shown in the following figure. This means that the microphone is panned to the right by 0.4.
Advanced Applications 9 - 43 The other microphones also have relative positions as shown in the following figure. Site 1 Room Left Room Right Camera A Display LR LEFT RIGHT Reference P oint Camera Dis.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 9 - 44 By estimating their pan position, the result ing matrix will look like the next fig- ure. As microphones move from right to left relative to the camera, their panning is adjusted from positive to negative.
Advanced Applications 9 - 45 By default the AE C reference h as been se t to the stereo virtual channel “Ampli- fier” and is then shown to be in stereo mode.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 9 - 46 Wiring Information The system should be wired according to the information found in the wiring page and shown in the following figure.
Advanced Applications 9 - 47 8 Mics With The Polycom HDX Video Conferencing System This example shows how to use 8 anal og microphones with a SoundStructure device connected to a Polycom HDX vide o conferencing system. This system will use the telephony interface that is native to the Polycom HDX system.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 9 - 48 Step 1 - Select Inputs Select eight table microphones and a Polycom HDX video conferencing sys- tem. Notice that when the HDX system is selected, there are multiple audio streams that will be transmitted from the HDX to the Soun dStructure.
Advanced Applications 9 - 49 Step 3 - Select Devices Select the equipment required to cr eate this design. By default the SoundStruc- ture C8 is selected. Step 4 - W ork Offline Or Online In this step offline operation is selected to create a file for later upload into a SoundStructure C8.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 9 - 50 The input virtual channels include micr ophones that are included in the vir- tual channel group “Mics” collapsed as shown in the next figure and the remote audio from the Polycom HDX.
Advanced Applications 9 - 51 By default the AEC reference has been set to the mono virtual channel “Ampli- fier” because this audio in cludes all the remote audio that need to be echo cancelled.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 9 - 52 Wiring Information The system should be wired according to the layout on the wiring page as shown in the following figure.
Advanced Applications 9 - 53 When connected to the Polycom HDX system, the microphones on the Sound- Structure by muting the microphones on the Polycom HDX system. As described in Chapter 6, the HDX will send a mute command to the “Mics” group whenever the HDX receives a command to mute via the HDX API or via the HDX IR remote receiver.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 9 - 54 8 Mics With Reinforcement Of Wireless And Lectern Mics This example shows how to use the sound reinforceme nt and conferencin.
Advanced Applications 9 - 55 The block diagram of this system is s hown in the following figure. The channel names are labeled with the virtual cha nnel names that are created by default by the SoundSt ructure Studio software.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 9 - 56 Matrix Settings The matrix that is created b y SoundStructure St udio is shown in the f ollowing figure. To add the reinforcement of the wireless and lectern microphones, the lectern microphone will only be reinforced into Amplifier zones 2 and 3 and not in Amplifier zone 1.
Advanced Applications 9 - 57 All microphones are sent to the remote te lephony participant as shown with the routing of the conferencing ver si on of the microphones to the “Phone Out” virtual channel. The resulting matrix will look like the following figure.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 9 - 58 Channels Settings The next step is to enable the feedback processing on the wireless and lectern microphone. This can be done from the channels page by clicking on the EQ button for the “Presenter Mics” group as shown in the following figure.
Advanced Applications 9 - 59 To ensure the wireless microphone will be the active microphone if the pre- senter with the wireless microphone is picked up by another nearby microphone, the automixer channel bias for the wireless microphone will be set to 6dB as shown in the following figure.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 9 - 60 The first step to creating the wireless microphone’s reference is to build this reference by creating a new submix call ed “WirelessRef” as shown in the fol- lowing figure.
Advanced Applications 9 - 61 The same approach can be taken with the lectern microphone, creating a submix called “LecternRef” that includ es the reinforced wireless microphone, the remote audio sources, and the progra m audio. The new matrix will appear as shown in the following figure.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 9 - 62 Finally, the reference for the table microphones can be set to include both the lectern and wireless microphone references.
Advanced Applications 9 - 63 The “RemoteAudio” submix will also be routed to the different amplifier zones and remote telephone participants..
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 9 - 64 Wiring Information The system should be wired according to the information found in the wiring page and shown in the next figure.
Advanced Applications 9 - 65 The reinforcement of the wireless micr ophone may be disabled by muting the reinforced crosspoints as shown next. set matrix_mute “Wireless Mi c” “Amplifier 1” 1 s.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 9 - 66 16 Mics With 6-Zone Sound Reinforcement This example shows how to use the sound reinforceme nt and conferencing processing to.
Advanced Applications 9 - 67 SoundStr ucture Studio Steps Step 1 - Select Inputs The system is designed with 16 table microphones, one lectern mic, one wire- less mic with line level input, one ster eo VSX8000 video codec, and a single telephony interface.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 9 - 68 Step 2 - Select Outputs Six mono audio amplifiers are added to th e system in this step. The output to the telephone line and VSX8000 were created when their respective input com- ponents were added to the system in step 1.
Advanced Applications 9 - 69 Step 4 - W ork Offline Or Online A s th e r e a r e m a n y m a t r i x s e t t in g s t o c h a n g e , w e ’ l l wo r k o f f l i n e a n d a d j u s t t h e crosspoints.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 9 - 70 Matrix Settings The default matrix with the desired inputs and outputs i s shown in the follow- ing figure.
Advanced Applications 9 - 71 The next step is to create the microphone zone groups that will simplify setting up the reinforcement levels. The designed zones are shown in the following figure.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 9 - 72 zones. For example, the zone 1 microphones are mapped to zones 2, 3, 4, 5, and 6 with a gain of -9, -6, -6, -9, and -12dB respectively. The zone numbering matches the room layout description.
Advanced Applications 9 - 73 The next step is to map the stereo pr ogram audio and video codec audio to the appropriate left and right loudspeakers in the room.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 9 - 74 Channels Settings Once the matrix has been configured, the next step is to enable the feedback processing for each microphone. This ca n be done easily with the channels page editing the EQ settings for the “M ics” group as shown in the following figure.
Advanced Applications 9 - 75 ences, and Zone 3 and Zone 4 microphones will have Zone 3 and Zone 4 amplifiers selected as shown in the next figure. This figure shows the Zone 1 microphones. The references for the lectern microphone can also be set to the Zone 1 and Zone 6 amplifiers.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 9 - 76 The first C12 is config ured to be bus id 1 and the second is conf igured to be bus id 2 by default assuming the OBAM out of the first device is connected to the OBAM in on the second device .
Advanced Applications 9 - 77 set mute “Mics” 0 The in-room volume for the remote audio may be increased with the fader command on the phone or video codec audio as follows.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 9 - 78 Room combining application with two rooms This example shows how to use the SoundStructure products for a room com- bining application.
Advanced Applications 9 - 79 The room configuration will operate as follows. Combined Mode In the combined mode, the system is configured as follows: • All microphones are routed to both telephone l.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 9 - 80 • Both telephone lines are routed to the loudspeakers • Both program audio sources ar e routed to the loudspeakers • Al.
Advanced Applications 9 - 81 SoundStr ucture Studio Steps Step 1 - Select Inputs The system should be desi gned in th e combined mode with two HD X table microphones, two program audio source, two telephone lines, and a Polycom HDX system.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 9 - 82 Step 2 - Select Outputs Two mono amplifiers will be selected in this step. The output to the telephone lines and the outpu t to the HDX 9000 wer e created when their respective input components were added to the system in step 1.
Advanced Applications 9 - 83 Step 4 - W ork Offline Or Online A s th e r e a r e m a n y m a t r i x s e t t in g s t o c h a n g e , w e ’ l l wo r k o f f l i n e a n d a d j u s t t h e crosspoints.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 9 - 84 Combined Room Settings The default matrix with the desired inputs and outputs i s shown in the follow- ing figure.
Advanced Applications 9 - 85 The updated matrix is shown in the following figure. In this matrix, the submix “Amplifier” is used to route the remote audio of the combined system to the “Amplifie.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 9 - 86 On the channels page, set the AEC reference for all the Room 1 microphones as “Amplifier 1” and for the room 2 microphones as “Amplifier 2” as shown in the following figure.
Advanced Applications 9 - 87 Split Room Settings In the split room configuration, the matr ix settings must be adjus ted to route the audio to meet the original specific ations. The following figure shows the routing that keeps the audio from the two rooms completely separate while routing the HDX audio to only Room 1.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 9 - 88 The automixer settings for the Room 1 mics is shown in the following figure after the Room 2 microphones have been removed.
Advanced Applications 9 - 89 The automixer settings for the Room 2 mics is shown in the following figure after setting the Automixer Group to 2 and adding the Room 2 microphones.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 9 - 90 Finally, confirm that there is a power on preset - in th is example it should be set to be the “Combine” preset as shown in the following figure.
Advanced Applications 9 - 91 In this example, a single C8 device was used to implement the design. This device is wired as shown in the following figure. The digital microphone arrays use the processing from inputs 3 - 8, leaving inputs 1 and 2 available for the program audio sources.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 9 - 92 to increment the gain in the combined Am plifier by 1 dB. In the split mode, this command would increment only the Room 1 amplifier by 1dB since only the Room 1 remote audio sources are routed to the “Amplifier” submix in the split mode.
10 - 1 10 T roubleShooting This chapter presents a series of si tuations and troubl eshooting steps to resolve the situation. Troubleshooting is most effective when problems can be isolated, reproduced, and then resolved one at a time. This “divide-and-con- quer” approach will be used in this chapter .
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 10 - 2 Is the amplifier turned on? Can other sources of audio be heard in the local room? Add a Signal Generator from the Edit Channels control and r oute the signal generator to the ampl ifier virtual channel.
T roubleShooting 10 - 3 Also ensure the sound reinforcement signal path is selected at the matrix cros- spoint. There should be a light blue ba ckground on the crosspoints routing the microphones to be reinforced to the audio amplifier as shown in the following figure where “Table Mic 1” is routed to the “Amplifier” virtual channel.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 10 - 4 Echo T roubleshooting Many echo problems can be traced to: 1. Check loop-back echo. A matrix cross-point may have been inadvertently unmuted, causing a direct repli ca of the audi o to be heard remotely.
T roubleShooting 10 - 5 Mute all the microphones except for one and on the unmuted microphone, check the value of the AEC reference. In the following figure the AEC refer- ence is set to the “Amplifier” stereo virtual channel. Next, check the matrix to ensure the “A mpli fier” virtual channel includes the remote audi o sources.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 10 - 6 reduce room gain by lowering the audio amplifier level and increasing the input gain on the remote audi o coming into the S oundStructure to ensure the signal levels are at a reasonable level.
T roubleShooting 10 - 7 Because the AEC reference is available af ter the fa der as pr esented in Chapter 3 and shown in the following figure, the re sult is that the AEC reference is also attenuated and therefore the echo canceller would not be able to remove the echo because the reference level is attenuated too much.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 10 - 8 the following figure. The result of this is that the proper signal levels are pre- sented to the echo canceller and the ou tput signal levels a re attenuated appropriately.
T roubleShooting 10 - 9 API T roubleshooting When using T eraT er m 3.1 and connecting ov er T elnet, why do I have to select CR-LF termination for com mands sent to SoundStr ucture and not just CR te.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 10 - 10 will cause this error message. Fix this s yntax by putting dou ble quotes around the virtual channel name such as with the command set mute “Table Mic 1” 1 and the system will work properly.
T roubleShooting 10 - 11 set mute “Mics” 1 and set mute “Mics” 0 to mute and unmute, respectively th e microphones. This command should g e n e r a t e a s e r i e s o f c o m m a n d s t a t .
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 10 - 12 RS-232 T roubleshooting I Can’t Connect Over RS-232 T o The System, How Do I Connect? Check that the baud rate between the PC or Control system and the Sound- Structure device are set to the same valu e.
T roubleShooting 10 - 13 What Is Flow Control And How Does It W ork? Hardware flow control on the SoundStructure device requires two additional handshaking signals, CTS and RTS, in the RS-232 cable to ensure data is received before additional data is sent.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 10 - 14 The connection status can also be viewed within the System Information page on the Polycom HDX. If the status shows Polycom Mixer then the system has connected properly to the SoundStructure.
T roubleShooting 10 - 15 Use SoundStructure Studio and from the Channels Page select the phone Set- tings... button to open a telephone keypad. Click the handset icon to take the phone off hook. Check that the virtual channel name us ed for the telephone channel matches the name used within SoundStructure St udio to create the telephone channel.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 10 - 16 SoundStructure Studio Can’t Find My SoundStructure Device Over Ether net Depending on network router configur ations, SoundStr ucture Studio ma y only be able to find devices that are c onnected to the same subnet as the local PC that is r unning SoundStruct ure Stud io.
T roubleShooting 10 - 17 OBAM T roubleshooting There are status LEDs associated with both the OBAM input and output con- nections. These LEDs are positioned on eithe r side of the OBAM link connections as shown in the following figure.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 10 - 18 T roubleshooting The IR Inter face If you are not receiving command acknow ledgements from the IR transmitter, make sure the IR transmitter is sendin g commands.
T roubleShooting 10 - 19.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 10 - 20.
11 - 1 11 Specifications T echnical Specifications Dimensions • 19" (483 mm) W x 13.5" (343 mm) L x 1.75" (45 mm) H (one rack unit) We i g h t • 12 lbs. (5.5 kg) dry, 14 lbs. (6.4 kg) shipping Connectors • RS-232: DB9F • OBAM In/Out: IEEE 1394 B • CLINK2: RJ45 • LAN: RJ45 • Control/Status: DB25F • Audio: Mini (3.
11 - 2 Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 Thermal • Thermal Dissipation (Btu/hr): 266 Btu/hr (C16), 230 Btu/hr (C12), 215 Btu/hr (SR12) , 200 Btu/ hr (C8) • Operating temperature 0 - 40° C (104° F) Inputs • Phantom power: 48 V DC through 6.
Specifications 11 - 3 • THD+N: < 0.005%, -20 dB FS input signal • Common mode rejection ratio: <- 61 dB, 20-20,000 H z, no weighting • Cross talk: <-110 dB, 2 0-20,000 Hz, 1 kHz, channe.
11 - 4 Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 Pin Out Summar y PSTN Cable To build a custom telephone cable, us e 26AWG twisted-pair cable using the wiring connections shown in the following figure. Warni ng Drawings and part numbers are p rovided for reference only .
Specifications 11 - 5 Conference Link2 To build a custom Conference Link2 cabl e, use shielded CAT5e, or better, and terminate both end connectors, P1 and P2, with standard 8P8C plugs (for example, RJ45) using the wiring connect ions shown in the following figure.
11 - 6 Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 OBAM Link The OBAM cable is a standard 1394b BETA style cable. The maximum length of this cable is 10 feet (3 m).
Specifications 11 - 7 IR Receiver The IR receiver port on the rear-panel of a SoundStructure device is shown in the next figure. The IR receiver port accepts a standard 3.5 mm terminal block which should be terminated to the IR receiver as shown in the following figures.
11 - 8 Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 Logic Inter face SoundS tructure Control System Pin Signal Pin Signal 1- 1 - 2T X 2 R X 3R X 3 T X 4- 4 - 5 Ground 5 Ground 6-.
Specifications 11 - 9 Audio Connections SoundStructure devices provide balanced audio input and output connections that are terminat ed with 3.5 mm termina l blocks as shown in the followin g figure.
11 - 10 Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 SoundStructure device's audio input and output to other balanced or unbalanced audio equipment, follow th e wiring convention in the unbalanced audio connections in the following figure.
12 - 1 12 Using SoundStructure Studio Controls The SoundStructure Studio software environment includes various user inter- face controls for adjusting the parameters of vir tual channels. This section summarizes how to use these controls. Adjusting Knobs There are three ways to change the va lue associated with a knob control: 1.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 12 - 2 Adjusting Matrix Crosspoints Individual crosspoints can be adjusted by double clicking the crosspoint.
Using SoundStructure Studio Controls 12 - 3.
Design Guide for the Polycom Soun dStructure C16, C12, C8, and SR12 12 - 4.
A - 1 A Command Protocol Reference Guide Introduction This chapter describes the SoundStructure™ command protocol use d to control and configure the SoundStructure products via the RS-232 and Ethernet interfaces.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 2 time over the ethernet interface than th e RS-232 interface and signal meters are more responsive over the ethernet interface).
Command Protocol Reference Guide A - 3 Ethernet Each SoundStructure device has a rear-panel Ethernet interface for connecting to the local area network as shown in the following figure. Connect to the SoundStructure device using port 52774 and telnet communication.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 4 used to connect the SoundStructure de vices to more than one network. Multiple network connections can be on the same network or on different subnets as shown in the following figure.
Command Protocol Reference Guide A - 5 The motivation for using virt ual channels is both to allow the control sy stem programming to start before the physic al wiring may be known and to make the control system programming re-u sable acr oss different installations regardless of how the system is wire d.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 6 Vir tual Channel T ypes Virtual channels are operated on by the command set which can apply parameter changes to the underlying ph ysical channels.
Command Protocol Reference Guide A - 7 As an example of a virtual channel group, consider in the following figure the creation of the virtual channel group “Mics” made up of the entire collection of individual microphone virtual channe ls in a room.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 8 Controlling SoundStr ucture Parameters The SoundStructure command and control functions allow an external controller to set, query, and monito r paramete rs of one or more linked SoundStructure devices.
Command Protocol Reference Guide A - 9 void Void commands take no argument, and must be write-only. For example, the sys_reboot parameter is a write-onl y void parameter that reboots the SoundStructure device when the command is executed. boolean Boolean parameters take one of two values: 0 or 1.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 10 Command Format Referring to the command hierarchy be low, each sub-category of command inherits the syntax of its parent and adds furth er syntax requ irements .
Command Protocol Reference Guide A - 11 Command Length All commands must be less than or equa l to 2048 bytes in length, including the terminator. Control Commands Most of the commands in the SoundStruc ture control protocol fall under the category of control commands.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 12 Floating-Point Arguments Floating-point arguments represent a floating-point value.
Command Protocol Reference Guide A - 13 Vir tual Channel Definition Commands Virtual channel definition commands ar e a type of control command that provide methods for defining virtual channels and mapping them to physical channels.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 14 <pctype> The <pctype> argument defines the phys ical channel type of the physical channels in the virtual channel. The <p ctype> argument is a system defined text argument that must be one of the following.
Command Protocol Reference Guide A - 15 <num> One or more <num> arguments are requ ire d to define the global channel index (indices) of the physical channel( s) in the virtual channel. The <num> argument is an integer argument. As an example, consider two SoundStr ucture C16 devices linked via OBAM link.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 16 vcdef Acknowledgements When a virtual channel definition command with the vcdef action is successfully executed, SoundStructure wi ll send an acknowledgement in the same format as the command.
Command Protocol Reference Guide A - 17 <pctype> The <pctype> argument defines the phys ical channel type of the physical channels in the virtual channel. The <p ctype> argument is a system defined text argument that must be one of th e pctypes listed in the vcdef section.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 18 The <label> argument is a user-defined te xt argument that specifies the name of the virtual channel to be renamed. If no virtual channel exists with the given label, then the SoundStructure device will re spond with an error message.
Command Protocol Reference Guide A - 19 vcgdef <label> [<vcmember> [ <vcmember> ... ]]<term> Each of the command arguments is descr ibed below. <label> The <label> argument is a user-defined text argument that defines the name for the new virtual channel group.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 20 vcgrename Acti on The vcgrename action is a virtual ch annel group definition command that changes the name of a virtual channel group.
Command Protocol Reference Guide A - 21 respond with an error message. If the virt ual channel is already a member of the virtual channel group, the SoundStr ucture device will respond with an error message.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 22 Each of the command arguments is descr ibed below. <label> The <label> argument is a user-defined te xt argument that specifies the name of the virtual channel group that will have its members listed.
Command Protocol Reference Guide A - 23 Parameter Command Syntax All parameter commands have th e following syntax. <action> <param> [<limit>] [ <chan> [<chan>]] [<index> [<inde x> ...]] [<arg>]<term> Some examples of parameter commands are given below.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 24 Some parameters support user-definab le minimum and maximum values. For these commands, the <limit> argument can be specified.
Command Protocol Reference Guide A - 25 Thus, read-write commands support th e get and set actions and support the inc, dec, or tog actions depending on the parameter type. Read-only commands support the get action, but do not support the se t, inc, dec, or tog actions.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 26 Float parameter commands support the get, set, inc and dec actions according to the command’s read-write mode. When performing increment and decrement actions on float parameters, the parameter saturates at the minimum or maximum value rather than wrapping.
Command Protocol Reference Guide A - 27 Acknowledgements are generated when either a parameter command is issued or a parameter changes value fo r some other reason. When a parameter command is executed with the get action, the ac knowledgement is only sent to the control interface that the parameter command was received from.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 28 Command List The complete system parameter command reference is found in the file soundstructure-parameters.
Command Protocol Reference Guide A - 29 Description This parameter sets the fader level (in dB) in the digital domain. Interpretation of the Arguments The Channel Type entry indicates that this command accepts a virtual channel name as an argument.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 30 set fader "Amplifier" 10 val fader "Amplifier" 10.0 set fader max "Amplifier" 10 val fader max "Amplifier" 10 .0 set fader min "Amplifier" -2 0 val fader min "Amplifier" -2 0.
Command Protocol Reference Guide A - 31 Description This parameter sets the fader level (in dB) in the digital domain. Examples line_out_gain Line Output Gain System Limits Minimum: -100.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 32 Description This parameter sets the gain (in dB) of the line output. Examples mic_in_gain Mic Input Pre-Amp Gain Description This parameter sets the gain (in dB) of the mic pre-amp.
Command Protocol Reference Guide A - 33 mute Digital Mute Description This parameter sets the mute status of the virtual channel. A value of 0 indicates the virtual channel is unmut ed, while a value of 1 indicates it is muted.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 34 phantom 48 V Phantom Power Description Enables or disable phantom power on mic inputs. Setting phant om to 1 enables phantom power, while setting it to 0 disables phantom power.
Command Protocol Reference Guide A - 35 trim Gain T rim For Vir tual Channels Description This parameter applies gai n (in the analog doma in) to the individua l components of a virtual channel. The index indicates to wh ich physical channel of the virtual channel the trim wi ll be applied.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 36 Matrix Parameters matrix_balance Ma trix Crosspoint Balance Description The matrix_bala nce parameter is available at crosspoi nts where stereo virtual channels are mixed to mono or stereo virtual channels.
Command Protocol Reference Guide A - 37 matrix_gain M atrix Crosspoint Gain Description This parameter sets the gain (in dB) for the specified crosspoint in the matrix mixer.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 38 Description This parameter selects whether the gated (1) or ungated (0) version of the input signal is sent to the output.
Command Protocol Reference Guide A - 39 Description This parameter selects the gating style for crosspoints with confe rencing inputs. TODO: describe properties of th e different gating styles.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 40 matrix_mute Matrix Crosspoint Mute Description Mutes or unmutes the specified crossp oint in the matrix mixer. Setting matrix_mute to 0 unmutes the crosspoint; setting matrix_mute to 1 mutes the crosspoint.
Command Protocol Reference Guide A - 41 Description The matrix_pan parameter is available at cr osspoints where mono virtual channels are mixed to stereo virtual channels. The matrix _pan parameter provides a way to control the amount of gain going to the left and right channels.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 42 Command Input channel Output channel phone_auto_answer_en ✔ phone_connect ✔ phone_dial ✔ phone_dial_tone_gai n ✔ phone.
Command Protocol Reference Guide A - 43 phone_auto_answer_en Enable Auto -Answer For T elephony Inter face Description This parameter enables (1) or disables (0) the auto-answer feature for the telephony interface.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 44 phone_dial Dial The T elephony Inter face Description This command dials the specified string of digits on the te lephony interface. This parameter can be used to dial one digi t at a time or many digits all at once.
Command Protocol Reference Guide A - 45 phone_dial_tone_gain Dial T one Gain Description This parameter controls the gain that is applied to the incoming phone signal when dial tone is present.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 46 Description This parameter sets the gain (in dB) applied to DTMF tones generated to the local room. To adjust the level of ring t one s, entry tones, and exit tones played back into the local room, use the phone_tone_gain parameter.
Command Protocol Reference Guide A - 47 Description This parameter enables or disables ex it tone generation for the telephony interface. If exit tones are enabled (1), then an exit tone is played whenever the auto-hangup feature engages and disconne cts the telephony interface.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 48 Description This parameter sets the delay (in milliseconds) for the phone_flash parameter. Note that by d efault, PSTN interfaces use the flash delay determined by their pstn_country setting.
Command Protocol Reference Guide A - 49 Description This parameter indicates the ringing st ate for the telephony interface. While the telephony interface is ringing, readin g this parameter will return 1. When the telephony interface is not ringing, reading this parameter will return 0.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 50 Description This parameter sets the gain (in dB) applied to tones generated to the local room.
Command Protocol Reference Guide A - 51 V alues argentina : Argentina australia : Australia austria : Austria bahrain : Bahrain belgium : Belgium brazil : Brazil bulgaria : Bulgaria canada : Canada ch.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 52 V alues italy : Italy japan : Japan jordan : Jordan kazakhstan : Kazakhst an kuwait : Kuwait latvia : Latvia lebanon : Lebanon.
Command Protocol Reference Guide A - 53 Description This parameter configures the PSTN in terface for operation in a specific country. pstn_flash_delay_override Overri de Countr y Code Flash Delay Des.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 54 pstn_line_voltage PS TN Line V o ltage Description This parameter indicates the line voltage (in Volts) of the PSTN interface. The value is valid in both on-hook and off- hook modes.
Command Protocol Reference Guide A - 55 Description This parameter indicates the loop current (in milliamps) of the PSTN interface. The value is only valid when the interface is off-hook. pstn_out_gain PSTN Output Gain Description This parameter sets the gain (in dB) of the signal going to the PSTN interface.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 56 eq_en Enable All Equalize r Processing Description This parameter enables (1) or disables (0) all equali zer processing (peq, geq, etc.
Command Protocol Reference Guide A - 57 geq_compensate Enable Gain Compensation For Graphic Equalizer Description This parameter enables (1) or disables (0) gain compensat ion for the graphic equalizer. geq_en Enable Graphic Equalizer Description This parameter enables (1) or disables (0) the graphic equalizer.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 58 Description Set the gain of the specified band in the graphic equalizer. The index must be between 1 and 10 for 1 octave equalizati on, between 1 and 15 for 2 /3 octave equalization, and between 1 and 31 for 1/3 octave equalization.
Command Protocol Reference Guide A - 59 Description This parameter enables (1) or disables (0) the high shelving filt er for the specified virtual channe l. high_shelf_frequency Frequency Of High Shelving Filter Description This parameter sets the cutoff frequency (i n Hz) of the high shelving filter.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 60 high_shelf_gain Gain Of High Sh elving Filter Description This parameter sets the gain (in dB) of the high shelving filter at DC. high_shelf_slope Slope Of High Shelving Filter Description This parameter sets the slope of the high shelving filter.
Command Protocol Reference Guide A - 61 horn_en Enable Horn Equalizer Description This parameter enables (1) or disabl es (0) the constant directivity horn equalizer for the sp ecified virtual channe l.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 62 hpf_en Enable High-Pass Filter Description This parameter enables (1) or disables (0 ) the high-pa ss filter for the specified virtual channel. hpf_frequency Frequenc y Of High-Pass Fi lter Description This parameter sets the frequency (i n Hz) of the high-pass filter.
Command Protocol Reference Guide A - 63 hpf_order Order of High-Pass Filter Description This parameter sets the order of the high -pass filter. Linkwitz -Riley filt ers only support even orders. If an odd or der is specified for a Linkwitz-Riley f ilter, it will be internally rounded up to an even number.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 64 low_shelf_en Enable Low Sh elving Filter Description This parameter enables (1) or disables (0) the low shelving fil ter for the specified virtual channe l.
Command Protocol Reference Guide A - 65 low_shelf_gain Gain Of Low Shelving Filter Description This parameter sets the gain (in dB) of the low shelving filter at DC. low_shelf_slope Slope Of Low Shelving Filter Description This parameter sets the slope of the low shelving filter.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 66 lpf_en Enable Low-Pass Filter Description This parameter enables (1) or disables (0) the low-pass filter for the specifie d virtual channel. lpf_frequency Frequency O f Low-Pass Filter Description This parameter sets the frequency (i n Hz) of the low-pass filter.
Command Protocol Reference Guide A - 67 lpf_order Order Of Low-Pass Filter Description This parameter sets the order of the low- pass filter. Linkwitz -Riley filters only support even orders. If an odd or der is specified for a Linkwitz-Riley f ilter, it will be internally rounded up to an even number.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 68 peq_band_en Enable Parametric Equalizer Band Description This parameter enables (1) or disables (0) the specified band of the parametric equalizer for the specified virtual cha nnel.
Command Protocol Reference Guide A - 69 Description This parameter sets the bandwidth (in octaves) of the specified parametric equalizer band. In the case of peaking filt ers, this is the bandwidth at which the gain is half the peak gain (in dB ). For not ch filters, this is the 3 dB bandwidth.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 70 Description This parameter sets the gain (in dB) of the specified parametric equalizer band. For conference link physical channels, the band index must be between 1 and 5. For all other physical channels, the band index must be between 1 and 10.
Command Protocol Reference Guide A - 71 Dynamics Pr ocessing Parameters Description Dynamics processing is av ailable on all physical channels except the signal generator and AEC reference. Dynamics processing includes a compressor, limiter, expander, gate, and peak limite r.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 72 Description This parameter sets the amount of time (in milliseconds) it takes the gate to ramp the gain up to the target gain once the input signal level surpasses the gate threshold.
Command Protocol Reference Guide A - 73 dp_gate_en Enable Gate Description This parameter enables (1) or disables (0) the gate function of the dynamics processor.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 74 dp_gate_ratio Gate Ratio Description This parameter sets the ratio of the targ et gain applied by the gate versus the difference between the input signal level and the gate threshold.
Command Protocol Reference Guide A - 75 Description This parameter sets the RMS level (in dBFS) of the input signa l below which the gate engages. The level must be belo w this threshold longer than the gate hold time (set by dp_gate_hold ) before the gate begins to apply a gain change.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 76 Description This parameter sets the amount of time (in milliseconds) it takes the expander to ramp down to the target gain once the input signal drops below the expander threshold.
Command Protocol Reference Guide A - 77 Description This parameter sets the ratio of the ta rg et gain applied by the expander versus the difference between the input signal level and the expander threshold. For example, if the expander ratio is 2 (i.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 78 dp_comp_attack Compressor Attack time Description This parameter sets the amount of time (in milliseconds) it ta kes the compressor to ramp the gain down to the target gain once the input signal level surpasses the compressor threshold.
Command Protocol Reference Guide A - 79 Description This parameter sets the amount of time (in milliseconds) it ta kes the compressor to ramp the gain up to the target gain once the input signal level drops below the compressor threshold.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 80 Description This parameter sets the ratio of the ta rget gain applied by the compressor versus the difference between compressor threshold and the input signal level. For example, if the compressor ratio is 2 (i .
Command Protocol Reference Guide A - 81 Description This parameter sets the amount of tim e (in milliseconds) it takes the limiter to ramp the gain down to the target gain once t he input signal level surpasses the limiter threshold.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 82 dp_lim_en Enable Limiter Description This parameter enables (1) or disables (0) the limit er functi on of the dynamics processor. This parameter and dp_en must be enables for the limiter to function.
Command Protocol Reference Guide A - 83 Description This parameter sets the ratio of the target gain applied by the limiter versus the difference between the limiter thres hold and the input signal level. For example, if the limiter rati o is 10 (i.e.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 84 Description This parameter enables (1) or disables (0) the peak limiter function of the dynamics processor. This parameter and dp_en must be enabled for the peak limiter to function.
Command Protocol Reference Guide A - 85 Description This parameter enables (1) or disables (0) the acoustic echo cancellation (AEC) algorithm. aec_noise_fill Enable Noise Fi ll Description This parameter enables (1) or disables (0) the noise fill algorithm in the AEC.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 86 The index is used to specify the left ( 1 ) or right ( 2 ) reference channels. If neither the left nor the right channel have referen ces specified, then the AEC is disabled. If only the left channel is specified, th en the mono AEC algorithm is used.
Command Protocol Reference Guide A - 87 Description This parameter sets the maximum gain (i n dB) that can be applied by the AGC. agc_min_gain AGC Minimum Gain Description This parameter sets the minimum gain (i n dB) that can be applied by the AGC.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 88 Description This parameter sets the amount of de lay applied to the audio signal, in samples. The sampling frequency is 48 kH z, which means that a sample is 20.83 microseconds.
Command Protocol Reference Guide A - 89 fb_filter_bandwidth Feedback Reduction filter Bandwidth Description This parameter sets the bandwidth (in octa ves) fo r all the filt ers of the feed back reduction algorithm.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 90 fb_filter_reset Reset One Of Th e Feedback Reduction Filters Description Setting this parameter resets the specif ied filter in the feedback reduction algorithm. Redpoint w ill likely set th is parameter for filters it h as converted to fixed parametric EQ filters.
Command Protocol Reference Guide A - 91 fb_safe_mode_atten Safe Mode At tenuation For Feedback Reduction Description This parameter defines the maximum amou nt of attenuation (in dB) applied to the input if all the filters are used up and the feedback reduction algorithm continues to detect singing.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 92 Description This parameter selects the index of the audio source for the correspo nding cr_mic_in or sr_mic_in physical channels. The index required for this parameter indicates to which physical channel of the virtual channel thi s parameter will be applied.
Command Protocol Reference Guide A - 93 Description This parameter selects the audio source for the corresponding cr_mic_in or sr_mic_in physical channels. The analog type selects the analog microphone audio. The clink_mic type selects one of the ConferenceLink microphone elements.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 94 nc_level Noise Cancellation Level Description This parameter sets the amount of ca ncellation (in dB) applied by the noise cancellation algorithm.
Command Protocol Reference Guide A - 95 sig_gen_sweep_star t Signal Ge nerator Sweep Star t Frequency Description When the signal generator’s sig_gen_type is set to sweep, this parameter sets the frequency (in Hz) at which the sweep generator begins.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 96 sig_gen_sweep_stop Signal Gener ator Sweep Stop Frequenc y Description When the signal generator’s sig_gen_typ e is set to sweep, the parameter sets the frequency (in Hz) at which the sweep generator stops.
Command Protocol Reference Guide A - 97 sig_gen_tone_freq Signal Generator T one Frequency Description This parameter sets the frequency (in Hz ) of the sine wave produced by the signal generator when its sig_gen_type is set to tone.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 98 Input Path Parameters cr_ungated_type Select Processing For Ungated Signal Description This parameter select s the version of si gnal to use for the ungated tr iune signal of the specifie d virtual channel.
Command Protocol Reference Guide A - 99 sr_ungated_type Select Proc essing For Ungated Signal Description This parameter select s the version of si gnal to use for the ungated tr iune signal of the specifie d virtual channel.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 100 Automixer Parameters am_adapt_thresh Automixe r Adaptive Threshold Description This parameter defines how much louder (in dB) the microphone's signal level must be above its measured noise floor before it is el igible to be considered active.
Command Protocol Reference Guide A - 101 am_chairman Automixer Chair man Microphone Description When this parameter is set to 1, the micr ophone is considered a chairman microphone. am_chan_bias Automixer Channel Bias Description This parameter sets the channel bias (i n dB) for the associated microphone.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 102 am_decay_time Automixer Decay Time Description This parameter defines how long (in ms) the gain of a gated microphone in the specified automixer group takes to tran sition between fully open and its off attenuation value when it is time for the microphone to gate off.
Command Protocol Reference Guide A - 103 am_gain_sharing Enable Gain-Sharing Automixer Mode Description This parameter selects gain-sharing mo de for the specified automixer g roup when set to 1. Otherwise, the microphones in the automixer group are in gating mode.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 104 Examples am_hold_time Automixer Hold Time Description This parameter defines how long (in ms) the microphone in the specified automixer group will be considered acti ve after t he last detected signifi cant level on the microphone.
Command Protocol Reference Guide A - 105 am_nom_limit NOM Limit Description This parameter sets the NOM limit fo r the microphone with respect to its automixer group.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 106 am_priority Automixer Microphone Priority Description This parameter sets the priority of the microphone. A priority of 1 is the highest priority (most favored), while a prio rity of 4 i s the lowest priority (least favored).
Command Protocol Reference Guide A - 107 am_slope Gain Sharing Automixer Slope Description This parameter defines how much at tenuation (in dB) is applied to microphones in the specified automixe r group when they don't have the highest level in the group.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 108 Description This parameter gets or sets the value of the analog gpio pin. Writ ing an input has no effect and returns the current va lue of the input. The value for this parameter is an integer between analog_gpio_min and analog_gpio_max , inclusive.
Command Protocol Reference Guide A - 109 Description This parameter gets or sets the minimu m value of the analo g gpio pin. This parameter along with analog_gpio_max control how the analog value of the pin is mapped to an integer range.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 110 Description This parameter gets or sets the value of the digital gp io array. Writing an inpu t has no effect and returns the current value of the input. Contr ol Port Parameters eth_settings Ethernet Settings Description This parameter gets or sets the Ethernet setting s.
Command Protocol Reference Guide A - 111 set eth_settings 1 "mode='dhcp'" val eth_settings 1 "mode='dhcp',a ddr='172.22.2.129',dns='172.22.1.1 172.22.1.2',gw='172.22.2. 254',nm='255.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 112 Description This parameter selects the method for obtaining the IP address of the ethernet port. eth_mac Get Ethernet MAC Address Description This parameter gets the MAC address for the system's Ethernet port.
Command Protocol Reference Guide A - 113 ir_key_held Key Held On IR Remote Description When queried, this parameter returns th e keycode value of the last key that was held on the IR remote. As an event, a status message is generated at an interval of approximately 100 ms whenev er an key is held on the IR remote.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 114 ser_flow RS-232 Flow Control Description This parameter sets the type of flow c ontrol that will be used on the RS-232 port. Hardware flow control is reco mmended for baud rates over 9600 bps.
Command Protocol Reference Guide A - 115 dev_firmware_ver Firm ware V er sion Description This parameter returns the device’s firmware version. Examples dev_ntp_ser ver NTP Ser ver Description This parameter gets or sets the name of the network time protocol (NTP) server used to set the system time.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 116 Description This parameter returns the status of the system. A value of ok indicates that the system is operating normally. The front -panel LEDs on all the devices will be green in this condition.
Command Protocol Reference Guide A - 117 dev_type Device T y pe Description This parameter returns the type of the device. dev_uptime Syst em Uptime Description This parameter returns the amount of time since the last reboot. The value returned is formatted as days:hours:minutes:seconds.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 118 Description This parameter returns the voltage (in Volts) of the ConferenceLink power supply. dev_volt_n eg_15 -15 V Supply V olta ge Description This parameter returns the voltage (i n Volts) of the -15 V power supply.
Command Protocol Reference Guide A - 119 Description This parameter returns the voltage (i n Volts) of the +15 V power supply. sys_factor y_reset Restore System T o Factor y Settings Description Setting this parameter restores the device to its factory settings, erasing all u ser data but retaining the current version of firmware.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 A - 120 sys_reboot Reset Th e Device Description Setting this parameter causes all li nked devices to reboot as if a power-cycle has occurred.
B - 1 B Designing Audio Conferencing Systems Reprinted from the BICSI AV Design Reference Manual , the following audio conferencing design material is authored by Craig H.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 B - 2 The challenge in audio conferencing is that the loudspeaker audio is not only heard by the local participants, but it is also h.
Designing Audio Conferencing Systems B - 3 Microphone Selection And Placement The type of microphones used and th eir location will have the largest impact on the audio conferencing quality. Mi crophones translate the acoustic signals from the local talkers into electrical si gnals that can be processed and sent to the remote participants.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 B - 4 Directional microphones are most often use d in conferencing systems due to the rejection of the background noise, re duction of the reverberation, and the rejection of the audio from the loudsp eakers.
Designing Audio Conferencing Systems B - 5 audio signal. When this happens, a not iceable beeping or chipping sound that sounds modulated such as i f it were Morse code, wi ll be heard at the remote locations.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 B - 6 moving microphones closer to th e talkers, moving noise sources away fr om the microphones, lowering the level of the noise, and improving the acoustics in the room to reduce the amount of reverberation.
Designing Audio Conferencing Systems B - 7 T abletop Microphones In many conferencing applications bo undary tabletop mi crophones are used and mounted at locations around the ta ble as shown in the following figure where one microphone is used for each two participants.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 B - 8 Wireless Microphones Wireless microphones are also commonly used in conferencing applications, particularly for presenters.
Designing Audio Conferencing Systems B - 9 installed. With the use of a microp hone amplifier and powered loudspeaker, it is a simple matter t o have the custom er listen to the au dio quality and agree that it is acceptable before additional work is performed.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 B - 10 Noise Cancellation The ambient noise in the room caused by HVAC, projectors, computers, and even noise external to the room that is picked up by the microphones will reduce the signal to noise ratio at the microphones.
Designing Audio Conferencing Systems B - 11 However, if ceiling microphones are sway ing due to the air flow from nearby HVAC ducts, noise cancellation may not be able to completely remove that noise.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 B - 12 around. The following figure illustrat e s the block diagram of an AEC system and shows the adaptive filter at its cent er.
Designing Audio Conferencing Systems B - 13 AEC Reference The AEC reference provides the AEC with the information of what signals it should cancel from the room (see the following figure).
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 B - 14 200 msec for larger rooms. As shown in the following figure, if the room is lively, the length of an echo path may be longer than expected making the room appear acoustically larger than it is physically.
Designing Audio Conferencing Systems B - 15 may occur in the data as it is transm itted through the network. It is not uncommon for networks to require a hund red milliseconds or more to transfer audio from one site to the other.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 B - 16 would be the ratio of 10 Log (B/C) which, due to the acoustic echo cance ller, should be a larger number than the ER L.
Designing Audio Conferencing Systems B - 17 left side of the fo llowing figure), each local t alkers' voice wi ll be processed by the same noise reduction algorithm to re move noise regardle ss of whether that noise was incident on that particular microphone.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 B - 18 If the microphones are muted in the signal chain before the acoustic echo canceller, then while the microphones are muted, the AEC will not be able to adapt as there will be no signal present.
Designing Audio Conferencing Systems B - 19 The most common reason for acoustic echo is that the echo return loss of the room is not high enough to allow the ac oustic echo canceller to properly adapt to the remote audio.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 B - 20 While side-tone is desirable while talking on a handset, it is not desirable in a conferencing application.
Designing Audio Conferencing Systems B - 21 Amplifiers There are two broad classes of amplif iers - low impedance and constant voltage. The low impedance amplifiers are the type of amplifier used in consumer applications and the constant voltage amplifiers ar e used in larger, professionally installed systems.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 B - 22 the following figure, not only are listener 2 and listener 3 farther away from the loudspeaker than listener 1 and receiv e le.
Designing Audio Conferencing Systems B - 23 Another rule of thumb about loudspeake r positioning with listeners is to distribute the loudspeakers no greater th an twice the distance from the ceiling to the listener's ear leve l.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 B - 24 following figure. As discussed in an ea rlier section, the microphones should be placed as close to the local participants as possible to minimize the amount of background noise and reverberation.
Designing Audio Conferencing Systems B - 25 Loudspeakers - How Much Power Is Required Once the locations of the loudspeakers have been determined, the next step is to determine how much power is required to d rive each loudspeaker to achieve the required level at the listen ers.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 B - 26 device, the reinforcement of the ceilin g loudspeakers can be delay ed slightly (1 msec for each foot of separation) from the front loudspeakers and can be attenuated by approximately 6 - 10 dB from the level sent to the front of room loudspeakers.
Designing Audio Conferencing Systems B - 27 intelligibility. If they do, then the system is set correctly. The reinforced levels should never exceed conversational speech levels (approximately 70 dBA .
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 B - 28 the reinforcement system - zones twice as far away w ill typically have 6 dB more level). To support zoning, a m ulti-ch annel amplifier must be used so that each loudspeaker zone can receive separate loudspeake r signals.
Designing Audio Conferencing Systems B - 29 In a room that has sound-reinforcem ent with inappropriately high gain settings, there is no longer any such th ing as a "side conversation". Everyone in the room will likely be able t o hear all conversations , making it i mpossible to have side comments that are private.
Design Guide for the Polycom SoundStructure C16, C12, C8, and SR12 B - 30.
An important point after buying a device Polycom C12 (or even before the purchase) is to read its user manual. We should do this for several simple reasons:
If you have not bought Polycom C12 yet, this is a good time to familiarize yourself with the basic data on the product. First of all view first pages of the manual, you can find above. You should find there the most important technical data Polycom C12 - thus you can check whether the hardware meets your expectations. When delving into next pages of the user manual, Polycom C12 you will learn all the available features of the product, as well as information on its operation. The information that you get Polycom C12 will certainly help you make a decision on the purchase.
If you already are a holder of Polycom C12, but have not read the manual yet, you should do it for the reasons described above. You will learn then if you properly used the available features, and whether you have not made any mistakes, which can shorten the lifetime Polycom C12.
However, one of the most important roles played by the user manual is to help in solving problems with Polycom C12. Almost always you will find there Troubleshooting, which are the most frequently occurring failures and malfunctions of the device Polycom C12 along with tips on how to solve them. Even if you fail to solve the problem, the manual will show you a further procedure – contact to the customer service center or the nearest service center
