(F) Catalog FAX - PDF Text Files

(F) Catalog FAX - PDF Text Files

   

    

  

 

531E Graphic Equalizer

532E Graphic Equalizer

533E Graphic Equalizer

 

551E Five Band Parametric EQ

552E Dual Five Band Parametric EQ

  

9022 2x2 DSP Engine 4

Audio Workplace ™ 4

3

3

2

2

2

  

565E Dual Compressor/Limiter/Expander

562E Windowing Expander/Gate

  

421m AGC-Leveler

422 Stereo AGC-Leveler

501 Peak-RMS Compressor/Limiter

571 SPL Computer

572 SPL Computer

5

5

7

7

6

6

7

 

528E Voice Processor

527E Voice Processor

628 Digital Voice Processor



402 Dual Output Delay

606 Delay F/x Machine

610 Broadcast Audio Delay

 

440 Foreground Audio Controller

450 Dual Zone Priority Mixer

 

420 Stereo Power Amplifier

581E Distribution Amplifier (4x4)

10

10

  - -  

301 Low Distortion Comp/Limiter 12

302 Dual Microphone Preamplifier

303 Interface Amplifier (Bi-directional)

304 Headphone Amplifier

305 Distribution Amplifier (1x4)

306 Preamp/Ducker

307 Dual Isolation Transformer

13

13

13

13

12

12

11

11

9

9

9

8

8

8

1

 

     

.

SO DO WE

.

You have to be an individualist to be a successful sound contractor, consultant, integrator, or engineer. Every venue, every voice, every budget, every client is different.

You need to put the pieces together in such a way that everything sounds perfect and looks easier than it is. At Symetrix, we like to think of ourselves as being like you — service-oriented, independent-minded, and totally obsessed with premium-quality sound. Here’s what a few of us have to say about that.

Dane Butcher Founder and President

Symetrix actually started out as a sound system installation and service company.

That was in 1976. Since then, we’ve worked hard to retain the personal and flexible attitude we began with, even though you can now find our units in stadiums, casinos, airports, malls, radio stations, and studios around the world. From the start, our mission was to create products we’d want to use ourselves.

Steve Kawasaki Director of Sales and Marketing

We weren’t the first to create an ambient-level controller, but our 571 SPL Computer was probably the first to do it right. It was a fiendishly complex task to create a box that listens to all the ambient sounds in an environment and makes intelligent decisions about when to make the system quieter or louder. We were successful because we truly understand the integration between electronics and acoustics. We make it our job to learn the details of our customers’ sound systems.

Nathan O’Neill Design Engineer

Designing our graphic EQs was even more intense than usual. We started by doing an exhaustive survey of existing graphics while also interviewing customers who used them. Only when we understood how we could extend the state of the art did we proceed. We worked objectively with extensive computer modeling, and once we had an actual first prototype, we listened to it — a lot. After quite a few design reiterations, our alpha and beta test sites gave us the thumbs-up. Good design takes a long time.

And that’s OK.

Julie Denton Customer Service Coordinator

We build our products to be really rugged and dependable. There’s industrial-grade connectors and pots, surface-mount components for most products, plus full functional computer testing of every unit. And a final human listening test. If a product should ever fail, our repair service is a 24-hour thing. If we get a unit in the morning, it’s almost always out of here that afternoon. It has to be.

Whatever Symetrix product you use, you can count on it for remarkable results in any environment. After all, we built it just the way you would.

2

 

+12 +6

20 25 31.5

40 50 63 80 100 125 160 200 250 315 400 500 630 800 1K 1.25K

1.6K

2K 2.5K

3.15K

4K 5K 6.3K

8K 10K 12.5K

16K 20K

+6 +12

+6 +3 +3 +6

LEVEL CUT FILTERS

531 E

GRAPHIC

EQUALIZER

CLIP

10dB

0dB

-20dB

POWER

0

-

INPUT

U

+15

8

LOW CUT

22

6

50

260

115

5K

HIGH CUT

18K

3K 65K

42K

MODE 0

±12dB

BYPASS

±6dB

-6 -3

100 125 160 200

-12 -6

20 25 31.5

40 50 63 80



 

Monaural, 31 bands, long throw 60 mm sliders, low-cut and highcut filters, for concert and installed sound. Flatten system response and increase gain before feedback. Global range switch chooses

250 315 400

-3 -6

500 630 800 1K 1.25K

1.6K

2K 2.5K

3.15K

4K 5K 6.3K

8K 10K 12.5K

16K 20K

-6 -12



- Metal shaft, grounded center detent plastic film slide pots.

- Less than .002% THD+Noise (measured with EQ in!).

+/- 6 or +/-12 dB cut or boost. Advanced filter design delivers ultra low noise and distortion, minimum ringing and phase shift.

20 25 31.5

40 50 63 80 100 125 160 200 250 315 400 500 630 800 1K 1.25K

1.6K

2K 2.5K

3.15K

4K

CH1 LEVEL CH1 CUT FILTERS

+6 +12

0

CLIP

10dB

0dB

-20dB

INPUT

U

+15

8

LOW CUT

22

6

50

260

115

5K

HIGH CUT

18K

42K

CH1

MODE

3K 65K

0

±12dB

BYPASS

±6dB

20

CH2 LEVEL CH2 CUT FILTERS

25 31.5

40 50 63 80 100 125 160 200 250 315 400 500 630 800 1K 1.25K

1.6K

2K 2.5K

3.15K

4K 5K 6.3K

8K 10K 12.5K

16K 20K

-6 -12

532 E

GRAPHIC

EQUALIZER

+6 +12

CLIP

10dB

0dB

-20dB

POWER

INPUT

U

+15

8

LOW CUT

22

6

50

260

115

5K

HIGH CUT

18K

42K

CH2

MODE

3K 65K

0

±12dB

BYPASS

±6dB

20 25 31.5

40 100 125 160 200 50 63 80



 

Two channels, 31 bands, 20mm faders, with low and high cut filters for concert and installed sound. Flatten system response and increase gain before feedback. Global range switch chooses +/- 6 or

250 315 400

0

500 630 800 1K 1.25K

1.6K

2K 2.5K

3.15K

4K 5K 6.3K

8K 10K 12.5K

16K 20K

-6 -12



- Metal shaft, grounded center detent plastic film slide pots.

- Less than .002% THD+Noise (measured with EQ in!).

+/-12 dB cut or boost. Advanced filter design delivers ultra low

5K 6.3K

8K 10K 12.5K

16K 20K

noise and distortion, minimum ringing and phase shift.

+12 +6

20

CLIP

10dB

0dB

-20dB

CH1 LEVEL CH1 CUT FILTERS

INPUT

U

+15

8

LOW CUT

22 50

115

5K

HIGH CUT

18K

42K

CH1

MODE

±12dB

0

6 260

3K 65K

BYPASS

±6dB

25 31.5

40 50 63 80 100 125 160 200 250 315 400 500 630 800 1K 1.25K

1.6K

2K 2.5K

3.15K

4K 5K 6.3K

8K 10K 12.5K

16K 20K

+6 +12

0

-12 -6

20 25 31.5

40 50 63 80 100 125 160 200 250 315 400 500 630 800 1K 1.25K

1.6K

2K 2.5K

3.15K

4K 5K 6.3K

8K 10K 12.5K

16K 20K

-6 -12

533 E

GRAPHIC

EQUALIZER

+12 +6 +6 +12

CH2 LEVEL CH2 CUT FILTERS

INPUT

U

+15

8

LOW CUT

22 50

115

5K

HIGH CUT

18K

42K

CH2

MODE

±12dB

0

6 260 3K 65K

BYPASS

±6dB

25 31.5

40 80 100 125 160 200

0

CLIP

10dB

0dB

-20dB

POWER

-12 -6

20 50 63



 

Two channels, 31 bands, long throw 45mm sliders, with low cut and high cut filters for concert and installed sound. Flatten system response and increase gain before feedback. Global range switch

250 315 400 500 630 800 1K 1.25K

1.6K

2K 2.5K

3.15K

4K 5K 6.3K

8K 10K 12.5K

16K 20K

-6 -12



- Metal shaft, grounded center detent plastic film slide pots.

- Less than .002% THD+Noise (measured with EQ in!).

chooses +/- 6 or +/-12 dB cut or boost. Advanced filter design delivers ultra low noise and distortion, minimum ringing and phase shift.

3

 

551 E

FIVE BAND

PARAMETRIC

EQUALIZER

POWER

SYSTEM

INPUT

LEVEL (dB)

U

ACTIVE

BYPASS

CLIP

-15 +15

CUT BANDS

LOW CUT HIGH CUT

8

22

6

50

115

5K

18K

260 3K 65K

42K

X1

X10

X0.1

140

100

FREQUENCY

(Hz)

BAND 1

BANDWIDTH

(OCT)

350 850

1.0

CUT/BOOST

(dB)

0

2K

1.5K

.05

2.0

FREQUENCY

350

(Hz)

850

BAND 2

BANDWIDTH

(OCT)

CUT/BOOST

(dB)

1.0

0

-20 +12

X1

X10

X0.1

140

100

1.5K

2K .05

2.0

-20 +12

X1

X10

X0.1



   

A monaural parametric EQ for concert or installed sound, recording, or broadcast. Rock-solid construction and easy to use for creative or corrective EQ. Sweeten vocal tracks. Tune out feedback. Get that huge drum sound. Flatten studio monitors.

FREQUENCY

(Hz)

BAND 3

BANDWIDTH

(OCT)

350 850

1.0

CUT/BOOST

(dB)

0

FREQUENCY

(Hz)

BAND 4

BANDWIDTH

(OCT)

350 850

1.0

CUT/BOOST

(dB)

0

CUT/BOOST

(dB)

0

FREQUENCY

(Hz)

BAND 5

BANDWIDTH

(OCT)

350 850

1.0

140

100 2K

1.5K

.05

2.0

-20 +12

X1

X10

X0.1

140

100 2K

1.5K

.05

2.0

-20 +12

X1

X10

X0.1

140

100 2K



- Less than .002% THD+Noise (measured with EQ in!).

high & low cut filters.

1.5K

.05

2.0

-20 +12

- Gold plated XLR’s + 1/4" jacks, bypass relay, internal power supply.

Create your signature sound.

552 E

DUAL

FIVE BAND

PARAMETRIC

EQUALIZER

CHANNEL 1

INPUT

LEVEL (dB)

U

ACTIVE

BYPASS

CLIP

-15 +15

CUT BANDS

LOW CUT HIGH CUT

8

22

6

50

115

5K

18K

260 3K 65K

42K

X1

X10

X0.1

POWER

CHANNEL 2

INPUT

LEVEL (dB)

U

ACTIVE

BYPASS

CLIP

-15 +15

CUT BANDS

LOW CUT HIGH CUT

8

22

6

50

115

5K

18K

260 3K 65K

42K

X1

X10

X0.1

FREQUENCY

(Hz)

BAND 1

BANDWIDTH

(OCT)

350 850

1.0

CUT/BOOST

(dB)

0

140

100 2K

1.5K

.05

2.0

-20 +12

X1

X10

X0.1

FREQUENCY

(Hz)

BAND 2

BANDWIDTH

(OCT)

350 850

1.0

CUT/BOOST

(dB)

0

140

100

1.5K

2K .05

2.0

-20 +12

X1

X10

X0.1

FREQUENCY

(Hz)

BAND 1

BANDWIDTH

(OCT)

350 850

1.0

CUT/BOOST

(dB)

0

140

100 2K

1.5K

.05

2.0

-20 +12

X1

X10

X0.1

FREQUENCY

(Hz)

BAND 2

BANDWIDTH

(OCT)

350 850

1.0

CUT/BOOST

(dB)

0

140

100

1.5K

2K .05

2.0

-20 +12

X1

X10

X0.1



    

A stereo parametric EQ for concert or installed sound, recording, or broadcast. Rock-solid construction and easy to use for creative or corrective EQ. Sweeten vocal tracks. Tune out feedback.

FREQUENCY

(Hz)

BAND 3

BANDWIDTH

(OCT)

350 850

1.0

CUT/BOOST

(dB)

0

140

100 2K

1.5K

.05

2.0

-20 +12

X1

X10

X0.1

FREQUENCY

(Hz)

BAND 4

BANDWIDTH

(OCT)

350 850

1.0

CUT/BOOST

(dB)

0

140

100 2K

1.5K

.05

2.0

-20 +12

X1

X10

X0.1

FREQUENCY

(Hz)

BAND 5

BANDWIDTH

(OCT)

350 850

1.0

CUT/BOOST

(dB)

0

140

100 2K

1.5K

.05

2.0

-20 +12

FREQUENCY

(Hz)

BAND 3

BANDWIDTH

(OCT)

CUT/BOOST

(dB)

FREQUENCY

(Hz)

BAND 4

BANDWIDTH

(OCT)

CUT/BOOST

(dB)

FREQUENCY

(Hz)

BAND 5

BANDWIDTH

(OCT)

CUT/BOOST

(dB)

1.0

0 1.0

0 1.0

0

350 850 350 850 350 850

140

100 2K

1.5K

.05

2.0

-20 +12

X1

X10

X0.1

140

100 2K

1.5K

.05

2.0

-20 +12

X1

X10

X0.1

140

100 2K

1.5K

.05

2.0

-20 +12

 high & low cut filters.

- Less than .002% THD+Noise (measured with EQ in!).

Get that huge drum sound. Flatten studio monitors. Create your

- Gold plated XLR’s + 1/4" jacks, bypass relay, internal power supply.

signature sound.

Symetrix, Inc. • (425) 787-3222 •␣ www.symetrixaudio.com

4

  

PRESET

9022

2X2 DSP

ENGINE

1

3

5

7

2

4

6

8



  

A programmable DSP Processor for the installed sound market.

Symetrix Audio Workplace

software provides real-time control over multiple audio functions from a Windows 95/98 PC environment. Use Audio Workplace

to program presets, adjust parameters or download new DSP code in the field.

SYSTEM STATUS RS-232 CONTROL

CH1 CH2

CLIP CLIP

INPUT

SIGNAL

BYPASS

POWER

SIGNAL

BYPASS

COMM

- Two channel, DSP-based EQ, Hi/Low



Pass Filter, Room Delay and Multiband Limiter.

- Software control via front or rear panel RS232 connections leaves chassis tamper-proof.

- Delta-sigma 24-bit A/D and D/A conversion.

 

Audio Workplace tm is a Windows 95/98 application that provides complete user control over the

9022 and its powerful feature set. Using

Audio Workplace tm and a host PC, system designers and installers can program presets, adjust audio parameters and download new

DSP code for permanent nonvolatile storage.

5

  

CH1 EXPANDER CH1 COMPRESSOR CH1 LIMITER CH1 OUTPUT CH2 EXPANDER

-18 -12 -6

CH2 COMPRESSOR

-12 -8

CH2 LIMITER

-12 -9 -6 -3

CH2 OUTPUT

-20 -10 0dBu CLIP -25

-12 -10 4 +5 0

STEREO LINK

-12 -10 4 +5 0

565

DUAL

E

COMPRESSOR/

LIMITER/

EXPANDER

0

+10

-25

BYPASS

THRESHOLD (dBu)

FAST SLOW

RELEASE

-25

-40

+5

+20

THRESHOLD (dBu)

FAST SLOW

RELEASE

2.5

1 10

RATIO (X:1)

6 -3

-12

+13

BYPASS

THRESHOLD (dBu)

-10

-20

GAIN (dB)

+10

+20

An extremely flexible, low distortion, high performance multi

0

+10

-25

BYPASS

THRESHOLD (dBu)

FAST



 





SLOW

RELEASE

-25

-40 +20

+5

THRESHOLD (dBu)

FAST SLOW

RELEASE

2.5

1 10

RATIO (X:1)

6 -3

-12

+13

BYPASS

THRESHOLD (dBu)

-10

-20 +20

GAIN (dB)

+10

IN

BYPASS

- Dynamics Squared ™ circuitry reduces distortion during gain reduction for better-sounding compression.

- Dual mono, or stereo operation. Balanced XLR



dynamics processor for recording, live, or installed sound.

Two channels, each with simultaneous downward expander,

IN

BYPASS

STEREO

DUAL MONO

and unbalanced 1/4" connectors.

compressor, and peak limiter. Add impact and fullness to any audio source. Control levels, reduce noise, prevent loudspeaker and tape overload.

- Individual LED meters for each processing section and output.

562 E

WINDOWING

EXPANDER/GATE

EXT.KEY

BYPASS

IN

OUTPUT

ASSIGN

KEY LISTEN

W/FILTER

GATE/EXP.

CH1 SIDECHAIN PROCESSING

LOW CUT HIGH CUT

20Hz

15Hz

10Hz

50Hz

200Hz

1K

1K 400Hz

4K

40K

WINDOW

ADVANCE

GAIN (dB)

REDUCTI0N

20K

3

12

MAX

MIN

OFF

30

60

ABOVE

BELOW

THRESHOLD

(dB)

0

CHANNEL 1

ATTACK

TIME

HOLD

TIME

60ms 1 Sec

RELEASE

TIME

GATE RANGE

EXPANDER RATIO

500ms 0

-40 +20 AUTO 300ms 50ms 4 Sec 30ms 2.5 Sec 80dB 1:3



 



A two channel expander/gate for recording or live sound. Patch in at channel inserts or effects returns. Eliminate microphone leakage, headphone leakage and noise from drum, percussion and other

EXT.KEY

BYPASS

IN

CH2 SIDECHAIN PROCESSING

LOW CUT HIGH CUT GAIN (dB)

REDUCTI0N

THRESHOLD

(dB)

CHANNEL 2

ATTACK

TIME

HOLD

TIME

RELEASE

TIME

GATE RANGE

EXPANDER RATIO

OUTPUT

ASSIGN

4K

WINDOW

ADVANCE

3

0 60ms 1 Sec 500ms 0

20Hz 50Hz

KEY LISTEN

W/FILTER

GATE/EXP.

15Hz

10Hz 1K

200Hz

1K

400Hz 40K

20K

MAX

MIN

OFF

12

30

60

ABOVE

BELOW

-40 +20 AUTO 300ms 50ms 4 Sec 30ms 2.5 Sec 80 1:3

 without clicks or pops.

- Key filters ensure precise triggering in noisy environments.

instrumental or vocal tracks. Tracks processed with the 562E are much easier to mix.

- Auto Windowing feature creates smooth and natural release cycle (decay).

Symetrix, Inc. • (425) 787-3222 •␣ www.symetrixaudio.com

6

  

421m

AGC-LEVELER

EXPAND

DOWNWARD EXPANDER (NR)

RELEASE THRESHOLD (Vu)

-35

-20 -45

AUTO BYPASS FAST SLOW

ACTIVE

AUTO-RELEASE

LEVEL

AGC-LEVELER

RECOVERY

RATE

RATIO

2:1

FAST

SLOW

LOW HIGH BYPASS 4:1

TARGET OUTPUT LEVEL

DECREASE INCREASE



-

An automatic gain controller that makes quiet sounds louder and loud sounds quieter by creating constant output levels. Increases intelligibility in public address and paging systems. Operation is automatic, precise, and completely transparent – no pumping, breathing, or other side effects.

LIMIT

OUTPUT LIMITER

-8

-15

SPEECH CURVE

THRESHOLD (Vu) 125Hz 6kHz

SYSTEM

BYPASS IN

-54 -48 -36 -30

INPUT LEVEL

0VU +6 +12

0

STEREO LINK BYPASS

+15

BYPASS

IN

BYPASS

IN

BYPASS

MASTER

SLAVE

IN

BYPASS

-54 -48 -42 -36 -30 -18 -12 -6

OUTPUT LEVEL



- Output peak limiter positively prevents system overload.

- Speech Curve filters help prevent system feedback.

DETECTOR

THRESHOLD (Vu)

RATIO

INPUT : OUTPUT

2.5 : 1

TARGET LEVEL

OUTPUT LEVEL

422

STEREO

AGC/LEVELER

-45 -20 BYPASS 5 : 1 DECREASE INCREASE



 -

Stereo automatic gain controller creates constant level audio.

Processes music, dialog or effects mastered at different levels and outputs predictable, intelligible signals. Use for foreground and

LIMIT

-15

BYPASS

SYSTEM

BYP

BYPASS

IN

-54 -48 -42 -36 -30 -24 -18 -12 -6 0VU +6 +12

INPUT LEVEL

PEAK LIMIT

THRESHOLD (Vu)

+5

-5 +15

IN

BYPASS

-54 -48 -42 -36 -30 -24 -18 -12 -6

OUTPUT LEVEL

- Target Level control makes setup simple & quick.



- Peak Limiter prevents sound system overload or tape distortion.

background music installations, satellite, cable video, radio & TV

- Parallel input/output LED meters show display gain status.

broadcast, and tape duplication.

7

  

501

PEAK-RMS

COMPRESSOR/

LIMITER

THRESHOLD (dBm)

-20 -10

-30

ACTIVE

-40

+10

0

ATTACK (dB/mSEC)

1.5

3 .4

12

.25

RMS COMPRESSOR/LIMITER

AUTOMATIC

ATTACK/RELEASE

MANUAL

RELEASE (dB/SEC)

30

60 12

300

5

2.2

RATIO (X:1)

5.5

1.4

12



- 



A mono comp/limiter for installed sound, recording or live performance. A ‘legendary’ choice for bass players and club sound engineers looking for fat, full sounds while protecting amps and

IN

BYPASS

STEREO

SLAVE

SIDECHAIN

STEREO

MONO

CONNECT

BYPASS

IN

BYPASS

OUTPUT POWER PEAK LIMITER

THRESHOLD (dBM)

+2 +8

GAIN REDUCTION (dB) OUTPUT GAIN (dB)

5.5

-12 +6

25 20 15 12 10 8 6 4 3 2

-4 +14

ACTIVE

-10

+20

-12

-10

+20

+12

CLIP

- RMS and Peak response, auto and manual attack

 and release.

- Balanced and unbalanced connectors, stereo linkable.

speakers from peak audio spikes. Rock solid construction for years

- Peak limiter catches fastest transients with

2000 dB/millisecond attack.

of reliable use.

CALIBRATE

571

SPL COMPUTER

PAGE

MIC

SENSE

1

SENSE

2

1.5

60

30

SEC

AVERAGING

TIME

2

1.2

3

5

MIN

4

PAGE OVER

MUSIC (dB)

7

0 14

S E

RATIO (dB)

N S E : O U T

1:1

P U T

2:1 1:2

OUTPUT

GAIN TRIM (dBr)

0

-5

-10 +10

+5



 

Microprocessor based gain controller maximizes intelligibility by automatically changing sound system gain in response to ambient noise changes. A microphone (not supplied) is used to sense noise

2 5 9

PAGE/MUSIC

INPUT ERROR

15 20

GAIN (dB) LEVEL SET (dB)

-10 10

SENSE INPUT

26

ERROR

BYPASS

30 40

-15

-20

MIN

0

-5 5

0

MAX

20

15

MODE

- Separate inputs for page mic, house feed, music.



- Page over music control (ducking).

POWER

- For stereo applications links to optional 571S SPL Slave.

level changes. Thousands installed in factories, transportation terminals, sports arenas, casinos, museums, restaurants, and night clubs.

CALIBRATE OPTIONS

BYPASS SENSE

GAIN

SAMPLE

INTERVAL (MIN)

10 15

PAGE OVER

MUSIC (dB)

S

RATIO (dB)

ENS E: OU T P U T

GAIN (dB)

-10

LEVEL SET (dB)

10

PAGE

MIC

GAIN

572

SPL COMPUTER

BYPASS

NORM

HIGH

LOW

SENSE MUSIC/

PAGE

5

1 26

20

0

14

2:1

1:2



 

Microprocessor based gain controller maximizes intelligibility by automatically changing sound system gain in response to ambient noise level changes. Uses existing system speaker(s) to sense noise

2 5

PAGE/MUSIC

INPUT ERROR

9 15 20 26 30

MODE

BYPASS

40

-15

-20

MIN

0

-5 5

0

MAX

20

15 A B C D

1 2 3 4

- Separate inputs for page mic, house feed, music.



- Page over music control (ducking).

- For stereo applications links to optional 571S SPL Slave.

changes. Thousands installed in factories, transportation terminals, sports arenas, casinos, restaurants, and museums.

Symetrix, Inc. • (425) 787-3222 •␣ www.symetrixaudio.com

8

 

528

VOICE

PROCESSOR

MIC

LINE

MIC PRE-AMP

CLIP PHANTOM

3K

15 12

DE-ESS (-dB)

9 6 4 2

-15

DE-ESS

DOWNWARD EXPANDER (-dB)

20 16 12 9 6 3

-15 PAD

NORM

20 60

MIC GAIN(dB)

800 8K

FREQUENCY

-30 0

THRESHOLD

IN

OUT

BYPASS 0

EXP THRES COMP THRES

20

COMPRESSOR (-dB)

16 12 9 6 3

COMP RATIO

EXP/COMP

IN

OUT

Hz

160

LOW EQ

OCT

1.5

dB

0

16 500

FREQUENCY

.3

4

BANDWIDTH

-15

CUT/BOOST



 

Our industry-leading analog multi processor for voice work in recording, broadcast and sound reinforcement. Create an audience pleasing, articulated sound using high gain mic preamp with phantom power, comp/limiter, expander/gate, de-esser, and parametric EQ.

MID EQ HIGH EQ OUTPUT LEVEL (VU)

3 CLIP

Hz OCT dB Hz OCT dB

2.5K

1.5

0 6.8K

1.5

0 0

VOICE

SYMMETRY

FREQUENCY

.3

4

BANDWIDTH

-15

CUT/BOOST

22K

FREQUENCY

.3

4

BANDWIDTH CUT/BOOST

EQ

IN

OUT

-15 +15

GAIN (dB)

IN

OUT

POWER



- Voice symmetry feature corrects excessive positive or negative signal peaks.

-15 +15

- Minimum components in signal path, resulting in very low noise, natural sound.

527 E

VOICE

PROCESSOR

CLIP

20

MIC GAIN

(dB)

INPUT

60

MUTE

MIC

MIX

LINE

GR

3

6

EXPANDER

THRESHOLD

12

20

-25

0

BYPASS

GR

3

6

9

12

-40

COMPRESSOR

THRESHOLD RATIO

X:1

-10 2

+20 1 10

OUTPUT

GAIN

BYPASS

IN

BYPASS

LO CUT (Hz)

CLIP

0

-10

-20

-15

0

+15

EXP/COMP

8

EQ/

FILTERS

22

6

50

260

FILTERS

HI CUT (Hz)

115

4K5

3K

9K

18K

32K 16

FREQUENCY

(Hz)

160

LOW EQ

BANDWIDTH

(OCT)

1.5

CUT/BOOST

(dB)

0



 

An evolution of Symetrix studio voice processing design to meet the demands of engineered sound systems. Features high gain mic preamp with phantom power, high and low cut filters, compressor/limiter, downward expander, and three-band parametric EQ. Compressor and EQ maximize intelligibility while downward expander and high/low cut filters keep feedback in check.

FREQUENCY

Hz

2.5K

MID EQ

BANDWIDTH

OCT

1.5

CUT/BOOST dB

0

FREQUENCY

Hz

6.8K

HIGH EQ

BANDWIDTH

OCT

1.5

CUT/BOOST dB

0

500 .3

4 -15 +15 160 6.3K

.3

4 -15 +15 680 22K .3

4 -15

- Microphone and line level I/O via Euroblock and

+15

POWER



XLR connectors for easy interface with any audio system.

- Mic muting port for “cough switch” control.

- Mic/Line Input Mix control accommodates local and global announce sources.

MIC

LINE

PRE-AMP

CLIP PHANTOM

DE-ESSER

-12 -9 -6 -3 -2 -1 ACTIVE

628

DIGITAL VOICE

PROCESSOR

-15dB PAD

NORM

15

-12

GAIN

(dB)

75

+20

FREQUENCY

(kHz)

THRESHOLD

(dBFS)

EXPANDER/GATE

THRESHOLD

(dBFS)

RATIO

(X:1)

RELEASE

(Sec)

COMPRESSOR

-9 -3 -1 ACTIVE

THRESHOLD

(dBFS)

RATIO

(X:1)

RELEASE

(Sec)



  

A programmable digital processor for voice work in broadcast and recording. Features high gain direct coupled mic preamp with phantom power, compressor/limiter, expander/gate, de-esser, and parametric EQ. Create custom processing programs tailored for the unique sound of each voice talent, and store the results in the 128 user presets.

MASTER PARAMETRIC EQ

LOW

(20-500Hz)

MID

(160-6300Hz)

HIGH

(680-20kHz) ACTIVE 28 24 20 16 12 8

HEADROOM (dB)

4 CLIP

FREQUENCY

(kHz)

BANDWIDTH

(Oct)

CUT/BOOST

(dB)

OUTPUT

LEVEL

PRESET

NUMBER

LOAD SAVE



- AES/EBU & S/PDIF digital output, analog line out.

- MIDI in/out. Optional remote preset controller is available.

9



402

DUAL OUTPUT

DELAY

INPUT

SYSTEM

STATUS

IN

BYPASS

INPUT

LEVEL

HEADROOM

-48 -42 -36 -30 -24 -12 -6 -3 -2 -1 CLIP

DELAY 1

LEVEL

OUTPUTS

DELAY 2

LEVEL

DELAY

SELECT

DELAY 1

DELAY 2



  

A high performance one input, two output digital delay for acoustical alignment of distant speaker systems in installed and touring sound systems. Also used for resynchronization of audio to video in broadcast and video post production applications. User interface is simple and intuitive.

DELAY SETTINGS

DECREASE

DELAY

INCREASE

DELAY

DISPLAY UNITS

FRAMES

Msec

FEET

METERS

- Each output delayed up to 885 milliseconds

 in 1 ms. increments.

- 20 bit delta sigma A/D & D/A converters.

- Delay adjustable in milliseconds, meters, feet, or frames.

PROGRAMMING

PRESET LOAD SELECT

MOD SELECT

FILTER FREQ.

MOD SOURCE

FILTER Q

DELAY LINE 1

MOD DESTINATION

DIFFUSION AMOUNT

MOD LEVEL

MIDI CLK SYNC

OSCILLATOR RATE

FILTER FREQ.

DELAY LINE 2

DIFFUSION 1 MODEL

FILTER Q

DIFFUSION 2 MODEL

DIFFUSION AMOUNT

ROOM SIZE

MIDI CLK SYNC

GLOBAL

PARAM SELECT

PARAM ADJUST

606

DELAY F/x

MACHINE

INPUT

MIN

LEVEL

CLIP

-6dB

CH1 CH2

MAX

-18dB

SIGNAL

SAVE

DUAL

MONO

COUPLED

MIDI

CLOCK

MODE



 

 

Unique and powerful delay effects processor for recording and live performance. Two separate delays for stereo, dual mono or series mode processing. True stereo chorusing, flanging, echo, filtering, diffusion, phase shifting, room simulation, widening, doubling and fattening. Use on voice, instrument or special effects tracks.

MIX

RATE

TIME FEEDBACK MODULATION MIX

RATE

TIME FEEDBACK MODULATION

- Rotary control knobs, 20-bit converters, internal

- Maximum delay 2.6 seconds (each channel),

OUTPUT LEVEL

 power supply.

resolution down to 1 millisecond.

- Six independent modulation sources, MIDI

& tap tempo control.

6 1 0

BROADCAST

AUDIO DELAY

STATUS

DELAY

INACTIVE

BYPASS

OPERATE

DELAY

ACTIVE

INPUT HEADROOM (dB)

33 30 27 24 21 18 15 12 9 6 3 0

EXIT DELAY START DELAY



  

Delays stereo audio program by 3.5 or 7.5 seconds to prevent the broadcast of unwanted profanities or comments from telephone callers. Dump profanity button instantly erases unwanted caller audio. Cough button digitally edits unwanted studio audio.

COUGH DUMP PROFANITY DELAY TIME (SECONDS)

0 .5

1 1.5

2 2.5

3 3.5

4 4.5

5 5.5

6 6.5

7 7.5

- Simple, foolproof controls. Easy to operate.



- Automatic relay bypass when not in use.

- Stereo, 14 kHz bandwidth. All functions may be remotely controlled.

Symetrix, Inc. • (425) 787-3222 •␣ www.symetrixaudio.com

10

 

PAGE INPUT DUCKER PROGRAM INPUTS TONE REMOTE OUTPUT

MIX RANGE (dB) PGM SELECT TRIM 1 (dB) TRIM 2 (dB) TRIM 3 (dB) LEVEL BASS (dB)

100Hz

TREBLE (dB)

8KHz

MUSIC ON

HOLD

2

440

FOREGROUND

AUDIO CONTROLLER

MIC LINE

DUCK

-30 -15

-60 0

1 3

-6

0

+6

-12 +12

-6

-12

0

+6

+12

-6

-12

0

+6

+12



  

Stereo controller for installations that combine voice paging with

-12

0 0

STEREO

+12

+6 -6

-12 +12

+6

ACTIVE

MONO

OFF MAX

CLIP

OFF MAX

POWER

- Bass and Treble tone controls.



- One mic/line input for paging sources; three switch-selectable line inputs for CD, radio, tape or TV audio sources.

foreground or background audio. Ideal for high performance sound systems in restaurants, bars, conference rooms and public facilities.

-6

Transformer-isolated Music-on-Hold output feeds the music-

- Optional remote control selects line input source and adjusts master output volume.

on-hold input of a telephone system.

450

DUAL ZONE

PRIORITY MIXER

MIC/LINE IN 1 (PRIORITY 1)

ZONE ASSIGN

ZONE 1

ZONE 2 HIGH PASS

GAIN

U

+15dB

MIC/LINE IN 2 (PRIORITY 2)

ZONE ASSIGN

ZONE 1

ZONE 2 HIGH PASS

GAIN

U

+15dB

LINE IN 3-4 (PRIORITY 3)

ZONE ASSIGN

ZONE 1

ZONE 2

GAIN

U

+15dB

ZONE ASSIGN

ZONE 1

ZONE 2



   

Mixes mics and mono/stereo line inputs and assigns them to

LINE IN 5-6

GAIN

paging in restaurants, bars, conference rooms, and public facilities.

ZONE 1

ZONE 2

LINE IN 9-10 ZONE 1 OUT (MONO) ZONE 2 OUT (STEREO)

ZONE ASSIGN

LINE IN 7-8

GAIN ZONE ASSIGN GAIN MASTER MASTER PRIORITY

OVERRIDE

R

PRIORITY

OVERRIDE

U U U

+15

L

U

+15

ZONE 1 0 0

+15dB

ZONE 2

+15dB

-15

-30

LOW BYPASS

+15dB

-15

-30

LOW BYPASS

- Two mono mic/line inputs with +48 volt

- Mic inputs have 20dB pads to prevent overload

 phantom power; four stereo inputs.

+15dB

POWER

a mono output, a stereo output or both. Ideal for multi-zone

U

+15dB

& low cut filters to reduce popping.

Priority feature lets selected inputs mute or duck other inputs assigned to the same zone.

- Outputs have adjustable ‘ducking’ or muting

& remote volume control inputs.

11

 

420

STEREO POWER

AMPLIFIER

GAIN

CHANNEL 1

GAIN

CONTROLS

3

CLIP

2

1

4

0

5

6

10

7

8

9

DUAL TRACKING

INDEPENDENT

CHANNEL 2

GAIN

CLIP

2

3

1

4

5

0

6

7

8

10

9

MODE

MONO

STEREO

MONITOR

STEREO

HEADPHONES

SPEAKER

MUTED

ACTIVE



  

One rack space, 20 watts per channel amp for powering near field monitors, headphones, or small paging speakers in broadcast and installed sound applications. Thousands of units in service in recording studios, video suites, remote trucks, and radio control and production rooms.

POWER

- 20 watts/channel into 8 ohms, 20 watts



- Front panel headphone jack & speaker mute switch.

mono bridged mode.

- Low transformer field emissions allow mounting next to video monitors.

581 E

DISTRIBUTION

AMPLIFIER (4x4)

INPUT 1

CLIP

+10

0

-10

OUTPUT 1A

CHANNEL 1

OUTPUT 1B OUTPUT 1C OUTPUT 1D INPUT 2

CLIP

+10

0

-10

OUTPUT 2A

CHANNEL 2

OUTPUT 2B OUTPUT 2C OUTPUT 2D



  ⁽⁾

A four input, sixteen output distribution amplifier. Each 1 input/

4 output module operates independently. Simple rewiring creates

2x8 and 1x16 configurations. Internal power supply via toroidal transformer results in a very low noise, high performance product.

INPUT 3 OUTPUT 3A

CHANNEL 3

OUTPUT 3B OUTPUT 3C OUTPUT 3D INPUT 4 OUTPUT 4A

CHANNEL 4

OUTPUT 4B OUTPUT 4C OUTPUT 4D

CLIP

+10

CLIP

+10

0

-10

0

-10

- Euro-style detachable terminal blocks for

POWER



- Precision circuitry yields THD+Noise less than .009%.

quick rack installation.

- Four LED input level meters, individual trim pots for input and output volume attenuation.

Symetrix, Inc. • (425) 787-3222 •␣ www.symetrixaudio.com

12

  - -  

301

LOW DISTORTION

COMP/LIMITER

THRESHOLD (dBu)

-10

-25 +5

COMPRESSOR/LIMITER

25mS

ATTACK

50mS

70mS

AUTOMATIC

ATTACK/RELEASE

AUTOMATIC

MANUAL

.25 Sec

RELEASE

.5 Sec

2 Sec 2.5

RATIO (X:1)

4

8

-40 +20 500uS 100mS 50mS 4 Sec BYPASS 10

-3dB

-6dB

-12dB

-18dB

GR

-7.5

CLIP

-15

OUTPUT

GAIN (dB)

0

+7.5

+15

PWR

- Automatic Attack/Release button for quick preset setup.

- 115dB Dynamic Range. Ultra-low THD+Noise of less than .008% at any gain reduction level.

- XLR and Euroblock input & output connections.

302

DUAL MICROPHONE

PREAMPLIFIER

CLIP

20

GAIN (dB)

40

MICROPHONE 1

15dB PAD

IN

OUT

POLARITY

180°

60

CLIP

20

GAIN (dB)

40

MICROPHONE 2

15dB PAD

IN

OUT

POLARITY

180°

PHANTOM POWER

ON

OFF

60

PWR



  



A mono comp/limiter that delivers extremely clean compression for installed sound and broadcast applications. Unique circuitry eliminates secondary causes of distortion during compression, allowing use of shorter release times. PY-3 accessory Y power cord permits two 301’s to share a single power supply.





Designed for broadcast, sound reinforcement, and digital and analog recording. Offering substantial sonic improvements over stock mixers or console preamps, the 302 has solid stereo imaging, excellent transient response, very low noise, and almost undetectable distortion.

- Polarity reversal switches and 15dB pads on both channels.

- +48 volt phantom power.

- Gain variable from 20-60dB, works with virtually any professional microphone.

303

INTERFACE AMP

(BI-DIRECTIONAL)

PWR

- Simple, affordable conversion of consumer audio to pro audio without loss of information.

- Stereo XLR and RCA input and output jacks.

- External power supply ensures low noise operation.





A stereo level matching amplifier that accepts balanced or unbalanced inputs and converts them to balanced or unbalanced outputs. Use the

303 to interface a consumer DAT, cassette recorder or computer sound card to a professional recording console or to other +4dBu nominal level equipment.

13

  - -  

304

HEADPHONE

AMPLIFIER

INPUT

LEVEL

+12

MODE

MONO

STEREO

OUTPUT 1

HEADPHONE OUT

OUTPUT 2 OUTPUT 3 OUTPUT 4

+25 0

LEVEL 1

10 0

HEADPHONE LEVEL

LEVEL 2 LEVEL 3

10 0 10 0

LEVEL 4

10

PWR

- Individual volume controls for each output, master input volume.

- Stereo or mono operation, balanced or unbalanced input.

- Pass Thru jacks permit daisy-chaining of multiple units.



 



Stereo in, four output amp drives headphones of any impedance. Used in broadcast, installed sound, and recording applications. High voltage technology provides 6dB volume increase over most competing units.

Compact half rack chassis permits 8 channels in one rack space.

305

DISTRIBUTION

AMPLIFIER (1x4)

INPUT

CLIP

+10

0

-10

LIFT

CONNECT

A

LIFT

CONNECT

B

OUTPUTS

C D

- Euroblock terminal connectors for quick installation.

- Precision circuitry yields THD+Noise less than .009%.

- Four-segment LED input level meter. Individual trim pots for input and output volume attenuation.

306

PREAMP/

DUCKER

DUCK

THRESHOLD (dBv)

-20

DEPTH (dB)

-30

DUCKER

HOLD

2 Sec

-40 0

RELEASE

2 Sec

-60 BYPASS .25 Sec 4 Sec .5 Sec 4 Sec

MIX

OUTPUT

GAIN (dB)

0

PAGE PROGRAM

CLIP

-20 +20

PWR

- XLR Mic/Line input for paging systems with switchable phantom power for condenser mics.

- Stereo RCA Line input for foreground music and program sources.

- Output gain adjustable over a +/-20dB range.

- Euroblock terminal connectors for quick installation.

- Two high-performance audio transformers.

- Flexible grounding options.

PWR





A one input/four output mono distribution amplifier. Use the 305 to route your most critical audio to four separate outputs. Sound contractors will find the 305 essential for feeding multiple power amps. Broadcast engineers can easily and inexpensively distribute satellite audio around their station with the 305.









A streamlined paging/foreground music front-end with comprehensive ducking controls. Separate Threshold, Depth, Hold and Release adjustments allow precise ducking control of program material in the presence of a page. Mix control varies the proportion of paging and program feeding the outputs.





A two input/two output isolation box for use in installed sound and broadcast audio systems. Isolates ground, positive and negative audio paths to break up ground loops and improve overall system performance. Interfaces balanced and unbalanced devices. Increases resistance to RF interference.

Symetrix, Inc. • (425) 787-3222 •␣ www.symetrixaudio.com

  

Note:

In keeping with our policy of continuous innovation and improvement, Symetrix reserves the right to alter specifications without further notice.

All Symetrix products are designed, developed and manufactured in the USA. © Symetrix, Inc. 1999. Printed in USA.

Symetrix professional audio products are distributed worldwide. Please contact our corporate headquarters for the name of the Symetrix distributor in your country.

Corporate Headquarters

Symetrix, Inc.

14926 35th Avenue West

Lynnwood, WA 98037 USA

(425) 787-3222

Fax (425) 787-3211 www.symetrixaudio.com

Asian & South American

Representation

International Sales

3233 Lucinda Street

San Diego, CA 92106

(619) 224-9429

Fax (619) 224-9439

European Representation

World Marketing Associates

PO Box 100

St. Austell, Cornwall

England PL26 6YU

+44(0)1726 844440/1

Fax +44(0)1726 844443

Canadian Distribution

SF Marketing

6161 Cypihot

St-Laurent, Quebec

Canada H4S 1R3

(514) 856-1919

Fax (514) 856-1920

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