2010 Application Guide

APPLICATION GUIDES
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CONTENTS
Acoustic Echo Cancellation 5

Small House of Worship 17
Telephone Paging Matrix 21
Small BLU-10 Paging System 27
Transit Paging System 29
Noise Masking System 33
Room Combine 37
Restaurant Bar 41
Recreation Center 43
School Gymnasium 47
Sporting Arena 49
Multi-use Theater 53
8 Channel Processor 57
Digital Audio Snake 59
Insert Processor and Digital Snake 61
Musician Personal Monitor Mixer 63
BLU-8 Single Mode 65
BLU-8 Button Mode 67
BLU-8 Encoder Mode 69
Logic Part 1 - Controlling a Power Sequencer 71
Logic Part 2 - Using Logic to Create a Paging System 75
Creating a Bass Lift Volume Control 83
Using Parameter Presets 85
Using Control Ports in London Architect 89
How Do I Link Controls 93
How Do I Create a Fire Alarm Mute 95
Connecting the BLU-3 & BLU-6 99
Connecting to a London Network for the first time 101
PC Control of the Minidrive 111
PC Control of the Omnidrive 113
Using London Architect to manage FDS programs 115
How to use Acoustic Echo Cancellation [AEC]
Soundweb London
What is acoustic echo and why do I need to cancel it? Acoustic echo occurs in
a conferencing system when the far-side speech played in the loudspeakers is
picked up by microphones in the room and is transmitted back to the far side.
This transmitted signal is a delayed version of the original, which causes the
echo.
The received far-side signal does not transfer directly from the speaker to the
microphone, but is subject to the artifacts of the room. This may include differing
signal paths causing reverb, frequency filtering and attenuation. These effects
are the transfer function of the room. The transfer function of the room is also
dynamic, as objects in the room move or the microphone moves position.
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To correctly subtract the required signal, the AEC therefore needs to simulate the
dynamic room transfer function. It can then apply that transfer function to the
received signal and correctly subtract the modified original signal.
Each Soundweb London AEC card consists of 4 AEC input channels.
Each channel offers the following features:

Independent 20Hz - 8kHz algorithm
Individual AEC references
Automatic Gain Control (AGC)
Noise Cancellation (NC)
Adaptive (Speech Passing) Non-Linear Processing (NLP)
Extremely fast convergence rates of 49dB/s
NOTE: AEC Input cards can only be used in BLU-800, BLU-320, BLU-160 or
BLU-120 devices configured for 48kHz operation.
AEC DEFINITIONS
Before we continue lets review the definitions for some common terms used
when discussing AEC.
Convergence Rate
Measures the speed of the linear processing component of the AEC algorithm
and does not include the non-linear processing or suppression (NLP) as
dictated by industry standards. This means this is a measure of how fast
the algorithm can recognize and remove echo from the signal path.
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How to use Acoustic Echo Cancellation
Double Talk
Both far and near side speech are present.
Echo Return Loss (ERL)

This is a measure of the coupling between the AEC reference signal and the
AEC input signal.
Echo Return Loss Enhancement (ERLE)

This shows the loss through the linear AEC algorithm (not including the non-linear
processing.)
Far Side (Reference)

This is the remote side of the conference which will be heard from the near-side speakers.
Gain Structure
Proper gain structure will provide an adequate signal to noise ratio and reasonable
headroom for an input signal.
Near Side (Local)

This is the local side of the conference where the echo canceller is located.
Non-Linear Processing (NLP)

The non-linear processing increases the power of the echo cancellation for difficult acoustic
environments.
Noise Cancelation (NC)

Noise cancellation removes ambient noise from the AEC signal (e.g. computer fan noise).
Voice Activity Detection (VAD)

Detects whether the audio is speech or silence/background noise.
AEC Card Control Panel

The AEC default control panel is ordered in two groups of controls for every input channel.
The first group of controls are identical to the standard Soundweb London input cards and
function in the same manner. These controls are the audio input meter (configurable as Pre
or Post-AEC), input meter controls - Attack, Release, Reference, and Phantom Power - for
each input channel. The second group of controls are the AEC controls.
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AEC Control Panel [Basic]

The basic AEC control panel allows enabling and disabling of AEC
and AGC, and allows setting levels for noise cancellation and non-
linear processing.
AEC
This button enables or disables AEC processing for each channel. When this button is
enabled the AEC algorithm will remove the acoustic echo from the audio channel with linear
processing and with a specified amount of non-linear processing. (See NLP Level below.)
ERL Meter
The Echo Return Loss (ERL) meter is a measure of the rooms natural attenuation of the
far-side audio as it leaves the speaker(s) and re-enters the microphone(s). This parameter
is controlled by proper gain structure setup (ensuring a good signal to noise ratio and
reasonable headroom for the AEC input signal). A proper gain structure is critical for
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distortion free sound and optimal performance for AEC. This is the
single most important parameter when setting up the AEC system.
The AEC algorithm will recognize and remove echo to its best extent when
this meter is displaying in the green range. The green range is indicated on
the control panel below 10dB. The algorithm will continue to converge over 10dB, but the
convergence rate will decrease in that range.
This meter will not update during double-talk. It is updated based on far-side speech only.
ERLE Meter
The Echo Return Loss Enhancement (ERLE) Meter measures how much acoustic echo is being
removed from the signal path. This measurement consists of the natural room attenuation as
indicated by the ERL meter and the amount of echo removed by the AEC algorithm. A lower
signal indicates more echo being removed. The lower the meter, the better.
NOTE: As dictated by industry standards, NLP contributions are not included in this reading.
NLP contributions are made in addition to this meters reading.
NLP Level
The Non-Linear Processing (NLP) setting determines the amount of non-linear suppression
that will be applied in conjunction with the AEC algorithm for each channel. NLP will remove
the residual echo not removed by the linear part of the AEC algorithm.
This parameter represents a trade-off between achieving good double-talk performance,

with no suppression of the local speech signal, and very robust echo suppression, with no
echo audible on the far side. At its most aggressive setting (NLP at 100%), the non-linear
processing will remove any of the residual far-side echo picked up by the microphone.
However, this is done with an increased risk that some of the near-side speech will be
degraded as well, especially during double-talk. At its least aggressive setting (NLP at 0%),
the non-linear processing is effectively disabled, which may let some echo through, but will
allow for a more natural double-talk performance. The best setting for this parameter may
depend on several factors, including the acoustic properties of the room and user preference.
The default value of 50% may give a good balance between these two competing goals.
NC Level
The Noise-Cancellation (NC) setting will determine the amount of noise cancellation that
will be applied to each channel. The noise cancellation algorithm is a very advanced
algorithm that will remove steady-state noise without compromising the quality of speech
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passing through the channel. This algorithm is great for removing

projector noise, HVAC, and other unwanted background noise that
can compromise speech intelligibility.
AEC Control Panel [Advanced]

The advanced panel gives access to controls for the Automatic Gain Control and Signal
Threshold features.
AGC
The Automatic Gain Control is designed for voice applications.
It is designed to compensate for varying distances between the
speaker and their microphone as well as speech level variances
at the near end. This provides the far end with a signal that will
automatically be increased or decreased to maintain a consistent
audio level. Setting the maximum gain too high can cause
inconsistent gain structures and bring up the noise floor. The
AGC will adjust the gain during near side speech only. This
means that during pauses in near side speech, the noise floor will
maintain a constant level, and will not grow to hit a target gain
output. Only near side speech signals are used to control the
gain.
To use the AGC, first define target levels for the transmitted
speech signal. The default target levels for AGC are a maximum
of 6dBu and a minimum of -10dBu, which define a target
window with 16dB of dynamic range. If the speech level is within
the target window already, then the AGC-applied gain will go to
0 dB.
If the speech signal is below the target window (i.e., below the
minimum target level), then the AGC will increase the gain (to a
limit) so that the signal level meets the minimum target level. The
AGC will limit the gain it can add to a signal by a maximum gain
setting. Once the AGC has adjusted its gain high enough to
meet the maximum gain setting, it will stop adding gain, even if
the minimum target level is not reached.
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This is useful to stop very weak speech signals, such as whispering,

from driving the gain too high. Setting the maximum gain too high
can cause inconsistent gain structures and bring up the noise floor.
Similarly, if the level of the speech signal is higher than the maximum target
level, then the AGC will reduce the gain, by as much as the minimum gain setting, in an
attempt to bring the speech level down to the maximum target level.
A generous range for the maximum gain and the minimum gain have been provided.
Care should be taken, particularly with the maximum gain setting, to avoid extreme levels.
Situations where the maximum gain setting should be set over 10dB will be rare. The
maximum gain setting has the potential to break a gain structure, so set it carefully, especially
if the setting is to be used over 10dB.
The attack and release rates for the AGC describe how fast it will adjust its gain. Because
the AGC only adjusts gain during near-side speech signals (and not during unvoiced
consonants like t, s, p, and f), the attack and release rates should be set higher than other
typical AGC implementations.
The AGC meter shows the current amount of gain being applied to the signal.
Signal Threshold
In a conferencing system, some microphones may have a mute or push-to-talk feature built
in. If a mic goes into or comes out of mute, then the characteristics of the conferencing
system change instantly, and echo may leak through as the AEC re-converges. A signal
threshold is defined to allow mics with mute or push-to-talk features to work seamlessly with
AEC. Using the threshold, a level can be defined that is below the normal, ambient noise
floor of the room. If the mic level goes below this level, then the AEC algorithm will treat
the microphone as muted, and minimize any echo that would have occurred otherwise. The
Active LED indicates that the microphone level is over the threshold, and the mic is not
treated as being muted. When the LED is off, the mic level is below the threshold, and the
mic will be treated as being muted.
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To set the threshold:
Put the microphone in its muted mode.

Set the threshold to a level where the LED turns itself on and off
randomly.
Raise the threshold from this level by 3 to 6 dB. The LED should now be off with no
flickering.
Take the microphone out of its muted mode and the LED should illuminate.
This process may need to be repeated if the microphones preamp gain is adjusted. To
disable the mute feature based on signal threshold, simply set the threshold to its minimum
value.
London Architect Configuration Symbol

For each recognized AEC card in a Soundweb London unit the following configuration
symbols will appear in the Default Configuration view:
The left hand AEC Input Card block functions like a

standard Soundweb London input card. This block contains
the 4 channels of processed AEC audio as well as the 4
channels of dry (unprocessed) input audio being fed into
the Soundweb London AEC card. The right hand block
AEC Input Ref (REFERENCE) Return is used to provide the
REFERENCE signal for each AEC algorithm. The Reference
signal is the signal that will be removed by the AEC algorithm from the signal path. The
Reference signal should be taken from as close to the output as possible. This will provide
the AEC algorithm with the most accurate representation of the signal (to be cancelled) and
will provide the best AEC performance.
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Example: Basic Conferencing without Local Sound

Reinforcement
Local Sound Reinforcement refers to a design where the local

microphones feed both the far-side and the local room speakers. This
typically applies in large rooms where other participants located in the same room cant hear
the person speaking.
This example shows 4 microphones feeding the local audio to the far-side via a Telephone
Hybrid. The far side audio is received via the Telephone Hybrid and processed by the
Londons Low Pass, High Pass, and Parametric EQs before being sent to the local rooms
speaker(s) for the local participants to hear. Once the far-side audio leaves the local-sides
speakers the signal will bounce around the room, re-enter the local microphone (mixing with
the local sides speech), and the far-side signal will be sent back to the far-side resulting in
echo. To prevent this echo, the far-side signal is sent to the Reference inputs of the AEC
card where the AEC algorithm will compare this signal with the input signals of the AEC card
(the microphones) and remove the Reference signal (far side signal) from the input signal
path resulting in only the local side audio being sent to the far-side i.e. no echo.
The image below is the same design with the Reference signal wired incorrectly. Because the
Reference is taken before the room processing blocks, the AEC algorithm will not understand
that certain frequencies were cut/boosted intentionally and will not be able to model the
room to its full ability.
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Example: Basic Conferencing with Local Sound Reinforcement
This example shows 4 microphones feeding the audio to the far side via
a Telephone Hybrid as well as feeding the local speakers for local sound
reinforcement. Signal mixing is performed using the Gated Automixer processing object.
The best method for this type of design incorporates a mix-minus setup to maintain proper
gain structure, and to prevent the speaker directly above the person talking from transmitting
a - room-colored - copy that will re-enter the open microphone and be transmitted to the far
side along with the original voice signal.
The design below shows both the far side and near side signals feeding the local room
speakers. This design works, but as explained above, since the Reference signal is not being
fed after the room processing blocks (as close to the speaker output as possible) the AEC
algorithm wont perform to its full potential.
If the Reference is moved to the same location as in the previous No Reinforcement

example, it will satisfy the rule of placing the Reference as close as possible to the speaker
output, but in doing so the Reference will be fed with a mix of both the near side and far side
signals. Since the Reference signal is the signal we want to remove from the input audio
path then this means that the AEC algorithm will cancel the speakers voice coming into the
AEC Input Card. Since the input microphone signal path is being fed to the far side as well
as the local speakers then the far side will not be able to hear the speaker either. (Typically
what happens is that only portions of the speakers voice gets cancelled because of the VAD
state and it causes the voice to distort and sound bad to both the far side and the near side)
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To solve this dilemma utilize an N-input parametric EQ and another set of High/Low Pass
objects in order to provide the Reference the same signal as the room speaker. This means
that you only Reference (remove) the far side signal while still feeding a mix of both near side
and far side audio to the room speakers. It is very important to make sure the same
settings are maintained in both signal paths. In particular, care must be taken that
any non-linear processing (such as compression or limiting) that happens to the
speaker output signal, also happens to the Reference signal. BSS Audio recommend
using the copy parameter values feature to ensure the settings are identical.
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Example: Local Media Distribution
Add to the previous Local Sound Reinforcement design by adding a

local DVD player and a local PC audio input for presentations that the
near side would like to share with the far side as well as having the near side
speakers distribute this material.
This design requires that the local media inputs (DVD/PC) are sent directly to the far side via
a Telephone Hybrid to provide a high quality audio signal. For the near side to hear the
local media inputs through their speakers, Reference (remove) the far side signal and local
media signal from the microphone input signal path to prevent the far side from hearing
their own voice (echo) and from getting a lower quality local media signal - which can be
interpreted as an echo as well. Remember that you are already directly sending the local
media signal to the far side so you need to make sure that the local media signal is not
allowed to travel to the far side via the microphone input signal path as well.
Once again, it should be emphasized that the ERL meter needs to be in the green zone
while the local Media sources are playing during the conference or the AEC algorithm will
not optimally remove the echoes.
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Small House of Worship
Soundweb London
In this guide we will create a design for
a small House of Worship and show how
using the BLU-BOB in the system design
provides flexibility at a cost effective
price point. This design will incorporate
several concepts described in other
application guides such as digital audio
transport and distributed audio and
control.
Some of the features of this system are:
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~ A 32x8 digital snake from the stage to the mix position in the Sanctuary.
~ Two operation modes for the Sanctuary - Auto & Manual.
~ A feed from the Sanctuary to the Fellowship Hall for overflow situations.
~ A simple remote control in the Sanctuary for controlling stage microphones
in Auto mode.
~ A small stereo playback system in the Fellowship Hall with 4 microphones
and a DVD player.
~ A simple remote control in the Fellowship Hall for controlling local inputs
and source selection.
~ Paging station at Reception and Background Music (BGM) for Fellowship
Hall and public spaces.
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Using the Soundweb London Digital Audio Bus as a digital snake has
the benefits of low latency and very small infrastructure requirements.
In a retrofit scenario there may not be conduit in place to use traditional
multi-pair copper audio snakes. The Soundweb London Digital Audio Bus
network utilizes standard CAT5e cable or Fiber Optic pairs to inter-connect
devices, requiring much smaller conduit or cable chase. This allows for the use of surface
mount cable chase in retro-fit situations where conduit is just not an option, such as an old
stone church for example.
At the stage location we will use 2 BLU-120s, each loaded with 4 input cards, providing 32
channels with adjustable microphone pre amps. A BLU-BOB provides outputs for the stage
monitors. At the mix position, 4 BLU-BOBs provide the 32 channels of stage audio to the
mixing console. This provides the Sanctuary system with a 32x8 digital snake. At the stage
location, we also have a BLU-8 for controlling the stage microphones when the system is in
Auto Mode. In Manual Mode, the mixer at the Front of House location (FOH) provides the
control for the stage microphones.
At the FOH location, the group and aux outputs of the mixing console feed a BLU-120
configured with 16 inputs. This provides 6 channels for the main Sanctuary PA, 8 channels
for the stage return, 1 channel for Assisted Listening and 1 channel for a mono mix to the
Fellowship Hall.
At the main amplifier equipment location, a single BLU-BOB provides 6 outputs to the main
Sanctuary PA.
The Fellowship Hall portion of the system has two main functions: provide BGM and paging
to the general spaces and administration offices, and provide a small performance and
playback system in the Fellowship Hall.
Because the Fellowship Hall operates 7 days a week, the DSP for
the whole system is located in this part of the facility. A BLU-160
configured with 4 inputs and 8 outputs provides for a local page
input, a BGM source and a local DVD player in addition to all the
processing and routing for the Sanctuary system. The 8 outputs on
the BLU-160 feed stereo speakers in the Fellowship Hall and other
local zones. A BLU-8 in the Fellowship Hall provides control for the
4 local microphones as well as a source selector for the DVD and
Sanctuary feed. The page microphone at the reception desk feeds
the common areas and will duck the BGM in those areas during a page.
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Creating a Paging Matrix using the Telephone Hybrid
Soundweb London
This design has a number of unique
features including:
~ Telephone Hybrid for connecting to

POTS or analog PBX
~ DTMF detection for zone selection
~ Tone feedback for operator prompt
~ Design Scalable to 64 + zones
In this design we will discuss creating a Telephone Paging Matrix that can be
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controlled with any POTS or analog PBX connected to Soundweb London
Telephone Hybrid card. The included design is 32 zones but can easily be
scaled up to 64 zones as needed.
This design is based around the BLU-800 so that Cobranet can be used to
broadcast audio directly to the amplifiers across a network. If your project does
not require Cobranet, a BLU-160 or even a BLU-100 with BLU-BOBs as the
analog outputs could be utilized instead.
The audio configuration is very straight forward. There are some standard
dynamics processing for tuning the microphone for maximum intelligibility, and
a gain point for mute and level control. A delay is used to trap any handset
noise at the end of the page.
This feeds a Matrix Router that is controlled via Parameter Presets to route the
page to the desired output. A single output Crossover is on each output to
provide a gain & mute point as well as some High and Low pass filters
commonly required in distributed audio systems.
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A 12 band parametric equilizer is provided to allow frequency

correction for each output. The multicast Cobranet bundles are used to
send the signals directly to the amplifiers across an Ethernet network.
The key to this design is the Hybrid card and the Logic circuit. The circuit needs to
accomplish several tasks; automatically answer an incoming call, provide a tones to the
caller, detect a two digit DTMF number, route the Telephone Hybrid audio to the appropriate
zone, automatically clear the router and reset the logic circuit at the end of the call.
The first action of the circuit is initiated by the Hybrid card going off hook when automatically
answering a call. This pulses a Logic End linked to a mute button on the tone generator
circuit. This tone provides a prompt for the caller to enter the three digit zone number. This
is run through a Logic Not to invert the signal. This also removes the Reset [R] on all the
Counter Triggers. This is done through a Logic Link between the Logic End and the Mute
button in the Gain object. After the # key is pressed, another tone prompts the operator to
begin their page.
At the beginning of the circuit are 11 Logic sources. These are linked
to the DTMF detect outputs of the Telephone Input Card by dragging off
the Design Tree onto the Logic Source object in the Logic Configuration
window. The DTMF Detect values are found under the Telephone Input
Card section of the design tree.
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The next part of the logic circuit is the counter. There are several was
to create a count within logic, for this example three individual Counter
Triggers works best. The Counter Triggers are used to control the Logic
Snapshots that are storing the numbers in the order they are pressed.
Each Counter has its count property set to its position in the count; the first
one is 1, the second is 2 and so on. A Logic Or sums the outputs of the 0 9 and # Logic
Sources and is fed to each Counter Trigger. Every
time a button is pressed it will drive the input on the
counters. The outputs from the three counters are
used to control the Store [S] and Recall [R] inputs on
the two Snapshot objects as the count progresses.
The next segment of the logic circuit is the two digit register. There
are two Snapshot objects; one for each digit of the zone number
[01 32]. The 0 9 buttons are bused to both Snapshot objects.
As the numerical buttons 0 9 are pressed; the corresponding
input and the Snapshot Select of both Snapshot objects will change
to high. However only the Snapshot object with its Store input also
pulsed high will store the number on its input. On the first press the
first Counter pulses the Store input on the first Snapshot. On the
second press the second counter pulses the first Snapshots Recall
and the second Snapshots Store. The third and final press pulses
both Snapshot objects Recall.
The output of the Snapshot needs to be converted to Binary in order to get the larger
numbers we need and to utilize the Preset Table logic object. To do this we use a simple
Truth Table. The table is configured as 11 inputs [0 9 plus a trigger] and 4 outputs [4 bit
word]. Each decimal output of the Snapshot is converted to a 4 bit word; 1 would be 1000,
5 would be 1010 for example.
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The # key is driving a Counter Trigger that is acting as the trigger

input [#11] on the Truth Table. This counter can only be triggered if
the # key is pressed AND it is the third key pressed. The trigger input on
the Truth Table allows the number to be held in both tables until the # key
is pressed allowing both Truth Tables to pass their values to the Preset Table at
the same time. Without this hold, the router would change as each digit was entered causing
an incorrect route until the final digit was pressed.
The final segment of this logic circuit is the Preset Table that changes
the microphone router. The order of the words from the Snapshot
objects are connected in a least significant to most significant order
to make programming the table easier.
The last action of the circuit is to reset the router when the Hybrid card goes on hook at
the conclusion of the page. When the Hybrid goes On Hook, all counters reset and the
Snapshot objects go into Bypass; clearing the router and preparing the logic circuit for the
next page.
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Small Paging System
Soundweb London
The audio design for a small paging
system has a number of unique
requirements, including:
~ Push to talk paging station that allows

paging to a single zone, a group of
zones, or all zones.
~ Paging priority.
~ Indication of whether the system is busy or available to page.
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~ Telephone paging.
~ Processing and EQ on all microphones and outputs.
To meet the specifications of the paging system the BLU-10 programmable

remote control is used as the page routing interface. By utilizing Push To Talk
(PTT) microphones and the control input ports on the BLU-16, logic objects can
be used to create conditional routing and muting.
The BLU-10 is an Ethernet

device and will connect
into the control network
or an existing Local Area
Network (LAN). All of
the BLU-10 remotes
are programmed and
configured using HiQnetTM
London ArchitectTM. As the
software has a drag and
drop interface, it makes it
very simple for the designer
to configure the paging
stations.
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Small Paging System
The BLU-10 is programmed to

display the zones that are available
to page. For example, if it is not a
requirement to page a certain zone (such
as the managers office) then that zone is simply not
displayed on the BLU-10.
Presets can be set up to group certain zones together making it simple and quick for the user
to make a page to multiple zones.
The BLU-10 can be used to restrict access to any given control screen. This can be used to
prevent certain users from paging into selected zones.
All of the paging microphones are connected to the SoundwebTM London BLU-16 which
handles all the processing for the signals. Parametric EQ, high pass filters and compression
are applied to each microphone signal to ensure the highest quality of sound. A ducker is
then used to provide priority for the telephone paging over the PTT paging stations. The
Ducker allows the PTT microphones to be ducked down in level while the telephone paging
is active. After the telephone page has ended, the PTT microphones will ramp (fade) up
gradually or quickly in level depending on programming.
Utilizing logic objects, the user can drive LEDs from the control ports on the BLU-16 to
indicate the system is available to page, or that a page is currently in progress. At the end of
a page, any routing that the user had selected is reset.
Additional sources, paging microphones and output zones could be added to the system if
you choose to use a BLU-160 and BLU-120. Any background music within the system could
be automatically ducked during a paging announcement.
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Transit Paging System
Soundweb London
The audio design for a transit paging
system has a number of unique
~ Flexible page routing to multiple zones.
~ Paging priority.
~ Comprehensive Interface with paging

controls and system monitoring.
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~ Multiple zones of Ambient Noise Compensation for each platform.
~ Safety Announcements and Background Music inputs.
In this design we use HiQnetTM London ArchitectTM running on a touch screen

as the control interface. This gives the operator an intuitive method for viewing
the system status and selecting zones for paging. By selecting the station from
the list on the left of the interface, the Operator can adjust the levels in each
zone and view the ambient levels in that station.
Indicators next to each station name show if a local page is active. The buttons
on the top of the interface allow the Operator to select individual platforms or
combinations of platforms
for paging. By utilizing Push
To Talk (PTT) microphones
and the control ports on
the SoundwebTM London
devices, logic objects can
be used to reset the paging
zone selection at the end of
each page.
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By using the Ducker processing object, a true override paging
system has been designed that will automatically duck the
background music (reducing it in level by a prescribed amount), so that
announcements can be clearly heard above the level of the music. Upon
completion of the announcement, the background music is automatically
restored to its previous level. By using cascading Duckers we can create Priority in the signal
routing. Announcements will duck the BGM and any local page will duck announcements
and BGM. Any pages from Dispatch will duck announcements, BGM and local pages. The
closer a Ducker is placed to the output the higher priority that signal has.
Each station has a BLU-120 for local page input, Ambient microphones and outputs to the
amplifiers for that station. Each BLU-120 sends its input signals across BLU link to the BLU-
160 for processing, then back across BLU link to the BLU-120 for output to the amplifiers.
Additional sources, paging microphones and output zones could be added to the system if
you choose by adding additional BLU-120s connected with BLU link.
BSS Audios BLU link network audio transport is found on all BLU-800, BLU-160, BLU-320
and BLU-120 devices. It carries 256 channels of audio at 48kHz, and 128 channels at
96kHz, both at 24bit across a standard CAT5e connection between devices. When
connected in a loop, it has redundancy, allowing any one BLU link cable to break while still
maintaining audio. The BLU link devices are connected point to point eliminating the need
for expensive switches. You can have up to 32 BLU link devices and one Cobranet network
connected together allowing you to split and route multiple signals to multiple locations
simply by adding more BLU-120s to the network.
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Noise Masking System
Soundweb London
Noise masking systems have a
number of unique requirements,
including:
~ Multi-zone output.
~ Parametric EQ for each output

zone.
~ Independent gain control for

each zone.
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~ Page input from telephone system.
~ Priority emergency page from life safety system.
Noise masking is used to increase oral privacy and to minimize distractions

from other sounds. This active electronic solution can be applied to many
environments where there are concerns about eavesdropping, client or patient
confidentiality, or wherever personal details or issues are discussed.
The United States Office of Civil Rights states that incidental disclosure of
personal information is tolerable only if reasonable means to prevent it have
been implemented, in accordance with the December 2000 guidance that
the same protections afforded to paper and electronically based information
must apply to verbal communications
as well. Accepted standards from
ISO, ANSI, and ASTM already define
Oral Privacy in a manner that can
be quantitatively measured. They
also describe available methods for
monitoring private environments where
oral privacy is required but walls are
impractical.
33
These standards already meet the reasonableness test and provide
best practices to follow. And they enable service providers to go
about their business without disruption or fear of disclosure.
Four important facts:
Oral privacy can be measured with instruments.

Oral privacy is defined by ISO, ANSI, and ASTM standards.
Oral privacy can be provided without restricting physician behavior or retraining.
Oral privacy can be provided without walls or large capital expenditure.
A BLU-16 4x12 provides the flexibility needed for this application. Twelve outputs gives the
ability to adjust the signal for maximum affect in each of the zones. A twelve band Parametric
Equalizer (EQ) for each of the zones provides the installer the
ability to adjust the EQ of the signal for optimal masking of
environmental sounds and speech. This, coupled with a gain
control for each zone output, gives the installer full control over
amplitude and color of the masking signal in each of the
zones.
Each of the page inputs are processed by a high pass filter to roll
off unnecessary frequencies below the spectrum of the human
voice. The page signals are each then processed by compressors
to minimize the differences in vocal levels. Parametric EQs adjust
the signal for optimum clarity and intelligibility. Each signal then passes through a gain object
before routing to the Ducker. The Duckers are wired in series giving the emergency page
signal priority over both the masking signal and the page signal.
This design could be transferred to a BLU-100 and expanded utilizing the digital audio bus
to provide upto 48 output zones. Transferring the design to a BLU-160 or BLU-800 could
provide even more system scaling options.
34
35
36
Room Combine
Soundweb London
The audio system for an eight room
combine has a number of unique
~ Independent controls for each

room.
~ Individual input processing for

microphones within each zone.
~ Combination of zones in any
TM
configuration with integrated control linking.
~ True linking of Automixers to provide Uniform gain control across combined

zones
~ A simple and intuitive control interface.
Today, most hotels and conference facilities rely on flexible room configurations
for a wide variety of events. Typically this involves one or more large rooms
that may be divided by flexible partitions. These combinations of space are
referred to as room combining and have their own unique requirements when
it comes to the audio system. The key is the management of the audio signal to
interconnect sub-room sound systems when those sub-rooms are combined into
larger rooms.
The example featured here has ten possible divisions, eight rooms and two
pre-function areas. Each of the smallest
room divisions have six microphone
inputs, a stereo line level input (summed
to mono), and a source selector for
choosing background music (BGM).
There is also a master for the overall
room volume. The Microphone inputs
have adjustable input sensitivity and
phantom power.
37
Room Combine
The key to this example is the Room Combine processing object.
This simple to setup processor includes seamless integration of a
complex logic and Audio matrix with an easy to setup control panel. The
programer has the power and flexibility to create a design that is suited to
the venues operation and the ability to create a powerful user interface very
quickly. What once took many hours of very complex programming can literally be done in
just a few minutes.
Each of the eight rooms can be combined in any

combination due to a unique, yet simple, bussing
arrangement within the Room Combine processing
object. Some room combining systems cannot
achieve more than adjacent combining of the
sub-rooms. But because of the unique capabilities
of the BSS algorithm, non-adjacent rooms can
be joined together very simply using the Group
Combine method. This feature has been in demand
more often as events become more complex in
their requirements and booking schedules require
flexibility. Important functions such as green rooms, backstage areas, production control
rooms, and recording rooms or any combination of them are easy now when the adjacent
space to the main event is booked by a conflicting event.
By using a BLU-8, the user can be given simple control of source selection , room grouping,
input gains and master gain in each of the rooms. The BLU-8 controls reflect the current
room group as well as link control functions such as current BGM selection and Master gain
when combined.
By enabling the Automixer property on the Room Combine Processing object, the threshold
and Chain signals of the rooms Automixers can be managed by the Room Combine
processing object to create one automixer. This is a true automixer, with all microphones
equally weighted across multiple automixers in the room group. No other DSP offers this
level of integration and ease of setup and use.
What is important to note in this design is the power of HiQnetTM London ArchitectTM which
supplies a toolset for creating a powerful graphical user interface (GUI). This makes control
of this technically advanced system very simple for the operator.
38
Room Combine
39
Room Combine
40
Restaurant/Bar
Soundweb London
The audio system for a restaurant or bar
has a number of unique requirements,
including:
~ The ability to select multiple audio

sources and distribute them to several
zones as either mono or stereo signals.
~ The need to control the audio from a

number of locations in the restaurant/bar.
TM
~ The necessity for host/hostess paging announcements to override the
background music in selected zones.
~ A two-way P.A. in the bar for live performances.
Multiple audio sources (in this case, CD player and multiple satellite receivers),
often have a significant difference in
the level of their audio outputs. This
variance needs to be controlled so that
the levels of all audio selections are
relatively constant. By using the Leveller
within HiQnetTM London ArchitectTM,
automatic adjustments are made to
compensate for discrepancies between
the levels of different audio sources.
This results in an even volume level
when switching between sources.
After passing through the Leveller, the signals are then equalized using a
parametric equalizer (EQ). This processing object can be used to adjust for the
acoustics of the room and help make the system pleasing to the ear. Proper EQ
also assures the highest intelligibility of voice announcements throughout the
system.
41
Restaurant/Bar
Depending on the restaurant/
bar and the wishes of the
designer, music can be sent to
the amplifiers/loudspeakers as
either stereo or mono signals. In the
case of this design, it was desired to have portions of
the system in stereo, while other parts of the facility
employed mono audio feeds. To accomplish this, the
audio source was split. Part of the signal was sent to
a Summer processing object to create a mono source
for the lobby, courtyard and rest room areas. At the
same time, part of the signal was kept as a stereo feed
and sent to the bar and restaurant zones for playback in stereo.
A BLU-3 analog remote wall controller mounted behind the bar

allows a bartender to select from available audio sources as well as
adjust the volume levels in the bar. A BLU-10 digital programmable
wall controller mounted in the management office provides the
manager with a more comprehensive control over source selection
and volume for each zone of the restaurant/bar facility.
A stereo input from a small mixer located in the bar is routed

to a pair of two-way speakers for live performance. This
configuration requires a (two-band) Stereo Crossover and
Stereo Parametric EQ. This provides the installer with the tools
necessary to create the best sound for any space.
By using the Ducker processing object, a true override paging system has been designed that
will automatically duck the background music (reducing it in level by a prescribed amount),
so that announcements can be clearly heard above the level of the music. Upon completion
of the announcement, the background music is automatically
restored to its previous level. Duckers used in this way allow
clear paging, whether the source is a paging microphone
or Telco (telephone) interface. With this configuration,
announcements would only be heard in necessary zones
(lobby, bar and rest rooms), leaving diners undisturbed.
42
Recreation Center
Soundweb London
The audio system for a Recreation
center has a number of unique
~ The ability to select multiple audio

sources and distribute them to several
zones.
~ The need to control the audio

from a number of locations within the
facility.
TM
~ The necessity for paging announcements to override the background music.
Multiple audio sources (in this case, CD player and multiple satellite receivers),
often have a significant difference in the
level of their audio outputs. This variance
needs to be controlled so that the levels
of all audio selections are relatively
constant. By using the Leveller within
HiQnetTM London ArchitectTM, automatic
adjustments are made to compensate for
discrepancies between the levels of each
track. This results in an even volume level
during playback.
After passing through the Leveller, the signals are then

equalized using a parametric equalizer (EQ). This processing
object can be used to adjust for the acoustics of the room
and help make the system pleasing to the ear. Proper EQ
also assures the highest intelligibility of voice announcements
throughout the system.
43
Recreation Center
Depending on the facility and the
wishes of the designer, music can
be sent to the amplifiers/loudspeakers
as either stereo or mono signals. In the
case of this design, it was desired to have
portions of the system in stereo, while other parts of the facility
employed mono audio feeds. To accomplish this, the audio
source was split. Part of the signal was sent to a Summer
processing object to create a mono source for the hallways,
restrooms, courtyard and lobby areas. At the same time,
part of the signal was kept as a stereo feed and sent to the
aerobics and gymnasium zones for playback in stereo.
Source selectors, controlled by BLU-3 analog remote wall controllers

mounted in three parts of the facility (lobby, aerobics room and gym),
select the audio source for that particular zone. Facility staff can also
use these wall controllers to adjust the audio level (volume) in each
of these zones.
By using the Ducker processing object, a true override paging system has
been designed that will automatically duck the background music (reducing
it in level by a prescribed amount), so that announcements can be clearly
heard above the level of the music. Upon completion of the announcement,
the background music is automatically restored to its previous level.
Duckers used in this way allow clear paging, whether the source is a paging
microphone or Telco (telephone) interface.
44
Recreation Center
45
Recreation Center
46
School Gymnasium
Soundweb London
The Soundweb London BLU-8
TM
programmable zone controller combined

with Soundweb Londons Logic processing
make a powerful combination. In this
guide we will use the BLU-8 in Encoder
Mode as a mixer and CD transport control.
In this application the BLU-8 is located in a

small performance area of a school.
The Operator needs simple control over 6 microphones and a Dual CD player.
TM
The left encoder on the BLU-8 allows the operator to select each of the six
microphones or the two CD Player transport controls.
The right encoder adjusts the gain of the microphone selected by the Left
Encoder. The LED meter to the right changes to a positional meter when the
gain is adjusted indicating the relative position of the control.
When the Gain control is not being gestured, the LED meter becomes a VU
meter indicating the current level for that zone. This VU meter can be fully
customized in the number of steps and indicator color allowing the programmer
to tailor the display to the application and end user.
47
School Gymnasium
The 7th and 8th positions of the Left
Encoder activate the 4 buttons on
the BLU-8 as transport controls for the
dual CD player. The 4 buttons have been
programmed using the Serial Trigger Table
Logic Object to transmit the correct serial strings from the
serial port on the BLU-16 to the Serial controlled CD player.
The sleep mode has been programmed to dim all the LEDs
so the panel is less distracting when it is not in use. To wake
the BLU-8, simply press the Locate button or gesture any
control. The BLU-8 will wait 2 seconds after wake up before
it changes any state variable, so the user can gesture any
control to wake that panel up and wait 2 seconds before
changing any control.
In the BLU-8 Default control panel, the Lockout Active button provides a mechanism to
disable the BLU-8 unit until a security PIN number is entered. This might be appropriate when
the BLU-8 is located in a public area and restricted access to the BLU-8 functions is required.
When the unit is Locked any button or rotary movement will be ignored and all LEDs on
the BLU-8 will flash RED twice at 1Hz frequency. This indicates that a PIN number must
be entered to unlock the BLU-8. To enter the 4 digit PIN number, use the LOCATE button
followed by the 4 button sequence (1..4) followed again by the LOCATE button. When a
correct PIN number sequence is entered, all LEDs on the BLU-8 will flash GREEN twice at
1Hz frequency. The unit will then be Unlocked and normal operation of the buttons and
rotaries will be possible. If the PIN sequence entered is incorrect, the BLU-8 will flash RED
twice at 1Hz frequency and remain in the Locked state.
48
Sporting Arena
Soundweb London
Sporting venues traditional
have been simple systems
using only a few inputs and
multiple distributed outputs.
Many new sporting venues
are demanding more
sophisticated routing and
processing capabilities from
their audio systems. In this
example we are expanding
the typical sporting venue
TM
design to include a large number of luxury suites. These suites will have local
level and source select including a local audio input. With 4 times the DSP
processing and the 256 channel BLU link audio network transport, the new
BLU-160 and BLU-120 are the perfect choice for this application.
The number of required wall controllers is a driving factor in this design. The
number of suites determines the number of remotes which in turn determines
the number of Soundweb London devices that are required. Up to six BLU-
3s can be connected to a single
Soundweb London device. In
this design four BLU-120s are
required for each group of twenty
suites. The system is divided up
and located in remote equipment
rooms to minimize cable runs.
These remotely located devices
are connected to both an Ethernet
network for control as well as the
point to point connections of the
BLU link network for digital audio.
These signals are transmitted across BLU link back to the Broadcast Center for
processing in the BLU-160. A large Source Matrix is used to allow each suite
to select from a number of global sources as well as a local input from an
entertainment system or I pod jack.
49
Sporting Arena
The main system covering the seating area is divided into 16 zones.
The Graphical User Interface or GUI shows a layout of the venue
seating area. The operator can access the controls for any zone by
clicking on the seating
map. This action changes
the seating area blue to indicate it is the
zone that is selected. This also opens the
Sub Page displaying the controls for that
zone. If the zone is muted, that area on
the seating map will turn red to clearly
indicate the zone status to the operator.
This allows the operator to quickly identify
the mute status of the entire seating area
from the main screen. This is very useful
for venues that may have different speaker
usage based on the type of event they are running. Custom control panels can be divided
into layers using Sub Pages; allowing access to as little or as much information as the
application requires.
In addition to the main system and the suites, there are a number of utility spaces that require
audio. Each of these spaces; rest rooms, concourses and Administration, have separate
processing. This allows for independent source select, EQ, gain & delay controls for each
zone.
Some of these utility spaces require paging. By using the Ducker processing object, a true
override paging system has been designed that will automatically duck the program
material (reducing it in level
by a prescribed amount), so
that announcements can be
clearly heard above the level
of the program material.
Upon completion of the
announcement, the program
material is automatically
restored to its previous
level. Duckers used in this
way allow clear paging, whether the source is a paging microphone or Telco (telephone)
interface. With this configuration, paging would only be routed to the necessary zone.
50
Sporting Arena
51
Sporting Arena
52
Multi-use Theater System
Soundweb London
Multi-use theater systems have a
number of unique requirements,
including:
~ Audio from mixing console and

multimedia sources.
~ Bi-amplified Left, Center and

Right speaker arrays.
~ Multiple outputs for surround
TM
speakers (side and rear).
~ Independent gain, EQ, delay and limiting for each output.
~Master gain control for each multimedia source.
Many of todays theaters are designed to support live presentations in addition

to multimedia playback. SoundwebTM London can easily handle complex
routing of a variety of signal formats.
In this application the digital console providing six channels of audio across
CobraNetTM to the BLU-80. Additionally there are two multimedia devices
connected digitally to the BLU-
80 via S/PDIF or AES/EBU
digital formats. The digital input
cards in the BLU-80 convert
these signals to the same
sample rate at which the BLU-
80 is operating. These signals
feed a matrix mixer were they
can be easily routed by means
of parameter presets.
53
The main screen speakers in this venue are bi-amplified. The
Crossover in HiQnetTM London ArchitectTM can be scaled to provide up
to six bands of output providing enough
flexibility for any multi-component speaker
cluster.
The Crossover provides control over limiting, delay, gain and

frequency for each of the outputs allowing the installer to tune
the speaker clusters for their best performance within the space.
In this design, ten bands of parametric EQ is provided for each

of the 18 system outputs. These filters can be reallocated within
the design simply by changing the properties of the processing
object to increase or decrease the number of filters needed for
any given path of processing.
Although the surround outputs are full range, by using single band Crossovers set to full
range we get delay, gain and limiting all from one processing object for each of the surround
outputs. By providing discreet outputs for each of the surround speakers and sub woofers,
the installer can fine tune the delay, gain, and filters per speaker to create the optimum
acoustical environment.
Utilizing the n-input scalable Gain object to create a six channel gain block allows the user
to adjust the multi-channel signals of the multimedia sources from a single master gain fader.
These gain controls as well as the matrix routing

parameter preset recalls can all be easily accessed
by the operator from the intuitive BLU-10 or BLU-8
remote control, integrated into a presentation lectern,
projection booth or mix location equipment rack.
54
55
56
8 Channel Processor
Soundweb London
The digital eight channel processor has a number of unique and powerful
features which include::
~ Control and monitoring from any PC.
~ Software controlled input gain from 0dB to +48dB.
~ Phantom power and polarity selectable per input.
~ Nine digital audio processors per signal path...thats 72 processors!
TM
This design utilizes the DSP capability of a BLU-16, configured with eight
inputs and eight outputs, to provide eight discrete channels of comprehensive
processing, invaluable to todays live sound engineer. A single BLU-16 provides
the equivalent processing of 72 discrete analog rackmount devices at a fraction
of the cost and rackspace.
A PC running HiQnetTM London ArchitectTM and connected to the BLU-16

provides the Graphical User Interface.
Typically this would be a laptop, but it could just as easily be a touchscreen

computer or wireless tablet PC, as the BLU-16 is controlled using standard
Ethernet. In the design shown, custom control panels, divided into multiple
sub-pages, allow the system operator easy access to all the controls for
each of the 72 processing objects within the design.
57
8 Channel Processor
In addition, the operator has the ability to select any of the eight inputs
and adjust input gain as well as enable or disable phantom power.
Full metering gives the audio engineer accurate indiction of signal level
at various points in each signal chain. Each channel also has adjustable
output gain, polarity and mute.
Each input can be selectively processed by the following nine processors:
Pre EQ - Type (high shelf, low shelf or bell), Slope, Frequency, Width and Boost/Cut for each
of the 12 bands of EQ.
Compressor Threshold, Ratio, Attack, Release, Gain, Auto Release, and Bypass.
Expander Threshold, Attack, Release, Ratio, and Bypass.
Limiter Threshold, Attack, Release and Bypass.
Gate Threshold, Range, Attack, Hold, Release, Manual Open and Bypass.
Delay Time (displayed in Milliseconds, Meters or Feet & Inches) and Bypass.
Low Pass Filter Frequency, Filter Type, Bypass.
High Pass Filter Frequency, Filter Type, Bypass.
Post EQ - Type (high shelf, low shelf or bell), Slope, Frequency, Width and Boost/Cut for each
58
Digital Audio Snake
Soundweb London
A digital audio snake has a number of
unique benefits which include:
~ Immunity to inductive noise.
~ The capability to distribute audio

from the stage to multiple locations over inexpensive Cat 5 cable.
~ Long cable runs without signal degradation.
~ The capability for a loss less split of the audio signals.
TM
~ Control and monitoring from any number of PCs.
Every device in the digital audio snake design is a SoundwebTM London

BLU-120. Each BLU-120 utilizes BLU link to transmit and receive up to 128
channels of 96kHz 24-bit digital audio. No audio processing is required for this
application since the sole function of an audio snake is to route audio signals.
While BLU-160 devices could be used for this application, the extensive range
of processing offered by these devices would not be employed. The lower cost
BLU-120, without configurable DSP, offers exactly the routing functionality
required to create a digital audio snake.
Moving the snake from an analog

domain into the digital domain
means that audio signals can be
copied and routed to a virtually
unlimited number of locations without
impedance concerns.
Inexpensive CAT5e cable replaces
costly and bulky analog snakes
and the digital network, providing
complete signal integrity, ensures
a premium listener experience
throughout the facility.
59
Digital Audio Snake
In the case of this design, four BLU-160 devices, configured with 16
analog outputs, are used at each of the three output positions - FOH,
Monitors and Record. The audio is routed from four BLU-160 devices,
configured with 16 analog inputs, located at the stage to all of the output
devices via BLU link.
BSS Audios BLU link network audio transport is found

on all BLU-800, BLU-160, BLU-320 and BLU-120
devices. It carries 256 channels of audio at 48kHz, and
128 channels at 96kHz, both at 24bit across a standard
CAT5e connection between devices. When connected
in a loop, it has redundancy, allowing any one BLU link
cable to break while still maintaining audio. The digital
audio can travel up to 100 meters on a standard CAT5e
network. If greater distances are needed, standard off-
the-shelf Ethernet fiber optic devices can be employed.
The BLU link devices are connected point to point
eliminating the need for expensive switches. You can
have up to 32 BLU link devices and one Cobranet
network connected together allowing you to split and
route multiple signals to multiple locations simply by
adding more BLU-120s to the network.
Having a computer connected to the digital audio snake has some major advantages. In
the design shown, custom control panels, divided into multiple sub-pages, allow the system
operator to select any of the 64 inputs and adjust input sensitivity. In addition, the operator
has the ability to enable or disable phantom power. Full metering gives the audio engineer
accurate signal level at every point in the signal chain.
Ease of signal routing, flexibility, and signal integrity are all

good reasons why designers of todays performance venues
are choosing SoundwebTM London to provide an inexpensive,
yet more flexible, routing alternative to traditional analog
solutions.
60
16 Channel Processor & Audio Snake
Soundweb London
Using the new more powerful
processors and BLU link
network audio transport, we can
combine the capabilities of our
Insert processor with our Audio
Snake into one powerful design.
This design has a number of
powerful features, including:
~ Control and monitoring from

any PC.
TM
~ Software controlled input
gain from 0dB to +48dB.
~ Phantom power and polarity controls per input.
~ Nine digital audio processors per signal path...thats 144 processors!
This design utilizes the DSP capability of a BLU-120, configured with sixteen
inputs and a BLU-160 with sixteen outputs, to provide sixteen discrete channels
of comprehensive processing, invaluable to todays live sound engineer. A
single BLU-16 provides the equivalent processing of 144 discrete analog rack
mount devices at a fraction of the cost and rackspace.
A PC running HiQnetTM London ArchitectTM and connected to the BLU-16

provides the Graphical User Interface. Typically this would be a laptop, but it
could just as easily be a touchscreen
computer or wireless tablet PC, as the
BLU-160 is controlled using standard
Ethernet. In the design shown, custom
control panels, divided into multiple
sub-pages, allow the system operator
easy access to all the controls for each
of the processing objects within the
design.
61
16 Channel Processor & Audio Snake
In addition, the operator has the ability to select any of the sixteen
inputs and adjust input gain as well as enable or disable phantom
power. Full metering gives the audio engineer accurate indiction of
signal level at various points in each signal chain. Each channel also has
adjustable output gain, polarity and mute.
Each input can be selectively processed by the following nine processors:

Pre EQ - Type (high shelf, low shelf or bell), Slope, Frequency, Width and Boost/Cut for each
Compressor Threshold, Ratio, Attack, Release, Gain, Auto Release, and Bypass.
Expander Threshold, Attack, Release, Ratio, and Bypass.
Limiter Threshold, Attack, Release and Bypass.
Gate Threshold, Range, Attack, Hold, Release, Manual Open and Bypass.
Delay Time (displayed in Milliseconds, Meters or Feet & Inches) and Bypass.
Low Pass Filter Frequency, Filter Type, Bypass.
High Pass Filter Frequency, Filter Type, Bypass.
Post EQ - Type (high shelf, low shelf or bell), Slope, Frequency, Width and Boost/Cut for each
BSS Audios BLU link network audio transport is found on all BLU-800, BLU-160, BLU-
320 and BLU-120 devices. It carries 256 channels of audio at 48kHz, and 128 channels
at 96kHz, both at 24bit across a standard CAT5e connection between devices. When
connected in a loop, it has redundancy, allowing any one BLU link cable to break while still
maintaining audio. The BLU link devices are connected point to point eliminating the need
for expensive switches. You can have up to 32 BLU link devices and one Cobranet network
connected together allowing you to split and route multiple signals to multiple locations
simply by adding more BLU-120s to the network.
62
Musician Personal Monitor Mix
Soundweb London
Using Soundweb London to create a
Personal Monitor Mixing System has a
number of unique benefits which include:
~ Discreet effects processing of each input
~ Easy to Use BLU-8 controllers
~ Individual groups for each monitor mix
~ High speed 256 channel audio bus
TM
This system has 8 stereo monitor mixes that can be controlled directly by each
musician from their own BLU-8. This system can be expanded to as many
monitor mixes and input channels needed for your application simply by adding
more BLU-120s and BLU-8s.
Each input channel is individually processed before it is routed to the monitor

mix section. This processing includes; 12 bands of Parametric Equalization,
Compression, Expansion, Limiting, Gating, Delay, Low and High Pass filters and
a 31 band Graphic Equalizer. This allows the Audio Engineer to process each
input to achieve the best possible sound for that signal before distributing it to
the individual mix groups.
63
Musician Personal Monitor Mix
All of the processed input signals are bussed to each monitor mix
section. In the monitor mix section, common signals are grouped
together and routed through N-Gain processors. This provides a mix
group master volume for this group of signals and provides the flexibility
to have a single volume control for the group or individual volume controls
for each individual channel of audio.
These grouped signals are then passed to the

final mixer for this monitor output. Gain controls
from these N-Gains and the Mixers are assigned
to each BLU-8 allowing the engineer to provide
a different mix of signals and controls for each
monitor output and BLU-8 controller. For example
the guitar player may want just the Kick, Snare and Hi Hat in his mix as a single volume
control while the Drummer may want each drum as a separate volume control on his BLU-8
panel.
On the BLU-8, the eight position encoder

on the left is used to select each of the mix
groups setup by the engineer. The performer
can adjust the level of the selected mix group
by adjusting the encoder on the right. The
four buttons in each mix group can be used
to mute individual elements of the mix group
or recall different presets of EQ or levels.
BSS Audios network audio transport is a key component to this file and is found on all BLU-
800, BLU-160, BLU-320 and BLU-120 devices. The BLU link carries 256 channels of audio
at 48kHz/24bit, or 128 channels at 96kHz/24bit across a standard CAT5e connection. With
a latency of approximately 20 samples to get on and off the bus and 4 samples per hop, its
blazing fast speed is perfectly suited for live sound applications. Devices connected together
with the BLU link can be up to 100 meters apart using CAT5e cable. For run lengths longer
than 100 meters, Fiber Optic cable can be used to achieve distances up to 2km using multi
mode fiber and 125km using single mode fiber. When connected in a loop, the network has
redundancy, allowing any one link or node to break while still maintaining audio in the entire
system. You can have up to 60 devices connected by the BLU link allowing you to split and
route multiple signals to multiple locations simply by adding more devices to the network.
64
BLU-8 Single Mode
Soundweb London
programmable zone controller is a
single, four or eight zone Ethernet wall
controller with a simple, yet powerful,
interface. In this guide we will focus on
the Single Mode of operation.
Single Mode is intended for control and

monitoring of parameters and recalling
Presets in a single area. You can also
think of this as a single page or panel
TM
of controls, each with a single function. In this mode the controls have the
following capabilities:
Left Rotary:
Source Selector input selection
Right Rotary:
Any writable control parameter
Buttons 1 to 4:
Any writable Boolean control parameter, such as a Mute,
OR
Any Parameter Preset or Venue Preset
Meter:
Any control parameter
65
BLU-8 Single Mode
In this application each BLU-8 is located in a separate space giving
the operator control over parameters for that space. The left encoder
on the BLU-8 allows the operator to select the background music from a
choice of 4 Music sources.
The right encoder adjusts the overall gain in

the space. The LED meter to the right changes
to a positional meter when the gain is adjusted
indicating the relative position of the control.
When the Gain control is not being gestured,

the LED meter becomes a VU meter indicating
the current level for that zone. This VU meter can
be fully customized in the number of steps and
indicator color allowing the programmer to tailor
the display to the application and end user.
The 4 buttons have been programmed to recall EQ presets for the space allowing the user to
adjust the sound to their own preference.
The sleep mode has been programmed to dim all the LEDs so the panel is less distracting
when it is not in use. To wake the BLU-8, simply press the Locate button or gesture any
control. The BLU-8 will wait 2 seconds after wake up before it changes any state variable,
so the user can gesture any control to wake that panel up and then wait 2 seconds before
changing any control.
in the BLU-8 Default control panel, the Lockout Active button provides a mechanism to
66
BLU-8 Button Mode
Soundweb London
the Button Mode of operation.
Button Mode is intended for control and

monitoring of parameters and recalling
Presets in up to four zones. Zone
selection is made using the pushbuttons
TM
on the BLU-8. You can also think of this as four pages or panels of controls,
each with separate functions. In this mode the controls have the following
capabilities:
Left Rotary Encoder (w/ push to select):

Source Selector input selection (one for each zone),
OR
Up to 8 Parameter Presets or Venue Presets (up to eight for each zone)
Right Rotary Encoder:
Any writable control parameter (one for each zone)
Buttons 1 to 4:
The buttons are preassigned to zones 1 to 4 in this mode.
Meter:
Any control parameter (one for each zone)
67
BLU-8 Button Mode
In this application one BLU-8 is located in a central location giving the

operator control over parameters for all spaces.
The 4 buttons are used to select the zone the user is controlling. All the LEDs
on the BLU-8 change color to reinforce to the user what zone they are adjusting. For each of
the four zones the left and right encoders have separate and discreet functions.
The left encoder on the BLU-8 allows the operator

to select the background music from a choice of 8
Music sources for the currently selected zone.
The right encoder adjusts the overall gain in the

selected zone. The LED meter to the right changes
to a positional meter when the gain is adjusted
indicating the relative position of the control.
When the Gain control is not being gestured, the LED meter becomes a VU meter indicating
the current level for that zone. This VU meter can be fully customized in the number of steps
and indicator color allowing the programmer to tailor the display to the application and end
user.
control. The BLU-8 will wait 2 seconds after wake up before it changes any state variable,
so the user should gesture any control to wake that panel up and wait 2 seconds before
changing the selected control.
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BLU-8 Encoder Mode
Soundweb London
the Encoder Mode of operation.
Encoder Mode is intended for control &

monitoring of parameters and Presets in
up to eight zones. You can also think of
this as eight pages or panels of controls,
TM
each with separate functions. Zone or Page selection is made via the left rotary
on the BLU-8. In this mode the controls have the following capabilities:
Left Rotary Encoder (with push to select):

Each of the eight positions of the rotary encoder is preassigned to zones
1 to 8 in this mode.
Right Rotary Encoder:
Any writable control parameter (one for each zone)
Buttons 1 to 4:
Any writable Boolean control parameter, such as a Mute,
OR
Any Parameter Preset or Venue Preset (one per button for each zone)
Meter:
Any control parameter (one for each zone)
69
BLU-8 Encoder Mode
In this application one BLU-8 is located in a central location giving the
operator control over parameters for all spaces.
The left encoder is used to select the zone the user is controlling. All the
LEDs on the BLU-8 change color to reinforce to the user what zone they are
adjusting. For each of the eight zones the right encoder and four buttons have separate and
discreet functions.
The four buttons on the BLU-8 allow the operator to select one of four background music
sources for the currently selected zone.
The right encoder adjusts the overall gain in the selected zone. The LED meter to the right
changes to a positional meter when the gain is adjusted indicating the relative position of the
control.
When the Gain control is not being gestured, the LED meter becomes a VU meter indicating
the current level for that zone. This VU meter can be fully customized in the number of steps
and indicator color allowing the programmer to tailor the display to the application and end
user.
control. The BLU-8 will wait 2 seconds after wake up before it changes any state variable, so
the user can gesture any control to wake that panel up and wait 2 seconds before changing
any control.
disable the BLU-8 unit until a security PIN number is entered. This might be appropriate
when the BLU-8 is located in a public area and restricted access to the BLU-8 functions is
required. When the unit is Locked any button or rotary movement will be ignored and all
LEDs on the BLU-8 will flash RED twice at 1Hz frequency. This indicates that a PIN number
must be entered to unlock the BLU-8. To enter the 4 digit PIN number, use the LOCATE
button followed by the 4 button sequence (1..4) followed again by the LOCATE button.
When a correct PIN number sequence is entered, all LEDs on the BLU-8 will flash GREEN
twice at 1Hz frequency. The unit will then be Unlocked and normal operation of the buttons
and rotaries will be possible. If the PIN sequence entered is incorrect, the BLU-8 will flash
RED twice at 1Hz frequency and remain in the Locked state.
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Logic Part 1 - Controlling a Power Sequencer
Soundweb London
In this series we will explore some basic logic circuits and how they can solve
some common problems encountered when designing a system.
In this guide, we will start with a simple request from the customer and evolve
the design to meet the changing functional requirements of the application,
venue and hardware.
We start with a customer having a request for the

ability to power cycle his sound system from a control
device located at the mix position. A latching toggle
switch is tied to the Control Input port of a Soundweb
TM
London device. In this most basic logic circuit, we are
going to use the Control Input port to drive the Logic
Output that is connected to the Power Sequencer.
In HiQnet London Architect, a Logic Source is

associated to a Control Input of a Soundweb London
device in the Design Tree. The output of the Logic
Source processing object feeds the input of a Logic
End processing object. This Logic End is associated
with a Logic Output of a Soundweb London device in
the Design Tree.
When the switch is in the closed position or high,

it will turn on the Logic Output, setting the Power
Sequencer to the On state. When the switch is in the
open position or low, it will turn the Logic Output off
setting the Power Sequencer to the Off state.
In other guides we showed how to use control ports within London Architect, so
we will not go into detail here.
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Now we will add our first change. We discovered that the Power
Sequencer control is not as we thought. This particular Power
Sequencer has a separate control port for Power Up / Power Down
and a system status output for driving an LED. We also need to use a
momentary switch at the mix position so that the Power Sequencer can be
controlled from multiple locations (i.e. the mix position and the rack location).
The first step is to replace our latching switch with

a momentary switch that has a lamp indicator built
in. We need the lamp indicator to tell the Operator
the status of the system. Our next challenge is to
make this single momentary switch toggle between
two Logic Outputs. We will use a Counter Shifter
processing object to do this.
Like many processing objects, this object is scalable. The

number of outputs can be changed in the Properties Window.
Every time the input to the Counter/Shifter turns on, it will count
on its output. Through properties you can configure this object
to count in Binary or simply shift the output down. When the
count reaches the last position, the Counter/Shifter will start
counting over from the beginning. For this application we want
this Counter/Shifter to have two outputs and shift down as its counting method. This object
will now toggle between two outputs every time the input changes from low to high.
We configure these settings in the Properties Window for this object. The two outputs now
alternate back and forth each time the momentary button is pressed.
We need these output signals to be momentary pulses not maintained. To accomplish this
we add a Single Pulse Trigger to both outputs of the Counter Shifter.
The Single Pulse Trigger pulses its output each time its input changes to the high state. This
is how we convert the latching toggle functionality of the Counter/Shifter to a pulse signal the
Power Sequencer requires.
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The system status output from the Power Sequencer is connected to a

Control Input on the Soundweb London device. Like our first circuit,
this is tied to a Logic Output through a Logic Source processing object
feeding a Logic End processing object. The Logic End is associated to
a Logic Output in the design tree of London Architect. This Logic Output is
connected back to the lamp in the momentary switch at the mix position to provide system
status to the operator.
By using the status output of the Power Sequencer we can

provide true feed back to the operator of the system status.
The next change is another request from the customer. The request is to change the
operation of the circuit so that the button must be held for 2 seconds before the system will
change state. This is done to prevent accidental triggering of the system. To do this we will
add a Logic Delay processing object after the Logic Source.
The Logic Delay object can delay the on time or the off time of the signal. These parameters
are adjusted in the Properties Window of the processing object. For this solution we want to
delay the on time by two seconds. We set the value of the On Time to 20 or 2000ms. With
this setting the input must be held high for 2 seconds before the output of the Logic Delay
will change to high.
Now the customer has added a BLU-10 to the system and wants to control the system
power from this location as well. We cannot use the Logic Source we already have, as it is
associated with a Control Input and will be held captive by that port. The solution is to add
another Logic Source and a Logic OR processing object.
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We need the action of this new Logic

Source to be momentary like our button at
the mix position. The best way to accomplish
this is by changing the properties of the Logic
Source processing object. In the properties of this object, we can
set the Auto Off value to 1, forcing the object to turn off 100ms
after it is turned on. This effectively sets this Logic Source to a momentary action.
We use the Logic OR to tie this new Logic Source and the existing Logic Source to the
Counter Trigger. The output of the Logic OR will be high if any of the inputs are high.
This allows us to have another control in parallel with our button at the mix position.
To add this control to the BLU-10, drag the button from this new logic source along with the
indicator from the system status Logic End to a button region in the BLU-10 Button Setup
Window. This allows the user to toggle the state of the system and see the status from the
BLU-10.
The last change to the circuit is to make sure the system logic stays in sync if the system is
loaded or power cycled. To do this, we add a Logic Pulse and connect it to the Reset port
of the Counter Shifter. In the Properties Window of the Logic Pulse we can set it to fire once
on startup. This will set the Counter Shifter to the first position making sure that the Power
Sequencer is Off and making sure all the controls are correctly indicating the system status.
We were able to evolve a simple control circuit by adding Logic Objects to provided the
customer with the features and functionality they requested. As you can see the power
and flexibility of Soundweb Londons logic programming allows you to meet the evolving
demands of your customers without the added cost of expensive dedicated control systems.
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Logic Part 2 - Creating a Paging Matrix
Soundweb London
This design has a number of unique
features including:
~ Single paging station using Push To Talk
[PTT] microphone
~ 12 button keypad for zone selection
~ LED status feedback for operator
~ Scalable design from 001 999 zones
In this design we will discuss creating a Paging Matrix that can be controlled
with just a PTT Microphone and a 12 button keypad connected to Soundweb
TM
London control ports. The included design is 100 zones but can easily be
scaled up to 999 zones as needed.
This design is based around the BLU-800 so that it can be scaled to 999 output
zones. If your project requires less zones, a BLU-160 or even a BLU-100 could
be utilized instead.
The audio configuration is very straight forward. There are some standard
dynamics processing for tuning the microphone for maximum intelligibility,
and a gain point for mute and level control. This feeds a Matrix Router that is
controlled via Parameter Presets to route the page microphone to the desired
output. The Multicast Cobranet bundle is used to send the page signal to
additional BLU-800s when creating a system with more zones.
A single output Crossover is on each output to provide a gain & mute point as
well as some High and Low pass filters commonly required in distributed audio
systems. If you are creating a smaller system you may be able to add
additional processing such as output EQ as DSP resources are freed up.
75
The key to this design is really in the Logic circuit. The circuit needs to
accomplish several tasks; Store three consecutive momentary decimal
inputs to create a value of 001 - 999, recall the numbered parameter
preset based on a defined trigger [the # key] to change the microphone
router, reset the router upon releasing the PTT switch on the microphone.
From the keypad, Buttons 0 9 and # are connected to the Soundweb

London control inputs. The Microphone PTT switch is connected to the
last remaining control input. These Control Inputs are assigned to 12
logic Sources within the Logic Configuration as direct action. This means
as the control input goes high [switch closed] the Logic source will also
go high.
The first action of the operator is to unlock the circuit by pressing the PTT switch on the
microphone. This is run through a Logic Not to invert the signal. This sets the Reset [R] on
all the Counter Triggers low and unmutes the paging microphone. This is done through a
Logic Link between the Logic End and the Mute button in the Gain object.
The second part of the logic circuit is the counter. There are several was to create a count
within logic, for this example four individual Counter Triggers works best. The Counter
Triggers are used to control the Logic Snapshots that are storing the numbers in the order
they are pressed. Each Counter has its count
property set to its position in the count; the first one
is 1, the second is 2 and so on. A Logic Or sums
the outputs of the 0 9 and # Logic Sources and
is fed to each Counter Trigger. Every time a button
is pressed it will drive the input on the counters. The
outputs from the four counters are used to control
the Store [S] and Recall [R] inputs on the three Snapshot objects as the count progresses.
76
The next segment of the logic circuit is the three digit register. There
are three Snapshot objects; one for each digit of the zone number
[001 999]. The 0 9 buttons are bused to all three Snapshot objects.
As the numerical buttons 0 9
are pressed; the corresponding
input and the Snapshot Select of all three
Snapshot objects will change to high. However
only the Snapshot object with its Store input also
pulsed high will store the number on its input. On
the first press the first Counter pulses the Store
input on the first Snapshot. On the second press
the second counter pulses the first Snapshots
Recall and the second Snapshots Store. The third
press pulses the first and second Snapshots Recall
and the third Snapshots Store. The fourth and
final press pulses all three Snapshot objects Recall.
The output of the Snapshot needs to be converted to Binary in

order to get the larger numbers we need and to utilize the Preset
Table logic object. To do this we use a simple Truth Table. The
table is configured as 11 inputs [0 9 plus a trigger] and 4
outputs [4 bit word]. Each decimal output of the Snapshot is
converted to a 4 bit word; 1 would be 1000, 5 would be 1010
for example.
77
The # key is driving a Counter Trigger that is acting as the trigger

input [#11] on the Truth Table. This counter can only be triggered if
the # key is pressed AND it is the fourth key pressed. The trigger input
on the Truth Table allows the number to be held in all three tables until
the # key is pressed allowing all three Truth Tables to pass their values to the
Preset Table at the same time. Without this hold, the router would change as each digit was
entered causing an incorrect route until the final digit was pressed.
The Output of the # key Counter Trigger is also driving a logic end. This Logic End is
assigned to both Logic Outputs driving the red and green LEDs on the keypad. The Logic
end is attached as Direct Action on one and Direct Action Inverted on the other.
The final segment of this logic circuit is the Preset Table that changes
the microphone router. The order of the three words from the
Snapshot objects are connected in a least significant to most significant
order to make programming the table easier.
The last action of the circuit is to reset the router when the PTT switch is released. Releasing
the PTT switch causes all counters to reset and places the Snapshot objects into Bypass;
clearing the router and preparing the logic circuit for the next page.
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80
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82
Creating a Bass Lift Volume Control
Soundweb London
This guide will outline a method by which a low frequency boost or cut can
be applied to a signal depending on the level of a Gain Fader. One way of
achieving this is by controlling the relative levels of the outputs of a Crossover
processing object that is dividing the signal into low frequency and high
frequency signals. When running at quiet volumes the low frequencies would
have a higher relative level. As the volume is increased the low frequencies
would increase more slowly in proportion to the high frequency signal. The
resultant effect is a bass lift at lower volumes.
In this circuit we have a Noise Generator feeding a Gain Mono which in turn
feeds a Peak Meter and Modulator.
TM
We now have the basic structure of our circuit which provides us with a means
to alter the level of an audio signal using a control signal. To understand how
the circuit works, we need to look at the Modulator processing object.
The Modulator has two inputs, the first input requires an AC signal and is for
the audio signal you want to control. The second input requires a DC control
signal which will vary the level of the audio signal at the Modulators output.
Using an AC signal on the second input will result in severe distortion. A DC
control signal can be produced using a Meter object which has the Enable
Control Output option set to On in the Properties Pane. The control signal
produced by the Meter object will be the DC value of the incoming AC audio
signal. (This signal must only be used in conjunction with specific processing
objects and must never be wired to an analogue output.) The control circuit
starts with a Noise Generator followed by a Mono Gain object. In this case,
you can think of the modulator as acting like a VCA. As the level of the Mono
Gain is increased, the Modulator will turn up its output volume.
In the next circuit a Crossover, Modulator, Meter and Summer are added to
provide volume control for two frequency ranges.
83
Creating a Bass Lift Volume Control
At present, the level of the control signal will alter both low
frequency and high frequency signals by the same amount. We can
now process the control signal without causing degradation to the audio
signal.
In the circuit below, a Compressor has been added to the control signal which affects the
level of the low frequency audio signal. By adding a Compressor to one of the control
signals we can alter its gain characteristics in relation to the uncompressed control signal
When the Gain object is turned up, the control signal going to the Modulator for the low
frequencies will increase more slowly than the control signal going to the Modulator for the
high frequency signal.
The parameter values of the Compressor must now be adjusted to set the relative balance
between the low frequency and high frequency signals.
* Set the output Level of the Noise Generator to +3dB

* Start with the Gain object at a low level. This represents the quiet volume setting
* Set the Compressors Threshold to -30dB and Ratio to 1.02:1 (lowest setting)
* Adjust the Crossover outputs so that the low frequency and high frequency signals sound
correctly balanced
* Change the level of the Gain object to a high level, representing the loud volume - the
low frequency will temporarily sound too loud in relation to the high frequency signal
* Turn up the Ratio on the Compressor until the balance between the low frequency and the
high frequency signal is once again correctly balanced
The point at which the control signal compression starts to take place can be adjusted by
altering the Compressors Threshold level or the level of the Noise Generator. You may need
to change the threshold depending on your definitions of quiet and loud. You can also adjust
the output level of the noise generator.
Remember, were compressing the control signal, not the audio. All were doing to the
audio signal is changing the way that the volume control responds. There wont be any
compression of the audio signal and you wont hear any squashing or other artifacts.
84
Using Parameter Presets
Soundweb London
Parameter Presets provide a mechanism by which the values of a group of
parameters can be stored and then later recalled as a one-shot event. They
allow the user to recall a small or large number of parameter values near
instantaneously with no interruption in audio. Parameter Presets can be recalled
manually by the user or automatically using a variety of different methods.
Parameter Presets are created and stored only in Design Mode. They can
only be created or modified by a user with Design level file access. They
can be recalled in Design Mode or in Operate Mode while offline or online.
The parameters which will be stored and recalled as a Parameter Preset are
determined by adding them to a Parameter Preset Group. These can include
parameters from Audio processing objects, Logic processing objects and device
TM
Default Control Panels from any device in the system.
Creating Parameter Presets

Adding the required parameters to a Parameter Preset Group is the first step
in creating Parameter Presets. Parameters can be added as part of a new
Parameter Preset Group or can be added to an existing Parameter Preset
Group.
To create a Parameter Preset Group:

Start by clicking on a control from a Control Panel to select it.
Hold down the SHIFT key and SHIFT-click on another control to
add it to the selection.
When all of the required parameters have been selected, Right-
click on any selected control.
From the Right-click menu select Create New Parameter Preset
Group.
In the dialogue box, enter the name youd like to use for your
Parameter Preset Group.
Click OK.
The new Parameter Preset Group now appears in the left most list box in the
Preset Toolbar.
85
Creating Parameter Presets (continued)
Further controls can be added to the Group by selecting them and

choosing Add To Parameter Preset Group in the Right-click menu.
Controls can be removed from a Parameter Preset Group by selecting them
and choosing Remove From Parameter Preset Group in the Right-click menu.
To create a Parameter Preset:

Click on the Add Parameter Preset button located in the Preset toolbar.
In the dialogue box, enter the name youd like to use for this Parameter Preset.
Click OK.
The new Parameter Preset now appears in the right most list box in the Preset Toolbar.
This Parameter Preset now contains the current values of all the parameters in the group.
To create further Parameter Presets:

Switch to Operate Mode and readjust the controls to new settings.
Return to Design mode and click on the Add Parameter Preset button.
Enter a name for new Parameter Preset.
Click OK.
Each new Parameter Preset will be added to the list box in the
Preset Toolbar in the order in which they were created. These
can be re-ordered at a later time. Parameter values can be
stored into an existing Parameter Preset by clicking on the
Store Parameter Preset button located in the Preset Toolbar.
The parameter values will be stored in the Parameter Preset
location currently selected. The Parameter Presets will also
appear in the Presets folder of the Design Tree.
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Recalling Parameter Presets
When London Architect is offline from a network of devices, Parameter
Presets can be recalled in Design Mode or in Operate Mode. This
provides a simulation where controls will move to reflect the parameter
values stored in the Parameter Preset. When London Architect is online to
network devices, Parameter Presets are recalled inside the devices themselves and Control
Panels in London Architect will reflect the recalled parameter values.
Using the Preset Toolbar

To recall a Parameter Presets from the Preset Toolbar:
Use the left list box to select the Parameter Preset Group.
Use the right list box to select the Parameter Preset.
Click on the Recall Parameter Preset button.
Using a Button or Preset Selector on a Custom Control Panel

Parameter Presets can be recalled from a Custom Control Panel from a single button or
list box. Expanding the Presets folder in the Design Tree will reveal all the Parameter Preset
Groups and Parameter Presets in the Design. Dragging the Parameter Preset onto a Custom
Control Panel will create a momentary Vector Button with which the Parameter Preset can be
recalled. A Parameter Preset Group can equally be dragged onto an existing Custom Control
Panel button. Dragging the Parameter Preset Group onto a Custom Control Panel will create
a Preset Selector populated with all the Parameter Presets in the Parameter Preset Group.
When a Preset Selector is created as a new item on a Custom Control Panel it can be
populated with Parameter Presets from any Parameter Preset Group. Simply drag each
required Parameter Preset onto the Preset Selector from the Design Tree. The Parameter
Presets will appear in the order in which they were added.
Using Control Input Ports

Parameter Presets or Parameter Preset Groups can be assigned to a single or multiple
Control Inputs allowing several configurations to be achieved. Start by expanding the
Parameter Preset Group folder to reveal the Parameter Presets within. Expose the Control
Ports in the Design Tree by navigating through the Devices folder down to the Default config
folder.
87
To assign a single Parameter Preset to a Control Input Port:
Drag the required Parameter Preset onto a Control Port input.
In the dialog box which appears click on OK to complete the
assignment.
The Control Ports in the Design Tree is updated

to reflect the Direct Action assignment. When
the Configuration is loaded to the device, the
Parameter Preset will be recalled when the
Control Input pin is shorted with the Common
pin.
To assign all the Parameter Presets inside a Parameter Preset Group:

Drag the Parameter Preset Group folder onto a Control Port input.
Choosing Analogue Input will assign all the Parameter Presets to a single Control
Port for use with the BLU-3 or BLU-6 wall controllers.
Choosing Multistate will automatically assign Parameter Presets individually to
multiple adjacent Control Ports.
Inspecting and Modifying a Parameter Preset

The parameter values of a particular Parameter Preset can be inspected and modified in
the Stored Parameter Value Editor. Select a Parameter Preset using the list boxes in the
Preset Toolbar, then click on the Stored Parameter Preset Editor button. The pane on the
left displays a hierarchical list of devices and objects which relate to the Parameter Preset
selected. The pane on the right
displays the name and value of
the parameters in the Parameter
Preset. The parameter values can
be edited using the list boxes or by
entering new values.
88
Using Control Ports in London Architect
Soundweb London
In another guide we showed how to connect wall controllers to the Control
Ports on Soundweb London devices. In this guide we will focus on London
Architect and what types of controls can be assigned to Control Inputs and
Logic Outputs.
Let us start by viewing the Control Ports in London Architect.

There are two groups of Control Ports in the Design Tree
for each Soundweb London device in the system. This is
because Logic controls and DSP controls reside in separate
parts of the device and can be used in different ways.
More on this later.
TM
Create a new design and add a BLU-160 to it. Open the
Design Tree by selecting |View|Design| in the main menu
bar of London Architect. This will open the Design Tree
on your screen. Expand the categories called Devices|
BLU-160s | U1. If you expand both the Default Config
folder and the Logic folder you will see a folder labeled
Control Ports. Each of these folders represents the same
control ports. The Logic control ports are used to assign
Logic Sources and Logic Ends to external devices. The
Configuration control ports are used to assign DSP
controls. These controls can be any parameter from any
default control panel within the design. You can only
associate one Logic control or one DSP control to a given
port at one time. Logic is executed on the Host CPU inside
the London device, not on the DSP chip. This is why it does
not use any DSP resources. The Soundweb London device
can store and load up to 20 configurations, each with its
own unique control port utilization. Each configuration
is listed in the Design Tree and has its own control port
assignments. This is why Logic control ports and DSP
control ports are shown in separate locations within the
Design Tree.
89
To assign a Logic Source to a Control Input, drag the button from

the Logic Source control panel to the control port in the Logic folder.
This displays the Assign Input Control
Port dialog box. In this dialog box
is displayed the controls origin and a
selection for Mode. The Mode selection will display
different options based on the control being assigned to
the port. In the case of a Logic Source button, the choices
are Direct Action, Inverted Direct Action or Toggle. Direct
action means that when the port is activated (or shorted to
common), then the assigned button will be in the On state.
Inverted Direct Action means that when the port is active
the assigned button will be in the Off state. Toggle Action
means each time the port is activated the assigned button
will change to its alternate state.
To assign a Logic End to a Logic Output, drag the

indicator from the Logic End control panel to the
control port in the Logic folder. This displays the
Assign Output Control Port dialog box. In this
dialog box is displayed the Controls origin and
a selection for Mode. The Mode selection will display different
options based on the control being assigned to the port. In the
case of a Logic End indicator, the choices are Normal or Inverted.
Note: You can also click and drag the port from the Design Tree
and drop it on a Control or Indicator to make the assignment.
The Logic Outputs on Soundweb London are either on or off. They

cannot be used as a variable analog output. Because of this, only
binary controls like buttons, or indicators such as LEDs may be
assigned to the Logic Outputs. These are assigned with the same
drag and drop method described earlier. The options available
under Mode are Normal and Inverted.
90
Within the DSP configuration there are many more controls and
indicators that can be assigned to the Control Ports and Logic Outputs
of a Soundweb London device. These can be broken down into several
categories; Binary objects like buttons and indicators, Multi-state objects like
Source Selectors and Parameter Presets and Scalar objects like Gain and Threshold. These
objects use the control ports under the configuration section of the Design Tree (e.g. Default
config).
Binary objects within the DSP are assigned just

like the button in the Logic Source. Open the
processing objects Default Control Panel and drag
the control over to the port in the Design Tree.
When assigning a Binary control to a control port
there are three choices; Direct, Inverted or Toggle. These function
exactly as described earlier.
Scalar objects within the DSP, like volume controls,

are assigned with the same drag and drop method.
The Assign Control Input dialog now displays two
different options for Mode; Analog Input or Up/Down
Pair. Analog input measures a voltage drop through
a potentiometer connected to the Control Port. The
control in the software will track and follow the position
of the potentiometer.
Selecting Up/Down pair will span the control across two consecutive
Control Ports so that momentary buttons can be attached to the
Control Ports to bump the value up or down.
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Multi-state objects like source

selectors and presets are assigned
with the same drag and drop method.
The Assign Control Input dialog has two
selections for the Mode - Analog and Multi-state. Analog
assigns the control to a single port. Like the scalar
control, the port is measuring a voltage drop through a
resistor ladder. The number of steps in the resistor ladder
must be the same as the number of inputs on the source
selector for the control to work correctly.
Presets are assigned in a different manner, as there is no default

control panel to drag and drop them from. They must be accessed
through the Design tree. By dragging the divider bar at the bottom
of the Design Tree, you can split the window to display two instances
of the Design Tree. In one half you can expand folders to reveal
the control ports. In the other half you can expand the folders to
reveal the Presets. You can drag individual presets to specific control
ports, or assign an entire preset group to an individual port. When
assigning presets, the number of preset states must be the same as the
number of steps on the physical control.
These Control Ports can be used to provide simple external control of the system by an
operator or provide a means for Soundweb London to control external devices such as
screen controls and indicator lamps.
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How do I link controls?
Soundweb London
Often within a design you need controls from separate processing objects to
operate as one control. To achieve this, controls are added to a Link Group.
All controls that are part of a Link Group will change if any control of that Link
Group is changed. There are two methods for creating a Link Group.
The first method requires that all the controls to be linked are on the same
control panel.
First create a custom control panel.

Copy all the controls you wish to link
into this custom control panel. Select
TM
all the controls you wish to link on the
custom control panel. Right click on
any one of the highlighted controls
and select Link Controls from the pop
up menu.
This will open the Create Link dialog box. Here you can name the link and
choose the link type.
The link types function in the following way:

Exact Used for buttons or faders. All controls will have
the same value.
Radio Used for buttons. Only one control can be in the
on state. When a control is turned on, all other controls
in the group are set to off. One control in the group is
always on.
Radio with off Like Radio, but the active button can also
be toggled off.
Soft This type is used when linking faders, allowing them
to retain a relative offset between faders.
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How do I link controls?
The second method of linking controls

involves creating an empty link first and
adding controls to the group individually.
Select Panel from the Main Menu. Select Create

Empty Link from the Panel menu. This will open the Create Link
dialog box. Here you can name the link and choose the link type
as described above.
Open the Design Tree and expand the Link

category to see all the Link Groups in this
design. To add controls to a Link Group,
drag controls from a control panel onto the
Link Group in the Design Tree.
As controls are added, they will be listed within the Link Group in the Design
Tree.
Note: You can also click and drag the Link Group from the Design Tree and
drop it on a control to add that control to the Link Group.
The third method is used when creating a link

between a DSP object and a logic object. This
is called a Logic Link.
To create a Logic Link, drag the DSP control

from the objects default control panel and drop
it on the logic processing object in the Logic
Configuration window. For example you can
drag a mute button and drop it on a Logic End
processing object. The Logic Source, Logic
Value and Logic End are examples of objects
that may be linked in this manner.
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How do I create a Fire Alarm Mute?
Soundweb London
Interfacing Soundweb London with a fire alarm system is a common
application. This is typically achieved by connecting a dry normally closed relay
from the fire alarm system to a Control Input on a Soundweb London device.
If the connection fails or the fire alarm system is triggered, the Control Input to
the Soundweb London will change state. Programming the desired functionality
can be achieved by several different methods. These methods generally fall
into two categories - System Mute or Alternate Audio Source. Which method
you use is at the discretion of the local fire authority, but usually it is the System
Mute variation.
System Mute
TM
In this example we have placed an
N-Input Gain at the output of the signal
chain. The Master Mute in this object
will be used to mute all the audio in this
device. If you have multiple outputs on
multiple devices, make sure to link all the Master Mutes to create a Fire Mute
Link Group. For more information on creating Link Groups, view the guide on
the BSS Audio User Groups or download from the BSS Audio web site.
Remember: When using controls in a Link Group, any

one of the controls can be attached to a port in order to
control the entire Link Group.
Open the default control panel for the N-Input Gain.
Open and expand the Design Tree to show the control

ports of the device we are connecting to. Note: This does
not have to be the device containing the N-Input Gain; it
can be any device on your network.
Once the Design Tree is expanded to the correct

location, pin it open so that it will remain on the
desktop.
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Navigate back to the N-Gain default control panel. Click and drag
the master mute from the control panel over to the Design Tree and
drop it on the Control Input that we are connecting to the Fire Alarm
system.
This will open a dialog box for configuring how this control will be attached to the port.
There are three options - Direct Action, Inverted Direct Action and Toggle Action. You will
use Direct Action or Inverted Direct Action depending on whether the closure from the Fire
Alarm system is normally open or normally closed.
Ideally in this type of application the Fire Alarm system

would be providing a dry contact in the closed condition
that would fault to the open state during alarm. If this
is the case, you will choose Inverted Direct Action when
attaching the mute button to the port. If the system goes
into alarm, the cable comes unplugged or the wire is cut,
the system will mute, indicating a problem or alarm.
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Alternate Source Selection
In the example file, we have placed 2x1 Source Selectors on each

output signal chain. These need to have only two states (the two states
of the control port), so
make sure the Allow None property
of the Source Selectors are set to No.
The first input on this Source Selector
is the audio signal from the Fire Alarm
system. The second input of each
Source Selector is the audio signal for
each zone.
All of these source selectors need to be part of the same Link Group so they function as one
control. Create a Link Group containing all of the Source Selectors.
Open and expand the Design Tree to show the control ports of the device connected to the
Life Safety system. Once the Design Tree is expanded to the correct location, pin it open so
that it will remain on the desktop.
Open the default control panel of

one of the Source Selectors.
Click and drag the selection box

over to the Control Input in the
Design Tree that the Fire Alarm
system is connected to.
Note: You can also click and drag

the Control Input from the Design
Tree and drop it on a control in a
panel to make the assignment.
This will open the Control Port Assignment dialog box. For this control, there are two options
for attaching to the control port - Analog or Multi-State. Analog uses a single Control Input,
while Multi-State spans the control across multiple Control Inputs. For this application,
choose Analog. You may have to swap the inputs on the source selector, depending on
whether the fire alarm system is providing a normally open or normally closed contact.
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Connecting the BLU-3 & BLU-6
Soundweb London
The BLU-3 and BLU-6 are resistor based controls
that connect to the Control Inputs on the back of a
Soundweb device. The BLU-3 and BLU-6 are UK
standard switch plate dimensions. The sw9012US and
sw9015US are the same controls in US switch plate
dimensions.
TM
The BLU-3 and sw9012US have the same controls; a five position rotary
selector switch and a rotary potentiometer. These controls require 3-conductor
wire to connect back to the Control Inputs on the Soundweb device.
The BLU-6 and sw9015US have the same controls; an eight position rotary
selector switch and an Up / Down button pair. These controls require
4-conductor wire to connect back to the Control Inputs on the Soundweb
device.
On the BLU-3 there are connections labeled;

GND, 1 and 2. The GND terminal is
connected back to the C or Common
terminal on the Control Inputs of the
Soundweb device. The 1 terminal is for
the Source Select and is connected back to
a numbered Control Input on the Soundweb
device. The 2 terminal is for the Level and
is connected back to a different numbered
Control Input on the Soundweb device.
Each Soundweb London chassis can support
connections for up to six BLU-3 or sw9012US
controllers.
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Connecting the BLU-3 & BLU-6
On the BLU-6 there are connections
labeled; GND, SELECT, UP & DOWN.
The GND terminal is connected back to
the C or Common terminal on the Control
Inputs of the Soundweb device. The SELECT
terminal is for the Source Select and is connected back to
a numbered Control Input on the Soundweb device. The
UP terminal is for the Level Up and is connected back to a
second numbered Control Input on the Soundweb device. The
DOWN terminal is for the Level Down and is connected back
to a third numbered Control Input on the Soundweb device.
Each Soundweb London chassis can support connections for up
to four BLU-6 or sw9015US controllers.
Note: The Soundweb device must be in 2-wire mode when

using these controllers. This is the default mode.
These parameters need to be assigned to Control Inputs within the HiQnet

London Architect file.
To do this:
Open the Design tree.
Expand the Devices category
Expand the Device Type category
Expand the Named Device category
Expand the Default Config category
Expand the Control Ports category
You will now see the Control Ports displayed. You will see the twelve Control
Inputs and six Control Outputs and any parameter assignments made to
them.
To create a new assignment:

Open the Default Control Panel where the control resides. Drag the control from that panel
over to the Design tree and drop it on the Control Input. During the drag, the cursor will
change to a + symbol when you are over a valid drop location. You can expand a Control
Input to view what State Variable is attached. To delete an existing parameter assignment,
you can simply drag a new parameter on to the Control Input and it will make a new
assignment or you can right click on the Control Port and choose Delete.
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Connecting to a SoundwebTM London Network
Soundweb London
This guide will walk you through the process of configuring your PC running HiQnet London Architect
to communicate with a network of Soundweb London devices. Before you begin, please ensure that
all Soundweb London devices are connected to the same network as the PC running HiQnet London
Architect.
Install London Architect
Install the latest version of HiQnet London Architect on the computer you will use for system
control. You can download it from
http://www.bssaudio.com/.
Do not start HiQnet London Architect on the computer until instructed to do so below at Start
and Configure HiQnet London Architect.
Turn Off Windows Firewall
TM
PC firewall software, such as Windows Firewall or third-party firewall products, can interfere
with HiQnet London Architects ability to connect to a Soundweb London network. To avoid
connection problems, firewall software should be disabled.
Open the Windows Control Panel by selecting Control Panel from the Start menu.
Double-click Windows Firewall to open the Windows Firewall settings.
Note: This step will be slightly different if you use the Category view of the Windows Control
Panel.
Disable the Windows Firewall by clicking Off (not recommended)

(You can reactivate the firewall when you are done using HiQnet London Architect).
Turn off any third-party firewall software (Symantec, McAfee, Zone Alarm, etc.).
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Adjust Windows Network Properties
All Soundweb London devices must be in the same IP address range as the PC running HiQnet London
Architect. Achieving this will depend on whether your network includes a DHCP server, and whether you
use static or dynamic addressing. Only basic network configurations are covered here. For more advanced
configurations, consult a TCP/IP networking guide or network specialist.
Open the Windows Control Panel by selecting Control Panel from the Start menu.
Double-click the Network Connections icon.
Note: This step will be slightly different if you use the Category view of the Windows Control Panel.
Right click on the network interface connected to the Soundweb London network and select Properties
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Adjust Windows Network Properties (continued)
Find and click Internet Protocol (TCP/IP) in the list of network services, then click
Properties.
Write down any existing information to be re-entered later.
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Adjust Windows Network Properties (continued)
With a DHCP server
Select Obtain an IP address automatically.

Select Obtain DNS server address automatically.
Without a DHCP server
If your Soundweb London devices have not been assigned IP addresses:
Select Obtain an IP address automatically.

Select Obtain DNS server address automatically.
Click on the Alternate Configuration tab.
Write down any existing information to be re-entered later.
Select Automatic private IP address.
If your Soundweb London devices have been assigned IP addresses outside of the 169.254.x.x range:
Select Use the following IP address.

Enter a unique IP address in the same range as the Soundweb London network.
Enter the subnet mask used by the Soundweb London network.
Note: HiQnet London Architect may not be able to access the Soundweb London
network if multiple IP addresses are assigned to the network interface (by clicking the
Advanced... button). Only one IP address should be assigned to each interface.
Click OK and close the network properties windows.
Start and Configure HiQnet London Architect
Start HiQnet London Architect.
If any firewall messages are displayed asking whether to allow network access for HiQnet London Architect
or Main.exe, choose Allow or Accept. The safest option is to disable firewall software while using HiQnet
London Architect.
Click Tools on the HiQnet London Architect menu and select Application Preferences.
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Start and Configure HiQnet London Architect (continued)
Open the HiQnet tab and check the network interfaces connected to the Soundweb
London network.
Click OK.
Verify Network Connection
Click View on the HiQnet London Architect menu and select Network.
The HiQnet London Architect Network view will open at the bottom of the screen.
Click the green and red Refresh button.
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Verify Network Connection(continued)
Connected Soundweb London devices will start appearing in the network tree, grouped by
model. It can take up to 45 seconds for all devices to be discovered.
The Ethernet category shows Soundweb London devices detected by HiQnet London Architect.
The Local category shows the PC running HiQnet London Architect.
The Unassigned Design Devices branch shows design devices that lack a matching physical device on the
network. See the Match Devices section for more information on assigning physical devices to design devices.
Update Device Firmware
All Soundweb London devices on a network must be running the latest firmware included with the version of
HiQnet London Architect in use before they may be controlled by HiQnet London Architect. To update the
firmware:
In the Network Window, click on the icon shown below to open the firmware wizard.
This will display a list of all the Soundweb London devices discovered on the network.
Make sure all the devices listed are checked and press the Load button. The firmware transfer will take several
minutes, during which time the devices may reboot several times.
Configure Device Network Settings
Depending on the layout and configuration of your network, it may be necessary or desirable to change the
default TCP/IP settings of your Soundweb London devices. Soundweb London devices default to AutoIP/DHCP
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Configure Device Network Settings(continued)
mode in which IP settings are obtained from a DHCP server if one is available. If
no DHCP server is available, the device will choose an IP address in the 169.254.xxx.
xxx range. Soundweb London devices may also be configured to use a static IP address.
If the IP address range used by the Soundweb London devices is changed, dont forget to
update your PCs TCP/IP settings to match once youre done configuring the devices.
You may also want to assign a new HiQnet address to each device to ease management of the network, simplify
the configuration of third-party control systems and avoid potential HiQnet address conflicts. Refer to the
Network Troubleshooting guide for more information.
To change a devices name, TCP/IP settings, or HiQnet address:
In the Network view, find the device you want to change in the device tree under the Ethernet category. Useful
information pertaining to the selected device (such as the name, TCP/IP settings, and I/O card configuration) is
displayed on the right side of the Network view.
To identify which item in the device tree corresponds to a physical device, click the blue Locate button in the
Network view. The Locate button on that Soundweb London device will flash. You can also press the Locate
button on the physical device, causing a flashing icon to appear next to the corresponding item in the device
tree.
Open the Device Properties window by clicking on the gears icon in the Network view.
Here you can change the name, HiQnet Address and IP address of the selected device. Device names will be
discussed in more detail below.
The device will reboot after you press OK on the Modify Device Settings window. After reboot, the device will
have the new settings. In some cases the device may need to be restarted manually for the new settings to take
effect.
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Open or Create a HiQnet London Architect Design File
If a HiQnet London Architect design has been prepared for the Soundweb London
network, you will need to open it now.
If the file is stored on the PC running HiQnet London Architect:
Click File, select Open, and find and load the file.
If the file is stored on the Soundweb London device network:
Click File, select Open From Device Network, and proceed as directed.
Match Devices
If you are working from an existing HiQnet London Architect design, the name, model, and I/O configuration
of each physical device on the network must match the name, model, and I/O configuration of each
corresponding device in the design. The process of assigning physical devices to design devices is called
matching devices.
To match a physical device to a design device:
Change the name of the physical device to match the name of the corresponding design device. See
the Configure Device Network Settings section for instructions on changing a devices name.
When a matching physical device is found for a design device, a message may be displayed indicating
that the HiQnet address of the physical device does not match the HiQnet address of the device in
the design. It is recommended that you answer Yes, changing the HiQnet address of the design
device to match that of the physical device. If a third-party control system (such as those produced by
Crestron or AMX) will be used with the design, then it is recommended that you answer No to change
the HiQnet address of the physical device to match the design, as third-party controllers depend on
consistent HiQnet addresses to communicate with Soundweb London devices. See the previous section
on changing device network settings if you wish to set a devices HiQnet address manually.
As each physical device is matched to a design device, its name under the Ethernet branch in the
device tree will change from red to black, and a green star will appear above the design device in the
System Layout window. Remaining unmatched design devices will be shown under Unassigned Design
Devices in the device tree.
If a design device still doesnt match its

intended physical device after changing the
physical devices name to match, verify that
the devices are the same model and that
their I/O card configurations match.
Once the process of matching devices is

complete, each design device in the System
Layout will have a green star, indicating that
it matches a device on the network.
Note: some design objects in the System
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Layout do not correspond to a network device. These will not be displayed

with a green star.
Upload the Design to the Device Network
Once the design devices are all matched to physical devices, it is necessary to upload the
device design configurations to the physical devices. To upload the device configurations in
HiQnet London Architect to the actual Soundweb London devices:
Click on the Run button (which looks like a VCR play button) in the tool bar at the top of the window
or the Online button at the bottom of the window to upload the device configurations to the
Soundweb London network and begin controlling the devices. This is called Going Online.
Note: This is not the same as saving the design to the device network.
If the device configurations in HiQnet London Architect differ from those previously uploaded to the
Soundweb London devices, the Load window will appear and show which devices on the network need
their configurations uploaded.
Press the green arrow at the top of the list to upload configurations to all devices sequentially,
or press the green arrow next to each device to upload the configuration for that device
individually. This will overwrite the design currently in the device with the design open in HiQnet
London Architect. After loading is complete, press OK.
If the HiQnet London Architect device configurations match those on the Soundweb London devices, the
Parameter Synchronisation window will appear, allowing you to send control parameters to or receive
control parameters from the device.
Press the green arrow at the top of the list to send current control parameters in HiQnet London
Architect to all devices, or press the green arrow next to each device to send control parameters to that
device individually.
Press the red arrow at the top of the list to receive current control parameters from all devices,
or press the red arrow next to each device to receive control parameters from that device
individually.
As you change control parameters while online, the system will respond in real time. The devices will
retain their control settings if power is lost, and come back in the same state when power is restored.
You will have to go offline to save any changes you have made to the design file. To go offline and
return to design mode, click the Stop Button in the tool bar at the top of the window or the Online
button at the bottom of the window. You can go back online by clicking the Run or Online buttons
again.
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110
PC Control of the MinidriveTM
Soundweb London
Using HiQnetTM London ArchitectTM
to control the FDS-334T or FDS-
336T from a PC provides an easy
to use and intuitive interface that
can be fully customized.
Before you begin make sure

your computer is equipped with
an RS232 serial port. Do not
use a USB serial adapter as we
have found their performance to
TM
be unreliable. If your computer
does not have a serial port,
there are several ways you can add one to your system. We recommend a
PCMCIA serial card for laptops, or an Ethernet serial device server that can
be used with any Ethernet enabled desktop, laptop or tablet PC. Follow the
installation directions of the manufacturer and confirm proper operation before
proceeding.
Connection
Connect a DB9 null modem cable between the RS232 serial port on the
PC and the RS232 port on the FDS device.
Device Setup
You need to change some of the default options on the Minidrive to

enable it to communicate through its serial port.
~ Press the Utils button to enter the Utilities menu
~ Press UP on the Navipad to scroll through the menu options
~ Select MIDI Mode from the menu
~ Use the Rotary Encoder to change the value to PC Port
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PC Control of the MinidriveTM
Software Setup
We need to enable the COM port within HiQnet London Architect for
the device to appear in the Network window.
~ Select Tools from the Main menu
~ Select Application Preferences from the Tools menu
~ Select the Serial tab
~ Only check the COM port(s) you will be using
~ Click OK
~ Restart HiQnet London Architect
You should now see the device listed in the Network window.
You can add the device by using the Auto-create design
devices option from within the Network window, or you can drag
the device from the Network window on to your Layout window.
Once the device is displayed in the Layout window it should have

a green star icon displayed above the device indicating it is
correctly associated with the device connected to the COM port.
Press the Online button to connect to the device.
HiQnet London Architect will display a warning about synchronizing. Synchronizing

to an FDS device will erase all the programs currently programmed in the FDS device.
Synchronizing from an FDS device will erase any programs already created in HiQnet
London Architect. After pressing the OK button, you will see the Parameter Synchronization
dialog box where you can choose to Receive Values (synchronize from) or Send Values
(synchronize to). After making your selection you will see a progress bar that will turn green
after completing. Press OK and you will see a status bar indicating that the software is
subscribing to devices. Double click the FDS device in the Layout window to open its Default
Control Panel. You now have real time control of the FDS device from your PC.
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PC Control of the OmnidriveTM
Soundweb London
Using HiQnetTM London
ArchitectTM to control the FDS-
366T Omnidrive from a PC
provides an easy to use and
intuitive interface that can be
fully customized.
Before you begin make sure your computer is equipped with an RS232 serial
TM
port. Do not use a USB serial adapter as we have found their performance to
be unreliable. If your computer does not have a serial port, there are several
ways you can add one to your system. We recommend a PCMCIA serial
card for laptops, or an Ethernet serial device server that can be used with any
Ethernet enabled desktop, laptop or tablet PC. Follow the installation directions
of the manufacturer and confirm proper operation before proceeding.
Connection
Connect a DB9 null modem cable between the RS232 serial port on the
PC and the RS232 port on the FDS device.
Device Setup
You need to change some of the default options on the Omnidrive to

enable it to communicate through its serial port.
~ Press the Utils button to enter the Utilities menu

~ Press UP on the Navipad to scroll through the menu options
~ Select MIDI Mode from the menu
~ Use the Rotary Encoder to change the value to PC Port
Omnidrive users will need to complete these additional steps:
~ Select Serial Port from the menu

~ Use the Rotary Encoder to change the value to RS232
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PC Control of the OmnidriveTM
Software Setup
We need to enable the COM port within HiQnet

London Architect for the device to appear in the
Network window.
~ Select Tools from the Main menu

~ Select Application Preferences from the Tools menu
~ Select the Serial tab
~ Only check the COM port(s) you will be using
~ Click OK
~ Restart HiQnet London Architect
You should now see the device listed in the Network

window. You can add the device by using the Auto-
create design devices option from within the Network
window, or you can drag the device from the Network
window on to your Layout window.
Once the device is displayed in the Layout window it should have

a green star icon displayed above the device indicating it is
correctly associated with the device connected to the COM port.
Press the Online button to connect to the device.
HiQnet London Architect will display a warning about synchronizing. Synchronizing

to an FDS device will erase all the programs currently programmed in the FDS device.
Synchronizing from an FDS device will erase any programs already created in HiQnet
London Architect. After pressing the OK button, you will see the Parameter Synchronization
dialog box where you can choose to Receive Values (synchronize from) or Send Values
(synchronize to). After making your selection you will see a progress bar that will turn green
after completing. Press OK and you will see a status bar indicating that the software is
subscribing to devices.
Double click the FDS device in the Layout window to open its Default Control Panel. You now
have real time control of the FDS device from your PC.
114
Soundweb London
To Manage FDS Programs
This guide will walk you through the process of using HiQnet London Architect
to copy individual Programs to an Omnidrive or Minidrive processor. Before
you begin, please review the firmware update guide and the PC control guide
to make sure your device is up to date with the appropriate firmware and you
can connect to it with London Architect.
For the purpose of this tutorial we will assume that you have a London Architect
file containing an FDS device containing either your own programs or a file
distributed by a loudspeaker manufacturer. We will show you how to copy just
the program(s) you need from a file into your device.
TM
Start by connecting your device to
your PC and launching London
Architect. Confirm that your
device is listed in the Network
window under the Serial COM
category.
Open the London Architect file you wish to copy a program from. You will see
an FDS-366 device in the Layout window.
Drag the device listed in the Network window under

Serial Com up to the Layout window creating a
second FDS-366. This device will be displayed with
a green star above which indicates that it matches a
device connected to the computer.
115
Before we copy any programs we need
to synchronize from the device in order to
capture its programs. You can synchronize
from a device to capture all its programs for
archiving within a London Architect file. Click on
the Run button (which looks like a VCR play button) in the tool
bar at the top of the window or the Online button at the bottom
of the window. This is called Going Online.
A warning message about synchronizing with an FDS Device will appear. Press OK and the
Parameter Synchronization window will be displayed. Pressing the red arrow will receive the
current values from the device. Press the red arrow now to receive all the programs from the
FDS. If you were to press the green arrow, the values on the computer would be sent to the
device.
Once you have finished retrieving all of the programs from the device, click on System in the
Main Menu Bar and choose Go Offline from the list. This will take you offline but leave you
in Operate mode and allow you to access and change the FDSs programs you just retrieved
from the device. When in this mode, changes are done in software only and do not affect
the device until you go online and synchronize to the device once again.
In the Layout window, double click on the device you

dragged from the Network window (U2) to open its
default control panel. Once the Control Panel is open
click on the Programs button.
Use the drop down box to view the programs in device U1. This
should be the list of programs you want to copy from.
116
Choose the program from the list that you want to copy and press
the Recall button. This will load the selected program into the active
memory slot of U2. Now you can store this program to one of the internal
Program locations.
Press Store and select a new location to store the program. You will be asked to name the
new file. If needed, we suggest using dashes instead of spaces in your file name. Repeat this
process for each of the files you wish to copy.
When you are done copying files, it is time to go back online with the device.
Click on the Online button and press OK on the warning dialog

box to open the Parameter Synchronization window. This time you
will send values to the device by clicking the green arrow. After
the device has finished loading you may go back offline and save
your new London Architect file with all of your programs.
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118
BSS Audio
8760 South Sandy Parkway
Sandy, UT 84070 USA
Tel: (801) 568-7660
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PART NUMBER - 18-1232-C

2010 Application Guide

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2010 Application Guide

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APPLICATION GUIDES

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Acoustic Echo Cancellation 5

Each channel offers the following features:

Echo Return Loss (ERL)

Echo Return Loss Enhancement (ERLE)

Far Side (Reference)

Near Side (Local)

Non-Linear Processing (NLP)

Noise Cancelation (NC)

Voice Activity Detection (VAD)

AEC Card Control Panel

AEC Control Panel [Basic]

This parameter represents a trade-off between achieving good double-talk performance,

passing through the channel. This algorithm is great for removing

AEC Control Panel [Advanced]

This is useful to stop very weak speech signals, such as whispering,

To set the threshold:

Put the microphone in its muted mode.

London Architect Configuration Symbol

The left hand AEC Input Card block functions like a

Example: Basic Conferencing without Local Sound

Local Sound Reinforcement refers to a design where the local

Example: Basic Conferencing with Local Sound Reinforcement

If the Reference is moved to the same location as in the previous No Reinforcement

Example: Local Media Distribution

Add to the previous Local Sound Reinforcement design by adding a

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Some of the features of this system are:

~ Telephone Hybrid for connecting to

A 12 band parametric equilizer is provided to allow frequency

The # key is driving a Counter Trigger that is acting as the trigger

~ Push to talk paging station that allows

~ Indication of whether the system is busy or available to page.

~ Processing and EQ on all microphones and outputs.

To meet the specifications of the paging system the BLU-10 programmable

The BLU-10 is an Ethernet

The BLU-10 is programmed to

~ Flexible page routing to multiple zones.

~ Comprehensive Interface with paging

~ Safety Announcements and Background Music inputs.

In this design we use HiQnetTM London ArchitectTM running on a touch screen

~ Parametric EQ for each output

~ Independent gain control for

~ Priority emergency page from life safety system.

Noise masking is used to increase oral privacy and to minimize distractions

Four important facts:

Oral privacy can be measured with instruments.

~ Independent controls for each

~ Individual input processing for

~ Combination of zones in any

~ True linking of Automixers to provide Uniform gain control across combined

~ A simple and intuitive control interface.

Each of the eight rooms can be combined in any

~ The ability to select multiple audio

~ The need to control the audio from a

~ A two-way P.A. in the bar for live performances.

A BLU-3 analog remote wall controller mounted behind the bar

A stereo input from a small mixer located in the bar is routed

~ The ability to select multiple audio

~ The need to control the audio

After passing through the Leveller, the signals are then

Source selectors, controlled by BLU-3 analog remote wall controllers

programmable zone controller combined