 What
is expected delivery on the various models of the FT DX 9000 Series?
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All versions of the FT DX 9000 are available now.
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How
do I arrange customization of my Contest version? |
Soon after you have completed the purchase transaction for the
mainframe FT DX 9000 Contest via your favorite Dealer, you will
receive a telephone call from Vertex Standard to arrange the exact
line-up of accessories (such as the µ-Tune or Data Management Units,
etc.), and these will be billed as a direct transaction between you
and Vertex Standard. We will then custom-install the accessory or
accessories for you, perform all required alignment and performance
verification steps, and ship the unit out to you directly from our
facility in Cypress, California.
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What
is the purpose of the Audio Scope on the "Oscilloscope" page of the
TFT display of the FT DX 9000D? |
The Audio Scope is a highly useful took for observing the
demodulated audio passband, net of the DSP filters, etc. Think of
it as a "spectrum analyzer" for the audio range.
As a result, you may visually observe the effects of filter
adjustments you make (using the Contour or Notch filters, for
example), and it is an especially effective tool for building your
intuition as to the effects and benefits of the various filter
systems of the FT DX 9000.
Remember also that there is a "Waterfall" display that can be
especially useful during weak-signal work, such as 50 Mhz EME or
PSK31, etc.
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What
are the µ-Tune Modules? |
The µ-Tune modules are very sharp RF filters that are built into
the front end of the Main Receiver of the FT DD 9000D; they are
available as options for the Contest and MP versions, and the model
numbers are MTU-160, MTU-80/40, and MTU-30/20, corresponding to the
Amateur bands they cover.
The µ-Tune modules themselves consist of a stack of ferrite cores
that are passed through a silver-plated coil, resulting in a Q of
over 300. This corresponds to a typical 3 dB bandwidth of ±12.5 kHz,
and remember that this is an RF bandwidth, not an IF or audio
passband.
The result of this narrow bandwidth is that all the active
components of the main receiver are protected against
intermodulation and blocking to a degree not found in any other
Amateur transceiver. If you owned an FT-901DM, FT-101ZD, or older
Collins or Drake equipment, they contained a receiver preselector
that was intended to serve the same purpose. However, previous
designs had a 3 dB bandwidth of several hundred kHz,
not two dozen kHz!
The µ-Tune modules are adjusted using a precision stepper motor,
and they automatically follow you around the band as you tune the
VFO. But you also can skew the tuning so as to roll off interfering
strong stations closer than 12.5 kHz, if you find yourself in a
difficult RF interference situation.
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Can
I adjust the CW wave shape? |
Yes indeed. The FT DX 9000 Menu allows adjustment of the CW rise
and fall times from among four selections: 1/2/4/6 milliseconds. The
default is 4 ms, and we generally recommend that this not be
adjusted initially, until you become more familiar with the
transceiver.
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How
is the Parametric Equalizer in the FT DX 9000 different from other
equalizer designs? |
The Parametric Equalizer concept is the "Cadillac" technique for
adjustment of your audio passband. Basically, the Parametric EQ
divides the audio spectrum into three bands, allowing you to enhance
(or suppress) the level in that range. You may add gain or
attenuation separately in each band, set the bandwidth over which
this gain/attenuation is applied, and adjust the center frequency of
each band.
Separate adjustments are available for the front (XLR) and rear
(8-pin) mic jacks, allowing you to equalize your "studio" and "DX"
microphones independently.
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How
is the Contour filter different, on the FT DX 9000 compared to the
FT-1000MP series? |
The Contour filter in the '9000 now allows you to define whether
it will act as a low-Q Notch filter, or alow-Q peaking filter, to be
used for enhancement of the receiver passband response. Some signals
carry excess energy in non-productive audio ranges (for example,
around 400 Hz on an SSB signal), and a little attenuation in this
area, applied over perhaps 100 Hz, can cause the intelligibility of
the incoming signal to improve dramatically.
Similar, in some ways, to a tunable one-range Parametric
Equalizer, the Contour filter may have its gain/attenuation and
bandwidth adjusted via the Menu. The center frequency is adjusted,
on the fly, by the operator, and it's often instructive to watch the
Audio Scope on the TFT while listening to the effects of the Contour
filter adjustment.
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I
see that both Orange and Blue displays are available, but I also see
different TFT colors in ads and brochures. What is going on here?
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The "Blue display" option only applies to the Main/Sub frequency
field in the center of the transceiver.
However, the TFT color scheme may be modified by the user, via
the Menu, for the setup most pleasing to you. Both blue-based and
orange (umber)-based color combinations are available, and you can
choose the one you like in seconds.
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Have
any Product Reviews appeared on the FT Dx 9000 yet? |
Yes. August QST Magazine (published by ARRL - The National
Association for Amateur Radio) contains a comprehensive review of
the FT DX 9000D. The printed magazine will appear in late July; an
online version of the Product Review is available now for ARRL
members on their members-only Web site.
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What
is the expected delivery of the Blue display version? |
Blue displays are available now.
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Does
the FT DX 9000 work on the U.S. 60-meter band? |
Yes, a set of special 5 MHz fixed USB memories is provided.
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I
can't get any microphone audio on my FTdx-9000. Why not? |
You probably have the wrong microphone jack selected. In the
Menu, you can select either the Front panel (XLR) or Rear
panel (8-pin) Mic jacks. The default setup is for the
Front panel XLR connector to be engaged.
Note also that the Mic jack selections are mode-specific. That
is, if you want to use the Rear panel Mic jack for SSB and FM, you
need to change both Menu #59 (FM) and #69 (SSB) to change the audio
path to the rear panel.
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I
can't seem to get my Parametric Equalizer to adjust. Why not?
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Be sure you are adjusting the Parametric Equalizer parameters
that apply to the microphone jack in use. Menu items 136 through 144
apply to the Front panel (XLR) Mic jack, while Menu items 145
through 153 apply to the Rear panel (8-pin) connector.
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I
have a dynamic studio microphone (the Heil® PR-40). What are good
starting settings for the Parametric Equalizer? |
Everyone's voice is different, so there is no one "good" set of
adjustments that will work for everyone. However, the following
guidelines should get you started. These recommendations are for the
Front panel Mic jack (XLR). Remember that you have to use a
different set of Menu items (#145 - 153) for the Rear Mic jack
(8-pin).
Menu 136 (F-PRMTRC EQ1-FREQ): 400 Hz
Menu 137 (F-PRMTRC EQ1-LEVEL): -10 dB
Menu 138 (F-PRMTRC EQ1-BWTH): 2
Menu 139 (F-PRMTRC EQ2-FREQ): 900 Hz
Menu 140 (F-PRMTRC EQ2-LEVEL): -6 dB
Menu 141 (F-PRMTRC EQ2-BWTH): 10
Menu 142 (F-PRMTRC EQ3-FREQ): 2100 Hz
Menu 143 (F-PRMTRC EQ3-LEVEL): +10 dB
Menu 144 (F-PRMTRC EQ3-BWTH): 2
If you then go back and sweep Menu #136 down to 100 Hz and then
up above 400 Hz, while monitoring on another receiver, you'll
quickly notice the dramatic changes in fidelity that accompany the
changes in equalization.
The 2100 Hz frequency for the "High" range corresponds to the
optimum frequency according to the research done decades ago by
Fletcher and Munsen. It adds excellent articulation to your speech.
The mid-range tends to be less dramatic in effect, but your voice
may differ and require settings other than the general
recommendation above.
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How
do I go about adjusting the Parametric Equalizer for best results?
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As with most aspects of dealing with transmitter audio, there is
no single "best" setting that applies to all voices and all
microphones; that's why adjustment is made possible.
However, as a very general rule for a starting point, let's
assume you have a wide-range "studio" type of microphone, connected
to the front (XLR) MIC jack. With the equalizer off, it sounds flat
and full of excessive bass response. In this case, you want to
reduce the low end significantly, probably roll off the mid range to
some degree, then enhance the articulation on the high end.
To do this, set the Low Range Frequency (Menu #136) to 200 Hz,
set the Low Range Level (#137) to -10 (dB), and set the Low Range
Bandwidth (#138) to "1" or "2." For the Mid Range, set the Frequency
(#139) to 800 Hz, the Level (#140) to -6 dB, and the Bandwidth
(#141) to about 6. Finally, for the High Range, set the Frequency
(#142) to 2100 Hz, the Level (#143) to +10 dB, and the Bandwidth
(#144) to "1" or "2."
You will notice a dramatic change (less bass and more
high-frequency articulation) in the sound characteristics now,
compared to the no-equalization state, and you can now begin
adjusting these parameters, if you like, to achieve a different
response based on your own voice characteristics.
Note also that the TX Bandwidth (Menu #70) may be adjusted to
provide additional shaping of your signal. For a more "aggressive"
response, set the bandwidth either to 300-2700 Hz or 400-2600 Hz.
For a more mellow sound, try 50-3000 Hz or 100-2800 Hz.
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What
are the Roofing Filter bandwidths on the FT DX 9000? |
Roofing Filters of 15 kHz, 6 kHz, and 3 kHz are provided on the
Main and Sub receivers (separate filters, of course), and they are
automatically selected according to the operating mode. You may, if
you like, manually override the Roofing Filter selection, if you
prefer a selection other than the automatic one.
Bandwidths narrower than 3 kHz are not feasible from an
engineering standpoint, as the FT DX 9000 utilizes a VHF first IF,
so as to facilitate 50 MHz operation as well as provide good image
suppression. Still, the extremely robust receiver design ensures
that excellent performance is maintained even inside the 3 kHz
passband of the Roofing Filter.
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May
I use an external monitor (such as a plasma or TFT screen) while
simultaneously using the internal TFT of the FT DX 9000D? |
Yes. . .you just plug in your external monitor and enable the
path to it via the Menu, and you're set.
If you get an FT DX 9000 Contest and have the DMU-9000 Data
Management Unit installed, this will enable the use of an external
display. If you have the internal TFT also installed, you now can
use both displays in parallel.
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Are
the front and rear panel KEY jacks truly independent? |
Yes. You may, for example, configure the front panel KEY jack for
paddle input, while configuring the rear panel KEY jack as a
pseudo-straight-key jack for input of a keying line from the serial
or parallel port of your PC (for contest message generation from
your PC).
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Are
Operating Manuals available for viewing online? |
Yes. Go to www.yaesu.com, then
click on "HF Transceivers" in the "Products" tab at the top. Click
on the image of the FT DX 9000, then click on the "Files" folder tab
to bring up the area containing the brochure and manuals.
Please note that all manuals and other documents on our Web site
are copyrighted, and we request that these materials not be copied,
posted on other Web sites, or otherwise pirated in a manner not
authorized in writing by Vertex Standard USA, Inc.
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Does
the FT DX 9000D really have Full Duplex operation? |
Yes, and it's the only HF transceiver on the market with this
capability. You literally can call CQ on 20 meters while,
simultaneously, tuning around for other stations on 21 MHz.
This brings you "SO2R" capability within the case of a single radio
for the first time ever.
Of course, the usual steps must be taken to minimize the adverse
effects of mutual coupling between nearby antennas. These
precautions (stubs, bandpass filters, etc.) must be observed in
any SO2R installation, as
induced signal voltages can be very high, particularly on the low
bands.
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