SABINE SW65 UHF BELTPACK TRANSMITTER User Manual 2

Sabine, Inc. UHF BELTPACK TRANSMITTER Users Manual 2

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Sabine Smart Spectrum® Wireless

Receiver Operation

Fig. 5d Tweek-n-Peek example

Fig. 5c Sabine Tweek-n-Peek

5.2. Parameter Control & LCD Display

5.2.1. One set of Controls for 1 or 2 Channels

Whether you have a one- or two-channel SWM6 or 7000 series receiver is ap-

parent by the number of LCD displays on the front panel. However, only one

set of control knobs is provided for either one- or two-channel receivers. Note

that in a 2-channel receiver, this set of controls is shared, and assigned to a

channel by pushing either the A or B Channel Select button (see Section

5.2.2). Your receiver uses Sabine’s Tweek-n-Peek™ digital control system.

Whenever you turn a control knob one click, the associated function is shown

on two lines of text display in the LCD. The large numeric display will indicate the

current parameter value. Additional turns/clicks change the parameter setting

and display the value as the change is made. After a few seconds of inactivity,

the LCD will revert to its default display (RF channel).

Sabine’s Tweek-n-PeekTM

Whenever you turn a control knob one click, the name of the corresponding

function is shown and the current edit setting is displayed on the LCD. This

applies for all the front panel knobs.

For example, if you turn the Compressor ratio knob one click, you will see the

current compression ratio in the Settings Display. The Text display will show

COMP on the ﬁrst line and RATIO on the second. Subsequent turns will edit

that setting up or down, depending on the direction you turn the knob.

Since the control knobs are continuous rotary encoders with no end points,

the Relative Position Indicator (RPI) is a handy way of seeing where you are

in relation to the full range of the knob in question. In our compressor Ratio

example, if you are at a ratio of 9:1, about the middle of the range, the RPI will

display about one half of the bar. NOTE: The setting range of each control is

printed on the front panel below each knob.

5.2.2. Channel Select / Contrast Button.

The elliptical button immediately adjacent to the LCD has multiple functions.

First, it adjusts the LCD contrast and viewing angle. Change the degree of

angle by pressing and holding the button down. The adjustment range will

cycle in a continuously reversing loop — when it gets to the maximum value

it reverses and begins to decrease in value. You can stop holding the button

down and initiate single button pushes to advance (or decrease) the contrast

setting incrementally.

In addition, the Contrast/Channel Select button has another function, in 2-

channel receivers only (SWM62 or 72-R or SWM62 or 72-NDR). Such units

feature two LCDs and two Contrast/Channel Select buttons. A single (without

continuing pressure) push assigns all Parameter Control knobs to the selected

channel. The button will light, the associated LCD will brighten, and the word

EDIT will appear in the lower left of the LCD, all indicating the active edit

channel. For the active channel, turning any Parameter Control knob will ﬁrst

display (one click) and then adjust (subsequent turns) the settings of the func-

tion selected, indicating the changes in the Settings Display. For the inactive

channel, turning any Parameter Control knob will display the current setting

in that channel’s Settings Display. The channel must be activated in order

to change settings.

Relative Position Indicator

In our compressor Ratio example, if you are at a ratio of 9:1,

about the middle of the range, the RPI will display about one

half of the bar.

Function Display

The Function display will show COMP on the ﬁrst line and

RATIO on the second.

Fig. 5e: Contrast button:

Tap to select which channel to control

Hold to adjust contrast and viewing

angle. Range of value is 1 - 30, 15 is

default.

EDIT will light in the chan-

nel display of the channel

being edited.

23 Sabine Smart Spectrum® Wireless

LIT-SWM6-7000-OG-EN-090215.indd - rr

Receiver Operation

Fig. 5f

5.2.3. Special LCD Display Messages.

In addition to the Status and programmable information discussed above, the

text lines of the LCD Settings Display may also (under certain circumstances)

automatically override other displays. The conditions when this will occur and

the messages displayed are shown on page 19.

5.3. RF Channel Select

Range = 1 to 70 Choose the RF channel for this system. The transmitter must

have the same channel selected. Turn the RF CHANNEL SELECT knob until

the desired channel is displayed on the LCD. See chart (Appendix E) for exact

frequency of each channel.

NOTE: Dual channel receivers will not allow you to select the same RF channel

for both channels.

NOTE: Front panel RF Signal display will only register Sabine transmitters. It will

not show RF interference. Use the RF Scan function in the software to scan for

potential RF interference (see Section 13.4.2.5).

5.4. Output Level

Range = MUTE to 0 dB Adjust the output level to match the input character-

istics of the downstream component. Each tick of the output level knob adjusts

the level by ½ dB. The LCD displays this in 1 dB resolution, so it takes two ticks

of the knob to change the output level value on the LCD.

The output level varies from microphone level to line level, so if you are patching

the receiver to the mic level input of a mixer, turn down the level to avoid overdriv-

ing the mixer input. Minus 15 dB is a good place to start. If you are patching into

a line level device, turn up the receiver output. For best results, follow the golden

rule of gain structure: maximize gain at early stages in the signal path, to minimize

noise that will be accumulated and ampliﬁed by adding late-stage gain.

5.5. Channel Mixing

Your SWM Series two-channel receiver now has the ability to mix the

A and B outputs. In Channel Mixing mode both the A channel audio

and the B channel audio are mixed together, and are available on both

the A and B outputs.This is an advantage for several applications:

ExAMPLE: Guitarists who wish to have a spare guitar ready to go without re-

patching the output of the receiver to their pedal board or other processors. All

you have to do is turn the transmitter off for one guitar and turn on the other. The

audio is sent out through the same output of the receiver.

ExAMPLE: Sound techs who wish to use more mics than they have channels

for on their mixer. For example, you may have a mixer with only 8 inputs, but you

really need 12 mics for a show. You can combine the outputs of several pairs of

Sabine wireless mics and the show can go on without buying a new mixer.

You maintain separate control over all channel functions except output level.

Output levels are the same for both channels when in Channel Mixing mode,

and the ouput values appear on the A channel LCD.

5.5.1. How to Toggle Channel Mixing Mode

Press and hold both the A and B Channel Select buttons (the blue buttons) at

the same time. After a moment both buttons will be lit. This is your indication

that you are in Channel Mix mode. To go back to the standard mode, press

and hold the A and B channel select buttons again until the backlight of one

of the buttons turns off.

Fig. 5g

Ch. A

Channel

Select,

Contrast

Ch. B

Channel

Select,

Contrast

Ch. A

Display Ch. B

Display

Fig. 5h

Sabine Smart Spectrum® Wireless

5.5.2. Controlling the Receiver in Channel Mixing

Mode

All functions are individually controllable for each channel when in Channel Mix

mode, except the output level, which is shared. Normally the active channel

for control is displayed in three ways: the blue button for that channel lights up,

the LCD gets brighter, and the word EDIT is shown. Use the Channel Select

buttons to choose the channel you wish to control.

In Channel Mix mode you still use the Channel Select buttons to choose the

channel to control, but you will only see one of these three indicators. The

word EDIT will be shown in the LCD of the channel selected for control. Look

carefully – this is your only indication of which channel you are controlling

5.6. Guitar Cord Simulator (Beltpack Transmitter Only)

This feature allows you to ﬁne tune the sound of your instrument while it is

patched into your Sabine wireless beltpack. The wireless sounds of guitars or

basses can be very different from the direct (patched with a cord) sounds. Your

Sabine wireless solves this problem by using a unique broadcast scheme that

gives full 20 to 20KHz frequency response. This results in a much fuller sounding

instrument (the bass response is ﬁnally there on a wireless!), and sometimes a

brighter sound, too.

How can this be? Your guitar cable can actually reduce your high frequency re-

sponse. We are all quite used to this slight rolling off of the high end, but the Sabine

wireless does not roll off, so your instrument may sound brighter then ever before.

Here’s where the Cord Simulator can help. Turn on your beltpack transmitter

and put it in GUI mode. To select GUI mode, open the beltpack, push the select

button a few times until you see the MIC or GUI display. Use the up/down button

to choose GUI. (See the Beltpack Quick Guide for detailed instructions). The

De-Esser knob on your receiver becomes your Cord Simulator knob. Turn the

knob counter-clockwise until your instrument sounds like it does when patched

direct.

The Cord Simulator replaces the De-Esser function only when a beltpack trans-

mitter is turned on and set to GUI mode.

5.7. Receiver Antenna Placement

One of the biggest potential problems in any wireless system is RF interference. Un-

derstanding wave interference patterns will help you to place and orient your receivers

and antennas properly, and thereby reduce the likelihood of RF interference.

Your receiver ships with two standard coaxial bipole antennas. Each antenna

picks up in a donut-shaped (toroidal) pattern, more or less equally in all direc-

tions, with null points directly above and below.

5.7.1. Multi-path Interference

Like sound waves, radio waves are subject to wave interference patterns pro-

duced by reﬂected or delayed waves combining with direct, unreﬂected waves,

converging upon a receiving antenna simultaneously. In the RF world this

phenomenon is called multi-path interference. As with audio comb ﬁltering,

radio waves can combine additively or subtractively. Thus, mounting an antenna

close to a reﬂective surface can result in poor reception. For example, if weaker

than expected reception occurs, and the receptive part of the antenna (the top

3 cm) is close to a reﬂective surface (wall, large metal objects, etc.), you might

improve reception simply by repositioning, or re-aiming, the antennas.

In some situations — for example, those with difﬁcult lines-of-sight, or when

transmitters and receivers are separated by a wall, or when receiver placement

options are limited — an extension antenna may be necessary to guarantee

reliable reception. Please refer to Section 12 for information about the advan-

tages and use of Sabine’s SWASS-EXT Extension Antenna Kit.

5.7.2. Receiver & Antenna Placement Tips

1. When possible, maintain line of sight from transmitter to receiver.

Consider the potential range of transmitter “roaming,” and locate your

receiver accordingly. If direct line of sight proves impossible or difﬁcult,

consider using Sabine’s low-proﬁle, active Extension Antenna Kit (SWASS-

Receiver Operation

Fig. 5k

Fig. 5j

EDIT

Channel Select/Contrast

button (selects receiver

channel to edit)

Fig. 5i

25 Sabine Smart Spectrum® Wireless

LIT-SWM6-7000-OG-EN-090215.indd - rr

EXT), which boosts the signal strength, extends the maximum distance

from transmitter to receiver, expands and focuses antenna sensitivity, and

allows antenna and receiver to be positioned further apart or in separate

rooms.

2. Decide on front or rear panel antenna mounting (to maintain line-of-

sight path). Antennas typically mount on the rear panel of your receiver,

but the included accessory SWA700 front mounting kit can be screwed

onto the front and connected via jumper to the back panel terminals. When

mounting receivers in a rack that is deeper than the receiver, move the

antennas to the front for improved reception. For any rack mounted re-

ceiver, try to keep the top 1.25 “ (3 cm) of both antennas extended outside

the sides of the rack (see Fig. 5h). Non-rack mounted receivers should be

oriented so that the antennas face the transmitters.

3. Maximize the distance between the receiver and light sources, such

as ﬂuorescent bulbs or neon signs, which may emit very short-range,

broadband interference. These light sources should not be a problem in

normal circumstances, but, as a cautionary preventative, we recommend

a minimum distance of 3 meters (10 feet) between them and any receivers

or extension antennas.

4. Note the placement of any microwave ovens in the immediate vicin-

ity. Place any receivers or extension antennas as far away as is practical

from microwave ovens.

5. Mount receiver antennas at 90 degrees to one another, leaning away

at 45 degree angles, in the same plane. This will decrease the likelihood

that one antenna will be susceptible to the same orientation-speciﬁc

directional or multi-path problems that may affect the other one.

6. When using multiple receivers, try to maintain at least 1 foot (30 cm)

distance between antennas from different units. If you are rack-mount-

ing multiple receivers, you may want to avoid spacing them in adjacent

rack spaces, to maintain distance between antennas. When such antenna

spacing proves difﬁcult or impossible, we recommend using Sabine’s

Antenna Distribution Ampliﬁer (Sabine SWA6SS), which can help man-

age antenna conﬁgurations and, more importantly, improve system-wide

interference rejection. The SWA6SS works with up to six receivers.

7. In very rare instances, poorly shielded or malfunctioning computers or

digital effects units may cause RF interference. You can test whether

such units are the sources of such interference by switching them off one

at a time, and determining if interference rejection improves.

8. Turn on your system one component at a time, beginning with the

ﬁrst receiver. If you don’t have a computer handy, keep all other receiv-

ers and transmitters switched off for the time being.

9. Use the RF Scan function included in the Remote Control Software.

This will give you a picture of the potential interference in your area, both

real-time and over time. Please refer to Section 13.4.2.5. for information

on Sabine Remote Control Software’s Automatic RF Scan function, which

will automatically determine the best RF channels to use.

10. Maintain a minimum distance of at least 3 meters (10 feet) between

transmitters and receivers or extension antennas. This can solve many

anomalies.

11. Be careful not to set more than one transmitter to the same channel;

each paired transmitter and receiver should be set to unique correspond-

ing channels, until all channels are receiving clearly and cleanly.

12. Once the physical placement of your receiver(s) and antenna(s) is

decided, proceed with the remainder of the setup process.

Receiver Operation

Sabine Smart Spectrum® Wireless

Fig. 6a

6. MIC SUPERMODELING™

6.1. Introduction

Microphones come in a dazzling variety of shapes, sizes, polar patterns, frequency

response curves, phase response curves, etc. Few things arouse as much pas-

sion amongst audio engineers as discussions about what microphone to use in

a given application. Sound rental companies and recording studios proudly tout

their impressive microphone collections, and singers frequently favor a certain

brand and model number as “perfect for my voice.”

The only viable “please everyone” strategy is to stock a wide assortment of mi-

crophones. This is far easier for wired microphones than for wireless. Changing

a wired microphone is as simple as disconnecting one mic and connecting an

alternative — the same cable and same microphone stand allows easy inter-

changeability. At worst you might have to exchange microphone clips along with

the microphones themselves.

For wireless microphones, however, the situation is not so simple. With differ-

ent transmission frequencies, different proprietary designs, different types of

connectors (microphone to belt pack transmitter), and the matched-set nature

of transmitters and receivers, changing a microphone/transmitter is far more

complex.

Sabine has a better idea — Sabine’s proprietary Microphone SuperModelingTM.

With digital technology, it’s possible to start with the sonic signature of a high

quality microphone (such as Sabine’s standard condenser and dynamic capsules

used in our handheld series systems), and emulate the characteristics of other

popular microphones—all at the twist of a knob. You won’t have to change mi-

crophones, cables, connections, or receivers, interrupt a performance, or even

get up from your mixing chair! Best of all, you will have an instant answer to

a variety of demands from singers and speakers for their favorite microphone

— even if they pass the microphone around.

6.2. Emulation Choices

Each Sabine receiver comes equipped with 7 different SuperModel microphones

available per channel. Four of these (Shure SM-58, Shure Beta 58, Audio Tech-

nica ATM 41A, and AKG D-3800)* are designed for use with either of Sabine’s

dynamic handheld microphone/transmitters (SW60 or 70-H13 and H15). The

remaining three (Shure Beta 87A, AKG C535EB, and Audio Technica ATM 89R)*

are designed for use with Sabine’s condenser handheld microphone/transmitter

(SW60 or 70-H19). In addition to these SuperModeling choices, you may prefer

to use Sabine’s high quality microphones “just the way they are;” i.e., without

emulation.

Telemetry information sent by the handheld transmitter to the corresponding re-

ceiver (or receiver channel for a 2-channel unit) identiﬁes the type of transmitter,

and loads the appropriate emulation library. Note that beltpack transmitters also

send telemetry that turns off the Super Model option, as this feature is designed

to work only with handheld microphone/transmitters.

6.3. Mic Modeling Front Panel Control

Simply turn the parameter control labeled “Mic SuperModelingtm” to scroll through

and select the microphone you wish to emulate. The ﬁrst click of the knob will

show the current setting, without changing it; additional turns will change the

emulation that is active. The top text line of the Settings Display will read either

MICDYN (dynamic) or MICCON (condenser) depending on the telemetry infor-

mation sent by the handheld; the bottom line will display the microphone being

emulated. Note that one choice is to bypass modeling, and simply utilize the

excellent quality of the Sabine microphone capsules. In this case the bottom

text line will simply read OFF. Finally, whenever telemetry information indicates

that a belt pack transmitter is the RF source, or if a handheld transmitter is re-

placed by a belt pack with the same receiver (or some such other unpredictable

event transpires), the Settings Display will read MICMOD/OFF whenever the Mic

Modeling knob is turned.

Mic SuperModeling™

Sabine Mic SuperModelingTM

SuperModelingTM Dynamic Models*:

- Shure SM-58

- Shure Beta-58A

- AKG D-3800

- Audio-Technica ATM 41a

SuperModelingTM Condenser Models*:

- Shure Beta 87A

- AKG C535 EB

- Audio-Technica ATM 89R

- Crown CM200A

*Company names, product names, and

trademarks listed as modeled are the

property of their respective owners and are

used only to identify evaluated microphones

used to develop digital processing; they in

no way imply association, endorsement, or

approval by any named manufacturer.

27 Sabine Smart Spectrum® Wireless

LIT-SWM6-7000-OG-EN-090215.indd - rr

There are no modeling settings for lavalier or headset microphones — mic

placement makes these an unrealistic choice for modeling. NOTE: other lavalier

microphones can be used with the Sabine Beltpack Transmitter.

6.4. Future Microphone Modeling Choices

When Sabine adds to the library of “virtual microphones” that are modeled by

the receiver DSP, these will be made available as a ﬁrmware upgrade from the

Sabine web site, www.Sabine.com.

6.4.1. Mic Model Upgrade Instructions

New Mic SuperModelingtm “virtual microphones” can be

downloaded easily using the remote control software

on your PC. NOTE: The Mic SuperModeling Update

Wizard can be accessed only from the initial soft-

ware startup menu (prior to connecting to a receiver

or entering Demo/Edit Mode). If you have already con-

nected and attempt to access the Upgrade Wizard, the

message box at right will appear (Fig. 6b):

To download new mic models:

1. With your PC connected to the Internet, pull down the Sabine

Online menu in the software menu bar and select “Add New

Mic Models.”

2. Click the “Download Mic Models from Sabine” and follow the

dialog box instructions.

3. The last dialog box will allow you to either connect to a re-

ceiver and update the mic models on that receiver, or cancel

and complete the upgrade process at a later date. Note that

this dialog box will show the actual ﬁle path of the new mic

model ﬁle.

Upgrading from a disk or previously downloaded ﬁles:

Mic SuperModeling™ ﬁles already downloaded can be ﬂashed

into your receiver using the second option “Load Mic Models from

disk.” Clicking this button opens a dialog box (default directory is

your “Sabine” directory).

NOTE: File name will always be “micmodels.smm” and will in-

clude all mic models available up to the date the ﬁle was downloaded.

Mic SuperModeling™

Fig. 6b

Fig 6c

NOTE

A very short crossfade of the audio sig-

nal occurs when switching between mic

models. This ensures no digital artifacts

will occur when you change the sound

of the mic.

NOTE

Mic SuperModelingtm is not available using

beltpack transmitters.

CHANGING CAPSULES

Sabine’s Mic SuperModeling™ function

requires a baseline characteristic for the

capsule in use. Therefore, after changing

capsules, you will need to “tell” the trans-

mitter which capsule is now attached.

NOTE: this is only necessary when the

capsule is changed.

See Appendix G for instructions on how

to reset your transmitter after changing

capsules

Sabine Smart Spectrum® Wireless

FBX Feedback Exterminator

FBX SETUP NOTE

LCD “READY” Flashing

As you get close to the end of the setup

procedure, READY will begin to ﬂash on

the LCD. Stop raising the gain! The FBX

will now go into Ready Mode.

7. FBX FEEDBACK EXTERMINATOR®

SETUP Indicator

Fig. 7a

Fig. 7b: READY Indicator

NOTE: make sure READY is displayed before

using your system for a performance.

7.1. FBX Introduction

There are two types of FBX ﬁlters, ﬁxed and dynamic. Both operate automati-

cally. There is no audible difference between ﬁxed and dynamic ﬁlters in terms

of sonic purity; the difference arises in their application.

7.1.1. FBX Fixed Filters

Fixed ﬁlters are set automatically during the FBX SETUP and will not change

frequency until manually reset.

7.1.2. FBX Dynamic Filters

Dynamic FBX ﬁlters also set automatically, but can change frequency, on a

rotating basis, as the need arises.

7.1.3. Balancing Fixed & Dynamic Filters

Each channel of your receiver offers a total of 10 FBX ﬁlters (combined ﬁxed

and dynamic), which can be used as needed to exterminate feedback. The

default setting of 7 Fixed and 3 Dynamic can be changed to 8 Fixed and 2

Dynamic using the DIP switches on the back of your receiver (see Appendix

D FBX Conﬁguration DIP Switch), or to any conﬁguration using the Remote

Control software (see Section 13).

If you follow setup instructions for setting FBX ﬁlters, your receiver will auto-

matically exit SETUP mode (enter READY status) after all Fixed ﬁlters, and

the ﬁrst Dynamic ﬁlter, have set. In the default condition, this means you

will have set eight ﬁlters (seven Fixed and one Dynamic), with two Dynamic

ﬁlters still unset and remaining on standby alert. If you wish to set fewer

ﬁlters, press the READY button before SETUP automatically exits, after you

have set enough ﬁlters to safely achieve your desired gain level. In that

case, in the factory default condition, you will reserve three unset Dynamic

ﬁlters for standby.

7.1.4. FBX Filter Width

Sabine’s experience and testing with ﬁlters and sound quality along led us to

decide upon a default FBX ﬁlter width of .10 (one-tenth) octave as the optimal

notch width, able to eliminate feedback without affecting music programs.

If, with all ﬁlters properly set, feedback is still a problem, FBX ﬁlters may be

set to .20 (one-ﬁfth) octave width. This wider ﬁlter setting will help to better

eliminate feedback trouble areas, but may also affect music programs slightly.

Therefore, the wider setting is generally considered to be appropriate where

speech (less demanding than music) is the primary application of the Sabine

Wireless system. You can globally change FBX ﬁlter width by repositioning

a rear panel DIP switch, to change from .10 to .20 octave (see Appendix D

FBX Conﬁguration DIP Switch), or by adjusting ﬁlter width using the True

Mobility® Remote Software (which allows a range of widths from .01 to 1.0

octave). You may also mix ﬁlter widths, either by adjusting individual ﬁlter

widths using the Remote Software, or by changing the DIP switch position

during setup. The width of any set ﬁlter will always be determined by the

position of the switch at the time the ﬁlter is created.

7.2. FBX Set Up

Follow these easy steps to obtain the maximum gain and protection from

feedback. Sabine FBX employs a very fast and quiet setup mode to make it

easy to use.

1. Place the speakers in the positions where they will be used during the

program.

2. If there is any equipment with a noise gate in the signal path, you MUST

DISENGAGE the noise gate(s) prior to the setup procedure. You may

reengage these noise gates upon conclusion of your FBX setup.

3. Patch your Sabine receiver into the mixer or amp channel. Set the amp

master output gain to a normal operating position.

NOTE: The level of your power ampliﬁer should be set to a level that allows

a healthy gain structure prior to the ampliﬁer. If your ampliﬁer is turned up

29 Sabine Smart Spectrum® Wireless

LIT-SWM6-7000-OG-EN-090215.indd - rr

FBX Feedback Exterminator

Fig. 7c: READY Button

Tech Tip

READY & Locked Fixed

READY = Lock Fixed on other Sabine

FBX products

fully, and your mixer meters show little movement when signal passes through,

then your ampliﬁer will have to work harder to process the weak signal. You

will improve the performance of your sound system and lower system noise

by reducing the gain on your power amp and increasing your mixer gain. FBX

response time will also be better with proper gain structure.

4. First, turn on your receiver and select a clear channel (no RF Signal bars

showing). Then turn on your wireless transmitter or handheld microphone

and select the same channel, Now turn on the mixer (gain low), then any

other accessories, and ﬁnally the power amp. If you are using a graphic EQ,

adjust only for the desired tonal qualities, but do not notch for feedback!

5. With the microphone turned on, raise the Output Level of the receiver slowly

until a strong input signal at the mixer is apparent. The microphone should

now be audible.

6. Now you are ready to set FBX ﬁlters. Press and hold SETUP (far left button)

on the wireless receiver, until the word SETUP in the channel LCD ﬂashes

4 times, then stops ﬂashing. This will clear any FBX ﬁlters already in place.

NOTE: You should do this each time you move your sound system, change

a sound system component, or relocate your microphone. Your Sabine True

Mobility Wireless System will remember its settings from the last time you

turned the unit off.

7. During Setup mode, do not talk into the microphone or pass audio program

through a transmitter. This may cause the Sabine True Mobility™ system to

set inappropriate ﬁlters. The only appropriate use of the setup mode is to

create and ﬁlter feedback. SETUP must be exited prior to normal microphone

usage. This happens automatically after setting FBX ﬁlters, or you may exit

manually by pressing READY at any time.

8. Identify the primary usage positions, and likely feedback-prone locations, in the

potential movement range of the wireless microphone. Take the microphone

to the ﬁrst of these locations.

Fig. 7d:BYPASS Button

9. Slowly raise the mixer channel gain to the point of feedback — and then slowly beyond, until you hear the chirping tones

of feedback quickly being eliminated by FBX ﬁlters setting. Stop raising gain after 2 or 3 feedback tones have chirped and

corresponding FBX ﬁlters have set. Rest assured that any feedback that occurs will be at a quiet volume, and very short

in duration.

10. Move the microphone to another area of use and slowly raise gain until FBX eliminates a few more feedback tones (2 or

3). Repeat this step until the word Setup automatically disappears and the word READY appears. This indicates your unit

is ready for operation. The total number of ﬁlters available for feedback ﬁltering is 10; in the factory default setting, your unit

will automatically enter READY mode when the eighth ﬁlter is set. Alternatively, you may enter READY status with fewer

ﬁxed FBX ﬁlters in place, simply by pressing the READY button at any time. NOTE: Be sure that the word READY appears

in the FBX section of your receiver LCD during performance or any normal operation.

Any feedback that occurs after setup will be eliminated by dynamic ﬁlters, which remain in reserve to catch surprise feed-

back if it occurs during performance/operation.

In most instances you will experience an additional gain of 6-9 dB before feedback when using the Sabine True MobilityTM

System. Precise results will depend on system and acoustical considerations.

All ﬁxed ﬁlters in place will remain set until the Setup button is pushed and held as described in step 6. All dynamic ﬁlters

will remain in place until new feedback occurs (when they will move to the new frequency), or until the Setup button is

pushed and held. Your True Mobility receiver will remember its FBX (and all other) settings even if the power is turned off.

See Section 14 for a complete discussion of Sabine FBX Feedback Exterminators®.

7.2. FBX Bypass Button

The Bypass button bypasses only the FBX Section, and not the additional signal processing (Parametric Filters, Hi/Lo Cut, De-es-

sing and Compression) available in the Targeted Input Processing section of the Sabine True Mobility™ Wireless Receiver.

NOTE: You can easily bypass Compression signal processing by turning the Compressor Ratio knob counterclockwise until

you get to 1:1 ratio, and the De-esser signal processing by turning the De-esser knob clockwise until you get to 0 cut.

Sabine Smart Spectrum® Wireless

8. COMPRESSOR/LIMITER OPERATION

8.1. Basics of Compression

The dynamic range (how loud we can hear to how quiet a sound we can detect)

of the human ear is far greater than the capability of sound systems to repro-

duce. Although some of this equipment limitation is at the upper extreme of the

dynamic range (where too loud a signal will produce distortion), much of the

restriction occurs at the low level end, where the signal disappears below the

“noise ﬂoor” of the circuitry.

A compressor (or in its most powerful form, a limiter) is the most widely used tool

for controlling dynamic range. In the simplest terms, a compressor is designed

to squeeze the dynamic range of an audio program; i.e., to make quiet signals

louder, and loud signals quieter. A compressor becomes a limiter when the

compression ratio (the ratio of the input gain change to the output gain change)

is so high that the output level effectively won’t rise above a “brick wall” ceiling,

regardless of how much the input gain increases (typically a ratio of 10:1 and

greater).

A compressor acts like an “automatic mix engineer” with a hand on the fader and

an inhumanly fast reaction time. When the input level increases, the “engineer”

drops the fader; when the level decreases, the fader is raised. When the amount

of fader compensation equals the variation in signal level, the output level of the

audio program will sound consistent.

The practical beneﬁts of compression and limiting include:

1. Speaker protection. A compressor will control sudden level peaks and

prevent your speakers from damage. Most often in this type of application,

the compression ratio is high enough to qualify as a limiter.

2. Perceived increase in loudness. Because compressed peak levels are kept

from rising as high as uncompressed signals, you gain headroom for your

audio program and can raise its overall average gain. Compression is often

added to the entire audio mix, both in live sound and recording, to increase

its perceived loudness.

3. Achieving more consistent levels. For expressive instruments or vocals,

which may have a large dynamic range, compression can help maintain

more consistent mix levels. So a speaker who varies from a whisper to a

shout will not disappear or stand out in the mix, relative to other less dynamic

instruments or vocals. Vocal level variations are also common when multiple

users share a single microphone, due to differences in voice volumes and

mic-to-mouth positions from one user to another. Compression will help even

out such variations as well.

8.2. Using the Compressor

Compressor knobs are located immediately to the right of the FBX and De-Esser

controls. The controls consist of standard Ratio, Thresh (threshold) and Attack

knobs, and a horizontal gain ladder in the LED display shows compressor gain

reduction.

Ratio: Compression ratio is the ratio of the input gain change to the output gain

change. The compression ratio on your Sabine Wireless ranges from

1:1 to 19:1, in increments of 1 dB. Set Ratio to 1:1 to bypass Compres-

sor.

Thresh: Compression threshold sets the input level at which the compressor/

limiter begins to act on the signal. The input level threshold at which

compression is engaged can be adjusted from -30 dBv to 0 dBv, in

increments of 1 dBv.

Attack: Compressor attack time sets the speed with which signal compression

begins once an input signal exceeds the threshold level. The range

may be adjusted from 1 to 99 mS, in 1 mS increments.

Compressor Limiter

31 Sabine Smart Spectrum® Wireless

LIT-SWM6-7000-OG-EN-090215.indd - rr

Compressor Limiter

Gain: (Output Level) Since the output gain is attenuated whenever the input

gain exceeds the compression threshold, the overall output level of a

compressed signal will be reduced. Commonly, this reduced output gain

is compensated for by raising the level of the output signal (the term is

“gain make-up”). Output Level range may be adjusted from mute (minus

inﬁnity) up to +20 dB, in increments of 1 dB (depending on input).

8.3. Suggested Compression Settings

8.3.1. Vocal Settings

The renowned expressiveness of the human voice is due in large part to its

dynamics. A vocal that varies from a whisper to a scream has a strong emotional

impact, but those same dynamics present a challenge to the sound engineer.

Ideal vocal compression maintains some dynamic range while keeping the

vocal the focal point of the mix.

Ratio: A soft voice might require a ratio of 2:1, whereas a loud voice might

require a ratio setting of 6:1.

Thresh: The higher the threshold setting, the more signal is required to initi-

ate compression. Ideally this should be set to reign in peak levels,

and allow signals of lower gain to pass uncompressed. Threshold

settings will depend on the nature and variety of the signal source.

Strong vocalists will require a different threshold than quiet speak-

ers or singers.

Attack: Short attack times usually work well for voice. However, too strong

a compression ratio, too low a threshold, and too fast an attack may

attenuate speech consonants, which provide important intelligibility

cues to the audience, thus compromising clarity.

8.3.2. Guitar Settings

Ratio: A high compression ratio (with gain makeup) will add sustain to

held notes and chords.

Thresh: Moving the threshold will change the audible thick/thinness of

the guitar tone, but generally you want to compress all the notes

played.

Attack: Be wary of too quick an attack, which may reduce the percussive

attack of the guitar notes.

In general, be wary of too much gain makeup, and too high a compression ratio,

which may make a noisy guitar ampliﬁer more objectionable. Ratio settings might

range from 6 to 20:1, threshold variable, slower attack, soft knee, output gain

boosted slightly to signiﬁcantly depending on amount of compression.

8.3.3. Bass Guitar Settings

Bass players use a variety of techniques, often in the same song, that can

beneﬁt from compression. Compressing bass evens out peaks and keeps the

bass level in the mix.

Ratio: Set to 4:1

Thresh: Set to compress peaks only

Attack: Quick attack, medium release, hard knee (try various release set-

tings, depending on the speed of notes played)

Gain: Output boosted slightly

ratio

thrEsh

attaCk

ratio

thrEsh

attaCk

Vocals

Short attack is better for vocals. Be careful not

to over attenuate speech consonants.

Soft voice Loud voice

Guitar

Less Sustain More Sustain

Thinner sound Thicker sound

Be wary of too quick an attack, which may re-

duce the percussive attack of the guitar notes.

Sabine Smart Spectrum® Wireless

8.4. Possible Compression Trouble Areas

Like any signal processing, compression can be misused, and improper appli-

cation may cause undesirable side effects in the audio signal. Some of these

problems include:

1. Noise. If the threshold for compression is set too low, and the output gain is

raised substantially to make up for the gain loss of compression, the resulting

output signal can be noisy. This is because the overall signal must be raised

signiﬁcantly to produce the same audible level, and the noise ﬂoor of your

equipment will be ampliﬁed unnecessarily. This problem will be exagger-

ated if the input signal level to the compressor is very low (which will already

degrade the signal-to-noise ratio).

2. Breathing. In situations where the compression ratio is high, the threshold

is low, and the release time of the compressor is short, the noise ﬂoor will

modulate up and down as the audio signal rises above and falls below the

threshold.

3. Over-compression. Applying too much compression to a mix can sometimes

result in such evened-out dynamics that the “life” of the music or speech has

been removed or curtailed. Dynamic variation may be a major component of

a performer’s message and command of the audience; don’t remove dynam-

ics, just control them. This may be particularly true for percussive musical

instruments such as drums.

8.5. Release & Knee Settings

Two other important compressor variables are release time and knee. Release

time adjusts the speed with which compression stops and output gain returns to

unity with input gain, once the input signal falls below the compression threshold.

Knee refers to the degree with which the full ratio of compression is imposed once

the input level threshold is approached and exceeded. A “hard knee” changes

from no compression to maximum compression exactly and immediately at the

threshold crossing; a “soft knee” gradually imposes the full compression ratio as

the input gain approaches and exceeds the threshold. In Sabine products, the

“softness” of a knee can vary from 1-40, with the higher level representing the

“softest” character. In such a setting, slight compression will begin well below

the compression threshold, increase as the input gain crosses the threshold,

and reach full compression well above the nominal threshold.

Values for release time and knee are set at the factory: default release time is

250 mSec, and the default knee setting is a “soft” setting of 20. These defaults

can be temporarily changed or reprogrammed using the Sabine True MobilityTM

Remote Software (see Section 13 for details).

Compressor Limiter

33 Sabine Smart Spectrum® Wireless

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9. DE-ESSER

9.1. De-mystifying De-essers

Certain consonant sounds produced by the human voice contain more energy

than others, and have the potential to overload a microphone capsule. This

can produce a disproportionately harsh result when ampliﬁed through a sound

system, and/or recorded to analog or digital storage media. The most common

and obvious of these sounds (in English and many languages) is the “ssss”

sound, associated with pronunciation of both “s” and soft “c” consonants, also the

consonants “t,” “f,” “x” and sometimes “d.” The technical term for this particular

vocal sound is “sibilance,” and the devices that control such sounds are typically

called “de-essers” (or sometimes sibilance controllers). The frequency range of

sibilance will vary depending on the singer/speaker, the consonant involved, the

orientation to the microphone, the microphone itself, and the normal variations

in human vocalization. Cardioid- pattern condenser microphones are especially

susceptible to sibilance problems, but the problem can also occur with other types

and patterns of microphones. The range of frequencies affected by sibilance

starts above 2 KHz, and generally tapers off above 10 KHz; in other words,

sibilance is primarily a problem associated with higher frequencies (though not

the upper octave of human hearing).

9.2. The Sabine De-esser

The Sabine De-esser is essentially a type of frequency-band compressor, active

in the 2-10 KHz range, and inactive below 2KHz and above 10 KHz. Sabine’s al-

gorithm works by dynamically comparing band-speciﬁc and associated harmonic

energy levels to the total signal energy. When spikes are detected that correspond

to sibilance, a shelving ﬁlter is imposed on the appropriate frequency bands, and

remains in place only for the duration of the sibilance. High frequency energy

levels that remain below the comparison threshold do not trigger de-essing, and

lows and highs outside the sibilance range are also passed unprocessed and

unaffected. This means the Sabine De-esser is effective but transparent.

9.3. Using the De-esser

Using the Sabine De-esser is simplicity itself. Turning the knob labeled “DE-

ESS CUT” counterclockwise will increase the amount of sibilance reduction, by

increasing the maximum depth of the shelving ﬁlter. The maximum allowable

cut is 24 dB.

Fig. 9a: De-esser

De-esser

Sabine Smart Spectrum® Wireless

Fig. 10e: Program PRESET LOADED

10. PROGRAM SAVE & RECALL

Most wireless microphone systems provide control of one or two settings (RF

channel and maybe gain). With so little to remember, the ability to save and recall

system settings has not been necessary. With the Sabine Smart Spectrum®

series, however, you get a very sophisticated processor with a variety of adjust-

able parameters. The ability to save and recall your carefully programmed setups

can be a tremendous time-saver. Your Sabine receiver allows you to store and

recall up to 10 different presets.

10.1. Saving a Preset

To save a program, press the SELECT button. The last preset used (numbered

01 - 10) will be shown in the LCD Display (see Fig. 10b). If you want to replace

an existing program, press SELECT until you reach that program’s number. Then

press the SAVE button. The function display will show “YES?”. If you are ready to

save, immediately press the SAVE button again, and your settings will be saved

to that program number. The message PRESET SAVED will be shown for four

seconds in the text display to conﬁrm this action, as the LCD Display continues

to show the number (01-10) of the preset (see Fig. 10c). After four seconds, the

LCD Display will revert to an indication of the RF channel.

10.2. Loading a Preset

Loading a program is just as easy. Press SELECT until you locate the program

number you wish to load. Press LOAD. The function display will show “LOAD

YES?” (see Fig. 10d). Immediately press the LOAD button again and your new

program, including all the parameters, will be loaded for that channel. The mes-

sage PRESET LOADED will appear in conﬁrmation (see Fig. 10e).

10.3. Naming a Preset

Presets, channels and receivers can be named using the Sabine True Mobility

Remote Software. Refer to Section 13 for details.

10.4. Power Off Memory

The receiver retains in memory all settings in effect at the time of being powered

off, and returns to those settings when powered on.

Program Save & Recall

Fig. 10a: Program Front Panel Buttons

Fig. 10b: Program SAVE YES?

Fig. 10d: Program LOAD YES?

Fig. 10c: Program PRESET SAVED

PRESET NOTES

1. Preset 01 is the System Default (SYSDEF on the front panel) and you cannot

save a preset here. Load this setting when you want to return the receiver to the

factory default settings.

2. Preset names will appear on the LCD only after you name the preset using the

remote control software.

35 Sabine Smart Spectrum® Wireless

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11. MULTIPLE SYSTEMS OPERATION

11.1. Overview

In many circumstances a single wireless microphone system is all that will be

in use at any one time. Larger applications (church, concert hall, theater stage,

conference room, etc), however, can often require a large array of wireless mi-

crophones, all demanding ﬂawless uninterrupted simultaneous operation.

Multiple system operation presents at least two important operational challenges:

interference among transmission channels, and setup complexity. Sabine Smart

Spectrum provides powerful solutions to both, particularly the interference

problems associated with two or more RF channels at work at the same time,

at the same location.

11.1.1. Multiple System Interference

Sabine Wireless addresses multiple system interference with two strategies.

First, greater available bandwidth in the 2.4 GHz and 915 MHz ranges means

more channels can occupy the band, i.e., the expanded range can be divided

into a greater number of separate transmission/reception bands. Second,

with Smart Spectrum transmission and reception, channels are more tolerant

of interference. The net result is that Sabine Wirelss offers the potential for

many more simultaneous transmission channels than conventional UHF or

VHF systems.

While such performance beneﬁts are one of the major advantages of the

SWM, more systems working at the same time leads to a greater potential for

complexity. Fortunately, the SWM6000 and 7000 also offer tools to simplify

setup and operation.

11.1.2. Setup Complexity

Multiple wireless systems in a large installation are of course more compli-

cated than a single transmitter/receiver. More space is needed, and the sheer

quantity of transmitters and receivers that may be in use at a single installation

can prove difﬁcult to manage. The SWM series helps manage such potential

complexity with four strategies and/or system accessories:

1. First, the dual channel receivers (SW72 and SW62) receivers offer a 50%

space-saving advantage with 2-channel receivers that occupy the same 1U

space as single channel receivers. Each channel in a 2-channel system

shares the true diversity operation of the two antennas connected to the

single receiver chassis.

2. Second, the optional SWA6SS (six-system antenna distribution ampliﬁer)

greatly reduces the complexities of multiple receiver antenna deployment.

Since each receiver has two (diversity) antennas, which can be mounted

on either the rear or front panel, multiple receivers at one location can

potentially create a forest of antennas protruding from the front or back

of a rack. The SWA6SS Antenna Distributor reduces the number of

antennas to as few as 1/6 what would otherwise be needed. An added

important advantage of using the SWA6SS is its distributed signal boost

provided to all the antenna outputs, delivered while maintaining diversity

in all attached reception channels.

3. Third, large installations often entail long distances from transmitters

to receivers, or the presence of obstacles (walls, for example) in the

transmission path that can interfere with clear reception. While the

SWM Series series are designed to minimize these kinds of problems

without accessories, the SWASS-EXT (set of two extension antennas,

shown in ﬁgure 12b on page 38) may prove helpful or even necessary

in some situations. In addition to providing remote and/or desirable low

proﬁle positioning with improved reception, the SWASS-EXT also adds

signiﬁcant gain for even more reliable system performance. The Exten-

sion Antenna and Distribution Ampliﬁer components are also designed to

operate in tandem, with the Extension Antenna plugged directly into the

amp, which can then feed (via cable) the antenna inputs of 6 receivers.

A combination of 2-channel receivers, a set (2 pieces) of SWASS-EXT,

and one SWA6SS, would reduce the antenna clutter of 12 transmission

Multiple Systems Operation

Sabine Smart Spectrum® Wireless

channels to a single pair of extension antennas. See Section 12 for more

information about setup and use of the SWASS-EXT.

4. Fourth, software control for the ND series receivers allows up to 70 re-

ceiver channels to be controlled from a single computer. This quick and

powerful control methodology means you can monitor and change trans-

mission channels, mic modeling, compression and de-essing — in short,

all front panel controls — from a remote laptop or desktop. In addition to

simplifying multiple unit operation with remote front panel controls, the

remote software provides additional features and functions not available

from front panel control. See Section 13 for more information about setup

and use of the Remote Software.

11.2. Antenna Distribution Ampliﬁer

Sabine’s optional accessory SWA6SS Antenna Distribution Ampliﬁer is ideal for

simplifying antenna set up when multiple receivers are used, by using a single

pair of antennas to replace pairs for up to 6 different receivers. Standard equip-

ment packed with each Antenna Distributor includes an AC power cable, and 6

pairs of 1-meter long jumper cables (RG-58 AU foam core) for connecting the

Antenna Distributor to receivers (2 cables provide true diversity reception to

each receiver).

For best results, the Antenna Distribution Ampliﬁer should be positioned close

enough to the receivers to minimize cable runs. In most applications, you can

use the standard Sabine 2.4 GHz or 915 MHz antennas supplied with any of

the receivers to connect to the terminals on the Antenna Distributor, and then

connect (in matching pairs) the jumpers to all your receiver antenna connections

(up to 6 receivers, 1 pair per receiver).

Care should be exercised when using longer cables, due to possible transmis-

sion signal loss (approximately 1.7 dB/meter). Using the “rule-of-thumb” that a

signal loss no greater than 6 dB will prove acceptable in many circumstances,

you may be able to use RG-58 cable up to 3 meters or so in length. However,

a better strategy than moving the Antenna Distributor to a better position, and

risking excessive transmission loss back to the receivers or requiring an up-

grade to more expensive cable, is to utilize a pair of Sabine Extension Antennas

(SWASS-EXT). These will connect to the antenna inputs of the Antenna Distri-

bution Ampliﬁer, and offer increased range, better rear-source RF rejection, an

expanded 135 degree forward sensitivity, ﬂexible mounting options, and signal

boost (see Section 12).

For more details regarding speciﬁcations and operation of the SWA6SS An-

tenna Distribution Ampliﬁer, please refer to the operating guide included with

that product.

Multiple Systems Operation

37 Sabine Smart Spectrum® Wireless

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11.3. Antenna Distribution Ampliﬁer Connection

Multiple Systems Operation

Fig. 12a: SWA6SS Antenna Distribution Amp Back Panel

To Extension Anten-

nas

Antenna 1

RF Output 2 RF Output 1

SWA6SS

Antenna

Distribution

Ampliﬁers

SWM

Series

Receivers

Antenna 2

IMPORTANT

Antenna Cabling Impedence

must be 50 Ohm.

! !

IMPORTANT

Active Electronics Antenna

Sabine wireless receivers provide

antennas with active electronics. The

inputs to the receiver & antenna dis-

tributor ampliﬁer have phantom ower

available for this purpose.

DO NOT SHORT TO GROUND

! !

Connect receiver Antenna 1 input to any RF

Output 1 connector on the SWA6SS.

Connect any receiver Antenna 2 to any RF

Output 2 connector on the SWA6SS.

Continue with remaining receivers

Antenna Distribution

Ampliﬁer (SWA6SS)

Receiver

Antenna Distribution

Ampliﬁer (SWA6SS)

Receiver

Sabine Smart Spectrum® Wireless

12. EXTENSION ANTENNAS

12.1. Overview

Sabine’s receivers are designed for easy interface with Sabine’s SWASS-EXT

Extension Antenna Kit (ﬁgure 12b). This triangular, attractive wood-grained unit is

designed to mount easily and unobtrusively on a wall (allowing either a through-

the-wall or out-the-bottom connection), or (by threading) atop a microphone stand

for a more portable or temporary positioning. Each package contains 2 Exten-

sion Antennas, all necessary mounting hardware (screws and mic stand thread

connectors) and both right-angle and straight connectors for mating with RG-58

cable (for connections to a receiver or Antenna Distribution Ampliﬁer).

12.2. Antenna Cabling & Cable Loss

While an extension antenna affords the opportunity to increase the distance from

transmitter to receiver, there is a loss of signal in the interconnecting cable that

limits that distance. The maximum connection length is determined by the type

of cable used, and the degree of signal attenuation acceptable.

Sabine’s Active Extension Antenna allows for a cost-effective way of boosting

signal levels due to its built-in active switchable (+22 or +44) signal boost. In the

case of low-cost RG-58 cable, adding an SWASS-EXT to your setup increases

the acceptable maximum cable run by more than 4 times, to 14 meters. With

RG-8 cable, the maximum length is extended to 88 meters.

Extension Antennas

Fig. 12b SWASS-EXT Mic-stand mount and

wall-mount extension antennas

RG58 9203 Polyethylene #20 Stranded -16.29 14 TNC

RG58/AU 9311 Foam Polyethylene #20 Stranded -11.10 20 TNC

RG212/U 9861 Polyethylene #15.5 solid, -6.11 36 N

Silver Plated

RG8/U 9913 Semi-solid Polyethylene #10 Solid -2.50 88 N

RG142 83242 Teﬂon #18 Solid, -6.54 34 TNC

Silver Plated

Coaxial Cable Attenuation Table - 2.4 GHz

Fig. 12c Coaxial Cable Attenuation Table

10 Meter

Attenuation

(dB)

Maximum Prac-

tical

Distance Using

SWASS-EXT

set for +22 dB

boost (meters)

Cable

Type Belden # Insulation

Center Con-

ductor

Connector

Type

IMPORTANT

Antenna Cabling Impedance

must be 50 Ohm.

! !

Power for the Extension Antenna is delivered from any Sabine SWM series

receiver or SWA6SS Antenna Distribution Ampliﬁer (see Section 11).

An additional advantage of using Sabine’s SWASS-EXT Extension Antenna

stems from its more focused, directional nature. Sabine receiver’s coaxial dipole

antennas (standard equipment that mount directly on the front or rear panels of

the receiver or SWA6SS) are more omni directional in nature. In contrast, the

Sabine’s Extension Antenna is sensitive to RF reception in a 135-degree arc in

front of its mounted position. It extends sensitivity to the front and off-axis side

locations as it increases rear RF rejection.

NOTE: The higher boost level (+44 dB) is only recommended for very long cable

runs - at least 50 meters, or you have more than a 12 dB of cable loss. Using

this setting without that much cable loss can cause a signal overload and poor

RF performance.

The multiple functions (relocation of antenna, boost of signal, directional sensitiv-

ity) of Sabine’s Extension Antenna mean there are many applications in which

its addition to your system can greatly enhance performance. Here’s a short list

of such applications and operating instructions:

Need 915 MHz chart here, too.

39 Sabine Smart Spectrum® Wireless

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1. Antenna Repositioning. Provides solutions when receiver placement

options are limited or challenging. Sabine’s Extension Antenna’s multiple

mounting options allow higher placement (wall mount or microphone stand

mount).

2. Barriers interrupting transmission. Anytime a barrier interferes with

transmission and reception, Sabine’s SWASS-EXT can be mounted on the

transmitter side of the barrier with cable connections made on the receiver

side. Perhaps the most common situation of this nature would arise when

receiver and transmitter are located in separate rooms.

3. Expanded or directional sensitivity required. Sabine’s Extension Antenna

picks up in a 135-degree arc, focused towards the front. Reception in this

arc is enhanced.

4. Rear RF rejection required. Because Sabine’s Extension Antenna is less

sensitive to signals received from the rear, it can be positioned to reject any

such directional RF interference.

5. Extended operational range. Given a potential maximum cable length of

almost 90 meters from Extension Antenna to receiver, Sabine’s SWASS-

EXT allows more options for extending the distance between transmitter

and receiver. (The typical range of Sabine Wireless without the Extension

Antenna is already 100 meters in typical circumstances). Consider that RF

signal strength through the air is diminished by the square of the distance

(twice as far away = ¼ the signal strength), while signal loss through cable

is (roughly) inversely proportional (twice as far away = ½ the signal). That

means you can use an extension antenna to replace transmission-through-air

with transmission-through-cable, to help minimize signal loss.

6. Placing extension antennas. The assymetrical pattern of each antenna

helps reduce the chance for a null spot in your room. You may use either

antenna on the left or right side of your performance space. When you mount

the extension antennas on a stand or on a wall, make sure the short end of

the triangle is up.

7. In order for the system to be effective, both extension antennas should be

in a good pickup position at all times but separated by about ten or ﬁfteen

feet if the antennas are within 100 or so feet.

8. If you put the antennas too far apart, i.e., at opposite ends of the room, or

in separate rooms, to improve coverage, diversity is defeated and you will

get dropouts. In other words, diversity is more important that coverage. If

you mount the extension antennas in the ceiling, the antennas metallic

backplane must be orientated parallel to the ﬂoor and the antennas must not

be blocked by pillars, lights or similar obstructions. Aim the hole in the plastic

cover toward the podium.

9. Do not daisy-chain extension antennas together in series. Receivers and

the antenna distribution amp are only designed to use one left and one right

antenna.

10. Extension Antenna Cables: Use coax cable to connect the extension

antennas to the receiver or to the ADA. See the chart on the previous page

for cable speciﬁcations. Use the SWATNC-N step-down cable to connect

thicker RG8 cables to the extension antenna.

11. The SWASS-EXT extension antennas add either 22 or 44 dB signal strength

to overcome cable loss. Bad crimp connections are a common cause of

dropouts. Check them carefully!

Extension Antennas

IMPORTANT

Active Electronics Antenna

Sabine wireless receivers provide

antennas with active electronics. The

inputs to the receiver & antenna dis-

tributor ampliﬁer have phantom power

available for this purpose.

The red LED on the inside of the an-

tenna cover indicates phantom power

(3V) is good.

DO NOT SHORT TO GROUND

! !

The SWASS-EXT features:

• Wall or mic-stand mount

• Straight and right angle TNC

connectors

• 135 degree reception pat-

tern

• +22 or +44 dB boost in RF

• Matched pairs

• Wood-tone ﬁnish

• Phantom-powered from either

the receiver or the distribution

Sabine Smart Spectrum® Wireless

13. REMOTE CONTROL OPERATION

13.1. Overview

In many circumstances you will adjust and control your Sabine wireless micro-

phone system using the front panel controls, as outlined in previous sections of

this operating guide. In circumstances where an enhanced level of control over

a single receiver is desired, or to enable simultaneous computer-based control

of multiple receivers, you will need to install (on either a laptop or desktop com-

puter) the free Sabine SWM Remote Control Software included with your system.

Only receivers may be remotely controlled; handheld and belt pack transmitters

cannot be remotely controlled.

For online instructions for any function in the software, you may also refer to

the Help menu.

13.1.1. Single vs. Multiple Receiver Control

All series receivers have an RS-232 9-pin serial COMM Port and a USB port.

Thus, any single receiver can be controlled remotely. Control over multiple receiv-

ers from a single computer is possible only with ND-series receivers (SW62 and

72-NDR). These units have additional RS-485 network connections (RJ-45 jacks)

for daisy-chain connection from one receiver to the next. Up to 35 receivers (70

transmission channels if all receivers are 2-channel) may be connected in this

network, all under the control of a single computer. Single- and dual-channel

receivers can be mixed in the same network. The ﬁrst receiver in such a network

can be connected to the computer via an RS-232 9-pin serial cable or USB cable.

The remaining units connect via an RS-485 cable.

NOTE: It is not possible to upgrade/retroﬁt a standard receiver to make it an

ND-series unit.

13.1.2 Features & Controls Added Software

All front panel controls and displays are duplicated in the software. In addition,

a deeper level of software control over receiver operation is enabled. These

new controls are complete and independent for each transmission/reception

channel, meaning there are two sets of controls for dual channel receivers.

These controls and displays include:

• Parametric ﬁlter access and control. FBX ﬁlters can be changed to

parametric ﬁlters, and their width, depth, and frequency can be adjusted.

Changes can be made at any time, both before and after FBX ﬁlters have

been set. Parametric and FBX ﬁlters can be mixed in any combination,

totaling 10 for each receiver channel.

• Adjustable FBX parameter control. Maximum depth of FBX ﬁlters can

be adjusted globally; ﬁlter width can be adjusted globally or individually.

Two controls, Sensitivity and Persistence, can be tweaked to tailor the

operation of automatic FBX ﬁlter placement to match the audio program.

Proper settings will optimize the balance between false ﬁltering and de-

layed response to feedback (the factory default settings should operate

excellently in the vast majority of conditions and may never need to be

changed).

• Control over balance of FBX Fixed and Dynamic ﬁlters. Any FBX

ﬁlter can be set to be either ﬁxed or dynamic.

• Adjustable high and low cut ﬁlters. (Software only) High Cut Filter, user

controllable between 3 KHz and 20 KHz, 12 dB/octave roll-off; Low Cut

Filter user controllable between 20 Hz and 1 KHz, 12 dB/octave roll-off.

• Additional compressor controls. Aside from adjustments for ratio,

threshold, and attack (which duplicate front panel controls), the Remote

Software provides control of compressor release time and knee. The

effect of compression on the output signal as a function of input signal

strength and parameter settings is displayed in Sabine’s unique dynamic

ColorComp graph, in addition to the traditional opposing-meter indica-

tors.

Remote Control Operation

NOTE: Only -NDR receivers have

a USB port. You can use a USB to

RS-232 9-pin adaptor for the standard

units if you need to use USB. Go to

Sabine.com for a list of suggested

adapters.

Is this still true?

41 Sabine Smart Spectrum® Wireless

LIT-SWM6-7000-OG-EN-090215.indd - rr

• RF Scan and Report, which measures strength for each of the 70 trans-

mission channels, and displays a hierarchical ordering of the clearest,

strongest channels to use during system setup and operation. You can

print a copy of the scan results.

• Additional memory options. In addition to saving presets in receiver

memory, channel conﬁguration settings can be saved to and recalled from

disc or hard drive. All parameter settings made with the remote control,

including adjustments that are not accessible from front panel controls

(e.g., compressor knee and release), are saved with presets. All software

settings stored for each of the 10 presets, including settings not accessible

from the front panel, will be loaded whether presets are recalled by remote

control or from the front panel. Note that all settings made in Off-line/Edit

mode can be saved and applied in online operation.

• Ability to print a report of all parameter settings, creating hard copy

documentation.

• A receiver channel output mute button.

• The ability to custom name each RF channel and receiver. This name

will be displayed in the software only.

• Display of important transmitter status information. In addition to

duplicating the battery charge status, battery warning message, and

transmitter on/off/mute status from the front panel display, the Remote

Software displays the number of hours the battery has been in use, the

frequency midpoint (in GHz) of the transmission channel chosen, the

transmitter pad and low cut ﬁlter settings, and a warning indication in the

case of low RF signal strength. For handheld transmitters, the software

display also shows the type of mic capsule in use.

• Improved and expanded operational displays. In addition to organizing

all front panel displays on a single computer screen, the Remote Software

also displays the exact frequency, width, and depth of FBX ﬁlters. The

frequency response curve resulting from combined ﬁlter settings (includ-

ing FBX, parametric, and high and low cut) is graphically displayed in the

software. Frequency response changes imposed by choosing various

microphone models are also shown.

• Customizable front panel lock settings. Software control allows you

to program selective access to front panel controls to be made available

once the Remote Control is disconnected. Customizable front panel lock

settings are saved and recalled as part of each receiver’s settings. All

software-only accessible settings are saved with presets. Careful program-

ming enables some powerful operational features — for example, locking

Program Save but enabling other front panel controls (including Program

Load) will let front panel users update settings temporarily, yet reload the

original settings at the push of a button. Such a temporary adjustment

would not permanently alter a setup designed to work in most situations,

but would allow tweaking to address unusual situations.

Remote Control Operation

WARNING:

BEFORE DISCONNECTING RECEIVER FROM COMPUTER

Quit all SWM Software functions and close software BEFORE disconnecting the receiver connection to you computer.

Failure to do this may cause the receiver to lock up. In case of receiver lock up, restart receiver.

Sabine Smart Spectrum® Wireless

13.1.3. Software Multiple Unit Control

The true extent of the power of the SWM Remote Software is realized when it

is used to control multiple wireless receivers. When ND-series receivers are

connected in a network, the additional controls offered by the Remote Software

over the entire system include:

• Simultaneous multiple channel/system monitoring. The Remote Soft-

ware “All Channel View” (ﬁgure 13h) shows all important status conditions

for up to 70 transmission channels. Color-coded warnings and alerts draw

attention to potential problems.

• Detailed, quick access to a single set of controls. The “Command

View” (ﬁgure 13c) displays comprehensive information about a single

selected RF channel, and easy adjustment of all its controls. Channels

are selected by clicking the appropriate All Channel View button. (NOTE:

Each channel display in the All Channel View also allows quick access

to parameter adjustments, by using the right mouse button to popup a

parameter control menu.)

• Quick, interactive control of wireless network channels. All or selected

parameter settings for a given channel can be copied to one or more ad-

ditional channels, using the Copy Parameters option.

13.2. Software Installation

13.2.1. Requirements & Recommendations

• PC Minimum Requirements: Pentium 266 MHZ CPU or AMD Duron

CPU; 128 Megabytes of RAM; 20 Megabytes free space on hard drive;

Windows 95 or higher.

• PC Recommended Requirements: Pentium 1.0 GHZ CPU or AMD

Athlon CPU; 512 Megabytes of RAM; 20 Megabytes free space on hard

drive; Windows 2000 or XP.

• SVGA or greater resolution graphic card and monitor. Recommended

minimum monitor resolution: 1024 x 768 pixels (or 800 x 600 pixels for 15

inch monitors). Select “small fonts” and 16 bit color as defaults for monitor

display. Windows XP users select 96 dpi screen settings.

• USB or Serial COMM Port.

13.2.2. Connections

There are three types of connections that are used in a remote controlled one-

or two-channel Sabine system:

• Serial port (RS-232 9-pin): Use this to connect to a single receiver, or

the ﬁrst receiver in a network (multiple receivers). Be sure to use a cable

with standard 9-pin D-connectors (male on one end, female on the other)

that is a “serial,” not a “null modem” cable.

• USB: Use this to connect to a single receiver, or the ﬁrst receiver in a

network (multiple receivers).

NOTE: Some receivers may not have a USB port. In this case, simply use

a USB to RS-232 9-pin adaptor. Go to Sabine.com for a list of suggested

adapters.

• Network (multiple -ND series receivers):

1. Connect the ﬁrst receiver in your network to the PC using a USB cable

or an RS-232 Serial Cable (not supplied).

2. Connect all other receivers as a chain using RS-485 (or standard

Ethernet) cables. There are two such jacks on the back of all ND-series

receivers. Either jack can connect to another receiver either “upstream”

or “downstream” from the computer remote control. As signals travel in

both directions (from computer to receiver and back), it is not necessary

to connect the last receiver in a network back to the computer (you do

not need to make a “loop”).

Remote Control Operation

USB DRIVERS

Your USB-enabled receiver requires ver-

sion 2.0 or above software. Installing this

software also installs the necessary USB

drivers onto your computer. If at any time

you need to re-install USB drivers, use the

software CD supplied with your receiver, or

download them from Sabine.com.

NETWORK

CABLE CONNECTIONS

Connect the ﬁrst receiver of a network

using a USB or RS-232 9-pin connection.

All subsequent receivers connect to each

other via RS-485 connection.

UP: All but the first

receiver connected to

a network.

DOWN: First receiver

connected to the net-

work.

NETWORK

DIP SWITCH SETTINGS

See page 55 for a chart of all

DIP switch settings.

43 Sabine Smart Spectrum® Wireless

LIT-SWM6-7000-OG-EN-090215.indd - rr

3. IMPORTANT: Set dip switch #7 on the back of the ﬁrst receiver to the

“OFF” (down) position (default). Set dip switch #7 on all other networked

receivers to the “ON” (up) position.

4. When all cable connections have been made, open the SWM Remote

Control Software program on your PC. The software will ﬁnd all the re-

ceivers in the network and show them in a dialog box (receiver sequence

can be reordered). Click “Accept” to control the network. NOTE: Up to 35

2-channel (or 1-channel, or any combination thereof) receivers – totalling

up to 70 transmission channels – can be connected in a single network

to a single PC.

13.2.3. Installing the Software

Follow these simple instructions for installing the Sabine SWM Remote Soft-

ware on your computer:

1. Insert the Sabine software CD into your PC’s CD ROM drive and wait a

few seconds for the auto-start software installer to open.

2. Select the SWM Remote Control Software installation icon and follow the

instructions given in the dialog boxes that appear. NOTE: For best results,

allow the installation program to install the software within the default

directories.

13.3. Launching the software

Launching the software produces the Startup Screen (Fig. 13a).

13.3.1. Off-Line Edit/Demo

Clicking the right button (“Off-Line Edit/Demo”) will open the main software

screen regardless of whether any SWM receivers are connected. The software

functions in Off-Line mode are completely programmable, and may be saved

and downloaded to a connected receiver at a later time. Display settings

(e.g., level, compression, transmitter settings) which are dependent on the

presence of actual signal are simulated, for demonstration only. You may turn

the simulated displays on or off using the OPTIONS menu.

13.3.2. Connecting Receivers.

Comm Port: Select the Comm port you are using to connect the receiver(s).

Connect Receiver: Select this and the software will poll the bus on the desig-

nated COMM Port to detect connected, powered-on receivers. If no receivers

are detected, you may change the designated COMM Port by clicking the appro-

priate button. If this also proves ineffective, check your cables and connections,

and make sure the connected receivers are powered on. In very rare instances

you may need to reset your COMM Port settings on your computer.

Once polling is completed, the software will display all the receivers detected,

in sequence, and the model of each receiver (ND series or standard, 1 or 2-

channel). (See ﬁgure 13b for a sample opening display)

You may re-order the receivers here. When multiple receivers are connected a

numeric ﬁeld appears above each one. Enter the new order values and select

“Re-Order.” You may also verify your receiver selections by clicking on the icons

above each receiver. The corresponding receiver’s front panel will ﬂash.

Once you conﬁrm that the information reported is correct, choose “Accept” to

proceed to the main screen, where you may begin remote control operation.

Fig. 13a Control Software Startup window

Remote Control Operation

Fig. 13b - Connection Screen

How many channels for 6000?

SABINE SW65 UHF BELTPACK TRANSMITTER User Manual 2

Sabine, Inc. UHF BELTPACK TRANSMITTER Users Manual 2

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