The 9088iis Networked Signal Processor forms the heart of the Soundweb system. In a single rack space unit, it offers 8 analogue audio inputs, 8 analogue audio outputs, 200 MIPS of digital signal processing, a pair of network jacks, and a variety of control options.

The front panel of the 9088iis has a number of LEDs to allow a quick view of activity on the audio inputs and on the network. It also has a mini-DIN connector for an RS-232 serial port: this is normally used to connect a PC for system setup and control.

The rear panel contains the audio inputs and outputs and the network jacks. It also contains a second RS-232 port, which is normally used for control from an external controller such as AMX or Crestron. Finally, it contains a control connector: see section 4 Control options for a description of how this is used. Both control i/o and analogue i/o connections are made via "Phoenix" style two-part screw terminals; the female connectors are shipped with the Soundweb unit, so installation can be made with no soldering and no extra connectors to buy.
The 9088iis contains two preamplifier cards for the analogue inputs: each card handles four of, the inputs. Three types of card are available: the analogue line card, the analogue mic/line card and an AES/EBU Digital Input/Output card.

The line card gives a choice of two gain settings: 0 dB and 12 dB (intended as a pro/consumer switch). The mic/line card provides a range of gain settings from 0 dB to 72 dB, together with phantom power and phase reverse. In all cases, each input can be switched individually.

The Digital input card holds two AES/EBU stereo inputs and outputs, with input sample rates from 32kHz to 96Khz. Output sample rates are user-selectable from 44.1kHz, 48kHz, 88.2kHz and 96kHz, and an external word-clock sync input is provided for house-reference.

The 9088iis device can be configured with digital and analogue mic or line input cards to specification.

The analogue outputs are equipped with analogue attenuation after the DAC
stage. If the unit is used at anything lower than its full output level, it makes sense to apply the final gain reduction in the analogue domain: in this way, the DAC noise is also attenuated and the signal to noise ratio is kept at a maximum.

The core of the 9088iis contains two Motorola 56303 DSP chips, running at 100MHz each and thus providing a total of 200 MIPS of DSP. There is also a block of dynamic RAM allowing a total of 11 seconds of audio delay. The main control processor is a Motorola 68000-series CPU, which runs a real-time multi-tasking operating system; this CPU takes care of system operation and interfacing and performs all the necessary housekeeping functions. Finally, the core contains a flash EPROM (see section 5 Flash EPROM storage), in which is stored all of the software to run the unit, and also the unit's configuration.

 
The Soundweb 9008iis device is identical in basic functionality to a standard 9088iis device in regards to networking and DSP processing, except it has no analogue inputs, only 8 analogue outputs. This means that it is a very cost-effective way of designing systems that require a much larger ratio of outputs to inputs.

A typical system now will use 9088iis' devices to provide the basic input and output capacity, then add 9008iis devices to expand further outputs.

 The 9000iis active hub shares the same DSP core as the 9088ii, and the same control i/o connector. However, the audio i/o is quite different. The 9000iis has no analogue inputs or outputs; instead, it has six network jacks

  The 9010 remote control panel connects to the Soundweb network via the usual category five cable - although direct cable termination is used in place of the RJ-45 connectors. The unit provides a graphic LCD display, six programmable soft keys, a programmable parameter wheel, and two inputs for paging microphones. It fits into a three-gang wall box.

With a vast number of Soundweb systems now installed worldwide, BSS Audio has released the new 9010 Remote Controller which brings sophisticated operational possibilities to any installation but removes the need for any local technical expertise to use it. Consultants, installers and users will immediately see the
operational simplicity that the 9010 can bring to a facility.

The 9010, or ‘Jellyfish’ as it has become affectionately known at BSS, uses 6 programmable buttons, an LCD screen and a rotary encoder to provide access to and control of virtually any function and parameter in Soundweb’s DSP configurations. These include volume controls, eq settings, routing, paging, and recalling different system presets.

Also included on the 9010 are an internal capsule microphone, which can be used for paging, an external microphone input, and two audio line outputs (which could be used for signal monitoring).
Programming the 9010 takes place in the Soundweb Designer software, using a very simple drag-and-drop interface that requires absolutely no scripting or coding at all. Nested menus, complete with password protection if required, can be created and the whole interface can be tested in an emulation mode

The 9010 connects into Soundweb’s proprietary network system which is used to route both control data and 8 channels of 48kHz digital audio around an installation

  The demand for simple standalone DSP processing has led BSS Audio to introduce the new Soundweb Lite 3088 Programmable Digital Audio System. The new 8x8 unit draws on the phenomenal success of the larger networked Soundweb 9088iis and associated products, but provides a less-expensive alternative for situations where the design requires a maximum of 8 inputs and 8 outputs.

This new device fulfils many applications such as houses of worship, theme bars, boardrooms and clubs.

The 3088 has all the capabilities of the networked version - totally free-design DSP layout, a large palette of processing objects, custom control panels etc, and runs under the common Soundweb Designer platform. This means that Consultants and Contractors who are familiar with Soundweb already will be able to incorporate designs using the 3088 immediately. It also means that the 3088 uses an incredibly stable set of hardware and software to give users peace of mind.

Control options for the 3088 are similar to the 9088iis, with PC control (custom control panels), simple control from the 9012 and new 9015 wall panels and control ports, or serial control from AMX, Crestron and other serial-based control systems. The 9015 panel features an 8-way switch for selecting presets and a pair of up/down buttons for level control etc. All standard input configuration options are available for the 3088, including mic, line and AES/EBU digital I/O, and the 3088 will also integrate with the recently released 9016 Video/Audio and 9026 Audio switchers.

 Where installations require a simple hardware controller, the 9012 provides an instant solution for volume and source select functions (for example). The 9012 is equipped with a rotary fader and a five-position switch, connecting to the control port inputs on the rear of a Soundweb 9088 or 9000 device. These controls may be mapped in Soundweb Designer to utilise other functions.

The 9012 is provided along with a set of multi-purpose lables, in four languages - English, French, German, and Spanish.

The 9012 is also available in a US-style single-gang light switch fitting, finished in beige to match many types of decor.

The part number of this unit
is Z-SW9012US.

 Expanding the applications of Soundweb is the SW9026 Audio Matrix Switcher, allowing multiple audio sources to be routed by Soundweb Designer presets or simple remote control.

Integrating Soundweb Audio Processing and Networking with these switchers provides the ability to route selected inputs from a number of sources. There are many instances where only a number of signals from multiple sources are required simultaneously, and the SW9026 permits low-cost input expansion for Soundweb systems, as well as offering a standalone solution for source selection and matrixing.
The SW9026 features sixteen balanced audio inputs, and the eight balanced outputs can then feed a Soundweb 9088ii for processing and further zone distribution.

In addition to seamless integration within Soundweb systems, the SW9016 is equally suited to stand alone operation. When used in this way it can be used as a simple switcher or alternatively loaded with up to eight pre-sets that allow any combination of audio routing and level to be instantly recalled in up to four independent stereo zones. If no pre-sets are loaded, the units automatically default to a simple four zone source selector with ‘audio follows video’ routing, audio level control being
independent for each zone.

Control can be remote via RS232 using simple string commands, or local from a contact closure port, for example using up to four SW9012 wall panels. The baud rate of the RS232 can be changed to suit the application. BSS can also supply an ‘active X’ plugin to aid the easy integration with bespoke windows based control applica-tions. BSS Audio supplies a standalone PC program that can be used to both set-up and control the devices when they are not part of a Soundweb system. To increase flexibility, up to two SW9026s may be connected to a single Soundweb or other RS232 device.

  The combination of a high-quality compressor with a sophisticated de-esser provides the engineer with functions to solve a number of processing requirements. A quick look at the front panel shows that each channel provides a full range of signal level control facilities: a dedicated and tuneable de-esser section, a compressor section with comprehensive control of all main parameters and an AUTOmode option for general use, and finally a highly informative LED metering section that never leaves the engineer ‘in the dark’.

The DPR-422 uses a unique internal architecture, pioneered on the classic DPR-402, which combines a double side-chain with a subtractor to eliminate the distortion, noise and unwanted side-effects found in conventional compressors.

This not only ensures a cleaner, purer signal, but forms the basis of entirely new possibilities in signal processing.

Each channel includes a variable ratio compressor that features BSS’s proprietary ‘progressive knee’characteristic. This gives soft-knee, over-easy musicality at low ratios, varying gradually towards
dependable hard-limiter precision at the maximum setting.

Attack and release time constants can be switched to be continually regulated by the dynamic and harmonic content of the programme material, so requiring virtually no attention from the operator.

BSS Audio’s De-Esser design is recognised world-wide as a highly-desirable item in the engineers toolkit, and provides two main de-essing options to suit different program material and means of reproduction.

Broadband de-essing adds to normal compressor performance the ability to compress the whole signal when HF signals exceed the pre-set de-ess threshold level.

For greater precision in demanding applications the threshold, attack and release controls can be used.

HF - ONLY de-essing creates a dedicated, frequency-selective de-esser channel which compresses high frequency signals while leaving low frequency content unmodified.
The STEREO LINK facility takes the guesswork out of compressing a stereo signal, linking the two VCA side-chain circuits together under the control of the left-hand channel settings.

What the DPR-422 can do:

Give hard or soft knee compression for general purpose loudness control during recording, mixdown or live-sound reinforcement.

Improve on conventional compressor performance, using its greater flexibility for different types of program and different equipment configurations.

Combine selective de-essing sibilance control with compression.

Enhance overall loudness in a way suited to AM/FM broadcast chains or mastering applications.

Provide a frequency-selective loudness control to enhance a frequency spectrum without additional equalisation.

Provide advanced dynamic HF shelf de-essing with full function control

 Four discrete channels of Gating and Compression in a single rack space, with the quality that only BSS Audio can provide, and a price that you'll appreciate.

Features include:

2 noise gates

2 compressors

Parametric compression (frequency-selective)

Frequency-conscious gating

The value of four channels of dynamic processing in one unit needs no explanation, but the combination of gates and compressors in such a device brings further cost, space, and application benefits.

Add to that the unique ability of the DPR-944 to provide frequency-selective
compression (through its parametric filter) and frequency conscious gating, and you'll soon see just how indispensable the DPR-944 can become.

Coupled with BSS's proprietary subtractive compression technology, the parametric filter means you can compress specific frequency bands. Now you can effectively eliminate sibilance, microphone popping and proximity effects, and tame instrument and voice tonal characteristics that vary with level.

The compressor also utilises BSS's proprietary 'progressive knee' ratio control which ensures soft-knee musicality at low ratios and hard-knee precision at higher settings.

Frequency-conscious gating allows you to precisely select the frequencies that will trigger the gate, eliminating false triggering (for example from rack tom spill).
If you need more gates and compressors, just add more DPR-944's. All inputs and outputs are independent, so you can patch them how you like, rather than being constrained to how some manufacturers think you need them patched. DPR-944 can be an effective part of small, more generic processing racks.

Mechanically road-worthy, with intuitive metering and indication, the DPR-944 saves you rack space and equipment cost, also vital as part of a fixed installation. In distributed sound reinforcement systems, for example Corporate production, the

To top all this off, you can relax in the knowledge that the audio path in the DPR-944 is clean, quiet and uncompromised, like all BSS products

 The DPR-901 II is a four-band parametric Dynamic Equaliser which allows frequency-selective compression (-3OdB) and expansion (+16dB).

Each band has:

A frequency sweep.

A bell width.

An IN/OUT switch.

Compress/expand control.

Compress/expand metering.

Threshold metering.

Time constants which are automatically controlled by dynamic and harmonic content of signal with selectable FAST RELEASE.

It has a filter switch on bands 1&4 which changes bell filter response to a shelving response and on bands 2 & 3 cancels the filter for wide band operation.

Electronically balanced input and output.

The unit may be set up as a 1 input/4band or 2 input / 2 bands per channel device, and the filter side chain may be monitored to allow precise tuning of the audio spectrum to be effected

  The DPR-522 Dual Gate has a comprehensive array of creative functions, taking its applications far beyond conventional units. Several major features make setting up the DPR-522 much faster and easier than conventional gates.

Using a parametric key filter means fast and precise tuning of the trigger signal. Quick adjustment by ear, using the KEY LISTEN switch, eliminates hair-trigger threshold settings with ease, and offers considerable scope for special effects.

The CHECK key provides a simple yet highly practical function that will be quickly appreciated in a busy session. It helps the engineer by instantly forcing the gate open, ideal for system line checks. A contact closure input means that this function may also be activated remotely, along with other facilities such as gate status tallies and enable commands. These functions are accessible through a rear panel connector.

The ATTACK, HOLD and RELEASE circuits are equipped with positive (and easily repeatable) controls, a design
which minimises the waveform distortion that can be heard in gated signals. Alongside the expected frequency-sensitive gating and ducking functions, further possibilities are open to the engineer from more front panel controls and indicators. For example, advanced metering gives the engineer a clear visual status of the gate, with a signal meter that shows the key signal strength relative to the pre-set threshold, and simultaneously a 2-led GATE OPEN/SHUT indicator. This combines with the ADE (Auto Dynamic Enhancement) enhancing the transient leading edge portion of the signal, with two settings providing the option of bold or subtle emphasis. Conventional gates may lose this information as the gate triggers.

The STEREO LINK facility acts in the same way as that on the DPR-422.

What the DPR-522 can do:

In live sound mixing, highlight instruments such as lead and bass guitar whilst keeping amplifier noise down during quiet passages and breaks.

'Clean up' multi-miked drums or percussion set-ups, eliminating spill from backline and monitors on stage, as well as from adjacent percussion instruments.

Eliminate uncontrolled room reverberations when recording multiple close-mic configurations, allowing the engineer to mix this in accurately from dedicated ambience mics.

Eliminate tape noise when mixing from multitrack, or to cut out noise from digital samplers and keyboards. Stereo linking ensures accurate gating without image shift.

Produce special effects such as gated reverb or modulation of a synth track by the hi-hat to give accurately synchronised 16th chords, for example.

On multiple mono or stereo clean-feed/mix-minus lines in broadcasting, helps cut down background noise when commentators/journalists stop speaking.

 The DPR-504 is a 4-channel noise gate.

Each channel features:

A parametric key filter with key filter listening.

Simultaneous key level and threshold metering with average and peak metering.

A gate status LED.

A RELEASE/HOLD control (hold tracks proportionally with release times).

Attack switchable auto/fast (auto tracks signal dynamics for optimum setting).

Link (links two channels together).

Key source allows external triggers.

The Range switch selects between 7OdB and 2OdB gating depth to provide alternative release profiles.

The unit features electronically balanced inputs and outputs

 The DPR-402 is a 2-channel compressor/limiter, high frequency de-esser and wide band de-esser with peak limiting, adjustable speed, dynamics program manipulation, and full LED metering for both input and output.

Integrated side-chain and gain reduction metering allow for continuous dynamic activity monitoring.

Auto mode provides program dependant attack and release control

  Graphic equalisers are found in just about every sound application, from room contouring to feedback control and general audio sweetening.

Traditionally, much general eq'ing takes place on the faders alone, but this restricts the use of the faders at each end of the scale for further precision eq work. So we provided the Opal FCS-966 with separate LF and HF contour filters which can change an overall sound balance without disturbing a detailed room or loudspeaker response.

These filters are very musical gentle boost and cut shelving filters which can be used to add (or remove) room effects that change with temperature, audience numbers or humidity.

All these effects can be easily made without disturbing the critical fader settings already made.

Constant Q Filters
The modern generation of graphic eq's
uses the Constant Q topology, pioneered by BSS Audio, which means that the filter width is constant whatever the fader gain setting.

Compared to the earlier 'gyrator' style of filters, Constant Q filters provide a smoother and more predictable interaction between adjacent faders and the resulting eq curve more closely resembles the actual fader positions.

More Gain Control Per Filter
Each eq fader has +/-15dB of adjustable gain, more than many competitive graphic eq's. The faders are long-throw 45mm types for precision control.

High Pass Filter
Also provided on the FCS-966 is a sweepable high-pass filter which can be used very effectively to restrict the low-energy output for better amplifier and loudspeaker performance. Stage monitors also benefit from the application of a high-pass filter to remove bass signals e.g. from vocal-only wedges.

Metering
BSS Audio believes in providing engineers with information, and the FCS-966's 8-segment led meter shows output level and warns of signal clipping within the eq. When the unit is switched to bypass, the meter will read the input level, allowing accurate matching of the 'dry' and equalised signals using the gain control.

Centre Bypass
When any eq fader is in its centre detent position, the filter is automatically bypassed, for optimum performance.

Input/Outputs
All the inputs and outputs of the FCS-966 are electronically balanced, with optional transformer balancing. To make installation of the FCS-966 easier, we've provided three differerent interface connectors: XLR-type, 1/4" TRS jack and Phoenix/Combicon screw terminals.

Relay Bypass
The EQ IN buttons switch the EQ path
into circuit. When switched out, or power fails, a high-quality relay switches the input signal directly to the output connectors.

 The FCS-960 is a 30-band graphic equaliser featuring Dual Mode switching between Normal and Fine filter width settings on each channel.

The FCS-960 provides two channels in 3U of rack space. Constant Q-filters with filter-bypass centre taps are controlled by high grade, 45mm faders with moulded polymer fader knobs which eliminate visual parallax error even under low light conditions.

Also included are sweepable/switchable Hi-pass filter, Gain control and electronic balanced inputs and outputs

 The MSR-604 II is a 4-channel one by four, active microphone/line level distribution system, capable of supplying 4, 8, 12, or 16 outputs from a single input.

Each channel features:

Electronically balanced input with transformer option.

MIC/LINE switching, GAIN switching.

LISTEN facility for monitoring via the MSR-602 II PSU.

Phantom power.

Active outputs for main FOH and monitor consoles.

Two transformer-coupled feeds giving 2500V isolation for any application requiring isolation from the main PA system.

The system requires an MSR-602 II power supply, and is compatible with existing MSR-604 units (adapter cables required).

Options:

MSR-TIXII Input balancing kit.

MSR-TOXII Output balancing for FOH and monitor outputs.

604-II-ADK PSU adapter cable for use with MSR-604 type 1 units.

The MSR-602 II is the power supply for the MSR-604 II and will run 10 MSR-604 II units. The unit also provides the headphone monitor output and signal metering. Two MSR-602 II units may be linked for fail-safe operation.

  The FDS-310 is a 2-way stereo or 3-way mono, sweepable crossover system built around our high quality 24dB/octave Linkwitz-Riley filters.

Each frequency band has:

Its own level control.

Frequency control.

Polarity reverse.

Mute button.

Signal present LED.

Peak signal warning LED.

Internal "jumper" facilities include constant-directivity horn EQ, mono low linking.

Frequency range in the 2-way stereo mode is 180Hz-2kHz, and in the 3-way mono mode is 180Hz-2kHz for low-mid range, and 800Hz-9kHz for mid-high range. It has internal jumpers to change all frequency ranges down in divisions of 10.

Inputs and outputs are electronically balanced with both XLR and 1/4" TRS connectors

 Minidrive provides all four core functions of the Omnidrive range: crossovers (Linkwitz-Riley, Bessel or Butterworth), mid-band limiters, equalisation freely assignable to inputs and outputs, and both input and output delay. However, by leaving out the more advanced features in the Omnidrive, BSS has achieved dramatically lower prices, ensuring that Minidrive is suitable for a range of applications for which an Omnidrive would simply not have been affordable.

The Minidrive is available in two models, the FDS-334T (with 2 inputs and 4 outputs) and the FDS-336T (with 2 inputs and 6 outputs). The FDS-336T is able to drive a stereo 3-way system, and is expected to find favour in the front of house rack, while the FDS-334T is expected to be at home in the monitor rack. Up to 38 bands of filtering are available in each unit.

As an added bonus, the Minidrive can be controlled by SIASoft's Smaart Live analysis program, allowing the installer or engineer to create systems with integrated measurement and processing.

Individual Minidrive outputs can also be run full range. With the low price of the units, this means that they are highly suited to use as zone controllers for convention centres, ballrooms, under-balcony feeds or downfills with EQ and delay, or for replacing several traditional analogue units in an installed sound system in just one rack space.

"The biggest step forward in digital crossover technology since Linkwitz-Riley"
Jerry Wing, Britannia Row Productions, UK

BSS has provided Minidrive with a similar user interface to its big brother the FDS-366T "Omnidrive Compact Plus". The four-arrow "navipad" allows access to menus and facilties, while push-to-select switches on the output level controls ensure fast access to channels for editing. Data is shown on a bright blue LCD display, with data entry via a parameter wheel. Input and output level meters are an immediate comfort for the engineer, and individual output band mute keys are provided. Together, these make the Minidrive more convenient and faster to set up and adjust than any DSP unit in its class.

For program archiving and storage, use MINISTORE, a PC application that allows you to dump programs from your Minidrive to a PC, arrange them and download any or all programs to any similar Minidrive unit

 The FDS-360 is a stereo 2-way or mono 3/4-way fixed frequency fourth order crossover.

Features include:

Separate mid-filter frequency band limiting.

Polarity switching.

Up to 360 degrees of phase correction.

Auto muting circuit, mono low linking.

LEDs for limiting, signal, mutes and mode status.

Interchangeable frequency cards.

It has a rear barrier strip for inserting processing, such as delay lines for time-alignment or graphic equalisers for system EQ, into each band.

Options:

FDS-360D Quad parametric Eq Card

FDS-360E Dual shelf, dual parametric Eq card

  FDS-366 can drive a true stereo 3-way system, or 3 bi-amp outputs for monitors. Add more units and MIDI slave linking to make stereo 4, 5 and even 6-way systems.

Typical applications:

Stereo 3-way.

Stereo 2-way plus sub from input C.

Triple Bi-amp for stage monitors, with delay and EQ.

Dual tri-amp for stage monitors.

96kHz Studio monitoring systems.

LCR Monitoring systems (post-production).

6-way systems.

4-way plus 2 full range outputs with separate delay and EQ.

6-way Zoning ( full range outputs, giving delays, EQ and limiters on all zones )

 The FDS-318 is a multimode, sweepable crossover switchable for stereo 3-way/4-way operation with selectable hi-pass and low-pass overlap modes plus a range of four-channel bi-amp modes.

Features include

Switchable MONO LOW and CD EQ constant-directivity horn correction.

Signal present and PEAK (+1OdB) LEDs.

Output Gain, Mute and Polarity controls.

Range switching is automatic under PROM-based multimode selection.

Filters are 24dB/octave Linkwitz-Riley and electronic balanced inputs and outputs are standard

 Installation applications for audio systems vary in their complexity, and many require sophisticated and flexible signal paths, while others will require only a very simple fixed-form processing path. The ProSys PS-8810 was designed specifically for the latter requirement where system designers require certain types of signal processing in an easily matrixable format. System design time is reduced because the DSP building blocks are already placed in the signal path ready to be configured. Once each signal has been routed or mixed, you’re ready to go!

The ProSys PS-8810 is appropriate for a comprehensive range of installations; from major sports facilities to even the smallest houses of worship, the PS-8810 can fill the need. It incorporates 32 user-definable Presets that can be selected from the front panel, IQ for Windows software, switch closure, or can be scheduled from its internal real-time clock/calendar. You can easily configure the PS-8810 for automatic room combining as well as "simple to use" wall station controls.

Integration with IQ Systems
The ProSys PS-8810 is setup and controlled using IQ for Windows™ software. This also supports Crown amplifiers, and so full system control and integration of processing and amplification is readily achievable via the IQ bus. Your PC can monitor and control both the amplifier status and signal processing/mixing.

Expanding the system with networking
ProSys audio channels can be networked using CobraNet™ card, available as an option or prefitted as the PS-8810C. Bundles of audio channels can be routed to further units and can also be processed along with a unit’s own channels. This naturally allows the 8810 to be integrated and share audio with other CobraNet™ devices.

Signal Processing Elements
Each input path (A and B) has programmable DSP elements for:

EQ Filters

Delay

Gate

Autoleveller

Compressor

Automixer

Each of these elements may be enabled or disabled, depending upon the need, and parameters adjusted easily. There are an impressive 256 EQ filters available in the PS-8810, which can be assigned to one of seven different filter types.

Different filter types include Low-pass crossover Filter (1st-4th order), High-Pass crossover filter (1st-4th order), Parametric Equalisation (2nd order), Low-Pass equalisation filter (2nd order), High-Pass equalisation filter (2nd order), Low-Pass shelving Equalisation (1st order) and High-Pass shelving Equalisation (1st order).

Automixing functions include NOM (number of Open Mics) attenuation, Priority Ducking and Adaptive Gating processing. Mutes and Signal Phase the post-DSP Input path B channel, giving great flexibility in signal routing.

Presets & Scenes
On finalising the configuration and routing of your audio signals, store the design as a Preset. There are 32 presets available in the 8810, which may be recalled via contact closure from the control port, infra-red remote, or as a scheduled Event. A further feature is the 'segue' funtion that allows elegant level transitions between Presets.

To set up minor changes in DSP settings, eg equaliser and delay parameter values for a different venue function, you can store these adjustments as Scenes, which may be recalled by the methods described above.

Events
The internal event scheduler is a sophisticated time control system integral to the PS-8810 that enables Preset or Scene recall at either a given time, or at different times according to a schedule you determine. This can be accomplished even without the PC connected and the internal clock in the ProSys can function for up to 45 days without power.

Control Options

Standalone
Once you have programmed the 8810, you can disconnect the PC and leave the unit to perform its duties as a standalone device.

Simple Control Ports
A multi-function control port implements analogue and digital interfacing for control and monitoring by external circuits. The PS-8810 has 16 control inputs and 16 control outputs along with power supply outputs and common ground connections. Switches or faders may be applied to the inputs to change presets or individual DSP parameters.
Additionally, 8 of the control inputs can monitor either digital or analogue signals. The control outputs can illuminate LEDs and perform other logic output tasks.

On-Line PC
With a PC connected to the PS-8810 and running the IQ for Windows™ software, you then have full control over the PS-8810's parameters for system setup and then later as a compuet based online control system.

Infra-red control
The PS-8810 can be controlled from an infrared handheld remote. Chosen parameters can be accessed in this way to give your users a simple control interface for non-technical operators